Third Double Alteration: Dominant Sharp 9, Flat 5
As with the other chords we've dealt with that have a flat 5, the flatted 5th can be notated as a sharp 11. Thus you might see:
The Dominant Sharp 9, Flat 5 chord is bi-tonal.
It's easiest to visualize the bi-tonal triad from the 5th string root or the
close position voicing:
Add a 2nd to the Eb minor triad:
Let's descend this one for a change. Add the 4th to the Eb minor triad. We'll also add a resolution by playing the E natural and the Bb at the end of the line thus stating the 3rd and the 7th of the parent chord, C7:
II - V - I Examples
Over the Dmi7 chord I'm thinking D Minor Pentatonic. Over the G7 chord I'm thinking Bb Minor Pentatonic. Over the Cmaj7 chord I'm thinking E minor (upper extension 7th chord of Cmaj9 is Emi7).
Example 2:
Over the Dmi7 is A Minor Pentatonic (the upper extension triad of Dmi9 is A minor). Over the G7 is Bb Minor Pentatonic. Over the Cmaj7 is E minor.
Example 3:
Over the Dmi7 is a straight Dmi7 arpeggio. Over the G7 is a Bb Minor Pentatonic. Over the Cmaj7 is a C Major Pentatonic.
Example 4:
Over the Dmi7 is a D Minor Pentatonic. Over the G7 is a Bb Minor Pentatonic. Over the Cmaj7 is an Emi7.
