Part 3: Adding Natural Extensions
Natural extensions include the 9, 11, and 13, which are the same tones as 2, 4, and 6, up the octave. We can play these notes anywhere in the chord, but we notate them with 9, 11, and 13.
NATURAL EXTENSIONS WITH 7th CHORDS
Most commonly, extensions are added to chords that also have 7ths. Our system reflects this. Chord symbols with natural extensions assume that a minor 7th is included. Additionally, they include all extensions below the highest one you write. So…
- A 9 chord has a natural 9 but assumes the minor 7 is there too.
- Ex. C9 has C E G (triad), Bb (minor 7), and D (9).
- Notice that the 7 isn’t in the symbol but is implied?
- Ex. C9 has C E G (triad), Bb (minor 7), and D (9).
- An 11 chord has the 11 and assumes the minor 7 and 9.
- Ex. C-11 has C Eb G (triad), Bb (minor 7), D (9), and F (11)
- See how the Bb and D are both implied?
- Ex. C-11 has C Eb G (triad), Bb (minor 7), D (9), and F (11)
- A 13 chord “officially” has the 13 and assumes the minor 7, 9, and 11.
- Ex. C13 has C E G (triad), Bb (minor 7), D (9), F (11), and A (13)
- Like the others, the 13 implies the notes below.
- Ex. C13 has C E G (triad), Bb (minor 7), D (9), F (11), and A (13)
- NOTE: “Officially,” right? Two things…
- In practice, if a 13 chord has a major 3rd in it, we won’t play the 11.
- Ex. C13 will likely be played C E G Bb D A. Notice there’s no F?
- If we want the 11, then omit the 3 or play the 11 below the 3. But this is rare, so use your ear and do what sounds best.
- No major 3rd in the chord? No problem.
- Comping musicians typically play incomplete versions of these big chords.
- In practice, if a 13 chord has a major 3rd in it, we won’t play the 11.
How about augmented and suspended chords?
- Treat these just like the chords with minor 7s above.
- Ex. Caug9 or C9aug or even C+9
- Ex. Csus9 (C9sus) is C F G (sus. triad) with Bb (minor 7), and D (9)
- As before, its common to write sus or aug after the natural extensions.
NATURAL EXTENSIONS ON OTHER 7th CHORDS
Want a major 7? Write one of our symbols for major before the natural extension.
- Ex. Cmaj9 is C E G (major triad) with a B (major 7) and a D (9)
- Ex. C–∆11 is C Eb G (minor triad) with a B (major 7), a D (9) and an F (11)
Want a major 7 on a fully diminished chord?
- For fully diminished, it’s the same, but remember it has a diminished 7th.
- Ex. Co∆9 is rare, but it’d have a B in it (major 7)—very Herbie Hancock!
Half Diminished chords are trickier. 11ths work just like above but there’s a lot of inconsistency in the handling of 9ths and 13ths.
Half diminished is usually paired with the locrian scale which has a minor 2nd and minor 6th. In practice, people handle extensions on these chords inconsistently. Let’s take a closer look.
- Ex. Cø13 is C Eb Gb (dim. triad) with Bb (minor 7), D (9?), F (11), Ab (13)
- Why 9? Well, Db is technically the correct 9th for this chord, but in practice we’d leave it out as it’s an unpleasant clash with the root.
- If the composer asks for a 9, they probably mean the major 9 interval.
- The 13 is fine as an Ab but this is so rare I don’t know what your musicians will play.
- Because these things aren’t consistent, you’ll just have to trust your ears.
- But the good news is, you’ll almost never see these in the wild.
The 69 Chord
Want to add a 9 to your 6-chord? Add the 9 to a 6-chord symbol which can be written as 69 or 6/9. Easy!