What chord does C, E, G♭ , and B♭ make?












2















You can use whatever note, but we can use C. Unfortunately, I don't know what the root position would be in this case, so I will lay them out as positions. I used intervals, too.



Position 1: Root, major third,  major second, major third.

Position 2: Root, major second, major third, major second.

Position 3: Root, major third, major second, major third.

Position 4. Root, major second, major third, major second.


I thought it could be some kind of augmented chord, as it has that augmented quality, but if it were an augmented seventh, wouldn't it be something like
Root, major third, major third, major second?










share|improve this question





























    2















    You can use whatever note, but we can use C. Unfortunately, I don't know what the root position would be in this case, so I will lay them out as positions. I used intervals, too.



    Position 1: Root, major third,  major second, major third.

    Position 2: Root, major second, major third, major second.

    Position 3: Root, major third, major second, major third.

    Position 4. Root, major second, major third, major second.


    I thought it could be some kind of augmented chord, as it has that augmented quality, but if it were an augmented seventh, wouldn't it be something like
    Root, major third, major third, major second?










    share|improve this question



























      2












      2








      2








      You can use whatever note, but we can use C. Unfortunately, I don't know what the root position would be in this case, so I will lay them out as positions. I used intervals, too.



      Position 1: Root, major third,  major second, major third.

      Position 2: Root, major second, major third, major second.

      Position 3: Root, major third, major second, major third.

      Position 4. Root, major second, major third, major second.


      I thought it could be some kind of augmented chord, as it has that augmented quality, but if it were an augmented seventh, wouldn't it be something like
      Root, major third, major third, major second?










      share|improve this question
















      You can use whatever note, but we can use C. Unfortunately, I don't know what the root position would be in this case, so I will lay them out as positions. I used intervals, too.



      Position 1: Root, major third,  major second, major third.

      Position 2: Root, major second, major third, major second.

      Position 3: Root, major third, major second, major third.

      Position 4. Root, major second, major third, major second.


      I thought it could be some kind of augmented chord, as it has that augmented quality, but if it were an augmented seventh, wouldn't it be something like
      Root, major third, major third, major second?







      theory chords chord-theory harmony identification






      share|improve this question















      share|improve this question













      share|improve this question




      share|improve this question








      edited 1 hour ago









      Richard

      39.4k688169




      39.4k688169










      asked 2 hours ago









      HeavenlyHarmonyHeavenlyHarmony

      1766




      1766






















          5 Answers
          5






          active

          oldest

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          4














          As is so often the case in music, a label depends on how something is functioning in context. There are several possibilities for this chord, and they can resolve variously to (at least) chords on B, F, E, or B♭. Prepare for a bit of an onslaught!



          1. A French Augmented-Sixth Chord in E



          Technically speaking, your listing of Root, major third, major second, major third actually results in C E F♯ A♯, because the major second above E is F♯ and not G♭. As such, you're looking at a French augmented-sixth chord. These chords tend to move to V (here, B), and so this chord is in the key of E:



          enter image description here



          2. Altered V7 in F



          But if these pitches must be C E G♭ B♭, then it's an altered V7 in F. The V7 chord in F major is C E G B♭. But around the middle of the 19th century, composers started making adjustments to the members of the V7 chord; typically, these adjustments allowed for a smoother resolution to I. One common adjustment was to alter the chordal fifth, either by raising it or lowering it a half step. In this case, we can view this chord as a V7 with a lowered chordal fifth, or V7♭5. In so doing, the G♭ resolves smoothly by half step to F (compare that to what is normally a whole step from G♮ to F).



          enter image description here



          Those two are the most likely explanations, especially if you consider C to be the bass. But there are a few other options:



          3. A French Augmented-Sixth Chord in B♭



          One of the fascinating things about the French augmented-sixth is that it's symmetrical: it's two major thirds separated by tritone. Using your given pitches (and not the enharmonic ones in Explanation 1), we have an augmented-sixth chord not in E, but in B♭! But this requires G♭ to be in the bass. Once again, this chord will resolve to the dominant (V), which in B♭ will be F.



          enter image description here



          4. An Altered V7 in B



          If we combine the enharmonic spelling of Explanation 1 with the harmonic function in Explanation 2, this can be viewed as a V7♭5 in B:



          enter image description here



          5. A "FrV4/3" in F



          We can mix these altered dominant and augmented-sixth explanations to create yet more: one is an altered dominant (much like Explanations 2 and 4) that has G♭ in the bass (like Explanations 3 and 4).



