Extended Chords
Extended Chords feature notes beyond the traditional triads, 7ths, and suspended 2nd/4ths. They are most commonly found in jazz, although some of the less complex ones can be seldomly found in other genres. The chords typically continue along the same route as the triads and 7ths, adding every other note from the root note. Although this goes past the octave, the number assigned to the additional notes continues to increment upwards from 7. For example, G B D F is a dominant 7th; G B D F A is a 9th, G B D F A C is an 11th; and G B D F A C E is a 13th.
Extended chords rarely feature all the notes, as that would make them quite dissonant. For example, a "full" 13th chord features every note in the scale. Also, as you can imagine, there are more variations of extended chords than triads or 7ths; as the number of notes in the chord increases, the number of permutations available based on ♭/♯'ed notes increases exponentially. Some permutations simply sound awful and aren't used, or are enharmonic to other chords making them redundant. We will not list those below.
Harmonically, extended chords fall into the same functions as other chords: tonic, pre-dominant, and dominant. They are most commonly used as substitutes for traditional triad or 7th chords, assuming the function of the chord they replace.
Because extended chords contain more intervals and thus harmonic complexity than triads and 7ths, they are typically played with an undistorted guitar tone. Otherwise, they can sound very dissonant. In fact, unlike triads and some 7ths, extended chords typically have fewer desirable voicings, avoiding highly dissonant intervals such as m2 between notes. Jazz musicians also typically roll down the tone knob on their guitar to reduce overtones for a darker sound, as well as finger-picking instead of using a plectrum. This allows the complexity of the interaction between the fundamental pitches to be more clearly heard. When distorted guitar wants to play an extended chord, it must often be separated between multiple instruments, or arpeggiated.
Extended chords each have their own flavor, with each voicing have its own sub-flavor. In addition to the interesting sounds they produce, they also serve for voice leading purposes by providing a greater variety of note choices in numerous voices, but particularly the soprano. Often the most extended note of the chord is altered (♭/♯'ed), slyly introducing chromatics into both harmonies and melodies.
Contents
9ths
- R - 3 - (5) - (7) - 9
9th chords typically feature the root, 3rd, 7th, and 9th. Some additionally feature the 5th, while the "add 9" chords omit the 7th.
Dominant 9th
R - M3 - P5 - m7 - M9
-M3- -m3- -m3- -M3-
---P5--- ---P5---
---tt---
-----m7------
------m7-----
--------M9--------
This is the most common 9th chord, regularly used to substitute for the Dominant 7th chord. It is the same chord with an added M9. It sounds more dreamy and mellow compared to the twangy, folksy Dominant 7th.
| Root Position | |||||
|---|---|---|---|---|---|
5 |-|r|-|-|-| 9 |-|r|-|-|-| 7 |-|r|-|-|-| 3 |i|-|-|-|-| 1 |-|m|-|-|-| |-|-|-|-|-| |
|-|-|-|-|-| 5 |-|p|-|-|-| 9 |i|-|-|-|-| 7 |)|r|-|-|-| 3 |i|-|-|-|-| 1 |-|m|-|-|-| |
9 |-|-|p|-|-| 5 |i|-|-|-|-| 3 |)|m|-|-|-| 7 |i|-|-|-|-| 5 |)|-|r|-|-| 1 |i|-|-|-|-| |
|-|-|-|-|-| 3 |i|-|-|-|-| 9 |-|-|m|-|-| 7 |-|-|-|p|-| |-|-|-|-|-| 1 |-|-|-|r|-| |
3 |i|-|-|-|-| 9 |-|-|-|p|-| 7 |-|-|-|r|-| |-|-|-|-|-| 1 |-|-|-|m|-| |-|-|-|-|-| |
9 |-|r|-|-|-| 7 |-|-|p|-|-| 3 |i|-|-|-|-| 1 |-|m|-|-|-| |-|-|-|-|-| |-|-|-|-|-| |
| 1st Inversion | |||||
R |-|p|-|-|-| 5 |-|r|-|-|-| 9 |i|-|-|-|-| 7 |)|m|-|-|-| 3 |i|-|-|-|-| |-|-|-|-|-| | |||||
| 3rd Inversion | |||||
R |-|p|-|-|-| 5 |-|r|-|-|-| 9 |i|-|-|-|-| 7 |-|m|-|-|-| 3 |-|-|-|-|-| |-|-|-|-|-| | |||||
Dominant Minor 9th
R - M3 - (P5) - m7 - m9
-M3-(-m3- -m3-)-m3-
(---P5--- ---tt---)
----tt----
------m7-------
-------d7------
---------m9---------
The Dominant Minor 9th chord is the dominant 7th chord, plus a m9. This chord is fairly uncommon. It contains the m2 (m9) and M3 in relation to the root note, implying a whole+half step, placing it outside of the standard major/natural minor scales; however it is diatonic to the harmonic scale, with the root note of the chord occurring on the 6th note of the scale.
