Well, the difference is in intentionality, haha. The more basic open shapes don't really require muting of that nature; it's usually for more tricky shapes up the neck. See Homer's seventh shapes in post #110 for examples. But a good example of muting on an open chord appears in "Jane Says" by Jane's Addiction. The open G chord in that acoustic part looks like this: 3 x 0 0 3 3 This is essentially a modified open G shape, with the main difference being that the A string isn't fretted--it's muted by the middle finger which is also fretting the low E. Edit: that's my favorite G shape because it has no thirds. It's clear and bright without that muddy B.
Which makes it a multi-octave power chord! It'll sound super bright when distorted. Another reason to mute strings is to keep a constant rhythm with the pick attack without worrying about which strings to play or not play. Mix in some precussive chunks and you get some nice random harmonics too.
Oh lord. I don't know what that is? It's from the US? I mean, it has to be if they're calling it "bourbon." Unless they're importing barrels from Lincoln county and cheating the regs that way.
It's a D minor chord (D, A, F) that adds the major 7th (C#) instead of the minor 7th (C). Root 6: 10 12 11 10 Root 5: 5 7 6 6 The cool thing about that chord is it's in the shape of the harmonic minor scale... you know, that scale that sounds Spanish: D major scale: 5 7 9 (a string), 5 7 9 (d string) 6 7 (g string) D minor scale: 5 7 8 (a string), 5 7 8 (d string) 5 7 (g string) D minor harmonic scale: 5 7 8 (a string), 5 7 8 (d string) 6 7 (g string) I know you know that scale... or at least played it a hundred times without knowing it, maybe. All it does is take that the regular minor scale and replace the minor 7th with the major 7th... the notes I bolded, italicized, and underlined. Stretching the limits of my music theory here, but all scales (or chords) that are minor assume all 3rds, 6ths , and 7ths are minor and all major scales (or chords) assume all 3rds, 6ths , and 7ths are major. The 1st, 2nd, 4th and 5th are the same for both minor and major, but you can swap their major or minor cousins in for the rest of the notes. That's a horrible sounding chord by the way. Not sure what you're supposed to do with it.
Play a spooky song of course. Turns out (no shit) that perhaps it's not Dmmaj7... I don't know anymore. I play it as this: X X 12 14 14 15 or is it...?
(counts on fingers, imagines a fretboard that isn't there) By Jove, he's right! Side note: I have to get back to my circle of fifths exercises to remember all the keys. Father Charlie Goes Down And Ends Battle (ascending) Battle Ends And Down Goes Charlie's Father (descending)
This can't be it because if Dmaj7 played with the root on the 12th fret on the D string looks like this: X X 12 14 14 14, suspending the 4rth would make it as such: X X 12 14 14 15 but I'm still working on it... Lol.
Shit. I did, didn't I? Well, now you see where all my confusion stems from. I misspelled it. I play: X X 12 14 14 13. That's what I was originally going for anyways and didn't even notice it until you've mentioned it.
Depends what you like, I guess. I love dissonance for its own sake. It can be visceral, chaotic, beautiful even, and you can play with a listener's expectations.
Got no problem with dissonance,but that one just sounds like mud to me. Maybe it's because it's in the lower octave. Honestly I'm not sure which chord we're talking about anymore. Haha.
