For example, this may follow a D/F# chord, in which case it could make sense to call this Dm/F. Even then, you wouldn’t be wrong to say F6 if you preferred. Example 2.

If you’re looking for an easier alternative to the D/F# you can replace it with a D chord. When he plays D7 and A7, he does so to create harmonic tension which would then resolve to G and D ...

The 4th in this case is G, the 4th of the D major scale. The G replaces the 3rd (F#), meaning sus chords are neither major ...

This is an F#m11 chord, but in this instance, the low F# note is not played, it is rooted in a C# note. This chord is arpeggiated through the intro. The m11 is quite a complex chord voicing, when ...

The notes E, G#, B, D and F# are an arpeggiated E9 chord. The first two times, you hear only the first four notes that make an E7 arpeggio. Then you hear the whole thing, which is a pretty cool trick.