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.
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. A more complete table of modifier usage
143 is found at @ref{Common chord modifiers}.
146 @multitable @columnfractions .2 .4 .3
158 The default action; produces a major triad.
160 @lilypond[line-width=4\cm, noragged-right]
162 \override Staff.TimeSignature #'stencil = ##f
170 The minor chord. This modifier lowers the 3rd and (if present) the
173 @lilypond[line-width=4\cm, noragged-right]
175 \override Staff.TimeSignature #'stencil = ##f
184 The diminished chord. This modifier lowers the 3rd, 5th and (if
185 present) the 7th step.
187 @lilypond[line-width=4\cm, noragged-right]
189 \override Staff.TimeSignature #'stencil = ##f
197 The augmented chord. This modifier raises the 5th step.
199 @lilypond[line-width=4\cm, noragged-right]
201 \override Staff.TimeSignature #'stencil = ##f
209 The major 7th chord. This modifier adds a raised 7th step. The
210 @code{7} following @code{maj} is optional. Do NOT use this modifier
211 to create a major triad.
213 @lilypond[line-width=4\cm, noragged-right]
215 \override Staff.TimeSignature #'stencil = ##f
225 @ref{Common chord modifiers},
226 @ref{Extended and altered chords}.
232 Only one quality modifier should be used per chord, typically on the
233 highest step present in the chord. Chords with more than quality
234 modifier will be parsed without an error or warning, but the results
235 are unpredictable. Chords that cannot be achieved with a single
236 quality modifier should be altered by individual pitches, as described
237 in @ref{Extended and altered chords}.
240 @node Extended and altered chords
241 @unnumberedsubsubsec Extended and altered chords
243 @cindex extended chords
244 @cindex altered chords
246 Chord structures of arbitrary complexity can be created in chord
247 mode. The modifier string can be used to extend a chord, add or
248 remove chord steps, raise or lower chord steps, and add a bass note
249 or create an inversion.
251 The first number following the @code{:} is taken to be the extent
252 of the chord. The chord is constructed by sequentially adding
253 thirds to the root until the specified number has been reached.
254 If the extent is not a third (e.g., 6), thirds are added up to the
255 highest third below the extent, and then the step of the extent is
256 added. The largest possible value for the extent is 13. Any
257 larger value is interpreted as 13.
259 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
269 Note that both @code{c:5} and @code{c} produce a C major triad.
271 Since an unaltered 11 does not sound good when combined with an
272 unaltered 13, the 11 is removed from a @code{:13} chord (unless it
273 is added explicitly).
275 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
281 @cindex additions, in chords
283 Individual steps can be added to a chord. Additions follow the
284 extent and are prefixed by a dot (@code{.}).
286 @lilypond[quote,verbatim,fragment,relative=1]
288 c1:5.6 c:3.7.8 c:3.6.13
292 Added steps can be as high as desired.
294 @lilypond[quote,verbatim,fragment,relative=1]
296 c4:5.15 c:5.20 c:5.25 c:5.30
300 @cindex chord steps, altering
302 Added chord steps can be altered by suffixing a @code{-} or @code{+}
303 sign to the number. To alter a step that is automatically included
304 as part of the basic chord structure, add it as an altered step.
306 @lilypond[quote,verbatim,fragment,relative=1]
308 c1:7+ c:5+.3- c:3-.5-.7-
312 @cindex removals, in chords
316 Following any steps to be added, a series of steps to be removed
317 is introduced in a modifier string with a prefix of @code{^}.
318 If more than one step is to be removed, the steps to be
319 removed are separated by @code{.} following the
322 @lilypond[quote,verbatim,fragment,relative=1]
324 c1^3 c:7^5 c:9^3 c:9^3.5 c:13.11^3.7
330 The modifier @code{sus} can be added to the modifier string to
331 create suspended chords. This removes the 3rd step from the chord.
332 Append either @code{2} or @code{4} to add the 2nd or 4th step to the
333 chord. @code{sus} is equivalent to @code{^3}; @code{sus4} is
334 equivalent to @code{.4^3}.
336 @lilypond[quote,ragged-right,fragment,verbatim]
338 c1:sus c:sus2 c:sus4 c:5.4^3
343 @cindex chord inversions
344 @cindex bass note, for chords
346 Inversions (putting a pitch other than the root on the bottom of the
347 chord) and added bass notes can be specified by appending
348 @code{/}@var{pitch} to the chord.
350 @lilypond[quote,ragged-right,fragment,verbatim, relative=2]
358 A bass note that is part of the chord can be added, instead of
359 moved as part of an inversion, by using @code{/+}@var{pitch}.
