be displayed. In addition, figured bass notation can be displayed.
@menu
-* Chord mode::
-* Displaying chords::
-* old Modern chords::
-* Figured bass::
+* Chord mode::
+* Displaying chords::
+* Figured bass::
@end menu
structure, rather than the chord pitches.
@menu
-* Chord mode overview::
-* Common chords::
-* Extended and altered chords::
+* Chord mode overview::
+* Common chords::
+* Extended and altered chords::
@end menu
@node Chord mode overview
Chords entered using chord mode are music elements, and can be
transposed just like chords entered using simultaneous music.
+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 > < g' b d >
+\chordmode { f g}
+@end lilypond
+
+
@seealso
Music Glossary:
Snippets:
@rlsr{Chords}
+@knownissues
+
+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 > < g' b d >
+@end lilypond
+
+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 > < g' b d >
+}
+@end lilypond
+
@node Common chords
@unnumberedsubsubsec Common chords
\chordmode { c2:m f4:aug g:dim }
@end lilypond
-Seventh chords may be created:
+Seventh chords can be created:
@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
-\chordmode {
- c1:7 c:m7 c:maj7 c:dim7 c:aug7
-}
+\chordmode { c1:7 c:m7 c:maj7 c:dim7 c:aug7 }
@end lilypond
@funindex aug
@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
\chordmode {
-c:2 c:3 c:4 c:5
-c:6 c:7 c:8 c:9
-c:10 c:11 c:12 c:13
+ c:2 c:3 c:4 c:5
+ c:6 c:7 c:8 c:9
+ c:10 c:11 c:12 c:13
}
@end lilypond
+@noindent
+Note that @code{c:5} is identical to @code{c} -- both produce a C major triad.
+
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
is added explicitly).
@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
-\chordmode { c1:13 c:13.11 c:m13 }
+\chordmode {
+ c1:13 c:13.11 c:m13
+}
@end lilypond
@cindex additions, in chords
extent and are prefixed by a dot (@code{.}).
@lilypond[quote,verbatim,fragment,relative=1]
-\chordmode { c1:5.6 c:3.7.8 c:3.6.13 }
+\chordmode {
+ c1:5.6 c:3.7.8 c:3.6.13
+}
@end lilypond
Added steps can be as high as desired.
@lilypond[quote,verbatim,fragment,relative=1]
-\chordmode { c4:5.15 c:5.20 c:5.25 c:5.30 }
+\chordmode {
+ c4:5.15 c:5.20 c:5.25 c:5.30
+}
@end lilypond
@cindex chord steps, altering
Added chord steps can be altered by suffixing a @code{-} or @code{+}
-sign to the number. To alter a step that is lower than the extent,
-add it as an altered step.
+sign to the number. To alter a step that is automatically included
+as part of the basic chode structure, add it as an altered step.
@lilypond[quote,verbatim,fragment,relative=1]
-\chordmode { c1:7+ c:5+.3- c:3-.5-.7- }
+\chordmode {
+ c1:7+ c:5+.3- c:3-.5-.7-
+}
@end lilypond
@cindex removals, in chords
@funindex ^
-A step to be removed from the chord must come at the end of a
-modifier string and be by @code{^}. Only one removal with @code{^}
+A step to be removed from the chord indicated in a
+modifier string with a prefix of @code{^}. Only one removal with @code{^}
is allowed in a modifier string.
@lilypond[quote,verbatim,fragment,relative=1]
-\chordmode { c1^3 c:7^5 c:9^3.5 }
+\chordmode {
+ c1^3 c:7^5 c:9^3.5
+}
@end lilypond
@funindex sus
equivalent to @code{.4^3}.
@lilypond[quote,ragged-right,fragment,verbatim]
-\chordmode { c1:sus c:sus2 c:sus4 c:5.4^3 }
+\chordmode {
+ c1:sus c:sus2 c:sus4 c:5.4^3
+}
@end lilypond
It is possible to remove the 3rd step with @code{sus} and remove
@code{/}@var{pitch} to the chord.
@lilypond[quote,ragged-right,fragment,verbatim, relative=2]
-\chordmode { c1 c/g c/f }
+\chordmode {
+ c1 c/g c/f
+}
@end lilypond
@funindex /+
moved as part of an inversion, by using @code{/+}@var{pitch}.
@lilypond[quote,ragged-right,fragment,verbatim]
-\chordmode { c1 c/+g c/+f }
+\chordmode {
+ c1 c/g c/+g
+}
@end lilypond
@seealso
removed steps is desired, it must be built through addition of
multiple steps.