          The "French V4/3" is a V7 chord (in F, C is the root) with a lowered chordal fifth (G♭) in second inversion (this G♭ is the bass). A normal V7 in second inversion is labeled a V43, but since this lowered chordal fifth makes it enharmonic to a French augmented-sixth chord, we call it a FrV4/3.



          The chord still resolves to F, but now it's understood that F is tonic (like in Explanation 2), not dominant (like in Explanations 3). The resolution is the same as in Explanation 3.



          6. A "FrV4/3" in B



          Lastly, the harmonic function of Explanation 5 meets the enharmonic spelling of Explanations 1 and 4: a FrV4/3 in B. This looks and sounds the same as Explanation 1, but the B chord is understood as tonic instead of dominant.






          share|improve this answer


























          • In my ear the chord can also resolve to a B or G based tonic.

            – piiperi
            1 hour ago











          • And it could resolve to D♭ just as easily as it resolves to G! It's a great chord, and very versatile.

            – Richard
            1 hour ago











          • Oh, resolving to D♭6 or D♭m6, really nice! :)

            – piiperi
            1 hour ago











          • In explanation 5, you said FrV43. I understand Fr to mean French, V to mean a chord in the fifth degree, but I'm not sure what 43 refers to. Is this a figured base notation, in which case it would be V4/3? Also, why are these chords named after the country, E.G. Italian, French and German? Thanks!

            – HeavenlyHarmony
            57 mins ago











          • @HeavenlyHarmony Yes, the 4/3 is figured bass; I'll edit in a slash to make that more clear. The national names don't really mean anything, and they have nothing to do with the countries. It's just tradition to call them that! See also music.stackexchange.com/questions/20334/…

            – Richard
            54 mins ago





















          2














          If you write C7b5 a pianist or guitarist will play the right notes. Or Gb(F#)7b5.



          If you want a functional description, you'll need to show it in context, HAVING a function. There's a couple of tritones in there, either of which could power a resolution in two different directions!






          share|improve this answer
























          • I like that you point out the tri-tone sub. +1

            – ggcg
            1 hour ago



















          0














          This is a French Augmented 6th chord (Fr⁶).
          Depending on the inversion used, the Minor 7th interval (C - B♭) tends to expand to an octave, while the inner voices resolve to the desired quality (ie. B Major).






          share|improve this answer































            0














            Building off several of the existing answers, but putting it explicitly into a jazz context...




            C#m7 C♮7b5 B6
            iim7 bII7b5 I6


            ...the second chord is the C E Gb Bb and would be a tritone substitution for the normal V7 in the common jazz progression iim7 V7 I6.



            The enharmonic respelling of C E F♯ A♯ a French Augmented Sixth chord (in Richard's first example) would be the commonest functional use in 'classical' music.



            Because the various spellings can be confusing, it's worth noting a French Augmented Sixth chord is an alteration of the more basic progression iiø43 V. In E minor that would be F# half diminished in second inversion, with the A tone raised. In terms of the E minor scale the 4th scale degree is altered by being raised with a sharp.




            • start with iiø

            • put it in second inversion

            • raise the A with a sharp and resolve to V


            enter image description here



            It may take some time to wrap your head around the idea of augmented sixth chords, but I think it helps demystify them by recognizing their basic functions as inversions and alterations of either iiø7 or iv7 resolving to V in a minor key.






            share|improve this answer

































              -1














              In addition to the ones already suggested, my first-choice instinctive interpretation was:



              F# dominant that wants to resolve to a B tonic chord like Bm6. It's either missing the bass, or has a tritone substitution.



              or:



              D dominant that wants to resolve to a G tonic chord like G6. Try it, sounds very nice! D or G# bass note fits in very easily, but it doesn't necessarily need any added bass note.



              or:



              Ab dominant that wants to resolve to a Db tonic chord like Db6. (Thanks Richard)






              share|improve this answer

























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                5 Answers
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                5 Answers
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                active

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                active

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                active

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                4














                As is so often the case in music, a label depends on how something is functioning in context. There are several possibilities for this chord, and they can resolve variously to (at least) chords on B, F, E, or B♭. Prepare for a bit of an onslaught!



