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 @ref{Articulations and ornamentations}. When
95 chord mode and note mode are mixed in sequential music, and chord mode
96 comes first, the note mode will create a new @code{Staff} context.
98 @lilypond[verbatim,quote,ragged-right,relative=1]
103 To avoid this behavior, explicitly create the @code{Staff} context:
105 @lilypond[verbatim,quote,ragged-right,relative=1]
113 @unnumberedsubsubsec Common chords
116 @cindex seventh chords
117 @cindex root of chord
118 @cindex modifiers, in chords.
119 @cindex chord quality
121 Major triads are entered by including the root and an
124 @lilypond[verbatim,quote,relative=1,ragged-right]
125 \chordmode { c2 f4 g }
128 Minor, augmented, and diminished triads are entered by placing
129 @code{:} and a quality modifier string after the duration:
131 @lilypond[verbatim,quote,ragged-right,relative=1]
132 \chordmode { c2:m f4:aug g:dim }
135 Seventh chords can be created:
137 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
138 \chordmode { c1:7 c:m7 c:maj7 c:dim7 c:aug7 }
146 The table belows shows the actions of the quality modifiers on
147 triads and seventh chords. The default seventh step added to
148 chords is a minor or flatted seventh, which makes the dominant
149 seventh the basic seventh chord. All alterations are relative to
150 the dominant seventh. A more complete table of modifier usage
151 is found at @ref{Common chord modifiers}.
154 @multitable @columnfractions .2 .4 .3
166 The default action; produces a major triad.
168 @lilypond[line-width=4\cm, noragged-right]
170 \override Staff.TimeSignature #'stencil = ##f
178 The minor chord. This modifier lowers the 3rd.
180 @lilypond[line-width=4\cm, noragged-right]
182 \override Staff.TimeSignature #'stencil = ##f
191 The diminished chord. This modifier lowers the 3rd, 5th and (if
192 present) the 7th step.
194 @lilypond[line-width=4\cm, noragged-right]
196 \override Staff.TimeSignature #'stencil = ##f
204 The augmented chord. This modifier raises the 5th step.
206 @lilypond[line-width=4\cm, noragged-right]
208 \override Staff.TimeSignature #'stencil = ##f
216 The major 7th chord. This modifier adds a raised 7th step. The
217 @code{7} following @code{maj} is optional. Do NOT use this modifier
218 to create a major triad.
220 @lilypond[line-width=4\cm, noragged-right]
222 \override Staff.TimeSignature #'stencil = ##f
232 @ref{Common chord modifiers},
233 @ref{Extended and altered chords}.
240 Only one quality modifier should be used per chord, typically on the
241 highest step present in the chord. Chords with more than quality
242 modifier will be parsed without an error or warning, but the results
243 are unpredictable. Chords that cannot be achieved with a single
244 quality modifier should be altered by individual pitches, as described
245 in @ref{Extended and altered chords}.
248 @node Extended and altered chords
249 @unnumberedsubsubsec Extended and altered chords
251 @cindex extended chords
252 @cindex altered chords
254 Chord structures of arbitrary complexity can be created in chord
255 mode. The modifier string can be used to extend a chord, add or
256 remove chord steps, raise or lower chord steps, and add a bass note
257 or create an inversion.
259 The first number following the @code{:} is taken to be the extent
260 of the chord. The chord is constructed by sequentially adding
261 thirds to the root until the specified number has been reached.
262 Note that the seventh step added as part of an extended chord will be the
263 minor or flatted seventh, not the major seventh.
264 If the extent is not a third (e.g., 6), thirds are added up to the
265 highest third below the extent, and then the step of the extent is
266 added. The largest possible value for the extent is 13. Any
267 larger value is interpreted as 13.
269 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
279 Note that both @code{c:5} and @code{c} produce a C major triad.
281 Since an unaltered 11 does not sound good when combined with an
282 unaltered 13, the 11 is removed from a @code{:13} chord (unless it
283 is added explicitly).
