+++ /dev/null
-@c -*- coding: utf-8; mode: texinfo; -*-
-@ignore
- Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
-
- When revising a translation, copy the HEAD committish of the
- version that you are working on. See TRANSLATION for details.
-@end ignore
-
-@c \version "2.12.0"
-
-
-@node Chord notation
-@section Chord notation
-
-@lilypondfile[quote]{chords-headword.ly}
-
-Chords can be entered either as normal notes or in chord mode and displayed
-using a variety of traditional European chord naming conventions. Chord
-names and figured bass notation can also be displayed.
-
-@menu
-* Chord mode::
-* Displaying chords::
-* Figured bass::
-@end menu
-
-
-@node Chord mode
-@subsection Chord mode
-
-@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::
-* Extended and altered chords::
-@end menu
-
-@node Chord mode overview
-@unnumberedsubsubsec Chord mode overview
-
-@cindex chord names
-@cindex chord mode
-
-Chords can be entered as simultaneous music, as discussed in
-@ref{Chorded notes}.
-
-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
-convenient for those who are familiar with using chord names to
-describe chords. More information on different input modes can be
-found at @ref{Input modes}.
-
-@lilypond[verbatim,quote,ragged-right,relative=1]
-\chordmode { c1 g a g c }
-@end lilypond
-
-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]
-<c e g>2 <g b d>
-\chordmode { c2 f }
-<c e g>2 <g' b d>
-\chordmode { f2 g }
-@end lilypond
-
-
-@seealso
-Music Glossary:
-@rglos{chord}.
-
-Notation Reference:
-@ref{Chorded notes},
-@ref{Input modes}.
-
-Snippets:
-@rlsr{Chords}
-
-
-@knownissues
-
-When chord mode and note mode are mixed in sequential music, and
-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>2 <g' b d>
-@end lilypond
-
-To avoid this behavior, explicitly create the @code{Staff} context:
-
-@lilypond[verbatim,quote,ragged-right,relative=1]
-\new Staff {
- \chordmode { c2 f }
- <c e g>2 <g' b d>
-}
-@end lilypond
-
-@node Common chords
-@unnumberedsubsubsec Common chords
-
-@cindex triads
-@cindex seventh chords
-@cindex root of chord
-@cindex modifiers, in chords.
-@cindex chord quality
-
-Major triads are entered by including the root and an
-optional duration:
-
-@lilypond[verbatim,quote,relative=1,ragged-right]
-\chordmode { c2 f4 g }
-@end lilypond
-
-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 g:dim }
-@end lilypond
-
-Seventh chords can be created:
-
-@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
-\chordmode { c1:7 c:m7 c:maj7 c:dim7 c:aug7 }
-@end lilypond
-
-@funindex aug
-@funindex dim
-@funindex maj
-@funindex m
-
-The table belows shows the actions of the quality modifiers on
-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
-@multitable @columnfractions .2 .4 .3
-
-@item
-@b{Modifier}
-@tab
-@b{Action}
-@tab
-@b{Example}
-
-@item
-None
-@tab
-The default action; produces a major triad.
-@tab
-@lilypond[line-width=4\cm, noragged-right]
-\chordmode {
- \override Staff.TimeSignature #'stencil = ##f
- c1
-}
-@end lilypond
-
-@item
-m, m7
-@tab
-The minor chord. This modifier lowers the 3rd.
-@tab
-@lilypond[line-width=4\cm, noragged-right]
-\chordmode {
- \override Staff.TimeSignature #'stencil = ##f
- c1:m c:m7
-}
-@end lilypond
-
-
-@item
-dim, dim7
-@tab
-The diminished chord. This modifier lowers the 3rd, 5th and (if
-present) the 7th step.
-@tab
-@lilypond[line-width=4\cm, noragged-right]
-\chordmode {
- \override Staff.TimeSignature #'stencil = ##f
- c1:dim c:dim7
-}
-@end lilypond
-
-@item
-aug
-@tab
-The augmented chord. This modifier raises the 5th step.
