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
33 * Chord mode overview::
35 * Extended and altered chords::
38 @node Chord mode overview
39 @unnumberedsubsubsec Chord mode overview
44 Chords can be entered as simultaneous music, as discussed in
47 @c need to decide about @qq{FOO mode} or @emph{} or whatever.
48 Chords can also be entered in @qq{chord mode}, which is an input
49 mode that focuses on the structures of chords in traditional
50 European music, rather than on specific pitches. This is
51 convenient for those who are familiar with using chord names to
52 describe chords. More information on different input modes can be
53 found at @ref{Input modes}.
55 @lilypond[verbatim,quote,ragged-right,relative=1]
56 \chordmode { c1 g a g c }
59 Chords entered using chord mode are music elements, and can be
60 transposed just like chords entered using simultaneous music.
75 @unnumberedsubsubsec Common chords
78 @cindex seventh chords
80 @cindex modifiers, in chords.
83 Major triads are entered by including the root and a duration:
85 @lilypond[verbatim,quote,relative=1,ragged-right]
86 \chordmode { c2 f4. g8 }
89 Minor, augmented, and diminished triads are entered by placing
90 @code{:} and a quality modifier string after the duration:
92 @lilypond[verbatim,quote,ragged-right,relative=1]
93 \chordmode { c2:m f4:aug g4:dim }
96 Seventh chords are created by adding the number 7 at the beginning
97 of the modifier string (for the dominant seventh chord) or after the
98 quality modifier (for the other named seventh chords).
100 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
101 \chordmode { c1:7 c:m7 c:maj7 c:dim c:dim7 c:aug7 c:maj }
109 The table belows shows the actions of the quality modifiers on
110 triads and seventh chords.
115 The minor chord. This modifier lowers the 3rd and (if present) the
119 The diminished chord. This modifier lowers the 3rd, 5th and (if
120 present) the 7th step.
123 The augmented chord. This modifier raises the 5th step.
126 The major 7th chord. This modifier adds a raised 7th step. The
127 @code{7} following @code{maj} is optional. Do NOT use this modifier
128 to create a major triad.
137 @node Extended and altered chords
138 @unnumberedsubsubsec Extended and altered chords
140 @cindex extended chords
141 @cindex altered chords
143 Chord structures of arbitrary complexity can be created in chord
144 mode. The modifier string can be used to extend a chord, add or
145 remove chord steps, raise or lower chord steps, and add a bass note
146 or create an inversion.
148 The first number following the @code{:} is taken to be the extent of
149 the chord. The chord is constructed by sequentially adding thirds
150 to the root until the specified number has been reached. If the
151 extent is not a third (e.g., 6), thirds are added up to the highest
152 third below the extent, and then the step of the extent is added.
154 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
155 \chordmode { c1:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
158 Since an unaltered 11 does not sound good when combined with an
159 unaltered 13, the 11 is removed from a @code{:13} chord (unless it
160 is added explicitly).
162 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
163 \chordmode { c1:13 c:13.11 c:m13 }
166 @cindex additions, in chords
168 Individual steps can be added to a chord. Additions follow the
169 extent and are prefixed by a dot (@code{.}).
171 @lilypond[quote,verbatim,fragment,relative=1]
172 \chordmode { c1:5.6 c:3.7.8 c:3.6.13 }
175 @cindex chord steps, altering
177 Added chord steps can be altered by suffixing a @code{-} or @code{+}
178 sign to the number. To alter a step that is lower than the extent,
179 add it as an altered step.
181 @lilypond[quote,verbatim,fragment,relative=1]
182 \chordmode { c1:7+ c:5+.3- c:3-.5-.7- }
185 @cindex removals, in chords
189 A step to be removed from the chord must come at the end of a
190 modifier string and be by @code{^}. Only one removal with @code{^}
191 is allowed in a modifier string.
193 @lilypond[quote,verbatim,fragment,relative=1]
194 \chordmode { c1^3 c:7^5 c:9^3.5 }
199 The modifier @code{sus} can be added to the modifier string to
200 create suspended chords. This removes the 3rd step from the chord.
201 Append either @code{2} or @code{4} to add the 2nd or 4th step to the
202 chord.@code{sus} is equivalent to @code{^3}; @code{sus4} is
203 equivalent to @code{.4^3}.
