version that you are working on. See TRANSLATION for details.
@end ignore
+@c \version "2.11.38"
-@node Chords
-@section Chords
-Intro text.
+@node Chord notation
+@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.
@menu
-* Chords sections::
+* Chord mode::
+* Displaying chords::
+* Figured bass::
@end menu
-@node Chords sections
-@subsection Chords sections
+@node Chord mode
+@subsection Chord mode
+
+@cindex chord chords
+
+Chord mode is used to enter chords using an indicator of the chord
+structure, rather than the chord pitches.
@menu
-* A lead sheet::
-* Introducing chord names::
-* Chords mode::
-* Printing chord names::
+* Chord mode overview::
+* Common chords::
+* Extended and altered chords::
@end menu
-@c really awkward; I just shoved this in here from the tutorial.
-@node A lead sheet
-@unnumberedsubsubsec A lead sheet
+@node Chord mode overview
+@unnumberedsubsubsec Chord mode overview
-@cindex Lead sheets
-@cindex chords
@cindex chord names
+@cindex chord mode
+
+Chords can be entered as simultaneous music, as discussed in
+@ref{Chorded notes}.
-In popular music it is common to denote accompaniment with chord
-names. Such chords can be entered like notes,
+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}.
-@lilypond[verbatim,quote,ragged-right]
-\chordmode { c2 f4. g8 }
+@lilypond[verbatim,quote,ragged-right,relative=1]
+\chordmode { c1 g a g c }
@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:
+Chords entered using chord mode are music elements, and can be
+transposed just like chords entered using simultaneous music.
-@lilypond[verbatim,quote,ragged-right]
-\chordmode { c2 f4:m g4:maj7 gis1:dim7 }
+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
-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}. This 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
+@seealso
-@cindex lead sheet
-When put together, chord names, lyrics and a melody form a lead
-sheet,
+Music Glossary:
+@rglos{chord}.
-@lilypond[verbatim,quote,ragged-right]
-<<
- \chords { c2 g:sus4 f e }
- \relative c'' {
- a4 e c8 e r4
- b2 c4( d)
- }
- \addlyrics { One day this shall be free __ }
->>
+Notation Reference:
+@ref{Chorded notes},
+@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:
-@seealso
-@quotation
-A complete list of modifiers and other options for layout can be
-found in @ruser{Chords}.
-@end quotation
+@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
-@node Introducing chord names
-@unnumberedsubsubsec Introducing chord names
-@cindex chord names
+@cindex triads
+@cindex seventh chords
+@cindex root of chord
+@cindex modifiers, in chords.
+@cindex chord quality
-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
+Major triads are entered by including the root and an
+optional duration:
+@lilypond[verbatim,quote,relative=1,ragged-right]
+\chordmode { c2 f4 g }
+@end lilypond
-@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'>
-}
+Minor, augmented, and diminished triads are entered by placing
+@code{:} and a quality modifier string after the duration:
-<< \new ChordNames \twoWays
- \new Voice \twoWays >>
+@lilypond[verbatim,quote,ragged-right,relative=1]
+\chordmode { c2:m f4:aug g:dim }
@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.
+Seventh chords can be created:
-Note that the duration of chords must be specified outside the
-@code{<>}.
+@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
+\chordmode { c1:7 c:m7 c:maj7 c:dim7 c:aug7 }
+@end lilypond
-@example
-<c e g>2
-@end example
+@funindex aug
+@funindex dim
+@funindex maj
+@funindex m
+The table belows shows the actions of the quality modifiers on
+triads and seventh chords.
-@node Chords mode
-@unnumberedsubsubsec Chords mode
-@cindex Chords mode
+@table @code
-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
+@item m
+The minor chord. This modifier lowers the 3rd and (if present) the
+7th step.
-@lilypond[quote,ragged-right,fragment,verbatim]
-\chordmode { es4. d8 c2 }
-@end lilypond
+@item dim
+The diminished chord. This modifier lowers the 3rd, 5th and (if
+present) the 7th step.
