You can add extensions (9, 11, 13) to chords in the

following way:

You can add the 9th to just about any chord and it will sound good.
The 11th can be added to chords that have a b3rd (min7, min(b5), dim7).

The #11 is an alteration, not an extension, but its still worth mentioning here.
The #11 can be added to many 7th chords that have a major 3rd (maj7, dominant
7).

The 13th can be added to many chords, but most often to major and dominant 7th
chords.

The 13th can also work on min7th chords. This sound isnt typically used as
frequently as a min9 or min11, but it works well in some situations.

The 13th is enharmonically the same as the bb7, so in a way it can actually work
on a dim7 chord, you would just call it the bb7.

You can add alterations in this way:

For some dominant 7th chords, the b9, #9, or BOTH will sound good instead of
the natural 9th. Sometimes you have a choice which you can use, and in many
cases you can add a 9 or instead substitute a b9 and/or #9 to a dominant chord.
In other cases, such as on the V7 chord in a minor key, the b9 and #9 will sound
better than the natural 9.
The #11 can be added to many 7th chords that have a major 3rd (maj7, dominant
7). The #11 can be added to dominant chords in many cases, with some
combination of the either the 9 and 13 or the altered b9, #9, and b13.

Mix and match and see what works for you, but often a #9 will be accompanied
by the b13. This is called altered or alt, and actually you can technically add in
the b9 and the #11 as well.
 Alt really means all of the alterations, b9, #9, #11, and b13, but in particular the
#9 and b13. C7alt can also be written C7(#9, b13).

The b13 can be used with any combination of 9 or b9/#9, and/or #11.

In jazz theory we generally label the tones 9, 11 and 13 as extensions.

Alterations (b9, #9, #11, b13, etc.)

In jazz and jazz harmony, the term altered chord, notated as an alt chord (e.g. G7altPlay (help.
info)), refers to a dominant chord, in which neither the fifth nor the ninth appears unaltered
namely, where the 5th and the 9th are raised or lowered by a single semitone, or omitted.

Equivalents: Same Exact Notes

The very important maj6 to min7 and min6 to min7(b5) are

C6 = Am7
Cm6 = Am7(b5)

The symmetrical diminished 7th chords are

B diminished 7th = Ddim7 = Fdim7 = Ab (or G#) dim7

Symmetrical augmented triads

C aug = E aug = G# augmented

Extended harmony prior to the 20th century usually has dominant function. For extensions on guitar
the first thing we do is eliminate the root and fifth. We want to isolate the most important part of
the chord. 3,7, and extensions.

Comping Jazz
- Strong beats (2,4)
- Play one or two notes, 3rds and 7ths.
- Look for the tenor voice on guitar, 4th string mostly without many note
changes
- Dry stroke, fast and loose, groove
- If bass player plays in 4s play 4s. If he plays 2s lighten up beats 1 and 3, fill
in 2,4.
- Drop 2s and 3s for rhythm.
- Increase comping as song advances.
- First 4 strings for comping max.
-