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.
64 @code{\chordmode} is absolute, as @code{\relative} has no effect
65 on @code{chordmode} blocks. However, in @code{\chordmode} the
66 absolute pitches are one octave higher than in note mode.
68 Chord mode and note mode can be mixed in sequential music:
70 @lilypond[verbatim,quote,ragged-right,relative=1]
92 When chord mode and note mode are mixed in sequential music, and
93 chord mode comes first, the note mode will create a new @code{Staff}
96 @lilypond[verbatim,quote,ragged-right,relative=1]
101 To avoid this behavior, explicitly create the @code{Staff} context:
103 @lilypond[verbatim,quote,ragged-right,relative=1]
111 @unnumberedsubsubsec Common chords
114 @cindex seventh chords
115 @cindex root of chord
116 @cindex modifiers, in chords.
117 @cindex chord quality
119 Major triads are entered by including the root and an
122 @lilypond[verbatim,quote,relative=1,ragged-right]
123 \chordmode { c2 f4 g }
126 Minor, augmented, and diminished triads are entered by placing
127 @code{:} and a quality modifier string after the duration:
129 @lilypond[verbatim,quote,ragged-right,relative=1]
130 \chordmode { c2:m f4:aug g:dim }
133 Seventh chords can be created:
135 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
136 \chordmode { c1:7 c:m7 c:maj7 c:dim7 c:aug7 }
144 The table belows shows the actions of the quality modifiers on
145 triads and seventh chords. The default seventh step added to
146 chords is a minor or flatted seventh, which makes the dominant
147 seventh the basic seventh chord. All alterations are relative to
148 the dominant seventh. A more complete table of modifier usage
149 is found at @ref{Common chord modifiers}.
152 @multitable @columnfractions .2 .4 .3
164 The default action; produces a major triad.
166 @lilypond[line-width=4\cm, noragged-right]
168 \override Staff.TimeSignature #'stencil = ##f
176 The minor chord. This modifier lowers the 3rd.
178 @lilypond[line-width=4\cm, noragged-right]
180 \override Staff.TimeSignature #'stencil = ##f
189 The diminished chord. This modifier lowers the 3rd, 5th and (if
190 present) the 7th step.
192 @lilypond[line-width=4\cm, noragged-right]
194 \override Staff.TimeSignature #'stencil = ##f
202 The augmented chord. This modifier raises the 5th step.
204 @lilypond[line-width=4\cm, noragged-right]
206 \override Staff.TimeSignature #'stencil = ##f
214 The major 7th chord. This modifier adds a raised 7th step. The
215 @code{7} following @code{maj} is optional. Do NOT use this modifier
216 to create a major triad.
218 @lilypond[line-width=4\cm, noragged-right]
220 \override Staff.TimeSignature #'stencil = ##f
230 @ref{Common chord modifiers},
231 @ref{Extended and altered chords}.
237 Only one quality modifier should be used per chord, typically on the
238 highest step present in the chord. Chords with more than quality
239 modifier will be parsed without an error or warning, but the results
240 are unpredictable. Chords that cannot be achieved with a single
241 quality modifier should be altered by individual pitches, as described
242 in @ref{Extended and altered chords}.
245 @node Extended and altered chords
246 @unnumberedsubsubsec Extended and altered chords
248 @cindex extended chords
249 @cindex altered chords
251 Chord structures of arbitrary complexity can be created in chord
252 mode. The modifier string can be used to extend a chord, add or
253 remove chord steps, raise or lower chord steps, and add a bass note
254 or create an inversion.
256 The first number following the @code{:} is taken to be the extent
257 of the chord. The chord is constructed by sequentially adding
258 thirds to the root until the specified number has been reached.
259 Note that the seventh step added as part of an extended chord will be the
260 minor or flatted seventh, not the major seventh.
261 If the extent is not a third (e.g., 6), thirds are added up to the
262 highest third below the extent, and then the step of the extent is
263 added. The largest possible value for the extent is 13. Any
264 larger value is interpreted as 13.
266 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
276 Note that both @code{c:5} and @code{c} produce a C major triad.
278 Since an unaltered 11 does not sound good when combined with an
279 unaltered 13, the 11 is removed from a @code{:13} chord (unless it
280 is added explicitly).
