Well, D# may not occur as the tonal center of a key, but it occurs as a
horizontal scale step in some keys (E Minor, F# Minor). Anyway, it's a
rather difficult to decide what momentary tonal center exactly rules at
each particular position in a piece. It also depends on the vertical
scales being used. This decision should be left to the
composer/transcriber.
I believe it is a good thing if chord root tones are able to express
the full pitch vocabulary, even with double sharps/flats. This way a
composer can decide what the actual meaning of the chord should be.
Andre
address@hidden wrote:
I haven't heard of the key of D#, but if it did exist it would contain two double sharps. All chord symbols are named by convention. As for the root relating to the key signature; I doubt it, because musical compositions contain many tonal center shifts - hence accidentals. The root of a chord symbol and is related more to the the momentary tonal (key) center, not necessarily the written key signature.
-----Original Message-----
From: Andre Schnoor <address@hidden>
Sent: Aug 9, 2006 5:02 AM
To: address@hidden
Subject: Re: triangle chord notation
Michael J Millett wrote:
Key signatures don't count when using chord symbols.
Only for the naming of the root. There's a big difference between Ebmaj7
and D#maj7, so the root pitch should reflect its meaning within the
current key. This information is valuable when looking at chord
progressions as a whole. The interval construction on top of the root,
as you suggested, is handled by convention (static).
Andre
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