Extended Chords For Guitar

Extended Chords for Guitar [9th, 11th, and 13th Chords]
Have you ever found yourself feeling confident about 7th chords, but then you
see a chart with a 9th chord, you’re stopped in your tracks?
This is an issue that many jazz guitarists struggle with, adding extended chords to
the root-7th chords you worked hard to get under your fingers.
Learning extended chords helps you over this hump, and brings new and exciting
harmonic colors to your comping, chord soloing, and chord melodies.
The key to learning extended chords on guitar, 9ths, 11ths, and 13ths, is to use
shapes you know in new situations.
By doing so, you expand your chord knowledge and easily build these shapes in
real time over any chord you’re playing.
This lesson breaks down essential extended chords, gives you multiple guidelines
to build these chords, and provides dozens of examples of applying extended
chords to your playing.
Learning extended chords feels like a big hill to climb in the woodshed.
But, with the right exercises, easy to understand theory, and practice time, you’ll
be using these essential jazz guitar chords in your playing in no time.
Extended Chords Contents (Click to skip down)

What Are Extended Chords
Minor Extended Chords
Dominant Extended Chords
Major Extended Chords
Altered Extended Chords
m7b5 Extended Chords
Diminished Extended Chords
Stella by Starlight Chord Study
What Are Extended Chords
Before you bring these chords onto the guitar, take a minute to define what
extended chords are and why they’re important to add to your harmonic
vocabulary.
Here’s a quick definition of extended chords.
Extended chords are shapes that use intervals beyond the root, 3rd, 5th, and 7th
of the underlying chord.
This means that if you take a root-7 chord, such as this maj7 interval pattern.
Root
3rd
5th
7th
And you swap one or more of those notes out for intervals that are higher than
the 7th, such as this Cmaj9 chord.
9th
3rd
5th
7th
Then you build an extended chord on the guitar.
You can use extended chords, with intervals above the 7th, over any chord in a
jazz standard chord progression.
But, certain chords take different extensions, and therefore you need to work
chord types separately to learn how and when to use extensions in your playing.
As an example of extended chords in action, here’s a ii V I bIII progression in the
key of C minor.
This first example uses 1-3-5-7 chords to play each change in the progression.
You now use extended chords to color those same changes.
After you can play both of examples, play them back-to-back to hear how they
both outline the chords, but the extended chords bring more color to the
progression.
Using extended chords is an essential tool for any jazz guitarist to possess, but
they’re easier to understand than to apply to your rhythm guitar work.
Now that you have an overview of what extended chords are, it’s time to work
these essential jazz chords on the fretboard in your practice routine.
Minor Extended Chords
To begin your study of extended chords, you dig into minor family chords.
Minor family chords are often used as iim7 or Im7 chords, though they pop up in
other locations from time to time, such as the ivm7 in Blue Bossa.
Each of these extended minor chords is explained, demonstrated on the
fretboard, and shown in various examples over common progressions.
To get the most out of these extended minor chords, work them one at a time,
starting with m6, then m9, and finishing with m11 chords.
As you learn each new concept, apply them to other chord progressions and jazz
standards you’re working on.
This ingrains each of these extended chords further in your playing.
To begin, time to dig into a classic jazz sound, the m6 chord.
m6 Chords
Before you start learning about m6 chords, take a look at why a m6 chord is in a
lesson on extended chords, which are normally 9ths, 11ths, and 13ths.
The reason is that the 6th is also the 13th, just down one octave.
Because you rarely see a chord written m13, and you’re far more likely to see it
written as m6, it’s written that way in this lesson.
So, m6 chords are extended chords, you just write the chord symbol using the
most common terminology found on lead sheets and charts.
To begin your study of m6 chords, take a look at the easiest way to build these
shapes, by comparing them to a chord you already know.
You build m6 chords by taking any m7 chord and lowering the b7 by one fret on
the guitar.
That’s it, nice and easy right.
Here’s an example of a typical Dm7 chord next to a Dm6 chord, where the b7
from Dm7 has been lowered by a fret.
Notice that both chords sound minor, but they have slightly different shade of
color to them.
Paying attention to the differences in sound when learning extended chords helps
your ears learn when to use these new chords in your playing.
As well, if you learned m7b5 shapes already, you noticed that Dm6 is the same
shape as Bm7b5.
This knowledge helps you quickly find fingerings, especially if you find using the
“lower the b7 by a fret” system doesn’t work for you.
Here’s another guideline for building m6 chords.
You build m6 chords by playing a m7b5 chord shape from the 6 of any minor
family chord.
Here’s that same chord shape, but now labeled as Dm6 and Bm7b5 to compare
them on the guitar.
The backing track on the audio example moves with the chords, so you can hear
how the same shape sounds differently when the bass notes change underneath
it.
Now that you know how to build m6 chords, take this extended chord to a few
musical situations in the woodshed.
The first example uses an Fm6 chord to sound the Im7 chord in a minor ii V I
chord progression.
This is the most common usage of a m6 chord, as a tonic minor chord, so it’s a
good place to start when taking this extended chord to the fretboard.
Here’s another example of a tonic minor chord sounded with a m6 shape, this
time over a longer minor ii V I progression in F.
With the examples in this lesson, play the line as written, then alter it, take it to
other keys, and personalize the line in your studies.
Click to hear extended chords 6
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In this example, you apply a m6 shape to a descending chord progression that’s

