Urgency xrefs fix

[lilypond.git] / Documentation / es / user / chords.itely

@c -*- coding: utf-8; mode: texinfo; documentlanguage: es -*-
@c This file is part of lilypond.tely
@ignore
    Translation of GIT committish: eba03f4a3cec521a7099a3ec55f51d163803a8e4

    When revising a translation, copy the HEAD committish of the
    version that you are working on.  See TRANSLATION for details.
@end ignore

@c \version "2.11.38"


@node Chord notation
@section Chord notation

Los acordes se pueden escribir en el modo de acordes, que reconoce
ciertas convenciones europeas tradicionales de nomenclatura de
acordes.  También se pueden imprimir los nombres de los acordes.
Además se puede imprimir notación de bajo cifrado.

@menu
* Chord mode::                  
* Displaying chords::           
* Figured bass::                
@end menu


@node Chord mode
@subsection Chord mode

@cindex chord chords

Chord mode is used to enter chords using an indicator of the chord
structure, rather than the chord pitches.

@menu
* Chord mode overview::         
* Common chords::               
* Extended and altered chords::  
@end menu

@node Chord mode overview
@unnumberedsubsubsec Chord mode overview

@cindex chord names
@cindex chord mode

Los acordes se pueden escribir como música simultánea, como se explica
en @ref{Chorded notes}.

También se pueden escribir los acordes en el @qq{modo de acordes}, que
es un modo de entrada que se centra en las estructuras de los acordes
dentro de la música europea tradicional (donde se conoce como «cifrado
americano») más que en las notas concretas.  Esto es muy práctico para
los que están familiarizados con la utilización de nombres para
describir los acordes.  Hay más información sobre los distintos modos
de entrada en @ref{Input modes}.

@lilypond[verbatim,quote,ragged-right,relative=1]
\chordmode { c1 g a g c }
@end lilypond

Los acordes escritos con el modo de acordes son elementos musicales, y
se pueden transportar igual que los acordes escritos mediante
construcciones de música simultánea.

Se pueden mezclar los modos de acorde y de nota en la música
secuencial:

@lilypond[verbatim,quote,ragged-right,relative=1]
<c e g>2 < g b d >
\chordmode { c2 f}
< c e g > < g' b d >
\chordmode { f g}
@end lilypond


@seealso

Glossario musical:
@rglos{chord}.

Referencia de la notación:
@ref{Chorded notes},
@ref{Input modes}.

Fragmentos de código:
@rlsr{Chords}

@knownissues

Cuando se mezclan los modos de acorde y de nota en música secuencial,
y el modo de acordes aparece en primer lugar, el modo de notas crea un
nuevo contexto de @code{Staff}.

@lilypond[verbatim,quote,ragged-right,relative=1]
\chordmode { c2 f}
< c e g > < g' b d >
@end lilypond

Para evitar este comportamiento podemos crear explícitamente el
contexto de @code{Staff}:

@lilypond[verbatim,quote,ragged-right,relative=1]
\new Staff {
  \chordmode { c2 f}
  < c e g > < g' b d >
}
@end lilypond


@node Common chords
@unnumberedsubsubsec Common chords

@cindex tríadas
@cindex séptima, acordes de
@cindex fundamental de un acorde
@cindex modificadores de acorde
@cindex acordes, variantes de

Las tríadas mayores se introducen escribiendo la fundamental y una
duración opcional:

@lilypond[verbatim,quote,relative=1,ragged-right]
\chordmode { c2 f4 g }
@end lilypond

Las tríadas menores, aumentadas y disminuidas se escriben poniendo
@code{:} y una cadena modificadora de variante después de la duración:

@lilypond[verbatim,quote,ragged-right,relative=1]
\chordmode { c2:m f4:aug g:dim }
@end lilypond

Se pueden crear acordes de séptima:

@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
\chordmode { c1:7 c:m7 c:maj7 c:dim7 c:aug7 }
@end lilypond

@funindex aug
@funindex dim
@funindex maj
@funindex m

La tabla que aparece más abajo muestra el efecto de los modificadores
de variante sobre los acordes de tríada y de séptima.

@table @code

@item m
Acorde menor.  Este modificador baja la tercera y, si existe, la
séptima.

@item dim
Acorde disminuido.  Este modificador baja la tercera, la quinta y, si
existe, la séptima.

@item aug
Acorde aumentado.  Este modificador eleva la quinta.

