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 Since LilyPond input files are text, there are two issues to
658 consider when working with vocal music:
662 Song texts must be entered as text, not notes. For example, the
663 input@tie{}@code{d} should be interpreted as a one letter syllable, not the
667 Song texts must be aligned with the notes of their melody.
670 There are a few different ways to define lyrics; the simplest
671 way is to use the @code{\addlyrics} function.
674 * Setting simple songs::
676 * Hyphens and extenders::
677 * The Lyrics context::
679 * Another way of entering lyrics::
680 * Flexibility in placement::
682 * More about stanzas::
684 * Other vocal issues::
690 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
693 \override Score.PaperColumn #'keep-inside-line = ##t
696 To make lyrics avoid barlines as well, use
701 \consists "Bar_engraver"
702 \consists "Separating_line_group_engraver"
703 \override BarLine #'transparent = ##t
709 @node Setting simple songs
710 @subsection Setting simple songs
712 The easiest way to add lyrics to a melody is to append
715 \addlyrics @{ @var{the lyrics} @}
719 to a melody. Here is an example,
721 @lilypond[ragged-right,verbatim,fragment,quote]
723 \relative { c2 e4 g2. }
724 \addlyrics { play the game }
727 More stanzas can be added by adding more
728 @code{\addlyrics} sections
730 @lilypond[ragged-right,verbatim,fragment,quote]
732 \relative { c2 e4 g2. }
733 \addlyrics { play the game }
734 \addlyrics { speel het spel }
735 \addlyrics { joue le jeu }
738 The command @code{\addlyrics} cannot handle polyphony settings. For these cases you should use @code{\lyricsto} and @code{\lyricmode}.
742 @node Entering lyrics
743 @subsection Entering lyrics
746 @cindex @code{\lyricmode}
749 Lyrics are entered in a special input mode. This mode is introduced
750 by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
751 @code{\lyricsto}. In this mode you can enter lyrics,
752 with punctuation and accents, and the input @code{d} is not parsed as
753 a pitch, but rather as a one letter syllable. Syllables are entered
754 like notes, but with pitches replaced by text. For example,
756 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
759 There are two main methods to specify the horizontal placement
760 of the syllables, either by specifying the duration of each syllable
761 explicitly, like in the example above, or by automatically aligning
762 the lyrics to a melody or other voice of music, using @code{\addlyrics}
763 or @code{\lyricsto}. For more details see @ref{The Lyrics context}.
765 A word or syllable of lyrics begins with an alphabetic character, and ends with
766 any space or digit. The following characters can be any character
767 that is not a digit or white space. One important consequence of this
768 is that a word can end with @code{@}}. The following example is
769 usually a mistake in the input file. The syllable includes a @code{@}}, so the
770 opening brace is not balanced
772 \lyricmode @{ twinkle@}
775 @cindex @code{\property}, in @code{\lyricmode}
777 Similarly, a period which follows an alphabetic sequence is included in
778 the resulting string. As a consequence, spaces must be inserted around
781 \override Score . LyricText #'font-shape = #'italic
785 @cindex spaces, in lyrics
786 @cindex quotes, in lyrics
788 In order to assign more than one syllable to a single note, you must
789 surround them with quotes or use a @code{_} character between the syllables.
791 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
793 \relative { c2 e4 g2 e4 }
794 \addlyrics { gran- de_a- mi- go }
795 \addlyrics { pu- "ro y ho-" nes- to }
798 To enter lyrics with characters from non-English languages, or with
799 non-ascii characters (such as the heart symbol or slanted quotes),
800 simply insert the characters directly into the input file and save
801 it with utf-8 encoding. See @ref{Text encoding} for more info.
804 \lyricmode @{ He said: “Let my peo ple go”. @}
807 To use normal quotes in lyrics, add a backslash before the
810 @lilypond[quote,ragged-right,fragment,verbatim]
811 \relative c' { \time 3/4 e4 e4. e8 d4 e d c2. }
812 \addlyrics { "\"I" am so lone- "ly\"" said she }
815 The full definition of a word start in Lyrics mode is somewhat more
818 A word in Lyrics mode begins with: an alphabetic character, @code{_},
819 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
820 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
821 any 8-bit character with ASCII code over 127, or a two-character
822 combination of a backslash followed by one of @code{`}, @code{'},
823 @code{"}, or @code{^}.
828 Program reference: @internalsref{LyricText}, @internalsref{LyricSpace}.
832 @node Hyphens and extenders
833 @subsection Hyphens and extenders
837 Centered hyphens are entered as `@code{--}' between syllables.
838 The hyphen will have variable length depending on the space between
839 the syllables and it will be centered between the syllables.
844 When a lyric is sung over many notes (this is called a melisma), this is
845 indicated with a horizontal line centered between a syllable and the
846 next one. Such a line is called an extender line, and it is entered as
849 In tighly engraved music, hyphens can be removed. Whether this
850 happens can be controlled with the @code{minimum-distance} (minimum
851 distance between two syllables) and the @code{minimum-length}
852 (threshold below which hyphens are removed).
856 Program reference: @internalsref{LyricHyphen}, @internalsref{LyricExtender}.
860 @node The Lyrics context
861 @subsection The Lyrics context
863 Lyrics are printed by interpreting them in the context caleld @internalsref{Lyrics}.
866 \new Lyrics \lyricmode @dots{}
869 @cindex automatic syllable durations
870 @cindex @code{\lyricsto}
871 @cindex lyrics and melodies
873 This will place the lyrics according to the durations that were
874 entered. The lyrics can also be aligned under a given melody
875 automatically. In this case, it is no longer necessary to enter the
876 correct duration for each syllable. This is achieved by combining the
877 melody and the lyrics with the @code{\lyricsto} expression
880 \new Lyrics \lyricsto @var{name} @dots{}
883 This aligns the lyrics to the
884 notes of the @internalsref{Voice} context called @var{name}, which has
885 to exist. Therefore, normally the @code{Voice} is specified first, and
886 then the lyrics are specified with @code{\lyricsto}. The command
887 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
888 @code{\lyricmode} keyword may be omitted.
890 The following example uses different commands for entering lyrics.
892 @lilypond[quote,fragment,ragged-right,verbatim]
894 \new Voice = "one" \relative c'' {
897 c4 b8. a16 g4. f8 e4 d c2
899 \new Lyrics \lyricmode { Joy4 to8. the16 world!4. the8 Lord4 is come.2 }
900 \new Lyrics \lyricmode { Joy to the earth! the Sav -- our reigns. }
901 \new Lyrics \lyricsto "one" { No more let sins and sor -- rows grow. }
905 The second stanza is not properly aligned because the durations
906 were not specified. A solution for that would be to use @code{\lyricsto}.
913 To define indentifiers containing lyrics, the function @code{lyricmode}
917 verseOne = \lyricmode @{ Joy to the world the Lord is come @}
920 \new Voice = "one" \relative c'' @{
923 c4 b8. a16 g4. f8 e4 d c2
925 \addlyrics @{ \verseOne @}
930 The @code{\addlyrics} command is actually just a convenient way
931 to write a more complicated LilyPond structure that sets up the
936 \addlyrics @{ LYRICS @}
943 \new Voice = "blah" @{ music @}
944 \new Lyrics \lyricsto "blah" @{ LYRICS @}
947 For different or more complex orderings, the best way is to setup the
948 hierarchy of staves and lyrics first, e.g.,
951 \new Voice = "soprano" @{ @emph{music} @}
952 \new Lyrics = "sopranoLyrics" @{ s1 @}
953 \new Lyrics = "tenorLyrics" @{ s1 @}
954 \new Voice = "tenor" @{ @emph{music} @}
958 and then combine the appropriate melodies and lyric lines
961 \context Lyrics = sopranoLyrics \lyricsto "soprano"
966 The final input would resemble
969 <<\new ChoirStaff << @emph{setup the music} >>
970 \lyricsto "soprano" @emph{etc}
971 \lyricsto "alto" @emph{etc}
978 Program reference: @internalsref{LyricCombineMusic},
979 @internalsref{Lyrics}.
983 @subsection Melismata
985 The @code{\lyricsto} command detects melismata: it only puts one
986 syllable under a tied or slurred group of notes. If you want to force
987 an unslurred group of notes to be a melisma, insert @code{\melisma}
988 after the first note of the group, and @code{\melismaEnd} after the
991 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
993 \new Voice = "lala" {
1001 \new Lyrics \lyricsto "lala" {
1007 In addition, notes are considered a melisma if they are manually
1008 beamed, and automatic beaming (see @ref{Setting automatic beam
1009 behavior}) is switched off.
1012 @cindex choral score
1014 A complete example of a SATB score setup is in section
1015 @ref{Vocal ensembles}.
1020 @code{\melisma}, @code{\melismaEnd}
1021 @cindex @code{\melismaEnd}
1022 @cindex @code{\melisma}
1026 Program reference: @internalsref{Melisma_translator}.
1029 @inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly}.
1033 Melismata are not detected automatically, and extender lines must be
1037 @node Another way of entering lyrics
1038 @subsection Another way of entering lyrics
1040 Lyrics can also be entered without @code{\lyricsto}. In this case the
1041 duration of each syllable must be entered explicitly, for example,
1048 The alignment to a melody can be specified with the
1049 @code{associatedVoice} property,
1052 \set associatedVoice = #"lala"
1056 The value of the property (here: @code{"lala"}) should be the name of
1057 a @internalsref{Voice} context. Without this setting, extender lines
1058 will not be formatted properly.
1060 Here is an example demonstrating manual lyric durations,
1062 @lilypond[relative=1,ragged-right,verbatim,fragment,quote]
1063 << \new Voice = "melody" {
1067 \new Lyrics \lyricmode {
1068 \set associatedVoice = #"melody"
1074 @c TODO: document \new Staff << Voice \lyricsto >> bug
1076 @node Flexibility in placement
1077 @subsection Flexibility in placement
1079 Often, different stanzas of one song are put to one melody in slightly
1080 differing ways. Such variations can still be captured with
1084 * Lyrics to multiple notes of a melisma::
1086 * Switching the melody associated with a lyrics line::
1087 * Specifying melismata within the lyrics::
1090 @node Lyrics to multiple notes of a melisma
1091 @subsubsection Lyrics to multiple notes of a melisma
1094 One possibility is that the text has a melisma in one stanza, but
1095 multiple syllables in another one. One solution is to make the faster
1096 voice ignore the melisma. This is done by setting
1097 @code{ignoreMelismata} in the Lyrics context.
