13 Chords are no sweat for example G13. If you barr the third fret 
with the 1st finger, 2nd finger on the fourth fret, g string and 4th 
finger on the fifth fret b string. This chord actually preceeds your 
suspended chord by sliding the forth finger down one fret from the 
13th chord to the suspended chord. Don't get turned off by this. Once 
you try it, you'll see how elementary it is. Mark (I've played back 
up jazz guitar with my son on electric bass for five years now. He's 
seventeen and plays like Joco Postarius)

--- In [email protected], cardemaister <[EMAIL PROTECTED]> 
wrote:
>
> --- In [email protected], Bhairitu <noozguru@> wrote:
> >
> > cardemaister wrote:
> > > Am7 Dm7 G7 Cmaj9
> > > Fmaj7 Bm7b5 Esus4 E7
> > >
> > > Jesus, but that Esus sounds
> > > great when I "play" that tune
> > > with "techni-chord" on!  :D
> > The progression is a simple cycle of fourths and therefore open 
to a
> lot 
> > of workable chord substitutions.  Here is a little jazzier 
version:
> > A-9 D-9 G13 C 9/6
> > Fmaj7b5 B-7b5 Esus4 E7
> > 
> > It also works if you pivot between the B diminished a E7 
variations.  
> > Experiment with varieties that enhance the melody and provide 
more 
> > underlying tension for greater emotional support.
> >
> 
> That's too "professional" for me. I have no idea how to
> get e.g. G13. (Perhaps the techni-chord plays something
> like that for me...) I think one has to be mathematically[!] rather
> gifted to be able to come up with one's own ideas about various
> possibilities with chords. I have to rely on what I see
> in the notes or elsewhere.
>  But "emotional support" is an interesting notion.
> It was amazing to notice what a big difference Esus4
> makes compared to plain E major.
> AFAIK, harmony (playing chords) is nearly non-existent
> in Indian classical music.
>





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