Issue 4598 / 2: NR: Change example's font name

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

diff --git a/Documentation/notation/chords.itely b/Documentation/notation/chords.itely
index 2a360698cb761012616315028a3709e3f07325bb..bd396425a410ef976cf7b1c8da788cf1bf6953a0 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 "2.14.0"
+@c \version "2.19.21"
 
 
 @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
@@ -168,7 +151,7 @@ The default action; produces a major triad.
 @tab
 @lilypond[line-width=4\cm, noragged-right]
 \chordmode {
-  \override Staff.TimeSignature #'stencil = ##f
+  \omit Staff.TimeSignature
   c1
 }
 @end lilypond
@@ -180,7 +163,7 @@ The minor chord.  This modifier lowers the 3rd.
 @tab
 @lilypond[line-width=4\cm, noragged-right]
 \chordmode {
-  \override Staff.TimeSignature #'stencil = ##f
+  \omit Staff.TimeSignature
   c1:m c:m7
 }
 @end lilypond
@@ -194,7 +177,7 @@ present) the 7th step.
 @tab
 @lilypond[line-width=4\cm, noragged-right]
 \chordmode {
-  \override Staff.TimeSignature #'stencil = ##f
+  \omit Staff.TimeSignature
   c1:dim c:dim7
 }
 @end lilypond
@@ -206,7 +189,7 @@ The augmented chord.  This modifier raises the 5th step.
 @tab
 @lilypond[line-width=4\cm, noragged-right]
 \chordmode {
-  \override Staff.TimeSignature #'stencil = ##f
+  \omit Staff.TimeSignature
   c1:aug
 }
 @end lilypond
@@ -220,7 +203,7 @@ to create a major triad.
 @tab
 @lilypond[line-width=4\cm, noragged-right]
 \chordmode {
-  \override Staff.TimeSignature #'stencil = ##f
+  \omit Staff.TimeSignature
   c1:maj c:maj7
 }
 @end lilypond
@@ -360,7 +343,7 @@ 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 +354,7 @@ 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
 
@@ -395,16 +378,6 @@ interpreted last.
 \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
-}
-@end lilypond
-
 
 @node Displaying chords
 @subsection Displaying chords
@@ -438,21 +411,20 @@ Chords can be entered as simultaneous notes or through the use of
 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
@@ -464,7 +436,7 @@ 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
@@ -483,8 +455,8 @@ Rests passed to a @code{ChordNames} context will cause the
 
 @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 {
@@ -563,7 +535,7 @@ Jazz notation are shown on the chart in @ref{Chord name chart}.
 
 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:
 
@@ -785,7 +757,8 @@ myChords = \relative c' {
 @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.
 
@@ -830,8 +803,8 @@ entry of bass figures, and there is a context named
 @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
@@ -1053,8 +1026,8 @@ 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 {
@@ -1076,13 +1049,13 @@ figures is adjusted automatically.
 
 @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'
@@ -1096,14 +1069,14 @@ or below the staff.
 
 @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'
@@ -1161,31 +1134,3 @@ 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