Am 27.05.2016 um 13:11 schrieb Urs Liska:
Am 27. Mai 2016 12:58:10 MESZ, schrieb Michael Hendry
<hendry.mich...@gmail.com>:
On 27 May 2016, at 11:36, Marc Hohl <m...@hohlart.de> 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
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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.
D#oh. Exactly, it was a typo – I mean 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).
Ok. If I include the g-sharp I got C7#5 over c#. Wow.
Having major and minor 7 in the chord doesn't seem to make much sense to me.
I think I'd vote for a-doublesharp, but I'll wait some time – perhaps
there are other ideas? ;-)
THanks,
Marc
Urs
Michael
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