What chord is this?

[AlFo]

Cus I like it!

E 0
B 3
G 2
D 3
A 3
E x

Maybe and F/D or something?

Alex

[Jeffscreamedcorn]

Originally Posted by AlFo

Cus I like it!

E 0
B 3
G 2
D 3
A 3
E x

Maybe and F/D or something?

Alex

It's an: Dmin9; E7sus(b9,b13); F6/9; G7sus(9,13); Bbmaj7(9,#11);
B7sus(b5,b9,#9)

[AlFo]

So it could be known as any of them?

Thanks

[cacibi]

F6/9 gets my vote

[Jeffscreamedcorn]

It's all contextualized by the root you choose.

[getbent]

F13?

[AlFo]

Originally Posted by Jeffscreamedcorn

It's all contextualized by the root you choose.

Hmm its in a sequence based around A minor

[aznrambo481]

isn't it just an F6? where does the /9 come in?

[jazztele]

yeah there's no 9...

A minor, i'd think of it as Fmaj13

5, R, 3, 6(13), and 7

[AlFo]

Ok thanks everyone!

[Larry F]

D min 9 is the most sensible, given the lack of context. This chord is built in 3rds, which is a very popular type of chord construction. Of course, it is voiced differently. I agree that the F6/9 is a misnomer--no G if I read the info correctly. As for F maj 13, OK, fine enough, but there are missing notes. Which is OK for doing voicings, but in the absence of context, I'd opt for an interpretation based on a succession of 3rds.

The voicing is very nice. The fourth between the lower notes and the middle notes. These form a family make up of 2 pairs that are transpositions of each other. The E is the blacksheep, not fitting into that scheme. It's uniqueness supported by it's color, an open string while the other strings are fretted.

I think I see why F6/9 is considered a good choice. These types of chords are constructed as a succession of 4ths. Since this voicing emphasizes 4ths, I can see how it could be emotionally heard that way.

Chords are very subtle things.

[Jeffscreamedcorn]

oops - there is no G, so F6/9 is out. Should be Fmaj13.

The B7sus(b5,b9,#9) is a stretch - It's really a hybrid of Mixo and Altered. There's really not a scale the accommodates both a 4th degree (sus) and b5. One could take the Ellington attitude, and say the b5 is a blue note.

The concept I used is that it's any chord who's scale has the involved notes in it's scale. Any chord that doesn't have a third involved, is a hybrid, and is ambiguous - neither maj or min.

For example, what is this chord?

A
E
B

Cmaj7(13); A/C#; D6/9 or Dmin6/9; Eb(alt); Esus or Emin(sus) or Emin11; Fmaj7(#11); F#min11; G6/9 or G79(13); Ab(alt); Bb... no possible tertian chord; Bsus ot Bmin(sus) or Bmin(11).

[Jeffscreamedcorn]

Mick Goodrick says, "It's not how many voicings you know, it's how many ways you know how to use the voicings you know."

[Chris S.]

As mentioned above, context, context, context. As you can see, that particular group of notes could be given lots of different names -- what to call it depends on how it's being used. All IMO, as always. :-) CS