361 @lilypond[quote,ragged-right,fragment,verbatim]
367 Chord modifiers that can be used to produce a variety of
368 standard chords are shown in
369 @ref{Common chord modifiers}.
374 @ref{Common chord modifiers}.
382 Each step can only be present in a chord once. The following
383 simply produces the augmented chord, since @code{5+} is
386 @lilypond[quote,ragged-right,verbatim,fragment]
387 \chordmode { c1:5.5-.5+ }
390 Only the second inversion can be created by adding a bass
391 note. The first inversion requires changing the root of
394 @lilypond[quote,ragged-right,verbatim,fragment]
396 c'1: c':/g e:6-3-^5 e:m6-^5
400 @node Displaying chords
401 @subsection Displaying chords
403 Chords can be displayed by name, in addition to the standard display
407 * Printing chord names::
408 * Customizing chord names::
411 @node Printing chord names
412 @unnumberedsubsubsec Printing chord names
414 @cindex printing chord names
418 Chord names are printed in the @code{ChordNames} context:
420 @lilypond[verbatim,quote,relative=1,ragged-right]
428 Chords can be entered as simultaneous notes or through the use of
429 chord mode. The displayed chord name will be the same, regardless
430 of the mode of entry, unless there are inversions or added bass notes:
432 @lilypond[verbatim,quote,relative=1]
453 @code{\chords @{ ... @}} is a shortcut notation for
454 @code{\new ChordNames @{ \chordmode @{ ... @} @}}.
456 @lilypond[verbatim,quote,ragged-right, relative=1]
462 @lilypond[verbatim,quote,ragged-right, relative=1]
472 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
473 {showing-chords-at-changes.ly}
475 @c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
476 @c {adding-bar-lines-to-chordnames-context.ly}
478 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
479 {simple-lead-sheet.ly}
487 @ref{Writing music in parallel}.
493 @rinternals{ChordNames},
494 @rinternals{ChordName},
495 @rinternals{Chord_name_engraver},
496 @rinternals{Volta_engraver},
497 @rinternals{Bar_engraver}.
502 Chords containing inversions or altered bass notes are not named
503 properly if entered using simultaneous music.
506 @node Customizing chord names
507 @unnumberedsubsubsec Customizing chord names
509 @cindex customizing chord names
511 There is no unique system for naming chords. Different musical
512 traditions use different names for the same set of chords. There
513 are also different symbols displayed for a given chord name. The
514 names and symbols displayed for chord names are customizable.
519 The basic chord name layout is a system for Jazz music, proposed
520 by Klaus Ignatzek (see @ref{Literature list}). The chord naming
521 system can be modified as described below. An alternate jazz
522 chord system has been developed using these modifications.
523 The Ignatzek and alternate
524 Jazz notation are shown on the chart in @ref{Chord
527 @c TODO -- Change this so we don't have a non-verbatim example.
528 @c Make short example in docs, then move longer example to
529 @c appendix, where the length of the snippet won't matter.
531 In addition to the different naming systems, different note names
532 are used for the root in different languages. The predefined
533 variables @code{\germanChords}, @code{\semiGermanChords},
534 @code{\italianChords} and @code{\frenchChords} set these variables.
535 The effect is demonstrated here:
537 @lilypondfile[ragged-right]{chord-names-languages.ly}
539 If none of the existing settings give the desired output, the chord
540 name display can be tuned through the following properties.
544 @funindex chordRootNamer
548 The chord name is usually printed as a letter for the root with an
549 optional alteration. The transformation from pitch to letter is
550 done by this function. Special note names (for example, the German
551 @q{H} for a B-chord) can be produced by storing a new function in
554 @funindex majorSevenSymbol
556 @item majorSevenSymbol
558 This property contains the markup object used to follow the output
559 of @code{chordRootNamer} to identify a major 7 chord. Predefined
560 options are @code{whiteTriangleMarkup} and
561 @code{blackTriangleMarkup}.
563 @funindex chordNoteNamer
567 When the chord name contains additional pitches other than the root
568 (e.g., an added bass note), this function is used to print the
569 additional pitch. By default the pitch is printed using
570 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
571 to a specialized function to change this behavior. For example, the
572 bass note can be printed in lower case.
574 @funindex chordNameSeparator
576 @item chordNameSeparator
578 Different parts of a chord name are normally separated by a slash.
579 By setting @code{chordNameSeparator}, you can use any desired markup
582 @funindex chordNameExceptions
584 @item chordNameExceptions
586 This property is a list of pairs. The first item in each pair
587 is a set of pitches used to identify the steps present in the chord.
588 The second item is a markup that will follow the @code{chordRootNamer}
589 output to create the chord name.
