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,relative=1]
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]
93 Predefined shorthands for articulations and ornaments cannot be used
94 on notes in chord mode, see @ref{Articulations and ornamentations}.
96 When chord mode and note mode are mixed in sequential music, and
97 chord mode comes first, the note mode will create a new @code{Staff}
100 @lilypond[verbatim,quote,ragged-right,relative=1]
105 To avoid this behavior, explicitly create the @code{Staff} context:
107 @lilypond[verbatim,quote,ragged-right,relative=1]
115 @unnumberedsubsubsec Common chords
118 @cindex seventh chords
119 @cindex root of chord
120 @cindex modifiers, in chords.
121 @cindex chord quality
123 Major triads are entered by including the root and an
126 @lilypond[verbatim,quote,relative=1,ragged-right]
127 \chordmode { c2 f4 g }
130 Minor, augmented, and diminished triads are entered by placing
131 @code{:} and a quality modifier string after the duration:
133 @lilypond[verbatim,quote,ragged-right,relative=1]
134 \chordmode { c2:m f4:aug g:dim }
137 Seventh chords can be created:
139 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
140 \chordmode { c1:7 c:m7 c:maj7 c:dim7 c:aug7 }
148 The table belows shows the actions of the quality modifiers on
149 triads and seventh chords. The default seventh step added to
150 chords is a minor or flatted seventh, which makes the dominant
151 seventh the basic seventh chord. All alterations are relative to
152 the dominant seventh. A more complete table of modifier usage
153 is found at @ref{Common chord modifiers}.
156 @multitable @columnfractions .2 .4 .3
168 The default action; produces a major triad.
170 @lilypond[line-width=4\cm, noragged-right]
172 \override Staff.TimeSignature #'stencil = ##f
180 The minor chord. This modifier lowers the 3rd.
182 @lilypond[line-width=4\cm, noragged-right]
184 \override Staff.TimeSignature #'stencil = ##f
193 The diminished chord. This modifier lowers the 3rd, 5th and (if
194 present) the 7th step.
196 @lilypond[line-width=4\cm, noragged-right]
198 \override Staff.TimeSignature #'stencil = ##f
206 The augmented chord. This modifier raises the 5th step.
208 @lilypond[line-width=4\cm, noragged-right]
210 \override Staff.TimeSignature #'stencil = ##f
218 The major 7th chord. This modifier adds a raised 7th step. The
219 @code{7} following @code{maj} is optional. Do NOT use this modifier
220 to create a major triad.
222 @lilypond[line-width=4\cm, noragged-right]
224 \override Staff.TimeSignature #'stencil = ##f
234 @ref{Common chord modifiers},
235 @ref{Extended and altered chords}.
242 Only one quality modifier should be used per chord, typically on the
243 highest step present in the chord. Chords with more than quality
244 modifier will be parsed without an error or warning, but the results
245 are unpredictable. Chords that cannot be achieved with a single
246 quality modifier should be altered by individual pitches, as described
247 in @ref{Extended and altered chords}.
250 @node Extended and altered chords
251 @unnumberedsubsubsec Extended and altered chords
253 @cindex extended chords
254 @cindex altered chords
256 Chord structures of arbitrary complexity can be created in chord
257 mode. The modifier string can be used to extend a chord, add or
258 remove chord steps, raise or lower chord steps, and add a bass note
259 or create an inversion.
261 The first number following the @code{:} is taken to be the extent
262 of the chord. The chord is constructed by sequentially adding
263 thirds to the root until the specified number has been reached.
264 Note that the seventh step added as part of an extended chord will be the
265 minor or flatted seventh, not the major seventh.
266 If the extent is not a third (e.g., 6), thirds are added up to the
267 highest third below the extent, and then the step of the extent is
268 added. The largest possible value for the extent is 13. Any
269 larger value is interpreted as 13.
271 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
281 Note that both @code{c:5} and @code{c} produce a C major triad.
283 Since an unaltered 11 does not sound good when combined with an
284 unaltered 13, the 11 is removed from a @code{:13} chord (unless it
285 is added explicitly).
