THEORY 53: Chord naming 4a
Here is an interaction I had with ChatGPT4 recently about one of my qualms. (see THEORY 49 & 50)
ME:
Can you please identify and resolve the discrepancy in this statement about a set of intervals and their relative chord names: R b3 5 6 is a minor 6 chord, but R b3 5 7 is a min (maj 7) chord.
BOT:
Let’s analyze the two sets of intervals and their chord names:
1. R b3 5 6
This represents the intervals:
Root (R): The starting note.
b3: A minor third above the root.
5: A perfect fifth above the root.
6: A major sixth above the root.
This is correctly named a minor 6 chord (min6). In functional harmony, the presence of the 6implies the addition of a major sixth to a minor triad (R, b3, 5).
2. R b3 5 7
This represents the intervals:
Root (R): The starting note.
b3: A minor third above the root.
5: A perfect fifth above the root.
7: A major seventh above the root.
This is correctly named a minor major 7 chord (min(maj7)). It combines the minor triad (R, b3, 5) with a major seventh (7). This chord has a characteristic tension due to the contrast between the minor triad and the major seventh.
Resolving the Discrepancy:
The statement is correct as it stands because the intervals given match the respective chord names:
R b3 5 6 = minor 6 chord.
R b3 5 7 = minor (major 7) chord.
There is no error in naming here. However, if you perceive a conflict, it might arise from:
A misunderstanding of the difference between a 6 (major sixth) and a 7 (major seventh).
Potential confusion with similar chord types (e.g., dominant 7 chords or diminished chords).
Would you like clarification on how these chords function or additional examples to differentiate them?
ME:
How about these two: R b3 5 b7 is a min 7 chord and R b3 5 b6 is a minor b6 chord.
BOT:
Let's analyze the two cases and their chord names carefully:
1. R b3 5 b7
This represents:
Root (R): The starting note.
b3: A minor third above the root.
5: A perfect fifth above the root.
b7: A minor seventh above the root.
This is correctly named a minor 7 chord (min7).
The minor 7 chord consists of a minor triad (R, b3, 5) plus a minor seventh (b7).
It is one of the most common and fundamental chords in jazz, blues, and modern harmony.
2. R b3 5 b6
This represents:
Root (R): The starting note.
b3: A minor third above the root.
5: A perfect fifth above the root.
b6: A minor sixth (or diminished sixth) above the root.
This is not typically named a "minor b6 chord" in standard music theory. Instead, this set of intervals most often corresponds to a chord called:
Minor flat 6 chord (min♭6), sometimes referred to as a minor (add ♭6) chord.
However, this chord name is rare and context-specific, as it is not widely used outside of certain compositional styles, like Romantic or cinematic music.
The Potential Discrepancy:
The naming of R b3 5 b6 as "minor b6 chord" is unconventional and might cause confusion:
R b3 5 b6 is not as standardized as chords like "min7" or "min6".
If you want clarity, it might be better to call it "minor add b6" or just describe it as a "minor chord with a flat 6."
Would you like me to explain where these chords typically occur in music theory or provide examples of their usage?
ME:
No thanks.
Now compare all four formulae and try to look for inconsistencies in the names.
BOT:
Let’s systematically compare the four formulae (R b3 5 6, R b3 5 7, R b3 5 b7, R b3 5 b6) and their respective chord names. We'll focus on consistency in naming conventions.
1. R b3 5 6 → Minor 6 chord (min6)
This name is consistent:
A minor triad (R, b3, 5) with an added 6 (major sixth above the root).
Commonly known as a minor 6 chord in jazz and classical theory.
2. R b3 5 7 → Minor (major 7) chord [min(maj7)]
This name is consistent:
A minor triad (R, b3, 5) with a major seventh (7).
The parenthetical "maj7" distinguishes it from a standard minor 7 chord (which has a b7).
The name effectively describes the intervals and chord quality.
3. R b3 5 b7 → Minor 7 chord (min7)
This name is consistent:
A minor triad (R, b3, 5) with a minor seventh (b7).
The "7" without a parenthetical modifier is standard practice to denote a minor seventh in this context.
4. R b3 5 b6 → Minor b6 chord (min b6)
This name is inconsistent with the others:
In standard naming conventions, this formula would usually be referred to as:
Minor add b6 (if seen as a minor triad with an additional b6).
Diminished triad add b6 (if interpreted as an altered diminished chord, depending on context).
Key Inconsistency:
The name "minor b6 chord" lacks parallelism with the other chord names because:
It does not use a standardized naming convention like "min(add b6)" or "min♭6."
The b6 (minor sixth) is not as universally recognized as part of the core "minor chord vocabulary," unlike b7 or 6.
