Doc: cleanup @file{}, take 2: remove all @/ escaping sequences.

[lilypond.git] / Documentation / notation / chords.itely

diff --git a/Documentation/notation/chords.itely b/Documentation/notation/chords.itely
index c1b6c03d75729d3b3bb9bfe2e562806ea1716591..29979b8f946cd1e4dd40baaa38fcc29de621c2b3 100644 (file)
--- a/Documentation/notation/chords.itely
+++ b/Documentation/notation/chords.itely
@@ -3,10 +3,11 @@
     Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
 
     When revising a translation, copy the HEAD committish of the
-    version that you are working on.  See TRANSLATION for details.
+    version that you are working on.  For details, see the Contributors'
+    Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.12.0"
+@c \version "2.13.36"
 
 
 @node Chord notation
@@ -55,14 +56,14 @@ convenient for those who are familiar with using chord names to
 describe chords.  More information on different input modes can be
 found at @ref{Input modes}.
 
-@lilypond[verbatim,quote,ragged-right,relative=1]
+@lilypond[verbatim,quote,ragged-right]
 \chordmode { c1 g a g c }
 @end lilypond
 
 Chords entered using chord mode are music elements, and can be
 transposed just like chords entered using simultaneous music.
 @code{\chordmode} is absolute, as @code{\relative} has no effect
-on @code{chordmode} blocks. However, in @code{\chordmode} the
+on @code{chordmode} blocks.  However, in @code{\chordmode} the
 absolute pitches are one octave higher than in note mode.
 
 Chord mode and note mode can be mixed in sequential music:
@@ -84,20 +85,24 @@ Notation Reference:
 @ref{Input modes}.
 
 Snippets:
-@rlsr{Chords}
+@rlsr{Chords}.
 
 
 @knownissues
 
+Predefined shorthands for articulations and ornaments cannot be used
+on notes in chord mode, see @ref{Articulations and ornamentations}.
+
 When chord mode and note mode are mixed in sequential music, and
 chord mode comes first, the note mode will create a new @code{Staff}
-context.
+context:
 
 @lilypond[verbatim,quote,ragged-right,relative=1]
 \chordmode { c2 f }
 <c e g>2 <g' b d>
 @end lilypond
 
+@noindent
 To avoid this behavior, explicitly create the @code{Staff} context:
 
 @lilypond[verbatim,quote,ragged-right,relative=1]
@@ -119,20 +124,20 @@ To avoid this behavior, explicitly create the @code{Staff} context:
 Major triads are entered by including the root and an
 optional duration:
 
-@lilypond[verbatim,quote,relative=1,ragged-right]
+@lilypond[verbatim,quote,ragged-right]
 \chordmode { c2 f4 g }
 @end lilypond
 
 Minor, augmented, and diminished triads are entered by placing
 @code{:} and a quality modifier string after the duration:
 
-@lilypond[verbatim,quote,ragged-right,relative=1]
+@lilypond[verbatim,quote,ragged-right]
 \chordmode { c2:m f4:aug g:dim }
 @end lilypond
 
 Seventh chords can be created:
 
-@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
+@lilypond[quote,ragged-right,verbatim]
 \chordmode { c1:7 c:m7 c:maj7 c:dim7 c:aug7 }
 @end lilypond
 
@@ -233,6 +238,7 @@ Notation Reference:
 Snippets:
 @rlsr{Chords}.
 
+
 @knownissues
 Only one quality modifier should be used per chord, typically on the
 highest step present in the chord.  Chords with more than quality
@@ -263,7 +269,7 @@ highest third below the extent, and then the step of the extent is
 added.  The largest possible value for the extent is 13.  Any
 larger value is interpreted as 13.
 
-@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
+@lilypond[quote,ragged-right,verbatim]
 \chordmode {
   c1:2 c:3 c:4 c:5
   c1:6 c:7 c:8 c:9
@@ -279,7 +285,7 @@ Since an unaltered 11 does not sound good when combined with an
 unaltered 13, the 11 is removed from a @code{:13} chord (unless it
 is added explicitly).
 
-@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
+@lilypond[quote,ragged-right,verbatim]
 \chordmode {
   c1:13 c:13.11 c:m13
 }
@@ -292,7 +298,7 @@ extent and are prefixed by a dot (@code{.}).  The basic seventh
 step added to a chord is the minor or flatted seventh, rather than
 the major seventh.
 
