Got another new chord for ya. Well not new, but u know.

viz

In Valerie, in Eb, I play the tonic chord (Ebmaj7) as x68786, in a funky kinda way.

In the quiet verse, I give it a gentle strum, then move my 2nd and 4th fingers to create x68678, before returning to the Ebmaj7. 

It’s a kind of Ebm7add13. Or probably it’s just called an Ebm13, because the 7 is assumed. 

I love the way the major 3rd dips down to a minor 3rd, the maj 7 dips down to a m7, and the 13 is introduced. 

Roland

xx8786 has to be my favourite voicing, and let the bass player determine which chord name is appropriate.  x68678 is haunting. There’s a loneliness to it.

roberty

D#m, the second saddest of all keys

Tannin

All other points aside, that is a handy finger exercise! I can easily move any one finger to re-voice a chord, or any two adjacent fingers, but I find it quite difficult to move the middle and little without moving the ring. 

It's a good exercise from another point of view - it's quite muscular on an acoustic. So there are two good reasons for doing it, even if it doesn't sound good (which it does - I'll explore further with it as I go along)

How about this way of looking at it?

I'm seeing the second chord as a rootless Ab11. The notes are 5 2 4 b7 and 3, and Ab is the 4th degree of Eb, so it all makes sense.

It is rather similar to a thing I play in C# minor (but borrowing chords from the major)

Once I'm done with the main melody part of the tune it goes to a pedal on the C# (5th string 4th fret) I do with my thumb (I'm acoustic so I have to be my own bass player) and the chords flip between

* C#m7 x46600 and  F#11/c# x42300 changing up to ...
* C#sus2 x46644 and  F#7/c# x42322  (same thing but barr with the index instead of leaving the first 2 strings open) changing up to ...
* C#sus2 x46644 again and F#7/c# x44656 (really just an open D7 shape slid up 4 frets) and finally  ...
* the same F#7/c# and a C# powerchord x46699 

That last one is a bit of a stretch! I'm still working on getting it every time.

(My physio loves it when I try to play this stuff. $$$)

BRAINFADE EDIT: I corrected "#7" which was of course meant to be "b7" above.

viz

Yeah it's definitely similar to a flick to the 4th and back (though with the 7th not the #7th as it's Ebm13 not Eb13).

haven't got a guitar to hand so I'm trying to listen to your other chords in my mind's ear - they sound v nice.

I sometimes do another thing - actually it's my fave chord of all time - which is, after my Ebmaj7, but without the top note - x6878x - I then go down a tone to Db, and do a Db13, which is x4x466. Then I pull off a semiquaver note with my pinky (x4x464) before returning to x6878x. I love that 13 chord.

Tannin

^ I like it. Very tasty. I'm going to have some fun playing with that one. 

13s are a lot of fun, I'm slowly discovering. My current favourite is one I nicked from a Jens Larsen video (one of the few bits I actually understood!) 3x344x - a G(b13) - which really, really wants to resolve to C or Cmaj7 in a nice way. 3x345x (straight G13) works too. Later on tonight I'll try playing with that and your Db13 shape above (transposing as required) and see what interesting sounds I can make.

Oh no I won't! My sister is staying here. She is out at present visiting friends in Hobart, but will be back soon. Very fond as I am of her, I'm not getting any guitar practice in this week and not browsing The Fretboard much either. Tomorrow after she leaves then.

PS: note edit correcting my brainfade in the previous post.

viz

Tannin said:

 3x344x - G(b13)

Yeah and that's my preferred position when doing a 13 chord actually, like G13 would be 3x345x.

It can be used as a b7 chord with a b7 and 13 in it, and resolves up to A (like if you're doing D -> Dm -> A, it's really lovely and tender if you do D -> G13 -> A; it's in loads of jazz),

And also it can be just used as a tonic in a jazz blues. As the 1 chord, followed by a C9, then back to the G13.

Brad

Out of interest @viz where are you placing this Ebm7add13? That’s quite a strong sound you’ve got there!

viz

Sort of like this, and I did the Db13 too, which I like very much. 

https://youtu.be/BqkEynMJIjM

Brad

Ah so the second bar, I did think it would be there. Sounds cool, I’d better prep any keys players if I decide to throw it in  

Cranky

roberty said:

D#m, the second saddest of all keys

What’s the saddest?

viz

https://youtu.be/NgViOqGJEvM

Although LMLP has a major 4 chord, so sprinklings of dorian, so it could be even sadder.