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 in chord mode, which recognizes some traditional European chord naming conventions. Chord names can also
18 be displayed. In addition, figured bass notation can be displayed.
28 @subsection Chord mode
32 Chord mode is used to enter chords using an indicator of the chord
33 structure, rather than the chord pitches.
36 * Chord mode overview::
38 * Extended and altered chords::
41 @node Chord mode overview
42 @unnumberedsubsubsec Chord mode overview
47 Chords can be entered as simultaneous music, as discussed in
50 Chords can also be entered in @qq{chord mode}, which is an input
51 mode that focuses on the structures of chords in traditional
52 European music, rather than on specific pitches. This is
53 convenient for those who are familiar with using chord names to
54 describe chords. More information on different input modes can be
55 found at @ref{Input modes}.
57 @lilypond[verbatim,quote,ragged-right,relative=1]
58 \chordmode { c1 g a g c }
61 Chords entered using chord mode are music elements, and can be
62 transposed just like chords entered using simultaneous music.
64 Chord mode and note mode can be mixed in sequential music:
66 @lilypond[verbatim,quote,ragged-right,relative=1]
88 When chord mode and note mode are mixed in sequential music, and
89 chord mode comes first, the note mode will create a new @code{Staff}
92 @lilypond[verbatim,quote,ragged-right,relative=1]
97 To avoid this behavior, explicitly create the @code{Staff} context:
99 @lilypond[verbatim,quote,ragged-right,relative=1]
107 @unnumberedsubsubsec Common chords
110 @cindex seventh chords
111 @cindex root of chord
112 @cindex modifiers, in chords.
113 @cindex chord quality
115 Major triads are entered by including the root and an
118 @lilypond[verbatim,quote,relative=1,ragged-right]
119 \chordmode { c2 f4 g }
122 Minor, augmented, and diminished triads are entered by placing
123 @code{:} and a quality modifier string after the duration:
125 @lilypond[verbatim,quote,ragged-right,relative=1]
126 \chordmode { c2:m f4:aug g:dim }
129 Seventh chords can be created:
131 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
132 \chordmode { c1:7 c:m7 c:maj7 c:dim7 c:aug7 }
140 The table belows shows the actions of the quality modifiers on
141 triads and seventh chords.
146 The minor chord. This modifier lowers the 3rd and (if present) the
150 The diminished chord. This modifier lowers the 3rd, 5th and (if
151 present) the 7th step.
154 The augmented chord. This modifier raises the 5th step.
157 The major 7th chord. This modifier adds a raised 7th step. The
158 @code{7} following @code{maj} is optional. Do NOT use this modifier
159 to create a major triad.
163 @c TODO -- perhaps add warning about c and c:maj being different, while
164 @c c:maj and c:maj7 are the same
171 @node Extended and altered chords
172 @unnumberedsubsubsec Extended and altered chords
174 @cindex extended chords
175 @cindex altered chords
177 Chord structures of arbitrary complexity can be created in chord
178 mode. The modifier string can be used to extend a chord, add or
179 remove chord steps, raise or lower chord steps, and add a bass note
180 or create an inversion.
182 The first number following the @code{:} is taken to be the extent
183 of the chord. The chord is constructed by sequentially adding
184 thirds to the root until the specified number has been reached.
185 If the extent is not a third (e.g., 6), thirds are added up to the
186 highest third below the extent, and then the step of the extent is
187 added. The largest possible value for the extent is 13. Any
188 larger value is interpreted as 13.
190 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
200 Note that both @code{c:5} and @code{c} produce a C major triad.
202 Since an unaltered 11 does not sound good when combined with an
203 unaltered 13, the 11 is removed from a @code{:13} chord (unless it
204 is added explicitly).
206 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
212 @cindex additions, in chords
214 Individual steps can be added to a chord. Additions follow the
215 extent and are prefixed by a dot (@code{.}).
