1 @c -*- coding: utf-8; mode: texinfo; -*-
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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]
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 Predefined shorthands for articulations and ornaments cannot be used
94 on notes in chord mode, see @ref{Articulations and ornamentations}.
96 When chord mode and note mode are mixed in sequential music, and
97 chord mode comes first, the note mode will create a new @code{Staff}
100 @lilypond[verbatim,quote,ragged-right,relative=1]
106 To avoid this behavior, explicitly create the @code{Staff} context:
108 @lilypond[verbatim,quote,ragged-right,relative=1]
116 @unnumberedsubsubsec Common chords
119 @cindex seventh chords
120 @cindex root of chord
121 @cindex modifiers, in chords.
122 @cindex chord quality
124 Major triads are entered by including the root and an
127 @lilypond[verbatim,quote,ragged-right]
128 \chordmode { c2 f4 g }
131 Minor, augmented, and diminished triads are entered by placing
132 @code{:} and a quality modifier string after the duration:
134 @lilypond[verbatim,quote,ragged-right]
135 \chordmode { c2:m f4:aug g:dim }
138 Seventh chords can be created:
140 @lilypond[quote,ragged-right,verbatim]
141 \chordmode { c1:7 c:m7 c:maj7 c:dim7 c:aug7 }
149 The table below shows the actions of the quality modifiers on
150 triads and seventh chords. The default seventh step added to
151 chords is a minor or flatted seventh, which makes the dominant
152 seventh the basic seventh chord. All alterations are relative to
153 the dominant seventh. A more complete table of modifier usage
154 is found at @ref{Common chord modifiers}.
157 @multitable @columnfractions .2 .4 .3
169 The default action; produces a major triad.
171 @lilypond[line-width=4\cm, noragged-right]
173 \override Staff.TimeSignature #'stencil = ##f
181 The minor chord. This modifier lowers the 3rd.
183 @lilypond[line-width=4\cm, noragged-right]
185 \override Staff.TimeSignature #'stencil = ##f
194 The diminished chord. This modifier lowers the 3rd, 5th and (if
195 present) the 7th step.
197 @lilypond[line-width=4\cm, noragged-right]
199 \override Staff.TimeSignature #'stencil = ##f
207 The augmented chord. This modifier raises the 5th step.
209 @lilypond[line-width=4\cm, noragged-right]
211 \override Staff.TimeSignature #'stencil = ##f
219 The major 7th chord. This modifier adds a raised 7th step. The
220 @code{7} following @code{maj} is optional. Do NOT use this modifier
221 to create a major triad.
223 @lilypond[line-width=4\cm, noragged-right]
225 \override Staff.TimeSignature #'stencil = ##f
235 @ref{Common chord modifiers},
236 @ref{Extended and altered chords}.
243 Only one quality modifier should be used per chord, typically on the
244 highest step present in the chord. Chords with more than quality
245 modifier will be parsed without an error or warning, but the results
246 are unpredictable. Chords that cannot be achieved with a single
247 quality modifier should be altered by individual pitches, as described
248 in @ref{Extended and altered chords}.
251 @node Extended and altered chords
252 @unnumberedsubsubsec Extended and altered chords
254 @cindex extended chords
255 @cindex altered chords
257 Chord structures of arbitrary complexity can be created in chord
258 mode. The modifier string can be used to extend a chord, add or
259 remove chord steps, raise or lower chord steps, and add a bass note
260 or create an inversion.
262 The first number following the @code{:} is taken to be the extent
263 of the chord. The chord is constructed by sequentially adding
264 thirds to the root until the specified number has been reached.
265 Note that the seventh step added as part of an extended chord will be the
266 minor or flatted seventh, not the major seventh.
267 If the extent is not a third (e.g., 6), thirds are added up to the
268 highest third below the extent, and then the step of the extent is
269 added. The largest possible value for the extent is 13. Any
270 larger value is interpreted as 13.
272 @lilypond[quote,ragged-right,verbatim]
282 Note that both @code{c:5} and @code{c} produce a C major triad.
284 Since an unaltered 11 does not sound good when combined with an
285 unaltered 13, the 11 is removed from a @code{:13} chord (unless it
286 is added explicitly).