                1. A French Augmented-Sixth Chord in E



                Technically speaking, your listing of Root, major third, major second, major third actually results in C E F♯ A♯, because the major second above E is F♯ and not G♭. As such, you're looking at a French augmented-sixth chord. These chords tend to move to V (here, B), and so this chord is in the key of E:



                enter image description here



                2. Altered V7 in F



                But if these pitches must be C E G♭ B♭, then it's an altered V7 in F. The V7 chord in F major is C E G B♭. But around the middle of the 19th century, composers started making adjustments to the members of the V7 chord; typically, these adjustments allowed for a smoother resolution to I. One common adjustment was to alter the chordal fifth, either by raising it or lowering it a half step. In this case, we can view this chord as a V7 with a lowered chordal fifth, or V7♭5. In so doing, the G♭ resolves smoothly by half step to F (compare that to what is normally a whole step from G♮ to F).



                enter image description here



                Those two are the most likely explanations, especially if you consider C to be the bass. But there are a few other options:



                3. A French Augmented-Sixth Chord in B♭



                One of the fascinating things about the French augmented-sixth is that it's symmetrical: it's two major thirds separated by tritone. Using your given pitches (and not the enharmonic ones in Explanation 1), we have an augmented-sixth chord not in E, but in B♭! But this requires G♭ to be in the bass. Once again, this chord will resolve to the dominant (V), which in B♭ will be F.



                enter image description here



                4. An Altered V7 in B



                If we combine the enharmonic spelling of Explanation 1 with the harmonic function in Explanation 2, this can be viewed as a V7♭5 in B:



                enter image description here



                5. A "FrV4/3" in F



                We can mix these altered dominant and augmented-sixth explanations to create yet more: one is an altered dominant (much like Explanations 2 and 4) that has G♭ in the bass (like Explanations 3 and 4).



                The "French V4/3" is a V7 chord (in F, C is the root) with a lowered chordal fifth (G♭) in second inversion (this G♭ is the bass). A normal V7 in second inversion is labeled a V43, but since this lowered chordal fifth makes it enharmonic to a French augmented-sixth chord, we call it a FrV4/3.



                The chord still resolves to F, but now it's understood that F is tonic (like in Explanation 2), not dominant (like in Explanations 3). The resolution is the same as in Explanation 3.



                6. A "FrV4/3" in B



                Lastly, the harmonic function of Explanation 5 meets the enharmonic spelling of Explanations 1 and 4: a FrV4/3 in B. This looks and sounds the same as Explanation 1, but the B chord is understood as tonic instead of dominant.






                share|improve this answer


























                • In my ear the chord can also resolve to a B or G based tonic.

                  – piiperi
                  1 hour ago











                • And it could resolve to D♭ just as easily as it resolves to G! It's a great chord, and very versatile.

                  – Richard
                  1 hour ago











                • Oh, resolving to D♭6 or D♭m6, really nice! :)

                  – piiperi
                  1 hour ago











                • In explanation 5, you said FrV43. I understand Fr to mean French, V to mean a chord in the fifth degree, but I'm not sure what 43 refers to. Is this a figured base notation, in which case it would be V4/3? Also, why are these chords named after the country, E.G. Italian, French and German? Thanks!

                  – HeavenlyHarmony
                  57 mins ago











                • @HeavenlyHarmony Yes, the 4/3 is figured bass; I'll edit in a slash to make that more clear. The national names don't really mean anything, and they have nothing to do with the countries. It's just tradition to call them that! See also music.stackexchange.com/questions/20334/…

                  – Richard
                  54 mins ago


















                4














                As is so often the case in music, a label depends on how something is functioning in context. There are several possibilities for this chord, and they can resolve variously to (at least) chords on B, F, E, or B♭. Prepare for a bit of an onslaught!



                1. A French Augmented-Sixth Chord in E



                Technically speaking, your listing of Root, major third, major second, major third actually results in C E F♯ A♯, because the major second above E is F♯ and not G♭. As such, you're looking at a French augmented-sixth chord. These chords tend to move to V (here, B), and so this chord is in the key of E:



                enter image description here



                2. Altered V7 in F



                But if these pitches must be C E G♭ B♭, then it's an altered V7 in F. The V7 chord in F major is C E G B♭. But around the middle of the 19th century, composers started making adjustments to the members of the V7 chord; typically, these adjustments allowed for a smoother resolution to I. One common adjustment was to alter the chordal fifth, either by raising it or lowering it a half step. In this case, we can view this chord as a V7 with a lowered chordal fifth, or V7♭5. In so doing, the G♭ resolves smoothly by half step to F (compare that to what is normally a whole step from G♮ to F).



