我將其稱為 Cadd＃9 ，這有幾個原因。

首先，如果您考慮擴展名和弦，則＃9是相當普遍，如果您在和弦中添加了Bb，您所描述的人們會不屑一顧地將其稱為C7＃9，這是常見的更改的主要和弦。我們通常喜歡將音符與大音階中的自然音色進行比較（除了第7音，我們通常更喜歡將其降低）。再加上我們以三分之二的方式構建和命名和弦的事實，使得主要的三分之一更適合包含在和弦中，而不是次要的三分之一。

例如，包括所有擴展名，C13都將包含音符：

 CEG Bb DFA 

如您所見，它包括音階的所有自然命名音符不包括已被修改為Bb的B。讓我們記下您給的筆記，看看它們如何排列。

 C Eb G E 

我們很快看到根在其中，但剩下三分之二。由於通常會首選自然的大三度，因此我們會將小三度轉換為等效的D＃諧音，由於沒有第七度，它會成為附加音調。這就是為什麼有時會看到＃9的原因，但是您永遠不會看到b11，因為大三和弦是和弦構造中的默認設置。

還有另一種查看和弦的方法關於在這個問題中，但是它整潔得多。如果您將E視為根，則可以將Eb看作是D＃（主要是第7位），將C看作是B＃（它是經過增強的5h），因此您可以將其稱為 E＃mM7＃5 / C 。

雖然大多數流行和爵士樂音樂家都將此和弦稱為某種♯9和弦，但古典人物可能會說該和弦分裂了三分之二，而一位理論教授會說該和弦是音調類集 [0,3,4,7] 。有很多方法可以使這種和弦合理化，並且根據您與誰說話，這些方法中的任何一種都是可以接受的。如果您只是在談論一個C大調三合會，而E♭在上面，那麼我會寫C（add♯9）。如果您談論的是一個C小調三合會，而E自然位於最前面，那麼我會寫成Cm（maj10）（我知道我會為此感到鼓舞）。其他人已經說過，您可能不希望Cm三人組的音高超過10。這是因為E♭/ E組合會產生一個第九個的間隔，這種間隔會引起特殊性（儘管這在音樂上又不是非法的），並掩蓋了主要與次要的感覺。 （由E / E created創建的次要7th聲音較小，產生的聲音更藍調/笨重。） [但是，如果它們彼此相鄰而彼此之間沒有八度距離，我可能仍會寫C（add♯9）。]

也將b7放入它，它被親切地稱為Hendrix和弦-7＃9。他沒有發明它-只是喜歡使用它。聽起來好像大三號和小三號是在同一和弦中演奏的，但是從技術上講，它被寫為＃9。通常情況下，第9位也會包含第7位。在這種情況下，第7位是固定位。如前所述，如果沒有7號，它將成為＃9，因為它只是一個三合會加上一個尖銳的9音符。

When you swap the G for the E, you get rid of a perfect 5th and get a major 3rd. That 5th is being played anyway on fret 5, D string. You end up with:

• Root
• Minor 3rd
• Major 3rd
• Perfect 5th

If you want to see it strictly as a minor C chord, the E is a major 10th tension. This tension is not diatonic to any minor mode from the major scale, so it is an "outside" tension.

It all depends on the harmonic context, but you can also see this chord as a Dominant #9 chord with the 7th ommited. The minor 3rd can be seen as an augmented 9th (#9). That would be a C7#9. Since your chord doesn't have the minor 7th, maybe Cadd#9 would be more appropriate. You could also play the Bb in fret 3 of string G, although a more common fingering would be X3234X, the "hendrix" chord, which ommits the 5th. You should try this one out. Pretty common in jazz as well.

Dominant chords are built on the 5th degree of the major scale. They are formed by a major triad plus a minor 7th chord tone. A C7 belongs to the key of F major, with the notes C, E, G and Bb. That #9 is a D#, an altered tension that doesn't belong to the F major scale, but it's widely used to add dissonance to the dominant chord, even though it's not diatonic to the major scale.

C7#9:

• 1 - Root, C
• 3 - Major 3rd, E
• 5 - Perfect 5th, G
• 7 - Minor 7th, Bb (you left this one out)
• #9 - Augmented 9th, D# (not diatonic to F major, look into altered harmony)

If this didn't help at all, I suggest that you take a look into basic harmony, especially the diatonic 7th chord sequence of the major scale. Once you understand it, study altered harmony.

The Eb more typically comes at the top. I hear it much more as a flattened third than a sharpened 9th, so I prefer to label it C7(b10). People who want every chord to be built out of a pile of thirds may strongly disagree :-)