>
> On Friday 23 January 2009, Carl D. Sorensen wrote:
> > We currently have issues with the chord naming functions of LilyPond.
> If we
> > pass a \chordmode chord to the the ChordNames construct, we very
> seldom get
> > out what we put in (i.e. c:maj13 will give Cmaj7/9/add13). This is
> because
> > we currently try to do the chord naming algorithmically.
> >
> > I'd like to add a feature similar to the predefinedFretDiagrams
> feature. It
> > would be a simple means of modifying the chodNameExceptions data
> structure
> > (or perhaps a replacement of that structure) so that you could define
> a
> > chord name by giving a \chordmode chord specifier. Then, I'd have an
> init
> > file that would initialize all the chords specified in Dolmetsch
> online
> > <http://www.dolmetsch.com/musictheory16.htm> and
> > <http://www.dolmetsch.com/musictheory17.htm>.
>
> Unfortunately, the chord names in this otherwise excellent theary series
> are terrible. For example, and this is only one, the idea that Cmi7 and
> Cma7 is an improvement over Cm7 and Cmaj7 is ill considered, since
> quick recognition is the only rational criterion.
I think that you misunderstood my proposal. I was not proposing to use
names like Cmi7 and Cma7. I was only referring to the chords that were
included in the series, not the chord names. I completely agree with you
about the notation in Dolmetsch.
As for me, I would personally never use circles, or circles with slashes, or
pluses, or triangles. I always use dim, aug, maj7, etc. But I understand
that that there are others who want those symbols. SO I think LilyPond
should provide them.
>
> Any chord may be specified using that system. It requires only the
> sharp and flat and the slash for bass notes, and occasionally
> parentheses, as in F(#9) and F#9. It has become customary recently
> to write the slash bass notes in lower case. This usage seems to have
> suddenly sprung up from many sources (myself included) just as slash
> chords themselves suddenly appeared back in the 60's.
>
I'm most familiar with the system you describe, but I don't know af a
reference that describes the system. Can you point me to a reference.
> I suppose that Dr. Blood's list of chords is reasonably complete. I gave
> up on lilypond's chords when I was unable to write an F#9(b5)/a#. (On
> guitar 6x4554.) It's easier to enter chords as text attached to silent
> rests. Far easier.
>
If this system works the way I want it to, you'll be able to enter
fis:9.5-/ais and get out the chord name F#9(b5)/a#. And if you run it
through a \transpose fis g{}, you'll get out G9(b5)/b.
I don't know if I'll be able to get this to work or not, but I think I can,
and I think it's feasible.
I'm certain I can do it for evertyhing but slash chords. I'm still thinking
about how slash chords will work.
> I was ignored before and I expect to be ignored again. Been there, no
> worries. Highest regards, daveA
>
I don't know when you were ignored before. You're not being ignored now.
Carl
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