Re: Lilypond and Jazz chords

Hi Kieren and Ponders, I’m very detail-oriented, so things that others might consider “little” often drive me quite crazy. =) Well, "little" is the wrong expression - "not painful enough to invest the time" is closer to the truth. Quite possibly that is easy to fix though Should

Re: Lilypond and Jazz chords

Hi David, > The engraver would convert into something akin to c c' d' f' > bf' (somewhat opaque example since the first is the root pitch and the > others are the relation to the root note, expressed as intervals from > c'). There would be one or several markups for interpreting the c' d' > f'

Re: Lilypond and Jazz chords

Sorry for misunderstanding/misinterpretation. In lilypond I write bes for bflat, In text writing I use bB. On 18.01.2016 15:23, Kieren MacMillan wrote: Hi, Bb/C is built of C Bb D F …which is what I wrote: “bf” is Bb using english note names. May be you did a typing error No. You

Re: Lilypond and Jazz chords

Hi Robert, > It is possible though that all tools for doing that are already present in > LilyJazz ... I simply don't remember now. Sorry, I wasn’t clear: the accidentals in your chord names aren’t using the LilyJazz font, as far as I can tell, whereas the rest of the glyphs (e.g., letters,

Re: Lilypond and Jazz chords

Kieren MacMillan writes: > Hi David, > >> The engraver would convert into something akin to c c' d' f' >> bf' (somewhat opaque example since the first is the root pitch and the >> others are the relation to the root note, expressed as intervals from >> c'). There

Re: Lilypond and Jazz chords

On 18.01.2016 14:33, BB wrote: On 18.01.2016 13:29, Kieren MacMillan wrote: might be named Dm9no5/C, Cno5add2add4, Fmaj7add6no3/C depending on the context. Names are interpretations of the notes and always depend on the context. Your chords in the posting be labelled as Bb/C or

Re: Lilypond and Jazz chords

Hi, > Bb/C is built of C Bb D F …which is what I wrote: “bf” is Bb using english note names. > May be you did a typing error No. > You never get correct chord names without knowing the context That’s exactly my point. Regards, Kieren. Kieren MacMillan,

Re: Lilypond and Jazz chords

Kieren MacMillan writes: > Hi David, > >> Here's my take on how to do this more transparently: first have an >> engraver that does the basic chord analysis and writes one or several >> properties with the basic analysis results (like fundamental pitch and >> scale

Re: Lilypond and Jazz chords

On 18.01.2016 13:29, Kieren MacMillan wrote: might be named Dm9no5/C, Cno5add2add4, Fmaj7add6no3/C depending on the context. Names are interpretations of the notes and always depend on the context. Your chords in the posting be labelled as Bb/C or C7(sus2,sus4) Bb/C is built of C Bb D F

Re: Lilypond and Jazz chords

Yes, that's true - I guess that never bothered me ... until now, that is, now that you mention it, thank you very much. Quite possibly that is easy to fix though - I'll look into that asap. Maybe I should add that, while I like producing aesthetically pleasing lead sheets, my first priority

Re: Lilypond and Jazz chords

Hi Robert, > I guess that never bothered me ... until now, that is, now that you mention > it, thank you very much. You’re welcome! I’m very detail-oriented, so things that others might consider “little” often drive me quite crazy. =) > Quite possibly that is easy to fix though Should be.

Re: Lilypond and Jazz chords

Am 18.01.2016 08:44, schrieb Carl-Henrik Buschmann: 18. jan. 2016 kl. 02.40 skrev tim...@bitstream.net: On Jan 17, 2016, at 4:16 PM, Carl-Henrik Buschmann wrote: I'm not talking about code, i'm talking about style. And by the looks of it Sibelius at least have by and

Re: Lilypond and Jazz chords

On Mon, 18 Jan 2016 09:12:42 +0100 Blöchl Bernhard wrote: > Do you really believe that Sibelius was inspired by R? Not sure if troll > Johan Julius Christian („Jean“) Sibelius * 8. Dezember 1865 in > Hämeenlinna; † 20. September 1957 in Järvenpää near

Re: Lilypond and Jazz chords

Am 18.01.2016 um 09:12 schrieb Blöchl Bernhard: [...] Do you really believe that Sibelius was inspired by R? The first edition of Standardized chord symbol notation : (a uniform system for the music profession) von Carl Brandt; Clinton Roemer Englisch was published 1976 by Sherman Oaks, Calif.

