It really depends on harmonic context and function. Was at a rehearsal the
other day of Gene Puerling's "A Nightingale Sang in Berkeley Square" and he
used a similar voicing for the tonic chord at the end of a cadence--9th in
the bass.

Seems this is an example of where chord symbols fail. In most western
harmony using pop/jazz chord symbols, calling this voicing of the
tonic Bb/C would certainly bring to mind the possibility of a dominant
function. Not really sure what would be better. Maybe Bb2/C? Of course, a
key signature could help.

Don Hart

On Wednesday, March 23, 2016, Christopher Smith <
[email protected]> wrote:

> From a jazz perspective, I would call it a C9sus4 chord, or Bb/C (these
> two symbols are considered to be interchangeable and mean the same chord
> function.) It’s a suspended dominant chord, where the suspensions don’t
> need to resolve, but sometimes they do, to a C7 or some other form of C7
> before going to F.
>
> The top three voices can be in any order. As long as the C is the bottom
> note, it will fulfill the same function. The note G is completely optional
> (as the P5th of any chord is the first note to be dropped, for reasons of
> chord clarity, voice leading, or simple preference). Try adding an A on top
> (or in the middle) for extra misterioso!
>
> Christopher
>
>
> > On Wed Mar 23, at WednesdayMar 23 3:40 AM, Marcello Noia <
> [email protected] <javascript:;>> wrote:
> >
> > Hi, due to my huge lackness in harmonical theory, I ask this:
> > is there a technical term to define a chord formed by
> > (starting from low note) perfect fourth-perfect fourth-major third
> > (for example C-F-Bb-D).
> > I see it often used in vocal arrangements (Jonathan Rathbone for
> > Swingle Singers for example), sometimes also in progression for
> > ascending or descending whole tones or half-tones. It creates
> > a beautiful "suspended" and "misterioso" atmosphere.
> > Thanks
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