Well, just off the top of my head, to begin with, no matter what notes, or group of notes you play in the first measure of Steel Guitar Rag ( in C), picture a major triad being played below ( or above) it all by a chordal instrument. Any note, chord, tri-tone, or chord fragment would have to be noted as whatever relation to the C note ( or not, depending on the desire for complexity).
If this is confusing, it is because there is a burning desire by somebody to demand something more complex. Probably a mechanism of limitation of actual practice time. I'm as guilty as the next guy.
(Teetering on the precipice of a pit of dangerously educated vipers with balance eroded by too many years in beer joints.. he offered innocently : )
How indeed could you play a "Root Omitted" chord, and still call it what it is? If what you are suggesting IS indeed true, then there IS no such thing as a "Root Omitted" chord. Your "Root/Fifth" chord could never be considered major OR minor.
This is fun.
Then, when you wrap the old thumb around the neck of the trusty old Tele while "everybody else" is playing a D Chord, and Grab that old F#, all of a sudden you're playing an F# min#5?
No. You're playing a D major chord. (One of the oldest chords)
Play single note run throughout the "tonic" measure ( or part of the measure) and you play single notes, "thought of" by their numerical value "to the chord". cdefgab is the 1 2 3 4 5 6 7 ( If you wish.) Play them in a harmonized scale of triads, and of course they "can be" thought of as 1 2min 3min 4maj 5maj 6 min 7dim. Whatever the chord is during a "tonic" measure is used as a substitution, or more simply an extended chord fragment *Of The Tonic*.
Oh, you can INDEED think of or express it as anything you wish.
Take the tri tone sequence in the "bridge" section of Troubador Stomp. Its a measure of C with a Gb major triad "substituted" for the tonic. You'll note that the "rest of the band" is playing a C chord. I guess you'd call it a C7 b9 b5 with the root ommitted. ( It ( the Root) is actually supplied by the Ukulele, keyboard, bassoon or bass) at that point rather than a Gb major triad. If I had to relate it, I think that is the way I'd chose to do it, It's the type of thing I discuss at "tear down" time, if the conversation ever turns from sex.
I guess what I'm saying is that about halfway through my second year of music composition, theory, arranging (at a "top of the line" community college), I decided that it was more worthwhile to think of the little fly specs all wadded up in the "One" section of the song as parts of it, rather than each chord standing as a self sufficient entity on its'own. It would be one thing if you could get the French Horn section or the clarinet section to "hold off" but not very practical.
Again. When you wrap your thumb around the neck of the Old Tele......
Complexity might have been one of the Seven Deadly Sins, had any of the others not worked out so well..
<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Eric West on 16 January 2003 at 11:12 PM.]</p></FONT>
<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Gene Jones on 17 January 2003 at 10:51 AM.]</p></FONT>