what is this chord?

[flowdesigner]

Hi


D2 - F#2 - C3 - F#3


Its a d chord I play over e mixolydian, and I understand f# - c - f3 is tritonus chords

Thanks!

[strav101]

D F# C is a Dominant 7th chord with missing 5th over an E pedal

E Mixolydian is an E major scale with flattened 7th (E F# G# A B C# D E)
so it would be a VII7 in E Mixolydian over a tonic pedal

[Aroused by JarJar]

Depending on what is happening along with it, that is, if you've got the tonic triad as a chord or arpeggiation going along with this chord, it could be thought of as part of the dominant, or even an extension of the tonic, or as a VII7- most important is that that D is the flavor note that puts you in mixolydian. Keeping v-I without altering to V-I is necessary to actually be in mixolydian as well. (Well, the contemporary Western version of mixolydian- the ancient mixolydian corresponds more closely to today's locrian, IIRC)

In tertian harmony, the actual application, what is playing with what when, is going to make a difference as to what is percieved as the root. And theoretical naming does NOT always have to correspond directly to what you hear, because it is also simply a tool for the musicians. Especially in modal music, it could very well be that you hear a minor dominant in this case or even a "very tall tonic" droning along (when you hear all the instruments together), and not a VII7, but VII7 describes the part of the harmony that that instrument is playing. So, it is a good practical name.

[Aroused by JarJar]

Depending on what is happening along with it, that is, if you've got the tonic triad as a chord or arpeggiation going along with this chord, it could be thought of as part of the dominant, or even an extension of the tonic, or as a VII7- most important is that that D is the flavor note that puts you in mixolydian. Keeping v-I without altering to V-I is necessary to actually be in mixolydian as well. (Well, the contemporary Western version of mixolydian- the ancient mixolydian corresponds more closely to today's locrian, IIRC)

In tertian harmony, the actual application, what is playing with what when, is going to make a difference as to what is percieved as the root. And theoretical naming does NOT always have to correspond directly to what you hear, because it is also simply a tool for the musicians. Especially in modal music, it could very well be that you hear a minor dominant in this case or even a "very tall tonic" droning along (when you hear all the instruments together), and not a VII7, but VII7 describes the part of the harmony that that instrument is playing. So, it is a good practical name.

Edit- forgot to mention something. With a doubled F#, and in the context of "playing over e mixolydian, you could very well be creating at different points different chords and things like one-two-seven-five-one progressions and passing modulations to relative modes and keys. Just with "D7 over e mixolydian".