Re: Chords and what they mean

[Blöchl Bernhard]

For sure Hancock is giving the sus some specific "colour". I just 
listend Maiden Voyage and I am sure he always play a powerchord root 
doubled and a 5 with his left hand, not a complete triad. Nothing 
strange for modal jazz. And a 7sus chord with the right hand. Not shure, 
but it sounds like 7sus2 or more likely 7sus9? Anyway, the unresolved 
sus is the key of that Hancock sound.


Am 19.09.2015 12:34, schrieb Brett Duncan:
> On 19/09/15 7:52 PM, Blöchl Bernhard wrote:
> > A bit OT:
> >
> > For anybody having doubts if sus chords are of any use, I found a nice 
> > example in jazz. In Herbie Hancock’s jazz piece Maiden Voyage one can 
> > recognize examples of sus chords covering D7sus, F7sus, Eb7sus, and 
> > F#7sus (C#-13). Lilipond unhappily omits the sus in this combinations.
>
> Just to be clear, in Hancock's piece and other jazz standards, D7sus
> is not simply a 7th chord with the third omitted. As Mark Levine
> explained in the "The Jazz Piano Book" (Sher Music Co. 1989), for
> D7sus (or simply "Dsus" as it appears in some arrangements) Herbie
> played a C major triad (with the G doubled) over the root and fifth on
> the left hand. The effect of this was that the right hand was playing
> the 7th, 9th and 11th (or if you prefer, 7th, 2nd and 4th). Hence
> Levine's description of a sus chord: the " major triad in the right
> hand [is] a whole step down from the root".
>
> Brett
>
>
> _______________________________________________
> lilypond-user mailing list
> address@hidden
> https://lists.gnu.org/mailman/listinfo/lilypond-user