Low E against high e

Originally Posted by MinorKey

I've long wondered why, when playing a C chord for example the high E sounds fine but low E just sounds wrong and has to be muted. Why is this?

It sounds much better if you fret the E string on the 3rd fret along with the D on the third fret. Try it. Sounds a chord from Man on the Moon by R.E.M.

[MrHooligan73]

It’s what your ears are used to hearing. By that I mean how often do you hear a chord played without the root note being the lowest note of the chord? As children the first songs we hear and learn and are common feature the root note as the lowest note of a chord. When you play a low E as the root note of the chord even though it’s not dissonant theoretically it will sound off too most people.

[Nama Ensou]

Originally Posted by Tico

The third of the chord in the bass sounds worse than a third higher up.

The root, and sometimes the fifth, sound better on the bottom.

Just is.

Best answer so far and I can't believe it took half the thread for a couple posters that actually understood the OP's question to finally get a chance to post.

Really hard to believe that so many posters thought the OP didn't know how to add a G-bass to a C chord, but since it's been brought up, am I the only one to tack on the G with my little finger? Gives me more freedom to add or subtract the additional note.

[JayBee1404]

Originally Posted by Brooklyn Bob

If you don't like the low E play the G on the 3rd fret instead.

I always do, it would never occur to me to play a C chord in first position with the bottom E string open.

A slight thread drift here, but it drives me nuts when I see/hear someone play a first position F chord with the bottom E open instead of fretted at the 1st - and they don't seem to notice that it produces a discord! If ya can't/don't wanna play a barre, wrap yer thumb over, for goodness' sake!

[MinorKey]

Originally Posted by Frozen Rat

It sounds much better if you fret the E string on the 3rd fret along with the D on the third fret. Try it. Sounds a chord from Man on the Moon by R.E.M.

I'll have to give that a go!

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[zeeway]

Maybe this is a diversion...but...do the music theory explanations of what sounds good to our western-trained ears work for Asian music, which very often sounds discordant to me. Or is it tied to their different intervals in their musical scales?

[guitar george]

Originally Posted by MinorKey

I've long wondered why, when playing a C chord for example the high E sounds fine but low E just sounds wrong and has to be muted. Why is this?

Originally Posted by Nama Ensou

Best answer so far and I can't believe it took half the thread for a couple posters that actually understood the OP's question to finally get a chance to post.

Really hard to believe that so many posters thought the OP didn't know how to add a G-bass to a C chord,

Are you sure that the OP's rather simple sounding question was intended to evoke as much deep thought as some of the answers? Is he a beginning guitar student or an advanced player?

[MinorKey]

Originally Posted by guitar george

Are you sure that the OP's rather simple sounding question was intended to evoke as much deep thought as some of the answers? Is he a beginning guitar student or an advanced player?

I've been playing since 2004 on and off


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[vindibona1]

Originally Posted by charles Tauber

The short answer is that the third of a triad is an important contributor to what gives the triad it's "character". Doubling the third of a triad or chord is usually avoided, in part because it adds ambiguity to the chord and can "weaken" the function of that chord in relation to what comes before it and after it.

If, for example, you do not double - or triple - the third and play the triad in first inversion, third in the bass, and play the root as the highest note, and the fifth as an intermediary note, it sounds fine in the right context...

It's about "voicing" and "voice leading", both standard stuff in the study of Harmony. (Harmony is the formal musical study of the movement of chords.)

While I agree, I have to believe it is more than that. While I typically avoid that low E in a C maj chord as well as the G just above that, the logic above flies in the face that I often play the low F# in a D major chord. The low E in the C chord like the F# is a first inversion and has a place. But as Charles pointed out, it is a matter of voice leading. And a lot depends on the key you're playing in.

For example, in the key of G, some of the main chords used are G (I), C (IV), D (V), Em (vi). If moving from G to C or Em, the bass could naturally move through the F# to the low E. If D becomes an intermediate chord the 3rd of the chord (F#) makes perfect sense. Same thing moving to Em, but a different animal because the E is the root of the Em. Also it may be important to note that you are not obligated to play all the notes with the same intensity and/or volume. The problem with low E in a C major chord is that going downward there is nowhere else to go on a typical 6 string guitar.

You don't always have to play the root in the bass as illustrated in Mussorsky's "Great Gate of Kiev" (Pictures at an Exhibition). The bass plays a certain role. But let us not lose sight of the fact that we sounds that create an aural feel and we have to pay attention to the music. But to the original point, in typical rhythm guitar it is not always (or often) ideal. Our ears will always be the deciding factor.

[rick-slo]

Most anything will work in certain contexts. If you can sense the resolution of the temporary discordancy the ambiguity is lessened (or resolved) and along with it the feeling of unease. Thus for example hearing the passing chromatic notes in a walking base line versus persistency of strumming away on one of those chromatic bass notes.

[Guitar Slim II]

Because the root of the chord is C. We like to hear chords in root position. They sound different and function different if not in root position.

We should note, however, that E is a note contained in a C-major chord. Playing it in the bass isn’t necessarily wrong. It does not actually create a dissonance. It’s just a C chord in 1st inversion. You might see it written C/E.

[N+1]

Originally Posted by Swamp Yankee

I suspect this is one of the many mysteries of music that are best solved by acquiring a new guitar.

I find this suggestion inspiring. Where's my credit card?

[MinorKey]

I tried fretting the low E at the third fret yesterday. It sounds different, not quite a C major but not bad either

[HHP]

Originally Posted by charles Tauber

The short answer is that the third of a triad is an important contributor to what gives the triad it's "character". Doubling the third of a triad or chord is usually avoided, in part because it adds ambiguity to the chord and can "weaken" the function of that chord in relation to what comes before it and after it.

If, for example, you do not double - or triple - the third and play the triad in first inversion, third in the bass, and play the root as the highest note, and the fifth as an intermediary note, it sounds fine in the right context.

For example, play E, G, C notes on 6th, third and second strings, then play F, A, C, same strings, it sounds fine. Follow that with F#, A, C, same strings and then G, D, B, 6th, fourth and second strings, you have a nice little progression - C, F, F#dim, G - with a bass line. Finish on the C chord of your choice.

It's about "voicing" and "voice leading", both standard stuff in the study of Harmony. (Harmony is the formal musical study of the movement of chords.)

I was clearly told there would be no math in the guitar playing section of the exam.

[gfa]

Interesting Q! I think - and this is Mr. I Know Only a Thimbleful of Theory speaking here - it's because our ear "wants" to hear the root in the bass. Putting another chord tone in the bass adds a certain color, sometimes desirable and sometimes not.