1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
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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]
92 Predefined shorthands for articulations and ornaments cannot be used
93 on notes in chord mode, see @ref{Articulations and ornamentations}.
97 @unnumberedsubsubsec Common chords
100 @cindex seventh chords
101 @cindex root of chord
102 @cindex modifiers, in chords.
103 @cindex chord quality
105 Major triads are entered by including the root and an
108 @lilypond[verbatim,quote,ragged-right]
109 \chordmode { c2 f4 g }
112 Minor, augmented, and diminished triads are entered by placing
113 @code{:} and a quality modifier string after the duration:
115 @lilypond[verbatim,quote,ragged-right]
116 \chordmode { c2:m f4:aug g:dim }
119 Seventh chords can be created:
121 @lilypond[quote,ragged-right,verbatim]
122 \chordmode { c1:7 c:m7 c:maj7 c:dim7 c:aug7 }
130 The table below shows the actions of the quality modifiers on
131 triads and seventh chords. The default seventh step added to
132 chords is a minor or flatted seventh, which makes the dominant
133 seventh the basic seventh chord. All alterations are relative to
134 the dominant seventh. A more complete table of modifier usage
135 is found at @ref{Common chord modifiers}.
138 @multitable @columnfractions .2 .4 .3
150 The default action; produces a major triad.
152 @lilypond[line-width=4\cm, noragged-right]
154 \omit Staff.TimeSignature
162 The minor chord. This modifier lowers the 3rd.
164 @lilypond[line-width=4\cm, noragged-right]
166 \omit Staff.TimeSignature
175 The diminished chord. This modifier lowers the 3rd, 5th and (if
176 present) the 7th step.
178 @lilypond[line-width=4\cm, noragged-right]
180 \omit Staff.TimeSignature
188 The augmented chord. This modifier raises the 5th step.
190 @lilypond[line-width=4\cm, noragged-right]
192 \omit Staff.TimeSignature
200 The major 7th chord. This modifier adds a raised 7th step. The
201 @code{7} following @code{maj} is optional. Do NOT use this modifier
202 to create a major triad.
204 @lilypond[line-width=4\cm, noragged-right]
206 \omit Staff.TimeSignature
215 @ref{Common chord modifiers},
216 @ref{Extended and altered chords}.
222 Only one quality modifier should be used per chord, typically on the
223 highest step present in the chord. Chords with more than quality
224 modifier will be parsed without an error or warning, but the results
225 are unpredictable. Chords that cannot be achieved with a single
226 quality modifier should be altered by individual pitches, as described
227 in @ref{Extended and altered chords}.
230 @node Extended and altered chords
231 @unnumberedsubsubsec Extended and altered chords
233 @cindex extended chords
234 @cindex altered chords
236 Chord structures of arbitrary complexity can be created in chord
237 mode. The modifier string can be used to extend a chord, add or
238 remove chord steps, raise or lower chord steps, and add a bass note
239 or create an inversion.
241 The first number following the @code{:} is taken to be the extent
242 of the chord. The chord is constructed by sequentially adding
243 thirds to the root until the specified number has been reached.
244 Note that the seventh step added as part of an extended chord will be the
245 minor or flatted seventh, not the major seventh.
246 If the extent is not a third (e.g., 6), thirds are added up to the
247 highest third below the extent, and then the step of the extent is
248 added. The largest possible value for the extent is 13. Any
249 larger value is interpreted as 13.
251 @lilypond[quote,ragged-right,verbatim]
261 As a special exception, @code{c:5} produces a @q{power chord} only
262 consisting of root and fifth.
264 Since an unaltered 11 does not sound good when combined with an
265 unaltered 13, the 11 is removed from a @code{:13} chord (unless it
266 is added explicitly).
268 @lilypond[quote,ragged-right,verbatim]
274 @cindex additions, in chords
276 Individual steps can be added to a chord. Additions follow the
277 extent and are prefixed by a dot (@code{.}). The basic seventh
278 step added to a chord is the minor or flatted seventh, rather than
281 @lilypond[quote,verbatim]
283 c1:3.5.6 c:3.7.8 c:3.6.13
287 Added steps can be as high as desired.
289 @lilypond[quote,verbatim]
291 c4:3.5.15 c:3.5.20 c:3.5.25 c:3.5.30
295 @cindex chord steps, altering
297 Added chord steps can be altered by suffixing a @code{-} or @code{+}
298 sign to the number. To alter a step that is automatically included
299 as part of the basic chord structure, add it as an altered step.