@item maj
Acorde de séptima mayor.  Este modificador añade una séptima elevada.
El @code{7} que sigue a @code{maj} es opcional.  NO utilice este
modificador para crear una tríada mayor.

@end table

@c TODO -- perhaps add warning about c and c:maj being different, while
@c   c:maj and c:maj7 are the same

@seealso

Fragmentos de código:
@rlsr{Chords}


@node Extended and altered chords
@unnumberedsubsubsec Extended and altered chords

@cindex acordes extendidos
@cindex acordes alterados

Se pueden crear estructuras de acorde de complejidad arbitraria dentro
del modo de acordes.  Se puede usar la cadena modificadora para
extender un acorde, añadir o quitar notas, elevar o bajar notas del
acorde y añadir un bajo distinto o crear una inversión.

El primer número que sigue al @code{:} se considera que es el ámbito
del acorde.  El acorde se construye secuencialmente añadiendo terceras
a la fundamental hasta que se alcanza el número especificado.  Si el
ámbito no es una tercera (p.ej. 6), se añaden terceras hasta la
tercera más alta inferior al ámbito, y después se añade la nota del
ámbito.  El mayor valor posible para el ámbito es 13.  Cualquier valor
mayor se interpreta como 13.

@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
\chordmode {
  c:2 c:3 c:4 c:5
  c:6 c:7 c:8 c:9
  c:10 c:11 c:12 c:13
}
@end lilypond

@noindent
Observe que @code{c:5} es idéntico a @code{c} (los dos producen una
tríada de Do mayor).

Puesto que una oncena sin alteración no suena bien cuando se combina
con una trecena sin alteración, se elimina la oncena de los acordes de
@code{:13} (a no ser que se añada explícitamente).

@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
\chordmode {
  c1:13 c:13.11 c:m13
}
@end lilypond

@cindex adiciones en acordes

Se pueden añadir notas individuales a un acorde.  Las adiciones siguen
el ámbito y van prefijadas por un punto (@code{.}).

@lilypond[quote,verbatim,fragment,relative=1]
\chordmode {
  c1:5.6 c:3.7.8 c:3.6.13
}
@end lilypond

Las notas añadidas pueden ser tan agudas como se desee.

@lilypond[quote,verbatim,fragment,relative=1]
\chordmode {
  c4:5.15 c:5.20 c:5.25 c:5.30
}
@end lilypond

@cindex acordes, alteración de notas

Las notas añadidas a los acordes se pueden alterar mediante la adición
de los sufijos @code{-} o @code{+} al número.  Para alterar una nota
que se ha incluido automáticamente como parte de la estructura básica
del acorde, añádala como una nota alterada.

@lilypond[quote,verbatim,fragment,relative=1]
\chordmode {
  c1:7+ c:5+.3- c:3-.5-.7-
}
@end lilypond

@cindex acordes, supresiones en

@funindex ^

Una nota que se quiere suprimir de un acorde se indica dentro de la
cadena modificadora prefijándola por un acento circunflejo @code{^}.
Sólo se permite una supresión con @code{^} dentro de una cadena
modificadora.

@lilypond[quote,verbatim,fragment,relative=1]
\chordmode {
  c1^3 c:7^5 c:9^3.5
}
@end lilypond

@funindex sus

Se puede añadir el modificador @code{sus} a la cadena modificadora
para crear acordes suspendidos.  Esto elimina la tercera del acorde.
Esciba bien @code{2} o bien @code{4} para añadir la seguna o la cuarta
al acorde, respectivamente.  @code{sus} equivale a @code{^3};
@code{sus4} equivale a @code{.4^3}.

@lilypond[quote,ragged-right,fragment,verbatim]
\chordmode {
  c1:sus c:sus2 c:sus4 c:5.4^3
}
@end lilypond

Es posible eliminar la tercera con @code{sus} y eliminar otra nota con
@code{^} dentro de una cadena modificadora.

@funindex /
@cindex acordes, inversiones
@cindex bajo de los acordes
@cindex acordes, bajo de

Se pueden especificar las inversiones (colocar en el bajo una nota
distinta de la fundamental del acorde) y notas de bajo añadidas
mediante la adición de @code{/}@var{nota} al acorde.

