Hi Kieren and Ponders,
I’m very detail-oriented, so things that others might consider “little” often
drive me quite crazy. =)
Well, "little" is the wrong expression - "not painful enough to invest
the time" is closer to the truth.
Quite possibly that is easy to fix though
Should be.
> On Jan 18, 2016, at 1:44 AM, Carl-Henrik Buschmann
> wrote:
>
>
>> 18. jan. 2016 kl. 02.40 skrev tim...@bitstream.net:
>>
>>>
>>> On Jan 17, 2016, at 4:16 PM, Carl-Henrik Buschmann
>>> wrote:
>>>
>>> While i might agree with you to some extent this is also a practial matter:
>>>
>>> 1
Hi Robert,
> I guess that never bothered me ... until now, that is, now that you mention
> it, thank you very much.
You’re welcome!
I’m very detail-oriented, so things that others might consider “little” often
drive me quite crazy. =)
> Quite possibly that is easy to fix though
Should be.
Yes, that's true - I guess that never bothered me ... until now, that is, now
that you mention it, thank you very much.
Quite possibly that is easy to fix though - I'll look into that asap.
Maybe I should add that, while I like producing aesthetically pleasing lead
sheets, my first priority h
Kieren MacMillan writes:
> Hi David,
>
>> The engraver would convert into something akin to c c' d' f'
>> bf' (somewhat opaque example since the first is the root pitch and the
>> others are the relation to the root note, expressed as intervals from
>> c'). There would be one or several markups
Hi Robert,
> It is possible though that all tools for doing that are already present in
> LilyJazz ... I simply don't remember now.
Sorry, I wasn’t clear: the accidentals in your chord names aren’t using the
LilyJazz font, as far as I can tell, whereas the rest of the glyphs (e.g.,
letters, nu
Sorry for misunderstanding/misinterpretation.
In lilypond I write bes for bflat, In text writing I use bB.
On 18.01.2016 15:23, Kieren MacMillan wrote:
Hi,
Bb/C is built of C Bb D F
…which is what I wrote: “bf” is Bb using english note names.
May be you did a typing error
No.
You neve
Hi David,
> The engraver would convert into something akin to c c' d' f'
> bf' (somewhat opaque example since the first is the root pitch and the
> others are the relation to the root note, expressed as intervals from
> c'). There would be one or several markups for interpreting the c' d'
> f' b
Hi,
> Bb/C is built of C Bb D F
…which is what I wrote: “bf” is Bb using english note names.
> May be you did a typing error
No.
> You never get correct chord names without knowing the context
That’s exactly my point.
Regards,
Kieren.
Kieren MacMillan, comp
On 18.01.2016 14:33, BB wrote:
On 18.01.2016 13:29, Kieren MacMillan wrote:
might be named
Dm9no5/C,
Cno5add2add4,
Fmaj7add6no3/C
depending on the context. Names are interpretations of the notes and
always depend on the context. Your chords in the posting
be labelled as Bb/C or C7(sus2,sus4
Kieren MacMillan writes:
> Hi David,
>
>> Here's my take on how to do this more transparently: first have an
>> engraver that does the basic chord analysis and writes one or several
>> properties with the basic analysis results (like fundamental pitch and
>> scale offsets). Those properties are
On 18.01.2016 13:29, Kieren MacMillan wrote:
might be named
Dm9no5/C,
Cno5add2add4,
Fmaj7add6no3/C
depending on the context. Names are interpretations of the notes and
always depend on the context. Your chords in the posting
be labelled as Bb/C or C7(sus2,sus4)
Bb/C is built of C Bb D F
C
,
>
>> it involves the (fantastic) LilyJazz package which was created by Thorsten
>> Hämmerle some time ago.
>
> Why are the alterations in the chord names not LilyJazz?
Well, now that you mention it, they might well be. It's been quite some time
since I worked on that. What I *am* sure of is
Hi Robert,
> it involves the (fantastic) LilyJazz package which was created by Thorsten
> Hämmerle some time ago.
Why are the alterations in the chord names not LilyJazz?
> If can get a hold of that, and put it together with Kieren's suggestions,
> that's basically it - the rest is routine wor
Hi David,
> Here's my take on how to do this more transparently: first have an
> engraver that does the basic chord analysis and writes one or several
> properties with the basic analysis results (like fundamental pitch and
> scale offsets). Those properties are made part of text-interface.