288 @lilypond[quote,ragged-right,verbatim]
294 @cindex additions, in chords
296 Individual steps can be added to a chord. Additions follow the
297 extent and are prefixed by a dot (@code{.}). The basic seventh
298 step added to a chord is the minor or flatted seventh, rather than
301 @lilypond[quote,verbatim]
303 c1:5.6 c:3.7.8 c:3.6.13
307 Added steps can be as high as desired.
309 @lilypond[quote,verbatim]
311 c4:5.15 c:5.20 c:5.25 c:5.30
315 @cindex chord steps, altering
317 Added chord steps can be altered by suffixing a @code{-} or @code{+}
318 sign to the number. To alter a step that is automatically included
319 as part of the basic chord structure, add it as an altered step.
321 @lilypond[quote,verbatim]
323 c1:7+ c:5+.3- c:3-.5-.7-
327 @cindex removals, in chords
331 Following any steps to be added, a series of steps to be removed
332 is introduced in a modifier string with a prefix of @code{^}.
333 If more than one step is to be removed, the steps to be
334 removed are separated by @code{.} following the
337 @lilypond[quote,verbatim]
339 c1^3 c:7^5 c:9^3 c:9^3.5 c:13.11^3.7
345 The modifier @code{sus} can be added to the modifier string to
346 create suspended chords. This removes the 3rd step from the chord.
347 Append either @code{2} or @code{4} to add the 2nd or 4th step to the
348 chord. @code{sus} is equivalent to @code{^3}; @code{sus4} is
349 equivalent to @code{.4^3}.
351 @lilypond[quote,ragged-right,verbatim]
353 c1:sus c:sus2 c:sus4 c:5.4^3
358 @cindex chord inversions
359 @cindex bass note, for chords
361 Inversions (putting a pitch other than the root on the bottom of the
362 chord) and added bass notes can be specified by appending
363 @code{/}@var{pitch} to the chord.
365 @lilypond[quote,ragged-right,verbatim]
373 A bass note that is part of the chord can be added, instead of
374 moved as part of an inversion, by using @code{/+}@var{pitch}.
376 @lilypond[quote,ragged-right,verbatim]
382 Chord modifiers that can be used to produce a variety of
383 standard chords are shown in
384 @ref{Common chord modifiers}.
389 @ref{Common chord modifiers}.
397 Each step can only be present in a chord once. The following
398 simply produces the augmented chord, since @code{5+} is
401 @lilypond[quote,ragged-right,verbatim]
402 \chordmode { c1:5.5-.5+ }
405 Only the second inversion can be created by adding a bass
406 note. The first inversion requires changing the root of
409 @lilypond[quote,ragged-right,verbatim]
411 c'1: c':/g e:6-3-^5 e:m6-^5
415 @node Displaying chords
416 @subsection Displaying chords
418 Chords can be displayed by name, in addition to the standard display
422 * Printing chord names::
423 * Customizing chord names::
426 @node Printing chord names
427 @unnumberedsubsubsec Printing chord names
429 @cindex printing chord names
433 Chord names are printed in the @code{ChordNames} context:
435 @lilypond[verbatim,quote,ragged-right]
443 Chords can be entered as simultaneous notes or through the use of
444 chord mode. The displayed chord name will be the same, regardless
445 of the mode of entry, unless there are inversions or added bass notes:
447 @lilypond[verbatim,quote,relative=1]
466 @cindex no chord symbol
468 @cindex indicating No Chord in ChordNames
470 Rests passed to a @code{ChordNames} context will cause the
471 @code{noChordSymbol} markup to be displayed.
473 @lilypond[verbatim, quote, relative=1]
475 \new ChordNames \chordmode {
492 @code{\chords @{ ... @}} is a shortcut notation for
493 @code{\new ChordNames @{ \chordmode @{ ... @} @}}.
495 @lilypond[verbatim,quote,ragged-right]
501 @lilypond[verbatim,quote,ragged-right]
511 @c Keep index entries with following snippet
512 @cindex chords, suppressing repeated
513 @funindex chordChanges
515 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
516 {showing-chords-at-changes.ly}
518 @c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
519 @c {adding-bar-lines-to-chordnames-context.ly}
521 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
522 {simple-lead-sheet.ly}
530 @ref{Writing music in parallel}.
