"Name That": With a Vengeance


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WindJammer
05-09-2005, 06:00 PM
Welcome to the "Name that/fill in that arpeggio/key/scale/lick/chord/song" thread ressurected!

If anyone can go through dozens of pages to find the possibly dead original thread, be my guest, but I think it's time that it be renewed.

Same rules as last time. However, I feel it necessary to bump the original "5 tone chord limit" up to seven to suit the purposes of 13th chords. However, keep them within reason. We don't need too many extensions. It doesn't make the chord harder to do nor is it necessarily more beneficial to one's knowledge to include an overdose of extensions-- it just takes longer to work out.

So, 24 hour limit on this. If he/she who gets the question right does not go, then he/she will either defer to anyone else or let 24 hours pass by, and in doing so, the turn will be up for grabs.

I'll have the first honor:


----
6---
7---
6---
7---
----


Name the chord and the best resolution.


:cheers:

SilentDeftone
05-09-2005, 06:07 PM
E7b9.

A major, perhaps in this voicing:e|-----|
B|--5--|
G|--6--|
D|--7--|
A|--7--|
E|-----|

-SD :dance:

WindJammer
05-09-2005, 06:08 PM
^Well, I would opt for an Am, but go ahead.

SilentDeftone
05-09-2005, 06:14 PM
I chose A major because it resolves a half step with the D to C#. :)

An easy one:
All four names for this chord!e|-----|
B|--6--|
G|--4--|
D|--6--|
A|--5--|
E|-----|

I'm glad this thread is back? :D

-SD :dance:

WindJammer
05-09-2005, 06:18 PM
oo, this one might teach a few people some things. I'll let people catch this thread and have a go before blurting it out.

Remember, everyone, in a... cough*dim7*cough chord, each note is a b3 away from the last. Stacked minor thirds yield...?

SilentDeftone
05-09-2005, 07:01 PM
Dufus? you gave it away :p:

I'm now subscribing to this thread.

-SD :dance:

WindJammer
05-09-2005, 09:19 PM
Meh-- slow start. I'll give this thread a few boosts as it starts out.

Dim7, G#dim7, Bdim7, Fdim7

See everyone? It's like a synthetic chord-- each note is the same distance from the next one as the last one. In other words, D is to G# as G# is to B as B is to F as F is to D-- they're all a minor third away from eachother.

SilentDeftone
05-09-2005, 09:25 PM
I would have liked Ab7 and Cb7 instead? _but yeah. That's right. Go for it, and thanks for explaining.

-SD :dance:

WindJammer
05-09-2005, 09:32 PM
Ah alright, in the interest of maintainging this thread in its early days, it is up for grabs. Anyone who wants to post a scale or arpeggio ro anythign of that nature for everyone else to guess is free to do so.

reed
05-09-2005, 11:22 PM
I'm not sure if I need to know the chord name or not, because I don't quite know what to call this one, but I'll let you all debate it and if this is illegal just disqualify me.


e|--0--
B|--4--
G|--0--
D|--4--
A|--0--
E|--4--

It's a grim sounding chord to be sure.

heggazz
05-10-2005, 03:47 AM
Is it not windjammers turn now?

MrScary07RR
05-10-2005, 07:52 AM
Originally posted by reed
e|--0--
B|--4--
G|--0--
D|--4--
A|--0--
E|--4--

4 0 4 0 4 0
G# A F# G D# E

E G# D# F# G A
1 3 7 9 b10 11

Emaj11(b10)

and yes, b10's do exist. it would be hard to arrange the note names enharmonically so no scale degrees are doubled. it would probably involve double flats and sharps, but its easier (i think) to just have a b10. i have seen b10's in many lead sheets.

.........and this chord (or at least the voicing) sounds absolutely horrible.

slash_pwns
05-10-2005, 02:51 PM
Hah... Em/maj11/Ab, or Emaj11#9/Ab.

b10 = b3

WindJammer
05-10-2005, 03:25 PM
Originally posted by slash_pwns
b10 = b3

You can't have a 3 and a b3. That's why we have the term "#9," we can't have a b3 and a 3. However, we can't have a 3, 2, AND #9, so it's a b10.

F-3
05-10-2005, 03:39 PM
^to Slash_pwns
don't you have to indicate that there is no fith, somehow?

WindJammer
05-10-2005, 03:48 PM
Nah^. The most common voicing for 13th chords invovles only four notes (of the seven notes included in a dom13 chord), but who wants to say "G13 (no 5th, no 9th, no 11th): to play something like this:


----
5---
4---
3---
----
3---


When "G13" works fine :) .

SilentDeftone
05-10-2005, 03:50 PM
^ You could if you wanted, but it's not entirely necessary. I'd name it as Em/M11/Ab myself, to avoid the b10/#9 issue.

Whose turn?

-SD :dance:

WindJammer
05-10-2005, 03:55 PM
I think that slsh_pwns should go.

EDIT: Yeah, both SD and slsh had the same chord, but slsh got it first. Go ahead.

F-3
05-10-2005, 04:10 PM
uh ... of course x_x

sixteen times
05-10-2005, 04:12 PM
e|--3
B|--0
G|--0
D|--0
A|--2
E|--3



:p:

fendermalmsteen
05-10-2005, 04:34 PM
^^^Uhh... Bb?

No, really it's Gmaj.


Here's one:
9
8
6
5
4
3

SilentDeftone
05-10-2005, 04:45 PM
That's a harmonic interval of a diminished 5th, roots G and Db.

-SD :dance:

fendermalmsteen
05-10-2005, 04:51 PM
^^^Correctamundo...

Next, how in hell would you play it? (I know).

WindJammer
05-10-2005, 04:53 PM
? Isn't it slsh_pwns' turn?

fendermalmsteen
05-10-2005, 04:55 PM
^^^It looks like it, now that I go check. *stares at sixteen times*

WindJammer
05-10-2005, 05:02 PM
*Raises eyebrow at sixteentimes*... *raises eyebrow more*... *Can't... raise.. eyebrow.. any... more...*"Must describe... current... action.... in astericks... with no nominantive subject, but with only an implied subject...oh, forget it.*

:D

SD or slsh_pwns can go, whoever.

slash_pwns
05-10-2005, 05:02 PM
Originally posted by WindJammer
? Isn't it slsh_pwns' turn?


-3-
-4-
-0-
-1-
-3-
-3-


Not Cm/G

SilentDeftone
05-10-2005, 05:05 PM
C minor.

-SD :dance:

slash_pwns
05-10-2005, 05:05 PM
^I'm looking for sometihng different. Root is G!

fendermalmsteen
05-10-2005, 05:07 PM
Gsus4b5(add6)

Or something like that... I think...

slash_pwns
05-10-2005, 05:09 PM
^Close! Very Close!

viciodk
05-10-2005, 05:11 PM
-3- = G
-4- = D#
-0- = G
-1- = D#
-3- = C
-3- = G

Notes: G C D#

Gsus4#5

WindJammer
05-10-2005, 05:12 PM
G-C-Eb
1 4 #5

Sorry, but it's dumb not to call that Cm in inversion. It defies the reason for chord symbol naming.

