1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
5 When revising a translation, copy the HEAD committish of the
6 version that you are working on. See TRANSLATION for details.
13 @section Chord notation
15 @lilypondfile[quote]{chords-headword.ly}
17 Chords can be entered either as normal notes or in chord mode and displayed
18 using a variety of traditional European chord naming conventions. Chord
19 names and figured bass notation can also be displayed.
29 @subsection Chord mode
33 Chord mode is used to enter chords using an indicator of the chord
34 structure, rather than the chord pitches.
37 * Chord mode overview::
39 * Extended and altered chords::
42 @node Chord mode overview
43 @unnumberedsubsubsec Chord mode overview
48 Chords can be entered as simultaneous music, as discussed in
51 Chords can also be entered in @qq{chord mode}, which is an input
52 mode that focuses on the structures of chords in traditional
53 European music, rather than on specific pitches. This is
54 convenient for those who are familiar with using chord names to
55 describe chords. More information on different input modes can be
56 found at @ref{Input modes}.
58 @lilypond[verbatim,quote,ragged-right,relative=1]
59 \chordmode { c1 g a g c }
62 Chords entered using chord mode are music elements, and can be
63 transposed just like chords entered using simultaneous music.
64 @code{\chordmode} is absolute, as @code{\relative} has no effect
65 on @code{chordmode} blocks. However, in @code{\chordmode} the
66 absolute pitches are one octave higher than in note mode.
68 Chord mode and note mode can be mixed in sequential music:
70 @lilypond[verbatim,quote,ragged-right,relative=1]
92 When chord mode and note mode are mixed in sequential music, and
93 chord mode comes first, the note mode will create a new @code{Staff}
96 @lilypond[verbatim,quote,ragged-right,relative=1]
101 To avoid this behavior, explicitly create the @code{Staff} context:
103 @lilypond[verbatim,quote,ragged-right,relative=1]
111 @unnumberedsubsubsec Common chords
114 @cindex seventh chords
115 @cindex root of chord
116 @cindex modifiers, in chords.
117 @cindex chord quality
119 Major triads are entered by including the root and an
122 @lilypond[verbatim,quote,relative=1,ragged-right]
123 \chordmode { c2 f4 g }
126 Minor, augmented, and diminished triads are entered by placing
127 @code{:} and a quality modifier string after the duration:
129 @lilypond[verbatim,quote,ragged-right,relative=1]
130 \chordmode { c2:m f4:aug g:dim }
133 Seventh chords can be created:
135 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
136 \chordmode { c1:7 c:m7 c:maj7 c:dim7 c:aug7 }
144 The table belows shows the actions of the quality modifiers on
145 triads and seventh chords. The default seventh step added to
146 chords is a minor or flatted seventh, which makes the dominant
147 seventh the basic seventh chord. All alterations are relative to
148 the dominant seventh. A more complete table of modifier usage
149 is found at @ref{Common chord modifiers}.
152 @multitable @columnfractions .2 .4 .3
164 The default action; produces a major triad.
166 @lilypond[line-width=4\cm, noragged-right]
168 \override Staff.TimeSignature #'stencil = ##f
176 The minor chord. This modifier lowers the 3rd.
178 @lilypond[line-width=4\cm, noragged-right]
180 \override Staff.TimeSignature #'stencil = ##f
189 The diminished chord. This modifier lowers the 3rd, 5th and (if
190 present) the 7th step.
192 @lilypond[line-width=4\cm, noragged-right]
194 \override Staff.TimeSignature #'stencil = ##f
202 The augmented chord. This modifier raises the 5th step.
204 @lilypond[line-width=4\cm, noragged-right]
206 \override Staff.TimeSignature #'stencil = ##f
214 The major 7th chord. This modifier adds a raised 7th step. The
215 @code{7} following @code{maj} is optional. Do NOT use this modifier
216 to create a major triad.
218 @lilypond[line-width=4\cm, noragged-right]
220 \override Staff.TimeSignature #'stencil = ##f
230 @ref{Common chord modifiers},
231 @ref{Extended and altered chords}.
238 Only one quality modifier should be used per chord, typically on the
239 highest step present in the chord. Chords with more than quality
240 modifier will be parsed without an error or warning, but the results
241 are unpredictable. Chords that cannot be achieved with a single
242 quality modifier should be altered by individual pitches, as described
243 in @ref{Extended and altered chords}.
