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Sascha Franck · Post by **Sascha Franck** » Mon Aug 02, 2004 1:25 am

donkey tugger wrote:The same way but just move your little finger up 2 frets!

Errr........ ?!?

tee boy · Post by **tee boy** » Mon Aug 02, 2004 1:27 am

Sascha Franck wrote:
tee boy wrote: Why not talk a walk on the wild side and add a b9? Sounds great, very ethnic. The chord is - B, F#, C, D# and open B, E.
Apart from the fact that a C would make up for a B/b9 of whatever sorts, could you tell me how to finger this?

I can indeed my friend:

The chord is played in 'E' root shape.

- B on the E string, using 1st finger.

- F# on the A string, using 3rd finger.

- C on the D string, using 4th finger.

- D# on the G string, using 2nd finger.

- B and E strings played open.

This chord works great when played on acoustic or spanish guitars, especially if you incorporate some rasgueado techniques.

Sascha Franck · Post by **Sascha Franck** » Mon Aug 02, 2004 1:33 am

tee boy wrote: I can indeed my friend:

The chord is played in 'E' root shape.

- B on the E string, using 1st finger.

- F# on the A string, using 3rd finger.

- C on the D string, using 4th finger.

- D# on the G string, using 2nd finger.

- B and E strings played open.

Ooops!
Must've gotten something wrong before. This is indeed rather common.
And a nice chord too.

Sascha Franck · Post by **Sascha Franck** » Mon Aug 02, 2004 1:41 am

BONES, seriously, been just listening to some of your stuff - do you just copy those arps from one song to the next?
I'd say 3 out of 6 songs sound exactly the same... so maybe it'd be not all that bad to regain your abandonded piano skills. At least another key than Amin would be quite something...

tee boy · Post by **tee boy** » Mon Aug 02, 2004 1:44 am

How about this one then fella, a similar chord to the one above. You could consider it an inversion i suppose, but works great in certain circumstances:

- Em9 #7 played in 2nd position, E root.

- Play open E, B, F#, open G, D#, open E.

I use this chord all the time at tense, ambient moments. Its my 'spy' chord!

Sascha Franck · Post by **Sascha Franck** » Mon Aug 02, 2004 1:47 am

tee boy wrote:
- Em9 #7 played in 2nd position, E root.

- Play open E, B, F#, open G, D#, open E.

I use this chord all the time at tense, ambient moments. Its my 'spy' chord!

Oldskool!

Hink · Post by **Hink** » Mon Aug 02, 2004 1:56 am

why is everybody so stuck in standard tuning? I was for over 20 years, now I haven't used much in the last 6 or 7.

My favorite tuning is one not taken from books, in fact most books don't list it though it is quite rational and logical. Am EAEACE, the minor is dark to begin with, alsso Am is the relative minor to Cmaj.

Give it a try folks, first see if you can't figure out aint talkin 'bout love. It's almost all open and for some reason sounds very right.

Also I use open E, open A, open G, Gm, Em (which is cool because the upper three strings are GBE) DADAED, DADGAD and very often Am with a drop D....

donkey tugger · Post by **donkey tugger** » Mon Aug 02, 2004 1:56 am

hehe, perhaps one of you fine fellows can work out what this is?

Tune the low E down to D and its

D F# C F# B(12th fret) open top E

sounds a bit jaath and ominous or maybe a bit Sonic Yoof, used it on a few song though!

tee boy · Post by **tee boy** » Mon Aug 02, 2004 1:58 am

How about a B7 add4 (in E root) layed over the Bb9? Definately a texture to Zen out to, that is if you have four arms!

- B, A, D#, E, A

Over

- B, F#, C, D#, B, E

tee boy · Post by **tee boy** » Mon Aug 02, 2004 2:04 am

donkey tugger wrote:hehe, perhaps one of you fine fellows can work out what this is?

Tune the low E down to D and its

D F# C F# B(12th fret) open top E

sounds a bit jaath and ominous or maybe a bit Sonic Yoof, used it on a few song though!

Defiantely spy material, great stuff! That would be an unusual voicing of D13 i believe. Make it D7 #13 and you're in serious business (switch that high B up to a C).

tee boy · Post by **tee boy** » Mon Aug 02, 2004 2:07 am

hink wrote:why is everybody so stuck in standard tuning? I was for over 20 years, now I haven't used much in the last 6 or 7.

My favorite tuning is one not taken from books, in fact most books don't list it though it is quite rational and logical. Am EAEACE, the minor is dark to begin with, alsso Am is the relative minor to Cmaj.