-@tab
-@lilypond[line-width=4\cm, noragged-right]
-\chordmode {
- \override Staff.TimeSignature #'stencil = ##f
- c1:aug
-}
-@end lilypond
-
-@item
-maj, maj7
-@tab
-The major 7th chord. This modifier adds a raised 7th step. The
-@code{7} following @code{maj} is optional. Do NOT use this modifier
-to create a major triad.
-@tab
-@lilypond[line-width=4\cm, noragged-right]
-\chordmode {
- \override Staff.TimeSignature #'stencil = ##f
- c1:maj c:maj7
-}
-@end lilypond
-
-@end multitable
-
-
-@seealso
-Notation Reference:
-@ref{Common chord modifiers},
-@ref{Extended and altered chords}.
-
-Snippets:
-@rlsr{Chords}.
-
-@knownissues
-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
-quality modifier should be altered by individual pitches, as described
-in @ref{Extended and altered chords}.
-
-
-@node Extended and altered chords
-@unnumberedsubsubsec Extended and altered chords
-
-@cindex extended chords
-@cindex altered chords
-
-Chord structures of arbitrary complexity can be created in chord
-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.
-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
-larger value is interpreted as 13.
-
-@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
-\chordmode {
- c1:2 c:3 c:4 c:5
- c1:6 c:7 c:8 c:9
- c1:10 c:11 c:12 c:13
- c1:14
-}
-@end lilypond
-
-@noindent
-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
-is added explicitly).
-
-@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
-\chordmode {
- c1:13 c:13.11 c:m13
-}
-@end lilypond
-
-@cindex additions, in chords
-
-Individual steps can be added to a chord. Additions follow the
-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 {
- 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{+}
-sign to the number. To alter a step that is automatically included
-as part of the basic chord structure, add it as an altered step.
-
-@lilypond[quote,verbatim,fragment,relative=1]
-\chordmode {
- c1:7+ c:5+.3- c:3-.5-.7-
-}
-@end lilypond
-
-@cindex removals, in chords
-
-@funindex ^
-
-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 c:9^3.5 c:13.11^3.7
-}
-@end lilypond
-
-@funindex sus
-
-The modifier @code{sus} can be added to the modifier string to
-create suspended chords. This removes the 3rd step from the chord.
-Append either @code{2} or @code{4} to add the 2nd or 4th step to the
-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
-}
-@end lilypond
-
-@funindex /
-@cindex chord inversions
-@cindex bass note, for chords
-
-Inversions (putting a pitch other than the root on the bottom of the
-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
-}
-@end lilypond
-
-@funindex /+
-
-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/+g
-}
-@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}
-
-
-@knownissues
-
-Each step can only be present in a chord once. The following
-simply produces the augmented chord, since @code{5+} is
-interpreted last.
-
-@lilypond[quote,ragged-right,verbatim,fragment]
-\chordmode { c1:5.5-.5+ }
-@end lilypond
-
-Only the second inversion can be created by adding a bass
-note. The first inversion requires changing the root of
-the chord.
-
-@lilypond[quote,ragged-right,verbatim,fragment]
-\chordmode {
- c'1: c':/g e:6-3-^5 e:m6-^5
-}
-@end lilypond
-
-@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::
-* Customizing chord names::
-@end menu
-
-@node Printing chord names
-@unnumberedsubsubsec Printing chord names
-
-@cindex printing chord names
-@cindex chord names
-@cindex chords
-
-Chord names are printed in the @code{ChordNames} context:
-
-@lilypond[verbatim,quote,relative=1,ragged-right]
-\new ChordNames {
- \chordmode {
- c2 f4. g8
- }
-}
-@end lilypond
-
-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, unless there are inversions or added bass notes:
-
-@lilypond[verbatim,quote,relative=1]
-<<
- \new ChordNames {
- <c e g>2 <f bes c>
- <f c' e g>1
- \chordmode {
- c2 f:sus4 c1:/f
- }
- }
- {
- <c e g>2 <f bes c>
- <f, c' e g>1
- \chordmode {
- c2 f:sus4 c1:/f
- }
- }
->>
-@end lilypond
-
-@funindex{\chords}
-
-@code{\chords @{ ... @}} is a shortcut notation for
-@code{\new ChordNames @{ \chordmode @{ ... @} @}}.
