Re: triangle chord notation

[joelinux]

B#7 would belong to the key of E# whish is non existant key as far as I know. 
How many #'s would b e in that key?  If such a key did exist, I don't see where 
a C7 would improve much.

Agreed though on lower case for notes and Upper for chords.  Also the idea of a 
limited symbol set makes sense but it should be a symbol set that can be 
entered on a qwerty keyboard.

-----Original Message-----
>From: David Raleigh Arnold <address@hidden>
>Sent: Aug 4, 2006 2:39 PM
>To: address@hidden
>Subject: Re: triangle chord notation
>
>On Thu, 03 Aug 2006 23:10:48 +0200, Eyolf Ostrem wrote:
>
>> On Thu 03 August 2006 22:35, Rick Hansen (aka RickH) wrote:
>>> You'll hardly find a jazz fake book that does not use triangles
>>> somewhere or always for M7, take a look at Aebersold, Hal Leonard, Sher,
>>> etc.
>> 
>> Agreed - but that's jazz.
>
>In the 1950's people copying lead sheets found that using the accumulated
>nonsense in the way of cryptic symbols and minus signs from pop music
>publishers made their charts unreadable.  The reform was to use no symbols
>at all except the sharp and flat.  It is useful to use slash bass notes,
>which were invented in the early sixties, but other than that, nothing
>good has happened since.
>
>As I wrote years ago, the best thing to do is to adhere to that
>strictly limited symbol set, and always to base spelling on quick
>recognition rather than musical meaning, which is irrelevant in
>improvisation, where the chords are a given.  It doesn't matter what they
>mean.  Your purpose is to give them a different meaning anyway.
>
>Academics poison the well when they use the system for analysis, which is
>a purpose for which it was never intended.  Do not follow the
>innovations suggested by academic articles.  It leads to such abominations
>as the flat13th chord or the B#7, which is better written C7, regardless
>of a big fat bis being in the score. daveA
>
>> like G/D is less clear than G/d, in my opinion.
>
>Yes, I've seen that a lot lately, and I use it myself.  Speaking for
>myself, I can't understand why it took so many years for me to see the
>efficacy of using upper case for chord names and lower case for note
>names.  It's a big improvement. For other readers:
>
>G/// G/D /// D/// G///
>G/// G/d /// D/// G///
>
>daveA
>
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