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.
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
152 of the chord. The chord is constructed by sequentially adding
153 thirds to the root until the specified number has been reached.
154 If the extent is not a third (e.g., 6), thirds are added up to the
155 highest third below the extent, and then the step of the extent is
156 added. The largest possible value for the extent is 13. Any
157 larger value is interpreted as 13.
159 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
167 Since an unaltered 11 does not sound good when combined with an
168 unaltered 13, the 11 is removed from a @code{:13} chord (unless it
169 is added explicitly).
171 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
172 \chordmode { c1:13 c:13.11 c:m13 }
175 @cindex additions, in chords
177 Individual steps can be added to a chord. Additions follow the
178 extent and are prefixed by a dot (@code{.}).
180 @lilypond[quote,verbatim,fragment,relative=1]
181 \chordmode { c1:5.6 c:3.7.8 c:3.6.13 }
184 Added steps can be as high as desired.
186 @lilypond[quote,verbatim,fragment,relative=1]
187 \chordmode { c4:5.15 c:5.20 c:5.25 c:5.30 }
190 @cindex chord steps, altering
192 Added chord steps can be altered by suffixing a @code{-} or @code{+}
193 sign to the number. To alter a step that is lower than the extent,
194 add it as an altered step.
196 @lilypond[quote,verbatim,fragment,relative=1]
197 \chordmode { c1:7+ c:5+.3- c:3-.5-.7- }
200 @cindex removals, in chords
204 A step to be removed from the chord must come at the end of a
205 modifier string and be by @code{^}. Only one removal with @code{^}
206 is allowed in a modifier string.
208 @lilypond[quote,verbatim,fragment,relative=1]
209 \chordmode { c1^3 c:7^5 c:9^3.5 }
214 The modifier @code{sus} can be added to the modifier string to
215 create suspended chords. This removes the 3rd step from the chord.
216 Append either @code{2} or @code{4} to add the 2nd or 4th step to the
217 chord.@code{sus} is equivalent to @code{^3}; @code{sus4} is
218 equivalent to @code{.4^3}.
220 @lilypond[quote,ragged-right,fragment,verbatim]
221 \chordmode { c1:sus c:sus2 c:sus4 c:5.4^3 }
224 It is possible to remove the 3rd step with @code{sus} and remove
225 another step with @code{^} in one modifier string.
228 @cindex chord inversions
229 @cindex bass note, for chords
231 Inversions (putting a pitch other than the root on the bottom of the
232 chord) and added bass notes can be specified by appending
233 @code{/}@var{pitch} to the chord.
235 @lilypond[quote,ragged-right,fragment,verbatim, relative=2]
236 \chordmode { c1 c/g c/f }
241 A bass note that is part of the chord can be added, instead of
242 moved as part of an inversion, by using @code{/+}@var{pitch}.
244 @lilypond[quote,ragged-right,fragment,verbatim]
245 \chordmode { c1 c/+g c/+f }
255 Each step can only be present in a chord once. The following
256 simply produces the augmented chord, since @code{5+} is
259 @lilypond[quote,ragged-right,verbatim,fragment]
260 \chordmode { c1:5.5-.5+ }
263 Only one step can be removed from a chord. If a chord with multiple
264 removed steps is desired, it must be built through addition of
268 @node Displaying chords
269 @subsection Displaying chords
271 Chords can be displayed by name, in addition to the standard display
275 * Printing chord names::
276 * Customizing chord names::
280 @node Printing chord names
281 @unnumberedsubsubsec Printing chord names
283 @cindex printing chord names
287 LilyPond has support for printing chord names. Chord names are
288 printed in a special context, called @rinternals{ChordNames}.
290 @lilypond[verbatim,quote,relative=1,ragged-right]
291 \new ChordNames \chordmode { c2 f4. g8 }
294 To display both chord names and the notes of chords, use the
295 technique in @ref{Writing music in parallel}.
297 @lilypond[verbatim,quote,ragged-right]
298 myChords = \chordmode { c2 f4. g8 }
300 \new ChordNames \myChords
305 Chords can be entered as simultaneous notes or through the use of
306 chord mode. The displayed chord name will be the same, regardless
307 of the mode of entry:
309 @lilypond[quote,ragged-right,verbatim]
310 twoWays = \relative c' {
311 \chordmode { c2 f:sus4 }
312 { <c e g> <f bes c> }
315 \new ChordNames \twoWays
321 If repeats are used in the music, and the volta brackets are to be
322 dispayed above the chord names, @code{voltaOnThisStaff} must be set
323 to @code{##t}. To add bar indications in the @code{ChordNames}
324 context, add @rinternals{Bar_engraver}.
