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Dear Darryl,<div><br></div><div> Yes, indeed; thanks for the clarification. Ever since the early 40s, if not even earlier, jazz pretty much doesn't recognize 6th chords; regardless of the (voice leading) context, jazz musicians will interpret the pitches of our chord in question as Ab7+. That's what I meant by jazz theory "brusque"; it ignores certain enharmonic properties or subtleties of tone identity, conceptually crucial to classical music, in favour of what is in part a kind of vulgar Riemannianism. So the jazz perspective on both progressions would be that the first chord should be called Ab7, regardless. What I meant to suggest, however, was that this might be a reasonable way to name the chord, if indeed it moves to V7 in C. If it resolves to I 6/4, then the New Orleans or Roumanian sixth--I keep kidding around with the region name, because it seems we all are!--is the better nomenclature.</div><div><br></div><div>MW Morse</div><div>Trent University</div><div>Peterborough, Oshawa<br><br></div><div>ps an idiomatic jazz voice leading:</div><div><br></div><div>Ab7+ G13</div><div>E E</div><div>C B</div><div>Gb F</div><div><br></div><div>Ab G</div> </div></body>
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