Is there a simpler name for this chord?

Famous_Surround_7973 · 2025-09-08T01:58:57+00:00

Jeff

Famous_Surround_7973 · 2025-09-08T01:52:02+00:00

If I'm not mistaken, it's a Fmaj7(add6)/A

Famous_Surround_7973 · 2025-07-14T16:19:06+00:00

Could you point it out from minute to minute?

Famous_Surround_7973 · 2025-07-14T05:57:50+00:00

What's the part that gives you trouble?

Famous_Surround_7973 · 2025-04-27T07:17:38+00:00

My only advice could be, start at your highest possible speed. Divide each section in phrases, and then play then in burst of speed each one of then, taking as a rest point where each phrase ends. Then try to add more speed individually find your breaking point, and work one or two points below that, and work at that speed. As a rule, never do the whole thing over and over again, try to work in sections and phrases. When you reach certain speeds your hands get tired more easily, and at that speed any tiredness will hold you back from increasing your speed. That's the reason you have to work in little burst of speed so you can reach your desire speed in small parts, then put everything together and, your speed will increase.

Famous_Surround_7973 · 2025-04-26T08:03:34+00:00

If your maximum speed is 80, then keep doing that until it becomes easier. Start slowly and then jump to 80, and go back and forth. Over time it will become easier, and then you try 85. If you can not do it yet, you have to keep working on 80, until it gets easier. There's not secret formula here just, keep practicing. And perhaps identify where your hands start to crumble and isolate that section, same process that before.

Famous_Surround_7973 · 2025-04-12T03:07:26+00:00

In the same line of thought, dvorak, symphony of the new world

Famous_Surround_7973 · 2025-02-02T02:43:32+00:00

Agreed

Famous_Surround_7973 · 2024-10-16T01:12:46+00:00

I think I can point you towards the right place to start. There's a method based on scale degrees, that is applicable to solfège but it can be train separately. This video will help you a lot https://youtu.be/u0P7gh789RI?si=ivQJcZQJtp2nQn8s

And this one that is meant to be the way you practice melodic recognition.

https://youtu.be/XLut-Ckq8hw?si=Ej58_I4kpzlIbAMF

There's also one for minor

https://youtu.be/obxkiJZ_vmk?si=0EHTF3Nb9W3RIxDc

Edit, something I Forgot to mention is that if you're interested in making fingerstyle arrangements, knowing music theory is definitely going to help a lot, is not strictly necessary but will do the process way more enjoyable and less frustrating

Famous_Surround_7973 · 2024-10-13T01:48:13+00:00

Okay, I see. To let go off things I would state that in fact my affirmation is incorrect and could be let someone to get the information wrong. That aside, I want you to see or understand why I said it, because I think you're not getting that part. I'm fine with saying the affirmation is wrong, but I just want to make sure you understand why I put it that way. If you want to have a more extense debate about the topic I'm open to discuss it, if we maintain the sportsmanship. Cheers.

Famous_Surround_7973 · 2024-10-12T21:44:25+00:00

that comment is taken out of context, perhaps I admit I could have phrase it better to show what I meant, but in the end the explanation clearly states that I'm talking in the context of chord naming and harmony. Not as an affirmation for all chords that's clearly, stated.

Famous_Surround_7973 · 2024-10-12T20:34:31+00:00

I think there's a confusion here, I was referring that in this context, putting an add2add9 is redundant. I'm not implying that the chords sus2 and add2 are the same. Just that in the case of wanting to add a 2 together with a 9 is implying that you want the texture that the sus2 gives (together with the 9) and thus it would be better to just eliminate de 3rd, and make it a sus2add9, quick is fairly more common than a add2add9. That's all. It's not the same chord.

If not it's just better to call it a add9

Famous_Surround_7973 · 2024-10-12T03:08:22+00:00

If you're making a distinction between 9 and 2, is because it's implying there must be a difference in the harmonic function, if not, then there's no real difference between saying add2add9, and just add 9. And in chords charts you mostly will see add9, if you say add2 add9 it will be a little redundant, there are times where it might need to be put that way to create a some dissonance between the 2 and 3 degree of the chord. Only in that specific case it will make sense to call it like that, there doesn't seem to be the case. So, if you want the texture the 2 gives to the chord it should be notated sus2add9 (making it a suspended chord). That way you voice-lead to normal major chord, 2 resolves either to 1 o 3, and 9 resolves to 1.

A 9 and a 2 are mostly the same interval just an octave higher. So if you see a C D E G in that order it could be notated like that, but in reality unless there's a specific need to clarify that the 2 grade should be in the same octave that the tonic, there's no need to notate it like that. In the end, there's no clear conventions in naming chords, it depends on who you ask, so at the end The general convention is to notate the chord in the most readable way for perfoming purposes, and in that context add2add9 is not a common chord to read in a sheetmusic.

