On Wednesday, July 7, 2004, at 01:16 PM, Darcy James Argue wrote:
I guess I should have said "French-Canadian."
(It's also interesting to me to see French-Canadian musical terminology collide with jazz terminology, especially when it comes to chord symbols. No one -- at least no one I ever saw -- actually writes out chord symbols with French(-Canadian) names, e.g., REm7 SOL 7 DOmaj7. They use English pitch names for chord symbols -- Dmi7 G7 CMA7. But when they *talk* about chord names, they *say* stuff like "si b�mol demi-diminu� avec do b�carre.)
- Darcy
I started teaching part-time (jazz composition) at the Universit� de Montr�al a couple of years ago, and the stuff I had to go through to find translations for all the jargon was ridiculous! For example, almost every francophone I have ever met or worked with uses terms like �swinguer� for the verb "to swing", yet the Office de la Langue Fran�aise (known around here as the Tongue Troopers) utterly rejects any anglicism whatsoever. They found an old citation from the 20's of an author talking about swing, and he said "interpretation rythmique ternaire" (ternary rhythmic interpretation, which is not even accurate besides being unwieldy) so that's what they insisted on. Being a mere anglophone, my arguments cut no mustard with them, so I had to enlist the help of Richard Ferland, one of the other faculty members and author of the only French-Canadian books that I know of on jazz theory, to argue with them.
But I DO say "do mineur sept b�mol cinq" while pointing to "Cm7(b5)", as almost every jazz musician in Qu�bec does.
Christopher
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