1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
5 When revising a translation, copy the HEAD committish of the
6 version that you are working on. See TRANSLATION for details.
13 @section Chord notation
15 Chords can be entered in chord mode, which recognizes some
16 traditional European chord naming conventions. Chord names can also
17 be displayed. In addition, figured bass notation can be displayed.
28 @subsection Chord mode
32 Chord mode is used to enter chords using an indicator of the chord
33 structure, rather than the chord pitches.
36 * Chord mode overview::
38 * Extended and altered chords::
41 @node Chord mode overview
42 @unnumberedsubsubsec Chord mode overview
47 Chords can be entered as simultaneous music, as discussed in
50 Chords can also be entered in @qq{chord mode}, which is an input
51 mode that focuses on the structures of chords in traditional
52 European music, rather than on specific pitches. This is
53 convenient for those who are familiar with using chord names to
54 describe chords. More information on different input modes can be
55 found at @ref{Input modes}.
57 @lilypond[verbatim,quote,ragged-right,relative=1]
58 \chordmode { c1 g a g c }
61 Chords entered using chord mode are music elements, and can be
62 transposed just like chords entered using simultaneous music.
77 @unnumberedsubsubsec Common chords
80 @cindex seventh chords
82 @cindex modifiers, in chords.
85 Major triads are entered by including the root and an
88 @lilypond[verbatim,quote,relative=1,ragged-right]
89 \chordmode { c2 f4 g }
92 Minor, augmented, and diminished triads are entered by placing
93 @code{:} and a quality modifier string after the duration:
95 @lilypond[verbatim,quote,ragged-right,relative=1]
96 \chordmode { c2:m f4:aug g:dim }
99 Seventh chords may be created:
101 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
103 c1:7 c:m7 c:maj7 c:dim7 c:aug7
112 The table belows shows the actions of the quality modifiers on
113 triads and seventh chords.
118 The minor chord. This modifier lowers the 3rd and (if present) the
122 The diminished chord. This modifier lowers the 3rd, 5th and (if
123 present) the 7th step.
126 The augmented chord. This modifier raises the 5th step.
129 The major 7th chord. This modifier adds a raised 7th step. The
130 @code{7} following @code{maj} is optional. Do NOT use this modifier
131 to create a major triad.
135 @c TODO -- perhaps add warning about c and c:maj being different, while
136 @c c:maj and c:maj7 are the same
143 @node Extended and altered chords
144 @unnumberedsubsubsec Extended and altered chords
146 @cindex extended chords
147 @cindex altered chords
149 Chord structures of arbitrary complexity can be created in chord
150 mode. The modifier string can be used to extend a chord, add or
151 remove chord steps, raise or lower chord steps, and add a bass note
152 or create an inversion.
154 The first number following the @code{:} is taken to be the extent
155 of the chord. The chord is constructed by sequentially adding
156 thirds to the root until the specified number has been reached.
157 If the extent is not a third (e.g., 6), thirds are added up to the
158 highest third below the extent, and then the step of the extent is
159 added. The largest possible value for the extent is 13. Any
160 larger value is interpreted as 13.
162 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
170 Since an unaltered 11 does not sound good when combined with an
171 unaltered 13, the 11 is removed from a @code{:13} chord (unless it
172 is added explicitly).
174 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
175 \chordmode { c1:13 c:13.11 c:m13 }
178 @cindex additions, in chords
180 Individual steps can be added to a chord. Additions follow the
181 extent and are prefixed by a dot (@code{.}).
183 @lilypond[quote,verbatim,fragment,relative=1]
184 \chordmode { c1:5.6 c:3.7.8 c:3.6.13 }
187 Added steps can be as high as desired.
189 @lilypond[quote,verbatim,fragment,relative=1]
190 \chordmode { c4:5.15 c:5.20 c:5.25 c:5.30 }
193 @cindex chord steps, altering
195 Added chord steps can be altered by suffixing a @code{-} or @code{+}
196 sign to the number. To alter a step that is lower than the extent,
197 add it as an altered step.
199 @lilypond[quote,verbatim,fragment,relative=1]
200 \chordmode { c1:7+ c:5+.3- c:3-.5-.7- }
203 @cindex removals, in chords
207 A step to be removed from the chord must come at the end of a
208 modifier string and be by @code{^}. Only one removal with @code{^}
209 is allowed in a modifier string.
211 @lilypond[quote,verbatim,fragment,relative=1]
212 \chordmode { c1^3 c:7^5 c:9^3.5 }
217 The modifier @code{sus} can be added to the modifier string to
218 create suspended chords. This removes the 3rd step from the chord.
219 Append either @code{2} or @code{4} to add the 2nd or 4th step to the
220 chord. @code{sus} is equivalent to @code{^3}; @code{sus4} is
221 equivalent to @code{.4^3}.
