Just had a great lesson w/Steve… wow! he really opened some great doors and insights into dom, dim and Aug. He really was patient and through in his great "tidbits" as well. Really enjoying this process and explorations.

I do look forward to those tidbits. Having a good teacher is a great way to level up quickly.

New tidbit....when the weather in NY turns nasty...cold and lots of snow.......fly to California.
Considering the current local conditions, hopefully my flight Thursday won't be delayed.
SA

put the road cases on skis, Steve, it's sloppy in the tri-state right now

Polychords tidbit.
Just taught this during a lesson.
The Question
A9sus=?????
The analysis
A7=A C#EG
9=B
sus (suspended) means raise the 3rd, C# to the 4th, D
End result
A9= AD E GB
this can be accomplished by playing G Maj (GBD) over A root and 5th (A and E)
therefore
A9sus = GMaj/A5
the chords are one step apart. Of course this concept works in any key.
Use freely with caution
Steve A

Hey Steve,

I'm wondering how important you think it is that the top voice of the chord (the highest pitch) is the highest extension of the chord? Any rules on that you like to follow?

Interesting question Greg. The highest note of each chord is obviously the most audible. Consecutive chords therefore can create a melodic statement as the ear hears these upper notes. Therefore the highest note placement should be more emphasized with melodic movement.
The upper extensions are there for orchestral thickening and can be placed anywhere in the chord. Interval placement will contribute to its quality as well.
I.e. G13=GBDFACE
F and E can have a severe dissonance if they're placed close to each other. If they're spread further apart it's less dissonant.
All these considerations are what makes a great arrangement.
So to answer your question, the highest note has nothing to do with an upper extension unless that's your goal. It has more to do with an upper voice melodic movement with the chord sequence.
Hope that helps
Steve

Thanks, Steve, I hope it helps too...