Jacked up chord

Could you, perhaps, explain the term "jacked-up", please?

Em7add11 ;)

Em7add11 ;)

Ah is that what "jacked up" means? - Much ado about nothing. In that case mine is:
B minor add b6 (no 5th) in 3rd inversion - commonly played as 320003 :lol:

Could you, perhaps, explain the term "jacked-up", please?

oh yeah sorry dude. i guess i need to watch that. I mean the most complex, weird looking, odd sounding(well iguess it could sound good) so yeah, sorry.

I don't know if it's the "most jacked up" chord I've ever played, but I'm currently working on a tune that I've arranged in which I'm trying to stick a EbMaj7add9add#11add13 (which I play without a 3rd or 5th) (which makes it a F13/Eb, but I like the other name better :) )

The way the chord is fingered is just a bear:

E -- 11 (1st finger)
A -- 12
D -- 12 (these two get a second finger barre)
G -- 14 (4th finger)
B -- 13
E -- 13 (third finger barre)

I've played a lot of double barre chords, but this one is really tough given the location on the fretboard more than anything else . . .

Ooooh, that looks hard.

Ooooh, that looks hard.

LOOKS hard? Have you tried fingering it? Think I'd be tempted to find a different chord.....!!!!

:D :D :D

Vic

Did just now and it sounds like crap. I can't finger that crazy chord. Yikes!

I don't know if it's the "most jacked up" chord I've ever played, but I'm currently working on a tune that I've arranged in which I'm trying to stick a EbMaj7add9add#11add13 (which I play without a 3rd or 5th) (which makes it a F13/Eb, but I like the other name better :) )

The way the chord is fingered is just a bear:

E -- 11 (1st finger)
A -- 12
D -- 12 (these two get a second finger barre)
G -- 14 (4th finger)
B -- 13
E -- 13 (third finger barre)

I've played a lot of double barre chords, but this one is really tough given the location on the fretboard more than anything else . . .
My pinky absolutely refuses to co-operate.

I don't know if it's the "most jacked up" chord I've ever played, but I'm currently working on a tune that I've arranged in which I'm trying to stick a EbMaj7add9add#11add13 (which I play without a 3rd or 5th) (which makes it a F13/Eb, but I like the other name better :) )

The way the chord is fingered is just a bear:

E -- 11 (1st finger)
A -- 12
D -- 12 (these two get a second finger barre)
G -- 14 (4th finger)
B -- 13
E -- 13 (third finger barre)

I've played a lot of double barre chords, but this one is really tough given the location on the fretboard more than anything else . . .

I was really intrigued by this chord, so I've been messing about with it this afternoon. Here's what I came up with.....

First of all, the notes......

E - 11 = Eb
A - 12 = A
D - 12 = D
G - 14 = A
B - 13 = C
E - 13 = F

I looked at each combination of notes until I got to F as the root - using those notes, you'd have F=root, A=3rd, C=5th, and Eb=b7. So far that's an F7 chord - then all you're adding is a D note, the 6th - or 13th - in the F scale.

If you play F7 at the 13th fret......

E 13 =F
B 13 =C
G 14 =A
D 13 =Eb
A 15 =C
E 13 =F

all you have to do is add a D note.....this you can do by fetting the B string two frets higher, ie

E 13 =F
B 15 =D
G 14 =A
D 13 =Eb
A 15 =C
E 13 =F

which is easily playable, and would be an F7(add13) chord.

Wouldn't that work, KP?

:D :D :D

Vic

Vic's been infected by the chord theory bug, I think :)

Actually, I need the Eb in the bass for this chord, it's part of a decending bass run, and the F and C make up the two melody notes at that point in the tune.

I've taken to playing it with the thumb on the Eb, bar at 12, and then get the rest with my fingers.

I could get the double barre, but where it is on the fretboard, I could never get my fourth finger to land on the A. I could drop the A, as it's not essential to what I"m trying to achieve, and when I come around to that point in the tune on the second chorus (where I allow myself more improve room) I often just play the Eb and the two melody notes and don't even worry about hitting a chord there . . .

"Vic's been infected by the chord theory bug, I think."

True - 99% of what I play is rhythm guitar, so I figured if I understood chord construction, it'd help my playing more than scales and modes....might be a backwards way of doing it, but you have to know the scales to figure out the chords, so it's kind of a bonus....

When I joined GN, what I knew about theory could be written on the back of a postage stamp with a whitewash brush and stilll leave room for the tab to Stairway to Heaven..... but thanks to people like KP, Fretsource and Noteboat, I actually understand what I'm playing some of the time....

And KP - I actually thought you were having a little fun with us, like Fretsource's B minor add b6 (no 5th) in 3rd inversion - commonly played as 320003.....!

oh well - back to that F13......Long Train Running, anyone?

:D :D :D

Vic

And KP - I actually thought you were having a little fun with us, like Fretsource's B minor add b6 (no 5th) in 3rd inversion - commonly played as 320003.....!

From the perspective of naming the chord, I was just basically getting as far out in left field as I could. But I actually was struggling with playing the chord. It's in my chart as "F " . . . I know what I mean ;)

I mean the weird names don't really mean anything out of context. I'm working on a song where towards the end there are two notes a Major 7th apart and it is definetly not being heard as a major seventh. In context it is probably some rootless 5thless extension of a chord from an altered minor scale but youd never know it (or hear it) without the rest of the phrase coming 1st.

I'm just saying you can't even hear these strange chords right if they are not functioning in context as the strange chord you named it.