1 @c -*- coding: utf-8; mode: texinfo; -*-
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14 @section Chord notation
16 @lilypondfile[quote]{chords-headword.ly}
18 Chords can be entered either as normal notes or in chord mode and displayed
19 using a variety of traditional European chord naming conventions. Chord
20 names and figured bass notation can also be displayed.
30 @subsection Chord mode
34 Chord mode is used to enter chords using an indicator of the chord
35 structure, rather than the chord pitches.
38 * Chord mode overview::
40 * Extended and altered chords::
43 @node Chord mode overview
44 @unnumberedsubsubsec Chord mode overview
49 Chords can be entered as simultaneous music, as discussed in
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
54 European music, rather than on specific pitches. This is
55 convenient for those who are familiar with using chord names to
56 describe chords. More information on different input modes can be
57 found at @ref{Input modes}.
59 @lilypond[verbatim,quote,ragged-right]
60 \chordmode { c1 g a g c }
63 Chords entered using chord mode are music elements, and can be
64 transposed just like chords entered using simultaneous music.
65 @code{\chordmode} is absolute, as @code{\relative} has no effect
66 on @code{chordmode} blocks. However, in @code{\chordmode} the
67 absolute pitches are one octave higher than in note mode.
69 Chord mode and note mode can be mixed in sequential music:
71 @lilypond[verbatim,quote,ragged-right,relative=1]
90 Predefined shorthands for articulations and ornaments cannot be used
91 on notes in chord mode, see @ref{Articulations and ornamentations}.
95 @unnumberedsubsubsec Common chords
98 @cindex seventh chords
100 @cindex modifiers, in chords.
101 @cindex chord quality
103 Major triads are entered by including the root and an
106 @lilypond[verbatim,quote,ragged-right]
107 \chordmode { c2 f4 g }
110 Minor, augmented, and diminished triads are entered by placing
111 @code{:} and a quality modifier string after the duration:
113 @lilypond[verbatim,quote,ragged-right]
114 \chordmode { c2:m f4:aug g:dim }
117 Seventh chords can be created:
119 @lilypond[quote,ragged-right,verbatim]
120 \chordmode { c1:7 c:m7 c:maj7 c:dim7 c:aug7 }
128 The table below shows the actions of the quality modifiers on
129 triads and seventh chords. The default seventh step added to
130 chords is a minor or flatted seventh, which makes the dominant
131 seventh the basic seventh chord. All alterations are relative to
132 the dominant seventh. A more complete table of modifier usage
133 is found at @ref{Common chord modifiers}.
136 @multitable @columnfractions .2 .4 .3
148 The default action; produces a major triad.
150 @lilypond[line-width=4\cm, noragged-right]
152 \omit Staff.TimeSignature
160 The minor chord. This modifier lowers the 3rd.
162 @lilypond[line-width=4\cm, noragged-right]
164 \omit Staff.TimeSignature
173 The diminished chord. This modifier lowers the 3rd, 5th and (if
174 present) the 7th step.
176 @lilypond[line-width=4\cm, noragged-right]
178 \omit Staff.TimeSignature
186 The augmented chord. This modifier raises the 5th step.
188 @lilypond[line-width=4\cm, noragged-right]
190 \omit Staff.TimeSignature
198 The major 7th chord. This modifier adds a raised 7th step. The
199 @code{7} following @code{maj} is optional. Do NOT use this modifier
200 to create a major triad.
202 @lilypond[line-width=4\cm, noragged-right]
204 \omit Staff.TimeSignature
213 @ref{Common chord modifiers},
214 @ref{Extended and altered chords}.
220 Only one quality modifier should be used per chord, typically on the
221 highest step present in the chord. Chords with more than quality
222 modifier will be parsed without an error or warning, but the results
223 are unpredictable. Chords that cannot be achieved with a single
224 quality modifier should be altered by individual pitches, as described
225 in @ref{Extended and altered chords}.
228 @node Extended and altered chords
229 @unnumberedsubsubsec Extended and altered chords
231 @cindex extended chords
232 @cindex altered chords
234 Chord structures of arbitrary complexity can be created in chord
235 mode. The modifier string can be used to extend a chord, add or
236 remove chord steps, raise or lower chord steps, and add a bass note
237 or create an inversion.
239 The first number following the @code{:} is taken to be the extent
240 of the chord. The chord is constructed by sequentially adding
241 thirds to the root until the specified number has been reached.
242 Note that the seventh step added as part of an extended chord will be the
243 minor or flatted seventh, not the major seventh.
