Patrick Horgan wrote:
> I've committed to making a key for guitar tablature that will show
> little snippets of tab along with descriptions. How do I do that? Any
> pointers greatly appreciated;) I understand TAB quite well, and vocal
> music on lilypond well, as well, but well, don't understand how TAB on
> lilypond that much, and have never tried to combine text and lily.
You could use lilypond-book, which uses latex. It's a learning curve if you
have never done anything like that, though.
I attach a document that I am working on here and there that shows tabs with
text interleaved and other stuff. The Makefile shows the steps used to
produce a PDF file.
Thanks,
Marcus
\documentclass[a4paper]{article}
\usepackage{draftcopy}
\title{Guitar Tuning ``All Fourths''}
\author{Marcus Brinkmann}
\date{\today \ (Version 1.0)}
\begin{document}
\maketitle
% Kommentare
% Kadenzen
% Stuecke
% Referenz
\section{Tuning in Perfect Fourths}
The standard tuning for a six-string guitar is e'-h-g-d-A-E. The
intervals between the strings are perfect fourths except for the
interval between the second and the third string, which is a major
third. Therefore, fingering patterns that cross from the second to
the third string are different from fingering patterns that cross
other string pairs, requiring the player to memorize and practice a
huge variety of fingering patterns for chords and scales. The
advantage is that there are many simple chord patterns for 5 and
6-tone voicings involving open strings or bar chords.
Tuning your guitar in \emph{perfect fourths}, f'-c'-g-d-A-E, has the
advantage that it removes the need to learn different fingering
patterns depending on the strings used. Compared to other
equal-interval tunings (specifically perfect fifths) it has the
additional advantages of differing from the standard tuning in the two
high strings, sharing the lower four string tunings with the standard
guitar and bass tuning. Also, it does not require changing the
strings or setup of the guitar, so the same guitar can be used to play
in standard tuning and in perfect fourths. The main disadvantage
shared by all alternative tunings is that the huge literatur for
guitars in standard tuning becomes inaccessible.
Tune your guitar in standard tuning, then tune the higher two strings
up by one semitone. A chromatic electronic tuner works best. You
arrive at the tuning in perfect fourths:
\begin{lilypond}
standardTuning = #'(4 -1 -5 -10 -15 -20)
emptyStdChord = <e,\6 a,\5 d\4 g\3 b\2 e'\1>
\storePredefinedDiagram \emptyStdChord
#standardTuning
#"o;o;o;o;o;o;"
allfourthsTuning = #'(5 0 -5 -10 -15 -20)
emptyChord = <e,\6 a,\5 d\4 g\3 c'\2 f'\1>
\storePredefinedDiagram \emptyChord
#allfourthsTuning
#"o;o;o;o;o;o;"
mychordnames = \chordmode {
e1:m7.11 r1 r1 r1 d1:m7.9.11/e }
<<
\new ChordNames \mychordnames
\new FretBoards {
\set fingeringOrientations = #'(left)
\override FretBoard #'(fret-diagram-details orientation) = #'landscape
\set stringTunings = #standardTuning
% emptyStdChord
\set TabStaff.minimumFret = #0
<e, a, d g b e'>1
r1 r1 r1
\set stringTunings = #allfourthsTuning
% emptyChord
% \set TabStaff.minimumFret = #0
<e, a, d g c' f'>1
}
\new StaffGroup <<
\new Staff {
\clef "treble_8"
\set fingeringOrientations = #'(left)
% emptyStdChord
<e, a, d g b e'>1 ^\markup { Standard Tuning }
r1 r1 r1
% emptyChord
<e, a, d g c' f'>1 ^\markup { Perfect Fourths Tuning }
}
\new TabStaff
{
\set TabStaff.stringTunings = #standardTuning
% emptyStdChord
\set TabStaff.minimumFret = #0
<e, a, d g b e'>1
r1 r1 r1
\set TabStaff.stringTunings = #allfourthsTuning
% emptyChord
% \set TabStaff.minimumFret = #0
<e, a, d g c' f'>1
}
>>
>>
\end{lilypond}
\subsection{How to use this booklet}
Every example is given in standard notation with fingering and in
tabulature. Fretboard diagrams are provided where useful. In
Sect.~\ref{reference} you can find a reference table with all chords.
In the next section a road map is provided which can be used to learn
chords and voicings incrementally to build up a repertoire of jazz
standards. This may be a starting point for your own studies.
