On Jan 23, 2008, at 6:13 PM, Christopher Smith wrote:
I suppose men of good character can disagree, and I do. I have no
hesitation at all using Cb as the root of the bVI chord in Eb minor,
and I don't believe it causes any problems.
As as for the sharps, what else is going to indicate a proper
resolution from VIIdim7/III to IIIm7 in the key of Dmajor other than
E#dim7 to F#m7? I mean, the dominant chord - C#7 - would be spelled
with an E#, so it only makes sense that the VII chord would be E#.
I think this is one of the dumbing-down aspects of jazz theory that
we can dispense with now in our more-enlightened times. We spell b13
correctly now on dominant chords (instead of the #5 that was
ubiquitous 25 years ago)
Hi Christopher,
Seems to me those chords are #5 chords and not b13s. Is there a
natural 5th in them? I hear them as augmented chords, so #5 is in
line with my hearing. What is it that you hear differently?
Chuck
and I am working on the #9 (should be b10) but I can't do it alone.
Christopher
On Jan 23, 2008, at 8:37 PM, Darcy James Argue wrote:
Although, I would add, this is really not recommend. Rhythm section
players *hate* to see Cb's, Fb's, E#'s and B#'s as the root of a
chord in a chord symbol, even if they are "technically" "correct."
We are much more used to seeing the bIV chord in Eb min. spelled as
"B7." Seeing "Cb7" is practically guaranteed to cause a momentary
"Wha... ? Oh... okay" during sight-reading.
Cheers,
- Darcy
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[EMAIL PROTECTED]
Brooklyn, NY
On 23 Jan 2008, at 8:29 PM, Christopher Smith wrote:
On Jan 23, 2008, at 2:42 PM, Richard Huggins wrote:
I did a transposition from E minor to Eb minor. Finale converted
all the C chords to B. Is there a way to globally change them to
Cb?
In the Chord menu, turn off Simplify Spelling.
Christopher
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