Learned two new Chords today

[Hooligan]

I will be playing the Lincoln Brewster version of Amazed this week. Rather than cheat, I decided to learn a couple new chords.

I learned E/G# and Bsus

Normally I would not play a slash chord but figure on acoustic there may be a voicing they wanted. That G# adds a noticeable bass note so I am playing that.

Also I would normally play a standard B but felt a bit adventurous although I think I should find and inversion for it. There may be an easier one out there.

The charts that I have for this song call for an Emadd9 I looked at the chord but it sounded horrible. So I looked at another chart and it calls for a standard E. it sounds much better, and with the G# on the other chord there is plenty of distinction between the two. It also calls for an F#m but the F#m7 sounds tons better.

[BuckyB]

How do you play the E/G#? The only way I know is to barre an open C shape at the 4th fret. I use that chord fairly often, too.

[Hooligan]

I am playing a standard "E" but adding my pinky on the E string at the 4th fret (G#)

E A D G B E
__________
4 2 2 1 O O

[Jaybo]

You could use your index to bar strings D-G-B at the 9th fret, the ring finger on the 11th fret of the D string.

Or D chord at 4the fret. Index finger bars strings G-B-E, middle finger on 5th fret of B string, with ring finger 6th fret on the D string.

I find those positions the easiest - definitely other ways to play it too, but those work for me.

[Jaybo]

I liked the way you tabbed that.

I can never get my pinky to cooperate that way. lol

[jarrodmichael]

I am playing a standard "E" but adding my pinky on the E string at the 4th fret (G#)

E A D G B E
__________
4 2 2 1 O O

Some other voicings that might work, especially if fingerpicking:

E A D G B E
__________
X X X 1 O O (just the top 3 strings)

or

E A D G B E
__________
4 X X X O O (same as above, but the G# is an octave lower)


Maybe even:

E A D G B E
__________
4 X X 4 O O

or

E A D G B E
__________
4 X X 4 5 O (this one's arguably better than the one above, as it doubles the root not the 5th)

-jm

[MadHatter]

I like the last way you showed JM

it's just like how you play pearl jams "better man"

easy and changes into other chords very smoothly

[MusicChad]

One of my absolute favs is:

E A D G B E
__________
4 X 4 4 O O

Partly because you can also play a really nice F#m7 as:

E A D G B E
__________
2 X 2 2 0 0

and an A2:

E A D G B E
__________
X O 2 2 O O

So, you can easily "walk" up the progression between E and A2 by playing:

E, F#m7, E/G#, A2 or walk "down" the same thing (with voicing as above...)

I use that kind of thing on sons like "Silent Night" for example...

[Hooligan]

Chad you are the man. That is way easier......... :yeah::yeah:

Since we're in the mood show me another way to play that Bsus.

E A D G B E
__________
O O 4 4 5 2

[refin]

You can also barre up a C chord...

E A D G B E
------------
4 7 6 4 5 4


or,for that full open sound.....same as MusicChad's,but adding a B note on the A string.

E A D G B E
-----------
4 2 4 4 0 0

[Hooligan]

E A D G B E
-----------
4 2 4 4 0 0

I found this one to be the easiest for me

E A D G B E
_________
X 2 4 4 X O

I tried to get that G on the E string you have tabbed above, but that's too hard for me.

:D

What an awesome thread.......

[MusicChad]

or,for that full open sound.....same as MusicChad's,but adding a B note on the A string.

E A D G B E
-----------
4 2 4 4 0 0

^ That's what I do when there is a bass player, etc. at the "inversion" is a bit different (Root note not on the bottom)

I usually barre up using an A7 shape thing, just pinky up one fret higher for the suspended chord...

