A Gentle Introduction to Guitar

Chord Theory

by ​Marc-Andre Seguin

How to Fully Understand Chord

Construction, Triads, Seventh Chords and
Extensions
 Guitar Chord Theory

Part 1

Triads

Triads are built out of three notes.

There are four main types of triads: major, minor, diminished and augmented.
Hence, triads are basically three notes with the interval of a third in-between
each of them.

The basic construction of a triad would therefore contain a ​note​, then an

empty space​, then the ​note​, another ​space​, and finally, the last ​note​.

Therefore, each note is the interval of a third, since the note and the space
count as one each, giving us 1, 2, 3 (note, space, note).

As a result, there only only two “types” of third interval where we are left with
only four possible combinations of triads.

● MAJOR TRIAD: 1 3 5
● Intervals : maj3rd then min3rd (as in C-E-G)
● MINOR TRIAD: 1 b3 5
● Intervals : min3rd then maj3rd (as in C-Eb-G)
● DIMINISHED TRIAD: 1 b3 b5
● Intervals : min3rd and min3rd (as in C-Eb-Gb)
● AUGMENTED TRIAD: 1 3 #5
 ● Intervals : maj3rd and maj3rd (as in C-E-G#)

Other Triads

Other types of triads (other than 3rd interval) also exist such as ​SUS4: 1 4 5
and ​SUS2: 1 2 5​. Hence, you can expect to see those two quite a bit in
popular songs. The “SUS” means suspended, because the note replacing the
“3” in both cases is said to be a ​suspension​ of that “3”.

Furthermore, there are a couple of other uncommon oddballs too which we

won’t bother naming for now (​1 3 b5​ and ​1 b3 #5).

Let’s get into some real guitar chord theory.

​Guitar Chord Theory and Seventh Chords

First of all, we can apply the same process as above, but this time with four
notes stacked together resulting in THREE third intervals. The “space” (the
third) can be qualified major or minor, hence creating all the variety found in
7th chords.

We have WAY more combinations available than we had with the triads, so
hang on to your hats because here are the four main seventh chords used in
jazz guitar chord theory which constitute 90% of what’s on sheet music.

● MAJOR SEVENTH: 1 3 5 7
● Intervals within: (all thirds) maj, min, maj
● As in C-E-G-B
● MINOR SEVENTH: 1 b3 5 b7
● Intervals within: (all thirds) min, maj, min
● As in C-Eb-G-Bb
 ● DOMINANT SEVENTH: 1 3 5 b7
● Intervals within: (all thirds) maj, min, min
● As in C-E-G-Bb
● MINOR SEVENTH FLAT 5TH: 1 b3 b5 b7
● Intervals within: (all thirds) min, min, maj
● As in C-Eb-Gb-Bb — (aka “Half-diminished”)

In guitar chord theory for jazz, the “chord types” above are considered the
main 7th chords because they all “live” in the major scale. You’ll find them by
stacking thirds on each note of the major scale. So, it seems like a good idea
for guitarists to ​learn chords in scales like this, as explained here.

More 7ths

There are a lot of possible combinations, so here are a few more seventh
chords.

● MINOR w/ MAJOR SEVENTH: 1 b3 5 7

● Intervals within: (all thirds) min, maj, maj
● As in C-Eb-G-B
● DIMINISHED SEVENTH: 1 b3 b5 bb7
● Sometimes spelled 1 b3 b5 6
● Intervals within: all minor thirds.
● As in C-Eb-Gb-Bbb (or C-Eb-Gb-A)
● MAJOR SIXTH: 1 3 5 6
● As in C-E-G-A
● MINOR SIXTH: 1 b3 5 6
● As in C-bE-G-A
● MAJOR SEVENTH #5: 1 3 #5 7
● Intervals within: (all thirds) maj, maj, min
● As in C-E-G#-B
#11’s

This next one is more appropriately named “maj7th #11” most of the time
because it reflects the Lydian mode, and therefore, is a RAISED 4th (and not
a LOWERED 5th). However, it’s fine as long as you know “what’s what”.

