Chord Theory: Advice

LOL - I'm completely lost now !!!

[JonPR]

Originally Posted by washy21

LOL - I'm completely lost now !!!

Oh dear!
See that's what happens when you ask a lot of theory fans to explain the black art of chords... (Simple questions often have long complicated answers... and you don't always need to know.)

I suggest taking a look at those websites, and start from the beginning. You will of course know a lot of the preliminary stuff, but there may be one or two holes in your knowledge. As I said, anything you don't understand about chords ought to be answered by looking back at intervals and scales.

Feel free to ask anything specific here.

Originally Posted by JonPR

Oh dear!
See that's what happens when you ask a lot of theory fans to explain the black art of chords... (Simple questions often have long complicated answers...)

I suggest taking a look at those websites, and start from the beginning. You will of course know a lot of the preliminary stuff, but there may be one or two holes in your knowledge.

Feel free to ask anything specific here.

Many thanks - yes I will have a look and report back.

[ragatime]

And if you wish to have all this in one book, get the following:

Guitar Fretboard Workbook: Barrett Tagliarino...it can be had for $10.

It is rather thin and easy to carry with you. And I like that it keeps things simple yet doesn't oversimplify anything.
You may know most of the stuff already but it will make a good reference book.

Originally Posted by ragatime

And if you wish to have all this in one book, get the following:

Guitar Fretboard Workbook: Barrett Tagliarino...it can be had for $10.

It is rather thin and easy to carry with you. And I like that it keeps things simple yet doesn't oversimplify anything.
You may know most of the stuff already but it will make a good reference book.

Many thanks, I will check this out.

[ljguitar]

Originally Posted by washy21

...I think where I am getting confused is when I see a backslash chord such as C/F and mistakenly I wondered if it should be a C11. Is it the case that a C/F chord is written this way because it is simply a triad (CEG) with an F note.

Hi washy21...

Slash chords…first symbol denotes the chord, second behind/underneath the slash is the Bass note.

C/F is a C major chord with F in the bass.

[ljguitar]

Originally Posted by washy21

.So could anyone enlighten me as to how these chords function in the overall scheme of chord construction. For example does a C9 chord have to have the notes of a CMaj 7th before it can be called a C9th. (C E G B D)?

Washy...

CMaj9 is what you spelled, not C9 (which would be spelled C-E-G-Bb-D).

[ragatime]

Just to add another two cents for a total of four cents in this thread, the book I mentioned discuss all these questions. The author taught at musicians institute...accessible book and makes you learn through practice. Give it a shot.

[Raj]

Beautifully explained JonPR. Very nice. Thanks for sharing all this.

I was just wondering chords that are formed by stacking 7th, 9th, 11ths, 13ths on top of augmented and diminished triads - do they have any meaning?

[Bern]

Originally Posted by Raj

Beautifully explained JonPR. Very nice. Thanks for sharing all this.

I was just wondering chords that are formed by stacking 7th, 9th, 11ths, 13ths on top of augmented and diminished triads - do they have any meaning?

Your question is very complicated, because some of the notes are 'special' or better said 'avoidable' notes, which can only be used as passing notes when soloing, not with a chord structure, though.
Our designated theory man, JonPR, can probably give you a chapter on this.

[ljguitar]

Originally Posted by JonPR

...True enough. If one can accept "that's just the way it is", then the whole process can be quick and painless.
...I just find (or have found) the apparent inconsistencies niggling. That's why I look for perspectives which minimise the inconsistencies, or (ideally) make them disappear.

Hi Jon...

Not me, I'm more with Jeff on this. Sometimes 'it's just the way it is…' is not only expedient, but keeps me from delving into theory instead of teaching people to play music.

Found myself in the middle of a theory argument with two other guys, about what to name (how to describe) a chord in a song we'd only listened to, and none of us were ever going to play. That's about as useless as it gets...

Sometimes with students who are not note readers & are not going to become so, it's the only way to make forward progress.

Interestingly, those students don't lag behind or play worse than students who read notes and understand the theory well enough to question it…

[mr. beaumont]

Originally Posted by Raj

Beautifully explained JonPR. Very nice. Thanks for sharing all this.

I was just wondering chords that are formed by stacking 7th, 9th, 11ths, 13ths on top of augmented and diminished triads - do they have any meaning?

Technically, you can add anything to anything you want...Ears are the guide.

Look at a diminished triad-- Root, b3, b5...often, you'll see the seventh added before you get to the higher extensions...try a maj7 and a b7...what sound do you like? Add a ninth...an 11th...

Again, there's formulas...A diminished triad plus a b7 and a 9th is a m9b5 chord...you might still call it that even if the seventh isn't present--function determines chord name as much as the notes in it, and not every note in a chord has to be present in your voicing on the guitar...case in point--a 13th chord...the formula is R, 3, 5, 7, 9, 11, 13. Try playing that on a six string.

Guitar voicings are often a compromise...and more information is not often better...too many notes leads to mud...in the right situation, I can make you hear a thirteenth chord with two notes!

I guess that's why this stuff gets so confusing...learning the fundamentals of it is not, though...it's the application that takes, well...a lifetime.