DIAGRAM1 D dom­i­nant 9,11 and 13 chords IN FIVE SHAPES


As you play each chord, call out the in­ter­vals, from the low­est to high­est note and try to vi­su­alise their place­ment within the rel­e­vant po­si­tion of the un­der­ly­ing Ma­jor scale, which acts as a tem­plate. Fur­ther to this, flat­ten the 7th de­gree to ar­rive at the Mixoly­dian mode. As we saw last month, cer­tain in­ter­vals such as the 5th may be omit­ted to ar­rive at a prac­ti­cal voic­ing. The dom­i­nant 11 is the one ex­cep­tion to our usual rule of in­clud­ing the 3rd de­gree, with this in­ter­val often omit­ted so as to avoid the semi­tone clash be­tween the 4th or 11th. With no 3rd de­gree, this chord is often re­ferred to as a 9sus chord. On the dom­i­nant 13th, other than the 5th de­gree, we can also omit the 9th and 11th, while still keep­ing the func­tion of the chord in­tact. The crit­i­cal in­ter­vals will be b7th the root, 3rd, and 13th. How­ever, con­sid­er­ing the lim­i­ta­tion of range in b7th shape 2 for ex­am­ple, and with the omit­ted to get a voic­ing sym­bolic of the sound, we may find an am­bi­gu­ity that only the con­text can de­fine, and with some of the more lim­ited voic­ings shared be­tween other chord types. On each di­a­gram, the root notes are in­di­cated in black, with the in­ter­vals that make up the spe­cific voic­ing dis­played within the notes.

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