> It depends. ;-) Perhaps I want to analyze say, Prelude I from the Well
> Tempered Clavier (book I) and have chord symbols above each measure to
> remind me of the structure of the broken chord in each measure (to be fair,
> most classical analysis is probably *not* done this way, but I like it).
> Hey, now there's a thought! How about a facility for typesetting classical
> analysis (such as: C#m: Im V[6 4] Im with the 6 stacked on top of the
> four--look at Walter Piston's *Harmony* for copious examples)? >-)
Aha! I've got a book that tries to teach jazz this way...it's a
disaster. But I guess this is where the inversion stuff really comes
into its own. Can this chord-naming method handle complicated
harmonies, or just more simple major/minor harmonies?
gav.
>
