Double Bass The Major 7 #9 chord

[Don Kasper]

How would you notate the following chord
Major seventh flatted third augmented fifth
R b3 #5 7 ?

"A mess"!
(Amin,maj7, +5) Not very "pleasant" (or useful) to my ear. More "tense" than a long-tailed cat in a room full of rocking chairs.
A possible explanation for its inherent "tension/dissonance" is that (Amin,maj7,+5) is essentially an Fmin triad with an A Natural in the bass. Ouch.
Thanks.

 

[Fredrik E. Nilsen]

How would you notate the following chord
Major seventh flatted third augmented fifth
R b3 #5 7 ?

Cmi+(ma7). This is probably extremely rare in a sequence like discussed earlier.

 

[DoubleMIDI]

I would first check which scale would fit at that position in the song and based on that decide if it is really a +5 or a b6 and then which chord would fit best. Not every possible combination of chord alterations makes sense in a musical way.

 

[Fredrik E. Nilsen]

I would first check which scale would fit at that position in the song and based on that decide if it is really a +5 or a b6 and then which chord would fit best. Not every possible combination of chord alterations makes sense in a musical way.

Agreed. On the same time: it has to do with context and main goal of the notation. I write mostly for horns and rhythm sections (big bands etc.). If I use a mi, mi+, mi6 progression, the goal is to tell the chordplayers in an easy way that there is one tone moving chromatically up, not totally different chords. (Typical example: bars 5 and 6 of "For once in my life").