version that you are working on. See TRANSLATION for details.
@end ignore
-@c \version "2.11.38"
+@c \version "2.12.0"
@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.
+@lilypondfile[quote]{chords-headword.ly}
+
+Chords can be entered either as normal notes or in chord mode and displayed
+using a variety of traditional European chord naming conventions. Chord
+names and figured bass notation can also be displayed.
@menu
-* Chord mode::
-* Displaying chords::
-* old Modern chords::
-* Figured bass::
+* Chord mode::
+* Displaying chords::
+* Figured bass::
@end menu
structure, rather than the chord pitches.
@menu
-* Chord mode overview::
-* Common chords::
-* Extended and altered chords::
+* Chord mode overview::
+* Common chords::
+* Extended and altered chords::
@end menu
@node Chord mode overview
Chords entered using chord mode are music elements, and can be
transposed just like chords entered using simultaneous music.
+@code{\chordmode} is absolute, as @code{\relative} has no effect
+on @code{chordmode} blocks. However, in @code{\chordmode} the
+absolute pitches are one octave higher than in note mode.
+
+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>2 <g' b d>
+\chordmode { f2 g }
+@end lilypond
-@seealso
+@seealso
Music Glossary:
@rglos{chord}.
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>2 <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>2 <g' b d>
+}
+@end lilypond
+
@node Common chords
@unnumberedsubsubsec Common chords
\chordmode { c2:m f4:aug g:dim }
@end lilypond
-Seventh chords may be created:
+Seventh chords can be created:
@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
-\chordmode {
- c1:7 c:m7 c:maj7 c:dim7 c:aug7
-}
+\chordmode { c1:7 c:m7 c:maj7 c:dim7 c:aug7 }
@end lilypond
@funindex aug
@funindex m
The table belows shows the actions of the quality modifiers on
-triads and seventh chords.
+triads and seventh chords. The default seventh step added to
+chords is a minor or flatted seventh, which makes the dominant
+seventh the basic seventh chord. All alterations are relative to
+the dominant seventh. A more complete table of modifier usage
+is found at @ref{Common chord modifiers}.
+
+@c @table @code
+@multitable @columnfractions .2 .4 .3
+
+@item
+@b{Modifier}
+@tab
+@b{Action}
+@tab
+@b{Example}
+
+@item
+None
+@tab
+The default action; produces a major triad.
+@tab
+@lilypond[line-width=4\cm, noragged-right]
+\chordmode {
+ \override Staff.TimeSignature #'stencil = ##f
+ c1
+}
+@end lilypond
-@table @code
+@item
+m, m7
+@tab
+The minor chord. This modifier lowers the 3rd.
+@tab
+@lilypond[line-width=4\cm, noragged-right]
+\chordmode {
+ \override Staff.TimeSignature #'stencil = ##f
+ c1:m c:m7
+}
+@end lilypond
-@item m
-The minor chord. This modifier lowers the 3rd and (if present) the
-7th step.
-@item dim
+@item
+dim, dim7
+@tab
The diminished chord. This modifier lowers the 3rd, 5th and (if
present) the 7th step.
+@tab
+@lilypond[line-width=4\cm, noragged-right]
+\chordmode {
+ \override Staff.TimeSignature #'stencil = ##f
+ c1:dim c:dim7
+}
+@end lilypond
-@item aug
+@item
+aug
+@tab
The augmented chord. This modifier raises the 5th step.
+@tab
+@lilypond[line-width=4\cm, noragged-right]
+\chordmode {
+ \override Staff.TimeSignature #'stencil = ##f
+ c1:aug
+}
+@end lilypond
-@item maj
+@item
+maj, maj7
+@tab
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.
+@tab
+@lilypond[line-width=4\cm, noragged-right]
+\chordmode {
+ \override Staff.TimeSignature #'stencil = ##f
+ c1:maj c:maj7
+}
+@end lilypond
+
+@end multitable
-@end table
@seealso
+Notation Reference:
+@ref{Common chord modifiers},
+@ref{Extended and altered chords}.
