X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=input%2Ftest%2Fchord-names-jazz.ly;h=148bee915f484c1e2f88254a41dc95c45736634b;hb=80bb174de95ebb8a08e5bdfae0855c525b8e7736;hp=97f4cea53a1e3fb24d4eda33744e1b85e1cbffa1;hpb=c97a11c1355fd2caaf261bf82254e9beb59f5628;p=lilypond.git

diff --git a/input/test/chord-names-jazz.ly b/input/test/chord-names-jazz.ly
index 97f4cea53a..148bee915f 100644
--- a/input/test/chord-names-jazz.ly
+++ b/input/test/chord-names-jazz.ly
@@ -1,75 +1,154 @@
-\version "1.7.18"
-% FIXME: doesn't display anything useful.
+\version "2.1.30"
+
+
 \header {
-texidoc = "Jazz notation for chord names.
 
-FIXME.
+texidoc = " Chord names are generated from a list pitches.  The
+functions which construct these names can be customised. Here are shown
+Jazz chords, following Ignatzek (pp. 17-18, 1995) and 
+an alternative Jazz  chord notation.
+
+Chords following Banter (1987) can also be printed from this file, but
+are turned off for brevity.
 
 "
 
 }
-\score { \notes { c4^"fixme"}}
 
-%{
+chs = \notes \transpose c' c' 
+{
+	<c e g>1
+	<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'>
+}
+
+
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+% alternate Jazz notation
+
+efullmusicJazzAlt = \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" }
+}
 
-%% 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` LILYPONDPREFIXxtfm
-%
-
-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
-
-  % 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
+efullJazzAlt = #(sequential-music-to-chord-exceptions efullmusicJazzAlt #f)
+
+epartialmusicJazzAlt = \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 <
-    \context ChordNames {
-	#(set-chord-name-style 'jazz)
-	\scheme }
-    \context Staff \transpose c c' \scheme
-  >
+epartialJazzAlt = #(sequential-music-to-chord-exceptions epartialmusicJazzAlt #f)
+
+jazzAltProperties = \sequential { 
+    \set majorSevenSymbol = #whiteTriangleMarkup
+    \set chordNameSeparator = #(make-simple-markup  "/")
+    \set chordNameExceptionsFull = #efullJazzAlt
+    \set chordNameExceptionsPartial = #epartialJazzAlt
+    \set chordNameFunction = #jazz-chord-names
 }
-%% new-chords-done %%
+
+banterProperties = \sequential { 
+	    \set chordNameFunction = #banter-chord-names
+}
+
+\score{
+    <<
+	\new ChordNames {
+	    \set instrument = #"Ignatzek (default)"
+	    \set instr = #"Def"
+	    \chs
+	}
+	
+	\new ChordNames {
+	    \jazzAltProperties
+	    \set instrument = #"Alternative"
+	    \set instr = #"Alt"
+	    \chs
+	}
+
+%{
+
+	%% This is the Banter (1987) style.  It gives exceedingly
+	%% verbose (wide) names, making the output file take up to 4 pages.
+	%% (FIXME: how big is is now?)
+	%% Turned off by default.
+
+	%% FIXME: use smaller font for Banter (or remove some esoteric
+	%% chords).
+	
+	\new ChordNames {
+	    \banterProperties
+	    \set instrument = #"Banter"
+	    \set instr = #"Ban"
+	    \chs
+	}
 %}
+	
+	\new Staff \notes \transpose c c' { \chs }
+    >>
+    \paper {
+	indent = 3.\cm
+	\context { 
+	    \ChordNamesContext
+	    \consists Instrument_name_engraver
+	}
+    }
+}
+