My comment is that G G*A C F is such an awkward fingering shape that almost no-one would want to play it. The chances of getting it wrong much exceeds the benefits of technical correctness. Better for most to find an easier to play chord that gives a reasonable musical result if not exact accuracy. In most cases the bass is the important note musically as long as the chord doesn't grate.
Hi Mike,
I agree that the fingering is awkward, that the bass is the musically important note and that in many cases approximations/variations of a (slash) chord will be better suited to a player.
I just want to point out that there are use cases where the musical benefit of a "clean" F/G chord outweighs the disadvantage of the awkwardness and risk of accidentally triggering a Cancel chord. I'm talking about the musical aspect here, not technical correctness.
For example, while for most styles the difference in sound for a Fadd9/G compared to a F/G is subtle, there are styles where the difference is more clearly. Sometimes it matters for a song, sometimes it does not. In the songs I mentioned in my above post, I really like the sound of the F/G more than Fadd9/G or F*/G.
Another use case is when I record the chord progression of a song into a DAW on my computer. Here I can quantize the left hand chord notes, so there's no risk of triggering a Cancel chord. With the computer I have all the time and freedom to go for the chord sound I like best for a song.
I love the fact that I have the choice to play variations of chords, so I can make the choice based on my specific needs and song. Live I might go for a Fadd9/G, while in the computer or while practicing I might go for a F/G.
Maarten