lilypond-book robustness: ensure EOL at the end of @verbatim

[lilypond.git] / Documentation / user / chords.itely

diff --git a/Documentation/user/chords.itely b/Documentation/user/chords.itely
index 9c44ec986924a9db5406ca6cfea831d19a1f8299..c1b6c03d75729d3b3bb9bfe2e562806ea1716591 100644 (file)
--- a/Documentation/user/chords.itely
+++ b/Documentation/user/chords.itely
@@ -6,7 +6,7 @@
     version that you are working on.  See TRANSLATION for details.
 @end ignore
 
-@c \version "2.11.61"
+@c \version "2.12.0"
 
 
 @node Chord notation
@@ -61,6 +61,9 @@ found at @ref{Input modes}.
 
 Chords entered using chord mode are music elements, and can be
 transposed just like chords entered using simultaneous music.
+@code{\chordmode} is absolute, as @code{\relative} has no effect
+on @code{chordmode} blocks. However, in @code{\chordmode} the
+absolute pitches are one octave higher than in note mode.
 
 Chord mode and note mode can be mixed in sequential music:
 
@@ -139,7 +142,10 @@ 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 +173,7 @@ 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 {
@@ -229,7 +234,7 @@ Snippets:
 @rlsr{Chords}.
 
 @knownissues
-Only one quality modifier should be used per chord, typically on the 
+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
@@ -251,6 +256,8 @@ 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
@@ -281,7 +288,9 @@ 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 {
@@ -448,6 +457,30 @@ of the mode of entry, unless there are inversions or added bass notes:
 >>
 @end lilypond
 
+@cindex no chord symbol
+@cindex N.C. symbol
+@cindex indicating No Chord in ChordNames
+
+Rests passed to a @code{ChordNames} context will cause the
+@code{noChordSymbol} markup to be displayed.
+
+@lilypond[verbatim, quote, relative=1]
+<<
+  \new ChordNames \chordmode {
+    c1
+    r1
+    g1
+    c1
+  }
+  \new Score \chordmode {
+    c1
+    r1
+    g1
+    c1
+  }
+>>
+@end lilypond
+
 @funindex{\chords}
 
 @code{\chords @{ ... @}} is a shortcut notation for