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
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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.
65 Chord mode and note mode can be mixed in sequential music:
67 @lilypond[verbatim,quote,ragged-right,relative=1]
89 When chord mode and note mode are mixed in sequential music, and
90 chord mode comes first, the note mode will create a new @code{Staff}
93 @lilypond[verbatim,quote,ragged-right,relative=1]
98 To avoid this behavior, explicitly create the @code{Staff} context:
100 @lilypond[verbatim,quote,ragged-right,relative=1]
108 @unnumberedsubsubsec Common chords
111 @cindex seventh chords
112 @cindex root of chord
113 @cindex modifiers, in chords.
114 @cindex chord quality
116 Major triads are entered by including the root and an
119 @lilypond[verbatim,quote,relative=1,ragged-right]
120 \chordmode { c2 f4 g }
123 Minor, augmented, and diminished triads are entered by placing
124 @code{:} and a quality modifier string after the duration:
126 @lilypond[verbatim,quote,ragged-right,relative=1]
127 \chordmode { c2:m f4:aug g:dim }
130 Seventh chords can be created:
132 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
133 \chordmode { c1:7 c:m7 c:maj7 c:dim7 c:aug7 }
141 The table belows shows the actions of the quality modifiers on
142 triads and seventh chords. The default seventh step added to
143 chords is a minor or flatted seventh, which makes the dominant
144 seventh the basic seventh chord. All alterations are relative to
145 the dominant seventh. A more complete table of modifier usage
146 is found at @ref{Common chord modifiers}.
149 @multitable @columnfractions .2 .4 .3
161 The default action; produces a major triad.
163 @lilypond[line-width=4\cm, noragged-right]
165 \override Staff.TimeSignature #'stencil = ##f
173 The minor chord. This modifier lowers the 3rd.
175 @lilypond[line-width=4\cm, noragged-right]
177 \override Staff.TimeSignature #'stencil = ##f
186 The diminished chord. This modifier lowers the 3rd, 5th and (if
187 present) the 7th step.
189 @lilypond[line-width=4\cm, noragged-right]
191 \override Staff.TimeSignature #'stencil = ##f
199 The augmented chord. This modifier raises the 5th step.
201 @lilypond[line-width=4\cm, noragged-right]
203 \override Staff.TimeSignature #'stencil = ##f
211 The major 7th chord. This modifier adds a raised 7th step. The
212 @code{7} following @code{maj} is optional. Do NOT use this modifier
213 to create a major triad.
215 @lilypond[line-width=4\cm, noragged-right]
217 \override Staff.TimeSignature #'stencil = ##f
227 @ref{Common chord modifiers},
228 @ref{Extended and altered chords}.
234 Only one quality modifier should be used per chord, typically on the
235 highest step present in the chord. Chords with more than quality
236 modifier will be parsed without an error or warning, but the results
237 are unpredictable. Chords that cannot be achieved with a single
238 quality modifier should be altered by individual pitches, as described
239 in @ref{Extended and altered chords}.
242 @node Extended and altered chords
243 @unnumberedsubsubsec Extended and altered chords
245 @cindex extended chords
246 @cindex altered chords
248 Chord structures of arbitrary complexity can be created in chord
249 mode. The modifier string can be used to extend a chord, add or
250 remove chord steps, raise or lower chord steps, and add a bass note
251 or create an inversion.
253 The first number following the @code{:} is taken to be the extent
254 of the chord. The chord is constructed by sequentially adding
255 thirds to the root until the specified number has been reached.
256 Note that the seventh step added as part of an extended chord will be the
257 minor or flatted seventh, not the major seventh.
258 If the extent is not a third (e.g., 6), thirds are added up to the
259 highest third below the extent, and then the step of the extent is
260 added. The largest possible value for the extent is 13. Any
261 larger value is interpreted as 13.
263 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
273 Note that both @code{c:5} and @code{c} produce a C major triad.
275 Since an unaltered 11 does not sound good when combined with an
276 unaltered 13, the 11 is removed from a @code{:13} chord (unless it
277 is added explicitly).
