Re: Lilypond and Jazz chords
On 5/31/09 7:34 AM, "Johannes Schöpfer" wrote: > Hi, > >> As I already said some time ago when I made my own chordnames functions, I >> still believe chordnames should be seperated from chords, or at least chords >> shouldn't produce chordnames since it'll never be clear. And the other way >> round there can also occur problems, i.e. with C7alt., how should Lilypond >> know which chord to display then. >> >> Another thing is the exceptions list. >> I think instead of defining some standards (\realbook, etc.) it would be >> easier to just type what you mean, maybe something like c:m7, c:mi7, c:-7 >> That way everyone could just type each chordname as they want it to be >> displayed instead of selecting an exception for each from a list. > > I have an idea that goes in that direction. > It would simplify both entry and interpretation: > > Basenotes are the only thing really needed to be recognized as note to make a > chord(meaning just the basenote) transposeable and to get the duration. > Anything else may be added without interpretation. > > Syntax proposal for \chordName: > Basenote[:optional text] [optional anyextension] [ optional "/" for > slash-chords [Basenote ...]] You are welcome to pursue this, if you are interested in it. It is not my interest. This would require changes to the parser. I do not have the ability to make these changes, and I'm not interested in developing this capability. But if you, or somebody else you can find, is interested in doing this, we can have the discussion. Right now there is not chordName input mode. There is note mode, where we input chords using the chord construct, and chord mode, where we input chords with the root plus modifiers. chord mode is well defined, logical, and unambiguous, so I don't see a need (or desire, IMO) to change chord mode. Right now chordName is strictly an *output* characteristic; a context that displays chord names based on notes it receives. It relates notes to chord names. That's what I'll be working on. I'm interested in that, because it works well with midi, and fretboards, etc. > > This would remove any exeptions for chordentry as anything is dispalyed as it > was entered. > Displaying the whole chord() interpreted as notes would not be > possible, but i personally never needed that. > My interest is in getting the notes correct, and being able to generate the names from the notes. I realize that there are some (like Tao) who just want names. I can see that it might be a great contribution to LilyPond to create a chordname input mode, which could do what you want to have done. I'd be happy to provide whatever help I could provide to somebody who wants to do this. Thanks, Carl ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
scheme function for transposition
I'm confused trying to use scheme to create a function. I've tried
several things, but the current function (dysfunction?) and
application looks something like this:
% code snippet
\version "2.12.2"
firstNotes = \relative c' { c4 d e f }
first =
#(define-music-function
(parser location trans)
(ly:music?)
#{
\transpose c $trans { \firstNotes }
#}
)
score {
\new Staff { \first d }
}
% end code snippet
I get an error for this:
Parsing...
:2:17: error: syntax error, unexpected MUSIC_IDENTIFIER,
expecting NOTENAME_PITCH or TONICNAME_PITCH
\transpose c
\lilyvartmpb { \firstNotes }
sample.ly:15:2: error: errors found, ignoring music expression
\new Staff { \first d }
Any ideas on how to fix this?
Thank you,
Josiah
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Re: Lilypond and Jazz chords
hi,
just one idea to think about:
if you read Werner Pöhlert's "Basic Harmoy" (a very thick volume) he
explains that every move from chord to chord is a fifth (= = half-step), so
if you want to produce consistent jazzchord names from given notes, the most
logical think would be to analyse the notes in the following way:
(1) recognize the root movement (half-tone, whole-tone[= = fifth or 2 x
fifth], fourth/fifth) from the preceeding chord and thereby the root of the
new chord
(2) determine the quality of the new chord. there exist only 5 types of
triads ... major, major +5, major -5, minor, minor - 5 ... all other
existing chords are just composed as a mix of that triads. so if you have
the root, identify the basic triad, and than the other triads that are mixed
in to make it a fancy jazz chord and then apply defined naming rules,
ie. a mix of Gminor-triad with Bbmajor-triad is called Gm7, or more
generally, a minor triad with a major triad based on it's third mixed in is
called a m7 chord with the name of the root of the minor triad.
I think only going back to this most basic building blocks of chord movement
and chord composition there ist a chance to automatically recognize chord
names and not get lost in the endless possibilities of chord interpretation
and spelling
cheers
thomas
"Grammostola Rosea" schrieb im Newsbeitrag
news:4a229781.2090...@gmail.com...
