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SUS CHORDS
As a little extra to my post on Major/minor chord formulas the other week.
To make a chord a Sus chord, the third is replaced with either a 2nd or 4th.
So a C major chord is C-E-G
C Sus2 is C-D-G
C sus4 is C-F-G
ADD CHORDS
an Add chord has all three notes from the original chord, and an extra note (commonly - not exclusively- 9th)
Cadd9 is C-E-G-D
CHORD EXTENSIONS
To extend a chord from a standard major or minor triad, take the 3 original notes
Major 1-3-5
and put another 3rd on top of the 5th
Major 1-3-5-7
So in the case of C
C major is C-E-G
Cmajor7 is C-E-G-B
the next chord in C major is Dminor
D-F-A
using the same theory (putting another 3rd on top if the fifth) gives us
D-F-A-C
which is a Dm7 chord, or a Dm (dominant)7
The difference between the two is the 7th in the Major 7th is a semi-tone (one fret) down from the root note,in the dominant 7 the 7th is 2 semi-tones (two frets) down from the root note.
Ringleader of the Cambridge cartel, pedal champ and king of the dirt boxes (down to 21)
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Comments
Ringleader of the Cambridge cartel, pedal champ and king of the dirt boxes (down to 21)
Just a little fun – why is a suspended chord, called a suspended chord?
for those of you that are not sure, the clue is in the fact that the 3rd 'appears' to be missing
Ringleader of the Cambridge cartel, pedal champ and king of the dirt boxes (down to 21)
Ringleader of the Cambridge cartel, pedal champ and king of the dirt boxes (down to 21)
Seriously: If you value it, take/fetch it yourself
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
Ringleader of the Cambridge cartel, pedal champ and king of the dirt boxes (down to 21)
Seriously: If you value it, take/fetch it yourself
First off: it's a chord (not food, water, oxygen or company) so, given your choice of words - obviously you don't need this knowledge: you want it. I think it's very important to be able disambiguate the two.
Secondly it's one label (of many) for a sound, learn the guitar chord voicings in the approach outline in Ted Greene's books and you'll learn sound and hand position(s) bound together (as they should be)... the labels are an incidental for some other time than playing, such as in conversation. In the time I spent playing through Ted's books I found I could hear the sounds and I'd drilled the chords, so even in different keys the application of the sound made sense and I applied it with confidence of what I was going to hear.
That means in some situations a chord in one register or inversion sounds good and in other registers or inversions sounds crap - a label won't help differentiate that. Knowledge of the sound is the only thing to give that confidence.
I think for many many guitarists, what is called "theory" (which is really just notation) extends, mistakenly, to paradigms and leads to people observing these to derive music from what has been composed before which fits nicely with the guitarist psyche of embracing the old, familliar and already sanctified.
You need sus chords if you want, I'm not going to stop you
B-) Cool I agree that the chord in different registers/inversions sound different (and as you say, sometimes can sound crap), but if you know how to construct one the chances are you'll find an alternative fingering, which might sound a lot better. The knowledge is worth having (IMO)
Seriously: If you value it, take/fetch it yourself
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.