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<u>'''Extended Chords</u> ''' 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 Dominant 9th, G B D F A C is a Dominant 11th; and G B D F A C E is a Dominant 13th.
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{{Advanced Lesson Crumbs|7}}
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.
: '''Root{{9}}''' as in '''C{{9}}'''
The <u>'''Dominant 9th</u> ''' 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.
'''''R - M3 - P5 - m7 - M9'''''
: '''Root{{7}}{{b}}9''' as in '''C{{7}}{{b}}9'''
The <u>'''Dominant Minor 9th</u> ''' 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. Most often, the chord will be used in other contexts, using the non-diatonic {{b}}9th, making this an ''altered'' chord for the given key.
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 interval in the chord.
: '''Root {{maj}}{{9}}''' as in '''C{{maj}}{{9}}'''
The <u>'''Major 9th</u> ''' chord is the same as a Major 7th, plus the M9. It takes the dreamy quality of the Major 7th and adds the dreamy quality of a sus2 chord - the result is ''extra dreamy''. 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 m{{9}}''' as in '''Cm{{9}}'''
The <u>'''Minor 9th</u> ''' 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{{7}}+9''' as in '''C{{7}}+9
Similar to the Dominant 9th, the <u>'''Augmented 9th</u> ''' extends the Dominant 7th, but rather than adding the M9, it adds an 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 also appears in Jazz as well as 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 a 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{{6}}add9''' as in '''C{{6}}add9''' or '''C{{6}}<sup>/</sup>{{9}}'''
You should recognize the <u>'''6/9 Chord</u> ''' 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.
: '''Root add9''' as in '''C add9'''
The <u>'''Major Added 9th</u> ''' 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.
'''''R - M3 - P5 - M9'''''
: '''Root m add9''' as in '''Cm add9'''
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.
'''''R - m3 - P5 - M9'''''
: '''Root{{11}}''' - '''C{{11}}'''
Unlike the Diatonic 11th, the <u>'''Dominant 11th</u> ''' 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.
'''''R - <nowiki>[M3]</nowiki> - (P5) - m7 - M9 - P11'''''
: '''Root{{9}}{{s}}11''' as in '''C{{9}}{{s}}11'''
The <u>'''Dominant 11th chord</u> ''' 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 flatted 5th, and functions the same way.
'''''R - M3 - (P5) - m7 - M9 - A11'''''
: '''Root m{{11}}''' as in '''Cm{{11}}
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.
'''''R - m3 - (P5) - m7 - M9 - P11'''''
: '''Root{{maj}}{{11}}''' as in '''C{{maj}}{{11}}'''
This chord is also called the '''Lydianchord''' chord because it infers the Lydian mode (major scale with {{s}}4th). This follows the circle of fifths clockwise from the root note.
'''''R - M3 - (P5) - M7 - M9 - A11'''''
: '''Root{{13}}''' as in '''C{{13}}'''
The most common type of 13th, the <u>'''Dominant 13th</u> ''' uses the typical dominant chord M3 and m7, plus a M13 (~M6). The M9 is optional, while the P11 is typically omitted. The m7 and M13 form a M7 interval between them, so it's important to space them out in the voicing.
'''''R - M3 - (P5) - m7 - (M9) - (P11) - M13'''''
: '''Root m{{13}}''' as in '''Cm{{13}}'''
The <u>'''Minor 13th</u> ''' 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.
'''''R - m3 - (P5) - m7 - (M9) - (P11) - M13'''''
: '''Root{{maj}}{{13}}''' or '''Root maj{{13}}''' as in '''C{{maj}}{{13}}''' or '''C maj{{13}}'''
The <u>'''Major 13th</u> ''' is the same as the Dominant 13th, but with a M7 instead of m7. This removes the dominant tonality and function to the chord, as well as making it slightly more consonant. Of course it's still a 13th, so it's quite complex and more tense than a simple major triad.
'''''R - M3 - (P5) - M7 - (M9) - (P11) - M13'''''