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Discussion in 'Jazz, Acoustic, Classical & Fingerstyle' started by median, Nov 7, 2012.
What is your favorite chord and why? Perhaps give examples in context.
EDIT: it's the key of d-minor i know, i always wanted to find a suitable place to post this xD
LOL. "It's a 'Mach' piece"
This is such a weird question.
I don't know the name, but I can show it in tab.
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.
G is a classic.
The Cynic chord!
It sounds out of this world, very holdsworthian.
Sus2 chords. I actually have to constantly remind myself of how often I use them. It's an addiction.
I also like polychords.
Cause I can't theory good
You arpeggiate through it, and you're instantly floating in space.
Just cause I like palm muted down picking it really hard for longer notes.
In drop tuning
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.
Sounds like you are playing A7b5 without G.
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.
I don't know what the hell it's called.
Once again, I don't know what the fuck it's called
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.
Some bullshit. I'm calling it a B∆:G polychord.
followed by an Fmin9.
Thank you Kimbra<3<3<3<3<3
That's just 2/3s of a backdoor ii-V-i
First two lines:
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
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?
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]
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]
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.