[APRIL FOOL - thanks to Viz for being a willing stooge and bumping the thread through the morning]
Today's chord is a portmanteau from two guitars (plus a bass, really).
On the syllable 'date' in the oft-repeated line "I Wanna Be Sedated" during the song of that name by the Ramones, the bass plays a D before resolving up to the home key of G in the next syllable 'ted'. So even though neither of the guitars plays a D, the name of today's chord is some kind of D chord, and I've added the noRoot element later on to indicate that the D is not played on the guitar.
In the left channel, the guitar is mostly playing G barre chords 355433 with the emphasis on the top four strings, but for effect on this syllable it drops by a semitone to (2)(4)4322. The notes from the 4th string up in relation to a D chord are F# xx4xxx the 3rd, A# xxx3xx the #5, C# xxxx2x the natural7, and F# again xxxxx2. So the left channel contributes the major tonality (not notated, just observed by the absence of an m after the D to denote a minor chord) and the #5addnat7 to the overall chord description.
In the right channel, the guitar is merrily chugging along on a G5 power chord 355xxx, but briefly swaps strings to a C5 power chord x35xxx during this syllable. The notes in relation to a D chord are C x3xxxx the 7th, and G xx5xxx the 11th. So the right channel contributes the 7 as in D7 and the add11 at the end to the overall chord description.
So, how to combine these two chords onto one guitar? The obvious way is to leave the D root to the bass, take the C note 7th at x3xxxx, and add the F# chord from the left channel xx4322 to give x34322. This sacrifices the xx5xxx add11. We have a spare string on the 6th string and the correct note available at the 15th fret, but no appendage obviously available to fret the note! You could fret it with your tongue, but no-one would be foolish enough to attempt that, surely?
;-)So overall, I'll (reluctantly!) leave the add11 at the end in brackets, and notate the combined chord as
D7#5addnat7noRoot(add11): (15) 3 4 3 2 2
I haven't dealt yet with the scale choices these notes give over a dominant D7 chord leading into a G chord, but the presence of the #5 A#, dominant7 Cnat and natural7 C# make it an interesting challenge! I'll leave that as an exercise for the reader . . .
You can hear the chord most clearly through headphones as the track fades out, at about 2:31 in this video
Comments
http://www.thefretboard.co.uk/discussion/598/chord-of-the-week-index
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
Oh yes whoops that's what I meant - and actually you can get the majority of the notes across the diagonals on the bottom 4 strings, switching between both directions. If you wanted to, you could play over the top of the neck and transpose your original chord up a bitone (without the /3 on the B string) and use your thumb for the 11, or even shift position up a quadtone (without the /3 on the G string) and your thumb up a further augmented 2nd for the 12+ note on the 18th fret.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.