Get Chord Name From a Given Set of NotesLooking for letter-based chord identification algorithms, and related...
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Get Chord Name From a Given Set of Notes
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I am trying to come up with an algorithm that gets the proper chord name given certain Notes, user may or may not inform which from the notes is the root.
I suppose that the process in recognizing a chord name differs for how many notes are given, so maybe there should be an algorithm for triads, one for 4 note chords, and another for 5+ notes? Or is there a general way of approaching this? maybe chord patterns?
theory chords chord-theory
asked 10 hours ago
Cheche RomoCheche Romo
1487 bronze badges
add a comment |
I am trying to come up with an algorithm that gets the proper chord name given certain Notes, user may or may not inform which from the notes is the root.
I suppose that the process in recognizing a chord name differs for how many notes are given, so maybe there should be an algorithm for triads, one for 4 note chords, and another for 5+ notes? Or is there a general way of approaching this? maybe chord patterns?
theory chords chord-theory
asked 10 hours ago
Cheche RomoCheche Romo
1487 bronze badges
You could transform every pitch class set to its prime form, and then use that as a key for a chord dictionary. This answer contains information about how to find the prime form: music.stackexchange.com/questions/82120/… Also check out en.wikipedia.org/wiki/Set_theory_(music)
– Your Uncle Bob
9 hours ago
What in your opinion is a proper chord name? Even the proper chord name...? Can you give an example of an improper chord name?
– piiperi
6 hours ago
add a comment |
I am trying to come up with an algorithm that gets the proper chord name given certain Notes, user may or may not inform which from the notes is the root.
I suppose that the process in recognizing a chord name differs for how many notes are given, so maybe there should be an algorithm for triads, one for 4 note chords, and another for 5+ notes? Or is there a general way of approaching this? maybe chord patterns?
theory chords chord-theory
asked 10 hours ago
Cheche RomoCheche Romo
1487 bronze badges
I am trying to come up with an algorithm that gets the proper chord name given certain Notes, user may or may not inform which from the notes is the root.
I suppose that the process in recognizing a chord name differs for how many notes are given, so maybe there should be an algorithm for triads, one for 4 note chords, and another for 5+ notes? Or is there a general way of approaching this? maybe chord patterns?
theory chords chord-theory
theory chords chord-theory
asked 10 hours ago
Cheche RomoCheche Romo
1487 bronze badges
asked 10 hours ago
Cheche RomoCheche Romo
1487 bronze badges
asked 10 hours ago
Cheche RomoCheche Romo
1487 bronze badges
asked 10 hours ago
Cheche RomoCheche Romo
1487 bronze badges
asked 10 hours ago
Cheche RomoCheche Romo
1487 bronze badges
1487 bronze badges
You could transform every pitch class set to its prime form, and then use that as a key for a chord dictionary. This answer contains information about how to find the prime form: music.stackexchange.com/questions/82120/… Also check out en.wikipedia.org/wiki/Set_theory_(music)
– Your Uncle Bob
9 hours ago
What in your opinion is a proper chord name? Even the proper chord name...? Can you give an example of an improper chord name?
– piiperi
6 hours ago
add a comment |
You could transform every pitch class set to its prime form, and then use that as a key for a chord dictionary. This answer contains information about how to find the prime form: music.stackexchange.com/questions/82120/… Also check out en.wikipedia.org/wiki/Set_theory_(music)
– Your Uncle Bob
9 hours ago
What in your opinion is a proper chord name? Even the proper chord name...? Can you give an example of an improper chord name?
– piiperi
6 hours ago
You could transform every pitch class set to its prime form, and then use that as a key for a chord dictionary. This answer contains information about how to find the prime form: music.stackexchange.com/questions/82120/… Also check out en.wikipedia.org/wiki/Set_theory_(music)
– Your Uncle Bob
9 hours ago
You could transform every pitch class set to its prime form, and then use that as a key for a chord dictionary. This answer contains information about how to find the prime form: music.stackexchange.com/questions/82120/… Also check out en.wikipedia.org/wiki/Set_theory_(music)
– Your Uncle Bob
9 hours ago
What in your opinion is a proper chord name? Even the proper chord name...? Can you give an example of an improper chord name?
– piiperi
6 hours ago
What in your opinion is a proper chord name? Even the proper chord name...? Can you give an example of an improper chord name?
– piiperi
6 hours ago
add a comment |
2 Answers
2
active
oldest
votes
Some chords (at least in Common Practice Period harmony) cannot be named out of context. Some trivial examples: F-Ab-Db-F is a Db major chord in and of itself but if resolved to G, it may be a Neapolitan Sixth.