+Only the first inversion can be created by adding a bass note. The
+second inversion requires changing the root of the chord.
+
+@lilypond[quote,ragged-right,verbatim,fragment]
+\chordmode {
+ c'1: c':/g e:6-3-^5 e:m6-^5
+}
+@end lilypond
@node Displaying chords
@subsection Displaying chords
as notes on a staff.
@menu
-* Printing chord names::
-* Customizing chord names::
+* Printing chord names::
+* Customizing chord names::
@end menu
@node Printing chord names
@lilypond[verbatim,quote,relative=1,ragged-right]
\new ChordNames {
- \chordmode { c2 f4. g8 }
-}
-@end lilypond
-
-Both chord names and the notes can be displayed:
-
-@lilypond[verbatim,quote,ragged-right]
-myChords = \relative c'{
- \chordmode { c2 f4. g8 }
+ \chordmode {
+ c2 f4. g8
+ }
}
-<<
- \new ChordNames { \myChords }
- \myChords
->>
@end lilypond
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:
+of the mode of entry, unless there are inversions or added bass notes:
-@lilypond[quote,ragged-right,verbatim]
-twoWays = \relative c' {
- \chordmode {
- c2 f:sus4
+@lilypond[verbatim,quote,relative=1]
+<<
+ \new ChordNames {
+ <c e g>2 <f bes c>
+ <f c' e g>1
+ \chordmode {
+ c2 f:sus4 c1:/f
+ }
}
{
- <c e g> <f bes c>
+ <c e g>2 <f bes c>
+ <f, c' e g>1
+ \chordmode {
+ c2 f:sus4 c1:/f
+ }
}
-}
-<<
- \new ChordNames \twoWays
- \new Voice \twoWays
>>
@end lilypond
@funindex{\chords}
-@code{\chords} is a shortcut method used to change the input mode to
-@code{\chordmode} and create a @code{ChordNames} context, with the
-following result:
+@code{\chords @{ ... @}} is a shortcut notation for
+@code{\new ChordNames @{\chordmode @{ ... @}@}}.
@lilypond[verbatim,quote,ragged-right, relative=1]
-\chords { c2 f4.:m g8:maj7 }
+\chords {
+ c2 f4.:m g8:maj7
+}
@end lilypond
-@cindex lead sheet
-
-When put together, chord names, a melody, and lyrics form a lead
-sheet:
-
-@lilypond[verbatim,quote,ragged-right]
-<<
- \chords { c2 g:sus4 f e }
- \relative c'' {
- a4 e c8 e r4
- b2 c4( d)
+@lilypond[verbatim,quote,ragged-right, relative=1]
+\new ChordNames {
+ \chordmode {
+ c2 f4.:m g8:maj7
}
- \addlyrics { One day this shall be free __ }
->>
+}
@end lilypond
+@snippets
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{showing-chords-at-changes.ly}
-@snippets
+@c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@c {adding-bar-lines-to-chordnames-context.ly}
-If repeats are used in the music, and the volta brackets are to be
-dispayed above the chord names, @code{voltaOnThisStaff} must be set
-to @code{##t}. To add bar indications in the @code{ChordNames}
-context, add @rinternals{Bar_engraver}.
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{simple-lead-sheet.ly}
-@lilypond[ragged-right,verbatim]
-\new ChordNames \with {
- \override BarLine #'bar-size = #4
- voltaOnThisStaff = ##t
- \consists "Bar_engraver"
-}
-\chordmode {
- \repeat volta 2 {
- f1:maj7 f:7 bes:7 c:maj7
- }
- \alternative {
- ees e
- }
-}
-@end lilypond
@seealso
@knownissues
Chords containing inversions or altered bass notes are not named
-properly.
+properly if entered using simultaneous music.
@node Customizing chord names
alternate Jazz notation is also 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
+@c appendix, where the length of the snippet won't matter.
+
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},
@lilypondfile[ragged-right]{chord-names-languages.ly}
-@c TODO - this paragraph is moved here from an earlier section
-@c and needs to be corrected.
-This example also shows that the chord printing routines cannot
-correctly identify the root of a chord if it has been entered using
-@code{< .. >} instead of named chord entry. Therefore, the sixth
-chord (@code{f bes d}) is not interpreted as an inversion. In
-contrast, the third chord, which contains the same notes as the sixth
-chord, is correctly identified because it was entered in the named
-chord mode.