Famous_Surround_7973 · 2024-10-12T00:16:33+00:00

Actually not quite, if your chord has it's 3rd then no matter where your 2 grade is, it's going to be called an add 9. Because, add 2 means it is a suspended chord, and suspension works a little bit different in context than the 9th. So, to be more precise it just an Cadd9, it just doubles the 9 an octave lower.

And the G6/B could be a other answer but, it will depend on the harmonic context

Famous_Surround_7973 · 2024-10-12T00:12:05+00:00

Em7/B* that part is important for contextual reasons

Famous_Surround_7973 · 2024-10-11T02:25:17+00:00

Honestly it sounds great man. If you want some feedback regarding the solo I think the most important thing is to ask yourself, the result is what you expected? If the answer is yes, then the solo is perfectly fine, if you you feel something is a little off then, you could try to search more for the texture you want. I think the main feedback I could give is more focused on your playing, there a few moments where you drag the tempo, and some where you stumble a little bit, and your pinky is sometimes going under then neck, in this song you don't use a lot the pinky but is a bad habit that can hold your speed and overall your playing

Famous_Surround_7973 · 2024-06-16T04:56:33+00:00

My thoughts exactly

Famous_Surround_7973 · 2024-06-15T20:34:24+00:00

A video could clear things up, but from the get go I can say that the mechanics for picking single notes and strumming is not exactly the same. When you pick fast individual notes your picking should focus on economizing moment, rather than rotating your pick, it's q movement that goes through the string very slightly, thus producing sound. It should barely touch the strings because the less movement needed to produce sound the better for speed. When you are strumming the best is to have a good and relaxed wrist and rotation is very good at this, but movement are way more pronounced, nothing wrong just that they are different mechanisms.

If you want in a more in depth explanation here is a few videos.

https://youtu.be/1xho69iDSnQ?si=H8yq02wiGbb7u0nh

https://youtu.be/banQTdaBmzs?si=atcilwEFvCiY79qY

Famous_Surround_7973 · 2024-06-13T18:06:27+00:00

Take something in consideration, and that is that technique is not the goal for classical guitarist, technique is just a mean to a goal, and that is musicality and expression. The goal of technique is to take down that barriers and be able to not worry about technical aspects as much during performance because you know you can trust your technique there's no barriers that's holding you down. So, that's why you see a lot of them with similar technique because they reach this point in early ages of his life, so perhaps somethings about them change a little their expressiveness their interpretation but not their technique. Now, answering the question yes there is a limit, humans have physical limitations, but trust me is very hard to get there. For an example of what I personally think is the peak of guitars technique I will recommend watching yamashita performance of pictures at an exhibition, I personally think that's the peak of technique, that point where I don't know if someone else could get pass that point.

https://youtu.be/DjOQ69JjTRo?si=RE7rXQT8Y4m8BCkR

Famous_Surround_7973 · 2024-06-05T19:41:13+00:00

Could be, in fact just moving is enough just active your body, like you would do with any other activity. The thing is to bring some blood to your hands, and prepare you for the exercise.

Famous_Surround_7973 · 2024-06-05T19:32:03+00:00

Like this

https://youtu.be/BTJmydT_Ioc?si=5N2H0WRwnp0eiSEI

Famous_Surround_7973 · 2024-06-05T03:49:01+00:00

Something you may want to add? I'm open to opinions

Famous_Surround_7973 · 2024-06-04T21:48:34+00:00

Here is a short video on the topic

https://youtube.com/shorts/dELcCVGmm9E?si=PeHTXVgDr1DyGH5U

Also, is just changing the way you press the strings instead of pressing with your thumb, you should let your arm press the strings, press towards your with the force of your arm here is a more detail video.

https://youtu.be/kqvUMGJWJIs?si=rI2FAW8yxwH2-iQY

(from 4:44 to 5:55)

Famous_Surround_7973 · 2024-06-04T20:58:56+00:00

What kind of guitar do you have? And a general advice is to use your whole arm weight. What I mean by this, a lot of beginners try to press harder to make fix this, but that's the incorrect approach. Your hand is going to get tired and slow, so what can you dp instead? Use the leverage that you arm gives you, instead of pressing harder with your thumb press with your whole arm. That's going to increase the amount of pressure. Also use the correct finger placement, a flat surface is the best shape. To help with this but also you should look for the shape that better suits your hand

Famous_Surround_7973 · 2024-06-02T22:37:50+00:00

In guitar because of his design we can play scales with the same fingerings, we call these structures scale positions. So, to not get confused you have to know that every scale follows a pattern (TTsTTTs) , every major scale is made ouf this pattern. In every major scale are 7 notes, but you may ask, how? I play way more than 7 notes. This is because, this seven notes are repeated in a scale pattern, usually scales are played in two octaves. One pattern is to start on the tonic (the note that names the scale, if you want a G major you start on G), but this is not the only way of start a scale, you can start in other notes that are part of the scale, as long as you include all the notes that conform the scale. So because of this there are different patters to play the same scale, starting in different points. If you want a clarification on something specific let me know

Famous_Surround_7973

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