F# seventh third inversion
>F# best suits the major seventh chord
>third inversion of a seventh has that delicious minor 2nd interval with the root & 7th
>result is beautiful dissonance
not very practical for guitar though
>not posting the better version
>Emaj 9 11 13
Do you mean Emaj13 without the seventh? Because without the seventh it's likely not functioning as Emaj; it'd be like a... B13sus4/E or something. Also, how on Earth would you voice that? 023214? You'd have to either play the high-e string with your right hand, or else be able to bar second fret with your middle finger across the A, D, and G strings, but not the B or high-e.
If you use #11 and omit the fifth, isn't the eleventh just a b5? Oddly enough, that one's quite easy to play as 011122
You mean Dx?
Wait... major seven, or dominant seven?
it always tickles my autism when I hear guitarists playing a song in F and talking about going to the A#
Also having a favorite cord is just silly, but having a favorite voicing I think is a little different.
When you're playing music native to the guitar, a favorite chord and voicing tend to go together, especially in a modal tuning if you swing that way. Then a good voicing is usually one that frees up your fingers to play the melody.
It's not a temperament thing, more of the voicing of the guitar itself, but some guitars sound better playing certain chords. Mine has this lovely beat that sounds like a leslie cab or a spring reverb when I play Gmaj7. The partials on some other notes are much more resonant as well. The high A and D have some overtones that will drive cats crazy.
i just put my fingers places till it sounds good & then i find other places that compliment the other bit that sounds good. it works for me but it's clearly hilarious & baffling for people when i get them to play with me & have to show them how to play my songs.
Nah you jive turkey, if you were hep to my sizzle, you'd catch that my drift was literal. Modal players are bent like the neck of a pawnshop Epi and my gutbox makes overtones like a dog whistle. Shit has given me tinnitus.
I'll throw in D7sus add 3
D G C F# A
Do you mean
B D# F# A C#?
It's beautiful if you can do it, most jazz musicians think it's too hard. I love playing in E though. I think towards the end of his career Bill Evans' favorite was A.
Nice chord. Have you tried keeping that structure and seeing what bass notes fit under it? It sounds gorgeous with an Ab
too Windham Hill for me