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

"David Webber" <dave@[EMAIL PROTECTED]
> wrote in message 
news:fq7i1n$nfp$1$8300dec7@[EMAIL PROTECTED]
>
> "Steve Latham" <llatham@[EMAIL PROTECTED]
> wrote in message 
> news:CsDxj.15165$Sw6.8231@[EMAIL PROTECTED]
>
>> We ALWAYS put viio in my world.
>
> I suspect Sony now have that as a trademark for their laptops :-)
>
> I am accustomed enough to the I ii iii system for analysing CPP music,
but 
> in discussing jazz then Vmaj7 or Vmaj9 or V13b9 would be perfectly
useful 
> ways of writing in a key independent way what would be Gmaj7 etc in the 
> key of C.   So many combinations have evolved into chords in their own 
> right, that they'd seem to fit rather oddly with the lower case = minor 
> system.

Not necessarily. VM7 is simply what it is - a Major 7th chord built on
scale 
degree 5 - what could be simpler!

The only caveat is of course that there's the possibility someone from the

classical side might think it's a typo since they only have V7!

But I think in modal music for example, if we have Lydian,

I  II7 iii7  iv%7 (or #iv%7 in some contexts) VM7  vi7 vii7 would be fine 
with me.

We just have to be clear it's Lydian!

>
> I have no problems with adopting different systems for different
analyses 
> on different days of the week.   I have no shares in either.   On 
> occasions like this I tend to recall that somebody once said that 
> consistency was a failing of the simple minded - or words to the effect 
> :-)

Hmm. I won't agree with that. Though I do have to admit, I do like not 
having to think whether the McDonalds' fries are going to taste as nasty 
good in California as they do in New York!

I think using different analysis methods if obviously the way to go -
using 
Functional analysis on Palestrina, despite the fact that we can name those

chords, isn't very informative (or it's not informative in the same way it

would be for a Mozart work).

Steve