Ahteh

I'm alright with theory, but not too good at applying it to the guitar. Anyway, I was messing around, pretty much playing random strings and "made-up" chords. I put something together that I really like, but I have no idea how to approach it theoretically.

Here are the chords of the verse, all played on the highest three strings:

e--- 0 Dadd9(no5)?
b--- 7
g--- 7

0
7
6 C#madd11(no5)?

0 C(no5)?
5
5

2 ?
0
0

3 ?
0
0

I really don't know what I'm doing here. Basically the point of the thread is that there's lots of notes that don't fit into the D major key that I thought I was in, but I still like it. How should I approach this musically?

Any insight would be cool. I really just want the learning experience.

shelovemyguitar

To be honest I never really bothered with theory. If it sounds good, it's good. I think you shouldn't apply a limit to creating music. I'm a big prog fan so... I've made up chords, that I really can't tell you the name of, but they just sounds very good, and create an awesome atmosphere...

Do you know Porcupine Tree?
Look up at 1:50

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"What is the best kind of slave to have? One who does not realize they are a slave"
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Lavatain

The first 3 you have there looks about right, i'd say the last 2 are G major 7 (no5(as you put it to mean no 5th of the chord)) and G major (no5(again with no 5th)).
5ths aren't always required to complete a chord. You can imply a harmony/chord with just the first and 3rd, possibly more so than a 1st and 5th, as with 1st and 5th you don't know if it's a minor or major until it's given context.

HotspurJr

Don't approach is academically. Approach it musically.

Listen to the progression? What SOUNDS do you want to hear over it? What SOUNDS do you want to hear after it? Play those. If it takes you a while to find the sounds you have in your head, then keep at it (and work on your ear!)

Ahteh

Yeah, I figured as much. What confuses me is that I have a D chord, a C# chord and a C chord. That could hardly be right.

To the others: I get what you're saying, and I'm not hoping to limit myself. I agree that if it sounds good, go with it. I just want to understand what I'm doing as much as possible.

mrkeka

The second chord is not a C# chord it's aninverted F#7

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MaggaraMarine

I think F#m7, not F#7. Both would work but listen to the progression of Home Sweet Home (Mötley Crüe). This reminds me of it. But definitely not a C#m. The two last chords are Gmaj7 and G.

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:-D

yeah hi

we're pretty stocked with bullshit at the moment, no need to add more

when there's a shortage, come back and post stuff like this again

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Ahteh

Alright, well, even if it's not a C# chord there's a C# in it. Which means I have both a C#, a C and a D in the three main chords. I'm just wondering whether this should be something I should be concerned about.

mrkeka

Do you like how it sounds? Then no, you should not be worried about it

Having both the M7 and m7 of a key in a song is incredibly common... what you are doing can be described as borrowing from the parallel minor. But is it the sound you are looking for? If it is, there is no right or wrong

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bouttimeijoined

It's sounds good becuase of it's a chromatic descent in the bass. I bet if you play:
0
5
4
after that it will sound pleasing because it continues the chromatic decline.

And the 5 note in any (non-inverted a.k.a. root position) major or minor chord is not really important because it's implied by the 3rd overtone of the root.

Your second chord is either an F#7 or F#m7. Try
0
7
6
8
Then
0
7
6
7
If the first one sounds right to you then it's F#7, If the second one is right, then it's F#m7. Your song, you decide.

Generally when naming chords start from the lowest pitch note and look for the fifth. if theres no fifth look for a fourth, if no fourth look for 6ths, then 3rds.

As stated above the last two are Gmajor7 and G.

MaggaraMarine

Yeah, it's just chromatic bass (D-C#-C). Very common. Many songs have chords "borrowed" from other keys (so not all the notes fit the key signature). Notes that don't fit the key signature are called accidentals.

__________________
My motto: Play what the song needs you to play!

Gear:

Charvel So Cal (MIJ)
Digitech RP355
MXR Micro Chorus
Laney VC30
Tokai TB48

shelovemyguitar

lol did I hurt your feelings? There's no wrong in music, unless you're as close minded as you are. I'm giving my 2 cents, maybe you can go take out that broomstick from your ass.

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"What is the best kind of slave to have? One who does not realize they are a slave"
Wake up people!

:-D

seems as though i'm not the one on the receiving end of hurt feelings, considering you've bumped this thread after more than three weeks simply to respond to me

it's no different than anything else - music contains both right and wrong, for example arbitrarily implying that learning theory is going to "apply a limit to creating music" is wrong

saying that there's no wrong in music is also wrong, so you're now 0/2

justify it however you like by calling other people closed minded or assuming it'll be detrimental to your own writing, but you're really just skirting the actual reason you haven't bothered with theory

yes, i know

i'm refunding them

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mrkeka

When you say theory can limit creativity, you are being completely wrong. So yeah, there is. wrong in music. Theory is descriptive, not prescriptive.

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danresn

Just remember that with just three notes you could technically outline more than one chord, it depends on the melody you sing over it and what the bass is playing. But these two are first a G Major Seven (G, B, F#) and a G Major (G, B, G), at least to my ears.

Hydra150

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:-D

indeed.

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91RG350

whats with the llama? im seeing it everywhere.... im guessing its along the lines of the gene wilder "you must be new here"...?

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