223 @lilypond[quote,ragged-right,fragment,verbatim]
224 \chordmode { c1:sus c:sus2 c:sus4 c:5.4^3 }
227 It is possible to remove the 3rd step with @code{sus} and remove
228 another step with @code{^} in one modifier string.
231 @cindex chord inversions
232 @cindex bass note, for chords
234 Inversions (putting a pitch other than the root on the bottom of the
235 chord) and added bass notes can be specified by appending
236 @code{/}@var{pitch} to the chord.
238 @lilypond[quote,ragged-right,fragment,verbatim, relative=2]
239 \chordmode { c1 c/g c/f }
244 A bass note that is part of the chord can be added, instead of
245 moved as part of an inversion, by using @code{/+}@var{pitch}.
247 @lilypond[quote,ragged-right,fragment,verbatim]
248 \chordmode { c1 c/+g c/+f }
258 Each step can only be present in a chord once. The following
259 simply produces the augmented chord, since @code{5+} is
262 @lilypond[quote,ragged-right,verbatim,fragment]
263 \chordmode { c1:5.5-.5+ }
266 Only one step can be removed from a chord. If a chord with multiple
267 removed steps is desired, it must be built through addition of
271 @node Displaying chords
272 @subsection Displaying chords
274 Chords can be displayed by name, in addition to the standard display
278 * Printing chord names::
279 * Customizing chord names::
282 @node Printing chord names
283 @unnumberedsubsubsec Printing chord names
285 @cindex printing chord names
289 Chord names are printed in the @code{ChordNames} context:
291 @lilypond[verbatim,quote,relative=1,ragged-right]
293 \chordmode { c2 f4. g8 }
297 Both chord names and the notes can be displayed:
299 @lilypond[verbatim,quote,ragged-right]
300 myChords = \relative c'{
301 \chordmode { c2 f4. g8 }
304 \new ChordNames { \myChords }
309 Chords can be entered as simultaneous notes or through the use of
310 chord mode. The displayed chord name will be the same, regardless
311 of the mode of entry:
313 @lilypond[quote,ragged-right,verbatim]
314 twoWays = \relative c' {
323 \new ChordNames \twoWays
330 @code{\chords} is a shortcut method used to change the input mode to
331 @code{\chordmode} and create a @code{ChordNames} context, with the
334 @lilypond[verbatim,quote,ragged-right, relative=1]
335 \chords { c2 f4.:m g8:maj7 }
340 When put together, chord names, a melody, and lyrics form a lead
343 @lilypond[verbatim,quote,ragged-right]
345 \chords { c2 g:sus4 f e }
350 \addlyrics { One day this shall be free __ }
358 If repeats are used in the music, and the volta brackets are to be
359 dispayed above the chord names, @code{voltaOnThisStaff} must be set
360 to @code{##t}. To add bar indications in the @code{ChordNames}
361 context, add @rinternals{Bar_engraver}.
363 @lilypond[ragged-right,verbatim]
364 \new ChordNames \with {
365 \override BarLine #'bar-size = #4
366 voltaOnThisStaff = ##t
367 \consists "Bar_engraver"
371 f1:maj7 f:7 bes:7 c:maj7
386 @ref{Writing music in parallel}.
393 @rinternals{ChordNames},
394 @rinternals{Volta_engraver},
395 @rinternals{Bar_engraver}.
399 Chords containing inversions or altered bass notes are not named
403 @node Customizing chord names
404 @unnumberedsubsubsec Customizing chord names
406 @cindex customizing chord names
408 There is no unique system for naming chords. Different musical
409 traditions use different names for the same set of chords. There
410 are also different symbols displayed for a given chord name. The
411 names and symbols displayed for chord names are customizable.
417 The default chord name layout is a system for Jazz music, proposed
418 by Klaus Ignatzek (see @ref{Literature list}). There are also two
419 other chord name schemes implemented: an alternate Jazz chord
420 notation, and a systematic scheme called Banter chords. The
421 alternate Jazz notation is also shown on the chart in @ref{Chord
424 In addition to the different naming systems, different note names
425 are used for the root in different languages. The predefined
426 variables @code{\germanChords}, @code{\semiGermanChords},
427 @code{\italianChords} and @code{\frenchChords} set these variables.
428 The effect is demonstrated here:
430 @lilypondfile[ragged-right]{chord-names-languages.ly}
432 @c TODO - this paragraph is moved here from an earlier section
433 @c and needs to be corrected.
434 This example also shows that the chord printing routines cannot
435 correctly identify the root of a chord if it has been entered using
436 @code{< .. >} instead of named chord entry. Therefore, the sixth
437 chord (@code{f bes d}) is not interpreted as an inversion. In
438 contrast, the third chord, which contains the same notes as the sixth
439 chord, is correctly identified because it was entered in the named
442 If none of the default settings give the desired output, the chord
443 name display can be tuned through the following properties.