> Johannes Schöpfer wrote:
>> Hi,
>>
>>> As I already said some time ago when I made my own chordnames functions,
>>> I still believe chordnames should be seperated from chords, or at least
>>> chords shouldn't produce chordnames since it'll never be clear. And the
>>> other way round there can also occur problems, i.e. with C7alt., how
>>> should Lilypond know which chord to display then.
>>>
>>> Another thing is the exceptions list.
>>> I think instead of defining some standards (\realbook, etc.) it would be
>>> easier to just type what you mean, maybe something like c:m7, c:mi7,
>>> c:-7
>>> That way everyone could just type each chordname as they want it to be
>>> displayed instead of selecting an exception for each from a list.
>>
>> I have an idea that goes in that direction.
>> It would simplify both entry and interpretation:
>>
>> Basenotes are the only thing really needed to be recognized as note to
>> make a chord(meaning just the basenote) transposeable and to get the
>> duration.
>> Anything else may be added without interpretation.
>>
>> Syntax proposal for \chordName:
>> Basenote[:optional text] [optional anyextension] [ optional "/" for
>> slash-chords [Basenote ...]]
>>
>> Input examples:Displayed like:
>> eb maj7b5\markup {\concat{Eb\super maj7b5}}
>> eb \triangle \markup {\concat{Eb\super \triangle ##f}}
>> eb:add9\markup {\concat{Eb\tiny "add9"}}
>> eb:omit3 7\markup {\concat{Eb\tiny "omit3" \super 7}}
>> eb m7b5\markup {\concat{Eb\super m7b5}}
>> eb ø7\markup {\concat{Eb\super ø7}}
>> eb/G\markup {\concat{Eb/G}}
>> eb maj7/f lala\markup {\concat{Eb\super maj7 /F\super lala"}}
>> eb mixolydian\markup {\concat{Eb\super mixolydian}}
>>
>> New shortcuts like \triangle may be useful, for "ø" for example.
>> \maj may be an alias for \triangle
>>
>> This would remove any exeptions for chordentry as anything is dispalyed
>> as it was entered.
>> Displaying the whole chord() interpreted as notes would not
>> be possible, but i personally never needed that.
>>
>>
> Please take also care of the user friendlessness to display the chords.
>
> \r
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Re: emacs lilypond-mode
PS somebody out there must know what "error code 2" in the lilypond-context means ... I even searched the .el files, but no result or is this an emacs error? would be at least interesting, if not helpfull to find that out... cheers thomas ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: emacs lilypond-mode
Hallo, thanks to everybody for the help...I now compile the .lytex file on the command line with lilypond-book (that works) and then use the resulting .tex file in emacs ... not perfect, but finally I can start working with latex/lilypond... BTW ... I found a way to participate in this mailinglist using outlook-express as a newsreader, see the helpful article below . But only one out of three of my postings comes through ... they seem to have a tough spam-filter at gmane... cheers thomas GMane: read mailing lists via news readers this is a great find via the win-tech off topic mailing list: subscribe to mailing lists - from your newsreader! how? www.gmane.org allows subscribing to a mailing list but instead of getting it by email - you get it via any NNTP reader. This is cool because now Instead of getting the win-tech-off-topic as emails in outlook I can read it through outlook express or 40tude dialog (my favorite news agent) using the address: I use the gmane news server: news.gmane.org then I subscribe to the group: gmane.comp.windows.off-topic also - for the Nunit developers mailing list: gmane.comp.windows.dotnet.nunit.deve do you want a mailing list that is not there? simply add it to gmane and subscribe to it via news reader. very cool. very nice. "Henning Plumeyer" schrieb im Newsbeitrag news:op.uuppf4e0cej...@schuplu... > Am 30.05.2009, 00:05 Uhr, schrieb Graham Percival > : > >>> lilypond-book "c:/Dokumente und Einstellungen/work/latex projekte/ >>> jazzguitar/lbooktest1".tely >> >> Umm, doesn't lilypond still die on directories with spaces on >> windows? > > No, it doesn't. > > But the quotes before the .tely look funny. Perhaps they should be after > it. > Maybe lilypond-book has problems with that. > > Lilypond has not: > > lilypond.exe "I:\Notensatz\Bremen2009-05\dir 1\Danket dem Herrn".ly > > works. > > > Henning ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond and Jazz chords
Johannes Schöpfer wrote:
Hi,
As I already said some time ago when I made my own chordnames
functions, I still believe chordnames should be seperated from
chords, or at least chords shouldn't produce chordnames since it'll
never be clear. And the other way round there can also occur
problems, i.e. with C7alt., how should Lilypond know which chord to
display then.
