Loading the player...

Tom Quayle - Using Modes To Expand Chord Voicings Part 3

Lesson Notes

** As featured in issue 9 **

For the last two guitar lessons we’ve been looking at expanding our guitar chord vocabulary and understanding by using the modes in diatonic harmony. So far we’ve looked at the formula or intervallic construction of each mode and applied this formula to each chord within a key to produce a series of diatonic 7th and 9th chords. For this tutorial we’ll be expanding even further by using these modal formulas to produce diatonic 11th and 13th chords in a major key. If you’re new to this idea I recommend you check out the last two lessons and read my column in order to get up to speed.

Before continuing let's remind ourselves of the formula for each mode:

Ionian/Major – 1 2 3 4 5 6 7

Dorian – 1 2 b3 4 5 6 b7

Phrygian – 1 b2 b3 4 5 b6 b7

Lydian – 1 2 3 #4 5 6 7

Mixolydian – 1 2 3 4 5 6 b7

Aeolian – 1 2 b3 4 5 b6 b7

Locrian – 1 b2 b3 4 b5 b6 b7

Remember that we’re assigning a chord to each mode using roman numerals. Let’s take the key of C major giving us:

Chord I – Cmaj7 (Ionian)

Chord II – Dm7 (Dorian)

Chord III – Em7 (Phrygian)

Chord IV – Fmaj7 (Lydian)

Chord V – G7 (Mixolydian)

Chord VI – Am7 (Aeolian)

Chord VII – Bm7b5 (Locrian)

In order to work out the 11th and 13th intervals for each chord and add them into the voicing, we need to remember that the 11th is the same as the 4th degree of the scale and the 13th is the same as the 6th degree.  We’ll deal with the 11th/4th first.

The rule for adding an 11th to a chord is that we usually replace the very neutral sounding 5th with our 11th. As the 5th has very little bearing on the sound of the chord (it simply adds body to the sound) we can remove it and replace it with the much more colourful 11th. This works for each chord in the key with one exception – the I chord. The 11th (F) for the Cmaj7 (I chord in the key of C) clashes very badly with the 3rd (E) of the chord so we don’t play a Cmaj11 chord in the key of C major. We don’t normally play an 11th chord on Chord I in any major key due to this undesirable clash. You’ll hear me demonstrate this on the video for reference.

Adding in the 11th to each of the remaining chords gives us the following:

Chord I – Cmaj7

Chord II – Dm11

Chord III – Em11

Chord IV – Fmaj7#11 (the Lydian mode contains a #11 interval)

Chord V – G11

Chord VI – Am11

Chord VII – Bm11 (no 5th in the voicing so we don’t call it Bm11b5)

You’ll find lots of voicings for these chords in the TAB section at the back of the magazine. Study them and try using them in place of the standard 7th chords for a prettier sound.

Now onto 13th chords.

We can play a 13th chord for every chord in the key without creating any undesirable clashes in the voicings. If the accompanying mode contains a b6 we use the term b13 in the chord symbol. The 13th is again going to replace the 5th at the top of the voicing. This gives us the following chords:

Chord I – Cmaj13

Chord II – Dm13

Chord III – Em7b13

Chord IV – Fmaj13

Chord V – G13

Chord VI – Am7b13

Chord VII – Bm7b13

By their nature 13th chords sound fairly dense and complex and should be used with taste rather than constantly and with a sense of what works for the genre of music you are comping in. Again, you’ll find the voicings in the back of the magazine.

Next issue we’ll be moving on to creating and playing over modal chord progressions using what we’ve learned so far. See you there!


Up Next

Tom Quayle - Using Modes To Expand Your Chord Voicings - Part 1

Expand your fusion guitar chord voicings and knowledge using the modes in this Tom Quayle ...

Tom Quayle - Using Modes To Expand Chord Voicings Part 3

Learn some more chord extensions you can create using the modes in this Tom Quayle ...

