Bm+7

The + sign means augmented - you raise the fifth. In Bm, the fifth is F#, so you'll play a Bm7, but with Fx (double sharp) instead of F#... the chord will be spelled B-D-Fx-A

I'd finger it xx5435 to keep the shape of your other fingerings... the 5 on the D string is G, enharmonic to Fx.

Forgive me if i'm wrong but I get a feeling that progression might be written wrong. I cant think of a particular tune off hand for an example but that progression is often played running chromatically from the root down to the 6th. Might be spelled wrong but i'm going to guess it refers to augementing the minor 7, but don't take my word for it.

i.e..
xx4432 xx4332 xx4232 xx4132

Lee

augmenting the minor seventh = major seventh.

augmenting the minor seventh = major seventh.

What?!? Really?!? What I was just reading in a thread on 7ths has my mind not understanding this at all. I thought augmenting just raised the 5th 1/2 a step.

Incidentally, when I first read the progression, I thought he was referring to Bm Add 7. In light of my developing knowledge, I don't really know what that means. I assume it's different that just Bm7...?

I dont like getting too involved with theory discussions cos i'm never 100 percent confident I know what i'm talking about :)

With that in mind, heres my take on it.

I still get the feeling that chord prog should played bm, bmM7, bm7, bm6. This is often played as a slow arpegio through the sequence or just the bm chord over a chromatic descending bass line from root to major6.

So in terms of that progression my guess is the writer intends it to mean sharpen the 7 from a minor 7 (i.e.. bm7) to a major 7 (bmM7) which would give the sequence I am talking about.

I could of course be wrong but I'm guessing it purely on the basis that this type of chromatic run is very common over a minor chord.

Lee

Alex, you're talking about augmenting as in raising the interval - a minor seventh interval becomes a major seventh when it's bumped up a half step. For chords, 'augmented' refers to the fifth.

Lee, your approach makes sense...but the second chord would be called m/maj7 (or sometimes m add7). If it's really a + in the chord, it's got Fx for the raised fifth, so you'd need that... also, the voicing you show, xx4332, is F#/A#/D/F#, which is a D+ triad - you'd need a B in there somewhere for the root.

Thanks for everyone's suggestions. Lee N's makes a nice melody.
The chord progression is from the song "Merry Christmas Darling" by Frank Pooler & Richard Carpenter (1984). I think Karen Carpenter sang it.
Also from the same song I'm trying to figure out how to do:
G A D/c# - any suggestions? Is it x40232 ?

I don't know the tune, Sapho, so it's hard to say what voicings to use. In open I'd do it like this:

3-0-2
0-2-3
0-2-2
0-2-x
2-0-4
3-x-x

But if you want to walk the voices in one direction, I might do inside chords with a wee bit of a stretch:

x-x-x
3-5-7
4-6-7
5-7-7
5-7-4
x-x-x

to augment is to make larger, thats all i meant, no link to the augmented chord, like diminishing is making smaller, i said augmenting the minor 6th, translating to making the interval a half step bigger, i didnt see how anyone can take "augment the minor 7th" and see it as me talking about an augmented chord, apologies, if you did.

...I still get the feeling that chord prog should played bm, bmM7, bm7, bm6. This is often played as a slow arpegio through the sequence or just the bm chord over a chromatic descending bass line from root to major6...
Lee

I actually prefer the following notation for guitar:

bmi , bmi/A# , bmi/A , bmi/G#

Why? Because I recognize it right away as a bmi chord with a walking bass line chromatic down to the G#.

When I get to the bmi/G#, I like to think of it as an E9 chord and play my E mixobluesian licks. :twisted:

Peace,
-Rick

whats bmi?

whats bmi?

B minor. Sorry, I'm in the habit of using mi and ma for minor and major.

Peace,
-Rick