Exploring the Chord B C D E in Music Theory and Performance

The notes B, C, D, and E can be analyzed in various ways depending on the context in which they are used. This collection of notes does not fit neatly into traditional chord structures, yet it can be interpreted in multiple dimensions, such as the B minor 6 chord or the E major 7 chord.

B Minor 6 Chord and E Major 7 Chord

When considering the notes B, C, D, and E, one can analyze them as a B minor 6 chord (Bm6) without the fifth (F). A B minor 6 chord typically consists of the notes B, D, F, and G. However, if the F is absent and the notes C and D are included, it creates a unique voicing. Alternatively, these notes can also be seen as an E major 7 chord (Emaj7) in a different inversion, where E is the root.

Chord Characteristics and Context

The notes B, C, D, and E are not strictly a chord in the traditional sense. It does not fit any functional chord. However, it can be the last four notes of an E Harmonic minor scale. If voiced in a manner of two half steps a major third apart, these notes could create a cluster. Additionally, if spelled with B around middle C, the B above, and the E above that, it can strongly imply a C Major 7th chord, with the D serving as a passing tone resolving to a D, thus forming a C Major 9th chord.

Dissonant Chord CM72/B

From a guitar theory perspective, the given notes can be viewed as a dissonant chord, CM72/B. This chord is defined as CM72 with the root on B:

CM72/B ≡ B-1-2-3-5-7 B-C-D-E-G-B.

Although using a M7 interval as a base note might make this a third inversion chord, the underlying scale is not diatonic. From a canon perspective, the chord might be structured around some exotic scale, although it is quite uncommon. However, for chord-driven guitarists, it is free to explore any sound, dissonant or consonant, with the aim of artistic self-expression.

Contextual Use in Music

The chord B, C, D, and E has a striking and dissonant quality that can be effectively utilized in various musical contexts. It can be used to indicate confusion, ethereal moments, or suspenseful moments. For example, the renowned musician Ken Medema used this chord in a song where an angel appeared before Mary, calling her gift of impending motherhood into question. The song's progression with "CHORD" corresponds to different forms of denial, leading to a moment of metanoia (a change of mind or heart).

Another example is the use of this chord by pianists. If played in the right hand (RH) with B and E in the left hand ( LH ) and added an Ab and Gb in the LH, it would form an Ab795 chord. A pianist might utilize finger independence to play the D slightly softer than the others, further exploring the chord's color and texture. This is particularly useful if the melody is an E and the aim is to drop to a G7.

The chord can also be opened up, such as with B and E in the left hand and C and D in the right. Omitting the B can create a "cool cluster." Adding a G beneath it adds intrigue, similar to the works of Bernstein and Sondheim.

Overall, the notes B, C, D, and E, when combined in certain ways, can create a rich and evocative harmonic landscape, suitable for various emotional and musical moods.