The 5th is optional and dropped in some voicings, which eliminates a tritone interval between the 5th and 9th, helping make the chord slightly less dissonant. However, there is still another tritone and the m9 intervals in the chord.
| Root Position | |
|---|---|
5 |-|p|-|-|-| 9 |i|-|-|-|-| 7 |)|r|-|-|-| 3 |i|-|-|-|-| 1 |-|m|-|-|-| |-|-|-|-|-| |
9 |i|-|-|-|-| 7 |)|-|r|-|-| 3 |i|-|-|-|-| 1 |-|m|-|-|-| |-|-|-|-|-| |-|-|-|-|-| |
Major 9th
R - M3 - (P5) - M7 - M9
-M3-(-m3- -M3-)-m3-
(---P5--- ---P5---)
----P5----
------M7-------
-------m7------
---------M9---------
The Major 9th chord is the same as a Major 7th, plus the M9. It takes the dreamy quality of the Major 7th and amplifies it. It can be used to substitute for tonic and pre-dominant chords, as it is diatonic to the major scale with the 1st or 4th notes as the root, or the natural minor scale with the 3rd or 6th notes as the root.
The 5th is optional, which is pragmatic for fingering purposes as seen below. This drops the pair of perfect 5th intervals between the 5th and the root and M9, which makes the chord less harmonic. However, since there's so much going on anyway, it will not make a big difference.
| Root Position | |
|-|-|-|-|-| 9 |-|r|-|-|-| 7 |-|-|p|-|-| 3 |i|-|-|-|-| 1 |-|m|-|-|-| |-|-|-|-|-| |
9 |-|r|-|-|-| 7 |-|-|-|p|-| 3 |i|-|-|-|-| 1 |-|m|-|-|-| |-|-|-|-|-| |-|-|-|-|-| |
Minor 9th
R - m3 - (P5) - m7 - M9
-m3-(-M3- -m3-)-M3-
(---P5--- ---P5---)
----P5----
------m7-------
-------M7------
---------M9---------
The Minor 9th is the Minor 7th, plus the M9. It is a common chord found to substitute for the Minor 7th.
The 5th is optional, which drops a pair of P5 intervals, making the chord slightly more dissonant, although it will be difficult to hear among the other intervals, as the chord overall has a consonant quality.
| Root Position | |
|---|---|
5 |-|-|r|-|-| 9 |-|-|r|-|-| 7 |-|-|r|-|-| 3 |i|-|-|-|-| 1 |-|-|m|-|-| |-|-|-|-|-| |
9 |-|-|r|-|-| 7 |-|-|-|p|-| 3 |i|-|-|-|-| 1 |-|-|m|-|-| |-|-|-|-|-| |-|-|-|-|-| |
Augmented 9th
R - M3 - (P5) - m7 - A9
-M3-(-m3- -m3-)-P4-
(---P5--- ---m6---)
----tt----
------m7-------
-------M7------
---------A9---------
Similar to the Dominant Minor 9th, this chord extends the Dominant 7th, but rather than adding the m9, it adds a A9 (same as a m3 from root). Thus, it contains both the m3 and M3 intervals in relation to the root note. As crazy and dissonant as that might sound, this chord is used fairly regularly, particularly in blues which makes use of the m3 as a blue note without necessarily abandoning use of the M3. It appears not simply in jazz but also in rock, being the main chord of Jimi Hendrix's Purple Haze. It has an ambiguity to it that allows it to function in a number of roles, but will most commonly be found as the tonic in a blues (or bluesy) progression.
