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]
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 Note that both @code{c:5} and @code{c} produce a C major triad.
263 Since an unaltered 11 does not sound good when combined with an
264 unaltered 13, the 11 is removed from a @code{:13} chord (unless it
265 is added explicitly).
267 @lilypond[quote,ragged-right,verbatim]
273 @cindex additions, in chords
275 Individual steps can be added to a chord. Additions follow the
276 extent and are prefixed by a dot (@code{.}). The basic seventh
277 step added to a chord is the minor or flatted seventh, rather than
280 @lilypond[quote,verbatim]
282 c1:5.6 c:3.7.8 c:3.6.13
286 Added steps can be as high as desired.
288 @lilypond[quote,verbatim]
290 c4:5.15 c:5.20 c:5.25 c:5.30
294 @cindex chord steps, altering
296 Added chord steps can be altered by suffixing a @code{-} or @code{+}
297 sign to the number. To alter a step that is automatically included
298 as part of the basic chord structure, add it as an altered step.
300 @lilypond[quote,verbatim]
302 c1:7+ c:5+.3- c:3-.5-.7-
306 @cindex removals, in chords
310 Following any steps to be added, a series of steps to be removed
311 is introduced in a modifier string with a prefix of @code{^}.
312 If more than one step is to be removed, the steps to be
313 removed are separated by @code{.} following the
316 @lilypond[quote,verbatim]
318 c1^3 c:7^5 c:9^3 c:9^3.5 c:13.11^3.7
324 The modifier @code{sus} can be added to the modifier string to
325 create suspended chords. This removes the 3rd step from the chord.
326 Append either @code{2} or @code{4} to add the 2nd or 4th step to the
327 chord. @code{sus} is equivalent to @code{^3}; @code{sus4} is
328 equivalent to @code{.4^3}.
330 @lilypond[quote,ragged-right,verbatim]
332 c1:sus c:sus2 c:sus4 c:5.4^3
337 @cindex chord inversions
338 @cindex bass note, for chords
340 Inversions (putting a pitch other than the root on the bottom of the
341 chord) and added bass notes can be specified by appending
342 @code{/}@var{pitch} to the chord.
344 @lilypond[quote,ragged-right,verbatim]
352 A bass note that is part of the chord can be added, instead of
353 moved as part of an inversion, by using @code{/+}@var{pitch}.
355 @lilypond[quote,ragged-right,verbatim]
361 Chord modifiers that can be used to produce a variety of
362 standard chords are shown in
363 @ref{Common chord modifiers}.
367 @ref{Common chord modifiers}.
373 Each step can only be present in a chord once. The following
374 simply produces the augmented chord, since @code{5+} is
377 @lilypond[quote,ragged-right,verbatim]
378 \chordmode { c1:5.5-.5+ }
382 @node Displaying chords
383 @subsection Displaying chords
385 Chords can be displayed by name, in addition to the standard display
389 * Printing chord names::
390 * Customizing chord names::
393 @node Printing chord names
394 @unnumberedsubsubsec Printing chord names
396 @cindex printing chord names
400 Chord names are printed in the @code{ChordNames} context:
402 @lilypond[verbatim,quote,ragged-right]
410 Chords can be entered as simultaneous notes or through the use of
411 chord mode. The displayed chord name will be the same, regardless
412 of the mode of entry, unless there are inversions or added bass notes:
414 @lilypond[verbatim,quote]
415 chordmusic = \relative {
432 @cindex no chord symbol
434 @cindex indicating No Chord in ChordNames
436 Rests passed to a @code{ChordNames} context will cause the
437 @code{noChordSymbol} markup to be displayed.
439 @lilypond[verbatim,quote]
441 \new ChordNames \chordmode {
458 @code{\chords @{ @dots{} @}} is a shortcut notation for
459 @code{\new ChordNames @{ \chordmode @{ @dots{} @} @}}.
461 @lilypond[verbatim,quote,ragged-right]
467 @lilypond[verbatim,quote,ragged-right]
477 @c Keep index entries with following snippet
478 @cindex chords, suppressing repeated
479 @funindex chordChanges
481 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
482 {showing-chords-at-changes.ly}
484 @c @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
485 @c {adding-bar-lines-to-chordnames-context.ly}
487 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
488 {simple-lead-sheet.ly}
495 @ref{Writing music in parallel}.
501 @rinternals{ChordNames},
502 @rinternals{ChordName},
503 @rinternals{Chord_name_engraver},
504 @rinternals{Volta_engraver},
505 @rinternals{Bar_engraver}.
