EXCERPT 2

Below is a list of the chord tones and tensions for a dominant chord. Once again there is no limit to how many tensions can be in a chord but because the guitar has only 6 strings we are limited to 6 notes. Many times certain chord tones are dropped out so more tension can be placed in the chord. It is very common to drop out the 1 and 5 of the chord in order to add more tensions. As you learn each chord, notice which notes are present in each chord.

The chord tones and tensions for C7 are as follows: [graphic insert] All the tensions that we learn for each chord can be used as a substitute for the basic chord type. Dominant chords have many possibilities for adding and combining tensions. For instance if we have a C7 chord we could substitute C7#11 or C7#9b13 etc. Theoretically any combination is possible. Usually tensions are not combined that are a half step apart. For example, you usually don't have a dominant chord which contains "b9" and natural 9. Also most of these half step possibilities don't lay well on the guitar.

Although any tension combination is possible there are common situations where certain tensions are preferred over others. When a dominant chord resolves up a fourth to a major chord i.e. C7 to F?7 it is common to use natural tensions 9 or 13. When a dominant chord resolves up a fourth to a minor chord i.e. C7 to F-7 it is common to use the altered tensions b9, #9, #11, b13. The reason C7 to F?7 uses natural tension is that the 9 and 13 (in this case, on C7 that would be D and A), are diatonic to the F major scale therefore creating an expectation of an impending major resolution. On the other hand if C7 resolves to an F minor chord, the altered tensions (in this case, on C7 they would be Db, Eb, Ab) are commonly used because they are found in various F minor scales. Db and Ab could be from the F harmonic minor scale and Eb from the natural minor scale. There are of course many other F minor scales that these three notes are found in. You can find many examples of these different tension combinations in the progression section found at the end of this book.