Hi Jean,
I just finished my reply when I saw your next message. :)
> Sorry, I was starting to forget about the "transposing" bit.
>
> Well, how about
>
> \version "2.22.2"
>
> t =
> #(define-music-function (text) (markup?)
> #{
> \once \set chordNameFunction =
> #(lambda (sorted-pitches bass inversion context)
> (let* ((root (first sorted-pitches))
> (root-namer
> (ly:context-property context 'chordRootNamer))
> (root-markup (root-namer root #f))
> (bass-markup
> (if (ly:pitch? bass)
> #{ \markup { / #(root-namer bass #f) } #}
> "")))
> #{ \markup { #root-markup \super #text #bass-markup } #}))
> #})
>
> bass = \withMusicProperty bass ##t \etc
>
> myChordNames =
> \relative {
> \t "6-9" c1
> \t "6-9" << c \bass g >>
> }
>
> <<
> \new ChordNames \myChordNames
> \new ChordNames \transpose c d \myChordNames
>>>
Yeah, judging from some quick tests, that seems to do what I want. Thanks a
lot! This is very useful.
I still think it could be nice to try to write a longer-term solution. I saw it
was you who wrote that newer Current_chord_text_engraver, with the goal of
making a chord name grid. Do you think there would be any interest in
specifying the chord suffixes like that, directly from markup? I'd be happy to
contribute to some other kind of chord engraver or chord name function that
behaves like that, if anyone else thinks it's useful. (I imagine jazz musicians
might?)
To clarify again: the immediate reason was that if I transpose all of the
pitches in a chord and then naturalize double accidentals, it messes up the
intervals and the symbol changes.
The longer-term reason is that to me, at least in the specific use case of
printing a harmonic background, the layer of calculating chords from internal
pitches is redundant anyway. There are many ways to think about a chord, and I
change the way I think about them all the time: I just want to write it down
and I don't need LilyPond to reason about it. :) (Although a root and a bass
note are still useful.)
Cheers,Koen
