# Most beautiful chord you've heard



## NUTSguitarchannel

so my favorite chord is Emaj9#11
----16----------
----0------------
----15-----------
----16-----------
----14-----------
----0------------
from animals as leaders point to point
Whats your's?


----------



## Brill

Dissonance is my Beauty xD 

---0--- 
---15-- 
------- 
---12-- 
------- 
------- From 43% bur 

--------
--------
----7---
----6---
----5---
-------- Tri-tone chord (or so my guitar teacher says)

--------
--------
---6----
---4----
---4----
---2---- infamous "Djent" chord


----------



## Lon

--5--
--6--
--7--
--8--
--5--
--5--
(in drop tuning)

its not really the most beautiful chord but its the most demanding chord to your guitar and amp. if this sounds good nearly everything sounds good


----------



## DjentDjentlalala

DIMINISHEEEEEEEEEEDDDDSSSSSS
D-3----
A-2-----
E-1-----

also 13th and clusters!

and obsviously sevenths.


----------



## MrPepperoniNipples

minor 11!


----------



## JamesM

It depends on context.


----------



## celticelk

I usually like my minors with 9s, and my majors with 7s and #11s. There's a family of F#m open chords that you can get on an F#-standard tuned 8-string that are quite beautiful, and really show off the expressive chording potential of ERGs.


----------



## ChronicConsumer

I'm a big fan of major 9ths.


----------



## Malkav

--5--
--3--
--0--
--4--
--2--
--0--

Or

--8--
--6--
--9--
--0--
--x--
--x--

Which leads nicely into...

--7--
--10--
--9--
--0--
--x--
--8--

(Thanks Satch)

Or...

--x--
--x--
--12--
--10--
--12--
--10--

Or...

--0--
--7--
--4--
--5--
--7--
--0--

Or...

--0--
--7--
--5--
--7--
--0--
--0--

Or...

--7--
--8--
--5--
--7--
--0--
--0--

Or...

--x--
--x--
--9--
--10--
--8--
--10--

Or...

--10--
--8--
--0--
--9--
--7--
--0--

Or...

--0--
--0--
--5--
--5--
--0--
--x--

Or...

--10--
--12--
--9--
--10--
--0--
--x--


----------



## veshly

0
6
7
7
0
6


----------



## Mr. Big Noodles

I hate all chords and consider each one of them equally ugly.


----------



## mcleanab

I used to use a lot of tone clusters...

Open high E, F (6th fret) on the B string, and Eb (8th fret) on the G string... my shout out to John Cage and Iannis Xenakis...


----------



## Dayn

Ebmaj7/D. Specifically,

E-10-----------
B---11---------
G-----12-------
D-------13-----
A-----------17-
E--------------

Sweep down, let all ring, then tap on the D and let all five notes ring out.


----------



## wrongnote85

--x--
--12--
--11-
--9--
--10-
--0--

then play this

-----
--9--
--8--
--6--
--7--
--0--

do it


----------



## brynotherhino

my favorite is c#minor, but like JamesM said, it depends on the context.


----------



## rug

ChronicConsumer said:


> I'm a big fan of major 9ths.




Ditto.


----------



## celticelk

SchecterWhore said:


> I hate all chords and consider each one of them equally ugly.



Insufficiently counterpointy?


----------



## nostealbucket

Eb minor 7 with an A in the bass.

E------
B------
G--6---
D--4---
A--6---
E--5---


----------



## niffnoff

C#min9 for me. Half step down for moi


e-
B-
G-8
D-9
A-7
E-9


----------



## sleightest

chord i made up for one of my songs no clue what it is
E-0
B-9
G-8
D-9
A-11
E-0


----------



## wespaul

I like open chords with my 3rd on top.


----------



## larry

the chord shape used 
extensively on 'floaty'
by the foo fighters.

start on the 7th position and decend
in whole steps, while allowing the open
strings to drone. very magical indeed. 

e----0----
b----0----
g----8----
D----9----
A----7----
E----0----

i was just learning my way around
a guitar back then, and a girl named
Katie Rears showed me how to play
it. definately owe her one for that.


----------



## niffnoff

sleightest said:


> chord i made up for one of my songs no clue what it is
> E-0
> B-9
> G-8
> D-9
> A-11
> E-0



E G# B D# E

E major 7th I believe


----------



## ncfiala

sleightest said:


> chord i made up for one of my songs no clue what it is
> E-0
> B-9
> G-8
> D-9
> A-11
> E-0


 
If you don't play the open strings I guess that would be a G# minor triad. With the opens E's I'm not sure. A G# minor triad with an added minor sixth (whatever that's called) in third inversion. But what the hell do I know. I'm just quizzing myself with your post.


----------



## sleightest

its played with the opens
I like this one too its from a different song of mine.

E-0---0---0--/0-0
B-0---0-h-7--/9p0
G-8---6---6--/8-8
D-6---4---4--/6-6
A-7---5---5--/7-7 this is strummed the slide and pull off part is fast at the end
E-0---0---0--/0-0 and then back to the start <---

i know this is chords not chord progressions but I love this progression =)


----------



## Azure

E - 0
B - 0
F# - 0
D - 2
A - 2
E - 0

Sounds beautifully depressing. It also sounds really cool when alternating it with E minor, the amount of difference one note makes is astounding.


----------



## Thep

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

Whatever the fuck that is, its brutal fucking shit


----------



## Rustee

E------
B------
G--7---
D--7---
A--5---
E------


----------



## andre09

0
5
6
7
0
X


----------



## ods

any sus4 chord for some reason they remind me of the mac c chord which sounds big and open.


----------



## Daken1134

13th chords, especially this voicing (i guess ill do it in B)

E --4
B --4
G --6
D --8
A --x
E --7


----------



## Blake1970

E-7
B-9
G-8
D-9
A-7
E-7


----------



## synrgy

I wouldn't be able to give a specific chord, or even choose just one, but whichever one it may be, I can tell you it was played by Mark Holcomb.


----------



## VBCheeseGrater

Simple but awesome Emadd9

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

In "Breathe" by Pink Floyd definitely sounds beautiful


----------



## Schizo Sapiens

No seven-string chords yet?