536 @rinternals{ChordNames},
537 @rinternals{ChordName},
538 @rinternals{Chord_name_engraver},
539 @rinternals{Volta_engraver},
540 @rinternals{Bar_engraver}.
545 Chords containing inversions or altered bass notes are not named
546 properly if entered using simultaneous music.
549 @node Customizing chord names
550 @unnumberedsubsubsec Customizing chord names
552 @cindex customizing chord names
554 There is no unique system for naming chords. Different musical
555 traditions use different names for the same set of chords. There
556 are also different symbols displayed for a given chord name. The
557 names and symbols displayed for chord names are customizable.
562 The basic chord name layout is a system for Jazz music, proposed
563 by Klaus Ignatzek (see @ressay{Literature list}). The chord naming
564 system can be modified as described below. An alternate jazz
565 chord system has been developed using these modifications.
566 The Ignatzek and alternate
567 Jazz notation are shown on the chart in @ref{Chord name chart}.
569 @c TODO -- Change this so we don't have a non-verbatim example.
570 @c Make short example in docs, then move longer example to
571 @c appendix, where the length of the snippet won't matter.
573 In addition to the different naming systems, different note names
574 are used for the root in different languages. The predefined
575 variables @code{\germanChords}, @code{\semiGermanChords},
576 @code{\italianChords} and @code{\frenchChords} set these variables.
577 The effect is demonstrated here:
579 @lilypondfile[ragged-right]{chord-names-languages.ly}
582 @funindex chordNameLowercaseMinor
584 German songbooks may indicate minor chords as lowercase letters,
585 without any @var{m} suffix. This can be obtained by setting the
586 @code{chordNameLowercaseMinor} property:
588 @lilypond[verbatim,quote,ragged-right]
590 \set chordNameLowercaseMinor = ##t
595 If none of the existing settings give the desired output, the chord
596 name display can be tuned through the following properties.
600 @funindex chordRootNamer
604 The chord name is usually printed as a letter for the root with an
605 optional alteration. The transformation from pitch to letter is
606 done by this function. Special note names (for example, the German
607 @q{H} for a B-chord) can be produced by storing a new function in
610 @funindex majorSevenSymbol
612 @item majorSevenSymbol
614 This property contains the markup object used to follow the output
615 of @code{chordRootNamer} to identify a major 7 chord. Predefined
616 options are @code{whiteTriangleMarkup} and
617 @code{blackTriangleMarkup}.
619 @funindex chordNoteNamer
623 When the chord name contains additional pitches other than the root
624 (e.g., an added bass note), this function is used to print the
625 additional pitch. By default the pitch is printed using
626 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
627 to a specialized function to change this behavior. For example, the
628 bass note can be printed in lower case.
630 @funindex chordNameSeparator
632 @item chordNameSeparator
634 Different parts of a chord name are normally separated by a slash.
635 By setting @code{chordNameSeparator}, you can use any desired markup
638 @funindex chordNameExceptions
640 @item chordNameExceptions
642 This property is a list of pairs. The first item in each pair
643 is a set of pitches used to identify the steps present in the chord.
644 The second item is a markup that will follow the @code{chordRootNamer}
645 output to create the chord name.
647 @funindex chordPrefixSpacer
648 @item chordPrefixSpacer
650 The @q{m} for minor chords is usually printed immediately to the
651 right of the root of the chord. A spacer can be placed between
652 the root and @q{m} by setting @code{chordPrefixSpacer}.
653 The spacer is not used when the root is altered.
659 @funindex major seven symbols
660 @code{\whiteTriangleMarkup},
661 @code{\blackTriangleMarkup},
662 @funindex \germanChords
663 @code{\germanChords},
664 @funindex \semiGermanChords
665 @code{\semiGermanChords},
666 @funindex \italianChords
667 @code{\italianChords},
668 @funindex \frenchChords
669 @code{\frenchChords}.
675 @cindex exceptions, chord names.
676 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
677 {chord-name-exceptions.ly}
679 @c TODO - tweak snippet to use \blackTriangleMarkup as well
680 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
681 {chord-name-major7.ly}
683 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
684 {adding-bar-lines-to-chordnames-context.ly}
686 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
687 {volta-below-chords.ly}
689 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
690 {changing-chord-separator.ly}
695 @ref{Chord name chart},
696 @ref{Common chord modifiers}.
