Hi
On 19. mai. 2008, at 00:31, Carl D. Sorensen wrote:
Right now, :maj adds a major 7th step, even if no number is present.
c:maj is equivalent to c:maj7. That is the confusion.
Agree
IMHO, by making c:maj equal to c, we would make c:maj7 (and
friends) less clear. By just disallowing c:
> -Original Message-
> From: Erlend Aasland [mailto:[EMAIL PROTECTED]
> Sent: Sunday, May 18, 2008 10:23 AM
> To: Carl D. Sorensen
> Cc: Graham Percival; lily-devel
> Subject: Re: c:maj inconsistency
>
> Hi Carl
>
> On 18. mai. 2008, at 11:56, Carl D. Sorensen
Hi Carl
On 18. mai. 2008, at 11:56, Carl D. Sorensen wrote:
Hmmm, since c:maj is ambiguous, I think it's better to just
disallow c:maj without the 7.
[…]
This proposed solution gets a little tricky when we talk about a
c:maj9, which creates a five-note chord with a raised 7th step.
No probl
> -Original Message-
> From: Erlend Aasland [mailto:[EMAIL PROTECTED]
> Sent: Sunday, May 18, 2008 3:03 AM
> To: Graham Percival
> Cc: lily-devel; Carl D. Sorensen
> Subject: Re: c:maj inconsistency
>
> Hmmm, since c:maj is ambiguous, I think it's better to
Hmmm, since c:maj is ambiguous, I think it's better to just disallow
c:maj without the 7.
E
On 18. mai. 2008, at 00:43, Graham Percival wrote:
Exerpt from Chords:
---
maj
The major 7th chord. This modifier adds a raised 7th step. The
7 following maj is optional. Do NOT use this modifier to
Exerpt from Chords:
---
maj
The major 7th chord. This modifier adds a raised 7th step. The
7 following maj is optional. Do NOT use this modifier to create a
major triad.
---
In other words,
\chordmode{ c:maj c:maj7 }
produce the same chord, although
\chordmode{ c:m c:m7 }
don't.
Why? IMO
