That difficulty seems to be making the rounds. 😊 On Wednesday, March 23, 2016, Marcello Noia <[email protected]> wrote:
> Yes! Gene Puerling largely used that thing, besides of many > "unconventional" harmonization tricks. > I rehearsed yesterday that arrangement too, very hard to pick those > intervals for the singers > singing the harmony parts > > > Il 23/03/2016 15:04, Don Hart ha scritto: > > 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] <javascript:;>> 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:;><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 > >>> _______________________________________________ > >>> Finale mailing list > >>> [email protected] <javascript:;><javascript:;> > >>> https://lists.shsu.edu/mailman/listinfo/finale > >>> > >>> To unsubscribe from finale send a message to: > >>> [email protected] <javascript:;><javascript:;> > >> > >> _______________________________________________ > >> Finale mailing list > >> [email protected] <javascript:;><javascript:;> > >> https://lists.shsu.edu/mailman/listinfo/finale > >> > >> To unsubscribe from finale send a message to: > >> [email protected] <javascript:;><javascript:;> > > _______________________________________________ > > Finale mailing list > > [email protected] <javascript:;> > > https://lists.shsu.edu/mailman/listinfo/finale > > > > To unsubscribe from finale send a message to: > > [email protected] <javascript:;> > _______________________________________________ > Finale mailing list > [email protected] <javascript:;> > https://lists.shsu.edu/mailman/listinfo/finale > > To unsubscribe from finale send a message to: > [email protected] <javascript:;> _______________________________________________ Finale mailing list [email protected] https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: [email protected]