449 @funindex chordRootNamer
453 The chord name is usually printed as a letter for the root with an
454 optional alteration. The transformation from pitch to letter is
455 done by this function. Special note names (for example, the German
456 @q{H} for a B-chord) can be produced by storing a new function in
459 @funindex majorSevenSymbol
461 @item majorSevenSymbol
463 This property contains the markup object used to follow the output
464 of @code{chordRootNamer} to dentify a major 7 chord. Predefined
465 options are @code{whiteTriangleMarkup} and
466 @code{blackTriangleMarkup}.
468 @funindex chordNoteNamer
472 When the chord name contains additional pitches other than the root
473 (e.g., an added bass note), this function is used to print the
474 additional pitch. By default the pitch is printed using
475 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
476 to a specialized function to change this behavior. For example, the
477 bass note can be printed in lower case.
479 @funindex chordNameSeparator
481 @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.,
487 @lilypond[quote,ragged-right,fragment,verbatim]
490 \set chordNameSeparator
491 = \markup { \typewriter "|" }
496 @funindex chordNameExceptions
498 @item chordNameExceptions
500 This property is a list of pairs. The first item in each pair
501 is a set of pitches used to identify the steps present in the chord.
502 The second item is a markups that will follow the @code{chordRootNamer}
503 output to create the chord name. See @code{FIXME -- future ref to snippet}
504 for information on creating this list.
506 @funindex chordPrefixSpacer @item chordPrefixSpacer
508 The @q{m} for minor chords is usually printed immediately to the
509 right of the root of the chord. By setting
510 @code{chordPrefixSpacer}, you can fix a spacer between the root
511 and @q{m}. The spacer is not used when the root is altered.
518 @funindex major seven symbols
519 @code{\whiteTriangleMarkup}
520 @code{\blackTriangleMarkup}
521 @funindex \germanChords
522 @code{\germanChords},
523 @funindex \semiGermanChords
524 @code{\semiGermanChords},
525 @funindex \italianChords
526 @code{\italianChords},
527 @funindex \frenchChords
528 @code{\frenchChords}.
532 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
533 {chord-names-jazz.ly}
535 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
536 {chord-name-exceptions.ly}
537 @cindex exceptions, chord names.
539 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
540 {chord-name-major7.ly}
542 @c TODO -- see if the code below is in chord-name-exceptions.ly
543 @c if so, remove it. If not, convert this to a snippet.
545 The first step is to define sequential music that has the chords to
546 be named with the desired markup (except for the root name) attached
551 <c e g b d'>1-\markup @{ \super "maj9" @}
552 <c e g a d'>1-\markup @{ \super "6(add9)" @}
556 The second step is to convert the music from the first step to an
560 FGGExceptions = #(sequential-music-to-chord-exceptions
564 The third step is to append the default exceptions list (in this
565 case, the Ignatzek exceptions) to the newly-defined exceptions list:
568 chExceptions = #(append FGGExceptions ignatzekExceptions)
571 The final step is to set @code{chordNameExceptions} to the
572 newly-created exceptions list:
575 \set chordNameExceptions = #chExceptions
578 The entire process is illustrated below:
580 @lilypond[quote,ragged-right,verbatim]
582 <c e g b d'>1-\markup { \super "maj9" }
583 <c e g a d'>1-\markup { \super "6(add9)" }
585 FGGExceptions = #(sequential-music-to-chord-exceptions
587 chExceptions = #(append FGGChordNames
590 chordStuff = \chordmode
595 % names with FGG's custom exceptions
596 \set chordNameExceptions = #chExceptions
603 \new ChordNames \chordStuff
612 @file{scm/@/chords@/-ignatzek@/.scm},
613 @file{scm/@/chord@/-entry@/.scm},
614 @file{ly/@/chord@/-modifier@/-init@/.ly}.
624 Chord names are determined from both the pitches that are present
625 in the chord and the information on the chord structure that may
626 have been entered in @code{\chordmode}. If the simultaneous pitches
627 method of entering chords is used, undesired names result from
628 inversions or bass notes.
630 @lilypond[quote,ragged-right,verbatim]
631 myChords = \relative c' {
632 \chordmode{ c1 c/g c/f }
633 <c e g> <g c e> <f c' e g>
636 \new ChordNames { \myChords }
637 \new Staff { \myChords }
641 @node old Modern chords
642 @subsection old Modern chords
645 * Entering chord names::
647 * old 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
718 @node old Lead sheets
719 @subsubsection old 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 old Printing chord names
744 @subsubsection old 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}.