Re: Lilypond and Jazz chords

Kieren MacMillan writes: > Hi Simon, > >> Note the effect of sensible code formatting – it can’t be emphasised > often enough… > > I actually had it that way in my example, but decided to put it on one > line to save vertical space in the post. Well, that's

Re: Lilypond and Jazz chords

Carl-Henrik Buschmann writes: > Kieren is thankfully working on this and i hope the brains that code > for lilypond can bash heads together and at least give us a *working* > solution and stop bickering over personal preferences that only hinder > the development. I think

Re: Lilypond and Jazz chords

Thomas Morley writes: > 2016-01-17 22:28 GMT+01:00 Carl-Henrik Buschmann : > > Thanks for code and links! > >> A properly formatet complex chord stacks alterations in parenthesis. > > Well, I disagre - at least as a general verdict. > >> Lilyponds

Re: Lilypond and Jazz chords

-- Note beforehand: I'm sending this from a phone, and I can't control if the attached picture is sent inline or not - hope you can see it, otherwise I'll have to resend it later today. -- Hi Carl-Henrik, Fwiw, I write jazz sheets all the time, and I've trimmed Lilypond to produce stuff

Re: Lilypond and Jazz chords

Chill pills for everybody! Smile :-) > 18. jan. 2016 kl. 09.39 skrev David Kastrup : > > There is no "brains that code" who have to placate "us" by "at least > giving us a *working* solution". I see how that might have been misunderstood, but please belive it was with the best

Re: Lilypond and Jazz chords

Hi David, > Here's my take on how to do this more transparently: first have an > engraver that does the basic chord analysis and writes one or several > properties with the basic analysis results (like fundamental pitch and > scale offsets). Those properties are made part of text-interface. > >

Re: Lilypond and Jazz chords

, > >> it involves the (fantastic) LilyJazz package which was created by Thorsten >> Hämmerle some time ago. > > Why are the alterations in the chord names not LilyJazz? Well, now that you mention it, they might well be. It's been quite some time since I worked on that. What I *am* sure of is

Re: Lilypond and Jazz chords

This is smashing! Great job. The alignment of the chords, is it possible to push above the staff like traditional chords? The 8, is it part of a multi rest? > 18. jan. 2016 kl. 11.40 skrev Robert Schmaus : > > > -- > Note beforehand: I'm sending this from a phone,

Re: Lilypond and Jazz chords

On Mon, 18 Jan 2016 11:40:47 +0100 Robert Schmaus wrote: > Fwiw, I write jazz sheets all the time, and I've trimmed Lilypond to > produce stuff like this: Nice, very nice! It's a shame the "8" won't match... I've tried to obtain something like this some years ago, but

Re: Lilypond and Jazz chords

Thanks! I can post the code for that if you're interested, I just can't promise I'll be able to do that tonight. And it involves the (fantastic) LilyJazz package which was created by Thorsten Hämmerle some time ago. If can get a hold of that, and put it together with Kieren's suggestions,

Re: Lilypond and Jazz chords

Hi Robert, > it involves the (fantastic) LilyJazz package which was created by Thorsten > Hämmerle some time ago. Why are the alterations in the chord names not LilyJazz? > If can get a hold of that, and put it together with Kieren's suggestions, > that's basically it - the rest is routine

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

> 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 this is also a practial matter: >> >> 1) Whether or not you call it maj or *triangle*, m or MI

Re: Lilypond and Jazz chords

A properly formatet complex chord stacks alterations in parenthesis. Lilyponds default is: \version "2.19.35" \header { tagline = "" } ChordNames = \chordmode { \set majorSevenSymbol = \markup { maj7 } d:maj7.5+.9-.11+ } upper = \relative c'{ \clef G < d fis ais cis ees gis >1 }

Re: Lilypond and Jazz chords

There are a few musicologist, you'd be suprised how many, that comes from jazz or popular music. Yes, I'm one of them. As far as i can see this Brandt & Roemer thing is a work in progress. I'm thankfull somebody seems to be working on it! There is however much to be done before chords in

