What is the difference between b10 and #9?
In answer to the question Why does E7 sharp 9 have a G?
Matt L. writes:
I think the real question is whether that chord should be called E7(#9) - as is very common, at least in the English speaking part of the world -, or if it should be called E7(b10), which is also used, and definitely not only by people who don't understand the issue. If you accept the b10 notation, then that note is indeed a G.
I always use #9 (because everybody does, and for me it's about communicating chord symbols efficiently), but if you ask me what I hear, I'd probably say that I hear a b10. One important argument for me is that that note virtually never resolves upwards
I remember I've seen many sheet music of Blues and Boogies where the minor third (= blue note!) was notated both ways.
Very often it was meant as a chromatic approach to the major 3rd #9 - but it was notated as b10: In this case I would say b10 is wrong.
When the minor 3rd was dropping to the root note (ma-do), or eventually passing the ninth (ma-re-do) I would say it a blue note and a b10.
Would you say it is only a blue note when it is leading downwards?
Is it correct to notate the popular ri-mi do-ri-mi otherwise than #9?