Gsus4#5

slash_pwns
05-10-2005, 05:12 PM
^You win :p: !

EDIT: Vio. wins

SilentDeftone
05-10-2005, 05:12 PM
Whatever you're looking for isn't feasible in any sort of way, the harmonic function of C minor overcomes any sort of G-rooted chord, being 1 3 5, the first 3 intervals of the harmonic order of strengths.

That being said, Gsus4+?

-SD :dance:

slash_pwns
05-10-2005, 05:13 PM
I created it as Gsus4#5 thoguh :(

fendermalmsteen
05-10-2005, 05:14 PM
^^^Ohhh, now I feel stupid. Where the hell did I get all the other notes? :haha

viciodk
05-10-2005, 05:14 PM
I have no idea which chord I want you to name.

You go, WindJammer :)

SilentDeftone
05-10-2005, 05:27 PM
No, actually it's my go, I think WJ agrees that Cm was the best name.
Using this chord:
e|--8--|
B|--7--|
G|--8--|
D|--7--|
A|-----|
E|-----|
Create a 5-chord progression using the principle of secondary dominants; however there's a little twist. For each chord in the progression, you're only allowed to deviate from the original given chord by a half step with one note.
In other words, you can only alter one note of the original chord. And you can only alter it by a semitone.
The last chord (resolved chord) may be any chord you wish; just make sure it follows the thinking of secondary dominants!
Also, the second chord in your progression must be Dbdom7, and the third must be Gbdom7. This doesn't follow the rules, I know, but makes the progression possible.

Have fun!

-SD :dance:

Hint: The idea behind secondary dominants is reliant upon the resolution given by a V7-I cadence.
DeffyEdit: So in other words, your progression will go: Chord1 - Dbdom7 - Gbdom7 - Chord2 - Resolved Chord.

I want chord names and tabbed voicings! #1 Db7 Gb7 #2 #3
e|--?---4-------?---?--|
B|--?---6---5---?---?--|
G|--?---4---6---?---?--|
D|--?---6---4---?---?--|
A|------4---4-------?--|
E|------------------?--|
Note: #3 = resolved chord; it can be anything!

WindJammer
05-10-2005, 07:49 PM
I think that I've got this... assuming it's as simple as I think it is and I understand your rules. (I'll edit it in, give me some time to work it out, so no hints, please!)

EDIT: Yes, please explain the Adim7... is is the original chord? If so, the transition between the 1st and 2nd chord breaks the rule... as does the transition between Db7 and Gb7 as you mentioned.

If I disregard the first chord that you gave... I got the first chord with ease. But before i continue, please explain.

EDIT: Must we alter a note?

WindJammer
05-10-2005, 08:15 PM
A guess"


e|------4-------------|
B|--6---6---5---5---4-|
G|--4---4---6---3---3-|
D|--6---6---4---5---5-|
A|--5---4---4---4---4-|
E|--------------------|

Abdim7, Dd7, Gb7, Bbdim7, Eb7


Maybe my Eb7 voicing was a little iffy.

WindJammer
05-11-2005, 04:24 PM
Waiting for an answer, SD...

SilentDeftone
05-11-2005, 05:16 PM
Sorry, I have school and stuff. Adim7 is the original chord. Yes I know mine breaks the rules, that's why I gave it to you, and told you that it broke the rules.

WJ, you're pretty close, but you neglected to follow the voicing rules. You can only alter ONE note of the original chord (Adim7) by ONE semitone.

I thought I made this clear enough :sad:

Yes you must alter the Adim7.

-SD :dance:

WindJammer
05-11-2005, 06:09 PM
Oh! I thought that you meant that we may alter only one note by a semitone the subsequent chord of the chord that you're playing! Whoops.... I'll try again. Also, I didn't know that you meant by voicing (if not by voicing, then the rule would serve no purpose :bonk: whoops)

SilentDeftone
05-11-2005, 06:32 PM
^ Yeah, it would be impossible to follow the idea of secondary dominants if you could only alter the preceding chord by a semitone.

Sorry that the rules were so hard to follow? hopefully I'll see an answer from WJ (or anyone else) soon! :) Cas will probably know what I'm thinking, he explained the whole idea to me a while back.

-SD :dance:

slash_pwns
05-12-2005, 07:48 AM
Mkk I think I got the first chord! Woo!

No for the other two :p:

slash_pwns
05-12-2005, 07:53 AM
Ab7 Db7 Gb7 B7 Adim7
e|--8---4-------7---8--|
B|--7---6---5---7---7--|
G|--8---4---6---8---8--|
D|--6---6---4---7---7--|
A|------4---4----------|
E|---------------------|


How about this?

casualty01
05-12-2005, 08:01 AM
Originally posted by SilentDeftone
Cas will probably know what I'm thinking, he explained the whole idea to me a while back.

yah lol, hence why I'm not answering. it'd be a little cheap if I answered it since I related the concept to you :p:


Originally posted by slash_pwns


Ab7 Db7 Gb7 B7 Adim7
e|--8---4-------7---8--|
B|--7---6---5---7---7--|
G|--8---4---6---8---8--|
D|--6---6---4---7---7--|
A|------4---4----------|
E|---------------------|


How about this?

I know it's def's thing and he said any chord you want, but I'd rethink that last chord if I were you lol.... doesn't really resolve. I believe he was saying "any kind of E based chord or valid substitute".... since B resolves most strongly to E (i.e. up a fourth)

otherwise, you got what he was looking for :p:

Cas-:peace:

SilentDeftone
05-12-2005, 02:55 PM
^ Yep, well done. The last chord doesn't really resolve, as Cas said, but I said it could be any chord.

For a minute I thought it would take a long time?

Slash's go.

-SD :dance:

slash_pwns
05-12-2005, 03:53 PM
Heh, I didnt think I'd get this one. I think i was going to have Ebm7 as the last chord, but I wasnt sure.


-4-
-0-
-3-
-0-
-2-
---


Shazam! Its a chord...

fendermalmsteen
05-12-2005, 03:59 PM
Bm(maj7)#6

slash_pwns
05-12-2005, 04:01 PM
Not what I'm looking for... But your'e like a second away from it. And its not an add chord... It has 1 good name.

EDIT: I didnt create with a "6"

Corwinoid
05-12-2005, 04:04 PM
G#dim(9)?

Edit: No response yet, but I've gotta run. Someone else pick it up if I'm right.

slash_pwns
05-12-2005, 04:06 PM
^Root note is B, or Cb.

EDIT: G#dim(9) works... I think fendermalmsteen should go if Corwinoid isnt going to. He was pretty close.

