On Tue, 2012-07-03 at 10:38 +0800, Oon-Ee Ng wrote:
On Tue, Jul 3, 2012 at 8:57 AM, Ralf Mardorf
<ralf.mardorf(a)alice-dsl.net> wrote:
On Mon, 2012-07-02 at 20:41 -0400, Ricardus
Vincente wrote:
On Mon, 2012-07-02 at 17:34 -0700, Bob van der
Poel wrote:
Opps ... sometimes I do type faster than my brain
works. Of course I
meant to say that c e g would be G Major :)
BZZZZZZZZZZZZZZZZZZZZZZZZZZZT!
Well, another chord we name it different here ;), but don't worry,
everybody should understand what app you wish to get.
One which automatically transposes C to G =). Or, alternatively, that
recognizes a Gsus.
Serious, is there a command line tool or a GUI based tool that
"calculates" cords?
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", in
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 this
cord.
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.
shouldn't matter.