1099 There is one tricky aspect: the setting for @code{ignoreMelismata}
1100 must be set one syllable @emph{before} the non-melismatic syllable
1101 in the text, as shown here,
1103 @lilypond[verbatim,ragged-right,quote]
1105 \relative \new Voice = "lahlah" {
1106 \set Staff.autoBeaming = ##f
1112 \new Lyrics \lyricsto "lahlah" {
1115 \new Lyrics \lyricsto "lahlah" {
1116 \set ignoreMelismata = ##t % applies to "fas"
1118 \unset ignoreMelismata
1125 The @code{ignoreMelismata} applies to the syllable ``fas'', so it
1126 should be entered before ``go''.
1128 The reverse is also possible: making a lyric line slower than the
1129 standard. This can be achieved by insert @code{\skip}s into the
1130 lyrics. For every @code{\skip}, the text will be delayed another note.
1133 @lilypond[verbatim,ragged-right,quote]
1134 \relative { c c g' }
1143 @subsubsection Divisi lyrics
1145 You can display alternate (or divisi) lyrics by naming voice
1146 contexts and attaching lyrics to those specific contexts.
1148 @lilypond[verbatim,ragged-right,quote]
1150 \new Voice = "melody" {
1155 \new Voice = "splitpart" { \voiceTwo c4 }
1160 \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
1161 \new Lyrics \lyricsto "splitpart" { will }
1166 You can use this trick to display different lyrics for a repeated
1169 @lilypond[verbatim,ragged-right,quote]
1171 \new Voice = "melody" \relative c' {
1173 \new Voice = "verse" \repeat volta 2 {c4 d e f | g1 | }
1175 \new Lyrics = "mainlyrics" \lyricsto melody \lyricmode {
1178 \context Lyrics = "mainlyrics" \lyricsto verse \lyricmode {
1180 \new Lyrics = "repeatlyrics" \lyricsto verse \lyricmode {
1181 dodo rere mimi fafa solsol }
1188 @node Switching the melody associated with a lyrics line
1189 @subsubsection Switching the melody associated with a lyrics line
1191 More complex variations in text underlay are possible. It is possible
1192 to switch the melody for a line of lyrics during the text. This is
1193 done by setting the @code{associatedVoice} property. In the example
1195 @lilypond[ragged-right,quote]
1197 \relative \new Voice = "lahlah" {
1198 \set Staff.autoBeaming = ##f
1201 \new Voice = "alternative" {
1204 % show associations clearly.
1205 \override NoteColumn #'force-hshift = #-3
1216 \new Lyrics \lyricsto "lahlah" {
1217 Ju -- ras -- sic Park
1219 \new Lyrics \lyricsto "lahlah" {
1220 % Tricky: need to set associatedVoice
1221 % one syllable too soon!
1222 \set associatedVoice = alternative % applies to "ran"
1226 \set associatedVoice = lahlah % applies to "rus"
1232 the text for the first stanza is set to a melody called ``lahlah'',
1235 \new Lyrics \lyricsto "lahlah" @{
1236 Ju -- ras -- sic Park
1241 The second stanza initially is set to the @code{lahlah} context, but
1242 for the syllable ``ran'', it switches to a different melody.
1243 This is achieved with
1245 \set associatedVoice = alternative
1249 Here, @code{alternative} is the name of the @code{Voice} context
1250 containing the triplet.
1252 Again, the command must be one syllable too early, before ``Ty'' in
1256 \new Lyrics \lyricsto "lahlah" @{
1257 \set associatedVoice = alternative % applies to "ran"
1261 \set associatedVoice = lahlah % applies to "rus"
1267 The underlay is switched back to the starting situation by assigning
1268 @code{lahlah} to @code{associatedVoice}.
1271 @node Specifying melismata within the lyrics
1272 @subsubsection Specifying melismata within the lyrics
1274 It is also possible to define melismata entirely in the lyrics. This
1275 can be done by entering @code{_} for every note that is part of the
1278 @lilypond[relative=1,verbatim,fragment]
1279 { \set melismaBusyProperties = #'()
1280 c d( e) f f( e) e e }
1282 { Ky -- _ _ ri __ _ _ _ e }
1285 In this case, you can also have ties and slurs in the melody, if you
1286 set @code{melismaBusyProperties}, as is done in the example above.
1288 @lilypond[relative=1,verbatim,fragment]
1290 \set melismaBusyProperties = #'()
1294 { Ky -- _ _ ri __ _ _ _ e }
1298 @node Spacing lyrics
1299 @subsection Spacing lyrics
1301 @cindex Spacing lyrics
1302 @cindex Lyrics, increasing space between
1304 To increase the spacing between lyrics, set the minimum-distance property of
1307 @lilypond[relative,verbatim,fragment,quote,ragged-right]
1310 \override Lyrics.LyricSpace #'minimum-distance = #1.0
1314 longtext longtext longtext longtext
1315 longtext longtext longtext longtext
1319 To make this change for all lyrics in the score, set the property in the layout.
1321 @lilypond[relative,verbatim,quote,ragged-right]
1328 longtext longtext longtext longtext
1329 longtext longtext longtext longtext
1334 \override LyricSpace #'minimum-distance = #1.0
1341 @node More about stanzas
1342 @subsection More about stanzas
1344 @cindex phrasing, in lyrics
1347 @cindex stanza number
1348 @cindex singer's names
1349 @cindex name of singer
1351 Stanza numbers can be added by setting @code{stanza}, e.g.,
1353 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1355 \time 3/4 g2 e4 a2 f4 g2.
1358 Hi, my name is Bert.
1361 Oh, che -- ri, je t'aime
1365 These numbers are put just before the start of first syllable.
1367 Sometimes it is appropriate to have one stanza set
1368 to the music, and the rest added in verse form at
1369 the end of the piece. This can be accomplished by adding
1370 the extra verses into a @code{\markup} section outside
1371 of the main score block. Notice that there are two
1372 different ways to force linebreaks when using
1375 @lilypond[ragged-right,verbatim,quote]
1376 melody = \relative c' {
1382 \set stanza = "1." Ma- ry had a lit- tle lamb,
1383 its fleece was white as snow.
1388 \new Voice = "one" { \melody }
1389 \new Lyrics \lyricsto "one" \text
1395 \line{ All the children laughed and played }
1396 \line{ To see a lamb at school. }
1403 Mary took it home again,
1405 It was against the rule."
1411 Names of singers can also be added. They are printed at the start of
1412 the line, just like instrument names. They are created by setting
1413 @code{vocalName}. A short version may be entered as @code{vocNam}.
1416 @lilypond[fragment,ragged-right,quote,verbatim,relative=2]
1418 \time 3/4 g2 e4 a2 f4 g2.
1420 \set vocalName = "Bert "
1421 Hi, my name is Bert.
1423 \set vocalName = "Ernie "
1424 Oh, che -- ri, je t'aime
1431 Program reference: @internalsref{LyricText}, @internalsref{StanzaNumber}, @internalsref{VocalName}.
1439 The term @emph{ambitus} denotes a range of pitches for a given voice
1440 in a part of music. It may also denote the pitch range that a musical
1441 instrument is capable of playing. Ambits are printed on vocal parts,
1442 so performers can easily determine it meets their capabilities.
1444 Ambits are denoted at the beginning of a piece near the initial clef.
1445 The range is graphically specified by two note heads that represent the
1446 minimum and maximum pitch. To print such ambits, add the
1447 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
1454 \consists Ambitus_engraver
1459 This results in the following output
1461 @lilypond[quote,ragged-right]
1465 \consists Ambitus_engraver
1469 \relative \new Staff {
1474 If you have multiple voices in a single staff and you want a single
1475 ambitus per staff rather than per each voice, add the
1476 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
1477 rather than to the @internalsref{Voice} context. Here is an example,
1479 @lilypond[verbatim,ragged-right,quote]
1481 \consists "Ambitus_engraver"
1485 \remove "Ambitus_engraver"
1487 \override Ambitus #'X-offset = #-1.0
1492 \remove "Ambitus_engraver"
1501 This example uses one advanced feature,
1504 \override Ambitus #'X-offset = #-1.0
1508 This code moves the ambitus to the left. The same effect could have
1509 been achieved with @code{extra-offset}, but then the formatting system
1510 would not reserve space for the moved object.
1514 Program reference: @internalsref{Ambitus},
1515 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1516 @internalsref{AmbitusAccidental}.
1518 Examples: @inputfileref{input/@/regression,ambitus@/.ly}.
1522 There is no collision handling in the case of multiple per-voice
1526 @node Other vocal issues
1527 @subsection Other vocal issues
1530 yeah, I'm giving up somewhat by stuffing a bunch of things in
1531 here. But at least they're in the manual now; it's easier to
1532 move them around in the manual once they're already here.
1534 Besides, if users complain about everything stuffed in here, I
1535 can ask them for specific instructions about where to move these
1536 examples, and that might get them more involved in the docs. -gp
1539 ``Parlato'' is spoken without pitch but still with rhythm; it is
1540 notated by cross noteheads. This is demonstrated in
1541 @ref{Special noteheads}.
1547 @node Rhythmic music
1548 @section Rhythmic music
1550 Rhythmic music is primarily used for percussion and drum notation, but it can
1551 also be used to show the rhythms of melodies.
1554 * Showing melody rhythms::
1555 * Entering percussion::
1556 * Percussion staves::
1560 @node Showing melody rhythms
1561 @subsection Showing melody rhythms
1563 Sometimes you might want to show only the rhythm of a melody. This
1564 can be done with the rhythmic staff. All pitches of notes on such a
1565 staff are squashed, and the staff itself has a single line
1567 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1568 \new RhythmicStaff {
1570 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1576 Program reference: @internalsref{RhythmicStaff}.
1578 Examples: @inputfileref{input/@/regression,rhythmic@/-staff@/.ly}.
1581 @node Entering percussion
1582 @subsection Entering percussion
1588 Percussion notes may be entered in @code{\drummode} mode, which is
1589 similar to the standard mode for entering notes. Each piece of
1590 percussion has a full name and an abbreviated name, and both can be used
1593 @lilypond[quote,ragged-right,verbatim]
1595 hihat hh bassdrum bd
1599 The complete list of drum names is in the init file
1600 @file{ly/@/drumpitch@/-init@/.ly}.