Re: Lilypond and Jazz chords

Hi Carl-Henrik, > As far as i can see this Brandt & Roemer thing is a work in progress. Indeed. > I'm thankfull somebody seems to be working on it! You’re welcome. =) > There is however much to be done before chords in Lilypond are mature enough > to use for jazz chord notation. I don’t

Re: Lilypond and Jazz chords

nglist about coding. I can look up your image at http://lilypond.1069038.n5.nabble.com/Re-Lilypond-and-Jazz-chords-td186007.html [1] but that's going on my nerves. Nevertheless, some of the chord-symbols there are lilypond-default, some not. Use chord-exceptions for them. -Harm   Den 17. jan. 2

Re: Lilypond and Jazz chords

Hi Blöchl, > 1. Why is Cm69 (ly) = C6/9 (BR)? Where is the "MI" gone? Is it kind of > implied? I don't see it. If you followed the thread further, you’d see that it was an error: the “MI” is, of course, supposed to be there. That error been fixed in my [private] copy, which I am continuing to

Re: Lilypond and Jazz chords

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 extensions that are written on lead sheets are ignored anyway in > favor of what the musician’s ear tells him or

Re: Lilypond and Jazz chords

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 the following: A C7, a dominant, might tell a performing musician lots but when dealing with

Re: Lilypond and Jazz chords

Hi Carl-Henrik, Here’s a start for you. Hope this helps! Kieren. SNIPPET BEGINS \version "2.19.35" \language "english" chordFlat = \markup \concat { \hspace #0.1 \raise #0.5 \fontsize #-1 \flat \hspace #0.2 } chordSharp = \markup \concat { \hspace #0.1 \raise #0.5 \fontsize #-1 \sharp

Re: Lilypond and Jazz chords

I follow this nonsense thread just for entertainement with wild references to any-/something and found i. e https://lists.gnu.org/archive/html/lilypond-user/2015-11/msg00950.html and https://lists.gnu.org/archive/html/lilypond-user/2015-11/pdfsKndJHU0dl.pdf Two questions: 1. Why is Cm69 (ly) =

Re: Lilypond and Jazz chords

Thank you. This is indeed a good start! However. How to adjust the lenght of the parenthesis? As of now they only encapsule 1/3 of the stack. I havent the foggiest on how to make them "flexible". > 17. jan. 2016 kl. 22.25 skrev Kieren MacMillan > : > > Hi

Re: Lilypond and Jazz chords

2016-01-17 19:55 GMT+01:00 Carl-Henrik Buschmann : > Any news regarding this? Well, what's "this"? LilyPond exists, yes. There is no common definiton of "JazzChords". So, no news. ;) Maybe you may want to be a little more specific? Cheers, Harm

Re: Lilypond and Jazz chords

Hi Carl-Henrik, > I'm wondering if lilypond is able to notate complex chords Still not sure exactly what you mean… As far as I understand (and have used), Lilypond can notate any chord you want, given the correct custom chord naming. I’ve been building an include file around the Brandt system,

Re: Lilypond and Jazz chords

Hi Carl-Henrik, > I have googled my ass off on how to get "jazz chords" properly formated. The > lilypond manual isn't exactly being straight about the matter. I do know it > *should* be possible and i'm humbly asking for a hint at formating as shown > in the picture i linked/sendt. Try this

Re: Lilypond and Jazz chords

Am 17.01.2016 21:33, schrieb Carl-Henrik Buschmann: http://i.imgur.com/crR5239.png [3] I have googled my ass off on how to get "jazz chords" properly formated. What is "properly" formated? Where is your wrong formated code example? ___

Re: Lilypond and Jazz chords

his is undesirable. Quite interesting! Good night. Am 17.01.2016 22:28, schrieb Carl-Henrik Buschmann: A properly formatet complex chord stacks alterations in parenthesis. Lilyponds default is: \version "2.19.35" \header { tagline = "" } ChordNames = \chordmode { \set majorSevenSymbol

Re: Lilypond and Jazz chords

Any news regarding this? Carl-Henrik ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Lilypond and Jazz chords

t; Please attach them. I think this should be the default for a mailinglist > about coding. > > I can look up your image at > http://lilypond.1069038.n5.nabble.com/Re-Lilypond-and-Jazz-chords-td186007.html > > <http://lilypond.1069038.n5.nabble.com/Re-Lilypond-and-Jazz-chords