244 If the extent is not a third (e.g., 6), thirds are added up to the
245 highest third below the extent, and then the step of the extent is
246 added. The largest possible value for the extent is 13. Any
247 larger value is interpreted as 13.
249 @lilypond[quote,ragged-right,verbatim]
259 Note that both @code{c:5} and @code{c} produce a C major triad.
261 Since an unaltered 11 does not sound good when combined with an
262 unaltered 13, the 11 is removed from a @code{:13} chord (unless it
263 is added explicitly).
265 @lilypond[quote,ragged-right,verbatim]
271 @cindex additions, in chords
273 Individual steps can be added to a chord. Additions follow the
274 extent and are prefixed by a dot (@code{.}). The basic seventh
275 step added to a chord is the minor or flatted seventh, rather than
278 @lilypond[quote,verbatim]
280 c1:5.6 c:3.7.8 c:3.6.13
284 Added steps can be as high as desired.
286 @lilypond[quote,verbatim]
288 c4:5.15 c:5.20 c:5.25 c:5.30
292 @cindex chord steps, altering
294 Added chord steps can be altered by suffixing a @code{-} or @code{+}
295 sign to the number. To alter a step that is automatically included
296 as part of the basic chord structure, add it as an altered step.
298 @lilypond[quote,verbatim]
300 c1:7+ c:5+.3- c:3-.5-.7-
304 @cindex removals, in chords
308 Following any steps to be added, a series of steps to be removed
309 is introduced in a modifier string with a prefix of @code{^}.
310 If more than one step is to be removed, the steps to be
311 removed are separated by @code{.} following the
314 @lilypond[quote,verbatim]
316 c1^3 c:7^5 c:9^3 c:9^3.5 c:13.11^3.7
322 The modifier @code{sus} can be added to the modifier string to
323 create suspended chords. This removes the 3rd step from the chord.
324 Append either @code{2} or @code{4} to add the 2nd or 4th step to the
325 chord. @code{sus} is equivalent to @code{^3}; @code{sus4} is
326 equivalent to @code{.4^3}.
328 @lilypond[quote,ragged-right,verbatim]
330 c1:sus c:sus2 c:sus4 c:5.4^3
335 @cindex chord inversions
336 @cindex bass note, for chords
338 Inversions (putting a pitch other than the root on the bottom of the
339 chord) and added bass notes can be specified by appending
340 @code{/}@var{pitch} to the chord.
342 @lilypond[quote,ragged-right,verbatim]
350 A bass note that is part of the chord can be added, instead of
351 moved as part of an inversion, by using @code{/+}@var{pitch}.
353 @lilypond[quote,ragged-right,verbatim]
359 Chord modifiers that can be used to produce a variety of
360 standard chords are shown in
361 @ref{Common chord modifiers}.
365 @ref{Common chord modifiers}.
371 Each step can only be present in a chord once. The following
372 simply produces the augmented chord, since @code{5+} is
375 @lilypond[quote,ragged-right,verbatim]
376 \chordmode { c1:5.5-.5+ }
380 @node Displaying chords
381 @subsection Displaying chords
383 Chords can be displayed by name, in addition to the standard display
387 * Printing chord names::
388 * Customizing chord names::
391 @node Printing chord names
392 @unnumberedsubsubsec Printing chord names
394 @cindex printing chord names
398 Chord names are printed in the @code{ChordNames} context:
400 @lilypond[verbatim,quote,ragged-right]
408 Chords can be entered as simultaneous notes or through the use of
409 chord mode. The displayed chord name will be the same, regardless
410 of the mode of entry, unless there are inversions or added bass notes:
412 @lilypond[verbatim,quote]
413 chordmusic = \relative {
430 @cindex no chord symbol
432 @cindex indicating No Chord in ChordNames
434 Rests passed to a @code{ChordNames} context will cause the
435 @code{noChordSymbol} markup to be displayed.
437 @lilypond[verbatim, quote, relative=1]
439 \new ChordNames \chordmode {
456 @code{\chords @{ @dots{} @}} is a shortcut notation for
457 @code{\new ChordNames @{ \chordmode @{ @dots{} @} @}}.
459 @lilypond[verbatim,quote,ragged-right]
465 @lilypond[verbatim,quote,ragged-right]
475 @c Keep index entries with following snippet
476 @cindex chords, suppressing repeated
477 @funindex chordChanges
479 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
480 {showing-chords-at-changes.ly}
482 @c @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
483 @c {adding-bar-lines-to-chordnames-context.ly}
485 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
486 {simple-lead-sheet.ly}
493 @ref{Writing music in parallel}.
499 @rinternals{ChordNames},
500 @rinternals{ChordName},
501 @rinternals{Chord_name_engraver},
502 @rinternals{Volta_engraver},
503 @rinternals{Bar_engraver}.
