Extensions and Tensions | | print this page | close this window | |
The basic tools of harmony are the triad and the seventh chord. Both structures are built in thirds or skips. This process uses the odd-numbered scale-degrees.
If this process is continued past the octave marker (scale-degree eight), with the scale being repeated at higher registers, then the odd-numbered tones nine, eleven, thirteen, fifteen, seventeen, nineteen, twenty-one, and twenty-three result. These tones are called scale extensions.
scale degree | 1 | 3 | 5 | 7 | 9 | 11 | 13 | 15 | 17 | 19 | 21 | 23 |
example in C | C | E | G | B | D | F | A | C | E | G | B | D |
application | triad | seventh | most 7ths | dim. 7ths | 7sus4 | 23rd extensions |
Like most chord tones, the tensions can be altered to fit the function, applying the formula change: b, #, bb, or in the case of 23rd chord extensions, (double-sharp).
The chord tones [1 - 3 - 5 - 7] and conventional tensions [9 - 11 - 13] are the typical tools of the American Musician. 23rd chord extensions are a logical outgrowth of the development of chromatic harmony in conjunction with jazz improvisational approaches involving a linear approach to chords [chord-tones and tensions]. This technique has been used in classical music and by some jazz improvisers, amongst them Eric Dolphy, David Murray, and Bruce Gertz.
Imaj7 | 1 | 3 | 5 | 7 | 9 | #11 | 13 | #15 | #17 | #19 | b21 | #23 | |
example in C | C | E | G | B | D | F# | A | C# | E# | G# | Bb | D# | |
application | chord tones | conventional tensions | 23rd chord extensions | ||||||||||
IImin7 | 1 | b3 | 5 | b7 | 9 | #11 | 13 | #15 | #17 | #19 | 21 | 23 | |
example in C | C | Eb | G | Bb | D | F# | A | C# | E# | G# | B | D | |
application | chord tones | tensions [ conventional 11 is natural ] | 23rd chord extensions | ||||||||||
V79, 13 | 1 | 3 | 5 | b7 | 9 | #11 | 13 | #15 | #17 | #19 | 21 | #23 | |
example in C | C | E | G | Bb | D | F# | A | C# | E# | G# | B | D# | |
application | chord tones | conventional tensions | 23rd chord extensions | ||||||||||
IIm7b5 | 1 | b3 | b5 | b7 | 9 | 11 | b13 | b15 | 17 | 19 | bb21 | b23 | |
example in C | C | Eb | Gb | Bb | D | F | Ab | Cb | E | G | Bbb | Db | |
application | chord tones | conventional tensions [ can also take b9 ] | 23rd chord extensions | ||||||||||
Io7delayed resolution | 1 | b3 | b5 | bb7 | 9 | 11 | b13 | b15 | 17 | 19 | b21 | b23 | |
example in C | C | Eb | Gb | Bbb | D | F | Ab | Cb | E | G | Bb | Db | |
application | chord tones | conventional tensions | 23rd chord extensions | ||||||||||
V7sus4 | 1 | 4 | 5 | b7 | 9 | #11 | 13 | #15 | 17 | #19 | 21 | #23 | |||||
example in C | C | F | G | Bb | D | F# | A | C# | E | G# | B | D# | |||||
application | chord tones | conv. | 23rd | conv. | 23rd | conv. | 23rd ext. |
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