Christopher Smith wrote:
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
And that's the only possible interpretation? Geez, and here I thought
jazz was a music wide open to different interpretations! :-)
--
David H. Bailey
[EMAIL PROTECTED]
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