Re: triangle chord notation

[Michael J Millett]

Here is how I understand it: Jazz/pop chord symbols are to be 
considered literal. That means, the key signature is Not Ever to be 
considered. A 6 is always a major sixth. A seventh is always a minor 
seventh. A 9 is always a major ninth. An 11 is always a P11, and a 13 
is always a major 13.

When alterations are made, the literal accidental should be used. But . 
. .

But, at least in usage, this is where the system breaks down. 
Sometimes, # means raised, b means lowered, from the conventions listed 
above. Figuring out which is which, is usually a matter of common 
sense. Though, I have run across a few that have not been clear.

Consider the following (difficult to typeset in normal text) Ab (b9).  
Spelled Ab C Eb Gb Bbb (or A). b9 refers to the fact that the ninth is 
not a major ninth, but is lowered from the conventional. The other 
possibility is Ab {bb9). This is messy, and not appropriate for chord 
symbols, which, ironically, are probably designed to simplify matters.

In regards to the Cm#7: I have always seen this written as Cm (maj 7), 
making it clear that the 7th is not the conventional minor 7th. The 
other possibility is Cm (♮7). However, #7 makes perfect sense when 
considered with the convention. It means "the seventh is raised from 
the conventional." Key signatures don't count when using chord symbols.

I hope this helps :)

Michael

On Aug 8, 2006, at 2:01 PM, Rick Hansen (aka RickH) wrote:

> No, the #7 notation is only valid for chords based on the melodic minor
> scale.  In the USA we would typically call this for example CmM7 in 
> Europe
> they may call it Cm#7 in both cases the note stack is the same <c ef g 
> b>.
> Speaking it, it's called "the minor major seventh chord", check out 
> the song
> "When You Wish Upon A Star" for an example.
>
> Of course #7 makes no sense at all on major chords, because #7 is the 
> root!
>
>
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