433:
446:
575:
357:
495:
309:
42:
274:
81:
235:
533:
351:
479:
303:
268:
60:
229:
27:
2126:
568:
447:
211:), and also adds to the texture. Any notes which happen to be altered, such as a flatted fifth or ninth, should also be given priority. For example: in a thirteenth chord, one would play the root, third, seventh, and thirteenth, and be able to leave out the fifth, ninth, and eleventh without affecting the function of the chord. The
342:, but differ in function. Extended chords always have at least one octave between their lowest pitch, and extended note, otherwise the extended factor would be considered an added pitch. Extended chords usually must be resolved when used in a dominant function, whereas added chords are most often textures added to a tonic.
416:, 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. Thus F–A–C–E–G–B is considered a seventh chord on F, F–A–C–E, with G and B being
507:
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. The "piling up" of thirds above the tonic to make seventh, ninth, eleventh, or even thirteenth chords "is one of
1067:
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.
222:), and will resolve in circle progression (down a fifth) in much the same way that V, V/ii, V/IV, etc. might resolve to their respective tonics. Extended chords can also be altered dominants, and the extended pitch may be altered in several ways (such as V flat 13 in a major key).
148:; when it is not altered, the fifth is often omitted, as are notes between the seventh and the highest note (i.e., the ninth is often omitted in an eleventh chord; the ninth and eleventh are usually omitted in a thirteenth chord), unless they are altered to give a special texture.
206:
is never omitted from the texture. The third defines the chord's quality as major or minor. The extended note defines the quality of the extended pitch, which may be major, minor, perfect, or augmented. The seventh factor helps to define the chord as an extended chord (and not an
576:
1087:
all have been seen to use extended chords as a key part of their sound. In these genres, chords often include added ninths, elevenths and thirteenths as well as their altered variations. In jazz and jazz fusion, compositions consist of complex
358:
496:
310:
43:
275:
333:
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
82:
236:
443:, Op. 48, No. 4; "though most vertical sonorities include the seventh, ninth, eleventh, and thirteenth, the basic harmonic progressions are strongly anchored to the concept of root movement by fifths."
202:, or effect of the intended chord. Generally, priority was given to the third, seventh and the most extended tone, as these factors most strongly influence the quality and function of the chord. The
470:. 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).
393:
or actual root of the chord. With the theoretical chord F–A–C–E–G–B the fundamental bass would be considered C, while the supposed bass would be F. Thus the notes F and A are added
144:
are represented within the chord (the next extension, the fifteenth, is the same as the root of the chord). In practice however, extended chords do not typically use all the
1100:
extended chords (e.g., A or D). Funk also uses altered extended chords, but in this genre, pieces are usually based on a vamp on a single chord, because rhythm and
389:
first proposed the concept that ninth and eleventh chords are built from seventh chords by (the composer) placing a "supposed" bass one or two thirds below the
517:
488:
409:
599:(i.e. with all its notes belonging to such scale), results in the following table. The numbering is relative to the scale degree numbers of the
1104:
are the key elements of the style. When extended chords are voiced in jazz or jazz fusion, the root and fifth are often omitted from the
1212:
An
Introduction to Chord Theory: A Practical, Step by Step Approach to the Fundamentals of Chord Construction, Analysis, and Function
1698:
Blumenfeld, Aaron. A Method for Avant Garde Piano
Improvisation: A New Perspective on Harmony. United States: A. Blumenfeld, 1983.
198:, composers orchestrating chords that are voiced in four or fewer parts would select which notes to use so as to give the desired
2364:
432:
2030:
1510:
1405:
1305:
1274:
1247:
1220:
1930:
338:
An important distinction between extended and added chords must be made, since the added tones and extended tones are
1689:
1633:
1608:
1583:
1561:
1494:
1464:
1430:
1177:
1723:
1652:
1847:
1757:
1701:
Schmidt-Jones, Catherine. Understanding Basic Music Theory. N.p.: 12th Media
Services, 2018. ISBN 978-168-0921-540
466:", with ninth and eleventh chords being used for "extra power" but invariably with one or more notes treated as
354:
Fifteenth chord discussed by
Marpurg as resulting from the addition of a ninth below a (dominant) seventh chord
1862:
2273:
1872:
1857:
542:
218:
In the classical practices of western music, extended chords most often have dominant function (dominant or
215:
is an exception to this voicing, in which the root, seventh, ninth, and eleventh are most commonly used.
2101:
1827:
163:
saw greatly increased use of extended harmony. Extended harmony prior to the 20th century usually has
1887:
1867:
463:
405:
68:
30:
2395:
1852:
397:
a seventh chord on C, C–E–G–B, triadically (in thirds). This is also referred to as the "H chord".
