Re: chord name

[James]

On 01/06/14 11:34, MING TSANG wrote:

lilyponders:
I am transcribe a score hardcopy and I encounter lily does not 
generate as the score hardcopy.

questions:
(1)  are they the same?
(2)  how can I make it show as the score hardcopy?
(3)  Is there a sample chord name sample?

Below is a sample code:
\version "2.19.7"
\language "english"
chordz = \chordmode {
bf2:2  % score hardcopy show Bf2 : lily code as bf2:2 ->generate 
as Bfsus2 ?are they the same?
f2:sus% score hardcopy show Fsus :  lily code as f2:sus ->generate 
as F ?are they the same?
f2 % score hardcopy show F2 : lily code as f2 ->generate as F 
?are they the same?
ef:min7  % score hardcopy show EfM7 : lily code as ef:min7 ->generate 
as Efm7 ?are they the same?

}
\score {
<<
\new ChordNames \chordz
\new Staff { \chordz }
>>
\layout { }
}



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Ming,

I cannot answer the specific comparative examples, but the Appendix

http://lilypond.org/doc/v2.18/Documentation/notation-big-page#common-chord-modifiers

does show much more than it ever did in the 2.18 docs.

Does this new information here help or not?

James
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Re: chord name

[MING TSANG]

James:
Thank you for the link.  I will study it and let you know.
Emmanuel,
Ming


On Sunday, June 1, 2014 6:54:47 AM, James  wrote:
 


On 01/06/14 11:34, MING TSANG wrote:

lilyponders:
>I am transcribe a score hardcopy and I encounter lily does not generate as the 
>score hardcopy.
>questions:
>(1)  are they the same?
>(2)  how can I make it show as the score hardcopy?
>(3)  Is there a sample chord name sample?
>
>
>Below is a sample code:
>\version "2.19.7"
>\language "english"
>chordz = \chordmode {
>bf2:2      % score hardcopy show Bf2 : lily code as bf2:2 ->generate as Bfsus2 
>?are they the same?
>f2:sus    % score hardcopy show Fsus :  lily code as f2:sus ->generate as F 
>?are they the same?
>f2           % score hardcopy show F2 : lily code as f2 ->generate as F ?are 
>they the same? 
>ef:min7  % score hardcopy show EfM7 : lily code as ef:min7 ->generate as Efm7 
>?are they the same? 
>}
>\score {
>
><<
>\new ChordNames \chordz
>
>\new Staff { \chordz }
>>>
>
>\layout { }
>}
>
>
>
>
>
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Ming,

I cannot answer the specific comparative examples, but the Appendix

http://lilypond.org/doc/v2.18/Documentation/notation-big-page#common-chord-modifiers

does show much more than it ever did in the 2.18 docs.

Does this new information here help or not?

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Re: Chord Name Exceptions

[Aaron Hill]

On 2021-04-09 12:06 pm, Gabriel Borin wrote:

Hello,

I have been trying to write a bass part for a big band. Although I am
mostly happy with the general output of chord names, I don´t like
half-diminished notation in Lilypond. I prefer the descriptive "m7(b5) 
or

min7(b5)".

I have been trying to use the snippet under this link with no success:
https://lilypond.org/doc/v2.19/Documentation/notation/displaying-chords.en.html


It is hard to say what is going wrong without an example of what you 
specifically tried.  Here is an example that specifically works with 
m7(b5) that you can compare and contrast with:



\version "2.22.0"

customChordNames = {
  
   -\markup \concat { m \super { 7 ( \flat 5 ) } }
}
customChordNameExceptions = #(append
 (sequential-music-to-chord-exceptions
  customChordNames
  #t)
 ignatzekExceptions)

\new ChordNames
\chordmode {
  d:m7.5-
  \set chordNameExceptions =
#customChordNameExceptions
  d:m7.5-
}


While requiring a little bit more logic, it is possible to use 
\chordmode so you do not have to type out :



\version "2.22.0"

customChordNamesUsingChordMode = {
  \chordmode { c:m7.5- }
   -\markup \concat { m \super { 7 ( \flat 5 ) } }
}
customChordNameExceptionsUsingChordMode = #(append
 (sequential-music-to-chord-exceptions
  (make-sequential-music
   (extract-typed-music
customChordNamesUsingChordMode
'event-chord))
  #t)
 ignatzekExceptions)

\new ChordNames
\chordmode {
  d:m7.5-
  \set chordNameExceptions =
#customChordNameExceptionsUsingChordMode
  d:m7.5-
}



-- Aaron Hill

Re: Chord Name Exceptions

[Lukas-Fabian Moser]

Hi Gabriel,

Am 09.04.21 um 21:06 schrieb Gabriel Borin:


I have been trying to write a bass part for a big band. Although I am 
mostly happy with the general output of chord names, I don´t like 
half-diminished notation in Lilypond. I prefer the descriptive "m7(b5) 
or min7(b5)".