-
-@lilypond[verbatim,quote,ragged-right, relative=1]
-\chords {
- c2 f4.:m g8:maj7
-}
-@end lilypond
-
-@lilypond[verbatim,quote,ragged-right, relative=1]
-\new ChordNames {
- \chordmode {
- c2 f4.:m g8:maj7
- }
-}
-@end lilypond
-
-@snippets
-
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
-{showing-chords-at-changes.ly}
-
-@c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
-@c {adding-bar-lines-to-chordnames-context.ly}
-
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
-{simple-lead-sheet.ly}
-
-
-@seealso
-Music Glossary:
-@rglos{chord}.
-
-Notation Reference:
-@ref{Writing music in parallel}.
-
-Snippets:
-@rlsr{Chords}.
-
-Internals Reference:
-@rinternals{ChordNames},
-@rinternals{ChordName},
-@rinternals{Chord_name_engraver},
-@rinternals{Volta_engraver},
-@rinternals{Bar_engraver}.
-
-
-@knownissues
-
-Chords containing inversions or altered bass notes are not named
-properly if entered using simultaneous music.
-
-
-@node Customizing chord names
-@unnumberedsubsubsec Customizing chord names
-
-@cindex customizing chord names
-
-There is no unique system for naming chords. Different musical
-traditions use different names for the same set of chords. There
-are also different symbols displayed for a given chord name. The
-names and symbols displayed for chord names are customizable.
-
-@cindex jazz chords
-@cindex chords, jazz
-
-The basic chord name layout is a system for Jazz music, proposed
-by Klaus Ignatzek (see @ref{Literature list}). The chord naming
-system can be modified as described below. An alternate jazz
-chord system has been developed using these modifications.
-The Ignatzek and alternate
-Jazz notation are shown on the chart in @ref{Chord
-name chart}.
-
-@c TODO -- Change this so we don't have a non-verbatim example.
-@c Make short example in docs, then move longer example to
-@c appendix, where the length of the snippet won't matter.
-
-In addition to the different naming systems, different note names
-are used for the root in different languages. The predefined
-variables @code{\germanChords}, @code{\semiGermanChords},
-@code{\italianChords} and @code{\frenchChords} set these variables.
-The effect is demonstrated here:
-
-@lilypondfile[ragged-right]{chord-names-languages.ly}
-
-If none of the existing settings give the desired output, the chord
-name display can be tuned through the following properties.
-
-@table @code
-
-@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 majorSevenSymbol
-
-@item majorSevenSymbol
-
-This property contains the markup object used to follow the output
-of @code{chordRootNamer} to identify a major 7 chord. Predefined
-options are @code{whiteTriangleMarkup} and
-@code{blackTriangleMarkup}.
-
-@funindex chordNoteNamer
-
-@item chordNoteNamer
-
-When the chord name contains additional pitches other than 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 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.
-
-@funindex chordNameExceptions
-
-@item chordNameExceptions
-
-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 markup that will follow the @code{chordRootNamer}
-output to create the chord name.
-
-@funindex chordPrefixSpacer
-@item chordPrefixSpacer
-
-The @q{m} for minor chords is usually printed immediately to the
-right of the root of the chord. A spacer can be placed between
-the root and @q{m} by setting @code{chordPrefixSpacer}.
-The spacer is not used when the root is altered.
-
-@end table
-
-
-@predefined
-@funindex major seven symbols
-@code{\whiteTriangleMarkup},
-@code{\blackTriangleMarkup},
-@funindex \germanChords
-@code{\germanChords},
-@funindex \semiGermanChords
-@code{\semiGermanChords},
-@funindex \italianChords
-@code{\italianChords},
-@funindex \frenchChords
-@code{\frenchChords}.
