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}.
231 @node Extended and altered chords
232 @unnumberedsubsubsec Extended and altered chords
234 @cindex extended chords
235 @cindex altered chords
237 Chord structures of arbitrary complexity can be created in chord
238 mode. The modifier string can be used to extend a chord, add or
239 remove chord steps, raise or lower chord steps, and add a bass note
240 or create an inversion.
242 The first number following the @code{:} is taken to be the extent
243 of the chord. The chord is constructed by sequentially adding
244 thirds to the root until the specified number has been reached.
245 If the extent is not a third (e.g., 6), thirds are added up to the
246 highest third below the extent, and then the step of the extent is
247 added. The largest possible value for the extent is 13. Any
248 larger value is interpreted as 13.
250 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
260 Note that both @code{c:5} and @code{c} produce a C major triad.
262 Since an unaltered 11 does not sound good when combined with an
263 unaltered 13, the 11 is removed from a @code{:13} chord (unless it
264 is added explicitly).
266 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
272 @cindex additions, in chords
274 Individual steps can be added to a chord. Additions follow the
275 extent and are prefixed by a dot (@code{.}).
277 @lilypond[quote,verbatim,fragment,relative=1]
279 c1:5.6 c:3.7.8 c:3.6.13
283 Added steps can be as high as desired.
285 @lilypond[quote,verbatim,fragment,relative=1]
287 c4:5.15 c:5.20 c:5.25 c:5.30
291 @cindex chord steps, altering
293 Added chord steps can be altered by suffixing a @code{-} or @code{+}
294 sign to the number. To alter a step that is automatically included
295 as part of the basic chord structure, add it as an altered step.
297 @lilypond[quote,verbatim,fragment,relative=1]
299 c1:7+ c:5+.3- c:3-.5-.7-
303 @cindex removals, in chords
307 Following any steps to be added, a series of steps to be removed
308 is introduced in a modifier string with a prefix of @code{^}.
309 If more than one step is to be removed, the steps to be
310 removed are separated by @code{.} following the
313 @lilypond[quote,verbatim,fragment,relative=1]
315 c1^3 c:7^5 c:9^3 c:9^3.5 c:13.11^3.7
321 The modifier @code{sus} can be added to the modifier string to
322 create suspended chords. This removes the 3rd step from the chord.
323 Append either @code{2} or @code{4} to add the 2nd or 4th step to the
324 chord. @code{sus} is equivalent to @code{^3}; @code{sus4} is
325 equivalent to @code{.4^3}.
327 @lilypond[quote,ragged-right,fragment,verbatim]
329 c1:sus c:sus2 c:sus4 c:5.4^3
334 @cindex chord inversions
335 @cindex bass note, for chords
337 Inversions (putting a pitch other than the root on the bottom of the
338 chord) and added bass notes can be specified by appending
339 @code{/}@var{pitch} to the chord.
341 @lilypond[quote,ragged-right,fragment,verbatim, relative=2]
349 A bass note that is part of the chord can be added, instead of
350 moved as part of an inversion, by using @code{/+}@var{pitch}.
352 @lilypond[quote,ragged-right,fragment,verbatim]
358 Chord modifiers that can be used to produce a variety of
359 standard chords are shown in
360 @ref{Common chord modifiers}.
365 @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,fragment]
378 \chordmode { c1:5.5-.5+ }
381 Only the second inversion can be created by adding a bass
382 note. The first inversion requires changing the root of
385 @lilypond[quote,ragged-right,verbatim,fragment]
387 c'1: c':/g e:6-3-^5 e:m6-^5
391 @node Displaying chords
392 @subsection Displaying chords
394 Chords can be displayed by name, in addition to the standard display
398 * Printing chord names::
399 * Customizing chord names::
402 @node Printing chord names
403 @unnumberedsubsubsec Printing chord names
405 @cindex printing chord names
409 Chord names are printed in the @code{ChordNames} context:
411 @lilypond[verbatim,quote,relative=1,ragged-right]
419 Chords can be entered as simultaneous notes or through the use of
420 chord mode. The displayed chord name will be the same, regardless
421 of the mode of entry, unless there are inversions or added bass notes:
423 @lilypond[verbatim,quote,relative=1]
444 @code{\chords @{ ... @}} is a shortcut notation for
445 @code{\new ChordNames @{ \chordmode @{ ... @} @}}.
