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

"David Webber" <dave@[EMAIL PROTECTED]
> wrote in message 
news:fq8g2l$la7$1$8302bc10@[EMAIL PROTECTED]
>
> "Steve Latham" <llatham@[EMAIL PROTECTED]
> wrote in message 
> news:nKIxj.9215$xg6.6552@[EMAIL PROTECTED]
>
>> Not necessarily. VM7 is simply what it is - a Major 7th chord built on 
>> scale degree 5 - what could be simpler!...
>
> So the argument is purely over whether we write ii or IIm for a minor 
> triad. I can live with either.

I don't see that as an "arguement". I see those as the de facto standards 
for traditional academic analysis (in contem****ary sources) and for Jazz 
performance/analysis respectively.

>
> Mind you, I have a publication where Bbdim is written Bv  (songs by one
of 
> my favourite composers - Friedrich Hollaender) and I can live with that 
> too.

Yikes!

>
> I prefer maj7 or ^7  or just ^ (where ^=triangle) for the major 7th.

I like the triangle symbol myself. The letters are so ***bersome, and m
and 
M in handwriting can be easily mis-read. The triangle is pretty obvious.


   I
> think strangely it is to do with case sensitivity, even though I am
happy 
> with ii or IIm.     At which point, a sudden thought arises:   the 
> stylised music and text fonts beloved of so many jazz publications do
not 
> distinguish well between upper and lower case.

Right!!!

   Therefore, in such fonts, IIm would be
> preferred to ii and Vmaj7 to VM7.   I note this simply as an
observation, 
> not as any compelling form of reason, as how you want to say something 
> should not really depend on the font you want to use :-)

I think that's also one of the reasons we've gotten away from "-" for 
minor - "A-" - could look like a stray mark on the page! So fonts have
hurt, 
and helped in some instances.



>
> Yes, but I don't see switching between ii and IIm as enormously 
> mind-bending by comparison :-)

Exactly.

sTeVe