Chords can be entered as simultaneous music, as discussed in
@ref{Chorded notes}.
-@c need to decide about @qq{FOO mode} or @emph{} or whatever.
Chords can also be entered in @qq{chord mode}, which is an input
mode that focuses on the structures of chords in traditional
European music, rather than on specific pitches. This is
optional duration:
@lilypond[verbatim,quote,relative=1,ragged-right]
-\chordmode { c2 f4. g8 }
+\chordmode { c2 f4 g }
@end lilypond
-@noindent
-If no duration is entered, the duration of the previous
-note (or chord) will be used.
-
Minor, augmented, and diminished triads are entered by placing
@code{:} and a quality modifier string after the duration:
@lilypond[verbatim,quote,ragged-right,relative=1]
-\chordmode { c2:m f4:aug g4:dim }
+\chordmode { c2:m f4:aug g:dim }
@end lilypond
-Seventh chords are created by adding the number 7 at the beginning
-of the modifier string (for the dominant seventh chord) or after the
-quality modifier (for the other named seventh chords).
+Seventh chords may be created:
@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
\chordmode {
-c1 | c:7 | c:m7 | c:maj7 |
-c:dim | c:dim7 | c:aug7 | c:maj |
+ c1:7 c:m7 c:maj7 c:dim7 c:aug7
}
@end lilypond
remove chord steps, raise or lower chord steps, and add a bass note
or create an inversion.
-The first number following the @code{:} is taken to be the extent of
-the chord. The chord is constructed by sequentially adding thirds
-to the root until the specified number has been reached. If the
-extent is not a third (e.g., 6), thirds are added up to the highest
-third below the extent, and then the step of the extent is added.
+The first number following the @code{:} is taken to be the extent
+of the chord. The chord is constructed by sequentially adding
+thirds to the root until the specified number has been reached.
+If the extent is not a third (e.g., 6), thirds are added up to the
+highest third below the extent, and then the step of the extent is
+added. The largest possible value for the extent is 13. Any
+larger value is interpreted as 13.
@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
\chordmode {
-c4:2 c:3 c:4 c:5
+c:2 c:3 c:4 c:5
c:6 c:7 c:8 c:9
c:10 c:11 c:12 c:13
}
\chordmode { c1:13 c:13.11 c:m13 }
@end lilypond
-The largest possible value for the extent is 13. Any larger value
-is interpreted as 13.
-
@cindex additions, in chords
Individual steps can be added to a chord. Additions follow the
@menu
* Printing chord names::
+* Customizing chord names::
+* Lead sheets::
@end menu
@node Printing chord names
Chords containing inversions or altered bass notes are not named
properly.
-@ignore
-@n ode Customizing chord names
-@u nnumberedsubsubsec Customizing chord names
+@node Customizing chord names
+@unnumberedsubsubsec Customizing chord names
@cindex customizing chord names
@lilypondfile[ragged-right]{chord-names-languages.ly}
-@C TODO - this paragraph is moved here from an earlier section
+@c TODO - this paragraph is moved here from an earlier section
@c and needs to be corrected.
This example also shows that the chord printing routines cannot
correctly identify the root of a chord if it has been entered using
If none of the default settings give the desired output, the chord
name display can be tuned through the following properties.
+@ignore
@c TODO Generate snippet based on the following
@c and add explanation -td
-@table
-@item
@funindex chordNameExceptions
-@code{chordNameExceptions} contains a list of markups used to follow
-the root note name based on the pitches in the chord. Creating the
-list requires four steps.
+@table @code
+@item chordNameExceptions
+
+contains a list of markups used to follow the root note name based
+on the pitches in the chord. Creating the list requires four
+steps.
The first step is to define sequential music that has the chords to
be named with the desired markup (except for the root name) attached
The entire process is illustrated below:
-@lilypond[quote,ragged-right,verbatim,ragged-right]
+@lilypond[quote,ragged-right,verbatim]
FGGChordNames = {
<c e g b d'>1-\markup { \super "maj9" }
<c e g a d'>1-\markup { \super "6(add9)" }
@end lilypond
-@funindex majorSevenSymbol @item majorSevenSymbol This property
-contains the markup object used as part of the printed chord name to
-identify a major 7 chord. Predefined options are
-@code{whiteTriangleMarkup} and @code{blackTriangleMarkup}.
+@funindex majorSevenSymbol
+
+@item majorSevenSymbol
+
+This property contains the markup object used as part of the
+printed chord name to identify a major 7 chord. Predefined
+options are @code{whiteTriangleMarkup} and
+@code{blackTriangleMarkup}.
@funindex chordNameSeparator
@item chordNameSeparator
+
Different parts of a chord name are normally separated by a slash.
-By setting @code{chordNameSeparator}, you can use any desired markup
-for a separator, e.g.,
+By setting @code{chordNameSeparator}, you can use any desired
+markup for a separator, e.g.,
+
@lilypond[quote,ragged-right,fragment,verbatim]
\new ChordNames \chordmode {
c:7sus4
@funindex chordRootNamer
@item chordRootNamer
+
The chord name is usually printed as a letter for the root 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 When the chord name
-contains an additional pitch besides the root (e.g., an added bass
-note), this function is used to print the additional pitch. By
-default the pitch is printed using @code{chordRootNamer}. The
-@code{chordNoteNamer} property can be set to a specialized function
-to change this behavior. For example, the bass note can be printed
-in lower case.
+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
+
+When the chord name contains an additional pitch besides the root
+(e.g., an added bass note), this function is used to print the
+additional pitch. By default the pitch is printed using
+@code{chordRootNamer}. The @code{chordNoteNamer} property can be
+set to a specialized function to change this behavior. For
+example, the bass note can be printed in lower case.
@funindex chordPrefixSpacer
@item chordPrefixSpacer
+
The @q{m} for minor chords is usually printed immediately to the
right of 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.
+@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
-
+@end ignore
@cindex chords, jazz
@predefined
+
@funindex major seven symbols
@code{\whiteTriangleMarkup}
@code{\blackTriangleMarkup}
are determined solely from the list of pitches. This may result in
strange chord names
-@n ode Lead sheets
-@u nnumberedsubsubsec Lead sheets
+@node Lead sheets
+@unnumberedsubsubsec Lead sheets
@cindex lead sheet
-@end ignore
-
-
@node old Modern chords
@subsection old Modern chords
@menu
* Entering chord names::
-* Lead sheets::
+* old Lead sheets::
* old Printing chord names::
@end menu
-@node Lead sheets
-@subsubsection Lead sheets
+@node old Lead sheets
+@subsubsection old Lead sheets
@cindex lead sheet
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