                enter image description here



                Those two are the most likely explanations, especially if you consider C to be the bass. But there are a few other options:



                3. A French Augmented-Sixth Chord in B♭



                One of the fascinating things about the French augmented-sixth is that it's symmetrical: it's two major thirds separated by tritone. Using your given pitches (and not the enharmonic ones in Explanation 1), we have an augmented-sixth chord not in E, but in B♭! But this requires G♭ to be in the bass. Once again, this chord will resolve to the dominant (V), which in B♭ will be F.



                enter image description here



                4. An Altered V7 in B



                If we combine the enharmonic spelling of Explanation 1 with the harmonic function in Explanation 2, this can be viewed as a V7♭5 in B:



                enter image description here



                5. A "FrV4/3" in F



                We can mix these altered dominant and augmented-sixth explanations to create yet more: one is an altered dominant (much like Explanations 2 and 4) that has G♭ in the bass (like Explanations 3 and 4).



                The "French V4/3" is a V7 chord (in F, C is the root) with a lowered chordal fifth (G♭) in second inversion (this G♭ is the bass). A normal V7 in second inversion is labeled a V43, but since this lowered chordal fifth makes it enharmonic to a French augmented-sixth chord, we call it a FrV4/3.



                The chord still resolves to F, but now it's understood that F is tonic (like in Explanation 2), not dominant (like in Explanations 3). The resolution is the same as in Explanation 3.



                6. A "FrV4/3" in B



                Lastly, the harmonic function of Explanation 5 meets the enharmonic spelling of Explanations 1 and 4: a FrV4/3 in B. This looks and sounds the same as Explanation 1, but the B chord is understood as tonic instead of dominant.






                share|improve this answer


























                • In my ear the chord can also resolve to a B or G based tonic.

                  – piiperi
                  1 hour ago











                • And it could resolve to D♭ just as easily as it resolves to G! It's a great chord, and very versatile.

                  – Richard
                  1 hour ago











                • Oh, resolving to D♭6 or D♭m6, really nice! :)

                  – piiperi
                  1 hour ago











                • In explanation 5, you said FrV43. I understand Fr to mean French, V to mean a chord in the fifth degree, but I'm not sure what 43 refers to. Is this a figured base notation, in which case it would be V4/3? Also, why are these chords named after the country, E.G. Italian, French and German? Thanks!

                  – HeavenlyHarmony
                  57 mins ago











                • @HeavenlyHarmony Yes, the 4/3 is figured bass; I'll edit in a slash to make that more clear. The national names don't really mean anything, and they have nothing to do with the countries. It's just tradition to call them that! See also music.stackexchange.com/questions/20334/…

                  – Richard
                  54 mins ago
















                4












                4








                4







                As is so often the case in music, a label depends on how something is functioning in context. There are several possibilities for this chord, and they can resolve variously to (at least) chords on B, F, E, or B♭. Prepare for a bit of an onslaught!



                1. A French Augmented-Sixth Chord in E



                Technically speaking, your listing of Root, major third, major second, major third actually results in C E F♯ A♯, because the major second above E is F♯ and not G♭. As such, you're looking at a French augmented-sixth chord. These chords tend to move to V (here, B), and so this chord is in the key of E:



                enter image description here



                2. Altered V7 in F



                But if these pitches must be C E G♭ B♭, then it's an altered V7 in F. The V7 chord in F major is C E G B♭. But around the middle of the 19th century, composers started making adjustments to the members of the V7 chord; typically, these adjustments allowed for a smoother resolution to I. One common adjustment was to alter the chordal fifth, either by raising it or lowering it a half step. In this case, we can view this chord as a V7 with a lowered chordal fifth, or V7♭5. In so doing, the G♭ resolves smoothly by half step to F (compare that to what is normally a whole step from G♮ to F).



                enter image description here



                Those two are the most likely explanations, especially if you consider C to be the bass. But there are a few other options:



                3. A French Augmented-Sixth Chord in B♭



                One of the fascinating things about the French augmented-sixth is that it's symmetrical: it's two major thirds separated by tritone. Using your given pitches (and not the enharmonic ones in Explanation 1), we have an augmented-sixth chord not in E, but in B♭! But this requires G♭ to be in the bass. Once again, this chord will resolve to the dominant (V), which in B♭ will be F.



                enter image description here



                4. An Altered V7 in B



                If we combine the enharmonic spelling of Explanation 1 with the harmonic function in Explanation 2, this can be viewed as a V7♭5 in B:



                enter image description here



                5. A "FrV4/3" in F



                We can mix these altered dominant and augmented-sixth explanations to create yet more: one is an altered dominant (much like Explanations 2 and 4) that has G♭ in the bass (like Explanations 3 and 4).



