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1 @c -*- coding: utf-8; mode: texinfo; -*- | 1 @c -*- coding: utf-8; mode: texinfo; -*- |
2 @ignore | 2 @ignore |
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH | 3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH |
4 | 4 |
5 When revising a translation, copy the HEAD committish of the | 5 When revising a translation, copy the HEAD committish of the |
6 version that you are working on. For details, see the Contributors' | 6 version that you are working on. For details, see the Contributors' |
7 Guide, node Updating translation committishes.. | 7 Guide, node Updating translation committishes.. |
8 @end ignore | 8 @end ignore |
9 | 9 |
10 @c \version "2.12.0" | 10 @c \version "2.12.0" |
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50 @ref{Chorded notes}. | 50 @ref{Chorded notes}. |
51 | 51 |
52 Chords can also be entered in @qq{chord mode}, which is an input | 52 Chords can also be entered in @qq{chord mode}, which is an input |
53 mode that focuses on the structures of chords in traditional | 53 mode that focuses on the structures of chords in traditional |
54 European music, rather than on specific pitches. This is | 54 European music, rather than on specific pitches. This is |
55 convenient for those who are familiar with using chord names to | 55 convenient for those who are familiar with using chord names to |
56 describe chords. More information on different input modes can be | 56 describe chords. More information on different input modes can be |
57 found at @ref{Input modes}. | 57 found at @ref{Input modes}. |
58 | 58 |
59 @lilypond[verbatim,quote,ragged-right,relative=1] | 59 @lilypond[verbatim,quote,ragged-right,relative=1] |
60 \chordmode { c1 g a g c } | 60 \chordmode { c1 | g1 | a1 | g1 | c1 | } |
61 @end lilypond | 61 @end lilypond |
62 | 62 |
63 Chords entered using chord mode are music elements, and can be | 63 Chords entered using chord mode are music elements, and can be |
64 transposed just like chords entered using simultaneous music. | 64 transposed just like chords entered using simultaneous music. |
65 @code{\chordmode} is absolute, as @code{\relative} has no effect | 65 @code{\chordmode} is absolute, as @code{\relative} has no effect |
66 on @code{chordmode} blocks. However, in @code{\chordmode} the | 66 on @code{chordmode} blocks. However, in @code{\chordmode} the |
67 absolute pitches are one octave higher than in note mode. | 67 absolute pitches are one octave higher than in note mode. |
68 | 68 |
69 Chord mode and note mode can be mixed in sequential music: | 69 Chord mode and note mode can be mixed in sequential music: |
70 | 70 |
71 @lilypond[verbatim,quote,ragged-right,relative=1] | 71 @lilypond[verbatim,quote,ragged-right,relative=1] |
72 <c e g>2 <g b d> | 72 <c e g>2 <g b d> | |
73 \chordmode { c2 f } | 73 \chordmode { c2 f } | |
74 <c e g>2 <g' b d> | 74 <c e g>2 <g' b d> | |
75 \chordmode { f2 g } | 75 \chordmode { f2 g } | |
76 @end lilypond | 76 @end lilypond |
77 | 77 |
78 | 78 |
79 @seealso | 79 @seealso |
80 Music Glossary: | 80 Music Glossary: |
81 @rglos{chord}. | 81 @rglos{chord}. |
82 | 82 |
83 Notation Reference: | 83 Notation Reference: |
84 @ref{Chorded notes}, | 84 @ref{Chorded notes}, |
85 @ref{Input modes}. | 85 @ref{Input modes}. |
86 | 86 |
87 Snippets: | 87 Snippets: |
88 @rlsr{Chords}. | 88 @rlsr{Chords}. |
89 | 89 |
90 | 90 |
91 @knownissues | 91 @knownissues |
92 | 92 |
93 When chord mode and note mode are mixed in sequential music, and | 93 When chord mode and note mode are mixed in sequential music, and |
94 chord mode comes first, the note mode will create a new @code{Staff} | 94 chord mode comes first, the note mode will create a new @code{Staff} |
95 context. | 95 context. |
96 | 96 |
97 @lilypond[verbatim,quote,ragged-right,relative=1] | 97 @lilypond[verbatim,quote,ragged-right,relative=1] |
98 \chordmode { c2 f } | 98 \chordmode { c2 f } | |
99 <c e g>2 <g' b d> | 99 <c e g>2 <g' b d> | |
100 @end lilypond | 100 @end lilypond |
101 | 101 |
102 To avoid this behavior, explicitly create the @code{Staff} context: | 102 To avoid this behavior, explicitly create the @code{Staff} context: |
103 | 103 |
104 @lilypond[verbatim,quote,ragged-right,relative=1] | 104 @lilypond[verbatim,quote,ragged-right,relative=1] |
105 \new Staff { | 105 \new Staff { |
106 \chordmode { c2 f } | 106 \chordmode { c2 f } | |
107 <c e g>2 <g' b d> | 107 <c e g>2 <g' b d> | |
108 } | 108 } |
109 @end lilypond | 109 @end lilypond |
110 | 110 |
111 @node Common chords | 111 @node Common chords |
112 @unnumberedsubsubsec Common chords | 112 @unnumberedsubsubsec Common chords |
113 | 113 |
114 @cindex triads | 114 @cindex triads |
115 @cindex seventh chords | 115 @cindex seventh chords |
116 @cindex root of chord | 116 @cindex root of chord |
117 @cindex modifiers, in chords. | 117 @cindex modifiers, in chords. |
118 @cindex chord quality | 118 @cindex chord quality |
119 | 119 |
120 Major triads are entered by including the root and an | 120 Major triads are entered by including the root and an |
121 optional duration: | 121 optional duration: |
