inversion pitch to chord name routine.
* input/tutorial/os-score.ly: update to new markup
* Documentation/user/appendices.itely: simply include
chords-ignatzek.
* Documentation/user/refman.itely (Chords mode): add documentation
for chord mode.
* scm/chord-entry.scm (construct-chord): mark inversion as bass if
not present in chord.
(construct-chord): add inversion and bass support.
2003-02-22 Han-Wen Nienhuys <hanwen@cs.uu.nl>
+ * lily/new-chord-name-engraver.cc (process_music): give original
+ inversion pitch to chord name routine.
+
+ * input/tutorial/os-score.ly: update to new markup
+
+ * Documentation/user/appendices.itely: simply include
+ chords-ignatzek.
+
+ * Documentation/user/refman.itely (Chords mode): add documentation
+ for chord mode.
+
* scm/chord-entry.scm (construct-chord): mark inversion as bass if
not present in chord.
+ (construct-chord): add inversion and bass support.
* lily/chord.cc: junk contents.
@node American Chords
@section American Chords
-
-@lilypond[verbatim, noquote, noindent, notime]
-\include "english.ly"
-
-scheme = \chords {
- c % Major triad
- cs:m % Minor triad
- df:m5- % Diminished triad
- c:5^3 % Root-fifth chord
- c:4^3 % Suspended fourth triad
- c:5+ % Augmented triad
- c:2^3 % "2" chord
- c:m5-.7- % Diminished seventh
- c:7+ % Major seventh
- c:7.4^3 % Dominant seventh suspended fourth
- c:5+.7 % Augmented dominant seventh
- c:m5-.7 % "Half" diminished seventh
- c:5-.7 % Dominant seventh flat fifth
- c:5-.7+ % Major seventh flat fifth
- c:m7+ % Minor-major seventh
- c:m7 % Minor seventh
- c:7 % Dominant seventh
- c:6 % Major sixth
- c:m6 % Minor sixth
- c:9^7 % Major triad w/added ninth
- c:6.9^7 % Six/Nine chord
- c:9 % Dominant ninth
- c:7+.9 % Major ninth
- c:m7.9 % Minor ninth
-}
-
-\score {
- \notes <
- \context ChordNames {
- #(set-chord-name-style 'american)
- \scheme }
- \context Staff \transpose c c' \scheme
- >
- \paper {
- linewidth = 5.7\in
- }
-}
-@end lilypond
+[TODO]
@node Jazz chords
@section Jazz chords
-Similarly, Jazz style chord names are implemented as a variation on
-American style names:
-
-@lilypond[verbatim, noquote, noindent, notime]
-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
-}
-
-\score {
- \notes <
- \context ChordNames {
- #(set-chord-name-style 'jazz)
- \scheme }
- \context Staff \transpose c c' \scheme
- >
- \paper {
- linewidth = 5.7\in
- }
-}
-@end lilypond
-
-@c [barnumbers look silly, fixme.]
-
-
+@lilypondfile{chords-ignatzek.ly}
@node MIDI instruments
@section MIDI instruments
Comprehensive overview of commonly used chords. Suggests (and uses) a
unification for all different kinds of chord names.
+@item Ignatzek 1995
+Klaus Ignatzek, Die Jazzmethode f@"{u}r Klavier. Schott's S@"{o}hne
+1995. Mainz, Germany ISBN 3-7957-5140-3
+
+A tutorial introduction to playing Jazz on the piano. One of the first
+chapters contains an overview of chords in common use for Jazz music.
@item Gerou 1996
@cindex Chords mode
Chord mode is a mode where you can input sets of pitches using common
-names. It is introduced by the keyword @code{\chords}. It is similar
-to note mode, but words are also looked up in a chord modifier table
-(containing @code{maj}, @code{dim}, etc). Dashes and carets are used
-to indicate chord additions and subtractions, so articulation scripts
-can not be entered in Chord mode.
+names. It is introduced by the keyword @code{\chords}.
+In chords mode, a chord is entered by the root, which is entered
+like a common pitch, for example,
+@lilypond[fragment,verbatim]
+ es4. d8 c2
+@end lilypond
+is the notation for an E-flat major chord.
-Throughout these examples, chords have been shifted around the staff
-using @code{\transpose}.
