Re: [Finale] OT Music theory question

[Haroldo Mauro]

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, j...@thomastudios.com 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  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  
>>> 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:marcellon...@gmail.com] 
 Sent: Wednesday, March 23, 2016 2:41 AM
 To: finale@shsu.edu
 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
 
 
 ___
 Finale mailing list
 Finale@shsu.edu
 https://lists.shsu.edu/mailman/listinfo/finale
 
 To unsubscribe from finale send a message to:
 finale-unsubscr...@shsu.edu
>>> 
>>> 
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>>> Finale mailing list
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>> 
>> **
>> Lon Price
>> lonpr...@att.net
>> http://www.txstnr.com/
>> 
>> 
>> 
>> 
>> 
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> 
> 
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Re: [Finale] OT Music theory question

[j...@thomastudios.com]

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  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  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:marcellon...@gmail.com] 
>>> Sent: Wednesday, March 23, 2016 2:41 AM
>>> To: finale@shsu.edu
>>> 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
>>> 
>>> 
>>> ___
>>> Finale mailing list
>>> Finale@shsu.edu
>>> https://lists.shsu.edu/mailman/listinfo/finale
>>> 
>>> To unsubscribe from finale send a message to:
>>> finale-unsubscr...@shsu.edu
>> 
>> 
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>> finale-unsubscr...@shsu.edu
> 
> **
> Lon Price
> lonpr...@att.net
> http://www.txstnr.com/
> 
> 
> 
> 
> 
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Re: [Finale] OT Music theory question

[Lon Price]

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  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:marcellon...@gmail.com] 
>> Sent: Wednesday, March 23, 2016 2:41 AM
>> To: finale@shsu.edu
>> 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
>> 
>> 
>> ___
>> Finale mailing list
>> Finale@shsu.edu
>> https://lists.shsu.edu/mailman/listinfo/finale
>> 
>> To unsubscribe from finale send a message to:
>> finale-unsubscr...@shsu.edu
> 
> 
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**
Lon Price
lonpr...@att.net
http://www.txstnr.com/





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Re: [Finale] OT Music theory question

[timothy price]

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:marcellon...@gmail.com] 
> Sent: Wednesday, March 23, 2016 2:41 AM
> To: finale@shsu.edu
> 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
> 
> 
> ___
> Finale mailing list
> Finale@shsu.edu
> https://lists.shsu.edu/mailman/listinfo/finale
> 
> To unsubscribe from finale send a message to:
> finale-unsubscr...@shsu.edu


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Re: [Finale] OT Music theory question

[Steven Larsen]

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:marcellon...@gmail.com] 
Sent: Wednesday, March 23, 2016 2:41 AM
To: finale@shsu.edu
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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Re: [Finale] OT Music theory question

[Don Hart]

That difficulty seems to be making the rounds. 

On Wednesday, March 23, 2016, Marcello Noia  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<
> > christopher.sm...@videotron.ca >  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<
> >> marcellon...@gmail.com >  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
> >>> Finale@shsu.edu 
> >>> https://lists.shsu.edu/mailman/listinfo/finale
> >>>
> >>> To unsubscribe from finale send a message to:
> >>> finale-unsubscr...@shsu.edu 
> >>
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Re: [Finale] OT Music theory question

[Marcello Noia]

I wonder if some expert in contemporary classical music could address me to
some examples of that voicing used also in instrumental compositions.
I would like to know who was the "inventor" of this harmonic solution

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<
> christopher.sm...@videotron.ca>  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<
>> marcellon...@gmail.com>  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
>>> Finale@shsu.edu
>>> https://lists.shsu.edu/mailman/listinfo/finale
>>>
>>> To unsubscribe from finale send a message to:
>>> finale-unsubscr...@shsu.edu
>>
>> ___
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Re: [Finale] OT Music theory question

[Marcello Noia]

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<
> christopher.sm...@videotron.ca>  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<
>> marcellon...@gmail.com>  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
>>> Finale@shsu.edu
>>> https://lists.shsu.edu/mailman/listinfo/finale
>>>
>>> To unsubscribe from finale send a message to:
>>> finale-unsubscr...@shsu.edu
>>
>> ___
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Re: [Finale] OT Music theory question

