What is this chord? (A, E, G, D, F#)
Larry P. Schrof
that with the A added, it's simply an Emin9 / A. Actually, that's not
cheating; you can really name it with that. Otherwise, you could look at
it as an A13 with no 3rd. This chord has many different tonal
possibilities when used in improvisation. Hope this helps.
Dave Dudas (du...@vcd.hp.com) wrote:
: |-----|--2--|-----|
: |-----|-----|--3--|
: |-----|--0--|-----|
: |-----|--2--|-----|
: |-----|--0--|-----|
: |-----|--x--|-----|
:
: What is this chord? What would it be without the A? Thanks.
: Dave
--
Dave Dudas
Bill Donnelly
Mike Bagneski
Schrof) wrote:
>Without the low A, it's an E minor 9, or Emin9. I could cheat and say
>that with the A added, it's simply an Emin9 / A. Actually, that's not
>cheating; you can really name it with that. Otherwise, you could look at
>it as an A13 with no 3rd. This chord has many different tonal
>possibilities when used in improvisation. Hope this helps.
Yes, the Emin9/A is good way to look at it.
Another possible approach is to consider it an A13sus4.
Either way, it's a nice chord.
Mb / ***
/ C3==#
andy troyanos
Dave
With the A in the bass, I guess you would call this chord a Asus7, 13.
A being the root, E the 5th, G the 7th, D the sus 4 and F# the 13 th.
Without the A, an E minor 9th, (assuming E to be the root) G the 3rd, D
the 7th and F# the 9th.
Andy T.
Jeremy Kahn
> |-----|--2--|-----|
> |-----|-----|--3--|
> |-----|--0--|-----|
> |-----|--2--|-----|
> |-----|--0--|-----|
> |-----|--x--|-----|
>
> What is this chord? What would it be without the A? Thanks.
>
> Dave
AEGDF#
I would probably call that A13sus4 (with the 9 omitted).
EGDF# is probably Emin9 (with the 5 omitted).
Jeremy
Duffy Pratt
> |-----|--2--|-----|
> |-----|-----|--3--|
> |-----|--0--|-----|
> |-----|--2--|-----|
> |-----|--0--|-----|
> |-----|--x--|-----|
>
> What is this chord? What would it be without the A? Thanks.
Its an A11,13 without the third.
Without the A its an Emin9. Those are the short answers. What the chord
is, however, depends on how it fits in a sequence and whether there is an
implied bass or other notes elsewhere.
Mike Bagneski
<william.j...@jsc.nasa.gov> wrote:
>I call it (and have seen it called) a "D/E"
That would work, if it wasn't for the G. A D/E would sound the A on
the third string.
Kevin Van Sant
wrote:
In a major II-V-I situation I often use a minor 9th voicing with the
root (of the II chord) on the A string and my thumb over the top on
the low E string pedalling the 5th (of the tonic). So in that case
you could call this an E minor 9.
Or more practically, if we have as in this case, a II-V to D maj,
I can use this voicing for the II chord (Em9) with my thumb pedalling
the A, and then play an A13 for the V chord before resolving to Dmaj7.
What I like about these voicings is that you get the constant pedal on
the 5th (A) as well as a constant maj 3rd on top (F#) through out the
cycle.
Now... that being said, I generally don't think about it. But it
sounds nice so I play it.
-K
Glenn Mandelkern
That last paragraph is indeed true. I remember once reading in Keyboard
magazine that if you were to show the chord consisting of the notes
B- DE A (from bottom to top) to Mozart, he would deny it being related to C.
But in 1983 that could very well be a voicing of the C13 chord without a
root or 5th. This article then went on to talk about tritone substitution
and how that voicing could be used with an F# in the bass.
--
---------------------------------------------------------------------------
Glenn Mandelkern "Hee, hee, hee, hee!" -- Questor the Elf
gma...@netcom.com "When passion runs deep,
San Jose, CA you're playing for keeps" -- Keith Emerson
Games, GUI's and Entertainment What does Motif sound like in the key of C++?
Jack Robertson
On 15 Jan 1996 22:34:34 GMT,
>Without the low A, it's an E minor 9, or Emin9. I could cheat and say
>that with the A added, it's simply an Emin9 / A. Actually, that's not
>cheating; you can really name it with that. Otherwise, you could look at
>it as an A13 with no 3rd. This chord has many different tonal
>possibilities when used in improvisation. Hope this helps.
