How do you voice extended chords?Relationship between extended diatonic chords and modes?Max Size of a...
Why is it that Bernie Sanders is always called a "socialist"?
Why do neural networks need so many training examples to perform?
A Missing Symbol for This Logo
Crack the bank account's password!
Why is the size of a directory either 0 or 4096?
Does diversity provide anything that meritocracy does not?
Why did Luke use his left hand to shoot?
What can I do to encourage my players to use their consumables?
Has any human ever had the choice to leave Earth permanently?
Plausible reason for gold-digging ant
What makes papers publishable in top-tier journals?
Not a Long-Winded Riddle
How to not let the Identify spell spoil everything?
Does Skippy chunky peanut butter contain trans fat?
Does the ditching switch allow an A320 to float indefinitely?
After checking in online, how do I know whether I need to go show my passport at airport check-in?
Are the positive and negative planes inner or outer planes in the Great Wheel cosmology model?
Coworker asking me to not bring cakes due to self control issue. What should I do?
Eww, those bytes are gross
Is Screenshot Time-tracking Common?
Why do we have to make "peinlich" start with a capital letter and also end with -s in this sentence?
Can we "borrow" our answers to populate our own websites?
Count repetitions of an array
Does an Eldritch Knight's Weapon Bond protect him from losing his weapon to a Telekinesis spell?
How do you voice extended chords?
Relationship between extended diatonic chords and modes?Max Size of a ChordWhat is a chord consisting of Root, 9th and 11th called?How are 13th chords with alterations “shorthand” written?Why does most “Country” Music use mostly major and minor plain simple chords?How do you figure out a chords name?How do I manage internalizing foundation for chords, scales, hamonies and voicingWhen a major 6th (or an octave thereof) is in a chord, when is the interval identified as a 6th vs. a 13th?Why is the first inversion of a C Major Chord very rarely used on guitar even though it is easier to play?Abstracting chords for a C++ classIdentifying chords with multiple extensions
If I have a Cmaj13 chord, it uses 7 notes. Basically all the notes of the scale. In a previous question, I was told that you rarely play all 7 notes for a 13th chord. So how do you know which ones to play, do you just randomly pick notes from it? Also if I choose certain notes it might just be a triad. So how do you get that defining voice that would make it a 13th, or 11th, etc when you just use a subset.
chord-theory harmony
add a comment |
If I have a Cmaj13 chord, it uses 7 notes. Basically all the notes of the scale. In a previous question, I was told that you rarely play all 7 notes for a 13th chord. So how do you know which ones to play, do you just randomly pick notes from it? Also if I choose certain notes it might just be a triad. So how do you get that defining voice that would make it a 13th, or 11th, etc when you just use a subset.
chord-theory harmony
Is Cmaj13 a common chord? I meet C13 (dominant) far more frequently.
– Tim
2 hours ago
@Tim just for the sake of example
– foreyez
2 hours ago
add a comment |
If I have a Cmaj13 chord, it uses 7 notes. Basically all the notes of the scale. In a previous question, I was told that you rarely play all 7 notes for a 13th chord. So how do you know which ones to play, do you just randomly pick notes from it? Also if I choose certain notes it might just be a triad. So how do you get that defining voice that would make it a 13th, or 11th, etc when you just use a subset.
chord-theory harmony
If I have a Cmaj13 chord, it uses 7 notes. Basically all the notes of the scale. In a previous question, I was told that you rarely play all 7 notes for a 13th chord. So how do you know which ones to play, do you just randomly pick notes from it? Also if I choose certain notes it might just be a triad. So how do you get that defining voice that would make it a 13th, or 11th, etc when you just use a subset.
chord-theory harmony
chord-theory harmony
edited 2 hours ago
foreyez
asked 2 hours ago
foreyezforeyez
4,93732480
4,93732480
Is Cmaj13 a common chord? I meet C13 (dominant) far more frequently.
– Tim
2 hours ago
@Tim just for the sake of example
– foreyez
2 hours ago
add a comment |
Is Cmaj13 a common chord? I meet C13 (dominant) far more frequently.
– Tim
2 hours ago
@Tim just for the sake of example
– foreyez
2 hours ago
Is Cmaj13 a common chord? I meet C13 (dominant) far more frequently.
