<snip>
>For example, Banter says (iirc) that
>
> <c e gis> = C 5+, or a whole list of other names, amongst which:
> Caug
>
> <c e ges> = C 5-, or a whole list of other names, amongst which:
> Cverm(inderd) (German)
Raising the fifth is indeed called an augmented chord (which is usually
notated Caug, sometimes C(#5)), however simply lowering the fifth does not a
diminished chord make! That would simply be a triad with a flat fifth,
probably notated as C(b5)...
>So, I assumed that min/m acts on the third, and aug(mented),
>verm(inderd) =translates as= dim(inisched), acts on fifth.
It certainly would seem logical, but lots of things in music (as I'm sure
you've been finding out!) are not logical!
>While (found out only yesterday) it seems that
>
> <c es ges beses> = Cm5-7- (7 already means lowered, so 7- == beses)
> or a whole list of other names, amongst
which:
> Co
> Cverm(inderd) (German)!
> Cdim(inished)
>
>only this chord is known as 'dim(inished)'?
When speaking of a chord, dimished can mean one of two things: A diminished
triad or a dimished seventh chord (which is distinctly different from what's
known as the 'half-diminished' chord). The triad is a root with a flat
third and flat fifth, and is notated (at least in America, someone else will
have to fill me in on other countries) as (using C as the root) Cdim, or Co.
The diminished seventh has a root with a flat third, flat fifth, and a
doubly flatted seventh (which is enharmonically equivalent to a sixth, and
from which comes tons of confusion). It is usually notated as (again, using
C as the root) Cdim7 or Co7.
>What a mess, imh-non-expert-o.
Hey, we've all got to start somewhere! ;-) And naming chords is at times a
confusing, ambiguous and imprecise thing.
>> is assuming that the bass note is part of the chord, when in
>> fact it may or may not be--it could be a pedal tone or even a non-chordal
>> tone.
>
>Sorry, I never heard of extra bass tones that might not be part of a
>chord. Example?
There are plenty of examples in the literature, if I had my 'Harmony' book
with me (which is a great resource, BTW) I could quote you a few. However,
sometimes a series of changing chords will be blocked out over a static tone
in the bass, usually this was referred to as a pedal tone (and it's been
continued to be used, even in contemporary music). Another less frequently
used practice is putting a non-chordal tone in the bass (that is not acting
as a pedal tone) in order to create tension or make a more colorful sound.
There are examples of this in the classsical literature, but its use is much
more prevalent today. For example, the chord sequence Dm7 - Dm7/G is such a
sequence, and the Dm7/G defies easy classification. Is it a G7(no 3rd)add
9/11? Or is it a G7(no 3rd)add2/4? Or perhaps Dm7 add11? It's a heck of a
lot easier to read to just leave it as Dm7/G!
>You say yourself the 'bass note' (whatever this is: is c the bass note
>in <c e g>, and is there a situation where it is /not/ part of the chord?)
>may be part of the chord. So, not knowing about this bass note thing, I
>simply assumed all pitches would be 'part of the chord'. Seems like
>good reason :-)
Ah, I see, said the blind man... ;-) And yes, the C in a C major triad
would be the bass note.
>You seem to know more about chords than Han-Wen and me. We need you!
>Please go ahead and fix it.
I'd love to!
>No. We (you?)'ll have to add symbols to the feta font, that's where the
>textflat/sharps come from too. The \textflats/sharps will have to go, and
>be replaced by a molecule, see lookup.cc:
>
> Molecule
> Lookup::accidental (int j, bool cautionary) const
Ok, I'll check into that. BTW, what do you use to create/edit the feta
fonts? I assume I'll have to modify all five(?) point sizes...
-- Shamus