279 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
285 @cindex additions, in chords
287 Individual steps can be added to a chord. Additions follow the
288 extent and are prefixed by a dot (@code{.}). The basic seventh
289 step added to a chord is the minor or flatted seventh, rather than
292 @lilypond[quote,verbatim,fragment,relative=1]
294 c1:5.6 c:3.7.8 c:3.6.13
298 Added steps can be as high as desired.
300 @lilypond[quote,verbatim,fragment,relative=1]
302 c4:5.15 c:5.20 c:5.25 c:5.30
306 @cindex chord steps, altering
308 Added chord steps can be altered by suffixing a @code{-} or @code{+}
309 sign to the number. To alter a step that is automatically included
310 as part of the basic chord structure, add it as an altered step.
312 @lilypond[quote,verbatim,fragment,relative=1]
314 c1:7+ c:5+.3- c:3-.5-.7-
318 @cindex removals, in chords
322 Following any steps to be added, a series of steps to be removed
323 is introduced in a modifier string with a prefix of @code{^}.
324 If more than one step is to be removed, the steps to be
325 removed are separated by @code{.} following the
328 @lilypond[quote,verbatim,fragment,relative=1]
330 c1^3 c:7^5 c:9^3 c:9^3.5 c:13.11^3.7
336 The modifier @code{sus} can be added to the modifier string to
337 create suspended chords. This removes the 3rd step from the chord.
338 Append either @code{2} or @code{4} to add the 2nd or 4th step to the
339 chord. @code{sus} is equivalent to @code{^3}; @code{sus4} is
340 equivalent to @code{.4^3}.
342 @lilypond[quote,ragged-right,fragment,verbatim]
344 c1:sus c:sus2 c:sus4 c:5.4^3
349 @cindex chord inversions
350 @cindex bass note, for chords
352 Inversions (putting a pitch other than the root on the bottom of the
353 chord) and added bass notes can be specified by appending
354 @code{/}@var{pitch} to the chord.
356 @lilypond[quote,ragged-right,fragment,verbatim, relative=2]
364 A bass note that is part of the chord can be added, instead of
365 moved as part of an inversion, by using @code{/+}@var{pitch}.
367 @lilypond[quote,ragged-right,fragment,verbatim]
373 Chord modifiers that can be used to produce a variety of
374 standard chords are shown in
375 @ref{Common chord modifiers}.
380 @ref{Common chord modifiers}.
388 Each step can only be present in a chord once. The following
389 simply produces the augmented chord, since @code{5+} is
392 @lilypond[quote,ragged-right,verbatim,fragment]
393 \chordmode { c1:5.5-.5+ }
396 Only the second inversion can be created by adding a bass
397 note. The first inversion requires changing the root of
400 @lilypond[quote,ragged-right,verbatim,fragment]
402 c'1: c':/g e:6-3-^5 e:m6-^5
406 @node Displaying chords
407 @subsection Displaying chords
409 Chords can be displayed by name, in addition to the standard display
413 * Printing chord names::
414 * Customizing chord names::
417 @node Printing chord names
418 @unnumberedsubsubsec Printing chord names
420 @cindex printing chord names
424 Chord names are printed in the @code{ChordNames} context:
426 @lilypond[verbatim,quote,relative=1,ragged-right]
434 Chords can be entered as simultaneous notes or through the use of
435 chord mode. The displayed chord name will be the same, regardless
436 of the mode of entry, unless there are inversions or added bass notes:
438 @lilypond[verbatim,quote,relative=1]
459 @code{\chords @{ ... @}} is a shortcut notation for
460 @code{\new ChordNames @{ \chordmode @{ ... @} @}}.
462 @lilypond[verbatim,quote,ragged-right, relative=1]
468 @lilypond[verbatim,quote,ragged-right, relative=1]
478 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
479 {showing-chords-at-changes.ly}
481 @c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
482 @c {adding-bar-lines-to-chordnames-context.ly}
484 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
485 {simple-lead-sheet.ly}
493 @ref{Writing music in parallel}.
