#1
If I strum all open strings on standard tuning (eadgbe), what chord am I sounding?

You have e-g-b, but then you also have a d and an a. The d would make it Emaj7, and the a would make it Eminor7add11

Is that right?
#2
Yes, that is correct. It could also be called a G6add9/E along with many other names. What you call it (if its in a progression) is based on context, though.
#4
No it is a E7#9sus4. ha ha
I know now what I knew then, but I didn't know then what I know now
#5
Quote by Well.......
Yes, that is correct. It could also be called a G6add9/E along with many other names. What you call it (if its in a progression) is based on context, though.


Interesting. Thanks!
#6
Quote by Zigler9
No it is a E7#9sus4. ha ha


umm... where'd you get the #9 from?... and its not dominant, its minor. but regardless, theres tons of ways to name it (this is not one of them though) depending on context.
#7
Quote by glooper23

Is that right?


NO

It would be Em11: 1 b3 5 b7 11
You only use add when there's no 7th.

Think the easiest way to call it would be Cmaj13 (rootless). But like mentioned earlier, it's all about context.
Last edited by deHufter at Sep 26, 2009,
#8
Quote by deHufter
NO

It would be Em11: 1 b3 5 b7 11
You only use add when there's no 7th.

Think the easiest way to call it would be Cmaj13 (rootless). But like mentioned earlier, it's all about context.



I think he's saying add11 because it suggests there's no 9th.
#9
Quote by Well.......
I think he's saying add11 because it suggests there's no 9th.


There isnt a 9, but still it's not an add. Add implies there's no 7th, not a 9th.
9th's and 5th's are often omitted from 11-chords.
#11
Quote by deHufter
There isnt a 9, but still it's not an add. Add implies there's no 7th, not a 9th.
9th's and 5th's are often omitted from 11-chords.

thI agree with you but he said it had a 7th, so his name is perfectly fine.
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#12
Quote by deHufter
There isnt a 9, but still it's not an add. Add implies there's no 7th, not a 9th.
9th's and 5th's are often omitted from 11-chords.



Okay, I didn't think of it that way.
#13
Quote by 7even
thI agree with you but he said it had a 7th, so his name is perfectly fine.


The name is not fine since it doesnt exist. The 9 is an extension in this case, not an added note and because it's an extension you should name it like that. You can make ridiculous examples like: C7add9add11add13. Hell, why not say: Cadd5addb7add9add11add13.
#14
Quote by deHufter
NO

It would be Em11: 1 b3 5 b7 11
You only use add when there's no 7th.

Think the easiest way to call it would be Cmaj13 (rootless). But like mentioned earlier, it's all about context.


+ 1
shred is gaudy music
#15
Quote by glooper23
If I strum all open strings on standard tuning (eadgbe), what chord am I sounding?

You have e-g-b, but then you also have a d and an a. The d would make it Emaj7, and the a would make it Eminor7add11

Is that right?
Your final answer is more or less correct, but where on earth did you get Emaj7?
#16
Quote by grnday1236
umm... where'd you get the #9 from?... and its not dominant, its minor. but regardless, theres tons of ways to name it (this is not one of them though) depending on context.


It's sort of a joke, though you could really call it that if you wanted I guess. E7#9sus4 would be R457#9 aka E,A,B,D,F##(G)
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#17
Quote by grampastumpy
Your final answer is more or less correct, but where on earth did you get Emaj7?


Sorry, typo.
#18
Quote by deHufter
NO

It would be Em11: 1 b3 5 b7 11
You only use add when there's no 7th.

Think the easiest way to call it would be Cmaj13 (rootless). But like mentioned earlier, it's all about context.


I prefer Em11 to Cmaj13 (rootless). The notes themselves don't imply much of a key, as E G A B D are all in the keys of C, G, and D (+relative minors). In D and B minor the C would be sharpened, and thus a Cmaj13 would no longer be diatonic.

Also, why would you choose to call it a rootless 13th? Since 13th chords are supposed to have all chord tones, a Cmaj13, Em11(b9, b13), G13, Bm11(b5, b9, b13), Dm13, Fmaj13(#11), and Am11(b13) are all enharmonic, with different roots. To me it would make sense to choose a note that is actually sounded as the root then.
#19
Quote by isaac_bandits
I prefer Em11 to Cmaj13 (rootless).


Me too, i wrote that before i found that Em7add11 doesnt make any sense and it could be called Em11. Em11 is preferable (in root position) above Cmaj13, i agree.
#20
There aren't any actual complete chord diagrams stored anywhere in this program (except on this help page). Every chord and variation is generated via an algorithm. Some variations work great for some types of chords but might not even give a result for others, so you might have to check all the chord variations to get a chord that you feel comfortable fingering. If a chord gets computed and has all the needed notes included in it but,it is not using all of the strings (like diagram), it is still a valid playable chord, just don't use the x'd out strings (or increase the stretch). If a chord gets computed and doesn't have all the notes included in it, it will get the six XXXXXX zap and won't be displayed, and although there is an increased chance of this happening sometimes in alternative tunings, it is quite rare because the program automatically runs through all the different variations if it doesn't find something at the variation you have tried.
===============================================
Usability Evaluation stake puller
#22
Quote by onethreesixfive
It could technically be a B13, although very poorly voiced.


So why would you bother thinking of it that way?
shred is gaudy music
#24
Quote by onethreesixfive
Because he asked. EADGBE isn't a decent voicing no matter what chord it is.


Well, it's closer to some things than others.

No offense, but B13 is not a possibility here. Not if you want to stay even remotely consistent with common practice.

Em11? Not an ideal voicing, but it certainly works.
shred is gaudy music
Last edited by GuitarMunky at Sep 30, 2009,
#25
Quote by pooja897
There aren't any actual complete chord diagrams stored anywhere in this program (except on this help page). Every chord and variation is generated via an algorithm. Some variations work great for some types of chords but might not even give a result for others, so you might have to check all the chord variations to get a chord that you feel comfortable fingering. If a chord gets computed and has all the needed notes included in it but,it is not using all of the strings (like diagram), it is still a valid playable chord, just don't use the x'd out strings (or increase the stretch). If a chord gets computed and doesn't have all the notes included in it, it will get the six XXXXXX zap and won't be displayed, and although there is an increased chance of this happening sometimes in alternative tunings, it is quite rare because the program automatically runs through all the different variations if it doesn't find something at the variation you have tried.
===============================================
Usability Evaluation stake puller


You added random URL's to then end of your post? That's unnecessary.

Also, musicians should be able to go back and forth between chord names and fingerings without a program. I would be able to play any chord fully voiced if I really wanted to, on my guitar, without using a program...