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Practical Theory: Lesson #8
Chord Extensions
A Step Beyond (the 7th)
By Pi |
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Lets really get some color, or, Jazz chords for the layman!
Welcome to Lesson 8 of Practical Theory. This lesson is the
culmination of our work on building chords, the "icing on the cake"
if you will. Most modern pop music uses these more complex chords
that were initially introduced by the Jazz world. The main difference
between pop music and Jazz, is that while pop writers tend to throw
these more complex chords in for a "color" effect, Jazz writers
tend to use them throughout compositions, making a much denser and
harmonically complex sound. It is very important as a writer, that
you have an understanding of these chords, so that you can make
choices about the style and complexity of your music.
9ths, 11ths, and 13ths vs. 2nds, 4ths and 6ths.
9ths, 11ths, and 13ths are what we call chord extensions.
These extensions can go on top of any major, minor, or dominant
7th chord, however, it is important to note that I said ON
TOP of the chord.
You may have noticed that a 9th is the same note as a 2nd, the 11th,
as the 4th and the 13th the same as a 6th. The placement of these
extensions above the main notes of the basic triad is what makes
them a 9th, 11th or 13th. Placing the notes in the same register
as the basic triad makes it a Sus2, Sus4 or 6 chord.*
EX 1:
In the key of C, play these examples so that each note ascends higher
in pitch.
CHORD Notes
Cmaj 9
C E G B D
Csus 2
C D (E)* G B
Cmaj11 C
E G B D F
Csus 4 C
(E)* F G B
C13
C E G Bb D F A
C6
C E G A
*Remember those sus2 and sus4 chords? To review, these
are chords where you substitute a 2nd or a 4th for the 3rd of the
basic triad, thereby changing the entire QUALITY (major, minor,
diminished, augmented or suspended) of the triad. (Lesson
3)
Extensions on the Dominant 7th chord
The dominant 7th is the most commonly extended chord, in fact,
if you see an extended chord the 7th underneath the extension is
assumed to be a flatted (dominant) 7th, unless otherwise indicated.
EX 2:
Diatonic Extensions on the Dominant 7th.
On your instrument, play the following examples so that each note
ascends higher in pitch.
CHORD Notes
C9
C E G Bb D
C11
C E G Bb D F
C13
C E G Bb D F A
Extensions on Major 7th and minor 7th chords
Extensions may also be added on maj7 and min7th chords. When
extending a minor chord, it is traditional to assume a flatted 7th
unless otherwise noted.
EX 3:
On your instrument, play the following examples so that each note
ascends higher in pitch.
CHORD Notes
C 9 C
E G B D
C11
C E G B D F
C13
C E G B D F A
C-9
C Eb G Bb D
C-11
C Eb G Bb D F
C-13
C Eb G Bb D F A
Altered Dominants
Now lets tackle the tricky question of Altered Dominants. These
are dominant 7th chords that have, 9ths, 11ths, or 13ths that have
been chromatically altered (by a half step) either up or down. These
developed prominence particularly in jazz, and are for the most
part are somewhat "out" sounding for the average pop song. They
can however be useful to add tension or darkness to your writing.
EX 4:
On your instrument, play the following examples so that each note
ascends higher in pitch.
CHORD Notes
C7b9
C E G Bb Db
C7 #9 C
E G Bb D#
C7 #11 C
E G Bb D F#
C7 b13
C E G Bb D F A
Voicing becomes particularly important playing altered dominants.
Unless you voice these chords with care, they will simply
sound like mud. As there are inherent clashes in altered
dominants between the basic triad, and the altered extensions, these
chords sound best when you have at least one octave separating the
basic triad from the altered extension tones!
(Side note: this will be easier to do on a string instrument like
a guitar, but much easier to SEE on a keyboard, so I suggest if
you are a guitarist or other string player, to try all these chords
on the piano as well.)
Really Altered Chords!
Sometimes you will see chords with several altered notes. To
really get into depth with these, you would need to be studying
jazz in serious fashion. However, it is important that you be aware
of these chords in case you come across them in a chart or, (as
I have occasionally done) put them into a song by "accident"!
EX 5:
On your instrument, play the following examples so that each note
ascends higher in pitch.
CHORD Notes
C7b9 b13
C E G Bb Db F Gb
C #9 #11
C E G B D# F#
*C7 b5 b9
C E Gb Bb Db
C- 9
C Eb G B D
*Notice that in these altered chords, sometimes the notes of the
basic triad are altered, as well as the extensions.
EX 6
A.
Use some of the chords in this lesson to create either a "scary"
song (think film score) using altered extensions.
B.
Write a "sweet" song (think "crooner") using the diatonic extensions
on Dominant, Major or minor chords.
Have fun, and as always, feel free to send me your questions and
comments.
Till next time,
Xo
Pi |
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_________________________________
Back Issues:
 Practical
Theory Lesson #1
Practical Theory Lesson
#2
Practical Theory
Lesson #3
Practical Theory Lesson
#4
Practical Theory Lesson
#5
Practical Theory Lesson
#6
Practical Theory Lesson
#7
Pi's album Irrational is available for purchase at
the WOMANROCK MusicShop. |
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_________________________________
Pi
is a singer-songwriter who once thought she would be the female
"Jaco Pastorius" . After getting a BA in Music, she worked as a
studio and touring musician/teacher. Pi recently landed a deal with
the Atoll label in France. She performs in NYC, and tours regularly.
For more information, please visit her Web site: http://www.thatcrazychick.com. |
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