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 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.

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 only have a few 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.

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.

All Notes for Arpeggios	|1|-|9|-|3| |5|-|-|7|-| |-|3|-|-|5| |7|-|1|-|9| |-|-|5|-|-| |1|-|9|-|3|	|7|-|1|-|9| |-|-|5|-|-| |-|9|-|3|-| |-|-|7|-|1| |-|3|-|-|5| |7|-|1|-|9|	|-|7|-|1|-| |3|-|-|5|-| |1|-|9|-|3| |5|-|-|7|-| |9|-|3|-|-| |-|7|-|1|-|	|5|-|-|7|-| |-|-|3|-|-| |7|-|1|-|9| |-|-|5|-|-| |1|-|9|-|3| |5|-|-|7|-|	|-|-|5|-|-| |1|-|9|-|3| |-|-|7|-|1| |-|3|-|-|5| |7|-|1|-|9| |-|-|5|-|-|	|3|-|-|5| |-|1|-|9| |5|-|-|7| |9|-|3|-| |-|7|-|1| |3|-|-|5|	|9|-|3|-|-| |-|7|-|1|-| |-|-|5|-|-| |1|-|9|-|3| |5|-|-|7|-| |9|-|3|-|-|

Root Position	5 |-|r|-|-|-| 9 |-|r|-|-|-| 7 |-|r|-|-|-| 3 |i|-|-|-|-| 1 |-|m|-|-|-| |-|-|-|-|-|	|-|-|-|-|-| 5 |-|p|-|-|-| 9 |i|-|-|-|-| 7 |)|r|-|-|-| 3 |i|-|-|-|-| 1 |-|m|-|-|-|

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.

All Notes for Arpeggios	|1|9|-|-|3| |5|-|-|7|-| |-|3|-|-|5| |7|-|1|9|-| |-|-|5|-|-| |1|9|-|-|3|	|7|-|1|9|-| |-|-|5|-|-| |9|-|-|3|-| |-|-|7|-|1| |-|3|-|-|5| |7|-|1|9|-|	|-|-|-|1|9| |3|-|-|5|-| |1|9|-|-|3| |5|-|-|-|-| |-|-|3|-|-| |-|-|-|1|9|	|5|-|-|7|-| |-|-|3|-|-| |7|-|1|9|-| |-|-|5|-|-| |1|9|-|-|3| |5|-|-|7|-|	|-|-|5|-|-| |-|9|-|-|3| |-|-|7|-|1| |-|3|-|-|5| |7|-|1|9|-| |-|-|5|-|-|	|3|-|-|5|-| |-|1|9|-|-| |5|-|-|7|-| |-|-|3|-|-| |-|7|-|1|9| |3|-|-|5|-|	|-|-|3|-|-| |-|7|-|1|9| |-|-|5|-|-| |1|9|-|-|3| |5|-|-|7|-| |-|-|3|-|-|

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.

All Notes for Arpeggios	|1|-|9|-|3| |5|-|-|-|7| |-|3|-|-|5| |-|7|1|-|9| |-|-|5|-|-| |1|-|9|-|3|	|-|7|1|-|9| |-|-|5|-|-| |9|-|3|-|-| |-|-|-|7|1| |-|3|-|-|5| |-|7|1|-|9|	|-|-|7|1|-| |3|-|-|5|-| |1|-|9|-|3| |5|-|-|-|7| |9|-|3|-|-| |-|-|7|1|-|	|5|-|-|-|7| |-|-|3|-|-| |-|7|1|-|9| |-|-|5|-|-| |1|-|9|-|3| |5|-|-|-|7|	|-|5|-|-| |9|-|-|3| |-|-|7|1| |3|-|-|5| |7|1|-|9| |-|5|-|-|	|3|-|-|5|-| |7|1|-|9|-| |5|-|-|-|7| |9|-|3|-|-| |-|-|7|1|-| |3|-|-|5|-|	|9|-|3|-|-| |-|-|7|1|-| |-|-|5|-|-| |1|-|9|-|3| |5|-|-|-|7| |9|-|3|-|-|

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.

