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.
7 moveable shapes. None has an open string in it, so each one plays every root there is; the dots are degrees, and R is the root.
Pick a root and every diagram below moves to it. Nothing about any of the shapes changes — only the fret they start on, and each one starts somewhere different because they are rooted on different strings.
Showing Calt. Every voicing of it, open strings included, is on its own chord page.
The lowest root available, so these are the fullest-sounding shapes and the ones that carry a band. F at the first fret, G at the third, A at the fifth: the shape is the same and the fret is the whole of the difference.
8x8999
5 notes · 2 frets
87887x
5 notes · 2 frets
87889x
5 notes · 3 frets
87867x
5 notes · 3 frets
The other half of the pair. Pair them with the low E shapes and the hand barely moves: the root a fourth up sits at the same fret on the A string, and the root a fifth up two frets higher.
x32322
5 notes · 2 frets
x32344
5 notes · 3 frets
x32342
5 notes · 3 frets
Every voicing of one particular alt chord — including the open-string ones that do not move — is on that chord's own page, linked under each shape above. All the moveable shapes for every quality are on the shapes index, and the altered dominant chords as a family are on their own page.
Shows each chord the way this style would voice it, and marks which of its alternatives belong to the idiom.