A chord containing a 6, 7 and 9 - what would you call it?

[lfm]

This practice build on what he calls Cmaj7 and the notes C, E, A, D, G and B.

In this video 01:10 in


So it contains CEGB which is Cmaj7
- what about the A(6) and the D(9)?

Cmaj9add6 or what?
- I don't have a chord helper thingy

You try to learn stuff, and just get confused instead.

Often you leave out some notes in a chord, but adding a couple is another story, I think.

What is your take on this?

The practice routine is alright and something you probably learn a lot from getting intervals right in your backbone.
- just what he claims he is doing is my problem?

And I would just do a normal C7 and then all keys or something. But like the idea.

Thanks.

[eLawnMust]

Well containing the notes stated would be a CMaj9thadd13 (or 6th like you had) since it is missing the F# to make it an actual CMaj13th... The 6th is not in proper order should be ontop so a straight Cmaj9th on bottom add the 'A' (6th) ontop for the add13...

C-E-G-B-D-A is the way I'd play it...

[seangm]

In jazz they would probably just say it's a 6/9 chord and you are free to mess with additional major tonalities like having the major 7th in there as well. It's just another form of a major 7th chord with some additional extensions thrown in that work as part of the one chord.

[Fannon]

Another take (probably very unusual):

You're playing two simple chords at the same time:
Am/C in the left hand
G/D in the right hand

[lfm]

Another take (probably very unusual):

You're playing two simple chords at the same time:
Am/C in the left hand
G/D in the right hand

Thanks for your take on this everybody.

Interesting you should mention thinking as two chords.

Matt Johnson has a tut on this making minor 11 stuff

[lfm]

I think I will drop the PianoPig thing, video at the top, like boring way to practice things that don't sound nice.

Best practice is the practice you do and can stand.

This guy do a range of good tuts and pleasent to ears as well
https://rumble.com/embed/v4edzio/?pub=4

[Fannon]

Thanks for your take on this everybody.

Interesting you should mention thinking as two chords.

Matt Johnson has a tut on this making minor 11 stuff

I didn't know that video, but yes - that's explains it very well how how I thought about it. There's more chords that you can construct out of simple triads or even just 5 chords. E.g. C5 + E5 = Cmaj7. Thanks for the link!

[MadBrain]

Has a major 7th and a 6th (and optionally a 9th) -> Cmaj13
Has a major 7th and a 9th -> Cmaj9
Has a major 7th -> Cmaj7
Has a 6th and a 9th -> C69
Has a 9th -> Cadd9
Has a 6th -> C6
None of the above -> C

[FranklyFlawless]

Another take (probably very unusual):

You're playing two simple chords at the same time:
Am/C in the left hand
G/D in the right hand

The musical terminology for that is polychord:

Polychord - Wikipedia

[jamcat]

The context of the chord is going to determine what it is. Its function is more important than what you call it. I would audition the chord progression, substituting the polychord in question with each of the 3 possible base chords (Am, C, G) unadorned, to determine which one best maintained the chord function, and then build the chord spelling from there.

Or I’d just call it jazz and not think too much about it.

[lfm]

Thanks, it's not part of a progression, really, just a base for an exercise.
- then chromatically go through every variation and get all intervals correct as you move all fingers each step
- this is how I understood it

But I was bothered about that he called it Cmaj7 what he started with. So felt I have to ask around a bit if I got chord analysis as wrong.

But as you say, call it jazz and anything goes....

JasonZac(linked to further down) had a much better approach to getting all chords and patterns for fingers into backbone. All inversions and back and forth around the circle of 5ths.

So dropped PianoPig idea.

[HiEnergy]

Synfire calls this chord Cmaj7(2,6), in C major it suggests the C ionian scale for melodies over that chord.

[Fannon]

The context of the chord is going to determine what it is. Its function is more important than what you call it. I would audition the chord progression, substituting the polychord in question with each of the 3 possible base chords (Am, C, G) unadorned, to determine which one best maintained the chord function, and then build the chord spelling from there.

Or I’d just call it jazz and not think too much about it.

I really like your answer. The function in the context of the overall chord progression is the real interesting thing to find out.

[kvotchin]

CΔ13

[Starbright]

Here are some ways:
C 13
Cmj7 9 13
G/C
or
Csus 2