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Chord extensions

#2
in the most basic way you just keep stacking thirds on top of you chords so cmaj7 is CEGB, if you keep adding thirds you get the extensions cmaj9 = CEGBD, Cmaj11 = CEGBDF, Cmaj13 = CEGBDFA.

It's also interesting when you alter the upper extensions ie #11 on a major chord, a b9 on a minor chord, b9, #9, #11, or b13 on dominant chords.
 
#3
imagesqtbnANd9GcRy9-Y1FwEDQyoWai6HY.jpg


...oh wait...
 
#4
_chrispy said:
in the most basic way you just keep stacking thirds on top of you chords so cmaj7 is CEGB, if you keep adding thirds you get the extensions cmaj9 = CEGBD, Cmaj11 = CEGBDF, Cmaj13 = CEGBDFA.

It's also interesting when you alter the upper extensions ie #11 on a major chord, a b9 on a minor chord, b9, #9, #11, or b13 on dominant chords.
Click to expand...

Do you think you could elaborate a bit on "altered extensions" ?
 
#5
jcbass2801 said:
I just wanted to know if there's anyone who could share some basic info on chord extensions.

Thanks in advance!
Click to expand...
Code: 
Major Scale Box. 

G|---2---|-------|---3---|---4---| 1st string
D|---6---|-------|---7---|---8---|
A|---3---|---4---|-------|---5---|
E|-------|---R---|-------|---2---|4th string

Basic Chords

• C Major Triad = R-3-5
• C Minor Triad = R-b3-5
• C Diminished Chord = R-b3-b5

7th Chords aka Extensions

• CMaj7. = R-3-5-7
• Cm7... = R-b3-5-b7
• C7 ......= R-3-5-b7
• Cm7b5 = R-b3-b5-b7 for the 1/2 diminished, C with a little circle with a strike through.
• Cdim... = R-b3-b5-bb7 for the full diminished, C with a little circle with no strike through.

FWTW I never go higher than the 7ths. I leave the higher extensions to the solo instruments. Course when you take a solo you are a solo instrument. Lead electric or the pedal steel take the solos for us.

Crispy will have to talk about the altered extensions; never gone there.
 
#7
this is where we can get into some fascinating names like upper tension chord structures -- basically it's the notes the 2 the 4 and the 6 that don't 'fit' in the lower chord structure and they become the 9, 11 and 13 in the upper chord structure

as a bass player a lot of times the bass player handles the roots so the guitarist or pianist or soloist can stetch into the upper chord structure by playing rootless chords -- you see how that can work. If the bass player emphasizes C major 7 the guitarist can play a dm over that. Mostly my sense is bassists use 2 4 and 6's as approach notes to the lower chord notes. I was always told upper tension notes aren't emphasized in the lower registers and becasue they get lost and the harmonic progrtession gets lost
 
#9
Ed Fuqua said:
4 part chords aren't really extensions, no "AKA"...
Click to expand...

Agreed. Extensions are above the octave.

wrench45us said:
Mostly my sense is bassists use 2 4 and 6's as approach notes to the lower chord notes. I was always told upper tension notes aren't emphasized in the lower registers because they get lost and the harmonic progression gets lost
Click to expand...

They can also clash more in the lower registers. But yes, they work much better up the octave, which is why they are better referred to as the 9, 11, and 13.
 
#13
Malcolm - you spend a fair bit of time providing valuble instruction for a large number of folks on this forum. I regularly see your posts acknowledged with thanks for the help. So, good on you for that; if we can steer you straight on some things that are beyond styles like country and such, then it's win-win for everyone.
 
#14
Mushroo said:
The are often a clue that the progression is going to resolve to a minor chord instead of a major chord.

For example G7b9 (G-B-D-F-Ab) usually resolves to Cmin instead of CMaj.
Click to expand...

True and not!! There is some stuff to learn about chord extensions like the hidden avoid notes and hybrid chords progressions :
in the most basic way you just keep stacking thirds on top of you chords so cmaj7 is CEGB, if you keep adding thirds you get the extensions cmaj9 = CEGBD, Cmaj11 = CEGBDF, Cmaj13 = CEGBDFA.
Click to expand...

Just like the above mention of the CMaj 11 and C Maj 13. These two chords don't sound good because of the presence of the minor 9th interval within the chords between the third and the eleven.

I suggest you study theory from reliable sources to avoid confusion ;-)
 
#15
Groove Master said:
True and not!! There is some stuff to learn about chord extensions like the hidden avoid notes and hybrid chords progressions :

Just like the above mention of the CMaj 11 and C Maj 13. These two chords don't sound good because of the presence of the minor 9th interval within the chords between the third and the eleven.

I suggest you study theory from reliable sources to avoid confusion ;-)
Click to expand...

There is no confusion; My statement was simply: "hearing an altered chord often gives the bass player an aural clue where the progression is leading"--it was an off-the-cuff practical tip based on my experience. I did not say the bass player should play every note in an altered/extended chord; the bass player would never play a minor 9th double-stop in any style of music I've ever played. When in doubt play the root! :)

Anyway if the OP wanted "reliable sources" they would be asking their teacher, the piano player in their band, or enrolled in a music theory class. This is TalkBass! There is no music theory entrance exam to post here. ;)

edit: Looking back on my post, I did say "G7b9=G-B-D-F-Ab" and I can see where that might have ruffled your feathers. This chord symbol is commonly used, for example in the Real Boook, but no piano player would ever voice it that way, it is a notational shorthand. Sorry I did not make that clear, cool? :)
 
#17
Groove Master said:
Just like the above mention of the CMaj 11 and C Maj 13. These two chords don't sound good because of the presence of the minor 9th interval within the chords between the third and the eleven.

I suggest you study theory from reliable sources to avoid confusion ;-)
Click to expand...

Exactly. In Maj11 and Maj13 chords the 11 is typically #11 even when it's not specfically specified in the chord symbol.
 
#18
Mushroo said:
There is no confusion; My statement was simply: "hearing an altered chord often gives the bass player an aural clue where the progression is leading"--it was an off-the-cuff practical tip based on my experience. I did not say the bass player should play every note in an altered/extended chord; the bass player would never play a minor 9th double-stop in any style of music I've ever played. When in doubt play the root! :)

Anyway if the OP wanted "reliable sources" they would be asking their teacher, the piano player in their band, or enrolled in a music theory class. This is TalkBass! There is no music theory entrance exam to post here. ;)

edit: Looking back on my post, I did say "G7b9=G-B-D-F-Ab" and I can see where that might have ruffled your feathers. This chord symbol is commonly used, for example in the Real Boook, but no piano player would ever voice it that way, it is a notational shorthand. Sorry I did not make that clear, cool? :)
Click to expand...

I had NO problem with your post ;)

Even if you mentioned the G7b9, that chord can have the b9 interval with musical consonance result. The fact that you've mentioned a b9 chord as a dominant chord of a minor key is right compare to a G9 for example my main reason to posting was the post talking about the stack of thirds and forming unpleasant chords like the CMaj11 and 13. There is a lot of theory and harmony to know before using these extensions the proper way. That was my point.

No offense from you, you were right from the first place but this is the kind of subject that will get so much wrong information and will confuse a lot of people.

keep the good posts :cool:
 

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