The proposed site is “for people who play musical instruments. On-topic questions will be about technique, practice, theory, composition, and repertoire.” KeyMinor already serves this purpose, it’s just not known about.

I’d add a comment to the proposal but I see no way to; I probably don’t have sufficient reputation points.

JP: We make any money if we tour for two weeks?

JL: You mean ten days, if rehearsals are included.

JP: Yes.

JL: No.

JP: Well then why would we do it?

RM: Because Menck wants to rock.

JL: Theoretically, the tour is just one piece of the things you do if you want to sell records.

JP: We don’t sell enough records at shows to justify that. Especially if YOU work the merch table, because people are scared of you.

JL: Theoretically, it’s not just the stuff you sell at the show, it’s the review that you get in the local paper, the placement you get in the local record store, none of which happens if you don’t play a show in that city.

JP: So you think we should tour?

JL: The extent of the fuck I do not give about whether you tour can’t really be measured.

RM: Doesn’t anyone care that Menck just wants to rock?

Capo 2nd fret. / = 1/4 note

V1)
  A    3-5-5-4-3-x  (2 bars) As logic stands you couldn't meet a man who's from the
  G#m  2-4-4-2-2-x  (2 bars) future.
  A    3-5-5-4-3-x  (2 bars) But logic broke as he appeared he spoke about the
  G#m  2-4-4-2-2-x  (2 bars) future.
  B    5-7-7-6-5-x  (1 bar)  "We're not gonna
  A    3-5-5-4-3-x  (1 bar)  make it."
  B    5-7-7-6-5-x  (1 bar)  He explained how the
  A    3-5-5-4-3-x  (1 bar)  end will come.
  A    3-5-5-4-3-x  (2 bars) You and me were never meant to be part of the
  G#m  2-4-4-2-2-x  (1 bar)  future.
  B          x-0-7-6-5-x  / /
  Bsus4add9  x-0-x-4-3-x  /
  Bmaj7      x-0-6-6-5-x  /

C)
  Amaj7      3-2-0-0-0-2  (1 bar)     All we
  Dmaj7/F#   0-3-2-0-0-0  (1 bar)  have     is
  C#m7/G#    2-2-4-2-3-2  (1 bar)  now.
  F#7sus4    0-x-2-2-3-x  / /
  F#         0-x-2-1-0-0  / /

  All we've ever had is now.
  All we have is now.

  Amaj7      3-2-0-0-0-2  (1 bar)    All we've
  Dmaj7/F#   0-3-2-0-0-0  (1 bar)  ever had     i-
  G#m7       2-4-2-2-2-2  (2 bars) is now.

B1)
  F#m7       0-2-2-0-3-x  (1 bar)
  B7         x-0-2-0-2-0  (1 bar)

V2)
  I noticed that he had a watch and hat that looked familiar.
  He was me from a dimension torn free of the future.
  "We're not gonna make it." He explained how the end will come.
  You and me were never meant to be part of the future.

C)

B2)
  F#m7       0-7-5-7-x-x  (2 bars)
  Emaj9      x-5-4-6-5-x  (2 bars)
  D9-5       8-x-8-7-7-x  (2 bars)
  A          3-x-0-0-0-3  (2 bars)
  Bm6/F#     0-0-2-2-1-2  (1 bar)
  E7/G#      2-0-0-2-1-2  (1 bar)

Outro)
  Amaj7      3-2-0-0-0-2  (1 bar)     All we
  Dmaj7/F#   0-3-2-0-0-0  (1 bar)  have     is
  C#m7/G#    2-2-0-2-0-x  (end)    now.
  ...
  C#m9       x-2-0-2-2-x  (organ adds D#)
  ...
  C#m11      x-2-0-2-2-0  (synth adds F#)

Stereolab "Miss Modular"
Capo bass @ 7th fret.
spaces/numbers/hyphens = 1/16th notes.
/ = 1/4 notes.

