I am at a loss here.
When I type Gmi9ma7, I would expect to get this: Gmi9(ma7). Instead, Dorico gives me this: Gmi9. In the Engraver Options, I see that the chord symbol is available (see screenshot). I tried different ways to type the chord symbol, like Gmi9(ma7), but had no luck so far.
How about Gmmaj9
Jesper
This doesn’t work either. It converts Gmi7ma9 to Gmi7. Do I need to enter a space, parentheses, or something else to get Dorico to understand it correctly?
This is what I get, so I guess it depends on your Engraving Options->Chord Symbols settings. To me Gmi7ma9 doesn’t make any sense.
Jesper
Gmi7ma9 is not the correct popover syntax. As @jesele already said, type in Gmmaj9. If it’s easier to remember, Gm(maj9) will also work.
You are correct. Gmi7(ma9) doesn’t make sense to me either, and it’s not what I want. I want Gmi9(ma7), which is a common chord symbol in jazz.
By the way, when I play the notes g, b-flat, d, f-sharp, a on the keyboard, Dorico gives me this (which is exactly what I want):
Unfortunately, it just doesn’t do that when I type it.
I wonder why the syntax “mi(maj9)” is used at all, since that doesn’t make any “lead-sheet” sense: that’s just the same as Gmi9. A Gmi9(ma7) does make sense, since it’s the 7th that’s the raised element. What am I missing?
Or rather, I guess a Gmi(ma9) would be a Gmi triad with an added 9th… ?
In major key: Gmaj7 and Gmaj9 both include maj7 interval. Similarly, in minor key: Gm(maj7) and Gm(maj9) include the same maj7 interval built-in according to music theory (pop/jazz), so, there is no logical caveat or impossibilty to understand why the chord is built as it is. Of course this depends on usage, but I’d prefer Gm(maj9) over Gm9(maj7), which is like an extra loop on the brain to read it.
Gmadd9 would be your added 9th option, @jjm_335 .
Yup, me too.
Jesper
I dunno. The popover syntax of Gmmaj9 is just the command that will get you the chord quality you want, which will then be formatted according to your Engraving Options. I don’t worry too much about what the command is as it’s just a command. I’m guessing there’s some internal programming reason why we can’t just type Gm9(maj7), but I don’t really care as long as I know how to get what I want.
(If there’s not a programming reason why we can’t use Gm9(maj7) it certainly would be less confusing if the devs could add that option to the popover as well. )
But do you prefer Gm9(maj7) over Gm(maj9) @FredGUnn ?
Jesper
Yeah, in the music I’d rather see Gm9(maj7).
99% of all professional jazzers would write it like this: G-#7
It is not absolutely necessary to mention the 9 in the chord, because it fits anyway.
I would also prefer that. The critical piece is the major 7, which generically suggests melodic minor (i / T function) rather than dorian mode (ii / PD function). Instinct built of habit would cause me to freeze up and ponder Gm(maj9).
I never knew I was a 1-percenter…. I confess, in forty-five years of reading jazz lead sheets I don’t recall ever seeing that notation, only maj7 or △7. (EDIT: min(maj7 / △7) or **-(maj7 / △7) I mean, of course.)
It’s also 45 years for me. Nice to meet a 1-percenter for once. Cheers! 
(Well, maybe most 99-percenters write it the way I do, when they’re among themselves, but to make sure the 1-percenters understand it too, they print the lead sheets differently.)
Let’s make a deal, juddanby, and we’ll agree on 60%, so you’re a 40-percenter.
Seriously: Of course, G-â–ł7 is also a perfect notation. 
Perhaps I haven’t made myself clear: A Gmi(ma7) consists of the pitches G B♠D F♯ . The “maj7” component of the chord symbol tells us to raise the 7th. The chord symbol Gmi(ma9) contains the component “ma9”, which would be the pitch A. Thus, a Gmi(ma9) would be spelled G B♠D F A, which is the same as a Gmi9, since a Gmi9 already has a “raised”, i.e major, ninth. If you want F♯, the correct chord symbol would have to include the syntax “ma7”. Thus, Dorico seems to be confusing Gmi(ma9) with the chord Gmi9(ma7).
I cannot remember the last time I’ve seen this. Perhaps this is a regional thing, but in the US it’s virtually nonexistent. I see Gmi(ma7), Gmi9(ma7), G—(ma7), or any of these with the triangle symbol. But “#7” virtually never. I mean, I’ve seen pretty much everything at some point, but this never on any regular basis.
Good reminder about regional differences, @jjm_335! I, too, am definitely speaking as a U.S. musician.
Dear @jjm_335 ,
Tightly speaking about music theory maj9 means a 9 chord with maj7 inside it. That is why I made my comment. To clarify the regional differences, I am from Finland and this is more the European practice of the chord.
Yes, but a “mi(ma9)” chord is not a maj9 chord, and thus does not have a Bâ™.
EDIT: To clarify, in a chord symbol “mi(ma7)”, the “ma7” refers specifically to the 7th, not the chord quality. Likewise, in a “mi(ma9)” chord the “ma9” part would similarly refer to the 9th, not the 7th of the chord.
