Re: triangle chord notation

[Rick Hansen (aka RickH)]

C9add6 would also have the flatted seventh <c e g a bf> making it completely
different than C69, most readers know that a C9 functions as a dominant
spring and C69 as a tonic or major.  But C69 omits the seventh <c e g a d>. 
CM9 would have the natural maj seventh <c e g b d> .  CM13 has the natural
maj seventh and the 6th (or thirteenth, 9th optional, 11th omitted) <c e g b
d a'> and <c e g b a'> are both CM13 chords with one omitting the ninth. 
C13 again is a dominant flatted seventh with 11th omitted, 9th optional, and
13th (or sixth) present depending on how your instrument is able to finger
it.

Right about markup, we can always do that any time, but it wont transpose
making it useless for chords.  I prefer using notes anyway <c e g> in the
ChordNames context, then add exceptions as needed, but thats just me.  That
way I can code all my inversions correctly and use those note variables over
again on a staff with the correct inversions showing.  If the name that
emitted on the ChordNames staff is not what I want I add it to the exception
list.  But sometimes the exception lookup routine fails because it's not a 1
to 1 lookup with your source file.  And that is the most frustrating "bug"
that needs to be fixed.

Rick


eyolf wrote:
> 
> 
> 
> You're probably right about more people being more used to 6/9, but 6add9
> is 
> unambiguous, whereas C6/9 COULD be read as C9add6 (=C13). 6/9 would be a 
> single exception from the rule, which in principle is a bad thing. 
> 
> 
> 

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