Re: Lilypond and Jazz chords

> On Jan 17, 2016, at 3:28 PM, Carl-Henrik Buschmann > wrote: > > A properly formatet complex chord stacks alterations in parenthesis. Hemmm, that is a matter of individual preferences. As a jazz musician I find parentheses in chords add to the visual clutter and add no

Re: Lilypond and Jazz chords

2016-01-17 22:28 GMT+01:00 Carl-Henrik Buschmann : Thanks for code and links! > A properly formatet complex chord stacks alterations in parenthesis. Well, I disagre - at least as a general verdict. > Lilyponds default is > [...] undesirable. Ofcourse I disagree again, ;)

Re: Lilypond and Jazz chords

Hi Harm, > The main problem is that current LilyPond-default is very hard to tweak +1^10 [sic] ;) > I once started rewriting chordnames. [1] > Finally it aimed at easy user-tweakable formatting. > Maybe, I'll get back to it once … If you’re serious about doing it in the near future,

Re: Lilypond and Jazz chords

Hi Simon, > Note the effect of sensible code formatting – it can’t be emphasised often > enough… I actually had it that way in my example, but decided to put it on one line to save vertical space in the post. Cheers, Kieren. Kieren MacMillan, composer ‣

Re: Lilypond and Jazz chords

On 17.01.2016 22:35, Carl-Henrik Buschmann wrote: Thank you. This is indeed a good start! However. How to adjust the lenght of the parenthesis? As of now they only encapsule 1/3 of the stack. I havent the foggiest on how to make them "flexible". You might have a look in the NR, section A.11

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: Lilypond and Jazz chords

Hi Tim, > I am not sure that Lilypond handles polychords gracefully either It doesn’t, as far as I can tell. Improving that situation is part of my goal with my B stylesheet effort (as they explicitly consider polychords). > An doctoral candidate submitting an analysis of jazz performance or a

Re: Lilypond and Jazz chords

Tim McNamara wrote: On Jul 22, 2009, at 11:12 PM, David Fedoruk wrote: In my discussion with my jazz professional, we looked at complex chords, in fact we deliberately looked for complex ones to find out how they were expressed. We found, quite amazingly that the more complex the chord got

Re: Lilypond and Jazz chords

On Jul 22, 2009, at 11:12 PM, David Fedoruk wrote: In my discussion with my jazz professional, we looked at complex chords, in fact we deliberately looked for complex ones to find out how they were expressed. We found, quite amazingly that the more complex the chord got the more

Re: Lilypond and Jazz chords

In my discussion with my jazz professional, we looked at complex chords, in fact we deliberately looked for complex ones to find out how they were expressed. We found, quite amazingly that the more complex the chord got the more ambiguous its name became. The other thing we noted is that

Re: Lilypond and Jazz chords

Hi: I did, as I mentioned earlier, visit my local music store and looked at their selection of fake books. I found what was the first legally published one in its new format. I was dissa pointed. Although it was as nicely typeset as the New Rea Book from Shur Music, there was no explanation of

Re: Lilypond and Jazz chords

On Jul 15, 2009, at 8:42 PM, David Fedoruk wrote: I did, as I mentioned earlier, visit my local music store and looked at their selection of fake books. I found what was the first legally published one in its new format. I was dissa pointed. That's not very specific. By chance were you

Re: Lilypond and Jazz chords

David Fedoruk wrote: The original BerkLee Real Fake book is no longer available, nor are some of the others. These fake books have to have thousands of clearances to be ablel to put these books together as they are and be able to be legally sold. Ironically, their The Real Book was a

Lilypond and Jazz chords

-- Forwarded message -- From: David Fedoruk david.fedo...@gmail.com Date: Sun, Jul 12, 2009 at 4:25 PM Subject: Re: Lilypond and Jazz chords To: Carl D. Sorensen c_soren...@byu.edu Hello: I've seen a number of people talking about the right way to name chords used in jazz

Re: Lilypond and Jazz chords

Hi, I've seen a number of people talking about the right way to name chords used in jazz. The problem is that there is no one right way currently. I agree. However my jazz musican still had quibbles because he thought that the interval alterations should be in a column right beside the chord