I have been trying to use the snippet under this link with no success: 
https://lilypond.org/doc/v2.19/Documentation/notation/displaying-chords.en.html 
 



It's easier to help if you provide a source code as starting point.

Here one possibility, adapted from the documentation:

\version "2.22.0"

% modify half-diminished chord
% Exception music is chords with markups
chExceptionMusic = {
  1-\markup { m\super { 7(\flat 5) } }
}

% Convert music to list and prepend to existing exceptions.
chExceptions =
#(append
  (sequential-music-to-chord-exceptions chExceptionMusic #t)
  ignatzekExceptions)

\layout {
  \set chordNameExceptions = #chExceptions
}

theMusic = \chordmode {
  g1:m7.5-
}

\layout {
  ragged-right = ##t
}

<<
  \context ChordNames \theMusic
  \context Voice \theMusic
>>

Lukas

Re: Chord Name Exceptions

[Gabriel Borin]

Thank you, Aaron

This code worked, thanks...

\version "2.22.0"

customChordNames = {
   
-\markup \concat { m \super { 7 ( \flat 5 ) } }
}
customChordNameExceptions = #(append
  (sequential-music-to-chord-exceptions
   customChordNames
   #t)
  ignatzekExceptions)

\new ChordNames
\chordmode {
   d:m7.5-
   \set chordNameExceptions =
 #customChordNameExceptions
   d:m7.5-
}


I should have posted what I was trying to do. My mistake. It was pretty
similar. I don´t know if the position where the customChordNames in the
document matters. Something I missed.

Anyway, thanks again. Much appreciated.

Sincerely,

Gabriel Borin


Em sex., 9 de abr. de 2021 às 16:56, Aaron Hill 
escreveu:

> On 2021-04-09 12:06 pm, Gabriel Borin wrote:
> > Hello,
> >
> > I have been trying to write a bass part for a big band. Although I am
> > mostly happy with the general output of chord names, I don´t like
> > half-diminished notation in Lilypond. I prefer the descriptive "m7(b5)
> > or
> > min7(b5)".
> >
> > I have been trying to use the snippet under this link with no success:
> >
> https://lilypond.org/doc/v2.19/Documentation/notation/displaying-chords.en.html
>
> It is hard to say what is going wrong without an example of what you
> specifically tried.  Here is an example that specifically works with
> m7(b5) that you can compare and contrast with:
>
> 
> \version "2.22.0"
>
> customChordNames = {
>
> -\markup \concat { m \super { 7 ( \flat 5 ) } }
> }
> customChordNameExceptions = #(append
>   (sequential-music-to-chord-exceptions
>customChordNames
>#t)
>   ignatzekExceptions)
>
> \new ChordNames
> \chordmode {
>d:m7.5-
>\set chordNameExceptions =
>  #customChordNameExceptions
>d:m7.5-
> }
> 
>
> While requiring a little bit more logic, it is possible to use
> \chordmode so you do not have to type out :
>
> 
> \version "2.22.0"
>
> customChordNamesUsingChordMode = {
>\chordmode { c:m7.5- }
> -\markup \concat { m \super { 7 ( \flat 5 ) } }
> }
> customChordNameExceptionsUsingChordMode = #(append
>   (sequential-music-to-chord-exceptions
>(make-sequential-music
> (extract-typed-music
>  customChordNamesUsingChordMode
>  'event-chord))
>#t)
>   ignatzekExceptions)
>
> \new ChordNames
> \chordmode {
>d:m7.5-
>\set chordNameExceptions =
>  #customChordNameExceptionsUsingChordMode
>d:m7.5-
> }
> 
>
>
> -- Aaron Hill
>

Re: Chord Name Exceptions

[Flaming Hakama by Elaine]

> -- Forwarded message --
> From: Gabriel Borin 
> To: lilypond-user@gnu.org
> Cc:
> Bcc:
> Date: Fri, 9 Apr 2021 14:06:43 -0500
> Subject: Chord Name Exceptions
> Hello,
>
> I have been trying to write a bass part for a big band. Although I am
> mostly happy with the general output of chord names, I don´t like
> half-diminished notation in Lilypond. I prefer the descriptive "m7(b5) or
> min7(b5)".
>
> I have been trying to use the snippet under this link with no success:
> https://lilypond.org/doc/v2.19/Documentation/notation/displaying-chords.en.html
>
> Can somebody help me, please?
>
> Sincerely,
>
> Gabriel Borin
>


Reposting this answer from some time ago, it still works.



