help me i am in a fix. i want to know if you can name a few chords for me because i cant seem to find them in charts or whatever, so they may not be real chords.

anywhos, the chords are F# without the bar, B without the bar, and A7 with a note 3rd fret on the high e string. the first two are open chords where all 6 strings are played, and the last is played just like A7 with that addition.

i've got a nice little progression i've written, but i cant write it down, because i dont know what to call them...

PS - i was going to post this in discussion forum, but i figured a) i'd get yelled at for not posting it here, and B) this forum doesnt get enough love as it is.

I'm not quite understanding what you mean by the first 2 chords, but the A7 would just be an A7, you're just doubling up on the G.

...I think.

well, one plays an F# like this:



the chord i'm playing is like this



a B is like this



and the chord i'm playing is like this

first one is a sort of Esus13#11 but there's no seventh so it could be simply E6 sus add#4 Esus13#11 is a clearer way to see it though.. (you have the root, 9th, #11 and 13 with the 5th. only thing missing is a seventh. )

let's settle for Esus13#11

next one.. has E A F# B C# and E... i'd see it as a slash chord. I'd probably say
A(69)/E (but it's simple A69 as the fifth of A is E. the chord contains the Root, 9th,6th, major third and fifth.

considering this, i'd be tempted to call your first first Esus69(#11) and the second A69/E

so there, you have it

Esus69(#11) you can use the B major scale over this. (becomes E lydian which emphasizes the #11 sound..)

A69/E A major works. but i'd prefer A major pentatonic since it targets the best chord tones ( 1 2 3 5 6) and leaves out the 7th and 4th.

any other questions?

oh yeah, if you don't want to mess with using different scales, use E major pentatonic over both. on the E chord it'll sound like regular e major pentatonic with the 12356 and on the A chord it'll sound like a major scale, but with the 4th left out. resolve on the A's while using E major pentatonic and you might have found yourself a nice melody. those chords you picked sound very lush, so my personal suggestion would be to stick with E lydian (B major) for the first chord and focus on the movement between A# B and G# (#4 5 and 3rd, respectively) and for the A chord use E major pentatonic while adding a A note to it. it'll bring out the 69 flavor in the A chord.

that was very helpful, thank you. perhaps as this thing progresses, i'll post things in here for review, with apologies for crappy sound in advance.

I would call the first one F#7sus(add3)/E and the second B7sus(add3)/E. Why do you need to know? Is this being written down on paper? Neato chords.

i dont really NEED to know. i just kinda wanted to know. and yeah, i'm taking notes as i go along. i'm not that great of a player, and i cant play any lead at all, but its fun just strummin some chords.

oh yeah. also pretty logical. E and A being the minor 7ths to F# and B respectively, i guess if you were looking for at least a root and a 7th you could see it this way. i guess I was looking at the bass movement a bit more.

but then, it -is- a sort of jazz convention to omit roots in some chords if you have a bass player present, right tracer?

suprisingly, i loved that game, played it for the 1st time yesterday. i thought it was going to be tacky n sh*t.,

if(getThingFlags(source) & 0x8){
  do her}
elseif(getThingFlags(source) & 0x4){
  do other babe}
else{
  do a dude}

Yeah that's true. Weird guitar voicings are weird.