E A D G B E
__________
X 2 4 2 5 2

I've also done something like:

E A D G B E
__________
X 2 4 4 0 0

It sounds more "open" but... ...warning - music theory to follow... I personally like the "drone notes" or open B and E strings on the super-tonic (ii) and mediant (iii) but not so much on the sub-mediant (vi). In my opinion, the open string thing is awesome, adds some "common tones" that help fill the "gaps" between the chords and such, but also can be completely overdone. It drives me up the wall when I hear an entire song with the E and B strings ringing wide open (especially when they aren't in tune or the player is HACKING away on that poor guitar - ouchie).

I feel like the C# minor in the key of E has some extra gravitas when played complete. It helps emphasize the minor chord compared to the major tonality and both serves to break the monotony of the constant open string thing AND very often helps push the "harmonic rhythm" of the song in a more weighty way. If I'm parking on the C#m (or the B for that matter) for a long time, I might try to add a 13, 9 or something else for "color" while still getting a break from that open E and B...

So... ...in other words... um... yeah... right... OK! (I think I'd sum it up by saying "be careful not to overdo the open string thing"...)

[MusicChad]

Just thought of a great example:

Hosanna (as done by hillsong, etc.) I like to use "both" at the chorus in this song...

Hosanna, hosanna, hosanna in the highest
E/G# A2 B C#m A2 C#m B
^ ^ these open-ish ^ ^ these NOT "open voiced"

etc. etc. hope that makes sense.

**********
wow, the spacing kind of "went haywire" on that...

Simple idea is the first half of the phrase I play the "open voicing" to keep the sound flowing and smooth and not really emphasize those chords... Don't want to "break the phrase" unnaturally... The second half of the phrase I play the full chords, sometimes "Adding" something - but always breaking away from the open E and B strings (Drone notes) to help emphasize the "landing" or "end" of the phrase. It gives extra weight and draws one's ear to the different chords more than the open chords do... (stronger "harmonic rhythm" if you will)

Boy – I don’t feel like I explained that well at all... ask questions if it would help... ...sorry...:dunno:

[jarrodmichael]

Wow, lots of nice voicings here. Neat ;)

This voicing can work too, although Chad may take me to task for trying contribute to "open drone B and E" syndrome :yikes: I wouldn't argue with ya, either :wasntme:

E A D G B E
__________
X X 4 4 O O

Of course, voicings can also create ambiguity in your ear - try playing Bsus like this and see what you think of how it sounds. Since the E is in the lowest voice, you could also write this as B/E. This one's especially interesting since the 3rd is also there (D#). But to me, since there is so much space between the E and everything above, it comes across as being based on E (EMaj7, maybe). It works well leading to or from E, that's for sure.

E A D G B E
__________
O X X 4 4 7

-jm

[MusicChad]

Tonal ambiguity = 20th century classical music...

In other words - hack away on those open strings and perhaps you could claim you are playing "classical" guitar???????? :dunno::huh::confused::eek::hmm:

[jarrodmichael]

Yeah. Thinking on a slightly different line, you can also say that tonal color = jazz (or more accurately that jazz is all about colorful chords, voicings, progressions, and melodies) ... I studied jazz at Indiana University with David Baker during the year I was there. I learned from him that it matters less what you call a chord, than how it functions, and the color and feel it provides.

Is this "C add 6" or "A minor"?

E A D G B E
__________
X 3 2 2 1 O

The classically trained musician would likely call it A minor first inversion. The rock / pop musician would likely call it C add 6 because of how it's voiced. The jazz musician would say who really cares, but you should throw in a color tone somewhere and then let's play over it :D

-jm

[Strat-tastic]

One of my absolute favs is:

E A D G B E
__________
4 X 4 4 O O



You can also barre up a C chord...

E A D G B E
------------
4 7 6 4 5 4


or,for that full open sound.....same as MusicChad's,but adding a B note on the A string.

E A D G B E
-----------
4 2 4 4 0 0

We are talking E/G# here?

Surely it's

4 X 2 4 0 0

or

4 2 2 4 0 0

?? :huh:

[MusicChad]

I guess technically mine adds a 9th (or a second depending on where you consider it to fall in the voicing...)