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Extensions on Diatonic Chords
Extended Chords are discussed in Basic Music (TC 12-41\ NAVEDTRA 10244). These chords contain five or more pitches, which requires a selection of notes for four parts. Chords with extensions appear primarily in root position. An extension may be analyzed as an essential harmonic tone or as an unessential non-harmonic tone (appoggiatura or accented passing tone). Extensions appear primarily in the soprano voice.

Major ninths appear in major keys on the dominant seventh or supersonic seventh chord. Normally, the fifth of the chord is omitted.

The major ninth on a dominant seventh resolves down by step to the root of the dominant seventh (appoggiatura) or to the fifth of the tonic at the change of chord. The third of the dominant seventh is occasionally omitted and the ninth functions as an upward resolving appoggiatura to the third. Figuring for chords in root position with a ninth is the single numeral 9.

FIGURE 11.1. The Major Ninth in Root Position
The dominant ninth may appear in inversion. Figuring for inversion is:
for first inversion.

FIGURE 11.2. First Inversion of the Major Ninth

for second inversion. The second inversion of the dominant ninth chord is better analyzed (4 omitted) as vii .

FIGURE 11.3. Second Inversion of the Major Ninth

for third inversion.

FIGURE 11.4. Third Inversion of the Major Ninth

for fourth inversion (rare) resolving to a I .

FIGURE 11.5. Fourth Inversion of the Major Ninth
The major ninth on a supersonic seventh resolves down by step: to the root of the supersonic chord (appoggiatura), to the fifth of the dominant chord (supersonic), or to the third of the leading tone chord (supersonic). An interval of a major seventh exists between the third and ninth of this chord. The third and ninth should not be voiced in adjacent voices when they form a minor second. The supersonic ninth may occasionally appear in the first inversion

FIGURE 11.6. The Major Ninth on the Supersonic Seventh


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