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Hey, folks.
I've discovered a chord lately that I've never considered before, and I absolutely love it: the sus2(b6) chord. I was watching a speech by the immortal Herbie Hancock, and he was telling his classic "don't play the butter notes" story. I was inspired to try his technique of intentionally avoiding the 3rd and 7th (the "obvious notes" of a chord), and after a bit of experimentation, I came up with sus2(b6).
I like to use it as a substitute tonic minor chord, and I like to voice it (1-5-b6-2) with the root doubled deep in the bass register (the chord can be mis-identified as bVImaj7(b5) if the root is not emphasized heavily). A practical application for the sus2(b6) is on the C minor tonic in "Blue Bossa". Instead of playing something like a Cm9, try going with Csus2(b6) -- it works really well when moving to an Fm6.
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08-22-2021 05:10 PM
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If we use C as the low note, C G Bb D is a Gm/C bass. Sounds very familiar isn't there some tune that has this in it. I think Steely Dan used it a lot. They also used C G B D which is a G/C
Edit: oops I don't think that's the chord you speak of. But it's cool none the less.
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Originally Posted by fep
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So C G Ab D...
I play it and I want to resolve to C E G C. I don't know what it is, sounds nice. Abmaj7(add11)?
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I just so happen to have a piano in front of me. Picked up the guitar and I can't make the stretch but I'm sure some can; use an open G.
The chord with the Ab G tight voicing sounds really good on piano.
cfwoodland, did you find this on the piano?
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Originally Posted by fep
Thinking about the range and timbre of the guitar though, I can see why it would be harder to play on guitar.
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That's just an inversion of a major 7 chord with a b5/#11 instead of a natural 5.
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Originally Posted by Clint 55
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I've used it in some slow songs like as the last chord of the A section of Blue In Green, replacing the Dm9, it is a more haunting beauty... 10 x 8 9 x x
I use these related chords for some songs:
Amaj11sus2/D 10 12 9 9 9 x
A#majb11sus2/D x 5 8 5 6 5
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Originally Posted by pauln
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There are a lot of great sounding chords.
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Originally Posted by kris
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Originally Posted by pcjazz
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I love chords with "rub". I need that on a T-shirt but all I got is this...
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Was mention uses of opens strings
Using one open across two chords;
mechanically simple, results in nice
sounds, and especially arpeggiated
8 x 8 7 6 0 -> 9 x 9 8 7 0 C11 -> C#m11
Using two open across four chords
can be mechanically simple even if
you consider these pairs as "super
chords" and alternate - lifting and
lowering the index finger barre for
the first three pairs and lifting and
lowering the 4th finger for last pair
x 4 6 6 4 4 --> x 4 6 6 0 0 C#sus2 --> C#m7
5 x 6 6 4 4 --> 5 x 6 6 0 0 Amaj#11 --> Amajb11sus2
0 x 6 6 4 4 --> 0 x 6 6 0 0 Emaj13 --> E6
2 x 2 3 4 4 --> 2 x 2 3 0 0 F#(13)b11sus2 --> F#7b11sus4
these benefit from slow strums,
appegiation, and finger picking.
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Yes It’s often played for jazz piano intros to ballads, from Erroll Garner , Oscar Peterson, to Barry Harris. The first song in the Real Book has it, “A Child Is Born” ||: C | F-6/C:||
It is simply “borrowing the diminished” over the tonic. Some would recognize it as these examples of it, which are really all the same sound effect. It’s basically I to V7sus b9 over a pedal point:
||: C | G7susb9 :||
or
||: C | F-6 /G :||
or
||: C | D-7b5/G: ||
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Originally Posted by rintincop
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Originally Posted by rintincop
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Barry's Intro has a go with it
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I tried it in C harmonic minor. And going strictly by the inversion order of (1-5-b6-2). It is a hard stretch.
But I had been thinking of trying out D tuning, tuning down a whole step and it that tuning it is much easier.
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