E - 5
B - 5
G - 5
D - 5
A - 8
E - 5
A - 5



andre09 said:


> 0
> 5
> 6
> 7
> 0
> X



I raise you with

0
0
6
7
0
x


----------



## Adam Of Angels

Azure said:


> E - 0
> B - 0
> F# - 0
> D - 2
> A - 2
> E - 0
> 
> Sounds beautifully depressing. It also sounds really cool when alternating it with E minor, the amount of difference one note makes is astounding.



That IS E Minor


----------



## celticelk

Adam Of Angels said:


> That IS E Minor



Not with the G tuned down to F#, as notated - it's Esus2.


----------



## Adam Of Angels

Oops, missed that. Honest mistake. You're right.


----------



## mikemueller2112

---
---
---
---
---
-0-

I like to play this a few times, and occasionally use this to mix it up a bit:

---
---
---
---
---
-1-

I know they aren't chords, but chords are for pussies.


----------



## groovemasta

^ Sometimes I like to bend up to a minor 2nd for that progressive sound.

Like so :


-
-10
-12(bend)
-
-
-


----------



## Stealthdjentstic

Who needs real chords when you have powerchords 'cause thrash?!


----------



## Rustee

mikemueller2112 said:


> ---
> ---
> ---
> ---
> ---
> -0-
> 
> I like to play this a few times, and occasionally use this to mix it up a bit:
> 
> ---
> ---
> ---
> ---
> ---
> -1-
> 
> I know they aren't chords, but chords are for pussies.



Are you in Emmure?


----------



## John Strieder

Simple:

E - -
B - -
G - 0
D - 6
A - 0
E - 6

or

E - -
B - -
G - 6
D - 0
A - 6
E - 0

\m/


----------



## Alex C

Malkav said:


> --5--
> --3--
> --0--
> --4--
> --2--
> --0--


 
I "played" that from low to high in my mind and it initially looked similar to one of my favorites:

-0-
-4- pinky
-1- index
-4- ring
-2- middle
-0-


A variaton:

-4- picking hand index finger; strum chord with picking hand thumb while fretting.*
-4- pinky
-1- index
-4- ring
-2- middle
-0-

*Other frets (2, 7, 9, 11) are interesting too.



As is often the case with interesting chords, these both sound especially nice when the notes are arpeggiated and allowed to ring into the next.


----------



## jimbean5006

Thep said:


> E-3-
> B-3-
> G-0-
> D-0-
> A-2-
> E-3-
> 
> Whatever the fuck that is, its brutal fucking shit



yesssssssssssssssssssss


----------



## jimbean5006

Rustee said:


> Are you in Emmure?



do you remember?


----------



## failshredder

x
4
2
5
3
x

C, G, A, B, so uh Cmaj7add13 with the third left out?


----------



## Mr. Big Noodles

Or Am9/C. I generally look for a third in the chord before I put a name to it.


----------



## SirMyghin

^ More like Amin9

Leaving the 3rd out and getting the voicing your want is very tricky and will become extremely dependent on context and movement catering to it.

Edit:  Damned SW


----------



## Mr. Big Noodles

But yeah, start asking questions if you ever see an empty fifth around. (Cue music theory/alcohol puns.)


----------



## Lirtle

Been into this one recently

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

7 string Maj13(?) voicing stolen from Tosin

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


----------



## Mr. Big Noodles

Lirtle said:


> Been into this one recently
> 
> E-0
> B-1
> G-0
> D-3
> A-0
> E-1



F&#8710;9



> 7 string Maj13(?) voicing stolen from Tosin
> 
> E-0
> B-0
> G-1
> D-4
> A-0
> E-4
> B-2



This could be a lot of things, depending on the context. Check out my input in post #10 in this thread: http://www.sevenstring.org/forum/mu...chniques/203213-need-official-name-chord.html


----------



## SirMyghin

SchecterWhore said:


> This could be a lot of things, depending on the context. Check out my input in post #10 in this thread: http://www.sevenstring.org/forum/mu...chniques/203213-need-official-name-chord.html



Tend to happen when you play 6 unique notes, pretty much have a B major scale there  . To be captain contrary it is obviously a F# played against an E


----------



## Mr. Big Noodles

The first measure is the chord in question. Doesn't sound very tertian to me, so this may all be moot. SirMyghin's pointing out that it's basically a E/F#m polychord, as per the breakdown in measure 2. In measure 4, I'm pointing out just a few of the tertian sonorities that can be derived from that collection. There is also the possibility that it's a secundal sonority derived from the B mixolydian scale (sans D#), which would suggest a dominant function in chord-scale harmony, but I really don't hear B as a significant tone. Looking at it again, it's more like an unconventional voicing of E6/9/11 than anything else.

Just out of curiosity, I'd like to see what you folks come up with for this chord:






And, uh, tab:

e-5
b-6
G-0
D-7
A-6
E-x


----------



## SirMyghin

^^

That is a humdinger there. The only 3rd relation I see is D and G, but I don't like the idea of D# add9 b5, too much of a stretch. A+sus4 could be a way of looking at it, but doesn't communicate the #4 as well as say, A+(#11), which overlooks a 3rd. 

I would put my bacon on it sounding like an A though, as a repeated note can dominate sonority a bit much, if not a root or a 5th (or just plain sound like ass to my experience)


----------



## Jason_Clement

Dsus2.


----------



## JosephAOI

How I see my favorite chords:

D--12---7-----5------------
A--10---5-----3------------
F--10---5-----3------------
C--14---9-----7------------
G---------------------------
D---------------------------
G---------------------------

SchecterWhore's explanation of them: First chord is Eb&#8710;/D, which is VI in G minor. Second is Bb&#8710;/A, which is III in G minor. The third chord is Ab&#8710;/G, which is VI in C minor.

So Eb&#8710; I suppose.


----------



## Mr. Big Noodles

SirMyghin said:


> ^^
> 
> That is a humdinger there. The only 3rd relation I see is D and G, but I don't like the idea of D# add9 b5, too much of a stretch. A+sus4 could be a way of looking at it, but doesn't communicate the #4 as well as say, A+(#11), which overlooks a 3rd.
> 
> I would put my bacon on it sounding like an A though, as a repeated note can dominate sonority a bit much, if not a root or a 5th (or just plain sound like ass to my experience)



Close, but the A isn't that important. Anyone that knows how I do chords will say that this is an odd analysis: B7(b13,#11)/D#... with a doubled seventh and no root. I wanted a dominant seventh chord with more bite, so I voiced out a whole tone scale to get the chord. The resolution is about the collapse of the upper and lower leading tones (E# [or F] and D#, respectively) to E and the double resolution of the seventh (A) in contrary motion to G and B. Context is everything. Alternatively, one could think of it as a whole tone chord with a dominant/leading tone function. I swear I used this in real music. 






