1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
8 @node Instrument-specific notation
9 @chapter Instrument-specific notation
11 This chapter explains how to use notation for specific instruments.
21 * Other instrument specific notation::
29 Piano staves are two normal staves coupled with a brace. The staves
30 are largely independent, but sometimes voices can cross between the
31 two staves. The same notation is also used for harps and other key
32 instruments. The @internalsref{PianoStaff} is especially built to
33 handle this cross-staffing behavior. In this section we discuss the
34 @internalsref{PianoStaff} and some other pianistic peculiarities.
37 * Automatic staff changes::
38 * Manual staff switches::
40 * Staff switch lines::
46 Dynamics are not centered, but workarounds do exist. See the
47 ``piano centered dynamics'' template in @ref{Piano templates}.
49 @cindex cross staff stem
50 @cindex stem, cross staff
51 @cindex distance between staves in piano music
53 The distance between the two staves is the same for all systems in the
54 score. It is possible to override this per system, but it does require
55 an arcane command incantation. See
56 @inputfileref{input/@/test,piano@/-staff@/-distance@/.ly}.
59 @node Automatic staff changes
60 @subsection Automatic staff changes
61 @cindex Automatic staff changes
63 Voices can be made to switch automatically between the top and the bottom
64 staff. The syntax for this is
68 \autochange @dots{}@var{music}@dots{}
73 This will create two staves inside the current PianoStaff, called
74 @code{up} and @code{down}. The lower staff will be in bass clef by
77 A @code{\relative} section that is outside of @code{\autochange} has
78 no effect on the pitches of @var{music}, so, if necessary, put
79 @code{\relative} inside @code{\autochange} like
83 \autochange \relative @dots{} @dots{}
88 The autochanger switches on basis of the pitch (middle C is the turning
89 point), and it looks ahead skipping over rests to switch in
90 advance. Here is a practical example
92 @lilypond[quote,verbatim,ragged-right]
94 \autochange \relative c'
103 In this manual: @ref{Manual staff switches}.
105 Program reference: @internalsref{AutoChangeMusic}.
111 The staff switches may not end up in optimal places. For high
112 quality output, staff switches should be specified manually.
115 @code{\autochange} cannot be inside @code{\times}.
118 @node Manual staff switches
119 @subsection Manual staff switches
121 @cindex manual staff switches
122 @cindex staff switch, manual
124 Voices can be switched between staves manually, using the command
126 \change Staff = @var{staffname} @var{music}
130 The string @var{staffname} is the name of the staff. It switches the
131 current voice from its current staff to the Staff called
132 @var{staffname}. Typically @var{staffname} is @code{"up"} or
133 @code{"down"}. The @context{Staff} referred to must already exist, so
134 usually the setup for a score will start with a setup of the staves,
139 \skip 1 * 10 % @emph{keep staff alive}
141 \new Staff = "down" @{
142 \skip 1 * 10 % @emph{idem}
148 and the @context{Voice} is inserted afterwards
152 \new Voice @{ @dots{} \change Staff = up @dots{} @}
160 Pianos have pedals that alter the way sound is produced. Generally, a
161 piano has three pedals, sustain, una corda, and sostenuto.
164 Piano pedal instruction can be expressed by attaching
165 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
166 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
169 @lilypond[quote,ragged-right,fragment,verbatim]
170 c'4\sustainDown c'4\sustainUp
173 What is printed can be modified by setting @code{pedal@var{X}Strings},
174 where @var{X} is one of the pedal types: @code{Sustain},
175 @code{Sostenuto} or @code{UnaCorda}. Refer to
176 @internalsref{SustainPedal} in the program reference for more
179 Pedals can also be indicated by a sequence of brackets, by setting the
180 @code{pedalSustainStyle} property to bracket objects
182 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
183 \set Staff.pedalSustainStyle = #'bracket
185 b\sustainUp\sustainDown
186 b g \sustainUp a \sustainDown \bar "|."
189 A third style of pedal notation is a mixture of text and brackets,
190 obtained by setting the @code{pedalSustainStyle} property to
193 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
194 \set Staff.pedalSustainStyle = #'mixed
196 b\sustainUp\sustainDown
197 b g \sustainUp a \sustainDown \bar "|."
200 The default `*Ped.' style for sustain and damper pedals corresponds to
201 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
204 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
205 c\sostenutoDown d e c, f g a\sostenutoUp
208 For fine-tuning the appearance of a pedal bracket, the properties
209 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
210 @code{PianoPedalBracket} objects (see
211 @internalsref{PianoPedalBracket} in the Program reference) can be
212 modified. For example, the bracket may be extended to the right edge
215 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
216 \override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
217 c\sostenutoDown d e c, f g a\sostenutoUp
222 In this manual: @ref{Laissez vibrer ties}
224 @node Staff switch lines
225 @subsection Staff switch lines
229 @cindex staff switching
232 @cindex @code{followVoice}
234 Whenever a voice switches to another staff, a line connecting the notes
235 can be printed automatically. This is switched on by setting
236 @code{followVoice} to true
238 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
241 \set followVoice = ##t
246 \new Staff="two" { \clef bass \skip 1*2 }
252 Program reference: @internalsref{VoiceFollower}.
256 @cindex @code{\showStaffSwitch}
257 @code{\showStaffSwitch},
258 @cindex @code{\hideStaffSwitch}
259 @code{\hideStaffSwitch}.
262 @node Cross staff stems
263 @subsection Cross staff stems
265 Chords that cross staves may be produced by increasing the length
266 of the stem in the lower staff, so it reaches the stem in the upper
267 staff, or vice versa.
269 @lilypond[ragged-right,verbatim,quote]
270 stemExtend = \once \override Stem #'length = #22
271 noFlag = \once \override Stem #'flag-style = #'no-flag
274 \stemDown \stemExtend
292 * Introducing chord names::
294 * Printing chord names::
298 @c awkward name; awkward section name.
299 @c still, the Basic "chords" seems like a good name... :(
300 @node Introducing chord names
301 @subsection Introducing chord names
304 LilyPond has support for printing chord names. Chords may be entered
305 in musical chord notation, i.e., @code{< .. >}, but they can also be
306 entered by name. Internally, the chords are represented as a set of
307 pitches, so they can be transposed
310 @lilypond[quote,ragged-right,verbatim,ragged-right]
311 twoWays = \transpose c c' {
320 << \new ChordNames \twoWays
321 \new Voice \twoWays >>
324 This example also shows that the chord printing routines do not try to
325 be intelligent. The last chord (@code{f bes d}) is not interpreted as
328 Note that the duration of chords must be specified outside the
337 @subsection Chords mode
340 In chord mode sets of pitches (chords) are entered with normal note
341 names. A chord is entered by the root, which is entered like a
344 @lilypond[quote,ragged-right,fragment,verbatim]
345 \chordmode { es4. d8 c2 }
349 The mode is introduced by the keyword @code{\chordmode}.
354 Other chords may be entered by suffixing a colon and introducing a
355 modifier (which may include a number if desired)
356 @lilypond[quote,fragment,verbatim]
357 \chordmode { e1:m e1:7 e1:m7 }
359 The first number following the root is taken to be the `type' of the
360 chord, thirds are added to the root until it reaches the specified
362 @lilypond[quote,fragment,verbatim]
363 \chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
366 @cindex root of chord
367 @cindex additions, in chords
368 @cindex removals, in chords
370 More complex chords may also be constructed adding separate steps
371 to a chord. Additions are added after the number following
372 the colon and are separated by dots
373 @lilypond[quote,verbatim,fragment]
374 \chordmode { c:5.6 c:3.7.8 c:3.6.13 }
376 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
378 @lilypond[quote,verbatim,fragment]
379 \chordmode { c:7+ c:5+.3- c:3-.5-.7- }
381 Removals are specified similarly and are introduced by a caret. They
382 must come after the additions
383 @lilypond[quote,verbatim,fragment]
384 \chordmode { c^3 c:7^5 c:9^3.5 }
387 Modifiers can be used to change pitches. The following modifiers are
392 The minor chord. This modifier lowers the 3rd and (if present) the 7th step.
395 The diminished chord. This modifier lowers the 3rd, 5th and (if present)
399 The augmented chord. This modifier raises the 5th step.
402 The major 7th chord. This modifier raises the 7th step if present.
405 The suspended 4th or 2nd. This modifier removes the 3rd
406 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
410 Modifiers can be mixed with additions
411 @lilypond[quote,verbatim,fragment]
412 \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
415 @cindex modifiers, in chords.
422 Since an unaltered 11 does not sound good when combined with an
423 unaltered 3, the 11 is removed in this case (unless it is added
425 @lilypond[quote,ragged-right,fragment,verbatim]
426 \chordmode { c:13 c:13.11 c:m13 }
431 An inversion (putting one pitch of the chord on the bottom), as well
432 as bass notes, can be specified by appending
433 @code{/}@var{pitch} to the chord
434 @lilypond[quote,ragged-right,fragment,verbatim]
435 \chordmode { c1 c/g c/f }
439 A bass note can be added instead transposed out of the chord,
440 by using @code{/+}@var{pitch}.
442 @lilypond[quote,ragged-right,fragment,verbatim]
443 \chordmode { c1 c/+g c/+f }
446 Chords is a mode similar to @code{\lyricmode}, etc. Most
447 of the commands continue to work, for example, @code{r} and
448 @code{\skip} can be used to insert rests and spaces, and property
449 commands may be used to change various settings.
455 Each step can only be present in a chord once. The following
456 simply produces the augmented chord, since @code{5+} is interpreted
459 @lilypond[quote,ragged-right,verbatim,fragment]
460 \chordmode { c:5.5-.5+ }
464 @node Printing chord names
465 @subsection Printing chord names
467 @cindex printing chord names
471 For displaying printed chord names, use the @internalsref{ChordNames} context.
472 The chords may be entered either using the notation
473 described above, or directly using @code{<} and @code{>}
475 @lilypond[quote,verbatim,ragged-right]
477 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
480 \new ChordNames \harmonies
481 \new Staff \harmonies
485 You can make the chord changes stand out by setting
486 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
487 display chord names when there is a change in the chords scheme and at
488 the start of a new line
490 @lilypond[quote,verbatim,ragged-right]
491 harmonies = \chordmode {
492 c1:m c:m \break c:m c:m d
496 \set chordChanges = ##t
498 \new Staff \transpose c c' \harmonies
502 The previous examples all show chords over a staff. This is not
503 necessary. Chords may also be printed separately. It may be necessary
504 to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
507 @lilypond[ragged-right,verbatim]
508 \new ChordNames \with {
509 \override BarLine #'bar-size = #4
510 voltaOnThisStaff = ##t
511 \consists Bar_engraver
512 \consists "Volta_engraver"
514 \chordmode { \repeat volta 2 {
524 The default chord name layout is a system for Jazz music, proposed by
525 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
529 @cindex @code{chordNameExceptions}
530 @item chordNameExceptions
531 This is a list that contains the chords that have special formatting.
533 The exceptions list should be encoded as
535 @{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
538 To get this information into @code{chordNameExceptions} takes a little
539 manoeuvring. The following code transforms @code{chExceptionMusic}
540 (which is a sequential music) into a list of exceptions.
542 (sequential-music-to-chord-exceptions chExceptionMusic #t)
547 (sequential-music-to-chord-exceptions chExceptionMusic #t)
550 adds the new exceptions to the default ones, which are defined in
551 @file{ly/@/chord@/-modifier@/-init@/.ly}.
