Re: triangle chord notation

[Rick Hansen (aka RickH)]

Right.  But the double flat does not break down the system, any flat or sharp
in the name is additive to the accidental already on the "natural occurring"
note of the chord root key.  
In the case of Ab9 the 9th (Bb) already has an accidental of flatted Ab9=<Ab
C Eb Gb Bb>, 
So saying Ab(b9) renders Ab(b9)=<Ab C Eb Gb Bbb>, (b+b)=bb.  The flats and
sharps in the name are added to the flats/sharps in the key of the chord
root.  So a double accidental is never needed in a chord name.  #7 is a
special case for the melodic minor scale but still fits the additive naming
logic if you assume that the minor chord is always based on the minor key of
the root, mathematically it's (b+#)=natural, (b+b)=bb, (#+#)=##.  But I like
Xm(Maj 7) better, but analytically #7 is more accurate because it's a
naturally occuring chord in the melodic minor scale, but it would confuse
some fake book readers.




Michael J Millett wrote:
> 
> 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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