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> Could Anyone Tell Me What Chords These Are?
Jollygreengiant1
post May 13 2009, 06:52 PM
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GDA, GADG, GDF#, CGDB (notes in each chord)
Are theese just variants of a g major chord or are there some different names for them?
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Caelumamittendum
post May 13 2009, 06:53 PM
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Gsus2, Gsus2, D/G (with no 5), G/C... I think.

This post has been edited by Caelumamittendum: May 13 2009, 06:54 PM


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Jollygreengiant1
post May 13 2009, 07:03 PM
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QUOTE (Caelumamittendum @ May 13 2009, 06:53 PM) *
Gsus2, Gsus2, D/G (with no 5), G/C... I think.

Thanks!
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Oxac
post May 13 2009, 07:06 PM
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Gsus2, Gadd9, Gmaj7 (this particulat voicing without a fifth, common in jazz), G/C


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Caelumamittendum
post May 13 2009, 07:13 PM
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QUOTE (Oxac @ May 13 2009, 08:06 PM) *
Gsus2, Gadd9, Gmaj7 (this particulat voicing without a fifth, common in jazz), G/C


Wouldn't it need a B to be Gadd9? And if it's a Gmaj7, isn't it then the 3rd missing?

This post has been edited by Caelumamittendum: May 13 2009, 07:14 PM


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AlexLion
post May 13 2009, 07:30 PM
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Better wait for Pedja or Ramiro biggrin.gif
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Jakub Luptovec
post May 13 2009, 07:30 PM
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GADG = GAD, its just an octave. Both are G sus2, because the 3rd is diminished - its not 2nd (or 9th for this matter), becase 9th chords are basic triads with 2nd/9th added

GDF# Since F# is a major 7th in G ionian, its just G maj7 no 5th (no 3rd) . B is major 3rd for G. EDIT: Just noticed there is no B inside, without 5th and 3rd, its nonsense. If D was a root, F# is its maj3rd and G is its 4th. Then its D add11 (no 5th)

CGBD The last one would be more of G add11, since C is 4th (or 11th for this matter) to G. It could also be C sus2 +maj7th

Anything more? This is fun:P

This post has been edited by Jakub Luptovec: May 13 2009, 09:17 PM


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Jollygreengiant1
post May 13 2009, 07:43 PM
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QUOTE (Jakub Luptovec @ May 13 2009, 07:30 PM) *
GADG = GAD, its just an octave. Both are G sus2, because the 3rd is diminished - its not 2nd (or 9th for this matter), becase 9th chords are basic triads with 2nd/9th added

Since F# is a major 7th in G ionian, its just G maj7 no 5th . B is major 3rd for G.

The last one would be more of G +11, since C is 4th (or 11th for this matter) to G. It could also be C sus2 +maj7th

Anything more? This is fun:P

Yes i have some more from the chrous they are: EGDB, DGDB, F#GDF#
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Jakub Luptovec
post May 13 2009, 07:46 PM
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QUOTE (Jollygreengiant1 @ May 13 2009, 08:43 PM) *
Yes i have some more from the chrous they are: EGDB, DGDB, F#GDF#


EGDB - Em7
DGDB - G
F#GDF# - Since F# is a major 7th in G ionian, its just G maj7 (no 3rd). EDIT: Just noticed this is nonsense, since there is no B.. If D was a root, F# is its maj3rd and G is its 4th. Then its D add11 (no 5th)

This post has been edited by Jakub Luptovec: May 13 2009, 07:51 PM


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Jollygreengiant1
post May 13 2009, 07:59 PM
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QUOTE (Jakub Luptovec @ May 13 2009, 07:46 PM) *
EGDB - Em7
DGDB - G
F#GDF# - Since F# is a major 7th in G ionian, its just G maj7 (no 3rd). EDIT: Just noticed this is nonsense, since there is no B.. If D was a root, F# is its maj3rd and G is its 4th. Then its D add11 (no 5th)

Thanks once again!
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Caelumamittendum
post May 13 2009, 08:52 PM
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QUOTE (Jakub Luptovec @ May 13 2009, 08:30 PM) *
GADG = GAD, its just an octave. Both are G sus2, because the 3rd is diminished - its not 2nd (or 9th for this matter), becase 9th chords are basic triads with 2nd/9th added

GDF# Since F# is a major 7th in G ionian, its just G maj7 no 5th (no 3rd) . B is major 3rd for G. EDIT: Just noticed there is no B inside, without 5th and 3rd, its nonsense. If D was a root, F# is its maj3rd and G is its 4th. Then its D add11 (no 5th)

CGBD The last one would be more of G +11, since C is 4th (or 11th for this matter) to G. It could also be C sus2 +maj7th

Anything more? This is fun:P


Are you sure the last would not just normally be called G/C aka G with a C in the bass?



