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The chord, is a Csus2+4 combination without the perfect fifth. The inversions are Dm7 (without fifth) and F5 (with major sixth). WhatI want to know is the name of this chord?

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    Why do you think there is "the" correct name, one single correct name, and all others must be incorrect? And once you know what the correct name is, this knowledge enables you to do ... what? Google the chord's name and the search gives you songs where this chord has been used? Or do you want to write the chord symbol somewhere and not be ridiculed by others for using an incorrect name? – piiperi Reinstate Monica Dec 13 '19 at 20:21
  • I'm not necessarily asking a "correct name", just what names could be used. The post will be edited (again!) to reflect this. – TechnicGoblin5R Dec 13 '19 at 20:30
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    @TechnicGoblin5R, I answered with what it could be. But, really, you aren't asking for the correct name?!? The point of this exchange is to explain music theory not side step it. Why won't you explain what comes next, or if you aren't playing any other chords? – Michael Curtis Dec 13 '19 at 20:59
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I think you are missing the point from commentators. We don't need details about C D F in isolation we need to know the other tones around that.

Below are three examples putting C D F into a harmonic context. I've highlighted with two colors to make clear that the mere group of notes C D F - which are in the red boxes - are not necessarily the proper chord. In the green boxes are the proper chords. Notice that those "proper" chords can span several rhythmic events...

enter image description here

The first treats C D F so that the C is just a neighbor note movement within a B diminished chord. Again, notice that everything in the green box can be properly considered the B diminished chord. Or, you could consider the chord G7 with the root omitted. Either way the chord is root position.

The second treats C D F as a D minor seventh chord in third inversion moving to a G dominant seventh chord. Here the red and greeen boxes overlap.

The third treats C D F as a suspension within a C chord in first inversion. In this case the green box groups C D F with the C chord.

So... that's three different ways to identify C D F depending on what you do with the other chords.

In order to name the chord in a harmonically meaningful way you must name it within the harmonic context.

If the green boxes seem confusing, if they look like they contain 3, 1, and 2 chords, keep in mind this is a more conceptual understanding of harmony and chords involving the treatment of non-chord tones.

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Insufficient information to give it a definite name. We need more notes, or some context (a chord is often best described by what it DOES, not merely what it IS.)

You say 'the root is C'. All you really know is that the lowest note is C. Not at all the same thing.

It could be the bare bones of a Dm7. But we really don't know.

What does 'bound' mean? Tied up with ropes, a fence, a jump...? See what I mean? No context, no definite meaning.

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  • I rewritten my post. But i don't know what this cord does, and i cant attach sound files to demonstrate it. – TechnicGoblin5R Dec 13 '19 at 19:19
  • That's fine. But you must therefore accept that there is insufficient information to give it a definite name. (And you still can't know that the lowest note is the root. Chord inversions exist!) – Laurence Payne Dec 13 '19 at 19:31
  • I think everything is better described by what it does. Using "is" sentences either rely on people having the same assumptions and understanding, or try to impose the assumptions upon others. "What is this chord" without specifying a behavioral context just means, "I don't know what I'm talking about and/or I don't know how human communication works". :) – piiperi Reinstate Monica Dec 13 '19 at 19:45
  • Related to chord inversions, i think that this appears to be an inversion (not sure if first or second) of a f5(add6) chord but i'm still not sure... – TechnicGoblin5R Dec 13 '19 at 19:46
  • @TechnicGoblin5R, we don't need an audio file. If you give the chord before, and especially the chord after, that should be enough context. If you are just experimenting with combinations of notes and want to know how to name the "chord", Larry's point is you need to move to another chord to really define things. You could make it act like a Csus chord or you could make it act like a D minor seventh chord. Give us some more background info. – Michael Curtis Dec 13 '19 at 19:57
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I think what you call it should depend on how and where you use it.

There's Csus4 flavor in it, but my first idea when hearing it was F6omit3/C. Or Dm7(omit5)/C. Fm6omit3/C? Do you want to use it as a suspension? What other notes do you imagine that could be coming soon? If there's a melody that this chord is backing, what scale might the melody use? Where's the tonic? It could be anywhere.

If you think that this C+D+F chord is a sample that you trigger, it could fit a great variety of musical situations, and if you had to write a name for the harmony, the chord's name would depend on the context.

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this is a C (sus 2) (sus 4) (no 5)

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    What if the D and F are held into the next chord? – Michael Curtis Dec 13 '19 at 20:56

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