-@endpredefined
-
-
-@snippets
-
-@cindex exceptions, chord names.
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{chord-name-exceptions.ly}
-
-@c TODO - tweak snippet to use \blackTriangleMarkup as well
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{chord-name-major7.ly}
-
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{adding-bar-lines-to-chordnames-context.ly}
-
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{volta-below-chords.ly}
-
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{changing-chord-separator.ly}
-
-
-@seealso
-Notation Reference:
-@ref{Chord name chart},
-@ref{Common chord modifiers}.
-
-Installed Files:
-@file{scm/@/chords@/-ignatzek@/.scm},
-@file{scm/@/chord@/-entry@/.scm},
-@file{ly/@/chord@/-modifier@/-init@/.ly}.
-
-Snippets:
-@rlsr{Chords}.
-
-@c Internals Reference:
-@c @r internals{}.
-
-
-@knownissues
-
-Chord names are determined from both the pitches that are present
-in the chord and the information on the chord structure that may
-have been entered in @code{\chordmode}. If the simultaneous pitches
-method of entering chords is used, undesired names result from
-inversions or bass notes.
-
-@lilypond[quote,ragged-right,verbatim]
-myChords = \relative c' {
- \chordmode { c1 c/g c/f }
- <c e g>1 <g c e> <f c' e g>
-}
-<<
- \new ChordNames { \myChords }
- \new Staff { \myChords }
->>
-@end lilypond
-
-
-@node Figured bass
-@subsection Figured bass
-
-@lilypondfile[quote]{figured-bass-headword.ly}
-
-Figured bass notation can be displayed.
-
-@menu
-* Introduction to figured bass::
-* Entering figured bass::
-* Displaying figured bass::
-@end menu
-
-@node Introduction to figured bass
-@unnumberedsubsubsec Introduction to figured bass
-
-@cindex Basso continuo
-@cindex Thorough bass
-@cindex Figured bass
-@cindex Bass, thorough
-@cindex Bass, figured
-
-@c TODO: musicological blurb about FB
-
-
-LilyPond has support for figured bass, also called thorough bass
-or basso continuo:
-
-@lilypond[quote,ragged-right,verbatim,fragment]
-<<
- \new Voice { \clef bass dis4 c d ais g fis}
- \new FiguredBass {
- \figuremode {
- < 6 >4 < 7\+ >8 < 6+ [_!] >
- < 6 >4 <6 5 [3+] >
- < _ >4 < 6 5/>4
- }
- }
->>
-@end lilypond
-
-The support for figured bass consists of two parts: there is an
-input mode, introduced by @code{\figuremode}, that accepts
-entry of bass figures, and there is a context named
-@code{FiguredBass} that takes care of displaying
-@code{BassFigure} objects. Figured bass can also be displayed
-in @code{Staff} contexts.
-
-@code{\figures@{ ... @}} is a shortcut notation for
-@code{\new FiguredBass @{ \figuremode @{ ... @} @}}.
-
-
-Although the support for figured bass may superficially resemble chord
-support, it is much simpler. @code{\figuremode} mode simply
-stores the figures and the @code{FiguredBass} context prints them
-as entered. There is no conversion to pitches.
-
-@ignore
-Figures are created as markup texts. Any of the standard markup
-properties can be used to modify the display of figures. For
-example, the vertical spacing of the figures may be set with
-@code{baseline-skip}.
-@end ignore
-
-
-@seealso
-Music Glossary:
-@rglos{figured bass}.
-
-Snippets:
-@rlsr{Chords}
-
-
-@node Entering figured bass
-@unnumberedsubsubsec Entering figured bass
-
-@code{\figuremode} is used to switch the input mode to figure mode.
-More information on different input modes can be
-found at @ref{Input modes}.
-
-In figure mode, a group of bass figures is delimited by
-@code{<} and @code{>}. The duration is entered after the @code{>}.
