A2 Chord?

A2 is an interval, rather than a chord - just the notes A and B played together.

There are a couple of different ways chords are noted. The Real Book series uses '-' in place of 'm'... you'll see that in many jazz charts. In jazz you'll also find triangles to indicate 'major' - C(triangle)7 would be a Cmaj7 chord.

Other than those variations, most chord notations are standard. One of the reasons things get confusing is that some chords have more than one proper name; one author may identify a chord as B half-diminished (the symbol is a circle with a slash through it), and another may note the same chord as Bm7b5. Same notes, different way of looking at it - the first way says it's a fully diminished seventh chord altered by raising the top voice a half step, the second says it's a minor 7th altered by lowering the fifth.

All roads still lead to Rome :)

OK, thanks. That makes sense since an A5 is just two notes also.

But I'm still confused.

I found a chord chart for A2 that indicates this as x02200. That's certainly an A with a B, but where'd the E come from?

X02200 is A SUS2, meaning that the third of the chord (C or C#) has been displaced by the second (B).

Ok. Thanks.

Is A2 similar to A5 in the sense that there are normative forms that get used?
What is a good chord form to use for A2? Just picking any two A and B notes won't sound all that great when placed next to full chords.

Here's the context if you care to understand further:

http://www.worshiptogether.com/store/sheetdetail.aspx?iid=411726

Is A2 similar to A5 in the sense that there are normative forms that get used?
What is a good chord form to use for A2? Just picking any two A and B notes won't sound all that great when placed next to full chords.

That song starts with an A2 interval but the appearance of E immediately after while the A and B are still sounding plus two, albeit brief, appearances of C sharp, suggest an overall harmony of A major for that first bar (measure) - with the B forming an added ninth (second) decoration.

A chord (interval) such as A2 won't necessarily sound weak compared to full chords if you double the notes. They sound less dissonant if the 2 is actually played an octave higher (i.e., as a 9).
As for set shapes like fifth chords. Not really - I find it always depends on the context as to which notes/ fingers are best in any situation.

OK, great. Sounds like for that piece, a A maj or an Aadd9 are acceptable (perhaps more appropriate) chords to use for those bars.

In a general sense, I was hard-pressed to come up with a reasonable fingering for an A2 whereby the notes are doubled. Anyone have any ideas on that?

Both notes doubled?

Try 52x20x

Ok. One question leads to another.

How do you strum 52x20x ? Do you use up a finger to mute the D string?

Thanks everyone!

Yeah, that's what I'd do - finger it 412 and mute the D string with the index finger

I am working out a chord naming system that addresses some of the confusion in chord naming that is in common use today.

you can read a little about here http://guitarcomputer.com/live/?chordnames

and also check out the chord module called "Chords by Major Key" of the GuitarComputer to see how some of the names look using my method within a Major key...........it takes some exploring but look at the chords that naturally occur (diatonically) on the iii chord ...hint the Susm2.

We still measure distances in miles over here - we've had the sensible alternative for long enough and all the reasons in the world to change over. Good luck :mrgreen:

so you would rather follow a more confusing system? Is that what you are trying to say?
Please also understand that what I propose is also a learning experience.

I've been trying to follow your system but I have to admit to a bit of confusion myself. In the key of C, you named the chord E F B as E Susm2. I understand that - so I was wondering what you called the subdominant chord F B C. I thought, logically, you would call it, according to your system, as F sus Aug 4 - but when I looked it up, I see you're calling it just F sus4, which, clearly, it's not.
In fact, neither of those names would be acceptable in a traditional tonal context as the tritone between F and B would seek to resolve differently to what we expect from suspensions.

I don't care for it much either. You're attempting to name non-tertian chords using tertian symbology - which leads to even more confusion!