Jacki Barineau wrote:
On Jun 24, 2006, at 8:50 PM, Darcy James Argue wrote:
Right -- "F6/9#11)" is the most concise non-compound chord notation.
Thanks, Everyone, for the responses! I'm learning a lot here! Okay, so
which would be better to use - the compound G"over"F or the F6/9#11 - I
mean which would a musician understand better, and which would be the
music theory "correct" way of symbolizing this chord?
I think the answer to both parts of your question is: "It depends."
If the chord is basically an F chord in function within the song's key,
then for a person reading from a fake book or a leadsheet, then the
F6/9#11 would be most likely to at least not be butchered beyond belief.
But as to which would be better, that depends on whether the musician
is comfortable playing polychords or is more comfortable deciphering
complex chord symbols.
As for which is the "correct" music theory manner of symbolizing this
chord, again it depends on what school of music theory you're coming
from. If you're coming from a traditional harmony background, I think
the F6/9#11 would be correct, because you could convert that to
roman-numeral shorthand while if you were to think of it as a G major
chord over an F major chord, you'ld indicate that with a III/II (if I
remember the original key of the song correctly) which is an indication
of one chord becoming another chord in a new key and so might be
misinterpreted more easily. Jazz theory would use different criteria
and might suggest writing it as the polychord that traditional harmony
might not support.
You might consider entering it in the music both ways -- whichever way
you prefer followed by the other indication surrounded by large parentheses.
--
David H. Bailey
[EMAIL PROTECTED]
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