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What do you mean "calculates chords"? Depending on which style of music a
symbol like E7#9 might mean a lot of different things.
1) Hendrix style it's the archetypical position 6 chord we all come to love.
2) In jazz it's probably E7 using F minor melodic (+5) or E7 using
3) For bass players it's just E7 whatever.
4) for piano players vocings might include cfg (you'd call that Csus then?)
of g#-d-g or
E-B (a good open fifth blues style)
There's no royal road to this... work through all of them in all keys...
get the sound in your
ear, not your computer! E#9 can be cfg(Csus??) c#fbf (Bm) gbd(gmajor)
(gbfd) (g minor)
and so forth. Any halfway decent book on chords and harmony will contain
of study material you need to practice to be able to use, recognize and
On Tue, Jul 3, 2012 at 10:47 AM, Kevin Thoma wrote:
> Yeah, I think there are a lot of people who are simply musicians for whom
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What do you mean "calculates chords"? Depending on which sty=
le of music a chordsymbol like E7#9 might mean a lot of differen=
t things.1) Hendrix style it's the archetypical position 6 c=
hord we all come to love.
2) In jazz it's probably E7 using F minor melodic (+5) or E7 using=
diminished scale.3) For bass players it's just E7 whatever.=
4) for piano players vocings might include cfg (you'd call t=
hat Csus then?) of g#-d-g or
E-B (a good open fifth blues style)There'=
;s no royal road to this... work through all of them in all keys... get the=
sound in yourear, not your computer! E#9 can be cfg(Csus??) c#f=
bf (Bm) gbd(gmajor) (gbfd) (g minor)
and so forth. Any halfway decent book on chords and harmony will conta=
in several years=A0of study material you need to practice to be =
able to use, recognize and understand.
On Tue, Jul 3, 2012 at 10:47 AM, Kevin Thoma <firstname.lastname@example.org=
Yeah, I think there are a lot of people who are simply musicians for whom i=
t is important to name chords appropriately. If I want a certain emotion to=
be conveyed, it's often vital that I do play, say, a Cadd9 instead of =
a simple C major. And if need to communicate with someone about a chord pro=
gression, that's the language I have to use. (Unless I want to be all &=
quot;put your fingers here and there." ;) )
On topic: I think such a tool would be quite helpful. Kind o=
f surprised it doesn't exist yet, there are definitely many use cases f=
or it.On Tue, Jul=
3, 2012 at 10:39 AM, Raffaele Morelli <email@example.com=
2012/7/3 Ralf Mardorf <ralf.mardorf@a=
On Tue, 2012-07-03 at 10:38 +0800, Oon-Ee Ng wrote:
Serious, is there a command line tool or a GUI based tool that
OT: At least I should fire up Qtractor now, but I'm still short in time=
FWIW I don't care, I only know that the OP is mistaken, because I teach=
music and the pupils wished to know about theory. For "God's sake&=
Germany we also have a "theory of harmony" regarding to it's<=
functionality, e.g. c d# f# a is a symmetrical cord. Nobody cares about
it's name, but we care a lot about the emotions people listening to thi=
Since I'm a guitarist most of the chords I prefer are named insane.
Jimi Hendrix: Eb(no 3rd), Aadd9 and the sharp ninth, E7#9. Set to the
situational context I simply name "E7#9" "E major", so =
a simple blues
gets "Voodoo Chile"-quality.
However, as long as we don't try to get a certificate from an academy,<=
the names of cords are completely irrelevant.
It's bullshit, nobody needs to know. For a gig we need to know what
emotion should be transmitted, so we only need scripts that remind us to
the basics, such as C or C-. If the cord is a 7, major or minor etc.
Ralf, no hard feelings but may Hendrix e=
t al. have mercy on you if you can't distinguish a 7 from a 7+ or a 7m<=
-- L'unica speranza di catarsi, ammesso che n=
e esista una,
resta affidata all'istinto di ribellione, alla rivolta non isterilita
in progetti, alla protesta violenta e viscerale. (V. Evangelisti)
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