1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
6 When revising a translation, copy the HEAD committish of the
7 version that you are working on. See TRANSLATION for details.
11 @c A menu is needed before every deeper *section nesting of @node's; run
12 @c M-x texinfo-all-menus-update
13 @c to automatically fill in these menus before saving changes
15 @node Instrument-specific notation
16 @chapter Instrument-specific notation
18 This chapter explains how to use notation for specific instruments.
28 * Other instrument specific notation::
36 Piano staves are two normal staves coupled with a brace. The staves
37 are largely independent, but sometimes voices can cross between the
38 two staves. The same notation is also used for harps and other key
39 instruments. The @internalsref{PianoStaff} is especially built to
40 handle this cross-staffing behavior. In this section we discuss the
41 @internalsref{PianoStaff} and some other pianistic peculiarities.
44 * Automatic staff changes::
45 * Manual staff switches::
47 * Staff switch lines::
53 Dynamics are not centered, but workarounds do exist. See the
54 @q{piano centered dynamics} template in @ref{Piano templates}.
56 @cindex cross staff stem
57 @cindex stem, cross staff
58 @cindex distance between staves in piano music
61 @node Automatic staff changes
62 @subsection Automatic staff changes
63 @cindex Automatic staff changes
65 Voices can be made to switch automatically between the top and the bottom
66 staff. The syntax for this is
70 \autochange @dots{}@var{music}@dots{}
75 This will create two staves inside the current PianoStaff, called
76 @code{up} and @code{down}. The lower staff will be in bass clef by
79 A @code{\relative} section that is outside of @code{\autochange} has
80 no effect on the pitches of @var{music}, so, if necessary, put
81 @code{\relative} inside @code{\autochange} like
85 \autochange \relative @dots{} @dots{}
90 The autochanger switches on basis of the pitch (middle C is the turning
91 point), and it looks ahead skipping over rests to switch in
92 advance. Here is a practical example
94 @lilypond[quote,verbatim,ragged-right]
96 \autochange \relative c'
105 In this manual: @ref{Manual staff switches}.
107 Program reference: @internalsref{AutoChangeMusic}.
113 The staff switches may not end up in optimal places. For high
114 quality output, staff switches should be specified manually.
117 @code{\autochange} cannot be inside @code{\times}.
120 @node Manual staff switches
121 @subsection Manual staff switches
123 @cindex manual staff switches
124 @cindex staff switch, manual
126 Voices can be switched between staves manually, using the command
128 \change Staff = @var{staffname} @var{music}
132 The string @var{staffname} is the name of the staff. It switches the
133 current voice from its current staff to the Staff called
134 @var{staffname}. Typically @var{staffname} is @code{"up"} or
135 @code{"down"}. The @context{Staff} referred to must already exist, so
136 usually the setup for a score will start with a setup of the staves,
141 \skip 1 * 10 % @emph{keep staff alive}
143 \new Staff = "down" @{
144 \skip 1 * 10 % @emph{idem}
150 and the @context{Voice} is inserted afterwards
153 \context Staff = down
154 \new Voice @{ @dots{} \change Staff = up @dots{} @}
162 Pianos have pedals that alter the way sound is produced. Generally, a
163 piano has three pedals, sustain, una corda, and sostenuto.
166 Piano pedal instruction can be expressed by attaching
167 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
168 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
171 @lilypond[quote,ragged-right,fragment,verbatim]
172 c'4\sustainDown c'4\sustainUp
175 What is printed can be modified by setting @code{pedal@var{X}Strings},
176 where @var{X} is one of the pedal types: @code{Sustain},
177 @code{Sostenuto} or @code{UnaCorda}. Refer to
178 @internalsref{SustainPedal} in the program reference for more
181 Pedals can also be indicated by a sequence of brackets, by setting the
182 @code{pedalSustainStyle} property to bracket objects
184 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
185 \set Staff.pedalSustainStyle = #'bracket
187 b\sustainUp\sustainDown
188 b g \sustainUp a \sustainDown \bar "|."
191 A third style of pedal notation is a mixture of text and brackets,
192 obtained by setting the @code{pedalSustainStyle} property to
195 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
196 \set Staff.pedalSustainStyle = #'mixed
198 b\sustainUp\sustainDown
199 b g \sustainUp a \sustainDown \bar "|."