– Tim
2 hours ago
Is Cmaj13 a common chord? I meet C13 (dominant) far more frequently.
– Tim
2 hours ago
@Tim just for the sake of example
– foreyez
2 hours ago
@Tim just for the sake of example
– foreyez
2 hours ago
add a comment |
3 Answers
3
active
oldest
votes
Conventionally, the most often skipped notes in any remotely extended chord are the 5th and any degrees above the 7th that aren't included in the chord name. For example, V13 chords in classical music almost never contain the 9th or the 11th.
One major exception to these conventions is the 11th chord, where the 11th and the 3rd often are assigned notes a semitone apart (e.g. for the G11 chord, the 11th is a C while the 3rd is a B). It is for this reason that the 3rd of an 11th chord is often skipped instead of the 5th.
add a comment |
Anything over a 7th must contain that 7th, be it major 7th or minor (b) seventh. It's been well established that the 5th (perfect) can be dispensed with, as its sound is contained in the root note.
For me, 9ths must have 1,3,7 and 9 - although if there's an instrument playing the root, such as a bass, it can be pared down to 3,7 and 9. Often in jazz, a four note chord - such as G7 - gets played with 3 and b7, just those two notes. Root probably provided by bass, and 5 not needed.
11ths are above 7, so need to have that. Often there's no need to play the 9th, and the 11th comes in rather like a 4th, so 1,3,(5),7,11.As 11 is the same note as 4, an octave higher, it doesn't sound good played as a 4.
On piano, it's very easy to voice any of these chords with or without the intervening intervals. Like the sound? keep it in. Dislike it? remove the offending note/s. On guitar, it's quite a different scenario, as often there are 5 or 6 notes to play, but fingering won't allow all. That's when it's more important to consider which get omitted.
13ths would contain pretty well everything, and the kitchen sink. The essentials for me are 7 (of course) usually b7, and 13, which is an octave copy of a 6th. So - 1,3,(5),7,13.
Obviously if the 5,9 or 11 is # or b, they need to be there, but otherwise, there's often little point in crowding things in.
add a comment |
This answer is not entirely containing all cases but provides some examples and solutions:
As you may know extended chords are to find quite often in a fith fall sequence: You probably have noticed that here the 3 becomes the 7 in the next chord and the 7 can be the sustained 4 or falls a minor second to 3, while the tonic becomes the new 5: d,f,a,c => g,b,d,f => c,e,g,b => f,a,d,e etc.
The voicing rules in classic and in jazz and pop music are similar: keepin a note of a chord in the same voice by let drop the fifth or third to play the extended chord notes.
Notice that you have in this case the 5th fall in the bass line and two pairs of descending thirds guiding downsteps (in a progression of secondary 5th aswell in the diatonic 5th fall sequence and also with extended chords of 79.
add a comment |
Your Answer
StackExchange.ready(function() {
var channelOptions = {
tags: "".split(" "),
id: "240"
};
initTagRenderer("".split(" "), "".split(" "), channelOptions);
StackExchange.using("externalEditor", function() {
// Have to fire editor after snippets, if snippets enabled
if (StackExchange.settings.snippets.snippetsEnabled) {
StackExchange.using("snippets", function() {
createEditor();
});
}
else {
createEditor();
}
});
function createEditor() {
StackExchange.prepareEditor({
heartbeatType: 'answer',
autoActivateHeartbeat: false,
convertImagesToLinks: false,
noModals: true,
showLowRepImageUploadWarning: true,
reputationToPostImages: null,
bindNavPrevention: true,
postfix: "",
imageUploader: {
brandingHtml: "Powered by u003ca class="icon-imgur-white" href="https://imgur.com/"u003eu003c/au003e",
contentPolicyHtml: "User contributions licensed under u003ca href="https://creativecommons.org/licenses/by-sa/3.0/"u003ecc by-sa 3.0 with attribution requiredu003c/au003e u003ca href="https://stackoverflow.com/legal/content-policy"u003e(content policy)u003c/au003e",
allowUrls: true
},
noCode: true, onDemand: true,
discardSelector: ".discard-answer"
,immediatelyShowMarkdownHelp:true
});
}
});
Sign up or log in
StackExchange.ready(function () {
StackExchange.helpers.onClickDraftSave('#login-link');
});
Sign up using Google
Sign up using Facebook
Sign up using Email and Password
Post as a guest
Required, but never shown
StackExchange.ready(
function () {
StackExchange.openid.initPostLogin('.new-post-login', 'https%3a%2f%2fmusic.stackexchange.com%2fquestions%2f80589%2fhow-do-you-voice-extended-chords%23new-answer', 'question_page');
}
);
Post as a guest
Required, but never shown
3 Answers
3
active
oldest
votes
3 Answers
3
active
oldest
votes
active
oldest
votes
active
oldest
votes
Conventionally, the most often skipped notes in any remotely extended chord are the 5th and any degrees above the 7th that aren't included in the chord name. For example, V13 chords in classical music almost never contain the 9th or the 11th.
