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So is "C5" just C and G or is it G-C-G?

So C5 is made of C and G. That's it, root and fifth.

A C2 chord is pretty standard in pop and contemporary jazz circles. It has a non-leading quality to it, as opposed to a D7sus chord, for example. The D7sus functions as a V-chord and wants to resolve to a G of some sort. However, a C2 could be a I, IV, or even a V chord (although the V would be less common). The whole idea of a "2-chord" is that it has no 7th which would clearly indicate how it functions. Without the 7th, it has a floating character that is very desirable in certain situations.

It's important to distinguish between a chord symbol and a voicing. A chord symbol defines the harmony. A voicing is how that harmony is executed/played. Think of a voicing as "spontaneous orchestration". That's the beauty of modern chord-based styles (pop, jazz, latin, etc.)...the player is essentially a spontaneous orchestrator. He/she uses the chord symbols to construct a part that may very well change each time the song is played -- especially in more sophisticated styles like jazz.
There are some stylistic principles that are important to adhere to, but that's part of orchestrating in a way that's authentic to the style. For example, jazz pianists rarely play the root of the chord in their left hand when playing with an ensemble. To do so would most likely take you out of an authentic jazz sound. In pop, too many inversions in the left hand make the sound less authentic. So a style most definitely implies a certain type of voicing. But within a style there are multiple ways to voice a chord.
One more thing about voicings: When playing with an ensemble or band, it's important to think of the big picture. For example, in a pop/rock context, the bass player is most likely playing the root. If the keyboard player plays the root in octaves, the bottom gets pretty heavy/muddy -- especially if the guitar player is playing it as well. The chord symbol is meant to be the cumulative sound of the group. Therefore it's OK to pick-and-choose which notes to play. For example, on a C2 chord, I might only play the D and the G in my right hand. It provides a really cool open feeling. I also might play a bunch of other passing notes/chords. But the point is that as a "spontaneous orchestrator", the context is EVERYTHING!!!

I think I understand context and I think I understand the difference between a chord (symbol) and a voicing. I follow you that far.

...but a D7sus could very well be voiced D-G-C-E...D-G-C-E could very well be a voicing for C2.

Would you call the chord D7sus if the key center is G and call it C2 if the key center is C?

If not, which key center does a C2 typically operate? Is it typically a pre-dominant, dominant, or tonic sound?

I guess I can pull out DROPS OF JUPITER or EDWIN MCCAIN chart and see for myself, but I am not at home at the moment...I remember it, I think.

If I remember correctly, In DROPS OF JUPITER (key of F) it seems to function as a V chord and precedes I. I guess a G7sus preceding an F chord would look a bit strange if you're expecting the G7sus to precede a G7 or C chord, but the suspended floating quality is the same. However, G7sus precedes F chords quite a lot in Bossa Nova. Six of one half-dozen of another. Tomato, tomato.

I am rambling, but I think I understand it's use and function -- at least in this particular song.

To my understanding that "C2" is a regular C major chord with a D added in between.

Are Csus2 and C2 the same thing?

Just to make matters more confusing C2 which is often used in pop charts can also appear as a Cadd9 chord.
It is just a C triad with a D stuck in there to give the chord a little more fullness. It will usually act as a I or IV chord.
With regard to the D7sus mentioned in the above post- D7sus chord (orC/D) the C E G are acting as the 7 9 and11. The D would be heard as the fundamental of the chord. This chord is acting as a dominant function

Sorry for the delay, Haywood -- I've been buried this week...

Your example is a GREAT one -- Is it a D7sus or a C2? Because we're dealing with chords, the answer is found in HOW it functions. In a pop style, root movement is probably your biggest clue. If the bass is playing a D, it's probably a D7sus. If the bass is playing a C, it's probably a C2. It would be HIGHLY unlikely for the bass to be playing a 9th or a 7th (unless as passing tones). The "rub" is that both a D7sus & a C2 are commonly found in the key of G. The C2 would be the IV and the D7sus would be a suspended V. So again, how does it function? What does it sound like?

As to your 3rd question, a "2-chord" functions primarily as a I or IV chord, but can even function as a V chord (although that's less common).

Yes. It's also commonly written: Cadd9

That's a great question! You've identified a flaw in how chord symbols are written today! Chords are based on 3rds, so technically, there's really no such thing as a "2-chord". The correct way to write a C2 would be Cadd9. As you can see, it takes up more space. So some arrangers began shortening it to C2. Another popular chord is Cadd9(no3) -- which is really C-D-G. Some arrangers began shortening this to Csus2. I used to hate this kind of slang, as it doesn't really support a good understanding of harmony. However, I have to admit that I use C2 all the time, simply to save space!
So to answer your question: Yes and No. Because of the fact that 2-chords are really musical "slang", there's really no standard. I find that C2 is most commonly intended to mean Cadd9. However, I've seen plenty of charts where C2 is really Cadd9(no3) or Csus2 (which are the same chord).
My advice? Be as specific as is practical. Obviously chord symbols were meant to be a musical shorthand of sorts, so writing really long symbols kind of defeats the purpose. But I don't think writing C2(no3) is too hard. That's what I do, and it works well for me...

