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
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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. The default seventh step added to
143 chords is a minor or flatted seventh, which makes the dominant
144 seventh the basic seventh chord. All alterations are relative to
145 the dominant seventh. A more complete table of modifier usage
146 is found at @ref{Common chord modifiers}.
149 @multitable @columnfractions .2 .4 .3
161 The default action; produces a major triad.
163 @lilypond[line-width=4\cm, noragged-right]
165 \override Staff.TimeSignature #'stencil = ##f
173 The minor chord. This modifier lowers the 3rd.
175 @lilypond[line-width=4\cm, noragged-right]
177 \override Staff.TimeSignature #'stencil = ##f
186 The diminished chord. This modifier lowers the 3rd, 5th and (if
187 present) the 7th step.
189 @lilypond[line-width=4\cm, noragged-right]
191 \override Staff.TimeSignature #'stencil = ##f
199 The augmented chord. This modifier raises the 5th step.
201 @lilypond[line-width=4\cm, noragged-right]
203 \override Staff.TimeSignature #'stencil = ##f
211 The major 7th chord. This modifier adds a raised 7th step. The
212 @code{7} following @code{maj} is optional. Do NOT use this modifier
213 to create a major triad.
215 @lilypond[line-width=4\cm, noragged-right]
217 \override Staff.TimeSignature #'stencil = ##f
227 @ref{Common chord modifiers},
228 @ref{Extended and altered chords}.
234 Only one quality modifier should be used per chord, typically on the
235 highest step present in the chord. Chords with more than quality
236 modifier will be parsed without an error or warning, but the results
237 are unpredictable. Chords that cannot be achieved with a single
238 quality modifier should be altered by individual pitches, as described
239 in @ref{Extended and altered chords}.
242 @node Extended and altered chords
243 @unnumberedsubsubsec Extended and altered chords
245 @cindex extended chords
246 @cindex altered chords
248 Chord structures of arbitrary complexity can be created in chord
249 mode. The modifier string can be used to extend a chord, add or
250 remove chord steps, raise or lower chord steps, and add a bass note
251 or create an inversion.
253 The first number following the @code{:} is taken to be the extent
254 of the chord. The chord is constructed by sequentially adding
255 thirds to the root until the specified number has been reached.
256 Note that the seventh step added as part of an extended chord will be the
257 minor or flatted seventh, not the major seventh.
258 If the extent is not a third (e.g., 6), thirds are added up to the
259 highest third below the extent, and then the step of the extent is
260 added. The largest possible value for the extent is 13. Any
261 larger value is interpreted as 13.
263 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
273 Note that both @code{c:5} and @code{c} produce a C major triad.
275 Since an unaltered 11 does not sound good when combined with an
276 unaltered 13, the 11 is removed from a @code{:13} chord (unless it
277 is added explicitly).
279 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
285 @cindex additions, in chords
287 Individual steps can be added to a chord. Additions follow the
288 extent and are prefixed by a dot (@code{.}). The basic seventh
289 step added to a chord is the minor or flatted seventh, rather than
292 @lilypond[quote,verbatim,fragment,relative=1]
294 c1:5.6 c:3.7.8 c:3.6.13
298 Added steps can be as high as desired.
300 @lilypond[quote,verbatim,fragment,relative=1]
302 c4:5.15 c:5.20 c:5.25 c:5.30
306 @cindex chord steps, altering
308 Added chord steps can be altered by suffixing a @code{-} or @code{+}
309 sign to the number. To alter a step that is automatically included
310 as part of the basic chord structure, add it as an altered step.
312 @lilypond[quote,verbatim,fragment,relative=1]
314 c1:7+ c:5+.3- c:3-.5-.7-
318 @cindex removals, in chords
322 Following any steps to be added, a series of steps to be removed
323 is introduced in a modifier string with a prefix of @code{^}.
