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As noted in other answers the tuning is one full step flat from standard. The easiest way to play this is to start with a 3rd fret G Barre chord formation then lift the barre finger so that instead of barring you are only fretting the 3rd fret on the 6th (fattest) string. Then arpeggiate the strum one string at a time. There is not an actual barre used ...


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If your world view contains a system of harmony that tells you what you MAY do, you'd better follow its rules. If it contains one that attempts to describe what IS done, work out what you mean by such a notation. If you have a reasonable answer, it's good!


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Seems to me, if the tuning is standard, that no barre is needed. Instead, play a Gmaj like you would with a barre, but only use the tip of the barre finger(index) on the bottom (fat)E. Then play each string in turn, bottom to top. Then slide the bottom down a fret. My tuner can't find the three notes S,L and I... Hearing it, all strings are tuned down a ...


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I am confused by the "SLIDEE" written down the side, but aside from that, I would personally play this with my thumb over the top fretting the 3rd fret on the low E string, then ring finger (third finger) on the 5th fret of the A string, pinky (fourth finger) on the 5th fret of D, and middle finger (second) on the 4th fret of G. Most people don't fret with ...


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It depends on how you're going about it but the traditional way, if not playing a barre chord, is 2nd finger on low E3, 1st finger on A2, and little finger on B3 and E3. I used to find that a handful so I cheated, and it's stuck with me for 25 years. I use my thumb over the top of the fretboard to play low E3, mute the A string with end of my thumb, and 2nd ...


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It sounds like you are new to guitar chords. Just practice, practice, and practice. Work on it every day (maybe for about 20 minutes at a time). Chords are not easy for beginners. I personally had a difficult time at first, and would struggle to prevent some of the strings from being muted, to be able to hold down all the necessary strings to their ...


3

There are a number of ways to play a G chord in what I call first position (using some open strings). The easiest possible way to play it is to fret the high e (first) string on the third fret with a finger of your choice and play the four strings closest to the floor (the four skinniest strings 1-4). Here are the charts for 5 ways to play a G chord in ...


2

Spacing ("voicing") a chord like that makes the interval between the topmost "seventh" and the melody note a semitone, also called a minor second. A different spacing would change that to a major seventh. Minor seconds sound harsher than major sevenths, because the notes of a minor second usually occupy the same psychoacoustic critical band. That's why, ...


4

Even if the b2 interval mentioned in Dan Davis's answer is avoided by using a different voicing, the problem that is usually meant in this context is the b9 interval between the major 7th and the (higher) root note. The b9 interval is considered a very dissonant interval which in traditional jazz harmony is only "allowed" on a dominant seventh chord ...


3

It looks like that bit of information has been in the article since it was written. From the original 2005 article: Often the melody note or other pitched phenomena influences which of the above chord types a performer selects. For example, if the melody note is the root of the chord, including a major seventh can frequently cause a harsh dissonance. I ...


0

It completely depends on your style of music. In rock-and-roll, inverted chords are rare. The same goes for country music, blues, folk, and rockabilly. Of course, this is not a strict rule by any means. In jazz, it depends what role you're playing. If you're comping in jazz, with a bassist covering the low notes, often players stick to root chords ...


1

Practice, practice, practice. What you are experiencing is 100% natural. Every guitarist out there had this problem at first. It's very common for guitar methods to give you the C chord as your first one. This chord is very hard for beginners. Keep practicing, and play chords that you find are easier (like D, E, and Am). You'll get it, just be ...


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If you are really struggling, make your first 3 chords E A and B7. They all work together, and with them, you will be able to accompany literally hundreds of songs. E and A are quite easy to play separately, and the change from one to the other is simple. If you leave your index finger on 3rd string 1st fret, it can stay there for both chords. It acts as an ...


3

First of all I want to say congratulations on your decision to learn guitar. As you have already discovered, it is not an easy instrument to master - but once things begin to come together and you start learning to change from chord to chord and play songs, it is very rewarding. And since there is always room for improvement no matter how good you become, ...


1

I want set your vocabulary straight before answering your question. An inversion is a very specific idea in music where the lowest note of a chord (the bass note) affects the function of the chord. A voicing is a specific ordering of notes. These ideas are grouped together a lot and sometimes are interchangeable, but this distinction will be important to my ...