285 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
291 @cindex additions, in chords
293 Individual steps can be added to a chord. Additions follow the
294 extent and are prefixed by a dot (@code{.}). The basic seventh
295 step added to a chord is the minor or flatted seventh, rather than
298 @lilypond[quote,verbatim,fragment,relative=1]
300 c1:5.6 c:3.7.8 c:3.6.13
304 Added steps can be as high as desired.
306 @lilypond[quote,verbatim,fragment,relative=1]
308 c4:5.15 c:5.20 c:5.25 c:5.30
312 @cindex chord steps, altering
314 Added chord steps can be altered by suffixing a @code{-} or @code{+}
315 sign to the number. To alter a step that is automatically included
316 as part of the basic chord structure, add it as an altered step.
318 @lilypond[quote,verbatim,fragment,relative=1]
320 c1:7+ c:5+.3- c:3-.5-.7-
324 @cindex removals, in chords
328 Following any steps to be added, a series of steps to be removed
329 is introduced in a modifier string with a prefix of @code{^}.
330 If more than one step is to be removed, the steps to be
331 removed are separated by @code{.} following the
334 @lilypond[quote,verbatim,fragment,relative=1]
336 c1^3 c:7^5 c:9^3 c:9^3.5 c:13.11^3.7
342 The modifier @code{sus} can be added to the modifier string to
343 create suspended chords. This removes the 3rd step from the chord.
344 Append either @code{2} or @code{4} to add the 2nd or 4th step to the
345 chord. @code{sus} is equivalent to @code{^3}; @code{sus4} is
346 equivalent to @code{.4^3}.
348 @lilypond[quote,ragged-right,fragment,verbatim]
350 c1:sus c:sus2 c:sus4 c:5.4^3
355 @cindex chord inversions
356 @cindex bass note, for chords
358 Inversions (putting a pitch other than the root on the bottom of the
359 chord) and added bass notes can be specified by appending
360 @code{/}@var{pitch} to the chord.
362 @lilypond[quote,ragged-right,fragment,verbatim, relative=2]
370 A bass note that is part of the chord can be added, instead of
371 moved as part of an inversion, by using @code{/+}@var{pitch}.
373 @lilypond[quote,ragged-right,fragment,verbatim]
379 Chord modifiers that can be used to produce a variety of
380 standard chords are shown in
381 @ref{Common chord modifiers}.
386 @ref{Common chord modifiers}.
394 Each step can only be present in a chord once. The following
395 simply produces the augmented chord, since @code{5+} is
398 @lilypond[quote,ragged-right,verbatim,fragment]
399 \chordmode { c1:5.5-.5+ }
402 Only the second inversion can be created by adding a bass
403 note. The first inversion requires changing the root of
406 @lilypond[quote,ragged-right,verbatim,fragment]
408 c'1: c':/g e:6-3-^5 e:m6-^5
412 @node Displaying chords
413 @subsection Displaying chords
415 Chords can be displayed by name, in addition to the standard display
419 * Printing chord names::
420 * Customizing chord names::
423 @node Printing chord names
424 @unnumberedsubsubsec Printing chord names
426 @cindex printing chord names
430 Chord names are printed in the @code{ChordNames} context:
432 @lilypond[verbatim,quote,relative=1,ragged-right]
440 Chords can be entered as simultaneous notes or through the use of
441 chord mode. The displayed chord name will be the same, regardless
442 of the mode of entry, unless there are inversions or added bass notes:
444 @lilypond[verbatim,quote,relative=1]
463 @cindex no chord symbol
465 @cindex indicating No Chord in ChordNames
467 Rests passed to a @code{ChordNames} context will cause the
468 @code{noChordSymbol} markup to be displayed.
470 @lilypond[verbatim, quote, relative=1]
472 \new ChordNames \chordmode {
478 \new Score \chordmode {
489 @code{\chords @{ ... @}} is a shortcut notation for
490 @code{\new ChordNames @{ \chordmode @{ ... @} @}}.
492 @lilypond[verbatim,quote,ragged-right, relative=1]
498 @lilypond[verbatim,quote,ragged-right, relative=1]
508 @c Keep index entries with following snippet
509 @cindex chords, suppressing repeated
510 @funindex chordChanges
512 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
513 {showing-chords-at-changes.ly}
515 @c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
516 @c {adding-bar-lines-to-chordnames-context.ly}
518 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
519 {simple-lead-sheet.ly}
527 @ref{Writing music in parallel}.
