Confusting Chord Title

[joecc]

Hi there,
What does the plus mean in this chord title? It's from a keyboard book, I'm studying.
B+7(sharp 9).
Ok, I know it's a B chord with a sharp 9th, but the +7.
I would know if I seen this: B7(sharp9) (B dominant 7 plus a sharp 9th)

[Hadrondrift]

I guesss "+7" means a major septime, so, for example, "B+7(sharp 9)" could also be written as Bmaj7/#9.

[Novalis]

I think it could also mean +5, so an augmented chord.
Have a look at the melody, maybe that can give you a clue about what exact chord to use.

Not a very nice way to not it anyway, though.

[sjm]

As stated above, a + is often used for augmented instead of "aug". I've seen this in loads of published chord sheets and music books; AFAIK it's a pretty standard way to notate an augmented chord. So IMO it's a B augmented chord with the seventh.

I've not personally ever seen major sevenths noted with a +; instead M7 of Maj7 get used a lot. But there are a lot of different ways people notate chords, so you never know.

[Hadrondrift]

Guess Novalis' and sjm's responses have a much higher probability than mine. So it's most likely B augmented with 7 and #9 (b #d g a d).

[stateofpsychosis]

Yea it probably does mean augmented but I've seen people use a + to define an add chord like an add 9 but I doubt anyone would write a 7th chord as an add chord so yea I'd assume that's augmented

[jancivil]

I'd assume the + for +5 as well. but #9 is Cx, C double sharp. True spelling: B D# Fx A Cx.

[Hadrondrift]

Cx

Ya, right, at least I tried...

[jancivil]

I'm making a bunch of mistakes myself these days

[stateofpsychosis]

Yea I hear ya. I've been going over and fixing mistakes myself lately to. Probably due to the fact I'm using a lot of odd scales like Messiaen mode 2 or nanotonics. The Messiaen scale is symmetrical so that one is really difficult to work with. Luckily I always catch the mistakes before releasing. You know what they say though.. There's no such thing as failing only learning what doesn't work

[jancivil]

yeah, I'm into this whole area of modal thinking and intonations and not A-440 that when I went into trying to figure out some chords here the other day, I was in the wrong hemisphere altogether and was hearing things, couldn't get my bearings, like I had lost something.

[stateofpsychosis]

Ah all the Celtic people like to think about it that way to. Hey if all else fails find an example of it in a recording a replicate it by ear. That's the only way I could get an idea of what subdominant minor model interchange is ( not that I could explain that).

[jancivil]

this is that 'how do I make this chords' thread, it was a recording. I knew what the notes were more or less but naming them as useful chords, well there wasn't even any consensus on it at the end of the day, an odd thing with ambiguities but sounds kind of more normal than it works out to be. I didn't have a piano or anything in front of me, it's just singing notes to test. I came up with one note that isn't there but another person found it too. It was a little like a weird dream.

I tend to trust my ability to pick things up but my ear was just all beat up from what I do and I got tired, I didn't think I was going to learn by beating my head on that wall anymore. I did learn I was overconfident going in.

[stateofpsychosis]

I get you. We've all been there.

[joecc]

I guesss "+7" means a major septime, so, for example, "B+7(sharp 9)" could also be written as Bmaj7/#9.

thanks but I doubt it, as the author stressed the importance of labelling dominant 7ths and major 7th correctly, so she says if it's written as B7, it's a dominant 7th and if it's a Bmaj7 it's a...well a major 7th..

thanks, anyway.