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Double Bass The Major 7 #9 chord

#101
Fredrik E. Nilsen said:
What's your view on Roemer/Brandt? I know Sammy Nestico use their work as basis for his notation.
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I don't have all of their symbols in mind . . . I don't own the book . . . I know they use ma and mi for major and minor, which I don't like so much. It's too easy to mistake Cmi9 for Cma9, especially in a hand-written chart. The Nestico book is one of the arranging bibles, and arrangers/arrangements of a certain era use his style of writing rhythm section parts.
 
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#102
John Goldsby said:
I don't have all of their symbols in mind . . . I don't own the book . . . I know they use ma and mi for major and minor, which I don't like so much. It's too easy to mistake Cmi9 for Cma9, especially in a hand-written chart. The Nestico book is one of the arranging bibles, and arrangers/arrangements of a certain era use his style of writing rhythm section parts.
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I've always seen it as the bible. After all, it's Sammy Nestico. But, I realize there are some issues, as you point out.
 
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#103
Fredrik E. Nilsen said:
I've always seen it as the bible. After all, it's Sammy Nestico. But, I realize there are some issues, as you point out.
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The good thing about the Roemer/Brandt book & system is that it's very clear. A lot of their points are important: write clear chords symbols with the numbers and suffixes in the right spots (at the correct height, in the correct proportions). I don't want to derail this thread about the lovely Maj7(#9) chord, so I won't start listing my chord symbol preferences — although I *would* prefer to read Eb∆#9 rather than EbM7(#9), EbMaj7(#9) or EbMA7(#9) . . .

I think the Finale Broadway Copyist chord library uses the Roemer/Brandt symbols — although I'm not 100% sure about that.

The Nestico book is great—a classic.

Thanks, @Fredrik E. Nilsen !
 
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#106
Tom Lane said:
So, @John Goldsby, while we have your attention... please share with us the chord symbols you prefer on the bandstand, because, seriously, you get them all. As near as I can tell, there are three overriding rules for jazz: are you targeting the jazz pianists, the guitarists, or the melody players? Are you, as the composer, writing for the big band? Do you, as a composer, strive to make the symbol as legible as possible? In some cases that's as terse as possible and in other cases, not.
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Thanks, @Tom Lane — Sorry but I'm not going down that nerd-rabbit-hole. The topic is too big. Suffice it to say: I want to see logical descriptions of sounds/chords/scales, legible, with a consistent style. That sums it up.

A question to @Fredrik E. Nilsen (Do you teach at a school?), @Chris Fitzgerald @Don Kasper and other teachers: Do your schools have a standardized notation system that is part of the curriculum? Or does every faculty member do whatever he/she wants regarding chord symbol notation? Those poor students :-)
 
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#107
John Goldsby said:
A question to @Fredrik E. Nilsen (Do you teach at a school?), @Chris Fitzgerald @Don Kasper and other teachers: Do your schools have a standardized notation system that is part of the curriculum? Or does every faculty member do whatever he/she wants regarding chord symbol notation? Those poor students :)
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I used to teach in school for many years, but at elementary level. Chord notation was not an issue at that level (but I did learn a lot about how to write consistant and read-able). Now I just write, play, and conduct big bands. I know that there is no standarized system at most academic institutions here.
 
#108
Fredrik E. Nilsen said:
It seems like a Bb triad on top of a B triad
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From here:
https://www.cs.hmc.edu/~keller/jazz/improvisor/LeadsheetNotation.pdf

poly.PNG


P.S. Is there any argument in Europe, Norway how to write 7? :laugh:

7.PNG
 
#111
Whousedtoplay said:
What is your opinion about using the backslash for PolyChords?
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Actually, I've never seen it in writing, so it doesn't seem like it has caught on in a large scale. It could be of some use in handwriting I guess, but with computer notation the horisontal bar is clear enough. (Now, if only Finale could come up with an easy way to create polychords with a horisontal bar, after more than 25 years...)
 
#112
Fredrik E. Nilsen said:
Actually, I've never seen it in writing, so it doesn't seem like it has caught on in a large scale. It could be of some use in handwriting I guess, but with computer notation the horisontal bar is clear enough. (Now, if only Finale could come up with an easy way to create polychords with a horisontal bar, after more than 25 years...)
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How would you notate easily on the computer that horizontal bar? A backslash is right here, right now.
 
#117
John Goldsby said:
A question to @Fredrik E. Nilsen (Do you teach at a school?), @Chris Fitzgerald @Don Kasper and other teachers: Do your schools have a standardized notation system that is part of the curriculum? Or does every faculty member do whatever he/she wants regarding chord symbol notation? Those poor students :)
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At our school we acknowledge that notation is not standardized, that the differences are like accents and vernacular from different places that speak basically the same language, and encourage students to learn to translate on sight into their own vernacular. Some accents like Irish, Scottish, Boston, Deep South, etc. can be tricky, but the words and concepts are intended to mean the same things.

The default - since we are closely connected to Jamey and Mike Tracy - is the simplest possible notation (i.e. - triangle for Ma7, Ø for mi7b5, - for minor, 7b9 or 7#9 for resolving altered dominants, 7#4 for Lydian dominant, etc.) of any basic sound. When there is more specificity about a particular sound, most faculty try to incorporate that into the chord symbol if it is essential to the melody or harmonic voicing.

For the rest, each faculty member uses their own preferences when we write charts for whatever reason. A large portion of my jazz theory class revolves around learning to interpret chord symbols in a "critical thinking" sort of way rather than the default rote "chord symbol x denotes scale y" method many students enter school with. I don't have time to detail that at the moment, but the cliff's notes version is "chord tones are literal, notes in the cracks are whatever makes the most sense in context". :)

Those poor students? Maybe. On the other hand, teaching them that written symbols always need to be critically interpreted is (in my opinion) a far greater skill in the long run than a sort of musical plug and play mentality. Give a person a fish/Teach a person to fish, etc.

As always, EEMMV, and EEMWCB. :)
 
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#118
Whousedtoplay said:
My question.
How to type polychords right now - without any software just the computer keyboard or an iPhone pad?
D
—-
C ?
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I use D/C in these situations. Obviously imperfect, but best I can come up with. Also has the added advantage of appearing correctly in Sibelius legacy chord symbols when I type the same thing in a chart.
 
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