Know Your Basics!

Before working with extended and altered chords, be sure you are well versed in basic chord theory. It won’t take long to understand how to construct basic triads, but if you skip this step you’ll set yourself up for frustration and confusion.

You can learn chord construction in the theory section of the Virtual Studio, and you can join the Studio for free right now. You can also learn everything you need to know about chords in  A Guitar Player’s Guide to Music Theory. Finally, you can learn to construct chords in A Guitar Player’s Guide to Ear Training, where you will learn to recognize the sounds, as well. Once you’re comfortable with triad construction, understanding extended and altered chords is one easy step away.

Learn the Seventh Chords

First, learn two versions of each seventh chord: one with the root on the fifth string and one with the root on the sixth. I’ve given you my favorites on the enclosure of the instructional video Comprehensive Guitar Instruction. I’ve titled them “moveable chords” and they include major 7, minor 7 and dominant 7. Really learn these. (If you don’t have the guitar instructional video, choose two of each chord quality that work for you.)

Be able to spell all of the 7th chords as well as play them. You need to be comfortable with naming the chord tones, such as the 5th of the chord or the 7th. You can speed up this learning process by using the advice regarding chord spelling on the video or in the theory book.

Altered Chords

An altered chord is one where one or more chord tones is raised or lowered by 1/2 step. If the chord symbol calls for a b5, for example, just locate the 5th of the chord and note and lower it a half step. Altering a chord tone doesn’t change the function of the chord within the key, it just gives the chord a different color.

A Simple Rule for Extensions

The following simple rules clarify extensions:

If the first extension is 7 or greater, the chord is dominant. For example, a G9 would be a dominant chord, because the first extension is 9, which is greater than 7. This gives you two pieces of useful information: the chord is a V chord and, in a pinch, you could play a G7. But let’s see what note you add to get the 9th that is called for. Simply count to 9, using “G” as 1 and you will end up with “A” as 9. To speed up the process, remember that 8 is an octave, so 9 is the same as 2, in this case the note “A”. The chord is spelled G B D F A (a dominant 7 chord with a 9th added). Maybe you don’t want to play that many notes (or maybe you can’t!). The least important notes in the chord are the 5th and the root, so you can leave them out. The 3rd and the 7th define the quality of the chord. Keep them, and use the 9th, since it is called for.

If the first extension is 6 or less or the word “major”, the chord is major in quality.  Using a similar example, a G Maj9 chord would be a major chord, since the first extension is the word “major”. A G6/9 would also be major (functioning as a I or IV in a major key), because the first extension is 6 or less. There is a big difference between G9 (a dominant chord) and GMaj9 (a major chord). If you try to substitute a dominant chord (G7) for a major chord (GMaj9), you’ll be playing in the wrong key!

More Ways the Rules Can Help You

This rules regarding extensions inform you during those times you’re in a tight spot and need an easy substitute for a difficult chord. Just reduce the chord to the triad or appropriate 7th chord. In the case of the G Maj9 above, you could either play the triad (G major) or, if you’re comfortable with it, the GMaj 7 chord. If, however, the chord called for was G9 and you wanted to play a 7th chord, you’d have to use a G7.

You can also use your knowledge of extensions to dress up chords that you feel are boring or dull. For example, rather than stay on a G7 chord for a measure or two, you can play some or all of those measures using a G9, G11, or G13. Use your ear to determine appropriateness. Not all chords sound good in all situations and you’ll weant to stay true to the kind of music you’re playing.

Work with this until you’re comfortable with it. It won’t take long. Just remember that dominant chords function as a V chord in major keys, whereas the major type chords will be I or IV.

How to Play The Chords

Go back to the moveable chords which you know so well and . . . well, alter them! To find a 9th, you may sacrifice a root and play the note two frets higher. (Remember, 9 is the same as 2.) Or, if you’ve got an extra 3rd, you could move it back to the 2nd (9th). Play around with different options.

Of course, if you’re dealing with a chord as common as a 9th chord, it’s a good idea to memorize a couple of shapes for 9th chords and add them to your vocabulary. But when you encounter  something less common you’ll have the tools to spell the chord the way it suits you on your fretboard. The great thing about this is that while you’re doing it, you’re getting more familiar with your fretboard as well as your chord spelling.

The first time you try this, it may be slow, as most things are at first, but you’ll quickly improve your speed and comprehension and your playing will reflect your new-found sophistication.

Chords for Practice

Spell the following extended and altered chords and determine whether they are major or dominant. Answers will follow.

1. C6
2. D7b9
3. G13b5b9
4. AMaj7
5. F6/9

Answers:

1. This is a major chord, because the first extension 6. It’s spelled C E G A

2. A dominant 7 chord spelled D F# A (C) Eb. The Eb is the
flatted 9th), Notice that the correct spelling includes both a sharp and a flat, in order to keep the letter names correct.

3. Another dominant chord, spelled G B Db F Ab E

4. A major chord, spelled A C# E G#

5. Another major chord, spelled F A C D G