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Re: Charles Winston's chord-semantics GSOC work


From: Carl Sorensen
Subject: Re: Charles Winston's chord-semantics GSOC work
Date: Tue, 9 Apr 2019 14:43:27 +0000
User-agent: Microsoft-MacOutlook/10.10.7.190210


´╗┐On 4/8/19, 7:41 PM, "lilypond-devel on behalf of Flaming Hakama by Elaine" 
<address@hidden on behalf of address@hidden> wrote:

    
    I understand that in the lily syntax, using c:7+ makes mathematical sense,
    since following chord naming convention, the "7" refers to dominant 7, or
    the b7, and we are interested in saying that it is one semitone higher than
    that, and this is a reasonable shorthand.
    
    But we should not inflict this shorthand on the printed chord symbols, nor
    on the semantic representation of them.
    
    Musically speaking, we are not lowering then raising the 7th--we're simply
    using the actual 7th degree, as is.
    Semantically, it is moreso "natural 7" than "#7".

I don't disagree with you.  I'm trying to match an existing regtest.  When  
majorSevenSymbol is unset, the current regtest produces C#7 when fed c:7+.  I 
don't know why anybody would want to unset majorSevenSymbol, but since it can 
be set, in can be unset.  And if it is unset, we should not produce nothing, 
because then c:7+ will display as C7, which is the same as c:7.  I don't think 
the display needs to be sensible, but it needs to be something different from 
C7.

I value your input and I'd like to do something that is recognizable as insane 
in response to insane input.

Thanks,

Carl
 


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