can you change the key of a specific chord?

[vurt]

im still learning "oasis chords"

From the Ladybird Big Book of Chords I assume?

[jancivil]

But there are shitloads of styles & genres that manage without them, and shitloads of artists having a respectable career while never touching these chords.

Preferably we want facts in the first place. This shit is useless.

You saying my facts are "alternative"

Ok, unmuted and I find you taking the piss. Great.

I didn’t write that so well. The topics here tend to ask for sort of musical facts, and you went for some off topic crap, and as though to encourage not caring. At the time I found someone posting non-facts confidently and then this. *sigh*

[jancivil]

I don’t know that they’re alone in that - I think there are a lot of artists who don’t follow conventions in construction of chords.

Lots of folk players do it, Jimi Page did, and even bands you might not imagine doing it, like Bauhaus.

donkey tugger does

what is meant by ‘conventions in construction of chords’? strictly by thirds? Check out chords by seconds, chords by fifths, quartal constructions.
A lightbulb turned on in my head when this bassist with a really good ear did these stacked fifths as a test one day in the cells, and I (correctly) identified them as tertial constructs (ie., a 7 note chord eg., A E B F# C# G# D# is likely a ‘chord of the 13th’, there A^7 9 #11 13) because jazz, basically. You can look at vertical constructs in more than one way. A B C# D# E F# G# = ‘scale’ in the horizontal but also secondal sonority vertically, from the diatonic cluster to whatever wider spacing... & obv. A D# G# C# F# B E, quartal.

synthetic

[jancivil]

Of course I felt silly as obvious as the fifths spacing is, but that was about being entrained to a way of thinking.

I saw this movie on TV in the motel room one day, There Will Be Blood, and was very impressed by the score which, weirdly, fit the period but was modern at the same time. I stuck with it til the credits and it was Johnny Greenwood. Who I had to google. I’m not a fan of Radiohead because it tries to be two very opposing kinds of music, and the folky strummy strum Thom Yorke aspect (and his voice) leaves me cold. But the film score by that guy was terrific, I thought.

[Forgotten]

what is meant by ‘conventions in construction of chords’?

Standard tuning, stacking thirds, playing chords at the lowest position possible on the neck , etc. Basically, the approach used by the majority of musicians.

There is a lot of ground not explored by the majority of guitarists, so I consider convention to be the chords used by that majority.

[jancivil]

Probably the majority of guitarists do no voicing at all, it’s parallels of root position in the usual fingering.

This statement is not scientific.

[vurt]

Of course I felt silly as obvious as the fifths spacing is, but that was about being entrained to a way of thinking.

I saw this movie on TV in the motel room one day, There Will Be Blood, and was very impressed by the score which, weirdly, fit the period but was modern at the same time. I stuck with it til the credits and it was Johnny Greenwood. Who I had to google. I’m not a fan of Radiohead because it tries to be two very opposing kinds of music, and the folky strummy strum Thom Yorke aspect (and his voice) leaves me cold. But the film score by that guy was terrific, I thought.

yeah i can get why some peoplecant take radiohead, or not for long at least
i like them, not everything, definitely not a superfan or anything, do love the fact an ugly bloke making "weird*" music is hugely mainstream though.

* - in comparison to the music that normally sees radio play on the main stations.

however, both johnny and ed (obryan)(had that suatainer strat model last year) are not your average rock guitarists.
ed is more fx based experiments with johnny being the dexterous one with a simpler tone letting the fingers do the work. (im sure both are equally good at both)
not sure if ed has dome much outside of radiohead, but i know johnny has a few scores and a couple of solo albums you may find of interest.

[jancivil]

I knew this cat used to busk in Berkeley - Steve Morse - was a huge Radiohead fan. So that’s where I ever heard it. If they could lose the singer I’d be a fan.

NOT Dixie Dregs Steve Morse btw. Very estimable guitarist and singer. He knew exactly how to execute Wind Cries Mary, so once we did it my way...



country. I had C&W renditions of all kind of stuff when I could reliably vocalize. But he was much better at both gittar and sangin than I

[donkey tugger]

I don’t know that they’re alone in that - I think there are a lot of artists who don’t follow conventions in construction of chords.