-@noindent
-The mode is introduced by the keyword @code{\chordmode}.
+@item aug
+The augmented chord. This modifier raises the 5th step.
-@cindex chord entry
-@cindex chord mode
+@item maj
+The major 7th chord. This modifier adds a raised 7th step. The
+@code{7} following @code{maj} is optional. Do NOT use this modifier
+to create a major triad.
-Other chords may be entered by suffixing a colon and introducing a
-modifier (which may include a number if desired)
+@end table
-@lilypond[quote,fragment,verbatim]
-\chordmode { e1:m e1:7 e1:m7 }
-@end lilypond
+@c TODO -- perhaps add warning about c and c:maj being different, while
+@c c:maj and c:maj7 are the same
-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.
+@seealso
-@lilypond[quote,fragment,verbatim]
-\chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 c:13 }
+Snippets:
+@rlsr{Chords}
+
+@node Extended and altered chords
+@unnumberedsubsubsec Extended and altered chords
+
+@cindex extended chords
+@cindex altered chords
+
+Chord structures of arbitrary complexity can be created in chord
+mode. The modifier string can be used to extend a chord, add or
+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 largest possible value for the extent is 13. Any
+larger value is interpreted as 13.
+
+@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
+}
@end lilypond
-@cindex root of chord
-@cindex additions, in chords
-@cindex removals, in chords
+@noindent
+Note that @code{c:5} is identical to @code{c} -- both produce a C major triad.
-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
+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,verbatim,fragment]
-\chordmode { c:5.6 c:3.7.8 c:3.6.13 }
+@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
+\chordmode {
+ c1:13 c:13.11 c:m13
+}
@end lilypond
-Chord steps can be altered by suffixing a @code{-} or @code{+} sign
-to the number
+@cindex additions, in chords
+
+Individual steps can be added to a chord. Additions follow the
+extent and are prefixed by a dot (@code{.}).
-@lilypond[quote,verbatim,fragment]
-\chordmode { c:7+ c:5+.3- c:3-.5-.7- }
+@lilypond[quote,verbatim,fragment,relative=1]
+\chordmode {
+ c1:5.6 c:3.7.8 c:3.6.13
+}
@end lilypond
-Removals are specified similarly and are introduced by a caret. They
-must come after the additions
+Added steps can be as high as desired.
-@lilypond[quote,verbatim,fragment]
-\chordmode { c^3 c:7^5 c:9^3.5 }
+@lilypond[quote,verbatim,fragment,relative=1]
+\chordmode {
+ c4:5.15 c:5.20 c:5.25 c:5.30
+}
@end lilypond
-Modifiers can be used to change pitches. The following modifiers are
-supported
+@cindex chord steps, altering
-@table @code
-@item m
-The minor chord. This modifier lowers the 3rd and (if present) the 7th step.
+Added chord steps can be altered by suffixing a @code{-} or @code{+}
+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.
-@item dim
-The diminished chord. This modifier lowers the 3rd, 5th and (if present)
-the 7th step.
+@lilypond[quote,verbatim,fragment,relative=1]
+\chordmode {
+ c1:7+ c:5+.3- c:3-.5-.7-
+}
+@end lilypond
-@item aug
-The augmented chord. This modifier raises the 5th step.
+@cindex removals, in chords
-@item maj
-The major 7th chord. This modifier raises the 7th step if present.
+@funindex ^
-@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
+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.
-Modifiers can be mixed with additions
-@lilypond[quote,verbatim,fragment]
- \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
+@lilypond[quote,verbatim,fragment,relative=1]
+\chordmode {
+ c1^3 c:7^5 c:9^3.5
+}
@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)
+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
+equivalent to @code{.4^3}.
+
@lilypond[quote,ragged-right,fragment,verbatim]
-\chordmode { c:13 c:13.11 c:m13 }
+\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
+another step with @code{^} in one modifier string.
