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14 @section Chord notation
16 @lilypondfile[quote]{chords-headword.ly}
18 Chords can be entered either as normal notes or in chord mode and displayed
19 using a variety of traditional European chord naming conventions. Chord
20 names and figured bass notation can also be displayed.
30 @subsection Chord mode
34 Chord mode is used to enter chords using an indicator of the chord
35 structure, rather than the chord pitches.
38 * Chord mode overview::
40 * Extended and altered chords::
43 @node Chord mode overview
44 @unnumberedsubsubsec Chord mode overview
49 Chords can be entered as simultaneous music, as discussed in
52 Chords can also be entered in @qq{chord mode}, which is an input
53 mode that focuses on the structures of chords in traditional
54 European music, rather than on specific pitches. This is
55 convenient for those who are familiar with using chord names to
56 describe chords. More information on different input modes can be
57 found at @ref{Input modes}.
59 @lilypond[verbatim,quote,ragged-right,relative=1]
60 \chordmode { c1 g a g c }
63 Chords entered using chord mode are music elements, and can be
64 transposed just like chords entered using simultaneous music.
65 @code{\chordmode} is absolute, as @code{\relative} has no effect
66 on @code{chordmode} blocks. However, in @code{\chordmode} the
67 absolute pitches are one octave higher than in note mode.
69 Chord mode and note mode can be mixed in sequential music:
71 @lilypond[verbatim,quote,ragged-right,relative=1]
93 When chord mode and note mode are mixed in sequential music, and
94 chord mode comes first, the note mode will create a new @code{Staff}
97 @lilypond[verbatim,quote,ragged-right,relative=1]
102 To avoid this behavior, explicitly create the @code{Staff} context:
104 @lilypond[verbatim,quote,ragged-right,relative=1]
112 @unnumberedsubsubsec Common chords
115 @cindex seventh chords
116 @cindex root of chord
117 @cindex modifiers, in chords.
118 @cindex chord quality
120 Major triads are entered by including the root and an
123 @lilypond[verbatim,quote,relative=1,ragged-right]
124 \chordmode { c2 f4 g }
127 Minor, augmented, and diminished triads are entered by placing
128 @code{:} and a quality modifier string after the duration:
130 @lilypond[verbatim,quote,ragged-right,relative=1]
131 \chordmode { c2:m f4:aug g:dim }
134 Seventh chords can be created:
136 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
137 \chordmode { c1:7 c:m7 c:maj7 c:dim7 c:aug7 }
145 The table belows shows the actions of the quality modifiers on
146 triads and seventh chords. The default seventh step added to
147 chords is a minor or flatted seventh, which makes the dominant
148 seventh the basic seventh chord. All alterations are relative to
149 the dominant seventh. A more complete table of modifier usage
150 is found at @ref{Common chord modifiers}.
153 @multitable @columnfractions .2 .4 .3
165 The default action; produces a major triad.
167 @lilypond[line-width=4\cm, noragged-right]
169 \override Staff.TimeSignature #'stencil = ##f
177 The minor chord. This modifier lowers the 3rd.
179 @lilypond[line-width=4\cm, noragged-right]
181 \override Staff.TimeSignature #'stencil = ##f
190 The diminished chord. This modifier lowers the 3rd, 5th and (if
191 present) the 7th step.
193 @lilypond[line-width=4\cm, noragged-right]
195 \override Staff.TimeSignature #'stencil = ##f
203 The augmented chord. This modifier raises the 5th step.
205 @lilypond[line-width=4\cm, noragged-right]
207 \override Staff.TimeSignature #'stencil = ##f
215 The major 7th chord. This modifier adds a raised 7th step. The
216 @code{7} following @code{maj} is optional. Do NOT use this modifier
217 to create a major triad.
219 @lilypond[line-width=4\cm, noragged-right]
221 \override Staff.TimeSignature #'stencil = ##f
231 @ref{Common chord modifiers},
232 @ref{Extended and altered chords}.
239 Only one quality modifier should be used per chord, typically on the
240 highest step present in the chord. Chords with more than quality
241 modifier will be parsed without an error or warning, but the results
242 are unpredictable. Chords that cannot be achieved with a single
243 quality modifier should be altered by individual pitches, as described
244 in @ref{Extended and altered chords}.
247 @node Extended and altered chords
248 @unnumberedsubsubsec Extended and altered chords
250 @cindex extended chords
251 @cindex altered chords
253 Chord structures of arbitrary complexity can be created in chord
254 mode. The modifier string can be used to extend a chord, add or
255 remove chord steps, raise or lower chord steps, and add a bass note
256 or create an inversion.