508 Chords containing inversions or altered bass notes are not named
509 properly if entered using simultaneous music.
512 @node Customizing chord names
513 @unnumberedsubsubsec Customizing chord names
515 @cindex customizing chord names
517 There is no unique system for naming chords. Different musical
518 traditions use different names for the same set of chords. There
519 are also different symbols displayed for a given chord name. The
520 names and symbols displayed for chord names are customizable.
525 The basic chord name layout is a system for Jazz music, proposed
526 by Klaus Ignatzek (see @ressay{Literature list}). The chord naming
527 system can be modified as described below. An alternate jazz
528 chord system has been developed using these modifications.
529 The Ignatzek and alternate
530 Jazz notation are shown on the chart in @ref{Chord name chart}.
532 @c TODO -- Change this so we don't have a non-verbatim example.
533 @c Make short example in docs, then move longer example to
534 @c appendix, where the length of the snippet won't matter.
536 In addition to the different naming systems, different note names
537 are used for the root in different languages. The predefined
538 commands @code{\germanChords}, @code{\semiGermanChords},
539 @code{\italianChords} and @code{\frenchChords} set these variables.
540 The effect is demonstrated here:
542 @lilypondfile[ragged-right]{chord-names-languages.ly}
545 @funindex chordNameLowercaseMinor
547 German songbooks may indicate minor chords as lowercase letters,
548 without any @var{m} suffix. This can be obtained by setting the
549 @code{chordNameLowercaseMinor} property:
551 @lilypond[verbatim,quote,ragged-right]
553 \set chordNameLowercaseMinor = ##t
558 If none of the existing settings give the desired output, the chord
559 name display can be tuned through the following properties.
563 @funindex chordRootNamer
567 The chord name is usually printed as a letter for the root with an
568 optional alteration. The transformation from pitch to letter is
569 done by this function. Special note names (for example, the German
570 @q{H} for a B-chord) can be produced by storing a new function in
573 @funindex majorSevenSymbol
575 @item majorSevenSymbol
577 This property contains the markup object used to follow the output
578 of @code{chordRootNamer} to identify a major 7 chord. Predefined
579 options are @code{whiteTriangleMarkup} and
580 @code{blackTriangleMarkup}.
582 @funindex additionalPitchPrefix
584 @item additionalPitchPrefix
586 When the chord name contains additional pitches, they can optionally
587 be prefixed with some text. The default is no prefix, in order to
588 avoid too much visual clutter, but for small numbers of additional
589 pitches this can be visually effective.
591 @lilypond[verbatim,quote,ragged-right]
594 \set additionalPitchPrefix = #"add"
599 @funindex chordNoteNamer
603 When the chord name contains additional pitches other than the root
604 (e.g., an added bass note), this function is used to print the
605 additional pitch. By default the pitch is printed using
606 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
607 to a specialized function to change this behavior. For example, the
608 bass note can be printed in lower case.
610 @funindex chordNameSeparator
612 @item chordNameSeparator
614 Different parts of a chord name are normally separated by a small
615 amount of horizontal space. By setting @code{chordNameSeparator}, you
616 can use any desired markup for a separator. This does not affect the
617 separator between a chord and its bass note; to customize that, use
618 @code{slashChordSeparator}.
620 @lilypond[verbatim,quote,ragged-right]
623 \set chordNameSeparator = \markup { "/" }
629 @funindex slashChordSeparator
631 @item slashChordSeparator
633 Chords can be played over a bass note other than the conventional root
634 of the chord. These are known as ``inversions'' or ``slash chords'',
635 because the default way of notating them is with a forward slash
636 between the main chord and the bass note. Therefore the value of
637 @code{slashChordSeparator} defaults to a forward slash, but you can
638 change it to any markup you choose.
640 @lilypond[verbatim,quote,ragged-right]
643 \set slashChordSeparator = \markup { " over " }
649 @funindex chordNameExceptions
651 @item chordNameExceptions
653 This property is a list of pairs. The first item in each pair
654 is a set of pitches used to identify the steps present in the chord.
655 The second item is a markup that will follow the @code{chordRootNamer}
656 output to create the chord name.
658 @funindex minorChordModifier
660 @item minorChordModifier
662 Minor chords are often denoted via a @q{m} suffix to the right of the
663 root of the chord. However some idioms prefer other suffices, such as
666 @lilypond[verbatim,quote,ragged-right]
669 \set minorChordModifier = \markup { "-" }
675 @funindex chordPrefixSpacer
677 @item chordPrefixSpacer
679 The modifier for minor chords as determined by
680 @code{minorChordModifier} is usually printed immediately to the right
681 of the root of the chord. A spacer can be placed between the root and
682 the modifier by setting @code{chordPrefixSpacer}. The spacer is not
683 used when the root is altered.
