CMaj7 (as Hiro mentioned, the triangle can look too much like the diminished symbol in a hand written chart)
C-7 (minor 7)
Cdim7
Caug7
Also as Hiro pointed out.....
(#11) is different than (b5) ...#11 means some flavor of lydian to me (either lydian or lydian b7) or part of an altered dominant upper structure (extension)...(b5) means lowered fifth as in half diminished to me (but I think of half diminished as Locrian)
(#5...I call it aug...) is different than (b13) ... the former is of course augmented fifth...and the latter is a member of the upper structure (extension) of one of the flavors of an altered dominant.
Of course in modal tunes, things can get really interesting beyond this...I find complete paragraphs work best in that situation!! (just kiddin'...kind of :)-)
-K
On 05 Jan 2005, at 04:49 PM, Brian Williams wrote:
Darcy James Argue wrote:
As for alterations, they should be given with flats and sharps, not pluses and minuses. No matter what chord nomenclature you use, writing "(-5)" or "(+5)" instead of "(b5)" and "(#5)" is bad practice.
- Darcy
Claire Fisher would vehemently disagree with you on this.
Due respect, but Claire can disagree all he likes. But the fact is, his view is distinctly nonstandard, and no major jazz publisher uses (+5), (-5), (+11), (-13), (-6), etc. They all use (#5), (b5), (#11), (b13), (b6), and so on.
Depending upon the key signature, a lowered alteration could either be flat or natural, and a raised alteration could either be sharp or natural.
Yes, but the universally-accepted jazz convention is to ignore that. "#11" means a *raised* eleventh, regardless of the key signature, and every jazz musician knows that. No one's going to see "BbMA7(#11)" and think the "#11" means E-sharp. [Again, if they do, you've got bigger problems.]
Using + and - in front of alterations removes all confusion.
No, it doesn't, because (A) it's nonstandard, and (B) it's easily confused with "-" for minor and "+" for augmented. That's why no publisher uses Claire's method -- not even Advance Music, who publish his works. (They may overrule their house style for his compositions -- I don't know, I don't have any of them in front of me -- but they certainly don't use his nomenclature for any of their other composers.)
B7(b5) might imply B, D#, Fb, A to the literal-minded person because the 5th is already sharped.
Again, only to a person who doesn't know the first thing about jazz chord symbols.
- Darcy ----- [EMAIL PROTECTED] Brooklyn, NY
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