258 The first number following the @code{:} is taken to be the extent
259 of the chord. The chord is constructed by sequentially adding
260 thirds to the root until the specified number has been reached.
261 Note that the seventh step added as part of an extended chord will be the
262 minor or flatted seventh, not the major seventh.
263 If the extent is not a third (e.g., 6), thirds are added up to the
264 highest third below the extent, and then the step of the extent is
265 added. The largest possible value for the extent is 13. Any
266 larger value is interpreted as 13.
268 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
278 Note that both @code{c:5} and @code{c} produce a C major triad.
280 Since an unaltered 11 does not sound good when combined with an
281 unaltered 13, the 11 is removed from a @code{:13} chord (unless it
282 is added explicitly).
284 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
290 @cindex additions, in chords
292 Individual steps can be added to a chord. Additions follow the
293 extent and are prefixed by a dot (@code{.}). The basic seventh
294 step added to a chord is the minor or flatted seventh, rather than
297 @lilypond[quote,verbatim,fragment,relative=1]
299 c1:5.6 c:3.7.8 c:3.6.13
303 Added steps can be as high as desired.
305 @lilypond[quote,verbatim,fragment,relative=1]
307 c4:5.15 c:5.20 c:5.25 c:5.30
311 @cindex chord steps, altering
313 Added chord steps can be altered by suffixing a @code{-} or @code{+}
314 sign to the number. To alter a step that is automatically included
315 as part of the basic chord structure, add it as an altered step.
317 @lilypond[quote,verbatim,fragment,relative=1]
319 c1:7+ c:5+.3- c:3-.5-.7-
323 @cindex removals, in chords
327 Following any steps to be added, a series of steps to be removed
328 is introduced in a modifier string with a prefix of @code{^}.
329 If more than one step is to be removed, the steps to be
330 removed are separated by @code{.} following the
333 @lilypond[quote,verbatim,fragment,relative=1]
335 c1^3 c:7^5 c:9^3 c:9^3.5 c:13.11^3.7
341 The modifier @code{sus} can be added to the modifier string to
342 create suspended chords. This removes the 3rd step from the chord.
343 Append either @code{2} or @code{4} to add the 2nd or 4th step to the
344 chord. @code{sus} is equivalent to @code{^3}; @code{sus4} is
345 equivalent to @code{.4^3}.
347 @lilypond[quote,ragged-right,fragment,verbatim]
349 c1:sus c:sus2 c:sus4 c:5.4^3
354 @cindex chord inversions
355 @cindex bass note, for chords
357 Inversions (putting a pitch other than the root on the bottom of the
358 chord) and added bass notes can be specified by appending
359 @code{/}@var{pitch} to the chord.
361 @lilypond[quote,ragged-right,fragment,verbatim, relative=2]
369 A bass note that is part of the chord can be added, instead of
370 moved as part of an inversion, by using @code{/+}@var{pitch}.
372 @lilypond[quote,ragged-right,fragment,verbatim]
378 Chord modifiers that can be used to produce a variety of
379 standard chords are shown in
380 @ref{Common chord modifiers}.
385 @ref{Common chord modifiers}.
393 Each step can only be present in a chord once. The following
394 simply produces the augmented chord, since @code{5+} is
397 @lilypond[quote,ragged-right,verbatim,fragment]
398 \chordmode { c1:5.5-.5+ }
401 Only the second inversion can be created by adding a bass
402 note. The first inversion requires changing the root of
405 @lilypond[quote,ragged-right,verbatim,fragment]
407 c'1: c':/g e:6-3-^5 e:m6-^5
411 @node Displaying chords
412 @subsection Displaying chords
414 Chords can be displayed by name, in addition to the standard display
418 * Printing chord names::
419 * Customizing chord names::
422 @node Printing chord names
423 @unnumberedsubsubsec Printing chord names
425 @cindex printing chord names
429 Chord names are printed in the @code{ChordNames} context:
431 @lilypond[verbatim,quote,relative=1,ragged-right]
439 Chords can be entered as simultaneous notes or through the use of
440 chord mode. The displayed chord name will be the same, regardless
441 of the mode of entry, unless there are inversions or added bass notes:
443 @lilypond[verbatim,quote,relative=1]
462 @cindex no chord symbol
464 @cindex indicating No Chord in ChordNames
466 Rests passed to a @code{ChordNames} context will cause the
467 @code{noChordSymbol} markup to be displayed.