+@cindex chord entry
+@cindex chord mode
+Other chords may be entered
+by suffixing a colon, and introducing a modifier, and optionally, a
+number, for example
@lilypond[fragment,verbatim]
-\transpose c c' {
- \chords {
- c1 c:3- c:7 c:8
- c:9 c:9-.5+.7+ c:3-.5-
- }
-}
+\chords { e1:m e1:7 e1:m7 }
+@end lilypond
+The first number following the root is taken to be the `type' of the
+chord, thirds are added to the root until it reaches the specified
+number, for example.
+@lilypond[fragment,verbatim]
+ \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
+@end lilypond
+
+@cindex root of chord
+@cindex additions, in chords
+@cindex removals, in chords
+
+More complex chords may also be constructed adding separate steps
+to a chord. Additions are added after the number following
+the colon, and are separated by dots. For example
+@c
+@lilypond[verbatim,fragment]
+ \chords { c:5.6 c:3.7.8 c:3.6.13 }
+@end lilypond
+Chord steps can be altered by suffixing a @code{-} or @code{+} sign
+to the number, for example:
+@lilypond[verbatim,fragment]
+ \chords { c:7+ c:5+.3- c:3-.5-.7- }
+@end lilypond
+Removals are specified similarly, and are introduced by a caret. They
+must come after the additions.
+@lilypond[verbatim,fragment]
+ \chords { c^3 c:7^5 c:9^3.5 }
+@end lilypond
+
+Modifiers can be used to change pitches. The following modifiers are
+supported
+@table @code
+@item m
+ Minor chord. Lowers the 3rd and (if present) the 7th step.
+@item dim
+ Diminished chord. Lowers the 3rd, 5th and (if present) the 7th step
+@item aug
+ Augmented chord. Raises the 5th step.
+@item maj
+ Major 7th chord. Raises the 7th step, if present.
+@item sus
+ Suspended 4th or 2nd. This modifier removes the 3rd step. Append
+ either @code{2} or @code{4} to add the 2nd or 4th step to the chord.
+@end table
+Modifiers can be mixed with additions.
+@lilypond[verbatim,fragment]
+ \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
@end lilypond
+@cindex modifiers, in chords.
@cindex @code{aug}
@cindex @code{dim}
@cindex @code{maj}
@cindex @code{sus}
+@cindex @code{m}
-The second type of modifier that may appear after the @code{:} is a
-named modifier. Named modifiers are listed in the file
-@file{chord-modifiers.ly}. The available modifiers are @code{m} and
-@code{min} which lower the 3rd half a step, `@code{aug}' which
-raises the 5th, `@code{dim}' which lowers the 5th,
-`@code{maj}' which adds a raised 7th, and `@code{sus}'
-which replaces the 5th with a 4th.
-
+Since the unaltered 11 does sound well when combined with the
+unaltered 3, the 11 is removed in this case, unless it is added
+explicitly). For example,
@lilypond[fragment,verbatim]
-\transpose c c' {
- \chords {
- c1:m c:min7 c:maj c:aug c:dim c:sus
- }
-}
-@end lilypond
-
-
-Chord subtractions are used to eliminate notes from a chord. The
-notes to be subtracted are listed after a @code{^} character,
-separated by dots.
-
-@lilypond[fragment,verbatim,center]
- \transpose c c' {
- \chords {
- c1^3 c:7^5.3 c:8^7
- }
- }
+ \chords { c:13 c:13.11 c:m13 }
@end lilypond
-@cindex @code{/}
-Chord inversions can be specified by appending `@code{/}' and the name
-of a single note to a chord. In a chord inversion, the inverted note is
-transposed down until it is the lowest note in the chord. If the note
-is not in the chord, a warning will be printed.
+@cindex @code{/}
+An inversion (putting one pitch of the chord on the bottom), as well
+as bass notes, can be specified by appending
+@code{/}@var{pitch} to the chord.
@lilypond[fragment,verbatim,center]
- \transpose c c'' {
- \chords {
- c1 c/e c/g c:7/e
- }
- }
-
+ \chords { c1 c/g c/f }
@end lilypond
@cindex @code{/+}
-
-Bass notes can be added by `@code{/+}' and
-the name of a single note to a chord. This has the effect of
-adding the specified note to the chord, lowered by an octave,
-so it becomes the lowest note in the chord.
