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The chord I shared comes first in the composition. The mode is in B♭ Locrian with a flat 2nd, though B♭ minor works here as well. Certain instruments have certain chords or notes. The choir is a B♭aug(sus2). I have three instruments in the bass section. The first is B♭, the second is E♭, and the third, being an octave above the first, is also B♭. The choir then goes to an A♭7 chord. However, because of the basses, it ends up being E♭ minor thirteenth inverted on G♭ (E♭m13\G♭). On the piano, I suppose this could just be condensed into something with just four notes. But I see what you mean about this being analyzed as a C half diminished chord. The context for this is that I'm composing an unofficial Metroid soundtrack, so I'm trying to apply the kinds of chords used from older Metroid music as a way to achieve the sound without relying on synths alone. Your reply has been helpful, though, and I'm glad you were able to help me understand this better.

Repeated notes don't have consideration to naming a chord. Having repeated notes just means that the sound of that particular spot will sound more like that one note, in this case the Bb is going to stand out much more then the other notes in the chord. In a vacuum you can call it either. What would really lead it towards having a better answer is the context of the piece and what comes before or after this. Generally you want to name a chord what it's function is supposed to be. Both of these two chord types are subdominants or predominants in function. They want to resolve to a dominant chord. Assuming this is in Bb minor (since you said Bb is the tonic), it's more likely to analyze this as C half diminished functioning as a iiø7 and then wanting to go to a dominant chord after this like F7 (V7) or Abdim7 (viiø7). Generally traditional theory doesn't really look at sixth chords in terms of function except for augmented sixth chords (which are subdominants). Here is info on augmented sixth chords, and may confuse you https://en.wikipedia.org/wiki/Augmented_sixth_chord Don't worry about naming chords unless it's really important to helping you understand the context of what's going on in the piece. If it sounds good, it doesn't matter what it's chord name or symbol is supposed to be. What I'm saying is don't get hung up on something that's not super important. Hopefully that doesn't confuse and helps understanding some.

Hi @Bundeslang. First, I want to sincerely thank you for keeping PRC going for as long as you did. PRC was a huge part of my development as an artist in the early days of OCR along other older competitions like IMC and I made a lot of collabs and friends in these competitions. I am no longer making music, nor I am around online much but when I saw the email about this PRC being the last I had to jump in to salute and thank you and the oher artists. I would say the absolute best part of being part of the community by far were PRC and other compos. The constraints of the competitions I felt really helped me break out of some walls, and some of the remixes I made here both as sir_nuts and as showroom dummy made the jump to the front page. Again thank you and all of those who participated over the years. Hope you are doing great and wish you nothing but the absolute best in the future.

Is there a way to get myself added to the available performers list? I play: Irish bouzouki, Irish tenor banjo, Irish whistle (and low whistle), mandolin, seljefløyte, anglo concertina, bodhrán, kantele, ukulele, Scottish smallpipes, synth, guitar (DADGAD and standard tuning), and bass. I also sing.