Originally posted by noticingthemistake
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Chris, I'm not sure what kind of responce that was, but ok.

I wrote that to prove a point, you said that you didn't think it was that important what label you put on a chord, I disagree, I think it is one of the most important facets of theory. That label I put on that is technically correct, but it would be absurd to think that way, everybody knows that is a standard C major voicing.

I found some of your analysis to be like that, labeling standard root position major7 chords, minor 7b5, and 9th chords some absurd inversion. Other times you take inverted chords and try to explain them in root position by using uncommon alterations. Theoretically you could argue yourself correct, just like I stated w/the C major chord.

Analysis is not easy, and what Christoph wrote is nothing, a couple of bars of 4 note chord voicings. It's very tedious work, checking and rechecking, etc. Try it on a symphony sometime....or a sax soli within a big band score where the chords are changing by the 16th note. It's a lot of work, and like everything else takes a lot of practice to get good at.