It's been a long time since I studied harmonic analysis in grad
school, via the Shenker (sp?) system, but if I recall correctly, with
any vertical aggregate, one finds the first perfect 5th (starting at
the bottom, of course) in the stack, and proclaims the root of that
interval as the root of the entire chord. If there is no perfect 5th,
one searches for the first perfect 4th, and uses the top note as the
root .... etc. Usually worked for me.
Dean M. Estabrook
On Apr 29, 2006, at 7:30 PM, A-NO-NE Music wrote:
Jacki Barineau / 2006/04/28 / 07:16 PM wrote:
G - F - C - Eb - G - Bb
I am too late on this game. Chuck already caught it's a typo.
However,
I just can't help on this one. Please allow me.
Of course depending on the context, but most likely this chord is F9
(sus4)/G (with the typo 'C').
It is so typical to voice C-7/F for F7(sus), and also very typical to
put the 9th ('G' in this case) on bass.
Since jazz theory is still young, it is very personal. I always
believe
I have the best answer, after carefully examining all the
possibilities
then to pick the best explanation.
What does this chord derives a scale?
It is not G- something because of Eb.
It is not C- something since it sounds dominant-like.
F mixo is the chord scale this chord dictates.
What chord scale is derived is the only key to name to chord
correctly,
in my not so humble opinion. So, the other one:
G7 (#5, #9)
What chord scale would this derive? If you think that way, it must be
b13th instead of raised 5th. #5 means whole tone scale, then #9 will
contradict. If you put b13 then the chord scale is Mixo #9, b13.
By the way, if the first chord, the correct version:
G - F - Cb - Eb - G - Bb
is supposed to be reproduced exactly how it is, it must be spelled 'Eb
over G7'.
--
- Hiro
Hiroaki Honshuku, A-NO-NE Music, Boston, MA
<http://a-no-ne.com> <http://anonemusic.com>
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