Guide, node Updating translation committishes..
@end ignore
-@c \version "2.17.6"
+@c \version "2.19.28"
@node Chord notation
Chord mode and note mode can be mixed in sequential music:
-@lilypond[verbatim,quote,ragged-right,relative=1]
-<c e g>2 <g b d>
-\chordmode { c2 f }
-<c e g>2 <g' b d>
-\chordmode { f2 g }
+@lilypond[verbatim,quote,ragged-right]
+\relative {
+ <c' e g>2 <g b d>
+ \chordmode { c2 f }
+ <c e g>2 <g' b d>
+ \chordmode { f2 g }
+}
@end lilypond
@seealso
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:
-
-@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]
-\new Staff {
- \chordmode { c2 f }
- <c e g>2 <g' b d>
-}
-@end lilypond
-
@node Common chords
@unnumberedsubsubsec Common chords
@tab
@lilypond[line-width=4\cm, noragged-right]
\chordmode {
- \override Staff.TimeSignature.stencil = ##f
+ \omit Staff.TimeSignature
c1
}
@end lilypond
@tab
@lilypond[line-width=4\cm, noragged-right]
\chordmode {
- \override Staff.TimeSignature.stencil = ##f
+ \omit Staff.TimeSignature
c1:m c:m7
}
@end lilypond
@tab
@lilypond[line-width=4\cm, noragged-right]
\chordmode {
- \override Staff.TimeSignature.stencil = ##f
+ \omit Staff.TimeSignature
c1:dim c:dim7
}
@end lilypond
@tab
@lilypond[line-width=4\cm, noragged-right]
\chordmode {
- \override Staff.TimeSignature.stencil = ##f
+ \omit Staff.TimeSignature
c1:aug
}
@end lilypond
@tab
@lilypond[line-width=4\cm, noragged-right]
\chordmode {
- \override Staff.TimeSignature.stencil = ##f
+ \omit Staff.TimeSignature
c1:maj c:maj7
}
@end lilypond
@end lilypond
@noindent
-Note that both @code{c:5} and @code{c} produce a C major triad.
+As a special exception, @code{c:5} produces a @q{power chord} only
+consisting of root and fifth.
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
@lilypond[quote,verbatim]
\chordmode {
- c1:5.6 c:3.7.8 c:3.6.13
+ c1:3.5.6 c:3.7.8 c:3.6.13
}
@end lilypond
@lilypond[quote,verbatim]
\chordmode {
- c4:5.15 c:5.20 c:5.25 c:5.30
+ c4:3.5.15 c:3.5.20 c:3.5.25 c:3.5.30
}
@end lilypond
@funindex sus
The modifier @code{sus} can be added to the modifier string to
-create suspended chords. This removes the 3rd step from the chord.
-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}.
+create suspended chords. This removes the 3rd step from the
+chord. Append either @code{2} or @code{4} to add the 2nd or 4th
+step to the chord. When @code{sus} is followed by either a 2nd or
+4th step, it is equivalent to @code{^3}, otherwise to @code{sus4},
+namely @code{5.4}.
@lilypond[quote,ragged-right,verbatim]
\chordmode {
- c1:sus c:sus2 c:sus4 c:5.4^3
+ c1:sus c:sus2 c:sus4 c:5.4
}
@end lilypond
@lilypond[quote,ragged-right,verbatim]
\chordmode {
- c1 c/g c/f
+ c'1 c'/e c'/f
}
@end lilypond
@lilypond[quote,ragged-right,verbatim]
\chordmode {
- c1 c/g c/+g
+ c'1 c'/g c'/+e
}
@end lilypond
interpreted last.