205 @lilypond[quote,ragged-right,fragment,verbatim]
206 \chordmode { c1:sus c:sus2 c:sus4 c:5.4^3 }
209 It is possible to remove the 3rd step with @code{sus} and remove
210 another step with @code{^} in one modifier string.
213 @cindex chord inversions
214 @cindex bass note, for chords
216 Inversions (putting a pitch other than the root on the bottom of the
217 chord) and added bass notes can be specified by appending
218 @code{/}@var{pitch} to the chord.
220 @lilypond[quote,ragged-right,fragment,verbatim, relative=2]
221 \chordmode { c1 c/g c/f }
226 A bass note that is part of the chord can be added, instead of
227 moved as part of an inversion, by using @code{/+}@var{pitch}.
229 @lilypond[quote,ragged-right,fragment,verbatim]
230 \chordmode { c1 c/+g c/+f }
240 Each step can only be present in a chord once. The following
241 simply produces the augmented chord, since @code{5+} is
244 @lilypond[quote,ragged-right,verbatim,fragment]
245 \chordmode { c1:5.5-.5+ }
248 Only one step can be removed from a chord. If a chord with multiple
249 removed steps is desired, it must be build through addition of
253 @node Displaying chords
254 @subsection Displaying chords
259 * Printing chord names::
262 @node Printing chord names
263 @unnumberedsubsubsec Printing chord names
265 @cindex printing chord names
270 LilyPond has support for printing chord names. Because chords are
271 music elements, they can be transposed, and the chord names will be
272 transposed along with the chords.
274 Chords can be entered using @code{< .. >} or through the use of
275 chord mode. The displayed chord name will sometimes be different
276 depending upon the entry mode:
278 @lilypond[quote,ragged-right,verbatim,ragged-right]
279 twoWays = \transpose c c' {
288 << \new ChordNames \twoWays
289 \new Voice \twoWays >>
292 This example also shows that the chord printing routines cannot
293 correctly identify the root of a chord if it has been entered using
294 @code{< .. >} instead of named chord entry. Therefore, the sixth
295 chord (@code{f bes d}) is not interpreted as an inversion. In
296 contrast, the third chord, which contains the same notes as the sixth
297 chord, is correctly identified because it was entered in the named
300 For displaying printed chord names, use the @rinternals{ChordNames}
303 @lilypond[quote,verbatim,ragged-right]
305 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
308 \new ChordNames \harmonies
309 \new Staff \harmonies
313 The previous examples all show chords over a staff. This is not
314 necessary. Chords may also be printed separately. It may be necessary
315 to add @rinternals{Volta_engraver} and @rinternals{Bar_engraver}
318 @lilypond[ragged-right,verbatim]
319 \new ChordNames \with {
320 \override BarLine #'bar-size = #4
321 \consists Bar_engraver
322 \consists "Volta_engraver"
324 \chordmode { \repeat volta 2 {
333 @code{\chords} is a shortcut method used to change the input mode to
334 @code{\chordmode} and create a @code{ChordNames} context, with the
337 @lilypond[verbatim,quote,ragged-right]
338 \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
352 @c Notation Reference:
355 @c Application Usage:
364 @c Internals Reference:
370 @n ode Customizing chord names
371 @u nnumberedsubsubsec Customizing chord names
373 @cindex customizing chord names
375 There is no unique system for naming chords. Different musical
376 traditions use different names for the same set of chords. There
377 are also different symbols displayed for a given chord name. The
378 names and symbols displayed for chord names are customizable.
380 The default chord name layout is a system for Jazz music, proposed
381 by Klaus Ignatzek (see @ref{Literature list}). There are also two
382 other chord name schemes implemented: an alternate Jazz chord
383 notation, and a systematic scheme called Banter chords. The
384 alternate Jazz notation is also shown on the chart in @ref{Chord
387 In addition to the different naming systems, different note names
388 are used for the root in different languages. The predefined
389 variables @code{\germanChords}, @code{\semiGermanChords},
390 @code{\italianChords} and @code{\frenchChords} set these variables.
