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Re: Charles Winston's chord-semantics GSOC work

From: Flaming Hakama by Elaine
Subject: Re: Charles Winston's chord-semantics GSOC work
Date: Mon, 8 Apr 2019 18:41:00 -0700

> ---------- Forwarded message ----------
> From: Carl Sorensen <address@hidden>
> To: "address@hidden" <address@hidden>, "
> address@hidden" <address@hidden>, Carl Sorensen <
> address@hidden>, "address@hidden" <address@hidden>, "
> address@hidden" <address@hidden>, "
> address@hidden" <address@hidden>, "
> address@hidden" <address@hidden>
> Date: Tue, 9 Apr 2019 00:29:29 +0000
> Subject: Re: Charles Winston's chord-semantics GSOC work (issue 568650043
> by address@hidden)
> ´╗┐On 4/8/19, 1:59 PM, "address@hidden" <address@hidden>
> wrote:
>     On 2019/04/08 18:47:13, lilypond-pkx wrote:
>     > Are we sure all the reg tests are OK (see tracker for download link)?
>     > For example
>     > regression/
>     > This looks completely broken with this patch
> Interesting question.  The semantics that Charles coded says that c:maj7
> is the way to indicate the C major 7 semantics.  This regtest had c:7+,
> which gives the same pitches as c:maj7, but has a different semantic
> spelling.  In my opinion, c:7+ should probably be named C#7, not C
> triangle.  Of course, the code is broken because it loses the alteration on
> the extension (but not the addition).

I would strongly disagree that a Cmaj7 chord should be named C#7.

>From a chord symbol standpoint, no one uses #7 to indicate a maj7 chord.
The vast majority of chord symbol naming conventions use either the
triangle, M, Maj, or maj to indicate a major 7th chord.

So, I'd suggest we pick one of those.  I'm partial to the triangle, but
that's probably not the most common.

What I would suggest is that, whichever one is chosen, it is done so in
accordance with the symbols for minor, diminished and augmented.
So, for major / minor / half-diminished / diminished / augmented use one of
these sets:

    triangle / minus / null / circle / plus
    maj / min / min7b5 / dim / aug

I understand that in the lily syntax, using c:7+ makes mathematical sense,
since following chord naming convention, the "7" refers to dominant 7, or
the b7, and we are interested in saying that it is one semitone higher than
that, and this is a reasonable shorthand.

But we should not inflict this shorthand on the printed chord symbols, nor
on the semantic representation of them.

Musically speaking, we are not lowering then raising the 7th--we're simply
using the actual 7th degree, as is.
Semantically, it is moreso "natural 7" than "#7".


Elaine Alt
415 . 341 .4954                                           "*Confusion is
highly underrated*"
Producer ~ Composer ~ Instrumentalist ~ Educator

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