499 @rinternals{ChordNames},
500 @rinternals{ChordName},
501 @rinternals{Chord_name_engraver},
502 @rinternals{Volta_engraver},
503 @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 @ref{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
533 @c TODO -- Change this so we don't have a non-verbatim example.
534 @c Make short example in docs, then move longer example to
535 @c appendix, where the length of the snippet won't matter.
537 In addition to the different naming systems, different note names
538 are used for the root in different languages. The predefined
539 variables @code{\germanChords}, @code{\semiGermanChords},
540 @code{\italianChords} and @code{\frenchChords} set these variables.
541 The effect is demonstrated here:
543 @lilypondfile[ragged-right]{chord-names-languages.ly}
545 If none of the existing settings give the desired output, the chord
546 name display can be tuned through the following properties.
550 @funindex chordRootNamer
554 The chord name is usually printed as a letter for the root with an
555 optional alteration. The transformation from pitch to letter is
556 done by this function. Special note names (for example, the German
557 @q{H} for a B-chord) can be produced by storing a new function in
560 @funindex majorSevenSymbol
562 @item majorSevenSymbol
564 This property contains the markup object used to follow the output
565 of @code{chordRootNamer} to identify a major 7 chord. Predefined
566 options are @code{whiteTriangleMarkup} and
567 @code{blackTriangleMarkup}.
569 @funindex chordNoteNamer
573 When the chord name contains additional pitches other than the root
574 (e.g., an added bass note), this function is used to print the
575 additional pitch. By default the pitch is printed using
576 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
577 to a specialized function to change this behavior. For example, the
578 bass note can be printed in lower case.
580 @funindex chordNameSeparator
582 @item chordNameSeparator
584 Different parts of a chord name are normally separated by a slash.
585 By setting @code{chordNameSeparator}, you can use any desired markup
588 @funindex chordNameExceptions
590 @item chordNameExceptions
592 This property is a list of pairs. The first item in each pair
593 is a set of pitches used to identify the steps present in the chord.
594 The second item is a markup that will follow the @code{chordRootNamer}
595 output to create the chord name.
597 @funindex chordPrefixSpacer
598 @item chordPrefixSpacer
600 The @q{m} for minor chords is usually printed immediately to the
601 right of the root of the chord. A spacer can be placed between
602 the root and @q{m} by setting @code{chordPrefixSpacer}.
603 The spacer is not used when the root is altered.
609 @funindex major seven symbols
610 @code{\whiteTriangleMarkup},
611 @code{\blackTriangleMarkup},
612 @funindex \germanChords
613 @code{\germanChords},
614 @funindex \semiGermanChords
615 @code{\semiGermanChords},
616 @funindex \italianChords
617 @code{\italianChords},
618 @funindex \frenchChords
619 @code{\frenchChords}.
625 @cindex exceptions, chord names.
626 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
627 {chord-name-exceptions.ly}
629 @c TODO - tweak snippet to use \blackTriangleMarkup as well
630 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
631 {chord-name-major7.ly}
633 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
634 {adding-bar-lines-to-chordnames-context.ly}
636 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
637 {volta-below-chords.ly}
639 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
640 {changing-chord-separator.ly}
645 @ref{Chord name chart},
646 @ref{Common chord modifiers}.
649 @file{scm/@/chords@/-ignatzek@/.scm},
650 @file{scm/@/chord@/-entry@/.scm},
651 @file{ly/@/chord@/-modifier@/-init@/.ly}.
656 @c Internals Reference:
662 Chord names are determined from both the pitches that are present
663 in the chord and the information on the chord structure that may
664 have been entered in @code{\chordmode}. If the simultaneous pitches
665 method of entering chords is used, undesired names result from
666 inversions or bass notes.