122 | 122 |
123 @lilypond[verbatim,quote,relative=1,ragged-right] | 123 @lilypond[verbatim,quote,relative=1,ragged-right] |
124 \chordmode { c2 f4 g } | 124 \chordmode { c2 f4 g } |
125 @end lilypond | 125 @end lilypond |
126 | 126 |
127 Minor, augmented, and diminished triads are entered by placing | 127 Minor, augmented, and diminished triads are entered by placing |
128 @code{:} and a quality modifier string after the duration: | 128 @code{:} and a quality modifier string after the duration: |
129 | 129 |
130 @lilypond[verbatim,quote,ragged-right,relative=1] | 130 @lilypond[verbatim,quote,ragged-right,relative=1] |
131 \chordmode { c2:m f4:aug g:dim } | 131 \chordmode { c2:m f4:aug g:dim } |
132 @end lilypond | 132 @end lilypond |
133 | 133 |
134 Seventh chords can be created: | 134 Seventh chords can be created: |
135 | 135 |
136 @lilypond[quote,ragged-right,fragment,verbatim,relative=1] | 136 @lilypond[quote,ragged-right,fragment,verbatim,relative=1] |
137 \chordmode { c1:7 c:m7 c:maj7 c:dim7 c:aug7 } | 137 \chordmode { c1:7 | c1:m7 | c1:maj7 | c1:dim7 | c1:aug7 | } |
138 @end lilypond | 138 @end lilypond |
139 | 139 |
140 @funindex aug | 140 @funindex aug |
141 @funindex dim | 141 @funindex dim |
142 @funindex maj | 142 @funindex maj |
143 @funindex m | 143 @funindex m |
144 | 144 |
145 The table belows shows the actions of the quality modifiers on | 145 The table belows shows the actions of the quality modifiers on |
146 triads and seventh chords. The default seventh step added to | 146 triads and seventh chords. The default seventh step added to |
147 chords is a minor or flatted seventh, which makes the dominant | 147 chords is a minor or flatted seventh, which makes the dominant |
148 seventh the basic seventh chord. All alterations are relative to | 148 seventh the basic seventh chord. All alterations are relative to |
149 the dominant seventh. A more complete table of modifier usage | 149 the dominant seventh. A more complete table of modifier usage |
150 is found at @ref{Common chord modifiers}. | 150 is found at @ref{Common chord modifiers}. |
151 | 151 |
152 @c @table @code | 152 @c @table @code |
153 @multitable @columnfractions .2 .4 .3 | 153 @multitable @columnfractions .2 .4 .3 |
154 | 154 |
155 @item | 155 @item |
156 @b{Modifier} | 156 @b{Modifier} |
157 @tab | 157 @tab |
158 @b{Action} | 158 @b{Action} |
159 @tab | 159 @tab |
160 @b{Example} | 160 @b{Example} |
161 | 161 |
162 @item | 162 @item |
163 None | 163 (none) |
164 @tab | 164 @tab |
165 The default action; produces a major triad. | 165 The default action; produces a major triad. |
166 @tab | 166 @tab |
167 @lilypond[line-width=4\cm, noragged-right] | 167 @lilypond[line-width=4\cm, noragged-right] |
168 \chordmode { | 168 \chordmode { |
169 \override Staff.TimeSignature #'stencil = ##f | 169 \override Staff.TimeSignature #'stencil = ##f |
170 c1 | 170 c1 |
171 } | 171 } |
172 @end lilypond | 172 @end lilypond |
173 | 173 |
174 @item | 174 @item |
175 m, m7 | 175 @code{m}, @code{m7} |
176 @tab | 176 @tab |
177 The minor chord. This modifier lowers the 3rd. | 177 The minor chord. This modifier lowers the 3rd. |
178 @tab | 178 @tab |
179 @lilypond[line-width=4\cm, noragged-right] | 179 @lilypond[line-width=4\cm, noragged-right] |
180 \chordmode { | 180 \chordmode { |
181 \override Staff.TimeSignature #'stencil = ##f | 181 \override Staff.TimeSignature #'stencil = ##f |
182 c1:m c:m7 | 182 c1:m | c1:m7 | |
183 } | 183 } |
184 @end lilypond | 184 @end lilypond |
185 | 185 |
186 | 186 |
187 @item | 187 @item |
188 dim, dim7 | 188 @code{dim}, @code{dim7} |
189 @tab | 189 @tab |
190 The diminished chord. This modifier lowers the 3rd, 5th and (if | 190 The diminished chord. This modifier lowers the 3rd, 5th and (if |
191 present) the 7th step. | 191 present) the 7th step. |
192 @tab | 192 @tab |
193 @lilypond[line-width=4\cm, noragged-right] | 193 @lilypond[line-width=4\cm, noragged-right] |
194 \chordmode { | 194 \chordmode { |
195 \override Staff.TimeSignature #'stencil = ##f | 195 \override Staff.TimeSignature #'stencil = ##f |
196 c1:dim c:dim7 | 196 c1:dim | c1:dim7 | |
197 } | 197 } |
198 @end lilypond | 198 @end lilypond |
199 | 199 |
200 @item | 200 @item |
201 aug | 201 @code{aug} |
202 @tab | 202 @tab |
203 The augmented chord. This modifier raises the 5th step. | 203 The augmented chord. This modifier raises the 5th step. |
204 @tab | 204 @tab |
205 @lilypond[line-width=4\cm, noragged-right] | 205 @lilypond[line-width=4\cm, noragged-right] |
206 \chordmode { | 206 \chordmode { |
207 \override Staff.TimeSignature #'stencil = ##f | 207 \override Staff.TimeSignature #'stencil = ##f |
208 c1:aug | 208 c1:aug |
209 } | 209 } |
210 @end lilypond | 210 @end lilypond |
211 | 211 |
212 @item | 212 @item |
213 maj, maj7 | 213 @code{maj}, @code{maj7} |
214 @tab | 214 @tab |
215 The major 7th chord. This modifier adds a raised 7th step. The | 215 The major 7th chord. This modifier adds a raised 7th step. The |
216 @code{7} following @code{maj} is optional. Do NOT use this modifier | 216 @code{7} following @code{maj} is optional. Do NOT use this modifier |
