version that you are working on. See TRANSLATION for details.
@end ignore
-@c \version "2.11.38"
+@c \version "2.11.51"
@node Chord notation
@section Chord notation
-Chords can be entered in chord mode, which recognizes some
-traditional European chord naming conventions. Chord names can also
+@lilypondfile[quote]{chords-headword.ly}
+
+Chords can be entered in chord mode, which recognizes some traditional European chord naming conventions. Chord names can also
be displayed. In addition, figured bass notation can be displayed.
@menu
@funindex m
The table belows shows the actions of the quality modifiers on
-triads and seventh chords.
-
-@table @code
+triads and seventh chords. A more complete table of modifier usage
+is found at @ref{Common chord modifiers}.
+
+@c @table @code
+@multitable @columnfractions .2 .4 .3
+
+@item
+@b{Modifier}
+@tab
+@b{Action}
+@tab
+@b{Example}
+
+@item
+None
+@tab
+The default action; produces a major triad.
+@tab
+@lilypond[line-width=4\cm, noragged-right]
+\chordmode {
+ \override Staff.TimeSignature #'stencil = ##f
+ c1
+}
+@end lilypond
-@item m
+@item
+m, m7
+@tab
The minor chord. This modifier lowers the 3rd and (if present) the
7th step.
+@tab
+@lilypond[line-width=4\cm, noragged-right]
+\chordmode {
+ \override Staff.TimeSignature #'stencil = ##f
+ c1:m c:m7
+}
+@end lilypond
-@item dim
+
+@item
+dim, dim7
+@tab
The diminished chord. This modifier lowers the 3rd, 5th and (if
present) the 7th step.
+@tab
+@lilypond[line-width=4\cm, noragged-right]
+\chordmode {
+ \override Staff.TimeSignature #'stencil = ##f
+ c1:dim c:dim7
+}
+@end lilypond
-@item aug
+@item
+aug
+@tab
The augmented chord. This modifier raises the 5th step.
+@tab
+@lilypond[line-width=4\cm, noragged-right]
+\chordmode {
+ \override Staff.TimeSignature #'stencil = ##f
+ c1:aug
+}
+@end lilypond
-@item maj
+@item
+maj, maj7
+@tab
The major 7th chord. This modifier adds a raised 7th step. The
@code{7} following @code{maj} is optional. Do NOT use this modifier
to create a major triad.
+@tab
+@lilypond[line-width=4\cm, noragged-right]
+\chordmode {
+ \override Staff.TimeSignature #'stencil = ##f
+ c1:maj c:maj7
+}
+@end lilypond
-@end table
+@end multitable
-@c TODO -- perhaps add warning about c and c:maj being different, while
-@c c:maj and c:maj7 are the same
@seealso
+Notation Reference:
+@ref{Common chord modifiers}.
+
Snippets:
-@rlsr{Chords}
+@rlsr{Chords}.
@node Extended and altered chords
@unnumberedsubsubsec Extended and altered chords
@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
\chordmode {
- c:2 c:3 c:4 c:5
+ c1:2 c:3 c:4 c:5
c:6 c:7 c:8 c:9
c:10 c:11 c:12 c:13
+ c:14
}
@end lilypond
+@noindent
+Note that both @code{c:5} and @code{c} produce a C major triad.
+
Since an unaltered 11 does not sound good when combined with an
unaltered 13, the 11 is removed from a @code{:13} chord (unless it
is added explicitly).
@funindex ^
-A step to be removed from the chord must come at the end of a
-modifier string and be prefixed by @code{^}. Only one removal with @code{^}
-is allowed in a modifier string.
+Following any steps to be added, a series of steps to be removed
+is introduced in a modifier string with a prefix of @code{^}.
+If more than one step is to be removed, the steps to be
+removed are separated by @code{.} following the
+initial @code{^}.
@lilypond[quote,verbatim,fragment,relative=1]
\chordmode {
- c1^3 c:7^5 c:9^3.5
+ c1^3 c:7^5 c:9^3 c:9^3.5 c:13.11^3.7
}
@end lilypond
}
@end lilypond
-It is possible to remove the 3rd step with @code{sus} and remove
-another step with @code{^} in one modifier string.
-
@funindex /
@cindex chord inversions
@cindex bass note, for chords
}
@end lilypond
+Chord modifiers that can be used to produce a variety of
+standard chords are shown in
+@ref{Common chord modifiers}.
+
@seealso
+Notation Reference:
+@ref{Common chord modifiers}.
