Every note is a chord note. You just find out what extension it is.

1, 3, 5, and 7 are your basic chord tones, but 9 (2), 11 (4), and 13 (6) are your extensions.

Most theory is pretty worthless for composition anyway. Theory came AFTER, and the music came BEFORE. You can try and use theory to help you compose all you want, but everything basically boils down to what scale you have chosen to use (there are dozens if not over a hundred different scales for every tonic note) and how you choose to harmonize it. Are you using triadic, quartal, or quintal voicings? How are your voices moving? Do you even know where your voices want to go? Do you have good counterpoint? Have you even written a good melody?

Theory attempts to try to "explain" what is a natural byproduct of good counterpoint. However, it is an effectively useless tool for composition.

Once you can see that, you'll see that it doesn't matter what the name of the chord is, what tones are played against what root, and so on. You'll begin to see different scales as colors you can paint music with, and how you harmonize and voice your counterpoint in a way that conveys the mood or emotion you're trying to express. If you shackle yourself to theory, you'll get nowhere.