>
>
Thanks!
I can post the code for that if you're interested, I just can't promise I'll be
able to do that tonight. And it involves the (fantastic) LilyJazz package which
was created by Thorsten Hämmerle some time ago.
If can get a hold of that, and put it together with Kieren's suggestions,
that
This is smashing! Great job.
The alignment of the chords, is it possible to push above the staff like
traditional chords? The 8, is it part of a multi rest?
> 18. jan. 2016 kl. 11.40 skrev Robert Schmaus :
>
>
> --
> Note beforehand: I'm sending this from a phone, and I can't control if th
On Mon, 18 Jan 2016 11:40:47 +0100
Robert Schmaus wrote:
> Fwiw, I write jazz sheets all the time, and I've trimmed Lilypond to
> produce stuff like this:
Nice, very nice!
It's a shame the "8" won't match...
I've tried to obtain something like this some years ago, but never got as
far as your e
--
Note beforehand: I'm sending this from a phone, and I can't control if the
attached picture is sent inline or not - hope you can see it, otherwise I'll
have to resend it later today.
--
Hi Carl-Henrik,
Fwiw, I write jazz sheets all the time, and I've trimmed Lilypond to produce
stuff like
Thomas Morley writes:
> 2016-01-17 22:28 GMT+01:00 Carl-Henrik Buschmann :
>
> Thanks for code and links!
>
>> A properly formatet complex chord stacks alterations in parenthesis.
>
> Well, I disagre - at least as a general verdict.
>
>> Lilyponds default is
>> [...] undesirable.
>
> Ofcourse I d
Chill pills for everybody! Smile :-)
> 18. jan. 2016 kl. 09.39 skrev David Kastrup :
>
> There is no "brains that code" who have to placate "us" by "at least
> giving us a *working* solution".
I see how that might have been misunderstood, but please belive it was with the
best of intentions,
Kieren MacMillan writes:
> Hi Simon,
>
>> Note the effect of sensible code formatting – it can’t be emphasised
> often enough…
>
> I actually had it that way in my example, but decided to put it on one
> line to save vertical space in the post.
Well, that's important for those of us who receive
Carl-Henrik Buschmann writes:
> Kieren is thankfully working on this and i hope the brains that code
> for lilypond can bash heads together and at least give us a *working*
> solution and stop bickering over personal preferences that only hinder
> the development.
I think you are confused about
Am 18.01.2016 um 09:12 schrieb Blöchl Bernhard:
[...]
Do you really believe that Sibelius was inspired by R&B?
The first edition of
Standardized chord symbol notation : (a uniform system for the music
profession)
von Carl Brandt; Clinton Roemer Englisch
was published 1976 by Sherman Oaks, Calif.
On Mon, 18 Jan 2016 09:12:42 +0100
Blöchl Bernhard wrote:
> Do you really believe that Sibelius was inspired by R&B?
Not sure if troll
> Johan Julius Christian („Jean“) Sibelius * 8. Dezember 1865 in
> Hämeenlinna; † 20. September 1957 in Järvenpää near Helsinki;
Sibelius Software
Initial
Am 18.01.2016 08:44, schrieb Carl-Henrik Buschmann:
18. jan. 2016 kl. 02.40 skrev tim...@bitstream.net:
On Jan 17, 2016, at 4:16 PM, Carl-Henrik Buschmann
wrote:
I'm not talking about code, i'm talking about style. And by the looks of
it Sibelius at least have by and large been inspired by B
> 18. jan. 2016 kl. 02.40 skrev tim...@bitstream.net:
>
>>
>> On Jan 17, 2016, at 4:16 PM, Carl-Henrik Buschmann
>> wrote:
>>
>> While i might agree with you to some extent this is also a practial matter:
>>
>> 1) Whether or not you call it maj or *triangle*, m or MI is indeed a matter
>>
Hi Tim,
> I am not sure that Lilypond handles polychords gracefully either
It doesn’t, as far as I can tell.
Improving that situation is part of my goal with my B&R stylesheet effort (as
they explicitly consider polychords).
> An doctoral candidate submitting an analysis of jazz performance or
> On Jan 17, 2016, at 4:18 PM, Kieren MacMillan
> wrote:
>
> Hi Tim,
>
>> that is a matter of individual preferences.
