david moon
Attempting the Blues
What he said. "add4" or "sus 4". Sus being "suspended" and wanting to resolve.
Help me out on a C chord extension
- Thread starter MarkRobbins
- Start date
Paleo
Student Of The Blues
Oops! My bad.
The D chord with the G on the first string is a Dsus4, since the 3rd is absent. (XXDADG, no F#)
While the G with the C on the 2nd string is an "add4" since the 3rd (B) is present. (GBDGCG)
It's been a hard day's night. I should have known better.
In both cases you are actually "adding" the 4, which is "suspended" and "needs" to resolve.
However, when naming the chord, it's an add4 if the 3rd is present and a sus4 if it isn't.
You might find someone else naming them differently.
Like add11 instead of add4.
Or Gsus2 instead of Dsus4.
You just gotta go with the flow.
(I went back and tried to "salvage" my previous post.)
The D chord with the G on the first string is a Dsus4, since the 3rd is absent. (XXDADG, no F#)
While the G with the C on the 2nd string is an "add4" since the 3rd (B) is present. (GBDGCG)
It's been a hard day's night. I should have known better.
In both cases you are actually "adding" the 4, which is "suspended" and "needs" to resolve.
However, when naming the chord, it's an add4 if the 3rd is present and a sus4 if it isn't.
You might find someone else naming them differently.
Like add11 instead of add4.
Or Gsus2 instead of Dsus4.
You just gotta go with the flow.
(I went back and tried to "salvage" my previous post.)
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david moon
Attempting the Blues
In my experience with big band and theater charts, chord naming is not standardized. And let's not get into whether the key is B or
Cb
Cb
david moon
Attempting the Blues
And going back all the way to the top, adding the G on the first sring is not an "extension", just a different voicing of the Cmaj triadOops! My bad.
The D chord with the G on the first string is a Dsus4, since the 3rd is absent. (XXDADG, no F#)
While the G with the C on the 2nd string is an "add4" since the 3rd (B) is present. (GBDGCG)
It's been a hard day's night. I should have known better.
In both cases you are actually "adding" the 4, which is "suspended" and "needs" to resolve.
However, when naming the chord, it's an add4 if the 3rd is present and a sus4 if it isn't.
You might find someone else naming them differently.
Like add11 instead of add4.
Or Gsus2 instead of Dsus4.
You just gotta go with the flow.
(I went back and tried to "salvage" my previous post.)
MarkRobbins
Blues Junior
Yeah, I already said that.
Momantai
Red nose, red guitar
Looking back I see I made a mistake too. I thought it was about the G on the 6th string (low E) not the 1st. I guess the G on the 6th string would make it a C/G. Right @david moon ?
Paleo
Student Of The Blues
I'm not David, but YES!
Playing the 6th string open would be C/E and with the 3rd fret, C/G.
So you have 3 options for the 6th string (Bass note of resulting chord in red):
Mute the 6th string (root position XCEGCE), play it open (1st inversion ECEGCE) or play the G (2nd inversion GCEGCE).
david moon
Attempting the Blues
For a lot of reasons, playing anything on the 6th string over a C chord doesn't usually work. Unless you're walking to somewhere else. Even though E and G are chord tones, it just doesn't work in the lower register
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david moon
Attempting the Blues
We are both referring to the low E as the 6th string?
Do you play the low E on an A chord?
Do you play the low E on an A chord?
Paleo
Student Of The Blues
Let's just say sometimes I play the lower string open, sometimes I play a note on it and sometimes I mute it with the edge of my thumb.
However, when strumming, I usually hit all 6 strings. Unless there's some good reason not to. And I'm emphasizing strumming for a reason.
Saying "don't" play those open strings is saying "always play root position", in which case there's no sense in bringing up inversions.
However, when strumming, I usually hit all 6 strings. Unless there's some good reason not to. And I'm emphasizing strumming for a reason.
Saying "don't" play those open strings is saying "always play root position", in which case there's no sense in bringing up inversions.
ronico
rainyislandblues
Sorry that should have read "I don't usually play those low notes" . Particularly if I'm playing with someone else. Seems to get too "boomy" especially with acoustics.Let's just say sometimes I play the lower string open, sometimes I play a note on it and sometimes I mute it with the edge of my thumb.
However, when strumming, I usually hit all 6 strings. Unless there's some good reason not to. And I'm emphasizing strumming for a reason.