506 Chords containing inversions or altered bass notes are not named
507 properly if entered using simultaneous music.
510 @node Customizing chord names
511 @unnumberedsubsubsec Customizing chord names
513 @cindex customizing chord names
515 There is no unique system for naming chords. Different musical
516 traditions use different names for the same set of chords. There
517 are also different symbols displayed for a given chord name. The
518 names and symbols displayed for chord names are customizable.
523 The basic chord name layout is a system for Jazz music, proposed
524 by Klaus Ignatzek (see @ressay{Literature list}). The chord naming
525 system can be modified as described below. An alternate jazz
526 chord system has been developed using these modifications.
527 The Ignatzek and alternate
528 Jazz notation are shown on the chart in @ref{Chord name chart}.
530 @c TODO -- Change this so we don't have a non-verbatim example.
531 @c Make short example in docs, then move longer example to
532 @c appendix, where the length of the snippet won't matter.
534 In addition to the different naming systems, different note names
535 are used for the root in different languages. The predefined
536 commands @code{\germanChords}, @code{\semiGermanChords},
537 @code{\italianChords} and @code{\frenchChords} set these variables.
538 The effect is demonstrated here:
540 @lilypondfile[ragged-right]{chord-names-languages.ly}
543 @funindex chordNameLowercaseMinor
545 German songbooks may indicate minor chords as lowercase letters,
546 without any @var{m} suffix. This can be obtained by setting the
547 @code{chordNameLowercaseMinor} property:
549 @lilypond[verbatim,quote,ragged-right]
551 \set chordNameLowercaseMinor = ##t
556 If none of the existing settings give the desired output, the chord
557 name display can be tuned through the following properties.
561 @funindex chordRootNamer
565 The chord name is usually printed as a letter for the root with an
566 optional alteration. The transformation from pitch to letter is
567 done by this function. Special note names (for example, the German
568 @q{H} for a B-chord) can be produced by storing a new function in
571 @funindex majorSevenSymbol
573 @item majorSevenSymbol
575 This property contains the markup object used to follow the output
576 of @code{chordRootNamer} to identify a major 7 chord. Predefined
577 options are @code{whiteTriangleMarkup} and
578 @code{blackTriangleMarkup}.
580 @funindex additionalPitchPrefix
582 @item additionalPitchPrefix
584 When the chord name contains additional pitches, they can optionally
585 be prefixed with some text. The default is no prefix, in order to
586 avoid too much visual clutter, but for small numbers of additional
587 pitches this can be visually effective.
589 @lilypond[verbatim,quote,ragged-right]
592 \set additionalPitchPrefix = #"add"
597 @funindex chordNoteNamer
601 When the chord name contains additional pitches other than the root
602 (e.g., an added bass note), this function is used to print the
603 additional pitch. By default the pitch is printed using
604 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
605 to a specialized function to change this behavior. For example, the
606 bass note can be printed in lower case.
608 @funindex chordNameSeparator
610 @item chordNameSeparator
612 Different parts of a chord name are normally separated by a small
613 amount of horizontal space. By setting @code{chordNameSeparator}, you
614 can use any desired markup for a separator. This does not affect the
615 separator between a chord and its bass note; to customize that, use
616 @code{slashChordSeparator}.
618 @lilypond[verbatim,quote,ragged-right]
621 \set chordNameSeparator = \markup { "/" }
627 @funindex slashChordSeparator
629 @item slashChordSeparator
631 Chords can be played over a bass note other than the conventional root
632 of the chord. These are known as ``inversions'' or ``slash chords'',
633 because the default way of notating them is with a forward slash
634 between the main chord and the bass note. Therefore the value of
635 @code{slashChordSeparator} defaults to a forward slash, but you can
636 change it to any markup you choose.
638 @lilypond[verbatim,quote,ragged-right]
641 \set slashChordSeparator = \markup { " over " }
647 @funindex chordNameExceptions
649 @item chordNameExceptions
651 This property is a list of pairs. The first item in each pair
652 is a set of pitches used to identify the steps present in the chord.
653 The second item is a markup that will follow the @code{chordRootNamer}
654 output to create the chord name.
656 @funindex minorChordModifier
658 @item minorChordModifier
660 Minor chords are often denoted via a @q{m} suffix to the right of the
661 root of the chord. However some idioms prefer other suffices, such as
664 @lilypond[verbatim,quote,ragged-right]
667 \set minorChordModifier = \markup { "-" }
673 @funindex chordPrefixSpacer
675 @item chordPrefixSpacer
677 The modifier for minor chords as determined by
678 @code{minorChordModifier} is usually printed immediately to the right
679 of the root of the chord. A spacer can be placed between the root and
680 the modifier by setting @code{chordPrefixSpacer}. The spacer is not
681 used when the root is altered.