Snippets:
-@rlsr{Chords}
+@rlsr{Chords}.
+
+@knownissues
+Only one quality modifier should be used per chord, typically on the
+highest step present in the chord. Chords with more than quality
+modifier will be parsed without an error or warning, but the results
+are unpredictable. Chords that cannot be achieved with a single
+quality modifier should be altered by individual pitches, as described
+in @ref{Extended and altered chords}.
+
@node Extended and altered chords
@unnumberedsubsubsec Extended and altered chords
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.
+Note that the seventh step added as part of an extended chord will be the
+minor or flatted seventh, not the major seventh.
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
@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
+ c1:2 c:3 c:4 c:5
+ c1:6 c:7 c:8 c:9
+ c1:10 c:11 c:12 c:13
+ c1:14
}
@end lilypond
+@noindent
+Note that both @code{c:5} and @code{c} 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
-extent and are prefixed by a dot (@code{.}).
+extent and are prefixed by a dot (@code{.}). The basic seventh
+step added to a chord is the minor or flatted seventh, rather than
+the major seventh.
@lilypond[quote,verbatim,fragment,relative=1]
-\chordmode { c1:5.6 c:3.7.8 c:3.6.13 }
+\chordmode {
+ c1:5.6 c:3.7.8 c:3.6.13
+}
@end lilypond
Added steps can be as high as desired.
@lilypond[quote,verbatim,fragment,relative=1]
-\chordmode { c4:5.15 c:5.20 c:5.25 c:5.30 }
+\chordmode {
+ c4:5.15 c:5.20 c:5.25 c:5.30
+}
@end lilypond
@cindex chord steps, altering
Added chord steps can be altered by suffixing a @code{-} or @code{+}
-sign to the number. To alter a step that is lower than the extent,
-add it as an altered step.
+sign to the number. To alter a step that is automatically included
+as part of the basic chord 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{^}
-is allowed in a modifier string.
+Following any steps to be added, a series of steps to be removed
+is introduced in a modifier string with a prefix of @code{^}.
+If more than one step is to be removed, the steps to be
+removed are separated by @code{.} following the
+initial @code{^}.
@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 c:9^3.5 c:13.11^3.7
+}
@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
-another step with @code{^} in one modifier string.
-
@funindex /
@cindex chord inversions
@cindex bass note, for chords
@code{/}@var{pitch} to the chord.
@lilypond[quote,ragged-right,fragment,verbatim, relative=2]
-\chordmode { c1 c/g c/f }
+\chordmode {
+ c1 c/g c/f
+}
@end lilypond
@funindex /+
moved as part of an inversion, by using @code{/+}@var{pitch}.
@lilypond[quote,ragged-right,fragment,verbatim]
-\chordmode { c1 c/+g c/+f }
+\chordmode {
+ c1 c/g c/+g
+}
@end lilypond
+Chord modifiers that can be used to produce a variety of
+standard chords are shown in
+@ref{Common chord modifiers}.
+
+
@seealso
+Notation Reference:
+@ref{Common chord modifiers}.
Snippets:
@rlsr{Chords}
+
@knownissues
Each step can only be present in a chord once. The following
\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 second inversion can be created by adding a bass
+note. The first inversion requires changing the root of
+the chord.
+@lilypond[quote,ragged-right,verbatim,fragment]
+\chordmode {
+ c'1: c':/g e:6-3-^5 e:m6-^5
+}
+@end lilypond
@node Displaying chords
@subsection Displaying chords
as notes on a staff.
@menu
-* Printing chord names::
-* Customizing chord names::
-* Lead sheets::
+* Printing chord names::
+* Customizing chord names::
@end menu
@node Printing chord names
@cindex chord names
@cindex chords
-LilyPond has support for printing chord names. Chord names are
-printed in a special context, called @rinternals{ChordNames}.