301 @lilypond[quote,verbatim]
303 c1:7+ c:5+.3- c:3-.5-.7-
307 @cindex removals, in chords
311 Following any steps to be added, a series of steps to be removed
312 is introduced in a modifier string with a prefix of @code{^}.
313 If more than one step is to be removed, the steps to be
314 removed are separated by @code{.} following the
317 @lilypond[quote,verbatim]
319 c1^3 c:7^5 c:9^3 c:9^3.5 c:13.11^3.7
325 The modifier @code{sus} can be added to the modifier string to
326 create suspended chords. This removes the 3rd step from the
327 chord. Append either @code{2} or @code{4} to add the 2nd or 4th
328 step to the chord. When @code{sus} is followed by either a 2nd or
329 4th step, it is equivalent to @code{^3}, otherwise to @code{sus4},
332 @lilypond[quote,ragged-right,verbatim]
334 c1:sus c:sus2 c:sus4 c:5.4
339 @cindex chord inversions
340 @cindex bass note, for chords
342 Inversions (putting a pitch other than the root on the bottom of the
343 chord) and added bass notes can be specified by appending
344 @code{/}@var{pitch} to the chord.
346 @lilypond[quote,ragged-right,verbatim]
354 A bass note that is part of the chord can be added, instead of
355 moved as part of an inversion, by using @code{/+}@var{pitch}.
357 @lilypond[quote,ragged-right,verbatim]
363 Chord modifiers that can be used to produce a variety of
364 standard chords are shown in
365 @ref{Common chord modifiers}.
369 @ref{Common chord modifiers}.
375 Each step can only be present in a chord once. The following
376 simply produces the augmented chord, since @code{5+} is
379 @lilypond[quote,ragged-right,verbatim]
380 \chordmode { c1:3.5.5-.5+ }
384 @node Displaying chords
385 @subsection Displaying chords
387 Chords can be displayed by name, in addition to the standard display
391 * Printing chord names::
392 * Customizing chord names::
395 @node Printing chord names
396 @unnumberedsubsubsec Printing chord names
398 @cindex printing chord names
402 Chord names are printed in the @code{ChordNames} context:
404 @lilypond[verbatim,quote,ragged-right]
412 Chords can be entered as simultaneous notes or through the use of
413 chord mode. The displayed chord name will be the same, regardless
414 of the mode of entry, unless there are inversions or added bass notes:
416 @lilypond[verbatim,quote]
417 chordmusic = \relative {
434 @cindex no chord symbol
436 @cindex indicating No Chord in ChordNames
438 Rests passed to a @code{ChordNames} context will cause the
439 @code{noChordSymbol} markup to be displayed.
441 @lilypond[verbatim,quote]
443 \new ChordNames \chordmode {
460 @code{\chords @{ @dots{} @}} is a shortcut notation for
461 @code{\new ChordNames @{ \chordmode @{ @dots{} @} @}}.
463 @lilypond[verbatim,quote,ragged-right]
469 @lilypond[verbatim,quote,ragged-right]
479 @c Keep index entries with following snippet
480 @cindex chords, suppressing repeated
481 @funindex chordChanges
483 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
484 {showing-chords-at-changes.ly}
486 @c @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
487 @c {adding-bar-lines-to-chordnames-context.ly}
489 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
490 {simple-lead-sheet.ly}
497 @ref{Writing music in parallel}.
503 @rinternals{ChordNames},
504 @rinternals{ChordName},
505 @rinternals{Chord_name_engraver},
506 @rinternals{Volta_engraver},
507 @rinternals{Bar_engraver}.
510 Chords containing inversions or altered bass notes are not named
511 properly if entered using simultaneous music.
514 @node Customizing chord names
515 @unnumberedsubsubsec Customizing chord names
517 @cindex customizing chord names
519 There is no unique system for naming chords. Different musical
520 traditions use different names for the same set of chords. There
521 are also different symbols displayed for a given chord name. The
522 names and symbols displayed for chord names are customizable.
527 The basic chord name layout is a system for Jazz music, proposed
528 by Klaus Ignatzek (see @ressay{Literature list}). The chord naming
529 system can be modified as described below. An alternate jazz
530 chord system has been developed using these modifications.
