Hi Werner, all,
the chords are badly formulated in that all notes are in the same
octave. That's not a chord, that's a cluster. A few notes should go up
an octave to make it make sense.
<c e g d' f'> should, according to nomenclature, be named "C add9
add11", but is a poorly-formed chord in that it contains a minor 9th
between the e and the f'. These minor 9ths are usually resolved by
inversion to a major 7th, yielding <c f g d' e'>, which should be named
"C sus4 add9 add10".
<c e g d'> is properly called "C add9".
And Ignatzek's naming conventions are actually pretty close to the Real
Book standard.
Hope this helps,
Amy
Am 05.03.26 um 07:50 schrieb Werner LEMBERG:
Folks,
I seek advice from Jazz music theory experts. Consider the following
input and the attached image.
```
music = {
<c d e f g>
<c d e g>
}
<<
\new ChordNames \music
\new Staff \transpose c c' \music
```
The output looks strange to me. Shouldn't this be rather the
following?
Csus4 sus2 add3 → Cadd2 add4
Csus2 add3 → Cadd2
Even from a musicological point of view the current LilyPond rendering
seems to be wrong, because these two chords don't have 'suspended'
notes at all – the 'target' notes the suspensions should lead to are
already present.
Werner
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Dr. Amelie Protscher ([email protected])
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