On Jul 2, 2007, at 12:23 PM, A-NO-NE Music wrote:
Christopher Smith / 2007/07/02 / 11:32 AM wrote:
Well, really, ALL extensions are actually suspensions that we just
decided didn't need to resolve. Having the note of resolution present
at the same time as the suspension just makes it an added tone
I was taught, in classical theory, that suspensions are added 4-3
resolution and/or 2-R resolution. For that, 2 is fine rather than
9th.
My point was that these are established before the concept of chord
name, and I am trying to preach the consistency of how to spell chord
names. I still believe the numeric value should indicates the cutoff
point. This is my personal belief I am trying to preach :-)
Then you WOULD call a C triad C5? And C2 would not have a G in it?
I'm sorry, but both these assertions are contrary to what most chord-
symbol reading musicians would agree with.
Also, there are many more suspensions than 4-3 and 2-1 (which some
call 9-8). It's just that most of them, with the exception of the
4-3, did not absolutely require resolution any more by the time chord
symbols were in full operation. That's why we got stuck with "sus"
meaning only the 4th. It was the last one standing at the time, but
it has fallen now, too.
2-3, 6-5, 7-8, 4-5 (on a minor chord), 7-6 (major 7th, that is) are
all very common suspensions in classical music. And I haven't even
discussed the chromatic ones!
In
modern jazz the 3rd and 4th often show up in the same chord as a late
addition to tonal harmony,
Sorry. I don't believe in this. If you see a voicing of C-E-F-B,
it is
FMaj7(#11)/C. You can't have 3rd and 4th and still maintain the
character of a chord, or say, to feel the gravity of the tonic of the
moment if the context is tonal.
(chuckle!) You don't believe in a Cadd4 chord? That is, C,E,F,G, with
no 7th? They certainly exist in a lot of different contexts as a
tonic C chord in C major, including many of my own pieces (wait a
minute, that's a circular proof) and The Great Divide by Gary Dial,
among others. I seem to remember seeing some in Stravinsky as well
(maybe Petroushka?)
Really, though, any combination of pitches from C ionian is going to
reflect C major if you finish on a C bass, whether you "believe" in
it or not. Maybe you don't want to use a Cadd4 as a tonic chord;
okay, I won't force you, but it DOES exist. Granted, F to E is a
great resolution in C, but it isn't magical or anything.
Christopher
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