553 For an example of tuning this property, see also
554 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly}.
555 @cindex exceptions, chord names.
558 @cindex @code{majorSevenSymbol}
559 @item majorSevenSymbol
560 This property contains the markup object used for the 7th step, when
561 it is major. Predefined options are @code{whiteTriangleMarkup} and
562 @code{blackTriangleMarkup}. See
563 @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly} for an example.
565 @cindex @code{chordNameSeparator}
566 @item chordNameSeparator
567 Different parts of a chord name are normally separated by a
568 slash. By setting @code{chordNameSeparator}, you can specify other
570 @lilypond[quote,ragged-right,fragment,verbatim]
571 \new ChordNames \chordmode {
573 \set chordNameSeparator
574 = \markup { \typewriter "|" }
579 @cindex @code{chordRootNamer}
581 The root of a chord is usually printed as a letter with an optional
582 alteration. The transformation from pitch to letter is done by this
583 function. Special note names (for example, the German ``H'' for a
584 B-chord) can be produced by storing a new function in this property.
586 @cindex @code{chordNoteNamer}
588 The default is to print single pitch, e.g., the bass note, using the
589 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
590 to a specialized function to change this behavior. For example, the
591 base can be printed in lower case.
593 @cindex @code{chordPrefixSpacer}
594 @item chordPrefixSpacer
595 The ``m'' for minor chords is usually printed right after the root of
596 the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer
597 between the root and ``m''. The spacer is not used when the root
602 The predefined variables @code{\germanChords},
603 @code{\semiGermanChords}, @code{\italianChords} and @code{\frenchChords}
604 set these variables. The effect is
607 @lilypondfile[ragged-right]{chord-names-languages.ly}
609 There are also two other chord name schemes implemented: an alternate
610 Jazz chord notation, and a systematic scheme called Banter chords. The
611 alternate Jazz notation is also shown on the chart in @ref{Chord name
612 chart}. Turning on these styles is described in the input file
613 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
622 @cindex @code{\germanChords}
623 @code{\germanChords},
624 @cindex @code{\semiGermanChords}
625 @code{\semiGermanChords}.
626 @cindex @code{\italianChords}
627 @code{\italianChords}.
628 @cindex @code{\frenchChords}
629 @code{\frenchChords}.
636 Examples: @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly},
637 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly},
638 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
641 Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
642 @file{scm/@/chord@/-entry@/.scm}.
647 Chord names are determined solely from the list of pitches. Chord
648 inversions are not identified, and neither are added bass notes. This
649 may result in strange chord names when chords are entered with the
650 @code{< .. >} syntax.
657 There are three different issues when printing vocal music
661 Song texts must be entered as text, not notes. For example, the
662 input@tie{}@code{d} should be interpreted as a one letter syllable, not the
666 Song texts must be printed as text, not as notes.
669 Song texts must be aligned with the notes of their melody.
672 The simplest solution for printing music uses the @code{\addlyrics}
673 function to solve all these problems at once. However, these
674 three functions can be controlled separately, which is necessary
675 for complex vocal music.
679 * Setting simple songs::
681 * Hyphens and extenders::
682 * The Lyrics context::
683 * Flexibility in alignment::
686 * Other vocal issues::
692 Checking to make sure that text scripts and lyrics are within the margins is a relatively large computational task. To speed up processing, lilypond does not perform such calculations by default; to enable it, use
695 \override Score.PaperColumn #'keep-inside-line = ##t
698 To make lyrics avoid barlines as well, use
703 \consists "Bar_engraver"
704 \consists "Separating_line_group_engraver"
705 \override BarLine #'transparent = ##t
711 @node Setting simple songs
712 @subsection Setting simple songs
714 The easiest way to add lyrics to a melody is to append
717 \addlyrics @{ @var{the lyrics} @}
721 to a melody. Here is an example,
723 @lilypond[ragged-right,verbatim,fragment,quote]
725 \relative { c2 e4 g2. }
726 \addlyrics { play the game }
729 More stanzas can be added by adding more
730 @code{\addlyrics} sections
732 @lilypond[ragged-right,verbatim,fragment,quote]
734 \relative { c2 e4 g2. }
735 \addlyrics { play the game }
736 \addlyrics { speel het spel }
737 \addlyrics { joue le jeu }
740 Sometimes it is appropriate to have one stanza set
741 to the music, and the rest added in verse form at
742 the end of the piece. This can be accomplished by adding
743 the extra verses into a @code{\markup} section outside
744 of the main score block. Notice that there are two
745 different ways to force linebreaks when using
748 @lilypond[ragged-right,verbatim,quote]
749 melody = \relative c' {
755 \set stanza = "1." Ma- ry had a lit- tle lamb,
756 it's fleece was white as snow.
760 \new Voice = "one" { \melody }
761 \new Lyrics \lyricsto "one" \text
767 \line{ All the children laughed and played }
768 \line{ To see a lamb at school. }
775 Mary took it home again,
777 It was against the rule."
782 @c TODO - this isn't such a great place for this note, but I can't
783 @c find a better place without rearranging a lot of lyric stuff.
784 @c It's yet another thing to look at post-3.0.
786 The @code{\addlyrics} command is actually just a convienient way
787 to write a more complicated LilyPond structure that sets up the
788 lyrics. You should use @code{\addlyrics} unless you need to do
789 fancy things, in which case you should investigate
790 @code{\lyricsto} or @code{\lyricmode}.
794 \addlyrics @{ LYRICS @}
801 \new Voice = "blah" @{ music @}
802 \new Lyrics \lyricsto "blah" @{ LYRICS @}
807 @code{\addlyrics} cannot handle polyphony.
810 @node Entering lyrics
811 @subsection Entering lyrics
814 @cindex @code{\lyricmode}
817 Lyrics are entered in a special input mode. This mode is introduced
818 by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
819 @code{\lyricsto}. In this mode you can enter lyrics,
820 with punctuation and accents, and the input @code{d} is not parsed as
821 a pitch, but rather as a one letter syllable. Syllables are entered
822 like notes, but with pitches replaced by text. For example,
824 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
827 There is a difference between @code{\addlyrics} and
828 @code{\lyricmode}. @code{\addlyrics} and @code{\lyricsto}
829 ignore all durations and aligns syllables to notes; @code{\lyricmode}
830 uses the durations specified.
832 A word lyrics mode begins with an alphabetic character, and ends with
833 any space or digit. The following characters can be any character
834 that is not a digit or white space. One important consequence of this
835 is that a word can end with @code{@}}. The following example is
836 usually a mistake in the input file. The syllable includes a @code{@}}, so the
837 opening brace is not balanced
839 \lyricmode @{ twinkle@}
842 @cindex @code{\property}, in @code{\lyricmode}
844 Similarly, a period which follows an alphabetic sequence is included in
845 the resulting string. As a consequence, spaces must be inserted around
848 \override Score . LyricText #'font-shape = #'italic
852 @cindex spaces, in lyrics
853 @cindex quotes, in lyrics
855 Any @code{_} character that appears in an unquoted word is converted
856 to a space. This provides a mechanism for introducing spaces into words
857 without using quotes.
859 To enter lyrics with characters from non-English languages, or with
860 non-ascii characters (such as the heart symbol or slanted quotes),
861 simply insert the characters directly into the input file and save
862 it with utf-8 encoding. See @ref{Text encoding} for more info.
865 \lyricmode @{ He said: “Let my peo ple go”. @}
868 The full definition of a word start in Lyrics mode is somewhat more
871 A word in Lyrics mode begins with: an alphabetic character, @code{_},
872 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
873 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
874 any 8-bit character with ASCII code over 127, or a two-character
875 combination of a backslash followed by one of @code{`}, @code{'},
876 @code{"}, or @code{^}.
882 Program reference: @internalsref{LyricText}, @internalsref{LyricSpace}.
886 The definition of lyrics mode is too complex.
888 @node Hyphens and extenders
889 @subsection Hyphens and extenders
893 Centered hyphens are entered as `@code{--}' between syllables.
894 The hyphen will have variable length depending on the space between
895 the syllables and it will be centered between the syllables.
900 When a lyric is sung over many notes (this is called a melisma), this is
901 indicated with a horizontal line centered between a syllable and the
902 next one. Such a line is called an extender line, and it is entered as
905 In tighly engraved music, hyphens can be removed. Whether this
906 happens can be controlled with the @code{minimum-distance} (minimum
907 distance between two syllables) and the @code{minimum-length}
908 (threshold below which hyphens are removed).
912 Program reference: @internalsref{LyricHyphen}, @internalsref{LyricExtender}.
916 @node The Lyrics context
917 @subsection The Lyrics context
920 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
922 \new Lyrics \lyricmode @dots{}
925 @cindex automatic syllable durations
926 @cindex @code{\lyricsto}
927 @cindex lyrics and melodies
929 This will place the lyrics according to the durations that were
930 entered. The lyrics can also be aligned under a given melody
931 automatically. In this case, it is no longer necessary to enter the
932 correct duration for each syllable. This is achieved by combining the
933 melody and the lyrics with the @code{\lyricsto} expression
935 \new Lyrics \lyricsto @var{name} @dots{}
938 This aligns the lyrics to the
939 notes of the @internalsref{Voice} context called @var{name}, which has
940 to exist. Therefore, normally the @code{Voice} is specified first, and
941 then the lyrics are specified with @code{\lyricsto}. The command
942 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
943 @code{\lyricmode} keyword may be omitted.
945 For different or more complex orderings, the best way is to setup the
946 hierarchy of staves and lyrics first, e.g.,
949 \new Lyrics = "sopranoLyrics" @{ s1 @}
950 \new Voice = "soprano" @{ @emph{music} @}
951 \new Lyrics = "tenorLyrics" @{ s1 @}
952 \new Voice = "tenor" @{ @emph{music} @}
955 and then combine the appropriate melodies and lyric lines
957 \context Lyrics = sopranoLyrics \lyricsto "soprano"
962 The final input would resemble
965 <<\new ChoirStaff << @emph{setup the music} >>
966 \lyricsto "soprano" @emph{etc}
967 \lyricsto "alto" @emph{etc}
973 The @code{\lyricsto} command detects melismata: it only puts one
974 syllable under a tied or slurred group of notes. If you want to force
975 an unslurred group of notes to be a melisma, insert @code{\melisma}
976 after the first note of the group, and @code{\melismaEnd} after the
979 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
981 \new Voice = "lala" {
989 \new Lyrics \lyricsto "lala" {
995 In addition, notes are considered a melisma if they are manually
996 beamed, and automatic beaming (see @ref{Setting automatic beam
997 behavior}) is switched off.
1003 The criteria for deciding melismata can
1004 be tuned with the property @code{melismaBusyProperties}. See
1005 @internalsref{Melisma_translator} in the program reference for more
1010 Lyrics can also be entered without @code{\lyricsto}. In this case the
1011 duration of each syllable must be entered explicitly, for example,
1018 The alignment to a melody can be specified with the
1019 @code{associatedVoice} property,
1022 \set associatedVoice = #"lala"
1026 The value of the property (here: @code{"lala"}) should be the name of
1027 a @internalsref{Voice} context. Without this setting, extender lines
1028 will not be formatted properly.
1030 Here is an example demonstrating manual lyric durations,
1032 @lilypond[relative=1,ragged-right,verbatim,fragment,quote]
1033 << \new Voice = "melody" {
1037 \new Lyrics \lyricmode {
1038 \set associatedVoice = #"melody"
1044 @cindex choral score
1046 A complete example of a SATB score setup is in section
1047 @ref{Vocal ensembles}.
