> On 30 Apr 2018, at 20:15, Jacques Menu Muzhic <imj-muz...@bluewin.ch> wrote: > > Going a bit further, I bumped into this case. > > Since the note at some interval from another one keeps its pitch name in its > different « variants », how about Db’s seconds? > > diminished second Ebbb ??? > minor second Ebb > major second Eb > augemented second E > > I’m sure no one ever uses triple flats though, must have missed something…
Use the two-dimensional keyboard layout below, extending them as necessary: Put in a chord which you know, and transpose it, or move from the one diagram to the other. A seven-note diatonic scale will always have all seven note names. ^ # / . -> M / \ b v v m where M (resp. m) is the major (resp. minor) second, and the the sharp # (resp. flat b) raises (resp lower) with the interval M - m, that is, the difference between the major and minor seconds. Resulting key pattern, in a scale using names A B C D E F G: C# D# E# C D E F# G# A# B# Cb Db Eb F G A B Fb Gb Ab Bb C' In terms of traditional interval names, writing P pure M major m minor A augmented D diminished plus numbers: 1st, 2nd, etc., this is A1 A2 A3 P1 M2 M3 A4 A5 A6 A7 D1 m2 m3 P4 P5 M6 M7 A8 D2 D3 D4 D5 m6 m7 P8 D2 >> Le 30 avr. 2018 à 15:50, Hans Åberg <haber...@telia.com> a écrit : >> >> >>> On 29 Apr 2018, at 22:17, Jacques Menu Muzhic <imj-muz...@bluewin.ch> wrote: >>> >>> OK, now everything is clear, it’s precisely on jazz chords I’m working. >> >> FYI, I recall the Mehegan books on jazz improvisation applying enharmonic >> equivalents freely. The Blatter books on instrumentation suggests applying >> them to simplify for harpists, which will save time and money. But >> orchestral instruments depart from Pythagorean tuning, not E12, so they are >> not equivalent, differing by a comma of about 20 cents. _______________________________________________ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user