Re: Lilypond and Jazz chords

Carl D. Sorensen wrote: On 6/23/09 5:19 PM, Tim McNamara tim...@bitstream.net wrote: On Jun 23, 2009, at 12:24 PM, Carl D. Sorensen wrote: On 6/23/09 9:16 AM, Grammostola Rosea rosea.grammost...@gmail.com wrote: Tim McNamara wrote: On Jun 15, 2009, at 2:00 PM,

Re: Lilypond and Jazz chords

Tim McNamara wrote: On Jun 15, 2009, at 2:00 PM, Kieren MacMillan wrote: Wol et al: Let's take the notes C, Eb, F, Ab. Which chord is that? What's the root? You can easily go from the name to the notes, but not the other way round. We *could* parse it from the first note, i.e. in

Re: Lilypond and Jazz chords

On 6/23/09 9:16 AM, Grammostola Rosea rosea.grammost...@gmail.com wrote: Tim McNamara wrote: On Jun 15, 2009, at 2:00 PM, Kieren MacMillan wrote: Wol et al: Would it be reasonable to separate the functions of putting notes on the staff and chord names above the staff, and let the

Re: Lilypond and Jazz chords

On Jun 23, 2009, at 12:24 PM, Carl D. Sorensen wrote: On 6/23/09 9:16 AM, Grammostola Rosea rosea.grammost...@gmail.com wrote: Tim McNamara wrote: On Jun 15, 2009, at 2:00 PM, Kieren MacMillan wrote: Wol et al: Would it be reasonable to separate the functions of putting notes on the

Re: Lilypond and Jazz chords

On 6/23/09 5:19 PM, Tim McNamara tim...@bitstream.net wrote: On Jun 23, 2009, at 12:24 PM, Carl D. Sorensen wrote: On 6/23/09 9:16 AM, Grammostola Rosea rosea.grammost...@gmail.com wrote: Tim McNamara wrote: On Jun 15, 2009, at 2:00 PM, Kieren MacMillan wrote: Wol et al:

Re: Lilypond and Jazz chords

On Jun 23, 2009, at 11:36 PM, Carl D. Sorensen wrote: On 6/23/09 5:19 PM, Tim McNamara tim...@bitstream.net wrote: On Jun 23, 2009, at 12:24 PM, Carl D. Sorensen wrote: On 6/23/09 9:16 AM, Grammostola Rosea rosea.grammost...@gmail.com wrote: Tim McNamara wrote: On Jun 15, 2009, at

Re: Lilypond and Jazz chords

In message c65907ef.9d32%c_soren...@byu.edu, Carl D. Sorensen c_soren...@byu.edu writes But there is a (to me) surprisingly large contingent of users who claim that there is no well-defined connection between chord names and chord notes, and that they want total control over the symbols to be

Re: Lilypond and Jazz chords

Wol et al: Let's take the notes C, Eb, F, Ab. Which chord is that? What's the root? You can easily go from the name to the notes, but not the other way round. We *could* parse it from the first note, i.e. in relative mode F C Eb Ab and Ab C, Eb F would display as the same chord

Re: Lilypond and Jazz chords

Anthony W. Youngman wrote: In message c65907ef.9d32%c_soren...@byu.edu, Carl D. Sorensen c_soren...@byu.edu writes But there is a (to me) surprisingly large contingent of users who claim that there is no well-defined connection between chord names and chord notes, and that they want total

Re: Lilypond and Jazz chords

On Jun 15, 2009, at 2:00 PM, Kieren MacMillan wrote: Wol et al: Let's take the notes C, Eb, F, Ab. Which chord is that? What's the root? You can easily go from the name to the notes, but not the other way round. We *could* parse it from the first note, i.e. in relative mode F C Eb

Re: Lilypond and Jazz chords

Le 9 juin 09 à 18:25, Carl D. Sorensen a écrit : On 6/9/09 9:16 AM, Jean-Alexis Montignies j...@sente.ch wrote: You can find an example of a chord notated as 'phrygian' (well it's more a modal indication, but that's what the composer Gary Peacock intended) in the lead sheet for

Re: Lilypond and Jazz chords

On 6/12/09 9:10 AM, Tim McNamara tim...@bitstream.net wrote: On Jun 12, 2009, at 1:28 AM, Tao Cumplido wrote: I think it's great that you did this. Have you put this on LSR? Thanks. I haven't put this on LSR yet because the function hasn't been much tested yet. Maybe I should have