391 The effect is demonstrated here:
393 @lilypondfile[ragged-right]{chord-names-languages.ly}
395 If none of the default settings give the desired output, the chord
396 name display can be tuned through the following properties.
398 @c TODO Generate snippet based on the following
399 @c and add explanation -td
403 @funindex chordNameExceptions
405 @code{chordNameExceptions} contains a list of markups used to follow
406 the root note name based on the pitches in the chord. Creating the
407 list requires four steps.
409 The first step is to define sequential music that has the chords to
410 be named with the desired markup (except for the root name) attached
415 <c e g b d'>1-\markup @{ \super "maj9" @}
416 <c e g a d'>1-\markup @{ \super "6(add9)" @}
420 The second step is to convert the music from the first step to an
424 FGGExceptions = #(sequential-music-to-chord-exceptions
428 The third step is to append the default exceptions list (in this
429 case, the Ignatzek exceptions) to the newly-defined exceptions list:
432 chExceptions = #(append FGGExceptions ignatzekExceptions)
435 The final step is to set @code{chordNameExceptions} to the
436 newly-created exceptions list:
439 \set chordNameExceptions = #chExceptions
442 The entire process is illustrated below:
444 @lilypond[quote,ragged-right,verbatim,ragged-right]
446 <c e g b d'>1-\markup { \super "maj9" }
447 <c e g a d'>1-\markup { \super "6(add9)" }
449 FGGExceptions = #(sequential-music-to-chord-exceptions
451 chExceptions = #(append FGGChordNames
454 chordStuff = \chordmode
459 % names with FGG's custom exceptions
460 \set chordNameExceptions = #chExceptions
467 \new ChordNames \chordStuff
472 @funindex majorSevenSymbol @item majorSevenSymbol This property
473 contains the markup object used as part of the printed chord name to
474 identify a major 7 chord. Predefined options are
475 @code{whiteTriangleMarkup} and @code{blackTriangleMarkup}.
477 @funindex chordNameSeparator
478 @item chordNameSeparator
479 Different parts of a chord name are normally separated by a slash.
480 By setting @code{chordNameSeparator}, you can use any desired markup
481 for a separator, e.g.,
482 @lilypond[quote,ragged-right,fragment,verbatim]
483 \new ChordNames \chordmode {
485 \set chordNameSeparator
486 = \markup { \typewriter "|" }
491 @funindex chordRootNamer
493 The chord name is usually printed as a letter for the root with an
494 optional alteration. The transformation from pitch to letter is
495 done by this function. Special note names (for example, the German
496 @q{H} for a B-chord) can be produced by storing a new function in
499 @funindex chordNoteNamer @item chordNoteNamer When the chord name
500 contains an additional pitch besides the root (e.g., an added bass
501 note), this function is used to print the additional pitch. By
502 default the pitch is printed using @code{chordRootNamer}. The
503 @code{chordNoteNamer} property can be set to a specialized function
504 to change this behavior. For example, the bass note can be printed
507 @funindex chordPrefixSpacer
508 @item chordPrefixSpacer
509 The @q{m} for minor chords is usually printed immediately to the
510 right of the root of the chord. By setting
511 @code{chordPrefixSpacer}, you can fix a spacer between the root and
512 @q{m}. The spacer is not used when the root is altered.
524 @funindex major seven symbols
525 @code{\whiteTriangleMarkup}
526 @code{\blackTriangleMarkup}
527 @funindex \germanChords
528 @code{\germanChords},
529 @funindex \semiGermanChords
530 @code{\semiGermanChords},
531 @funindex \italianChords
532 @code{\italianChords},
533 @funindex \frenchChords
534 @code{\frenchChords}.
538 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
539 {chord-names-jazz.ly}
541 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
542 {chord-name-exceptions.ly}
543 @cindex exceptions, chord names.
545 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
546 {chord-name-major7.ly}
555 @c Notation Reference:
558 @c Application Usage:
562 @file{scm/@/chords@/-ignatzek@/.scm},
563 @file{scm/@/chord@/-entry@/.scm},
564 @file{ly/@/chord@/-modifier@/-init@/.ly}.
566 @c Snippets: @c @rlsr{}.
