On Wednesday, 22 September 1999, "Shamus" writes:
> I think the current method of additions and substractions can still work,
> with the most frequently used chords thrown in there as well (the names of
> the chords should be customizable, just as the note names are now). This
> would include shorthand for (using C as root in this example): C (major
Ok. While this may look easy, it may be hard/impossible to implement.
We'll have to see.
> triad), Cm, Co (diminished triad), Caug, Csus (always a suspended fourth),
These will work: they're 'words', but
> C2 (root, second, fifth), C7, Cm7, Cmaj7, Caug7 (also known as C7(#5)),
the combination with digits is tricky (HW?)
> C7sus, Co7 (diminished seventh), C�7 (half-diminished, yes, I know, also
> known as Cm7(b5)), Cm(maj7), C6 (C major triad with added 6th), Cm6 (C minor
> triad with added 6th), C9 (or C7add9), Cmaj9 (or Cmaj7add9). Did I miss
> anything that has a short representation? Anything else could be done via
> additions/subtractions. Speaking of which, is it necessary to use the dash
> (-) as a separator?
No, it actually is unfortunate (as listed in TODO). Maybe we should switch
to the colon (:). Btw, '-' is only used to separate tonic and modifier/
additions, the dot (.) is used to separate additions and subtractions:
C-m7.9- -> C:m7.9- better?
If so, I would suggest using # and b to indicate
> alterations to the basic intervals. That shouldn't cause any conflicts,
Hmm, I like +/- better (esp. because +/- can actually mean: double
sharp/flat), and 'b' is probably not possible/desirable.
> since there would be no note names in the addition/subtraction sections...
> Also, having the bass note followed by a slash is still a good way to enter
> that. So, to enter a Dm7add#11/G you would have d-m7-#11/G. Whaddya think?
It needs some work, but we'll get there :-)
Jan.
--
Jan Nieuwenhuizen <[EMAIL PROTECTED]> | GNU LilyPond - The music typesetter
http://www.xs4all.nl/~jantien/ | http://www.lilypond.org/
