{"id":1866,"date":"2019-12-16T14:56:43","date_gmt":"2019-12-16T19:56:43","guid":{"rendered":"https:\/\/flyawayrecordingandmediastudiomontreal.com\/the-steely-dan-mu-major-chord-and-beyond-for-guitarists-part-one\/"},"modified":"2023-07-03T22:07:53","modified_gmt":"2023-07-04T02:07:53","slug":"the-steely-dan-mu-major-chord-and-beyond-for-guitarists","status":"publish","type":"post","link":"https:\/\/flyawayrecordingandmediastudiomontreal.com\/fr\/accord-majeur-steely-dan-mu-guitare\/","title":{"rendered":"Accord majeur Steely Dan Mu pour guitaristes (2023)"},"content":{"rendered":"
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\"Steely<\/figure>\n<\/div>\n\n\n

While doing some musical web surfing, I stumbled upon several articles regarding the Steely Dan Mu Major chord<\/strong>. Being a big fan of Dan. And working with jazz guitarists in my recording studio<\/a>, it’s certainly a harmony I’m familiar with.<\/p>\n\n\n\n

Yet I find it fascinating that a cluster of notes commonly found in jazz years before Can’t Buy A Thrill should garner such interest, particularly from guitar players. Perhaps it’s because rock guitarists need to re-think their approach to voicing these chords.<\/p>\n\n\n\n

Let’s look at the characteristics of rock guitar chord voicings. Be they common bar chord forms, power chords, major and minor triads on sets of 3 or 4 strings or 1st position voicings using open strings. <\/p>\n\n\n\n

Rock guitar chord voicing almost always contains root and 5th, with one or both often being doubled [or even tripled]. Even 7th or 9th chord voicings<\/a> include the root and, sometimes, the 5th.<\/p>\n\n\n\n

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