Also, unequal fifths.


> Pissed off dad: _"H__ey, those fifths were equal last night._"
> 
> Little redeyed Bobby: "_What fifths?_"


----------



## linguos

As has already been stated, major 9's added to minor chords is great. Here's a favorite of mine:

-0
-13
-16
-14
-12
-

-12
-13
-16
-14
-12
-

-17
-13
-16
-14
-
-


----------



## SirMyghin

SchecterWhore said:


> Close, but the A isn't that important. Anyone that knows how I do chords will say that this is an odd analysis: B7(b13,#11)/D#... with a doubled seventh and no root. I wanted a dominant seventh chord with more bite, so I voiced out a whole tone scale to get the chord. The resolution is about the collapse of the upper and lower leading tones (E# [or F] and D#, respectively) to E and the double resolution of the seventh (A) in contrary motion to G and B. Context is everything. Alternatively, one could think of it as a whole tone chord with a dominant/leading tone function. I swear I used this in real music.
> 
> 
> 
> 
> 
> 
> Also, unequal fifths.



Neat, although I would like to know how the hell you manage to play that second chords. Spaghetti fingers over there I guess.


----------



## Mr. Big Noodles

I think this is really the only way you could do it:


----------



## Winspear

To see the hands of God...


----------



## Mr. Big Noodles

... And to be smacked! Boom goes the dynamite!


----------



## SirMyghin

SchecterWhore said:


> I think this is really the only way you could do it:



Yeah, that was the only way I could pull it off too... Not the most efficient of transitions, not to mention the second chord is just a bitch in general. Your fingers look a bit narrower than mine though. 

Oh well, one of those sit and build the muscle memory chord changes, back and forth and back and forth etc til it is effortless.


----------



## Mr. Big Noodles

When we came up to those two chords in rehearsal the first time, there was a huge cacophonous mess and it was decided that for now on I would be playing that section alone. 

The same song also contains a chord that everybody in my songwriting class last year complained about.









Looking at it now, I think I'm going to get the violin player to get the C, D#, and F so that we can have a twelve-note chord.


----------



## isispelican

drop tuning
----5----
----8----
----5----
----9----
----7----
----7----


----------



## SirMyghin

SchecterWhore said:


> When we came up to those two chords in rehearsal the first time, there was a huge cacophonous mess and it was decided that for now on I would be playing that section alone.
> 
> The same song also contains a chord that everybody in my songwriting class last year complained about.
> 
> 
> 
> 
> 
> 
> 
> 
> 
> Looking at it now, I think I'm going to get the violin player to get the C, D#, and F so that we can have a twelve-note chord.








I say out of that mess a w/h scale with 1 extra note just to fuck with you . 

In reality I am not even going to try, as that can be anything you want it to be. Having an idea how you think though, the notes aren't the big deal here and your cacophony is. It could be anything you want but will sound like noise and conflict from every which way. Pretty damned good climax material leaving you relatively free to wrap things up nicely.


----------



## Mr. Big Noodles

SirMyghin said:


> I say out of that mess a w/h scale with 1 extra note just to fuck with you .



Well, it started as F#(add9)/A, so there was the minor second clash between A, A#, and G#. Eventually, I asked the other guitarist to play the same thing up a half step, making it an F#(add9)/G(add9)/A polychord, and then I decided to drop the A off of the G(add9) and opt for G(add6) instead. The end goal was to have minor seconds everywhere.



> In reality I am not even going to try, as that can be anything you want it to be. Having an idea how you think though, the notes aren't the big deal here and your cacophony is. It could be anything you want but will sound like noise and conflict from every which way. Pretty damned good climax material leaving you relatively free to wrap things up nicely.



It's the last chord in the song.  Unfortunately, the song is written like shit half of the time and awesome for the other half, so I'm torn on how to proceed. It needs some TLC, for sure. I feel like I need to have some justification if I'm going to subject innocents to all those altered dominants and functionless tone clusters.


----------



## JosephAOI

SchecterWhore said:


> The same song also contains a chord that everybody in my songwriting class last year complained about.



Show us this song you speak of!


----------



## Mr. Big Noodles

One of our recordings from rehearsal. Not the best performance, lots of flubbed notes, but you can make out the notes better than some of the other candidates. Sorry for all the high end fizzle, we record with a tiny voice recorder for lack of a better option. Also, Soundclick compressed the hell out of it. This is the instrumental portion of the song in question, with the B7(b13,#11) at 1:27 and finishing up with the secundal mess.

http://www.soundclick.com/player/single_player.cfm?songid=11770209&q=hi


----------



## Sikthness

-0 -0 -0
-3 -8 -0
-0 -10 -3
-4 -0 -4
-3 - -4
- - -2


----------



## Aevolve

Haunted Shores. That is all.


----------



## cult-leader-of-djent

E-7-----0----X-----X These are very jazzy chords which are all nice. 
B-7-----0----12----18
G-7-----6----11----12
D-9-----7----12----15
A-10----5----10----12
E-X-----X----X-----12
B-X-----X----X-----12


----------



## SirMyghin

^^^
GM7, Aadd9, GM7 and FM11 or G13 or E w/ non chord tones (9 and 11). 

Jazzy is probably the worlds worst descriptor by the way, as it is used primarily to describe something not 'samey' enough in any genre by those not really understanding what is going on. Those are just some embellished triads, and despite embellished triads being popular in jazz, it is not really the definition of the genre.


----------



## kamello

Lon said:


> --5--
> --6--
> --7--
> --8--
> --5--
> --5--
> (in drop tuning)
> 
> its not really the most beautiful chord but its the most demanding chord to your guitar and amp. if this sounds good nearly everything sounds good




how is that called? I used it on a song I wrote a few weeks ago and loved it 




going on topic, I love chords with an added 9, tritones, and mostly everything that can came of an Open tuning


----------



## Mr. Big Noodles

Assuming that's drop D, the notes are G D Bb D F A, which is Gm9.


----------



## ThePhilosopher

I'm rather fond of these two.

