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Re: Chords and what they mean


From: Blöchl Bernhard
Subject: Re: Chords and what they mean
Date: Sat, 19 Sep 2015 11:27:31 +0200
User-agent: Roundcube Webmail/0.9.5

Thank you for the interesting analysis and the links. With the flats and sharps instead of "-es" and "-is" in your code, it is a bit strange.

The m7b5 chord (your example) in the jazz slang usually/often is called "half diminished" an uses the slashed 0 "ø" symbolically "halving" the 0.I do not think that m7b5 is better or more worse than "ø", but it depends on the taste of the user and the social music context he is working in. Another point in naming is, that b5 is often used (freedom of interpretation) and written as #11 on top that then is Cm7#11.

On the given internet page there is written under the head line "Note sets" "So, once you have your input syntax, lilypond converts that into note sets.
So, “C:1.4.5″ becomes ."
Obviously it is meant
"So, “C:1.4.5″ becomes <c f g>."
But <c f g> is missing on the page. May be you want to add this?

You wrote
"An exception to this is sus. Logically, I might expect this to work, but
doesn’t:
C:sus4 <==> C:5.3+"

It is a bit more complicated, as c:5.3+ does work but with an unusual e#, enharmonically this is an f ...


Am 19.09.2015 02:30, schrieb Flaming Hakama by Elaine:
The most important thing to understand about the way Lilypond does
chords, is that there are three completely different parts.

1) Input syntax
2) Note sets
3) Chord symbols

....

My explanation for doing that is available at
http://flaminghakama.com/flaming-lilypond-chords [1]

The final comment I have is related to your statement:
"For me it is logic to understand, that c:sus will suspend the 3."

That is a correct *musical* interpretation of Csus. (In my opinion.)


I agree.

Unfortunately, lilypond does not have a musical interpretation of
sus.

... would expect some knowledge base or composition rules or artificial intelligence ... Lilypond user would complain oppression ...

Lilypond requires you to explicitly specify an interval to replace the
3rd with.


Does Lilypond require a substitute for the suspended 3? c:sus is compiling without error and any specified substituton note and shows root and 5 - exactly the result I am expecting.

I suppose that this is because some people (and Lilypond) think that
C:sus2 is equally as valid or usual interpretation of "sus", and

May be I misundertand this? c:sus2 works with Lilypond and IS a valid chord often used in pop/rock, not so frequently used in jazz? May be I am wrong.

One can simply verify this by experiment:

\version "2.19.25"
#(set-global-staff-size 30)
\chordmode {
      c:sus %power chord Lilypond calls it wrong as C
      c:sus3 % power chord Lilypond calls it wrong as C
      c:sus5 %power chord Lilypond calls it wrong as C
      c:1.4.5 % equal to:
      c:sus4
      c:1.4.2 % equal to:
      c:sus2
      c:sus3 % normal c major chord Lilypond calls it correctly as C
      c:5.3 % normal c major chord Lilypond calls it correctly as C
c:5.3+ % normal c major chord Lilypond calls it correctly as C, 3+ is written as e#
}

The only problem I see is naming the chords with the sus correctly. This happens with c:sus5, c:sus3 and c:sus as Lilypond calls it C instead of C5. Even exotic chords as c:7sus work correctly in the note pattern, but will be called C7 omitting the sus ...

therefore pretends that "sus" is not a well defined chord modification
by itself.

Hence, if you are using modifications, why you need to say C:sus4
instead of C:sus

HTH,

David Elaine Alt

415 . 341
.4954
          "_Confusion is highly underrated_"
address@hidden
self-immolation.info [2]
 skype: flaming_hakama
Producer ~ Composer ~ Instrumentalist
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Links:
------
[1] http://flaminghakama.com/flaming-lilypond-chords
[2] http://self-immolation.info



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