By contrast:
min6 and min(maj7) follow established conventions for naming chords with added or modified notes.
min7 is universally understood to refer to a minor triad plus a minor seventh.
Suggested Renaming for Consistency:
Rename R b3 5 b6 as minor add b6 or min(add b6) to align with standard naming practices.
ME:
Don't you think it’s odd that if you add the major 6th to a minor triad, it is called a minor 6 chord, but when you add the b7 instead, it is called a minor 7 chord?
BOT:
You’re absolutely right to point out that there's an inconsistency in how these chords are named, despite their structural similarities. Let’s break it down further to examine the logical discrepancy in naming conventions.
The Issue:
R b3 5 6 (minor 6 chord):
This is named a "minor 6 chord," implying that the added major 6th defines the chord.
R b3 5 b7 (minor 7 chord):
This is named a "minor 7 chord," implying that the added minor 7th defines the chord.
The Inconsistency:
The naming convention shifts focus:
When the major 6th is added to a minor triad, the chord is named based on the added note(minor 6 chord).
When the minor 7th is added to a minor triad, the chord is named generically based on the 7th quality (minor 7 chord), without emphasizing that it's a b7.
Why This Feels Inconsistent:
Parallel Logic:
If we follow the same logic for both, the naming should emphasize the specific added note:Adding a b7 should result in a name like "minor flat 7 chord" (min♭7) to mirror "minor 6 chord."
Conversely, calling one a "minor 6" but not "minor major 6" creates a disconnect.
Added-Note Consistency:
Either both should explicitly describe the added note (minor add b6, minor add b7) or neither should.
Why This Happens:
The inconsistency comes from established conventions in music theory:
The minor 7 chord (min7) is an extremely common structure and has a long history of being labeled without further qualification (e.g., jazz, classical, and popular music theory).
The minor 6 chord (min6) is less ubiquitous and therefore received a more descriptive name when it entered the theory lexicon.
b7 is the default seventh in minor harmony, so theorists omitted the "flat" for simplicity.
How to Resolve the Inconsistency:
We could make naming more consistent in one of two ways:
Option 1: Fully Qualify Both Chords
Name each chord explicitly based on the added note:
R b3 5 6 → Minor add 6 (min add 6)
R b3 5 b7 → Minor add b7 (min add b7)
Option 2: Standardize Names to Focus on "Common Additions"
Stick to common names but add clarity when describing less-standard intervals:
R b3 5 6 → Minor 6 chord (min6)
R b3 5 b7 → Minor 7 chord (min7)
R b3 5 b6 → Minor add b6 chord (min add b6)
A Broader Perspective:
Ultimately, the inconsistency arises from practical usage over theoretical precision. Chords like min7 are used so widely that simplifying their name took precedence, whereas min6 needed more distinction to avoid confusion with unrelated chords (e.g., dominant 7 chords with added 6ths).
Would you like further clarification or to explore alternative naming systems?
ME:
Well done.
Now think about the R b3 5 b7 versus the R b3 5 7 in light of the case of the 6ths above.
BOT:
Excellent observation! Let’s now explore the R b3 5 b7 (minor 7 chord) versus R b3 5 7 (minor (major 7) chord) in light of the earlier discussion about 6ths (R b3 5 6 vs R b3 5 b6).
Context of the 6ths:
We observed earlier:
R b3 5 6 is named minor 6 chord, emphasizing the addition of the major 6th.
R b3 5 b6 could be more clearly named minor add b6, focusing on the explicit addition of the minor 6th.
This naming disparity showed inconsistency in how added intervals are labeled.
Now, Applying This to the 7ths:
R b3 5 b7 (minor 7 chord):
This is named minor 7 chord, emphasizing the quality of the 7th (b7) without explicitly stating "flat 7."
The b7 is treated as "default" in minor harmony, so no extra qualifier is given.
R b3 5 7 (minor (major 7) chord):
This is named minor (major 7) chord, explicitly referencing the major 7 to distinguish it from the standard minor 7 chord.
The (major 7) parenthetical clarifies that this is an exception to the "default" assumption of a b7 in minor chords.
The Discrepancy:
When comparing these two cases in light of the 6ths, an inconsistency emerges:
R b3 5 6 is named explicitly for its added note (minor 6 chord), while R b3 5 b7 omits explicit mention of the "b7" and uses the simpler name minor 7 chord.
R b3 5 b7 is not called minor add b7, even though this naming approach would mirror the logic behind minor add b6 for R b3 5 b6.
R b3 5 7 makes the 7th quality explicit (minor (major 7)), which parallels minor 6 (R b3 5 6), where the added interval is also clearly identified.