Chapter 8. Tension 11 ‘There are three basic substitution approaches to adding tension 1 to basic four-part 7th & 6th chords: MforS {137 11) I for3 (15711) I forR (357 11) 11 for 3 oF Sis the traditional drop 2 substitutional approach, while 11 for the root can often produce a new drop 2 corninth chord with omitted 3rd or Sth. 11 for the root or Sth, subsequently retaining the guide tones, is in most cases preferable. If the Sth is needed, the root would be the preferred note to omit with the 3rd being the last choice. ‘The addition of tension 11 to some of the basic four-part chords can produce both physical and harmonic difficulties within certain inversions. This in itself might dictate which note the | Ith should substitute. As these problems arise they will be addressed and appropriate recommendations will follow. Some of these difficult inversions will become quite useful as additional tensions are added. By use of enharmonics, the previous four-part 7th & 6th chords and 9th chords produce some of the most useful 1 1th chord structures: Cmaj7($11) {11 for 5) Cmaj7>5 C611) {11 for 5} C6bS/ A-6 / FE-7b5 71) {11 for 5} Fisus4 Ulfor3] = C7 sus4 ~ [Il fork] = — G-7$5 C-7)5(11) {11 for 3} Gbmaj7b5 C7G1) (11 for 5} cms C#7(411) / C7(alt8V C7065/ 13) [11 for R} G}9%(no 5) {11 for 3) Ab9%no 5) Note the unique substitutions arising from the [11 for 3] C+7(¢11) chord. Since this voicing is the same ay Abo 11 3579), the past Ab9 substitutions can be added to C+7($ 11) and its Sub V chord Gb9b5 {1 3 b5 9}. When this is done. a dominant type chord appears on each note of a whole tone scale C Gh Ge Bb C+7git) 1S BS 7 D%alt5) o7 3 bs #5 Edalt5) ti 9 3 65 Epos) 501 9 3 (F¥maj9b5) Abo 30 57 1 9 Bb925) 9 gs 57 *C-6(11) 11 for 5] F (11 for 3] ATES N11 for} F9(n0 5) “Comaj7(11) [11 for R] GH7 The inversions containing the 11th in the bass are weakest The tritone produced by the notes B and F (on the C-miaj7(1 1) chord) forms an ambiguous or weak sound, since it is the guide tones of G7. C minor's V7 chord. The two inversions placing the tritone in the bottom of the voicingmaj7(11)| 11 for 5 {1.3.7 $11) = maj7bs ‘There are three applicable voicings 3 bs 7 7 1 3 bs 7 1 10030 OS G-7 —C7(#5/49) Fmaj7}5 A7sus4. A75 = Dmaj7b5 G7sust, G7b5 = Cmaj7>5 2 2 2 be. = = 2 2 11 for 3 (157 $11) ‘There are two applicable voicings: $11 7 7 tl 5 4 1 5 Gs C5 Fmaj7tll) B9 E7(#9) Amaj7(#11) 2 bo to fort = {3.5.7 #11) Cmaj7$11) = CH-7b5011) There are three applicable voicings: #11 5 7 7 pu fn s 7 hs 3 3 5 Ba E+7 AmajZ(11) E98 — A¢7 Dmaj7¢1) E98 _E57(65/49)Dmaj7(#11) = Se 2 2