X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fnotation%2Fchords.itely;h=2a360698cb761012616315028a3709e3f07325bb;hb=80340bdefc128536c79733d8c6f3467d91b01f72;hp=29979b8f946cd1e4dd40baaa38fcc29de621c2b3;hpb=7ba0a22641cb0c7f5949d66a06d1e2e1fd0b3033;p=lilypond.git diff --git a/Documentation/notation/chords.itely b/Documentation/notation/chords.itely index 29979b8f94..2a360698cb 100644 --- a/Documentation/notation/chords.itely +++ b/Documentation/notation/chords.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.13.36" +@c \version "2.14.0" @node Chord notation @@ -75,7 +75,6 @@ Chord mode and note mode can be mixed in sequential music: \chordmode { f2 g } @end lilypond - @seealso Music Glossary: @rglos{chord}. @@ -87,9 +86,7 @@ Notation Reference: Snippets: @rlsr{Chords}. - @knownissues - Predefined shorthands for articulations and ornaments cannot be used on notes in chord mode, see @ref{Articulations and ornamentations}. @@ -112,6 +109,7 @@ To avoid this behavior, explicitly create the @code{Staff} context: } @end lilypond + @node Common chords @unnumberedsubsubsec Common chords @@ -146,7 +144,7 @@ Seventh chords can be created: @funindex maj @funindex m -The table belows shows the actions of the quality modifiers on +The table below shows the actions of the quality modifiers on 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 @@ -229,7 +227,6 @@ to create a major triad. @end multitable - @seealso Notation Reference: @ref{Common chord modifiers}, @@ -238,7 +235,6 @@ Notation Reference: Snippets: @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 @@ -383,7 +379,6 @@ 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}. @@ -391,9 +386,7 @@ Notation Reference: 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. @@ -412,6 +405,7 @@ the chord. } @end lilypond + @node Displaying chords @subsection Displaying chords @@ -512,16 +506,15 @@ Rests passed to a @code{ChordNames} context will cause the @cindex chords, suppressing repeated @funindex chordChanges -@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle] +@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle] {showing-chords-at-changes.ly} -@c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle] +@c @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle] @c {adding-bar-lines-to-chordnames-context.ly} -@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle] +@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle] {simple-lead-sheet.ly} - @seealso Music Glossary: @rglos{chord}. @@ -539,9 +532,7 @@ Internals Reference: @rinternals{Volta_engraver}, @rinternals{Bar_engraver}. - @knownissues - Chords containing inversions or altered bass notes are not named properly if entered using simultaneous music. @@ -564,8 +555,7 @@ by Klaus Ignatzek (see @ressay{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}. +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 @@ -617,6 +607,23 @@ of @code{chordRootNamer} to identify a major 7 chord. Predefined options are @code{whiteTriangleMarkup} and @code{blackTriangleMarkup}. +@funindex additionalPitchPrefix + +@item additionalPitchPrefix + +When the chord name contains additional pitches, they can optionally +be prefixed with some text. The default is no prefix, in order to +avoid too much visual clutter, but for small numbers of additional +pitches this can be visually effective. + +@lilypond[verbatim,quote,ragged-right] +\new ChordNames { + % add9 + \set additionalPitchPrefix = #"add" + % add9 +} +@end lilypond + @funindex chordNoteNamer @item chordNoteNamer @@ -632,9 +639,40 @@ bass note can be printed in lower case. @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. +Different parts of a chord name are normally separated by a small +amount of horizontal space. By setting @code{chordNameSeparator}, you +can use any desired markup for a separator. This does not affect the +separator between a chord and its bass note; to customize that, use +@code{slashChordSeparator}. + +@lilypond[verbatim,quote,ragged-right] +\chords { + c4:7.9- c:7.9-/g + \set chordNameSeparator = \markup { "/" } + \break + c4:7.9- c:7.9-/g +} +@end lilypond + +@funindex slashChordSeparator + +@item slashChordSeparator + +Chords can be played over a bass note other than the conventional root +of the chord. These are known as ``inversions'' or ``slash chords'', +because the default way of notating them is with a forward slash +between the main chord and the bass note. Therefore the value of +@code{slashChordSeparator} defaults to a forward slash, but you can +change it to any markup you choose. + +@lilypond[verbatim,quote,ragged-right] +\chords { + c4:7.9- c:7.9-/g + \set slashChordSeparator = \markup { " over " } + \break + c4:7.9- c:7.9-/g +} +@end lilypond @funindex chordNameExceptions @@ -645,13 +683,32 @@ 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 minorChordModifier + +@item minorChordModifier + +Minor chords are often denoted via a @q{m} suffix to the right of the +root of the chord. However some idioms prefer other suffices, such as +a minus sign. + +@lilypond[verbatim,quote,ragged-right] +\chords { + c4:min f:min7 + \set minorChordModifier = \markup { "-" } + \break + c4:min f:min7 +} +@end lilypond + @funindex chordPrefixSpacer + @item chordPrefixSpacer -The @q{m} for minor chords is usually printed immediately to the -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. +The modifier for minor chords as determined by +@code{minorChordModifier} is usually printed immediately to the right +of the root of the chord. A spacer can be placed between the root and +the modifier by setting @code{chordPrefixSpacer}. The spacer is not +used when the root is altered. @end table @@ -674,28 +731,30 @@ The spacer is not used when the root is altered. @snippets @cindex exceptions, chord names. -@lilypondfile[verbatim,lilyquote,texidoc,doctitle] +@lilypondfile[verbatim,quote,texidoc,doctitle] {chord-name-exceptions.ly} @c TODO - tweak snippet to use \blackTriangleMarkup as well -@lilypondfile[verbatim,lilyquote,texidoc,doctitle] +@lilypondfile[verbatim,quote,texidoc,doctitle] {chord-name-major7.ly} -@lilypondfile[verbatim,lilyquote,texidoc,doctitle] +@lilypondfile[verbatim,quote,texidoc,doctitle] {adding-bar-lines-to-chordnames-context.ly} -@lilypondfile[verbatim,lilyquote,texidoc,doctitle] +@lilypondfile[verbatim,quote,texidoc,doctitle] {volta-below-chords.ly} -@lilypondfile[verbatim,lilyquote,texidoc,doctitle] +@lilypondfile[verbatim,quote,texidoc,doctitle] {changing-chord-separator.ly} - @seealso Notation Reference: @ref{Chord name chart}, @ref{Common chord modifiers}. +Essay on automated music engraving: +@ressay{Literature list}. + Installed Files: @file{scm/chords-ignatzek.scm}, @file{scm/chord-entry.scm}, @@ -704,12 +763,7 @@ Installed Files: 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 @@ -792,7 +846,6 @@ example, the vertical spacing of the figures may be set with @code{baseline-skip}. @end ignore - @seealso Music Glossary: @rglos{figured bass}. @@ -973,26 +1026,10 @@ End of continuation line @snippets -@lilypondfile[verbatim,lilyquote,texidoc,doctitle] +@lilypondfile[verbatim,quote,texidoc,doctitle] {changing-the-positions-of-figured-bass-alterations.ly} - @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}. @@ -1005,9 +1042,6 @@ Internals Reference: @rinternals{FiguredBass}. -@c @knownissues - - @node Displaying figured bass @unnumberedsubsubsec Displaying figured bass @@ -1077,7 +1111,6 @@ or below the staff. >> @end lilypond - @predefined @cindex figured bass alignment @code{\bassFigureStaffAlignmentDown}, @@ -1085,26 +1118,7 @@ or below the staff. @code{\bassFigureStaffAlignmentNeutral}. @endpredefined - -@c @snippets - - @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}. @@ -1116,9 +1130,7 @@ Internals Reference: @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. @@ -1177,4 +1189,3 @@ begins the extender line and turn them off at the end of the extender line. } >> @end lilypond -