@node Chord notation
@section Chord notation
-Intro text.
+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::
+* old Modern 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
+* Chord mode overview::
+* Common chords::
+* Extended and altered chords::
+@end menu
+
+@node Chord mode overview
+@unnumberedsubsubsec Chord mode overview
+
+@cindex chord names
+@cindex chord mode
+
+Chords can be entered as simultaneous music, as discussed in
+@ref{Chorded 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,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.
+
+@seealso
+
+Music Glossary:
+@rglos{chord}.
+
+Notation Reference:
+@ref{Chorded notes},
+@ref{Input modes}.
+
+Snippets:
+@rlsr{Chords}
+
+@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 an
+optional duration:
+
+@lilypond[verbatim,quote,relative=1,ragged-right]
+\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 g:dim }
+@end lilypond
+
+Seventh chords may be created:
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
+\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.
+
+@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 adds a raised 7th step. The
+@code{7} following @code{maj} is optional. Do NOT use this modifier
+to create a major triad.
+
+@end table
+
+@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}
+
+@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
+
+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 }
+@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{.}).
+
+@lilypond[quote,verbatim,fragment,relative=1]
+\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.
+
+@lilypond[quote,verbatim,fragment,relative=1]
+\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.
+
+@lilypond[quote,verbatim,fragment,relative=1]
+\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
+equivalent to @code{.4^3}.
+
+@lilypond[quote,ragged-right,fragment,verbatim]
+\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
+
+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 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 }
+@end lilypond
+
+@seealso
+
+Snippets:
+@rlsr{Chords}
+
+@knownissues
+
+Each step can only be present in a chord once. The following
+simply produces the augmented chord, since @code{5+} is
+interpreted last.
+
+@lilypond[quote,ragged-right,verbatim,fragment]
+\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.
+
+
+@node Displaying chords
+@subsection Displaying chords
+
+Chords can be displayed by name, in addition to the standard display
+as notes on a staff.
@menu
-* A lead sheet::
-* Introducing chord names::
-* Chords mode::
* Printing chord names::
+* Customizing chord names::
@end menu
-@c really awkward; I just shoved this in here from the tutorial.
-@node A lead sheet
-@subsubsection A lead sheet
+@node Printing chord names
+@unnumberedsubsubsec Printing chord names
-@cindex Lead sheets
-@cindex chords
+@cindex printing chord names
@cindex chord names
+@cindex chords
-In popular music it is common to denote accompaniment with chord
-names. Such chords can be entered like notes,
+Chord names are printed in the @code{ChordNames} context:
-@lilypond[verbatim,quote,ragged-right]
-\chordmode { c2 f4. g8 }
+@lilypond[verbatim,quote,relative=1,ragged-right]
+\new ChordNames {
+ \chordmode { c2 f4. g8 }
+}
@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:
+Both chord names and the notes can be displayed:
@lilypond[verbatim,quote,ragged-right]
-\chordmode { c2 f4:m g4:maj7 gis1:dim7 }
+myChords = \relative c'{
+ \chordmode { c2 f4. g8 }
+}
+<<
+ \new ChordNames { \myChords }
+ \myChords
+>>
@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:
+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:
-@lilypond[verbatim,quote,ragged-right]
-\chords { c2 f4.:m g4.:maj7 gis8:dim7 }
+@lilypond[quote,ragged-right,verbatim]
+twoWays = \relative c' {
+ \chordmode {
+ c2 f:sus4
+ }
+ {
+ <c e g> <f bes c>
+ }
+}
+<<
+ \new ChordNames \twoWays
+ \new Voice \twoWays
+>>
+@end lilypond
+
+@funindex{\chords}
+
+@code{\chords} is a shortcut method used to change the input mode to
+@code{\chordmode} and create a @code{ChordNames} context, with the
+following result:
+
+@lilypond[verbatim,quote,ragged-right, relative=1]
+\chords { c2 f4.:m g8:maj7 }
@end lilypond
@cindex lead sheet
-When put together, chord names, lyrics and a melody form a lead
-sheet,
+
+When put together, chord names, a melody, and lyrics form a lead
+sheet:
@lilypond[verbatim,quote,ragged-right]
<<
@end lilypond
+
+@snippets
+
+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}.
