Deutschsprachiges LilyPond Forum

Ich versuche zu verstehen, wie die Akkordnamen in Lilyjazz gesetzt werden. Ich vermute, das geschieht mit den Definitionen aus jazzchords.ily, aber ich verstehe es leider nicht.

Meine Fragen:

• Bei b:m7.5- wird die b5 mit Abstand hinter die 7 gesetzt. Geht das bündig?
• Bei e:7.9- wird die b9 in Klammern geschrieben, geht das auch ohne?
• Bei c:maj7 hätte ich lieber "maj" als nur das "M"

VG Oliver

Du darfst diesen Dateianhang nicht ansehen.

\version "2.24.0"

\include "jazzchords.ily"
\include "lilyjazz.ily"
%\include "jazzextras.ily"

\header {
  title = "Title"
  composer = "Composer"
  tagline = "Tagline"
}

% ========================================
% MUSIC DEFINITIONS
% ========================================

% Chord progressions
harmonies = \chordmode {
  c1:maj7 | b:m7.5- | e:7.9- | a:m7+ }

% Melody
melody = \relative c' {
  \time 4/4
  c4 d e f | g f e d | c d e f | g f e2 |
}

\book {
  \bookOutputSuffix "LeadSheet"
  \paper {
    #(set-paper-size "a4")
    top-margin = #15
    left-margin = #15
    right-margin = #15
    bottom-margin = #15
  }

  \score {
    <<
      \new ChordNames {
        \set chordChanges = ##t
        \harmonies
      }
      \new Staff {
        \new Voice = "vocals" <<
          { \melody }
        >>
      }
      >>
    \layout {
      indent = #0
    }
  }
}


Bitte poste auch die include-Dateien:
- jazzchords.ily
- lilyjazz.ily
- jazzextras.ily

Sie gehören nicht zu core-LilyPond und es sind die verschiedensten Versionen davon im Umlauf...

Gruß,
  Harm

Ich verwende die aus https://github.com/OpenLilyPondFonts/lilyjazz/tree/master/stylesheet

Vermutlich passiert das alles hier in der jazzchords.ily:

\version "2.19.12"

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
% Creating jazz-style chords
% Borrowed from Jean-Pierre's good work at:
%               https://sites.google.com/site/jpgzic/home
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%


% modification of the procedure "chordRootNamer"
%---- Definition of chord alterations -------
#(define (JazzChordNames pitch majmin) ;majmin is a required argument for "chordNamer", but not used here
  (let* ((alt (ly:pitch-alteration pitch)))
    (make-line-markup
      (list
(make-simple-markup
  (vector-ref #("C" "D" "E" "F" "G" "A" "B")
    (ly:pitch-notename pitch)))
(if (= alt 0) ; alteration ?
  (markup "") ; do nothing
  (if (= alt FLAT) ; flat or sharp
    (markup ">")
    (markup "<")
  )
)
      )
    )
  )
)

%----- markup commands to make it easier to write chords -----
%----- this section can be adapted as desired (I don't like "MI" and "MA", for example)
% for minor chords, use "acMin" to print a small "m"
#(define-markup-command (acMin layout props extension) (string?)
  (interpret-markup layout props
    (markup #:small "m" #:super extension)))

% for major chords, use "acMaj" to print a small "M"
#(define-markup-command (acMaj layout props extension) (string?)
  (interpret-markup layout props
    (markup #:super "M" #:super extension)))

% for chords with up to three alterations, stacked on top of each other
#(define-markup-command (acAlt layout props strA strB strC) (string? string? string?)
  (interpret-markup layout props
    (markup
      #:super strA
      #:fontsize 1.5 "["
      #:fontsize -4
      #:raise 1.2
      #:column (strB strC)
      #:fontsize 1.5 "]"
    )
  )
)

% modify the built-in "chordNameExceptions"
%----- change chord exceptions for jazz notation -----
%
% degrés markup % écriture
JazzChordsList = {
% minor third chords - 3 notes
  <c es ges>1-\markup { \super "dim." } % :dim
  <c es g>-\markup { \acMin #"" } % :m

% minor third chords - 4 notes
  <c es ges beses>-\markup { \super "7dim" } % :dim7
  <c es gis>-\markup { \acMin #"aug" } % :m5+ (Ab/C)
  <c es g a>-\markup { \acMin #"6" } % :m6
  <c es ges bes>-\markup { \acMin #"7 >5" } % :m7.5-
  <c es g bes>-\markup { \acMin #"7" } % :m7
  <c es gis bes>-\markup { \acMin #"7 <5" } % :m7.5+
  <c es g b>-\markup { \acMin #"M7" } % :m7+
  <c es g d'>-\markup { \acMin #"add9" } % :m5.9