+Chord names are printed in the @code{ChordNames} context:
@lilypond[verbatim,quote,relative=1,ragged-right]
-\new ChordNames \chordmode { c2 f4. g8 }
+\new ChordNames {
+ \chordmode {
+ c2 f4. g8
+ }
+}
@end lilypond
-To display both chord names and the notes of chords, use the
-technique in @ref{Writing music in parallel}.
+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[verbatim,quote,ragged-right]
-myChords = \chordmode { c2 f4. g8 }
+@lilypond[verbatim,quote,relative=1]
<<
-\new ChordNames \myChords
-\myChords
+ \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
-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:
+@cindex no chord symbol
+@cindex N.C. symbol
+@cindex indicating No Chord in ChordNames
-@lilypond[quote,ragged-right,verbatim]
-twoWays = \relative c' {
- \chordmode { c2 f:sus4 }
- { <c e g> <f bes c> }
-}
+Rests passed to a @code{ChordNames} context will cause the
+@code{noChordSymbol} markup to be displayed.
+
+@lilypond[verbatim, quote, relative=1]
<<
-\new ChordNames \twoWays
-\new Voice \twoWays
+ \new ChordNames \chordmode {
+ c1
+ r1
+ g1
+ c1
+ }
+ \new Score \chordmode {
+ c1
+ r1
+ g1
+ c1
+ }
>>
@end lilypond
+@funindex{\chords}
-If repeats are used in the music, and the volta brackets are to be
-dispayed above the chord names, @code{voltaOnThisStaff} must be set
-to @code{##t}. To add bar indications in the @code{ChordNames}
-context, add @rinternals{Bar_engraver}.
+@code{\chords @{ ... @}} is a shortcut notation for
+@code{\new ChordNames @{ \chordmode @{ ... @} @}}.
-@lilypond[ragged-right,verbatim]
-\new ChordNames \with {
- \override BarLine #'bar-size = #4
- voltaOnThisStaff = ##t
- \consists "Bar_engraver"
-}
-\chordmode { \repeat volta 2 {
- f1:maj7 f:7 bes:7
- c:maj7
-} \alternative {
- ees e
-}
+@lilypond[verbatim,quote,ragged-right, relative=1]
+\chords {
+ 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:
-
@lilypond[verbatim,quote,ragged-right, relative=1]
-\chords { c2 f4.:m g8:maj7 }
+\new ChordNames {
+ \chordmode {
+ c2 f4.:m g8:maj7
+ }
+}
@end lilypond
+@snippets
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{showing-chords-at-changes.ly}
-@seealso
+@c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@c {adding-bar-lines-to-chordnames-context.ly}
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{simple-lead-sheet.ly}
+
+
+@seealso
Music Glossary:
@rglos{chord}.
-
Notation Reference:
@ref{Writing music in parallel}.
-
Snippets:
-@c @rlsr{Chords}.
+@rlsr{Chords}.
Internals Reference:
@rinternals{ChordNames},
+@rinternals{ChordName},
+@rinternals{Chord_name_engraver},
@rinternals{Volta_engraver},
@rinternals{Bar_engraver}.
+
@knownissues
Chords containing inversions or altered bass notes are not named
-properly.
+properly if entered using simultaneous music.
@node Customizing chord names
are also different symbols displayed for a given chord name. The
names and symbols displayed for chord names are customizable.
-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
+@cindex jazz chords
+@cindex chords, jazz
+
+The basic chord name layout is a system for Jazz music, proposed
+by Klaus Ignatzek (see @ref{Literature list}). The chord naming
+system can be modified as described below. An alternate jazz
+chord system has been developed using these modifications.
+The Ignatzek and alternate
+Jazz notation are shown on the chart in @ref{Chord
name chart}.
+@c TODO -- Change this so we don't have a non-verbatim example.
+@c Make short example in docs, then move longer example to
+@c appendix, where the length of the snippet won't matter.
+
In addition to the different naming systems, different note names
are used for the root in different languages. The predefined
variables @code{\germanChords}, @code{\semiGermanChords},
@lilypondfile[ragged-right]{chord-names-languages.ly}
-@c TODO - this paragraph is moved here from an earlier section
-@c and needs to be corrected.
