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It could be just an incorrect name for F#m9. The 9 and the 2 are the same note (G#). The difference being that, as Jerome says, in the sus chord you play the sus note instead of the 3rd (the G# instead of the A in this key).
The 9 chord would sound both the A and the G#. Quite a nice crunch.
I agree again with Jerome. It's written as such just to keep things in key.
If the song is in A minor and you are playing (open) A minor for example and you raise your 1st finger to
0
0
2
2
0
0
It would be more logical to call that Am sus2 than A sus2
There is always going to be this sort of problem with naming chords. The tab is the way to make it clear what is meant.
It's worth noting that any song with the following 3 chords can be sung as E F#m and A (though obviously not in the original key) by just transposing.
C Dm F
D Em G
E F#m A (your chords)
F Gm Bb
G Am C
A Bm D
B C#m E
There are more if you use the sharp and flat keys
I totally agree with Jerome.
Muting the A string is fine - it takes out the low B in the G chord. There is already a 3rd, the high B, in the chord so it won't be missed. Removing low 3rds can make a chord like G less "muddy".
Sounding the A string changes the chord - it's no longer plain G.
It's just a C major chord with the E in the bass. Can be written C/E sometimes.
That E in the bass produces 3 Es in a normal C chord, so using the 3rd fret on the top E string changes that E to a G and gives the chord a slightly more "open" sound. (I don't mean "open" as in open strings)
Having started as a pianist (and still one) who has learned guitar, my best advice is to forget the piano keyboard when thinking about the guitar fretboard. It is unhelpful. You just have to learn anew where to put your fingers and practice, practice, practice.
Regarding chords and harmonies; it's useful to be able to visualise chords and chord progressions on the keyboard. It helps with knowing which chords to play on the guitar, but doesn't help with knowing how to fret them.
You just have to learn the shapes for the chords you need. If you want to play melody, you need to learn the scales.
There are plenty on here who will give advice on these things.
Good luck.
If you tune the harmonic correctly then the string is in tune.
The high E is what you get from the harmonic on the 5th fret.
The 12th fret gives you the E between the high and low E. (There is not a string tuned to that in standard EADGBE)
It might help when tuning the low E string, if the harmonics don't work too well, to pluck it near the middle rather than over the sound hole.
Merry Christmas to everyone on Chordie - or Nadolig Llawen, as we say it in Wales.
It boosts frequencies around the 4000 to 6000 Hz range. It's designed to boost vocals by increasing some of their higher harmonics.
Hm. Have I missed something here? I must visit more often and read more of the threads.
Goodbye anyway, and take care.
For reasons I can't fathom, I always play "Greensleeves" as a warmup.
Hey Southpaw
Half the fun is arguing about it. 
BTW. Your fretting figures in your post confirm that this is indeed a descending line starting on the d string (fret 2 then 1 then 0), which then continues on the A string at fret 4. And very nice it sounds too.
It reminds me a lot of the start of "Stairway to Heaven". That has a similar feel with the same descending line over a minor chord.
jerome.oneil wrote:It's an inversion of B7
B major 7 is.
B D# E G#.
No,
Bmaj 7th is
B D# F# A#
The chord you give is a 2nd inversion of Emaj7
So flatten the 7 (G#) and you've got a dominant 7 chord.
The 7th (in B major) is the A#, flatten that to get the dom 7th of B
B D# F# A
I don't follow your answer at all, Jerome.
The notes in the chord given in the original post are E G B D# (E B D# G B E looking at the 6 strings)
This is clearly just E minor with a D#. From the stated context (coming between Em and Em7) the D# is almost certainly the result of a descending melody or bass line being represented in the chord of Em.
Astronomikal wrote:Thanks very much to both of you.
Ark: I agree with marcalan, that's a great resource. Thanks for sharing.
Stone: Good point about the context. The chord is played between an Em and an Em7, so the best name for it in that context would be an Em#7.
Thanks again.
