What chord is this?

Niels Andrews · From: Salinas, California, USA

If you are playing a Major 7th and playing all notes and you lower the root a semitone is that a 7/maj7 or maj7/7or ?
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Charlie McDonald · From: out of the blue

It sounds like a III minor. Otherwise an odd voicing of I major seventh, like C/B, root with a seventh bass?
So it would be M7/7. Someone may ask you why.
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Niels Andrews · From: Salinas, California, USA

Why what, why would I want to know what it would be called? How about curiosity?
Cheers
_________________
Die with Memories. Not Dreams.
Good Stuff like Zum S-12, Wolfe Resoport
MSA SS-12, Telonics Combo.

Charlie McDonald · From: out of the blue

Curiosity is a good reason. I always had a curious way of notation not unlike yours,
but I see you got into a more detailed discussion with several people on another chord.
It was Earnest that I thought might ask why,
but I think you were getting the answers to your questions.

Les Cargill · From: Oklahoma City, Ok, USA

I had a piano teacher who taught chord stacking.

Maybe it makes more sense on piano ( I recommend everybody have at least a cheap Yamaha keyboard because keyboards are the slide rule of chords ) but a Maj7 looks suspiciously like a major with a iii (minor - lowercase iii ) laid over it. A dom7 is a major plus a iiidim.

A 9th chord? the major chord with a V chord laid over it. 6th? Major plus the relative minor ( vi ). 11ths and 13ths get a bit trickier because there's more than one.

A major 13th is the major, the V and the ii minor. A dom13 is ... dom7 and the ii - for C, it's a CEGBb plus DFA. Either you're in the key of F or the Bb is an accidental; it's a dom chord, so chances are it's going to resolve to F - although it could resolve to any of a number of things - Gmin ( the ii ) or ...whatever.

What does all this get you? You can now do chord sub - if there's a dom7, you can play the iiidim.

Charlie McDonald · From: out of the blue

True.
To me, it might be the difference in playing it on psg or piano. I could finally get the tension in the chord described, but would have settled for, like, Eb/C kind of thing, but I get the chord now.
Maybe the ninth could appear in the bass, I don't hear it.

Les Cargill · From: Oklahoma City, Ok, USA

Ninth in the bass is pretty risky, but if it's a passing chord and makes a line, why note?

Charlie McDonald · From: out of the blue

I know, it's an interesting open question to begin with it.
My original question was, why would I note it?
An interesting discussion.
Meanwhile, Les, mr. Andrews, from whose syntax I would guess to be from northern Europe, wonders where we went. Neutral

I seem to view pretty much everything as passing activity and go with it.

Bill Hatcher · From: Atlanta Ga. USA

hope i understand your description.

lets say its a Gmaj7 so you are saying lower the root G to Gb....and play the Gmaj7 over that...

i would call that Bmin/F#. or a Gmaj7/F#

Ga McDonnell · From: N GA, USA

This might be a case where it's just a moving bass line more than a chord change. A country example of this would be the first 4 bars of I'm So Lonesome I Could Cry if there was a descending bass movement in each bar.
It would go G,F#,E,D where the chord itself would not change. It's hardly worth giving names to each of the chords, but to do that it would just be the chord with the bass note as a slash. (Gmaj7/F#, Gmaj7/E, Gmaj7/D).

This is another of those questions where it's hard to tell what in the #@*% is needed so this is just one idea.

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