Re: Lilypond and Jazz chords

I think it's great that you did this. Have you put this on LSR? Thanks. I haven't put this on LSR yet because the function hasn't been much tested yet. Maybe I should have done anyway. When the function is updated I will upload it there. Perhaps we should consider adding this to the

Re: Lilypond and Jazz chords

On 6/12/09 12:28 AM, Tao Cumplido tao_lilypondu...@gmx.net wrote: I think it's great that you did this. Have you put this on LSR? Thanks. I haven't put this on LSR yet because the function hasn't been much tested yet. Maybe I should have done anyway. When the function is updated I will

Re: Lilypond and Jazz chords

On Jun 12, 2009, at 1:28 AM, Tao Cumplido wrote: I think it's great that you did this. Have you put this on LSR? Thanks. I haven't put this on LSR yet because the function hasn't been much tested yet. Maybe I should have done anyway. When the function is updated I will upload it there.

Re: Lilypond and Jazz chords

Le 10 juin 09 à 02:11, kzt a écrit : Hi, You can find an example of a chord notated as 'phrygian' (well it's more a modal indication, but that's what the composer Gary Peacock intended) in the lead sheet for Vignette. More arguments for using names: Alt is much more easy to write and

Re: Lilypond and Jazz chords

But as I said before, if anybody wants to create a chordname input mode that takes a root, and arbitrary name string, and an optional added bass, they're welcome to do so. http://lists.gnu.org/archive/html/lilypond-user/2009-02/msg00293.html The input-mode is a little constructed but it

Re: Lilypond and Jazz chords

kzt wrote: Hi, You can find an example of a chord notated as 'phrygian' (well it's more a modal indication, but that's what the composer Gary Peacock intended) in the lead sheet for Vignette. More arguments for using names: Alt is much more easy to write and read, less error prone than:

Re: Lilypond and Jazz chords

On 6/10/09 2:03 AM, Tao Cumplido tao_lilypondu...@gmx.net wrote: But as I said before, if anybody wants to create a chordname input mode that takes a root, and arbitrary name string, and an optional added bass, they're welcome to do so.

Re: Lilypond and Jazz chords

Jean-Alexis Montignies wrote: 1) I had some difficulties to write the Alt chords (for me it's based on the superlocrian scale 1 2- 2+ 3 4+ 6- (or 5+) 7-) because the scale has two seconds. (Note that the diminished scale cannot be written for now with the chord notation, if you ever want to

Re: Lilypond and Jazz chords

Lilypond of other programs will never be able to interpret notes as chords (even humans can't do that because there are always ambiguities). I think the more sensitive approach for pop and jazz is a chord library with a string as input (maj7) and as output a notation as markup for chord

Re: Lilypond and Jazz chords

On 6/9/09 9:16 AM, Jean-Alexis Montignies j...@sente.ch wrote: You can find an example of a chord notated as 'phrygian' (well it's more a modal indication, but that's what the composer Gary Peacock intended) in the lead sheet for Vignette. More arguments for using names: Alt is much

Re: Lilypond and Jazz chords

On Jun 9, 2009, at 11:25 AM, Carl D. Sorensen wrote: On 6/9/09 9:16 AM, Jean-Alexis Montignies j...@sente.ch wrote: You can find an example of a chord notated as 'phrygian' (well it's more a modal indication, but that's what the composer Gary Peacock intended) in the lead sheet for

Re: Lilypond and Jazz chords

Hi, You can find an example of a chord notated as 'phrygian' (well it's more a modal indication, but that's what the composer Gary Peacock intended) in the lead sheet for Vignette. More arguments for using names: Alt is much more easy to write and read, less error prone than:

{Spam?} Re: Lilypond and Jazz chords (bit OT)

Atte André Jensen wrote: Carl D. Sorensen wrote: Yes, this is what is needed. But I have a reference for chord naming at http://www.dolmetsch.com/musictheory17.htm#namechords If this is wrong, then corrections would be appreciated. That look pretty good, I disagree here and there (some

Re: Lilypond and Jazz chords

Hi there, as a jazz player I would like to share my input. What I need in scores is really chord names. The chord name denotes the intent of the composer and is much subject to interpretation. Some examples: If you have a dominant chord, you write G7. Most of the time, the pianist will not

