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## Re: Lilypond and Jazz chords

 From: Tim McNamara Subject: Re: Lilypond and Jazz chords Date: Tue, 2 Jun 2009 09:10:01 -0500


On Jun 2, 2009, at 4:55 AM, Jean-Alexis Montignies wrote:


Hi there, as a jazz player I would like to share my input.

What I need in scores is really chord names.

The chord name denotes the intent of the composer and is much subject to interpretation.

Some examples:

If you have a dominant chord, you write G7. Most of the time, the pianist will not play the 5th and depending on the context will play a 9th or a flattened 9th. If you write G7b9, it just means that if you play a 9th, you should play a flattened one (probably the melody have a flattened 9th). In the real book, most 7b5 chords should really be written 7#11, but this is another story.
I found a score where a chord was named 'phrygian'.

The problem I ran when i wrote chords in Lilypond:


1) I had some difficulties to write the Alt chords (for me it's based on the superlocrian scale 1 2- 2+ 3 4+ 6- (or 5+) 7-) because the scale has two seconds. (Note that the diminished scale cannot be written for now with the chord notation, if you ever want to write a 8 note chord ;) ). 2) There no way to write N.C. : no chord (wouldn't the use of R, r and s make sense in the chord mode?)



The plan per Carl or someone is to add a N.C. function to the chordmode using r as the input; it will be folded into 2.13 IIRC.


This can currently be done with a workaround provided to me by a very generous list member:

\version "2.12.2"

% Whiteout hide the chordname
NCString  = { <c e g>-\markup { \whiteout { \hspace #-2 " N.C.    " }}}
ChrdExcep = #(append (sequential-music-to-chord-exceptions NCString #t)
ignatzekExceptions)

% Example
% {<<
% {
% \chords {
%  a2:m7 d2:7.9-
%  g2:m7 c2:7
%  \set   chordNameExceptions = #ChrdExcep c1 %chord <c e g> as NCString
%  \unset chordNameExceptions
%  a2:m7 d2:7.9-
%       }
% }
% \relative c' {  a'2 d2 g,2 c2 c4 c4 c4 c4  a2 }
% >>
% }