1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
5 When revising a translation, copy the HEAD committish of the
6 version that you are working on. See TRANSLATION for details.
13 @section Chord notation
15 Chords can be entered in chord mode, which recognizes some
16 traditional European chord naming conventions. Chord names can also
17 be displayed. In addition, figured bass notation can be displayed.
28 @subsection Chord mode
32 Chord mode is used to enter chords using an indicator of the chord
33 structure, rather than the chord pitches.
36 * Chord mode overview::
38 * Extended and altered chords::
41 @node Chord mode overview
42 @unnumberedsubsubsec Chord mode overview
47 Chords can be entered as simultaneous music, as discussed in
50 Chords can also be entered in @qq{chord mode}, which is an input
51 mode that focuses on the structures of chords in traditional
52 European music, rather than on specific pitches. This is
53 convenient for those who are familiar with using chord names to
54 describe chords. More information on different input modes can be
55 found at @ref{Input modes}.
57 @lilypond[verbatim,quote,ragged-right,relative=1]
58 \chordmode { c1 g a g c }
61 Chords entered using chord mode are music elements, and can be
62 transposed just like chords entered using simultaneous music.
77 @unnumberedsubsubsec Common chords
80 @cindex seventh chords
82 @cindex modifiers, in chords.
85 Major triads are entered by including the root and an
88 @lilypond[verbatim,quote,relative=1,ragged-right]
89 \chordmode { c2 f4 g }
92 Minor, augmented, and diminished triads are entered by placing
93 @code{:} and a quality modifier string after the duration:
95 @lilypond[verbatim,quote,ragged-right,relative=1]
96 \chordmode { c2:m f4:aug g:dim }
99 Seventh chords may be created:
101 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
103 c1:7 c:m7 c:maj7 c:dim7 c:aug7
112 The table belows shows the actions of the quality modifiers on
113 triads and seventh chords.
118 The minor chord. This modifier lowers the 3rd and (if present) the
122 The diminished chord. This modifier lowers the 3rd, 5th and (if
123 present) the 7th step.
126 The augmented chord. This modifier raises the 5th step.
129 The major 7th chord. This modifier adds a raised 7th step. The
130 @code{7} following @code{maj} is optional. Do NOT use this modifier
131 to create a major triad.
135 @c TODO -- perhaps add warning about c and c:maj being different, while
136 @c c:maj and c:maj7 are the same
143 @node Extended and altered chords
144 @unnumberedsubsubsec Extended and altered chords
146 @cindex extended chords
147 @cindex altered chords
149 Chord structures of arbitrary complexity can be created in chord
150 mode. The modifier string can be used to extend a chord, add or
151 remove chord steps, raise or lower chord steps, and add a bass note
152 or create an inversion.
154 The first number following the @code{:} is taken to be the extent
155 of the chord. The chord is constructed by sequentially adding
156 thirds to the root until the specified number has been reached.
157 If the extent is not a third (e.g., 6), thirds are added up to the
158 highest third below the extent, and then the step of the extent is
159 added. The largest possible value for the extent is 13. Any
160 larger value is interpreted as 13.
162 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
170 Since an unaltered 11 does not sound good when combined with an
171 unaltered 13, the 11 is removed from a @code{:13} chord (unless it
172 is added explicitly).
174 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
175 \chordmode { c1:13 c:13.11 c:m13 }
178 @cindex additions, in chords
180 Individual steps can be added to a chord. Additions follow the
181 extent and are prefixed by a dot (@code{.}).
183 @lilypond[quote,verbatim,fragment,relative=1]
184 \chordmode { c1:5.6 c:3.7.8 c:3.6.13 }
187 Added steps can be as high as desired.
189 @lilypond[quote,verbatim,fragment,relative=1]
190 \chordmode { c4:5.15 c:5.20 c:5.25 c:5.30 }
193 @cindex chord steps, altering
195 Added chord steps can be altered by suffixing a @code{-} or @code{+}
196 sign to the number. To alter a step that is lower than the extent,
197 add it as an altered step.
199 @lilypond[quote,verbatim,fragment,relative=1]
200 \chordmode { c1:7+ c:5+.3- c:3-.5-.7- }
203 @cindex removals, in chords
207 A step to be removed from the chord must come at the end of a
208 modifier string and be by @code{^}. Only one removal with @code{^}
209 is allowed in a modifier string.
