Summary of use of common tensions and extensions

[Jonah]

Sorry, I still don't get the question.

I just do not know what your links meant... I said that British groups used it much less. I did not say they never used it.. a few songs do not chnge the whole picture.

[Jonah]

Carole King etc...

Carole King for sure.. but as for pop artists for me it just depends on what I heard first

[Vladan]

I just do not know what your links meant... I said that British groups used it much less. I did not say they never used it.. a few songs do not chnge the whole picture.

I did not mean to contradict you. Actually both examples confirm what you've said about influences, IMO.

Also, to your next post, whenever I see sus chord mentioned I think of those 2 songs, because they were among the earliest examples I was aware of having sus chords.
So, if the question is how to use sus chords, my answer is in those 2 songs.
Carol King? Sure, only, in what universe?

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[christianm77]

I did not mean to contradict you. Actually both examples confirm what you've said about influences, IMO.

Also, to your next post, whenever I see sus chord mentioned I think of those 2 songs, because they were among the earliest examples I was aware of having sus chords.
So, if the question is how to use sus chords, my answer is in those 2 songs.
Carol King? Sure, only, in what universe?

VladanMovies BlogSpot

I think of those sus chords as having a bit of a different function to the ones I was talking about which I think of a 'soft dominant' (i.e. a dominant chord with no leading tone). Pinball wizard was one of the first things I learned on guitar.

Apparently in Gospel harmonisation, it's a parallel deal but you use this scale:

1 2 3 4 5 6 1

So no seventh.

Obviously this results in harmony that's very sussy (if that's a word) when put together with a bass line .

[Jonah]

Also, to your next post, whenever I see sus chord mentioned I think of those 2 songs, because they were among the earliest examples I was aware of having sus chords.
So, if the question is how to use sus chords, my answer is in those 2 songs.
Carol King? Sure, only, in what universe?A

It's exactly what I meant when I said that with pop artists for me it just depends on what i heard first

For me it's first of all Afro-American music. And Carole King, Stevie Wonder etc. - they all have the same vibe with this chord

It's interesting that in your examples it sounds different to my ear

[Jonah]

that's very sussy (if that's a word)

Means coming from Sussex?

[bobsguitars09]

What do you guys think of this as a rough summary of "common practice" extensions and tensions? Shooting for brevity. edited to add: just referring to chord voicings for a 'beginner' - not soloing/lead playing.

Conventional Extensions/Tensions for seventh chords
A quick “drive by”.

Any note can have a musical use over any chord.

This is a list of commonly used extensions and tensions for different chord types. They are part of conventional jazz harmony. As you listen to and play more tunes you find musical exceptions and additions to these guidelines.

Be mindful of half step and flat ninth intervals between your chord voicing and the melody note (or the soloist’s note)

Maj7:

most common: 9, 13

bright: #11

be mindful of: #11 clashing with melody’s perfect fifth, and 7 clashing with root

Min7:

most common: 9, 11

bright: 13. Initially, I would avoid adding a 13 to the ii chord in a ii V.

Be mindful of: 9 clashing with melody’s b3, and 13 clashing with melody's b7

Note: Min7 is often played as min6 or minmaj7 if it is the "i" chord in the sequence (not the ii in a ii V)

m7b5 (half diminished):

most common: 11

bright: 9

Be mindful of: 11 clashing with melody’s b5, 9 clashing with melody’s b3

Diminished Seventh:

9, 11, b13, and 7 are all possible but be mindful of clashing with melody as well as general context; trust your ears.

7Sus4:

9, 13

Bright: major third

Be mindful of: 13 clashing with melody’s b7, major third clashing with melody’s 4/11

--

Tensions and extensions for dominant chords are more complex.

Dominant seventh as the V7 in a ii V, or when resolving a fourth up (G7 to C, D7 to G, A7 to D, etc) :

9 and 13 are common extensions

Tensions for "altered dominant" (simply more tension before a resolution) :

b9, #9, b5, #5

A combination of b9 and 13 is also common in this context.

A combination of 9 and #5 is also common.

Look at the melody for clashes and an indication of whether to use tensions or extensions. It is often at the player’s discretion.

Dominant seventh as a I7, II7, IV7, bVII or when resolving down a half step (Db7 to C, Ab7 to G, Eb7 to D, etc) :

9, #11, 13

Note that #11 and b5 are the same note - "enharmonic equivalent" - but that note combined with 9 and 13 has a different function and sound than when combined with b9/#9, and #5.

this is great