-This example also shows that the chord printing routines cannot
-correctly identify the root of a chord if it has been entered using
-@code{< .. >} instead of named chord entry. Therefore, the sixth
-chord (@code{f bes d}) is not interpreted as an inversion. In
-contrast, the third chord, which contains the same notes as the sixth
-chord, is correctly identified because it was entered in the named
-chord mode.
-
-If none of the default settings give the desired output, the chord
+If none of the existing settings give the desired output, the chord
name display can be tuned through the following properties.
-@ignore
-@c TODO Generate snippet based on the following
-@c and add explanation -td
-
-@funindex chordNameExceptions
-
@table @code
-@item 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
-
-The third step is to append the default exceptions list (in this
-case, the Ignatzek exceptions) to the newly-defined exceptions list:
-@example
-chExceptions = #(append FGGExceptions ignatzekExceptions)
-@end example
-
-The final step is to set @code{chordNameExceptions} to the
-newly-created exceptions list:
-
-@example
-\set chordNameExceptions = #chExceptions
-@end example
-
-The entire process is illustrated below:
-
-@lilypond[quote,ragged-right,verbatim]
-FGGChordNames = {
- <c e g b d'>1-\markup { \super "maj9" }
- <c e g a d'>1-\markup { \super "6(add9)" }
-}
-FGGExceptions = #(sequential-music-to-chord-exceptions
-FGGChordNames #t)
-chExceptions = #(append FGGChordNames
- ignatzekExceptions)
-
-chordStuff = \chordmode
-{
-% standard names
-g1:maj9
-g1:6.9
-% names with FGG's custom exceptions
-\set chordNameExceptions = #chExceptions
-g1:maj9
-g1:6.9
-}
+@funindex chordRootNamer
-\score
-{
-\new ChordNames \chordStuff
-}
-@end lilypond
+@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 majorSevenSymbol
@item majorSevenSymbol
-This property contains the markup object used as part of the
-printed chord name to identify a major 7 chord. Predefined
+This property contains the markup object used to follow the output
+of @code{chordRootNamer} to identify a major 7 chord. Predefined
options are @code{whiteTriangleMarkup} and
@code{blackTriangleMarkup}.
+@funindex chordNoteNamer
+
+@item chordNoteNamer
+
+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.,
+By setting @code{chordNameSeparator}, you can use any desired markup
+for a separator.
-@lilypond[quote,ragged-right,fragment,verbatim]
-\new ChordNames \chordmode {
- c:7sus4
- \set chordNameSeparator
- = \markup { \typewriter "|" }
- c:7sus4
-}
-@end lilypond
-
-@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
+@item chordNameExceptions
-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.
+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 markup 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.
+right of the root of the chord. A spacer can be placed between
+the root and @q{m} by setting @code{chordPrefixSpacer}.
+The spacer is not used when the root is altered.
@end table
-@end ignore
-
-@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
@code{\italianChords},
@funindex \frenchChords
@code{\frenchChords}.
+@endpredefined
@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{}.
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{adding-bar-lines-to-chordnames-context.ly}
-@c Learning Manual:
-@c @rlearning{}.
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{volta-below-chords.ly}
-@c Notation Reference:
-@c @ruser{}.
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{changing-chord-separator.ly}
-@c Application Usage:
-@c @rprogram{}.
+
+@seealso
+Notation Reference:
+@ref{Chord name chart},
+@ref{Common chord modifiers}.
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
+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.
-@node Lead sheets
-@unnumberedsubsubsec Lead sheets
+@lilypond[quote,ragged-right,verbatim]
+myChords = \relative c' {
+ \chordmode { c1 c/g c/f }
+ <c e g>1 <g c e> <f c' e g>
+}
+<<
+ \new ChordNames { \myChords }
+ \new Staff { \myChords }
+>>
+@end lilypond
-@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}.
