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 f8340dadace78f591f95a51822115416cebdf19f..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 "2.17.30"
+@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
@@ -90,25 +92,6 @@ Snippets:
 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
@@ -275,7 +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
@@ -296,7 +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
 
@@ -304,7 +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
 
@@ -339,14 +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
 
@@ -360,7 +345,7 @@ chord) and added bass notes can be specified by appending
 
 @lilypond[quote,ragged-right,verbatim]
 \chordmode {
-  c1 c/g c/f
+  c'1 c'/e c'/f
 }
 @end lilypond
 
@@ -371,7 +356,7 @@ moved as part of an inversion, by using @code{/+}@var{pitch}.
 
 @lilypond[quote,ragged-right,verbatim]
 \chordmode {
-  c1 c/g c/+g
+  c'1 c'/g c'/+e
 }
 @end lilypond
 
@@ -392,17 +377,7 @@ simply produces the augmented chord, since @code{5+} is
 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
 
 
@@ -439,8 +414,8 @@ 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]
-chordmusic = \relative c' {
-  <c e g>2 <f bes c>
+chordmusic = \relative {
+  <c' e g>2 <f bes c>
   <f c' e g>1
   \chordmode {
     c2 f:sus4 c1:/f
@@ -463,7 +438,7 @@ of the mode of entry, unless there are inversions or added bass notes:
 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
@@ -873,11 +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
 
@@ -898,11 +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
 
@@ -1053,8 +1033,8 @@ of the figures is independent of the notes on the staff.
 
 @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 {