From: Graham Percival Date: Sun, 18 May 2008 00:09:54 +0000 (-0700) Subject: Minor updates X-Git-Tag: release/2.11.47-1~5^2~34^2~3 X-Git-Url: https://git.donarmstrong.com/?a=commitdiff_plain;h=31f4882aad8b63be04b2f9ac94198704d8f06a3c;p=lilypond.git Minor updates --- diff --git a/Documentation/user/chords.itely b/Documentation/user/chords.itely index 7a59a0abe4..76a9b656f7 100644 --- a/Documentation/user/chords.itely +++ b/Documentation/user/chords.itely @@ -47,7 +47,6 @@ structure, rather than the chord pitches. Chords can be entered as simultaneous music, as discussed in @ref{Chorded notes}. -@c need to decide about @qq{FOO mode} or @emph{} or whatever. 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 @@ -87,28 +86,21 @@ Major triads are entered by including the root and an optional duration: @lilypond[verbatim,quote,relative=1,ragged-right] -\chordmode { c2 f4. g8 } +\chordmode { c2 f4 g } @end lilypond -@noindent -If no duration is entered, the duration of the previous -note (or chord) will be used. - 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 g4:dim } +\chordmode { c2:m f4:aug g:dim } @end lilypond -Seventh chords are created by adding the number 7 at the beginning -of the modifier string (for the dominant seventh chord) or after the -quality modifier (for the other named seventh chords). +Seventh chords may be created: @lilypond[quote,ragged-right,fragment,verbatim,relative=1] \chordmode { -c1 | c:7 | c:m7 | c:maj7 | -c:dim | c:dim7 | c:aug7 | c:maj | + c1:7 c:m7 c:maj7 c:dim7 c:aug7 } @end lilypond @@ -156,15 +148,17 @@ 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 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 { -c4:2 c:3 c:4 c:5 +c:2 c:3 c:4 c:5 c:6 c:7 c:8 c:9 c:10 c:11 c:12 c:13 } @@ -178,9 +172,6 @@ is added explicitly). \chordmode { c1:13 c:13.11 c:m13 } @end lilypond -The largest possible value for the extent is 13. Any larger value -is interpreted as 13. - @cindex additions, in chords Individual steps can be added to a chord. Additions follow the @@ -282,6 +273,8 @@ as notes on a staff. @menu * Printing chord names:: +* Customizing chord names:: +* Lead sheets:: @end menu @node Printing chord names @@ -377,10 +370,9 @@ Internals Reference: Chords containing inversions or altered bass notes are not named properly. -@ignore -@n ode Customizing chord names -@u nnumberedsubsubsec Customizing chord names +@node Customizing chord names +@unnumberedsubsubsec Customizing chord names @cindex customizing chord names @@ -404,7 +396,7 @@ The effect is demonstrated here: @lilypondfile[ragged-right]{chord-names-languages.ly} -@C TODO - this paragraph is moved here from an earlier section +@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 @@ -417,16 +409,18 @@ chord mode. If none of the default 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 -@table -@item @funindex chordNameExceptions -@code{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. +@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 @@ -463,7 +457,7 @@ newly-created exceptions list: The entire process is illustrated below: -@lilypond[quote,ragged-right,verbatim,ragged-right] +@lilypond[quote,ragged-right,verbatim] FGGChordNames = { 1-\markup { \super "maj9" } 1-\markup { \super "6(add9)" } @@ -491,16 +485,22 @@ g1:6.9 @end lilypond -@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 options are -@code{whiteTriangleMarkup} and @code{blackTriangleMarkup}. +@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 +options are @code{whiteTriangleMarkup} and +@code{blackTriangleMarkup}. @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, e.g., + @lilypond[quote,ragged-right,fragment,verbatim] \new ChordNames \chordmode { c:7sus4 @@ -512,29 +512,33 @@ for a separator, e.g., @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 chordNoteNamer @item chordNoteNamer 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. +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 + +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. @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. +@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 @@ -543,6 +547,7 @@ right of the root of the chord. By setting @cindex chords, jazz @predefined + @funindex major seven symbols @code{\whiteTriangleMarkup} @code{\blackTriangleMarkup} @@ -597,8 +602,8 @@ 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 -@n ode Lead sheets -@u nnumberedsubsubsec Lead sheets +@node Lead sheets +@unnumberedsubsubsec Lead sheets @cindex lead sheet @@ -653,15 +658,12 @@ sheet: -@end ignore - - @node old Modern chords @subsection old Modern chords @menu * Entering chord names:: -* Lead sheets:: +* old Lead sheets:: * old Printing chord names:: @end menu @@ -733,8 +735,8 @@ g1:6.9 -@node Lead sheets -@subsubsection Lead sheets +@node old Lead sheets +@subsubsection old Lead sheets @cindex lead sheet diff --git a/Documentation/user/writing-texinfo.txt b/Documentation/user/writing-texinfo.txt index 901cf5caa3..a7ecb9543f 100644 --- a/Documentation/user/writing-texinfo.txt +++ b/Documentation/user/writing-texinfo.txt @@ -126,6 +126,11 @@ commands. * In examples of syntax, use @var{musicexpr} for a music expression. +* Don't use @rinternals{} in the main text. If you're tempted to + do so, you're probably getting too close to "talking through the + code". If you really want to refer to a context, use @code{} in + the main text and @rinternals{} in the @seealso. + * Variables or numbers which consist of a single character (probably followed by a punctuation mark) should be tied properly, either to the previous or the next word. Example: