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Extend Yourself: Upper Extensions of 7th Chords

While upper extensions apply to all keys and several different chord types, today we’ll be looking at those of Gm7.

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This lesson, while a play on the title of a popular Madonna song (ripped off by Lady Gaga), has a topic that is a bit less sexy sounding: the upper extensions of 7th chords. These extensions have nothing to do with either pop singer’s outlandish brassiere, nor do they in any way refer to the numerous male enhancement products available on the internet. While upper extensions apply to all keys and several different chord types, today we’ll be looking at those of Gm7.

There are several reasons why we’re choosing to focus on the Gm7 chord. First, Gm7 provides a rare intersection between jazz and hard rock. Unlike some common jazz keys such as Bb major and Eb minor, the key of G minor is one that most hard rock guitarists have come across at some point (think Deep Purple’s “Smoke On The Water” and Edgar Winter’s “Frankenstein”). It’s often used in jazz, both as the foundation of the key of G minor (vi of Bb major) or the ii of F major. Examples include the Wes Montgomery classic “Four On Six” (from The Incredible Jazz Guitar Of Wes Montgomery) and the Michael Brecker track with Pat Metheny on guitar “Nothing Personal” (from the album Michael Brecker). On my new trio album, Veritas, there is a tune which features an extended Gm7 jam and one of the examples (Fig. 11) is transcribed directly from that track. All the examples here can work well over the groove used on “The River Lethe.”

The concept of upper extensions is based on the idea that there are four primary chord tones: root, 3, 5, and 7. Beyond those lie the 9, 11, and 13 (in essence, this refers to the 2, 4, and 6 played in the next octave). The first example shown in Fig. 1 is an arpeggio consisting of the four primary chord tones of Gm7, the root, minor 3rd, 5 and minor 7th (G–Bb–D–F). Listen to how it sounds over a Gm7 chord—with only the basic chord tones, it blends in discreetly.

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Fig. 2 adds a little bit more color to the mix, leaving out the root, beginning on the third and extending to the 9: minor 3rd, 5, minor 7th, and 9 (Bb–D–F–A).

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The example shown in Fig. 3 starts on the next note (fifth) and extends to the 4 (also known as the 11): 5, minor 7th, 9, and 11.

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We continue with Fig. 4 by starting on the next note (minor 7th) and extends to the 13.

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Try playing each arpeggio from one into the next, ascending (Fig. 5) and descending (Fig. 6). Similarly all four can be played as sweep arpeggios.

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My favorite way is to accent the highest note, both ascending (Fig. 7) and descending (Fig. 8).

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Next, lets take a look at each arpeggio combined with a few other notes to form a jazzy lick. Fig. 9 takes the basic Gm7 arpeggio from Fig. 1 and turns it into a two measure jazz phrase, inserting scale notes and chromaticism. Notice how the first note of the second measure (D) is approached from a half step below. We follow that note with two chromatic notes from above, often referred to as a “double-chromatic” approach.

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Fig. 10
utilizes the arpeggio from Fig. 2. Notice how the 9 is placed before the 3 in the beginning (a common way of starting a jazz phrase). Then the arpeggio is played verbatim, followed by the root, which is approached from a chromatic note below, then a scale tone (A), leading into a descending triad, ending on the 9 for color.

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Now let’s look at the lick mentioned earlier, Fig. 11 which occurs at 1:52 on the track “The River Lethe” (from Veritas). It utilizes the same position we used in Fig. 3 (the arpeggio that starts on the fifth and ends on the eleventh). Since this works over a funky, rock groove (inspired by Jeff Beck’s ’70s instrumental work), it consists of mostly sixteenth notes. It starts just like Fig. 7, with the arpeggio played as an ascending triplet. From there it inserts scale tones in its descent, before resolving on the root. This lick emphasizes the extensions brought out by the opening arpeggio, making it more colorful than a typical minor pentatonic rock lick.

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Lastly, we have a lick that incorporates the arpeggio extension from Fig. 4. Fig. 12 begins on a triplet like the previous example, only with an additional pick up note thrown in (the scale tone below the 7). This arpeggio then descends with a couple scale tones in the mix (D and G), a touch of chromaticism (A is approached with single chromatic notes from above then below), and finally, a rough outline of the previous two arpeggios now played in tenth position. The lick ends on a colorful note, E (13) causing a slight feeling of non-resolution.

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It’s understandable that this may be a lot to take in at once. For that reason, it’s important to go slowly. These licks should be played and absorbed without too much thought. If you get bogged down, just focus on playing the lick. You can always come back to the verbal descriptions later. Music is about sound–the descriptions are there for greater understanding, but not necessary for performance. Once you’ve absorbed these examples, try incorporating them into different keys and grooves. From there, experiment with other fret positions, string groups, and octaves. I want to encourage you to, for lack of a better word, extend into other variations. Most importantly, don’t forget to have fun.


Since joining Testament when he was sixteen, Alex Skolnick has been a leading voice on the heavy metal guitar scene. Skolnick’s ability to cover everything from speed metal to modern jazz has earned him worldwide acclaim. Currently, he splits his time between Testament and the Alex Skolnick Trio. For more information about his latest album, Veritas, visit alexskolnick.com