From c51a8f7f872fac8c80ad7b4336053beeb84b16cf Mon Sep 17 00:00:00 2001 From: Graham Percival Date: Mon, 19 May 2008 21:45:15 -0700 Subject: [PATCH] Update from Carl. --- Documentation/user/chords.itely | 218 ++++++++++++++++---------------- 1 file changed, 112 insertions(+), 106 deletions(-) diff --git a/Documentation/user/chords.itely b/Documentation/user/chords.itely index a26064547f..067c728058 100644 --- a/Documentation/user/chords.itely +++ b/Documentation/user/chords.itely @@ -17,9 +17,9 @@ traditional European chord naming conventions. Chord names can also be displayed. In addition, figured bass notation can be displayed. @menu -* Chord mode:: -* Displaying chords:: -* Figured bass:: +* Chord mode:: +* Displaying chords:: +* Figured bass:: @end menu @@ -32,9 +32,9 @@ 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:: -* Extended and altered chords:: +* Chord mode overview:: +* Common chords:: +* Extended and altered chords:: @end menu @node Chord mode overview @@ -61,12 +61,12 @@ Chords entered using chord mode are music elements, and can be transposed just like chords entered using simultaneous music. Chord mode and note mode can be mixed in sequential music: + @lilypond[verbatim,quote,ragged-right,relative=1] -{ 2 < g b d > - \chordmode { c2 f} - < c e g > < g' b d > - \chordmode { f g} -} +2 < g b d > +\chordmode { c2 f} +< c e g > < g' b d > +\chordmode { f g} @end lilypond @@ -89,10 +89,8 @@ chord mode comes first, the note mode will create a new @code{Staff} context. @lilypond[verbatim,quote,ragged-right,relative=1] -{ - \chordmode { c2 f} - < c e g > < g' b d > -} +\chordmode { c2 f} +< c e g > < g' b d > @end lilypond To avoid this behavior, explicitly create the @code{Staff} context: @@ -201,7 +199,9 @@ unaltered 13, the 11 is removed from a @code{:13} chord (unless it is added explicitly). @lilypond[quote,ragged-right,fragment,verbatim,relative=1] -\chordmode { c1:13 c:13.11 c:m13 } +\chordmode { + c1:13 c:13.11 c:m13 +} @end lilypond @cindex additions, in chords @@ -210,13 +210,17 @@ Individual steps can be added to a chord. Additions follow the extent and are prefixed by a dot (@code{.}). @lilypond[quote,verbatim,fragment,relative=1] -\chordmode { c1:5.6 c:3.7.8 c:3.6.13 } +\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 } +\chordmode { + c4:5.15 c:5.20 c:5.25 c:5.30 +} @end lilypond @cindex chord steps, altering @@ -226,7 +230,9 @@ sign to the number. To alter a step that is automatically included as part of the basic chode structure, add it as an altered step. @lilypond[quote,verbatim,fragment,relative=1] -\chordmode { c1:7+ c:5+.3- c:3-.5-.7- } +\chordmode { + c1:7+ c:5+.3- c:3-.5-.7- +} @end lilypond @cindex removals, in chords @@ -238,7 +244,9 @@ modifier string and be prefixed by @code{^}. Only one removal with @code{^} is allowed in a modifier string. @lilypond[quote,verbatim,fragment,relative=1] -\chordmode { c1^3 c:7^5 c:9^3.5 } +\chordmode { + c1^3 c:7^5 c:9^3.5 +} @end lilypond @funindex sus @@ -250,7 +258,9 @@ chord. @code{sus} is equivalent to @code{^3}; @code{sus4} is equivalent to @code{.4^3}. @lilypond[quote,ragged-right,fragment,verbatim] -\chordmode { c1:sus c:sus2 c:sus4 c:5.4^3 } +\chordmode { + c1:sus c:sus2 c:sus4 c:5.4^3 +} @end lilypond It is possible to remove the 3rd step with @code{sus} and remove @@ -265,7 +275,9 @@ chord) and added bass notes can be specified by appending @code{/}@var{pitch} to the chord. @lilypond[quote,ragged-right,fragment,verbatim, relative=2] -\chordmode { c1 c/g c/f } +\chordmode { + c1 c/g c/f +} @end lilypond @funindex /+ @@ -274,7 +286,9 @@ A bass note that is part of the chord can be added, instead of moved as part of an inversion, by using @code{/+}@var{pitch}. @lilypond[quote,ragged-right,fragment,verbatim] -\chordmode { c1 c/+g c/+f } +\chordmode { + c1 c/g c/+g +} @end lilypond @seealso @@ -304,8 +318,8 @@ Chords can be displayed by name, in addition to the standard display as notes on a staff. @menu -* Printing chord names:: -* Customizing chord names:: +* Printing chord names:: +* Customizing chord names:: @end menu @node Printing chord names @@ -319,43 +333,10 @@ Chord names are printed in the @code{ChordNames} context: @lilypond[verbatim,quote,relative=1,ragged-right] \new ChordNames { - \chordmode { c2 f4. g8 } -} -@end lilypond - -Both chord names and the notes can be displayed: - -@lilypond[verbatim,quote,ragged-right] -myChords = \relative c'{ - \chordmode { c2 f4. g8 } -} -<< - \new ChordNames { - \chordmode { c2 f4. g8 } + \chordmode { + c2 f4. g8 } - { - \chordmode { c2 f4. g8 } - } ->> -@end lilypond - -Setting @rinternals{ChordNames}.