\version "2.18.2"

% Default
myChordSequence = \chordmode {
\set chordChanges = ##t
c1:m7.5-
}
<<
\new ChordNames \myChordSequence
\new Staff \relative c'' { ges1 }
>>

% Define your desired chord symbol design
myChordExceptions = {
1-\markup { "m7(b5)" }
}

% Replace the old chord symbol with your new one
chordExceptions = #(append (sequential-music-to-chord-exceptions
myChordExceptions #t) ignatzekExceptions)

% Use the new chord symbol
<<
\new ChordNames {
\set chordNameExceptions = #chordExceptions
\myChordSequence
}
\new Staff \relative c'' { ges1 }
>>


HTH,

Elaine Alt
415 . 341 .4954   "*Confusion is
highly underrated*"
ela...@flaminghakama.com
Producer ~ Composer ~ Instrumentalist ~ Educator
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-

>
>

Re: Chord name exceptions

[Thomas Morley]

2013/5/5 Nandi :
> I would like to have a predefined \hungarianChords command, which is
> based on the \germanChords (H instead of B, uppercase sharp and flat
> symbols), but which keeps the default setting E/D instead of E/d.  Also,
> I'd need altered chords (es, fis etc.) to end in Hungarian "sz" like this:
> esz, fisz etc., starting with capital letters in such cases like D/Fisz etc.
> (or have the uppercase sharp/flat symbols).
> I've read through the documentation about chordNameExceptions and
> chordRootNamer, but couldn't figure out, how to achieve the desired changes.
> Any help, please? Thanks in advance:
> Nandi

Hi,

although I've no clue about the hungarian language I come up with the
code below.

\version "2.16.2"

#(define
((chord-name->hungarian-markup-text-alteration B-instead-of-Bb)
  pitch lowercase?)

   (define (pitch-alteration-semitones pitch)
(inexact->exact (round (* (ly:pitch-alteration pitch) 2

   (define (conditional-string-downcase str condition)
(if condition
(string-downcase str)
str))

   (let* ((name (ly:pitch-notename pitch))
  (alt-semitones  (pitch-alteration-semitones pitch))
  (n-a (cond
  ((equal? (cons name alt-semitones) '(6 . -1))
 (cons 7 (+ 1 alt-semitones)))
  ((equal? (cons name alt-semitones) '(6 . -2))
 (cons 7 alt-semitones))
  (else (cons name alt-semitones
   )
 (make-line-markup
  (list
   (make-simple-markup
(conditional-string-downcase
  (vector-ref #("C" "D" "E" "F" "G" "A" "H" "B") (car n-a)) lowercase?))
   (let ((alteration (/ (cdr n-a) 2)))
 (cond
((and (= alteration FLAT) (or (= (car n-a) 5) (= (car n-a) 2)))
  (make-simple-markup "sz"))
((= alteration FLAT)
  (make-simple-markup "esz"))
((and (= alteration DOUBLE-FLAT)
  (= (car n-a) 7))
  (make-simple-markup "ebe"))
((and (= alteration DOUBLE-FLAT)
  (or (= (car n-a) 5)(= (car n-a) 2)))
  (make-simple-markup "szesz"))
((= alteration DOUBLE-FLAT)
  (make-simple-markup "eszesz"))
((= alteration SHARP)
  (make-simple-markup "isz"))
((= alteration DOUBLE-SHARP)
  (make-simple-markup "iszisz"))
(else empty-markup)))

hungarianChords =
  \set chordRootNamer = #(chord-name->hungarian-markup-text-alteration #f)

% Test ---

  \layout {
ragged-right = ##f
indent = 0
  }

  \layout {
\context {
\ChordNames
\hungarianChords
}
  }

myMajorChords = \chordmode{
  c cis d dis e eis f fis g gis a ais b bis c/dis
  \break
  c ces b bes a aes g ges f fes e ees d des c
  \break
  cisis disis eisis fisis gisis aisis bisis
  \break
  ceses deses eeses feses geses aeses beses
}

myMinorChords = \chordmode{
  c:m cis:m d:m dis:m e:m eis:m f:m fis:m g:m gis:m a:m ais:m b:m bis:m c:m/ges
  \break
  c:m ces:m b:m bes:m a:m aes:m g:m ges:m f:m fes:m e:m ees:m d:m des:m c:m
  \break
  cisis:m disis:m eisis:m fisis:m gisis:m aisis:m bisis:m
  \break
  ceses:m deses:m eeses:m feses:m geses:m aeses:m beses:m
}

\score {
  \new ChordNames {
\myMajorChords
  }
  \header {
piece = \markup
  \column \bold {
  "Major Chords (hungarian?)"
  \vspace #2
  }
  }
}

\score{
  \new ChordNames {
\myMinorChords
  }
  \header {
piece = \markup
  \column \bold {
  "Minor Chords (hungarian?)"
  \vspace #2
  }
  }
}


Not sure about all settings I've used.
If something's wrong, please shout.