One major exception to these conventions is the 11th chord, where the 11th and the 3rd often are assigned notes a semitone apart (e.g. for the G11 chord, the 11th is a C while the 3rd is a B). It is for this reason that the 3rd of an 11th chord is often skipped instead of the 5th.
add a comment |
Conventionally, the most often skipped notes in any remotely extended chord are the 5th and any degrees above the 7th that aren't included in the chord name. For example, V13 chords in classical music almost never contain the 9th or the 11th.
One major exception to these conventions is the 11th chord, where the 11th and the 3rd often are assigned notes a semitone apart (e.g. for the G11 chord, the 11th is a C while the 3rd is a B). It is for this reason that the 3rd of an 11th chord is often skipped instead of the 5th.
add a comment |
Conventionally, the most often skipped notes in any remotely extended chord are the 5th and any degrees above the 7th that aren't included in the chord name. For example, V13 chords in classical music almost never contain the 9th or the 11th.
One major exception to these conventions is the 11th chord, where the 11th and the 3rd often are assigned notes a semitone apart (e.g. for the G11 chord, the 11th is a C while the 3rd is a B). It is for this reason that the 3rd of an 11th chord is often skipped instead of the 5th.
Conventionally, the most often skipped notes in any remotely extended chord are the 5th and any degrees above the 7th that aren't included in the chord name. For example, V13 chords in classical music almost never contain the 9th or the 11th.
One major exception to these conventions is the 11th chord, where the 11th and the 3rd often are assigned notes a semitone apart (e.g. for the G11 chord, the 11th is a C while the 3rd is a B). It is for this reason that the 3rd of an 11th chord is often skipped instead of the 5th.
answered 2 hours ago
DekkadeciDekkadeci
5,16621320
5,16621320
add a comment |
add a comment |
Anything over a 7th must contain that 7th, be it major 7th or minor (b) seventh. It's been well established that the 5th (perfect) can be dispensed with, as its sound is contained in the root note.
For me, 9ths must have 1,3,7 and 9 - although if there's an instrument playing the root, such as a bass, it can be pared down to 3,7 and 9. Often in jazz, a four note chord - such as G7 - gets played with 3 and b7, just those two notes. Root probably provided by bass, and 5 not needed.
11ths are above 7, so need to have that. Often there's no need to play the 9th, and the 11th comes in rather like a 4th, so 1,3,(5),7,11.As 11 is the same note as 4, an octave higher, it doesn't sound good played as a 4.
On piano, it's very easy to voice any of these chords with or without the intervening intervals. Like the sound? keep it in. Dislike it? remove the offending note/s. On guitar, it's quite a different scenario, as often there are 5 or 6 notes to play, but fingering won't allow all. That's when it's more important to consider which get omitted.
13ths would contain pretty well everything, and the kitchen sink. The essentials for me are 7 (of course) usually b7, and 13, which is an octave copy of a 6th. So - 1,3,(5),7,13.
Obviously if the 5,9 or 11 is # or b, they need to be there, but otherwise, there's often little point in crowding things in.
add a comment |
Anything over a 7th must contain that 7th, be it major 7th or minor (b) seventh. It's been well established that the 5th (perfect) can be dispensed with, as its sound is contained in the root note.
For me, 9ths must have 1,3,7 and 9 - although if there's an instrument playing the root, such as a bass, it can be pared down to 3,7 and 9. Often in jazz, a four note chord - such as G7 - gets played with 3 and b7, just those two notes. Root probably provided by bass, and 5 not needed.
