ONLINE CHAPTER 1

EXTENDED CHORDS:
THE NINTH, ELEVENTH, AND THIRTEENTH
Artists in Residence: Barbara Hendricks and Walter Gieseking
Chapter Objectives

• Define uses of the ninth, eleventh, and thirteenth chords

• Notate extended triads when given lead sheet symbol
• Identify extended triads in a musical context (popular and classical)
• Translate notation into correct lead sheet symbol in terms of extended harmonies
• Complete a lead sheet analysis for extended triads

In Chapter 5, we studied how the triad can be extended to form a seventh chord. As you
probably realize by now, seventh chords are found extensively in all music, whether it be
classical, jazz, folk, musical theater, or popular. With the rise in prominence of jazz in the
early 20th century, classical composers became increasingly interested in extending the
triad beyond the seventh. Play the following progression on the guitar or piano.

G: I IV ii V vi V7/IV IV I
G C A- D E- G7 C G

Extended Chords: The Ninth, Eleventh, and Thirteenth |OL1-1

 By extending several of the triads to include ninths, elevenths, and thirteenths, the
entire color of the progression is altered. Many times the added notes create unresolved
dissonances, but it is important to note that the function of the chord does not change. For
instance, the second subdominant chord would still function as a subdominant regardless
of the added notes. Let’s change the progression to include several common extended
chords. The pitches used in each extended chord are notated below the progression.

G: I IVM9 ii V13 vi V7/IV IVM11 I

G C maj 9 A- D 13 E- G7 Cmaj 11 G

C maj 9 C maj 11
G
www
A- D 13
www
E- G7
www G

# ww ww www n www www www

& w www www w
w
I IVM9 ii V13 vi V7/IV IVM11 I

BACKSTAGE PASS

The Original Blurred Lines: Impressionism

By the late 19th century, the impressionistic movement was in full swing in both the
visual and musical art communities. Visual artists such as Monet and Renoir began to
experiment with colors, painting blurred lines to illuminate their masterpieces. In music,
the clear structural components and functional harmonies that dominated the works of
composers in the 18th and 19th centuries gave way to ambiguity in both harmony and
form. Composers writing during this era preferred to use extended triads, such as the
ninth, eleventh, and thirteenth chord, as a technique to create ambiguity in terms of func-
tion. Claude Debussy, one of the prominent composers of the era explains, “I love music
passionately. And because I love it, I try to free it from barren traditions that stifle it. It is
a free art gushing forth, an open-air art boundless as the elements, the wind, the sky, the
sea. It must never be shut in and become an academic art.”
When listening to the music or viewing a painting from this time period, you can
EBSIT easily see and hear this “open-air art.” Take a few minutes to browse the Internet for a few
W

examples of impressionistic art. As you are viewing the paintings, play La Mer by Debussy
in the background. Do you feel a sense of blurring of the musical structure? Is the tonic
VIDEO
pitch as clear as it once was in earlier music? How does this musical blending carry over
TR ACK 1 into the images you see?

NINTH CHORDS
Any seventh chord can be extended to become a ninth chord; however, it is most common
to see the ninth on the supertonic, subdominant, and dominant chord. Only three pos-
sible ninth chords—the diatonic ninth, lowered ninth, and raised ninth—exist in both
popular and classical music. The example on the following staff illustrates all of the
possibilities for 9th chords built on the dominant, including lead sheet symbols. Unless
specifically notated in the chord symbol, the extensions will all be diatonic in relation to
the key of the song or composition.

OL1-2| Extended Chords: The Ninth, Eleventh, and Thirteenth

 Play through the chords above on your keyboard or guitar. Which chord sounds the
most dissonant? The raised ninth chord is used extensively in popular music and jazz,
producing the dissonance of a half step between the third of the chord and the ninth. The
pitch E♯ cannot be explained in the key of G major (or G minor) and is merely added as
color to the dominant chord to create tension.
In many lead sheet transcriptions, you may see the symbol Dadd9. Is this a true ninth
chord? The answer is no. The lead sheet notation for Dadd9 would be a D major chord with
an added E, again to create tension through an unresolved suspension. In order for a ninth
chord to function as an extended triad, the seventh of the chord must be present.
Another question you might ask is, why we simply don’t use the number 2 to show the
addition of the ninth? After all, the ninth is really the second scale degree above the root,
right? It is important to note that the extended triad is just that: an extension of the triad
and not an added pitch.
Study the following chords in order to see common chord extensions. The extension of
the ninth can be added to any type of seventh chord.
! #
D maj 9 D- 9 D9 D7 9 D7 9 D ª9 D μ9
www www www b www # www
& #
# ww ww # ww # ww # ww b wwwww b b wwwww

ARTIST IN RESIDENCE

Barbara Hendricks:
Curious Student, Scholar, Philanthropist, and Artist
The home page of Barbara Hendricks’s website shows a striking African American woman
with the quote, “I was born curious.” How does this curiosity carry over into famous opera
singer Barbara Hendricks’s professional life? Raised in a small town in Arkansas, Hen-
dricks was determined to make something of herself. She studied both mathematics and
chemistry in college before graduating at the age of 20! That in itself is a huge accomplish-
ment, only to be eclipsed by her acceptance at Juilliard in the same year. After studying at
Juilliard, Hendricks became one of the most sought after opera singers of her generation.
In a quick glance at her discography, it is easy to see that Hendricks’s curiosity led her to
study and perform in a wide variety of genres. She has made more than eighty recordings
of various works, including art songs, lieder, jazz, and opera.
Hendricks has sung in the premier opera houses across the globe, but it is perhaps of her
humanitarian effort that she is the most dedicated and proud. In recognition of her commit-
ment to serving refugees, in 2002 she was named Honorary Goodwill Ambassador for Life by
the United Nations Refugee Agency. According to the agency website, “In 1998 she founded
the Barbara Hendricks Foundation for Peace and Reconciliation to personalize her struggle
for the prevention of conflicts in the world and to facilitate reconciliation and enduring peace
where conflicts have already occurred.” Beyond her success in music, Hendricks is determined
to make the world a better place with her artistic performances and humanitarian efforts.

