What does each type of guitar chord sound like

Could someone breifly discribe the mood of the sounds each of these chords makes ( not any specific note):

Major
Minor
Diminished
Augusted
suspended
6
7
major7
9
add9
minor6
minor7

also what is mmaj? and what does an the (i) after Am(i) mean?

 

dude - jsut paly them and see - ull know how each sounds - u cant describe thme in words... coz when i hear a chord - ill say - "hey thats a bit like a dom 7th" or something like that which wont help u coz uve aready written that out - once u paly each one out severalk times and play them within a progression ull start to get the diea of how each are sued and how they sound

and the second bit - i have no lcue wat ur talking about there

 

mmaj7 is minor major 7 i.e. 1 b3 5 7 (minor with a major 7th).
Never seen Am(i).

 

mebbe that Am(i) refers to 1st position of Am chord ... (i.e. the one that involves only 0,1,2 frets) ...
Am(ii) might be second position which is on the 5th fret ...
i have seen such kinda thing in some guitar tabs ...

 

oh that way.. haha... ok

ya.. Am maj7 - means its a minor chord with a major interval as hs07 said..

Am(i) maye be the first inversion of Am. in which the ntos are playerd lie:

m3 5 R

as in the 3rd is the lowest note not the root

 

Hmmm...I think the first inversion makes sense, w/o knowing anything else, I'd deathdr is bang on.

 

I'm agree with the Pavlo's question, coz there must be some reason for each type chord... some ppl sayz that Major chords sounds like "Sad" and minor sounds like "Happy". While some says that Major chords sounds like "Man's voice" and minor sounds like "Girl's Voice".... I dont know what's the mystry behind that????

 

Play this progression...C Am F Fm. You'll see why people say minor chords sound "sad".



If you'll notice in a lot of solo's the sound tends to go towards the higher octaves on minor chords while major chords usually bring the tone back to the same octave or lower or even back to the root note thus giving it a deeper feel. It's not really true that major chords are like mens voices but I suppose this could be the reason someone said it. I don't agree with what's been said though.

 

hey
i feel that whatever feelings ppl associate with chords are correct - i mean in a sense anyone listening to it will feel almost the same ...

regarding that ... minor chords are sorrowful ... major chords are happy ... dom7 chords are used in blues and they feel fresh/refreshing ... maj7 are jazzy ... they feel slightly outta normal ... min7 feel fresh/refreshing (almost same as dom7) ...
diminished feels weird ... infact sometimes evil also ... augmented feels quite kiddish - that is easy and simple sounding ...
maj min 7 sound weird ...

i dont play higyher order chords ... sometimes i include 9th ... but then i play that as interval and not as 9th chord ...

 

Pavlo's Point

i wouldnt agree on the augumented sounding kiddish....thats a first i'd say....but good if u hear it in a frivolous way sslayer......at the end its about how we incorporate it.
Pavlo i've come up with a chord melody(progression) which may help u see what each chord can"do"and"taste"like and how they could be used to shape moods by their sheer tonalities.
BTW mi is the same as m,- minor which is short for minor."mi"is more commonly used by jazz musicians as is the " - " (minus symbol). mi has no links to inversions.some musicians add capital roman numerals I II III for inversions if they are being played but most notate them as slash chords(altered root) ex. C/E which is a C major chord with an E ontop.hope this is helpful.
Here it is...i recommend fingerstyle for this and dont be afraid to put a melody over it.....u could either make the change to every chord or revolve around in a diatonic way with a few accidentals falling in to accomodate the substitutions.Basically u could well revolve around the key of C(C major scale)and add a few"out"notes to feel "inside".Arpeggiation is also a good way to go about it.

C Em F# dim A aug also A(#5) or A7#5(jazzier) D7sus4(Dm7-Dm9 as passing chords) G6 C7 Fmaj7 D9 Gadd9 Fm6 Em7 Ab mi maj7 C/G

Major C
Minor Em
Diminished F# dim
Augusted A aug or A7#5 or A(#5)
suspended D sus 4 or D7 sus 4
6 G6
7 C7
major7 Fmaj7
9 D9
add9 G add 9
minor6 Fm6
minor7 Em7
mi maj Ab mi major (also notated by a triangle with a minus sign beneath)
major C/G (II inversion) viz C(root) C/E(I inversion) C/G(II inversion)


play at 60bpms first to absorb it n thn u could climb from there.do pay emphasis on melody and weave a pattern over it.For reference u could move each chord till G6 half bar each(2 ticks)and whole bars for C/F/D/G half bar each for F/G a whole for Ab and resolve on C

hope u like it,i call it Pavlo's Point
cheers !!!
:beer: :beer:

 

It doesn't make much sense in discussing how a chord sounds.
You get different feels in different chord progressions.., I mean to say something like - analyze how it sounds when u change from C major to A minor, F major to A minor, D minor to A minor rather than asking how A minor sounds.

And little further, few other factors are to be considered ie, timbre or sound quality of the instrument, sustain, reverb and many other effect levels.

Major chord sounds with a majestic feel.
Minor sounds melodic.
Dominant 7th, diminished chords sounds imperfect and will give an urge to resolve back to some major/minor chord to add perfection.
Major 7 and minor 7 sounds perfect - its a blend of major and minor intervals.
I feel minor 9th (added 9th without 7th note) gives romantic feel.