-
If none of the default settings give the desired output, the chord
name display can be tuned through the following properties.
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, e.g.,
-
-@lilypond[quote,ragged-right,fragment,verbatim]
-\chords {
- c:7sus4
- \set chordNameSeparator
- = \markup { \typewriter "|" }
- c:7sus4
-}
-@end lilypond
+for a separator.
@funindex chordNameExceptions
This property is a list of pairs. The first item in each pair
is a set of pitches used to identify the steps present in the chord.
The second item is a markups that will follow the @code{chordRootNamer}
-output to create the chord name. See @code{FIXME -- future ref to snippet}
-for information on creating this list.
+output to create the chord name.
@funindex chordPrefixSpacer
@item chordPrefixSpacer
@predefined
@funindex major seven symbols
-@code{\whiteTriangleMarkup}
-@code{\blackTriangleMarkup}
+@code{\whiteTriangleMarkup},
+@code{\blackTriangleMarkup},
@funindex \germanChords
@code{\germanChords},
@funindex \semiGermanChords
@snippets
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{chord-names-jazz.ly}
+@cindex exceptions, chord names.
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{chord-name-exceptions.ly}
-@cindex exceptions, chord names.
+@c TODO - tweak snippet to use \blackTriangleMarkup as well
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{chord-name-major7.ly}
-@c TODO -- see if the code below is in chord-name-exceptions.ly
-@c if so, remove it. If not, convert this to a snippet.
-@ignore
-The first step is to define sequential music that has the chords to
-be named with the desired markup (except for the root name) attached
-to the chord:
-
-@example
-FGGChordNames = @{
- <c e g b d'>1-\markup @{ \super "maj9" @}
- <c e g a d'>1-\markup @{ \super "6(add9)" @}
-@}
-@end example
+@c @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@c {adding-bars-to-chordnames.ly)
-The second step is to convert the music from the first step to an
-exceptions list:
+@c @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@c {volta-brackets-over-chord-names.ly}
-@example
-FGGExceptions = #(sequential-music-to-chord-exceptions
-FGGChordNames #t)
-@end example
+@c TODO convert to snippet
+@c @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@c {changing-chord-separator.ly}
-The third step is to append the default exceptions list (in this
-case, the Ignatzek exceptions) to the newly-defined exceptions list:
+The separator between different parts of a chord name
+can be set to any markup.
-@example
-chExceptions = #(append FGGExceptions ignatzekExceptions)
-@end example
-
-The final step is to set @code{chordNameExceptions} to the
-newly-created exceptions list:
-
-@example
-\set chordNameExceptions = #chExceptions
-@end example
-
-The entire process is illustrated below:
-
-@lilypond[quote,ragged-right,verbatim]
-FGGChordNames = {
- <c e g b d'>1-\markup { \super "maj9" }
- <c e g a d'>1-\markup { \super "6(add9)" }
-}
-FGGExceptions = #(sequential-music-to-chord-exceptions
-FGGChordNames #t)
-chExceptions = #(append FGGChordNames
- ignatzekExceptions)
-
-chordStuff = \chordmode
-{
-% standard names
-g1:maj9
-g1:6.9
-% names with FGG's custom exceptions
-\set chordNameExceptions = #chExceptions
-g1:maj9
-g1:6.9
-}
-
-\score
-{
-\new ChordNames \chordStuff
+@lilypond[quote,ragged-right,fragment,verbatim]
+\chords {
+ c:7sus4
+ \set chordNameSeparator
+ = \markup { \typewriter "|" }
+ c:7sus4
}
@end lilypond
-@end ignore
@seealso
+Notation Reference:
+@ref{Chord name chart}.
+
Installed Files:
@file{scm/@/chords@/-ignatzek@/.scm},
@file{scm/@/chord@/-entry@/.scm},
Snippets:
@rlsr{Chords}.
-Internals Reference:
-@c @rinternals{}.
+@c Internals Reference:
+@c @r internals{}.
@knownissues
>>
@end lilypond
-@node old Modern chords
-@subsection old Modern chords
+
+@node Figured bass
+@subsection Figured bass
+
+Figured bass notation can be displayed.
