Stealthdjentstic
Banned
Who needs real chords when you have powerchords 'cause thrash?!
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I like to play this a few times, and occasionally use this to mix it up a bit:
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I know they aren't chords, but chords are for pussies.
--5--
--3--
--0--
--4--
--2--
--0--
E-3-
B-3-
G-0-
D-0-
A-2-
E-3-
Whatever the fuck that is, its brutal fucking shit
Are you in Emmure?
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
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
^^
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)
Pissed off dad: "Hey, those fifths were equal last night."
Little redeyed Bobby: "What fifths?"
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.
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Also, unequal fifths.