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Old 05-25-2007, 07:54 PM   #1
obilisk
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most depressing chords

i need some really depressing chords, not emo... but like... "i miss you"

whatcha got?
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Old 05-25-2007, 07:57 PM   #2
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Em?
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Old 05-25-2007, 07:59 PM   #3
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A minor does something for me

Am the chord... That looks dodgey otherwise
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Old 05-25-2007, 08:00 PM   #4
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Fm7
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Old 05-25-2007, 08:01 PM   #5
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Every ordinary minor chord, duh...
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Old 05-25-2007, 08:03 PM   #6
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"not emo", Grow up. As if certain chords are exclusive to emo.

But minor chords, isn't that a bit obvious?
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Old 05-25-2007, 08:05 PM   #7
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E|-------
B|--3---
G|--0---
D|--0---
A|--4---
E|-------





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Old 05-25-2007, 08:07 PM   #8
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Fm7

Nah, a minor seventh chord always makes the chord more funky then depressing. Just play a regular Fm.
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Old 05-25-2007, 08:15 PM   #9
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C major
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Old 05-25-2007, 08:47 PM   #10
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Nick iv seen you post something like that twice lol, the 1st with a 'if you play the right way' and i actaully tryed but it just dosnt give the same sadness as a minor chord can to my ears, possibly an explanation would be useful instead of baiting :P And i like Bm cept on 1st 4 strings. E/9 is also a nice one...
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Old 05-25-2007, 09:09 PM   #11
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hehehe

Basically I believe that emotions should be sperated from musical concepts and that it benefits any player to spend time trying to isolate the elements which contribute to creating an emotion. The easiest and most obvious way to do this is to use a musical concept in a context (a major chord being depressing) with which it might be said to be contrary to.
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Old 05-25-2007, 09:33 PM   #12
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It's all about context.

Cmaj7 doesn't seem so 'I miss you' or sad. But play a Cdim7 after it... and... Yeah, I just think it sounds great Up for interperation on weather or not it's sad. Anyways, it's all about context. A major chord can bring such sadness if you place it right.
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Old 05-25-2007, 09:33 PM   #13
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Originally Posted by Nick_
hehehe

Basically I believe that emotions should be sperated from musical concepts and that it benefits any player to spend time trying to isolate the elements which contribute to creating an emotion.


Bit vague lol and im tired but im reading we should isolate the element (or note) that creates the given emotion (sadness). So why a minor sounds sad and a major happy. Following this line of thought then the most obvious thing to me would be to isolate the note (or notes) that create the emotion, then use them.

The element in a chord to create the emotion in this case be the b3...? Since we know this we then apply it by playing a minor chord with the b3...

I dont think iv grasped what your saying tbh but im tired its like 2:30am so im off but post back and ill check 2moro

EDIT: Just read the context, yeh witht he right context you can change the feel of almost any chord, but we were talking more of a chord by itself i think. Or at least i was
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Go to your staff paper and re-write this song a half step down so on the paper it'll be like you have a "C" just move it down to a "B#"


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Old 05-25-2007, 09:50 PM   #14
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Suspended chords, but resolve them right after, probably..
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Old 05-25-2007, 10:30 PM   #15
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Suspended chords, but resolve them right after, probably..


I always thought sus4 sounded inspiring... I've never been able to use one in any of my compositions.
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Old 05-25-2007, 10:44 PM   #16
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I always thought sus4 sounded inspiring... I've never been able to use one in any of my compositions.


I was thinking it would fit the 'I miss you' context more than 'depressing chords'. I like to use them alot when I'm just mucking around on my acoustic.
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Old 05-25-2007, 10:45 PM   #17
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Old 05-25-2007, 10:45 PM   #18
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m7 chords have a major triad in them xD

i always thought they "happier" then just a minor triad.
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Old 05-25-2007, 10:50 PM   #19
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hit up a A7sus - A7 - Dm - Cm7
i like this progression
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Old 05-25-2007, 10:56 PM   #20
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Quote:
Originally Posted by Peanut1614
Bit vague lol and im tired but im reading we should isolate the element (or note) that creates the given emotion (sadness). So why a minor sounds sad and a major happy. Following this line of thought then the most obvious thing to me would be to isolate the note (or notes) that create the emotion, then use them.

The element in a chord to create the emotion in this case be the b3...? Since we know this we then apply it by playing a minor chord with the b3...

I dont think iv grasped what your saying tbh but im tired its like 2:30am so im off but post back and ill check 2moro

EDIT: Just read the context, yeh witht he right context you can change the feel of almost any chord, but we were talking more of a chord by itself i think. Or at least i was



You've got it backwards actually

What I'm saying is to remove the associations of certain musical ideas with human emotions by intentionally using it in an unexpected (in this case, the least subtle and thus easiest to identify success, the straight opposite) way

The hard part is tricking the listener into believing that context as authentic.

I can't do it well but I'm working hard at it.
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