They're not super common as the only place they occur in a regular major scale is on the subdominant (IV), every other interval has a perfect 4th. That said they're a fantastic choice, especial when playing in Lydian, but even when they're outside of the key they're a great source of tension that resolves really nicely since a sharp 4th is a tritone and most of functional harmony is build around resolving tritones.
The notes in your chord could easy be described as G Major 7 sus, and the C would resolve down to a B. There is also a missing note that could be added without much change in the sound, D.
I once used it in a song and to write it down I just used "C lyd" (C lydian) because I didn't know how else to call it. I think Lydian chords are a different thing tho, so I'm not sure if it could be called like that.
Sus means either a perfect 4th or 2nd in place of the third. If you play a sus chord, then sharp the 4th, you'd be playing two notes that are next to one another, unless inverted below the root or placed as a #11.
It shouldn't be called b5. We already have the G in there being the perfect fifth and doesn't make sense to have two of the same interval in most contexts.
So what you say is that if we see a #4, it probably means that the third is played or omitted and in this particular case, it should be noted as an "add#11" chord ?
They're not super common as the only place they occur in a regular major scale is on the subdominant (IV), every other interval has a perfect 4th. That said they're a fantastic choice, especial when playing in Lydian, but even when they're outside of the key they're a great source of tension that resolves really nicely since a sharp 4th is a tritone and most of functional harmony is build around resolving tritones.
How then would you define this particular Viennese trichord's function? I'm asking in part because I saw what the Wikipedia article (
https://en.wikipedia.org/wiki/Viennese_trichord
The notes in your chord could easy be described as G Major 7 sus, and the C would resolve down to a B. There is also a missing note that could be added without much change in the sound, D.
Unrelated question: how can a chord be both major and sus simultaneously?
Can't you only augment a 4th?
I once used it in a song and to write it down I just used "C lyd" (C lydian) because I didn't know how else to call it. I think Lydian chords are a different thing tho, so I'm not sure if it could be called like that.
Sus means either a perfect 4th or 2nd in place of the third. If you play a sus chord, then sharp the 4th, you'd be playing two notes that are next to one another, unless inverted below the root or placed as a #11.
It's definitely not b5, it's either #4 or #11. OP spelled the notes correctly.
It shouldn't be called b5. We already have the G in there being the perfect fifth and doesn't make sense to have two of the same interval in most contexts.
So what you say is that if we see a #4, it probably means that the third is played or omitted and in this particular case, it should be noted as an "add#11" chord ?
https://youtu.be/P2OhGH3rFi4