@lilypond[quote,ragged-right,fragment,verbatim, relative=2]
\chordmode {
  c1 c/g c/f
}
@end lilypond

@funindex /+

Se puede añadir una nota del bajo que forma parte del acorde, en lugar
de ser movida por efecto de una inversión, mediante el uso de
@code{/+}@var{nota}.

@lilypond[quote,ragged-right,fragment,verbatim]
\chordmode {
  c1 c/g c/+g
}
@end lilypond

@seealso

Fragmentos de código:
@rlsr{Chords}

@knownissues

Cada nota sólo puede estar presente en el acorde una sola vez.  Lo que
sigue produce simplemente el acorde aumentado, porque @code{5+} se
interpreta en último lugar.

@lilypond[quote,ragged-right,verbatim,fragment]
\chordmode { c1:5.5-.5+ }
@end lilypond

Sólo se puede eliminar una nota de un acorde.  Si se desa hacer un
acorde con varias notas eliminadas, se debe construir a través de la
adición de varias notas.

Sólo se puede crear la primera inversión mediante la adición de un
bajo.  La segunda inversión requiere cambiar la fundamental del
acorde.

@lilypond[quote,ragged-right,verbatim,fragment]
\chordmode {
  c'1: c':/g e:6-3-^5 e:m6-^5
}
@end lilypond

@node Displaying chords
@subsection Displaying chords

Los acordes se pueden imprimir por su nombre, además de la impresión
estándar como notas sobre un pentagrama.

@menu
* Printing chord names::        
* Customizing chord names::     
@end menu

@node Printing chord names
@unnumberedsubsubsec Printing chord names

@cindex impresión de los nombres de acorde
@cindex acordes, nombres de
@cindex acordes

Chord names are printed in the @code{ChordNames} context:

@lilypond[verbatim,quote,relative=1,ragged-right]
\new ChordNames {
  \chordmode {
    c2 f4. g8
  }
}
@end lilypond

Chords can be entered as simultaneous notes or through the use of
chord mode.  The displayed chord name will be the same, regardless
of the mode of entry, unless there are inversions or added bass notes:

@lilypond[verbatim,quote,relative=1]
<<
  \new ChordNames {
    <c e g>2  <f bes c>
    <f c' e g>1
    \chordmode {
      c2 f:sus4 c1:/f
    }
  }
  {
    <c e g>2  <f bes c>
    <f, c' e g>1
    \chordmode {
      c2 f:sus4 c1:/f
    }
  }
>>
@end lilypond

@funindex{\chords}

@code{\chords @{ ... @}} is a shortcut notation for
@code{\new ChordNames @{\chordmode @{ ... @}@}}.

@lilypond[verbatim,quote,ragged-right, relative=1]
\chords {
  c2 f4.:m g8:maj7
}
@end lilypond

@lilypond[verbatim,quote,ragged-right, relative=1]
\new ChordNames {
  \chordmode {
    c2 f4.:m g8:maj7
  }
}
@end lilypond

@snippets

@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{showing-chords-at-changes.ly}

@c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
@c {adding-bar-lines-to-chordnames-context.ly}

@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{simple-lead-sheet.ly}


@seealso

Music Glossary:
@rglos{chord}.


Notation Reference:
@ref{Writing music in parallel}.


Snippets:
@rlsr{Chords}.

Internals Reference:
@rinternals{ChordNames},
@rinternals{Volta_engraver},
@rinternals{Bar_engraver}.

@knownissues

Chords containing inversions or altered bass notes are not named
properly if entered using simultaneous music.


@node Customizing chord names
@unnumberedsubsubsec Customizing chord names

@cindex customizing chord names

There is no unique system for naming chords.  Different musical
traditions use different names for the same set of chords.  There
are also different symbols displayed for a given chord name.   The
names and symbols displayed for chord names are customizable.

@cindex Banter
@cindex jazz chords
@cindex chords, jazz

The default chord name layout is a system for Jazz music, proposed
by Klaus Ignatzek (see @ref{Literature list}).  There are also two
other chord name schemes implemented: an alternate Jazz chord
notation, and a systematic scheme called Banter chords.  The
alternate Jazz notation is also shown on the chart in @ref{Chord
name chart}.

@c TODO --  Change this so we don't have a non-verbatim example.
@c  Make short example in docs, then move longer example to
@c  appendix, where the length of the snippet won't matter.

