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Old 05-12-2005, 04:48 PM   #61
fendermalmsteen
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^^^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.
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Old 05-12-2005, 04:48 PM   #62
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^Lol.

Code:
-3- -5- -3- -4- -4- ---


Iz a chord... Think Db.. not C# mmk.
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Last edited by slash_pwns : 05-12-2005 at 04:52 PM.
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Old 05-12-2005, 04:50 PM   #63
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I ahve no prob with the original format :/
Syncopate to taste:
|: B11 Em7 | B11 Em7 | D9 Am | Em7 Am :|
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Old 05-12-2005, 05:07 PM   #64
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Quote:
Originally posted by slash_pwns
^Lol.

Code:
-3- -5- -3- -4- -4- ---


Iz a chord... Think Db.. not C# mmk.
Gb7(b9), best name I can think of.
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Old 05-12-2005, 05:08 PM   #65
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Rootnote is Db, or C#, and its not an add chord or any crazy extentions. Its actually pretty simple
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Old 05-12-2005, 05:16 PM   #66
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Dbdim if it was just Db, E, and G

But with the Gb and Bb, it would have to be Dbdim7(add11)... I think.
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Old 05-12-2005, 05:19 PM   #67
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Gb7b9 is the best name.

If you wanted Db to be the root, Dbº7(11).

Also, C#º7(11) is equally a good name as Dbº7(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.

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Old 05-12-2005, 05:25 PM   #68
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I guess it's my turn then? If it is, SilentDeftone can have it.
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Old 05-12-2005, 05:42 PM   #69
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Yeah, I was looking for Dbdim11, so I guess SD can do.
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Old 05-12-2005, 05:48 PM   #70
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I probably won't be back tonight to check on it, so I'll leave a relatively simple one.
Code:
e|---2---| B|---3---| G|---3---| D|---0---| A|---1---| E|-------|


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Old 05-12-2005, 05:51 PM   #71
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*Yawn*

Bb augmented
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Old 05-12-2005, 05:53 PM   #72
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That is correct^.
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Old 05-12-2005, 05:59 PM   #73
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Someone else take it. (my turn that is.)
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Old 05-12-2005, 06:05 PM   #74
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Code:
e---- B-5-- G-5-- D-6-- A-7-- E----


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

Last edited by WindJammer : 05-12-2005 at 06:08 PM.
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Old 05-12-2005, 06:11 PM   #75
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Abmaj(b5)
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Old 05-12-2005, 06:12 PM   #76
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^That doesn't follow the rules. Can't really tell you why.
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Old 05-12-2005, 06:13 PM   #77
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C augmented
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Old 05-12-2005, 06:14 PM   #78
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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).

Last edited by WindJammer : 05-12-2005 at 06:18 PM.
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Old 05-12-2005, 06:18 PM   #79
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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!
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Old 05-12-2005, 06:19 PM   #80
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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.

Last edited by WindJammer : 05-12-2005 at 06:27 PM.
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