That explains what you do perfectly, Brett. When you want to do that book I can help you get up and running.

-Eric

i like where this is going. a lot of it is painstaking research. what i mean is, an example: im trying to work out Christmastime is Here- Vince Gauraldi from the Peanuts songbook. piano chords. not doable in either 4ths/5ths. BUT, part of the chord l.h. other part r.h. what Steve A. shows in his book (and implys in this post) polychords. and the melody is being supported in the r.h. chord fingering. is that it, Steve?

Not sure what specifically you're asking.
Every extended or altered chord can be broken into 2 individual triads. The trick is to learn the chemistry.
I.e. desired chord is Dm11 (dfaceg)
Left plays d minor dfa and right plays C maj ceg. C maj is one step below d min
That relationship works for any m11
Does that make sense? If there's a melody note, voice the chord with that note as the highest tone
Steve A

On my side I can say that it's not easy to have complicated chords with the LH only but it's super when you use both hands. A simple triad in the left and then extensions in the right...it's magic.

One rock guitarist over on the Taxi Composition forum said that when playing power chords and you come to a chord that has a flatted fifth, playing the diminished 5th sounds terrible so he will reach for a power chord with an augmented fifth instead. Just a thought.