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Author Topic: That B chord on a Pokerwork D/G  (Read 3484 times)

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Mike Carney

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Re: That B chord on a Pokerwork D/G
« Reply #20 on: May 13, 2017, 12:06:27 PM »

If you can run to it, having a thirds stop fitted is a good investment. I find that I generally take them out on French and Irish material, e.g. Fanny Power,  because of the freedom it gives to get round the bass and chord notes as single buttons.
Having the option means I can use the Bmajor in tunes like The Bedbreaker. Most often I keep the thirds in because of the wider range of chords (bass and chord button together) available. I then use the Bm7 with B bass and D push chord, or as some have mentioned, just use the bass B and no chord.
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Tone Dumb Greg

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Re: That B chord on a Pokerwork D/G
« Reply #21 on: May 13, 2017, 09:47:50 PM »

Steve F, I actually find the 3rdless G chord I use to create the  Em7 on my GC instrument (in other words the same as the Bm7 on a DG) is full and rich (perhaps it varies according to voicing of the chords - where the basses lie in relation to the 5ths etc).

Yes, you could be right about the voicing of your push G thirdless chord. Also, perhaps the thirdless Em7 sounds better on a lower-pitched box (i.e. G/C) anyway. But on a D/G a thirdless Bm7 to me just doesn't seem to have that 'squashiness', for want of a better word.

Maybe putting the F# back in by playing the thirdless B and the thirdless D together would restore the squash factor?
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Greg Smith
DG/GC Pokerwork, DG 2.4 Saltarelle, pre-war CF Hohner, Hohner 1040 Vienna style, old  BbEb Hohner that needs a lot of work.

ACCORDION, n. An instrument in harmony with the sentiments of an assassin. Ambrose Bierce

Chris Ryall

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Re: That B chord on a Pokerwork D/G
« Reply #22 on: May 14, 2017, 03:55:33 PM »

If buying a new box I always simply get 1+5 chords. It is actually more flexible when you cross-bass as the 3rd is often a "sour" note.   eg B on G bass = G B - F# and sounds as a cool G maj7. With the D# 3rd it … ain't so nice 😳

Many more clashes like that should you get 12 or 18 bass. Basically your 1+5s => 3+7th and you get a nice extended chords. The 3rd can become a #5: that's deeply uncool, outside jazz "altered dominants"😖

No 3rds is also lighter. If I actually "want" a D in my Gmaj7 chord I can just dab it in on right end with a spare finger. Nothing lost. Several gains?
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