#2
The best name I can think of is Badd4. The 5th isn't that important a tone, though you could just extend the barre to the low E and play an F#, the fifth of B, on the second fret, or play it on high E, or both; any of those will form a full Badd4 chord.


e-2-
B-4-
G-4-
D-2-
A-2-
E-2-
#4
Could just as easily be an Emaj7 or Em(maj7) in second inversion without third.
As I keep saying in here, spelling chords without context is often so ambiguous as to be pointless.
#5
Quote by R.Christie
Could just as easily be an Emaj7 or Em(maj7) in second inversion without third.
As I keep saying in here, spelling chords without context is often so ambiguous as to be pointless.


Which is why I gave you the fingering for it.
#6
Quote by VIRUSDETECTED
Which is why I gave you the fingering for it.

That makes no difference to my observation.
#7
Quote by R.Christie
That makes no difference to my observation.


Oh, right, misread it. My bad.

Anyway, that's the only chord so far in the progression. I wanted to identify it so I could figure out where to go from there.
#8
Quote by VIRUSDETECTED
Oh, right, misread it. My bad.

Anyway, that's the only chord so far in the progression. I wanted to identify it so I could figure out where to go from there.

Well I'd be more inclined to treat it as an E chord rather than a B for the simple reason that maj7 type chords are more frequently encountered than chords containing both 4th and 3rd, especially when the 4th is voiced below the 3rd. try adding a g# or g nat on the 1st string to find out if it is major or minor or if it fits at all. But you may not like the inclusion of 3rd if it isn't in context with other chords. But as we have no idea yet of the musical context or key it could be something else altogether.
Last edited by R.Christie at Dec 17, 2008,
#9
Quote by VIRUSDETECTED
Oh, right, misread it. My bad.

Anyway, that's the only chord so far in the progression. I wanted to identify it so I could figure out where to go from there.


Your ear should be able to help you out with that as well.

My suggestion would be to not let theory write your music for you. keep learning as much theory as you can/want and let that knowledge enhance your creativity and expand your options, but don't think that you need to follow some sort of theory based rule book in order to create music. If what you create sounds good it will likely be analyzable from a theory perspective. The most important thing is that it sounds how you want it to sound.
shred is gaudy music
Last edited by GuitarMunky at Dec 17, 2008,
#10
As a starting place you could try treating it as a dominant chord in key of E or Em (i.e. it is a Badd4 chord).
Or (if Emaj7 or Em(maj7) as tonic in the same keys as above or (if Emaj7 ) as subdominant chord in key of B maj.
#11
Quote by R.Christie
As a starting place you could try treating it as a dominant chord in key of E or Em (i.e. it is a Badd4 chord).
Or (if Emaj7 or Em(maj7) as tonic in the same keys as above or (if Emaj7 ) as subdominant chord in key of B maj.


Well, you would be missing the 2 most defining tones of a dom7 chord.... the 3rd and the b7th.
shred is gaudy music
#12
Quote by GuitarMunky
Well, you would be missing the 2 most defining tones of a dom7 chord.... the 3rd and the b7th.

Who said it was a dominant SEVENTH chord?
#13
Quote by R.Christie
Who said it was a dominant SEVENTH chord?



You did:
Quote by R.Christie
As a starting place you could try treating it as a dominant chord in key of E or Em (i.e. it is a Badd4 chord).


Edit:

well you didn't say 7th. Either way, you don't have the 3rd. The 3rd is an important part of the resolution if you are going for a V- I relationship in the traditional sense.


To the TS:

I still suggest letting your ear and creativity lead the way, rather than theoretical concepts. When you are advanced enough theoretically the knowledge will be useful, but you are obviously not there now..... use what you do have. (ears and a brain and hopefully a sense of what you think sounds good musically).
shred is gaudy music
Last edited by GuitarMunky at Dec 17, 2008,
#14
Quote by GuitarMunky
You did:


Edit:

well you didn't say 7th. Either way, you don't have the 3rd. The 3rd is an important part of the resolution if you are going for a V- I relationship in the traditional sense.


To the TS:

I still suggest letting your ear and creativity lead the way, rather than theoretical concepts. When you are advanced enough theoretically the knowledge will be useful, but you are obviously not there now..... use what you do have. (ears and a brain and hopefully a sense of what you think sounds good musically).


get it right.

The chord can be treated as a dominant chord in the key of E or Emin.
Edit : I also missed restating the chord given bu Sue, it could be in Iadd4 in Bmaj although as previously pointed out the voicing is unusual.
Last edited by R.Christie at Dec 17, 2008,
#15
Quote by R.Christie
get it right.

The chord can be treated as a dominant chord in the key of E or Emin.

^

It could be alot of things, but at this point its just a chord with no context. I think the composer should create that context.... not you, or me.
shred is gaudy music
Last edited by GuitarMunky at Dec 17, 2008,
#16
Quote by GuitarMunky
^

It could be alot of things, but at this point its just a chord with no context. I think the composer should create that context.... not you, or me.

You are getting pretty good at restating points I've made earlier in the thread.
#17
Quote by R.Christie
You are getting pretty good at restating points I've made earlier in the thread.


yep, that post was right on. Funny thing is, you said that it would be pointless to spell the chord without context, (which is true)..... but then you went on to do the very thing you deemed pointless. LOL
shred is gaudy music
#18
Quote by GuitarMunky
yep, that post was right on. Funny thing is, you said that it would be pointless to spell the chord without context, (which is true)..... but then you went on to do the very thing you deemed pointless. LOL

Sorry, but again I believe you misinterpret , I didn't go on to spell out chords, as OP hasn't decided how the chord will be used I went on to suggest contexts into which he might place the chord, and the function of the chord in each context.
#20
Quote by VIRUSDETECTED
Oh, right, misread it. My bad.

Anyway, that's the only chord so far in the progression. I wanted to identify it so I could figure out where to go from there.


That is a rather unorthodox method you have there.

"Gee, that chord sounds cool. I think I'll write a song around it."



But - that is an Emaj7(no3rd)

Without the D# it would just be a regular E5 power chord

And if you do the full bar, adding the F#, it would be an Emaj9(no3rd)
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Last edited by Guitartist at Dec 18, 2008,