Dsus2/F# vs. Dadd9 - Page 2

Cue Zephyr · #16 09-10-2010, 10:37 AM

That was excellent! Thanks A LOT!
It's OK to 'thead-jack' - it still has to do with chord voicings, how their names should be derived etc. My main objective was to understand more about names behind the chords and the other way around.

Mike_A · #17 09-10-2010, 05:12 PM

well talk about threadjacking, i was fooling around with Dim chords lately, trying to figure out how i can remember it better. So in a key of E situation, i find the Cdim chord being used a lot as a passing chord between A2 into a C#m7. then i figured a Cdim actually looks like a barre B7 chord with a C bass. (B7/C). it sounds right to me and fits the fingering for Dim chords. what do you think?

mr. beaumont · #18 09-10-2010, 08:47 PM

you've unlocked the secret to diminished chords, that's what you've done.

Every diminished chord is also a rootless 7b9 chord. I'll let that sink in for a minute, and if no one else thinks that's just awesome I'll chime back in with why it is tomorrow...

Losov · #19 09-11-2010, 03:29 AM

I scanned the responses and I think someone alluded to sus meaning no third, which I believe is correct. If you put an F# in a D chord, there's your third. So it would be the add 9 choice.

But there are free on-line chord naming sites. Plug your chord into one of them and see what you get.

Cue Zephyr · #20 09-11-2010, 12:22 PM

I've thrown both Dsus2/F# and Dadd9/F# in a chord thingy and I got the same fingerings - 200230.

As for that rootless 7b9...
Tried to figure it out but ended up finding this:
http://www.youtube.com/watch?v=0oSCcySR32I

mr. beaumont · #21 09-11-2010, 02:17 PM

The videos decent, but many of the comments are drivel.

The cool thing is, you take any diminished chord and lower one note--any one of 'em, and you have a dominant seventh chord--and the note you lowered is the root of this new chord.

Furthermore, every diminished chord is actually 4 diminished chords. It can be named for any of the notes it contains. They also repeat themselves every 3 frets.

So....

a simple diminished chord:

x x 2 3 2 3

x x E A# C# G

move it up three frets

x x 5 6 5 6

x x G C# E A#

see, same notes, different order.

Now, take any note, move it one fret south, and you have a new dominant chord

x x 5 6 5 5

x x G C# E A (new note is A, and that's an A7)

or...

x x 4 6 5 6

x x F# C# E A# (new note is F#, and that's an F#7 chord)

Now also, as the cat in the video is digging, if you keep the diminished chord intact but "visualize" the lowering one note biz, and you've got a rootless 7b9 chord for every diminished chord shape you rock.

x x 2 3 2 3

is a C7b9, and F#7b9, an A7b9, and a D#7b9

RythymNBlues · #22 09-12-2010, 08:56 PM

Maybe this was already mentioned but slash chords (and polychords) are just a modern method to describe chord voicings which already had traditional names in the first place.

Cue Zephyr · #23 09-13-2010, 07:26 AM

Quote:

Originally Posted by RythymNBlues

Maybe this was already mentioned but slash chords (and polychords) are just a modern method to describe chord voicings which already had traditional names in the first place.

Yeah, you're quite right. Slash chords are simply inversions in most cases. But it's still quite different as the guitar uses more notes for a standard chord.
A straight-forward C on a piano would be CEG(C) and on a guitar it's more like CEGCE. But, then a C/E would be the first inversion (6/3, right?) and a C/G would be the second inversion (6/4, right?). Did I get that?

Not familiar with polychords on a guitar, though. =P

mr. beaumont · #24 09-13-2010, 07:46 AM

Quote:

Originally Posted by Cue Zephyr

Yeah, you're quite right. Slash chords are simply inversions in most cases. But it's still quite different as the guitar uses more notes for a standard chord.
A straight-forward C on a piano would be CEG(C) and on a guitar it's more like CEGCE. But, then a C/E would be the first inversion (6/3, right?) and a C/G would be the second inversion (6/4, right?). Did I get that?

Not familiar with polychords on a guitar, though. =P

I feel like people take chords too literally from a guitar perspective. A "standard" C chord is C,E,G--whatever instrument you play it on. It's the player who chooses to double notes.

A C with an E bass would indeed be the first inversion of that triad, and there's many ways you can play it. Slash chords like these are usually "song specific"--i.e.--the writer wants to hear a moving bassline, so they do something like the Am--Am/G--etc. cadence we saw earlier...

Things get a heck of a lot more interesting when you have x/y, and y is not a chord tone...or x is not a triad...

Cue Zephyr · #25 09-13-2010, 09:49 AM

That Am/G is one of the former category, correct? Becase the G isn't a chord tone of Am.
For the latter category, do you mean something like G7/F or something even further away from a triad?

mr. beaumont · #26 09-13-2010, 10:29 AM

You know, I was actually still considering the G a "chord tone"--it's just a seventh. The Am/F# is more like it--knowing what that sound actually yields...

This stuff is a little more directly related to piano playing...like an Em7/C, for example, which yields a Cmaj9 sound. On a guitar chart, Cmaj is common--but you look at piano music, and Em7/C is something most pianists won't bat an eyelash at...

It's cooler to know what the slash chord yields as opposed to how to write more complex slash chords for guitar, IMO--it's nice to be able to look at a piece of piano music that's written "guitar unfriendly" and be able to figure out quickly what the overall tonality of the chord is...