Spinning off from Joe Corn's post. I'm guessing this post might not get any replies...but it's worth a shot.

Here's my faves that I probly use way too much. If anyone can help with some theory (chord names/explanations) I'm all ears. Hopefully my tab is self-explanatory:

All time fave:

X 0 2 4 1 3

Kinda tuff to play for beginners. But it's friggin awesome. I've frusterated songwriters by insisting on playing it whenever they call for A minor. lol.

A similar one but a little easier in E:

0 2 4 0 3 0

I have a couple songs I wrote that is based on this chord while moving the root around. You can do:
0 2 4 0 3 0
0 3 4 0 3 0
x 0 4 0 3 0
3 2 4 0 3 0
2 2 4 0 3 0 etc etc etc


This one's kinda deep:

3 5 4 7 x x


This one sounds like a dungeon. Adding in the high E throws it for a loop:

3 1 0 4 4 0


I return to this one alot if I'm writing Jazz:

x x 5 6 6 8


So a chord progression using a couple of them that I used to jam on with my band 20 years ago went like this:

x 0 2 4 1 3
x x 5 6 6 8
x 5 4 4 5 5

Anyone got any faves to add? 0r theoretical explanations for why I like these so much?

You make shit smell better.

And really, just find a hip hop gossip board. I'm sure you will be able to put your finger on the pulse of what's hot and what's not over at the XXL comments section.

?

I never use alternate tunings.

I love deep tones. The deeper, the better. So, for this reason, I always buy a set of strings for a seven string guitar and throw out the highest one. If I have an extra, I'll throw a 'B' string on the high "E" position, as well.

Because of this, I tune to D, to ease the stress on my guitar. Put the capo @ 2, you're in standard tuning.

I play a lot of sevenths and just the middle four strings. I even joked that I should just take the E strings off because they're mostly just in the way.

Anyway, seems like you dig minor tones. That's cool and you get some really good changes by throwing in some of those weird minor sixths.

I love all the major sevenths and use them way too much. I'm currently under a self-imposed rule of no F major sevenths because I just use it too damn much. But what a lovely sound.

I play a Telecaster and copy Sam Prekop and King Krule shamelessly.

I like fake jazz chords, too. Like barred sevenths. They sound very jazzy but are too easy to be real jazz chords.

Stuff like:
3 3 5 4 5 3

Or:
X 4 6 4 5 4

Here's a good one:
X 11 10 12 11 X

What effects do you use, Denny?

I play (predictably, perhaps) with a lot of delay and reverb. I use the Boss RV-3 and the MXR Carbon Copy.



``they asked me what the meek would get. picture me: afraid to answer.``

http://austinato.bandcamp.com

http://www.discogs.com/lists/Favorites-of-2014/193910

>I like fake jazz chords, too. Like barred sevenths. They
>sound very jazzy but are too easy to be real jazz chords.
>
>Stuff like:
>3 3 5 4 5 3

Haha, you're breaking your major 7th rule. Looks like a Cmaj7 with a G in the bass.

>Or:
>X 4 6 4 5 4

Yeah, I'm a fan of the sound of minor 7th chords as well.

----

A small difference, maybe. But, too often I would just fall back on that familiar position:

X 3 3 2 1 0

I can't say I got tired of playing it because I love the sound too much, but it just reached a point where it became predictable, in all my songs, I would play an Fmaj7 inevitably.




``they asked me what the meek would get. picture me: afraid to answer.``

http://austinato.bandcamp.com

http://www.discogs.com/lists/Favorites-of-2014/193910

>I love deep tones. The deeper, the better. So, for this
>reason, I always buy a set of strings for a seven string
>guitar and throw out the highest one. If I have an extra,
>I'll throw a 'B' string on the high "E" position, as well.

Huh....that's a good idea. I rarely play electric but I always buy the heaviest gauge possible when I do. I should try that.



>I like fake jazz chords, too. Like barred sevenths. They
>sound very jazzy but are too easy to be real jazz chords.
>
>Stuff like:
>3 3 5 4 5 3

I use it for jazz (without the root note you added). I don't know...is it not considered a jazz chord? Sounds jazzy to me.

>Or:
>X 4 6 4 5 4

>Here's a good one:
>X 11 10 12 11 X

Yah...that last chord is awesome.




>What effects do you use, Denny?

I don't. I almost exclusively play classical guitar. I'll only use electric if I'm recording or gigging with a band. But almost all my performances nowadays are just singers with me playing classical. Maybe a percussionist or two.

>I play (predictably, perhaps) with a lot of delay and reverb.
>I use the Boss RV-3 and the MXR Carbon Copy.

Yah...I've checked out your stuff a few times over the years. You got some REALLY nice tones. Full-bodied and I remember the reverb as well. I'm not a gear-head...but I love reverb on Fender amps. I guess I found that minimizing all the stuff like pedals, tunings, capos.....for me, I decided to just go a very minimalist route in that sense. It's not like I'm a preachy purist....I just like working within the restrictions. I have a couple techniques I use to emulate echo in an organic way on my classical....just a strumming trick.