I was looking for Bm/maj13!

fendermalmsteen
05-12-2005, 04:24 PM
What the hell, I'll do something different.


e|--------------|-------------|---0-----------|-----0-------|
B|o-------3-0---|-------3-0---|-3---3-1---1---|-3-3---1----o|
G|------0-------|-----0-------|---------2-----|---------2---|
D|----2---------|---2---------|---------------|-------------|
A|o-------------|-------------|---------------|------------o|
E|--------------|-------------|---------------|-------------|



The time is 4/4, show me the ideal chord progression for this riff. Two chords per measure.

If this is a dumb idea, let me know and I'll do something else.

slash_pwns
05-12-2005, 04:30 PM
|Em Bm |Em Bm |Dsus2 Am |Dsus2 Am|

?

edited.

fendermalmsteen
05-12-2005, 04:36 PM
^^^Think extentions. And a quick look into jazz improvision would help. (improvision over chord changes)

Also, disragard the "two chords per measure rule, it's too limiting of what chord to use... if you are thinking the same as me.

Not to late for me to change the question though...

slash_pwns
05-12-2005, 04:39 PM
2 tones arent enough to get a chord, other than the ones I've given, I think...

Euhhh... I vote for a change!

fendermalmsteen
05-12-2005, 04:41 PM
^^^Let's do one chord per measure, then you'll get more possible tones.

slash_pwns
05-12-2005, 04:42 PM
ooook!

|Em7 |Em7 |D7sus2 |D7sus2 |

fendermalmsteen
05-12-2005, 04:48 PM
^^^Well, I was looking for Em9 -Em9 -D9 -D9 But I noticed I have no 9ths in the first two or major 3rds in the last two measures, so Em7 and D7sus2 would technically be "better" choices.

Eh, stupid idea... go ahead slash_pwns.

slash_pwns
05-12-2005, 04:48 PM
^Lol.


-3-
-5-
-3-
-4-
-4-
---


Iz a chord... Think Db.. not C# mmk.

Corwinoid
05-12-2005, 04:50 PM
I ahve no prob with the original format :/
Syncopate to taste:
|: B11 Em7 | B11 Em7 | D9 Am | Em7 Am :|

fendermalmsteen
05-12-2005, 05:07 PM
Originally posted by slash_pwns
^Lol.


-3-
-5-
-3-
-4-
-4-
---


Iz a chord... Think Db.. not C# mmk. Gb7(b9), best name I can think of.

slash_pwns
05-12-2005, 05:08 PM
Rootnote is Db, or C#, and its not an add chord or any crazy extentions. Its actually pretty simple :)

fendermalmsteen
05-12-2005, 05:16 PM
Dbdim if it was just Db, E, and G

But with the Gb and Bb, it would have to be Dbdim7(add11)... I think.

SilentDeftone
05-12-2005, 05:19 PM
Gb7b9 is the best name.

If you wanted Db to be the root, Db7(11).

Also, C#7(11) is equally a good name as Db7(11). When a chord is standing alone both names are equally right.

Also, D7sus2 would be better named as Am(11) IMO. Stronger harmonic function when the chord is standing alone. D7sus2 was fine in that situation though - the outline was clearly a Dsus2 chord.

-SD :dance:

fendermalmsteen
05-12-2005, 05:25 PM
I guess it's my turn then? If it is, SilentDeftone can have it.

slash_pwns
05-12-2005, 05:42 PM
Yeah, I was looking for Dbdim11, so I guess SD can do.

SilentDeftone
05-12-2005, 05:48 PM
I probably won't be back tonight to check on it, so I'll leave a relatively simple one.e|---2---|
B|---3---|
G|---3---|
D|---0---|
A|---1---|
E|-------|

-SD :dance:

fendermalmsteen
05-12-2005, 05:51 PM
*Yawn*

Bb augmented

WindJammer
05-12-2005, 05:53 PM
That is correct^.

fendermalmsteen
05-12-2005, 05:59 PM
Someone else take it. (my turn that is.)

WindJammer
05-12-2005, 06:05 PM
e----
B-5--
G-5--
D-6--
A-7--
E----


Name this chord (with E being a nondiatonic tone and part of the triad).

fendermalmsteen
05-12-2005, 06:11 PM
Abmaj(b5)

WindJammer
05-12-2005, 06:12 PM
^That doesn't follow the rules. :D Can't really tell you why.

fendermalmsteen
05-12-2005, 06:13 PM
C augmented

WindJammer
05-12-2005, 06:14 PM
Nope^. :)

EDIT: OK, I'll let Abmajb5 go. HOWEVER, you should have just said Abaug. Sorry about that.

Caug doesn't work because E is supposed to be a nondiatonic tone with the root of this chord as the tonic. E is part of the triad, but it's also in the key of C, and diatonic.

I was hoping that I'd get a Caug and an Am(M7).

fendermalmsteen
05-12-2005, 06:18 PM
Hell...
Emaj6?

But you say E isn't diatonic... C+/E? Abmaj(b5)/E?

Shit. It's so easy, but you make it so difficult!

WindJammer
05-12-2005, 06:19 PM
lol^, go ahead, see my post for the explanation.

G#maj#5 (edit, not b5) yields G#aug... you see, I've always had a problem with altering the triad like that (maj#5 instead of aug), because it's not a major triad.

It's kind of like saying Bdim#5 instead of B minor. They're separate triads. Aug chords aren't at all major to the ear, which is why its better to distinguish that triad as independent of major.

However, the #5 is STILL not diatonic, despite its being a part of the triad. Again, this is why Caug wouldn't work.

The qualifications were that E is nondiatonic (which rules out
Am(M7) and Caug) but is ALSO part of the triad, which "G#maj#5" (which I'm pretending you put for teh sake of my lousy explanation) seems to break (although it has the same tones).

FM, go ahead anyways. My mistake.

beatallica_fan
05-12-2005, 06:23 PM
how the hell can you let Abmajb5 go when E is the #5 of Ab not the b5. it should be G# anyway, aug chords work like dim, they are symmetrical, so the 1 3 #5 pattern repeats, so if its E aug the the natural third of E as we all know is G#, not Ab. And if it is C aug then we all know the #5 of C is G# and again not Ab.

WindJammer
05-12-2005, 06:24 PM
Whoops^. I looked at the alteration wrong. I have the proper explanation, at least. Kind of. :bonk: on my part. *Edits*

I think that FM accidentally said b5 and not #5 and I followed along. Mistakes on both our parts.

fendermalmsteen
05-12-2005, 06:26 PM
Looks like we're all making mistakes today!

beatallica_fan
05-12-2005, 06:28 PM
Originally posted by fendermalmsteen
Looks like were're all making mistakes today!

Speak for yourself, :rolleyes:

fendermalmsteen
05-12-2005, 06:29 PM
^^^Well I am... among other people as well though.

Were're? What the hell? *slaps self in face* GET IT TOGETHER FENDER!

Now.. someone go.

