Chord Extensions Lesson Supplement

C‹9 C‹11 C‹11

4 ∑ œ œ œ œ Œ ∑ bœœœ œœ œœœ Œ
&4 œ œ œ b œœ œœœ œœœ
How to extend 1 3 5 7 9 11 13
chords with Chords are named by the highest
9th, 11th & extension present in the chord.
13ths.

{ ? 44 ∑ ∑ ∑ ∑ ∑

CŒ„Š9 C‹9 CŒ„Š9 C‹9 CŒ„Š9 C‹9 CŒ„Š9 C‹9

6

& ˙˙˙ b˙˙˙ ˙˙˙ ˙ ˙˙˙ ˙ ∑

˙ b˙ ˙ bb˙˙˙ ˙ bb˙˙˙ ˙˙˙ bb˙˙˙
Open position Closed position creates a denser It also sounds nice to drop Another variation is to drop Now let's
sound. Move the top 2 notes to the root of the chord down the 5th into the left hand
the bottom look at 11th
and octave into the lower voicings.
registers of the piano

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˙ ˙
˙˙

Other examples of Cm11 voicings

˙˙ ∑

CŒ„Š9(#11) C‹11 C‹11 C‹11 C‹11

11 So What
Herbie Hancock
Kenny Barron
#w
w bœœ œœ Œ ∑
& w nw œ œœ
bww bbœœ œ
If you have an 11th in a major chord, The natural 11th is ALWAYS 2 stacked perfect A 5th interval
it's usually #11. The natural 11th is an 4 stacked
used with MINOR 11th 3rds & a 5ths in each hand, (C & G) in the bass, Finally let's
'Avoid Note' in voicings, as there's a whole step separated by a minor and 4 notes in
major keys, due to the 1/2 step interval major 3rd cover 2 major
between the minor 3rd & the on top. 2nd interval. the right hand. 13th voicings
between 3rd (E) & 11th (F). 11th.
w œœ
{ ? w
w bw
w
w œœ œ
œœ Œ ∑

15 CŒ„Š13 CŒ„Š13 C9 C13 C13 C13 C13 C13(#11)

& ∑ b˙˙˙˙ ˙˙˙ ˙˙ ˙˙ ˙˙

#˙˙˙ ∑
˙˙˙˙ ˙˙˙˙ ˙ ˙ ˙
Dominant 13th:
Root, 3rd root/3rd/7th in LH The best way
When the major 7th is present in the Dominant chord & 7th in Stack of 4ths Root on top to practise
chord, the 6 is always referred to as the extensions. LH, 9th & in right hand 9th/#11/ 13th in RH.
13th in RH. Called an Upper
chord
13th. If the 7th is not present, then the extensions.
13th is referred to as the 6. Structure Triad.

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˙˙˙ ∑ ˙˙ ˙˙ b˙˙
˙
˙
˙
b˙
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 2
21 CŒ„Š9 FŒ„Š9 B¨Œ„Š9 E¨Œ„Š9 A¨Œ„Š9 D¨Œ„Š9 G¨Œ„Š9 BŒ„Š9
œœœ
& œœœ œœœ
bbœœœœ bbbœœœœ bbœœœœ
œ
œ œ b œœœœ b œœœœ
The right hand formula is 3-5-7-9 - make a conscious analysis of the notes you
are playing in terms of scale degrees. Say to yourself "that's the 3, that's the 7" etc.. Continuing around the circle..

{ ? œ
œ bœ bœ bœ
bœ bœ œ

23 EŒ„Š9 AŒ„Š9 DŒ„Š9 GŒ„Š9 CŒ„Š9 FŒ„Š9 B¨Œ„Š9 E¨Œ„Š9

& ##œœ #œœœ œ œœœ

#œ œ n#œœœ œœœ
# œœ ## œœœ œ œœœ
œ œ b œœœ
œ
Now repeat the same exercise in closed position.
The right hand formula for closed position is 7-9-3-5

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œ œ œ œ œ
œ bœ bœ

25 A¨Œ„Š9 D¨Œ„Š9 G¨Œ„Š9 BŒ„Š9 EŒ„Š9 AŒ„Š9 DŒ„Š9 GŒ„Š9

∑
&
bbœœœœ bbœœœœ bbb œœœ ####œœœœ # œœœ ##œœœœ œ
œ ### œœœœ #œ # œœœ Next repeat
the same thing
with the minor
9th voicings.

{ ?
bœ bœ bœ œ œ œ œ œ ∑

C‹9 F‹9 B¨‹9 E¨‹9 C‹9 F‹9 B¨‹9 E¨‹9

28

& bbœœœœ bœœœ bbœœœœ b œœ ∑ œ ∑

bœ bb œœ Repeat exercise in
bbœœœ bb œœœœ bb œœœœ b œœœ Also look at the specific
lessons on the voicings:
closed position. Simply
move the top 2 notes onto
bœ - Herbie Hancock Voicing
- Kenny Barron Voicing
All that changes is the 3rd .. etc, all the way the bottom to play b7-9-b3-5
and 7th are now flatted in the right hand .. etc, all the way - So What Voicing
around the circle. We take the voicings around
around the circle.
all 12 keys in each lesson.

{
? œ
œ bœ b œ

F13 B¨13
∑

E¨13 A¨13
œ

D¨13
œ bœ b œ

F13 B¨13 E¨13

∑

A¨13
32 C13

& bw
ww
w œ
bœœœœ bœœœ b œœœ bbœœœœ b œ
Ó™ œ œœœ œ
œ œœ bœ bb œœœ
bn œœ
For dominant 13 chords, root & 5
œ
You will find this voicing tricky to visualise,
œ b œœœ b œ
in bass or left hand. The right remember to build using the formula "3-13- You will find this voicing tricky to visualise, remember
hand plays: 3rd, 13th, b7 & 9th. .. etc, all the way
b7-9" and make a conscious analysis of each around the Circle. to build using the new formula "b7-9-3-13" and make a
note you are playing conscious analysis of each note you are playing

{
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w
œ bœ b œ bœ bœ
Ó™
œ bœ b œ bœ