Give it a try folks, first see if you can't figure out aint talkin 'bout love. It's almost all open and for some reason sounds very right.

Also I use open E, open A, open G, Gm, Em (which is cool because the upper three strings are GBE) DADAED, DADGAD and very often Am with a drop D....

I agree mate, alternative tuning are the way forward. I mean, no matter how elastic your fingers are there are some voicings which simply cant be produced in EADGBE. I see a lot of Folk players using weird tunings, Im gonna have to start noting some down.

BONES · Post by **BONES** » Mon Aug 02, 2004 2:08 am

Sascha Franck wrote:BONES, seriously, been just listening to some of your stuff - do you just copy those arps from one song to the next?

No, I hardly use any arp's [maybe one song in three or four]

I'd say 3 out of 6 songs sound exactly the same... so maybe it'd be not all that bad to regain your abandonded piano skills.
They don't sound anything alike to me so I would say it is more your unfamiliarity with our genre, much as all trance sounds exactly the same to me. I am not the sole song-writer so probably the three that sound the same are mine.

At least another key than Amin would be quite something...

But then my voice would sound out-of-tune. I really only have one key, much like Andrerw Eldritch. I sometimes work on songs in different keys but usually end up transposing them when I have some lyrics.

I find myself drawn to the same progressions - to me they always sound the best so why use something else just for variety's sake? It would be selling myself short. Where I add variety is in areas like tempo [84-164BPM], arrangements and, most importantly, sounds. Guitar or piano players work with the same sound all the time and so seek variety in keys and time-signatures, etc because that is all that is open to them so music theory is their ally. I have no such restrictions and consequently no need of music theory because I have other, more potent weapons in my arsenal.

If it helps your musical snobbery [and that is always how you have come across to me], think of our work not as a collection of songs, but as a modern symphony based on theme and variation of a new kind.

donkey tugger · Post by **donkey tugger** » Mon Aug 02, 2004 2:26 am

tee boy wrote:
hink wrote:why is everybody so stuck in standard tuning? I was for over 20 years, now I haven't used much in the last 6 or 7.

My favorite tuning is one not taken from books, in fact most books don't list it though it is quite rational and logical. Am EAEACE, the minor is dark to begin with, alsso Am is the relative minor to Cmaj.

Give it a try folks, first see if you can't figure out aint talkin 'bout love. It's almost all open and for some reason sounds very right.

Also I use open E, open A, open G, Gm, Em (which is cool because the upper three strings are GBE) DADAED, DADGAD and very often Am with a drop D....

I agree mate, alternative tuning are the way forward. I mean, no matter how elastic your fingers are there are some voicings which simply cant be produced in EADGBE. I see a lot of Folk players using weird tunings, Im gonna have to start noting some down.

Aye, alt tunings are great, use a lot of em. Trouble is I've written songs using em, and not made a note of wht the tuning was, makes it a right f**ker to come back to re-record something months later and try and work out what's going on.

Hink · Post by **Hink** » Mon Aug 02, 2004 2:34 am

donkey tugger wrote:
tee boy wrote:
hink wrote:why is everybody so stuck in standard tuning? I was for over 20 years, now I haven't used much in the last 6 or 7.

My favorite tuning is one not taken from books, in fact most books don't list it though it is quite rational and logical. Am EAEACE, the minor is dark to begin with, alsso Am is the relative minor to Cmaj.

Give it a try folks, first see if you can't figure out aint talkin 'bout love. It's almost all open and for some reason sounds very right.

Also I use open E, open A, open G, Gm, Em (which is cool because the upper three strings are GBE) DADAED, DADGAD and very often Am with a drop D....

I agree mate, alternative tuning are the way forward. I mean, no matter how elastic your fingers are there are some voicings which simply cant be produced in EADGBE. I see a lot of Folk players using weird tunings, Im gonna have to start noting some down.
Aye, alt tunings are great, use a lot of em. Trouble is I've written songs using em, and not made a note of wht the tuning was, makes it a right f**ker to come back to re-record something months later and try and work out what's going on.

done that a few times myself, but now I keep notes. Chord Wizard has a great program for showin chords, scales and relations for many instruments and alternate tunings. Around 7000 chords per tuning, a little pricey (70 bux) but you can orientate the neck and make any custom tuning you want, It also plays the notes through midi....
http://www.chordwizard.com/gold.asp

putte · Post by **putte** » Mon Aug 02, 2004 8:09 am

i play chords nobody else plays .. why? simply because i tune my guitars for each song the way i like to tune them, matching the songs feel and making it easier for my so-la-la-guitar skills ..

putte

Do you have to play an instrument?