                The "French V4/3" is a V7 chord (in F, C is the root) with a lowered chordal fifth (G♭) in second inversion (this G♭ is the bass). A normal V7 in second inversion is labeled a V43, but since this lowered chordal fifth makes it enharmonic to a French augmented-sixth chord, we call it a FrV4/3.



                The chord still resolves to F, but now it's understood that F is tonic (like in Explanation 2), not dominant (like in Explanations 3). The resolution is the same as in Explanation 3.



                6. A "FrV4/3" in B



                Lastly, the harmonic function of Explanation 5 meets the enharmonic spelling of Explanations 1 and 4: a FrV4/3 in B. This looks and sounds the same as Explanation 1, but the B chord is understood as tonic instead of dominant.






                share|improve this answer















                As is so often the case in music, a label depends on how something is functioning in context. There are several possibilities for this chord, and they can resolve variously to (at least) chords on B, F, E, or B♭. Prepare for a bit of an onslaught!



                1. A French Augmented-Sixth Chord in E



                Technically speaking, your listing of Root, major third, major second, major third actually results in C E F♯ A♯, because the major second above E is F♯ and not G♭. As such, you're looking at a French augmented-sixth chord. These chords tend to move to V (here, B), and so this chord is in the key of E:



                enter image description here



                2. Altered V7 in F



                But if these pitches must be C E G♭ B♭, then it's an altered V7 in F. The V7 chord in F major is C E G B♭. But around the middle of the 19th century, composers started making adjustments to the members of the V7 chord; typically, these adjustments allowed for a smoother resolution to I. One common adjustment was to alter the chordal fifth, either by raising it or lowering it a half step. In this case, we can view this chord as a V7 with a lowered chordal fifth, or V7♭5. In so doing, the G♭ resolves smoothly by half step to F (compare that to what is normally a whole step from G♮ to F).



                enter image description here



                Those two are the most likely explanations, especially if you consider C to be the bass. But there are a few other options:



                3. A French Augmented-Sixth Chord in B♭



                One of the fascinating things about the French augmented-sixth is that it's symmetrical: it's two major thirds separated by tritone. Using your given pitches (and not the enharmonic ones in Explanation 1), we have an augmented-sixth chord not in E, but in B♭! But this requires G♭ to be in the bass. Once again, this chord will resolve to the dominant (V), which in B♭ will be F.



                enter image description here



                4. An Altered V7 in B



                If we combine the enharmonic spelling of Explanation 1 with the harmonic function in Explanation 2, this can be viewed as a V7♭5 in B:



                enter image description here



                5. A "FrV4/3" in F



                We can mix these altered dominant and augmented-sixth explanations to create yet more: one is an altered dominant (much like Explanations 2 and 4) that has G♭ in the bass (like Explanations 3 and 4).



                The "French V4/3" is a V7 chord (in F, C is the root) with a lowered chordal fifth (G♭) in second inversion (this G♭ is the bass). A normal V7 in second inversion is labeled a V43, but since this lowered chordal fifth makes it enharmonic to a French augmented-sixth chord, we call it a FrV4/3.



                The chord still resolves to F, but now it's understood that F is tonic (like in Explanation 2), not dominant (like in Explanations 3). The resolution is the same as in Explanation 3.



                6. A "FrV4/3" in B



                Lastly, the harmonic function of Explanation 5 meets the enharmonic spelling of Explanations 1 and 4: a FrV4/3 in B. This looks and sounds the same as Explanation 1, but the B chord is understood as tonic instead of dominant.







                share|improve this answer














                share|improve this answer



                share|improve this answer








                edited 54 mins ago

























                answered 2 hours ago









                RichardRichard

                39.4k688169




                39.4k688169













                • In my ear the chord can also resolve to a B or G based tonic.

                  – piiperi
                  1 hour ago











                • And it could resolve to D♭ just as easily as it resolves to G! It's a great chord, and very versatile.