@menu
-* Entering chord names::
-* old Lead sheets::
-* old Printing chord names::
+* Introduction to figured bass::
+* Entering figured bass::
+* Displaying figured bass::
@end menu
-@node Entering chord names
-@subsubsection Entering chord names
-@cindex chord names
+@node Introduction to figured bass
+@unnumberedsubsubsec Introduction to figured bass
-LilyPond has support for printing chord names. Chords may be entered
-in musical chord notation, i.e., @code{< .. >}, but they can also be
-entered by name. Internally, the chords are represented as a set of
-pitches, so they can be transposed
+@cindex Basso continuo
+@cindex Thorough bass
+@cindex Figured bass
+@cindex Bass, thorough
+@cindex Bass, figured
+@c TODO: musicological blurb about FB
-@lilypond[quote,ragged-right,verbatim,ragged-right]
-twoWays = \transpose c c' {
- \chordmode {
- c1 f:sus4 bes/f
- }
- <c e g>
- <f bes c'>
- <f bes d'>
-}
+LilyPond has support for figured bass, also called thorough bass
+or basso continuo:
-<< \new ChordNames \twoWays
- \new Voice \twoWays >>
+@lilypond[quote,ragged-right,verbatim,fragment]
+<<
+ \new Voice { \clef bass dis4 c d ais g fis}
+ \new FiguredBass {
+ \figuremode {
+ < 6 >4 < 7\+ >8 < 6+ [_!] >
+ < 6 >4 <6 5 [3+] >
+ < _ >4 < 6 5/>4
+ }
+ }
+>>
@end lilypond
-This example also shows that the chord printing routines do not try to
-be intelligent. The last chord (@code{f bes d}) is not interpreted as
-an inversion.
-
-Note that the duration of chords must be specified outside the
-@code{<>}.
-
-@example
-<c e g>2
-@end example
-
-@c TODO Generate snippet based on the following
-@c and add explanation -td
-
-Custom chord names may be generated:
-
-@lilypond[quote,ragged-right,verbatim,ragged-right]
-FGGChordNames = {
- <c e g b d'>1-\markup { \super "maj9" }
- <c e g a d'>1-\markup { \super "6(add9)" }
-}
-chExceptions = #(append
-(sequential-music-to-chord-exceptions
-FGGChordNames #t) ignatzekExceptions)
-
-chordStuff = \chordmode
-{
-% standard names
-g1:maj9
-g1:6.9
-% names with FGG's custom exceptions
-\set chordNameExceptions = #chExceptions
-g1:maj9
-g1:6.9
-}
+The support for figured bass consists of two parts: there is an
+input mode, introduced by @code{\figuremode}, that accepts
+entry of bass figures, and there is a context named
+@code{FiguredBass} that takes care of displaying
+@code{BassFigure} objects. Figured bass can also be displayed
+in @code{Staff} contexts.
-\score
-{
-\new ChordNames \chordStuff
-}
-@end lilypond
+@code{\figures@{ ... @}} is a shortcut notation for
+@code{\new FiguredBass @{\figuremode @{ ... @}@}}.
+Although the support for figured bass may superficially resemble chord
+support, it is much simpler. @code{\figuremode} mode simply
+stores the figures and the @code{FiguredBass} context prints them
+as entered. There is no conversion to pitches.
-@node old Lead sheets
-@subsubsection old Lead sheets
+Figures are created as markup texts. Any of the standard markup
+properties can be used to modify the display of figures. For
+example, the vertical spacing of the figures may be set with
+@code{baseline-skip}.
-@cindex lead sheet
+@node Entering figured bass
+@unnumberedsubsubsec Entering figured bass
-For lead sheets, chords are not printed on staves, but as names on
-a line for themselves. This is achieved by using @code{\chords}
-instead of @code{\chordmode}.
+@code{\figuremode} is used to switch the input mode to figure mode.
+More information on different input modes can be
+found at @ref{Input modes}.
-When put together, chord names, lyrics and a melody form a lead
-sheet,
+In figure mode, a group of bass figures is delimited by
+@code{<} and @code{>}. The duration is entered after the @code{>}.
-@lilypond[verbatim,quote,ragged-right]
-<<
- \chords { c2 g:sus4 f e }
- \relative c'' {
- a4 e c8 e r4
- b2 c4( d)
+@lilypond[verbatim,quote,ragged-right,fragment]
+\new FiguredBass {
+ \figuremode {
+ <6 4>2
}
- \addlyrics { One day this shall be free __ }
->>
+}
@end lilypond
+Accidentals (including naturals) can be added to figures:
-
-@node old Printing chord names
-@subsubsection old Printing chord names
-
-@cindex printing chord names
-@cindex chord names
-@cindex chords
-
-For displaying printed chord names, use the @rinternals{ChordNames} context.