+
@funindex /
+@cindex chord inversions
+@cindex bass note, for chords
-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 }
+Inversions (putting a pitch other than the root on the bottom of the
+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
+}
@end lilypond
+
@funindex /+
-A bass note can be added instead of transposed out of the chord,
-by using @code{/+}@var{pitch}.
+A bass note that is part of the chord can be added, instead of
+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
-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.
-
+@seealso
+Snippets:
+@rlsr{Chords}
-@refbugs
+@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
+simply produces the augmented chord, since @code{5+} is
+interpreted last.
+
@lilypond[quote,ragged-right,verbatim,fragment]
-\chordmode { c:5.5-.5+ }
+\chordmode { c1:5.5-.5+ }
@end lilypond
+Only one step can be removed from a chord. If a chord with multiple
+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
+
+Chords can be displayed by name, in addition to the standard display
+as notes on a staff.
+
+@menu
+* Printing chord names::
+* Customizing chord names::
+@end menu
@node Printing chord names
@unnumberedsubsubsec Printing chord names
@cindex chord names
@cindex chords
-For displaying printed chord names, use the @internalsref{ChordNames} context.
-The chords may be entered either using the notation
-described above, or directly using @code{<} and @code{>}
+Chord names are printed in the @code{ChordNames} context:
-@lilypond[quote,verbatim,ragged-right]
-harmonies = {
- \chordmode {a1 b c} <d' f' a'> <e' g' b'>
+@lilypond[verbatim,quote,relative=1,ragged-right]
+\new ChordNames {
+ \chordmode {
+ c2 f4. g8
+ }
}
-<<
- \new ChordNames \harmonies
- \new Staff \harmonies
->>
@end lilypond
-You can make the chord changes stand out by setting
-@internalsref{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
+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 {
- c1:m c:m \break c:m c:m d
-}
+@lilypond[verbatim,quote,relative=1]
<<
\new ChordNames {
- \set chordChanges = ##t
- \harmonies }
- \new Staff \transpose c c' \harmonies
+ <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 @internalsref{Volta_engraver} and @internalsref{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
+@snippets
-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
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{showing-chords-at-changes.ly}
-@table @code
-@funindex chordNameExceptions
-@item chordNameExceptions
-This is a list that contains the chords that have special formatting.
+@c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@c {adding-bar-lines-to-chordnames-context.ly}
-The exceptions list should be encoded as
-@example
-@{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
-@end example
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{simple-lead-sheet.ly}
-To get this information into @code{chordNameExceptions} takes a little
-manoeuvring. 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
-@lsr{chords,chord@/-name@/-exceptions@/.ly}
-@cindex exceptions, chord names.
+@seealso
+Music Glossary:
+@rglos{chord}.
-@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
-@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
+Notation Reference:
+@ref{Writing music in parallel}.
+
+
+Snippets:
+@rlsr{Chords}.
+
+Internals Reference:
+@rinternals{ChordNames},
+@rinternals{Volta_engraver},
+@rinternals{Bar_engraver}.
+
+@knownissues
+
+Chords containing inversions or altered bass notes are not named
+properly if entered using simultaneous music.
+
+
+@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.
+
+@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
+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}.
+
+@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},
+@code{\italianChords} and @code{\frenchChords} set these variables.
+The effect is demonstrated here:
+
+@lilypondfile[ragged-right]{chord-names-languages.ly}
+
+If none of the default settings give the desired output, the chord
+name display can be tuned through the following properties.
+
+@table @code
@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.
+
+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 majorSevenSymbol
+
+@item majorSevenSymbol
+
+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}.
@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
+
+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
-base can be printed in lower case.
+bass note 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.
+@funindex chordNameSeparator
-@end table
+@item chordNameSeparator
-The predefined variables @code{\germanChords},
-@code{\semiGermanChords}, @code{\italianChords} and @code{\frenchChords}
-set these variables. The effect is
-demonstrated here,
+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.
