On Jan 6, 2005, at 6:34 PM, Simon Troup wrote:
What about the 7#9, I worked with an editor on a book who swore blind it should be 7b10! Thankfully that decision was over-ruled and 7#9 remained. Even if you can show that that was the case (and I can't b bothered to even think about it) it now lies so far out of convention that changing it for the sake of realigning the theory is pedantry, a pointless waste of time.
Simon Troup
Yeah, the #9 is a toughie. It should be SPELLED as a b10 when written out in notes (which it is, really) but I have long ago given up trying make people call it or write it in the chord symbol that way. I have enough trouble getting people (students) to understand that the #5 on a dominant is really a b13, and should be spelled that way.
The other one is tritone substitute dominants. In most cases, they should be spelled as augmented 6th chords to be painfully correct about it, (like Db7 in the key of C spelled as Db, F, Ab, B rather than Cb) but in so many cases it just confuses the issue, and doesn't make anything easier to read or tune, so I have given up on that crusade. Enharmonic spelling is so common in jazz anyway...
Christopher
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