In The Garden chord?

Terry Sneed · From: Arkansas,

Hey folks, in the song 'In The Garden' there's an off chord in the chorus on the word 'share' Oh The Joy We Share, dada-dada. playing in the key of G,
and I know there are probly several other chords that would work in that particular spot, but wouldn't an F#dim be the best to use there? Also, would a B maj work there? We were backing a singer in Church Sunday night, singin that song, and when he hit that word share, none of the musicians, including me, could find the chord. I was playing that song,on my steel tonight and played an F#dim, and a Bmaj, and both sounded like they would work, but the dim sounded like it fit a little better. Appreciate ya'lls help.
terry

Fred Justice · From: Mesa, Arizona

Terry if your playing the song in G, you would go to a B chord, then E min. into G 7th then C
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Clyde Mattocks · From: Kinston, North Carolina, USA

That particular passage is a common source of confusion with different groups of players. Some play it as Fred has pointed out, others use the G7 instead of the B7, some don't play the diminished at all. I will usually single note the first time around until I hear what the consensus (if there is one)is.
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Terry Sneed · From: Arkansas,

Thanks Fred and Clyde for your imput. It sounds like an F# dim would work there also. I'm purty sure you could resolve from an F# dim on 7th fret, back to G on the 6th fret. At the end of that line.
Anyways, thanks
terry

Jody Cameron · From: Angleton, TX,, USA

Hi Terry, if I may offer a little insight; I hope this might help:

The "off" chord is actually a 3 dominant 7th, or B7 in the key of G. The three tones of a D# dim. chord are also found in the B7 chord, namely, D#-F#-A, so it will substitute. Essentially, the 1,b3,& b5 of the D# dim. triad become the 3, 5 and b7 of the B7 chord, with only the root left off, so if the bass is carrying the root of the chord (B7 in this case) then you are free to play the substitute chord structures above that, with the overall result sounding like a B7.

Not applying to the B7 discussion above, but offered as another common substitution example would be to play a 3min. triad over a one chord, with the result being a maj.7 chord. For example a Gmaj seventh is made up of the 1,3,5 and 7th tones, or G,B,D and F#, in the key of G but the B,D and F# tones are also the 1,m3 and 5th of the Bmin. chord (or 3min. in the key of G). In the key of C, you would play an Emin. over the C chord for the same result, and so forth.

Understanding substitutions will really expand your horizons,IMO.

Terry Sneed · From: Arkansas,

Thanks Jody. I'm trying my best to understand chord subs, and pieces of chords,that will sound right, but not have to make the whole chord, or hit all the notes ina complicated chord. Somebody in another thread said that I could play a Dom7th in place of any of those long drawn out chords, like a Bb7m13, or an Eb4sus11, LOL! Whatever! Very Happy

If that's the case, then I'd rather just play a Bb Dom7 or, an Eb Dom7 in place of trying to figure out
the 3 or 4 notes that would work for those complicated chords. I mean, I know how to make a Bb Dom7 without having to stop and think how to make it. I hope I understood the fellow forumite corectly about making the Dom7 in place of the long drawn out chords. Thanks again Jody
terry

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