Hi Steve,
On Mar 23, 7:13=EF=BF=BDpm, "Steve Latham" <llat...@[EMAIL PROTECTED]
> wrote:
> Should I, or Should I not, include extensions in the chord symbol if
they
> are found in the melody?
I prefer not to include the melody note in a chord symbol because I
use chord symbols to outline the harmony. But, you will find loads of
examples in published music that include melody notes in the chord
symbols. If your objective is the same as mine -- memorization -- do
what works for you.
>
> For example, in 3/4, I have an upward arpeggio of B-D-A, with the first
tw=
o
> notes as 8ths, thus making the A a half note for the remaining two
beats.
>
> If this is over a GMaj7 chord, should I put GMaj7, or GMaj9?
>
> Additionally, is there any shortcut notation for a changing bass under a
> sustained chord?
>
> Suppose I have E9 to E9/G# - does anyone write " /G#" just to show the
bas=
s
> motion, or do they typically put E9 E9/G#?
I would put E9 E9/G# to indicate the inversion, unless there is a
secondary bass melody to be studied alone.
>
> Finally, what's the standard for something like A/G? Is it better to put
> A7/G or will A/G cause people to not voice the 7th in the chord?
Depends whether the G is in the harmony -- yes, then A7/G -- no, then
A/G (called a pedal point -- and may be part of a secondary melody in
the bass).
All of the above are my own conventions which I have found serve my
purpose for analysis -- an understanding and outline of the music to
aid memorization.
Neil Miller, author of The Piano Lessons Book
Enter in Amazon.com search: Neil Miller Piano Lessons Book
OR http://www.createspace.com/3332371
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