Guide, node Updating translation committishes..
@end ignore
-@c \version "2.14.0"
+@c \version "2.17.6"
@node Chord notation
\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}.
}
@end lilypond
+
@node Common chords
@unnumberedsubsubsec Common chords
@tab
@lilypond[line-width=4\cm, noragged-right]
\chordmode {
- \override Staff.TimeSignature #'stencil = ##f
+ \override Staff.TimeSignature.stencil = ##f
c1
}
@end lilypond
@tab
@lilypond[line-width=4\cm, noragged-right]
\chordmode {
- \override Staff.TimeSignature #'stencil = ##f
+ \override Staff.TimeSignature.stencil = ##f
c1:m c:m7
}
@end lilypond
@tab
@lilypond[line-width=4\cm, noragged-right]
\chordmode {
- \override Staff.TimeSignature #'stencil = ##f
+ \override Staff.TimeSignature.stencil = ##f
c1:dim c:dim7
}
@end lilypond
@tab
@lilypond[line-width=4\cm, noragged-right]
\chordmode {
- \override Staff.TimeSignature #'stencil = ##f
+ \override Staff.TimeSignature.stencil = ##f
c1:aug
}
@end lilypond
@tab
@lilypond[line-width=4\cm, noragged-right]
\chordmode {
- \override Staff.TimeSignature #'stencil = ##f
+ \override Staff.TimeSignature.stencil = ##f
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
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.
}
@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' {
+ <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
@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 {
@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.
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
@lilypondfile[verbatim,quote,texidoc,doctitle]
{changing-chord-separator.ly}
-
@seealso
Notation Reference:
@ref{Chord name chart},
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}.
@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]
<<
- \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