447 @lilypond[verbatim,quote,ragged-right, relative=1]
453 @lilypond[verbatim,quote,ragged-right, relative=1]
463 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
464 {showing-chords-at-changes.ly}
466 @c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
467 @c {adding-bar-lines-to-chordnames-context.ly}
469 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
470 {simple-lead-sheet.ly}
478 @ref{Writing music in parallel}.
484 @rinternals{ChordNames},
485 @rinternals{ChordName},
486 @rinternals{Chord_name_engraver},
487 @rinternals{Volta_engraver},
488 @rinternals{Bar_engraver}.
493 Chords containing inversions or altered bass notes are not named
494 properly if entered using simultaneous music.
497 @node Customizing chord names
498 @unnumberedsubsubsec Customizing chord names
500 @cindex customizing chord names
502 There is no unique system for naming chords. Different musical
503 traditions use different names for the same set of chords. There
504 are also different symbols displayed for a given chord name. The
505 names and symbols displayed for chord names are customizable.
510 The basic chord name layout is a system for Jazz music, proposed
511 by Klaus Ignatzek (see @ref{Literature list}). The chord naming
512 system can be modified as described below. An alternate jazz
513 chord system has been developed using these modifications.
514 The Ignatzek and alternate
515 Jazz notation are shown on the chart in @ref{Chord
518 @c TODO -- Change this so we don't have a non-verbatim example.
519 @c Make short example in docs, then move longer example to
520 @c appendix, where the length of the snippet won't matter.
522 In addition to the different naming systems, different note names
523 are used for the root in different languages. The predefined
524 variables @code{\germanChords}, @code{\semiGermanChords},
525 @code{\italianChords} and @code{\frenchChords} set these variables.
526 The effect is demonstrated here:
528 @lilypondfile[ragged-right]{chord-names-languages.ly}
530 If none of the existing settings give the desired output, the chord
531 name display can be tuned through the following properties.
535 @funindex chordRootNamer
539 The chord name is usually printed as a letter for the root with an
540 optional alteration. The transformation from pitch to letter is
541 done by this function. Special note names (for example, the German
542 @q{H} for a B-chord) can be produced by storing a new function in
545 @funindex majorSevenSymbol
547 @item majorSevenSymbol
549 This property contains the markup object used to follow the output
550 of @code{chordRootNamer} to identify a major 7 chord. Predefined
551 options are @code{whiteTriangleMarkup} and
552 @code{blackTriangleMarkup}.
554 @funindex chordNoteNamer
558 When the chord name contains additional pitches other than the root
559 (e.g., an added bass note), this function is used to print the
560 additional pitch. By default the pitch is printed using
561 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
562 to a specialized function to change this behavior. For example, the
563 bass note can be printed in lower case.
565 @funindex chordNameSeparator
567 @item chordNameSeparator
569 Different parts of a chord name are normally separated by a slash.
570 By setting @code{chordNameSeparator}, you can use any desired markup
573 @funindex chordNameExceptions
575 @item chordNameExceptions
577 This property is a list of pairs. The first item in each pair
578 is a set of pitches used to identify the steps present in the chord.
579 The second item is a markup that will follow the @code{chordRootNamer}
580 output to create the chord name.
582 @funindex chordPrefixSpacer
583 @item chordPrefixSpacer
585 The @q{m} for minor chords is usually printed immediately to the
586 right of the root of the chord. A spacer can be placed between
587 the root and @q{m} by setting @code{chordPrefixSpacer}.
588 The spacer is not used when the root is altered.
594 @funindex major seven symbols
595 @code{\whiteTriangleMarkup},
596 @code{\blackTriangleMarkup},
597 @funindex \germanChords
598 @code{\germanChords},
599 @funindex \semiGermanChords
600 @code{\semiGermanChords},
601 @funindex \italianChords
602 @code{\italianChords},
603 @funindex \frenchChords
604 @code{\frenchChords}.
610 @cindex exceptions, chord names.
611 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
612 {chord-name-exceptions.ly}
614 @c TODO - tweak snippet to use \blackTriangleMarkup as well
615 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
616 {chord-name-major7.ly}
618 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
619 {adding-bar-lines-to-chordnames-context.ly}
621 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
622 {volta-below-chords.ly}
624 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
625 {changing-chord-separator.ly}
630 @ref{Chord name chart},
631 @ref{Common chord modifiers}.
