Fourth Double Alteration: Dominant Sharp 9, Sharp 5
The Dominant Sharp 9, Sharp 5 chord is bi-tonal.
It most most easily visualized from a close position voicing.
If you raise the root an octave the bitonal triad can be seen:
Add a 2nd to the triad:
Add a 4th to the triad:
II - V - I Examples
Example 1:
Over the D-7 is a D-7 arpeggio and then the scale. The G7+(#9) could also be thought of as a C-7 (Eb is the upper extension triad of C-7). The first bar of the Cmaj7 is an E Minor Pentatonic. In the 2nd bar the inclusion of the F references the E Phrygian Mode (which is the same as a C Major Scale).
Example 2:
The phrase over the D-7 is based on a D-7 arpeggio (the G# is a passing tone). I'm thinking Eb7 over the V chord (the 7th of Eb is the flat 5 of G).
Over the Cmaj7 I'm thinking E-7 (the upper extension 7th chord of Cmaj9).
Example 3:
A Minor Pentatonic over the D-7 (A minor is the upper extension triad of D-9)
Eb7 over the G7+(#9), and E-7 over the Cmaj7.
Example 4:
Over the D-7 is D Minor Pentatonic. Over the G7+(#9) is Eb Major Pentatonic (could also be thought of as C Minor Pentatonic). Over the Cmaj7 is E-7.
Example 5:
Over the D-7 is D Minor Pentatonic. Over the G7+(#9) is an Eb7 arpeggio (the D-natural is a passing tone). Over the Cmaj7 is a C Major Scale in the first bar and a C major triad arpeggio in the 2nd bar.
Example 6:
Over the D-7 is D Minor pentatonic (same melody as Example 4). Over the G7+(#9) is an Eb7 arpeggio. Over the Cmaj7 is a C Major Pentatonic.
