Re: [Finale] OT Music theory question

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

Re: [Finale] OT Music theory question

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

Re: [Finale] OT Music theory question

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

Re: [Finale] OT Music theory question

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

Re: [Finale] OT Music theory question

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

Re: [Finale] OT Music theory question

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.

Re: [Finale] OT Music theory question

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

Re: [Finale] OT Music theory question

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.

Re: [Finale] OT Music theory question

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

Re: [Finale] OT Music theory question

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

[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