Name this chord

[creegstor]

Originally Posted by pinkheadedbug

022300 in regular tuning.

Song is in D.

Emin add #11

[bencahill]

Emin add #11

Where's the 3rd?

The notes are E, B, E, Bb, B, E
I would say E7(b5 no 3rd) or maybe Bmaj7sus4

[Jason West]

Originally Posted by bencahill

Where's the 3rd?
The notes are E, B, E, Bb, B, E

One could say the 3rd is implied because the key is D Major. Even though the G note is "missing" for this fingering, it wouldn't drastically change the character because the tritone dissonance between E and Bb dominates the sound. In other words, if one were to stretch the fingers to play 075300 ... that extra G is drowned out by the tritone.

[creegstor]

Originally Posted by bencahill

Where's the 3rd?

The notes are E, B, E, Bb, B, E
I would say E7(b5 no 3rd) or maybe Bmaj7sus4

You could cal it E5 add #11 I guess. I figured the g was implied because of the key but not necessarily I suppose. I use this chord in a few of my songs albeit in different keys. In one it resolves to a major. In another it's minor.

[themixtape]

Definitely Em add#11.

I just analyzed this chord myself today. It's the second chord in the chorus of Rush's "Limelight."

[pinkheadedbug]

Thanks folks.

In the context of the song it definitely plays as an Em even though there's no 3rd. So EmAdd#11 feels right althought EmAdd#11(no 3rd) or E5Add#11 is probably technically correct.

Funny that such an innocuous little chord should have such a big name.

[themixtape]

Originally Posted by pinkheadedbug

Thanks folks.

In the context of the song it definitely plays as an Em even though there's no 3rd. So EmAdd#11 feels right althought EmAdd#11(no 3rd) or E5Add#11 is probably technically correct.

Funny that such an innocuous little chord should have such a big name.

Well if you wanted to get really technical, there's no 3rd, yes... maybe it would be best to use E5 add#11, or Em add#11(no 3rd). So many names for the same chord, haha.

[hobson]

OT I know, but (couldn't resist)----

C, an E-flat, and G go into a bar. The bartender says: "Sorry, but we don't serve minors." So, the E-flat leaves, and the C and the G have an open fifth between them. After a few drinks, the fifth is diminished: the G is out flat.

An F comes in and tries to augment the situation, but is not sharp enough. A D comes into the bar and heads straight for the bathroom saying, "Excuse me, I'll just be a second."

An A comes into the bar, but the bartender is not convinced that this relative of C is not a minor. Then the bartender notices a B-flat hiding at the end of the bar and exclaims: "Get out now! You're the seventh minor I've found in this bar tonight." The E-flat, not easily deflated, comes back to the bar the next night in a 3-piece suit with nicely shined shoes.

The bartender (who used to have a nice corporate job until his company downsized) says: "You're looking sharp tonight, come on in! This could be a major development." This proves to be the case, as the E-flat takes off the suit and stands there au natural. Eventually, the C sobers up and realizes in horror that he's under a rest. The C is brought to trial, is found guilty of contributing to the diminution of a minor, and is sentenced to 10 years of DS without Coda at an upscale correctional facility.

[Jason West]

Originally Posted by pinkheadedbug

So EmAdd#11 feels right althought EmAdd#11(no 3rd) or E5Add#11 is probably technically correct.

The last 2 that explicitly excludes the 3rd is not necessarily more "correct" -- that notation simply biases the consequences of the fingering mechanics on a fretboard.

The EmAdd#11 is also correct because intellectually, emotionally, contextually, etc ... it's an E minor sound in your D Major key song.

If you had a 7-string guitar, or were pressing 10 fingers on a piano, you may very well have included that G note (the 3rd). The problem with the supposedly "more correct" E5Add#11 is that it inadvertently states that you deliberately excluded the G as a compositional decision instead of a fingering one.

So, if you were communicating that tonality to another musician without regards to physical limitations on instruments, I'd be more accurate to say EmAdd#11. On the other hand if you transcribing traditional notation without any tablature, then the E5Add#11 is more precise because it lets guitarists know that they don't have to stretch their fingers for that elusive G that's supposed to be there.

They are both right depending on the situation.

[Jason West]

Originally Posted by Frank_Case

It has no minor third, so it's not a minor chord.

It depends on whether the OP was trying to exactly transcribe the particular fingering vs trying to communicate the concept of the song.

One can say the more technically correct of E5 is conveying an incorrect tonality that's happening in the song.

They are 2 different things.

[teleharmonium]

I have no quarrel with calling it Emadd#11 but if writing a chart myself I would call it Em#4 or Em#4 no third depending on whether it was for the tune as a whole, or just the guitar part.

IMO - in my world - #11 implies more of a jazz voicing where the A# would be spaced far apart from the B, or the B would be omitted. So #4 better conveys the b9 interval clash that is a main feature of the chord.

[pinkheadedbug]

I was just asking how to notate that particular chord for a chart but you guys carry on!

[spiderman]

This is a waste of time.
Chords can't be analyzed very well in isolation. What it's name is often relates to the song, the key, where it's coming from, and where it's going.... etc.

It might not even be a chord. It could just be passing-tones isolated from the melody.