D --5--5--
Bb--4--0--
F --4--2--
Bb--2--2--
F --2--0--
Bb-----0--


----------



## Murdstone

I love minor 9ths. 
0
7
7
5
7
0
Em9


----------



## Danukenator

Shawn Lane has a video where he plays this chord. I think it's beautiful. The chords at the end of New Eden by Animals as Leaders are also amazing.

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


----------



## cult-leader-of-djent

SirMyghin said:


> ^^^
> GM7, Aadd9, GM7 and FM11 or G13 or E w/ non chord tones (9 and 11).
> 
> Jazzy is probably the worlds worst descriptor by the way, as it is used primarily to describe something not 'samey' enough in any genre by those not really understanding what is going on. Those are just some embellished triads, and despite embellished triads being popular in jazz, it is not really the definition of the genre.



Yeah I didn't know how else to describe those chords I'm not that good at defining a genre or anything along the lines of that lol. More Chords !


E---2---0-
B---2---4-
G---4---6-
D---5---6-
A---2---X-
E---2---X-


----------



## K3V1N SHR3DZ

Asus2#4 is rapez


E---0
B---0
G---8
D---9
A---7
E---5

C#m9 is also gorgeous.
E---0
B---4
G---4 
D---2 
A---4 
E---X


----------



## Tasteh

That one major chord in "Under the Bridge" by Red hot chili peppers


----------



## vstealth

E-----
B--5--
G--4--
D--2--
A--3--
E----- 

and

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


----------



## StratoJazz

Sorry in Advance if anyone else posted this.


----------



## Legg91

I see some Haunted Shores love, but I love pretty much anything Misery Signals does with their chords. Even though they use inversions often, the context in which they use them is just beautiful

Edit: Sorry for bumping an old thread


----------



## All_¥our_Bass

Maj7 (no3) b9, ex: C G B Db

Maj add #4, ex: G C E F#

7#11, ex: G C E F# Bb

Maj#11, ex: G C E F# B

Min add b6, ex: C Eb G Ab

Maj add b6, ex: C EG Ab

7 add b13, ex: E G C Ab Bb

Maj7 add 13, ex: E G C A B

Min7 add b13, ex: Eb G C Ab Bb

MinMaj7 add b13, ex: Eb G C Ab B

MinMaj7 add13, ex: Eb G C A B

Aug (no3) add9, ex: C G# D

Sus2 add b6, ex: G C Ab D

Min7 add #11, ex: C Eb G Bb F#

Two major chords a maj6 apart, ex: C E G A C# E

Aug add6, ex: C E G# A

Augmented, ex: C E G#

Maj7#5, ex: C E G# B

Maj7 #5 b9, ex: C E G# B Db

Maj add2, ex; C D E G

Arpeggiating two aug chords a min3 apart, ex: C E G# and Eb G B

Sus2, ex: C G C D

5add 9, ex: C G D

5add b6, ex: G C Ab

6!/root, ex: C Ab A

root b9 13, ex: C Db A

Maj7#11 (no3/5), ex: (G) C F# B

Maj7 (no3), ex: C G B

Maj7 (no3), R/5/7 , ex: B G C

Sus2 #5 add6, ex: C G# D A 

Aug #5 add6/9, ex: C G# D A E

Maj b5, ex: C E Gb

Min add b9 b11 b13, ex: A C E Bb Db F , C Eb G Db Fb Ab

And yes I have played almost all of these on guitar, and heard all of them between real guitar, Tuxguitar or Sibelius.


----------



## Ginsu

B--8--
F#-10--
D--12--
A--8--
E--8--
A--8--

B--12
F#-8
D--10
A--0
E--0
A--0

B--11
F#-14
D--11
A--14
E--11
A--11

I'm not sure of the actual names for the first two. The first is some sort of F13 something-or-nother, the second is an Am11 with the 9th on top. In any case, that last one is a G#m11 without the 7th.


----------



## JosephAOI

I just wanted to say that this is easily one of my favorite threads. 

The chords in here have inspired so many riffs of mine


----------



## mecha

Yeah, great thread indeed, gents.


----------



## Adam Of Angels

Danukenator said:


> Shawn Lane has a video where he plays this chord. I think it's beautiful. The chords at the end of New Eden by Animals as Leaders are also amazing.
> 
> e--0-
> B--6-
> G--12-
> D--10-
> A--8-
> E--5-





There is no way to actually play this.


----------



## Ginsu

Adam Of Angels said:


> There is no way to actually play this.



Tap the A and both F's with your left hand, the C and G with your right (I use my index and ring fingers) and pluck the open E string on top. (I use my middle finger). Or, get one of them 20" scale mini-guitars. 

Also I like this voicing of Emaj7/A that I found the other day (and tapping an F# in to make it a 9th/no5)
B--9------
F#-9------
D--9------t16
A--11-----
E--12-----
A--0-----


----------



## -Enigma-

E-x---
B-6---
G-7---
D-7---
A-x---
E-6---
I think this is a gorgeous sounding jazzy chord. Don't hear many people use it, but I love to use it when the time is right. It can obviously be moved around anywhere on the neck, but I like to play it there a lot. ^_^


----------



## Winspear

Adam Of Angels said:


> There is no way to actually play this.



As far as I know it's played with the index on the 5 and 6 and the rest on 8, 10, 12. But yeah..it's pretty nuts


----------



## guitareben

I love the simple Emaj7 

0
5
8
6
7
0

And 

0
4
6
9
7
0


----------



## guitareben

-Enigma- said:


> E-x---
> B-6---
> G-7---
> D-7---
> A-x---
> E-6---
> I think this is a gorgeous sounding jazzy chord. *Don't hear many people use it*, but I love to use it when the time is right. It can obviously be moved around anywhere on the neck, but I like to play it there a lot. ^_^



It's like, the first or second major 7 chord everyone learns...


----------



## The Reverend

It seems lame compared to all of the extended ones you guys are throwing up, but I've always been partial of the Am chord. Blame it on Moonlight Sonata blowing a little kid's mind, I guess. It feels to me like the center around which all music rotates, if that makes sense to anyone.


----------



## groovemasta

EtherealEntity said:


> As far as I know it's played with the index on the 5 and 6 and the rest on 8, 10, 12. But yeah..it's pretty nuts



The impossible part is the open string.


----------



## Goatchrist

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

Coming or resolving from E major, simple... but amazing!
Used a lot in Flamenco.


