+@cindex chord entry
+@cindex chord mode
+
+Other chords may be entered by suffixing a colon and introducing a
+modifier (which may include a number if desired)
+@lilypond[quote,fragment,verbatim]
+\chordmode { e1:m e1:7 e1:m7 }
+@end lilypond
+The first number following the root is taken to be the @q{type} of the
+chord, thirds are added to the root until it reaches the specified
+number
+@lilypond[quote,fragment,verbatim]
+\chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
+@end lilypond
+
+@cindex root of chord
+@cindex additions, in chords
+@cindex removals, in chords
+
+More complex chords may also be constructed adding separate steps
+to a chord. Additions are added after the number following
+the colon and are separated by dots
+@lilypond[quote,verbatim,fragment]
+\chordmode { c:5.6 c:3.7.8 c:3.6.13 }
+@end lilypond
+Chord steps can be altered by suffixing a @code{-} or @code{+} sign
+to the number
+@lilypond[quote,verbatim,fragment]
+\chordmode { c:7+ c:5+.3- c:3-.5-.7- }
+@end lilypond
+Removals are specified similarly and are introduced by a caret. They
+must come after the additions
+@lilypond[quote,verbatim,fragment]
+\chordmode { c^3 c:7^5 c:9^3.5 }
+@end lilypond
+
+Modifiers can be used to change pitches. The following modifiers are
+supported
+
+@table @code
+@item m
+The minor chord. This modifier lowers the 3rd and (if present) the 7th step.
+
+@item dim
+The diminished chord. This modifier lowers the 3rd, 5th and (if present)
+the 7th step.
+
+@item aug
+The augmented chord. This modifier raises the 5th step.
+
+@item maj
+The major 7th chord. This modifier raises the 7th step if present.
+
+@item sus
+The suspended 4th or 2nd. This modifier removes the 3rd
+step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
+the chord.
+@end table
+
+Modifiers can be mixed with additions
+@lilypond[quote,verbatim,fragment]
+ \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
+@end lilypond
+
+@cindex modifiers, in chords.
+@funindex aug
+@funindex dim
+@funindex maj
+@funindex sus
+@funindex m
+
+Since an unaltered 11 does not sound good when combined with an
+unaltered 3, the 11 is removed in this case (unless it is added
+explicitly)
+@lilypond[quote,ragged-right,fragment,verbatim]
+\chordmode { c:13 c:13.11 c:m13 }
+@end lilypond
+
+@funindex /
+
+An inversion (putting one pitch of the chord on the bottom), as well
+as bass notes, can be specified by appending
+@code{/}@var{pitch} to the chord
+@lilypond[quote,ragged-right,fragment,verbatim]
+\chordmode { c1 c/g c/f }
+@end lilypond
+@funindex /+
+
+A bass note can be added instead transposed out of the chord,
+by using @code{/+}@var{pitch}.
+
+@lilypond[quote,ragged-right,fragment,verbatim]
+\chordmode { c1 c/+g c/+f }
+@end lilypond
+
+Chords is a mode similar to @code{\lyricmode}, etc. Most
+of the commands continue to work, for example, @code{r} and
+@code{\skip} can be used to insert rests and spaces, and property
+commands may be used to change various settings.
+
+
+
+@refbugs
+
+Each step can only be present in a chord once. The following
+simply produces the augmented chord, since @code{5+} is interpreted
+last
+@cindex clusters
+@lilypond[quote,ragged-right,verbatim,fragment]
+\chordmode { c:5.5-.5+ }
+@end lilypond
+
+
+@node Printing chord names
+@subsection Printing chord names
+
+@cindex printing chord names
+@cindex chord names
+@cindex chords
+
+For displaying printed chord names, use the @internalsref{ChordNames} context.
+The chords may be entered either using the notation
+described above, or directly using @code{<} and @code{>}
+
+@lilypond[quote,verbatim,ragged-right]
+harmonies = {
+ \chordmode {a1 b c} <d' f' a'> <e' g' b'>
+}
+<<
+ \new ChordNames \harmonies
+ \new Staff \harmonies
+>>
+@end lilypond
+
+You can make the chord changes stand out by setting
+@internalsref{ChordNames}.@code{chordChanges} to true. This will only
+display chord names when there is a change in the chords scheme and at
+the start of a new line
+
+@lilypond[quote,verbatim,ragged-right]
+harmonies = \chordmode {
+ c1:m c:m \break c:m c:m d
+}
+<<
+ \new ChordNames {
+ \set chordChanges = ##t
+ \harmonies }
+ \new Staff \transpose c c' \harmonies
+>>
+@end lilypond
+
+The previous examples all show chords over a staff. This is not
+necessary. Chords may also be printed separately. It may be necessary
+to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
+for showing repeats.
+
+@lilypond[ragged-right,verbatim]
+\new ChordNames \with {
+ \override BarLine #'bar-size = #4
+ voltaOnThisStaff = ##t
+ \consists Bar_engraver
+ \consists "Volta_engraver"
+}
+\chordmode { \repeat volta 2 {
+ f1:maj7 f:7 bes:7
+ c:maj7
+} \alternative {
+ es e
+}
+}
+@end lilypond
+
+
+The default chord name layout is a system for Jazz music, proposed by
+Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
+following properties
+
+@table @code
+@funindex chordNameExceptions
+@item chordNameExceptions
+This is a list that contains the chords that have special formatting.