-
-@lilypond[verbatim,quote,ragged-right,fragment]
-\new FiguredBass {
- \figuremode {
- <6 4>2
- }
-}
-@end lilypond
-
-
-Accidentals (including naturals) can be added to figures:
-
-@lilypond[verbatim,quote,ragged-right,fragment]
-\figures {
- <7! 6+ 4-> <5++> <3-->
-}
-@end lilypond
-
-Augmented and diminished steps can be indicated:
-
-@lilypond[verbatim,quote,ragged-right,fragment]
-\figures {
- <6\+ 5/> <7/>
-}
-@end lilypond
-
-A backward slash through a figure (typically used for raised
-sixth steps) can be created:
-
-@lilypond[verbatim,quote,ragged-right,fragment]
-\figures {
- <6> <6\\>
-}
-@end lilypond
-
-Vertical spaces and brackets can be be included in figures:
-
-@lilypond[verbatim,quote,ragged-right,fragment]
-\figures {
- <[12 _!] 8 [6 4]>
-}
-@end lilypond
-
-Any text markup can be inserted as a figure:
-
-@lilypond[verbatim,quote,ragged-right,fragment]
-\figures {
- <\markup { \tiny \number 6 \super (1) } 5>
-}
-@end lilypond
-
-@c NOTE: We need to include notes any time we use extenders to
-@c avoid extraneous staff creation due to Staff.use... in
-@c \bassFigureExtendersOn
-
-Continuation lines can be used to indicate repeated figures:
-
-@lilypond[verbatim,quote,ragged-right,fragment]
-<<
- {
- \clef bass
- e4 d c b,
- e4 d c b,
- }
- \figures {
- \bassFigureExtendersOn
- <6 4>4 <6 3> <7 3> <7 3>
- \bassFigureExtendersOff
- <6 4>4 <6 3> <7 3> <7 3>
- }
->>
-@end lilypond
-
-@noindent
-In this case, the extender lines replace existing figures,
-unless the continuation lines have been explicitly terminated.
-
-@lilypond[verbatim,quote,ragged-right,fragment]
-<<
- \figures {
- \bassFigureExtendersOn
- <6 4>4 <6 4> <6\! 4\!> <6 4>
- }
- {
- \clef bass
- d4 d c c
- }
->>
-@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=4\cm]
-<<
- \figures {
- \bassFigureExtendersOn
- <6 4> <6 4> <6\! 4\!> <6 4>
- }
- {
- \clef bass
- d d c c
- }
->>
-@end lilypond
-
-@end multitable
-
-
-@predefined
-@cindex figured bass extender lines
-@code{\bassFigureExtendersOn},
-@code{\bassFigureExtendersOff}.
-@endpredefined
-
-
-@snippets
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{changing-the-positions-of-figured-bass-alterations.ly}
-
-
-@seealso
-@c Music Glossary:
-@c @rglos{}.
-@c
-@c Learning Manual:
-@c @rlearning{}.
-@c
-@c Notation Reference:
-@c @ref{}.
-@c
-@c Application Usage:
-@c @rprogram{}.
-@c
-@c Installed Files:
-@c @file{}.
-@c
-Snippets:
-@rlsr{Chords}.
-
-Internals Reference:
-@rinternals{BassFigure},
-@rinternals{BassFigureAlignment},
-@rinternals{BassFigureLine},
-@rinternals{BassFigureBracket},
-@rinternals{BassFigureContinuation},
-@rinternals{FiguredBass}.
-
-
-@c @knownissues
-
-
-@node Displaying figured bass
-@unnumberedsubsubsec Displaying figured bass
-
-Figured bass can be displayed using the @code{FiguredBass} context,
-or in most staff contexts.
-
-When displayed in a @code{FiguredBass} context, the vertical location
-of the figures is independent of the notes on the staff.
-
-@lilypond[verbatim,ragged-right,fragment,quote]
-<<
- \relative c'' {
- c4 c'8 r8 c,4 c'
- }
- \new FiguredBass {
- \figuremode {
- <4>4 <10 6>8 s8
- <6 4>4 <6 4>
- }
- }
->>
-@end lilypond
-
-@noindent
-In the example above, the @code{FiguredBass} context must be
-explicitly instantiated to avoid creating a second (empty) staff.
