Guide, node Updating translation committishes..
@end ignore
-@c \version "2.13.36"
+@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
Music Glossary:
@rglos{chord}.
Snippets:
@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:
-
-@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
@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
@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 multitable
-
@seealso
Notation Reference:
@ref{Common chord modifiers},
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
@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
standard chords are shown in
@ref{Common chord modifiers}.
-
@seealso
Notation Reference:
@ref{Common chord modifiers}.
Snippets:
@rlsr{Chords}.
-
@knownissues
-
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]
-\chordmode { c1:5.5-.5+ }
+\chordmode { c1:3.5.5-.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
-}
-@end lilypond
@node Displaying chords
@subsection Displaying chords
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 {
@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}
-
@seealso
Music Glossary:
@rglos{chord}.
@rinternals{Volta_engraver},
@rinternals{Bar_engraver}.
-
@knownissues
-
Chords containing inversions or altered bass notes are not named
properly if entered using simultaneous music.
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
In addition to the different naming systems, different note names
are used for the root in different languages. The predefined
-variables @code{\germanChords}, @code{\semiGermanChords},
+commands @code{\germanChords}, @code{\semiGermanChords},
@code{\italianChords} and @code{\frenchChords} set these variables.
The effect is demonstrated here:
options are @code{whiteTriangleMarkup} and
@code{blackTriangleMarkup}.
+@funindex additionalPitchPrefix
+
+@item additionalPitchPrefix
+
+When the chord name contains additional pitches, they can optionally
+be prefixed with some text. The default is no prefix, in order to
+avoid too much visual clutter, but for small numbers of additional
+pitches this can be visually effective.
+
+@lilypond[verbatim,quote,ragged-right]
+\new ChordNames {
+ <c e g d'> % add9
+ \set additionalPitchPrefix = #"add"
+ <c e g d'> % add9
+}
+@end lilypond
+
@funindex chordNoteNamer
@item chordNoteNamer
@item chordNameSeparator
-Different parts of a chord name are normally separated by a slash.
-By setting @code{chordNameSeparator}, you can use any desired markup
-for a separator.
+Different parts of a chord name are normally separated by a small
+amount of horizontal space. By setting @code{chordNameSeparator}, you
+can use any desired markup for a separator. This does not affect the
+separator between a chord and its bass note; to customize that, use
+@code{slashChordSeparator}.
+
+@lilypond[verbatim,quote,ragged-right]
+\chords {
+ c4:7.9- c:7.9-/g
+ \set chordNameSeparator = \markup { "/" }
+ \break
+ c4:7.9- c:7.9-/g
+}
+@end lilypond
+
+@funindex slashChordSeparator
+
+@item slashChordSeparator
+
+Chords can be played over a bass note other than the conventional root
+of the chord. These are known as ``inversions'' or ``slash chords'',
+because the default way of notating them is with a forward slash
+between the main chord and the bass note. Therefore the value of
+@code{slashChordSeparator} defaults to a forward slash, but you can
+change it to any markup you choose.
+
+@lilypond[verbatim,quote,ragged-right]
+\chords {
+ c4:7.9- c:7.9-/g
+ \set slashChordSeparator = \markup { " over " }
+ \break
+ c4:7.9- c:7.9-/g
+}
+@end lilypond
@funindex chordNameExceptions
The second item is a markup that will follow the @code{chordRootNamer}
output to create the chord name.
+@funindex minorChordModifier
+
+@item minorChordModifier
+
+Minor chords are often denoted via a @q{m} suffix to the right of the
+root of the chord. However some idioms prefer other suffices, such as
+a minus sign.
+
+@lilypond[verbatim,quote,ragged-right]
+\chords {
+ c4:min f:min7
+ \set minorChordModifier = \markup { "-" }
+ \break
+ c4:min f:min7
+}
+@end lilypond
+
@funindex chordPrefixSpacer
+
@item chordPrefixSpacer
-The @q{m} for minor chords is usually printed immediately to the
-right of the root of the chord. A spacer can be placed between
-the root and @q{m} by setting @code{chordPrefixSpacer}.
-The spacer is not used when the root is altered.
+The modifier for minor chords as determined by
+@code{minorChordModifier} is usually printed immediately to the right
+of the root of the chord. A spacer can be placed between the root and
+the modifier by setting @code{chordPrefixSpacer}. The spacer is not
+used when the root is altered.
@end table
@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}
-
@seealso
Notation Reference:
@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}.
-@c Internals Reference:
-@c @r internals{}.
-
-
@knownissues
-
Chord names are determined from both the pitches that are present
in the chord and the information on the chord structure that may
have been entered in @code{\chordmode}. If the simultaneous pitches
@node Figured bass
@subsection Figured bass
-@lilypondfile[quote]{figured-bass-headword.ly}
+@c Line width hack because of instrument names
+@lilypondfile[quote,staffsize=18,line-width=14.5\cm]{figured-bass-headword.ly}
Figured bass notation can be displayed.
@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
@code{baseline-skip}.
@end ignore
-
@seealso
Music Glossary:
@rglos{figured bass}.
@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
@snippets
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@lilypondfile[verbatim,quote,texidoc,doctitle]
{changing-the-positions-of-figured-bass-alterations.ly}
-
@seealso
-@c Music Glossary:
-@c @rglos{}.
-@c
-@c Learning Manual:
-@c @rlearning{}.
-@c
-@c Notation Reference:
-@c @ref{}.
-@c
-@c Application Usage:
-@c @rprogram{}.
-@c
-@c Installed Files:
-@c @file{}.
-@c
Snippets:
@rlsr{Chords}.
@rinternals{FiguredBass}.
-@c @knownissues
-
-
@node Displaying figured bass
@unnumberedsubsubsec Displaying figured bass
@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
-
@predefined
@cindex figured bass alignment
@code{\bassFigureStaffAlignmentDown},
@code{\bassFigureStaffAlignmentNeutral}.
@endpredefined
-
-@c @snippets
-
-
@seealso
-@c Music Glossary:
-@c @rglos{}.
-@c
-@c Learning Manual:
-@c @rlearning{}.
-@c
-@c Notation Reference:
-@c @ref{}.
-@c
-@c Application Usage:
-@c @rprogram{}.
-@c
-@c Installed Files:
-@c @file{}.
-@c
Snippets:
@rlsr{Chords}.
@rinternals{BassFigureContinuation},
@rinternals{FiguredBass}.
-
@knownissues
-
To ensure that continuation lines work properly, it is
safest to use the same rhythm in the figure line as in
the bass line.
}
>>
@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
-
projects / lilypond.git / blobdiff