287 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
293 @cindex additions, in chords
295 Individual steps can be added to a chord. Additions follow the
296 extent and are prefixed by a dot (@code{.}). The basic seventh
297 step added to a chord is the minor or flatted seventh, rather than
300 @lilypond[quote,verbatim,fragment,relative=1]
302 c1:5.6 c:3.7.8 c:3.6.13
306 Added steps can be as high as desired.
308 @lilypond[quote,verbatim,fragment,relative=1]
310 c4:5.15 c:5.20 c:5.25 c:5.30
314 @cindex chord steps, altering
316 Added chord steps can be altered by suffixing a @code{-} or @code{+}
317 sign to the number. To alter a step that is automatically included
318 as part of the basic chord structure, add it as an altered step.
320 @lilypond[quote,verbatim,fragment,relative=1]
322 c1:7+ c:5+.3- c:3-.5-.7-
326 @cindex removals, in chords
330 Following any steps to be added, a series of steps to be removed
331 is introduced in a modifier string with a prefix of @code{^}.
332 If more than one step is to be removed, the steps to be
333 removed are separated by @code{.} following the
336 @lilypond[quote,verbatim,fragment,relative=1]
338 c1^3 c:7^5 c:9^3 c:9^3.5 c:13.11^3.7
344 The modifier @code{sus} can be added to the modifier string to
345 create suspended chords. This removes the 3rd step from the chord.
346 Append either @code{2} or @code{4} to add the 2nd or 4th step to the
347 chord. @code{sus} is equivalent to @code{^3}; @code{sus4} is
348 equivalent to @code{.4^3}.
350 @lilypond[quote,ragged-right,fragment,verbatim]
352 c1:sus c:sus2 c:sus4 c:5.4^3
357 @cindex chord inversions
358 @cindex bass note, for chords
360 Inversions (putting a pitch other than the root on the bottom of the
361 chord) and added bass notes can be specified by appending
362 @code{/}@var{pitch} to the chord.
364 @lilypond[quote,ragged-right,fragment,verbatim, relative=2]
372 A bass note that is part of the chord can be added, instead of
373 moved as part of an inversion, by using @code{/+}@var{pitch}.
375 @lilypond[quote,ragged-right,fragment,verbatim]
381 Chord modifiers that can be used to produce a variety of
382 standard chords are shown in
383 @ref{Common chord modifiers}.
388 @ref{Common chord modifiers}.
396 Each step can only be present in a chord once. The following
397 simply produces the augmented chord, since @code{5+} is
400 @lilypond[quote,ragged-right,verbatim,fragment]
401 \chordmode { c1:5.5-.5+ }
404 Only the second inversion can be created by adding a bass
405 note. The first inversion requires changing the root of
408 @lilypond[quote,ragged-right,verbatim,fragment]
410 c'1: c':/g e:6-3-^5 e:m6-^5
414 @node Displaying chords
415 @subsection Displaying chords
417 Chords can be displayed by name, in addition to the standard display
421 * Printing chord names::
422 * Customizing chord names::
425 @node Printing chord names
426 @unnumberedsubsubsec Printing chord names
428 @cindex printing chord names
432 Chord names are printed in the @code{ChordNames} context:
434 @lilypond[verbatim,quote,relative=1,ragged-right]
442 Chords can be entered as simultaneous notes or through the use of
443 chord mode. The displayed chord name will be the same, regardless
444 of the mode of entry, unless there are inversions or added bass notes:
446 @lilypond[verbatim,quote,relative=1]
465 @cindex no chord symbol
467 @cindex indicating No Chord in ChordNames
469 Rests passed to a @code{ChordNames} context will cause the
470 @code{noChordSymbol} markup to be displayed.
472 @lilypond[verbatim, quote, relative=1]
474 \new ChordNames \chordmode {
491 @code{\chords @{ ... @}} is a shortcut notation for
492 @code{\new ChordNames @{ \chordmode @{ ... @} @}}.
494 @lilypond[verbatim,quote,ragged-right, relative=1]
500 @lilypond[verbatim,quote,ragged-right, relative=1]
510 @c Keep index entries with following snippet
511 @cindex chords, suppressing repeated
512 @funindex chordChanges
514 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
515 {showing-chords-at-changes.ly}
517 @c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
518 @c {adding-bar-lines-to-chordnames-context.ly}
520 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
521 {simple-lead-sheet.ly}
529 @ref{Writing music in parallel}.
