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#1
i need some really depressing chords, not emo... but like... "i miss you"

whatcha got?
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#2
Em?
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#5
Every ordinary minor chord, duh...
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#6
"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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#7
E|-------
B|--3---
G|--0---
D|--0---
A|--4---
E|-------


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#8
Quote by Captian Xero
Fm7

Nah, a minor seventh chord always makes the chord more funky then depressing. Just play a regular Fm.
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#10
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...
Quote by cakemonster91

*chuckle* A peanut. With a face.



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#"




Know your theory, then play like you don't.

#11
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.
#12
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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#13
Quote 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
Quote by cakemonster91

*chuckle* A peanut. With a face.



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#"




Know your theory, then play like you don't.

#14
Suspended chords, but resolve them right after, probably..
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#15
Quote by QuiteTheFellow
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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#16
Quote by Muphin
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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#18
m7 chords have a major triad in them xD

i always thought they "happier" then just a minor triad.
#20
Quote 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.
#21
Major 7ths are an easy way. If you feel like it, take an ordinary chord progression and throw in some 7ths(of course the ones that are in key) and see if it works.
#22
_madd9 chords.
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#23
Emsus2

e-7
b-10--
g-11-
d-9-
a-7-
e-0-

Emb5sus2
e-7
b-10--
g-11-
d-8-
a-7-
e-0-
ಠ_ಠ
<|>
/ω\



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#25
|---|
|---|
|---|
|-6-|
|-7-|
|-5-|


Move that around
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#26
Quote by Eggmond

Emb5sus2
e-7
b-10--
g-11-
d-8-
a-7-
e-0-


How can you have a Minor Sus chord?

And Nick I get what your saying now, kind of...
Just messing around with that C chord now and came up with a lil chord thingy that seems to make it sound sadder than it usually is: Am - C/G - Em With the C/G try only playing the bottom 4 strings as well as this takes away your major 3rd and root so giving the chord less of a happy feel
Quote by cakemonster91

*chuckle* A peanut. With a face.



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#"




Know your theory, then play like you don't.

#28
dudes, a single chord does not sound depressing, maybe meloncholy or dischordant but its the combination of chords and rhythm that gives that effect, try this
Emaj / E? / Emaj / Fmaj / Emin
e|--------------------11-1-1-11
B|--------------------11-1-1-11
G|1h3-3-3-33-11-22-2-2-22-0
D|2h2-2-2-22-22-33-3-3-33-2
A|2h2-2-2-22-22---------------2
E|0h0-0-0-00-00---------------0

slow droning rhythm, sounds dischordant, psycadelic, mystical, just wonderful
#29
A lot of the times its not the single chord itself that makes a sad sound, but the chord that leads up to it, or whatever comes after the chord.
#30
My favorite sad progression is Am Dm E.
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#31
Half Diminished chords: 1 - b3 - b5 - b7, if used right. Look up the so-called "Tristan chord".
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#34
Quote by scrilly
Dm. It's the root of the saddest of all keys.

Someone had to say it.


damn
beat to it...
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#35
Quote by scrilly
Dm. It's the root of the saddest of all keys.

Someone had to say it.


Thats subjective cuz i say Bm personally...
Quote by cakemonster91

*chuckle* A peanut. With a face.



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#"




Know your theory, then play like you don't.

#37
Quote by Peanut1614
Thats subjective cuz i say Bm personally...

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#38
E|---x--- Am7b5
B|---4---
G|---5---
D|---5---
A|---x---
E|---5---

E|---x--- Ebmaj7
B|---8---
G|---7---
D|---8---
A|---6---
E|---x----

E|---x--- D7
B|---3---
G|---5---
D|---4---
A|---5---
E|---x---

E|--3---- Gm
B|--3---
G|--3---
D|--5---
A|--5---
E|--3-----


play Ebmaj7 then Am7b5 then D7 then Gm
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#39
I'd say minor-major7 chords.

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


or anything with some mad tensions.

Thirteenth chords are good too.

--5--
--3--
--3--
--2--
--3--
--X--


but using sad sounding chords isn't all that's neccesary, you have to utilize a sad chord progression, which you can change in various ways, i.e. adding suspended chords, other tensions, diminished chords, half-diminished chords, etc. I also say look into some jazz and look at the chord progressions, because some of them will blow your mind.
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Last edited by poochy at May 29, 2007,
#40
Quote by scrilly
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Quote by cakemonster91

*chuckle* A peanut. With a face.



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#"




Know your theory, then play like you don't.

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