The 5th is optional, which is pragmatic for fingering as seen below. While this drops the a pair of m3 intervals, the A9 interval is an m3 + an octave anyway. Since this chord has the potential for dissonance, dropping the 5th is recommended to make the chord more consonant and less complex.
| Root Position | |
|---|---|
|-|-|-|-| 9 |-|-|p|-| 7 |-|r|-|-| 3 |i|-|-|-| 1 |-|m|-|-| |-|-|-|-| |
9 |-|-|p|-| 7 |-|-|r|-| 3 |i|-|-|-| 1 |-|m|-|-| |-|-|-|-| |-|-|-|-| |
6/9
R - M3 - P5 - M6 - M9
-M3- -m3- -M2- -P4-
----P5--- ----P5---
----P4---
-----M6------
-------m7------
---------M9--------
You should recognize this chord as the "jazz ending" chord. It is fairly complex yet consonant and dreamy, finding a peaceful resolution to a progression. As such it substitutes for tonic.
Unlike other 9th chords, it uses the M6 instead of a 7th; but this can also be interpretted as a d7.
This is the same set of notes as the Major Pentatonic Scale.
| Root Position | |
5 |-|p|-|-|-| 9 |-|r|-|-|-| 6 |i|-|-|-|-| 3 |i|-|-|-|-| 1 |-|m|-|-|-| |-|-|-|-|-| |
1 |-|p|-|-|-| 5 |-|r|-|-|-| 9 |i|-|-|-|-| 6 |i|-|-|-|-| 3 |i|-|-|-|-| 1 |-|m|-|-|-| |
Major Added 9th
R - M3 - P5 - M9
-M3- -m3- -P5-
----P5---
----m7---
------M9------
The Major Added 9th chord is a standard major triad, plus the M9. It simply takes the dreamy quality of a suspended 2nd, but gives a firm major tonality. It can be used anywhere a sus2 or major triad would work.
| Root Position | ||
1 |i|-|-|-|-| 5 |i|-|-|-|-| 3 |)|m|-|-|-| 9 |)|-|-|-|p| 5 |)|-|r|-|-| 1 |i|-|-|-|-| |
5 |-|p|-|-|-| 9 |-|r|-|-|-| |-|-|-|-|-| 3 |i|-|-|-|-| 1 |-|m|-|-|-| |-|-|-|-|-| |
5 |i|-|-|-|-| 3 |)|-|r|-|-| 9 |)|-|-|-|p| 5 |)|-|m|-|-| 1 |i|-|-|-|-| |-|-|-|-|-| |
Minor Added 9th
R - m3 - P5 - M9
-M3- -m3- -P5-
----P5---
----m7---
------M9------
The Minor Added 9th chord is a standard minor triad, plus the M9. It simply takes the dreamy quality of a suspended 2nd, but gives a firm minor tonality. It can be used anywhere a sus2 or minor triad would work.
| Root Position | ||
1 |i|-|-|-|-| 5 |i|-|-|-|-| 3 |i|-|-|-|-| 9 |)|-|-|-|p| 5 |)|-|m|-|-| 1 |i|-|-|-|-| |
5 |-|-|p|-|-| 9 |-|-|r|-|-| |-|-|-|-|-| 3 |i|-|-|-|-| 1 |-|-|m|-|-| |-|-|-|-|-| |
5 |i|-|-|-|-| 3 |)|m|-|-|-| 9 |)|-|-|-|p| 5 |)|-|r|-|-| 1 |i|-|-|-|-| |-|-|-|-|-| |
11ths
- R - (3) - (5) - 7 - 9 - 11
For diatonic major chord variations, the major 3rd is virtually always omitted due to its dissonant m9 (m2 above the octave) interval with the diatonic 11th. In jazz, the 11th is usually sharped, avoiding the m9.
