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#81
Could the 2nd chord be F#11b13 ??
Note: Sorry if my grammar and/or vocabulary isn't very good, English is my 2nd language!

Quote by Resiliance
you show me yours and I'll show you mine!


If you're wondering where I've been gone, click here!
#83
Quote by hurlyz
Can someone explain me why the Bb trumpet's G sounds like an F??

I guessed it would be an A because Bb's sixth is G and C's sixth is A... and a piano is tuned in C!


Hurlz, a colleague of mine plays the trumpet, this is the only reason i know, but it would seem that Brass instruments (or just trumpet?) are most commonly of the Bb variety.
This means that if you play a C then the actual note in concert pitch is a whole tone lower. Hence "Bb trumpet" which is relative to concert C.

I think the sheet music is usually written to compensate for this.

Trumpet.... now thats heavy metal
#84
I never got why they do that, until just now (and only shakily). Am I right in thinking of it as a guitarist playing in an alternative tuning (D, here), so that if you play a C note/chord shape as it would be in E standard, it comes out as the new tone (Bb) instead?
#92
Sorry, but I'm only really just learning advanced stuff but must you use the lowest note as the chord. E.g with the last set of chords could it actually be A#dim+11 and A#dim+b11
#93
you dont always have to use the lowest tone, but in a situation like that i dont see any reason not to.
Inversions will mainly be implied within a melodic progression, whereas in the situation where we are just naming chords for the fun of it, there is nothing to imply that the chord is, in this case, diminished.
It is more often than not at the discretion of the poster.

Anyways, on with the game-


----------4---6--
--4---6---6---6--
--6---6---4---6--
--4---6---6---8--
--6---8---4---6--
--4---6----------
#95
Quote by branny1982
you dont always have to use the lowest tone, but in a situation like that i dont see any reason not to.
Inversions will mainly be implied within a melodic progression, whereas in the situation where we are just naming chords for the fun of it, there is nothing to imply that the chord is, in this case, diminished.
It is more often than not at the discretion of the poster.

Anyways, on with the game-


----------4---6--
--4---6---6---6--
--6---6---4---6--
--4---6---6---8--
--6---8---4---6--
--4---6----------


Ab7sus4 (Absus)
Bbm7 (Bb-7)
Db7
Bbm add11/Eb

Wouldn't Bbsus4 be comprised of Bb, Eb and Db? The last chord has Eb, Bb, Db and F, unless I'm totally incorrect.
Last edited by Tsunoyukami at Dec 3, 2007,
#97
Urm. Eb7sus2?

Quote by Tsunoyukami
Ab7sus4 (Absus)
Wouldn't Bbsus4 be comprised of Bb, Eb and Db? The last chord has Eb, Bb, Db and F, unless I'm totally incorrect.

I don't think i was thinking when I wrote it. I should have said Bbmin add11.

Bbsus4 would be:
1 4 5 = Bb Eb F. The Db would be the minor third.
#98
yeah, i guess thats right.
i was looking for Eb9, but the lack of third obviously makes it more ambiguous than i appreciated.
sorry about that.

I was trying to show how common barre shapes create different chords with the root on the 6th and 5th string respectively... ideally, i should have made it diatonic, but it didnt seem feasible.

Bigmans up
#100
Quote by bigmanwithanaxe
I'm buried in coursework at the moment so i haven't really the time. Sorry guys.
It's anyone's go.


Yeh i here you A levels suck...


E   7 7 5
B 1 7 5 5
G 2 7 5 5
D 1 5 5 
A 2
E


And the last chord is a nice rootless one
Quote by cakemonster91

*chuckle* A peanut. With a face.



Go to your staff paper and re-write this song a half step down so on the paper it'll be like you have a "C" just move it down to a "B#"




Know your theory, then play like you don't.

