2022 20:27:15 +0100
> Subject: Re: Adding text to chord names or note names
> Le 28/11/2022 à 15:37, Kieren MacMillan a écrit :
> > Hi Koen,
> >
> >> I still think it could be nice to try to write a longer-term solution.
> > There has been a lot of work done on
Le 28/11/2022 à 20:27, Jean Abou Samra a écrit :
The other piece of brainstorming I know about, although I didn’t chase
all
the discussions in the devel mailing list, is the GSoC patch. This has
the
same goal of making it easier to coerce LilyPond into formatting chord
names
the way you want
Le 28/11/2022 à 15:37, Kieren MacMillan a écrit :
Hi Koen,
I still think it could be nice to try to write a longer-term solution.
There has been a lot of work done on chord naming over the last decade, mainly
as part of a Google Summer of Code project a few years ago, but essentially
none
es
> \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
Hi Kieren,
Thanks for your reply; I hope my message didn't come off as rude or
unsolicited.
(To be sure: I did not mean to suggest removing any functionality that's there.
I can easily see many use cases for calculating the actual pitches of a chord
internally. I meant more of an alternative
Hi Koen,
> I still think it could be nice to try to write a longer-term solution.
There has been a lot of work done on chord naming over the last decade, mainly
as part of a Google Summer of Code project a few years ago, but essentially
none of it has yet navigated through the patch submiss
lt;
> \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 y
Le 28/11/2022 à 01:01, Jean Abou Samra a écrit :
Le 28/11/2022 à 00:41, Koen van Walstijn a écrit :
Hi Robin,
Thanks a lot! I read over that bar lines snippet indeed.
Adding the text engraver and tweaking it a bit, I managed to print
the markup above the chord symbol, so that definitely
Le 28/11/2022 à 00:41, Koen van Walstijn a écrit :
Hi Robin,
Thanks a lot! I read over that bar lines snippet indeed.
Adding the text engraver and tweaking it a bit, I managed to print the
markup above the chord symbol, so that definitely helped me along and
it will do for the moment
Hi Robin,Thanks a lot! I read over that bar lines snippet indeed. Adding the text engraver and tweaking it a bit, I
managed to print the markup above the chord symbol, so that definitely helped me along and it will do for the
moment.After reading the documentation and Scheme source a bit more
ignored by the ChordNames context.
ChordNames ignores BarLines too.
But you probably didn't realize the implications of the snippet
'Adding bar lines to ChordNames context' at
https://lilypond.org/doc/v2.22/Documentation/notation/displaying-chords#customizing-chord-names
It uses \consists to add
Hello,I got started with LilyPond a week ago to write some arrangements for a small group, in the context of improvised music. (I'm really enjoying the program, it's very
intuitive and the output looks great!)I have a question about customizing chord names. From manuals/snippets/etc I learned
Le 20/11/2022 à 17:30, Volodymyr Prokopyuk a écrit :
However, less verbose scripting could be a huge plus to LilyPond.
Well, LilyPond has convenient syntax for most "scripting" use cases.
It's just that defining custom chord modifiers is pretty unusual, so
it doesn't benefit fro
seventh c:m7.5- from Cøto Cø7for all half-diminished seventh chords?
> >
>
>
>
>
> You don't need to do anything special. The exceptions
> defined with chordNameExceptions are given for one
> "example" tonality, but they work for any transposition
> of the
seventh c:m7.5- from Cøto Cø7for all half-diminished seventh chords?
You don't need to do anything special. The exceptions
defined with chordNameExceptions are given for one
"example" tonality, but they work for any transposition
of the chord.
* How can I define an alias for
Hello,
I have few questions about the \chordmode
*Questions*
- How can I change the name for the c:aug7 from C7#5 to Co7 for all
augmented seventh chords, not only for specific pitches in the
chordNameExceptions list?
- Similarly, how can I change the name for the half-diminished
Yes! Thanks Jean, I don't know why I didn't see this myself.
Cheers!