When the 3rd and 5th are not present, the chord becomes more ambiguous, with the 7th, 9th, and 11th forming a standard triad, with the root note serving as an alternate bass note. For example, C B♭ D F could be either C11 or B♭/C (B♭ major add 9 in 3rd inversion).
11th (Diatonic)
R - [M3] - (P5) - M7 - M9 - P11
-------M7-------- -m3- -m3-
---d5---
----------M2-----------
-------------P4------------
The 7th, 9th, and 11th in this chord are the diatonic notes for the major scale. They form a diminished triad, composed of 2 m3 intervals. This dissonance is somewhat offset by the M7 and M9 harmony against the root note.
| Root Position | ||||
|---|---|---|---|---|
|-|-|-|-|-| 11 |i|-|-|-|-| 9 |-|m|-|-|-| 7 |-|-|-|p|-| |-|-|-|-|-| 1 |-|-|r|-|-| |
9 |-|-|p|-|-| |-|-|-|-|-| 11 |-|-|r|-|-| 7 |-|m|-|-|-| |-|-|-|-|-| 1 |i|-|-|-|-| |
11 |i|-|-|-|-| 9 |-|-|r|-|-| 7 |-|-|-|p|-| |-|-|-|-|-| 1 |-|-|m|-|-| |-|-|-|-|-| |
11 |-|-|-|p|-| 7 |-|-|r|-|-| 5 |-|-|m|-|-| 1 |i|-|-|-|-| |-|-|-|-|-| |-|-|-|-|-| |
|-|-|-|-|-| |-|-|-|-|-| 11 |-|-|p|-|-| 7 |-|m|-|-|-| 5 |-|-|r|-|-| 1 |i|-|-|-|-| |
| 2nd Inversion | ||||
7 |i|-|-|-|-| 11 |i|-|-|-|-| 9 |i|-|-|-|-| 1 |-|-|-|p|-| 5 |-|-|-|r|-| |-|-|-|-|-| |
|-|-|-|-|-| 9 |i|-|-|-|-| 7 |)|r|-|-|-| 11 |)|m|-|-|-| 1 |i|-|-|-|-| 5 |i|-|-|-|-| | |||
| 4th Inversion | ||||
1 |i|-|-|-|-| 7 |-|-|-|-|p| 11 |-|-|-|r|-| |-|-|-|-|-| 5 |-|-|m|-|-| 9 |-|-|m|-|-| |
Dominant 11th
R - [M3] - (P5) - m7 - M9 - P11
-------m7-------- -M3- -m3-
---P5---
----------M2-----------
-------------P4------------
Unlike the Diatonic 11th, the Dominant 11th uses the m7 note from the root. This makes the 7th, 9th, 11th triad a major triad. The root note below creates a suspended type feeling, getting a very dreamy quality to the chord, while it still serves a dominant function.
| Root Position | |
|-|-|-|-|-| 11 |i|-|-|-|-| 9 |-|m|-|-|-| 7 |-|-|p|-|-| |-|-|-|-|-| 1 |-|-|r|-|-| |
11 |i|-|-|-|-| 9 |-|-|p|-|-| 7 |-|-|r|-|-| |-|-|-|-|-| 1 |-|-|m|-|-| |-|-|-|-|-| |
Dominant ♯11th (Jazz Dominant 11th)
R - M3 - (P5) - m7 - M9 - A11
-M3- ----tt---- -M3- -M3-
------m7------- ---m6---
-------m7------
---------M9---------
------------tt-----------
The Dominant 11th chord uses the A11 rather than P11, making the interval between the M3 and A11 a M9 rather than a m9, a more harmonious interval, so we incorporate the 3rd into the chord. This along with the root have a rich interaction on the augmented triad formed by the 7th, 9th, and 11th. It appears very similar to a Dominant 9th, just with a flattened 5th, and functions the same way.
