B#7 would belong to the key of E# whish is non existant key as far as I know. How many #'s would b e in that key? If such a key did exist, I don't see where a C7 would improve much.
Agreed though on lower case for notes and Upper for chords. Also the idea of a limited symbol set makes sense but it should be a symbol set that can be entered on a qwerty keyboard. -----Original Message----- >From: David Raleigh Arnold <[EMAIL PROTECTED]> >Sent: Aug 4, 2006 2:39 PM >To: lilypond-user@gnu.org >Subject: Re: triangle chord notation > >On Thu, 03 Aug 2006 23:10:48 +0200, Eyolf Ostrem wrote: > >> On Thu 03 August 2006 22:35, Rick Hansen (aka RickH) wrote: >>> You'll hardly find a jazz fake book that does not use triangles >>> somewhere or always for M7, take a look at Aebersold, Hal Leonard, Sher, >>> etc. >> >> Agreed - but that's jazz. > >In the 1950's people copying lead sheets found that using the accumulated >nonsense in the way of cryptic symbols and minus signs from pop music >publishers made their charts unreadable. The reform was to use no symbols >at all except the sharp and flat. It is useful to use slash bass notes, >which were invented in the early sixties, but other than that, nothing >good has happened since. > >As I wrote years ago, the best thing to do is to adhere to that >strictly limited symbol set, and always to base spelling on quick >recognition rather than musical meaning, which is irrelevant in >improvisation, where the chords are a given. It doesn't matter what they >mean. Your purpose is to give them a different meaning anyway. > >Academics poison the well when they use the system for analysis, which is >a purpose for which it was never intended. Do not follow the >innovations suggested by academic articles. It leads to such abominations >as the flat13th chord or the B#7, which is better written C7, regardless >of a big fat bis being in the score. daveA > >> like G/D is less clear than G/d, in my opinion. > >Yes, I've seen that a lot lately, and I use it myself. Speaking for >myself, I can't understand why it took so many years for me to see the >efficacy of using upper case for chord names and lower case for note >names. It's a big improvement. For other readers: > >G/// G/D /// D/// G/// >G/// G/d /// D/// G/// > >daveA > >-- >Free download of technical exercises worth a lifetime of practice: >"Dynamic Guitar Technique": http://www.openguitar.com/instruction.html >Repertoire and/or licks are ammunition. Tech is a gun. >To email go to: http://www.openguitar.com/contact.html > > > >_______________________________________________ >lilypond-user mailing list >lilypond-user@gnu.org >http://lists.gnu.org/mailman/listinfo/lilypond-user _______________________________________________ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