202 The default @q{*Ped.} style for sustain and damper pedals corresponds to
203 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
206 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
207 c\sostenutoDown d e c, f g a\sostenutoUp
210 For fine-tuning the appearance of a pedal bracket, the properties
211 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
212 @code{PianoPedalBracket} objects (see
213 @internalsref{PianoPedalBracket} in the Program reference) can be
214 modified. For example, the bracket may be extended to the right edge
217 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
218 \override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
219 c\sostenutoDown d e c, f g a\sostenutoUp
224 In this manual: @ref{Laissez vibrer ties}.
226 @node Staff switch lines
227 @subsection Staff switch lines
231 @cindex staff switching
234 @funindex followVoice
236 Whenever a voice switches to another staff, a line connecting the notes
237 can be printed automatically. This is switched on by setting
238 @code{followVoice} to true
240 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
243 \set followVoice = ##t
248 \new Staff="two" { \clef bass \skip 1*2 }
254 Program reference: @internalsref{VoiceFollower}.
258 @funindex \showStaffSwitch
259 @code{\showStaffSwitch},
260 @funindex \hideStaffSwitch
261 @code{\hideStaffSwitch}.
264 @node Cross staff stems
265 @subsection Cross staff stems
267 Chords that cross staves may be produced by increasing the length
268 of the stem in the lower staff, so it reaches the stem in the upper
269 staff, or vice versa.
271 @lilypond[ragged-right,verbatim,quote]
273 \once \override Stem #'length = #10
274 \once \override Stem #'cross-staff = ##t
276 noFlag = \once \override Stem #'flag-style = #'no-flag
279 \stemDown \stemExtend
297 * Introducing chord names::
299 * Printing chord names::
303 @c awkward name; awkward section name.
304 @c still, the Basic "chords" seems like a good name... :(
305 @node Introducing chord names
306 @subsection Introducing chord names
309 LilyPond has support for printing chord names. Chords may be entered
310 in musical chord notation, i.e., @code{< .. >}, but they can also be
311 entered by name. Internally, the chords are represented as a set of
312 pitches, so they can be transposed
315 @lilypond[quote,ragged-right,verbatim,ragged-right]
316 twoWays = \transpose c c' {
325 << \new ChordNames \twoWays
326 \new Voice \twoWays >>
329 This example also shows that the chord printing routines do not try to
330 be intelligent. The last chord (@code{f bes d}) is not interpreted as
333 Note that the duration of chords must be specified outside the
342 @subsection Chords mode
345 In chord mode sets of pitches (chords) are entered with normal note
346 names. A chord is entered by the root, which is entered like a
349 @lilypond[quote,ragged-right,fragment,verbatim]
350 \chordmode { es4. d8 c2 }
354 The mode is introduced by the keyword @code{\chordmode}.
359 Other chords may be entered by suffixing a colon and introducing a
360 modifier (which may include a number if desired)
361 @lilypond[quote,fragment,verbatim]
362 \chordmode { e1:m e1:7 e1:m7 }
364 The first number following the root is taken to be the @q{type} of the
365 chord, thirds are added to the root until it reaches the specified
367 @lilypond[quote,fragment,verbatim]
368 \chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
371 @cindex root of chord
372 @cindex additions, in chords
373 @cindex removals, in chords
375 More complex chords may also be constructed adding separate steps
376 to a chord. Additions are added after the number following
377 the colon and are separated by dots
378 @lilypond[quote,verbatim,fragment]
379 \chordmode { c:5.6 c:3.7.8 c:3.6.13 }
381 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
383 @lilypond[quote,verbatim,fragment]
384 \chordmode { c:7+ c:5+.3- c:3-.5-.7- }
386 Removals are specified similarly and are introduced by a caret. They
387 must come after the additions
388 @lilypond[quote,verbatim,fragment]
389 \chordmode { c^3 c:7^5 c:9^3.5 }
392 Modifiers can be used to change pitches. The following modifiers are
397 The minor chord. This modifier lowers the 3rd and (if present) the 7th step.
400 The diminished chord. This modifier lowers the 3rd, 5th and (if present)
404 The augmented chord. This modifier raises the 5th step.
407 The major 7th chord. This modifier raises the 7th step if present.
410 The suspended 4th or 2nd. This modifier removes the 3rd
411 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
415 Modifiers can be mixed with additions
416 @lilypond[quote,verbatim,fragment]
417 \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
420 @cindex modifiers, in chords.
427 Since an unaltered 11 does not sound good when combined with an
428 unaltered 13, the 11 is removed in this case (unless it is added
430 @lilypond[quote,ragged-right,fragment,verbatim]
431 \chordmode { c:13 c:13.11 c:m13 }
436 An inversion (putting one pitch of the chord on the bottom), as well
437 as bass notes, can be specified by appending
438 @code{/}@var{pitch} to the chord
439 @lilypond[quote,ragged-right,fragment,verbatim]
440 \chordmode { c1 c/g c/f }
444 A bass note can be added instead of transposed out of the chord,
445 by using @code{/+}@var{pitch}.
447 @lilypond[quote,ragged-right,fragment,verbatim]
448 \chordmode { c1 c/+g c/+f }
451 Chords is a mode similar to @code{\lyricmode}, etc. Most
452 of the commands continue to work, for example, @code{r} and
453 @code{\skip} can be used to insert rests and spaces, and property
454 commands may be used to change various settings.
