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Unread 12-03-2003, 05:00 AM   #31
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My biggest fondnesses are for B7 and Dm. I haven't gotten into the sus chords yet, because frankly, I don't have enough time to play, which means I don't remember them after I learn them and go to play it again.

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Unread 12-03-2003, 05:50 AM   #32
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Keep it simple and the distortion cranked. I like playing the run to Hey Joe. E G D Am E. I also change the words and call it Bible Joe.
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Unread 12-03-2003, 06:16 AM   #33
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My all time favourite chord is Asus2! However I just fell in love with another one... A#sus2! I just love those suspended chords...
There's an important note to understand here.. those two chords are the exact same thing, just moved up one step. They're both the same chord formula (the values of note steps that make the chord a sus4 chord), so how can one sound any better or worse than the other in a controlled environment? I'm willing to guess you like the Asus4 better because you play more in natural keys (as do I, I love open strings). However, it's good to understand that those chords, given a context relative to their root note, will sound exactly alike in their respective contexts. Anyways, now, try playing both those chords right after each other. Now how good do they sound? That's my point, chords sound good or bad depending on the surrounding music.

Oh, and just for the sake of being technical, a X5 "chord" is not really a chord at all. Whatever the root note, the only substance to those notes is the root note and the fifth, making it an interval. A G5 or a D5 or a C5 or whatever it may be is not technically a chord, which is a combination of 3 or more notes. However, the term power chord has seeped into our heads and we subconciously mark 5ths off as a chord. Just another note
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Unread 12-03-2003, 07:59 AM   #34
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Originally Posted by GMartin2R
would it be better to say Gadd11?
YES! Thank you! I knew there was a better name for it that I couldn't remember!
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Unread 12-04-2003, 03:35 AM   #35
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oh ok... that was just a flat out guess... though now that i think of it, i use that chord all the time and just called it a G2 cause it was a 2nd version of G major. :klol: now i know a more specific name...
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Unread 12-04-2003, 11:03 AM   #36
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Quote:
Originally Posted by Shredcheddar
There's an important note to understand here.. those two chords are the exact same thing, just moved up one step. They're both the same chord formula (the values of note steps that make the chord a sus4 chord), so how can one sound any better or worse than the other in a controlled environment? I'm willing to guess you like the Asus4 better because you play more in natural keys (as do I, I love open strings). However, it's good to understand that those chords, given a context relative to their root note, will sound exactly alike in their respective contexts. Anyways, now, try playing both those chords right after each other. Now how good do they sound? That's my point, chords sound good or bad depending on the surrounding music.
Yeah I did know that.. I mean I am not totally slow... it is just an intresting concept...
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Unread 12-04-2003, 11:39 AM   #37
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vii°

And all these pop tunes with nary a vii° in sight really peeves me off. I wish, for once, we could get through a song without a VII screwing it all up.

But have I mentioned lately the evils of the major tonality dictatorship? The oppressed minor and modal minorities are underrepresented, especially in modern praise music.
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Unread 12-05-2003, 01:27 AM   #38
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Originally Posted by Aaron Adams
vii°

And all these pop tunes with nary a vii° in sight really peeves me off. I wish, for once, we could get through a song without a VII screwing it all up.
ok i must be missing something... a 7th screws things up? :kconf:
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Unread 12-05-2003, 01:44 AM   #39
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ok i must be missing something... a 7th screws things up?
Maybe because it sounds too "Poppy"?

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Unread 12-05-2003, 10:15 AM   #40
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Exclamation

I like D/F# 2
0
0
2
3
3 Thats my version
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Unread 12-05-2003, 03:50 PM   #41
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Quote:
Originally Posted by GMartin2R
ok i must be missing something... a 7th screws things up? :kconf:
No-- a VII chord. As in, a major chord based on the seventh scale degree.

For example, if you're playing in D major, the C chord. It should be a c#dim, but in most popular music, a C major is used instead.
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Unread 12-06-2003, 12:07 AM   #42
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I'm liking B7 a lot these days and all the other dominant 7ths. It just seems that B7 is popping up more than others. I also like the sound and possibilities in a nice Dm chord.
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Unread 12-06-2003, 02:49 AM   #43
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Quote:
Originally Posted by Aaron Adams
No-- a VII chord. As in, a major chord based on the seventh scale degree.

For example, if you're playing in D major, the C chord. It should be a c#dim, but in most popular music, a C major is used instead.
oh ok... that makes more sense... though why exactly is the VII a #dim? that's one part that i dont quite get.
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Unread 12-06-2003, 08:14 AM   #44
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Originally Posted by GMartin2R
oh ok... that makes more sense... though why exactly is the VII a #dim? that's one part that i dont quite get.
That's where Jazz theory comes in. I don't know the whole deal about it, but Jazz people decided that the VII should be a #dim. I think it has to do with the whole, whole, half step idea.

So it's like, wwhwwwh where the last whole step is the diminished chord.

Someone here probably knows more about it then me for sure.
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Unread 12-06-2003, 12:03 PM   #45
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I like anything in the key of G for some reason.
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