568 @c Internals Reference:
573 When chords are entered with the @code{< .. >} syntax, the root and
574 any added bass notes are not identified. In this case, chord names
575 are determined solely from the list of pitches. This may result in
579 @u nnumberedsubsubsec Lead sheets
583 For lead sheets, chords are not printed on staves, but as names on a
584 line for themselves. This is achieved by using a @code{ChordNames}
585 context simultaneously with the @code{Staff} context. The
586 @code{\chords} keyword can be used as a shortcut for @code{\new
587 ChordNames \chordmode}.
589 When put together, chord names, a melody, and lyrics form a lead
592 @lilypond[verbatim,quote,ragged-right]
594 \chords { c2 g:sus4 f e }
599 \addlyrics { One day this shall be free __ }
614 @c Notation Reference:
617 @c Application Usage:
626 @c Internals Reference:
637 @node old Modern chords
638 @subsection old Modern chords
641 * Entering chord names::
643 * old Printing chord names::
646 @node Entering chord names
647 @subsubsection Entering chord names
650 LilyPond has support for printing chord names. Chords may be entered
651 in musical chord notation, i.e., @code{< .. >}, but they can also be
652 entered by name. Internally, the chords are represented as a set of
653 pitches, so they can be transposed
656 @lilypond[quote,ragged-right,verbatim,ragged-right]
657 twoWays = \transpose c c' {
666 << \new ChordNames \twoWays
667 \new Voice \twoWays >>
670 This example also shows that the chord printing routines do not try to
671 be intelligent. The last chord (@code{f bes d}) is not interpreted as
674 Note that the duration of chords must be specified outside the
681 @c TODO Generate snippet based on the following
682 @c and add explanation -td
684 Custom chord names may be generated:
686 @lilypond[quote,ragged-right,verbatim,ragged-right]
688 <c e g b d'>1-\markup { \super "maj9" }
689 <c e g a d'>1-\markup { \super "6(add9)" }
691 chExceptions = #(append
692 (sequential-music-to-chord-exceptions
693 FGGChordNames #t) ignatzekExceptions)
695 chordStuff = \chordmode
700 % names with FGG's custom exceptions
701 \set chordNameExceptions = #chExceptions
708 \new ChordNames \chordStuff
715 @subsubsection Lead sheets
719 For lead sheets, chords are not printed on staves, but as names on
720 a line for themselves. This is achieved by using @code{\chords}
721 instead of @code{\chordmode}.
723 When put together, chord names, lyrics and a melody form a lead
726 @lilypond[verbatim,quote,ragged-right]
728 \chords { c2 g:sus4 f e }
733 \addlyrics { One day this shall be free __ }
739 @node old Printing chord names
740 @subsubsection old Printing chord names
742 @cindex printing chord names
746 For displaying printed chord names, use the @rinternals{ChordNames} context.
747 The chords may be entered either using the notation
748 described above, or directly using @code{<} and @code{>}
750 @lilypond[quote,verbatim,ragged-right]
752 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
755 \new ChordNames \harmonies
756 \new Staff \harmonies
760 You can make the chord changes stand out by setting
761 @rinternals{ChordNames}.@code{chordChanges} to true. This will only
762 display chord names when there is a change in the chords scheme and at
763 the start of a new line
765 @lilypond[quote,verbatim,ragged-right]
766 harmonies = \chordmode {
767 c1:m c:m \break c:m c:m d
771 \set chordChanges = ##t
773 \new Staff \transpose c c' \harmonies
777 The previous examples all show chords over a staff. This is not
778 necessary. Chords may also be printed separately. It may be necessary
779 to add @rinternals{Volta_engraver} and @rinternals{Bar_engraver}
782 @lilypond[ragged-right,verbatim]
783 \new ChordNames \with {
784 \override BarLine #'bar-size = #4
785 \consists Bar_engraver
786 \consists "Volta_engraver"
788 \chordmode { \repeat volta 2 {
798 The default chord name layout is a system for Jazz music, proposed by
799 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
803 @funindex chordNameExceptions
804 @item chordNameExceptions
805 This is a list that contains the chords that have special formatting.
807 The exceptions list should be encoded as
809 @{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
812 To get this information into @code{chordNameExceptions} takes a little
813 maneuvering. The following code transforms @code{chExceptionMusic}
814 (which is a sequential music) into a list of exceptions.