591 @funindex chordPrefixSpacer
592 @item chordPrefixSpacer
594 The @q{m} for minor chords is usually printed immediately to the
595 right of the root of the chord. A spacer can be placed between
596 the root and @q{m} by setting @code{chordPrefixSpacer}.
597 The spacer is not used when the root is altered.
603 @funindex major seven symbols
604 @code{\whiteTriangleMarkup},
605 @code{\blackTriangleMarkup},
606 @funindex \germanChords
607 @code{\germanChords},
608 @funindex \semiGermanChords
609 @code{\semiGermanChords},
610 @funindex \italianChords
611 @code{\italianChords},
612 @funindex \frenchChords
613 @code{\frenchChords}.
619 @cindex exceptions, chord names.
620 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
621 {chord-name-exceptions.ly}
623 @c TODO - tweak snippet to use \blackTriangleMarkup as well
624 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
625 {chord-name-major7.ly}
627 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
628 {adding-bar-lines-to-chordnames-context.ly}
630 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
631 {volta-below-chords.ly}
633 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
634 {changing-chord-separator.ly}
639 @ref{Chord name chart},
640 @ref{Common chord modifiers}.
643 @file{scm/@/chords@/-ignatzek@/.scm},
644 @file{scm/@/chord@/-entry@/.scm},
645 @file{ly/@/chord@/-modifier@/-init@/.ly}.
650 @c Internals Reference:
656 Chord names are determined from both the pitches that are present
657 in the chord and the information on the chord structure that may
658 have been entered in @code{\chordmode}. If the simultaneous pitches
659 method of entering chords is used, undesired names result from
660 inversions or bass notes.
662 @lilypond[quote,ragged-right,verbatim]
663 myChords = \relative c' {
664 \chordmode { c1 c/g c/f }
665 <c e g>1 <g c e> <f c' e g>
668 \new ChordNames { \myChords }
669 \new Staff { \myChords }
675 @subsection Figured bass
677 @lilypondfile[quote]{figured-bass-headword.ly}
679 Figured bass notation can be displayed.
682 * Introduction to figured bass::
683 * Entering figured bass::
684 * Displaying figured bass::
687 @node Introduction to figured bass
688 @unnumberedsubsubsec Introduction to figured bass
690 @cindex Basso continuo
691 @cindex Thorough bass
693 @cindex Bass, thorough
694 @cindex Bass, figured
696 @c TODO: musicological blurb about FB
699 LilyPond has support for figured bass, also called thorough bass
702 @lilypond[quote,ragged-right,verbatim,fragment]
704 \new Voice { \clef bass dis4 c d ais g fis}
707 < 6 >4 < 7\+ >8 < 6+ [_!] >
715 The support for figured bass consists of two parts: there is an
716 input mode, introduced by @code{\figuremode}, that accepts
717 entry of bass figures, and there is a context named
718 @code{FiguredBass} that takes care of displaying
719 @code{BassFigure} objects. Figured bass can also be displayed
720 in @code{Staff} contexts.
722 @code{\figures@{ ... @}} is a shortcut notation for
723 @code{\new FiguredBass @{ \figuremode @{ ... @} @}}.
726 Although the support for figured bass may superficially resemble chord
727 support, it is much simpler. @code{\figuremode} mode simply
728 stores the figures and the @code{FiguredBass} context prints them
729 as entered. There is no conversion to pitches.
732 Figures are created as markup texts. Any of the standard markup
733 properties can be used to modify the display of figures. For
734 example, the vertical spacing of the figures may be set with
735 @code{baseline-skip}.
741 @rglos{figured bass}.
747 @node Entering figured bass
748 @unnumberedsubsubsec Entering figured bass
750 @code{\figuremode} is used to switch the input mode to figure mode.
751 More information on different input modes can be
752 found at @ref{Input modes}.
754 In figure mode, a group of bass figures is delimited by
755 @code{<} and @code{>}. The duration is entered after the @code{>}.
757 @lilypond[verbatim,quote,ragged-right,fragment]
766 Accidentals (including naturals) can be added to figures:
768 @lilypond[verbatim,quote,ragged-right,fragment]
770 <7! 6+ 4-> <5++> <3-->
774 Augmented and diminished steps can be indicated:
776 @lilypond[verbatim,quote,ragged-right,fragment]
782 A backward slash through a figure (typically used for raised
783 sixth steps) can be created:
785 @lilypond[verbatim,quote,ragged-right,fragment]
791 Vertical spaces and brackets can be be included in figures:
793 @lilypond[verbatim,quote,ragged-right,fragment]
799 Any text markup can be inserted as a figure:
801 @lilypond[verbatim,quote,ragged-right,fragment]
803 <\markup { \tiny \number 6 \super (1) } 5>
807 @c NOTE: We need to include notes any time we use extenders to
808 @c avoid extraneous staff creation due to Staff.use... in
809 @c \bassFigureExtendersOn
811 Continuation lines can be used to indicate repeated figures:
813 @lilypond[verbatim,quote,ragged-right,fragment]
821 \bassFigureExtendersOn
822 <6 4>4 <6 3> <7 3> <7 3>
823 \bassFigureExtendersOff
824 <6 4>4 <6 3> <7 3> <7 3>
830 In this case, the extender lines replace existing figures,
831 unless the continuation lines have been explicitly terminated.