1345:
1877:
1707:
Proceedings of the
Musical Association. United Kingdom: Stanley Lucas, Weber & Company, 1966.
513:
2247:
2144:
1892:
1842:
1729:
1549:
1297:
1291:
401:
191:
134:
2045:
2000:
1974:
1882:
1137:
179:
2268:
2252:
2086:
1750:
1423:
Marpurg's
Thoroughbass and Composition Handbook: A Narrative Translation and Critical Study
386:
8:
1837:
1832:
156:
374:
In the 18th century, ninth and eleventh chords were theorized as downward extensions of
330:
The third, which will also be the seventh scale degree, always resolves upward to tonic.
2323:
2288:
2242:
532:
437:
327:
The seventh resolves downwards stepwise to the third factor of the chord of resolution.
292:
The seventh resolves downwards stepwise to the third factor of the chord of resolution.
260:
The seventh resolves downwards stepwise to the third factor of the chord of resolution.
219:
175:
2214:
2135:
2070:
1685:
1629:
1604:
1579:
1557:
1490:
1460:
1426:
1401:
1301:
1270:
1243:
1216:
1173:
1148:
1089:
537:
492:(1879), in, "a striking anticipation of twentieth-century harmonic experimentation".
413:
295:
The ninth resolves downwards stepwise to the fifth factor of the chord of resolution.
20:
1717:
350:
2283:
2219:
2172:
1957:
1804:
1370:
1143:
1117:
1093:
567:
390:
208:
164:
130:
64:
478:
2234:
2106:
2050:
2010:
1984:
1925:
1809:
1799:
1743:
1534:
1264:
1237:
1210:
1193:
436:
Chromaticism from voice leading and borrowed and extended chords from the end of
302:
195:
118:
52:
2374:
2369:
2209:
2204:
2111:
1915:
1321:
1101:
375:
267:
212:
160:
145:
141:
126:
2389:
2278:
2224:
2196:
2152:
2125:
2065:
2060:
2020:
1819:
1781:
1766:
1132:
1127:
1122:
1105:
1097:
604:
596:
592:
588:
520:(1886–1918) used a fifteenth chord in the fourth song of his 1909 song cycle
459:
417:
171:
152:
110:
106:
102:
59:
306:
Voice leading for dominant thirteenth chords in the common practice period.
228:
2328:
2182:
2055:
2040:
2025:
2005:
1979:
1946:
1266:
Music Theory
Through Improvisation: A New Approach to Musicianship Training
1061:
509:
467:
298:
The eleventh doesn't move, and becomes the root of the chord of resolution.
254:
75:
1704:
The piano odyssey: Piano repertoire. Canada: Frederick Harris Music, 2001.
271:
Voice leading for dominant eleventh chords in the common practice period.
2343:
2338:
2313:
2308:
2167:
2035:
2015:
1969:
1910:
1794:
1789:
1346:"Common Practice Period|Piano Lessons|Piano Teaches|Piano lessons sydney"
1092:
in which many of the chords are extended chords and in which many of the
1080:
600:
483:
122:
1060:
Other thirteenth chord qualities do exist but they do not belong to any
26:
2333:
2177:
2157:
1920:
1653:"Chord Extensions 9ths, 11ths & 13ths | Extended Jazz Piano Chords"
339:
232:
Voice leading for dominant ninth chords in the common practice period.
2318:
1941:
133:
chords are extended chords. The thirteenth is the farthest extension
1140:
for an examination of extended harmony with emphasis on jazz and pop
2359:
2186:
2091:
138:
72:
2162:
2096:
199:
94:
1421:
Sheldon, David A. (1989). Marpurg, Friedrich
Wilhelm (ed.).
1084:
1076:
203:
151:
Chords extended beyond the seventh are rarely seen in the
1735:
1682:
Applicatory
Harmony in Jazz, Pop & Rock Improvisation
400:
The theory of supposition was adopted and modified by
55:
or extensions, i.e. notes beyond the seventh, in red.
182:" (either a dominant ninth or dominant thirteenth).
1371:"Local Harmonic Grammar in Western Classical Music"
1108:, because the root is played by the bass player.
2387:
1598:
1293:What to Listen for in Rock: A Stylistic Analysis
1487:The New Grove Dictionary of Music and Musicians
1457:The New Grove Dictionary of Music and Musicians
603:that has the major scale degree in question as
1599:Schweiger, Dominik; Urbanek, Nikolaus (2009).
1391:
1389:
1387:
1751:
1235:
1071:
167:function – as V, V, and V, or V/V, V/ii etc.