217 @lilypond[quote,verbatim,fragment,relative=1]
219 c1:5.6 c:3.7.8 c:3.6.13
223 Added steps can be as high as desired.
225 @lilypond[quote,verbatim,fragment,relative=1]
227 c4:5.15 c:5.20 c:5.25 c:5.30
231 @cindex chord steps, altering
233 Added chord steps can be altered by suffixing a @code{-} or @code{+}
234 sign to the number. To alter a step that is automatically included
235 as part of the basic chode structure, add it as an altered step.
237 @lilypond[quote,verbatim,fragment,relative=1]
239 c1:7+ c:5+.3- c:3-.5-.7-
243 @cindex removals, in chords
247 Following any steps to be added, a series of steps to be removed
248 is introduced in a modifier string with a prefix of @code{^}.
249 If more than one step is to be removed, the steps to be
250 removed are separated by @code{.} following the
253 @lilypond[quote,verbatim,fragment,relative=1]
255 c1^3 c:7^5 c:9^3 c:9^3.5 c:13.11^3.7
261 The modifier @code{sus} can be added to the modifier string to
262 create suspended chords. This removes the 3rd step from the chord.
263 Append either @code{2} or @code{4} to add the 2nd or 4th step to the
264 chord. @code{sus} is equivalent to @code{^3}; @code{sus4} is
265 equivalent to @code{.4^3}.
267 @lilypond[quote,ragged-right,fragment,verbatim]
269 c1:sus c:sus2 c:sus4 c:5.4^3
274 @cindex chord inversions
275 @cindex bass note, for chords
277 Inversions (putting a pitch other than the root on the bottom of the
278 chord) and added bass notes can be specified by appending
279 @code{/}@var{pitch} to the chord.
281 @lilypond[quote,ragged-right,fragment,verbatim, relative=2]
289 A bass note that is part of the chord can be added, instead of
290 moved as part of an inversion, by using @code{/+}@var{pitch}.
292 @lilypond[quote,ragged-right,fragment,verbatim]
298 Chord modifiers that can be used to produce a variety of
299 standard chords are shown in
300 @ref{Common chord modifiers}.
305 @ref{Common chord modifiers}.
312 Each step can only be present in a chord once. The following
313 simply produces the augmented chord, since @code{5+} is
316 @lilypond[quote,ragged-right,verbatim,fragment]
317 \chordmode { c1:5.5-.5+ }
320 Only the first inversion can be created by adding a bass note. The
321 second inversion requires changing the root of the chord.
323 @lilypond[quote,ragged-right,verbatim,fragment]
325 c'1: c':/g e:6-3-^5 e:m6-^5
329 @node Displaying chords
330 @subsection Displaying chords
332 Chords can be displayed by name, in addition to the standard display
336 * Printing chord names::
337 * Customizing chord names::
340 @node Printing chord names
341 @unnumberedsubsubsec Printing chord names
343 @cindex printing chord names
347 Chord names are printed in the @code{ChordNames} context:
349 @lilypond[verbatim,quote,relative=1,ragged-right]
357 Chords can be entered as simultaneous notes or through the use of
358 chord mode. The displayed chord name will be the same, regardless
359 of the mode of entry, unless there are inversions or added bass notes:
361 @lilypond[verbatim,quote,relative=1]
382 @code{\chords @{ ... @}} is a shortcut notation for
383 @code{\new ChordNames @{\chordmode @{ ... @}@}}.
385 @lilypond[verbatim,quote,ragged-right, relative=1]
391 @lilypond[verbatim,quote,ragged-right, relative=1]
401 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
402 {showing-chords-at-changes.ly}
404 @c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
405 @c {adding-bar-lines-to-chordnames-context.ly}
407 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
408 {simple-lead-sheet.ly}
418 @ref{Writing music in parallel}.
425 @rinternals{ChordNames},
426 @rinternals{Volta_engraver},
427 @rinternals{Bar_engraver}.
431 Chords containing inversions or altered bass notes are not named
432 properly if entered using simultaneous music.
