Members Knottyhed Posted January 31, 2008 Members Share Posted January 31, 2008 -12--10--12---x---x---x- (A, B, F#) A9 without the 5th?B7 without the 3rd? I find myself using that shape a fair bit, but I'm not sure how to notate it... Link to comment Share on other sites More sharing options...
Members 1001gear Posted January 31, 2008 Members Share Posted January 31, 2008 Maybe I missed something, I have G A E. Rootless C6 to my ear. Link to comment Share on other sites More sharing options...
Members Knottyhed Posted January 31, 2008 Author Members Share Posted January 31, 2008 No you didn't miss anything - I was being a tool, I meant to tab 2 frets up from where I did!! Still the shape is what I'm interested in so your answer still helps . A rootless maj6 chord might make more sense. Link to comment Share on other sites More sharing options...
Members jonfinn Posted January 31, 2008 Members Share Posted January 31, 2008 -12--10--12---x---x---x-(A, B, F#)A9 without the 5th?B7 without the 3rd?I find myself using that shape a fair bit, but I'm not sure how to notate it... I would call that different things, depending on context. If we're going by the tab (G, A, E), then it could be C6, Am7, D9sus4, or quite a few other things. That voicing implies a lot of things, but isn't complete enough to nail it down 100% If I have trouble deciding, I usually listen to the chord within the song, and ask myself what the root is. That usually helps. Link to comment Share on other sites More sharing options...
Members GIR unit Posted January 31, 2008 Members Share Posted January 31, 2008 Gerard. Link to comment Share on other sites More sharing options...
Members Davepch Posted January 31, 2008 Members Share Posted January 31, 2008 in drop D it's the first chord to dear prudence:thu: Link to comment Share on other sites More sharing options...
Members Li Shenron Posted February 1, 2008 Members Share Posted February 1, 2008 G+A+E If you consider G the root, A is the major 2nd and E is the major 6th. If you consider A the root, E is the perfect 5th and G is the minor 7th. If you consider E the root, G is the minor 3rd and A is the perfect 4th. Since the interval of 3rd is what gives a chord its first "mood direction" (I sometimes say, its "gender"), I'd lean towards calling this chord an Emin4 (or do you say Emin,add4?) where the 5 has been omitted. But the chord is in the song, not in the individual instrument. Depending on what the others are playing, the meaning of your chord changes. If someone's playing a C, this will probably sound a C6. Link to comment Share on other sites More sharing options...
Members 1001gear Posted February 1, 2008 Members Share Posted February 1, 2008 If someone plays an F you got Fmaj7 add 9 or F13. This would make a cool game for sharp students. Trump this Chord. Link to comment Share on other sites More sharing options...
Members Dubb Posted February 1, 2008 Members Share Posted February 1, 2008 As others have said, it depends on the context, but from what's given I would call it an Am7. BTW to Li Shenron, I know it's just a simple mistake on your part, but E is a fifth from A, not fourth... but anyway I'm drunk as {censored} so take whatever I say with a grain of salt... you wouldn't believe how long it took me to edit this post :S Link to comment Share on other sites More sharing options...
Members Li Shenron Posted February 1, 2008 Members Share Posted February 1, 2008 Yes, I correct it Link to comment Share on other sites More sharing options...
Members Knottyhed Posted February 1, 2008 Author Members Share Posted February 1, 2008 Playing it 2 frets up from where I tabbed it!! I get A, B, F#... I have it in a couple of other progressions but in the one I'm thinking of at the mo Am7, Am, B7, , Em7 Hence why I thought maybe a B7 without the 3rd... I guess a Dmaj6/Bm7 would be another/better way of looking at it? Maybe I'll have a play round with a fuller chord voicing later on and see what sounds right. Link to comment Share on other sites More sharing options...
Members gennation Posted February 1, 2008 Members Share Posted February 1, 2008 I use that chord quite a bit myself. I find myself using for dom7 and m7 grips with the b7 on th G string, the Root on the B string, and the 5th on the E string. Since there is not "3" in the grip it's ambiguous to the dom7 AND m7 chords, depending on context. It can be thought of all the other ways that have been suggested, and more if you pick any of the 12 notes as a Root. But, that's the one way I "use it". I'll try and take a look at your progression before I head to work but, beside any other context, it looks like you have a iv-V-i progression so it could definitely be a B7 the way I described it (A=b7, B=R, F#=5), or depending on the Root movement it's a derivate of B7 somehow. If thought of as I present it as B7, it's part of a VERY common, if not the most common, grip for B7: E--2-- = 5B--0-- = RG--2-- = b7D--1-- = M3A--2-- = RE--x-- Link to comment Share on other sites More sharing options...
Members gennation Posted February 1, 2008 Members Share Posted February 1, 2008 Yeah, it's just an inversion of B7. Try this from B7->B7->Em7 B7 B7 Em7E----------------B---4---7---8---G---2---4---7---D---4---7---9---A---2---6---7---E---------------- That second chord is your chord moved down an octave. You could also play it like so... E--2--B--0--G--2--D--1--A--x--E--x-- After playing it I see another place I use your form but with a Root note 4th below the A: E--14--B--12-G--14--D--12--A--x--E--x-- I use it as a movable maj7, maj9, D6, Dadd6, etc... grip all the time. Link to comment Share on other sites More sharing options...
Members archofmusic Posted February 18, 2008 Members Share Posted February 18, 2008 G sus2 6G sus2 (13) would indicate a 5thor A5th/G Link to comment Share on other sites More sharing options...
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