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
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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.
27 @subsection Chord mode
32 * Chord mode overview::
34 * Extended and altered chords::
37 @node Chord mode overview
38 @unnumberedsubsubsec Chord mode overview
43 Chords can be entered as simultaneous music, as discussed in
46 Chords can also be entered in chord mode, which is an input mode
47 that focuses on the structures of chords in traditional European
48 music, rather than on specific pitches. This is convenient for
49 those who are familiar with using chord names to describe chords.
51 More information on different input modes can be found at @ref{Input
54 Chord mode is entered by using @code{\chordmode}.
56 Chords entered using chord mode are music elements, and can be
57 transposed just like chords entered using simultaneous music.
59 The example below shows a simple chord progression:
61 @lilypond[verbatim,quote,ragged-right,relative=1]
62 \chordmode { c1 g a g c }
72 @ref{Input modes FIXME}.
78 @unnumberedsubsubsec Common chords
81 @cindex seventh chords
83 @cindex modifiers, in chords.
86 Major triads are entered by including the root and a duration:
88 @lilypond[verbatim,quote,relative=1,ragged-right]
89 \chordmode { c2 f4. g8 }
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 g4:dim }
99 Seventh chords are created by adding the number 7 at the beginning
100 of the modifier string (for the dominant seventh chord) or after the
101 quality modifier (for the other named seventh chords).
103 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
104 \chordmode { c1:7 c:m7 c:maj7 c:dim c:dim7 c:aug7 c:maj }
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.
140 @node Extended and altered chords
141 @unnumberedsubsubsec Extended and altered chords
143 @cindex extended chords
144 @cindex altered chords
146 Chord structures of arbitrary complexity can be created in chord
147 mode. The modifier string can be used to extend a chord, add or
148 remove chord steps, raise or lower chord steps, and add a bass note
149 or create an inversion.
151 The first number following the @code{:} is taken to be the extent of
152 the chord. The chord is constructed by sequentially adding thirds
153 to the root until the specified number has been reached. If the
154 extent is not a third (e.g., 6), thirds are added up to the highest
155 third below the extent, and then the step of the extent is added.
157 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
158 \chordmode { c1:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
161 Since an unaltered 11 does not sound good when combined with an
162 unaltered 13, the 11 is removed from a @code{:13} chord (unless it
163 is added explicitly).
165 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
166 \chordmode { c1:13 c:13.11 c:m13 }
169 @cindex additions, in chords
171 Individual steps can be added to a chord. Additions follow the
172 extent and are prefixed by a dot (@code{.}).
174 @lilypond[quote,verbatim,fragment,relative=1]
175 \chordmode { c1:5.6 c:3.7.8 c:3.6.13 }
178 @cindex chord steps, altering
180 Added chord steps can be altered by suffixing a @code{-} or @code{+}
181 sign to the number. To alter a step that is lower than the extent,
182 add it as an altered step.
184 @lilypond[quote,verbatim,fragment,relative=1]
185 \chordmode { c1:7+ c:5+.3- c:3-.5-.7- }
188 @cindex removals, in chords
192 A step to be removed from the chord must come at the end of a
193 modifier string and be by @code{^}. Only one removal with @code{^}
194 is allowed in a modifier string.
196 @lilypond[quote,verbatim,fragment,relative=1]
197 \chordmode { c1^3 c:7^5 c:9^3.5 }
202 The modifier @code{sus} can be added to the modifier string to
203 create suspended chords. This removes the 3rd step from the chord.
204 Append either @code{2} or @code{4} to add the 2nd or 4th step to the
205 chord.@code{sus} is equivalent to @code{^3}; @code{sus4} is
206 equivalent to @code{.4^3}.
208 @lilypond[quote,ragged-right,fragment,verbatim]
209 \chordmode { c1:sus c:sus2 c:sus4 c:5.4^3 }
212 It is possible to remove the 3rd step with @code{sus} and remove
213 another step with @code{^} in one modifier string.
216 @cindex chord inversions
217 @cindex bass note, for chords
219 Inversions (putting a pitch other than the root on the bottom of the
220 chord) and added bass notes can be specified by appending
221 @code{/}@var{pitch} to the chord.