+
+The exceptions list should be encoded as
+@example
+@{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
+@end example
+
+To get this information into @code{chordNameExceptions} takes a little
+manoeuvring. The following code transforms @code{chExceptionMusic}
+(which is a sequential music) into a list of exceptions.
+@example
+(sequential-music-to-chord-exceptions chExceptionMusic #t)
+@end example
+Then,
+@example
+(append
+ (sequential-music-to-chord-exceptions chExceptionMusic #t)
+ ignatzekExceptions)
+@end example
+adds the new exceptions to the default ones, which are defined in
+@file{ly/@/chord@/-modifier@/-init@/.ly}.
+
+For an example of tuning this property, see also
+@inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly}.
+@cindex exceptions, chord names.
+
+
+@funindex majorSevenSymbol
+@item majorSevenSymbol
+This property contains the markup object used for the 7th step, when
+it is major. Predefined options are @code{whiteTriangleMarkup} and
+@code{blackTriangleMarkup}. See
+@inputfileref{input/@/regression,chord@/-name@/-major7@/.ly} for an example.
+
+@funindex chordNameSeparator
+@item chordNameSeparator
+Different parts of a chord name are normally separated by a
+slash. By setting @code{chordNameSeparator}, you can specify other
+separators, e.g.,
+@lilypond[quote,ragged-right,fragment,verbatim]
+\new ChordNames \chordmode {
+ c:7sus4
+ \set chordNameSeparator
+ = \markup { \typewriter "|" }
+ c:7sus4
+}
+@end lilypond
+
+@funindex chordRootNamer
+@item chordRootNamer
+The root of a chord is usually printed as a letter with an optional
+alteration. The transformation from pitch to letter is done by this
+function. Special note names (for example, the German @q{H} for a
+B-chord) can be produced by storing a new function in this property.
+
+@funindex chordNoteNamer
+@item chordNoteNamer
+The default is to print single pitch, e.g., the bass note, using the
+@code{chordRootNamer}. The @code{chordNoteNamer} property can be set
+to a specialized function to change this behavior. For example, the
+base can be printed in lower case.
+
+@funindex chordPrefixSpacer
+@item chordPrefixSpacer
+The @q{m} for minor chords is usually printed right after the root of
+the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer
+between the root and @q{m}. The spacer is not used when the root
+is altered.
+
+@end table
+
+The predefined variables @code{\germanChords},
+@code{\semiGermanChords}, @code{\italianChords} and @code{\frenchChords}
+set these variables. The effect is
+demonstrated here,
+
+@lilypondfile[ragged-right]{chord-names-languages.ly}
+
+There are also two other chord name schemes implemented: an alternate
+Jazz chord notation, and a systematic scheme called Banter chords. The
+alternate Jazz notation is also shown on the chart in @ref{Chord name
+chart}. Turning on these styles is described in the input file
+@inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
+
+@cindex Banter
+@cindex jazz chords
+@cindex chords, jazz
+
+
+@refcommands
+
+@funindex \germanChords
+@code{\germanChords},
+@funindex \semiGermanChords
+@code{\semiGermanChords}.
+@funindex \italianChords
+@code{\italianChords}.
+@funindex \frenchChords
+@code{\frenchChords}.
+
+
+
+
+@seealso
+
+Examples: @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly},
+@inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly},
+@inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
+
+
+Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
+@file{scm/@/chord@/-entry@/.scm}.
+
+
+@refbugs
+
+Chord names are determined solely from the list of pitches. Chord
+inversions are not identified, and neither are added bass notes. This
+may result in strange chord names when chords are entered with the
+@code{< .. >} syntax.
+
+
+
+@node Vocal music
+@section Vocal music
+
+Since LilyPond input files are text, there are two issues to
+consider when working with vocal music:
+
+@itemize @bullet
+@item
+Song texts must be entered as text, not notes. For example, the
+input@tie{}@code{d} should be interpreted as a one letter syllable, not the
+note@tie{}D.
+
+@item
+Song texts must be aligned with the notes of their melody.
+@end itemize
+
+There are a few different ways to define lyrics; the simplest
+way is to use the @code{\addlyrics} function.
+
+@menu
+* Setting simple songs::
+* Entering lyrics::
+* Hyphens and extenders::
+* The Lyrics context::
+* Melismata::
+* Another way of entering lyrics::
+* Flexibility in placement::
+* Spacing lyrics::
+* More about stanzas::
+* Ambitus::
+* Other vocal issues::
+@end menu
+
+
+@commonprop
+
+Checking to make sure that text scripts and lyrics are within the margins is
+a relatively large computational task. To speed up processing, lilypond does
+not perform such calculations by default; to enable it, use
+
+@example
+\override Score.PaperColumn #'keep-inside-line = ##t
+@end example
+
+To make lyrics avoid barlines as well, use
+@example
+\layout @{
+ \context @{
+ \Lyrics
+ \consists "Bar_engraver"
+ \consists "Separating_line_group_engraver"
+ \override BarLine #'transparent = ##t
+ @}
+@}
+@end example
+
+
+@node Setting simple songs
+@subsection Setting simple songs