Yeah, yeah, yeah. Yady, yady, yady. Call every chord a dominant if I give a hoot, how blind you are to what I am saying. Now again you rationalize your post from the discussion. I never said anything about a “I7”. If your discussing something at least talk about something that is being discussed. The “I” in music refers to tonic, whatever extension comes after it is harmony. Tonic has a function, ha! What’s it’s function??? The I chord can come or go to any chord with it’s key, a far cry from setting rules and functions. Yeah and if you write out your triads enough and it can be become a tonic chord, or just about any chord. No point made here.
An Asus4 is an implied dominant, explain? If you know what a suspension is meant to do, it’s clearly not a dominant chord. Dominants can conceivably go anywhere, true but it has it’s favorites, V7-vi and V7-I(i). Chord substitution may vary this thought, but by your terms of function it’s in this manner. Your idea of tri-tone function is extremely limiting. Another chord where the tri-tone exists in in a Major #11 chord. Formula: 1, 3, 5, 7, (9), #11. #11 is also #4, a tri-tone interval. Clearly not dominant, nor diminished. Do you wish to explain this one??
Oh, but wait if you take out this note and put in this note it's becomes a dominant chord. I know thats what your going to say. -LOL-
[u]C13 suspension[/u]
Whatever man, just go back and look at the Fmaj7, I repeat F MAJOR 7. E is a MAJOR seventh above F. Since you brought that up I believe the correct spelling since you want a wider range is Fmaj13. Your right probably a better voicing chord, although suspension usually occur at the 4th or 2nd. Then they’ll quickly resolve to the 3rd or maybe 1st or 5th. Other options yes, but another story. Sorry but just keep bringing up your points and I’ll keep shooting them down.
[Edited by noticingthemistake on 07-18-2003 at 03:25 PM]
"My whole life is a dark room...ONE BIG DARK ROOM" - a.f.i.