\emph{TODO:} It is planned to provide some arrangements and examples
from other styles beside jazz, for example menuetts and pop songs.
\section{Suggested Road Map for Rhythm Guitar}
This road map walks you through the most important chords and voicings
in perfect fourth tuning, demonstrating the new material with common
Jazz session tunes.
\subsection{Root Movement and Cycle of Fourths}
There are two attractive possibilities for root movement around the
circle of fourths. Both follow the same fretboard pattern, which is
shifted by one fret.
\begin{lilypond}
allfourthsTuning = #'(5 0 -5 -10 -15 -20)
mychords = {
\set fingeringOrientations = #'(left)
% Root Movement Circle of Fourths
\set TabStaff.minimumFret = #8
d g c f
\set TabStaff.minimumFret = #4
bes, es as, des
\set TabStaff.minimumFret = #0
fis, b, e, a, \bar "||"
}
<<
\new StaffGroup <<
\new Staff {
\clef "treble_8"
\mychords
}
\new TabStaff
{
\set TabStaff.stringTunings = #allfourthsTuning
\removeWithTag #'frets \mychords
}
>>
>>
\end{lilypond}
\begin{lilypond}
allfourthsTuning = #'(5 0 -5 -10 -15 -20)
mychords = {
\set fingeringOrientations = #'(left)
% Root Movement Circle of Fourths
\set TabStaff.minimumFret = #8
es as des fis
\set TabStaff.minimumFret = #5
b, e a, d
\set TabStaff.minimumFret = #0
g, c f, bes, \bar "||"
}
<<
\new StaffGroup <<
\new Staff {
\clef "treble_8"
\mychords
}
\new TabStaff
{
\set TabStaff.stringTunings = #allfourthsTuning
\removeWithTag #'frets \mychords
}
>>
>>
\end{lilypond}
As can be seen from the diagram, the root position alternates the 5th
and the 6th string, shifting by two frets every other note. In
Sect.~\ref{reference} you can find chord voicings for either of these
root positions. Typically, such a voicing will use the 2nd, 3rd and
4th strings for the notes beside the root, leading to alternating open
voicings that sound acceptable.
\subsection{I7 - IV7 - V7 - I7}
Learning the dominant seventh chords enables you to play simple blues
progressions using only two voicings for the same chord.
You can start with two voicings for the dominanth seventh chord, one
which has the root on the 6th string and one that has the root on the
5th string. This allows you to leverage the above root movement
patterns.
With these chords you can now accompany: All Blues (except ending),
Blue Monk, Freddie Freeloader, Watermelon Man.
\subsubsection{Blue Monk (Thelonius Monk)}
A simple blues progression in Bb. The turnaround (last chord) is not
played on the last chorus. For the ending, repeat the last four bars
and end on the Bb7 chord.
\begin[staffsize=14]{lilypond}
allfourthsTuning = #'(5 0 -5 -10 -15 -20)
besDomSevenA = <bes,\6 as\4 d'\3 f'\2>
\storePredefinedDiagram \besDomSevenA
#allfourthsTuning
#"6-2;x;6-3;7-4;5-1;x;"
esDomSevenB = <es\5 g\4 des'\3 es'\2>
\storePredefinedDiagram \esDomSevenB
#allfourthsTuning
#"x;6-3;5-2;6-4;3-1;x;"
fDomSevenB = <f\5 a\4 es'\3 f'\2>
\storePredefinedDiagram \fDomSevenB
#allfourthsTuning
#"x;8-3;7-2;8-4;5-1;x;"
mychordnames = \chordmode {
bes1:7 es1:7 bes1:7 r1
es1:7 r1 bes1:7 r1
f1:7 r1 bes1:7 r2. f4:7 }
mychordfrets = {
\set fingeringOrientations = #'(left)
% besDomSevenA
\set TabStaff.minimumFret = #5
<bes,-2 as-3 d'-4 f'-1>1
% esDomSevenA
\set TabStaff.minimumFret = #3
<es-3 g-2 des'-4 es'-1>1
% besDomSevenA
\set TabStaff.minimumFret = #5
<bes,-2 as-3 d'-4 f'-1>1
r1
% esDomSevenA
\set TabStaff.minimumFret = #3
<es-3 g-2 des'-4 es'-1>1
r1
% besDomSevenA
\set TabStaff.minimumFret = #5
<bes,-2 as-3 d'-4 f'-1>1
r1
% fDomSevenB
\set TabStaff.minimumFret = #5
<f-3 a-2 es'-4 f'-1>1
r1
% besDomSevenA
\set TabStaff.minimumFret = #5
<bes,-2 as-3 d'-4 f'-1>1
r2.