687 @funindex major seven symbols
688 @code{\whiteTriangleMarkup},
689 @code{\blackTriangleMarkup},
690 @funindex \germanChords
691 @code{\germanChords},
692 @funindex \semiGermanChords
693 @code{\semiGermanChords},
694 @funindex \italianChords
695 @code{\italianChords},
696 @funindex \frenchChords
697 @code{\frenchChords}.
703 @cindex exceptions, chord names.
704 @lilypondfile[verbatim,quote,texidoc,doctitle]
705 {chord-name-exceptions.ly}
707 @c TODO - tweak snippet to use \blackTriangleMarkup as well
708 @lilypondfile[verbatim,quote,texidoc,doctitle]
709 {chord-name-major7.ly}
711 @lilypondfile[verbatim,quote,texidoc,doctitle]
712 {adding-bar-lines-to-chordnames-context.ly}
714 @lilypondfile[verbatim,quote,texidoc,doctitle]
715 {volta-below-chords.ly}
717 @lilypondfile[verbatim,quote,texidoc,doctitle]
718 {changing-chord-separator.ly}
722 @ref{Chord name chart},
723 @ref{Common chord modifiers}.
725 Essay on automated music engraving:
726 @ressay{Literature list}.
729 @file{scm/chords-ignatzek.scm},
730 @file{scm/chord-entry.scm},
731 @file{ly/chord-modifier-init.ly}.
737 Chord names are determined from both the pitches that are present
738 in the chord and the information on the chord structure that may
739 have been entered in @code{\chordmode}. If the simultaneous pitches
740 method of entering chords is used, undesired names result from
741 inversions or bass notes.
743 @lilypond[quote,ragged-right,verbatim]
744 myChords = \relative c' {
745 \chordmode { c1 c/g c/f }
746 <c e g>1 <g c e> <f c' e g>
749 \new ChordNames { \myChords }
750 \new Staff { \myChords }
756 @subsection Figured bass
758 @c Line width hack because of instrument names
759 @lilypondfile[quote,staffsize=18,line-width=14.5\cm]{figured-bass-headword.ly}
761 Figured bass notation can be displayed.
764 * Introduction to figured bass::
765 * Entering figured bass::
766 * Displaying figured bass::
769 @node Introduction to figured bass
770 @unnumberedsubsubsec Introduction to figured bass
772 @cindex Basso continuo
773 @cindex Thorough bass
775 @cindex Bass, thorough
776 @cindex Bass, figured
778 @c TODO: musicological blurb about FB
781 LilyPond has support for figured bass, also called thorough bass
784 @lilypond[quote,ragged-right,verbatim]
786 \new Voice { \clef bass dis4 c d ais g fis}
789 < 6 >4 < 7\+ >8 < 6+ [_!] >
797 The support for figured bass consists of two parts: there is an
798 input mode, introduced by @code{\figuremode}, that accepts
799 entry of bass figures, and there is a context named
800 @code{FiguredBass} that takes care of displaying
801 @code{BassFigure} objects. Figured bass can also be displayed
802 in @code{Staff} contexts.
804 @code{\figures@{ @dots{} @}} is a shortcut notation for
805 @code{\new FiguredBass @{ \figuremode @{ @dots{} @} @}}.
808 Although the support for figured bass may superficially resemble chord
809 support, it is much simpler. @code{\figuremode} mode simply
810 stores the figures and the @code{FiguredBass} context prints them
811 as entered. There is no conversion to pitches.
814 Figures are created as markup texts. Any of the standard markup
815 properties can be used to modify the display of figures. For
816 example, the vertical spacing of the figures may be set with
817 @code{baseline-skip}.
822 @rglos{figured bass}.
828 @node Entering figured bass
829 @unnumberedsubsubsec Entering figured bass
831 @code{\figuremode} is used to switch the input mode to figure mode.
832 More information on different input modes can be
833 found at @ref{Input modes}.
835 In figure mode, a group of bass figures is delimited by
836 @code{<} and @code{>}. The duration is entered after the @code{>}.
