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Minor b6.
anybody know about these, where how etc.
i mean 1 b3 5 b6 not minor 7 #5
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09-06-2016 03:59 PM
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Is that even a thing? It's a 1st inversion Maj 7 chord.... I would think the ear is always going to hear it that way.
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I know what this is inverted but am interested in function uses as a minor, etc
Em♭6 E G B C = C Δ 7 C E G b
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In the middle of a line cliche?: Em - Cmaj7/E - Em6, etc. (James Bond theme?)
Would still be debatable whether "Emb6" is a better name, IMO.
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Similarly, minor 7#5 so strongly suggests major add9 that it's left out of many chord books.
Originally Posted by matt.guitarteacher
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thx, as a composer aware it is Cmaj, i am hearing something a little different,
play as Gmb6 and Cmb6 but think of it as Phygrian kinda thing without the usual b9 the Ab on the Cm implies that.
when played as an arp it does not sound major to me, it is this very difference, that made my ears prick up,
i know it is minor#5, and line cliche,
i was hearing the pure chord as a minor, it has a almost in-out sound (for me) in the sense it wants resolve its dissonant yet it can remain as it is .
Although having more than a passing aquaintence with harmony today was the first time i heard this.
Regular minb5 min6 min11b5 no3rd i play.
so curious
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Yes - you could use such chord forms for modal sounds. Those two could suggest G phrygian, provided G sounds like the tonal centre. I.e., there might be a danger of the key sounding like C minor (v-i), because the notes on both chords suggest the C natural minor scale, a more familiar tonal sound than G phrygian. Keep G as bass note on both chords, you should get a G phrygian sound more reliably. Originally Posted by Durban
A standard jazz phrygian chord is the "susb9" (7sus4b9), and for G phrygian that would be G-C-D-F-Ab. The dissonance is non-functional, it's not designed to resolve anywhere.
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I resolve it like the dickens! Originally Posted by JonR
3x311x: Gsusb9
x3200x: CMaj7
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or..it IS designed to resolve anywhere...well almost anywhere... Originally Posted by JonR
this is another "experiment" type chord that has a lot hiding in plane sight..break it down to a b6/9 pentatonic scale - I did it in D--D E F A Bb and create some chords from it..and you have some very nice chord runs that can apply to several keys - in this case F6/11/13 & Bb6/M7#11/..with C7/9/13 and others and some sus chord fragments implied - the scale itself is an ideal "fusion" workhorse..Last edited by wolflen; 09-07-2016 at 07:19 PM.
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I can hear it as minor. If you approach it via a II-7b5-V7b9, and make sure the root is in the bass, it has kind of a floaty sound. I don't know what the OP had in mind for a context, but it works for me. Approached another way, it could sound major. I like the ambiguity.
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It generally is just implying natural minor. Notation of chords is generally pretty screwed up. Most believe a chord symbol is implying a Voicing. With Jazz generally chord symbols are used to imply Harmonic References and Harmonic Organization.
The example of Line Cliches is good, think of latin jazz.... Montunos generally are based on II V's or I V's
The II V's generally use Dorian or natural 6th and the I V montunos usually use Natural Minor or b6
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Like this? Originally Posted by Boston Joe
5x554x (Am7b5)
2x123x (D7b9)
3x1331 (Gmb6) -- or-- 3x334x
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One of my favorite chords. being a dedicated barry harris devotee (for the last few months), I now think of them as Minor 6th chord with a borrowed diminished note. Sometimes it is quick movement from b6 to 6, sometimes from b6 to 5. I use this for endings and intros all the time on a minor tune:
3x234x
3x233x
or
3x133x
3x233x
edit: when I say one of my favorite chords, I meant that first one with the major and minor 6th. you could also combine both those examples and resolve them as contrary motion
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Do you mean Originally Posted by joe2758
3x334x
3x333x
Having the 6 and the b6 in the same chord is pushing the boat out too far for me!
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Sure. I don't remember exactly what I did when I tried it, but it was something like that. I think I just did 3x133x. Originally Posted by BigDaddyLoveHandles
Anyway, sounded perfectly fine and minorish to me. As Reg says, it's just a little natural minor. (Although to me, that fingering is what I would normally use for a second inversion C-9 chord. Context is everything.)
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Nope! haha; a minor 6th sounds more like home than minor7th as a tonic chord to me at this point Originally Posted by BigDaddyLoveHandles
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When I don't whether a m6 or m7 works better, I fall back on m(add2). It's like giving a bottle of wine -- it's always acceptable.
Gm(add2): x5839x
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Er, say what? That appears to be quite a stretchy voicing, BigDaddy! Originally Posted by BigDaddyLoveHandles
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Woops! I meant Originally Posted by M-ster
Gm(add2): x5738x
That voicing is easier on the top strings
Cm(add2): xx5748
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Sure! Or: Originally Posted by BigDaddyLoveHandles
3-x-3-5-x-4
x-3-2-4-x-3
But there it's functioning as a V7 (or rather a minor plagal cadence with a V root
). I was talking about a specific application as a phrygian "tonic", where it's not designed to resolve anywhere.
Last edited by JonR; 09-10-2016 at 08:28 AM.
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I don't know about M-ster, but those are still way too stretchy for me. (I can j-u-s-t get my fingers into those places, but not in way that would make the shapes practically usable.) Originally Posted by BigDaddyLoveHandles
If I wanted that 2-b3 interval (and the G root), I'd go for 3-5-7-3-(-3-3) for Gm(add9) (as I'd call it), or octave up at x-10-12-14-13-x.
Cm(add9) would be the low shape 5 frets up.
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