Post ya fav chord

my parents beat me

Other urls found in this thread:

youtu.be/kJG9ADdc1OA?t=168
youtu.be/MGyNk0YR5Yg?t=2m27s
en.wikipedia.org/wiki/Nonchord_tone
twitter.com/AnonBabble

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13sus4

this is great for ii V i progressions

any chord is great for ii V Is if you're bold enough
anecdotally my friend recently told me something their harmony professor was discussing with them, that we're so conditioned to hear ii V I that a sequence of any minor 7 chord, followed by any dominant 7 chord and any major 7 chord can work as a ii V I. i'm not sure how much that holds up but it's fun to try out

Cm11

I tend to stay in the key of D flat major in most of my songs

thank you for making me mash random chords together for the rest of the night

Can anyone who is well versed in music theory tell me what the secret chord that David played to please the lord was?
I’ve heard that it was just some kind of 7th chord inversion but that seems too simple to me.

its a secret

im hardly ever in standard tuning tho

i like f#DF#AD and "triple D" aDADD amongst others.

>oldtime banjo player

but I can't represent 11 limit just intonation chords on that

if you really do have a favorite microtonal chord record it and post it because i'd love to hear it

I don't really have a favorite because they're too hard to name and I rarely use the same temperament twice anyway. But if you make extended chords incorporating neutral thirds and 11/8 tritones and so on, it can sound fantastic

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as harmonic as my family

Bass player here, thats a cool idea which I'm going to try.

Maj7s are my favourite Btw.

Not sure if there is a nicer way to write these, but they work really well as broken chords. I'm not sure if the first one is strictly quartal harmony, but has four perfect fifths stacked in it and nice tension between the nineth and the minor third next to each other. The second the same tension between the sixth and the fifth, but also having both the third and the nineth in the bass. Damn fun to play about with on guitar.

first chord reminds of the beginning of liszts mephisto waltz

Definitely those stacked fifths.

major 7th chords make me cum

he played a variation of a g chord,
because Gsus 4 our sins he died

lmao nice tritone, sounds like shit.

yuck

ummmm

lmao that's d-sharp minor.

HOLY SHIT Sup Forums IN CHARGE OF MUSICAL COMPREHENSION. NICE THEORY WORK GUISE, TOP OF THE CHARTS.

If you listen to the song, it's the 4-5-6 chords in major, which are the 6-7-1 chords in minor.

Also, he plays the 3rd note in each triad, i.e. a third above the 4th, a 3rd above the 5th, 3rd above the 6th. This is very common harmony in almost all EDM and pop.

Try C-D-e minor, or F-G-a minor.

forgot to post yours, user

He loves minor d I bet

are you talking about a #9 chord? I wouldn't voice it like that

In c minor i use it to replace an augmented g chord e.g f-/d diminished /the voicing I posted /c-

well I have no idea what you are talking about, but the chord shown in your pic is a G7#9, and I would voice it with the #9 not directly next to the third but an octave apart

sorry, G7#9b13 is it

I call it the Varg chord

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C power chord is the official DUDE WEED LMAO chord

A minor

I was taught that you'd rather have them a half step apart since otherwise you'd have the bflat and the b a minor ninth apart which sounds worse? Idk I'm horrible at theory stuff especially in English

Dsus2

nice n simple

it may sound bad if you have an isolated b9, but with the 7th in between it doesn't matter. the #9 is the harshest dominant sound anyway. the best is you just play the different possibilities and see for yourself. all I can say is that in my ears your voicing sounds to stuffed and just not nice

why double that a?

My favorite chord is F Major ;)

what the fuck even is a power chord?

I can Mos def see what you mean i will definitely try to vary it a bit I just got used to it since I only use it sporadically during improvisation

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A#11#5sus(b2)4\G# aka the closet homosexual realizes he's not gay after his fourth cock that night

Stacked fifths sound gorgeous. Pic related is two chords from Persichetti's Symphony 6 that I really like that are grounded in stacked fifths.
youtu.be/kJG9ADdc1OA?t=168 (2:48)

dammit

F#m add9

I don't understand having a "fav chord", because context and relativity is everything in music. A diminished chord can sound pretty ugly on it's own but at the right point in a progression it's beautiful. And the chord it resolves to is all the more pleasing because of the tension that came before it.

my beats parented me

My chords here. I understand that it's all context, but these are my favorite chords despite the fact that I have never actually used them, I don't understand their context yet. One day though.

