Stuart Smith
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- Minor seventh
- Dominant seventh
- Diminished seventh and half-diminished seventh chords
TensionsHere are the tensions generally used with the basic chord types (the tensions are indicated by stemless quarter note note heads above the basic chord, which is given in whole notes): Major seventh: major ninth, augmented eleventh, major thirteenth 
Sixth: major ninth, augmented eleventh 
Minor sixth: major ninth, perfect eleventh 
Minor seventh: major ninth, perfect eleventh, major thirteenth 
Dominant seventh: minor, major, or augmented ninth; augmented eleventh; minor or major thirteenth. These tensions can be combined and voiced in many different ways to produce a wide variety of colors. The only combinations to be avoided are those that would put together two tensions separated by a half-step, such as the minor and major ninth; however, to achieve a particular effect a composer, performer, or arranger might deliberately use such a combination. 
The tensions here are strung out on the staff in melody-like fashion simply because there are too many of them to stack up vertically as in the other examples in this section. This physical arrangement should not be taken to imply that the tensions should be played one after the other in the order shown as a sort of melody. Diminished seventh and half-diminished seventh chords: these chords ordinarily take no tensions (as explained below, they are sometimes used as “incomplete” dominant ninths). Some general words of advice about tensions: When they are desired, ninths, elevenths, and thirteenths should always be indicated in a chord symbol. If you find yourself writing lots of tensions into the chord symbols, you probably have very specific sonorities in mind. Because of the inherent vagueness of chord notation, the performer may not be able to infer from the chord symbols exactly the sound you want. In such cases it’s better to simply write out the specific chords you want. Many composers and arrangers provide chord symbols that indicate only the basic chords (i.e., no ninths, elevenths, or thirteenths), anticipating that pianists and guitarists will add their own favorite tensions. They include specific tensions in a chord symbol only when they occur in the main melody or another prominent part. The purpose of this practice is to allow pianists and guitarists latitude in creating their accompaniments, but to alert them when a particular tension is present in another instrument’s part in order to avoid clashes. Many of the musical examples in this book follow this practice. Download 1.17 Mb. Share with your friends:
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