435 @node Customizing chord names
436 @unnumberedsubsubsec Customizing chord names
438 @cindex customizing chord names
440 There is no unique system for naming chords. Different musical
441 traditions use different names for the same set of chords. There
442 are also different symbols displayed for a given chord name. The
443 names and symbols displayed for chord names are customizable.
449 The default chord name layout is a system for Jazz music, proposed
450 by Klaus Ignatzek (see @ref{Literature list}). There are also two
451 other chord name schemes implemented: an alternate Jazz chord
452 notation, and a systematic scheme called Banter chords. The
453 alternate Jazz notation is also shown on the chart in @ref{Chord
456 @c TODO -- Change this so we don't have a non-verbatim example.
457 @c Make short example in docs, then move longer example to
458 @c appendix, where the length of the snippet won't matter.
460 In addition to the different naming systems, different note names
461 are used for the root in different languages. The predefined
462 variables @code{\germanChords}, @code{\semiGermanChords},
463 @code{\italianChords} and @code{\frenchChords} set these variables.
464 The effect is demonstrated here:
466 @lilypondfile[ragged-right]{chord-names-languages.ly}
468 If none of the default settings give the desired output, the chord
469 name display can be tuned through the following properties.
473 @funindex chordRootNamer
477 The chord name is usually printed as a letter for the root with an
478 optional alteration. The transformation from pitch to letter is
479 done by this function. Special note names (for example, the German
480 @q{H} for a B-chord) can be produced by storing a new function in
483 @funindex majorSevenSymbol
485 @item majorSevenSymbol
487 This property contains the markup object used to follow the output
488 of @code{chordRootNamer} to dentify a major 7 chord. Predefined
489 options are @code{whiteTriangleMarkup} and
490 @code{blackTriangleMarkup}.
492 @funindex chordNoteNamer
496 When the chord name contains additional pitches other than the root
497 (e.g., an added bass note), this function is used to print the
498 additional pitch. By default the pitch is printed using
499 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
500 to a specialized function to change this behavior. For example, the
501 bass note can be printed in lower case.
503 @funindex chordNameSeparator
505 @item chordNameSeparator
507 Different parts of a chord name are normally separated by a slash.
508 By setting @code{chordNameSeparator}, you can use any desired markup
511 @funindex chordNameExceptions
513 @item chordNameExceptions
515 This property is a list of pairs. The first item in each pair
516 is a set of pitches used to identify the steps present in the chord.
517 The second item is a markups that will follow the @code{chordRootNamer}
518 output to create the chord name.
520 @funindex chordPrefixSpacer
521 @item chordPrefixSpacer
523 The @q{m} for minor chords is usually printed immediately to the
524 right of the root of the chord. By setting
525 @code{chordPrefixSpacer}, you can fix a spacer between the root
526 and @q{m}. The spacer is not used when the root is altered.
532 @funindex major seven symbols
533 @code{\whiteTriangleMarkup},
534 @code{\blackTriangleMarkup},
535 @funindex \germanChords
536 @code{\germanChords},
537 @funindex \semiGermanChords
538 @code{\semiGermanChords},
539 @funindex \italianChords
540 @code{\italianChords},
541 @funindex \frenchChords
542 @code{\frenchChords}.
547 @cindex exceptions, chord names.
548 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
549 {chord-name-exceptions.ly}
551 @c TODO - tweak snippet to use \blackTriangleMarkup as well
552 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
553 {chord-name-major7.ly}
555 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
556 {adding-bar-lines-to-chordnames-context.ly}
558 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
559 {volta-below-chords.ly}
561 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
562 {changing-chord-separator.ly}
568 @ref{Chord name chart},
569 @ref{Common chord modifiers}.
572 @file{scm/@/chords@/-ignatzek@/.scm},
573 @file{scm/@/chord@/-entry@/.scm},
574 @file{ly/@/chord@/-modifier@/-init@/.ly}.