● MAJOR SEVENTH b5: 1 3 b5 7

● Usually called maj7(#11)
● As in C-E-F#-B

are discussed on other pages of JazzGuitarLessons.net. So, sometimes

there just needs to be more explanation for guitar chords theory because of
the relationship between the b5=#4 and of #5=b6. It all makes sense when
you know the harmonies found within the scales.

● DOMINANT SEVENTH b5: 1 3 b5 b7

● Intervals within: (all thirds) maj, min, min
● As in C-E-G-Bb
● Follow this link for ​more info on Dom7(b5)​ (in fact Dom7(#11)
● DOMINANT SEVENTH #5: 1 3 #5 b7
● As in C-E-G#-Bb
● Follow this link for ​more info on Dom7(#5)​ (in fact Dom7(b13))

Wanna Play Those on the Guitar?

​ hord Charts​ in the “Chords” section of JazzGuitarLessons.net for a

See the C
complete reference.
That’s all for the most common 7th chords. But wait! Aren’t we seeing a lot of
“9” and “13” in guitar chord theory? How do we create those sounds with
guitar chord theory? Don’t we just add the 9, 11, or 13th on top of the chord?

Yes, but not quite. However, we will tackle that very question below in Part 2.
 Part 2

Guitar Chord Theory and Adding Extensions

We will now get into some actual processes for building extensions onto basic
seventh chords (“jazz chords”). You are going to find out exactly what those
pesky 9’s, 11’s and 13 ths are that you keep seeing beside guitar chords.
These symbols are explained below.

Guitar Chord Theory Generalities

● Triads and Sevenths Chords​ have been covered in the previous

installment of this guitar chord theory article.
● The ​major scale​ still serves as reference for scale degrees…
● Degrees are raised by a sharp symbol (#) and lowered by the flat
symbol (b).
● When dealing with extensions…​Extensions are (usually)
identified as the notes 9, 11 and 13. It’s important to understand
that 9=2, that 11=4 and that 13=6. Because there’s only seven
notes in the scale, the note “8” is in fact 1, the note “9” is in fact 2,
the note “10”, etc.
● You can think “linearly” :​ 1 2 3 4 5 6 7 8 9 10 11 12 13 14 (1)
● As in C D E F G A B C D E F G A B (C)
● You can think “in thirds” :​ 1 3 5 7 9 11 13 (1)
● As in C E G B D F A (C)
● Both ways to think are fine …
Building Extensions in Guitar Chord Theory

So, you’re seeing a chord on a chart that has 13, 11 or 9 (or all of them!) and
you’re probably thinking, “Easy! We had 1-3-5-7 so, let’s just add 9-11-13 on
top!” … right?! Hold on, we’re getting there!

I believe that most of us wouldn’t want to deal with this guitar chord theory
mess:

“If I want to build Cm(maj7)(b13) from scratch,

I need the notes … C-Eb-G-B-D-F-Ab … that’s: 1-b3-5-7-9-11-b13.”

Yuk! By the time you’re finished computing, the band is already playing the
next tune in the book! So the lesson here is; we can’t go “blindly” and just
build and build more notes above the root using thirds. Furthermore, on the
guitar we’re stuck with playing six notes at a time maximum! (-:

So, what’s the “guitar chord theory” solution? Well, most of the time, we wind
up playing on ​parts​ of chords that have extensions. We often omit the root and
fifth of each chord to make sure we play the important 3,7,9 etc.. Ideally, we
just want to isolate the part of the chord we really need or want.

Therefore, it’s best to ​understand​ the principles. Because, that’s why you’re
reading the guitar chord theory page, right? So, here’s my suggestion:

A Guitar Chord Theory Trick

First, find the plainest 7th chord that is the closest to your “more complicated”
chord that contains extensions. Then, change one or more notes from the
basic chord *TO* extensions.
As an example, let’s find a way to play “Cmaj7(13)”. The closest basic seventh
chord is “Cmaj7”. Here are some comfortable chord shapes for guitarists as
pictured here.

