#1
Sup people!

Just got a quick question for you that i need help with.

I've lately gotten more into learning chords. You know, the formulas for the chords, inversions of chords etc.

But how do i know wich chords work in wich key? I mean if im going to make major chord in C for example i could make a C major, C major 7, C6, C major 9 etc.

How do i know wich extensions i can make wich each chord in a scale so it sounds good?

Like, in the key of C we got : C (Maj) D (min) E (min) F (Maj) G (Maj) A (min) B (Dim).

How do i know wich extensions i can do to these chords so they still fit one after another?
Cause there are so many variations of major, minor and dominant chords.
Fusion and jazz musician, a fan of most music.

Quote by Guthrie Govan
“If you steal from one person it's theft, and if you steal from lots of people it's research”


Quote by Chick Corea
"Only play what you hear. If you don't hear anything, don't play anything."
#2
Well you need to know what chords are diatonic to a key. a diatonic chord is a chord made up of only notes found in a key. for the key of C we have:
Cmaj7, Dm7, Em7, Fmaj7, G7, Am7, Bm7b5.

Now those are all chords with a root, 3rd, 5th, and 7th. if you want to find the chords in another key, follow the same formula, but change the name of the chord with the notes from the key. For the key of G:
Gmaj7, Am7, Bm7, Cmaj7, D7, Em7, F#m7b5.

Now, when you use chord extensions, such as a m9 or 13, you just need to keep in mind what chord it is changing. In jazz a common chord progression is I vi ii V. in the key of C, that would be Cmaj7, Am7, Dm7, G7. I could play something like... Cmaj7, Am9, Dm11, G13. It might not sound very good, but it would at least sound similar to the original.

tl;dr: stick with the basic chords when making a progression, major, minor, and keep track of the 7th (maj7, dominant 7, etc), then add the other extensions on top to follow a melody, harmony, or otherwise add tension.
My Gear:
Gibson Faded Flying V
"Dante's Inferno" Iceman
Fender Hot Rod Deluxe 112
etc.




Quote by freedoms_stain
I can't imagine anything worse than shagging to Mark Knopfler.

Maybe shagging Mark Knopfler, but that's about it.
#3
Quote by Sickz
Sup people!

Just got a quick question for you that i need help with.

I've lately gotten more into learning chords. You know, the formulas for the chords, inversions of chords etc.

But how do i know wich chords work in wich key? I mean if im going to make major chord in C for example i could make a C major, C major 7, C6, C major 9 etc.

How do i know wich extensions i can make wich each chord in a scale so it sounds good?

Like, in the key of C we got : C (Maj) D (min) E (min) F (Maj) G (Maj) A (min) B (Dim).

How do i know wich extensions i can do to these chords so they still fit one after another?
Cause there are so many variations of major, minor and dominant chords.


Well if you want to stay diatonic to the scale it's a very simple question: does this extension fit in to the key of the song? If not then no, don't use that extension.

If you want to go non-diatonic with it then you'll have to do something rather weird and ACTUALLY TRY SOMETHING.

I know, it's a crazy idea but it just might work.
R.I.P. My Signature. Lost to us in the great Signature Massacre of 2014.

Quote by Master Foo
“A man who mistakes secrets for knowledge is like a man who, seeking light, hugs a candle so closely that he smothers it and burns his hand.”


Album.
Legion.
#4
When you start talking about extensions you can either make them diatonic to the key or use alterations (like sharpening or flattening the 5th, 9th or 11th are among some of the most common used from what I've seen). Zaphod's suggestion isn't bad, just experiment with extensions (a piano might help here if you can play ) and see what you like and what you don't like.
If you want to dive into this realm of theory, then dive into some jazz theory - it's good stuff, but make sure your other theory (keys and intervals really) is pretty solid.
I dunno, I was just messing around with a ii V I cadence and this sounded good to me:
Gm9 C7(#5#9) Fmin7

but really, sound is subjective to the hearer. there is no formula.
#5
Quote by Zaphod_Beeblebr
TRY SOMETHING.



How could i not see this coming..

I simply asked since there are lots of different variations of chords and i wanted something to work from.

Although, thanks.
Fusion and jazz musician, a fan of most music.

Quote by Guthrie Govan
“If you steal from one person it's theft, and if you steal from lots of people it's research”


Quote by Chick Corea
"Only play what you hear. If you don't hear anything, don't play anything."
#6
Quote by Sickz
How could i not see this coming..

I simply asked since there are lots of different variations of chords and i wanted something to work from.

Although, thanks.


Can't believe I'm saying this again so soon but once more:

Theory is descriptive, not prescriptive. It simply exists to describe what has come before, at no point does it tell you what you should be doing.


Now, if you know chord theory then the world is your oyster because it also means you know how to construct arpeggios and it means you could therefore take a decent stab at jazz soloing since chord tones are the best way I know of attacking a complicated vamp...
R.I.P. My Signature. Lost to us in the great Signature Massacre of 2014.

Quote by Master Foo
“A man who mistakes secrets for knowledge is like a man who, seeking light, hugs a candle so closely that he smothers it and burns his hand.”


Album.
Legion.
#7
tl;dr: stick with the basic chords when making a progression, major, minor, and keep track of the 7th (maj7, dominant 7, etc), then add the other extensions on top to follow a melody, harmony, or otherwise add tension.


C'mon guys, no need to be dicks. look, if you want to write something non diatonic, then go for it. but when it comes down to it, you only have the major or minor chord, everything else is just tension.
My Gear:
Gibson Faded Flying V
"Dante's Inferno" Iceman
Fender Hot Rod Deluxe 112
etc.




Quote by freedoms_stain
I can't imagine anything worse than shagging to Mark Knopfler.

Maybe shagging Mark Knopfler, but that's about it.