Or at least some long fingers.

Some of these are a STRETCH. I've been playing guitar for a long time and I'm having a little bit of trouble reaching some of these...

>Here's my faves that I probly use way too much. If anyone can
>help with some theory (chord names/explanations) I'm all ears.
> Hopefully my tab is self-explanatory:
>
>All time fave:
>
>X 0 2 4 1 3
>
>Kinda tuff to play for beginners. But it's friggin awesome.
>I've frusterated songwriters by insisting on playing it
>whenever they call for A minor. lol.

I guess it's an Am9, because you're playing that B note on the G-string instead of the A. It also has the 7th in there as well with the G on the E-sting, so I can see how someone looking for a straight Am would get annoyed, haha.

>A similar one but a little easier in E:
>
>0 2 4 0 3 0

Exact same principle here, so apparently Em9 (because of the F# on the D-string) and the 7th on the B-string.

>This one sounds like a dungeon. Adding in the high E throws
>it for a loop:
>
>3 1 0 4 4 0

I typed this one into a chord finder and it doesn't come back with anything.

I don't really have any "favorite" chords per se, just play whatever the song calls for I guess. I do use capos a lot to make arrangements easier in certain cases. For example, The Beatles "She's Leaving Home" has a lot of B and B-minor variations, so I play it with a capo on the second fret because it's easier to play and probably actually sounds better with open A chords.

For example, there's a Bm6 , and B7sus4, and a Badd9 at different points in the song, so for strumming on an a acoustic guitar, it actually sounds really good to play those chords like this:

X02212
x02040
x05435

It would be pretty easy to play all of those without the capo on just the first four strings, however using the capo and playing them like this allows you to get the open B note to ring out the whole time and adds a lot more richness to the chords. (Again, we're talking solo acoustic guitar arrangements here, so this might not be entirely necessary in an ensemble.

I have an acoustic guitar arrangement for "Penny Lane" that follows the exact same principle, and actually works really well.

----

>I do use capos a lot to
>make arrangements easier in certain cases. For example, The
>Beatles "She's Leaving Home" has a lot of B and B-minor
>variations, so I play it with a capo on the second fret
>because it's easier to play and probably actually sounds
>better with open A chords.
>

Not with that song per se, but I often find songs that have a lot of barred chords can usually be worked out with a capo.

What kind of capo do you use? I had a Kyser, but it just didn't work with the heavy gauge strings I had on my Tele and I got a lot of buzzing no matter where I put it. Eventually went with the Shubb and it works really well. Kept the Kyser because it works on my acoustic pretty well.



``they asked me what the meek would get. picture me: afraid to answer.``

http://austinato.bandcamp.com

http://www.discogs.com/lists/Favorites-of-2014/193910

than excessive use of barres.


I've never had any problems with clamp capos though, seems weird you've gotten such widely varying results. Maybe it's those heavy strings you use.

-------
so I'm in a band now:
album ---> http://greenwoodburns.bandcamp.com/releases
Soundcloud ---> http://soundcloud.com/greenwood-burns

my own stuff -->http://soundcloud.com/lonesomedstringband

avy by buckshot_defunct

And I play a classical guitar too which makes them more of a stretch.

A master-class guitar dude checked out my style and said that I've found a whole bunch of cheats that help me do it. I kinda take pride in my style....I like to believe I got my own sound. I play with a lot of percussion. My right-hand is more important than my left. For a majority of my playing....the thumb is a bass drum and the others act as snares/hihats. And I use hip hop/funk type rhythms.

So 'ba-boom boom bap' usually gets converted to 'fi-thumb thumb fingers!'

I'm gonna see if I can suss out how to upload some youtube vids. Maybe we can bounce some stuff off each other in here.

Those 'leaving home' chords....did you make a mistake on the second one? The 'X02040'? I quickly loaded up the song and can't hear how that works.

>Those 'leaving home' chords....did you make a mistake on the
>second one? The 'X02040'? I quickly loaded up the song and
>can't hear how that works.

Yeah, sorry dude. Should be X02030. Simple A7 but "sussed" as my uncle likes to say. Capo turns it into a B7sus4.

That one hits on "quietly closing her" then the Aadd9 hits on "bedroom door."

If memory serves, with Capo II the progression is pretty simple: D, Am, Em, Em7, Bm, E, A7sus4, Aadd9, A7sus4, Aadd9. Then the chorus is D for a while to Am6, to Bm to E.

----

I don't really read music in any way on guitar. Oh we'll.

I've been playing a lot recently, for the first time in a long time have done some stuff in standard tuning and also a few pieces (in standard and DADGAD) with a pick.

Anyhow. My favorite chords recently have been the in-betweens, the shortcuts. Obviously I use a lot of them in open tunings b'c open tunings are great for those alternate or incomplete voicings.