I've only seen it as Cadd9. Are you certain you can't write it as Csus2? Not C7sus2, but just Csus2?

Check out this website: http://www.torvund.net/guitar/Theory/11-2-The_sus4_chord.asp

It seems to make a distinction between a sus2 and a sus4. Now I'm really curious.

Just trying to get everything straight.

Greg, I'm saying that Csus2 is a common way of writing C2(no3) or Cadd9(no3).
And yes -- there's a distinction between sus4 and sus2. Incidentally, when you see a "sus" chord, such as: Csus, the implication is that it's really a Csus4. In other words, you don't have to write the "4".

Okay, thanks for the confirmation.

My favorite sus sound is a sus (add 3), with the 3rd as the top note.

Dolce,
Get my book "Jazz Piano Voicings" published by Hal Leonard Corp. It will answer your questions and many others you haven't thought of yet.
SteveY-great comments and information in this thread-you rock!

Actually, Rob, I've seen you play (back in the Cafe Lido days), and I must correct you -- It's YOU who rocks!!!

1) How do you play 9th, 11th, and 13th chords (i.e. C9, C11, C13)? What do they mean?

I would highly recommend getting this book by Ross Carnegie.. He's really an awesome teacher and musician.

www.rosscarnegie.com

The Ross Carnegie Teaching Method – Book 1;
An Introduction To Modern Harmony that teaches his famous signature runs and preludes along with his personal, stylized approach to teaching music theory.

What is harmony?
1 The simultaneous notes in a chord
2 The study of the structure, progression, and relation of chords

*What is modern harmony?

The advanced level of chord study where the use of more complex chords and chord progression (i.e.: runs, etc.) are displayed.

Example: Modern Special Chord Voicing = Maj 7th, 9th 11th Minor 11 and 13th

I also have a question regarding 'susses' and their notation. I'm confused: isn't there a difference between Csus2 and Cadd9. The way I read it, Csus2 is C chord with a D, but with Cadd9, musn't you play the seventh aswell, because it's on your way to nine? Then you must be playing C,E,G,B,D?

Please correct me...

Good question. The "add9" tells us that the chord is a triad with an added 9th -- no 7th. Normally, when you see a "9" on a chord, it implies all the extensions below (including the 7th). For example, a C9 would be C, E, G, Bb, D.
The same is true for 11 & 13 chords. A Dmi13, for example, would be:
D, F, A, C, E, G, B.
The prefix in front of the number (maj., mi, etc.) tells us what the 7th of the chord is, and gives us a clue as to how the chord functions in the key. For example:
G9 = dominant chord (minor 7)
Gma9 = major I or IV chord (major 7)
Gmi9 = minor II or VI chord (minor 7)
Gadd9 = major I or IV, no 7th.

So to answer your original question:
Csus2 = C, D, G (the 3, or E, is suspended downward)
Cadd9 = C, D, E, G

hope that helps.

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"So to answer your original question:
Csus2 = C, D, G (the 3, or E, is suspended downward)
Cadd9 = C, D, E, G

hope that helps. "
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"suspended downward" ?

ok, I exagerate my confusion a little, but my understanding or definition of suspensions would be the "suspended" part was the next scale step up, which (quite often) acts as a leading tone BACK to the "unsuspended" note that it would be based on.

So for me, I'd think a Csus2 would be D E G (which DOES look more like part of a G7 chord, so that's wierd ) BUT it quite often drops the D back to the C in the next chord to become the standard C triad again.

Just to restate my understanding, a "sus" indicates a SUBSTITUTION of the next higher note in place of the "normal" triad note. An "add" just tacks it on IN ADDITION TO the original triad notes.

(Not trying to sound pedantic here.)

Bob

Bob,
You're exactly right -- a sus chord SHOULD be the next note UP instead of DOWN. A "sus2 chord", then, is not correct terminology. Personally, I don't write it that way, but I see it all the time -- even from very well-respected and well-trained arrangers.

A Csus2 would be C, D, G.
I would normall write this as C2(no3).

A suspended chord indicates how the altered note resolves (downward). "RE" (the "2" or "9th") doesn't naturally resolve up to "ME", which is why the terminology is flawed. I used to be more of a "purist" on this when I was younger, but I got tired of fighting the battle. Now I just go with the flow...