Extend and Alter

So, even though the tune may be considered to be in the key of D minor, we’ll think of the Dm7 chord in the second bar as a ii going to the V (G7). By spotting these mini progressions within the overall framework and by thinking of the key instead of just the chords, you can more readily memorize the tune, and have your go-to voicings and licks at the tip of your fingers, should you want them. And you have been practicing your ii-Vs in all keys, right?

If you ever come across a tune with daunting chord symbols, rest assured that there is a simple chord at the core of whatever fancy symbol is being thrown at you. Remember our breakdown of chords from the April, ’07 issue? In a nutshell, here’s what to look for in any chord symbol: The basic quality, or triad, which can be major, minor, diminished, augmented or suspended. Extensions are chord tones above the seventh: the ninth, eleventh, and thirteenth. Alterations instruct you to raise or lower a note in the chord — for example, Em7b5.

While alterations and extensions can add great flavor to a chord progression, triads and basic seventh chords certainly aren’t bland by themselves. Simplicity is beautiful, and the whole less-is-more aesthetic is appropriate much of the time. That said, you can have fun and be very descriptive with your sound when you start bringing in these extensions and alterations.

Ex. 1. From time to time you will see a chord symbol with the shorthand “alt,” such as the one in 1a. This instructs the player to use the altered scale over that chord; check out Jargon Jockey on this page for more details on the altered scale. Since the altered scale contains every possible alteration, in addition to the chord tones, the notes transcribed here are just one way to voice a C7alt chord. 1b shows a simplified, adapted section of Jeff Lorber’s “Hudson” — the left hand voices the progression while the right hand arpeggiates each chord. I encourage you to loop this section, using the chord tones to improvise melodies with your right hand. Stay with these notes for now, creating as many melodies as you can with just the chord tones. In 1c, we have the same progression, but with the chord extensions and alterations used by Jeff Lorber in “Hudson.” Again, try to improvise melodies using only these chord tones. Notice the different shapes your melodies take as opposed to those in 1b, thanks to the changed and added notes these chords provide. Keep looping the progression until you have it under control, and keep making melodies until you’ve exhausted all possibilities — and when you think you have, keep playing, as you probably have a few more ideas waiting to get out.