-@lilypond[quote,verbatim,fragment,relative=1]
+@lilypond[quote,verbatim]
 \chordmode {
   c1:5.6 c:3.7.8 c:3.6.13
 }
@@ -300,7 +306,7 @@ the major seventh.
 
 Added steps can be as high as desired.
 
-@lilypond[quote,verbatim,fragment,relative=1]
+@lilypond[quote,verbatim]
 \chordmode {
   c4:5.15 c:5.20 c:5.25 c:5.30
 }
@@ -312,7 +318,7 @@ Added chord steps can be altered by suffixing a @code{-} or @code{+}
 sign to the number.  To alter a step that is automatically included
 as part of the basic chord structure, add it as an altered step.
 
-@lilypond[quote,verbatim,fragment,relative=1]
+@lilypond[quote,verbatim]
 \chordmode {
   c1:7+ c:5+.3- c:3-.5-.7-
 }
@@ -328,7 +334,7 @@ If more than one step is to be removed, the steps to be
 removed are separated by @code{.} following the
 initial @code{^}.
 
-@lilypond[quote,verbatim,fragment,relative=1]
+@lilypond[quote,verbatim]
 \chordmode {
   c1^3 c:7^5 c:9^3 c:9^3.5 c:13.11^3.7
 }
@@ -342,7 +348,7 @@ Append either @code{2} or @code{4} to add the 2nd or 4th step to the
 chord.  @code{sus} is equivalent to @code{^3}; @code{sus4} is
 equivalent to @code{.4^3}.
 
-@lilypond[quote,ragged-right,fragment,verbatim]
+@lilypond[quote,ragged-right,verbatim]
 \chordmode {
   c1:sus c:sus2 c:sus4 c:5.4^3
 }
@@ -356,7 +362,7 @@ Inversions (putting a pitch other than the root on the bottom of the
 chord) and added bass notes can be specified by appending
 @code{/}@var{pitch} to the chord.
 
-@lilypond[quote,ragged-right,fragment,verbatim, relative=2]
+@lilypond[quote,ragged-right,verbatim]
 \chordmode {
   c1 c/g c/f
 }
@@ -367,7 +373,7 @@ chord) and added bass notes can be specified by appending
 A bass note that is part of the chord can be added, instead of
 moved as part of an inversion, by using @code{/+}@var{pitch}.
 
-@lilypond[quote,ragged-right,fragment,verbatim]
+@lilypond[quote,ragged-right,verbatim]
 \chordmode {
   c1 c/g c/+g
 }
@@ -383,7 +389,7 @@ Notation Reference:
 @ref{Common chord modifiers}.
 
 Snippets:
-@rlsr{Chords}
+@rlsr{Chords}.
 
 
 @knownissues
@@ -392,7 +398,7 @@ Each step can only be present in a chord once.  The following
 simply produces the augmented chord, since @code{5+} is
 interpreted last.
 
-@lilypond[quote,ragged-right,verbatim,fragment]
+@lilypond[quote,ragged-right,verbatim]
 \chordmode { c1:5.5-.5+ }
 @end lilypond
 
@@ -400,7 +406,7 @@ Only the second inversion can be created by adding a bass
 note.  The first inversion requires changing the root of
 the chord.
 
-@lilypond[quote,ragged-right,verbatim,fragment]
+@lilypond[quote,ragged-right,verbatim]
 \chordmode {
   c'1: c':/g e:6-3-^5 e:m6-^5
 }
@@ -426,7 +432,7 @@ as notes on a staff.
 
 Chord names are printed in the @code{ChordNames} context:
 
-@lilypond[verbatim,quote,relative=1,ragged-right]
+@lilypond[verbatim,quote,ragged-right]
 \new ChordNames {
   \chordmode {
     c2 f4. g8
@@ -472,7 +478,7 @@ Rests passed to a @code{ChordNames} context will cause the
     g1
     c1
   }
-  \new Score \chordmode {
+  \chordmode {
     c1
     r1
     g1
@@ -486,13 +492,13 @@ Rests passed to a @code{ChordNames} context will cause the
 @code{\chords @{ ... @}} is a shortcut notation for
 @code{\new ChordNames @{ \chordmode @{ ... @} @}}.
 
