coming from a jazz background, I have to remark that I haven't seen so many interesting and unique versions of harmony/chord theory since before going to university theory courses back in the early 1970s. I won't begin to try and straighten-out the host of erronious assumptions, unique use of nomenclature or prejudicial slanders against the major 7 chord.... frankly, I'm not sure where I would start though I applaud the efforts of those gallant defenders of theoretical orthodoxy. My congratulations and sympathy to Mr. Firth and the others.... you tried. reading through this post was, however, a real learning experience for this new catter: "stay the hell away from discussions concerning theory" (which completely screws me because I find theory to be one of the most fascinating things about music: the order and precision that can be reduced mathematically from even the most outlandish acoustic furball of a composition.... )

bird

please don't start dissing the "13" chord, I live by 'em. (251=4736251 musical mathematics)