#1
hey guys,
im in a bit of a rut right now, and I was wondering if anyone out there felt like posting some of the more unusual/cool chords they know of either alone or in some that go together?

Sorry if this is the wrong forum section, just though that not only would it inspire me, itd be a cool resource for everyone to trade cool sounds

thanks in advance for any help
Mal: "Doctor, I'm taking your sister under my protection here. If anything happens to her, anything at all, I swear to you, I will get very choked up. Honestly, there could be tears." FIREFLY RULES!!!
#2
Look at some diminished chords - they rule man! Oh and the Hendrix chord... google it.

This website is pretty good for different chords... www.chordbook.com

Gurrrd luck. Oh, and if you're in a rut, listen to music that you would NEVER DREAM of listening to - it gets me inspired!
#3
We probably get several threads a day looking for new chords. Sad chords, happy chords, peaceful chords, angry chords, chords that sound great while eating marmite, chords for driving, chords for swimming and so on and so on you get the picture.......

The point is though that learning a bunch of exotic chords isn't going to help you get out of your rut. More than likely all you do is widen the rut. What you need to learn is how to write a good melody. A good melody is what turns that tired old Am chord progression into something like 'Losing my religion' or 'Hurt'

With that said (And to make sure I don't get flamed) here's Am add b13 and Gm6 -
e|---0-----0---|
B|---6-----3---|
G|---5-----3---|
D|---7-----0---|
A|---0-----x---|
E|---------3---|
.
#5
I know a lot of extended chords. I haven't seen a chord I couldn't voice in a year (sounds like I'm bragging, but I'm not, it's really easy if you know theory). The problem is, that's great for playing and comping, not so great for writing. Sure, I know how to play all these new chords but I'm honestly not completely sure if I know how to write well with these chords.

And so I don't get flamed, here's a pretty little C13th chord with it's root on the E string
10
10
9
8
8 or x
8

And a C#11 with it's root on the A string, just cause l love ya
2
3
3
2
3
x
        ,
        |\
[U]        | |                     [/U]
[U]        |/     .-.              [/U]
[U]       /|_     `-’       |      [/U]
[U]      //| \      |       |      [/U]
[U]     | \|_ |     |     .-|      [/U]
      *-|-*    (_)     `-’
        |
        L.
#6
I agree with Nietsche and demonofthenight, weird chords probably won't get you very far, but I'll humor and give you the greatest chord known to man: Em7/M9.

0
7
8
9
10
0

Strum it slowly started at the low E. You should recognize it
i don't know why i feel so dry
#8
plz use the search bar.i seem to recall a thread the exact same as this with the same title recently
ಠ_ಠ
<|>
/ω\



Tell me what nation on this earth, was not born of tragedy-Primordial
#9
Quote by Imafrog
hey guys,
im in a bit of a rut right now, and I was wondering if anyone out there felt like posting some of the more unusual/cool chords they know of either alone or in some that go together?

Sorry if this is the wrong forum section, just though that not only would it inspire me, itd be a cool resource for everyone to trade cool sounds

thanks in advance for any help



I would suggest that rather than finding the magic chord to get you inspired, you listen to and/or learn some music.

Do a little sonic exploration. See if you can discover some new music (new to you), and get inspired by that.

Quote by demonofthenight
The problem is, that's great for playing and comping, not so great for writing. Sure, I know how to play all these new chords but I'm honestly not completely sure if I know how to write well with these chords.



The problem is lack of context.
shred is gaudy music
Last edited by GuitarMunky at Jul 10, 2009,
#10
Quote by demonofthenight
I

And a C#11 with it's root on the A string, just cause l love ya
2
3
3
2
3
x


that a C(#11) or a C# (11)? it looks like the C (#11) but I just thought i'd clarify.

EDIT: wait a sec - it has no 5th! making it C9b5
The only 6 words that can make you a better guitarist:

Learn theory
Practice better
Practice more
#11
Quote by doive
that a C(#11) or a C# (11)? it looks like the C (#11) but I just thought i'd clarify.

EDIT: wait a sec - it has no 5th! making it C9b5


You could definitely call that chord a C9#11 (the missing 5th is irrelevant).
shred is gaudy music
#12
Quote by GuitarMunky
You could definitely call that chord a C9#11 (the missing 5th is irrelevant).


could it be wrong to call it a C9dim5? i have a feeling it would (does dim imply a bb7?)
The only 6 words that can make you a better guitarist:

Learn theory
Practice better
Practice more
#13
No, dim7 implies a bb7. Just dim implies a diminished triad. And the little half-diminished symbol (the o with a line through it) implies a diminished triad with a b7.
#14
Quote by doive
could it be wrong to call it a C9dim5? i have a feeling it would (does dim imply a bb7?)