HTH,
  Harm
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Re: chord name size

[Jan Warchoł]

Hi,

2010/12/28 Peter Buhr :
> I want to change the size of the chord names, as in:
> \override ChordNames #'font-size = #-1
> but I can't find the grob name to do this.

It's
\override ChordName #'font-size = #-1
(without the s at the end)
Things like this can be found in Internals Reference,
http://lilypond.org/doc/v2.12/Documentation/user/lilypond-internals/All-layout-objects#All-layout-objects

cheers,
Janek

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Re: chord name size

[M Watts]

On 12/28/2010 02:43 PM, Peter Buhr wrote:

I want to change the size of the chord names, as in:

\override ChordNames #'font-size = #-1

but I can't find the grob name to do this.


There's no `s' in ChordName.

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Re: chord name size

[lasconic]

Hi ! 
I also try to stack tensions and I want to put round bracket around the
stack[1]. Do you use this notation too ? I don't manage to print the round
bracket :-( I'm curious about your exception list :) Do you mind sharing it
?

Thks ! 
Lasconic

[1] http://www.nabble.com/stacked-markup-with-parenthesis-td16677616.html
[*] an example of what I want to achieve : 
http://www.nabble.com/file/p16700138/chord.png 




Brett Duncan-2 wrote:
> 
> Rick Hansen (aka RickH) wrote:
> For scores that I want to have that "well-finished" look (in other
> words, that I'll be distributing to others), I also reduce the font size
> for chords, but for cheat sheets etc., I agree with Rick - bigger is
> better. I also use an exceptions list for chord names which sets the
> size and position of accidentals to what I like (the default chord
> naming in LP needs to revised IM0) but I hadn't thought of stacking
> tensions - thanks for mentioning it Rick!
> 
> Brett
> 
> 
> 
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Re: chord name position

[Gilles Sadowski]

Hi.

> changes = \chords {
>   c1 c1
> }
> 
> slashes = {
>   \override NoteHead #'style = #'slash
>   b'1 b'1
> }
> 
> \score {
>   \new Staff <<
> \changes
> \slashes
>   >>
> }
> 
> ---
> 
> would someone be kind enough to explain?

   \new Staff

appears before

   \changes 

Hence the chord line is after the staff line.
The attached file shows how to make it the other way around.

Best,
Gilles
\version "2.10.10"

harmony = \context ChordNames {
  \chordmode {
c1 |
c1 |
  }
}
slashes = {
  \override NoteHead #'style = #'slash
  b'1 |
  b'1 |
}
 
<< 
  \harmony
  \new Staff {
\slashes
  }
>>
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Re: chord name size

[David Bobroff]

David Bobroff wrote:
I would like to alter the size of printed chord names.  How do I do 
that?  I'm sure there is some sort of font size alteration to the 
Chord_name_engnraver or somesuch.  Help?


-David


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I found the solution myself:

\override ChordName #'font-size = #-2

-David

PS: My messages seem to be taking a long time to get posted.


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Re: chord name size

[Rick Hansen (aka RickH)]

I prefer to set something like this in a \layout context, but you can also do
it where you declare your ChordNames staff or even in the middle of the
score amongst your notes (size exaggerated here):


\layout {
   \context { \ChordNames
  \override ChordName #'font-size = #10.5
   }
}




David Bobroff wrote:
> 
> I would like to alter the size of printed chord names.  How do I do 
> that?  I'm sure there is some sort of font size alteration to the 
> Chord_name_engnraver or somesuch.  Help?
> 
> -David
> 
> 
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Re: chord name size

[Paul Scott]

David Bobroff wrote:

David Bobroff wrote:
I would like to alter the size of printed chord names.  How do I do 
that?  I'm sure there is some sort of font size alteration to the 
Chord_name_engnraver or somesuch.  Help?



I found the solution myself:

\override ChordName #'font-size = #-2
Does anyone agree that the default font size for chord names is too big 
and worse that the accidentals in chord names are too big for the text? 


Paul Scott



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Re: chord name size

[Eyolf Ostrem]

On Wed 25 October 2006 10:04, Paul Scott wrote:
> David Bobroff wrote:
> > David Bobroff wrote:
> >> I would like to alter the size of printed chord names.  How do I do
> >> that?  I'm sure there is some sort of font size alteration to the
> >> Chord_name_engnraver or somesuch.  Help?
> >
> > I found the solution myself:
> >
> > \override ChordName #'font-size = #-2
>
> Does anyone agree that the default font size for chord names is too big
> and worse that the accidentals in chord names are too big for the text?

Yes. That was my initial reaction. I've gotten used to it, but I'd prefer a 
smaller default font size (a defont size...?)

