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Author Topic: Polychords  (Read 6848 times)

Offline 4hisglory

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Polychords
« on: September 14, 2005, 11:19:14 AM »
For the people that think of chords as polychords, which ones do you use????


Major chords
C / Em7      -orgianlly got this from hammondman

Minor
C / EbM


Dominant Chords
C7 / D
C7 / dim7
C7 / Ab
C7 / Em7b5
:)

Offline jonesl78

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Polychords
« Reply #1 on: September 14, 2005, 12:57:32 PM »
Personally, I like to name the chord according to the root. This is best for me in a band situation if I am calling out chords to the other musicians.

Offline B3Wannabe

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Polychords
« Reply #2 on: September 14, 2005, 01:20:24 PM »
CMaj \ DMaj
CMaj \ EMaj
CMaj \ Gsus2
CMaj \ GbMaj

C6 \ GMaj

C7 \ GbMaj
C7 \ AMaj


Common Gospel Chords:

C7 \ AbMaj
C7 \ BbMaj
C7 \ Em7b5
CMaj \ BbMaj7b5
CMaj \ Bbdim7


That's some of the ones that I use.

Offline 4hisglory

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This is...
« Reply #3 on: September 15, 2005, 06:34:42 AM »
I like this one....

C7 \ GbMaj
:)

Offline 4hisglory

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Polychords
« Reply #4 on: December 21, 2005, 09:39:34 AM »
Quote from: B3Wannabe

Common Gospel Chords:

C7 \ AbMaj
C7 \ BbMaj
C7 \ Em7b5
CMaj \ BbMaj7b5
CMaj \ Bbdim7



I've finally started to use some of these.  Real nice.
:)

Offline playhear

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Polychords
« Reply #5 on: December 21, 2005, 10:23:41 AM »
Those chords look cool. But I'm scratching my head trying to figure out how to use them. The way some of the chords are written, they're really altered from what they appear to be at first glance. For example,

C / EbM appears to actually be CminMaj7

but I'm not sure. And that's an easy example. I guess I'm just not sure how to name the chords. Do you just forget about naming these chords altogether and just sort of listen to each chord until you figure how to use it?

Offline playhear

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Polychords
« Reply #6 on: December 21, 2005, 10:41:18 AM »
Nevermind my last post. I made a mistake. I will repost after I think about this some more.

Offline playhear

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Polychords
« Reply #7 on: December 21, 2005, 01:37:21 PM »
OK, I've given up on trying to name these polychords. Do you just forget about naming these polychords altogether and just sort of listen to each polychord until you figure how to use it? Take these polychords for example:

C7 \ AbMaj
C7 \ BbMaj
C7 \ Em7b5

When can I use them? Can I use them any time there's a C7? How do I approach figuring out how to use these chords. Is it trial an error? Please explain some general rules, thanks.

Offline 4hisglory

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Well....
« Reply #8 on: December 21, 2005, 01:53:51 PM »
I use to try to identify each chord also, but I couldnt. :)  So now I just identify the "type" (as in Major, Minor, Dominant, etc) and use it like that (basically what you said).
:)

Offline sjonathan02

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Re: Well....
« Reply #9 on: December 21, 2005, 02:00:27 PM »
Quote from: 4hisglory
I use to try to identify each chord also, but I couldnt. :)  So now I just identify the "type" (as in Major, Minor, Dominant, etc) and use it like that (basically what you said).



I think I like this line of thinking, 4HG. It seems to make it easier if you know what type of sound you want. Is that about right?

I know for me if I can really begin to hear the effects of a dominant and diminished chord, then I think I will have really broken through this playing "barrier".

Be Blessed. Is this is some great stuff.

Jonathan
Despite our communication technology, no invention is as effective as the sound of the human voice.

Offline B3Wannabe

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Polychords
« Reply #10 on: December 21, 2005, 02:05:44 PM »
C7 \ AbMaj = C7 (#9 b13)
C7 \ BbMaj = C11 (#13)
C7 \ Em7b5 = C9 (#13)


These are usually used in specific places, because of the 13th. I'll write out some examples with each later. It's 5am here. I need to go to bed.


....Adding to this: It's very easy to identify chord names, if you have the numbering system down. Also, every chord can be called something else, because since there are only 12 notes, the same notes could make up a different chord, if inverted. That's how you get direct substitutions.

Offline T-Block

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Polychords
« Reply #11 on: December 21, 2005, 02:10:36 PM »
I'm with u on this one playhear.  I don't understand polychords either.  I mean, both hands together make one chord. Take this chord for example:

C7 \ AbMaj

Are yall actually playing a whole C7 chord in your left hand and an Ab major chord in your right hand like this:

C-E-G-Bb / Ab-C-Eb

That seems kinda crazy to me when I can just play it like this:

C / E-Ab-Bb-Eb

The G is missing, but u still got a comtemporary 6 in Eb, which will most likely go to an 2:

C / E-Ab-Bb-Eb
F / Ab-C-Eb
G / G-Bb-Eb
Ab / Ab-C-Eb
Bb / G-Bb-Eb

Will u look at that?  It's "Jesus Is My Help" chords by Hezekiah Walker.  Sorry I got off topic, but I thought that would be kinda neat.
Real musicians play in every key!!!
Music Theory, da numbers work!