Extended Chords: The Ninth, Eleventh, and Thirteenth |OL1-3

 Listen to Hendricks’s performances of Fauré’s “Après un Rêve” (1877) and “Chanson
EBSIT
D’amour” (1882) on the YouTube channel. Each chanson (French song) contains several
W

E extended ninth chords, and each example provides excellent illustrations of impressionistic
compositional techniques. What is the harmonic function of the chords analyzed with lead
VIDEO
TR ACKS
sheet symbols? Pay careful attention to the difference between the extended triads and the
2 AND 3 added note chords. Seventh chords are also used extensively in these two examples, so take
a few minutes to complete a lead sheet analysis of each excerpt. How is Fauré’s use of the
seventh chord different from that of, say, Mozart?
Barbara Hendricks, Fauré’s “Après un Rêve”

Eb
9 9 (add9)
G C
f
œ œœ œ œ œ œ
17
œ œ ˙ bœ œ œ #œ
& b 43 œ œ œ
3 3
Tu m’ap - pe - lais et je quit- tais la ter - re Pour m’en - fuir a - vec

& b 43 gg œœ œœœ œœœ œœœ œœœœ œœœœ œœœ œœœ œœœ œœœ œœ œœ œœœ œœœ œœœ œœœ œœœ œœœ b œœ œœ œœ œœ b œœ œœ
gg œ nœ œ œ œ œœ œœ b œ œ œ œ œ œ œ œ œ œ œ œ
g F
? 3 ˙. ˙.
b 4 ˙. ˙.
˙. ˙. ˙. ˙.
p 3
. j
21

&b œ œ œ œ nœ œ œ œ
3

J nœ œ œ ˙. œ œ œ œ Jœ
3 3
toi vers la lu - miè - re; Les ciux pour

& b # œœ œœ œœ œœ œœ œœ œ œ œœœ œœœ œœœ œœ œœ œœ œœ œœ œœ

œ œ œ œ œ œ # œœœ œœœ œ œ œ œœœœ # œœœœ œœœœ œœœ
œ
œœœ
œ
œœœ
œ
œœœ
œ œ œ œ œ œ œ
p
? ˙.
b ˙ œ ˙. ˙.
˙ ˙. ˙. ˙.
œ
25 3 3

&b œ œ œ œ
3
œ œ
#œ œ œ bœ œ œ œ œ œ œ œ
œ #œ
nous, en - tr’ou -vraient leurs nu - es, Splen - deurs in - con - nu - es, lu -

& b œœ œœ œœ œœ œœ œœ œœ œœ œœœ œœœ œœœ œœœ b œœ œœ œœ œœ œœ # œœ œœ œœ œœ œœ œœ œœ

œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ
? b˙.
b b˙. #˙. ˙ œ ˙.

OL1-4| Extended Chords: The Ninth, Eleventh, and Thirteenth

 29 cresc.
j
3
œ œ
3

&b œ œ œ œ œ œ œ œ œ
3
eurs di - vi - nes en - tre vu - es… Hé

& b b œœ œœ œœ œœ n œœ œœ # œœ œœ œœ œœ œœ œœ
œ œ œ œ œ œ œ œ œ œ œ œ
?b ˙ ˙ œ
œ ˙ œ
˙ œ

Translation: You called me and I left the earth to run away with you towards the light. The skies
opened their clouds for us, Unknown splendours, divine flashes glimpsed.

Barbara Hendricks, Fauré’s “Chanson D’amour”

L 9 (no3rd)
G#

# œ
3
œ
dolce
œ œ œ ˙ œ œ œ #œ œ œ ˙ ˙
& c œ œ ˙
J’ai - me tes yeus, j’ai - me ton front, O ma re - belle, ô ma fa - rou - che,
# œ
& c ‰ œœ ‰ œœ ‰ œ œœ ‰ œ œœ ‰ œ œœ ‰ œ # œœ ‰ œ n œ # œ ‰ œ œœ
œœ œœ œ œ œ œ œ

?# c ˙ ˙ #˙ #˙ ˙
˙ w

π senza rigore a tempo

7
# œ œ j nœ œ œ œ œ œ œ
& œ œ ˙ œ œ œ. œ w
J’ai - me tes yeux, j’ai - me ta bou - che Où mes bai- sers s’é - pui - se - ront.
# ‰ œœ œ œœœ
& œ ‰ œœ ‰
œ n œœ
‰ œœ ‰ œœ ‰ œ
œ œ nœ œ œ œ œ œ œ œ
n œ œ # œœ œ
π
?#
marcato
œœœœœœ
˙ b˙ n˙ ˙ ˙
n˙ œ

p
11
# ∑ ∑ ∑ ˙ œ. œ
& J
J’ai - me ta

# œ œ œ œ
& œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œœ ‰ œ b œœ
œ˙ œ œ˙ œ œ˙ œ œ˙ œ œ
p
?# w œ œ œ œ œ œ ˙ n˙
ww
w œ

Extended Chords: The Ninth, Eleventh, and Thirteenth |OL1-5

Barbara Hendricks, Fauré’s “Chanson D’amour” (continued)
15
# bœ œ œ œ bœ bœ
poco a poco cresc.