535 @rinternals{ChordNames},
536 @rinternals{ChordName},
537 @rinternals{Chord_name_engraver},
538 @rinternals{Volta_engraver},
539 @rinternals{Bar_engraver}.
544 Chords containing inversions or altered bass notes are not named
545 properly if entered using simultaneous music.
548 @node Customizing chord names
549 @unnumberedsubsubsec Customizing chord names
551 @cindex customizing chord names
553 There is no unique system for naming chords. Different musical
554 traditions use different names for the same set of chords. There
555 are also different symbols displayed for a given chord name. The
556 names and symbols displayed for chord names are customizable.
561 The basic chord name layout is a system for Jazz music, proposed
562 by Klaus Ignatzek (see @ressay{Literature list}). The chord naming
563 system can be modified as described below. An alternate jazz
564 chord system has been developed using these modifications.
565 The Ignatzek and alternate
566 Jazz notation are shown on the chart in @ref{Chord
569 @c TODO -- Change this so we don't have a non-verbatim example.
570 @c Make short example in docs, then move longer example to
571 @c appendix, where the length of the snippet won't matter.
573 In addition to the different naming systems, different note names
574 are used for the root in different languages. The predefined
575 variables @code{\germanChords}, @code{\semiGermanChords},
576 @code{\italianChords} and @code{\frenchChords} set these variables.
577 The effect is demonstrated here:
579 @lilypondfile[ragged-right]{chord-names-languages.ly}
582 @funindex chordNameLowercaseMinor
584 German songbooks may indicate minor chords as lowercase letters,
585 without any @var{m} suffix. This can be obtained by setting the
586 @code{chordNameLowercaseMinor} property:
588 @lilypond[verbatim,quote,ragged-right, relative=1]
590 \set chordNameLowercaseMinor = ##t
595 If none of the existing settings give the desired output, the chord
596 name display can be tuned through the following properties.
600 @funindex chordRootNamer
604 The chord name is usually printed as a letter for the root with an
605 optional alteration. The transformation from pitch to letter is
606 done by this function. Special note names (for example, the German
607 @q{H} for a B-chord) can be produced by storing a new function in
610 @funindex majorSevenSymbol
612 @item majorSevenSymbol
614 This property contains the markup object used to follow the output
615 of @code{chordRootNamer} to identify a major 7 chord. Predefined
616 options are @code{whiteTriangleMarkup} and
617 @code{blackTriangleMarkup}.
619 @funindex chordNoteNamer
623 When the chord name contains additional pitches other than the root
624 (e.g., an added bass note), this function is used to print the
625 additional pitch. By default the pitch is printed using
626 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
627 to a specialized function to change this behavior. For example, the
628 bass note can be printed in lower case.
630 @funindex chordNameSeparator
632 @item chordNameSeparator
634 Different parts of a chord name are normally separated by a slash.
635 By setting @code{chordNameSeparator}, you can use any desired markup
638 @funindex chordNameExceptions
640 @item chordNameExceptions
642 This property is a list of pairs. The first item in each pair
643 is a set of pitches used to identify the steps present in the chord.
644 The second item is a markup that will follow the @code{chordRootNamer}
645 output to create the chord name.
647 @funindex chordPrefixSpacer
648 @item chordPrefixSpacer
650 The @q{m} for minor chords is usually printed immediately to the
651 right of the root of the chord. A spacer can be placed between
652 the root and @q{m} by setting @code{chordPrefixSpacer}.
653 The spacer is not used when the root is altered.
659 @funindex major seven symbols
660 @code{\whiteTriangleMarkup},
661 @code{\blackTriangleMarkup},
662 @funindex \germanChords
663 @code{\germanChords},
664 @funindex \semiGermanChords
665 @code{\semiGermanChords},
666 @funindex \italianChords
667 @code{\italianChords},
668 @funindex \frenchChords
669 @code{\frenchChords}.
675 @cindex exceptions, chord names.
676 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
677 {chord-name-exceptions.ly}
679 @c TODO - tweak snippet to use \blackTriangleMarkup as well
680 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
681 {chord-name-major7.ly}
683 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
684 {adding-bar-lines-to-chordnames-context.ly}
686 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
687 {volta-below-chords.ly}
689 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
690 {changing-chord-separator.ly}
695 @ref{Chord name chart},
696 @ref{Common chord modifiers}.
