DOUBLE BASS SUPREMO
DAVID ETHERIDGE LOOKS
A TfU R TH ER CH O R D
EXTENSIONS
T
his tim e around let's loo k
at e xten d ed ch o rd s, all
the w ay up to 13ths.
W e 'v e se e n h o w the 7th
can b e e xten d ed up to
a 9th chord qu ite easily,
but o n ce w e g e t to 11ths and
13th s, th in g s sta rt to g e t even
m ore in terestin g . S o m e players
g e t co n fu se d o ver ch o rd s of th is
nature, a s th ey try to w o rk out
ju st w h ich chord is w h ich and
h o w far up the s c a le fro m the
root note the chord n o te s are.
W ith 11ths and 13ths, w e can
sim p lify the n a m in g by callin g
th em sla sh ch o rd s: a chord
over a s e e m in g ly un related
b a ss note. R e m e m b e r in a
p a st co lu m n w h e re I sh o w e d
h o w d iffe re n t b a ss n o te s other
than the root can ch a n g e the
w h o le chord (for e xa m p le , C
over A a ctu ally b e c o m e s A m 7 )?
W ell w ith 11ths w e en ter this
territory. H ave a loo k at
Figure
1
: the first three e x a m p le s are
v a rio u s v e rsio n s of an 11th
chord. Th e first o n e is a plain
11th, but if you ap p ly the sla sh
chord idea you can s e e that it's
sim p ly the n o te s of G m 7 over
C , w ritten a s G m 7/C . Th e n ext
e x a m p le is a bit different: C11
(b7b9), or G m 7 b 5 over C, w h ile the third e xa m p le g iv e s C + 1 1 , or G m + 7 /C . H o p e fu lly you g e t the idea.
You m ay be a sk in g y o u rse lf, w h y no 3rd in the chord? In the c a se o f C11, the 11th (F) w o u ld cla sh
w ith the 3rd (E), alth o u gh I recall an a rg u m e n t so m e y e a rs ago on an in tern et forum w ith so m e o n e fro m
a c ro ss the w ater w h o in siste d that the 3rd sh o u ld be includ ed . It s o u n d s horrible if you do. Th e n ext
three e x a m p le s s h o w va rio u s v e rsio n s of 13th ch o rd s. H ere yo u 'll s e e that w e can e lim in a te both the
3rd and the 5th fro m the cho rd, g iv in g in e ffe ct a B b m aj7 /C , and a B b m a j7 + 5 /C chord. Th e la st ve rsio n
is a plain C13 chord v o ic in g , w ith the 7th b e lo w the 13th in d ica tin g that it is a 13th and not the 6th of
the chord. I'll add here that w ith the tw o m ore ad va n ce d 13th ch o rd s you can a lso add the 5th to them ,
g iv in g G m 9 /C and G m 9 + 7 /C :
Figure 2
.
In
Figure 3
, it can be se e n that 11th ch o rd s can so u n d sim ila r to, and be re-vo iced a s 7 s u s 4 ch o rd s.
H ere the 11th d e g re e is b e lo w the 5th as a virtual 4th, but the 7th a u to m a tica lly la b e ls it a s an 11th.
T h is is d iffe re n t fro m a pure s u s 4 chord o f C, F and G.
H e re 's an other e xten d ed chord that so u n d s terrific, a C6/9:
Figure 4
. I've w ritten th is o ne do w n an
o cta ve to sa v e on the le d ge r lin es. N ote for five - and six-strin g b a ss is ts : th is is v e ry e a sy to play in its
e n tirety u sin g d o u b le o cta v e h a rm o n ics at th e 5th fret (the top G is o ptio n al for th o se w ith o u t a h igh C
strin g). It a lso im p re s s e s an y a u d ie n ce s w h o do n't re a lise that b a ss is ts can do su ch stuff!
N ow , all o f th e se ch o rd s, and the o n e s that I've sh o w n in p a st c o lu m n s, can be m o d ified in m any
w a y s, and th ey'll all o ccu r so o n e r or later in ja zz and m ore a d ve n tu ro u s s ty le s of m u sic. U su a lly va ryin g
to n e s w ill be m oved up or do w n a se m ito n e , w ith m ajor and m ino r 3 rd s, ra ise d and flatten ed 5th s,
ra ise d and flatten ed 9 th s and ra ise d 11ths, in an y and all co m b in a tio n s. You can have g re a t fun learnin g
to re c o g n is e the s o u n d s o f th e se co m b in a tio n s. It m ay se e m c o n fu s in g at first, bu t I liken th e e ffe ct to
d ifferen t flavo u rs in food. Each chord h a s its o w n so u n d , or flavour, a s it w ere. W h e n you g e t u se d to
th is idea, you can hear a chord and im m e d ia te ly th in k 'T h a t's a C1 3 +1 1 '.
H e re 's w h a t su ch a b e a st lo o k s like in
Figure 5
, again w ritten an o cta ve low er than norm al for re a so n s
of le d ge r lin e s. N o tice that the co m b in atio n of to n e s a llo w s the u se o f the 3rd as w ell. Th e E (3rd) w on 't
c la sh a g a in st the ra ise d 11th (F#). It's o n e of m y favo u rite ch o rd s, n e e d le ss to say.
chords
are
the
lifeblood
of
music
,
although
SOME
drummers
will
obviously
disagree
and
claim
that
RHYTHM
IS
everything
Figure 1
C M
C * "
_____
b
.,
*
i ____
_____
^
Ё
___
_____
.
^
*p
5
V К
/ Л
--
51
C llf « d d l3 )
C 13^ 11!
u
m
C 13
1?
0
P
f
k
*
F
~
_ —
t *
F
' )
-
---------- 1----------
- *
.
Figure 2
Figure 3
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