8/18/2019 13flat 9 Voicing Examples for Theory 2

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D‹9 G13(b9) CŒ„Š9 D‹9 B¨7[âÅ] CŒ„Š9 D‹9 D¨7(#9) CŒ„Š9 D‹9 E7(b9) CŒ„Š9

G13(#11)alt9 Bb13(#11)alt9 Db13(#11)alt9 E13(#11)alt9

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Basic functions ii V7(b9) I ii bVII7 I ii bII7 I ii III7 I

We know that dom(b9) chords have a strong connection to diminished harmony with a diminished

chord being formed from the 3-5-b7 & b9.

With diminished scale harmony having no 'avoid' notes, everything contained within the

diminished scale is interchangeable: chords, voicings, licks etc.

The example below initially shows a ii-V-i in C major. The V chord is a 13(b9) and therefore brings

symmetrical diminished harmony into play. The rest of the example shows the three chords produced

by simply moving the root up a minor 3rd at a time while leaving the chord voicing unchanged.

The chords that result from this combination of set voicing and moving root note

are a bVII7(#11,b9), bII7(#9) and III7(b9).

13(b9) chords and the half/whole diminished scale

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The half/whole diminished scale is the best option for the 13(b9) chord.

As well as the b9 and 13, it also has the #9 and #11 resulting in a full potential of 13(b9,#9,#11).

The symmetrical nature of diminished scales and chords means that for every 13(#11)alt9 chord, there are three

others that share the same notes.Look at the G half/whole diminished scale shown below. You can see the interval sequence starts over every minor

third (a new half/whole diminished scale begins every minor 3rd).

We can construct a 13(#11)alt9 chord off the root of every half/whole diminished scale.

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Half/whole diminished scale (8 note dominant)

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G half/whole Bb half/whole C#/Db half/whole E half/whole

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