+If you do not want to remove the bass note from the chord, but rather
+add the note, then you can use @code{/+}@var{pitch}.
@lilypond[fragment,verbatim,center]
- \transpose c c'' {
- \chords {
- c1 c/+c c/+g c:7/+b
- }
- }
-
+ \chords { c1 c/+g c/+f }
@end lilypond
-The formal syntax for named chords is as follows:
-@example
- @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
-@end example
-@var{tonic} should be the tonic note of the chord, and @var{duration} is
-the chord duration in the usual notation. There are two kinds of
-modifiers. One type is formed by @emph{chord additions}. Additions are
-obtained by listing intervals separated by dots. An interval is written
-by its number with an optional @code{+} or @code{-} to indicate raising
-or lowering by half a step. Chord additions have two effects: they adds
-the specified interval and all lower odd numbered intervals to the
-chord, and they may lower or raise the specified interval.
+@refbugs
+
+Each step can only be present in a chord once. The following
+simply produces the augmented chord, since @code{5+} is interpreted
+last.
+@cindex clusters
+@lilypond[verbatim,fragment]
+ \chords { c:5.5-.5+ }
+@end lilypond
+
+In chord mode, dashes and carets are used to indicate chord additions
+and subtractions, so articulation scripts can not be entered.
-@refbugs
-Implementation details are gory. For example @code{c:4} not only adds
-a fourth, but also removes the third.
@c . {Printing named chords}
}
@end lilypond
+The default chord name layout is a system for Jazz music, proposed by
+Klaus Ignatzek (See @ref{Literature}).
-By default, a chord name system proposed by Harald Banter (See
-@ref{Literature}) is used. The system is very regular and predictable.
-Typical American style chord names may be selected by setting the
-@code{style} property of the @code{ChordNames.ChordName} object to
-@code{'american}. Similarly @code{'jazz} selects Jazz chordnames.
-
-Routines that determine the names to be printed are written in Scheme,
-and may be customized by the user. The code can be found in
-@file{scm/chord-name.scm}. Here's an example showing the differences in
-chord name styles:
-
-@c too long?
-@c maybe just junk verbatim option?
-@lilypond[verbatim,singleline,noquote]
-scheme = \chords {
- c1 c:5^3 c:4^3 c:5+
- c:m7+ c:m5-.7
- c:5-.7 c:5+.7
- c:9^7
-}
-
-\score {
- \notes <
- \context ChordNames = banter \scheme
- \context ChordNames = american {
- \property ChordNames.ChordName \override
- #'style = #'american \scheme }
- \context ChordNames = jazz {
- \property ChordNames.ChordName \override
- #'style = #'jazz \scheme }
- \context Staff \transpose c c' \scheme
- >
-}
-@end lilypond
+[TODO: add description for banter other jazz.]
@node Writing parts
@subsection The full score
-The second file, @file{input/tutorial/os-score.ly}, reads the definitions of the first
-(@file{input/tutorial/os-music.ly}), and defines the @code{\score} block for the full
-conductor's score.
+The second file, @file{input/tutorial/os-score.ly}, reads the
+definitions of the first (@file{input/tutorial/os-music.ly}), and
+defines the @code{\score} block for the full conductor's score.
+@verbatim
+\version "1.7.6"
-@example
-% os-score.ly
\include "os-music.ly"
\include "paper13.ly"
#(ly:set-point-and-click 'line-column)
-#(define text-flat '((font-relative-size . -2)
- (music "accidentals--1")))
-
-\score @{
+textFlat = \markup {\smaller \musicglyph #"accidentals--1"}
+\score {
<
\global
\property Score.BarNumber \override #'padding = #3
\context StaffGroup = woodwind <
\context Staff = flauti <
- \property Staff.midiInstrument = #"flute"
- \property Staff.instrument = "2 Flauti"
- \property Staff.instr = "Fl."
+ \property Staff.midiInstrument = #"flute"
+ \property Staff.instrument = "2 Flauti"
+ \property Staff.instr = "Fl."
\Key
- \context Voice=one @{ \voiceOne \flautoI @}
- \context Voice=two @{ \voiceTwo \flautoII @}
+ \context Voice=one { \voiceOne \flautoI }
+ \context Voice=two { \voiceTwo \flautoII }
>
>
\context StaffGroup = timpani <
\context Staff = timpani <
- \property Staff.midiInstrument = #"timpani"
- \property Staff.instrument = #'(lines "Timpani" "(C-G)")
- \property Staff.instr = #"Timp."
