2.7 Chord notation

Chords can be entered either as normal notes or in chord mode and displayed using a variety of traditional European chord naming conventions. Chord names and figured bass notation can also be displayed.

2.7.1 Chord mode

Chord mode is used to enter chords using an indicator of the chord structure, rather than the chord pitches.

Chord mode overview

Chords can be entered as simultaneous music, as discussed in Chorded notes.

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. More information on different input modes can be found at Input modes.

\chordmode { c1 g a g c }

Chords entered using chord mode are music elements, and can be transposed just like chords entered using simultaneous music. \chordmode is absolute, as \relative has no effect on chordmode blocks. However, in \chordmode the absolute pitches are one octave higher than in note mode.

Chord mode and note mode can be mixed in sequential music:

\relative { <c' e g>2 <g b d> \chordmode { c2 f } <c e g>2 <g' b d> \chordmode { f2 g } }

See also

Music Glossary: (music-glossary)chord section ‘chord’ in Music Glossary.

Notation Reference: Chorded notes, Input modes.

Snippets: (snippets)Chords section ‘Chords’ in Snippets.

Known issues and warnings

Predefined shorthands for articulations and ornaments cannot be used on notes in chord mode, see Articulations and ornamentations.

Common chords

Major triads are entered by including the root and an optional duration:

\chordmode { c2 f4 g }

Minor, augmented, and diminished triads are entered by placing : and a quality modifier string after the duration:

\chordmode { c2:m f4:aug g:dim }

Seventh chords can be created:

\chordmode { c1:7 c:m7 c:maj7 c:dim7 c:aug7 }

The table below shows the actions of the quality modifiers on triads and seventh chords. The default seventh step added to chords is a minor or flatted seventh, which makes the dominant seventh the basic seventh chord. All alterations are relative to the dominant seventh. A more complete table of modifier usage is found at Common chord modifiers.

See also

Notation Reference: Common chord modifiers, Extended and altered chords.

Snippets: (snippets)Chords section ‘Chords’ in Snippets.

Known issues and warnings

Only one quality modifier should be used per chord, typically on the highest step present in the chord. Chords with more than quality modifier will be parsed without an error or warning, but the results are unpredictable. Chords that cannot be achieved with a single quality modifier should be altered by individual pitches, as described in Extended and altered chords.

Extended and altered chords

Chord structures of arbitrary complexity can be created in chord mode. The modifier string can be used to extend a chord, add or remove chord steps, raise or lower chord steps, and add a bass note or create an inversion.

The first number following the : 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. Note that the seventh step added as part of an extended chord will be the minor or flatted seventh, not the major seventh. 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.

\chordmode { c1:2 c:3 c:4 c:5 c1:6 c:7 c:8 c:9 c1:10 c:11 c:12 c:13 c1:14 }

As a special exception, c:5 produces a ‘power chord’ only consisting of root and fifth.

Since an unaltered 11 does not sound good when combined with an unaltered 13, the 11 is removed from a :13 chord (unless it is added explicitly).

\chordmode { c1:13 c:13.11 c:m13 }

Individual steps can be added to a chord. Additions follow the extent and are prefixed by a dot (.). The basic seventh step added to a chord is the minor or flatted seventh, rather than the major seventh.

\chordmode { c1:3.5.6 c:3.7.8 c:3.6.13 }

Added steps can be as high as desired.

\chordmode { c4:3.5.15 c:3.5.20 c:3.5.25 c:3.5.30 }

Added chord steps can be altered by suffixing a - or + sign to the number. To alter a step that is automatically included as part of the basic chord structure, add it as an altered step.

\chordmode { c1:7+ c:5+.3- c:3-.5-.7- }

Following any steps to be added, a series of steps to be removed is introduced in a modifier string with a prefix of ^. If more than one step is to be removed, the steps to be removed are separated by . following the initial ^.

