C9add6 would also have the flatted seventh <c e g a bf> making it completely different than C69, most readers know that a C9 functions as a dominant spring and C69 as a tonic or major. But C69 omits the seventh <c e g a d>. CM9 would have the natural maj seventh <c e g b d> . CM13 has the natural maj seventh and the 6th (or thirteenth, 9th optional, 11th omitted) <c e g b d a'> and <c e g b a'> are both CM13 chords with one omitting the ninth. C13 again is a dominant flatted seventh with 11th omitted, 9th optional, and 13th (or sixth) present depending on how your instrument is able to finger it.
Right about markup, we can always do that any time, but it wont transpose making it useless for chords. I prefer using notes anyway <c e g> in the ChordNames context, then add exceptions as needed, but thats just me. That way I can code all my inversions correctly and use those note variables over again on a staff with the correct inversions showing. If the name that emitted on the ChordNames staff is not what I want I add it to the exception list. But sometimes the exception lookup routine fails because it's not a 1 to 1 lookup with your source file. And that is the most frustrating "bug" that needs to be fixed. Rick eyolf wrote: > > > > You're probably right about more people being more used to 6/9, but 6add9 > is > unambiguous, whereas C6/9 COULD be read as C9add6 (=C13). 6/9 would be a > single exception from the rule, which in principle is a bad thing. > > > -- View this message in context: http://www.nabble.com/triangle-chord-notation-tf2042072.html#a5672843 Sent from the Gnu - Lilypond - User forum at Nabble.com. _______________________________________________ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
