Re: [tablatures] Re: \set predefinedDiagramTable in a TabStaff

Am 19.11.2010 um 01:19 schrieb Carl Sorensen:

Carl,

I hope I'm not getting on your nerves. As you said: we agree on the important bits. I just would like to make sure to understand some (probably) less important details...

[snip]

Right, but if you choose an a-shape C chord, it will be a five-note
chord
with a certain set of pitches.

Well, I totally disagree here. It can also be a four-note (e.g. c:
1.5.8.10) or a three-note chord (e.g. c:3.5.8^1). But when you enter
\chordmode {c} you get a three-voiced chord in both Staff- and
TabStaff-contexts.

Currently you get a three-voiced chord in Staff contexts, but if you are
using predefined diagrams you get a voicing that corresponds to the
predefined diagram table in the TabStaff.

I didn't understand the last sentence.

\score {

\new ChordNames {

\chordmode{c1}

}

\new FretBoards {

\predefinedFretboardsOff

\chordmode{c1}

}

\new Staff <<

\clef "treble_8"

\chordmode{c1}

\new TabStaff <<

\chordmode{c1}

}

This results in three-note chords in all contexts. Everything is fine/consistent/logical.

\score {

\new ChordNames {

\chordmode{c1}

}

\new FretBoards {

\set predefinedDiagramTable = #xyz

\chordmode{c1}

}

\new Staff <<

\clef "treble_8"

\chordmode{c1}

\new TabStaff <<

\chordmode{c1}

}

This results in three-note voicings in Staff and TabStaff and possibly a different voicing in the fretboard diagram depending on the definition in the predefined diagram table. I can't see any correspondence to what's going on in the TabStaff. Hold on, all of this would make sense if it were possible to use \set predefinedDiagramTable in a TabStaff to change tablature according to the definitions in the predefined diagram table. That would be brilliant and it would cure my brain hiccup! Blame me for not having tested your latest bug fix! ;-)

[snip]

It's a pain to have to list all the pitches
(and remember them) when you're working on a particular chord.

I totally agree even though we are probably not of the same
opinion ;-). I think the current \chordmode method is unnecessarily
complicated. But on the other hand it allows to define even complex
chords. Unfortunately even simple four- or five-note chords look very
difficult. But then again it's possible to use different definitions
for the same chord (e.g c:1.3.5.8.10 or c:8.10^7).

Plus, the
set of pitches will mess up the chord namer.

Well, the chord namer is broken, anyway. In my opinion for example
all basic triads in which three or more notes are sounded together
should result in the same chord name no matter which of the three
notes are doubled. But currently even a simple chord such as "c:8^7"
produces a weird chord name (C add8).

Well, this is what the Brandt-Roemer chord naming scheme requests. Doubled
pitches are supposed to be included in the chord name.

Ok, I didn't know that. I don't have this book. I'm pretty sure that I have never ever seen a symbol like C add8 or C add10 in any real book or song book. Not even Sammy Nestico uses it even though he sticks to the chord naming scheme of Brandt-Roemer.

If we could make it go:

\aShape
c1
\cShape
c1
\gShape
c1

and have the ChordNames context produce "C", the FretBoards context
produce
the desired fret diagram, the Staff produce the pitches that
correspond to
the fret diagram, and the TabStaff produce the tablature that
corresponds to
the fret diagram, I think that would be the ideal.

I agree!

Well, I'll see if I can make that work. If we can get the Staff to go along
with the FretBoards and the TabStaff, then we won't disagree about much of
anything of substance. If that funcionality works, you can use your
chordmode definitions that list each pitch and create custom tables. I can
create custom tables that are listed by basic chords, and we can both be
happy.

That would be brilliant!;-)

[snip]

If it is a pain to define chords in chordmode than this
should be made easier. I see some room for improvements...

e..g. be able to choose the number of notes a voicing should contain in combination with the possibility to indicate the top note of a chord. This way the same chord symbols could be used for chords containing doubled notes and it would further reduce the need to list each pitch that should be part of a chord as there are certain rules concerning e.g. four-voiced chords (e.g. a ninth replaces the root; a thirteenth replaces the fifth…).

I could imagine something like that:

\set voicing = #3 %three-note chord (default)

c %meaning: <c e g>

c;5 % ""

c;10 %meaning: <c g e'>

c;6 %meaning: <c e a>

\set voicing = #4 %four-note chord

c %meaning: <c e g c'>

c;8 % ""

c;10 %meaning: <c g c' e'>

c;12 %meaning: <c c' e' g'>

c:7;8 %meaning: <c g bes c'>

c:7;10 %meaning: <c g bes e'>

c:9;12/e %meaning: <e bes d' g'>

…

</pseudo code>

(it's just an idea…)

[snip]