1052 @code{\melisma}, @code{\melismaEnd}
1053 @cindex @code{\melismaEnd}
1054 @cindex @code{\melisma}
1058 Program reference: @internalsref{LyricCombineMusic},
1059 @internalsref{Lyrics}, @internalsref{Melisma_translator}.
1062 @inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly}.
1063 @c TODO: make separate section for melismata
1067 Melismata are not detected automatically, and extender lines must be
1071 @c TODO: document \new Staff << Voice \lyricsto >> bug
1073 @node Flexibility in alignment
1074 @subsection Flexibility in alignment
1076 Often, different stanzas of one song are put to one melody in slightly
1077 differing ways. Such variations can still be captured with
1080 @subsubsection Lyrics to multiple notes of a melisma
1083 One possibility is that the text has a melisma in one stanza, but
1084 multiple syllables in another one. One solution is to make the faster
1085 voice ignore the melisma. This is done by setting
1086 @code{ignoreMelismata} in the Lyrics context.
1088 There has one tricky aspect. The setting for @code{ignoreMelismata}
1089 must be set one syllable @emph{before} the non-melismatic syllable
1090 in the text, as shown here,
1092 @lilypond[verbatim,ragged-right,quote]
1094 \relative \new Voice = "lahlah" {
1095 \set Staff.autoBeaming = ##f
1101 \new Lyrics \lyricsto "lahlah" {
1104 \new Lyrics \lyricsto "lahlah" {
1105 \set ignoreMelismata = ##t % applies to "fas"
1107 \unset ignoreMelismata
1114 The @code{ignoreMelismata} applies to the syllable ``fas'', so it
1115 should be entered before ``go''.
1117 The reverse is also possible: making a lyric line slower than the
1118 standard. This can be achieved by insert @code{\skip}s into the
1119 lyrics. For every @code{\skip}, the text will be delayed another note.
1122 @lilypond[verbatim,ragged-right,quote]
1123 \relative { c c g' }
1131 @subsection Switching the melody associated with a lyrics line
1135 More complex variations in text underlay are possible. It is possible
1136 to switch the melody for a line of lyrics during the text. This is
1137 done by setting the @code{associatedVoice} property. In the example
1139 @lilypond[ragged-right,quote]
1141 \relative \new Voice = "lahlah" {
1142 \set Staff.autoBeaming = ##f
1145 \new Voice = "alternative" {
1148 % show associations clearly.
1149 \override NoteColumn #'force-hshift = #-3
1160 \new Lyrics \lyricsto "lahlah" {
1161 Ju -- ras -- sic Park
1163 \new Lyrics \lyricsto "lahlah" {
1164 % Tricky: need to set associatedVoice
1165 % one syllable too soon!
1166 \set associatedVoice = alternative % applies to "ran"
1170 \set associatedVoice = lahlah % applies to "rus"
1176 the text for the first stanza is set to a melody called ``lahlah'',
1179 \new Lyrics \lyricsto "lahlah" @{
1180 Ju -- ras -- sic Park
1185 The second stanza initially is set to the @code{lahlah} context, but
1186 for the syllable ``ran'', it switches to a different melody.
1187 This is achieved with
1189 \set associatedVoice = alternative
1193 Here, @code{alternative} is the name of the @code{Voice} context
1194 containing the triplet.
1196 Again, the command must be one syllable too early, before ``Ty'' in
1200 \new Lyrics \lyricsto "lahlah" @{
1201 \set associatedVoice = alternative % applies to "ran"
1205 \set associatedVoice = lahlah % applies to "rus"
1211 The underlay is switched back to the starting situation by assigning
1212 @code{lahlah} to @code{associatedVoice}.
1216 @subsection Specifying melismata within the lyrics
1218 It is also possible to define melismata entirely in the lyrics. This
1219 can be done by entering @code{_} for every note that is part of the
1222 @lilypond[relative=1,verbatim,fragment]
1223 { \set melismaBusyProperties = #'()
1224 c d( e) f f( e) e e }
1226 { Ky -- _ _ ri __ _ _ _ e }
1229 In this case, you can also have ties and slurs in the melody, if you
1230 set @code{melismaBusyProperties}, as is done in the example above.
1232 @lilypond[relative=1,verbatim,fragment]
1234 \set melismaBusyProperties = #'()
1238 { Ky -- _ _ ri __ _ _ _ e }
1241 @subsubsection Spacing lyrics
1243 @cindex Spacing lyrics
1244 @cindex Lyrics, increasing space between
1246 To increase the space between lyrics, use the @code{SeparationItem}
1249 @lilypond[relative,verbatim,fragment,quote,ragged-right]
1252 \override Score.SeparationItem #'padding = #5
1256 longtext longtext longtext longtext
1257 longtext longtext longtext longtext
1264 @subsection More stanzas
1266 @cindex phrasing, in lyrics
1269 @cindex stanza number
1270 @cindex singer's names
1271 @cindex name of singer
1273 Stanza numbers can be added by setting @code{stanza}, e.g.,
1275 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1277 \time 3/4 g2 e4 a2 f4 g2.
1280 Hi, my name is Bert.
1283 Oh, che -- ri, je t'aime
1287 These numbers are put just before the start of first syllable.
1289 Names of singers can also be added. They are printed at the start of
1290 the line, just like instrument names. They are created by setting
1291 @code{vocalName}. A short version may be entered as @code{vocNam}.
1294 @lilypond[fragment,ragged-right,quote,verbatim,relative=2]
1296 \time 3/4 g2 e4 a2 f4 g2.
1298 \set vocalName = "Bert "
1299 Hi, my name is Bert.
1301 \set vocalName = "Ernie "
1302 Oh, che -- ri, je t'aime
1306 You can display alternate (or divisi) lyrics by naming voice
1307 contexts and attaching lyrics to those specific contexts.
1309 @lilypond[verbatim,ragged-right,quote]
1311 \new Voice = "melody" {
1316 \new Voice = "splitpart" { \voiceTwo c4 }
1321 \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
1322 \new Lyrics \lyricsto "splitpart" { will }
1327 You can use this trick to display different lyrics for a repeated
1330 @lilypond[verbatim,ragged-right,quote]
1332 \new Voice = "melody" \relative c' {
1334 \new Voice = "verse" \repeat volta 2 {c4 d e f | g1 | }
1336 \new Lyrics = "mainlyrics" \lyricsto melody \lyricmode {
1339 \new Lyrics = "mainlyrics" \lyricsto verse \lyricmode {
1341 \new Lyrics = "repeatlyrics" \lyricsto verse \lyricmode {
1342 dodo rere mimi fafa solsol }
1350 Program reference: @internalsref{LyricText}, @internalsref{StanzaNumber}, @internalsref{VocalName}.
1358 The term @emph{ambitus} denotes a range of pitches for a given voice
1359 in a part of music. It may also denote the pitch range that a musical
1360 instrument is capable of playing. Ambits are printed on vocal parts,
1361 so performers can easily determine it meets their capabilities.
1363 Ambits are denoted at the beginning of a piece near the initial clef.
1364 The range is graphically specified by two note heads that represent the
1365 minimum and maximum pitch. To print such ambits, add the
1366 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
1373 \consists Ambitus_engraver
1378 This results in the following output
1380 @lilypond[quote,ragged-right]
1384 \consists Ambitus_engraver
1388 \relative \new Staff {
1393 If you have multiple voices in a single staff and you want a single
1394 ambitus per staff rather than per each voice, add the
1395 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
1396 rather than to the @internalsref{Voice} context. Here is an example,
1398 @lilypond[verbatim,ragged-right,quote]
1400 \consists "Ambitus_engraver"
1404 \remove "Ambitus_engraver"
1406 \override Ambitus #'X-offset = #-1.0
1411 \remove "Ambitus_engraver"
1420 This example uses one advanced feature,
1423 \override Ambitus #'X-offset = #-1.0
1427 This code moves the ambitus to the left. The same effect could have
1428 been achieved with @code{extra-offset}, but then the formatting system
1429 would not reserve space for the moved object.
1433 Program reference: @internalsref{Ambitus},
1434 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1435 @internalsref{AmbitusAccidental}.
1437 Examples: @inputfileref{input/@/regression,ambitus@/.ly}.
1441 There is no collision handling in the case of multiple per-voice
1445 @node Other vocal issues
1446 @subsection Other vocal issues
1449 yeah, I'm giving up somewhat by stuffing a bunch of things in
1450 here. But at least they're in the manual now; it's easier to
1451 move them around in the manual once they're already here.
1453 Besides, if users complain about everything stuffed in here, I
1454 can ask them for specific instructions about where to move these
1455 examples, and that might get them more involved in the docs. -gp
1458 ``Parlato'' is spoken without pitch but still with rhythm; it is
1459 notated by cross noteheads. This is demonstrated in
1460 @ref{Special noteheads}.
1466 @node Rhythmic music
1467 @section Rhythmic music
1469 Rhythmic music is primarily used for percussion and drum notation, but it can
1470 also be used to show the rhythms of melodies.
1473 * Showing melody rhythms::
1474 * Entering percussion::
1475 * Percussion staves::
1479 @node Showing melody rhythms
1480 @subsection Showing melody rhythms
1482 Sometimes you might want to show only the rhythm of a melody. This
1483 can be done with the rhythmic staff. All pitches of notes on such a
1484 staff are squashed, and the staff itself has a single line
1486 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1487 \new RhythmicStaff {
1489 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1495 Program reference: @internalsref{RhythmicStaff}.
1497 Examples: @inputfileref{input/@/regression,rhythmic@/-staff@/.ly}.
1500 @node Entering percussion
1501 @subsection Entering percussion
1507 Percussion notes may be entered in @code{\drummode} mode, which is
1508 similar to the standard mode for entering notes. Each piece of
1509 percussion has a full name and an abbreviated name, and both can be used
1512 @lilypond[quote,ragged-right,verbatim]
1514 hihat hh bassdrum bd
1518 The complete list of drum names is in the init file
1519 @file{ly/@/drumpitch@/-init@/.ly}.
1520 @c TODO: properly document this.