----------



## Malkav

Adam Of Angels said:


> There is no way to actually play this.


 


There is no way we could actually play this, but Shawn Lane was something different, Shawn Lane was something beyond 

---------------------------
--10--8---8---5------------
--9---9---9---5------------
--7---7---10--7------------
--0---0---8---5------------
---------------------------

My boss showed me that chord progression, and they sound great on their own, but for all you hybrid pickers banjo rolling them is the best way to get why I think these chords are so beautiful. 

I'm gonna tab out the rolling pattern one chord at a time, but of course you should play them together in sequence - I'm just crap at tabbing 

-------------------------------------------|
----8-H10---10-----10-----10----10----|
----9------------9------9------9------9--|
-7---------7-------7------7------7-------|
-------------------------------------------|
-------------------------------------------|

-------------------------------------------|
----8----8-----8-----8-----8-------------|
----9------9-----9-----9-----9-----------|
-7-----7-----7-----7-----7---------------|
-------------------------------------------|
-------------------------------------------|

-------------------------------------------|
------------------8------------------8----|
---9-----9-----------9------9----------9-|
---10------10-----------------10---------|
-8-----8-------8--------8---------8------|
-------------------------------------------|

-------------------------------------------|
------------------5-------------5---------|
----5-----5---------5----5--------5------|
----7--------7-------------7--------------|
-5-----5-------5------5------5-----------|
-------------------------------------------|

Sorry if that was a bit long, I just really like this one, can sit playing it for ages and never get tired of it, especially the moment when you shift to the third chord - There's just something really peaceful there for me


----------



## morrowcosom

Pure relaxation 

Standard tuning 

-0-8-0-0
-6-0-6-6
-0-6-7-7
-6-0-0-5
-0-
-6- 

Also, you can get tons of out there chords by moving around different two note intervals and throwing different notes in there. You can also move the shapes around in between open strings. 

-0-7-0
-6-6-11-0
-9-9-10-10
-0-8-11-11
----------11 
----------0


----------



## bondmorkret

I don't think any one chord voicing can be beautiful by itself, its all about context! Although I am a sucker for chord shapes with 2nd intervals in the middle


----------



## JosephAOI

EtherealEntity said:


> As far as I know it's played with the index on the 5 and 6 and the rest on 8, 10, 12. But yeah..it's pretty nuts



I despise chords where you have to hit two different frets with one finger. See 3:30 - 



EDIT: 1,666 posts!


----------



## Azathoth43

E:8
B:6
G:7
D:5
A:3
E:0
B:9


----------



## Ginsu

Azathoth43 said:


> E:8
> B:6
> G:7
> D:5
> A:3
> E:0
> B:9



How can I learn to fret that chord with only four fingers? My fifth and sixth haven't grown in fully yet.


----------



## Chuck

E--5--
B--6--
G--5--
D--8--
A--5

on of my favorites, major 9 if I remember correctly


----------



## Mr. Big Noodles

^ Notes (low to high) are D B&#9837; C F A. Possible tertian chords:

B&#9837;&#8710;9/D
Dm7(&#9837;13) *Although it's generally not the best practice to place the thirteenth under the third and seventh of the chord. For that reason, I like the idea of a first inversion B&#9837;&#8710;9 more.


----------



## dreamphoenix

I like the haunted shores chords, they sound pretty cool. The first one is something they use a lot. The other two are stuff I just tried to make.

E--0------3----8------
B--1------5----8------
G--0------x----10-----
D--3------7----11-----
A--0------3----8------
D--0------3----8------

The first one is like a Dm9-11, the second is an FM9 and I'm not sure how to name the last one. It's like a dorian chord or something, I dont know, A#majmin9? I'm bad at naming as you can tell


----------



## Ginsu

I found some more chords I like.

D---15
A---12
F---14
C---12
G---15
D---12
G---12
This is a m11 chord, similar to the other one I posted in this thread previously, but with a 7th added on top (since this is that chord adapted for 7 strings). 
Also,
D---8
A---12
F---10
C---12
G---8
D---8
G---8
If you're not used to big stretches, this one's sort of awkward (I wasn't used to them before practicing switching to this chord...a LOT). It's Ebadd13b5, since from low to high it's Eb-Bb-Eb-C-Eb-A-Bb (I believe that's the proper notation). I really just like the dissonance between the top two strings, that makes this chord wonderful to me.


----------



## wespaul

I always play two chords when I pick up a guitar

Amin7 - I pinch this chord to hear tonal characteristics that I'd want for jazz

E-----
B--5--
G--5--
D--5--
A-----
E--5--


Emin11 - I slowly arpeggiate this chord, rolling over each note to hear how they all sustain together, for my finger style stuff

E--2--
B--3--
G--2--
D--5--
A--2--
E--0--

On a nice sounding guitar, that Emin11 voicing sounds so damn beautiful and lush. I love it.


----------



## infernalservice

Misery Theory said:


> E--5--
> B--6--
> G--5--
> D--8--
> A--5
> 
> on of my favorites, major 9 if I remember correctly



That is one of mine too. I think of it as a major 9 with a raised 5th, or I just call it the Scale the Summit chord.


----------



## HassanIqbal

E--0--
B--0--
G--8--
D--6--
A--4--
E--0-- 

Feedback Loop by The Contortionist


I made a progression in one of my song which sounds very cool too


try this


E--0--
B--0--
G--9--
D--7--
A--11--
E--0--


E--0--
B--12--
G--0--
D--10--
A--12--
E--0--


E--0--
B--10--
G--0--
D--8--
A--10--
E--0--



E--0--
B--0--
G--9--
D--7--
A--11--
E--0--



E--0--
B--12--
G--0--
D--10--
A--12--
E--0--




E--17--
B--17--
G--0--
D--17--
A--15--
E--0--
B--0--
F#-0--


----------



## rayisametalkid

e --0--
B --3--
G --0--
D --5--
A --6--
E -----

Cmaj pattern up two frets, don't know what it is but i like it


----------



## Mr. Big Noodles

^ From bottom to top: E&#9837; G G D E

E&#9837;&#8710;(&#9837;9)


----------



## AugmentedFourth

Staying true to my namesake

e|--0---|
B|--10--|
G|--10--|
D|--12--|
A|--13--|
E|------|


----------



## Idontpersonally

cool i was just playing that one but i threw in another e10


----------



## Francis978

e-15
b-13
G-16
D-14
A-
E-0


----------



## Mr. Big Noodles

e-5
B-x
G-2
D-7
A-0
E-5


----------



## morrowcosom

E-9
B-10
G-11
D-11
A-9
D-9 

I like to move that shape around. It has a Deathspell Omega vibe to it as long as you play it with crappy guitar tone. 