>
>Dave Dudas (du...@vcd.hp.com) wrote:
>: |-----|--2--|-----|
>: |-----|-----|--3--|
>: |-----|--0--|-----|
>: |-----|--2--|-----|
>: |-----|--0--|-----|
>: |-----|--x--|-----|
>:
>: What is this chord? What would it be without the A? Thanks.
>
>: Dave>
Here's another way play to play that chord.
|----|-1--|----|----|----|
|----|----|-2--|----|----|
|----|----|----|-3--|----|
|----|----|----|----|-4--|
o |----|----|----|----|----|
|----|----|----|----|----|
The #s refer to which finger to use on that fret. Try resoving the 1st
string to open, the 2nd string to 2nd fret and the 3rd string to the 3rd
fret. Leads quite nicely to a Dmaj7. Experiment with the order in which
you resolve.
I'm not sure calling this an A13 explains it well enough. The D is a sus4
or an 11th. Could some theory guy help us on "name that chord"?
Jack
Jack E. Robertson
robe...@bright.net
MHerzig
(Mike Bagneski) wrote:
> On 16 Jan 1996 18:12:08 GMT, Bill Donnelly
> <william.j...@jsc.nasa.gov> wrote:
>
> >I call it (and have seen it called) a "D/E"
>
> That would work, if it wasn't for the G. A D/E would sound the A on
> the third string.
>
> Mb / ***
> / C3==#
You could call it a D
-
A7
which means a D triad over a A7. But then neither D not A7 is completly
present, I vote for Asus13, too.
Peter
--
Check out our Band Homepage: http://copper.ucs.indiana.edu/~mherzig/beeblebrox.html
Scott Senft
is its function? What chords came before it? What chords will come after
it? I find and use fingerings all the time that I like, but I would be
hard-pressed to "name." But as a musician, bottom-line, I don't care what
its name is.
Don't get me wrong. I love to "name" chords. But sometimes, to me, it's
just a chord, a stepping stone to another chord.
Scott Senft
Los Angeles
Bill Donnelly
>On 16 Jan 1996 18:12:08 GMT, Bill Donnelly
><william.j...@jsc.nasa.gov> wrote:
>
>>I call it (and have seen it called) a "D/E"
>
>That would work, if it wasn't for the G. A D/E would sound the A on
>the third string.
>
>Mb / ***
> / C3==#
Yep, you're right. My mistake. I overlooked that open G string. I must
have thought on the third string that '0' was a '2' at first glance.
Since the 'A' is still in the chord (fifth string), couldn't we call
this a 'D11/E' ?
jeffrey a kurland
performing the function of a V-chord. it's a cadence. hence, the chord
in this harmonic context is best described as a kind of A7, to wit,
A7(9,13). the ambiguity is that it lacks the major third (C#) which
would nail it as an A chord. hence, the wider use of the chord, hence
it's harmonic ambiguity...it can be thought of as an Emin...but then one
has a classic II-V turnaround in the key of D.
OTOH: i have used a similar chord (change the D on the second string to
a Db=C#) in a tune in C major...but the progression was harmonically
"prepared" to land on this chord, despite the "outside" (minor ninth:
C#) sound. Much depends upon the sophistication and tolerance of your
ear and what other musicians are doing...
did THAT make any #$@^&* sense?
cheers: jeffrey
.........................................................................
Department of Anthropology Let's play the blues...
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Bob Patterson
how about a D (add 9/11) ?
--
Bob Patterson
gui...@bluemarble.net
Jazz Guitar Online
http://www.guitar.net/jgo
Mendook
E-Chord (Em79/A) or A-Chord (Asus13). Either way, I agree with all
other remarks, just that to my opinion, you should regard this chord
due to his current role in the music, and what is the leading bass
line.
Cheers, Menachem
Bill Donnelly
sharped 11 without making the root looked sharped?
Is it 'D11#/E' I know it's not 'D#11/E'. Is it 'Daug11/E'? Or 'D+11/E'?
Dang. Heck, maybe it's D/G/E. It sounds nice if we can figure out what
to %#$@ to call it.