-
-
-Figured bass can also be added to @code{Staff} contexts
-directly. In this case, the vertical position of the
-figures is adjusted automatically.
-
-@lilypond[verbatim,ragged-right,fragment,quote]
-<<
- \new Staff = myStaff
- \figuremode {
- <4>4 <10 6>8 s8
- <6 4>4 <6 4>
- }
- %% Put notes on same Staff as figures
- \context Staff = myStaff
- {
- \clef bass
- c4 c'8 r8 c4 c'
- }
->>
-@end lilypond
-
-
-When added in a @code{Staff} context, figured bass can be displayed above
-or below the staff.
-
-@lilypond[verbatim,ragged-right,fragment,quote]
-<<
- \new Staff = myStaff
- \figuremode {
- <4>4 <10 6>8 s8
- \bassFigureStaffAlignmentDown
- <6 4>4 <6 4>
- }
- %% Put notes on same Staff as figures
- \context Staff = myStaff
- {
- \clef bass
- c4 c'8 r8 c4 c'
- }
->>
-@end lilypond
-
-
-@predefined
-@cindex figured bass alignment
-@code{\bassFigureStaffAlignmentDown},
-@code{\bassFigureStaffAlignmentUp},
-@code{\bassFigureStaffAlignmentNeutral}.
-@endpredefined
-
-
-@c @snippets
-
-
-@seealso
-@c Music Glossary:
-@c @rglos{}.
-@c
-@c Learning Manual:
-@c @rlearning{}.
-@c
-@c Notation Reference:
-@c @ref{}.
-@c
-@c Application Usage:
-@c @rprogram{}.
-@c
-@c Installed Files:
-@c @file{}.
-@c
-Snippets:
-@rlsr{Chords}.
-
-Internals Reference:
-@rinternals{BassFigure},
-@rinternals{BassFigureAlignment},
-@rinternals{BassFigureLine},
-@rinternals{BassFigureBracket},
-@rinternals{BassFigureContinuation},
-@rinternals{FiguredBass}.
-
-
-@knownissues
-
-To ensure that continuation lines work properly, it is
-safest to use the same rhythm in the figure line as in
-the bass line.
-
-@lilypond[verbatim,ragged-right,fragment,quote]
-<<
- {
- \clef bass
- \repeat unfold 4 { f16. g32 } f8. es16 d8 es
- }
- \figures {
- \bassFigureExtendersOn
- % The extenders are correct here, with the same rhythm as the bass
- \repeat unfold 4 { <6 4->16. <6 4->32 }
- <5>8. r16 <6>8 <6\! 5->
- }
->>
-<<
- {
- \clef bass
- \repeat unfold 4 { f16. g32 } f8. es16 d8 es
- }
- \figures {
- \bassFigureExtendersOn
- % The extenders are incorrect here, even though the timing is the same
- <6 4->4 <6 4->4
- <5>8. r16 <6>8 <6\! 5->
- }
->>
-@end lilypond
-
-When using extender lines, adjacent figures with the same number in
-a different figure location can cause the figure positions to invert.
-
-@lilypond[verbatim,ragged-right,fragment,quote,relative=1]
-<<
- { fis4 g g, e' }
- \figures {
- \bassFigureExtendersOn
- <6 5>4 <5\! 4> < 5 _!> <6>
- }
->>
-@end lilypond
-
-To avoid this problem, simply turn on extenders after the figure that
-begins the extender line and turn them off at the end of the extender line.
-
-@lilypond[verbatim,ragged-right,fragment,quote,relative=1]
-<<
- { fis4 g g, e' }
- \figures {
- <6 5>4 <5 4>
- \bassFigureExtendersOn
- < 5 _!>4 <6>
- \bassFigureExtendersOff
- }
->>
-@end lilypond
-
projects / lilypond.git / blobdiff