460 Each step can only be present in a chord once. The following
461 simply produces the augmented chord, since @code{5+} is interpreted
464 @lilypond[quote,ragged-right,verbatim,fragment]
465 \chordmode { c:5.5-.5+ }
469 @node Printing chord names
470 @subsection Printing chord names
472 @cindex printing chord names
476 For displaying printed chord names, use the @internalsref{ChordNames} context.
477 The chords may be entered either using the notation
478 described above, or directly using @code{<} and @code{>}
480 @lilypond[quote,verbatim,ragged-right]
482 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
485 \new ChordNames \harmonies
486 \new Staff \harmonies
490 You can make the chord changes stand out by setting
491 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
492 display chord names when there is a change in the chords scheme and at
493 the start of a new line
495 @lilypond[quote,verbatim,ragged-right]
496 harmonies = \chordmode {
497 c1:m c:m \break c:m c:m d
501 \set chordChanges = ##t
503 \new Staff \transpose c c' \harmonies
507 The previous examples all show chords over a staff. This is not
508 necessary. Chords may also be printed separately. It may be necessary
509 to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
512 @lilypond[ragged-right,verbatim]
513 \new ChordNames \with {
514 \override BarLine #'bar-size = #4
515 \consists Bar_engraver
516 \consists "Volta_engraver"
518 \chordmode { \repeat volta 2 {
528 The default chord name layout is a system for Jazz music, proposed by
529 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
533 @funindex chordNameExceptions
534 @item chordNameExceptions
535 This is a list that contains the chords that have special formatting.
537 The exceptions list should be encoded as
539 @{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
542 To get this information into @code{chordNameExceptions} takes a little
543 manoeuvring. The following code transforms @code{chExceptionMusic}
544 (which is a sequential music) into a list of exceptions.
546 (sequential-music-to-chord-exceptions chExceptionMusic #t)
551 (sequential-music-to-chord-exceptions chExceptionMusic #t)
554 adds the new exceptions to the default ones, which are defined in
555 @file{ly/@/chord@/-modifier@/-init@/.ly}.
557 For an example of tuning this property, see also
558 @lsr{chords,chord@/-name@/-exceptions@/.ly}
559 @cindex exceptions, chord names.
562 @funindex majorSevenSymbol
563 @item majorSevenSymbol
564 This property contains the markup object used for the 7th step, when
565 it is major. Predefined options are @code{whiteTriangleMarkup} and
566 @code{blackTriangleMarkup}. See
567 @lsr{chords,chord@/-name@/-major7@/.ly} for an example.
569 @funindex chordNameSeparator
570 @item chordNameSeparator
571 Different parts of a chord name are normally separated by a
572 slash. By setting @code{chordNameSeparator}, you can specify other
574 @lilypond[quote,ragged-right,fragment,verbatim]
575 \new ChordNames \chordmode {
577 \set chordNameSeparator
578 = \markup { \typewriter "|" }
583 @funindex chordRootNamer
585 The root of a chord is usually printed as a letter with an optional
586 alteration. The transformation from pitch to letter is done by this
587 function. Special note names (for example, the German @q{H} for a
588 B-chord) can be produced by storing a new function in this property.
590 @funindex chordNoteNamer
592 The default is to print single pitch, e.g., the bass note, using the
593 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
594 to a specialized function to change this behavior. For example, the
595 base can be printed in lower case.
597 @funindex chordPrefixSpacer
598 @item chordPrefixSpacer
599 The @q{m} for minor chords is usually printed right after the root of
600 the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer
601 between the root and @q{m}. The spacer is not used when the root
606 The predefined variables @code{\germanChords},
607 @code{\semiGermanChords}, @code{\italianChords} and @code{\frenchChords}
608 set these variables. The effect is
611 @lilypondfile[ragged-right]{chord-names-languages.ly}
613 There are also two other chord name schemes implemented: an alternate
614 Jazz chord notation, and a systematic scheme called Banter chords. The
615 alternate Jazz notation is also shown on the chart in @ref{Chord name
616 chart}. Turning on these styles is demonstrated in
617 @lsr{chords,chord-names-jazz.ly}.
626 @funindex \germanChords
627 @code{\germanChords},
628 @funindex \semiGermanChords
629 @code{\semiGermanChords}.
630 @funindex \italianChords
631 @code{\italianChords}.
632 @funindex \frenchChords
633 @code{\frenchChords}.
643 Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
644 @file{scm/@/chord@/-entry@/.scm}.
649 Chord names are determined solely from the list of pitches. Chord
650 inversions are not identified, and neither are added bass notes. This
651 may result in strange chord names when chords are entered with the
652 @code{< .. >} syntax.
