the degrees from the chord root are in relation to the major scale (calculated from the chord root) irregardless of the quality of the chord and are referred to as the "naturals".

if the natural sign existed on qwerty keyboards, i would use it. instead the lack of a sharp or flat indicates that the note is "natural" in relation to a major scale built off the root of the chord.

2 = m2 = 2 half-steps from the root

3 = m3 = 4 half-steps from the root

4 = p4 = 5 half-steps from the root

5 = p5 = 7 half-steps from the root

6 = m6 = 9 half-steps from the root

7 = m7 = 11 half-steps from the root

that was one of the first things i decided (as you can easily see from  the examples that i gave previously).

my rationale behind this is explained in my post to ryan:

in the case of some bass lines the possibility exists that the bass note would have little to do with the quality of the chord and said bass note is better to be considered as a passing tone.

consider the following common walk-up:

| am7  am7/b  am7/c   am7/c# | d7 |
| iim7 iim7/2 iim7/b3 iim7/3 | v7 |

if we called the am7/c "iim7/3" what would we call  the c# on beat 4? see what i mean?

taking into account the example above, the decision was made not to call a b3 bass note under a minor chord a "3". and, by extrapolation (and in the interests of keeping the system extremely simple) to do the same thing in the case of natural 7's vs. flatted 7's and flat 5's, aug5's vs nat 5's, etc.

* * * * * *


you wrote:

>>if i find vi/7, i perform it as: am/g <<

until yesterday, this system did not exist. so there is no chance that you would've ever seen a "vi/7" before in your life.

if you read the codification of the system (either on my site, or here as a pdf in 7's heaven), you will forevermore equate "vi/7" with "minor triad over natural 7 bass note" (am/g#).

tu amigo,

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