217 to create a major triad. | 217 to create a major triad. |
218 @tab | 218 @tab |
219 @lilypond[line-width=4\cm, noragged-right] | 219 @lilypond[line-width=4\cm, noragged-right] |
220 \chordmode { | 220 \chordmode { |
221 \override Staff.TimeSignature #'stencil = ##f | 221 \override Staff.TimeSignature #'stencil = ##f |
222 c1:maj c:maj7 | 222 c1:maj | c1:maj7 | |
223 } | 223 } |
224 @end lilypond | 224 @end lilypond |
225 | 225 |
226 @end multitable | 226 @end multitable |
227 | 227 |
228 | 228 |
229 @seealso | 229 @seealso |
230 Notation Reference: | 230 Notation Reference: |
231 @ref{Common chord modifiers}, | 231 @ref{Common chord modifiers}, |
232 @ref{Extended and altered chords}. | 232 @ref{Extended and altered chords}. |
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260 thirds to the root until the specified number has been reached. | 260 thirds to the root until the specified number has been reached. |
261 Note that the seventh step added as part of an extended chord will be the | 261 Note that the seventh step added as part of an extended chord will be the |
262 minor or flatted seventh, not the major seventh. | 262 minor or flatted seventh, not the major seventh. |
263 If the extent is not a third (e.g., 6), thirds are added up to the | 263 If the extent is not a third (e.g., 6), thirds are added up to the |
264 highest third below the extent, and then the step of the extent is | 264 highest third below the extent, and then the step of the extent is |
265 added. The largest possible value for the extent is 13. Any | 265 added. The largest possible value for the extent is 13. Any |
266 larger value is interpreted as 13. | 266 larger value is interpreted as 13. |
267 | 267 |
268 @lilypond[quote,ragged-right,fragment,verbatim,relative=1] | 268 @lilypond[quote,ragged-right,fragment,verbatim,relative=1] |
269 \chordmode { | 269 \chordmode { |
270 c1:2 c:3 c:4 c:5 | 270 c1:2 | c1:3 | c1:4 | c1:5 | c1:6 | |
271 c1:6 c:7 c:8 c:9 | 271 c1:7 | c1:8 | c1:9 | c1:10 | c1:11 | |
272 c1:10 c:11 c:12 c:13 | 272 c1:12 | c1:13 | c1:14 | |
273 c1:14 | |
274 } | 273 } |
275 @end lilypond | 274 @end lilypond |
276 | 275 |
277 @noindent | 276 @noindent |
278 Note that both @code{c:5} and @code{c} produce a C major triad. | 277 Note that both @code{c:5} and @code{c} produce a C major triad. |
279 | 278 |
280 Since an unaltered 11 does not sound good when combined with an | 279 Since an unaltered 11 does not sound good when combined with an |
281 unaltered 13, the 11 is removed from a @code{:13} chord (unless it | 280 unaltered 13, the 11 is removed from a @code{:13} chord (unless it |
282 is added explicitly). | 281 is added explicitly). |
283 | 282 |
284 @lilypond[quote,ragged-right,fragment,verbatim,relative=1] | 283 @lilypond[quote,ragged-right,fragment,verbatim,relative=1] |
285 \chordmode { | 284 \chordmode { |
286 c1:13 c:13.11 c:m13 | 285 c1:13 | c1:13.11 | c1:m13 | |
287 } | 286 } |
288 @end lilypond | 287 @end lilypond |
289 | 288 |
290 @cindex additions, in chords | 289 @cindex additions, in chords |
291 | 290 |
292 Individual steps can be added to a chord. Additions follow the | 291 Individual steps can be added to a chord. Additions follow the |
293 extent and are prefixed by a dot (@code{.}). The basic seventh | 292 extent and are prefixed by a dot (@code{.}). The basic seventh |
294 step added to a chord is the minor or flatted seventh, rather than | 293 step added to a chord is the minor or flatted seventh, rather than |
295 the major seventh. | 294 the major seventh. |
296 | 295 |
297 @lilypond[quote,verbatim,fragment,relative=1] | 296 @lilypond[quote,verbatim,fragment,relative=1] |
298 \chordmode { | 297 \chordmode { |
299 c1:5.6 c:3.7.8 c:3.6.13 | 298 c1:5.6 | c1:3.7.8 | c1:3.6.13 | |
300 } | 299 } |
301 @end lilypond | 300 @end lilypond |
302 | 301 |
303 Added steps can be as high as desired. | 302 Added steps can be as high as desired. |
304 | 303 |
305 @lilypond[quote,verbatim,fragment,relative=1] | 304 @lilypond[quote,verbatim,fragment,relative=1] |
306 \chordmode { | 305 \chordmode { |
307 c4:5.15 c:5.20 c:5.25 c:5.30 | 306 c4:5.15 c:5.20 c:5.25 c:5.30 |
308 } | 307 } |
309 @end lilypond | 308 @end lilypond |
310 | 309 |
311 @cindex chord steps, altering | 310 @cindex chord steps, altering |
312 | 311 |
313 Added chord steps can be altered by suffixing a @code{-} or @code{+} | 312 Added chord steps can be altered by suffixing a @code{-} or @code{+} |
314 sign to the number. To alter a step that is automatically included | 313 sign to the number. To alter a step that is automatically included |
315 as part of the basic chord structure, add it as an altered step. | 314 as part of the basic chord structure, add it as an altered step. |
316 | 315 |
317 @lilypond[quote,verbatim,fragment,relative=1] | 316 @lilypond[quote,verbatim,fragment,relative=1] |
318 \chordmode { | 317 \chordmode { |
319 c1:7+ c:5+.3- c:3-.5-.7- | 318 c1:7+ | c1:5+.3- | c1:3-.5-.7- | |
320 } | 319 } |
321 @end lilypond | 320 @end lilypond |
322 | 321 |
323 @cindex removals, in chords | 322 @cindex removals, in chords |
