Extended chord

In music, extended chords are tertian chords (built from

thirds) or triads with notes extended, or added, beyond the
seventh, ninth, eleventh, and thirteenth chords are extended
chords. The thirteenth is the farthest extension diatonically
possible as, by that point, all seven tonal degrees are
represented within the chord (the next extension, the fifteenth,
is the same as the root of the chord). In practice however, Dominant thirteenth extended chord:
extended chords do not typically use all the chord members; C–E–G–B♭–D–F–A play . The
when it is not altered, the fifth is often omitted, as are notes upper structure or extensions, i.e.
between the seventh and the highest note (i.e., the ninth is notes beyond the seventh, in red.
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. See chord alteration.

Chords extended beyond the seventh are rarely seen in the

Baroque era, and are used more frequently in the Classical era.
The Romantic era saw greatly increased use of extended
harmony. Extended harmony prior to the 20th century usually
has dominant function – as V9, V11, and V13, or V9/V, V13/ii A thirteenth chord (E13) "collapsed"
etc. into one octave results in a
dissonant, seemingly secundal[1]
Examples of the extended chords used as tonic harmonies tone cluster. Play
include Wild Cherry's "Play That Funky Music" (either a
dominant ninth or dominant thirteenth).[2]

Contents
Common practice period
History
18th century
19th century
20th century
Chord structure
Jazz, jazz fusion and funk
See also
References
Further reading
External links

Common practice period

During the common practice period of Western classical music, composers orchestrating chords
that are voiced in four or fewer parts would select which notes to use so as to give the desired
sonority, 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 root 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
added note chord), 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 eleventh chord is an exception to this voicing, in
which the root, seventh, ninth, and eleventh are most commonly used.

In the classical practices of western music, extended chords most often have dominant function
(dominant or secondary dominant), and will resolve in circle progression (down a fifth) in much
the same way that V7, V7/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).

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. Voice leading for dominant ninth
The ninth resolves chords in the common practice
downwards stepwise to period.[3] Play
the fifth factor of the chord
of resolution.
The eleventh doesn't move, and becomes the root of the
chord of resolution.

Voice leading for dominant eleventh V13 to I or i

chords in the common practice
period.[3] Play 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
enharmonic, 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. Voice leading for dominant thirteenth
chords in the common practice
period.[3] Play
History

18th century
In the 18th century, ninth and eleventh chords were theorized
as downward extensions of seventh chords, according to
theories of supposition.[5]

In 1722 Jean-Philippe Rameau first proposed the concept that Fifteenth chord discussed by
Marpurg as resulting from the
ninth and eleventh chords are built from seventh chords by
addition of a ninth below a
(the composer) placing a "supposed" bass one or two thirds
(dominant) seventh chord[4] Play
below the fundamental bass or actual root of the chord.[6]
With the theoretical chord F–A–C–E–G–B the fundamental
bass would be considered C, while the supposed bass would be F.[6] Thus the notes F and A are
added below a seventh chord on C, C–E–G–B, triadically (in thirds). This is also referred to as the
"H chord".

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.[6] 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.

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.[5] 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).[5]

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.[5] 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".[5] Vítězslav Novák's student Jaroslav
Novotný (1886–1918) used a fifteenth chord in the
fourth song of his 1909 song cycle Eternal
Marriage.[9]

Chord structure
Building on each of the major scale degrees the
thirteenth chord chord quality that is harmonic to
such scale (i.e. with all its notes belonging to such
scale), results in the following table. The
Chromaticism from voice leading and borrowed
numbering is relative to the scale degree numbers
and extended chords from the end of Scriabin's
of the major scale that has the major scale degree
Preludes, Op. 48, No. 4; "though most vertical
in question as tonic:
sonorities include the seventh, ninth, eleventh, and
thirteenth, the basic harmonic progressions are
Chord Chord strongly anchored to the concept of root movement
1 3 5 7 9 11 13
root quality
by fifths."[7] Play
I IM13 ♮ ♮ ♮ ♮ ♮ ♮ ♮

