in forum about the classical & the jazz musician we considered the basic differences between them. now we will analyze the basic differences between classical and jazz harmony. these two forums may help those guys trained in classical piano  that like to start in the jazz world.

classical harmony is based on chord triads over the grades of the diatonic scale. classical harmony is diatonic.
any note out of a triad is considered as a “dissonance” that must resolve to a consonance. so in a c chord: a 6, 7, 9, 11, 13 are dissonances because they are out of triad. dissonances are solved by descending.

in jazz harmony 6, 7, 9, 11, 13, #5, b5, #9, b9, #11, b13 may be considered as elements of a chord. in jazz harmony there are not dissonances.... there are tension chords, extended chords.
jazz harmony is diatonic and chromatic. besides chords based in the grades of the diatonic scale, it employs other chords thanks to progressions and the use of substitute and ornamental chords.

in classical harmony the notes in strong beats always must be chord notes, with some exceptions as apoggiatura or ritardo that form dissonances that must be resolved descending.

in jazz harmony any note out of chord may be considered as an element of the same, so as f# in c7 chord. seemingly f# is out of c7 chord, but it may be considered as #11, and so you have a c9+11 chord, or an extended c7 chord. in this case we have a tension chord, but not a dissonance.

you will find a nice exercise over extended chords and arpeggios to practice in all keys at
“lesson pages” “contributors” “alberto.” “extended chords”.
https://www.learnjazzpiano.com/contributions/alberto_betancourt/extended_chords_and_arpeggios.pdf

let´s use this easy formula for dominion of all extended chords and arpeggios in all keys:

mayor: im7 ii7
seventh: i7 ii7
minor seventh: im7 iim7
half-dinished: im7b5 iibm7

these exercises open your hearing perception and let you enter in superior harmonic planes.

alberto betancourt
(albetan)
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