2

It's important to realize that there are two basic flavors of that chord: the first being the "Hendrix chord", which acts as a I chord, i.e. you use an E7/#9 in a song that is in E (like Purple Haze). Here, you can't use an altered 5th, because this would take away the stability necessary for the I chord. You could use a perfect fifth though (but I've never ...


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A #9 chord does not mandate an altered 5th. You can get 13th or a b13 (and #9b13 sounds great with a perfect 5th, you'll generally throw in a #11 with it). For a basic #9 chord, a possible mode is the diminished scale, starting with a half step. You can check that this includes a perfect 5th, a #11 and a 13 (unaltered).


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You have to remember the full chord is an E7#9 meaning that the chord is a E7 with an added #9. The notes of the E7 are standard unless otherwise stated. It is an altered chord because we're adding a #9 which is considered altered tone because we are taking the natural 9 and raising it or altering it to get the sound we want. However just because the 9th is ...


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Because a b10 = b3 which implies a minor third is used, excluding the major 3rd. But designating a #9 means a major third is also a part of the chord. Together with the minor 7th this is the way to designate a dominant chord with an altered tone.


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Whenever I suggest the "Spinning Wheel" or "Hendrix" chord sounds a lot more like a flattened third on top of a dominant 7th structure than like a sharpened anything, I am shouted down by supporters of "pile of thirds" orthodoxy. They'll let me have a C6 chord though. So the only answer I can offer is that it's a religious thing.


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This isn't standard notation. But we can try to work out what someone might have meant by it. Maybe the slash is an error, they just mean Em7+5. That's Em7 with a raised 5th. E, G, B# (Ok, call it C) D. Maybe they want the raised 5th to be the bass note, though it's hard to see why this wouldn't be written as C(add9). What comes before and after it? ...


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Lets see what exactly is a dominant seventh. It a is a chord which instead of three notes with one of the notes being doubled we have four different notes. So instead of having four notes being C-E-G-C we have C-E-G-B. The seventh chord is a tetrad (Triad but four notes instead of four) Now you could build chords with this added note on any scale degree. ...


1

First off, two links. One person's transcription of the chords for "Crush": http://www.azchords.com/d/davematthewsband-tabs-1009/crush-tabs-104305.html And another person's "accurate Dave Matthews Band tablature": http://www.dmbtabs.com/song.php?sid=41 Those two seem to match pretty well and seem good to me compared to a live performance with just Dave and ...


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Chords that contain the #5 of the key have a dominant function in that key. For example, in the key of C, the #5 = Ab and chords that are often used to resolve to C major include: Fmin, AbMaj, G7b9, and Dm7b5, all of which contain the Ab note.


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Jazz people call it sideslipping and it's a way of reinforcing your primary chord. Your primary chord is Bb, so if you temporary move up (or down) a half-step and back, it tends to reinforce the sound of Bb as "home base".


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Fellow music theory student here, so take my answer with a grain of salt: Not all notes of a song has to be diatonic; in fact, it sounds quite boring if every note in the piece is diatonic. In this case, I think the B chord is used as a neighbor tone, one of the ways to make the music more interesting.


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It could also be used as a chromatic device to the next chord Bb --> B --> C. The same way non chord notes are sometimes chromatically to go the next chord / note.


3

When playing in a key, not every single note/chord played needs to be in a key. The analysis you link is as follows: Bb: |B Bb A Bb|B Bb A Bb| | I - | - - | What it mean though is simple. In this section we're perceiving the Bb chord as "tonic"and the B and A chords really don't function in a traditional sense and are more for ornamentation. ...


2

This is the 'easy come, easy go' part, right? Firstly, in a rock and pop music in general, taking the same chord shape and moving it around is a common device. Think of the F-C-G-D-A (all major) flourish at the end of the Time Warp chorus, or the all minor chord progression Bm-F#m-Am-Em in Inner City's Goodlife. Obviously doing this often takes you outside ...


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You're right that m6 is G-Bb-D-E. It's a bit of a misnomer, but it is a minor triad with a major 6th note added. So I, bIII V VI. The addition of the proper m6 interval clashes with the V, but could be called mb6.It's more commonly found as Ebmaj7, though, and in the order shown would be the 1st inversion - not sounding as good as the root.Sometimes on ...


