@section Chord notation
Chords can be entered in chord mode, which recognizes some
-traditional European chord naming conventions. Chord names can also
-be displayed. In addition, figured bass notation can be displayed.
+traditional European chord naming conventions. Chord names can also
+be displayed. In addition, figured bass notation can be displayed.
@menu
-* Chord mode::
-* old Modern chords::
-* Figured bass::
+* Chord mode::
+* Displaying chords::
+* Figured bass::
@end menu
@cindex chord chords
+Chord mode is used to enter chords using an indicator of the chord
+structure, rather than the chord pitches.
+
@menu
* Chord mode overview::
* Common chords::
Chords can be entered as simultaneous music, as discussed in
@ref{Chorded notes}.
-Chords can also be entered in chord mode, which is an input mode
-that focuses on the structures of chords in traditional European
-music, rather than on specific pitches. This is convenient for those
-who are familiar with using chord names to describe chords.
-
-More information on different input modes can be found at @ref{Input modes FIXME}
+Chords can also be entered in @qq{chord mode}, which is an input
+mode that focuses on the structures of chords in traditional
+European music, rather than on specific pitches. This is
+convenient for those who are familiar with using chord names to
+describe chords. More information on different input modes can be
+found at @ref{Input modes}.
-Chord mode is entered by using @code{\chordmode}.
+@lilypond[verbatim,quote,ragged-right,relative=1]
+\chordmode { c1 g a g c }
+@end lilypond
Chords entered using chord mode are music elements, and can be
transposed just like chords entered using simultaneous music.
-The example below shows a simple chord progression:
+Chord mode and note mode can be mixed in sequential music:
@lilypond[verbatim,quote,ragged-right,relative=1]
-\chordmode { c1 g a g c }
+<c e g>2 < g b d >
+\chordmode { c2 f}
+< c e g > < g' b d >
+\chordmode { f g}
@end lilypond
+
@seealso
Music Glossary:
Notation Reference:
@ref{Chorded notes},
-@ref{Input modes FIXME}.
+@ref{Input modes}.
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
@cindex triads
@cindex seventh chords
@cindex root of chord
+@cindex modifiers, in chords.
+@cindex chord quality
-Major triads are entered by including the root and a duration:
+Major triads are entered by including the root and an
+optional duration:
@lilypond[verbatim,quote,relative=1,ragged-right]
-\chordmode { c2 f4. g8 }
+\chordmode { c2 f4 g }
@end lilypond
Minor, augmented, and diminished triads are entered by placing
@code{:} and a quality modifier string after the duration:
@lilypond[verbatim,quote,ragged-right,relative=1]
-\chordmode { c2:m f4:aug g4:dim }
+\chordmode { c2:m f4:aug g:dim }
@end lilypond
-Seventh chords are created by adding the number 7 at the beginning
-of the modifier string (for the dominant seventh chord) or after the
-quality modifier (for the other named seventh chords).
+Seventh chords can be created:
@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
-\chordmode {c1:7 c:m7 c:maj7 c:dim c:dim7 c:aug7 c:maj}
+\chordmode { c1:7 c:m7 c:maj7 c:dim7 c:aug7 }
@end lilypond
+@funindex aug
+@funindex dim
+@funindex maj
+@funindex m
+
The table belows shows the actions of the quality modifiers on
triads and seventh chords.
@end table
-@cindex modifiers, in chords.
-@cindex chord quality
-@funindex aug
-@funindex dim
-@funindex maj
-@funindex m
-
+@c TODO -- perhaps add warning about c and c:maj being different, while
+@c c:maj and c:maj7 are the same
@seealso
-
Snippets:
@rlsr{Chords}
remove chord steps, raise or lower chord steps, and add a bass note
or create an inversion.
-The first number following the @code{:} is taken to be the extent of
-the chord. The chord is constructed by sequentially adding thirds to
-the root until the specified number has been reached. If the extent
-is not a third (e.g., 6), thirds are added up to the highest third
-below the extent, and then the step of the extent is added.
+The first number following the @code{:} is taken to be the extent
+of the chord. The chord is constructed by sequentially adding
+thirds to the root until the specified number has been reached.
