Re: Chord naming conventions (was: triangle chord notation)

[Kieren MacMillan]

Hi, y'all:

> We'll see who else jumps in here.

Thought I'd add my 2¢, after lurking a while...

> >    C E Gb Bbb (or in G melodic minor: C E Gb A)
> (In G melodic that would be written F#)

Here's my experience:

1. In analysis (i.e., the "classical" tradition), the chord is  
written out (enharmonically, etc.) according to its harmonic  
function. Usually, this means the resolution (i.e., the chord  
immediately following the chord being analysed) is a more important  
factor than the preparatory material (i.e., the chord immediately  
preceding the chord being analysed). However, in the case of an  
elision or pivot -- which is often the role played by a diminished  
chord, for example -- the specific analysis is either explicitly  
notated in both tonal centers, or the analyst chooses according to  
personal taste (mine generally being to analyse to the resolution).

2. In lead sheets (i.e., the "popular" tradition, including jazz),  
the chord is written out to make sight-reading easiest for the player.

> Sevenths usually come in major, minor or diminished not flat or  
> sharp even though we have flat or sharp 9ths.

Again, that's true in popular "analysis", but I've often seen (and  
used) flat and sharp sevenths in "classical" analysis.

Cheers,
Kieren.