From this point, we are looking to get a “13”. Remember 13=6 so our “easiest”
move here is to change the note “5” to a “6” within the original Cmaj7 and hear
how it sounds. ​Question:​ can you identify the “fifth” in each shape?

Answer:​ the “5” is the second lowest note in the two top shapes, and for the
two bottom shapes, it’s the highest note. What you want to do is take that note
and raise it up to a “6”, that is TWO frets. In short: change the “G” note to an
“A” note. I’ll leave you to enjoy discovering the new shapes… some may be
comfortable and “playable” and some not! (-:

Let Your Ears do the Walking

Especially relevant, this basic process in guitar chord theory can be

generalized by “moves”. You can take the basic notes 1-3-5-7 and move
them up or down to an extension to experiment. ​Always let your ears be the
final judge. Some stuff you’ll discover WON’T sound good at all! ​ Here
are some legit note moves:

1 to 9

3 to 11

5 to 13

5 to 11

7 to 13

etc.

You can also go to b9, #9, #11, b13 (etc.) with this same idea.

However, you may decide (or have to) change more than one note in a basic
shape. Simply keep in mind that the root (1) and the fifth (5) are usually the
first ones you want to sacrifice, and the 3 and 7 are (mostly) good to keep
inside of the new chord. It’s not mandatory, just very common. Also: if you
wind up changing 3-4 notes in your original chord, you’ll simply be playing a
different chord altogether! It’s good to look at chord equivalents (later in this
article) to make your life easier.

Remember: any chord shape you currently know well (even if it’s NOT a basic
7th chord) can be used in this process. Change one or two notes and BINGO,
you may find some nice extensions. (For instance, C9 becomes C7(b9) or
C7(#9) easily).
Guitar Chord Theory and Getting Extensions by Changing the
Voicing

Here’s another practical idea. Sometimes you cannot just change notes by
using 1 to 9, 3 to 11, or 5 to 13. You have to be clever and re-voice the chord
completely. Consequently, switch two or more note places to create
extensions in a common shape resulting in a completely changed way the
chord is voiced.

I’ll demonstrate with a favorite example of mine, so grab you guitar.

Our ​goal is to come up with a Cmaj9 voicing​ starting from this familiar
shape: x3545x. I tried to move the root (1) up to 9 or the 3 down to 9 and I
don’t really like the sound, so, I’m gonna “hack my way” to the new extended
chord like this: 3 to 9 and 5 to 3.

Therefore, we basically “replace” the 3 that I left out in the first move. This
results in the x3545x becoming a x3243x. Nice eh?! We can use the same
guitar chord theory methodology starting from the familiar Cmaj7 in this
shape: 8x998x. The same process gives us… (hang on!) … 8x975x. See this:

Try and come up with new shapes using this little guitar chord theory trick
above on your own. Self-discovery is very powerful. More powerful in fact than
if I simply “gave out” to you all the nice chords with extensions. (-:
Also, check out the article​ “Don’t Play That Chord”​ on JazzGuitarLessons.net
here for more ideas on transforming some basic 7th chords into beautiful
(usable) voicings.

Simplifying your life with Guitar Chord Theory

Because it’s often easier to check out the jazz guitar chord theory equivalents
instead of changing ​all of the notes​ within a simple 7th chord, that’s exactly
what we’ll do below in part 3
 Guitar Chord Theory and Chord Construction – Part 3

Equivalents

This part deals exclusively with common chord equivalents. Guitar chord
theory becomes really easy once you understand that certain chords are
“interchangeable”. Sometimes, they contain exactly the same notes, and
other times they contain another chord’s extensions.