#101
Could be completely wrong (and I mean completely), I'm still practicing this
A2b5
Bmin6

If you hadn't said it was rootless, that last chord looks like it could have been A minor, hmm...
Fmaj7?
#103
^That would be my first guess also. In the interest of putting something else though, ill say:

Adimadd9 - Gmaj7 - Emaddb13 - F#m7b5
#104
Quote by Johnljones7443
B7b9 - GΔ - CΔ - FΔ


First 3 are right, the last ones wrong, i was looking for F#m7b5 like Tom said, got them from autumn leaves...

So John or Tom go.
Quote by cakemonster91

*chuckle* A peanut. With a face.



Go to your staff paper and re-write this song a half step down so on the paper it'll be like you have a "C" just move it down to a "B#"




Know your theory, then play like you don't.

#106
Quote by tom183
Ok, I'll go. 3 names:


-5- A
-5- E
-5- C
-6- G#
-7- E
-x-


E11b13?
Am/maj7
C6aug?
Quote by cakemonster91

*chuckle* A peanut. With a face.



Go to your staff paper and re-write this song a half step down so on the paper it'll be like you have a "C" just move it down to a "B#"




Know your theory, then play like you don't.

#109
Quote by bigal_85
Eaug11 as in e augmented with an 11, not e with an augmented 11th


Yeh... He put it in as a #5, or b6 not as a #4 chord. I mean i dont think its the right name im just saying he knows what hes talking about... (for the most part )
Quote by cakemonster91

*chuckle* A peanut. With a face.



Go to your staff paper and re-write this song a half step down so on the paper it'll be like you have a "C" just move it down to a "B#"




Know your theory, then play like you don't.

#110
Am/maj7 and E+add11 are correct. There's still one name yet to be said though. Its rootless.
#114
C#m/maj7addb13
        ,
        |\
[U]        | |                     [/U]
[U]        |/     .-.              [/U]
[U]       /|_     `-’       |      [/U]
[U]      //| \      |       |      [/U]
[U]     | \|_ |     |     .-|      [/U]
      *-|-*    (_)     `-’
        |
        L.
#115
F#m9b5 is the last name i was looking for. Branny 1982, peanut 1614 or haley57 can go.
#116
Ok, I have made one before, so here goes lol.

-x- -1- -x-
-0- -0- -3-
-0- -2- -4-
-2- -4- -2-
-4- -4- -2-
-x- -x- -0-
#117

-x-       -1- F    -x- 
-0- B     -0- B    -3- F
-0- G     -2- A    -4- B
-2- E     -4- F#   -2- E
-4- C#    -4- C#   -2- B
-x-       -x-      -0- E


The first one: C#mb5b7 thats C# Half-diminished

The second one: Thanks branny lol, C#/F#madd11

The third one: E/Bmadd11 or Fb5add7 <--thats an altered powerchord
        ,
        |\
[U]        | |                     [/U]
[U]        |/     .-.              [/U]
[U]       /|_     `-’       |      [/U]
[U]      //| \      |       |      [/U]
[U]     | \|_ |     |     .-|      [/U]
      *-|-*    (_)     `-’
        |
        L.
Last edited by demonofthenight at Dec 8, 2007,
#118
demon, you have some notes incorrect

C# E G B - C#m7b5

C# F# A B F 
r  4 b6 b7 3  C#13sus 

E B E B D
r 5 r 5 b7   Em7 assuming the G from previous chords


edit- looking back, i had the 2nd chord way wrong! i will call it a C#11b13
Last edited by branny1982 at Dec 8, 2007,
#119
yeah, I wanted to change that F# to something enharmonic. For some reason Eb came to mind
        ,
        |\
[U]        | |                     [/U]
[U]        |/     .-.              [/U]
[U]       /|_     `-’       |      [/U]
[U]      //| \      |       |      [/U]
[U]     | \|_ |     |     .-|      [/U]
      *-|-*    (_)     `-’
        |
        L.
#120
-x- -1- -x-
-0- -0- -3-
-0- -2- -4-
-2- -4- -2-
-4- -4- -2-
-x- -x- -0-


C#m7b5, F#m/maj7add11 and a rootless Asus4add9