Thanks for the swift and helpful response ...
1. you are right that '6 add9' and 'add6 add 9' are indeed equivalent - I
was looking at the wrong entry in the table in the Notation Reference.
2. Having looked further, I do think that some chords are generating
incorrect chord names (but correct notes): C:sus prints as C, C:2 as Csus2,
C:3 as C and C:4 as C4sus4add3
Could I ask you to please run the attached snippet to check my findings ?
(I am running 2.19.3)
thanks, Gerry
On 25 March 2014 00:50, Flaming Hakama by Elaine
<ela...@flaminghakama.com>wrote:
> Gerry,
>
> > I'm a clarinettist - we are not supposed to do chords, so please forgive
> me
> > if these are idiot questions ....
>
> As a clarinettist, I feel compelled to assert that we have the capacity to
> do chords just fine. I hope you are getting more comfortable with it.
>
>
>
> > 1. the superscript modifier 6/9 is (from a google search) equivalent to
> > 'add6 add9'. Yet lily puts it into the score as '6 add9' which is surely
> > not the same thing at all ?
>
> Actually, I think that these are the same, meaning the chord made up of
> scale degrees 1 3 5 6 9.
>
> One thing to realize is that the way that lilypond prints chord symbols is
> different from how it represents chords interally. In this case, you can
> modify lilypond to print "add6 add9" for this type of chord if you want.
>
> In terms of theory, the notion of "add" comes into play when the numbers
> get beyond 7, since by convention (both in general musical practice, and in
> lilypond) anything above or including an unmodified 7 implies that a
> dominant 7th is in the chord.
>
> So, for any number less than 7, you can just write that degree after the
> chord root name, since you don't have to worry about what someone might do
> with the 7th, because you have not gone that high. You can make the case
> that "add 6" is too verbose and perhaps confusing, since "6" gets the point
> across, and the "add" could make you think for a moment that the extension
> is actually higher than a 7th, which it is not. (unless, of course, you
> really mean 13). This is probably why the default lilypond chord symbol is
> "6 add9" rather than "add6 add9".
>
>
> > 2. the 'sus' modifier should be followed by '2' or '4' and if lily finds
> > sus on its own it just puts out the basic triad. But some scores include
> > all three forms - triad, sus and sus4 implying that they are different.
> > Shouldn't the unmodified sus generate just the first and fifth ?
> > (specifying ^3 also seems to generate the full triad).
>
> Suspended "chords" are an area where I think there is less general
> agreement (in musical practice) about what they mean.
>
> My general understanding about musical practice is that "sus" simply means
> "there is no 3rd in this 'chord'". The most typical implication is that
> you are sounding the 4th instead of the 3rd, meaning scale degrees 1 4 5.
>
> However, like many things about the way lilypond represents chords, it is
> a balance between being unambiguous versus following some flavor of common
> usage. And in lilypond, the unambiguous often wins out. In this case,
> lilypond makes you specify what note is taking the place of the 3rd.
>
> Not sure I understand why the default behavior of specifying sus without
> another scale degree gives you a triad (it is certainly not based on
> typical musical interpretation of sus chords), but again, you have to
> realize that the chord input syntax is lilypond-specific and different than
> the dialect of printed chord symbols.
>
> Not quite sure what you mean by scores that have chord symbols that say
> "triad". Never seen that before. In fact, until coming across lilypond, I
> have never seen anyone write a "sus 2" chord. Just because you have seen
> something in a score--especially chord changes--doesn't mean that it is
> normal, accepted and well-understood. It could just be inconsistent. In
> any case, I would assume that both the "sus" and "sus4" mean the same thing.
>
>
> I hope this helps,
>
> David Elaine Alt
> 415 . 341 .4954 "*Confusion is
> highly underrated*"
> ela...@flaminghakama.com
> skype: flaming_hakama
>
> -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
>
%% Generated by lilypond-book.py
%% Options: [exampleindent=10.16\mm,indent=0\mm,line-width=160\mm,quote,ragged-right]
\include "lilypond-book-preamble.ly"
% ****************************************************************
% Start cut-&-pastable-section
% ****************************************************************
\paper {
indent = 0\mm
line-width = 160\mm
% offset the left padding, also add 1mm as lilypond creates cropped
% images with a little space on the right
line-width = #(- line-width (* mm 3.000000) (* mm 1))
line-width = 160\mm - 2.0 * 10.16\mm
% offset the left padding, also add 1mm as lilypond creates cropped
% images with a little space on the right
line-width = #(- line-width (* mm 3.000000) (* mm 1))
ragged-right = ##t
}
duffChords = \chordmode { c1:sus c:2 c:3 c:4 }
Chords = \new ChordNames \chordmode {
\set additionalPitchPrefix = #"add"
\transpose c c, { \duffChords }}
\score {
<<
<<
\new StaffGroup <<
\chordmode { \Chords }
\chordmode { \duffChords }
>>
>>
>>
\layout {
}
}
% ****************************************************************
% end ly snippet
% ****************************************************************
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