Tom Quayle: Using Modes to Expand Our Chord Voicings Part 4

Learn how to write modal chord progressions and understand the modes in this Tom Quayle ...

You May Like

Nick Jennison - Creating Drums On Acoustic Guitar

In this percussive acoustic guitar techniques lesson, Nick Jennison shows you how to emulate drums ...

Nick Jennison - An Introduction To Slide Guitar

Get started with slide guitar playing in this beginners guide to slide guitar with Nick ...

Nick Jennsion - Extended Range Secrets Part 1

Nick Jennison steps into the world of extended range guitars with this exclusive 7 string ...

Sam Bell - Extended Range Secrets Part 2: Seven String Guitar Approaches

Sam Bell continues our series of 7 string metal guitar lessons, stepping into the world ...

Danny Gill - Pentatonic Sequences That Can Be Used Anytime, Anywhere, And On Any Song Part 1

Play more interesting pentatonic guitar licks and runs with the power of scale sequences. Danny ...

Danny Gill - Pentatonic Sequences That Can Be Used Anytime, Anywhere, And On Any Song Part 2

Uncover some game changing pentatonic sequences and guitar licks with the help of Danny Gill ...

Danny Gill - Pentatonic Sequences That Can Be Used Anytime, Anywhere, And On Any Song Part 3

Rejuvenate your pentatonic guitar soloing with these great guitar exercises, sequences and routines in this ...

Sam Bell Rhythm Guitar Concepts Part 1: Internal Time Keeping

Learn how to play rhythm guitar in time and improve your time keeping in this ...

Sam Bell Rhythm Guitar Concepts Part 2: Feeling 8th Notes

Play rhythm guitar with better timing in this guitar lesson with Sam Bell. Learn how ...

Sam Bell Rhythm Guitar Concepts Part 3: Feeling 16th Notes

This rhythm guitar lesson with Sam Bell focuses on the building blocks of good rhythm ...

Sam Bell Rhythm Guitar Concepts Part 4: Tonal Aspects Of Chord Voicings

Sam Bell teaches you how to play the famous “Motown Skank” style of rhythm guitar ...

Sam Bell Rhythm Guitar Concepts Part 5: Utilising Chord Fragments, Using Thirds and Articulation

This Sam Bell rhythm guitar lesson shows you how to use the guitar chord shapes ...

Sam Bell Rhythm Guitar Concepts Part 7: Spread Triads

Sam Bell gives you an insight into modern guitar chord voicings using spread triads to ...

Sam Bell Rhythm Guitar Concepts Part 8: Using Triads To Create Melodic Movement Within A Part

Add a sense of melody and movement to your rhythm guitar parts using triads. In ...

Sam Bell Rhythm Guitar Concepts Part 9: Chordal Tapping Extensions

Learn how to play the fundamentals of chordal tapping guitar techniques with this great guitar ...

Sam Bell Rhythm Guitar Concepts Part 11: Using Simple Syncopated Rhythm Parts In Arrangements

In this rhythm guitar lesson, Sam Bell shows you how to create space within your ...

Dan Le Gresley - A Songwriters Guide To Bass Part 1: Tracking Bass Parts

Session musician, Songwriter and one-quarter of the UK soul outfit The Milk, Daniel Le Gresley ...

Dan Le Gresley - A Songwriters Guide To Bass Part 2: Groove

Learn how to add groove to your bass guitar lines whilst adding bass to your ...

Nick Jennison - Crosspicking & Hybrid Picking Workout

Nick Jennison takes you through the modern acoustic guitar techniques of crosspicking and hybrid in ...

Giorgio Serci - Creative Fingerstyle Guitar Inspirational Pieces Part 1: ‘Peppin’ Blues

Giorgio Serci teaches this Peppino D’Agostino style solo acoustic guitar piece in this essential fingerstyle ...

1 2 3 18
Top magnifiercross linkedin facebook pinterest youtube rss twitter instagram facebook-blank rss-blank linkedin-blank pinterest youtube twitter instagram