WindJammer
05-12-2005, 06:31 PM
I'll try to reclaim what honor I may/may not have initially had (last time for me to go, I promise :D ):

Name this arpeggio:

--------6-8-
------5-----
----5-------
--7---------
5-----------
------------


Rules: No adds! Simplest form! (In a similar vein to slash_pwns' first chord, D is not the root, no matter how much you want it to be!)

Hint: Classic subdominant (this is also a bit of a "rule"... but should be of help)

fendermalmsteen
05-12-2005, 06:41 PM
Wild guess, as I have no reckalection(sp?) of "sub-dominants"...

Bbmaj9?

WindJammer
05-12-2005, 06:45 PM
Nope!

bangoodcharlote
05-12-2005, 06:48 PM
1 3 5 b7 9 13

C13?

WindJammer
05-12-2005, 06:57 PM
*Sigh*... I guess... But classic subdominant?

I was hoping for Bbmaj#11. But yours goes better with the actual rules... which were to keep it simple. I should've declared the subdominant bit as a rule.

Bbmaj#11, the classic tonic chord of Bb Lydian, whose tonic functions as the subdominant to F.


Bb D F A C E
1 3 5 7 9 #11


The #11 being Lydian's defining characteristic. But go ahead bangoodcharlotte, that works just fine.

bangoodcharlote
05-12-2005, 06:58 PM
What does subdominant mean?

Edit:

e-----------
B------5-8-
G-----------
D---7-------
A-0--5------
E------------

fendermalmsteen
05-12-2005, 07:04 PM
^^^ I see now that they are... well:

A9, that is a sub-dominant chord, since there is a b7th, but is is not noted.

C13 is too. It's just a major chord with a b7th and extentions that are in the major scale.

If any of that is wrong, tell me.

WindJammer
05-12-2005, 07:08 PM
The degrees of the major scale have names themselves-- the keytone (take C) is the tonic, and F (the fourth degree) is the subdominant. Here are the names:

1 - Tonic (C)
2 - Spertonic (D)
3 - Mediant (E)
4 - Subdominant (F)
5 - Dominant (G)
6 - Submediant (A)
7 - Leading Tone (B)

These names are often helpful in figuring things out.


Originally posted by fendermalmsteen
^^^ I see now that they are... well:

A9, that is a sub-dominant chord, since there is a b7th, but is is not noted.

C13 is too. It's just a major chord with a b7th and extentions that are in the major scale.

If any of that is wrong, tell me.

Right, but the I chord of the Lydian mode is not a b7 chord of the major scale. (and the "Classic Subdominant" wouldn't have non-diatonic tones with respect to its key)

Why are those called "dominant" chords? Because they are built with the fifth degre of the major scale, a.k.a. the "dominant." It doesn't make sense to see a chord with a b7 and have "subdominant" come to mind.

In breif, a subdominant (when in key) can't have a b7. It has a major seven.

So, why, you may ask, dont we call this something like Bb subdominant #11 just like we call 7th chords something like Bb dominant 7? Well, because a chord with a major 7 extension is NOT necessarily the subdominant-- it may aslo be the tonic.

The dominant (a/k/a/ fifth note of the major scale) is the only note that is the root of a chord with a major triad AND a b7. This is why the word "dominant' in the context of a chord should call to mind a major triad and a b7.

Does this mean that C13 is not a subdominant? No. HOWEVER, it can't be a subdominant AND remain consistant with what would be its respective key-- which is G. The b7 (Bb) is not in the key of G.

This is why it's generally acceptable to say "G dominant 7" of the chord G-B-D-F when its used in the key of C and NOT 'G dominant 7" in the ey of, say, D.

*SOME USEFUL INFO THAT MIGHT BE NEW***

It is not improper to call Bm7b5 in the key of C something to the effect of "B Leading Tone 7".... although it's rarely done.

slash_pwns
05-12-2005, 08:23 PM
Whose turn is it?

WindJammer
05-12-2005, 08:26 PM
Bangoodcharlotte's

EDIT: 48 hours

slash_pwns
05-12-2005, 08:42 PM
Ok... Any chance at making it 24 hours, or even less, so the thread doesnt fade out?

EDIT: I got a crazy question for my next turn! Muwhahahaha:cool:

bangoodcharlote
05-12-2005, 09:10 PM
Originally posted by slash_pwns
EDIT: I got a crazy question for my next turn! Muwhahahaha:cool: Welp, go!


Edit: I mean guess my arp in the edited post.

slash_pwns
05-12-2005, 09:18 PM
A7sus4!

EDIT: Or Em7/A if your heart desires.

bangoodcharlote
05-12-2005, 09:30 PM
Originally posted by slash_pwns
A7sus4!

EDIT: Or Em7/A if your heart desires. Yupsters!

slash_pwns
05-12-2005, 09:34 PM
Ok :D

Ok heres the deal:


|------------------|
|-----------0-4----|
|-------0-1--------|
|------------------|
|---1-4------------|
|-3----------------|


This arpeggio appears to be in the key of G, but its not... mmk? I'm only taking one answer, You have to have it right on...

You'll see the crazyness when its done (Or I'll look like an idiot)

Now I'm off for a snooze... I'll be back in about 8 hours!

SilentDeftone
05-12-2005, 09:40 PM
No kidding it's not.

G+(b9,#11)

redwing_suck
05-13-2005, 12:14 AM
Bb-13b9? (Bb minor 13 flat 9)

slash_pwns
05-13-2005, 07:25 AM
Nope. I has a relitivley (I can never spell that word) simple name. no add or #9s etc...

slash_pwns
05-13-2005, 02:40 PM
No one?

fendermalmsteen
05-13-2005, 05:37 PM
Bmaj9(#5)

slash_pwns
05-13-2005, 05:43 PM
Nope. Wrong root. No alterations like #5, etc..

fendermalmsteen
05-13-2005, 07:55 PM
I give up.

redwing_suck
05-13-2005, 08:53 PM
Ab-/M11 (Ab minor/Major 11... 1 b3 5 7 9 11)

slash_pwns
05-13-2005, 10:18 PM
EDIT: Redwing, your go. I was looking for G#m/maj13, but thats the same as Abm/maj11, pretty much.

Have fun.

SilentDeftone
05-14-2005, 10:51 AM
^ No it's not? G#m/M13 is not the same as Abm/M11.

-SD :dance:

slash_pwns
05-14-2005, 12:13 PM
I know but (using G#, because I created it like that, and they're enharmonic) G#m/maj13 is G# B D# Fx (A#) (C#) Fx, and G#m/maj11 is G# B D# Fx (A#) C#, so I can understand he thought there were only 6 tones, but I had 7 'different' ones...

Anyone go... Why dont think of another crazy one SD?

redwing_suck
05-14-2005, 12:35 PM
so am i up?

slash_pwns
05-14-2005, 01:05 PM
Go ahead^.