326 @lilypond[ragged-right,verbatim]
327 \new ChordNames \with {
328 \override BarLine #'bar-size = #4
329 voltaOnThisStaff = ##t
330 \consists "Bar_engraver"
332 \chordmode { \repeat volta 2 {
341 @code{\chords} is a shortcut method used to change the input mode to
342 @code{\chordmode} and create a @code{ChordNames} context, with the
345 @lilypond[verbatim,quote,ragged-right, relative=1]
346 \chords { c2 f4.:m g8:maj7 }
357 @ref{Writing music in parallel}.
364 @rinternals{ChordNames},
365 @rinternals{Volta_engraver},
366 @rinternals{Bar_engraver}.
370 Chords containing inversions or altered bass notes are not named
374 @node Customizing chord names
375 @unnumberedsubsubsec 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 @c TODO - this paragraph is moved here from an earlier section
400 @c and needs to be corrected.
401 This example also shows that the chord printing routines cannot
402 correctly identify the root of a chord if it has been entered using
403 @code{< .. >} instead of named chord entry. Therefore, the sixth
404 chord (@code{f bes d}) is not interpreted as an inversion. In
405 contrast, the third chord, which contains the same notes as the sixth
406 chord, is correctly identified because it was entered in the named
409 If none of the default settings give the desired output, the chord
410 name display can be tuned through the following properties.
413 @c TODO Generate snippet based on the following
414 @c and add explanation -td
416 @funindex chordNameExceptions
419 @item chordNameExceptions
421 contains a list of markups used to follow the root note name based
422 on the pitches in the chord. Creating the list requires four
425 The first step is to define sequential music that has the chords to
426 be named with the desired markup (except for the root name) attached
431 <c e g b d'>1-\markup @{ \super "maj9" @}
432 <c e g a d'>1-\markup @{ \super "6(add9)" @}
436 The second step is to convert the music from the first step to an
440 FGGExceptions = #(sequential-music-to-chord-exceptions
444 The third step is to append the default exceptions list (in this
445 case, the Ignatzek exceptions) to the newly-defined exceptions list:
448 chExceptions = #(append FGGExceptions ignatzekExceptions)
451 The final step is to set @code{chordNameExceptions} to the
452 newly-created exceptions list:
455 \set chordNameExceptions = #chExceptions
458 The entire process is illustrated below:
460 @lilypond[quote,ragged-right,verbatim]
462 <c e g b d'>1-\markup { \super "maj9" }
463 <c e g a d'>1-\markup { \super "6(add9)" }
465 FGGExceptions = #(sequential-music-to-chord-exceptions
467 chExceptions = #(append FGGChordNames
470 chordStuff = \chordmode
475 % names with FGG's custom exceptions
476 \set chordNameExceptions = #chExceptions
483 \new ChordNames \chordStuff
488 @funindex majorSevenSymbol
490 @item majorSevenSymbol
492 This property contains the markup object used as part of the
493 printed chord name to identify a major 7 chord. Predefined
494 options are @code{whiteTriangleMarkup} and
495 @code{blackTriangleMarkup}.
497 @funindex chordNameSeparator
498 @item chordNameSeparator
500 Different parts of a chord name are normally separated by a slash.
501 By setting @code{chordNameSeparator}, you can use any desired
502 markup for a separator, e.g.,
504 @lilypond[quote,ragged-right,fragment,verbatim]
505 \new ChordNames \chordmode {
507 \set chordNameSeparator
508 = \markup { \typewriter "|" }
513 @funindex chordRootNamer
516 The chord name is usually printed as a letter for the root with an
517 optional alteration. The transformation from pitch to letter is
518 done by this function. Special note names (for example, the
519 German @q{H} for a B-chord) can be produced by storing a new
520 function in this property.
522 @funindex chordNoteNamer
525 When the chord name contains an additional pitch besides the root
526 (e.g., an added bass note), this function is used to print the
527 additional pitch. By default the pitch is printed using
528 @code{chordRootNamer}. The @code{chordNoteNamer} property can be
529 set to a specialized function to change this behavior. For
530 example, the bass note can be printed in lower case.
532 @funindex chordPrefixSpacer
533 @item chordPrefixSpacer
535 The @q{m} for minor chords is usually printed immediately to the
536 right of the root of the chord. By setting
537 @code{chordPrefixSpacer}, you can fix a spacer between the root
538 and @q{m}. The spacer is not used when the root is altered.
