Luca Fascione <[email protected]> writes:
> Does anyone know why "c:4" in chordmode renders "C4 sus4 3", seems...
> unuseful
> Printing the notes renders "<c e f>" which is also kinda weird: a c:4 seems
> like should either render "<c f g>" or "<c e g f>" (or f', maybe) but
> omitting the fifth and leaving in a major third seems just odd. (Like, on a
> _minor_ third that'd be easier to make sense of, being an inversion of a
> dominant with an omitted third, I can see that, not an "every day" chord,
> but maybe)
> One way or the other, why is the namer putting in the 4th, then pulling out
> the third and adding the fourth, then putting in a third again?
>
> I'm confused
===============
You are having two independent problems. The first is that you are not
understanding how chord input in LilyPond works. That can be remedied
by reading the documentation.
15.1.3 Extended and altered chords
----------------------------------
Chord structures of arbitrary complexity can be created in chord mode.
The modifier string can be used to extend a chord, add or remove chord
steps, raise or lower chord steps, and add a bass note or create an
inversion.
The first number following the ‘:’ is taken to be the extent of the
chord. The chord is constructed by sequentially adding thirds to the
root until the specified number has been reached. Note that the seventh
step added as part of an extended chord will be the minor or flatted
seventh, not the major seventh. If the extent is not a third (e.g., 6),
thirds are added up to the highest third below the extent, and then the
step of the extent is added. The largest possible value for the extent
is 13. Any larger value is interpreted as 13.
\chordmode {
c1:2 c:3 c:4 c:5
c1:6 c:7 c:8 c:9
c1:10 c:11 c:12 c:13
c1:14
}
[image src="lilypond/18/lily-9703cc22.png" alt="[image of music]"]
As a special exception, ‘c:5’ produces a ‘power chord’ only consisting
of root and fifth.
Since an unaltered 11 does not sound good when combined with an
unaltered 13, the 11 is removed from a ‘:13’ major chord (unless it is
added explicitly).
\chordmode {
c1:13 c:13.11 c:m13
}
[image src="lilypond/0c/lily-3d3a6cae.png" alt="[image of music]"]
Individual steps can be added to a chord. Additions follow the
extent and are prefixed by a dot (‘.’). The basic seventh step added to
a chord is the minor or flatted seventh, rather than the major seventh.
==========
With the exception of c:5 and c:13 (which omit steps 3 and 11,
respectively) I think), chords are built by stacking thirds up to the
given degree. <c f g> is already c:sus4, <c e f g> is c:3.4.5 (a bit
cumbersome).
The second problem is that you consider the output of the chord namer
for this particular case useless. The chord namer operates basically
independent from chord input except that it makes use of some extra
information like the root note.
If you can suggest a different output you want to see for some
particular input that would be more useful, feel free to do that. But
that is independent from how you input a chord.
--
David Kastrup