-The chords may be entered either using the notation
-described above, or directly using @code{<} and @code{>}
-
-@lilypond[quote,verbatim,ragged-right]
-harmonies = {
- \chordmode {a1 b c} <d' f' a'> <e' g' b'>
+@lilypond[verbatim,quote,ragged-right,fragment]
+\figures {
+ <7! 6+ 4-> <5++> <3-->
}
-<<
- \new ChordNames \harmonies
- \new Staff \harmonies
->>
@end lilypond
-You can make the chord changes stand out by setting
-@rinternals{ChordNames}.@code{chordChanges} to true. This will only
-display chord names when there is a change in the chords scheme and at
-the start of a new line
+Augmented and diminished steps can be indicated.
-@lilypond[quote,verbatim,ragged-right]
-harmonies = \chordmode {
- c1:m c:m \break c:m c:m d
+@lilypond[verbatim,quote,ragged-right,fragment]
+\figures {
+ <6\+ 5/> <7/>
}
-<<
- \new ChordNames {
- \set chordChanges = ##t
- \harmonies }
- \new Staff \transpose c c' \harmonies
->>
@end lilypond
-The previous examples all show chords over a staff. This is not
-necessary. Chords may also be printed separately. It may be necessary
-to add @rinternals{Volta_engraver} and @rinternals{Bar_engraver}
-for showing repeats.
+A backward slash through a figure (typically used for raised
+sixth steps) can be created.
-@lilypond[ragged-right,verbatim]
-\new ChordNames \with {
- \override BarLine #'bar-size = #4
- \consists Bar_engraver
- \consists "Volta_engraver"
-}
-\chordmode { \repeat volta 2 {
- f1:maj7 f:7 bes:7
- c:maj7
-} \alternative {
- es e
-}
+@lilypond[verbatim,quote,ragged-right,fragment]
+\figures {
+<6>
+% FIXME: broken.
+ %<6\\>
}
@end lilypond
-The default chord name layout is a system for Jazz music, proposed by
-Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
-following properties
-
-@table @code
-
-@funindex chordNameExceptions
-@item chordNameExceptions
-This is a list that contains the chords that have special formatting.
-
-The exceptions list should be encoded as
-@example
-@{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
-@end example
+Vertical spaces and brackets can be be included in figures:
-To get this information into @code{chordNameExceptions} takes a little
-maneuvering. The following code transforms @code{chExceptionMusic}
-(which is a sequential music) into a list of exceptions.
-@example
-(sequential-music-to-chord-exceptions chExceptionMusic #t)
-@end example
-Then,
-@example
-(append
- (sequential-music-to-chord-exceptions chExceptionMusic #t)
- ignatzekExceptions)
-@end example
-adds the new exceptions to the default ones, which are defined in
-@file{ly/@/chord@/-modifier@/-init@/.ly}.
-
-For an example of tuning this property, see also
-@c @lsr{chords,chord@/-name@/-exceptions@/.ly}
-@cindex exceptions, chord names.
+@lilypond[verbatim,quote,ragged-right,fragment]
+\figures {
+ <[12 _!] 8 [6 4]>
+}
+@end lilypond
-@funindex majorSevenSymbol
-@item majorSevenSymbol
-This property contains the markup object used for the 7th step, when
-it is major. Predefined options are @code{whiteTriangleMarkup} and
-@code{blackTriangleMarkup}. See
-@c @lsr{chords,chord@/-name@/-major7@/.ly} for an example.
+Any text markup can be inserted as a figure:
-@funindex chordNameSeparator
-@item chordNameSeparator
-Different parts of a chord name are normally separated by a
-slash. By setting @code{chordNameSeparator}, you can specify other
-separators, e.g.,
-@lilypond[quote,ragged-right,fragment,verbatim]
-\new ChordNames \chordmode {
- c:7sus4
- \set chordNameSeparator
- = \markup { \typewriter "|" }
- c:7sus4
+@lilypond[verbatim,quote,ragged-right,fragment]
+\figures {
+ < \markup{ \tiny \number 6 \super (1)} 5 >
}
@end lilypond
-@funindex chordRootNamer
-@item chordRootNamer
-The root of a chord is usually printed as a letter with an optional
-alteration. The transformation from pitch to letter is done by this
-function. Special note names (for example, the German @q{H} for a
-B-chord) can be produced by storing a new function in this property.
