#1
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How (why) is this a Bm chord
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#2
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It's a Bm chord because it contains the notes B, D and F#, In this instance the F# is doubled but the chord is still Bm. If it was done as a barre chord it would be done like this;
Code:
Bm ╒═╤═╤═╤═╤═╕ │ │ │ │ │ │ ├─┼─┼─┼─┼─┤ 1 1 │ │ │ 1 ├─┼─┼─┼─┼─┤ │ │ │ │ 2 │ ├─┼─┼─┼─┼─┤ │ │ 3 4 │ │ ├─┼─┼─┼─┼─┤ The notes in this chord are all two frets higher than the notes in an open Am. Code:
Am ╒═╤═╤═╤═╤═╕ │ │ │ │ 1 │ ├─┼─┼─┼─┼─┤ │ │ 2 3 │ │ ├─┼─┼─┼─┼─┤ Code:
│ │ │ │ │ │ ├─┼─┼─┼─┼─┤ 1 │ │ 1 1 1 ├─┼─┼─┼─┼─┤ fret 7 │ │ │ │ │ │ ├─┼─┼─┼─┼─┤ │ 3 4 │ │ │ ├─┼─┼─┼─┼─┤ |
#3
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It's just an Am chord slid up two frets. The bass root would be on the fifth string, but you're leaving it out. Still has a B note, which is the root, and a D note, which is the minor third, so it's a Bm chord based on that alone. Anything else is just juice, man. It's extra. I often play minor chords based on that grip, using just the three strings in the middle. although my hand always add the root on the fifth string just because of muscle memory.
If you have the root and the minor third - heck, if you just have a decent bass player and the minor third, it's a legit minor chord... Freddie Green played about a million one note chords based on that principle in his career. As an aside, I very often substitute a m7 chord for any minor chord, so that nice Bm7 at the seventh fret that Stanron showed, I just barre the 7th fret and play the whole thing, I damp out the fifth string, boom, done.
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Brian Evans Around 15 archtops, electrics, resonators, a lap steel, a uke, a mandolin, some I made, some I bought, some kinda showed up and wouldn't leave. Tatamagouche Nova Scotia. Last edited by MC5C; 01-02-2020 at 08:55 PM. |
#4
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If you want to really emphasize the B, play XX0402.
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stai scherzando? |
#5
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You could label it Bm/F#.
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Derek Coombs Youtube -> Website -> Music -> Tabs Guitars by Mark Blanchard, Albert&Mueller, Paul Woolson, Collings, Composite Acoustics, and Derek Coombs "Reality is that which when you stop believing in it, doesn't go away." Woods hands pick by eye and ear
Made to one with pride and love To be that we hold so dear A voice from heavens above |
#6
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Quote:
Triad chords (3-notes) are built from alternate steps of a scale. The 1st (lowest) note is named as the "root", the 3rd note is (er...) the 3rd, and the 5th note up is (guess what) the 5th. The distance between these notes dictates what sort of chord it is. Major and minor chords both have a "perfect 5th" (7 semitones or half-steps between the root and 5th). Major chords have a bigger (major) 3rd, 4 half-steps from the root, and minor chords .... yep you guessed it ... have a smaller (minor) 3rd, only 3 half-steps above the root. Chord symbols use a shorthand, taking some intervals for granted. So a B major chord is just called "B". We take the 3rd (D#) and 5th (F#) for granted. You can understand chord formulas better by counting the frets up one string. So if we want a major chord starting on an open string, we want frets 0-4-7, to give us the right size 3rd and 5th. For a minor chord, it would be 0-3-7. So to form a B minor chord, we could start with the B string. The minor 3rd we want is then the 3rd fret (D) and the perfect 5th is the 7th fret (F#). Of course we can't play a chord on one string! So we spread the 3 notes across 3 strings. In this case, we keep the D on fret 3 of the 2nd string, but move the B to 4th fret 3rd string, and the F# to fret 2 on the first string. So, x-x-x-4-3-2 is a complete Bm chord: B-D-F#, root 3rd 5th. But what about those other 3 strings? It's a bit impractical to have to avoid or mute those when strumming, which is why most guitar chord shapes double up the chord tones to fill as many strings as possible. There are many ways we can get B, D and/or F# notes on the other strings, and you shape is just one of them. Obviously you have to avoid hitting the 6th and 5th strings (E-A) when playing it, but I guess you can do that. Another option you might like to try is this: -x- mute with index or middle if you can't barre it -3-(D) middle -4-(B) pinky -4-(F#) ring -2-(B) index -x- mute with thumb That gives you the B as a bass note.
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"There is a crack in everything. That's how the light gets in." - Leonard Cohen. Last edited by JonPR; 01-03-2020 at 01:50 PM. |
#7
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Guild CO-2 Guild JF30-12 Guild D55 Goodall Grand Concert Cutaway Walnut/Italian Spruce Santa Cruz Brazilian VJ Taylor 8 String Baritone Blueberry - Grand Concert Magnum Opus J450 Eastman AJ815 Parker PA-24 Babicz Jumbo Identity Walden G730 Silvercreek T170 Charvell 150 SC Takimine G406s |
#8
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Quote:
Code:
│ │ │ │ │ │ ├─┼─┼─┼─┼─┤ | │ │ 1 1 1 ├─┼─┼─┼─┼─┤ fret 7 │ │ │ │ │ │ ├─┼─┼─┼─┼─┤ │ | 4 │ │ │ ├─┼─┼─┼─┼─┤ Code:
│ │ │ │ │ │ ├─┼─┼─┼─┼─┤ | │ │ 1 | 1 ├─┼─┼─┼─┼─┤ fret 7 │ │ │ │ 2 │ ├─┼─┼─┼─┼─┤ │ | 4 │ │ │ ├─┼─┼─┼─┼─┤ Code:
│ │ │ │ │ │ ├─┼─┼─┼─┼─┤ | │ │ | 1 1 ├─┼─┼─┼─┼─┤ fret 8 │ │ │ 2 | │ ├─┼─┼─┼─┼─┤ │ | 3 | │ │ ├─┼─┼─┼─┼─┤
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Guild CO-2 Guild JF30-12 Guild D55 Goodall Grand Concert Cutaway Walnut/Italian Spruce Santa Cruz Brazilian VJ Taylor 8 String Baritone Blueberry - Grand Concert Magnum Opus J450 Eastman AJ815 Parker PA-24 Babicz Jumbo Identity Walden G730 Silvercreek T170 Charvell 150 SC Takimine G406s Last edited by robj144; 01-03-2020 at 02:49 PM. |
#9
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Just a way of putting a name on a chord chart.
An inversion of Bm is less specific as it could also be Bm/D.
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Derek Coombs Youtube -> Website -> Music -> Tabs Guitars by Mark Blanchard, Albert&Mueller, Paul Woolson, Collings, Composite Acoustics, and Derek Coombs "Reality is that which when you stop believing in it, doesn't go away." Woods hands pick by eye and ear
Made to one with pride and love To be that we hold so dear A voice from heavens above |
#10
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If it'd make it any easier on your arthritic hands, you could play XX0432 and have an octave 3 (D) rather than an octave 5 (F#). DBDF# or Bm/D
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Jim _____________________ -1962 Martin D-21 -1950 Gibson LG1 -1958 Goya M-26 -Various banjos, mandolins, dulcimers, ukuleles, Autoharps, mouth harps. . . |
#11
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Thanks for all the answers.
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