Generalities

● You should know

● about building triads, basic seventh chords and *the idea* behind
extensions. If not, please read the previous parts of this article.
● Extensions-​ In guitar chord theory, we generally label the tones 9,
11 and 13 as extensions. Alterations (b9, #9, #11, b13, etc.) are
also very common, especially on dominant chords.
● Important-​ Most recorded jazz over the past 50 years employs
chords harmonized to the 9th (minimum). The basic 7th chords are
the foundation in guitar chord theory for jazz, but in real life when
jazz musicians play, they always use extensions. As a result,
learning jazz chords like this (at least to this extent: 1-3-5-7-9) has
become crucial.

What Are Chord Equivalents

Chord equivalents are chords that can easily be interchanged, either in your
mind, on the instrument or literally on the sheet music. Chord equivalents may
not have the same “harmonic function”. However, they may allow you to find
some “guitar chord theory shortcuts”, allowing you to find more uses for a
single chord.

So, not sure? Okay, here’s an example. You know Em7 chord, right? What if I
told you that from now on, you may play Em7 on your instrument whenever
you see a Cmaj7 on sheet music? Does this make sense? NO! Hold the
presses, because Em7 and Cmaj7 are completely separate entities in jazz
theory. But, if we take a closer look, we notice that the notes in Em7 are
E-G-B-D. Okay. Are these notes “acceptable” to be played over some kind of
C major chord?

The notes in Em7 are as follows.

● E – (it’s the third of C). Check

● G – (the fifth of C). Check
● B – (it’s the seventh of C). Check!
● (So, those are the tones 3, 5 and 7 of C major 7th.)

And what about that “D” note? It’s simply the 9th of C. Subsequently, by
playing an Em7 when you see a Cmaj7 on sheet music, you are simply
playing “on extensions” of Cmaj7 (in fact the notes 3-5-7-9) resulting in a
Cmaj9 sound. Welcome to guitar chord theory for jazz!

Clearer now? Good! (-:

Guitar Chord Theory Equivalencies

Let’s look at two different types of equivalencies for jazz chords:

1. when two different chord symbols imply ​the exact same notes
and,
2. when the equivalent is “playing on extensions” of our original
chord. (The Cmaj9=Em7 example above is of the latter type).
Because I cannot walk you through the same process as above for each and
every one of the chord equivalents, I insist that you MUST investigate these
on your own. You have to understand what notes are added, left out, and on
what extensions is the equivalent placing the emphasis on.

We don’t have enough space here to go into every detail, (and into every key!)
so, I’ll simply provide you with a list of common equivalents found in the “real
world” of guitar chord theory for jazz. Because once you get familiar with a
handful of these “tricks” of interchanging. as mentioned below, you’ll
subsequently find more and more uses for the chords you already know.
Hence, my goal once again is to have you realize that you know LOTS of
chords already; you just have to find more uses for your old stuff. (-:

IMPORTANT:​ Don’t generalize too much! Consequently, If you’re playing the

above example of Em7 when it’s in fact C major 7, it may sound bad IF you
don’t respect the registers. So, always watch out for the low notes. Most
noteworthy, if you play the guitar’s lowest string (E) against a “straight Cmaj7”,
it will clash! Therefore, use common sense, listen for that kind of “bad stuff”
and let your ear be the final judge.

Equivalents: Same Exact Notes

The very important “maj6 to min7” and “min6 to min7(b5)” are:

C6 = Am7

Cm6 = Am7(b5)

The symmetrical diminished 7th chords are:

B diminished 7th = Ddim7 = Fdim7 = Ab (or G#) dim7

Symmetrical augmented triads…

C aug = E aug = G# augmented

Yup. That’s all there is to know. Once you get this in your ears and fingers
plus find out about passing diminished chords (see the ​Barry Harris Harmonic
Method​), you’ll find this extremely valuable.

A ​very​ powerful trick after you nail the “maj6 to min7” relationship plus
common passing chords and inversions, is to add extensions to the above!
So, great potential here.

Equivalents: Playing on Extensions

It’s highly recommend that you work each equivalency out for yourself.
Explore, see how it works. As a result, you will find there’s tremendous
potential for creativity here!