1601 @c TODO: properly document this.
1605 Program reference: @internalsref{note-event}.
1607 @node Percussion staves
1608 @subsection Percussion staves
1612 A percussion part for more than one instrument typically uses a
1613 multiline staff where each position in the staff refers to one piece
1617 To typeset the music, the notes must be interpreted in a
1618 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
1620 @lilypond[quote,ragged-right,verbatim]
1621 up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
1622 down = \drummode { bassdrum4 snare8 bd r bd sn4 }
1624 \new DrumVoice { \voiceOne \up }
1625 \new DrumVoice { \voiceTwo \down }
1629 The above example shows verbose polyphonic notation. The short
1630 polyphonic notation, described in @ref{Polyphony}, can also be used if
1631 the @internalsref{DrumVoice}s are instantiated by hand first. For example,
1633 @lilypond[quote,ragged-right,fragment,verbatim]
1635 \new DrumVoice = "1" { s1 *2 }
1636 \new DrumVoice = "2" { s1 *2 }
1640 { \repeat unfold 16 hh16 }
1649 There are also other layout possibilities. To use these, set the
1650 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
1651 The following variables have been predefined
1655 This is the default. It typesets a typical drum kit on a five-line staff
1657 @lilypond[quote,line-width=10.0\cm]
1659 cymc cyms cymr hh hhc hho hhho hhp
1660 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl }
1662 cymc cyms cymr hh hhc hho hhho hhp \break
1663 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
1665 << \new DrumStaff \with {
1666 \remove Bar_engraver
1667 \remove Time_signature_engraver
1668 \override Stem #'transparent = ##t
1669 \override Stem #'Y-extent-callback = ##f
1670 \override VerticalAxisGroup #'minimum-Y-extent = #'(-4.0 . 5.0)
1677 \override LyricText #'font-family = #'typewriter
1678 \override BarNumber #'transparent =##T
1684 The drum scheme supports six different toms. When there are fewer toms,
1685 simply select the toms that produce the desired result, i.e., to get toms
1686 on the three middle lines you use @code{tommh}, @code{tomml}, and
1689 @item timbales-style
1690 This typesets timbales on a two line staff
1692 @lilypond[quote,ragged-right]
1693 nam = \lyricmode { timh ssh timl ssl cb }
1694 mus = \drummode { timh ssh timl ssl cb s16 }
1697 \new DrumStaff \with {
1698 \remove Bar_engraver
1699 \remove Time_signature_engraver
1700 \override Stem #'transparent = ##t
1701 \override Stem #'Y-extent-callback = ##f
1702 \override StaffSymbol #'line-count = #2
1703 \override StaffSymbol #'staff-space = #2
1704 \override VerticalAxisGroup #'minimum-Y-extent = #'(-3.0 . 4.0)
1705 drumStyleTable = #timbales-style
1708 \override LyricText #'font-family = #'typewriter
1715 This typesets congas on a two line staff
1717 @lilypond[quote,ragged-right]
1718 nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
1719 mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
1722 \new DrumStaff \with {
1723 \remove Bar_engraver
1724 \remove Time_signature_engraver
1725 drumStyleTable = #congas-style
1726 \override StaffSymbol #'line-count = #2
1728 %% this sucks; it will lengthen stems.
1729 \override StaffSymbol #'staff-space = #2
1730 \override Stem #'transparent = ##t
1731 \override Stem #'Y-extent-callback = ##f
1734 \override LyricText #'font-family = #'typewriter
1741 This typesets bongos on a two line staff
1743 @lilypond[quote,ragged-right]
1744 nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
1745 mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
1748 \new DrumStaff \with {
1749 \remove Bar_engraver
1750 \remove Time_signature_engraver
1751 \override StaffSymbol #'line-count = #2
1752 drumStyleTable = #bongos-style
1754 %% this sucks; it will lengthen stems.
1755 \override StaffSymbol #'staff-space = #2
1756 \override Stem #'transparent = ##t
1757 \override Stem #'Y-extent-callback = ##f
1760 \override LyricText #'font-family = #'typewriter
1766 @item percussion-style
1767 To typeset all kinds of simple percussion on one line staves.
1769 @lilypond[quote,ragged-right]
1770 nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
1771 mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
1774 \new DrumStaff \with{
1775 \remove Bar_engraver
1776 drumStyleTable = #percussion-style
1777 \override StaffSymbol #'line-count = #1
1778 \remove Time_signature_engraver
1779 \override Stem #'transparent = ##t
1780 \override Stem #'Y-extent-callback = ##f
1783 \override LyricText #'font-family = #'typewriter
1790 If you do not like any of the predefined lists you can define your own
1791 list at the top of your file
1793 @lilypond[quote,ragged-right,verbatim]
1795 (bassdrum default #f -1)
1796 (snare default #f 0)
1798 (pedalhihat xcircle "stopped" 2)
1799 (lowtom diamond #f 3)))
1800 up = \drummode { hh8 hh hh hh hhp4 hhp }
1801 down = \drummode { bd4 sn bd toml8 toml }
1804 \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
1805 \new DrumVoice { \voiceOne \up }
1806 \new DrumVoice { \voiceTwo \down }
1813 Init files: @file{ly/@/drumpitch@/-init@/.ly}.
1815 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
1819 Because general MIDI does not contain rim shots, the sidestick is used
1820 for this purpose instead.
1828 @cindex guitar tablature
1831 * String number indications::
1832 * Tablatures basic::
1833 * Non-guitar tablatures::
1834 * Banjo tablatures::
1836 * Other guitar issues::
1839 @node String number indications
1840 @subsection String number indications
1842 @cindex String numbers
1844 String numbers can be added to chords, by indicating the string number
1845 with @code{\}@var{number},
1847 @lilypond[relative,relative=1,ragged-right,fragment]
1851 See also @inputfileref{input/regression,string-number.ly}.
1856 Program reference: @internalsref{StringNumber}.
1859 @node Tablatures basic
1860 @subsection Tablatures basic
1861 @cindex Tablatures basic
1863 Tablature notation is used for notating music for plucked string
1864 instruments. Pitches are not denoted with note heads, but by
1865 numbers indicating on which string and fret a note must be played. LilyPond
1866 offers limited support for tablature.
1868 The string number associated to a note is given as a backslash
1869 followed by a number, e.g., @code{c4\3} for a C quarter on the third
1870 string. By default, string 1 is the highest one, and the tuning
1871 defaults to the standard guitar tuning (with 6 strings). The notes
1872 are printed as tablature, by using @internalsref{TabStaff} and
1873 @internalsref{TabVoice} contexts
1875 @lilypond[quote,ragged-right,fragment,verbatim]
1882 @cindex @code{minimumFret}
1885 When no string is specified, the first string that does not give a
1886 fret number less than @code{minimumFret} is selected. The default
1887 value for @code{minimumFret} is 0
1892 \set TabStaff.minimumFret = #8
1895 @lilypond[quote,ragged-right]
1899 \set TabStaff.minimumFret = #8
1903 \new Staff { \clef "G_8" \frag }
1904 \new TabStaff { \frag }
1911 To print tablatures with stems down and horizontal beams,
1912 initialize the @code{TabStaff} with this code:
1916 \override Beam #'damping = #100000
1921 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}.
1925 Chords are not handled in a special way, and hence the automatic
1926 string selector may easily select the same string to two notes in a
1930 @node Non-guitar tablatures
1931 @subsection Non-guitar tablatures
1932 @cindex Non-guitar tablatures
1934 You can change the tuning of the strings. A string tuning is given as
1935 a Scheme list with one integer number for each string, the number
1936 being the pitch (measured in semitones relative to middle C) of an
1937 open string. The numbers specified for @code{stringTuning} are the
1938 numbers of semitones to subtract or add, starting the specified pitch
1939 by default middle C, in string order. LilyPond automatically calculates
1940 the number of strings by looking at @code{stringTuning}.
1942 In the next example,
1943 @code{stringTunings} is set for the pitches e, a, d, and g
1945 @lilypond[quote,ragged-right,fragment,verbatim]
1947 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
1949 a,4 c' a e' e c' a e'
1954 LilyPond comes with predefined string tunings for banjo, mandolin, guitar
1958 \set TabStaff.stringTunings = #bass-tuning
1961 The default string tuning is @code{guitar-tuning} (the standard EADGBE tuning).
1962 Some other predefined tunings are @code{guitar-open-g-tuning},
1963 @code{mandolin-tuning} and @code{banjo-open-g-tuning}.
1967 The file @file{scm/@/output@/-lib@/.scm} contains the predefined string tunings.
1968 Program reference: @internalsref{Tab_note_heads_engraver}.
1972 No guitar special effects have been implemented.
1976 @node Banjo tablatures
1977 @subsection Banjo tablatures
1978 @cindex Banjo tablatures
1980 LilyPond has basic support for five stringed banjo. When making tablatures
1981 for five stringed banjo, use the banjo tablature format function to get correct
1982 fret numbers for the fifth string:
1984 @lilypond[quote,ragged-right,fragment,verbatim]
1986 \set TabStaff.tablatureFormat = #fret-number-tablature-format-banjo
1987 \set TabStaff.stringTunings = #banjo-open-g-tuning
1990 g8 d' g'\5 a b g e d' |
1991 g4 d''8\5 b' a'\2 g'\5 e'\2 d' |
1997 A number of common tunings for banjo are predefined in LilyPond:
1998 @code{banjo-c-tuning} (gCGBD), @code{banjo-modal-tuning} (gDGCD),
1999 @code{banjo-open-d-tuning} (aDF#AD) and @code{banjo-open-dm-tuning}
2002 These tunings may be converted to four string banjo tunings using the
2003 @code{four-string-banjo} function:
2006 \set TabStaff.stringTunings = #(four-string-banjo banjo-c-tuning)
2011 The file @file{scm/@/output@/-lib@/.scm} contains predefined banjo tunings.
2015 @subsection Fret diagrams
2016 @cindex fret diagrams
2017 @cindex chord diagrams
2019 Fret diagrams can be added to music as a markup to the desired note. The
2020 markup contains information about the desired fret diagram, as shown in the
2023 @lilypond[verbatim, ragged-right, quote]
2025 d'^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
2027 fis'^\markup \override #'(size . 0.75) {
2028 \override #'(finger-code . below-string) {
2029 \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
2030 (place-fret 5 4 3) (place-fret 4 4 4)
2031 (place-fret 3 3 2) (place-fret 2 2 1)
2036 c'^\markup \override #'(dot-radius . 0.35) {
2037 \override #'(finger-code . in-dot) {
2038 \override #'(dot-color . white) {
2039 \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
2048 There are three different fret-diagram markup interfaces: standard, terse,
2049 and verbose. The three interfaces produce equivalent markups, but have
2050 varying amounts of information in the markup string. Details about the
2051 markup interfaces are found at @ref{Overview of text markup commands}.
