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Putting 9th and 11th
chords into practice
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Keeping things simple - Notice how
I've kept things simple in the following
exercise by voicing all the chords with only
four notes each. Most of the chords simply
include the root, 3rd, 7th and the extension
designated in the chord symbol. As I stated
in pt.1, 5ths don't count for much so you
are free to leave them out if they are not
altered. |
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13th chords
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The biggest chord available - 13th
chords technically can contain every scale
tone, but since there are seven scale tones
in the major scale and only six strings on
the guitar, it is a physical impossibility.
There are certain choices that have to be
made when playing 13th chords. 9ths and 11th
can be left out and as I said before, the
5th isn't really necessary. If a bassist is
present, you definitely don't need a root in
the voicing. If you where to leave out the
7th, what you would get is a 6th chord. The
most important notes are the 3rd, 7th, and
13th. As with our other major and dominant
family chords, when the major 3rd is
present, the 4th generally gets raised to a
#11th (if you choose to include it in the
chord). If you eliminate the 3rd and leave
in the natural 4th, the chord will become a
sus chord as in C13sus.
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These are some sixth string root voicings
for major, minor and dominant 13th chords:
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voicing: 1,7,9,3,13
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voicing: 1,b7,b3,13,1
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voicing: 1,b7,3,13,1
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voicing: 1,b7,4,13,1
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Points to remember about 13th chords: |
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For the major and dominant versions, when
the 3rd is desired in the voicing, the 11th
tends to be raised. |
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The 9th and #11th do not need to be
included in the voicing but the 7th and
3rd do. Without the 7th included in the
voicing the chord is considered a 6th
chord.
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13th chords
from the half/whole step diminished
scale
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Dominant 13th chord with altered 9ths
- The 13#9 and 13b9 chords are
the chords derived from the symmetrical
scale know as the half/whole diminished
scale. Unlike the altered dominant chords
created by the altered mode of the melodic
minor scale, the chords made from the
half/whole diminished scale contain a
natural 13th and an unaltered 5th. They
generally resolve the same way altered
chords do, to the I chord. Because of the
symmetrical structure of the diminished
scale, the upper chord shapes can be moved
up or down in min3rds to create other
dominant chords: |
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Six string root voicings for the 13#9
and 13b9 chords: |
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voicing: 1,b7,3,13,#9
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voicing: 1,b7,3,13,b9
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Points to remember about 13th chords
derived from the half/whole diminished
scale: |
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The #11th can also be though of as a b5th so
sometimes the 13#11 chord shows up as
a 13b5 chord in a chart, as in
C13b5. Some possible chord symbols from
this chord family: C13b9, C13#9,
C13(b5,#9), C13(b5,b9),
C13(b9,#11), C13(#9,#11), etc.. |
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Just remember: we've traded our #5th for a
13th. |
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Shapes
>> |
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