A practical theory question

1

I may have gone down the rabbit hole here, exploring concepts that violate the wonderful Justin rule – know what you need to know to play what you like. So I have a question that collides with theory.

Began when I started exploring Sus chords with the Justin classes and I was able to grasp the concept of eliminating the 3rd and adding the 2nd or the 4th.

And here is where I am getting lost in the maze, and seeking some guidance from those wiser than I am:

I like to play – and sing – cover songs. All acoustic. While playing I strum, varying the rhythm and dynamics, and I pick a random note, or hammer on and off to add interest.

Tonight I began analyzing – always a problem instead of of just listening – and when I play this song in the key of C I like to play a Fmaj 7 – no barre – and let the high E ring out, something Justin says can work.

While playing I sometimes lift my finger on that chord, dropping the C and adding a B, just for a beat or two.

The F chord has no B.

So what am I playing?

It sounds good.

Am I simply getting to add the B note briefly because I am playing in the key of C?

My ear likes this sound.

My head feels like I am trying to solve a puzzle of my own making.

Thanks for advice.

This community, and of course Justin’s classes, have made me a player – I loosely use the term, of course, that I never imagined possible.

2 Likes
2

This?

1000004315
1000004315800×1340 138 KB

3

Yes, but I start with a C then lift off - your image - then back to C.

I also have a C on 5th string that stays constant

Thank you

4

Okay, when I play an open F Major 7, I mute the 5 string.

1 Like
5

That would be an Fmaj7#11.

The #11 (the note B) is found in the key of C major. It’s an interval associated with the Lydian mode.

0 = E
0 = B
2 = A
3 = F
(3 = C)
x

If you include the note C on the 5th string, and consider it to be your root note, then you could also call it a Cmaj13add4 chord.

Or an Fmaj7#11/C. :exploding_head:

It really depends on the context. Either way, it’s a nice chord.

2 Likes
6

Alternatively , (firstly dropping the C bass)

You simply have a Fmaj7b5 (1,3,b5,7)

Considering you’re ‘bouncing’ from the

Fmaj7 ( 1,3,5,7)

this may be a good way to look at it, as it clearly reveals the distinctive note; effectively C<> Cb (B)

If you want the C in the bass, it just becomes a slash chord FMaj7/C. As Jeff said, context plays a role here

Cheers Shane

3 Likes
7

I find Oolimo a useful site for identifying basic chords, although it doesn’t give you the explanations like Jeff & Shane.

That is a nice embellishment and also works well if you alternate with fretting the 2nd string, 3rd fret with your pinky, an F6.
I came across a lesson on Distant Sun by Crowded House yesterday, which uses your Fmaj over C slash chord. Sounds good, esp when alternating with the C chord :smiley:

1 Like
8

@Jeff and @sclay have given two fine and valid options in naming it with #11 or b5. Both would have the /C suffix as you are playing the note C in the bass too.

2 Likes