Early chord development  added notes

Playing or listening to jazz for the first time might feel a little bit off , and one reason for this is the listener s auditory unfamiliarity with the complex harmony of jazz. Since most of the people listen to the popular music, which predominantly uses triads (major or minor), a step into the harmonic realm of jazz might cause some musical non-comfortability. Therefore, it is crucial to understand the nature of jazz chords. Earlier, we saw how triads could be used in the earliest forms of jazz. As the time passed by however, so did the chords change their air.

  It is convenient to categorize these early methods of colouring chords with added notes. So, for the major chords the maj7 or maj6 was often added. The minor chords could be equipped with min7, or in the case of Imin also a min6 or even maj7 (this last colour was not abundantly used). Lastly, the dominant chords, besides the min7, could be enhanced by a maj9 or maj13, or, especially if followed by a minor chord or a new song section: #9, b9, #5 or b5, all being more tense/darker than the major 9 or 13.

  All the possibilities leave the particular applications up to the composer s taste and style. However, the usage of all these added notes was limited by the melody  the added notes should not create dissonant intervals with the melody! Another interesting way to use added notes is to move between them over the same chord, e.g. to play a Cmaj7 chord and in the next instance move the maj7 to maj6.

 Following are some examples of chord progressions involving II-V-I and added notes,
  Emin9-A13-Dmaj7----Dmin7b5-G7b9-Cmin/maj7.

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