-@lilypond[verbatim,quote,ragged-right, relative=1]
+@lilypond[verbatim,quote,ragged-right]
 \chords {
   c2 f4.:m g8:maj7
 }
 @end lilypond
 
-@lilypond[verbatim,quote,ragged-right, relative=1]
+@lilypond[verbatim,quote,ragged-right]
 \new ChordNames {
   \chordmode {
     c2 f4.:m g8:maj7
@@ -502,6 +508,10 @@ Rests passed to a @code{ChordNames} context will cause the
 
 @snippets
 
+@c Keep index entries with following snippet
+@cindex chords, suppressing repeated
+@funindex chordChanges
+
 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
 {showing-chords-at-changes.ly}
 
@@ -543,14 +553,14 @@ properly if entered using simultaneous music.
 
 There is no unique system for naming chords.  Different musical
 traditions use different names for the same set of chords.  There
-are also different symbols displayed for a given chord name.   The
+are also different symbols displayed for a given chord name.  The
 names and symbols displayed for chord names are customizable.
 
 @cindex jazz chords
 @cindex chords, jazz
 
 The basic chord name layout is a system for Jazz music, proposed
-by Klaus Ignatzek (see @ref{Literature list}).  The chord naming
+by Klaus Ignatzek (see @ressay{Literature list}).  The chord naming
 system can be modified as described below.  An alternate jazz
 chord system has been developed using these modifications.
 The Ignatzek and alternate
@@ -569,6 +579,20 @@ The effect is demonstrated here:
 
 @lilypondfile[ragged-right]{chord-names-languages.ly}
 
+
+@funindex chordNameLowercaseMinor
+
+German songbooks may indicate minor chords as lowercase letters,
+without any @var{m} suffix.  This can be obtained by setting the
+@code{chordNameLowercaseMinor} property:
+
+@lilypond[verbatim,quote,ragged-right]
+\chords {
+  \set chordNameLowercaseMinor = ##t
+  c2 d:m e:m f
+}
+@end lilypond
+
 If none of the existing settings give the desired output, the chord
 name display can be tuned through the following properties.
 
@@ -589,7 +613,7 @@ this property.
 @item majorSevenSymbol
 
 This property contains the markup object used to follow the output
-of @code{chordRootNamer} to identify a major 7 chord. Predefined
+of @code{chordRootNamer} to identify a major 7 chord.  Predefined
 options are @code{whiteTriangleMarkup} and
 @code{blackTriangleMarkup}.
 
@@ -600,7 +624,7 @@ options are @code{whiteTriangleMarkup} and
 When the chord name contains additional pitches other than the root
 (e.g., an added bass note), this function is used to print the
 additional pitch.  By default the pitch is printed using
-@code{chordRootNamer}. The @code{chordNoteNamer} property can be set
+@code{chordRootNamer}.  The @code{chordNoteNamer} property can be set
 to a specialized function to change this behavior.  For example, the
 bass note can be printed in lower case.
 
@@ -673,9 +697,9 @@ Notation Reference:
 @ref{Common chord modifiers}.
 
 Installed Files:
-@file{scm/@/chords@/-ignatzek@/.scm},
-@file{scm/@/chord@/-entry@/.scm},
-@file{ly/@/chord@/-modifier@/-init@/.ly}.
+@file{scm/chords-ignatzek.scm},
+@file{scm/chord-entry.scm},
+@file{ly/chord-modifier-init.ly}.
 
 Snippets:
 @rlsr{Chords}.
@@ -732,7 +756,7 @@ Figured bass notation can be displayed.
 LilyPond has support for figured bass, also called thorough bass
 or basso continuo:
 
-@lilypond[quote,ragged-right,verbatim,fragment]
+@lilypond[quote,ragged-right,verbatim]
 <<
   \new Voice { \clef bass dis4 c d ais g fis}
   \new FiguredBass {
@@ -774,7 +798,7 @@ Music Glossary:
 @rglos{figured bass}.
 
 Snippets:
-@rlsr{Chords}
+@rlsr{Chords}.
 
 
 @node Entering figured bass
@@ -787,7 +811,7 @@ found at @ref{Input modes}.
 In figure mode, a group of bass figures is delimited by
 @code{<} and @code{>}.  The duration is entered after the @code{>}.
 
