Your favourite chord ~ right now ?¿?

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So, here we go, hot on the heels of "Your Favourite Track", lets explore what we are emotionally responding to and playing yourself ~ right now...


What is your favourite chord ?

~  plus optional, but helpful stuff, if you want to share...

What is the fingering ?

What do you play around it, progression, context, etc ?

Strumed, picked / arpeggiated ?

And if you are the theory type, what more can you tell us ?

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Comments

  • BarneyBarney Frets: 350
    I have lots and it depends where it's coming from or going .. but I like this inversion of cmaj7 
    ......3.....
    ......1....
    ......4...
    ......2....
    ......x...
    ......x...
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  • ChrisMusicChrisMusic Frets: 1116
    edited December 2017
    Just to start this off ~
    (actually, no @Barney got there first, thanks, nice chord, I think I need to cut my finger nails)

    my favourite (right now) is  0.11.13.0.0.0

    Formula 1.3.maj7.b3/#2.5.1
    Picked / sequenced / arpegiated   (sounds rank strummed!)

    I guess that is Emaj7#2 (or major/minor), but I suspect that it can be viewed in different ways.

    an interesting clash of major and minor thirds, and the minor third and major 7th  

    bugger all idea what to fit around it, or over it ~ any ideas / theory, etc (this is a "work in progress")

    A less zesty version is 0.2.1.0.0.0
    Eminor/maj7 ?  ~ Formula 1.5.maj7.min3.5.1

    P.S.  I *may* have been listening to a bit too much Nick Johnston recently  

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  • Barney said:
    I have lots and it depends where it's coming from or going .. but I like this inversion of cmaj7 
    ......3.....
    ......1....
    ......4...
    ......2....
    ......x...
    ......x...
    Sounds nice with an F or an A in the bass too  :)

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  • BarneyBarney Frets: 350
    This is a nice one before the 4 chord in a blues..

    ....2....
    ....2...
    ....4...
    ....5...
    ....x..
    ....5..
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  • BarneyBarney Frets: 350
    Barney said:
    I have lots and it depends where it's coming from or going .. but I like this inversion of cmaj7 
    ......3.....
    ......1....
    ......4...
    ......2....
    ......x...
    ......x...
    Sounds nice with an F or an A in the bass too  :)
    Yeah it gives a 13th sound :)
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  • Another recent favourite is:

    Amin7#5
    (at least I think that's what it is)
    x.0.3.0.1.0
    Formula 1.#5.7.min3.5

    (or 1st string 3rd, or 1st fret)
    (1.b6.7.min3.5 or b6)
    (or with an F in the bass = 1.0.3.0.1.0)
    or barre it up the neck...

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  • RolandRoland Frets: 2009
    Almost any inversion of Ebmaj7. It gets away from the Em and Am of so much guitar music, and the C and G of many pop songs. x68786 is a good shape because it sits in the middle of the playing area and doesn’t stretch the fingers, but I’ll take alternatives
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  • vizviz Frets: 4936
    edited December 2017
    That awesome magic chord in Stevie Wonder’s Lately, heralding the key change. 

    The song starts in C. 

    After the last verse it’s the “always starts to cry oh cry-yeah - <key change>” bit. The run starts on d minor and is:

    d minor (al-)
    e minor (ways)
    f minor (start)
    g minor (to)
    Ab Major (cry)
    bb minor (oooo)
    c minor (oh-oh)
    Magic Chord (Oh -)
    Transpose to Bb Major. (I’m a man of many wishes)

    And the magic chord is: 76766x (the 6th fret is barred). Great chord. 
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  • stratman3142stratman3142 Frets: 753
    edited December 2017
    The Mu major, which has the intervals 1,2,3,5

    I discovered it when I did a bit of Googling in my attempt to write a Steely Dan sounding backing track for this month's Solo of the Month competition. If you Google 'Mu major' you'll find plenty of references relating back to Steely Dan.

    It's a bit tricky on guitar, but easy on keyboards.

    I also discovered, in writing the backing track, that the Mu major can be placed over a non-root bass to create and interesting minor voicing: for example F Mu major (ie F, G, A, C) over D.

    Three of the four chords in this month's SotM backing track are based on the Mu major (one over a non-root bass) if you want to hear the sound.
    It's not a competition.
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  • dtrdtr Frets: 319
    E6 (as a better ending for a ragtime blues than the E7 I'd been playing before)
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  • MegiiMegii Frets: 877
    Noodling around and I discovered this one for an E minor type chord 05707x - or sometimes nice to include the high E string 057070. And then if you change the note on the low E string, you can get a nice B minor type chord i.e. 75707(0).

    [ just out of interest, these chord voicings remind me of something I've heard somewhere on the Bark Psychosis album Hex - , not sure if they are exactly the same or not, but for me they do evoke a similar kind atmosphere/mood which I really like ]
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  • And another for the pot...

    Sweet D chord

    x56430

    Formula 1:3:maj7:1:9

    or add a 5th in the bass with your thumb

    or x56422 for a unison on the maj7

    or x56400 for maj6, maj7 and 9 ~ nice

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  • These are sweet baby Gs, Zeus !