833 @lilypond[verbatim,quote,ragged-right,fragment]
836 \bassFigureExtendersOn
837 <6 4>4 <6 4> <6\! 4\!> <6 4>
846 The table below summarizes the figure modifiers available.
848 @multitable @columnfractions .1 .5 .4
862 @lilypond[line-width=4\cm]
864 <7! 6+ 4-> <5++> <3-->
871 Augmented and diminished steps
873 @lilypond[line-width=4\cm]
884 @lilypond[line-width=4\cm]
893 End of continuation line
895 @lilypond[line-width=4\cm]
898 \bassFigureExtendersOn
899 <6 4> <6 4> <6\! 4\!> <6 4>
912 @cindex figured bass extender lines
913 @code{\bassFigureExtendersOn},
914 @code{\bassFigureExtendersOff}.
919 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
920 {changing-the-positions-of-figured-bass-alterations.ly}
930 @c Notation Reference:
933 @c Application Usage:
943 @rinternals{BassFigure},
944 @rinternals{BassFigureAlignment},
945 @rinternals{BassFigureLine},
946 @rinternals{BassFigureBracket},
947 @rinternals{BassFigureContinuation},
948 @rinternals{FiguredBass}.
954 @node Displaying figured bass
955 @unnumberedsubsubsec Displaying figured bass
957 Figured bass can be displayed using the @code{FiguredBass} context,
958 or in most staff contexts.
960 When displayed in a @code{FiguredBass} context, the vertical location
961 of the figures is independent of the notes on the staff.
963 @lilypond[verbatim,ragged-right,fragment,quote]
978 In the example above, the @code{FiguredBass} context must be
979 explicitly instantiated to avoid creating a second (empty) staff.
982 Figured bass can also be added to @code{Staff} contexts
983 directly. In this case, the vertical position of the
984 figures is adjusted automatically.
986 @lilypond[verbatim,ragged-right,fragment,quote]
993 %% Put notes on same Staff as figures
994 \context Staff = myStaff
1003 When added in a @code{Staff} context, figured bass can be displayed above
1006 @lilypond[verbatim,ragged-right,fragment,quote]
1008 \new Staff = myStaff
1011 \bassFigureStaffAlignmentDown
1014 %% Put notes on same Staff as figures
1015 \context Staff = myStaff
1025 @cindex figured bass alignment
1026 @code{\bassFigureStaffAlignmentDown},
1027 @code{\bassFigureStaffAlignmentUp},
1028 @code{\bassFigureStaffAlignmentNeutral}.
1042 @c Notation Reference:
1045 @c Application Usage:
1054 Internals Reference:
1055 @rinternals{BassFigure},
1056 @rinternals{BassFigureAlignment},
1057 @rinternals{BassFigureLine},
1058 @rinternals{BassFigureBracket},
1059 @rinternals{BassFigureContinuation},
1060 @rinternals{FiguredBass}.
1065 To ensure that continuation lines work properly, it is
1066 safest to use the same rhythm in the figure line as in
1069 @lilypond[verbatim,ragged-right,fragment,quote]
1073 \repeat unfold 4 { f16. g32 } f8. es16 d8 es
1076 \bassFigureExtendersOn
1077 % The extenders are correct here, with the same rhythm as the bass
1078 \repeat unfold 4 { <6 4->16. <6 4->32 }
1079 <5>8. r16 <6>8 <6\! 5->
1085 \repeat unfold 4 { f16. g32 } f8. es16 d8 es
1088 \bassFigureExtendersOn
1089 % The extenders are incorrect here, even though the timing is the same
1091 <5>8. r16 <6>8 <6\! 5->
1096 When using extender lines, adjacent figures with the same number in
1097 a different figure location can cause the figure positions to invert.
1099 @lilypond[verbatim,ragged-right,fragment,quote,relative=1]
1103 \bassFigureExtendersOn
1104 <6 5>4 <5\! 4> < 5 _!> <6>
1109 To avoid this problem, simply turn on extenders after the figure that
1110 begins the extender line and turn them off at the end of the extender line.
1112 @lilypond[verbatim,ragged-right,fragment,quote,relative=1]
1117 \bassFigureExtendersOn
1119 \bassFigureExtendersOff