211 @lilypond[quote,verbatim,fragment,relative=1]
212 \chordmode { c1^3 c:7^5 c:9^3.5 }
217 The modifier @code{sus} can be added to the modifier string to
218 create suspended chords. This removes the 3rd step from the chord.
219 Append either @code{2} or @code{4} to add the 2nd or 4th step to the
220 chord. @code{sus} is equivalent to @code{^3}; @code{sus4} is
221 equivalent to @code{.4^3}.
223 @lilypond[quote,ragged-right,fragment,verbatim]
224 \chordmode { c1:sus c:sus2 c:sus4 c:5.4^3 }
227 It is possible to remove the 3rd step with @code{sus} and remove
228 another step with @code{^} in one modifier string.
231 @cindex chord inversions
232 @cindex bass note, for chords
234 Inversions (putting a pitch other than the root on the bottom of the
235 chord) and added bass notes can be specified by appending
236 @code{/}@var{pitch} to the chord.
238 @lilypond[quote,ragged-right,fragment,verbatim, relative=2]
239 \chordmode { c1 c/g c/f }
244 A bass note that is part of the chord can be added, instead of
245 moved as part of an inversion, by using @code{/+}@var{pitch}.
247 @lilypond[quote,ragged-right,fragment,verbatim]
248 \chordmode { c1 c/+g c/+f }
258 Each step can only be present in a chord once. The following
259 simply produces the augmented chord, since @code{5+} is
262 @lilypond[quote,ragged-right,verbatim,fragment]
263 \chordmode { c1:5.5-.5+ }
266 Only one step can be removed from a chord. If a chord with multiple
267 removed steps is desired, it must be built through addition of
271 @node Displaying chords
272 @subsection Displaying chords
274 Chords can be displayed by name, in addition to the standard display
278 * Printing chord names::
279 * Customizing chord names::
282 @node Printing chord names
283 @unnumberedsubsubsec Printing chord names
285 @cindex printing chord names
289 Chord names are printed in the @code{ChordNames} context:
291 @lilypond[verbatim,quote,relative=1,ragged-right]
293 \chordmode { c2 f4. g8 }
297 Both chord names and the notes can be displayed:
299 @lilypond[verbatim,quote,ragged-right]
300 myChords = \relative c'{
301 \chordmode { c2 f4. g8 }
304 \new ChordNames { \myChords }
309 Chords can be entered as simultaneous notes or through the use of
310 chord mode. The displayed chord name will be the same, regardless
311 of the mode of entry:
313 @lilypond[quote,ragged-right,verbatim]
314 twoWays = \relative c' {
323 \new ChordNames \twoWays
330 @code{\chords} is a shortcut method used to change the input mode to
331 @code{\chordmode} and create a @code{ChordNames} context, with the
334 @lilypond[verbatim,quote,ragged-right, relative=1]
335 \chords { c2 f4.:m g8:maj7 }
340 When put together, chord names, a melody, and lyrics form a lead
343 @lilypond[verbatim,quote,ragged-right]
345 \chords { c2 g:sus4 f e }
350 \addlyrics { One day this shall be free __ }
358 If repeats are used in the music, and the volta brackets are to be
359 dispayed above the chord names, @code{voltaOnThisStaff} must be set
360 to @code{##t}. To add bar indications in the @code{ChordNames}
361 context, add @rinternals{Bar_engraver}.
363 @lilypond[ragged-right,verbatim]
364 \new ChordNames \with {
365 \override BarLine #'bar-size = #4
366 voltaOnThisStaff = ##t
367 \consists "Bar_engraver"
371 f1:maj7 f:7 bes:7 c:maj7
386 @ref{Writing music in parallel}.
393 @rinternals{ChordNames},
394 @rinternals{Volta_engraver},
395 @rinternals{Bar_engraver}.
399 Chords containing inversions or altered bass notes are not named
403 @node Customizing chord names
404 @unnumberedsubsubsec Customizing chord names
406 @cindex customizing chord names
408 There is no unique system for naming chords. Different musical
409 traditions use different names for the same set of chords. There
410 are also different symbols displayed for a given chord name. The
411 names and symbols displayed for chord names are customizable.