One I've used heavily in the past year is in open D (DADF#AD) fretting the low D string and the F# string only at the 5th fret, so the chord runs GxDBxD, with the As available as grace notes. sVery useful as a IV chord substitute when fingerpicking. Same trick can be used at the 7th fret for the V.

In standard I realized recently how much I've come to rely on the Bm shortcut: second fret on the A string, third fret on the B string.

I've also been using my 4 string guitar a ton. Typically I tune it to mirror open D or open G but I've been using to play slide on modal old-time tunes lately. Last track was in G so I did one take in DGDG and one in ADAD capped at the 5th fret. Those might be wrong - I frequently key in one string and then mess around on the others until it clicks.

All this should be clearly audible if you listen to some of the stuff on my page. The Cruel Brother uses the open D trick excessively, and Whoa Back Buck and Cluck Okd Hen both utilize DADGAD plus the modal 4-string slide. *shrug*

All in all it's interesting to think about how my approach to chording and voicing and even picking and strumming has been influenced by more playing on other stringed instruments - mandolin, banjo, dulcimer. I need to get an octave mandolin one of these days.

-------
so I'm in a band now:
album ---> http://greenwoodburns.bandcamp.com/releases
Soundcloud ---> http://soundcloud.com/greenwood-burns

my own stuff -->http://soundcloud.com/lonesomedstringband

avy by buckshot_defunct

>open D (DADF#AD)

I sometimes just strum this open on my acoustic, keeping my pickup close to speaker so it feeds back and then just twiddle knobs on my pedals to keep this sort of ambient open D thing just floating there.

There's a King Krule song in this tuning ('Out Getting Ribs') — not that I can actually play it. But that doesn't stop me from trying!



``they asked me what the meek would get. picture me: afraid to answer.``

http://austinato.bandcamp.com

http://www.discogs.com/lists/Favorites-of-2014/193910

a tune!

>There's a King Krule song in this tuning ('Out Getting Ribs')
>— not that I can actually play it. But that doesn't stop me
>from trying!

Just listened, wouldn't necessarily have IDd it as open Dl the harmonics are the only real hints to me.

>>open D (DADF#AD)
>
>I sometimes just strum this open on my acoustic, keeping my
>pickup close to speaker so it feeds back and then just twiddle
>knobs on my pedals to keep this sort of ambient open D thing
>just floating there.

A variant I've had a lot of fun with recently, for playing modal slide on the 6-string mainly but also for goofing around to get a heavy feel... tune down that 4th string from F# to D so you have
DADDAD

good for crazy voicings, and sounds great with effects. Also a good tuning to use to let your kids make crazy sounds on the guitar (https://soundcloud.com/dans-kid-makes-noise)

-------
so I'm in a band now:
album ---> http://greenwoodburns.bandcamp.com/releases
Soundcloud ---> http://soundcloud.com/greenwood-burns

my own stuff -->http://soundcloud.com/lonesomedstringband

avy by buckshot_defunct

on guitar. Now those same fingerings are either mo big deal to me or are much more manageable (like open position Dm6).

I first stumbled on it trying to ape Stephen Stills's arrangement of Everybody's Talkin', but then hit on it again last weekend when asked spur-of-the-moment to try out Dear Prudence. It's also useable for Darcy Farrow (though clearly not really 'right' for any of those.)

So drop D tuning, obviously, you put the low E string down a whole step to D.

Then play the D chord on the top three strings at the 5th fret... I guess in tab it would be
000775
or
DADDF#A
then the next one is a shortcut Dmaj7... just slide your middle finger, which should be on the G string at the 7th fret, down one fret so that you've got
000675
or
DADC#F#A
then slide down to the 7th; the easiest way I do the next one is to bar the first finger across the top 3 strings at the 5th fret while leaving the ring finger where it is
000575
or
DADCF#A
then the last one is apparently a 6th; index finger on the 4th string at the 4th fret
000475
DADBF#A

then repeat (in the case of my bootleg Dear Prudence) or move on to the G in the progression (bootleg Everybody's Talkin').

-------
so I'm in a band now:
album ---> http://greenwoodburns.bandcamp.com/releases
Soundcloud ---> http://soundcloud.com/greenwood-burns

my own stuff -->http://soundcloud.com/lonesomedstringband

avy by buckshot_defunct

with respect to voice leading rules that I usually follow

I keep certain chords within a group due to them "belonging" with each other (I got tired of "consonant" chords sounding "out of place" with "dissonant" chords) so I play around in a certain "group" that "belong" together and switch groups whenever I feel like it.


I really can't go the route of "set" progressions. I require freedom so I don't feel fenced in. As long as the chords in a particular group sound like they "fit" together, there's no need for me to have "set" chord progressions (following voice leading rules also keeps the playing sounding like it "fits" together.

edit: I'm talking about chord forms (finger positions) not Amin, EMaj.

I don't really care what the root is. Whether it's a minor chord, augmented chord or diminished 7th chord form is all I'm considering.