Extended Chord - Most Frequent Voicings and Expected Resolution in The Common Practice Period

Most Frequent Voicings and Expected Resolution in The Common Practice Period

When orchestrating chords that are voiced in four or fewer parts, it is important to select which notes to use so as to give the desired sonority, or effect of the intended chord. Generally, priority should be given to the third, seventh and the most extended tone, as these factors most strongly influence the quality and function of the chord. The root is never omitted from the texture. The third defines the chord's quality as major or minor. The extended note defines the quality of the extended pitch, which may be major, minor, perfect, or augmented. The seventh factor helps to define the chord as an extended chord (and not an added note chord), and also adds to the texture. Any notes which happen to be altered, such as a flatted fifth or ninth, should also be given priority. For example: in a thirteenth chord, one would play the root, third, seventh, and thirteenth, and be able to leave out the fifth, ninth, and eleventh without affecting the function of the chord. The eleventh chord is an exception to this voicing, in which the root, seventh, ninth, and eleventh are most commonly used.

In the classical practices of western music, extended chords most often have dominant function (dominant or secondary dominant), and will resolve in circle progression (down a fifth) in much the same way that V7, V7/ii, V/IV, etc. might resolve to their respective tonics. Extended chords can also be altered dominants, and the extended pitch may be altered in several ways (such as V flat 13 in a major key).

Following standard voice leading rules:

V9 – I or i

• The third, which will also be the seventh scale degree, always resolves upward to tonic.
• The seventh resolves downwards stepwise to the third factor of the chord of resolution.
• The extended pitch will resolve downward.

V11 – I or i

• The seventh resolves downwards stepwise to the third factor of the chord of resolution.
• The ninth resolves downwards stepwise to the fifth factor of the chord of resolution.
• The eleventh doesn't move, and becomes the root of the chord of resolution.

V13 – I or i

• The seventh resolves downwards stepwise to the third factor of the chord of resolution.
• The third, which will also be the seventh scale degree, always resolves upward to tonic.
• The thirteenth, will resolve downward to the tonic, and often includes a passing tone through the ninth factor of the chord of resolution. Less often, the thirteenth may also remain the same and become the third of the chord of resolution.

An important distinction between Extended and Added chords must be made, since the added tones and extended tones are enharmonic, but differ in function. Extended chords always have at least one octave between their lowest pitch, and extended note, otherwise the extended factor would be considered an added pitch. Extended chords usually must be resolved when used in a dominant function, whereas added chords are most often textures added to a tonic.