Re: Chord naming conventions (was: triangle chord notation)

[joelinux]

I've got no argument with this point of view, it's where you're going that 
counts.  Often a scale tones will precede the following harmony, and relate to 
that harmony - not necessarily relating to the the harmony they are played on.  
See Hal Galper's book forward motion.

 http://www.forwardmotionpdf.com/

In his new book "Forward Motion From Bach To Bebop," Hal Galper has 
demonstrated by applying tension and release analysis to rhythm, melody and 
harmony, how Forward Motion techniques are based on universal laws of music 
first illuminated by Johann Bach over 200 years ago. These laws, based on the 
physics of sound and rhythm, apply to all music no matter their genre and/or 
geographical or temporal placement. Galper demonstrates in clear and easy to 
understand terms how music is not static but in motion forward towards 
rhythmic, melodic and harmonic points in the future.

-----Original Message-----
>From: Kieren MacMillan <address@hidden>
>Sent: Aug 12, 2006 8:56 AM
>To: Paul Scott <address@hidden>
>Cc: address@hidden
>Subject: Re: Chord naming conventions (was: triangle chord notation)
>
>Hi, y'all:
>
>> We'll see who else jumps in here.
>
>Thought I'd add my 2&#65533;, after lurking a while...
>
>>>    C E Gb Bbb (or in G melodic minor: C E Gb A)
>> (In G melodic that would be written F#)
>
>Here's my experience:
>
>1. In analysis (i.e., the "classical" tradition), the chord is  
>written out (enharmonically, etc.) according to its harmonic  
>function. Usually, this means the resolution (i.e., the chord  
>immediately following the chord being analysed) is a more important  
>factor than the preparatory material (i.e., the chord immediately  
>preceding the chord being analysed). However, in the case of an  
>elision or pivot -- which is often the role played by a diminished  
>chord, for example -- the specific analysis is either explicitly  
>notated in both tonal centers, or the analyst chooses according to  
>personal taste (mine generally being to analyse to the resolution).
>
>2. In lead sheets (i.e., the "popular" tradition, including jazz),  
>the chord is written out to make sight-reading easiest for the player.
>
>> Sevenths usually come in major, minor or diminished not flat or  
>> sharp even though we have flat or sharp 9ths.
>
>Again, that's true in popular "analysis", but I've often seen (and  
>used) flat and sharp sevenths in "classical" analysis.
>
>Cheers,
>Kieren.
>
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