\chordmode { c1^3 c:7^5 c:9^3 c:9^3.5 c:13.11^3.7 }

The modifier sus can be added to the modifier string to create suspended chords. This removes the 3rd step from the chord. Append either 2 or 4 to add the 2nd or 4th step to the chord. When sus is followed by either a 2nd or 4th step, it is equivalent to ^3, otherwise to sus4, namely 5.4.

\chordmode { c1:sus c:sus2 c:sus4 c:5.4 }

Added bass notes (putting a pitch other than the root on the bottom of the chord) can be specified by appending /pitch to the chord.

\chordmode { c'1 c'/e c'/f }

If the added pitch is already part of the chord, this may be used to print chord inversions, in which case the pitch is not added but merely moved to the bottom of the chord. It may however be treated as an added note (and thus printed twice), by using the syntax /+pitch.

\chordmode { c'1 c'/g c'/+e }

Automatic chord inversions and voicings are demonstrated in Chord inversions and specific voicings.

Chord modifiers that can be used to produce a variety of standard chords are shown in Common chord modifiers.

See also

Notation Reference: Chord inversions and specific voicings, Common chord modifiers.

Snippets: (snippets)Chords section ‘Chords’ in Snippets.

Known issues and warnings

Each step can only be present in a chord once. The following simply produces the augmented chord, since 5+ is interpreted last.

\chordmode { c1:3.5.5-.5+ }

Chord inversions and specific voicings

In addition to chord modifiers and added bass notes, various functions may be used to automatically print chords in a specific inversion or voicing – for example the so-called ‘drop 2’ voicing commonly used in jazz music.

\chordmode { \dropNote 2 { c2:maj7 d:m7 } \invertChords 1 d1:maj7 }

Unlike added bass notes shown in Extended and altered chords, this only affects the way chords are printed on a staff, and not chord names written with letters. Furthermore, these functions may be used not only in chord mode but also with <...> chords constructs explained in Chorded notes.

See also

Notation Reference: Extended and altered chords, Chorded notes.

Snippets: (snippets)Chords section ‘Chords’ in Snippets.

2.7.2 Displaying chords

Chords can be displayed by name, in addition to the standard display as notes on a staff.

Printing chord names

Chord names are printed in the ChordNames context:

\new ChordNames { \chordmode { c2 f4. g8 } }

Chords can be entered as simultaneous notes or through the use of chord mode. The displayed chord name will be the same, regardless of the mode of entry, unless there are inversions or added bass notes:

chordmusic = \relative { <c' e g>2 <f bes c> <f c' e g>1 \chordmode { c2 f:sus4 c1:/f } } << \new ChordNames { \chordmusic } { \chordmusic } >>

Rests passed to a ChordNames context will cause the noChordSymbol markup to be displayed.

<< \new ChordNames \chordmode { c1 r1 g1 c1 } \chordmode { c1 r1 g1 c1 } >>

\chords { … } is a shortcut notation for \new ChordNames \chordmode { … }.

\chords { c2 f4.:m g8:maj7 }

\new ChordNames { \chordmode { c2 f4.:m g8:maj7 } }

Selected Snippets

Showing chords at changes

By default, every chord entered is printed; this behavior can be modified so that chord names are printed only at the start of lines and when the chord changes.

harmonies = \chordmode { c1:m c:m \break c:m c:m d } << \new ChordNames { \set chordChanges = ##t \harmonies } \new Staff { \relative c' { \harmonies } } >>

Simple lead sheet

When put together, chord names, a melody, and lyrics form a lead sheet:

<< \chords { c2 g:sus4 f e } \new Staff \relative c'' { a4 e c8 e r4 b2 c4( d) } \addlyrics { One day this shall be free __ } >>

See also

Music Glossary: (music-glossary)chord section ‘chord’ in Music Glossary.

Notation Reference: Writing music in parallel.

Snippets: (snippets)Chords section ‘Chords’ in Snippets.

Internals Reference: (internals)ChordNames section ‘ChordNames’ in Internals Reference, (internals)ChordName section ‘ChordName’ in Internals Reference, (internals)Chord_name_engraver section ‘Chord_name_engraver’ in Internals Reference, (internals)Volta_engraver section ‘Volta_engraver’ in Internals Reference, (internals)Bar_engraver section ‘Bar_engraver’ in Internals Reference.

