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Hi Everyone! I have been working on some transcriptions lately and in need of some help. Below is a graphic of a chord I am trying to name correctly in it's open position. Forgive my theory but is it c7/A#? c7/ Bb?
RE: Is this chord correct? and how/w... (in reply to joselito_fletan)
Por medio it might function as a Bb9 (3rd and 5th implied).
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RE: Is this chord correct? and how/w... (in reply to joselito_fletan)
quote:
Hi Everyone! I have been working on some transcriptions lately and in need of some help. Below is a graphic of a chord I am trying to name correctly in it's open position. Forgive my theory but is it c7/A#? c7/ Bb?
AHHHH I hate myself, got it wrong in the tab above! The chord should actually look like this. instead of A on the 3rd string its E on the 4th strong. x----------|----------|----------| x----0----|----------|----------| x----------|----------|----------| x----------|----0----|----------| x----0----|----------|----------| x----------|----------|----------|
I play it from the root on the 5th string. It's from a falseta by tomatito por alegrias, it's a chord progression C/Em/(chord?)/FMajor(open position)
Mea culpa on the error. first time around, sorry about that
RE: Is this chord correct? and how/w... (in reply to Andy Culpepper)
quote:
C7.
Also, an easier way to write the chord, for the future, would be:
0 1 0 2 1 X
Thank You!!! I have been looking at some chord builders online and they tend to agree on some type of c7. Will keep your tip for tabbing in mind next time around, thanks again
RE: Is this chord correct? and how/w... (in reply to Sr. Martins)
If anyone's up for a nerdy game:
same chart, all strings from the 5th upwards, but:
Dsus4 tuning (DADGAD), All fourths (EADGCF), New standard (CGDAEG).
What's the chord(s)?
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"Anything you do can be fixed. What you cannot fix is the perfection of a blank page. What you cannot fix is that pristine, unsullied whiteness of a screen or a page with nothing on it—because there’s nothing there to fix."
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RE: Is this chord correct? and how/w... (in reply to Sr. Martins)
quote:
ORIGINAL: Sr. Martins
The type is C7/Bb like I said above. There's no ambiguity on that one.
If it’s in key of B phrygian it can be thought of as A# as the leading tone to B... functioning as the German Augmented 6th chord (A#-C-E-G from key of Eminor) ... however with unique voicing as in classical music it is almost always found in 1st inversion I call it the Spanish Augmented 6th
In DADGAD it’s Em7b5/Bb
In EADGCF it’s A7b9b13/Bb...root omitted
In CGDAEG it’s Fmaj9/G#(no5th)... using enharmonic misspelling it functions as the 2 (II) chord in Spanish phrygian 9 note scale that fuses the natural phrygian with phrygian dominant (hence two G notes used)
RE: Is this chord correct? and how/w... (in reply to Ricardo)
Looks like I only got the first one right On the second I went with Edim7b9/Bb. And the third was above my paygrade. I tried going with the idea of a G13 but didn't get very far with it.
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"Anything you do can be fixed. What you cannot fix is the perfection of a blank page. What you cannot fix is that pristine, unsullied whiteness of a screen or a page with nothing on it—because there’s nothing there to fix."
Posts: 15725
Joined: Dec. 14 2004
From: Washington DC
RE: Is this chord correct? and how/w... (in reply to Piwin)
quote:
On the second I went with Edim7b9/Bb.
. That b9 over the Edim7 seems nonsensical to me.... maybe only because I’ve never come across a contextual usage of it. Now I’m thinking Bbm6(add#11).... the voicing is of course odd but it’s the 4 chord in Fminor using harmonic minor scale. Earlier I was thinking por medio with the F up top that makes a nice tension on the tonic chord, but Bb in the bass is important
Posts: 15725
Joined: Dec. 14 2004
From: Washington DC
RE: Is this chord correct? and how/w... (in reply to Sr. Martins)
quote:
In B phrygian I would take that as a tritone substitute for F#7, that's how I hear that so I guess it would still be a C7/Bb.
Right ... but the whole reason the Tritone sub technique works is because of enharmonic A#=Bb. You still have voice leading.... Bb going to B natural is simply miss spelling the thing. Of course thinking vertically Bb looks better , but left to right in time it’s really A# resolving to B. Hence it is more “correct” to think C/A# in context. In music theory it’s often a dog biting his tail but there is some logic behind it.(edit in OP example it was not Granaina so C/Bb is contextually correct of course).
To make it even more nerdy you have the French6 which I think is spelled F#A#CE... again we have F#7b5 chord Tritone subbing the C7#11(no5th). Or rather it is simply an inversion, jazzers May note that the C Lydian dominant and the F# super locrian are the same scale.. used plenty in modern Flamenco however I have not found it in the traditional repertoire. Taranta and Granaina come so close but almost always employ some passing tones to that scale. (Throwing in B natural to F# super loc or F# into C# super loc for example).
RE: Is this chord correct? and how/w... (in reply to Ricardo)
Sure, enharmonically Bb would be incorrect in B since A# is the 7th. I was just sharing the idea that since I use the number system (intervals), the only thing that gets stamped with a note name are the roots... even though I end up thinking of them as roman numerals at the same time. As long as I hear the function of the chord and am aware of it's structure, I am gold. I´ve never even played a Gb chord in my life, to me they are all F#.. Db doesn't exist in my head either, it's C#
I don't encourage this intervalic thinking that ends up disregarding the enharmonics but, since I don't use sheet music, it works for me.
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