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Jakub Luptovec
post May 13 2009, 09:07 PM
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QUOTE (Caelumamittendum @ May 13 2009, 09:52 PM) *
Are you sure the last would not just normally be called G/C aka G with a C in the bass?


It could, maybe its even more logical:) There is always more options. But I prefere to do it this way... To look at the relationship with the scale

In case of c# tho, it would be Gadd11+ (signature chord of lydian mode), but in this case, both choices are OK I guess.. some of teachers will tell us more I guess:)


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Muris Varajic
post May 13 2009, 11:29 PM
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QUOTE (Caelumamittendum @ May 13 2009, 09:52 PM) *
Are you sure the last would not just normally be called G/C aka G with a C in the bass?


Much easier, yeah.


QUOTE (Jakub Luptovec @ May 13 2009, 08:30 PM) *
GDF# Since F# is a major 7th in G ionian, its just G maj7 no 5th (no 3rd) . B is major 3rd for G. EDIT: Just noticed there is no B inside, without 5th and 3rd, its nonsense. If D was a root, F# is its maj3rd and G is its 4th. Then its D add11 (no 5th)


There IS 5th, only 3rd is missing.
But you had B note earlier so it's just crippled Gmaj7.


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Oxac
post May 14 2009, 02:40 PM
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Oh, sorry Cael. I must have been very tired on this one (stupid of me). I don't know how I got it wrong:P but you're correct about that.

I must have misread it or something.

My bad.


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Caelumamittendum
post May 14 2009, 03:20 PM
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QUOTE (Oxac @ May 14 2009, 03:40 PM) *
Oh, sorry Cael. I must have been very tired on this one (stupid of me). I don't know how I got it wrong:P but you're correct about that.

I must have misread it or something.

My bad.


Don't feel bad or apologize, mate. I'm not the best at all this chord theory either - at least it's very similar to my notation sightreading. I can do it, but it goes very slowly. So I just got a bit confused if I had got it right at all smile.gif


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Jakub Luptovec
post May 14 2009, 06:12 PM
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Me neither biggrin.gif Actually this is first time, I guesed something right biggrin.gif thats why I was so enthusiastic - I finally did it... well sort of smile.gif

This post has been edited by Jakub Luptovec: May 14 2009, 06:12 PM


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Pedja Simovic
post May 14 2009, 08:53 PM
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Gsus2
Gsus2
Dadd4sus5
G/C

This is the easiest way to label those chords !


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Ramiro Delforte
post May 14 2009, 11:02 PM
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Well, I just want to add a little thing.

Attached Image

If you think the voicings as in the picture that I've attached then the first chord could be thought as a G9 no third.
The thing could be different if you switch the G over the D because in that case you could think the chord as a Dsus4 (D root, G perfect fourth, A perfect fifth).
What I want to remark is that the position of the voices sometimes is really important to determine which type of chord is because this kind of notation in a certain way is very limited because gives a lot of space to interpretation. That's a good thing but sometimes a bad thing, for example the traditional notation (like the one I attached) gives you all the information about where the notes are placed.

So, the second chord if you think it as I wrote it the A now it's the second not the ninth because is not above the octave and because the chord has no third you can think it as a second replacing the third (a typical chord in some cadences of barroque music). - (Gsus2)

The third chord has: root, perfect fifth and major seventh. So in the context of the other chords could be as Muris said, a Gmaj7. You have to think that the chords are defined by the conduction of the parts (voices) the previous events and the upcomming events too. This chord (those three notes) seems to represent a Gmaj7 but I think it's very important where is placed this chord because if you know that you are in G major obviously this chord is a Gmaj7 but could be different if you're using the harmonization of the melodic minor scale where this chord could be a major-minor chord (G-Bb-D-F#). That's some example of what I tried to explain above.

The last chord is a plain G major with a C on the bass, a typical slash chord (the denomination comes for the notation G/C). A chord with altered bass. And the voicing is also typical of the guitar where the third is above the fifth, a very open disposition of the voices.

I hope this helps a little smile.gif


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