Should extensions always be in the higher register of a chord?

SammieWammie · #1 10-29-2011, 02:41 AM

Something I just thought of. When building chords normally, stacking 3rds on a piano, the extensions will always be higher than the chord tones because of the way they're built. But would you ever build chords with extensions on the bottom, or lower than chord tones?

In a song (a pop tune actually) I was working out the guitar, one voicing was in order: F G# D E. I was wondering what it was, a Fminmaj7 add 6? Best answer I could come up with was a E7b9 but with the b9 beneath the shell chord, which seems odd.

brwnhornet59 · #2 10-29-2011, 05:16 AM

It also sounds like it was built from HM. Does it resolve to A-?

I use that voicing a lot to create tension between the 5-b6 of Hm.

Or it is simply a 7b9 depending on context. I like it!

No reason you can't put extensions in the bass, it just becomes another inversion.

randalljazz · #3 10-29-2011, 05:48 AM

Bb7#11 (no root) ? depends on what comes next, of course...

brwnhornet59 · #4 10-29-2011, 06:01 AM

Yeah, I was looking at that to. Or a D- b5 triad add 9, 1-b5-9-b3

SammieWammie · #5 10-29-2011, 06:43 AM

Jamiroquai - Picture of my Life - YouTube that's the song it's from, the chord's at 14s. The context is it's surrounded by a D-7 before and after. So by my limited jazz theory it doesn't seem to be functioning as a V chord so it just seems of be one of those things that work without being definable with theory. Since it's surrounded by D- 's then I'd guess it's probably an inversion of D-9b5 ?

But back to my original question, if that is what it is then it's extension, the 9th, is indeed on top. Anybody got examples of voicings you use with extensions on the bottom?

SammieWammie · #6 10-29-2011, 06:45 AM

Whoops, not a D-9b5, unless it has no 7... a D b5 triad add 9 as Hornet said.

JakeAcci · #7 10-29-2011, 08:52 AM

In that song it's an F-maj7 with a 6.

The song is in C, the F- is just the iv. There is no bass part when that chord appears, so the lowest note we hear is F and I hear it as an F minor.

But the answer to your question is definitely a no, the extensions don't have to be in higher registers but they often sound more consonant there. In fact a fun thing to do is take a voicing (with extensions) you like and invert it. Then the order of notes changes. Sometimes you get something too muddy for the range you're dealing with, sometimes it's something great.

Another funny thing about putting extensions on a lower register is that sometimes it might make it sound like a different chord...however it might be a chord that resolves to the chord that follows just as well as the original harmony, so the register of your tensions makes the voicing almost like an automatic substitution.

brwnhornet59 · #8 10-29-2011, 08:59 AM

In context to the tune I heard it sounds like a 1st inversion of a drop-3 rootless D-7b5 9 which is FminMaj7.

JakeAcci · #9 10-29-2011, 09:18 AM

A drop 3 would be a pretty different structure. If you want to have a rootless Dm7b5 and replace the root for the 9 and put it in a drop 3 context you have E C F Ab instead of D C F Ab. The first inversion of that would be F E Ab C, not F Ab D E like the song. The voicing in the tune is just is just a closed voicing - an Fminmaj7 with a 6 instead of 5.

Reg · #10 10-29-2011, 09:20 AM

Where you place extensions, tensions or whatever you call notes from a scale built in thirds past what the chord symbol says... is what comping, arranging, composing etc... is basically about. On guitar generally you hear the top note first, then the bottom and then the notes between. So where you place note becomes very important. Some like to think of inversions or different stacking methods of the notes. I simply comp by playing lead lines, somewhat like a melody on top and fill in below from implied harmonic area. Getting back to where to place extensions.... the context usually influences your choice. Here's some examples...
Generally when there's a melody going on, you don't want to take interest away from the melody....so if you use tensions or extensions, you would somewhat camouflage them, voice inside the chord. Or if you use on top, as in a simple lead line, you would not accent or you would play on weak beat of harmonic rhythm... basic rule of thumb...use where it doesn't draw more attention than the melody.
The other side of use would be to accent or draw attention to the tension, like during solo sections.... tensions can be used almost like different chords... help create movement. Especially on simple progressions. In the end... how you use and where you use is one of the details that reflects your style of playing. The first step is to become aware of what they are and be aware of how they affect what your playing. Reg

keith · #11 10-29-2011, 09:41 AM

Nice response Reg!

brwnhornet59 · #12 10-29-2011, 10:23 AM

Quote:

Originally Posted by JakeAcci

A drop 3 would be a pretty different structure. If you want to have a rootless Dm7b5 and replace the root for the 9 and put it in a drop 3 context you have E C F Ab instead of D C F Ab. The first inversion of that would be F E Ab C, not F Ab D E like the song. The voicing in the tune is just is just a closed voicing - an Fminmaj7 with a 6 instead of 5.

Yes, I put E in place of C. I did not mean to put the 7th in there, habit. F-M7 add 6 works for me.