579 @c Internals Reference:
584 Chord names are determined from both the pitches that are present
585 in the chord and the information on the chord structure that may
586 have been entered in @code{\chordmode}. If the simultaneous pitches
587 method of entering chords is used, undesired names result from
588 inversions or bass notes.
590 @lilypond[quote,ragged-right,verbatim]
591 myChords = \relative c' {
592 \chordmode{ c1 c/g c/f }
593 <c e g> <g c e> <f c' e g>
596 \new ChordNames { \myChords }
597 \new Staff { \myChords }
603 @subsection Figured bass
605 @lilypondfile[quote]{figured-bass-headword.ly}
607 Figured bass notation can be displayed.
610 * Introduction to figured bass::
611 * Entering figured bass::
612 * Displaying figured bass::
615 @node Introduction to figured bass
616 @unnumberedsubsubsec Introduction to figured bass
618 @cindex Basso continuo
619 @cindex Thorough bass
621 @cindex Bass, thorough
622 @cindex Bass, figured
624 @c TODO: musicological blurb about FB
627 LilyPond has support for figured bass, also called thorough bass
630 @lilypond[quote,ragged-right,verbatim,fragment]
632 \new Voice { \clef bass dis4 c d ais g fis}
635 < 6 >4 < 7\+ >8 < 6+ [_!] >
643 The support for figured bass consists of two parts: there is an
644 input mode, introduced by @code{\figuremode}, that accepts
645 entry of bass figures, and there is a context named
646 @code{FiguredBass} that takes care of displaying
647 @code{BassFigure} objects. Figured bass can also be displayed
648 in @code{Staff} contexts.
650 @code{\figures@{ ... @}} is a shortcut notation for
651 @code{\new FiguredBass @{\figuremode @{ ... @}@}}.
654 Although the support for figured bass may superficially resemble chord
655 support, it is much simpler. @code{\figuremode} mode simply
656 stores the figures and the @code{FiguredBass} context prints them
657 as entered. There is no conversion to pitches.
659 Figures are created as markup texts. Any of the standard markup
660 properties can be used to modify the display of figures. For
661 example, the vertical spacing of the figures may be set with
662 @code{baseline-skip}.
670 @node Entering figured bass
671 @unnumberedsubsubsec Entering figured bass
673 @code{\figuremode} is used to switch the input mode to figure mode.
674 More information on different input modes can be
675 found at @ref{Input modes}.
677 In figure mode, a group of bass figures is delimited by
678 @code{<} and @code{>}. The duration is entered after the @code{>}.
680 @lilypond[verbatim,quote,ragged-right,fragment]
689 Accidentals (including naturals) can be added to figures:
691 @lilypond[verbatim,quote,ragged-right,fragment]
693 <7! 6+ 4-> <5++> <3-->
697 Augmented and diminished steps can be indicated.
699 @lilypond[verbatim,quote,ragged-right,fragment]
705 A backward slash through a figure (typically used for raised
706 sixth steps) can be created.
708 @lilypond[verbatim,quote,ragged-right,fragment]
715 Vertical spaces and brackets can be be included in figures:
717 @lilypond[verbatim,quote,ragged-right,fragment]
723 Any text markup can be inserted as a figure:
725 @lilypond[verbatim,quote,ragged-right,fragment]
727 < \markup{ \tiny \number 6 \super (1)} 5 >
731 @c NOTE: We need to include notes any time we use extenders to
732 @c avoid extraneous staff creation due to Staff.use... in
733 @c \bassFigureExtendersOn
735 Continuation lines can be used to indicate repeated figures:
737 @lilypond[verbatim,quote,ragged-right,fragment]
745 \bassFigureExtendersOn
746 <6 4> <6 3> <7 3> <7 3>
747 \bassFigureExtendersOff
748 <6 4> <6 3> <7 3> <7 3>
754 In this case, the extender lines replace existing figures,
755 unless the continuation lines have been explicitly terminated.
