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When do you include the bass note of a chord if the bass is the b9?
I'm writing chords for a pop piano part (so definitely want to follow what is more intuitive for pop/jazz players rather than sticking hard to the music theory books). The chord in the right hand is a Dm7 and it is over Eb in the bass. Generally, would it be preferable to see this as Dm7(b9)/Eb or Dm7/Eb?
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Dm7/Eb is sufficient in this case. It is better than Dm7b9/Eb, because it better suggests the voicing – normally b9 should be above the root, in a higher octave.
Interesting chord... I wonder, is it a passing chord, or a chord where Dm7 is static and the bass line is moving? Slash notation is definitely appropriate in such situation, as it signalizes a specific voicing.
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As others have commented, first, probably readibility suggests Dm7/Eb.
It might depend whether that Eb is some sort of ostinato... so that the Dm7 is a "passing" harmony, ... or perhaps the Eb is a passing tone, within a key where Dm7 is a typical harmony. Even so, either way, if I were reading something cold, I'd prefer Dm7/Eb (or, conceivably, ii7/...).
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When do you include the bass note of a chord if the bass is the b9?
I'm writing chords for a pop piano part (so definitely want to follow what is more intuitive for pop/jazz players rather than sticking hard to the music theory books). The chord in the right hand is a Dm7 and it is over Eb in the bass. Generally, would it be preferable to see this as Dm7(b9)/Eb or Dm7/Eb?
814 bronze badges
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Dm7/Eb is sufficient in this case. It is better than Dm7b9/Eb, because it better suggests the voicing – normally b9 should be above the root, in a higher octave.
Interesting chord... I wonder, is it a passing chord, or a chord where Dm7 is static and the bass line is moving? Slash notation is definitely appropriate in such situation, as it signalizes a specific voicing.
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