| Root Position | ||
|---|---|---|
|-|-|-|-|-| 11 |i|-|-|-|-| 9 |i|-|-|-|-| 7 |)|r|-|-|-| 3 |i|-|-|-|-| 1 |-|m|-|-|-| |
11 |i|-|-|-|-| 9 |)|p|-|-|-| 7 |)|r|-|-|-| 3 |i|-|-|-|-| 1 |-|m|-|-|-| |-|-|-|-|-| |
|-|-|-|-|-| 11 |i|-|-|-|-| 3 |-|-|p|-|-| 7 |-|r|-|-|-| |-|-|-|-|-| 1 |-|m|-|-|-| |
Minor 11th
R - m3 - (P5) - m7 - M9 - P11
-m3- ----P5---- -M3- -m3-
------m7------- ---P5---
-------M7------
---------M2---------
------------P4------------
The minor 11th has a m3, so it avoids the dissonant m9 interval formed between the M3 and P11 in other 11th chords. So we include it here, getting a similar sound to the dominant 11th, but with a minor tonality and more complex interaction from the added note.
| Root Position | ||||
|---|---|---|---|---|
|-|-|-|-|-| 11 |i|-|-|-|-| 9 |)|m|-|-|-| 7 |)|-|p|-|-| 3 |i|-|-|-|-| 1 |-|-|r|-|-| |
5 |i|-|-|-|-| 3 |)|r|-|-|-| 7 |i|-|-|-|-| 11 |i|-|-|-|-| 1 |i|-|-|-|-| |-|-|-|-|-| |
7 |i|-|-|-|-| 11 |i|-|-|-|-| 3 |)|-|p|-|-| 7 |)|-|r|-|-| 3 |i|-|-|-|-| 1 |-|-|m|-|-| |
9 |-|-|r|-|-| 5 |i|-|-|-|-| 3 |i|-|-|-|-| 7 |i|-|-|-|-| 11 |i|-|-|-|-| 1 |i|-|-|-|-| |
11 |i|-|-|-|-| 1 |i|-|-|-|-| 7 |)|-|p|-|-| 3 |i|-|-|-|-| 1 |-|-|r|-|-| |-|-|-|-|-| |
| 2nd Inversion | ||||
7 |i|-|-|-|-| 11 |i|-|-|-|-| 3 |-|-|m|-|-| 1 |-|-|-|-|p| 5 |-|-|-|-|r| |-|-|-|-|-| |
Major 11th (Lydian)
R - M3 - (P5) - M7 - M9 - A11
-M3- ----P5---- -m3- -M3-
------M7------- ---P5---
-------m7------
---------M2---------
------------tt-----------
This chord is also called the Lydian chord because it infers the Lydian mode (major scale with ♯4th). This follows the circle of fifths clockwise from the root note.
Major 11th (Lydian)
- R - (M3) - (P5) - M7 - (M9) - A11
- |x|-|?|-|?|-|o|?|-|-|-|o|
- |0|-|-|3|-|5|-|7|-|9|-|-|
| Root Position | |||||
|---|---|---|---|---|---|
|-|-|-|-|-| 11 |i|-|-|-|-| 9 |i|-|-|-|-| 7 |-|-|r|-|-| |-|-|-|-|-| 1 |-|m|-|-|-| |
|-|-|-|-|-| |-|-|-|-|-| 11 |-|-|-|p|-| 7 |-|m|-|-|-| 5 |-|-|r|-|-| 1 |i|-|-|-|-| |
1 |i|-|-|-|-| 5 |i|-|-|-|-| 11 |)|-|-|p|-| 7 |)|m|-|-|-| |)|-|-|-|-| 1 |i|-|-|-|-| |
11 |-|-|-|-|p| 7 |-|-|r|-|-| 5 |-|-|m|-|-| 1 |i|-|-|-|-| |-|-|-|-|-| |-|-|-|-|-| |
11 |i|-|-|-|-| 1 |i|-|-|-|-| 7 |-|-|-|p|-| 3 |-|m|-|-|-| 1 |-|-|r|-|-| |-|-|-|-|-| |
9 |-|-|p|-|-| 5 |i|-|-|-|-| 3 |)|r|-|-|-| 7 |)|m|-|-|-| 11 |i|-|-|-|-| 1 |i|-|-|-|-| |
| 2nd Inversion | |||||
7 |i|-|-|-|-| 11 |i|-|-|-|-| 3 |-|-|m|-|-| 1 |-|-|-|p|-| 5 |-|-|-|r|-| |-|-|-|-|-| |
|-|-|-|-|-| 9 |i|-|-|-|-| 7 |)|r|-|-|-| 11 |)|m|-|-|-| 1 |i|-|-|-|-| 5 |i|-|-|-|-| |
1 |i|-|-|-|-| 7 |-|-|-|-|p| 11 |-|-|-|r|-| |-|-|-|-|-| 5 |-|-|m|-|-| |-|-|-|-|-| |
13ths
- R - 3 - (5) - 7 - (9) - (11) - 13
13ths are typically dominant-function chords, regardless of the exact notes they contain. The 9th and 11th are omitted, with the 3rd and 7th creating the tonality of the chord, with the 13th (6th + 1 octave) extending the harmony, giving a very jazzy vibe. The 13th is almost always a M13.
