Who can explain this to me? With regards to adding interest to a chord progression.
"You can extend the chords beyond the intervals within the octave in order to add some higher pitches to the mix. Those intervals that sound terrible when played as a harmony, like the root note and the second, can often sound good when the minor second is lifted by an octave.
I’ve added some ninths; pay attention to the difference between the first C maj chord and the second. Because the second is a 1[SUP]st[/SUP] inversion, the extension isn’t so far away from the rest of the chord and sits in better. There’s also an extended note in the F ma"
When do you ever get a root note and second as a chord anyway? Suspended chords?
Sorry I may be confusing what they're saying, if anyone can break it down to me as simple as possible, much appreciated.
BandCoach...holla...
knowing what the actual examples were would allow me to give you greater insight.
However, the essence of this passage is about voicing chords; specifically chords of the 6th, 7th and 9th.
It is also about using compound intervals that have been collapsed inside the octave. A compound interval is an interval larger than an octave, namely the 9th, 11th and 13th. When collapsed inside of the octave these become the 2nd, 4th and 6th.
I will limit my discussion to chords of the 9th as the same principles are in play with the other chord types anyway.
Any chord can be inverted, that is the chord can have different voicings with each voicing being named as a particular inversion. Root position has the tonic or root of the chord as the bass note as well. 1st inversion has the 3rd in the bass. 2nd inversion has the 5th in the bass. 3rd inversion has the 7th in the bass. To keep things simple here, the 4th inversion (which has the 9th in the bass) is included to show the voicing of the 2nd/9th in the bass.
side note
Most theoreticians do not allow that there is a 4th inversion of extended chords, instead opting for no more than 3 inversions and the removal of the root to the bass and the omission of the 5th.
The table below shows the 9th for each scale tone in C major (to simplify discussion I use C major, you can do this is in any key and the process is exactly the same). Each inversion or close voicing is shown to the 4th inversion.
The specific intervals above the given bass note are then given.
The partial intervals or melodic distance between chord tones is then given.
Lastly, each inversion is shown in formal notation and audio is provided - some of the ntoatioin has been shifted
Position
Root note | Root | 1st inv | 2nd inv | 3rd inv | 4th inv |
|---|
| C | C-E-G-B-D | E-G-B-C-D | G-B-C-D-E | B-C-D-E-G | D-E-G-B-C |
|---|
| Scale tones | 1-3-5-7-2 | 3-5-7-1-2 | 5-7-1-2-3 | 7-1-2-3-5 | 2-3-5-7-1 |
|---|
