Re: [Harp-L] Numbers Game

["Rick Dempster" <rick.dempster@xxxxxxxxxxx>]

Elizabeth;
              I use that thnking all the time on steel guitar, where your chord shapes are limited (non-pedal steel)
and on har, where the harmonies are fixed. I Take a two or three note chord and look at it in the context of all welve keys.
Amazing what you come up with.
              The minor chord, say A minor ACE could serve as an F major seventh, a D9th and a C6th. It may be only a partial harmony, but as you surmise, it's a case of context.
              Somewhere in the harp-L archives there is a post from me regarding some of the various ways you can interpret the intervals on the diatonic harp.

Cheers,
RD


>>> Elizabeth Hess <TrackHarpL@xxxxxxxxxxxx> 04/12/10 5:17 AM >>>
Why are they called 9th chords and 11th chords and not 2nd chords and 
4th chords?  Is the difference between a Maj6 chord and a 13th chord 
that in the 13th chord the 7th, 9th, and 11th are in there, too?  Or is 
the difference the octave in which the note-in-question (6th/13th) is 
played?

A major 6th chord and a minor 7th chord seem to have an awful lot in 
common:  Am7 vs C6, for example.  Is one not an inversion of the other? 
  Is there any value in thinking of these as "enharmonic chords"?  Is 
the decision of what to write on the chord sheet dependent on context?  
Something else?

When can you play a chord in any inversion that's convenient, and when 
is the inversion played (or written) significant?

These are not burning questions...  Just stuff that's rattling around 
in my brain that won't go away.

Thanks in advance.

Elizabeth (aka "Tin Lizzie")