@lilypond[quote,ragged-right,verbatim]
-\chordmode { c1:5.5-.5+ }
-@end lilypond
-
-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]
-\chordmode {
- c'1: c':/g e:6-3-^5 e:m6-^5
-}
+\chordmode { c1:3.5.5-.5+ }
@end lilypond
chord mode. The displayed chord name will be the same, regardless
of the mode of entry, unless there are inversions or added bass notes:
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,quote]
+chordmusic = \relative {
+ <c' e g>2 <f bes c>
+ <f c' e g>1
+ \chordmode {
+ c2 f:sus4 c1:/f
+ }
+}
<<
\new ChordNames {
- <c e g>2 <f bes c>
- <f c' e g>1
- \chordmode {
- c2 f:sus4 c1:/f
- }
+ \chordmusic
}
{
- <c e g>2 <f bes c>
- <f, c' e g>1
- \chordmode {
- c2 f:sus4 c1:/f
- }
+ \chordmusic
}
>>
@end lilypond
Rests passed to a @code{ChordNames} context will cause the
@code{noChordSymbol} markup to be displayed.
-@lilypond[verbatim, quote, relative=1]
+@lilypond[verbatim,quote]
<<
\new ChordNames \chordmode {
c1
@funindex{\chords}
-@code{\chords @{ ... @}} is a shortcut notation for
-@code{\new ChordNames @{ \chordmode @{ ... @} @}}.
+@code{\chords @{ @dots{} @}} is a shortcut notation for
+@code{\new ChordNames \chordmode @{ @dots{} @}}.
@lilypond[verbatim,quote,ragged-right]
\chords {
@code{BassFigure} objects. Figured bass can also be displayed
in @code{Staff} contexts.
-@code{\figures@{ ... @}} is a shortcut notation for
-@code{\new FiguredBass @{ \figuremode @{ ... @} @}}.
+@code{\figures@{ @dots{} @}} is a shortcut notation for
+@code{\new FiguredBass \figuremode @{ @dots{} @}}.
Although the support for figured bass may superficially resemble chord
@end lilypond
-Accidentals (including naturals) can be added to figures:
+Accidentals (including naturals) may be used for modifying scale steps.
+These are entered by appending @code{+} (for sharps), @code{-} (for flats)
+or @code{!} (for naturals) after the number. For double accidentals the
+modifier is applied twice. For the modification of the third step the
+number is often omitted, which can be achieved by using @code{_} instead
+of a number.
@lilypond[verbatim,quote,ragged-right]
\figures {
- <7! 6+ 4-> <5++> <3-->
+ <7! 6+ 4-> <5++> <3--> < _+ > < 7 _!>
}
@end lilypond
}
@end lilypond
-Vertical spaces and brackets can be included in figures:
+Brackets can be included in figures:
@lilypond[verbatim,quote,ragged-right]
\figures {
- <[12 _!] 8 [6 4]>
+ <[12] 8 [6 4]>
}
@end lilypond
@lilypond[verbatim,ragged-right,quote]
<<
- \relative c'' {
- c4 c'8 r8 c,4 c'
+ \relative {
+ c''4 c'8 r8 c,4 c'
}
\new FiguredBass {
\figuremode {
@lilypond[verbatim,ragged-right,quote]
<<
- \new Staff = myStaff
+ \new Staff = "myStaff"
\figuremode {
<4>4 <10 6>8 s8
<6 4>4 <6 4>
}
%% Put notes on same Staff as figures
- \context Staff = myStaff
+ \context Staff = "myStaff"
{
\clef bass
c4 c'8 r8 c4 c'
@lilypond[verbatim,ragged-right,quote]
<<
- \new Staff = myStaff
+ \new Staff = "myStaff"
\figuremode {
<4>4 <10 6>8 s8
\bassFigureStaffAlignmentDown
<6 4>4 <6 4>
}
%% Put notes on same Staff as figures
- \context Staff = myStaff
+ \context Staff = "myStaff"
{
\clef bass
c4 c'8 r8 c4 c'
}
>>
@end lilypond
-
-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,quote,relative=1]
-<<
- { fis4 g g, e' }
- \figures {
- \bassFigureExtendersOn
- <6 5>4 <5\! 4> < 5 _!> <6>
- }
->>
-@end lilypond
-
-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,quote,relative=1]
-<<
- { fis4 g g, e' }
- \figures {
- <6 5>4 <5 4>
- \bassFigureExtendersOn
- < 5 _!>4 <6>
- \bassFigureExtendersOff
- }
->>
-@end lilypond