Correct Chords

C

caycay

New member
I made track a while back. The chords look real messed up, yet they sound so good to me. I'm not sure if I have listeners fatigue or something.

I was trying to figure out if the chords are "correct"?

The chords are:

G(bass)/FAC
D(bass)/CEG
G(bass)/EGB
E(bass)/DFA

are these chords "correct" in any way? Or do I need to rework them? Any help appreciated.
 
caycay said:
I made track a while back. The chords look real messed up, yet they sound so good to me. I'm not sure if I have listeners fatigue or something.

I was trying to figure out if the chords are "correct"?

The chords are:

G(bass)/FAC
D(bass)/CEG
G(bass)/EGB
E(bass)/DFA

are these chords "correct" in any way? Or do I need to rework them? Any help appreciated.
Click to expand...

F-A-C with a G bass = G11 or G9sus4 (no 5th present and acceptable voicing)

C-E-G with a D bass = D11 or D9sus4 (no 5th present and acceptable voicing)

E-G-B with a G bass is simply a 1st inversion chord of E minor

D-F-A with an E Bass = E11b9 or E(b9)sus4 or Dm/E

harmonically we are seeing the progression as

I9sus4-V9sus4-vi/1-v/6 in the mixolydian (this is in G Mixolydian aka 5th mode of C major) the second chord is ambiguously given as a major because of the sus4 - the sus4 is rarely used to resolve to a minor 3rd, so we use the major form instead
 
A lot of people construct chord sequences this way without really knowing the theory and it works out fine.
If you like the sound, that's all that matters.
 
Thanks. One of my weaker points when it comes to music theory is sustained chords and diminished chords. What are sustain chords or what do they allow you to do? Or maybe I should wiki it... But with the last chord your saying that isn't a good chord to use at the point? Or use to resolve?
 
caycay said:
Thanks. One of my weaker points when it comes to music theory is sustained chords and diminished chords. What are sustain chords or what do they allow you to do? Or maybe I should wiki it... But with the last chord your saying that isn't a good chord to use at the point? Or use to resolve?
Click to expand...
Suspended or sustained chords are chords which omit the third and instead use a fourth (sus4), or occasionally a second (sus2)

I don't think Bandcoach is saying it's a bad chord to use, he's just explaining that although he's written it as V9sus4, doesn't mean it's a major chord, because suspended chords aren't major or minor: they don't include the third.
 
caycay said:
Thanks. One of my weaker points when it comes to music theory is sustained chords and diminished chords. What are sustain chords or what do they allow you to do?
Click to expand...

sus = suspended not sustained

suspended chords come from the harmonic practice of 16th, 18th and 20th century vocal counterpoint - they are a point of dissonance (the 4th and 9th are dissonant intervals) that is resolved downwards by step to a consonance (the 3rd or the tonic). they are normally used to provide continuity between chords whilst also promoting dissonance

in pop music the sus4 and other versions have become chords without a purpose (i.e. they do not need to resolve at all, simply introducing the dissonance and then moving on)

the sus2 resolving to the 3rd is a purely guitaristic device; the most notable example is in Stairway to Heaven at the transition from the middle section to the last section where the movement is Dsus2-D-Dsus4-Dsus2-D-Dsus4-Dsus2-D-Dsus4-Dsus4-D-C/D-Dsus2-D-Dsus4-Dsus2-D-Dsus4-Dsus2-D-Dsus4-Dsus4-D-C/D-etc in this sequence the sus2 is replacing the 3rd with the 2nd (E instead of F#) and the sus4 replaces the 3rd with the 4th (G instead of F#)

Or maybe I should wiki it... But with the last chord your saying that isn't a good chord to use at the point? Or use to resolve?
Click to expand...

no, what I said is that the 2nd chord has been shown as Vsus4 as a sus4 chord is devoid of major/minor tonality

there is nothing wrong with your progression to my ears or my inner hearing
 
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