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.