The big chords - Pt.2 in this two part series will mostly deal with the big hairy chords that always scared me as a kid. I'll also show you some practical shapes that can be used to make various chords in the last half of this lesson. If you haven't read through Pt.1 yet, you might want to before diving off into the deep end.
11th chords
11th chords: Along with the 7th, the 11th is also added to the triad. There are a few basic guidelines to remember here, as I mentioned before in Pt.1 in regards to sus4 chords, major 3rds and 4ths are not considered to get along so well.
To fix this small problem, generally (and I stress the word generally), the major 3rd either gets omitted or the 11th gets raised, a harmonic compromise in a way.
This does however create a few naming problems. By leaving the 3rd out of the voicing, we will simply be making the chord a sus4 chord. If we leave the 3rd in and raise the 11th, the chord symbol needs to be written so.
For these two reasons you don't run across major or dominant 11th chords such as C11 very often. As far as the minor version goes, the minor 3rd and natural 11th get along fine so there is no need to raise the 11th. Therefore, theoretically there are only three 11th chords and they tend to be notated this way: Cmaj7#11, C7#11 and Cmin11:
These are the common sixth string root voicings for the maj7#11, min11 and 7#11 chords:
The Lydian Chord: The maj7#11 chord is sometimes referred to as the lydian chord. It is a beautiful, modern sounding chord. Sometimes you may come across the word lydian in a chart rather than a chord symbol. The composer is just telling you to play a major family chord with a #11 somewhere in it. Try the following progression as an exercise:
Including 3rds and 4ths in the same chord: The following is an example of how you can keep your 3rds and 4ths (11ths) together in your chord. The second chord contains both a major 3rd and perfect 4th. I would tend to use my fingers to "roll" through the notes in the chords rather than bashing them with a pick:
These chords is are good examples of a very typical "guitar" chords that contains both the 3rd and 4th (11th). Alex Lifeson from the band "Rush" uses chords like the first one from time to time. The second chord often follows an open position C chord:
Points to remember about 11th chords:
For the major and dominant versions, when the 3rd is desired in the 11th chord voicing, the 11th tends to get raised.
The 9th does not need to be included in the voicing but the 7th and 3rd do. Without the 3rd present, the chord becomes a sus4 chord.
Is there a dominant 11th chord? Yes and no. Technically a 3rd and 4th don't get put in the same major or dominant chord so a dominant 11th chord doesn't generally show up in a chart. With the 3rd removed, the 11th gets considered a 4th and that would just make the chord into a sus chord. In reality, the (modern) ear accepts the 3rd and 4th in the same chord if voiced correctly so the dominant 11th chord does get played from time to time, it just gets notated as a 9sus chord and the 3rd is considered an option. You may from time to time run across an 11 chord in a chart, but the composer most likely is telling you to play a 9sus chord (1, 4, 5, b7, 9). Add 3rds at will but be careful.
What is the difference between a 7#11 and a 7(b5) chord? Hmm.. Not too much on the surface but there are a few differences that need to be discussed. One thing that needs to be considered is what liberties can be taken with the chord. Derived from the lydian dominant mode of the melodic minor scale, the 7#11 chord can contain the natural 5th. The 9th, and 13th are also in the scale so they too can be added to the chord. Since the 7(b5) chord, is most likely coming from the altered mode of the melodic minor scale, altered 9ths can probably be added without any complications. The 7#11 chord generally resolves down a half step, while the 7(b5) chord generally resolves up a 4th to the tonic chord.
Putting 9th and 11th chords into practice
Keeping things simple - Notice how I've kept things simple in the following exercise by voicing all the chords with only four notes each. Most of the chords simply include the root, 3rd, 7th and the extension designated in the chord symbol. As I stated in pt.1, 5ths don't count for much so you are free to leave them out if they are not altered.
13th chords
The biggest chord available - 13th chords technically can contain every scale tone, but since there are seven scale tones in the major scale and only six strings on the guitar, it is a physical impossibility.
There are certain choices that have to be made when playing 13th chords. 9ths and 11th can be left out and as I said before, the 5th isn't really necessary.
If a bassist is present, you definitely don't need a root in the voicing. If you where to leave out the 7th, what you would get is a 6th chord.
The most important notes are the 3rd, 7th, and 13th. As with our other major and dominant family chords, when the major 3rd is present, the 4th generally gets raised to a #11th (if you choose to include it in the chord). If you eliminate the 3rd and leave in the natural 4th, the chord will become a sus chord as in C13sus.
These are some sixth string root voicings for major, minor and dominant 13th chords:
Points to remember about 13th chords:
For the major and dominant versions, when the 3rd is desired in the voicing, the 11th tends to be raised.
The 9th and #11th do not need to be included in the voicing but the 7th and 3rd do. Without the 7th included in the voicing the chord is considered a 6th chord.
