# Re: power chords

castlebravo242@xxxxxxx wrote:
What do you call root and 7?
A7 would be the dominant 7th chord. how
do you differientate that from a root
and dominant seventh note
without the notation.

My point isn't how you describe it,
it's that you still list it under the
"chords" of the song.

How would you describe it on that chord sheet?
Any way you want, as long as you get the notes
you're asking the player to play. If you deliberately
don't want him to play any notes but A and G,
A7(no 3or5) might be one way. Whatever is simplest
to get the message across is probably appropriate.
It would be useless to argue with the conductor/
arranger/director/composer, "but that can't be an A7,
it doesn't fit the true definition of a chord".
The director could answer simply "Play an A and a G.
Notate it any way you like. Ready, 2-3-4..."

We probably have to make the distinction here
ie we're learning about the theory of chords?
Or are we listing the chords to a song so that
we, or someone else can remember them?

If it's the academic angle we're looking at,
the context of the A-G interval is important.
In the key of D it would be a dom chord with
no 3/5. In the key of G it would be a min7 chord
with no 3/5. In the key of Bb it would be a
half dim chord with no 3/5. Actually, there
are other possibilities if taken to the ridiculous.
Those two notes are also present in an F#m7b9(no root/5/7).
Or let's go really weird. Em11(no root/5/7/9) or C13(noroot/3/7/9/11).

But in the day to day playing situation, none
of that is too important. It's all the same
two notes. When something is that critical,
it might be written in text in the margin.
"This chord is two notes only, an A note and a
G note a min 7th higher".

If the absolute register it should be played
in is critical, the arranger could write it
in standard notation or simpler, a chord grid,
showing you exactly what frets/strings he wants.

One way or another, that figure would necessitate
some kind of description from the arranger.

So back to the original concept, when someone
says "what chord do I play here?", the answer
would be the description in any of the above
variants, or any other variant that gets the
message across.

Lumpy

You Played on Lawrence Welk?
Yes but no blue notes. Just blue hairs.

www.LumpyMusic.com

.

## Relevant Pages

• Re: What is the key of this piece
... I hope I had understood the basic principle of one notation, ... Chord notations for these three positions would be I, I6, I6/4. ... dominant of the minor chord ii, ... key areas are more obvious in some pieces more than others. ...
(rec.music.theory)
• Re: What is the key of this piece
... I hope I had understood the basic principle of one notation, ... Chord notations for these three positions would be I, I6, I6/4. ... and the / means 'of' and the ii means the minor chord built on the 2nd ... dominant of the minor chord ii, ...
(rec.music.theory)
• Re: Chord notational system
... components of the chord symbol are visually separated. ... This ambiguity seems to be due to the mixing of pre- and post-fix notation ... Even if Joey uses C7that does not guarantee that the player will play ... There's already a tradition built up. ...
(rec.music.theory)
• Re: Theory question
... I could play Mixolydian all ... long it sounds good, but if I'm playing with a bass, piano and other ... cycle of 5ths in dominant chords, there seems to be at least two basic ... were the V7 chord. ...
(rec.music.makers.bass)
• Re: Just do a Diminished Scale over Dm7flat5 to G7flat9??
... Diminished is one of the things we play on ... you use enclosures to setup a note in the chord you're approaching. ... The "Locrian" mode is a pretty useless beast. ... and you get all your Altered Dominant notes. ...
(rec.music.makers.guitar.jazz)