Saying "don't" play those open strings is saying "always play root position", in which case there's no sense in bringing up inversions.
Paleo
Student Of The Blues
It's all good. I just didn't want to get into a discussion of all the possible times when I would or wouldn't play a particular string.
So for my part in the discussion I'm referring to strumming all 6 strings, rather than playing fingerstyle or alternating bass or, etc., etc.
BTW: Nobody's mentioned playing the open C Major chord with your pinky on the 3rd fret of the 4th string.
So for my part in the discussion I'm referring to strumming all 6 strings, rather than playing fingerstyle or alternating bass or, etc., etc.
BTW: Nobody's mentioned playing the open C Major chord with your pinky on the 3rd fret of the 4th string.
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david moon
Attempting the Blues
OK that note would be an F and make it another sus4 voicing.It's all good. I just didn't want to get into a discussion of all the possible times when I would or wouldn't play a particular string.
So for my part in the discussion I'm referring to strumming all 6 strings, rather than playing fingerstyle or alternating bass or, etc., etc.
BTW: Nobody's mentioned playing the open C Major chord with your pinky on the 3rd fret of the 4th string.
MarkRobbins
Blues Junior
Yep, I just learned the Csus4 yesterday.
Paleo
Student Of The Blues
Hmmm! Are you guys sure?
There is a method to my madness, i.e. a reason why I pointed out the "omission".
Here are two chord diagrams taken from the "all knowing", authoritative internet.
I gotta go with the chord formulas I've learned and the "theory" behind them.
By "modern" defininition, a "Suspended" chord has no 3rd.
(Our use of the term "suspended" isn't the same as it's "original" meaning in composition.)
It's not either Major or minor. (1-2-5) or (1-4-5)
Or you can think of it as a 2 or 4 taking the place of a 3 or "substituting" for it.
Either way, the chord sounds "suspended" and open and unresolved.
We are held in "suspense" wondering where it's going to go next.
An "add4" adds a 4 to a triad.
It has a 3rd and the 4 is being "added" to a chord that is, in our case, "unambiguously" Major. (1-3-4-5)
The 4 still creates tension and sounds like it "needs" to resolve, the chord may still feels like it's "floating", but it isn't considered "suspended" because the 3rd is there.
Either way, I'm just going to make sure I'm playing the same thing as the next guy. I'm not going to start a discussion regarding what is "theoretically correct." I just like to understand all the possibilities so I can "get along" with everybody.
That's what I mean by "going with the flow".
Otherwise, nobody will play with me.
Oops!!!! I almost forgot. The Cadd4 (C E F G) could also be considered a FMaj7sus2 (F G C E).
But since we're talking about using our pinky to "add" different notes to a C Major chord, I'm going with Cadd4.
And on Griff's forum, he is the authority.
From page 34 in his theory course:
There is a method to my madness, i.e. a reason why I pointed out the "omission".
Here are two chord diagrams taken from the "all knowing", authoritative internet.
I gotta go with the chord formulas I've learned and the "theory" behind them.
By "modern" defininition, a "Suspended" chord has no 3rd.
(Our use of the term "suspended" isn't the same as it's "original" meaning in composition.)
It's not either Major or minor. (1-2-5) or (1-4-5)
Or you can think of it as a 2 or 4 taking the place of a 3 or "substituting" for it.
Either way, the chord sounds "suspended" and open and unresolved.
We are held in "suspense" wondering where it's going to go next.
An "add4" adds a 4 to a triad.
It has a 3rd and the 4 is being "added" to a chord that is, in our case, "unambiguously" Major. (1-3-4-5)
The 4 still creates tension and sounds like it "needs" to resolve, the chord may still feels like it's "floating", but it isn't considered "suspended" because the 3rd is there.
Either way, I'm just going to make sure I'm playing the same thing as the next guy. I'm not going to start a discussion regarding what is "theoretically correct." I just like to understand all the possibilities so I can "get along" with everybody.
That's what I mean by "going with the flow".
Otherwise, nobody will play with me.
Oops!!!! I almost forgot. The Cadd4 (C E F G) could also be considered a FMaj7sus2 (F G C E).
But since we're talking about using our pinky to "add" different notes to a C Major chord, I'm going with Cadd4.
And on Griff's forum, he is the authority.
From page 34 in his theory course:
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