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 @c need to decide about @qq{FOO mode} or @emph{} or whatever.
51 Chords can also be entered in @qq{chord mode}, which is an input
52 mode that focuses on the structures of chords in traditional
53 European music, rather than on specific pitches. This is
54 convenient for those who are familiar with using chord names to
55 describe chords. More information on different input modes can be
56 found at @ref{Input modes}.
58 @lilypond[verbatim,quote,ragged-right,relative=1]
59 \chordmode { c1 g a g c }
62 Chords entered using chord mode are music elements, and can be
63 transposed just like chords entered using simultaneous music.
78 @unnumberedsubsubsec Common chords
81 @cindex seventh chords
83 @cindex modifiers, in chords.
86 Major triads are entered by including the root and an
89 @lilypond[verbatim,quote,relative=1,ragged-right]
90 \chordmode { c2 f4. g8 }
94 If no duration is entered, the duration of the previous
95 note (or chord) will be used.
97 Minor, augmented, and diminished triads are entered by placing
98 @code{:} and a quality modifier string after the duration:
100 @lilypond[verbatim,quote,ragged-right,relative=1]
101 \chordmode { c2:m f4:aug g4:dim }
104 Seventh chords are created by adding the number 7 at the beginning
105 of the modifier string (for the dominant seventh chord) or after the
106 quality modifier (for the other named seventh chords).
108 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
110 c1 | c:7 | c:m7 | c:maj7 |
111 c:dim | c:dim7 | c:aug7 | c:maj |
120 The table belows shows the actions of the quality modifiers on
121 triads and seventh chords.
126 The minor chord. This modifier lowers the 3rd and (if present) the
130 The diminished chord. This modifier lowers the 3rd, 5th and (if
131 present) the 7th step.
134 The augmented chord. This modifier raises the 5th step.
137 The major 7th chord. This modifier adds a raised 7th step. The
138 @code{7} following @code{maj} is optional. Do NOT use this modifier
139 to create a major triad.
148 @node Extended and altered chords
149 @unnumberedsubsubsec Extended and altered chords
151 @cindex extended chords
152 @cindex altered chords
154 Chord structures of arbitrary complexity can be created in chord
155 mode. The modifier string can be used to extend a chord, add or
156 remove chord steps, raise or lower chord steps, and add a bass note
157 or create an inversion.
159 The first number following the @code{:} is taken to be the extent of
160 the chord. The chord is constructed by sequentially adding thirds
161 to the root until the specified number has been reached. If the
162 extent is not a third (e.g., 6), thirds are added up to the highest
163 third below the extent, and then the step of the extent is added.
165 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
173 Since an unaltered 11 does not sound good when combined with an
174 unaltered 13, the 11 is removed from a @code{:13} chord (unless it
175 is added explicitly).
177 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
178 \chordmode { c1:13 c:13.11 c:m13 }
181 The largest possible value for the extent is 13. Any larger value
182 is interpreted as 13.
184 @cindex additions, in chords
186 Individual steps can be added to a chord. Additions follow the
187 extent and are prefixed by a dot (@code{.}).
189 @lilypond[quote,verbatim,fragment,relative=1]
190 \chordmode { c1:5.6 c:3.7.8 c:3.6.13 }
193 Added steps can be as high as desired.
195 @lilypond[quote,verbatim,fragment,relative=1]
196 \chordmode { c4:5.15 c:5.20 c:5.25 c:5.30 }
199 @cindex chord steps, altering
201 Added chord steps can be altered by suffixing a @code{-} or @code{+}
202 sign to the number. To alter a step that is lower than the extent,
203 add it as an altered step.
205 @lilypond[quote,verbatim,fragment,relative=1]
206 \chordmode { c1:7+ c:5+.3- c:3-.5-.7- }
209 @cindex removals, in chords
213 A step to be removed from the chord must come at the end of a
214 modifier string and be by @code{^}. Only one removal with @code{^}
215 is allowed in a modifier string.
217 @lilypond[quote,verbatim,fragment,relative=1]
218 \chordmode { c1^3 c:7^5 c:9^3.5 }
223 The modifier @code{sus} can be added to the modifier string to
224 create suspended chords. This removes the 3rd step from the chord.