551 @funindex major seven symbols
552 @code{\whiteTriangleMarkup}
553 @code{\blackTriangleMarkup}
554 @funindex \germanChords
555 @code{\germanChords},
556 @funindex \semiGermanChords
557 @code{\semiGermanChords},
558 @funindex \italianChords
559 @code{\italianChords},
560 @funindex \frenchChords
561 @code{\frenchChords}.
565 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
566 {chord-names-jazz.ly}
568 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
569 {chord-name-exceptions.ly}
570 @cindex exceptions, chord names.
572 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
573 {chord-name-major7.ly}
582 @c Notation Reference:
585 @c Application Usage:
589 @file{scm/@/chords@/-ignatzek@/.scm},
590 @file{scm/@/chord@/-entry@/.scm},
591 @file{ly/@/chord@/-modifier@/-init@/.ly}.
593 @c Snippets: @c @rlsr{}.
595 @c Internals Reference:
600 When chords are entered with the @code{< .. >} syntax, the root and
601 any added bass notes are not identified. In this case, chord names
602 are determined solely from the list of pitches. This may result in
606 @unnumberedsubsubsec Lead sheets
610 For lead sheets, chords are not printed on staves, but as names on a
611 line for themselves. This is achieved by using a @code{ChordNames}
612 context simultaneously with the @code{Staff} context. The
613 @code{\chords} keyword can be used as a shortcut for @code{\new
614 ChordNames \chordmode}.
616 When put together, chord names, a melody, and lyrics form a lead
619 @lilypond[verbatim,quote,ragged-right]
621 \chords { c2 g:sus4 f e }
626 \addlyrics { One day this shall be free __ }
641 @c Notation Reference:
644 @c Application Usage:
653 @c Internals Reference:
661 @node old Modern chords
662 @subsection old Modern chords
665 * Entering chord names::
667 * old Printing chord names::
670 @node Entering chord names
671 @subsubsection Entering chord names
674 LilyPond has support for printing chord names. Chords may be entered
675 in musical chord notation, i.e., @code{< .. >}, but they can also be
676 entered by name. Internally, the chords are represented as a set of
677 pitches, so they can be transposed
680 @lilypond[quote,ragged-right,verbatim,ragged-right]
681 twoWays = \transpose c c' {
690 << \new ChordNames \twoWays
691 \new Voice \twoWays >>
694 This example also shows that the chord printing routines do not try to
695 be intelligent. The last chord (@code{f bes d}) is not interpreted as
698 Note that the duration of chords must be specified outside the
705 @c TODO Generate snippet based on the following
706 @c and add explanation -td
708 Custom chord names may be generated:
710 @lilypond[quote,ragged-right,verbatim,ragged-right]
712 <c e g b d'>1-\markup { \super "maj9" }
713 <c e g a d'>1-\markup { \super "6(add9)" }
715 chExceptions = #(append
716 (sequential-music-to-chord-exceptions
717 FGGChordNames #t) ignatzekExceptions)
719 chordStuff = \chordmode
724 % names with FGG's custom exceptions
725 \set chordNameExceptions = #chExceptions
732 \new ChordNames \chordStuff
738 @node old Lead sheets
739 @subsubsection old Lead sheets
743 For lead sheets, chords are not printed on staves, but as names on
744 a line for themselves. This is achieved by using @code{\chords}
745 instead of @code{\chordmode}.
747 When put together, chord names, lyrics and a melody form a lead
750 @lilypond[verbatim,quote,ragged-right]
752 \chords { c2 g:sus4 f e }
757 \addlyrics { One day this shall be free __ }
763 @node old Printing chord names
764 @subsubsection old Printing chord names
766 @cindex printing chord names
770 For displaying printed chord names, use the @rinternals{ChordNames} context.
771 The chords may be entered either using the notation
772 described above, or directly using @code{<} and @code{>}
774 @lilypond[quote,verbatim,ragged-right]
776 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
779 \new ChordNames \harmonies
780 \new Staff \harmonies
784 You can make the chord changes stand out by setting
785 @rinternals{ChordNames}.@code{chordChanges} to true. This will only
786 display chord names when there is a change in the chords scheme and at
787 the start of a new line
789 @lilypond[quote,verbatim,ragged-right]
790 harmonies = \chordmode {
791 c1:m c:m \break c:m c:m d
795 \set chordChanges = ##t
797 \new Staff \transpose c c' \harmonies
801 The previous examples all show chords over a staff. This is not
802 necessary. Chords may also be printed separately. It may be necessary
803 to add @rinternals{Volta_engraver} and @rinternals{Bar_engraver}
806 @lilypond[ragged-right,verbatim]
807 \new ChordNames \with {
808 \override BarLine #'bar-size = #4
809 \consists Bar_engraver
810 \consists "Volta_engraver"