% minor third chords - 5+ notes
  <c es g a d'>-\markup { \acMin #"6/9" } % :m6.9
  <c es g bes des'>-\markup { \acMin #"7(>9)" } % :m7.9-
  <c es g bes d'>-\markup { \acMin #"9" } % :m9
  <c es ges bes d'>-\markup { \acMin #"9(>5)" } % :m9.5-
  <c es g b d'>-\markup { \acMin #"9(M7)" } % :m9.7+
  <c es g bes dis'>-\markup { \acMin #"7(<9)" } % :m7.9+
  <c es g bes f'>-\markup { \acMin #"7(add 11)" } % :m7.11
  <c es g bes a'>-\markup { \acMin #"7(add 13)" } % :m7.13
  <c es g bes d' f'>-\markup { \acMin #"11" } % :m11
  <c es ges bes d' f'>-\markup { \acMin #"11(>5)" } % :m11.5-
  <c es g bes d' f' a'>-\markup { \acMin #"13" } % :m13

% major third chords - 3 notes
  <c e ges>-\markup { \super ">5" } % :5-
  <c e gis>-\markup { \super "aug" } % :aug

% major third chords - 4 notes
  <c e g a d'>-\markup {
  \super "6"
  \hspace #-0.5 \raise #0.7 \tiny "/"
  \hspace #-0.5 \tiny "9"
  } % :6.9
% special chords
  <c e g bes c'>-\markup { \super "7(Alt)" } % :c:8
  <c e g b>-\markup { \acMaj #"7" } % :maj
  <c e ges b>-\markup { \acMaj #"7>5" } % :maj.5-
  <c e gis b>-\markup { \acMaj #"7<5" } % :maj.5+

  <c e ges bes>-\markup { \super "7(>5)" } % :7.5-
  <c e gis bes>-\markup { \super "7(<5)" } % :7.5+
  <c e g d'>-\markup { \super "add9" } % :5.9

% major third chords - 5+ notes
  <c e g b d'>-\markup { \acMaj #"9" } % :maj9
  <c e g bes des'>-\markup { \super "7(>9)" } % :9-
  <c e ges bes des'>-\markup { \override #'(baseline-skip . 2) \acAlt #"7" #">9" #">5" } % :9-.5-
  <c e gis bes des'>-\markup { \override #'(baseline-skip . 2) \acAlt #"7" #">9" #"<5" } % :9-.5+
  <c e g bes d' fis'>-\markup { \super "9(<11)" } % :9.11+
  <c e g bes dis'>-\markup { \super "7(<9)" } % :9+
  <c e ges bes dis'>-\markup { \override #'(baseline-skip . 2) \acAlt #"7" #"<9" #">5" } % :9+.5-
  <c e gis bes dis'>-\markup { \override #'(baseline-skip . 2) \acAlt #"7" #"<9" #"<5" } % :9+.5+
  <c e g bes fis'>-\markup { \super "7(<11)" } % :7.11+
  <c e g bes aes'>-\markup { \super "7(>13)" } % :7.13-
  <c e g b d' f'>-\markup { \acMaj #"11" } % :maj11
  <c e g b d' a' >-\markup { \acMaj #"13" } % :maj13
  <c e g bes d' a' >-\markup { \super "13" } % :13
  <c e g bes des' a' >-\markup { \super "13(>9)" } % :13.9-

% sustained chords
  <c d g>-\markup { \super "sus2" } % :sus2
  <c f g>-\markup { \super "sus" } % :sus4
  <c f g bes>-\markup { \super "7sus" }  % :sus4.7
  <c f g bes d'>-\markup { \super "9sus" }  % :sus4.7.9
  <c f g dis'>-\markup { \super "<9sus" }  % :sus4.9+
}

% variable needed to use chord exceptions
JazzChords = #(append (sequential-music-to-chord-exceptions JazzChordsList #t) ignatzekExceptions)

% modify the default ChordNames context
\layout {
  \context {
    \ChordNames
    chordRootNamer = #JazzChordNames % update the chord names
    chordNameExceptions = #JazzChords % update the chord exceptions
    \override ChordName.font-name = #"lilyjazz-chord"  % use the custom font for displaying the chords
  }
}



Ahhh, ich glaube ich habe jetzt verstanden, wie das zu lesen ist.

<c es ges bes>-\markup { \acMin #"7 >5" } % :m7.5-
">" steht für das "b"? und der Abstand kommt von dem Space zwischen 7 und >5?

 

Habe die jazzchords.ily entsprechend angepasst und konnte so die beiden ersten Punkte beheben.

Wenn ich allerdings hier
#(define-markup-command (acMaj layout props extension) (string?)
  (interpret-markup layout props
    (markup #:super "M" #:super extension)))

Das "M" durch "maj" ersetze, ergibt sich ein etwas seltsames Schriftbild, vermutlich fixed vs variable font?