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Issue 1242044: Doc: NR: Reformat ly code. (Closed)
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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"
(...skipping 39 matching lines...) Expand 10 before | Expand all | Expand 10 after
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}.
(...skipping 27 matching lines...) Expand all
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:
(...skipping 12 matching lines...) Expand all
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
(...skipping 18 matching lines...) Expand all
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]
(...skipping 201 matching lines...) Expand 10 before | Expand all | Expand 10 after
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
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
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
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
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
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