On 22-Jan-07, at 7:35 AM, dhbailey wrote:
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.
Bbmaj7/C is a C13sus4 chord, with a different name. It functions
identically to a C7sus chord, and the acoustic and functional root is
C. If you were a bass player playing a 2 feel (root, fifth in half
notes) then you would play C G, not C F or anything else. The G is
the implied fifth, even though it isn't present in the chord symbol.
It is the same as Gm9/C, too.
Jazz chord symbols are full of implied notes like this, that aren't
stated in the actual chord symbol but are implied anyway. Kind of
like our eyes fill in the blank spaces in a dotted line, our ears
fill in the blank notes in an incomplete chord.
Christopher
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