-@lilypondfile[ragged-right]{chord-names-languages.ly}
+@funindex chordNameExceptions
-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
-@lsr{chords,chord-names-jazz.ly}.
+@item chordNameExceptions
-@cindex Banter
-@cindex jazz chords
-@cindex chords, jazz
+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.
+@end table
-@refcommands
+@predefined
+@funindex major seven symbols
+@code{\whiteTriangleMarkup},
+@code{\blackTriangleMarkup},
@funindex \germanChords
@code{\germanChords},
@funindex \semiGermanChords
-@code{\semiGermanChords}.
+@code{\semiGermanChords},
@funindex \italianChords
-@code{\italianChords}.
+@code{\italianChords},
@funindex \frenchChords
@code{\frenchChords}.
+@snippets
+
+@cindex exceptions, chord names.
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{chord-name-exceptions.ly}
+
+@c TODO - tweak snippet to use \blackTriangleMarkup as well
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{chord-name-major7.ly}
+
+@c @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@c {adding-bars-to-chordnames.ly)
+
+@c @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@c {volta-brackets-over-chord-names.ly}
+
+@c TODO convert to snippet
+@c @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@c {changing-chord-separator.ly}
+
+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}.
+
+Snippets:
+@rlsr{Chords}.
+
+@c Internals Reference:
+@c @r internals{}.
+
+@knownissues
+
+Chord names are determined from both the pitches that are present
+in the chord and the information on the chord structure that may
+have been entered in @code{\chordmode}. If the simultaneous pitches
+method of entering chords is used, undesired names result from
+inversions or bass notes.
+
+@lilypond[quote,ragged-right,verbatim]
+myChords = \relative c' {
+ \chordmode{ c1 c/g c/f }
+ <c e g> <g c e> <f c' e g>
+}
+<<
+ \new ChordNames { \myChords }
+ \new Staff { \myChords }
+>>
+@end lilypond
+
+
+@node Figured bass
+@subsection Figured bass
+
+Figured bass notation can be displayed.
+
+@menu
+* Introduction to figured bass::
+* Entering figured bass::
+* Displaying figured bass::
+@end menu
+
+@node Introduction to figured bass
+@unnumberedsubsubsec Introduction to figured bass
+
+@cindex Basso continuo
+@cindex Thorough bass
+@cindex Figured bass
+@cindex Bass, thorough
+@cindex Bass, figured
+
+@c TODO: musicological blurb about FB
+
+LilyPond has support for figured bass, also called thorough bass
+or basso continuo:
+
+@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
+
+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.
+
+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
+
+@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}.
+
+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,fragment]
+\new FiguredBass {
+ \figuremode {
+ <6 4>2
+ }
+}
+@end lilypond
+
+Accidentals (including naturals) can be added to figures:
+
+@lilypond[verbatim,quote,ragged-right,fragment]
+\figures {
+ <7! 6+ 4-> <5++> <3-->
+}
+@end lilypond
+
+Augmented and diminished steps can be indicated.
+
+@lilypond[verbatim,quote,ragged-right,fragment]
+\figures {
+ <6\+ 5/> <7/>
+}
+@end lilypond
+
+A backward slash through a figure (typically used for raised
+sixth steps) can be created.
+
+@lilypond[verbatim,quote,ragged-right,fragment]
+\figures {
+<6>
+% FIXME: broken.
+ %<6\\>
+}
+@end lilypond
+
+
+Vertical spaces and brackets can be be included in figures:
+
+@lilypond[verbatim,quote,ragged-right,fragment]
+\figures {
+ <[12 _!] 8 [6 4]>
+}
+@end lilypond
+
+
+Any text markup can be inserted as a figure:
+
+@lilypond[verbatim,quote,ragged-right,fragment]
+\figures {
+ < \markup{ \tiny \number 6 \super (1)} 5 >
+}
+@end lilypond
+
+@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
+
+Continuation lines can be used to indicate repeated figures:
+
+@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
+
+@noindent
+In this case, the extender lines replace existing figures,
+unless the continuation lines have been explicitly terminated.