225 Append either @code{2} or @code{4} to add the 2nd or 4th step to the
226 chord.@code{sus} is equivalent to @code{^3}; @code{sus4} is
227 equivalent to @code{.4^3}.
229 @lilypond[quote,ragged-right,fragment,verbatim]
230 \chordmode { c1:sus c:sus2 c:sus4 c:5.4^3 }
233 It is possible to remove the 3rd step with @code{sus} and remove
234 another step with @code{^} in one modifier string.
237 @cindex chord inversions
238 @cindex bass note, for chords
240 Inversions (putting a pitch other than the root on the bottom of the
241 chord) and added bass notes can be specified by appending
242 @code{/}@var{pitch} to the chord.
244 @lilypond[quote,ragged-right,fragment,verbatim, relative=2]
245 \chordmode { c1 c/g c/f }
250 A bass note that is part of the chord can be added, instead of
251 moved as part of an inversion, by using @code{/+}@var{pitch}.
253 @lilypond[quote,ragged-right,fragment,verbatim]
254 \chordmode { c1 c/+g c/+f }
264 Each step can only be present in a chord once. The following
265 simply produces the augmented chord, since @code{5+} is
268 @lilypond[quote,ragged-right,verbatim,fragment]
269 \chordmode { c1:5.5-.5+ }
272 Only one step can be removed from a chord. If a chord with multiple
273 removed steps is desired, it must be built through addition of
277 @node Displaying chords
278 @subsection Displaying chords
280 Chords can be displayed by name, in addition to the standard display
284 * Printing chord names::
287 @node Printing chord names
288 @unnumberedsubsubsec Printing chord names
290 @cindex printing chord names
294 LilyPond has support for printing chord names. Chord names are
295 printed in a special context, called @rinternals{ChordNames}.
297 @lilypond[verbatim,quote,relative=1,ragged-right]
298 \new ChordNames \chordmode { c2 f4. g8 }
301 To display both chord names and the notes of chords, use the
302 technique in @ref{Writing music in parallel}.
304 @lilypond[verbatim,quote,ragged-right]
305 myChords = \chordmode { c2 f4. g8 }
307 \new ChordNames \myChords
312 Chords can be entered as simultaneous notes or through the use of
313 chord mode. The displayed chord name will be the same, regardless
314 of the mode of entry:
316 @lilypond[quote,ragged-right,verbatim]
317 twoWays = \relative c' {
318 \chordmode { c2 f:sus4 }
319 { <c e g> <f bes c> }
322 \new ChordNames \twoWays
328 If repeats are used in the music, and the volta brackets are to be
329 dispayed above the chord names, @code{voltaOnThisStaff} must be set
330 to @code{##t}. To add bar indications in the @code{ChordNames}
331 context, add @rinternals{Bar_engraver}.
333 @lilypond[ragged-right,verbatim]
334 \new ChordNames \with {
335 \override BarLine #'bar-size = #4
336 voltaOnThisStaff = ##t
337 \consists "Bar_engraver"
339 \chordmode { \repeat volta 2 {
348 @code{\chords} is a shortcut method used to change the input mode to
349 @code{\chordmode} and create a @code{ChordNames} context, with the
352 @lilypond[verbatim,quote,ragged-right, relative=1]
353 \chords { c2 f4.:m g8:maj7 }
364 @ref{Writing music in parallel}.
371 @rinternals{ChordNames},
372 @rinternals{Volta_engraver},
373 @rinternals{Bar_engraver}.
377 Chords containing inversions or altered bass notes are not named
382 @n ode Customizing chord names
383 @u nnumberedsubsubsec Customizing chord names
385 @cindex customizing chord names
387 There is no unique system for naming chords. Different musical
388 traditions use different names for the same set of chords. There
389 are also different symbols displayed for a given chord name. The
390 names and symbols displayed for chord names are customizable.
392 The default chord name layout is a system for Jazz music, proposed
393 by Klaus Ignatzek (see @ref{Literature list}). There are also two
394 other chord name schemes implemented: an alternate Jazz chord
395 notation, and a systematic scheme called Banter chords. The
396 alternate Jazz notation is also shown on the chart in @ref{Chord
399 In addition to the different naming systems, different note names
400 are used for the root in different languages. The predefined
401 variables @code{\germanChords}, @code{\semiGermanChords},
402 @code{\italianChords} and @code{\frenchChords} set these variables.
