Christopher Smith wrote: [snip]
In that case, they were writing for the ukeleleist, not for the bassist. Even in today's modern, "enlightened" age, when arrangers have gone to school and learned a consistent method, a chord like Bbmaj7/C presents a minor conundrum to the bassist, as there is no 5th mentioned at all in the chord symbol and he has to infer that it is G. It gets worse for chords like B/C, which is really a Cdim(maj7) chord, so the poor bass player has to just know that.
Huh? I don't understand your analysis of the Bbmaj7/C -- are you interpreting it as two chords played at once, or as a Bbmaj7 with C in the bass?
I would interpret it at first glance as a Bbmaj7 with a C in the bass, in which case the 5th is clearly belonging to the Bbmaj7 chord, since that indication is for a major triad with a major 7th added. So the 5th would be F.
How would it be a G? I'm confused. -- David H. Bailey [EMAIL PROTECTED] _______________________________________________ Finale mailing list [email protected] http://lists.shsu.edu/mailman/listinfo/finale
