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Old 05-20-2013, 02:05 PM   #1
Celestus
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Name of this triad?

So I was doodling about with my guitar and came up with a few triads that sound well together, so I wanted to find out the names. Now bear in mind that I am a complete beginner in the theory side of music, so this is a simple question (or should be).

The first triad was 1 b3 5, which, afaik, is a minor triad.
Now the second one turned out to be 1 2 b6, now how the hell do I name it?
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Old 05-20-2013, 02:21 PM   #2
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This always happens to me... I pick up the guitar and end up inventing a new language. >_>
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Old 05-20-2013, 02:42 PM   #3
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Could be an inversion of a m7-5 chord. If we make use the intervalls you mentioned, staring from A this chord would contain the notes A,B and F. If we view B as the root note then F is the dimished fifth and A the minor seventh. So i would say a minor seventh flat 5 chord without a third in third inversion maybe?
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Old 05-20-2013, 02:47 PM   #4
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Out of context it's a collection of three pitches.
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Old 05-20-2013, 02:50 PM   #5
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So not worth putting it into a chord?
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Old 05-20-2013, 02:56 PM   #6
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Quote:
Originally Posted by jazz_rock_feel
Out of context it's a collection of three pitches.


collections are only existent in atonal music. I'm assuming it's tonal so I'm leaning towards a partially dim 7th
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Old 05-20-2013, 03:13 PM   #7
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Well, it could also be some kind of a sus2 augmented chord.
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Old 05-20-2013, 03:20 PM   #8
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Quote:
Originally Posted by Erc
collections are only existent in atonal music.


Not sure if srs..

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A... Mixolydian 6th suspended 2nd? Flat 6th suspended 2nd? will be lurking this thread to find out the correct answer.


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Originally Posted by Celestus
So I was doodling about with my guitar and came up with a few triads that sound well together, so I wanted to find out the names. Now bear in mind that I am a complete beginner in the theory side of music, so this is a simple question (or should be).

The first triad was 1 b3 5, which, afaik, is a minor triad.
Now the second one turned out to be 1 2 b6, now how the hell do I name it?


If both of these are from the same root, the second chord will be functioning as ii7 over a tonic pedal.
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Old 05-20-2013, 03:31 PM   #9
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Yeah they're both from C. I just liked the sound from the C minor triad to this abomination of a name. So I could fit this in a chord progression that contains ii7? I guess I should read up more about these things before I try to understand them. Thank you for all the help, and for all that may follow.
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Old 05-20-2013, 04:22 PM   #10
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The chord name depends on the context. But yeah, it kind of sounds like a m7b5 without a third. But in this case it's not 1 2 b6, it's 1 b5 b7 (because the 2 would be your root note).

But yeah, you need to have some kind of context. What are the chords before and after this chord and what do the other instruments play? Same notes function differently in a different situation.
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Old 05-20-2013, 04:46 PM   #11
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Not sure if srs..


I'd abandon all analysises using collections anyways. The essence of atonal music is that it is non-melodic and abandons all notion of traditional and informal voice leading. You only ever use the term collections if your analyzing two or more parallel tone rows. Furthermore, even if you analyzed it as a a tone cluster (and no I don't think the two are synonymous) the tone cluster's function is always, and practically by definition, percussive in nature. So inless that particular collections of tones are percussive in context, I wouldn't even analyze it as a tone cluster. Also, people tend to make the mistake of analyzing according to collections in what is essentially x-tonal music where x is any number equal to or greater than 2. It is just a cop out in my opinion.

EDIT ---> But I basically hate atonality anyways so take it with a grain of salt. It's kind of ironic that I'm almost always recommending arnold schoenberg's Fundamentals of Musical Composition, but verklarte nacht justifies it alone.

EDIT 2 --> Also, I say that atonal music is non harmonic and non melodic because it's analyzed using mother ****ing matrices, which throws out all harmonic and traditional melodic analysis for a mother****ing reason... because it doesn't exist.

EDIT 3 --> It's like music completely and utterly reduced down to math and that is just ridiculous in my opinion.
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Old 05-20-2013, 05:33 PM   #12
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Old 05-20-2013, 05:43 PM   #13
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Quote:
Originally Posted by Erc
I'd abandon all analysises using collections anyways. The essence of atonal music is that it is non-melodic and abandons all notion of traditional and informal voice leading. You only ever use the term collections if your analyzing two or more parallel tone rows. Furthermore, even if you analyzed it as a a tone cluster (and no I don't think the two are synonymous) the tone cluster's function is always, and practically by definition, percussive in nature. So inless that particular collections of tones are percussive in context, I wouldn't even analyze it as a tone cluster. Also, people tend to make the mistake of analyzing according to collections in what is essentially x-tonal music where x is any number equal to or greater than 2. It is just a cop out in my opinion.

EDIT ---> But I basically hate atonality anyways so take it with a grain of salt. It's kind of ironic that I'm almost always recommending arnold schoenberg's Fundamentals of Musical Composition, but verklarte nacht justifies it alone.

EDIT 2 --> Also, I say that atonal music is non harmonic and non melodic because it's analyzed using mother ****ing matrices, which throws out all harmonic and traditional melodic analysis for a mother****ing reason... because it doesn't exist.

EDIT 3 --> It's like music completely and utterly reduced down to math and that is just ridiculous in my opinion.

Jimmies have been rustled.

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Old 05-20-2013, 05:53 PM   #14
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Quote:
Originally Posted by jazz_rock_feel
Out of context it's a bunch of assorted pitches.


Fixed that for Erc
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Old 05-20-2013, 07:32 PM   #15
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Well since we are positing irrelevant bullshit...here's a video of me improvising!

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Old 05-20-2013, 08:04 PM   #16
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Id label is as a 1 bb3 #5 and call it a double minor augmented fifth chord.
I don't know anything about this stuff.
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Old 05-20-2013, 10:08 PM   #17
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Originally Posted by macashmack
Id label is as a 1 bb3 #5 and call it a double minor augmented fifth chord.
I don't know anything about this stuff.


This guy has it right.
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Old 05-21-2013, 12:14 AM   #18
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will be lurking this thread to find out the correct answer.

yeah best of luck waiting for it to pop up
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Old 05-21-2013, 09:59 AM   #19
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Originally Posted by Erc
the tone cluster's function is always, and practically by definition, percussive in nature. So inless that particular collections of tones are percussive in context, I wouldn't even analyze it as a tone cluster.


it has no function if there isn't a context, dumby

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Well since we are positing irrelevant bullshit...here's a video of me improvising!


stop
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Old 05-21-2013, 05:43 PM   #20
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Not to sound like a broken record, but there is no context.

That being said, I agree with anyone who said it acted as a ii7 chord (which is a half-diminished chord). Actually, it would be a ii4/2 chord, but missing the third. That would make sense.

Here's an example progression in C minor:
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