Lie In Our Graves Chord Names???

[pslavish]

does anyone know the names of the chords for the two jam parts of LIOG. I know how to play them, but their inverse chords and I can't figure out the names. I just doing it so I can play it on the piano. I know a few of the chords, but I wasn't sure if anyone knew what they were for sure. Thanks

[taparoo]

The slower jam towards the end? If that's what you're talking about, it's

D C#dim Bm G G A

and

Em Bm A F#m F#m G

[pslavish]

what notes are exactly in C#mb5?? I couldn't find the notes online anywhere

[taparoo]

what notes are exactly in C#mb5?? I couldn't find the notes online anywhere

I meant C#dim. It's the 1, b3, and b5, so it would be the notes C#, E, and G. That's if you're playing the full chord that's implied. If you want it to sound like the recording then just play the root and the third of the chords.

[pslavish]

alright thanks allot. From the numerous times I've experimented, those sound right. I'll try them out

[mlb1399]

I haven't posted in awhile so I figured this thread was as good as any to get back in. As another poster pointed out the chords, there's a reason those chords are used.

A major scale is built upon a certain principle of intervals: Whole Step(2 Frets), Whole Step, Half Step(1 Fret), Whole Step, Whole Step, Whole Step, Half Step

So in the key of D: D, E, F#, G, A, B, C# and then back to D an octave(8) higher

These notes are numbered:
I: D
ii: E
iii: F#
IV: G
V: A
vi: B
vii: C#dim

Most pop music contains some comination of I, IV, V and vi as the main chord progression.

A major chord has the 1st, 3rd and 5th interval in it. So in the case of D you have: D, F#, A. A minor chord flatens the 3rd interval or instead of going 2 whole steps you go 1 whole step and 1 half step. For instance in D, when your playing the 2nd chord E minor, it consists of E, G and B. If you didn't flatten the 3rd you would have a G# which doesn't fit as well.

When you're constructing chords in a key you typically want to stick with chords that have those notes in it.

So when you put together the other chords that fit into that key you have:

D: D F# A
Em: E G B
F#m: F#, A, C#
G: G B D
A: A C# E
Bmin: B D F#
C#dim: C# E G

In the case of the C#dim, you flatten the 3rd and 5th. If you didn't you would have C, F and G# which 2 of those notes don't fit into the scale. So if you go back and look at the notes that fit into the D major scale you see that every chord in the key of D has notes that are in the D major scale.

An added lesson, is learning the relative minor of a major scale. The relative minor of a major scale is the 6th or the B minor in the case of D. Going back to the intervals in a major scale it changes slightly for the minor scale to: Whole, Half, Whole, Whole, Half, Whole, Whole

So in B it would be: B, C#, D, E, F#, G, A

If you notice every note in the B minor scale is the same exact note in the D major scale just in a different order. That is why it is the relative minor of the D major scale.

[myxomatosis]

welcome back mlb

[gunnar1104]

I haven't posted in awhile so I figured this thread was as good as any to get back in. As another poster pointed out the chords, there's a reason those chords are used.

A major scale is built upon a certain principle of intervals: Whole Step(2 Frets), Whole Step, Half Step(1 Fret), Whole Step, Whole Step, Whole Step, Half Step

So in the key of D: D, E, F#, G, A, B, C# and then back to D an octave(8) higher

These notes are numbered:
I: D
ii: E
iii: F#
IV: G
V: A
vi: B
vii: C#dim

Most pop music contains some comination of I, IV, V and vi as the main chord progression.

A major chord has the 1st, 3rd and 5th interval in it. So in the case of D you have: D, F#, A. A minor chord flatens the 3rd interval or instead of going 2 whole steps you go 1 whole step and 1 half step. For instance in D, when your playing the 2nd chord E minor, it consists of E, G and B. If you didn't flatten the 3rd you would have a G# which doesn't fit as well.

When you're constructing chords in a key you typically want to stick with chords that have those notes in it.

So when you put together the other chords that fit into that key you have:

D: D F# A
Em: E G B
F#m: F#, A, C#
G: G B D
A: A C# E
Bmin: B D F#
C#dim: C# E G

In the case of the C#dim, you flatten the 3rd and 5th. If you didn't you would have C, F and G# which 2 of those notes don't fit into the scale. So if you go back and look at the notes that fit into the D major scale you see that every chord in the key of D has notes that are in the D major scale.

An added lesson, is learning the relative minor of a major scale. The relative minor of a major scale is the 6th or the B minor in the case of D. Going back to the intervals in a major scale it changes slightly for the minor scale to: Whole, Half, Whole, Whole, Half, Whole, Whole

So in B it would be: B, C#, D, E, F#, G, A

If you notice every note in the B minor scale is the same exact note in the D major scale just in a different order. That is why it is the relative minor of the D major scale.

Great post!!!

I noticed in the major scale that when played as chords the 2,3, and 6 are minor. I was wondering which chords in the minor scale are played as minor chords? Is it 1,4,5 or something different?

thanks

[mlb1399]

Yep you are right.

Going back to the intervals, a minor scale differs from a major scale in that instead of:

Whole, Whole, Half, Whole, Whole, Whole, Half

you have:

Whole, Half, Whole, Whole, Half, Whole, Whole

So in B minor it goes: B, C#, D, E, F#, G, A, B

Once again, you notice that it's the same exact notes as D major just in a different order.

To construct your chords, you use the same rules as I posted above:

B min: B, D, F#
C#dim: C#, E, G
D maj: D, F#, A
E min: E, G, B
F#min: F#, A, C
Gmaj: G, B, D
Amaj: A, C#, E

You can test all of the chords that fit into a key by making sure that the notes are i nthe key. You know that Amin doesn't exist because the key of D major of B minor doesn't have C in it. You know that C# has to be diminished because F and G# aren't in the key.

The 6th of every minor is major and the 3rd of every minor is major. So keys that are relative:

Cmaj=Amin
Gmaj=Emin
Dmaj=Bmin
Amaj=F#min
Emaj=C#min

and so forth.

[bigseal]

since this discussion has evolved into one of basic theory...

here is a link to a sheet i made a while back which includes:
- notes of a C scale in 2 octaves
- diagram of the circle of 5ths/4ths (includes relative minors and accidentals)
- accidentals in order (read from left to right they are the sharps, read from right to left they are the flats)
and finally
- a table which outlines every key (and its minor) the accidentals and the chords which make up its scale

http://docs.google.com/View?docid=dhsk67vb_5cbccrfdk

hope this helps

[ericwormann]

The slower jam towards the end? If that's what you're talking about, it's

D C#dim Bm G G A

and

Em Bm A F#m F#m G

Actually it's more likely:

D A/C# Bm G G A

Em Bm A D/F# D/F# G