"Pete" <petezilla@[EMAIL PROTECTED]
> wrote in message
news:624bd125-30a3-4428-9b26-524bec057dfb@[EMAIL PROTECTED]
Mar 23, 10:13 pm, "Steve Latham" <llat...@[EMAIL PROTECTED]
> wrote:
> 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?
>
> 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#?
>
> 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?
>
> TIA,
> Steve
I think people have already cleared up the Inversion/bass note
question, as far as the extension of chords go, I say that if you have
a natural chord (Gmaj7, C7, etc), a chord player will naturally add
9ths, 11ths, or 13ths, as color, so you dont need to include that on
the chart BUT, if you're talking about chords with altered extensions
(Gmaj7#11, for example), you should definitely indicate it that way on
the chart.
Ok - that makes sense - I've got C9 (#11) and D7 (b5b9) in there and I
included the parenthetical alterations.
So still, I'm erring on the side of "simpler" symbols which a player can
elaborate - in essence, I'm putting my "least biggest" desired chord - If
I
think it needs to be at least a 9th, I'm putting E9 for example, but if I
think a 7th is sufficient, then Bm7 it is. I didn't know if that's kind of
the general consensus.
Steve
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