If you’d prefer to retain your same rhythmic style but still want to use extended notes, consider working them into other parts of your phrases. The third, meanwhile, is played on the fourth string — instead of muting it, play the note one fret below your other fingers, as you would with a standard ninth chord. That resemblance makes ninth chords popular among guitarists looking to imply some sort of blues feeling, whether in a jazz setting, a funk tune, or a hard rock song. However, these two notes are far different in pitch; playing the ninth together with the root produces a much different sound than playing the second with the root. This takes some getting used to, and many guitarists struggle to avoid just playing scales up and down the fretboard with a few extended notes included here and there. 11th and 13th chords are more unusual than 9th chords; they create strong jazzy dissonance in your progressions. They’re by far the most similar to more standard chords — a ninth chord is simply the corresponding seventh chord with an added ninth interval. If you like the combination of the dominant seventh and the eleventh note, omitting the third can be a good idea to preserve that tone. In addition, the interval between the chordal third and the fourth (eleventh) note creates a direct “rub.”. Note how the first voicing with the fifth-string root is similar to the first voicing with the sixth-string root; both include the root, 7th, 3rd, and 13th notes in ascending order. In reality, however, that’s not the case. To do this, tilt your fingers down slightly towards the fretboard as you play to lightly dampen the string. They’re commonly used to modify dominant chords at the high point in a tonal sequence, though their versatile nature makes them a great fit for many different applications. The ease of playing ninth chords, as explained above, is another factor that has helped fuel their rise to popularity. Just as you create a melody to move your listener from one place to another, your chord progressions should shift over the course of a song from one idea to another. A C major chord with an added 12th (equivalent to the fifth) is still just a plain old C major chord. Major 13th chords are even less bluesy than dominant 13th voicings because they remove the flat seventh note found everywhere in the blues. Without the other notes found in standard extended chords, “add” chords do a better job of highlighting the specific extended note you select. Rather than taking the “safe” route and sticking to basic modal techniques or simply playing one scale for your whole solo, outlining the characteristics of each extended chord by focusing on their extension notes immediately distinguishes your ideas from the proverbial “pack.”. That voicing, like the other two m13 chord voicings just discussed, is featured in the diagram below. The 11th is almost always omitted from a 13th , and the root, fifth, and ninth are the usual choices for dropping a note. Like 7th chords, each can come in various ‘flavors’ such as dominant, major, and minor. The chart above contains four of the most common voicings for the maj13 chord, with two voicings including the root on the fifth string and two placing it on the sixth string. Ninth chords create a deliciously thick sound that’s loaded with rich harmonics. This shape can be tough to nail thanks to the total four-fret span — it helps to have flexible fingers! Dominant seventh chords increase that tension by lending an off-balance, uncertain feeling to the dominant chord. Some extended chords contain dissonant notes within their own structures before you even add any melody on top. In C major (Cmaj9 chord), this creates a chord including C, E, G, B, and D. 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