Tell me the sweetest chord

...so I might use it in a track.

Im looking for something kind of sweet with melancholy undertones.

g#, b, d#

a minor

a # minor

a # minor 6

Metallica's Fade to black:

(strum into hammer on C 1st fret, 5th string) Am >>> C maj >>> G maj >>> Em

Always stands out as beautifully melancholy.

Squirrel on the keyboard.

I like pressing the black keys. It feels naughty.

c major

C²

W minor

c2 / g2 / e3 / b3 / f# 4 / Eb 5

m9

Any minor seventh chord, I'd say. tonic + minor 3rd + perfect 5th + minor 7th

Invert it as you please.

  On 7/30/2010 at 5:12 AM, tysen said:

Any minor seventh chord, I'd say. tonic + minor 3rd + perfect 5th + minor 7th

 

Invert it as you please.

yep. i love my minor 7ths. so very post-rock

Actually I'm not sure if I can think of a definitive "sweetest" chord because in my opinion it's all about context. Something that sounds totally sterile on it's own might suddenly become beautiful when used properly in a song (or vice versa). It's all about finding the song's voice.

Well that wasn't very helpful at all...

Ok people, I'm going to need a collective decision.

i changed my vote to W minor

just play the brown note

^Came here to post that, actually...

For me, major 7ths are still out of this world, and minor 9ths without the b7. Or a minor 7th with the b3rd in the bass. word.

When I'm writing tunes I tend not to think in terms of chords, but of two or more independent melodies on the same instrument at the same time, which happen to sync up as chords a lot.

Its all about the V-I baby.

lol

  On 8/1/2010 at 3:55 PM, chassis said:

Its all about the V-I baby.

 

lol

The love child of V and I? You mean I in second inversion? (Reeeaally want to write I64, but there's no way to put the 6 above the 4.)

Also, I agree that M7 and m9 are good, especially inverted.