X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fnotation%2Fchords.itely;h=49ade62bfe30d56f5a8d160c1797c181ce726d8e;hb=07125596018d32e3235e80627915cfac77323272;hp=b14bdb7827dcf602bbfd46fc6d4845152456bdde;hpb=e6e64de1da49ff8c6005daa5fd81adc8387b2668;p=lilypond.git diff --git a/Documentation/notation/chords.itely b/Documentation/notation/chords.itely index b14bdb7827..49ade62bfe 100644 --- a/Documentation/notation/chords.itely +++ b/Documentation/notation/chords.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.6" +@c \version "2.19.28" @node Chord notation @@ -68,11 +68,13 @@ 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] -2 -\chordmode { c2 f } -2 -\chordmode { f2 g } +@lilypond[verbatim,quote,ragged-right] +\relative { + 2 + \chordmode { c2 f } + 2 + \chordmode { f2 g } +} @end lilypond @seealso @@ -90,25 +92,6 @@ Snippets: Predefined shorthands for articulations and ornaments cannot be used on notes in chord mode, see @ref{Articulations and ornamentations}. -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 } -2 -@end lilypond - -@noindent -To avoid this behavior, explicitly create the @code{Staff} context: - -@lilypond[verbatim,quote,ragged-right,relative=1] -\new Staff { - \chordmode { c2 f } - 2 -} -@end lilypond - @node Common chords @unnumberedsubsubsec Common chords @@ -168,7 +151,7 @@ The default action; produces a major triad. @tab @lilypond[line-width=4\cm, noragged-right] \chordmode { - \override Staff.TimeSignature.stencil = ##f + \omit Staff.TimeSignature c1 } @end lilypond @@ -180,7 +163,7 @@ The minor chord. This modifier lowers the 3rd. @tab @lilypond[line-width=4\cm, noragged-right] \chordmode { - \override Staff.TimeSignature.stencil = ##f + \omit Staff.TimeSignature c1:m c:m7 } @end lilypond @@ -194,7 +177,7 @@ present) the 7th step. @tab @lilypond[line-width=4\cm, noragged-right] \chordmode { - \override Staff.TimeSignature.stencil = ##f + \omit Staff.TimeSignature c1:dim c:dim7 } @end lilypond @@ -206,7 +189,7 @@ The augmented chord. This modifier raises the 5th step. @tab @lilypond[line-width=4\cm, noragged-right] \chordmode { - \override Staff.TimeSignature.stencil = ##f + \omit Staff.TimeSignature c1:aug } @end lilypond @@ -220,7 +203,7 @@ to create a major triad. @tab @lilypond[line-width=4\cm, noragged-right] \chordmode { - \override Staff.TimeSignature.stencil = ##f + \omit Staff.TimeSignature c1:maj c:maj7 } @end lilypond @@ -275,7 +258,8 @@ larger value is interpreted as 13. @end lilypond @noindent -Note that both @code{c:5} and @code{c} produce a C major triad. +As a special exception, @code{c:5} produces a @q{power chord} only +consisting of root and fifth. 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 @@ -296,7 +280,7 @@ the major seventh. @lilypond[quote,verbatim] \chordmode { - c1:5.6 c:3.7.8 c:3.6.13 + c1:3.5.6 c:3.7.8 c:3.6.13 } @end lilypond @@ -304,7 +288,7 @@ Added steps can be as high as desired. @lilypond[quote,verbatim] \chordmode { - c4:5.15 c:5.20 c:5.25 c:5.30 + c4:3.5.15 c:3.5.20 c:3.5.25 c:3.5.30 } @end lilypond @@ -339,14 +323,15 @@ initial @code{^}. @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}. +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. When @code{sus} is followed by either a 2nd or +4th step, it is equivalent to @code{^3}, otherwise to @code{sus4}, +namely @code{5.4}. @lilypond[quote,ragged-right,verbatim] \chordmode { - c1:sus c:sus2 c:sus4 c:5.4^3 + c1:sus c:sus2 c:sus4 c:5.4 } @end lilypond @@ -360,7 +345,7 @@ chord) and added bass notes can be specified by appending @lilypond[quote,ragged-right,verbatim] \chordmode { - c1 c/g c/f + c'1 c'/e c'/f } @end lilypond @@ -371,7 +356,7 @@ moved as part of an inversion, by using @code{/+}@var{pitch}. @lilypond[quote,ragged-right,verbatim] \chordmode { - c1 c/g c/+g + c'1 c'/g c'/+e } @end lilypond @@ -392,17 +377,7 @@ simply produces the augmented chord, since @code{5+} is interpreted last. @lilypond[quote,ragged-right,verbatim] -\chordmode { c1:5.5-.5+ } -@end lilypond - -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] -\chordmode { - c'1: c':/g e:6-3-^5 e:m6-^5 -} +\chordmode { c1:3.5.5-.5+ } @end lilypond @@ -439,8 +414,8 @@ 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] -chordmusic = \relative c' { - 2 +chordmusic = \relative { + 2 1 \chordmode { c2 f:sus4 c1:/f @@ -463,7 +438,7 @@ of the mode of entry, unless there are inversions or added bass notes: Rests passed to a @code{ChordNames} context will cause the @code{noChordSymbol} markup to be displayed. -@lilypond[verbatim, quote, relative=1] +@lilypond[verbatim,quote] << \new ChordNames \chordmode { c1 @@ -483,7 +458,7 @@ Rests passed to a @code{ChordNames} context will cause the @funindex{\chords} @code{\chords @{ @dots{} @}} is a shortcut notation for -@code{\new ChordNames @{ \chordmode @{ @dots{} @}}. +@code{\new ChordNames \chordmode @{ @dots{} @}}. @lilypond[verbatim,quote,ragged-right] \chords { @@ -831,7 +806,7 @@ entry of bass figures, and there is a context named in @code{Staff} contexts. @code{\figures@{ @dots{} @}} is a shortcut notation for -@code{\new FiguredBass @{ \figuremode @{ @dots{} @} @}}. +@code{\new FiguredBass \figuremode @{ @dots{} @}}. Although the support for figured bass may superficially resemble chord @@ -873,11 +848,16 @@ In figure mode, a group of bass figures is delimited by @end lilypond -Accidentals (including naturals) can be added to figures: +Accidentals (including naturals) may be used for modifying scale steps. +These are entered by appending @code{+} (for sharps), @code{-} (for flats) +or @code{!} (for naturals) after the number. For double accidentals the +modifier is applied twice. For the modification of the third step the +number is often omitted, which can be achieved by using @code{_} instead +of a number. @lilypond[verbatim,quote,ragged-right] \figures { - <7! 6+ 4-> <5++> <3--> + <7! 6+ 4-> <5++> <3--> < _+ > < 7 _!> } @end lilypond @@ -898,11 +878,11 @@ sixth steps) can be created: } @end lilypond -Vertical spaces and brackets can be included in figures: +Brackets can be included in figures: @lilypond[verbatim,quote,ragged-right] \figures { - <[12 _!] 8 [6 4]> + <[12] 8 [6 4]> } @end lilypond @@ -1053,8 +1033,8 @@ of the figures is independent of the notes on the staff. @lilypond[verbatim,ragged-right,quote] << - \relative c'' { - c4 c'8 r8 c,4 c' + \relative { + c''4 c'8 r8 c,4 c' } \new FiguredBass { \figuremode {