On 26 Apr 2005, at 2:36 AM, A-NO-NE Music wrote:
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
Isn't that what I said?
Besides, all chord symbols are codes for convenience. That's the whole point of using them.
only common in NYC
Probably LA too. Also very common in publishing, although Chris is right that it's sometimes mis-used. (I might argue in response that there's a lot of sloppy pop publishing out there, and virtually all chord symbols are mis-used at one point or another. But it is used correctly and consistently in publications where the editor wasn't MIA.)
and they also told me the chord's real name is G2(add5). I was glad to hear they don't insists on 'sus'!
Well, I *did* suggest "G5 (add 2)" as an alternative to Gsus2, which I think is a little clearer than "G2 (add5)" because it's based on a standard chord symbol ("G5"), but the result is the same.
As for the chord's "real" name, I have to admit I really don't care about such issues. IMO, the "real" name is the symbol that's actually on the part. If all the parts say "Gsus2" than that's the "real" name, regardless of what the player might or might not be thinking. If you play in a scene where "G2 (add 5)" or whatever is used instead of "Gsus2", then *that* is the "real" name for the chord in that musical community.
Disputes about whether, for example, C Eb Gb Bb is "really" "C minor seven flat five" or "C half diminished" are, IMO, pointless. Since virtually everyone now understands both terms for the chord, I'm only interested in the most economical way of conveying to the player which notes are in the chord (i.e., "C�"). You can tell me it isn't "really" half-diminished all day long, but it doesn't make the slightest difference to me so long as the player reads the symbol I wrote and plays the notes I want.
- Darcy ----- [EMAIL PROTECTED] Brooklyn, NY
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