grwagner wrote:If the piece doesn't have one of those "fingers-on-strings" chord diagrams,
owl wrote:I've just been through a heap of my worship music and I came across several instances of this... I would think they mean Eadd9... Dadd9 or whatever
ramsnake wrote:Geez Guys and Gals! I think we are getting the old knickers in a knot over nothing here.
I surmise that this relates to a strummed chordal accompaniment. So whether you call it an E2 or Eadd9 or zippitydoodah there is an F# somewhere in the chord and that is really all that matters! Stick it in somewhere and be done with it!
Paul Saywood wrote:OK, I'm ready to be told off now!
justinp wrote:As I understand it, the '2' notation is what we would call an add9, however, piano players can add the second in 'between' the root and third, while on guitar that is often a real pain to do. Cluster chords don't work well on an instrument tuned in fourths. In any situation with a 2 chord notated for guitar you can get away with a major chord, an add9 or a sus2. None of those will clash with the overall harmony. Then it's just down to personal taste.
zeroeffect wrote:Case in point:Hank wrote:Sus 2 and add9 is the same thing. In the key of C they would both be a D.
Hank, this simply is not true: Sus 2 means a 2 instead of a 3, and add9 means to add a 9 and keep the 3.
avoz wrote:Apparently '2' is an abbreviation for a third inversion 7th chord. As chords of the 7th involve four different notes they have more complex 'signatures' than triads. Religious music made much use of figured bass (as did much secular Baroque music)and the four versions are:
7TH CHORD POSITION FULL SIGNATURE ABBREVIATIONS
Root position: 7 7 or 7
Azalais wrote::grire: This is the best argument for using TAB that I've heard yet...
Summer wrote:Could just play what sounds good.
Azalais wrote: This is the best argument for using TAB that I've heard yet...
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