krm27
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#1
I was trying to figure the chord names for this tab/song Bound for the Floor by Local H

eb-x-x-x-x--x-x-x-x-x-x--x-x-x-x--x-x-x-x-x-x-|
Bb-0-0-0-0--0-0-0-0-0-0--0-0-0-0--0-0-0-0-0-0-|
Gb-4-4-4-4--4-4-4-4-4-4--4-4-4-4--4-4-4-5-4-5-|
Db-2-2-2-2--2-2-2-2-2-2--0-0-0-0--0-0-0-0-0-0-|
Ab-0-0-0-0--3-3-3-3-3-3--2-2-2-2--5-5-5-5-5-5-|
Eb-x-x-x-x--0-0-0-0-0-0--3-3-3-3--x-x-x-x-x-x-|

I think the first is Absus9.

I got stumped on the second, has Eb, B and Bb...
I wanna call it some kind of Eb6 except the 6 is flattened one semitone, right? What do you call an Eb6b?

Then just an unusual voicing for Gb

Then there's the last section with two chords, I guess, the first being Db, Db, Bb, Bb...maybe that would not be a chord at all but some kind of double double stop?...with an ending alternation to Db, Db, B, Bb. Is there a name for these? Some kind of Db something and something else?

Ken
Last edited by krm27 at Apr 23, 2013,
FRACTUREDx2
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#3
The second one isn't really a full chord but it's closest to an Eb+. That sharpened 5th makes it augmented, but without a 3rd you really can't tell. For the last chord(s) you really just have to listen to the song because the guitar isn't playing enough notes to clearly point out what chord is going on there.
If it's creative, true to your musical goal, and it sounds good, put it in the song.

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Captaincranky
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#4
Quote by krm27

Then there's the last section with two chords, I guess, the first being Db, Db, Bb, Bb...

Ken
Given the rest of the context, that is probably Bb minor, no 5th. Which as you say, really isn't a chord but it probably would go with the flow of the rest of the progression
Reighnart
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#5
Another note would solve the dilema. Anywho. At first I thought Bmaj7/D# but that doesn't make as much sense as Eb+ in context to the key. Totes go with Eb+
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TDKshorty
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#6
Absus2 CbMaj7, Gb, Db (with the 6 up to the 7th)

That's what you would call them, are at least that's what I would, recognizing that the missing tones would result in a slightly different sound to fit in with the other chords.
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krm27
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#7
To answer the "why does it matter" question, I am trying to know how to name chords, in part to move them to another key, incorporate them into my own songwriting and playing. So when I see a combination of 3 notes that sound good, or great, to my ear, and I cannot think what to call the chord, I want to figure it out.

The exercise / problem is easier for me to consider if I take out the fact that the guitar is tuned down a half step, get rid of those flats, and focus on the intervallic relationships.

In standard tuning, it's basically the following progression:
Ch1 Ch2 Ch3 Ch4 Ch5
|x |x |x |x |x
|B |B |B |B |B
|B |B |B |B |C
|E |E |D |D |D
|A |C |B |D |D
|x |E |G |x |x

If I can get names for these five chords, then I know the song is the same progression, just down a halfstep.

Ch1 = Asus9?
Ch2 = E6b? (flattened 6th replacing third? not sure how to write this)
Ch3 = G
Ch4 = partial inverted Bm?
Ch5 = partial inverted Bmadd9?

I've been self-teaching myself music theory / guitar for a couple years, so maybe I'm asking the wrong questions or wording this badly, sorry. I generally learn songs, get a sense of the chord progressions, see how they build / release tension, and then I try to incorporate that myself. But labels help me keep it organized, and also really help when you want to transfer an idea to another key. At least in my experience so far. I think if I knew what the hypertechnical / classical / Julliard type of answer to this would be, it would help me wrap my head around music theory, song-writing, etc.

I guess I am also having the assumption whenever you have 3 different notes played simultaneously, that will amount to some form of nameable chord (however dischordant it may sound).

Ken
crazysam23_Atax
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#8
Well, a lot of what you would call the chords depends on the context. In this case, I think TDKshorty is correct. But recognize that, with chords like these, the "names" of the chord would vary depending upon the key. Here, the key is Ab.

Notice how the 5th chord almost pushes back to the 1st chord? In other words, it sounds "resolved" when you go from the 5th chord to the 1st chord. As an aside, btw, this kind of progression is called a "half cadence", meaning it only feels "half complete". Progressions like this make very good (but simple to play) repeating rhythm figures; just a songwriting tip there.
Last edited by crazysam23_Atax at Apr 24, 2013,
Sean0913
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#9
Quote by krm27
To answer the "why does it matter" question, I am trying to know how to name chords, in part to move them to another key, incorporate them into my own songwriting and playing. So when I see a combination of 3 notes that sound good, or great, to my ear, and I cannot think what to call the chord, I want to figure it out.

