Re: triangle chord notation

[joelinux]

You are correct except for the fact that chords are derived from scales.  Both 
the ascending melodic minor and harmonic minor scale contain the major 7.  The 
problem again is that many "unschooled" players don't understand the true 
harmonic relationship or function of a given chord.   Chord symbols do belong 
to a key, but high quality musical compositions don't stay in the same key 
through out the piece.  That's why chord symbols are not interpreted vis a vis 
the key signature of the piece. There are temporary tonal center shifts which 
are represented by "accidentals" rather than key signature changes.

We are discussing traditional diatonic harmony

http://www.malletjazz.com/lessons/cho_symb_les.html

-----Original Message-----
>From: Michael J Millett <address@hidden>
>Sent: Aug 8, 2006 6:01 PM
>To: address@hidden
>Subject: Re: triangle chord notation
>
>We seem to be in agreement except for one concept: The idea of a 
>jazz/pop chord symbol being based on a melodic minor scale, or any 
>other scale for that matter, is irrelevant. There is no way for a 
>person reading the chords to guess what form of minor mode is being 
>invoked. Scores do not say up front: "I am in melodic minor." And, it 
>would defeat the purpose of the system anyway, that being, to be simple 
>and practical.
>
>Those who play chord symbols tend to know some basic concepts. They can 
>play a major chord on any note. They can make any of those chords a 
>dominant 7th chord (E7).  They know how to add a sixth as a whole step 
>above the fifth. They know how to add a second or ninth a whole step 
>above the root .
>
>Anything other than this is considered an alteration from those basics. 
>In fact, it isn't even necessary to read the chord symbols very 
>carefully. For instance, if the 6th (or 13th) is altered in any way, 
>it's lowered. If the 7th is altered in any way, it's raised. If the 4th 
>or 11th is altered in any way, it's raised. After the basics, the 
>system used to explain the alterations shouldn't make a difference. 
>After all, the alterations from these basics, can only go one 
>direction.
>
>Jazz/Pop chord symbol readers simply know these things without 
>thinking. As theorists, we are capable of figuring out and explaining 
>why these alterations are the way they are. The chord reader, however, 
>does not need to care about the key or type of minor scale.
>
>I still maintain that neither the concept of key or mode matters when 
>reading jazz/pop chord symbols.  There exists the basic chords, with 
>7th always referring to a dominant 7th, the standard additions of the 
>major ninth, perfect fourth, major sixth; and then everything else is 
>an alteration of one of those, with any alteration being only capable 
>of going one common-sense direction.
>
>Michael
>
>
>
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