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Name this chord!
Lango-Django
Niagara-On-The-Lake, ONModerator
Sorry I have been AWOL for so long, my guitar buddies.
Truth is I’ve only had one gig so far this year and haven’t been consumed with music lately.
I mostly play my guitar real quietly in the middle of the night when I can’t sleep.
I think I’ve posted here before about this but at this point in life the thing I enjoy most about playing nowadays is getting high and just playing any damn thing that comes into my head. Try to just imagine it and play it. It’s fun, try it.
Also playing completely in the dark is a great thing too. I find I’m freer and less dependant on my same-old same-old patterns.
Anyway, tonight while doing my usual fucking around I am proud to say that I have discovered a new cool-weird chord!
Well, new to me anyway.
It’s a chord which I hope you will agree richly deserves to be known as——- wait for it——
“A minor tormented”
004554
I have found it makes a great ending chord for “Angel Eyes” and I like to slide the same fingering up to higher Am inversions like XX8998 and XXtwelve/thirteen/thirteen/twelve because it sounds really weird-cool
Your guitar pal,
Will
PS Please feel free to share your similar discoveries…
Edgar Degas: "Only when he no longer knows what he is doing does the painter do good things.... To draw, you must close your eyes and sing."
Georges Braque: "In art there is only one thing that counts: the bit that can’t be explained."
Comments
I’ll answer this as it leads to a fun little trick. You can find the root of many chords by looking for a 5th. If there is more than one 5th (not the case here) you generally choose the one with the most flats or least sharps. If here is a tritone then there is another set of rules (there is one here) the tritone becomes the 3rd or -7 of the structure but the 5th is the one to look at here. So It is an A min/maj7 add 6. The A and E determines the root. Yes you could call it other things but this is the way I learned for determining roots of structures for analysis.
www.scoredog.tv
True dat Score, but doesn’t it sound tormented?
Edgar Degas: "Only when he no longer knows what he is doing does the painter do good things.... To draw, you must close your eyes and sing."
Georges Braque: "In art there is only one thing that counts: the bit that can’t be explained."
In your context an AmM6?
the major 7th is a more defining tone than the 6th but both are important to list. I could have been more technical and said a 5th in the bass too but just wanted to define the chord's notes.
So a bit more fun...inside every minor major 7th chord is an augmented triad. They of course repeat every 4 notes which is why Lango Django's movement of them works.
www.scoredog.tv
I’m going to go in the other direction and call this as an Ab7#5b9. If you switch the A and the Ab around so the Ab is on the bass and A on top it is a more familiar sounding chord: 4x4555. Cool sound
That’s the tritone concept I mentioned so it is also D9b5.
www.scoredog.tv
MY HEAD JUST EXPLODED :-)
Will, I vowed to be off the forum while on vacation but you made me break that vow. Because, I’m learning this classical piece on this nylon string I have here and the further I get into it the more I think it’s one of the most tormented pieces of music out there. It’s Chopin’s prelude #4, opus 28.
First a piano performance where you can see how tormented performer’s face is.
I’m using this classical guitar version by Fareed Haque to learn it. It’s in Bm instead of its original Em key. Chord after chord is tormented
I call that A Major minor 6 or something like that. I end songs with that all the time - creates a suspended feel. You mentioned "Angel Eyes", in my opinion the perfect song. Listen to how Anita O'day ends her version. Chicken skin when I hear it. Volume up!
On guitar in the key of C minor (how I play it) you can end it like this:
X 3 5 4 4 3
X 7 10 8 8 7
X 10 13 12 12 11
A bit of a workout
Steve
I'm no expert on chord naming, but I tend to name in a hierarchy of importance in the basic chord tones, followed by the color tones, and completed by the slash bass note if necessary. So I'd call it:
A-6maj7/E
If you start omitting notes from the right hand side, you will not clash with the tonality of the chord. If you omit notes from the left side you get ambiguous right away. I think it's a pretty good way to look at very complex chords when reading down a chart that was clearly intended for piano players. Usually doesn't hurt to just go with the first half of the chord and figure out the rest on the next go 'round.
First and foremost it's a A-6 chord. The maj7 is a color tone, and the E is the bass note. Of course context is everything. But in Angel Eyes, it's an A-