The Music Theory question is just something I'd like to hear how others categorize chords. 3 chords, notes in ascending order: 1- G, B, D, E, F# 2- D, B, D, E, F# 3- C, G, B, D, E To me it's 1- Gmaj7/sus6 2- Dsus6 but this one could be a Bm/sus4 inversion right? 3- Cmaj7/sus2 Really the song is just G, D and C but the pedal tones give it an open, jazzy almost minimalist vibe. Anyway...The real reason I'm posting is I'm being asked to write teen angsty lyrics. I'm not a teen and my angst was more blinding rage than angst. So I feel weird circling back and kinda accessing those old emotions to write from a different perspective. And I'm stuck. And I need help! Any writing tips? Things that get you going? Thanks
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
I was asked to be in line with the used and my chemical romance. Neither a particular favorite but I do like some of their tunes. I just was never angsty, like I said when I was a teen I loved my parents and went from happy to nuclear in .5 seconds.
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.
Excellent! I actually aced my AP theory exam but it's been a few years. Another friend had pointed out that I should be saying "add" instead of "sus" and agree that's not a thing. So keeping mind that the bass is playing very basic 1) G 2) D 3) C I guess serving as the root...does that change your mind? So Gmaj7add13 D9add13 Cmaj7/add9 right? because otherwise the 7th isn't implied? Thanks for your expertise, this has been buggin me. On the track I'm recording, the extra jazzy pedal tones sound great. Really open, really atmospheric and beautiful. I'm just going for a little "knowledge is power" in this instance. Like I said, I took theory years ago and usually pretty much know the chords i'm playing. mixed in some open stringage with 7th chords and lost it lol...
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").
Verbal angst is more my problem. Writing music is something I do pretty well. Lyrics, poetry however.....pretty meh.
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