Talk:Music Theory/Chord Structures

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[edit] Correct/clarify

Where the article mentions

C      Bm7b5 E7   (I     II  V)

and the two following. Are the numbers correct? Not II I V? Does it need to be clarified illiterates like me? And if B is I and C is II, how is E V and no IV? Ahhh 80.225.5.48 11:33, 27 July 2006 (UTC)

Bm7b5 E7(b9) can be looked at as a II-V in the key of A major or A minor, yet in this case it resolves to the I chord in C major. The E7 Resolves to the Cmajor chord with adeceptive cadence[1].

[edit] Scope of page

This page should be distinguished as mostly applicable to jazz theory/harmony. Chord Progression is the main name (in common practice style) for what is here called chord structure. Also, the use of chord symbols is almost exclusively used for jazz charts and analyses. Common practice style uses (in my experience) the Roman Numeral analysis. The use and inclusion of extensions here I think might be confusing without a preceding discussion about what they are and from whence they are derived (tertian harmony - adding successive thirds on top of triads, etc.) And their use in common practice was limited mostly to 9ths, and then really only in later common practice, and THEN really only as unresolved suspensions or accented appogiatura. See Debussy for 'tensions beyond 9ths. --A.J. 16:03, 28 May 2007 (UTC)