& œ nœ œ nœ œ œ bœ w bœ œ œ ˙
voix, j’ai - me l’é - tran- ge Grâ - ce de tout ce que tu dis, O ma re - belle,
# ‰
& b œœ ‰ œœ ‰ bœ ‰ bœ ‰
œ n œœ
‰
b œœ
‰ bœ ‰ œ
bœ œ œ œ œ
œ bœ œ œ bœ bœ n œ bœ œ œ œ œ œ b œ
? # b˙ b˙ n˙ ˙ #˙ ˙
n˙ b˙

f
19
# œ œ bœ œ. j œ nœ bœ œ œ w
& œ nœ bœ
ô mon cher an - ge, Mon en - fer et mon pa - ra - dis!
# ‰ b œœ ‰ œ # œœ ‰ n œ b œœ ‰ b œ œœ ‰ œœ ‰ # œ
& œœ œ œ œ
#œ œ œ #œ œ
F
? # b˙ n˙ n˙ ˙
n˙ #˙

Translation: I love your eyes, I love your forehead, oh my rebellious and fierce one.
I love your eyes, I love your mouth on which my kisses will tire themselves out.
I love your voice, I love the strange gracefulness of everything you say,
oh my rebellious one, my dear angel, my hell and my paradise!

ARTIST IN RESIDENCE

Walter Gieseking: Master of the French Style

To accurately perform the music of great French Impressionistic composers, one might
say that the pianist needs to transport him or herself into a dreamlike state in order to
capture the flowing lines, extended harmonies, and parallel movement. Like a dancer on
the stage, the pianist must tell the story through the movements from pitch to pitch.
Walter Gieseking is one such pianist who was able to capture the ambience of the French
Impressionistic style. According to author Mark Satola, Gieseking’s “finger acuity, imagi-
native pedaling, and above all, preternaturally alert ear made him an ideal interpreter of
this music.” Gieseking’s performances were very well received—that is, until World War II
when the Allies accused him of buddying up to the Nazis. Because of this political con-
flict, his Carnegie Hall recital in 1949 was cancelled. However, as the dust settled across
Europe, Gieseking’s name was cleared, and he enjoyed an excellent run on the recital cir-
cuit while still maintaining an active recording agenda. A quick scan of his discography
reveals many recordings of Bach and Beethoven, but it was his recordings of the French
composers for which he received the greatest accolades. David Dubal sums up Gieseking’s
playing in his book The Art of the Piano:

OL1-6| Extended Chords: The Ninth, Eleventh, and Thirteenth

 [Gieseking] was a painter of music, and harmony was his color. He phrased with a
unique pliancy coupled to a rhythmic awareness and a sense of forward motion. Nobody
had ever brought to piano playing, especially in Debussy, such a feeling of inspiration, a
sense of evanescent sound hovering in midair, vulnerable to the slightest breeze.

Listen to Gieseking’s performance of Prelude No. 4, Op. 28, by Claude Debussy. The
EBSIT

W
extended triads are labeled for you in the score below. Take a few minutes and try to com-

E
plete a lead sheet analysis for the first two measures. Why would it be difficult to complete
a Roman numeral analysis for this piece?
VIDEO
Walter Gieseking, Debussy’s Prelude No. 4 from Book I, Op. 28 TR ACK 4

Modéré ( q = 84)

b œ œœ œ. œ.
(harmonieux et souple) 9
B

### 3 œ œ b œœœ œ œ
& 4 Œ œœœ œ bœ Œ Œ œœœ œ bœœœ œ œ Œ œ œ Œ
œ œ π m.d.
( 54 ) π . .
Œ œœ œb n œœœœ Œ Œ œœ œ bn œœœœ œ œ. œ. n œ
? # # # 43 œ œ œ n b b œœœœ # n # n œœœœ b b n œœœ
œ œ œ nœ Œ Œ
. . .
7( b 9)
F#-
9

. n œœ. b œœ.
B

###
Œ n œ n œ œ b œ œ n œ b œœ # œ. œ œœ. . . œ
4

& œ œ Œ œœ Œ nœ nœ œ bœ # œ n b œœ œœ œ
J # œœ. œ. . J
. m.d. . .
œ n œ b ˙˙ ˙
b b n n œœœœ b ˙˙˙ ˙˙˙˙ ...
? # # # n œœœ n b œœœ # n # œœœœ b b n œœœ ˙˙
b œ n .
Œ nœ Œ Œ Œ nœ Œ œ Œ Œ Œ nœ Œ nœ Œ
.
. . .
En animant un peu

œ #œ œ œ œ œ #œ œ œ œ œ œ œ œ .
9
### # ˙ œœ œ n œœ # œ œœ œ ˙ œœ œ n œœ œ œœ œ œ
& Œ œ #œ œ Œ œ œ œ œ œ œ œ Œ # ˙œ œ œ
p m.d. pm.d. F- # œ œ
- expressif -
# ˙˙ ... œœ n œœ œœ # ˙˙ ... œœ n œœ œœ n ˙˙ .
? # # # n # ˙˙ . œœ n œœ œœ # ˙˙ . œœ n œœ œœ n ˙ ..
˙. ˙. œ œ
˙. ˙. Œ œ œ ‰
J