246 @node Extended and altered chords
247 @unnumberedsubsubsec Extended and altered chords
249 @cindex extended chords
250 @cindex altered chords
252 Chord structures of arbitrary complexity can be created in chord
253 mode. The modifier string can be used to extend a chord, add or
254 remove chord steps, raise or lower chord steps, and add a bass note
255 or create an inversion.
257 The first number following the @code{:} is taken to be the extent
258 of the chord. The chord is constructed by sequentially adding
259 thirds to the root until the specified number has been reached.
260 Note that the seventh step added as part of an extended chord will be the
261 minor or flatted seventh, not the major seventh.
262 If the extent is not a third (e.g., 6), thirds are added up to the
263 highest third below the extent, and then the step of the extent is
264 added. The largest possible value for the extent is 13. Any
265 larger value is interpreted as 13.
267 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
277 Note that both @code{c:5} and @code{c} produce a C major triad.
279 Since an unaltered 11 does not sound good when combined with an
280 unaltered 13, the 11 is removed from a @code{:13} chord (unless it
281 is added explicitly).
283 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
289 @cindex additions, in chords
291 Individual steps can be added to a chord. Additions follow the
292 extent and are prefixed by a dot (@code{.}). The basic seventh
293 step added to a chord is the minor or flatted seventh, rather than
296 @lilypond[quote,verbatim,fragment,relative=1]
298 c1:5.6 c:3.7.8 c:3.6.13
302 Added steps can be as high as desired.
304 @lilypond[quote,verbatim,fragment,relative=1]
306 c4:5.15 c:5.20 c:5.25 c:5.30
310 @cindex chord steps, altering
312 Added chord steps can be altered by suffixing a @code{-} or @code{+}
313 sign to the number. To alter a step that is automatically included
314 as part of the basic chord structure, add it as an altered step.
316 @lilypond[quote,verbatim,fragment,relative=1]
318 c1:7+ c:5+.3- c:3-.5-.7-
322 @cindex removals, in chords
326 Following any steps to be added, a series of steps to be removed
327 is introduced in a modifier string with a prefix of @code{^}.
328 If more than one step is to be removed, the steps to be
329 removed are separated by @code{.} following the
332 @lilypond[quote,verbatim,fragment,relative=1]
334 c1^3 c:7^5 c:9^3 c:9^3.5 c:13.11^3.7
340 The modifier @code{sus} can be added to the modifier string to
341 create suspended chords. This removes the 3rd step from the chord.
342 Append either @code{2} or @code{4} to add the 2nd or 4th step to the
343 chord. @code{sus} is equivalent to @code{^3}; @code{sus4} is
344 equivalent to @code{.4^3}.
346 @lilypond[quote,ragged-right,fragment,verbatim]
348 c1:sus c:sus2 c:sus4 c:5.4^3
353 @cindex chord inversions
354 @cindex bass note, for chords
356 Inversions (putting a pitch other than the root on the bottom of the
357 chord) and added bass notes can be specified by appending
358 @code{/}@var{pitch} to the chord.
360 @lilypond[quote,ragged-right,fragment,verbatim, relative=2]
368 A bass note that is part of the chord can be added, instead of
369 moved as part of an inversion, by using @code{/+}@var{pitch}.
371 @lilypond[quote,ragged-right,fragment,verbatim]
377 Chord modifiers that can be used to produce a variety of
378 standard chords are shown in
379 @ref{Common chord modifiers}.
384 @ref{Common chord modifiers}.
392 Each step can only be present in a chord once. The following
393 simply produces the augmented chord, since @code{5+} is
396 @lilypond[quote,ragged-right,verbatim,fragment]
397 \chordmode { c1:5.5-.5+ }
400 Only the second inversion can be created by adding a bass
401 note. The first inversion requires changing the root of
404 @lilypond[quote,ragged-right,verbatim,fragment]
406 c'1: c':/g e:6-3-^5 e:m6-^5
410 @node Displaying chords
411 @subsection Displaying chords
413 Chords can be displayed by name, in addition to the standard display
417 * Printing chord names::
418 * Customizing chord names::
421 @node Printing chord names
422 @unnumberedsubsubsec Printing chord names
424 @cindex printing chord names
428 Chord names are printed in the @code{ChordNames} context:
430 @lilypond[verbatim,quote,relative=1,ragged-right]
438 Chords can be entered as simultaneous notes or through the use of
439 chord mode. The displayed chord name will be the same, regardless
440 of the mode of entry, unless there are inversions or added bass notes:
442 @lilypond[verbatim,quote,relative=1]
461 @cindex no chord symbol
463 @cindex indicating No Chord in ChordNames
465 Rests passed to a @code{ChordNames} context will cause the
466 @code{noChordSymbol} markup to be displayed.
