This is for piano btw.
For a typical G7, I would play: LH: FB RH: EAD or LH: BF RH: AEG
For the first version, would I alter the D to D#? For the second version, would I alter the E to D#?
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G7+5 has G,B,D#and F. When E and A are added, not only does it change name, but it can't be pent. with 6 notes.What am I missing? – Tim Feb 14 '17 at 15:08
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Yes, one can add extra notes, depending on how the piece goes, and 9 and 13 are usually o.k. But here, as you know, the 13 may sound dissonant against the +5. If the lead sheet says G7, that's what gets played. Extra notes of course can get added, but prudently. And voicing is going to be an important consideration, rather than an absolute 'this is the voicing for this chord'. Listening at the time is the best strategy. – Tim Feb 14 '17 at 15:22
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Yeah, I completely agree. The question still stands, what would be the most common comping pattern for this type of chord? – 02fentym Feb 14 '17 at 15:48
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1Go for the second. That way the E disappears and becomes +5. – Tim Feb 14 '17 at 15:50
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Typical voicing would be G-B-D#-F-A# (adding #9 to raised 5th).
Of course this answer may make to much sense and thus be unacceptable to this forum.
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@mikeford, I haven't voted on your answer, but here's one possible reason: many look at a G7♯5 chord and think "augmented chord" or "whole tone scale." That is, they interpret a G7♯5 as specifically having a ♮9 , while they think of a G7♭13 as more amenable to altering the 9th. – jdcode Dec 20 '17 at 19:55
On the first form (FB on LH), for a G7alt (G7#9b13) I would definitely play FB-EbGBb.
So for a G7#5 (aka G7b13 or G9b13 since the 9th is just an added color) I would start from the previous and play FB-EbGA. This gives you the freedom to move the A to Ab (becomes a G7b9b13) or to the A# (and you are back to G7alt).
For the second form I would do the same as you play, so BF-AEbG