-
-@funindex chordNoteNamer
-@item chordNoteNamer
-The default is to print single pitch, e.g., the bass note, using the
-@code{chordRootNamer}. The @code{chordNoteNamer} property can be set
-to a specialized function to change this behavior. For example, the
-base can be printed in lower case.
-
-@funindex chordPrefixSpacer
-@item chordPrefixSpacer
-The @q{m} for minor chords is usually printed right after the root of
-the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer
-between the root and @q{m}. The spacer is not used when the root
-is altered.
+@c TODO We need to include notes any time we use extenders to
+@c avoid extraneous staff creation due to Staff.use... in
+@c \bassFigureExtendersOn
-@end table
+Continuation lines can be used to indicate repeated figures:
-The predefined variables @code{\germanChords},
-@code{\semiGermanChords}, @code{\italianChords} and @code{\frenchChords}
-set these variables. The effect is
-demonstrated here,
+@lilypond[verbatim,quote,ragged-right,fragment]
+<<
+ {
+ \clef bass
+ e d c b,
+ e d c b,
+ }
+ \figures {
+ \bassFigureExtendersOn
+ <6 4> <6 3> <7 3> <7 3>
+ \bassFigureExtendersOff
+ <6 4> <6 3> <7 3> <7 3>
+ }
+>>
+@end lilypond
-@lilypondfile[ragged-right]{chord-names-languages.ly}
+@noindent
+In this case, the extender lines replace existing figures,
+unless the continuation lines have been explicitly terminated.
-There are also two other chord name schemes implemented: an alternate
-Jazz chord notation, and a systematic scheme called Banter chords. The
-alternate Jazz notation is also shown on the chart in @ref{Chord name
-chart}. Turning on these styles is demonstrated in
-@c @lsr{chords,chord-names-jazz.ly}.
+@lilypond[verbatim,quote,ragged-right,fragment]
+<<
+ \figures {
+ \bassFigureExtendersOn
+ <6 4> <6 4> <6\! 4\!> <6 4>
+ }
+ {
+ \clef bass
+ d d c c
+ }
+>>
+@end lilypond
-@cindex Banter
-@cindex jazz chords
-@cindex chords, jazz
@predefined
-
-@funindex \germanChords
-@code{\germanChords},
-@funindex \semiGermanChords
-@code{\semiGermanChords}.
-@funindex \italianChords
-@code{\italianChords}.
-@funindex \frenchChords
-@code{\frenchChords}.
-
+@cindex figured bass extender lines
+@code{\bassFigureExtendersOn},
+@code{\bassFigureExtendersOff}.
+@snippets
+@c TODO Fix this snippet -- Plus direction should be RIGHT.
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{changing-the-positions-of-figured-bass-alterations.ly}
@seealso
+@c Music Glossary:
+@c @rglos{}.
-Examples:
-
-Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
-@file{scm/@/chord@/-entry@/.scm}.
-
+@c Learning Manual:
+@c @rlearning{}.
-@knownissues
+@c Notation Reference:
+@c @ruser{}.
-Chord names are determined solely from the list of pitches. Chord
-inversions are not identified, and neither are added bass notes. This
-may result in strange chord names when chords are entered with the
-@code{< .. >} syntax.
+@c Application Usage:
+@c @rprogram{}.
+@c Installed Files:
+@c @file{}.
-@node Figured bass
-@subsection Figured bass
+Snippets:
+@rlsr{Chords}.
-@menu
-* Introduction to figured bass::
-* Entering figured bass::
-* Displaying figured bass::
-@end menu
+Internals Reference:
+@rinternals{NewBassFigure},
+@rinternals{BassFigureAlignment},
+@rinternals{BassFigureLine},
+@rinternals{BassFigureBracket},
+@rinternals{BassFigureContinuation},
+@rinternals{FiguredBass}.
-@node Introduction to figured bass
-@subsubsection Introduction to figured bass
+@c @knownissues
-@cindex Basso continuo
+@node Displaying figured bass
+@unnumberedsubsubsec Displaying figured bass
-@c TODO: musicological blurb about FB
+Figured bass can be displayed using the @code{FiguredBass} context,
+or in most staff contexts.
-LilyPond has support for figured bass
+When displayed in a @code{FiguredBass} context, the vertical location
+of the figures is independent of the notes on the staff.