67:(E) "collapsed" into one octave results in a
1564:. Original with Roman numeral analysis only.
1556:, p.229. New York: Dodd, Mead, and Company.
1485:Sadie, Stanley, ed. (1980). "Supposition".
1455:Sadie, Stanley, ed. (1980). "Ninth chord".
1384:
1758:
1744:
1480:
1478:
1476:
1289:
462:was generally the upper limit in "chordal
253:The third, which will also be the seventh
1283:
263:The extended pitch will resolve downward.
185:
1539:. Dorn Publications, Incorporated. 1993.
1450:
1448:
1446:
1444:
1442:
1208:
531:
477:
431:
349:
301:
266:
227:
225:Following standard voice leading rules:
170:Examples of the extended chords used as
58:
25:
1473:
1420:
1398:Music in Theory and Practice: Volume II
1395:
1326:Bellevue Publishing & Entertainment
1236:Schmidt-Jones, Catherine (2018-01-28).
19:For chains of secondary dominants, see
2388:
1573:
1262:
508:the most important characteristics of
482:A diatonic fifteenth chord on B opens
155:, and are used more frequently in the
137:possible as, by that point, all seven
16:Musical chord extending a simple triad
1739:
1623:
1484:
1454:
1439:
1679:
1167:
546:, 2nd movement, in thirds: C–E–G–B–D
458:In 19th-century classical music the
13:
1673:
1603:. Böhlau Verlag Wien. p. 45.
527:
257:, always resolves upward to tonic.
14:
2407:
1711:
2124:
1239:Understanding Basic Music Theory
566:
1645:
1617:
1592:
1567:
1543:
1527:
1503:
1414:
473:
427:
369:
1425:. Pendragon Press. p. 8.
1363:
1338:
1314:
1256:
1229:
1202:
1198:. Secretary of the Army. 1978.
1186:
1161:
587:Building on each of the major
1:
1640:Technically a fifteenth chord
1400:(8th ed.). p. 184.
1154:
1554:Perspectives in Music Theory
7:
1626:Arnold Schoenberg's Journey
1111:
378:, according to theories of
10:
2412:
1848:Dominant seventh flat five
1765:
1578:. Greenwood. p. 361.
1511:"extended tertian harmony"
1083:from the 1970s onward and
1072:Jazz, jazz fusion and funk
543:Sechs kleine Klavierstücke
345:
18:
2352:
2301:
2261:
2233:
2195:
2143:
2133:
2122:
2079:
1993:
1955:
1901:
1818:
1780:
1773:
1718:Extended Chords on Guitar
1574:Arnold, Ben, ed. (2002).
1263:Sarath, Ed (2013-07-04).
595:that is harmonic to such
406:Friedrich Wilhelm Marpurg
1724:Extended Chords on Piano
1628:. Harvard. p. 120.
1290:Stephenson, Ken (2002).
2365:Chord names and symbols
1396:Benward, Saker (2009).
1242:. 12th Media Services.
1170:New Directions in Music
1079:from the 1930s onward,
408:, and other theorists.
117:, or added, beyond the
33:extended chord: C–E–G–B
2248:Secondary leading-tone
1322:"DISCOVERED CLASSICAL"
1209:Latarski, Don (1982).
584:
504:
455:
402:Pierre-Joseph Roussier
366:
318:
283:
244:
192:common practice period
186:Common practice period
90:
56:
1680:Popp, Marius (1998).
1624:Shawn, Allen (2003).
1138:Upper structure triad
1064:of the major scale.
591:the thirteenth chord
535:
481:
435:
353:
305:
270:
231:
180:Play That Funky Music
62:
29:
2253:Secondary supertonic
1515:music.red-carlos.com
1168:Cope, David (2000).
387:Jean-Philippe Rameau
1576:The Liszt Companion
1489:. vol. 18, p. 373.
1459:. vol. 13, p. 252.
1350:Mezzo Piano Lessons
31:Dominant thirteenth
2324:Chord-scale system
2243:Secondary dominant
1730:Chord Construction
1090:chord progressions
585:
505:
456:
367:
319:
284:
245:
220:secondary dominant
174:harmonies include
91:
57:
2383:
2382:
2297:
2296:
2215:Chromatic mediant
2120:
2119:
2071:Viennese trichord
1407:978-0-07-310188-0
1307:978-0-300-09239-4
1276:978-1-135-21527-9
1249:978-1-68092-154-0
1222:978-1-4574-6317-4
1149:Chord progression
1056:
1055:
538:Arnold Schoenberg
414:Johann Kirnberger
410:A. F. C. Kollmann
21:Extended dominant
2403:
2141:
2140:
2128:
1936:
1935:
1893:Harmonic seventh
1863:Diminished major
1778:
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1753:
1746:
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1736:
1732:by guiterthinker
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1227:
1226:
1215:. Alfred Music.