                  – Richard
                  1 hour ago











                • Oh, resolving to D♭6 or D♭m6, really nice! :)

                  – piiperi
                  1 hour ago











                • In explanation 5, you said FrV43. I understand Fr to mean French, V to mean a chord in the fifth degree, but I'm not sure what 43 refers to. Is this a figured base notation, in which case it would be V4/3? Also, why are these chords named after the country, E.G. Italian, French and German? Thanks!

                  – HeavenlyHarmony
                  57 mins ago











                • @HeavenlyHarmony Yes, the 4/3 is figured bass; I'll edit in a slash to make that more clear. The national names don't really mean anything, and they have nothing to do with the countries. It's just tradition to call them that! See also music.stackexchange.com/questions/20334/…

                  – Richard
                  54 mins ago





















                • In my ear the chord can also resolve to a B or G based tonic.

                  – piiperi
                  1 hour ago











                • And it could resolve to D♭ just as easily as it resolves to G! It's a great chord, and very versatile.

                  – Richard
                  1 hour ago











                • Oh, resolving to D♭6 or D♭m6, really nice! :)

                  – piiperi
                  1 hour ago











                • In explanation 5, you said FrV43. I understand Fr to mean French, V to mean a chord in the fifth degree, but I'm not sure what 43 refers to. Is this a figured base notation, in which case it would be V4/3? Also, why are these chords named after the country, E.G. Italian, French and German? Thanks!

                  – HeavenlyHarmony
                  57 mins ago











                • @HeavenlyHarmony Yes, the 4/3 is figured bass; I'll edit in a slash to make that more clear. The national names don't really mean anything, and they have nothing to do with the countries. It's just tradition to call them that! See also music.stackexchange.com/questions/20334/…

                  – Richard
                  54 mins ago



















                In my ear the chord can also resolve to a B or G based tonic.

                – piiperi
                1 hour ago





                In my ear the chord can also resolve to a B or G based tonic.

                – piiperi
                1 hour ago













                And it could resolve to D♭ just as easily as it resolves to G! It's a great chord, and very versatile.

                – Richard
                1 hour ago





                And it could resolve to D♭ just as easily as it resolves to G! It's a great chord, and very versatile.

                – Richard
                1 hour ago













                Oh, resolving to D♭6 or D♭m6, really nice! :)

                – piiperi
                1 hour ago





                Oh, resolving to D♭6 or D♭m6, really nice! :)

                – piiperi
                1 hour ago













                In explanation 5, you said FrV43. I understand Fr to mean French, V to mean a chord in the fifth degree, but I'm not sure what 43 refers to. Is this a figured base notation, in which case it would be V4/3? Also, why are these chords named after the country, E.G. Italian, French and German? Thanks!

                – HeavenlyHarmony
                57 mins ago





                In explanation 5, you said FrV43. I understand Fr to mean French, V to mean a chord in the fifth degree, but I'm not sure what 43 refers to. Is this a figured base notation, in which case it would be V4/3? Also, why are these chords named after the country, E.G. Italian, French and German? Thanks!

                – HeavenlyHarmony
                57 mins ago













                @HeavenlyHarmony Yes, the 4/3 is figured bass; I'll edit in a slash to make that more clear. The national names don't really mean anything, and they have nothing to do with the countries. It's just tradition to call them that! See also music.stackexchange.com/questions/20334/…

                – Richard
                54 mins ago







                @HeavenlyHarmony Yes, the 4/3 is figured bass; I'll edit in a slash to make that more clear. The national names don't really mean anything, and they have nothing to do with the countries. It's just tradition to call them that! See also music.stackexchange.com/questions/20334/…

                – Richard
                54 mins ago













                2














                If you write C7b5 a pianist or guitarist will play the right notes. Or Gb(F#)7b5.



                If you want a functional description, you'll need to show it in context, HAVING a function. There's a couple of tritones in there, either of which could power a resolution in two different directions!






                share|improve this answer
























                • I like that you point out the tri-tone sub. +1

                  – ggcg
                  1 hour ago
















                2














                If you write C7b5 a pianist or guitarist will play the right notes. Or Gb(F#)7b5.



                If you want a functional description, you'll need to show it in context, HAVING a function. There's a couple of tritones in there, either of which could power a resolution in two different directions!






                share|improve this answer
























                • I like that you point out the tri-tone sub. +1

                  – ggcg
                  1 hour ago














                2












                2








                2







                If you write C7b5 a pianist or guitarist will play the right notes. Or Gb(F#)7b5.



                If you want a functional description, you'll need to show it in context, HAVING a function. There's a couple of tritones in there, either of which could power a resolution in two different directions!






                share|improve this answer













                If you write C7b5 a pianist or guitarist will play the right notes. Or Gb(F#)7b5.