634 @file{scm/@/chords@/-ignatzek@/.scm},
635 @file{scm/@/chord@/-entry@/.scm},
636 @file{ly/@/chord@/-modifier@/-init@/.ly}.
641 @c Internals Reference:
647 Chord names are determined from both the pitches that are present
648 in the chord and the information on the chord structure that may
649 have been entered in @code{\chordmode}. If the simultaneous pitches
650 method of entering chords is used, undesired names result from
651 inversions or bass notes.
653 @lilypond[quote,ragged-right,verbatim]
654 myChords = \relative c' {
655 \chordmode { c1 c/g c/f }
656 <c e g>1 <g c e> <f c' e g>
659 \new ChordNames { \myChords }
660 \new Staff { \myChords }
666 @subsection Figured bass
668 @lilypondfile[quote]{figured-bass-headword.ly}
670 Figured bass notation can be displayed.
673 * Introduction to figured bass::
674 * Entering figured bass::
675 * Displaying figured bass::
678 @node Introduction to figured bass
679 @unnumberedsubsubsec Introduction to figured bass
681 @cindex Basso continuo
682 @cindex Thorough bass
684 @cindex Bass, thorough
685 @cindex Bass, figured
687 @c TODO: musicological blurb about FB
690 LilyPond has support for figured bass, also called thorough bass
693 @lilypond[quote,ragged-right,verbatim,fragment]
695 \new Voice { \clef bass dis4 c d ais g fis}
698 < 6 >4 < 7\+ >8 < 6+ [_!] >
706 The support for figured bass consists of two parts: there is an
707 input mode, introduced by @code{\figuremode}, that accepts
708 entry of bass figures, and there is a context named
709 @code{FiguredBass} that takes care of displaying
710 @code{BassFigure} objects. Figured bass can also be displayed
711 in @code{Staff} contexts.
713 @code{\figures@{ ... @}} is a shortcut notation for
714 @code{\new FiguredBass @{ \figuremode @{ ... @} @}}.
717 Although the support for figured bass may superficially resemble chord
718 support, it is much simpler. @code{\figuremode} mode simply
719 stores the figures and the @code{FiguredBass} context prints them
720 as entered. There is no conversion to pitches.
723 Figures are created as markup texts. Any of the standard markup
724 properties can be used to modify the display of figures. For
725 example, the vertical spacing of the figures may be set with
726 @code{baseline-skip}.
732 @rglos{figured bass}.
738 @node Entering figured bass
739 @unnumberedsubsubsec Entering figured bass
741 @code{\figuremode} is used to switch the input mode to figure mode.
742 More information on different input modes can be
743 found at @ref{Input modes}.
745 In figure mode, a group of bass figures is delimited by
746 @code{<} and @code{>}. The duration is entered after the @code{>}.
748 @lilypond[verbatim,quote,ragged-right,fragment]
757 Accidentals (including naturals) can be added to figures:
759 @lilypond[verbatim,quote,ragged-right,fragment]
761 <7! 6+ 4-> <5++> <3-->
765 Augmented and diminished steps can be indicated:
767 @lilypond[verbatim,quote,ragged-right,fragment]
773 A backward slash through a figure (typically used for raised
774 sixth steps) can be created:
776 @lilypond[verbatim,quote,ragged-right,fragment]
782 Vertical spaces and brackets can be be included in figures:
784 @lilypond[verbatim,quote,ragged-right,fragment]
790 Any text markup can be inserted as a figure:
792 @lilypond[verbatim,quote,ragged-right,fragment]
794 <\markup { \tiny \number 6 \super (1) } 5>
798 @c NOTE: We need to include notes any time we use extenders to
799 @c avoid extraneous staff creation due to Staff.use... in
800 @c \bassFigureExtendersOn
802 Continuation lines can be used to indicate repeated figures:
804 @lilypond[verbatim,quote,ragged-right,fragment]
812 \bassFigureExtendersOn
813 <6 4>4 <6 3> <7 3> <7 3>
814 \bassFigureExtendersOff
815 <6 4>4 <6 3> <7 3> <7 3>
821 In this case, the extender lines replace existing figures,
822 unless the continuation lines have been explicitly terminated.
