Extended Chords in Four-Part Harmony - Music Composition
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- Опубликовано: 24 июл 2024
- How to extend basic triads into chords using added 7ths, 9ths, 11ths and 13ths. Having considered how to construct these chords we explore how to use extended chords in four part harmony, discovering which notes we can omit from each chord and how to deal with voice leading issues so that smooth resolutions can be found. This music composition lesson will enable composers and arrangers to broaden their harmonic vocabulary by adding greater colour and warmth to their writing.
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🕘 Timestamps
0:00 - Introduction to extended chords in four-part harmony
0:23 - What does extended mean?
3:18 - Omitting notes to reduce dissonance
4:42 - Chords in four-parts
5:23 - Dominant 7th chords
7:52 - Dominant 9th chords
11:16 - Dominant 11th chords
14:29 - Dominant 13th chords
17:04 - Supertonic 9th chords
20:52 - Supertonic 11th chords
21:30 - Supertonic 13th chords
21:53 - Conclusion
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Been following these for months, but this one is the best so far ! Very generous free teaching Gareth. Thank you
A pleasure. Much more at www.mmcourses.co.uk
Your third example has parallel fourths. Is this ok? It sounds fine!
@andrewlord3398 Parallel 4ths are not a problem unless they are causing second inversion chords to be used unsatisfactorily.
The lesson i was waiting for so much. Thank you sir.
Most kind. Much more at www.mmcourses.co.uk
Excellent lesson! Thanks for sharing!
Most kind. Much more at www.mmcourses.co.uk
Thank you for another excellent Video on resolution of these intervals. I would love to see a video on how to prepare for the 7ths and extensions. thank you for your great channel 🙂
Okay. Glad it’s useful. Much more at www.mmcourses.co.uk
Very Informative, Bravo !
😀
A very good guide, but one i will put on the back burner for a while. I want to master my triads. I started trying jazz chords early on and had no idea what I was doing. Slow and steady wins the race.
Absolutely. You would find our Keyboard Harmony course really helpful. It works through the harmony agenda step by step.
Great clear presentation
That’s most kind. Much more at www.mmcourses.co.uk
Great Video!
Glad it’s helpful. Much more at www.mmcourses.co.uk
Good lesson. Thank you!
A pleasure. Much more at www.mmcourses.co.uk
Thanks for sharing this interesting video.
2:28 Just when I ran out fingers.. . . and noticed that it's just two "chromatic" 7th chords stacking one on top of the other.
Glad it’s useful. Much more at www.mmcourses.co.uk
Great tips!
😀
great lesson
Most kind. Much more at www.mmcourses.co.uk
Excellent - very helpful. Your video has given context and affirmed / helped firm up my understanding of use of extended chords: making the Jazz "guide tones" (3rd and 7ths) have context in the tones to include in extended chords. You discussed the b9 : next time around I would find it helpful if you could address use of #9, #11 and b13 which are extensions used in Jazz - most frequently in relation to dominant chords.
You discussed making ii9 into II9 by raising the 3rd ; in other videos you have talked about the bII chord (and here i beg forgiveness as I can never instantly remember how this relates to Neopolitan 6ths) - can one extend the bII chord?
Thanks
Okay.
Super content
That’s most kind. Much more at www.mmcourses.co.uk
Hi Mr Gareth, might you be able to do a video on Jazz Chords? I'd greatly appreciate that! ❤😊
Okay
@@MusicMattersGB thank you in advance! 🤗
😀
Are this videos and information included in your courses on mmcourses website..?
If yes which course includes all this music composition videos?
This material is covered in greater detail in our Advanced Theory course.
Thanks Gareth. Why is the semitone clash between the simultaneous sounding of the leading note and its note of resolution (B and C in C major) seen as ugly in an 11th chord, whereas the same between the subdominant and its note of resolution (F and E in C major) is hunky-dory in a 13th? My choir did a modern piece a while ago where I had to sing the latter clash against the singer with the melody, accurately but not too loud, and it was a bit of a pain.
It’s often a matter of the spacing of the chord/ dissonance.
I checked on your website but there are no this videos from RUclips there. I wanted to know that all this information shared here does it it include in those courses?
Hi. The course videos are not available on RUclips, they are unique to the website and each course. There are only preview’s available here: ruclips.net/p/PL5j5H06QkhxG6CaTXXaPWFh2FWQUIORHe
Hi Gareth, I tried creating a German sixth chord progression using extended chords but I think the momentum got lost in all the extended notes. It may've been my arrangement but it just sounded like it went from one cool chord to another. Is there a way of possibly creating German sixth chord progressions using extended chords?
The German 6th is enharmonically identical to a Dominant 7th in a different key therefore you can extend to a 9th or 11th or 13th.
Great lesson! I have a question: I often see 7 chords in Baroque and older music where the third is missing and not the fifth (1-5-7) So is it also possible in a major 7th chord to leave out the third?
Thanks. Yes. Particularly with major 7th chords.
@@MusicMattersGB Thank you very much!
@derkurator9940 😀
In a relative minor of G major, is it possible for I to use F# while playing a song it that minor key.
Secondly , how does natural harmony or melody affect that same minor relative of G Major
In E minor you wouldn’t normally use F# in chord I.
@@MusicMattersGB but is it supposed to be used In it's scale ?
@Amoresimz F# is in the key of E minor but is not part of the tonic chord
Thank you Gareth. Am I right in thinking that in jazz/pop chord notation one would write the root position 11th as a slash chord eg
G/F or D/C?
Yes
G/F or D/C will give you the #11, F/G or C/D will give you the Sus11
😀
Wouldn't those examples be 13th chords? I think you'd need to reverse the order.
Or inverted 7th chords.
What is the offensive nature of ii13?
I don’t think it is offensive
👏👏👏
😀
@@MusicMattersGB Great lesson, thanks! It would be great to have a more elaborate discussion on the rationale for using the extended chords, their stylistic implication, and the extensions' voicing specifics.
Good request
Do you compose?
Yes
@@MusicMattersGB is there anywhere we could listen to your compositions?😃