In addition to the different naming systems, different note names
are used for the root in different languages.  The predefined
variables @code{\germanChords}, @code{\semiGermanChords},
@code{\italianChords} and @code{\frenchChords} set these variables.
The effect is demonstrated here:

@lilypondfile[ragged-right]{chord-names-languages.ly}

If none of the default settings give the desired output, the chord
name display can be tuned through the following properties.

@table @code

@funindex chordRootNamer

@item chordRootNamer

The chord name is usually printed as a letter for the root with an
optional alteration.  The transformation from pitch to letter is
done by this function.  Special note names (for example, the German
@q{H} for a B-chord) can be produced by storing a new function in
this property.

@funindex majorSevenSymbol

@item majorSevenSymbol

This property contains the markup object used to follow the output
of @code{chordRootNamer} to dentify a major 7 chord. Predefined
options are @code{whiteTriangleMarkup} and
@code{blackTriangleMarkup}.

@funindex chordNoteNamer

@item chordNoteNamer

When the chord name contains additional pitches other than the root
(e.g., an added bass note), this function is used to print the
additional pitch.  By default the pitch is printed using
@code{chordRootNamer}. The @code{chordNoteNamer} property can be set
to a specialized function to change this behavior.  For example, the
bass note can be printed in lower case.

@funindex chordNameSeparator

@item chordNameSeparator

Different parts of a chord name are normally separated by a slash.
By setting @code{chordNameSeparator}, you can use any desired markup
for a separator.

@funindex chordNameExceptions

@item chordNameExceptions

This property is a list of pairs.  The first item in each pair
is a set of pitches used to identify the steps present in the chord.
The second item is a markups that will follow the @code{chordRootNamer}
output to create the chord name.

@funindex chordPrefixSpacer
@item chordPrefixSpacer

The @q{m} for minor chords is usually printed immediately to the
right of the root of the chord.  By setting
@code{chordPrefixSpacer}, you can fix a spacer between the root
and @q{m}.  The spacer is not used when the root is altered.

@end table

@predefined

@funindex major seven symbols
@code{\whiteTriangleMarkup},
@code{\blackTriangleMarkup},
@funindex \germanChords
@code{\germanChords},
@funindex \semiGermanChords
@code{\semiGermanChords},
@funindex \italianChords
@code{\italianChords},
@funindex \frenchChords
@code{\frenchChords}.


@snippets

@cindex exceptions, chord names.
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{chord-name-exceptions.ly}

@c TODO - tweak snippet to use \blackTriangleMarkup as well
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{chord-name-major7.ly}

@c @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
@c {adding-bars-to-chordnames.ly)

@c @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
@c {volta-brackets-over-chord-names.ly}

@c TODO  convert to snippet
@c @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
@c {changing-chord-separator.ly}

The separator between different parts of a chord name
can be set to any markup.

@lilypond[quote,ragged-right,fragment,verbatim]
\chords {
  c:7sus4
  \set chordNameSeparator
    = \markup { \typewriter "|" }
  c:7sus4
}
@end lilypond


@seealso

Notation Reference:
@ref{Chord name chart}.

Installed Files:
@file{scm/@/chords@/-ignatzek@/.scm},
@file{scm/@/chord@/-entry@/.scm},
@file{ly/@/chord@/-modifier@/-init@/.ly}.

Snippets:
@rlsr{Chords}.

@c Internals Reference:
@c @r internals{}.

@knownissues

Chord names are determined from both the pitches that are present
in the chord and the information on the chord structure that may
have been entered in @code{\chordmode}.  If the simultaneous pitches
method of entering chords is used, undesired names result from
inversions or bass notes.

@lilypond[quote,ragged-right,verbatim]
myChords = \relative c' {
  \chordmode{ c1 c/g c/f }
  <c e g> <g c e> <f c' e g>
}
<<
  \new ChordNames { \myChords }
  \new Staff { \myChords }
>>
@end lilypond


@node Figured bass
@subsection Figured bass

Figured bass notation can be displayed.

