Re: Labelling Jazz Chords

Steve Latham wrote:
> Should I, or Should I not, include extensions in the chord symbol if
they 
> are found in the melody?

"Should" is a strong word.
Most jazz musicians prefer to see a basic chord symbol plust the 
original melody, in lead sheet format. Then we can  decide for ourselves 
how we want to color the chord.
But for some prominent melody notes it's OK to include the tension 
formed in the chord symbol too.


> For example, in 3/4, I have an upward arpeggio of B-D-A, with the first
two 
> 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?

You "could". Whether you "should" remains to be seen.

> 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
bass 
> motion, or do they typically put E9 E9/G#?

Sometimes the former, but the latter is better.

> 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?

Either way is fine.
But A7/G will get the sound across to less experienced players more
quickly.
On the other hand, if the only place you want to hear G is in the bass, 
the A/G might get that across better too.



-- 
Joey Goldstein
<http://www.joeygoldstein.com>
<http://homepage.mac.com/josephgoldstein/AudioClips/audio.htm>
joegold AT sympatico DOT ca