found in Brazilian jazz music.
Since it’s common in Brazilian music, there’s a Bossa groove in the audio example,
and a Bossa Nova rhythm in the guitar part.
If you like this application of m6 chords, use it in any descending progression in
other genres as you expand it in your comping and chord melody phrases.
m9 Chords
The next group of minor extended chords is m9 chords.
m9 chords are most often used over iim7 chords, but you can apply them to Im7,
ivm7, and vim7 chords as well.
Here’s a guideline to help you build m9 chords quickly on the fretboard.
m9 chords are built by raising the root note of any m7 chord by two frets.
Here’s an example of a Dm7 on the left, with the root raised to form Dm9 on the
right.
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You can hear how they are both minor chords, but the m9 shape has more color.
As was the case with the m6 chord, you can think of m9 chords as being a new
application of a shape you already know.
Here’s another guideline for building m9 chord using maj7 chords on the guitar.
To build a m9 chord, play a maj7 chord shape from the b3 of any m7 chord.
Here’s the same Dm9 chord next to an Fmaj7 chord on the guitar.
Notice that they have the same notes, but the root note alters those notes to
make them a Dm9 with a D root and an Fmaj7 with an F root.
Now that you know how to build m9 chords, take them to the guitar in your
practice routine.
In this first example, you use a Dm9 chord over the iim7 change in a short ii V I in
C major.
The second example uses three inversions of Fmaj7 to produce a Dm9 sound over
the iim7 in a ii V I progression in C.
The final example comes from the first four bars to Blue Bossa, and uses m9
sounds over both the Cm7 and Fm7 chords in that progression.
As well, there’s a bossa nova comping pattern used to outline those chords, one
that you can explore further if you’re learning Brazilian jazz in your studies.
m11 Chords
To finish your study of extended minor chords, you apply m11 chords to your
harmonic vocabulary.
M11 chords are built using one guideline when applied to the guitar.
To build a m11 chord, lower the 5th of any m7 chord shape by 2 frets on the
guitar.
Here’s an example of a Dm7 chord on the left, with the 5th lowered by a tone on
the right to form Dm11.
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Now that you know how to build a m11 chord, apply it to the fretboard.
The first example features a m11 chord used to outline the iim7 change in a short
ii V I progression in C major.
As is the case with any of these examples, once you learn it, take it to other keys
and alter the rhythms as you expand these examples in the woodshed.
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Moving on, here’s an example of Am11 used to color the iim7 chord in a longer G
major ii V I progression.
Notice the open sound that m11 chords bring to a progression, compared to
other minor chords you learned so far.
This open sound is a powerful color to use in your playing, but it can sound out of
place if used in the wrong context.
As with any extended chord, get the m11 sound in your ears so that you can apply
it with confidence to any musical situation.
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In this final example, you see a Dm11 chord vamp with a few new harmonic
concepts over that chord change.
One of the most common ways to use m11 chords is to pair them up with the
same shape two frets higher.
You can see this in the example, as Dm11 and Em11 are played back and forth
over the four-bar phase.
You stay in the key when using this concept, but you add more color to the
progression with the Em11 shape over Dm11.
As well, you can see a second version of the m11 chord in the last two bars of the
phrase.
Here, you build a m11 chord by replacing the b3 of Dm7 with a note two frets
higher.
When doing so, you lose the sound of the b3, which defines the chord as being
minor and not a 7sus chord.
Because of this, be careful where you use this version of a m11 chord.
But, with time and practice, this version of m11 adds a cool-sounding harmonic
color to your comping, chord soloing, and chord melody playing.
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Dominant Extended Chords

