Post em guitarfags! This is maybe an A Major 9?
if y'all fuckers want to have your brains pushed through a Juiceman™ pick up this fukken book
needed it for a class or two at Berklee and my entire mind was juiced and I have not recovered.
that would maybe suffice as an Amaj9 if you have accompaniment. drop the A and get a C# in there instead.
If you have to drop notes from a chord, the least important are, in order: the 5th, the root, the 3rd.
minors and a diminished scales
wrote this tune with a good friend
basically our love letter/song to metal
one should be proficient enough to figure out the different voicings of any chord on your main instrument.
>not really, giving it a name isn't an important part of using it.
Maybe, but it's still important to know how to interpret a chord name.
If someone plunks a chord chart in front of you and you have to spend 3 hours working out how to play Emaj7 you're in trouble.
>not really, giving it a name isn't an important part of using it.
yeah I went to a sextoy party once and nobody put a name on their sextoys and I got unsanitary. just name your chords anon.
we're talking about the numerous permutations of chords here. obviously you need to be able to DESCRIBE the voice you're playing with reference to its intervallic makeup but you don't have to do that with traditional chord names that have an arbitrary grammar.
>If someone plunks a chord chart in front of you and you have to spend 3 hours working out how to play Emaj7 you're in trouble.
i agree, i'm merely arguing against the opposite extreme. i imagine i could trip you guys up pretty easily by rearranging/displacing otherwise familiar chords.
oh yeah I forgot that good music happens when everyone is playing the exact same chord as opposed to using to people using intuition/improvisation to discover something "different" that works
the point is, people coming in here and posting tabs because they can't figure out the voicing they're playing is entirely excusable. have some humility and everyone will benefit.
>the point is, people coming in here and posting tabs because they can't figure out the voicing they're playing is entirely excusable
of course it is. everyone is in a different place on their journey. but when you say something like 'giving a chord a name isn't important' thats different all together
>implying i said knowing the chord names and voicings are mutually inclusive
of course, you could not learn what chords you're playing, it's worked out fine for some of the examples other anon's have mentioned, but they still knew how to voice one chord that they didn't what it was called into a different voicing. and so on. but still, learn your chords kiddos (the beatles sure did). it will save you a lot of time.
>implying you can't be creative by knowing the theory
such pleb minds, such pleb music i'm sure.
>the beatles sure did
You can make top-notch music without knowing shit about music theory. Music theory is just terms made for stuff people find by experimentation. Theory can help you produce pretty bland music, or just reach the sounds you want way faster if you already have an idea of what you are trying to make.
I think the most important thing is to listen to a shit-ton of music, get a feel for how a song sounds like in different genres, what makes you wet and what doesn't. Then try to make music, it will be harder getting the ideas out of your head without theory, but it is absolutely doable.
in the long run if youre serious about making music theory is going to save you a shit load of time. it's a big time investment upfront to slog through it, but it pays off because it takes out alot of the trial and error you'd otherwise have to do going completely by ear.
I remember when i was writing before i knew any theory and it would take me months to finish a song because I was basically just guessing at everything trying to get the sound in my head. Now that I know theory I know instinctually why something works, what could work next and a whole bunch of other shit. And most importantly i can describe to other musicians what's going on in clear terms they will understand.
I agree theory is not vital to making good music, but it will only help you if you learn it imo.
Daily reminder that if you use any regular chords in your songs you're an uncreative fuck
Spice it up nigga, it's not even hard to make your own iterations of standard chords, also gives your songs a unique feel
try it like this
Well, what if I like the sound of your overdone standard A major barre chord? I listen to a lot of 60's music and their chord progressions are what makes it interesting. Music to me, isn't about trying to play something new and prolific. I just like to rock and roll man.
Getting fucked up with your friends and then playing crazy loud is what it's about to me. That being said it's not all fun and games. I want to be able to make music I like, so I learned theory, joined jazz band, and all this other shit. But before I stray from the point. the point is be open minded dude.
If to you music is about crazy chords, then that's cool. that's your thing. Just don't enforce your perception of music on others.
I use this same chord all the time, but in drop tuning since you can move it anywhere on the neck
What is it exactly, an Em9? I'm not very well versed in chord names
lovely chords in this thread, great ideas guys.
contributing some of my fave open/sus sounding chords. i use the first three in a 5th->2nd->3rd->4th arpeggiated chord sequence in a song, but they sound nice strummed if you're careful about noisiness too. brackets are optional notes ofc.
And one which just sounds so peaceful (and a little bit mario64 eel level?). i prefer it without the high E.
I have small hands with poor blood flow. The popular way of playing Dm hurts my fingers, particularly my index but also my hand/wrist.
If I play it with index, middle, pinky, it doesn't hurt. But every chord site says to use index, middle, ring. Should I just try to deal with the pain? I have a smaller, low action guitar coming in the mail which should be easier on my hands
Sounds like there's something wrong with your hand or your guitar is really retarded. Pressing your ring finger down in that position shouldn't be painful. It's a pretty natural position.
Post a pic of you fingering the chord.
These chords and a bunch of others with the open G and e string.
6'2'', pretty large hands, been playing for 8 years, can't even get my hand close to playing that.
Im calling bullshit unless somebody can post a pic of their hand actually fretting that
I have chubby stubby hands, and it's not all that difficult. Get more dexterous, bro
This is what happens when you give the retards who do shits in supermarket refrigerators instruments.
because if you have to change the nature of the instrument to such an extent that a capo or
downtuning all the strings down the same level you need a keyboard or invent your own damn instrument.
Nothing is wrong with Capo's but tuning each string to one specific note that isn't any sort of variant of standard (e.g 1/2 step down or 2 steps down) then it's getting to the point where its similar to making a keyboard where you've rearranged the keys in the order of a song and all you have to do is press each one progressively.
I use a capo frequently. I could play the songs without, but it's definitely easier to use a capo so that I can keep my hand solitary while singing. It doesn't mean I don't know what chord I'm playing, it just gives my left hand some relaxation and frees up my thoughts for vocals instead of having to focus on my guitar at all.
>but if you're incapable of playing the song 2 steps up with barre chords you need to practice more.
that's literally impossible with virtually all the chords posted in this thread you dingus.
Same brah. Also if a song is in an awkward key that requires alot of ugly sounding barre chords throwing a capo on and playing open chords sounds nicer as a solo performer sometimes. Also for transposing to suit your voice, cant beat how easy it is, and I'm lazy so i like that.