Name that chord

Discussion in 'Playing and Technique' started by Bryan T, Feb 9, 2015.

  1. Bryan T

    Bryan T Guitar Owner Silver Supporting Member

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    C E G A#/Bb B

    Perhaps, Cmaj7#13 ?
     
  2. stevel

    stevel Member

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    I get more of a C7 sound out of it, with the cluster on top, but, naming conventions would lean towards the B being B, and the other note being an A#:

    C-E-G-B-(D)-(F)-A#

    Since 7#11 already implies that a 9th could be present, I would think "add#13" would be clearer - because at least that implies the 9th and 11th should be left out.
     
  3. Clifford-D

    Clifford-D Member

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    I haven't heard of a #13th before

    is this a fingering? index has to cross fret to pull it off

    -7
    -8
    -9
    -8
    -
    -8

    to me it sounds like a dirty Cmaj7 chord, or a Cmaj7 with fuzz on it lol
    sounds like the major 7th wins over the b7 for chord tone spot.
    I wouldn't call it a #13 though =)

    -7
    -8
    -9
    -8
    -
    -
     
    Last edited: Feb 9, 2015
  4. StratoCraig

    StratoCraig Member

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    I'd be tempted to just say C7(add maj7), or if you insist that a chord can't have two 7ths in it, C7(add b15), spelling the B as a Cb, but I suppose the Music Police would take me away for that. The character of the chord sounds more dom7 than maj7 to me.
     
  5. Jim Soloway

    Jim Soloway Supporting Member

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    How are you fingering it? Clifford's fingering of 8 x 8 9 8 7 is easy enough to play but I'm not sure that's what you have in mind and I'm wondering how much an alternate voicing would change the sound?
     
  6. guitarjazz

    guitarjazz Member

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    I'd call it Thelonius.
     
    Last edited: Feb 10, 2015
  7. Bryan T

    Bryan T Guitar Owner Silver Supporting Member

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    I didn't have a specific voicing in mind. It was just a chord inspired by the E7#9 thread. Given both sevenths in a chord, would folks start referring to one of them as a #13?
     
  8. Jim Soloway

    Jim Soloway Supporting Member

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    I think a lot of these questions revolve around whether we expect to communicate a series of notes or whether we're trying to imply a sound. I just read Kimock's response in the #9 and while understand most of it and agree with most of it, I think that to me, the notion of notation or chord names being used as a convenient means of communication is more important than trying to communicate a sound or a mood. That being said, I prefer StratoCraig's response of C7(add maj7). That way, I at least know what notes I'm working with and honestly, I couldn't have guessed at its musical function until I actually put my hands on it no matter what the chord was called.
     
  9. Clifford-D

    Clifford-D Member

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    ok, I'm easy, #9 is cool, #11 is cool, why not #13, I can deal with any issue about it in counseling lol
     
  10. Clifford-D

    Clifford-D Member

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    perhaps as a I7 in a C7 blues??

    C7(add B).................F7
    --------------------------
    -0-----------------------1
    -3-----------------------2
    -2-----------------------1
    -3-----------------------3
    -3-----------------------1

    maybe better as an arp where the B acts like a leading tone into C, the 5th of the F7 ??

    C7.........................F7
    ---------------------------------
    ---------0->-leading tone->-1
    -------3---------------------2
    -----2---------------------1
    ---3---------------------3
    -3---------------------1

    yes/no?
     
    Last edited: Feb 10, 2015
  11. splatt

    splatt david torn / splattercell Gold Supporting Member

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    looking at that (gorgeous, useful) voicing:
    i think i'd call it a C7,∆7 chord, but maybe only to good friends or witting employees: ha!

    [SOUNDCLOUD]https://soundcloud.com/jayapala/bryant-c7-7-v01-dt[/SOUNDCLOUD]

    i rolled it, which led me towards extending into a B-Maj triad/C7, then i returned to the original chord..... rolling in retrograde.

    (seems i don't often underestimate my perception of the power of an open-string.)
     
  12. splatt

    splatt david torn / splattercell Gold Supporting Member

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    well, i never read the other thread.....
    i'll cleave to shakespeare, here, sort of:
    "a rose by any other name would smell as sweet", or "a tonal cluster by any other name would sound as !!!fl‡¿€fi›⁄·ªº!!!".
     
  13. Bryan T

    Bryan T Guitar Owner Silver Supporting Member

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    Sounds great! I'm definitely an open string abuser.
     
  14. splatt

    splatt david torn / splattercell Gold Supporting Member

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    what a thing, the open string.

    i went straight for that, anyway, not realising that we might be looking for a naming convention uncritical to the singled-out voicing:
    so, i wanted to hear all chordal tones ringing together, naturally (to me).

    when the voicing is progressed, i might hear (& definitely see) the chord differently.

    anyway, played as laid-out:
    i don't hear the dominance of one of the 7ths unless i actively emphasise one over the other;
    yeah, i tried that, striking all strings simultaneously.
     
  15. Neer

    Neer Member

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    To me it is a chromatic nonharmonic chord tone. Ultimately, it is overwhelmed by the major 7th. I would still call the chord CMaj7 with an ornament.
     
  16. Bryan T

    Bryan T Guitar Owner Silver Supporting Member

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    If I had to pick, I'd probably go with the opposite. I think the dominant 7 character is stronger, at least the way I was playing it. But I'm happy enough to have it be both. I definitely wouldn't call the b7 a #13.
     
  17. KRosser

    KRosser Member

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    I knew a guy who was playing in one of Wayne Shorter's later electric bands that told me Wayne's charts in that period had virtually no chord symbols - he just spelled out the voicings. Wayne's reasons for doing this were 1) some of the chords just didn't have handy names, and 2) he didn't want the name necessarily influencing the way you heard that stack of notes
     
  18. splatt

    splatt david torn / splattercell Gold Supporting Member

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    wow!
    i do that often..... at least in order to allow others to see/hear the actual framework, even previous to any interpretation.

    i scored every arrangement of that donna lewis w/ the bad plus recording, precisely so that they'd interpret from the specific "vantage-regions" i'd taken.
    (it comes out in march, ken..... finally! 2-yrs later. ¿i think you have that?)
     
  19. KRosser

    KRosser Member

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    No, I don't have that, but I'd love to
     

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