+@node Figured bass
+@subsection Figured bass
-When put together, chord names, a melody, and lyrics form a lead
-sheet:
+@lilypondfile[quote]{figured-bass-headword.ly}
-@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
+Figured bass notation can be displayed.
-@c @predefined
+@menu
+* Introduction to figured bass::
+* Entering figured bass::
+* Displaying figured bass::
+@end menu
-@c @snippets
+@node Introduction to figured bass
+@unnumberedsubsubsec Introduction to figured bass
-@seealso
-@c Music Glossary:
-@c @rglos{}.
+@cindex Basso continuo
+@cindex Thorough bass
+@cindex Figured bass
+@cindex Bass, thorough
+@cindex Bass, figured
-@c Learning Manual:
-@c @rlearning{}.
+@c TODO: musicological blurb about FB
-@c Notation Reference:
-@c @ruser{}.
-@c Application Usage:
-@c @rprogram{}.
+LilyPond has support for figured bass, also called thorough bass
+or basso continuo:
-@c Installed Files:
-@c @file{}.
+@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 Snippets:
-@c @rlsr{}.
+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.
-@c Internals Reference:
-@c @rinternals{}.
+@code{\figures@{ ... @}} is a shortcut notation for
+@code{\new FiguredBass @{ \figuremode @{ ... @} @}}.
-@c @knownissues
+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.
+@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}.
+@end ignore
-@node old Modern chords
-@subsection old Modern chords
+@seealso
+Music Glossary:
+@rglos{figured bass}.
-@menu
-* Entering chord names::
-* old Lead sheets::
-* old Printing chord names::
-@end menu
+Snippets:
+@rlsr{Chords}
-@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
+@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}.
-@lilypond[quote,ragged-right,verbatim,ragged-right]
-twoWays = \transpose c c' {
- \chordmode {
- c1 f:sus4 bes/f
+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
}
- <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 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
+Accidentals (including naturals) can be added to figures:
-@c TODO Generate snippet based on the following
-@c and add explanation -td
+@lilypond[verbatim,quote,ragged-right,fragment]
+\figures {
+ <7! 6+ 4-> <5++> <3-->
+}
+@end lilypond
-Custom chord names may be generated:
+Augmented and diminished steps can be indicated:
-@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
+@lilypond[verbatim,quote,ragged-right,fragment]
+\figures {
+ <6\+ 5/> <7/>
}
+@end lilypond
-\score
-{
-\new ChordNames \chordStuff
+A backward slash through a figure (typically used for raised
+sixth steps) can be created:
+
+@lilypond[verbatim,quote,ragged-right,fragment]
+\figures {
+ <6> <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
-@node old Lead sheets
-@subsubsection old Lead sheets
+Any text markup can be inserted as a figure:
-@cindex lead sheet
+@lilypond[verbatim,quote,ragged-right,fragment]
+\figures {
+ <\markup { \tiny \number 6 \super (1) } 5>
+}
+@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}.
+@c NOTE: We need to include notes any time we use extenders to
+@c avoid extraneous staff creation due to Staff.use... in
+@c \bassFigureExtendersOn
-When put together, chord names, lyrics and a melody form a lead
-sheet,
+Continuation lines can be used to indicate repeated figures:
-@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
+ e4 d c b,
+ e4 d c b,
+ }
+ \figures {
+ \bassFigureExtendersOn
+ <6 4>4 <6 3> <7 3> <7 3>
+ \bassFigureExtendersOff
+ <6 4>4 <6 3> <7 3> <7 3>
}
- \addlyrics { One day this shall be free __ }
>>
@end lilypond
+@noindent
+In this case, the extender lines replace existing figures,
+unless the continuation lines have been explicitly terminated.
-
-@node old Printing chord names
-@subsubsection old Printing chord names
-
-@cindex printing chord names
-@cindex chord names
-@cindex chords
-
-For displaying printed chord names, use the @rinternals{ChordNames} context.
