Re: Chord Naming

[David Raleigh Arnold]

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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