Ok I was writing something using Dm and the tune I sang matched a variation better.
OK, play Am, then just transfer your fingers to the next strings down.
What is it? Dm7?
Cheers
Craig
so i assume your fingering is:
E-0
A-0 D-0
G-2
B-2
E-1
if this is the case, this is called a D min/maj 7, which is a D minor with a C# for the 7 instead of the normal (dominant) C.
Not used a whole lot, but adds a wierd effect if done right.
If this isn’t your chord shape, let me know and we’ll re-figure it out.
Taker yer pick…
D m(maj7)
A aug /
D
F +6
HERE! Handy as a pocket on a shirt…
D
PS I have discovered 6th chords here lately. Oooohhh dey sounds good in the right spotsez… and… and… Minor 9ths… ooohhh… I wanna go home and play my geetar!
Thats the one chaps!!!
Sounds cool…A…C#m…D…Dm(maj7)…I’m on it…
Thanks!
.
I have a patent on that chord - If you choose to use it please contact my attorney at:
Saiontz and Fiction
Quote: (spreadercraig @ Mar. 06 2009, 4:49 PM)
Thats the one chaps!!!!
Sounds cool....A....C#m....D....Dm(maj7)....I'm on it...
Thanks!
.
How about;
A... C#m...Dsus2... Dm(maj7) ?
Gives a slightly different flavor... basically the high E steps up to F rather than down from F# to F. Meh... whatever.
D
Quote: (sevenOfeleven @ Mar. 06 2009, 5:24 PM)
I have a patent on that chord -
I thought I had a patent on a chord once... until MarkA told me it was a "lead"...
D
How about Amaj6th
Quote:
HERE! Handy as a pocket on a shirt...
Apparently adding an F# to C chord ain't nothing... oh well.
Quote: (kevinmyers @ Mar. 06 2009, 8:50 PM)
Quote:
HERE! Handy as a pocket on a shirt...
Apparently adding an F# to C chord ain't nothing... oh well.
Depends... if the F# is in the bass, it's C/F#. These "chord calculators" don't generally do slash chords.
D
adding an F# to a C chord gets you a ‘#4’ (augmented 4th) chord.
could be used as a diminshed chord, but it’s a better jazz chord, especially with the F# on top, where you can have a progression like: C#4 - G - F - Bb and get good tension with that C#4 chord, which resolves nicely to the G.
In jazz charts it’s often written as a ‘b5’ chord, by the way.
(sorry for the comma splicing.)
Or you can use it in a minor-sounding cadence, like: Gm7/Bb (F on top) - C#4 - Gm
Or do your own work.
DC, nice thought there on the Dsus2…and yes I had to look it up
After reading all this my head hurts…
.
adding an F# to a C chord gets you a ‘#4’ (augmented 4th) chord.
could be used as
Quote:
a diminshed chord, but it’s a better jazz chord, especially with the F# on top, where you can have a progression like: C#4 - G - F - Bb and get good tension with that C#4 chord, which resolves nicely to the G.
In jazz charts it’s often written as a ‘b5’ chord, by the way.
(sorry for the comma splicing.)
Or you can use it in a minor-sounding cadence, like: Gm7/Bb (F on top) - C#4 - Gm
Or do your own work.
I don’t know a lot of music theory, but I’m always messing around with unusual chord progressions. Here’s the progression with the offending chord:
099070= Em add9 /89(10)070= Cb5 /x04030= ? /x02010= Am7
How about a little less reading and a little more practicing?
I’d rather use the Bm-demolished 5th-7th!
I'm with you Yaz - put a finger here, here, there and there til it sounds good.
Yep Poppa, s’periment wif them fingers!
Quote: (Levi @ Mar. 07 2009, 6:03 PM)
How about a little less reading and a little more practicing?
But what if someone hands you a chart at a gig and it has Cm6 or Asus4 or E7b9? Isn't it preferable to KNOW the chord? It beats the heck out of asking the piano player "Err... uh... how do you make a E7b9?" They're not going to be a lot of help.
I used to place little value on theory and chord construction until that same scenario started happening to me. That's when I decided to learn about it. It's not as hard as it sounds really...
There are only twelve tones in western music.
D