All Notes for Arpeggios	|1|-|9|3|-| |5|-|-|7|-| |3|-|-|-|5| |7|-|1|-|9| |-|-|5|-|-| |1|-|9|3|-|	|7|-|1|-|9| |-|-|5|-|-| |-|9|3|-|-| |-|-|7|-|1| |3|-|-|-|5| |7|-|1|-|9|	|-|7|-|1| |-|-|-|5| |1|-|9|3| |5|-|-|7| |9|3|-|-| |-|7|-|1|	|5|-|-|7|-| |9|3|-|-|-| |7|-|1|-|9| |-|-|5|-|-| |1|-|9|3|-| |5|-|-|7|-|	|-|-|5|-|-| |1|-|9|3|-| |-|-|7|-|1| |3|-|-|-|5| |7|-|1|-|9| |-|-|5|-|-|	|3|-|-|-|5| |-|-|1|-|9| |-|5|-|-|7| |-|9|3|-|-| |-|-|7|-|1| |3|-|-|-|5|	|9|3|-|-| |-|7|-|1| |-|-|5|-| |1|-|9|3| |5|-|-|7| |9|3|-|-|

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.

All Notes for Arpeggios	|1|-|-|9|3| |5|-|-|7|-| |9|3|-|-|5| |7|-|1|-|-| |-|-|5|-|-| |1|-|-|9|3|	|7|-|1|-|-| |-|-|5|-|-| |-|-|9|3|-| |-|-|7|-|1| |9|3|-|-|5| |7|-|1|-|-|	|-|7|-|1| |3|-|-|5| |1|-|-|9| |5|-|-|7| |-|9|3|-| |-|7|-|1|	|5|-|-|7|-| |-|9|3|-|-| |7|-|1|-|-| |-|-|5|-|-| |1|-|-|9|3| |5|-|-|7|-|	|-|-|5|-|-| |1|-|-|9|3| |-|-|7|-|1| |9|3|-|-|5| |7|-|1|-|-| |-|-|5|-|-|	|9|3|-|-|5| |-|-|1|-|-| |-|5|-|-|7| |-|-|9|3|-| |-|-|7|-|1| |9|3|-|-|5|	|-|9|3|-|-| |-|7|-|1|-| |-|-|5|-|-| |1|-|-|9|3| |5|-|-|7|-| |-|9|3|-|-|

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.

All Notes for Arpeggios	|1|-|9|-|3| |5|-|6|-|-| |-|3|-|-|5| |-|-|1|-|9| |-|-|5|-|6| |1|-|9|-|3|	|-|1|-|9| |-|5|-|6| |9|-|3|-| |6|-|-|1| |3|-|-|5| |-|1|-|9|	|6|-|-|1|-| |3|-|-|5|-| |1|-|9|-|3| |5|-|6|-|-| |9|-|3|-|-| |6|-|-|1|-|	|5|-|6|-|-| |-|-|3|-|-| |-|-|1|-|9| |-|-|5|-|6| |1|-|9|-|3| |5|-|6|-|-|	|-|5|-|6| |-|9|-|3| |6|-|-|1| |3|-|-|5| |-|1|-|9| |-|5|-|6|	|3|-|-|5| |-|1|-|9| |5|-|6|-| |9|-|3|-| |6|-|-|1| |3|-|-|5|	|9|-|3|-|-| |6|-|-|1|-| |-|-|5|-|6| |1|-|9|-|3| |5|-|6|-|-| |9|-|3|-|-|

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.

All Notes for Arpeggios	|1|-|9|-|3| |5|-|-|-|-| |-|3|-|-|5| |-|-|1|-|9| |-|-|5|-|-| |1|-|9|-|3|	|-|1|-|9| |-|5|-|-| |9|-|3|-| |-|-|-|1| |3|-|-|5| |-|1|-|9|	|-|-|-|1|-| |3|-|-|5|-| |1|-|9|-|3| |5|-|-|-|-| |9|-|3|-|-| |-|-|-|1|-|	|5|-|-|-|-| |-|-|3|-|-| |-|-|1|-|9| |-|-|5|-|-| |1|-|9|-|3| |5|-|-|-|-|	|-|5|-|-| |-|9|-|3| |-|-|-|1| |3|-|-|5| |-|1|-|9| |-|5|-|-|	|3|-|-|5| |-|1|-|9| |5|-|-|-| |9|-|3|-| |-|-|-|1| |3|-|-|5|	|9|-|3|-|-| |-|-|-|1|-| |-|-|5|-|-| |1|-|9|-|3| |5|-|-|-|-| |9|-|3|-|-|

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.