324 If more than one step is to be removed, the steps to be
325 removed are separated by @code{.} following the
328 @lilypond[quote,verbatim,fragment,relative=1]
330 c1^3 c:7^5 c:9^3 c:9^3.5 c:13.11^3.7
336 The modifier @code{sus} can be added to the modifier string to
337 create suspended chords. This removes the 3rd step from the chord.
338 Append either @code{2} or @code{4} to add the 2nd or 4th step to the
339 chord. @code{sus} is equivalent to @code{^3}; @code{sus4} is
340 equivalent to @code{.4^3}.
342 @lilypond[quote,ragged-right,fragment,verbatim]
344 c1:sus c:sus2 c:sus4 c:5.4^3
349 @cindex chord inversions
350 @cindex bass note, for chords
352 Inversions (putting a pitch other than the root on the bottom of the
353 chord) and added bass notes can be specified by appending
354 @code{/}@var{pitch} to the chord.
356 @lilypond[quote,ragged-right,fragment,verbatim, relative=2]
364 A bass note that is part of the chord can be added, instead of
365 moved as part of an inversion, by using @code{/+}@var{pitch}.
367 @lilypond[quote,ragged-right,fragment,verbatim]
373 Chord modifiers that can be used to produce a variety of
374 standard chords are shown in
375 @ref{Common chord modifiers}.
380 @ref{Common chord modifiers}.
388 Each step can only be present in a chord once. The following
389 simply produces the augmented chord, since @code{5+} is
392 @lilypond[quote,ragged-right,verbatim,fragment]
393 \chordmode { c1:5.5-.5+ }
396 Only the second inversion can be created by adding a bass
397 note. The first inversion requires changing the root of
400 @lilypond[quote,ragged-right,verbatim,fragment]
402 c'1: c':/g e:6-3-^5 e:m6-^5
406 @node Displaying chords
407 @subsection Displaying chords
409 Chords can be displayed by name, in addition to the standard display
413 * Printing chord names::
414 * Customizing chord names::
417 @node Printing chord names
418 @unnumberedsubsubsec Printing chord names
420 @cindex printing chord names
424 Chord names are printed in the @code{ChordNames} context:
426 @lilypond[verbatim,quote,relative=1,ragged-right]
434 Chords can be entered as simultaneous notes or through the use of
435 chord mode. The displayed chord name will be the same, regardless
436 of the mode of entry, unless there are inversions or added bass notes:
438 @lilypond[verbatim,quote,relative=1]
457 @cindex no chord symbol
459 @cindex indicating No Chord in ChordNames
461 Rests passed to a @code{ChordNames} context will cause the
462 @code{noChordSymbol} markup to be displayed.
464 @lilypond[verbatim, quote, relative=1]
466 \new ChordNames \chordmode {
472 \new Score \chordmode {
483 @code{\chords @{ ... @}} is a shortcut notation for
484 @code{\new ChordNames @{ \chordmode @{ ... @} @}}.
486 @lilypond[verbatim,quote,ragged-right, relative=1]
492 @lilypond[verbatim,quote,ragged-right, relative=1]
502 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
503 {showing-chords-at-changes.ly}
505 @c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
506 @c {adding-bar-lines-to-chordnames-context.ly}
508 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
509 {simple-lead-sheet.ly}
517 @ref{Writing music in parallel}.
523 @rinternals{ChordNames},
524 @rinternals{ChordName},
525 @rinternals{Chord_name_engraver},
526 @rinternals{Volta_engraver},
527 @rinternals{Bar_engraver}.
532 Chords containing inversions or altered bass notes are not named
533 properly if entered using simultaneous music.
536 @node Customizing chord names
537 @unnumberedsubsubsec Customizing chord names
539 @cindex customizing chord names
541 There is no unique system for naming chords. Different musical
542 traditions use different names for the same set of chords. There
543 are also different symbols displayed for a given chord name. The
544 names and symbols displayed for chord names are customizable.