223 @lilypond[quote,ragged-right,fragment,verbatim, relative=2]
224 \chordmode { c1 c/g c/f }
229 A bass note that is part of the chord can be added, instead of
230 moved as part of an inversion, by using @code{/+}@var{pitch}.
232 @lilypond[quote,ragged-right,fragment,verbatim]
233 \chordmode { c1 c/+g c/+f }
243 Each step can only be present in a chord once. The following
244 simply produces the augmented chord, since @code{5+} is
247 @lilypond[quote,ragged-right,verbatim,fragment]
248 \chordmode { c1:5.5-.5+ }
251 Only one step can be removed from a chord. If a chord with multiple
252 removed steps is desired, it must be build through addition of
256 @n ode Displaying chords
257 @s ubsection Displaying chords
262 * Printing chord names::
263 * Customizing chord names::
267 @n ode Printing chord names
268 @u nnumberedsubsubsec Printing chord names
270 @cindex printing chord names
274 LilyPond has support for printing chord names. Because chords are
275 music elements, they can be transposed, and the chord names will be
276 transposed along with the chords.
278 Chords can be entered using @code{< .. >} or through the use of
279 chord mode. The displayed chord name will sometimes be different
280 depending upon the entry mode:
282 @lilypond[quote,ragged-right,verbatim,ragged-right]
283 twoWays = \transpose c c' {
292 << \new ChordNames \twoWays
293 \new Voice \twoWays >>
296 This example also shows that the chord printing routines cannot
297 correctly identify the root of a chord if it has been entered using
298 @code{< .. >} instead of named chord entry. Therefore, the sixth
299 chord (@code{f bes d}) is not interpreted as an inversion. In
300 contrast, the third chord, which contains the same notes as the sixth
301 chord, is correctly identified because it was entered in the named
304 For displaying printed chord names, use the @rinternals{ChordNames}
307 @lilypond[quote,verbatim,ragged-right]
309 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
312 \new ChordNames \harmonies
313 \new Staff \harmonies
317 The previous examples all show chords over a staff. This is not
318 necessary. Chords may also be printed separately. It may be necessary
319 to add @rinternals{Volta_engraver} and @rinternals{Bar_engraver}
322 @lilypond[ragged-right,verbatim]
323 \new ChordNames \with {
324 \override BarLine #'bar-size = #4
325 \consists Bar_engraver
326 \consists "Volta_engraver"
328 \chordmode { \repeat volta 2 {
337 @code{\chords} is a shortcut method used to change the input mode to
338 @code{\chordmode} and create a @code{ChordNames} context, with the
341 @lilypond[verbatim,quote,ragged-right]
342 \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
356 @c Notation Reference:
359 @c Application Usage:
368 @c Internals Reference:
374 @n ode Customizing chord names
375 @u nnumberedsubsubsec Customizing chord names
377 @cindex customizing chord names
379 There is no unique system for naming chords. Different musical
380 traditions use different names for the same set of chords. There
381 are also different symbols displayed for a given chord name. The
382 names and symbols displayed for chord names are customizable.
384 The default chord name layout is a system for Jazz music, proposed
385 by Klaus Ignatzek (see @ref{Literature list}). There are also two
386 other chord name schemes implemented: an alternate Jazz chord
387 notation, and a systematic scheme called Banter chords. The
388 alternate Jazz notation is also shown on the chart in @ref{Chord
391 In addition to the different naming systems, different note names
392 are used for the root in different languages. The predefined
393 variables @code{\germanChords}, @code{\semiGermanChords},
394 @code{\italianChords} and @code{\frenchChords} set these variables.
395 The effect is demonstrated here:
397 @lilypondfile[ragged-right]{chord-names-languages.ly}
399 If none of the default settings give the desired output, the chord
400 name display can be tuned through the following properties.
402 @c TODO Generate snippet based on the following
403 @c and add explanation -td
407 @funindex chordNameExceptions
409 @code{chordNameExceptions} contains a list of markups used to follow
410 the root note name based on the pitches in the chord. Creating the
411 list requires four steps.