Known issues and warnings

Chords containing inversions or altered bass notes are not named properly if entered using simultaneous music.

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.

The basic chord name layout is a system for Jazz music, proposed by Klaus Ignatzek (see (essay)Literature list section ‘Literature list’ in Essay). (Other chord naming systems may be implemented through Scheme functions, as demonstrated by the “Chord names alternative” snippet in (snippets)Chords section ‘Chords’ in Snippets.) A list of common jazz chords notations may be found on the chart in Chord name chart.

The default naming system may be tweaked easily in a number of ways. To begin with, predefined commands allow to use different languages for the root pitch. These include \germanChords, \semiGermanChords, \italianChords and \frenchChords:

German songbooks may indicate minor chords as lowercase letters, without any m suffix. This can be obtained by setting the chordNameLowercaseMinor property:

\chords { \set chordNameLowercaseMinor = ##t c2 d:m e:m f }

The chord name display can also be tuned through the following properties.

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 ‘H’ for a B-chord) can be produced by storing a new function in this property.

majorSevenSymbol

This property contains the markup object used to follow the output of chordRootNamer to identify a major 7 chord. Predefined options are whiteTriangleMarkup and blackTriangleMarkup.

additionalPitchPrefix

When the chord name contains additional pitches, they can optionally be prefixed with some text. The default is no prefix, in order to avoid too much visual clutter, but for small numbers of additional pitches this can be visually effective.

\new ChordNames { <c e g d'> % add9 \set additionalPitchPrefix = "add" <c e g d'> % add9 }

chordNoteNamer

When the chord name contains additional pitches other than the root (e.g., an added bass note), this function is used to print the additional pitch. By default the pitch is printed using chordRootNamer. The chordNoteNamer property can be set to a specialized function to change this behavior. For example, the bass note can be printed in lower case.

chordNameSeparator

Different parts of a chord name are normally separated by a small amount of horizontal space. By setting chordNameSeparator, you can use any desired markup for a separator. This does not affect the separator between a chord and its bass note; to customize that, use slashChordSeparator.

\chords { c4:7.9- c:7.9-/g \set chordNameSeparator = \markup { "/" } \break c4:7.9- c:7.9-/g }

slashChordSeparator

Chords can be played over a bass note other than the conventional root of the chord. These are known as “inversions” or “slash chords”, because the default way of notating them is with a forward slash between the main chord and the bass note. Therefore the value of slashChordSeparator defaults to a forward slash, but you can change it to any markup you choose.

\chords { c4:7.9- c:7.9-/g \set slashChordSeparator = \markup { " over " } \break c4:7.9- c:7.9-/g }

chordNameExceptions

This property is a list of pairs. The first item in each pair is a set of pitches used to identify the steps present in the chord. The second item is a markup that will follow the chordRootNamer output to create the chord name.

minorChordModifier

Minor chords are often denoted via a ‘m’ suffix to the right of the root of the chord. However some idioms prefer other suffices, such as a minus sign.

\chords { c4:min f:min7 \set minorChordModifier = \markup { "-" } \break c4:min f:min7 }

chordPrefixSpacer

The modifier for minor chords as determined by minorChordModifier is usually printed immediately to the right of the root of the chord. A spacer can be placed between the root and the modifier by setting chordPrefixSpacer. The spacer is not used when the root is altered.

Predefined commands

\whiteTriangleMarkup, \blackTriangleMarkup, \germanChords, \semiGermanChords, \italianChords, \frenchChords.

Selected Snippets

Chord name exceptions

The property chordNameExceptions can be used to store a list of special notations for specific chords.