@code{chordChanges} to true causes -chords names to be displayed only when the chord changes or at -the start of a new line - -@lilypond[quote,verbatim,ragged-right] -harmonies = \chordmode { - c1:m c:m \break c:m c:m d } -<< - \new ChordNames { - \set chordChanges = ##t - \harmonies - } - \new Staff { - \relative c' { \harmonies } - } ->> @end lilypond Chords can be entered as simultaneous notes or through the use of @@ -383,33 +364,46 @@ of the mode of entry, unless there are inversions or added bass notes: @funindex{\chords} -@code{\chords} is a shortcut method used to change the input mode to -@code{\chordmode} and create a @code{ChordNames} context, with the -following result: +@code{\chords} is a shortcut method used to create a +@code{ChordNames} context and change the input mode to +@code{\chordmode}: @lilypond[verbatim,quote,ragged-right, relative=1] -\chords { c2 f4.:m g8:maj7 } +\chords { + c2 f4.:m g8:maj7 +} @end lilypond -@cindex lead sheet +@lilypond[verbatim,quote,ragged-right, relative=1] +\new ChordNames { + \chordmode { + c2 f4.:m g8:maj7 + } +} +@end lilypond -When put together, chord names, a melody, and lyrics form a lead -sheet: +@snippets -@lilypond[verbatim,quote,ragged-right] +@c TODO -- replace this with a snippet +Chord names can be displayed only at the start of lines and when +the chord changes. + +@lilypond[quote,verbatim,ragged-right] +harmonies = \chordmode { + c1:m c:m \break c:m c:m d +} << - \chords { c2 g:sus4 f e } - \relative c'' { - a4 e c8 e r4 - b2 c4( d) + \new ChordNames { + \set chordChanges = ##t + \harmonies + } + \new Staff { + \relative c' { \harmonies } } - \addlyrics { One day this shall be free __ } >> @end lilypond -@snippets - -@c TODO -- replace this with a snippets +@c TODO -- replace this with a snippet To add bar indications in the @code{ChordNames} context, add @rinternals{Bar_engraver}. @@ -423,6 +417,21 @@ context, add @rinternals{Bar_engraver}. } @end lilypond +@c TODO -- replace this with a snippet +When put together, chord names, a melody, and lyrics form a lead +sheet: + +@lilypond[verbatim,quote,ragged-right] +<< + \chords { c2 g:sus4 f e } + \relative c'' { + a4 e c8 e r4 + b2 c4( d) + } + \addlyrics { One day this shall be free __ } +>> +@end lilypond + @seealso Music Glossary: @@ -517,16 +526,7 @@ bass note can be printed in lower case. 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., - -@lilypond[quote,ragged-right,fragment,verbatim] -\chords { - c:7sus4 - \set chordNameSeparator - = \markup { \typewriter "|" } - c:7sus4 -} -@end lilypond +for a separator. @funindex chordNameExceptions @@ -535,8 +535,7 @@ for a separator, e.g., This property is a list of pairs. The first item in each pair is a set of pitches used to identify the steps present in the chord. The second item is a markups that will follow the @code{chordRootNamer} -output to create the chord name. See @code{FIXME -- future ref to snippet} -for information on creating this list. +output to create the chord name. @funindex chordPrefixSpacer @item chordPrefixSpacer @@ -551,8 +550,8 @@ and @q{m}. The spacer is not used when the root is altered. @predefined @funindex major seven symbols -@code{\whiteTriangleMarkup} -@code{\blackTriangleMarkup} +@code{\whiteTriangleMarkup}, +@code{\blackTriangleMarkup}, @funindex \germanChords @code{\germanChords}, @funindex \semiGermanChords @@ -574,17 +573,24 @@ and @q{m}. The spacer is not used when the root is altered. @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {chord-name-major7.ly} -@c This has yet to be approved -@ignore -@lilypondfile[verbatim,lilyquote,texidoc,doctitle] -{adding-bars-to-chordnames.ly) -@end ignore +@c @lilypondfile[verbatim,lilyquote,texidoc,doctitle] +@c {adding-bars-to-chordnames.ly) -@c This has yet to be made a docs snippet -@ignore -@lilypondfile[verbatim,lilyquote,texidoc,doctitle] -(volta-brackets-over-chord-names.ly) -@end ignore +@c @lilypondfile[verbatim,lilyquote,texidoc,doctitle] +@c {volta-brackets-over-chord-names.ly} + +@c TODO convert to snippet +The separator between different parts of a chord name +can be set to any markup. + +@lilypond[quote,ragged-right,fragment,verbatim] +\chords { + c:7sus4 + \set chordNameSeparator + = \markup { \typewriter "|" } + c:7sus4 +} +@end lilypond @seealso @@ -597,8 +603,8 @@ Installed Files: Snippets: @rlsr{Chords}. -Internals Reference: -@c @rinternals{}. +@c Internals Reference: +@c @r internals{}. @knownissues @@ -624,13 +630,13 @@ myChords = \relative c' { @subsection Figured bass @menu -* Introduction to figured bass:: -* Entering figured bass:: -* Displaying figured bass:: +* Introduction to figured bass:: +* Entering figured bass:: +* Displaying figured bass:: @end menu @node Introduction to figured bass -@subsubsection Introduction to figured bass +@unnumberedsubsubsec Introduction to figured bass @cindex Basso continuo -- 2.39.5