- \clef bass
+ \property Staff.midiInstrument = #"timpani"
+ \property Staff.instrument = \markup { \column << "Timpani" "(C-G)" >> }
+ \property Staff.instr = #"Timp."
+ \clef bass
\Key
- \timpani
+ \timpani
>
>
\context StaffGroup = brass <
\context Staff = trombe <
- \property Staff.midiInstrument = #"trumpet"
- \property Staff.instrument = #`(lines "2 Trombe" "(C)")
- \property Staff.instr = #`(lines "Tbe." "(C)")
+ \property Staff.midiInstrument = #"trumpet"
+ \property Staff.instrument = \markup { \column << "2 Trombe" "(C)" >> }
+ \property Staff.instr = \markup{ \column << "Tbe." "(C)">> }
\Key
- \context Voice=one \partcombine Voice
- \context Thread=one \tromboI
- \context Thread=two \tromboII
+ \context Voice=one \partcombine Voice
+ \context Thread=one \tromboI
+ \context Thread=two \tromboII
>
\context Staff = corni <
\property Staff.midiInstrument = #"french horn"
- \property Staff.instrument = #`(lines "Corno"
- (columns "(E" ,text-flat ")"))
- \property Staff.instr = #`(lines "Cor."
- (columns "(E" ,text-flat ")"))
- \property Staff.transposing = #3
- \notes \key bes \major
- \context Voice=one \corno
+ \property Staff.instrument
+ = \markup { \column << "Corno" { "(E" \textFlat ")" } >> }
+ \property Staff.instr =
+ \markup { \column << "Cor." { "(E" \textFlat ")" } >> }
+ \property Staff.transposing = #3
+ \notes \key bes \major
+ \context Voice=one \corno
>
>
>
- \paper @{
+ \paper {
indent = 15 * \staffspace
- linewidth = 55 * \staffspace
+ linewidth = 60 * \staffspace
textheight = 90 * \staffspace
- \translator@{
+ \translator{
+ \VoiceContext
+ \consists "Multi_measure_rest_engraver"
+ }
+ \translator{
\HaraKiriStaffContext
- @}
- @}
- \midi @{
+ \remove "Multi_measure_rest_engraver"
+ }
+ }
+ \midi {
\tempo 4 = 75
- @}
-@}
-@end example
+ }
+}
+
+
+
+@end verbatim
@center @strong{Zo, goed lieverd?}
@sp 1
--- /dev/null
+\header {
+
+texidoc = "Test igatzek inversion and bass notes.
+Above the staff: computed chord names. Below staff: entered chord name.
+"
+
+}
+
+
+bladidbla = \chords {
+ f4:maj7/e_":maj7/e" f:maj7/f_":maj7/f" f2:maj7/g_":maj7/g"
+ f4:maj7/+e_":maj7/+e" f:maj7/+f_":maj7/+f" f2:maj7/+g_":maj7/+g"
+ }
+
+\score {
+< \context ChordNames \bladidbla
+ \context Voice \bladidbla >
+}
\version "1.7.6"
+textFlat = \markup {\smaller \musicglyph #"accidentals--1"}
\score {
\notes \context Staff = treble {
\property Staff.instrument
- = \markup { \column << "Clarinetti" { "in B" \smaller \musicglyph #"accidentals--1" } >> }
+ = \markup { \column << "Clarinetti" { "in B" \textFlat } >> }
\property Staff.instr
- = \markup { \smaller { "Cl(B" \smaller \musicglyph #"accidentals--1" ")" } }
+ = \markup { \smaller { "Cl(B" \textFlat ")" } }
{ c''1 \break c'' }
c^\markup { \column << "" ";" "" >>
\column << "1" { \bold "2" "3" } >> }
}
- \context ChordNames \chords {
- c:7+.9-^3.5
- }
>
}
%% new-chords-done %%
+++ /dev/null
-\version "1.7.10"
-\header {
- title="Chord Taxomony of LilyPond -- jazz"
- subtitle="Amy's chord tests"
-}
-scheme = \chords {
- c1
- c:4
- c:9
- bes:9^7
- c:11^7
- c:9+
- % TODO
- }
-
-\score {
- <
- #(set-chord-name-style 'jazz)
- \context ChordNames \scheme
- \context Staff \notes \transpose c c' \scheme
- >
-}
-%% new-chords-done %%
+++ /dev/null
-\header {
-
- texidoc = "German chords use H/B iso. B/B-flat.