2053 You can set a number of graphical properties according to your preference.
2054 Details about the property interface to fret diagrams are found at
2055 @internalsref{fret-diagram-interface}.
2060 Examples: @inputfileref{input/@/test,fret@/-diagram@/.ly}
2063 @node Other guitar issues
2064 @subsection Other guitar issues
2066 This example demonstrates how to include guitar position and
2067 barring indications.
2069 @lilypond[quote,ragged-right,fragment,verbatim,relative=0]
2073 \override TextSpanner #'edge-text = #'("XII " . "")
2075 b16 e16 g16 e16 b16 g16\stopTextSpan
2080 Stopped (X) note heads are used in guitar music to signal a place where the
2081 guitarist must play a certain note or chord, with its fingers just
2082 touching the strings instead of fully pressing them. This gives the sound a
2083 percussive noise-like sound that still maintains part of the original
2084 pitch. It is notated with cross noteheads; this is
2085 demonstrated in @ref{Special noteheads}.
2094 * Bagpipe definitions::
2099 @node Bagpipe definitions
2100 @subsection Bagpipe definitions
2102 LilyPond contains special definitions for music for the Scottish
2103 highland bagpipe; to use them, add
2106 \include "bagpipe.ly"
2110 at the top of your input file. This lets you add the special gracenotes
2111 common to bagpipe music with short commands. For example, you could
2112 write @code{\taor} instead of
2115 \grace @{ \small G32[ d G e] @}
2118 @code{bagpipe.ly} also contains pitch definitions for the bagpipe
2119 notes in the appropiate octaves, so you do not need to worry about
2120 @code{\relative} or @code{\transpose}.
2122 @lilypond[ragged-right,verbatim,quote,notime]
2123 \include "bagpipe.ly"
2124 { \grg G4 \grg a \grg b \grg c \grg d \grg e \grg f \grA g A }
2127 Bagpipe music nominally uses the key of D Major (even though that
2128 isn't really true). However, since that is the only key that can be used,
2129 the key signature is normally not written out. To set this up correctly,
2130 always start your music with @code{\hideKeySignature}. If you for some
2131 reason want to show the key signature, you can use @code{\showKeySignature}
2134 Some modern music use cross fingering on c and f to flatten those notes.
2135 This can be indicated by @code{cflat} or @code{fflat}. Similarly, the
2136 piobaireachd high g can be written @code{gflat} when it occurs in light
2140 @node Bagpipe example
2141 @subsection Bagpipe example
2143 This is what the well known tune Amazing Grace looks like in bagpipe
2146 @lilypond[verbatim,quote]
2147 \include "bagpipe.ly"
2150 \context { \Score \remove "Bar_number_engraver" }
2154 title = "Amazing Grace"
2156 arranger = "Trad. arr."
2162 \grg \partial 4 a8. d16
2163 \slurd d2 \grg f8[ e32 d16.]
2166 \grG a2 \grg a8. d16
2167 \slurd d2 \grg f8[ e32 d16.]
2168 \grg f2 \grg e8. f16
2171 \grg A2 \hdblf f8[ e32 d16.]
2174 \grG a2 \grg a8. d16
2175 \slurd d2 \grg f8[ e32 d16.]
2184 @node Ancient notation
2185 @section Ancient notation
2187 @cindex Vaticana, Editio
2188 @cindex Medicaea, Editio
2193 Support for ancient notation includes features for mensural notation
2194 and Gregorian Chant notation. There is also limited support for
2195 figured bass notation.
2197 Many graphical objects provide a @code{style} property, see
2200 @ref{Ancient note heads},
2202 @ref{Ancient accidentals},
2204 @ref{Ancient rests},
2206 @ref{Ancient clefs},
2208 @ref{Ancient flags},
2210 @ref{Ancient time signatures}.
2213 By manipulating such a grob property, the typographical appearance of
2214 the affected graphical objects can be accommodated for a specific
2215 notation flavor without the need for introducing any new notational
2218 In addition to the standard articulation signs described in section
2219 @ref{Articulations}, specific articulation signs for ancient notation
2224 @ref{Ancient articulations}
2227 Other aspects of ancient notation can not that easily be expressed
2228 in terms of just changing a style property of a graphical object or
2229 adding articulation signs. Some notational concepts are introduced
2230 specifically for ancient notation,
2241 If this all is too much of documentation for you, and you just want to
2242 dive into typesetting without worrying too much about the details on
2243 how to customize a context, you may have a look at the predefined
2244 contexts. Use them to set up predefined style-specific voice and
2245 staff contexts, and directly go ahead with the note entry,
2249 @ref{Gregorian Chant contexts},
2251 @ref{Mensural contexts}.
2254 There is limited support for figured bass notation which came
2255 up during the baroque period.
2262 Here are all suptopics at a glance:
2265 * Ancient note heads::
2266 * Ancient accidentals::
2270 * Ancient time signatures::
2271 * Ancient articulations::
2275 * Gregorian Chant contexts::
2276 * Mensural contexts::
2277 * Musica ficta accidentals::
2283 @node Ancient note heads
2284 @subsection Ancient note heads
2289 For ancient notation, a note head style other than the @code{default}
2290 style may be chosen. This is accomplished by setting the @code{style}
2291 property of the @internalsref{NoteHead} object to @code{baroque},
2292 @code{neomensural}, @code{mensural} or @code{petrucci}. The
2293 @code{baroque} style differs from the @code{default} style only in
2294 using a square shape for @code{\breve} note heads. The
2295 @code{neomensural} style differs from the @code{baroque} style in that
2296 it uses rhomboidal heads for whole notes and all smaller durations.
2297 Stems are centered on the note heads. This style is particularly
2298 useful when transcribing mensural music, e.g., for the incipit. The
2299 @code{mensural} style produces note heads that mimic the look of note
2300 heads in historic printings of the 16th century. Finally, the
2301 @code{petrucci} style also mimicks historic printings, but uses bigger
2304 The following example demonstrates the @code{neomensural} style
2306 @lilypond[quote,fragment,ragged-right,verbatim]
2307 \set Score.skipBars = ##t
2308 \override NoteHead #'style = #'neomensural
2309 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
2312 When typesetting a piece in Gregorian Chant notation, the
2313 @internalsref{Gregorian_ligature_engraver} will automatically select
2314 the proper note heads, so there is no need to explicitly set the
2315 note head style. Still, the note head style can be set, e.g., to
2316 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
2317 @internalsref{Mensural_ligature_engraver} is used to automatically
2318 assemble mensural ligatures. See @ref{Ligatures} for how ligature
2323 Examples: @inputfileref{input/@/regression,note@/-head@/-style@/.ly} gives an
2324 overview over all available note head styles.
2327 @node Ancient accidentals
2328 @subsection Ancient accidentals
2333 Use the @code{style} property of grob @internalsref{Accidental} to
2334 select ancient accidentals. Supported styles are
2335 @code{mensural}, @code{vaticana}, @code{hufnagel}, and @code{medicaea}.
2337 @lilypond[quote,ragged-right,staffsize=26]
2344 \line { " " \musicglyph #"accidentals.vaticana-1"
2345 " " \musicglyph #"accidentals.vaticana0" }
2349 \line { " " \musicglyph #"accidentals.medicaea-1" }
2353 \line { " " \musicglyph #"accidentals.hufnagel-1" }
2357 \line { " " \musicglyph #"accidentals.mensural-1"
2358 " " \musicglyph #"accidentals.mensural1" }
2364 \context { \Score \remove "Bar_number_engraver" }
2366 \remove "Clef_engraver"
2367 \remove "Key_engraver"
2368 \remove "Time_signature_engraver"
2369 \remove "Staff_symbol_engraver"
2370 \override VerticalAxisGroup #'minimum-Y-extent = ##f
2376 As shown, not all accidentals are supported by each style. When
2377 trying to access an unsupported accidental, LilyPond will switch to a
2378 different style, as demonstrated in
2379 @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2381 Similarly to local accidentals, the style of the key signature can be
2382 controlled by the @code{style} property of the
2383 @internalsref{KeySignature} grob.
2387 In this manual: @ref{Pitches}, @ref{Cautionary accidentals} and
2388 @ref{Automatic accidentals} give a general introduction of the use of
2389 accidentals. @ref{Key signature} gives a general introduction of
2390 the use of key signatures.
2392 Program reference: @internalsref{KeySignature}.
2394 Examples: @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2397 @subsection Ancient rests
2399 @cindex rests, ancient
2402 Use the @code{style} property of grob @internalsref{Rest} to select
2403 ancient rests. Supported styles are @code{classical},
2404 @code{neomensural}, and @code{mensural}. @code{classical} differs
2405 from the @code{default} style only in that the quarter rest looks like
2406 a horizontally mirrored 8th rest. The @code{neomensural} style suits
2407 well for, e.g., the incipit of a transcribed mensural piece of music.
2408 The @code{mensural} style finally mimics the appearance of rests as
2409 in historic prints of the 16th century.
