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Re: Chord Naming
From: |
David Raleigh Arnold |
Subject: |
Re: Chord Naming |
Date: |
Tue, 27 Jan 2009 13:05:32 -0500 |
User-agent: |
KMail/1.9.9 |
On Friday 23 January 2009, Carl D. Sorensen wrote:
> We currently have issues with the chord naming functions of LilyPond.
If we
> pass a \chordmode chord to the the ChordNames construct, we very
seldom get
> out what we put in (i.e. c:maj13 will give Cmaj7/9/add13). This is
because
> we currently try to do the chord naming algorithmically.
>
> I'd like to add a feature similar to the predefinedFretDiagrams
feature. It
> would be a simple means of modifying the chodNameExceptions data
structure
> (or perhaps a replacement of that structure) so that you could define
a
> chord name by giving a \chordmode chord specifier. Then, I'd have an
init
> file that would initialize all the chords specified in Dolmetsch
online
> <http://www.dolmetsch.com/musictheory16.htm> and
> <http://www.dolmetsch.com/musictheory17.htm>.
Unfortunately, the chord names in this otherwise excellent theary series
are terrible. For example, and this is only one, the idea that Cmi7 and
Cma7 is an improvement over Cm7 and Cmaj7 is ill considered, since
quick recognition is the only rational criterion. I guess CMm7 and CmM7
would be next. Why do this sort of thing? The system is extremely
simple since its reform by bop arrangers copying lead sheets in the
1950's, when zeroes and plusses and all that garbage that had
accumulated in published sheet music was disallowed. It was never
intended for analysis. Why bury that simple and elegant system in
unwelcome innovations? Of course the question is rhetorical. People
like to invent new signs, such as "separators", and get credit for
making what they mistakenly think are improvements.
Any chord may be specified using that system. It requires only the
sharp and flat and the slash for bass notes, and occasionally
parentheses, as in F(#9) and F#9. It has become customary recently
to write the slash bass notes in lower case. This usage seems to have
suddenly sprung up from many sources (myself included) just as slash
chords themselves suddenly appeared back in the 60's.
I suppose that Dr. Blood's list of chords is reasonably complete. I gave
up on lilypond's chords when I was unable to write an F#9(b5)/a#. (On
guitar 6x4554.) It's easier to enter chords as text attached to silent
rests. Far easier.
I was ignored before and I expect to be ignored again. Been there, no
worries. Highest regards, daveA
--
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http://www.openguitar.com/dynamic.html :::: You can play the cards
you're dealt, or improve your hand with DGT. Very easy guitar
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- Re: Chord Naming, (continued)
- Re: Chord Naming, David Stocker, 2009/01/23
- Re: Chord Naming, Tao Cumplido, 2009/01/24
- Re: Chord Naming, Carl D. Sorensen, 2009/01/24
- Re: Chord Naming, Tao Cumplido, 2009/01/25
- Re: Chord Naming, Carl D. Sorensen, 2009/01/25
- Scheme music function attempt, Carl D. Sorensen, 2009/01/25
- Re: Scheme music function attempt, Tao Cumplido, 2009/01/26
- Re: Scheme music function attempt, Carl D. Sorensen, 2009/01/26
- Re: Scheme music function attempt, Tao Cumplido, 2009/01/26
- Re: Scheme music function attempt, David Raleigh Arnold, 2009/01/27
Re: Chord Naming,
David Raleigh Arnold <=
Re: Chord Naming, Carl D. Sorensen, 2009/01/27