At this point, it should be mentioned that ab 9th interval is generally considered an avoid interval in traditional “Jazz - Pop” harmony. This book will initially continuc that approach, with the dom7(b9) chord being the only exception. ‘Thus, the }9th interval contained in the 3rd inversion of the Cmaj7 chord (between B and C) will negate usc of that inversion as a maj7 type chord, Similarly. the 3rd inversions of Cmaj7}5. Cmaj7#5, and C-maj7 will be avoided. Voicings containing b9th intervals will be presented later, especially in those chapters exploring triad-over-bass structures where the 3rd inversion of Cmaj7 will be available as a C triad over # B bass; C/B. Assignment: Construct all four inversions for each four-part chord listed. All of these chords can be perceived as “altered” maj7th chords. | Cmaj7 (4357) C6 (15356) C7susd (145b7) 1 cmmajs 3557) C6 (1356) C7 (153 b5bb7) Cmaj745 (13 §57) C7 (43567) Comaj7* (153 657) ] C7 (153 567) 7S (134567) C-maj7 «bast cs (153557) C75 (135567) CRS (1b3 £567) g the inversions of the four-part chords: Follow these three approaches in prepa 1) Prepare all 15 listed chords on the root inversion only in the key of D. Next, prepare chords on the Ist inversion only in the key of C. Next, prepare chords on the 2nd inversion in the key of Bb. Finally, prepare chords on the 3rd inversion in the key of G. Include inversions containing the 9th interval for purposes of this exercise. 2) In the key of F, prepare all four inversions on one chord type, then move to the next chord type. Continue until all 15 types are completed. 3) With anestablished tempo, prepare the following symmetrical chord progression using one chord type for all four chords and inversions. Continue through the entire list of the 15 chord types, following the given chorda/inversion pattern. Note that this exercise is “voice-led.” Ist Inv 4nd Inv 3rd Inv R Inv. Cmaj7 Amaj7 Ghmaj7 Ebmaj7 Mixing different chord types while going through the different inversions and chords might make an interesting additional exercise *C(maj7) (135 7) and its available tensions will be examined more thoroughly in the Tension Additions on Diminished Chords chapter.