549 The basic chord name layout is a system for Jazz music, proposed
550 by Klaus Ignatzek (see @ref{Literature list}). The chord naming
551 system can be modified as described below. An alternate jazz
552 chord system has been developed using these modifications.
553 The Ignatzek and alternate
554 Jazz notation are shown on the chart in @ref{Chord
557 @c TODO -- Change this so we don't have a non-verbatim example.
558 @c Make short example in docs, then move longer example to
559 @c appendix, where the length of the snippet won't matter.
561 In addition to the different naming systems, different note names
562 are used for the root in different languages. The predefined
563 variables @code{\germanChords}, @code{\semiGermanChords},
564 @code{\italianChords} and @code{\frenchChords} set these variables.
565 The effect is demonstrated here:
567 @lilypondfile[ragged-right]{chord-names-languages.ly}
569 If none of the existing settings give the desired output, the chord
570 name display can be tuned through the following properties.
574 @funindex chordRootNamer
578 The chord name is usually printed as a letter for the root with an
579 optional alteration. The transformation from pitch to letter is
580 done by this function. Special note names (for example, the German
581 @q{H} for a B-chord) can be produced by storing a new function in
584 @funindex majorSevenSymbol
586 @item majorSevenSymbol
588 This property contains the markup object used to follow the output
589 of @code{chordRootNamer} to identify a major 7 chord. Predefined
590 options are @code{whiteTriangleMarkup} and
591 @code{blackTriangleMarkup}.
593 @funindex chordNoteNamer
597 When the chord name contains additional pitches other than the root
598 (e.g., an added bass note), this function is used to print the
599 additional pitch. By default the pitch is printed using
600 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
601 to a specialized function to change this behavior. For example, the
602 bass note can be printed in lower case.
604 @funindex chordNameSeparator
606 @item chordNameSeparator
608 Different parts of a chord name are normally separated by a slash.
609 By setting @code{chordNameSeparator}, you can use any desired markup
612 @funindex chordNameExceptions
614 @item chordNameExceptions
616 This property is a list of pairs. The first item in each pair
617 is a set of pitches used to identify the steps present in the chord.
618 The second item is a markup that will follow the @code{chordRootNamer}
619 output to create the chord name.
621 @funindex chordPrefixSpacer
622 @item chordPrefixSpacer
624 The @q{m} for minor chords is usually printed immediately to the
625 right of the root of the chord. A spacer can be placed between
626 the root and @q{m} by setting @code{chordPrefixSpacer}.
627 The spacer is not used when the root is altered.
633 @funindex major seven symbols
634 @code{\whiteTriangleMarkup},
635 @code{\blackTriangleMarkup},
636 @funindex \germanChords
637 @code{\germanChords},
638 @funindex \semiGermanChords
639 @code{\semiGermanChords},
640 @funindex \italianChords
641 @code{\italianChords},
642 @funindex \frenchChords
643 @code{\frenchChords}.
649 @cindex exceptions, chord names.
650 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
651 {chord-name-exceptions.ly}
653 @c TODO - tweak snippet to use \blackTriangleMarkup as well
654 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
655 {chord-name-major7.ly}
657 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
658 {adding-bar-lines-to-chordnames-context.ly}
660 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
661 {volta-below-chords.ly}
663 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
664 {changing-chord-separator.ly}
669 @ref{Chord name chart},
670 @ref{Common chord modifiers}.
673 @file{scm/@/chords@/-ignatzek@/.scm},
674 @file{scm/@/chord@/-entry@/.scm},
675 @file{ly/@/chord@/-modifier@/-init@/.ly}.
680 @c Internals Reference:
686 Chord names are determined from both the pitches that are present
687 in the chord and the information on the chord structure that may
688 have been entered in @code{\chordmode}. If the simultaneous pitches
689 method of entering chords is used, undesired names result from
690 inversions or bass notes.