+
Snippets:
@rlsr{Chords}
\chordmode { c1:5.5-.5+ }
@end lilypond
-Only one step can be removed from a chord. If a chord with multiple
-removed steps is desired, it must be built through addition of
-multiple steps.
+Only the first inversion can be created by adding a bass note. The
+second inversion requires changing the root of the chord.
+@lilypond[quote,ragged-right,verbatim,fragment]
+\chordmode {
+ c'1: c':/g e:6-3-^5 e:m6-^5
+}
+@end lilypond
@node Displaying chords
@subsection Displaying chords
chord mode. The displayed chord name will be the same, regardless
of the mode of entry, unless there are inversions or added bass notes:
-@lilypond[quote,ragged-right,verbatim]
+@lilypond[verbatim,quote,relative=1]
<<
\new ChordNames {
<c e g>2 <f bes c>
@funindex{\chords}
-@code{\chords} is a shortcut notation for
+@code{\chords @{ ... @}} is a shortcut notation for
@code{\new ChordNames @{\chordmode @{ ... @}@}}.
@lilypond[verbatim,quote,ragged-right, relative=1]
@snippets
-@c TODO -- replace this with a snippet
-Chord names can be displayed only at the start of lines and when
-the chord changes.
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{showing-chords-at-changes.ly}
-@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 {
- \relative c' { \harmonies }
- }
->>
-@end lilypond
+@c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@c {adding-bar-lines-to-chordnames-context.ly}
-@c TODO -- replace this with a snippet
-To add bar indications in the @code{ChordNames}
-context, add @rinternals{Bar_engraver}.
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{simple-lead-sheet.ly}
-@lilypond[ragged-right,verbatim]
-\new ChordNames \with {
- \override BarLine #'bar-size = #4
- \consists "Bar_engraver"
-}
-\chordmode {
- f1:maj7 f:7 bes:7 c:maj7 ees e
-}
-@end lilypond
-
-@c TODO -- replace this with a snippet
-When put together, chord names, a melody, and lyrics 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
alternate Jazz notation is also shown on the chart in @ref{Chord
name chart}.
+@c TODO -- Change this so we don't have a non-verbatim example.
+@c Make short example in docs, then move longer example to
+@c appendix, where the length of the snippet won't matter.
+
In addition to the different naming systems, different note names
are used for the root in different languages. The predefined
variables @code{\germanChords}, @code{\semiGermanChords},
@snippets
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{chord-names-jazz.ly}
+@cindex exceptions, chord names.
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{chord-name-exceptions.ly}
-@cindex exceptions, chord names.
+@c TODO - tweak snippet to use \blackTriangleMarkup as well
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{chord-name-major7.ly}
-@c @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-@c {adding-bars-to-chordnames.ly)
-
-@c @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-@c {volta-brackets-over-chord-names.ly}
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{adding-bar-lines-to-chordnames-context.ly}
-@c TODO convert to snippet
-The separator between different parts of a chord name
-can be set to any markup.
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{volta-below-chords.ly}
-@lilypond[quote,ragged-right,fragment,verbatim]
-\chords {
- c:7sus4
- \set chordNameSeparator
- = \markup { \typewriter "|" }
- c:7sus4
-}
-@end lilypond
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{changing-chord-separator.ly}
@seealso
+Notation Reference:
+@ref{Chord name chart},
+@ref{Common chord modifiers}.
+
Installed Files:
@file{scm/@/chords@/-ignatzek@/.scm},
@file{scm/@/chord@/-entry@/.scm},
@node Figured bass
@subsection Figured bass
+@lilypondfile[quote]{figured-bass-headword.ly}
+
Figured bass notation can be displayed.
@menu
@c TODO: musicological blurb about FB
+
LilyPond has support for figured bass, also called thorough bass
or basso continuo:
example, the vertical spacing of the figures may be set with
@code{baseline-skip}.
+@seealso
+
+Snippets:
+@rlsr{Chords}
+
+
@node Entering figured bass
@unnumberedsubsubsec Entering figured bass
@lilypond[verbatim,quote,ragged-right,fragment]
\new FiguredBass {
\figuremode {
- <4 6>2
+ <6 4>2
}
}
@end lilypond
-Accidentals can be added to figures:
+
+Accidentals (including naturals) can be added to figures:
@lilypond[verbatim,quote,ragged-right,fragment]
\figures {
- <4- 6+ 7!> <5++> <3-->
+ <7! 6+ 4-> <5++> <3-->
}
@end lilypond
-Plus signs, diminished fifths, and diminished sevenths
-can be notated.
