1 @c -*- coding: utf-8; mode: texinfo; documentlanguage: es -*-
2 @c This file is part of lilypond.tely
4 Translation of GIT committish: eba03f4a3cec521a7099a3ec55f51d163803a8e4
6 When revising a translation, copy the HEAD committish of the
7 version that you are working on. See TRANSLATION for details.
14 @section Chord notation
16 Los acordes se pueden escribir en el modo de acordes, que reconoce
17 ciertas convenciones europeas tradicionales de nomenclatura de
18 acordes. También se pueden imprimir los nombres de los acordes.
19 Además se puede imprimir notación de bajo cifrado.
29 @subsection Chord mode
33 Chord mode is used to enter chords using an indicator of the chord
34 structure, rather than the chord pitches.
37 * Chord mode overview::
39 * Extended and altered chords::
42 @node Chord mode overview
43 @unnumberedsubsubsec Chord mode overview
48 Los acordes se pueden escribir como música simultánea, como se explica
49 en @ref{Chorded notes}.
51 También se pueden escribir los acordes en el @qq{modo de acordes}, que
52 es un modo de entrada que se centra en las estructuras de los acordes
53 dentro de la música europea tradicional (donde se conoce como «cifrado
54 americano») más que en las notas concretas. Esto es muy práctico para
55 los que están familiarizados con la utilización de nombres para
56 describir los acordes. Hay más información sobre los distintos modos
57 de entrada en @ref{Input modes}.
59 @lilypond[verbatim,quote,ragged-right,relative=1]
60 \chordmode { c1 g a g c }
63 Los acordes escritos con el modo de acordes son elementos musicales, y
64 se pueden transportar igual que los acordes escritos mediante
65 construcciones de música simultánea.
67 Se pueden mezclar los modos de acorde y de nota en la música
70 @lilypond[verbatim,quote,ragged-right,relative=1]
83 Referencia de la notación:
92 Cuando se mezclan los modos de acorde y de nota en música secuencial,
93 y el modo de acordes aparece en primer lugar, el modo de notas crea un
94 nuevo contexto de @code{Staff}.
96 @lilypond[verbatim,quote,ragged-right,relative=1]
101 Para evitar este comportamiento podemos crear explícitamente el
102 contexto de @code{Staff}:
104 @lilypond[verbatim,quote,ragged-right,relative=1]
113 @unnumberedsubsubsec Common chords
116 @cindex séptima, acordes de
117 @cindex fundamental de un acorde
118 @cindex modificadores de acorde
119 @cindex acordes, variantes de
121 Las tríadas mayores se introducen escribiendo la fundamental y una
124 @lilypond[verbatim,quote,relative=1,ragged-right]
125 \chordmode { c2 f4 g }
128 Las tríadas menores, aumentadas y disminuidas se escriben poniendo
129 @code{:} y una cadena modificadora de variante después de la duración:
131 @lilypond[verbatim,quote,ragged-right,relative=1]
132 \chordmode { c2:m f4:aug g:dim }
135 Se pueden crear acordes de séptima:
137 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
138 \chordmode { c1:7 c:m7 c:maj7 c:dim7 c:aug7 }
146 La tabla que aparece más abajo muestra el efecto de los modificadores
147 de variante sobre los acordes de tríada y de séptima.
152 Acorde menor. Este modificador baja la tercera y, si existe, la
156 Acorde disminuido. Este modificador baja la tercera, la quinta y, si
160 Acorde aumentado. Este modificador eleva la quinta.
163 Acorde de séptima mayor. Este modificador añade una séptima elevada.
164 El @code{7} que sigue a @code{maj} es opcional. NO utilice este
165 modificador para crear una tríada mayor.
169 @c TODO -- perhaps add warning about c and c:maj being different, while
170 @c c:maj and c:maj7 are the same
174 Fragmentos de código:
178 @node Extended and altered chords
179 @unnumberedsubsubsec Extended and altered chords
181 @cindex acordes extendidos
182 @cindex acordes alterados
184 Se pueden crear estructuras de acorde de complejidad arbitraria dentro
185 del modo de acordes. Se puede usar la cadena modificadora para
186 extender un acorde, añadir o quitar notas, elevar o bajar notas del
187 acorde y añadir un bajo distinto o crear una inversión.