The exercise / problem is easier for me to consider if I take out the fact that the guitar is tuned down a half step, get rid of those flats, and focus on the intervallic relationships.

In standard tuning, it's basically the following progression:
Ch1 Ch2 Ch3 Ch4 Ch5
|x |x |x |x |x
|B |B |B |B |B
|B |B |B |B |C
|E |E |D |D |D
|A |C |B |D |D
|x |E |G |x |x

If I can get names for these five chords, then I know the song is the same progression, just down a halfstep.

Ch1 = Asus9?
Ch2 = E6b? (flattened 6th replacing third? not sure how to write this)
Ch3 = G
Ch4 = partial inverted Bm?
Ch5 = partial inverted Bmadd9?

I've been self-teaching myself music theory / guitar for a couple years, so maybe I'm asking the wrong questions or wording this badly, sorry. I generally learn songs, get a sense of the chord progressions, see how they build / release tension, and then I try to incorporate that myself. But labels help me keep it organized, and also really help when you want to transfer an idea to another key. At least in my experience so far. I think if I knew what the hypertechnical / classical / Julliard type of answer to this would be, it would help me wrap my head around music theory, song-writing, etc.

I guess I am also having the assumption whenever you have 3 different notes played simultaneously, that will amount to some form of nameable chord (however dischordant it may sound).

Ken


Great tune

If you go with that, Eb b6 then you have to call the b6 a Cbb. No B whatsoever is a 6 of E.

I'm gonna analyze it in standard tuning. Essentially you have... I bIII bVII IV

A5 add 9

C maj7/E (no 5), not sure I'd play the open E

G maj 6

D6

The point to me, is this is all a pedal tone, over a repeated motif. That's the function of the chords. The names are consequential.

Best,

Sean
cdgraves
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#10
I'd call them G#5add9, Bmaj7/D#, F#, and C#6 and 7 (no third). I use the sharps because it requires fewer sharps in the key signature than flats.


Quote by NoelGallagher23
If you know how to play the chords why do you need to know the names?

same reason knowing how to talk isn't a replacement for literacy.
crazysam23_Atax
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#11
Quote by Sean0913
The point to me, is this is all a pedal tone, over a repeated motif. That's the function of the chords. The names are consequential.

This is true. I'd have to see the rest of the song though to know whether the pedal tone is important (meaning what the key of the rest of the song is and how the pedal tone factors into the overall harmony).
:-D
you're an idiot
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279 IQ
#12
Quote by NoelGallagher23
If you know how to play the chords why do you need to know the names?

did you actually post this after saying to yourself "yes, this is what i'd like to say" or did you just go ahead and type this because it was the first thing that came to mind

if the former then that's awful, and if the latter then, well, that's awful

hm.
Sean0913
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#13
Quote by crazysam23_Atax
This is true. I'd have to see the rest of the song though to know whether the pedal tone is important (meaning what the key of the rest of the song is and how the pedal tone factors into the overall harmony).



It's a "dressed up" A C G D.

Best,

Sean
mdc
UG's Mr Chord Man
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#14
Quote by krm27
I was trying to figure the chord names for this tab/song Bound for the Floor by Local H

eb-x-x-x-x--x-x-x-x-x-x--x-x-x-x--x-x-x-x-x-x-|
Bb-0-0-0-0--0-0-0-0-0-0--0-0-0-0--0-0-0-0-0-0-|
Gb-4-4-4-4--4-4-4-4-4-4--4-4-4-4--4-4-4-5-4-5-|
Db-2-2-2-2--2-2-2-2-2-2--0-0-0-0--0-0-0-0-0-0-|
Ab-0-0-0-0--3-3-3-3-3-3--2-2-2-2--5-5-5-5-5-5-|
Eb-x-x-x-x--0-0-0-0-0-0--3-3-3-3--x-x-x-x-x-x-|

I think the first is Absus9.

I got stumped on the second, has Eb, B and Bb...
I wanna call it some kind of Eb6 except the 6 is flattened one semitone, right? What do you call an Eb6b?

Then just an unusual voicing for Gb

Then there's the last section with two chords, I guess, the first being Db, Db, Bb, Bb...maybe that would not be a chord at all but some kind of double double stop?...with an ending alternation to Db, Db, B, Bb. Is there a name for these? Some kind of Db something and something else?

Ken

Asus2 - Cma7/E - G - Bm/D with a auxillary note

All down a semitone obviously.

The last chord i'm reluctant to label as a D. I mean, D6 with no 3rd no 5th? Nah.
Last edited by mdc at Apr 25, 2013,
crazysam23_Atax
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#15
Quote by Sean0913
It's a "dressed up" A C G D.

Yes, I gathered that...

Quote by mdc
The last chord i'm reluctant to label as a D. I mean, D6 with no 3rd no 5th? Nah.

