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

On Wed, 27 Feb 2008 04:39:50 -0800 (PST), LJS <ljschenck@[EMAIL PROTECTED]
>
wrote:

>On Feb 26, 5:26 pm, Joey Goldstein <nos...@[EMAIL PROTECTED]
> wrote:
>> 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".
>>
>> --
>> Joey Goldstein
>> <http://www.joeygoldstein.com>
>> <http://homepage.mac.com/josephgoldstein/AudioClips/audio.htm>
>> joegold AT sympatico DOT ca
>
>the only major book that I know of that uses UC/RN has been the Piston
>Harmoy text. I am sure that there are others, but I have not run
>across any books in mainstream use that does not use UC/LC with the
>delimiters. I have also not run across the use of RM/maj-min etc.
>either. All the texts that I have seen use the standard UC/LC RN
>notation in the standard manner.
>
>In my quest to try to keep current, an you give some examples of who
>is turning back the clock to use the older system based on Piston? I
>know you stated Jazz theory books, but in the cl***** that I have
>taken, there was no such use of this in these cl***** either. I don't
>know why anyone would, so if there is an advantage to reverting to
>this additional separation from standard theory notation, please give
>us some details.
>LJS

What standard?

These are the books that I happened to pick up and check. All
reasonably recent, some very recent.

ANALYSIS OF TONAL MUSIC, Cadwallader etc
A GUIDE TO MUSICAL ANALYSIS, Nicholas Cook
MUSICAL ANALYSIS IN THEORY AND PRACTICE Jonathan Dunsby etc
A GENERATIVE THEORY OF TONAL MUSIC, Fred Lehrdahl etc
TONAL HARMONY IN CONCEPT AND PRACTICE, Alan Forte
HARMONY IN TONAL MUSIC, Joel Lester
HARMONY, STRUCTURE AND STYLE, Leonard Ratner
HARMONY AND VOICE LEADING, Edward Aldwell etc
INTRODUCTION TO SCHENKERIAN ANALYSIS, Alan Forte etc

And each of them uses all upper-case. Most of them follow traditional
classical practice and let the key signature specify major or minor.
Beyond that, there are the usual differences in usage that are found
in music texts.

As usual, there is no generic standard. But, if anything approaches a
standard in classical practice it would seem to be the traditional all
UC model.