413 The first step is to define sequential music that has the chords to
414 be named with the desired markup (except for the root name) attached
419 <c e g b d'>1-\markup @{ \super "maj9" @}
420 <c e g a d'>1-\markup @{ \super "6(add9)" @}
424 The second step is to convert the music from the first step to an
428 FGGExceptions = #(sequential-music-to-chord-exceptions
432 The third step is to append the default exceptions list (in this
433 case, the Ignatzek exceptions) to the newly-defined exceptions list:
436 chExceptions = #(append FGGExceptions ignatzekExceptions)
439 The final step is to set @code{chordNameExceptions} to the
440 newly-created exceptions list:
443 \set chordNameExceptions = #chExceptions
446 The entire process is illustrated below:
448 @lilypond[quote,ragged-right,verbatim,ragged-right]
450 <c e g b d'>1-\markup { \super "maj9" }
451 <c e g a d'>1-\markup { \super "6(add9)" }
453 FGGExceptions = #(sequential-music-to-chord-exceptions
455 chExceptions = #(append FGGChordNames
458 chordStuff = \chordmode
463 % names with FGG's custom exceptions
464 \set chordNameExceptions = #chExceptions
471 \new ChordNames \chordStuff
476 @funindex majorSevenSymbol @item majorSevenSymbol This property
477 contains the markup object used as part of the printed chord name to
478 identify a major 7 chord. Predefined options are
479 @code{whiteTriangleMarkup} and @code{blackTriangleMarkup}.
481 @funindex chordNameSeparator
482 @item chordNameSeparator
483 Different parts of a chord name are normally separated by a slash.
484 By setting @code{chordNameSeparator}, you can use any desired markup
485 for a separator, e.g.,
486 @lilypond[quote,ragged-right,fragment,verbatim]
487 \new ChordNames \chordmode {
489 \set chordNameSeparator
490 = \markup { \typewriter "|" }
495 @funindex chordRootNamer
497 The chord name is usually printed as a letter for the root with an
498 optional alteration. The transformation from pitch to letter is
499 done by this function. Special note names (for example, the German
500 @q{H} for a B-chord) can be produced by storing a new function in
503 @funindex chordNoteNamer @item chordNoteNamer When the chord name
504 contains an additional pitch besides the root (e.g., an added bass
505 note), this function is used to print the additional pitch. By
506 default the pitch is printed using @code{chordRootNamer}. The
507 @code{chordNoteNamer} property can be set to a specialized function
508 to change this behavior. For example, the bass note can be printed
511 @funindex chordPrefixSpacer
512 @item chordPrefixSpacer
513 The @q{m} for minor chords is usually printed immediately to the
514 right of the root of the chord. By setting
515 @code{chordPrefixSpacer}, you can fix a spacer between the root and
516 @q{m}. The spacer is not used when the root is altered.
528 @funindex major seven symbols
529 @code{\whiteTriangleMarkup}
530 @code{\blackTriangleMarkup}
531 @funindex \germanChords
532 @code{\germanChords},
533 @funindex \semiGermanChords
534 @code{\semiGermanChords},
535 @funindex \italianChords
536 @code{\italianChords},
537 @funindex \frenchChords
538 @code{\frenchChords}.
542 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
543 {chord-names-jazz.ly}
545 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
546 {chord-name-exceptions.ly}
547 @cindex exceptions, chord names.
549 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
550 {chord-name-major7.ly}
559 @c Notation Reference:
562 @c Application Usage:
566 @file{scm/@/chords@/-ignatzek@/.scm},
567 @file{scm/@/chord@/-entry@/.scm},
568 @file{ly/@/chord@/-modifier@/-init@/.ly}.
570 @c Snippets: @c @rlsr{}.
