I've been searching on the net and not found an example yet. Can anyone share some shapes for a Dsus4add9?
It would be greatly apprecated.
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I've been searching on the net and not found an example yet. Can anyone share some shapes for a Dsus4add9?
It would be greatly apprecated.
Someone will likely correct my ignorance of music theory but if you told me I'd get $100 if I played that chord correctly I'd go 7-5-0-0. Here's my thinking. The 7 gets you the "d" at the root, the 5 gets you the "g" that makes it a sus 4, the open third string gets you the "a" of your d chord, and the open fourth string gets you the "e" that is the added 9. Looking forward to learning when someone explains why that's wrong.
I’m eager to learn too! Hope you’re right.. that looks playable.Quote:
Originally Posted by trabb
Funny...on mando play all four open strings. Dsus4 is DGA...add 9 is E.
I'd make a quick diagram of a fretboard....give symbols to each of the notes required. Find the chord I am coming from and the chord I am going to and find a fingering that fits in between them concentrating on the bass note.
The 7-5-0-0 or the alternate 7-5-7-x is my offering. It depends on the context, though. If you're singing a song that has the 9 in the melody, you could let the voice do that job, and just not play a higher D to avoid blurring the focus, as in 7-5-0-x. This is often the case, that the complicated chord name accommodates the melody, but you can let whatever is carrying the melody do that job. For convenience you might even skip the root, and play 2-5-0-x if there is a bass instrument to play the D.
Definitely go with the suspension, as it is a really different sound and function compared the the normal D with F#. You can leave it alone by playing neither 3rd nor 4th. Suspensions, color notes and tension notes are where the fun is, but sometimes you can skip them as long as you don't contradict them. Sometimes the opposite is true, that you can skip the basic chord notes and emphasize the extra notes, but that is more often when you are trying to play solo or carry the melody in the playing.
Or... Just let the general tonality of the tune carry itself through, as it's already been established in the listeners' ears. A missing root, whether momentary or more extended, is rarely perceived as a "hole" in the music, and we musicians tend to get WAY more analytic than those who just sit back and enjoy.Quote:
Originally Posted by Tom Wright
I do suspect that a missing root at the point where you change keys (uncommon in roots & popular music) could be a whole different thing.
No key change in the song. But thanks all I believe I have enough to follow through with this!
On a chord that is built with 5 notes, you make choices. Generally speaking, I'd sacrifice either the 5th or the root - or both. But that's just a general approach, not set in stone. As to fingerings - well that's the most fun part. Finding the notes in different places and experimenting until you find what you like best in the context. "What you like best" = both the sound and the mechanics of fingering the chord. Seems a simple solution to me.
1) Depends on context. Solo mandolin? Trio? 5-piece? Or? Different settings will call for different voicings.Quote:
Originally Posted by Kip Carter
2) By its very nature the mandolin is incapable of playing full chords in strict root-3rd-5th-etc. order. Waste of time even trying.
3) ajh is quite correct:
(All four strings open is also (to name but one) G6sus2, if you ever need to play one of those.;))Quote:
Originally Posted by ajh
Don't forget Em7add4 and A7sus4
I disagree. The patterns 7-4-0-x and x-7-4-0 give R-3-5 chords. A bit stretchy & trebly perhaps, but possible.Quote:
Originally Posted by jesserules