Trying to Understand Chords

[Uffe von Lauterbach]

I'm trying to understand something about how a chord works. To some degree, I do understand it, but only at a basic level. If a chord has a repeated note, is that repeated note taken into consideration when naming the chord? I'll give an example of what I'm asking and compare it to what I imagine might be the correct answer. So far I haven't found a question like this online, and I may be asking the wrong question. Anyway, here is the chord:

G♭
C
B♭
B♭
E♭
B♭

I have a composition where the start has these notes, with the B♭ being the root, and the G♭ being the last note on top. If I have a B♭ at the tonic, or anywhere, really, is it necessary for me to add the others an octave higher? This chord starts in B♭. So is this a C half diminished seventh inverted on B♭ chord (Cm7♭5\B♭)? Or should it be an E♭ minor sixth chord (Em♭6)? This is what's confusing me. I'm hoping this is understandable to someone with more music theory knowledge. Thanks.

[Hemophiliac]

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.

[Uffe von Lauterbach]

1 hour ago, Hemophiliac said:

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.

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.

[Nase]

Eb major 6th chord. (1st inversion)

if you move the low Bb down a whole tone while keeping the other notes the same you get the IV minor 7th(+9th) function. that's the tension thing kinda. it's a bluesjazz thing.

Edited November 26, 2023 by Nase

[Nase]

On 11/26/2023 at 1:54 PM, Nase said:

Eb major 6th chord. (1st inversion)

if you move the low Bb down a whole tone while keeping the other notes the same you get the IV minor 7th(+9th) function. that's the tension thing kinda. it's a bluesjazz thing.

i meant, it's likely an e♭ minor chord with a major 6th added (C).

to me, the major 6th in a tonic chord (whichever octave it may be in) does imply that you might wanna move to a IV chord later, because the major 6th is also the major 3rd of the IV chord.

that's what i was getting at.... but it really ain't universal, it's just a blues/jazz staple as i tried to say. it just....sounds nice, you know

in this case, you can shift the lowest B♭ down a wholetone and you get exactly that, a jazzy IV chord function.

 

 

god, it's so easy to cause more confusion than help with this notation stuff if you're not on point. my bad.

 

[Uffe von Lauterbach]

On 12/7/2023 at 4:15 AM, Nase said:

i meant, it's likely an e♭ minor chord with a major 6th added (C).

to me, the major 6th in a tonic chord (whichever octave it may be in) does imply that you might wanna move to a IV chord later, because the major 6th is also the major 3rd of the IV chord.

that's what i was getting at.... but it really ain't universal, it's just a blues/jazz staple as i tried to say. it just....sounds nice, you know

in this case, you can shift the lowest B♭ down a wholetone and you get exactly that, a jazzy IV chord function.

god, it's so easy to cause more confusion than help with this notation stuff if you're not on point. my bad.

Sorry for the late response. I've actually been looking into more jazzy chords, so it's funny you mentioned it. I'm not super savvy when it comes to music theory, so I've been checking out videos on YouTube since I've posted this topic. I have no intentions of composing jazz or blues music, but the types of chords used in them are very interesting to me at the moment.

Edited December 8, 2023 by Uffe von Lauterbach

[Nase]

the staples can help you navigate vaguely familiar sounds. when you know the cliches, you can also omit them. i guess