189 El primer número que sigue al @code{:} se considera que es el ámbito
190 del acorde. El acorde se construye secuencialmente añadiendo terceras
191 a la fundamental hasta que se alcanza el número especificado. Si el
192 ámbito no es una tercera (p.ej. 6), se añaden terceras hasta la
193 tercera más alta inferior al ámbito, y después se añade la nota del
194 ámbito. El mayor valor posible para el ámbito es 13. Cualquier valor
195 mayor se interpreta como 13.
197 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
206 Observe que @code{c:5} es idéntico a @code{c} (los dos producen una
209 Puesto que una oncena sin alteración no suena bien cuando se combina
210 con una trecena sin alteración, se elimina la oncena de los acordes de
211 @code{:13} (a no ser que se añada explícitamente).
213 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
219 @cindex adiciones en acordes
221 Se pueden añadir notas individuales a un acorde. Las adiciones siguen
222 el ámbito y van prefijadas por un punto (@code{.}).
224 @lilypond[quote,verbatim,fragment,relative=1]
226 c1:5.6 c:3.7.8 c:3.6.13
230 Las notas añadidas pueden ser tan agudas como se desee.
232 @lilypond[quote,verbatim,fragment,relative=1]
234 c4:5.15 c:5.20 c:5.25 c:5.30
238 @cindex acordes, alteración de notas
240 Las notas añadidas a los acordes se pueden alterar mediante la adición
241 de los sufijos @code{-} o @code{+} al número. Para alterar una nota
242 que se ha incluido automáticamente como parte de la estructura básica
243 del acorde, añádala como una nota alterada.
245 @lilypond[quote,verbatim,fragment,relative=1]
247 c1:7+ c:5+.3- c:3-.5-.7-
251 @cindex acordes, supresiones en
255 Una nota que se quiere suprimir de un acorde se indica dentro de la
256 cadena modificadora prefijándola por un acento circunflejo @code{^}.
257 Sólo se permite una supresión con @code{^} dentro de una cadena
260 @lilypond[quote,verbatim,fragment,relative=1]
268 Se puede añadir el modificador @code{sus} a la cadena modificadora
269 para crear acordes suspendidos. Esto elimina la tercera del acorde.
270 Esciba bien @code{2} o bien @code{4} para añadir la seguna o la cuarta
271 al acorde, respectivamente. @code{sus} equivale a @code{^3};
272 @code{sus4} equivale a @code{.4^3}.
274 @lilypond[quote,ragged-right,fragment,verbatim]
276 c1:sus c:sus2 c:sus4 c:5.4^3
280 Es posible eliminar la tercera con @code{sus} y eliminar otra nota con
281 @code{^} dentro de una cadena modificadora.
284 @cindex acordes, inversiones
285 @cindex bajo de los acordes
286 @cindex acordes, bajo de
288 Se pueden especificar las inversiones (colocar en el bajo una nota
289 distinta de la fundamental del acorde) y notas de bajo añadidas
290 mediante la adición de @code{/}@var{nota} al acorde.
292 @lilypond[quote,ragged-right,fragment,verbatim, relative=2]
300 Se puede añadir una nota del bajo que forma parte del acorde, en lugar
301 de ser movida por efecto de una inversión, mediante el uso de
304 @lilypond[quote,ragged-right,fragment,verbatim]
312 Fragmentos de código:
317 Cada nota sólo puede estar presente en el acorde una sola vez. Lo que
318 sigue produce simplemente el acorde aumentado, porque @code{5+} se
319 interpreta en último lugar.
321 @lilypond[quote,ragged-right,verbatim,fragment]
322 \chordmode { c1:5.5-.5+ }
325 Sólo se puede eliminar una nota de un acorde. Si se desa hacer un
326 acorde con varias notas eliminadas, se debe construir a través de la
327 adición de varias notas.
329 Sólo se puede crear la primera inversión mediante la adición de un
330 bajo. La segunda inversión requiere cambiar la fundamental del
333 @lilypond[quote,ragged-right,verbatim,fragment]
335 c'1: c':/g e:6-3-^5 e:m6-^5
339 @node Displaying chords
340 @subsection Displaying chords
342 Los acordes se pueden imprimir por su nombre, además de la impresión
343 estándar como notas sobre un pentagrama.
