Re: triangle chord notation

[Andre Schnoor]

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 [EMAIL PROTECTED] 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 <[EMAIL PROTECTED]> Sent: Aug 9, 2006 5:02 AM To: lilypond-user@gnu.org 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 _______________________________________________ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user

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