533 @rinternals{ChordNames},
534 @rinternals{ChordName},
535 @rinternals{Chord_name_engraver},
536 @rinternals{Volta_engraver},
537 @rinternals{Bar_engraver}.
542 Chords containing inversions or altered bass notes are not named
543 properly if entered using simultaneous music.
546 @node Customizing chord names
547 @unnumberedsubsubsec Customizing chord names
549 @cindex customizing chord names
551 There is no unique system for naming chords. Different musical
552 traditions use different names for the same set of chords. There
553 are also different symbols displayed for a given chord name. The
554 names and symbols displayed for chord names are customizable.
559 The basic chord name layout is a system for Jazz music, proposed
560 by Klaus Ignatzek (see @ressay{Literature list}). The chord naming
561 system can be modified as described below. An alternate jazz
562 chord system has been developed using these modifications.
563 The Ignatzek and alternate
564 Jazz notation are shown on the chart in @ref{Chord
567 @c TODO -- Change this so we don't have a non-verbatim example.
568 @c Make short example in docs, then move longer example to
569 @c appendix, where the length of the snippet won't matter.
571 In addition to the different naming systems, different note names
572 are used for the root in different languages. The predefined
573 variables @code{\germanChords}, @code{\semiGermanChords},
574 @code{\italianChords} and @code{\frenchChords} set these variables.
575 The effect is demonstrated here:
577 @lilypondfile[ragged-right]{chord-names-languages.ly}
580 @funindex chordNameLowercaseMinor
582 German songbooks may indicate minor chords as lowercase letters,
583 without any @var{m} suffix. This can be obtained by setting the
584 @code{chordNameLowercaseMinor} property:
586 @lilypond[verbatim,quote,ragged-right, relative=1]
588 \set chordNameLowercaseMinor = ##t
593 If none of the existing settings give the desired output, the chord
594 name display can be tuned through the following properties.
598 @funindex chordRootNamer
602 The chord name is usually printed as a letter for the root with an
603 optional alteration. The transformation from pitch to letter is
604 done by this function. Special note names (for example, the German
605 @q{H} for a B-chord) can be produced by storing a new function in
608 @funindex majorSevenSymbol
610 @item majorSevenSymbol
612 This property contains the markup object used to follow the output
613 of @code{chordRootNamer} to identify a major 7 chord. Predefined
614 options are @code{whiteTriangleMarkup} and
615 @code{blackTriangleMarkup}.
617 @funindex chordNoteNamer
621 When the chord name contains additional pitches other than the root
622 (e.g., an added bass note), this function is used to print the
623 additional pitch. By default the pitch is printed using
624 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
625 to a specialized function to change this behavior. For example, the
626 bass note can be printed in lower case.
628 @funindex chordNameSeparator
630 @item chordNameSeparator
632 Different parts of a chord name are normally separated by a slash.
633 By setting @code{chordNameSeparator}, you can use any desired markup
636 @funindex chordNameExceptions
638 @item chordNameExceptions
640 This property is a list of pairs. The first item in each pair
641 is a set of pitches used to identify the steps present in the chord.
642 The second item is a markup that will follow the @code{chordRootNamer}
643 output to create the chord name.
645 @funindex chordPrefixSpacer
646 @item chordPrefixSpacer
648 The @q{m} for minor chords is usually printed immediately to the
649 right of the root of the chord. A spacer can be placed between
650 the root and @q{m} by setting @code{chordPrefixSpacer}.
651 The spacer is not used when the root is altered.
657 @funindex major seven symbols
658 @code{\whiteTriangleMarkup},
659 @code{\blackTriangleMarkup},
660 @funindex \germanChords
661 @code{\germanChords},
662 @funindex \semiGermanChords
663 @code{\semiGermanChords},
664 @funindex \italianChords
665 @code{\italianChords},
666 @funindex \frenchChords
667 @code{\frenchChords}.
673 @cindex exceptions, chord names.
674 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
675 {chord-name-exceptions.ly}
677 @c TODO - tweak snippet to use \blackTriangleMarkup as well
678 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
679 {chord-name-major7.ly}
681 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
682 {adding-bar-lines-to-chordnames-context.ly}
684 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
685 {volta-below-chords.ly}
687 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
688 {changing-chord-separator.ly}
693 @ref{Chord name chart},
694 @ref{Common chord modifiers}.
