Piano World Home Page Forums Our Most Popular Forums Pianist Corner - Non Classical I think I invented a chord

With the bass playing the root of F, I played Fdom9 in the left and added EMaj in the right. The voicing was
F(Bass) Eb-G-A-C-B-E-Ab. I was actually just going for a #9 but this is what I hit. It's harsh but it came and went pretty fast, adding a brief moment of tension. Like getting a bite of garlic in your spaghetti sauce. (Worse analogies have been made.)

So would you call that? Maybe F9(#9#11b15)? Or F9+EMaj? Or skip it altogether and go fishing?

I suggest improving your chord in accordance with the logic of overtones: F/Eb GAD- AEG#B

Well...I guess I look at chords simply.

Your notes:

Bass = F

Ok...that's the starting point to be used.

The rest of your notes:
Eb-G-A-C-B-E-Ab

flat 7, 9, 11, 5, flat 13, 7th, sharp 9.



is there any note that you didn't hit on the entire piano? Lol.

According to Jerry Lee Lewis using your foot can create tension. Fishing sounds relaxing.

PianoWVBob, I was thinking the Eb-G-A-C (the A is a 3) forms the basic Fdom9. The Ab is the #9 I was going for (the Jimmy Hendrix chord).

Then the B is a #11 and the E is either a nat7 along with the b7 below, or a b15. I don't know if b15 is a thing. Probably a 7 along with the b7 makes more sense.

Yes, it really is XVb, which for some reason isn't in jazz harmony textbooks. In the system of harmonic tensions , diatonic and chromatic, there is their interaction with chord tones: IX (#, b) - I, XI (#) - III, XIII (b) -V. By the same logic, XV b (not VII #) leads to minor VII. Inside the dominant 7, the alteration of one step often pulls the alteration of another (7 / b9 / b13); so in this case: dominant 7 with 15b usually includes 5 # - GBD# F# (Gb). This is dominant chord I first heard from Chick Corea with Miles in 1970.