Anthony W. Youngman wrote:
In message <c65907ef.9d32%c_soren...@byu.edu>, Carl D. Sorensen
<c_soren...@byu.edu> writes
But there is a (to me) surprisingly large contingent of users who
claim that
there is no well-defined connection between chord names and chord
notes, and
that they want total control over the symbols to be displayed. And the
lyricChordNames functionality is a way to get transposable chord
names for
people who are in that camp.
Let's take the notes C, Eb, F, Ab. Which chord is that? What's the root?
You can easily go from the name to the notes, but not the other way
round.
I agree.
I think it's easy to convert chord tones(voicing) to chord name
if voicing is a stacking thirds from root w/o rotation, but who use this
voicing?
I don't know how to call this but I often use voicing like <F B E> for
G7, Db7 or Fmaj7.
Also many players use quartal voicing(stacking forth).
i.e. <D G C F>. we can say Dm11 for this but probably there is no Dm11
in the music sheet.
People might use this voicing for Dm7. Of course, if you change root,
you'll get other chords.
To me, chord name is just guide to generate voicing, or to imply
associated scales.
Also chord *progression* influences voicing.
I don't think there is a perfect way to convert chord tones(voicing) to
chord name.
-kz
Cheers,
Wol
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