    3x3211 or 3x3200 or 3x3100

    also nice in sequence...

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  • F#min7+11

    2x2200

    or variations
    4x4400
    5x5500
    3x5500
    have fun !

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  • Fmaj6maj7+9 (is this a thing?)

    130000  or 132000

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  • You could put it all together and finish with E9 or "E9+11 androgynous" (without a 3rd) (sus?) mebee ?

    0x4100 or 0x4200
    or fill it out ~ 024100

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  • Another recent favourite is:

    Amin7#5
    (at least I think that's what it is)
    x.0.3.0.1.0
    Formula 1.#5.7.min3.5
    I've been obsessed with all the inversions of that recently - the B version (x.2.5.2.3.x - Bm7#5) is the same as x.0.0.0.0.x (A9sus) and x.5.7.4.8.x (D6sus) and x.10.9.7.10.x (G2). I think Joni Mitchell had a guitar tuned to one of the inversions - if you just move it around you get a wonderful Mitchellesque jazzy thing happening. It can function as a minor chord, and also as a scale root major (for example the inversion of the chord above x.5.7.4.8.x with another G in the bass), and a dominant (the A9sus mentioned above).

    (By root major I mean like a Cmaj7 in the key of C major, but in that case it would be G2 with no 7th)

    I have no idea how it works, though.
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  • 57Deluxe57Deluxe Frets: 5778
    Em - always Em cos it gives so much
    <Vintage BOSS Upgrades>
    __________________________________
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  • AdjiAdji Frets: 96
    Just to start this off ~
    (actually, no @Barney got there first, thanks, nice chord, I think I need to cut my finger nails)

    my favourite (right now) is  0.11.13.0.0.0

    Formula 1.3.maj7.b3/#2.5.1
    Picked / sequenced / arpegiated   (sounds rank strummed!)

    I guess that is Emaj7#2 (or major/minor), but I suspect that it can be viewed in different ways.

    an interesting clash of major and minor thirds, and the minor third and major 7th  

    bugger all idea what to fit around it, or over it ~ any ideas / theory, etc (this is a "work in progress")

    A less zesty version is 0.2.1.0.0.0
    Eminor/maj7 ?  ~ Formula 1.5.maj7.min3.5.1

    P.S.  I *may* have been listening to a bit too much Nick Johnston recently  
    What a nerdy thread, I love it!

    You'd have to call the G# and Ab to be enharmonically correct.

    Then its a version of EmMaj7addb11. Pretty nice and disgusting both at the same time haha.

    Fretted Specialist for D'Addario UK
    Please feel free to reach out to me with queries about D'Addario.
    ____________________
    www.adamironside.com
    www.youtube.com/Adji87
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  • bingefellerbingefeller Frets: 5436
    This Eb+/F as heard in Pat Metheny's acoustic arrangement of Last Train Home.  

    Eb+/F --7-- --8-- --8-- --x-- --8-- --x--

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  • RockerRocker Frets: 2733
    G
    3
    o
    o
    o
    5
    x

    D
    5
    7
    7
    o
    o
    x

    A
    o
    o
    6
    7
    7
    o
    Insanity: doing the same thing over and over again and expecting different results. [Albert Einstein]

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  • ClarkyClarky Frets: 2995
    German 6th that resolves to a minor key
    makes my hair stand on end
    play every note as if it were your first
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  • HAL9000HAL9000 Frets: 3962
    F#min7+11

    2x2200

    Funny, I was going to say F#m11 but I play...

    044200

    I think it’s used in Fairport’s ‘Who Knows where the time goes?’ where the initial chord sequence is...

    E | F#m11 | E | F#m11 |
    It might look like I'm listening to you, but in my head I'm playing my guitar.
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  • vizviz Frets: 4936
    Clarky said:
    German 6th that resolves to a minor key
    makes my hair stand on end
    Neapolitan every time!
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  • I am self taught (self learnt?!?!) so have little clue about theory - so excuse the stupidity to follow - 

    My consistently favourite chord is this one

    1 - 0
    2 - 3
    3 - 2
    4 - 0
    5 - x
    6 - x

    I think its D sus 2? (whatever that means). 

    I like to play it backward - slowly from 1 to 4 - almost appreggio. To my mind this sounds 'Indian'/exotic (sorry if that clumsy reference is offensive). Then I like to stamp on my EHX freeze and play melodies over the top using what (again in my mind) is an exotic 'indian' scale - playing the open d string and the then fretting the 3 string on 0, 2, 5, 7, 9, 11, 12 etc.....

    Looks and sounds good (in my humble and ill informed option) 
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  • ClarkyClarky Frets: 2995
    viz said:
    Clarky said:
    German 6th that resolves to a minor key
    makes my hair stand on end
    Neapolitan every time!
    I love those too..

    the thing I like with the German 6th in addition to being cool sounding
    it's also very good as a springboard for modulating
    play every note as if it were your first
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  • HAL9000HAL9000 Frets: 3962
    Clarky said:
    German 6th that resolves to a minor key
    makes my hair stand on end
    Sorry, but what is a German 6th?
    It might look like I'm listening to you, but in my head I'm playing my guitar.
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  • vizviz Frets: 4936
    edited January 21
    HAL9000 said:
    Clarky said:
    German 6th that resolves to a minor key
    makes my hair stand on end
    Sorry, but what is a German 6th?
    May I, because I also love these 6th chords!