812 \chordmode { \repeat volta 2 {
822 The default chord name layout is a system for Jazz music, proposed by
823 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
827 @funindex chordNameExceptions
828 @item chordNameExceptions
829 This is a list that contains the chords that have special formatting.
831 The exceptions list should be encoded as
833 @{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
836 To get this information into @code{chordNameExceptions} takes a little
837 maneuvering. The following code transforms @code{chExceptionMusic}
838 (which is a sequential music) into a list of exceptions.
840 (sequential-music-to-chord-exceptions chExceptionMusic #t)
845 (sequential-music-to-chord-exceptions chExceptionMusic #t)
848 adds the new exceptions to the default ones, which are defined in
849 @file{ly/@/chord@/-modifier@/-init@/.ly}.
851 For an example of tuning this property, see also
852 @c @lsr{chords,chord@/-name@/-exceptions@/.ly}
853 @cindex exceptions, chord names.
856 @funindex majorSevenSymbol
857 @item majorSevenSymbol
858 This property contains the markup object used for the 7th step, when
859 it is major. Predefined options are @code{whiteTriangleMarkup} and
860 @code{blackTriangleMarkup}. See
861 @c @lsr{chords,chord@/-name@/-major7@/.ly} for an example.
863 @funindex chordNameSeparator
864 @item chordNameSeparator
865 Different parts of a chord name are normally separated by a
866 slash. By setting @code{chordNameSeparator}, you can specify other
868 @lilypond[quote,ragged-right,fragment,verbatim]
869 \new ChordNames \chordmode {
871 \set chordNameSeparator
872 = \markup { \typewriter "|" }
877 @funindex chordRootNamer
879 The root of a chord is usually printed as a letter with an optional
880 alteration. The transformation from pitch to letter is done by this
881 function. Special note names (for example, the German @q{H} for a
882 B-chord) can be produced by storing a new function in this property.
884 @funindex chordNoteNamer
886 The default is to print single pitch, e.g., the bass note, using the
887 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
888 to a specialized function to change this behavior. For example, the
889 base can be printed in lower case.
891 @funindex chordPrefixSpacer
892 @item chordPrefixSpacer
893 The @q{m} for minor chords is usually printed right after the root of
894 the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer
895 between the root and @q{m}. The spacer is not used when the root
900 The predefined variables @code{\germanChords},
901 @code{\semiGermanChords}, @code{\italianChords} and @code{\frenchChords}
902 set these variables. The effect is
905 @lilypondfile[ragged-right]{chord-names-languages.ly}
907 There are also two other chord name schemes implemented: an alternate
908 Jazz chord notation, and a systematic scheme called Banter chords. The
909 alternate Jazz notation is also shown on the chart in @ref{Chord name
910 chart}. Turning on these styles is demonstrated in
911 @c @lsr{chords,chord-names-jazz.ly}.
920 @funindex \germanChords
921 @code{\germanChords},
922 @funindex \semiGermanChords
923 @code{\semiGermanChords}.
924 @funindex \italianChords
925 @code{\italianChords}.
926 @funindex \frenchChords
927 @code{\frenchChords}.
936 Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
937 @file{scm/@/chord@/-entry@/.scm}.
942 Chord names are determined solely from the list of pitches. Chord
943 inversions are not identified, and neither are added bass notes. This
944 may result in strange chord names when chords are entered with the
945 @code{< .. >} syntax.
949 @subsection Figured bass
952 * Introduction to figured bass::
953 * Entering figured bass::
954 * Displaying figured bass::
957 @node Introduction to figured bass
958 @subsubsection Introduction to figured bass
960 @cindex Basso continuo
962 @c TODO: musicological blurb about FB
964 LilyPond has support for figured bass
966 @lilypond[quote,ragged-right,verbatim,fragment]
968 \new Voice { \clef bass dis4 c d ais g fis}
969 \new FiguredBass \figuremode {
970 < 6 >4 < 7\+ >8 < 6+ [_!] >
977 The support for figured bass consists of two parts: there is an
978 input mode, introduced by @code{\figuremode}, where you can enter
979 bass figures as numbers, and there is a context named
980 @rinternals{FiguredBass} that takes care of making
981 @rinternals{BassFigure} objects.