324 | 323 |
325 @funindex ^ | 324 @funindex ^ |
326 | 325 |
327 Following any steps to be added, a series of steps to be removed | 326 Following any steps to be added, a series of steps to be removed |
328 is introduced in a modifier string with a prefix of @code{^}. | 327 is introduced in a modifier string with a prefix of @code{^}. |
329 If more than one step is to be removed, the steps to be | 328 If more than one step is to be removed, the steps to be |
330 removed are separated by @code{.} following the | 329 removed are separated by @code{.} following the |
331 initial @code{^}. | 330 initial @code{^}. |
332 | 331 |
333 @lilypond[quote,verbatim,fragment,relative=1] | 332 @lilypond[quote,verbatim,fragment,relative=1] |
334 \chordmode { | 333 \chordmode { |
335 c1^3 c:7^5 c:9^3 c:9^3.5 c:13.11^3.7 | 334 c1^3 | c1:7^5 | c1:9^3 | c1:9^3.5 | c1:13.11^3.7 | |
336 } | 335 } |
337 @end lilypond | 336 @end lilypond |
338 | 337 |
339 @funindex sus | 338 @funindex sus |
340 | 339 |
341 The modifier @code{sus} can be added to the modifier string to | 340 The modifier @code{sus} can be added to the modifier string to |
342 create suspended chords. This removes the 3rd step from the chord. | 341 create suspended chords. This removes the 3rd step from the chord. |
343 Append either @code{2} or @code{4} to add the 2nd or 4th step to the | 342 Append either @code{2} or @code{4} to add the 2nd or 4th step to the |
344 chord. @code{sus} is equivalent to @code{^3}; @code{sus4} is | 343 chord. @code{sus} is equivalent to @code{^3}; @code{sus4} is |
345 equivalent to @code{.4^3}. | 344 equivalent to @code{.4^3}. |
346 | 345 |
347 @lilypond[quote,ragged-right,fragment,verbatim] | 346 @lilypond[quote,ragged-right,fragment,verbatim] |
348 \chordmode { | 347 \chordmode { |
349 c1:sus c:sus2 c:sus4 c:5.4^3 | 348 c1:sus | c1:sus2 | c1:sus4 | c1:5.4^3 | |
350 } | 349 } |
351 @end lilypond | 350 @end lilypond |
352 | 351 |
353 @funindex / | 352 @funindex / |
354 @cindex chord inversions | 353 @cindex chord inversions |
355 @cindex bass note, for chords | 354 @cindex bass note, for chords |
356 | 355 |
357 Inversions (putting a pitch other than the root on the bottom of the | 356 Inversions (putting a pitch other than the root on the bottom of the |
358 chord) and added bass notes can be specified by appending | 357 chord) and added bass notes can be specified by appending |
359 @code{/}@var{pitch} to the chord. | 358 @code{/}@var{pitch} to the chord. |
360 | 359 |
361 @lilypond[quote,ragged-right,fragment,verbatim, relative=2] | 360 @lilypond[quote,ragged-right,fragment,verbatim, relative=2] |
362 \chordmode { | 361 \chordmode { |
363 c1 c/g c/f | 362 c1 | c1/g | c1/f | |
364 } | 363 } |
365 @end lilypond | 364 @end lilypond |
366 | 365 |
367 @funindex /+ | 366 @funindex /+ |
368 | 367 |
369 A bass note that is part of the chord can be added, instead of | 368 A bass note that is part of the chord can be added, instead of |
370 moved as part of an inversion, by using @code{/+}@var{pitch}. | 369 moved as part of an inversion, by using @code{/+}@var{pitch}. |
371 | 370 |
372 @lilypond[quote,ragged-right,fragment,verbatim] | 371 @lilypond[quote,ragged-right,fragment,verbatim] |
373 \chordmode { | 372 \chordmode { |
374 c1 c/g c/+g | 373 c1 | c1/g | c1/+g | |
375 } | 374 } |
376 @end lilypond | 375 @end lilypond |
377 | 376 |
378 Chord modifiers that can be used to produce a variety of | 377 Chord modifiers that can be used to produce a variety of |
379 standard chords are shown in | 378 standard chords are shown in |
380 @ref{Common chord modifiers}. | 379 @ref{Common chord modifiers}. |
381 | 380 |
382 | 381 |
383 @seealso | 382 @seealso |
384 Notation Reference: | 383 Notation Reference: |
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397 @lilypond[quote,ragged-right,verbatim,fragment] | 396 @lilypond[quote,ragged-right,verbatim,fragment] |
398 \chordmode { c1:5.5-.5+ } | 397 \chordmode { c1:5.5-.5+ } |
399 @end lilypond | 398 @end lilypond |
400 | 399 |
401 Only the second inversion can be created by adding a bass | 400 Only the second inversion can be created by adding a bass |
402 note. The first inversion requires changing the root of | 401 note. The first inversion requires changing the root of |
403 the chord. | 402 the chord. |
404 | 403 |
405 @lilypond[quote,ragged-right,verbatim,fragment] | 404 @lilypond[quote,ragged-right,verbatim,fragment] |
406 \chordmode { | 405 \chordmode { |
407 c'1: c':/g e:6-3-^5 e:m6-^5 | 406 c'1 | c'1/g | e1:6-3-^5 | e1:m6-^5 | |
408 } | 407 } |
409 @end lilypond | 408 @end lilypond |
410 | 409 |
411 @node Displaying chords | 410 @node Displaying chords |
412 @subsection Displaying chords | 411 @subsection Displaying chords |
413 | 412 |
414 Chords can be displayed by name, in addition to the standard display | 413 Chords can be displayed by name, in addition to the standard display |
415 as notes on a staff. | 414 as notes on a staff. |
416 | 415 |
417 @menu | 416 @menu |
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436 } | 435 } |
437 @end lilypond | 436 @end lilypond |
438 | 437 |