% fDomSevenB
\set TabStaff.minimumFret = #5
<f-3 a-2 es'-4 f'-1>4
}
mychords = {
\set fingeringOrientations = #'(left)
% besDomSevenA
\set TabStaff.minimumFret = #5
<bes,-2 as-3 d'-4 f'-1>4.
<as d' f'>8~ <as d' f'>2
% esDomSevenA
\set TabStaff.minimumFret = #3
<es-3 g-2 des'-4 es'-1>4.
<g des' es'>8~ <g des' es'>2
\repeat percent 2 {
% besDomSevenA
\set TabStaff.minimumFret = #5
<bes, as d' f'>4.
<as d' f'>8~ <as d' f'>2
}
\break
\repeat percent 2 {
% esDomSevenA
\set TabStaff.minimumFret = #3
<es g des' es'>4.
<g des' es'>8~ <g des' es'>2
}
\repeat percent 2 {
% besDomSevenA
\set TabStaff.minimumFret = #5
<bes, as d' f'>4.
<as d' f'>8~ <as d' f'>2
}
\break
\repeat percent 2 {
% fDomSevenB
\set TabStaff.minimumFret = #5
<f-3 a-2 es'-4 f'-1>4.
<a es' f'>8~ <a es' f'>2
}
% besDomSevenA
\set TabStaff.minimumFret = #5
<bes, as d' f'>4.
<as d' f'>8~ <as d' f'>2
% besDomSevenA
\set TabStaff.minimumFret = #5
<bes, as d' f'>2
<as d' f'>4
% fDomSevenB
\set TabStaff.minimumFret = #5
<f a es' f'>4
\bar "||"
}
<<
\new FretBoards {
\set stringTunings = #allfourthsTuning
\override FretBoard #'(fret-diagram-details orientation) = #'landscape
\mychordfrets }
\new ChordNames \mychordnames
\new StaffGroup <<
\new Staff {
\clef "treble_8"
\key bes \major
\mychords
}
\new TabStaff
{
\set TabStaff.stringTunings = #allfourthsTuning
\removeWithTag #'frets \mychords
}
>>
>>
\end{lilypond}
\subsubsection{Watermelon Man (Herbie Hancock)}
A 16-bar blues in a funky style (straight eights). Play the riff for
four bars as intro. Fade out on the riff for ending.
\begin[staffsize=14]{lilypond}
allfourthsTuning = #'(5 0 -5 -10 -15 -20)
fDomSevenB = <f\5 a\4 es'\3 f'\2>
\storePredefinedDiagram \fDomSevenB
#allfourthsTuning
#"x;8-3;7-2;8-4;5-1;x;"
besDomSevenA = <bes,\6 as\4 d'\3 f'\2>
\storePredefinedDiagram \besDomSevenA
#allfourthsTuning
#"6-2;x;6-3;7-4;5-1;x;"
bDomSevenA = <b,\6 a\4 dis'\3 fis'\2>
\storePredefinedDiagram \bDomSevenA
#allfourthsTuning
#"7-2;x;7-3;8-4;6-1;x;"
cDomSevenA = <c\6 bes\4 e'\3 g'\2>
\storePredefinedDiagram \cDomSevenA
#allfourthsTuning
#"8-2;x;8-3;9-4;7-1;x;"
mychordnames = \chordmode {
f2:7 bes2:7 r1 r1 r1
bes1:7 r1 f2:7 bes2:7 r1
c2.:7 b4:7 bes2.:7 b4:7
r1 r1
c2.:7 b4:7 bes4:7 r2.
f2:7 bes2:7 r1 }
mychordfrets = {
\set fingeringOrientations = #'(left)
% fDomSevenB
\set TabStaff.minimumFret = #5
<f-3 a-2 es'-4 f'-1>2
% besDomSevenA
\set TabStaff.minimumFret = #5
<bes,-2 as-3 d'-4 f'-1>2
r1 r1 r1 r1 r1 r1 r1
% cDomSevenA
\set TabStaff.minimumFret = #5
<c-2 bes-3 e'-4 g'-1>2.
