Bert Van Vreckem wrote:
>
> About the definition of 11 and 13 chords, see one of my previous mails.
> I agree with the KISS thing, though. If you want to be able to parse
> every possible chord, the <modifier> part in your regular language will
> become too complicated to be good. If you have a way of defining
> uncommon chords, I really see no need to make the parser handle stuff
> like `mmaj13+11' (I'd like to see the definition of this one...).
Dmmaj13+11: D-F-A-C-E-G#-B
(The actual voicing for that chord in my arrangement was:
[^C,,D,F,_A,B,CFA] so Dm7add6add+11/C would have been more correct)
>
> What I
> _would_ like in that case is a way to define it, e.g. at the start of
> the file or song, e.g...
Yep, I think that's a far better approach.
It seems obvious that a static list of chord suffixes won't be
sufficient, but there are three possible solutions to that:
a) chord suffix definitons as a part of the tune as Bert suggests
b) chord suffixes defined in a separate file (like BarFly's stress programs)
c) include a set of rules for how suffixes are constructed rather than a
list of chord suffixes in the abc standard.
I see no problem implementing all three alternatives.
>
> And then, Frank Nordberg wrote:
> > Laurie Griffiths wrote:
> > [...] 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.
>
> The name is crazy, TMHO. I'd call such a chord `madd7'. `minmaj'
> suggests that the notes of both the maj and the min chords are part of
> it. 1, 3b, 3, 5, 7? I think this one may sound a little odd ;-)
Mixing major and minor thirds is bread and butter for anybody who plays
blues and blues inspired music.
See if you can find a recording of Blood Sweat and Tears' "Spinning
wheel". They're doing some wonderful things with that chord there. I'd
use the suffix "+9" for that chord, though (US educated jazz musicians
would probably call it "7#9")
The spinning wheel progression is:
E+9 - A7add13 - D+9 - G7add13
Guitarist Steve Katz plays:
XX678X
XX567X
XX456X
XX345X
[sus7]
> I never encountered this notation: only sus = sus4 and sus2. The chord
> you cite here is G7sus4. Remark that a sus chord doesn't add a note to a
> chord, it only _replaces_ one (the 2nd or the 4th). Ergo, sus4 has
> three notes, 7sus4 four.
I agree to that. "sus7" seems to be a fairly common abbreviation to
"7sus4", though
[sus]
> sus is definitely a short notation for sus4.
Glad to hear that, since I use it myself quite often :)
[G+11]
>
> So, G+11 would be a synonym of Gaug11.
Err... probably yes. In the part of the world where I live, the term
"aug" tends to refer to the 5th no matter what context it is in.
There are three different conventions for indicating altered notes in a
chord: #/b, +/- and (less common) aug/dim. All poses some syntax
problems, especially since any people tend to use different conventions
for different chords. I decided to stick firmly to the +/- convention
since that seemed to be that one that caused the least confusion
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