Chord playing

Chazz Michael Michaels

What are your thoughts on texture in chord patterns? For example, if you were playing a song that was, say, Bm7, Dmaj7, G, F. Would your initial impression be to look at that and think 'Ah sure, Bm, D, G and F will do' or do you think these variants of chords add more? I'm not talking about a jam here, but say, in a band setting or recording.

To me, if someone played one set and then the other, the difference would be fairly apparent to me. I wouldn't say like completely difference progressions, but not far off it. I find myself surprised when musicians are dismissive of such chords and go with the 'errah, Bm will do' approach.

What are your views on such details?

Blong!hahaha

Well, to the ear, differences in 7ths don't seem to stick out as much as 3rds, but all chords have their place and if they add a dimension to the music then definitely use them. I'm a big Jim Croce fan, and the music behind his songs just wouldn't sound quite right without those 7/m7/maj7 he was fond of using.

Chazz Michael Michaels

Blong!hahaha wrote: »

Well, to the ear, differences in 7ths don't seem to stick out as much as 3rds, but all chords have their place and if they add a dimension to the music then definitely use them. I'm a big Jim Croce fan, and the music behind his songs just wouldn't sound quite right without those 7/m7/maj7 he was fond of using.

True I suppose, although on a piano they should since they are the highest note in the chord using the root inversion. Guitar is different, though. An example I can give on guitar where they make a big difference to me is a simple barred progression like Dm7, Dbmaj7, Cm7, Cbmaj7; which sounds nice and jazzy. But drop the 7ths and it just loses that 'character'.

18AD

In relation to the above comment about top notes, you can always invert the chords on guitar anyway. e.g. Major chords with the Maj7th in the bass are cool.

It's not that the chords with more notes in them are better or anything, they just add something different.

An A7 chord sounds very different to an AMaj7 chord, and to an A chord (or an AmMaj7!) and so on. Try playing the different version and hear the difference.

I think the added notes are even more crucial in a band context as the melody notes or bass notes will harmonise with those extra notes. Effectively they become "in" notes instead of passing notes.

Chazz Michael Michaels

18AD wrote: »

In relation to the above comment about top notes, you can always invert the chords on guitar anyway. e.g. Major chords with the Maj7th in the bass are cool.

It's not that the chords with more notes in them are better or anything, they just add something different.

An A7 chord sounds very different to an AMaj7 chord, and to an A chord (or an AmMaj7!) and so on. Try playing the different version and hear the difference.

I think the added notes are even more crucial in a band context as the melody notes or bass notes will harmonise with those extra notes. Effectively they become "in" notes instead of passing notes.

Yeah, I agree. This thread is really based on an experience I had with a former band. I like to write songs using as broad a range of chords as I can, to add texture and character. Then I would bring the song in, write out the chords, show how to play the chord (if necessary) and then found people were just sticking to plain major and minor chords and creating a 'pub rock' sound when the song wasn't like that. Even when I brought it up I just go excuses like 'it will blend well overall' or 'sure the 7th is only one note'. It was very frustrating, especially given the effort I made writing the bloody thing in the first place.

Glad to see there are others like me, though. :-)

18AD

Stick to your guns!

https://www.youtube.com/watch?v=5O8fikwP014