403 The effect is demonstrated here:
405 @lilypondfile[ragged-right]{chord-names-languages.ly}
407 @C TODO - this paragraph is moved here from an earlier section
408 @c and needs to be corrected.
409 This example also shows that the chord printing routines cannot
410 correctly identify the root of a chord if it has been entered using
411 @code{< .. >} instead of named chord entry. Therefore, the sixth
412 chord (@code{f bes d}) is not interpreted as an inversion. In
413 contrast, the third chord, which contains the same notes as the sixth
414 chord, is correctly identified because it was entered in the named
417 If none of the default settings give the desired output, the chord
418 name display can be tuned through the following properties.
420 @c TODO Generate snippet based on the following
421 @c and add explanation -td
425 @funindex chordNameExceptions
427 @code{chordNameExceptions} contains a list of markups used to follow
428 the root note name based on the pitches in the chord. Creating the
429 list requires four steps.
431 The first step is to define sequential music that has the chords to
432 be named with the desired markup (except for the root name) attached
437 <c e g b d'>1-\markup @{ \super "maj9" @}
438 <c e g a d'>1-\markup @{ \super "6(add9)" @}
442 The second step is to convert the music from the first step to an
446 FGGExceptions = #(sequential-music-to-chord-exceptions
450 The third step is to append the default exceptions list (in this
451 case, the Ignatzek exceptions) to the newly-defined exceptions list:
454 chExceptions = #(append FGGExceptions ignatzekExceptions)
457 The final step is to set @code{chordNameExceptions} to the
458 newly-created exceptions list:
461 \set chordNameExceptions = #chExceptions
464 The entire process is illustrated below:
466 @lilypond[quote,ragged-right,verbatim,ragged-right]
468 <c e g b d'>1-\markup { \super "maj9" }
469 <c e g a d'>1-\markup { \super "6(add9)" }
471 FGGExceptions = #(sequential-music-to-chord-exceptions
473 chExceptions = #(append FGGChordNames
476 chordStuff = \chordmode
481 % names with FGG's custom exceptions
482 \set chordNameExceptions = #chExceptions
489 \new ChordNames \chordStuff
494 @funindex majorSevenSymbol @item majorSevenSymbol This property
495 contains the markup object used as part of the printed chord name to
496 identify a major 7 chord. Predefined options are
497 @code{whiteTriangleMarkup} and @code{blackTriangleMarkup}.
499 @funindex chordNameSeparator
500 @item chordNameSeparator
501 Different parts of a chord name are normally separated by a slash.
502 By setting @code{chordNameSeparator}, you can use any desired markup
503 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
515 The chord name is usually printed as a letter for the root with an
516 optional alteration. The transformation from pitch to letter is
517 done by this function. Special note names (for example, the German
518 @q{H} for a B-chord) can be produced by storing a new function in
521 @funindex chordNoteNamer @item chordNoteNamer When the chord name
522 contains an additional pitch besides the root (e.g., an added bass
523 note), this function is used to print the additional pitch. By
524 default the pitch is printed using @code{chordRootNamer}. The
525 @code{chordNoteNamer} property can be set to a specialized function
526 to change this behavior. For example, the bass note can be printed
529 @funindex chordPrefixSpacer
530 @item chordPrefixSpacer
531 The @q{m} for minor chords is usually printed immediately to the
532 right of the root of the chord. By setting
533 @code{chordPrefixSpacer}, you can fix a spacer between the root and
534 @q{m}. The spacer is not used when the root is altered.
546 @funindex major seven symbols
547 @code{\whiteTriangleMarkup}
548 @code{\blackTriangleMarkup}
549 @funindex \germanChords
550 @code{\germanChords},
551 @funindex \semiGermanChords
552 @code{\semiGermanChords},
553 @funindex \italianChords
554 @code{\italianChords},
555 @funindex \frenchChords
556 @code{\frenchChords}.
560 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
561 {chord-names-jazz.ly}
563 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
564 {chord-name-exceptions.ly}
565 @cindex exceptions, chord names.
567 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
568 {chord-name-major7.ly}
577 @c Notation Reference:
580 @c Application Usage:
584 @file{scm/@/chords@/-ignatzek@/.scm},
585 @file{scm/@/chord@/-entry@/.scm},
586 @file{ly/@/chord@/-modifier@/-init@/.ly}.
