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#1
Welcome to the "Name that/fill in that arpeggio/key/scale/lick/chord/song" thread ressurected!

If anyone can go through dozens of pages to find the possibly dead original thread, be my guest, but I think it's time that it be renewed.

Same rules as last time. However, I feel it necessary to bump the original "5 tone chord limit" up to seven to suit the purposes of 13th chords. However, keep them within reason. We don't need too many extensions. It doesn't make the chord harder to do nor is it necessarily more beneficial to one's knowledge to include an overdose of extensions-- it just takes longer to work out.

So, 24 hour limit on this. If he/she who gets the question right does not go, then he/she will either defer to anyone else or let 24 hours pass by, and in doing so, the turn will be up for grabs.

I'll have the first honor:


----
6---
7---
6---
7---
----


Name the chord and the best resolution.


Last edited by WindJammer at May 19, 2005,
#4
I chose A major because it resolves a half step with the D to C#.

An easy one:
All four names for this chord!
e|-----|
B|--6--|
G|--4--|
D|--6--|
A|--5--|
E|-----|


I'm glad this thread is back?

-SD
#5
oo, this one might teach a few people some things. I'll let people catch this thread and have a go before blurting it out.

Remember, everyone, in a... cough*dim7*cough chord, each note is a b3 away from the last. Stacked minor thirds yield...?
#7
Meh-- slow start. I'll give this thread a few boosts as it starts out.

Dim7, G#dim7, Bdim7, Fdim7

See everyone? It's like a synthetic chord-- each note is the same distance from the next one as the last one. In other words, D is to G# as G# is to B as B is to F as F is to D-- they're all a minor third away from eachother.
#9
Ah alright, in the interest of maintainging this thread in its early days, it is up for grabs. Anyone who wants to post a scale or arpeggio ro anythign of that nature for everyone else to guess is free to do so.
#10
I'm not sure if I need to know the chord name or not, because I don't quite know what to call this one, but I'll let you all debate it and if this is illegal just disqualify me.


e|--0--
B|--4--
G|--0--
D|--4--
A|--0--
E|--4--

It's a grim sounding chord to be sure.
THE TREND IS OVER
YOU WON'T NEED THAT ANYMORE
ITS ON SALE AT THE FUCKING DOLLAR STORE
#12
Originally posted by reed
e|--0--
B|--4--
G|--0--
D|--4--
A|--0--
E|--4--

4 0 4 0 4 0
G# A F# G D# E

E G# D# F# G A
1 3 7 9 b10 11

Emaj11(b10)

and yes, b10's do exist. it would be hard to arrange the note names enharmonically so no scale degrees are doubled. it would probably involve double flats and sharps, but its easier (i think) to just have a b10. i have seen b10's in many lead sheets.

.........and this chord (or at least the voicing) sounds absolutely horrible.
#14
Originally posted by slash_pwns
b10 = b3


You can't have a 3 and a b3. That's why we have the term "#9," we can't have a b3 and a 3. However, we can't have a 3, 2, AND #9, so it's a b10.
#15
^to Slash_pwns
don't you have to indicate that there is no fith, somehow?
#16
Nah^. The most common voicing for 13th chords invovles only four notes (of the seven notes included in a dom13 chord), but who wants to say "G13 (no 5th, no 9th, no 11th): to play something like this:


----
5---
4---
3---
----
3---


When "G13" works fine .
#18
I think that slsh_pwns should go.

EDIT: Yeah, both SD and slsh had the same chord, but slsh got it first. Go ahead.
#20
e|--3
B|--0
G|--0
D|--0
A|--2
E|--3




Ibanez RG1570 Prestige
Laney VC15
Boss DS-1
Jim Dunlop Crybaby
#21
^^^Uhh... Bb?

No, really it's Gmaj.


Here's one:
9
8
6
5
4
3
Carpe diem; Seize the day.

Just be.

Scales are notes, not shapes, boxes, or patterns.
Last edited by fendermalmsteen at May 10, 2005,
#23
^^^Correctamundo...

Next, how in hell would you play it? (I know).
Carpe diem; Seize the day.

Just be.

Scales are notes, not shapes, boxes, or patterns.
#25
^^^It looks like it, now that I go check. *stares at sixteen times*
Carpe diem; Seize the day.

Just be.

Scales are notes, not shapes, boxes, or patterns.
#26
*Raises eyebrow at sixteentimes*... *raises eyebrow more*... *Can't... raise.. eyebrow.. any... more...*"Must describe... current... action.... in astericks... with no nominantive subject, but with only an implied subject...oh, forget it.*



SD or slsh_pwns can go, whoever.
#30
Gsus4b5(add6)

Or something like that... I think...
Carpe diem; Seize the day.

Just be.

Scales are notes, not shapes, boxes, or patterns.
Last edited by fendermalmsteen at May 10, 2005,
#33
G-C-Eb
1 4 #5

Sorry, but it's dumb not to call that Cm in inversion. It defies the reason for chord symbol naming.

Gsus4#5
#35
Whatever you're looking for isn't feasible in any sort of way, the harmonic function of C minor overcomes any sort of G-rooted chord, being 1 3 5, the first 3 intervals of the harmonic order of strengths.

That being said, Gsus4+?

-SD
#37
^^^Ohhh, now I feel stupid. Where the hell did I get all the other notes?
Carpe diem; Seize the day.

Just be.

Scales are notes, not shapes, boxes, or patterns.
#39
No, actually it's my go, I think WJ agrees that Cm was the best name.
Using this chord:
e|--8--|
B|--7--|
G|--8--|
D|--7--|
A|-----|
E|-----|

Create a 5-chord progression using the principle of secondary dominants; however there's a little twist. For each chord in the progression, you're only allowed to deviate from the original given chord by a half step with one note.
In other words, you can only alter one note of the original chord. And you can only alter it by a semitone.
The last chord (resolved chord) may be any chord you wish; just make sure it follows the thinking of secondary dominants!
Also, the second chord in your progression must be Dbdom7, and the third must be Gbdom7. This doesn't follow the rules, I know, but makes the progression possible.

Have fun!

-SD

Hint: The idea behind secondary dominants is reliant upon the resolution given by a V7-I cadence.
DeffyEdit: So in other words, your progression will go: Chord1 - Dbdom7 - Gbdom7 - Chord2 - Resolved Chord.

I want chord names and tabbed voicings!
   #1  Db7 Gb7  #2 #3
e|--?---4-------?---?--|
B|--?---6---5---?---?--|
G|--?---4---6---?---?--|
D|--?---6---4---?---?--|
A|------4---4-------?--|
E|------------------?--|
[size="1"]Note: #3 = resolved chord; it can be anything![/size]
Last edited by SilentDeftone at May 10, 2005,
#40
I think that I've got this... assuming it's as simple as I think it is and I understand your rules. (I'll edit it in, give me some time to work it out, so no hints, please!)

EDIT: Yes, please explain the Adim7... is is the original chord? If so, the transition between the 1st and 2nd chord breaks the rule... as does the transition between Db7 and Gb7 as you mentioned.

If I disregard the first chord that you gave... I got the first chord with ease. But before i continue, please explain.

EDIT: Must we alter a note?
Last edited by WindJammer at May 10, 2005,