Van Sant: Wouldn't an Em9 have the 'B' on the fifth string, open 4th
string, and no 'F#' on the 1st string?
I think this chord would sub for an Em9, but I don't think it is one.
I dunno. Usually I'm pretty good at this stuff.
Bill
Gary Persons
>
>|-----|--2--|-----|
>|-----|-----|--3--|
>|-----|--0--|-----|
>|-----|--2--|-----|
>|-----|--0--|-----|
>|-----|--x--|-----|
>
>What is this chord? What would it be without the A? Thanks.
>
>Dave
>
an Asus13. For the next chord, try moving the F3 to F, and the D to
C#...an equally hip voicing for A(b9)
Thomas F Brown
>|-----|--2--|-----|
>|-----|-----|--3--|
>|-----|--0--|-----|
>|-----|--2--|-----|
>|-----|--0--|-----|
>|-----|--x--|-----|
>
>What is this chord? What would it be without the A? Thanks.
The top four strings are a nice Em9 voicing that I use a lot.
With the A on the bottom it would make a good Asus13.
Thomas F Brown
>I call it (and have seen it called) a "D/E"
No, this is wrong. E is not the bass note, and although
the notes of a D triad are in there, they are voiced
incoherently if a triadic sound is what you're going for.
Kevin Van Sant
<william.j...@jsc.nasa.gov> wrote:
>Van Sant: Wouldn't an Em9 have the 'B' on the fifth string, open 4th
>string, and no 'F#' on the 1st string?
>I think this chord would sub for an Em9, but I don't think it is one.
>I dunno. Usually I'm pretty good at this stuff.
>
Bill,
I'm not sure I know exactly what you mean. But my first analysis of
this chord was based on the notes named in the header not on the
diagram with specific positions which I saw later. If you take the
notes A,E,G,D, and F# you can form an Em9/A.
Reconsider what I wrote and I think you will understand what I was
describing.
Thomas F Brown
>Here's another way play to play that chord.
>
> |----|-1--|----|----|----|
> |----|----|-2--|----|----|
> |----|----|----|-3--|----|
> |----|----|----|----|-4--|
> o |----|----|----|----|----|
> |----|----|----|----|----|
>The #s refer to which finger to use on that fret. Try resoving the 1st
>string to open, the 2nd string to 2nd fret and the 3rd string to the 3rd
>fret. Leads quite nicely to a Dmaj7. Experiment with the order in which
>you resolve.
>I'm not sure calling this an A13 explains it well enough. The D is a sus4
>or an 11th. Could some theory guy help us on "name that chord"?
>Jack
I think of it as A13sus or Em9/A. As long as you know
it's a hip way to get to DMaj7, doesn't matter what you call it.
Toggling between this chord and DMaj7 gives you a nice
vamp over Maj7 harmonies.
Jurgen Schwietering
: In article <82670.r...@brutus.bright.net> <robe...@bright.net> writes:
: >Here's another way play to play that chord.
: >
: > |----|-1--|----|----|----|
: > |----|----|-2--|----|----|
: > |----|----|----|-3--|----|
: > |----|----|----|----|-4--|
: > o |----|----|----|----|----|
: > |----|----|----|----|----|
Simply Gmaj7/A,
vamping with Dmaj7 you will run in D major (Dmaj7 = Imaj7, Gmaj7=IVmaj7)
Jurgen
JFinn26231
(sus4) or write it out vertically with a chord symbol. Sounds
Great,Mon!!
Jurgen Schwietering
: To me this lovely dominant tonality is a suspension. Call it A13
: (sus4) or write it out vertically with a chord symbol. Sounds
: Great,Mon!!
set of (A E G D F#) A=Root E=5th G=7th D=sus4(no C or C#) F#=13th
so A7sus4(add13).
Jurgen
Mike Bagneski
I may be off bass here, but it's my understanding that you don't need to include
every note in a chord, especially the extended dominants.
If such were the case, it would be impossible to play a 13th chord on the guitar,
since you would need a minimum of 7 notes (Root,3rd,5th,7th,9th,11th,13th) and last
time I checked my guitar only had six strings. :-)
--
robertf
inversion. Although without knowing the key, it may be something
totally different.
