#1
I'm making this thread with the intent to expand everyone's musical pies, because lately, I've been studying alot of different chords, that I guess I never understood before. I always understood chords that were pretty "standard", anything they teach in music class. The whole standard notation, classical, by the book, schoolwork aspect of it was on the completely different spectrum to me, compared to guitar and theory

Eric Johnson, Erik Thomas, Johnny Greenwood, Omar Rodriguez Lopez. I know there are a lot of guitarists that use weird chords but these just come to my mind, I really don't feel like getting into jazz theory

They all use really weird chords if you read their tabs and watch them play

So...let's ****ing broaden our minds!
And we will weave in and out of sanity unnoticed
Swirling in blissfully restless visions of all our bleary progress
Glowing in radiant madness
#3
what are we suppose to do?
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#4
well, im not sure if this is what your looking for, but Mel Bay has a really great book out there for this kind of stuff. it basically takes you through every kind of chord you'll ever need, and teaches you 3-4 different shapes for them. and gives you etudes....lots and lots of etudes. deffinetly worth checking out.
#5
again, i'm not sure what the point of this thread actually is, but i'll contribute (somehow) to it anyway.

I would assume by "weird chords" you simply mean altered or extended chords. ORL and Johnny Greenwood for example use alot of extended chords in interested inversions. Omar in specific uses shedload of diminished chords and chords which contain (and in particular in dyad form) b2 intervals. these chords aren't just picked willy nilly or thrown out to be "cool" and unique. The extensions (which are intervals added onto a core triad, e.g. major triad, minor triad, etc) and the intervals chosen are chosen to support an underlying harmony or to provide some form of feeling.


If you are getting into serious harmony study (which is what i take chordal study to mean), then begin by learning intervals and the structure of chords. Then play around with inversions, open strings and polychords. The extensions are used to voice lead the harmony or even play the melody within the chords.

just some stuff to think about.
#6
a book that explores chords/harmony in depth...(not for beginners) though its a bit confusing in its format...but excellent in information...

chord chemistry by ted greene
#7
Learning scale/chord structure can lead you to develop many unique chord voicings of your own. When playing a scale on guitar you are able to visualize the notes over an expanded amount of frets. Then going down by each string you can add a new note to your soon to be chord

For example:

Scale: An 8-tone C Major Scale with a #5 and a Natural 5



With my blue lines i pointed out a few chord voicings. Although some are rootless, if youre playing in a band, and the rest of the band understands the key, or chord changes, you should be fine.

(lol sorry for the crude drawing) With guitar,you can add up to 6 unique tones (6 strings = 6 tones). With this you should be able to take any scale and find numerous of unique chord voicings. Of course this method applies to more simple scales like C Major, or G minor, but more tensions will lead to more interesting chords
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#8
Quote by TDKshorty
I really don't feel like getting into jazz theory
You do realise "weird chords" came from this genre? All those artists are either blues and jazz musicians or are heavily influenced by blues and jazz. If you really want to use "weird chords" you'll need jazz theory.

In jazz you don't just use these chords for the hell of it, you generally use these chords because the voice leading is right or because the extensions make the chord move better or because the melody demands it or something along those lines.

It's great that you know of these chords, better if you know how to play them (voicings and that), but do you know how to use them?
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