On Jun 1, 2012, at 5:16 PM, Jeff Barnes <jbarnes...@yahoo.com> wrote:
> > > > >> From: Louis Guillaume > >>> If I may start with a bit of humble philosophy, when I see a flat >>> 9 especially, I almost always conclude that the tonality will >>> include a sharp 9 as well, simply because of the dissonance that >>> would result from having the flat 9 competing against an >>> unaltered 9. >> >> Not to mention the root, which is smunched up with those! > > My turn to offer in humility. > > I would almost never assume any other alteration or extension except what was > explicitly in the chord symbol. There is a convention to this which is to assume that all the smaller extensions a present. For example, an F9 chord is assumed to include the dominant 7th; ditto the b9 and #9 chords. An 11th chord includes the 9th; a 13th chord includes the 9th and the 11th, etc. This has been the standard convention in jazz nomenclature for decades. Now, if you're looking at the old Real Book up to the 5th editions, then the assumption is that most of the chord extensions are incorrect. ;-) Or at least unnecessary. _______________________________________________ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
