Editing Extended chord (section)

{{Short description|Musical chord extending a simple triad}}
{{for|chains of secondary dominants|Extended dominant}}
[[Image:Upper-structure triad.png|thumb|right|[[Dominant thirteenth chord|Dominant thirteenth]] extended chord: C–E–G–B{{music|flat}}–D–F–A {{Audio|Dominant thirteenth chord on C.mid|play}}. The [[upper structure]] or extensions, i.e. notes beyond the seventh, in red.]]

[[Image:Thirteenth chord collapsed.png|thumb|A [[thirteenth chord]] (E<sup>13</sup>) "collapsed" into one octave results in a [[consonance and dissonance|dissonant]], seemingly [[secundal]]<ref>{{cite book|last=Cope|first=David|date=2000|title=New Directions in Music|page=6|isbn=1-57766-108-7}}</ref> [[tone cluster]]. {{Audio|Thirteenth chord collapsed.mid|Play}}]]

In [[music]], '''extended chords''' are certain [[Chord (music)|chords]] (built from [[third (chord)|third]]s) or [[triad (music)|triad]]s with notes ''extended'', or added, beyond the [[seventh (chord)|seventh]]. [[Ninth chord|Ninth]], [[Eleventh chord|eleventh]], and [[Thirteenth chord|thirteenth]] chords are extended chords.<ref>{{Cite book|url=https://books.google.com/books?id=rjIuAAAAYAAJ|title=Basic Music|date=1978|publisher=Secretary of the Army|language=en}}</ref> The thirteenth is the farthest extension [[diatonic and chromatic|diatonically]] possible as, by that point, all seven [[tonality|tonal]] [[degree (music)|degrees]] are represented within the chord (the next extension, the fifteenth, is the same as the root of the chord). In practice however, extended chords do not typically use all the [[factor (chord)|chord members]]; when it is not altered, the fifth is often omitted, as are notes between the seventh and the highest note (i.e., the ninth is often omitted in an eleventh chord; the ninth and eleventh are usually omitted in a thirteenth chord), unless they are altered to give a special texture.<ref>{{Cite book|last=Latarski|first=Don|url=https://books.google.com/books?id=TS3du-jpFXEC|title=An Introduction to Chord Theory: A Practical, Step by Step Approach to the Fundamentals of Chord Construction, Analysis, and Function|date=1982|publisher=Alfred Music|isbn=978-1-4574-6317-4|language=en}}</ref><ref>{{Cite book|last=Schmidt-Jones|first=Catherine|url=https://books.google.com/books?id=EqOCswEACAAJ|title=Understanding Basic Music Theory|date=2018-01-28|publisher=12th Media Services|isbn=978-1-68092-154-0|language=en}}</ref>

Chords extended beyond the seventh are rarely seen in the [[Baroque music|Baroque era]], and are used more frequently in the [[Classical music era|Classical era]]. The [[Romantic music|Romantic era]] saw greatly increased use of extended harmony. Extended harmony prior to the 20th century usually has [[dominant (music)|dominant]] function – as V<sup>9</sup>, V<sup>11</sup>, and V<sup>13</sup>, or V<sup>9</sup>/V, V<sup>13</sup>/ii etc.<ref>{{Cite book|last=Sarath|first=Ed|url=https://books.google.com/books?id=B3_iz2cE8nwC|title=Music Theory Through Improvisation: A New Approach to Musicianship Training|date=2013-07-04|publisher=Routledge|isbn=978-1-135-21527-9|language=en}}</ref>

Examples of the extended chords used as [[tonic (music)|tonic]] harmonies include [[Wild Cherry (band)|Wild Cherry]]'s "[[Play That Funky Music]]" (either a dominant ninth or dominant thirteenth).<ref name="Stephenson">{{cite book|last=Stephenson|first=Ken|date=2002|title=What to Listen for in Rock: A Stylistic Analysis|page=[https://archive.org/details/whattolistenfori0000step/page/83 83]|isbn=978-0-300-09239-4|url=https://archive.org/details/whattolistenfori0000step/page/83}}</ref>