Anglo cords

[Kelteglow]

Hi All I have found a nice cord that I can use prior to playing E minor .It is like B7 but it does not have a B in it. L/H Pull .Fsharp, A & D sharp any ideas.Bob

Edited November 27, 2011 by KelTekgolow

[Dirge]

Well it's F# minor...

[Daniel Hersh]

Well it's F# minor...

No it's not - that would have a C# rather than a D#.

[Ransom]

D#-F#-A sounds like a D#-diminished.

[Frederick Wahl]

Hi All I have found a nice cord that I can use prior to playing E minor .It is like B7 but it does not have a B in it. L/H Pull .Fsharp, A & D sharp any ideas.Bob

 

 

The only complete 3-note chord would be D# diminished.

 

If you want to consider the possible 4-note chords (with one note missing), your choices are:

 

B7th (no root)

Cdim7th (no root)

D#dim7th (no 3rd)

F#min6th (no 5th)

F#dim7th (no 5th)

[JimLucas]

Hi All I have found a nice cord that I can use prior to playing E minor .It is like B7 but it does not have a B in it. L/H Pull .Fsharp, A & D sharp any ideas.

It's quite natural for the human brain to use prior experience to fill in "gaps" in all sorts of perceptions. The ability to accurately read partially obscured text is a prime example. When the "filling in" can be done in more than one likely way, the ambiguity can result in shifting interpretations, such as in many optical illusions.

 

Less often mentioned, but I believe similarly common, is the ability to "feel" ("hear"?) full chords when one or more of the constituent notes is missing, but when the context of melody or other chords determines what that particular chord "should" be. D#-F#-A in isolation could be interpreted as an incomplete D#-diminished-seventh chord, an incomplete B7 chord, or even a straight D#-diminished (without the 7th). And Frederick has listed even more possibilities. But in the context of simple E-minor tunes, B7 is common and the other chords are almost never encountered. So to virtually everyone -- or at least anyone familiar with European-derived music -- will "hear" your chord as a B7, even though the B is missing. In the context of such a tune, if you really want your listeners to hear a D#-diminished chord (e.g.), you would almost certainly have to make it a diminished-seventh chord and include the C-natural to prevent the listener from "hearing" the B which would make it a B7.

 

Another way of looking at this is that there are many versions of every chord. E.g., C-E-G is a C-major chord, but so are E-G-c, G-c-e, C-G-e, and even more so-called "inversions". But a chord doesn't have to be limited to each note in one and only one octave. Other versions of the C-major chord are C-E-G-c, C-G-c-e, C-c-e-g, C-G-c-e-g, and even variations spanning many octaves on an instrument (or orchestra) that can play them. But with the brain's ability to "fill in", it's possible to leave out one, sometimes even more, of a chord's notes. E.g., in a tune in G-major, C together with either E or G will be "felt" as a C-major chord, while a B paired with an E implies an Em chord, and B paired with D would most likely be "heard" as a G-major chord, unless something else in the tune or chording had indicated B-minor or something else (G7? Bdim? both are quite unusual in G-major tunes).

 

So for all practical purposes, your 3-note chord accompanying a simple Em tune is just another version of B7, even though in a different context it might be heard as something else.

[Frederick Wahl]

It's quite natural for the human brain to use prior experience to fill in "gaps" in all sorts of perceptions. The ability to accurately read partially obscured text is a prime example. When the "filling in" can be done in more than one likely way, the ambiguity can result in shifting interpretations, such as in many optical illusions.

 

Less often mentioned, but I believe similarly common, is the ability to "feel" ("hear"?) full chords when one or more of the constituent notes is missing, but when the context of melody or other chords determines what that particular chord "should" be. D#-F#-A in isolation could be interpreted as an incomplete D#-diminished-seventh chord, an incomplete B7 chord, or even a straight D#-diminished (without the 7th). And Frederick has listed even more possibilities. But in the context of simple E-minor tunes, B7 is common and the other chords are almost never encountered. So to virtually everyone -- or at least anyone familiar with European-derived music -- will "hear" your chord as a B7, even though the B is missing. In the context of such a tune, if you really want your listeners to hear a D#-diminished chord (e.g.), you would almost certainly have to make it a diminished-seventh chord and include the C-natural to prevent the listener from "hearing" the B which would make it a B7.

 

Another way of looking at this is that there are many versions of every chord. E.g., C-E-G is a C-major chord, but so are E-G-c, G-c-e, C-G-e, and even more so-called "inversions". But a chord doesn't have to be limited to each note in one and only one octave. Other versions of the C-major chord are C-E-G-c, C-G-c-e, C-c-e-g, C-G-c-e-g, and even variations spanning many octaves on an instrument (or orchestra) that can play them. But with the brain's ability to "fill in", it's possible to leave out one, sometimes even more, of a chord's notes. E.g., in a tune in G-major, C together with either E or G will be "felt" as a C-major chord, while a B paired with an E implies an Em chord, and B paired with D would most likely be "heard" as a G-major chord, unless something else in the tune or chording had indicated B-minor or something else (G7? Bdim? both are quite unusual in G-major tunes).

 

So for all practical purposes, your 3-note chord accompanying a simple Em tune is just another version of B7, even though in a different context it might be heard as something else.

 

that's what I meant to say, but I was being brief - great explaination!

[Dirge]

Well it's F# minor...

No it's not - that would have a C# rather than a D#.

Good point. Ok not F# minor then.

[Kelteglow]

Thanks for all the replies.Bob

Edited November 28, 2011 by KelTekgolow