All Notes for Arpeggios	|1|-|9|3|-| |5|-|-|-|-| |3|-|-|-|5| |-|-|1|-|9| |-|-|5|-|-| |1|-|9|3|-|	|-|-|1|-|9| |-|-|5|-|-| |-|9|3|-|-| |-|-|-|-|1| |3|-|-|-|5| |-|-|1|-|9|	|-|-|-|1| |-|-|-|5| |1|-|9|3| |5|-|-|-| |9|3|-|-| |-|-|-|1|	|5|-|-|-| |9|3|-|-| |-|-|1|-| |-|-|5|-| |1|-|9|3| |5|-|-|-|	|-|-|5|-|-| |1|-|9|3|-| |-|-|-|-|1| |3|-|-|-|5| |-|-|1|-|9| |-|-|5|-|-|	|3|-|-|-|5| |-|-|1|-|9| |-|5|-|-|-| |-|9|3|-|-| |-|-|-|-|1| |3|-|-|-|5|	|9|3|-|-| |-|-|-|1| |-|-|5|-| |1|-|9|3| |5|-|-|-| |9|3|-|-|

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

The 3rd is virtually always omitted due to its dissonant m9 (m2 above the octave) interval with the 11th.

Dominant 11th

R - [M3] - (P5) - m7 - M9 - A11

Root Position

|-|-|-|-|-| 11 |i|-|-|-|-| 9 |i|-|-|-|-| 7 |-|r|-|-|-| |-|-|-|-|-| 1 |-|m|-|-|-|

Minor 11th

R - [m3] - (P5) - m7 - M9 - P11

Root Position

|-|-|-|-|-| 11 |i|-|-|-|-| 9 |-|m|-|-|-| 7 |-|-|p|-|-| |-|-|-|-|-| 1 |-|-|r|-|-|

Major 11th

R - [M3] - (P5) - M7 - M9 - A11

Root Position

|-|-|-|-|-| 11 |i|-|-|-|-| 9 |i|-|-|-|-| 7 |-|-|r|-|-| |-|-|-|-|-| 1 |-|m|-|-|-|

13ths

R - 3 - (5) - 7 - (9) - (11) - 13

Dominant 13th

R - M3 - (P5) - m7 - (M9) - (P11) - M13

Root Position

|-|-|-|-|-| 13 |-|-|p|-|-| 3 |-|r|-|-|-| 7 |m|-|-|-|-| |-|-|-|-|-| 1 |i|-|-|-|-|

13 |-|-|p|-|-| 3 |-|-|r|-|-| 7 |i|-|-|-|-| 5 |)|-|m|-|-| 1 |i|-|-|-|-| |-|-|-|-|-|

Minor 13th

R - m3 - (P5) - m7 - (M9) - (P11) - M13

Root Position

|-|-|-|-|-| 13 |-|-|p|-|-| 3 |i|-|-|-|-| 7 |i|-|-|-|-| 5 |)|-|r|-|-| 1 |i|-|-|-|-|

13 |-|-|p|-|-| 3 |-|m|-|-|-| 7 |i|-|-|-|-| 5 |)|-|r|-|-| 1 |i|-|-|-|-| |-|-|-|-|-|

Major 13th

R - M3 - (P5) - M7 - (M9) - (P11) - M13

Root Position

|-|-|-|-|-| 13 |-|-|p|-|-| 3 |-|r|-|-|-| 7 |-|m|-|-|-| |-|-|-|-|-| 1 |i|-|-|-|-|

13 |-|-|p|-|-| 3 |-|-|r|-|-| 7 |-|m|-|-|-| |-|-|-|-|-| 1 |i|-|-|-|-| |-|-|-|-|-|