In this section, you study extended dominant 7th chords, which color V7 chords in
a major ii V I, as well as the I7, IV7, and V7 chords in a blues progression.
V7alt chords, those used in minor keys, are explored in a later section of this
lesson.
As is the case with any extended chords, learn the theory behind building each of
these dominant chords first.
That way you know how to build these shapes yourself, and not just memorize
grips on the fretboard.
Then, when learning the examples, get them down as written before moving
them to other keys and applying them over jazz standards.
9th Chords
The first extended dominant chord you study is the 9th chord, the most common
chord color used when moving beyond the 7th chord sound.
Here’s a guideline to build 9th chords on the fretboard.
To build a 9th chord, raise the root note of any 7th chord by two frets on the
fretboard.
Here’s an example of a G7 chord on the left, with the root raised to form a G9
chord on the right.
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If you studied m7b5 chord shapes already, you recognize the G9 chord as being a
Bm7b5 inversion.
To help you apply this concept to your playing, use this guideline when building
9th chords on the guitar.
You build a 9th chord by playing a m7b5 shape from the 3rd of any 7th chord.
Here’s the G9 chord on the fretboard, this time with a G root note on the left, and
a B root note on the right, forming a Bm7b5 chord, for comparison.
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Now that you know how to build a G9 chord, take it to the guitar.
Here’s an example of an A9 chord being used to color the V7 chord change in a D
major ii V I chord progression.
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The next example uses an A9 extended chord over the V7 change in a long ii V I
progression in the key of D major.
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The final example uses F9 and Bb9 chords over the first four bars of a jazz blues
chord progression.
Applying 9th chords to jazz blues changes brings a jazzy sound to any blues tune
you’re playing.
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7#11 Chords
The next dominant extended chord is the 7#11 sound, one of the most popular
sounds in all of jazz guitar.
Here’s a guideline to help you build 7#11 chords on the guitar.
To build a 7#11 chord, lower the 5th of any 7th chord by one fret on the guitar.
Here’s an example of a G7 chord on the left, with the 5th lowered by a fret on the
right to form a 7#11 chord.
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Now that you know how to build a 7#11 chord, take this new sound to a few
musical situations.
In this first example, you use an A7#11 chord over the V7 chord change in a short
ii V I progression in D major.
This is a common approach to using 7#11 chords, playing the #11 note on top of
the chord and leading it into the 5th from there.
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In this example, you use an A7#11 chord to color the V7 in a long ii V I progression
in D major.
Notice that you use the #11 interval to create a descending melody line in the
upper note of the last four chords.
Here, you start with an E on top of the Em7 chord at the end of the first bar.
From there, you play D# on top of the A7, then lower that note to a D, and finally
resolve this chromatic descending melody line to a C# over Dmaj7 in bar three.
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The final musical example uses 7#11 to color each change in the first four bars of
an F blues progression.
To hear this extended chord in action, check out the Sonny Rollins tune “Blue
Seven,” which uses the #11 interval in the melody.
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13 Chords
The final extended dominant chord is the 13th chord.
There are two guidelines to build 13th chords on the guitar, beginning with raising
two notes of any 7th chord on the fretboard.
To build a 13th chord on the guitar, raise the root and 5th of any 7th chord by two
frets each on the fretboard.
Here’s an example of a G7 chord on the left, with the root and 5th raised on the
right to form a G13 chord.
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The second guideline uses maj7#11 shapes in a new context in your comping.
To build a 13th chord, play a maj7#11 chord from the b7 of any dominant 7th
chord on the guitar.
To visualize this maj7#11 application, here are G13 and Fmaj7#11 back to back to
see how they have the same notes, but the different root makes them sound
different.
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Now that you know two ways to build 13th chords, you can study three examples
of this chord color in action.
In the first example, you see a G13 used to color the V7 chord in a short ii V I in C
major.
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Moving on, you now use the same G13 sound to play over the V7 chord in a long
C major ii V I chord progression.
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In the final example, you play 13th chords over each chord change in the first four
bars of an F blues progression.
13th chords are an easy and cool-sounding way to spice up any blues tune you’re
jamming on in a jazz, or traditional blues, context.
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Major Extended Chords