√ En. retenant
. . œ
a tempo
. # œ . œ égal et doux
14
### œ . œ œ œ
& ‰ n œœ # œ œ # œ œ ‰ # œ œ œ œ œ Œ Œ œ #œ œ œ #œ œ œ
œ #œ œ #œ #œ p dim. #œ œ œ #œ œ œ
π
˙. n˙. n œœ œœ œœ
? # # # # ˙˙ .. n ˙˙ .. & œ # œ œ œ ∑ ? œ nœ œ
œ œ # œ # œ œ
Œ œ œ ‰ Œ œ œ en dehors
J
Extended Chords: The Ninth, Eleventh, and Thirteenth |OL1-7
ELEVENTH AND THIRTEENTH CHORDS
The following chart shows the most common eleventh and thirteenth chords in the context
of G major/minor.1 It is important to note that not all chord members beyond the seventh
need to be notated in order to label the chord as an extended triad. Also, notice that there
is no diatonic eleventh added to the dominant seventh chord and the ♯11 is used instead.
Why do you think that most composers opt for the ♯11?
# #
D maj 11 D- 11 D ª11 D 7 11 D μ 11
# www www w # www w
#
& # www www b wwwww # www b b wwwww

!
D maj 13 D- 13 D 13 D 7 13
www www www b www
& # # wwww www
w # wwww # wwww

Listen to Barbara Hendricks’s performance of Fauré’s “Automne” on the YouTube chan-

EBSIT
nel. The chords in measures 29 and 30 clearly outline C♯ minor. (Fauré is certainly not
W

using one of the conventional six-four chords from chapter 8!) By measure 31, the harmonic
rhythm speeds up, and a succession of seventh chords and triads push toward the final
VIDEO
TR ACK 5
cadence in measure 36. The triads notated in measures 34 and 35 are not extended triads
because the seventh of the chord is not present.
Barbara Hendricks, Fauré’s “Automne”
p
# # # # 12
28 meno
j œ œJ œ . œ œ œ œ œ œ .
& 8 ˙. Œ. œ œ œ. J J J˙
Re - fleu - rir en bou - quets les ro - ses dé - li é -
##
& # # 12
8 œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œœœ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
? # # # # 12
8 #œ.
jœ j j
œ œ œ nœ œ œ ˙. Ó. Ó. Œ. Œ œj
#œ. œ œ nœ œ œ ˙. œ

#### cresc.
j
œ œ.
31
Œ. Œ. #œ œ œ
& œ. J #œ. œ.
es, Et mon - ter à mes yeux des
##
& # # œœ œ œœ œ œœ œ ‹ œ œ œ œ œ œ œ œ œ œ œ œ ‹œ œ œ œ œ œ
œ œ œ # œ ‹œ œ œ œ œ œ œ œ œ œ œ # œ ‹œ œ œ œ œ
poco
œ j j
a poco
j >œ
cresc.
j j j
? #### œ œ œ œ œ. œ œ œ œ œ œ œ. œ œ
œ œ œ œ. œ œ œ œ œ œ. œ œ
> >
1
Although there are exceptions, triad extensions beyond the ninth are typically used on triads that are domi-
nant in function. Often composers and artists call these chords altered dominants—meaning that the chord
includes pitches that are not diatonic and/or contain borrowed pitches from the parallel key.

OL1-8| Extended Chords: The Ninth, Eleventh, and Thirteenth

 f
#### œ œ.
(add9)

j œ. œ œ
33 sempre al fine D

& œ œ nœ œ œ. œ œ J nœ
J J J
lar - mes, qu’en mon coeur Mes vingt ans a - vaient ou - bli -

# ##
& # œ œ œ œ œ œ œ œ œ œ œœ œ œœ œ œœ n œ œœ œ n œœ œ œœ œ œœ œ
œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ
f
? #### œ j j
#œ. œ. j
œ œ œ œ #œ. nœ. œ
> œ œ œ #œ. #œ. œ . nœ. n œ . œ
> > > nœ. œ œ
C#
no3rd (add9)
35
#### ˙ . w.
& #˙.
é - es!
>œ
# ## œ >˙ .
& # # œœ œ œœ œ œœ œ œ œ œ œ œ œ œ œ
J J
œ œ œ # œ œ œ œ œ œ sempre f
œ œ œ œ œ # œ œ œ œœ
? #### œ œ œ œ œ œ œ #œ œ J ‰ ‰
w.
w. œ

The opening two measures of Debussy’s “Deux Arabesques” contain an example of an

EBSIT
extended triad. The pitches of the first chord are C ♯, E, A, F ♯, G♯, D ♯, and B. One of the

E
more difficult tasks of recognizing the extended chord is to determine the root. This piece
is written in the key of E major, and the pitches can be arranged in such a manner to be
based on the dominant. While it would be easy to eliminate the F♯ as a passing tone, the VIDEO
TR ACK 6
other pitches are all functioning as part of the chord. Listen to Gieseking’s performance of
this piece as you follow along with the score.
Walter Gieseking, Debussy’s “Arabesque No. 1” from Deux Arabesques
Andantino con moto

#### œœœœœœ
13 13

œ œ œ œ œœ
B B

& c œœœ œœ Œ œœœ

3 3
p 3 3
3
3
3
3

## œ œ œ œ
œ˙ œ œ˙ œ
3

& ## c
3 3 3
?
œ œœ
œœ œ œ œœ œœ
œ
rit.

# ## œ œ ˙ œ œœ
œ œ œœ œœœœœœ œ
4 a tempo 3

& # œœ œ œœ Œ œ œ
π
3 3
3 3 3 3

œ œ œ
3
œ œ œ œ œ
? # # # # œ˙ œ œ˙ œœ œ
& œ œ œ œ œ œ
?
œ œ œ œ œ œ
œ œ
3 3 3
3

Extended Chords: The Ninth, Eleventh, and Thirteenth |OL1-9

Walter Gieseking, Debussy’s “Arabesque No. 1” from Deux Arabesques (continued)

7
#### 3
‰ œœœœœœ œ 3
3
3

& œœœ˙ œ j œ œ œœœ˙ œ œ œ œ œ

œ 3 3
œœœœ
poco a poco cresc.

