types of suspended chords?

[musallio]

C major 9? 

Yes SJ, it is a CM9, but my question is, how does one show that the voicing should be: C-B-E-G-D, with the C below & D on top like that as oppossed to C-D-E-G-B for instance or any other voicing.

This is an extract from my post prior to the last 1:

for instance, if one gives you a chord, say like this:
Em7 (no 5)/CM7 (no3, no5)

this chord does not tell me the exact voicing of the chord that will make it sound as nice as the writer intended.
This is just the way I've expressed this particular voicing:

C-B/E-G-D

I stated that that was probably the best way to express the voicing of this particular CM9, unless if you just chart it like this:  C-B/E-G-D...

[sjonathan02]

Yes SJ, it is a CM9, but my question is, how does one show that the voicing should be: C-B-E-G-D, with the C below & D on top like that as oppossed to C-D-E-G-B for instance or any other voicing.

This is an extract from my post prior to the last 1:

for instance, if one gives you a chord, say like this:
Em7 (no 5)/CM7 (no3, no5)

this chord does not tell me the exact voicing of the chord that will make it sound as nice as the writer intended.
This is just the way I've expressed this particular voicing:

C-B/E-G-D

Don't you simply get to make that choice as long as the necessary notes are there?


I stated that that was probably the best way to express the voicing of this particular CM9, unless if you just chart it like this:  C-B/E-G-D...

Don't you simply get to make that choice as long as the necessary notes are there?

[musallio]

Don't you simply get to make that choice as long as the necessary notes are there?

No, sometimes a particular voicing is the best & you want that sound to come through.. If we change the bottom note for instance, it might sound very dif..also, sometimes a melody has to be on top..
I'm sure you know what I'm saying..

[sjonathan02]

No, sometimes a particular voicing is the best & you want that sound to come through.. If we change the bottom note for instance, it might sound very dif..also, sometimes a melody has to be on top..
I'm sure you know what I'm saying..

I do; and unless you're dealing with those two rules of thumb, I don't see where voicing should be an issue.


Now, when you say chord chart, I'm assuming you're not talking about reading musical notation. So, unless, in this case, the D is a part of the melody, you don't have to play it there, right?

[musallio]

I do; and unless you're dealing with those two rules of thumb, I don't see where voicing should be an issue.


Now, when you say chord chart, I'm assuming you're not talking about reading musical notation. So, unless, in this case, the D is a part of the melody, you don't have to play it there, right?

yes...Correcto

But I was just proving a particular point that sometimes the writer might want to express a more open chord, which could sound sweeter than, say, if the chord was closed & it sounded all muddy.

[diverse379]

^^^
Wow! This post alone is so invaluable!!!I should print it out & show it to friends who will be interested to read it!

Just out of interest Diverse, how would you show this voicing on a chord  chart:

C-B/ E-G-D..

cmaj9

this would let a person know that the chord should contain the maj7 and the D as the 9

it is up to them whether they should place each tone
that is the beauty of chord charts it allows room for individual taste and conceptualization

now if you wanted to really illustrate that you wanted a particular arrangement of tones
you would need to use figured bass
which most people dont know how to use these days

it is a classical method of notation
so you may write '

C: I7^
       9

the little symbol tells the player that is the tone you want in the soprano
and the C tell you it is in the key of C
there fore the I tells the player it is the one chord in the key of c

and the 7 tells the person it is the 7 that is associated with the one chord which is major 7


in figured bass
everything is spelled out down to the exact inversion of every chord

but to be honest
just keep learning and practicing your voicings
and concentrate on playing the melody when you play chord charts

if you do that I promise you you will be playing beutiful music eventually

here are some other points that may help

when you see a minor 9
you dont always have to play a minor 9 most times you can get away with just the minor 7

or you can upgrade to a minor 11

for an added bite

when you see a dom7 chord you can play a sus7


also on most jazz charts not necessarily gospel charts

when you see extensions they are usually there because of the melody
so you can get away with playing just 9th chords
and still end up with a beautiful progression

[seemunny]

For instance:

Em7 (no 5)/CM7 (no3, no5)

This chord does not tell me the exact voicing of the chord that will make it sound as nice as the writer (The Great Musallio) intended.

This is just the way I've (The Great Musallio) expressed this particular voicing:

C-B/E-G-D

Now what is the possibility that you will ever find this chord named the way I've (The Great Musallio) just named it (I did so so that the proper voicing would be played.

We all know that what I've (The Great Musallio) named above would be simply labelled as a "CM9 chord"..
Now how can we ever know the voicing the writer (The Great Musallio) wanted us to play? where should the melody note be?

Yes SJ, it is a CM9, but my question is, how does one show that the voicing should be: C-B-E-G-D, with the C below & D on top like that as oppossed to C-D-E-G-B for instance or any other voicing.


I (The Great Musallio), stated that, that was probably the best way to express the voicing of this particular CM9, UNLESS IF YOU CHART IT LIKE THIS:  C-B/E-G-D...

Mus, to simplify, it seems that:

If you want "chords", you use chord charts (chord symbols)

If you want "voicings", you use notation

UNLESS (as you stated above), you chart it like this: "C-B/E-G-D".

