C Ab sus F7#9 Gm7/C Bb 9 (2nd inversion) etc.
Recognized types:
m mi min - M ma maj major aug + dim o O 5
Recognized modifiers:
no3 b5 #5 -5 +5 no5 6 7 -maj7 maj7 M7 9 M9 maj9 -maj9 b9 -9 #9 +9 b10 -10 11 M11 maj11 -maj11 #11 no11 13 maj13 b13 sus sus2 sus4 add2 add4 add6 add9 2 /2 4 /4 /6 /7 /9 /11 /13
Recognized inversions:
1st 2nd 3rd 4th 5th 6th 7th 8th 9th 10th 11th 12th
A sequence of note names (bottom to top), with optional octave number (C4 is middle C) and optional tuning (in cents):
C Eb G
C3 Eb5-12.6 G
Also accepts a bare integer to set the octave, and an underscore to skip at least an octave between notes:
2 C _ G _ E
If you happen to know exactly how many MIDI pitch-bend units you need, enter that info as "<n" (flat), or ">n" (sharp):
C3<400 E3>50 G3<500
A sequence of space-separated items. Each item is either a note specifier (see below), or a time specifier (likewise). A time specifier applies to the note specifier that follows it.
Note Specifier:
A Part and Voice number, in parentheses, separated by a slash. For example: (1/2) is the second voice in the first part, usually Lead for barbershop tunes. This causes the chord to be tuned to the note being sung by the given voice part, and that note to be tuned relative to the key of the current measure.
A Note name, like C or Eb or F#, to specify that the chord be tuned so that the given note is tuned to the current key (i.e., the JI scale).
A cents value, a decimal number preceded by a plus or minus, to tune the chord root up or down the given number of cents relative to the JI scale.
Or, both a note name and cents value, to tune the chord to the given note, plus or minus the given number of cents.
If no tuning spec is given, each chord's root is tuned to the JI scale.
Time Specifier:
A Measure, Beat, and Tick value, separated by colons. Example: 1:1:0 is the first beat of the first measure, with no tick offset. 2:1:4 would be four ticks after the first beat of the second measure.
Example:
(1/2) 5:1:0 (2/2) 6:3:0 Ab-12.6 7:1:0 (1/2)
The spec above says to tune to the Lead (voice 2 of part 1) from the beginning of the piece until beat 1 of measure 5. That chord, and all chords up until (but not including) the one at beat 3 of measure 6, should tune to the Bass note (voice 2 of part 2). The chord at beat 3 of measure 6 should be tuned such that the Ab (there must be an Ab in the chord!) is 12.6 cents flatter than a Ab would be in the current key. Starting with beat 1 of measure 7, going to the end of the piece, tune to the Lead again. Tuning to a given voice part implies that the note sung by that voice part should be tuned to the JI scale of the current key, and the rest of the chord should then be tuned relative to that note.
A set of integers, one per note in the chord, specifying the ratios of the frequencies in the chord. Separated by spaces or colons.
4:5:6:7 (a "Barbershop" seventh chord in close position, like C E G Bb)