469 @lilypond[verbatim, quote, relative=1]
471 \new ChordNames \chordmode {
477 \new Score \chordmode {
488 @code{\chords @{ ... @}} is a shortcut notation for
489 @code{\new ChordNames @{ \chordmode @{ ... @} @}}.
491 @lilypond[verbatim,quote,ragged-right, relative=1]
497 @lilypond[verbatim,quote,ragged-right, relative=1]
507 @c Keep index entries with following snippet
508 @cindex chords, suppressing repeated
509 @funindex chordChanges
511 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
512 {showing-chords-at-changes.ly}
514 @c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
515 @c {adding-bar-lines-to-chordnames-context.ly}
517 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
518 {simple-lead-sheet.ly}
526 @ref{Writing music in parallel}.
532 @rinternals{ChordNames},
533 @rinternals{ChordName},
534 @rinternals{Chord_name_engraver},
535 @rinternals{Volta_engraver},
536 @rinternals{Bar_engraver}.
541 Chords containing inversions or altered bass notes are not named
542 properly if entered using simultaneous music.
545 @node Customizing chord names
546 @unnumberedsubsubsec Customizing chord names
548 @cindex customizing chord names
550 There is no unique system for naming chords. Different musical
551 traditions use different names for the same set of chords. There
552 are also different symbols displayed for a given chord name. The
553 names and symbols displayed for chord names are customizable.
558 The basic chord name layout is a system for Jazz music, proposed
559 by Klaus Ignatzek (see @ressay{Literature list}). The chord naming
560 system can be modified as described below. An alternate jazz
561 chord system has been developed using these modifications.
562 The Ignatzek and alternate
563 Jazz notation are shown on the chart in @ref{Chord
566 @c TODO -- Change this so we don't have a non-verbatim example.
567 @c Make short example in docs, then move longer example to
568 @c appendix, where the length of the snippet won't matter.
570 In addition to the different naming systems, different note names
571 are used for the root in different languages. The predefined
572 variables @code{\germanChords}, @code{\semiGermanChords},
573 @code{\italianChords} and @code{\frenchChords} set these variables.
574 The effect is demonstrated here:
576 @lilypondfile[ragged-right]{chord-names-languages.ly}
578 If none of the existing settings give the desired output, the chord
579 name display can be tuned through the following properties.
583 @funindex chordRootNamer
587 The chord name is usually printed as a letter for the root with an
588 optional alteration. The transformation from pitch to letter is
589 done by this function. Special note names (for example, the German
590 @q{H} for a B-chord) can be produced by storing a new function in
593 @funindex majorSevenSymbol
595 @item majorSevenSymbol
597 This property contains the markup object used to follow the output
598 of @code{chordRootNamer} to identify a major 7 chord. Predefined
599 options are @code{whiteTriangleMarkup} and
600 @code{blackTriangleMarkup}.
602 @funindex chordNoteNamer
606 When the chord name contains additional pitches other than the root
607 (e.g., an added bass note), this function is used to print the
608 additional pitch. By default the pitch is printed using
609 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
610 to a specialized function to change this behavior. For example, the
611 bass note can be printed in lower case.
613 @funindex chordNameSeparator
615 @item chordNameSeparator
617 Different parts of a chord name are normally separated by a slash.
618 By setting @code{chordNameSeparator}, you can use any desired markup
621 @funindex chordNameExceptions
623 @item chordNameExceptions
625 This property is a list of pairs. The first item in each pair
626 is a set of pitches used to identify the steps present in the chord.
627 The second item is a markup that will follow the @code{chordRootNamer}
628 output to create the chord name.
630 @funindex chordPrefixSpacer
631 @item chordPrefixSpacer
633 The @q{m} for minor chords is usually printed immediately to the
634 right of the root of the chord. A spacer can be placed between
635 the root and @q{m} by setting @code{chordPrefixSpacer}.
636 The spacer is not used when the root is altered.
642 @funindex major seven symbols
643 @code{\whiteTriangleMarkup},
644 @code{\blackTriangleMarkup},
645 @funindex \germanChords
646 @code{\germanChords},
647 @funindex \semiGermanChords
648 @code{\semiGermanChords},
649 @funindex \italianChords
650 @code{\italianChords},
651 @funindex \frenchChords
652 @code{\frenchChords}.
