32.1Start with the ordinary model

Normally, if you see:

Cmaj7

you expect:

C in the bass

and:

C E G B

above it.

Everything agrees:

“C is the root.”

But suppose you play:

D♭ major triad over E♭ bass

Written conceptually:

D♭/E♭

Now things become interesting.

Bass says:

E♭.

Upper chord says:

D♭ F A♭.

What is the resulting sonority?