I'm doing a table of chords up through M7 and have a question on 3 chords. Although you can construct them, I've never seen any references to these chords. Are they valid?
aug6: 1,3,#5,6
augM7: 1,3,#5,7
sus(4)6: 1,4,5,6
Are these 3 chords valid?
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- KVRian
- 1030 posts since 14 May, 2008 from Tralfamadore
They are valid but I think the first one might be voiced for example as AmMaj7 (A, C, E, G#) to give octave separation on the #5/6. It is a very ominous sounding chord that I have used a lot. The second one is okay as is, for any key. The last one could be voiced as just F9 (F, A, C, G) for example or any other ninth chord.
However, someone like Bill Evans used a lot of crush chords like the last one as you noted.
However, someone like Bill Evans used a lot of crush chords like the last one as you noted.
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- KVRAF
- 26033 posts since 20 Oct, 2007 from gonesville
in actual harmonic practice, often a *6* appended to the chord name (as if 'add 6') is a misnomer, and indicates an inversion; IE: that 6th relationship per the bass.
for instance the last chord (eg., D G A B) is usually going to be the second inversion of G add 2. D G A is ambigous outside a real context, but that B really gives you a G Major sound.
that first chord (eg., C E G# A) is going to be the first inversion of Am M7 (as was already pointed out).
in terms of how the voice-leading works it, it's anybody's ballgame of course.
for instance the last chord (eg., D G A B) is usually going to be the second inversion of G add 2. D G A is ambigous outside a real context, but that B really gives you a G Major sound.
that first chord (eg., C E G# A) is going to be the first inversion of Am M7 (as was already pointed out).
in terms of how the voice-leading works it, it's anybody's ballgame of course.