346 * Printing chord names::
347 * Customizing chord names::
350 @node Printing chord names
351 @unnumberedsubsubsec Printing chord names
353 @cindex impresión de los nombres de acorde
354 @cindex acordes, nombres de
357 Chord names are printed in the @code{ChordNames} context:
359 @lilypond[verbatim,quote,relative=1,ragged-right]
367 Chords can be entered as simultaneous notes or through the use of
368 chord mode. The displayed chord name will be the same, regardless
369 of the mode of entry, unless there are inversions or added bass notes:
371 @lilypond[verbatim,quote,relative=1]
392 @code{\chords @{ ... @}} is a shortcut notation for
393 @code{\new ChordNames @{\chordmode @{ ... @}@}}.
395 @lilypond[verbatim,quote,ragged-right, relative=1]
401 @lilypond[verbatim,quote,ragged-right, relative=1]
411 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
412 {showing-chords-at-changes.ly}
414 @c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
415 @c {adding-bar-lines-to-chordnames-context.ly}
417 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
418 {simple-lead-sheet.ly}
428 @ref{Writing music in parallel}.
435 @rinternals{ChordNames},
436 @rinternals{Volta_engraver},
437 @rinternals{Bar_engraver}.
441 Chords containing inversions or altered bass notes are not named
442 properly if entered using simultaneous music.
445 @node Customizing chord names
446 @unnumberedsubsubsec Customizing chord names
448 @cindex customizing chord names
450 There is no unique system for naming chords. Different musical
451 traditions use different names for the same set of chords. There
452 are also different symbols displayed for a given chord name. The
453 names and symbols displayed for chord names are customizable.
459 The default chord name layout is a system for Jazz music, proposed
460 by Klaus Ignatzek (see @ref{Literature list}). There are also two
461 other chord name schemes implemented: an alternate Jazz chord
462 notation, and a systematic scheme called Banter chords. The
463 alternate Jazz notation is also shown on the chart in @ref{Chord
466 @c TODO -- Change this so we don't have a non-verbatim example.
467 @c Make short example in docs, then move longer example to
468 @c appendix, where the length of the snippet won't matter.
470 In addition to the different naming systems, different note names
471 are used for the root in different languages. The predefined
472 variables @code{\germanChords}, @code{\semiGermanChords},
473 @code{\italianChords} and @code{\frenchChords} set these variables.
474 The effect is demonstrated here:
476 @lilypondfile[ragged-right]{chord-names-languages.ly}
478 If none of the default settings give the desired output, the chord
479 name display can be tuned through the following properties.
483 @funindex chordRootNamer
487 The chord name is usually printed as a letter for the root with an
488 optional alteration. The transformation from pitch to letter is
489 done by this function. Special note names (for example, the German
490 @q{H} for a B-chord) can be produced by storing a new function in
493 @funindex majorSevenSymbol
495 @item majorSevenSymbol
497 This property contains the markup object used to follow the output
498 of @code{chordRootNamer} to dentify a major 7 chord. Predefined
499 options are @code{whiteTriangleMarkup} and
500 @code{blackTriangleMarkup}.
502 @funindex chordNoteNamer
506 When the chord name contains additional pitches other than the root
507 (e.g., an added bass note), this function is used to print the
508 additional pitch. By default the pitch is printed using
509 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
510 to a specialized function to change this behavior. For example, the
511 bass note can be printed in lower case.
513 @funindex chordNameSeparator
515 @item chordNameSeparator
517 Different parts of a chord name are normally separated by a slash.
518 By setting @code{chordNameSeparator}, you can use any desired markup
521 @funindex chordNameExceptions
523 @item chordNameExceptions
525 This property is a list of pairs. The first item in each pair
526 is a set of pitches used to identify the steps present in the chord.
527 The second item is a markups that will follow the @code{chordRootNamer}
528 output to create the chord name.
530 @funindex chordPrefixSpacer
531 @item chordPrefixSpacer
533 The @q{m} for minor chords is usually printed immediately to the
534 right of the root of the chord. By setting
535 @code{chordPrefixSpacer}, you can fix a spacer between the root
536 and @q{m}. The spacer is not used when the root is altered.
542 @funindex major seven symbols
543 @code{\whiteTriangleMarkup},
544 @code{\blackTriangleMarkup},
545 @funindex \germanChords
546 @code{\germanChords},
547 @funindex \semiGermanChords
548 @code{\semiGermanChords},
549 @funindex \italianChords
550 @code{\italianChords},
551 @funindex \frenchChords
552 @code{\frenchChords}.