% modify maj9 and 6(add9) % Exception music is chords with markups chExceptionMusic = { <c e g b d'>1-\markup { \super "maj9" } <c e g a d'>1-\markup { \super "6(add9)" } } % Convert music to list and prepend to existing exceptions. chExceptions = #( append ( sequential-music-to-chord-exceptions chExceptionMusic #t) ignatzekExceptions) theMusic = \chordmode { g1:maj9 g1:6.9 \set chordNameExceptions = #chExceptions g1:maj9 g1:6.9 } \layout { ragged-right = ##t } << \context ChordNames \theMusic \context Voice \theMusic >>

chord name major7

The layout of the major 7 can be tuned with majorSevenSymbol.

\chords { c:7+ \set majorSevenSymbol = \markup { j7 } c:7+ }

Adding bar lines to ChordNames context

To add bar line indications in the ChordNames context, add the Bar_engraver.

\new ChordNames \with { \override BarLine.bar-extent = #'(-2 . 2) \consists "Bar_engraver" } \chordmode { f1:maj7 f:7 bes:7 }

Volta below chords

By adding the Volta_engraver to the relevant staff, volte can be put under chords.

\score { << \chords { c1 c1 } \new Staff \with { \consists "Volta_engraver" } { \repeat volta 2 { c'1 } \alternative { c' } } >> \layout { \context { \Score \remove "Volta_engraver" } } }

Changing chord separator

The separator between different parts of a chord name can be set to any markup.

\chords { c:7sus4 \set chordNameSeparator = \markup { \typewriter | } c:7sus4 }

See also

Notation Reference: Chord name chart, Common chord modifiers.

Essay on automated music engraving: (essay)Literature list section ‘Literature list’ in Essay.

Installed Files: ‘scm/chords-ignatzek-names.scm’, ‘scm/chord-entry.scm’, ‘ly/chord-modifiers-init.ly’.

Snippets: (snippets)Chords section ‘Chords’ in Snippets.

Known issues and warnings

Chord names are determined from both the pitches that are present in the chord and the information on the chord structure that may have been entered in \chordmode. If the simultaneous pitches method of entering chords is used, undesired names result from inversions or bass notes.

myChords = \relative c' { \chordmode { c1 c/g c/f } <c e g>1 <g c e> <f c' e g> } << \new ChordNames { \myChords } \new Staff { \myChords } >>

2.7.3 Figured bass

Figured bass notation can be displayed.

Introduction to figured bass

LilyPond has support for figured bass, also called thorough bass or basso continuo:

<< \new Voice { \clef bass dis4 c d ais g fis} \new FiguredBass { \figuremode { < 6 >4 < 7\+ >8 < 6+ [_!] > < 6 >4 <6 5 [3+] > < _ >4 < 6 5/>4 } } >>

The support for figured bass consists of two parts: there is an input mode, introduced by \figuremode, that accepts entry of bass figures, and there is a context named FiguredBass that takes care of displaying BassFigure objects. Figured bass can also be displayed in Staff contexts.

\figures { … } is a shortcut notation for \new FiguredBass \figuremode { … }.

Although the support for figured bass may superficially resemble chord support, it is much simpler. \figuremode mode simply stores the figures and the FiguredBass context prints them as entered. There is no conversion to pitches.

See also

Music Glossary: (music-glossary)figured bass section ‘figured bass’ in Music Glossary.

Snippets: (snippets)Chords section ‘Chords’ in Snippets.

Entering figured bass

\figuremode is used to switch the input mode to figure mode. More information on different input modes can be found at Input modes.

In figure mode, a group of bass figures is delimited by < and >. The duration is entered after the >.

\new FiguredBass { \figuremode { <6 4>2 } }

Accidentals (including naturals) may be used for modifying scale steps. These are entered by appending + (for sharps), - (for flats) or ! (for naturals) after the number. For double accidentals the modifier is applied twice. For the modification of the third step the number is often omitted, which can be achieved by using _ instead of a number.