1524 Program reference: @internalsref{note-event}.
1526 @node Percussion staves
1527 @subsection Percussion staves
1531 A percussion part for more than one instrument typically uses a
1532 multiline staff where each position in the staff refers to one piece
1536 To typeset the music, the notes must be interpreted in a
1537 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
1539 @lilypond[quote,ragged-right,verbatim]
1540 up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
1541 down = \drummode { bassdrum4 snare8 bd r bd sn4 }
1543 \new DrumVoice { \voiceOne \up }
1544 \new DrumVoice { \voiceTwo \down }
1548 The above example shows verbose polyphonic notation. The short
1549 polyphonic notation, described in @ref{Polyphony}, can also be used if
1550 the @internalsref{DrumVoice}s are instantiated by hand first. For example,
1552 @lilypond[quote,ragged-right,fragment,verbatim]
1554 \new DrumVoice = "1" { s1 *2 }
1555 \new DrumVoice = "2" { s1 *2 }
1559 { \repeat unfold 16 hh16 }
1568 There are also other layout possibilities. To use these, set the
1569 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
1570 The following variables have been predefined
1574 This is the default. It typesets a typical drum kit on a five-line staff
1576 @lilypond[quote,line-width=10.0\cm]
1578 cymc cyms cymr hh hhc hho hhho hhp
1579 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl }
1581 cymc cyms cymr hh hhc hho hhho hhp \break
1582 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
1584 << \new DrumStaff \with {
1585 \remove Bar_engraver
1586 \remove Time_signature_engraver
1587 \override Stem #'transparent = ##t
1588 \override Stem #'Y-extent-callback = ##f
1589 \override VerticalAxisGroup #'minimum-Y-extent = #'(-4.0 . 5.0)
1596 \override LyricText #'font-family = #'typewriter
1597 \override BarNumber #'transparent =##T
1603 The drum scheme supports six different toms. When there are fewer toms,
1604 simply select the toms that produce the desired result, i.e., to get toms
1605 on the three middle lines you use @code{tommh}, @code{tomml}, and
1608 @item timbales-style
1609 This typesets timbales on a two line staff
1611 @lilypond[quote,ragged-right]
1612 nam = \lyricmode { timh ssh timl ssl cb }
1613 mus = \drummode { timh ssh timl ssl cb s16 }
1616 \new DrumStaff \with {
1617 \remove Bar_engraver
1618 \remove Time_signature_engraver
1619 \override Stem #'transparent = ##t
1620 \override Stem #'Y-extent-callback = ##f
1621 \override StaffSymbol #'line-count = #2
1622 \override StaffSymbol #'staff-space = #2
1623 \override VerticalAxisGroup #'minimum-Y-extent = #'(-3.0 . 4.0)
1624 drumStyleTable = #timbales-style
1627 \override LyricText #'font-family = #'typewriter
1634 This typesets congas on a two line staff
1636 @lilypond[quote,ragged-right]
1637 nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
1638 mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
1641 \new DrumStaff \with {
1642 \remove Bar_engraver
1643 \remove Time_signature_engraver
1644 drumStyleTable = #congas-style
1645 \override StaffSymbol #'line-count = #2
1647 %% this sucks; it will lengthen stems.
1648 \override StaffSymbol #'staff-space = #2
1649 \override Stem #'transparent = ##t
1650 \override Stem #'Y-extent-callback = ##f
1653 \override LyricText #'font-family = #'typewriter
1660 This typesets bongos on a two line staff
1662 @lilypond[quote,ragged-right]
1663 nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
1664 mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
1667 \new DrumStaff \with {
1668 \remove Bar_engraver
1669 \remove Time_signature_engraver
1670 \override StaffSymbol #'line-count = #2
1671 drumStyleTable = #bongos-style
1673 %% this sucks; it will lengthen stems.
1674 \override StaffSymbol #'staff-space = #2
1675 \override Stem #'transparent = ##t
1676 \override Stem #'Y-extent-callback = ##f
1679 \override LyricText #'font-family = #'typewriter
1685 @item percussion-style
1686 To typeset all kinds of simple percussion on one line staves.
1688 @lilypond[quote,ragged-right]
1689 nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
1690 mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
1693 \new DrumStaff \with{
1694 \remove Bar_engraver
1695 drumStyleTable = #percussion-style
1696 \override StaffSymbol #'line-count = #1
1697 \remove Time_signature_engraver
1698 \override Stem #'transparent = ##t
1699 \override Stem #'Y-extent-callback = ##f
1702 \override LyricText #'font-family = #'typewriter
1709 If you do not like any of the predefined lists you can define your own
1710 list at the top of your file
1712 @lilypond[quote,ragged-right,verbatim]
1714 (bassdrum default #f -1)
1715 (snare default #f 0)
1717 (pedalhihat xcircle "stopped" 2)
1718 (lowtom diamond #f 3)))
1719 up = \drummode { hh8 hh hh hh hhp4 hhp }
1720 down = \drummode { bd4 sn bd toml8 toml }
1723 \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
1724 \new DrumVoice { \voiceOne \up }
1725 \new DrumVoice { \voiceTwo \down }
1732 Init files: @file{ly/@/drumpitch@/-init@/.ly}.
1734 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
1738 Because general MIDI does not contain rim shots, the sidestick is used
1739 for this purpose instead.
1747 @cindex guitar tablature
1750 * String number indications::
1751 * Tablatures basic::
1752 * Non-guitar tablatures::
1754 * Other guitar issues::
1757 @node String number indications
1758 @subsection String number indications
1760 @cindex String numbers
1762 String numbers can be added to chords, by indicating the string number
1763 with @code{\}@var{number},
1765 @lilypond[relative,relative=1,ragged-right,fragment]
1769 See also @inputfileref{input/regression,string-number.ly}.
1774 Program reference: @internalsref{StringNumber}.
1777 @node Tablatures basic
1778 @subsection Tablatures basic
1779 @cindex Tablatures basic
1781 Tablature notation is used for notating music for plucked string
1782 instruments. Pitches are not denoted with note heads, but by
1783 numbers indicating on which string and fret a note must be played. LilyPond
1784 offers limited support for tablature.
1786 The string number associated to a note is given as a backslash
1787 followed by a number, e.g., @code{c4\3} for a C quarter on the third
1788 string. By default, string 1 is the highest one, and the tuning
1789 defaults to the standard guitar tuning (with 6 strings). The notes
1790 are printed as tablature, by using @internalsref{TabStaff} and
1791 @internalsref{TabVoice} contexts
1793 @lilypond[quote,ragged-right,fragment,verbatim]
1800 @cindex @code{minimumFret}
1803 When no string is specified, the first string that does not give a
1804 fret number less than @code{minimumFret} is selected. The default
1805 value for @code{minimumFret} is 0
1810 \set TabStaff.minimumFret = #8
1813 @lilypond[quote,ragged-right]
1817 \set TabStaff.minimumFret = #8
1821 \new Staff { \clef "G_8" \frag }
1822 \new TabStaff { \frag }
1828 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}.
1832 Chords are not handled in a special way, and hence the automatic
1833 string selector may easily select the same string to two notes in a
1837 @node Non-guitar tablatures
1838 @subsection Non-guitar tablatures
1839 @cindex Non-guitar tablatures
1841 You can change the number of strings, by setting the number of lines
1842 in the @internalsref{TabStaff}.
1844 You can change the tuning of the strings. A string tuning is given as
1845 a Scheme list with one integer number for each string, the number
1846 being the pitch (measured in semitones relative to middle C) of an
1847 open string. The numbers specified for @code{stringTuning} are the
1848 numbers of semitones to subtract or add, starting the specified pitch
1849 by default middle C, in string order. In the next example,
1850 @code{stringTunings} is set for the pitches e, a, d, and g
1852 @lilypond[quote,ragged-right,fragment,verbatim]
1854 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
1856 a,4 c' a e' e c' a e'
1863 No guitar special effects have been implemented.
1867 Program reference: @internalsref{Tab_note_heads_engraver}.
1871 @subsection Fret diagrams
1872 @cindex fret diagrams
1873 @cindex chord diagrams
1875 Fret diagrams can be added to music as a markup to the desired note. The
1876 markup contains information about the desired fret diagram, as shown in the
1879 @lilypond[verbatim, ragged-right, quote]
1881 d'^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
1883 fis'^\markup \override #'(size . 0.75) {
1884 \override #'(finger-code . below-string) {
1885 \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
1886 (place-fret 5 4 3) (place-fret 4 4 4)
1887 (place-fret 3 3 2) (place-fret 2 2 1)
1892 c'^\markup \override #'(dot-radius . 0.35) {
1893 \override #'(finger-code . in-dot) {
1894 \override #'(dot-color . white) {
1895 \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
1904 There are three different fret-diagram markup interfaces: standard, terse,
1905 and verbose. The three interfaces produce equivalent markups, but have
1906 varying amounts of information in the markup string. Details about the
1907 markup interfaces are found at @ref{Overview of text markup commands}.
1909 You can set a number of graphical properties according to your preference.
1910 Details about the property interface to fret diagrams are found at
1911 @internalsref{fret-diagram-interface}.
1916 Examples: @inputfileref{input/@/test,fret@/-diagram@/.ly}
1919 @node Other guitar issues
1920 @subsection Other guitar issues
1922 This example demonstrates how to include guitar position and
1923 barring indications.
1925 @lilypond[quote,ragged-right,fragment,verbatim,relative=0]
1929 \override TextSpanner #'edge-text = #'("XII " . "")
1931 b16 e16 g16 e16 b16 g16\stopTextSpan
1936 Stopped (X) note heads are used in guitar music to signal a place where the
1937 guitarist must play a certain note or chord, with its fingers just
1938 touching the strings instead of fully pressing them. This gives the sound a
1939 percussive noise-like sound that still maintains part of the original
1940 pitch. It is notated with cross noteheads; this is
1941 demonstrated in @ref{Special noteheads}.
1950 * Bagpipe definitions::
1955 @node Bagpipe definitions
1956 @subsection Bagpipe definitions
1958 LilyPond contains special definitions for music for the Scottish
1959 highland bagpipe; to use them, add
1962 \include "bagpipe.ly"
1966 at the top of your input file. This lets you add the special gracenotes
1967 common to bagpipe music with short commands. For example, you could
1968 write @code{\taor} instead of
1971 \grace @{ \small G32[ d G e] @}
1974 @code{bagpipe.ly} also contains pitch definitions for the bagpipe
1975 notes in the appropiate octaves, so you do not need to worry about
1976 @code{\relative} or @code{\transpose}.
1978 @lilypond[ragged-right,verbatim,quote,notime]
1979 \include "bagpipe.ly"
1980 { \grg G4 \grg a \grg b \grg c \grg d \grg e \grg f \grA g A }
1983 Bagpipe music nominally uses the key of D Major (even though that
1984 isn't really true). However, since that is the only key that can be used,
1985 the key signature is normally not written out. To set this up correctly,
1986 always start your music with @code{\hideKeySignature}. If you for some
1987 reason want to show the key signature, you can use @code{\showKeySignature}
1990 Some modern music use cross fingering on c and f to flatten those notes.
1991 This can be indicated by @code{cflat} or @code{fflat}. Similarly, the
1992 piobaireachd high g can be written @code{gflat} when it occurs in light
1996 @node Bagpipe example
1997 @subsection Bagpipe example
1999 This is what the well known tune Amazing Grace looks like in bagpipe
2002 @lilypond[verbatim,quote]
2003 \include "bagpipe.ly"
2006 \context { \Score \remove "Bar_number_engraver" }
2010 title = "Amazing Grace"
2012 arranger = "Trad. arr."
2018 \grg \partial 4 a8. d16
2019 \slurd d2 \grg f8[ e32 d16.]
2022 \grG a2 \grg a8. d16
2023 \slurd d2 \grg f8[ e32 d16.]
2024 \grg f2 \grg e8. f16
2027 \grg A2 \hdblf f8[ e32 d16.]
2030 \grG a2 \grg a8. d16
2031 \slurd d2 \grg f8[ e32 d16.]
2040 @node Ancient notation
2041 @section Ancient notation
2043 @cindex Vaticana, Editio
2044 @cindex Medicaea, Editio
2049 Support for ancient notation includes features for mensural notation
2050 and Gregorian Chant notation. There is also limited support for
2051 figured bass notation.
2053 Many graphical objects provide a @code{style} property, see
2056 @ref{Ancient note heads},
2058 @ref{Ancient accidentals},
2060 @ref{Ancient rests},
2062 @ref{Ancient clefs},
2064 @ref{Ancient flags},
2066 @ref{Ancient time signatures}.
