this lesson is not quite complete yet but I decided to post it as is.

Two for the Price of One

This lesson deals with Chordal Multiplicity, or more simply put, using a single chord in manydifferent ways.

The principle behind this is quite simple. Here is a very basic example:

The top three notes of a Cma7 chord (the 3rd,5th and 7th) create a E minor triad. If you are playing in an ensemble you could play an Em chord when the chart reads "Cma7" (a three string version, not a big fat 5 or 6 string bar chord!). Let the bass player take care of the root. From a standpoint of orchestration, this might even be a better choice, maybe not, it depends on the context. In any case, it is workable (although it certainly doesn't add anything to the musical situation).

Here a similar example regarding Cm7:

The top three notes of a Cm7 chord (the 3rd,5th and 7th) create a Eb major triad. If you are playing in an ensemble you could play and Eb triad in any inversion (see Triad Inversion Lesson) to evoke the Cm7 sound (once again a three string version, not the barre chords at the 6th or 11th frets). With the combination of the Bass playing the root (or implying the root) and the Guitar playing an Eb triad a Cm7 chord is orchestrated across the bass and guitar.

Well these examples are fine but they aren't adding anything. They are only changing the orchestration of the chords withing the context of the ensemble.

This lesson takes this principle one step further. Since the 7th chord is the basic harmonic structure in Jazz (in Jazz, more often than not the simplest chord is a 7th chord), we will use 7th chords and apply the above principles to create 9th chords.

First a quick review: A 9th chord contains a root, 3th, 5th, 7th and 9th (a 5 note chord). Sometimes one of the notes is omitted, usually the 5th. With this lesson, however, we will be omitting the the Root!! Just like we did in the simple examples above. So we will be playing the 3rd, 5th, 7th and 9th of a 9th chord. As it turns out, that chord is itself a 7th chord (just as our simple example resulted in a triad)

Here's how it works, a mi7 chord can be used to suggest a ma9 chord whose root is a Ma3 lower (i.e. Em7 can suggest Cma9). What about the root? Let the bass player deal with it. The bass player can either play the root or play a line that suggests the root. Either way, it works just fine. Remember, the Em7 chord contains the 3rd, 5th, 7th and 9th of the Cma9 chord.

So what is so advanced about this idea? Well the most difficult thing about this idea is being able to make the conversion fast enough. Which 7th chord suggests which 9th chord? You need to memorize these relationships in order to be able to use them in performance. In fact when you memorize these relationship you should be thinking: "I'm playing a rootless 9th chord". In other words if you are playing Em7 to suggest a Cma9 you should be thinking "rootless Cma9" not Em7. Otherwise you will become confused by the mismatch in the roots and confusion always leads to mistakes.

Here is a list of the the most useful relationships:

mi7 chords suggest ma9 chords whose root is a Ma3 lower.
(i.e. Em7 is a rootless Cma9)
ma7 chords suggest mi9 chords whose root is mi3 lower.
(i.e. Ebma7 is a rootless Cmi9)
mi7b5 chords suggest (dom) 9 chords whose root is Ma3 lower.
(i.e. Bm7b5 is a rootless G9)
dim7 chords suggest (dom) 7b9 chords whose root is Ma3 lower
(Bdim7 is a rootless G7b9) - because of its symetrical nature, the dim7 chord can suggest four different dom7b9 chords each a mi3 apart. (Bdim7 can suggest G7b9 or Bb7b9 or (Db7b9/C#7b9) or E7b9
ma7#5 chords suggest miMa7 chords whose root is a mi3 lower.
(i.e. Ebma7#5 is a rootless CmiMa7)
A less common use involves a mi7 chord suggesting a mi7b5b9 chord (not a common chord) whose root is a mi3 lower. (i.e. Dm7 is a rootless Bmi7b5b9)

Some 7th chord voicings work better than others. Below is a list of 7th chords (rootless 9th chords) that work particularly well for this application. The "root" (I call it a phantom root) is shown in parentheses.

(insert graphic here)

Now lets use these in a couple of II-V-I progressions:

(insert graphic here)

Sing the roots of the chords (C,F,Bb) as you listen to the sound files.

SoundFile in Major(550K)
Small SoundFile in Major(280K)

(insert graphic here)

These voicing are frequently used for a II-V-I in major, rethink them for use in a minor key. Sing the roots of the chords (C,F,Bb) to hear the relationships.

SoundFile in Minor(570K)
Small SoundFile in Minor(290K)

This is powerful concept used in a fairly simple way. Realize what has happened. All of these chords used above have two harmonic meanings. You haven't learned any new chords (I'm assuming you knew these chords already) yet you have created several 9th chords (useful ones at that) simply by using these chords in a different way. Keep this concept in mind every time you learn a new chord. That chord can be used in at least one more way. Think about the possiblities. Look for more lessons in the future on "chord multiplicity"

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