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Discussion in 'General Instruction [BG]' started by pc2184034979, Nov 2, 2018.
You're the 6th "that guy" in this thread. Welcome to the club.
(It's funny that only some "lamely strange" theoretical question could inspire our highly knowledgeable TB members to post.)
yeah funny, new TBer unwittingly posts troll grenade and fades away. upon reading the OP it seemed (to me) that he was confused and looking for clarity. Now it seems he was trying to "pass on" his knowledge (He has some other strange posts seemingly posing as questions)
I guess we expect OP posts to contain mostly queries not statements(?). Nevertheless OP, welcome and post on!
I believe that some of our TB threads gave the OP wrong impression and the OP decided to honestly share his knowledge in order to help TB-ers.
That is correct.
Well, like so many posts here, you started out fine and said "you remove the 3rd and substitute the 4th". Fine, no problem. Then, you kinda got tricky by saying "OR" you can sharpen the 3rd and get the same thing. It's not the same thing. It's not an augmented 3rd. It's just the 4th. A simple diatonic note. You just substitute the 4th for the 3rd. Stop. Period. It's not either or. It's stuff like that which causes confusion. Then, there's that thing of saying, "it's an opinion". It's not an opinion. It just is what it is. If people could just stick to normal convention, everyone could understand what's going on. If you just want to be "right", well there's no cure for that.
I’m not sure how to play over an A7sus4 chord, but if my piano player plays it, I can tune my bass.
As with any new(?!!!) subject/thread at TB, we can find out that it was discussed previously here.
What to play on suspended chords?
Posted by HaVIC5; otherwise known as Adam Neely.
"A huge misconception about sus chords is the mentality of avoiding the 3rd of the chord. This is simply not true. Just because the fourth of the chord is included in the voicing of a sus chord, does not mean that the third is an avoid note or even a “wrong note.” In reality, many pianists and guitarists even include the third of the chord in their V7 sus voicings."
How to Improvise Over Sus Chords and Tunes Like Maiden Voyage • Jazz Advice
We have the following notes in the chord G - C - F - Bb.
A quartal chord = C - F - Bb with G in the bass = C7sus4/G.
What note should I play in the bass?
Now, let's add a second quartal chord = B - E - A with the same G note in the bass = B7sus4/G.
And make it as a two chord "vamp".
C7sus4/G II B7sus4/G
What note/s should I play in the bass?
"Sus" means: suspended.
(In the 2 chord vamp context you are presenting...)
1. The chord VOICING "C,F,Bb with a G in the bass" is simply a Gmin7,add11 - it functions as a Gminor sonority. It has nothing to do with a "C7sus4" tonality, because there is a "G" in the bass.
2. The chord VOICING "B,E,A with a G in the bass" is simply a Gmaj, add9, add13 (or "G6/9") - it functions as a Gmajor sonority. It has nothing to do with a "B7sus4" tonality, because there is a "G" in the bass.
These are both beautiful/ugly examples of how "Slash Chord" nomenclature complicates and obscures the actual chord sound. (Yes, sometimes there is a need for Slash Chord nomenclature, but not here...)
You now have much more Useful Harmonic Information (tm) for each chord and now you can easily and confidently construct basslines that support these chords.
Thank You, WUTP.
As always, thank you for your very informative answer!
That was mine main point - to "confuse" our TB members with that "strange slash (maybe sus)" nomenclature.
Your comments provide a very good way of learning some practical aspects of any subject.
(Instead of commenting simple tutorials on five pages.)
The following clip/bass riff is about "what notes to play in the bass with a/any sus chord."
I have just one "pure" Dsus chord with some added notes in the bass.
The Dsus chord voicing is simplified on purpose. Please, don't get mad at me.
A drum pattern is, kind of, borrowed from Jane's Addiction "Just because."
I use D in the bass with Dsus only at the very end of the measure.
Here is a soundclip of the same from Guitar Pro.
P.S. It's another "confusing" notation of that chord.
It's not "pure" Dsus!
I'm not mad, though some would argue to the contrary!
While this is a very cool sounding bassline, I don't hear it outlining or supporting a "Dsus" tonality. (Why does your "piano" voicing contain an "F"? This would suggest a "Dmin..." tonality IF there were lots of "D's" in your bassline.)
As it sounds and looks - with a lot of "B" in the bass in the beginning of each measure, and "D,F,G" throughout as the pno. voicing, this is suggesting (vaguely) a "Bmin7, b5....." sonority.
Thanks for your time and interest.
I'm truly sorry for that confusion.
I've been trying several "similar" looking upper-partial chord structures; therefore, here is the "true Dsus chord" clip.
And here is a soundclip with that "true" Dsus chord.
Notwithstanding all that has gone before, as the composer you have specified ☆/G, so G it is.
Back on topic, the only note shared by your chords is G, which is a 4th above D, which features in neither of your chords, so my 17th century education is struggling to find any actual suspension... Perhaps Gm+11 to Em9/G might suit..., or something drawn from a symetrical (diminished) scale...
This is a VERY cool bassline and composition!
But, with the corrected voicing in the pno., (D,G,A, with a LOT of "B" at the beginning of each measure), I hear the overall/general tonality as kind of a "Gadd2/B" with some very interesting chromatic notes moving underneath - (C, Bb, ), and the "A" which suggests (D,G,A with A in the bass), "A7sus".
I think the best approach is exactly what you've written - specific bassline & notes and a very specific chord voicing, but no chord "NAME" specified, as it is not static throughout the section due to the changing bass notes.
Just my $0.03.
Thanks! I really enjoyed this!
You know I'm not one to pass up an opportunity to mess with your ideas - what do you think of this... It's very rough and, let's say 'embryonic', but explores the various approaches - a pair of 'faux-sus' chords, the +11/m9 pairing and the diminished 'overlay' I hinted at before. Very different to the quite frenetic (IMHO) and interesting interpretation you posted earlier. Clearly at the end I've taken a few liberties with the prescribed chords, but well, I needed a quick way out! Hope you enjoy. Before you ask - as of now it's not me playing as I'm not at home right now, but I'll try to get around to doing that soon.
To my regret, I can’t listen to any MP3 files on my iPhone. I don’t know why.
I have asked our forum about that issue several times to no avail; therefore, I will certainly check your sound clip as soon as I get a chance.
That's a nuisance. Are there any formats you can use, eg *.wav, *.wma, *.ogg etc?