And you haven’t given any reason why the artificial construct we call “music theory” must necessarily use a different word for a 2-3 resolution than for a 4-3 resolution.
Sure, there’s a different technical term for it. But why is a different term necessary in this case when there are so many other cases in music when overarching general terms may be freely used?
So what? If you want to see the composer’s intention then you read the freakin’ music. (Or better yet, you listen to the song. Even sheet music cannot contain the full complexity of a piece.) The shorthand notation and chord names is like the Cliff Notes (ha!) of the piece and there’s no particular reason why the chord names must necessarily include bass figuration or specific tonal suspensions and resolutions. It’s a shorthand. It’s a fake. G/B or D/A no more represents the original composer’s true intentions than any other shorthand you could devise, so why must it have a different name?
Yes, I have. I’ve spent quite a bit of time in this thread discussing a retardation vs. a suspension. And provided several cites in the process. Care to do the same?
I’ve already provided an example that illustrates quite clearly how it can make a difference. Care to do the same?
Once again, I’ve already provided an example of why it could be very important. That example did not include any instrumentation other than the guitar chord voicing involved, and if you cannot refute it, you do not have a point. Are you honestly suggesting that if you receive anything short of a full musical score of any given composition, that proper chord names simply don’t matter?
In terms of practical application, nothing - I’ve already stated several times at this point that the world is going to continue to notate that chord as Dsus2, and that I’m ok with that. I really don’t know how to make that more clear, but feel free to keep ignoring my repeated statements to that effect if you feel it enhances the discussion in some way.
However, in terms of proper notation, I’ve also (at this point) repeatedly stated what my gripe is with the sus2 designation, and (as I’ve already mentioned, more than once) provided an easily documented basis for my discontent.
Given that I do not wish to simply repeat explanations, the onus is now on you to explain exactly what you, as a musician, see questionable about those explanations.
(hint - In my very first post, I said that people commonly designate that chord as Dsus2. I further said, in that same very first post, that I can accept that the world calls it that. I then even further specified that musical geekery is my only point here - and I’ve mentioned that in several, several points since. If you aren’t even going to read the first post, why bother weighing in on the discussion?)
Wow, get wound up much? And I already said the term suspended chord borrows the contrapuntal term. It is not the same term. Every reference you’ve cited that defines a suspended chord says this. The ones making the difference between suspensions and retardation are in the context of counterpuntal harmony. I don’t think it’s valid to apply 18th century notions to 20th century harmony. A suspended chord is exactly what we’ve been saying it is.
Note that have read and responded to the OP; I even say exactly why your suggestion of Dadd9 is incorrect to satisfy your musical theory neediness. I’m still trying to figure out what possible answer could satisfy you. In fact, I’ve given you two options before, but I think they’re as silly as forcing quartal harmonies into a classical naming convention.
Nah, I’m not really wound up. Just unwilling to repeat previous posts so that you don’t have to read them.
It’s exactly the same term, and every reference I’ve cited confirms that. Please point out where I am incorrect.
Unless you are suggesting that notes somehow sound different together than they did hundreds of years ago, I am honestly unclear as to what point are trying to make here.
Good - that being the case, please stop posting questions which were addressed in that post. If you want to say Dadd9 is also incorrect, that’s fine with me. Doesn’t really take away from my point. As for the “answer that would satisfy me”, I’ve stated extremely clearly (yep, I’m going to do it one more time) that my issue is purely with the proper naming of the chord everyone calls Dsus2. You have not provided a concrete answer to such. It’s actually pretty easy to see from the thread above.