After working on minor and dominant extended chords, you finish off the third
chord in the ii V I progression, major extended chords.
In this section, you explore maj9, maj7#11 (Lydian), and maj6 chords.
As was the case with minor chords, you won’t see a maj13 chord in a lead sheet,
and so you use the symbol maj6 for that extended chord.
And, though it’s not technically Imaj7, you add the #11 interval to a maj7 chord,
as you use this shape in tunes like Autumn Leaves, IVmaj7, or as a secondary
Imaj7 color.
After you work these concepts, jam over ii V I changes and use extended chord
shapes for each chord in the progression.
Maj9 Chords
The first major extended chord is the maj9 chord.
When building this chord, use the following guideline to help you quickly and
easily generate any maj9 shape.
To build a maj9 chord, raise the root of any maj7 chord by two frets.
Here’s how that process looks on the guitar, with a Cmaj7 on the left, and the
root raised by two frets to form Cmaj9 on the right.
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Notice that the Cmaj9 chord is also the same shape as an Em7 chord.
Because of this, you can derive a second guideline to help you quickly build any
maj9 chord.
Maj9 chords can be built by playing a m7 chord from the 3rd of any maj7 chord.
Here’s an example of that same shape played twice, once with a C root to form
Cmaj7, and once with an E root to form Em7.
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Now that you know how to build maj9 chords, take them to the fretboard.
In this first example, you use a maj9 chord to color the Imaj7 change in a short ii V
I progression in Bb major.
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In the next example, you use Dm7 to create a Bbmaj9 sound over the Imaj7 chord
in a long ii V I in Bb.
To spice things up, I’ve used drop 2 and 4 chords in this example.
These less common shapes, compared to drop 2 and drop 3 chords, are worth
exploring to expand your chord vocabulary on the guitar.
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The final maj9 example uses Bbmaj9 over the Imaj7 chord in a ii V I VI chord
progression.
Notice that this chord leads to a Ddim7 chord, which is a common G7b9 extended
chord shape.
Because you often play VI7b9 after a Imaj7 chord, treat them in this way to create
a smooth voice leading movement over these changes.
Imaj7 = iiim7
VI7b9 = iiidim7
The next time you find yourself playing a I-VI progression, give these easy jazz
chords a go in your playing.
They outline the chord changes, and don’t put any stress on your hands at the
same time.
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Maj7#11 Chords
You now dig into a bit of tension over major chords, by altering the 5th of any
maj7 shape to form maj7#11 chords.
When using maj7#11 shapes, you imply Lydian in your comping and chord soloing.
Here’s a guideline to help you understand the concept behind building this chord.
To build a maj7#1 chord, lower the 5th of any maj7 chord shape by one fret.
Here’s how that looks, comparing Cmaj7 and Cmaj7#11 shapes on the fretboard.
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Now that you know how to build maj7#11 chords, take them onto the guitar.
This first example uses a Gmaj7#11 chord to color the Imaj7 change in a ii V I
progression in G major.
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Moving on, the second example implies a Lydian sound over the Imaj7 chords in a
long ii V I in G major.
Notice that the use of the #11 interval at the top of the chord emphasizes that
note, and creates tension over that part of the progression.
This tension isn’t for everyone.
If you don’t dig that interval on top of the chord, you can still use maj7#11 shapes
in your playing, just bury the #11 lower in the voicing.
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In this final maj7#11 example, you use a Lydian sound over the Imaj7 chord in a ii
V I VI progression.
Here, the #11 is in the second highest note of the chord, which allows you to hear
it, but doesn’t emphasize it as much as the previous example.
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Maj6 Chords
The final major extended chord sound is the maj6 chord.
You see this written as either maj6 or 6 in chord charts and lead sheets.
Again, because you use 13 for dominant extended chords, when you see maj6 or
6, it’s a major extended chord.
Here’s a guideline to help you build any maj6 chord on guitar.
Maj6 chords are built by lowering the 7th of any maj7 shape by two frets.
You can see this guideline in action in the example below.
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As well, notice that the Cmaj6 chord is the same shape as an Am7 chord.
You can use this knowledge to build other maj6 chords on the guitar.
You build any maj6 chord by playing a m7 chord from the 6th of that change.
Here’s that same Cmaj6 shape played twice, once with a C root, Cmaj6, and once
with an A root, Am7, for comparison.
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Now it’s time to take this knowledge to the fretboard.