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You should name it Eb maj7 because that's what it actually is. If the lowest note is G, then it is just the first inversion of Eb maj7.


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You are right that in minor the minor sixth of the key is part of the II chord, and it is a tension (b9) that is very often used on the V chord. However, it is not a valid tension on the I chord, because the minor sixth is an avoid note on that chord (basically because it is a half step above a basic chord tone, the 5). In this blog post you can read more ...


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Take the book "Jazz Improvisation No. 1" by Mehegan. Play through all the examples on the piano. Repeat until your ear starts to recognize the flavors of the chords.


2

I once heard from a pianist that the chord you know is what you will hear in a song. This means that if you hear a song and hear a Dominant #5b9 and you were very familiar with dimished chords you will first interpret the chord you heard as a diminshed chord my advise is to learn the different chords. Go to apassion4jazz.net (something like that). You will ...


2

while triad-based chords imply specific harmonies, quartal chords are more generic and basically don't imply specific harmony in the key you're in, which means you can use them pretty much anyplace and in lieu of regular chord progressions. Quartals are more vague so they fit in a wide variety of situations. Quartals can also be thought of as voicings for ...


1

You can either use them as "sounds" in a more impressionistic way if you play a modal piece (just like on the whole "Kind of Blue" album mentioned in Shevliaskovic's answer). But if you want to play them in "the context of an existing harmony", assuming you mean standard harmony based on thirds, then you can try to figure out how those quartal chords are ...


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A good example is used by Bill Evans on So What: Bill used the kind of chords you mentioned, while adding a third at the end. The theorists have categorized these kind of chords as ...


1

A 20 year old hardware Midi expander/arranger (Ketron MS40 is what I use, but there is a lot of different ones around) will be so much less painful than what you can make Linux software do that it isn't funny. Hydrogen is a reasonably workable drum arranger/sequencer readily available on Linux. It works directly via PCM so you avoid the lousy sample ...


1

Good answers here. These are my two cents: Know who your favorite producers are. Have a good sense for what you love and what you don't. Sometimes knowing what you don't want is more important than knowing what you do want. Do your homework - read everything you can about your favorite producers. Through interviews, you will gain insight into their ...


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Ah, yes! This tip from Joe is one of my all time favorite things to meditate on. I especially like to pick voicings from the Joe Pass chord book, and apply this concept to them. I think that the main idea here is associating different sounds with chord voicings, and developing your ear to hear different harmonic possibilities over chords. Also, developing ...


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Here is a link to Jamey Aebersold Jazz http://www.jazzbooks.com/ There is a great pdf that has a book relating to what you may need. http://www.jazzbooks.com/mm5/download/FQBK-handbook.pdf


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To understand how chords with 7ths work, you need to know the scale you are using. The chords most commonly used are built on thirds, so if you choose a scale and then a note from that scale, you'll see what chords are maj7 chords, by ascending thirds from the note you chose. * In the major scale, only the I and IV are major chords and have a major 7th. ...


7

Knowing what modes/scales to use over a chord can be approached a number of ways. Here's an over simplified way to know what scale you can use over a certain chord (DISCLAIMER: THIS IS OVERSIMPLIFIED): Is it Major? (R 3 5 7) Is the fourth sharped? (Yes - you might try Lydian) Otherwise, use Ionian or all of the above Is it Minor? (R b3 5 b7) Is the ...


0

G#dim7 is a rootless inversion for G7b9, making it a nice substitution for this type of chord. The b9 is an altered tension that goes well before a minor chord (look for the altered dominants in a minor 2-5-1). The G#dim7 kind of acts as a G7, which itself is a tritone substitution for a C#7. C#7 is the V7/II - secondary dominant for the II chord, F#m7 - ...


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In my opinion, finding a scale fitting in a chord is a nice solution for jazz improvisation. Any scale or modes which does not conflict with the chord is a good option, even if you can not name the scale. The scale you see in the video he used for A7#5b9 is an A Altered scale (thanks to Matt). The concept of this video is, improvise a scale starts from the ...


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The Eb more typically comes at the top. I hear it much more as a flattened third than a sharpened 9th, so I prefer to label it C7(b10). People who want every chord to be built out of a pile of thirds may strongly disagree :-)



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