692 @lilypond[quote,ragged-right,verbatim]
693 myChords = \relative c' {
694 \chordmode { c1 c/g c/f }
695 <c e g>1 <g c e> <f c' e g>
698 \new ChordNames { \myChords }
699 \new Staff { \myChords }
705 @subsection Figured bass
707 @lilypondfile[quote]{figured-bass-headword.ly}
709 Figured bass notation can be displayed.
712 * Introduction to figured bass::
713 * Entering figured bass::
714 * Displaying figured bass::
717 @node Introduction to figured bass
718 @unnumberedsubsubsec Introduction to figured bass
720 @cindex Basso continuo
721 @cindex Thorough bass
723 @cindex Bass, thorough
724 @cindex Bass, figured
726 @c TODO: musicological blurb about FB
729 LilyPond has support for figured bass, also called thorough bass
732 @lilypond[quote,ragged-right,verbatim,fragment]
734 \new Voice { \clef bass dis4 c d ais g fis}
737 < 6 >4 < 7\+ >8 < 6+ [_!] >
745 The support for figured bass consists of two parts: there is an
746 input mode, introduced by @code{\figuremode}, that accepts
747 entry of bass figures, and there is a context named
748 @code{FiguredBass} that takes care of displaying
749 @code{BassFigure} objects. Figured bass can also be displayed
750 in @code{Staff} contexts.
752 @code{\figures@{ ... @}} is a shortcut notation for
753 @code{\new FiguredBass @{ \figuremode @{ ... @} @}}.
756 Although the support for figured bass may superficially resemble chord
757 support, it is much simpler. @code{\figuremode} mode simply
758 stores the figures and the @code{FiguredBass} context prints them
759 as entered. There is no conversion to pitches.
762 Figures are created as markup texts. Any of the standard markup
763 properties can be used to modify the display of figures. For
764 example, the vertical spacing of the figures may be set with
765 @code{baseline-skip}.
771 @rglos{figured bass}.
777 @node Entering figured bass
778 @unnumberedsubsubsec Entering figured bass
780 @code{\figuremode} is used to switch the input mode to figure mode.
781 More information on different input modes can be
782 found at @ref{Input modes}.
784 In figure mode, a group of bass figures is delimited by
785 @code{<} and @code{>}. The duration is entered after the @code{>}.
787 @lilypond[verbatim,quote,ragged-right,fragment]
796 Accidentals (including naturals) can be added to figures:
798 @lilypond[verbatim,quote,ragged-right,fragment]
800 <7! 6+ 4-> <5++> <3-->
804 Augmented and diminished steps can be indicated:
806 @lilypond[verbatim,quote,ragged-right,fragment]
812 A backward slash through a figure (typically used for raised
813 sixth steps) can be created:
815 @lilypond[verbatim,quote,ragged-right,fragment]
821 Vertical spaces and brackets can be be included in figures:
823 @lilypond[verbatim,quote,ragged-right,fragment]
829 Any text markup can be inserted as a figure:
831 @lilypond[verbatim,quote,ragged-right,fragment]
833 <\markup { \tiny \number 6 \super (1) } 5>
837 @c NOTE: We need to include notes any time we use extenders to
838 @c avoid extraneous staff creation due to Staff.use... in
839 @c \bassFigureExtendersOn
841 Continuation lines can be used to indicate repeated figures:
843 @lilypond[verbatim,quote,ragged-right,fragment]
851 \bassFigureExtendersOn
852 <6 4>4 <6 3> <7 3> <7 3>
853 \bassFigureExtendersOff
854 <6 4>4 <6 3> <7 3> <7 3>
860 In this case, the extender lines replace existing figures,
861 unless the continuation lines have been explicitly terminated.
