From: Carl Sorensen <c_sorensen@byu.edu>
Date: Sat, 12 Jul 2008 14:44:45 +0000 (-0600)
Subject: Modification of chords, rhythms, notation-appendices .itely
X-Git-Tag: release/2.11.52-1~4
X-Git-Url: https://git.donarmstrong.com/?a=commitdiff_plain;h=6880ab535d8a3db11acce28ab0ae85d8210d00e1;p=lilypond.git

Modification of chords, rhythms, notation-appendices .itely
---

diff --git a/Documentation/user/chords.itely b/Documentation/user/chords.itely
index 11465fc2cd..dbb1f0084d 100644
--- a/Documentation/user/chords.itely
+++ b/Documentation/user/chords.itely
@@ -197,7 +197,7 @@ larger value is interpreted as 13.
 @end lilypond
 
 @noindent
-Note that @code{c:5} is identical to @code{c} -- both produce a C major triad.
+Note that both @code{c:5} and @code{c} produce a C major triad.
 
 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
@@ -244,13 +244,15 @@ as part of the basic chode structure, add it as an altered step.
 
 @funindex ^
 
-A step to be removed from the chord indicated in a
-modifier string with a prefix of @code{^}.  Only one removal with @code{^}
-is allowed in a modifier string.
+Following any steps to be added, a series of steps to be removed 
+is introduced in a modifier string with a prefix of @code{^}.  
+If more than one step is to be removed, the steps to be
+removed are separated by @code{.} following the
+initial @code{^}. 
 
 @lilypond[quote,verbatim,fragment,relative=1]
 \chordmode {
-  c1^3 c:7^5 c:9^3.5
+  c1^3 c:7^5 c:9^3 c:9^3.5 c:13.11^3.7
 }
 @end lilypond
 
@@ -268,9 +270,6 @@ equivalent to @code{.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
@@ -296,8 +295,15 @@ moved as part of an inversion, by using @code{/+}@var{pitch}.
 }
 @end lilypond
 
+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}.
+
 Snippets:
 @rlsr{Chords}
 
@@ -311,10 +317,6 @@ interpreted last.
 \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.
-
 Only the first inversion can be created by adding a bass note.  The
 second inversion requires changing the root of the chord.
 
@@ -550,11 +552,11 @@ and @q{m}.  The spacer is not used when the root is altered.
 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
 {chord-name-major7.ly}
 
-@c @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-@c {adding-bars-to-chordnames.ly)
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{adding-bar-lines-to-chordnames-context.ly}
 
-@c @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-@c {volta-brackets-over-chord-names.ly}
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{volta-below-chords.ly}
 
 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
 {changing-chord-separator.ly}
@@ -563,7 +565,8 @@ and @q{m}.  The spacer is not used when the root is altered.
 @seealso
 
 Notation Reference:
-@ref{Chord name chart}.
+@ref{Chord name chart},
+@ref{Common chord modifiers}.
 
 Installed Files:
 @file{scm/@/chords@/-ignatzek@/.scm},
@@ -682,6 +685,7 @@ In figure mode, a group of bass figures is delimited by
 }
 @end lilypond
 
+
 Accidentals (including naturals) can be added to figures:
 
 @lilypond[verbatim,quote,ragged-right,fragment]
@@ -708,7 +712,6 @@ sixth steps) can be created.
 }
 @end lilypond
 
-
 Vertical spaces and brackets can be be included in figures:
 
 @lilypond[verbatim,quote,ragged-right,fragment]
@@ -717,7 +720,6 @@ Vertical spaces and brackets can be be included in figures:
 }
 @end lilypond
 
-
 Any text markup can be inserted as a figure:
 
 @lilypond[verbatim,quote,ragged-right,fragment]
@@ -765,6 +767,70 @@ unless the continuation lines have been explicitly terminated.
 >>
 @end lilypond
 
