I guess I am not really sure even what the question is, its a funny thing but I find with music the instant you find the question, then the answers there too...
Its about codifying chord extensions/ chord tensions. I am trying to find a way of organising my theory about them. Many musicians just think that the tensions notes give tension and that's it. But is there more to it than this?
It seems the 9th and its little brother the 13th can go with any chord major dom or minor, but what of the flat 9, the sharp 9, the #4 and the b5 - is there any kind of sense to how you use these, or do you just bung them in anywhere when say using a dominant 7th?
I hope people can understand what I mean, is there any kind of categorisation or methodology associated with the extensions?
I remember learning the theory of using these extended chords by studying compositions to see how they were used. I already knew the sound, so I learned to associate the sound with the notation. Of course, this was fifty years ago so I'm a bit hazy.
The 13 to me is the big brother of the 9th, not the little brother by any means, because the 13 chord includes the 9. I love dominant 13 chords that contain both the sixth and dominant sevenths: so many choices!
When you are studying #4, I suggest you look for #11 instead. You'll find that more frequently. And of course a #4 and b5 are enharmonically the same note; the b5 is far more common.
Thanks for the reply Matt, I too used to play trumpet (and cornet) classically though, reading dots, then sax jazz too, but these are both melody instruments. I took the piano seriously only about five years ago. I was speaking enharmonically above. What I mean is given say a dominant chord,and given you want to add tension, is there any guidelines which state that you want a b9 or a #4 or #5 (enharmonically) Just trying to work it through...
I took music theory but that was some 50+ years ago!
I would suggest looking for a music theory book that is dedicated to your main instrument. I have a couple that pertains to the guitar that has helped me tremendously.
What I like are semitone modulations. Things like Am7, Am7b5, Gmaj7, G13b9 are semitone moves. Many times in a blues song I will replace a dominate 7th or 9th with a 13th.
But rule #1 as Mac has said many times "If it sounds good then it is good"!
In the end, your ear will determine which tensions to use. Sometimes you may want to create a certain movement within a group of chords, like for example, what happens in "Wave", where the progression goes from F#13 - F#aug - B9 -B7b9. The note movement is D#-D-C#-C. pretty recognizable in that song.
Depends on what you want to hear, or create. Key is to open up your ears and train them to recognize the different tensions. Then you can create with them.
PGboeMike : Yes that video is a real help. I am a big fan of Willie and have worked through dozens of his videos, presently I am working on Georgia, and am about half way through his lessons. I have seen this video before but it did not sink in.
For me, there are four basic modal chord types, major minor and dominant, plus locrian. Each has its place in modal tunes. Minors, come in many flavours, there are dorians, phrygians, naturals, and at a stretch the locrian can be a minor, then there are the melodic and harmonic minors that can bring new tonalities. We also have diminished.
Anyway that's the basis of my thinking, I can play these chords on piano above fairly rapidly, if required. However, in between the sounds of the root, third, fifth and sevenths, for me there are only major ninths and sixths. Currently, (enharmonically) b9, #9 (except in blues), #4 and b5 are 'outside of my vocabulary' so to speak - I am working on including them. I notice things like the #5 is often used on the final dominant before returning to the chorus, and I think the b9 is part of a minor type sound - sort of..
The video above definitely helps, I will watch it a number of times until it really beds in. Its a better way of thinking, than the scale/mode approach I learnt for sax using Aebersold.