B dim 7 = G7(b9)

Bm7(b5) = G9

Bbmaj7 = Gm9

Dm7 = G9(sus4)

Fun with triads (in general):

Eb/C = Cm7
D/C = Cmaj7(#11) (lydian)

G/C = Cmaj9

Em/C = Cmaj7

Note:​ you can take any seventh chord and see its 3-5-7 degrees as a triad.
Subsequently, the same goes with further extensions like 7-9-11 or 9-11-13
which can constitute triads. They’re called upper structure triads. Explore!

More fun with triads (dominant chords only):

F/G

Simply a G7sus4 sound with a ninth.

Ab/G

Gives a G7sus4(b9 b13) sound.

Db/G

Is a G7(b9 b5) sound.

G7sus4(b9)

Really cool sound.

Fm/G

Same as above.
A/G

Lydian dominant sound. It’s G13(#11).

What’s Next?

We’ll land our two feet firmly on the earth and talk about diatonic chords, the
harmony that is already present within a scale in its’ natural state. We’ll use
our usual suspects: the major, harmonic minor and melodic minor scales.
 Guitar Chord Theory

Part 4

Diatonic Chords

In this part you’ll find chord construction for the structure that “lives” within
three common scales: major, harmonic minor and melodic minor. Of course,
each scale contains seven notes and hosts one chord on every degree, thus
creating 21 chords in this part of the guitar chord theory article.

Generalities

● Triad Types:​ harmonizing the major, melodic minor and harmonic

minor scales in triads (3-note chords) will yield the four triad
types… Major, minor, diminished and augmented triads.
● 7th Chord Types:​ harmonizing the above three scales up to the
7th (on 4-note chords) will yield only seven different *7th chord
types*;
● Maj7, Min7, Dom7, Min7(b5), Maj7(#5), Dim7, Min(maj7) which is
to say that some of the possibilities we saw in the first installment
of this guitar chord theory article actually exist… BUT NOT in our
commonly used scales. *Only* seven types of 7th chords are
needed for this foundation.
● Up to the 13th:​ To analyze them in regard to what MODES they
produce (see scale construction articles) we will build the chords
“up to the 13th” (1 3 5 7 9 11 13) just to see the true identity of
each. Consequently, we will have 21 completely independent and
unique-sounding 13th chords. Be brave! This all makes a lot of
sense when you study chords, arpeggios and scales at the same
time. It will all come together and intuitively blend different
elements of guitar chord theory together for you.
 ● We’ll look at everything in the key of C for simplicity and
demonstration purposes.
● If you’re unclear as to what these chord types mean, please
review the first parts of this article.

Chords From the Major Scale

Little refresher: the major scale is C D E F G A B or in “formula,” simply 1 2 3

4 5 6 7.

Harmonization in triads: We simply have major triads on I, IV and V, minor

triads on ii, iii and vi, and ONE diminished triad on vii.

Triads in C major Scale

In seventh chords: fairly easy once again. We have major7 on I, IV. Minor7 on
ii, iii and vi. Dominant7 on V … and our exception once again, the min7(b5)
(aka “half-diminished”) on vii. In the key of C:

7th Chords in C Major Scale

Major Scale: Chords “Up to the 13th”

In order to harmonize chords “up to the 13th”, let’s quickly discuss guitar
chord theory nomenclature. The problem is often, “How am I going to NAME
that chord?!” On this website, we’ll be sticking to an obvious and
straight-forward guideline:

● Write the basic triad name and add the highest non-altered
extension degree (either 7, 9, 11 or 13) beside it. Furthermore,
write all the altered notes (b5, b9, and so on) in parenthesis beside
the chord symbol.

In addition, think about this; every chord harmonized up to the 13th contains
seven notes and therefore represents ​the entire ​scale. Subsequently, each
new chord contains the exact same seven notes BUT starts on a different
root. As a result, every 13th chord conveys exactly one mode. You can learn
more on this in jazz theory articles about scale construction.

Up to the 13th: Crazy guitar chord theory!

