On Jul 3, 2007, at 2:47 PM, A-NO-NE Music wrote:
Christopher Smith / 2007/07/03 / 02:06 AM wrote:
Then you WOULD call a C triad C5? And C2 would not have a G in it?
I'm sorry, but both these assertions are contrary to what most chord-
symbol reading musicians would agree with.
Oh you totally misunderstood me. I said num val is the cut off point,
and forgot to say "when applied" :-)
OK, chalk it up to "spoke too fast,"
C triad doesn't have num val notation, and is out side of this debate.
And yes, C2 means C and D only. If you want C-D-G, it's a G sus4
on C.
I think we will have to agree to disagree on this one. Gsus4/C to C
is ever so much more unwieldy to write than C2 to C, since the D to E
suspension and resolution is so clearly what is happening.
(chuckle!) You don't believe in a Cadd4 chord? That is, C,E,F,G, with
no 7th?
I certainly do not deny any chord. My objection is what to call
it. C-
E-F-G is a FMaj9(Omit 3) chord, because when you play it, F is what
you
hear as the gravity center. As soon as you destroy E with added F,
you
no longer hear C as the gravity center.
I don't believe that for a minute. While I agree that the top note of
a P4 interval is easier to hear as the acoustic root of the interval,
it doesn't mean it is the only way to hear it. If you have a copy of
Dial and Oatts' "Brassworks" album available, listen to the intro and
coda of the first track, "The Great Divide." Fadd4 ( or Fsus4add3 )
as a tonic chord ends the intro and the coda, and it definitely does
not destroy F as the tonal centre, nor does the final chord sound
uncomfortable at all. If you don't have it, I can send it to you
privately. It's very convincing.
Christopher
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