I was just brainstorming, I don`t expect anybody to implement that :-) ... I just thought, if music (as long as it's not abstract) follows some basic principles, why this is not reflected in the chord naming sometimes.
Slash Chords are a good example ... they are a good, easily readable instruction what notes to play, but they don't reflect the harmonic function of the chord. I'm sure an illiterate gypsy guitarist could improvise very well over that Pat Martino song, because he recognizes the tonic or dominat character of that chord by ear... that is the underlying harmonic function ... although he shouldn't be able to do that, because slash chords are considered modern, sophisticated, difficult.... Lets say, that Martino song has a key and a tonic, and the harmony moves in a chain of fifth, half- and whole-tones towards oe away from that tonic, then the Dbmin/D very likely has a dominant or tonic finction within this chain (depending on the rest of this song) and could be named after this function ... but that would be more difficult to read probably. Don't let me be misunderstood... thats just brainstorming about naming jazz chords in general (and how chord names sometimes obscure whats going on harmonically) ... to implement something like this would be very difficult, I guess ... I'm only starting to work with lilypond and didn't want to introduce overambitiuos goals. I think what you are planning to do is very valuable and does not need a deep discussion about harmony etc. cheers thomas . "Tim McNamara" <tim...@bitstream.net> schrieb im Newsbeitrag news:cf58f389-2dc8-4eef-9cf9-ccd8b7af7...@bitstream.net... > > On Jun 1, 2009, at 4:13 AM, Tim Rowe wrote: > >> 2009/6/1 Carl D. Sorensen <c_soren...@byu.edu>: >> >>> You are welcome to pursue this, if you are interested in it. It is not >>> my >>> interest. >> >> I think it shows the impossibility of what you are trying to achieve, >> at least in the completely general case, although pushing the >> boundaries closer to that general case is valuable of course. Beyond >> trivial cases, a combination of notes does not have /a/ name, it has >> many names depending on the musical context. For jazz chords, the >> chord notes and the chord names really need to be separated (perhaps >> an optional name following the notes) unless the software can >> understand the musical context better than a lot of musicians. Or just >> stick with chord mode. > > Particularly when entering the notes and the root is not the chord name. > For example, a chord I saw in a Pat Martino chart would have included: > > <d des fes aes> > > which was written as Dbmin/D. I have no idea how one would make LilyPond > properly interpret slash chords or compound chords from note entries. > Rendering chords written as chord names (des2:m5/d) would of course be > simpler. _______________________________________________ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user