\version "2.2.0"


\header {

texidoc = " Chord names are generated from a list pitches.  The
functions which construct these names can be customised. Here are shown
Jazz chords, following Ignatzek (pp. 17-18, 1995) and 
an alternative Jazz  chord notation.

Chords following Banter (1987) can also be printed from this file, but
are turned off for brevity.

"

}

chs = \notes \transpose c' c' 
{
	<c e g>1
	<c es g>% m = minor triad
	<c e gis>
	<c es ges> \break
	<c e g bes>
	<c es g bes>
	<c e g b> 		% triangle = maj
	<c es ges beses> 
	<c es ges b> \break
	<c e gis bes>
	<c es g b>
	<c e gis b> 
	<c es ges bes>\break
	<c e g a>   % 6 = major triad with added sixth
	<c es g a>  % m6 = minor triad with added sixth
	<c e g bes d'> 
	<c es g bes d'> \break
	<c es g bes d' f' a' >
	<c es g bes d' f' >
	<c es ges bes d' > 
	<c e g bes des' > \break
	<c e g bes dis'>
	<c e g bes d' f'>
	<c e g bes d' fis'>
	<c e g bes d' f' a'>\break
	<c e g bes d' fis' as'>
	<c e gis bes dis'>
	<c e g bes dis' fis'>
	<c e g bes d' f' as'>\break
	<c e g bes des' f' as'>
	<c e g bes d' fis'>
	<c e g b d'>
	<c e g bes d' f' as'>\break
	<c e g bes des' f' as'>
	<c e g bes des' f' a'>
	<c e g b d'>
	<c e g b d' f' a'>\break
	<c e g b d' fis'>
	<c e g bes des' f ' a'>
	<c f g>
	<c f g bes>\break
	<c f g bes d'>
	<c e g d'>	% add9
	<c es g f'>
}


%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
% alternate Jazz notation

efullmusicJazzAlt = \notes
{
    <c e gis>1-\markup { "+" }
    <c e g b>-\markup { \normal-size-super
    %			  \override #'(font-family . math) "N" }
			  \override #'(font-family . math) "M" }
    %%c:3.5.7 = \markup { \override #'(font-family . math) "M" }
    %%c:3.5.7 = \markup { \normal-size-super "maj7" }

   <c es ges>-\markup { \super "o" } % should be $\circ$ ?
   <c es ges bes>-\markup { \super \combine "o" "/" }
   <c es ges beses>-\markup { \super  "o7" }
}

efullJazzAlt = #(sequential-music-to-chord-exceptions efullmusicJazzAlt #f)

epartialmusicJazzAlt = \notes{
    <c d>1-\markup { \normal-size-super "2" }
    <c es>-\markup { "m" }
    <c f>-\markup { \normal-size-super "sus4" }
    <c g>-\markup { \normal-size-super "5" }
    
    %% TODO, partial exceptions
    <c es f>-\markup { "m" }-\markup { \normal-size-super "sus4" }
    <c d es>-\markup { "m" }-\markup { \normal-size-super "sus2" }
}

epartialJazzAlt = #(sequential-music-to-chord-exceptions epartialmusicJazzAlt #f)

jazzAltProperties = \sequential { 
    \set majorSevenSymbol = #whiteTriangleMarkup
    \set chordNameSeparator = #(make-simple-markup  "/")
    \set chordNameExceptionsFull = #efullJazzAlt
    \set chordNameExceptionsPartial = #epartialJazzAlt
    \set chordNameFunction = #jazz-chord-names
}

banterProperties = \sequential { 
	    \set chordNameFunction = #banter-chord-names
}

\score{
    <<
	\new ChordNames {
	    \set instrument = #"Ignatzek (default)"
	    \set instr = #"Def"
	    \chs
	}
	
	\new ChordNames {
	    \jazzAltProperties
	    \set instrument = #"Alternative"
	    \set instr = #"Alt"
	    \chs
	}

%{

	%% This is the Banter (1987) style.  It gives exceedingly
	%% verbose (wide) names, making the output file take up to 4 pages.
	%% (FIXME: how big is is now?)
	%% Turned off by default.

	%% FIXME: use smaller font for Banter (or remove some esoteric
	%% chords).
	
	\new ChordNames {
	    \banterProperties
	    \set instrument = #"Banter"
	    \set instr = #"Ban"
	    \chs
	}
%}
	
	\new Staff \notes \transpose c c' { \chs }
    >>
    \paper {
	indent = 3.\cm
	\context { 
	    \ChordNamesContext
	    \consists Instrument_name_engraver
	}
    }
}
	