Another thing is the exceptions list.
I think instead of defining some standards (\realbook, etc.) it would
be easier to just type what you mean, maybe something like c:m7,
c:mi7, c:-7
That way everyone could just type each chordname as they want it to
be displayed instead of selecting an exception for each from a list.
I have an idea that goes in that direction.
It would simplify both entry and interpretation:
Basenotes are the only thing really needed to be recognized as note to
make a chord(meaning just the basenote) transposeable and to get the
duration.
Anything else may be added without interpretation.
Syntax proposal for \chordName:
Basenote[:optional text] [optional anyextension] [ optional "/" for
slash-chords [Basenote ...]]
Input examples:Displayed like:
eb maj7b5\markup {\concat{Eb\super maj7b5}}
eb \triangle \markup {\concat{Eb\super \triangle ##f}}
eb:add9\markup {\concat{Eb\tiny "add9"}}
eb:omit3 7\markup {\concat{Eb\tiny "omit3" \super 7}}
eb m7b5\markup {\concat{Eb\super m7b5}}
eb ø7\markup {\concat{Eb\super ø7}}
eb/G\markup {\concat{Eb/G}}
eb maj7/f lala\markup {\concat{Eb\super maj7 /F\super lala"}}
eb mixolydian\markup {\concat{Eb\super mixolydian}}
New shortcuts like \triangle may be useful, for "ø" for example.
\maj may be an alias for \triangle
This would remove any exeptions for chordentry as anything is
dispalyed as it was entered.
Displaying the whole chord() interpreted as notes would
not be possible, but i personally never needed that.
Please take also care of the user friendlessness to display the chords.
\r
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Re: Lilypond and Jazz chords
Hi,
As I already said some time ago when I made my own chordnames functions, I
still believe chordnames should be seperated from chords, or at least chords
shouldn't produce chordnames since it'll never be clear. And the other way
round there can also occur problems, i.e. with C7alt., how should Lilypond know
which chord to display then.
Another thing is the exceptions list.
I think instead of defining some standards (\realbook, etc.) it would be easier
to just type what you mean, maybe something like c:m7, c:mi7, c:-7
That way everyone could just type each chordname as they want it to be
displayed instead of selecting an exception for each from a list.
I have an idea that goes in that direction.
It would simplify both entry and interpretation:
Basenotes are the only thing really needed to be recognized as note to make a
chord(meaning just the basenote) transposeable and to get the duration.
Anything else may be added without interpretation.
Syntax proposal for \chordName:
Basenote[:optional text] [optional anyextension] [ optional "/" for
slash-chords [Basenote ...]]
Input examples: Displayed like:
eb maj7b5 \markup {\concat{Eb\super maj7b5}}
eb \triangle\markup {\concat{Eb\super \triangle ##f}}
eb:add9 \markup {\concat{Eb\tiny "add9"}}
eb:omit3 7 \markup {\concat{Eb\tiny "omit3" \super 7}}
eb m7b5 \markup {\concat{Eb\super m7b5}}
eb ø7 \markup {\concat{Eb\super ø7}}
eb/G\markup {\concat{Eb/G}}
eb maj7/f lala \markup {\concat{Eb\super maj7 /F\super lala"}}
eb mixolydian \markup {\concat{Eb\super mixolydian}}
New shortcuts like \triangle may be useful, for "ø" for example.
\maj may be an alias for \triangle
This would remove any exeptions for chordentry as anything is dispalyed as it
was entered.
Displaying the whole chord() interpreted as notes would not be
possible, but i personally never needed that.
