>>> Again, I can't hear any tonal scale that fits dominant that >>> contains b5th but not altered 9th and b13.
>> Lydian b7, a mode of the altered scale. > That would be the 4th degree of the scale, not the 5th. The 5th is > perfect in that scale. If you take the scales enharmonic naming as being correct, any scale associated with it would have a major third, then a perfect fourth which through elimination has to lie chromatically between the major third and flattened fifth, then the flattened fifth itself. That's three consecutive semitones! It's clearly wrong in practical use as you find out if you try and blow anything like that over it. Your scale choices are limited to Lydian b7, whole tone and diminished depending on context. OK so all that was a long way of agreeing with your original statement :) What about the 7#9, I worked with an editor on a book who swore blind it should be 7b10! Thankfully that decision was over-ruled and 7#9 remained. Even if you can show that that was the case (and I can't b bothered to even think about it) it now lies so far out of convention that changing it for the sake of realigning the theory is pedantry, a pointless waste of time. Simon Troup Digital Music Art ------------------------- Finale IRC channel server: irc.chatspike.net port: 6667 channel: #Finale ------------------------- _______________________________________________ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
