Here is how I understand it: Jazz/pop chord symbols are to be
considered literal. That means, the key signature is Not Ever to be
considered. A 6 is always a major sixth. A seventh is always a minor
seventh. A 9 is always a major ninth. An 11 is always a P11, and a 13
is always a major 13.
When alterations are made, the literal accidental should be used. But .
. .
But, at least in usage, this is where the system breaks down.
Sometimes, # means raised, b means lowered, from the conventions listed
above. Figuring out which is which, is usually a matter of common
sense. Though, I have run across a few that have not been clear.
Consider the following (difficult to typeset in normal text) Ab (b9).
Spelled Ab C Eb Gb Bbb (or A). b9 refers to the fact that the ninth is
not a major ninth, but is lowered from the conventional. The other
possibility is Ab {bb9). This is messy, and not appropriate for chord
symbols, which, ironically, are probably designed to simplify matters.
In regards to the Cm#7: I have always seen this written as Cm (maj 7),
making it clear that the 7th is not the conventional minor 7th. The
other possibility is Cm (♮7). However, #7 makes perfect sense when
considered with the convention. It means "the seventh is raised from
the conventional." Key signatures don't count when using chord symbols.
I hope this helps :)
Michael
On Aug 8, 2006, at 2:01 PM, Rick Hansen (aka RickH) wrote:
No, the #7 notation is only valid for chords based on the melodic minor
scale. In the USA we would typically call this for example CmM7 in
Europe
they may call it Cm#7 in both cases the note stack is the same <c ef g
b>.
Speaking it, it's called "the minor major seventh chord", check out
the song
"When You Wish Upon A Star" for an example.
Of course #7 makes no sense at all on major chords, because #7 is the
root!
--
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http://www.nabble.com/triangle-chord-notation-tf2042072.html#a5712889
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