282 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
288 @cindex additions, in chords
290 Individual steps can be added to a chord. Additions follow the
291 extent and are prefixed by a dot (@code{.}). The basic seventh
292 step added to a chord is the minor or flatted seventh, rather than
295 @lilypond[quote,verbatim,fragment,relative=1]
297 c1:5.6 c:3.7.8 c:3.6.13
301 Added steps can be as high as desired.
303 @lilypond[quote,verbatim,fragment,relative=1]
305 c4:5.15 c:5.20 c:5.25 c:5.30
309 @cindex chord steps, altering
311 Added chord steps can be altered by suffixing a @code{-} or @code{+}
312 sign to the number. To alter a step that is automatically included
313 as part of the basic chord structure, add it as an altered step.
315 @lilypond[quote,verbatim,fragment,relative=1]
317 c1:7+ c:5+.3- c:3-.5-.7-
321 @cindex removals, in chords
325 Following any steps to be added, a series of steps to be removed
326 is introduced in a modifier string with a prefix of @code{^}.
327 If more than one step is to be removed, the steps to be
328 removed are separated by @code{.} following the
331 @lilypond[quote,verbatim,fragment,relative=1]
333 c1^3 c:7^5 c:9^3 c:9^3.5 c:13.11^3.7
339 The modifier @code{sus} can be added to the modifier string to
340 create suspended chords. This removes the 3rd step from the chord.
341 Append either @code{2} or @code{4} to add the 2nd or 4th step to the
342 chord. @code{sus} is equivalent to @code{^3}; @code{sus4} is
343 equivalent to @code{.4^3}.
345 @lilypond[quote,ragged-right,fragment,verbatim]
347 c1:sus c:sus2 c:sus4 c:5.4^3
352 @cindex chord inversions
353 @cindex bass note, for chords
355 Inversions (putting a pitch other than the root on the bottom of the
356 chord) and added bass notes can be specified by appending
357 @code{/}@var{pitch} to the chord.
359 @lilypond[quote,ragged-right,fragment,verbatim, relative=2]
367 A bass note that is part of the chord can be added, instead of
368 moved as part of an inversion, by using @code{/+}@var{pitch}.
370 @lilypond[quote,ragged-right,fragment,verbatim]
376 Chord modifiers that can be used to produce a variety of
377 standard chords are shown in
378 @ref{Common chord modifiers}.
383 @ref{Common chord modifiers}.
391 Each step can only be present in a chord once. The following
392 simply produces the augmented chord, since @code{5+} is
395 @lilypond[quote,ragged-right,verbatim,fragment]
396 \chordmode { c1:5.5-.5+ }
399 Only the second inversion can be created by adding a bass
400 note. The first inversion requires changing the root of
403 @lilypond[quote,ragged-right,verbatim,fragment]
405 c'1: c':/g e:6-3-^5 e:m6-^5
409 @node Displaying chords
410 @subsection Displaying chords
412 Chords can be displayed by name, in addition to the standard display
416 * Printing chord names::
417 * Customizing chord names::
420 @node Printing chord names
421 @unnumberedsubsubsec Printing chord names
423 @cindex printing chord names
427 Chord names are printed in the @code{ChordNames} context:
429 @lilypond[verbatim,quote,relative=1,ragged-right]
437 Chords can be entered as simultaneous notes or through the use of
438 chord mode. The displayed chord name will be the same, regardless
439 of the mode of entry, unless there are inversions or added bass notes:
441 @lilypond[verbatim,quote,relative=1]
460 @cindex no chord symbol
462 @cindex indicating No Chord in ChordNames
464 Rests passed to a @code{ChordNames} context will cause the
465 @code{noChordSymbol} markup to be displayed.
467 @lilypond[verbatim, quote, relative=1]
469 \new ChordNames \chordmode {
475 \new Score \chordmode {
486 @code{\chords @{ ... @}} is a shortcut notation for
487 @code{\new ChordNames @{ \chordmode @{ ... @} @}}.
489 @lilypond[verbatim,quote,ragged-right, relative=1]
495 @lilypond[verbatim,quote,ragged-right, relative=1]
505 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
506 {showing-chords-at-changes.ly}
508 @c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
509 @c {adding-bar-lines-to-chordnames-context.ly}
511 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
512 {simple-lead-sheet.ly}
520 @ref{Writing music in parallel}.