In this first example, you use Am7 to create a Cmaj6 chord over the Imaj7 change
in a short ii V I progression in C major.
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The next example features that same maj6 extended chord, though now in a
longer ii V I progression in C.
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The final example brings a Cmaj6 color to the Imaj7 chord in a ii V I VI turnaround
progression.
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Altered Extended Chords

In the next set of extended chords, you explore variations of the 7alt chord on
guitar.
Because 7alt chords are open to interpretation, it can be any combination of b9,
#9, b5, or #5; there are more options to explore with these chords.
Try each of these 7alt sounds, then pick the ones you like best to pursue further,
or keep them all in your pocket and use them at different times in your playing.
Though they’re most often used as the V chord in a minor ii V I progression, you
can use these chord extensions in major key and blues progressions if you resolve
that tension.
Check out these extended chords, experiment with them, and see where you
enjoy using them over jazz chord progressions.
7b9 Chords
The first 7alt extended chord is the ever-popular 7b9 chord.
To build any 7b9 chord on the guitar quickly and easily, here’s a guideline to use
in your playing.
7b9 chords are built by raising the root note of any 7th chord by one fret.
Here’s an example of that guideline on the fretboard, using G7 and G7b9 to
demonstrate this concept.
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As you might have recognized, the G7b9 chord uses the same shape as a G#dim7
chord.
To take this concept further, here’s a guideline that you can use when building
any 7b9 chord on the guitar.
7b9 chords can be built by playing a dim7 chord from the b9 of any 7th chord
change.
Here’s a G7b9 and G#dim7 chord side by side for comparison.
Notice that they contain the same notes, but the different root notes make those
same shapes sound differently.
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You now apply 7b9 chords to your comping and chord soloing phrases.
In this first example, you use a 7b9 chord to color a V7 change in a D major ii V I
progression.
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You now use the B7b9 chord to play over the V7alt chord in a ii V I progression in
E minor.
As mentioned earlier, you can use 7alt chords to color dominant chords in major
and minor keys.
Now that you’ve heard 7alt chords in both situations, you have a better idea of
how they sound in these different key centers.
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The final example uses another B7b9 chord to outline the V7alt sound in a ii V I
progression in Em.
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7b13 Chords
The next 7alt chord variation is the 7b13 chord.
7b13 chords are built with the following guideline.
To build any 7b13 chord, raise the 5th of any 7th chord shape by one fret.
You can see this guideline applied to a G7 and G7b13 chord below.
Notice that you don’t call this chord a 7#5, which is technically the same note,
Eb/D# is the b13/#5 of G7.
I’ve found that most charts use the term 7b13, and so because it’s more common,
you see it written that way in this lesson.
But, remember that if you do see a 7#5 chord change, you can apply the same
guideline to build that chord on the guitar.
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Now that you’ve got the theory down, it’s time to work 7b13 chords into common