>
> Paul Scott
>
>
>
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time I found out that M&Ms really DO melt in your hand.
-- Peter Oakley


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Re: chord name size

[Rick Hansen (aka RickH)]

Depends on your age, eyesight and the type of score too.  For a simple fake
book lead sheet I like things big so that I can read it better in a dark
room at a distance, or at times when I'll have a cheat sheet on the floor at
my feet while performing something I have not fully memorized.  As for the #
symbol I'm using a chord names exceptions list that I can fully customize,
for example I also like to see the tensions 5, b5, #5, 7, 9, b9, #9, 11,
#11, 13, etc. stacked vertically like Hal Leonard Publishing has been doing
for a while now, this reduces the amount of horizontal space needed to show
chords that have a lot of named tensions.  I just unconditionally always use
my exceptions list now which works pretty good.




eyolf wrote:
> 
> On Wed 25 October 2006 10:04, Paul Scott wrote:
>> David Bobroff wrote:
>> > David Bobroff wrote:
>> >> I would like to alter the size of printed chord names.  How do I do
>> >> that?  I'm sure there is some sort of font size alteration to the
>> >> Chord_name_engnraver or somesuch.  Help?
>> >
>> > I found the solution myself:
>> >
>> > \override ChordName #'font-size = #-2
>>
>> Does anyone agree that the default font size for chord names is too big
>> and worse that the accidentals in chord names are too big for the text?
> 
> Yes. That was my initial reaction. I've gotten used to it, but I'd prefer
> a 
> smaller default font size (a defont size...?)
> 
>>
>> Paul Scott
>>
>>
>>
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> I couldn't remember when I had been so disappointed.  Except perhaps the
> time I found out that M&Ms really DO melt in your hand.
>   -- Peter Oakley
> 
> 
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Re: chord name size

[Brett Duncan]

Rick Hansen (aka RickH) wrote:

Depends on your age, eyesight and the type of score too.  For a simple fake
book lead sheet I like things big so that I can read it better in a dark
room at a distance, or at times when I'll have a cheat sheet on the floor at
my feet while performing something I have not fully memorized.  As for the #
symbol I'm using a chord names exceptions list that I can fully customize,
for example I also like to see the tensions 5, b5, #5, 7, 9, b9, #9, 11,
#11, 13, etc. stacked vertically like Hal Leonard Publishing has been doing
for a while now, this reduces the amount of horizontal space needed to show
chords that have a lot of named tensions.  I just unconditionally always use
my exceptions list now which works pretty good.


For scores that I want to have that "well-finished" look (in other
words, that I'll be distributing to others), I also reduce the font size
for chords, but for cheat sheets etc., I agree with Rick - bigger is
better. I also use an exceptions list for chord names which sets the
size and position of accidentals to what I like (the default chord
naming in LP needs to revised IM0) but I hadn't thought of stacking
tensions - thanks for mentioning it Rick!

Brett



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Re: chord name spacing bug?

[Carl Sorensen]

On 6/14/11 9:57 AM, "Jean-Alexis Montignies"  wrote:

> HI,
> 
> This is a problem I periodically come across many times: collision between
> chord names (note that this happens even with no false bass chords), may be
> when the melody is active. I have a small example, I have hard time finding a
> shorter one.
> Should I fill this as a bug?

It would certainly be appropriate to file this as a bug report, but please
create a tiny example to do so.



> 
> In the same vein: is there a way to set the padding between consecutive chord
> names?


No.  Notes are spaced according to the music layout, and chord names are
attached to the notes.  You can adjust the spacing between notes, e.g. with
an override to the 'base-shortest-duration property.  Horizontal spacing is
discussed in section 4.5 of the Notation Reference.

In my opinion, the best way to avoid chord name collisions would be to
change their vertical position, rather than their horizontal position.  I
think that the notes should govern the horizontal position, and should not
be adjusted for chord names.  Instead, chord names should be stacked, much
like markups are now.

As an admittedly inconvenient workaround, chord names could be attached to
notes as markups.


\version "2.15.1"
{
  {
%\textLengthOn  % uncomment this line to get horizontal adjustment
c'8 ^\markup{\halign #-0.8  {\score{\chords {c:maj7.13}\layout{
a'8 ^\markup{\halign #-0.8 {\score{\chords {f2:13/g}\layout{
  }
}


Doing this in a music function requires advanced programming that I haven't
worked out yet.

HTH,

Carl


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Re: chord name spacing bug?

[Keith OHara]

Jean-Alexis Montignies  montignies.info> writes:

> I have a small example, I have hard
> time finding a shorter one.
> Should I fill this as a bug?
> 

I think so.  Do you think this shorter example demonstrates the same bug as 
what caused you trouble?

\score { <<
  \new ChordNames \chordmode {
% \override ChordName #'extra-spacing-width = #'(-2 . 1)
f2:13/g f2
  }
  \new Staff {
f'8 a' c'' g'' a'2
  } >>
}

> In the same vein: is there a way to set the padding between consecutive
> chord names?