? #### œœœ œ œ œ œ œ œ œœ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ

string.

####
11 3

˙ #œ œ œ
3

& ˙ œ œ œ œ œ œ œ œ œ œ
œ
œ œ
sempre cresc.
œ
? #### œ œ œ
œ œ
œ œ œ œ œ œ œ œ œ œ œ œ #œ
œ œ #œ
rit. a tempo

#### œ œ œ. œ œ. œ œ. œ- n ˙ œ œ œ œ Jœ- œ-
14
˙ œ J
& œ J J J
œ #œ
3
p 3

œ œ œ
? #### œ #œ œ œ œ 3
œ œ
& œ œ œ œ #œ œ œ œ œ #œ œ œ
nœ
#œ #œ

EBSIT
While extended triads are found throughout music from the Impressionistic Era and
W

beyond, they are even more prevalent in jazz music. It is, after all, jazz that influenced the
E

French composers to experiment with extended triads. Listen to Bernadette Peters’s perfor-
mance of “My Romance” on the YouTube channel. Most of the chords are extended to the
VIDEO
TR ACK 7 seventh; however, a few of the chords are extended to the ninth, eleventh, and thirteenth.
The notation for each of the extended triads is listed below the score. How do the extended
triads create a sense of dissonance?
Bernadette Peters, Hart and Rodgers’s “My Romance”

C maj 7 D- 7 E-7 E !μ7 D- 7 G7 C maj 7 B ! 13

&C œ œ œ œ ˙. œ œ ˙.
˙. œ œ œ œ œ œ
My Ro - mance does - n’t have to have a moon in the sky, My Ro -

5 A- A- (maj 7 ) A- 7 A7 D- 7 G 7 C maj 7 C7 F maj 7 F #μ 7 Cmaj 7 C7

& ˙. œ ˙. œ ˙.
œ œ œ œ œ œ œ ˙. œ ˙. œ
mance does - n’t need a blue la - goon stand - ing by; no month of Ma y
nP

OL1-10| Extended Chords: The Ninth, Eleventh, and Thirteenth

 !5
11 F maj 7 F # μ7 C 7maj F # - 7 F7 E-7 E !7 A- 9 D 7 D- 7 G 7 Cmaj 7 D-7
& . œ ˙. œ ˙. œ ˙. œ ˙. œ ˙.
œ œ ˙. œ œ
˙
twin - kling stars, no hide a - way, no soft gui - tars, My Ro - mance does -n’t

18 E-7 E !μ7 D -7 G 7 Cmaj 7 B ! 13 A- A- (maj 7 ) A- 7 A7 D- 7 G 7

& œ œ œ œ ˙. œ œ ˙. œ œ ˙. œ œ
œ œ ˙. œœ œ œ
need a cas - tle ris - ing in Spain, nor a dance to a con -stant - ly sur - pris - ing re -

# 11
Cmaj 7 C 7 F F maj 7 F maj 7/E D- 7 D-7/C B-7 B!9
œ œ œ œ
24

œ œ œ
& ˙. œ œ ˙. œ œ œ
frain. Wide a - wake I can make my most fan - tas - tic dreams comF

A-7 A !9 C maj 7 A-7 D-7 D-7/G G7 C6

œ œ ˙. œ œ œ œ œ œ
28

& ˙. w ˙. Œ
true; My Ro - mance does - n’t need a thing but you.

B !13
b www
& b www
bw
A-9
www
& ww

B ! # 11
Nw
& b wwww
bw
A !9
b b bb wwwww
&

Extended Chords: The Ninth, Eleventh, and Thirteenth |OL1-11

 Reviewing Chapter Objectives • Define uses of the ninth, eleventh, and thirteenth chords (pages 2–3, 8)
• Notate extended triads when given lead sheet symbol (pages 12, 15–17)
• Identify extended triads in a musical context (popular and classical) (pages 7, 10,
13–15)
• Translate notation into correct lead sheet symbol in terms of extended harmonies
(page 12)
• Complete a lead sheet analysis for extended triads (pages 13–15)

EXERCISES

I. Notate the chords on the staff when given the lead sheet symbol.

&
DM9 G7M 11
#
Eº 9 Bb13 E
ø 11

?
B
ø 11 A9 F #7m11 G9 Eb(add9)

&
C #13
# M11
C7 D 7m9 F 7 b13 F b7M13

II. Given the pitches on the staff, provide the appropriate lead sheet symbol. The
key is given as a guide in order to determine altered tones.

wwww
? ## w
bb b b ∫ wwwwww b w
b ww #
b wwww # # # wwwwww
# wwww b w
D: Bb : F: Amin: C #min:

bbb n wwwwww bb
w # www wwwwww ### ‹ ww
& b n wwww ww w # wwww
Eb : Gmin: G: C: F #min:

OL1-12| Exercises
 www w
? ## www # n wwww www
b ww #### n wwww w
w b # # # wwwww
D: Emin: F: B: Amin:

ANALYSIS

I. Complete a lead sheet analysis for the measures indicated by each musical
example. Be sure to correctly identify any extended triads. Do not attempt a
Roman numeral analysis.
EBSIT

E
Debussy, La Cathédrale Engloutie (“The Sunken Cathedral”) (measures 1 and 3)