439 Chords can be entered as simultaneous notes or through the use of | 438 Chords can be entered as simultaneous notes or through the use of |
440 chord mode. The displayed chord name will be the same, regardless | 439 chord mode. The displayed chord name will be the same, regardless |
441 of the mode of entry, unless there are inversions or added bass notes: | 440 of the mode of entry, unless there are inversions or added bass notes: |
442 | 441 |
443 @lilypond[verbatim,quote,relative=1] | 442 @lilypond[verbatim,quote,relative=1] |
444 << | 443 << |
445 \new ChordNames { | 444 \new ChordNames { |
446 <c e g>2 <f bes c> | 445 <c e g>2 <f bes c> | |
447 <f c' e g>1 | 446 <f c' e g>1 | |
448 \chordmode { | 447 \chordmode { |
449 c2 f:sus4 c1:/f | 448 c2 f:sus4 | c1/f | |
450 } | 449 } |
451 } | 450 } |
452 { | 451 { |
453 <c e g>2 <f bes c> | 452 <c e g>2 <f bes c> | |
454 <f, c' e g>1 | 453 <f, c' e g>1 | |
455 \chordmode { | 454 \chordmode { |
456 c2 f:sus4 c1:/f | 455 c2 f:sus4 | c1/f | |
457 } | 456 } |
458 } | 457 } |
459 >> | 458 >> |
460 @end lilypond | 459 @end lilypond |
461 | 460 |
462 @cindex no chord symbol | 461 @cindex no chord symbol |
463 @cindex N.C. symbol | 462 @cindex N.C. symbol |
464 @cindex indicating No Chord in ChordNames | 463 @cindex indicating No Chord in ChordNames |
465 | 464 |
466 Rests passed to a @code{ChordNames} context will cause the | 465 Rests passed to a @code{ChordNames} context will cause the |
467 @code{noChordSymbol} markup to be displayed. | 466 @code{noChordSymbol} markup to be displayed. |
468 | 467 |
469 @lilypond[verbatim, quote, relative=1] | 468 @lilypond[verbatim, quote, relative=1] |
470 << | 469 << |
471 \new ChordNames \chordmode { | 470 \new ChordNames \chordmode { |
472 c1 | 471 c1 | r1 | g1 | c1 | |
473 r1 | |
474 g1 | |
475 c1 | |
476 } | 472 } |
477 \new Score \chordmode { | 473 \new Score \chordmode { |
478 c1 | 474 c1 | r1 | g1 | c1 | |
479 r1 | |
480 g1 | |
481 c1 | |
482 } | 475 } |
483 >> | 476 >> |
484 @end lilypond | 477 @end lilypond |
485 | 478 |
486 @funindex{\chords} | 479 @funindex{\chords} |
487 | 480 |
488 @code{\chords @{ ... @}} is a shortcut notation for | 481 @code{\chords @{ ... @}} is a shortcut notation for |
489 @code{\new ChordNames @{ \chordmode @{ ... @} @}}. | 482 @code{\new ChordNames @{ \chordmode @{ ... @} @}}. |
490 | 483 |
491 @lilypond[verbatim,quote,ragged-right, relative=1] | 484 @lilypond[verbatim,quote,ragged-right, relative=1] |
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693 @knownissues | 686 @knownissues |
694 | 687 |
695 Chord names are determined from both the pitches that are present | 688 Chord names are determined from both the pitches that are present |
696 in the chord and the information on the chord structure that may | 689 in the chord and the information on the chord structure that may |
697 have been entered in @code{\chordmode}. If the simultaneous pitches | 690 have been entered in @code{\chordmode}. If the simultaneous pitches |
698 method of entering chords is used, undesired names result from | 691 method of entering chords is used, undesired names result from |
699 inversions or bass notes. | 692 inversions or bass notes. |
700 | 693 |
701 @lilypond[quote,ragged-right,verbatim] | 694 @lilypond[quote,ragged-right,verbatim] |
702 myChords = \relative c' { | 695 myChords = \relative c' { |
703 \chordmode { c1 c/g c/f } | 696 \chordmode { c1 | c1/g | c1/f | } |
704 <c e g>1 <g c e> <f c' e g> | 697 <c e g>1 | <g c e>1 | <f c' e g>1 | |
705 } | 698 } |
699 | |
706 << | 700 << |
707 \new ChordNames { \myChords } | 701 \new ChordNames { \myChords } |
708 \new Staff { \myChords } | 702 \new Staff { \myChords } |
709 >> | 703 >> |
710 @end lilypond | 704 @end lilypond |
711 | 705 |
712 | 706 |
713 @node Figured bass | 707 @node Figured bass |
714 @subsection Figured bass | 708 @subsection Figured bass |
715 | 709 |
(...skipping 17 matching lines...) Expand all Loading... | |
733 @cindex Bass, figured | 727 @cindex Bass, figured |
734 | 728 |
735 @c TODO: musicological blurb about FB | 729 @c TODO: musicological blurb about FB |
736 | 730 |
737 | 731 |
738 LilyPond has support for figured bass, also called thorough bass | 732 LilyPond has support for figured bass, also called thorough bass |
739 or basso continuo: | 733 or basso continuo: |
740 | 734 |
741 @lilypond[quote,ragged-right,verbatim,fragment] | 735 @lilypond[quote,ragged-right,verbatim,fragment] |
742 << | 736 << |
743 \new Voice { \clef bass dis4 c d ais g fis} | 737 \new Voice { \clef "bass" dis4 c d ais | g2 fis | } |
744 \new FiguredBass { | 738 \new FiguredBass { |
745 \figuremode { | 739 \figuremode { |
746 < 6 >4 < 7\+ >8 < 6+ [_!] > | 740 <6>4 <7\+>8 <6+ [_!]> <6>4 <6 5 [3+]> | |
747 < 6 >4 <6 5 [3+] > | 741 <_>2 <6 5/> | |
748 < _ >4 < 6 5/>4 | |
749 } | 742 } |
750 } | 743 } |
751 >> | 744 >> |
752 @end lilypond | 745 @end lilypond |
753 | 746 |
754 The support for figured bass consists of two parts: there is an | 747 The support for figured bass consists of two parts: there is an |
755 input mode, introduced by @code{\figuremode}, that accepts | 748 input mode, introduced by @code{\figuremode}, that accepts |