Perhaps a better question would be what's your favorite chord sequence or what's your favorite voice leading?

Dm9(no5)

I also dig that Hendrix chord, E7#9no5

is that chord the only reason double sharps/double flats exist? I don't know how you would go about making 3 consecutive pitches like that sound good in context

I basically always just try to write the weirdest chord progressions I can, then try to add melodic parts that make it sound sensible.

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This one. Gives me chills every time

youtu.be/MGyNk0YR5Yg?t=2m27s

Ofc you're right, but I just find some chords even of the same type sound different, like e-minor doesn't sound as sad as Bflat-minor when played on their own

You can hear quite a bit of that in Stravinsky's Agon

I see we have a banjo player. I picked up mine 6 months ago and taking music theory classes. So far I learning about minor chords. Have any favorite minor chords?

I don't see why there would be a difference unless you're either using historic temperaments or steered in a certain direction by the instrument you're playing

The Lord was pleased indeed.

>youtu.be/MGyNk0YR5Yg?t=2m27s
love that film! the tamtam at the end is always great

Kek. Underrated post

Agreed. The fork in the road where theory and practicality part ways.

You just said that playing an instrument might change how you perceive certain keys/chords so things like genres that one plays the most should change your perception aswell

My chords now bitch

wow love this

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jesus fuck how do you play that i've got an 11 almost 12 note reach and i cant fucking do it

use two hands...

Sharped and flatted notes (relative to the key) intensify directed motion towards a specific note. In the key of G major, you might have a melody use the note C# which will most likely lead up to D. Likewise, the melody could have Eb which leads downwards to D. If you know what applied dominant chords are, you might use sharped and flatted notes in conjunction with an applied dominant.
Double sharps and flats work the same way. Instead of G major, say you're in G# minor and you want to intensify motion to the dominant note, D#. From below, you could diatonically go from C# to D#, or you could "sharp" the C# and make it C double sharp. For a double flat example, you might use the key Ab major and for an instance, you want to use the flatted supertonic note for some color (since flatted supertonics are cool). In the key of Ab major, this note is B double flat.

i tried that and i can get my fingers to all the notes but cant play it without pressing unwanted keys, but i swear to god i will play this chord

fuck it just use set theory, my favorite chord is 0 2 4 7 11

I still don't understand the application of this voicing: Why include the A? Or perhaps: why include all three notes at the same time?

>not playing this with all 8 fingers of your giant mutant hand
pleb

Pick up a guitar and play a chord you like to play most, just for the sound alone.

Thats how I choose.

E -
B - 3
G - 6
D - 7
A - 9
E -

DMaj7/F#

dont like the doubled bass and top note

Ah but then without first establishing any other context, you immediately hear it as the tonic. Maybe it sounds better or worse to me as the tonic as it does the IV

This may have been the most unimpressive somewhat unpleasant chord i have ever heard

keked

To clarify, really this way you might only be deciphering what your favorite chord to use as the 1 chord is

I don't know what this is but I like it

Honestly I couldn't answer that for you. It's not functional so my explanation of double sharp/flats doesn't exactly hold, I just explained double sharps/flats for general (functional) cases because a lot of people are confused by why they exist in the first place.

The first four notes should be played by your left hand, the last four should be played by your right.

You're gonna a break all your hands

So you really had no idea what it was going to sound like before you played all the notes? Step up senpai

i knew it wasn't gonna sound great but i wasn't expecting that level of mediocrity

there is no doubled bass and top note, it's CMaj9

t. fingerlet

why did you want to play the chord then?

Kek

>say you're in G# minor
really? is there a key signature for this?

i also like this one

Is there a good reference chart for notes and chords that sound good together?

Circle of fifths

G# minor is the relative minor of B major. 5 sharps
notes that make up the chord (obviously) work with the chord. for other notes, take a quick look at this page
en.wikipedia.org/wiki/Nonchord_tone

Thanks for not calling me a retard, guys. Appreciate it

Happy to help dude.

Guys don't pay attention to any of this music class bullshit just follow your ear. When music becomes nothing but theory you lose focus of the sound itself. Really you should be trying to unlearn what you already know to put your mind in the most free and open state during composition.

Dude, music theory originates from people following their ear. Notes on the page (especially in the case of double sharps/flats) serves to inspire performance by streamlining melodic lines to allow you (yes you the performer) to easily pinpoint where the include subtle expressivities.
Please spend some time performing music from scores before you spout bullshit.