Regards,
Johnny
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Re: Lilypond and Jazz chords
On 5/30/09 10:55 PM, "Brett Duncan" wrote:
> Carl D. Sorensen wrote:
>>> I assume that there would still have to be some means of creating
>>> exceptions. If someone wants chords named mainly in the Real Book style,
>>> but with minors notated slightly differently ( Cm / Cmi / C- ) for
>>> example, would they find themselves having to put together a large list
>>> of exceptions to get their preferred style? Or would there be some other
>>> way of 'tweaking' just that aspect of how chord names are displayed?
>>
>> I haven't done it yet, so I don't know.
>>
>> But I imagine we can have a property minorSymbol which could have values
>> like \markup {"m"}, \markup {"mi"}, \markup {"-"}, or 'lowerCaseRootName
>>
>> Then a user could specify the markup to be used to indicate a minor, etc.
>
> Sounds good.
>
>> Right now we have a naming problem, separate from the display problem. If
>> we can get the code to recognize that we have a Ebmaj7b5, then we can figure
>> out how to display it in a way that the users will like. Right now, we
>> haven't had much luck with anything but exceptions in terms of getting chord
>> names.
>
> Given that I have only ever used \chordmode with ChordNames, I hadn't
> noticed the problem, but having done a little test, I can see what you
> mean. The chord produces a chord name of Cb6/sus4/sus2!?
> Bizarre!
>
> Which scheme file processes the chord to produce the name?
scm/chord-names.scm, IIRC.
CarL
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Re: Lilypond and Jazz chords
Tao Cumplido wrote: The list on Dolmetsch isn't too bad but it's a little confusing in my opinion. I think it'd be better to categorize the ways in which a single chord note is affected (or a set of notes) rather than naming all variations for each chord. For example it lists three variations for a minor triad (m, mi, min) but only two for minor-major7 chord (-maj7, -Δ). I'll make a list this week and then we can put together all the information we have from everyone and see what seems to be more useful. Given that I have only ever used \chordmode with ChordNames, I hadn't noticed the problem, but having done a little test, I can see what you mean. The chord produces a chord name of Cb6/sus4/sus2!? Bizarre! As I already said some time ago when I made my own chordnames functions, I still believe chordnames should be seperated from chords, or at least chords shouldn't produce chordnames since it'll never be clear. And the other way round there can also occur problems, i.e. with C7alt., how should Lilypond know which chord to display then. Another thing is the exceptions list. I think instead of defining some standards (\realbook, etc.) it would be easier to just type what you mean, maybe something like c:m7, c:mi7, c:-7 That way everyone could just type each chordname as they want it to be displayed instead of selecting an exception for each from a list. I think you're right, cause what I understand till now, there are no standards... so that would make it impossible to define an standard. \r ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond and Jazz chords
The list on Dolmetsch isn't too bad but it's a little confusing in my opinion. I think it'd be better to categorize the ways in which a single chord note is affected (or a set of notes) rather than naming all variations for each chord. For example it lists three variations for a minor triad (m, mi, min) but only two for minor-major7 chord (-maj7, -Δ). I'll make a list this week and then we can put together all the information we have from everyone and see what seems to be more useful. > Given that I have only ever used \chordmode with ChordNames, I hadn't > noticed the problem, but having done a little test, I can see what you > mean. The chord produces a chord name of Cb6/sus4/sus2!? > Bizarre! As I already said some time ago when I made my own chordnames functions, I still believe chordnames should be seperated from chords, or at least chords shouldn't produce chordnames since it'll never be clear. And the other way round there can also occur problems, i.e. with C7alt., how should Lilypond know which chord to display then. Another thing is the exceptions list. I think instead of defining some standards (\realbook, etc.) it would be easier to just type what you mean, maybe something like c:m7, c:mi7, c:-7 That way everyone could just type each chordname as they want it to be displayed instead of selecting an exception for each from a list. Regards, Tao -- Nur bis 31.05.: GMX FreeDSL Komplettanschluss mit DSL 6.000 Flatrate und Telefonanschluss nur 17,95 Euro/mtl.!* http://portal.gmx.net/de/go/dsl02 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
app to find piano chords
Hi, I'm wondering if there is an app who makes it able to find chord/finger settings for piano easily. I work on GNU/Linux. \r ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