@menu
* Introduction to figured bass::  
* Entering figured bass::       
* Displaying figured bass::     
@end menu

@node Introduction to figured bass
@unnumberedsubsubsec Introduction to figured bass

@cindex Basso continuo
@cindex Thorough bass
@cindex Figured bass
@cindex Bass, thorough
@cindex Bass, figured

@c TODO: musicological blurb about FB

LilyPond has support for figured bass, also called thorough bass
or basso continuo:

@lilypond[quote,ragged-right,verbatim,fragment]
<<
  \new Voice { \clef bass dis4 c d ais g fis}
  \new FiguredBass {
    \figuremode {
      < 6 >4 < 7\+ >8 < 6+ [_!] >
      < 6 >4 <6 5 [3+] >
      < _ >4 < 6 5/>4
    }
  }
>>
@end lilypond

The support for figured bass consists of two parts: there is an
input mode, introduced by @code{\figuremode}, that accepts
entry of bass figures, and there is a context named
@code{FiguredBass} that takes care of displaying
@code{BassFigure} objects.  Figured bass can also be displayed
in @code{Staff} contexts.

@code{\figures@{ ... @}} is a shortcut notation for
@code{\new FiguredBass @{\figuremode @{ ... @}@}}.


Although the support for figured bass may superficially resemble chord
support, it is much simpler.  @code{\figuremode} mode simply
stores the figures and the @code{FiguredBass} context prints them
as entered.  There is no conversion to pitches.

Figures are created as markup texts.  Any of the standard markup
properties can be used to modify the display of figures.  For
example, the vertical spacing of the figures may be set with
@code{baseline-skip}.

@node Entering figured bass
@unnumberedsubsubsec Entering figured bass

@code{\figuremode} is used to switch the input mode to figure mode.
More information on different input modes can be
found at @ref{Input modes}.

In figure mode, a group of bass figures is delimited by
@code{<} and @code{>}.  The duration is entered after the @code{>}.

@lilypond[verbatim,quote,ragged-right,fragment]
\new FiguredBass {
  \figuremode {
    <6 4>2
  }
}
@end lilypond

Accidentals (including naturals) can be added to figures:

@lilypond[verbatim,quote,ragged-right,fragment]
\figures {
  <7! 6+ 4-> <5++> <3-->
}
@end lilypond

Augmented and diminished steps can be indicated.

@lilypond[verbatim,quote,ragged-right,fragment]
\figures {
  <6\+ 5/> <7/>
}
@end lilypond

A backward slash through a figure (typically used for raised
sixth steps) can be created.

@lilypond[verbatim,quote,ragged-right,fragment]
\figures {
<6>
% FIXME: broken.
  %<6\\>
}
@end lilypond


Vertical spaces and brackets can be be included in figures:

@lilypond[verbatim,quote,ragged-right,fragment]
\figures {
  <[12 _!] 8 [6  4]>
}
@end lilypond


Any text markup can be inserted as a figure:

@lilypond[verbatim,quote,ragged-right,fragment]
\figures {
  <  \markup{ \tiny \number 6 \super (1)} 5 >
}
@end lilypond

@c TODO We need to include notes any time we use extenders to
@c avoid extraneous staff creation due to Staff.use... in
@c \bassFigureExtendersOn

Continuation lines can be used to indicate repeated figures:

@lilypond[verbatim,quote,ragged-right,fragment]
<<
  {
    \clef bass
    e d c b,
    e d c b,
  }
  \figures {
    \bassFigureExtendersOn
    <6 4> <6 3> <7 3> <7 3>
    \bassFigureExtendersOff
    <6 4> <6 3> <7 3> <7 3>
  }
>>
@end lilypond

@noindent
In this case, the extender lines replace existing figures,
unless the continuation lines have been explicitly terminated.

@lilypond[verbatim,quote,ragged-right,fragment]
<<
  \figures {
    \bassFigureExtendersOn
    <6 4> <6 4> <6\! 4\!> <6 4>
  }
  {
    \clef bass
    d d c c
  }
>>
@end lilypond



@predefined
@cindex figured bass extender lines
@code{\bassFigureExtendersOn},
@code{\bassFigureExtendersOff}.


@snippets
@c TODO  Fix this snippet -- Plus direction should be RIGHT.
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{changing-the-positions-of-figured-bass-alterations.ly}

@seealso
@c Music Glossary:
@c @rglos{}.

@c Learning Manual:
@c @rlearning{}.

@c Notation Reference:
@c @ruser{}.

@c Application Usage:
@c @rprogram{}.

@c Installed Files:
@c @file{}.

Snippets:
@rlsr{Chords}.

Internals Reference:
@rinternals{NewBassFigure},
@rinternals{BassFigureAlignment},
@rinternals{BassFigureLine},
@rinternals{BassFigureBracket},
@rinternals{BassFigureContinuation},
@rinternals{FiguredBass}.

