hey all....just got thru 6 pages....you lot do talk alot..no replies cos i just loosely read them....

WhoooooHoooooo...CATFIGHT.......

Joe, We Desperatley need a post from you............

What???? Somebody made off with me lucky charms :)

Michelle, I totally missed the comment you made to Joe. I generally skip posts that are not directed at me. What's the big deal? What did you say?

Clarky: happy belated birthday!

Dave, this is exactly what I said. If anybody cares to read the whole post and anything before or after it to see the horrible trampy person guitarzbabe thinks I am, click on the number of posts under my name and go to page 7. It's a post that starts with the name SHARON.

"Sharon, this is sooo funny. When I said Joe was shaking Fruit Loops in his face, I meant a box of breakfast cereal. However, I agree with you, anything Joe wants to shake in my direction would be o.k. too. LOL!!!!! "

Somehow, within this post, I'm trying to steal Rubina's husband. rotflmao!!!! I really feel sorry for a person who is that shallow. All this over a box of cereal. Gimme a break!!

Michelle, what's the big deal?

And to think it was me who opened up that can of worms....lol

randy8843 - The songs are listed in two columns on SBM. Start with Oriental Melody and Belly Dancer, and end with The Traveler and You Saved My Life.

Theory posse – we’ve looked at major and several types of minor scales… We’ve seen the minor to major relationship…. We’ve figured out the chords from the major scale up to the 7th and seen that they are related to the natural minor….. so let’s take the chords a little further and look at the ‘extensions’, the 9th, 11th and 13th over various 7th chords….

What do the 9th, 11th and 13th represent?
Using the key of G major, we worked out the chord of G^7 [root, major 3rd, perfect 5th, major 7th]

T 2 3 4 5 6 7
scale = G, A, B, C, D, E, F#…..

R 3 5 7
G^7 chord = G, B, D, F#

Given that chords ‘stack’ in 3rd’s then we can work out these extensions by running back though the notes of the scale and keep counting…..
T--2 --3---4--5--6---7---8---9--10--11-12-13-14
scale = G--A--B--C--D--E--F#--G--A--B--C--D--E--F#

G^9 [spoken G major nine] is built upon the G^7 with the addition of the 9th and is therefore calculated from the G major scale so the 9th is A. [G, B, D, F#, A]
G^11 [spoken G major eleven] is built upon the G^7 with the addition of the 9th and 11th and is therefore calculated from the G major scale so the 9th is A and the 11th is C. [G, B, D, F#, A, C]
G^13 [spoken G major thirteen] is built upon the G^7 with the addition of the 9th, 11th and 13th and is therefore calculated from the G major scale so the 9th is A, 11th is C and the 13th is E. [G, B, D, F#, A, C, E]
If the triad G had for example a 9th but no 7th, it would be G add 9 [a G chord with the 9th added to it] – G, B, D, A
Similarly, if G^7 had for example a 13th but no 9th and 11th it would be G^7 add 13 [a G^7 chord with the 13th added to it] – G, B, D, F#, E
the main point to note here is that G^x is calculated from the key of G major.

The ‘minor’ extended chords follow exactly the same rules [built on top of Em7] but this time the notes are calculated from the minor scale…..
Em11 [spoken E minor eleven] is therefore worked out from the key of Em and is E, G, B, D, F#, A
Em9 add 13 [spoken E minor nine add thirteen] is an Em9 chord with the 13th added [so it has no 11th] – E, G, B, D, F#, C. [no A]

Getting the idea??????

I know that some jazzers use for example the 6th instead of the 13th sometimes and say that they chose this due to the octave that the note was in… i.e. how close it is to the root….. this is not how I learned this stuff…. The octave is not relevant and this is why…..

It is possible to have a root, then a 5th above and the a 3rd above the 5th [which means it is in the next octave].. This is ‘voicing’ – choosing how you want to arrange the notes for a particular effect… so this triad would still be G and not G5 add 10 [which is trying to say ‘a G chord with no 3rd, a 5th and a 10th added in from the next octave performing the function of the 3rd’…. way too ugly]…

THeory posse - also, the awkward chords, ‘dominant chords’…. Again these follow exactly the same rules but with one main difference. The root note is the Dominant note [5th degree] from another major key…..
So, D7 [spoken D seven] means that the note D is the 5th from another key… it is the key of G…
D11 [spoken D eleven] would be D, F#, A, C, E, G [from the scale of G major]
B9 therefore comes from the key of E major [E, F#, G#, A, B, C#, D#] and would therefore be B, D#, F#, A, C#]
G7 add 13 comes from the key of C major [C, D, E, F, G, A, B] and is G, B, D, F, E

A few things to note….
‘voicing’ the notes do not have to appear in order – a 3rd can be a higher pitch than a 9th etc…
in many cases, you will have to leave out some notes because it is just not possible / practical to play them all – the first option to leave out is the 5th, then the root, then the 3rd [as it is often ‘implied’ by the music before and after the chord]…. At the end of the day, what notes are dropped is a matter of personal taste / judgement….
when you are playing in an ensemble [like a band] then you have more options as to which notes you should drop because you have a bassist, keys, guitarist etc….
a bassist playing E and a guitarist playing G^7 the an overall sound of Em9…… food for thought….

So to prove to me that I’ve not messed up your brains too much try working out the notes of these chords:

G7 add 13, A9, F11, Em9, Am7 add 11, Dm add 9, Am11, G7 add 9, C11, A7 add 13…..

This should not be too tough so long as you are aware of the scale to use when working out the notes…….