ii iim13 ♮ ♭ ♮ ♭ ♮ ♮ ♮

iii iiim7♭9♭13 ♮ ♭ ♮ ♭ ♭ ♮ ♭

IV IVM13♯11 ♮ ♮ ♮ ♮ ♮ ♯ ♮

V V13 ♮ ♮ ♮ ♭ ♮ ♮ ♮

vi vim7♭13 ♮ ♭ ♮ ♭ ♮ ♮ ♭ A diatonic fifteenth chord on B opens

Franz Liszt's Ossa arida (1879), in,
viio viiø7♭9♭13 ♮ ♭ ♭ ♭ ♭ ♮ ♭
"a striking anticipation of twentieth-
century harmonic
Other thirteenth chord qualities do exist but they do not experimentation".[8] Play
belong to any mode of the major scale.

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

Final chord of Arnold Schoenberg's
Sechs kleine Klavierstücke, 2nd
Jazz from the 1930s onward, jazz fusion from the 1970s
movement,[10] in thirds: C–E–G–B–
onward and funk all use extended chords as a key part of their
D♯–F♯–A♯–C . Play
sound. In these genres, chords often include added ninths,
elevenths and thirteenths and altered variants, such as flat
ninths, sharp ninths, sharp elevenths and flat thirteenths. In
jazz and jazz fusion, compositions consist of complex chord progressions in which many of the
chords are extended chords and in which many of the dominant seventh chords are altered
extended chords (e.g., A7add9 ♯ 11 or D7 ♭ 9 ♯ 11). Funk also uses altered extended chords, but in this
genre, pieces are usually based on a vamp on a single chord, because rhythm and groove 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 chord voicing, because the root is played by the bass player.
See also
Added tone chord
Elektra chord
Hendrix chord
Upper structure triad for an examination of extended harmony with emphasis on jazz and pop

References
1. Cope, David (2000). New Directions in Music. p. 6. ISBN 1-57766-108-7.
2. Stephenson, Ken (2002). What to Listen for in Rock: A Stylistic Analysis (https://archive.org/det
ails/whattolistenfori0000step/page/83). p. 83 (https://archive.org/details/whattolistenfori0000ste
p/page/83). ISBN 978-0-300-09239-4.
3. Benward, Saker (2009). Music in Theory and Practice: Volume II (8th ed.). p. 184. ISBN 978-0-
07-310188-0.
4. Sheldon, David A. (1989). Marpurg, Friedrich Wilhelm (ed.). Marpurg's Thoroughbass and
Composition Handbook: A Narrative Translation and Critical Study. Pendragon Press. p. 8.
ISBN 9780918728555.
5. Sadie, Stanley, ed. (1980). "Ninth chord". The New Grove Dictionary of Music and Musicians.
vol. 13, p. 252. ISBN 1-56159-174-2.
6. Sadie, Stanley, ed. (1980). "Supposition". The New Grove Dictionary of Music and Musicians.
vol. 18, p. 373. ISBN 1-56159-174-2.
7. Cooper, Paul (1975). Perspectives in Music Theory, p.229. New York: Dodd, Mead, and
Company. ISBN 0-396-06752-2. Original with Roman numeral analysis only.
8. Arnold, Ben, ed. (2002). The Liszt Companion. Greenwood. p. 361. ISBN 9780313306891.
9. Schweiger, Dominik; Urbanek, Nikolaus (2009). webern_21. Böhlau Verlag Wien. p. 45.
ISBN 9783205771654.
10. Shawn, Allen (2003). Arnold Schoenberg's Journey. Harvard. p. 120. ISBN 9780674011014.
"Technically a fifteenth chord"

Further reading
Popp, Marius (1998). Applicatory Harmony in Jazz, Pop & Rock Improvisation. ISBN 973-569-
228-7.

External links
fretjam Guitar Theory – Extended Chords on Guitar (http://www.fretjam.com/guitar-chord-theor
y-4.html)
Chord Construction - Learn Chord Construction (http://guitarthinker.com/guitar-quiz/chord-cons
truction-quiz)

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