What do you call this Chord?

Axe_meister

Take a sus4 but sharpen the 4th?

Sound really nice to my ears especially if you then slide up from the sharpened 4th to the 5th.

Great for some Lydian noodling

octatonic

Do you mean, for example C F# G?
That is the Viennese Trichord.

Axe_meister

How would you spell it in standard chord notation?
Sus#4?

viz

Aug4

0:53

https://youtu.be/aTL4qIIxg8A

0:07

https://youtu.be/92iI99Z94jU

Roland

b5th

bencowling81

Yes I call it sus#4. Rick Beato calls it a Lydian Triad. 

octatonic

viz said:

Aug4

This.

bencowling81

Your point that it sounds nice sliding up to the 5th is because you have the suspension with the b5 and perfect 5 that is then resolved. Therefore this characterisation could make a case for susb5, with the b5 replacing the 3. The problem with that is that the triad is a bit confusing with both b5 and 5, so sus#4, whilst less reflective of the character to my mind is less confusing in notation.

viz

bencowling81 said:

Your point that it sounds nice sliding up to the 5th is because you have the suspension with the b5 and perfect 5 that is then resolved. Therefore this characterisation could make a case for susb5, with the b5 replacing the 3. The problem with that is that the triad is a bit confusing with both b5 and 5, so sus#4, whilst less reflective of the character to my mind is less confusing in notation.

Depends on the music coz it could be either, so the question is, does it replace the 4th or the 5th - that determines whether it’s an augmented 4th or a diminished 5th. 

In the Rage Against the Machine song at the end of The Matrix for example, it’s an aug 4, because the music is based on the scale D E F# G# A B C D (D Lydian Dominant). It doesn’t have a perfect 4th (it augments the 4th instead), and it does have a perfect 5th. 

Other music may have a diminished 5th, no perfect 5th, and a perfect 4th. 

bencowling81

viz said:

bencowling81 said:

Your point that it sounds nice sliding up to the 5th is because you have the suspension with the b5 and perfect 5 that is then resolved. Therefore this characterisation could make a case for susb5, with the b5 replacing the 3. The problem with that is that the triad is a bit confusing with both b5 and 5, so sus#4, whilst less reflective of the character to my mind is less confusing in notation.

Depends on the music coz it could be either, but the question is, does it replace the 4th or the 5th - that determines whether it’s an augmented 4th or a diminished 5th. 

In the Rage Against the Machine song at the end of The Matrix it’s an aug 4, because the music is based on the scale D E F# G# A B C D (D Lydian Dominant). It doesn’t have a perfect 4th (it augments the 4th instead), and it does have a perfect 5th. 

Other music has a diminished 5th, no perfect 5th, and a perfect 4th. 

He wants to describe the chord though, not the note, and I thought it isn’t augmented 4th because he is suspending the 3rd. Are you saying it is sus(aug4)? Sus(#4) seems neater.

viz

bencowling81 said:

viz said:

bencowling81 said:

Your point that it sounds nice sliding up to the 5th is because you have the suspension with the b5 and perfect 5 that is then resolved. Therefore this characterisation could make a case for susb5, with the b5 replacing the 3. The problem with that is that the triad is a bit confusing with both b5 and 5, so sus#4, whilst less reflective of the character to my mind is less confusing in notation.

Depends on the music coz it could be either, but the question is, does it replace the 4th or the 5th - that determines whether it’s an augmented 4th or a diminished 5th. 

In the Rage Against the Machine song at the end of The Matrix it’s an aug 4, because the music is based on the scale D E F# G# A B C D (D Lydian Dominant). It doesn’t have a perfect 4th (it augments the 4th instead), and it does have a perfect 5th. 

Other music has a diminished 5th, no perfect 5th, and a perfect 4th. 

He wants to describe the chord though, not the note, and I thought it isn’t augmented 4th because he is suspending the 3rd. Are you saying it is sus(aug4)? Sus(#4) seems neater.

Nice point. Cheers. 

Well I try and avoid # and b when it comes to the 4ths and 5ths, so I’d always say aug or dim, but I know that’s classical not rock/jazz, so that’s just me;

I’d call it Daug4 or something I suppose.

i actually don’t think it is suspending the 3rd, because either the 3rd is present in which case it’s not a suspension (because for it to be a suspension, the replaced note has to be absent if you see what I mean) or the third is absent (in which case it’s just the root and the aug 4 anyway) and it would have to slip down to that 3rd not up to the 5th. At least in my Matrix example. 

I quite often get proper chord notation wrong though, as it’s not really used in classical to the same extent

Axe_meister

The way I play it is essentially the open D chord without the D string, with #4 5 on the high e string eventually coming back to the the 3rd then I move up two frets and play a sus4

Beatos Lydian triad is a good description for where it can be used

Axe_meister

I am missing the 3rd bit eventually resolving back to it.