-@lilypond[quote,ragged-right,verbatim,fragment]
+@lilypond[verbatim,ragged-right,fragment,quote]
<<
- \new Voice { \clef bass dis4 c d ais g fis}
- \new FiguredBass \figuremode {
- < 6 >4 < 7\+ >8 < 6+ [_!] >
- < 6 >4 <6 5 [3+] >
- < _ >4 < 6 5/>4
+ \relative c'' {
+ c4 c'8 r8 c,4 c'
+ }
+ \new FiguredBass {
+ \figuremode {
+ <4>4 <10 6>8 s8
+ <6 4>4 <6 4>
+ }
}
>>
@end lilypond
-The support for figured bass consists of two parts: there is an
-input mode, introduced by @code{\figuremode}, where you can enter
-bass figures as numbers, and there is a context named
-@rinternals{FiguredBass} that takes care of making
-@rinternals{BassFigure} objects.
-
-Although the support for figured bass may superficially resemble chord
-support, it is much simpler. The @code{\figuremode} mode simply
-stores the numbers and @rinternals{FiguredBass} context prints them
-as entered. There is no conversion to pitches and no realizations of
-the bass are played in the MIDI file.
-
-Internally, the code produces markup texts. You can use any of the
-markup text properties to override formatting. For example, the
-vertical spacing of the figures may be set with @code{baseline-skip}.
-
-
-@menu
-* Entering figured bass::
-* Displaying figured bass::
-@end menu
-
-@node Entering figured bass
-@unnumberedsubsubsec Entering figured bass
-
-
-In figures input mode, a group of bass figures is delimited by
-@code{<} and @code{>}. The duration is entered after the @code{>}
-@example
-<4 6>2
-@end example
-@lilypond[quote,ragged-right,fragment]
-\new FiguredBass
-\figuremode { <4 6>2 }
-@end lilypond
-
-Accidentals are added when you append @code{-}, @code{!}, and @code{+}
-to the numbers. A plus sign is added when you append @code{\+}, and
-diminished fifths and sevenths can be obtained with @code{5/} and @code{7/}.
-
-@example
-<4- 6+ 7!>3 <5++> <3--> <7/> r <6\+ 5/>
-@end example
-@lilypond[quote,ragged-right,fragment]
-\figures { <4- 6+ 7!>4 <5++> <3--> <7/> r <6\+ 5/> }
-@end lilypond
-
-Spaces may be inserted by using @code{_}. Brackets are
-introduced with @code{[} and @code{]}. You can also include text
-strings and text markups, see @ref{Text markup commands}.
+@noindent
+In the example above, the @code{FiguredBass} context must be
+explicitly instantiated to avoid creating a second (empty) staff.
-@example
-< [4 6] 8 [_! 12] >4 < 5 \markup @{ \number 6 \super (1) @} >
-@end example
-@lilypond[quote,ragged-right,fragment]
-\new FiguredBass
-\figuremode { < [4 6] 8 [_! 12] >4 < 5 \markup{ \tiny \number 6 \super (1)} > }
-@end lilypond
+Figured bass can also be added to @code{Staff} contexts
+directly. In this case, the vertical position of the
+figures is adjusted automatically.
-It is also possible to use continuation lines for repeated figures,
+@c TODO add a second paragraph to show direction change. First
+@c example should be UP (default), second should be DOWN.
-@lilypond[verbatim,relative=1]
+@c TODO change to use predefined command once it is added to
+@c property-init.ly -cds
+@lilypond[verbatim,ragged-right,fragment,quote]
<<
- \new Staff {
- \clef bass
- c4 c c
+ \new Staff = myStaff
+ \figuremode {
+ <4>4 <10 6>8 s8
+ <6 4>4 <6 4>
}
- \figures {
- \set useBassFigureExtenders = ##t
- <4 6>4 <3 6> <3 7>
+ %% Put notes on same Staff as figures
+ \context Staff = myStaff
+ {
+ \clef bass
+ c4 c'8 r8 c4 c'
}
>>
@end lilypond
-@noindent
-In this case, the extender lines always replace existing figures.
-The @code{FiguredBass} context doesn't pay attention to the actual
-bass line. As a consequence, you may have to insert extra figures to
-get extender lines below all notes, and you may have to add @code{\!}
-to avoid getting an extender line, e.g.
+When added in a Staff context, figured bass can be displayed above
+or below the staff.