468 @lilypond[verbatim, quote, relative=1]
470 \new ChordNames \chordmode {
476 \new Score \chordmode {
487 @code{\chords @{ ... @}} is a shortcut notation for
488 @code{\new ChordNames @{ \chordmode @{ ... @} @}}.
490 @lilypond[verbatim,quote,ragged-right, relative=1]
496 @lilypond[verbatim,quote,ragged-right, relative=1]
506 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
507 {showing-chords-at-changes.ly}
509 @c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
510 @c {adding-bar-lines-to-chordnames-context.ly}
512 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
513 {simple-lead-sheet.ly}
521 @ref{Writing music in parallel}.
527 @rinternals{ChordNames},
528 @rinternals{ChordName},
529 @rinternals{Chord_name_engraver},
530 @rinternals{Volta_engraver},
531 @rinternals{Bar_engraver}.
536 Chords containing inversions or altered bass notes are not named
537 properly if entered using simultaneous music.
540 @node Customizing chord names
541 @unnumberedsubsubsec Customizing chord names
543 @cindex customizing chord names
545 There is no unique system for naming chords. Different musical
546 traditions use different names for the same set of chords. There
547 are also different symbols displayed for a given chord name. The
548 names and symbols displayed for chord names are customizable.
553 The basic chord name layout is a system for Jazz music, proposed
554 by Klaus Ignatzek (see @ressay{Literature list}). The chord naming
555 system can be modified as described below. An alternate jazz
556 chord system has been developed using these modifications.
557 The Ignatzek and alternate
558 Jazz notation are shown on the chart in @ref{Chord
561 @c TODO -- Change this so we don't have a non-verbatim example.
562 @c Make short example in docs, then move longer example to
563 @c appendix, where the length of the snippet won't matter.
565 In addition to the different naming systems, different note names
566 are used for the root in different languages. The predefined
567 variables @code{\germanChords}, @code{\semiGermanChords},
568 @code{\italianChords} and @code{\frenchChords} set these variables.
569 The effect is demonstrated here:
571 @lilypondfile[ragged-right]{chord-names-languages.ly}
573 If none of the existing settings give the desired output, the chord
574 name display can be tuned through the following properties.
578 @funindex chordRootNamer
582 The chord name is usually printed as a letter for the root with an
583 optional alteration. The transformation from pitch to letter is
584 done by this function. Special note names (for example, the German
585 @q{H} for a B-chord) can be produced by storing a new function in
588 @funindex majorSevenSymbol
590 @item majorSevenSymbol
592 This property contains the markup object used to follow the output
593 of @code{chordRootNamer} to identify a major 7 chord. Predefined
594 options are @code{whiteTriangleMarkup} and
595 @code{blackTriangleMarkup}.
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 slash.
613 By setting @code{chordNameSeparator}, you can use any desired markup
616 @funindex chordNameExceptions
618 @item chordNameExceptions
620 This property is a list of pairs. The first item in each pair
621 is a set of pitches used to identify the steps present in the chord.
622 The second item is a markup that will follow the @code{chordRootNamer}
623 output to create the chord name.
625 @funindex chordPrefixSpacer
626 @item chordPrefixSpacer
628 The @q{m} for minor chords is usually printed immediately to the
629 right of the root of the chord. A spacer can be placed between
630 the root and @q{m} by setting @code{chordPrefixSpacer}.
631 The spacer is not used when the root is altered.
637 @funindex major seven symbols
638 @code{\whiteTriangleMarkup},
639 @code{\blackTriangleMarkup},
640 @funindex \germanChords
641 @code{\germanChords},
642 @funindex \semiGermanChords
643 @code{\semiGermanChords},
644 @funindex \italianChords
645 @code{\italianChords},
646 @funindex \frenchChords
647 @code{\frenchChords}.
653 @cindex exceptions, chord names.
