Once again, what chord is this?

Discussion in 'General Instruction [BG]' started by ThePaste, Aug 5, 2001.

  1. . -w#-

    . -----


    . w



    Oh well I tried :oops:), that is supposed to be the bass clef (the top two lines are "ledger lines, I think that's what they are called), and the w's represent whole notes, it's a chord I tried to make up using the "darkest" most evil sounding intervals, but does anyone know the name of it? The notes in it are Eb, E, A#, and D#, thanks in advance!
  2. Maybe it would be easier to read in tab?
  3. -8--

  4. pkr2


    Apr 28, 2000
    coastal N.C.
    R diminished? :)

  5. Bruce Lindfield

    Bruce Lindfield Unprofessional TalkBass Contributor Gold Supporting Member

    Well Eb is the same as D# for all practical purposes in this example and I would say that the Eb and Bb (or A#) could be the root and 5th of EbMajor7, with the E being the 7th - all you have done is leave out the 3rd, which usually gives the best clue as to major or minor tonality.

    Add the 3rd - G, and you have a chord that is quite common. Either Eb (or D#) Major 7 .
  6. I didn't add the 3rd because I thought it gave it a "nicer" kinda sound, I didn't know it was a big player in chords! :eek:
  7. Phil Smith

    Phil Smith Mr Sumisu 2 U

    May 30, 2000
    Peoples Republic of Brooklyn
    Creator of: iGigBook for Android/iOS
    Looks like you're playing around with the sound of the tritone and consequently you've traveled into the diminished land.
  8. Angus

    Angus Supporting Member

    Apr 16, 2000
    Palo Alto, CA
    Remember, no mixing sharps and flats, so you'll never see a chord with both an Eb and a D#.
  9. Richard Lindsey

    Richard Lindsey

    Mar 25, 2000
    Metro NYC
    Ah, Bruce, I know you know this, but for an Eb chord, an E would actually be a flat 9 (understood as enharmonically equivalent to Fb), *not* a 7th.
  10. Bruce Lindfield

    Bruce Lindfield Unprofessional TalkBass Contributor Gold Supporting Member

    Whoops, you're right - so now we have Eb7(b9)?

    I was also thinking it could be a slash chord : Eb/E ?
  11. jazzbo


    Aug 25, 2000
    San Francisco, CA
    Try and not think of the "tabs" or telling us where the notes are on the fretboard. Part of the key to understanding theory's role is understanding theory away from your instrument. You can just tell us the notes, and we can derive the chord from there. The snipet I quoted above, from your post, is all that's necessary. This might go a little way toward helping you understand what chord you created. Example: Can you create this same chord at a different place on your fretboard? Try it and listen for possible differences.
  12. Yea, but how would you know what was the highest pitched and lowest pitched? And I wasn't sure if there was a standard for going lowest - highest or highest - lowest, or mixing it up or someting, I just wanted you know exactly in case there was something that might have been able to change the chord.

    PS Who else agrees this is a "dark" sounding chord?
  13. JimK


    Dec 12, 1999
    I was recently showing a C7#9 chord to someone last week(a drummer, no less) ;)
    ...kinda/sorta the first chord you hear in AWB's "Pick Up The Pieces".
    Here it is-
    1)C: D-string(10th fret)
    3)E: G-string(9th fret)
    b7)Bb: B-string(11th fret)
    #9)D#: E-string(11th fret)

    Here's Pasty's notes-
    Eb-E-A#-D# or D#-E-Bb-D#
    Almost the same?
    ...maybe a C7#9 with no root? ;)

    Actually, your voicing(the 'highest/lowest pitched' mumbo-jumbo)is making the 'chord' sound dark.
    You have an E & Eb in the LOWER register + the Bb(A#)is the b5...usually a dark sounding interval(E-Bb)to the uninitiated. ;)
  14. Bruce Lindfield

    Bruce Lindfield Unprofessional TalkBass Contributor Gold Supporting Member

    That's thinking like a piano player! They often play rootless chords in Jazz - I'm still bound to the roots!
    Also a few years of playing Jazz, I'm also compelled to think of Eb all the time rather than D# - which is what all the horn players do as soon as they look at a tune. I'm now also used to flat keys.

    I think this "ambiguity" in chords is what makes Jazz interesting - so my regular Jazz tutor, who is an alto sax player, seems to have endless scales to play over any chord and it is fascinating to hear how the character of the chord is changed by the choices made. Some scales are only different by one note, but can "sound" entirely different in context. Every time he demonstrates this with us (all the potential scales over any one chord) , I realise how much of a beginner I am and how much I still have to learn!