Name this chord 🤟

[Chris Johnston]

Hey guys, so I was just watching a video of a friend showing his new music & he described a chord he played simply as a 'C minor' - however the exact voicing of notes he played were: C F# G Eb- which sounded amazing - but not strictly a C minor chord, or even strictly from the C minor scale. If you ignore the F#, its C minor, but if you ignore the G and think of the F# as Gb its Diminished - but you can't ignore anything

The full chord progression to give context was : G, C, G, ("C minor")

With the intervals R #4 5 b3- I had the idea of calling it a Lydian b3 chord (4th Mode in G Harmonic Major)

I'm wondering if anyone else has any ideas or if I'm missing anything?

Cheers!

 

[Dominik Gräber]

@Ids Schiere ???

 

[idssdi]

Personally I like start chord names off by means of basic triads and in this case there's a basic Cm triad with the root, the minor third and the fifth. Since we typically name chords based on the root, the third and the fifth the F# would probably be an #11 for me making it an Cm#11.

Take into account that the only time you name something a 4 or a second it's a SUS chord otherwise you typically use 9 or 11 (like you count from after the fifth of bother the third and the fifth are present) at least that's how I always understood it

 

[William B.]

I saw a book once it had like 3000+ chords with fingerings
It had the fretboards with numbers and the the chord names
like all the A chords and so on
Would be cool for a reference or if get stuck while writing

Maybe those notes is a cool chord progression
C F# G Eb

 

[Chris Johnston]

Personally I like start chord names off by means of basic triads and in this case there's a basic Cm triad with the root, the minor third and the fifth. Since we typically name chords based on the root, the third and the fifth the F# would probably be an #11 for me making it an Cm#11.

Take into account that the only time you name something a 4 or a second it's a SUS chord otherwise you typically use 9 or 11 (like you count from after the fifth of bother the third and the fifth are present) at least that's how I always understood it

Personally I like start chord names off by means of basic triads and in this case there's a basic Cm triad with the root, the minor third and the fifth. Since we typically name chords based on the root, the third and the fifth the F# would probably be an #11 for me making it an Cm#11.

Take into account that the only time you name something a 4 or a second it's a SUS chord otherwise you typically use 9 or 11 (like you count from after the fifth of bother the third and the fifth are present) at least that's how I always understood it

Cmin#11 makes sense for sure Yeah you're absolutely right regarding the naming as #11 rather than #4, as you're dealing with Upper Extensions to a chord