Ninth, Eleventh and Thirteenth Chords Ninth, Eleventh and Thirteen Chords Sometimes Referred to As Chords with 'Extensions', I.E

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Ninth, Eleventh and Thirteenth chords Ninth, Eleventh and Thirteen chords sometimes referred to as chords with 'extensions', i.e. extending the seventh chord to include tones that are stacking the interval of a third above the basic chord tones. These chords with upper extensions occur mostly on the V chord. The ninth chord is sometimes viewed as superimposing the vii7 chord on top of the V7 chord. The combination of the two chord creates a ninth chord. In major keys the ninth of the dominant ninth chord is a whole step above the root (plus octaves)

w w w w w & c w w w C major: V7 vii7 V9 G7 Bm7b5 G9

? c ∑ ∑ ∑ In the minor keys the ninth of the dominant ninth chord is a half step above the root (plus octaves). In chord symbols it is referred to as a b9, i.e. E7b9. The 'ﬂat' terminology is use to indicate that the ninth is lowered compared to the major key version of the dominant ninth chord. Note that in many keys, the ninth is not literally a ﬂatted note but might be a natural. 4 w w w & #w #w #w A minor: V7 vii7 V9 E7 G#dim7 E7b9

? ∑ ∑ ∑ The dominant ninth usually resolves to I and the ninth often resolves down in parallel motion with the seventh of the chord. 7 ˙ ˙ ˙ ˙ & ˙ ˙ #˙ ˙ C major: V9 I A minor: V9 i G9 C E7b9 Am ˙ ˙ ˙ ˙ ˙ ? ˙ ˙ The dominant ninth chord is often used in a II-V-I chord progression where the II chord˙ and the I chord are both seventh chords and the V chord is a incomplete ninth with the ﬁfth omitted. Notice the common tones between the ii7 and the V9 chords in the upper two voices. 9 ˙ ˙ ˙ ˙ w ˙ ˙ w & ˙ ˙ w ˙ #˙ w C major: ii7 V9 I7 A minor: ii7 V9 i7 Dm7 G9 Cma7 Bm7b5 E7b9 Am7

? ˙ ˙ ˙ w ˙ w 2 Ninth, Eleventh and Thirteenth chords

Ninth chords can be created at all scale degrees although some of the them are rare. The most common types of ninth chords are Dominant ninth (9 and 7b9), Major ninth (Ma9), Minor ninth (m9) and Minor ninth w/major 7 (m9ma7). rare 13 rare œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ I9œ ii9œ iii9œ IV9 V9 vi9 vii9 I9 Cma9 Dm9 Em7b9 Fma9 G9 Am9 Bm9b5 Cma9 C major: ? ∑ ∑

rare rare 15 œ œ œ #œ œ œ œ œ œ œ œ œ & #œ œ nœ œ #œ œ œ œ i9 œ ii9œ III9œ iv9œ V9 VI9 vii9 i9 Am9ma7œ Bm9b5 Cma9 Dm9 E7b9 Fma9 G#dim9 Am9ma7 A minor: ? ∑ ∑

Eleventh Chords Eleventh chords are created by extending the ninth chords to include an additional tone that is a perfect 4th (plus octaves) above the root. They also can be viewed as two triads whose roots are a seventh apart, i.e. the G11 chord is a F major triad on top of a G major triad. Notice when using a dominant eleventh chord in minor the triads are D minor on top of E major. Notice that in both keys it is the IV chord over the V chord, in the minor key the IV chord is minor quality whereas in major keys both chords are major quality.

It is common to have incomplete voicing of the eleventh chord with the third omitted. If the third is omitted the chord can be view as a seventh chord with an alternate bass note, i.e. G11 with an omitted third is a Dm7 chord over a G bass note (Dm7/G). In the key of A minor the E11 chord with third omitted is a Bm7b5/E chord. In both cases it is the ii7 chord with the V root in the bass. 17 œ ˙ œ ˙ œ ˙ œ ˙ œ œ ˙ œ ˙ œ ˙ œ ˙ & œ ˙ #œ ˙ œ ˙ œ ˙ G F G11 œE Dm E11˙ Gbass Dm7 Dm7/G Ebassœ Bm7b5 Bm7b5/E˙ C major: A minor: C major: G11 A minor: E11

? ∑ ∑ ∑ ∑ Note that the dominant 7sus4 chord is similar to the dominant 11 as the 4 and the 11 refer to the same pitch, i.e. for a G dominant type chord the sus4 and 11 both refer to the note C. Ninth, Eleventh and Thirteenth chords 3

When using a complete voicing for the G11 chord in a V-I progression it has the effect of a simultaneous use of the plagal and authentic cadence. In the Key of C, the upper notes can be seen as the chords F to C and the lower notes have the chord G moving to C. 21

& ˙ ˙ ˙ ˙ C major: V11 ˙I A minor: V11˙ ˙i G11 C E11 Am ˙ ˙ ˙ ? ˙ #˙ ˙ ˙ ˙

Thirteen Chords

By extending the chord (by the interval of a third) one more time we can create the thirteenth chord. Notice that ALL of the notes of the C scale are used in the complete G13 chord (G B D F A C E). In normal use the 13 chord is usually incomplete contains sometimes only the Root, 3rd, 7th and 13th chord members. Notice that the 13th is the equilent of a major sixth from the root (plus octave) for the Dominant in major keys (G13). In contrast, in minor keys the Dominant 13th chord has a 13th that is a minor 6th (plus octave) from the root of the chord. To highlight this difference the V13 in minor is termed 'b13' as in E7b13 23 w w w w w & w #w C major: V13 A minor: V13 G13 E7b13

? ∑ ∑

In the jazz idiom, the II-V-I progression usually has chords with uppers extensions of 9ths and 13ths. Two common voicings are show below. These incomplete voicings for both the 9th chords and the 13th chord are in standard use. 25 ˙ ˙ w ˙ & ˙ ˙ w ˙ #˙ nw C major: ii9 V13 I9w A minor: ii7 V13˙ wi9 Dm9 G13 Cma9 Bm7b5 E7b13 Am9

? ˙ ˙ ˙ w ˙ w 4 Ninth, Eleventh and Thirteenth chords

The following examples are from Chopin's Prelude in Cm - Opus 28, no 20. The thirteen chord occurs as a borrowed dominant and also at the primary V position.

29 measure 2 measure 4 measure 8 b & b b œ nœ. nœ œ œ œ bœ œ. œ œ #œœ œ œ bœ œ. nœ œ C minor: œ nœ œ œœ ? œ œ œ œ #œ nœ œ œ nœœ œ bb œ bœœ œ œ œ œ b œ bœ œ œ n œ œ œ œ œ bœ œ œ œ œ œ œ œ œ bœ œ œ bœ œ VI bII V13/VI VI V7/V V V13/V V VI bII V13 i Ab Db Eb13 Ab D7 G D13 G Ab Db G7b13 Cm