654 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
655 {chord-name-exceptions.ly}
657 @c TODO - tweak snippet to use \blackTriangleMarkup as well
658 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
659 {chord-name-major7.ly}
661 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
662 {adding-bar-lines-to-chordnames-context.ly}
664 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
665 {volta-below-chords.ly}
667 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
668 {changing-chord-separator.ly}
673 @ref{Chord name chart},
674 @ref{Common chord modifiers}.
677 @file{scm/@/chords@/-ignatzek@/.scm},
678 @file{scm/@/chord@/-entry@/.scm},
679 @file{ly/@/chord@/-modifier@/-init@/.ly}.
684 @c Internals Reference:
690 Chord names are determined from both the pitches that are present
691 in the chord and the information on the chord structure that may
692 have been entered in @code{\chordmode}. If the simultaneous pitches
693 method of entering chords is used, undesired names result from
694 inversions or bass notes.
696 @lilypond[quote,ragged-right,verbatim]
697 myChords = \relative c' {
698 \chordmode { c1 c/g c/f }
699 <c e g>1 <g c e> <f c' e g>
702 \new ChordNames { \myChords }
703 \new Staff { \myChords }
709 @subsection Figured bass
711 @lilypondfile[quote]{figured-bass-headword.ly}
713 Figured bass notation can be displayed.
716 * Introduction to figured bass::
717 * Entering figured bass::
718 * Displaying figured bass::
721 @node Introduction to figured bass
722 @unnumberedsubsubsec Introduction to figured bass
724 @cindex Basso continuo
725 @cindex Thorough bass
727 @cindex Bass, thorough
728 @cindex Bass, figured
730 @c TODO: musicological blurb about FB
733 LilyPond has support for figured bass, also called thorough bass
736 @lilypond[quote,ragged-right,verbatim,fragment]
738 \new Voice { \clef bass dis4 c d ais g fis}
741 < 6 >4 < 7\+ >8 < 6+ [_!] >
749 The support for figured bass consists of two parts: there is an
750 input mode, introduced by @code{\figuremode}, that accepts
751 entry of bass figures, and there is a context named
752 @code{FiguredBass} that takes care of displaying
753 @code{BassFigure} objects. Figured bass can also be displayed
754 in @code{Staff} contexts.
756 @code{\figures@{ ... @}} is a shortcut notation for
757 @code{\new FiguredBass @{ \figuremode @{ ... @} @}}.
760 Although the support for figured bass may superficially resemble chord
761 support, it is much simpler. @code{\figuremode} mode simply
762 stores the figures and the @code{FiguredBass} context prints them
763 as entered. There is no conversion to pitches.
766 Figures are created as markup texts. Any of the standard markup
767 properties can be used to modify the display of figures. For
768 example, the vertical spacing of the figures may be set with
769 @code{baseline-skip}.
775 @rglos{figured bass}.
781 @node Entering figured bass
782 @unnumberedsubsubsec Entering figured bass
784 @code{\figuremode} is used to switch the input mode to figure mode.
785 More information on different input modes can be
786 found at @ref{Input modes}.
788 In figure mode, a group of bass figures is delimited by
789 @code{<} and @code{>}. The duration is entered after the @code{>}.
791 @lilypond[verbatim,quote,ragged-right,fragment]
800 Accidentals (including naturals) can be added to figures:
802 @lilypond[verbatim,quote,ragged-right,fragment]
804 <7! 6+ 4-> <5++> <3-->
808 Augmented and diminished steps can be indicated:
810 @lilypond[verbatim,quote,ragged-right,fragment]
816 A backward slash through a figure (typically used for raised
817 sixth steps) can be created:
819 @lilypond[verbatim,quote,ragged-right,fragment]
825 Vertical spaces and brackets can be be included in figures:
827 @lilypond[verbatim,quote,ragged-right,fragment]
833 Any text markup can be inserted as a figure:
835 @lilypond[verbatim,quote,ragged-right,fragment]
837 <\markup { \tiny \number 6 \super (1) } 5>
841 @c NOTE: We need to include notes any time we use extenders to
842 @c avoid extraneous staff creation due to Staff.use... in
843 @c \bassFigureExtendersOn
845 Continuation lines can be used to indicate repeated figures:
847 @lilypond[verbatim,quote,ragged-right,fragment]
855 \bassFigureExtendersOn
856 <6 4>4 <6 3> <7 3> <7 3>
857 \bassFigureExtendersOff
858 <6 4>4 <6 3> <7 3> <7 3>
864 In this case, the extender lines replace existing figures,
865 unless the continuation lines have been explicitly terminated.