% bDomSevenA
\set TabStaff.minimumFret = #5
<b,-2 a-3 dis'-4 fis'-1>4
% besDomSevenA
\set TabStaff.minimumFret = #5
<bes,-2 as-3 d'-4 f'-1>2.
% bDomSevenA
\set TabStaff.minimumFret = #5
<b,-2 a-3 dis'-4 fis'-1>4
r1 r1 r1 r1 r1 r1
}
mychords = {
\repeat percent 4 {
\set fingeringOrientations = #'(left)
% fDomSevenB
\set TabStaff.minimumFret = #5
\stemUp
r8
<f-3>
<a-2 es'-4>
f
\stemNeutral
% besDomSevenA
\set TabStaff.minimumFret = #5
<bes,-2 as-3 d'-4>8
<bes, as d'>8
r4
}
\repeat percent 2 {
% besDomSevenA
\set TabStaff.minimumFret = #5
r8
bes,8
<d' f'>8
bes,8
<bes, as d'>8
<bes, as d'>8
r4
}
\repeat percent 2 {
% fDomSevenB
\set TabStaff.minimumFret = #5
r8
f
<a es'>
f
% besDomSevenA
\set TabStaff.minimumFret = #5
<bes, as d'>8
<bes, as d'>8
r4
}
\break
\repeat percent 2 {
% cDomSevenA
\set TabStaff.minimumFret = #5
<c-2 bes-3 e'-4 g'-1>4.
<c bes e' g'>4.
% bDomSevenA
\set TabStaff.minimumFret = #5
<b, a dis' fis'>4
% besDomSevenA
\set TabStaff.minimumFret = #5
<bes, as d' f'>4.
<bes, as d' f'>4.
% bDomSevenA
\set TabStaff.minimumFret = #5
<b, a dis' fis'>4
}
% cDomSevenA
\set TabStaff.minimumFret = #5
<c bes e' g'>4.
<c bes e' g'>4.
% bDomSevenA
\set TabStaff.minimumFret = #5
<b, a dis' fis'>4
% besDomSevenA
\set TabStaff.minimumFret = #5
<bes, as d' f'>4-.
r2.
\repeat percent 2 {
% fDomSevenB
\set TabStaff.minimumFret = #5
r8
f
<a es'>
f
% besDomSevenA
\set TabStaff.minimumFret = #5
<bes, as d'>8
<bes, as d'>8
r4
}
\bar "||"
}
<<
\new FretBoards {
\set stringTunings = #allfourthsTuning
\override FretBoard #'(fret-diagram-details orientation) = #'landscape
\mychordfrets }
\new ChordNames { \set chordChanges = ##f \mychordnames }
\new StaffGroup <<
\new Staff {
\clef "treble_8"
\key bes \major
\mychords
}
\new TabStaff
{
\set TabStaff.stringTunings = #allfourthsTuning
\removeWithTag #'frets \mychords
}
>>
>>
\end{lilypond}
\subsection{ii7 - V7 - Ij7}
You can now accompany: Doodlin' (except ending), Goodbye Pork Pie Hat,
In A Sentimental Mood, Milestones, Nostalgia In Times Square, Satin
Doll, Straight No Chaser, West Coast Blues (except Coda)
TODO: Straight, No Chaser (Blues plus ii7) Leave Doodlin as exercise.
Or the other way round (featuring Horace Silver here).
Satin Doll (ii7 - V7- Ij7 workout), in both variants (root movement).
In higher variant, use different G7 voicing (doubled third).
Analysis: Tune completely based on ii7-V7-Ij7, with plenty of
secondary dominants and a tritone substitution. Everything resolves
to C Major!
Goodbye Pork Pie Hat: More difficult root movement (not in circle of
fifths). More difficult analysis and scales(!). The Jazz Fake Book
has different chord progression. Maybe save this for later.
Milestones: There are more complex versions out there.
So What is not a playable piece at this point, as it uses the "So
What" voicing and quart chords.
\subsubsection{Straight, No Chaser}
A simple blues in F in a funky style (straight eights). Play the riff for
four bars as intro. Fade out on the riff for ending.