>
> Agreed.
>
>> Cmaj7#4 is less trouble to read than Cmaj7(#4) on the bandstand in an
>> unfamiliar tune.
>
> Disagreed.
>
>> 90% of the extensions that are written on le
> On Jan 17, 2016, at 4:16 PM, Carl-Henrik Buschmann
> wrote:
>
> While i might agree with you to some extent this is also a practial matter:
>
> 1) Whether or not you call it maj or *triangle*, m or MI is indeed a matter
> of culture and personal taste. But consider the following: A C7, a d
Hi Simon,
> Note the effect of sensible code formatting – it can’t be emphasised often
> enough…
I actually had it that way in my example, but decided to put it on one line to
save vertical space in the post.
Cheers,
Kieren.
Kieren MacMillan, composer
‣ websit
On 17.01.2016 22:35, Carl-Henrik Buschmann wrote:
Thank you.
This is indeed a good start! However. How to adjust the lenght of the parenthesis? As of
now they only encapsule 1/3 of the stack. I havent the foggiest on how to make them
"flexible".
You might have a look in the NR, section A.11
Hi Harm,
> The main problem is that current LilyPond-default is very hard to tweak
+1^10
[sic] ;)
> I once started rewriting chordnames. [1]
> Finally it aimed at easy user-tweakable formatting.
> Maybe, I'll get back to it once …
If you’re serious about doing it in the near future, please
2016-01-17 22:28 GMT+01:00 Carl-Henrik Buschmann :
Thanks for code and links!
> A properly formatet complex chord stacks alterations in parenthesis.
Well, I disagre - at least as a general verdict.
> Lilyponds default is
> [...] undesirable.
Ofcourse I disagree again, ;)
Though, there are so m
Hi Tim,
> that is a matter of individual preferences.
Agreed.
> Cmaj7#4 is less trouble to read than Cmaj7(#4) on the bandstand in an
> unfamiliar tune.
Disagreed.
> 90% of the extensions that are written on lead sheets are ignored anyway in
> favor of what the musician’s ear tells him or he
While i might agree with you to some extent this is also a practial matter:
1) Whether or not you call it maj or *triangle*, m or MI is indeed a matter of
culture and personal taste. But consider the following: A C7, a dominant, might
tell a performing musician lots but when dealing with academ
> On Jan 17, 2016, at 3:28 PM, Carl-Henrik Buschmann
> wrote:
>
> A properly formatet complex chord stacks alterations in parenthesis.
Hemmm, that is a matter of individual preferences. As a jazz musician I find
parentheses in chords add to the visual clutter and add no useful information.
Hi Carl-Henrik,
> As far as i can see this Brandt & Roemer thing is a work in progress.
Indeed.
> I'm thankfull somebody seems to be working on it!
You’re welcome. =)
> There is however much to be done before chords in Lilypond are mature enough
> to use for jazz chord notation.
I don’t th
Hi Blöchl,
> 1. Why is Cm69 (ly) = C6/9 (BR)? Where is the "MI" gone? Is it kind of
> implied? I don't see it.
If you followed the thread further, you’d see that it was an error: the “MI”
is, of course, supposed to be there.
That error been fixed in my [private] copy, which I am continuing to d
There are a few musicologist, you'd be suprised how many, that comes from jazz
or popular music. Yes, I'm one of them. As far as i can see this Brandt &
Roemer thing is a work in progress. I'm thankfull somebody seems to be working
on it!
There is however much to be done before chords in Lilyp
Thank you.
This is indeed a good start! However. How to adjust the lenght of the
parenthesis? As of now they only encapsule 1/3 of the stack. I havent the
foggiest on how to make them "flexible".
> 17. jan. 2016 kl. 22.25 skrev Kieren MacMillan
> :
>
> Hi Carl-Henrik,
>
> Here’s a start fo
his is undesirable.
Quite interesting! Good night.
Am 17.01.2016 22:28, schrieb Carl-Henrik Buschmann:
A properly formatet complex chord stacks alterations in parenthesis.
Lilyponds default is:
\version "2.19.35"
\header {
tagline = ""
}
ChordNames = \chordmode {
\set majorSevenSymbol =
A properly formatet complex chord stacks alterations in parenthesis. Lilyponds
default is:
\version "2.19.35"
\header {
tagline = ""
}
ChordNames = \chordmode {
\set majorSevenSymbol = \markup { maj7 }
d:maj7.5+.9-.11+
}
upper = \relative c'{
\clef G
< d fis ais cis ees gis >1
}
low
I follow this nonsense thread just for entertainement with wild
references to any-/something and found i. e
https://lists.gnu.org/archive/html/lilypond-user/2015-11/msg00950.html
and
https://lists.gnu.org/archive/html/lilypond-user/2015-11/pdfsKndJHU0dl.pdf
Two questions:
1. Why is Cm69 (ly) = C
Hi Carl-Henrik,
Here’s a start for you.
Hope this helps!
Kieren.
SNIPPET BEGINS
\version "2.19.35"
\language "english"
chordFlat = \markup \concat { \hspace #0.1 \raise #0.5 \fontsize #-1 \flat
\hspace #0.2 }
chordSharp = \markup \concat { \hspace #0.1 \raise #0.5 \fontsize #-1 \sharp
\
Am 17.01.2016 21:33, schrieb Carl-Henrik Buschmann:
http://i.imgur.com/crR5239.png [3]
I have googled my ass off on how to get "jazz chords" properly
formated.
What is "properly" formated? Where is your wrong formated code example?
___
lilypond-use
Hi Carl-Henrik,
> I have googled my ass off on how to get "jazz chords" properly formated. The
> lilypond manual isn't exactly being straight about the matter. I do know it
> *should* be possible and i'm humbly asking for a hint at formating as shown
> in the picture i linked/sendt.
Try this t
k this should be the default for a mailinglist
> about coding.
>
> I can look up your image at
> http://lilypond.1069038.n5.nabble.com/Re-Lilypond-and-Jazz-chords-td186007.html
>
> <http://lilypond.1069038.n5.nabble.com/Re-Lilypond-and-Jazz-chords-td186007.html>
> but
about coding.
I can look up your image at
http://lilypond.1069038.n5.nabble.com/Re-Lilypond-and-Jazz-chords-td186007.html
[1]
but that's going on my nerves.
Nevertheless, some of the chord-symbols there are lilypond-default,
some not.
Use chord-exceptions for them.
-Harm
Den 17. jan. 20
Hi Carl-Henrik,
> I'm wondering if lilypond is able to notate complex chords
Still not sure exactly what you mean… As far as I understand (and have used),
Lilypond can notate any chord you want, given the correct custom chord naming.
I’ve been building an include file around the Brandt&Roemer s
2016-01-17 19:55 GMT+01:00 Carl-Henrik Buschmann :
> Any news regarding this?
Well, what's "this"?
LilyPond exists, yes. There is no common definiton of "JazzChords".
So, no news. ;)
Maybe you may want to be a little more specific?
Cheers,
Harm
___
Any news regarding this?
Carl-Henrik
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Tim McNamara wrote:
On Jul 22, 2009, at 11:12 PM, David Fedoruk wrote:
In my discussion with my jazz professional, we looked at complex
chords, in fact we deliberately looked for complex ones to find out
how they were expressed. We found, quite amazingly that the more
complex the chord got
On Jul 22, 2009, at 11:12 PM, David Fedoruk wrote:
In my discussion with my jazz professional, we looked at complex
chords, in fact we deliberately looked for complex ones to find out
how they were expressed. We found, quite amazingly that the more
complex the chord got the more ambiguous
In my discussion with my jazz professional, we looked at complex chords, in
fact we deliberately looked for complex ones to find out how they were
expressed. We found, quite amazingly that the more complex the chord got the
more ambiguous its name became.
The other thing we noted is that frequent
On Jul 15, 2009, at 8:42 PM, David Fedoruk wrote:
I did, as I mentioned earlier, visit my local music store and
looked at their selection of fake books. I found what was the
first legally published one in its new format. I was dissa pointed.
That's not very specific. By chance were you l
Hi:
I did, as I mentioned earlier, visit my local music store and looked at
their selection of fake books. I found what was the first legally published
one in its new format. I was dissa pointed. Although it was as nicely
typeset as the "New Rea Book" from Shur Music, there was no explanation of
David Fedoruk wrote:
The original BerkLee Real Fake book is no
longer available, nor are some of the others. These fake books have to
have thousands of clearances to be ablel to put these books together as
they are and be able to be legally sold.
Ironically, their The Real Book was a boo
Hi,
I've seen a number of people talking about the "right" way to name
chords used in jazz. The problem is that there is no one right way
currently.
I agree.
However my jazz musican still had quibbles because he thought that the
interval alterations should be in a column right beside the chord
Carl D. Sorensen wrote:
On 6/23/09 5:19 PM, "Tim McNamara" wrote:
On Jun 23, 2009, at 12:24 PM, Carl D. Sorensen wrote:
On 6/23/09 9:16 AM, "Grammostola Rosea"
wrote:
Tim McNamara wrote:
On Jun 15, 2009, at 2:00 PM, Kieren MacMillan wrote:
Wol et al:
On Jun 23, 2009, at 11:36 PM, Carl D. Sorensen wrote:
On 6/23/09 5:19 PM, "Tim McNamara" wrote:
On Jun 23, 2009, at 12:24 PM, Carl D. Sorensen wrote:
On 6/23/09 9:16 AM, "Grammostola Rosea"
wrote:
Tim McNamara wrote:
On Jun 15, 2009, at 2:00 PM, Kieren MacMillan wrote:
Wol et al:
On 6/23/09 5:19 PM, "Tim McNamara" wrote:
>
>
> On Jun 23, 2009, at 12:24 PM, Carl D. Sorensen wrote:
>
>> On 6/23/09 9:16 AM, "Grammostola Rosea"
>> wrote:
>>
>>> Tim McNamara wrote:
On Jun 15, 2009, at 2:00 PM, Kieren MacMillan wrote:
> Wol et al:
>
Would
On Jun 23, 2009, at 12:24 PM, Carl D. Sorensen wrote:
On 6/23/09 9:16 AM, "Grammostola Rosea"
wrote:
Tim McNamara wrote:
On Jun 15, 2009, at 2:00 PM, Kieren MacMillan wrote:
Wol et al:
Would it be reasonable to separate the functions of putting notes on
the staff and chord names abov
On 6/23/09 9:16 AM, "Grammostola Rosea" wrote:
> Tim McNamara wrote:
>>
>> On Jun 15, 2009, at 2:00 PM, Kieren MacMillan wrote:
>>
>>> Wol et al:
>>>
>> Would it be reasonable to separate the functions of putting notes on
>> the staff and chord names above the staff, and let the user spell
Tim McNamara wrote:
On Jun 15, 2009, at 2:00 PM, Kieren MacMillan wrote:
Wol et al:
Let's take the notes C, Eb, F, Ab. Which chord is that? What's the
root?
You can easily go from the name to the notes, but not the other way
round.
We *could* parse it from the first note, i.e. in relative
On Jun 15, 2009, at 2:00 PM, Kieren MacMillan wrote:
Wol et al:
Let's take the notes C, Eb, F, Ab. Which chord is that? What's the
root?
You can easily go from the name to the notes, but not the other
way round.
We *could* parse it from the first note, i.e. in relative mode
and
Anthony W. Youngman wrote:
In message , Carl D. Sorensen
writes
But there is a (to me) surprisingly large contingent of users who
claim that
there is no well-defined connection between chord names and chord
notes, and
that they want total control over the symbols to be displayed. And the
lyr
Wol et al:
Let's take the notes C, Eb, F, Ab. Which chord is that? What's the
root?
You can easily go from the name to the notes, but not the other way
round.
We *could* parse it from the first note, i.e. in relative mode
and
would display as the same chord (close harmony), bu
In message , Carl D. Sorensen
writes
But there is a (to me) surprisingly large contingent of users who claim that
there is no well-defined connection between chord names and chord notes, and
that they want total control over the symbols to be displayed. And the
lyricChordNames functionality is
On 6/12/09 9:10 AM, "Tim McNamara" wrote:
>
>
> On Jun 12, 2009, at 1:28 AM, Tao Cumplido wrote:
>
>>> I think it's great that you did this. Have you put this on LSR?
>>
>> Thanks. I haven't put this on LSR yet because the function hasn't
>> been much tested yet. Maybe I should have done
Le 9 juin 09 à 18:25, Carl D. Sorensen a écrit :
On 6/9/09 9:16 AM, "Jean-Alexis Montignies" wrote:
You can find an example of a chord notated as 'phrygian' (well it's
more a
modal indication, but that's what the composer Gary Peacock
intended) in the
lead sheet for Vignette.
More
On Jun 12, 2009, at 1:28 AM, Tao Cumplido wrote:
I think it's great that you did this. Have you put this on LSR?
Thanks. I haven't put this on LSR yet because the function hasn't
been much tested yet. Maybe I should have done anyway.
When the function is updated I will upload it there.
On 6/12/09 12:28 AM, "Tao Cumplido" wrote:
>> I think it's great that you did this. Have you put this on LSR?
>
> Thanks. I haven't put this on LSR yet because the function hasn't been much
> tested yet. Maybe I should have done anyway.
> When the function is updated I will upload it there.
> I think it's great that you did this. Have you put this on LSR?
Thanks. I haven't put this on LSR yet because the function hasn't been much
tested yet. Maybe I should have done anyway.
When the function is updated I will upload it there.
> Perhaps we should consider adding this to the distrib
Le 10 juin 09 à 02:11, kzt a écrit :
Hi,
You can find an example of a chord notated as 'phrygian' (well
it's more a
modal indication, but that's what the composer Gary Peacock
intended) in the
lead sheet for Vignette.
More arguments for using names: Alt is much more easy to write
and r
On 6/10/09 2:03 AM, "Tao Cumplido" wrote:
>> But as I said before, if anybody wants to create a chordname input mode
>> that
>> takes a root, and arbitrary name string, and an optional added bass,
>> they're
>> welcome to do so.
>
> http://lists.gnu.org/archive/html/lilypond-user/2009-02/msg0
kzt wrote:
Hi,
You can find an example of a chord notated as 'phrygian' (well it's
more a
modal indication, but that's what the composer Gary Peacock
intended) in the
lead sheet for Vignette.
More arguments for using names: Alt is much more easy to write and
read, less
error prone than: 7.
> But as I said before, if anybody wants to create a chordname input mode
> that
> takes a root, and arbitrary name string, and an optional added bass,
> they're
> welcome to do so.
http://lists.gnu.org/archive/html/lilypond-user/2009-02/msg00293.html
The input-mode is a little constructed but it
Hi,
You can find an example of a chord notated as 'phrygian' (well it's
more a
modal indication, but that's what the composer Gary Peacock
intended) in the
lead sheet for Vignette.
More arguments for using names: Alt is much more easy to write and
read, less
error prone than: 7.3-.5-.9-.11-
On Jun 9, 2009, at 11:25 AM, Carl D. Sorensen wrote:
On 6/9/09 9:16 AM, "Jean-Alexis Montignies" wrote:
You can find an example of a chord notated as 'phrygian' (well
it's more a
modal indication, but that's what the composer Gary Peacock
intended) in the
lead sheet for Vignette.
More
On 6/9/09 9:16 AM, "Jean-Alexis Montignies" wrote:
>
> You can find an example of a chord notated as 'phrygian' (well it's more a
> modal indication, but that's what the composer Gary Peacock intended) in the
> lead sheet for Vignette.
> More arguments for using names: Alt is much more easy
Lilypond of other programs will never be able to interpret notes as
chords (even humans can't do that because there are always
ambiguities).
I think the more sensitive approach for pop and jazz is a chord
library with a string as input (maj7) and as output a notation as
markup for chord sym
Jean-Alexis Montignies wrote:
1) I had some difficulties to write the Alt chords (for me it's based
on the superlocrian scale 1 2- 2+ 3 4+ 6- (or 5+) 7-) because the
scale has two seconds. (Note that the diminished scale cannot be
written for now with the chord notation, if you ever want to wri
Atte André Jensen wrote:
Carl D. Sorensen wrote:
Yes, this is what is needed. But I have a reference for chord naming at
http://www.dolmetsch.com/musictheory17.htm#namechords
If this is wrong, then corrections would be appreciated.
That look pretty good, I disagree here and there (some sma
1) I had some difficulties to write the Alt chords (for me it's based
on the superlocrian scale 1 2- 2+ 3 4+ 6- (or 5+) 7-) because the
scale has two seconds. (Note that the diminished scale cannot be
written for now with the chord notation, if you ever want to write
a 8
note chord ;) ).
Th
On Jun 2, 2009, at 4:55 AM, Jean-Alexis Montignies wrote:
Hi there, as a jazz player I would like to share my input.
What I need in scores is really chord names.
The chord name denotes the intent of the composer and is much
subject to interpretation.
Some examples:
If you have a dominant c
On 6/2/09 3:55 AM, "Jean-Alexis Montignies" wrote:
> Hi there, as a jazz player I would like to share my input.
Thanks for sharing, Jean-Alexis.
>
> What I need in scores is really chord names.
> The chord name denotes the intent of the composer and is much subject
> to interpretation.
>
>
Hi there, as a jazz player I would like to share my input.
What I need in scores is really chord names.
The chord name denotes the intent of the composer and is much subject
to interpretation.
Some examples:
If you have a dominant chord, you write G7. Most of the time, the
pianist will not
Carl D. Sorensen wrote:
As far as I can see, there is very little hope for LilyPond making the right
decision about this chord entered in note mode. The first note is not the
root of the chord, so it would require substantial computation time to try
to identify the chord properly (and there's no
On 6/1/09 1:45 PM, "lasconic" wrote:
>
>
> Hi,
> Just in case it can be helpful, someone (Karl) post a pdf he wrote on
> MuseScore (http://www.musescore.org) mailing list about chord name display.
> Musescore is a free GPL WYSIWYG scorewriter (with lilypond export
> capabilities)
> Maybe it
On 6/1/09 8:56 PM, "Tim McNamara" wrote:
>
>
> On Jun 1, 2009, at 2:33 PM, Carl D. Sorensen wrote:
>
>> A chordnamemode *input* mode has been proposed a couple of times.
>> This mode
>> would take only a root (and optionally, a slash or alternate bass
>> note), and
>> everything else about
On Jun 1, 2009, at 2:33 PM, Carl D. Sorensen wrote:
A chordnamemode *input* mode has been proposed a couple of times.
This mode
would take only a root (and optionally, a slash or alternate bass
note), and
everything else about the chord would be in the form of a markup. For
american jazz
Hi,
Just in case it can be helpful, someone (Karl) post a pdf he wrote on
MuseScore (http://www.musescore.org) mailing list about chord name display.
Musescore is a free GPL WYSIWYG scorewriter (with lilypond export
capabilities)
Maybe it can be helpful to your current and future work on chord na
On 6/1/09 12:50 PM, "Grammostola Rosea" wrote:
> Tim McNamara wrote:
>>
>> On Jun 1, 2009, at 4:13 AM, Tim Rowe wrote:
>>
>>> 2009/6/1 Carl D. Sorensen :
>>>
You are welcome to pursue this, if you are interested in it. It is
not my
interest.
>>>
>>> I think it shows the imp
Tim McNamara wrote:
On Jun 1, 2009, at 4:13 AM, Tim Rowe wrote:
2009/6/1 Carl D. Sorensen :
You are welcome to pursue this, if you are interested in it. It is
not my
interest.
I think it shows the impossibility of what you are trying to achieve,
at least in the completely general case, a
Marc Hohl wrote:
Thomas schrieb:
I was just brainstorming, I don`t expect anybody to implement that :-)
... I just thought, if music (as long as it's not abstract) follows
some basic principles, why this is not reflected in the chord naming
sometimes.
Slash Chords are a good example ... the
Thomas schrieb:
I was just brainstorming, I don`t expect anybody to implement that :-)
... I just thought, if music (as long as it's not abstract) follows some
basic principles, why this is not reflected in the chord naming sometimes.
Slash Chords are a good example ... they are a good, easil
I was just brainstorming, I don`t expect anybody to implement that :-)
... I just thought, if music (as long as it's not abstract) follows some
basic principles, why this is not reflected in the chord naming sometimes.
Slash Chords are a good example ... they are a good, easily readable
instruc
On Jun 1, 2009, at 4:13 AM, Tim Rowe wrote:
2009/6/1 Carl D. Sorensen :
You are welcome to pursue this, if you are interested in it. It
is not my
interest.
I think it shows the impossibility of what you are trying to achieve,
at least in the completely general case, although pushing the
2009/6/1 Carl D. Sorensen :
> You are welcome to pursue this, if you are interested in it. It is not my
> interest.
I think it shows the impossibility of what you are trying to achieve,
at least in the completely general case, although pushing the
boundaries closer to that general case is valuab
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