11ths are above 7, so need to have that. Often there's no need to play the 9th, and the 11th comes in rather like a 4th, so 1,3,(5),7,11.As 11 is the same note as 4, an octave higher, it doesn't sound good played as a 4.
On piano, it's very easy to voice any of these chords with or without the intervening intervals. Like the sound? keep it in. Dislike it? remove the offending note/s. On guitar, it's quite a different scenario, as often there are 5 or 6 notes to play, but fingering won't allow all. That's when it's more important to consider which get omitted.
13ths would contain pretty well everything, and the kitchen sink. The essentials for me are 7 (of course) usually b7, and 13, which is an octave copy of a 6th. So - 1,3,(5),7,13.
Obviously if the 5,9 or 11 is # or b, they need to be there, but otherwise, there's often little point in crowding things in.
add a comment |
Anything over a 7th must contain that 7th, be it major 7th or minor (b) seventh. It's been well established that the 5th (perfect) can be dispensed with, as its sound is contained in the root note.
For me, 9ths must have 1,3,7 and 9 - although if there's an instrument playing the root, such as a bass, it can be pared down to 3,7 and 9. Often in jazz, a four note chord - such as G7 - gets played with 3 and b7, just those two notes. Root probably provided by bass, and 5 not needed.
11ths are above 7, so need to have that. Often there's no need to play the 9th, and the 11th comes in rather like a 4th, so 1,3,(5),7,11.As 11 is the same note as 4, an octave higher, it doesn't sound good played as a 4.
On piano, it's very easy to voice any of these chords with or without the intervening intervals. Like the sound? keep it in. Dislike it? remove the offending note/s. On guitar, it's quite a different scenario, as often there are 5 or 6 notes to play, but fingering won't allow all. That's when it's more important to consider which get omitted.
13ths would contain pretty well everything, and the kitchen sink. The essentials for me are 7 (of course) usually b7, and 13, which is an octave copy of a 6th. So - 1,3,(5),7,13.
Obviously if the 5,9 or 11 is # or b, they need to be there, but otherwise, there's often little point in crowding things in.
Anything over a 7th must contain that 7th, be it major 7th or minor (b) seventh. It's been well established that the 5th (perfect) can be dispensed with, as its sound is contained in the root note.
For me, 9ths must have 1,3,7 and 9 - although if there's an instrument playing the root, such as a bass, it can be pared down to 3,7 and 9. Often in jazz, a four note chord - such as G7 - gets played with 3 and b7, just those two notes. Root probably provided by bass, and 5 not needed.
11ths are above 7, so need to have that. Often there's no need to play the 9th, and the 11th comes in rather like a 4th, so 1,3,(5),7,11.As 11 is the same note as 4, an octave higher, it doesn't sound good played as a 4.
On piano, it's very easy to voice any of these chords with or without the intervening intervals. Like the sound? keep it in. Dislike it? remove the offending note/s. On guitar, it's quite a different scenario, as often there are 5 or 6 notes to play, but fingering won't allow all. That's when it's more important to consider which get omitted.
13ths would contain pretty well everything, and the kitchen sink. The essentials for me are 7 (of course) usually b7, and 13, which is an octave copy of a 6th. So - 1,3,(5),7,13.
Obviously if the 5,9 or 11 is # or b, they need to be there, but otherwise, there's often little point in crowding things in.
edited 2 hours ago
answered 2 hours ago
TimTim
101k10104256
101k10104256
add a comment |
add a comment |
This answer is not entirely containing all cases but provides some examples and solutions:
As you may know extended chords are to find quite often in a fith fall sequence: You probably have noticed that here the 3 becomes the 7 in the next chord and the 7 can be the sustained 4 or falls a minor second to 3, while the tonic becomes the new 5: d,f,a,c => g,b,d,f => c,e,g,b => f,a,d,e etc.
The voicing rules in classic and in jazz and pop music are similar: keepin a note of a chord in the same voice by let drop the fifth or third to play the extended chord notes.