-The chords may be entered either using the notation
-described above, or directly using @code{<} and @code{>}
-
-@lilypond[quote,verbatim,ragged-right]
-harmonies = {
- \chordmode {a1 b c} <d' f' a'> <e' g' b'>
-}
+@lilypond[verbatim,quote,ragged-right,fragment]
<<
- \new ChordNames \harmonies
- \new Staff \harmonies
+ \figures {
+ \bassFigureExtendersOn
+ <6 4>4 <6 4> <6\! 4\!> <6 4>
+ }
+ {
+ \clef bass
+ d4 d c c
+ }
>>
@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
-
-@lilypond[quote,verbatim,ragged-right]
-harmonies = \chordmode {
- c1:m c:m \break c:m c:m d
+The table below summarizes the figure modifiers available.
+
+@multitable @columnfractions .1 .5 .4
+
+@item
+@b{Modifier}
+@tab
+@b{Purpose}
+@tab
+@b{Example}
+
+@item
++, -, !
+@tab
+Accidentals
+@tab
+@lilypond[line-width=4\cm]
+\figures {
+ <7! 6+ 4-> <5++> <3-->
}
-<<
- \new ChordNames {
- \set chordChanges = ##t
- \harmonies }
- \new Staff \transpose c c' \harmonies
->>
@end lilypond
-The previous examples all show chords over a staff. This is not
-necessary. Chords may also be printed separately. It may be necessary
-to add @rinternals{Volta_engraver} and @rinternals{Bar_engraver}
-for showing repeats.
-
-@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
-}
+@item
+\+, /
+@tab
+Augmented and diminished steps
+@tab
+@lilypond[line-width=4\cm]
+\figures {
+ <6\+ 5/> <7/>
}
@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
+@item
+\\
+@tab
+Raised sixth step
+@tab
+@lilypond[line-width=4\cm]
+\figures {
+ <6\\>
}
@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}.
-
-
-
-
-@seealso
-
-Examples:
-
-Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
-@file{scm/@/chord@/-entry@/.scm}.
-
-
-@knownissues
-
-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.
-
-
-@node Figured bass
-@subsection Figured bass
-
-@menu
-* Introduction to figured bass::
-* Entering figured bass::
-* Displaying figured bass::
-@end menu
-
-@node Introduction to figured bass
-@subsubsection Introduction to figured bass
-
-@cindex Basso continuo
-
-@c TODO: musicological blurb about FB
-
-LilyPond has support for figured bass
-
-@lilypond[quote,ragged-right,verbatim,fragment]
+@item
+\!
+@tab
+End of continuation line
+@tab
+@lilypond[line-width=4\cm]
<<
- \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
+ \figures {
+ \bassFigureExtendersOn
+ <6 4> <6 4> <6\! 4\!> <6 4>
+ }
+ {
+ \clef bass
+ d d c c
}
>>
@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.
+@end multitable
-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}.
+@predefined
+@cindex figured bass extender lines
+@code{\bassFigureExtendersOn},
+@code{\bassFigureExtendersOff}.
+@endpredefined
-@menu
-* Entering figured bass::
-* Displaying figured bass::
-@end menu
+@snippets
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{changing-the-positions-of-figured-bass-alterations.ly}
-@node Entering figured bass
-@unnumberedsubsubsec Entering figured bass
+@seealso
+@c Music Glossary:
+@c @rglos{}.
+@c
+@c Learning Manual:
+@c @rlearning{}.
+@c
+@c Notation Reference:
+@c @ref{}.
+@c
+@c Application Usage:
+@c @rprogram{}.
+@c
+@c Installed Files:
+@c @file{}.
+@c
+Snippets:
+@rlsr{Chords}.
-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
+Internals Reference:
+@rinternals{BassFigure},
+@rinternals{BassFigureAlignment},
+@rinternals{BassFigureLine},
+@rinternals{BassFigureBracket},
+@rinternals{BassFigureContinuation},
+@rinternals{FiguredBass}.
-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
+@c @knownissues
-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}.