+
+@lilypond[verbatim,quote,ragged-right,fragment]
+<<
+ \figures {
+ \bassFigureExtendersOn
+ <6 4> <6 4> <6\! 4\!> <6 4>
+ }
+ {
+ \clef bass
+ d d c c
+ }
+>>
+@end lilypond
+
+
+
+@predefined
+@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{}.
+
+@c Learning Manual:
+@c @rlearning{}.
+
+@c Notation Reference:
+@c @ruser{}.
+
+@c Application Usage:
+@c @rprogram{}.
+
+@c Installed Files:
+@c @file{}.
+
+Snippets:
+@rlsr{Chords}.
+
+Internals Reference:
+@rinternals{NewBassFigure},
+@rinternals{BassFigureAlignment},
+@rinternals{BassFigureLine},
+@rinternals{BassFigureBracket},
+@rinternals{BassFigureContinuation},
+@rinternals{FiguredBass}.
+
+@c @knownissues
+
+@node Displaying figured bass
+@unnumberedsubsubsec Displaying figured bass
+
+Figured bass can be displayed using the @code{FiguredBass} context,
+or in most staff contexts.
+
+When displayed in a @code{FiguredBass} context, the vertical location
+of the figures is independent of the notes on the staff.
+
+@lilypond[verbatim,ragged-right,fragment,quote]
+<<
+ \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
+
+@noindent
+In the example above, the @code{FiguredBass} context must be
+explicitly instantiated to avoid creating a second (empty) staff.
+
+
+Figured bass can also be added to @code{Staff} contexts
+directly. In this case, the vertical position of the
+figures is adjusted automatically.
+
+@c TODO add a second paragraph to show direction change. First
+@c example should be UP (default), second should be DOWN.
+
+@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 = myStaff
+ \figuremode {
+ <4>4 <10 6>8 s8
+ <6 4>4 <6 4>
+ }
+ %% Put notes on same Staff as figures
+ \context Staff = myStaff
+ {
+ \clef bass
+ c4 c'8 r8 c4 c'
+ }
+>>
+@end lilypond
+
+
+When added in a Staff context, figured bass can be displayed above
+or below the staff.
+
+@lilypond[verbatim,ragged-right,fragment,quote]
+<<
+ \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
+ 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.
+The rest will clear any previous alignment. For
+example, you can write
+
+@example
+<6 4>8 r8
+@end example
+
+@noindent
+instead of
+@example
+<4 6>4
+@end example
+@end ignore
+
+@predefined
+@cindex figured bass alignment
+@code{\bassFigureStaffAlignmentDown},
+@code{\bassFigureStaffAlignmentUp},
+@code{\bassFigureStaffAlignmentNeutral}.
+
+@snippets
+
@seealso
+@c Music Glossary:
+@c @rglos{}.
-Examples:
-@lsrdir{chords}
+@c Learning Manual:
+@c @rlearning{}.
-Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
-@file{scm/@/chord@/-entry@/.scm}.
+@c Notation Reference:
+@c @ruser{}.
+@c Application Usage:
+@c @rprogram{}.
-@refbugs
+@c Installed Files:
+@c @file{}.
-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 Snippets:
+@rlsr{Figured Bass}.
+Internals Reference:
+@rinternals{NewBassFigure},
+@rinternals{BassFigureAlignment},
+@rinternals{BassFigureLine},
+@rinternals{BassFigureBracket},
+@rinternals{BassFigureContinuation},
+@rinternals{FiguredBass}.
+@knownissues
+
+To ensure that continuation lines work properly, it is
+safest to use the same rhythm in the figure line as in
+the bass line.
+
+@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
+have overlapping extender lines. To avoid this problem, please
+use @code{stacking-dir} on @code{BassFigureAlignment}.
+
+
+@seealso
projects / lilypond.git / blobdiff