\begin[staffsize=14]{lilypond}
allfourthsTuning = #'(5 0 -5 -10 -15 -20)
fDomSevenB = <f\5 a\4 es'\3 f'\2>
\storePredefinedDiagram \fDomSevenB
#allfourthsTuning
#"x;8-3;7-2;8-4;5-1;x;"
besDomSevenA = <bes,\6 as\4 d'\3 f'\2>
\storePredefinedDiagram \besDomSevenA
#allfourthsTuning
#"6-2;x;6-3;7-4;5-1;x;"
bDomSevenA = <b,\6 a\4 dis'\3 fis'\2>
\storePredefinedDiagram \bDomSevenA
#allfourthsTuning
#"7-2;x;7-3;8-4;6-1;x;"
cDomSevenA = <c\6 bes\4 e'\3 g'\2>
\storePredefinedDiagram \cDomSevenA
#allfourthsTuning
#"8-2;x;8-3;9-4;7-1;x;"
mychordnames = \chordmode {
f2:7 bes2:7 r1 r1 r1
bes1:7 r1 f2:7 bes2:7 r1
c2.:7 b4:7 bes2.:7 b4:7
r1 r1
c2.:7 b4:7 bes4:7 r2.
f2:7 bes2:7 r1 }
mychordfrets = {
\set fingeringOrientations = #'(left)
% fDomSevenB
\set TabStaff.minimumFret = #5
<f-3 a-2 es'-4 f'-1>2
% besDomSevenA
\set TabStaff.minimumFret = #5
<bes,-2 as-3 d'-4 f'-1>2
r1 r1 r1 r1 r1 r1 r1
% cDomSevenA
\set TabStaff.minimumFret = #5
<c-2 bes-3 e'-4 g'-1>2.
% bDomSevenA
\set TabStaff.minimumFret = #5
<b,-2 a-3 dis'-4 fis'-1>4
% besDomSevenA
\set TabStaff.minimumFret = #5
<bes,-2 as-3 d'-4 f'-1>2.
% bDomSevenA
\set TabStaff.minimumFret = #5
<b,-2 a-3 dis'-4 fis'-1>4
r1 r1 r1 r1 r1 r1
}
mychords = {
\repeat percent 4 {
\set fingeringOrientations = #'(left)
% fDomSevenB
\set TabStaff.minimumFret = #5
\stemUp
r8
<f-3>
<a-2 es'-4>
f
\stemNeutral
% besDomSevenA
\set TabStaff.minimumFret = #5
<bes,-2 as-3 d'-4>8
<bes, as d'>8
r4
}
\repeat percent 2 {
% besDomSevenA
\set TabStaff.minimumFret = #5
r8
bes,8
<d' f'>8
bes,8
<bes, as d'>8
<bes, as d'>8
r4
}
\repeat percent 2 {
% fDomSevenB
\set TabStaff.minimumFret = #5
r8
f
<a es'>
f
% besDomSevenA
\set TabStaff.minimumFret = #5
<bes, as d'>8
<bes, as d'>8
r4
}
\break
\repeat percent 2 {
% cDomSevenA
\set TabStaff.minimumFret = #5
<c-2 bes-3 e'-4 g'-1>4.
<c bes e' g'>4.
% bDomSevenA
\set TabStaff.minimumFret = #5
<b, a dis' fis'>4
% besDomSevenA
\set TabStaff.minimumFret = #5
<bes, as d' f'>4.
<bes, as d' f'>4.
% bDomSevenA
\set TabStaff.minimumFret = #5
<b, a dis' fis'>4
}
% cDomSevenA
\set TabStaff.minimumFret = #5
<c bes e' g'>4.
<c bes e' g'>4.
% bDomSevenA
\set TabStaff.minimumFret = #5
<b, a dis' fis'>4
% besDomSevenA
\set TabStaff.minimumFret = #5
<bes, as d' f'>4-.
r2.
