#1
Well, I'm a jazz guy

and through use of my own musical development kind of found myself in a little pattern as far as chordal extensions that i'd like to share and discuss.

My guiding principle has lead me away from sticking to any one scale, keeping chordal arpeggios in mind but basically 'writing' my own changes over tunes as they happen - focusing more on creating stability or instability than just playing in the chord (though I will play in as **** at times). It basically started with me developing comfort with extensions years ago, and only recently i've notice my tendency is to use this system:

for maj7 chords (lets go with C): C-E-G-B-D-F#-A-C#-E-G#
m7 (which I'll treat as the maj7 chord built off the third: (C)-Eb-G-Bb-D-F-A-C-E-G-B

which appears to be a pattern that creates multiple 7th chord arpeggios moving in major seconds (my Cmaj contained Dmaj7 and an E triad while my Cm7 (Ebmaj7) had Ebmaj7, Fmaj7 and G (or Cm7, Dm7 and Em))

And it's not like I'll just play these straight up from bottom to top every time I want to use the idea. I find myself playing chunks of it then resolving it.


so do you guys have any ideas on my lil thing or extensions in general?
#2
Basically what you're talking about can be used as substitutions, or treated as upper structure triads. Grab a book on Jazz arrangement if you want to see how far people take these ideas.