697 @file{scm/@/chords@/-ignatzek@/.scm},
698 @file{scm/@/chord@/-entry@/.scm},
699 @file{ly/@/chord@/-modifier@/-init@/.ly}.
704 @c Internals Reference:
710 Chord names are determined from both the pitches that are present
711 in the chord and the information on the chord structure that may
712 have been entered in @code{\chordmode}. If the simultaneous pitches
713 method of entering chords is used, undesired names result from
714 inversions or bass notes.
716 @lilypond[quote,ragged-right,verbatim]
717 myChords = \relative c' {
718 \chordmode { c1 c/g c/f }
719 <c e g>1 <g c e> <f c' e g>
722 \new ChordNames { \myChords }
723 \new Staff { \myChords }
729 @subsection Figured bass
731 @lilypondfile[quote]{figured-bass-headword.ly}
733 Figured bass notation can be displayed.
736 * Introduction to figured bass::
737 * Entering figured bass::
738 * Displaying figured bass::
741 @node Introduction to figured bass
742 @unnumberedsubsubsec Introduction to figured bass
744 @cindex Basso continuo
745 @cindex Thorough bass
747 @cindex Bass, thorough
748 @cindex Bass, figured
750 @c TODO: musicological blurb about FB
753 LilyPond has support for figured bass, also called thorough bass
756 @lilypond[quote,ragged-right,verbatim,fragment]
758 \new Voice { \clef bass dis4 c d ais g fis}
761 < 6 >4 < 7\+ >8 < 6+ [_!] >
769 The support for figured bass consists of two parts: there is an
770 input mode, introduced by @code{\figuremode}, that accepts
771 entry of bass figures, and there is a context named
772 @code{FiguredBass} that takes care of displaying
773 @code{BassFigure} objects. Figured bass can also be displayed
774 in @code{Staff} contexts.
776 @code{\figures@{ ... @}} is a shortcut notation for
777 @code{\new FiguredBass @{ \figuremode @{ ... @} @}}.
780 Although the support for figured bass may superficially resemble chord
781 support, it is much simpler. @code{\figuremode} mode simply
782 stores the figures and the @code{FiguredBass} context prints them
783 as entered. There is no conversion to pitches.
786 Figures are created as markup texts. Any of the standard markup
787 properties can be used to modify the display of figures. For
788 example, the vertical spacing of the figures may be set with
789 @code{baseline-skip}.
795 @rglos{figured bass}.
801 @node Entering figured bass
802 @unnumberedsubsubsec Entering figured bass
804 @code{\figuremode} is used to switch the input mode to figure mode.
805 More information on different input modes can be
806 found at @ref{Input modes}.
808 In figure mode, a group of bass figures is delimited by
809 @code{<} and @code{>}. The duration is entered after the @code{>}.
811 @lilypond[verbatim,quote,ragged-right,fragment]
820 Accidentals (including naturals) can be added to figures:
822 @lilypond[verbatim,quote,ragged-right,fragment]
824 <7! 6+ 4-> <5++> <3-->
828 Augmented and diminished steps can be indicated:
830 @lilypond[verbatim,quote,ragged-right,fragment]
836 A backward slash through a figure (typically used for raised
837 sixth steps) can be created:
839 @lilypond[verbatim,quote,ragged-right,fragment]
845 Vertical spaces and brackets can be included in figures:
847 @lilypond[verbatim,quote,ragged-right,fragment]
853 Any text markup can be inserted as a figure:
855 @lilypond[verbatim,quote,ragged-right,fragment]
857 <\markup { \tiny \number 6 \super (1) } 5>
861 @c NOTE: We need to include notes any time we use extenders to
862 @c avoid extraneous staff creation due to Staff.use... in
863 @c \bassFigureExtendersOn
865 Continuation lines can be used to indicate repeated figures:
867 @lilypond[verbatim,quote,ragged-right,fragment]
875 \bassFigureExtendersOn
876 <6 4>4 <6 3> <7 3> <7 3>
877 \bassFigureExtendersOff
878 <6 4>4 <6 3> <7 3> <7 3>
884 In this case, the extender lines replace existing figures,
885 unless the continuation lines have been explicitly terminated.
