#1
So I was fooling around on the D Minor, and choosing chords based from notes within that scale I came up with a progression that goes like:

Dm - A# - A, playing 4 meters on Dm, then 2 on A# and 2 on A, then back again on Dm.

I'm looking for some more chords to spice it up. I know a chord with the above fingering

5
5
5
7
8
5

Any help naming would be great, and any idea fitting it in the chord progression in a nice and smooth way would be much welcomed.

It's a slow rhythm, focusing on the bass note mostly, kinda with a sad an bluesy feeling in it.

So Share some knowledge UG It's gonna be a complete song soon, so I'm gonna upload it later if anyone is intrested.

Cheers!
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#2
The chord you drew is an FM7/A

I kinda like the sound of it at the end of your chord progression. (I'm assuming you're playing all barre chords) So it would be, Dm, A#, A, FM7/A.

Hope this helps

Edit: I initially had 7 on the A and 8 on the D when I figured out the chord name, but now it should be right
Last edited by Souls United at Oct 21, 2008,
#4
Quote by Souls United
The chord you drew is an A minor with a flat 9th.

I kinda like the sound of it at the end of your chord progression. (I'm assuming you're playing all barre chords) So it would be, Dm, A#, A, Amaddb9.

Hope this helps


Yeah, I'm working on it

Cheers
My gear:
-Gibson Les Paul Studio
-Fender DG-11E Black (Acoustic)
-Marshall AVT50
-Cry Baby "Wylde Wah"
-Roland RE-20 Space Echo
#5
I say that chord is a fmaj7 that he drew, and from there maybe an a minor, or Dbdiminished in passing
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#6
I spy an Fmaj7 (check the C-shape), try:

Dm-Dm | Dm-Dm
Fmaj7-Fmaj7 | Fmaj7-Fmaj7
A#-A# | A-A <<---maybe make those As into A7s
Dm-Dm | Dm-Dm

Cool, easy 8 bar thing
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#7
Quote by X_Op3th_X

5
5
5
7
8
5

A F A C E A

Amb6

Fmaj7/A

I'd go with the Amb6 because the A's make up 50% of the voicing and such a dominant sound in the chord it's hard to say it's not some kind of A chord.
Si
#8


5
5
5
7
8
5

/QUOTE]

Isn't that just an Am with a sharp 5th?
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#10
You wouldn't say that it has an augmented fifth because there is an E in that chord. You're not going to notate a #5 and a natural 5 in the same chord. You'd mark it as a b6.

I said Fmaj7 when I saw that chord, myself.
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#11
Fmaj7/A
100%

Dminor.... You could use Bbmaj, Cmaj, Fmaj, Gmin and Amaj or Amin
Last edited by Lum at Oct 21, 2008,
#12
it's Dm9/A

this is the most correct answer.
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#13
Quote by 20Tigers
A F A C E A

Amb6

Fmaj7/A

I'd go with the Amb6 because the A's make up 50% of the voicing and such a dominant sound in the chord it's hard to say it's not some kind of A chord.

Just a question, if you wrote Am6 instead of Amb6 would that mean that the 6th is a major 6th? I ask because previously I just assumed that the "flat" would be implied, since it is a minor chord.
#14
Quote by food1010
Just a question, if you wrote Am6 instead of Amb6 would that mean that the 6th is a major 6th? I ask because previously I just assumed that the "flat" would be implied, since it is a minor chord.

Good Question.

Yes Am6 implies a major six. = 1 b3 5 6

"I just assumed that the "flat" would be implied, since it is a minor chord"
This is a common misconception grounded in perfectly logical reasoning.

A natural minor scale is = 1 2 b3 4 5 b6 b7 So you would think if you were adding a six to a minor chord it would naturally be a b6.

However it is not the case. When ever there is an add chord or extension it is read as major unless otherwise noted in the chord name. The only exception is the 7 chords.

As for whether it is an Fmaj7/A or Amb6 or any other of the multitude of possible names - it depends on context. If the A bass is only temporary and comes just before changing to a Bb or if you fret the B string for half the time you're playing the chord then I'd go with Fmaj7/A. If the A is the functional note and the b6 is merely decoration or used to lead into the next chord then it's better described as an Amb6.
Si
#15
Quote by 20Tigers
Good Question.

Yes Am6 implies a major six. = 1 b3 5 6

"I just assumed that the "flat" would be implied, since it is a minor chord"
This is a common misconception grounded in perfectly logical reasoning.

A natural minor scale is = 1 2 b3 4 5 b6 b7 So you would think if you were adding a six to a minor chord it would naturally be a b6.

However it is not the case. When ever there is an add chord or extension it is read as major unless otherwise noted in the chord name. The only exception is the 7 chords.

As for whether it is an Fmaj7/A or Amb6 or any other of the multitude of possible names - it depends on context. If the A bass is only temporary and comes just before changing to a Bb or if you fret the B string for half the time you're playing the chord then I'd go with Fmaj7/A. If the A is the functional note and the b6 is merely decoration or used to lead into the next chord then it's better described as an Amb6.

Thanks! I'm glad I stumbled across this now instead of encountering it in a song and wondering why the chord sounds weird.
#16
Quote by 20Tigers
I'd go with the Amb6 because the A's make up 50% of the voicing and such a dominant sound in the chord it's hard to say it's not some kind of A chord.
If the chord is an island then I'm in complete agreement with you, but given the fact that the 5 chord is generally major and not minor, I'd have to go with Fmaj7/A to avoid confusing myself and likely whoever is reading the music. A to F in the key of Dm makes more sense to me than A to Am. The way you name the chord has no relevance to what you would play or sing over it, but I'd go with the Fmaj7/A to avoid confusion.

It should also be noted that the chord should be called Bb rather than A#. A# is rarely used; when that tone is written, it is usually in a context where it should be written as Bb. However, A#, not Bb, would be appropriate in B major.

Read my posts in this thread, too.