531 The Ignatzek and alternate
532 Jazz notation are shown on the chart in @ref{Chord name chart}.
534 @c TODO -- Change this so we don't have a non-verbatim example.
535 @c Make short example in docs, then move longer example to
536 @c appendix, where the length of the snippet won't matter.
538 In addition to the different naming systems, different note names
539 are used for the root in different languages. The predefined
540 commands @code{\germanChords}, @code{\semiGermanChords},
541 @code{\italianChords} and @code{\frenchChords} set these variables.
542 The effect is demonstrated here:
544 @lilypondfile[ragged-right]{chord-names-languages.ly}
547 @funindex chordNameLowercaseMinor
549 German songbooks may indicate minor chords as lowercase letters,
550 without any @var{m} suffix. This can be obtained by setting the
551 @code{chordNameLowercaseMinor} property:
553 @lilypond[verbatim,quote,ragged-right]
555 \set chordNameLowercaseMinor = ##t
560 If none of the existing settings give the desired output, the chord
561 name display can be tuned through the following properties.
565 @funindex chordRootNamer
569 The chord name is usually printed as a letter for the root with an
570 optional alteration. The transformation from pitch to letter is
571 done by this function. Special note names (for example, the German
572 @q{H} for a B-chord) can be produced by storing a new function in
575 @funindex majorSevenSymbol
577 @item majorSevenSymbol
579 This property contains the markup object used to follow the output
580 of @code{chordRootNamer} to identify a major 7 chord. Predefined
581 options are @code{whiteTriangleMarkup} and
582 @code{blackTriangleMarkup}.
584 @funindex additionalPitchPrefix
586 @item additionalPitchPrefix
588 When the chord name contains additional pitches, they can optionally
589 be prefixed with some text. The default is no prefix, in order to
590 avoid too much visual clutter, but for small numbers of additional
591 pitches this can be visually effective.
593 @lilypond[verbatim,quote,ragged-right]
596 \set additionalPitchPrefix = #"add"
601 @funindex chordNoteNamer
605 When the chord name contains additional pitches other than the root
606 (e.g., an added bass note), this function is used to print the
607 additional pitch. By default the pitch is printed using
608 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
609 to a specialized function to change this behavior. For example, the
610 bass note can be printed in lower case.
612 @funindex chordNameSeparator
614 @item chordNameSeparator
616 Different parts of a chord name are normally separated by a small
617 amount of horizontal space. By setting @code{chordNameSeparator}, you
618 can use any desired markup for a separator. This does not affect the
619 separator between a chord and its bass note; to customize that, use
620 @code{slashChordSeparator}.
622 @lilypond[verbatim,quote,ragged-right]
625 \set chordNameSeparator = \markup { "/" }
631 @funindex slashChordSeparator
633 @item slashChordSeparator
635 Chords can be played over a bass note other than the conventional root
636 of the chord. These are known as ``inversions'' or ``slash chords'',
637 because the default way of notating them is with a forward slash
638 between the main chord and the bass note. Therefore the value of
639 @code{slashChordSeparator} defaults to a forward slash, but you can
640 change it to any markup you choose.
642 @lilypond[verbatim,quote,ragged-right]
645 \set slashChordSeparator = \markup { " over " }
651 @funindex chordNameExceptions
653 @item chordNameExceptions
655 This property is a list of pairs. The first item in each pair
656 is a set of pitches used to identify the steps present in the chord.
657 The second item is a markup that will follow the @code{chordRootNamer}
658 output to create the chord name.
660 @funindex minorChordModifier
662 @item minorChordModifier
664 Minor chords are often denoted via a @q{m} suffix to the right of the
665 root of the chord. However some idioms prefer other suffices, such as
668 @lilypond[verbatim,quote,ragged-right]
671 \set minorChordModifier = \markup { "-" }
677 @funindex chordPrefixSpacer
679 @item chordPrefixSpacer
681 The modifier for minor chords as determined by
682 @code{minorChordModifier} is usually printed immediately to the right
683 of the root of the chord. A spacer can be placed between the root and
684 the modifier by setting @code{chordPrefixSpacer}. The spacer is not
685 used when the root is altered.
691 @funindex major seven symbols
692 @code{\whiteTriangleMarkup},
693 @code{\blackTriangleMarkup},
694 @funindex \germanChords
695 @code{\germanChords},
696 @funindex \semiGermanChords
697 @code{\semiGermanChords},
698 @funindex \italianChords
699 @code{\italianChords},
700 @funindex \frenchChords
701 @code{\frenchChords}.