 

sensing the way a chord sounds and/or feels or for that matter,how a note or notes sound and/or feel over various progressions both tonal and atonal is critical to how one analizes tonality,especially as a beginner .this leads on to viewing various other aspects of music(a) the melody,(b)the counter-point(c)the harmony.this gives way for polytonalities or the way different chords/scles/patterns sound over different progressions of sorts and how they can be interchanged and twisted into just about any thing musical and how the original shines out or changes in different nuances.

heres a basic breakdown to what most musicians especially guitar players neglect whch leads to misunderstanding certain principles and in turn ends up misguiding there concepts & facts.

Melody - one note at a time
Counterpoint - study of intervals 2 notes at a time(2 melodies at a time,also)
Harmony - 3 notes at a time(triads),4 notes(7th chords),5,6,7 notes (9th,11th,13th chords)

so based on this we have 4 counter point motions
1)parallel - both voices move the same distance in the same direction
2)similar - both voices move different distances in the same direction
3)contrary - each voice moves any distance in teh oppoite direction
4)oblique - one voice moves while the other stays where it is

counter point can be viewed as a study of intervals that helps to dissolve rigid ways of thinking of melody as one thing and harmony as another.(melodies have harmonic implications,chords and chord progressions have melodic implications)

Prioritize basics initially to have a firm grounding,"timbre,sustain,reverb and many other effect levels" are add-ons to enhance a mood or listener implied stimuli.

.....have an open ear....absorb it....practice....study it........play.......interpret......feel.....learn and let the cycle grow....

 

oye soundscape!!!

u play JAzz?

 

Knowing these concepts have little to do with jazz specifically. Of course, you are still allowed to ask the question

 

^^^ thank you..i was tryin to be nice to ssslayer by not pointing it out to him..ahh..yes i can be nice too.

@pavlo---play the chords ur self and come to ur own conclusion.

and lol @augmented chords sounding kiddish..i know its ur perception.
i kept playin an augmented chord and tried real hard to think that it sounded kiddish.

 

Hope u all enjoyed playing over the changes.BJR,u're right about these concepts not specifically pertaining to jazz.Yes,i do play a lil jazz here and there,will hopefully be playing at the Jazz Yatra Delhi n Mumbai....will inform u folks on confirmation.
have fun,keep practicing and making it"practical"
warm regards

ps. for those interested in the voicings im using in"Pavlo's Point" im typing thm down here,i tried to keep it as simple.i would encourage u to be creative and play other voicings and/or add stuff to it..............


Major C X3201X
Minor Em 022000
Diminished F# dim 2X121X
Augusted A aug or A7#5 or A(#5) X07665
suspended D sus 4 or D7 sus 4 X5758X (pull of G(8) to F & E for teh m7 & m9 voicings
6 G6 3X5453
7 C7 X3535X 8XX9 11 8
major7 Fmaj7 X8 10 7 10 X
9 D9 10(t) X10 9 10 10
add9 G add 9 X 10 12 14 12 10
minor6 Fm6 X 8 10 8 9 10
minor7 Em7 X 7 9 7 8 10
mi maj Ab mi major (also notated by a triangle with a minus sign beneath) 4(t) X 5 4 4 3
major C/G (II inversion) viz C(root) C/E(I inversion) C/G(II inversion) 3X555X

X-string not played,0-open,(t)-play with thumb,strng order viz 6-5-4-3-2-1

Cheers

 

well that was just because in Jazz u just cant do without it ... in Blues and Rock u can still without all the mumbo jumbo ...

 

no no, thats a common misconception. You use these concepts everywhere. More often than not, you don't know you're using them. That is when a good ear comes in handy (though God knows that the concept of having a good ear is abstract in itself).

Of course, when I talk about "you" I mean us beginners, the guys who have made it big mostly know a lot more than they let us in on.

 

ok man ...
to me all the mumbo jumbo is good only if it sounds good ... and if i can make something that sounds good ... i dont really need to bank upon the "mumbo-jumbo" ... thats all i meant ...

but in jazz it is a diff ball game ... u wont know what is going on ... how ot improvise ... thats y mumbo jumbo is required there ...

OK ... before this turns SPAM ... i stop ...

b.t.w. BJR: that was specifically meant for dharmatma ... but since u had worded it i had to include it in my post ...

 

I understand. The end result is that it has to be good to listen to regardless of the intricacy or the lack of it. It was music that came first and theory that followed.

But you see, we are still using the "mumbo-jumbo". We just don't know it. Suppose I make up a wonderful triad comprising of C,G and E. I'll show it to a friend who'll turn up his nose and say "Big deal, you're just using a C major chord". I'll say "huh? what? fock you, I put in a real effort into that".

But we'll both be right na? I couldn't care less what chord it made up, I'd use it because it sounded good to me. But that doesn't mean it's something wonderfully new....it's just a C major chord.

It takes a particularly talented person to ask themselves questions and then be able to answer them and discover music on his or her own....not to mention the decades consumed. However, if someone is able to do this, their understanding of music will be far greater than I can ever hope to gain.

and if a musical discussion is called spam, I'm going to bring in a smiley onto the forum that shows the middle finger.....er yes, that will fix neo :