\repeat percent 2 {
% fDomSevenB
\set TabStaff.minimumFret = #5
r8
f
<a es'>
f
% besDomSevenA
\set TabStaff.minimumFret = #5
<bes, as d'>8
<bes, as d'>8
r4
}
\bar "||"
}
<<
\new FretBoards {
\set stringTunings = #allfourthsTuning
\override FretBoard #'(fret-diagram-details orientation) = #'landscape
\mychordfrets }
\new ChordNames { \set chordChanges = ##f \mychordnames }
\new StaffGroup <<
\new Staff {
\clef "treble_8"
\key bes \major
\mychords
}
\new TabStaff
{
\set TabStaff.stringTunings = #allfourthsTuning
\removeWithTag #'frets \mychords
}
>>
>>
\end{lilypond}
\subsection{ii7b5 - V7 - i}
You can now accompany: Driftin', Fly Me To The Moon, Full House,
Serenade To A Cuckoo, Take Five
(Toca Bonito: I, i)
\section{Reference}
\label{reference}
\subsection{Major Chord}
\begin{lilypond}
allfourthsTuning = #'(5 0 -5 -10 -15 -20)
cMajA = <c\5 g\4 c'\3 e'\2>
\storePredefinedDiagram \cMajA
#allfourthsTuning
#"x;3-1;5-4;5-3;4-2;x;"
mychordnames = \chordmode {
c1 }
mychords = {
\set fingeringOrientations = #'(left)
% cMajA
\set TabStaff.minimumFret = #3
<c-1 g-4 c'-3 e'-2>1
}
<<
\new ChordNames \mychordnames
\new FretBoards {
\set stringTunings = #allfourthsTuning
\override FretBoard #'(fret-diagram-details orientation) = #'landscape
\mychords }
\new StaffGroup <<
\new Staff {
\clef "treble_8"
\mychords
}
\new TabStaff
{
\set TabStaff.stringTunings = #allfourthsTuning
\removeWithTag #'frets \mychords
}
>>
>>
\end{lilypond}
\subsection{Major Seventh Chord}
\begin{lilypond}
allfourthsTuning = #'(5 0 -5 -10 -15 -20)
cMajSevenA = <c\6 b\4 e'\3 g'\2>
\storePredefinedDiagram \cMajSevenA
#allfourthsTuning
#"8-2;x;9-3;9-4;7-1;x;"
cMajSevenB = <c\5 e\4 b\3 e'\2>
\storePredefinedDiagram \cMajSevenB
#allfourthsTuning
#"x;3-2;2-1;4-3;4-4;x;"
mychordnames = \chordmode {
\set majorSevenSymbol = \markup { j7 }
c1:7+ c1:7+ }
mychords = {
\set fingeringOrientations = #'(left)
% cMajSevenA
\set TabStaff.minimumFret = #5
<c-2 b-3 e'-4 g'-1>1
% cMajSevenB
\set TabStaff.minimumFret = #2
<c-2 e-1 b-3 e'-4>1
}
<<
\new ChordNames \mychordnames
\new FretBoards {
\set stringTunings = #allfourthsTuning
\override FretBoard #'(fret-diagram-details orientation) = #'landscape
\mychords }
\new StaffGroup <<
\new Staff {
\clef "treble_8"
\mychords
}
\new TabStaff
{
\set TabStaff.stringTunings = #allfourthsTuning
\removeWithTag #'frets \mychords
}
>>
>>
\end{lilypond}
\subsection{Dominant Seventh Chord}
\begin{lilypond}
allfourthsTuning = #'(5 0 -5 -10 -15 -20)
cDomSevenA = <c\6 bes\4 e'\3 g'\2>
\storePredefinedDiagram \cDomSevenA
#allfourthsTuning
#"8-2;x;8-3;9-4;7-1;x;"
cDomSevenB = <c\5 e\4 bes\3 g'\2>
\storePredefinedDiagram \cDomSevenB
#allfourthsTuning
#"x;3-3;2-2;3-4;0-1;x;"
mychordnames = \chordmode {
c1:7 c1:7 }
mychords = {
\set fingeringOrientations = #'(left)
% cDomSevenA
\set TabStaff.minimumFret = #5
<c-2 bes-3 e'-4 g'-1>1
% cDomSevenB
\set TabStaff.minimumFret = #0
<c-3 e-2 bes-4 c'>1
}
<<
\new ChordNames \mychordnames
\new FretBoards {
\set stringTunings = #allfourthsTuning
\override FretBoard #'(fret-diagram-details orientation) = #'landscape
\mychords }
\new StaffGroup <<
\new Staff {
\clef "treble_8"
\mychords
}
\new TabStaff
{
\set TabStaff.stringTunings = #allfourthsTuning
\removeWithTag #'frets \mychords
