Lukas,
Aaaah, that makes sense. As a classical stiff I just assumed that
suspensions resolve downwards by default, so the 2 was in fact a suspended
tonic, not a suspended third. And since the minor third is already present
in the chord I'm dealing with, I think I'll just change it to Gm add9.
Tha
Brent Annable wrote:
Hi all,
I'm currently adding chords to some music, and I can't seem to find
anywhere how to create a "Gmsus2" chord name.
[..]
I feel like I'm just missing something, is there an easy way to display
this chord type?
See the discussion here:
https://lists.gnu.org/arc
Hi Brent,
I'm currently adding chords to some music, and I can't seem to find
anywhere how to create a "Gmsus2" chord name. When I type "g:msus2"
lilypond freaks out, and as far as I can tell, this particular
combination of a minor chord with an added suspension never appears in
the documenta
Hi all,
I'm currently adding chords to some music, and I can't seem to find
anywhere how to create a "Gmsus2" chord name. When I type "g:msus2"
lilypond freaks out, and as far as I can tell, this particular combination
of a minor chord with an added suspension never appears in the
documentation (a
Jacques Menu Muzhic writes:
>> Le 17 août 2016 à 21:26, David Kastrup a écrit:
>>
>> Johan Vromans writes:
>>
>>> David Kastrup wrote:
>>>
... the change to let
c:5 exclude the third was introduced as late as version 2.19.28).
>>>
>>> Does that mean that there are no (regression)
BTW, how are such regression tests devised and organized?
JM
> Le 17 août 2016 à 21:26, David Kastrup a écrit :
>
> Johan Vromans writes:
>
>> David Kastrup wrote:
>>
>>> ... the change to let
>>> c:5 exclude the third was introduced as late as version 2.19.28).
>>
>> Does that mean that t
Johan Vromans writes:
> David Kastrup wrote:
>
>> ... the change to let
>> c:5 exclude the third was introduced as late as version 2.19.28).
>
> Does that mean that there are no (regression)tests for musicxml2ly?
Probably not enough.
--
David Kastrup
_
David Kastrup wrote:
> ... the change to let
> c:5 exclude the third was introduced as late as version 2.19.28).
Does that mean that there are no (regression)tests for musicxml2ly?
___
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lilypond-user@gnu.org
https://lists.gnu
On Wed, 17 Aug 2016 14:15:02 +0200
David Kastrup wrote:
> Well, musicxml2ly.py presumably also generates a \version header, and
> running convert-ly on the resulting file possibly fixes a number of
> those problems (even though it complicates the rules, the change to let
> c:5 exclude the third w
Johan Vromans writes:
> Johan Vromans wrote:
>
>> is translated into
>>
>> d:m5
>>
>> and apparently not understood -- lilypond renders it as a major D chord
>> without warning.
>
> The code in musicxml2ly.py does, indeed, generate :m5 for minor.
>
> Surprisingly, the NR, A.2 Common chord mo
Johan Vromans wrote:
> is translated into
>
> d:m5
>
> and apparently not understood -- lilypond renders it as a major D chord
> without warning.
The code in musicxml2ly.py does, indeed, generate :m5 for minor.
Surprisingly, the NR, A.2 Common chord modifiers, reads:
Major Major third,
Hi,
In the attached XML, the minor D chord
D
minor
is translated into
d:m5
and apparently not understood -- lilypond renders it as a major D chord
without warning.
Dm(maj7) becomes d:maj7m5.
A similar thing happens to half-diminished chords
On Sun, 16 Mar 2014 22:03:49 -0400
Kieren MacMillan wrote:
> Hi Simon (et al.),
>
> > I think this is one of the few questions where it’s really
> > difficult to establish a standard.
>
> Agreed.
> It’s the one big disappointment that I have in Gould’s
> engraving book: she doesn’t even address
Am 22.03.2014 11:01, schrieb Anthony:
Well, I've put in a fair bit of time and effort over the years. The
problem, as always, is finding time to play, and also remembering what
worked last time :-) Many moons ago, I proofread the entire main
manual about three times! I've dug into the code and
- Original Message -
From: "Anthony Youngman"
To: "Kieren MacMillan" ;
Sent: Saturday, March 22, 2014 1:45 AM
Subject: Re: minor chords (and a possible transition to a new topic)
Oh - and sorry Phil, "page-count = 1" didn't work. Although ii
On 22/03/2014 07:50, Simon Albrecht wrote:
Am 22.03.2014 02:45, schrieb Anthony Youngman:
And I don't tend to dig deep into all the "esoteric" settings - there
are so many of them that I don't understand, that I tend to shy away
from them. I shouldn't, but I'd rather just use standard bells an
Am 22.03.2014 02:45, schrieb Anthony Youngman:
And I don't tend to dig deep into all the "esoteric" settings - there
are so many of them that I don't understand, that I tend to shy away
from them. I shouldn't, but I'd rather just use standard bells and
whistles - when I need to use all sorts of
Hi Wol,
>> \override Score.NonMusicalPaperColumn.line-break-permission = ##f
> m not met that.