progressions on the guitar.
You begin by using the 7b13 chord to color a V7alt change in a C minor ii V I
progression, played over two bars.
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The next example stretches that progression out to three bars, keeping the 7b13
chord color over the V7alt chord in the changes.
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To finish up, here you use 7b13 chords to add tension to the first four bars of an F
blues chord progression.
Again, this creates tension over those changes.
This level of tension can adds interest to your comping, you just need to resolve
that tension after you’ve introduced it to the tune.
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7alt Chords 1
The next 7alt chord extensions feature two altered notes, #9 and b13.
When building this type of 7alt chord, you use the following guideline to help you
find those shapes on the guitar.
You build 7alt chords by raising the root by three frets and the 5th by one fret on
the guitar.
Here’s an example of that concept in action over a G7 chord.
Notice that the G7alt chord uses the guideline to form the interval structure, but
that the fingering is changed to make it easier to play.
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While you can use that guideline to build any 7alt chord, it’s more difficult to
apply than the other guidelines you learned in this lesson.
Because of this, you can think about 7alt chords in this manner.
You build a 7alt chord by playing a maj7#11 chord from the 3rd of any 7th chord.
Here’s how that guideline looks over G7alt, where the left grid shows G7alt and
the right grid shows the same shape, but with a B root to form a Bmaj7#11 chord.
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You now apply this shape to your practice routine, starting with using the 7alt
shape over a V7alt chord in the key of C minor.
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In the next example, you move to the key of E minor and using the same shape to
outline the V7alt chord in that progression.
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Lastly, you use the 7alt sound to color the I7 chord in the first four bars of a blues
chord progression.
As you’ve seen in other sections of this lesson, you can use extended chords to
create tension over blues changes.
Just be aware of how these tensions sound, and how to resolve them, so they
come off with confidence and not sound like a mistake in your playing.
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7alt Chords 2
The final 7alt extended chord feature the b9 and b13 intervals combined in your
comping and chord soloing.
To build this chord on the guitar, use the following as a guideline.
To build a 7alt chord, you raise the root and 5th by one fret each on the guitar.
Here’s how that looks when applied to a G7 chord on the guitar, with the G7 on
the left and the extended 7alt chord on the right.
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You might recognize the 7alt shape as being a m7b5 chord.

Because of this, you can also think of building 7alt chords with the following
guideline.
You build a 7alt chord by playing a m7b5 chord from the 7th of any dominant 7th
chord.
Here’s how that same shape sounds when played over a G bass note, G7alt, and
an F bass note, Fm7b5, for comparison.
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You now apply this extended chord to your practice routine.