757 @lilypond[verbatim,quote,ragged-right,fragment]
760 \bassFigureExtendersOn
761 <6 4> <6 4> <6\! 4\!> <6 4>
770 The table below summarizes the figure modifiers available.
772 @multitable @columnfractions .1 .5 .4
786 @lilypond[line-width=4\cm]
788 <7! 6+ 4-> <5++> <3-->
795 Augmented and diminished steps
797 @lilypond[line-width=4\cm]
808 @lilypond[line-width=4\cm]
817 End of continuation line
819 @lilypond[line-width=1.5\cm]
822 \bassFigureExtendersOn
823 <6 4> <6 4> <6\! 4\!> <6 4>
837 @cindex figured bass extender lines
838 @code{\bassFigureExtendersOn},
839 @code{\bassFigureExtendersOff}.
843 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
844 {changing-the-positions-of-figured-bass-alterations.ly}
853 @c Notation Reference:
856 @c Application Usage:
866 @rinternals{NewBassFigure},
867 @rinternals{BassFigureAlignment},
868 @rinternals{BassFigureLine},
869 @rinternals{BassFigureBracket},
870 @rinternals{BassFigureContinuation},
871 @rinternals{FiguredBass}.
875 @node Displaying figured bass
876 @unnumberedsubsubsec Displaying figured bass
878 Figured bass can be displayed using the @code{FiguredBass} context,
879 or in most staff contexts.
881 When displayed in a @code{FiguredBass} context, the vertical location
882 of the figures is independent of the notes on the staff.
884 @lilypond[verbatim,ragged-right,fragment,quote]
899 In the example above, the @code{FiguredBass} context must be
900 explicitly instantiated to avoid creating a second (empty) staff.
903 Figured bass can also be added to @code{Staff} contexts
904 directly. In this case, the vertical position of the
905 figures is adjusted automatically.
907 @lilypond[verbatim,ragged-right,fragment,quote]
914 %% Put notes on same Staff as figures
915 \context Staff = myStaff
924 When added in a Staff context, figured bass can be displayed above
927 @lilypond[verbatim,ragged-right,fragment,quote]
932 \bassFigureStaffAlignmentDown
935 %% Put notes on same Staff as figures
936 \context Staff = myStaff
946 @cindex figured bass alignment
947 @code{\bassFigureStaffAlignmentDown},
948 @code{\bassFigureStaffAlignmentUp},
949 @code{\bassFigureStaffAlignmentNeutral}.
960 @c Notation Reference:
963 @c Application Usage:
973 @rinternals{NewBassFigure},
974 @rinternals{BassFigureAlignment},
975 @rinternals{BassFigureLine},
976 @rinternals{BassFigureBracket},
977 @rinternals{BassFigureContinuation},
978 @rinternals{FiguredBass}.
982 To ensure that continuation lines work properly, it is
983 safest to use the same rhythm in the figure line as in
986 @lilypond[verbatim,ragged-right,fragment,quote]
990 \repeat unfold 4 {f16. g32} f8. es16 d8 es
993 \bassFigureExtendersOn
994 % The extenders are correct here, with the same rhythm as the bass
995 \repeat unfold 4 {<6 4->16. <6 4->32}
996 <5>8. r16 <6>8 <6\! 5->
1002 \repeat unfold 4 {f16. g32} f8. es16 d8 es
1005 \bassFigureExtendersOn
1006 % The extenders are incorrect here, even though the timing is the same
1008 <5>8. r16 <6>8 <6\! 5->
1013 When using extender lines, adjacent figures with the same number in
1014 a different figure location can cause the figure positions to invert.
1016 @lilypond[verbatim,ragged-right,fragment,quote,relative=1]
1020 \bassFigureExtendersOn
1021 <6 5> <5\! 4> < 5 _!> <6>
1026 To avoid this problem, simply turn on extenders after the figure that
1027 begins the extender line and turn them off at the end of the extender line.
1029 @lilypond[verbatim,ragged-right,fragment,quote,relative=1]
1034 \bassFigureExtendersOn
1036 \bassFigureExtendersOff