572 @c Internals Reference:
577 When chords are entered with the @code{< .. >} syntax, the root and
578 any added bass notes are not identified. In this case, chord names
579 are determined solely from the list of pitches. This may result in
583 @u nnumberedsubsubsec Lead sheets
587 For lead sheets, chords are not printed on staves, but as names on a
588 line for themselves. This is achieved by using a @code{ChordNames}
589 context simultaneously with the @code{Staff} context. The
590 @code{\chords} keyword can be used as a shortcut for @code{\new
591 ChordNames \chordmode}.
593 When put together, chord names, a melody, and lyrics form a lead
596 @lilypond[verbatim,quote,ragged-right]
598 \chords { c2 g:sus4 f e }
603 \addlyrics { One day this shall be free __ }
618 @c Notation Reference:
621 @c Application Usage:
630 @c Internals Reference:
641 @node old Modern chords
642 @subsection old Modern chords
645 * Entering chord names::
647 * Printing chord names::
650 @node Entering chord names
651 @subsubsection Entering chord names
654 LilyPond has support for printing chord names. Chords may be entered
655 in musical chord notation, i.e., @code{< .. >}, but they can also be
656 entered by name. Internally, the chords are represented as a set of
657 pitches, so they can be transposed
660 @lilypond[quote,ragged-right,verbatim,ragged-right]
661 twoWays = \transpose c c' {
670 << \new ChordNames \twoWays
671 \new Voice \twoWays >>
674 This example also shows that the chord printing routines do not try to
675 be intelligent. The last chord (@code{f bes d}) is not interpreted as
678 Note that the duration of chords must be specified outside the
685 @c TODO Generate snippet based on the following
686 @c and add explanation -td
688 Custom chord names may be generated:
690 @lilypond[quote,ragged-right,verbatim,ragged-right]
692 <c e g b d'>1-\markup { \super "maj9" }
693 <c e g a d'>1-\markup { \super "6(add9)" }
695 chExceptions = #(append
696 (sequential-music-to-chord-exceptions
697 FGGChordNames #t) ignatzekExceptions)
699 chordStuff = \chordmode
704 % names with FGG's custom exceptions
705 \set chordNameExceptions = #chExceptions
712 \new ChordNames \chordStuff
719 @subsubsection Lead sheets
723 For lead sheets, chords are not printed on staves, but as names on
724 a line for themselves. This is achieved by using @code{\chords}
725 instead of @code{\chordmode}.
727 When put together, chord names, lyrics and a melody form a lead
730 @lilypond[verbatim,quote,ragged-right]
732 \chords { c2 g:sus4 f e }
737 \addlyrics { One day this shall be free __ }
743 @node Printing chord names
744 @subsubsection Printing chord names
746 @cindex printing chord names
750 For displaying printed chord names, use the @rinternals{ChordNames} context.
751 The chords may be entered either using the notation
752 described above, or directly using @code{<} and @code{>}
754 @lilypond[quote,verbatim,ragged-right]
756 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
759 \new ChordNames \harmonies
760 \new Staff \harmonies
764 You can make the chord changes stand out by setting
765 @rinternals{ChordNames}.@code{chordChanges} to true. This will only
766 display chord names when there is a change in the chords scheme and at
767 the start of a new line
769 @lilypond[quote,verbatim,ragged-right]
770 harmonies = \chordmode {
771 c1:m c:m \break c:m c:m d
775 \set chordChanges = ##t
777 \new Staff \transpose c c' \harmonies
781 The previous examples all show chords over a staff. This is not
782 necessary. Chords may also be printed separately. It may be necessary
783 to add @rinternals{Volta_engraver} and @rinternals{Bar_engraver}
786 @lilypond[ragged-right,verbatim]
787 \new ChordNames \with {
788 \override BarLine #'bar-size = #4
789 \consists Bar_engraver
790 \consists "Volta_engraver"
792 \chordmode { \repeat volta 2 {
802 The default chord name layout is a system for Jazz music, proposed by
803 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
807 @funindex chordNameExceptions
808 @item chordNameExceptions
809 This is a list that contains the chords that have special formatting.
811 The exceptions list should be encoded as
813 @{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
816 To get this information into @code{chordNameExceptions} takes a little
817 maneuvering. The following code transforms @code{chExceptionMusic}
818 (which is a sequential music) into a list of exceptions.