526 @rinternals{ChordNames},
527 @rinternals{ChordName},
528 @rinternals{Chord_name_engraver},
529 @rinternals{Volta_engraver},
530 @rinternals{Bar_engraver}.
535 Chords containing inversions or altered bass notes are not named
536 properly if entered using simultaneous music.
539 @node Customizing chord names
540 @unnumberedsubsubsec Customizing chord names
542 @cindex customizing chord names
544 There is no unique system for naming chords. Different musical
545 traditions use different names for the same set of chords. There
546 are also different symbols displayed for a given chord name. The
547 names and symbols displayed for chord names are customizable.
552 The basic chord name layout is a system for Jazz music, proposed
553 by Klaus Ignatzek (see @ref{Literature list}). The chord naming
554 system can be modified as described below. An alternate jazz
555 chord system has been developed using these modifications.
556 The Ignatzek and alternate
557 Jazz notation are shown on the chart in @ref{Chord
560 @c TODO -- Change this so we don't have a non-verbatim example.
561 @c Make short example in docs, then move longer example to
562 @c appendix, where the length of the snippet won't matter.
564 In addition to the different naming systems, different note names
565 are used for the root in different languages. The predefined
566 variables @code{\germanChords}, @code{\semiGermanChords},
567 @code{\italianChords} and @code{\frenchChords} set these variables.
568 The effect is demonstrated here:
570 @lilypondfile[ragged-right]{chord-names-languages.ly}
572 If none of the existing settings give the desired output, the chord
573 name display can be tuned through the following properties.
577 @funindex chordRootNamer
581 The chord name is usually printed as a letter for the root with an
582 optional alteration. The transformation from pitch to letter is
583 done by this function. Special note names (for example, the German
584 @q{H} for a B-chord) can be produced by storing a new function in
587 @funindex majorSevenSymbol
589 @item majorSevenSymbol
591 This property contains the markup object used to follow the output
592 of @code{chordRootNamer} to identify a major 7 chord. Predefined
593 options are @code{whiteTriangleMarkup} and
594 @code{blackTriangleMarkup}.
596 @funindex chordNoteNamer
600 When the chord name contains additional pitches other than the root
601 (e.g., an added bass note), this function is used to print the
602 additional pitch. By default the pitch is printed using
603 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
604 to a specialized function to change this behavior. For example, the
605 bass note can be printed in lower case.
607 @funindex chordNameSeparator
609 @item chordNameSeparator
611 Different parts of a chord name are normally separated by a slash.
612 By setting @code{chordNameSeparator}, you can use any desired markup
615 @funindex chordNameExceptions
617 @item chordNameExceptions
619 This property is a list of pairs. The first item in each pair
620 is a set of pitches used to identify the steps present in the chord.
621 The second item is a markup that will follow the @code{chordRootNamer}
622 output to create the chord name.
624 @funindex chordPrefixSpacer
625 @item chordPrefixSpacer
627 The @q{m} for minor chords is usually printed immediately to the
628 right of the root of the chord. A spacer can be placed between
629 the root and @q{m} by setting @code{chordPrefixSpacer}.
630 The spacer is not used when the root is altered.
636 @funindex major seven symbols
637 @code{\whiteTriangleMarkup},
638 @code{\blackTriangleMarkup},
639 @funindex \germanChords
640 @code{\germanChords},
641 @funindex \semiGermanChords
642 @code{\semiGermanChords},
643 @funindex \italianChords
644 @code{\italianChords},
645 @funindex \frenchChords
646 @code{\frenchChords}.
652 @cindex exceptions, chord names.
653 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
654 {chord-name-exceptions.ly}
656 @c TODO - tweak snippet to use \blackTriangleMarkup as well
657 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
658 {chord-name-major7.ly}
660 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
661 {adding-bar-lines-to-chordnames-context.ly}
663 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
664 {volta-below-chords.ly}
666 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
667 {changing-chord-separator.ly}
672 @ref{Chord name chart},
673 @ref{Common chord modifiers}.