Lots of folk players do it, Jimi Page did, and even bands you might not imagine doing it, like Bauhaus.

donkey tugger does

what is meant by ‘conventions in construction of chords’? strictly by thirds? Check out chords by seconds, chords by fifths, quartal constructions.
A lightbulb turned on in my head when this bassist with a really good ear did these stacked fifths as a test one day in the cells, and I (correctly) identified them as tertial constructs (ie., a 7 note chord eg., A E B F# C# G# D# is likely a ‘chord of the 13th’, there A^7 9 #11 13) because jazz, basically. You can look at vertical constructs in more than one way. A B C# D# E F# G# = ‘scale’ in the horizontal but also secondal sonority vertically, from the diatonic cluster to whatever wider spacing... & obv. A D# G# C# F# B E, quartal.

synthetic

Aye, the chords are not necessarily that esoteric of themselves, just played in odd places, often with alternate tunings. On my part I think I often arrive at what are quite 'normal' progressions by a very circuitous route, but with a lot of droning notes and augmentation using hammer-ons etc. Works even better on a 6 string bass (in Fiesta Red..) No expert on any kind of theory of course, but it does seem that by it's nature the geetar works well for this with the natural unison etc. Always surprised that more people don't experiment a bit more with this kind of stuff, rather than sticking to low note root chords and stuff.

Perhaps one may start a thread in the guitar forum at some point!

[vurt]

when your fingers are too short n stubby for normal voicings you have to fiddle it a bit

[Forgotten]

Always surprised that more people don't experiment a bit more with this kind of stuff, rather than sticking to low note root chords and stuff.

Same with keyboards - I don’t understand why some people want to do everything with major/minor triads on the right hand and a ‘baseline’ on the left hand. Same as guitar - there’s so much more you can do if you move away from a standard approach.

[vurt]

Always surprised that more people don't experiment a bit more with this kind of stuff, rather than sticking to low note root chords and stuff.

Same with keyboards - I don’t understand why some people want to do everything with major/minor triads on the right hand and a ‘baseline’ on the left hand. Same as guitar - there’s so much more you can do if you move away from a standard approach.

tbh, ive only recently grasped enough about the fret board to be able to.
spent most of my guitsr playing life not being able to match the fret board to a stave or keyboard, due to the multiple occurences of the same notes on different strings. for some reason my brain just wasnt getting it.
then a few years agp, it just clicked one night when i wasnt even doing anything music related.
sat there and i remember thinking "your f**king kidding me, is that it?"
not saying im suddenly a virtuoso but i can now nip around the neck, picking out unison/9ths (:love:) and what have yous.

i also spent the first few years of my guitsr playing upside down.
not like a left handed player...
but due to my earlier banjo playing, and being told "move up the neck" at 7/8 as i was holding it almost upright, well it meant go up.
dont know if they used that lamguage just for me as a kid or whether beimg self taught folkys they gave a toss about convention
but it did confuse me ocassionally when i first started playing with other rock kids who had learned from teachers.

[Forgotten]

Banjo is a bit different for sure, especially the fact that you have a drone string. Not so easy to put a capo on a banjo either, as the drone string is already very tight, so tuning it up is going to make it more breakable. Not sure if you ever played one with ‘railroad spikes’ where you hook the drone string around spikes in the neck, but that suddenly makes it easy to use a capo. Got some for mine, but haven’t got round to putting them in...mostly because I still need to get myself a hand drill to make the holes in the fretboard

[vurt]

nope never tried a modified one
not sure how much traditional banjo i was playing either tbh as ive never looked in to it since.
we where just kids who had been taken along to the pub after church. the oldies would start, all irish rebel songs then as the guiness flowed, children would be roped in to fill out the music for the old men to drunkenly croon over.

about that', people go on about the music the kids listen to today being violent, i was singing about beheading kings and killing british soldiers when i was 5!
at the time, images of onights and arthurian type kings. little did i realise it was our current queens dad

[Hink]

dude you got the beard, the pipe, all you need is a straw hat...c'mon vurt, do a dueling vurtjos for us