What is this chord?
 

Hey, just need help with a chord-

E----|
B---8|
G---7|
D---6|
A---7|
E----|


Thanks d00dz.

You've got an E7 with an augmented 9...not sure how it would be notated but possibly E7#9? I'm pretty sure it's the "jimi chord" anyway...though that may have had other notes in it.

Yeah it's the Hendrix chord, E7#9.

Although technically, the Hendrix chord was Eb7#9. :) Same fingering though.

^^he tuned down a 1/2 step.

[QUOTE=DubyaJoe]You've got an E7 with an augmented 9...not sure how it would be notated but possibly E7#9? I'm pretty sure it's the "jimi chord" anyway...though that may have had other notes in it.[/QUOTE]
Isnt it augmented when it has been made sharp twice?

Thanks :P

thats how i spell my name toothreadstarter

if any one ever has a doubt about chords go to chordbook.com its a kickass website that has clear my doubts

[QUOTE=jam9383]Isnt it augmented when it has been made sharp twice?[/QUOTE]

Augmented = sharp once
diminished = flat once, except diminished 7th (flat twice)

diminished 7ths are only flatted once also?
making them a whole step below the octave base note, a half step below the major seventh...

No, those are dominant sevenths or minor sevenths. Diminished sevenths actually are flatted twice to be enharmonic to the major 6th.

Besides the special case of the seventh, one uses the term "minor" to describe a flattened interval unless it's a perfect interval to begin with (unison, fourth, fifth, octave), which is when you use "diminished".

[QUOTE=HaVIC5]No, those are dominant sevenths or minor sevenths. Diminished sevenths actually are flatted twice to be enharmonic to the major 6th.

Besides the special case of the seventh, one uses the term "minor" to describe a flattened interval unless it's a perfect interval to begin with (unison, fourth, fifth, octave), which is when you use "diminished".[/QUOTE]
Do you live in Baltimore Havic?

E7#9 no fifth

[QUOTE=HaVIC5]No, those are dominant sevenths or minor sevenths. Diminished sevenths actually are flatted twice to be enharmonic to the major 6th.

Besides the special case of the seventh, one uses the term "minor" to describe a flattened interval unless it's a perfect interval to begin with (unison, fourth, fifth, octave), which is when you use "diminished".[/QUOTE]



How is this so? A major seventh is just a B in the key of C and a minor seventh is a Bb in the key of C. Diminished is a Bbb in the key of C...it's the same rule as a third or a second.

[QUOTE=DubyaJoe]How is this so? A major seventh is just a B in the key of C and a minor seventh is a Bb in the key of C. Diminished is a Bbb in the key of C...it's the same rule as a third or a second.[/QUOTE]

Bbb is the same enharmonically compared to A, which is the major sixth of C.

The only time when that rule differs is when looking at a perfect 4th or 5th, as a major/minor 4ths and 5ths don't exist. A diminished 5th is just a half step less than a perfect 5th and is the same an augmented 4th.

Edit: I didn't realized Havic mentioned this... Also, I'm not too familiar with describing diminished/augmented octaves/unisons or anything. Funny, it was never really mentioned (except augmented unison once, i think)... the important ones are the 4th and 5th...

Yea, it's an E7#9 like everybody else said. That happens to be my favorite chord shape :)

[URL]www.musicianforums.com/forums/showthread.php?t=409321[/URL]

and yeah its E7#9

A rockin awesome chord.

I was introduced to that chord by Captain Beefheart, not Hendrix.

E----|
B----|
G---7|
D---9|
A---8|
E---8|

whats this?

[QUOTE=DubyaJoe]How is this so? A major seventh is just a B in the key of C and a minor seventh is a Bb in the key of C. Diminished is a Bbb in the key of C...it's the same rule as a third or a second.[/QUOTE]
True. My point was that sevenths are exception because they can be both minor or diminished, whereas you would never a minor 4th or a diminished 3rd. If you wanted the two flats on the third one would be much more likely to say "a doubly flatted third" rather than "a diminished third.

And no, I live in Silver Spring, which is a suburb of Washington DC.

[QUOTE=White Riot!]E----|
B----|
G---7|
D---9|
A---8|
E---8|

whats this?[/QUOTE]

It's someone who doesn't know the names of the notes on the fingerboard of his guitar and who doesn't appear to know what an apostrophe is either. Are the open B and high E strings supposed to be included or are these deadened?

[QUOTE=HaVIC5]No, those are dominant sevenths or minor sevenths. [/quote] There is no such [i]interval[/i] as a "dominant seventh". A [i]dominant seventh[/i] is a [i]chord[/i] not an interval. Don't confuse chords and intervals.[quote]Diminished sevenths actually are flatted twice to be enharmonic to the major 6th.[/quote] That rather depends whether it was a major or a minor seventh to begin with.

