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Reverend Secret Flower
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11,837 Posts
So i was about to start a thread for Dissonant chords, then i remembered this thread and figured it was close. So i need some new unsettling chords people. Spit some more out :lol:
 

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Where?!
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Discussion Starter · #22 ·
How about some minor-second diads, like Meshuggah occasionally use?

e----------
b---4------
G---7------
D----------
A----------
E----------
 

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Premium Member
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3,391 Posts
I like the add9 chords a lot (the 1st, 5th and 9th ones people mention in this thread), I'm a big fan of 2nd/9ths as it is.

I also like one that Ron Jarzombeck is using in his vid on Blotted Science

e-8
B-7
G-8
D-7
A-
E-
B-

Move that anywhere, and especially as in the vid, move it up three frets then play, and repeat, and it sounds awesome. Diminished 7th chords for the win
 

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The Tremol-No Guy
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651 Posts

e--8---
b--8---
G--9---
D--8---
A--9---
E--8---


From Dream Theatre's "Pull Me Under".
Csus#add4....or something like that.
 

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Discussion Starter · #26 ·
Here's a Page Hamilton-style voicing; a four-note powerchord in Drop D tuning with the minor seventh on top.

e-------
b---6---
G---7---
D---5---
A---5---
D---5---
 

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577 Posts
Some of the chords i use to make things sound a little more interesting.

Elevent diad with a b5

E------
B------
G-7----
D------
A-6----
E-5----
B------

an extended version of the previous one:
E-8-
B-8-
G-7-
D---
A-6-
E-5-
B---

Haven't bothered to name this one yet really:

E-9-
B-9-
G-7-
D-5-
A-5-
E---
B---

Bit more on the jazzy side this one:
E---
B---
G-5-
D-4-
A-5-
E-5-
B---
 

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I like this one because you get that whole tone tension between the upper octave and the 9th. Add some open strings and there you have some seriously cool and dense extensions

E-----0--
B-----0--
G--2-----
D--5----
A--5-----
D--5----

Heres another moveable with a major 3rd and the doubled 5th for a more happy hollow sound. This chord is easily made minor by moving the E to Eflat, and adding some more upper extensions to make a sort of minor 6 chord begs for a resolution back to ^ that chord :):

E-----0---11
B-----0---10
G--12----12
D--14---\13-
A--10----10
D--10----10
 
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Any major or minor 7th chord leaving out the fifths. Pretty much only chords I use (sometimes I just play the root and third and double the third at the octave.)

Sounds great with the right eq. muddy as hell otherwise.
 

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Discussion Starter · #32 ·
Just found this one while messing around in Bbsus4 (like Tesseract tuning). Quite a cool variation on Devin's double-octave. Octave with a fifth on top...

bb----x-----
f------1-----
Eb----x-----
Bb----1-----
F-----x-----
Bb----1-----
 

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Premium Member
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3,930 Posts
How about this? I'm incorporating it into a new song with my band.

d-------
A---0---
F---5--
C---9--
G---6--
D---5--
 

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Pallin' around
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9,532 Posts
How about this? I'm incorporating it into a new song with my band.

d-------
A---0---
F---5--
C---9--
G---6--
D---5--
Oooohh that is an ugly one. What key/mode are you basing this in? Without that, it is kinda hard to identify the intended root for this chord. Lets see here.

The notes are G, C#, A, and A#. Could be F# half-whole diminished then.

Assuming you are using G as the root, G, A#, C# spells a diminished triad, then the A in there is like an major 9. (or maybe a 10 since the diminish scale has 8 notes instead of 7 :scratch:). Lets just call it a 2 for simplicity.

So I guess one way to look at it is a G diminished triad add 2 (maj)
 

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Well I guess I never thought of it, but yeah that would be the chord. Gdim add2. But the A# would have to be a Bb in that context. So the key would be Bb major. Yay theory!
 

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Pallin' around
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9,532 Posts
Well I guess I never thought of it, but yeah that would be the chord. Gdim add2. But the A# would have to be a Bb in that context. So the key would be Bb major. Yay theory!
Except the Bb major scale doesn't contain the C# so it couldn't be in true Bb major, that is why I assumed it had to be F# half-whole diminished. Either way, over just a Bb drone it could be a pretty sweet arpeggio!
 

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I personally like these ones
A# Maj7
e---x-
B---3-
G---2-
D---0-
A---1-
E---1-
and Edim7
e---0-
B---2-
G---0-
D---2-
A---1-
E---0-
 

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Discussion Starter · #40 ·
I've been experimenting with using a partial capo to experiment with a partial capo to fake the kind of open string drone I usually get out of DADGAD or Open C tuning today...

It's actually very cool, as with a little crafty fingering you can replicate a lot of the sound qualities of those tunings.

If you capo up to a fake Open A, for instance, and let octaves ring against the open roots and third for instance, it sounds very close to Devin Townsend's big washy rhythm parts if you pile on some delay...

e---------------------------------
b(c#)-----0----0-----0-------
G(A)------4----10----9--------
D(E)------0----0-----0--------
A---------4----10----9-------
E---------0----0-----0--------
 
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