676 @file{scm/@/chords@/-ignatzek@/.scm},
677 @file{scm/@/chord@/-entry@/.scm},
678 @file{ly/@/chord@/-modifier@/-init@/.ly}.
683 @c Internals Reference:
689 Chord names are determined from both the pitches that are present
690 in the chord and the information on the chord structure that may
691 have been entered in @code{\chordmode}. If the simultaneous pitches
692 method of entering chords is used, undesired names result from
693 inversions or bass notes.
695 @lilypond[quote,ragged-right,verbatim]
696 myChords = \relative c' {
697 \chordmode { c1 c/g c/f }
698 <c e g>1 <g c e> <f c' e g>
701 \new ChordNames { \myChords }
702 \new Staff { \myChords }
708 @subsection Figured bass
710 @lilypondfile[quote]{figured-bass-headword.ly}
712 Figured bass notation can be displayed.
715 * Introduction to figured bass::
716 * Entering figured bass::
717 * Displaying figured bass::
720 @node Introduction to figured bass
721 @unnumberedsubsubsec Introduction to figured bass
723 @cindex Basso continuo
724 @cindex Thorough bass
726 @cindex Bass, thorough
727 @cindex Bass, figured
729 @c TODO: musicological blurb about FB
732 LilyPond has support for figured bass, also called thorough bass
735 @lilypond[quote,ragged-right,verbatim,fragment]
737 \new Voice { \clef bass dis4 c d ais g fis}
740 < 6 >4 < 7\+ >8 < 6+ [_!] >
748 The support for figured bass consists of two parts: there is an
749 input mode, introduced by @code{\figuremode}, that accepts
750 entry of bass figures, and there is a context named
751 @code{FiguredBass} that takes care of displaying
752 @code{BassFigure} objects. Figured bass can also be displayed
753 in @code{Staff} contexts.
755 @code{\figures@{ ... @}} is a shortcut notation for
756 @code{\new FiguredBass @{ \figuremode @{ ... @} @}}.
759 Although the support for figured bass may superficially resemble chord
760 support, it is much simpler. @code{\figuremode} mode simply
761 stores the figures and the @code{FiguredBass} context prints them
762 as entered. There is no conversion to pitches.
765 Figures are created as markup texts. Any of the standard markup
766 properties can be used to modify the display of figures. For
767 example, the vertical spacing of the figures may be set with
768 @code{baseline-skip}.
774 @rglos{figured bass}.
780 @node Entering figured bass
781 @unnumberedsubsubsec Entering figured bass
783 @code{\figuremode} is used to switch the input mode to figure mode.
784 More information on different input modes can be
785 found at @ref{Input modes}.
787 In figure mode, a group of bass figures is delimited by
788 @code{<} and @code{>}. The duration is entered after the @code{>}.
790 @lilypond[verbatim,quote,ragged-right,fragment]
799 Accidentals (including naturals) can be added to figures:
801 @lilypond[verbatim,quote,ragged-right,fragment]
803 <7! 6+ 4-> <5++> <3-->
807 Augmented and diminished steps can be indicated:
809 @lilypond[verbatim,quote,ragged-right,fragment]
815 A backward slash through a figure (typically used for raised
816 sixth steps) can be created:
818 @lilypond[verbatim,quote,ragged-right,fragment]
824 Vertical spaces and brackets can be be included in figures:
826 @lilypond[verbatim,quote,ragged-right,fragment]
832 Any text markup can be inserted as a figure:
834 @lilypond[verbatim,quote,ragged-right,fragment]
836 <\markup { \tiny \number 6 \super (1) } 5>
840 @c NOTE: We need to include notes any time we use extenders to
841 @c avoid extraneous staff creation due to Staff.use... in
842 @c \bassFigureExtendersOn
844 Continuation lines can be used to indicate repeated figures:
846 @lilypond[verbatim,quote,ragged-right,fragment]
854 \bassFigureExtendersOn
855 <6 4>4 <6 3> <7 3> <7 3>
856 \bassFigureExtendersOff
857 <6 4>4 <6 3> <7 3> <7 3>
863 In this case, the extender lines replace existing figures,
864 unless the continuation lines have been explicitly terminated.
