full chords or power chords?

[FourLetterWords]

Wtf? It's just a series of chords, same pattern, played on different frets.

W/e forget the fucking question.

If we play together I'll show you, because I'm too fucking lazy right now to tab the shit out for you.

[emixolydian]

Dude, you are retarded.

BRANDT said:

What's the texture of this drop D chord?

e|x
B|x
G|9
D|9
A|7
D|7

What other chords should I use in progression with it?
I know the chord works anywhere on the fretboard but I'm writing a song and I'm trying to write a bridge using some other chords.

What the is the texture? ITS A SUSPENDED CHORD. Either Asus2 or Esus.


What other chords can you use with it? It depends where the tonal center is. This is why I asked if you had ANY other chords in the song, because suspended chords lack a major or minor tonality, thus a tonality can't be established with them, furthermore, having one chord is equally as ambiguous when it comes to identifying the key.

Restate the question or shut up, lol.

[FourLetterWords]

I play this chord:

e|x--
B|x--
G|8--
D|9--
A|9--
D|9--

That's a B major right?

[emixolydian]

Are you using these chords WITH the Asus2?



I'd call the first chords Asusadd9, more appropriately E7sus/A, because well, I dont' think I've ever seen a susadd9 chord.

The second is Aadd9, because you've add a C#, which is the major third.

So with that in mind, I WOULD call the above Asusadd9, which leads to an Aadd9, which, if the tonic, establishes an A major tonality.

Edit: you edited your post, but this is in refernce to the chords you had posted before.

[emixolydian]

proguitarnoob said:

I play this chord:

e|x
B|x
G|8
D|9
A|9
D|9

That's a B major right?

Yes.

[FourLetterWords]

Here

e|-X--X--x--X-|-X--X--x--x--X-|
B|-X--X--x--X-|-X--X--x--x--X-|
G|-8--8--9--5-|-8--8--9--7-12-|
D|-9--9--9--5-|-9--9--9--7-12-|
A|-9--9--7--3-|-9--9--7--5-10-|
D|-9--9--7--3-|-9--9--7--5-10-|

That's the chord progression I wrote. I just modified it, adding that B major chord to establish tonality.

[emixolydian]

lol, uh, ok.

B-Asus2-Csus-Gsus2-Csus2

Still pretty weak, tonality wise. I'd say it was based on B phyrgian dominant, 5th mode of the E harmonic minor scale.

Edit: stop editng your posting while I'm explaining them.

After you added the Gsus2 and Csus2, you entroduced a D natural, which is not longer B phyrgian dominant, but...B phyrgian.

[FourLetterWords]

So I'll base my solo off B Phyrgian.

[emixolydian]

proguitarnoob said:

So I'll base my solo off B Phyrgian.

No B phygrian dominant for the first 3 chords, the B phyrgian for the last two, where the D natural comes in..

[FourLetterWords]

Hmm...k...

It's probably a dead end song.

[emixolydian]

Probably.

Thats what happens when you just move sus chords up and down the neck

[FourLetterWords]

Yep.

[emixolydian]

drop this towards Kernix:
his post:

kernix said:

"Huh?

Where do I start. There is a chord known as the phrygian chord or just "phryg" - it's a sus chord with the b7 and b9 built obviously on the iii of the major scale - or in C major Ephryg = E7sus b9 = E-A-B-D-F - if you notice that's also the notes in an Jaoanese In Sen Pentatonic scale.

"phrygian dominant" - never heard of that unless you turn the iii into III and add the b7 - like an E7 or even E7b9.

And why would it be some silly B Phrygian Dominant because the tonality is built on the B major chord - that makes no sense and 2 points on that statement:

1. it's a sus chord not a major chord so how can it have a B major tonality.
2. All but the 1st chord is in the key of C major and it ends on a C chord - how can you say the overall tonality is B major and not C major?

And what do you mean the C natural is almost always present? All except for the measure of Bsus2 which has a C# in it?

Why are you posting E mixo's thoughts - isn't that wierd?
Reply With Quote"

B phyrgian dominant in basically the phyrgian scale with a major third, giving us the intervalic formula: 1-b2-3-4-5-b6-b7=B C D# E F# G A

B D# F#= B major (diatonic entirely)
A B E = A sus2 (diatonic)
C D G= C sus (now it becomes phyrgian for a bar, the D natural is a minor third)
G A D= Gsus (again we're now in B phyrgian, not phyrgian dominant, because of the D natural)

Obviously, since the B major chord is apparent althroughout...and we constantly see a C natural (b2) and ALWAYS see A natural and G natural (b6, b7), and the tonality begins, and revolves around B, it is always either phyrgian or phyrgian dominant.

I think he still doesn't understand the tab is in Drop D, thus the "bsus2" as he calls it is actually a B major chord. And the following chords, in order of appearance are: Asus2-Csus-Gsus2-Csus2.

Also mention there is no C# ANYWHERE in the entire progression.

...tell him to put his tar' in drop D and play those chords, and then TRY to play C major over it. It'll sound silly.