\figures { <7! 6+ 4-> <5++> <3--> < _+ > < 7 _!> }

Augmented and diminished steps can be indicated:

\figures { <6\+ 5/> <7/> }

A backward slash through a figure (typically used for raised sixth steps) can be created:

\figures { <6> <6\\> }

Brackets can be included in figures:

\figures { <[12] 8 [6 4]> }

Any text markup can be inserted as a figure:

\figures { <\markup { \tiny \number 6 \super (1) } 5> }

Continuation lines can be used to indicate repeated figures:

<< { \clef bass e4 d c b, e4 d c b, } \figures { \bassFigureExtendersOn <6 4>4 <6 3> <7 3> <7 3> \bassFigureExtendersOff <6 4>4 <6 3> <7 3> <7 3> } >>

In this case, the extender lines replace existing figures, unless the continuation lines have been explicitly terminated.

<< \figures { \bassFigureExtendersOn <6 4>4 <6 4> <6\! 4\!> <6 4> } { \clef bass d4 d c c } >>

The table below summarizes the figure modifiers available.

Predefined commands

\bassFigureExtendersOn, \bassFigureExtendersOff.

Selected Snippets

Changing the positions of figured bass alterations

Accidentals and plus signs can appear before or after the numbers, depending on the figuredBassAlterationDirection and figuredBassPlusDirection properties.

\figures { <6\+> <5+> <6 4-> r \set figuredBassAlterationDirection = #RIGHT <6\+> <5+> <6 4-> r \set figuredBassPlusDirection = #RIGHT <6\+> <5+> <6 4-> r \set figuredBassAlterationDirection = #LEFT <6\+> <5+> <6 4-> r }

See also

Snippets: (snippets)Chords section ‘Chords’ in Snippets.

Internals Reference: (internals)BassFigure section ‘BassFigure’ in Internals Reference, (internals)BassFigureAlignment section ‘BassFigureAlignment’ in Internals Reference, (internals)BassFigureLine section ‘BassFigureLine’ in Internals Reference, (internals)BassFigureBracket section ‘BassFigureBracket’ in Internals Reference, (internals)BassFigureContinuation section ‘BassFigureContinuation’ in Internals Reference, (internals)FiguredBass section ‘FiguredBass’ in Internals Reference.

Displaying figured bass

Figured bass can be displayed using the FiguredBass context, or in most staff contexts.

When displayed in a FiguredBass context, the vertical location of the figures is independent of the notes on the staff.

<< \relative { c''4 c'8 r8 c,4 c' } \new FiguredBass { \figuremode { <4>4 <10 6>8 s8 <6 4>4 <6 4> } } >>

In the example above, the FiguredBass context must be explicitly instantiated to avoid creating a second (empty) staff.

Figured bass can also be added to Staff contexts directly. In this case, the vertical position of the figures is adjusted automatically.

<< \new Staff = "myStaff" \figuremode { <4>4 <10 6>8 s8 <6 4>4 <6 4> } %% Put notes on same Staff as figures \context Staff = "myStaff" { \clef bass c4 c'8 r8 c4 c' } >>

When added in a Staff context, figured bass can be displayed above or below the staff.

<< \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' } >>

Predefined commands

\bassFigureStaffAlignmentDown, \bassFigureStaffAlignmentUp, \bassFigureStaffAlignmentNeutral.

See also

Snippets: (snippets)Chords section ‘Chords’ in Snippets.

Internals Reference: (internals)BassFigure section ‘BassFigure’ in Internals Reference, (internals)BassFigureAlignment section ‘BassFigureAlignment’ in Internals Reference, (internals)BassFigureLine section ‘BassFigureLine’ in Internals Reference, (internals)BassFigureBracket section ‘BassFigureBracket’ in Internals Reference, (internals)BassFigureContinuation section ‘BassFigureContinuation’ in Internals Reference, (internals)FiguredBass section ‘FiguredBass’ in Internals Reference.

Known issues and warnings

To ensure that continuation lines work properly, it is safest to use the same rhythm in the figure line as in the bass line.

<< { \clef bass \repeat unfold 4 { f16. g32 } f8. es16 d8 es } \figures { \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-> } >> << { \clef bass \repeat unfold 4 { f16. g32 } f8. es16 d8 es } \figures { \bassFigureExtendersOn % The extenders are incorrect here, even though the timing is the same <6 4->4 <6 4->4 <5>8. r16 <6>8 <6\! 5-> } >>

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