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).