# Fav guitar chords???



## RedBeardedOne (Mar 13, 2011)

I need to learn some new chords! Please share yours!

Here's a few that I've made up over the years... 

E---4---0---9---0---0---X---X---X
B---2---0---0---0---0---6---4---0
G---4---8---13--8---2---6---3---5
D---2---6---11--9---6---6---6---7
A---0---9---0---11--X---9---3---8
E---X---0---12--9---2---X---4---8

(---1---2----3---4---5---6---7---8)

1. A7M9
2. E7M9
3. A7M9 (love this one)
4. C#m9
5. F#m11 (no 5th) 
6. C#add11
7. G#add 9
8. Fadd11+

As you can see, I love 9th chords! Most of these are more suited for a finger picking style so keep that in mind.


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## shattered (Mar 13, 2011)

hm, chords like

e|0------
B|5------
G|5------
D|3------12
A|-------10
E|-------8

So nothing special really


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## skeletor88 (Mar 13, 2011)

E--0----------
B--4-----------
G--2----------
D--4-----------
A--0-------------
E---------------

sweet for raping Vai lydian licks in A


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## oldbulllee (Mar 13, 2011)

Dm 7/9 or something....

e--0
B--5
G--5
D--3
A--5
D--0

I LOVE this cord.


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## Varcolac (Mar 13, 2011)

Anything madd9. Beautiful chord. 

Possibly coloured by the fact that Cmadd9 is the first chord of "The Drapery Falls" by Opeth, which is the song that got me into progressive metal.


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## Tones (Mar 13, 2011)

D------
A---9-
F---10--
C---10--
G---8---
C---8---
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm


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## Duelbart (Mar 13, 2011)

Opeth's "drama" chord is mindblowing


e--0
B--6
G--7
D--0
A--7
E--x

Also, madd9


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## SirMyghin (Mar 13, 2011)

I like suspended chords (2nds or 4ths, not too picky) as well as stuff with 6ths. 6ths are fun.


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## timbaline (Mar 13, 2011)

For me it all depends on context. Even the most dissonant diminished chord or augmented chord can sound gorgeous if used properly. That being said my favorite chords that I just love without any context are M7/9 chords, m7/9 chords, Add 9, sus4, 6/9 chords... Essentially chords with a crapload of extensions (it just has to be voiced properly).


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## thedrummerkid (Mar 13, 2011)

e--0-----0
B--10----7
G--9-----6
D--10----7
A--8-----5
D--0-----0

both equally sexy.


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## CooleyJr (Mar 13, 2011)

Shawn Lane's "Impossible" chord. Unless you're like Steve Vai and have alien fingers.. it really IS next to impossible to do. It hurts..

e--0
B--6
G--12
D--10
A--8
E--5

The E5 to B6 is actually a CROSS BAR. It's super hard to get it clean.


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## xtrustisyoursx (Mar 13, 2011)

e---
b---
G---
D--0
A--0
D--0


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## BucketheadRules (Mar 13, 2011)

e--3------0
B--3------3
G--0------0
D--x------2
A--3------2
E--x------0

Oh, and also

e---
B---
G---
D---
A---2
E---2
B---0


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## heilarkyguitar (Mar 13, 2011)

Drop A 
e
b
g
d--3
a--2
e--
a--1


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## Mr. Big Noodles (Mar 13, 2011)

RedBeardedOne said:


> I need to learn some new chords! Please share yours!
> 
> Here's a few that I've made up over the years...
> 
> ...



1. is Amaj9
2. is Emaj9
3. is Amaj9

"7" is a dominant seventh chord, and any extensions added on to that follow the same kind of rule. 9, 11, 13 are dominant 9th, 11th, and 13th chords, respectively. For chords with a major 7th, it's maj7, maj9, maj11, maj13. And, of course, any added or altered notes are indicated after the chord symbol, like "A9(#11)".


Uh, let's see...

Emaj7


```
e-4
b-4
g-4
D-6
A-7
E-4
B-5
```
I also like this little movable shape for dominant seventh chords:

(E7)


```
e-
b-
G-7
D-6
A-7
E-
```
You can put that with the root anywhere on the E, A, or B strings. Obviously, if you want to do it on the D or G strings, stuff has to move, but it's still a nice shape.

I also like the voicing that has the third on the top to open the chord up a bit.

