Quote:
Originally Posted by DMDream
Yeah I don't think page 2 answers my question I should have been a little more specific, so here goes...
I've been playing around with a lot of add9 and add11 chords lately trying to figure out some good progressions that go well together. I'm wondering what the rules (I know music has no set rules really) are to mix and match add9, add11, etc. chords into the same progression. Do they all have to be add9 in the progression, or can just one of them be?
example: For a major key the V chord resolves to a I very well (I vi IV V I progression), and so on, but do these "rules" apply when you change the V chord to a Vadd9 or a Vmaj9 or etc...(I know I can use my ears and listen, but I'm wondering if there is a technical way about this)
Please don't think you need to sit down and write a whole lesson on this, if it's a too deep, theory wise, to get into I'll understand, but otherwise I'm just curious.
-Dave
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the V>I "rule" never changes. That cadence sounds good because of the first, third, and fifth notes of each chord, which don't change when you add extensions (like 7ths or ninths).
For writing chord progressions with extensions, you have to make sure the notes are diatonic to the key you're in (in the same key). For example:
Say you're writing in E, which is E F# G# A B C# D#.
If you were to harmonize this in ninths, you'd have...
E maj 9 - E G# B D# F#
F#m9 - F# A C# E G# (NOT a major ninth, a major ninth would have an F, a major seventh interval, this is just a seventh here)
G#m9 - G# B D# F# A
A maj 9 - A C# E G# B
B9 - B D# F# A C#
C#m9 - C# E G# B D#
D#m9 dim. - D# F# A C# E
You don't have to make everything a ninth chord, that was just an example. If you wanted to make the A and add 4 chord, you would just add the fourth tone from A, which would be A C# D# E.
These aren't techinical rules, but guidelines. They can be broken. In blues, for example, you normally won't find a maj7 for the IV chord (here, A), you'd find a regular dominant 7th - A C# E G. The G is a flatted third in E, and a flatted seventh in the A chord. Flatted thirds, fifths, and sevenths give the blues that distinct sound.