[quote] Besides the special case of the seventh, one uses the term "minor" to describe a flattened interval unless it's a perfect interval to begin with (unison, fourth, fifth, octave), which is when you use "diminished".[/QUOTE]

Or unless it was already minor to begin with.

All these terms refer to the diatonic scale. The diatonic scale has two sizes of adjacent intervals. The adjacent intervals we call [i]seconds[/i] and the sizes we call big and little, or rather [i]major[/i] and [i]minor[/i], synonyms for big and little. If there are two sizes of seconds, there must also be sizes of sevenths since sevenths are merely seconds turned upside down or [i]inverted[/i], as we say. Since thirds step over seconds, there must also be major and minor thirds and major and minor sixths (sixths are the inversions of thirds).

On the other hand, there is only one size of octave and unison found in a diatonic scale, and we call this size [i]perfect[/i]. (Fifths and fourths are a special case which we'll get to momentarily.)

Notice that the terms [i]major[/i], [i]minor[/i], and [i]unison[/i] are adjectives. The terms [i]diminished[/i] and [i]augmented[/i], in contradistinction, are [i]verbals[/i], verbs functioning as adjectives. To [i]augment[/i] is to [i]make[/i] bigger. To [i]diminish[/i] is to [i]make[/i] smaller.
An augmented interval is an interval [i]made[/i] bigger, which is to say, an interval (with one exception) not native to the diatonic scale. A diminished interval is an interval [i]made[/i] smaller, which is to say, an interval (with one exception) not native to the diatonic scale.

Arrange the notes of a C major scale thus: F C G D A E B. The diatonic scale is derived from six conjunct perfect fifths, F-C, C-G, G-D, D-A, A-E, and E-B. Were we to continue in this manner, the next fifth would be B-F#. The smaller B-F wrap-around fifth only occurs because we've chosen arbitrarily (it would seem) to stop after seven notes. In derivational terms the smaller fifth is anomalous. It also happens to have been a big no-no at the time these terms were invented. This particular size of fifth was never used in those days, and therefore, practically speaking it didn't exist. Thus, practically speaking, there was only one size of fifth, the [i]perfect[/i] fifth, available within a diatonic scale (or anywhere else), just as there was (and [i]is[/i]) only one size of octave and unison available within a diatonic scale. Nowadays, however, we embrace the strange unstable quality of the former forbidden fifth (that is to say we [i]use[/i] it; it's no longer forbidden) and we call it [i]diminished[/i], not because it's logical, strictly speaking, to call it that, but because historical precedent requires us to.

The E augmented ninth [i]chord[/i] is called an [i]E augmented ninth chord[/i] because it includes the [i]interval[/i] of an augmented ninth, E to Fx.

It's not arbitrary, really. Western music came before our current western music theory describing the music. Our ear became attuned to the current major/minor scale tonalites before then.

[QUOTE=HaVIC5]It's not arbitrary, really. Western music came before our current western music theory describing the music. Our ear became attuned to the current major/minor scale tonalites before then.[/QUOTE]

To say nothing of our [i]country[/i] and western music.

In point of fact, our "western" music theory derives from ancient Greek music theory and is 2,500 years old. Only a few scraps of ancient Greek [i]music[/i] survive, and even these few scraps were unknown until several decades ago. In a very real sense then, our music [i]theory[/i] is actually older than our musical [i]practice[/i]. Our music theory represents a [i]continuous[/i], uninterrupted intellectual discipline evolving incrementally with strong remaining links to the original body of work; there has not been a period during these 2,500 years when research in music theory did not take place.

[QUOTE=White Riot!]E----|
B----|
G---7|
D---9|
A---8|
E---8|

whats this?[/QUOTE]
E---x|
B---x|
G---9|
D---10|
A---10|
E---x|


sounds like a diminished 7
that chord leads too


though I have never used this shape
kinda a leading tone


here is another

----X----
----6----
----5----
----6----
----5----
----X----

a leading tone to

----X----
----8----
----7----
----8----
----6----
----X----

[QUOTE=MikeJump]E---x|
B---x|
G---9|
D---10|
A---10|
E---x|


sounds like a diminished 7
that chord leads too


though I have never used this shape
kinda a leading tone


here is another

----X----
----6----
----5----
----6----
----5----
----X----

a leading tone to

----X----
----8----
----7----
----8----
----6----
----X----[/QUOTE]

This isn't the Guitar for Musical Illiterates forum. Just write the note names, thank you very much.

[QUOTE=Ned]This isn't the Guitar for Musical Illiterates forum. Just write the note names, thank you very much.[/QUOTE]

:lol:

k..
i responded the same way the first post was.