417 The default chord name layout is a system for Jazz music, proposed
418 by Klaus Ignatzek (see @ref{Literature list}). There are also two
419 other chord name schemes implemented: an alternate Jazz chord
420 notation, and a systematic scheme called Banter chords. The
421 alternate Jazz notation is also shown on the chart in @ref{Chord
424 In addition to the different naming systems, different note names
425 are used for the root in different languages. The predefined
426 variables @code{\germanChords}, @code{\semiGermanChords},
427 @code{\italianChords} and @code{\frenchChords} set these variables.
428 The effect is demonstrated here:
430 @lilypondfile[ragged-right]{chord-names-languages.ly}
432 @c TODO - this paragraph is moved here from an earlier section
433 @c and needs to be corrected.
434 This example also shows that the chord printing routines cannot
435 correctly identify the root of a chord if it has been entered using
436 @code{< .. >} instead of named chord entry. Therefore, the sixth
437 chord (@code{f bes d}) is not interpreted as an inversion. In
438 contrast, the third chord, which contains the same notes as the sixth
439 chord, is correctly identified because it was entered in the named
442 If none of the default settings give the desired output, the chord
443 name display can be tuned through the following properties.
447 @funindex chordRootNamer
451 The chord name is usually printed as a letter for the root with an
452 optional alteration. The transformation from pitch to letter is
453 done by this function. Special note names (for example, the German
454 @q{H} for a B-chord) can be produced by storing a new function in
457 @funindex majorSevenSymbol
459 @item majorSevenSymbol
461 This property contains the markup object used to follow the output
462 of @code{chordRootNamer} to dentify a major 7 chord. Predefined
463 options are @code{whiteTriangleMarkup} and
464 @code{blackTriangleMarkup}.
466 @funindex chordNoteNamer
470 When the chord name contains additional pitches other than the root
471 (e.g., an added bass note), this function is used to print the
472 additional pitch. By default the pitch is printed using
473 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
474 to a specialized function to change this behavior. For example, the
475 bass note can be printed in lower case.
477 @funindex chordNameSeparator
479 @item chordNameSeparator
481 Different parts of a chord name are normally separated by a slash.
482 By setting @code{chordNameSeparator}, you can use any desired markup
483 for a separator, e.g.,
485 @lilypond[quote,ragged-right,fragment,verbatim]
488 \set chordNameSeparator
489 = \markup { \typewriter "|" }
494 @funindex chordNameExceptions
496 @item chordNameExceptions
498 This property is a list of pairs. The first item in each pair
499 is a set of pitches used to identify the steps present in the chord.
500 The second item is a markups that will follow the @code{chordRootNamer}
501 output to create the chord name. See @code{FIXME -- future ref to snippet}
502 for information on creating this list.
504 @funindex chordPrefixSpacer
505 @item chordPrefixSpacer
507 The @q{m} for minor chords is usually printed immediately to the
508 right of the root of the chord. By setting
509 @code{chordPrefixSpacer}, you can fix a spacer between the root
510 and @q{m}. The spacer is not used when the root is altered.
516 @funindex major seven symbols
517 @code{\whiteTriangleMarkup}
518 @code{\blackTriangleMarkup}
519 @funindex \germanChords
520 @code{\germanChords},
521 @funindex \semiGermanChords
522 @code{\semiGermanChords},
523 @funindex \italianChords
524 @code{\italianChords},
525 @funindex \frenchChords
526 @code{\frenchChords}.
530 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
531 {chord-names-jazz.ly}
533 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
534 {chord-name-exceptions.ly}
535 @cindex exceptions, chord names.
537 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
538 {chord-name-major7.ly}
540 @c TODO -- see if the code below is in chord-name-exceptions.ly
541 @c if so, remove it. If not, convert this to a snippet.
543 The first step is to define sequential music that has the chords to
544 be named with the desired markup (except for the root name) attached
549 <c e g b d'>1-\markup @{ \super "maj9" @}
550 <c e g a d'>1-\markup @{ \super "6(add9)" @}
554 The second step is to convert the music from the first step to an
558 FGGExceptions = #(sequential-music-to-chord-exceptions
562 The third step is to append the default exceptions list (in this
563 case, the Ignatzek exceptions) to the newly-defined exceptions list:
566 chExceptions = #(append FGGExceptions ignatzekExceptions)
569 The final step is to set @code{chordNameExceptions} to the
570 newly-created exceptions list:
573 \set chordNameExceptions = #chExceptions
576 The entire process is illustrated below:
578 @lilypond[quote,ragged-right,verbatim]
580 <c e g b d'>1-\markup { \super "maj9" }
581 <c e g a d'>1-\markup { \super "6(add9)" }
583 FGGExceptions = #(sequential-music-to-chord-exceptions
585 chExceptions = #(append FGGChordNames
588 chordStuff = \chordmode
593 % names with FGG's custom exceptions
594 \set chordNameExceptions = #chExceptions
601 \new ChordNames \chordStuff
610 @file{scm/@/chords@/-ignatzek@/.scm},
611 @file{scm/@/chord@/-entry@/.scm},
612 @file{ly/@/chord@/-modifier@/-init@/.ly}.