+
+@lilypond[ragged-right,verbatim]
+\new ChordNames \with {
+ \override BarLine #'bar-size = #4
+ voltaOnThisStaff = ##t
+ \consists "Bar_engraver"
+}
+\chordmode {
+ \repeat volta 2 {
+ f1:maj7 f:7 bes:7 c:maj7
+ }
+ \alternative {
+ ees e
+ }
+}
+@end lilypond
+
@seealso
-@quotation
-A complete list of modifiers and other options for layout can be
-found in @ruser{Chords}.
-@end quotation
+Music Glossary:
+@rglos{chord}.
-@node Introducing chord names
-@subsubsection Introducing 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
+Notation Reference:
+@ref{Writing music in parallel}.
-@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'>
-}
+Snippets:
+@rlsr{Chords}.
-<< \new ChordNames \twoWays
- \new Voice \twoWays >>
+Internals Reference:
+@rinternals{ChordNames},
+@rinternals{Volta_engraver},
+@rinternals{Bar_engraver}.
+
+@knownissues
+
+Chords containing inversions or altered bass notes are not named
+properly.
+
+
+@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}.
+
+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}
+
+@c TODO - this paragraph is moved here from an earlier section
+@c and needs to be corrected.
+This example also shows that the chord printing routines cannot
+correctly identify the root of a chord if it has been entered using
+@code{< .. >} instead of named chord entry. Therefore, the sixth
+chord (@code{f bes d}) is not interpreted as an inversion. In
+contrast, the third chord, which contains the same notes as the sixth
+chord, is correctly identified because it was entered in the named
+chord mode.
+
+If none of the default settings give the desired output, the chord
+name display can be tuned through the following properties.
+
+@ignore
+
+@table @code
+
+@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 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
+
+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]
+\chords {
+ c:7sus4
+ \set chordNameSeparator
+ = \markup { \typewriter "|" }
+ c:7sus4
+}
@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.
+@funindex chordNameExceptions
-Note that the duration of chords must be specified outside the
-@code{<>}.
+@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. See @code{FIXME -- future ref to snippet}
+for information on creating this list.
+
+@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
+@end ignore
+
+@predefined
+
+@funindex major seven symbols
+@code{\whiteTriangleMarkup}
+@code{\blackTriangleMarkup}
+@funindex \germanChords
+@code{\germanChords},
+@funindex \semiGermanChords
+@code{\semiGermanChords},
+@funindex \italianChords
+@code{\italianChords},
+@funindex \frenchChords
+@code{\frenchChords}.
+
+
+@snippets
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{chord-names-jazz.ly}
+
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{chord-name-exceptions.ly}
+@cindex exceptions, chord names.
+
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{chord-name-major7.ly}
+
+@c TODO -- see if the code below is in chord-name-exceptions.ly
+@c if so, remove it. If not, convert this to a snippet.
+@ignore
+The first step is to define sequential music that has the chords to
+be named with the desired markup (except for the root name) attached
+to the chord:
@example
-<c e g>2
+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:
-@node Chords mode
-@subsubsection Chords mode
-@cindex Chords mode
+@example
+FGGExceptions = #(sequential-music-to-chord-exceptions
+FGGChordNames #t)
+@end example
-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
+The third step is to append the default exceptions list (in this
+case, the Ignatzek exceptions) to the newly-defined exceptions list:
-@lilypond[quote,ragged-right,fragment,verbatim]
-\chordmode { es4. d8 c2 }
-@end lilypond
+@example
+chExceptions = #(append FGGExceptions ignatzekExceptions)
+@end example
-@noindent
-The mode is introduced by the keyword @code{\chordmode}.
+The final step is to set @code{chordNameExceptions} to the
+newly-created exceptions list:
-@cindex chord entry
-@cindex chord mode
+@example
+\set chordNameExceptions = #chExceptions
+@end example
-Other chords may be entered by suffixing a colon and introducing a
-modifier (which may include a number if desired)
+The entire process is illustrated below:
-@lilypond[quote,fragment,verbatim]
-\chordmode { e1:m e1:7 e1:m7 }
-@end lilypond
+@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)
-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.