Also, 

E-9
B-10
G-11
D-10
A-9
D-9 

For added grimness.


----------



## Zeriton

E-4
B-7
G-9
D-9
A-x 
E-0


E-4
B-7
G-9
D-8
A-x 
E-0



Always been a personal favourite.


----------



## Veritech Zero

So many Tri tones... Oh the humanity! 

But if I had to pick a favorite chord to play completely out of context.

-0-
-3-
-0-
-4-
-5-
-x-

Played in C# Standard tuning, so that would be a... BMaj13 without the 5th and 7th scale degrees? Played as one Chord it has a very dissonant taste to it due to the major 2nd and perfect 4th. But play each note individually up and down while letting it ring out, and it becomes something else. Sad, but hopeful, quiet, but possibly the loudest chord you'll ever play. The first time I ever heard it my ears just latched onto it, and kept playing it in my mind for days.

And when you've had enough fun playing around with it, end with this one

-0-
-3-
-2-
-0-
-0-
-x-

And watch the panties drop faster than the economy


----------



## Rizzo

"Extended" chords are good, but i absolutely love the suspended ones!


----------



## TravisWright

Amin9 is haunting and beautiful...


----------



## Ginsu

A new favorite in the new tuning I'm using.
D-13
A-13
F-14
C-15
G-13
C-0
F-0


----------



## fortyfourcaliber

Dbmaj9 in the context of Bb minor.

C - 3
G - 5
Eb - 5
Bb - 7
F - 3
Bb - 3


----------



## Sean1242

Hopefully this isn't a repost but I've been loving this one lately.
-
-
9
7
8
10

I'm playing this in Eb standard by the way.


----------



## AugmentedFourth

e|--12--|
B|--13--|
G|--16--|
D|--15--|
A|------|
E|--0---|

Thanks Tosin


----------



## lawizeg

7-7-10-7-8-7

Its some variant of a minor 7th, too lazy to figure it out right now. Julian Rodriguez of Elitist uses this too...a favorite of mine.


----------



## DjentDjentlalala

There is one chord I call the "satan chord" 1-5-3m


----------



## Ginsu

lawizeg said:


> 7-7-10-7-8-7
> 
> Its some variant of a minor 7th, too lazy to figure it out right now. Julian Rodriguez of Elitist uses this too...a favorite of mine.



I'm assuming that's in a drop tuning, since I use that chord (and a few variations) pretty frequently. In drop D, that's

7 7 10 7 8 7
A E C D G B

Now with scale degrees
r 5 3 4 7 9
A E C D G B



So Am11, since the 4 is far enough above the root note that it's well, not a 4.




DjentDjentlalala said:


> There is one chord I call the "satan chord" 1-5-3m



I thought the Satan chord was

D-2
A-2
E-1
?


----------



## Ginsu

EDIT: Double post, please delete.


----------



## GhostsintheAqueducts

This is my favorite chord at the moment. Can I get some help naming it? I believe it's an F#m9add4? It has the minor 7th(E), so I believe that the G# qualifies it as a 9th, but I don't know what to call the B. I have a third in there, so it's not a suspended 4th right? 

E-0
B-0
G-2
D-6
A-4
E-2


----------



## will_shred

don't know what it's called but the tabs are

------------------------
------------------------
-----------2-------------
-----------2-------------
-----------------------
------------------------


----------



## will_shred

Ginsu said:


> I'm assuming that's in a drop tuning, since I use that chord (and a few variations) pretty frequently. In drop D, that's
> 
> 7 7 10 7 8 7
> A E C D G B
> 
> Now with scale degrees
> r 5 3 4 7 9
> A E C D G B
> 
> 
> 
> So Am11, since the 4 is far enough above the root note that it's well, not a 4.
> 
> 
> 
> 
> I thought the Satan chord was
> 
> D-2
> A-2
> E-1
> ?




well there is the devils 3rd which is 
D-5
A-4
E-3


----------



## Ginsu

will_shred said:


> well there is the devils 3rd which is
> D-5
> A-4
> E-3



Yes, yes, but that's just a tritone, "diabolus en musica", which is different. Supposedly in some religious groups, there is a claim that certain chords are not allowed, since they "conjure up demons" (which is silly, regardless of one's beliefs in anything supernatural, it IS just a group of notes, after all...). The chord I was referring to is a maj7b5. Actually, there's no third...so I'm not entirely sure what it's called, then. But yes. Perhaps I was misinformed.


----------



## lawizeg

Ginsu said:


> I'm assuming that's in a drop tuning, since I use that chord (and a few variations) pretty frequently. In drop D, that's
> 
> 7 7 10 7 8 7
> A E C D G B
> 
> Now with scale degrees
> r 5 3 4 7 9
> A E C D G B
> 
> 
> 
> So Am11, since the 4 is far enough above the root note that it's well, not a 4.



Ah yes, thank you! I play in drop, yes. Usually Drop D, C, or B. what variations do you use? Interested!


----------



## wespaul

DjentDjentlalala said:


> There is one chord I call the "satan chord" 1-5-3m



It sounds so beautiful when Eric Johnson voices it, though


----------



## Tasteh

e 0
b 0
g 8
d 11
a 12
e

Sounds better in C standard though. Also, name this plox


----------



## redstone

AugmentedFourth said:


> Staying true to my namesake
> 
> e|--0---|
> B|--10--|
> G|--10--|
> D|--12--|
> A|--13--|
> E|------|



e|--5--|
B|--5--|
G|--7--|
D|-----|
A|--8--|
E|--6--|


----------



## Ginsu

lawizeg said:


> Ah yes, thank you! I play in drop, yes. Usually Drop D, C, or B. what variations do you use? Interested!


Here's a few. If you'd like, I can PM you a list of all the rather large Haunted-Shores-esque chords I like to use.

Here's a sampling.
Assuming drop D
7 B
8 G
9 E
10 F
7 E
7 A
That takes out the 11th, leaving us with a m9 chord.

