Beautiful chords

Discussion in 'Playing and Technique' started by PLEXIBLE, Jun 9, 2008.

  1. PLEXIBLE

    PLEXIBLE Member

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    List'em. Here is one I recently discovered: Emaj9 Low to high 0x4140
     
  2. james russell

    james russell Silver Supporting Member

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    Nice E Maj9. With that stretch from the fourth to the first fret, your middle finger is floating right above the B on the second fret of the A string. It's the fifth of the chord and sounds good, and is easy to grab.

    I've always liked the Amin9 fingered like this low to high, X-0-10-12-0-0

    Cheers,

    James
     
  3. stevel

    stevel Member

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    It reminds me of the beginning to Rush's "Tears" (from 2112 period):

    x x 7 0 6 0

    Implying an FMaj9 in a similar voicing to what you have.

    Alex just played strings 1-2-3-4 in order producing:

    E-F-G-A.

    Interestingly, in both cases, you just have scale steps:

    D# - E - F# - G#

    or
    E - F - G - A

    If you pick yours strings 2-1-4-3 you'll get the same Rush pattern, and a stepwise (though with changes of octave) pattern.

    Steve
     
  4. nibus

    nibus Supporting Member

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    I'm not sure the exact name, I'm not a theory virtuoso..

    something like an F-add9-maj7 --

    1 3 3 0 1 0

    F C F G C E

    It's easiest to play with your thumb on the E string. It sounds great clean or distorted because there is no Maj 3rd to muddy things up.
     
  5. steven.rogers

    steven.rogers Member

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    E7b5b9 - beautiful IMO if used in the right context.

    0-11-12-10-11-10
     
  6. 57tele

    57tele Member

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    Two nice ones (low-high):

    From Breau:

    0 2 4 0 3 5

    and from McLaughlin:

    0 9 6 8 0 0
     
  7. PLEXIBLE

    PLEXIBLE Member

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  8. mike walker

    mike walker Member

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    don't do yourself an injury plex. If you have the fingering right it'll come eventually.
    Now, moving to it mid flight, that's another story.
     
  9. ♫♪♫

    ♫♪♫ Member

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    0 2 4 0 3 5
    is Emin11

    I actually came upon that chord one day by stacking an E minor scale in fifths for the first three notes and then adding the 7th and 11th as extensions.



    More pretty chords:
    http://thegearpage.net/board/showthread.php?t=381656
     
  10. PLEXIBLE

    PLEXIBLE Member

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    Amaj9/C# Low to high X46200
     
  11. 57tele

    57tele Member

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    Yeah, I've posted it before in the context of:

    0 2 4 0 3 5

    x 0 5 3 2 0

    x 5 4 4 2 0

    (and then maybe x 6 7 7 8 7 to turn back)
     
  12. Clifford-D

    Clifford-D Member

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    I know it's two chords but gotta post

    Meeting of the Spirits - John McLaughlin

    Very beautiful


    ||----------0---------0-----|---------0---------0-------||
    ||------2---------2---------|-----2---------2-----------||
    ||*-------0---------0-------|-------0---------0--------*||
    ||*---4---------4-----------|---4---------4------------*||
    ||--------------------------|---------------------------||
    ||--2---------2---------2-0-|-3---------3---------3-0---||
     
  13. elgalad

    elgalad Senior Member

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    I really like this Ebm9 pattern (note that the root note is missing):

    xx4321

    Added bonus, it's a moveable shape!
     
  14. jhumber

    jhumber Member

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    Brilliant thread - keep them coming.
    I've just started a nice tune using the above Emaj9 and Am9/C# chords!
    Don't worry, you'll all get royalties ;-)
     
  15. Bryan T

    Bryan T Guitar Owner Silver Supporting Member

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    Without someone playing the root, my ear would hear that as an F#maj7. If you look at it another way, that means that any fingering of an F#maj7 can be used the way you use this Ebm9.

    Bryan
     
  16. PLEXIBLE

    PLEXIBLE Member

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    Hauntingly brilliant.
     
  17. PLEXIBLE

    PLEXIBLE Member

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    My wife,the CFO,will be contacting you.:rotflmao
     
  18. guildchild

    guildchild Member

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    i'm a sucker for mi11 chords.

    like Ami11
    5-x-5-5-3-x
     
  19. Abe

    Abe Member

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    A Maj9: x02424

    Also try it on other frets while keeping the open a (or e) string ringing.
     

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