Re: OT: chord naming question

[Urs Liska]

Am 27. Mai 2016 12:58:10 MESZ, schrieb Michael Hendry <address@hidden>:
>
>> On 27 May 2016, at 11:36, Marc Hohl <address@hidden> wrote:
>> 
>> Hi list,
>> 
>> as there are already (partly very emotional) dicussions concerning
>> F# vs. Gb in another (hijacked) thread,
>>
>https://lists.gnu.org/archive/html/lilypond-user/2016-05/msg00418.html
>> I hope to get some information *without* starting a flame war ;-)
>> 
>> I have the following chord played on a guitar, see the attached
>image.
>> 
>> < c-sharp g-sharp b-sharp e' b'>
>> 
>> It starts as a c minor chord with a major 7, so I'd call it cmmaj7,
>but
>> the added b' is the minor seventh.
>> 
>> cm7maj7 does not look quite right, so should the b' be written as an
>> a'-doublesharp, to call it cmmaj7#13?
>> 
>> Thanks in advance!
>> 
>> Regards,
>> 
>> Marc
>> <cmmaj7.png>_______________________________________________
>> lilypond-user mailing list
>> address@hidden
>> https://lists.gnu.org/mailman/listinfo/lilypond-user
>
>
>There’s no trace of C minor here, as far as I can see (no C natural, no
>E flat, no G natural) so I think I’d regarded it as a C sharp minor
>seventh with an added major seventh.
>
>It could be seen as part of a modified "Stairway to Heaven” cliché,
>with the descending C sharp, C natural, B natural, A sharp sequence on
>the D string.

I think the c minor was a simple typo and should read c sharp minor.

I see two interpretations:

Write the highest note as an a# and consider it as an added 13#.

Write the upper notes as c-e-bf and interpret it as bitonal (C7 over csharp).

Having major and minor 7 in the chord doesn't seem to make much sense to me.

Urs
>
>Michael
>_______________________________________________
>lilypond-user mailing list
>address@hidden
>https://lists.gnu.org/mailman/listinfo/lilypond-user

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