On 20/09/15 11:30 AM, Flaming Hakama by Elaine wrote:
> Just to be clear, in Hancock's piece and other jazz standards, D7sus is
> not simply a 7th chord with the third omitted. As Mark Levine explained
> in the "The Jazz Piano Book" (Sher Music Co. 1989), for D7sus (or simply
> "Dsus" as it appears in some arrangements) Herbie played a C major triad
> (with the G doubled) over the root and fifth on the left hand. The
> effect of this was that the right hand was playing the 7th, 9th and 11th
> (or if you prefer, 7th, 2nd and 4th). Hence Levine's description of a
> sus chord: the " major triad in the right hand [is] a whole step down
> from the root".
> Brett
Yes, but it is worth pointing out that that is a "voicing" of D7sus.
It is not the "definition" of D7sus.
Well, in his explanation of sus chords, Levine indicates that that he
does not interpret "sus" to be exactly synonymous with "sus4". At one
point, he wrote "A persistent myth about sus chords is that 'the fouth
takes the place of the third.' Jazz pianists, however, often voice the
third with a sus chord" (The Jazz Piano Book, p.24).
My point was that it would be incorrect in a jazz context to rigidly
interpret D7sus as simply a D7 chord with the third omitted or with the
4th in place of the third.
For comparison, I'd enjoy hearing how Mr. Levine suggests to voice a C
major chord.
(If I recall correctly, it doesn't have C or G in it.)
The short answer is, he doesn't. But if we are discussing definitions
rather than voicings, is this relevant?
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