can someone help my find out what chord this is

Hi there i need a bit of help iv been playing this set of jazzy kinda funky sounding chords and i'm trying to work out the name of them but their not listed as a chords in the 'chord name' section.

e---5----3---- sometimes played with the high e open
d---5----3----
g---7----5----
d---6----4----
a---7----5----
e-------------

can someone help me figure this out please caus my ear tells me they are chords but the chord name finder tells me they dont exist (i was shocke at this cause its never failed me befor)

thanks guys

they are both movable 7'th's w/ an added major 3rd

i'd simple write them as E7 and D7
since the Maj-3rd is basically simply being 're-voiced'
(an octave up) on the 1st (e) string
some would want ya to add the 3rd as E7add3..etc but without a need to write it that way .... keep it simple

this is partnered in many older Jazz tunes (Georgia comes to mind) with the below version of a Minor 7th chord

like Am7
1- 5
2- 5
3- 5
4- 5
5- X (mute)
6- 5 (use Thumb)


RAWK!
Cs

that wont show up because the top note is fourth.
lets analyze(were just going to do the first one because the second is the same thing just moved up a step)

so you got(below numbers) which put into there letter names is (below). now for this chord where going to make the bottom note the root so it's some short of E chord and if you use or know the "CAGED" system where in the "C" Grip. Show next making E the root or 1 were are going to find the interval of each note compared to E or 1(below after letters). Now we need to know what makes a chord a chord in western harmony. The most important notes are the 3rd and the 7th determining major/minor or major/dominate. So we have a major 3rd and a b7th making it a E7 dominate chord. So what to do with that pesky little a on the top you ask good question. Well this can get confusing(guitar chord voicing are a **** to name sometimes) but this one is easy and makes an easy to follow sense of reasoning. The a is a octave higher then the bottom note, the root note e. So counting your scale degrees in E major(Ionian) you get E/1,F#/2,G#/3,A/4,B/5.C#/6,D#/7,E/8. now most people stop at the octave but where going to continue so nest after E/8 is F#/9,G#/10,A/11. So now we have Edominant7 add 11 (it's add because were skipping the 9th). That A is the reason why it's not working. This site's tools are the best I have seen on the net(thanks admin just an amazing job) but it is still a computer and music is largely a human element something a computer will never get so don't put all your trust into it or you'll fall flat. Now as for the open E you should be able to see it is just adding unison to the high E. but on the D7 your adding a 9 making it a dominate 9th giving the progression a very nice top drone. Well i don't know how deep your knowledge is but just consider(for now for now) it as a dominate 7th forget about the 11th. If the 11th works with the progress keep it if not just drop it you still got the E7 because the most important part of the chord is on the A,D,G, and B Strings. This chord is used in funk a hell of a lot of times though.
e-5-----a------4
b-5-----e------1
g-7-----d------b7
d-6-----g#-----3
a-7-----e------1
E-x-----x------x

sorry carl had to do it. hell just look at my post back little bit back we all make mistakes

thanks man very helpful.

its fun to put D9 in with that Am7 n give it a kind of bossa nova timing

RA that was a pretty dam in depth analysis (i tried to read it all the way through and went cross-eyed and started having a nosebleed). i have pretty much no technical theory knowledge and it looks like now is a good time to start. thank you tho ill come back and read that again when i can understand it

no .. thank you (i forgot the damned 11 lol) my students would kill me lol
we differ in one aspect though , i never say/write 'dominant' unless forced to E7 to me is "a given" dominant wise ...

never used caged .. got turned on (by a friend in NYC) to Richard Lloyds similar approach and started using it the main difference, teaching-wise anyways, is that you dont start with any open strings , or, as i call them (when teaching) "invisible frets" lol

check Lloyd's site out (he FINALLY put one up)

here: http://www.richardlloyd.com/index.htm and click the lessons button. he's crazy-good and kinda wacky and nerdy and and he's a good dude(GREAT player)


but yeah! thanks for catching that
remove that added 3 and i'd simply call them 7's

ahh my friend you just found the most important progression in jazz and jazz based music the ii,V,I you got a fun road ahead of you.



oo I agree completely but i had a feeling he didn't know that much and seeing my writing skill are that of a five year old i thought it might help in understanding but yeah always just E7

but i swear to god we have almost the same taste in music I LOVE LOVE Television there the reason why i play guitar(i always like music but i didn't really care about playing) when i first heard Marquee Moon my jaw hit the floor and i was in love. and Lloyd is a mad genius i have been reading his lessons for years still can't get a lot of it. his comment on types of music learners made me drive into music theory. any one reading this got out and get television. hopefully someone will produce/convince him to get out that book that has been rumored seeing he has been writing lessons in the mag for awhile now. god how i would love to get lesson from him but he is in new york me in mass and to top it off i wouldn't have the money any way

"...and i stand beneath the marquee moon .................hesitating"

(and o'God that bubu bubu bubu bubu over the bassline (beg) Lloys solo .. Toms "piano thang" Toms (last one) solo ... yeow!!)
i'm guessing you have the 2cd live "The Blow Up" ?

Verlaine is a god as well , but is more like me than Richard, Tom can't ever (other than the tune) repeat a solo (me to a "t")

dammit , now i'm gonna have to work Television/Verlaine/Lloyd inta some lessons "hey kid, this one's called "Friction" LOL

what about James Blood Ulmer and cats like that? or Friz? Sharrock?

yep the wonderful, beautiful and confusing world of jazz where figuring out why a song works takes at least 8 times longer than listening to it

of course i have blow up(more like did though i can't lie. PC Crashed a month back now and I'm just lazy and slowing downloading everything again). I love Tom as well (came up with most of the melodies right?) but Lloyd's playing is just out of this world the * he can process though his brain time and time again perfectly to boot just blows away mine(in both ways).

I haven't heard any those guys. but i will diffidently check them out. this is mostly due to me not really focusing on jazz guitarist so much I mean i love Joe pass, he is my hero, and other bid names but the smaller guys in the biz i still have to check out(I'm still going through monks tunes damn i love him in my opinion he is the new Bach both of there harmonies damn damn damn!!!!!), but talking about jazz guitarist have you heard of Lenny Breau i just did a few days ago, all i can say is holly *.