(Anything that works. Get in where you fit in)

[sjonathan02]

Mus, to simplify, it seems that:

If you want "chords", you use chord charts (chord symbols)

If you want "voicings", you use notation

UNLESS (as you stated above), you chart it like this: "C-B/E-G-D".

(Anything that works. Get in where you fit in)

You know, I really like that simplification. Very profound and to the point; well done.

[Fenix]

Mus, to simplify, it seems that:

If you want "chords", you use chord charts (chord symbols)

If you want "voicings", you use notation

UNLESS (as you stated above), you chart it like this: "C-B/E-G-D".

(Anything that works. Get in where you fit in)

Very good.

I also like your use of LGM's text editing options. I find them overwhelming but you make full use of 'em.

[musallio]

Wow Diverse..I'm sure glad I kept my hard head..look how much you've spilled

As 4 U Seemuny:





Next time you want to make a dictator of someone, this is what will happen to you"

  (Fenix & crew dance to my word of stealth!)

[T-Block]

now if you wanted to really illustrate that you wanted a particular arrangement of tones
you would need to use figured bass
which most people dont know how to use these days

it is a classical method of notation
so you may write '

C: I7^
       9

the little symbol tells the player that is the tone you want in the soprano
and the C tell you it is in the key of C
there fore the I tells the player it is the one chord in the key of c

and the 7 tells the person it is the 7 that is associated with the one chord which is major 7


in figured bass
everything is spelled out down to the exact inversion of every chord

Man, u really taking me back to theory class now.  I think we spent 2 whole semesters perfecting the figured bass system (reading & 4-part writing).  That's how I stumbled onto progressions and used them to figure out this gospel stuff.

[diverse379]

yeah figured bass is deep
 when you really get into it you can come up with some really beautiful reharmonizations for hyms that stay true to the genre of the hymn

in other words not just jazzy or pop reharmonizations

but actual classical authentic four part writing using many of the methods

truth be told the classical left hand voicing series
i am  posting in the organ room

is based on the figured bass system

i think a lot of people are sleeping on it
but that is ok i am going to present it and then leave it those who catch it catch it those who miss it miss it

na mean

[T-Block]

yeah figured bass is deep
 when you really get into it you can come up with some really beautiful reharmonizations for hyms that stay true to the genre of the hymn

in other words not just jazzy or pop reharmonizations

but actual classical authentic four part writing using many of the methods

truth be told the classical left hand voicing series
i am  posting in the organ room

is based on the figured bass system

i think a lot of people are sleeping on it
but that is ok i am going to present it and then leave it those who catch it catch it those who miss it miss it

na mean

Fa sho!!!  I didn't even know u had the classical stuff in the organ room, I'm gonna go check that out man.

[chevonee]

You guys are AMAZING!!!

[seemunny]

You know, I really like that simplification. Very profound and to the point; well done.

'Preciate it brotha. I equate "simplicity" with "blessing". lol

Everytime i see "confusion" i feel cursed. But everytime i see "simplicity" i feel blessed again. lol
Even though i don't always personally hit the mark...lol

Very good.

I also like your use of LGM's text editing options. I find them overwhelming but you make full use of 'em.

Thank you Brotha (as The Great Musallio would call you "Fenbox") lol

Yeah, i like the options of the text editing that's provided. It allows you to effectively "emphasize & stress" ideas where needed (if you have the energy to use it lol). It's rewarding if it works out right.

[seemunny]

Wow Diverse..I'm sure glad I kept my hard head..look how much you've spilled

As 4 U Seemuny:





Next time you want to make a dictator of someone, this is what will happen to you"

  (Fenix & crew dance to my word of stealth!)

Ok, "The Great Musallio"....Put Down The Weapon!, i repeat, Put Down The Weapon Immediately!

And put your hat & gloves on! What's the matter with you! 

 

[musallio]

Ok, "The Great Musallio"....Put Down The Weapon!, i repeat, Put Down The Weapon Immediately!

And put your hat & gloves on! What's the matter with you! 

 

Ok C$$$, I surrender!

As 4 diverse, sir, U've been a true blessing both here & in the organ room.
I like the fact that you're "not sitting on that stuff"...

I really appreciate your work..

I'd like to learn more about this figured bass stuff & the notation..It's all so facinating

[T-Block]

I'd like to learn more about this figured bass stuff & the notation..It's all so facinating

Here are some links that can help ya mus (and anyone else interested):

http://en.wikipedia.org/wiki/Figured_bass

http://www.dolmetsch.com/musictheory18.htm

[Fenix]

Here are some links that can help ya mus (and anyone else interested):

http://en.wikipedia.org/wiki/Figured_bass

http://www.dolmetsch.com/musictheory18.htm

T, i thought we had an agreement where you would no longer help other people but me. 

Now here i find you posting remarkably helpful articles that helps other folk. Wassup? 

[T-Block]

T, i thought we had an agreement where you would no longer help other people but me. 

Now here i find you posting remarkably helpful articles that helps other folk. Wassup? 

Ummm...I seem to have forgotten any such agreement, LOL.