√ √
Profondément calme (Dans une brume doucement sonore)

ww . œ œœ œœ ww . œ œœ œœ
VIDEO

w .. œœ œœ œœ œ œ .
w . œœ œœ œœ œ œ
TR ACK 8
6
&4 Œ œ œ Œ œ œ
( 32 ) π œ œœ œœ œ œœ œœ
?6 Œ œœ œœ œ Œ . . - Œ œœ œœ œ Œ . . -
4 w. ww .. œ
ww . œ œ ˙ ww .. ww . œ ˙
. w. w. w .. œ œ
*) Doux et fluide
√ œ ˙- œ ˙- #˙
ww .
. œœ œœ œœ ˙ ˙w # ˙ w˙ #˙
#˙
. œ œ ˙ œ ˙ ˙ w- w-
5

& wŒ œœœ œœ œ œ
œ
? Œ œœ œœ œ & œ #˙ #˙ #˙
ww .. œ œ œ -̇ œ -̇ ˙ ˙w- # ˙ w˙
- #˙
w.
*)
˙w # ˙ ˙ ˙ # w˙ # ˙ w˙ ˙ # ˙˙ # w˙ ˙ ww ..
# ˙˙ ˙˙ w- w- # ˙ # ˙˙
9
w ˙ w- w.
& - - -
π
ΠΠ-
#˙ #˙ #˙ ˙
& ˙w ## ˙˙ # ˙˙ ˙˙ ## w˙˙ # ˙
˙
w˙ # ˙ ## ˙˙˙ # ˙˙ # w-˙
w. ? ˙œ .
- # -˙ ˙ - - #˙ -
˙ ww .. œ ˙
œ œ ˙
œœ œ Peu à peu sortant de la brume

ww . œœ œ œœ œ œœ œœ œœ œ # # œœœ # # œœœ œ
œœ œœ
14
. œ œ œœ œ œ œ œ œ œ
.
& wŒ œœ œœ œ
? Œ # œ #œ #œ ? œ
& # œœ œ
œ œœ #œ &
π (sans nuances) sempre π
Œ
? œœ œœ œœ œœ œœ œœ œ œœ œœ œ œœ # œ # œœ œ
3
3 3

œ œ œ œ œ œ œœ œ œ œœ œ œœœ œ œ
ww .. ww .. œ# œ œ œ œ œ œ œ œ œ
w. w. w
3

3 3

Exercises |OL1-13
 W EBSIT

E
Ravel, “Pavane pour une Infante Défunte” (measures 1–3, 6–7, and 11–12)
VIDEO
TR ACK 9
Assez doux, mais d'une sonorité large ( q = 54)
#
& c ˙ œ œ œ œœ œ œ œ œ œ œ œ œ ˙ œ œ œ œœ œ œœ œ œ œœ œ œœ œ œœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
. . . . . . . . . . . . . .
p œ. . .
?# c Œ œ
œ. ‰ ‰ . ‰ œ ‰ œ< ‰ ‰ œ ‰ Œ œ̄ ‰ œ̄ ‰ œ̄ ‰ œ ‰ ‰ œ ‰ œ ‰
œ. œ
<

- --
Cédez En mesure
5
#
& œ œ œ œ œ œ œ ˙ œ ‰ œœœœœ œœ œœ ‰œ ˙Œ Ó œ œœ œ œ œ
œ
˙ œ œ œ œœ œ œ œ œ œ
œœœœ œœœœ œ œ œ‰œ ‰œ œœœ œ œœ œœœ œ
œ . . . œ
F p
.
œ Œ œ œœœœ œ
? # œ. ‰ ‰ ‰ œ. ‰ ‰ Œ ˙ ˙ œ œ œ
œ œ œœ
œ. ˙ w ‰ œœ œœ ˙˙
J
un peu retenu
. . - En élargissant
# ‰ - - -
œœ ‰ œœœ œœ
10

& ˙ œ œ œ œ œ œ œ
- -
‰ œ œ œœ œœ œ œ ˙˙
‰ œ
. . . - < < -f - 3- -
Œ π œ
? # œÓ œ œ œœ œ œ #œ
œ œ ˙˙
œ œ œ œ Œ œ œœ ˙
- ˙
< < < < - -

EBSIT
W

VIDEO
TR ACK 10 Billie Holiday, “Prelude to a Kiss” (measures 7–12). Songwriter: Duke Ellington

7
j j
œ œj œ œ œ
3

& c œ bœ nœ #œ nœ #œ nœ #œ nœ œ œ œj ˙
If you hear a song in blue like a flow - er cry - ing for the dew

& c œ˙˙ b œ # n œ˙ # œ n b n œœœ ..

œ œ œ œ œ
œœ ˙˙ # # œ˙˙ n œ n # œ˙ n œ œ œ œœ ˙œ
˙
J #˙ n # œœ .. J œ œ
P 3

j ˙ ˙ b œ. j 3
? c #˙ n˙ œ. œœ ˙˙ ˙ œ œ œ œ
˙ ˙ œ.
˙ œ. œ ˙
J
OL1-14| Exercises
 j j œj # œj œ j j
11 3
œ
3

& œ œ œ œ #œ œ œ J Jœ ˙ œ œ œ œ ˙.
That was my heart ser - e - nad - ing you My pre - lude to a kiss

3
œ œ ˙
3

& n œ˙ œ œ # œ˙ # œ œ œœ œœ ˙˙ œœ œ œ # # œœœ œœœ .. œ œœ œ̇ .b œ n œ

˙ ˙ . J
J
F
j j j j
? ˙ ˙ œ. œ œ œ #œ nœ. œ œ. œœ œ #˙
˙ œ bœ
˙ ˙ œ. œ ˙ œ. œ œ. J
J

II. The lead sheet symbols, along with the melody, are given for the jazz standards
“A Cottage for Sale” and “Cheek to Cheek.” Using the staff paper below, cor-
rectly notate each chord for the lead sheet symbol given.

