Hi, y'all:
We'll see who else jumps in here.
Thought I'd add my 2ยข, 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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