Dominant 13th
R - M3 - (P5) - m7 - (M9) - (P11) - M13
-M3- ----tt---- --------M7--------
------m7-------
--------------P4--------------
----------------M6-----------------
The most common type of 13th, the Dominant 13th, uses the typical dominant chord M3 and m7, plus a M13 (~M6). The m7 and M13 form a M7 interval between them, so it's important to space them out in the voicing.
| Root Position | |||
|-|-|-|-|-| 13 |-|-|p|-|-| 3 |-|r|-|-|-| 7 |m|-|-|-|-| |-|-|-|-|-| 1 |i|-|-|-|-| |
13 |-|-|p|-|-| 3 |-|-|p|-|-| 7 |m|-|-|-|-| |-|-|-|-|-| 1 |i|-|-|-|-| |-|-|-|-|-| |
13 |-|-|-|p|-| 9 |-|r|-|-|-| 7 |-|r|-|-|-| 3 |i|-|-|-|-| 1 |-|m|-|-|-| |-|-|-|-|-| |
13 |-|-|p|-|-| 3 |-|-|r|-|-| 7 |i|-|-|-|-| 5 |)|-|m|-|-| 1 |i|-|-|-|-| |-|-|-|-|-| |
Minor 13th
R - m3 - (P5) - m7 - (M9) - (P11) - M13
-m3- ----P5---- --------M7--------
------m7-------
--------------tt--------------
----------------M6-----------------
The Minor 13th is the same as the Dominant 13th, but with a m3 instead of M3. This makes the chord have the minor tonality, but it's overall just as consonant as the Dominant 13th.
| Root Position | ||
|-|-|-|-|-| 13 |-|-|p|-|-| 3 |i|-|-|-|-| 7 |i|-|-|-|-| 5 |)|-|r|-|-| 1 |i|-|-|-|-| |
13 |-|-|p|-|-| 3 |-|m|-|-|-| 7 |i|-|-|-|-| 5 |)|-|r|-|-| 1 |i|-|-|-|-| |-|-|-|-|-| |
13 |-|-|-|-|p| 9 |-|-|r|-|-| 7 |-|-|r|-|-| 3 |i|-|-|-|-| 1 |-|-|m|-|-| |-|-|-|-|-| |
Major 13th
R - M3 - (P5) - M7 - (M9) - (P11) - M13
-M3- ----P5---- --------m7--------
------M7-------
--------------P4--------------
----------------M6-----------------
| Root Position | |
|-|-|-|-|-| 13 |-|-|p|-|-| 3 |-|r|-|-|-| 7 |-|m|-|-|-| |-|-|-|-|-| 1 |i|-|-|-|-| |
13 |-|-|p|-|-| 3 |-|-|r|-|-| 7 |-|m|-|-|-| |-|-|-|-|-| 1 |i|-|-|-|-| |-|-|-|-|-| |