1206:
1200:
1199:
1190:
1184:
1183:
1165:
1144:Chord alteration
1118:Added tone chord
1094:dominant seventh
1052:
1051:
1045:
1044:
1038:
1037:
1031:
1030:
1024:
1023:
1017:
1016:
1010:
1009:
993:
992:
986:
985:
979:
978:
972:
971:
965:
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934:
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522:Eternal Marriage
518:Jaroslav Novotný
503:
502:
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453:
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391:fundamental bass
365:
364:
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317:
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282:
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243:
242:
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209:added note chord
89:
88:
87:
85:
65:thirteenth chord
50:
49:
48:
46:
38:
37:
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2406:
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2401:
2400:
2396:Extended chords
2386:
2385:
2384:
2379:
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2257:
2229:
2191:
2129:
2116:
2107:Synthetic chord
2075:
2046:Northern lights
2011:Complexe sonore
1989:
1975:Augmented sixth
1963:
1961:
1951:
1933:
1932:
1926:Upper structure
1897:
1883:Altered seventh
1878:Augmented minor
1873:Augmented major
1858:Half-diminished
1814:
1769:
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1674:Further reading
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1657:PianoGroove.com
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536:Final chord of
530:
528:Chord structure
514:Vítězslav Novák
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196:classical music
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99:extended chords
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53:upper structure
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24:
17:
12:
11:
5:
2409:
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2377:
2372:
2370:List of chords
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2321:
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2291:
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2256:
2255:
2250:
2245:
2239:
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2230:
2228:
2227:
2222:
2217:
2212:
2207:
2201:
2199:
2193:
2192:
2190:
2189:
2180:
2175:
2170:
2165:
2160:
2155:
2149:
2147:
2138:
2131:
2130:
2123:
2121:
2118:
2117:
2115:
2114:
2109:
2104:
2099:
2094:
2089:
2087:Mixed interval
2083:
2081:
2077:
2076:
2074:
2073:
2068:
2063:
2058:
2053:
2048:
2043:
2038:
2033:
2028:
2023:
2018:
2013:
2008:
2003:
1997:
1995:
1991:
1990:
1988:
1987:
1982:
1977:
1972:
1966:
1964:
1956:
1953:
1952:
1950:
1949:
1944:
1939:
1928:
1923:
1918:
1913:
1907:
1905:
1899:
1898:
1896:
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376:seventh chords
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213:eleventh chord
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2279:Primary triad
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1378:Mozartwriteup
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1269:. Routledge.
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1179:1-57766-108-7
1175:
1172:. p. 6.
1171:
1164:
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1142:
1139:
1136:
1134:
1133:Tristan chord
1131:
1129:
1128:Hendrix chord
1126:
1124:
1123:Elektra chord
1121:
1119:
1116:
1115:
1109:
1107:
1106:chord voicing
1103:
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618:Chord quality
617:
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593:chord quality
590:
589:scale degrees
580:
569:
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491:
490:
485:
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471:
469:
468:appoggiaturas
465:
461:
460:seventh chord
451:
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425:
424:triadically.
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157:Classical era
154:
149:
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146:chord members
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54:
47:
32:
28:
22:
2183:Leading-tone
1960: /
1947:Tone cluster
1902:
1828:Leading-tone
1681:
1660:. Retrieved
1656:
1647:
1639:
1625:
1619:
1600:
1594:
1575:
1569:
1553:
1550:Cooper, Paul
1545:
1535:
1529:
1518:. Retrieved
1514:
1505:
1486:
1456:
1422:
1416:
1397:
1377:
1365:
1354:. Retrieved
1352:. 2013-09-24
1349:
1340:
1329:. Retrieved
1325:
1316:
1292:
1285:
1265:
1258:
1238:
1231:
1211:
1204:
1194:
1188:
1169:
1163:
1075:
1066:
1059:
998:
939:
880:
821:
762:
703:
644:
586:
541:
521:
510:jazz harmony
506:
487:
474:20th century
457:
440:
428:19th century
421:
412:, following
399:
394:
384:
379:
373:
370:18th century
337:
255:scale degree
224:
217:
189:
169:
161:Romantic era
150:
135:diatonically
114:
105:(built from
101:are certain
98:
92:
76:tone cluster
71:, seemingly
2168:Subdominant
2031:Grandmother
1888:Nondominant
1868:Minor-major
1536:Jazz Player
1195:Basic Music
1096:chords are
1081:jazz fusion
601:major scale
516:'s student
484:Franz Liszt
380:supposition
334:resolution.