(B7)


```
e-
b-
G-8
D-7
A-x
E-7
```
^ This one works well in a voice-leading context:


```
e-
b-
G-8-9
D-7-6
A-x-7
E-7-
```
Although, the other one works better for tritone sub/augmented 6th chord applications. Hmm... Unless you want a Fr+6, or 7#11:


```
e-
b-
G-8
D-7
A-8
E-7
```
For all you ninth lovers out there, here's a movable dominant 9:

(E9)


```
e-
b-7
G-7
D-6
A-7
E-
```
I also like this first inversion major triad. The chord in parentheses is an example of a resolution. I don't really use this first inversion voicing unless I'm doing something like this:


```
e-4-(5)
b-5-(5)
G-4-(5)
D-6-(7)
A-7-(7)
E-4-(5)
```
And a movable major triad with an added ninth:

(Badd9)


```
e-9
b-7
G-8
D-9
A-
E-
```
And that sort of shape conforms nicely to these sweep arpeggios. First one is a Bmaj9, second is B9, and I'm adding a note a minor third below in parentheses for G#m11, and G#m11(b9)

(Bmaj9, [G#m11])


```
e-----------6-9
b---------7
G-------8
D-(6)-9
A-[7]
E-{9}
```
(B9, [G#m11(b9)])


```
e-----------5-9
b---------7
G-------8
D-(6)-9
A-[7]
E-{9}
```
And the [] gets you Emaj13(#11) for the first one, Emaj13 for the second one, and {} gets you C#m13 for the first one, and C#m11(b13) for the second. And you hardly have to move your fingers at all. 

Generally, I like useful movable shapes. Open strings are cool and all, but I find myself sticking with this sort of thing more often.


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## conortheshreder (Mar 13, 2011)

E-7---0---5--5
B-7---12--6--5
G-10--9---5--5
D-11--10--7--7
A-9---0---5--8
E-7---x---5--5
B-0---x---x--x

These sound yum especially the first one


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## fredw138 (Mar 13, 2011)

I'm new to 7s and I've been playing with:

E --5--
B --5--
G --2--
D --2--
A --0--
E --0--
A --0--

Which is really just a huge 5th chord, creates a nice wall of sound. I've also been playing with moving the top 4 strings around A-Phrygian (using the G string for the root note) while leaving the bottom 3 open as a "pedal" tone. This is especially fun in the industrial metal I've been doing.

Also, a nice stack of diminished 5ths (with a fourth stuck at the top - not sure what that type of chord is called), which sounds pretty evil and discordant:

E --0--
B --0--
G --4--
D --3--
A --2--
E --1--
B --0--

I've also had a bit of fun moving a similar chord around by barring the high-E through low-E strings.

E --1--
B --1--
G --4--
D --3--
A --2--
E --1--
B --x--

Open A minor and sus2 chords sound pretty awesome on 7s in drop A tuning too.


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## RedBeardedOne (Mar 14, 2011)

SchecterWhore said:


> 1. is Amaj9
> 2. is Emaj9
> 3. is Amaj9
> 
> "7" is a dominant seventh chord, and any extensions added on to that follow the same kind of rule. 9, 11, 13 are dominant 9th, 11th, and 13th chords, respectively. For chords with a major 7th, it's maj7, maj9, maj11, maj13. And, of course, any added or altered notes are indicated after the chord symbol, like "A9(#11)".



You are indeed right. For some reason GuitarPro listed them as 7M9 chords... weird. 



conortheshreder said:


> E-7---0---5--5
> B-7---12--6--5
> G-10--9---5--5
> D-11--10--7--7
> ...






No idea what these are, but I love 'em... ala Martyr. Played in sequence. 

E---X----X----X
B---10---11---8
G---8----8----8
D---12---12---8
A---X----X----X
E---X----X----X


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## kung_fu (Mar 14, 2011)

I don't think i've found a chord I don't like . I try not to over utilize certain chords, but here are a few that tend to show up repeatedly in my playing:


```
Fadd11+            
|--5--------5--------|
|-----------1--------|
|--4--------4--------|
|-----------3--------|
|--3-----------------|
|--1-----------------|
|--------------------| 

  Gadd11               Amadd11              Bmadd11/5-           
--7--------7--------|--8--------8--------|--10--------10--------|
-----------3--------|-----------5--------|------------6---------|
--5--------5--------|--7--------7--------|--9---------9---------|
-----------5--------|-----------7--------|------------9---------|
--5-----------------|--7-----------------|--8-------------------|
--3-----------------|--5-----------------|--7-------------------|
--------------------|--------------------|----------------------|


  Cadd11                 Dmadd11                Emadd11              
--12--------12--------|--13--------13--------|--15--------15--------|
------------8---------|------------10--------|------------12--------|
--10--------10--------|--12--------12--------|--14--------14--------|
------------10--------|------------12--------|------------14--------|
--10------------------|--12------------------|--14------------------|
--8-------------------|--10------------------|--12------------------|
----------------------|----------------------|----------------------|
```