Well the term diminished (dim) wouldn't be appropriate here.

It's a C9 chord with a #11 (or b5 if you prefer, but generally it would be seen as an upper extension)
shred is gaudy music
#15
Quote by GuitarMunky
The problem is lack of context.
One problem, I guess

Also, I don't think I agree with substituting "interesting" chords in for the fuck of it. Some guys would just use ninth chords instead of major chords and say, hey it sounds different and so it must be good.
And I'm against anything that could lessen the impact of the melody.

You could definitely call that chord a C9#11 (the missing 5th is irrelevant).
Sure, I'd call it that. I just thought that 11th chords naturally have ninths in them.

C#11 is misleading, sorry, I should have seen that. C(#11) would probably be better. Whatever, as long as I call it something a learned musician can decipher, mission accomplished.

I don't like C9(b5) just because. Something about chords that are both major in quality and have a flattened fifth, I don't like it.

It's definitely not a diminished chord, since there it's not minor.

And munky, where is your chord?

Lastly, Cdim7(b9) with the root on the A string (I don't like inversions, they make things complicated for me)
2
2
2
1
3
x
        ,
        |\
[U]        | |                     [/U]
[U]        |/     .-.              [/U]
[U]       /|_     `-’       |      [/U]
[U]      //| \      |       |      [/U]
[U]     | \|_ |     |     .-|      [/U]
      *-|-*    (_)     `-’
        |
        L.
#16
You could definitely call that chord a C9#11 (the missing 5th is irrelevant).


Given that C9 is a dominant chord, I'm going to do something crazy here and argue that it's more sensible to think of the chord in question as an altered dominant and call it a b5, given that there is no perfect fifth to suggest otherwise and nothing to suggest that it is, in fact, a #4.

I don't like C9(b5) just because. Something about chords that are both major in quality and have a flattened fifth, I don't like it.


A b5 is a very common alteration to a dominant chord.
Someones knowledge of guitar companies spelling determines what amps you can own. Really smart people can own things like Framus because they sound like they might be spelled with a "y" but they aren't.
#17
Quote by demonofthenight
One problem, I guess

Also, I don't think I agree with substituting "interesting" chords in for the fuck of it. Some guys would just use ninth chords instead of major chords and say, hey it sounds different and so it must be good.
And I'm against anything that could lessen the impact of the melody.
So that explains jazz.......

<_<

>_>

<_<

*Inserts obligatory chords and exits thread with great haste*
    A13sus4  Dm9
e|---5--------8----|
B|---7--------10---|
G|---7--------9----|
D|---5--------0----|
A|---0--------8----|
E|-----------------|
.
#18
Quote by Archeo Avis
Given that C9 is a dominant chord, I'm going to do something crazy here and argue that it's more sensible to think of the chord in question as an altered dominant and call it a b5, given that there is no perfect fifth to suggest otherwise and nothing to suggest that it is, in fact, a #4.


A b5 is a very common alteration to a dominant chord.



Well it's a c9 chord with a #11. If you want to call it the b5 that would reasonable as well, though it's quite common to have a voicing with no 5th on the guitar, and it's also common to leave the 5th out of a #11 chord because of the grind. (and of-course if you wanted the grind you voice them both)



Quote by demonofthenight


And munky, where is your chord?



I gave other relevant advice in place of a chord.


heres one for you though ...

E 13


---------------------------------------------------
------14--------------------------------------------
------11---------------------------------------------
------12---------------------------------------------
------11---------------------------------------------
---------------------------------------------------
shred is gaudy music
Last edited by GuitarMunky at Jul 10, 2009,
#19
^Looks like a Dmaj7#11/G# without a fifth
        ,
        |\
[U]        | |                     [/U]
[U]        |/     .-.              [/U]
[U]       /|_     `-’       |      [/U]
[U]      //| \      |       |      [/U]
[U]     | \|_ |     |     .-|      [/U]
      *-|-*    (_)     `-’
        |
        L.
#21
Quote by demonofthenight
^Looks like a Dmaj7#11/G# without a fifth



Could be other things as well, ofcourse, like a DMaj7b5, but I'm suggesting it as an E13, which it is.

voicing = 3,7,9,13
shred is gaudy music
Last edited by GuitarMunky at Jul 10, 2009,