On Apr 29, 2006, at 7:00 AM, dhbailey wrote:
Jacki Barineau wrote:
I knew I'd have another question as soon as I sent the last note!
It's been 23 years since I took music theory in college, and though I
remember a lot, this song interpretation is really challenging my old
brain here!! What I did is have the piano player play the song into
a midi file so I could interpret the chords he's playing and notate
the song for the composer (the piano player plays by ear only)...
What is the "rule of thumb" on when you call a chord a 9th, 11th, or
13th? I remember something about the 7th needing to be present or
otherwise you'd call it a 6th instead of 13th or an "add2" instead of
a 9th...??
Right. Most musicians understand added extensions in parentheses as
meaning "add", like Cm7(11) instead of Cm7(add11), so this can save
some space when marking detailed chord symbols.
This particular chord definitely has the "dominant" feel/sound to it
and is used in that way as it leads to the tonic. The song is in Cm.
This chord I'm trying to define is:
G - F - C - Eb - G - Bb
Would this be a Gm13? Or what?!!
I'd call this a Cm7sus4.
Hmm not really, since there IS a third as well. Sus4 usually means the
4th REPLACES the 3rd.
It would depend on the usage, since she mentioned that it was going to
a Cm, and I assume there is the G in the bass, which affects things
quite a bit.
I would call this Cm7(11)/G with no other information to guide me, and
it seems like rather a weak cadence chord going to Cm, as there are too
many common tones. It appears to have a similar function to a cadential
6/4 in classical music, and so I would expect it to go to a stronger G
dominant of some type before resolving.
If I ABSOLUTELY had to name it with a G root, I would go with Gm7(b13
11) with the b13 and 11 stacked, but I wouldn't be happy.
Christopher
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