On Monday 09 February 2009, Tao Cumplido wrote: > Yes, that's true. > > Actually I prefer myself to write D#°7 for full diminished chords. > For some people it seems illogical though that D#ø should automatically represent a seventh-chord and D#° shouldn't. > > I just wanted to point out that this is a common usage of the diminished sign. I don't think there are too many people who write D# and mean D#7.
In sheet music convention there is no difference whatever between Cdim and Cdim7. Many people like you and I like to include the 7 to be unambiguous, but nothing can be done about Cdim except to write it as Cm(b5) if the triad is desired. A minor 7th interval added to a dim triad is Cm7(b5), the leading tone seventh, which may be cumbersome but people are used to it. C/e is much better than C/E, for obvious reasons, and Xx or Xbb or bs or cb chords and if necessary any slash basses with them must be respelled, because they will not and should not be found in chord books. Quick recognition is the whole purpose of chord names of this type. The difference between jazz chords and sheet music chords is only in the accretion of cryptic symbols, of which the triangle is the worst. Regards, daveA -- Free download of technical exercises worth a lifetime of practice: http://www.openguitar.com/dynamic.html :::: You can play the cards you're dealt, or improve your hand with DGT. Very easy guitar music, solos, duets, exercises.., To contact, visit openguitar.com _______________________________________________ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