+Augmented and diminished steps can be indicated.
@lilypond[verbatim,quote,ragged-right,fragment]
\figures {
}
@end lilypond
-Vertical spaces and brackets can be be included in figures:
+A backward slash through a figure (typically used for raised
+sixth steps) can be created.
@lilypond[verbatim,quote,ragged-right,fragment]
\figures {
- < [4 6] 8 [_! 12] >
+ <6>
+ <6\\>
}
@end lilypond
+Vertical spaces and brackets can be be included in figures:
+
+@lilypond[verbatim,quote,ragged-right,fragment]
+\figures {
+ <[12 _!] 8 [6 4]>
+}
+@end lilypond
Any text markup can be inserted as a figure:
@lilypond[verbatim,quote,ragged-right,fragment]
\figures {
- < 5 \markup{ \tiny \number 6 \super (1)} >
+ < \markup{ \tiny \number 6 \super (1)} 5 >
}
@end lilypond
+@c NOTE: We need to include notes any time we use extenders to
+@c avoid extraneous staff creation due to Staff.use... in
+@c \bassFigureExtendersOn
+
Continuation lines can be used to indicate repeated figures:
-@c \set to be replaced with predefined command once it is
-@c included in property-init.ly
@lilypond[verbatim,quote,ragged-right,fragment]
+<<
+ {
+ \clef bass
+ e d c b,
+ e d c b,
+ }
+ \figures {
+ \bassFigureExtendersOn
+ <6 4> <6 3> <7 3> <7 3>
+ \bassFigureExtendersOff
+ <6 4> <6 3> <7 3> <7 3>
+ }
+>>
+@end lilypond
+
+@noindent
+In this case, the extender lines replace existing figures,
+unless the continuation lines have been explicitly terminated.
+
+@lilypond[verbatim,quote,ragged-right,fragment]
+<<
+ \figures {
+ \bassFigureExtendersOn
+ <6 4> <6 4> <6\! 4\!> <6 4>
+ }
+ {
+ \clef bass
+ d d c c
+ }
+>>
+@end lilypond
+
+The table below summarizes the figure modifiers available.
+
+@multitable @columnfractions .1 .5 .4
+
+@item
+@b{Modifier}
+@tab
+@b{Purpose}
+@tab
+@b{Example}
+
+@item
++, -, !
+@tab
+Accidentals
+@tab
+@lilypond[line-width=4\cm]
\figures {
- \set useBassFigureExtenders = ##t
- <4 6> <3 6> <3 7>
+ <7! 6+ 4-> <5++> <3-->
}
@end lilypond
-@noindent
-In this case, the extender lines always replace existing figures.
+@item
+\+, /
+@tab
+Augmented and diminished steps
+@tab
+@lilypond[line-width=4\cm]
+\figures {
+ <6\+ 5/> <7/>
+}
+@end lilypond
-@c @predefined
+@item
+\\
+@tab
+Raised sixth step
+@tab
+@lilypond[line-width=4\cm]
+\figures {
+ <6\\>
+}
+@end lilypond
-@c @snippets
-@c This probably isn't notation, but rather adjusting output. I guess this
-@c should be converted to a snippet? -cds
-Accidentals and plus signs can appear before or after the numbers,
-depending on the @code{figuredBassAlterationDirection} and
-@code{figuredBassPlusDirection}
-properties
-
-@c TODO Need to set predefined commands for these directions as well. -cs
-@lilypond
+@item
+\!
+@tab
+End of continuation line
+@tab
+@lilypond[line-width=1.5\cm]
+<<
\figures {
- <6\+> <5+> <6 4-> r
- \set figuredBassAlterationDirection = #RIGHT
- <6\+> <5+> <6 4-> r
- \set figuredBassPlusDirection = #LEFT
- <6\+> <5+> <6 4-> r
- \set figuredBassAlterationDirection = #LEFT
- <6\+> <5+> <6 4-> r
+ \bassFigureExtendersOn
+ <6 4> <6 4> <6\! 4\!> <6 4>
}
+ {
+ \clef bass
+ d d c c
+ }
+>>
@end lilypond
+@end multitable
+
+
+
+@predefined
+@cindex figured bass extender lines
+@code{\bassFigureExtendersOn},
+@code{\bassFigureExtendersOff}.
+
+
+@snippets
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{changing-the-positions-of-figured-bass-alterations.ly}
+
@seealso
@c Music Glossary:
@c @rglos{}.
@c @file{}.
Snippets:
-@rlsr{Figured Bass}.