The \override ChordName in the comment above requests 2 staff-spaces to the 
left, and 1 staff-space to the right, of each chord name.  It works when 
LilyPond is spacing correctly, the bug you found makes the \override fail
as well.


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Re: chord name spacing bug?

[Jean-Alexis Montignies]

On 15 juin 2011, at 08:08, Keith OHara wrote:

> Jean-Alexis Montignies  montignies.info> writes:
> 
>> I have a small example, I have hard
>> time finding a shorter one.
>> Should I fill this as a bug?
>> 
> 
> I think so.  Do you think this shorter example demonstrates the same bug as 
> what caused you trouble?
> 
> \score { <<
>  \new ChordNames \chordmode {
>% \override ChordName #'extra-spacing-width = #'(-2 . 1)
>f2:13/g f2
>  }
>  \new Staff {
>f'8 a' c'' g'' a'2
>  } >>
> }

It looks like it's the same bug. I first though that it would only happen on 
complete lines.
I also have noticed chords going out of the page.

I'm filling the bug.

> 
>> In the same vein: is there a way to set the padding between consecutive
>> chord names?
> 
> The \override ChordName in the comment above requests 2 staff-spaces to the 
> left, and 1 staff-space to the right, of each chord name.  It works when 
> LilyPond is spacing correctly, the bug you found makes the \override fail
> as well.
> 
> 
Thanks!

Jean-Alexis


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Re: Chord Name inside parenthesis

[Kieren MacMillan]

Ezequiel:


how can i make all my chord name be placed inside parenthesis


You can follow Erik's generous examples and instructions: "try  
learning Scheme basics and read about tweaks in the manual, and then  
try to understand exactly what I meant in my previous suggestion, and  
finally try to correct the errors I made."


I did what Erik said, and came up with the attached examples -- I  
believe they answer your question. [Difference between the two  
examples: the second uses larger parentheses.]


Regards,
Kieren.

p.s. Graham: you're cc'ed because this is a useful tip/trick (I  
think)...


__

%%%  CODE SNIPPET BEGINS
\version "2.9.10"

#(define (parenthesis-ignatzek-chord-names in-pitches bass inversion  
context)
  (markup #:line ("(" (ignatzek-chord-names in-pitches bass  
inversion context) ")")))


chordset = \chordmode
{
\set chordNameFunction = #parenthesis-ignatzek-chord-names
c1:7 g1:7
}

\score
{
\new ChordNames \chordset
}
%%%  CODE SNIPPET ENDS

%%%  CODE SNIPPET BEGINS
\version "2.9.10"

#(define (parenthesis-ignatzek-chord-names in-pitches bass inversion  
context)
  (markup #:vcenter #:line ( #:fontsize 2 "(" (ignatzek-chord-names  
in-pitches bass inversion context) #:fontsize 2 ")")))


chordset = \chordmode
{
\set chordNameFunction = #parenthesis-ignatzek-chord-names
c1:7 g1:7
}

\score
{
\new ChordNames \chordset
}
%%%  CODE SNIPPET ENDS


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Re: Chord Name inside parenthesis

[Ezequiel Sierra]

Kieren Thanks a lot! You`re the best! I still dont uderstand it, ill  
read about it, but it works great!




On Jul 9, 2006, at 9:52 AM, Kieren MacMillan wrote:


Ezequiel:


how can i make all my chord name be placed inside parenthesis


You can follow Erik's generous examples and instructions: "try  
learning Scheme basics and read about tweaks in the manual, and  
then try to understand exactly what I meant in my previous  
suggestion, and finally try to correct the errors I made."


I did what Erik said, and came up with the attached examples -- I  
believe they answer your question. [Difference between the two  
examples: the second uses larger parentheses.]


Regards,
Kieren.

p.s. Graham: you're cc'ed because this is a useful tip/trick (I  
think)...


__

%%%  CODE SNIPPET BEGINS
\version "2.9.10"

#(define (parenthesis-ignatzek-chord-names in-pitches bass  
inversion context)
  (markup #:line ("(" (ignatzek-chord-names in-pitches bass  
inversion context) ")")))


chordset = \chordmode
{
\set chordNameFunction = #parenthesis-ignatzek-chord-names
c1:7 g1:7
}

\score
{
\new ChordNames \chordset
}
%%%  CODE SNIPPET ENDS

%%%  CODE SNIPPET BEGINS
\version "2.9.10"

#(define (parenthesis-ignatzek-chord-names in-pitches bass  
inversion context)
  (markup #:vcenter #:line ( #:fontsize 2 "(" (ignatzek-chord-names  
in-pitches bass inversion context) #:fontsize 2 ")")))


chordset = \chordmode
{
\set chordNameFunction = #parenthesis-ignatzek-chord-names
c1:7 g1:7
}

