6's or not 6's.

The notes in the chord are F#-B-F#-B, so it's not a chord at all - it's an interval (you need three different notes for it to be a chord).

You can call it a perfect fourth on F#, or a perfect fifth on B. Perfect fifths are called power chords by guitarists, so it could be considered a B power chord.

So either way you're right, and whoever labeled it a 6 chord isn't.

Thanks Tom, the tender foundations of my theory knowledge were starting to come apart at the seams.

Oh, and a dyad isn't considered a chord? So power chords really aren't chords at all? That's a new piece there. Even the educated usually refer to them as "5 Chords", and that's wrong too.

I christen thee "Power Interval".

"power chords" and "5 chords" are guitar terms... other musicians won't know what you're talking about (but they'll know intervals)

I'm just funnin' around. It was just an interesting observation. :lol:

Well, Noteboat, I'd venture that other musicians aren't that insular any more.

Classical musicians may not now what a powerchord or 5 chord is, but most people involved with pop and rock will, these days.

That's true, Helgi... but it doesn't make it less confusing for other musicians. Calling it a "5 chord" will get you a dominant 7th from folks in jazz, blues, or country.

That's true, Helgi... but it doesn't make it less confusing for other musicians. Calling it a "5 chord" will get you a dominant 7th from folks in jazz, blues, or country.

Yes, of course, they'd assume you were referring to a V chord.

I would pronounce it "fifth chord", and pronounce the V, "five chord".

And here I come with another silly question!

What about the 'V' indicates that there is a dominant 7th?

Dominant chords have a lot of tension in the sound... although a V-I authentic cadence (like G-C) is pleasing to the ear, the V7-I is more so (try G7-C).

If you harmonize a scale in four parts, you get (shown in C)

I maj 7 = C-E-G-B
ii min 7 = D-F-A-C
iii min 7 = E-G-B-D
IV maj 7 = F-A-C-E
V7 = G-B-D-F
vi min 7 = A-C-E-G
vii m7b5 = B-D-F-A

So there's only one dominant seventh native to a major key. Composers have exploited the tension and release of V7-I for hundreds of years.

Wouldn't the chord be called Em7sus4? If that's right, then how would that be notated using figured bass? 4 over 3?

It's hard to say it's an Em anything when it doesn't have a single E note in it. Also, the formula for Em7sus4 would be E-A-B-D, which not only adds A and D, it doesn't include the F# that appears twice in the fingering.

It's true that not all chords contain all the implied chord notes. Extended chords often use only 4 notes, when theory would call for 5, 6, or 7.... but if we're going to imply 'extra' notes to make it a chord you can come up with a whole slew of different names:

B-(D)-F# = B minor
B-(D#)-F# = B major
B-(E)-F# = Bsus4
F#-B-(C#) = F#sus4
(G)-B-(D)-F# = Gmaj7
(G#)-B-(D#)-F# = G#m7

etc.... you can end up with hundreds of ways to flesh out two notes to be part of a larger harmony.

I was talking about the original post from undercat...

Um... I see the sus4, but I'm not sure where you're getting the Em7...

I was talking about the original post from undercat...

Yeah, I think he was too, BTW :?

V7 = G-B-D-F
vi min 7 = A-C-E-G

So there's only one dominant seventh native to a major key.

Um..... Isn't the dominant 7 the minor 7? If so, then... I don't even know what to ask here. Isn't the vi min 7 also a dominant 7?

Jeezums I feel like a theory retard right now. :cry: