Thank you! That makes perfect sense. I had copied and pasted the chords
from a different document and overlooked the usage of \chords.
On Thu, Mar 20, 2025 at 5:45 PM Valentin Petzel wrote:
> Hello Steve,
>
> > I'm having an issue with most of the chord symbols (except for
Hello Steve,
> I'm having an issue with most of the chord symbols (except for the No
> Chord) being displayed below the staff line. Obviously I've messed
> something up but I have not been able to figure it out. If someone could
> please take a look and point me in the ri
0 de mar. de 2025 21:25, Steve Carlock
escreveu:
> I'm having an issue with most of the chord symbols (except for the No
> Chord) being displayed below the staff line. Obviously I've messed
> something up but I have not been able to figure it out. If someone could
> pl
I'm having an issue with most of the chord symbols (except for the No
Chord) being displayed below the staff line. Obviously I've messed
something up but I have not been able to figure it out. If someone could
please take a look and point me in the right direction, I would appreciate
i
quot;} %c:dim7
> -\markup { \super "7(b13)" } % c:3.5.7.13-
> -\markup { \super "7(#5)"} % c:7.5+
> -\markup { \super "Maj7"} % c:7+
> }
> chExceptions = #(append (sequential-music-to-chord-exceptions
> chExceptionMusic #t) ignatzekExceptions)
>
Eric C wrote:
I'm trying in vain to align annotations made with TextMark with the names of
the chords produced on a harmonic grid. Is there a way to do this?
I looks like your annotations are getting aligned to the chord timings,
just as ChordNames are positioned.
But the Grid sof
er-size "letter landscape")
indent = 0
ragged-right = ##f
}
chExceptionMusic = {
1-\markup { \super "dim" } % c:dim
-\markup { \super "dim7"} %c:dim7
-\markup { \super "7(b13)" } % c:3.5.7.13-
-\markup { \super "7(#5)"} % c:7.5+
-\markup { \super &q
:% Convert music to list and prepend to existing exceptions.
chExceptions = #(append
(sequential-music-to-chord-exceptions chExceptionMusic #t)
ignatzekExceptions)2. Unsurprisingly, given my cluelessness about the code above, it took me several tries before my clumsy attempts succeeded. Can anyone
attached to the chord name.
\version "2.24.4"
melody = \relative c' {
b'1^"0 2 2 0 0 0"
}
myChords = \chordmode {
e1:m
}
\score {
<<
\new ChordNames \myChords
\new Staff \melody
>>
\layout {
\override T
The end result would be like in the attached code but instead of the text being
attached to the note, I would like it to be attached to the chord name.
\version "2.24.4"
melody = \relative c' {
b'1^"0 2 2 0 0 0"
}
myChords = \chordmode {
e1:m
Edit:
I became aware of chordNameExceptions just after posting, and it might be
the solution to my problem. However, I do not understand how the snippet
in the manual
<https://lilypond.org/doc/v2.25/Documentation/snippets/chords_003a-chord-name-exceptions>
works. More precisely, I
dmode
{d2:m7.5-/f \set additionalPitchPrefix = #"add" d2:m7.5-.11}}
\new Score <<
\new ChordNames {\songHarmony}
\new Staff
\relative c' {f2 d2}
>>
Much to my surprise, however, Lilypond displays the first chord name with
the usua
On Thu, Mar 13, 2025 at 3:47 PM Eric C wrote:
> Hello, I'm trying to place a short text with a chord symbol. I can work
> around this by attaching the text to a note, but that's not my goal. Here's
> an exemple what I'm trying to do:
>
>CMaj7
>
>
Hello, I'm trying to place a short text with a chord symbol. I can work around
this by attaching the text to a note, but that's not my goal. Here's an exemple
what I'm trying to do:
CMaj7
x 3 5 4 5 x
This text represents the fingering of the CMaj7 at the 3rd fret of th
Dear All,
Sadly Martin passed away on 16/10/24 from prostate cancer.
Kind regards
Sarah Rushton widow of the late Martin Rushton
-- Original Message --
From: l.fasci...@gmail.com
To: lilypond-user@gnu.org
Sent: Thursday, February 13th 2025, 16:53
Subject: Checking if a note or chord
Found my problem.
I'm a rookie and I had this
(if (> duration-log 2)
(set! new-X-offset (+ new-X-offset 0.5))
(display (ly:grob? flag))
)
No wonder it was just a bunch of falses...
Thanks for the help, sorry for the noise
L
On Thu, Feb 13, 2025 at 10:12 PM Luca Fascione wrote:
> Ha.
Ha.
I'm in Stem.before-line-breaking ...
Lemme check if that's the problem, if so, can it be fixed?
Thanks Lukas,
L
--
Luca Fascione
Hi Luca,
Am 13.02.25 um 17:52 schrieb Luca Fascione:
for my fingering engraver I'd like to position the fingering mark
differently based on whether the note/chord has a flag or a beam (I
push it out in X a little when there is a flag)
So I thought I could use
(flag (ly:grob-object stem
Hi,
for my fingering engraver I'd like to position the fingering mark
differently based on whether the note/chord has a flag or a beam (I push it
out in X a little when there is a flag)
So I thought I could use
(flag (ly:grob-object stem 'flag))
Where stem is a normal stem grob (I t
Frédéric writes:
> Hi Valentin,
>
> I came to the same conclusion as you: prefer \new Voice << { notes1 }
> { notes2 } >> over a series of chords. After I split the 2 voices, I
> was able to rebuild the original version like that so I could compare
> the notes to the original score before going f
Hi Valentin,
I came to the same conclusion as you: prefer \new Voice << { notes1 }
{ notes2 } >> over a series of chords. After I split the 2 voices, I
was able to rebuild the original version like that so I could compare
the notes to the original score before going further with my
transcription.
>> on the following music:
>> \times 4/6 { r16 -.[( -. -.-> -. -.)] }
>> I get what I expect:
>> \times 4/6 { r16 << {
>> fa-.[( sib-. re-.-> sib-. fa-.)]
>> } \\ {
>> re-.[( fa-. sib-.-> fa-. re-.)]
>> } >>
>> }
>
like
but like
\new Voice << { c d e } { e f g } >>
This way the very same expression can be used as two voices by inserting a \\
in between. But if you really need notation you can easily do something
like this:
%
notes = {
-. -- -\f
}
{ \notes }
% Filter only n-th not
>
Agreed!
On my side, I worked in a different direction, starting from your
> first script. I wanted to have a unique << { } \\ { } >> if possible
> and not repeat that at each chord. Here is where I am currently. Not
> yet perfect but on the following music:
> \times
script. I wanted to have a unique << { } \\ { } >> if possible
and not repeat that at each chord. Here is where I am currently. Not
yet perfect but on the following music:
\times 4/6 { r16 -.[( -. -.-> -. -.)] }
I get what I expect:
\times 4/6 { r16 << {
fa-.[( sib-. re-.->
) or 'nederlands'
cursor = ly.document.Cursor(doc)
ly.pitch.rel2abs.rel2abs(cursor, language=language, first_pitch_absolute=args.first_pitch_absolute)
txt = cursor.document.plaintext()
# Main loop, break chords into two voices
# Assumes that chords start with the lowest note f
Le 2024-12-20 13:18, Frédéric a écrit :
Hi,
I want to adapt a piano score for a small set of instruments. The
right hand is already written as a set of chords with 2 notes
... Is there a way to turn it into a set of 2 voices { a b } \\
{ c' d' }?
Thanks,
F
Perhaps this snippet will fit your ne
On Fri 20 Dec 2024 at 13:40:48 (-0800), Knute Snortum wrote:
> Since you're going to write a Python script, I figure I can share what I've
> done so far on mine. It uses python-ly so you need to do a `pip install
> python-ly` first before you run it. It makes three very big assumptions:
>
> 1) T
I've
done so far on mine. It uses python-ly so you need to do a `pip install
python-ly` first before you run it. It makes three very big assumptions:
1) That you're using an absolute pitch of some sort. Relative pitch is
going to be a problem, I think.
2) That all chords have exac
Thank you all. I wanted to know if there was already something
available but I will build a python script for it. I'm also under
Linux and pretty used to that.
Here is an example of input:
lower = \relative f, {
\key f \major
\time 4/4
2 r
| r
| 1
| 2 r
| 1
| 2
| r
| 2. 4
| 1
|
|
;([0-9\.]*)
\1\2
Right part of the chords
<[^\s]+\s([^\s>]+)>([0-9\.]*) \1\2
This regex extract the left part in and output it in the variable 1 (the first
part in parenthesis), extract the duration after the chord (digits and dots) to add it in
variable 2 (second group
On Fri, Dec 20, 2024 at 7:17 AM Kieren MacMillan <
kie...@kierenmacmillan.info> wrote:
> Hi Frédéric,
>
> > I want to adapt a piano score for a small set of instruments. The
> > right hand is already written as a set of chords with 2 notes
> > ... Is there a way to turn it into a set of 2 voices
On Fri, Dec 20, 2024 at 5:39 AM Raphael Mankin wrote:
>
>
> On 20/12/2024 12:18, Frédéric wrote:
> > Hi,
> > I want to adapt a piano score for a small set of instruments. The
> > right hand is already written as a set of chords with 2 notes
> > ... Is there a way to turn it into a set of 2 voice
Hi Frédéric,
> I want to adapt a piano score for a small set of instruments. The
> right hand is already written as a set of chords with 2 notes
> ... Is there a way to turn it into a set of 2 voices { a b } \\
> { c' d' }?
Maybe Frescobaldi has a function/script that does this?
Cheers,
Kieren.
On 20/12/2024 12:18, Frédéric wrote:
Hi,
I want to adapt a piano score for a small set of instruments. The
right hand is already written as a set of chords with 2 notes
... Is there a way to turn it into a set of 2 voices { a b } \\
{ c' d' }?
Thanks,
F
I would use a little perl or python s
Hi,
I want to adapt a piano score for a small set of instruments. The
right hand is already written as a set of chords with 2 notes
... Is there a way to turn it into a set of 2 voices { a b } \\
{ c' d' }?
Thanks,
F
Il giorno lun 14 ott 2024 alle 00:35:40 +02:00:00, Thomas Morley
ha scritto:
Am So., 13. Okt. 2024 um 23:38 Uhr schrieb Federico Bruni
:
Hi folks
I'm trying to understand how to bend some notes in a chord.
The following example shows a bug, unless I'm missing something:
Am So., 13. Okt. 2024 um 23:38 Uhr schrieb Federico Bruni :
>
> Hi folks
>
> I'm trying to understand how to bend some notes in a chord.
> The following example shows a bug, unless I'm missing something:
>
>
> \version "2.25.19"
>
> mus = \relat
Hi folks
I'm trying to understand how to bend some notes in a chord.
The following example shows a bug, unless I'm missing something:
\version "2.25.19"
mus = \relative {
% From g\3 to gis\3 there's one semitone,
% but the Bend spanner is printing 1 instead of 1/2.
On Mon, Oct 7, 2024 at 1:45 AM Thomas Morley
wrote:
> Am Di., 1. Okt. 2024 um 16:45 Uhr schrieb Knute Snortum <
> ksnor...@gmail.com>:
>
> I created a doc-tagged LSR-snippet to cover this and
> https://lists.gnu.org/archive/html/lilypond-user/2024-09/msg00289.html
> See https://lsr.di.unimi.it/LS
Am Di., 1. Okt. 2024 um 16:45 Uhr schrieb Knute Snortum :
>
> On Tue, Oct 1, 2024 at 2:05 AM Thomas Morley wrote:
>>
>>
>> I've to run for my regular job, no time for explanations.
>> Please study:
>>
>>
>>
>> \relative {
>> 4 q2.
>> 4 \once \override TieColumn.positioning-done = ##t q2.
>>
Am Mo., 30. Sept. 2024 um 22:57 Uhr schrieb Knute Snortum :
>
> How do you change the shape of a tie that's in a chord? In the following
> example, neither \shape command has any effect.
>
> %%%
> \version "2.24.4"
>
> tieShapeA = \shape #'((0 . 0)
On Tue, Oct 1, 2024 at 2:05 AM Thomas Morley
wrote:
>
> I've to run for my regular job, no time for explanations.
> Please study:
>
>
>
> \relative {
> 4 q2.
> 4 \once \override TieColumn.positioning-done = ##t q2.
> 4 \once \override TieColumn.positioning-done = ##t q2.
> <
> c
>
How do you change the shape of a tie that's in a chord? In the following
example, neither \shape command has any effect.
%%%
\version "2.24.4"
tieShapeA = \shape #'((0 . 0) (0 . -1) (0 . -1) (0 . 0)) \etc
tieShapeB = \shape #'((0 . 0) (0 . -1) (0 . -1) (0 . 0)) Tie
\
y the "oom" ("bassoon" line)
> and the "pah" (the chord line), for the purpose of getting the MIDI output
> right: Bass note on the downbeat; chord on the upbeat.
> However, this entails that in the PDF the chord name is also displayed
> on the upbeat (as exp
Hello.
A common accompaniment motive is "oom pah":
https://en.wikipedia.org/wiki/Oom-pah
An excerpt of a LilyPond-generated score is attached.
I get this PDF output by encoding separately the "oom" ("bassoon" line)
and the "pah" (the chord line), fo
> Wouldn’t ly:pitch-diff save some of your work?
In
```
(define (interval-string a b)
(number->string (1+ (ly:pitch-steps (- b a)
```
The `(- b a)` actually uses `ly:pitch-diff` behind the scene :-)
Werner
Hi Werner,
Wouldn’t ly:pitch-diff save some of your work?
Just a thought-experiment…
Kieren
> On Jul 16, 2024, at 2:32 AM, Werner LEMBERG wrote:
>
>
> I want to find the interval size of a two-note chord in a music
> function, and I came up with the following soluti
I want to find the interval size of a two-note chord in a music
function, and I came up with the following solution.
```tex
showInterval =
#(define-music-function (ev-chord)
(ly:music?)
(define (interval-string a b)
(number->string (1+ (ly:pitch-steps (- b a)
(let* ((no
practice situations will arise
which the guides haven't fully anticipated.
Paul
From: Wols Lists
To:
Sent: 18/06/2024 8:29
Subject: Re: Accidental placement with dense chord
On 18/06/2024 00:00, Paul Hodges wrote:
> Not necessarily. Your rule is similar to w
On 18/06/2024 00:00, Paul Hodges wrote:
Not necessarily. Your rule is similar to what Read recommends; but the
rule in Gould (which LilyPond generally follows) is based around placing
the highest accidental first, then the lowest, and alternating towards
the middle. But it's not as simple as
From: Dirck Nagy
Arent accidentals in chords supposed to be placed as follows?
Not necessarily. Your rule is similar to what Read recommends; but the rule in
Gould (which LilyPond generally follows) is based around placing the highest
accidental first, then the lowest, and altern
ement with dense chord
Caution: *External Email: Use caution responding, opening attachments, or
clicking on links.*
On Sun, Jun 16, 2024 at 3:00 PM Paul Hodges
mailto:p...@cassland.org>> wrote:
Would you consider:
\relative {
\mark E
<<
{
8
}
\\
{
>
> -- Forwarded message --
> From: Knute Snortum
> Date: Sun, 16 Jun 2024 14:29:00 -0700
> Subject: Accidental placement with dense chord
> Hello list,
>
> I have a dense chord with a lot of accidentals I need to typeset.
>
>
> I have two quest
t;
> Maybe it breaks the rules, but it looks easy to read to me.
>
It looks good to me, and it helps that the chord before it is also shifted
in this way (see attached). Thanks!
--
Knute Snortum
29
Subject: Accidental placement with dense chord
Hello list,
I have a dense chord with a lot of accidentals I need to typeset. The
accidental placement that Lilypond comes up with looks a little too far from
the note heads for me, but I'm struggling to find something better. I ca
Hello list,
I have a dense chord with a lot of accidentals I need to typeset. The
accidental placement that Lilypond comes up with looks a little too far
from the note heads for me, but I'm struggling to find something better. I
came up with three other configurations but I'm not sur
Hi Fennel,
This might be a little hacky, but…
%%% SNIPPET BEGINS
\version "2.24.3"
"fing13" =
\tweak X-offset #-1
\tweak Y-offset 0
\finger \markup \override #'(baseline-skip . 1.25) \column { "1" "3" }
\relative c'' {
<< { c4 d-2 } \\ a2-\"fing13" >>
}
%%% SNIPPET ENDS
You could ea
On Tue, 21 May 2024 at 16:04, Aaron Hill wrote:
>
> It is interesting how we interpreted the clef and key signature
> differently when trying to recreate the image. You did manage to the
> squeeze in the forte, which I did not.
Yes, I thought exactly the same thing when I saw your answer. In fac
uration-log 2 d, d a>2
>> <\tweak duration-log 2 d a f'>2
>> <\tweak duration-log 2 e, c e>2 \fermata
>> }
>>
>
> Frankly, someone™ should put in the work to make
>
> \version "2.25.13"
>
> {
> \clef bass \omit Staf
nkly, someone™ should put in the work to make
\version "2.25.13"
{
\clef bass \omit Staff.Clef
\omit Staff.TimeSignature
\stemDown
<< d,4 d2 a >>
<< d4 a2 f' >>
<< e,4 c2 e \fermata >>
}
just work. There is an additional bit of icki
On 2024-05-21 6:55 am, Xavier Scheuer wrote:
\relative c' {
\key bes \major
\stemDown
<\tweak duration-log 2 bes bes' f'>2\f
<\tweak duration-log 2 bes' f' d'>2 |
<\tweak duration-log 2 c, a' c>2\fermata
}
It is interesting how we interpreted the clef and key signature
differently when tryin
On Tue, 21 May 2024 at 15:42, Jun Tamura wrote:
>
> Hello,
>
> Could someone give me a pointer for this?
>
> This is a quite popular notation for bowed string instruments. I’m almost
certain that I saw a way to achieve this before but could not find it this
time.
Hello,
\relative c' {
\key bes \
On 2024-05-21 6:40 am, Jun Tamura wrote:
Hello,
Could someone give me a pointer for this?
This is a quite popular notation for bowed string instruments. I’m
almost certain that I saw a way to achieve this before but could not
find it this time.
What you typically do is \tweak the duration-
> Could someone give me a pointer for this?
>
> This is a quite popular notation for bowed string instruments. I’m almost
> certain that I saw a way to achieve this before but could not find it this
> time.
\version "2.24.2"
{
2
}
HTH
Jean
signature.asc
Description: This is a digitally s
Hello,
Could someone give me a pointer for this?
This is a quite popular notation for bowed string instruments. I’m almost
certain that I saw a way to achieve this before but could not find it this time.
Thanks in advance for your help.
Jun
> I mean… technically, it’s correct…
Thanks.
> but yuck.
:-)
> If I were customizing the name, I would probably have it say
> Em(addb4). At the very least it should say Emsusb4.
As chord names noob I have no opinion to that. I just wanted to
ensure that MR !2335 produces cor
Hi Werner,
I mean… technically, it’s correct… but yuck.
If I were customizing the name, I would probably have it say Em(addb4).
At the very least it should say Emsusb4.
— Kieren
__
My work day may look different than your work day. Please do not feel
> I tried the following
>
> ```
> \version "2.25.16"
>
> chord = \chordmode { c4:6-^1 }
>
> <<
> \new ChordNames \chord
> \chordmode { \chord }
> >>
> ```
>
> and got the attached result. The displayed chord name looks weird
&
I tried the following
```
\version "2.25.16"
chord = \chordmode { c4:6-^1 }
<<
\new ChordNames \chord
\chordmode { \chord }
>>
```
and got the attached result. The displayed chord name looks weird to
me, but I'm no expert for Jazz chords... Is it correct
On 11/05/24 01:59, Kieren MacMillan wrote:
Hi Raphael,
However, the chord names are mono-spaced; they are not spaced
according to their durations. So that if, for instance, I have {ef2
ef4:maj7 ef4:7} then each symbol occupies the same amount of space on
the line. The first chord does not
Hi Raphael,
> However, the chord names are mono-spaced; they are not spaced according to
> their durations. So that if, for instance, I have {ef2 ef4:maj7 ef4:7} then
> each symbol occupies the same amount of space on the line. The first chord
> does not occupy double the space
I have generated a chord lead sheet for a bass player with just the
chords on it (\chordMode, no notes). After some fiddling I got the bar
lines and repeats printed.
However, the chord names are mono-spaced; they are not spaced according
to their durations. So that if, for instance, I have
ne-width . 66) \override #'(baseline-skip .
>>> > 2.3) \wordwrap { But enough with introductions. You are no doubt here to
>>> > learn about a most difficult episode in the life of our Katz. It was
>>> > during a particular night of fitful sleep that our beloved Katzlein
>>> > fina
beloved Katzlein finally
>> slipped into Traumland, and it is there where our story begins. }
>> > R2.\fermata%29
>> > \textLengthOff
>> > }
>> > }
>> > }
>> >
>> > Thank you so much.
>> >
>> > Hwaen Ch&#x
our beloved Katzlein finally
> slipped into Traumland, and it is there where our story begins. }
> > R2.\fermata%29
> > \textLengthOff
> > }
> > }
> > }
> >
> > Thank you so much.
> >
> > Hwaen Ch'uqi
> >
>
> Hi,
>
>
a
> particular night of fitful sleep that our beloved Katzlein finally slipped
> into Traumland, and it is there where our story begins. }
> R2.\fermata%29
> \textLengthOff
> }
> }
> }
>
> Thank you so much.
>
> Hwaen Ch'uqi
>
Hi,
what happens here
Greetings,
I am trying to typeset a stack of spoken lines above a multimeasure rest.
This works fine when preceded by notes in the same system. However, when it
follows a forced break, the output is not so desirable. Can anyone explain
what I am missing? MWE below.
\version "2.24.3"
\score {
\
Many thanks, Aaron. So here is a cleaner MWE, with your fix:
\version "2.25.13"
#(ly:set-option 'debug-skylines #t)
\layout {
\context { \Score
\override NonMusicalPaperColumn.show-horizontal-skylines = ##t
}
}
\layout {
\context { \Dynamics
\consists Pure_from_neighbor_engraver
\
On 2024-03-22 4:08 pm, Michael Bret wrote:
Dear Werner, Aaron and Knute,
(it is y first time attempting to contribute to such lilypond
discussion so I don’t dare cc-ing the whole mailing list)
(Adding the mailing list for visibility...)
Regardless of your experience or comfort level, it is a
Hello Marcus,
essentially what you have here is
<< chordNames voiceI \\ voiceII >>
If you only had << chordNames voiceI >> this would work out, because Lilypond
would first see the chord names, which creates a new ChordNames context, and
then the music, for which L
Hi all,
I'm using lilypond to practice my voice leading. I want to keep the harmony
as a separate voice for the sake of tidiness. However, when I add a second
voice, the chords appear underneath the staff as opposed to above it. How
do I fix this?
Example:
\version "2.25.11"
\language "english"
on-log) (ly:duration-log duration) note
{ <\apparent e,4 b, f e'>2 }
Of course it doesn't work to change the dotcount when the chord as such
has no dots scheduled. I am also not convinced that this interface is
the best approach.
--
David Kastrup
<\tweak duration-log 3 e, b, g e’>2
> 18 jan. 2024 kl. 16:33 skrev Alexander Weidner :
>
>
>
> Hello,
>
> how do I notate a Double stop (German: Doppelgriff), where one note has an
> other duration (see image).
>
> Thanks! Alexander
Hello,
how do I notate a Double stop (German: Doppelgriff), where one note has an
other duration (see image).
Thanks! Alexander
Hello Robin
Thank you so much Have a good day
JP
Le 14/01/2024 à 22:43, Robin Bannister a écrit :
achar wrote:
I would like to be able to change only the size of the bass in a bass
chord, for example G in the F/G chord.
And possibly be able to move it down and to the right of the
achar wrote:
I would like to be able to change only the size of the bass in a bass
chord, for example G in the F/G chord.
And possibly be able to move it down and to the right of the agreement name.
Add the attached layout section and adjust the numbers.
Cheers,
Robin
\layout{
\context
Good morning.
I would like to be able to change only the size of the bass in a bass
chord, for example G in the F/G chord.
And possibly be able to move it down and to the right of the agreement name.
Can anyone help me ?
Thank you so much .
Jean Pierre
> R1
> R1
> R1
> }
> >>
> }
>
> For parentheses around Chords, I use this code
> %% Parentheses for Chords %%
>
> #(define (left-parenthesis-ignatzek-chord-names in-pitches bass
>
\new ChordNames \Harmonies
\new Staff {
R1
R1
R1
}
>>
}
For parentheses around Chords, I use this code
%% Parentheses for Chords %%
#(define (left-parenthesis-ignatzek-chord-names in-pitches bass
inversion context)
Hi,
In jazz lead sheets one often comes across alternate chord names in
parentheses written above the standard chord to signify an alternative
harmony that can be played. I have tried doing that using this as a simple
example of an alternative IIm7-V7 back to Imaj:
\version "2.25.4"
nippet:
> http://lilypond.org/doc/v2.24/Documentation/snippets/chords#chords-chord-names-alternative
>
> Best wishes,
>
> Jakob
>
> On 31.10.2023 23.37, Mats-Olof Liljegren wrote:
>> Hi!
>> I would like to write e.g. am7-5 or Eadd9 or any other jazz and pop style
Hi Mats-Olof,
You should be able to do what you wish with the help of this snippet:
http://lilypond.org/doc/v2.24/Documentation/snippets/chords#chords-chord-names-alternative
Best wishes,
Jakob
On 31.10.2023 23.37, Mats-Olof Liljegren wrote:
Hi!
I would like to write e.g. am7-5 or Eadd9 or
Hi!
I would like to write e.g. am7-5 or Eadd9 or any other jazz and pop styled
chords.
Is there a simple solution?
Best regards
/ MO
Hello,
instead of doing
\repeat unfold 8 {s1}
do
s1*8
or
\scaleDurations 8 s1
Cheers,
Valentin
Am Freitag, 13. Oktober 2023, 21:43:53 CEST schrieb clyde:
> I would like to include chord names in only part of a song. The example
> I attached does that. The problem is that the use of spa
I would like to include chord names in only part of a song. The example
I attached does that. The problem is that the use of spaces in the
ChordNames section interferes with the \CompressMMRests directive in the
"notes" section. Is there another way to include chordnames in a porti
#1
c e>8[ g' g, g']}
>>
}
On Mon, 25 Sept 2023 at 10:02, cc0_knight--- via LilyPond user discussion <
lilypond-user@gnu.org> wrote:
> Hi everyone!
> as the code mentioned below, when i try to engraving, the root note of the
> chord are not same as up
Hi everyone!
as the code mentioned below, when i try to engraving, the root note of the
chord are not same as upper note. how to solve this problem?
the aim:
problem:
code:
\relative c'' {
\mergeDifferentlyHeadedOn
\time 4/8
<<
{2}
\\
{8 [g'8]}
>>
}
best regards!
as the code mentioned, when I engraving, slur arpeggio are collision with
measure line, how to avoid this by redefine slur?
```
\new PianoStaff <<
\set PianoStaff.connectArpeggios = ##t
\override PianoStaff.Arpeggio.stencil =
#ly:arpeggio::brew-chord-slur
\new Staff {
\rela
ar, even though I do not fully
> understand it.
>
> I am trying to make a Chord Chart that goes over two pages, in what I call
> a "ukulele layout". A "ukulele layout" being where the chords are in
> line with the lyrics.
> I also, in the long run, I am looking
1 - 100 of 2468 matches
Mail list logo
