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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> >>
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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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>> https://lists.shsu.edu/mailman/listinfo/finale
>>
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>> 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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>> 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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> https://lists.shsu.edu/mailman/listinfo/finale
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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
> ___
> 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]

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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> 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

[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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> 
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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
> ___
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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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[Finale] OT Music theory question

[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
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