824 @lilypond[verbatim,quote,ragged-right,fragment]
827 \bassFigureExtendersOn
828 <6 4>4 <6 4> <6\! 4\!> <6 4>
837 The table below summarizes the figure modifiers available.
839 @multitable @columnfractions .1 .5 .4
853 @lilypond[line-width=4\cm]
855 <7! 6+ 4-> <5++> <3-->
862 Augmented and diminished steps
864 @lilypond[line-width=4\cm]
875 @lilypond[line-width=4\cm]
884 End of continuation line
886 @lilypond[line-width=4\cm]
889 \bassFigureExtendersOn
890 <6 4> <6 4> <6\! 4\!> <6 4>
903 @cindex figured bass extender lines
904 @code{\bassFigureExtendersOn},
905 @code{\bassFigureExtendersOff}.
910 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
911 {changing-the-positions-of-figured-bass-alterations.ly}
921 @c Notation Reference:
924 @c Application Usage:
934 @rinternals{BassFigure},
935 @rinternals{BassFigureAlignment},
936 @rinternals{BassFigureLine},
937 @rinternals{BassFigureBracket},
938 @rinternals{BassFigureContinuation},
939 @rinternals{FiguredBass}.
945 @node Displaying figured bass
946 @unnumberedsubsubsec Displaying figured bass
948 Figured bass can be displayed using the @code{FiguredBass} context,
949 or in most staff contexts.
951 When displayed in a @code{FiguredBass} context, the vertical location
952 of the figures is independent of the notes on the staff.
954 @lilypond[verbatim,ragged-right,fragment,quote]
969 In the example above, the @code{FiguredBass} context must be
970 explicitly instantiated to avoid creating a second (empty) staff.
973 Figured bass can also be added to @code{Staff} contexts
974 directly. In this case, the vertical position of the
975 figures is adjusted automatically.
977 @lilypond[verbatim,ragged-right,fragment,quote]
984 %% Put notes on same Staff as figures
985 \context Staff = myStaff
994 When added in a @code{Staff} context, figured bass can be displayed above
997 @lilypond[verbatim,ragged-right,fragment,quote]
1002 \bassFigureStaffAlignmentDown
1005 %% Put notes on same Staff as figures
1006 \context Staff = myStaff
1016 @cindex figured bass alignment
1017 @code{\bassFigureStaffAlignmentDown},
1018 @code{\bassFigureStaffAlignmentUp},
1019 @code{\bassFigureStaffAlignmentNeutral}.
1033 @c Notation Reference:
1036 @c Application Usage:
1045 Internals Reference:
1046 @rinternals{BassFigure},
1047 @rinternals{BassFigureAlignment},
1048 @rinternals{BassFigureLine},
1049 @rinternals{BassFigureBracket},
1050 @rinternals{BassFigureContinuation},
1051 @rinternals{FiguredBass}.
1056 To ensure that continuation lines work properly, it is
1057 safest to use the same rhythm in the figure line as in
1060 @lilypond[verbatim,ragged-right,fragment,quote]
1064 \repeat unfold 4 { f16. g32 } f8. es16 d8 es
1067 \bassFigureExtendersOn
1068 % The extenders are correct here, with the same rhythm as the bass
1069 \repeat unfold 4 { <6 4->16. <6 4->32 }
1070 <5>8. r16 <6>8 <6\! 5->
1076 \repeat unfold 4 { f16. g32 } f8. es16 d8 es
1079 \bassFigureExtendersOn
1080 % The extenders are incorrect here, even though the timing is the same
1082 <5>8. r16 <6>8 <6\! 5->
1087 When using extender lines, adjacent figures with the same number in
1088 a different figure location can cause the figure positions to invert.
1090 @lilypond[verbatim,ragged-right,fragment,quote,relative=1]
1094 \bassFigureExtendersOn
1095 <6 5>4 <5\! 4> < 5 _!> <6>
1100 To avoid this problem, simply turn on extenders after the figure that
1101 begins the extender line and turn them off at the end of the extender line.
1103 @lilypond[verbatim,ragged-right,fragment,quote,relative=1]
1108 \bassFigureExtendersOn
1110 \bassFigureExtendersOff