+@rlsr{Chords}.
-@c Internals Reference:
+Internals Reference:
@rinternals{NewBassFigure},
@rinternals{BassFigureAlignment},
@rinternals{BassFigureLine},
}
\new FiguredBass {
\figuremode {
- <4>4 <6 10>8 s8
- <4 6>4 <4 6>
+ <4>4 <10 6>8 s8
+ <6 4>4 <6 4>
}
}
>>
directly. In this case, the vertical position of the
figures is adjusted automatically.
-@c TODO change to use predefined command once it is added to
-@c property-init.ly -cds
@lilypond[verbatim,ragged-right,fragment,quote]
<<
\new Staff = myStaff
\figuremode {
- \override Staff.BassFigureAlignmentPositioning #'direction = #DOWN
- <4>4 <6 10>8 s8
- <4 6>4 <4 6>
+ <4>4 <10 6>8 s8
+ <6 4>4 <6 4>
}
%% Put notes on same Staff as figures
\context Staff = myStaff
- \relative c'' {
- c4 c'8 r8 c,4 c'
+ {
+ \clef bass
+ c4 c'8 r8 c4 c'
}
>>
@end lilypond
-@ignore
-@c I don't understand this -cs
-When using continuation lines, common figures are always put in the
-same vertical position. When this is unwanted, you can insert a rest.
-The rest will clear any previous alignment. For
-example, you can write
+When added in a Staff context, figured bass can be displayed above
+or below the staff.
-@example
-<4 6>8 r8
-@end example
+@lilypond[verbatim,ragged-right,fragment,quote]
+<<
+ \new Staff = myStaff
+ \figuremode {
+ <4>4 <10 6>8 s8
+ \bassFigureStaffAlignmentDown
+ <6 4>4 <6 4>
+ }
+ %% Put notes on same Staff as figures
+ \context Staff = myStaff
+ {
+ \clef bass
+ c4 c'8 r8 c4 c'
+ }
+>>
+@end lilypond
-@noindent
-instead of
-@example
-<4 6>4
-@end example
-@end ignore
-@c @predefined
+@predefined
+@cindex figured bass alignment
+@code{\bassFigureStaffAlignmentDown},
+@code{\bassFigureStaffAlignmentUp},
+@code{\bassFigureStaffAlignmentNeutral}.
@c @snippets
@c Installed Files:
@c @file{}.
-@c Snippets:
-@rlsr{Figured Bass}.
+Snippets:
+@rlsr{Chords}.
Internals Reference:
@rinternals{NewBassFigure},
\repeat unfold 4 {f16. g32} f8. es16 d8 es
}
\figures {
- \set useBassFigureExtenders = ##t
+ \bassFigureExtendersOn
% The extenders are correct here, with the same rhythm as the bass
\repeat unfold 4 {<6 4->16. <6 4->32}
<5>8. r16 <6>8 <6\! 5->
\repeat unfold 4 {f16. g32} f8. es16 d8 es
}
\figures {
- \set useBassFigureExtenders = ##t
+ \bassFigureExtendersOn
% The extenders are incorrect here, even though the timing is the same
<6 4->4 <6 4->4
- %\repeat unfold 4 {<6 4->16. <6 4->32}
<5>8. r16 <6>8 <6\! 5->
}
>>
@end lilypond
-@c I have no idea what this means -cds
-@c A predefined command for changing this has been proposed -cds
-When using figured bass above the staff with extender lines and
-@code{implicitBassFigures} the lines may become swapped around.
-Maintaining order consistently will be impossible when multiple figures
-have overlapping extender lines. To avoid this problem, please
-use @code{stacking-dir} on @code{BassFigureAlignment}.
+When using extender lines, adjacent figures with the same number in
+a different figure location can cause the figure positions to invert.
+@lilypond[verbatim,ragged-right,fragment,quote,relative=1]
+<<
+ { fis g g, e' }
+ \figures {
+ \bassFigureExtendersOn
+ <6 5> <5\! 4> < 5 _!> <6>
+ }
+>>
+@end lilypond
+
+To avoid this problem, simply turn on extenders after the figure that
+begins the extender line and turn them off at the end of the extender line.
+
+@lilypond[verbatim,ragged-right,fragment,quote,relative=1]
+<<
+ { fis g g, e' }
+ \figures {
+ <6 5> <5 4>
+ \bassFigureExtendersOn
+ < 5 _!> <6>
+ \bassFigureExtendersOff
+ }
+>>
+@end lilypond
-@seealso
projects / lilypond.git / blobdiff