This library contains new LilyPond commands to display functional harmony and scale degree symbols. They are to be used in a Lyrics context.
This library is work in progress. Not all of the commands listed below have already been implemented. Please consult and/or compile the file test-music-theory-symbols.ly to see which symbols are currently available.
Generally the letters of the german abbreviations for the diatonic functions are used as command names (e.g. \T, \t, \S, \D,…). There are some rare exceptions. s and d have a different meaning in LilyPond. So you have to use \sm and \dm in order to display the symbols for a minor subdominant and a minor dominant. All basic commands can be used in combination with an extension (see command extensions). In this case you don’t need to append an m to the symbols for minor subdominants and minor dominants (e.g. \s-fi = minor subdominant, first inversion).
Here is a list of the basic commands:
\T- Dur-Tonika — Major Tonic
\Tp- Dur-Tonika-Moll-Parallele — Tonic parallel / Submediant
\Tg- Dur-Tonika-Moll-Gegenklang — Tonic counter parallel / Mediant
\t- Moll-Tonika — Minor Tonic
\tP- Moll-Tonika-Dur-Parallele — Parallel of minor tonic
\tG- Moll-Tonika-Dur-Gegenklang — Major counter parallel of minor tonic
\S- Dur-Subdominante — Major Subdominant
Aj- Dur-Sixte ajoutée / Dur-Subdominante mit hinzugefügter Sexte —
aj- Moll-Sixte ajoutée / Moll-Subdominante mit hinzugefügter Sexte —
\Sp- Dur-Subdominant-Moll-Paralle — Minor parallel of Major Subdominant / Supertonic
\Sg- Dur-Subdominant-Moll-Gegenklang — Subdominant counter parallel / Submediant
\sm- Moll-Subdominante — Minor Subdominant
\sP- Moll-Subdominant-Dur-Parallele — Major parallel of minor subdominant
\sG- Moll-Subdominant-Dur-Gegenklang — Major counter parallel of minor subdominant
\N- Neapolitanischer Sextakkord
\SS- Dur-Doppelsubdominante — ?
\DT- Dur-Dominante — Major Dominant
\DD- Dur-Doppeldominante — Dominant of the dominant
\It- Italian Sixth
\Fr- French Sixth
\Ge- German Sixth
\Dp- Dur-Dominant-Moll-Parallele — Dominant parallel / Mediant
\Dg- Dur-Dominant-Moll-Gegenklang — Dominant counter parallel
\dm- Moll-Dominante — Minor Dominant
\dP- Moll-Dominant-Dur-Parallele — Major parallel of minor dominant
\dG- Moll-Dominant-Dur-Gegenklang — Major counter parallel of minor dominant
\p- Prolongation
\I- Dur-Tonika — Major Tonic
\i- Moll-Tonika — Minor Tonic
\II- Doppeldominante — Dominant of the dominant
\ii- Dur-Subdominant-Moll-Parallele — Subdominant parallel / Supertonic
\iii- Dur-Tonika-Moll-Gegenklang / Dur-Dominant-Moll-Parallele — Mediant
\IV- Dur-Subdominante — Major subdominant
\iv- Moll-Subdominante — Minor subdominant
\V- Dur-Dominante — Major dominant
\v- Moll-Dominante — Minor dominant
\vi- Dur-Tonika-Moll-Parallele — Submediant
\vii- verkürzter Dur-Dominantseptakkord — Leading / dominant seventh without root
Extensions are to be appended to the basic commands with dashes:
-two- suspension 2 (-> 3) or passing tone
-three- suspension resolved (4 ->) 3
-four- suspension 4 (-> 3) or passing tone
-fivethree- double suspension resolved (6/4 ->) 5/3
-six- added sixth
-sixfour- double suspension 6/4 (-> 5/3)
-seven- seventh chords — Septakkorde
-eight- suspension resolved (9 ->) 8
-eightthree- double suspension resolved (9/4 ->) 8/3
-nine- suspension 9 (-> 8)
-ninefour- double suspension 9/4 (-> 8/3)
-backslash- diagonally slashed function names (e.g. Dominant seventh without root) — Diagonal durchgestrichene Funktionsnamen (z.B. verkürzter Dominantseptakkord)
flat- flat, e.g. b9 or b5
aug- augmented, e.g. #9 or #5
-fi- first inversion — Erste Umkehrung
-si- second inversion — Zweite Umkehrung
-ti- third inversion — Dritte Umkehrung
-tot- third on top — Terzlage
-fot- fifth on top — Quintlage
-eot- eighth on top — Oktavlage
-cp- closed position — Enge Lage
-op- open position — Weite Lage
-mp- mixed position — Gemischte Lage