816 (sequential-music-to-chord-exceptions chExceptionMusic #t)
821 (sequential-music-to-chord-exceptions chExceptionMusic #t)
824 adds the new exceptions to the default ones, which are defined in
825 @file{ly/@/chord@/-modifier@/-init@/.ly}.
827 For an example of tuning this property, see also
828 @c @lsr{chords,chord@/-name@/-exceptions@/.ly}
829 @cindex exceptions, chord names.
832 @funindex majorSevenSymbol
833 @item majorSevenSymbol
834 This property contains the markup object used for the 7th step, when
835 it is major. Predefined options are @code{whiteTriangleMarkup} and
836 @code{blackTriangleMarkup}. See
837 @c @lsr{chords,chord@/-name@/-major7@/.ly} for an example.
839 @funindex chordNameSeparator
840 @item chordNameSeparator
841 Different parts of a chord name are normally separated by a
842 slash. By setting @code{chordNameSeparator}, you can specify other
844 @lilypond[quote,ragged-right,fragment,verbatim]
845 \new ChordNames \chordmode {
847 \set chordNameSeparator
848 = \markup { \typewriter "|" }
853 @funindex chordRootNamer
855 The root of a chord is usually printed as a letter with an optional
856 alteration. The transformation from pitch to letter is done by this
857 function. Special note names (for example, the German @q{H} for a
858 B-chord) can be produced by storing a new function in this property.
860 @funindex chordNoteNamer
862 The default is to print single pitch, e.g., the bass note, using the
863 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
864 to a specialized function to change this behavior. For example, the
865 base can be printed in lower case.
867 @funindex chordPrefixSpacer
868 @item chordPrefixSpacer
869 The @q{m} for minor chords is usually printed right after the root of
870 the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer
871 between the root and @q{m}. The spacer is not used when the root
876 The predefined variables @code{\germanChords},
877 @code{\semiGermanChords}, @code{\italianChords} and @code{\frenchChords}
878 set these variables. The effect is
881 @lilypondfile[ragged-right]{chord-names-languages.ly}
883 There are also two other chord name schemes implemented: an alternate
884 Jazz chord notation, and a systematic scheme called Banter chords. The
885 alternate Jazz notation is also shown on the chart in @ref{Chord name
886 chart}. Turning on these styles is demonstrated in
887 @c @lsr{chords,chord-names-jazz.ly}.
896 @funindex \germanChords
897 @code{\germanChords},
898 @funindex \semiGermanChords
899 @code{\semiGermanChords}.
900 @funindex \italianChords
901 @code{\italianChords}.
902 @funindex \frenchChords
903 @code{\frenchChords}.
912 Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
913 @file{scm/@/chord@/-entry@/.scm}.
918 Chord names are determined solely from the list of pitches. Chord
919 inversions are not identified, and neither are added bass notes. This
920 may result in strange chord names when chords are entered with the
921 @code{< .. >} syntax.
925 @subsection Figured bass
928 * Introduction to figured bass::
929 * Entering figured bass::
930 * Displaying figured bass::
933 @node Introduction to figured bass
934 @subsubsection Introduction to figured bass
936 @cindex Basso continuo
938 @c TODO: musicological blurb about FB
940 LilyPond has support for figured bass
942 @lilypond[quote,ragged-right,verbatim,fragment]
944 \new Voice { \clef bass dis4 c d ais g fis}
945 \new FiguredBass \figuremode {
946 < 6 >4 < 7\+ >8 < 6+ [_!] >
953 The support for figured bass consists of two parts: there is an
954 input mode, introduced by @code{\figuremode}, where you can enter
955 bass figures as numbers, and there is a context named
956 @rinternals{FiguredBass} that takes care of making
957 @rinternals{BassFigure} objects.
959 Although the support for figured bass may superficially resemble chord
960 support, it is much simpler. The @code{\figuremode} mode simply
961 stores the numbers and @rinternals{FiguredBass} context prints them
962 as entered. There is no conversion to pitches and no realizations of
963 the bass are played in the MIDI file.
