In old stuff, you sometimes saw C7sus4 or Csus7, meaning the same thing.
You see C4 now more often than Csus. I think that if you want C2 you
want C4. (You used to see Cadd9 rather than C2.) It's hard to keep up.
If a songwriter knows what a C13(b5b9) is, he has already decided on the
chord before he writes the arrangement. C4, same deal, *different kind
of music*. The matter is so dependent on context that I do not see any
possiblility of anything useful coming out of the effort in a finite
period of time, but if you must, at least have the thing select among
the rather large number of possibilities the shortest name for each
chord, rather than the one that seems most logical to it. If you want
anything produced that makes any sense at all, your parser must be
capable of spelling the chord regardless of the spelling of the notes,
that is, spelling an A# in a voice as a flat9 in the chord, without
complaint. There are many ways that this could/should occur, and the
reason, as I said before, is that the spellings in chord symbols are not
supposed to be according to melodic context. If they were, they would be
useless, because they exist entirely for sight readers. But accidentals
in voices hopefully have logic, and they should be contextual, AYWK.
*Your* time is important to *me*. I think that you are wasting it on a
feature which would be of no use to anyone. I have written music with
altered 11th chords and very different music with susses in it, and I
don't see how anything like a parser could have been of any use to me,
nor could it be in the future. If you want chord symbols for very old
songs that were written without any, which music would be entered with a
scanner, (Schubert?) it would probably be wiser to restrict the
vocabulary severely. :-)
--
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dave N Va USA David Raleigh Arnold [EMAIL PROTECTED]
