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  1. #1

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    Hey, folks.

    Recently, I've been watching a lot of Rick Beato videos where he mentions the lydian triad (1-#4-5), and I'm starting to get the hang of it as a sort of sus(#4) chord, but I've heard him speak about extending the chord with a major seventh, giving the lyd(maj7) chord. I've found this chord difficult to voice without it sounding exceedingly dissonant, for there are two minor seconds -- if we're playing Glyd(maj7), there's the F# and G (inverted major seventh of 7 and 1), and C# and D (#4 and 5). We can easily play the G and F# as a major seventh, and we could also easily omit the fifth, but the sound of G, C#, and F# still sounds pretty unstable to me. Any tips?

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    The Jazz Guitar Chord Dictionary
     
  3. #2

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    For guitar players the two maybe most common:
    1 3 #4 7 (root on 4th string)

    1 5 7 3 #4 (root on 5th string)

    1 7 3 #4 (root on 6th string)
    Last edited by fep; 08-23-2021 at 10:21 AM.

  4. #3

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    Quote Originally Posted by fep
    For guitar players the two maybe most common:
    1 3 #4 7 (root on 4th string)

    1 5 7 3 #4 (root on 5th string)

    1 7 3 #4 (root on 6th string)
    Give me a minute and I can play this CMaj7(#11) chord:

    x35452

    Some folks may be able to play the bass C and treble F# as a slant barre. I play the x3545x as usual then *reach around the back of the neck* and play the F# with the side of my thumb. I did say "give me a minute", right?
    Last edited by BigDaddyLoveHandles; 08-23-2021 at 11:44 AM.

  5. #4

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    Quote Originally Posted by BigDaddyLoveHandles
    Give me a minute and I can play this CMaj7(#11) chord:

    x35452

    Some folks may be able to play the bass C and treble F# as a slant barre. I play the x3545x as usual then *reach around the back of the neck* and play the F# with the side of my thumb. I did say "give me a minute", right?
    Yes, I do it with a slant barre

  6. #5

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    I catch the F# with the side of my index finger, so I guess that's slant barre.

    But, the chord quality is pretty close if you lower the G on the D string to an E.

    x32452. Which is easier to play. The G is heard, faintly, as an overtone of the C.

    Not the same, but probably can cover the other one.

  7. #6

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    Cma7(#11) with the B and C in the same octave and the F# and G in the same octave.

    89.10.000

  8. #7

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    Quote Originally Posted by setemupjoe
    Cma7(#11) with the B and C in the same octave and the F# and G in the same octave.
    89.10.000

  9. #8

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    I play those IV chords like this, with the root on the 5th string (10th fret). “X” are strings I don’t play for this voicing.

    x
    12
    11
    11
    10
    x



    And with a root on the 6th string….


    x
    x
    5
    4
    4
    3

  10. #9

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    Writing the sideways saves on virtual paper: x.10.11.11.12.x and 3444xx -- I think you meant this, not 3445xx?

  11. #10

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    Ha! Yes, you are correct….typo on my part! I’m brand new to the forum, and I must have struggled for 5 minutes trying to type out the voicing in a way that wasn't confusing to read. Your way is much better!

  12. #11

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    Thanks for the tip on slant/curved index barre and overtone of fifth - both never occured to me and are immediately useful