-@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
+@node Displaying figured bass
+@unnumberedsubsubsec Displaying figured bass
+Figured bass can be displayed using the @code{FiguredBass} context,
+or in most staff contexts.
-It is also possible to use continuation lines for repeated figures,
+When displayed in a @code{FiguredBass} context, the vertical location
+of the figures is independent of the notes on the staff.
-@lilypond[verbatim,relative=1]
+@lilypond[verbatim,ragged-right,fragment,quote]
<<
- \new Staff {
- \clef bass
- c4 c c
+ \relative c'' {
+ c4 c'8 r8 c,4 c'
}
- \figures {
- \set useBassFigureExtenders = ##t
- <4 6>4 <3 6> <3 7>
+ \new FiguredBass {
+ \figuremode {
+ <4>4 <10 6>8 s8
+ <6 4>4 <6 4>
+ }
}
>>
@end lilypond
@noindent
-In this case, the extender lines always replace existing figures.
+In the example above, the @code{FiguredBass} context must be
+explicitly instantiated to avoid creating a second (empty) staff.
+
-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.
+Figured bass can also be added to @code{Staff} contexts
+directly. In this case, the vertical position of the
+figures is adjusted automatically.
-@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
+ <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
-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
-example, you can write
-
-@example
-<4 6>8 r8
-@end example
-
-@noindent
-instead of
-@example
-<4 6>4
-@end example
-
-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
+When added in a @code{Staff} context, figured bass can be displayed above
+or below the staff.
-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]
+@lilypond[verbatim,ragged-right,fragment,quote]
<<
- \new Staff = someUniqueName
- \relative c'' {
- c4 c'8 r8 c,4 c'
- }
-
- %% send to existing Staff.
- \context Staff = someUniqueName
+ \new Staff = myStaff
\figuremode {
- <4>4 <6 10>8 s8
-
- \set Staff.useBassFigureExtenders = ##t
- <4 6>4 <4 6>
+ <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
-@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.
+@predefined
+@cindex figured bass alignment
+@code{\bassFigureStaffAlignmentDown},
+@code{\bassFigureStaffAlignmentUp},
+@code{\bassFigureStaffAlignmentNeutral}.
+@endpredefined
-@c @predefined
@c @snippets
+
@seealso
@c Music Glossary:
@c @rglos{}.
-
+@c
@c Learning Manual:
@c @rlearning{}.
-
+@c
@c Notation Reference:
-@c @ruser{}.
-
+@c @ref{}.
+@c
@c Application Usage:
@c @rprogram{}.
-
+@c
@c Installed Files:
@c @file{}.
-
-@c Snippets:
-@c @rlsr{}.
+@c
+Snippets:
+@rlsr{Chords}.
Internals Reference:
-@rinternals{NewBassFigure},
+@rinternals{BassFigure},
@rinternals{BassFigureAlignment},
@rinternals{BassFigureLine},
@rinternals{BassFigureBracket},
@rinternals{BassFigureContinuation},
@rinternals{FiguredBass}.
+
@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
+ <5>8. r16 <6>8 <6\! 5->
+ }
+>>
+@end lilypond
-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}.
+When using extender lines, adjacent figures with the same number in
+a different figure location can cause the figure positions to invert.
+@lilypond[verbatim,ragged-right,fragment,quote,relative=1]
+<<
+ { fis4 g g, e' }
+ \figures {
+ \bassFigureExtendersOn
+ <6 5>4 <5\! 4> < 5 _!> <6>
+ }
+>>
+@end lilypond
+
+To avoid this problem, simply turn on extenders after the figure that
+begins the extender line and turn them off at the end of the extender line.
+
+@lilypond[verbatim,ragged-right,fragment,quote,relative=1]
+<<
+ { fis4 g g, e' }
+ \figures {
+ <6 5>4 <5 4>
+ \bassFigureExtendersOn
+ < 5 _!>4 <6>
+ \bassFigureExtendersOff
+ }
+>>
+@end lilypond
-@seealso
projects / lilypond.git / blobdiff