622 Chord names are determined from both the pitches that are present
623 in the chord and the information on the chord structure that may
624 have been entered in @code{\chordmode}. If the simultaneous pitches
625 method of entering chords is used, undesired names result from
626 inversions or bass notes.
628 @lilypond[quote,ragged-right,verbatim]
629 myChords = \relative c' {
630 \chordmode{ c1 c/g c/f }
631 <c e g> <g c e> <f c' e g>
634 \new ChordNames { \myChords }
635 \new Staff { \myChords }
639 @node old Modern chords
640 @subsection old Modern chords
643 * Entering chord names::
645 * old Printing chord names::
648 @node Entering chord names
649 @subsubsection Entering chord names
652 LilyPond has support for printing chord names. Chords may be entered
653 in musical chord notation, i.e., @code{< .. >}, but they can also be
654 entered by name. Internally, the chords are represented as a set of
655 pitches, so they can be transposed
658 @lilypond[quote,ragged-right,verbatim,ragged-right]
659 twoWays = \transpose c c' {
668 << \new ChordNames \twoWays
669 \new Voice \twoWays >>
672 This example also shows that the chord printing routines do not try to
673 be intelligent. The last chord (@code{f bes d}) is not interpreted as
676 Note that the duration of chords must be specified outside the
683 @c TODO Generate snippet based on the following
684 @c and add explanation -td
686 Custom chord names may be generated:
688 @lilypond[quote,ragged-right,verbatim,ragged-right]
690 <c e g b d'>1-\markup { \super "maj9" }
691 <c e g a d'>1-\markup { \super "6(add9)" }
693 chExceptions = #(append
694 (sequential-music-to-chord-exceptions
695 FGGChordNames #t) ignatzekExceptions)
697 chordStuff = \chordmode
702 % names with FGG's custom exceptions
703 \set chordNameExceptions = #chExceptions
710 \new ChordNames \chordStuff
716 @node old Lead sheets
717 @subsubsection old Lead sheets
721 For lead sheets, chords are not printed on staves, but as names on
722 a line for themselves. This is achieved by using @code{\chords}
723 instead of @code{\chordmode}.
725 When put together, chord names, lyrics and a melody form a lead
728 @lilypond[verbatim,quote,ragged-right]
730 \chords { c2 g:sus4 f e }
735 \addlyrics { One day this shall be free __ }
741 @node old Printing chord names
742 @subsubsection old Printing chord names
744 @cindex printing chord names
748 For displaying printed chord names, use the @rinternals{ChordNames} context.
749 The chords may be entered either using the notation
750 described above, or directly using @code{<} and @code{>}
752 @lilypond[quote,verbatim,ragged-right]
754 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
757 \new ChordNames \harmonies
758 \new Staff \harmonies
762 You can make the chord changes stand out by setting
763 @rinternals{ChordNames}.@code{chordChanges} to true. This will only
764 display chord names when there is a change in the chords scheme and at
765 the start of a new line
767 @lilypond[quote,verbatim,ragged-right]
768 harmonies = \chordmode {
769 c1:m c:m \break c:m c:m d
773 \set chordChanges = ##t
775 \new Staff \transpose c c' \harmonies
779 The previous examples all show chords over a staff. This is not
780 necessary. Chords may also be printed separately. It may be necessary
781 to add @rinternals{Volta_engraver} and @rinternals{Bar_engraver}
784 @lilypond[ragged-right,verbatim]
785 \new ChordNames \with {
786 \override BarLine #'bar-size = #4
787 \consists Bar_engraver
788 \consists "Volta_engraver"
790 \chordmode { \repeat volta 2 {
800 The default chord name layout is a system for Jazz music, proposed by
801 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
806 @funindex chordNameExceptions
807 @item chordNameExceptions
808 This is a list that contains the chords that have special formatting.
810 The exceptions list should be encoded as
812 @{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
815 To get this information into @code{chordNameExceptions} takes a little
816 maneuvering. The following code transforms @code{chExceptionMusic}
817 (which is a sequential music) into a list of exceptions.