588 @c Snippets: @c @rlsr{}.
590 @c Internals Reference:
595 When chords are entered with the @code{< .. >} syntax, the root and
596 any added bass notes are not identified. In this case, chord names
597 are determined solely from the list of pitches. This may result in
601 @u nnumberedsubsubsec Lead sheets
605 For lead sheets, chords are not printed on staves, but as names on a
606 line for themselves. This is achieved by using a @code{ChordNames}
607 context simultaneously with the @code{Staff} context. The
608 @code{\chords} keyword can be used as a shortcut for @code{\new
609 ChordNames \chordmode}.
611 When put together, chord names, a melody, and lyrics form a lead
614 @lilypond[verbatim,quote,ragged-right]
616 \chords { c2 g:sus4 f e }
621 \addlyrics { One day this shall be free __ }
636 @c Notation Reference:
639 @c Application Usage:
648 @c Internals Reference:
659 @node old Modern chords
660 @subsection old Modern chords
663 * Entering chord names::
665 * old Printing chord names::
668 @node Entering chord names
669 @subsubsection Entering chord names
672 LilyPond has support for printing chord names. Chords may be entered
673 in musical chord notation, i.e., @code{< .. >}, but they can also be
674 entered by name. Internally, the chords are represented as a set of
675 pitches, so they can be transposed
678 @lilypond[quote,ragged-right,verbatim,ragged-right]
679 twoWays = \transpose c c' {
688 << \new ChordNames \twoWays
689 \new Voice \twoWays >>
692 This example also shows that the chord printing routines do not try to
693 be intelligent. The last chord (@code{f bes d}) is not interpreted as
696 Note that the duration of chords must be specified outside the
703 @c TODO Generate snippet based on the following
704 @c and add explanation -td
706 Custom chord names may be generated:
708 @lilypond[quote,ragged-right,verbatim,ragged-right]
710 <c e g b d'>1-\markup { \super "maj9" }
711 <c e g a d'>1-\markup { \super "6(add9)" }
713 chExceptions = #(append
714 (sequential-music-to-chord-exceptions
715 FGGChordNames #t) ignatzekExceptions)
717 chordStuff = \chordmode
722 % names with FGG's custom exceptions
723 \set chordNameExceptions = #chExceptions
730 \new ChordNames \chordStuff
737 @subsubsection Lead sheets
741 For lead sheets, chords are not printed on staves, but as names on
742 a line for themselves. This is achieved by using @code{\chords}
743 instead of @code{\chordmode}.
745 When put together, chord names, lyrics and a melody form a lead
748 @lilypond[verbatim,quote,ragged-right]
750 \chords { c2 g:sus4 f e }
755 \addlyrics { One day this shall be free __ }
761 @node old Printing chord names
762 @subsubsection old Printing chord names
764 @cindex printing chord names
768 For displaying printed chord names, use the @rinternals{ChordNames} context.
769 The chords may be entered either using the notation
770 described above, or directly using @code{<} and @code{>}
772 @lilypond[quote,verbatim,ragged-right]
774 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
777 \new ChordNames \harmonies
778 \new Staff \harmonies
782 You can make the chord changes stand out by setting
783 @rinternals{ChordNames}.@code{chordChanges} to true. This will only
784 display chord names when there is a change in the chords scheme and at
785 the start of a new line
787 @lilypond[quote,verbatim,ragged-right]
788 harmonies = \chordmode {
789 c1:m c:m \break c:m c:m d
793 \set chordChanges = ##t
795 \new Staff \transpose c c' \harmonies
799 The previous examples all show chords over a staff. This is not
800 necessary. Chords may also be printed separately. It may be necessary
801 to add @rinternals{Volta_engraver} and @rinternals{Bar_engraver}
804 @lilypond[ragged-right,verbatim]
805 \new ChordNames \with {
806 \override BarLine #'bar-size = #4
807 \consists Bar_engraver
808 \consists "Volta_engraver"
810 \chordmode { \repeat volta 2 {
820 The default chord name layout is a system for Jazz music, proposed by
821 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
825 @funindex chordNameExceptions
826 @item chordNameExceptions
827 This is a list that contains the chords that have special formatting.
829 The exceptions list should be encoded as
831 @{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
834 To get this information into @code{chordNameExceptions} takes a little
835 maneuvering. The following code transforms @code{chExceptionMusic}
836 (which is a sequential music) into a list of exceptions.
