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
226 @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 chode 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}.
372 Each step can only be present in a chord once. The following
373 simply produces the augmented chord, since @code{5+} is
376 @lilypond[quote,ragged-right,verbatim,fragment]
377 \chordmode { c1:5.5-.5+ }
380 Only the second inversion can be created by adding a bass
381 note. The first inversion requires changing the root of
384 @lilypond[quote,ragged-right,verbatim,fragment]
386 c'1: c':/g e:6-3-^5 e:m6-^5
390 @node Displaying chords
391 @subsection Displaying chords
393 Chords can be displayed by name, in addition to the standard display
397 * Printing chord names::
398 * Customizing chord names::
401 @node Printing chord names
402 @unnumberedsubsubsec Printing chord names
404 @cindex printing chord names
408 Chord names are printed in the @code{ChordNames} context:
410 @lilypond[verbatim,quote,relative=1,ragged-right]
418 Chords can be entered as simultaneous notes or through the use of
419 chord mode. The displayed chord name will be the same, regardless
420 of the mode of entry, unless there are inversions or added bass notes:
422 @lilypond[verbatim,quote,relative=1]
443 @code{\chords @{ ... @}} is a shortcut notation for
444 @code{\new ChordNames @{\chordmode @{ ... @}@}}.
446 @lilypond[verbatim,quote,ragged-right, relative=1]
452 @lilypond[verbatim,quote,ragged-right, relative=1]
462 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
463 {showing-chords-at-changes.ly}
465 @c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
466 @c {adding-bar-lines-to-chordnames-context.ly}
468 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
469 {simple-lead-sheet.ly}
479 @ref{Writing music in parallel}.
486 @rinternals{ChordNames},
487 @rinternals{Volta_engraver},
488 @rinternals{Bar_engraver}.
492 Chords containing inversions or altered bass notes are not named
493 properly if entered using simultaneous music.
496 @node Customizing chord names
497 @unnumberedsubsubsec Customizing chord names
499 @cindex customizing chord names
501 There is no unique system for naming chords. Different musical
502 traditions use different names for the same set of chords. There
503 are also different symbols displayed for a given chord name. The
504 names and symbols displayed for chord names are customizable.
509 The basic chord name layout is a system for Jazz music, proposed
510 by Klaus Ignatzek (see @ref{Literature list}). The chord naming
511 system can be modified as described below. An alternate jazz
512 chord system has been developed using these modifications.
513 The Ignatzek and alternate
514 Jazz notation are shown on the chart in @ref{Chord
517 @c TODO -- Change this so we don't have a non-verbatim example.
518 @c Make short example in docs, then move longer example to
519 @c appendix, where the length of the snippet won't matter.
521 In addition to the different naming systems, different note names
522 are used for the root in different languages. The predefined
523 variables @code{\germanChords}, @code{\semiGermanChords},
524 @code{\italianChords} and @code{\frenchChords} set these variables.
525 The effect is demonstrated here:
527 @lilypondfile[ragged-right]{chord-names-languages.ly}
529 If none of the existing settings give the desired output, the chord
530 name display can be tuned through the following properties.
534 @funindex chordRootNamer
538 The chord name is usually printed as a letter for the root with an
539 optional alteration. The transformation from pitch to letter is
540 done by this function. Special note names (for example, the German
541 @q{H} for a B-chord) can be produced by storing a new function in
544 @funindex majorSevenSymbol
546 @item majorSevenSymbol
548 This property contains the markup object used to follow the output
549 of @code{chordRootNamer} to dentify a major 7 chord. Predefined
550 options are @code{whiteTriangleMarkup} and
551 @code{blackTriangleMarkup}.
553 @funindex chordNoteNamer
557 When the chord name contains additional pitches other than the root
558 (e.g., an added bass note), this function is used to print the
559 additional pitch. By default the pitch is printed using
560 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
561 to a specialized function to change this behavior. For example, the
562 bass note can be printed in lower case.
564 @funindex chordNameSeparator
566 @item chordNameSeparator
568 Different parts of a chord name are normally separated by a slash.
569 By setting @code{chordNameSeparator}, you can use any desired markup
572 @funindex chordNameExceptions
574 @item chordNameExceptions
576 This property is a list of pairs. The first item in each pair
577 is a set of pitches used to identify the steps present in the chord.
578 The second item is a markups that will follow the @code{chordRootNamer}
579 output to create the chord name.
581 @funindex chordPrefixSpacer
582 @item chordPrefixSpacer
584 The @q{m} for minor chords is usually printed immediately to the
585 right of the root of the chord. By setting
586 @code{chordPrefixSpacer}, you can fix a spacer between the root
587 and @q{m}. The spacer is not used when the root is altered.
