Hi Jacki,
On 25 Apr 2005, at 11:58 AM, Jacki Barineau wrote:
I was wondering what the "rule" is as far as when to call a chord a
"suspended" chord or an "add X" chord. For example, a Gsus4 - meaning G in
the root, then C, then D... I have seen this same chord sometimes labelled
as a "GaddC" or "Gadd4".
"G (add C)"/"G (add4)" are _not_ the same chord as Gsus4 (usually written just "Gsus".)*
Gsus4 = G C D
G (add C) or G (add 4) = G B C D
In a sus chord, the suspended tone (usually the 4th) *replaces* the third. In an "add X" chord (like "add 4"), the added tone is _in addition_ to the regular chord tones.
Is it only referred to as the "suspended 4th" (or
2nd or whatever the case may be) if the 4th is going to resolve to the 3rd?
No. Sus chords are independent actors. They can even be used as modal tonic chords, as in Herbie Hancock's "Maiden Voyage."
I personally have always called this chord a Gsus4... But now I'm notating
for a client and want to make sure I have it right!
If the chord is G C D, you should call it "Gsus".
Another question is the "9th" chord vs. the "sus2" chord or "add2"... For
example, G9 - would be G-B-D-F-A.
Correct.
If the F is left out, I'm assuming that's when you'd refer to is as a "Gsus2" instead?
No. Gsus2 would be G A D.
Or is Gadd2 or GaddA also proper terminology? I would always call this a Gsus2...??
That's incorrect. If the chord has both the second (A) and the third (B), it should be written "G (add2)", not "Gsus2".
Another similar example/question is the 6th chord. For example a C6
(C-E-G-A) - I've seen this called a C13 (since A is also the 13th!) - is
this correct - or only in certain situations - i.e., if the 7th, 9th, or
11th is also present?
C6 and C13 are _completely_ different chords, with completely different functions. C6 is most often a tonic I chord (especially when the root is in the melody). C13 is a type of dominant 7th chord.
C6 = C E G A
C13 = C E G Bb D A
"13" chords include the b7 and 9, but not the 11th. If an 11th is included in this type of chord, it will be a #11, but if you want that note, you have to include that information in chord symbol:
C13(#11) = C E G Bb D F# A
Just trying to brush up on my music theory - it's been a while since I've
had to dig into this deeper stuff!
You might want to consult a good jazz theory book before going any further. Mark Levine has one called (appropriately) "The Jazz Theory Book."
Cheers,
- Darcy
* Some guy I knew at NEC wrote a tune called "What a Friend We Have in Gsus".
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