838 (sequential-music-to-chord-exceptions chExceptionMusic #t)
843 (sequential-music-to-chord-exceptions chExceptionMusic #t)
846 adds the new exceptions to the default ones, which are defined in
847 @file{ly/@/chord@/-modifier@/-init@/.ly}.
849 For an example of tuning this property, see also
850 @c @lsr{chords,chord@/-name@/-exceptions@/.ly}
851 @cindex exceptions, chord names.
854 @funindex majorSevenSymbol
855 @item majorSevenSymbol
856 This property contains the markup object used for the 7th step, when
857 it is major. Predefined options are @code{whiteTriangleMarkup} and
858 @code{blackTriangleMarkup}. See
859 @c @lsr{chords,chord@/-name@/-major7@/.ly} for an example.
861 @funindex chordNameSeparator
862 @item chordNameSeparator
863 Different parts of a chord name are normally separated by a
864 slash. By setting @code{chordNameSeparator}, you can specify other
866 @lilypond[quote,ragged-right,fragment,verbatim]
867 \new ChordNames \chordmode {
869 \set chordNameSeparator
870 = \markup { \typewriter "|" }
875 @funindex chordRootNamer
877 The root of a chord is usually printed as a letter with an optional
878 alteration. The transformation from pitch to letter is done by this
879 function. Special note names (for example, the German @q{H} for a
880 B-chord) can be produced by storing a new function in this property.
882 @funindex chordNoteNamer
884 The default is to print single pitch, e.g., the bass note, using the
885 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
886 to a specialized function to change this behavior. For example, the
887 base can be printed in lower case.
889 @funindex chordPrefixSpacer
890 @item chordPrefixSpacer
891 The @q{m} for minor chords is usually printed right after the root of
892 the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer
893 between the root and @q{m}. The spacer is not used when the root
898 The predefined variables @code{\germanChords},
899 @code{\semiGermanChords}, @code{\italianChords} and @code{\frenchChords}
900 set these variables. The effect is
903 @lilypondfile[ragged-right]{chord-names-languages.ly}
905 There are also two other chord name schemes implemented: an alternate
906 Jazz chord notation, and a systematic scheme called Banter chords. The
907 alternate Jazz notation is also shown on the chart in @ref{Chord name
908 chart}. Turning on these styles is demonstrated in
909 @c @lsr{chords,chord-names-jazz.ly}.
918 @funindex \germanChords
919 @code{\germanChords},
920 @funindex \semiGermanChords
921 @code{\semiGermanChords}.
922 @funindex \italianChords
923 @code{\italianChords}.
924 @funindex \frenchChords
925 @code{\frenchChords}.
934 Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
935 @file{scm/@/chord@/-entry@/.scm}.
940 Chord names are determined solely from the list of pitches. Chord
941 inversions are not identified, and neither are added bass notes. This
942 may result in strange chord names when chords are entered with the
943 @code{< .. >} syntax.
947 @subsection Figured bass
950 * Introduction to figured bass::
951 * Entering figured bass::
952 * Displaying figured bass::
955 @node Introduction to figured bass
956 @subsubsection Introduction to figured bass
958 @cindex Basso continuo
960 @c TODO: musicological blurb about FB
962 LilyPond has support for figured bass
964 @lilypond[quote,ragged-right,verbatim,fragment]
966 \new Voice { \clef bass dis4 c d ais g fis}
967 \new FiguredBass \figuremode {
968 < 6 >4 < 7\+ >8 < 6+ [_!] >
975 The support for figured bass consists of two parts: there is an
976 input mode, introduced by @code{\figuremode}, where you can enter
977 bass figures as numbers, and there is a context named
978 @rinternals{FiguredBass} that takes care of making
979 @rinternals{BassFigure} objects.
981 Although the support for figured bass may superficially resemble chord
982 support, it is much simpler. The @code{\figuremode} mode simply
983 stores the numbers and @rinternals{FiguredBass} context prints them
984 as entered. There is no conversion to pitches and no realizations of
985 the bass are played in the MIDI file.
