Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
When revising a translation, copy the HEAD committish of the
- version that you are working on. See TRANSLATION for details.
+ version that you are working on. For details, see the Contributors'
+ Guide, node Updating translation committishes..
@end ignore
@c \version "2.12.0"
@cindex chords
@cindex brackets, angle
-@cindex angle brackets
-@cindex relative pitch in chords
@funindex <
@funindex >
@funindex <...>
A chord is formed by enclosing a set of pitches between @code{<}
-and @code{>}. A chord may be followed by a duration and/or a set
-of articulations, just like simple notes:
+and @code{>}. A chord may be followed by a duration just like simple
+notes.
-@lilypond[verbatim,quote,relative=1]
-<c e g>2 <c f a>4-> <e g c>-.
+@lilypond[verbatim,quote,relative=2]
+<a c e>1 <a c e>2 <f a c e>4 <a c>8. <g c e>16
@end lilypond
-Relative mode can be used for pitches in chords. The octave of each
-pitch is chosen using the preceding pitch as a reference except in
-the case of the first pitch in a chord: the reference for the first
-pitch is the @emph{first} pitch of the preceding chord.
+Chords may also be followed by articulations, again just like simple
+notes.
+
+@lilypond[verbatim,quote,relative=2]
+<a c e>1\fermata <a c e>2-> <f a c e>4\prall <a c>8.^| <g c e>16-.
+@end lilypond
+
+The notes within the chord themselves can also be followed by articulation
+and ornamentation.
+
+@lilypond[verbatim,quote,relative=2]
+<a c\prall e>1 <a-> c-^ e>2 <f-. a c-. e-.>4 <a-+ c-->8. <g\fermata c e\turn>16
+@end lilypond
+
+However some notation, such as dynamics, hairpins and slurs must be
+attached to the chord, rather than notes within the chord, otherwise
+they will not print.
+
+@lilypond[verbatim,quote,relative=2]
+<a\f c( e>1 <a c) e>\f <a\< c e>( <a\! c e>) <a c e>\< <a c e> <a c e>\!
+@end lilypond
+
+@cindex relative pitch, chords
+@cindex chords, relative pitch
+
+Relative mode can be used for pitches in chords. The first note of
+each chord is always relative to the first note of the chord that
+came before it, or in the case where no preceding chord exists, the
+pitch of the last note that came before the chord. All remaining notes
+in the chord are relative to the note that came before it
+@emph{within the same chord}.
+
+@lilypond[verbatim,quote,relative=2]
+<a c e>1 <f a c> <a c e> <f' a c> <b, e b,>
+@end lilypond
For more information about chords, see @ref{Chord notation}.
@rlearning{Combining notes into chords}.
Notation Reference:
-@ref{Chord notation}.
+@ref{Chord notation},
+@ref{Articulations and ornamentations},
+@ref{Relative octave entry}.
Snippets:
@rlsr{Simultaneous notes}.
In order to save typing, a shortcut can be used to repeat the preceding
chord. The chord repetition symbol is @code{q}:
-@lilypond[verbatim,quote,relative=1]
-<c e g> q q q
+@lilypond[verbatim,quote,relative=2]
+<a c e>1 q <f a c>2 q
+@end lilypond
+
+As with regular chords, the chord repetition symbol can be used with
+durations, articulations, markups, slurs, beams, etc. as only the
+pitches of the previous chord are duplicated.
+
+@lilypond[verbatim,quote,relative=2]
+<a c e>1\p^"text" q2\<( q8)[-| q8.]\! q16-1-2-3 q8\prall
+@end lilypond
+
+The chord repetition symbol always remembers the last instance of
+a chord so it is possible to repeat the most recent chord even if
+other non-chorded notes or rests have been added since.
+
+@lilypond[verbatim,quote,relative=2]
+<a c e>1 c4 q2 r8 q8
@end lilypond
-As in the case of regular chords, the chord repetition symbol can be
-followed by a duration and articulations. Only the pitches of the
-previous chord are duplicated; articulations, dynamics, etc, are not
-repeated.
+However, the chord repetition symbol does not retain any dynamics,
+articulation or ornamentation within, or attached to the previous chord.
-@lilypond[verbatim,quote,relative=1]
-<c e g>8\p q q4-| q8.^"text" q16 q4-|
+@lilypond[verbatim,quote,relative=2]
+<a-. c\prall e>1\sfz c4 q2 r8 q8
@end lilypond
@seealso
+Notation Reference:
+@ref{Chord notation},
+@ref{Articulations and ornamentations}.
+
Installed Files:
@file{ly/@/chord-repetition-init@/.ly}.
@end lilypond
@noindent
-Here, voices are instantiated explicitly and are given names. The
+Here, voices are instantiated explicitly and are given names. The
@code{\voiceOne} ... @code{\voiceFour} commands set up the voices
so that first and third voices get stems up, second and fourth
voices get stems down, third and fourth voice note heads are
The @code{<< @{...@} \\ @{...@} >>} construct, where the two (or
more) expressions are separated by double backslashes, behaves
differently to the similar construct without the double backslashes:
-@emph{all} the expressions within this contruct are assigned
+@emph{all} the expressions within this construct are assigned
to new @code{Voice} contexts. These new @code{Voice} contexts
are created implicitly and are given the fixed names @code{"1"},
@code{"2"}, etc.
>>
@end lilypond
-The @code{\voiceNeutralstyle} command is used to revert to the
+The @code{\voiceNeutralStyle} command is used to revert to the
standard presentation.
>>
@end lilypond
-Note heads with different dots as shown in beat 2 of bar 1 may be
+Note heads with different dots as shown in beat 3 of bar 1 may be
also be merged:
@lilypond[quote,relative=2,verbatim]
s1
e8 a b c d2
}
-
>>
@end lilypond
when one of the voices is explicitly named in order to attach lyrics to
it, the partcombining stops working.
-@code{\partcombine} only observes onset times of notes. It cannot
+@code{\partcombine} only observes onset times of notes. It cannot
determine whether a previously started note is playing or not, leading
to various problems.
projects / lilypond.git / blobdiff