+If the extent is not a third (e.g., 6), thirds are added up to the
+highest third below the extent, and then the step of the extent is
+added. The largest possible value for the extent is 13. Any
+larger value is interpreted as 13.
@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
-\chordmode { c1:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
+\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
+}
@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
-Individual steps can be added to a chord. Additions follow the
+Individual steps can be added to a chord. Additions follow the
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
+}
@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
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
+chord. @code{sus} is equivalent to @code{^3}; @code{sus4} is
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
chord) and added bass notes can be specified by appending
@code{/}@var{pitch} to the chord.
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
-\chordmode { c1 c/g c/f }
+@lilypond[quote,ragged-right,fragment,verbatim, relative=2]
+\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
@end lilypond
Only one step can be removed from a chord. If a chord with multiple
-removed steps is desired, it must be build through addition of
+removed steps is desired, it must be built through addition of
multiple steps.
-@ignore
-@n ode Displaying chords
-@s ubsection Displaying chords
+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
+Chords can be displayed by name, in addition to the standard display
+as notes on a staff.
@menu
* Printing chord names::
* Customizing chord names::
-* Lead sheets::
@end menu
-@n ode Printing chord names
-@u nnumberedsubsubsec Printing chord names
+@node Printing chord names
+@unnumberedsubsubsec Printing chord names
@cindex printing chord names
@cindex chord names
@cindex chords
-LilyPond has support for printing chord names. Because chords are
-music elements, they can be transposed, and the chord names will be
-transposed along with the chords.
-
-Chords can be entered using @code{< .. >} or through the use of
-chord mode. The displayed chord name will sometimes be different
-depending upon the entry mode:
+Chord names are printed in the @code{ChordNames} context:
-@lilypond[quote,ragged-right,verbatim,ragged-right]
-twoWays = \transpose c c' {
+@lilypond[verbatim,quote,relative=1,ragged-right]
+\new ChordNames {
\chordmode {
- c1 f:sus4 bes/f
+ c2 f4. g8
}
- <c e g>
- <f bes c'>
- <f bes d'>
}
-
-<< \new ChordNames \twoWays
- \new Voice \twoWays >>
@end lilypond
-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.
-
-For displaying printed chord names, use the @rinternals{ChordNames}
-context.
+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[quote,verbatim,ragged-right]
-harmonies = {
- \chordmode {a1 b c} <d' f' a'> <e' g' b'>
-}
+@lilypond[verbatim,quote,relative=1]
<<
- \new ChordNames \harmonies
- \new Staff \harmonies
+ \new ChordNames {
+ <c e g>2 <f bes c>
+ <f c' e g>1
+ \chordmode {
+ c2 f:sus4 c1:/f
+ }
+ }
+ {
+ <c e g>2 <f bes c>
+ <f, c' e g>1
+ \chordmode {
+ c2 f:sus4 c1:/f
+ }
+ }
>>
@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.
+@funindex{\chords}
-@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
+@code{\chords @{ ... @}} is a shortcut notation for
+@code{\new ChordNames @{\chordmode @{ ... @}@}}.
+
+@lilypond[verbatim,quote,ragged-right, relative=1]
+\chords {
+ c2 f4.:m g8:maj7
}
+@end lilypond
+
+@lilypond[verbatim,quote,ragged-right, relative=1]
+\new ChordNames {
+ \chordmode {
+ c2 f4.:m g8:maj7
+ }
}
@end lilypond
-@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:
+@snippets
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{showing-chords-at-changes.ly}
-@lilypond[verbatim,quote,ragged-right]
-\chords { c2 f4.:m g4.:maj7 gis8:dim7 }
-@end lilypond
+@c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@c {adding-bar-lines-to-chordnames-context.ly}
-@c @predefined
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{simple-lead-sheet.ly}
-@c @snippets
@seealso
-@c Music Glossary:
-@c @rglos{}.
-@c Learning Manual:
-@c @rlearning{}.
+Music Glossary:
+@rglos{chord}.
-@c Notation Reference:
-@c @ruser{}.
-@c Application Usage:
-@c @rprogram{}.
+Notation Reference:
+@ref{Writing music in parallel}.