L
On Thu, 17 Nov 2022, 00:27 Jean Abou Samra, wrote:
> Le 16/11/2022 à 23:44, Luca Fascione a écrit :
> > Hi all,
> > is there a way to run the chord naming logic from two voices (in my
> > case bass an
Le 16/11/2022 à 23:44, Luca Fascione a écrit :
Hi all,
is there a way to run the chord naming logic from two voices (in my
case bass and guitar comping part) together?
I have written-out guitar parts with rootless chords, and the roots
are in the double bass parts, and was hoping I could
Hi all,
is there a way to run the chord naming logic from two voices (in my case
bass and guitar comping part) together?
I have written-out guitar parts with rootless chords, and the roots are in
the double bass parts, and was hoping I could quickly recover a starting
point of a progression from
On Wed, Nov 9, 2022 at 12:03 AM Jean Abou Samra wrote:
>
> Le 09/11/2022 à 01:13, Knute Snortum a écrit :
> > Thank you for that, and for the URL to the documentation.
> >
> > I have one more question (for you or anyone): in my example if you
> > remove the markup, the change clef is placed
Le 09/11/2022 à 01:13, Knute Snortum a écrit :
Thank you for that, and for the URL to the documentation.
I have one more question (for you or anyone): in my example if you
remove the markup, the change clef is placed horizontally correctly.
Is this a bug, or is something else going on that I
On Tue, Nov 8, 2022 at 2:42 PM Jean Abou Samra wrote:
>
> extra-offset is only a last resort though, for all the reasons listed at
> https://lilypond.org/doc/v2.22/Documentation/learning/moving-objects.html
>
> Instead, how about:
>
> \version "2.23.80"
>
> rightHand = { \repeat unfold 16 { c'16
Le 08/11/2022 à 16:30, Knute Snortum a écrit :
On Tue, Nov 8, 2022 at 5:30 AM Paolo Cantamessa
wrote:
Hi Knute,
this in my environment works:
rightHand = { \repeat unfold 16 { c'16 } }
leftHand = \relative {
% Remove the markup and all is well
\clef bass g,8\noBeam^\markup \large
On Tue, Nov 8, 2022 at 5:30 AM Paolo Cantamessa
wrote:
>
> Hi Knute,
> this in my environment works:
> rightHand = { \repeat unfold 16 { c'16 } }
>
> leftHand = \relative {
> % Remove the markup and all is well
> \clef bass g,8\noBeam^\markup \large \italic "leggierissimo"
> \once
Hi everyone.
I'm stuck on trying to move a change clef grob horizontally. I have a
piece where the change clef is too close to the chord that comes after
it. I've attached a small source file that demonstrates the problem.
If the markup is removed in the source file, the problem goes away.
I
From: Werner LEMBERG
Actually, it is a standard thing, at least in piano music. Attached
is an example from Schumann's 'Humoreske' (Henle Urtext).
I've also seen it in twentieth-century piano music. But it is not mentioned in
any of Ross, Read, Stone, or Gould - so I guess it's
Hi all,
>> I am pretty sure this is not a standard thing.
> Actually, it is a standard thing, at least in piano music. Attached
> is an example from Schumann's 'Humoreske' (Henle Urtext).
Fascinating! In 40+ years of playing piano — including a Bachelor's degree in
piano performance, and lots
,
> >> or because you want to use it even though it's nonstandard?
> > Yes, the attachment that I included in my original email was a snippet
> > from an actual printed score. I can certainly imagine that just the C
> > from the chord wants additional emphasis over th
rinted score. I can certainly imagine that just the C
from the chord wants additional emphasis over the rest of the chord.
Andy
> On 24 Sep 2022, at 22:35, Werner LEMBERG wrote:
>
>>> Has anyone come across notation where only a single note in the chord
>>> has an accent?
>>
>> I am pretty sure this is not a standard thing.
>
> Actually, it is a standard thing, at least in p
original email was a snippet
from an actual printed score. I can certainly imagine that just the C
from the chord wants additional emphasis over the rest of the chord.
OK, I didn't know this notation at all.
