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11-26-2008, 01:06 AM
| | Registered User | | Join Date: Oct 2006 Location: Ventura County | | | Extended Dominants
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Thanks for answering my secondary dominants question, I now would like to know about extended dominants. I heard some and they sounded awesome.
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Originally Posted by beyondhairy next chick who asks me to take her to starbucks is unzipping her pants first | | 
11-26-2008, 03:05 AM
|  | Layin' Down Time Endorsing Artist: Roscoe Guitars Moderator | | Join Date: Apr 2000 Location: Omaha, Nebraska | | | Do you mean Dominants with extentions? Altered dominants?
I'm not exactly sure what you're asking....
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11-26-2008, 08:38 AM
|  | Registered User | | Join Date: Mar 2008 Location: Central Illinois, USA | | | A dominant 7 chord is the 1, 3, 5, and b7 of the scale (C7 is C E G Bb). Add extensions above the 7th, in thirds to get 9, 13, etc.
C9 functions the same as C7, but that 9th (the D) adds a nice flavor.
jte
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11-26-2008, 08:45 AM
|  | Registered User | | Join Date: Jun 2006 Location: Seattle | | | I suppose its worth mentioning:
extended dominants = 1 3 5 b7 chords plus a 9, 11, or 13
altered dominants = 1 3 b7 with a sharped or flattened 5, 9, 11, or 13.
in a dominant chord, the maj 3rd and flat 7th are never altered (cuz then it wouldn't be a dominant chord) | 
11-26-2008, 09:57 AM
| | Registered User | | Join Date: Oct 2005 Location: Seattle | | Quote:
Originally Posted by mambo4 I suppose its worth mentioning:
extended dominants = 1 3 5 b7 chords plus a 9, 11, or 13
altered dominants = 1 3 b7 with a sharped or flattened 5, 9, 11, or 13.
in a dominant chord, the maj 3rd and flat 7th are never altered (cuz then it wouldn't be a dominant chord) | The natural 11th is typically omitted because it creates a minor 9th between inner voices. Sounds bad. | 
11-26-2008, 10:07 AM
| | Registered User | | Join Date: Aug 2003 Location: MD | | | He probably means extended dominants in the Berklee definition of extended level dominant harmony. Which is to say, a series of constant structure dominant chords resolving down in fifths that don't have any particular reference to a key. Extended series normally start on a strong harmonic rhythm, which distinguished them from just regular dominant 7th chords (they're almost always on a weak harmonic position in popular music). The bridge to rhythm changes is considered to have extended dominants. Perhaps a better example is the bridge to Jordu.
You can have extended subV's as well - constant structure dominant seventh chord resolving down by half step. This is a trick favored by cats like Billy Strayhorn (Chelsea Bridge, Lush Life).
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11-26-2008, 11:40 AM
| | | | HaVIC got it
Extended dominants - a series a secondary dominants, or a series of dom7's with no regard for any particular key you're in. Great tool for modulation.
Last edited by EADG mx : 11-26-2008 at 11:44 AM.
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11-30-2008, 04:49 PM
| | Registered User | | Join Date: Oct 2006 Location: Ventura County | | | Word, I think I have it.
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Originally Posted by beyondhairy next chick who asks me to take her to starbucks is unzipping her pants first | | 
11-30-2008, 07:21 PM
| | Registered User | | Join Date: Feb 2007 Location: Los Angeles, CA | | Quote:
Originally Posted by EADG mx HaVIC got it
Extended dominants - a series a secondary dominants, or a series of dom7's with no regard for any particular key you're in. Great tool for modulation. | Or in my day called Backcycling. Go up above your target chord and cycle back via dominant 7th via CoF's.
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11-30-2008, 08:05 PM
| | Registered User | | Join Date: Aug 2003 Location: MD | | | Constant cycle 5 is another berklee term that describes it. Normally you talk about constant cycles with regards to non-functional patterned harmony involving planing of constant structures, but in this case it's a functional progression - or at least it SOUNDS like one.
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