707 @cindex exceptions, chord names.
708 @lilypondfile[verbatim,quote,texidoc,doctitle]
709 {chord-name-exceptions.ly}
711 @c TODO - tweak snippet to use \blackTriangleMarkup as well
712 @lilypondfile[verbatim,quote,texidoc,doctitle]
713 {chord-name-major7.ly}
715 @lilypondfile[verbatim,quote,texidoc,doctitle]
716 {adding-bar-lines-to-chordnames-context.ly}
718 @lilypondfile[verbatim,quote,texidoc,doctitle]
719 {volta-below-chords.ly}
721 @lilypondfile[verbatim,quote,texidoc,doctitle]
722 {changing-chord-separator.ly}
726 @ref{Chord name chart},
727 @ref{Common chord modifiers}.
729 Essay on automated music engraving:
730 @ressay{Literature list}.
733 @file{scm/chords-ignatzek.scm},
734 @file{scm/chord-entry.scm},
735 @file{ly/chord-modifier-init.ly}.
741 Chord names are determined from both the pitches that are present
742 in the chord and the information on the chord structure that may
743 have been entered in @code{\chordmode}. If the simultaneous pitches
744 method of entering chords is used, undesired names result from
745 inversions or bass notes.
747 @lilypond[quote,ragged-right,verbatim]
748 myChords = \relative c' {
749 \chordmode { c1 c/g c/f }
750 <c e g>1 <g c e> <f c' e g>
753 \new ChordNames { \myChords }
754 \new Staff { \myChords }
760 @subsection Figured bass
762 @c Line width hack because of instrument names
763 @lilypondfile[quote,staffsize=18,line-width=14.5\cm]{figured-bass-headword.ly}
765 Figured bass notation can be displayed.
768 * Introduction to figured bass::
769 * Entering figured bass::
770 * Displaying figured bass::
773 @node Introduction to figured bass
774 @unnumberedsubsubsec Introduction to figured bass
776 @cindex Basso continuo
777 @cindex Thorough bass
779 @cindex Bass, thorough
780 @cindex Bass, figured
782 @c TODO: musicological blurb about FB
785 LilyPond has support for figured bass, also called thorough bass
788 @lilypond[quote,ragged-right,verbatim]
790 \new Voice { \clef bass dis4 c d ais g fis}
793 < 6 >4 < 7\+ >8 < 6+ [_!] >
801 The support for figured bass consists of two parts: there is an
802 input mode, introduced by @code{\figuremode}, that accepts
803 entry of bass figures, and there is a context named
804 @code{FiguredBass} that takes care of displaying
805 @code{BassFigure} objects. Figured bass can also be displayed
806 in @code{Staff} contexts.
808 @code{\figures@{ @dots{} @}} is a shortcut notation for
809 @code{\new FiguredBass @{ \figuremode @{ @dots{} @} @}}.
812 Although the support for figured bass may superficially resemble chord
813 support, it is much simpler. @code{\figuremode} mode simply
814 stores the figures and the @code{FiguredBass} context prints them
815 as entered. There is no conversion to pitches.
818 Figures are created as markup texts. Any of the standard markup
819 properties can be used to modify the display of figures. For
820 example, the vertical spacing of the figures may be set with
821 @code{baseline-skip}.
826 @rglos{figured bass}.
832 @node Entering figured bass
833 @unnumberedsubsubsec Entering figured bass
835 @code{\figuremode} is used to switch the input mode to figure mode.
836 More information on different input modes can be
837 found at @ref{Input modes}.
839 In figure mode, a group of bass figures is delimited by
840 @code{<} and @code{>}. The duration is entered after the @code{>}.
