Hi Harm, > is Joram's pdf really what Brandt&Roemer propose??
The black and green are, I believe, exactly what B&R propose. > Looking at the chord no 5 and 6 of this pdf I'd read the symbol's as > e-major with added lowered 6th and f-major with added sharpened 6th. Their system is hardly a standard. That being said, it has many attractive qualities — not the least of which is that it is far more consistent than any other I’ve ever come across. As to these particular examples… In the B&R system, all scale-degree alterations must be in parentheses; hence nobody familiar with their notation/system could possibly confuse F#6, i.e., an F# major triad with added [major] 6th degree, for F(#6), i.e., an F major triad with sharpened 6th scale degree. And that would be even before the glyph positioning, which further reduces possible ambiguity. I’m not suggesting anyone implement this system if they don’t want to. I’m simply asking for commentary on *my* Lilypond implementation of the system as defined by B&R. I’m hoping the example file, once it’s finished and properly vetted by the Pond, will form the basis of any number of chord name exception files (including, hopefully, one which is more standard than either B&R or Lilypond’s Ignatzek default). Cheers, Kieren. ________________________________ Kieren MacMillan, composer ‣ website: www.kierenmacmillan.info ‣ email: i...@kierenmacmillan.info _______________________________________________ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
