Altered Dominants: Adding Color, Tension, and Drama to Your Music
When diving deeper into harmony and jazz-influenced styles, one of the most powerful and colorful chords you’ll encounter is the altered dominant. While at first it may sound complex or even dissonant, the altered dominant is one of the most expressive harmonic tools available to musicians. It brings intensity, surprise, and sophistication to progressions, solos, and compositions.
In this post, we’ll explore what altered dominants are, why they work, how to use them, and practical tips for applying them in your own music.
What Is a Dominant Chord?
Before we talk about altered dominants, let’s briefly recap the basics of dominant harmony:
The dominant degree is the 5th note of a scale. In C major, that’s G.
The dominant 7 chord is built on this degree: root, major 3rd, perfect 5th, and minor 7th (e.g., G7: G–B–D–F).
Dominant 7 chords naturally create tension that resolves to the tonic (I). This tension comes largely from the tritone between the 3rd and 7th (in G7: B–F).
Dominant chords drive music forward. But when we begin altering them, we supercharge their tension and add a new level of harmonic richness.
What Are Altered Dominants?
An altered dominant is a dominant 7 chord (V7) where one or more chord tones — usually the 5th and/or 9th — are altered by raising or lowering them.
In practice, this means modifying the chord by adding:
♭9 (flat ninth)
♯9 (sharp ninth)
♭5 (flat fifth, also called ♯11)
♯5 (sharp fifth, also called ♭13)
For example, in the key of C major, the dominant chord is G7 (G–B–D–F). Some altered versions of G7 could be:
G7♭9 (G–B–D–F–A♭)
G7♯9 (G–B–D–F–A♯)
G7♭5 (G–B–D♭–F)
G7♯5 (G–B–D♯–F)
Or even a combination, like G7♭9♯5 (G–B–D♯–F–A♭).
These alterations introduce chromatic color and heightened dissonance, intensifying the pull toward resolution.
Why Altered Dominants Work
Altered dominants are effective because they exaggerate the voice-leading tendencies already present in a normal dominant 7 chord.
Altered 9ths (♭9, ♯9) resolve naturally by step into chord tones of the tonic.
Altered 5ths (♭5, ♯5) create extra half-step motion into the tonic’s root or third.
The tritone (3rd and 7th) remains intact, so the chord still unmistakably functions as a dominant.
Essentially, altered dominants increase the tension without changing the core function: they want to resolve to I.
This is why they’re so beloved in jazz, blues, funk, fusion, and modern classical music — they deliver drama while staying firmly rooted in tonal gravity.
The Altered Scale
One of the easiest ways to think of altered dominants is through the altered scale, also called the super-Locrian scale.
The altered scale is the 7th mode of the melodic minor scale.
For example:
Take A♭ melodic minor: A♭–B♭–C♭–D♭–E♭–F–G.
Start it from G (a half-step below): G–A♭–B♭–B–D♭–E♭–F.
That gives you:
Root (G)
♭9 (A♭)
♯9 (B♭)
3 (B)
♭5/♯11 (D♭)
♯5/♭13 (E♭)
♭7 (F)
All the altered tensions are present in one place. Improvisers use this scale over altered dominants to fully exploit their harmonic possibilities.
Altered Dominants in Progressions
Let’s see altered dominants in action.
In C major, the most common spot is the V7 chord: G7. If we alter it, we get:
C – Am – Dm – G7alt – C
Instead of plain G7, try G7♭9, G7♯5, or G7alt (using the altered scale). The resolution back to C feels much stronger and more colorful.
In jazz, the ii–V–I progression often features altered dominants:
Dm7 – G7alt – Cmaj7
Here, G7alt maximizes the tension before resolving beautifully into Cmaj7.
Common Altered Dominant Voicings
On guitar and piano, altered dominants are often voiced using 4-note shapes that highlight the altered tensions. Some popular choices include:
7♯9 chord (think Jimi Hendrix’s “Purple Haze” chord: E7♯9 = E–G♯–B–D–G)
7♭9♭13 voicing (e.g., G7♭9♭13 = G–B–F–A♭–E♭)
Rootless voicings, emphasizing 3, 7, and alterations, for smooth voice leading.
How to Use Altered Dominants
Here are some practical ways to incorporate altered dominants in your playing and writing:
Spice up V–I resolutions – Instead of plain V7, use V7alt. It makes the return to I more dramatic.
Experiment in ii–V–I progressions – Jazz players almost always alter the V chord to increase harmonic richness.
Chromatic approach chords – Use altered dominants as colorful passing chords when moving between diatonic chords.
Soloing with the altered scale – Practice the altered scale over V7alt chords to get comfortable with the sound of ♭9, ♯9, ♭5, and ♯5.
Altered Dominant Cheat Sheet (in C Major)
Chord Resolution Notes/Effect
V7♭9 (G7♭9 → C) C ♭9 (A♭) resolves down to G, up to A
V7♯9 (G7♯9 → C) C ♯9 (A♯/B♭) resolves to B or C
V7♭5 (G7♭5 → C) C Creates downward half-step motion (D♭ → C)
V7♯5 (G7♯5 → C) C Creates upward half-step motion (D♯ → E)
V7♭9♯5 (G7♭9♯5 → C) C Maximum tension: both altered 5th & 9th resolve
V7alt (G7alt → C) C Any combination of ♭9, ♯9, ♭5, ♯5, using altered scale
Combining Secondary and Altered Dominants
You can create incredibly rich and colorful chord progressions by combining secondary dominants (to tonicize non-tonic chords) with altered dominants (to heighten tension before resolution).
Examples in C Major:
Tonicizing ii with an altered secondary dominant: Cmaj7 – A7♯5 – Dm7 – G7alt – Cmaj7
Tonicizing IV with an altered secondary dominant: Cmaj7 – D7♭9 – Fmaj7 – G7alt – Cmaj7
Extended ii–V–I with tonicized iii and ii: Dm7 – B7♯9 – Em7 – A7♭9 – Dm7 – G7alt – Cmaj7
Tip:
Identify a chord you want to highlight.
Use its secondary dominant.
Alter the dominant’s 5th or 9th for extra tension.
Resolve naturally.
Secondary vs. Altered Dominants: Quick Comparison
Secondary Dominants Altered Dominants
Definition Dominant chord tonicizing a diatonic chord (V7/x) V7 chord with altered 5ths/9ths to heighten tension
Function Expands harmonic direction Intensifies resolution to tonic
Sound Bright, surprising, modulation-like Chromatic, dramatic, dissonant
Usage Classical, pop, jazz Jazz, blues, funk, fusion
Can Combine? Yes – can also be altered Yes – can tonicize any chord and alter for color
Conclusion
Altered dominants are a gateway into more sophisticated, colorful harmony. They heighten tension and create dramatic resolutions, while secondary dominants expand harmonic possibilities. Used individually or together, they allow you to craft dynamic, expressive, and emotionally engaging progressions.
Next time you play a plain dominant chord, ask yourself:
Do I want to redirect the harmony? → Try a secondary dominant.
Do I want to heighten the drama of resolution? → Try an altered dominant.
And if you want maximum impact, combine the two — your progressions will come alive with color, tension, and movement.
