Paul Scott wrote:
Andre Schnoor wrote:
Er, no. These are three distinctive chords:
Xdim = 1, b3, b5
Xm.dim7= 1, b3, b5, b7
Xdim7= 1, 3, b5, b7
One may argue that "m.dim7" is a weird exception in that is uses that
fancy dot. Alternatively "X(b5,b7)" w
rds, I would go with
dim
dim7
C Eb Gb A (Bbb)
instead of
m.dim7
unless you are wanting to spell C Eb G A
-Original Message-----
From: Andre Schnoor <[EMAIL PROTECTED]>
Sent: Aug 8, 2006 1:54 PM
To: lilypond-user@gnu.org
Subject: Chord naming conven
The root of a chord symbol and is related more to the the momentary tonal (key) center, not necessarily the written key signature.
-Original Message-
From: Andre Schnoor <[EMAIL PROTECTED]>
Sent: Aug 9, 2006 5:02 AM
To: lilypond-user@gnu.org
Subject: Re: triangle chord not
Michael J Millett wrote:
Key signatures don't count when using chord symbols.
Only for the naming of the root. There's a big difference between Ebmaj7
and D#maj7, so the root pitch should reflect its meaning within the
current key. This information is valuable when looking at chord
progres
Maybe this could contribute to the discussion regarding chord input
syntax. Below is an excerpt of chord names which are currently supported
by my software Harmony Navigator. Last year I've had a fruitful
discussion on rec.music.theory with Joey Goldstein. I found his
suggested "standard" quite
Hi all,
it seems LilyPond doesn't like staff changes within a chord, since
4
doesn't work. The alternative expression
<>
works fine, but does no longer contain the semantics of a "chord". It
could not seem to find any visual difference yet, though. What is the
official recommended way
Hi all,
I'm new to this list and am currently implementing LilyPond export for
my software "Music Prototyping Studio". First of all I'd like to thank
the makers of LilyPond for this great and exceptional product!
Most export algorithms of my program already work fine and the resulting
scores