838 @lilypond[verbatim,quote,ragged-right]
847 Accidentals (including naturals) can be added to figures:
849 @lilypond[verbatim,quote,ragged-right]
851 <7! 6+ 4-> <5++> <3-->
855 Augmented and diminished steps can be indicated:
857 @lilypond[verbatim,quote,ragged-right]
863 A backward slash through a figure (typically used for raised
864 sixth steps) can be created:
866 @lilypond[verbatim,quote,ragged-right]
872 Vertical spaces and brackets can be included in figures:
874 @lilypond[verbatim,quote,ragged-right]
880 Any text markup can be inserted as a figure:
882 @lilypond[verbatim,quote,ragged-right]
884 <\markup { \tiny \number 6 \super (1) } 5>
888 @c NOTE: We need to include notes any time we use extenders to
889 @c avoid extraneous staff creation due to Staff.use... in
890 @c \bassFigureExtendersOn
892 Continuation lines can be used to indicate repeated figures:
894 @lilypond[verbatim,quote,ragged-right]
902 \bassFigureExtendersOn
903 <6 4>4 <6 3> <7 3> <7 3>
904 \bassFigureExtendersOff
905 <6 4>4 <6 3> <7 3> <7 3>
911 In this case, the extender lines replace existing figures,
912 unless the continuation lines have been explicitly terminated.
914 @lilypond[verbatim,quote,ragged-right]
917 \bassFigureExtendersOn
918 <6 4>4 <6 4> <6\! 4\!> <6 4>
927 The table below summarizes the figure modifiers available.
929 @multitable @columnfractions .1 .5 .4
943 @lilypond[line-width=4\cm]
945 <7! 6+ 4-> <5++> <3-->
952 Augmented and diminished steps
954 @lilypond[line-width=4\cm]
965 @lilypond[line-width=4\cm]
974 End of continuation line
976 @lilypond[line-width=4\cm]
979 \bassFigureExtendersOn
980 <6 4> <6 4> <6\! 4\!> <6 4>
993 @cindex figured bass extender lines
994 @code{\bassFigureExtendersOn},
995 @code{\bassFigureExtendersOff}.
1000 @lilypondfile[verbatim,quote,texidoc,doctitle]
1001 {changing-the-positions-of-figured-bass-alterations.ly}
1007 Internals Reference:
1008 @rinternals{BassFigure},
1009 @rinternals{BassFigureAlignment},
1010 @rinternals{BassFigureLine},
1011 @rinternals{BassFigureBracket},
1012 @rinternals{BassFigureContinuation},
1013 @rinternals{FiguredBass}.
1016 @node Displaying figured bass
1017 @unnumberedsubsubsec Displaying figured bass
1019 Figured bass can be displayed using the @code{FiguredBass} context,
1020 or in most staff contexts.
1022 When displayed in a @code{FiguredBass} context, the vertical location
1023 of the figures is independent of the notes on the staff.
1025 @lilypond[verbatim,ragged-right,quote]
1040 In the example above, the @code{FiguredBass} context must be
1041 explicitly instantiated to avoid creating a second (empty) staff.
1044 Figured bass can also be added to @code{Staff} contexts
1045 directly. In this case, the vertical position of the
1046 figures is adjusted automatically.
1048 @lilypond[verbatim,ragged-right,quote]
1050 \new Staff = "myStaff"
1055 %% Put notes on same Staff as figures
1056 \context Staff = "myStaff"
1065 When added in a @code{Staff} context, figured bass can be displayed above
1068 @lilypond[verbatim,ragged-right,quote]
1070 \new Staff = "myStaff"
1073 \bassFigureStaffAlignmentDown
1076 %% Put notes on same Staff as figures
1077 \context Staff = "myStaff"
1086 @cindex figured bass alignment
1087 @code{\bassFigureStaffAlignmentDown},
1088 @code{\bassFigureStaffAlignmentUp},
1089 @code{\bassFigureStaffAlignmentNeutral}.
1096 Internals Reference:
1097 @rinternals{BassFigure},
1098 @rinternals{BassFigureAlignment},
1099 @rinternals{BassFigureLine},
1100 @rinternals{BassFigureBracket},
1101 @rinternals{BassFigureContinuation},
1102 @rinternals{FiguredBass}.
1105 To ensure that continuation lines work properly, it is
1106 safest to use the same rhythm in the figure line as in
1109 @lilypond[verbatim,ragged-right,quote]
1113 \repeat unfold 4 { f16. g32 } f8. es16 d8 es
1116 \bassFigureExtendersOn
1117 % The extenders are correct here, with the same rhythm as the bass
1118 \repeat unfold 4 { <6 4->16. <6 4->32 }
1119 <5>8. r16 <6>8 <6\! 5->
1125 \repeat unfold 4 { f16. g32 } f8. es16 d8 es
1128 \bassFigureExtendersOn
1129 % The extenders are incorrect here, even though the timing is the same
1131 <5>8. r16 <6>8 <6\! 5->