now sus versions of the same chords

```
Fsus2add11+        
|--3--------3--------|
|-----------1--------|
|--4--------4--------|
|-----------3--------|
|--3-----------------|
|--1-----------------|
|--------------------|


  Gsus4add9            Asus4add9            Bsus4add9-/5-      
--5--------5--------|--7--------7--------|--8--------8--------|
-----------3--------|-----------5--------|-----------6--------|
--5--------5--------|--7--------7--------|--9--------9--------|
-----------5--------|-----------7--------|-----------9--------|
--5-----------------|--7-----------------|--8-----------------|
--3-----------------|--5-----------------|--7-----------------|
--------------------|--------------------|--------------------|


  Csus4add9              Dsus4add9              Esus4add9-                  
--10--------10--------|--12--------12--------|--13--------13--------|------|
------------8---------|------------10--------|------------12--------|------|
--10--------10--------|--12--------12--------|--14--------14--------|------|
------------10--------|------------12--------|------------14--------|------|
--10------------------|--12------------------|--14------------------|------|
--8-------------------|--10------------------|--12------------------|------|
----------------------|----------------------|----------------------|------|
```


Some of my favourite Major 7 voicings:

```
1-7-5-3
                                                  
|--12----------------|
|--------------------|
|--12----------------|
|--9-----------------|
|--------------------|
|--8-----------------|
|--------------------|
           
3-1-5-7                   3-1-7-5                   3-5-1-7
                                                    
--7-----------------|--15----------------|--------------------|
--8-----------------|--12----------------|--------------------|
--------------------|--------------------|--16----------------|
--10----------------|--10----------------|--10----------------|
--7-----------------|--------------------|--10----------------|
--------------------|--12----------------|--12----------------|
--------------------|--------------------|--------------------|
                          
3-7-1-5                    3-7-5-1
                                     
|--3-----------------|--------------------|
|--1--------8--------|--13----------------|
|--4--------5--------|--12----------------|
|--2--------9--------|--------------------|
|-----------7--------|--14----------------|
|--------------------|--12----------------|
|--------------------|--------------------|

5-7-3-1

|--8------------------|
|--5--------13--------|
|--4--------9---------|
|--5--------9---------|
|-----------10--------|
|---------------------|
|---------------------|
```

I tend to prefer the minor 7 equivalents of the above inversions as well (spelled the same but with b3rds and b7ths)

Also, the very underrated minor/major7 chord

Dmin/maj7
-1-
-2-
-2-
-0-
---


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## SirMyghin (Mar 14, 2011)

CooleyJr said:


> Shawn Lane's "Impossible" chord. Unless you're like Steve Vai and have alien fingers.. it really IS next to impossible to do. It hurts..
> 
> e--0
> B--6
> ...



Hurts my fingers looking at that one.  Am7#5?


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## Cabinet (Mar 14, 2011)

Emadd9
E|---7---
B|---8---
G|--11--
D|--9---
A|--7----
E|------
Also makes a wonderful sounding arpeggio

GMaj7add11
E|------
B|--12----
G|--11----
D|--12----
A|--10----
E|------


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## Varcolac (Mar 15, 2011)

Cabinet said:


> *Gmaj7*
> E|------
> B|--12----B [maj3]
> G|--11----F#[maj7]
> ...



Ain't no add11 in there. Just a common-or-garden maj7


E|--------
B|--13----C [11]
G|--11----F#[maj7]
D|--9-----B [3]
A|--10----G [1]
E|--------

That's yer Gmaj7add11. Left the fifth out because it's a horrendous finger-stretch to get it in there. You could try uh.. this bastard if you _really_ want the fifth in there, but that puts the D at the bottom of the chord and I just plain don't have enough fingers to fret it at the octave. 

E|--------
B|--13----C [11]
G|--11----F#[maj7]
D|--0-----D [5]
A|--14----B [3]
E|--15----G [1]

Edit: oh wait, this one puts them all in the right order and isn't hell on the hands. 


E|--------
B|--0-----B [3]
G|--17----C [11]
D|--16----F# [maj7]
A|--17----D [5]
E|--15----G [1]


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## Skanky (Mar 15, 2011)

What are these "chord" things that you speak of?


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## Cabinet (Mar 15, 2011)

I have no idea how I came up with it as an add11.
What was I thinking...

What would you call a chord with a 4, 5 and a Maj7?


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## Mr. Big Noodles (Mar 15, 2011)

Cabinet said:


> I have no idea how I came up with it as an add11.
> What was I thinking...
> 
> What would you call a chord with a 4, 5 and a Maj7?



Like this? C F G B

Well, could be a Cmaj11 chord with the third omitted, or Cmaj7sus4. OR, if you actually want a third in the chord, make G the root, and you have a G11 or G7add4 chord.


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## Varcolac (Mar 15, 2011)

SchecterWhore said:


> Like this? C F G B
> 
> Well, could be a Cmaj11 chord with the third omitted, or Cmaj7sus4. OR, if you actually want a third in the chord, make G the root, and you have a G11 or G7add4 chord.



