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Originally Posted by JohnRoss
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06-29-2013 07:09 PM
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It's not complicated, Ron. They're two different things because they are not the same, excuse the flippant tautology. An 11 on a major triad contains or implies a minor 7, it's a dominant chord (notes in square brackets probably not played, but aurally there - C [E] G Bb [D] F). If there is any kind of 7 involved with a sus 4, it's going to be a major 7 (C [E] G [B] [D] F, unless the minor 7 is specifically stated, in which case it's an 11 pretending to be a 4 just for the heck of it, or because that's what Mark Levine wants to call it). Why is it a major seventh over a sus 4? Because in major keys, you only get a (perfect) 4 plus a major 7 on chord I. IV has a maj7, but the 4 is not perfect but augmented.
(And an augmented 4 lacks that downward pull to the major third that is characteristic of the sus 4 (if anything, an augmented 4 pushes upwards), whatever, it doesn't have the same "hanging" quality that a sus4 does.)Last edited by JohnRoss; 06-29-2013 at 10:16 PM.
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Originally Posted by Ron Stern
Ron,
about those trees: whether they are the same thing or not; discuss this question with a philosophy major over a cup of coffee and you're in for some fun
As far as music and music theory is concerned: yes, things are'nt absolute and yes, they are different things in different contexts. You will have to get used to that, i am afraid.
Want an example?
Look at a Cmin7 chord. This is a different beast in the two following contexts a) and b):
a) C min7 F7 Bb maj7
b) D min7b5 G7 C min7
Even if you use the same voicing: not only the theory, but even the sound is different...
It's music, and it's complicated and it's beautiful
Best,
H.
Moffa Mithra
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