13th Chords in C Major Scale

Chord-by-Chord

Let’s examine the guitar chord theory behind each formula, chord-by-chord by
relating back to each chord’s own root:
 ● C major 13:​ 1 3 5 7 9 11 13. There are no trouble makers in this
one. It contains NO alteration. The “perfect” chord, so to speak.
Ionian mode.
● D minor 13:​ 1 b3 5 b7 9 11 13. The only alterations are the third
and seventh to make it a minor quality and minor modality.
Reflects the Dorian mode.
● E minor 11 (b13, b9):​ 1 b3 5 b7 b9 11 b13. Minor quality, minor
modality with both b9 and b13. This is the most gentle of the weird
chords. It conveys the Phrygian mode.
● F major 13 (#11):​ 1 3 5 7 9 #11 13. This is only one note away
from the major scale. The #11 makes it sort of “airy” and “dreamy”.
It’s the Lydian mode.
● G13:​ 1 3 5 b7 9 11 13. This is the “perfect dominant” so to speak,
no alteration. Pure Mixolydian mode.
● Am11(b13):​ 1 b3 5 b7 9 11 b13. Easy to hear “modal” minor scale
(also called the natural minor scale). Reflects Aeolian mode.
● Bm11(b13, b9, b5):​ 1 b3 b5 b7 b9 11 b13. Three “ouch”
alterations present; this is very close to being a completely altered
chord (11th is the exception). Locrian mode.

Therefore, to further understand 13th chords, please also see ​the modes
explained on the “Scale Construction – Part 3” page…

Guitar Chord Theory and Chords From the Melodic Minor Scale

Most noteworthy, the melodic minor scale is C D Eb F G A B, or in “formula”

simply 1 2 b3 4 5 6 7.

Subsequently, with triads we have minor triads on i and ii. Major triads on IV
and V and diminished triads on vi and vii. Furthermore, the ​exception​ is an
augmented triad on bIII. Especially relevant in the key of C, is the following
depiction.

Triads in C Melodic Minor Scale

In seventh chords, we interestingly get two dominant chords in a row (IV and
V) and then two m7(b5) chords in a row (vi and vii).

7th Chords in C Melodic Minor Scale

Melodic Minor Scale: Chords “Up to the 13th”

13th Chords in C Melodic Minor Scale

First of all, let’s examine the guitar chord theory behind each formula,
chord-by-chord by relating back to each chord’s own root.
 ● C minor 13 (major 7):​ 1 b3 5 7 9 11 13. Only the third is flat. The
“perfect” minor chord, so to speak. So, that’s melodic minor.
● D minor 13 (b9):​ 1 b3 5 b7 b9 11 13. Another “not so bad” evil
chord… only the b9 raises the eyebrows. Could subsequently be
called Dorian with a flat 9.
● Eb major 13 (#11 #5):​ 1 3 #5 7 9 #11 13. This has a very “hyper”
sound for a chord because of the sharps. It’s sometimes referred
to as Lydian Augmented.
● F13 (#11):​ 1 3 5 b7 9 #11 13. Simply put, a “perfect” dominant with
only one alteration. Sometimes called ​Lydian Dominant…
● G11(b13):​ 1 3 5 b7 9 11 b13. Another very pure dominant with just
one alteration. Often called ​Mixolydian flat 13…
● Am11(b13, b5):​ 1 b3 b5 b7 9 11 b13. A chord often used in
outlining the “II” chord ​in a minor II-V-I situation.​ Sometimes called
Aeolian b13 OR Locrian with a natural 9th.
● Bm7(b13,b11,b9,b5):​ 1 b3 b5 b7 b9 b11 b13. This is starting to
look really bad. Most often used as a dominant and called ​“the
altered scale”​. Conveys the super Locrian mode.

To further understand 13th chords, please also see, ​the modes explained on
the “Scale Construction – Part 4” page…

Guitar Chord Theory and Chords From the Harmonic Minor Scale

Especially relevant: the harmonic minor scale is C D Eb F G Ab B or in

“formula,” simply 1 2 b3 4 5 b6 7.

