guitarbuddha -> RE: What is the name of this chord? (Jul. 17 2007 0:17:43)
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A really good description of how chords should be described for clarity and brevity is Conrad Cork's 'Harmony With Lego Bricks'. He recommends using the minimum of symbols needed to give the informed reader all of the information about how the chord functions within the cadence in which it is found. I cannot reccomend this book strongly enough for anyone who wants to use a consistant and clear nomenclature themselves. It would certainly be a good thing if flamencos were able to communicate efficiently with musicians from other genres. In general the choice of extension can safely be left to the player when the chart is clear. If the composer wants to indicate exact inversion and spelling then the clearest vehicle is notation. Chordal analysis can also clutter the basic harmony with a lot of spelling but this will not help ease of reading if included in a chart. When playing it is good for the player to be aware of all possible extensions and colour tones so yes it IS good to know all of their names in full and a few places on the neck to find them. It is also really good to be thinking SIMPLY when playing because you only need to know your place in the basic harmony at a given time and your note choice can be upon based on that. For the andalucian cadence in E I like to think A- ( but I can play Am triad, Am7, Am9, Am 13-yes with an F# and with or without a seventh or ninth- C6,Am11,A6/9(yes with anF#) Amb6,Am7b6) Asus etc.) The symbol A- lets me know all of this at a glance and I can choose as I see fit and depending on the voice leading I find under my fingers or with available open strings ) So basically I am agreeing with both Romerito and Estevan on a lot of points you DO need to know the full name of a chord and how it will sound in context but you also need to know that basically it is just (in my example) Am-. G7 Tells me that I can play ( G triad, Gsus, G7b5,G9,G13,G7+9 and G7b9 (both colourful and a little too bluesy for flamenco but if prepared well effective) Bm, Bm7, Bm9(if I want the C# I can have it if I know what I am doing and the rest of the harmony is not trad ) etc etc. Next FMAJ ( or F triad, FMaj7,FMaj13,F6(Dm),Fmaj9,FMaj7aug11,Dm9,Amb6,F7b5(lovely)B7,B7b5,Bhalfdim(theta symbol is better but isn't on my keyboard) For Ealt (E7,E7b9,diminished triads or thirds on F,G#and B,E7aug9,Bb7 or Bb7b5 ( this tritone substitute is great for building momentum back to A-)etc,etc These lists are by no means exhaustive but I prefer to think A-,G7,Fmaj,Ealt. It is easy to know all of this at a glance when an effective and consistant nomenclature is used (ie A-,G7,Fmaj,Ealt).and again I strongly recomment Conrad Corks harmony with Lego Bricks as a guide in this, some knowledge of flamenco is of course nessecary for anyone trying to realise a chart or improvise along with a flamenco. Well there you go more fuel for the reductionists.[&:], (yes I do go on a bit) D.
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