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V9 11 13

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John Kruspe

on 22 November 2015

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Transcript of V9 11 13

Just as the 7th in a dominant 7th is a dissonance and must resolve down a step,
similarly the 9th, 11th and 13th - in theory - should be treated in the same way (and usually were, before Debussy...)
V9 V11 V13 basics
A = 9th above G*
* actually a 16th, but we stop counting after 13 no matter how many octaves away.
C = 11th above G
E = 13th above G
- the 9th can be in any voice above the bass, but is usually in the top
- the 11th is always in the melody
- the 13th is always in the melody, to highlight its trademark 'mi-doh'.
Easy to remember.
There are only 2, and it's the same situation exactly
for both V9 and V13 (**NONE for V11**).
EITHER the leading note will be in the bass (ti-doh, like V6/5 to I),
OR the 7th will be in the bass, and resolve to I6 (like V4/2 to I6).
NEVER put the 9th, 11th or 13th in the bass.
the 9th resolves to the 8ve before the V goes to I,
so it's not a 9th 'chord' but just a 9-8 suspension
*we're talking Bach, Mozart, Beethoven and most other 'classically-trained' composers
1. (a) how the 9th was treated in earlier music*
2. (a) how the 11th was treated in earlier music
3. (a) how the 13th was treated in earlier music
1. (b) how the 9th has been treated since Debussy
2. (b) how the 11th has been treated since Debussy
3. (b) how the 13th has been treated since Debussy
* Because of this construction - the chords seeming to be a pile of 3rds stretching up and up and up - they are often referred to as EXTENDED TERTIAN SONORITIES
So we have:
Seems like a big pile of 3rds! *

How do I know which of these many notes to choose
when I'm building the V9, V11 and V13?

Answer: EASY!!!
The V9 and V13 share the same THREE notes:
ROOT 3rd 7th
uh...and the V11?
For every 100 V9s or V13s you find,
you'll come across a handful of V11s,
so it's not worth your while getting too stressed about it...
But since you asked...
The V11 has the tonic in the soprano, right?
So - rocket science - what note do you NOT put in the V11?
Right - the 3rd!
(Unless you want your listeners to grind their teeth and put their fingers in their ears...)
What usually happens:
the 7th, 9th and 11th
(in C major that would be F, A and C)
are put together to form a
'IV chord on top of a V'
because the root G is in the bass.
That is
Less usual, but possible - the V13 at the end of this goes UP a 3rd, from mi to soh!
That all!!!
mi resolves to re
like a IV chord
on top of the V
In summary:
1. Listen for the melody
V9 = la (le) soh
V11 = doh-doh
V13 = mi (me) doh
2. Listen for the bass
Root position = soh-doh
Inversions = ti-doh (6/5) or fa-mi (me) (4/2)
Full transcript