"Steve Latham" <llatham@[EMAIL PROTECTED]
> wrote in message
news:R6EFj.942$o35.91@[EMAIL PROTECTED]
> Should I, or Should I not, include extensions in the chord symbol if
they
> are found in the melody?
>
> For example, in 3/4, I have an upward arpeggio of B-D-A, with the first
> two notes as 8ths, thus making the A a half note for the remaining two
> beats.
>
> If this is over a GMaj7 chord, should I put GMaj7, or GMaj9?
>...
It depends on your *purpose*.
For the rhythm guitar part, do you want him to play the note (in this case
the A) as part for the chord, or do you just want him to play Gmaj7
against
the note in the melody? Write what you want to get.
For a soloist, do you *really* need to tell him its a Gmaj9 and not a
Gmaj7?
I suspect it doesn't matter much as he'll more than likely feel quite free
to include a 9th there either way if he feels it sounds right :-)
OTOH for significantly more complicated chords than this, I for one
actually
prefer to read "simpler" rather than "fuller" representations of the
chord.
In the solo one doesn't just play notes on the chord, and I find all the
extra detail distracting. But I suspect that is a matter of taste.
For analysis: jazz doesn't really change the rules. There are still
essential and unessential notes but of course complicated chord names blur
the difference. In this case, I reckon which way you do it depends on
what
you are trying to emphasise in your analysis.
[To hear how jazz doesn't cange the rules I recommend Bix Beiderbecke. He
played some really tremendous, very melodic, very musical solos, and you
can
hear an awful lot of it very drirectly in terms of passing notes
auxilliary
notes, appoggiature, and turns, in ways which are all completely amenable
to
classical analysis. Things moved on from there of course, but even so,
very much of it is more of an "adjustment" than a harmonic revolution.]
> Additionally, is there any shortcut notation for a changing bass under a
> sustained chord?
>
> Suppose I have E9 to E9/G# - does anyone write " /G#" just to show the
> bass motion, or do they typically put E9 E9/G#?
Do it if you want to emphasise it in analysis, but IMHO it would just be
distracting in many contexts to actual players. E9 is fin :-)
> Finally, what's the standard for something like A/G? Is it better to put
> A7/G or will A/G cause people to not voice the 7th in the chord?
If it's functioning as a dominant 7th, then A7 is pretty much required.
[For example if I see A7 I immediately think "dominant of D" and don't
really worry about which note the bass player is playing. If I see A/G
I
have to start researching why it is written like that!]
Dave
--
David Webber
Author of 'Mozart the Music Processor'
http://www.mozart.co.uk
For discussion/sup****t see
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