+The table below summarizes the figure modifiers available.
+
+@multitable @columnfractions .1 .5 .4
+
+@item
+@b{Modifier}
+@tab
+@b{Purpose}
+@tab
+@b{Example}
+
+@item
++, -, !
+@tab
+Accidentals
+@tab
+@lilypond[line-width=4\cm]
+\figures {
+  <7! 6+ 4-> <5++> <3-->
+}
+@end lilypond
+
+@item
+\+, /
+@tab
+Augmented and diminished steps
+@tab
+@lilypond[line-width=4\cm]
+\figures {
+  <6\+ 5/> <7/>
+}
+@end lilypond
+
+@item
+\\
+@tab
+Raised sixth step
+@tab
+@lilypond[line-width=4\cm]
+\figures {
+  <6\\>
+}
+@end lilypond
+
+@item
+\!
+@tab
+End of continuation line
+@tab
+@lilypond[line-width=1.5\cm]
+<<
+  \figures {
+    \bassFigureExtendersOn
+    <6 4> <6 4> <6\! 4\!> <6 4>
+  }
+  {
+    \clef bass
+    d d c c
+  }
+>>
+@end lilypond
+
+@end multitable
+
 
 
 @predefined
@@ -939,7 +1005,6 @@ the bass line.
     \bassFigureExtendersOn
     % The extenders are incorrect here, even though the timing is the same
     <6 4->4 <6 4->4
-    %\repeat unfold 4 {<6 4->16. <6 4->32}
     <5>8. r16 <6>8 <6\! 5->
   }
 >>
diff --git a/Documentation/user/notation-appendices.itely b/Documentation/user/notation-appendices.itely
index 20ad0c198d..1a13a081a5 100644
--- a/Documentation/user/notation-appendices.itely
+++ b/Documentation/user/notation-appendices.itely
@@ -14,6 +14,7 @@
 
 @menu
 * Chord name chart::            
+* Common chord modifiers::
 * MIDI instruments::            
 * List of colors::              
 * The Feta font::               
@@ -37,6 +38,339 @@ names, along with the pitches they represent.
 
