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In our progression we feature 3 Altered Dominant chords, all with
considerable tension within them, and no “real” resolution. However,
we still have a tonal center that we can target for improvisation and
ultimately an ending to a song. It’s unlikely that the chord of D7(#9)
would have a sustained ending… an ending that is staccato would
make more sense and sound more finite and resolute.

Altered Dominant chords are generally used to add additional

harmonic tension to dominant chords and increase the feeling of
resolution once they are resolved to the following chord. These chords
generally function as altered dominants that are resolving to a I minor
chord. In this progression however, we have a progression we could
consider an altered dominant I-II-V-!.

Lets analyse the progression like this:

D7(#9) as I7#9
E7(#9) as II7#9
A7(#9) as V7(#9)

The D7(#9) is our non-diatonic (chromatic) tonal

center.
Altered Dominant Tonal Center - D7(#9) - D Blues Scale
  

5 

 

  

 5

  

3 5 7 9 12
Altered Dominant Tonal Altered Dominant Tonal
Center - D7(#9) - D Center - D7(#9) - D
Blues Scale Blues Scale
   5 

   

 5   

    5

5    

   5 

5 7 12
D Natural Minor - D
Aeolian
5  

  

  

 5

  

5  

9 12