\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 }
}
@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).
@funindex ^
-A step to be removed from the chord must come at the end of a
-modifier string and be prefixed 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]
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
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,ragged-right,verbatim]
+@lilypond[verbatim,quote,relative=1]
<<
\new ChordNames {
<c e g>2 <f bes c>
@funindex{\chords}
-@code{\chords} is a shortcut method used to create a
-@code{ChordNames} context and change the input mode to
-@code{\chordmode}:
+@code{\chords @{ ... @}} is a shortcut notation for
+@code{\new ChordNames @{\chordmode @{ ... @}@}}.
@lilypond[verbatim,quote,ragged-right, relative=1]
\chords {
@snippets
-@c TODO -- replace this with a snippet
-Chord names can be displayed only at the start of lines and when
-the chord changes.
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{showing-chords-at-changes.ly}
-@lilypond[quote,verbatim,ragged-right]
-harmonies = \chordmode {
- c1:m c:m \break c:m c:m d
-}
-<<
- \new ChordNames {
- \set chordChanges = ##t
- \harmonies
- }
- \new Staff {
- \relative c' { \harmonies }
- }
->>
-@end lilypond
+@c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@c {adding-bar-lines-to-chordnames-context.ly}
-@c TODO -- replace this with a snippet
-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
- \consists "Bar_engraver"
-}
-\chordmode {
- f1:maj7 f:7 bes:7 c:maj7 ees e
-}
-@end lilypond
-
-@c TODO -- replace this with a snippet
-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)
- }
- \addlyrics { One day this shall be free __ }
->>
-@end lilypond
@seealso
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},
@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 {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.
@seealso
+Notation Reference:
+@ref{Chord name chart}.
+
Installed Files:
@file{scm/@/chords@/-ignatzek@/.scm},
@file{scm/@/chord@/-entry@/.scm},
@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
+LilyPond has support for figured bass, also called thorough bass
+or basso continuo:
@lilypond[quote,ragged-right,verbatim,fragment]
<<
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.
+@code{BassFigure} objects. Figured bass can also be displayed
+in @code{Staff} contexts.
-@code{\figures@{ ..@}} is a shortcut notation for
-@code{\new FiguredBass @{\figuremode @{ ..@}@}}.
+@code{\figures@{ ... @}} 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. Figured bass has
-no effect on the MIDI file.
+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
@lilypond[verbatim,quote,ragged-right,fragment]
\new FiguredBass {
\figuremode {
- <4 6>2
+ <6 4>2
}
}
@end lilypond
-Accidentals can be added to figures:
+Accidentals (including naturals) can be added to figures:
@lilypond[verbatim,quote,ragged-right,fragment]
\figures {
- <4- 6+ 7!> <5++> <3-->
+ <7! 6+ 4-> <5++> <3-->
}
@end lilypond
-Plus signs, diminished fifths, and diminished sevenths
-can be notated.
+Augmented and diminished steps can be indicated.
@lilypond[verbatim,quote,ragged-right,fragment]
\figures {
- <7/> <6\+ 5/>
+ <6\+ 5/> <7/>
}
@end lilypond
-Vertical spaces and brackets can be be included in figures:
+A backward slash through a figure (typically used for raised
+sixth steps) can be created.
@lilypond[verbatim,quote,ragged-right,fragment]
\figures {
- < [4 6] 8 [_! 12] >
+<6>
+% FIXME: broken.
+ %<6\\>
}
@end lilypond
-Any text markup can be inserted as a figure:
+Vertical spaces and brackets can be be included in figures:
@lilypond[verbatim,quote,ragged-right,fragment]
\figures {
- < 5 \markup{ \tiny \number 6 \super (1)} >
+ <[12 _!] 8 [6 4]>
}
@end lilypond
-Continuation lines can be used to indicate repeated figures:
-@c I know I'm not supposed to use \set, but I think
-@c it's part of the notation -- suggestions? -cds
+Any text markup can be inserted as a figure:
@lilypond[verbatim,quote,ragged-right,fragment]
\figures {
- \set useBassFigureExtenders = ##t
- <4 6> <3 6> <3 7>
+ < \markup{ \tiny \number 6 \super (1)} 5 >
}
@end lilypond
-@noindent
-In this case, the extender lines always replace existing figures.
+@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
-@c @predefined
+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
-@c @snippets
-@c This probably isn't notation, but rather adjusting output. I guess this
-@c should be converted to a snippet? -cds
-Accidentals and plus signs can appear before or after the numbers,
-depending on the @code{figuredBassAlterationDirection} and
-@code{figuredBassPlusDirection}
-properties
+@noindent
+In this case, the extender lines replace existing figures,
+unless the continuation lines have been explicitly terminated.
-@lilypond
+@lilypond[verbatim,quote,ragged-right,fragment]
+<<
\figures {
- <6\+> <5+> <6 4-> r
- \set figuredBassAlterationDirection = #RIGHT
- <6\+> <5+> <6 4-> r
- \set figuredBassPlusDirection = #LEFT
- <6\+> <5+> <6 4-> r
- \set figuredBassAlterationDirection = #LEFT
- <6\+> <5+> <6 4-> r
+ \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 @file{}.
Snippets:
-@rlsr{Figured Bass}.
+@rlsr{Chords}.
-@c Internals Reference:
+Internals Reference:
@rinternals{NewBassFigure},
@rinternals{BassFigureAlignment},
@rinternals{BassFigureLine},
When displayed in a @code{FiguredBass} context, the vertical location
of the figures is independent of the notes on the staff.
-@lilypond[ragged-right,fragment,quote]
+@lilypond[verbatim,ragged-right,fragment,quote]
<<
\relative c'' {
c4 c'8 r8 c,4 c'
}
\new FiguredBass {
\figuremode {
- <4>4 <6 10>8 s8
- <4 6>4 <4 6>
+ <4>4 <10 6>8 s8
+ <6 4>4 <6 4>
}
}
>>
Figured bass can also be added to @code{Staff} contexts
-directly. In this case, their vertical position is adjusted
-automatically.
-
-@c This example uses /override, because the default
-@c of 'direction is #UP,
-@c even though UP is never used for figured bass.
-@c I recommend that we leave it -cds
-@lilypond[ragged-right,fragment,quote]
+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 {
- \override Staff.BassFigureAlignmentPositioning #'direction = #DOWN
- <4>4 <6 10>8 s8
- <4 6>4 <4 6>
+ <4>4 <10 6>8 s8
+ <6 4>4 <6 4>
}
%% Put notes on same Staff as figures
\context Staff = myStaff
- \relative c'' {
- c4 c'8 r8 c,4 c'
+ {
+ \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
example, you can write
@example
-<4 6>8 r8
+<6 4>8 r8
@end example
@noindent
@end example
@end ignore
-@c @predefined
+@predefined
+@cindex figured bass alignment
+@code{\bassFigureStaffAlignmentDown},
+@code{\bassFigureStaffAlignmentUp},
+@code{\bassFigureStaffAlignmentNeutral}.
-@c @snippets
+@snippets
@seealso
@c Music Glossary:
safest to use the same rhythm in the figure line as in
the bass line.
-@lilypond[ragged-right,fragment,quote]
+@lilypond[verbatim,ragged-right,fragment,quote]
<<
{
\clef bass
\repeat unfold 4 {f16. g32} f8. es16 d8 es
}
\figures {
- \set useBassFigureExtenders = ##t
+ \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->
\repeat unfold 4 {f16. g32} f8. es16 d8 es
}
\figures {
- \set useBassFigureExtenders = ##t
+ \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}
@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