2069 By manipulating such a grob property, the typographical appearance of
2070 the affected graphical objects can be accommodated for a specific
2071 notation flavor without the need for introducing any new notational
2074 In addition to the standard articulation signs described in section
2075 @ref{Articulations}, specific articulation signs for ancient notation
2080 @ref{Ancient articulations}
2083 Other aspects of ancient notation can not that easily be expressed
2084 in terms of just changing a style property of a graphical object or
2085 adding articulation signs. Some notational concepts are introduced
2086 specifically for ancient notation,
2097 If this all is too much of documentation for you, and you just want to
2098 dive into typesetting without worrying too much about the details on
2099 how to customize a context, you may have a look at the predefined
2100 contexts. Use them to set up predefined style-specific voice and
2101 staff contexts, and directly go ahead with the note entry,
2105 @ref{Gregorian Chant contexts},
2107 @ref{Mensural contexts}.
2110 There is limited support for figured bass notation which came
2111 up during the baroque period.
2118 Here are all suptopics at a glance:
2121 * Ancient note heads::
2122 * Ancient accidentals::
2126 * Ancient time signatures::
2127 * Ancient articulations::
2131 * Gregorian Chant contexts::
2132 * Mensural contexts::
2133 * Musica ficta accidentals::
2139 @node Ancient note heads
2140 @subsection Ancient note heads
2145 For ancient notation, a note head style other than the @code{default}
2146 style may be chosen. This is accomplished by setting the @code{style}
2147 property of the @internalsref{NoteHead} object to @code{baroque},
2148 @code{neomensural}, @code{mensural} or @code{petrucci}. The
2149 @code{baroque} style differs from the @code{default} style only in
2150 using a square shape for @code{\breve} note heads. The
2151 @code{neomensural} style differs from the @code{baroque} style in that
2152 it uses rhomboidal heads for whole notes and all smaller durations.
2153 Stems are centered on the note heads. This style is particularly
2154 useful when transcribing mensural music, e.g., for the incipit. The
2155 @code{mensural} style produces note heads that mimic the look of note
2156 heads in historic printings of the 16th century. Finally, the
2157 @code{petrucci} style also mimicks historic printings, but uses bigger
2160 The following example demonstrates the @code{neomensural} style
2162 @lilypond[quote,fragment,ragged-right,verbatim]
2163 \set Score.skipBars = ##t
2164 \override NoteHead #'style = #'neomensural
2165 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
2168 When typesetting a piece in Gregorian Chant notation, the
2169 @internalsref{Gregorian_ligature_engraver} will automatically select
2170 the proper note heads, so there is no need to explicitly set the
2171 note head style. Still, the note head style can be set, e.g., to
2172 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
2173 @internalsref{Mensural_ligature_engraver} is used to automatically
2174 assemble mensural ligatures. See @ref{Ligatures} for how ligature
2179 Examples: @inputfileref{input/@/regression,note@/-head@/-style@/.ly} gives an
2180 overview over all available note head styles.
2183 @node Ancient accidentals
2184 @subsection Ancient accidentals
2189 Use the @code{style} property of grob @internalsref{Accidental} to
2190 select ancient accidentals. Supported styles are
2191 @code{mensural}, @code{vaticana}, @code{hufnagel}, and @code{medicaea}.
2193 @lilypond[quote,ragged-right,staffsize=26]
2200 \line { " " \musicglyph #"accidentals.vaticana-1"
2201 " " \musicglyph #"accidentals.vaticana0" }
2205 \line { " " \musicglyph #"accidentals.medicaea-1" }
2209 \line { " " \musicglyph #"accidentals.hufnagel-1" }
2213 \line { " " \musicglyph #"accidentals.mensural-1"
2214 " " \musicglyph #"accidentals.mensural1" }
2220 \context { \Score \remove "Bar_number_engraver" }
2222 \remove "Clef_engraver"
2223 \remove "Key_engraver"
2224 \remove "Time_signature_engraver"
2225 \remove "Staff_symbol_engraver"
2226 \override VerticalAxisGroup #'minimum-Y-extent = ##f
2232 As shown, not all accidentals are supported by each style. When
2233 trying to access an unsupported accidental, LilyPond will switch to a
2234 different style, as demonstrated in
2235 @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2237 Similarly to local accidentals, the style of the key signature can be
2238 controlled by the @code{style} property of the
2239 @internalsref{KeySignature} grob.
2243 In this manual: @ref{Pitches}, @ref{Cautionary accidentals} and
2244 @ref{Automatic accidentals} give a general introduction of the use of
2245 accidentals. @ref{Key signature} gives a general introduction of
2246 the use of key signatures.
2248 Program reference: @internalsref{KeySignature}.
2250 Examples: @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2253 @subsection Ancient rests
2255 @cindex rests, ancient
2258 Use the @code{style} property of grob @internalsref{Rest} to select
2259 ancient rests. Supported styles are @code{classical},
2260 @code{neomensural}, and @code{mensural}. @code{classical} differs
2261 from the @code{default} style only in that the quarter rest looks like
2262 a horizontally mirrored 8th rest. The @code{neomensural} style suits
2263 well for, e.g., the incipit of a transcribed mensural piece of music.
2264 The @code{mensural} style finally mimics the appearance of rests as
2265 in historic prints of the 16th century.
2267 The following example demonstrates the @code{neomensural} style
2269 @lilypond[quote,fragment,ragged-right,verbatim]
2270 \set Score.skipBars = ##t
2271 \override Rest #'style = #'neomensural
2272 r\longa r\breve r1 r2 r4 r8 r16
2275 There are no 32th and 64th rests specifically for the mensural or
2276 neo-mensural style. Instead, the rests from the default style will be
2277 taken. See @inputfileref{input/@/test,rests@/.ly} for a chart of all
2280 There are no rests in Gregorian Chant notation; instead, it uses
2285 In this manual: @ref{Rests} gives a general introduction into the use of rests.
2289 @subsection Ancient clefs
2294 LilyPond supports a variety of clefs, many of them ancient.
2296 The following table shows all ancient clefs that are supported via the
2297 @code{\clef} command. Some of the clefs use the same glyph, but
2298 differ only with respect to the line they are printed on. In such
2299 cases, a trailing number in the name is used to enumerate these clefs.
2300 Still, you can manually force a clef glyph to be typeset on an
2301 arbitrary line, as described in @ref{Clef}. The note printed to the
2302 right side of each clef in the example column denotes the @code{c'}
2303 with respect to that clef.
2305 @multitable @columnfractions .4 .4 .2
2314 modern style mensural C clef
2316 @code{neomensural-c1}, @code{neomensural-c2},@*
2317 @code{neomensural-c3}, @code{neomensural-c4}
2319 @lilypond[fragment,relative=1,notime]
2320 \clef "neomensural-c2" c
2324 petrucci style mensural C clefs, for use on different staff lines
2325 (the examples show the 2nd staff line C clef)
2327 @code{petrucci-c1}, @code{petrucci-c2},@*
2328 @code{petrucci-c3}, @code{petrucci-c4},@*
2331 @lilypond[fragment,relative=1,notime]
2333 \override NoteHead #'style = #'mensural
2338 petrucci style mensural F clef
2342 @lilypond[fragment,relative=1,notime]
2344 \override NoteHead #'style = #'mensural
2349 petrucci style mensural G clef
2353 @lilypond[fragment,relative=1,notime]
2355 \override NoteHead #'style = #'mensural
2360 historic style mensural C clef
2362 @code{mensural-c1}, @code{mensural-c2},@*
2363 @code{mensural-c3}, @code{mensural-c4}
2365 @lilypond[fragment,relative=1,notime]
2367 \override NoteHead #'style = #'mensural
2372 historic style mensural F clef
2376 @lilypond[fragment,relative=1,notime]
2378 \override NoteHead #'style = #'mensural
2383 historic style mensural G clef
2387 @lilypond[fragment,relative=1,notime]
2389 \override NoteHead #'style = #'mensural
2394 Editio Vaticana style do clef
2396 @code{vaticana-do1}, @code{vaticana-do2},@*
2399 @lilypond[fragment,relative=1,notime]
2400 \override Staff.StaffSymbol #'line-count = #4
2401 \override Staff.StaffSymbol #'color = #red
2402 \override Staff.LedgerLineSpanner #'color = #red
2403 \override Voice.Stem #'transparent = ##t
2404 \override NoteHead #'style = #'vaticana.punctum
2405 \clef "vaticana-do2"
2410 Editio Vaticana style fa clef
2412 @code{vaticana-fa1}, @code{vaticana-fa2}
2414 @lilypond[fragment,relative=1,notime]
2415 \override Staff.StaffSymbol #'line-count = #4
2416 \override Staff.StaffSymbol #'color = #red
2417 \override Staff.LedgerLineSpanner #'color = #red
2418 \override Voice.Stem #'transparent = ##t
2419 \override NoteHead #'style = #'vaticana.punctum
2420 \clef "vaticana-fa2"
2425 Editio Medicaea style do clef
2427 @code{medicaea-do1}, @code{medicaea-do2},@*
2430 @lilypond[fragment,relative=1,notime]
2431 \override Staff.StaffSymbol #'line-count = #4
2432 \override Staff.StaffSymbol #'color = #red
2433 \override Staff.LedgerLineSpanner #'color = #red
2434 \override Voice.Stem #'transparent = ##t
2435 \override NoteHead #'style = #'medicaea.punctum
2436 \clef "medicaea-do2"
2441 Editio Medicaea style fa clef
2443 @code{medicaea-fa1}, @code{medicaea-fa2}
2445 @lilypond[fragment,relative=1,notime]
2446 \override Staff.StaffSymbol #'line-count = #4
2447 \override Staff.StaffSymbol #'color = #red
2448 \override Staff.LedgerLineSpanner #'color = #red
2449 \override Voice.Stem #'transparent = ##t
2450 \override NoteHead #'style = #'medicaea.punctum
2451 \clef "medicaea-fa2"
2456 historic style hufnagel do clef
2458 @code{hufnagel-do1}, @code{hufnagel-do2},@*
2461 @lilypond[fragment,relative=1,notime]
2462 \override Staff.StaffSymbol #'line-count = #4
2463 \override Staff.StaffSymbol #'color = #red
2464 \override Staff.LedgerLineSpanner #'color = #red
2465 \override Voice.Stem #'transparent = ##t
2466 \override NoteHead #'style = #'hufnagel.punctum
2467 \clef "hufnagel-do2"
2472 historic style hufnagel fa clef
2474 @code{hufnagel-fa1}, @code{hufnagel-fa2}
2476 @lilypond[fragment,relative=1,notime]
2477 \override Staff.StaffSymbol #'line-count = #4
2478 \override Staff.StaffSymbol #'color = #red
2479 \override Staff.LedgerLineSpanner #'color = #red
2480 \override Voice.Stem #'transparent = ##t
2481 \override NoteHead #'style = #'hufnagel.punctum
2482 \clef "hufnagel-fa2"
2487 historic style hufnagel combined do/fa clef
2489 @code{hufnagel-do-fa}
2491 @lilypond[fragment,relative=1,notime]
2492 \override Staff.StaffSymbol #'color = #red
2493 \override Staff.LedgerLineSpanner #'color = #red
2494 \override Voice.Stem #'transparent = ##t
2495 \override NoteHead #'style = #'hufnagel.punctum
2496 \clef "hufnagel-do-fa"
2503 @emph{Modern style} means ``as is typeset in contemporary editions of
2504 transcribed mensural music''.
