4915: NR: Mention standalone accidentals in figuremode

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

diff --git a/Documentation/notation/chords.itely b/Documentation/notation/chords.itely
index 3a98f7fa8639c883dd16f02d92c8c78df72a62ce..acc8f14f9d1488d100d5b5c6e31d10c08c1f8d6a 100644 (file)
--- a/Documentation/notation/chords.itely
+++ b/Documentation/notation/chords.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.21"
+@c \version "2.19.28"
 
 
 @node Chord notation
@@ -68,11 +68,13 @@ absolute pitches are one octave higher than in note mode.
 
 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
@@ -256,7 +258,8 @@ larger value is interpreted as 13.
 @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
@@ -277,7 +280,7 @@ the major seventh.
 
 @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
 
@@ -285,7 +288,7 @@ Added steps can be as high as desired.
 
 @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
 
@@ -320,14 +323,15 @@ initial @code{^}.
 @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
 
@@ -373,7 +377,7 @@ simply produces the augmented chord, since @code{5+} is
 interpreted last.
 
 @lilypond[quote,ragged-right,verbatim]
-\chordmode { c1:5.5-.5+ }
+\chordmode { c1:3.5.5-.5+ }
 @end lilypond
 
 
@@ -434,7 +438,7 @@ chordmusic = \relative {
 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
@@ -844,11 +848,16 @@ In figure mode, a group of bass figures is delimited by
 @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
 
@@ -869,11 +878,11 @@ sixth steps) can be created:
 }
 @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