Name that chord

Rog · Post by **Rog** » Fri Jul 02, 2004 2:28 pm

I've found this useful for naming that funny chord I'm playing but can't name correctly.

http://jguitar.com/chordname?string5=3& ... &string0=3

MaloS · Post by **MaloS** » Sat Jul 03, 2004 6:17 am

kewl...but how do u pick the correct one?

music theory alot more fun

Post by Bg » Sat Jul 03, 2004 8:16 am

I pick the right one by ear :p

MaloS · Post by **MaloS** » Sat Jul 03, 2004 11:56 am

take a 20 sided dice and roll...hope you get the right one

B45-12 · Post by **B45-12** » Sat Jul 03, 2004 5:07 pm

Well 'Fred' immediately springs to mind, but Gmin 6 flat 7 is another poss for the less adventurous.

Incidentally if you slide the chord up to the 5 th fret and move from the 2nd to the 3rd string at fret seven, you will be playing the opening chord for Venus from Shocking Blue (or was it Blue Mink??- bugger this Alzheimers!)

'She's got it! Oooh baby she's got it, I'm your Venus, I'm your fire I'm your desire' etc. in case the title does not ring a bell.

Post by Bg » Sat Jul 03, 2004 11:23 pm

thought that was Bananarama - you're just showing your age again

Rog · Post by **Rog** » Sun Jul 04, 2004 8:09 am

Bananarama was girls!
Girls can't play music!

B45-12 · Post by **B45-12** » Sun Jul 04, 2004 8:44 am

Arrrgh me age is exposed once more- gadzooks is me dirty end in sight too?? as for girls, DrRog, who cares? they're for looking at NOT listening to! Sexist I know, but Atomic Kitten, Beyonce and quite a few others are best enjoyed with the sound turned down or off.

offender · Post by **offender** » Wed Jul 07, 2004 10:28 am

C minor 7 / G would be exactly what I would call it and I see its in the list...

Rog · Post by **Rog** » Wed Jul 07, 2004 12:26 pm

I just call that one Cm7 (for funky town).

But you can put in anything you like and find the chords, is what I'm saying...

B45-12 · Post by **B45-12** » Thu Jul 08, 2004 9:53 am

Umm Rog I always thought it was in terms of the tonal centres/scales you were moving through - so you write a song in G or Dmin (or how about Fflat minor - LOL) then, unless you modulate to another key, that's where your harmony should be based under.

So assuming the melody is on top, you stick the notes underneath and get your chord (usually 3 note triad) within the same scale the song is written in for obvious reasons in some stuff (folk/blues/pop); whereas you may decide to put a 4 note chord under a melody note (Jazz, funk, some country) or even a 2 note one (Metal) or one with no third (major or minor) thrash metal/shred.

Of course this is a very simple theoretical view and there are numerous exceptions - a more pragmatic view seems to be, apart from stacked notes a semitone apart, anything goes harmony wise nowadays. In the ME stuff for example I'm not sure they don't sometime use a semitone apart harmony.

I suspect in the final analysis, what works/inspires goes in and the rest is done acording to the 'rules' when the mind cannot be arsed/is not inspired. Much like those gig evenings when you play a mechanical bass riff based on the scale or chord progression becuse you're tired/nothing excites/suggets. It's OK, it fits and the audience is happy. So you've done your job to a 'professional' (=minimaly competent) level.

Rog · Post by **Rog** » Thu Jul 08, 2004 10:04 am

So true, mate - been there, lost the T-shirt!

I must admit I prefer to stay with nomenclature I'm most comfortable with, regardless of the reality.

For instance - I am most happy with:
F#, Ab, C# rather than
Gb, G#, Db

so, that's what I call them, even though the music masters might throw their hands up in despair. Its all about what works for me!

Polar Bear · Post by **Polar Bear** » Thu Jul 08, 2004 10:06 am

DrRog wrote:So true, mate - been there, lost the T-shirt!

I must admit I prefer to stay with nomenclature I'm most comfortable with, regardless of the reality.

For instance - I am most happy with:
F#, Ab, C# rather than
Gb, G#, Db

so, that's what I call them, even though the music masters might throw their hands up in despair. Its all about what works for me!

In that case the music masters can go Fuck themselves

I call them that too and really if that's what works, that's hat works!!

Post by Bg » Thu Jul 08, 2004 10:12 am

well I used to use F#, G#, C# but thats the way I was taught, and it depends how the composer writes the key down on the stave.

offender · Post by **offender** » Thu Jul 08, 2004 5:55 pm

enharmonic notes are important in order to be in the correct key. You can even have A## or Cbb if necessary (minor keys with lots of accidentals).

The chord starting this thread would have to be Cm7/G though as it has a G in the bass (unless it can be referred to as some sort of Cm7 inversion with the 5th 1st 3rd pattern starting the chord?)