Name this chord?

[ll00l0l]

Hello all, how would you label this chord? It's resolving to a DMaj7. To me it sounds rooted in Gb, but maybe there is a more elegant way to label this. The corresponding scale would seem to be the "double harmonic major."

[pauln]

Like this?
9 10 12 11 11 9

Dmajb13/Db
Daugmaj11/Db
Gminmaj#11/Db

[ll00l0l]

These don't seem to fit since they don't reflect the Gb root and/or don't account for the G natural. The real question is, what chord name embodies the sound of the double harmonic major scale, the one pictured here?

[Christian Miller]

What’s double harmonic major?

1 b2 3 4 5 b6 7 1?

To be honest I think for specific non-tertial voicings like this you may be better off keeping the chord notation a little vague, for example just naming the chord after the scale

Db G D Gb Bb Db
1 b5 b9 11 13 1

The G should probably be written Abb technically, but no one wants to read that lol

It’s a Gb triad atop a Db ‘Viennese fourth’ chord (ie like a dim7(maj7) without the third.)

not much help. It’s a cool chord. I think I hear it resolving to G/D though

[Christian Miller]

I think I hear this chord as a variant of the

Go7 —> Gmaj7 or
F#/G —> Gmaj7

Type resolution, in which case I’d label it as a fancy Go7 or F#/G triad. However, there’s obviously a Db in the bass lol

So maybe a Dbo7(add11 b9 no3rd)

Or Dmaj7b13add11/C# lol

I think the first is less bonkers

NB I think I just don’t really hear the Gb as the root here.

[ragman1]

That's a minor plagal cadence, Gm to D maj. The rest is complication.

Put it into F. Bbm to F.

Then your chord: E Bb F A Db E - 013220 to F maj.

i.e. BbmM7b5/E

[BWV]

Swap one of the Dbs for an Ab and you have the all-triad hexachord 012478

[setemupjoe]

I’d have to go with Christian’s Db°. The typical E note (3rd) is replaced with the Gb which is a common move. The D note in the chord could be an anticipated resolution note to the Dmajor chord. That means what you’re looking at is just a fancy V7 chord resolving to Ima.

The lesson from this is not to get overly attached to chord names. They’re an imperfect system. Always best to look at the voice leading to get a more useful view of chords and progressions. Any one chord taken out of context can look crazy but in context can make perfect sense.


Sent from my iPad using Tapatalk

[_bix_]

Db 5th
Bb 3rd
Gb root
D augmented 5th
G flat 9th

Db 5th

Call it what you will. Not that crazy.

[ragman1]

The OP says

It's resolving to a DMaj7

You can't just have any chord if it's going to do that.

[ll00l0l]

Thanks for the input - to me it clearly embodies the double harmonic major scale with Gb root, and the resolution reminds me of a deceptive cadence but to bVI (Db bass=5 to D=b6). So to me the clearest way to write it that reflects the character I'm hearing is what I originally had; I just wasn't sure whether there was a better way. These triads with added b2 or b6 (#5?) aren't dominant sevenths so it's not simply adding b9 or b13.

[ll00l0l]

[QUOTE=ragman1;1262713]That's a minor plagal cadence, Gm to D maj. The rest is complication.


Hmm...the second sequence reminds me of an augmented 6th resolution. I don't really hear the plagal character since I still hear it firmly rooted in Gb, not G. Maybe because most of the pitches here are not diatonic to G, and more importantly the Gb major triad is all together at the top of the voicing, so it stands out.

[ragman1]

Hmm...the second sequence reminds me of an augmented 6th resolution. I don't really hear the plagal character since I still hear it firmly rooted in Gb, not G. Maybe because most of the pitches here are not diatonic to G, and more importantly the Gb major triad is all together at the top of the voicing, so it stands out.

I hear what you say (no pun intended) but I don't think Gb to D is a theoretically viable resolution.

[Lionelsax]

GminMaj7 Bass C#
Why doubling the bass ?

[BWV]

The jargon does not provide useful information without looking at the part writing. I’m assuming the c# (bad notation IMO to write Db if it’s resolving to DMaj) in the bass resolves up and the one in the top holds over. The other D holds over as well. Then you have a descending half step resolution for the Gb and Bb

that just leaves the G to resolve down to F#

if you leave aside the D, you have an Eb #9 (the tritone sub of in D major of course) with the 7th in the bass and the root omitted

[ll00l0l]

Here is how I have voiced the progression; it probably would be easier to read as F# instead of Gb:



I see the tritone resolution, which could be interpreted as coming from A7 or Eb7, but to me it still sounds to be in Gb/F#, if only because of the upper triad.

[ll00l0l]

I hear what you say (no pun intended) but I don't think Gb to D is a theoretically viable resolution.

Not as a chromatic 3rd relation?

[Lionelsax]

Here is how I have voiced the progression; it probably would be easier to read as F# instead of Gb:



I see the tritone resolution, which could be interpreted as coming from A7 or Eb7, but to me it still sounds to be in Gb/F#, if only because of the upper triad.

Great ! Do you sometimes think like this ?
A#min7 Eb7 G#Maj7
I'm pulling your leg !

[fep]

These don't seem to fit since they don't reflect the Gb root and/or don't account for the G natural. The real question is, what chord name embodies the sound of the double harmonic major scale, the one pictured here?

The low note is not a Gb, that's a bass clef, it's a Db.

[ragman1]

It's your chord. I reckon you can call it what you like :-)

[ragman1]

However:

The main chords of the double harmonic major are:

I7M bII7M iii6 iv7M V7(b5) bVI7M(#5) viisus2add13(b5)


There are other possibilities of tetrad:

I7M(#5) bII7 bii7M bii7 bii7(b5) III6 iv° V6(b5) bvi°

Double harmonic scale - Wikipedia

[Lionelsax]

It's your chord. I reckon you can call it what you like :-)

Your wright !

[ragman1]

I'm not rong!

[Lionelsax]

I'm not rong!

I dee knot say you where wong.

[ragman1]

You not rong neither!