2411 The following example demonstrates the @code{neomensural} style
2413 @lilypond[quote,fragment,ragged-right,verbatim]
2414 \set Score.skipBars = ##t
2415 \override Rest #'style = #'neomensural
2416 r\longa r\breve r1 r2 r4 r8 r16
2419 There are no 32th and 64th rests specifically for the mensural or
2420 neo-mensural style. Instead, the rests from the default style will be
2421 taken. See @inputfileref{input/@/test,rests@/.ly} for a chart of all
2424 There are no rests in Gregorian Chant notation; instead, it uses
2429 In this manual: @ref{Rests} gives a general introduction into the use of rests.
2433 @subsection Ancient clefs
2438 LilyPond supports a variety of clefs, many of them ancient.
2440 The following table shows all ancient clefs that are supported via the
2441 @code{\clef} command. Some of the clefs use the same glyph, but
2442 differ only with respect to the line they are printed on. In such
2443 cases, a trailing number in the name is used to enumerate these clefs.
2444 Still, you can manually force a clef glyph to be typeset on an
2445 arbitrary line, as described in @ref{Clef}. The note printed to the
2446 right side of each clef in the example column denotes the @code{c'}
2447 with respect to that clef.
2449 @multitable @columnfractions .4 .4 .2
2458 modern style mensural C clef
2460 @code{neomensural-c1}, @code{neomensural-c2},@*
2461 @code{neomensural-c3}, @code{neomensural-c4}
2463 @lilypond[fragment,relative=1,notime]
2464 \clef "neomensural-c2" c
2468 petrucci style mensural C clefs, for use on different staff lines
2469 (the examples show the 2nd staff line C clef)
2471 @code{petrucci-c1}, @code{petrucci-c2},@*
2472 @code{petrucci-c3}, @code{petrucci-c4},@*
2475 @lilypond[fragment,relative=1,notime]
2477 \override NoteHead #'style = #'mensural
2482 petrucci style mensural F clef
2486 @lilypond[fragment,relative=1,notime]
2488 \override NoteHead #'style = #'mensural
2493 petrucci style mensural G clef
2497 @lilypond[fragment,relative=1,notime]
2499 \override NoteHead #'style = #'mensural
2504 historic style mensural C clef
2506 @code{mensural-c1}, @code{mensural-c2},@*
2507 @code{mensural-c3}, @code{mensural-c4}
2509 @lilypond[fragment,relative=1,notime]
2511 \override NoteHead #'style = #'mensural
2516 historic style mensural F clef
2520 @lilypond[fragment,relative=1,notime]
2522 \override NoteHead #'style = #'mensural
2527 historic style mensural G clef
2531 @lilypond[fragment,relative=1,notime]
2533 \override NoteHead #'style = #'mensural
2538 Editio Vaticana style do clef
2540 @code{vaticana-do1}, @code{vaticana-do2},@*
2543 @lilypond[fragment,relative=1,notime]
2544 \override Staff.StaffSymbol #'line-count = #4
2545 \override Staff.StaffSymbol #'color = #red
2546 \override Staff.LedgerLineSpanner #'color = #red
2547 \override Voice.Stem #'transparent = ##t
2548 \override NoteHead #'style = #'vaticana.punctum
2549 \clef "vaticana-do2"
2554 Editio Vaticana style fa clef
2556 @code{vaticana-fa1}, @code{vaticana-fa2}
2558 @lilypond[fragment,relative=1,notime]
2559 \override Staff.StaffSymbol #'line-count = #4
2560 \override Staff.StaffSymbol #'color = #red
2561 \override Staff.LedgerLineSpanner #'color = #red
2562 \override Voice.Stem #'transparent = ##t
2563 \override NoteHead #'style = #'vaticana.punctum
2564 \clef "vaticana-fa2"
2569 Editio Medicaea style do clef
2571 @code{medicaea-do1}, @code{medicaea-do2},@*
2574 @lilypond[fragment,relative=1,notime]
2575 \override Staff.StaffSymbol #'line-count = #4
2576 \override Staff.StaffSymbol #'color = #red
2577 \override Staff.LedgerLineSpanner #'color = #red
2578 \override Voice.Stem #'transparent = ##t
2579 \override NoteHead #'style = #'medicaea.punctum
2580 \clef "medicaea-do2"
2585 Editio Medicaea style fa clef
2587 @code{medicaea-fa1}, @code{medicaea-fa2}
2589 @lilypond[fragment,relative=1,notime]
2590 \override Staff.StaffSymbol #'line-count = #4
2591 \override Staff.StaffSymbol #'color = #red
2592 \override Staff.LedgerLineSpanner #'color = #red
2593 \override Voice.Stem #'transparent = ##t
2594 \override NoteHead #'style = #'medicaea.punctum
2595 \clef "medicaea-fa2"
2600 historic style hufnagel do clef
2602 @code{hufnagel-do1}, @code{hufnagel-do2},@*
2605 @lilypond[fragment,relative=1,notime]
2606 \override Staff.StaffSymbol #'line-count = #4
2607 \override Staff.StaffSymbol #'color = #red
2608 \override Staff.LedgerLineSpanner #'color = #red
2609 \override Voice.Stem #'transparent = ##t
2610 \override NoteHead #'style = #'hufnagel.punctum
2611 \clef "hufnagel-do2"
2616 historic style hufnagel fa clef
2618 @code{hufnagel-fa1}, @code{hufnagel-fa2}
2620 @lilypond[fragment,relative=1,notime]
2621 \override Staff.StaffSymbol #'line-count = #4
2622 \override Staff.StaffSymbol #'color = #red
2623 \override Staff.LedgerLineSpanner #'color = #red
2624 \override Voice.Stem #'transparent = ##t
2625 \override NoteHead #'style = #'hufnagel.punctum
2626 \clef "hufnagel-fa2"
2631 historic style hufnagel combined do/fa clef
2633 @code{hufnagel-do-fa}
2635 @lilypond[fragment,relative=1,notime]
2636 \override Staff.StaffSymbol #'color = #red
2637 \override Staff.LedgerLineSpanner #'color = #red
2638 \override Voice.Stem #'transparent = ##t
2639 \override NoteHead #'style = #'hufnagel.punctum
2640 \clef "hufnagel-do-fa"
2647 @emph{Modern style} means ``as is typeset in contemporary editions of
2648 transcribed mensural music''.
2650 @emph{Petrucci style} means ``inspired by printings published by the
2651 famous engraver Petrucci (1466-1539)''.
2653 @emph{Historic style} means ``as was typeset or written in historic
2654 editions (other than those of Petrucci)''.
2656 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
2658 Petrucci used C clefs with differently balanced left-side vertical
2659 beams, depending on which staff line it is printed.
2663 In this manual: see @ref{Clef}.
2667 The mensural g clef is mapped to the Petrucci g clef.
2672 @subsection Ancient flags
2677 Use the @code{flag-style} property of grob @internalsref{Stem} to
2678 select ancient flags. Besides the @code{default} flag style,
2679 only the @code{mensural} style is supported
2681 @lilypond[quote,fragment,ragged-right,verbatim]
2682 \override Stem #'flag-style = #'mensural
2683 \override Stem #'thickness = #1.0
2684 \override NoteHead #'style = #'mensural
2686 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
2687 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
2690 Note that the innermost flare of each mensural flag always is
2691 vertically aligned with a staff line.
2693 There is no particular flag style for neo-mensural notation. Hence,
2694 when typesetting the incipit of a transcribed piece of mensural
2695 music, the default flag style should be used. There are no flags in
2696 Gregorian Chant notation.
2700 The attachment of ancient flags to stems is slightly off due to a
2701 change in early 2.3.x.
2703 Vertically aligning each flag with a staff line assumes that stems
2704 always end either exactly on or exactly in the middle between two
2705 staff lines. This may not always be true when using advanced layout
2706 features of classical notation (which however are typically out of
2707 scope for mensural notation).
2709 @node Ancient time signatures
2710 @subsection Ancient time signatures
2712 @cindex time signatures
2715 There is limited support for mensural time signatures. The
2716 glyphs are hard-wired to particular time fractions. In other words,
2717 to get a particular mensural signature glyph with the @code{\time n/m}
2718 command, @code{n} and @code{m} have to be chosen according to the
2721 @lilypond[quote,ragged-right]
2726 \remove Staff_symbol_engraver
2727 \remove Clef_engraver
2728 \remove Time_signature_engraver
2732 \set Score.timing = ##f
2733 \set Score.barAlways = ##t
2734 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph #"timesig.neomensural44" }
2736 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph #"timesig.neomensural22" }
2738 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph #"timesig.neomensural64" }
2740 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph #"timesig.neomensural68" }
2742 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph #"timesig.neomensural32" }
2744 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph #"timesig.neomensural34" }
2746 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph #"timesig.neomensural94" }
2748 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph #"timesig.neomensural98" }
2750 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph #"timesig.neomensural48" }
2752 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph #"timesig.neomensural24" }
2756 Use the @code{style} property of grob @internalsref{TimeSignature} to
2757 select ancient time signatures. Supported styles are
2758 @code{neomensural} and @code{mensural}. The above table uses the
2759 @code{neomensural} style. This style is appropriate for the
2760 incipit of transcriptions of mensural pieces. The @code{mensural}
2761 style mimics the look of historical printings of the 16th century.
2763 The following examples show the differences in style,
2765 @lilypond[ragged-right,fragment,relative=1,quote]
2770 c1^\markup { \hspace #-2.0 \typewriter default }
2772 \override Staff.TimeSignature #'style = #'numbered
2774 c1^\markup { \hspace #-2.0 \typewriter numbered }
2776 \override Staff.TimeSignature #'style = #'mensural
2778 c1^\markup { \hspace #-2.0 \typewriter mensural }
2780 \override Staff.TimeSignature #'style = #'neomensural
2782 c1^\markup { \hspace #-2.0 \typewriter neomensural }
2783 \override Staff.TimeSignature #'style = #'single-digit
2785 c1^\markup { \hspace #-2.0 \typewriter single-digit }
2791 This manual: @ref{Time signature} gives a general introduction to
2792 the use of time signatures.
