![]() As you move through each chord in the extended 251 progression, stop and analyse the scale degree of each note you are playing. With a little practice you will start to visualise the extensions as part of the C major chord, and we must do the same with minor and dominant chords.ĭoing this in the context of the 251 is also more efficient. When you play Cmaj9, instead of thinking a G major triad off the 5th you should identify each note that you are playing.Īnd so stop and work through each note and say “E is the 3rd”, “B is the 7th”, “D is the 9th” etc… We can also look at this as a major triad built off the 2 or 9 of the chord.Īt this stage, the most important thing for you to do is to develop an awareness of the extensions. There are lots of tricks for learning cool voicings, for example if we play Cmaj7 in our left hand, and then a D Major triad in the right hand, we then have Cmaj13#11. You must understand that Cmaj13 is simply all of the notes of the C major scale but not placed in step-by-step order. ![]() Now in reality, this is all Cmajor, but if when starting out this helps you to visualise the shapes, then that is fine. So for Cmaj9, we would have and E-7 chord over C. I think an easier way to look at this would be to visualise a minor 7th chord from the major 3rd. There are many ways that we can subdivide a voicing.Īs you say, for Cmaj9 we could say a major triad built off the 5th. I can appreciate that this seems a little daunting at first but I guarantee with practice that it becomes much easier. ![]() I hope this helps Mark, and any further questions you can post them here or in the community area. We also have a forum thread on rootless voicings here which you may find insightful: This can be a little tricky to explain so I hope the above makes sense. We could look at a C-13 voicing as a D minor triad over C-7 in the left hand, or minor triad built from the 9th, so there are many little shortcuts like this, but the important thing is that we are seeing the extensions in relation to the root note. This is very important to start visualising those tones in relation to C Minor, which is the chord we are playing.Īs we explore in other lessons in this course, we also have the 11th and 13th. And the same for all of the other keys.īy all means use this relationship (major 7th chord a minor 3rd up, or major 7th built off the relative major) to help you initially see the voicing shapes, but every time you do this, play each note and say the scale degrees out loud in relation to the root note, using the example above for C-9, Eb is the b3, G is the 5, Bb is the b7, and D is the 9th. I think you meant “the natural major of C minor is Eb” and yes that is true.Īnd yes, we can use this as a short cut to find the rootless voicings, but as soon as possible, the goal is to see that Ebmaj7 as the b3, 5, b7, and 9 of Eb major. Now let’s reverse that pattern, and start with the closed position right-hand.Īnd then let’s repeat the same for minor chords – first starting with the minor 9th stacked 3rds and then start in the other inversion. Starting with major 9 stacked thirds, and then alternating. The final 2 exercises mix these open and closed position RH voicings together and incorporate voice leading when moving around the circle. We always play the root in our left hand, and then from bottom to top, our right-hand plays 7-9-3-5. ![]() The second method – which I actually prefer – is to memorise the scale degree construction. There’s a couple of different ways to find this inversion, the first is to take the sequentially stacked voicing we had in the last drill, and now put the bottom 2 notes in our right hand on top. What we just covered is the ‘open position’, and we can also create a ‘closed position’ right-hand voicings containing the 3, 5, 7, & 9. There are 2 very useful right-hand inversions of this chord. We’ll stack 3rds from the root up to the 9th and move around the circle of 5ths. For this practice slot, we are just going to cover major and minor chords, and then in the next exercises, we will also introduce dominant chords and the full 251 progression.įor the first drill, we are going to build the major and minor 9th chord. The 9th is the first of the upper extensions 9, 11, & 13 and so it makes sense for us to isolate and work on this one first. The 9th Chord Extension & How To Practice It! In these 3 lessons, we will run over 6 exercises that will help you visualize and memorise the upper extensions for major, minor, and dominant chords. After watching the lessons in this course, you will now have a basic understanding of where extensions come from, and you should also be familiar with some useful extended chord voicings such as the So What Voicing, The Herbie Hancock Voicing, and the Kenny Barron Voicing. Welcome to this practice plan lesson for the course on Extended Chords & Voicings.
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