658 @cindex exceptions, chord names.
659 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
660 {chord-name-exceptions.ly}
662 @c TODO - tweak snippet to use \blackTriangleMarkup as well
663 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
664 {chord-name-major7.ly}
666 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
667 {adding-bar-lines-to-chordnames-context.ly}
669 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
670 {volta-below-chords.ly}
672 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
673 {changing-chord-separator.ly}
678 @ref{Chord name chart},
679 @ref{Common chord modifiers}.
682 @file{scm/@/chords@/-ignatzek@/.scm},
683 @file{scm/@/chord@/-entry@/.scm},
684 @file{ly/@/chord@/-modifier@/-init@/.ly}.
689 @c Internals Reference:
695 Chord names are determined from both the pitches that are present
696 in the chord and the information on the chord structure that may
697 have been entered in @code{\chordmode}. If the simultaneous pitches
698 method of entering chords is used, undesired names result from
699 inversions or bass notes.
701 @lilypond[quote,ragged-right,verbatim]
702 myChords = \relative c' {
703 \chordmode { c1 c/g c/f }
704 <c e g>1 <g c e> <f c' e g>
707 \new ChordNames { \myChords }
708 \new Staff { \myChords }
714 @subsection Figured bass
716 @lilypondfile[quote]{figured-bass-headword.ly}
718 Figured bass notation can be displayed.
721 * Introduction to figured bass::
722 * Entering figured bass::
723 * Displaying figured bass::
726 @node Introduction to figured bass
727 @unnumberedsubsubsec Introduction to figured bass
729 @cindex Basso continuo
730 @cindex Thorough bass
732 @cindex Bass, thorough
733 @cindex Bass, figured
735 @c TODO: musicological blurb about FB
738 LilyPond has support for figured bass, also called thorough bass
741 @lilypond[quote,ragged-right,verbatim,fragment]
743 \new Voice { \clef bass dis4 c d ais g fis}
746 < 6 >4 < 7\+ >8 < 6+ [_!] >
754 The support for figured bass consists of two parts: there is an
755 input mode, introduced by @code{\figuremode}, that accepts
756 entry of bass figures, and there is a context named
757 @code{FiguredBass} that takes care of displaying
758 @code{BassFigure} objects. Figured bass can also be displayed
759 in @code{Staff} contexts.
761 @code{\figures@{ ... @}} is a shortcut notation for
762 @code{\new FiguredBass @{ \figuremode @{ ... @} @}}.
765 Although the support for figured bass may superficially resemble chord
766 support, it is much simpler. @code{\figuremode} mode simply
767 stores the figures and the @code{FiguredBass} context prints them
768 as entered. There is no conversion to pitches.
771 Figures are created as markup texts. Any of the standard markup
772 properties can be used to modify the display of figures. For
773 example, the vertical spacing of the figures may be set with
774 @code{baseline-skip}.
780 @rglos{figured bass}.
786 @node Entering figured bass
787 @unnumberedsubsubsec Entering figured bass
789 @code{\figuremode} is used to switch the input mode to figure mode.
790 More information on different input modes can be
791 found at @ref{Input modes}.
793 In figure mode, a group of bass figures is delimited by
794 @code{<} and @code{>}. The duration is entered after the @code{>}.
796 @lilypond[verbatim,quote,ragged-right,fragment]
805 Accidentals (including naturals) can be added to figures:
807 @lilypond[verbatim,quote,ragged-right,fragment]
809 <7! 6+ 4-> <5++> <3-->
813 Augmented and diminished steps can be indicated:
815 @lilypond[verbatim,quote,ragged-right,fragment]
821 A backward slash through a figure (typically used for raised
822 sixth steps) can be created:
824 @lilypond[verbatim,quote,ragged-right,fragment]
830 Vertical spaces and brackets can be included in figures:
832 @lilypond[verbatim,quote,ragged-right,fragment]
838 Any text markup can be inserted as a figure:
840 @lilypond[verbatim,quote,ragged-right,fragment]
842 <\markup { \tiny \number 6 \super (1) } 5>
846 @c NOTE: We need to include notes any time we use extenders to
847 @c avoid extraneous staff creation due to Staff.use... in
848 @c \bassFigureExtendersOn
850 Continuation lines can be used to indicate repeated figures:
852 @lilypond[verbatim,quote,ragged-right,fragment]
860 \bassFigureExtendersOn
861 <6 4>4 <6 3> <7 3> <7 3>
862 \bassFigureExtendersOff
863 <6 4>4 <6 3> <7 3> <7 3>
869 In this case, the extender lines replace existing figures,
870 unless the continuation lines have been explicitly terminated.
