07-22-2011 12:55 PM
07-22-2011 01:24 PM
07-22-2011 02:40 PM
07-22-2011 02:55 PM
07-22-2011 03:45 PM
I think I might be a little unusual as a keyboardist, in that I’m a reverse chord snob, if there is such a thing. I don’t like to use crazy extentions—just major, minor, the occasional suspended chord...maybe a seventh if absolutely necessary. Though, I do like bass inversions and substitutions--a few of those can go a long way.
07-22-2011 04:01 PM
07-22-2011 04:01 PM
I use the chords that the song tells me to use.
07-22-2011 04:09 PM
Nads, while i'm not sure what a chord snob would be, i think of chords as color or tension. And after a while, if you expose yourself to different types of music, you get pretty bored of listening to the basic chords, i do anyway. They serve their purpose and in many ways are the only options if you want to keep true to some styles, although that is changing.
In even light rock, not to mention metal we are hearing all kinds of sharp 11 chords, 13 and 9 chords etc all the time now, and they sound sickly hip, because they have been introduced and used musically. And the voicings make a huge difference as to how they come across.
Listen to the intro of Vasoline by the stone temple pilots from long ago, that is a sickly hip chord, Bb dom shrp 11, leading to G.
If you learn some theory chords are easy to understand, they are harder to use, and my approach is to spend some time with one for a while and try to internalize it's sound and character.
07-22-2011 04:13 PM
An interesting point about how fancy one does or doesn't get with chords.
As chords include more intervals above the triad, it seems to me that you probably leave most of the average listeners behind - they can't really distinguish or get too excited about subtle differences between complex chords.
They DO seem to pick up on unusual changes or abrupt modulations, but 9ths, 11ths, 13ths, clever voicings, and the occasional aug/dim and/or added non-harmonics - I'm not sure much is registered except "this is jazzy" or "this sounds exotic" or some other suchlike reaction.
The intervals above the triad have always seemed to me to make the various chords sound more alike as they all start to have more shared notes. And classic voice-leading is all about smoothness, too. At some point, it all gets too smooth for the rock/country/folk crowd. Of course, in jazz, all these shared notes between chords gives the soloist more notes to play with, more options.
In the long run, I value a brilliant simplicity more than an amazing complexity. An artist with the true gift of simplicity can make I-IV-V evoke things they've never quite evoked before. But I also get really juiced when some jazzer manages to juggle an impossible number of complex intervals and changes and make it sound easy and sincere. Depends.....
nat whilk ii
07-22-2011 04:28 PM
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