756 entry of bass figures, and there is a context named | 749 entry of bass figures, and there is a context named |
757 @code{FiguredBass} that takes care of displaying | 750 @code{FiguredBass} that takes care of displaying |
758 @code{BassFigure} objects. Figured bass can also be displayed | 751 @code{BassFigure} objects. Figured bass can also be displayed |
759 in @code{Staff} contexts. | 752 in @code{Staff} contexts. |
760 | 753 |
761 @code{\figures@{ ... @}} is a shortcut notation for | 754 @code{\figures @{ @dots{} @}} is a shortcut notation for |
762 @code{\new FiguredBass @{ \figuremode @{ ... @} @}}. | 755 @code{\new FiguredBass @{ \figuremode @{ @dots{} @} @}}. |
763 | 756 |
764 | 757 |
765 Although the support for figured bass may superficially resemble chord | 758 Although the support for figured bass may superficially resemble chord |
766 support, it is much simpler. @code{\figuremode} mode simply | 759 support, it is much simpler. @code{\figuremode} mode simply |
767 stores the figures and the @code{FiguredBass} context prints them | 760 stores the figures and the @code{FiguredBass} context prints them |
768 as entered. There is no conversion to pitches. | 761 as entered. There is no conversion to pitches. |
769 | 762 |
770 @ignore | 763 @ignore |
771 Figures are created as markup texts. Any of the standard markup | 764 Figures are created as markup texts. Any of the standard markup |
772 properties can be used to modify the display of figures. For | 765 properties can be used to modify the display of figures. For |
(...skipping 26 matching lines...) Expand all Loading... | |
799 <6 4>2 | 792 <6 4>2 |
800 } | 793 } |
801 } | 794 } |
802 @end lilypond | 795 @end lilypond |
803 | 796 |
804 | 797 |
805 Accidentals (including naturals) can be added to figures: | 798 Accidentals (including naturals) can be added to figures: |
806 | 799 |
807 @lilypond[verbatim,quote,ragged-right,fragment] | 800 @lilypond[verbatim,quote,ragged-right,fragment] |
808 \figures { | 801 \figures { |
809 <7! 6+ 4-> <5++> <3--> | 802 <7! 6+ 4->4 <5++> <3--> |
810 } | 803 } |
811 @end lilypond | 804 @end lilypond |
812 | 805 |
813 Augmented and diminished steps can be indicated: | 806 Augmented and diminished steps can be indicated: |
814 | 807 |
815 @lilypond[verbatim,quote,ragged-right,fragment] | 808 @lilypond[verbatim,quote,ragged-right,fragment] |
816 \figures { | 809 \figures { |
817 <6\+ 5/> <7/> | 810 <6\+ 5/>4 <7/> |
818 } | 811 } |
819 @end lilypond | 812 @end lilypond |
820 | 813 |
821 A backward slash through a figure (typically used for raised | 814 A backward slash through a figure (typically used for raised |
822 sixth steps) can be created: | 815 sixth steps) can be created: |
823 | 816 |
824 @lilypond[verbatim,quote,ragged-right,fragment] | 817 @lilypond[verbatim,quote,ragged-right,fragment] |
825 \figures { | 818 \figures { |
826 <6> <6\\> | 819 <6>4 <6\\> |
827 } | 820 } |
828 @end lilypond | 821 @end lilypond |
829 | 822 |
830 Vertical spaces and brackets can be included in figures: | 823 Vertical spaces and brackets can be included in figures: |
831 | 824 |
832 @lilypond[verbatim,quote,ragged-right,fragment] | 825 @lilypond[verbatim,quote,ragged-right,fragment] |
833 \figures { | 826 \figures { |
834 <[12 _!] 8 [6 4]> | 827 <[12 _!] 8 [6 4]>4 |
835 } | 828 } |
836 @end lilypond | 829 @end lilypond |
837 | 830 |
838 Any text markup can be inserted as a figure: | 831 Any text markup can be inserted as a figure: |
839 | 832 |
840 @lilypond[verbatim,quote,ragged-right,fragment] | 833 @lilypond[verbatim,quote,ragged-right,fragment] |
841 \figures { | 834 \figures { |
842 <\markup { \tiny \number 6 \super (1) } 5> | 835 <\markup { \tiny \number 6 \super (1) } 5>4 |
843 } | 836 } |
844 @end lilypond | 837 @end lilypond |
845 | 838 |
846 @c NOTE: We need to include notes any time we use extenders to | 839 @c NOTE: We need to include notes any time we use extenders to |
847 @c avoid extraneous staff creation due to Staff.use... in | 840 @c avoid extraneous staff creation due to Staff.use... in |
848 @c \bassFigureExtendersOn | 841 @c \bassFigureExtendersOn |
849 | 842 |
850 Continuation lines can be used to indicate repeated figures: | 843 Continuation lines can be used to indicate repeated figures: |
851 | 844 |
852 @lilypond[verbatim,quote,ragged-right,fragment] | 845 @lilypond[verbatim,quote,ragged-right,fragment] |
853 << | 846 << |
854 { | 847 { |
855 \clef bass | 848 \clef "bass" |
856 e4 d c b, | 849 e4 d c b, | |
857 e4 d c b, | 850 e4 d c b, | |
858 } | 851 } |
859 \figures { | 852 \figures { |
860 \bassFigureExtendersOn | 853 \bassFigureExtendersOn |
861 <6 4>4 <6 3> <7 3> <7 3> | 854 <6 4>4 <6 3> <7 3> <7 3> | |
862 \bassFigureExtendersOff | 855 \bassFigureExtendersOff |
863 <6 4>4 <6 3> <7 3> <7 3> | 856 <6 4>4 <6 3> <7 3> <7 3> | |
864 } | 857 } |
865 >> | 858 >> |
866 @end lilypond | 859 @end lilypond |
867 | 860 |
868 @noindent | 861 @noindent |
869 In this case, the extender lines replace existing figures, | 862 In this case, the extender lines replace existing figures, |