-@lilypond[relative=1]
+@lilypond[verbatim,ragged-right,fragment,quote]
<<
- \new Voice
- \figures {
- \set useBassFigureExtenders = ##t
- <6 4->4. <6 4->16. <6 4->32 <5>8. r16 <6>8 <6\! 5->
+ \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
{
\clef bass
- f16. g32 f16. g32 f16. g32 f16. g32 f8. es16 d8 es
+ c4 c'8 r8 c4 c'
}
>>
@end lilypond
+
+@ignore
+@c I don't understand this -cs
When using continuation lines, common figures are always put in the
-same vertical position. When this is unwanted, you can insert a rest
-with @code{r}. The rest will clear any previous alignment. For
+same vertical position. When this is unwanted, you can insert a rest.
+The rest will clear any previous alignment. For
example, you can write
@example
-<4 6>8 r8
+<6 4>8 r8
@end example
@noindent
@example
<4 6>4
@end example
+@end ignore
-Accidentals and plus signs can appear before or after the numbers,
-depending on the @code{figuredBassAlterationDirection} and
-@code{figuredBassPlusDirection}
-properties
-
-@lilypond
- \figures {
- <6\+> <5+> <6 4-> r
- \set figuredBassAlterationDirection = #1
- <6\+> <5+> <6 4-> r
- \set figuredBassPlusDirection = #1
- <6\+> <5+> <6 4-> r
- \set figuredBassAlterationDirection = #-1
- <6\+> <5+> <6 4-> r
- }
-@end lilypond
-
-
-Figured bass can also be added to @code{Staff} contexts
-directly. In this case, their vertical position is adjusted
-automatically.
-
-@lilypond[ragged-right,fragment,quote]
-<<
- \new Staff = someUniqueName
- \relative c'' {
- c4 c'8 r8 c,4 c'
- }
-
- %% send to existing Staff.
- \context Staff = someUniqueName
- \figuremode {
- <4>4 <6 10>8 s8
-
- \set Staff.useBassFigureExtenders = ##t
- <4 6>4 <4 6>
- }
->>
-@end lilypond
-
-@c @predefined
-
-@c @snippets
-
-@seealso
-@c Music Glossary:
-@c @rglos{}.
-
-@c Learning Manual:
-@c @rlearning{}.
-
-@c Notation Reference:
-@c @ruser{}.
-
-@c Application Usage:
-@c @rprogram{}.
-
-@c Installed Files:
-@c @file{}.
-
-@c Snippets:
-@c @rlsr{}.
-
-@c Internals Reference:
-@c @rinternals{}.
-
-@c @knownissues
-
-@node Displaying figured bass
-@unnumberedsubsubsec Displaying figured bass
-
-Figured bass is displayed using the @code{FiguredBass} context.
-
-@c @predefined
+@predefined
+@cindex figured bass alignment
+@code{\bassFigureStaffAlignmentDown},
+@code{\bassFigureStaffAlignmentUp},
+@code{\bassFigureStaffAlignmentNeutral}.
-@c @snippets
+@snippets
@seealso
@c Music Glossary:
@c @file{}.
@c Snippets:
-@c @rlsr{}.
+@rlsr{Figured Bass}.
Internals Reference:
@rinternals{NewBassFigure},
@knownissues
-By default, this method produces figures above the notes. To get
-figures below the notes, use
+To ensure that continuation lines work properly, it is
+safest to use the same rhythm in the figure line as in
+the bass line.
-@example
-\override Staff.BassFigureAlignmentPositioning #'direction = #DOWN
-@end example
+@lilypond[verbatim,ragged-right,fragment,quote]
+<<
+ {
+ \clef bass
+ \repeat unfold 4 {f16. g32} f8. es16 d8 es
+ }
+ \figures {
+ \bassFigureExtendersOn
+ % The extenders are correct here, with the same rhythm as the bass
+ \repeat unfold 4 {<6 4->16. <6 4->32}
+ <5>8. r16 <6>8 <6\! 5->
+ }
+>>
+<<
+ {
+ \clef bass
+ \repeat unfold 4 {f16. g32} f8. es16 d8 es
+ }
+ \figures {
+ \bassFigureExtendersOn
+ % The extenders are incorrect here, even though the timing is the same
+ <6 4->4 <6 4->4
+ %\repeat unfold 4 {<6 4->16. <6 4->32}
+ <5>8. r16 <6>8 <6\! 5->
+ }
+>>
+@end lilypond
+@c I have no idea what this means -cds
+@c A predefined command for changing this has been proposed -cds
+@c TODO -- put stacking direction snippet here -cds
When using figured bass above the staff with extender lines and
@code{implicitBassFigures} the lines may become swapped around.
Maintaining order consistently will be impossible when multiple figures
projects / lilypond.git / blobdiff