Here's how I'd do it:
\version "2.22.2"
leftAccent =
\tweak side-axis #X
Le 24/09/2022 à 21:32, Andy Bradford a écrit :
Hello,
Has anyone come across notation where only a single note in the chord
has an accent?
I had hoped that it might just work by placing the accent within the
chord, but alas it did not:
\version "2.18.2"
\relative {
Hello,
Has anyone come across notation where only a single note in the chord
has an accent?
I had hoped that it might just work by placing the accent within the
chord, but alas it did not:
\version "2.18.2"
\relative {
4 e-5>
}
See attached.
Thanks,
Andy
>
> Stan,
>
> Here is one way to do it.
>
>
> \version "2.22.2"
>
> % Define your chord usage
> % Here, I am interpreting the "sus 4/2", which is an unusual symbol, as
> replacing the 3rd in a major chord with both the 2nd and 4th
From: Stan Sanderson
> To: LilyPond Users
> Cc:
> Bcc:
> Date: Sun, 4 Sep 2022 17:02:36 -0500
> Subject: custom chord
> (Using LP 2.23.12)
> This has me flummoxed- I’m trying to reproduce a score for my own use. I
> have run out of ideas about reproducing the (unusual) c
png file that did not print the
> correct chord name. .
>
> ...
> the output png screen print:
> [image: image.png]
> I am expecting to seeA C#m F#m D C#m Bm
> Any help is appreciated.
> ming (lyndon) tsang
>
>
> That would be known issue
> https:/
> On 7 Sep 2022, at 05:32, ming tsang wrote:
>
>
> The following code produces a png file that did not print the correct chord
> name. .
>
> ...
> the output png screen print:
>
> I am expecting to seeA C#m F#m D C#m Bm
> Any help is a
The following code produces a png file that did not print the correct chord
name. .
\version "2.23.11"
\language "italiano"
global = {
\key do \major
\numericTimeSignature
\time 4/4
}
chordNames = \chordmode {
\global
% Chords follow here.
la1 dod1:m f
(Using LP 2.23.12)
This has me flummoxed- I’m trying to reproduce a score for my own use. I have
run out of ideas about reproducing the (unusual) chord name- the “4 over 2”
part in particular. I’ve included a screen shot.
I assume a markup column with 4 over 2, squeezed together, is part
in green, but if I try this, I
get syntax errors about an unexpected \override:
\override NoteHead.color = SeaGreen
\override Stem.color = SeaGreen
g'
\revert NoteHead.color
\revert Stem.color
Single notes in a chord can be influenced using \tweak's instead of
\override's. Tweaks can be
em.color
>
> What am I doing wrong?
>
> Thanks,
> Felix
I think what you need is "\single" for the override of the notehead in
the chord, but if you want that stem colored green, you should
\override the whole chord.
%%%
\version "2.22.2"
\language "englis
I have a basic staff defined like so:
\version "2.22.2"
\language "english"
\new Staff {
\key c \major
\clef treble
\numericTimeSignature
<
f'
g'
d'
>1
\bar "|."
}
I want to make the g' note head colored in green, but if I try this, I get
syntax errors about an unexpected \override:
\override
On Wed, Jul 20, 2022 at 6:06 AM Thomas Morley wrote:
> You could do
>
> \relative a,, {
> \clef bass
> \time 6/8
>
> 4.(~
>
> \once \override TieColumn.tie-configuration = #'((-1 . 1)(-10 . -1))
>
> q8 ) |
> }
>
> Also, see NR about TieColumn.tie-configuration
Thank you, Harm.