689 @funindex major seven symbols
690 @code{\whiteTriangleMarkup},
691 @code{\blackTriangleMarkup},
692 @funindex \germanChords
693 @code{\germanChords},
694 @funindex \semiGermanChords
695 @code{\semiGermanChords},
696 @funindex \italianChords
697 @code{\italianChords},
698 @funindex \frenchChords
699 @code{\frenchChords}.
705 @cindex exceptions, chord names.
706 @lilypondfile[verbatim,quote,texidoc,doctitle]
707 {chord-name-exceptions.ly}
709 @c TODO - tweak snippet to use \blackTriangleMarkup as well
710 @lilypondfile[verbatim,quote,texidoc,doctitle]
711 {chord-name-major7.ly}
713 @lilypondfile[verbatim,quote,texidoc,doctitle]
714 {adding-bar-lines-to-chordnames-context.ly}
716 @lilypondfile[verbatim,quote,texidoc,doctitle]
717 {volta-below-chords.ly}
719 @lilypondfile[verbatim,quote,texidoc,doctitle]
720 {changing-chord-separator.ly}
724 @ref{Chord name chart},
725 @ref{Common chord modifiers}.
727 Essay on automated music engraving:
728 @ressay{Literature list}.
731 @file{scm/chords-ignatzek.scm},
732 @file{scm/chord-entry.scm},
733 @file{ly/chord-modifier-init.ly}.
739 Chord names are determined from both the pitches that are present
740 in the chord and the information on the chord structure that may
741 have been entered in @code{\chordmode}. If the simultaneous pitches
742 method of entering chords is used, undesired names result from
743 inversions or bass notes.
745 @lilypond[quote,ragged-right,verbatim]
746 myChords = \relative c' {
747 \chordmode { c1 c/g c/f }
748 <c e g>1 <g c e> <f c' e g>
751 \new ChordNames { \myChords }
752 \new Staff { \myChords }
758 @subsection Figured bass
760 @c Line width hack because of instrument names
761 @lilypondfile[quote,staffsize=18,line-width=14.5\cm]{figured-bass-headword.ly}
763 Figured bass notation can be displayed.
766 * Introduction to figured bass::
767 * Entering figured bass::
768 * Displaying figured bass::
771 @node Introduction to figured bass
772 @unnumberedsubsubsec Introduction to figured bass
774 @cindex Basso continuo
775 @cindex Thorough bass
777 @cindex Bass, thorough
778 @cindex Bass, figured
780 @c TODO: musicological blurb about FB
783 LilyPond has support for figured bass, also called thorough bass
786 @lilypond[quote,ragged-right,verbatim]
788 \new Voice { \clef bass dis4 c d ais g fis}
791 < 6 >4 < 7\+ >8 < 6+ [_!] >
799 The support for figured bass consists of two parts: there is an
800 input mode, introduced by @code{\figuremode}, that accepts
801 entry of bass figures, and there is a context named
802 @code{FiguredBass} that takes care of displaying
803 @code{BassFigure} objects. Figured bass can also be displayed
804 in @code{Staff} contexts.
806 @code{\figures@{ @dots{} @}} is a shortcut notation for
807 @code{\new FiguredBass @{ \figuremode @{ @dots{} @} @}}.
810 Although the support for figured bass may superficially resemble chord
811 support, it is much simpler. @code{\figuremode} mode simply
812 stores the figures and the @code{FiguredBass} context prints them
813 as entered. There is no conversion to pitches.
816 Figures are created as markup texts. Any of the standard markup
817 properties can be used to modify the display of figures. For
818 example, the vertical spacing of the figures may be set with
819 @code{baseline-skip}.
824 @rglos{figured bass}.
830 @node Entering figured bass
831 @unnumberedsubsubsec Entering figured bass
833 @code{\figuremode} is used to switch the input mode to figure mode.
834 More information on different input modes can be
835 found at @ref{Input modes}.
837 In figure mode, a group of bass figures is delimited by
838 @code{<} and @code{>}. The duration is entered after the @code{>}.
