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    Alterations of Chord Extensions

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    Anonymous KMVhQx5i3n
    This document discusses alterations of chord extensions in jazz theory. It explains that extensions can be natural, flat, or sharp. A natural extension follows the major scale built on the chord root, a flat extension is lowered a half step, and a sharp extension is raised a half step. Only four altered extensions are commonly used: flat nine, sharp nine, sharp eleven, and flat thirteen. The others are enharmonic to chord tones. It also notes that depending on the root, natural extensions may use accidentals other than natural in their spelling.

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    Alterations of Chord Extensions

    Uploaded by

    Anonymous KMVhQx5i3n
    82 views2 pages
    This document discusses alterations of chord extensions in jazz theory. It explains that extensions can be natural, flat, or sharp. A natural extension follows the major scale built on the chord root, a flat extension is lowered a half step, and a sharp extension is raised a half step. Only four altered extensions are commonly used: flat nine, sharp nine, sharp eleven, and flat thirteen. The others are enharmonic to chord tones. It also notes that depending on the root, natural extensions may use accidentals other than natural in their spelling.

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    harmony by 3ths

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    This document discusses alterations of chord extensions in jazz theory. It explains that extensions can be natural, flat, or sharp. A natural extension follows the major scale built on the chord root, a flat extension is lowered a half step, and a sharp extension is raised a half step. Only four altered extensions are commonly used: flat nine, sharp nine, sharp eleven, and flat thirteen. The others are enharmonic to chord tones. It also notes that depending on the root, natural extensions may use accidentals other than natural in their spelling.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    82 views2 pages

    Alterations of Chord Extensions

    Uploaded by

    Anonymous KMVhQx5i3n
    This document discusses alterations of chord extensions in jazz theory. It explains that extensions can be natural, flat, or sharp. A natural extension follows the major scale built on the chord root, a flat extension is lowered a half step, and a sharp extension is raised a half step. Only four altered extensions are commonly used: flat nine, sharp nine, sharp eleven, and flat thirteen. The others are enharmonic to chord tones. It also notes that depending on the root, natural extensions may use accidentals other than natural in their spelling.

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    22

    High-Yield Music Theory, Vol. 4: Jazz Theory

    Section 4.1.9
    ALTERATIONS
    Unaltered
    extensions
    Natural nine
    Flat nine
    Sharp nine

    OF

    An extension (ninth, eleventh, or thirteenth) is unaltered if it follows the


    major scale built on the root of that chord. Extensions may be lowered or
    raised a half step by changing the accidental. Lowered extensions are
    flatted, and raised extensions are sharped. So a natural ninth (or natural
    nine) follows the major scale built on the chord root, a flatted ninth (or flat
    nine) means a lowered ninth, and a sharped ninth (or sharp nine) means a
    raised ninth. Remember: a ninth is the same as a second.

    w
    & w

    bw
    & w
    b9

    Natural eleven
    Sharp eleven

    CHORD EXTENSIONS

    An eleventh is the same as a fourth. A natural eleventh (or natural eleven)


    always means follow the major scale, and sharp eleventh (or sharp eleven)
    means raise the eleventh a half step, regardless of the accidentals used.

    11

    & w
    w
    Natural thirteen
    Sharp thirteen

    #11 = b5

    & # w bw
    w w

    A thirteenth is the same as a sixth. A natural thirteenth (or natural


    thirteen) always means major sixth, and flat thirteenth (or flat thirteen)
    means lowered thirteenth, regardless of the accidentals used.

    13

    & w
    w
    Flat eleven
    Sharp thirteen

    #w b w
    & w w

    #9 = minor 3rd

    b13

    = #5

    & bw # w
    w w

    Flat eleven and sharp thirteen are never used. A flat eleven is the same as a
    major third, and a sharp thirteen is the same as a minor seventh.

    b11 = major 3rd

    & bw
    w

    w
    w

    #13 = minor 7th

    & #w
    w

    bw
    w

    Volume 4, Chapter 1: Jazz Theory Fundamentals


    Spelling
    alterations

    Depending on the root, unaltered (natural) extensions may actually use


    naturals, flats, sharps, or even double flats or double sharps. In the example
    below, a natural ninth above D flat is actually E flat, because a D flat major
    scale uses E flat, not E natural. For extensions, flat means the major scale
    version lowered a half step, and sharp means the major scale version
    raised a half step, no matter what the actual accidentals are.

    bw
    & bw
    9

    All the possible


    alterations

    23

    nw b w
    & b w bw

    w
    & bw

    #9 = minor 3rd

    b9

    Because flat eleven and sharp thirteen are enharmonic with the major third
    and minor seventh, only four altered extensions are possible: flat nine,
    sharp nine, sharp eleven, and flat thirteen.

    b9

    &b w
    w

    #9

    # ww

    #11

    #w
    w

    b13

    bw
    w

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