EBSIT

E
Judy Garland, “A Cottage for Sale.” Songwriters: Willard Robison and Larry Conley

E ! maj 7 G7
VIDEO

b 4 œ œ œ œ œJ œ nœ œ œ œ œ. j
TR ACK 11

& b b 4 œJ œ œ
J
Ou r lit - tle dream cas - tle with ev - ’ry dream gone is

!9 !9
C7 F ª7 B !7 G- 7 C7
b œ b œ œ œ . œj œ œ œ œ œ œ œj
& b b œ œ b œ œ œJ œ
3

œ
J œ J
lone - ly and si - lent. The shades are all drawn, and my heart is heav - y as

maj 7
F-7 B !7 F7 B !7 E! F- 7 B! 7 E ! maj 7
6

b bb Œ œ œ œ œ ˙ œ œ œ œ œ œœ œ
& œ œ œœ ˙ .
œ J J J
I gaze up - on a cot - tage for sale. The lawn we were proud of is

!9 !9
G7 C7 Fª 7 B !7
b . j
& b b n œ œ œ œ œ œ œ œ b œ œ œJ œ Jœ œ œ b œ œ œ . œj
10

wav - ing in hay; our beau - ti - ful gar - den has with - ered a - way. Where

maj 7
G- 7 C7 F- 7 B !7 F7 B!7 E!
b j
13

& b b œ œ œ œ œJ œ œ œ œ œœ ˙ Œ œ œ œ œ w
you plant - ed ros - es, the weeds seem to say, “A cot - tage for sale.”
Exercises |OL1-15
 Judy Garland, “A Cottage for Sale.” Songwriters: Willard Robison and Larry Conley (continued)

E ! maj 7 G7
b 4
&bb 4
Ou r lit - tle dream cas - tle with ev - ’ry dream gone is

!9 !9
C7 F ª7 B !7 G- 7 C7
3
b
&bb
lone - ly and si - lent. The shades are all drawn, and my heart is heav - y as

maj 7
F-7 B !7 F7 B !7 E! F- 7 B! 7 E ! maj 7
6
b
&bb
I gaze up - on a cot - tage for sale. The lawn we were proud of is

!9 !9
G7 C7 Fª 7 B !7
10
b
&bb
wav - ing in hay; our beau - ti - ful gar - den has with - ered a - way. Where

maj 7
G- 7 C7 F- 7 B !7 F7 B!7 E!
b
13

&bb
you plant - ed ros - es, the weeds seem to say, “A cot - tage for sale.”

EBSIT
W

VIDEO
TR ACK 12 Fred Astaire and Ginger Rogers, “Cheek to Cheek.” Songwriter: Irving Berlin

Cmaj 7 A-7 D-7 G7 Cmaj 7 A-7 D-7 G7

& 44 œ ˙. ˙ œ œ œ ˙. ˙ œ œ
Heav - en, I’m in heav - en, and my
Heav - en, I’m in heav - en, and the

# 11
Cmaj 7 D-7 E !μ7 C maj 7/E B !7 A7
œ œ œ œ œ w ˙ œ œ
&œ œ œ
heart beats so that I can hard - ly speak, and I
cares that hung a - round me thru the week seem to

OL1-16| Exercises
 #
D-7 G7 B !7 11 A7
&œ œ œ œ œ œ œ œ w œ Œ œ œ
seem to find the hap - pi ness I seek when we’re
van - ish like a gamb - ler's luck - y streak
1. 2.
maj 7
D-7 G7 C A-7 D-7 G7
j j j j j ∑ ..
& œ œ œ œ œ œ œ œj œj œj
œ
w
œ
out to - geth - er danc - ing cheek to cheek.

Cmaj 7 A-7 D-7 G7 Cmaj 7 A-7 D-7 G7

& 44
Heav - en, I’m in heav - en, and my
Heav - en, I’m in heav - en, and the

# 11
Cmaj 7 D-7 E !μ7 C maj 7/E B !7 A7
&
heart beats so that I can hard - ly speak, and I
cares that hung a - round me thru the week seem to
#
D-7 G7 B !7 11 A7
&
seem to find the hap - pi ness I seek when we’re
van - ish like a gamb - ler's luck - y streak
1. 2.
maj 7
D-7 G7 C A-7 D-7 G7
& ∑ ..
out to - geth - er danc - ing cheek to cheek.

Exercises |OL1-17
THE FINAL NOTE: REAL-WORLD PERSPECTIVE

Barbara Hendricks
I N T E R N AT I O N A L O P E R A S TA R

What, or who, inspired you to pursue music?

I grew up with music being a part of my life long before I had any idea that I would have it as
a profession. I began singing in my father’s church and sang in choirs all through junior and
senior high. At that time, my greatest influences were my school choir directors. They intro-
duced me to an enormous amount of repertoire. They gave me the background about differ-
ent types of music (jazz, spirituals, classical). I actually was Amahl in the opera Amahl and
the Night Visitors at age 12. Those choir directors really inspired me to continue to do music.
When I was studying at university, I received a scholarship to the Aspen Music Festival.
It was there that I met Jenny Tourel, my voice teacher. I spent 9 weeks in Aspen, and it
became clear that I had to figure out my talent, what it was about, why I had the voice
that I had. I was surrounded by classical music for the first time in my life, and I felt quite
at home. It was on a suggestion by Jenny Tourel that I came to study with her at Juilliard.
She became my greatest, greatest mentor. She was able to see my talent in a different light.
Arkansas (my home state) was still quite segregated at the time, [and] the thought of me
becoming an opera singer was just too far-fetched for my earliest influences. My choral
directors opened the door for me and helped to create the curiosity inside of me, but it was
Jenny Tourel that provided the example and the support.

