Chord of the Week 63
Don’t play this one for an hour straight, please. It sounds cool, but it’s a bit of a stretch. It’s a variation on “last week’s” voicing, with the seventh in […]
Don’t play this one for an hour straight, please. It sounds cool, but it’s a bit of a stretch. It’s a variation on “last week’s” voicing, with the seventh in […]
If you get away from half steps too long, you kinda’ miss ’em. I know right about now you probably had a hankerin’ for a nice, juicy half step. Maybe […]
I had to make an exception to the half step rule here for reasons of um, uh… national security. Yeah that’s it. Not really. The point of COTW is to […]
Here’s an altered E7 with no third. It still sounds like it wants to resolve. Soon. Maybe it’s a good thing you didn’t have to actually wait a week to […]
Since my rule for this exercise is: No half steps, no glory, I had to take a standard voicing for B-7b5 and add that 11 (E) as an open string. […]
Since Darn That Dream goes to C Maj7 here, I decided to do that also. This voicing is similar to some previous ones in DTD. You’d almost think E-7, GMaj7 […]
Necessity being the smother of all conventions has led me, and hence, you, to this C#-7 unusual and very hip voicing. How hip? It’s so hip that…I dunno’. You’ll notice that […]
You might have seen this one coming. Or maybe not. It is petty similar to the first chord in the Darn That Dream progression, only different.
“Nuttin’ doin’!” No open strings here. But still, a cool voicing for B7+4 with a half step and the melody. The good news is that this one is transposable. \tran(t)s-po-ze-bel […]
Next is A-7, again with a 13th. Unlike the Bb-7 from “last week”, this voicing has the minor third in it, and as always, the melody on top. Will the […]
The second chord change in Darn That Dream is Bb- (followed by Eb7). For this exercise, I have combined the two into a Bb-13 with the half step between the […]
I created a little exercise for myself that consisted of playing the chord changes to the A section of Darn That Dream with a half step in every single voicing. […]
I mean, this is getting ridiculous. How many cool voicings can you get from one scale. Like, save some for other scales, dude.
If you just take the same scale, find a cool voicing and then just move up to the next scale tones you get more exceptionally cool voicings. It’s almost like […]
If after playing this chord you think to yourself “these notes are just the next steps up an A myxolydian scale from the previous COTW,” you’d be soooo right.