SilentDeftone
05-14-2005, 01:29 PM
Originally posted by slash_pwns
I know but (using G#, because I created it like that, and they're enharmonic) G#m/maj13 is G# B D# Fx (A#) (C#) Fx, and G#m/maj11 is G# B D# Fx (A#) C#, so I can understand he thought there were only 6 tones, but I had 7 'different' ones... G#m/M13 is G# B D# Fx (A#) (C#) E#, not Fx again. G#m/M13 doesn't work, there are no E#s in the arpeggio. They aren't the same thing! :)

Matt's go.

-SD :dance:

slash_pwns
05-14-2005, 03:25 PM
Oh, ok! I screwed that one up!

redwing_suck's turn.

redwing_suck
05-14-2005, 06:15 PM
well well.


e------------------
B------------------
G-----------6------
D---5---------7-8--
A-6---6---6-------6
E-------6----------
red:cheers:

fendermalmsteen
05-14-2005, 06:26 PM
Eb7#5(#11)

redwing_suck
05-14-2005, 06:51 PM
i'm looking for the Eb as the root, but you have the name just a tad wrong. not too sure if listing all possible names was a good idea, because i tried to place certain emphasis on the Eb as th root note (beginning and end, some in the middle)... but of course you never know with some people, anything could be the root lol!

so try again with the Eb as the root. hint: there is no natural B in there at all (which is your #5)... the natural 5 (Bb) takes presedence anywho...


red:cheers:

fendermalmsteen
05-14-2005, 06:56 PM
^^^I wonder where I saw the B then... wierd...

Eb7(#11)

redwing_suck
05-14-2005, 07:08 PM
you're up.

fendermalmsteen
05-14-2005, 07:11 PM
0
0
5
4
X
4

Oh, no! Not another chord!

redwing_suck
05-14-2005, 07:37 PM
Ab alt

(alterations on #5--E, #9--B)

slash_pwns
05-14-2005, 07:40 PM
meh... Cmaj7#5(#11)?

fendermalmsteen
05-14-2005, 07:48 PM
Redwing_suck is the closest.

Here's a clue, part of it is a regular chord, and there are two "outsider" notes.

slash_pwns
05-14-2005, 07:51 PM
G#aug7#9?

WindJammer
05-14-2005, 08:11 PM
Ab7aug#9

EDIT: Looks like slash already has it

EDIT: His syntax of the chord... seems off: If it was Abaug7 and not Ab7aug, then the 7th should be sharped as well, IMO (which doesn't make a whole lot of sense).

In an Edim7 chord, the 7th itself is flatted here as well. Thus, the should be sharpened as well in an Abaug7 chord.

fendermalmsteen
05-14-2005, 08:35 PM
Well, it's Ab7(#5, #9), or that's how it was named in Guitar World's transription of I "Birds of Fire" at least. I'll say it's Slash's turn.

WindJammer
05-14-2005, 08:43 PM
^That doesn't really make sense. There is not a major triad, there is an aug triad, a b7, and a #9. If there is no perfect fifth, it's not a bad bet to say that it was merely omitted, but when there IS a 5th (a #5), it doesn't make sense to imply a perfect fifth.

fendermalmsteen
05-14-2005, 08:45 PM
^^^Well, I didn't think of that when I took it out of Guitar World. :peace:

WindJammer
05-14-2005, 08:49 PM
Guitar World isn't infallible by any means... anyways, Slash's chord involves these notes:


1 3 #5 #7 #9


There shouldn't be a #7 here. In essence, Slash cancelled out the seventh entirely, yielding thse intervals: 1, 3, #5, #9.

Your magazine involves these notes:


1 3 #5 b7 #9


Which is identical to my chord:


1 3 #5 b7 #9


There's a difference between D7aug and Daug7. In this case, it would seem as though both slash and I have the chord, but his syntax is messed up.

WindJammer
05-14-2005, 08:55 PM
Originally posted by fendermalmsteen

Also, a Cm7b5 is just a C diminished chord with a dominant 7th, but no perfect 5th... so why would an Ab7#5 be different (nevermind the #9)? Wouldn't that be just an Ab augmented chord with a dominant 7th? Or am I missing something?

Oh, I see what GW meant. In that case, the magazine involves my EXACT same intervals, and not slash's.

fendermalmsteen
05-14-2005, 08:59 PM
I guess it's your turn then, WindJammer.

WindJammer
05-14-2005, 09:01 PM
Lol, after all that, i'll give it to slash :D . I don't really care about getiing a turn, I just wanted things to be set straight.

slash_pwns
05-14-2005, 09:06 PM
Ok!

Really easy one here.


|------|
|-2----|
|------|
|-1----|
|-2----|
|------|

bangoodcharlote
05-14-2005, 09:11 PM
Originally posted by fendermalmsteen
Bmaj9 Explain where the maj comes from.


B add9?

fendermalmsteen
05-14-2005, 09:12 PM
^^^I noticed... nevermind that post.

slash_pwns
05-14-2005, 09:14 PM
Err... Its Badd9, BGC or fender can go... Its a race to see who can go first! Hazzah!

WindJammer
05-14-2005, 09:15 PM
Ah yes, it is... for lack of an A#. BGC, I'd opt for, on second thougth.

slash_pwns
05-14-2005, 09:16 PM
I wanted chord tones 1 2 3, lol. I dont really care who goes though... Its a race!

fendermalmsteen
05-14-2005, 09:17 PM
Originally posted by WindJammer
To your question, I'll ask this: Where does the implied "maj" in your OWN Badd9 come from? ;)

There's a major third here, and we can safely assume an omitted fifth. I'd let FM go. FM? *looks at own username* OHHHHHH... right...

I'll do something easy.

X
X
8
7
6
0

bangoodcharlote
05-14-2005, 09:17 PM
^ Damn you! :p:

slash_pwns
05-14-2005, 09:19 PM
Emaj7sus4?

fendermalmsteen
05-14-2005, 09:20 PM
^^^Think of your username, or at least the first part of it. [directed to slash_pwns]

slash_pwns
05-14-2005, 09:22 PM
lol...

Eb5/E? I dunno... slash chords are gay... lol

fendermalmsteen
05-14-2005, 09:23 PM
^^^SOOOOOOOOOOOOO close! By one semitone too!

slash_pwns
05-14-2005, 09:24 PM
A5/Eb!

edit: One semitone? Esus4/Eb?

fendermalmsteen
05-14-2005, 09:26 PM
^^^Actually, it's Eb(b5)/E. Go anyways.

slash_pwns
05-14-2005, 09:28 PM
Here we go: Its an inteval (easy one.)

6
5
3
2
1
0

fendermalmsteen
05-14-2005, 09:28 PM
E(b5) tri-tone

Anyone, go.

WindJammer
05-14-2005, 09:29 PM
b5 interval/tritone, E, Bb.

EDIT: Damn!