2506 @emph{Petrucci style} means ``inspired by printings published by the
2507 famous engraver Petrucci (1466-1539)''.
2509 @emph{Historic style} means ``as was typeset or written in historic
2510 editions (other than those of Petrucci)''.
2512 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
2514 Petrucci used C clefs with differently balanced left-side vertical
2515 beams, depending on which staff line it is printed.
2519 In this manual: see @ref{Clef}.
2523 The mensural g clef is mapped to the Petrucci g clef.
2528 @subsection Ancient flags
2533 Use the @code{flag-style} property of grob @internalsref{Stem} to
2534 select ancient flags. Besides the @code{default} flag style,
2535 only the @code{mensural} style is supported
2537 @lilypond[quote,fragment,ragged-right,verbatim]
2538 \override Stem #'flag-style = #'mensural
2539 \override Stem #'thickness = #1.0
2540 \override NoteHead #'style = #'mensural
2542 c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
2543 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
2546 Note that the innermost flare of each mensural flag always is
2547 vertically aligned with a staff line.
2549 There is no particular flag style for neo-mensural notation. Hence,
2550 when typesetting the incipit of a transcribed piece of mensural
2551 music, the default flag style should be used. There are no flags in
2552 Gregorian Chant notation.
2556 The attachment of ancient flags to stems is slightly off due to a
2557 change in early 2.3.x.
2559 Vertically aligning each flag with a staff line assumes that stems
2560 always end either exactly on or exactly in the middle between two
2561 staff lines. This may not always be true when using advanced layout
2562 features of classical notation (which however are typically out of
2563 scope for mensural notation).
2565 @node Ancient time signatures
2566 @subsection Ancient time signatures
2568 @cindex time signatures
2571 There is limited support for mensural time signatures. The
2572 glyphs are hard-wired to particular time fractions. In other words,
2573 to get a particular mensural signature glyph with the @code{\time n/m}
2574 command, @code{n} and @code{m} have to be chosen according to the
2577 @lilypond[quote,ragged-right]
2582 \remove Staff_symbol_engraver
2583 \remove Clef_engraver
2584 \remove Time_signature_engraver
2588 \set Score.timing = ##f
2589 \set Score.barAlways = ##t
2590 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph #"timesig.neomensural44" }
2592 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph #"timesig.neomensural22" }
2594 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph #"timesig.neomensural64" }
2596 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph #"timesig.neomensural68" }
2598 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph #"timesig.neomensural32" }
2600 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph #"timesig.neomensural34" }
2602 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph #"timesig.neomensural94" }
2604 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph #"timesig.neomensural98" }
2606 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph #"timesig.neomensural48" }
2608 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph #"timesig.neomensural24" }
2612 Use the @code{style} property of grob @internalsref{TimeSignature} to
2613 select ancient time signatures. Supported styles are
2614 @code{neomensural} and @code{mensural}. The above table uses the
2615 @code{neomensural} style. This style is appropriate for the
2616 incipit of transcriptions of mensural pieces. The @code{mensural}
2617 style mimics the look of historical printings of the 16th century.
2619 The following examples show the differences in style,
2621 @lilypond[ragged-right,fragment,relative=1,quote]
2626 c1^\markup { \hspace #-2.0 \typewriter default }
2628 \override Staff.TimeSignature #'style = #'numbered
2630 c1^\markup { \hspace #-2.0 \typewriter numbered }
2632 \override Staff.TimeSignature #'style = #'mensural
2634 c1^\markup { \hspace #-2.0 \typewriter mensural }
2636 \override Staff.TimeSignature #'style = #'neomensural
2638 c1^\markup { \hspace #-2.0 \typewriter neomensural }
2639 \override Staff.TimeSignature #'style = #'single-digit
2641 c1^\markup { \hspace #-2.0 \typewriter single-digit }
2647 This manual: @ref{Time signature} gives a general introduction to
2648 the use of time signatures.
2652 Ratios of note durations do not change with the time signature. For
2653 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
2654 be made by hand, by setting
2657 breveTP = #(ly:make-duration -1 0 3 2)
2663 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
2665 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
2666 addressable with @code{\time}. Use a @code{\markup} instead
2668 @node Ancient articulations
2669 @subsection Ancient articulations
2671 @cindex articulations
2673 In addition to the standard articulation signs described in section
2674 @ref{Articulations}, articulation signs for ancient notation are
2675 provided. These are specifically designed for use with notation in
2676 Editio Vaticana style.
2678 @lilypond[quote,ragged-right,verbatim]
2679 \include "gregorian-init.ly"
2681 \new VaticanaVoice {
2682 \override Staff.StaffSymbol #'color = #red
2683 \override Staff.LedgerLineSpanner #'color = #red
2684 \override TextScript #'font-family = #'typewriter
2685 \override TextScript #'font-shape = #'upright
2686 \override Script #'padding = #-0.1
2688 a4\circulus_"circulus" s1
2689 a4\semicirculus_"semicirculus" s1 s
2690 a4\accentus_"accentus" s1
2691 \[ a4_"episem" \episemInitium \pes b \flexa a \episemFinis \]
2698 Some articulations are vertically placed too closely to the
2699 correpsonding note heads.
2702 @subsection Custodes
2707 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
2708 symbol that appears at the end of a staff. It anticipates the pitch
2709 of the first note(s) of the following line thus helping the performer
2710 to manage line breaks during performance.
2712 Custodes were frequently used in music notation until the 17th
2713 century. Nowadays, they have survived only in a few particular forms
2714 of musical notation such as contemporary editions of Gregorian chant
2715 like the @emph{editio vaticana}. There are different custos glyphs
2716 used in different flavors of notational style.
2718 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
2719 @internalsref{Staff} context when declaring the @code{\layout} block,
2720 as shown in the following example
2726 \consists Custos_engraver
2727 Custos \override #'style = #'mensural
2732 The result looks like this
2734 @lilypond[quote,ragged-right]
2738 \override Staff.Custos #'style = #'mensural
2743 \context { \Staff \consists Custos_engraver }
2748 The custos glyph is selected by the @code{style} property. The styles
2749 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
2750 @code{mensural}. They are demonstrated in the following fragment
2752 @lilypond[quote,ragged-right,fragment]
2753 \new Lyrics \lyricmode {
2755 \typewriter "vaticana"
2756 \line { " " \musicglyph #"custodes.vaticana.u0" }
2759 \typewriter "medicaea"
2760 \line { " " \musicglyph #"custodes.medicaea.u0" }
2763 \typewriter "hufnagel"
2764 \line { " " \musicglyph #"custodes.hufnagel.u0" }
2767 \typewriter "mensural"
2768 \line { " " \musicglyph #"custodes.mensural.u0" }
2775 Program reference: @internalsref{Custos}.
2777 Examples: @inputfileref{input/@/regression,custos@/.ly}.
2781 @subsection Divisiones
2787 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
2788 `division') is a staff context symbol that is used to structure
2789 Gregorian music into phrases and sections. The musical meaning of
2790 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
2791 can be characterized as short, medium, and long pause, somewhat like
2792 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
2793 only marks the end of a chant, but is also frequently used within a
2794 single antiphonal/responsorial chant to mark the end of each section.
2797 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
2798 contains definitions that you can apply by just inserting
2799 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
2800 and @code{\finalis} at proper places in the input. Some editions use
2801 @emph{virgula} or @emph{caesura} instead of divisio minima.
2802 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
2805 @lilypondfile[quote,ragged-right]{divisiones.ly}
2809 @cindex @code{\virgula}
2811 @cindex @code{\caesura}
2813 @cindex @code{\divisioMinima}
2814 @code{\divisioMinima},
2815 @cindex @code{\divisioMaior}
2816 @code{\divisioMaior},
2817 @cindex @code{\divisioMaxima}
2818 @code{\divisioMaxima},
2819 @cindex @code{\finalis}
2824 In this manual: @ref{Breath marks}.
2826 Program reference: @internalsref{BreathingSign}.
2828 Examples: @inputfileref{input/@/test,divisiones@/.ly}.
2831 @subsection Ligatures
2835 @c TODO: Should double check if I recalled things correctly when I wrote
2836 @c down the following paragraph by heart.
2838 A ligature is a graphical symbol that represents at least two distinct
2839 notes. Ligatures originally appeared in the manuscripts of Gregorian
2840 chant notation to denote ascending or descending sequences of notes.
2842 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
2843 Some ligature styles may need additional input syntax specific for
2844 this particular type of ligature. By default, the
2845 @internalsref{LigatureBracket} engraver just puts a square bracket
2848 @lilypond[quote,ragged-right,verbatim]
2856 To select a specific style of ligatures, a proper ligature engraver
2857 has to be added to the @internalsref{Voice} context, as explained in
2858 the following subsections. Only white mensural ligatures
2859 are supported with certain limitations.
2865 Ligatures need special spacing that has not yet been implemented. As
2866 a result, there is too much space between ligatures most of the time,
2867 and line breaking often is unsatisfactory. Also, lyrics do not
2868 correctly align with ligatures.
2870 Accidentals must not be printed within a ligature, but instead need to
2871 be collected and printed in front of it.
2873 Augmentum dots within ligatures are not handled correctly.
2875 The syntax still uses the deprecated infix style @code{\[ music expr
2876 \]}. For consistency reasons, it will eventually be changed to
2877 postfix style @code{note\[ ... note\]}. Alternatively, the file
2878 @file{gregorian@/-init@/.ly} can be included; it provides a scheme
2881 \ligature @var{music expr}
2883 with the same effect and is believed to be stable.
2886 * White mensural ligatures::
2887 * Gregorian square neumes ligatures::
2890 @node White mensural ligatures
2891 @subsubsection White mensural ligatures
2893 @cindex Mensural ligatures
2894 @cindex White mensural ligatures
2896 There is limited support for white mensural ligatures.
2898 To engrave white mensural ligatures, in the layout block put the
2899 @internalsref{Mensural_ligature_engraver} into the
2900 @internalsref{Voice} context, and remove the
2901 @internalsref{Ligature_bracket_engraver}, like this
2907 \remove Ligature_bracket_engraver
2908 \consists Mensural_ligature_engraver
2913 There is no additional input language to describe the shape of a
2914 white mensural ligature. The shape is rather determined solely from
2915 the pitch and duration of the enclosed notes. While this approach may
2916 take a new user a while to get accustomed to, it has the great advantage
2917 that the full musical information of the ligature is known internally.
2918 This is not only required for correct MIDI output, but also allows for
2919 automatic transcription of the ligatures.
2924 \set Score.timing = ##f
2925 \set Score.defaultBarType = "empty"
2926 \override NoteHead #'style = #'neomensural
2927 \override Staff.TimeSignature #'style = #'neomensural
2931 \[ d\longa c\breve f e d \]
2933 \[ c'\maxima d'\longa \]
2937 @lilypond[quote,ragged-right]
2940 \set Score.timing = ##f
2941 \set Score.defaultBarType = "empty"
2942 \override NoteHead #'style = #'neomensural
2943 \override Staff.TimeSignature #'style = #'neomensural
2947 \[ d\longa c\breve f e d \]
2949 \[ c'\maxima d'\longa \]
2956 \remove Ligature_bracket_engraver
2957 \consists Mensural_ligature_engraver
2963 Without replacing @internalsref{Ligature_bracket_engraver} with
2964 @internalsref{Mensural_ligature_engraver}, the same music transcribes
2967 @lilypond[quote,ragged-right]
2969 \set Score.timing = ##f
2970 \set Score.defaultBarType = "empty"
2971 \override NoteHead #'style = #'neomensural
2972 \override Staff.TimeSignature #'style = #'neomensural
2976 \[ d\longa c\breve f e d \]
2978 \[ c'\maxima d'\longa \]
2986 The invisible rests (@code{s4}) in the example are used to compensate
2987 for the poor horizontal spacing.
