-% FIXME: currently doesn't do anything useful. fix or delete.
\header {
- texidoc = "Chord name scheme test -- double-plus-new-chord-name jazz"
-}
-
-\version "1.7.18"
-
-
-
-\score { \notes { c4^"fixme"}}
-
-%% This should only be necessary if your kpathsea setup is broken
-%
-% Make sure the correct msamxx.tfm is where lily can find it
-% (ie cwd or lily's tfm dir).
-%
-% For normal (20pt) paper, do
-%
-% cp $(locate msam9.tfm) $LILYPONDPREFIX/fonts/tfm
-%
-%{
-
-scheme = \chords {
- % major chords
- c
- c:6 % 6 = major triad with added sixth
- c:maj % triangle = maj
- c:6.9^7 % 6/9
- c:9^7 % add9
-
- % minor chords
- c:m % m = minor triad
- c:m.6 % m6 = minor triad with added sixth
- c:m.7+ % m triangle = minor major seventh chord
- c:3-.6.9^7 % m6/9
- c:m.7 % m7
- c:3-.9 % m9
- c:3-.9^7 % madd9
+texidoc = " Chord names are generated from a list pitches. The
+functions constructing the names are customisable. This file shows
+Jazz chords. Compare with @file{chords-ignatzek.ly}."
- % dominant chords
- c:7 % 7 = dominant
- c:7.5+ % +7 = augmented dominant
- c:7.5- % 7b5 = hard diminished dominant
- c:9 % 7(9)
- c:9- % 7(b9)
- c:9+ % 7(#9)
- c:13^9.11 % 7(13)
- c:13-^9.11 % 7(b13)
- c:13^11 % 7(9,13)
- c:13.9-^11 % 7(b9,13)
- c:13.9+^11 % 7(#9,13)
- c:13-^11 % 7(9,b13)
- c:13-.9-^11 % 7(b9,b13)
- c:13-.9+^11 % 7(#9,b13)
-
- % half diminished chords
- c:m5-.7 % slashed o = m7b5
- c:9.3-.5- % o/7(pure 9)
-
- % diminished chords
- c:m5-.7- % o = diminished seventh chord
}
-efull = \chordnames {
-
- %% ? what 'bout maj7?
- %% c:7 = \markup { \normal-size-super "maj7" }
-
- %% Choose your symbol for the fully diminished chord
- %% American:
- %% c:3-.5-.7- = \markup { "dim" }
- %% Jazz:
- c:3-.5-.7- = \markup { \super " o" }
-
- %% Hmm
+chs = \notes \transpose c c'
+{
+ <<c e g>>1-"dpn"
+ <<c es g>> % m = minor triad
+ <<c e gis>>
+ <<c es ges>> \break
+ <<c e g bes>>
+ <<c es g bes>>
+ <<c e g b>> % triangle = maj
+ <<c es ges beses>>
+ <<c es ges b>> \break
+ <<c e gis bes>>
+ <<c es g b>>
+ <<c e gis b>>
+ <<c es ges bes>>\break
+ <<c e g a>> % 6 = major triad with added sixth
+ <<c es g a>> % m6 = minor triad with added sixth
+ <<c e g bes d'>>
+ <<c es g bes d'>> \break
+ <<c es g bes d' f' a' >>
+ <<c es g bes d' f' >>
+ <<c es ges bes d' >>
+ <<c e g bes des' >> \break
+ <<c e g bes dis'>>
+ <<c e g bes d' f'>>
+ <<c e g bes d' fis'>>
+ <<c e g bes d' f' a'>>\break
+ <<c e g bes d' fis' as'>>
+ <<c e gis bes dis'>>
+ <<c e g bes dis' fis'>>
+ <<c e g bes d' f' as'>>\break
+ <<c e g bes des' f' as'>>
+ <<c e g bes d' fis'>>
+ <<c e g b d'>>
+ <<c e g bes d' f' as'>>\break
+ <<c e g bes des' f' as'>>
+ <<c e g bes des' f' a'>>
+ <<c e g b d'>>
+ <<c e g b d' f' a'>>\break
+ <<c e g b d' fis'>>
+ <<c e g bes des' f ' a'>>
+ <<c f g>>
+ <<c f g bes>>\break
+ <<c f g bes d'>>
+ <<c e g d'>> % add9
+ <<c es g f'>>
+}
- %% This ok?
- c:7+ = \markup { \normal-size-super \override #'(font-family . math) "N" }
+efullmusic = \notes
+{
+ <<c e gis>>1-\markup { "+" }
+ <<c e g b>>-\markup { \normal-size-super
+ % \override #'(font-family . math) "N" }
+ \override #'(font-family . math) "M" }
+ %%c:3.5.7 = \markup { \override #'(font-family . math) "M" }
+ %%c:3.5.7 = \markup { \normal-size-super "maj7" }
+
+ <<c es ges>>-\markup { \super "o" } % should be $\circ$ ?
+ <<c es ges bes>>-\markup { \super \combine "o" "/" }
+ <<c es ges beses>>-\markup { \super "o7" }
}
-epartial = \chordnames {
- c:2^3 = \markup { \normal-size-super "2" }
- c:3- = \markup { "m" }
- c:4 = \markup { \normal-size-super "sus4" }
- c:5^3 = \markup { \normal-size-super "5" }
+efull = #(sequential-music-to-chord-exceptions efullmusic #f)
+
+epartialmusic = \notes{
+ <<c d>>1-\markup { \normal-size-super "2" }
+ <<c es>>-\markup { "m" }
+ <<c f>>-\markup { \normal-size-super "sus4" }
+ <<c g>>-\markup { \normal-size-super "5" }
+
+ %% TODO, partial exceptions
+ <<c es f>>-\markup { "m" }-\markup { \normal-size-super "sus4" }
+ <<c d es>>-\markup { "m" }-\markup { \normal-size-super "sus2" }
}
-\score {
- \notes <
+epartial = #(sequential-music-to-chord-exceptions epartialmusic #f)
+
+
+\score{
+ <
\context ChordNames {
- %#(set-double-plus-new-chord-name-style 'banter
- % `((separator . ,(make-simple-markup ":"))
- % (full-exceptions . ,efull)
- % (partial-exceptions . ,epartial)))
+%{
+ \property ChordNames.chordNameFunction = #double-plus-new-chord->markup
+ \property ChordNames.chordNameStyle = #'jazz
+%}
+
+ \property ChordNames.majorSevenSymbol = #whiteTriangleMarkup
+ \property ChordNames.chordNameSeparator = #(make-simple-markup "/")
+ \property ChordNames.chordNameExceptionsFull = #efull
+ \property ChordNames.chordNameExceptionsPartial = #epartial
+
+ %% FIXME
+ %%\property ChordNames.chordNoteNamer = #'step->markup-ignatzek
+ %%chordRootNamer = #note-name->markup
+ \property ChordNames.chordNameFunction = #jazz-chord-names
- #(set-double-plus-new-chord-name-style 'jazz
- `((separator . ,(make-simple-markup ":"))
- (full-exceptions . ,efull)
- (partial-exceptions . ,epartial)))
- \scheme }
- \context Staff \transpose c c' \scheme
- >
+ \chs
+ }
+ \context Staff \notes \transpose c c { \chs }
+ >
+ \paper{
+ \translator {
+ \ChordNamesContext
+ ChordName \override #'word-space = #1
+ }
+ }
}
-%% new-chords-done %%
-
-%}
+
projects / lilypond.git / blobdiff