867 @lilypond[verbatim,quote,ragged-right,fragment]
870 \bassFigureExtendersOn
871 <6 4>4 <6 4> <6\! 4\!> <6 4>
880 The table below summarizes the figure modifiers available.
882 @multitable @columnfractions .1 .5 .4
896 @lilypond[line-width=4\cm]
898 <7! 6+ 4-> <5++> <3-->
905 Augmented and diminished steps
907 @lilypond[line-width=4\cm]
918 @lilypond[line-width=4\cm]
927 End of continuation line
929 @lilypond[line-width=4\cm]
932 \bassFigureExtendersOn
933 <6 4> <6 4> <6\! 4\!> <6 4>
946 @cindex figured bass extender lines
947 @code{\bassFigureExtendersOn},
948 @code{\bassFigureExtendersOff}.
953 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
954 {changing-the-positions-of-figured-bass-alterations.ly}
964 @c Notation Reference:
967 @c Application Usage:
977 @rinternals{BassFigure},
978 @rinternals{BassFigureAlignment},
979 @rinternals{BassFigureLine},
980 @rinternals{BassFigureBracket},
981 @rinternals{BassFigureContinuation},
982 @rinternals{FiguredBass}.
988 @node Displaying figured bass
989 @unnumberedsubsubsec Displaying figured bass
991 Figured bass can be displayed using the @code{FiguredBass} context,
992 or in most staff contexts.
994 When displayed in a @code{FiguredBass} context, the vertical location
995 of the figures is independent of the notes on the staff.
997 @lilypond[verbatim,ragged-right,fragment,quote]
1012 In the example above, the @code{FiguredBass} context must be
1013 explicitly instantiated to avoid creating a second (empty) staff.
1016 Figured bass can also be added to @code{Staff} contexts
1017 directly. In this case, the vertical position of the
1018 figures is adjusted automatically.
1020 @lilypond[verbatim,ragged-right,fragment,quote]
1022 \new Staff = myStaff
1027 %% Put notes on same Staff as figures
1028 \context Staff = myStaff
1037 When added in a @code{Staff} context, figured bass can be displayed above
1040 @lilypond[verbatim,ragged-right,fragment,quote]
1042 \new Staff = myStaff
1045 \bassFigureStaffAlignmentDown
1048 %% Put notes on same Staff as figures
1049 \context Staff = myStaff
1059 @cindex figured bass alignment
1060 @code{\bassFigureStaffAlignmentDown},
1061 @code{\bassFigureStaffAlignmentUp},
1062 @code{\bassFigureStaffAlignmentNeutral}.
1076 @c Notation Reference:
1079 @c Application Usage:
1088 Internals Reference:
1089 @rinternals{BassFigure},
1090 @rinternals{BassFigureAlignment},
1091 @rinternals{BassFigureLine},
1092 @rinternals{BassFigureBracket},
1093 @rinternals{BassFigureContinuation},
1094 @rinternals{FiguredBass}.
1099 To ensure that continuation lines work properly, it is
1100 safest to use the same rhythm in the figure line as in
1103 @lilypond[verbatim,ragged-right,fragment,quote]
1107 \repeat unfold 4 { f16. g32 } f8. es16 d8 es
1110 \bassFigureExtendersOn
1111 % The extenders are correct here, with the same rhythm as the bass
1112 \repeat unfold 4 { <6 4->16. <6 4->32 }
1113 <5>8. r16 <6>8 <6\! 5->
1119 \repeat unfold 4 { f16. g32 } f8. es16 d8 es
1122 \bassFigureExtendersOn
1123 % The extenders are incorrect here, even though the timing is the same
1125 <5>8. r16 <6>8 <6\! 5->
1130 When using extender lines, adjacent figures with the same number in
1131 a different figure location can cause the figure positions to invert.
1133 @lilypond[verbatim,ragged-right,fragment,quote,relative=1]
1137 \bassFigureExtendersOn
1138 <6 5>4 <5\! 4> < 5 _!> <6>
1143 To avoid this problem, simply turn on extenders after the figure that
1144 begins the extender line and turn them off at the end of the extender line.
1146 @lilypond[verbatim,ragged-right,fragment,quote,relative=1]
1151 \bassFigureExtendersOn
1153 \bassFigureExtendersOff