Chord Of The Week 10/8/13 : E /E7

Clarky

bigjon said:

Clarky said:

snakemanStoo said:

999999 E 6add9

naaahhh ! ! lol..

with the 6th in the bass, what inversion is that... ??

It's good with the open E in the bass though

E6add9: 099999

hmmm... just tried it...

the Diezel VH4 and 5150 mk3 just complained.. and bitterly so too..

I actually felt the need to apologise to them and promise never to do it again

Clarky

double post

Clarky

jeez... triple post

I don't even know how that happened...

bigjon

bigjon said:

bigjon said:

Here's a good power-chordy version of a full E chord, works well with a crunch sound:

E: 026xxx

I think the reason this works well is it voiced with the root at the bottom, the fifth next up, and the 3rd sitting on top[. . .]

Whereas as Shawn Lane skips a string between the root and the fifth, which I prefer:

Esus4: 12 x 9 14 x x

E: 12 x 9 13 x x

A similar arrangement for E7 sounds great if you replace the fifth with the seventh, good with a Strat on the neck pickup and a tubescreamer, à la SRV. 

E7sus4: 12 x 12 14 x x

E7: 12 x 12 13 x x

Clarky

E7: 022434

E9: 076777

Clarky

this is one I adore

E7 in 3rd inv 

which is E/D: x5999x

typical use in the good ol' days [as in the early 1700's] would have been

E/D -> Am/C -> E7/B -> Am

E/D: x5999x

Am/C: x3x555

E7/B: x22434

Am: x0x333

or something like this

E/D -> Am/C -> E5 add7/G# -> Am

or sexier

E/D -> Am/C -> Bdim/G# [which is E7 b9 in 1st inv] -> Am

bigjon

Clarky;9908"

E7 in 3rd inv which is E/D: x5999x

In more recent history, this inversion (in a slightly different arrangement) has seen service in the key of F#m in Mr Big's 'Had enough' - 

E/D: 10 x 9 9 9 x

This can be toggled with Dmaj7 10 x 11 11 10 x as in the chorus of 'Physical' by Olivia Newton John

bigjon

Duplicate post

Clarky

I love this whole "7th in the bass" thing

in fact, I adore goofing with inversions..

they can add so much more power / emotion to chord progressions

 

Phil_aka_Pip

@Clarky isn't Bdim/G# just G#dim7?

Clarky

Phil_aka_Pip said:

@Clarky isn't Bdim/G# just G#dim7?

I wrote it that way cos when reading chord charts it's faster / easier to read

the chord is actually functioning as chord V7b in Am [given the progession I've shown it in]

the actual chord is E7 add b9 in 1st inv

EDIT: note that the 'b' in V7b means 1st inversion and not 'flat'

snakemanStoo

Clarky said:

snakemanStoo said:

999999 E 6add9

naaahhh ! ! lol..

with the 6th in the bass, what inversion is that... ??

that's C#m7 with an added 11th.. and with the C# in the bass it sounds like one too..

or a better name would be F#11 in 2nd inv

sorry dude... yellow card for that one..

I didn't say it was a good one...

I just remembered that from my first chord book.  Same fingering was under G 6add9, Em11 and an A, but I can't remember which one.

Clarky

in that case you need to cascade the yellow card back to the writer of the book...

bigjon

bigjon said:

bigjon said:

E7 - 0767xx

Now let's look at the various ways this E7 can be extended when leading into an A or Am chord in a V-I progression. So far we have a root in string5 (and a low root on string6), a 3rd on string4 and a 7th on string3. If you're wondering where the 5th has gone, it might get added later on the top string (fret7) but it might not - it's not essential for an E7 chord.

    Let's start with the extra notes we can add on string2, beginning with just the root repeated

E7: 07675x

It sounds fine followed by an Amaj7 or Am chord, by a bit dull. Let's spice it up by moving the note on string2 up one fret at a time - 

E7b9: 07676x

E9: 07677x

E7#9: 07678x (the Hendrix chord again, but this time used as a V chord in the key of A)

Next note after (fret9) is a G# again, which is already in the chord as a 3rd

We can use the same approach to generate 5 more E7-into-A chords by using the A-shaped E7 chord from the CAGED system, which shares the same root at the 7th fret of the 5th string as the C-shaped E7 0767xx. The basic shape before extensions is

E7: 07x79x

And we can extend this cell on the same principle as before along the top string using frets 6(the note above the sus4) to 9 (the note before the 7th) as follows - 

E7b5: 07x796

E7: 07x797

E7#5: 07x798

E7add13: 07x799

bigjon

bigjon said:

We can use the same approach to generate 5 more E7-into-A chords by using the A-shaped E7 chord from the CAGED system, which shares the same root at the 7th fret of the 5th string as the C-shaped E7 0767xx. The basic shape before extensions is

E7: 07x79x

And we can extend this cell on the same principle as before along the top string using frets 6(the note above the sus4) to 9 (the note before the 7th) as follows - 

E7b5: 07x796

E7: 07x797

E7#5: 07x798

E7add13: 07x799

The same extensions can be added an octave down, which makes for interestingly dense-sounding voicings:

E7b5: 07879x

E7: 07979x

E7#5: 0 7 10 7 9 x

E7add13: 0 7 11 7 9 x

bigjon

bigjon said:

The same extensions can be added an octave down, which makes for interestingly dense-sounding voicings:

E7b5: 07879x

E7: 07979x

E7#5: 0 7 10 7 9 x

E7add13: 0 7 11 7 9 x

Exactly the same voicings can be played around a D-shaped E7 chord located at the 2nd fret -

E7b5: 0x2334

E7: 0x2434

E7#5: 0x2534

E7add13: 0x2634

bigjon

Ok, different theme coming up, let's put some more bluesy dominant extensions into the pot. I'll start with this Robben Ford-esque groovetastic E9sus4 to E9 move B-)

E9sus4: 0 x 12 11 10 12

E9: 0 x 12 11 9 12

viz

0 2 4 10 11 14

mike_l

viz said:

0 2 4 10 11 14

slightly awkward fingering, but I reckon I'll have it down by tomorrow......

viz

I think I meant 0 2 4 11 12 14 anyway! I've never been very good at fret numbers.