557 @cindex exceptions, chord names.
558 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
559 {chord-name-exceptions.ly}
561 @c TODO - tweak snippet to use \blackTriangleMarkup as well
562 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
563 {chord-name-major7.ly}
565 @c @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
566 @c {adding-bars-to-chordnames.ly)
568 @c @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
569 @c {volta-brackets-over-chord-names.ly}
571 @c TODO convert to snippet
572 @c @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
573 @c {changing-chord-separator.ly}
575 The separator between different parts of a chord name
576 can be set to any markup.
578 @lilypond[quote,ragged-right,fragment,verbatim]
581 \set chordNameSeparator
582 = \markup { \typewriter "|" }
591 @ref{Chord name chart}.
594 @file{scm/@/chords@/-ignatzek@/.scm},
595 @file{scm/@/chord@/-entry@/.scm},
596 @file{ly/@/chord@/-modifier@/-init@/.ly}.
601 @c Internals Reference:
606 Chord names are determined from both the pitches that are present
607 in the chord and the information on the chord structure that may
608 have been entered in @code{\chordmode}. If the simultaneous pitches
609 method of entering chords is used, undesired names result from
610 inversions or bass notes.
612 @lilypond[quote,ragged-right,verbatim]
613 myChords = \relative c' {
614 \chordmode{ c1 c/g c/f }
615 <c e g> <g c e> <f c' e g>
618 \new ChordNames { \myChords }
619 \new Staff { \myChords }
625 @subsection Figured bass
627 Figured bass notation can be displayed.
630 * Introduction to figured bass::
631 * Entering figured bass::
632 * Displaying figured bass::
635 @node Introduction to figured bass
636 @unnumberedsubsubsec Introduction to figured bass
638 @cindex Basso continuo
639 @cindex Thorough bass
641 @cindex Bass, thorough
642 @cindex Bass, figured
644 @c TODO: musicological blurb about FB
646 LilyPond has support for figured bass, also called thorough bass
649 @lilypond[quote,ragged-right,verbatim,fragment]
651 \new Voice { \clef bass dis4 c d ais g fis}
654 < 6 >4 < 7\+ >8 < 6+ [_!] >
662 The support for figured bass consists of two parts: there is an
663 input mode, introduced by @code{\figuremode}, that accepts
664 entry of bass figures, and there is a context named
665 @code{FiguredBass} that takes care of displaying
666 @code{BassFigure} objects. Figured bass can also be displayed
667 in @code{Staff} contexts.
669 @code{\figures@{ ... @}} is a shortcut notation for
670 @code{\new FiguredBass @{\figuremode @{ ... @}@}}.
673 Although the support for figured bass may superficially resemble chord
674 support, it is much simpler. @code{\figuremode} mode simply
675 stores the figures and the @code{FiguredBass} context prints them
676 as entered. There is no conversion to pitches.
678 Figures are created as markup texts. Any of the standard markup
679 properties can be used to modify the display of figures. For
680 example, the vertical spacing of the figures may be set with
681 @code{baseline-skip}.
683 @node Entering figured bass
684 @unnumberedsubsubsec Entering figured bass
686 @code{\figuremode} is used to switch the input mode to figure mode.
687 More information on different input modes can be
688 found at @ref{Input modes}.
690 In figure mode, a group of bass figures is delimited by
691 @code{<} and @code{>}. The duration is entered after the @code{>}.
693 @lilypond[verbatim,quote,ragged-right,fragment]
701 Accidentals (including naturals) can be added to figures:
703 @lilypond[verbatim,quote,ragged-right,fragment]
705 <7! 6+ 4-> <5++> <3-->
709 Augmented and diminished steps can be indicated.
711 @lilypond[verbatim,quote,ragged-right,fragment]
717 A backward slash through a figure (typically used for raised
718 sixth steps) can be created.
720 @lilypond[verbatim,quote,ragged-right,fragment]
729 Vertical spaces and brackets can be be included in figures:
731 @lilypond[verbatim,quote,ragged-right,fragment]
738 Any text markup can be inserted as a figure:
740 @lilypond[verbatim,quote,ragged-right,fragment]
742 < \markup{ \tiny \number 6 \super (1)} 5 >
746 @c TODO We need to include notes any time we use extenders to
747 @c avoid extraneous staff creation due to Staff.use... in
748 @c \bassFigureExtendersOn
750 Continuation lines can be used to indicate repeated figures:
752 @lilypond[verbatim,quote,ragged-right,fragment]
760 \bassFigureExtendersOn
761 <6 4> <6 3> <7 3> <7 3>
762 \bassFigureExtendersOff
763 <6 4> <6 3> <7 3> <7 3>
769 In this case, the extender lines replace existing figures,
770 unless the continuation lines have been explicitly terminated.
