The algorithm makes several false assumptions AND misses some crucial points about harmony that affect chord naming. One of each below:
- Chords are definitely not always built on thirds. Mainly the traditional western sounds are.
- Even more importantly, chords are never named in isolation, they are named with respect to their musical context. An Am7 could more correctly be called a C/A depending on the overall harmonic picture - the melody, the chords before and after and even the emphasis created by the performing musicians. Voicings are basically ignored but could be said to come under this point.
When I teach harmony to students I always point out the key thing to understand is how the harmony is changing, and to look at it dynamically not statically. It's more about the relative motion of notes comprising chords than names although names are obviously a useful construct.
- Chords are definitely not always built on thirds. Mainly the traditional western sounds are.
- Even more importantly, chords are never named in isolation, they are named with respect to their musical context. An Am7 could more correctly be called a C/A depending on the overall harmonic picture - the melody, the chords before and after and even the emphasis created by the performing musicians. Voicings are basically ignored but could be said to come under this point.
When I teach harmony to students I always point out the key thing to understand is how the harmony is changing, and to look at it dynamically not statically. It's more about the relative motion of notes comprising chords than names although names are obviously a useful construct.