guitarbuddha -> RE: Planet Waves NS Classical Guitar Capo PW-CP-04 (Feb. 19 2013 16:23:35)
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quote:
ORIGINAL: Erik van Goch quote:
ORIGINAL: mark indigo a Bb chord, no? more precisely a Bb9#11? spelling: 5, 1, 3, 7, 9, #11 I might be wrong (and your question mark suggest your'e not sure as well) but what you choose to call 7 (suggesting an a-flat) to me feels more like an enharmonic g# (replacing the commonly played g in Bb/g and resolving to a in the next A chord, presuming we are dealing with a phrygian). Also the 11 seems to be a natural e to me (no need for the #). Although i like to see it as a Bb chord myself (5,1,3,#13?,9,11) my non flamenco moulded teacher of musical theory might even have called it G#13/F (7,3,5,1,11,13) Personally i embrace the suggested "B flat mojo" :-) Fifth in the bass and tonic and major third/seventh shell will almost always sound like a seventh chord unless the voice leading really strongly suggests something else. Bb alt would suit me. Eleventh is named with respect to the assumed root if that is Bb then that would be Eb, since the chord has a fifth(F natural) the E natural would be considered an augmented eleventh. I don't really see this chord resolving readily to C# major or minor in a flamenco palo so I would tend to avoid calling it any kind of G#. A really extended chord like this would cry out for a more extended chord to resolve to so I would be inclined to allow a seventh in the A phrygian tonic, dispelling the illusion that the Ab was a G#. It could be considered to be a Dminor seven flat five add nine in first inversion or an Ealt/F. But really its pretty much gonna go to A. Mind you I dont have any objection to Bb mojo, but then I'm not a horn player. D.
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