@c @knownissues

@node Displaying figured bass
@unnumberedsubsubsec Displaying figured bass

Figured bass can be displayed using the @code{FiguredBass} context,
or in most staff contexts.

When displayed in a @code{FiguredBass} context, the vertical location
of the figures is independent of the notes on the staff.

@lilypond[verbatim,ragged-right,fragment,quote]
<<
  \relative c'' {
    c4 c'8 r8 c,4 c'
  }
  \new FiguredBass {
    \figuremode {
      <4>4 <10 6>8 s8
      <6 4>4 <6 4>
    }
  }
>>
@end lilypond

@noindent
In the example above, the @code{FiguredBass} context must be
explicitly instantiated to avoid creating a second (empty) staff.


Figured bass can also be added to @code{Staff} contexts
directly.  In this case, the vertical position of the
figures is adjusted automatically.

@c TODO add a second paragraph to show direction change.  First
@c   example should be UP (default), second should be DOWN.

@c  TODO change to use predefined command once it is added to
@c  property-init.ly  -cds
@lilypond[verbatim,ragged-right,fragment,quote]
<<
  \new Staff = myStaff
  \figuremode {
    <4>4 <10 6>8 s8
    <6 4>4 <6 4>
  }
  %% Put notes on same Staff as figures
  \context Staff = myStaff
  {
    \clef bass
    c4 c'8 r8 c4 c'
  }
>>
@end lilypond


When added in a Staff context, figured bass can be displayed above
or below the staff.

@lilypond[verbatim,ragged-right,fragment,quote]
<<
  \new Staff = myStaff
  \figuremode {
    <4>4 <10 6>8 s8
    \bassFigureStaffAlignmentDown
    <6 4>4 <6 4>
  }
  %% Put notes on same Staff as figures
  \context Staff = myStaff
  {
    \clef bass
    c4 c'8 r8 c4 c'
  }
>>
@end lilypond


@ignore
@c I don't understand this -cs
When using continuation lines, common figures are always put in the
same vertical position.  When this is unwanted, you can insert a rest.
The rest will clear any previous alignment.  For
example, you can write

@example
<6 4>8 r8
@end example

@noindent
instead of
@example
<4 6>4
@end example
@end ignore

@predefined
@cindex figured bass alignment
@code{\bassFigureStaffAlignmentDown},
@code{\bassFigureStaffAlignmentUp},
@code{\bassFigureStaffAlignmentNeutral}.

@snippets

@seealso
@c Music Glossary:
@c @rglos{}.

@c Learning Manual:
@c @rlearning{}.

@c Notation Reference:
@c @ruser{}.

@c Application Usage:
@c @rprogram{}.

@c Installed Files:
@c @file{}.

@c Snippets:
@rlsr{Figured Bass}.

Internals Reference:
@rinternals{NewBassFigure},
@rinternals{BassFigureAlignment},
@rinternals{BassFigureLine},
@rinternals{BassFigureBracket},
@rinternals{BassFigureContinuation},
@rinternals{FiguredBass}.

@knownissues

To ensure that continuation lines work properly, it is
safest to use the same rhythm in the figure line as in
the bass line.

@lilypond[verbatim,ragged-right,fragment,quote]
<<
  {
    \clef bass
    \repeat unfold 4 {f16. g32} f8. es16 d8 es
  }
  \figures {
    \bassFigureExtendersOn
    % The extenders are correct here, with the same rhythm as the bass
    \repeat unfold 4 {<6 4->16. <6 4->32}
    <5>8. r16 <6>8 <6\! 5->
  }
>>
<<
  {
    \clef bass
    \repeat unfold 4 {f16. g32} f8. es16 d8 es
  }
  \figures {
    \bassFigureExtendersOn
    % The extenders are incorrect here, even though the timing is the same
    <6 4->4 <6 4->4
    %\repeat unfold 4 {<6 4->16. <6 4->32}
    <5>8. r16 <6>8 <6\! 5->
  }
>>
@end lilypond

@c I have no idea what this means -cds
@c A predefined command for changing this has been proposed -cds
@c TODO -- put stacking direction snippet here -cds
When using figured bass above the staff with extender lines and
@code{implicitBassFigures} the lines may become swapped around.
Maintaining order consistently will be impossible when multiple figures
have overlapping extender lines.  To avoid this problem, please
use @code{stacking-dir} on @code{BassFigureAlignment}.


@seealso