CHORD EXTENSIONS

Happy days,

Let's talk about chord extensions. In the last couple of blogs we discussed seventh chords. Well the seventh interval is simply an extension of the major or minor triad with a seventh scale degree added - basically.

A lot of students come to me and ask how to read Lead Sheet Chord Changes. Many times you will see chords written like Bb13, or Am7b5 (A-minor seven flat-five), or Dm7b9 (D-minor seven flat-nine).

I suppose the easiest way to explain this is that the composer is asking for the player to alter the basic structure of a major and minor chord and add in the interval of the chord's scale degree i.e., b13=13 steps of the scale of the chord and the make it flat. For example; Bb13 is made up of a Bb triad, Bb-D-F. Then you would add the seventh which is a Ab. Then you would add the 13 note of the Bb scale which is G. The only problem with this theory is that the chord is hard to play with one hand spread all over 13 notes and may not sound correct - so we have to learn what is called chord voicing.

Chord voicing is a way to select certain intervals and invert them in a way that will speak the language and interpret the voice leading that sounds satisfactory to the result. One of the advantages of jazz music is that it has the freedom of using multiple chord extensions to all of its music. In fact, it can become a kind of battle of the chords for jazz musicians to compete with each other to find the coolest sounding extension to the same music.

Note: Whenever you see chord extensions past the 7th you generally invert the chord and voice the chord to accomodate the larger range of the scale degree.

I know this is a lot of confusing stuff right now so here's a list of how to voice certain chord extensions of the song Freddie the Freeloader: The first chord asks for a Bb7. You could play the notes Bb-D-F-Ab, but it would sound better if you used a Bb13 using the notes Ab-D-G with a Bb in the bass - or better yet let your bass player play the Bb bass and just bounce your chord with the rhythm.

The next chord is a Eb7. You could play the notes Eb-G-Bb-Dd, but it would sound better perhaps if you played an Eb9 using the notes G-Dd-F with an Eb in the bass.

The next chord is Bb7 again. Notice how easy it was to go from Ab-D-G to G-Bb-F. Your fingers hardly had to move at all.

The next chord is an F7. Well you could fumble around and play F-A-C-Eb or you could hit an A-Eb-G with an F in the bass - this is called the F9 and your fingers hardly move again.

The next chord is an Eb7 so use the same one we just used before G-Db-F

The next chord is an Ab7 so play an Ab13 using the notes Gb-C-F with an Ab in the bass - Side Note: Here's a great opportunity to do an apreggio because the chord is held for two measures. The Gb major scale works great here so while you hold the chord with your left hand play a Gb major scale over 3-octaves real fast and keep the damper down.

Another advantage to jazz music is that it allows for the freedom of improvisation. So on a part where there is two measures or more of the same chord expore your creative side of making stuff up. You can use methods of rhythm, or scales, or learn some more complicated riffs to add to your riff-repertoire!

The rest of the song is just a repeat of the chords so try it out and have some fun improvising!

Thanks for reading

John