-@lilypond[verbatim,quote,ragged-right,fragment]
+@lilypond[verbatim,quote,ragged-right]
 \new FiguredBass {
   \figuremode {
     <6 4>2
@@ -798,7 +822,7 @@ In figure mode, a group of bass figures is delimited by
 
 Accidentals (including naturals) can be added to figures:
 
-@lilypond[verbatim,quote,ragged-right,fragment]
+@lilypond[verbatim,quote,ragged-right]
 \figures {
   <7! 6+ 4-> <5++> <3-->
 }
@@ -806,7 +830,7 @@ Accidentals (including naturals) can be added to figures:
 
 Augmented and diminished steps can be indicated:
 
-@lilypond[verbatim,quote,ragged-right,fragment]
+@lilypond[verbatim,quote,ragged-right]
 \figures {
   <6\+ 5/> <7/>
 }
@@ -815,15 +839,15 @@ Augmented and diminished steps can be indicated:
 A backward slash through a figure (typically used for raised
 sixth steps) can be created:
 
-@lilypond[verbatim,quote,ragged-right,fragment]
+@lilypond[verbatim,quote,ragged-right]
 \figures {
   <6> <6\\>
 }
 @end lilypond
 
-Vertical spaces and brackets can be be included in figures:
+Vertical spaces and brackets can be included in figures:
 
-@lilypond[verbatim,quote,ragged-right,fragment]
+@lilypond[verbatim,quote,ragged-right]
 \figures {
   <[12 _!] 8 [6  4]>
 }
@@ -831,7 +855,7 @@ Vertical spaces and brackets can be be included in figures:
 
 Any text markup can be inserted as a figure:
 
-@lilypond[verbatim,quote,ragged-right,fragment]
+@lilypond[verbatim,quote,ragged-right]
 \figures {
   <\markup { \tiny \number 6 \super (1) } 5>
 }
@@ -843,7 +867,7 @@ Any text markup can be inserted as a figure:
 
 Continuation lines can be used to indicate repeated figures:
 
-@lilypond[verbatim,quote,ragged-right,fragment]
+@lilypond[verbatim,quote,ragged-right]
 <<
   {
     \clef bass
@@ -863,7 +887,7 @@ Continuation lines can be used to indicate repeated figures:
 In this case, the extender lines replace existing figures,
 unless the continuation lines have been explicitly terminated.
 
-@lilypond[verbatim,quote,ragged-right,fragment]
+@lilypond[verbatim,quote,ragged-right]
 <<
   \figures {
     \bassFigureExtendersOn
@@ -993,7 +1017,7 @@ or in most staff contexts.
 When displayed in a @code{FiguredBass} context, the vertical location
 of the figures is independent of the notes on the staff.
 
-@lilypond[verbatim,ragged-right,fragment,quote]
+@lilypond[verbatim,ragged-right,quote]
 <<
   \relative c'' {
     c4 c'8 r8 c,4 c'
@@ -1016,7 +1040,7 @@ Figured bass can also be added to @code{Staff} contexts
 directly.  In this case, the vertical position of the
 figures is adjusted automatically.
 
-@lilypond[verbatim,ragged-right,fragment,quote]
+@lilypond[verbatim,ragged-right,quote]
 <<
   \new Staff = myStaff
   \figuremode {
@@ -1036,7 +1060,7 @@ figures is adjusted automatically.
 When added in a @code{Staff} context, figured bass can be displayed above
 or below the staff.
 
-@lilypond[verbatim,ragged-right,fragment,quote]
+@lilypond[verbatim,ragged-right,quote]
 <<
   \new Staff = myStaff
   \figuremode {
@@ -1099,7 +1123,7 @@ To ensure that continuation lines work properly, it is
 safest to use the same rhythm in the figure line as in
 the bass line.
 
-@lilypond[verbatim,ragged-right,fragment,quote]
+@lilypond[verbatim,ragged-right,quote]
 <<
   {
     \clef bass
@@ -1129,9 +1153,9 @@ the bass line.
 When using extender lines, adjacent figures with the same number in
 a different figure location can cause the figure positions to invert.
 
-@lilypond[verbatim,ragged-right,fragment,quote,relative=1]
+@lilypond[verbatim,ragged-right,quote,relative=1]
 <<
- { fis4 g g, e' }
+  { fis4 g g, e' }
   \figures {
     \bassFigureExtendersOn
     <6 5>4 <5\! 4> < 5 _!> <6>
@@ -1142,9 +1166,9 @@ a different figure location can cause the figure positions to invert.
 To avoid this problem, simply turn on extenders after the figure that
 begins the extender line and turn them off at the end of the extender line.
 
-@lilypond[verbatim,ragged-right,fragment,quote,relative=1]
+@lilypond[verbatim,ragged-right,quote,relative=1]
 <<
- { fis4 g g, e' }
+  { fis4 g g, e' }
   \figures {
     <6 5>4 <5 4>
     \bassFigureExtendersOn