The collection: Ab-C-Eb-F# is a German Sixth if resolved to G-C-E-G thence to G-B-D-G(or F). It's a dominant seventh if resolved to Db-F-Ab or perhaps a tritone substitution. Possibly using F# for the German Sixth and Gb for the dominant seventh helps however composers do approach the chord as a German Sixth and resolve it as dominant seventh and vice versa.
Some ambiguities are matters of taste. In San Antonio Rose (the only song I can think of quickly that does this) the opening chords are Bb-Eb-C7-F7; when I play this piece or other similar pieces I think I-IV-II7-V7 (especially as vocalists may want me to transpose) but while laying out a chord scheme during composing, I think I-IV-V7/V-V7 which shows the structure and would explain a Bb-Eb-C7-d-g-c6-F7-Bb as a secondary dominant resolving on a deceptive cadence followed by a cycle of fifths.
One thing you could do (to get back to the original question) is to rearrange the note collection to have as many thirds as possible and name the chord from there. Moving the notes around should indicate which inversion one has. D-F-G-B can be arranged to be G-B-D-F with a maor third followed by by three minor thirds.
answered 9 hours ago
ttwttw
10.6k10 silver badges38 bronze badges
add a comment |
Trying to name a complex chord is one of the best ways to lose one's mind. TTW posted some great examples. The one piece with which I'm currently working, Duke Ellington's "Satin Doll" can provide even more. An excellent analytical tool is https://www.scales-chords.com/chordid.php.
answered 2 hours ago
Francis PhillipsFrancis Phillips
765 bronze badges
add a comment |
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2 Answers
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2 Answers
2
active
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votes
Some chords (at least in Common Practice Period harmony) cannot be named out of context. Some trivial examples: F-Ab-Db-F is a Db major chord in and of itself but if resolved to G, it may be a Neapolitan Sixth.
The collection: Ab-C-Eb-F# is a German Sixth if resolved to G-C-E-G thence to G-B-D-G(or F). It's a dominant seventh if resolved to Db-F-Ab or perhaps a tritone substitution. Possibly using F# for the German Sixth and Gb for the dominant seventh helps however composers do approach the chord as a German Sixth and resolve it as dominant seventh and vice versa.
Some ambiguities are matters of taste. In San Antonio Rose (the only song I can think of quickly that does this) the opening chords are Bb-Eb-C7-F7; when I play this piece or other similar pieces I think I-IV-II7-V7 (especially as vocalists may want me to transpose) but while laying out a chord scheme during composing, I think I-IV-V7/V-V7 which shows the structure and would explain a Bb-Eb-C7-d-g-c6-F7-Bb as a secondary dominant resolving on a deceptive cadence followed by a cycle of fifths.
One thing you could do (to get back to the original question) is to rearrange the note collection to have as many thirds as possible and name the chord from there. Moving the notes around should indicate which inversion one has. D-F-G-B can be arranged to be G-B-D-F with a maor third followed by by three minor thirds.
answered 9 hours ago
ttwttw
10.6k10 silver badges38 bronze badges
add a comment |
Some chords (at least in Common Practice Period harmony) cannot be named out of context. Some trivial examples: F-Ab-Db-F is a Db major chord in and of itself but if resolved to G, it may be a Neapolitan Sixth.
The collection: Ab-C-Eb-F# is a German Sixth if resolved to G-C-E-G thence to G-B-D-G(or F). It's a dominant seventh if resolved to Db-F-Ab or perhaps a tritone substitution. Possibly using F# for the German Sixth and Gb for the dominant seventh helps however composers do approach the chord as a German Sixth and resolve it as dominant seventh and vice versa.
Some ambiguities are matters of taste. In San Antonio Rose (the only song I can think of quickly that does this) the opening chords are Bb-Eb-C7-F7; when I play this piece or other similar pieces I think I-IV-II7-V7 (especially as vocalists may want me to transpose) but while laying out a chord scheme during composing, I think I-IV-V7/V-V7 which shows the structure and would explain a Bb-Eb-C7-d-g-c6-F7-Bb as a secondary dominant resolving on a deceptive cadence followed by a cycle of fifths.
One thing you could do (to get back to the original question) is to rearrange the note collection to have as many thirds as possible and name the chord from there. Moving the notes around should indicate which inversion one has. D-F-G-B can be arranged to be G-B-D-F with a maor third followed by by three minor thirds.
answered 9 hours ago
ttwttw
10.6k10 silver badges38 bronze badges
add a comment |
Some chords (at least in Common Practice Period harmony) cannot be named out of context. Some trivial examples: F-Ab-Db-F is a Db major chord in and of itself but if resolved to G, it may be a Neapolitan Sixth.
The collection: Ab-C-Eb-F# is a German Sixth if resolved to G-C-E-G thence to G-B-D-G(or F). It's a dominant seventh if resolved to Db-F-Ab or perhaps a tritone substitution. Possibly using F# for the German Sixth and Gb for the dominant seventh helps however composers do approach the chord as a German Sixth and resolve it as dominant seventh and vice versa.
