Favorite Chord

Discussion in 'Jazz, Acoustic, Classical & Fingerstyle' started by median, Nov 7, 2012.

  1. median

    median Contributor

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    What is your favorite chord and why? Perhaps give examples in context.
     
  2. Mprinsje

    Mprinsje st. anger ain't bad!

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    d-minor




    EDIT: it's the key of d-minor i know, i always wanted to find a suitable place to post this xD
     
  3. median

    median Contributor

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    LOL. "It's a 'Mach' piece"
     
  4. Trespass

    Trespass AEADGBEA

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    This is such a weird question.
     
  5. abandonist

    abandonist Banned

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    I don't know the name, but I can show it in tab.

    x
    2
    4
    0
    3
    2

    Sounds so melancholy and wistful, but with a glimmer of hope. Take away the high E note and it sounds really sad. God I love that chord.
     
  6. Mr. Big Noodles

    Mr. Big Noodles Theory God

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    G is a classic.

     
  7. jsl2h90

    jsl2h90 Awaiting Boden8

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    The Cynic chord!

    X
    9
    12
    11
    14
    X

    It sounds out of this world, very holdsworthian.
     
  8. m3l-mrq3z

    m3l-mrq3z Banned

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    Sus2 chords. I actually have to constantly remind myself of how often I use them. It's an addiction.

    I also like polychords.
     
  9. DoomJazz

    DoomJazz Classic Lojack

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    Cause I can't theory good

    0
    4
    6
    7
    0
    x

    You arpeggiate through it, and you're instantly floating in space.
     
  10. morrowcosom

    morrowcosom SS.org Regular

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    Just cause I like palm muted down picking it really hard for longer notes.

    D 1
    A 1
    E 0

    In drop tuning
    G 2
    D 3
    A 3
    D 1

    I like palm muted down picking this one really hard for longer notes as well. It also has a lot of melodic character.

    I do palm muted down picking on an acoustic as well. It is so percussive and ballsy with these multi-string chords.
     
  11. m3l-mrq3z

    m3l-mrq3z Banned

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    Sounds like you are playing A7b5 without G.
     
  12. Mr. Big Noodles

    Mr. Big Noodles Theory God

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    A7(b5) without a G is A(b5). And the fifth in that chord is perfect - it's the highest note. A C# D# E gets you A(add#4). Depending on how it's used, though, that D# might not function as a chord tone, which would leave you with plain ol' A.
     
  13. Stealthtastic

    Stealthtastic Doesn't play guitar

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    D 5
    A 5
    D 9
    G 8
    B 7
    E 6

    drop tuned
    I don't know what the hell it's called.

    D
    E 9
    A 13
    D 11
    G 10
    B x
    E x

    Once again, I don't know what the fuck it's called :lol:

    D
    E x
    A 8
    D 7
    G 9
    B 6
    E x

    Seems funky... But I can't tab it out without my guitar... It's just the chord from the first riff in it's not safe to swim today.
     
  14. Mr. Big Noodles

    Mr. Big Noodles Theory God

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    Some bullshit. I'm calling it a B∆:G polychord.

    B♭m

    F∆
     
  15. ROAR

    ROAR oaf tobar

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    mmmmmmm CMaj7.
    followed by an Fmin9.
    Thank you Kimbra<3<3<3<3<3
     
  16. Spike Spiegel

    Spike Spiegel Space Cowboy

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    F6

    x
    3
    2
    3
    x
    1
     
  17. Trespass

    Trespass AEADGBEA

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    That's just 2/3s of a backdoor ii-V-i

    First two lines:

    [​IMG]
     
  18. ROAR

    ROAR oaf tobar

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    oooh I'll have to check that out.
    I love those two chords together, that Fmin is like a cliffhanger.
    hahah Lady Bird. Hank would be proud
     
  19. m3l-mrq3z

    m3l-mrq3z Banned

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    Damn right. I was highly skeptical of the name I proposed for that chord, as A7(b5) doesn't reallly make sense.

    Is the augmented fourth supposed to be resolved when one plays A(add#4) chords?
     
  20. Mr. Big Noodles

    Mr. Big Noodles Theory God

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    Fuck, I don't know. If you perceive it as a functional dissonance and you feel it needs to resolve, then sure. Most of the time, #4's are in the chord for color, and are therefore not a functional dissonance - they make the chord 'crunchy', but don't demand any particular treatment. b5's, on the other hand, tend to have a greater sense of harmonic function For instance, take the voice leading in this progression:

    [B7(b5) - E]

    F---E
    A---G#
    D#-E
    B---E (or B)

    The b5 in the V7 chord wants to resolve down to the tonic. Although, it depends on the role of the chord.

    [B7(b5) - Bb]

    F---F
    A---Bb
    D#-D
    B---Bb

    There, the b5 didn't move at all. Its function there is sort of as an anticipation to the next chord - in a way, it was already resolved.
     

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