668 @lilypond[quote,ragged-right,verbatim]
669 myChords = \relative c' {
670 \chordmode { c1 c/g c/f }
671 <c e g>1 <g c e> <f c' e g>
674 \new ChordNames { \myChords }
675 \new Staff { \myChords }
681 @subsection Figured bass
683 @lilypondfile[quote]{figured-bass-headword.ly}
685 Figured bass notation can be displayed.
688 * Introduction to figured bass::
689 * Entering figured bass::
690 * Displaying figured bass::
693 @node Introduction to figured bass
694 @unnumberedsubsubsec Introduction to figured bass
696 @cindex Basso continuo
697 @cindex Thorough bass
699 @cindex Bass, thorough
700 @cindex Bass, figured
702 @c TODO: musicological blurb about FB
705 LilyPond has support for figured bass, also called thorough bass
708 @lilypond[quote,ragged-right,verbatim,fragment]
710 \new Voice { \clef bass dis4 c d ais g fis}
713 < 6 >4 < 7\+ >8 < 6+ [_!] >
721 The support for figured bass consists of two parts: there is an
722 input mode, introduced by @code{\figuremode}, that accepts
723 entry of bass figures, and there is a context named
724 @code{FiguredBass} that takes care of displaying
725 @code{BassFigure} objects. Figured bass can also be displayed
726 in @code{Staff} contexts.
728 @code{\figures@{ ... @}} is a shortcut notation for
729 @code{\new FiguredBass @{ \figuremode @{ ... @} @}}.
732 Although the support for figured bass may superficially resemble chord
733 support, it is much simpler. @code{\figuremode} mode simply
734 stores the figures and the @code{FiguredBass} context prints them
735 as entered. There is no conversion to pitches.
738 Figures are created as markup texts. Any of the standard markup
739 properties can be used to modify the display of figures. For
740 example, the vertical spacing of the figures may be set with
741 @code{baseline-skip}.
747 @rglos{figured bass}.
753 @node Entering figured bass
754 @unnumberedsubsubsec Entering figured bass
756 @code{\figuremode} is used to switch the input mode to figure mode.
757 More information on different input modes can be
758 found at @ref{Input modes}.
760 In figure mode, a group of bass figures is delimited by
761 @code{<} and @code{>}. The duration is entered after the @code{>}.
763 @lilypond[verbatim,quote,ragged-right,fragment]
772 Accidentals (including naturals) can be added to figures:
774 @lilypond[verbatim,quote,ragged-right,fragment]
776 <7! 6+ 4-> <5++> <3-->
780 Augmented and diminished steps can be indicated:
782 @lilypond[verbatim,quote,ragged-right,fragment]
788 A backward slash through a figure (typically used for raised
789 sixth steps) can be created:
791 @lilypond[verbatim,quote,ragged-right,fragment]
797 Vertical spaces and brackets can be be included in figures:
799 @lilypond[verbatim,quote,ragged-right,fragment]
805 Any text markup can be inserted as a figure:
807 @lilypond[verbatim,quote,ragged-right,fragment]
809 <\markup { \tiny \number 6 \super (1) } 5>
813 @c NOTE: We need to include notes any time we use extenders to
814 @c avoid extraneous staff creation due to Staff.use... in
815 @c \bassFigureExtendersOn
817 Continuation lines can be used to indicate repeated figures:
819 @lilypond[verbatim,quote,ragged-right,fragment]
827 \bassFigureExtendersOn
828 <6 4>4 <6 3> <7 3> <7 3>
829 \bassFigureExtendersOff
830 <6 4>4 <6 3> <7 3> <7 3>
836 In this case, the extender lines replace existing figures,
837 unless the continuation lines have been explicitly terminated.
