[LegendaryCloud89]

Hmmm, cool thread...I'll come back later with an answer...I need time to think about it haha

[Kiamet]

I get attached to certain chords just from the contour they have. Some just feel more satisfying to play than others. For example playing a big 2-handed Ebm11 voicing is like biting into a chocolate cake.

Some 'pop' chords are great too, like just bashing out a Bb triad over a bouncy C octave bass. A big part of my playing style is favouring the chords that feel great to play.

[LegendaryCloud89]

Originally Posted by Kiamet

I get attached to certain chords just from the contour they have. Some just feel more satisfying to play than others. For example playing a big 2-handed Ebm11 voicing is like biting into a chocolate cake.

Some 'pop' chords are great too, like just bashing out a Bb triad over a bouncy C octave bass. A big part of my playing style is favouring the chords that feel great to play.

I like your thoughts on this, especially the Bb triad with a C in the bass, I know exactly what you mean.

[MelloSinfonian]

XD What a great topic...I was nerding out as I read through it, thrilled to be reminded that there's a place like this!

I'm kinda partial to the major 9 chord (with a 7). I'm also a fan of suspensions. Example: the 4-3 suspension in the Earthbound victory theme.

[The-Real-Link]

My personal favorites would have to be the "Add 2". Which is basically a tonic triad with the second added in. Example "C-D-E-G" It's especially effective when made into a broken chord, as in Uematsu's Final Fantasy Preludes. I'm also a big fan of the diminished 7. Particularly used in the key of C minor (C-Eb-Gb-Bbb) It's very dark and dissonant. I use it a lot when composing things like battle themes. Run it all the way up the piano and it sounds awsome!

[LegendaryCloud89]

Originally Posted by The-Real-Link

My personal favorites would have to be the "Add 2". Which is basically a tonic triad with the second added in. Example "C-D-E-G" It's especially effective when made into a broken chord, as in Uematsu's Final Fantasy Preludes. I'm also a big fan of the diminished 7. Particularly used in the key of C minor (C-Eb-Gb-Bbb) It's very dark and dissonant. I use it a lot when composing things like battle themes. Run it all the way up the piano and it sounds awsome!

Ahh yes, fully diminished chords are very dissonant but sound great in context! There are soooo many possibilities with them (I learned about them in Harmony class this past semester)!