Enough with which user can post faster, a challenging one!

slash_pwns
05-14-2005, 09:30 PM
WJ got it... Not looking for a root note, just b5.

fendermalmsteen
05-14-2005, 09:31 PM
^^^:grrr:

slash_pwns
05-14-2005, 09:32 PM
I'm gonna create an evil one. WJs right. :p:

WindJammer
05-14-2005, 09:32 PM
OK, I'll try for a tough one. Give me a few minutes to think one up.

slash_pwns
05-14-2005, 09:35 PM
Have fun! I got one for my next turn too :D

redwing_suck
05-14-2005, 10:07 PM
wait wait wait.... i thought i got the one from a while ago... i named it correctly, no? Ab alt (or Ab7+#9...)... basically a dominant chord with two alterations... so how do i not go?

no biggie, just wonderin.

slash_pwns
05-14-2005, 10:11 PM
^I got that one.

If you want, you can have the turn after my next.

redwing_suck
05-14-2005, 10:13 PM
no, you can have yours... was just wonderin cause i thought the answer was the one i put and you had C# as the root...

slash_pwns
05-14-2005, 10:15 PM
it was G#, I believe.

EDIT: I can imagine WJ's question being hard :\

WindJammer
05-15-2005, 03:04 PM
Arpeggio:

------6---7-
--7-5---7---
8-----------
------------
------------
------------


Root and one other tone omitted. You may come up with several names, but there is a "simplest" name for it. Sorry I didn't get this little thing up earlier.

slash_pwns
05-15-2005, 03:06 PM
Ommited? Oh god...

This might take a while.

EDIT: Do we have to name the other tone?

slash_pwns
05-15-2005, 03:36 PM
F#13? (root is G#)

WindJammer
05-15-2005, 03:58 PM
Not a slash chord.

See, the actual root note is omitted. This means that if I listed the note F#, you might say "D major: which suggests that the root (D) and the fifth (A) were omitted" or something like that...

This means that if the chord is F#13, then F# wouldn't BE in the arpeggio.

The_Strat_Man
05-15-2005, 04:08 PM
G#m7?

WindJammer
05-15-2005, 04:12 PM
^?

There are four tones in that chord... five in my arpeggio alone, and two which I omitted.

The_Strat_Man
05-15-2005, 04:13 PM
Meh, you're right, I missed the E. I'll be back in a sec, with another answer.

The_Strat_Man
05-15-2005, 04:16 PM
G#m13

-omitting the 11 and the root.

WindJammer
05-15-2005, 04:36 PM
^Where's the 13 in my arpeggio?

The_Strat_Man
05-15-2005, 05:16 PM
Originally posted by WindJammer
^Where's the 13 in my arpeggio?

Damn, still looked at it wrong, b13 is what I meant.

D# F# A# B E

G# A# B# C# D# E# Fx

1 b3 2 5 b7 b13

WindJammer
05-15-2005, 06:24 PM
I would say that there is a simpler form, but only because you have the altered 13th.

slash_pwns
05-15-2005, 06:52 PM
uhh... G#maj11? I'm not sure though.

WindJammer
05-15-2005, 07:04 PM
What... with an omitted major 3rd and a #9 alteration :p: ?

Sorry, leave alone the G#, as a hint... its simplest form is not the simplest form of this chord.

slash_pwns
05-15-2005, 07:04 PM
Ok, nevermind :p:

slash_pwns
05-15-2005, 07:11 PM
Oh, how about C#m13, no 5, no 13?

WindJammer
05-15-2005, 07:14 PM
^You are very close... and you'd smack yourself for your small mistake (but I won't mention it :) ).

I won't go into exactly how you made your mistake, but I demand perfection!!!

slash_pwns
05-15-2005, 07:17 PM
C#m13, no 5!!!!!!

WindJammer
05-15-2005, 07:19 PM
^You got it. HOwever, you may have specified, "no root" :) .

Go ahead. *cues young boy running into his parents' arms soundtrack*

F-3
05-15-2005, 07:20 PM
uhm D#m13 ? omitting root and fourth

edit: lol k ... not. Hmm^^

edit 2: omg ... I looked at the whole thing a string down oO

slash_pwns
05-15-2005, 07:21 PM
I was going to but, its implied by the question....
------------------------------------------------------
Using this chord:


F
|-1-|
|-1-|
|-2-|
|-3-|
|-3-|
|-1-|


Create 8 more chords by alteringing one note by one semitone. The trick is: You alter the chord you have made. Ex. Alter one note by one semitone in F, then in the next, etc... Those chords you will be creating are:

Fmaj7

Fm/maj7

Fm

Fm7

F7

F7sus4

Fmaj7sus4

Fsus4

The trick here is to alter the right note. Its easy once they all start falling together.

Hint: The first two chords (Fmaj7, Fm/maj7 have a root note of E)

Corwinoid
05-15-2005, 07:21 PM
^ The omission of the 5th in 7ths and extensions is commonplace, and almost mandatory in the 13th... no need to specify that it's not present. BTW, I'm not looking to see if you're right or not, just helping you simplify.

slash_pwns
05-15-2005, 07:25 PM
4 posts in 2 minutes... Ok...

Corwinoid: I think he wanted the tones left out named.

The_Strat_Man
05-15-2005, 09:45 PM
^ So are you asking us to tab out those chords or what? I don't really get what you're asking. It seems like you're giving us the answer.

*confused*

slash_pwns
05-15-2005, 09:50 PM
Yeah, tab them out.

slash_pwns
05-16-2005, 07:56 AM
Heres another hint:

Since your'e altering a chord you've made, (except for the first chord) you just look at the notes you have:

1 F
1 C
2 A
3 F
3 C
1 F

That the one you were given, F major, but now you want Fmaj7, but thats F A C E. You have to change one of the Fs in the chord to E, but since there 3 Fs, you have to make a good choice. I've already said that the root note is E for the first two, which gives
you:

1 F
1 C
2 A
3 F
3 C
0 E

Thats Fmaj7.

So now you have the first one, just remember to alter one note by one semitone.

Now that you have Fmaj7 (1 3 5 7) and want Fm/maj7 (1 b3 5 7) what note do you think will be altered next?

F-3
05-16-2005, 11:07 AM
hm, I can't figure out how to go from Fm to Fm7 with just moving a semitone ... I have to alter a by 2 semitones to get from F to Eb
Or am I misunderstanding something here?

slash_pwns
05-16-2005, 02:58 PM
^Oh, sorry I missed that.

For that one, just use two semitones.

Sorry!

F-3
05-16-2005, 03:34 PM
Ah okay ^^
I was wondering ... how it's possible else

it should be like this then ...

1 1 1 1 1 1 1 1 1 1
1 1 1 1 1 1 1 1 1 1
2 2 1 1 1 1 2 3 3 3
3 3 3 3 1 1 1 1 2 3
3 3 3 3 3 3 3 3 3 3
1 0 0 1 1 1 1 1 1 1

edit:
but that fmaj7 sounds horrible ... why not 133210?

slash_pwns
05-16-2005, 08:48 PM
not about sound.

EDIT: No you didnt. You have 1 mistake... I'll let you figure it out, look very closely.


