Bbalt guitar chord
Root, third and seventh: the guide tones fix the quality, so the fifth is dropped. That is what leaves a string free, so pick a tension to put on top.
- Tap a note to hear it
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- Fingers, notes or intervals
- Play the chord
About Bbalt — shell voicings
Bbalt is Bb, D, F#, Ab and Cb — Bb7 with every tension it can carry altered at once.
It sounds maximum tension, barely holding together. Not one chord but an instruction: take the root, third and flat seventh, add any two alterations, and let the rest go.
Bbalt notes and formula
| Bb | D | F# | Ab | Cb |
|---|---|---|---|---|
| 1 | 3 | ♯5 | ♭7 | ♭9 |
Altered dominant — the hardest pull available.
Also written Bb7alt, Bb7altered or Bb altered dominant. The same chord either way; which spelling you meet depends on who wrote the chart.
How to play Bbalt
Root, third and seventh. The third and seventh, the guide tones, are what make the chord major, minor or dominant, so the fifth can go: it says nothing the symbol needs.
Three notes means a spare string, which is the real point. Put a tension on it.
Bbalt has 8 of them, on the middle four strings, the bottom four strings, the top four strings, strings 5-3-2-1 and strings 6-4-3-2, from open position up to the 13th — all in one inversion, so the bass note never moves. The one to learn first is the Bb shape at the nut, which is the easiest grip here.
Start with x12330 — 1 open string and down at the nut. 1 of the 11 shapes here sits in open position. None of them needs a barre. Together they cover the neck from the 1st fret to the 15th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| x12330 | open position | Bb, root position | E | 1 open string |
| x12331 | 1st fret | Bb, root position | F | all fretted |
| 670750 | 5th fret | Bb, root position | E | 2 open strings |
| 65x756 | 5th fret | Bb, root position | Bb | all fretted |
| 6707x6 | 6th fret | Bb, root position | Bb | 1 open string |
| xx8756 | 5th fret | Bb, root position | Bb | all fretted |
| 6787x6 | 6th fret | Bb, root position | Bb | all fretted |
| x-x-8-9-11-10 | 8th fret | Bb, root position | D | all fretted |
| x-13-12-x-11-12 | 11th fret | Bb, root position | E | all fretted |
| x-13-12-15-15-12 | 12th fret | Bb, root position | E | all fretted |
| x-13-14-15-15-x | 13th fret | Bb, root position | D | all fretted |
The same notes rebuilt from scratch give 14 rootless and 1 open string voicings, each on its own page.
Tensions. A shell of Bbalt, root, third and seventh, leaves a string free, and the tones that belong over it are the #11 (E).
How to use Bbalt
Bbalt is a dominant with its tension raised, so it still points at Eb — harder than a plain seventh does, because the altered tones sit a semitone from where they are going.
Voice by voice, Bbalt → Eb. 4 voices move by a semitone, and one note is common to both chords.
| In Bbalt | Moves | In Eb |
|---|---|---|
| Bb, the root | stays where it is | Bb, the fifth |
| D, the major third | rises a semitone | Eb, the root |
| F#, the sharp fifth | rises a semitone | G, the major third |
| Ab, the flat seventh | falls a semitone | G, the major third |
| Cb, the flat ninth | falls a semitone | Bb, the fifth |
What to play over Bbalt
Every note of Bbalt is in Bb altered.
Chords near Bbalt
Change one note of Bbalt and you have Bbaug7 (drop the flat ninth), Bbaug9 (the flat ninth becomes a ninth) or Bb7b9 (the sharp fifth becomes a fifth).
Bbalt is an altered chord — a dominant seventh with its fifth or ninth moved. Altered dominant chords on every root.
On Bbalt’s sound and use this page follows Mark Levine, The Jazz Theory Book (Sher Music, 1995). The shapes and the derived voicings come from different places, and both are explained in where the chords and the theory come from.