EXTENDED CHORDS

Worksheet: Exploring the Full Potential of Chords in the C Major Chord Family

Introduction

In this worksheet, we will explore the chords within the C major chord family, including their basic triads, seventh chords, and extended chords up to the 9th, 11th, and 13th. This will help you understand how to add more color and complexity to your music using these extended harmonies.

The C Major Scale

First, let's review the notes in the C major scale:

C, D, E, F, G, A, B

REVISION: DIATONIC TRIADS

Each note of the scale can serve as the root of a chord. The basic triads (three-note chords) built on each note of the C major scale are as follows:

C major (C): C - E - G
D minor (Dm): D - F - A
E minor (Em): E - G - B
F major (F): F - A - C
G major (G): G - B - D
A minor (Am): A - C - E
B diminished (Bdim): B - D - F

SEVENTH (4-Part) CHORDS

By adding a seventh interval above the root, we create seventh chords. Here are the seventh chords in C major:

Cmaj7: C - E - G - B
Dm7: D - F - A - C
Em7: E - G - B - D
Fmaj7: F - A - C - E
G7: G - B - D - F
Am7: A - C - E - G
Bm7b5: B - D - F - A

Extended Chords

Now, let's extend these chords further by adding the 9th, 11th, and 13th. Each extension adds more color and tension, providing richer harmonic possibilities. We can also think of these three notes as the 2nd, 4th and 6ths notes of the scale - all of the notes in the scale that aren't already included in the 7th chords.

In theory (no pun intended...) these should be all the possible extended chords in the key of C Major:

9th Chords

Cmaj9: C - E - G - B - D
Dm9: D - F - A - C - E
Emb9: E - G - B - D - F
Fmaj9: F - A - C - E - G
G9: G - B - D - F - A
Am9: A - C - E - G - B
Bm7b5(9): B - D - F - A - C (usually a flat 9)

11th Chords

Cmaj11: C - E - G - B - D - F
Dm11: D - F - A - C - E - G
Em11: E - G - B - D - F - A
Fmaj11: F - A - C - E - G - B
G11: G - B - D - F - A - C
Am11: A - C - E - G - B - D
Bm7b5(11): B - D - F - A - C - E

13th Chords

Cmaj13: C - E - G - B - D - F - A
Dm13: D - F - A - C - E - G - B
Em13: E - G - B - D - F - A - C
Fmaj13: F - A - C - E - G - B - D
G13: G - B - D - F - A - C - E
Am13: A - C - E - G - B - D - F
Bm7b5(13): B - D - F - A - C - E - G

Practice Exercises

Identify Chords: Write out the notes for the following chords: Fmaj9, G13, Dm11.
Create Progressions: Create a chord progression using extended chords in C major. For example: Cmaj9 - Am11 - Dm9 - G13.
Play and Experiment: On your instrument, play each of the extended chords listed above. Experiment with different voicings and see how they sound in various progressions.

Chord-Names and 'Avoid' Notes.

Unfortunately, the examples above only tell part of the story, as some of the extensions listed above contain tensions that undermine the character of the chords. These tensions are often referred to as 'Avoid Notes'.

Avoid Notes

Avoid notes are scale degrees that create dissonance when included in certain chords. In functional harmony, these notes are typically a half step above a chord tone and can clash with the chord's harmony.

Cmaj7: Avoid F (creates a minor 9th interval with E)
Dm7: Avoid B (Makes the chord sound too much like a V chord)
Em7: Avoid F (creates a minor 9th interval with E)
Fmaj7: No Avoid notes
G7: No Avoid notes
Am7: Avoid F (creates a minor 9th interval with E)
Bm7b5: Avoid G (Makes the chord sound too much like a V chord)

Avoid notes can still be used, but they need to be treated carefully, often as passing tones or in non-emphasized beats.

AVOID NOTES also help determine how we name extended chords. Generally any number used in a chord progression implies the presence of the lower parts of that chord. For example in a G7 chord, the notes of the triad (1, 3 and 5) are assumed to be present, in a G9, the seventh is also assumed to be present, 11th chords also imply the presence of the 9, the 7th and the triad, and 13th chords assume that all notes of the scale are present in the chord. We therefore have to rename our full-potential chords to indicate which notes of the scale have been omitted. We can do this by using the scale-degree number (ie. 4 instead of 11, or 6 instead of 13), or by using the word 'add' before the extension.

This gives us the following chords:

FULL POTENTIAL CHORDS OF C MAJOR:

CMajor7(69) - C, E, G, B, D (omit 11)

Dm11 - D, F, A, C, E, G (omit 13)

Em(add11) - E, G, B, D, A (omit 9 and 13)

FMaj7(69#11) - F, A, C, E, G, B, D

G13 - G, B, D, F, A, C, E

Am11 - A, C, E, G, B, D (omit 13)

Bm7b5 (add11) - B, D, F, A, E (omit 9 and 13)

Conclusion

Understanding and using extended chords can add a new dimension to your music, making your chord progressions more interesting and expressive. Practice these chords, and incorporate them into your compositions to fully realize the harmonic potential of the C major chord family.