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#2
11-26-2001, 01:46 PM
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Bb9 - x10111 or 686768
Db9 - x43444 E7#9 - 020133 or 07678x These are the the inversions I use the most for these chords. GL 
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#3
11-26-2001, 04:00 PM
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Gordon,
Thank you so much! I was getting very tired of searching websites for them. I really do appreciate your help. How is Orange County these days? I moved back to IN from Mission Viejo 2 years ago. Yes I am a moron. :-)
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#4
11-27-2001, 11:00 PM
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ASN,
Gordon, ok, that's confusing.... one at a time.... Gordon...I had a question for you somewhere around here concerning the contents of the 'Pumping Nylon' book.... ASN...gotta learn those basic chord formulas! some teach to fish vs. give someone a fish somethin' 'er other idea.... ask (or anyone ask) if you don't get something... Think in the key of C (since there are no sharps or flats...it's easier..)...if you know how to make a C9 chord then you can just move it to make a Bb9 or an A9 or E9 or whatever... if you know how to make a C7#9 you can move it to make a D7#9 or E7#9 or whatever.. C Major Scale = the notes C D E F G A B C continue that out a bit (past the octave) and number the notes.... C Major Scale = C(1) D(2) E(3) F(4) G(5) A(6) B(7) C(Root again) D(9) E(3rd again) F(11) G(5th again) A(13) B(7th again) C(root again) ...the numbering should look a bit confusing...why is there no 10? why no 12? why no 14? read on... read through some of those other Basic Music Theory posts...did they ever make it to Chapter 7 and triads? then ask ask ask....if you don't understand something... some BASIC CHORD FORMULAS Major chord = R 3 5 of a major scale... ... .... ... I like those dots... ... ... ... so... C Major chord = the notes C E G (those are the 1st, 3rd, and 5th notes of the C major scale) ...anywhere on the neck (or keyboard or accordion or amongst a group of three tuba players or three vocalists or three violinists or three trombonists or three horn-tooters of any variety, etc...) any person or persons combining ANY combination and/or number of C's, E's, and G's on any instrument will have formed a C chord... so .... x320xx is a C chord x3201x is a C chord x32010 is a C chord xx2010 is a C chord xxx010 is a C chord x755xx is a C chord xx555x is a C chord x7xx88 is a C chord xxx553 is a C chord xx 10 9 8 x is a C chord xx 10 10 9 8 x is a C chord.. 8 10 10 9 8 8 is a C chord.. x 10 xx 13 12 is a C chord.... etc... on and on and on and on and on and on and on and on and on..... C chords all over the place... and (this is an edit) I should mention that there are 'bits' of C chords all over the place... for example... xxx988 is a full C chord but xxx98x is awfully close to being one, too ...so is xxx9x8 ...gotta recognize those partial bits...they're all over the place too... but... luckily.... no big whoop for your brain to recognize bits of things... ...if you see 7 members of a football team you don't confuse them with baseball and soccer players, do you? Couldn't get through life that way... anyways... C chords all over the place... slide them up one fret and you'd get a C# chord...slide them up two frets and you'd get a D chord...etc..etc... learn that fretboard..... How on earth are you gonna do that? How on earth are you gonna do that in a USEFUL way... There's too much to memorize yells tbondo...argghhhhh!!!!!... every chord can be in a gazillion different places?!?!?!??! and there's a gazillion different chords?!?!?!? Poor tbondo (maybe Taylorsmitten, too?) comes to that statement that everyone comes to... "I mean, geez, to like...you know...to like...be able to use this stuff (theory)...you'd like to...well...you'd....hafta...like....ummmm...like know this stuff...like......I mean...my God!...I mean..what I mean is...aaaararrrrrrghhhhhhhhghhhhhhaaaarhhg... ..To know this stuff well enough to use and APPLY it on the fly you'd have to know this stuff well enough to use it and APPLY it on the fly???????" Why, yes of course. But it's eeeeeeeasy. Easy if you start from a point of understanding and build from it...we'll get back to it... but onward... the basic chord formulas.... Major = R 3 5 (C E G) minor = R b3 5 (C Eb G) sus2 = R 2 5 ( C D G) sus4 = R 4 5 ( C F G) add9 = R 3 5 9 (C E G D) maj7 (major 7th) = R 3 5 7 (C E G B) 7th (dominant 7th) = R 3 5 b7 (C E G Bb) 9th (like ASN asked about) = R 3 5 b7 9 (C E G Bb D) 7th#9 (like ASN asked about) = R 3 5 b7 #9 (C E G Bb D#) organization started to fade a bit there... [ 11-27-2001: Message edited by: mapletrees ] [ 11-27-2001: Message edited by: mapletrees ]
__________________
Indeed, there is something in the current DC/NY culture that equates a lack of unthinking boosterism with a lack of patriotism. As if not being drunk on the latest Dow gains is somehow un-American. - Arianna Huffington May 11, 2009
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#5
11-30-2001, 02:22 PM
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Mapletrees description is quite good. If you add just a few more chord formulas you have all the ingredients necessary for some really fat sounding jazz. Along with his formulas at the bottom of his post add:
Still in C min7 = R b3 5 b7 (C Eb G Bb) min7b5 = R b3 b5 b7 (C Eb Gb Bb) add11 = R 3 5 11 (C E G F) add13 = R 3 5 13 (C E G A) With the chords that mapletrees described, and the chords above you can really start to make the acoustic guitar sound as complete and interesting as keyboard instruments. Some of the chords lend themselves to fingerstyle, because the formations require that certain strings be avoided. This can be hard to do when strumming with a pick. To make the chords more "interesting" add those 7s, 9s, 11s and 13s. Next time you pick up your guitar try playing a Maj7 instead of a standard major. Play a min7 instead of a standard minor. Also try the following progression (in ank key) I maj7 ii min7 V 7 (dominant 7) Then, try the same progression, only substitue a vi min7 for the I maj7 In the key of C this owuld be: C maj 7 d min7 G 7 A min7 d min 7 G 7 It is interesting to note that an A min7 and a C maj7 are so close (C maj7 = C E G B; A min7 = A C E G) This relationship holds in any key. So, feel free to substitute a vi min7 for I chord. The same thing holds true for the IV chord (use a ii min7 as a bustitute) and a V chord (use a iii min7 as a sub). Adding the 7,9,11 chords and using the ii iii and vi minor7 substitutions opens up your music tremendously, and can even make those old "tired" songs sound brand new again. david
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