870 unless the continuation lines have been explicitly terminated. | 863 unless the continuation lines have been explicitly terminated. |
871 | 864 |
872 @lilypond[verbatim,quote,ragged-right,fragment] | 865 @lilypond[verbatim,quote,ragged-right,fragment] |
873 << | 866 << |
874 \figures { | 867 \figures { |
875 \bassFigureExtendersOn | 868 \bassFigureExtendersOn |
876 <6 4>4 <6 4> <6\! 4\!> <6 4> | 869 <6 4>4 <6 4> <6\! 4\!> <6 4> |
877 } | 870 } |
878 { | 871 { |
879 \clef bass | 872 \clef "bass" |
880 d4 d c c | 873 d4 d c c |
881 } | 874 } |
882 >> | 875 >> |
883 @end lilypond | 876 @end lilypond |
884 | 877 |
885 The table below summarizes the figure modifiers available. | 878 The table below summarizes the figure modifiers available. |
886 | 879 |
887 @multitable @columnfractions .1 .5 .4 | 880 @multitable @columnfractions .1 .5 .4 |
888 | 881 |
889 @item | 882 @item |
890 @b{Modifier} | 883 @b{Modifier} |
891 @tab | 884 @tab |
892 @b{Purpose} | 885 @b{Purpose} |
893 @tab | 886 @tab |
894 @b{Example} | 887 @b{Example} |
895 | 888 |
896 @item | 889 @item |
897 +, -, ! | 890 @code{+}, @code{-}, @code{!} |
898 @tab | 891 @tab |
899 Accidentals | 892 Accidentals |
900 @tab | 893 @tab |
901 @lilypond[line-width=4\cm] | 894 @lilypond[line-width=4\cm] |
902 \figures { | 895 \figures { |
903 <7! 6+ 4-> <5++> <3--> | 896 <7! 6+ 4->4 <5++> <3--> |
904 } | 897 } |
905 @end lilypond | 898 @end lilypond |
906 | 899 |
907 @item | 900 @item |
908 \+, / | 901 @code{\+}, @code{/} |
909 @tab | 902 @tab |
910 Augmented and diminished steps | 903 Augmented and diminished steps |
911 @tab | 904 @tab |
912 @lilypond[line-width=4\cm] | 905 @lilypond[line-width=4\cm] |
913 \figures { | 906 \figures { |
914 <6\+ 5/> <7/> | 907 <6\+ 5/>4 <7/> |
915 } | 908 } |
916 @end lilypond | 909 @end lilypond |
917 | 910 |
918 @item | 911 @item |
919 \\ | 912 @code{\\} |
920 @tab | 913 @tab |
921 Raised sixth step | 914 Raised sixth step |
922 @tab | 915 @tab |
923 @lilypond[line-width=4\cm] | 916 @lilypond[line-width=4\cm] |
924 \figures { | 917 \figures { |
925 <6\\> | 918 <6\\>4 |
926 } | 919 } |
927 @end lilypond | 920 @end lilypond |
928 | 921 |
929 @item | 922 @item |
930 \! | 923 @code{\!} |
931 @tab | 924 @tab |
932 End of continuation line | 925 End of continuation line |
933 @tab | 926 @tab |
934 @lilypond[line-width=4\cm] | 927 @lilypond[line-width=4\cm] |
935 << | 928 << |
936 \figures { | 929 \figures { |
937 \bassFigureExtendersOn | 930 \bassFigureExtendersOn |
938 <6 4> <6 4> <6\! 4\!> <6 4> | 931 <6 4>4 <6 4> <6\! 4\!> <6 4> |
939 } | 932 } |
940 { | 933 { |
941 \clef bass | 934 \clef "bass" |
942 d d c c | 935 d4 d c c |
943 } | 936 } |
944 >> | 937 >> |
945 @end lilypond | 938 @end lilypond |
946 | 939 |
947 @end multitable | 940 @end multitable |
948 | 941 |
949 | 942 |
950 @predefined | 943 @predefined |
951 @cindex figured bass extender lines | 944 @cindex figured bass extender lines |
952 @code{\bassFigureExtendersOn}, | 945 @code{\bassFigureExtendersOn}, |
(...skipping 42 matching lines...) Expand 10 before | Expand all | Expand 10 after Loading... | |
995 | 988 |
996 Figured bass can be displayed using the @code{FiguredBass} context, | 989 Figured bass can be displayed using the @code{FiguredBass} context, |
997 or in most staff contexts. | 990 or in most staff contexts. |
998 | 991 |
999 When displayed in a @code{FiguredBass} context, the vertical location | 992 When displayed in a @code{FiguredBass} context, the vertical location |
1000 of the figures is independent of the notes on the staff. | 993 of the figures is independent of the notes on the staff. |
1001 | 994 |
1002 @lilypond[verbatim,ragged-right,fragment,quote] | 995 @lilypond[verbatim,ragged-right,fragment,quote] |
1003 << | 996 << |
1004 \relative c'' { | 997 \relative c'' { |
1005 c4 c'8 r8 c,4 c' | 998 c4 c'8 r c,4 c' |
1006 } | 999 } |
1007 \new FiguredBass { | 1000 \new FiguredBass { |
1008 \figuremode { | 1001 \figuremode { |
1009 <4>4 <10 6>8 s8 | 1002 <4>4 <10 6>8 s <6 4>4 <6 4> |
1010 <6 4>4 <6 4> | |
1011 } | 1003 } |
1012 } | 1004 } |
1013 >> | 1005 >> |
1014 @end lilypond | 1006 @end lilypond |
1015 | 1007 |
1016 @noindent | 1008 @noindent |
1017 In the example above, the @code{FiguredBass} context must be | 1009 In the example above, the @code{FiguredBass} context must be |
1018 explicitly instantiated to avoid creating a second (empty) staff. | 1010 explicitly instantiated to avoid creating a second (empty) staff. |
1019 | 1011 |
1020 | 1012 |
1021 Figured bass can also be added to @code{Staff} contexts | 1013 Figured bass can also be added to @code{Staff} contexts |
1022 directly. In this case, the vertical position of the | 1014 directly. In this case, the vertical position of the |
1023 figures is adjusted automatically. | 1015 figures is adjusted automatically. |
1024 | 1016 |
1025 @lilypond[verbatim,ragged-right,fragment,quote] | 1017 @lilypond[verbatim,ragged-right,fragment,quote] |
1026 << | 1018 << |
1027 \new Staff = myStaff | 1019 \new Staff = myStaff |
Graham Percival (old account)
2010/05/22 08:10:42
Shouldn't we have a { at the end of this line?