Would it be a G11 without the 9th? Unless there's an A in there I'd call that a G7add11, but my chord-chart chops are a little rusty these days.


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## Mr. Big Noodles (Mar 15, 2011)

As far as naming the chord goes, the minimum for extensions is to have a third, seventh, and whatever extension you're using. So, G B F C is a perfectly good example of a G11 chord. You can omit everything in between and not worry, since the scale will still run through it. If you don't have the seventh, then you have to use the "add" suffix (such as G B C D = Gadd4). "add" also applies when the added member is not a compound interval (in this case, a perfect fourth rather than a perfect eleventh, like G B C F = G7add4, where the C is a minor second away from the B, although you can still call this G11 and nobody will care).


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## LamaSabachthani (Mar 16, 2011)

xtrustisyoursx said:


> e---
> b---
> G---
> D--0
> ...



Do you write metalcore?


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## Blind Theory (Mar 17, 2011)

Love this thread! I am stealing so many of these chords!!

D----------------------------
A----------------------------
F----------------------------
C---2--5--8--8--19--12---8--
G---4--7--7--8--15--10---5--
C---0--0--0--0------8----5--


Those are some of my favorites, the last one I use more than anything else (of course I shift it up and down the neck). I am a bit too obsessed with Augmented chords...they are very, very awesome chords! I wrote the heaviest song I've written to date off of an Augmented scale.


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## Whiskey_Funeral (Mar 18, 2011)

I have no idea what this would be called, but I really dig this simple shape:


E|-----
B|--5--
G|--4--
D|--3--
A|-----
E|-----

It sounds REALLY good if you take that shape and then play it on one fret lower than where you actually want to play it and then slide into the higher positions. Sounds really nice and jazzy. 

That probably makes no sense.


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## Dayn (Mar 18, 2011)

Whiskey_Funeral said:


> I have no idea what this would be called, but I really dig this simple shape:
> 
> ...
> 
> ...


1, b5, 7... I don't know what it's called, but I'll agree with everything you said. It's used in the transition between the two different parts of Hydrocity Zone Act 2 from Sonic 3. It kicks arse. 

Two other things I like from my remix of it:
E|-11--10-
G|-13--11-
B|-13--12-
D|-17--15-
A|-
E|-


E|-10-
G|---11-
B|-----12-
D|-------13-
A|-----------17
E|-
Hold the chord and do an upstroke, wait a fraction, then tap the 17 and hold all five notes. I think it's Ebmaj7/D.


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## Mr. Big Noodles (Mar 18, 2011)

Dayn said:


> 1, b5, 7... I don't know what it's called, but I'll agree with everything you said.



It's an ambiguous sonority, but you could thing of it as a maj7(b5) or maj7(#11) chord without the third.


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## Blind Theory (Mar 18, 2011)

Some new ones I just started using today:

D--------
A--------
F--------
C--2-3---
G--2-2---
C--5-5---


Just move those up and down the fret board in correlation to the major scale. Those two are a F Major chord and a F Augmented (?) chord I believe.


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## RedBeardedOne (Mar 18, 2011)

One of my favorite jazz progressions from Body and Soul by Ella Fitzgerald:
 

E--11----9----8----6----|-------9----6--------------|--------------------|
B---9---------5---------|--7---------4----7---------|--6--------4--------|
G--10---------6---------|--8---------6----6----3----|--3--------5--------|
D--10---------5---------|--8---------4----8---------|--4--------4--------|
A-----------------------|-----------------6---------|--3--------3--------|
E-----------------------|---------------------------|--------------------|




E----------------------------|--9---
B-----2--4--6--9----9--11----|--11--
G--1-----6-----6----10----9--|--10--
D--3-----5-----8----10-------|--11--
A--1-----------6----9--------|------
E----------------------------|--9---


I changed a few of the chord positions to make it a little easier from the original tab found below:

Body And Soul Chord Melody Power Tab by Ella Fitzgerald @ Ultimate-Guitar.Com


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## SirMyghin (Mar 18, 2011)

Insackclothandashes said:


> Some new ones I just started using today:
> 
> D--------
> A--------
> ...






F A D and F A D#. 

Neither of those is F major, F major is F A C . Looks like Fadd 6, no 5th at best for the first one, and F7(no 3rd). F augmented would be F A C# (major chord w/ a sharp 5th).


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## Blind Theory (Mar 18, 2011)

SirMyghin said:


> F A D and F A D#.
> 
> Neither of those is F major, F major is F A C . Looks like Fadd 6, no 5th at best for the first one, and F7(no 3rd). F augmented would be F A C# (major chord w/ a sharp 5th).



Oh yeah. Alright. I was thinking backwards when I typed that.


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