Consolidated 9ths
Richard Barrett continues his look at extended chords by focusing in on the different musical varieties of 7ths and 9ths and their usage
Just in case you were wondering, ‘consolidated’ is not a theoretical term – though I thought it might be a good idea to bring a few different 9ths together in one place, highlighting their differences and similarities both in music theory and on the fretboard. This can help when dealing with all manner of extended chords and harmony in a variety of genres.
I’m dealing with a couple of different sub-categories here. Major or minor is something I’ll assume we’re all familiar with. However, major or minor 7ths are also very significant once we start extending chords. With no disrespect intended to the 6th, 7ths really are the bedrock of extended chords. While the 9th, 11th and 13th add detail and melody, unless these are raised or lowered (known as ‘altered’), it could be argued that the 7th/major 7th provides the essence of the harmony along with the major/minor 3rd. These examples walk through some possibilities step by step, with a hint of how voice-leading works as an added bonus.