 @lilypondfile{chord-names-jazz.ly}
 
+@node Common chord modifiers
+@appendixsec Common chord modifiers
+
+The following table shows chord modifiers that can be used in
+@code{\chordmode} to generate standard chord structures.
+
+@multitable @columnfractions .2 .3 .2 .2
+
+@item
+@b{Chord type}
+@tab
+@b{Intervals}
+@tab
+@b{Modifier(s)}
+@tab
+@b{Example}
+
+
+@item
+Major
+@tab
+Major third, perfect fifth
+@tab
+@code{5} or nothing
+@tab
+@lilypond[line-width=1.5\cm]
+\chordmode {
+  c1:5
+}
+@end lilypond
+
+@item
+Minor
+@tab
+Minor third, perfect fifth
+@tab
+@code{m} or @code{m5}
+@tab
+@lilypond[line-width=1.5\cm]
+\chordmode {
+  c1:m
+}
+@end lilypond
+
+@item
+Augmented
+@tab
+Major third, augmented fifth
+@tab
+@code{aug}
+@tab
+@lilypond[line-width=1.5\cm]
+\chordmode {
+  c1:aug
+}
+@end lilypond
+
+@item
+Diminished
+@tab
+Minor third, diminished fifth
+@tab
+@code{dim}
+@tab
+@lilypond[line-width=1.5\cm]
+\chordmode {
+  c1:dim
+}
+@end lilypond
+
+@item
+Dominant seventh
+@tab
+Major triad, minor seventh
+@tab
+@code{7}
+@tab
+@lilypond[line-width=1.5\cm]
+\chordmode {
+  c1:7
+}
+@end lilypond
+
+@item
+Major seventh
+@tab
+Major triad, major seventh
+@tab
+@code{maj7} or @code{maj}
+@tab
+@lilypond[line-width=1.5\cm]
+\chordmode {
+  c1:maj7
+}
+@end lilypond
+
+@item
+Minor seventh
+@tab
+Minor triad, minor seventh
+@tab
+@code{m7}
+@tab
+@lilypond[line-width=1.5\cm]
+\chordmode {
+  c1:m7
+}
+@end lilypond
+
+@item
+Diminished seventh
+@tab
+Diminished triad, diminished seventh
+@tab
+@code{dim7}
+@tab
+@lilypond[line-width=1.5\cm]
+\chordmode {
+  c1:dim7
+}
+@end lilypond
+
+@item
+Augmented seventh
+@tab
+Augmented triad, minor seventh
+@tab
+@code{aug7}
+@tab
+@lilypond[line-width=1.5\cm]
+\chordmode {
+  c1:aug7
+}
+@end lilypond
+
+@item
+Half-diminished seventh
+@tab
+Diminished triad, minor seventh
+@tab
+@code{dim5m7}
+@tab
+@lilypond[line-width=1.5\cm]
+\chordmode {
+  c1:dim5m7
+}
+@end lilypond
+
+@item
+Minor-major seventh
+@tab
+Minor triad, major seventh
+@tab
+@code{7m5}
+@tab
+@lilypond[line-width=1.5\cm]
+\chordmode {
+  c1:7m5
+}
+@end lilypond
+
+@item
+Major sixth
+@tab
+Major triad, sixth
+@tab
+@code{6}
+@tab
+@lilypond[line-width=1.5\cm]
+\chordmode {
+  c1:6
+}
+@end lilypond
+
+@item
+Minor sixth
+@tab
+Minor triad, sixth
+@tab
+@code{m6}
+@tab
+@lilypond[line-width=1.5\cm]
+\chordmode {
+  c1:m6
+}
+@end lilypond
+
+@item
+Dominant ninth
+@tab
+Dominant seventh, major ninth
+@tab
+@code{9}
+@tab
+@lilypond[line-width=1.5\cm]
+\chordmode {
+  c1:9
+}
+@end lilypond
+
+@item
+Major ninth
+@tab
+TODO
+@tab
+@code{maj9}
+@tab
+@lilypond[line-width=1.5\cm]
+\chordmode {
+  c1:maj9
+}
+@end lilypond
+
+@item
+Minor ninth
+@tab
+TODO
+@tab
+@code{m9}
+@tab
+@lilypond[line-width=1.5\cm]
+\chordmode {
+  c1:m9
+}
+@end lilypond
+
+@item
+Dominant eleventh
+@tab
+Dominant ninth, perfect eleventh
+@tab
+@code{11}
+@tab
+@lilypond[line-width=1.5\cm]
+\chordmode {
+  c1:11
+}
+@end lilypond
+
+@item
+Major eleventh
+@tab
+TODO
+@tab
+@code{maj11}
+@tab
+@lilypond[line-width=1.5\cm]
+\chordmode {
+  c1:maj11
+}
+@end lilypond
+
+@item
+Minor eleventh
+@tab
+TODO
+@tab
+@code{m11}
+@tab
+@lilypond[line-width=1.5\cm]
+\chordmode {
+  c1:m11
+}
+@end lilypond
+
+@item
+Dominant thirteenth
+@tab
+Dominant eleventh, major thirteenth
+@tab
+@code{13.11}
+@tab
+@lilypond[line-width=1.5\cm]
+\chordmode {
+  c1:13.11
+}
+@end lilypond
+
+@item
+Major thirteenth
+@tab
+TODO
+@tab
+@code{maj13.11}
+@tab
+@lilypond[line-width=1.5\cm]
+\chordmode {
+  c1:maj13.11
+}
+@end lilypond
+
+@item
+Minor thirteenth
+@tab
+TODO
+@tab
+@code{m13.11}
+@tab
+@lilypond[line-width=1.5\cm]
+\chordmode {
+  c1:m13.11
+}
+@end lilypond
+
+@item
+Suspended second
+@tab
+TODO
+@tab
+@code{sus2}
+@tab
+@lilypond[line-width=1.5\cm]
+\chordmode {
+  c1:sus2
+}
+@end lilypond
+
+@item
+Suspended fourth
+@tab
+TODO
+@tab
+@code{sus4}
+@tab
+@lilypond[line-width=1.5\cm]
+\chordmode {
+  c1:sus4
+}
+@end lilypond
+
+
+@end multitable
+
 @node MIDI instruments
 @appendixsec MIDI instruments
 
diff --git a/Documentation/user/rhythms.itely b/Documentation/user/rhythms.itely
index 0dfc814221..78f3918004 100644
--- a/Documentation/user/rhythms.itely
+++ b/Documentation/user/rhythms.itely
@@ -353,7 +353,7 @@ notation, see @ref{Polymetric notation}.
 