819 (sequential-music-to-chord-exceptions chExceptionMusic #t)
824 (sequential-music-to-chord-exceptions chExceptionMusic #t)
827 adds the new exceptions to the default ones, which are defined in
828 @file{ly/@/chord@/-modifier@/-init@/.ly}.
830 For an example of tuning this property, see also
831 @c @lsr{chords,chord@/-name@/-exceptions@/.ly}
832 @cindex exceptions, chord names.
835 @funindex majorSevenSymbol
836 @item majorSevenSymbol
837 This property contains the markup object used for the 7th step, when
838 it is major. Predefined options are @code{whiteTriangleMarkup} and
839 @code{blackTriangleMarkup}. See
840 @c @lsr{chords,chord@/-name@/-major7@/.ly} for an example.
842 @funindex chordNameSeparator
843 @item chordNameSeparator
844 Different parts of a chord name are normally separated by a
845 slash. By setting @code{chordNameSeparator}, you can specify other
847 @lilypond[quote,ragged-right,fragment,verbatim]
848 \new ChordNames \chordmode {
850 \set chordNameSeparator
851 = \markup { \typewriter "|" }
856 @funindex chordRootNamer
858 The root of a chord is usually printed as a letter with an optional
859 alteration. The transformation from pitch to letter is done by this
860 function. Special note names (for example, the German @q{H} for a
861 B-chord) can be produced by storing a new function in this property.
863 @funindex chordNoteNamer
865 The default is to print single pitch, e.g., the bass note, using the
866 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
867 to a specialized function to change this behavior. For example, the
868 base can be printed in lower case.
870 @funindex chordPrefixSpacer
871 @item chordPrefixSpacer
872 The @q{m} for minor chords is usually printed right after the root of
873 the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer
874 between the root and @q{m}. The spacer is not used when the root
879 The predefined variables @code{\germanChords},
880 @code{\semiGermanChords}, @code{\italianChords} and @code{\frenchChords}
881 set these variables. The effect is
884 @lilypondfile[ragged-right]{chord-names-languages.ly}
886 There are also two other chord name schemes implemented: an alternate
887 Jazz chord notation, and a systematic scheme called Banter chords. The
888 alternate Jazz notation is also shown on the chart in @ref{Chord name
889 chart}. Turning on these styles is demonstrated in
890 @c @lsr{chords,chord-names-jazz.ly}.
899 @funindex \germanChords
900 @code{\germanChords},
901 @funindex \semiGermanChords
902 @code{\semiGermanChords}.
903 @funindex \italianChords
904 @code{\italianChords}.
905 @funindex \frenchChords
906 @code{\frenchChords}.
915 Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
916 @file{scm/@/chord@/-entry@/.scm}.
921 Chord names are determined solely from the list of pitches. Chord
922 inversions are not identified, and neither are added bass notes. This
923 may result in strange chord names when chords are entered with the
924 @code{< .. >} syntax.
928 @subsection Figured bass
931 * Introduction to figured bass::
932 * Entering figured bass::
933 * Displaying figured bass::
936 @node Introduction to figured bass
937 @subsubsection Introduction to figured bass
939 @cindex Basso continuo
941 @c TODO: musicological blurb about FB
943 LilyPond has support for figured bass
945 @lilypond[quote,ragged-right,verbatim,fragment]
947 \new Voice { \clef bass dis4 c d ais g fis}
948 \new FiguredBass \figuremode {
949 < 6 >4 < 7\+ >8 < 6+ [_!] >
956 The support for figured bass consists of two parts: there is an
957 input mode, introduced by @code{\figuremode}, where you can enter
958 bass figures as numbers, and there is a context named
959 @rinternals{FiguredBass} that takes care of making
960 @rinternals{BassFigure} objects.
962 Although the support for figured bass may superficially resemble chord
963 support, it is much simpler. The @code{\figuremode} mode simply
964 stores the numbers and @rinternals{FiguredBass} context prints them
965 as entered. There is no conversion to pitches and no realizations of
966 the bass are played in the MIDI file.