887 @lilypond[verbatim,quote,ragged-right,fragment]
890 \bassFigureExtendersOn
891 <6 4>4 <6 4> <6\! 4\!> <6 4>
900 The table below summarizes the figure modifiers available.
902 @multitable @columnfractions .1 .5 .4
916 @lilypond[line-width=4\cm]
918 <7! 6+ 4-> <5++> <3-->
925 Augmented and diminished steps
927 @lilypond[line-width=4\cm]
938 @lilypond[line-width=4\cm]
947 End of continuation line
949 @lilypond[line-width=4\cm]
952 \bassFigureExtendersOn
953 <6 4> <6 4> <6\! 4\!> <6 4>
966 @cindex figured bass extender lines
967 @code{\bassFigureExtendersOn},
968 @code{\bassFigureExtendersOff}.
973 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
974 {changing-the-positions-of-figured-bass-alterations.ly}
984 @c Notation Reference:
987 @c Application Usage:
997 @rinternals{BassFigure},
998 @rinternals{BassFigureAlignment},
999 @rinternals{BassFigureLine},
1000 @rinternals{BassFigureBracket},
1001 @rinternals{BassFigureContinuation},
1002 @rinternals{FiguredBass}.
1008 @node Displaying figured bass
1009 @unnumberedsubsubsec Displaying figured bass
1011 Figured bass can be displayed using the @code{FiguredBass} context,
1012 or in most staff contexts.
1014 When displayed in a @code{FiguredBass} context, the vertical location
1015 of the figures is independent of the notes on the staff.
1017 @lilypond[verbatim,ragged-right,fragment,quote]
1032 In the example above, the @code{FiguredBass} context must be
1033 explicitly instantiated to avoid creating a second (empty) staff.
1036 Figured bass can also be added to @code{Staff} contexts
1037 directly. In this case, the vertical position of the
1038 figures is adjusted automatically.
1040 @lilypond[verbatim,ragged-right,fragment,quote]
1042 \new Staff = myStaff
1047 %% Put notes on same Staff as figures
1048 \context Staff = myStaff
1057 When added in a @code{Staff} context, figured bass can be displayed above
1060 @lilypond[verbatim,ragged-right,fragment,quote]
1062 \new Staff = myStaff
1065 \bassFigureStaffAlignmentDown
1068 %% Put notes on same Staff as figures
1069 \context Staff = myStaff
1079 @cindex figured bass alignment
1080 @code{\bassFigureStaffAlignmentDown},
1081 @code{\bassFigureStaffAlignmentUp},
1082 @code{\bassFigureStaffAlignmentNeutral}.
1096 @c Notation Reference:
1099 @c Application Usage:
1108 Internals Reference:
1109 @rinternals{BassFigure},
1110 @rinternals{BassFigureAlignment},
1111 @rinternals{BassFigureLine},
1112 @rinternals{BassFigureBracket},
1113 @rinternals{BassFigureContinuation},
1114 @rinternals{FiguredBass}.
1119 To ensure that continuation lines work properly, it is
1120 safest to use the same rhythm in the figure line as in
1123 @lilypond[verbatim,ragged-right,fragment,quote]
1127 \repeat unfold 4 { f16. g32 } f8. es16 d8 es
1130 \bassFigureExtendersOn
1131 % The extenders are correct here, with the same rhythm as the bass
1132 \repeat unfold 4 { <6 4->16. <6 4->32 }
1133 <5>8. r16 <6>8 <6\! 5->
1139 \repeat unfold 4 { f16. g32 } f8. es16 d8 es
1142 \bassFigureExtendersOn
1143 % The extenders are incorrect here, even though the timing is the same
1145 <5>8. r16 <6>8 <6\! 5->
1150 When using extender lines, adjacent figures with the same number in
1151 a different figure location can cause the figure positions to invert.
1153 @lilypond[verbatim,ragged-right,fragment,quote,relative=1]
1157 \bassFigureExtendersOn
1158 <6 5>4 <5\! 4> < 5 _!> <6>
1163 To avoid this problem, simply turn on extenders after the figure that
1164 begins the extender line and turn them off at the end of the extender line.
1166 @lilypond[verbatim,ragged-right,fragment,quote,relative=1]
1171 \bassFigureExtendersOn
1173 \bassFigureExtendersOff