Pitch display in modern notation

Three small issues I had about the modern notations of chords that appear below the Roman numerals:

  1. These notations use uppercase pitch names for chords with a major quality, and lowercase for minor quality. It would be better to just display all of them in uppercase to maintain consistency since all slash chords use uppercase pitch names, as the distinction is really unnecessary if minor chords are expressed with the “m” anyway.
  2. Modern notation, as they are confined within 12-TET on this site, does not really need double accidentals that arise from borrowed chords, in the same way they are required in sheet music to modify notes in key signatures far from C. I suggest that all pitch names containing double accidentals convert automatically to enharmonic equivalents that contain no accidentals. (however, single accidentals for C♭, E♯, F♭, and B♯ can stay, as they are part of the key signatures in respective keys)
  3. The “m” in a “m7sus4” chord is unnecessary since they are identical to the dominant 7sus4 chord. The same goes for all suspended chords without a seventh factor.

@HertzDevil, thanks for the feedback and suggestions. These all seem reasonable to me.

For the modern notation, I suppose the argument for double accidentals is to preserve relations (in the case of borrowed chords) with respect to the nominal scale. A ♭VI chord, for instance, can be understood as taking the un-flat VI and flatting:

E.g., in D major, VI is B, so ♭VI is B♭.

And in D♭ major, VI is B♭, so ♭VI is B♭♭

At some point, however, I suppose that having too many flats or sharps is confusing things more than helping. In classical music, composers often switch to enharmonic keys for readability. Do you think this logic should extend to the new “popular” style roman numerals as well? For example, should ♭♭III = II?