872 @lilypond[verbatim,quote,ragged-right,fragment]
875 \bassFigureExtendersOn
876 <6 4>4 <6 4> <6\! 4\!> <6 4>
885 The table below summarizes the figure modifiers available.
887 @multitable @columnfractions .1 .5 .4
901 @lilypond[line-width=4\cm]
903 <7! 6+ 4-> <5++> <3-->
910 Augmented and diminished steps
912 @lilypond[line-width=4\cm]
923 @lilypond[line-width=4\cm]
932 End of continuation line
934 @lilypond[line-width=4\cm]
937 \bassFigureExtendersOn
938 <6 4> <6 4> <6\! 4\!> <6 4>
951 @cindex figured bass extender lines
952 @code{\bassFigureExtendersOn},
953 @code{\bassFigureExtendersOff}.
958 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
959 {changing-the-positions-of-figured-bass-alterations.ly}
969 @c Notation Reference:
972 @c Application Usage:
982 @rinternals{BassFigure},
983 @rinternals{BassFigureAlignment},
984 @rinternals{BassFigureLine},
985 @rinternals{BassFigureBracket},
986 @rinternals{BassFigureContinuation},
987 @rinternals{FiguredBass}.
993 @node Displaying figured bass
994 @unnumberedsubsubsec Displaying figured bass
996 Figured bass can be displayed using the @code{FiguredBass} context,
997 or in most staff contexts.
999 When displayed in a @code{FiguredBass} context, the vertical location
1000 of the figures is independent of the notes on the staff.
1002 @lilypond[verbatim,ragged-right,fragment,quote]
1017 In the example above, the @code{FiguredBass} context must be
1018 explicitly instantiated to avoid creating a second (empty) staff.
1021 Figured bass can also be added to @code{Staff} contexts
1022 directly. In this case, the vertical position of the
1023 figures is adjusted automatically.
1025 @lilypond[verbatim,ragged-right,fragment,quote]
1027 \new Staff = myStaff
1032 %% Put notes on same Staff as figures
1033 \context Staff = myStaff
1042 When added in a @code{Staff} context, figured bass can be displayed above
1045 @lilypond[verbatim,ragged-right,fragment,quote]
1047 \new Staff = myStaff
1050 \bassFigureStaffAlignmentDown
1053 %% Put notes on same Staff as figures
1054 \context Staff = myStaff
1064 @cindex figured bass alignment
1065 @code{\bassFigureStaffAlignmentDown},
1066 @code{\bassFigureStaffAlignmentUp},
1067 @code{\bassFigureStaffAlignmentNeutral}.
1081 @c Notation Reference:
1084 @c Application Usage:
1093 Internals Reference:
1094 @rinternals{BassFigure},
1095 @rinternals{BassFigureAlignment},
1096 @rinternals{BassFigureLine},
1097 @rinternals{BassFigureBracket},
1098 @rinternals{BassFigureContinuation},
1099 @rinternals{FiguredBass}.
1104 To ensure that continuation lines work properly, it is
1105 safest to use the same rhythm in the figure line as in
1108 @lilypond[verbatim,ragged-right,fragment,quote]
1112 \repeat unfold 4 { f16. g32 } f8. es16 d8 es
1115 \bassFigureExtendersOn
1116 % The extenders are correct here, with the same rhythm as the bass
1117 \repeat unfold 4 { <6 4->16. <6 4->32 }
1118 <5>8. r16 <6>8 <6\! 5->
1124 \repeat unfold 4 { f16. g32 } f8. es16 d8 es
1127 \bassFigureExtendersOn
1128 % The extenders are incorrect here, even though the timing is the same
1130 <5>8. r16 <6>8 <6\! 5->
1135 When using extender lines, adjacent figures with the same number in
1136 a different figure location can cause the figure positions to invert.
1138 @lilypond[verbatim,ragged-right,fragment,quote,relative=1]
1142 \bassFigureExtendersOn
1143 <6 5>4 <5\! 4> < 5 _!> <6>
1148 To avoid this problem, simply turn on extenders after the figure that
1149 begins the extender line and turn them off at the end of the extender line.
1151 @lilypond[verbatim,ragged-right,fragment,quote,relative=1]
1156 \bassFigureExtendersOn
1158 \bassFigureExtendersOff