Two Cs an octave apart in the bass (l.h.)ĭ-G-A-B-D (bottom to top) in the right hand I can easily envision such a chord voiced like this: Which you mentioned in your previous post, depending how you're voicing it, can have such a sonic enphasis on the G triad on the top, that it matters little if the D is a tension with respect to the C. If you're talking about third-based harmony, it certainly matters. You'll forgive me if I say that I find this question a bit academic. I'm aware of Eastern / Arabic / and other tuning systems where more complex harmony rules apply. I'm assuming (for the sake of this discussion) we're all talking about standard, chromatic, well tempered 12 tone western harmony here. I've never found a case where that wasn't true, but I'd sure like to learn if there is some instance where this is not true! Is this - "a note does not function as a chord tone and a tension at the same time" correct? This also disqualifies the seventh as the necessary chord tone for D to be called the ninth - only the third needs to be present.īut I'll put my stool down for a moment ask ask your opinions. What qualifies the D above C as the ninth (and not a second) is the presence of a simultaneous third as we've seen with the chord symbol C(add9). In the case of wonderful country players like Floyd Cramer (who always made simply sound as good as complexity), the D to E resolution (above C root) was often played as a grace note or a melodic passing tone compared to a single chord voicing that led to another chord voicing with a different root and chord quality. Right? It can certainly move to C major or C minor or somewhere else. When the chord being played is C- F - G or C - D - G. Or in a Jazz setting, play 1 7(sus) as a pedal chord or a pivot chord (because of its neither major or minor characteristic).īut my claim of "a note does not function as a chord tone and a tension at the same time" I believe holds water.Ī "D" above the root "C" is either a chord tone second or it is a tension ninth. We also know that in modern composition, a cool thing to do is use a V sus chord and then use a deceptive resolution and go somewhere else other than I (like perhaps VI minor). We've all heard classical pieces that used sus4 and sus2 leading to a major or minor chord with the same root. The last point I wish to include about this C2 subject is that by definition, a "suspended" chord delays ( or suspends) resolution. Hopefully the chord symbol will produce the intended results without ambiguity. The fifth (especially when a b5 or #5 is involved)Īnd the seventh (when the player is going to play more than a triad) The third (or in the case of a sus > the 4th or 2nd replacing the third) The chord symbol should hopefully establish: I know about them and what they were trying to achieve.īut if you're scoring an 19th century romantic era waltz (ala Strauss) and somebody plays a major 7th on a dominant 7th chord, heads will turn. Please don't email in about Cage, Xenakis, etc and the modern composers that are looking for this kind of dissonance. There are others, but those are the most offensive. BTW - Clams are usually found as a non-available b9 above a chord tone. But in the setting of a studio orchestra (where specific melodic parts (chord tones) are played by many instruments, there is no longer room for interpretation without the possibility of producing a clam. This is all fine and well for open interpretation in the setting of a piano trio gig. Sure, we all know there are substitute chords and added tensions above the chord tones possible. Otherwise, it's going to open the door for an unwanted result. Hopefully the goal of chord symbol notation is to immediately glance at a given chord symbol and recognize it as the composer's intended single set of chord tones and not have an ambiguous number of chord tone sets. I wouldn't make an error if it had said Cmaj. I have been on many sessions where I saw a chord symbol and I was unsure of what the composer meant because the copyist just put CM.Īfter all, the handwriting or the font size left it open to being either major or minor. (Although rare) - If your tempo is 210 bpm and there is one chord change each beat, it might help to see that extra lettering in this case. I'm still not thoroughly convinced that a chord symbol of Cmaj or C maj7 is too much chord symbol. Perhaps now that we are in an age where most professional notation is done by a computer generated program, real estate is not as big an issue as it was in the past thanks to smaller fonts that are still easily legible.
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