[Creative Types Needed] Writers and Music Theory

What's the tune like and how much angst? Also deep angst ala Nirvana or obvious cheese angst ala Linkin Park?

 

1 - correct
2 - yes and would be Bm/sus4 if the D isn't the lowest note
3 - correct

As for angst and stuff, no idea. I only know theory

 

Just play Em7 over E, Bm over B, Ebm7 over C. Use a fat and airy pad for the chords, bounce around on an 808 on the 1, 5, and 7 from the chords above to form your kick. Tight synthy snare on the 2 and 4. And add a stuttering rhythmic hi hat pattern full of 32nds and triplets.

Now you've got a trap R&B track ready set for Bryson Tiller, Tory Lanez, Drake, etc. The teens will love it.

And I'm sure that this didn't help you at all. Lol

 

1)I would typically argue against the existence of a sus6. With a sus chord, you're omitting the 3rd and adding either the 2nd or 4th in its place. If anything, your adding the 6th (or 13th) so it'd be GMaj7add13 (because 6ths and 7ths don't appear together so it has to be a 13th instead of a 6th). And it's actually very close to a GMaj13 chord (G B D F# A E) because in 13 chords, you typically don't play the 11th unless it's notated as a #11. However, I'd just call it Em9/G

2)Bm7add4/D (Again, sus would indicate replacing the 3rd instead of adding a note to a triad)

3) It's simply a CMaj9 chord. You're not voicing it in thirds (C E G B D), but that doesn't matter. It's still a CMaj9 chord.

When naming chords, the notes DO NOT have to be in order. You just have to account for the bass note. C E G and C G E are both C major chords because they contain the same notes. The order doesn't really matter. And G E C is still a C Major chord, just with a G in the bass, thus C/G.

Credentials: I'm a band director and I have a degree in Jazz Studies.

 

I'm with the band director. I saw those groupings from the OP and my mind immediately went to Em instead of G major.

 

Any number above a 7 implies the extensions below it. 9 implies the presence of a 7th. 11th implies a 9th and 7th (though really, 11ths only appear on minor chords). And 13 implies 11th, 9th, and 7th, but nobody would actually play the 11th unless it was a #11. The thing with all of those is that it implies a minor (or dominant) 7th, and not a major one. But simply add "Maj" and that indicates the the 7th is major instead of minor. So you don't need to say CMaj7add9, you just have to say CMaj9.

I wouldn't say D9add13. The notes in that chord would be D F# A C E B, which your chord is missing the A and C. I messed up by calling it Bm7 before because there's no "A". The one triad that's present is B minor (B D F#). Then you have and E, but it's not sus because you're not replacing the 3rd (D), you're adding a note. So it would be Bm(add4). And then because you have D in the bass it would be Bm(add4)/D.

Just because a note is in the bass doesn't not mean it's the Root of the chord. It can be and usually is, but not always. You already referenced inversions so I know you know this. Sometimes it's tomato/tomato (that saying doesn't work with text, does it?). In jazz a G9sus chord can also be (and often is) written as Dm7/G. Same notes, same sound, just a different way of writing it. (for a composition based on these chords, check out Herbie Hancock's "Maiden Voyage").

 

If you want angst, drop D that b**** and go to town.

 

Just had an epiphany here.

Spoiler

Salute to you, sir.

 

"AHHHHH!!!!!
DAMN IT ALL, CANNONBALL!" - Track 4




Good stuff, man! Congrats!