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Discussion in 'Jazz, Acoustic, Classical & Fingerstyle' started by median, Nov 7, 2012.
Good to hear. Most of the time I will play a perfect fifth after the #4. It sounds good to me.
Yeah- sus2, sus4 and added 9th too. I was jamming a nice riff on an added 9th the other day.
That said, if you're playing an added ninth in a riff, but without the 3rd sitting above it, is it a sus2 or an added 9?- ie a chord on frets 7,9 and 11 from the 5th string.
Sus2 played against the (minor 3rd) has been a keyboards favourite for me recently.
I like hanging notes to cross from one chord to another or things like in Wish You Were Here or Wonderwall where the G and D sit over all the chords.
Other than that, my favourite chord is H.
That would be a sus2 chord. Only if you play the third are you playing a minor add9 chord.
Aha! Nice one- thanks! It's a great sound- nice for several chords in a row (though it's easy to sound quite Foo when doing this!)
Listen to the beginning of Opeth's "the drapery falls". The guitar is basically switching from a sus2 chord to an add9th chord.
and then you remove your index from the 4th fret or C# and get an A maj9. Sounds so beautiful.
Am9 this voicing
I Don't know about favorite since on any night of a typical jazz gig I might play 400 different voicing/root combos but they Ralph Towner-ish and I like them
I seem to abuse the add9no3 as well.
I also like various inversions of 4 and 5 part chords such as maj7 and maj9. But in the end it's always about the context.
Schecterwhore has named a couple of these before for me but I can't remember them for the life of me
I've always been a fan of first inversion major triads.
Major or minor 9 with a #11 always does it for me.
So... many... D#'s...
I think you like maj7 chords, dude.
I guess maj7 chords are generally the chords with dissonant notes but they actually sound really nice? Cause if so, yeah, I love those kind of chords
Eb minor 7 with an A in the bass
#11s (b5) are fun, too.
M7 chords aren't all that disonant, they are generally regarded as very happy/major sounding / pretty chords.
My favourite chord is whatever the fuck one I wanted at that point in time. That one is always my favourite, I don't really have voicings I recycle often, far too context pertinent for that. Chords aren't where it is at, progressions of chords are.
Maj7 chords have always struck me as a bittersweet sonority. There is a tiny bit of dissonance when the seventh is voiced a minor second below the root, but yet, they don't have quite the functional dissonance of the tritone family of seventh chords.
Shine On You Crazy Diamond (Full Length: Parts I - IX) - Pink Floyd - YouTube