Re: Lilypond and Jazz chords

On 6/2/09 3:55 AM, Jean-Alexis Montignies j...@sente.ch wrote: Hi there, as a jazz player I would like to share my input. Thanks for sharing, Jean-Alexis. What I need in scores is really chord names. The chord name denotes the intent of the composer and is much subject to

Re: Lilypond and Jazz chords

On Jun 2, 2009, at 4:55 AM, Jean-Alexis Montignies wrote: Hi there, as a jazz player I would like to share my input. What I need in scores is really chord names. The chord name denotes the intent of the composer and is much subject to interpretation. Some examples: If you have a dominant

Re: Lilypond and Jazz chords

1) I had some difficulties to write the Alt chords (for me it's based on the superlocrian scale 1 2- 2+ 3 4+ 6- (or 5+) 7-) because the scale has two seconds. (Note that the diminished scale cannot be written for now with the chord notation, if you ever want to write a 8 note chord ;) ).

Re: Lilypond and Jazz chords

2009/6/1 Carl D. Sorensen c_soren...@byu.edu: You are welcome to pursue this, if you are interested in it.  It is not my interest. I think it shows the impossibility of what you are trying to achieve, at least in the completely general case, although pushing the boundaries closer to that

Re: Lilypond and Jazz chords

On Jun 1, 2009, at 4:13 AM, Tim Rowe wrote: 2009/6/1 Carl D. Sorensen c_soren...@byu.edu: You are welcome to pursue this, if you are interested in it. It is not my interest. I think it shows the impossibility of what you are trying to achieve, at least in the completely general case,

Re: Lilypond and Jazz chords

I was just brainstorming, I don`t expect anybody to implement that :-) ... I just thought, if music (as long as it's not abstract) follows some basic principles, why this is not reflected in the chord naming sometimes. Slash Chords are a good example ... they are a good, easily readable

Re: Lilypond and Jazz chords

Thomas schrieb: I was just brainstorming, I don`t expect anybody to implement that :-) ... I just thought, if music (as long as it's not abstract) follows some basic principles, why this is not reflected in the chord naming sometimes. Slash Chords are a good example ... they are a good,

Re: Lilypond and Jazz chords

Marc Hohl wrote: Thomas schrieb: I was just brainstorming, I don`t expect anybody to implement that :-) ... I just thought, if music (as long as it's not abstract) follows some basic principles, why this is not reflected in the chord naming sometimes. Slash Chords are a good example ...

Re: Lilypond and Jazz chords

Tim McNamara wrote: On Jun 1, 2009, at 4:13 AM, Tim Rowe wrote: 2009/6/1 Carl D. Sorensen c_soren...@byu.edu: You are welcome to pursue this, if you are interested in it. It is not my interest. I think it shows the impossibility of what you are trying to achieve, at least in the

Re: Lilypond and Jazz chords

On 6/1/09 12:50 PM, Grammostola Rosea rosea.grammost...@gmail.com wrote: Tim McNamara wrote: On Jun 1, 2009, at 4:13 AM, Tim Rowe wrote: 2009/6/1 Carl D. Sorensen c_soren...@byu.edu: You are welcome to pursue this, if you are interested in it. It is not my interest. I think it

Re: Lilypond and Jazz chords

://www.nabble.com/Lilypond-and-Jazz-chords-tp23778843p23820508.html Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Lilypond and Jazz chords

On Jun 1, 2009, at 2:33 PM, Carl D. Sorensen wrote: A chordnamemode *input* mode has been proposed a couple of times. This mode would take only a root (and optionally, a slash or alternate bass note), and everything else about the chord would be in the form of a markup. For american jazz

Re: Lilypond and Jazz chords

On 6/1/09 8:56 PM, Tim McNamara tim...@bitstream.net wrote: On Jun 1, 2009, at 2:33 PM, Carl D. Sorensen wrote: A chordnamemode *input* mode has been proposed a couple of times. This mode would take only a root (and optionally, a slash or alternate bass note), and everything else

Re: Lilypond and Jazz chords

On 6/1/09 1:45 PM, lasconic lasco...@gmail.com wrote: Hi, Just in case it can be helpful, someone (Karl) post a pdf he wrote on MuseScore (http://www.musescore.org) mailing list about chord name display. Musescore is a free GPL WYSIWYG scorewriter (with lilypond export capabilities)

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