-
-FIXME. Most likely broken during namespace reorganisation of early 1.7.
-
-"
-
-
-}
-\version "1.7.10"
-\include "german-chords-init.ly"
-
-% #(set! german-Bb #t)
-
-ch = \chords { beses1/+beses bes/+bes b/+b bis/+bis ases/+ases as/+as a/+a ais/+ais fisis/+fisis}
-
-\score {
- <
- \context ChordNames=chn {\ch}
- \context Staff=stf \chords {\ch}
- >
- \paper {}
-}
-
-%% new-chords-done %%
+++ /dev/null
-\version "1.7.10"
-
-\header {
- texidoc ="FIXME"
- }
-%% Chord gurus, is this ok now??
-
-monstrous= \chords{
-
-%% fixme:
-%% \property Score.chordInversion = ##t
-
- % /c is/was missing:
- bes:6/+c
-
- % Cdim7
- c:dim7
-}
-
-\score{
- <
- \context ChordNames \monstrous
- \context Staff \monstrous
- >
- \paper{
- linelength=-1.0\mm
- }
-}
-%% new-chords-done %%
accompaniment =\chords {
r8
- c2:3- f:3-.7 d:min es4 c8:min r8
- c2:min f:min7 g:7^3.5 c:min }
+ c2:3- f:3-.7 d:m es4 c8:m r8
+ c2:m f:m7 g:7^3.5 c:m }
\score {
\simultaneous {
-
\version "1.7.6"
\include "os-music.ly"
\include "paper13.ly"
#(ly:set-point-and-click 'line-column)
-#(define text-flat '((font-relative-size . -2) (music "accidentals--1")))
-
+textFlat = \markup {\smaller \musicglyph #"accidentals--1"}
\score {
<
\global
\context StaffGroup = timpani <
\context Staff = timpani <
\property Staff.midiInstrument = #"timpani"
- \property Staff.instrument = #'(lines "Timpani" "(C-G)")
+ \property Staff.instrument = \markup { \column << "Timpani" "(C-G)" >> }
\property Staff.instr = #"Timp."
\clef bass
\Key
\context StaffGroup = brass <
\context Staff = trombe <
\property Staff.midiInstrument = #"trumpet"
- \property Staff.instrument = #`(lines "2 Trombe" "(C)")
- \property Staff.instr = #`(lines "Tbe." "(C)")
+ \property Staff.instrument = \markup { \column << "2 Trombe" "(C)" >> }
+ \property Staff.instr = \markup{ \column << "Tbe." "(C)">> }
\Key
\context Voice=one \partcombine Voice
\context Thread=one \tromboI
>
\context Staff = corni <
\property Staff.midiInstrument = #"french horn"
- \property Staff.instrument = #`(lines "Corno" (columns "(E" ,text-flat ")"))
- \property Staff.instr = #`(lines "Cor." (columns "(E" ,text-flat ")"))
+ \property Staff.instrument
+ = \markup { \column << "Corno" { "(E" \textFlat ")" } >> }
+ \property Staff.instr =
+ \markup { \column << "Cor." { "(E" \textFlat ")" } >> }
\property Staff.transposing = #3
\notes \key bes \major
\context Voice=one \corno
#include "pitch.hh"
#include "protected-scm.hh"
#include "translator-group.hh"
+#include "warn.hh"
class New_chord_name_engraver : public Engraver
{
SCM inversion = SCM_EOL;
SCM pitches = SCM_EOL;
+ Music* inversion_event = 0;
for (int i =0 ; i < notes_.size (); i++)
{
Music *n = notes_[i];
SCM p = n->get_mus_property ("pitch");;
if (n->get_mus_property ("inversion") == SCM_BOOL_T)
- inversion = p;
+ {
+ inversion_event = n;
+ inversion = p;
+ }
else if (n->get_mus_property ("bass") == SCM_BOOL_T)
bass = p;
else
pitches = gh_cons (p, pitches);
}
+ if (inversion_event)
+ {
+ SCM op = inversion_event->get_mus_property ("original-pitch");
+ if (unsmob_pitch (op))
+ pitches= gh_cons (op, pitches);
+ else
+ programming_error ("Inversion does not have original pitch.");
+ }
+
pitches = scm_sort_list (pitches, Pitch::less_p_proc);
SCM name_proc = get_property ("chordNameFunction");
(cdr mods)))
(else (interpret-removals chord mods))
))
- (define (pitch-octavated-below p root)
+
+ (define (pitch-octavated-strictly-below p root)
"return P, but octavated, so it is below ROOT"
(ly:make-pitch
(+
(ly:pitch-octave root)
- (if (>= (ly:pitch-notename root)
+ (if (> (ly:pitch-notename root)
(ly:pitch-notename p))
0 -1))
(ly:pitch-notename p)
(rest-of-chord (filter-out-list inv? complete-chord))
(inversion-candidates (filter-list inv? complete-chord))
- (down-inversion (pitch-octavated-below inversion root))
+ (down-inversion (pitch-octavated-strictly-below inversion root))
)
(if (pair? inversion-candidates)
; something weird happens when this is removed,
; every other chord is octavated. --hwn... hmmm.