 Notation Reference:
 @ref{Tuplets},
-@ref{Skips},
+@ref{Invisible rests},
 @ref{Polymetric notation}.
 
 Snippets:
@@ -516,7 +516,7 @@ Rests are entered as part of the music in music expressions.
 
 @menu
 * Rests::
-* Skips::
+* Invisible rests::
 * Full measure rests::
 @end menu
 
@@ -551,7 +551,7 @@ commands shown:
   r\longa
   % Print a breve rest
   r\breve
-  r1 r2 r4 r8 r16 r32 r64
+  r1 r2 r4 r8 r16 r32 r64 r128
 }
 @end lilypond
 
@@ -601,14 +601,15 @@ longest and shortest), but the number of glyphs is limited: there
 are rests from 128th to maxima (8 x whole).
 
 
-@node Skips
-@subsubsection Skips
+@node Invisible rests
+@subsubsection Invisible rests
 
 @cindex skip
 @cindex invisible rest
 @cindex rest, invisible
 @cindex spacer note
 @funindex s
+@funindex \skip
 
 An invisible rest (also called a @q{spacer rest}) can be entered
 like a note with the note name@tie{}@code{s}:
@@ -911,8 +912,8 @@ c c c c
 @funindex \defaultTimeSignature
 @cindex time signature style
 
-The symbol that is printed in 2/2 and 4/4 time can be customized
-to use a numeric style:
+The time signature symbol that is used in 2/2 and 4/4 time can be
+changed to a numeric style:
 
 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
 % Default style
@@ -1038,8 +1039,8 @@ entered using the @code{\partial} command, with the syntax
 \partial @var{duration} @emph{notes}
 @end example
 
-where @code{duration} is the rhythmic length of the @emph{notes}
-which are to be placed before the first complete measure:
+where @code{duration} is the rhythmic length of the interval
+before the start of the first complete measure:
 
 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
 \partial 4 e4 |
@@ -1108,9 +1109,9 @@ odd warnings may occur.
 
 Bar lines and bar numbers are calculated automatically.  For
 unmetered music (cadenzas, for example), this is not desirable.
-To turn off automatic bar lines and bar numbers, use the command
-@code{\cadenzaOn}, and use @code{\cadenzaOff} to turn them on
-again.
+To turn off automatic calculation of bar lines and bar numbers,
+use the command @code{\cadenzaOn}, and use @code{\cadenzaOff} 
+to turn them on again.
 
 @lilypond[verbatim,quote,ragged-right,relative=2,fragment]
 c4 d e d
@@ -1173,6 +1174,14 @@ to indicate where breaks can occur.
 @cindex polymetric signatures
 @cindex meter, polymetric
 
+Polymetric notation is supported, either explicitly or through
+clever use of markup features.
+
+@c Each of these examples uses \set or \override, and therefore
+@c by policy should be converted to a snippet.
+@c Do we want to have a section with a very brief (two-line 
+@c introduction, and have most of the content be in snippets?
+
 @strong{Alternating time signatures}
 
 Regularly alternating double time signatures are not supported
@@ -1240,6 +1249,9 @@ staff, shown durations are multiplied by 3/5, as 3/5 * 10/8 = 3/4.
 >> }
 @end lilypond
 
+@c I guess this example doesn't use \set or \override, and so
+@c could stay in the manual.
+
 @strong{Staves with different time signatures, unequal bar lengths}
 
 Each staff can be given its own independent time signature by
diff --git a/input/manual/chords-headword.ly b/input/manual/chords-headword.ly
index 3328d2077d..aca3c5772f 100644
--- a/input/manual/chords-headword.ly
+++ b/input/manual/chords-headword.ly
@@ -2,7 +2,7 @@
 #(set-global-staff-size 15)
 \paper{
   ragged-right=##f
-  line-width=17\cm
+  line-width=15\cm
   indent=0\cm
 }