2796 Ratios of note durations do not change with the time signature. For
2797 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
2798 be made by hand, by setting
2801 breveTP = #(ly:make-duration -1 0 3 2)
2807 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
2809 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
2810 addressable with @code{\time}. Use a @code{\markup} instead
2812 @node Ancient articulations
2813 @subsection Ancient articulations
2815 @cindex articulations
2817 In addition to the standard articulation signs described in section
2818 @ref{Articulations}, articulation signs for ancient notation are
2819 provided. These are specifically designed for use with notation in
2820 Editio Vaticana style.
2822 @lilypond[quote,ragged-right,verbatim]
2823 \include "gregorian-init.ly"
2825 \new VaticanaVoice {
2826 \override Staff.StaffSymbol #'color = #red
2827 \override Staff.LedgerLineSpanner #'color = #red
2828 \override TextScript #'font-family = #'typewriter
2829 \override TextScript #'font-shape = #'upright
2830 \override Script #'padding = #-0.1
2832 a4\circulus_"circulus" s1
2833 a4\semicirculus_"semicirculus" s1 s
2834 a4\accentus_"accentus" s1
2835 \[ a4_"episem" \episemInitium \pes b \flexa a \episemFinis \]
2842 Some articulations are vertically placed too closely to the
2843 correpsonding note heads.
2846 @subsection Custodes
2851 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
2852 symbol that appears at the end of a staff. It anticipates the pitch
2853 of the first note(s) of the following line thus helping the performer
2854 to manage line breaks during performance.
2856 Custodes were frequently used in music notation until the 17th
2857 century. Nowadays, they have survived only in a few particular forms
2858 of musical notation such as contemporary editions of Gregorian chant
2859 like the @emph{editio vaticana}. There are different custos glyphs
2860 used in different flavors of notational style.
2862 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
2863 @internalsref{Staff} context when declaring the @code{\layout} block,
2864 as shown in the following example
2870 \consists Custos_engraver
2871 Custos \override #'style = #'mensural
2876 The result looks like this
2878 @lilypond[quote,ragged-right]
2882 \override Staff.Custos #'style = #'mensural
2887 \context { \Staff \consists Custos_engraver }
2892 The custos glyph is selected by the @code{style} property. The styles
2893 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
2894 @code{mensural}. They are demonstrated in the following fragment
2896 @lilypond[quote,ragged-right,fragment]
2897 \new Lyrics \lyricmode {
2899 \typewriter "vaticana"
2900 \line { " " \musicglyph #"custodes.vaticana.u0" }
2903 \typewriter "medicaea"
2904 \line { " " \musicglyph #"custodes.medicaea.u0" }
2907 \typewriter "hufnagel"
2908 \line { " " \musicglyph #"custodes.hufnagel.u0" }
2911 \typewriter "mensural"
2912 \line { " " \musicglyph #"custodes.mensural.u0" }
2919 Program reference: @internalsref{Custos}.
2921 Examples: @inputfileref{input/@/regression,custos@/.ly}.
2925 @subsection Divisiones
2931 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
2932 `division') is a staff context symbol that is used to structure
2933 Gregorian music into phrases and sections. The musical meaning of
2934 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
2935 can be characterized as short, medium, and long pause, somewhat like
2936 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
2937 only marks the end of a chant, but is also frequently used within a
2938 single antiphonal/responsorial chant to mark the end of each section.
2941 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
2942 contains definitions that you can apply by just inserting
2943 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
2944 and @code{\finalis} at proper places in the input. Some editions use
2945 @emph{virgula} or @emph{caesura} instead of divisio minima.
2946 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
2949 @lilypondfile[quote,ragged-right]{divisiones.ly}
2953 @cindex @code{\virgula}
2955 @cindex @code{\caesura}
2957 @cindex @code{\divisioMinima}
2958 @code{\divisioMinima},
2959 @cindex @code{\divisioMaior}
2960 @code{\divisioMaior},
2961 @cindex @code{\divisioMaxima}
2962 @code{\divisioMaxima},
2963 @cindex @code{\finalis}
2968 In this manual: @ref{Breath marks}.
2970 Program reference: @internalsref{BreathingSign}.
2972 Examples: @inputfileref{input/@/test,divisiones@/.ly}.
2975 @subsection Ligatures
2979 @c TODO: Should double check if I recalled things correctly when I wrote
2980 @c down the following paragraph by heart.
2982 A ligature is a graphical symbol that represents at least two distinct
2983 notes. Ligatures originally appeared in the manuscripts of Gregorian
2984 chant notation to denote ascending or descending sequences of notes.
2986 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
2987 Some ligature styles may need additional input syntax specific for
2988 this particular type of ligature. By default, the
2989 @internalsref{LigatureBracket} engraver just puts a square bracket
2992 @lilypond[quote,ragged-right,verbatim]
3000 To select a specific style of ligatures, a proper ligature engraver
3001 has to be added to the @internalsref{Voice} context, as explained in
3002 the following subsections. Only white mensural ligatures
3003 are supported with certain limitations.
3009 Ligatures need special spacing that has not yet been implemented. As
3010 a result, there is too much space between ligatures most of the time,
3011 and line breaking often is unsatisfactory. Also, lyrics do not
3012 correctly align with ligatures.
3014 Accidentals must not be printed within a ligature, but instead need to
3015 be collected and printed in front of it.
3017 Augmentum dots within ligatures are not handled correctly.
3019 The syntax still uses the deprecated infix style @code{\[ music expr
3020 \]}. For consistency reasons, it will eventually be changed to
3021 postfix style @code{note\[ ... note\]}. Alternatively, the file
3022 @file{gregorian@/-init@/.ly} can be included; it provides a scheme
3025 \ligature @var{music expr}
3027 with the same effect and is believed to be stable.
3030 * White mensural ligatures::
3031 * Gregorian square neumes ligatures::
3034 @node White mensural ligatures
3035 @subsubsection White mensural ligatures
3037 @cindex Mensural ligatures
3038 @cindex White mensural ligatures
3040 There is limited support for white mensural ligatures.
3042 To engrave white mensural ligatures, in the layout block put the
3043 @internalsref{Mensural_ligature_engraver} into the
3044 @internalsref{Voice} context, and remove the
3045 @internalsref{Ligature_bracket_engraver}, like this
3051 \remove Ligature_bracket_engraver
3052 \consists Mensural_ligature_engraver
3057 There is no additional input language to describe the shape of a
3058 white mensural ligature. The shape is rather determined solely from
3059 the pitch and duration of the enclosed notes. While this approach may
3060 take a new user a while to get accustomed to, it has the great advantage
3061 that the full musical information of the ligature is known internally.
3062 This is not only required for correct MIDI output, but also allows for
3063 automatic transcription of the ligatures.
3068 \set Score.timing = ##f
3069 \set Score.defaultBarType = "empty"
3070 \override NoteHead #'style = #'neomensural
3071 \override Staff.TimeSignature #'style = #'neomensural
3075 \[ d\longa c\breve f e d \]
3077 \[ c'\maxima d'\longa \]
3081 @lilypond[quote,ragged-right]
3084 \set Score.timing = ##f
3085 \set Score.defaultBarType = "empty"
3086 \override NoteHead #'style = #'neomensural
3087 \override Staff.TimeSignature #'style = #'neomensural
3091 \[ d\longa c\breve f e d \]
3093 \[ c'\maxima d'\longa \]
3100 \remove Ligature_bracket_engraver
3101 \consists Mensural_ligature_engraver
3107 Without replacing @internalsref{Ligature_bracket_engraver} with
3108 @internalsref{Mensural_ligature_engraver}, the same music transcribes
3111 @lilypond[quote,ragged-right]
3113 \set Score.timing = ##f
3114 \set Score.defaultBarType = "empty"
3115 \override NoteHead #'style = #'neomensural
3116 \override Staff.TimeSignature #'style = #'neomensural
3120 \[ d\longa c\breve f e d \]
3122 \[ c'\maxima d'\longa \]
3130 The invisible rests (@code{s4}) in the example are used to compensate
3131 for the poor horizontal spacing.
3133 @node Gregorian square neumes ligatures
3134 @subsubsection Gregorian square neumes ligatures
3136 @cindex Square neumes ligatures
3137 @cindex Gregorian square neumes ligatures
3139 There is limited support for Gregorian square neumes notation
3140 (following the style of the Editio Vaticana). Core ligatures can
3141 already be typeset, but essential issues for serious typesetting are
3142 still lacking, such as (among others) horizontal alignment of multiple
3143 ligatures, lyrics alignment and proper handling of accidentals.
3146 The following table contains the extended neumes table of the 2nd
3147 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
3148 1983 by the monks of Solesmes.
3150 @multitable @columnfractions .4 .2 .2 .2
3167 @c TODO: \layout block is identical in all of the below examples.
3168 @c Therefore, it should somehow be included rather than duplicated all
3171 @c why not make identifiers in ly/engraver-init.ly? --hwn
3173 @c Because it's just used to typeset plain notes without
3174 @c a staff for demonstration purposes rather than something
3175 @c special of Gregorian chant notation. --jr
3180 @lilypond[staffsize=26,line-width=1.5\cm]
3181 \include "gregorian-init.ly"
3186 \noBreak s^\markup {"a"} \noBreak
3188 % Punctum Inclinatum
3190 \noBreak s^\markup {"b"}
3192 \layout { \neumeDemoLayout }}
3195 @lilypond[staffsize=26,line-width=2.5\cm]
3196 \include "gregorian-init.ly"
3199 % Punctum Auctum Ascendens
3200 \[ \auctum \ascendens b \]
3201 \noBreak s^\markup {"c"} \noBreak
3203 % Punctum Auctum Descendens
3204 \[ \auctum \descendens b \]
3205 \noBreak s^\markup {"d"} \noBreak
3207 % Punctum Inclinatum Auctum
3208 \[ \inclinatum \auctum b \]
3209 \noBreak s^\markup {"e"}
3211 \layout { \neumeDemoLayout }}
3214 @lilypond[staffsize=26,line-width=1.0\cm]
3215 \include "gregorian-init.ly"
3218 % Punctum Inclinatum Parvum
3219 \[ \inclinatum \deminutum b \]
3220 \noBreak s^\markup {"f"}
3222 \layout { \neumeDemoLayout }}
3228 @lilypond[staffsize=26,line-width=1.0\cm]
3229 \include "gregorian-init.ly"
3234 \noBreak s^\markup {"g"}
3236 \layout { \neumeDemoLayout }}
3242 @code{3. Apostropha vel Stropha}
3244 @lilypond[staffsize=26,line-width=1.0\cm]
3245 \include "gregorian-init.ly"
3250 \noBreak s^\markup {"h"}
3252 \layout { \neumeDemoLayout }}
3255 @lilypond[staffsize=26,line-width=1.0\cm]
3256 \include "gregorian-init.ly"
3260 \[ \stropha \auctum b \]
3261 \noBreak s^\markup {"i"}
3263 \layout { \neumeDemoLayout }}
3270 @lilypond[staffsize=26,line-width=1.0\cm]
3271 \include "gregorian-init.ly"
3276 \noBreak s^\markup {"j"}
3278 \layout { \neumeDemoLayout }}
3284 @code{5. Clivis vel Flexa}
3286 @lilypond[staffsize=26,line-width=1.0\cm]
3287 \include "gregorian-init.ly"
3294 \layout { \neumeDemoLayout }}
3297 @lilypond[staffsize=26,line-width=2.0\cm]
3298 \include "gregorian-init.ly"
3301 % Clivis Aucta Descendens
3302 \[ b \flexa \auctum \descendens g \]
3303 \noBreak s^\markup {"l"} \noBreak
3305 % Clivis Aucta Ascendens
3306 \[ b \flexa \auctum \ascendens g \]
3307 \noBreak s^\markup {"m"}
3309 \layout { \neumeDemoLayout }}
3312 @lilypond[staffsize=26,line-width=1.0\cm]
3313 \include "gregorian-init.ly"
3317 \[ b \flexa \deminutum g \]
3320 \layout { \neumeDemoLayout }}
3324 @code{6. Podatus vel Pes}
3326 @lilypond[staffsize=26,line-width=1.0\cm]
3327 \include "gregorian-init.ly"
3334 \layout { \neumeDemoLayout }}
3337 @lilypond[staffsize=26,line-width=2.0\cm]
3338 \include "gregorian-init.ly"
3341 % Pes Auctus Descendens
3342 \[ g \pes \auctum \descendens b \]
3343 \noBreak s^\markup {"p"} \noBreak
3345 % Pes Auctus Ascendens
3346 \[ g \pes \auctum \ascendens b \]
3347 \noBreak s^\markup {"q"}
3349 \layout { \neumeDemoLayout }}
3352 @lilypond[staffsize=26,line-width=1.0\cm]
3353 \include "gregorian-init.ly"
3357 \[ g \pes \deminutum b \]
3360 \layout { \neumeDemoLayout }}
3364 @code{7. Pes Quassus}
3366 @lilypond[staffsize=26,line-width=1.0\cm]
3367 \include "gregorian-init.ly"
3371 \[ \oriscus g \pes \virga b \]
3374 \layout { \neumeDemoLayout }}
3377 @lilypond[staffsize=26,line-width=1.0\cm]
3378 \include "gregorian-init.ly"
3381 % Pes Quassus Auctus Descendens
3382 \[ \oriscus g \pes \auctum \descendens b \]
3385 \layout { \neumeDemoLayout }}
3390 @code{8. Quilisma Pes}
3392 @lilypond[staffsize=26,line-width=1.0\cm]
3393 \include "gregorian-init.ly"
3397 \[ \quilisma g \pes b \]
3400 \layout { \neumeDemoLayout }}
3403 @lilypond[staffsize=26,line-width=1.0\cm]
3404 \include "gregorian-init.ly"
3407 % Quilisma Pes Auctus Descendens
3408 \[ \quilisma g \pes \auctum \descendens b \]
3411 \layout { \neumeDemoLayout }}
3416 @code{9. Podatus Initio Debilis}
3418 @lilypond[staffsize=26,line-width=1.0\cm]
3419 \include "gregorian-init.ly"
3422 % Pes Initio Debilis
3423 \[ \deminutum g \pes b \]
3426 \layout { \neumeDemoLayout }}
3429 @lilypond[staffsize=26,line-width=1.0\cm]
3430 \include "gregorian-init.ly"
3433 % Pes Auctus Descendens Initio Debilis
3434 \[ \deminutum g \pes \auctum \descendens b \]
3437 \layout { \neumeDemoLayout }}
3444 @lilypond[staffsize=26,line-width=1.0\cm]
3445 \include "gregorian-init.ly"
3449 \[ a \pes b \flexa g \]
3452 \layout { \neumeDemoLayout }}
3455 @lilypond[staffsize=26,line-width=1.0\cm]
3456 \include "gregorian-init.ly"
3459 % Torculus Auctus Descendens
3460 \[ a \pes b \flexa \auctum \descendens g \]
3463 \layout { \neumeDemoLayout }}
3466 @lilypond[staffsize=26,line-width=1.0\cm]
3467 \include "gregorian-init.ly"
3470 % Torculus Deminutus
3471 \[ a \pes b \flexa \deminutum g \]
3474 \layout { \neumeDemoLayout }}
3478 @code{11. Torculus Initio Debilis}
3480 @lilypond[staffsize=26,line-width=1.0\cm]
3481 \include "gregorian-init.ly"
3484 % Torculus Initio Debilis
3485 \[ \deminutum a \pes b \flexa g \]
3488 \layout { \neumeDemoLayout }}
3491 @lilypond[staffsize=26,line-width=1.0\cm]
3492 \include "gregorian-init.ly"
3495 % Torculus Auctus Descendens Initio Debilis
3496 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
3499 \layout { \neumeDemoLayout }}
3502 @lilypond[staffsize=26,line-width=1.0\cm]
3503 \include "gregorian-init.ly"
3506 % Torculus Deminutus Initio Debilis
3507 \[ \deminutum a \pes b \flexa \deminutum g \]
3510 \layout { \neumeDemoLayout }}
3514 @code{12. Porrectus}
3516 @lilypond[staffsize=26,line-width=1.0\cm]
3517 \include "gregorian-init.ly"
3521 \[ a \flexa g \pes b \]
3524 \layout { \neumeDemoLayout }}
3527 @lilypond[staffsize=26,line-width=1.0\cm]
3528 \include "gregorian-init.ly"
3531 % Porrectus Auctus Descendens
3532 \[ a \flexa g \pes \auctum \descendens b \]
3535 \layout { \neumeDemoLayout }}
3538 @lilypond[staffsize=26,line-width=1.0\cm]
3539 \include "gregorian-init.ly"
3542 % Porrectus Deminutus
3543 \[ a \flexa g \pes \deminutum b \]
3546 \layout { \neumeDemoLayout }}
3552 @lilypond[staffsize=26,line-width=1.0\cm]
3553 \include "gregorian-init.ly"
3557 \[ \virga b \inclinatum a \inclinatum g \]
3560 \layout { \neumeDemoLayout }
3564 @lilypond[staffsize=26,line-width=1.0\cm]
3565 \include "gregorian-init.ly"
3569 \[ \virga b \inclinatum a \inclinatum \auctum g \]
3572 \layout { \neumeDemoLayout }}
3575 @lilypond[staffsize=26,line-width=1.0\cm]
3576 \include "gregorian-init.ly"
3579 % Climacus Deminutus
3580 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
3583 \layout { \neumeDemoLayout }}
3587 @code{14. Scandicus}
3589 @lilypond[staffsize=26,line-width=1.0\cm]
3590 \include "gregorian-init.ly"
3594 \[ g \pes a \virga b \]
3597 \layout { \neumeDemoLayout }}
3600 @lilypond[staffsize=26,line-width=1.0\cm]
3601 \include "gregorian-init.ly"
3604 % Scandicus Auctus Descendens
3605 \[ g \pes a \pes \auctum \descendens b \]
3608 \layout { \neumeDemoLayout }}
3611 @lilypond[staffsize=26,line-width=1.0\cm]
3612 \include "gregorian-init.ly"
3615 % Scandicus Deminutus
3616 \[ g \pes a \pes \deminutum b \]
3619 \layout { \neumeDemoLayout }}
3625 @lilypond[staffsize=26,line-width=1.0\cm]
3626 \include "gregorian-init.ly"
3630 \[ g \oriscus a \pes \virga b \]
3633 \layout { \neumeDemoLayout }}
3636 @lilypond[staffsize=26,line-width=1.0\cm]
3637 \include "gregorian-init.ly"
3640 % Salicus Auctus Descendens
3641 \[ g \oriscus a \pes \auctum \descendens b \]
3644 \layout { \neumeDemoLayout }}
3651 @lilypond[staffsize=26,line-width=1.0\cm]
3652 \include "gregorian-init.ly"
3656 \[ \stropha b \stropha b \stropha a \]
3659 \layout { \neumeDemoLayout }
3668 Unlike most other neumes notation systems, the input language for
3669 neumes does not reflect the typographical appearance, but is designed
3670 to focus on musical meaning. For example, @code{\[ a \pes b
3671 \flexa g \]} produces a Torculus consisting of three Punctum heads,
3672 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
3673 curved flexa shape and only a single Punctum head. There is no
3674 command to explicitly typeset the curved flexa shape; the decision of
3675 when to typeset a curved flexa shape is based on the musical
3676 input. The idea of this approach is to separate the musical aspects
3677 of the input from the notation style of the output. This way, the
3678 same input can be reused to typeset the same music in a different
3679 style of Gregorian chant notation.