If you think of it in terms of cadences, labeling it as Db makes it a "false Half Cadence". If you labeled it a Bbmin inversion (which is what Bbm/Db is, an inversion), then it really wouldn't imply an sort of resolution. But since the progression clearly resolves in the manner of a Half Cadence (even though it's really not a true Half Cadence), it makes sense to label the last chord a Db6 (No3rd).

Btw, there are plenty of chord voicings without a 5th. They don't sound as "nice" or "natural" (frankly, I don't think the point of this chord progression is to sound "nice" or "natural" anyway), but a chord without a 5th is perfectly acceptable.
Last edited by crazysam23_Atax at Apr 25, 2013,
MissingSomethin
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#16
LOL, the kid who wrote this song had no idea about chord names. He was just some kid who was trying to get some random chords to work. The exotic and nonsensical chord names make this something it's entirely not. You have a pedal point at B. That's all the theory in this song.
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Last edited by MissingSomethin at Apr 26, 2013,
macashmack
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#18
Quote by MissingSomethin
LOL, the kid who wrote this song had no idea about chord names. He was just some kid who was trying to get some random chords to work. The exotic and nonsensical chord names make this something it's entirely not. You have a pedal point at B. That's all the theory in this song.

You, sir, are incorrect. Saying that's all the theory in this song implies that songs can have more or less theory than other songs, which in itself is wrong.
Captaincranky
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#19
Quote by macashmack
You, sir, are incorrect. Saying that's all the theory in this song implies that songs can have more or less theory than other songs, which in itself is wrong.
That would be predicated on whether the theory was applied at the time the song was written, or at the time (now), when theory is being used to dissect it, now wouldn't it?

Because this forum has the potential of making mountains out of molehills. Let's say for example, we decide to analyze a I, IV, V song. We heck we could dredge up musical history over the ages, and trace the lineage of I, IV, V. We could examine the relevance to the well emotional being of the listener, because of the return to the tonic. We could say the I, IV, V is a microcosm of the circle of life in a dust to dusty G major sense.....(yadda, yadda, yadda)......
Last edited by Captaincranky at Apr 27, 2013,
MissingSomethin
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#20
Quote by Captaincranky
That would be predicated on whether the theory was applied at the time the song was written, or at the time (now), when theory is being used to dissect it, now wouldn't it?

:


That is exactly the point I was trying to make. You could just start smashing notes on a piano with both fists, and someone could then figure out you're playing a E maj 9 -5 (add 13) and F#7b9#5
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macashmack
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#21
Quote by Captaincranky
That would be predicated on whether the theory was applied at the time the song was written, or at the time (now), when theory is being used to dissect it, now wouldn't it?

Because this forum has the potential of making mountains out of molehills. Let's say for example, we decide to analyze a I, IV, V song. We heck we could dredge up musical history over the ages, and trace the lineage of I, IV, V. We could examine the relevance to the well emotional being of the listener, because of the return to the tonic. We could say the I, IV, V is a microcosm of the circle of life in a dust to dusty G major sense.....(yadda, yadda, yadda)......

That doesn't mean shit. It's like saying just because one doesn't think about the law of gravity it isn't in effect. Bullshit my man.
Captaincranky
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#22
Quote by macashmack
That doesn't mean shit. It's like saying just because one doesn't think about the law of gravity it isn't in effect. Bullshit my man.
Reba McEntire was on the CMA Awards Show, and said something to the effect that country music is, "three chords and the truth". So really I don't think that writing a I, IV, V song really requiires an open textbook on music theory, or a dozen experts from UG in a circle jerk dissecting it. Or for that matter, a great deal of premeditation and theoretical contemplation in figuring out "what the resolution will be, or should". It's more along the line of instinctive reaction to musical cultural influences. So back at ya.
Last edited by Captaincranky at Apr 28, 2013,
macashmack
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#23
Quote by Captaincranky
Reba McEntire was on the CMA Awards Show, and said something to the effecet that country music is, "three chords and the truth". So really I don't think that writing a I, IV, V song really requiires an open textbook on music theory, or a dozen experts from UG in a circle jerk dissecting it. Or for that matter, a great deal of premeditation and theoretical contemplation in figuring out "what the resolution wil be". It's more along the line of instinctive reaction to musical cultural influences. So back at ya.

My original post was commenting on the fact that MissingSomething said that the song has no theory. That doesn't make any sense.
Captaincranky
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#24
Quote by macashmack
My original post was commenting on the fact that MissingSomething said that the song has no theory. That doesn't make any sense.
I'm kinda thinking he didn't really articulate that post in coincidence to what he meant....or was thinging....Benefit of the doubt, and all that.
macashmack
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#25
Quote by Captaincranky
I'm kinda thinking he didn't really articulate that post in coincidence to what he meant....or was thinging....Benefit of the doubt, and all that.

Oh ok. Makes sense.