866 @lilypond[verbatim,quote,ragged-right,fragment]
869 \bassFigureExtendersOn
870 <6 4>4 <6 4> <6\! 4\!> <6 4>
879 The table below summarizes the figure modifiers available.
881 @multitable @columnfractions .1 .5 .4
895 @lilypond[line-width=4\cm]
897 <7! 6+ 4-> <5++> <3-->
904 Augmented and diminished steps
906 @lilypond[line-width=4\cm]
917 @lilypond[line-width=4\cm]
926 End of continuation line
928 @lilypond[line-width=4\cm]
931 \bassFigureExtendersOn
932 <6 4> <6 4> <6\! 4\!> <6 4>
945 @cindex figured bass extender lines
946 @code{\bassFigureExtendersOn},
947 @code{\bassFigureExtendersOff}.
952 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
953 {changing-the-positions-of-figured-bass-alterations.ly}
963 @c Notation Reference:
966 @c Application Usage:
976 @rinternals{BassFigure},
977 @rinternals{BassFigureAlignment},
978 @rinternals{BassFigureLine},
979 @rinternals{BassFigureBracket},
980 @rinternals{BassFigureContinuation},
981 @rinternals{FiguredBass}.
987 @node Displaying figured bass
988 @unnumberedsubsubsec Displaying figured bass
990 Figured bass can be displayed using the @code{FiguredBass} context,
991 or in most staff contexts.
993 When displayed in a @code{FiguredBass} context, the vertical location
994 of the figures is independent of the notes on the staff.
996 @lilypond[verbatim,ragged-right,fragment,quote]
1011 In the example above, the @code{FiguredBass} context must be
1012 explicitly instantiated to avoid creating a second (empty) staff.
1015 Figured bass can also be added to @code{Staff} contexts
1016 directly. In this case, the vertical position of the
1017 figures is adjusted automatically.
1019 @lilypond[verbatim,ragged-right,fragment,quote]
1021 \new Staff = myStaff
1026 %% Put notes on same Staff as figures
1027 \context Staff = myStaff
1036 When added in a @code{Staff} context, figured bass can be displayed above
1039 @lilypond[verbatim,ragged-right,fragment,quote]
1041 \new Staff = myStaff
1044 \bassFigureStaffAlignmentDown
1047 %% Put notes on same Staff as figures
1048 \context Staff = myStaff
1058 @cindex figured bass alignment
1059 @code{\bassFigureStaffAlignmentDown},
1060 @code{\bassFigureStaffAlignmentUp},
1061 @code{\bassFigureStaffAlignmentNeutral}.
1075 @c Notation Reference:
1078 @c Application Usage:
1087 Internals Reference:
1088 @rinternals{BassFigure},
1089 @rinternals{BassFigureAlignment},
1090 @rinternals{BassFigureLine},
1091 @rinternals{BassFigureBracket},
1092 @rinternals{BassFigureContinuation},
1093 @rinternals{FiguredBass}.
1098 To ensure that continuation lines work properly, it is
1099 safest to use the same rhythm in the figure line as in
1102 @lilypond[verbatim,ragged-right,fragment,quote]
1106 \repeat unfold 4 { f16. g32 } f8. es16 d8 es
1109 \bassFigureExtendersOn
1110 % The extenders are correct here, with the same rhythm as the bass
1111 \repeat unfold 4 { <6 4->16. <6 4->32 }
1112 <5>8. r16 <6>8 <6\! 5->
1118 \repeat unfold 4 { f16. g32 } f8. es16 d8 es
1121 \bassFigureExtendersOn
1122 % The extenders are incorrect here, even though the timing is the same
1124 <5>8. r16 <6>8 <6\! 5->
1129 When using extender lines, adjacent figures with the same number in
1130 a different figure location can cause the figure positions to invert.
1132 @lilypond[verbatim,ragged-right,fragment,quote,relative=1]
1136 \bassFigureExtendersOn
1137 <6 5>4 <5\! 4> < 5 _!> <6>
1142 To avoid this problem, simply turn on extenders after the figure that
1143 begins the extender line and turn them off at the end of the extender line.
1145 @lilypond[verbatim,ragged-right,fragment,quote,relative=1]
1150 \bassFigureExtendersOn
1152 \bassFigureExtendersOff