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0

This is an F major chord - the major 2nd and 6th do not change it's major quality. The voicing is jazzy but it's not too strange - it's hard to tell how off this will sound unless you listen in the context of the whole piece.


3

The Ma symbol is typically used to denote a major chord as in FMa7, but this chord is not an F major chord. The chord depicted seems to be quintal in nature (built in 5ths) as from the bottom up we have the notes F - C - G - D and then the G and C repeat. This chord is almost an F6/9, but the A is missing so a more appropriate name would be Fadd13sus2. ...


3

Extended chord are just chords that have extra notes added to them to color the harmony. The 3 main ways they are typically used are: Highlighting notes in the Melody The harmony and melody should always be working together. The melody will typically play chord tones and what are known as non-harmonic tones. If certain non-harmonic tones stick out and ...


0

The issue is entirely the diminished chord (or half diminished seventh chord). Unlike the rest of the chords, the root leaps a tritone instead of a perfect fifth. This makes it the weak link in the chain. In a minor key, it is the 2 chord, which comes fairly late in the progression, after the direction that the progression is going has been well ...


8

This is an Ab major 7 flat 5 (Abmaj7(b5)) chord (if you hear Ab as its root). Many people would call it an Abmaj7(#11), because the b5 and the #11 are enharmonically the same note, and if you have a #11 you almost never have the perfect fifth in the chord anyway. I often use this voicing (from low to high): Ab G C D In the key of Bb major, this chord can ...


1

The notes in your question form a G minor seventh (Gm7) arpeggio. Your voicing doesn't have the root note G as a bass note, but the fifth (D). The 'formula' for a minor seventh chord is root - minor third - perfect fifth - minor seventh (all counted from the root), which for a Gm7 chord gives G Bb D F (you used the enharmonically equivalent A# ...


4

There are a lot of different ways you can look at naming chord in general. I see two very likely candidates for the name, but first let's clean up some note naming so it's a little easier to see. Let's not call the Db a Db, but it's enharmonic equivalent C# as it will make the naming much simpler. We could look at it as some kind of B chord. In this case we ...


1

It's a G6 chord: 3 x 2 4 3 x (from low E to high e, counted from the capo); due to the capo it sounds like an Ab6 chord. If you like you could just replace it by a standard G chord.


0

Generally the term extended chords refers to chords that have notes added beyond the 7th (such as 9th, 11th and 13th chords). Your question is very general so it's hard to give a concise answer. Often, an extended chord would have a similar function to a triad or a 7th chord built on the same root, and an extended chord would be used to get a richer or ...


0

Adding to Dom's comprehensive answer, there's also Amaj., Dmaj, and Emaj., all found as dominants to the minor keys of D, G and A respectively, mentioned above. There are also chords which fit songs from the parallel keys. D minor's being D major. Thus D, Em, F#m, G, A, Bm and Co. So, for each list, change the parent key maj. to min., and vice versa. This ...


5

The key you are in defines the harmony, what chords you naturally have access to, and what the tonic is. From a single chord alone you cannot determine for sure either the key or the tonic, especially for a minor chord which doesn't have as strong a pull towards other chords as, say, a dominant chord. There are a few possibilities depending which key you ...


0

Hypothesis: Natural: Major triad: C E G, 3 notes with vertical relationship (has nothing to do with static harmonic overtones). Manipulated: Minor triad: The major third (is omitted) and replaced by a minor third, in fact a b10 (!), who can resolve over the 9th or b9th to the root (Eb -> D(b) - > C) This b10 is an appoggiatura and has a horizontal ...



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