    The German 6th is a chord based on the flattened 6th degree of the scale (though that’s not related to it being called a 6th). So it’s a chord whose root is a semitone above the V chord, and it leads to the V chord before a resolution to a I chord (or a i chord). So if you’re in e minor, the V chord is B, and the German 6th would have its root as C, and would include C, E, G, A#. You will see that in the move to the V chord, the C slips downwards to the B, and the A# slips up to the B above in a lovely symmetrical outwards movement.

    That C to A# is an augmented 6th, because e minor would otherwise have an A natural. Don’t think of it as a C7 moving down to a B7 (even though C, E, G, Bb is enharmonically identical to C, E, G, A#). That would spoil the effect. It’s a C and an A# moving in both directions to a B and a B. 


    Extra info if anyone’s interested:

    Baroque music is full of ‘secondary dominants’ - ie the “V chord of a V chord”. So instead of having ii-V-I or ii-V-i, the II chord is often major. So in e minor, you get an F# major chord instead of an f# minor chord as the II. The F# major has a A# in it, so in the II-V-i you get a strong, almost melodic feeling in the harmony, with A# -> B -> E. The cello will often play that as a low melody to reinforce the harmonic II-V-i. The German 6th has a similar quality to it.

    There’s also an Italian 6th which is the same as the German but without the G, and there’s a French 6th which is the same as the German but with F# instead of the G, and sounds really whimsical. They all give that similar quality to a II-V-i. You get it most strongly with the French 6th, because that has the F# itself and therefore sounds even closer to a II chord.

    There’s also a Neapolitan 6th which is also very beautiful. It only works in the minor key. It also prepares for the V chord and has a diminished 6th rather than an augmented 6th. The chord it’s based on is the phrygian of E minor, which would be F A C, but it’s played in 1st inversion, so A (C) F. The A-F is the diminished 6th (because E minor has an F# not an F). It slips to the V chord as follows: the A goes up a tone to B, and the F slips down a tone to D#. So it’s more of a pincer-movement than an expanding-outwards movement. 

    There’s also an Australian 6th but I’ve forgotten what it is.

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  • ChrisMusicChrisMusic Frets: 1116
    edited January 22
    Nice post @viz , just the sort of extras I was hoping for, and well explained as usual.
    Clarky said:
    viz said:
    Clarky said:
    German 6th that resolves to a minor key
    makes my hair stand on end
    Neapolitan every time!
    I love those too..

    the thing I like with the German 6th in addition to being cool sounding
    it's also very good as a springboard for modulating
    Slightly redundant now, but I had already prepared a post saying ~

    "Come on guys, you are both talented players with prodigious theoretical knowledge.  We need more, maybe re-read the OP, and share the fingerings / voicings / inversions / examples, so we can all give these flavours a try, share the formulae so we can construct similies, share the context (admittedly "German 6th that resolves to a minor key" goes some way to this), share a playing style if appropriate, and please share any theory around these if you can.  We can all learn so much more "on the job" so to speak !"  

    Honestly not meaning to have a go in any way shape or form (just incase I come across that way (I am in "grouchy git mode" today!)).  I am so grateful you are here and sharing some input.  As a comment it was intended to be tongue in cheek.  But there are so many people on here at varying parts of the journey, I am sure we can all learn a bunch from each other.  So the more info you can add the better IMHO, then we can cherry pick what we need right now, and come back for the full banquet later...  

    So with that in mind

    Neapolitan (beyond the 6th explained above please) ???
    ...springboard for modulating ???

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  • vizviz Frets: 4936
    Nice post @viz , just the sort of extras I was hoping for, and well explained as usual.
    Clarky said:
    viz said:
    Clarky said:
    German 6th that resolves to a minor key
    makes my hair stand on end
    Neapolitan every time!
    I love those too..

    the thing I like with the German 6th in addition to being cool sounding
    it's also very good as a springboard for modulating
    Slightly redundant now, but I had already prepared a post saying ~

    "Come on guys, you are both talented players with prodigious theoretical knowledge.  Re-read my OP and share the fingerings / examples, so we can all give these flavours a try, share the formulae so we can construct similies, share the context (admittedly "German 6th that resolves to a minor key" goes some way to this), share a playing style if appropriate, and please share any theory around these if you can.  We can all learn so much more "on the job" so to speak !"  

    Honestly not meaning to have a go in any way shape or form (just incase I come across that way) I am grateful you are here and sharing some input, as a comment it's intended to be tongue in cheek.  But there are so many people on here at varying parts of the journey, I am sure we can all learn a bunch from each other.  So the more info you can add the better IMHO, then we can cherry pick what we need right now, and come back for the full banquet later...  

    So with that in mind

    Neapolitan ???
    ...springboard for modulating ???
    Yep the Neapolitan comment was just for Clarky really because I know he knows it. My long post was to expand on it - glad you found it useful / at the right level of detail etc. It’s not easy to judge that properly!
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