In triads: We have minor triads on i and iv. Major triads on V and bVI.
Diminished triads on ii and vii and still the augmented triad on bIII. In the key
of C:
 Triads in C Harmonic Minor Scale

In seventh chords: This is getting crazy because every chord is of a different

type. Examine, study and reflect. In the key of C:

7th Chords in C Harmonic Minor Scale

Harmonic Minor Scale: Chords “Up to the 13th”

Up to the 13th: Some more crazy guitar chord theory!

13th Chords in C Harmoinc Minor Scale

So, let’s examine the guitar chord theory behind each formula for the
harmonic minor scale, chord-by-chord by relating back to each chord’s own
root:
 ● C minor 11 (maj7)(b13):​ 1 b3 5 7 9 11 b13. Only the third and
sixth are flat. That’s harmonic minor. Not often used as a chord.
● D minor 13 (b9 b5):​ 1 b3 b5 b7 b9 11 13. Could be called “Dorian
b9 b5” or even “Locrian Natural 13.” Doesn’t make much sense.
● Eb major 13 (#5):​ 1 3 #5 7 9 11 13. The only chord in this scale
that gets “LESS crazy” from the alterations. Often used (remember
the last chord in “James Bond Theme”?)
● Fm13 (#11):​ 1 b3 5 b7 9 #11 13. Hard to describe. Can be
referred to as “Dorian #11” but doesn’t make much sense.
● G11(b13 b9):​ 1 3 5 b7 b9 11 b13. Used all the time both as a
chord and scale. “Harmonic Minor of Destination” or often called
Mixolydian flat 13 flat 9…
● Abmaj13(#11, #9):​ 1 3 5 7 #9 #11 13. Just the thought of a #9 on
a major chord makes me shiver! Nevertheless, this is employed in
jazz from the past 30 years. We could say “Lydian #9”.
● B WHAT?!?:​ 1 b3 b5 bb7 b9 b11 b13. This chord is hard to name
because every note is altered AND the 7th is doubly altered!
Thinking of the bb7 as a 6 (enharmonic relationship) we could call
this Bm6(b13 b11 b9 b5) … but I don’t think there’s hope! (-:

To further understand 13th chords, please also see ​the modes explained on
the “Scale Construction – Part 4” page…

Applications

Please do not worry if you cannot grasp everything at once. Learning guitar
chord theory for jazz (and learning with your ears) is a lifelong endeavour.
Simply make sure you come back here often. (-;

For now, see if you can play the ​basic​ 7th chords in ​drop-2 and drop-3
voicings in those three scales.​ You can also check out how to approach those
“crazy guitar chord theory” ​13ths “as complete arpgeggios” in this article​ and
how to tame them down to be ​simple triads and seventh chord arpeggios​ in
this article.
 Part 5

Guitar Chord Theory and Extensions

“Chord Extensions Finder” Technique

This chord extensions primer can help you visualize both the components of
chords AND scales. Extensions are both vertical and horizontal!

Note the flat 9 in the following scale. Read on to find out why and how it is a
flat 9.

● What is a “b9”?​ Answer: the interval that consists of the

distance of 13 half-steps between two notes. For instance: E to F
(the latter being an octave higher). In fact, you can think of the
“b9” as a minor second with octave displacement: a half-step for
which the highest note is “up the octave”. Try it on your guitar.
Each fret is a half-step.
● Extensions:​ extensions are considered the tones 9, 11 and 13
(including alterations of them, such as #9, b13 and so on.)
● Scales and Modes:​ The process below can be applied to any
scale or mode, but it’s best to start with all the chords in the
major, melodic minor and harmonic minor scales first.
Chord Extensions: Why This Process?

The process described in the following paragraphs will allow you to find what
extensions “are good” (viable and good sounding) and which extensions you
cannot use most of the time. There’s only one “rule” in guitar chord theory for
this and it’s the “b9 rule”. In short: we want to ​avoid​ having the interval of a b9
within a chord.

