On 21-Jun-08, at 11:57 AM, A-NO-NE Music wrote:
Christopher Smith / 08.6.20 / 5:14 PM wrote:
What exactly do you understand C4 to mean, then? It is different
from what I thought, apparently, so even more reason to avoid it.
The rule we should agree on for consistency is that number represents
the highest note always, i.e., 6 means no 7th, 13th means it could
contain all the available tensions in the voicing.
Your example, C-F-Bb can be C7(sus omit 5th) or C-7(sus omit 5th).
If it were written as C-11, you can expect to hear 4th voicings
like C-F-
Bb from most of the players, but you won't get that sound if it were
written as dominant sus.
But there is a 5th in C4, according to you, so the 4th is NOT the
highest chord member!
Also, your recommendation for my example (this reading is not one I
endorse, by the way!) Cm7(sus omit 5) is not accurate, because there
is not necessarily an implication of a suspended MINOR third in the
structure. If I wrote it as Cm11, I would almost certainly get Eb's
from the chord instruments, which is not wanted!
I suppose what it comes down to is that chord symbols are general and
shorthand. If one wants exact voicings or even exact collections of
pitches, then it will have to be written out and the chord symbol
dispensed with.
Christopher
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