2989 @node Gregorian square neumes ligatures
2990 @subsubsection Gregorian square neumes ligatures
2992 @cindex Square neumes ligatures
2993 @cindex Gregorian square neumes ligatures
2995 There is limited support for Gregorian square neumes notation
2996 (following the style of the Editio Vaticana). Core ligatures can
2997 already be typeset, but essential issues for serious typesetting are
2998 still lacking, such as (among others) horizontal alignment of multiple
2999 ligatures, lyrics alignment and proper handling of accidentals.
3002 The following table contains the extended neumes table of the 2nd
3003 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
3004 1983 by the monks of Solesmes.
3006 @multitable @columnfractions .4 .2 .2 .2
3023 @c TODO: \layout block is identical in all of the below examples.
3024 @c Therefore, it should somehow be included rather than duplicated all
3027 @c why not make identifiers in ly/engraver-init.ly? --hwn
3029 @c Because it's just used to typeset plain notes without
3030 @c a staff for demonstration purposes rather than something
3031 @c special of Gregorian chant notation. --jr
3036 @lilypond[staffsize=26,line-width=1.5\cm]
3037 \include "gregorian-init.ly"
3042 \noBreak s^\markup {"a"} \noBreak
3044 % Punctum Inclinatum
3046 \noBreak s^\markup {"b"}
3048 \layout { \neumeDemoLayout }}
3051 @lilypond[staffsize=26,line-width=2.5\cm]
3052 \include "gregorian-init.ly"
3055 % Punctum Auctum Ascendens
3056 \[ \auctum \ascendens b \]
3057 \noBreak s^\markup {"c"} \noBreak
3059 % Punctum Auctum Descendens
3060 \[ \auctum \descendens b \]
3061 \noBreak s^\markup {"d"} \noBreak
3063 % Punctum Inclinatum Auctum
3064 \[ \inclinatum \auctum b \]
3065 \noBreak s^\markup {"e"}
3067 \layout { \neumeDemoLayout }}
3070 @lilypond[staffsize=26,line-width=1.0\cm]
3071 \include "gregorian-init.ly"
3074 % Punctum Inclinatum Parvum
3075 \[ \inclinatum \deminutum b \]
3076 \noBreak s^\markup {"f"}
3078 \layout { \neumeDemoLayout }}
3084 @lilypond[staffsize=26,line-width=1.0\cm]
3085 \include "gregorian-init.ly"
3090 \noBreak s^\markup {"g"}
3092 \layout { \neumeDemoLayout }}
3098 @code{3. Apostropha vel Stropha}
3100 @lilypond[staffsize=26,line-width=1.0\cm]
3101 \include "gregorian-init.ly"
3106 \noBreak s^\markup {"h"}
3108 \layout { \neumeDemoLayout }}
3111 @lilypond[staffsize=26,line-width=1.0\cm]
3112 \include "gregorian-init.ly"
3116 \[ \stropha \auctum b \]
3117 \noBreak s^\markup {"i"}
3119 \layout { \neumeDemoLayout }}
3126 @lilypond[staffsize=26,line-width=1.0\cm]
3127 \include "gregorian-init.ly"
3132 \noBreak s^\markup {"j"}
3134 \layout { \neumeDemoLayout }}
3140 @code{5. Clivis vel Flexa}
3142 @lilypond[staffsize=26,line-width=1.0\cm]
3143 \include "gregorian-init.ly"
3150 \layout { \neumeDemoLayout }}
3153 @lilypond[staffsize=26,line-width=2.0\cm]
3154 \include "gregorian-init.ly"
3157 % Clivis Aucta Descendens
3158 \[ b \flexa \auctum \descendens g \]
3159 \noBreak s^\markup {"l"} \noBreak
3161 % Clivis Aucta Ascendens
3162 \[ b \flexa \auctum \ascendens g \]
3163 \noBreak s^\markup {"m"}
3165 \layout { \neumeDemoLayout }}
3168 @lilypond[staffsize=26,line-width=1.0\cm]
3169 \include "gregorian-init.ly"
3173 \[ b \flexa \deminutum g \]
3176 \layout { \neumeDemoLayout }}
3180 @code{6. Podatus vel Pes}
3182 @lilypond[staffsize=26,line-width=1.0\cm]
3183 \include "gregorian-init.ly"
3190 \layout { \neumeDemoLayout }}
3193 @lilypond[staffsize=26,line-width=2.0\cm]
3194 \include "gregorian-init.ly"
3197 % Pes Auctus Descendens
3198 \[ g \pes \auctum \descendens b \]
3199 \noBreak s^\markup {"p"} \noBreak
3201 % Pes Auctus Ascendens
3202 \[ g \pes \auctum \ascendens b \]
3203 \noBreak s^\markup {"q"}
3205 \layout { \neumeDemoLayout }}
3208 @lilypond[staffsize=26,line-width=1.0\cm]
3209 \include "gregorian-init.ly"
3213 \[ g \pes \deminutum b \]
3216 \layout { \neumeDemoLayout }}
3220 @code{7. Pes Quassus}
3222 @lilypond[staffsize=26,line-width=1.0\cm]
3223 \include "gregorian-init.ly"
3227 \[ \oriscus g \pes \virga b \]
3230 \layout { \neumeDemoLayout }}
3233 @lilypond[staffsize=26,line-width=1.0\cm]
3234 \include "gregorian-init.ly"
3237 % Pes Quassus Auctus Descendens
3238 \[ \oriscus g \pes \auctum \descendens b \]
3241 \layout { \neumeDemoLayout }}
3246 @code{8. Quilisma Pes}
3248 @lilypond[staffsize=26,line-width=1.0\cm]
3249 \include "gregorian-init.ly"
3253 \[ \quilisma g \pes b \]
3256 \layout { \neumeDemoLayout }}
3259 @lilypond[staffsize=26,line-width=1.0\cm]
3260 \include "gregorian-init.ly"
3263 % Quilisma Pes Auctus Descendens
3264 \[ \quilisma g \pes \auctum \descendens b \]
3267 \layout { \neumeDemoLayout }}
3272 @code{9. Podatus Initio Debilis}
3274 @lilypond[staffsize=26,line-width=1.0\cm]
3275 \include "gregorian-init.ly"
3278 % Pes Initio Debilis
3279 \[ \deminutum g \pes b \]
3282 \layout { \neumeDemoLayout }}
3285 @lilypond[staffsize=26,line-width=1.0\cm]
3286 \include "gregorian-init.ly"
3289 % Pes Auctus Descendens Initio Debilis
3290 \[ \deminutum g \pes \auctum \descendens b \]
3293 \layout { \neumeDemoLayout }}
3300 @lilypond[staffsize=26,line-width=1.0\cm]
3301 \include "gregorian-init.ly"
3305 \[ a \pes b \flexa g \]
3308 \layout { \neumeDemoLayout }}
3311 @lilypond[staffsize=26,line-width=1.0\cm]
3312 \include "gregorian-init.ly"
3315 % Torculus Auctus Descendens
3316 \[ a \pes b \flexa \auctum \descendens g \]
3319 \layout { \neumeDemoLayout }}
3322 @lilypond[staffsize=26,line-width=1.0\cm]
3323 \include "gregorian-init.ly"
3326 % Torculus Deminutus
3327 \[ a \pes b \flexa \deminutum g \]
3330 \layout { \neumeDemoLayout }}
3334 @code{11. Torculus Initio Debilis}
3336 @lilypond[staffsize=26,line-width=1.0\cm]
3337 \include "gregorian-init.ly"
3340 % Torculus Initio Debilis
3341 \[ \deminutum a \pes b \flexa g \]
3344 \layout { \neumeDemoLayout }}
3347 @lilypond[staffsize=26,line-width=1.0\cm]
3348 \include "gregorian-init.ly"
3351 % Torculus Auctus Descendens Initio Debilis
3352 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
3355 \layout { \neumeDemoLayout }}
3358 @lilypond[staffsize=26,line-width=1.0\cm]
3359 \include "gregorian-init.ly"
3362 % Torculus Deminutus Initio Debilis
3363 \[ \deminutum a \pes b \flexa \deminutum g \]
3366 \layout { \neumeDemoLayout }}
3370 @code{12. Porrectus}
3372 @lilypond[staffsize=26,line-width=1.0\cm]
3373 \include "gregorian-init.ly"
3377 \[ a \flexa g \pes b \]
3380 \layout { \neumeDemoLayout }}
3383 @lilypond[staffsize=26,line-width=1.0\cm]
3384 \include "gregorian-init.ly"
3387 % Porrectus Auctus Descendens
3388 \[ a \flexa g \pes \auctum \descendens b \]
3391 \layout { \neumeDemoLayout }}
3394 @lilypond[staffsize=26,line-width=1.0\cm]
3395 \include "gregorian-init.ly"
3398 % Porrectus Deminutus
3399 \[ a \flexa g \pes \deminutum b \]
3402 \layout { \neumeDemoLayout }}
3408 @lilypond[staffsize=26,line-width=1.0\cm]
3409 \include "gregorian-init.ly"
3413 \[ \virga b \inclinatum a \inclinatum g \]
3416 \layout { \neumeDemoLayout }
3420 @lilypond[staffsize=26,line-width=1.0\cm]
3421 \include "gregorian-init.ly"
3425 \[ \virga b \inclinatum a \inclinatum \auctum g \]
3428 \layout { \neumeDemoLayout }}
3431 @lilypond[staffsize=26,line-width=1.0\cm]
3432 \include "gregorian-init.ly"
3435 % Climacus Deminutus
3436 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
3439 \layout { \neumeDemoLayout }}
3443 @code{14. Scandicus}
3445 @lilypond[staffsize=26,line-width=1.0\cm]
3446 \include "gregorian-init.ly"
3450 \[ g \pes a \virga b \]
3453 \layout { \neumeDemoLayout }}
3456 @lilypond[staffsize=26,line-width=1.0\cm]
3457 \include "gregorian-init.ly"
3460 % Scandicus Auctus Descendens
3461 \[ g \pes a \pes \auctum \descendens b \]
3464 \layout { \neumeDemoLayout }}
3467 @lilypond[staffsize=26,line-width=1.0\cm]
3468 \include "gregorian-init.ly"
3471 % Scandicus Deminutus
3472 \[ g \pes a \pes \deminutum b \]
3475 \layout { \neumeDemoLayout }}
3481 @lilypond[staffsize=26,line-width=1.0\cm]
3482 \include "gregorian-init.ly"
3486 \[ g \oriscus a \pes \virga b \]
3489 \layout { \neumeDemoLayout }}
3492 @lilypond[staffsize=26,line-width=1.0\cm]
3493 \include "gregorian-init.ly"
3496 % Salicus Auctus Descendens
3497 \[ g \oriscus a \pes \auctum \descendens b \]
3500 \layout { \neumeDemoLayout }}
3507 @lilypond[staffsize=26,line-width=1.0\cm]
3508 \include "gregorian-init.ly"
3512 \[ \stropha b \stropha b \stropha a \]
3515 \layout { \neumeDemoLayout }
3524 Unlike most other neumes notation systems, the input language for
3525 neumes does not reflect the typographical appearance, but is designed
3526 to focus on musical meaning. For example, @code{\[ a \pes b
3527 \flexa g \]} produces a Torculus consisting of three Punctum heads,
3528 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
3529 curved flexa shape and only a single Punctum head. There is no
3530 command to explicitly typeset the curved flexa shape; the decision of
3531 when to typeset a curved flexa shape is based on the musical
3532 input. The idea of this approach is to separate the musical aspects
3533 of the input from the notation style of the output. This way, the
3534 same input can be reused to typeset the same music in a different
3535 style of Gregorian chant notation.
