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## Re: triangle chord notation

 From: Michael J Millett Subject: Re: triangle chord notation Date: Tue, 8 Aug 2006 15:12:52 -0500

Here is how I understand it: Jazz/pop chord symbols are to be considered literal. That means, the key signature is Not Ever to be considered. A 6 is always a major sixth. A seventh is always a minor seventh. A 9 is always a major ninth. An 11 is always a P11, and a 13 is always a major 13.
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When alterations are made, the literal accidental should be used. But . . .
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But, at least in usage, this is where the system breaks down. Sometimes, # means raised, b means lowered, from the conventions listed above. Figuring out which is which, is usually a matter of common sense. Though, I have run across a few that have not been clear.
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Consider the following (difficult to typeset in normal text) Ab (b9). Spelled Ab C Eb Gb Bbb (or A). b9 refers to the fact that the ninth is not a major ninth, but is lowered from the conventional. The other possibility is Ab {bb9). This is messy, and not appropriate for chord symbols, which, ironically, are probably designed to simplify matters.
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In regards to the Cm#7: I have always seen this written as Cm (maj 7), making it clear that the 7th is not the conventional minor 7th. The other possibility is Cm (♮7). However, #7 makes perfect sense when considered with the convention. It means "the seventh is raised from the conventional." Key signatures don't count when using chord symbols.
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I hope this helps :)

Michael

On Aug 8, 2006, at 2:01 PM, Rick Hansen (aka RickH) wrote:

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No, the #7 notation is only valid for chords based on the melodic minor
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scale. In the USA we would typically call this for example CmM7 in Europe they may call it Cm#7 in both cases the note stack is the same <c ef g b>. Speaking it, it's called "the minor major seventh chord", check out the song
```"When You Wish Upon A Star" for an example.

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Of course #7 makes no sense at all on major chords, because #7 is the root!
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