Two issues: - Same as notation philosophy we often talk about: Try to be impossible to be misunderstood - But the context matters
What is jazz chord symbols for? - For someone to improvise on, and - For someone to voice with tensions of his/her choice A jazz chord cannot be thought without its derived scale/mode. Someone voices 9th on Locrian chord, i.e., B-9(b5). Well, there cannot be such chord. If there is, what mode would you play? Is 13th lowered or not? You won't know if you don't know the scale it's derived from. But if you spelled it as G7(#11)/B, which produces the exact same voicing, immediately you know the chord is built on G Mixo #11 (or Berklee calls Lydian b7th) scale, and all the available tensions jumps into your head. On the other hand, BbMaj7/C might not be C7(sus) depending on the context. Sus declaration puts the 3rd to be avoid note, but E is not avoid against BbMaj7/C. For this reason, it might be more natural to treat this is a Bb Lydian chord, while Bb Ionian is totally valid here depending on the context, is it not? The problem is that people are determining the chord name by how it sounds from their experiences, but a chord name means nothing, to me, if there is no understandable chord scale backs up the naming. Of course exceptions exists, however. -- - Hiro Hiroaki Honshuku, A-NO-NE Music, Boston, MA <http://a-no-ne.com> <http://anonemusic.com> _______________________________________________ Finale mailing list [email protected] http://lists.shsu.edu/mailman/listinfo/finale