Has the study of music theory and musicianship helped you in your career?
If so, how?
Oh yes, of course! I didn’t start studying music theory until I entered Juilliard, after I com-
pleted my degrees in mathematics and chemistry at the University of Nebraska. I always
considered myself a good student, and there I was in the remedial music theory courses at

OL1-18| Extended Chords: The Ninth, Eleventh, and Thirteenth

Juilliard. I had a long way to go to catch up with the instrumentalists who had been study-
ing music since they were 4 or 5! It was absolutely important to me to do these studies.
I needed to know what I was doing, how does this all work together?
Ear training was very difficult for me, especially solfège. I had a different way of hear-
ing music. I had to work very hard, and I still cannot sing in solfège like the French chil-
dren. I had to learn my own way. I had scholarships to Juilliard, and I just knew that I had
this opportunity to be in one of the most fascinating cities in the world and attending
one of the best schools in the world. I was determined to soak up every bit of information
I could. Of course, I would have rather have been in my acting or dancing class rather than
my theory class (solfège was painful) but I wanted to be involved with everything that
Juilliard had to offer.
It is not something I think about at all when I stand on the stage. But it does help me
when I am learning music; it helps me to understand a composer’s work and the language.
I don’t think we should take an intellectual approach to performance, but you must absorb
any information you can in order to enrich your reading of scores.

If you had one bit of advice for an aspiring opera singer, what would it be?
You have to love what you do. It is also very important to know why you want to do it. It
can be that you love wearing nice dresses and love the applause, but you must be clear to
yourself on what that is. Be honest about that. I was lucky to study with someone who was
a true artist, one who was always in observance of her art. Having her as a role model made
it very possible for me to stand for what I believe. It made it easier for me to make choices
for my life and career. Love what you do and know why you do it.
In a world full of input and media on who you are supposed to be and how you are
supposed to behave, holding on to your real values is what makes it possible to make good
life choices.
I would also tell students to be versatile and be open to all types of musical experi-
ences and repertoire. I found that, especially after a certain age, nobody wants you to sing
Susannah anymore. You have to be curious and versatile so that you are not dependent
on singing your standard opera roles until you reach retirement. That may not happen
depending on the roles you are singing. Jenny Tourel was a big influence on my listening
to all types of music. I went to the theater and dance productions almost more than I went
to the opera. That curiosity and versatility is something that will carry you much further
than being in one little box.

Most significant learning experience of your career.

They happen all the time because I keep learning. Working with Jenny Tourel was of
course a huge learning experience. But of course working with a few great conductors took
me to another level; conductors such as Leonard Bernstein, Herbert von Karajan, and Carlo
Maria Giulini. Those three always took me further than I imagined that I could. Part of
it was their own greatness, but it was also their supporting my talent and my abilities to
give the best of myself.

Greatest moment of your life so far.

Being a grandmother to a 1-year-old brilliant boy. It gives me enormous hope to see that
life constantly renews itself.

Extended Chords: The Ninth, Eleventh, and Thirteenth |OL1-19

CREDITS

PHOTO CREDITS
p. OL1-1 (left): © Jan Persson/Lebrecht Music & Arts/Corbis; (right): Courtesy of Library of
Congress (LC-USZ62-105229); p. OL1-18: Uri Sharf (CC BY 2.0)

MUSIC CREDITS
(alphabetical by song title)

Cheek To Cheek
Words and Music by Irving Berlin
© Copyright 1935 by Irving Berlin
Copyright Renewed
This arrangement © Copyright 2014 by the Estate of Irving Berlin
International Copyright Secured All Rights Reserved
Reprinted by Permission of Hal Leonard Corporation

Cottage for Sale

Words by LARRY CONLEY
Music by WILLARD ROBISON
© 1929, 1930 (Copyrights Renewed) CHAPPELL & CO., INC.
All Rights Reserved
Used by Permission of ALFRED MUSIC

My Romance
from JUMBO
Words by Lorenz Hart
Music by Richard Rodgers
Copyright © 1935 by Williamson Music and Lorenz Hart Publishing Co.
Copyright Renewed
This arrangement Copyright © 2014 by Williamson Music and Lorenz Hart Publishing Co.
All Rights in the United States Administered by Williamson Music, a Division of Rodgers &
Hammerstein: an Imagem Company
All Rights outside of the United States Administered by Universal-PolyGram International
Publishing, Inc.
International Copyright Secured All Rights Reserved
Reprinted by Permission of Hal Leonard Corporation

Prelude To A Kiss
Words by Irving Gordon and Irving Mills
Music by Duke Ellington
Copyright © 1938 Sony/ATV Music Publishing LLC and EMI Mills Music Inc. in the U.S.A.
Copyright Renewed
This arrangement Copyright © 2014 Sony/ATV Music Publishing LLC and EMI Mills Music
Inc. in the U.S.A.
All Rights on behalf of Sony/ATV Music Publishing LLC Administered by Sony/ATV Music
Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219

OL1-20| Extended Chords: The Ninth, Eleventh, and Thirteenth

Rights for the world outside the U.S.A. Administered by EMI Mills Music Inc. (Publishing)
and Alfred Music (Print)
International Copyright Secured All Rights Reserved
Reprinted by Permission of Hal Leonard Corporation

Words by IRVING MILLS and IRVING GORDON

Music by DUKE ELLINGTON
© 1938 (Renewed) EMI MILLS MUSIC, INC. and SONY/ATV MUSIC PUBLISHING LLC
Exclusive Print Rights for EMI MILLS MUSIC, INC. Administered by ALFRED MUSIC
All Rights Reserved
Used by Permission of ALFRED MUSIC

Extended Chords: The Ninth, Eleventh, and Thirteenth |OL1-21