Very interesting- but should not the old adage apply- "use what works for
you and your musos".

Nobody is right, or wrong.  Somebody said the chord C2 is modern. 
Who introduced it? What made it 'right'? Simple- usage. 
I personally don't use it- but I've made it my business to understand what
those who DO use it require of me. I suspect all serious musos who use chord
symbols will do the same.  

You tomAYto, I say tomARto!  Does it matter?

Cheers, Keith in OZ

Keith Helgesen.
Director of Music, Canberra City Band.
Ph: (02) 62910787. Band Mob. 0436-620587
Private Mob 0417-042171

-----Original Message-----
From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of
Darcy James Argue
Sent: Tuesday, 26 April 2005 10:31 AM
To: finale@shsu.edu
Subject: Re: [Finale] C13

On 25 Apr 2005, at 8:23 PM, dhbailey wrote:

> Darcy James Argue wrote:
>> Hi Bill,
>> There's no F in C13.  If you were to add an 11th to the chord, it 
>> would be the sharp 11th -- F#.
>
> That's funny -- I was taught that you were supposed to add every odd 
> interval up until the one indicated, so the chord would be 1, 3, 5, 7, 
> 9, 11, 13.  Where is it written that for a 13th chord we should leave 
> out the 11th?

Here:

"On a dominant 13th chord, leave out the 11th."

>  And why would it have to be a #11 if we were to include it?

Because that's the interval that is consonant with a dominant function 
C13 chord.

The natural 11 against a C13 is dissonant -- an "avoid note" as we say. 
  It creates a very dissonant minor ninth above the chord third (E).

C-13 takes a natural eleventh, because the natural 11th is not 
dissonant against the chord third (Eb).

- Darcy
-----
[EMAIL PROTECTED]
Brooklyn, NY


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