322:V to I or i
287:V to I or i
248:V to I or i
194:of Western
190:During the
176:Wild Cherry
153:Baroque era
113:with notes
2302:Techniques
2289:Substitute
2284:Subsidiary
2220:Neapolitan
2178:Submediant
2158:Supertonic
1931:Dominant 7
1921:Thirteenth
1853:Diminished
1805:Diminished
1720:by fretjam
1662:2021-04-23
1520:2021-05-01
1356:2021-05-01
1331:2021-05-01
1296:. p.
1155:References
615:Chord root
489:Ossa arida
464:consonance
438:Scriabin's
340:enharmonic
131:thirteenth
2319:Chordioid
2235:Secondary
2051:Petrushka
1985:Seven six
1942:Polychord
1810:Suspended
1800:Augmented
1601:webern_21
385:In 1722,
69:dissonant
2390:Category
2360:Arpeggio
2274:Contrast
2210:Borrowed
2205:Approach
2187:Subtonic
2173:Dominant
2145:Diatonic
2136:function
2092:Secundal
1994:Specific
1934:♯
1916:Eleventh
1903:Extended
1843:Dominant
1552:(1975).
1112:See also
1050:♭
1043:♮
1036:♭
1029:♭
1022:♭
1015:♭
1008:♮
991:♭
984:♮
977:♮
970:♭
963:♮
956:♭
949:♮
932:♮
925:♮
918:♮
911:♭
904:♮
897:♮
890:♮
873:♮
866:♯
859:♮
852:♮
845:♮
838:♮
831:♮
814:♭
807:♮
800:♭
793:♭
786:♮
779:♭
772:♮
755:♮
748:♮
741:♮
734:♭
727:♮
720:♭
713:♮
696:♮
689:♮
682:♮
675:♮
668:♮
661:♮
654:♮
561:♯
555:♯
549:♯
441:Preludes
200:sonority
165:dominant
127:eleventh
115:extended
73:secundal
36:♭
2225:Passing
2197:Altered
2163:Mediant
2102:Quartal
2097:Tertian
2080:General
2066:Tristan
2061:So What
2021:Elektra
1962:omitted
1820:Seventh
1774:By form
1098:altered
346:History
142:degrees
119:seventh
39:–D–F–A
2375:Factor
2329:Guitar
2269:Common
2112:Tetrad
2056:Psalms
2041:Mystic
2026:Farben
2006:Bridge
1980:Lydian
1767:Chords
1688:
1632:
1607:
1582:
1560:
1493:
1463:
1429:
1404:
1304:
1273:
1246:
1219:
1176:
1102:groove
420:added
159:. The
129:, and
111:triads
107:thirds
103:chords
51:. The
2353:Other
2344:Slash
2339:Power
2314:Block
2309:Barre
2262:Other
2153:Tonic
2036:Magic
2016:Dream
2001:Alpha
1970:Sixth
1958:Added
1911:Ninth
1838:Minor
1833:Major
1795:Minor
1790:Major
1782:Triad
1374:(PDF)
605:tonic
597:scale
422:above
395:below
172:tonic
139:tonal
123:Ninth
109:) or
95:music
2334:Open
1686:ISBN
1630:ISBN
1605:ISBN
1580:ISBN
1558:ISBN
1491:ISBN
1461:ISBN
1427:ISBN
1402:ISBN
1302:ISBN
1271:ISBN
1244:ISBN
1217:ISBN
1174:ISBN
1085:funk
1077:Jazz
1062:mode
767:iiim
578:Play
498:Play
449:Play
360:Play
312:Play
277:Play
238:Play
204:root
178:'s "
84:Play
45:play
2134:By
1003:vii
999:vii
944:vim
826:IVM
763:iii
708:iim
639:13
540:'s
512:".
486:'s
93:In
2392::
2185:/
1684:.
1655:.
1638:.
1513:.
1475:^
1441:^
1386:^
1376:.
1348:.
1324:.
1300:.
1298:83
940:vi
822:IV
704:ii
649:IM
636:11
607::
572:.
564:–C
558:–A
552:–F
524:.
404:,
382:.
125:,
121:.
97:,
78:.
63:A
1937:9
1759:e
1752:t
1745:v
1694:.
1665:.
1613:.
1588:.
1523:.
1499:.
1469:.
1435:.
1410:.
1380:.
1359:.
1334:.
1310:.
1279:.
1252:.
1225:.
1182:.
885:V
881:V
645:I
633:9
630:7
627:5
624:3
621:1
23:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