698 Essay on automated music engraving:
699 @ressay{Literature list}.
702 @file{scm/chords-ignatzek.scm},
703 @file{scm/chord-entry.scm},
704 @file{ly/chord-modifier-init.ly}.
709 @c Internals Reference:
715 Chord names are determined from both the pitches that are present
716 in the chord and the information on the chord structure that may
717 have been entered in @code{\chordmode}. If the simultaneous pitches
718 method of entering chords is used, undesired names result from
719 inversions or bass notes.
721 @lilypond[quote,ragged-right,verbatim]
722 myChords = \relative c' {
723 \chordmode { c1 c/g c/f }
724 <c e g>1 <g c e> <f c' e g>
727 \new ChordNames { \myChords }
728 \new Staff { \myChords }
734 @subsection Figured bass
736 @lilypondfile[quote]{figured-bass-headword.ly}
738 Figured bass notation can be displayed.
741 * Introduction to figured bass::
742 * Entering figured bass::
743 * Displaying figured bass::
746 @node Introduction to figured bass
747 @unnumberedsubsubsec Introduction to figured bass
749 @cindex Basso continuo
750 @cindex Thorough bass
752 @cindex Bass, thorough
753 @cindex Bass, figured
755 @c TODO: musicological blurb about FB
758 LilyPond has support for figured bass, also called thorough bass
761 @lilypond[quote,ragged-right,verbatim]
763 \new Voice { \clef bass dis4 c d ais g fis}
766 < 6 >4 < 7\+ >8 < 6+ [_!] >
774 The support for figured bass consists of two parts: there is an
775 input mode, introduced by @code{\figuremode}, that accepts
776 entry of bass figures, and there is a context named
777 @code{FiguredBass} that takes care of displaying
778 @code{BassFigure} objects. Figured bass can also be displayed
779 in @code{Staff} contexts.
781 @code{\figures@{ ... @}} is a shortcut notation for
782 @code{\new FiguredBass @{ \figuremode @{ ... @} @}}.
785 Although the support for figured bass may superficially resemble chord
786 support, it is much simpler. @code{\figuremode} mode simply
787 stores the figures and the @code{FiguredBass} context prints them
788 as entered. There is no conversion to pitches.
791 Figures are created as markup texts. Any of the standard markup
792 properties can be used to modify the display of figures. For
793 example, the vertical spacing of the figures may be set with
794 @code{baseline-skip}.
800 @rglos{figured bass}.
806 @node Entering figured bass
807 @unnumberedsubsubsec Entering figured bass
809 @code{\figuremode} is used to switch the input mode to figure mode.
810 More information on different input modes can be
811 found at @ref{Input modes}.
813 In figure mode, a group of bass figures is delimited by
814 @code{<} and @code{>}. The duration is entered after the @code{>}.
816 @lilypond[verbatim,quote,ragged-right]
825 Accidentals (including naturals) can be added to figures:
827 @lilypond[verbatim,quote,ragged-right]
829 <7! 6+ 4-> <5++> <3-->
833 Augmented and diminished steps can be indicated:
835 @lilypond[verbatim,quote,ragged-right]
841 A backward slash through a figure (typically used for raised
842 sixth steps) can be created:
844 @lilypond[verbatim,quote,ragged-right]
850 Vertical spaces and brackets can be included in figures:
852 @lilypond[verbatim,quote,ragged-right]
858 Any text markup can be inserted as a figure:
860 @lilypond[verbatim,quote,ragged-right]
862 <\markup { \tiny \number 6 \super (1) } 5>
866 @c NOTE: We need to include notes any time we use extenders to
867 @c avoid extraneous staff creation due to Staff.use... in
868 @c \bassFigureExtendersOn
870 Continuation lines can be used to indicate repeated figures:
872 @lilypond[verbatim,quote,ragged-right]
880 \bassFigureExtendersOn
881 <6 4>4 <6 3> <7 3> <7 3>
882 \bassFigureExtendersOff
883 <6 4>4 <6 3> <7 3> <7 3>
889 In this case, the extender lines replace existing figures,
890 unless the continuation lines have been explicitly terminated.