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13th chords from the half/whole step diminished scale
Dominant 13th chord with altered 9ths - The 13#9 and 13b9 chords are the chords derived from the symmetrical scale know as the half/whole diminished scale. Unlike the altered dominant chords created by the altered mode of the melodic minor scale, the chords made from the half/whole diminished scale contain a natural 13th and an unaltered 5th. They generally resolve the same way altered chords do, to the I chord. Because of the symmetrical structure of the diminished scale, the upper chord shapes can be moved up or down in min3rds to create other dominant chords:
Six string root voicings for the 13#9 and 13b9 chords:
Points to remember about 13th chords derived from the half/whole diminished scale:
The #11th can also be though of as a b5th so sometimes the 13#11 chord shows up as a 13b5 chord in a chart, as in C13b5. Some possible chord symbols from this chord family: C13b9, C13#9, C13(b5,#9), C13(b5,b9), C13(b9,#11), C13(#9,#11), etc..
Just remember: we've traded our #5th for a 13th.
Shapes
Useful shapes - I tend to use certain shapes or forms over various bass notes to get desired chords. This not only makes things simpler because one shape can be turned into a half dozen chords but is also a great aid in voice leading. Let's start with some shapes you may already be familiar with, here is our first one:
Our first chord is a C9 chord. The important thing to take note of is the upper form (the white dots). While keeping the same (C) root and moving the shape to a different location, we can make a new chord, in this case a C7(#5,b9) chord. I've included the roots in black but I usually don't play them:
Compare a G7(#5,b9) and Db9 chord using the previous voicings and you'll see why the Db9 chord works as a bV substitution for the V chord, G7. You will hear it better by comparing these two chord progressions: Dmin7 - G7(#5,b9) - Cmaj7 and Dmin7 - Db9 - Cmaj7.
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Our next shape can be thought of as a half/whole diminished scale shape:
Next we'll turn a C7#9 chord into a C13b9 chord. If you absolutely have to play the bass note on the C7#9 chord, use your thumb. This shape, like the previous, can be thought of as a half/whole diminished scale shape:
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Our next shape:
We can turn this shape into a C7(#5,#9) and a C13 chord:
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Let's take some of these shapes and see what we can do with a jazz blues. You don't need to play the roots when you play with a bassist:
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Some more dominant shapes that come in handy:
C13 and C7(#5,#9):
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Our next shape can also be thought of as a half/whole diminished scale chord voicing:
This shape gets turned into a C13(b9) and a C7(b9):
Major Scale Modal Shapes
While the last examples dealt primarily with dominant chords the next shape works quite well for both major and minor sounds. This shape is built from the major scale. First, let's memorize the shape:
These are all major scale modal family chords that can be made with the shape:
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Melodic Minor and Major Scale Modal Shapes
The next shape is a very useful one. Unlike the previous shapes, you can use this shape to make major, minor, dominant and altered dominant chords. This shape can be found in both the major and melodic minor scales. First memorize the shape without the root:
I included the root in black but I don't usually include them when playing the chords. I do however use the roots as a reference to locate the chord. If you chose to think modally, all these chords can be thought of as both major and melodic minor family shapes with the exception of the C7(#5#9) chord which is strictly melodic minor (from the altered mode). Our first chord, C13 can come from either the mixolydian or lydian dominant mode. Our second chord, Csus(b9) comes from either the phrygian or dorian b2 mode. As I mentioned before, our third chord, C7(#5,#9) is strictly altered. The fourth chord, Cmin6 comes from either the dorian mode or the melodic minor scale. Our fifth chord, Cmin11(b5) can come from the locrian mode or the locrian #2 mode from the melodic minor scale. And last but not least, our sixth chord, Cmaj7#11 comes from either the lydian mode or the lydian augmented mode:
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Strictly Melodic Minor Modal Shapes
The next shape is strictly melodic minor modal harmony. Memorize the shape before we move on to the individual chords:
Our first chord, a C13(#11) chord comes from the lydian dominant mode. The second chord, the C13sus(b9) chord comes from the dorian b2 mode. Our third chord, the C7(#5,#9) chord is derived from the altered mode. You won't be able to play the root in this voicing. I included it as a reference but you'll have to leave it to your bassist. I had to think about how exactly to name our next chord, the Cmin9(maj7) chord. It is a beautiful voicing derived from the melodic minor scale itself. Our fifth chord, the Cmin11(b5) chord comes from the locrian #2 scale. This voicing contains the natural 9th. There is no minor 3rd in the voicing but the minor harmony is implied so strongly that it really makes no difference. Our last chord, the Cmaj7#5 chord comes from the third mode of the melodic minor scale, the lydian augmented mode, it may help to think of it as an E/C chord:
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Putting the Shapes to use
I'm taking a lot of liberties with the voicings in this example. In a Jazz setting this is okay as long as the voicings don't clash with the melody. With minor chords, usually the upper extensions with the exception of the 6th (13th) can be added to the chord without any conflict but be careful with dominant chords, check where they are going before adding your extensions.
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Advice When Playing Diatonic Progressions
Know the extensions for each diatonic chord - Since the upper extensions for each diatonic chord is different, you will want to be cautious when playing diatonic progressions. Play the diatonic chords as add9 chords and you'll understand what I mean, while the natural 9th works fine in the I, ii, IV, V and vi chords, the addition of the natural 9th in the iii chord will make you cringe. Keep in mind, this is important only when dealing with very diatonic chord progressions. More liberties can be taken with Jazz but you may need to exersise caution when playing other genres. Use the chart below as a reference guide.
Try to come up with your own voicings, experiment and have fun.
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