Re: Lilypond and Jazz chords

> On Jan 18, 2016, at 1:44 AM, Carl-Henrik Buschmann > wrote: > > >> 18. jan. 2016 kl. 02.40 skrev tim...@bitstream.net: >> >>> >>> On Jan 17, 2016, at 4:16 PM, Carl-Henrik Buschmann >>> wrote: >>> >>> While i might agree with you to some extent

Re: Lilypond and Jazz chords

> On Jan 17, 2016, at 4:16 PM, Carl-Henrik Buschmann > wrote: > > While i might agree with you to some extent this is also a practial matter: > > 1) Whether or not you call it maj or *triangle*, m or MI is indeed a matter > of culture and personal taste. But consider

Re: Lilypond and Jazz chords

> On Jan 17, 2016, at 4:18 PM, Kieren MacMillan > wrote: > > Hi Tim, > >> that is a matter of individual preferences. > > Agreed. > >> Cmaj7#4 is less trouble to read than Cmaj7(#4) on the bandstand in an >> unfamiliar tune. > > Disagreed. > >> 90% of the

Re: Chord names

> On Nov 27, 2015, at 4:48 AM, Kieren MacMillan > wrote: > > Hi Tim, > > On Nov 27, 2015, at 1:15 AM, tim...@bitstream.net wrote: >> Given an Am(sus) chord on a chart I would wonder whether the composer wants >> a suspended chord (A D E) or a triad with a 4th-

Re: Chord names

> On Nov 26, 2015, at 7:13 PM, Kieren MacMillan > wrote: > > Hi Tim, > >> Sus chords do not resolve to a diatonic major or minor in quartal harmony >> for example, so for Lilypond to assume there is a resolution to a major or >> minor triad would be unwise. >