Professional Documents
Culture Documents
1) Most notes from the key will work, with the following cautions. a. 4th on a chord from the major or dominant family can be problematic, because of the minor 2nd and disruption of function. b. A minor 6th on a minor or major chord can be dissonant c. Dominant chords (particularly when functioning) is extremely tolerant of extensions with the acceptance of mixing major and minor (or augmented) degrees of the same degree in particular a major 7th on a dominant chord is very rare 2) Non-diatonic non-chord tones can work well. 9ths and #11s for example are very common extensions to major and dominant chords in many contexts. 6ths (or 13ths) on major (or major 7) chords, 6ths, 9th and 11ths on minor and 11ths on minor7(bb) chords are very common in many situations. The bluesy #9 (minor 3rd) and #11(b5) against major and dominant chords (particular when the I (I7) or V (V7) is very common in many blues-influenced contexts. Extended Harmony: A Rough Guide The following table gives a guide to what extensions may be used on a given chord. Note that if the given chord is say E9, then that extension is a given (i.e. a 9th) and other versions of that extension (e.g. b9 are rare). The following is just a guide, context is everything and anything can be made to work, think of this as a personal assistant to your ear.
MAJOR FAMILY
Major, 6th and Major 7th Chords
b9 Very rare unless its in the implied key of the moment (e.g. and F on an E chord in the key of Am) or theres a particular scalar context. E.g. a Db on a C chord in C Spanish Phrygian. Very common (although sometimes non-diatonic use is problematic) Very common if a bluesy element is appropriate. However its most common on the I or V chord and rare on the IV Chord Tone (and essential guide tone) Quite rare unless in passing or there is an almost modal quality. In a standard context rare on the IV chord A common extension giving a floaty lydian quality. Very common on the IV chord (where its diatonic) and on borrowed chords. Using on I is usually the most surprising. Chord Tone Like b9, rare unless its in the implied key of the
9 #9/b3 3 4 #4
5 b6 (or b13)
6 (13) b7
Root/Octave
moment (e.g. C on and chord in the key of E in Am) or theres a particular scalar context. Very common (and its a CT and EGT on a major 6th), some non-diatonic use may be problematic, but generally very usable Completely acceptable on major and major 6 chords when a bluesy vibe/dominant implication in appropriate. But prolonged use on a major 7 is highly dissonant and unusual. Essential guide tone on a Major 7. In a jazz idiom very common on a major 6. However it may be unidiomatic on a major chord, if there is prolonged use the harmony would probably be written as major 7 Chord tone and generally perfectly acceptable but prolonged use of octave on a major 7 melody can be inappropriate, and thats why many jazz standards end on a major 6th chord rather than a major 7 chord as the melody often ends on the root.
MINOR FAMILY
Minor, Minor 6th, Minor 7th Minor 7(b5), Minor (maj7)
b9 9 b3 3 4/11 #4/b5 Rare even when the b9 is diatonic (e.g. on the IIIm chord in a major key). Most common when there is a Phrygian modal implication. Very common (although sometimes non-diatonic use e.g. on IIIm is problematic), and its use on m7(b5) is quite a contemporary sound. Chord Tone (and essential guide tone) Very rare Very common and allowable in virtually all contexts A chord tone on a m7(b5). On other minor chords its a common extension giving a mystical Lydian minor quality. When found its usually on the IVm chord and on borrowed chords. Chord Tone on minor chords other than m7(b5) where its rare Rare even its in the implied key/mode of the moment, however it is usable on m7(b5) Quite common (and its a CT and EGT on a minor 6th), it implies a Dorian mode which is quite stable. Chord Tone (and essential guide tone) on minor7 and m7(b5). Acceptable on m6, very rare on minor (major7) Essential guide tone on minor(maj7). In a jazz idiom its common on a minor (implying melodic or
Root/Octave
harmonic minor). Very rare otherwise Chord tone and generally perfectly acceptable (although minor(major7) can cause clashes)
DOMINANT FAMILY
Any chord with a major 3rd and minor 7th Remember that if an extension is written in the chord, it is a given, and other versions of that degree are rare. So C9(#11) wont take a b9, #9 or natural 11. The one exception is on altered chords, which can accept both a b9 and a #9, and a b5 and #5 (but rarely a natural 9 and a natural 5th is uncommon) b9 Common unless it is a stable (non-functioning) chord. Most common on dominant chords with minor chord targets, but is still used to great effect when targeting a major chord. More rare on tritone substitutions or when a more floating quality is required. 9 Very common, although rare to see when it is targeting a minor chord through normally function. #9/b3 Very common on a dissonant functioning dominant, or if a bluesy element is appropriate. However its blues use is more common on the I or V chord than on the IV 3 Chord Tone (and essential guide tone) 4 Quite rare unless in passing as it disrupts the dominant quality, unless a particularly mixolydian modal feel is required. #4 A common extension giving a floaty lydian quality. Very common on the IV chord (where its diatonic) and on non-functioning borrowed chords or tritone substitutions, often coupled with a 9th. 5 Chord Tone unless on a 7(b5), 7(#5) or alt. dominant, although the latter 2 of these may tolerate it. b6/#5 (or b13) CT on a 7(#5) chord. Its also very common (as a b13) on a normally functioning dominant chord to both major and minor chords. Less common on a I7 or IV7, or on tritone substitutions. 6 (13) Very common (and its a CT and EGT on a 13th), however it is not as dissonant as a b13 so may not be appropriate in all contexts (e.g. when approaching a minor chord) b7 Essential guide tone in all cases 7 Very rare and rarely acceptable. Root/Octave Chord tone and always acceptable
DIMINISHED FAMILY
and 7 & chords
(minor 7(b5) are in the minor family) All chord tones acceptable (and b3, bb7 are EGTs on a 7). All other tones are
acceptable (if they sound good) due to the inherent instability and dissonance of the diminished 7th chord. Diatonic NCTs are perhaps a bit more common that non-diatonic NCTs but the difference is quite minimal. Also a whole-half diminished scale approach- whole tone above - or semitone below - a CT is a bit more common that half-whole but again the difference is slight and context and listening is everything. Note that the above table is concerned with guide tone lines which have an inherent sustained use over the harmony. The use of melody notes over harmony is even more contextual and difficult to systemise. See Melody and Harmony in Popular Music Harmony-An Introduction for more.
SUMMARY
The above table is very difficult and inappropriate - to memorize out of context, so heres an overview for creating guide tone lines. CTs are (almost) always perfectly acceptable and EGTs (3rds and 7ths or 4ths and 6ths on sus chords and 6th chords respectively) provide the essential character and function of chords Extensions are (very generally) more common when diatonic (or from the key/mode of the moment) than otherwise but there is a great deal of contextualisation that influences their use as suggested by the table above. In short if it sounds good, it is good. And if the theory says something should work, and it is doesnt sound right or idiomatic, then dont use it, but do be prepared to develop your listening skills and tastes. Theory can explain why things work (or dont) and should also adapt and be responsive to the ear. Theory also allows you to systemise knowledge and opens up all manner of creative possibilities that might otherwise be unattainable through unguided exploration. Now complete the Guide Tone Line Exercises.