Am Mi., 20. Juli 2022 um 02:17 Uhr schrieb Knute Snortum :
>
> I'm trying to adjust the Y position of a tie in a chord, but I'm
> having trouble. What works for a single tie doesn't seem to work for
> a chord:
>
> %%%
> \version "2.22.2"
>
> moveTie = {
>
Of Knute Snortum
Sent: Tuesday, July 19, 2022 5:17 PM
To: lilypond-user@gnu.org
Subject: Moving a tie in a chord
I'm trying to adjust the Y position of a tie in a chord, but I'm having
trouble. What works for a single tie doesn't seem to work for a chord:
%%%
\version "2.22.2"
mov
I'm trying to adjust the Y position of a tie in a chord, but I'm
having trouble. What works for a single tie doesn't seem to work for
a chord:
%%%
\version "2.22.2"
moveTie = {
\once \override Tie.staff-position = -5
\once \override Tie.direction = #DOWN
}
\relative a,, {
like to have a grace note arpeggio where each note is
tied to the chord that follows:
\grace{g16~ c~ e~}4
I only get the tie between the e's, not the other notes.
This is similar to a rolled chord, but I want it more articulated, hence
the grace notes. regards, Jim
Before searching
Le 17/07/2022 à 20:00, Jim Cline a écrit :
Hello, sorry if I missed it, but I did not find it by searching the
archives. I would like to have a grace note arpeggio where each note
is tied to the chord that follows:
\grace{g16~ c~ e~}4
I only get the tie between the e's, not the other
Hello, sorry if I missed it, but I did not find it by searching the
archives. I would like to have a grace note arpeggio where each note is
tied to the chord that follows:
\grace{g16~ c~ e~}4
I only get the tie between the e's, not the other notes.
This is similar to a rolled chord, but I
> >> a Chopin piece and unlike e.g. Bach, two voices often are expressed
> >> like a chord. I wanted to avoid going back and forth between one
> >> voice and two voices too often.
> >> I guess it is possible to just use a chord in this case. I'll try to
> &g
are expressed
like a chord. I wanted to avoid going back and forth between one
voice and two voices too often.
I guess it is possible to just use a chord in this case. I'll try to
think about other work-arounds. However, I think an ideal behavior
would still be to automatically rearrange the note head
Le 24/05/2022 à 13:36, Soo Lee a écrit :
I isolated these notes to create a tiny example, but the context
suggests that it makes more sense to view them as two voices. This is
a Chopin piece and unlike e.g. Bach, two voices often are expressed
like a chord. I wanted to avoid going back
I isolated these notes to create a tiny example, but the context suggests
that it makes more sense to view them as two voices. This is a Chopin piece
and unlike e.g. Bach, two voices often are expressed like a chord. I
wanted to avoid going back and forth between one voice and two voices too
often
Le 22/05/2022 à 12:33, Soo Lee a écrit :
\new Staff
<<
\new Voice = "first"
{ \voiceOne g'4 }
\new Voice= "second"
{ \voiceTwo \stemUp f'4 }
>>
This example shows G and F note heads are drawn in an overlapping way.
I did not want to use a chord but wanted them to
\new Staff<<\new Voice = "first" { \voiceOne g'4 }\new Voice=
"second" { \voiceTwo \stemUp f'4 }>>
This example shows G and F note heads are drawn in an overlapping way.
I did not want to use a chord but wanted them to be merged to look
like a chord. Is there
Carl, thanks for your verbose explanation. This helps understanding
Lilypond "under the hood" more and more!
Stephan
Am 17.05.2022 um 21:58 schrieb Carl Sorensen:
On Tue, May 17, 2022 at 1:26 PM Stephan Schöll wrote:
Hi all
My impression that the mailing list has long delays
Le 17/05/2022 à 21:26, Stephan Schöll a écrit :
My impression that the mailing list has long delays somewhere seems to
be confirmed... When I post to the mailinglist I don't get my own post
in my inbox for a long time (an hour or so) I will keep an eye on
that. Maybe it's on my side.
Le 13/05/2022 à 00:29, Owen Lamb a écrit :
Hi all,
I'm engraving the following:
<<
{
\time 12/8
g'4. ~ 8 f' e'
}
\\
2.
>>
In order to keep the top dot and tie from colliding, I'd like the dots
associated with the second voice to be placed on the left of the
dotted quarter
On Tue, May 17, 2022 at 1:26 PM Stephan Schöll wrote:
> Hi all
>
> My impression that the mailing list has long delays somewhere seems to be
> confirmed... When I post to the mailinglist I don't get my own post in my
> inbox for a long time (an hour or so) I will keep an eye on that. Maybe
>
,
how can I change the rest symbol in chord mode from "N.C." to e.g.
