Do these chords exists? Any different name for them?

[JimmyDunlop]

I guess these chords exist, but somebody knows how to insert them in band in a box 2009, it doesnt let me- Maybe there are other names for them?

C6b5 and Gmaj9sus4

[mr. beaumont]

Can you input the C6b5 as a C6#11?

For the Gmaj9sus4, do you want the 3rd and 4th in there?

[Christian Miller]

C6b5 is the same as Am6/C or F#m7b5/C. I think those would be more familiar

It’s a very nice chord, usually on bVII leading to a VI7.


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[JimmyDunlop]

It doesnt let me the C6#11

I dont know why it let C7b5 C9b5 c7#11 C9#11 etc

but it doesnt offer any possibilities for 6 chords, only C6

[JimmyDunlop]

C6b5 is the same as Am6/C or F#m7b5/C. I think those would be more familiar

It’s a very nice chord, usually on bVII leading to a VI7.


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yes you are right it let me use F#m7b5/C , it fits. Before I was using cmaj 9 , and both sounded related in the harmonical context of the chord. Thanks!

does it makes any sens to you, that i could substitute it for cmaj9?

[pamosmusic]

yes you are right it let me use F#m7b5/C , it fits. Before I was using cmaj 9 , and both sounded related in the harmonical context of the chord. Thanks!

does it makes any sens to you, that i could substitute it for cmaj9?

Yeah that’s not a super uncommon change. Common reharmonization in the first bar of the second A in a lot of versions of I Should Care. Though they use it as part of a cycle there.

Also some leadsheets for tunes like Bewitched and Time After Time contain the I to #ivm7b5

Also the reverse is an extremely common change. Meaning subbing the half diminished out for a major off the b5.

[JimmyDunlop]

i checked again, is not C6b5 , because if you include the melody it turns into C6/9b5 its quite strange since it includes the / symbol , i think i never seen this kind of nomenclature. any idea?

also bm7b9 is the correct chord, but I put bm7/A and it works somehow, so is it the same bm7b9? and bm7/A

[pamosmusic]

i checked again, is not C6b5 , because if you include the melody it turns into C6/9b5 its quite strange since it includes the / symbol , i think i never seen this kind of nomenclature. any idea?

C E Gb A D

Enharmonically thats

D F# A C E

D9

[Mick-7]

I guess these chords exist, but somebody knows how to insert them in band in a box 2009, it doesn't let me - maybe there are other names for them?

C6b5 and Gmaj9sus4

Your C6b5 question has been answered but re: "Gmaj9sus4." No, that chord does not "exist." If it's major, it contains the 3rd (B), and therefore is not a suspended chord, it's a Gmaj.11 = G-B-D-F#-A-C - versus G-C-D-F#-A. If you want the latter, you could write D7/G.

"also bm7b9 is the correct chord"

So then you've got: D7/G to D7/B (= Bm7b9)

[JimmyDunlop]

C E Gb A D

Enharmonically thats

D F# A C E

D9

thanks, it works. do you know about gmaj9sus4?
the notes of the chord from the highest to the lowest (bass) are: C A F D G , since the key of the music is G, it says it is Gmaj9sus4. Notice than the bass is G. but i gues it can be C6/G??

[Mick-7]

thanks, it works. do you know about gmaj9sus4?
the notes of the chord from the highest to the lowest (bass) are: C A F D G , since the key of the music is G, it says it is Gmaj9sus4. Notice than the bass is G. but i gues it can be C6/G??

A Gmaj7(9) chord has an F# not an F in it.

[JimmyDunlop]

Your C6b5 question has been answered but re: "Gmaj9sus4." No, that chord does not "exist." If it's major, it contains the 3rd (B), and therefore is not a suspended chord, it's a Gmaj.11 = G-B-D-F#-A-C - versus G-C-D-F#-A. If you want the latter, you could write D7/G.

"also bm7b9 is the correct chord"

So then you've got: D7/G to D7/B (= Bm7b9)

yes gmaj9sus4 looks strange, but sibelius says that lol to identify the chord. I guess it can be C6/G?

[JimmyDunlop]

A Gmaj7(9) chord has an F# not an F in it.

its sibelius that says that

[pamosmusic]

thanks, it works. do you know about gmaj9sus4?
the notes of the chord from the highest to the lowest (bass) are: C A F D G , since the key of the music is G, it says it is Gmaj9sus4. Notice than the bass is G. but i gues it can be C6/G??