1 1 1 1 1 1 1 1 1 1
1 1 1 1 1 1 1 1 1 1
2 2 1 1 1 1 2 3 3 3
3 3 3 3 1 1 1 1 2 3
3 3 3 3 3 3 3 3 3 3
1 0 0 1 1 1 1 1 1 1

x x x x * * * * *


x = good
* = bad

F-3
05-17-2005, 02:24 PM
1 1 1 1 1 1 1 1 1
1 1 1 1 1 1 1 1 1
2 2 1 1 1 2 3 3 3
3 3 3 3 1 1 1 2 3
3 3 3 3 3 3 3 3 3
1 0 0 1 1 1 1 1 1

whops yeah, the chord was twice somehow

slash_pwns
05-17-2005, 02:38 PM
Mmk, go ahead.

F-3
05-17-2005, 05:00 PM
e-----0-4-----
B-2--------0-4
G---2---------
D-------------
A-------------
E-------------


I liked the idea of omitting something, so I'll steal the idea :p
Root is omitted

fendermalmsteen
05-17-2005, 05:18 PM
Wild guess...

F#m6(9, 11)?

F-3
05-17-2005, 05:25 PM
very close

WindJammer
05-17-2005, 05:28 PM
F#m13

F-3
05-17-2005, 05:28 PM
^
jup

slash_pwns
05-17-2005, 08:41 PM
Try to go for something hard, WJ. ;)

WindJammer
05-17-2005, 09:08 PM
Whoa, sorry, didn't know it was my turn... *will edit*

slash_pwns
05-18-2005, 04:49 PM
*poke*

I still think the time limit should be 24 hrs!

Change! Change!

EDIT: I'm gonna go tommorow at 9:38pm, If WJ doesnt go... Unless someone needs to go...

fendermalmsteen
05-19-2005, 04:27 PM
I'll go with something easy.

Name this arpeggio:


e|---------------------5-8-|
B|-----------------5-8-----|
G|-------------5-7---------|
D|---------5-7-------------|
A|-----5-7-----------------|
E|-5-8---------------------|

SilentDeftone
05-19-2005, 04:30 PM
Am11.

-SD :dance:

fendermalmsteen
05-19-2005, 04:42 PM
^^^I was thinking Am7(add11), but I'm not really all that great with extended chords.

I guess all you need for an 9/11/13 chord is just the b7? I mean, A C E G F# could be an Am13 even without the 11 and 9?

I'm sorry if I sound dumb.

Your go anyways.

SilentDeftone
05-19-2005, 04:47 PM
Am7add11 = Am11 (no9 if you want to nitpick).

Name that chord!e|--0--|
B|--8--|
G|--6--|
D|--6--|
A|--6--|
E|--6--|
-SD :dance:

fendermalmsteen
05-19-2005, 05:03 PM
Bbm13b5

SilentDeftone
05-19-2005, 05:15 PM
Yeah, that could be the name. I built it as Ebsusb9. A little cleaner, and IMO better considering it's rather obviously voiced mainly as a quartal chord.

Still, you were correct! Go ahead!

-SD :dance:

fendermalmsteen
05-19-2005, 05:22 PM
e|-7-----|
B|-x-----|
G|-7-----|
D|-6-----|
A|-8-----|
E|-8-----|


I'm looking for ONE particular name, no exeptions. You get as many guess' as you need though.

SilentDeftone
05-19-2005, 05:33 PM
Fm6(#11) or Dm13(b5) or Bm7(b5, b9)

-SD :dance:

fendermalmsteen
05-19-2005, 05:35 PM
You're close with the Bm7b5... VERY close... by one semitone somewhere in the chord...

Corwinoid
05-19-2005, 05:36 PM
Dbmaj13
Edit: yay I'm wrong

fendermalmsteen
05-19-2005, 05:38 PM
^^^:haha

Corwinoid
05-19-2005, 05:47 PM
BmM7(b5,b9)
WOW... I'm doing SOOOO good today. I need someone to put a screwdriver to my temple and push really hard, ok?

Bdim9 (that's bb7 b9)

fendermalmsteen
05-19-2005, 05:54 PM
I was going for Bdim7(b9), but Bdim9 is just a better way of naming it.

WindJammer
05-19-2005, 06:29 PM
*Changes time to 24 hours...*

slash_pwns
05-19-2005, 07:34 PM
^thank you.

So... Corwinoid's turn?

SilentDeftone
05-19-2005, 07:49 PM
Originally posted by fendermalmsteen
I was going for Bdim7(b9), but Bdim9 is just a better way of naming it. Not necessarily, if I saw Bdim9 I'd play a major 9th rather than a minor one; B7(b9) or Bb9 are better names, they show that the 9th is minor.

-SD :dance:

fendermalmsteen
05-19-2005, 08:27 PM
^^^Oh, I'll try to remember that.

Corwinoid
05-20-2005, 07:38 AM
Resolve to Gb (I, Major; any questions?), using exactly 3 chords. Complete the key change with tonicization of the Gb; or in plain english--it must be a discernable, complete, full key change, finishing with some cadence.

Have I given enough hints? I'll accept either of two answers, or both for brownie points.


e:-7-
B:-6-
G:-7-
D:-9-
A:---
E:---

slash_pwns
05-20-2005, 07:42 AM
^So, I guess this will be in the key of Gb?

Corwinoid
05-20-2005, 07:44 AM
^ It's not now... your goal is to have a complete resolution to Gb.
Edit: I'll add... there's a third way to do it, that I didn't see when I wrote it up at first, but it's rather weak musically. So, three possible answers that I see now.

And let me clarify, by 3 chords I'm counting the final Gb, but NOT the initial chord.

slash_pwns
05-20-2005, 07:45 AM
Ohh... Damn.

And another question. The chord = Cbdim, right? (DOnt want to start it wrong.)

Eddit: Do we use the chord you've provided as one of the 3?

Corwinoid
05-20-2005, 07:51 AM
Heh, I actually meant for it to be read as Bdim... but yeah, Cbdim is fine, you end up with the same primary movements. Looking at it as Cbdim probably simplifies it a lot also... I think I made this too easy.

If that's what you want to use, go for it.

Edit: No, you'll have my chord, two middle chords, and some voicing of Gb major that you resolve to. The final chord (your resolution) counts as one of your chords.

slash_pwns
05-20-2005, 07:55 AM
Bdim Em F# Gb
*
|-7-----14----14 --||-(14)----|
|-6-----12----14---||-(14)----|
|-7-----12----15---||-(15)----|
|-9-----14----16---||-(16)----|
|------------------||---------|
|------------------||---------|


* represents the key change (the note is tied)

Edits*

Corwinoid
05-20-2005, 08:06 AM
I'm gonna fail you on this one; a shift in the way you're thinking doesn't constitute a complete key change. Em-Gb, or more specifically Fb-Gb doesn't constitute a key change to Gb; it's simply a progression ending on Gb.