Notice that you have in this case the 5th fall in the bass line and two pairs of descending thirds guiding downsteps (in a progression of secondary 5th aswell in the diatonic 5th fall sequence and also with extended chords of 79.
add a comment |
This answer is not entirely containing all cases but provides some examples and solutions:
As you may know extended chords are to find quite often in a fith fall sequence: You probably have noticed that here the 3 becomes the 7 in the next chord and the 7 can be the sustained 4 or falls a minor second to 3, while the tonic becomes the new 5: d,f,a,c => g,b,d,f => c,e,g,b => f,a,d,e etc.
The voicing rules in classic and in jazz and pop music are similar: keepin a note of a chord in the same voice by let drop the fifth or third to play the extended chord notes.
Notice that you have in this case the 5th fall in the bass line and two pairs of descending thirds guiding downsteps (in a progression of secondary 5th aswell in the diatonic 5th fall sequence and also with extended chords of 79.
add a comment |
This answer is not entirely containing all cases but provides some examples and solutions:
As you may know extended chords are to find quite often in a fith fall sequence: You probably have noticed that here the 3 becomes the 7 in the next chord and the 7 can be the sustained 4 or falls a minor second to 3, while the tonic becomes the new 5: d,f,a,c => g,b,d,f => c,e,g,b => f,a,d,e etc.
The voicing rules in classic and in jazz and pop music are similar: keepin a note of a chord in the same voice by let drop the fifth or third to play the extended chord notes.
Notice that you have in this case the 5th fall in the bass line and two pairs of descending thirds guiding downsteps (in a progression of secondary 5th aswell in the diatonic 5th fall sequence and also with extended chords of 79.
This answer is not entirely containing all cases but provides some examples and solutions:
As you may know extended chords are to find quite often in a fith fall sequence: You probably have noticed that here the 3 becomes the 7 in the next chord and the 7 can be the sustained 4 or falls a minor second to 3, while the tonic becomes the new 5: d,f,a,c => g,b,d,f => c,e,g,b => f,a,d,e etc.
The voicing rules in classic and in jazz and pop music are similar: keepin a note of a chord in the same voice by let drop the fifth or third to play the extended chord notes.
Notice that you have in this case the 5th fall in the bass line and two pairs of descending thirds guiding downsteps (in a progression of secondary 5th aswell in the diatonic 5th fall sequence and also with extended chords of 79.
answered 38 mins ago
Albrecht HügliAlbrecht Hügli
2,450220
2,450220
add a comment |
add a comment |
Thanks for contributing an answer to Music: Practice & Theory Stack Exchange!
- Please be sure to answer the question. Provide details and share your research!
But avoid …
- Asking for help, clarification, or responding to other answers.
- Making statements based on opinion; back them up with references or personal experience.
To learn more, see our tips on writing great answers.
Sign up or log in
StackExchange.ready(function () {
StackExchange.helpers.onClickDraftSave('#login-link');
});
Sign up using Google
Sign up using Facebook
Sign up using Email and Password
Post as a guest
Required, but never shown
StackExchange.ready(
function () {
StackExchange.openid.initPostLogin('.new-post-login', 'https%3a%2f%2fmusic.stackexchange.com%2fquestions%2f80589%2fhow-do-you-voice-extended-chords%23new-answer', 'question_page');
}
);
Post as a guest
Required, but never shown
Sign up or log in
StackExchange.ready(function () {
StackExchange.helpers.onClickDraftSave('#login-link');
});
Sign up using Google
Sign up using Facebook
Sign up using Email and Password
Post as a guest
Required, but never shown
Sign up or log in
StackExchange.ready(function () {
StackExchange.helpers.onClickDraftSave('#login-link');
});
Sign up using Google
Sign up using Facebook
Sign up using Email and Password
Post as a guest
Required, but never shown
Sign up or log in
StackExchange.ready(function () {
StackExchange.helpers.onClickDraftSave('#login-link');
});
Sign up using Google
Sign up using Facebook
Sign up using Email and Password
Sign up using Google
Sign up using Facebook
Sign up using Email and Password
Post as a guest
Required, but never shown
Required, but never shown
Required, but never shown
Required, but never shown
Required, but never shown
Required, but never shown
Required, but never shown
Required, but never shown
Required, but never shown
Is Cmaj13 a common chord? I meet C13 (dominant) far more frequently.
– Tim
2 hours ago
@Tim just for the sake of example
– foreyez
2 hours ago