}
>>
>>
\end{lilypond}
\subsection{Minor Chord}
\begin{lilypond}
allfourthsTuning = #'(5 0 -5 -10 -15 -20)
cMinA = <c\6 c'\4 es'\3 g'\2>
\storePredefinedDiagram \cMinA
#allfourthsTuning
#"8-2;x;10-4;8-3;7-1;x;"
cMinB = <c\6 g\5 c'\4 es'\3>
\storePredefinedDiagram \cMinB
#allfourthsTuning
#"x;3-1-(;5-3;5-4;3-1-);x;"
mychordnames = \chordmode {
c1:m c1:m }
mychords = {
\set fingeringOrientations = #'(left)
% cMinA
\set TabStaff.minimumFret = #7
<c-2 c'-4 es'-3 g'-1>1
% cMinB
\set TabStaff.minimumFret = #2
<c-1 g-3 c'-4 es'-1>1
}
<<
\new ChordNames \mychordnames
\new FretBoards {
\set stringTunings = #allfourthsTuning
\override FretBoard #'(fret-diagram-details orientation) = #'landscape
\mychords }
\new StaffGroup <<
\new Staff {
\clef "treble_8"
\mychords
}
\new TabStaff
{
\set TabStaff.stringTunings = #allfourthsTuning
\removeWithTag #'frets \mychords
}
>>
>>
\end{lilypond}
\subsection{Minor Seventh Chord}
\begin{lilypond}
allfourthsTuning = #'(5 0 -5 -10 -15 -20)
cMinSevenA = <c\6 bes\4 es'\3 g'\2>
\storePredefinedDiagram \cMinSevenA
#allfourthsTuning
#"8-2;x;8-3;8-4;7-1;x;"
cMinSevenB = <c\6 es\5 bes\4 es'\3>
\storePredefinedDiagram \cMinSevenB
#allfourthsTuning
#"x;3-2;1-1;3-3;3-4;x;"
mychordnames = \chordmode {
c1:m7 c1:m7 }
mychords = {
\set fingeringOrientations = #'(left)
% cMinSevenA
\set TabStaff.minimumFret = #5
<c-2 bes-3 es'-4 g'-1>1
% cMinSevenB
\set TabStaff.minimumFret = #1
<c-2 es-1 bes-3 es'-4>1
}
<<
\new ChordNames \mychordnames
\new FretBoards {
\set stringTunings = #allfourthsTuning
\override FretBoard #'(fret-diagram-details orientation) = #'landscape
\mychords }
\new StaffGroup <<
\new Staff {
\clef "treble_8"
\mychords
}
\new TabStaff
{
\set TabStaff.stringTunings = #allfourthsTuning
\removeWithTag #'frets \mychords
}
>>
>>
\end{lilypond}
\subsection{Half Diminished Chord}
\begin{lilypond}
allfourthsTuning = #'(5 0 -5 -10 -15 -20)
cHDimA = <c\6 bes\4 es'\3 ges'\2>
\storePredefinedDiagram \cHDimA
#allfourthsTuning
#"8-2;x;8-3;8-4;6-1;x;"
cHDimB = <c\6 ges\5 bes\4 es'\3>
\storePredefinedDiagram \cHDimB
#allfourthsTuning
#"x;3-1-(;4-2;3-1;3-1-);x;"
mychordnames = \chordmode {
c1:m7.5- c1:m7.5- }
mychords = {
\set fingeringOrientations = #'(left)
% cHDimA
\set TabStaff.minimumFret = #5
<c-2 bes-3 es'-4 ges'-1>1
% cHDimB
\set TabStaff.minimumFret = #2
<c-1 ges-2 bes-1 es'-1>1
}
<<
\new ChordNames \mychordnames
\new FretBoards {
\set stringTunings = #allfourthsTuning
\override FretBoard #'(fret-diagram-details orientation) = #'landscape
\mychords }
\new StaffGroup <<
\new Staff {
\clef "treble_8"
\mychords
}
\new TabStaff
{
\set TabStaff.stringTunings = #allfourthsTuning
\removeWithTag #'frets \mychords
}
>>
>>
\end{lilypond}
\section{Change Log}
\begin{itemize}
\item Version 1.0
Initial release.
\end{itemize}
\end{document}
perfect-fourths.pdf: perfect-fourths.lytex
rm -fR out
mkdir out
lilypond-book -o out perfect-fourths.lytex
(cd out; latex perfect-fourths.tex)
(cd out; latex perfect-fourths.tex)
(cd out; dvips -t a4 -Ppdf -Z -u +lilypond -u +ec-mftrace
perfect-fourths)
(cd out; ps2pdf perfect-fourths.ps; cp perfect-fourths.pdf
../perfect-fourths.pdf)
_______________________________________________
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
