Extended harmony

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In music, extended chords are tertian chords (built from thirds) or triads with notes extended, or added, beyond the octave. Ninth, eleventh, and thirteenth chords are extended chords. The thirteenth is the furthest extension diatonically possible as, by that point, all seven tonal degrees are represented within the chord. In practice however, extended chords do not typically use all the chord members; when it is not altered, the fifth is often omitted, as are notes between the seventh and the highest note (i.e., the ninth is often omitted in an eleventh chord; the ninth and eleventh are usually omitted in a thirteenth chord), unless they are altered to give a special texture.

Chords extended beyond the seventh are rarely seen in the Baroque era, and are used more frequently in the Classical era. The Romantic era saw greatly increased use of extended harmony. Extended harmony prior to the 20th century usually has dominant function -- as V9, V11, and V13, or V9/V, V13/ii etc.

[edit] Common Voicings and Expected Resolution in the Baroque, Classical, and Romantic styles

When orchestrating chords that are voiced in four or fewer parts, it is important to select which notes to use so as to give the desired sonority, or effect of the intended chord. Generally, priority should be given to the third, seventh and the most extended tone, as these factors most strongly influence the quality and function of the chord. The root is never omitted from the texture. The third defines the chord's quality as major or minor. The extended note defines the quality of the extended pitch, which may be major, minor, perfect, or augmented. The seventh factor helps to define the chord as an extended chord (and not an added note chord), and also adds to the texture. Any notes which happen to be altered, such as a flatted fifth or ninth, should also be given priority. For example: in a thirteenth chord, one would play the root, third, seventh, and thirteenth, and be able to leave out the fifth, ninth, and eleventh without affecting the function of the chord. The Eleventh chord is an exception to this voicing, in which the root, seventh, ninth, and eleventh are most commonly used.

In the classical practices of western music, extended chords most often have dominant function (dominant or secondary dominant), and will resolve in circle progression (down a fifth) in much the same way that V7, V7/ii, V/IV, etc might resolve to their respective tonics. Extended chords can also be altered dominants, and the extended pitch may be altered in several ways (such as V flat 13 in a major key).

Following standard voice leading rules:

V9 - I or i

  • The third, which will also be the seventh scale degree, always resolves upward to tonic.
  • The seventh resolves downwards stepwise to the third factor of the chord of resolution.
  • The extended pitch will resolve downward.

V11 - I or i

  • The seventh resolves downwards stepwise to the third factor of the chord of resolution.
  • The ninth resolves downwards stepwise to the fifth factor of the chord of resolution.
  • The eleventh doesn't move, and becomes the root of the chord of resolution.

V13 - I or i

  • The seventh resolves downwards stepwise to the third factor of the chord of resolution.
  • The third, which will also be the seventh scale degree, always resolves upward to tonic.
  • The Thirteenth, will resolve downward to the tonic, and often includes a passing tone through the ninth factor of the chord of resolution. The thirteenth may also remain the same and become the third of the chord of resolution. (Rare)

An important distinction between Extended and Added chords must be made, since the added tones and extended tones are enharmonic, but differ in function. Extended chords always have at least one octave between their lowest pitch, and extended note, otherwise the extended factor would be considered an added pitch. Extended chords usually must be resolved when used in a dominant function, whereas added chords are most often textures added to a tonic.

[edit] Further reading

  • Popp, Marius (1998). Applicatory Harmony in Jazz, Pop & Rock Improvisation. ISBN 973-569-228-7.

[edit] See also


v • d • e
Chords
By Type Triad Major · Minor · Augmented · Diminished · Suspended
Seventh Major · Minor · Dominant · Diminished · Half-diminished · Minor-major · Augmented major · Augmented minor
Extended Ninth · Eleventh · Thirteenth
Other Sixth · Augmented sixth · Altered · Added tone · Polychord · Quartal and quintal · Tone cluster · Power
By Function Diatonic Tonic · Dominant · Subdominant · Submediant
Altered Borrowed · Neapolitan chord · Secondary dominant
With Names Elektra chord · Hendrix chord · Mystic chord · Petrushka chord · Tristan chord · So What chord