863 @lilypond[verbatim,quote,ragged-right,fragment]
866 \bassFigureExtendersOn
867 <6 4>4 <6 4> <6\! 4\!> <6 4>
876 The table below summarizes the figure modifiers available.
878 @multitable @columnfractions .1 .5 .4
892 @lilypond[line-width=4\cm]
894 <7! 6+ 4-> <5++> <3-->
901 Augmented and diminished steps
903 @lilypond[line-width=4\cm]
914 @lilypond[line-width=4\cm]
923 End of continuation line
925 @lilypond[line-width=4\cm]
928 \bassFigureExtendersOn
929 <6 4> <6 4> <6\! 4\!> <6 4>
942 @cindex figured bass extender lines
943 @code{\bassFigureExtendersOn},
944 @code{\bassFigureExtendersOff}.
949 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
950 {changing-the-positions-of-figured-bass-alterations.ly}
960 @c Notation Reference:
963 @c Application Usage:
973 @rinternals{BassFigure},
974 @rinternals{BassFigureAlignment},
975 @rinternals{BassFigureLine},
976 @rinternals{BassFigureBracket},
977 @rinternals{BassFigureContinuation},
978 @rinternals{FiguredBass}.
984 @node Displaying figured bass
985 @unnumberedsubsubsec Displaying figured bass
987 Figured bass can be displayed using the @code{FiguredBass} context,
988 or in most staff contexts.
990 When displayed in a @code{FiguredBass} context, the vertical location
991 of the figures is independent of the notes on the staff.
993 @lilypond[verbatim,ragged-right,fragment,quote]
1008 In the example above, the @code{FiguredBass} context must be
1009 explicitly instantiated to avoid creating a second (empty) staff.
1012 Figured bass can also be added to @code{Staff} contexts
1013 directly. In this case, the vertical position of the
1014 figures is adjusted automatically.
1016 @lilypond[verbatim,ragged-right,fragment,quote]
1018 \new Staff = myStaff
1023 %% Put notes on same Staff as figures
1024 \context Staff = myStaff
1033 When added in a @code{Staff} context, figured bass can be displayed above
1036 @lilypond[verbatim,ragged-right,fragment,quote]
1038 \new Staff = myStaff
1041 \bassFigureStaffAlignmentDown
1044 %% Put notes on same Staff as figures
1045 \context Staff = myStaff
1055 @cindex figured bass alignment
1056 @code{\bassFigureStaffAlignmentDown},
1057 @code{\bassFigureStaffAlignmentUp},
1058 @code{\bassFigureStaffAlignmentNeutral}.
1072 @c Notation Reference:
1075 @c Application Usage:
1084 Internals Reference:
1085 @rinternals{BassFigure},
1086 @rinternals{BassFigureAlignment},
1087 @rinternals{BassFigureLine},
1088 @rinternals{BassFigureBracket},
1089 @rinternals{BassFigureContinuation},
1090 @rinternals{FiguredBass}.
1095 To ensure that continuation lines work properly, it is
1096 safest to use the same rhythm in the figure line as in
1099 @lilypond[verbatim,ragged-right,fragment,quote]
1103 \repeat unfold 4 { f16. g32 } f8. es16 d8 es
1106 \bassFigureExtendersOn
1107 % The extenders are correct here, with the same rhythm as the bass
1108 \repeat unfold 4 { <6 4->16. <6 4->32 }
1109 <5>8. r16 <6>8 <6\! 5->
1115 \repeat unfold 4 { f16. g32 } f8. es16 d8 es
1118 \bassFigureExtendersOn
1119 % The extenders are incorrect here, even though the timing is the same
1121 <5>8. r16 <6>8 <6\! 5->
1126 When using extender lines, adjacent figures with the same number in
1127 a different figure location can cause the figure positions to invert.
1129 @lilypond[verbatim,ragged-right,fragment,quote,relative=1]
1133 \bassFigureExtendersOn
1134 <6 5>4 <5\! 4> < 5 _!> <6>
1139 To avoid this problem, simply turn on extenders after the figure that
1140 begins the extender line and turn them off at the end of the extender line.
1142 @lilypond[verbatim,ragged-right,fragment,quote,relative=1]
1147 \bassFigureExtendersOn
1149 \bassFigureExtendersOff