820 (sequential-music-to-chord-exceptions chExceptionMusic #t)
825 (sequential-music-to-chord-exceptions chExceptionMusic #t)
828 adds the new exceptions to the default ones, which are defined in
829 @file{ly/@/chord@/-modifier@/-init@/.ly}.
831 For an example of tuning this property, see also
832 @c @lsr{chords,chord@/-name@/-exceptions@/.ly}
833 @cindex exceptions, chord names.
836 @funindex majorSevenSymbol
837 @item majorSevenSymbol
838 This property contains the markup object used for the 7th step, when
839 it is major. Predefined options are @code{whiteTriangleMarkup} and
840 @code{blackTriangleMarkup}. See
841 @c @lsr{chords,chord@/-name@/-major7@/.ly} for an example.
843 @funindex chordNameSeparator
844 @item chordNameSeparator
845 Different parts of a chord name are normally separated by a
846 slash. By setting @code{chordNameSeparator}, you can specify other
848 @lilypond[quote,ragged-right,fragment,verbatim]
849 \new ChordNames \chordmode {
851 \set chordNameSeparator
852 = \markup { \typewriter "|" }
857 @funindex chordRootNamer
859 The root of a chord is usually printed as a letter with an optional
860 alteration. The transformation from pitch to letter is done by this
861 function. Special note names (for example, the German @q{H} for a
862 B-chord) can be produced by storing a new function in this property.
864 @funindex chordNoteNamer
866 The default is to print single pitch, e.g., the bass note, using the
867 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
868 to a specialized function to change this behavior. For example, the
869 base can be printed in lower case.
871 @funindex chordPrefixSpacer
872 @item chordPrefixSpacer
873 The @q{m} for minor chords is usually printed right after the root of
874 the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer
875 between the root and @q{m}. The spacer is not used when the root
880 The predefined variables @code{\germanChords},
881 @code{\semiGermanChords}, @code{\italianChords} and @code{\frenchChords}
882 set these variables. The effect is
885 @lilypondfile[ragged-right]{chord-names-languages.ly}
887 There are also two other chord name schemes implemented: an alternate
888 Jazz chord notation, and a systematic scheme called Banter chords. The
889 alternate Jazz notation is also shown on the chart in @ref{Chord name
890 chart}. Turning on these styles is demonstrated in
891 @c @lsr{chords,chord-names-jazz.ly}.
900 @funindex \germanChords
901 @code{\germanChords},
902 @funindex \semiGermanChords
903 @code{\semiGermanChords}.
904 @funindex \italianChords
905 @code{\italianChords}.
906 @funindex \frenchChords
907 @code{\frenchChords}.
916 Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
917 @file{scm/@/chord@/-entry@/.scm}.
922 Chord names are determined solely from the list of pitches. Chord
923 inversions are not identified, and neither are added bass notes. This
924 may result in strange chord names when chords are entered with the
925 @code{< .. >} syntax.
929 @subsection Figured bass
932 * Introduction to figured bass::
933 * Entering figured bass::
934 * Displaying figured bass::
937 @node Introduction to figured bass
938 @subsubsection Introduction to figured bass
940 @cindex Basso continuo
942 @c TODO: musicological blurb about FB
944 LilyPond has support for figured bass
946 @lilypond[quote,ragged-right,verbatim,fragment]
948 \new Voice { \clef bass dis4 c d ais g fis}
949 \new FiguredBass \figuremode {
950 < 6 >4 < 7\+ >8 < 6+ [_!] >
957 The support for figured bass consists of two parts: there is an
958 input mode, introduced by @code{\figuremode}, where you can enter
959 bass figures as numbers, and there is a context named
960 @rinternals{FiguredBass} that takes care of making
961 @rinternals{BassFigure} objects.
963 Although the support for figured bass may superficially resemble chord
964 support, it is much simpler. The @code{\figuremode} mode simply
965 stores the numbers and @rinternals{FiguredBass} context prints them
966 as entered. There is no conversion to pitches and no realizations of
967 the bass are played in the MIDI file.
969 Internally, the code produces markup texts. You can use any of the
970 markup text properties to override formatting. For example, the
971 vertical spacing of the figures may be set with @code{baseline-skip}.
