Yes, I write it as a C11 if the chord functions as a dominant. C7, C9, C11 (3rd 
ommited) and C13 are the basic dominant chords. The "sus" indication is, to me, 
inaccurate and unecessary, since the fourth does not have to be prepared or 
resolved. And usually it is neither. That note is really a high dissonance 
added to the chord. If the chord does not function as a dominant, then I'd 
write as C4,7,9 without the unecessary "sus" indication. In other words, the 
4th takes the place of the 3rd, which is not assumed to be major. It could be 
minor depending on the context. In the C11 the 3rd is assumed to be major, even 
though it is ommited.

Haroldo


On 24/03/2016, at 16:46, [email protected] wrote:

> Lon is right.  Being a keyboard player myself, I’ve always considered this 
> Bb/C chord symbol as a means to dictate a specific voicing, moreso than 
> C7sus4 or even C9sus4, which is what the added D infers.  Variations of 
> density can be had by Gm7/C and Bbma7/C.  All of these tend to render a 
> specific voicing, and they are all really just a C11 chord.  But if you write 
> that symbol you’re going to get some earless moron adding and E to the 
> vertical stack, which is a train wreck.  Bb/C is by far the most direct 
> symbol.
> 
> 
> ***************************
> J D Thomas
> ThomaStudios
> 
> 
> 
>> On Mar 24, 2016, at 12:20 PM, Lon Price <[email protected]> wrote:
>> 
>> This is sometimes referred to as the "Carol King chord,"  as she used it 
>> quite often in her music. It is most often written as Bb/C, and is used as a 
>> sus chord, in this case C7sus4 in the key of F.
>> 
>>> On Mar 24, 2016, at 12:11 PM, timothy price <[email protected]> 
>>> wrote:
>>> 
>>> This seems the most simple and correct, imo.
>>> The Bb major chord is only altered by the tonic being raised a C. 
>>> I think that this resulting chord, as a passing tone,
>>> could unimaginatively resolve to an F maj. second inversion.
>>> 
>>> tim
>>> 
>>> 
>>> On Mar 24, 2016, at 2:56 PM, Steven Larsen wrote:
>>> 
>>>> In a word, no. In a tonal context it could be analyzed in a couple of
>>>> different ways, but I'd have to see what else was happening around it. As a
>>>> chord symbol it would be:
>>>> BbMaj/C
>>>> 
>>>> Steve Larsen
>>>> 
>>>> -----Original Message-----
>>>> From: Marcello Noia [mailto:[email protected]] 
>>>> Sent: Wednesday, March 23, 2016 2:41 AM
>>>> To: [email protected]
>>>> Subject: [Finale] OT Music theory question
>>>> 
>>>> 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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>>> 
>>> 
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>> 
>> **********************************
>> Lon Price
>> [email protected]
>> http://www.txstnr.com/
>> 
>> 
>> 
>> 
>> 
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> 
> 
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