+chordStuff = \chordmode
+{
+% standard names
+g1:maj9
+g1:6.9
+% names with FGG's custom exceptions
+\set chordNameExceptions = #chExceptions
+g1:maj9
+g1:6.9
+}
-@lilypond[quote,fragment,verbatim]
-\chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 c:13 }
+\score
+{
+\new ChordNames \chordStuff
+}
@end lilypond
+@end ignore
-@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
+@seealso
-@lilypond[quote,verbatim,fragment]
-\chordmode { c:5.6 c:3.7.8 c:3.6.13 }
-@end lilypond
+Installed Files:
+@file{scm/@/chords@/-ignatzek@/.scm},
+@file{scm/@/chord@/-entry@/.scm},
+@file{ly/@/chord@/-modifier@/-init@/.ly}.
-Chord steps can be altered by suffixing a @code{-} or @code{+} sign
-to the number
+Snippets:
+@rlsr{Chords}.
-@lilypond[quote,verbatim,fragment]
-\chordmode { c:7+ c:5+.3- c:3-.5-.7- }
-@end lilypond
+Internals Reference:
+@c @rinternals{}.
-Removals are specified similarly and are introduced by a caret. They
-must come after the additions
+@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,verbatim,fragment]
-\chordmode { c^3 c:7^5 c:9^3.5 }
+@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
-Modifiers can be used to change pitches. The following modifiers are
-supported
+@node old Modern chords
+@subsection old Modern chords
-@table @code
-@item m
-The minor chord. This modifier lowers the 3rd and (if present) the 7th step.
+@menu
+* Entering chord names::
+* old Lead sheets::
+* old Printing chord names::
+@end menu
-@item dim
-The diminished chord. This modifier lowers the 3rd, 5th and (if present)
-the 7th step.
+@node Entering chord names
+@subsubsection Entering chord names
+@cindex chord names
-@item aug
-The augmented chord. This modifier raises the 5th step.
+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
-@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
+@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'>
+}
-Modifiers can be mixed with additions
-@lilypond[quote,verbatim,fragment]
- \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
+<< \new ChordNames \twoWays
+ \new Voice \twoWays >>
@end lilypond
-@cindex modifiers, in chords.
-@funindex aug
-@funindex dim
-@funindex maj
-@funindex sus
-@funindex m
+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.
-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
+Note that the duration of chords must be specified outside the
+@code{<>}.
-@funindex /
+@example
+<c e g>2
+@end example
-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 /+
+@c TODO Generate snippet based on the following
+@c and add explanation -td
-A bass note can be added instead of transposed out of the chord,
-by using @code{/+}@var{pitch}.
+Custom chord names may be generated:
-@lilypond[quote,ragged-right,fragment,verbatim]
-\chordmode { c1 c/+g c/+f }
+@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
-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.
+@node old Lead sheets
+@subsubsection old Lead sheets
-@knownissues
+@cindex lead sheet
-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+ }
+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]
+<<
+ \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
-@node Printing chord names
-@subsubsection Printing chord names
+
+@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 @internalsref{ChordNames} context.
+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{>}
@end lilypond
You can make the chord changes stand out by setting
-@internalsref{ChordNames}.@code{chordChanges} to true. This will only
+@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
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}
+to add @rinternals{Volta_engraver} and @rinternals{Bar_engraver}
for showing repeats.
@lilypond[ragged-right,verbatim]
@seealso
Examples:
-@c @lsrdir{chords}
Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
@file{scm/@/chord@/-entry@/.scm}.
@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]
+<<
+ \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}, 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}.
+
+@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
+
+
+It is also possible to use continuation lines for repeated figures,
+
+@lilypond[verbatim,relative=1]
+<<
+ \new Staff {
+ \clef bass
+ c4 c c
+ }
+ \figures {
+ \set useBassFigureExtenders = ##t
+ <4 6>4 <3 6> <3 7>
+ }
+>>
+@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.
+
+@lilypond[relative=1]
+<<
+ \new Voice
+ \figures {
+ \set useBassFigureExtenders = ##t
+ <6 4->4. <6 4->16. <6 4->32 <5>8. r16 <6>8 <6\! 5->
+ }
+ {
+ \clef bass
+ f16. g32 f16. g32 f16. g32 f16. g32 f8. es16 d8 es
+ }
+>>
+@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
+
+
+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
+
+@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{}.
+
+Internals Reference:
+@rinternals{NewBassFigure},
+@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
+
+@example
+\override Staff.BassFigureAlignmentPositioning #'direction = #DOWN
+@end example
+
+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