| |
1028 \figuremode { | 1020 \figuremode { |
1029 <4>4 <10 6>8 s8 | 1021 <4>4 <10 6>8 s <6 4>4 <6 4> |
1030 <6 4>4 <6 4> | |
1031 } | 1022 } |
1032 %% Put notes on same Staff as figures | 1023 %% Put notes on same Staff as figures |
1033 \context Staff = myStaff | 1024 \context Staff = myStaff { |
1034 { | 1025 \clef "bass" |
1035 \clef bass | 1026 c4 c'8 r c4 c' |
1036 c4 c'8 r8 c4 c' | |
1037 } | 1027 } |
1038 >> | 1028 >> |
1039 @end lilypond | 1029 @end lilypond |
1040 | 1030 |
1041 | 1031 |
1042 When added in a @code{Staff} context, figured bass can be displayed above | 1032 When added in a @code{Staff} context, figured bass can be displayed above |
1043 or below the staff. | 1033 or below the staff. |
1044 | 1034 |
1045 @lilypond[verbatim,ragged-right,fragment,quote] | 1035 @lilypond[verbatim,ragged-right,fragment,quote] |
1046 << | 1036 << |
1047 \new Staff = myStaff | 1037 \new Staff = myStaff |
1048 \figuremode { | 1038 \figuremode { |
1049 <4>4 <10 6>8 s8 | 1039 <4>4 <10 6>8 s |
1050 \bassFigureStaffAlignmentDown | 1040 \bassFigureStaffAlignmentDown |
1051 <6 4>4 <6 4> | 1041 <6 4>4 <6 4> |
1052 } | 1042 } |
1053 %% Put notes on same Staff as figures | 1043 %% Put notes on same Staff as figures |
1054 \context Staff = myStaff | 1044 \context Staff = myStaff { |
1055 { | 1045 \clef "bass" |
1056 \clef bass | 1046 c4 c'8 r c4 c' |
1057 c4 c'8 r8 c4 c' | |
1058 } | 1047 } |
1059 >> | 1048 >> |
1060 @end lilypond | 1049 @end lilypond |
1061 | 1050 |
1062 | 1051 |
1063 @predefined | 1052 @predefined |
1064 @cindex figured bass alignment | 1053 @cindex figured bass alignment |
1065 @code{\bassFigureStaffAlignmentDown}, | 1054 @code{\bassFigureStaffAlignmentDown}, |
1066 @code{\bassFigureStaffAlignmentUp}, | 1055 @code{\bassFigureStaffAlignmentUp}, |
1067 @code{\bassFigureStaffAlignmentNeutral}. | 1056 @code{\bassFigureStaffAlignmentNeutral}. |
(...skipping 33 matching lines...) Expand 10 before | Expand all | Expand 10 after Loading... | |
1101 | 1090 |
1102 @knownissues | 1091 @knownissues |
1103 | 1092 |
1104 To ensure that continuation lines work properly, it is | 1093 To ensure that continuation lines work properly, it is |
1105 safest to use the same rhythm in the figure line as in | 1094 safest to use the same rhythm in the figure line as in |
1106 the bass line. | 1095 the bass line. |
1107 | 1096 |
1108 @lilypond[verbatim,ragged-right,fragment,quote] | 1097 @lilypond[verbatim,ragged-right,fragment,quote] |
1109 << | 1098 << |
1110 { | 1099 { |
1111 \clef bass | 1100 \clef "bass" |
1112 \repeat unfold 4 { f16. g32 } f8. es16 d8 es | 1101 \repeat unfold 4 { f16. g32 } f8. es16 d8 es |
1113 } | 1102 } |
1114 \figures { | 1103 \figures { |
1115 \bassFigureExtendersOn | 1104 \bassFigureExtendersOn |
1116 % The extenders are correct here, with the same rhythm as the bass | 1105 % The extenders are correct here, with the same rhythm as the bass |
1117 \repeat unfold 4 { <6 4->16. <6 4->32 } | 1106 \repeat unfold 4 { <6 4->16. <6 4->32 } <5>8. r16 <6>8 <6\! 5-> |
1118 <5>8. r16 <6>8 <6\! 5-> | |
1119 } | 1107 } |
1120 >> | 1108 >> | |
1121 << | 1109 << |
1122 { | 1110 { |
1123 \clef bass | 1111 \clef "bass" |
1124 \repeat unfold 4 { f16. g32 } f8. es16 d8 es | 1112 \repeat unfold 4 { f16. g32 } f8. es16 d8 es |
1125 } | 1113 } |
1126 \figures { | 1114 \figures { |
1127 \bassFigureExtendersOn | 1115 \bassFigureExtendersOn |
1128 % The extenders are incorrect here, even though the timing is the same | 1116 % The extenders are incorrect here, even though the timing is the same |
1129 <6 4->4 <6 4->4 | 1117 <6 4->4 <6 4-> <5>8. r16 <6>8 <6\! 5-> |
1130 <5>8. r16 <6>8 <6\! 5-> | |
1131 } | 1118 } |
1132 >> | 1119 >> | |
1133 @end lilypond | 1120 @end lilypond |
1134 | 1121 |
1135 When using extender lines, adjacent figures with the same number in | 1122 When using extender lines, adjacent figures with the same number in |
1136 a different figure location can cause the figure positions to invert. | 1123 a different figure location can cause the figure positions to invert. |
1137 | 1124 |
1138 @lilypond[verbatim,ragged-right,fragment,quote,relative=1] | 1125 @lilypond[verbatim,ragged-right,fragment,quote,relative=1] |
1139 << | 1126 << |
1140 { fis4 g g, e' } | 1127 { fis4 g g, e' } |
1141 \figures { | 1128 \figures { |
Graham Percival (old account)
2010/05/22 08:10:42
Indentation mistake.
| |
1142 \bassFigureExtendersOn | 1129 \bassFigureExtendersOn |
1143 <6 5>4 <5\! 4> < 5 _!> <6> | 1130 <6 5>4 <5\! 4> <5 _!> <6> |
1144 } | 1131 } |
1145 >> | 1132 >> |
1146 @end lilypond | 1133 @end lilypond |
1147 | 1134 |
1148 To avoid this problem, simply turn on extenders after the figure that | 1135 To avoid this problem, simply turn on extenders after the figure that |
1149 begins the extender line and turn them off at the end of the extender line. | 1136 begins the extender line and turn them off at the end of the extender line. |
1150 | 1137 |
1151 @lilypond[verbatim,ragged-right,fragment,quote,relative=1] | 1138 @lilypond[verbatim,ragged-right,fragment,quote,relative=1] |
1152 << | 1139 << |
1153 { fis4 g g, e' } | 1140 { fis4 g g, e' } |
1154 \figures { | 1141 \figures { |
1155 <6 5>4 <5 4> | 1142 <6 5>4 <5 4> |
1156 \bassFigureExtendersOn | 1143 \bassFigureExtendersOn |
1157 < 5 _!>4 <6> | 1144 <5 _!>4 <6> |
1158 \bassFigureExtendersOff | 1145 \bassFigureExtendersOff |
1159 } | 1146 } |
1160 >> | 1147 >> |
1161 @end lilypond | 1148 @end lilypond |
1162 | 1149 |
OLD | NEW |