Yes. This is often what happens when there is a descending melodic or bass line. The line starts on E and then goes to D# then D etc. If this is played over a constant feeling of Eminor in the main harmony, the chords often get written as Em Em#7 Em7 Em#6 Em6 and so on. It's a way of representing the descending (halftone) line within the E minor harmony.
On the surface it looks like E minor with a sharpened 7th. Em#7.
With a lot of chords, though, the actual name you give to it will depend on the context. By that I mean, the key the song is in and the chords that come just before and just after.
Stringalong wrote:Thanks Stonebridge,just the info I need.
I have just fitted some Martin 80/20 extra light strings,sounds pretty good.
Will have to change bridge position like you said and re-tune.
Will be down your way end of the month,camping at Llanthony.
Thank you again.
Croeso!
As a general rule, the bridge should be placed such that the twelfth fret is exactly half way between the bridge and nut.
Having done that, you may find that moving the bridge just a tiny amount further away from the nut, or angling it very slightly so that the bass string is very slightly longer, might improve the intonation.
The intonation can be tested by fretting each string at the 12th and comparing the pitch of the note you get with the harmonic played at the 12th fret. Should be the same pitch.
The tune for "Can't Help Falling in Love" by Elvis was originally "Plaisir d'Amour" by Martini.
"My Prayer" by The Platters (No. 1 in USA, No 4 in UK in 1956) was originally "Avant de Mourir" by G Boulanger. Written in 1926, it was also recorded by Glenn Miller in 1939.
Does it have the option to record both mp3 and wav files? If a song would be about 4Mb as an mp3 it would be about 40Mb as a wav file. Has it defaulted to wav?
The Zoom H4n costs nearly twice as much as the Tascam. I'm guessing that the insurance company will only pay for the Tascam, as that is the nearest replacement to the old 4 track. The H4n is higher specification, so Zurf will have to pay the difference if he wants one of those. So it's not going to be a straight choice.
Zoom stuff is excellent. I bought a H2 the other day (similar to the H4 but fewer features) and am very pleased. It is perfect for 2-track stand alone stereo recording.
Kaji, as Zurf's original Tascam 4-track tape recorder was fine for his needs, including the mic inputs etc, then this one, which is exactly the same thing but with digital recording on to SD rather than tape, will also be fine. I'm almost certain of that.
It's a nice piece of kit Zurf. It will do what you want. The mics must have 1/4" jack connecters.
After you have mixed down on the Tascam you will have the song recorded on its memory (SD) card.
You can connect the Tascam to your computer via the USB cable and transfer the song from there to your computer software.
If your computer has a card reader you can take the card out of the Tascam and plug it into the computer.
What you won't ever need to do is play the mix from the Tascam through the computers mic input and record it that way, as the song will already be digitally recorded on the memory card. This is the advantage of memory card over cassette tape.
I've been thinking of getting one myself.
Oasis. Just split up. The Gallagher brothers had a big argument.
You are both right. The song seems to float around the chord/key of A minor, but the riff that goes right through it is the notes D, C, A; G, C, A.
It would just about be possible to play the chords Dm, C, Am; G, C, Am and the vocal would still fit. These chords all fall within the key of A minor.
The test is to play along and see how it feels. Instead of the Dm, it may sound better with Aminor sus4. Instead of the G it may be possible to play Am7.
Songs in this style are difficult to pin down meaningfully to standard chord progressions. It sounded better for me to keep on an Am chord and play the 4ths and 7ths.
I finally got my guitars together for a group photo!
Here they are in the garden...
From left to right:
Walden N730 "Natura" Classical
Walden D552 12-string
Troubadour Blondell 2 "Citern" Guitar (on the ground)
Ozark "Hot Club" (on the chair)
Stonebridge DS24SR
The Stonebridge and the 12-string are my strumming guitars, and the classical and the Ozark are my picking guitars.
The little Troubadour is my travel guitar but is also used for getting a "medieval" sound for songs I've adapted from the 15th and 16th century. This is something I'm working on at the moment.
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