cool chords

dennis

got this one from bireli, but only decided to transcribe it when i saw adrien and seb doing it all over the place:

over any E or Bb type (major or dominant) chords:

0 11 11 11 11 18

got this one from seb

over G major:

x 9 9 9 10 9 ... on the top e string, u can play a melodic line like 9 11 12

got this one from seb again...

works well over D major type chords or F#m...

x x 16 14 12 9 .... play the high C# with your left hand thumb under the neck...

over C or Cm, i think i got this from my friend who studies with charlie banacos.... when i played this for the sinti in holland, they all said : chouka (beautiful) and wanted to learn it....

x x 5 5 3 7

Jack

dennis wrote:

works well over D major type chords or F#m...

x x 16 14 12 9 .... play the high C# with your left hand thumb under the neck...

Dennis,

You're killing me, man. Can you point out a particular point in a particular tune where you'd use this one? And in general, how are you hearing these used? As a comping device over another rhythm player, or in a soloing context?

Thanks,
Jack.

dennis

you can use it over tunes that are in the key of D or F#m... preferably over a D or F#m chord, but it will also adds a nice outside feel over other chords....

they work for endings too...

when seb used it , he used them in more or less random places going according to feel... it sounds outside but so beautiful...

alright i'm going to sleep...

V-dub

dennis wrote:

x x 16 14 12 9 .... play the high C# with your left hand thumb under the neck...

That is the single most difficult chord I have ever tried, ever. I seriously stretched my hand in a bad way attempting it. There should be disclaimer under that one for risk of personal injury!!

RKatz

Its alright for Seb as he is a proffessional cello player and is blessed with large hands, as beautiful as it is, it is a party peice chord, it looks really impressive.

My advice with all these cords is to experiment with them intuitively, you will often fine pretty but 'out' uses for them and you may be supprised how they relate to certain keys and II-V-I's.

For example:

x 9 9 9 10 9 over G

you can move this shape cromatically and in doing so you will land on the II of G and III of G...........................

To be honest just use your ears.

Zoot

This one just slots straight in as a Gm6 substitute.
Obviously transpose accordingly - and is somewhat easier to play than the wrist mangler above.

X X 5 7 5 6

Do the old shaking out the match thing and it gets the girls every time.

bbwood_98

basic flamenco ending-

play a G major chord, and then lower the notes on the 6,2,1 strings a fret (to f#, C# F#, with d g and b on the 5,4,3 strings) to end a tune.
see echoes of spain for this idea in another key.