On 20.09.2015 03:30, 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.
That is my interpretation as well. Instead of "voicing" I usually call
it "couloring".
But I did not want to fight for that. There are many different and
acceptable ways to analyse jazz from different perspectives. As I only
play some stringed instruments I necessarily have another point of view
(and playing technique) as a pianist.
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.)
Thanks,
David Elaine Alt
415 . 341 .4954 "/Confusion is highly underrated/"
ela...@flaminghakama.com <mailto:ela...@flaminghakama.com>
self-immolation.info <http://self-immolation.info>
skype: flaming_hakama
Producer ~ Composer ~ Instrumentalist
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