Hi Christopher,
I think you are missing the continuation of the C flat in that first
measure - which would explain and rationalize everything. It's a B -
and that makes the chord an altered G7!
It's so easy to forget the continuation of an accidental. Moving the
bar line doesn't help, in this case, as it would get rid of the C
flat/B and get us back to that confusing, (and IMO) inappropriate chord.
Chuck
On Apr 29, 2006, at 10:54 AM, Christopher Smith wrote:
On Apr 29, 2006, at 1:17 PM, Jacki Barineau wrote:
On Apr 29, 2006, at 11:47 AM, Stan Lord wrote:
Just played this on the pno. and it sounds odd, in that I don't
know the context.
What are the preceding chord and melody and bass notes, and the
following?
Thanks, everyone, for helping me figure this out! Okay - I've
taken a snapshot of the measure that includes the chord in
question and a couple of measures after it...
http://www.ourlittleplace.com/images/snapshot.jpg
The chord I'm referring to is the 2nd chord in the first measure
shown (following the Db9).
Yeah, it's pretty clear that the 2nd chord in m 1 is Cm7(11),
though I might have voiced it with C in the bass anyway. I'm not
sure it's even necessary to say Cm7(11)/G even WITH the G bass,
since the bass note is an arpeggiated second inversion anyway,
which are not usually accounted for in chord symbols.
Given the context, I might have made the FIRST measure the 2/4
measure, rather than the 2nd, so as to keep the impression of
strong chord movement over barlines. That would make the second
measure 3 beats of Cm11, 1 beat of F9, which is pretty common.
Maybe I am being needlessly fussy, but I maintain that harmonic
rhythm gives a stronger impression of meter than the actual time
signature, so one should pay close attention to that.
While we're at it - I am calling the chord *after* the one in
question (1st chord in the next measure) a Cm11 - is this also
correct?!
Yep, Cm11 is a good symbol for that.
Christopher
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