10 D
8 G
7 D
10 C
7 E
7 A
That one puts more emphasis on the 11th, and also has a 7th.

When you throw in open notes, you have more possibilities as well.

10 D
10 A
12 G
10 C
0 A
0 D
I'm not actually sure what that one's called...D7sus4? D7add11?


8 C
10 A
7 D
7 A
0 A
x
Amadd11


x
8 G
9 E
8 Bb
12 A
8 Bb
I don't know what that one's called either.


----------



## NickSBTT

Love my major and minor 9ths. Maybe a little too much.


----------



## AugmentedFourth

Code:


e|--3--|
B|--4--|
G|--3--|
D|--6--|
A|--7--|
E|--0--|


----------



## iamjosan

I'm really into Major7 add2's right now.


----------



## RedBeardedOne

Code:


AM9/E

e|--9---|
B|--0---|
G|--13--|              
D|--11--|
A|--0---|
E|--12--|

plus my collection that I've been building over the years... most always seem to turn out to be some 9th chord when I go to look them up.


----------



## Mr. Big Noodles

iamjosan said:


> I'm really into Major7 add2's right now.



If it has a seventh, forget the add's. C&#8710; + D = C&#8710;9. C+D = Cadd9.


----------



## RedBeardedOne

The most beautiful it is not, but quite interesting nonetheless. 



Code:


e|--10-|
B|--10-|
G|--9--|
D|--8--|
A|--9--|
E|--8--|

The mystic/Prometheus chord. Mystic chord - Wikipedia, the free encyclopedia


----------



## Sir Taffey

For me in DADGAD (Yes I am THAT Brutal)
D-0
A-2
D-4
G-2
A-0
D-0

No idea what it is but it works well in a chord progression I run in this tuning


----------



## amarchand

Really nice minor 11 voicing most of us have probably played/heard:

E---5
B---3
G---0
D---4
A---2
E---0


----------



## Austin175

What ever chords Rusty is using from 1:19 - 1:35 in this video. 

YouTube

Reminds me of Take This Life bu In Flames. If someone wants to post up what he is playing go ahead.


----------



## Captain_Awesome

Although there are several standalone chords that sound gorgeous, particularly those with a major 7th with an additional 6th or 4th and a perhaps a sympathetic string ringing out, it comes down to context for me.

For example, I'm learning the Bach Prelude in E Minor (BWV 996) at the moment and tucked away in the presto section is a Csus2! When placed alongside the density of the harmony in the rest of the piece it sounds 'glittering,' yet if you blink, it's gone.

1 -0--
2 -3--
3 -0--
4 ---
5 -3--


----------



## stmenzel

probably my favorite thread on here


----------



## octatoan

Brilliant thread, sorry for the necro.


----------



## ghost_of_karelia

Generally the cadence vi-&#9837;VII-I as I mentioned in another thread. Usually in the keys of C, D and E (Am-B&#9837;-C / Bm-C-D / C#m-D-E respectively) as there is just something about the way the B&#9837;, C, D and E chords sound in their open/closest-to-nut positions.

Brilliant thread, btw. \m/


----------



## All_¥our_Bass

Gm7b5/A, no3

Guitar tuned in fourths


Code:


F|-12      12      12
C|-13      13      13
G|-12      12      12
D|-0   or  12  or 
A|-
E|-


And yes, I know this name is relative. In the musical context of this chord, I paired it with a G locrian maj2 scale (G A Bb C Db Eb F), and the D natural in the bass is there to help G sound like a tonic.

A fuller version of the same chord, with D as the root, and more aptly named Dm7 add #11


Code:


F|-12
C|-12
G|-13
D|-12
A|-12
E|-


Stacks of fourths with a tritone separating then in the middle have a really nice sound to them.


Code:


F|-6----6--------------6
C|-6----6----6----6----6
G|-5----6----6----6----6
D|-5----5----5----5----5
A|-5----5----5----5----5
E|----------------5----5     etc.


----------



## fwd0120

-X-----
-X-----
-X-----
-2-----
-2-----
-0-----

Inspired me to start playing.


----------



## JustMac

All_¥our_Bass;4083014 said:


> Gm7b5/A, no3
> 
> Guitar tuned in fourths
> 
> 
> Code:
> 
> 
> F|-12      12      12
> C|-13      13      13
> G|-12      12      12
> D|-0   or  12  or
> A|-
> E|-
> 
> .[/code]


 

What does no.3 mean, has it something to do with inversions?


----------



## Noxon

I think he means no third^^


----------



## mongey

I've always been partial to this cmaj7 voicing 


e---0
b---0
g---0
d---9
a---7
e---8


----------



## All_¥our_Bass

JustMac said:


> What does no.3 mean, has it something to do with inversions?


No, it means omit the third.


Noxon said:


> I think he means no third^^


THIS.


----------



## Rockstar Guitar Tuition

I love major and minor 9ths especially when omitting the 5th of the chord. 

Cmaj9

e---0
b---3
g---4
d---2
a---3
e---x

Dmin9

e---0
b---5
g---5
d---3
a---5
e---x


----------



## JustMac

All_¥our_Bass;4083521 said:


> No, it means omit the third.
> 
> THIS.


 Ah, I always wondered what that meant on chord charts!


----------



## TaP

I came here to steal/try every single chord in this entire thread. If I haven't used them already.


----------



## Mr. Big Noodles

TaP said:


> I came here to steal/try every single chord in this entire thread. If I haven't used them already.


----------



## OmegaSlayer

Can I hijack the thread asking why D minor is considered the saddest key? ^_____^
I find C# minor to be sadder


----------



## Mr. Big Noodles

Aside from the Spinal Tap reference, it is an easy key to play in for most instruments. I do not believe that any one key expresses emotion any better than another, but some keys are chosen more frequently than others because of practical reasons. You never see brass band music written in G# minor because trombonists have hunted all the arrangers who write like that into extinction. Also because that pretty much guarantees mistakes and bad intonation. Take a key like D minor though, all you have to worry about is one flat (plus the occasional accidental). Musicians can spend less time fighting their instruments and more time expressing the music. Ideally, all musicians should be capable of playing in all keys at all times, but that certainly is not how it works in practice. Everybody groans when they see five or six sharps or flats in a key signature. As guitarists, keys are not that big of a problem: you can transpose easily by moving everything up or down the neck. The problem with guitarists is that they rarely learn to exploit the harmonic resources of their instrument and allow their open strings to choose their keys for them. That's just how it is. Incidentally, D minor is easy to play in E standard, D standard, and drop D tuning. I suspect that the majority of guitarists tune to those three options.


