You’re saying if the triad E G C is played in a piece in C major it doesn’t sound like a C chord??
Ok. Then what do you call it?
Ok. Then what do you call it?
Known in western classical harmonization theory as "Em+" (E chord with minor third, augmented 5th). C first inv is actually Gsus4add6no5 or as I like to call it G+5+4. It has an incredibly warm and rich tone, nothing like C+4+3 (C major triad).
It works in C because all of its notes are also present in the C major scale, but that's just a coincidence. Calling it a C inverted chord is like making astrological or numerological conclusions.
And no, shifting up or down by octaves is not the same sound. It's close but not equal. You can probably get away with octave substitutions in a busy song but you can not say it sounds exactly the same. A 9th is not a 2nd. 11 not 4, 13 not 6. When you play La Campanella, is that your excuse for skipping those octave jumps? :)
As I said, unpopular opinion :)
If you are already ignoring the actual chord "voicing" as written in the "classical" system, then just keep doing that in my system??
If you are already able to intuit that a note should go elsewhere, then keep doing that for your jazz sets? What's the issue again?
"Gsus4x5" is just as unreadable and ignorable and malleable as "G+5+4".