Offline B3Wannabe

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Polychords
« Reply #12 on: December 21, 2005, 02:36:20 PM »
Quote from: T-Block
Are yall actually playing a whole C7 chord in your left hand and an Ab major chord in your right hand like this:

C-E-G-Bb / Ab-C-Eb



Yep...or...

C-E-Bb / Eb-Ab-C
C-Bb / Eb-Ab-C
C-G-Bb / Eb-Ab-C


I play in the middle a lot, so full chords, in the left, don't sound muddy. The deeper I get, the less I play. If I'm running bass, I usually do no more than 2 notes, dropping a left hand chord when I play higher notes.

An open voicing would be like:

C-Bb / Ab-C
C-E / Eb-Ab

C, G-Bb \ Ab-Bb-Ab *bass note played first then chord*

There are a lot of ways to play around with that chord.

Offline playhear

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Polychords
« Reply #13 on: December 21, 2005, 03:05:21 PM »
thanks

Offline playhear

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Polychords
« Reply #14 on: December 21, 2005, 03:21:21 PM »
Quote from: B3Wannabe

C7 \ AbMaj = C7 (#9 b13)
C7 \ BbMaj = C11 (#13)
C7 \ Em7b5 = C9 (#13)
quote]

How about these names instead?

C7 \ BbMaj = C11
C7 \ Em7b5 = C9

I'm not sure why you're saying #13.

Offline sjonathan02

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Polychords
« Reply #15 on: December 21, 2005, 03:28:59 PM »
Quote from: playhear
Quote from: B3Wannabe

C7 \ AbMaj = C7 (#9 b13)
C7 \ BbMaj = C11 (#13)
C7 \ Em7b5 = C9 (#13)
quote]

How about these names instead?

C7 \ BbMaj = C11
C7 \ Em7b5 = C9

I'm not sure why you're saying #13.


That's what I was thinking too. But I tell ya, I love that Cmin7#5 OR....

C7/AbMaj

at least as it looks to me.

Jonathan
Despite our communication technology, no invention is as effective as the sound of the human voice.

Offline B3Wannabe

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Polychords
« Reply #16 on: December 21, 2005, 07:21:09 PM »
See! I told you it was 5am, when I wrote that!

LOL


Yea. Use those names.


Quote from: sjonathan02
That's what I was thinking too. But I tell ya, I love that Cmin7#5 OR....

C7/AbMaj

at least as it looks to me.


It's only that, if you don't put the E in the first chord. If there's an E, then the chord can't be minor, because the "true" third is there. The Eb (D# rather) becomes a #9, but if you do...


C-Bb \ Eb-Ab-C

...then you have your chord...but again...if you add the G...

C-G-Bb \ Eb-Ab-C


...then the Ab become a b13.

Offline sjonathan02

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« Reply #17 on: December 22, 2005, 06:57:17 AM »
Quote from: B3Wannabe
See! I told you it was 5am, when I wrote that!

LOL


Yea. Use those names.


Quote from: sjonathan02
That's what I was thinking too. But I tell ya, I love that Cmin7#5 OR....

C7/AbMaj

at least as it looks to me.


It's only that, if you don't put the E in the first chord. If there's an E, then the chord can't be minor, because the "true" third is there. The Eb (D# rather) becomes a #9, but if you do...


C-Bb \ Eb-Ab-C

...then you have your chord...but again...if you add the G...

C-G-Bb \ Eb-Ab-C


...then the Ab become a b13.


You know, I actually understand what you're saying. And, I can really hear the difference when adding that E.

I don't like the b13 though...too much clash for me.

Jonathan
Despite our communication technology, no invention is as effective as the sound of the human voice.

Offline T-Block

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Polychords
« Reply #18 on: December 22, 2005, 09:11:46 AM »
Oh, I get it now you guys. Thanks for the clarification B3.  I don't chord with my left hand too much, but I still want to learn how to do it.
Real musicians play in every key!!!
Music Theory, da numbers work!

Offline B3Wannabe

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Polychords
« Reply #19 on: December 22, 2005, 10:06:06 AM »
Quote from: sjonathan02
You know, I actually understand what you're saying. And, I can really hear the difference when adding that E.

I don't like the b13 though...too much clash for me.

Jonathan



 8O  8O

You take that back!!


I know what you mean. It took me a while to get used to the sound of the dissonance. I used to do just C-Bb in the bass, but I always wondered why my chord didn't sound the same as the one on some songs. I listened really hard and heard the E in there, then eventually I  added the G, from listening to Joe Sample and watching some of the other people, on the net.

I starting to chord more with my left hand than I run bass, but I haven't really ran a bass line in 7 years. I've been playing with bands, for the past 3 years, so all I did was chord. I really wanted to stay out of the bass player's space. That's why my running bass lines are a weak now. Plus, I didn't practice them. I have to practice them and my scales all over again....Next year. That's one thing that I got out of this, though, I can chord with my left hand pretty good now.
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