593 @funindex major seven symbols
594 @code{\whiteTriangleMarkup},
595 @code{\blackTriangleMarkup},
596 @funindex \germanChords
597 @code{\germanChords},
598 @funindex \semiGermanChords
599 @code{\semiGermanChords},
600 @funindex \italianChords
601 @code{\italianChords},
602 @funindex \frenchChords
603 @code{\frenchChords}.
608 @cindex exceptions, chord names.
609 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
610 {chord-name-exceptions.ly}
612 @c TODO - tweak snippet to use \blackTriangleMarkup as well
613 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
614 {chord-name-major7.ly}
616 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
617 {adding-bar-lines-to-chordnames-context.ly}
619 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
620 {volta-below-chords.ly}
622 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
623 {changing-chord-separator.ly}
629 @ref{Chord name chart},
630 @ref{Common chord modifiers}.
633 @file{scm/@/chords@/-ignatzek@/.scm},
634 @file{scm/@/chord@/-entry@/.scm},
635 @file{ly/@/chord@/-modifier@/-init@/.ly}.
640 @c Internals Reference:
645 Chord names are determined from both the pitches that are present
646 in the chord and the information on the chord structure that may
647 have been entered in @code{\chordmode}. If the simultaneous pitches
648 method of entering chords is used, undesired names result from
649 inversions or bass notes.
651 @lilypond[quote,ragged-right,verbatim]
652 myChords = \relative c' {
653 \chordmode{ c1 c/g c/f }
654 <c e g> <g c e> <f c' e g>
657 \new ChordNames { \myChords }
658 \new Staff { \myChords }
664 @subsection Figured bass
666 @lilypondfile[quote]{figured-bass-headword.ly}
668 Figured bass notation can be displayed.
671 * Introduction to figured bass::
672 * Entering figured bass::
673 * Displaying figured bass::
676 @node Introduction to figured bass
677 @unnumberedsubsubsec Introduction to figured bass
679 @cindex Basso continuo
680 @cindex Thorough bass
682 @cindex Bass, thorough
683 @cindex Bass, figured
685 @c TODO: musicological blurb about FB
688 LilyPond has support for figured bass, also called thorough bass
691 @lilypond[quote,ragged-right,verbatim,fragment]
693 \new Voice { \clef bass dis4 c d ais g fis}
696 < 6 >4 < 7\+ >8 < 6+ [_!] >
704 The support for figured bass consists of two parts: there is an
705 input mode, introduced by @code{\figuremode}, that accepts
706 entry of bass figures, and there is a context named
707 @code{FiguredBass} that takes care of displaying
708 @code{BassFigure} objects. Figured bass can also be displayed
709 in @code{Staff} contexts.
711 @code{\figures@{ ... @}} is a shortcut notation for
712 @code{\new FiguredBass @{\figuremode @{ ... @}@}}.
715 Although the support for figured bass may superficially resemble chord
716 support, it is much simpler. @code{\figuremode} mode simply
717 stores the figures and the @code{FiguredBass} context prints them
718 as entered. There is no conversion to pitches.
720 Figures are created as markup texts. Any of the standard markup
721 properties can be used to modify the display of figures. For
722 example, the vertical spacing of the figures may be set with
723 @code{baseline-skip}.
728 @rglos{figured bass}.
734 @node Entering figured bass
735 @unnumberedsubsubsec Entering figured bass
737 @code{\figuremode} is used to switch the input mode to figure mode.
738 More information on different input modes can be
739 found at @ref{Input modes}.
741 In figure mode, a group of bass figures is delimited by
742 @code{<} and @code{>}. The duration is entered after the @code{>}.
744 @lilypond[verbatim,quote,ragged-right,fragment]
753 Accidentals (including naturals) can be added to figures:
755 @lilypond[verbatim,quote,ragged-right,fragment]
757 <7! 6+ 4-> <5++> <3-->
761 Augmented and diminished steps can be indicated.
763 @lilypond[verbatim,quote,ragged-right,fragment]
769 A backward slash through a figure (typically used for raised
770 sixth steps) can be created.
