Q.
A. Root, third, fifth, and seventh respectively are G#, B, D#, F#. You might also use a color tone, like the 9th ( A# ) if you want.
Which chord progression is correct?
Q. I am having trouble with a few chords in a song I am writing and I don't know which enharmonic chords I should use. The song is in Db major and I am using some chords and notes that are outside of the key. I thought that the chords below were OK, and they are, but the problem is the last chord.
Gbm7---------> Abm7------------> Bbbmaj7
The Bbbmaj7 (B double flat major 7th) chord just does not look right when it is printed above the staff as a guitar chord. The chord looks OK in the staff for the piano part though. I wanted to not have to add too many accidentals so that's why I chose the above chords, since some notes needed for those chords were already flatted in the key signature. If I use the chords below, I would end up with sharps as accidentals with a 5 flat key signature and that makes things worse.
F#m7 ------------> G#m7 --------------> Amaj7
(Gbm7) (Abm7) (Bbbmaj7)
Is there a "nice" way to show the Bbbmaj7 chord? Which enharmonic chords are better to use for the sake of the player?
I don't like the idea of having a double flat as the root note of a chord. There's got to be something I can do.
A. It is just spelling, and to be theoretically correct as far as music notation grammar goes, as the key is now set and if the B bb chord is not a modulation, traditional ( and correct) notation has it a B bb chord.
However, even with its strict rules of correct grammar, classical composers do recognize wieldy and cumbersome notation can be the crucial difference between their works being accessible and therefore performed vs. the piece sitting on a shelf with people put off about trying it out. Often enough, the classical composer will bow to the enharmonic spelling.
The further away your genre is from expectations of the highly trained musician being the one to render it -- i.e. those who are highly practiced / trained including theoretic understanding and reading ability -- 'just doing it' and enharmonically spelling the chord wins out.
[ I trained in classical piano from the age of six, read well to begin with, and after decades of practice and exposure, all key signatures and spellings are reflexively read without hesitation. - common enough, but the composer must always consider, without a hint of condescension, their first audience ~ the performers. ]
I'd just remind you to be consistent with all parts for all players or you get a 'hiccup' if they are working it out and talking about it. ("I have a B bb chord here." But, my part says its an A chord!" ~ you get the picture.)
I recommend deferring to the 'comfort zone' of the Guitarist's reading habits, whom, if memory serves since guitar is somewhat an 'E' instrument, much prefer and are more comfortable reading sharps vs. flats.
Pianists are another sort of animal and do (or should) expect to read readily in any key, so deference toward the reading for the guitarist with the pianist not shown or given any mercy is also a good general rule of thumb:-)
Best regards.
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Title : What is a G#m7 in piano/guitar chords?
Description : Q. A. Root, third, fifth, and seventh respectively are G#, B, D#, F#. You might also use a color tone, like the 9th ( A# ) if you want. O...