3537 The following table shows the code fragments that produce the
3538 ligatures in the above neumes table. The letter in the first column
3539 in each line of the below table indicates to which ligature in the
3540 above table it refers. The second column gives the name of the
3541 ligature. The third column shows the code fragment that produces this
3542 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
3544 @multitable @columnfractions .02 .31 .67
3564 @code{\[ \inclinatum b \]}
3572 @code{\[ \auctum \ascendens b \]}
3580 @code{\[ \auctum \descendens b \]}
3585 Punctum Inclinatum@*
3588 @code{\[ \inclinatum \auctum b \]}
3593 Punctum Inclinatum@*
3595 @code{\[ \inclinatum \deminutum b \]}
3602 @code{\[ \virga b \]}
3609 @code{\[ \stropha b \]}
3616 @code{\[ \stropha \auctum b \]}
3623 @code{\[ \oriscus b \]}
3630 @code{\[ b \flexa g \]}
3638 @code{\[ b \flexa \auctum \descendens g \]}
3646 @code{\[ b \flexa \auctum \ascendens g \]}
3653 @code{\[ b \flexa \deminutum g \]}
3660 @code{\[ g \pes b \]}
3668 @code{\[ g \pes \auctum \descendens b \]}
3676 @code{\[ g \pes \auctum \ascendens b \]}
3683 @code{\[ g \pes \deminutum b \]}
3690 @code{\[ \oriscus g \pes \virga b \]}
3696 Auctus Descendens @tab
3697 @code{\[ \oriscus g \pes \auctum \descendens b \]}
3704 @code{\[ \quilisma g \pes b \]}
3712 @code{\[ \quilisma g \pes \auctum \descendens b \]}
3719 @code{\[ \deminutum g \pes b \]}
3724 Pes Auctus Descendens@*
3727 @code{\[ \deminutum g \pes \auctum \descendens b \]}
3734 @code{\[ a \pes b \flexa g \]}
3742 @code{\[ a \pes b \flexa \auctum \descendens g \]}
3749 @code{\[ a \pes b \flexa \deminutum g \]}
3754 Torculus Initio Debilis
3756 @code{\[ \deminutum a \pes b \flexa g \]}
3762 Descendens Initio Debilis
3764 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
3769 Torculus Deminutus@*
3772 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
3779 @code{\[ a \flexa g \pes b \]}
3787 @code{\[ a \flexa g \pes \auctum \descendens b \]}
3794 @code{\[ a \flexa g \pes \deminutum b \]}
3801 @code{\[ \virga b \inclinatum a \inclinatum g \]}
3808 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
3815 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
3822 @code{\[ g \pes a \virga b \]}
3830 @code{\[ g \pes a \pes \auctum \descendens b \]}
3837 @code{\[ g \pes a \pes \deminutum b \]}
3844 @code{\[ g \oriscus a \pes \virga b \]}
3849 Salicus Auctus Descendens
3851 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
3858 @code{\[ \stropha b \stropha b \stropha a \]}
3863 The following head prefixes are supported
3865 @cindex @code{\virga}
3867 @cindex @code{\stropha}
3869 @cindex @code{\inclinatum}
3871 @cindex @code{\auctum}
3873 @cindex @code{\descendens}
3875 @cindex @code{\ascendens}
3877 @cindex @code{\oriscus}
3879 @cindex @code{\quilisma}
3881 @cindex @code{\deminutum}
3884 Head prefixes can be accumulated, though restrictions apply. For
3885 example, either @code{\descendens} or @code{\ascendens} can be applied
3886 to a head, but not both to the same head.
3889 @cindex @code{\flexa}
3890 Two adjacent heads can be tied together with the @code{\pes} and
3891 @code{\flexa} infix commands for a rising and falling line of melody,
3896 @node Gregorian Chant contexts
3897 @subsection Gregorian Chant contexts
3899 @cindex VaticanaVoiceContext
3900 @cindex VaticanaStaffContext
3902 The predefined @code{VaticanaVoiceContext} and
3903 @code{VaticanaStaffContext} can be used to engrave a piece of
3904 Gregorian Chant in the style of the Editio Vaticana. These contexts
3905 initialize all relevant context properties and grob properties to
3906 proper values, so you can immediately go ahead entering the chant, as
3907 the following excerpt demonstrates
3909 @lilypond[quote,ragged-right,packed,verbatim]
3910 \include "gregorian-init.ly"
3913 \new VaticanaVoice = "cantus" {
3914 \override Staff.StaffSymbol #'color = #red
3915 \override Staff.LedgerLineSpanner #'color = #red
3916 \override Score.BarNumber #'transparent = ##t {
3917 \[ c'\melisma c' \flexa a \]
3918 \[ a \flexa \deminutum g\melismaEnd \]
3920 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
3921 c' \divisioMinima \break
3922 \[ c'\melisma c' \flexa a \]
3923 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
3926 \new Lyrics \lyricsto "cantus" {
3927 San- ctus, San- ctus, San- ctus
3934 @node Mensural contexts
3935 @subsection Mensural contexts
3937 @cindex MensuralVoiceContext
3938 @cindex MensuralStaffContext
3940 The predefined @code{MensuralVoiceContext} and
3941 @code{MensuralStaffContext} can be used to engrave a piece in mensural
3942 style. These contexts initialize all relevant context properties and
3943 grob properties to proper values, so you can immediately go ahead
3944 entering the chant, as the following excerpt demonstrates
3946 @lilypond[quote,ragged-right,verbatim]
3949 \new MensuralVoice = "discantus" \transpose c c' {
3950 \override Score.BarNumber #'transparent = ##t {
3951 c'1\melisma bes a g\melismaEnd
3953 \[ f1\melisma a c'\breve d'\melismaEnd \]
3955 c'\breve\melisma a1 g1\melismaEnd
3956 fis\longa^\signumcongruentiae
3959 \new Lyrics \lyricsto "discantus" {
3960 San -- ctus, San -- ctus, San -- ctus
3966 @node Musica ficta accidentals
3967 @subsection Musica ficta accidentals
3969 In European music from before about 1600, singers were often expected
3970 to chromatically alter notes at their own initiative. This is called
3971 ``Musica Ficta''. In modern transcriptions, these accidentals are
3972 usually printed over the note.
3974 @cindex Musica ficta
3976 Support for such suggested accidentals is included, and can be
3977 switched on by setting @code{suggestAccidentals} to true.
3979 @cindex @code{suggestAccidentals}
3981 @lilypond[verbatim,fragment,relative=1]
3983 \set suggestAccidentals = ##t
3989 Program reference: @internalsref{Accidental_engraver} engraver and the
3990 @internalsref{AccidentalSuggestion} object.
3993 @subsection Figured bass
3995 @cindex Basso continuo
3997 @c TODO: musicological blurb about FB
4000 LilyPond has support for figured bass
4002 @lilypond[quote,ragged-right,verbatim,fragment]
4004 \new Voice { \clef bass dis4 c d ais g fis}
4005 \new FiguredBass \figuremode {
4006 < 6 >4 < 7\+ >8 < 6+ [_!] >
4013 The support for figured bass consists of two parts: there is an input
4014 mode, introduced by @code{\figuremode}, where you can enter bass figures
4015 as numbers, and there is a context called @internalsref{FiguredBass} that
4016 takes care of making @internalsref{BassFigure} objects.
4018 In figures input mode, a group of bass figures is delimited by
4019 @code{<} and @code{>}. The duration is entered after the @code{>}
4023 @lilypond[quote,ragged-right,fragment]
4025 \figuremode { <4 6> }
4028 Accidentals are added when you append @code{-}, @code{!}, and @code{+}
4029 to the numbers. A plus sign is added when you append @code{\+}, and
4030 diminished fifths and sevenths can be obtained with @code{5/} and @code{7/}.
4033 <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/>
4035 @lilypond[quote,ragged-right,fragment]
4036 \figures { <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/> }
4039 Spaces may be inserted by using @code{_}. Brackets are
4040 introduced with @code{[} and @code{]}. You can also include text
4041 strings and text markups, see @ref{Overview of text markup commands}.
4044 < [4 6] 8 [_! 12] > < 5 \markup @{ \number 6 \super (1) @} >
4046 @lilypond[quote,ragged-right,fragment]
4048 \figuremode { < [4 6] 8 [_! 12] > < 5 \markup{ \tiny \number 6 \super (1)} > }
4052 It is also possible to use continuation lines for repeated figures,
4054 @lilypond[verbatim,relative=1]
4061 \set useBassFigureExtenders = ##t
4068 In this case, the extender lines always replace existing figures.
4070 The @code{FiguredBass} context doesn't pay attention to the actual
4071 bass line. As a consequence, you may have to insert extra figures to
4072 get extender lines below all notes, and you may have to add @code{\!}
4073 to avoid getting an extender line, eg.
4075 @lilypond[relative=1]
4079 \set useBassFigureExtenders = ##t
4080 <6 4->4. <6 4->16. <6 4->32 <5>8. r16 <6>8 <6\! 5->
4084 f16. g32 f16. g32 f16. g32 f16. g32 f8. es16 d8 es
4089 When using continuation lines, common figures are always put in the
4090 same vertical position. When this is unwanted, you can insert a rest
4091 with @code{r}. The rest will clear any previous alignment. For
4092 example, you can write
4104 Accidentals and plus signs can appear before or after the numbers,
4105 depending on the @code{figuredBassAlterationDirection} and @code{figuredBassPlusDirection}
4111 \set figuredBassAlterationDirection = #1
4113 \set figuredBassPlusDirection = #1
4115 \set figuredBassAlterationDirection = #-1
4121 Although the support for figured bass may superficially resemble chord
4122 support, it is much simpler. The @code{\figuremode} mode simply
4123 stores the numbers and @internalsref{FiguredBass} context prints them
4124 as entered. There is no conversion to pitches and no realizations of
4125 the bass are played in the MIDI file.
4127 Internally, the code produces markup texts. You can use any of the
4128 markup text properties to override formatting. For example, the
4129 vertical spacing of the figures may be set with @code{baseline-skip}.
4133 Program reference: @internalsref{NewBassFigure},
4134 @internalsref{BassFigureAlignment}, @internalsref{BassFigureLine},
4135 @internalsref{BassFigureBracket}, and
4136 @internalsref{BassFigureContinuation} objects and
4137 @internalsref{FiguredBass} context.
4141 @node Other instrument specific notation
4142 @section Other instrument specific notation
4144 This section includes extra information for writing for instruments.
4147 * Artificial harmonics (strings)::
4150 @node Artificial harmonics (strings)
4151 @subsection Artificial harmonics (strings)
4153 @cindex artificial harmonics
4155 Artificial harmonics are notated with a different notehead style. They
4156 are entered by marking the harmonic pitch with @code{\harmonic}.
4158 @lilypond[ragged-right,verbatim,quote,fragment,relative=1]