772 @lilypond[verbatim,quote,ragged-right,fragment]
775 \bassFigureExtendersOn
776 <6 4> <6 4> <6\! 4\!> <6 4>
788 @cindex figured bass extender lines
789 @code{\bassFigureExtendersOn},
790 @code{\bassFigureExtendersOff}.
794 @c TODO Fix this snippet -- Plus direction should be RIGHT.
795 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
796 {changing-the-positions-of-figured-bass-alterations.ly}
805 @c Notation Reference:
808 @c Application Usage:
818 @rinternals{NewBassFigure},
819 @rinternals{BassFigureAlignment},
820 @rinternals{BassFigureLine},
821 @rinternals{BassFigureBracket},
822 @rinternals{BassFigureContinuation},
823 @rinternals{FiguredBass}.
827 @node Displaying figured bass
828 @unnumberedsubsubsec Displaying figured bass
830 Figured bass can be displayed using the @code{FiguredBass} context,
831 or in most staff contexts.
833 When displayed in a @code{FiguredBass} context, the vertical location
834 of the figures is independent of the notes on the staff.
836 @lilypond[verbatim,ragged-right,fragment,quote]
851 In the example above, the @code{FiguredBass} context must be
852 explicitly instantiated to avoid creating a second (empty) staff.
855 Figured bass can also be added to @code{Staff} contexts
856 directly. In this case, the vertical position of the
857 figures is adjusted automatically.
859 @c TODO add a second paragraph to show direction change. First
860 @c example should be UP (default), second should be DOWN.
862 @c TODO change to use predefined command once it is added to
863 @c property-init.ly -cds
864 @lilypond[verbatim,ragged-right,fragment,quote]
871 %% Put notes on same Staff as figures
872 \context Staff = myStaff
881 When added in a Staff context, figured bass can be displayed above
884 @lilypond[verbatim,ragged-right,fragment,quote]
889 \bassFigureStaffAlignmentDown
892 %% Put notes on same Staff as figures
893 \context Staff = myStaff
903 @c I don't understand this -cs
904 When using continuation lines, common figures are always put in the
905 same vertical position. When this is unwanted, you can insert a rest.
906 The rest will clear any previous alignment. For
907 example, you can write
921 @cindex figured bass alignment
922 @code{\bassFigureStaffAlignmentDown},
923 @code{\bassFigureStaffAlignmentUp},
924 @code{\bassFigureStaffAlignmentNeutral}.
935 @c Notation Reference:
938 @c Application Usage:
948 @rinternals{NewBassFigure},
949 @rinternals{BassFigureAlignment},
950 @rinternals{BassFigureLine},
951 @rinternals{BassFigureBracket},
952 @rinternals{BassFigureContinuation},
953 @rinternals{FiguredBass}.
957 To ensure that continuation lines work properly, it is
958 safest to use the same rhythm in the figure line as in
961 @lilypond[verbatim,ragged-right,fragment,quote]
965 \repeat unfold 4 {f16. g32} f8. es16 d8 es
968 \bassFigureExtendersOn
969 % The extenders are correct here, with the same rhythm as the bass
970 \repeat unfold 4 {<6 4->16. <6 4->32}
971 <5>8. r16 <6>8 <6\! 5->
977 \repeat unfold 4 {f16. g32} f8. es16 d8 es
980 \bassFigureExtendersOn
981 % The extenders are incorrect here, even though the timing is the same
983 %\repeat unfold 4 {<6 4->16. <6 4->32}
984 <5>8. r16 <6>8 <6\! 5->
989 @c I have no idea what this means -cds
990 @c A predefined command for changing this has been proposed -cds
991 @c TODO -- put stacking direction snippet here -cds
992 When using figured bass above the staff with extender lines and
993 @code{implicitBassFigures} the lines may become swapped around.
994 Maintaining order consistently will be impossible when multiple figures
995 have overlapping extender lines. To avoid this problem, please
996 use @code{stacking-dir} on @code{BassFigureAlignment}.