699 @file{scm/@/chords@/-ignatzek@/.scm},
700 @file{scm/@/chord@/-entry@/.scm},
701 @file{ly/@/chord@/-modifier@/-init@/.ly}.
706 @c Internals Reference:
712 Chord names are determined from both the pitches that are present
713 in the chord and the information on the chord structure that may
714 have been entered in @code{\chordmode}. If the simultaneous pitches
715 method of entering chords is used, undesired names result from
716 inversions or bass notes.
718 @lilypond[quote,ragged-right,verbatim]
719 myChords = \relative c' {
720 \chordmode { c1 c/g c/f }
721 <c e g>1 <g c e> <f c' e g>
724 \new ChordNames { \myChords }
725 \new Staff { \myChords }
731 @subsection Figured bass
733 @lilypondfile[quote]{figured-bass-headword.ly}
735 Figured bass notation can be displayed.
738 * Introduction to figured bass::
739 * Entering figured bass::
740 * Displaying figured bass::
743 @node Introduction to figured bass
744 @unnumberedsubsubsec Introduction to figured bass
746 @cindex Basso continuo
747 @cindex Thorough bass
749 @cindex Bass, thorough
750 @cindex Bass, figured
752 @c TODO: musicological blurb about FB
755 LilyPond has support for figured bass, also called thorough bass
758 @lilypond[quote,ragged-right,verbatim,fragment]
760 \new Voice { \clef bass dis4 c d ais g fis}
763 < 6 >4 < 7\+ >8 < 6+ [_!] >
771 The support for figured bass consists of two parts: there is an
772 input mode, introduced by @code{\figuremode}, that accepts
773 entry of bass figures, and there is a context named
774 @code{FiguredBass} that takes care of displaying
775 @code{BassFigure} objects. Figured bass can also be displayed
776 in @code{Staff} contexts.
778 @code{\figures@{ ... @}} is a shortcut notation for
779 @code{\new FiguredBass @{ \figuremode @{ ... @} @}}.
782 Although the support for figured bass may superficially resemble chord
783 support, it is much simpler. @code{\figuremode} mode simply
784 stores the figures and the @code{FiguredBass} context prints them
785 as entered. There is no conversion to pitches.
788 Figures are created as markup texts. Any of the standard markup
789 properties can be used to modify the display of figures. For
790 example, the vertical spacing of the figures may be set with
791 @code{baseline-skip}.
797 @rglos{figured bass}.
803 @node Entering figured bass
804 @unnumberedsubsubsec Entering figured bass
806 @code{\figuremode} is used to switch the input mode to figure mode.
807 More information on different input modes can be
808 found at @ref{Input modes}.
810 In figure mode, a group of bass figures is delimited by
811 @code{<} and @code{>}. The duration is entered after the @code{>}.
813 @lilypond[verbatim,quote,ragged-right,fragment]
822 Accidentals (including naturals) can be added to figures:
824 @lilypond[verbatim,quote,ragged-right,fragment]
826 <7! 6+ 4-> <5++> <3-->
830 Augmented and diminished steps can be indicated:
832 @lilypond[verbatim,quote,ragged-right,fragment]
838 A backward slash through a figure (typically used for raised
839 sixth steps) can be created:
841 @lilypond[verbatim,quote,ragged-right,fragment]
847 Vertical spaces and brackets can be included in figures:
849 @lilypond[verbatim,quote,ragged-right,fragment]
855 Any text markup can be inserted as a figure:
857 @lilypond[verbatim,quote,ragged-right,fragment]
859 <\markup { \tiny \number 6 \super (1) } 5>
863 @c NOTE: We need to include notes any time we use extenders to
864 @c avoid extraneous staff creation due to Staff.use... in
865 @c \bassFigureExtendersOn
867 Continuation lines can be used to indicate repeated figures:
869 @lilypond[verbatim,quote,ragged-right,fragment]
877 \bassFigureExtendersOn
878 <6 4>4 <6 3> <7 3> <7 3>
879 \bassFigureExtendersOff
880 <6 4>4 <6 3> <7 3> <7 3>
886 In this case, the extender lines replace existing figures,
887 unless the continuation lines have been explicitly terminated.