842 @lilypond[verbatim,quote,ragged-right]
851 Accidentals (including naturals) can be added to figures:
853 @lilypond[verbatim,quote,ragged-right]
855 <7! 6+ 4-> <5++> <3-->
859 Augmented and diminished steps can be indicated:
861 @lilypond[verbatim,quote,ragged-right]
867 A backward slash through a figure (typically used for raised
868 sixth steps) can be created:
870 @lilypond[verbatim,quote,ragged-right]
876 Vertical spaces and brackets can be included in figures:
878 @lilypond[verbatim,quote,ragged-right]
884 Any text markup can be inserted as a figure:
886 @lilypond[verbatim,quote,ragged-right]
888 <\markup { \tiny \number 6 \super (1) } 5>
892 @c NOTE: We need to include notes any time we use extenders to
893 @c avoid extraneous staff creation due to Staff.use... in
894 @c \bassFigureExtendersOn
896 Continuation lines can be used to indicate repeated figures:
898 @lilypond[verbatim,quote,ragged-right]
906 \bassFigureExtendersOn
907 <6 4>4 <6 3> <7 3> <7 3>
908 \bassFigureExtendersOff
909 <6 4>4 <6 3> <7 3> <7 3>
915 In this case, the extender lines replace existing figures,
916 unless the continuation lines have been explicitly terminated.
918 @lilypond[verbatim,quote,ragged-right]
921 \bassFigureExtendersOn
922 <6 4>4 <6 4> <6\! 4\!> <6 4>
931 The table below summarizes the figure modifiers available.
933 @multitable @columnfractions .1 .5 .4
947 @lilypond[line-width=4\cm]
949 <7! 6+ 4-> <5++> <3-->
956 Augmented and diminished steps
958 @lilypond[line-width=4\cm]
969 @lilypond[line-width=4\cm]
978 End of continuation line
980 @lilypond[line-width=4\cm]
983 \bassFigureExtendersOn
984 <6 4> <6 4> <6\! 4\!> <6 4>
997 @cindex figured bass extender lines
998 @code{\bassFigureExtendersOn},
999 @code{\bassFigureExtendersOff}.
1004 @lilypondfile[verbatim,quote,texidoc,doctitle]
1005 {changing-the-positions-of-figured-bass-alterations.ly}
1011 Internals Reference:
1012 @rinternals{BassFigure},
1013 @rinternals{BassFigureAlignment},
1014 @rinternals{BassFigureLine},
1015 @rinternals{BassFigureBracket},
1016 @rinternals{BassFigureContinuation},
1017 @rinternals{FiguredBass}.
1020 @node Displaying figured bass
1021 @unnumberedsubsubsec Displaying figured bass
1023 Figured bass can be displayed using the @code{FiguredBass} context,
1024 or in most staff contexts.
1026 When displayed in a @code{FiguredBass} context, the vertical location
1027 of the figures is independent of the notes on the staff.
1029 @lilypond[verbatim,ragged-right,quote]
1044 In the example above, the @code{FiguredBass} context must be
1045 explicitly instantiated to avoid creating a second (empty) staff.
1048 Figured bass can also be added to @code{Staff} contexts
1049 directly. In this case, the vertical position of the
1050 figures is adjusted automatically.
1052 @lilypond[verbatim,ragged-right,quote]
1054 \new Staff = "myStaff"
1059 %% Put notes on same Staff as figures
1060 \context Staff = "myStaff"
1069 When added in a @code{Staff} context, figured bass can be displayed above
1072 @lilypond[verbatim,ragged-right,quote]
1074 \new Staff = "myStaff"
1077 \bassFigureStaffAlignmentDown
1080 %% Put notes on same Staff as figures
1081 \context Staff = "myStaff"
1090 @cindex figured bass alignment
1091 @code{\bassFigureStaffAlignmentDown},
1092 @code{\bassFigureStaffAlignmentUp},
1093 @code{\bassFigureStaffAlignmentNeutral}.
1100 Internals Reference:
1101 @rinternals{BassFigure},
1102 @rinternals{BassFigureAlignment},
1103 @rinternals{BassFigureLine},
1104 @rinternals{BassFigureBracket},
1105 @rinternals{BassFigureContinuation},
1106 @rinternals{FiguredBass}.
1109 To ensure that continuation lines work properly, it is
1110 safest to use the same rhythm in the figure line as in
1113 @lilypond[verbatim,ragged-right,quote]
1117 \repeat unfold 4 { f16. g32 } f8. es16 d8 es
1120 \bassFigureExtendersOn
1121 % The extenders are correct here, with the same rhythm as the bass
1122 \repeat unfold 4 { <6 4->16. <6 4->32 }
1123 <5>8. r16 <6>8 <6\! 5->
1129 \repeat unfold 4 { f16. g32 } f8. es16 d8 es
1132 \bassFigureExtendersOn
1133 % The extenders are incorrect here, even though the timing is the same
1135 <5>8. r16 <6>8 <6\! 5->