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
23 @subsection Chords sections
27 * Introducing chord names::
29 * Printing chord names::
32 @c really awkward; I just shoved this in here from the tutorial.
34 @subsubsection A lead sheet
40 In popular music it is common to denote accompaniment with chord
41 names. Such chords can be entered like notes,
43 @lilypond[verbatim,quote,ragged-right]
44 \chordmode { c2 f4. g8 }
47 Now each pitch is read as the root of a chord instead of a note.
48 This mode is switched on with @code{\chordmode}. Other chords can
49 be created by adding modifiers after a colon. The following
50 example shows a few common modifiers:
52 @lilypond[verbatim,quote,ragged-right]
53 \chordmode { c2 f4:m g4:maj7 gis1:dim7 }
56 For lead sheets, chords are not printed on staves, but as names on
57 a line for themselves. This is achieved by using @code{\chords}
58 instead of @code{\chordmode}. This uses the same syntax as
59 @code{\chordmode}, but renders the notes in a @code{ChordNames}
60 context, with the following result:
62 @lilypond[verbatim,quote,ragged-right]
63 \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
67 When put together, chord names, lyrics and a melody form a lead
70 @lilypond[verbatim,quote,ragged-right]
72 \chords { c2 g:sus4 f e }
77 \addlyrics { One day this shall be free __ }
84 A complete list of modifiers and other options for layout can be
85 found in @ruser{Chords}.
89 @node Introducing chord names
90 @subsubsection Introducing chord names
93 LilyPond has support for printing chord names. Chords may be entered
94 in musical chord notation, i.e., @code{< .. >}, but they can also be
95 entered by name. Internally, the chords are represented as a set of
96 pitches, so they can be transposed
99 @lilypond[quote,ragged-right,verbatim,ragged-right]
100 twoWays = \transpose c c' {
109 << \new ChordNames \twoWays
110 \new Voice \twoWays >>
113 This example also shows that the chord printing routines do not try to
114 be intelligent. The last chord (@code{f bes d}) is not interpreted as
117 Note that the duration of chords must be specified outside the
126 @subsubsection Chords mode
129 In chord mode sets of pitches (chords) are entered with normal note
130 names. A chord is entered by the root, which is entered like a
133 @lilypond[quote,ragged-right,fragment,verbatim]
134 \chordmode { es4. d8 c2 }
138 The mode is introduced by the keyword @code{\chordmode}.
143 Other chords may be entered by suffixing a colon and introducing a
144 modifier (which may include a number if desired)
146 @lilypond[quote,fragment,verbatim]
147 \chordmode { e1:m e1:7 e1:m7 }
150 The first number following the root is taken to be the @q{type} of the
151 chord, thirds are added to the root until it reaches the specified
152 number. The exception is @code{c:13}, for which the 11 is omitted.
154 @lilypond[quote,fragment,verbatim]
155 \chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 c:13 }
158 @cindex root of chord
159 @cindex additions, in chords
160 @cindex removals, in chords
162 More complex chords may also be constructed adding separate steps
163 to a chord. Additions are added after the number following
164 the colon and are separated by dots
166 @lilypond[quote,verbatim,fragment]
167 \chordmode { c:5.6 c:3.7.8 c:3.6.13 }
170 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
173 @lilypond[quote,verbatim,fragment]
174 \chordmode { c:7+ c:5+.3- c:3-.5-.7- }
177 Removals are specified similarly and are introduced by a caret. They
178 must come after the additions
180 @lilypond[quote,verbatim,fragment]
181 \chordmode { c^3 c:7^5 c:9^3.5 }
184 Modifiers can be used to change pitches. The following modifiers are
189 The minor chord. This modifier lowers the 3rd and (if present) the 7th step.
192 The diminished chord. This modifier lowers the 3rd, 5th and (if present)
196 The augmented chord. This modifier raises the 5th step.
199 The major 7th chord. This modifier raises the 7th step if present.
202 The suspended 4th or 2nd. This modifier removes the 3rd
203 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
207 Modifiers can be mixed with additions
208 @lilypond[quote,verbatim,fragment]
209 \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
212 @cindex modifiers, in chords.
219 Since an unaltered 11 does not sound good when combined with an
220 unaltered 13, the 11 is removed in this case (unless it is added
222 @lilypond[quote,ragged-right,fragment,verbatim]
223 \chordmode { c:13 c:13.11 c:m13 }
228 An inversion (putting one pitch of the chord on the bottom), as well
229 as bass notes, can be specified by appending
230 @code{/}@var{pitch} to the chord
231 @lilypond[quote,ragged-right,fragment,verbatim]
232 \chordmode { c1 c/g c/f }
236 A bass note can be added instead of transposed out of the chord,
237 by using @code{/+}@var{pitch}.
