A name for this chord ?

[xtp]

1, m3, maj7, 11

[stylistically i never use 5's unless they are altered or in triads]

I assumed a minor major7 ,11.

but something shorter for the notebook would be better.

or maybe a minor#7,11 [ m#7,11 ]

thats a bit shorter.



has a nice movement to a m7b5

[seacouch]

mi11 (Ma7)

[gambaytheunspoken]

Cmin/Maj7add11

ciao!

[gambaytheunspoken]

If you're in the key of C, of course.

Ciao!

[Musicologo]

Another approach:

_7#4

For example, if you are in C, your chord will be C, Eb, B, F, so

F-B-C-Eb, that means a F7#4 Chord, with bass in C. You can put F7#4/C.

[xtp]

Cheers for all the ideas.

Another approach:

_7#4

symbols wise thats more me, 7#4 , except I always play the third and drop the fifth. [at least on guitar]

[and this is for my composition notebook]

maybe i'll compromise and use m11#7

at least it separates the numbers with symbols.

[time passes while staring at screen...]

Actually i really like that.

m11#7

[Musicologo]

I'll consider then usin m11(7+). Because you don't have a #7. You have a major 7 not an augmented one.

If I read a m11#7 cipher for me would be C-Eb-G-B#-D-F. And you have B, not B#. #7 is a very uncommon symbol, noone really uses augmented 7 since they're are enarmonic with octaves. Be careful with that, you can mislead your readers.

[xtp]

Be careful with that, you can mislead your readers.

Its ok its only for my notes as a memory jogger for my compositions.

I only really use 3 scales, the natural minor, the dominant and the chromatic.

I always think of 7, as the postion it falls in the natural, or the dominant.

So for my own chord work, #7 will tend to imply maj7.


I do fully agree with you, to someone else who read it, it would inply ##7, or augmented.

However I try for economy of symbols as they can get a wordy , espicially if the piece has sections where the chord changes on every beat.

[seacouch]

I'll consider then usin m11(7+). Because you don't have a #7. You have a major 7 not an augmented one.

If I read a m11#7 cipher for me would be C-Eb-G-B#-D-F. And you have B, not B#. #7 is a very uncommon symbol, noone really uses augmented 7 since they're are enarmonic with octaves. Be careful with that, you can mislead your readers.

I've always learned that #7 is a Major seven. And I've seen that nomenclature commonly used in Brazilian and French sheet music, for what it's worth. In solfege, the Major 7 is "ti", which is the sharp version of "ta" (flat or dominant 7 - or what some would call "natural" 7). You're correct that B# is the same as C, but #7 is not necessarily synonymous with B# (in the key of C). But of course, this all varies according to where you went to school, who you studied with, etc.

[xtp]

I've always learned that #7 is a Major seven.

Cheers for adding that. All knowledge and points of view are welcome.

I have to admit that I never started in music till i was 20, and i never took music at school because it never interested me. So I have no formal music education at all.

And my knowledge of theory, is probably limited to scales,modes and chord use and construction from a very practical point of view.

I play jazz only because I find it the most natural form of music style for me to understand.

I play by ear not by theory. So because of this theory is quite fascinating to me.

Theory and the language it uses.

[Colonel Flashback]

I'd name it Stephen.