"–"?
\set noChordMarkup = "–"
https://lilypond.org/doc/v2.22/Documentation/notation/displaying-chords#printing-chord-names
Carl
Lukas-Fabian Moser writes:
> Hi David,
>
>> Why would you want to place it at ChordNames level? That would cause
>> trouble without end.
>>
>> Override and revert the setting at ChordNames level, and it is broken.
>> Override the setting at Score or StaffGroup level, and it has no effect.
>
>
Hi David,
Why would you want to place it at ChordNames level? That would cause
trouble without end.
Override and revert the setting at ChordNames level, and it is broken.
Override the setting at Score or StaffGroup level, and it has no effect.
*facepalm*
Thanks for explaining this.
Maybe
Le 17/05/2022 à 12:39, Henning Hraban Ramm a écrit :
Hi Ponders,
how can I change the rest symbol in chord mode from "N.C." to e.g. "–"?
Hi,
I just put an improvement for the documentation example in an otherwise
semi-related contribution:
https://gitlab.c
Lukas-Fabian Moser writes:
> Hi Hraban,
>
> Am 17.05.22 um 12:39 schrieb Henning Hraban Ramm:
>> how can I change the rest symbol in chord mode from "N.C." to e.g. "–"?
>
> \set noChordSymbol = –
>
> You can give any string or (more generally) m
Hi Hraban,
Am 17.05.22 um 12:39 schrieb Henning Hraban Ramm:
how can I change the rest symbol in chord mode from "N.C." to e.g. "–"?
\set noChordSymbol = –
You can give any string or (more generally) markup; in recent versions,
no quotation marks are needed.
I
ce!"
\chordNames
}
{
\chordNames
}
>>
Am 17.05.2022 um 14:12 schrieb Stephan Schöll:
With
\set noChordSymbol = "???"
you may replace the "N.C." string with whatever string/text you like,
even with an empty string which means that nothing will b
dSymbol = "???"
you may replace the "N.C." string with whatever string/text you like,
even with an empty string which means that nothing will be displayed
during chord rests.
see also LilyPond Notation Reference: 2.7.2 Displaying chords
<https://lilypond.org/doc/v2.22/Docu
With
\set noChordSymbol = "???"
you may replace the "N.C." string with whatever string/text you like,
even with an empty string which means that nothing will be displayed
during chord rests.
see also LilyPond Notation Reference: 2.7.2 Displaying chords
<https:/
Am 17.05.22 um 13:05 schrieb Carl Sorensen:
On Tuesday, May 17, 2022, Henning Hraban Ramm <mailto:lilypon...@fiee.net>> wrote:
Hi Ponders,
how can I change the rest symbol in chord mode from "N.C." to e.g. "–"?
\set noChordMarkup = "–"
https
On Tuesday, May 17, 2022, Henning Hraban Ramm wrote:
> Hi Ponders,
>
> how can I change the rest symbol in chord mode from "N.C." to e.g. "–"?
\set noChordMarkup = "–"
https://lilypond.org/doc/v2.22/Documentation/notation/displaying-chords#printing-chord-names
Carl
Hi Ponders,
how can I change the rest symbol in chord mode from "N.C." to e.g. "–"?
Thanks in advance!
Hraban
Hi all,
I'm engraving the following:
<<
{
\time 12/8
g'4. ~ 8 f' e'
}
\\
2.
>>
In order to keep the top dot and tie from colliding, I'd like the dots
associated with the second voice to be placed on the left of the dotted
quarter notehead. How can this be done?
N.B. My goal
le?
Thanks again.
G.
-- Forwarded message -
От: Gdaliy Garmiza
Date: вт, 3 мая 2022 г. в 14:41
Subject: Re: Layout issues in the jazz chord chart
To:
Hello, Jacques.
