Looking at the posts, there seems to be a nice relationship between the jazzmando folk and the mandoCafe people in these posts so Id like to ask some questions about theory brought up on page: http://www.jazzmando.com/ii_v7_i_home_positions.shtml
One of the things that intrigues me about the mandolin (more than the guitar, though I could always force myself to think in mandolin terms) is that (because it has less strings) when generating complex chords one is always making decisions regarding which notes to leave out; which inversions to use, etc.
Question: If you use a program such as Chord Designer (Reverse Chord Generator) http://www.chorderator.com/cgi-bin/d...++&tuning=GDAE and plug in, for instance, the Fm9 chord pictured in the jazzmando page it lists that chords possible chord names as ONLY: Csus4/G#, Fmadd2/G#, G#maj7no5add6, and G7sus4no5/G# - not Fm9. (One possible reason is that the Ab [b3] seems important to a minor F chord). I assume that reverse chord generator programs automatically assume that one of the notes in the chord is the root (Key note) and that taking the tact of eliminating the root tone from a chord (since another instrument may be supplying it), something mandolin players do routinely, could really throw these programs into a tailspin. But for me the question arises: What do I call a chordal note arrangement I devise on the mandolin? It would be a lot easier remembering the chord to be a Fm9 rather than a Csus4/G#, Fmadd2/G#, G#maj7no5add6, or G7sus4no5/G# but the naming seems to get fairly random (having more to do with the key one wants to play in and the notes one wants to eliminate) the more interesting the chord gets.
Can someone set me straight on this?