Extended chord
In
Chords extended beyond the seventh are rarely seen in the
Examples of the extended chords used as tonic harmonies include Wild Cherry's "Play That Funky Music" (either a dominant ninth or dominant thirteenth).[6]
Common practice period
During the
In the classical practices of western music, extended chords most often have dominant function (dominant or
Following standard voice leading rules:
- V9 to I or i
- The third, which will also be the seventh scale degree, always resolves upward to tonic.
- The seventh resolves downwards stepwise to the third factor of the chord of resolution.
- The extended pitch will resolve downward.
- V11 to I or i
- The seventh resolves downwards stepwise to the third factor of the chord of resolution.
- The ninth resolves downwards stepwise to the fifth factor of the chord of resolution.
- The eleventh doesn't move, and becomes the root of the chord of resolution.
- V13 to I or i
- The seventh resolves downwards stepwise to the third factor of the chord of resolution.
- The third, which will also be the seventh scale degree, always resolves upward to tonic.
- The thirteenth, will resolve downward to the tonic, and often includes a passing tone through the ninth factor of the chord of resolution. Less often, the thirteenth may also remain the same and become the third of the chord of resolution.
An important distinction between extended and added chords must be made, since the added tones and extended tones are
History
18th century
In the 18th century, ninth and eleventh chords were theorized as downward extensions of
In 1722,
The theory of supposition was adopted and modified by Pierre-Joseph Roussier, Friedrich Wilhelm Marpurg, and other theorists. A. F. C. Kollmann, following Johann Kirnberger, adopted a simpler approach and one closer to that prevalent today, in which Rameau's "supposed" bass is considered the fundamental and the ninth and eleventh are regarded as transient notes inessential to the structure of the chord.[13] Thus F–A–C–E–G–B is considered a seventh chord on F, F–A–C–E, with G and B being nonchord tones added above triadically.[15]
19th century
In 19th-century classical music the seventh chord was generally the upper limit in "chordal consonance", with ninth and eleventh chords being used for "extra power" but invariably with one or more notes treated as appoggiaturas.[12] The thickness of complete ninth, eleventh or thirteenth chords in close position was also generally avoided through leaving out one or more tones or using wider spacing (open position).[12]
20th century
In the 20th century, especially in jazz and popular music, ninth chords were used as elaborations of simpler chords, particularly as substitutes for the tonic triad at the end of a piece.[12] The "piling up" of thirds above the tonic to make seventh, ninth, eleventh, or even thirteenth chords "is one of the most important characteristics of jazz harmony".[12] Vítězslav Novák's student Jaroslav Novotný (1886–1918) used a fifteenth chord in the fourth song of his 1909 song cycle Eternal Marriage.[18]
Chord structure
Building on each of the major
Chord root Chord quality 1 3 5 7 9 11 13 I IM13 ♮ ♮ ♮ ♮ ♮ ♮ ♮ ii iim13 ♮ ♭ ♮ ♭ ♮ ♮ ♮ iii iiim7♭9♭13 ♮ ♭ ♮ ♭ ♭ ♮ ♭ IV IVM13♯11 ♮ ♮ ♮ ♮ ♮ ♯ ♮ V V13 ♮ ♮ ♮ ♭ ♮ ♮ ♮ vi vim7♭13 ♮ ♭ ♮ ♭ ♮ ♮ ♭ viio viiø7♭9♭13 ♮ ♭ ♭ ♭ ♭ ♮ ♭
Other thirteenth chord qualities do exist but they do not belong to any
From the table it is clear that adding an eleventh or a thirteenth makes the seven chord qualities distinguishable from each other, as without an eleventh added the I and IV chord quality would be identical, and without a thirteenth added the ii and vi chord quality would be identical.
Jazz, jazz fusion and funk
See also
- Added tone chord
- Elektra chord
- Hendrix chord
- Tristan chord
- Upper structure triadfor an examination of extended harmony with emphasis on jazz and pop
- Chord alteration
- Chord progression
References
- ISBN 1-57766-108-7.
- ^ Basic Music. Secretary of the Army. 1978.
- ISBN 978-1-4574-6317-4.
- ISBN 978-1-68092-154-0.
- ISBN 978-1-135-21527-9.
- ISBN 978-0-300-09239-4.
- ^ "DISCOVERED CLASSICAL". Bellevue Publishing & Entertainment. Retrieved 2021-05-01.
- ^ "Common Practice Period|Piano Lessons|Piano Teaches|Piano lessons sydney". Mezzo Piano Lessons. 2013-09-24. Retrieved 2021-05-01.
- ^ "Local Harmonic Grammar in Western Classical Music" (PDF). Mozartwriteup.
- ^ ISBN 978-0-07-310188-0.
- ISBN 9780918728555.
- ^ ISBN 1-56159-174-2.
- ^ ISBN 1-56159-174-2.
- ^ "extended tertian harmony". music.red-carlos.com. Retrieved 2021-05-01.
- ^ Jazz Player. Dorn Publications, Incorporated. 1993.
- ISBN 0-396-06752-2. Original with Roman numeral analysis only.
- ISBN 9780313306891.
- ISBN 9783205771654.
- ISBN 9780674011014.
Technically a fifteenth chord
- ^ "Chord Extensions 9ths, 11ths & 13ths | Extended Jazz Piano Chords". PianoGroove.com. Retrieved 2021-04-23.
Further reading
- Popp, Marius (1998). Applicatory Harmony in Jazz, Pop & Rock Improvisation. ISBN 973-569-228-7.
- Blumenfeld, Aaron. A Method for Avant Garde Piano Improvisation: A New Perspective on Harmony. United States: A. Blumenfeld, 1983.
- Schmidt-Jones, Catherine. Understanding Basic Music Theory. N.p.: 12th Media Services, 2018. ISBN 978-168-0921-540
- The piano odyssey: Piano repertoire. Canada: Frederick Harris Music, 2001.
- Proceedings of the Musical Association. United Kingdom: Stanley Lucas, Weber & Company, 1966.
External links
- Extended Chords on Guitar by fretjam
- Extended Chords on Piano by pianogroove
- Chord Construction by guiterthinker