\score
{
\new ChordNames \chordset
}
%%%  CODE SNIPPET ENDS






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Re: Chord name/Volta collision

[Mats Bengtsson]

I agree on the general problems of setting properties.
However, as you have noticed, LilyPond is extremely flexible
and it's virtually impossible to know what constructs to
include directly in the documentation. There was recently
some discussions on creating an FAQ list based on the questions
that appear on the mailing list (which really is the only way
to know what people try to do). The problem is that it requires
a fairly large effort to keep such a document up to date so we
need some voluntary maintainer.
I often refer to the Tips and Tricks document but also the
Regression Test document. I hope you have realized that these
two documents simply collect the example files found in
/usr/share/doc/lilypond-*/input/test/ and .../regression,
respectively. I often use 'grep' in these directories when
searching for an answer to some question.
If you get stuck, don't hesitate to send a question to the mailing
list. At the moment, Han-Wen, one of the main authors, is on a long
vacation and Jan, the other main author, seems to be busy with his
work but I and several others on the list try to answer the questions
that appear.
Which brings us to your specific question wich I don't fully understand·
Could you please elaborate on what other settings you already have
used to move around things and why you wanted to set the direction?
As far as I can understand, the direction-source property is used
internally in LilyPond when it builds up a hierarchy of objects
to be printed. The value should be an object instance, so it's hard
to set it as an ordinary user.
If you just want to move volta bracket higher up, I recommend to use
the padding property.
   /Mats

Walter Hofmeister wrote:
Hello all,  
I have typeset a piece that involves a melody with chord names above. I
have had problems with getting things to look good. At first the chord names
would appear above the alternative ending brackets. I have managed to get
the chord names lowered so that they are now under the brackets but now the
number belonging to the alternative bracket clashes with the chord name. I
have tried setting "direction", "side-relative-direction", and
"direction-source". But have not been able to produce the correct results.

When setting "direction-source" the line of code I used was:
\property Staff.VoltaBracket \set #'direction-source = #'ChordName
This produced the error:
Type check for `direction-source' failed; value `ChordName' must be of type
`grob (GRaphical OBject)' when compiling.
Can someone tell me what was wrong with the line of code?
I am getting increasingly frustrated with my attempts at tweaking output
of Lilypond. I can see that there is huge flexibility and power here but
producing the results one desires is VERY difficult. The documentation lists
huge amounts of information as to what graphic objects are related and what
properties they accept, but most of these properties are unset and there are
no examples of the line of code that applies to that property. I realize
that there is much repetition in the kind of arguments that setting these
properties accept, but while looking through the documentation I see many
other descriptions that have been repeated many times for different objects.
The Tips and Tricks document has been quoted as having set many
properties, but in order to see how it was done you have to load the
specific .ly file into an editor and examine the file. I also have not found
references to things that one might commonly set like: if you would like to
change the space between the clef and the key signature, do this.
To set the space between the staff and chord names, I had to send a note
to this list which produced no solution (hey I know this can happen and am
not blaming anybody), and search the archives which also did not produce a
solution. I arrived at the solution indirectly by searching the archives for
a solution on how to change the height of the Volta Brackets. This all took
considerable time for something that I would have thought should be an easy
thing to set.
I have spent many hours reading through documentation for Lilypond that
gives me the feeling of going around in circles. Sorry for the rant but from
my point of view these are issues that will need to be dealt with in order
for Lilypond's userbase to increase. I suspect that there are many people
who have installed Lilypond and have given up on it because of these issues.
I for one will try to improve my command of Lilypond, but these frustrations
are real for me.
Walter Hofmeister



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Re: chord name collide with staff

[m...@mikesolomon.org]

On 4 févr. 2013, at 01:00, MING TSANG  wrote:

> Hi fellow lily users:
> 
> I have a chord name and a melody staff.  The chord name collide with the 
> melody staff on 2nd & 3rd systems in v2.17.11, but in v2.16.2 they are ok. 
> Please refer to two pdf files and a lily text file.
> 
> Appreciate help to resolve this. 
>  
> Blessing in+,
> 
> 
> 
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Yikes! It seems like the type of thing that I'd have caused and that I could 
fix. Will keep you posted as of tomorrow with a solution.

Cheers,
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Re: Chord name on song section

[Johan Vromans]

Carlo Vanoni  writes:

> This implies that I have defined the harmony for all of the song.
> How to define (and print) harmony for, say, just the intro?

Specify the chords of the intro, and leave the rest empty?

-- Johan

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Re: Chord name on song section

[Knute Snortum]

I've used two score sections in situations like this, but then you get
separate midi files.  Up to you.


