> From: Tim McNamara <
address@hidden>
>
> This has perhaps become off-topic and I don?t wish to prolong that;
> however, I have to take issue with the idea that ?sus? could somehow
> apply to the 7th.> It can?t.> Suspensions specifically apply to
> replacing the 3rd with either the 4th or the 2nd (the latter being
> rare except in folk music played on guitar in the first position,
> and even then only a few chords lend themselves to this).> The 7th
> cannot be suspended; it can be flatted or natural, in which case
> this is by convention denoted as a 7th or major 7th; the term ?sus?
> is never applied to the 7th.> There should be no possible ambiguity
> when ?sus? and ?7? are used in the same chord.
Thanks to everyone so interested in the appellation of half-baked chords.
On the whole, I agree with Tim that the alleged ambiguity of the sus7 symbol in a Jazz chart is baseless. Except he said it in about 75% fewer words that I would have.
I've read what everyone has to say, but no one has yet presented a reasonable alternative interpretation for what this symbol could possibly mean, in the context of a Jazz chart. If the context were something other than a Jazz chart, I would agree that the other possibilities discussed are very reasonable and preferable.
I agree that we've (I've) gotten way off topic for lilypond proper. Athough it is useful to hear what other people's experiences are, in terms of what symbols their musicans are and are not familiar with, and the various interpretations for these chord symbols.
> From: Richard Shann <
address@hidden>
>
> > The main problem for me with ?x7sus4? as a chord name is its length;
> > when there are four chord names in a bar, every character counts in
> > terms of legibility.
> There is a patch LilyPond that typesets chord symbols in a compact way.
>
http://code.google.com/p/lilypond/issues/detail?id=4154Tim, if this still doesn't get you what you need, let me know and I can try to help.