Understanding Chord names and Symbols Pt. 3

Chord extensions: 9ths   11^ths and 13^ths

 

So far we have learned about basic triads and diatonic seventh chords. What happens after the seventh chord? This is where extensions come into play. Extensions are intervals beyond the seventh. In other words I’m talking about ninths, elevenths and thirteenths. This is where the sound of the chord becomes more intricate and the harmony begins to take on added color and flavor. Yes, contemporary chords.

It’s important that gospel musicians learn to use chord extensions. However, I strongly recommend that you practice and train your ear to hear and recognized the sound of the various seventh chords we learned in part 2 of this article.

Most beginning and intermediate gospel musicians are in a rush to lean the phattest chords available before their ears are trained to hear seventh chords. I recommend having a friend play the diatonic seventh chords from lesson 2. Practice listening to the difference types of chords and see if you can name them by ear without looking at the keyboard. This is a great way to get familiar with the sound of the seventh chord and super charge the ear.

Listen, all the fancy chords, runs, fills and other keyboard tricks are great to have; however, great gospel musicians have been working for many years perfecting their craft. When you hear an anointed musician playing their keyboard, you’re often hearing the end result. It all started out with dedication and much sacrifice. Most “GiftedPlayers” practice anywhere from 2 to 6 hours per day. That part you don’t see on Sunday morning.

Have you committed to two or more hours a day for Practice? Are you frustrated because your keyboard skills are less than adequate? There’s still room at the cross for you. There’s only one difference between you and the GiftedPlayer. The Giftedplayer allowed time for Practice and he learned the “Elements of Gospel” music early in the game. This part I can help you with. The rest is on you.

Triads and seventh chords are the foundation for the ear. If you don’t train the ear to hear sounds at this level, chord extensions will be very difficult for the ear to digest. Be patient, help is on the way.

Remember, it all begins with the major scale. Let’s look at the C major scale below (the major scales eight notes). We number them from one to eight. See the illustration below. If you continued the sequence up to the 13^th note you reach the following extensions:  the 9^th, 11^th, and the 13^th. With these scale tones we can create more complex and intricate chords.  Fascinatingly, the modern day contemporary sound comes from the creative use of chord extensions.

 

Let’s examine the formulas for these chords. In order to learn to play gospel music you need to fully understand these chord extensions

 

Adding Extensions to the Major Seven Chord

 

Remember the formula for the major seventh chord

 

Formula = 1  3  5  7

 

1        2        3        4        5       6        7        8        9       10       11     12      13

C       D       E       F       G       A      B        C        D       E         F      G        A

 

Lets apply chord extensions and create some new chords.

 

Notice that the we are building our chords on the foundation of the maj7 = 13 5 7

 

1) Lets add the 9^th to the chord which is the D.   Our new formula will be 1  3  5  7  9

    Our new chord is now called a Cmaj9 = C E G B D

 

2) Lets add the 11^th to the chord which is the F.   Our new formula will be 1  3  5  7  9 11

    Our new chord is now called a Cmaj11 = C E G B D F

 

3) Lets add the 13^th to the chord which is the A.  Our new formula will be 1  3  5  7  9 11 13

    Our new chord is now called a C maj13 = C E G B D F A

 

Formula Review

Major 7 =   1  3  5  7 

Major 9 =   1  3  5  7  9

Major 11 = 1  3  5  7  11

Major 13 = 1  3  5  7  13

 

Note: When a song calls for a major seven chord you can substitute or experiment with any of the extensions in the major chord family.

 

Commonly used Symbols:  maj7, maj9, maj11, maj13 and C∆

 

Major Newsflash

 

In order for a 9^th, 11^th, or 13^th chord to exist the seventh must be present in the chord. Otherwise, it’s just a major chord with and added 2^nd, 4^th or 6^th.

 

There are conditions when adding the 4 to a major chord. Usually the third is omitted, creating a new chord called a suspended chord. The abbreviation for this chord is “sus.” I will discuss this chord in a future article.

 

 

Let’s apply extensions to the different types of seventh chords and create even more breath-taking harmony

 

 

Adding Extensions to the Dominant Seventh Chord

 

Remember the formula for the dominant seventh chord. The term dominant refers to the b7.

 

Formula = 1  3  5  b7

 

 

1        2        3        4        5       6        b7      8        9       10       11     12      13

C       D       E       F       G       A      Bb      C        D       E         F      G       A

 

Notice that the we are building our chords on the foundation of the dominant seventh chord = 1 3 5 b7

 

1) Lets add the 9^th to the chord which is the D.   Our new formula will be 1  3  5  b7  9

    Our new chord is now called a C9 = C E G Bb D

 

2) Lets add the 11^th to the chord which is the F.   Our new formula will be 1  3  5  b7  9 11

    Our new chord is now called a C11 = C E G Bb D F

 

3) Lets add the 13^th to the chord which is the A.  Our new formula will be 1  3  5  b7  9 11 13

    Our new chord is now called a C13 = C E G Bb D F A

 

Formula Review

Dominant 7th =   1  3  5  b7 

Dominant 9th =   1  3  5  b7  9

Dominant 11th = 1  3  5  b7  11

Dominant 13th = 1  3  5  b7  13

 

Commonly used symbols = C7, C9, C11, C13

 

Note: When you see chord symbols like the ones written above we’re taking about dominant chords

 that have a flat seven. In other words the symbol C7 is actually a C dominant seventh. The C13 is a

C dominant 13 etc. Most of the time musicians will refer to it by its abbreviated name, the chord symbol name.

 

Adding Extensions to the Minor Seven Chord

 

Remember the formula for the major seventh chord

Formula = 1  b3  5 b7

 

 

1        2        b3      4        5       6        b7      8        9       10       11     12      13

C       D       Eb     F       G       A      Bb      C        D       E         F      G       A

 

Notice that the we are building our chords on the foundation of the dominant seventh chord = 1 b3 5 b7

 

1) Lets add the 9^th to the chord which is the D.   Our new formula will be 1  b3  5  b7  9

    Our new chord is now called a C minor 9 = C Eb G Bb D

 

2) Lets add the 11^th to the chord which is the F.   Our new formula will be 1  b3  5  b7  9 11

    Our new chord is now called a C minor11 = C Eb G Bb D F

 

3) Lets add the 13^th to the chord which is the A.  Our new formula will be 1  b3  5  b7  9 11 13

    Our new chord is now called a C minor13 = C Eb G Bb D F A

 

Formula Review

Minor 7 =   1  b3  5  b7 

Minor 9 =   1  b3  5  b7  9

Minor 11 = 1  b3  5  b7  11

Minor 13 = 1  b3  5  b7  13

 

Commonly used symbols = Cm7, Cm9, Cm11, Cm13

 

By now I bet you’re saying how do I apply all this wonderful Information? I’m glad you asked.

If you’ve tried to play some of the eleventh and thirteenth chords, I bet you’re not impressed. Now that you understand chord names and symbols lets apply all this theory to gospel music. Let’s learn how a gospel musician would play these chords. New term “chord voicings.”

 

We need to learn how to “voice” our chords.  We need to learn how to play these chords like a professional gospel musician would. In part 4 of this article I will teach you the most commonly used chord voicings for the ninths, elevenths, and thirteenths. Gotta have it!