@c -*- coding: utf-8; mode: texinfo; -*- @ignore Translation of GIT committish: FILL-IN-HEAD-COMMITTISH When revising a translation, copy the HEAD committish of the version that you are working on. See TRANSLATION for details. @end ignore @node Chords @section Chords Intro text. @menu * Chords sections:: @end menu @node Chords sections @subsection Chords sections @menu * A lead sheet:: * Introducing chord names:: * Chords mode:: * Printing chord names:: @end menu @c really awkward; I just shoved this in here from the tutorial. @node A lead sheet @subsubsection A lead sheet @cindex Lead sheets @cindex chords @cindex chord names In popular music it is common to denote accompaniment with chord names. Such chords can be entered like notes, @lilypond[verbatim,quote,ragged-right] \chordmode { c2 f4. g8 } @end lilypond Now each pitch is read as the root of a chord instead of a note. This mode is switched on with @code{\chordmode}. Other chords can be created by adding modifiers after a colon. The following example shows a few common modifiers: @lilypond[verbatim,quote,ragged-right] \chordmode { c2 f4:m g4:maj7 gis1:dim7 } @end lilypond For lead sheets, chords are not printed on staves, but as names on a line for themselves. This is achieved by using @code{\chords} instead of @code{\chordmode}. This uses the same syntax as @code{\chordmode}, but renders the notes in a @code{ChordNames} context, with the following result: @lilypond[verbatim,quote,ragged-right] \chords { c2 f4.:m g4.:maj7 gis8:dim7 } @end lilypond @cindex lead sheet When put together, chord names, lyrics and a melody form a lead sheet, @lilypond[verbatim,quote,ragged-right] << \chords { c2 g:sus4 f e } \relative c'' { a4 e c8 e r4 b2 c4( d) } \addlyrics { One day this shall be free __ } >> @end lilypond @seealso @quotation A complete list of modifiers and other options for layout can be found in @ruser{Chords}. @end quotation @node Introducing chord names @subsubsection Introducing chord names @cindex chord names LilyPond has support for printing chord names. Chords may be entered in musical chord notation, i.e., @code{< .. >}, but they can also be entered by name. Internally, the chords are represented as a set of pitches, so they can be transposed @lilypond[quote,ragged-right,verbatim,ragged-right] twoWays = \transpose c c' { \chordmode { c1 f:sus4 bes/f } } << \new ChordNames \twoWays \new Voice \twoWays >> @end lilypond This example also shows that the chord printing routines do not try to be intelligent. The last chord (@code{f bes d}) is not interpreted as an inversion. Note that the duration of chords must be specified outside the @code{<>}. @example 2 @end example @node Chords mode @subsubsection Chords mode @cindex Chords mode In chord mode sets of pitches (chords) are entered with normal note names. A chord is entered by the root, which is entered like a normal pitch @lilypond[quote,ragged-right,fragment,verbatim] \chordmode { es4. d8 c2 } @end lilypond @noindent The mode is introduced by the keyword @code{\chordmode}. @cindex chord entry @cindex chord mode Other chords may be entered by suffixing a colon and introducing a modifier (which may include a number if desired) @lilypond[quote,fragment,verbatim] \chordmode { e1:m e1:7 e1:m7 } @end lilypond The first number following the root is taken to be the @q{type} of the chord, thirds are added to the root until it reaches the specified number. The exception is @code{c:13}, for which the 11 is omitted. @lilypond[quote,fragment,verbatim] \chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 c:13 } @end lilypond @cindex root of chord @cindex additions, in chords @cindex removals, in chords More complex chords may also be constructed adding separate steps to a chord. Additions are added after the number following the colon and are separated by dots @lilypond[quote,verbatim,fragment] \chordmode { c:5.6 c:3.7.8 c:3.6.13 } @end lilypond Chord steps can be altered by suffixing a @code{-} or @code{+} sign to the number @lilypond[quote,verbatim,fragment] \chordmode { c:7+ c:5+.3- c:3-.5-.7- } @end lilypond Removals are specified similarly and are introduced by a caret. They must come after the additions @lilypond[quote,verbatim,fragment] \chordmode { c^3 c:7^5 c:9^3.5 } @end lilypond Modifiers can be used to change pitches. The following modifiers are supported @table @code @item m The minor chord. This modifier lowers the 3rd and (if present) the 7th step. @item dim The diminished chord. This modifier lowers the 3rd, 5th and (if present) the 7th step. @item aug The augmented chord. This modifier raises the 5th step. @item maj The major 7th chord. This modifier raises the 7th step if present. @item sus The suspended 4th or 2nd. This modifier removes the 3rd step. Append either @code{2} or @code{4} to add the 2nd or 4th step to the chord. @end table Modifiers can be mixed with additions @lilypond[quote,verbatim,fragment] \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 } @end lilypond @cindex modifiers, in chords. @funindex aug @funindex dim @funindex maj @funindex sus @funindex m Since an unaltered 11 does not sound good when combined with an unaltered 13, the 11 is removed in this case (unless it is added explicitly) @lilypond[quote,ragged-right,fragment,verbatim] \chordmode { c:13 c:13.11 c:m13 } @end lilypond @funindex / An inversion (putting one pitch of the chord on the bottom), as well as bass notes, can be specified by appending @code{/}@var{pitch} to the chord @lilypond[quote,ragged-right,fragment,verbatim] \chordmode { c1 c/g c/f } @end lilypond @funindex /+ A bass note can be added instead of transposed out