Let's take a I chord in the key of C which is a C major chord made up of the notes C E and G. Now, if we extend the chord tones up to a 7th we add the B which is the major seventh. Taking this further up the extensions of this chord we will get to the 9, 11 and 13 which are D, F and A respectively. So now we have our fully extended chord tones of C E G B D F A. Let's rearrange those notes into ascending order and we will get C D E F G A B look familiar? It's our trusty old C major scale! So the C major scale is basically a flattened down Cmajor13 chord with all the trimmings. Now let's do they same with the ii chord, which in the key of C major is a Dm. Let's go up the extensions again for the ii chord, we have R b3 5 b7 9 11 and natural 13 which gives us the notes of D F A C E G B. Brilliant, a great sounding Dm13 arpeggio! Or is it? Let's rearrange the notes in ascending order again to D E F G A B C and we have a nice little D Dorian scale. This is the second mode of the C major scale, much like the ii chord is the second chord in the key of C major. This is no coincidence, the D Dorian mode is a squashed down Dm13 chord
This works with all the chords you know and all the chords you do not yet know. Scales are the exact same notes as chords when they are fully extended. This is because we create chords scales by stacking up thirds of some kind on top of each other. This is 'Tertian harmony' or harmony based on stacking thirds. Quartal harmony is common in jazz and is created by stacking fourths to create chords. So terms of scales vs chords, 2 = 9, 4 = 11 and 6 = 13.
Find the related info about Music through the Chord Gitar Indonesia.