keith helgesen / 05.4.26 / 08:41 PM wrote: >You tomAYto, I say tomARto! Does it matter?
Unfortunately it does. Jazz theory is still young, and we are responsible for its unifying process. Gary Burton did an amazing job contributing to this, but it is still far from unified. There is almost always the best analysis than others. You must collect all the possible explanations to help chose the best analysis. If Chick Corea voices C - F - Bb - E, that is not C7sus(add3) to me. What would be the derived scale especially when you hear what context he uses it. It's Bb Lyd on C most of the times. Of course this doesn't imply when Chick is in his Spanish mode context, which is not what we have been discussion on this thread. Anyway, you can't have 11th in major chord family because it creates minor ninth interval, which destroys the identity of the tonal harmony. A dominant chord, however, can have minor 9th interval because the tri- tone will stand out above minor 9th interval dissonance. Other minor 9th interval along with the tri-tone even help tri-tone's 'wanting to resolve' effect. However, note that even tri-tone will be destroyed if minor 9th interval is placed against it, namely 11th. Gsus2 was a full of surprised to me, so I called a couple studio musician friends in NYC. Darcy was of course right. They are very familiar with sus2 chord, but they also told me it's a CODE for convenience only common in NYC, and they also told me the chord's real name is G2(add5). I was glad to hear they don't insists on 'sus'! -- - Hiro Hiroaki Honshuku, A-NO-NE Music, Boston, MA <http://a-no-ne.com> <http://anonemusic.com> _______________________________________________ Finale mailing list [email protected] http://lists.shsu.edu/mailman/listinfo/finale