983 Although the support for figured bass may superficially resemble chord
984 support, it is much simpler. The @code{\figuremode} mode simply
985 stores the numbers and @rinternals{FiguredBass} context prints them
986 as entered. There is no conversion to pitches and no realizations of
987 the bass are played in the MIDI file.
989 Internally, the code produces markup texts. You can use any of the
990 markup text properties to override formatting. For example, the
991 vertical spacing of the figures may be set with @code{baseline-skip}.
995 * Entering figured bass::
996 * Displaying figured bass::
999 @node Entering figured bass
1000 @unnumberedsubsubsec Entering figured bass
1003 In figures input mode, a group of bass figures is delimited by
1004 @code{<} and @code{>}. The duration is entered after the @code{>}
1008 @lilypond[quote,ragged-right,fragment]
1010 \figuremode { <4 6>2 }
1013 Accidentals are added when you append @code{-}, @code{!}, and @code{+}
1014 to the numbers. A plus sign is added when you append @code{\+}, and
1015 diminished fifths and sevenths can be obtained with @code{5/} and @code{7/}.
1018 <4- 6+ 7!>3 <5++> <3--> <7/> r <6\+ 5/>
1020 @lilypond[quote,ragged-right,fragment]
1021 \figures { <4- 6+ 7!>4 <5++> <3--> <7/> r <6\+ 5/> }
1024 Spaces may be inserted by using @code{_}. Brackets are
1025 introduced with @code{[} and @code{]}. You can also include text
1026 strings and text markups, see @ref{Text markup commands}.
1029 < [4 6] 8 [_! 12] >4 < 5 \markup @{ \number 6 \super (1) @} >
1031 @lilypond[quote,ragged-right,fragment]
1033 \figuremode { < [4 6] 8 [_! 12] >4 < 5 \markup{ \tiny \number 6 \super (1)} > }
1037 It is also possible to use continuation lines for repeated figures,
1039 @lilypond[verbatim,relative=1]
1046 \set useBassFigureExtenders = ##t
1053 In this case, the extender lines always replace existing figures.
1055 The @code{FiguredBass} context doesn't pay attention to the actual
1056 bass line. As a consequence, you may have to insert extra figures to
1057 get extender lines below all notes, and you may have to add @code{\!}
1058 to avoid getting an extender line, e.g.
1060 @lilypond[relative=1]
1064 \set useBassFigureExtenders = ##t
1065 <6 4->4. <6 4->16. <6 4->32 <5>8. r16 <6>8 <6\! 5->
1069 f16. g32 f16. g32 f16. g32 f16. g32 f8. es16 d8 es
1074 When using continuation lines, common figures are always put in the
1075 same vertical position. When this is unwanted, you can insert a rest
1076 with @code{r}. The rest will clear any previous alignment. For
1077 example, you can write
1089 Accidentals and plus signs can appear before or after the numbers,
1090 depending on the @code{figuredBassAlterationDirection} and
1091 @code{figuredBassPlusDirection}
1097 \set figuredBassAlterationDirection = #1
1099 \set figuredBassPlusDirection = #1
1101 \set figuredBassAlterationDirection = #-1
1107 Figured bass can also be added to @code{Staff} contexts
1108 directly. In this case, their vertical position is adjusted
1111 @lilypond[ragged-right,fragment,quote]
1113 \new Staff = someUniqueName
1118 %% send to existing Staff.
1119 \context Staff = someUniqueName
1123 \set Staff.useBassFigureExtenders = ##t
1140 @c Notation Reference:
1143 @c Application Usage:
1152 @c Internals Reference:
1157 @node Displaying figured bass
1158 @unnumberedsubsubsec Displaying figured bass
1160 Figured bass is displayed using the @code{FiguredBass} context.
1173 @c Notation Reference:
1176 @c Application Usage:
1185 Internals Reference:
1186 @rinternals{NewBassFigure},
1187 @rinternals{BassFigureAlignment},
1188 @rinternals{BassFigureLine},
1189 @rinternals{BassFigureBracket},
1190 @rinternals{BassFigureContinuation},
1191 @rinternals{FiguredBass}.
1195 By default, this method produces figures above the notes. To get
1196 figures below the notes, use
1199 \override Staff.BassFigureAlignmentPositioning #'direction = #DOWN
1202 When using figured bass above the staff with extender lines and
1203 @code{implicitBassFigures} the lines may become swapped around.
1204 Maintaining order consistently will be impossible when multiple figures
1205 have overlapping extender lines. To avoid this problem, please
1206 use @code{stacking-dir} on @code{BassFigureAlignment}.