Proper Unique Chord Usage

[A Lemon]

Hello. I'm an intermediate guitarist, but I guess somewhat a beginner to theory. Now I understand the basics of how a major scale works, and what chords fit into them, but I'm confused as to where other chords come into play, for example, sus chords and slash chords. They are not major chords or minor chords, since obviously they do not contain the same notes as those, so where in a major or minor key do they fit properly? Does any one of these chords that has the same root as a major or minor chord in that key "fit"? If so, how do slash chords come into play? I would not trouble other people with my questions if I didn't do some research first, which I did but to no avail. Thanks in advance for any help.

[svenkabob]

Slash chords give a little emphasis to the bass line, and perhaps the key of the song. They add just a little something extra for them to not be ordinary. If you've got either an extremely complicated or extremely simple bassline that you are playing along with, then slash chords can add to the sound.

Sus2/sus4 chords will fit anywhere a major chord will (usually). They don't particularly substitute well for minor chords, because minor chords have a flat 3rd to make them unique, and the 3rd is what you are substituting the 2nd/4th for. They can add a flavoring to a major chord in a progression. I would recommend using them on the 4th or 5th, and not the root, of the scale.

I hope this helps...

[deftones]

what about augmented chords? since suspended chord fit in for major chords do those work for minor chords?

[talldeke]

Originally posted by deftones
what about augmented chords? since suspended chord fit in for major chords do those work for minor chords?
The simple answer is: no. An augmented chord is like a major chord, but with a sharped 5th note. (major: 1 3 5, minor 1 3b 5, aug 1 3 5#) So actually, an augmented chord is cloer in tonality to a major chord. However, that ususally doesn't mean it can take the place of a major chord. Augmented chords usually only come up when working in other modes, or in certain jazz songs.

Also, sus chords can be used to replace minor chords too. Although they can take away a from a "darker" fell if that is what you are going for. I would listen to the suspended chord and use you ears to see if it fits. Sometimes it sound right sometimes it doesn't. Another option if you want to get that suspended sound it to play a min7sus4 chord. YOu get a little git of different tone but the flatted seventh adds a little bit of minor taste.

[A Lemon]

Oh, so I see, it depends on how well the notes of that chord would fit or sound in your own opinion, basically. Thanks a lot.

I hate to be a pain, but I have another question... is there a "best" way to learn scales? I know the shapes of the basic scales and some others, but how do you apply it to the rest of the fretboard? Should you remember the notes in the scale, and on the fretboard? Should you learn all the different positions, or all of the above? Also, is learning the scale of a new note (even if it is the same type of scale, major, minor) like learning an entire new scale since the shape is modified throughout the fretboard to fit that note?

[talldeke]

Originally posted by A Lemon
Also, is learning the scale of a new note (even if it is the same type of scale, major, minor) like learning an entire new scale since the shape is modified throughout the fretboard to fit that note?

Thankfully, you don't have to learn a new scale shape everytime you use a scale. For example, suppose you know the A major scale below in fifth postion with the Root notes in parenthesis
{code]
e|----------------------------4-(5)-7---------------
B|------------------------5-7-----------------------
G|------------------4-6-7---------------------------
D|------------4-6-(7)-------------------------------
A|------4-5-7--------------------------------------
E|-(5)-7--------------------------------------------
[/code]
Now suppose you wannted to know how to play a A#major scale. All you would have to do is shift everything up one fret since a A# is one-half step higher than an A.
Hence, we could play the A# scale as follows.
{code]
e|---------------------------5-(6)-8---------------
B|-----------------------6-8-----------------------
G|------------------5-7-8---------------------------
D|-----------5-7-(8)-------------------------------
A|------5-6-8---------------------------------------
E|-(6)-8-------------------------------------------
[/code]
I think the key to learning scales is being able to find a root then being able the play the scale from there. However, if you think about it there are only five diffrent patterns to learn (one for each string-remember top and bottom are the same).

Now if you wanted to keep going you play the same scale but omit the 4th and 7th notes in the scale and you have already learned the A major pentatonic scale in fifth postion.

And if you wanted to stick with it if you played this exact same scale(some frets) but started at a the sixth note in the scale (an F#) you would be playing the F# minor scale. Likewis, if you play the A amjor pentatonic scale starting with and F# you would really be playing an F# minor pentaton. In the same way this same exact scale pattern also produces the B Ionian, C# phygrian, D lodian, E misoladian, F# Aeolian, and G# Locrian modes.

While all this is a littel overwhelming, the idea (as far as I am concerned) is that there really is no reason to learn hundereds of diffrent scale postions for diffrent modes... since most of them are related anyway. However, you really have to know the major scale very well. Then after you have learned a couple of scale patterns try to combine them to string the scale further up and down the neck. Also, it is very important to remember how each note in the scale relates the the root (is it the 2nd, 3rd, 4th...) when you are learning the scales.

[A Lemon]

Thanks a lot, you have all been very helpful.