889 @lilypond[verbatim,quote,ragged-right,fragment]
892 \bassFigureExtendersOn
893 <6 4>4 <6 4> <6\! 4\!> <6 4>
902 The table below summarizes the figure modifiers available.
904 @multitable @columnfractions .1 .5 .4
918 @lilypond[line-width=4\cm]
920 <7! 6+ 4-> <5++> <3-->
927 Augmented and diminished steps
929 @lilypond[line-width=4\cm]
940 @lilypond[line-width=4\cm]
949 End of continuation line
951 @lilypond[line-width=4\cm]
954 \bassFigureExtendersOn
955 <6 4> <6 4> <6\! 4\!> <6 4>
968 @cindex figured bass extender lines
969 @code{\bassFigureExtendersOn},
970 @code{\bassFigureExtendersOff}.
975 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
976 {changing-the-positions-of-figured-bass-alterations.ly}
986 @c Notation Reference:
989 @c Application Usage:
999 @rinternals{BassFigure},
1000 @rinternals{BassFigureAlignment},
1001 @rinternals{BassFigureLine},
1002 @rinternals{BassFigureBracket},
1003 @rinternals{BassFigureContinuation},
1004 @rinternals{FiguredBass}.
1010 @node Displaying figured bass
1011 @unnumberedsubsubsec Displaying figured bass
1013 Figured bass can be displayed using the @code{FiguredBass} context,
1014 or in most staff contexts.
1016 When displayed in a @code{FiguredBass} context, the vertical location
1017 of the figures is independent of the notes on the staff.
1019 @lilypond[verbatim,ragged-right,fragment,quote]
1034 In the example above, the @code{FiguredBass} context must be
1035 explicitly instantiated to avoid creating a second (empty) staff.
1038 Figured bass can also be added to @code{Staff} contexts
1039 directly. In this case, the vertical position of the
1040 figures is adjusted automatically.
1042 @lilypond[verbatim,ragged-right,fragment,quote]
1044 \new Staff = myStaff
1049 %% Put notes on same Staff as figures
1050 \context Staff = myStaff
1059 When added in a @code{Staff} context, figured bass can be displayed above
1062 @lilypond[verbatim,ragged-right,fragment,quote]
1064 \new Staff = myStaff
1067 \bassFigureStaffAlignmentDown
1070 %% Put notes on same Staff as figures
1071 \context Staff = myStaff
1081 @cindex figured bass alignment
1082 @code{\bassFigureStaffAlignmentDown},
1083 @code{\bassFigureStaffAlignmentUp},
1084 @code{\bassFigureStaffAlignmentNeutral}.
1098 @c Notation Reference:
1101 @c Application Usage:
1110 Internals Reference:
1111 @rinternals{BassFigure},
1112 @rinternals{BassFigureAlignment},
1113 @rinternals{BassFigureLine},
1114 @rinternals{BassFigureBracket},
1115 @rinternals{BassFigureContinuation},
1116 @rinternals{FiguredBass}.
1121 To ensure that continuation lines work properly, it is
1122 safest to use the same rhythm in the figure line as in
1125 @lilypond[verbatim,ragged-right,fragment,quote]
1129 \repeat unfold 4 { f16. g32 } f8. es16 d8 es
1132 \bassFigureExtendersOn
1133 % The extenders are correct here, with the same rhythm as the bass
1134 \repeat unfold 4 { <6 4->16. <6 4->32 }
1135 <5>8. r16 <6>8 <6\! 5->
1141 \repeat unfold 4 { f16. g32 } f8. es16 d8 es
1144 \bassFigureExtendersOn
1145 % The extenders are incorrect here, even though the timing is the same
1147 <5>8. r16 <6>8 <6\! 5->
1152 When using extender lines, adjacent figures with the same number in
1153 a different figure location can cause the figure positions to invert.
1155 @lilypond[verbatim,ragged-right,fragment,quote,relative=1]
1159 \bassFigureExtendersOn
1160 <6 5>4 <5\! 4> < 5 _!> <6>
1165 To avoid this problem, simply turn on extenders after the figure that
1166 begins the extender line and turn them off at the end of the extender line.
1168 @lilypond[verbatim,ragged-right,fragment,quote,relative=1]
1173 \bassFigureExtendersOn
1175 \bassFigureExtendersOff