X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fuser%2Fchords.itely;h=11b45b66891615e096148f866996df9a976c7c17;hb=eeec992b7029d0982bf4ed0eb3995e9ca99c10e9;hp=5b111be2e01583ec109cb0c60f82ddba575b63da;hpb=452061ad2abca6da1d99413777be32891c2db3e1;p=lilypond.git diff --git a/Documentation/user/chords.itely b/Documentation/user/chords.itely index 5b111be2e0..11b45b6689 100644 --- a/Documentation/user/chords.itely +++ b/Documentation/user/chords.itely @@ -73,7 +73,6 @@ Chord mode and note mode can be mixed in sequential music: @seealso - Music Glossary: @rglos{chord}. @@ -84,6 +83,7 @@ Notation Reference: Snippets: @rlsr{Chords} + @knownissues When chord mode and note mode are mixed in sequential music, and @@ -139,7 +139,10 @@ Seventh chords can be created: @funindex m The table belows shows the actions of the quality modifiers on -triads and seventh chords. A more complete table of modifier usage +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 @@ -167,8 +170,7 @@ The default action; produces a major triad. @item m, m7 @tab -The minor chord. This modifier lowers the 3rd and (if present) the -7th step. +The minor chord. This modifier lowers the 3rd. @tab @lilypond[line-width=4\cm, noragged-right] \chordmode { @@ -221,13 +223,22 @@ to create a major triad. @seealso - Notation Reference: -@ref{Common chord modifiers}. +@ref{Common chord modifiers}, +@ref{Extended and altered chords}. 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 +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 @@ -242,6 +253,8 @@ 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. +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 @@ -272,7 +285,9 @@ is added explicitly). @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 { @@ -359,14 +374,15 @@ Chord modifiers that can be used to produce a variety of standard chords are shown in @ref{Common chord modifiers}. -@seealso +@seealso Notation Reference: @ref{Common chord modifiers}. Snippets: @rlsr{Chords} + @knownissues Each step can only be present in a chord once. The following @@ -470,15 +486,12 @@ of the mode of entry, unless there are inversions or added bass notes: @seealso - Music Glossary: @rglos{chord}. - Notation Reference: @ref{Writing music in parallel}. - Snippets: @rlsr{Chords}. @@ -489,6 +502,7 @@ Internals Reference: @rinternals{Volta_engraver}, @rinternals{Bar_engraver}. + @knownissues Chords containing inversions or altered bass notes are not named @@ -590,8 +604,8 @@ The spacer is not used when the root is altered. @end table -@predefined +@predefined @funindex major seven symbols @code{\whiteTriangleMarkup}, @code{\blackTriangleMarkup}, @@ -603,6 +617,7 @@ The spacer is not used when the root is altered. @code{\italianChords}, @funindex \frenchChords @code{\frenchChords}. +@endpredefined @snippets @@ -626,7 +641,6 @@ The spacer is not used when the root is altered. @seealso - Notation Reference: @ref{Chord name chart}, @ref{Common chord modifiers}. @@ -642,6 +656,7 @@ Snippets: @c Internals Reference: @c @r internals{}. + @knownissues Chord names are determined from both the pitches that are present @@ -726,8 +741,8 @@ example, the vertical spacing of the figures may be set with @code{baseline-skip}. @end ignore -@seealso +@seealso Music Glossary: @rglos{figured bass}. @@ -899,33 +914,34 @@ End of continuation line @end multitable - @predefined @cindex figured bass extender lines @code{\bassFigureExtendersOn}, @code{\bassFigureExtendersOff}. +@endpredefined @snippets @lilypondfile[verbatim,lilyquote,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}. @@ -937,8 +953,10 @@ Internals Reference: @rinternals{BassFigureContinuation}, @rinternals{FiguredBass}. + @c @knownissues + @node Displaying figured bass @unnumberedsubsubsec Displaying figured bass @@ -1014,25 +1032,28 @@ or below the staff. @code{\bassFigureStaffAlignmentDown}, @code{\bassFigureStaffAlignmentUp}, @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}. @@ -1044,6 +1065,7 @@ Internals Reference: @rinternals{BassFigureContinuation}, @rinternals{FiguredBass}. + @knownissues To ensure that continuation lines work properly, it is