@section Chord notation
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.
+traditional European chord naming conventions. Chord names can also
+be displayed. In addition, figured bass notation can be displayed.
@menu
* Chord mode::
@cindex chord chords
@menu
-* Chord mode overview::
-* Common chords::
-* Extended and altered chords::
+* Chord mode overview::
+* Common chords::
+* Extended and altered chords::
@end menu
@node Chord mode overview
Chords can also be entered in 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 convenient for those
-who are familiar with using chord names to describe chords.
+music, rather than on specific pitches. This is convenient for
+those who are familiar with using chord names to describe chords.
-More information on different input modes can be found at @ref{Input modes FIXME}
+More information on different input modes can be found at @ref{Input
+modes FIXME}.
Chord mode is entered by using @code{\chordmode}.
@cindex triads
@cindex seventh chords
@cindex root of chord
+@cindex modifiers, in chords.
+@cindex chord quality
Major triads are entered by including the root and a duration:
quality modifier (for the other named seventh chords).
@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
-\chordmode {c1:7 c:m7 c:maj7 c:dim c:dim7 c:aug7 c:maj}
+\chordmode { c1:7 c:m7 c:maj7 c:dim c:dim7 c:aug7 c:maj }
@end lilypond
+@funindex aug
+@funindex dim
+@funindex maj
+@funindex m
+
The table belows shows the actions of the quality modifiers on
triads and seventh chords.
@end table
-@cindex modifiers, in chords.
-@cindex chord quality
-@funindex aug
-@funindex dim
-@funindex maj
-@funindex m
-
-
@seealso
-
Snippets:
@rlsr{Chords}
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 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.
@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
\chordmode { c1:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
@cindex additions, in chords
-Individual steps can be added to a chord. Additions follow the
+Individual steps can be added to a chord. Additions follow the
extent and are prefixed by a dot (@code{.}).
@lilypond[quote,verbatim,fragment,relative=1]
@funindex ^
A step to be removed from the chord must come at the end of a
-modifier string and be by @code{^}. Only one removal with @code{^}
+modifier string and be by @code{^}. Only one removal with @code{^}
is allowed in a modifier string.
@lilypond[quote,verbatim,fragment,relative=1]
chord) and added bass notes can be specified by appending
@code{/}@var{pitch} to the chord.
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,ragged-right,fragment,verbatim, relative=2]
\chordmode { c1 c/g c/f }
@end lilypond
@cindex customizing chord names
There is no unique system for naming chords. Different musical
-traditions use different names for the same set of chords. There are
-also different symbols displayed for a given chord name. The names
-and symbols displayed for chord names are customizable.
+traditions use different names for the same set of chords. There
+are also different symbols displayed for a given chord name. The
+names and symbols displayed for chord names are customizable.
The default chord name layout is a system for Jazz music, proposed
by Klaus Ignatzek (see @ref{Literature list}). There are also two
@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
+@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
@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 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
@subsection old Modern chords
@menu
-* Chord modes::
-* Entering chord names::
-* Building chords::
-* Lead sheets::
-* Printing chord names::
+* Entering chord names::
+* Lead sheets::
+* Printing chord names::
@end menu
-@cindex chords
-@cindex chord names
-
-@node Chord modes
-@subsubsection Chord modes
-
-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
-
-@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
-
-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.
-It 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
-
-
-@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 Entering chord names
@subsubsection Entering chord names
@cindex chord names
}
@end lilypond
-@node Building chords
-@subsubsection Building chords
-
-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
@node Lead sheets
@subsection Figured bass
@menu
-* Introduction to figured bass::
-* Entering figured bass::
-* Displaying figured bass::
+* Introduction to figured bass::
+* Entering figured bass::
+* Displaying figured bass::
@end menu
@node Introduction to figured bass
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