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HOME ABOUT US EPISODES CONTACT US DONATE EpISODE 88 ALTERED CHORDS Part 1

HOSTS- Jeremy Burns, Matthew Scott Phillips

 

TYPE- Theory

 

DURATION- 80:09

 

BUMPER MUSIC- "9th Heaven" (Area 47 Music)

ANNOUNCER- Mike Cunliffe

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DESCRIPTION

Dive with us, face first, into chromaticism with this discussion on extended and altered chords. We will make sure we're well acquainted with the concept of suspended ("sus") chords and added ("add") chords. This will prepare us for an ongoing exploration of altered chords. We will also compare the use of these chords, in classical theory, to their rolls in the jazz and pop music genres!

KEY WORDS DIATONIC- When a triad, chord or melody consists of notes solely from the given key, it is considered to be DIATONIC. CHROMATIC- When a triad, chord or melody consists of notes from outside the given key, it is considered to be CHROMATIC. NONESSENTIAL CHROMATICISM- This refers to non chord tones that are within the scale of a passage of music. They likely appear in between strong beats, while one chord tone moves to another. ESSENTIAL CHROMATICISM- This refers to non chord tones that are from outside the scale of a passage of music. These can be considered a part of the chord its self. SUSPENSIONS ("SUS" CHORDS)- In "classical theory", a note from the previous chord remains while all the others move to the following chord. Then it is resolved DOWN BY STEP on a weak beat of the new chord. In popular and jazz music, this is when a non chord tone replaces a chord tone (often the 2nd, 4th or 6th replacing 3rd or 5th). "ADD" CHORDS- In these chords, a non chord tone is added to a full triad. EXTENDED CHORDS- In these chords, a non chord tone is added to a full 7th chord. It's should be noted that the 7th is necessary for a chord to be considered an extended chord. ALTERED CHORDS ("ALT" CHORDS)- In these chords the extended non chord tone is altered by either raising it (#) or lowering it (b). The 7th is still required to be present. EXAMPLES SUSPENSIONs (SUS CHORDS) 4-3 Suspension

-So far, we've learned about suspensions as NON CHORD TONES (NCT's). This is true. However, in classical music, these NCT's are expected to resolve. Below, we have a 4-3 suspension. From the bottom up, we have the notes:

 

Note names:  A - D - E - A

Chord tones:  1 - 4 - 5 - 1

 

-Three of these notes (A, E, A) belong to the A major chord. This D note, however, is a 4th up from the root of this chord (4 of the chord). Though not a member of the A major chord, this note is "suspended" for a couple of beats, before resolving down to the C# (3 of the chord) in the full A major chord that follows.

SUS 4

-In jazz and pop music, this chord can stand on it's own. Notice, this A major chord below just sits there. It's 3rd (C#) has been replaced by the D note (4 of the chord). And that's okay. We'll just call it an "Asus4" chord or an "A4" chord.

7SUS 4 -As we see below, these suspended chord tones can occur in 7th chords as well. Below, we have an A7 (major/minor) chord. From the bottom up, we have the following notes: Note names: A - D - E - G Chord tones: 1 - 4 - 5 - b7 The only difference is that we've added the G (b7 of the chord) to the sonority.
M7SUS 4

-We could've easily built this chord off of a MAJOR 7 chord. Below, we have an AM7sus (major/major) chord. From the bottom up, we have the following notes:

 

Note names:  A - D - E - G#

Chord tones:  1 - 4 - 5 -  7

 

The only difference is that G note is now a G#, as it would normally be in A major.

SUS 2

-Other chord tones can be suspended as well. Below, we have an Asus2 chord. From the bottom up, we have the following notes:

 

Note names:  A - B - E - A

Chord tones:  1 - 2 - 5 - 1

 

-In this chord, the B (2 of the chord) takes the place of what would be the C# (3 of the chord).

SUS 9

-At first glance, we have the very same notes from the above Asus2 chord but in a different order. From the bottom up, we have the following notes:

 

Note names:  A - A - B - E

Chord tones:  1 - 1 - 2 - 5

 

-In this chord, the B (2 of the chord) still takes the place of what would be the C# (3 of the chord). However, this occurs beyond an octave of the root of the chord (A). Now this is B (9 of the chord). So, instead of a sus2 chord, it is now a sus9 chord.

-These chords can happen in MAJOR and MINOR. In the case of sus4 and sus2, they will be the same chords (in major and minor) because they are replacing the 3rd, by which the major or minor qualities are determined.

ADDITIONS (ADD CHORDS) ADD 2

-The "add" chords are a bit different. Where a "sus" chord is replacing a chord tone, the added tone in an "add" chord is there along with all other chord tones. Below, we have a Cadd2 chord. From the bottom up, we have the following notes:

 

Note names:  C- D - E - G

Chord tones:  1 - 2 - 3 - 5

 

This is a C major triad with an added D note (2 of the chord). As a reminder, where using "2 of the chord" to indicate that this note is a 2nd up from the root of the chord (not always scale degree 1).

ADD 9

-Now we have moved this D note (2 of the chord) up an octave. It is now the 9 of the chord. Below, we have a Cadd9 chord. From the bottom up, we have the following notes:

 

Note names:  C- E - G - D

Chord tones:  1 - 3 - 5 - 9

 

This is a C major triad with an added D note (9 of the chord).

OTHER ADD CHORDS (11th, 13th)

-This same technique can be applied to major and minor chords. It can be applied to all manor of 7th chords. Just remember the following distinctions between the "add" tones and their octave counterparts:

 

-Add2 + 1 OCTAVE = Add9

-Add4 + 1 OCTAVE = Add11

-Add6 + 1 OCTAVE = Add13

 

We need not fuss with 10th, 12th or 15th chords because these tones are already present in any triad, major or minor.

EXTENSIONS The 9 CHORD -In the case of EXTENSIONS, they work similar to "add chords". But the 7th of the chord must be present for it to be truly considered an EXTENSION. Below, we have a I - V - I progression in the key of C. We have 5 voices. The opening and closing chords include only the notes of the C major triad (C-E-G). But let's look at the V chord (G9) in the middle. From the bottom up, we have the following notes: Note names: G- B - D - F - A Chord tones: 1 - 3 - 5 - b7 - 9 Because that 7th chord tone is present. This is actually considered a 9 chord, rather than an add9. This chord would be noted as "G9" on chord chart. The 9 replaces the 7 because the 7th is implied. If this was a MAJOR 7 (major/major), it would be noted as "GM9".
ALTERATIONS The SHARP 9 CHORD -In the case of ALTERATIONS, they work similar to EXTENSIONS. The 7th of the chord must be present. Below we have an A (#9). The 9th chord tone is the extension. Because it is sharpened, it is now an ALTERED CHORD. From the bottom up, we have the following notes: Note names: A- C# - E - G - B# Chord tones: 1 - 3 - 5 - b7 - #9 We use parenthesis, in this case, to distinguish this A (#9) chord from an A#9 (enharmonic to Bb9). Why are we using B# instead of C natural? This C note is already represented by the C# in the tenor part.
The FLAT 9 CHORD -Another alteration of the 9 chord would be the b9. From the bottom up, we have the following notes: Note names: A- C# - E - G - Bb Chord tones: 1 - 3 - 5 - b7 - b9 This would show as an A (b9) or an A7 (b9), a very tense chord!
LINKS

“Altered Chords” by Michael New on YouTube

 

“#83-How To Use Altered Extended Chords” by Piano Lesson With Warren S. on YouTube

MUSIC STUDENT 101

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