Please explain why this is not a B chord

ok, I'm working on progressions. I arrive at this chord in STD tuning

mute low E
1st finger on A 2nd fret
3rd finger on D 3rd fret
2nd finger on G 2nd fret
4th finger on B 3rd fret
mute High E

So my question. After consulting several chord web sites, I seem to be perplexed. The only sites give this chord name as F6/B or Dm6. Why doesn't this chord have a B name? If it does have a B name, then what the heck is it?

OK anyhooo

Thanks

If the fingering you gave is correct then its B A F D which is just an inversion of the Dm6 chord. To the extent of my knowledge it cant possibly be any kind of B chord. Then again it could possibly be a B dim chord (the B D F portion. I could be wrong though. it does have that funny dim sound.

Originally Posted by: da_ardvark
After consulting several chord web sites, I seem to be perplexed. The only sites give this chord name as F6/B or Dm6. Why doesn't this chord have a B name? If it does have a B name, then what the heck is it?

Any chord can be named by using any note as the root, viewing the rest of the notes as their relative distance from that root note. Example: Take the notes you are playing: B - F - A - D

Use the B as the root and the rest become:
B=1st
F=flat 5th
A=minor 7th
D=minor 3rd
This is a B minor 7 flat 5
Also called a B half diminished

Use the F as the root and the rest become:
B=flat 5th
F=1st
A=major 3rd
D=6th
This is a F6/B (the /B indicates that B is the bass note or lowest note played)

Use the A as the root and the rest become:
B=2nd or 9th
F=flat 6th
A=1st
D=4th
This is an A flat 6 sus 2 sus 4
Which is SO convoluted it is accurate but a very poor choice

Use the D as the root and the rest become:
B=6th
F=minor 3rd
A=5th
D=1st
This is a D minor 6

Which one should you call it? Whichever best matches the other chords you are using with it. Or else, just call it the most simple and direct: B is the bass note so call it a B minor 7 flat 5.

Thanks a bunch!!!

Make better sense now.

It really all boils down to a B chord hving the notes: B E and F#

The chord/notes you posted only includes the B note.

Looking at this chord with B as the Root you get: B F A D

From B this would be called a Bm7b5, or B half-diminished.

Originally Posted by: gennationIt really all boils down to a B chord hving the notes: B E and F#

The B major chord contains the notes:

B - 1st
D# - major 3rd
F# - 5th

B minor chord contains these notes:

B - 1st
D - minor 3rd
F# - 5th

These notes:

B - 1st
E - 4th
F# - 5th

... form a B sus 4 chord. Perhaps you made a little error, there?

Originally Posted by: CSchlegelThe B major chord contains the notes:

B - 1st
D# - major 3rd
F# - 5th

B minor chord contains these notes:

B - 1st
D - minor 3rd
F# - 5th

These notes:

B - 1st
E - 4th
F# - 5th

... form a B sus 4 chord. Perhaps you made a little error, there?

Oops, yeah I did with that E instead of the D#. Thanks for catching it.

His chord is still a Bm7b5 from the root of B.

so B-F-A-D?

that's a B half-diminished, I'd think...

Originally Posted by: Jolly McJollysonso B-F-A-D?

that's a B half-diminished, I'd think...

po-tay-toe / po-tah-toe

A half diminished chord or a m7b5 chord are the same thing...

I hate the fact you can write things a dozen ways. Pet Peeve is that when you see a diminished symbol after a chord notated, it means a diminished 7th.... :rolleyes:

The only way I can cope is to only use the word 'diminished' when I really mean it - if an alternate exists for another variant that is further away, I'll go with that....

Originally Posted by: zreynoldsppo-tay-toe / po-tah-toe

A half diminished chord or a m7b5 chord are the same thing...

Yeah, I was tardy to the party and only read the original question. Yes, though, that's right.

Originally Posted by: zreynoldsppo-tay-toe / po-tah-toe

A half diminished chord or a m7b5 chord are the same thing...
[/quote]
LOL. Right you are.

However, for the benefit of those that might be taking music theory classes. In classical & "formal" settings the "proper" name is half diminished. And if that's not enough hair splitting for you, jazz guys sometimes refuse to acknowledge the name half diminished, preferring min7flat5.

One jazz guy (friend of mine) explains it by asking, "Which half is diminished? How can you halve a chord?" :rolleyes:

Personally, I say either is acceptable, except in a voice leading context - if the voices of next chord follow "properly", then it could be better to call it a half diminished. If the voices don't exactly, I'd say min7flat5.

That helps me to conceptually keep them "unique".
[QUOTE=zreynoldsp]
The only way I can cope is to only use the word 'diminished' when I really mean it - if an alternate exists for another variant that is further away, I'll go with that....

Good idea! That way each one has a "unique" tag. Hope that works for you.

Originally Posted by: CSchlegelOne jazz guy (friend of mine) explains it by asking, "Which half is diminished? How can you halve a chord?" :rolleyes:

You can tell your friend it's the triad half, next time, and THAT's how you halve a chord, haha.

This is what it says on this website.

http://www.gootar.com/guitar/


B Ø half dimº ||Rm3d5b7

minor 3rd
dim 5th
flat 7th

Not that I know the theory but I use this site to help me find chords.
I'm learning, I'm learning.
Wally

Nice Site Wally, Thanks, I'm sure I'll be bookmarking that one for later use.

Originally Posted by: Jolly McJollysonYou can tell your friend it's the triad half, next time, and THAT's how you halve a chord, haha.

What my friend said was more of a joke than a serious comment. But he does have an interesting point - half a four note chord is two notes - so which two notes make it half diminished? If, as you suggest, you use the triad, you are isolating 3 of the 4 notes in the chord - 75% instead of 50%.

Not that any of this silliness matters, of course. :p The chord still is what it is. I call it "minor 7 flat 5" most of the time. The only time I use "half diminished" is when discussing it in terms of classical voice leading.

Originally Posted by: CSchlegelWhat my friend said was more of a joke than a serious comment. But he does have an interesting point - half a four note chord is two notes - so which two notes make it half diminished? If, as you suggest, you use the triad, you are isolating 3 of the 4 notes in the chord - 75% instead of 50%.

Not that any of this silliness matters, of course. :p The chord still is what it is. I call it "minor 7 flat 5" most of the time. The only time I use "half diminished" is when discussing it in terms of classical voice leading.

haha, no, my response was joking as well. I mean, yes, it is the triad "half" but that's not really a literal half anyhow.

Like has been said, six of one, half dozen of the other.

Dont forget assumed roots.. or chords that dont actually have the root note in them. This is a really common voicing for G9 ( G B D F A ). Remember, its a G7 chord with an upper extension , the ninth. Used a ton!

Strausbaugh