965 Internally, the code produces markup texts. You can use any of the
966 markup text properties to override formatting. For example, the
967 vertical spacing of the figures may be set with @code{baseline-skip}.
971 * Entering figured bass::
972 * Displaying figured bass::
975 @node Entering figured bass
976 @unnumberedsubsubsec Entering figured bass
979 In figures input mode, a group of bass figures is delimited by
980 @code{<} and @code{>}. The duration is entered after the @code{>}
984 @lilypond[quote,ragged-right,fragment]
986 \figuremode { <4 6>2 }
989 Accidentals are added when you append @code{-}, @code{!}, and @code{+}
990 to the numbers. A plus sign is added when you append @code{\+}, and
991 diminished fifths and sevenths can be obtained with @code{5/} and @code{7/}.
994 <4- 6+ 7!>3 <5++> <3--> <7/> r <6\+ 5/>
996 @lilypond[quote,ragged-right,fragment]
997 \figures { <4- 6+ 7!>4 <5++> <3--> <7/> r <6\+ 5/> }
1000 Spaces may be inserted by using @code{_}. Brackets are
1001 introduced with @code{[} and @code{]}. You can also include text
1002 strings and text markups, see @ref{Text markup commands}.
1005 < [4 6] 8 [_! 12] >4 < 5 \markup @{ \number 6 \super (1) @} >
1007 @lilypond[quote,ragged-right,fragment]
1009 \figuremode { < [4 6] 8 [_! 12] >4 < 5 \markup{ \tiny \number 6 \super (1)} > }
1013 It is also possible to use continuation lines for repeated figures,
1015 @lilypond[verbatim,relative=1]
1022 \set useBassFigureExtenders = ##t
1029 In this case, the extender lines always replace existing figures.
1031 The @code{FiguredBass} context doesn't pay attention to the actual
1032 bass line. As a consequence, you may have to insert extra figures to
1033 get extender lines below all notes, and you may have to add @code{\!}
1034 to avoid getting an extender line, e.g.
1036 @lilypond[relative=1]
1040 \set useBassFigureExtenders = ##t
1041 <6 4->4. <6 4->16. <6 4->32 <5>8. r16 <6>8 <6\! 5->
1045 f16. g32 f16. g32 f16. g32 f16. g32 f8. es16 d8 es
1050 When using continuation lines, common figures are always put in the
1051 same vertical position. When this is unwanted, you can insert a rest
1052 with @code{r}. The rest will clear any previous alignment. For
1053 example, you can write
1065 Accidentals and plus signs can appear before or after the numbers,
1066 depending on the @code{figuredBassAlterationDirection} and
1067 @code{figuredBassPlusDirection}
1073 \set figuredBassAlterationDirection = #1
1075 \set figuredBassPlusDirection = #1
1077 \set figuredBassAlterationDirection = #-1
1083 Figured bass can also be added to @code{Staff} contexts
1084 directly. In this case, their vertical position is adjusted
1087 @lilypond[ragged-right,fragment,quote]
1089 \new Staff = someUniqueName
1094 %% send to existing Staff.
1095 \context Staff = someUniqueName
1099 \set Staff.useBassFigureExtenders = ##t
1116 @c Notation Reference:
1119 @c Application Usage:
1128 @c Internals Reference:
1133 @node Displaying figured bass
1134 @unnumberedsubsubsec Displaying figured bass
1136 Figured bass is displayed using the @code{FiguredBass} context.
1149 @c Notation Reference:
1152 @c Application Usage:
1161 Internals Reference:
1162 @rinternals{NewBassFigure},
1163 @rinternals{BassFigureAlignment},
1164 @rinternals{BassFigureLine},
1165 @rinternals{BassFigureBracket},
1166 @rinternals{BassFigureContinuation},
1167 @rinternals{FiguredBass}.
1171 By default, this method produces figures above the notes. To get
1172 figures below the notes, use
1175 \override Staff.BassFigureAlignmentPositioning #'direction = #DOWN
1178 When using figured bass above the staff with extender lines and
1179 @code{implicitBassFigures} the lines may become swapped around.
1180 Maintaining order consistently will be impossible when multiple figures
1181 have overlapping extender lines. To avoid this problem, please
1182 use @code{stacking-dir} on @code{BassFigureAlignment}.