of the chord, by using @code{/+}@var{pitch}. @lilypond[quote,ragged-right,fragment,verbatim] \chordmode { c1 c/+g c/+f } @end lilypond Chords is a mode similar to @code{\lyricmode}, etc. Most of the commands continue to work, for example, @code{r} and @code{\skip} can be used to insert rests and spaces, and property commands may be used to change various settings. @knownissues Each step can only be present in a chord once. The following simply produces the augmented chord, since @code{5+} is interpreted last @cindex clusters @lilypond[quote,ragged-right,verbatim,fragment] \chordmode { c:5.5-.5+ } @end lilypond @node Printing chord names @subsubsection Printing chord names @cindex printing chord names @cindex chord names @cindex chords For displaying printed chord names, use the @internalsref{ChordNames} context. The chords may be entered either using the notation described above, or directly using @code{<} and @code{>} @lilypond[quote,verbatim,ragged-right] harmonies = { \chordmode {a1 b c} } << \new ChordNames \harmonies \new Staff \harmonies >> @end lilypond You can make the chord changes stand out by setting @internalsref{ChordNames}.@code{chordChanges} to true. This will only display chord names when there is a change in the chords scheme and at the start of a new line @lilypond[quote,verbatim,ragged-right] harmonies = \chordmode { c1:m c:m \break c:m c:m d } << \new ChordNames { \set chordChanges = ##t \harmonies } \new Staff \transpose c c' \harmonies >> @end lilypond The previous examples all show chords over a staff. This is not necessary. Chords may also be printed separately. It may be necessary to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver} for showing repeats. @lilypond[ragged-right,verbatim] \new ChordNames \with { \override BarLine #'bar-size = #4 \consists Bar_engraver \consists "Volta_engraver" } \chordmode { \repeat volta 2 { f1:maj7 f:7 bes:7 c:maj7 } \alternative { es e } } @end lilypond The default chord name layout is a system for Jazz music, proposed by Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the following properties @table @code @funindex chordNameExceptions @item chordNameExceptions This is a list that contains the chords that have special formatting. The exceptions list should be encoded as @example @{ 1 \markup @{ \super "7" "wahh" @} @} @end example To get this information into @code{chordNameExceptions} takes a little maneuvering. The following code transforms @code{chExceptionMusic} (which is a sequential music) into a list of exceptions. @example (sequential-music-to-chord-exceptions chExceptionMusic #t) @end example Then, @example (append (sequential-music-to-chord-exceptions chExceptionMusic #t) ignatzekExceptions) @end example adds the new exceptions to the default ones, which are defined in @file{ly/@/chord@/-modifier@/-init@/.ly}. For an example of tuning this property, see also @c @lsr{chords,chord@/-name@/-exceptions@/.ly} @cindex exceptions, chord names. @funindex majorSevenSymbol @item majorSevenSymbol This property contains the markup object used for the 7th step, when it is major. Predefined options are @code{whiteTriangleMarkup} and @code{blackTriangleMarkup}. See @c @lsr{chords,chord@/-name@/-major7@/.ly} for an example. @funindex chordNameSeparator @item chordNameSeparator Different parts of a chord name are normally separated by a slash. By setting @code{chordNameSeparator}, you can specify other separators, e.g., @lilypond[quote,ragged-right,fragment,verbatim] \new ChordNames \chordmode { c:7sus4 \set chordNameSeparator = \markup { \typewriter "|" } c:7sus4 } @end lilypond @funindex chordRootNamer @item chordRootNamer The root of a chord is usually printed as a letter with an optional alteration. The transformation from pitch to letter is done by this function. Special note names (for example, the German @q{H} for a B-chord) can be produced by storing a new function in this property. @funindex chordNoteNamer @item chordNoteNamer The default is to print single pitch, e.g., the bass note, using the @code{chordRootNamer}. The @code{chordNoteNamer} property can be set to a specialized function to change this behavior. For example, the base can be printed in lower case. @funindex chordPrefixSpacer @item chordPrefixSpacer The @q{m} for minor chords is usually printed right after the root of the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer between the root and @q{m}. The spacer is not used when the root is altered. @end table The predefined variables @code{\germanChords}, @code{\semiGermanChords}, @code{\italianChords} and @code{\frenchChords} set these variables. The effect is demonstrated here, @lilypondfile[ragged-right]{chord-names-languages.ly} There are also two other chord name schemes implemented: an alternate Jazz chord notation, and a systematic scheme called Banter chords. The alternate Jazz notation is also shown on the chart in @ref{Chord name chart}. Turning on these styles is demonstrated in @c @lsr{chords,chord-names-jazz.ly}. @cindex Banter @cindex jazz chords @cindex chords, jazz @predefined @funindex \germanChords @code{\germanChords}, @funindex \semiGermanChords @code{\semiGermanChords}. @funindex \italianChords @code{\italianChords}. @funindex \frenchChords @code{\frenchChords}. @seealso Examples: @c @lsrdir{chords} Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and @file{scm/@/chord@/-entry@/.scm}. @knownissues Chord names are determined solely from the list of pitches. Chord inversions are not identified, and neither are added bass notes. This may result in strange chord names when chords are entered with the @code{< .. >} syntax.