| Intervals | M3-P5-M7-M9 | m3-P5-m6-m7 | M3-P4-P5-M6 | m2-m3-P4-m6 | M2-P4-M6-m7 |
|---|
| Partial Intervals | M3-m3-M3-m3 | m3-M3-m2-M2 | M3-m2-M2-M2 | m2-M2-M2-m3 | M2-m3-M3-m2 |
|---|
| [mp3]http://www.bandcoach.org/fp/audio/chordExtensions-01.mp3[/mp3]
| | | | |
|---|
| F | F-A-C-E-G | A-C-E-F-G | C-E-F-G-A | E-F-G-A-C | G-A-C-E-F |
|---|
| Scale tones | 4-6-1-3-5 | 6-1-3-4-5 | 1-3-4-5-6 | 3-4-5-6-1 | 4-5-6-1-3 |
|---|
| Intervals | M3-P5-M7-M9 | m3-P5-m6-m7 | M3-P4-P5-M6 | m2-m3-P4-m6 | M2-P4-M6-m7 |
|---|
| Partial Intervals | M3-m3-M3-m3 | m3-M3-m2-M2 | M3-m2-M2-M2 | m2-M2-M2-m3 | M2-m3-M3-m2 |
|---|
| [mp3]http://www.bandcoach.org/fp/audio/chordExtensions-02.mp3[/mp3]
| | | | |
|---|
| G | G-B-D-F-A | B-D-F-G-A | D-F-G-A-B | F-G-A-B-D | A-B-D-F-G |
|---|
| Scale tones | 5-7-2-4-6 | 7-2-4-5-6 | 2-4-5-6-7 | 4-5-6-7-2 | 6-7-2-4-5 |
|---|
| Intervals | M3-P5-m7-M9 | m3-d5-m6-m7 | m3-P4-P5-M6 | M2-M3-A4-M6 | M2-P4-m6-m7 |
|---|
| Partial Intervals | M3-m3-m3-M3 | m3-m3-M2-M2 | m3-M2-M2-M2 | M2-M2-M2-m3 | M2-m3-m3-M2 |
|---|
| [mp3]http://www.bandcoach.org/fp/audio/chordExtensions-03.mp3[/mp3]
| | | | |
|---|
| A | A-C-E-G-B | C-E-G-A-B | E-G-A-B-C | G-A-B-C-E | B-C-E-G-A |
|---|
| Scale tones | 6-1-3-5-7 | 1-3-5-6-7 | 3-5-6-7-1 | 5-6-7-1-3 | 7-1-3-5-6 |
|---|
| Intervals | m3-P5-m7-M9 | M3-P5-M6-M7 | m3-P4-P5-m6 | M2-M3-P4-M6 | m2-P4-m6-m7 |
|---|
| Partial Intervals | m3-M3-m3-M3 | M3-m3-M2-M2 | m3-M2-M2-m2 | M2-M2-m2-M3 | m2-M3-m3-M2 |
|---|
| [mp3]http://www.bandcoach.org/fp/audio/chordExtensions-04.mp3[/mp3]
| | | | |
|---|
| D | D-F-A-C-E | F-A-C-D-E | A-C-D-E-F | C-D-E-F-A | E-F-A-C-D |
|---|
| Scale tones | 2-4-6-1-3 | 4-6-1-2-3 | 6-1-2-3-4 | 1-2-3-4-6 | 3-4-6-1-2 |
|---|
| Intervals | m3-P5-m7-M9 | M3-P5-M6-M7 | m3-P4-P5-m6 | M2-M3-P4-M6 | m2-P4-m6-m7 |
|---|
| Partial Intervals | m3-M3-m3-M3 | M3-m3-M2-M2 | m3-M2-M2-m2 | M2-M2-m2-M3 | m2-M3-m3-M2 |
|---|
| [mp3]http://www.bandcoach.org/fp/audio/chordExtensions-05.mp3[/mp3]
| | | | |
|---|
| E | E-G-B-D-F | G-B-D-E-F | B-D-E-F-G | D-E-F-G-B | F-G-B-D-E |
|---|
| Scale tones | 3-5-7-2-4 | 5-7-2-3-4 | 7-2-3-4-5 | 2-3-4-5-7 | 4-5-7-2-3 |
|---|
| Intervals | m3-P5-m7-m9 | M3-P5-M6-m7 | m3-P4-d5-m6 | M2-m3-P4-M6 | M2-A4-M6-M7 |
|---|
| Partial Intervals | m3-M3-m3-m3 | M3-m3-M2-m2 | m3-M2-m2-M2 | M2-m2-M2-M3 | M2-M3-m3-M2 |
|---|
| [mp3]http://www.bandcoach.org/fp/audio/chordExtensions-06.mp3[/mp3]
| | | | |
|---|
| B | B-D-F-A-C | D-F-A-B-C | F-A-B-C-D | A-B-C-D-F | C-D-F-A-B |
|---|
| Scale tones | 7-2-4-6-1 | 2-4-6-7-1 | 4-6-7-1-2 | 6-7-1-2-4 | 1-2-4-6-7 |
|---|
| Intervals | m3-d5-m7-m9 | m3-P5-M6-m7 | M3-A4-P5-M6 | M2-m3-P4-m6 | M2-P4-M6-M7 |
|---|
| Partial Intervals | m3-m3-M3-m3 | m3-M3-M2-m2 | M3-M2-m2-M2 | M2-m2-M2-m3 | M2-m3-M3-M2 |
|---|
| [mp3]http://www.bandcoach.org/fp/audio/chordExtensions-07.mp3[/mp3]
| | | | |
|---|