968 Internally, the code produces markup texts. You can use any of the
969 markup text properties to override formatting. For example, the
970 vertical spacing of the figures may be set with @code{baseline-skip}.
974 * Entering figured bass::
975 * Displaying figured bass::
978 @node Entering figured bass
979 @unnumberedsubsubsec Entering figured bass
982 In figures input mode, a group of bass figures is delimited by
983 @code{<} and @code{>}. The duration is entered after the @code{>}
987 @lilypond[quote,ragged-right,fragment]
989 \figuremode { <4 6>2 }
992 Accidentals are added when you append @code{-}, @code{!}, and @code{+}
993 to the numbers. A plus sign is added when you append @code{\+}, and
994 diminished fifths and sevenths can be obtained with @code{5/} and @code{7/}.
997 <4- 6+ 7!>3 <5++> <3--> <7/> r <6\+ 5/>
999 @lilypond[quote,ragged-right,fragment]
1000 \figures { <4- 6+ 7!>4 <5++> <3--> <7/> r <6\+ 5/> }
1003 Spaces may be inserted by using @code{_}. Brackets are
1004 introduced with @code{[} and @code{]}. You can also include text
1005 strings and text markups, see @ref{Text markup commands}.
1008 < [4 6] 8 [_! 12] >4 < 5 \markup @{ \number 6 \super (1) @} >
1010 @lilypond[quote,ragged-right,fragment]
1012 \figuremode { < [4 6] 8 [_! 12] >4 < 5 \markup{ \tiny \number 6 \super (1)} > }
1016 It is also possible to use continuation lines for repeated figures,
1018 @lilypond[verbatim,relative=1]
1025 \set useBassFigureExtenders = ##t
1032 In this case, the extender lines always replace existing figures.
1034 The @code{FiguredBass} context doesn't pay attention to the actual
1035 bass line. As a consequence, you may have to insert extra figures to
1036 get extender lines below all notes, and you may have to add @code{\!}
1037 to avoid getting an extender line, e.g.
1039 @lilypond[relative=1]
1043 \set useBassFigureExtenders = ##t
1044 <6 4->4. <6 4->16. <6 4->32 <5>8. r16 <6>8 <6\! 5->
1048 f16. g32 f16. g32 f16. g32 f16. g32 f8. es16 d8 es
1053 When using continuation lines, common figures are always put in the
1054 same vertical position. When this is unwanted, you can insert a rest
1055 with @code{r}. The rest will clear any previous alignment. For
1056 example, you can write
1068 Accidentals and plus signs can appear before or after the numbers,
1069 depending on the @code{figuredBassAlterationDirection} and
1070 @code{figuredBassPlusDirection}
1076 \set figuredBassAlterationDirection = #1
1078 \set figuredBassPlusDirection = #1
1080 \set figuredBassAlterationDirection = #-1
1086 Figured bass can also be added to @code{Staff} contexts
1087 directly. In this case, their vertical position is adjusted
1090 @lilypond[ragged-right,fragment,quote]
1092 \new Staff = someUniqueName
1097 %% send to existing Staff.
1098 \context Staff = someUniqueName
1102 \set Staff.useBassFigureExtenders = ##t
1119 @c Notation Reference:
1122 @c Application Usage:
1131 @c Internals Reference:
1136 @node Displaying figured bass
1137 @unnumberedsubsubsec Displaying figured bass
1139 Figured bass is displayed using the @code{FiguredBass} context.
1152 @c Notation Reference:
1155 @c Application Usage:
1164 Internals Reference:
1165 @rinternals{NewBassFigure},
1166 @rinternals{BassFigureAlignment},
1167 @rinternals{BassFigureLine},
1168 @rinternals{BassFigureBracket},
1169 @rinternals{BassFigureContinuation},
1170 @rinternals{FiguredBass}.
1174 By default, this method produces figures above the notes. To get
1175 figures below the notes, use
1178 \override Staff.BassFigureAlignmentPositioning #'direction = #DOWN
1181 When using figured bass above the staff with extender lines and
1182 @code{implicitBassFigures} the lines may become swapped around.
1183 Maintaining order consistently will be impossible when multiple figures
1184 have overlapping extender lines. To avoid this problem, please
1185 use @code{stacking-dir} on @code{BassFigureAlignment}.