975 * Entering figured bass::
976 * Displaying figured bass::
979 @node Entering figured bass
980 @unnumberedsubsubsec Entering figured bass
983 In figures input mode, a group of bass figures is delimited by
984 @code{<} and @code{>}. The duration is entered after the @code{>}
988 @lilypond[quote,ragged-right,fragment]
990 \figuremode { <4 6>2 }
993 Accidentals are added when you append @code{-}, @code{!}, and @code{+}
994 to the numbers. A plus sign is added when you append @code{\+}, and
995 diminished fifths and sevenths can be obtained with @code{5/} and @code{7/}.
998 <4- 6+ 7!>3 <5++> <3--> <7/> r <6\+ 5/>
1000 @lilypond[quote,ragged-right,fragment]
1001 \figures { <4- 6+ 7!>4 <5++> <3--> <7/> r <6\+ 5/> }
1004 Spaces may be inserted by using @code{_}. Brackets are
1005 introduced with @code{[} and @code{]}. You can also include text
1006 strings and text markups, see @ref{Text markup commands}.
1009 < [4 6] 8 [_! 12] >4 < 5 \markup @{ \number 6 \super (1) @} >
1011 @lilypond[quote,ragged-right,fragment]
1013 \figuremode { < [4 6] 8 [_! 12] >4 < 5 \markup{ \tiny \number 6 \super (1)} > }
1017 It is also possible to use continuation lines for repeated figures,
1019 @lilypond[verbatim,relative=1]
1026 \set useBassFigureExtenders = ##t
1033 In this case, the extender lines always replace existing figures.
1035 The @code{FiguredBass} context doesn't pay attention to the actual
1036 bass line. As a consequence, you may have to insert extra figures to
1037 get extender lines below all notes, and you may have to add @code{\!}
1038 to avoid getting an extender line, e.g.
1040 @lilypond[relative=1]
1044 \set useBassFigureExtenders = ##t
1045 <6 4->4. <6 4->16. <6 4->32 <5>8. r16 <6>8 <6\! 5->
1049 f16. g32 f16. g32 f16. g32 f16. g32 f8. es16 d8 es
1054 When using continuation lines, common figures are always put in the
1055 same vertical position. When this is unwanted, you can insert a rest
1056 with @code{r}. The rest will clear any previous alignment. For
1057 example, you can write
1069 Accidentals and plus signs can appear before or after the numbers,
1070 depending on the @code{figuredBassAlterationDirection} and
1071 @code{figuredBassPlusDirection}
1077 \set figuredBassAlterationDirection = #1
1079 \set figuredBassPlusDirection = #1
1081 \set figuredBassAlterationDirection = #-1
1087 Figured bass can also be added to @code{Staff} contexts
1088 directly. In this case, their vertical position is adjusted
1091 @lilypond[ragged-right,fragment,quote]
1093 \new Staff = someUniqueName
1098 %% send to existing Staff.
1099 \context Staff = someUniqueName
1103 \set Staff.useBassFigureExtenders = ##t
1120 @c Notation Reference:
1123 @c Application Usage:
1132 @c Internals Reference:
1137 @node Displaying figured bass
1138 @unnumberedsubsubsec Displaying figured bass
1140 Figured bass is displayed using the @code{FiguredBass} context.
1153 @c Notation Reference:
1156 @c Application Usage:
1165 Internals Reference:
1166 @rinternals{NewBassFigure},
1167 @rinternals{BassFigureAlignment},
1168 @rinternals{BassFigureLine},
1169 @rinternals{BassFigureBracket},
1170 @rinternals{BassFigureContinuation},
1171 @rinternals{FiguredBass}.
1175 By default, this method produces figures above the notes. To get
1176 figures below the notes, use
1179 \override Staff.BassFigureAlignmentPositioning #'direction = #DOWN
1182 When using figured bass above the staff with extender lines and
1183 @code{implicitBassFigures} the lines may become swapped around.
1184 Maintaining order consistently will be impossible when multiple figures
1185 have overlapping extender lines. To avoid this problem, please
1186 use @code{stacking-dir} on @code{BassFigureAlignment}.