I question the soundness of Bdim-Em... but I might be unfounded in that.

slash_pwns
05-20-2005, 02:51 PM
Cbdim Em Dbdim Gb
|-7-----12-----9-----14----|
|-6-----12-----8-----14----|
|-7-----12-----9-----15----|
|-9-----14----11-----16----|
|--------------------------|
|--------------------------|


Tadaa! It sounds like it resolves pretty well.

Corwinoid
05-20-2005, 04:21 PM
I'm not a big fan of going to ii from vii; _but_ you get there and finish with a cadence... and the overall idea of shifting a half-step gets the job done. You're up.

slash_pwns
05-20-2005, 04:38 PM
Yay.

I'm bored so I'll think of a wierd one.


|--------------------------------|
|--------------------------------|
|--------------------------------|
|---------0----------0-----------|
|-0---3-----0---3------0---0-----|
|---0---2-----0----2-----0---0-2~|


You are to find the chord/arpeggio that this is based on... But to make 'funkay' I omitted two tones (*cough*root*cough*not telling you the other one*cough*) and scrambled the tones.

In summary:

Tell me what two tones were omitted and tell me the chord name.

No adds, #9, and stuff like that. Best name.

Corwinoid
05-20-2005, 05:23 PM
Gmaj13!
That's no G and no 3rd.

slash_pwns
05-20-2005, 05:46 PM
Great! You got it exactly.

Your go.

Corwinoid
05-20-2005, 05:51 PM
Mmmm I'm working on one that should prove to be sufficiently challenging to everyone... give me a little time. I've not slept since yesterday ;/

Corwinoid
05-20-2005, 06:39 PM
This should be sufficiently interesting... alright, there are three parts to this.
1: Identify the time signature--it is a compound time signature (ie. 3/4 + 4/4)
2: Add bar lines
3: Denote the strong beats--any way you want, as long as it's apparent you know what they were.


Q = quarter note
8 = 8th note (8. = dotted 8th)
s = 16th note
Q 8 8 8 s 8 s 8 8. 8. Q 8 8 8 s 8 s 8 8. 8. H
e:-----------0------------------------------7----------------------|
B:-------------------0-------------------------4----7--------------|
G:-----1--------1------1--1-----------8----------2----6------------|
D:--------2-------2-----------2----------9---------------4---------|
A:----------------------------------------------------------2------|
E:-0------------------------------7-----------------------------0--|


Any questions?

slash_pwns
05-20-2005, 09:56 PM
Edit... Nvm that.


EDIT: Any ties?

slash_pwns
05-20-2005, 10:16 PM
4/4 5/4
Q E E E S S +S S E E. E. Q E E E S E S E E. E. H
|-----------(0)-------------|-------------------7-||--------------------------|
|-----------------------0---|---------------------||-(4)---7------------------|
|-----(1)-------1---------1-|-(1)--------(8)------||-----2---(6)--------------|
|---------2-------2-(2)-----|-----2-----------9---||-------------4------------|
|---------------------------|---------------------||----------------2---------|
|-(0)-----------------------|--------(7)----------||-------------------(0)----|


Stupid accents are probably wrong.

+S Is tied note.

Corwinoid
05-20-2005, 10:31 PM
Meter's off, bars are off, but you managed to get 5 of the accents right. Think compound meter (that's _one_ measure that gets 2 time signatures).

And if anybody decides to break up the duet we've got going, and fumbles pretty bad, I'll throw out a hint or three.

slash_pwns
05-20-2005, 10:34 PM
So compound meter being like 3+2/4?

And what does it mean when you say "_1_"?

Corwinoid
05-20-2005, 10:39 PM
It would be something like 3/4 + 4/4, to simplify or clarify the division of a 7/4 irregular meter. Think about some of the odder meters you might run into, such as 13/8... how exactly DO you divide that up without temporal displacement?

In this case, the meter isn't quite that odd, but it's irregular enough to warrant clarity.

And I'm simply emphasizing that it's a single measure that gets both timing values; the time sigs just clarify how a single measure gets divided. It can be more than two... I'll say now, though, that in this case it doesn't need more than two to be absolutely clear.

Edit: I missed this... and yes, it can be seen as 3+2/4, but the two sigs don't necessarily have to be related. 2/4 + 2/2 is valid (though, probably unnecessary)

slash_pwns
05-21-2005, 05:45 PM
I just looked at it agian, and my time sigs work... This is harder than I thought...

Corwinoid
05-21-2005, 06:37 PM
They fit the total meter, sure... but they're not right :)
Anyone else?

slash_pwns
05-21-2005, 08:42 PM
^it seems as if its been only you and me, lately...

Man... More people need to come here!

MrScary07RR
05-21-2005, 11:48 PM
4/4 +3/4 4/4 4/4
Q 8 8 8 s 8 s 8 8. 8. Q 8 8 8 s 8 s 8 8. 8. H
e:----------*0----------|----------------|-*7-----------------|----|
B:-------------------0--|----------------|-----4----7---------|----|
G:----*1--------1-----*1|*1----------*8-|-------*2----6-------|----|
D:--------2------*2-----|-----2---------|9--------------*4----|----|
A:----------------------|----------------|------------------2-|----|
E:*0--------------------|--------*7------|--------------------|*0--|


?

i doubt it's right, a star before the note means accent, and the compound meter was 4/4+3/4

Corwinoid
05-22-2005, 01:16 AM
^ Very very close.

slash_pwns
05-22-2005, 09:09 PM
*gives up*

:cry:

EDIT: Dont change it just because of me, wait for a couple of other tries. :cheers:

Corwinoid
05-22-2005, 09:13 PM
I'll give it a few more hours before I just post the answer and let someone take it.

Anybody want to give it a go before then?

slash_pwns
05-22-2005, 09:15 PM
Maybe WindJammer or SD will get it... They havent tried... Or someone else (its possible :p: )

fendermalmsteen
05-23-2005, 03:41 PM
It looks like everyone gave up...

I think I'll save this thread before it dies...


Name this arpeggio:
e|-----------------|
B|-----------------|
G|-----------------|
D|-------------6-7-|
A|-------5-7-9-----|
E|-5-7-9-----------|



The first one to say: "It's not an arpeggio, it's a scale." gets an e-slap in the face, it does have a name.

F-3
05-23-2005, 03:48 PM
Amaj13

fendermalmsteen
05-23-2005, 04:02 PM
Yuppers

F-3
05-23-2005, 04:17 PM
Originally posted by slash_pwns
Maybe WindJammer or SD will get it... They havent tried... Or someone else (its possible :p: )

I think I second this and wait

slash_pwns
05-23-2005, 05:33 PM
^Well, it kicked back up, so just go.

Corwinoid
05-23-2005, 05:56 PM
Shame... you guys want me to post the answer?

F-3
05-23-2005, 06:03 PM
I do, and maybe a little explanation on how to determine it? ;)
But as someone else already said, maybe SD or Windjammer wants to go...

slash_pwns
05-23-2005, 07:13 PM
Answer!!!

I wanna see the question that halted this thread :D