Module 13 mini-test

1. What are 9, 11, and 13 equivalent to within one octave?

2. What is Cmaj9?

3. What is the difference between Cadd9 and Cmaj9?

4. What does plain C9 imply about the 7th?

5. What is Cm9?

6. Why can a natural 11 be awkward over a major chord?

7. What notes are especially important in most seventh/extended chords?

8. Give a practical minimal G13 voicing with G in the left hand.

9. If the melody is D over Cmaj7, what extension is D?

10. Does G13 require you to physically play 1-3-5-7-9-11-13?

Answers

1. 9 = 2, 11 = 4, 13 = 6
2. C-E-G-B-D
3. Cadd9 has no implied 7th; Cmaj9 includes the major 7th.
4. A minor 7th, making it dominant: C-E-G-B♭-D.
5. C-E♭-G-B♭-D
6. The 11th F clashes by a minor second with the major 3rd E.
7. Especially the 3rd and 7th, plus root when needed.
8. LH G; RH F-B-E
9. 9th
10. No. Those are the theoretical available chord members; practical voicings usually omit several.

The main lesson from Module 13 is:

Extended harmony is not about playing more notes. It is about choosing better notes.

A simple G13 voicing of G + F-B-E can sound far richer than a seven-note pile because it contains exactly the information the ear needs.

Module 14 is next: diminished chords in practice—B°, B°7, passing diminished chords, leading-tone diminished chords, why diminished seventh chords repeat every three semitones, and the surprisingly powerful trick that lets one diminished shape resolve to several different destinations.