987 Internally, the code produces markup texts. You can use any of the
988 markup text properties to override formatting. For example, the
989 vertical spacing of the figures may be set with @code{baseline-skip}.
993 * Entering figured bass::
994 * Displaying figured bass::
997 @node Entering figured bass
998 @unnumberedsubsubsec Entering figured bass
1001 In figures input mode, a group of bass figures is delimited by
1002 @code{<} and @code{>}. The duration is entered after the @code{>}
1006 @lilypond[quote,ragged-right,fragment]
1008 \figuremode { <4 6>2 }
1011 Accidentals are added when you append @code{-}, @code{!}, and @code{+}
1012 to the numbers. A plus sign is added when you append @code{\+}, and
1013 diminished fifths and sevenths can be obtained with @code{5/} and @code{7/}.
1016 <4- 6+ 7!>3 <5++> <3--> <7/> r <6\+ 5/>
1018 @lilypond[quote,ragged-right,fragment]
1019 \figures { <4- 6+ 7!>4 <5++> <3--> <7/> r <6\+ 5/> }
1022 Spaces may be inserted by using @code{_}. Brackets are
1023 introduced with @code{[} and @code{]}. You can also include text
1024 strings and text markups, see @ref{Text markup commands}.
1027 < [4 6] 8 [_! 12] >4 < 5 \markup @{ \number 6 \super (1) @} >
1029 @lilypond[quote,ragged-right,fragment]
1031 \figuremode { < [4 6] 8 [_! 12] >4 < 5 \markup{ \tiny \number 6 \super (1)} > }
1035 It is also possible to use continuation lines for repeated figures,
1037 @lilypond[verbatim,relative=1]
1044 \set useBassFigureExtenders = ##t
1051 In this case, the extender lines always replace existing figures.
1053 The @code{FiguredBass} context doesn't pay attention to the actual
1054 bass line. As a consequence, you may have to insert extra figures to
1055 get extender lines below all notes, and you may have to add @code{\!}
1056 to avoid getting an extender line, e.g.
1058 @lilypond[relative=1]
1062 \set useBassFigureExtenders = ##t
1063 <6 4->4. <6 4->16. <6 4->32 <5>8. r16 <6>8 <6\! 5->
1067 f16. g32 f16. g32 f16. g32 f16. g32 f8. es16 d8 es
1072 When using continuation lines, common figures are always put in the
1073 same vertical position. When this is unwanted, you can insert a rest
1074 with @code{r}. The rest will clear any previous alignment. For
1075 example, you can write
1087 Accidentals and plus signs can appear before or after the numbers,
1088 depending on the @code{figuredBassAlterationDirection} and
1089 @code{figuredBassPlusDirection}
1095 \set figuredBassAlterationDirection = #1
1097 \set figuredBassPlusDirection = #1
1099 \set figuredBassAlterationDirection = #-1
1105 Figured bass can also be added to @code{Staff} contexts
1106 directly. In this case, their vertical position is adjusted
1109 @lilypond[ragged-right,fragment,quote]
1111 \new Staff = someUniqueName
1116 %% send to existing Staff.
1117 \context Staff = someUniqueName
1121 \set Staff.useBassFigureExtenders = ##t
1138 @c Notation Reference:
1141 @c Application Usage:
1150 @c Internals Reference:
1155 @node Displaying figured bass
1156 @unnumberedsubsubsec Displaying figured bass
1158 Figured bass is displayed using the @code{FiguredBass} context.
1171 @c Notation Reference:
1174 @c Application Usage:
1183 Internals Reference:
1184 @rinternals{NewBassFigure},
1185 @rinternals{BassFigureAlignment},
1186 @rinternals{BassFigureLine},
1187 @rinternals{BassFigureBracket},
1188 @rinternals{BassFigureContinuation},
1189 @rinternals{FiguredBass}.
1193 By default, this method produces figures above the notes. To get
1194 figures below the notes, use
1197 \override Staff.BassFigureAlignmentPositioning #'direction = #DOWN
1200 When using figured bass above the staff with extender lines and
1201 @code{implicitBassFigures} the lines may become swapped around.
1202 Maintaining order consistently will be impossible when multiple figures
1203 have overlapping extender lines. To avoid this problem, please
1204 use @code{stacking-dir} on @code{BassFigureAlignment}.