Thank you very much for your beautiful example, but it is completely
different from mine, since I've got the chord chart with
Hello, Jacques.
Thank you very much for your beautiful example, but it is completely
different from mine, since I've got the chord chart without any
notes/staves. And the requirements to the layout are different.
Unfortunately, this doesn't help me to solve my problem with bar lines and
bar
От: Gdaliy Garmiza <gda...@gmail.com>Date: вт, 3 мая 2022 г. в 01:47Subject: Re: Layout issues in the jazz chord chartTo: <lilypond-user@gnu.org>Sorry, here is the link to the files:https://drive.google.com/drive/folders/100IltqniC0fSsmcWvhIdPqTqVBurgAfY?usp=sharingвт, 3 мая 2022
I have found the answer to my third question:
\markup \vspace #1
I will be grateful for the help with the rest!
-- Forwarded message -
От: Gdaliy Garmiza
Date: вт, 3 мая 2022 г. в 01:47
Subject: Re: Layout issues in the jazz chord chart
To:
Sorry, here is the link
t of routine. It uses lilypond for rendering scores. I have
> recently added the export chord chart feature, and I attach an example of
> its output to this email in *.ly and in *.png. Though it doesn't look bad
> to me, I would like it to be a little closer to the similar output,
> ge
On Wed, Apr 6, 2022 at 10:15 AM Jean Abou Samra wrote:
...
> It's much simpler to put the arpeggio on the grace note and tweak its
> positions.
>
> \version "2.22.2"
>
> \relative {
>4
>\grace {
> g'8\tweak positions #'(-4 . -1.5) \tweak extra-spacing-width
> #'(-1.0 . 0) \arpeggio
Le 06/04/2022 à 17:44, Knute Snortum a écrit :
Hi everyone. I have another engraving question.
Without intervention, LilyPond puts a grace note to the left of an
arpeggio mark. I want it to the right, between the arpeggio mark and
the chord notes. Here is a snippet of the default behavior
Hi everyone. I have another engraving question.
Without intervention, LilyPond puts a grace note to the left of an
arpeggio mark. I want it to the right, between the arpeggio mark and
the chord notes. Here is a snippet of the default behavior:
%%%
\version "2.22.2"
\relative {
> *From:* Shane Brandes [mailto:shane.bran...@gmail.com]
> *Sent:* Monday, March 7, 2022 7:40 AM
> *To:* Mark Stephen Mrotek
> *Cc:* Lilypond-User Mailing List
> *Subject:* Re: slur to chord
>
>
>
> Run the code as I set it down. you should see a slur from the b to the a
on, yet it only removes the slur it does not
> reposition it.
>
>
>
> Mark
>
>
>
> *From:* Shane Brandes [mailto:shane.bran...@gmail.com]
> *Sent:* Sunday, March 6, 2022 9:46 PM
> *To:* Mark Stephen Mrotek
> *Cc:* Lilypond-User Mailing List
> *Subject:* Re: slur
Shane,
Shall inspect context. Perhaps something prior is affecting.
Thank you for your assistance.
Mark
From: Shane Brandes [mailto:shane.bran...@gmail.com]
Sent: Monday, March 7, 2022 7:40 AM
To: Mark Stephen Mrotek
Cc: Lilypond-User Mailing List
Subject: Re: slur to chord
Run
Hi Mark,
> Thank you, yet the slur still connects with the fis rather than the a.
Not here:
Perhaps there's something non-standard with your configuration?
— Kieren
: slur to chord
Hi Mark,
Maybe this?
\version "2.22.1"
\relative c' {
\slashedGrace { b'8^( } 8)
}
Hope that helps!
Kieren
Hi Mark,
Maybe this?
\version "2.22.1"
\relative c' {
\slashedGrace { b'8^( } 8)
}
Hope that helps!
Kieren
Shane,
Thank you for the suggestion, yet it only removes the slur it does not
reposition it.
