You're first example shows something that happens when someone makes the error in thinking that since Sharps and Flats share "the same note" that there is no reason to deal with both.

Convention, however, is there because the music notation rules are based on more than 300 years of input and development. When we first encounter notation, it is a rather common thing to think that the conventions used are either superfluous or otherwise not as easy to deal with, I can recall thinking the same sort of thing about certain notation functions at one time.

As with many subjects, the more exposure and experience gathered is important, those conventions and such then start to make much more sense as to the rhyme and reason behind them.

Then we start to realize the wisdom in those rules of notation and such. We figure out why, for example, a Gm7 chord notation will always be done with a Bb and not an A# in it. Or a b5 chord that uses a SHARP in the notation. Sure, it is the same fret on the same string, but when I view a Sharp - I'm automatically thinking "Augmented 4th" which immediately makes me think, "Classical Music" when we are dealing with a Jszz chart, where the thinking should be "Flat 5, man"...


And others will be able to read our charts much faster and easier, because the chart will contain the certain conventions that everyone is accustomed to using.


Just keep dealing with the thing, as you show well that you are here, for that is what we as journeymen musicians should *always* be doing from cradle to grave. I think I've always been able to hear and play things before being able to properly notate same. It had to change the day long ago when I took on the task of Copyist for a bigband, moving from there to the beginnings of trying my hand at my own Arrangements. Other musicians can be very cruel when one darn little thing on the chart ain't right.

Straightahead,


--Mac

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