772 @lilypond[verbatim,quote,ragged-right,fragment]
779 Vertical spaces and brackets can be be included in figures:
781 @lilypond[verbatim,quote,ragged-right,fragment]
787 Any text markup can be inserted as a figure:
789 @lilypond[verbatim,quote,ragged-right,fragment]
791 < \markup{ \tiny \number 6 \super (1)} 5 >
795 @c NOTE: We need to include notes any time we use extenders to
796 @c avoid extraneous staff creation due to Staff.use... in
797 @c \bassFigureExtendersOn
799 Continuation lines can be used to indicate repeated figures:
801 @lilypond[verbatim,quote,ragged-right,fragment]
809 \bassFigureExtendersOn
810 <6 4> <6 3> <7 3> <7 3>
811 \bassFigureExtendersOff
812 <6 4> <6 3> <7 3> <7 3>
818 In this case, the extender lines replace existing figures,
819 unless the continuation lines have been explicitly terminated.
821 @lilypond[verbatim,quote,ragged-right,fragment]
824 \bassFigureExtendersOn
825 <6 4> <6 4> <6\! 4\!> <6 4>
834 The table below summarizes the figure modifiers available.
836 @multitable @columnfractions .1 .5 .4
850 @lilypond[line-width=4\cm]
852 <7! 6+ 4-> <5++> <3-->
859 Augmented and diminished steps
861 @lilypond[line-width=4\cm]
872 @lilypond[line-width=4\cm]
881 End of continuation line
883 @lilypond[line-width=1.5\cm]
886 \bassFigureExtendersOn
887 <6 4> <6 4> <6\! 4\!> <6 4>
901 @cindex figured bass extender lines
902 @code{\bassFigureExtendersOn},
903 @code{\bassFigureExtendersOff}.
907 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
908 {changing-the-positions-of-figured-bass-alterations.ly}
917 @c Notation Reference:
920 @c Application Usage:
930 @rinternals{BassFigure},
931 @rinternals{BassFigureAlignment},
932 @rinternals{BassFigureLine},
933 @rinternals{BassFigureBracket},
934 @rinternals{BassFigureContinuation},
935 @rinternals{FiguredBass}.
939 @node Displaying figured bass
940 @unnumberedsubsubsec Displaying figured bass
942 Figured bass can be displayed using the @code{FiguredBass} context,
943 or in most staff contexts.
945 When displayed in a @code{FiguredBass} context, the vertical location
946 of the figures is independent of the notes on the staff.
948 @lilypond[verbatim,ragged-right,fragment,quote]
963 In the example above, the @code{FiguredBass} context must be
964 explicitly instantiated to avoid creating a second (empty) staff.
967 Figured bass can also be added to @code{Staff} contexts
968 directly. In this case, the vertical position of the
969 figures is adjusted automatically.
971 @lilypond[verbatim,ragged-right,fragment,quote]
978 %% Put notes on same Staff as figures
979 \context Staff = myStaff
988 When added in a Staff context, figured bass can be displayed above
991 @lilypond[verbatim,ragged-right,fragment,quote]
996 \bassFigureStaffAlignmentDown
999 %% Put notes on same Staff as figures
1000 \context Staff = myStaff
1010 @cindex figured bass alignment
1011 @code{\bassFigureStaffAlignmentDown},
1012 @code{\bassFigureStaffAlignmentUp},
1013 @code{\bassFigureStaffAlignmentNeutral}.
1024 @c Notation Reference:
1027 @c Application Usage:
1036 Internals Reference:
1037 @rinternals{BassFigure},
1038 @rinternals{BassFigureAlignment},
1039 @rinternals{BassFigureLine},
1040 @rinternals{BassFigureBracket},
1041 @rinternals{BassFigureContinuation},
1042 @rinternals{FiguredBass}.
1046 To ensure that continuation lines work properly, it is
1047 safest to use the same rhythm in the figure line as in
1050 @lilypond[verbatim,ragged-right,fragment,quote]
1054 \repeat unfold 4 {f16. g32} f8. es16 d8 es
1057 \bassFigureExtendersOn
1058 % The extenders are correct here, with the same rhythm as the bass
1059 \repeat unfold 4 {<6 4->16. <6 4->32}
1060 <5>8. r16 <6>8 <6\! 5->
1066 \repeat unfold 4 {f16. g32} f8. es16 d8 es
1069 \bassFigureExtendersOn
1070 % The extenders are incorrect here, even though the timing is the same
1072 <5>8. r16 <6>8 <6\! 5->
1077 When using extender lines, adjacent figures with the same number in
1078 a different figure location can cause the figure positions to invert.
1080 @lilypond[verbatim,ragged-right,fragment,quote,relative=1]
1084 \bassFigureExtendersOn
1085 <6 5> <5\! 4> < 5 _!> <6>
1090 To avoid this problem, simply turn on extenders after the figure that
1091 begins the extender line and turn them off at the end of the extender line.
1093 @lilypond[verbatim,ragged-right,fragment,quote,relative=1]
1098 \bassFigureExtendersOn
1100 \bassFigureExtendersOff