Quote:
Originally Posted by soundchaser59
Some of these don't make sense to me, not given what i am familiar with.
Why would you #5 on a min 7 chord? Em7#5 is the same as Cadd2, which is the same as Cadd9.
Usually the 7 is implied, so most players will think Caug7 if you just say C augmented. Augmented and #5 are the same thing. Cdim and Cdim7 are usually thought of the same. Jazz and blues players almost always play the 7.
Nobody says Major 7 flat 5, flat 5 is always stated as #11 when the chord is Major or dominant. E7b5 is E7#11.
Never heard of #9 and b5 in the same chord. That's a diminished chord.
Cmin7b5 is known as half diminished, and if you double b the 7 then it is full diminished.
I've just never heard things stated that way before, but most of the chords you list are standards, as far as I know.
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I'm taking a wild guess that these names are generated with some sort of software using selected notes from keyboard, thus they don't really have the original or any musical purpose.
For example, Em7#5, which is E G C(B#) D, which could be the result of having a suspended C over an Em7 chord change, and that C might resolve down to B. So really it's more like Em7b13 (Aeolian).
In general I would suggest focusing on voice leading, to make musical sense of the chords, rather than list of purposeless chord names.
For example, taking two random chords from the list, CMaj7#5 (C E G# B), A#7b5 (or Bb7b5: Bb D Fb Ab). From a glance we know that the common notes between these chords are G#=Ab, E=Fb, D is the 9th of C while C is the 9th of Bb, the difference is B!=Bb. However Bb is the b7 of C, which is within the notes of C7, thus Bb7 could be an alternation of C9#5. Coming from this assumption, could we make sense of the #5 alternation of Cmaj7? Maybe #5 is a chromatic passing tone from G from previous chord, for example FMaj9/F69 (F goes down to E, A goes up to B) or Eb9 (Eb-D G-G# Bb-B Db-C F-E) or Db7#11(Db-C, F-E, Cb=B, Eb-D, G-Ab)? Or maybe G# comes from a suspension from Emaj type chords, to keep G# consistent through all these chords.