How do you find chords to compliment what you have?

[harleycaptain]

I am a two year beginner, and I know about one four five progression, and others, but I have come up with a rhythm that I cannot figure out how to come up with other chords for the break in the song I am composing.

The rhythm chords are Amaj7 and C7(c position remove the index finger) and I find they make a nice bossanova type sound alternating back and forth. So I am using what I have learned about soloing and modes and trying to form a melody solo over it. I would like to have a few other chords to do a "break"(I think you call it that) to balance out the song.

I have tried various chords and haven't found any that sound good and complimentary, and my Key charts don't seem to help with "7" chords.

If there is a formula for this, I haven't found it. If anyone can suggest some chords thank you in advance.

[Big Band Guitar]

If you mean by the c position the first position (cowboy chord, not meant as an insult) then that would be a Cmaj7 not C7.

Try some diminished or minor 7 or 7b9 or minor 7 b5 or 9.

[harleycaptain]

Yes, the book I have says C7, which is the normal cowboy chord minus the index finger(or higher C) So middle finger on second fret of D string, and ring finger on third fret of A string only. Two fingers only.

[mr. beaumont]

Burn that book, it's definitely a Cmaj7


So anyway, your chord progression...nice sounds...any idea on a melody...that'll help the next choice along.

[KevWind]

Originally Posted by harleycaptain

Yes, the book I have says C7, which is the normal cowboy chord minus the index finger(or higher C) So middle finger on second fret of D string, and ring finger on third fret of A string only. Two fingers only.

Maybe a miss print ? the C7 in first position is a 4 finger chord with the pinky on the G string 3 fret




What you are describing would be as Big Band and Mr B . said Cmaj 7




As far as more chords I'm not much help on theory I just keep noodling with my known chords with a some lifting or adding of different fingers until I find something that works

[amyFB]

Originally Posted by KevWind

Maybe a miss print ? the C7 in first position is a 4 finger chord with the pinky on the G string 3 fret




What you are describing would be as Big Band said Cmaj 7

I think played chords for over 10 years before I truly grokked that there was difference between C7 and Cmaj7.

Maj7 chords are one of my favorite sounds. m7b5 and dim7 should be able to fit in there somewhere and add more nice to the OP's progression.

[amyFB]

Originally Posted by harleycaptain

I am a two year beginner, and I know about one four five progression, and others, but I have come up with a rhythm that I cannot figure out how to come up with other chords for the break in the song I am composing.

The rhythm chords are Amaj7 and C7(c position remove the index finger) and I find they make a nice bossanova type sound alternating back and forth. So I am using what I have learned about soloing and modes and trying to form a melody solo over it. I would like to have a few other chords to do a "break"(I think you call it that) to balance out the song.

I have tried various chords and haven't found any that sound good and complimentary, and my Key charts don't seem to help with "7" chords.

If there is a formula for this, I haven't found it. If anyone can suggest some chords thank you in advance.

see if this gives you any ideas - https://en.wikipedia.org/wiki/List_o...d_progressions

[mr. beaumont]

The Cmaj isn't in the key, but you're definitely establishing "A" as home, if you will...(there's a way to explain where it came from and why it sounds good, but who cares)

Now Bossa tunes are like jazz standards, they're not always going to stay in one key, but just harmonizing the A major scale, these other chords will certainly "fit" somewhere...

Amaj7

Bm7

C#m7

Dmaj7

E7 (this is your dominant chord, will pull you back to A)

F#m7

G#m7b5

[harleycaptain]

I always thought cmajor7 was the four finger chord, not the two finger. The two finger is the one I am using.

Thanks a lot Mr Beaumont!!!

[rick-slo]

Having a problem cycling those two chords. Seems unattractive to me.

I prefer something like cycling Amaj7 – D9 which IMO leads to more
pleasant chord progression choices.
For example: Amaj7 – D9 - Amaj7 – F#+7 – B9 – E7 - A

[SunnyDee]

Originally Posted by harleycaptain

I always thought cmajor7 was the four finger chord, not the two finger. The two finger is the one I am using.

Thanks a lot Mr Beaumont!!!

That particular C7 shape is a C7(omit 5). There's no 5th in it.

I had to figure this all out, too. For me, it's a little easier to see the difference between these two by looking at a barre chord where I can see that the interval between the 5 to the b7 is a minor 3rd and between the 5 to the 7 is major 3rd. Makes it easier for me to remember. Normally, in a major key, the I, IV chord will use the maj7 and the V chord will use a 7. I have no jazz-coping skills so can't touch that.



I like that this also makes it easy to see the relationship between the I chord and the IVmaj7. Notice how the 3rd of the I chord (i.e. if you play in G, in the G barre on the 3rd fret) would become the 7th in the maj7 (in the Cmaj7) if you leave your barre and middle finger in place and just drop down your ring and pinky?

[Looburst]

While there are only 12 notes, I'm constantly pushing myself to find new ways to play them, the chord shapes that is. The whole fingerboard is this huge opportunity for thirds, fifths, ninths, thirteenths and the like. You just have to be willing to look for them. Check out youtube and look for things that challenge your safe areas. It'll blow your mind!

[amyFB]

Originally Posted by Looburst

While there are only 12 notes, I'm constantly pushing myself to find new ways to play them, the chord shapes that is. The whole fingerboard is this huge opportunity for thirds, fifths, ninths, thirteenths and the like. You just have to be willing to look for them. Check out youtube and look for things that challenge your safe areas. It'll blow your mind!

I love moveable chord shapes.

[mr. beaumont]

Originally Posted by rick-slo

Having a problem cycling those two chords. Seems unattractive to me.

I prefer something like cycling Amaj7 – D9 which IMO leads to more
pleasant chord progression choices.
For example: Amaj7 – D9 - Amaj7 – F#+7 – B9 – E7 - A

See, I dig the Amaj7 Cmaj7 deal...particularly the C# on the A chord moving down to the B on the Cmaj7, i like the contrary motion to tge root movement. Gonna work out a progression with it tomorrow, give the OP another option.

[Laughingboy68]

How 'bout Amaj7 - Cmaj7 - Bm7b5 - B°7... ? Cycle thru that and then Bm7b5 - E7 which is the V7 of Amaj7 and so takes you back to the start. F#m7b5 (put an F# in the bass of an Am chord) leads nicely to E7 as well.