If you want them above the bracket, the following code works:
\version "2.17.95"
<<
\chords {
c2 g:sus4
\override Score.ChordName #'Y-offset = #'2
f e
g c
\override Score.ChordName #'Y-offset = #'0
c/g c
}
\relative c'' {
\override Score.VoltaBracketSpanner #'Y-offset = #'1
\repeat volta 2 { a4 e c8 e r4}
\alternative {{ b2 c4( d) }
{ b8 r d4 c2 }}
c1
}
>>
On Sun, Dec 15, 2013 at 3:09 PM, Jim Long <[email protected]> wrote:
> I don't have a solution to your Lilypond input structuring
> question, but I can answer:
>
> On Sun, Dec 15, 2013 at 12:03:19PM -0500, Sam Whited wrote:
> >
> > I've been digging through my sheet music collection, but haven't found
> > anything with both alternate endings and chord names to look at; what's
> > the usual way of engraving this?
>
> The usual way is to put the chord symbols below the volta
> bracket, as Lilypond does by default. I looked at several
> publishers and also hand-drawn Real Book charts and could not
> find any examples that were otherwise.
>
> If your local library has sheet music or songbooks available for
> loan, perhaps you can find some examples there. Any of the
> prevalent "real book"/"fake books" that are out there will also
> show examples of the standard practice for chord changes in volta
> endings.
>
> Perhaps you can share a *small, cropped* mini-image of a section
> where Lilypond's default looks unappealing to you?
>
>
>
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>
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