Tannin

This gets hard. At what point does it stop being a #4 and become a b5? All depends on the context and what other notes are included. And there are combinations where neither description really makes sense - example: walk up a note against an otherwise static chord: 4, #4/b5, 5. It works great (if you like that sort of feel) but as for naming it .... too hard!

mart

viz said:

Aug4
...

I guess that means I've still got nearly six months to learn how to play it, right?

Caffeine_Vampire

Kevin.

bencowling81

viz said:

bencowling81 said:

viz said:

bencowling81 said:

Your point that it sounds nice sliding up to the 5th is because you have the suspension with the b5 and perfect 5 that is then resolved. Therefore this characterisation could make a case for susb5, with the b5 replacing the 3. The problem with that is that the triad is a bit confusing with both b5 and 5, so sus#4, whilst less reflective of the character to my mind is less confusing in notation.

Depends on the music coz it could be either, but the question is, does it replace the 4th or the 5th - that determines whether it’s an augmented 4th or a diminished 5th. 

In the Rage Against the Machine song at the end of The Matrix it’s an aug 4, because the music is based on the scale D E F# G# A B C D (D Lydian Dominant). It doesn’t have a perfect 4th (it augments the 4th instead), and it does have a perfect 5th. 

Other music has a diminished 5th, no perfect 5th, and a perfect 4th. 

He wants to describe the chord though, not the note, and I thought it isn’t augmented 4th because he is suspending the 3rd. Are you saying it is sus(aug4)? Sus(#4) seems neater.

Nice point. Cheers. 

Well I try and avoid # and b when it comes to the 4ths and 5ths, so I’d always say aug or dim, but I know that’s classical not rock/jazz, so that’s just me;

I’d call it an augmented triad, or D augmented, or Daug4 or something I suppose.

I quite often get proper chord notation wrong though, as it’s not really used in classical to the same extent

It’s a tricky one! For me Daug means 1,3,#5. Daug4 would leave me a bit in 2 minds whether it is 1,3,#4 or 1,#4,5. I think Dsus(#4) is logically clearest but agree it’s not ideal. Easiest solution: stick a B in there and call it Bmin13

viz

Axe_meister said:

I am missing the 3rd bit eventually resolving back to it.

If the 3rd is absent and the 5th is (obviously) absent, then you just have the root and the aug 4th. So I’d call it an aug4 (no 3, no 5). Or something. But yep. That sounds highly clumsy and stupid. It’s probably best just to notate the music and forget about chord names Or just shout “we’re in Lydian guys”

viz

bencowling81 said:

viz said:

bencowling81 said:

viz said:

bencowling81 said:

Your point that it sounds nice sliding up to the 5th is because you have the suspension with the b5 and perfect 5 that is then resolved. Therefore this characterisation could make a case for susb5, with the b5 replacing the 3. The problem with that is that the triad is a bit confusing with both b5 and 5, so sus#4, whilst less reflective of the character to my mind is less confusing in notation.

Depends on the music coz it could be either, but the question is, does it replace the 4th or the 5th - that determines whether it’s an augmented 4th or a diminished 5th. 

In the Rage Against the Machine song at the end of The Matrix it’s an aug 4, because the music is based on the scale D E F# G# A B C D (D Lydian Dominant). It doesn’t have a perfect 4th (it augments the 4th instead), and it does have a perfect 5th. 

Other music has a diminished 5th, no perfect 5th, and a perfect 4th. 

He wants to describe the chord though, not the note, and I thought it isn’t augmented 4th because he is suspending the 3rd. Are you saying it is sus(aug4)? Sus(#4) seems neater.

Nice point. Cheers. 

Well I try and avoid # and b when it comes to the 4ths and 5ths, so I’d always say aug or dim, but I know that’s classical not rock/jazz, so that’s just me;

I’d call it an augmented triad, or D augmented, or Daug4 or something I suppose.

I quite often get proper chord notation wrong though, as it’s not really used in classical to the same extent

It’s a tricky one! For me Daug means 1,3,#5. Daug4 would leave me a bit in 2 minds whether it is 1,3,#4 or 1,#4,5. I think Dsus(#4) is logically clearest but agree it’s not ideal. Easiest solution: stick a B in there and call it Bmin13

Yep soz I didn’t mean augmented triad. I had a temporary faulty brain episode. 

bencowling81

viz said:

Axe_meister said:

I am missing the 3rd bit eventually resolving back to it.

If the 3rd is absent and the 5th is (obviously) absent, then you just have the root and the aug 4th. So I’d call it an aug4 (no 3, no 5). Or something. But yep. That sounds highly clumsy and stupid. It’s probably best just to notate the music and forget about chord names Or just shout “we’re in Lydian guys”

This. Establish you are in Lydian and it’s just a sus chord. Phew!