Chord extension question

[ladros2]

Ok, when I practice an arpeggio on my six string bass, I play it right across the neck in a single position. So if I were to play a Cmaj7 I'd do C E G B C E G B C E in the first position. My question is in the case of a Cmaj9 chord, starting from the root I'd play C E G B D, but where do I go from there? Do I continue on to the E and leave out the root from there on? Or do I add in the higher Cs? If I do add in the higher Cs, then why not play the D a tone above my lowest C? The only videos I've seen of this were done in one octave. Well, an octave plus the interval up to the highest extension.

[ric stave]

There's no 'correct' way - you are comparing a fingering exercise to chord theory.

That said, you could do it:

C E G B D C (step down from the previous D) E G B D, etc....

This 'pattern' can be applied to any chord with tone extensions that span more than 1 octave.

[mambo4]

It depends on context for the most part. As an exercise there is value in finding all varieties of approach to CEGD . But in practivce, within a song, to emphasize the sound of and added 9 you may wish avoid playing the C's in the upper register...the extension is generally always the highest tone, and it usually rides "above" the triad, far away from the root.

[Jim Campbell]

Originally Posted by ladros2

Ok, when I practice an arpeggio on my six string bass, I play it right across the neck in a single position. So if I were to play a Cmaj7 I'd do C E G B C E G B C E in the first position. My question is in the case of a Cmaj9 chord, starting from the root I'd play C E G B D, but where do I go from there? Do I continue on to the E and leave out the root from there on? Or do I add in the higher Cs? If I do add in the higher Cs, then why not play the D a tone above my lowest C? The only videos I've seen of this were done in one octave. Well, an octave plus the interval up to the highest extension.

this sounds like a jte question but as i read it extensions are `continuations of thirds ....ie....a third up from the 7th of C in C major would be the ninth D,a minor third interval from B.....

i would also suggest playing your arpeggios up and down the neck on each string too.....

[Intenzity]

I have a posting on how to spell any chord you want, with as many extensions as you want, and another one that shows all the possible ways to play a C7 chord. See the links below.

The answer is that you go to the 11th, and then the 13th, which are the 4th and 6th from the original octave and then you have all the extensions - 9th, 11th, and 13th. And yes, you leave out the notes you already played. If you don't, you are just going to play the entire scale: root - 9th (same as 2nd) - 3rd - 11th (Same as 4th), 5th, 13th (same as 6th), and then 7th, so you will end up just playing the entire scale if you play the original notes from the first octave also.

Check out this post to learn how to spell any chord, it has a diagram you can just right click on and keep if you want.
http://bassoridiculoso.blogspot.com/...wing-your.html

And this post to see all the ways to play an C7 chord there are:
http://bassoridiculoso.blogspot.com/...le-way-to.html

[Snake Doctor]

Originally Posted by ladros2

Ok, when I practice an arpeggio on my six string bass, I play it right across the neck in a single position. So if I were to play a Cmaj7 I'd do C E G B C E G B C E in the first position. My question is in the case of a Cmaj9 chord, starting from the root I'd play C E G B D, but where do I go from there? Do I continue on to the E and leave out the root from there on? Or do I add in the higher Cs? If I do add in the higher Cs, then why not play the D a tone above my lowest C? The only videos I've seen of this were done in one octave. Well, an octave plus the interval up to the highest extension.

The Rt, 3, 5 & 7 of a Cmaj7th chord is C,E,G & B
The chord Tensions are 9, #11 & 13, so in C they would be D,F# & A.

It doesn't matter whether the tensions are included in the chord voicings, you can still superimpose the tensions in your lines. The octave that you play them in doesn't matter either.

From an analysis point of view, the same notes could be analysed as scalar passing tones and/or scalar approach notes. Tensions usually function as tensions when they are preceeded by an interval of a minor 3rd or more.

Best

Joe