Intro)

  /       /       /       /       /
D                       2---
A         4---              4-
E                             4---
B 0-------    0---2-----          0-------------------------------

Verse)

  /       /       /       /       /       /       /       /
D                       2---
A         4---              4-            4---    4---  2-
E                             4---                          5-2---
B 0-------    0h1h2-----          0-------    0---

  /       /       /       /       /       /       /       /
D                                                 2---
A                 4---  4-- 2-            4---          4-- 2-
E         5---2---            4---                            4---
B 0------/                        2-------    2---

Notes:

• Mute all the strings, but mostly the bottom 3.
• At the beginning of the 3rd measure, by fretting the A on the 2nd string, you can slide the end of the low B up to meet it.
• Chords are just Bm7 and C#m7 (the brass makes A and C#m9 chords)

Craigslist comes through with a huge step up from my crummy Precision bass knockoff. Sounds golden, great action (a joy to play), even volume & tone all across the fretboard. Love it.

“Thank You Friends” was the first Big Star song I heard, hanging out with Dan Francke listening to a Time-Life cassette comp he ripped from his dad.

Ted Leo makes a nice start with “Everybody Wants to Rule the World” (hat tip). I kinda see it going down hill from here but the cover choices look good.

A lot of recordings end up slightly higher/lower than standardized pitch (I always called this “in the cracks” but don’t google it!), and this is the quickest way I’ve found to tune a guitar to them.  This method seems simplistic but has several advantages going for it:

• All strings are tuned to the same reference pitch, so there’s no accumulation of error as you move from string to string (and you can tune any of the top 5 in any order).
• The higher the frequency, the easier it is to notice the beat when two identical notes differ slightly in pitch. Matching high pitches yields lower error.
• All pitch matching is done with notes in the same octave; this also helps you notice the beat

Here it is.

1. Get string 1 (high E note) perfectly in tune with the recording so that you can play along with the song at various points on the string. Ideally the song will be in a key containing E because getting open E perfect is essential to this method. Check the 12th and 7th fret harmonics, too. If either sounds off, you know you’re not quite done.
2. Stop the recording and tune string 2 until its 5th fret matches string 1 open.
3. Tune string 3 until its 9th fret matches string 1 open.
4. Start the recording and play along using the strings you’ve tuned. If it’s off, return to step 1.
5. Stop the recording and tune string 4 until its 14th fret matches string 1 open. Get it as close as you can and check the caveats below.
6. Tune string 5 until its 7th fret harmonic matches string 1 open.
7. Tune string 6 until its 5th fret harmonic matches string 1 open.

Caveats:

• Your strings must be well-settled/worn in. You especially don’t want the high E to change pitch at all during tuning.
• If your D string has intonation problems, the 14th fret may not be in-tune with the lower frets. You may have to tune the D string using some other method at the end. You could, of course, have similar problems with the G and B strings if your intonation is really messed up.
• As you’re tuning, often you’ll get to a point where it seems perfect. Give it a little nudge more and often you’ll hear the two notes sink together, becoming one—that’s where you really want it.

The consensus on the web seems to be that this is actually a 13th chord, even though there’s no 9th or 11th present:

“In modern pop/jazz harmony … a thirteenth chord does not imply the quality of the ninth or eleventh scale degrees.” [Thirteenth on Wikipedia]

I disagree. Since the true 13th chord is an extension of the 11th chord, it should sound more like an 11th than a 7th. Elevenths almost always imply a suspended, missing, or nearly inaudible 3rd, but the 3rd in 7(13) is usually very prominent. If you really think G13 and G7(13) are the same chord, play these two voicings one after one another on guitar:

• G13 3-x-3-2-1-0 →  G7(13) 3-x-3-0-0-0

Clearly there is movement; they are different chords. If you see a 13th chord in a pop music chart, know that it is really a 7(13).

Some easy V7(13) to I resolutions on guitar (with the 3rd kept on top)

• A7(13) x-0-5-6-7-x → D x-x-0-2-3-2
• G7(13) 3-x-3-0-0-0 → C x-3-2-0-1-0
• D7(13) x-5-4-5-0-x → G 3-2-0-0-0-x
• E7(13) 0-5-6-6-x-x → A x-0-2-2-2-x

About the Eleventh (and its third)

As I mentioned, 11th chords almost never have the 3rd present*. You will almost never hear a B in a G11 chord. Some people write these as F/G, and, for voicing purposes this OK, but I dislike the notion that G11 should be thought of as an F chord. 1) it has a D in it. We could write it as F6/G or Dm7/G, but that’s taking us down the wrong path. 2) “G11″ gives the reader a better impression that the chord will resolve to (and that our key is) major C.

*So it might really be a 9sus4, but writing it is as 11 seems a less egregious error than writing 7(13) as 13.