A “b9” is created by adding one or many extensions!

Subsequently, the rule is:

if an extension you’ve made creates a b9, DON’T use it. The ​only exception​ is
between the root and the b9 of dominant chords.)

Finally, this has to be done “case by case”. We cannot assume that all minor
7th chords will “accept” the same extensions. We have to think in terms of
function. For instance: “In a progression, is this min7 chord functioning as IIm7
or VIm7 ?” The answer will give you what SCALE is typically used for that
function and also the origins of the chord at hand, and this allows you to add
9, 11 and 13 on top.

Depending on the scale at issue, some extensions will “create” our public
enemy #1, the b9 interval.

As a result of this guitar chord theory discussion on extensions, you will

understand exactly how to add these extensions to a chord, and know the
what, where and how as well.
Truth be told, after you do this once for a certain chord function, you’re set!
You’ll find the ones that are common-place and all the other ones that are
usually​ avoided.

Have fun! Guitar chord theory rules!

Let’s do it!

Ok, so here it is! It’s going to be a bit more involved on the jazz theory side of
building extensions so you’ll need a piece of paper and some time to puzzle
things out for yourself.

1. Write a scale down (two octaves);

2. Define the 7th chord;
3. Define the 9, 11 and 13 extensions;
4. Determine which of the three above are available according to
the “b9 Rule”;
5. Rinse and repeat.

The last step refers to using the next mode available. For example, if you just
found the available extensions on a C major chord, why not use the same
process from D to D and find the available extensions on the IIm7 (Dm7)
chord in the key of C major, etc.

An Example: the C major 7th chord in the key of C major

To get you started in guitar chord theory extensions, here’s an obvious
example to demonstrate the “b9 rule” and the whole process involved in
finding our what chord extensions are available on a Cmaj7 chord in the key
of C major.

Step 1: Write the Scale Down

2: Define the 7th Chord

3: Write 9-11-13
4: Apply the “b9 Rule”

Therefore, this guitar chord theory process is telling us that chord extensions
on C major 7th (acting like a I chord) are typically the 9th and the 13th (both
natural). The natural 11th is usually avoided because the b9 would be created
with the 3rd. Voila! as a result, “Cmaj9” or “Cmaj9(add 13)” or “C6/9” are
commonplace while Cmaj11 is almost never encountered.

If you’re even mildly interested by this idea, I encourage you (very much!) to
take 15 minutes and do this starting from all the notes in C major. You’ll be
finding the “right” extensions for Cmaj7, Dm7, Em7, Fmaj7, G7, Am7 and
Bm7(b5) in a C major tonality. It’s worth your while, I promise.

Furthermore, replicate the exact same process with C melodic and C

harmonic minor … you’ll find funny jazz chord extensions in funny places! (-:
Don’t forget to use the degree numbers. For instance, Dm7 in C major (dorian
mode) is 1 b3 5 b7 9 11 13, and always use proper degrees whereby you’ll
find beautiful extensions such as #11 and b13!

Definitions

● “Chord” means that all the notes are sounded together​, at the
same time.
● The ​major scale​ serves as reference when identifying chords
by scale degrees…​ and that’s exactly what numbers mean in this
article. For instance, 1 3 5 means to play the first, third and fifth
notes of the major scale. Therefore, this goes for any chord found
in this article. Degrees are raised by a sharp symbol (#) and
lowered by the flat symbol (b).
● Chords are built in intervals of ascending THIRDS (2 or more).
This works 99% of the time. A third is the space (called “interval”)
between two non-consecutive scale notes, up or down. For
instance C-E is an ascending third (say “C D E” in your mind).
Same thing works descending: C-A is a third (say “C B A” in your
mind) but with chords. Consequently, we won’t deal with
descending intervals.
● So, a chord will usually contain ODD numbers like this 1 3 5 7 9 11
13, up to a maximum of 7 notes (on this website at least).