In the first example, you use this 7alt chord to color the V7alt change in a G minor
ii V I progression.
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Moving on, you apply the 7alt extended chord to the V7alt chord in a long ii V I
progression in C minor.
Lastly, you use the 7alt chord shape to add tension to the first four bars of an F
blues chord progression.
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m7b5 Extended Chords
In the next section you learn how to extend m7b5 chords.
When working on extended m7b5 chords, the most common chord is m11b5.
For this reason, because the other extended m7b5 chords rarely show up, you
focus your attention on that chord in this section of the lesson.
Here’s a guideline to buil m11b5 chords on the guitar.
To build a m11b5 chord, you raise the b3 of any m7b5 chord by two frets on the
guitar.
Here’s an example of how that looks on the guitar, using Am7b5 and Am11b5
chords as a demonstration.
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Now that you know how to build a m11b5 chord, apply it to a few musical
examples in your practice routine.
To begin, you use Dm11b5 to outline the iim7b5 chord in short ii V I progression
in C minor.
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In the next example, Gm11b5 is used over the iim7b5 chord in a longer F minor ii
V I progression.
As m7b5 chords are most often used as iim7b5 chords, this is the best place to
focus your attention when working on m11b5 chords.
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The final example uses a favorite m11b5 voicing of mine, where you have the 11
and b5 next to each other in the chord.
This creates a half step between those two notes, which comes with more tension
than you’ve heard in the previous examples.
Because of this, be careful where you use this voicing as that tension is great in
the right moment, but sounds out of place if used in the wrong context.
Experiment with this shape and see where your ears tell you it’s appropriate to
use and where you’re better off using another m11b5 chord shape.
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Diminished Extended Chords

When learning to play dim7 chords on guitar, many players make the mistake of
learning a few shapes and then never expanding from that point in their playing.
But, dim7 chords have one of the coolest extended chord concepts of any chord
type.
When playing a dim7 chord, you can alter any note to form a new version of the
chord, while maintaining the underlying quality of that chord.
Here’s a guideline to understand this concept further.
To extend any dim7 chord, raise any note in a dim7 chord shape by two frets.
That’s it.
Because the diminished scale is built with alternating whole and half steps, the
next scale note above any chord tone is a whole-step higher.
So, when applying this concept to dim7 chord shapes, you extend any note in that
chord to the next diatonic note in the scale to produce a new diminished chord
sound.
Here’s an example of raising the b3 of an Adim7 chord to bring an 11th sound to
the underlying chord.
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Here are four grids that show each note in that same Adim7 chord being
extended up by a tone.
Because you play the same shape up 4 frets for any dim7 chord to form four
“inversions,” by raising each note in those shapes, you build 16 dim7 chords on
any string set with one shape.
How cool is that?
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Now that you know how to extend dim7 chords, you can take them to the
fretboard by studying the following musical examples.
In the first example, you use Cdim7 to outline a B7alt sound, specifically B7b9 as
you learned in the altered chord section of this lesson, in the following
progression.
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In the second example, you see a commonly used technique that Sheryl Bailey
uses in her comping and chord soloing.
Here, you alternate between the dim7 chord and the extended version of that
shape, taking that concept down the fretboard from there.
This creates extra movement in your comping, and gives you four different
sounds over that one D7alt chord to play with in your harmonic vocabulary.
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The final example applies the extended dim7 concept to the I7 chord in bars 3 and
4 of a jazz blues progression.
Notice the tension that’s created by the dim7 chords in this context, which is then
resolved to the next chord in the comping pattern.
Using dim7 chords, and their extended versions, is perfectly fine over a blues
progression, just resolve that tension to make it not sound like a mistake.
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Stella by Starlight Chord Study
After studying each of these extended chords on their own, you can work on a
tune study that uses extended chords from this lesson.
The following chord study uses extended chords to outline the changes to the jazz
classic Stella by Starlight.
Go slow when learning this study, working it one four-bar phrase at a time then
piecing those phrases together to form the study as a whole.
After you can play the study with the audio track, put on the backing track and
play the study from memory without the guitar guide track.
Then, comp over Stella using the chord shapes from this study, and other shapes
from the lesson, to create your own extended chord phrases.
Stella by Starlight Backing Track Stella by Starlight Backing No Piano
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Extended Chords For Guitar

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Extended Chords for Guitar [9th, 11th, and 13th Chords]

Extended Chords Contents (Click to skip down)

In this example, you apply a m6 shape to a descending chord progression that’s

Dominant Extended Chords

Major Extended Chords

Now it’s time to take this knowledge to the fretboard.

Altered Extended Chords

You might recognize the 7alt shape as being a m7b5 chord.

You now apply this extended chord to your practice routine.

Diminished Extended Chords

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