>
> My first reaction though, is why would what appears to be a line-break
> setting affect the number of pages?
Sorry — should have been
\override Score.NonMusicalPaperColumn.page-break-perm
On 19/03/14 18:13, Kieren MacMillan wrote:
>> there is no setting that says "force everything onto one page, beauty be
>> damned"
>
> Does
>
> \override Score.NonMusicalPaperColumn.line-break-permission = ##f
>
> not work for you?
>
> Cheers, Kieren.
m not met that.
My first reactio
> there is no setting that says "force everything onto one page, beauty be
> damned"
Does
\override Score.NonMusicalPaperColumn.line-break-permission = ##f
not work for you?
Cheers, Kieren. ___
lilypond-user mai
- Original Message -
From: "Anthony"
To:
Sent: Tuesday, March 18, 2014 5:34 PM
Subject: Re: minor chords (and a possible transition to a new topic)
On 17/03/2014 10:40, Robert Schmaus wrote:
But there's another thing that surprises me in this discussion: I alway
On 17/03/2014 10:40, Robert Schmaus wrote:
But there's another thing that surprises me in this discussion: I always thought that
Lilypond is mainly being used and intended for "classical" (exact) music.
I think it's always been intended to produce "beautiful music for any
usage requirement". Th
Robert Schmaus writes:
> Oh, I'm sorry. I was looking into the problem some months ago and
> found a email correspondence between David kastrup and others about
> the removal of the "accepts" technique. I have never seen that it was
> later replaced by this new command.
There is no new command.
Oh, I'm sorry. I was looking into the problem some months ago and found a email
correspondence between David kastrup and others about the removal of the
"accepts" technique. I have never seen that it was later replaced by this new
command.
My apologies!
Also for sending an accidental reply ju
Robert Schmaus writes:
> -
> Von meinem Fliewatüüt gesendet.
[full-quote without content elided]
I think Jazz musicians really should get off the habit of only writing -
when it would be so much easier to get their meaning if they were just a
bit more verbose.
--
David Kastrup
__
-
Von meinem Fliewatüüt gesendet.
> On 17 Mar 2014, at 11:57, David Kastrup wrote:
>
> Robert Schmaus writes:
>
>> So, again, it boils down to whatever works. There's no standard to
>> this, and frankly, I've never experienced that as a problem. Jazz
>> music is improvised music, and I don't
Robert Schmaus writes:
> So, again, it boils down to whatever works. There's no standard to
> this, and frankly, I've never experienced that as a problem. Jazz
> music is improvised music, and I don't know a jazz musician who has
> problems "improvising" here as well. Everyone has different
> pre
So, again, it boils down to whatever works. There's no standard to this, and
frankly, I've never experienced that as a problem. Jazz music is improvised
music, and I don't know a jazz musician who has problems "improvising" here as
well. Everyone has different preferences, sure, but problems rea
Am 17.03.2014 01:45, schrieb Jim Long:
I understand the Cmi7, too, but when sketching
some chords on paper during a Jazz session, a simple "-" is
way faster to write than "mi" all the way.
So it's rather a matter of personal taste IMHO.
Just my 2 cents
Marc
With great respect, I beg to add,
Jim Long writes:
> Beware of "shortcuts" which are for the benefit of the writer.
> IMO, engraving decisions should be made for the benefit of the
> reader.
To some degree, we can separate those with LilyPond, but there is
something to be said for human-readable source code as well.
--
David K
Kieren MacMillan writes:
> Hi Simon (et al.),
>
>> I think this is one of the few questions where it’s really difficult
>> to establish a standard.
>
> Agreed.
> It’s the one big disappointment that I have in Gould’s engraving book:
> she doesn’t even address the subject at all!!
>
>> Plus: there
Hi Jim (et al.),
> engraving decisions should be made for the benefit of the reader.
+1
Kieren.
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Hi Simon (et al.),
> I think this is one of the few questions where it’s really difficult to
> establish a standard.
Agreed.
It’s the one big disappointment that I have in Gould’s engraving book: she
doesn’t even address the subject at all!!
> Plus: there’s still some leap between the lilypond
> I understand the Cmi7, too, but when sketching
> some chords on paper during a Jazz session, a simple "-" is
> way faster to write than "mi" all the way.
>
> So it's rather a matter of personal taste IMHO.
>
> Just my 2 cents
>
> Marc
With great respect, I beg to add,
Beware of "shortcuts" w
Am 17.03.2014 00:15, schrieb Kieren MacMillan:
Hi Simon,
I’m under the impression that this debate is very old, widespread and unlikely
to end in onemindedness
True.
so it’s just advisable to provide different options, which will let everyone
have his will
That doesn’t logically follow!
Hi Simon,
> I’m under the impression that this debate is very old, widespread and
> unlikely to end in onemindedness
True.
