Hi Roger,
While I agree that Finale should have support for compound chords (and listed a few workarounds in previous posts), I can assure you that you that when most piano players see Bb13(#11), the voicing they will play is very likely to be a C triad over a Bb7 chord. In other words, I don't think there's any particular advantage to using a compound chord here -- the result will be the same even if you write Bb13(#11). It certainly doesn't make any difference whether you're writing for big band or not.
At any rate, if there is a particular voicing that you need from the piano player at that moment, then you should write it out! As a piano player, nothing is more frustrating than the composer/arranger trying to "lead" your voicings by using nonstandard chord symbols. If you want a specific voicing, write it out. Otherwise, you have to trust us to choose an appropriate voicing.
Compound chords are more properly used for chords that cannot easily be written as non-compound chords, for instance:
Gb ---- C-∆
- Darcy ----- [EMAIL PROTECTED] Brooklyn, NY
On 05 Mar 2005, at 2:04 PM, Roger Julià Satorra wrote:
Yes, that's exactly what I mean. I know Bb13 (#11) would be appropriate, but
specially when writing for big band, the piano part should be written
C --- Bb7
I guess it's something that MUST be corrected by finale. I'm curious about
how Sibelius deals with it. I'll ask arround, jazz people prefere Sibelius
than Finale. Perhaps that's why.
Roger
-- Kurt Gnos<[EMAIL PROTECTED]> wrote:Roger,
/X is only for a bass note, as in Bb/C (Bb over C = Csus). Do you mean:
C ? Bb7
Then a Bb13 (#11) should be appropriate.
Kurt_______________________________________________ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
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