239 @lilypond[quote,ragged-right,fragment,verbatim]
240 \chordmode { c1 c/+g c/+f }
243 Chords is a mode similar to @code{\lyricmode}, etc. Most
244 of the commands continue to work, for example, @code{r} and
245 @code{\skip} can be used to insert rests and spaces, and property
246 commands may be used to change various settings.
252 Each step can only be present in a chord once. The following
253 simply produces the augmented chord, since @code{5+} is interpreted
256 @lilypond[quote,ragged-right,verbatim,fragment]
257 \chordmode { c:5.5-.5+ }
261 @node Printing chord names
262 @subsubsection Printing chord names
264 @cindex printing chord names
268 For displaying printed chord names, use the @internalsref{ChordNames} context.
269 The chords may be entered either using the notation
270 described above, or directly using @code{<} and @code{>}
272 @lilypond[quote,verbatim,ragged-right]
274 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
277 \new ChordNames \harmonies
278 \new Staff \harmonies
282 You can make the chord changes stand out by setting
283 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
284 display chord names when there is a change in the chords scheme and at
285 the start of a new line
287 @lilypond[quote,verbatim,ragged-right]
288 harmonies = \chordmode {
289 c1:m c:m \break c:m c:m d
293 \set chordChanges = ##t
295 \new Staff \transpose c c' \harmonies
299 The previous examples all show chords over a staff. This is not
300 necessary. Chords may also be printed separately. It may be necessary
301 to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
304 @lilypond[ragged-right,verbatim]
305 \new ChordNames \with {
306 \override BarLine #'bar-size = #4
307 \consists Bar_engraver
308 \consists "Volta_engraver"
310 \chordmode { \repeat volta 2 {
320 The default chord name layout is a system for Jazz music, proposed by
321 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
325 @funindex chordNameExceptions
326 @item chordNameExceptions
327 This is a list that contains the chords that have special formatting.
329 The exceptions list should be encoded as
331 @{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
334 To get this information into @code{chordNameExceptions} takes a little
335 maneuvering. The following code transforms @code{chExceptionMusic}
336 (which is a sequential music) into a list of exceptions.
338 (sequential-music-to-chord-exceptions chExceptionMusic #t)
343 (sequential-music-to-chord-exceptions chExceptionMusic #t)
346 adds the new exceptions to the default ones, which are defined in
347 @file{ly/@/chord@/-modifier@/-init@/.ly}.
349 For an example of tuning this property, see also
350 @c @lsr{chords,chord@/-name@/-exceptions@/.ly}
351 @cindex exceptions, chord names.
354 @funindex majorSevenSymbol
355 @item majorSevenSymbol
356 This property contains the markup object used for the 7th step, when
357 it is major. Predefined options are @code{whiteTriangleMarkup} and
358 @code{blackTriangleMarkup}. See
359 @c @lsr{chords,chord@/-name@/-major7@/.ly} for an example.
361 @funindex chordNameSeparator
362 @item chordNameSeparator
363 Different parts of a chord name are normally separated by a
364 slash. By setting @code{chordNameSeparator}, you can specify other
366 @lilypond[quote,ragged-right,fragment,verbatim]
367 \new ChordNames \chordmode {
369 \set chordNameSeparator
370 = \markup { \typewriter "|" }
375 @funindex chordRootNamer
377 The root of a chord is usually printed as a letter with an optional
378 alteration. The transformation from pitch to letter is done by this
379 function. Special note names (for example, the German @q{H} for a
380 B-chord) can be produced by storing a new function in this property.
382 @funindex chordNoteNamer
384 The default is to print single pitch, e.g., the bass note, using the
385 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
386 to a specialized function to change this behavior. For example, the
387 base can be printed in lower case.
389 @funindex chordPrefixSpacer
390 @item chordPrefixSpacer
391 The @q{m} for minor chords is usually printed right after the root of
392 the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer
393 between the root and @q{m}. The spacer is not used when the root
398 The predefined variables @code{\germanChords},
399 @code{\semiGermanChords}, @code{\italianChords} and @code{\frenchChords}
400 set these variables. The effect is
403 @lilypondfile[ragged-right]{chord-names-languages.ly}
405 There are also two other chord name schemes implemented: an alternate
406 Jazz chord notation, and a systematic scheme called Banter chords. The
407 alternate Jazz notation is also shown on the chart in @ref{Chord name
408 chart}. Turning on these styles is demonstrated in
409 @c @lsr{chords,chord-names-jazz.ly}.
418 @funindex \germanChords
419 @code{\germanChords},
420 @funindex \semiGermanChords
421 @code{\semiGermanChords}.
422 @funindex \italianChords
423 @code{\italianChords}.
424 @funindex \frenchChords
425 @code{\frenchChords}.
435 Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
436 @file{scm/@/chord@/-entry@/.scm}.
441 Chord names are determined solely from the list of pitches. Chord
442 inversions are not identified, and neither are added bass notes. This
443 may result in strange chord names when chords are entered with the
444 @code{< .. >} syntax.