-@c Installed Files:
-@c @file{}.
-@c Snippets:
-@c @rlsr{}.
+Snippets:
+@rlsr{Chords}.
-@c Internals Reference:
-@c @rinternals{}.
+Internals Reference:
+@rinternals{ChordNames},
+@rinternals{Volta_engraver},
+@rinternals{Bar_engraver}.
-@c @knownissues
+@knownissues
+
+Chords containing inversions or altered bass notes are not named
+properly if entered using simultaneous music.
-@n ode Customizing chord names
-@u nnumberedsubsubsec Customizing chord names
+@node Customizing chord names
+@unnumberedsubsubsec Customizing chord names
@cindex customizing chord names
There is no unique system for naming chords. Different musical
-traditions use different names for the same set of chords. There are
-also different symbols displayed for a given chord name. The names
-and symbols displayed for chord names are customizable.
+traditions use different names for the same set of chords. There
+are also different symbols displayed for a given chord name. The
+names and symbols displayed for chord names are customizable.
+
+@cindex Banter
+@cindex jazz chords
+@cindex chords, jazz
The default chord name layout is a system for Jazz music, proposed
by Klaus Ignatzek (see @ref{Literature list}). There are also two
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},
If none of the default settings give the desired output, the chord
name display can be tuned through the following properties.
-@c TODO Generate snippet based on the following
-@c and add explanation -td
-
-@table
-@item
-@funindex chordNameExceptions
-
-@code{chordNameExceptions} contains a list of markups used to follow
-the root note name based on the pitches in the chord. Creating the
-list requires four steps.
-
-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
-
-The second step is to convert the music from the first step to an
-exceptions list:
-
-@example
-FGGExceptions = #(sequential-music-to-chord-exceptions
-FGGChordNames #t)
-@end example
+@table @code
-The third step is to append the default exceptions list (in this
-case, the Ignatzek exceptions) to the newly-defined exceptions list:
+@funindex chordRootNamer
-@example
-chExceptions = #(append FGGExceptions ignatzekExceptions)
-@end example
+@item chordRootNamer
-The final step is to set @code{chordNameExceptions} to the
-newly-created exceptions list:
+The chord name is usually printed as a letter for the root 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.
-@example
-\set chordNameExceptions = #chExceptions
-@end example
+@funindex majorSevenSymbol
-The entire process is illustrated below:
+@item majorSevenSymbol
-@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)" }
-}
-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
-}
+This property contains the markup object used to follow the output
+of @code{chordRootNamer} to dentify a major 7 chord. Predefined
+options are @code{whiteTriangleMarkup} and
+@code{blackTriangleMarkup}.
-\score
-{
-\new ChordNames \chordStuff
-}
-@end lilypond
+@funindex chordNoteNamer
+@item chordNoteNamer
-@funindex majorSevenSymbol
-@item majorSevenSymbol
-This property contains the markup object used as part of the printed
-chord name to identify a major 7 chord. Predefined options are
-@code{whiteTriangleMarkup} and @code{blackTriangleMarkup}.
+When the chord name contains additional pitches other than the root
+(e.g., an added bass note), this function is used to print the
+additional pitch. By default the pitch is printed using
+@code{chordRootNamer}. The @code{chordNoteNamer} property can be set
+to a specialized function to change this behavior. For example, the
+bass note can be printed in lower case.
@funindex chordNameSeparator
+
@item chordNameSeparator
+
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]
-\new ChordNames \chordmode {
- c:7sus4
- \set chordNameSeparator
- = \markup { \typewriter "|" }
- c:7sus4
-}
-@end lilypond
+for a separator.
-@funindex chordRootNamer
-@item chordRootNamer
-The chord name is usually printed as a letter for the root 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 chordNameExceptions
-@funindex chordNoteNamer
-@item chordNoteNamer
-When the chord name contains an additional pitch besides the root
-(e.g., an added bass note), this function is used to print the
-additional pitch. By default the pitch is printed using
-@code{chordRootNamer}. The @code{chordNoteNamer} property can be set
-to a specialized function to change this behavior. For example, the
-bass note can be printed in lower case.
+@item 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.
