Most beautiful chord you've heard

[Stealthdjentstic]

Who needs real chords when you have powerchords 'cause thrash?!

 

[Rustee]

---
---
---
---
---
-0-

I like to play this a few times, and occasionally use this to mix it up a bit:

---
---
---
---
---
-1-

I know they aren't chords, but chords are for pussies.

Are you in Emmure?

 

[John Strieder]

Simple:

E - -
B - -
G - 0
D - 6
A - 0
E - 6

or

E - -
B - -
G - 6
D - 0
A - 6
E - 0

\m/

 

[Alex C]

--5--
--3--
--0--
--4--
--2--
--0--

I "played" that from low to high in my mind and it initially looked similar to one of my favorites:

-0-
-4- pinky
-1- index
-4- ring
-2- middle
-0-


A variaton:

-4- picking hand index finger; strum chord with picking hand thumb while fretting.*
-4- pinky
-1- index
-4- ring
-2- middle
-0-

*Other frets (2, 7, 9, 11) are interesting too.



As is often the case with interesting chords, these both sound especially nice when the notes are arpeggiated and allowed to ring into the next.

 

[jimbean5006]

E-3-
B-3-
G-0-
D-0-
A-2-
E-3-

Whatever the fuck that is, its brutal fucking shit

yesssssssssssssssssssss

 

[jimbean5006]

Are you in Emmure?

do you remember?

 

[failshredder]

x
4
2
5
3
x

C, G, A, B, so uh Cmaj7add13 with the third left out?

 

[Mr. Big Noodles]

Or Am9/C. I generally look for a third in the chord before I put a name to it.

 

[SirMyghin]

^ More like Amin9

Leaving the 3rd out and getting the voicing your want is very tricky and will become extremely dependent on context and movement catering to it.

Edit: Damned SW

 

[Mr. Big Noodles]

But yeah, start asking questions if you ever see an empty fifth around. (Cue music theory/alcohol puns.)

 

[Lirtle]

Been into this one recently

E-0
B-1
G-0
D-3
A-0
E-1

7 string Maj13(?) voicing stolen from Tosin

E-0
B-0
G-1
D-4
A-0
E-4
B-2

 

[Mr. Big Noodles]

Been into this one recently

E-0
B-1
G-0
D-3
A-0
E-1

F∆9

7 string Maj13(?) voicing stolen from Tosin

E-0
B-0
G-1
D-4
A-0
E-4
B-2

This could be a lot of things, depending on the context. Check out my input in post #10 in this thread: http://www.sevenstring.org/forum/mu...chniques/203213-need-official-name-chord.html

 

[SirMyghin]

This could be a lot of things, depending on the context. Check out my input in post #10 in this thread: http://www.sevenstring.org/forum/mu...chniques/203213-need-official-name-chord.html

Tend to happen when you play 6 unique notes, pretty much have a B major scale there . To be captain contrary it is obviously a F# played against an E

 

[Mr. Big Noodles]

The first measure is the chord in question. Doesn't sound very tertian to me, so this may all be moot. SirMyghin's pointing out that it's basically a E/F#m polychord, as per the breakdown in measure 2. In measure 4, I'm pointing out just a few of the tertian sonorities that can be derived from that collection. There is also the possibility that it's a secundal sonority derived from the B mixolydian scale (sans D#), which would suggest a dominant function in chord-scale harmony, but I really don't hear B as a significant tone. Looking at it again, it's more like an unconventional voicing of E6/9/11 than anything else.

Just out of curiosity, I'd like to see what you folks come up with for this chord:

And, uh, tab:

e-5
b-6
G-0
D-7
A-6
E-x

 

[SirMyghin]

^^

That is a humdinger there. The only 3rd relation I see is D and G, but I don't like the idea of D# add9 b5, too much of a stretch. A+sus4 could be a way of looking at it, but doesn't communicate the #4 as well as say, A+(#11), which overlooks a 3rd.

I would put my bacon on it sounding like an A though, as a repeated note can dominate sonority a bit much, if not a root or a 5th (or just plain sound like ass to my experience)

 

[Jason_Clement]

Dsus2.

 

[JosephAOI]

How I see my favorite chords:

D--12---7-----5------------
A--10---5-----3------------
F--10---5-----3------------
C--14---9-----7------------
G---------------------------
D---------------------------
G---------------------------

SchecterWhore's explanation of them: First chord is Eb∆/D, which is VI in G minor. Second is Bb∆/A, which is III in G minor. The third chord is Ab∆/G, which is VI in C minor.

So Eb∆ I suppose.

 

[Mr. Big Noodles]

^^

That is a humdinger there. The only 3rd relation I see is D and G, but I don't like the idea of D# add9 b5, too much of a stretch. A+sus4 could be a way of looking at it, but doesn't communicate the #4 as well as say, A+(#11), which overlooks a 3rd.

I would put my bacon on it sounding like an A though, as a repeated note can dominate sonority a bit much, if not a root or a 5th (or just plain sound like ass to my experience)

Close, but the A isn't that important. Anyone that knows how I do chords will say that this is an odd analysis: B7(b13,#11)/D#... with a doubled seventh and no root. I wanted a dominant seventh chord with more bite, so I voiced out a whole tone scale to get the chord. The resolution is about the collapse of the upper and lower leading tones (E# [or F] and D#, respectively) to E and the double resolution of the seventh (A) in contrary motion to G and B. Context is everything. Alternatively, one could think of it as a whole tone chord with a dominant/leading tone function. I swear I used this in real music.

Also, unequal fifths.

Pissed off dad: "Hey, those fifths were equal last night."

Little redeyed Bobby: "What fifths?"

 

[linguos]

As has already been stated, major 9's added to minor chords is great. Here's a favorite of mine:

-0
-13
-16
-14
-12
-

-12
-13
-16
-14
-12
-

-17
-13
-16
-14
-
-

 

[SirMyghin]

Close, but the A isn't that important. Anyone that knows how I do chords will say that this is an odd analysis: B7(b13,#11)/D#... with a doubled seventh and no root. I wanted a dominant seventh chord with more bite, so I voiced out a whole tone scale to get the chord. The resolution is about the collapse of the upper and lower leading tones (E# [or F] and D#, respectively) to E and the double resolution of the seventh (A) in contrary motion to G and B. Context is everything. Alternatively, one could think of it as a whole tone chord with a dominant/leading tone function. I swear I used this in real music.

Also, unequal fifths.

Neat, although I would like to know how the hell you manage to play that second chords. Spaghetti fingers over there I guess.