Doug Hveem
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>From: twe...@ALPcom.it (Jurgen Schwietering)
>Newsgroups: rec.music.makers.guitar.jazz
>Subject: Re: What is this chord? (A, E, G, D, F#)
>Date: 3 Feb 1996 09:36:32 GMT
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>JFinn26231 (jfinn...@aol.com) wrote:
>: To me this lovely dominant tonality is a suspension. Call it A13
>: (sus4) or write it out vertically with a chord symbol. Sounds
>: Great,Mon!!
>Not quite, looking from a root A you have no 9th (B) in the
>set of (A E G D F#) A=Root E=5th G=7th D=sus4(no C or C#) F#=13th
>so A7sus4(add13).
>Jurgen
Without the 3rd and with a 4th it is suspended. Without a 9th the F# is a
6th. This yields a chord of (1 4 5 6 b7), which would be a Dominant 7/6th sus.
It is an A7/6sus. (The same tones E G A D F# or 1 b3 4 b7 9 are a synonym,
Em9sus or Em11 with no fifth.) I guess it all depends in the context that the
chord is used.
Doug Hveem
Billy Joe Donnelly
Its a Emin7+5sus9/aug11-Gbdim7x3.14cm
Gromit
>I finally got it:
>
>Its a Emin7+5sus9/aug11-Gbdim7x3.14cm
Actually it's a hemi demi semi subdominant half diminished locrian passing
cadence tritone turnaround.
Tom O'Toole - ecf_...@jhuvms.hcf.jhu.edu - JHUVMS system programmer
**WAKE UP folks! Boycott Net$cape and Micro$oft greed driven proprietary
"enhancements"! BOYCOTT micro$oft network "msn.com", micro$soft money and other
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Thomas F Brown
>I finally got it:
>
>Its a Emin7+5sus9/aug11-Gbdim7x3.14cm
Hey Bill, you should write a couple more of those and take your
act out to the comedy clubs. No one else is doing music theory
humor these days.
TIAC CUSTOMER
>In article <4ffqlq$9...@cisu2.jsc.nasa.gov>, Billy Joe Donnelly <william.j...@jsc.nasa.gov> writes...
>>
>>Its a Emin7+5sus9/aug11-Gbdim7x3.14cm
>
>cadence tritone turnaround.
>
Howard Steinberg
Mike Bagneski
I suppose that A7sus13x3.14 is close enough for most people's ears,
but I, being so much better than anyone I know, would settle for
nothing less than A7sus13x3.14159!
:-D
Peter Levesque
TIAC CUSTOMER
six-cents sharp would your correct change be $2.63 ? Just curious.
Thanks in advance.
YUWONO BUDI
> I finally got it:
>
> Its a Emin7+5sus9/aug11-Gbdim7x3.14cm
Probably, only guitarists worry so much about naming chords.
Other musicians might simply think of them as geometrical
patterns of note spacings, and superimpositions of them.
Then again, some people are better at associating names with
sounds (harmonic qualities).
Sam Hokin
|> In article <4ffqlq$9...@cisu2.jsc.nasa.gov> Billy Joe Donnelly <william.j...@jsc.nasa.gov> writes:
|> >
|> >Its a Emin7+5sus9/aug11-Gbdim7x3.14cm
|>
|> act out to the comedy clubs. No one else is doing music theory
|> humor these days.
|>
|>
And, boy do we need some!
--
Sam Hokin Fusion Plasma Physics
sa...@fusion.kth.se KTH Alfven Laboratory
tel 46 8 790 6095 fax 46 8 24 54 31 100 44 Stockholm, Sweden
Michael Edelman
: In article <9FEB1996...@jhuvms.hcf.jhu.edu>,
: ecf_...@jhuvms.hcf.jhu.edu (Gromit) wrote:
: >In article <4ffqlq$9...@cisu2.jsc.nasa.gov>, Billy Joe Donnelly
: <william.j...@jsc.nasa.gov> writes...
: >>
: >>Its a Emin7+5sus9/aug11-Gbdim7x3.14cm
: >
: >Actually it's a hemi demi semi subdominant half diminished locrian passing
: >cadence tritone turnaround.
: Seriously, it's an A 13 sus4.
...ora a G6/9, or a D9maj7sus4....