840 @lilypond[verbatim,quote,ragged-right]
849 Accidentals (including naturals) can be added to figures:
851 @lilypond[verbatim,quote,ragged-right]
853 <7! 6+ 4-> <5++> <3-->
857 Augmented and diminished steps can be indicated:
859 @lilypond[verbatim,quote,ragged-right]
865 A backward slash through a figure (typically used for raised
866 sixth steps) can be created:
868 @lilypond[verbatim,quote,ragged-right]
874 Vertical spaces and brackets can be included in figures:
876 @lilypond[verbatim,quote,ragged-right]
882 Any text markup can be inserted as a figure:
884 @lilypond[verbatim,quote,ragged-right]
886 <\markup { \tiny \number 6 \super (1) } 5>
890 @c NOTE: We need to include notes any time we use extenders to
891 @c avoid extraneous staff creation due to Staff.use... in
892 @c \bassFigureExtendersOn
894 Continuation lines can be used to indicate repeated figures:
896 @lilypond[verbatim,quote,ragged-right]
904 \bassFigureExtendersOn
905 <6 4>4 <6 3> <7 3> <7 3>
906 \bassFigureExtendersOff
907 <6 4>4 <6 3> <7 3> <7 3>
913 In this case, the extender lines replace existing figures,
914 unless the continuation lines have been explicitly terminated.
916 @lilypond[verbatim,quote,ragged-right]
919 \bassFigureExtendersOn
920 <6 4>4 <6 4> <6\! 4\!> <6 4>
929 The table below summarizes the figure modifiers available.
931 @multitable @columnfractions .1 .5 .4
945 @lilypond[line-width=4\cm]
947 <7! 6+ 4-> <5++> <3-->
954 Augmented and diminished steps
956 @lilypond[line-width=4\cm]
967 @lilypond[line-width=4\cm]
976 End of continuation line
978 @lilypond[line-width=4\cm]
981 \bassFigureExtendersOn
982 <6 4> <6 4> <6\! 4\!> <6 4>
995 @cindex figured bass extender lines
996 @code{\bassFigureExtendersOn},
997 @code{\bassFigureExtendersOff}.
1002 @lilypondfile[verbatim,quote,texidoc,doctitle]
1003 {changing-the-positions-of-figured-bass-alterations.ly}
1009 Internals Reference:
1010 @rinternals{BassFigure},
1011 @rinternals{BassFigureAlignment},
1012 @rinternals{BassFigureLine},
1013 @rinternals{BassFigureBracket},
1014 @rinternals{BassFigureContinuation},
1015 @rinternals{FiguredBass}.
1018 @node Displaying figured bass
1019 @unnumberedsubsubsec Displaying figured bass
1021 Figured bass can be displayed using the @code{FiguredBass} context,
1022 or in most staff contexts.
1024 When displayed in a @code{FiguredBass} context, the vertical location
1025 of the figures is independent of the notes on the staff.
1027 @lilypond[verbatim,ragged-right,quote]
1042 In the example above, the @code{FiguredBass} context must be
1043 explicitly instantiated to avoid creating a second (empty) staff.
1046 Figured bass can also be added to @code{Staff} contexts
1047 directly. In this case, the vertical position of the
1048 figures is adjusted automatically.
1050 @lilypond[verbatim,ragged-right,quote]
1052 \new Staff = "myStaff"
1057 %% Put notes on same Staff as figures
1058 \context Staff = "myStaff"
1067 When added in a @code{Staff} context, figured bass can be displayed above
1070 @lilypond[verbatim,ragged-right,quote]
1072 \new Staff = "myStaff"
1075 \bassFigureStaffAlignmentDown
1078 %% Put notes on same Staff as figures
1079 \context Staff = "myStaff"
1088 @cindex figured bass alignment
1089 @code{\bassFigureStaffAlignmentDown},
1090 @code{\bassFigureStaffAlignmentUp},
1091 @code{\bassFigureStaffAlignmentNeutral}.
1098 Internals Reference:
1099 @rinternals{BassFigure},
1100 @rinternals{BassFigureAlignment},
1101 @rinternals{BassFigureLine},
1102 @rinternals{BassFigureBracket},
1103 @rinternals{BassFigureContinuation},
1104 @rinternals{FiguredBass}.
1107 To ensure that continuation lines work properly, it is
1108 safest to use the same rhythm in the figure line as in
1111 @lilypond[verbatim,ragged-right,quote]
1115 \repeat unfold 4 { f16. g32 } f8. es16 d8 es
1118 \bassFigureExtendersOn
1119 % The extenders are correct here, with the same rhythm as the bass
1120 \repeat unfold 4 { <6 4->16. <6 4->32 }
1121 <5>8. r16 <6>8 <6\! 5->
1127 \repeat unfold 4 { f16. g32 } f8. es16 d8 es
1130 \bassFigureExtendersOn
1131 % The extenders are incorrect here, even though the timing is the same
1133 <5>8. r16 <6>8 <6\! 5->