> so it’s just advisable to provide different options, which will let everyone
> have his will
That doesn’t logically follow! :)
Well-considered and concensus- (if not t
Am 16.03.2014 17:52, schrieb Kieren MacMillan:
Hi,
I wonder why the notation of minor as lowercase seems to be only known in
German folk circles …
It’s known here, too — at least in my circles — but avoided, mostly because at
a glance it can be hard to tell c from C. =)
As in all notation,
Henning Hraban Ramm writes:
> I wonder why the notation of minor as lowercase seems to be only known
> in German folk circles ...
> (I’m glad I could nag some of you long enough to make it possible in
> LilyPond.)
Well, it's usefulness is limited as soon as you count the accordion as a
folk ins
Hi,
> I wonder why the notation of minor as lowercase seems to be only known in
> German folk circles …
It’s known here, too — at least in my circles — but avoided, mostly because at
a glance it can be hard to tell c from C. =)
As in all notation, ambiguity is to be avoided at all costs.
Chee
I wonder why the notation of minor as lowercase seems to be only known in
German folk circles ...
(I’m glad I could nag some of you long enough to make it possible in LilyPond.)
Greetlings, Hraban
---
fiëé visuëlle
Henning Hraban Ramm
http://www.fiee.net
http://angerweit.tikon.ch/lieder/
https://
Hi all,
> Personally, I use "-" for minor chords, and add a superscript triangle-7
I find the triangle to be less well-known in the circles in which I travel —
mostly music theatre, but also some jazzers (n.b., most, of course, are
familiar with the triangle notation).
The best
On Sat, 15 Mar 2014, David Raleigh Arnold wrote:
Minus for minor is a horrible idea. It's also old fashioned
and abandoned even by the "Real Book".
What do you mean by "the" Real Book? I have a copy of the original Real
Book. It uses the "-" for minor. I tried to exactly recreate an old Rea
Am 16.03.2014 04:36, schrieb David Raleigh Arnold:
On Fri, 14 Mar 2014 17:19:28 +0100 (CET)
Martin Tarenskeen wrote:
Hi,
[...]
Minus for minor is a horrible idea. It's also old fashioned
and abandoned even by the "Real Book".
I don't want to start a philosophical discussion about pros
an
gle. I have found
> in the manual how to do that.
>
> I also want to use a minus sign for minor chords. e.g. "C-"
> instead of "Cm". How can I achieve that?
>
Minus for minor is a horrible idea. It's also old fashioned
and abandoned even by the "Rea
On Fri, 14 Mar 2014, Adam Spiers wrote:
Luckily for you, I implemented that option in LilyPond a while ago :)
\chordmode {
\set minorChordModifier = \markup { "-" }
...
Thanks! I was searching an older manual.
--
MT
___
lilypond
On 14 March 2014 16:19, Martin Tarenskeen wrote:
> I also want to use a minus sign for minor chords. e.g. "C-" instead of "Cm".
> How can I achieve that?
Luckily for you, I implemented that option in LilyPond a while ago :)
\chordmode {
\set mi
Hi,
I am working on a leadsheet (melody and chords) which is a job I don't do
very often. I want to print maj7 chordnames using "maj7" or "Maj7" instead
of the default triangle. I have found in the manual how to do that.
I also want to use a minus sign for minor cho
Thibaut Chevalier wrote:
> However, i had to write this complicated markup to obtain a correct "7 /
> b5"
> for semi-diminished chords (instead of the dashed circle).
>
> -\markup { "-" \super {7/ \hspace #0.2 \teeny {\raise
> #0.3 \flat} 5} }% C dashed circle -> C-7/5b
>
> It seems that
Thibaut Chevalier wrote:
Thanks, it works great !
I personnally prefer the minus sign which is a little shorter.
However, i had to write this complicated markup to obtain a correct "7
/ b5" for semi-diminished chords (instead of the dashed circle).
-\markup { "-" \super {7/ \hspace #0.2 \
Thanks, it works great !
I personnally prefer the minus sign which is a little shorter.
However, i had to write this complicated markup to obtain a correct "7 / b5" for semi-diminished chords (instead of the dashed circle).
- \markup { "-" \super {7/ \hspace #0.2 \teeny
{\raise #0.3 \flat} 5}
I use the same system as Shamus, but I use the dash simbol instad the
minus symbol, because I find it to be a bit more polite. So I have then:
jazzyChordsMusic =
{
1-\markup {#(ly:export (ly:wide-char->utf-8 #x2013))} % Cm -> C-
% and so on...
}
I have jazzyChordsMusic and jazzyChordsAdd i
Hi!
> Is there a way to get a dash (-) instead of m for minor chords in chordmode
> notation ?
>
> Thanks for any bright solution
I don't know if it's bright or not, but short of going into the
appropriate .scm file and changing the "m" there to
Hi there,Is there a way to get a dash (-) instead of m for minor chords in chordmode notation ?I found there is a special property to change the maj7 triangle to whatever we want, but is there nothing for the 'm' ?
The dash is widely used, in jazz at least, that's too bad if it it
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