(set! root (ly:pitch-transpose root (ly:make-pitch 1 0 0)))
-
- (if #f
- (begin
- (write-me "\n*******\n" flat-mods)
- (write-me "root: " root)
- (write-me "base: " base-chord)
- (write-me "bass: " bass)))
;; skip the leading : , we need some of the stuff following it.
(if (pair? flat-mods)
(if (= (pitch-step (car flat-mods)) 11)
(set! explicit-11 #t))
(set! base-chord
- (map (lambda (y) (ly:pitch-transpose y root))
- (stack-thirds (car flat-mods) the-canonical-chord)))
+ (stack-thirds (car flat-mods) the-canonical-chord))
(set! flat-mods (cdr flat-mods))
))
(if inversion
(set! complete-chord (process-inversion complete-chord)))
(if bass
- (set! bass (pitch-octavated-below bass root)))
+ (set! bass (pitch-octavated-strictly-below bass root)))
+
+ (if #f
+ (begin
+ (write-me "\n*******\n" flat-mods)
+ (write-me "root: " root)
+ (write-me "base chord: " base-chord)
+ (write-me "complete chord: " complete-chord)
+ (write-me "inversion: " inversion)
+ (write-me "bass: " bass)))
+
+
+
(if inversion
(make-chord (cdr complete-chord) bass duration (car complete-chord)
inversion)
(define-public (ignatzek-chord-names
in-pitches bass inversion
context)
-
(define (remove-uptil-step x ps)
"Copy PS, but leave out everything below the Xth step."
alteration-pitches
addition-pitches
suffix-modifiers
+ bass-pitch
)
"Format for the given (lists of) pitches. This is actually more
alterations
suffixes
add-markups) sep))
+ (base-stuff (if bass-pitch
+ (list sep (pitch->markup bass-pitch))
+ '()))
)
-
- (make-line-markup
- (list
- root-markup
- (markup-join prefixes sep)
- (make-super-markup to-be-raised-stuff))
- )))
+
+ (set! base-stuff
+ (append
+ (list root-markup
+ (markup-join prefixes sep)
+ (make-super-markup to-be-raised-stuff))
+ base-stuff))
+ (make-line-markup base-stuff)
+
+ ))
(let*
(
(suffixes '())
(add-steps '())
(main-name #f)
+ (bass-note #f)
(alterations '())
)
)
(set! alterations (append alterations (car split)))
(set! add-steps (append add-steps (cdr split)))
-
(set! alterations (delq main-name alterations))
(set! add-steps (delq main-name add-steps))
+ (if (ly:pitch? inversion)
+ (set! bass-note inversion)
+ )
+
+ (if (ly:pitch? bass)
+ (set! bass-note bass)
+ )
;; chords with natural (5 7 9 11 13) or leading subsequence.
;; etc. are named by the top pitch, without any further
(set! alterations '())
))
- (ignatzek-format-chord-name root prefixes main-name alterations add-steps suffixes)
+ (ignatzek-format-chord-name root prefixes main-name alterations add-steps suffixes bass-note)
)
))))
projects / lilypond.git / commitdiff