Re: What's the relation****p between scales and chords?

Tom K. wrote:
> "Joey Goldstein" <nospam@[EMAIL PROTECTED]
> wrote in message 
> news:fq2781$pul$1@[EMAIL PROTECTED]
>> Tom K. wrote:
>>> Using II for supertonic hasn't been done for nearly forty years.
>> On the contrary. Most jazz harmony books use upper case Roman numerals
for 
>> all chords.
>>
>> We don't write simply "ii" or "ii7". We write "IIm" and/or "IIm7".

> Really?  Seems like an out of round re-invention of the wheel to me.

There are different systems in use. In the original figured bass or 
thoroughbass notation, one writes out a note and under it the intervals 
added to the ones subsumed (3, 5, 8 are typically not written out), also 
for inversions (so the note is note the root, but the lowest notes of 
the chord). In the harmonic analysis variation with Roman numerals, the 
scale degree of the root is written out, and one (the older?) uses only 
upper case numerals. Additional information, such as "m" for minor is 
only written out if it falls without the scale. In addition, Mehegan 
subsumes all tetrachords, not writing out 7 for the 7th scale degree. SO 
in C major
     I   C E G B
    II   D F A C
   IIIM  E G# B D
and so on. As IIm = II, the m is normally not written out.

   Hans Aberg