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Chords in isolation are an academic exercise. In the context of an overall chord progression, this “enharmonic ambiguity” normally disappears completely, at le
by shermantanktop 2y ago
Chords in isolation are an academic exercise. In the context of an overall chord progression, this “enharmonic ambiguity” normally disappears completely, at least for mainstream jazz, pop, rock, folk, most classical, etc. - you know, the music that people who weren’t music majors actually like.
- epcoa 2y agoSure, but I certainly haven't been proposing that naming chords based on identifying pitches on a standard keyboard with no other context is suitable, quite the opposite (fool's errand in my original comment). In the confines of the problem statement, it's all enharmonic ambiguity, and that's the point. The Em#5 example was based off the one in the original article, but a much more down to earth one would be F♯ and G♭. Not exactly obscure chords and illustrative of the fundamental issue with this method.