Someone know the exact name of the 2th chord?
Chords

 

B min7(b5)

 

I thought it was Dm6

Shouldnt it be a F# in there for Bmin7 ?

 

The fifth is flattened in this case.

 

@ ElMoreno,

Hello My Friend !


Here you have the different Notes comprised in the 2 depicted Chords (from the bottom to the top) :

1° Chord : A - E - A - C - E
Which leads to 'A' as 'Root', 'C' as its 'minor 3th', and 'E' as its '5th' = 'Am' ...OK !
(As the 2 first Notes ('A' & 'E') are identical, but simply played an octave lower, you can consider that's really a 'Am' Chord).

2° Chord : A - D - A - B - F
Here, is bit more complicated, because if you always start from the second 'A' (upper octave) as 'Root', then 'B' is its '2nd (Major)', and 'F' is its 'minor 6th' (or '#5' ['Sharp 5th']).
If you take another note (e.g. 'D') as the 'Root', this leads to another Chord, because this implies 'Inversion Chords', and here comes the fascinating World of Harmony...

But personally, I think that 'thisis theend' is right, in case that you take 'D' as the 'Root' :

'D' as 'Root', then 'A' is its '5th', then 'B' is its '6th', and 'F' is its 'minor 3rd', thus leading to a 'Dm6' : a 'D minor Chord with a Major Sixth'.

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However, 'fritzm' is also right !!! *yes*
because the Chord 'Bm7(b5)' contains also the Notes depicted within the second Chord of your image :

If 'B' is taken as 'Root', then 'D' is its 'minor 3rd', then 'F' is its 'Flat 5th' ('b5'), and 'A' is its 'minor 7th', and all this leads to... 'Bm7(5b)'.


As told earlier... I like the 'World of Harmony' and its 'Inversions' !!!

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NEED SOME HEADACHES ? ​

...learn a few Harmony and the several Chord Inversions, and you'll not even need to be 'drunk' to get some serious headaches !!!

​

 

Nice to know I'm not the only one bothering with music theory and staff notation.

 

Yeah that's what I thought I saw.
Inversion... had temporary forgotten that's what it's called in english when you flip the notes around

And you're right, fritzm is also right.
Music... it's an amazing thing. I must have played a Bm7(b5) chord many times and didn't even know it

 

my head hurts

 

Hello,

-It is a Half-Diminished Chord: B-min7(b5)

-In this context it functions as the supertonic of A-Minor (natural)

-It would be numerated as i-iiº2 (slashed circle) or figured bass as 42.

-I've written a couple solutions to close the progression satisfactorily:



Hope that helps.

 

Hmm how would you know that?

It might be the seventh chord coming from the sixth chord if it was played in C major i cant see that this is a a-minor progression can you?

But i must agree it is most likely a second chord

And if it was a second chord in c major it would have been spelled as the earlyer mention dmin6

 

It's very unusual to have the 7th as a bass. Dm6(/A) seem to fit much better. Both answers are technically acceptable though.
I'll ask my little brother and a friend that did more analysis to tell me.

 

Not unusual to freejazz players still you need more that two chords to know how to spell it correctly.

 

Free jazz doesn't count in harmony.

 

Hey Guitarmaniac64,

I can't know for certain with only two chords and no cadence what the composer intends to accomplish thereafter.
But I can say the most logical answer based on real-world hearing of functional harmony is that this is
in A-minor. Not only because the chord first heard is the tonic minor in a signature with no accidentals
but because the prolonged tonic pedal point anchors and thus accentuates the A. Bach used this pedal technique in his
Organ Chorale, BWV. 651 where the Tonic F is prolonged under a I-vii7-I and Mozart used this very same progression
as a prolongation of tonic harmony (I-ii2-I in Major) in his Country Dance, KV. 101 (both attached)

Now for dramatic purposes a composer could refashion the chord into any number of scale-degrees and modulate:
-i in A minor
-vi in C Major
-ii in G Major
-iv in e minor
-iii in F Major
-v in D Major
-iv in g minor
-v in f minor

All but the first denies the listener's intuition with deliberate obfuscation and useless pedantry.
Just go to the piano a play the last example I wrote: Am-Bm7b5-GM-CM and feel the lift at the cadence
because of the modulation from A minor to C Major.

It's not the second-degree in C -- that is, this is not a D Minor chord with a just-so-happens B -- because the B is a structural tone (being that it is only a half-step away from C) and naturally resolves upwards.

Thus, fritzm, the original responder was correct.

 

My friend answered me. It's Bm7b5. It can't be Dm6 since it would ask for a B flat to sound right, and wouldn't let the resolution on a C chord work.

 

First of all thanks to all of you for your contributions!

The idea was to use the pedal in A and, since chords are played by a guitar, I'm undecided whether to write Bmin7(b5)/A or Dm6/A.
As already mentioned by you I think it's a case of 'similarity'.

N.B.: The song is in E but, after a modulation, plays in Am.


My friend Studio555, thanks for the introduction to the mysterious World of Harmony.
Oh, and the aspirin pills... go!!!

 

Studio 555

Well spoken! Nothing chord-wise is absolute, but depends on what angle you choose (read: what note in the chord you choose as the basic primary note!)

How to deal with harmonies/chords has been an issiue since before Paletrina! An interesting issiue indeed *yes*

Good thread!

RESPECT!!!!!

 

I must admit I had assumed the Dm6 designation everyone spoke of was a D minor chord in 1st Inversion, i.e. F-D-A.
Much to my astonishment and disgust I read D-A-B-F is Dm6! This categorizing of every possible interval into their own individual
chords irrespective of function and logic is an abuse of music theory and an impractical way of understanding chord grammar.

To demonstrate the logical contradictions inherent in this naming system let's use our A-D-A-B-F

Here's what my Guitar Chord Chart says:
Dm6 = D-A-B-F
Bm7b5 = B-D-A-B-F
Bdim = B-D-B-F

So if you strum D-A-B-F, your buddy strums B-D-A-B-F, and another strums B-D-B-F,
you have in sum total the notes: B-D-F-A and yet three different chord identities.
Do you hear three different chords playing simultaneously? No.

Or your buddy plays a B-D-A-B-F on a Hammond organ and you come in on guitar with a D-A-B-F.
You are playing a Dm6 and yet you've doubled the exact notes from the previous Hammond Bm7b5.
Would you call it overlaying a dm6 on top of a Bm7b5? No.

To make matters worse, the scope and difficulty of learning the system can easily lead one to a
Dunning-Kruger effect.

I do recommend you consider studying music theory instead of chord-naming, nothing of value
can be gained above what is gained through direct contact with music and theory divorced from
instrumentation and bean-counting.

 

fucking chord inversions always screw my head whenever I'm tryring to find the key of my tracks.

I hate it whenever I start my tracks in say, Gminor and then all of a sudden by the end of my track I end up realising it's in Fmajor :explosion:

 

A friend send me this picture to clarify my question (shows precisely the actual notes that I play on the guitar and the chord name).
Final chord