On major and minor chords, the chords are resolved by their nature. We moved one note to create tension, and then moved it back.
But dominant chords aren't resolved. They exist to sound dissonant. The resolution comes by moving to the next chord.
As such, we use movement differently... to ramp up the dissonance even more, so the resolution in the next chord is even more satisfying
Move 9 to Flat-9
Perhaps the simplest way to create extra tension is to move your 9 down a half-step to the flat-9. Not only is this a more satisfying dissonance, but it creates a chromatic movement to the next chord:
My "Go To Dominant Moves"
If you've studied my chord voicings method, you know I lean on hand shapes to play voicings by feel. In this example, you can see how our left hand plays a fifth interval, while our right plays a fourth.
In this "A position," we can play my "expand move" on the G7 with our right hand. The top note moves up a half-step, while the bottom note moves down a half-step. (Making a fifth interval)
This creates a G7alt chord, without really needing to think too hard about it.
There's a sister move in the "B position" where the notes contract inwards by half-steps, creating the same chord.
The Wednesday Woodshed
Here are the three things you should practice to get this sound into your playing this week.
- Practice your 2-5-1's around all 12 major keys using A voicings, inserting the "expand move" on each dominant.
- Do the same exercise, but this time in the B voicings using the "contract move"
- Take any song with a 2-5-1 (there are a couple 😉 in the Real Book) and practice these moves in context.