892 @lilypond[verbatim,quote,ragged-right]
895 \bassFigureExtendersOn
896 <6 4>4 <6 4> <6\! 4\!> <6 4>
905 The table below summarizes the figure modifiers available.
907 @multitable @columnfractions .1 .5 .4
921 @lilypond[line-width=4\cm]
923 <7! 6+ 4-> <5++> <3-->
930 Augmented and diminished steps
932 @lilypond[line-width=4\cm]
943 @lilypond[line-width=4\cm]
952 End of continuation line
954 @lilypond[line-width=4\cm]
957 \bassFigureExtendersOn
958 <6 4> <6 4> <6\! 4\!> <6 4>
971 @cindex figured bass extender lines
972 @code{\bassFigureExtendersOn},
973 @code{\bassFigureExtendersOff}.
978 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
979 {changing-the-positions-of-figured-bass-alterations.ly}
989 @c Notation Reference:
992 @c Application Usage:
1001 Internals Reference:
1002 @rinternals{BassFigure},
1003 @rinternals{BassFigureAlignment},
1004 @rinternals{BassFigureLine},
1005 @rinternals{BassFigureBracket},
1006 @rinternals{BassFigureContinuation},
1007 @rinternals{FiguredBass}.
1013 @node Displaying figured bass
1014 @unnumberedsubsubsec Displaying figured bass
1016 Figured bass can be displayed using the @code{FiguredBass} context,
1017 or in most staff contexts.
1019 When displayed in a @code{FiguredBass} context, the vertical location
1020 of the figures is independent of the notes on the staff.
1022 @lilypond[verbatim,ragged-right,quote]
1037 In the example above, the @code{FiguredBass} context must be
1038 explicitly instantiated to avoid creating a second (empty) staff.
1041 Figured bass can also be added to @code{Staff} contexts
1042 directly. In this case, the vertical position of the
1043 figures is adjusted automatically.
1045 @lilypond[verbatim,ragged-right,quote]
1047 \new Staff = myStaff
1052 %% Put notes on same Staff as figures
1053 \context Staff = myStaff
1062 When added in a @code{Staff} context, figured bass can be displayed above
1065 @lilypond[verbatim,ragged-right,quote]
1067 \new Staff = myStaff
1070 \bassFigureStaffAlignmentDown
1073 %% Put notes on same Staff as figures
1074 \context Staff = myStaff
1084 @cindex figured bass alignment
1085 @code{\bassFigureStaffAlignmentDown},
1086 @code{\bassFigureStaffAlignmentUp},
1087 @code{\bassFigureStaffAlignmentNeutral}.
1101 @c Notation Reference:
1104 @c Application Usage:
1113 Internals Reference:
1114 @rinternals{BassFigure},
1115 @rinternals{BassFigureAlignment},
1116 @rinternals{BassFigureLine},
1117 @rinternals{BassFigureBracket},
1118 @rinternals{BassFigureContinuation},
1119 @rinternals{FiguredBass}.
1124 To ensure that continuation lines work properly, it is
1125 safest to use the same rhythm in the figure line as in
1128 @lilypond[verbatim,ragged-right,quote]
1132 \repeat unfold 4 { f16. g32 } f8. es16 d8 es
1135 \bassFigureExtendersOn
1136 % The extenders are correct here, with the same rhythm as the bass
1137 \repeat unfold 4 { <6 4->16. <6 4->32 }
1138 <5>8. r16 <6>8 <6\! 5->
1144 \repeat unfold 4 { f16. g32 } f8. es16 d8 es
1147 \bassFigureExtendersOn
1148 % The extenders are incorrect here, even though the timing is the same
1150 <5>8. r16 <6>8 <6\! 5->
1155 When using extender lines, adjacent figures with the same number in
1156 a different figure location can cause the figure positions to invert.
1158 @lilypond[verbatim,ragged-right,quote,relative=1]
1162 \bassFigureExtendersOn
1163 <6 5>4 <5\! 4> < 5 _!> <6>
1168 To avoid this problem, simply turn on extenders after the figure that
1169 begins the extender line and turn them off at the end of the extender line.
1171 @lilypond[verbatim,ragged-right,quote,relative=1]
1176 \bassFigureExtendersOn
1178 \bassFigureExtendersOff