----------



## All_¥our_Bass

^There's also the effect on mood that unequal meantone tunings had on different keys back in the day.


----------



## Mr. Big Noodles

Ah, yes. How the hypophrygian mode stirs my phlegmatic humour!


----------



## gorthul

A very pleasent sounding chord is IMO a G6sus4 chord (but it could be in any key).

Fretboard pattern for this chord is:

e---x
b---13 C
g---9 E
d---12 D
a---10 G
e---x

Another one is a minor 7 b13 chord.
Here in the key of F#:

e---9 C#
b---10 A
g---9 E
d---12 D
a---9 F#
e---x


----------



## ghost_of_karelia

^ is that first chord an inverted Cadd9? Or is there a reason it's called a G13sus4? I'm awful at naming chords and this kinda stuff confuses me.  Nice sounding chord though!


----------



## gorthul

Well, yes, it's also a C add9, I just named it like this because I assumed G was the root in this case.


----------



## AugmentedFourth

gorthul said:


> A very pleasent sounding chord is IMO a G7 13 sus4 chord (but it could be in any key).
> 
> Fretboard pattern for this chord is:
> 
> e---x
> b---13 C
> g---9 E
> d---12 D
> a---10 G
> e---x



jarvncaredoc is right, on most days this is an inverted Cadd9 because your ear wants to hear a 3rd in there, not a 6th. Although if the root truly were to be the G it would be G6sus4. G13sus4 implies that there is a 7th, which there isn't.

It definitely could be G6sus4 though, for example if you resolved that soprano tone down a half step to B, it would be G6 and justify the chord as G6sus4. Assuming G is in the bass the whole time.



gorthul said:


> Another one is a minor 7 b13 chord.
> Here in the key of F#:
> 
> e---9 C#
> b---10 A
> g---9 E
> d---12 D
> a---9 F#
> e---x



Again, while this could be an F#m7b13, most will be tempted to call this a Dmaj9 with the 3rd in the bass.


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## Rakija

Maj7#11


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## gorthul

AugmentedFourth said:


> G13sus4 implies that there is a 7th, which there isn't.



Oops, didn't notice that when I was typing.
Guess I should be more careful next time when I'm typing some chords into the computer.


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## JayB

minor 9th over 3 in the bass.


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## ghost_of_karelia

AugmentedFourth said:


> jarvncaredoc is right, on most days this is an inverted Cadd9 because your ear wants to hear a 3rd in there, not a 6th. Although if the root truly were to be the G it would be G6sus4. G13sus4 implies that there is a 7th, which there isn't.
> 
> It definitely could be G6sus4 though, for example if you resolved that soprano tone down a half step to B, it would be G6 and justify the chord as G6sus4. Assuming G is in the bass the whole time.
> 
> 
> 
> Again, while this could be an F#m7b13, most will be tempted to call this a Dmaj9 with the 3rd in the bass.



Sweet, cheers for the clarification bud.


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## colortwelve

I really like playing with voicings a bit higher up the neck that leave open strings. Some of my favorites I've encountered in my playing are:

e---0
B---0
G---8
D---9
A---9
E---0
(Basically a B bar chord without the bar)

e---0
B---0
G---8
D---6
A---7
E---0
(A really fun voicing of Emaj7)

e---0
B---3
G---0
D---4
A---5
E---x
(Some kind of D that I have yet to properly decipher)

e---0
B---0
G---11
D---9
A---0
E---x
(B7sus4/A or something stupid like that)

And, of course, this little ....er:

e---0
B---0
G---1
D---2
A---0
E---x
(Amaj7sus2, really fun to use in C to create a sort-of augmented sound)


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## redstone

no favorite, those are not bad

0
11
7
10
9
x

3
0
5
7
8
x


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## Seybsnilksz

I like Add11

0
0
1
2
0
0


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## Kullerbytta

I like the 

E 0
B 1
G 0
D 3
A 3
E x

Don't know jack shit bout chords... But feels like some kind of variation of F major-something-something? 
I like going from that chord, strummed on acoustic, to a regular C with the G added on the 3d fret of low E.


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## DeathPaupiette

Kullerbytta said:


> I like the
> 
> E 0
> B 1
> G 0
> D 3
> A 3
> E x
> 
> Don't know jack shit bout chords... But feels like some kind of variation of F major-something-something?
> I like going from that chord, strummed on acoustic, to a regular C with the G added on the 3d fret of low E.



Cadd11 I'd say.


E 0 - 7 - 0 - 0 - 0 - 2 - 0 -- 9 - 9 - 0 - x - x
B 8 - 0 - 4 - 0 - 1 - 0 - 2 - 9 - 7 - 0 - 4 - x
G 5 - 3 - 5 - 3 - 4 - 0 - 4 - 8 - 7 - 1 - 5 - 5
D 9 - 5 - 5 - 4 - 2 - 2 - 4 - 7 - 6 - 4 - 6 - 6
A 0 - 3 - 0 - 4 - 0 - 0 - x -- x - x - 2 - 3 - 7
E x - x - x - 2 - x - x - 3 -- 7 - 7 - 0 - x - 8
B -------------------------------------------- 0
Am9 - Dm7add13 -Am7b5add5 - F#7add11 - Amadd9 - GMaj7#11add13 - B13 (with a 9th on top) - Bm6add9 - Eadd9 - CMaj7#5 - C+/B (C+Maj7).

I gotta say a few of them can't really be used "as is" in a tune because of the "space" they're taking, but arpeggiated in a section or as an ethereal intro, some really shine. Some classic jazz voicing here and there too, and the last one really sounds like a mean spooky and evil piano chord to me, especially played fingerstyle (gotta love that M7 in the bass <3) with a rumbling 7th string. Have fun, I love the idea of this thread !


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## meteor685

-5-
-5-
-5-
-1-

-2-
-4--
-6-
-6-
----
-----

-9-
-13-
-15-
-15-
----

-13-
-15-
-19-
-19-
----
---

-2-
-1-
-4-
-2-
---

-10
-xx
-9
-9
-x--
--8--



I've been too addicted to Holdsworth, Eric Johnson chords these days.......


----------