Knute Snortum
(via Gmail)


On Tue, Jun 24, 2014 at 8:35 AM, Johan Vromans  wrote:

> Carlo Vanoni  writes:
>
> > This implies that I have defined the harmony for all of the song.
> > How to define (and print) harmony for, say, just the intro?
>
> Specify the chords of the intro, and leave the rest empty?
>
> -- Johan
>
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Re: chord name e2:m7(b5)/d

[Robert Schmaus]

Hi Ming,

e : min7.5- / d 

Should work ..,
Best, 
Robert 


> On 17 Feb 2018, at 00:06, Ming Tsang  wrote:
> 
>  
> Lilyponders
> How to generate the second chard name?
> Thanks for the help
> Ming
>  
>  
>  
>  
>  
> Sent from Mail for Windows 10
>  
> 
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Re: chord name e2:m7(b5)/d

[Torsten Hämmerle]

Hi Ming and Robert,

While e:min7.5-/d is the correct LilyPond coding for of the chord in
question, the standard output still does not match Ming's specification.

*"Problem"*
(leaving away the /D, just looking at the main chord here)
A minor seventh chord with diminished 5th is nothing else but a
half-diminished seventh chord. 
In this case, LilyPond's standard output will produce an Eø.
Writing Em7(b5) is just an alternative that can't be achieved without
altering LilyPond's standards.

For this very likely reason, one may specify chord-exceptions to adapt the
output to personal taste as described in  Chord Name Exceptions

 
.

The notes contained in the "template chord" always refer to tonic C, so
we'll have to specify the notes of a Cm7(b5) in LilyPond's native (Dutch)
language:
.
As demonstrated in the link, you may specify an arbitrary markup, in this
case something like

~~~
 chExceptionMusic = {
   1-\markup {  m\super \concat { 7 (\teeny\raise #.3 \flat
5) } }
 }

HTH,
Torsten
 




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Re: chord name e2:m7(b5)/d

[Ming Tsang]

Thank You Torsten and Robert:
Thank you for the tips.  I use language English sot I change  c ees ges bes  to 
c ef gf bf.  The result is great.
Ming

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Re: Chord name exception not getting a match

[Johannes Schöpfer]

hi,

>   -\markup { "foofoo" }

i think this should be -\markup { "foofoo" }
 ^^^

johnny
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Re: Chord name exception not getting a match

[Rick Hansen (aka RickH)]

Thanks, I'll try that later.  But shouldn't the exception processor be
looking at my exception table first for a match, then use my exception
instead of any further processing of that chord name?  After all, my souce
code does have an exact matching entry in my exception list, why would the
octave indication matter at all?  And would I add the octave to both my
source code and my exception list?  I thought exception entries were just
hard and fast matched to your source code in concert key, now it's a grey
area on how to get an exception match.



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Re: Re: Chord name exception not getting a match

[Johannes Schöpfer]

>  After all, my souce
> code does have an exact matching entry in my exception list, why would the
> octave indication matter at all? 
i don't know, but on my system the "9" has to be an ocatve higher than the 
basenote.

> And would I add the octave to both my
> source code and my exception list? 
if you add for example c:7.9-,13 in \chordmode without  \chordNames then you'll 
what notes are produced. that has to exactly match the exeption list entry.

johnny

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Re: Re: Chord name exception not getting a match

[Rick Hansen (aka RickH)]

thanks, that makes sense.

Rick


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Re: chord name does not transpose as score using language italino

[Hans Aikema]

> On 7 Sep 2022, at 05:32, ming tsang  wrote:
> 
> 
> The following code produces a png file that did not print the correct chord 
> name. .
> 
> ...
> the output png screen print:
> 
> I am expecting to seeA C#m F#m D C#m Bm
> Any help is appreciated.
> ming (lyndon) tsang

That would be known issue https://gitlab.com/lilypond/lilypond/-/issues/6305
The work-around according to comments would be to add a \language "english" 
after the notes and before the score.

Re: chord name does not transpose as score using language italino

[ming tsang]

Hi Hans
Thank you for the info pertaining to the known issue 6305. I found the work
around solution from the known issue link.
Ming Tsang

On Wed, Sep 7, 2022 at 2:15 AM Hans Aikema  wrote:

>
>
> On 7 Sep 2022, at 05:32, ming tsang  wrote:
>
> 
> The following code produces a png file that did not print the
> correct chord name. .
> 
> ...
> the output png screen print:
> [image: image.png]
> I am expecting to seeA C#m F#m D C#m Bm
> Any help is appreciated.
> ming (lyndon) tsang
>
>
> That would be known issue
> https://gitlab.com/lilypond/lilypond/-/issues/6305
> The work-around according to comments would be to add a \language
> "english" after the notes and before the score.
>


-- 
ming (lyndon) tsang