#2
Ebm9 - Ebm7 - Fbmaj7. Not completely sure about the last chord. But it sounds like the dominant and Gb is the highest note in the chord voicing, so it could be Bb7#5. It also sounds like Gb is in the bass so it could just be a Gb augmented.
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#3
Functionally it'd be Bbaug/F#
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Quote by Jet Penguin
lots of flirting with the other key without confirming. JUST LIKE THEIR LOVE IN THE MOVIE OH DAMN.
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#4
^ Why not a III+ chord? It is diatonic to the key, and also, the bass is playing Gb. If it was Bbaug, it would be Bb D F#. F# in the key of Ebm... That's kind of strange if you ask me.

Also, if it was an F#, then the highest note of the chord voicing would also be F#, and in the next chord (Ebm9) it is F. Gb-F would make more sense than F#-F to me.

Oh, and coming from Fbmaj7... Fb-F# looks pretty awkward.


BTW, when we talk about 7#5 chords, aren't they usually really 7b13 chords, at least when they are normal V chords, not tritone subs? Oh, but that may be a CST thing and the chord name suggests a certain scale...
Quote by AlanHB
Just remember that there are no boring scales, just boring players.

Gear

Bach Stradivarius 37G
Charvel So Cal
Fender Dimension Bass
Hartke HyDrive 210c
Ibanez BL70
Laney VC30
Tokai TB48
Yamaha FG720S-12
Yamaha P115
#5
I think this is:

D#m9 D#m7 Emaj7 A#7#5 (resolves back to the D#m9)

On guitar (partial voicings) [chords shown vertically]

x x x x
6 x 4 7
6 6 4 7
4 4 6 6
6 6 (7) x
x x x (6)

On the last chord, the bass plays F# (the #5 of the A#7#5), which (would) resolve really nicely to the 9 of the D#m9. but we're left hanging.

I don't hear any tritone substitution.
#6
I like the Bb7(b13) thing, just remembered about that. I think dominant function is stronger actually, which is why I bothered with keeping the root Bb.

#5 of A# would be E## btw
Glad to cross paths with you on this adventure called life
Quote by Jet Penguin
lots of flirting with the other key without confirming. JUST LIKE THEIR LOVE IN THE MOVIE OH DAMN.
Quote by Hail
you're acting like you have perfect pitch or something
#7
Quote by NeoMvsEu
I like the Bb7(b13) thing, just remembered about that. I think dominant function is stronger actually, which is why I bothered with keeping the root Bb.

#5 of A# would be E## btw


Yes, I agree with you (you gave as augmented over #5/b6 ... just a slight difference to get the dominant chord version (which I use loads). Actually, I prefer using the name with b13 in it as you suggest, as essentially the dominants break down into two primary categories ... those with a natural 6 (13) and those with a flat 6 (b 13)), and scale families that then suit these.

(I used A# rather than Bb, to avoid having to describe Emaj7 as Fbmaj7 ... but for me, correct naming is very secondary to the sounds and the playing!! But then I got the name wrong for the #5 as you point out. Doh!)

These days, mind, doesn't really seem to matter if the extension names are used, even when the interval is in the same octave as the rest of the voicing, or not. I've really thought it helps that much using names with 9,11 and 13 in them ... they get moved around through the octaves at will ... and the scales don't mention these extensions.
Last edited by jerrykramskoy at Dec 6, 2015,
#8
b13 was discussed somewhere in this thread, and it really should be a b13 extension because F# to Gb is an illogical choice (diminished second what?!). Much more natural (terrible word choice) as a b13.
Quote by jerrykramskoy at #33716732
(I used A# rather than Bb, to avoid having to describe Emaj7 as Fbmaj7 ... but for me, correct naming is very secondary to the sounds and the playing!! But then I got the name wrong for the #5 as you point out. Doh!)
It happens to everyone ^^;
These days, mind, doesn't really seem to matter if the extension names are used, even when the interval is in the same octave as the rest of the voicing, or not. I've really thought it helps that much using names with 9,11 and 13 in them ... they get moved around through the octaves at will ... and the scales don't mention these extensions.

When I improvised on the piano I'd usually just stick to the key, a few chromatic descents/ascents here and there if it worked. Whatever that meant for the actual chord... well, it'd probably effectively look like CST, from what little I understand from the repeated explanations of it :') Scales only use numbers 1-8, but chord extensions are relegated to higher numbers, regardless of if they're actually played over an octave above...

There's still something to be said about chord notes and their functions, though, so that's what we're (still) trying to negotiate a bit. (If I understand where you're coming from. I'll probably wake up in a few hours and have a completely different understanding of what you wrote haha...)
Glad to cross paths with you on this adventure called life
Quote by Jet Penguin
lots of flirting with the other key without confirming. JUST LIKE THEIR LOVE IN THE MOVIE OH DAMN.
Quote by Hail
you're acting like you have perfect pitch or something
#9
Resolution/tension are interesting topics ... one in the context of the immediate flow of music, and two in the context of the key (tonality). I came to the conclusion quite some time ago not to attempt to explain everything based on one theory or another (jargon-wise) ... no matter how folk refer to stuff (or reject it), we still have the same musical devices at our finger tips, and kwow how to make the sounds we want.

Only reason I'm not 100% on the extensions naming is just the confusion factor it can cause for people getting into these beautiful sounds.

Where you based? (I'm London, UK)
#10
^ Fair enough, although if they're asking for an explanation they're the ones opening the can of worms ;D

In Shanghai right now, teaching.
Glad to cross paths with you on this adventure called life
Quote by Jet Penguin
lots of flirting with the other key without confirming. JUST LIKE THEIR LOVE IN THE MOVIE OH DAMN.
Quote by Hail
you're acting like you have perfect pitch or something