3681 The following table shows the code fragments that produce the
3682 ligatures in the above neumes table. The letter in the first column
3683 in each line of the below table indicates to which ligature in the
3684 above table it refers. The second column gives the name of the
3685 ligature. The third column shows the code fragment that produces this
3686 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
3688 @multitable @columnfractions .02 .31 .67
3708 @code{\[ \inclinatum b \]}
3716 @code{\[ \auctum \ascendens b \]}
3724 @code{\[ \auctum \descendens b \]}
3729 Punctum Inclinatum@*
3732 @code{\[ \inclinatum \auctum b \]}
3737 Punctum Inclinatum@*
3739 @code{\[ \inclinatum \deminutum b \]}
3746 @code{\[ \virga b \]}
3753 @code{\[ \stropha b \]}
3760 @code{\[ \stropha \auctum b \]}
3767 @code{\[ \oriscus b \]}
3774 @code{\[ b \flexa g \]}
3782 @code{\[ b \flexa \auctum \descendens g \]}
3790 @code{\[ b \flexa \auctum \ascendens g \]}
3797 @code{\[ b \flexa \deminutum g \]}
3804 @code{\[ g \pes b \]}
3812 @code{\[ g \pes \auctum \descendens b \]}
3820 @code{\[ g \pes \auctum \ascendens b \]}
3827 @code{\[ g \pes \deminutum b \]}
3834 @code{\[ \oriscus g \pes \virga b \]}
3840 Auctus Descendens @tab
3841 @code{\[ \oriscus g \pes \auctum \descendens b \]}
3848 @code{\[ \quilisma g \pes b \]}
3856 @code{\[ \quilisma g \pes \auctum \descendens b \]}
3863 @code{\[ \deminutum g \pes b \]}
3868 Pes Auctus Descendens@*
3871 @code{\[ \deminutum g \pes \auctum \descendens b \]}
3878 @code{\[ a \pes b \flexa g \]}
3886 @code{\[ a \pes b \flexa \auctum \descendens g \]}
3893 @code{\[ a \pes b \flexa \deminutum g \]}
3898 Torculus Initio Debilis
3900 @code{\[ \deminutum a \pes b \flexa g \]}
3906 Descendens Initio Debilis
3908 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
3913 Torculus Deminutus@*
3916 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
3923 @code{\[ a \flexa g \pes b \]}
3931 @code{\[ a \flexa g \pes \auctum \descendens b \]}
3938 @code{\[ a \flexa g \pes \deminutum b \]}
3945 @code{\[ \virga b \inclinatum a \inclinatum g \]}
3952 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
3959 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
3966 @code{\[ g \pes a \virga b \]}
3974 @code{\[ g \pes a \pes \auctum \descendens b \]}
3981 @code{\[ g \pes a \pes \deminutum b \]}
3988 @code{\[ g \oriscus a \pes \virga b \]}
3993 Salicus Auctus Descendens
3995 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
4002 @code{\[ \stropha b \stropha b \stropha a \]}
4005 The ligatures listed above mainly serve as a limited, but still
4006 representative pool of Gregorian ligature examples. Virtually, within
4007 the ligature delimiters @code{\[} and @code{\]}, any number of heads
4008 may be accumulated to form a single ligature, and head prefixes like
4009 @code{\pes}, @code{\flexa}, @code{\virga}, @code{\inclinatum},
4010 etc. may be mixed in as desired. The use of the set of rules that
4011 underlies the construction of the ligatures in the above table is
4012 accordingly extrapolated. This way, infinitely many different
4013 ligatures can be created.
4015 @c TODO: create a regression or tips & tricks example document with
4016 @c even more Gregorian ligatures, and add a link to this document
4021 The following head prefixes are supported
4023 @cindex @code{\virga}
4025 @cindex @code{\stropha}
4027 @cindex @code{\inclinatum}
4029 @cindex @code{\auctum}
4031 @cindex @code{\descendens}
4033 @cindex @code{\ascendens}
4035 @cindex @code{\oriscus}
4037 @cindex @code{\quilisma}
4039 @cindex @code{\deminutum}
4041 @cindex @code{\cavum}
4043 @cindex @code{\linea}
4046 Head prefixes can be accumulated, though restrictions apply. For
4047 example, either @code{\descendens} or @code{\ascendens} can be applied
4048 to a head, but not both to the same head.
4051 @cindex @code{\flexa}
4052 Two adjacent heads can be tied together with the @code{\pes} and
4053 @code{\flexa} infix commands for a rising and falling line of melody,
4058 @node Gregorian Chant contexts
4059 @subsection Gregorian Chant contexts
4061 @cindex VaticanaVoiceContext
4062 @cindex VaticanaStaffContext
4064 The predefined @code{VaticanaVoiceContext} and
4065 @code{VaticanaStaffContext} can be used to engrave a piece of
4066 Gregorian Chant in the style of the Editio Vaticana. These contexts
4067 initialize all relevant context properties and grob properties to
4068 proper values, so you can immediately go ahead entering the chant, as
4069 the following excerpt demonstrates
4071 @lilypond[quote,ragged-right,packed,verbatim]
4072 \include "gregorian-init.ly"
4075 \new VaticanaVoice = "cantus" {
4076 \override Staff.StaffSymbol #'color = #red
4077 \override Staff.LedgerLineSpanner #'color = #red
4078 \override Score.BarNumber #'transparent = ##t {
4079 \[ c'\melisma c' \flexa a \]
4080 \[ a \flexa \deminutum g\melismaEnd \]
4082 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
4083 c' \divisioMinima \break
4084 \[ c'\melisma c' \flexa a \]
4085 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
4088 \new Lyrics \lyricsto "cantus" {
4089 San- ctus, San- ctus, San- ctus
4096 @node Mensural contexts
4097 @subsection Mensural contexts
4099 @cindex MensuralVoiceContext
4100 @cindex MensuralStaffContext
4102 The predefined @code{MensuralVoiceContext} and
4103 @code{MensuralStaffContext} can be used to engrave a piece in mensural
4104 style. These contexts initialize all relevant context properties and
4105 grob properties to proper values, so you can immediately go ahead
4106 entering the chant, as the following excerpt demonstrates
4108 @lilypond[quote,ragged-right,verbatim]
4111 \new MensuralVoice = "discantus" \transpose c c' {
4112 \override Score.BarNumber #'transparent = ##t {
4113 c'1\melisma bes a g\melismaEnd
4115 \[ f1\melisma a c'\breve d'\melismaEnd \]
4117 c'\breve\melisma a1 g1\melismaEnd
4118 fis\longa^\signumcongruentiae
4121 \new Lyrics \lyricsto "discantus" {
4122 San -- ctus, San -- ctus, San -- ctus
4128 @node Musica ficta accidentals
4129 @subsection Musica ficta accidentals
4131 In European music from before about 1600, singers were often expected
4132 to chromatically alter notes at their own initiative. This is called
4133 ``Musica Ficta''. In modern transcriptions, these accidentals are
4134 usually printed over the note.
4136 @cindex Musica ficta
4138 Support for such suggested accidentals is included, and can be
4139 switched on by setting @code{suggestAccidentals} to true.
4141 @cindex @code{suggestAccidentals}
4143 @lilypond[verbatim,fragment,relative=1]
4145 \set suggestAccidentals = ##t
4151 Program reference: @internalsref{Accidental_engraver} engraver and the
4152 @internalsref{AccidentalSuggestion} object.
4155 @subsection Figured bass
4157 @cindex Basso continuo
4159 @c TODO: musicological blurb about FB
4162 LilyPond has support for figured bass
4164 @lilypond[quote,ragged-right,verbatim,fragment]
4166 \new Voice { \clef bass dis4 c d ais g fis}
4167 \new FiguredBass \figuremode {
4168 < 6 >4 < 7\+ >8 < 6+ [_!] >
4175 The support for figured bass consists of two parts: there is an input
4176 mode, introduced by @code{\figuremode}, where you can enter bass figures
4177 as numbers, and there is a context called @internalsref{FiguredBass} that
4178 takes care of making @internalsref{BassFigure} objects.
4180 In figures input mode, a group of bass figures is delimited by
4181 @code{<} and @code{>}. The duration is entered after the @code{>}
4185 @lilypond[quote,ragged-right,fragment]
4187 \figuremode { <4 6> }
4190 Accidentals are added when you append @code{-}, @code{!}, and @code{+}
4191 to the numbers. A plus sign is added when you append @code{\+}, and
4192 diminished fifths and sevenths can be obtained with @code{5/} and @code{7/}.
4195 <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/>
4197 @lilypond[quote,ragged-right,fragment]
4198 \figures { <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/> }
4201 Spaces may be inserted by using @code{_}. Brackets are
4202 introduced with @code{[} and @code{]}. You can also include text
4203 strings and text markups, see @ref{Overview of text markup commands}.
4206 < [4 6] 8 [_! 12] > < 5 \markup @{ \number 6 \super (1) @} >
4208 @lilypond[quote,ragged-right,fragment]
4210 \figuremode { < [4 6] 8 [_! 12] > < 5 \markup{ \tiny \number 6 \super (1)} > }
4214 It is also possible to use continuation lines for repeated figures,
4216 @lilypond[verbatim,relative=1]
4223 \set useBassFigureExtenders = ##t
4230 In this case, the extender lines always replace existing figures.
4232 The @code{FiguredBass} context doesn't pay attention to the actual
4233 bass line. As a consequence, you may have to insert extra figures to
4234 get extender lines below all notes, and you may have to add @code{\!}
4235 to avoid getting an extender line, e.g.
4237 @lilypond[relative=1]
4241 \set useBassFigureExtenders = ##t
4242 <6 4->4. <6 4->16. <6 4->32 <5>8. r16 <6>8 <6\! 5->
4246 f16. g32 f16. g32 f16. g32 f16. g32 f8. es16 d8 es
4251 When using continuation lines, common figures are always put in the
4252 same vertical position. When this is unwanted, you can insert a rest
4253 with @code{r}. The rest will clear any previous alignment. For
4254 example, you can write
4266 Accidentals and plus signs can appear before or after the numbers,
4267 depending on the @code{figuredBassAlterationDirection} and @code{figuredBassPlusDirection}
4273 \set figuredBassAlterationDirection = #1
4275 \set figuredBassPlusDirection = #1
4277 \set figuredBassAlterationDirection = #-1
4283 Although the support for figured bass may superficially resemble chord
4284 support, it is much simpler. The @code{\figuremode} mode simply
4285 stores the numbers and @internalsref{FiguredBass} context prints them
4286 as entered. There is no conversion to pitches and no realizations of
4287 the bass are played in the MIDI file.
4289 Internally, the code produces markup texts. You can use any of the
4290 markup text properties to override formatting. For example, the
4291 vertical spacing of the figures may be set with @code{baseline-skip}.
4295 Program reference: @internalsref{NewBassFigure},
4296 @internalsref{BassFigureAlignment}, @internalsref{BassFigureLine},
4297 @internalsref{BassFigureBracket}, and
4298 @internalsref{BassFigureContinuation} objects and
4299 @internalsref{FiguredBass} context.
4303 @node Other instrument specific notation
4304 @section Other instrument specific notation
4306 This section includes extra information for writing for instruments.
4309 * Artificial harmonics (strings)::
4312 @node Artificial harmonics (strings)
4313 @subsection Artificial harmonics (strings)
4315 @cindex artificial harmonics
4317 Artificial harmonics are notated with a different notehead style. They
4318 are entered by marking the harmonic pitch with @code{\harmonic}.
4320 @lilypond[ragged-right,verbatim,quote,fragment,relative=1]