Teach a man to fish:

Spell the notes out, try starting on different pitches and stacking thirds from the bass. Often (not always) you will find a set that makes more sense than the others.

Other tips.

1. Occam’s razor — the simplest chord symbol is usually the best. The most common exception is the use of slash chords to denote bass motion.

2. context is key. With complex chords, they might be ludicrous on their own but have beautiful voiceleading with the chords that come before and after. The voiceleading is what makes the chord work, not the theory that leads to our nomenclature for it

[pamosmusic]

its sibelius that says that

Then Sibelius is wrong.

Give a man a fish:

F A C D G

F6/9

[Mick-7]

Then Sibelius is wrong.

Give a man a fish:

F A C D G

F6/9

Or Dm7/G - but what is the chord progression? That should tell you what voicings are intended.

[JimmyDunlop]

Or Dm7/G - but what is the chord progression? That should tell you what voicings are intended.

its a ii V I

any analysis for this chord progression?

I detailed it in a different thread

[pamosmusic]

its a ii V I

any analysis for this chord progression?

I detailed it in a different thread

Oh, well in that case if the Gmaj9 has an F natural in it, then it’s a bit weirder

[Mick-7]

its a ii V I

any analysis for this chord progression?

I detailed it in a different thread

That doesn't help, where do the chords you asked about fit in? - C6b5 and Gmaj9sus4

[rpjazzguitar]

Gmaj9sus suggests (to me anyway) G D F# A and the sus4, which is the raised third, C.

To my way of thinking G11 has both a 3 and an 11, which this chord would not. Not that it makes a lot of difference on guitar.

That is, G C D F# A. It could be written D7/G.

Not a common chord because it's not quite a major sound (with G as root and C as 4th) and, it's not quite a 7th sound because D7 doesn't often want G in the bass.

That said, a clever writer might make it sound brilliant.

[JimmyDunlop]

Your C6b5 question has been answered but re: "Gmaj9sus4." No, that chord does not "exist." If it's major, it contains the 3rd (B), and therefore is not a suspended chord, it's a Gmaj.11 = G-B-D-F#-A-C - versus G-C-D-F#-A. If you want the latter, you could write D7/G.

"also bm7b9 is the correct chord"

So then you've got: D7/G to D7/B (= Bm7b9)

Ok i checked again sibelius score and i got some changes from the original post:


Each bar has 4 beats and each beat has 1 chord: I separate each bar using } symbol

Bar number 8 is a rest but you can substitute by G for the whole bar

Bm7/A Cmaj9 Am/E Am/E } ----- D9 D9/C G6/B D7/A} -----Gmaj9 C6/F# Am/E C/E}----- Am7/G Am7 D7/B C6/G }

Bm7/A Cmaj9 Am/E Am/E}------- D9 D9/C G6/B D7/A}------- G6/B Bm/F# G G

[JimmyDunlop]

Oh, well in that case if the Gmaj9 has an F natural in it, then it’s a bit weirder

Now that I replaced am7 by bm7/a It still IS ii V I or 3 5 1?

[Jim Soloway]

In my admittedly narrow mind, a 6b5 chord is a 6b5 chord. When I play it (which is fairly often), it's almost always replaces a 7b5 and all I've done is lowered the 7 a semi-tone and I'm still using it for the same purpose.

[pamosmusic]

In my admittedly narrow mind, a 6b5 chord is a 6b5 chord. When I play it (which is fairly often), it's almost always replaces a 7b5 and all I've done is lowered the 7 a semi-tone and I'm still using it for the same purpose.

Oh interesting … I guess half diminished off the #4 gives you a 6b5 … given the context I always thought of it as a #11, but it is a nice voicing.

[Mick-7]

In my admittedly narrow mind, a 6b5 chord is a 6b5 chord. When I play it (which is fairly often), it's almost always replaces a 7b5 and all I've done is lowered the 7 a semi-tone and I'm still using it for the same purpose.

Which means in the case of a IIm-V7 progression, you're playing IIm7b5 to V7b9. For example, Gm7b5 [G-Bb-Db-F] to C7b9/F#7b9 [G-Bb-Db-E (Fb)].

As far as the OP's questions are concerned, it sounds like many of the voicings he's trying to name are not discrete chords but rather the result of polyphonic voice-leading.