On Fri, 24 May 2002, Jan Nieuwenhuizen wrote: > Joerg Anders <[EMAIL PROTECTED]> writes: > > > > Unfortunately, LilyPond > > does not take the width of the uptext into account. So > > it can happen the chords overlap. > > Too bad you haven't asked, LilyPond can do both.
I apologize for this statement. I didn't read about "\property Voice.textNonEmpty". I changed it in noteedit-2.0.1 (and in its documentation). > I'm sure it's described in the manual. ... Hmm! Somtimes such essential things are difficult to find :-( But you are right: I could ask! > If you go through TeX, you can't use the tex macro parameter character > `#'. I knew it has to do with TeX. But unfortunately, I tried '\#' ... > However, you can use $\sharp$ and $\flat$ Yes, this works. Thank you! > (how do you do flat > and natural now?). Interestingly, it does not appear! I use the KGuitar chord dialog from Mikhail Yakshin <[EMAIL PROTECTED]> as frontend. It produces '#' but no natural sign. Perhaps in a later version ...(?) > > LilyPond cannot deal with guitar chord diagrams. Actually it has a > > special feature for chord name annotation. But this is unusable > > for NoteEdit export because it tries reverse mapping from > > pitch combination to chord name. > > That's too bad. Why can't you use it, how does NoteEdit calculate > chord names? Till now I don't calculate any chord name (will be, perhaps). The user has to supply the chord names (and guitar chord diagrams). On: http://rnvs.informatik.tu-chemnitz.de/lilyexa1/lilyexa1.html there is a LilyPond example with the uptext variante. Perhaps it makes more clear the "Chords-are-characterized-by- a-set-of-pitches"- strategy cannot really help here. Note, in measure 21 the chord is attached to a rest! If you play this on guitar it makes sense to play Fm#7 at this position. And I have no set of pitches at all, only single notes. But even if I had chords: <a c e g> can be Am7 or C6. It is said it depends on bass. This is true in most cases. But in many other cases it depends on context. BTW: I think about an automatic chord recognition algorithm. I'm not quite sure whether I'll find one. But I'm convinced the chord cannot be derived only from a chord's pitch combination. Some heuristic must regard the context. And perhaps at the end it comes clear: It is impossible with some sort of user interaction.(?) -- J.Anders, Chemnitz, GERMANY ([EMAIL PROTECTED]) _______________________________________________ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