@funindex chordPrefixSpacer
@item chordPrefixSpacer
+
The @q{m} for minor chords is usually printed immediately to the
right of 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.
+@code{chordPrefixSpacer}, you can fix a spacer between the root
+and @q{m}. The spacer is not used when the root is altered.
@end table
-
-
-
-@cindex Banter
-@cindex jazz chords
-@cindex chords, jazz
-
@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}
-@seealso
-@c Music Glossary:
-@c @rglos{}.
+@c @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@c {adding-bars-to-chordnames.ly)
-@c Learning Manual:
-@c @rlearning{}.
+@c @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@c {volta-brackets-over-chord-names.ly}
-@c Notation Reference:
-@c @ruser{}.
+@c TODO convert to snippet
+@c @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@c {changing-chord-separator.ly}
-@c Application Usage:
-@c @rprogram{}.
+The separator between different parts of a chord name
+can be set to any markup.
+
+@lilypond[quote,ragged-right,fragment,verbatim]
+\chords {
+ c:7sus4
+ \set chordNameSeparator
+ = \markup { \typewriter "|" }
+ c:7sus4
+}
+@end lilypond
+
+
+@seealso
+
+Notation Reference:
+@ref{Chord name chart}.
Installed Files:
@file{scm/@/chords@/-ignatzek@/.scm},
@file{scm/@/chord@/-entry@/.scm},
@file{ly/@/chord@/-modifier@/-init@/.ly}.
-@c Snippets: @c @rlsr{}.
+Snippets:
+@rlsr{Chords}.
@c Internals Reference:
-@c @rinternals{}.
+@c @r internals{}.
@knownissues
-When chords are entered with the @code{< .. >} syntax, the root and
-any added bass notes are not identified. In this case, chord names
-are determined solely from the list of pitches. This may result in
-strange chord names
-
-@n ode Lead sheets
-@u nnumberedsubsubsec Lead sheets
-
-@cindex lead sheet
-
-For lead sheets, chords are not printed on staves, but as names on a
-line for themselves. This is achieved by using a @code{ChordNames}
-context simultaneously with the @code{Staff} context. The
-@code{\chords} keyword can be used as a shortcut for @code{\new
-ChordNames \chordmode}.
-
-When put together, chord names, a melody, and lyrics form a lead
-sheet:
+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
+method of entering chords is used, undesired names result from
+inversions or bass notes.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[quote,ragged-right,verbatim]
+myChords = \relative c' {
+ \chordmode{ c1 c/g c/f }
+ <c e g> <g c e> <f c' e g>
+}
<<
- \chords { c2 g:sus4 f e }
- \relative c'' {
- a4 e c8 e r4
- b2 c4( d)
- }
- \addlyrics { One day this shall be free __ }
+ \new ChordNames { \myChords }
+ \new Staff { \myChords }
>>
@end lilypond
-@c @predefined
-@c @snippets
+@node Figured bass
+@subsection Figured bass
-@seealso
-@c Music Glossary:
-@c @rglos{}.
+Figured bass notation can be displayed.
-@c Learning Manual:
-@c @rlearning{}.
+@menu
+* Introduction to figured bass::
+* Entering figured bass::
+* Displaying figured bass::
+@end menu
-@c Notation Reference:
-@c @ruser{}.
+@node Introduction to figured bass
+@unnumberedsubsubsec Introduction to figured bass
-@c Application Usage:
-@c @rprogram{}.
+@cindex Basso continuo
+@cindex Thorough bass
+@cindex Figured bass
+@cindex Bass, thorough
+@cindex Bass, figured
-@c Installed Files:
-@c @file{}.
+@c TODO: musicological blurb about FB
-@c Snippets:
-@c @rlsr{}.
+LilyPond has support for figured bass, also called thorough bass
+or basso continuo:
-@c Internals Reference:
-@c @rinternals{}.
+@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
-@c @knownissues
+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.
+@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.
-@end ignore
+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}.
+@node Entering figured bass
+@unnumberedsubsubsec Entering figured bass
-@node old Modern chords
-@subsection old Modern chords
+@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}.
