From b8d792ec865f1a1af22a7121a452e4e5ac0b4fad Mon Sep 17 00:00:00 2001 From: Graham Percival Date: Sat, 17 May 2008 15:12:22 -0700 Subject: [PATCH] Update from Carl. --- Documentation/user/chords.itely | 152 ++++++++++++++++++-------------- 1 file changed, 87 insertions(+), 65 deletions(-) diff --git a/Documentation/user/chords.itely b/Documentation/user/chords.itely index 2824f85c76..7a59a0abe4 100644 --- a/Documentation/user/chords.itely +++ b/Documentation/user/chords.itely @@ -29,6 +29,9 @@ be displayed. In addition, figured bass notation can be displayed. @cindex chord chords +Chord mode is used to enter chords using an indicator of the chord +structure, rather than the chord pitches. + @menu * Chord mode overview:: * Common chords:: @@ -80,12 +83,17 @@ Snippets: @cindex modifiers, in chords. @cindex chord quality -Major triads are entered by including the root and a duration: +Major triads are entered by including the root and an +optional duration: @lilypond[verbatim,quote,relative=1,ragged-right] \chordmode { c2 f4. g8 } @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: @@ -98,7 +106,10 @@ of the modifier string (for the dominant seventh chord) or after the quality modifier (for the other named seventh chords). @lilypond[quote,ragged-right,fragment,verbatim,relative=1] -\chordmode { c1:7 c:m7 c:maj7 c:dim c:dim7 c:aug7 c:maj } +\chordmode { +c1 | c:7 | c:m7 | c:maj7 | +c:dim | c:dim7 | c:aug7 | c:maj | +} @end lilypond @funindex aug @@ -152,7 +163,11 @@ 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. @lilypond[quote,ragged-right,fragment,verbatim,relative=1] -\chordmode { c1:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 } +\chordmode { +c4:2 c:3 c:4 c:5 +c:6 c:7 c:8 c:9 +c:10 c:11 c:12 c:13 +} @end lilypond Since an unaltered 11 does not sound good when combined with an @@ -163,6 +178,9 @@ 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 @@ -172,6 +190,12 @@ extent and are prefixed by a dot (@code{.}). \chordmode { c1:5.6 c:3.7.8 c:3.6.13 } @end lilypond +Added steps can be as high as desired. + +@lilypond[quote,verbatim,fragment,relative=1] +\chordmode { c4:5.15 c:5.20 c:5.25 c:5.30 } +@end lilypond + @cindex chord steps, altering Added chord steps can be altered by suffixing a @code{-} or @code{+} @@ -246,14 +270,15 @@ interpreted last. @end lilypond Only one step can be removed from a chord. If a chord with multiple -removed steps is desired, it must be build through addition of +removed steps is desired, it must be built through addition of multiple steps. @node Displaying chords @subsection Displaying chords - +Chords can be displayed by name, in addition to the standard display +as notes on a staff. @menu * Printing chord names:: @@ -265,67 +290,57 @@ multiple steps. @cindex printing chord names @cindex chord names @cindex chords -@ignore -LilyPond has support for printing chord names. Because chords are -music elements, they can be transposed, and the chord names will be -transposed along with the chords. +LilyPond has support for printing chord names. Chord names are +printed in a special context, called @rinternals{ChordNames}. -Chords can be entered using @code{< .. >} or through the use of -chord mode. The displayed chord name will sometimes be different -depending upon the entry mode: +@lilypond[verbatim,quote,relative=1,ragged-right] +\new ChordNames \chordmode { c2 f4. g8 } +@end lilypond -@lilypond[quote,ragged-right,verbatim,ragged-right] -twoWays = \transpose c c' { - \chordmode { - c1 f:sus4 bes/f - } - - - -} +To display both chord names and the notes of chords, use the +technique in @ref{Writing music in parallel}. -<< \new ChordNames \twoWays - \new Voice \twoWays >> +@lilypond[verbatim,quote,ragged-right] +myChords = \chordmode { c2 f4. g8 } +<< +\new ChordNames \myChords +\myChords +>> @end lilypond -This example also shows that the chord printing routines cannot -correctly identify the root of a chord if it has been entered using -@code{< .. >} instead of named chord entry. Therefore, the sixth -chord (@code{f bes d}) is not interpreted as an inversion. In -contrast, the third chord, which contains the same notes as the sixth -chord, is correctly identified because it was entered in the named -chord mode. +Chords can be entered as simultaneous notes or through the use of +chord mode. The displayed chord name will be the same, regardless +of the mode of entry: -For displaying printed chord names, use the @rinternals{ChordNames} -context. - -@lilypond[quote,verbatim,ragged-right] -harmonies = { - \chordmode {a1 b c} +@lilypond[quote,ragged-right,verbatim] +twoWays = \relative c' { + \chordmode { c2 f:sus4 } + { } } << - \new ChordNames \harmonies - \new Staff \harmonies +\new ChordNames \twoWays +\new Voice \twoWays >> @end lilypond -The previous examples all show chords over a staff. This is not -necessary. Chords may also be printed separately. It may be necessary -to add @rinternals{Volta_engraver} and @rinternals{Bar_engraver} -for showing repeats. + +If repeats are used in the music, and the volta brackets are to be +dispayed above the chord names, @code{voltaOnThisStaff} must be set +to @code{##t}. To add bar indications in the @code{ChordNames} +context, add @rinternals{Bar_engraver}. @lilypond[ragged-right,verbatim] \new ChordNames \with { \override BarLine #'bar-size = #4 - \consists Bar_engraver - \consists "Volta_engraver" + voltaOnThisStaff = ##t + \consists "Bar_engraver" } \chordmode { \repeat volta 2 { f1:maj7 f:7 bes:7 c:maj7 } \alternative { - es e + ees e } } @end lilypond @@ -334,38 +349,35 @@ for showing repeats. @code{\chordmode} and create a @code{ChordNames} context, with the following result: -@lilypond[verbatim,quote,ragged-right] -\chords { c2 f4.:m g4.:maj7 gis8:dim7 } +@lilypond[verbatim,quote,ragged-right, relative=1] +\chords { c2 f4.:m g8:maj7 } @end lilypond -@c @predefined - -@c @snippets @seealso -@c Music Glossary: -@c @rglos{}. -@c Learning Manual: -@c @rlearning{}. +Music Glossary: +@rglos{chord}. -@c Notation Reference: -@c @ruser{}. -@c Application Usage: -@c @rprogram{}. +Notation Reference: +@ref{Writing music in parallel}. -@c Installed Files: -@c @file{}. -@c Snippets: -@c @rlsr{}. +Snippets: +@c @rlsr{Chords}. -@c Internals Reference: -@c @rinternals{}. +Internals Reference: +@rinternals{ChordNames}, +@rinternals{Volta_engraver}, +@rinternals{Bar_engraver}. -@c @knownissues +@knownissues +Chords containing inversions or altered bass notes are not named +properly. + +@ignore @n ode Customizing chord names @u nnumberedsubsubsec Customizing chord names @@ -392,6 +404,16 @@ The effect is demonstrated here: @lilypondfile[ragged-right]{chord-names-languages.ly} +@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 +@code{< .. >} instead of named chord entry. Therefore, the sixth +chord (@code{f bes d}) is not interpreted as an inversion. In +contrast, the third chord, which contains the same notes as the sixth +chord, is correctly identified because it was entered in the named +chord mode. + If none of the default settings give the desired output, the chord name display can be tuned through the following properties. -- 2.39.5