Attention!!

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moresound

Loud Sun Studios
:) This forum is now dedicated to music theory only, till a few members get caught up and more versed in music theory. :)
 
On a 12 string guitar, if you play a D chord, you can fret the second note on the bottom and octave E with your thumb to make an F# for a nice low 'THHHOOONGGG' to bring out the richness of the chord.
There you go, some theory. Do I get in ?
 
grimtraveller said:
On a 12 string guitar, if you play a D chord, you can fret the second note on the bottom and octave E with your thumb to make an F# for a nice low 'THHHOOONGGG' to bring out the richness of the chord.
There you go, some theory. Do I get in ?
Click to expand...

Yup but it's not for me I had 4 years of it in college and am still a little faint of stomach!
 
You can enter GT... but that chord is now more properly called a D/F# in recogntion of the added bass note (or it is in my way of thinking...)

Discuss...

I use those transition chords a lot - I mean I know everyone does, especially singer songwriters who master their voice but never their instrument and never learn many other possibilities - but I'm a regular user of the A/C# to move up from A type chords to D type chords in a major way....
 
Quiet in the new theory forum.....

*whistles tunelessly whilst waiting for others to show up*

Maybe it's the decor...
 
with initial success first trying out 5/4 time, makign the ear of the listener "hear" simple 4/4 time, but, give a sense it has "something more" they cant put their finger on... I am now thinking about trying 7/8 or 7/4 time signature.

I get "stuck on" a cadence, and presently am sleeping with "I---IV---V---V, I---IV---V---IV" in the classic "call" and "answer" setup...

I also "persistently" mix I chord and IV chord note melodies to make the "complicated" melody lines...

I dont for the most part use "chords", I write mainly by note melodies, not chord melodies... the "chords" come contrapuntally, set up such that individual notes from the over melody and under melody occasionally coincide and just "happen" to form partial chords at regular and irregular intervals...


when this is combined now with my starting to investigate complex time signatures, its starting to produce a pop line that is both "simple" and "complex" at the same time...

if I could NOW figure out which chromatic notes to "add" to the pentatonic minor scale, as they change when I change chords, I might actually start to get somewhere useful... *shrugs*

uh-hhhh.... huh-huh-huhhhh... or, like, something like that.... you know, man?
 
It's theory - so it's just someone's guess of the truth.
 
Greg_L said:
That's probably true. Especially considering you can't even get theory honks to agree on the names of chords.
Click to expand...

True dat.... I'm no theory honk but I usually name chords with the bass note after the slash because it's fundamental to the understanding of why that particular chord is being played...

So whilst F# is part of a D major chord, if I'm playing the D in the root position and thumbing the 2nd fret on the E string, then that's a D/F# as far as I'm concerned.... also a useful indicator of exactly which version is required.... so many ways to play D, whilst D/F# is more immediately referring to a particular structure...

I can see the theory forum is dead already! :laughings:
 
uh, my understanding "and hobbyist understanding at that" is that "slash chords" as they are popularly known.... (chord inversions, to the sticklers?)

a Dmaj is a Dmaj is a Dmaj... regardless of which of those 3 notes are played in whatever octave...

the root (1st) is STILL the root, and just becuse you "open up" the chord and stick one of the component tones into the bass... the root (1st) has not changed...

on basis of YOUR "handy notation" system you have developed... you are implying that a D and a F# are somehow the same chord, perhaps interchangeable?

heck, following that to some conclusion, if a piece is written in D, I might as well play it (transposed) to F#... after all, its the same thing...

a Dmaj is till a Dmaj... the slash inddicates which tone is in the bass to avoid confusion, not create more. the three discrete tones that make that Dmaj chord make it up, and none other... but particularly on guitar and keyboard, this gives you many options for how you voice that Dmaj chord if you are going to be hitign it a lot, and it might sound repetitive...

allows you to sound to the layman as if you are throwing all manner of chords in, even though all you might really be doing a simple 3-chord layout for the base structure before you dress it up...

I have a sense one could perhaps deliberately slash a chord to a particular inversion, as a pretext to a sudden unexpected series of chord changes, perhaps to set it up better, but, I lack any skill at that, lol... I am completely wthout any skill at making interstng changes. its my price I pay for now by not playign guitar and/or piano... I know good keyboard players (and I must assume guitar players...) can take a standard 3-chord format and "wal mart" relative brideg setup... and play the thing thru always usng chord nversons in a novel fashon to get a more complex sound out of the basic piece they are given...

uh..... huh-huh-huhhhh... er, or, like, SOMEthing like that...

but its all cool.... I only fuss over what litle theory I do know, because I have no talent...
 
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