-@menu
-* Chord modes::
-* Entering chord names::
-* Building chords::
-* Lead sheets::
-* Printing chord names::
-@end menu
+In figure mode, a group of bass figures is delimited by
+@code{<} and @code{>}. The duration is entered after the @code{>}.
-@cindex chords
-@cindex chord names
+@lilypond[verbatim,quote,ragged-right,fragment]
+\new FiguredBass {
+ \figuremode {
+ <6 4>2
+ }
+}
+@end lilypond
+
+Accidentals (including naturals) can be added to figures:
-@node Chord modes
-@subsubsection Chord modes
+@lilypond[verbatim,quote,ragged-right,fragment]
+\figures {
+ <7! 6+ 4-> <5++> <3-->
+}
+@end lilypond
-In popular music it is common to denote accompaniment with chord
-names. Such chords can be entered like notes,
+Augmented and diminished steps can be indicated.
-@lilypond[verbatim,quote,ragged-right]
-\chordmode { c2 f4. g8 }
+@lilypond[verbatim,quote,ragged-right,fragment]
+\figures {
+ <6\+ 5/> <7/>
+}
@end lilypond
-Now each pitch is read as the root of a chord instead of a note.
-This mode is switched on with @code{\chordmode}. Other chords can
-be created by adding modifiers after a colon. The following
-example shows a few common modifiers:
+A backward slash through a figure (typically used for raised
+sixth steps) can be created.
-@lilypond[verbatim,quote,ragged-right]
-\chordmode { c2 f4:m g4:maj7 gis1:dim7 }
+@lilypond[verbatim,quote,ragged-right,fragment]
+\figures {
+<6>
+% FIXME: broken.
+ %<6\\>
+}
@end lilypond
-@cindex Chords mode
-In chord mode sets of pitches (chords) are entered with normal note
-names. A chord is entered by the root, which is entered like a
-normal pitch
+Vertical spaces and brackets can be be included in figures:
-@lilypond[quote,ragged-right,fragment,verbatim]
-\chordmode { es4. d8 c2 }
+@lilypond[verbatim,quote,ragged-right,fragment]
+\figures {
+ <[12 _!] 8 [6 4]>
+}
@end lilypond
-@noindent
-The mode is introduced by the keyword @code{\chordmode}.
-@cindex chord entry
-@cindex chord mode
+Any text markup can be inserted as a figure:
-Chords is a mode similar to @code{\lyricmode}, etc. Most
-of the commands continue to work, for example, @code{r} and
-@code{\skip} can be used to insert rests and spaces, and property
-commands may be used to change various settings.
-It uses the same syntax as
-@code{\chordmode}, but renders the notes in a @code{ChordNames}
-context, with the following result:
-
-@lilypond[verbatim,quote,ragged-right]
-\chords { c2 f4.:m g4.:maj7 gis8:dim7 }
-@end lilypond
-
-
-@knownissues
-
-Each step can only be present in a chord once. The following
-simply produces the augmented chord, since @code{5+} is interpreted
-last
-@cindex clusters
-@lilypond[quote,ragged-right,verbatim,fragment]
-\chordmode { c:5.5-.5+ }
-@end lilypond
-
-
-@node Entering chord names
-@subsubsection Entering chord names
-@cindex chord names
-
-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
-
-
-@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[verbatim,quote,ragged-right,fragment]
+\figures {
+ < \markup{ \tiny \number 6 \super (1)} 5 >
}
-
-<< \new ChordNames \twoWays
- \new Voice \twoWays >>
-@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
-}
-
-\score
-{
-\new ChordNames \chordStuff
-}
-@end lilypond
-
-@node Building chords
-@subsubsection Building chords
-
-Other chords may be entered by suffixing a colon and introducing a
-modifier (which may include a number if desired)
-
-@lilypond[quote,fragment,verbatim]
-\chordmode { e1:m e1:7 e1:m7 }
-@end lilypond
-
-The first number following the root is taken to be the @q{type} of the
-chord, thirds are added to the root until it reaches the specified
-number. The exception is @code{c:13}, for which the 11 is omitted.
