What is this chord?

[Passante]

What Chord.png

[CandelaAudio]

It's a very bare chord, which is most simply named Bsus(b2) (B suspended flat second), with F as an added fifth. Because it has no third, it’s functionally ambiguous:
As B-rooted, it’s that Bsus(b2) sonority (quite dissonant because of the B–C clash and the tritone B–F).
​In context you might also hear it as an upper structure over another bass (e.g. as tensions over G or F, etc.), but on its own Bsus(b2) is the clearest "label".​

Is this chord sitting over any specific bass note in your progression, or is B really the bass?

[Passante]

I haven't decided what to put as a bass yet, though I imagine F would sound more "natural". But keep in mind I'm working on a trance track so things sounding strange/dissonant doesn't really bother me that much.
This chord just struck me as a bit less obvious. I guess it's the "B" that makes it appear stranger.

[J M Band]

There's a music theorist (can't remember who) who calls this a "chordioid." It makes little musical sense out of a context, but you are right about it sounding as a possible component of a larger chord.

By itself, you could call it B Locrian since it has the two main modal color tones of the Locrian mode, b5 and b2.

Or how about F Lydian inverted with no third, or C Ionian inverted.

Just off the top of my head.

[cvale]

It's a chord that's frankly not really worth naming. Also, it's important to know that when truly naming a chord you have to know what the root is. And to know that you have to look at the whole picture, not just the notes on that particular instrument. For instance if you were reading a piano transcription of a jazz player and you saw the notes Eb G Bb D you might assume it's clearly an Ebmaj7 but then you look at the lead sheet and it says Cm7? Silly you - the bass player is playing a C and you're playing a rootless Cm9 voicing. The C wasn't even in the chord you were looking at. So the "chord" you're looking at here could be a bunch of things, but if you insist on looking at it in isolation, even then it really depends on which note you are considering the root. *Usually* if you have nothing better to go on, you should consider the lower voice of a perfect fifth (or upper voice of a perfect fourth) to be the root, so in this case it would be F and you have what many people call an F Lyd. chord in first inversion.

[Passante]

Thank you for the explanation.

And about this one, I think it can be named in isolation?

Chord Img.png

[thievedletter]

Thank you for the explanation.

And about this one, I think it can be named in isolation?
Chord Img.png

B9/11/13/A

There are lots of tools for naming chords. I would check them out if I were you. You can just search something like "reverse Piano chord finder"

Here's one for example: https://www.scales-chords.com/chord-namer/

[cryophonik]

Without any context, I’d call that a G#min/Amaj polychord

[Passante]

Thank you for the explanation.

And about this one, I think it can be named in isolation?
Chord Img.png

B9/11/13/A

There are lots of tools for naming chords. I would check them out if I were you. You can just search something like "reverse Piano chord finder"

Here's one for example: https://www.scales-chords.com/chord-namer/

Thanks. So according to that site it is: Amaj9 add(b5)

But yesterday when I was googling it gave me Amaj9(#11), and says it is some kind of a jazz/fusion chord.

[Passante]

Without any context, I’d call that a G#min/Amaj polychord

And this is another possibility? Or is it the same chord named differently.
I'm really about to give up with these chord namings.

[Gamma-UT]

Thanks. So according to that site it is: Amaj9 add(b5)

But yesterday when I was googling it gave me Amaj9(#11), and says it is some kind of a jazz/fusion chord.

They are enharmonically equivalent but the second one is going to be more familiar to performers.

Major 9th chords are a bit less common than regular 9ths because they're typically going to be reserved for the I or IV chord in a progression. So you might want to treat it as C#min9/A. Or cryophonik's polychord option. They're all valid ideas. The question of which one comes down to context: things like chord and bass movement.

[Passante]

Great, thanks, so final verdict C#min9/A

[thievedletter]

I think what you might be missing is all the answers are true. The intervals are what matters and the context of the chord. The naming is just a description.

A flavour could be described as 'sweet and sour', or 'sour and sweet,' but they mean the same thing.