Mark
From: Shane Brandes [mailto:shane.bran...@gmail.com]
Sent: Sunday, March 6, 2022 9:46 PM
To: Mark Stephen Mrotek
Cc: Lilypond-User Mailing List
Subject: Re: slur to chord
\version
\version "2.22.1"
\relative c' {
\slashedGrace b'8 ^( 8
}
On Sun, Mar 6, 2022 at 10:41 PM Mark Stephen Mrotek
wrote:
> Hello All,
>
>
>
> How do I get the slur go from the acciaccatura to the “a”?
>
>
>
> Thank you for your kind attention..
>
>
>
> \version "2.22.1"
>
>
>
> \relative c'
Hello All,
How do I get the slur go from the acciaccatura to the "a"?
Thank you for your kind attention..
\version "2.22.1"
\relative c' {
\acciaccatura b'8 8
}
Mark Stephen Mrotek
On Sat, Feb 5, 2022 at 5:00 AM Aaron Hill wrote:
>
> On 2022-02-05 2:49 am, Kevin Barry wrote:
> > Hi Achar,
> >
> >> Let me specify : in the following example V7 / IV is not associated
> >> with the Eb7 chord
> >> but with the note G. Is it possibl
On 2022-02-05 2:49 am, Kevin Barry wrote:
Hi Achar,
Let me specify : in the following example V7 / IV is not associated
with the Eb7 chord
but with the note G. Is it possible to pair it with the Eb7 chord ?
Thanks
We don't have a code example, so it's hard to answer your question
Hi Achar,
> Let me specify : in the following example V7 / IV is not associated with the
> Eb7 chord
> but with the note G. Is it possible to pair it with the Eb7 chord ? Thanks
We don't have a code example, so it's hard to answer your question. At
a guess, it looks like you're attachi
On Fri, Feb 4, 2022 at 11:42 AM achar wrote:
>
> Thank you for the reply.
> Let me specify : in the following example V7 / IV is not associated with the
> Eb7 chord
> but with the note G. Is it possible to pair it with the Eb7 chord ? Thanks
I'm really going to need a tiny ex
Thank you for the reply. Let me specify : in the following example V7 /
IV is not associated with the Eb7 chord but with the note G. Is it
possible to pair it with the Eb7 chord ? Thanks
Le 04/02/2022 à 17:19, Knute Snortum a écrit :
On Fri, Feb 4, 2022 at 7:57 AM achar wrote:
Hello
On Fri, Feb 4, 2022 at 7:57 AM achar wrote:
>
> Hello everyone.
> When performing a harmonic analysis of a jazz standard,
> I would like to associate each chord with its Roman numeral equivalent.
> However, this is not possible in all cases because, for example,
> if a measur
Hello everyone. When performing a harmonic analysis of a jazz standard,
I would like to associate each chord with its Roman numeral equivalent.
However, this is not possible in all cases because, for example, if a
measure contains a whole note and there is a chord change on the 3rd
beat, I
On 2022-01-11 12:21 pm, Flaming Hakama by Elaine wrote:
% I am not sure why this one does not work
-\markup { \super "o7(△7)" }
Wrong octave for the C flat. Use .
-- Aaron Hill
>
>
> -- Forwarded message --
> From: Andrew Zah
> To: lilypond-user@gnu.org
> Cc:
> Bcc:
> Date: Mon, 10 Jan 2022 18:34:03 -0500
> Subject: How to input a diminished7 (maj7) chord?
> Hi,
>
> I'm trying to input a Bbdim7(maj7) chord. See the at
On Mon, Jan 10, 2022 at 4:39 PM Knute Snortum wrote:
>
> On Mon, Jan 10, 2022 at 4:08 PM Andrew Zah wrote:
> >
> > Hi,
> >
> > I'm trying to input a Bbdim7(maj7) chord.
>
> Would this work?
>
> bes2:dim7.8-
Or maybe:
bes2:3-.5-.6.7+
--
Knute Snortum
On Mon, Jan 10, 2022 at 4:08 PM Andrew Zah wrote:
>
> Hi,
>
> I'm trying to input a Bbdim7(maj7) chord.
Would this work?
bes2:dim7.8-
--
Knute Snortum
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