                If you want a functional description, you'll need to show it in context, HAVING a function. There's a couple of tritones in there, either of which could power a resolution in two different directions!







                share|improve this answer












                share|improve this answer



                share|improve this answer










                answered 1 hour ago









                Laurence PayneLaurence Payne

                32.5k1560




                32.5k1560













                • I like that you point out the tri-tone sub. +1

                  – ggcg
                  1 hour ago



















                • I like that you point out the tri-tone sub. +1

                  – ggcg
                  1 hour ago

















                I like that you point out the tri-tone sub. +1

                – ggcg
                1 hour ago





                I like that you point out the tri-tone sub. +1

                – ggcg
                1 hour ago











                0














                This is a French Augmented 6th chord (Fr⁶).
                Depending on the inversion used, the Minor 7th interval (C - B♭) tends to expand to an octave, while the inner voices resolve to the desired quality (ie. B Major).






                share|improve this answer




























                  0














                  This is a French Augmented 6th chord (Fr⁶).
                  Depending on the inversion used, the Minor 7th interval (C - B♭) tends to expand to an octave, while the inner voices resolve to the desired quality (ie. B Major).






                  share|improve this answer


























                    0












                    0








                    0







                    This is a French Augmented 6th chord (Fr⁶).
                    Depending on the inversion used, the Minor 7th interval (C - B♭) tends to expand to an octave, while the inner voices resolve to the desired quality (ie. B Major).






                    share|improve this answer













                    This is a French Augmented 6th chord (Fr⁶).
                    Depending on the inversion used, the Minor 7th interval (C - B♭) tends to expand to an octave, while the inner voices resolve to the desired quality (ie. B Major).







                    share|improve this answer












                    share|improve this answer



                    share|improve this answer










                    answered 2 hours ago









                    Richard BarberRichard Barber

                    1,0849




                    1,0849























                        0














                        Building off several of the existing answers, but putting it explicitly into a jazz context...




                        C#m7 C♮7b5 B6
                        iim7 bII7b5 I6


                        ...the second chord is the C E Gb Bb and would be a tritone substitution for the normal V7 in the common jazz progression iim7 V7 I6.



                        The enharmonic respelling of C E F♯ A♯ a French Augmented Sixth chord (in Richard's first example) would be the commonest functional use in 'classical' music.



                        Because the various spellings can be confusing, it's worth noting a French Augmented Sixth chord is an alteration of the more basic progression iiø43 V. In E minor that would be F# half diminished in second inversion, with the A tone raised. In terms of the E minor scale the 4th scale degree is altered by being raised with a sharp.




                        • start with iiø

                        • put it in second inversion

                        • raise the A with a sharp and resolve to V


                        enter image description here



                        It may take some time to wrap your head around the idea of augmented sixth chords, but I think it helps demystify them by recognizing their basic functions as inversions and alterations of either iiø7 or iv7 resolving to V in a minor key.






                        share|improve this answer






























                          0














                          Building off several of the existing answers, but putting it explicitly into a jazz context...




                          C#m7 C♮7b5 B6
                          iim7 bII7b5 I6


                          ...the second chord is the C E Gb Bb and would be a tritone substitution for the normal V7 in the common jazz progression iim7 V7 I6.



                          The enharmonic respelling of C E F♯ A♯ a French Augmented Sixth chord (in Richard's first example) would be the commonest functional use in 'classical' music.



                          Because the various spellings can be confusing, it's worth noting a French Augmented Sixth chord is an alteration of the more basic progression iiø43 V. In E minor that would be F# half diminished in second inversion, with the A tone raised. In terms of the E minor scale the 4th scale degree is altered by being raised with a sharp.




                          • start with iiø

                          • put it in second inversion

                          • raise the A with a sharp and resolve to V


                          enter image description here



                          It may take some time to wrap your head around the idea of augmented sixth chords, but I think it helps demystify them by recognizing their basic functions as inversions and alterations of either iiø7 or iv7 resolving to V in a minor key.






                          share|improve this answer




























                            0












                            0








                            0







                            Building off several of the existing answers, but putting it explicitly into a jazz context...




                            C#m7 C♮7b5 B6
                            iim7 bII7b5 I6


                            ...the second chord is the C E Gb Bb and would be a tritone substitution for the normal V7 in the common jazz progression iim7 V7 I6.



