Re: Lilypond and Jazz chords

[Marc Hohl]

Thomas schrieb:
> 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
>   
I think this is far from being implemented, but it is a nice idea to let
the computer do some kind of harmonic analysis to name a given
chord structure properly. And with the book from Pöhlert as a
starting point, this seems to be doable (at least Pöhlert tries to remove
as much mystery out of the jazz theory as possible).

Marc
> .
>
> "Tim McNamara" <address@hidden> schrieb im Newsbeitrag 
> news:address@hidden
>   
> > On Jun 1, 2009, at 4:13 AM, Tim Rowe wrote:
> >
> >     
> > > 2009/6/1 Carl D. Sorensen <address@hidden>:
> > >
> > >       
> > > > 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. 
> >     
>
>
>
>
>
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