[Don Hart]

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 <
christopher.sm...@videotron.ca> 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 <
> marcellon...@gmail.com > 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
> > Finale@shsu.edu 
> > https://lists.shsu.edu/mailman/listinfo/finale
> >
> > To unsubscribe from finale send a message to:
> > finale-unsubscr...@shsu.edu 
>
>
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Re: [Finale] OT Music theory question

[Christopher Smith]

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 
>  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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Re: [Finale] OT Music theory question

[Marcello Noia]

Thanks, in fact I was not clear. In terms of chord symbol I know where I
am, I meant if this sequence of intervals gas a specific academic name. Thnx
I would use C sus.

All the best,

Diddi

Sigurdur Jonsson
27, Von der Heydt
66115, Saarbrücken
Deutschland
diddiste...@gmail.com



> On 23. mar. 2016, at 09:43, Klaus Smedegaard Bjerre <
yorkmaster...@gmail.com> wrote:
>
> C9sus4
>
> Klaus
>
> Sendt fra min iPad
>
>> Den 23. mar. 2016 kl. 08.40 skrev Marcello Noia :
>>
>> 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
>> Finale@shsu.edu
>> https://lists.shsu.edu/mailman/listinfo/finale
>>
>> To unsubscribe from finale send a message to:
>> finale-unsubscr...@shsu.edu
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>
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Re: [Finale] OT Music theory question

[Haroldo Mauro]

Or just C11
Harold

On 23/03/2016, at 05:43, Klaus Smedegaard Bjerre wrote:

> C9sus4
> 
> Klaus
> 
> Sendt fra min iPad
> 
>> Den 23. mar. 2016 kl. 08.40 skrev Marcello Noia :
>> 
>> 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
>> Finale@shsu.edu
>> https://lists.shsu.edu/mailman/listinfo/finale
>> 
>> To unsubscribe from finale send a message to:
>> finale-unsubscr...@shsu.edu
> ___
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> https://lists.shsu.edu/mailman/listinfo/finale
> 
> To unsubscribe from finale send a message to:
> finale-unsubscr...@shsu.edu

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Re: [Finale] OT Music theory question

[Sigurdur Jonsson]

I would use C sus.

All the best,

Diddi

Sigurdur Jonsson
27, Von der Heydt
66115, Saarbrücken
Deutschland
diddiste...@gmail.com



> On 23. mar. 2016, at 09:43, Klaus Smedegaard Bjerre  
> wrote:
> 
> C9sus4
> 
> Klaus
> 
> Sendt fra min iPad
> 
>> Den 23. mar. 2016 kl. 08.40 skrev Marcello Noia :
>> 
>> 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
>> Finale@shsu.edu
>> https://lists.shsu.edu/mailman/listinfo/finale
>> 
>> To unsubscribe from finale send a message to:
>> finale-unsubscr...@shsu.edu
> ___
> Finale mailing list
> Finale@shsu.edu
> https://lists.shsu.edu/mailman/listinfo/finale
> 
> To unsubscribe from finale send a message to:
> finale-unsubscr...@shsu.edu

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Re: [Finale] OT Music theory question

[Klaus Smedegaard Bjerre]

C9sus4

Klaus

Sendt fra min iPad

> Den 23. mar. 2016 kl. 08.40 skrev Marcello Noia :
> 
> 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
> Finale@shsu.edu
> https://lists.shsu.edu/mailman/listinfo/finale
> 
> To unsubscribe from finale send a message to:
> finale-unsubscr...@shsu.edu
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Re: [Finale] OT Music theory question

[David McKay]

A simple way of defining it would be B flat/C [B flat major with a C in the
bass] or B flat major 2nd inversion, with C in the bass.

Is that the kind of thing you're looking for?
David McKay

On 23 March 2016 at 18:40, Marcello Noia  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
> Finale@shsu.edu
> https://lists.shsu.edu/mailman/listinfo/finale
>
> To unsubscribe from finale send a message to:
> finale-unsubscr...@shsu.edu
>



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