Guide, node Updating translation committishes..
@end ignore
-@c \version "2.12.0"
+@c \version "2.14.0"
@node Chord notation
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
<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]
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
@funindex maj
@funindex m
-The table belows shows the actions of the quality modifiers on
+The table below shows the actions of the quality modifiers on
triads and seventh chords. The default seventh step added to
chords is a minor or flatted seventh, which makes the dominant
seventh the basic seventh chord. All alterations are relative to
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
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
}
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
}
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
}
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-
}
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
}
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
}
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
}
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
}
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
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
}
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
@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
@cindex chords, suppressing repeated
@funindex chordChanges
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{showing-chords-at-changes.ly}
-@c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@c @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
@c {adding-bar-lines-to-chordnames-context.ly}
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{simple-lead-sheet.ly}
system can be modified as described below. An alternate jazz
chord system has been developed using these modifications.
The Ignatzek and alternate
-Jazz notation are shown on the chart in @ref{Chord
-name chart}.
+Jazz notation are shown on the chart in @ref{Chord name chart}.
@c TODO -- Change this so we don't have a non-verbatim example.
@c Make short example in docs, then move longer example to
without any @var{m} suffix. This can be obtained by setting the
@code{chordNameLowercaseMinor} property:
-@lilypond[verbatim,quote,ragged-right, relative=1]
+@lilypond[verbatim,quote,ragged-right]
\chords {
\set chordNameLowercaseMinor = ##t
c2 d:m e:m f
@snippets
@cindex exceptions, chord names.
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@lilypondfile[verbatim,quote,texidoc,doctitle]
{chord-name-exceptions.ly}
@c TODO - tweak snippet to use \blackTriangleMarkup as well
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@lilypondfile[verbatim,quote,texidoc,doctitle]
{chord-name-major7.ly}
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@lilypondfile[verbatim,quote,texidoc,doctitle]
{adding-bar-lines-to-chordnames-context.ly}
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@lilypondfile[verbatim,quote,texidoc,doctitle]
{volta-below-chords.ly}
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@lilypondfile[verbatim,quote,texidoc,doctitle]
{changing-chord-separator.ly}
@ref{Chord name chart},
@ref{Common chord modifiers}.
+Essay on automated music engraving:
+@ressay{Literature list}.
+
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}.
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 {
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
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-->
}
Augmented and diminished steps can be indicated:
-@lilypond[verbatim,quote,ragged-right,fragment]
+@lilypond[verbatim,quote,ragged-right]
\figures {
<6\+ 5/> <7/>
}
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\\>
}
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]>
}
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>
}
Continuation lines can be used to indicate repeated figures:
-@lilypond[verbatim,quote,ragged-right,fragment]
+@lilypond[verbatim,quote,ragged-right]
<<
{
\clef bass
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
@snippets
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@lilypondfile[verbatim,quote,texidoc,doctitle]
{changing-the-positions-of-figured-bass-alterations.ly}
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'
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 {
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 {
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
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>
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