839 @lilypond[verbatim,quote,ragged-right,fragment]
842 \bassFigureExtendersOn
843 <6 4>4 <6 4> <6\! 4\!> <6 4>
852 The table below summarizes the figure modifiers available.
854 @multitable @columnfractions .1 .5 .4
868 @lilypond[line-width=4\cm]
870 <7! 6+ 4-> <5++> <3-->
877 Augmented and diminished steps
879 @lilypond[line-width=4\cm]
890 @lilypond[line-width=4\cm]
899 End of continuation line
901 @lilypond[line-width=4\cm]
904 \bassFigureExtendersOn
905 <6 4> <6 4> <6\! 4\!> <6 4>
918 @cindex figured bass extender lines
919 @code{\bassFigureExtendersOn},
920 @code{\bassFigureExtendersOff}.
925 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
926 {changing-the-positions-of-figured-bass-alterations.ly}
936 @c Notation Reference:
939 @c Application Usage:
949 @rinternals{BassFigure},
950 @rinternals{BassFigureAlignment},
951 @rinternals{BassFigureLine},
952 @rinternals{BassFigureBracket},
953 @rinternals{BassFigureContinuation},
954 @rinternals{FiguredBass}.
960 @node Displaying figured bass
961 @unnumberedsubsubsec Displaying figured bass
963 Figured bass can be displayed using the @code{FiguredBass} context,
964 or in most staff contexts.
966 When displayed in a @code{FiguredBass} context, the vertical location
967 of the figures is independent of the notes on the staff.
969 @lilypond[verbatim,ragged-right,fragment,quote]
984 In the example above, the @code{FiguredBass} context must be
985 explicitly instantiated to avoid creating a second (empty) staff.
988 Figured bass can also be added to @code{Staff} contexts
989 directly. In this case, the vertical position of the
990 figures is adjusted automatically.
992 @lilypond[verbatim,ragged-right,fragment,quote]
999 %% Put notes on same Staff as figures
1000 \context Staff = myStaff
1009 When added in a @code{Staff} context, figured bass can be displayed above
1012 @lilypond[verbatim,ragged-right,fragment,quote]
1014 \new Staff = myStaff
1017 \bassFigureStaffAlignmentDown
1020 %% Put notes on same Staff as figures
1021 \context Staff = myStaff
1031 @cindex figured bass alignment
1032 @code{\bassFigureStaffAlignmentDown},
1033 @code{\bassFigureStaffAlignmentUp},
1034 @code{\bassFigureStaffAlignmentNeutral}.
1048 @c Notation Reference:
1051 @c Application Usage:
1060 Internals Reference:
1061 @rinternals{BassFigure},
1062 @rinternals{BassFigureAlignment},
1063 @rinternals{BassFigureLine},
1064 @rinternals{BassFigureBracket},
1065 @rinternals{BassFigureContinuation},
1066 @rinternals{FiguredBass}.
1071 To ensure that continuation lines work properly, it is
1072 safest to use the same rhythm in the figure line as in
1075 @lilypond[verbatim,ragged-right,fragment,quote]
1079 \repeat unfold 4 { f16. g32 } f8. es16 d8 es
1082 \bassFigureExtendersOn
1083 % The extenders are correct here, with the same rhythm as the bass
1084 \repeat unfold 4 { <6 4->16. <6 4->32 }
1085 <5>8. r16 <6>8 <6\! 5->
1091 \repeat unfold 4 { f16. g32 } f8. es16 d8 es
1094 \bassFigureExtendersOn
1095 % The extenders are incorrect here, even though the timing is the same
1097 <5>8. r16 <6>8 <6\! 5->
1102 When using extender lines, adjacent figures with the same number in
1103 a different figure location can cause the figure positions to invert.
1105 @lilypond[verbatim,ragged-right,fragment,quote,relative=1]
1109 \bassFigureExtendersOn
1110 <6 5>4 <5\! 4> < 5 _!> <6>
1115 To avoid this problem, simply turn on extenders after the figure that
1116 begins the extender line and turn them off at the end of the extender line.
1118 @lilypond[verbatim,ragged-right,fragment,quote,relative=1]
1123 \bassFigureExtendersOn
1125 \bassFigureExtendersOff