Jim's Chord Study Lesson #2
by Jim Lynch (jimlynch@netcom.com)
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OK gang... This is the promised second chord study lesson.
As you recall, the last lesson concerned the minor 7 chords and their
friends, minor 9 chords, minor 11 chords and minor 13 chords (rare).
The structure of these chords are:
Major 13th
Perfect 11th
Major 9th
Minor 7th
Perfect 5th
Minor 3rd
Root
Note that all mention of intervals are intervals measured from the ROOT
of the chord. The same is true for my first article.
Recall also that the goal of this series is to impart a knowledge of
chords such as those you might see in a jazz fake book, for example
Dm11 G13 Cmaj.7
Specifically, the goal is to be able to spell a chord given its name and
to give the name of the chord given its spelling. For 3 examples, the
Dm11 above is spelled D, F, A, C, E and G; the G13 is G, B, D, F, A, C
and E; and the C Maj. 7 is C, E, G and B.
Also, the chords covered here are ones that you could strike all the
notes at the same time and hold them forever without being overly
dissonant. Notes of chords which do not fall into this category would
probably be considered non-harmonic or at least "un-hip".
(a quote from the first article:)
There are roughly 6 different chordal groupings you would need to worry about:
Tonic major chords, tonic minor, supertonic major, supertonic minor, dominant
and fully diminished. Each one of these has several possibilities for scales
to go with them (however, there are also non-scalar possibilities as well).
(unquote)
We will now look at tonic chords in major (all this means is I'm
referring to chords whose ROOT is the FIRST (or tonic) degree of a MAJOR
scale. For short, I will refer to chords in this family as I-Maj. chords.
(Since the chords dealt with in my last article had their ROOT be the
SECOND (or supertonic) degree of a MAJOR scale, I refer to those (dorian)
chords as II-Maj.)
The first I-Maj. chord I discuss is a major triad with an added interval
of a major 6th. In the key of C, this would be (from the bottom) C, E, G
and A; its name is C add 6 or just plain C6. The added 6th (_always_ a
major 6th) is a _substitute_ for the interval of a major 7th, which leads
to the second chord.
The next chord is a major triad with a major 7th interval. An example
would be C Maj. 7 which would be spelled C, E, G and B. As discussed in
the preceding paragraph, the add 6 chord is a substitute for the maj. 7
chord because the major 6th interval is a substitute for the major 7th
interval. In the '40s, the add 6 chord was used exclusively to harmonize
melodies at points of tonic major harmony. Presently (big band), major 7
and add 6 are used interchangably.
Next is a major triad with an added 6th and major 9th. In the key of C,
this would be C, E, G, A and D. Its name would be C 6/9 which is
pronounced "Cee six nine". It substitutes for the following chord.
(Note that all chords in the same family can substitute for each other,
e.g. if the fake book says C Maj. 7, could you substitute a C 6/9? Yes!
How about a C Maj. 9? Absolutely! Or a C6? Definitely! Any other chord in
the I-Maj. category would make a good substitute.)
Fourth is a major triad with the intervals of a major 7th and major 9th.
The example would be (in C) C, E, G, B and D. C Maj. 9 is its name. Its
(main) substitute is a C 6/9 due to the use of the major 7th substitute.
Next is a major 11 chord which in the key of C would be spelled C, E, G,
B, D and F. This chord has the same structure as a major 9th chord with
an added perfect 11th. The name of this chord would be C Maj. 11.
This chore requires some discussion: the third of any chord is very
important since it determines whether the triad is major or minor.
If you place a note in the chord which is overly dissonant with that
third, you interfere with its "major vs. minor identification" function.
The perfect 11th, being exactly an octave larger than a perfect fourth,
is such a dissonance. It creates the interval of a minor 9th with the
third, which is a very sharp dissonance.
For the reasons stated above, this chord is almost always used instead of
the preceding. In the key of C, it would be C, E, G, B, D and F# (note
_lydian_ influence) and would be called C Maj 9 (+11) or C Maj 9 (#11).