-
-@lilypond[quote,fragment,verbatim]
-\chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 c:13 }
-@end lilypond
-
-@cindex root of chord
-@cindex additions, in chords
-@cindex removals, in chords
-
-More complex chords may also be constructed adding separate steps
-to a chord. Additions are added after the number following
-the colon and are separated by dots
-
-@lilypond[quote,verbatim,fragment]
-\chordmode { c:5.6 c:3.7.8 c:3.6.13 }
-@end lilypond
-
-Chord steps can be altered by suffixing a @code{-} or @code{+} sign
-to the number
-
-@lilypond[quote,verbatim,fragment]
-\chordmode { c:7+ c:5+.3- c:3-.5-.7- }
-@end lilypond
-
-Removals are specified similarly and are introduced by a caret. They
-must come after the additions
-
-@lilypond[quote,verbatim,fragment]
-\chordmode { c^3 c:7^5 c:9^3.5 }
-@end lilypond
-
-Modifiers can be used to change pitches. The following modifiers are
-supported
-
-@table @code
-@item m
-The minor chord. This modifier lowers the 3rd and (if present) the 7th step.
-
-@item dim
-The diminished chord. This modifier lowers the 3rd, 5th and (if present)
-the 7th step.
-
-@item aug
-The augmented chord. This modifier raises the 5th step.
-
-@item maj
-The major 7th chord. This modifier raises the 7th step if present.
-
-@item sus
-The suspended 4th or 2nd. This modifier removes the 3rd
-step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
-the chord.
-@end table
-
-Modifiers can be mixed with additions
-@lilypond[quote,verbatim,fragment]
- \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
-@end lilypond
-
-@cindex modifiers, in chords.
-@funindex aug
-@funindex dim
-@funindex maj
-@funindex sus
-@funindex m
-
-Since an unaltered 11 does not sound good when combined with an
-unaltered 13, the 11 is removed in this case (unless it is added
-explicitly)
-@lilypond[quote,ragged-right,fragment,verbatim]
-\chordmode { c:13 c:13.11 c:m13 }
-@end lilypond
-
-@funindex /
-
-An inversion (putting one pitch of the chord on the bottom), as well
-as bass notes, can be specified by appending
-@code{/}@var{pitch} to the chord
-@lilypond[quote,ragged-right,fragment,verbatim]
-\chordmode { c1 c/g c/f }
@end lilypond
-@funindex /+
-
-A bass note can be added instead of transposed out of the chord,
-by using @code{/+}@var{pitch}.
-
-@lilypond[quote,ragged-right,fragment,verbatim]
-\chordmode { c1 c/+g c/+f }
-@end lilypond
-
-@node Lead sheets
-@subsubsection Lead sheets
+@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
-@cindex lead sheet
+Continuation lines can be used to indicate repeated figures:
-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}.
-
-When put together, chord names, lyrics and a melody form a lead
-sheet,
-
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote,ragged-right,fragment]
<<
- \chords { c2 g:sus4 f e }
- \relative c'' {
- a4 e c8 e r4
- b2 c4( d)
+ {
+ \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>
}
- \addlyrics { One day this shall be free __ }
->>
-@end lilypond
-
-
-
-@node Printing chord names
-@subsubsection 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'>
-}
-<<
- \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
+@noindent
+In this case, the extender lines replace existing figures,
+unless the continuation lines have been explicitly terminated.
-@lilypond[quote,verbatim,ragged-right]
-harmonies = \chordmode {
- c1:m c:m \break c:m c:m d
-}
+@lilypond[verbatim,quote,ragged-right,fragment]
<<
- \new ChordNames {
- \set chordChanges = ##t
- \harmonies }
- \new Staff \transpose c c' \harmonies
+ \figures {
+ \bassFigureExtendersOn
+ <6 4> <6 4> <6\! 4\!> <6 4>
+ }
+ {
+ \clef bass
+ d d c c
+ }
>>
@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.
-
-@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
-}
-}
-@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
-
-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.
-
-
-@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.
-
-@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
-}
-@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.
-
-@end table
-
-The predefined variables @code{\germanChords},
-@code{\semiGermanChords}, @code{\italianChords} and @code{\frenchChords}
-set these variables. The effect is
-demonstrated here,
-
-@lilypondfile[ragged-right]{chord-names-languages.ly}
-
-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}.
-
-@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