Editing Extended chord (section)

===19th century===
[[File:Alexander Scriabin Op. 48, No. 4, mm.15-24 chromaticism from extended chords.png|thumb|300px|Chromaticism from voice leading and borrowed and extended chords from the end of [[Alexander Scriabin|Scriabin's]] ''Preludes'', Op. 48, No. 4; "though most vertical sonorities include the seventh, ninth, eleventh, and thirteenth, the basic harmonic progressions are strongly anchored to the concept of root movement by fifths."<ref>[[Paul Cooper (composer)|Cooper, Paul]] (1975). ''Perspectives in Music Theory'', p.229. New York: Dodd, Mead, and Company. {{ISBN|0-396-06752-2}}. Original with Roman numeral analysis only.</ref> {{audio|Alexander Scriabin Op. 48, No. 4, mm.15-24 chromaticism from extended chords.mid|Play}}]]

In 19th-century classical music the [[seventh chord]] was generally the upper limit in "chordal [[consonance and dissonance|consonance]]", with ninth and eleventh chords being used for "extra power" but invariably with one or more notes treated as [[appoggiatura]]s.<ref name="Grove"/> The thickness of complete ninth, eleventh or thirteenth chords in close position was also generally avoided through leaving out one or more tones or using wider spacing (open position).<ref name="Grove"/>