The structure is that of a Maj. 9 chord with an added augmented 11th.
Here, the interval created between the third and the 11th of the chord is
a _major_ 9th, a mild dissonance, and the problems discussed above are no
longer present. Note the syntax used: the altered interval(s) are in
parentheses and the number outside the parens is the highest _unaltered_
interval _for that chord family._ Since a '9' is outside the parens, the
interval of the 9th in the chord is its highest unaltered interval.
Note carefully here that this means there are two versions of the 11th!
In this case, the _altered_ (raised) 11th is preferred. However: you have
to know that the unaltered 11th is a perfect 11th (even tho it's rarely
used.)
The next chord is called a major 13 chord and its structure is that of a
maj. 11 chord with the interval of a major 13th added on top. In C, that
would be C, E, G, B, D, F and A. The problem described in the description
of the major 11 chord (perfect 11th produces too much dissonance with the
major third) also exists here. For this reason...
The next chord's type is a major 13 with a raised 11th. This alleviates
the dissonance problem between the third and 11th. Its structure is that
of a major 9 w/ raised 11th with an added major thirteenth. In the key of
C, this is C, E, G, B, D, F# and A.
The last two chords have a frozen suspended fourth in them. In Bach's
time, a sus 4 would resolve to the third of the chord within the same
harmony. There are other requirements for this (melodic) device, but to
describe them all would unnecessarily bog us down. I refer those
interested to Gordon Delamont's "Modern Harmonic Technique Vol. 2",
chapter 3.
The first of these is a major 7 sus 4, it has a root, _no_ third, perfect
4th and major 7th. In C: C, F, G and B. Its name (in C) is C Maj. 7 (sus 4).
Note that the "sus" can be notated four ways in the alphabetical chord
symbol: sus, (sus), sus 4, (sus 4).
The last chord in this whole thing is a Major 9 with a sus 4. The
structure is that of a major 7 sus 4 with an added major 9th. In C, that
would be C, F, G, B and D.
Look carefully at the composite intervalic structure for I-Major chords:
Major 13th
Perfect 11th Augmented 11th
Major 9th
Major 7th
Major 6th
Perfect 5th
Perfect 4th
Major 3rd
Root
Did you notice that the augmented 11th (an alteration!) is not stacked
above the root? This means that in the alphabetic chord symbol, an
augmented 11th would be shown as an alteration: In Parentheses.
If we "scalize" the structure (look at the 9th, 11th and 13th as the 2nd,
4th and 6th, we can come up with at least two different scales for
improvising on this chord type:
Root, Maj, 9th, Maj, 3rd, Prf. 4th (the sus!), Prf. or Aug. 11th,
Prf. 5th, Maj. 6th (or 13th), Maj. 7th, Root.
So it looks like the two scales that would work are ionian and lydian.
Note that with ionian, you must use its perfect 4th with care as it shows
a strong tendency to lead to the (major) 3rd.
Compare this with the structure of the II-Major family:
Maj 13th | Maj 13th
P 11th A 11th | P 11th
Maj 9th | Maj 9th
Maj 7th<----------|------->Min 7th
Maj 6th<----------|------->NO 6th!
P 5th | P 5th
P 4th<-----------|------->NO 4th!
Maj 3rd<----------|------->Min 3rd
Root | Root
I-Maj. II-Maj.
"Scalizations":
I-Maj:
Root, Maj, 9th, Maj, 3rd, Prf. 4th (the sus!), Prf. or Aug. 11th,
Prf. 5th, Maj. 6th (or 13th), Maj. 7th, Root:
Lydian (if 3rd present) or Ionian (if sus-4 alignment)
II-Maj:
Root, Major 2nd, Minor 3rd, Perfect 4th, Perfect 5th,
Major 6th, Minor 7th, Root:
Dorian mode.
In the next article I crucify (er, I mean _explain_) another chordal
grouping.