Laurie Griffiths wrote:
>
> I am not.
> I am not happy with the ambiguity of "one or more of" when in fact there are
> strong context conditions, for instance minmaj is crazy
Do you mean the name is crazy or that nobody would ever use such a
chord? I can agree to the former, but a minor chord with a major 7th
added isn't unusual.
>
> and I don't know
> what "sus" would add to "sus7".
Shouldn't that be "sus4" rather than "sus7". The sus7 chord is a
different thing altogether - and definitely *very* common:
Gsus7: G-C-D-F
But the difference between "sus" and "sus4" - I'd say "sus" is either
sloppy writing or a short form of "sus4". Which depends on your personal
view of the transcriber, of course ;)
> There is no way to indicate a single note alone.
That's certainly missing. There isn't any way to indicate no chord
either, btw.
>
> There is no way to
> indicate root+fifth only (important to heavy metal - if you feed into a
> heavily distorting amp, then root+fifth is OK, but not much else! I think
> they call them "power chords").
We oguht to add "5" to the list of chord suffixes then.
>
> I offered an alternative a few posts back. The discussion has rambled and
> various points made. Let's get concrete.
>
> If you are not happy with mine, then propose an alternative. To recap, I
> suggested:
>
> <guitar chord> = <silence>|<chord>
> <silence> = X
> <chord> = <root>[<modifier>][/<bass>]
> <root> = <note>
> <bass> = <note>
> <note> = <note letter>[<accid>]
> <note letter> = A|B|C|D|E|F|G
> <accid> = #|b
> <modifier> = m|m7||maj7|dim|aug|!|4|5|6|7|9
The basic idea seems very good, but the suffix (modifier) list needs to
be extended. I started making a list, but then I decided to post a (more
or less random) example instead. Here's the chord progression to bars
9-44 of a big band arrangement of Woodchopper's ball - a fairly
straightforward twelve bar blues - I made a couple of years ago (the
arrangement that is - not the tune):
D6 Dmaj7 D7 / | D6 / D7 D6 | D6 Dmaj7 D7 / | D6 / D7 G9 |
G9 G11 G+11 / | G7 / G11 D6 |D6 Dmaj7 D6 / | D6 / D7 Em7 |
Em7 Em13 Em-6 / | Em7 / / Em-6 | D6 / / / | D6 / / / ||
D6 / / / | D6 / / / | D6 / / / | D9 / / / |
G7 / / / | G7 / / / | D6 / / / | D6 / Fm6 / |
Em7 / / / | A7+ / / / | D6 / / / | Em7 / Fdim7 / ||
D69 / Dmmaj13+11 / | D9-5 / D13-9 / | D-9 / Ddim7 / |
G9 / / / | G9 / / / | D6 / / / | D6 / Fm6 / |
Em7 / / / | A7+ / / / | D6 / / / | Em7 / / A7+ ||
I've left the bass notes out for simplicity.
For the record:
+I've never been too fond of those fancy jazz harmonisations. That's
why I keep my
chord progressions this simple, especially when I arrange pre-war
swing like this.
+There isn't a single typo in this chord progression
+There isn't a single superfluous chord there.
+In case anybody wants to try it out, the first twelve bars are the
theme, the next
24 are the clarinet solo - which I played almost exactly like Woody
Herman did.
Frank Nordberg
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