                            The enharmonic respelling of C E F♯ A♯ a French Augmented Sixth chord (in Richard's first example) would be the commonest functional use in 'classical' music.



                            Because the various spellings can be confusing, it's worth noting a French Augmented Sixth chord is an alteration of the more basic progression iiø43 V. In E minor that would be F# half diminished in second inversion, with the A tone raised. In terms of the E minor scale the 4th scale degree is altered by being raised with a sharp.




                            • start with iiø

                            • put it in second inversion

                            • raise the A with a sharp and resolve to V


                            enter image description here



                            It may take some time to wrap your head around the idea of augmented sixth chords, but I think it helps demystify them by recognizing their basic functions as inversions and alterations of either iiø7 or iv7 resolving to V in a minor key.






                            share|improve this answer















                            Building off several of the existing answers, but putting it explicitly into a jazz context...




                            C#m7 C♮7b5 B6
                            iim7 bII7b5 I6


                            ...the second chord is the C E Gb Bb and would be a tritone substitution for the normal V7 in the common jazz progression iim7 V7 I6.



                            The enharmonic respelling of C E F♯ A♯ a French Augmented Sixth chord (in Richard's first example) would be the commonest functional use in 'classical' music.



                            Because the various spellings can be confusing, it's worth noting a French Augmented Sixth chord is an alteration of the more basic progression iiø43 V. In E minor that would be F# half diminished in second inversion, with the A tone raised. In terms of the E minor scale the 4th scale degree is altered by being raised with a sharp.




                            • start with iiø

                            • put it in second inversion

                            • raise the A with a sharp and resolve to V


                            enter image description here



                            It may take some time to wrap your head around the idea of augmented sixth chords, but I think it helps demystify them by recognizing their basic functions as inversions and alterations of either iiø7 or iv7 resolving to V in a minor key.







                            share|improve this answer














                            share|improve this answer



                            share|improve this answer








                            edited 1 min ago

























                            answered 27 mins ago









                            Michael CurtisMichael Curtis

                            6,401427




                            6,401427























                                -1














                                In addition to the ones already suggested, my first-choice instinctive interpretation was:



                                F# dominant that wants to resolve to a B tonic chord like Bm6. It's either missing the bass, or has a tritone substitution.



                                or:



                                D dominant that wants to resolve to a G tonic chord like G6. Try it, sounds very nice! D or G# bass note fits in very easily, but it doesn't necessarily need any added bass note.



                                or:



                                Ab dominant that wants to resolve to a Db tonic chord like Db6. (Thanks Richard)






                                share|improve this answer






























                                  -1














                                  In addition to the ones already suggested, my first-choice instinctive interpretation was:



                                  F# dominant that wants to resolve to a B tonic chord like Bm6. It's either missing the bass, or has a tritone substitution.



                                  or:



                                  D dominant that wants to resolve to a G tonic chord like G6. Try it, sounds very nice! D or G# bass note fits in very easily, but it doesn't necessarily need any added bass note.



                                  or:



                                  Ab dominant that wants to resolve to a Db tonic chord like Db6. (Thanks Richard)






                                  share|improve this answer




























                                    -1












                                    -1








                                    -1







                                    In addition to the ones already suggested, my first-choice instinctive interpretation was:



                                    F# dominant that wants to resolve to a B tonic chord like Bm6. It's either missing the bass, or has a tritone substitution.



                                    or:



                                    D dominant that wants to resolve to a G tonic chord like G6. Try it, sounds very nice! D or G# bass note fits in very easily, but it doesn't necessarily need any added bass note.



                                    or:



                                    Ab dominant that wants to resolve to a Db tonic chord like Db6. (Thanks Richard)






                                    share|improve this answer















                                    In addition to the ones already suggested, my first-choice instinctive interpretation was:



                                    F# dominant that wants to resolve to a B tonic chord like Bm6. It's either missing the bass, or has a tritone substitution.



                                    or:



                                    D dominant that wants to resolve to a G tonic chord like G6. Try it, sounds very nice! D or G# bass note fits in very easily, but it doesn't necessarily need any added bass note.



                                    or:



                                    Ab dominant that wants to resolve to a Db tonic chord like Db6. (Thanks Richard)







                                    share|improve this answer














                                    share|improve this answer



                                    share|improve this answer








                                    edited 1 hour ago

























                                    answered 1 hour ago









                                    piiperipiiperi

                                    7066




                                    7066






























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