Some ambiguities are matters of taste. In San Antonio Rose (the only song I can think of quickly that does this) the opening chords are Bb-Eb-C7-F7; when I play this piece or other similar pieces I think I-IV-II7-V7 (especially as vocalists may want me to transpose) but while laying out a chord scheme during composing, I think I-IV-V7/V-V7 which shows the structure and would explain a Bb-Eb-C7-d-g-c6-F7-Bb as a secondary dominant resolving on a deceptive cadence followed by a cycle of fifths.
One thing you could do (to get back to the original question) is to rearrange the note collection to have as many thirds as possible and name the chord from there. Moving the notes around should indicate which inversion one has. D-F-G-B can be arranged to be G-B-D-F with a maor third followed by by three minor thirds.
answered 9 hours ago
ttwttw
10.6k10 silver badges38 bronze badges
Some chords (at least in Common Practice Period harmony) cannot be named out of context. Some trivial examples: F-Ab-Db-F is a Db major chord in and of itself but if resolved to G, it may be a Neapolitan Sixth.
The collection: Ab-C-Eb-F# is a German Sixth if resolved to G-C-E-G thence to G-B-D-G(or F). It's a dominant seventh if resolved to Db-F-Ab or perhaps a tritone substitution. Possibly using F# for the German Sixth and Gb for the dominant seventh helps however composers do approach the chord as a German Sixth and resolve it as dominant seventh and vice versa.
Some ambiguities are matters of taste. In San Antonio Rose (the only song I can think of quickly that does this) the opening chords are Bb-Eb-C7-F7; when I play this piece or other similar pieces I think I-IV-II7-V7 (especially as vocalists may want me to transpose) but while laying out a chord scheme during composing, I think I-IV-V7/V-V7 which shows the structure and would explain a Bb-Eb-C7-d-g-c6-F7-Bb as a secondary dominant resolving on a deceptive cadence followed by a cycle of fifths.
One thing you could do (to get back to the original question) is to rearrange the note collection to have as many thirds as possible and name the chord from there. Moving the notes around should indicate which inversion one has. D-F-G-B can be arranged to be G-B-D-F with a maor third followed by by three minor thirds.
answered 9 hours ago
ttwttw
10.6k10 silver badges38 bronze badges
answered 9 hours ago
ttwttw
10.6k10 silver badges38 bronze badges
answered 9 hours ago
ttwttw
10.6k10 silver badges38 bronze badges
answered 9 hours ago
ttwttw
10.6k10 silver badges38 bronze badges
10.6k10 silver badges38 bronze badges
add a comment |
add a comment |
Trying to name a complex chord is one of the best ways to lose one's mind. TTW posted some great examples. The one piece with which I'm currently working, Duke Ellington's "Satin Doll" can provide even more. An excellent analytical tool is https://www.scales-chords.com/chordid.php.
answered 2 hours ago
Francis PhillipsFrancis Phillips
765 bronze badges
add a comment |
Trying to name a complex chord is one of the best ways to lose one's mind. TTW posted some great examples. The one piece with which I'm currently working, Duke Ellington's "Satin Doll" can provide even more. An excellent analytical tool is https://www.scales-chords.com/chordid.php.
answered 2 hours ago
Francis PhillipsFrancis Phillips
765 bronze badges
add a comment |
Trying to name a complex chord is one of the best ways to lose one's mind. TTW posted some great examples. The one piece with which I'm currently working, Duke Ellington's "Satin Doll" can provide even more. An excellent analytical tool is https://www.scales-chords.com/chordid.php.
answered 2 hours ago
Francis PhillipsFrancis Phillips
765 bronze badges
Trying to name a complex chord is one of the best ways to lose one's mind. TTW posted some great examples. The one piece with which I'm currently working, Duke Ellington's "Satin Doll" can provide even more. An excellent analytical tool is https://www.scales-chords.com/chordid.php.
answered 2 hours ago
Francis PhillipsFrancis Phillips
765 bronze badges
answered 2 hours ago
Francis PhillipsFrancis Phillips
765 bronze badges
answered 2 hours ago
Francis PhillipsFrancis Phillips
765 bronze badges
answered 2 hours ago
Francis PhillipsFrancis Phillips
765 bronze badges
765 bronze badges
add a comment |
add a comment |
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You could transform every pitch class set to its prime form, and then use that as a key for a chord dictionary. This answer contains information about how to find the prime form: music.stackexchange.com/questions/82120/… Also check out en.wikipedia.org/wiki/Set_theory_(music)
– Your Uncle Bob
9 hours ago
What in your opinion is a proper chord name? Even the proper chord name...? Can you give an example of an improper chord name?
– piiperi
6 hours ago