The Smiley Smile Message Board

This is probably a question for those who really understand music (or just happen to have used this chord at some point).  I know very little about music/music theory/reading music/etc, so I need help.

I've looked through a chord book under D (my initial thought was some sort of D7), then F (because it has some of the
notes contained in an F chord), then G (because it has the high note of a G7 and I figured why not check G), then C (because I was running out of options).  Here is the chord:

e 1
B 0
G 2
D 0
A 0
E x

Hopefully I have written up the chord properly.

Thanks for your help.

mypetsounds

That chord is a Dmin6, or D minor 6. With that voicing the harmony may cut through better if you leave off the open A string and just play the top four, unless the open A is part of a droning bass sound within the song. The note A is already covered on the G string.

In jazz it could also be called Bmin7b5, again removing that open A would voice it better unless the open A is in the song.

Listen to guitarfool.  8)

Actually in my experience, in jazz it would usually be called a B "half-diminished" (meaning diminished triad, but dominant/minor 7th). But of course, you're correct. It's the same thing. Either one of these explanations (the Dmin6 or the B half dim) are inverted, so it's not really typical either way. You're either in a second inversion or a third (with third being less common). The prominent A in that voicing definitely throws either option into unusual territory. So maybe you want to call it an Asus4(#5)(add9) ... but why would anyone want to call anything that!?

I love this board.  I knew I would get an answer and a whole lot more!  Here is the progression in which I am using the chord:

A, C#, F#m, D/C (12100X, I believe), Dmin6

My ears are nowhere near as fine tuned as those who have replied here, nor my mind as educated.  Nevertheless, I did debate whether or not to leave the A marked as "0" or "X".  Outside of the bar chords (C#m, F#m) I am strumming mostly the four higher strings (should I say "top" or "bottom" referring to these strings), so I may or may not be hitting the A string at any given time.  Same goes for the "D/C" (I believe it was labled such in the book I use as a reference).

I keep wanting to use the following at some point in the song but I can't find a melody that fits (and by "find" I mean discover as I sing along):


A, C#m, F#m, D7sus2, E7, F, G (toying with an open high "e" here), and then back to A.  Too many chords for my simple, 3-4 chord melodies. :)

Suggestions welcome, just bear in mind I understand very little (if any) of the technical aspect, unfortunately.

Thanks guys (are you all guys?),

mps

I am a little confused on that one. Are you starting from the highest pitch string here (high E, bottom of the six as you hold it) or lowest pitch (low E, top of the six as you hold it)? If the former, I suspect maybe you're off a fret, it is actually 23200x, which is a D/A (or a D in second inversion). If it is as written, it would be a Dmin(b5)(maj7) / A (which is the natural 5). If the latter, we're talking F9alt (aka F9 (b5)(#5).

Oops.  Its 21200X (eBGDAE).  BTW, should it be written "e....E" or "E....e"?

OK. Then yeah, that's a D major chord over an A, i.e. a second-inversion D chord. Anyway, so it sees your progression is built around A major. I-iii-vi-IV6/4, and then your mystery chord! That chord really doesn't make a lot of sense from a straight-ahead tonal theory standpoint (which is no criticism or insult--what makes sense theoretically means only that, and doesn't matter in terms of what you like the sound of). Compared to A major, a Dmin6 implies a ii chord, so it would be acting as a ii-min6 to a C, which doesn't appear in that key. And the B half diminished is the vii in that same key, C major. Basically you've substituted from the key a minor third up from your primary key. That's my two cents anyway.

You're setting up a really nice progression on the second group of chords you've listed if you keep the high E string open. I have no idea what rhythm you're playing on these, but check out these 4-note voicings on the top 4 strings (top=highest pitch)

Strings: EBGDAE
A: 0567xx
C#m: 0566xx
F#m7: 0224xx
D7sus2: 0120xx
E7: 0010xx
Fmaj7: 0123xx
G6: 0345xx
A: 0567xx

It's an interesting progression to begin with, and keeping the high e open adds a nice pedal effect to each chord, plus the voice-leading on these chord voicings moves pretty smooth and the fingerings aren't too out of the ordinary. Plus this voicing of the C#m makes it sound like an A major7, and that always adds a jazzy flavor.

If someone is stuck on a songwriting idea I sometimes suggest looking for a chord progression using an open string in the progression. It's a simple way to add a neat texture to basic triads. The guitar has open strings available for this, I say "Use 'em!" :)

LOL. That's awesome. And btw, I am an oblivious dunce--I didn't even get through that post to note that there even was a second batch of chords. But guitarfool2002, I am right with you on making that F an Fmaj7. To me, E7 (or just E, frankly) into an Fmaj7 is great stuff. I don't know why. Just is.