659 Since LilyPond input files are text, there are two issues to
660 consider when working with vocal music:
664 Song texts must be entered as text, not notes. For example, the
665 input@tie{}@code{d} should be interpreted as a one letter syllable, not the
669 Song texts must be aligned with the notes of their melody.
672 There are a few different ways to define lyrics; we shall begin
673 by examining the simplest method, and gradually increase complexity.
676 * Setting simple songs::
678 * Aligning lyrics to a melody::
679 * Working with lyrics and identifiers::
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
691 a relatively large computational task. To speed up processing, lilypond does
692 not perform such calculations by default; to enable it, use
695 \override Score.PaperColumn #'keep-inside-line = ##t
698 To make lyrics avoid barlines as well, use
703 \consists "Bar_engraver"
704 \consists "Separating_line_group_engraver"
705 \override BarLine #'transparent = ##t
711 @node Setting simple songs
712 @subsection Setting simple songs
716 The easiest way to add lyrics to a melody is to append
719 \addlyrics @{ @var{the lyrics} @}
723 to a melody. Here is an example,
725 @lilypond[ragged-right,verbatim,fragment,quote]
727 \relative { c2 e4 g2. }
728 \addlyrics { play the game }
731 More stanzas can be added by adding more
732 @code{\addlyrics} sections
734 @lilypond[ragged-right,verbatim,fragment,quote]
736 \relative { c2 e4 g2. }
737 \addlyrics { play the game }
738 \addlyrics { speel het spel }
739 \addlyrics { joue le jeu }
742 The command @code{\addlyrics} cannot handle polyphony settings. For these
743 cases you should use @code{\lyricsto} and @code{\lyricmode}, as will be
744 introduced in @ref{Entering lyrics}.
748 @node Entering lyrics
749 @subsection Entering lyrics
754 @cindex spaces, in lyrics
755 @cindex quotes, in lyrics
757 Lyrics are entered in a special input mode, which can be introduced
758 by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
759 @code{\lyricsto}. In this mode you can enter lyrics,
760 with punctuation and accents, and the input @code{d} is not parsed as
761 a pitch, but rather as a one letter syllable. Syllables are entered
762 like notes, but with pitches replaced by text. For example,
765 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
768 There are two main methods to specify the horizontal placement
769 of the syllables, either by specifying the duration of each syllable
770 explicitly, like in the example above, or by automatically aligning
771 the lyrics to a melody or other voice of music, using @code{\addlyrics}
774 @c For more details see @ref{The Lyrics context}.
776 A word or syllable of lyrics begins with an alphabetic character, and ends
778 any space or digit. The following characters can be any character
779 that is not a digit or white space.
781 Any character that is not a digit or white space will be regarded as
782 part of the syllable; one important consequence of this is that a word
783 can end with @code{@}}, which often leads to the following mistake:
786 \lyricmode @{ lah- lah@}
789 In this example, the @code{@}} is included in the final syllable, so the
790 opening brace is not balanced and the input file will probably not
794 @funindex \property in \lyricmode
797 Similarly, a period which follows an alphabetic sequence is included in
798 the resulting string. As a consequence, spaces must be inserted around
799 property commands: do @emph{not} write
802 \override Score.LyricText #'font-shape = #'italic
809 \override Score . LyricText #'font-shape = #'italic
813 @cindex spaces, in lyrics
814 @cindex quotes, in lyrics
815 @cindex ties, in lyrics
817 In order to assign more than one syllable to a single note, you can
818 surround them with quotes or use a @code{_} character, to get spaces
819 between syllables, or use tilde symbol (@code{~}) to get a lyric tie.
821 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
823 \relative { c2 e4 g2 e4 }
824 \addlyrics { gran- de_a- mi- go }
825 \addlyrics { pu- "ro y ho-" nes- to }
826 \addlyrics { pu- ro~y~ho- nes- to }
829 The lyric ties is implemented with the Unicode character U+203F, so be
830 sure to have a font (Like DejaVuLGC) installed that includes this
834 To enter lyrics with characters from non-English languages, or with
835 accented and special characters (such as the heart symbol or slanted quotes),
836 simply insert the characters directly into the input file and save
837 it with utf-8 encoding. See @ref{Text encoding}, for more info.
839 @lilypond[quote,ragged-right,fragment,verbatim]
840 \relative { e4 f e d e f e2 }
841 \addlyrics { He said: “Let my peo ple go”. }
844 To use normal quotes in lyrics, add a backslash before the
847 @lilypond[quote,ragged-right,fragment,verbatim]
848 \relative c' { \time 3/4 e4 e4. e8 d4 e d c2. }
849 \addlyrics { "\"I" am so lone- "ly\"" said she }
852 The full definition of a word start in Lyrics mode is somewhat more
855 A word in Lyrics mode begins with: an alphabetic character, @code{_},
856 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
857 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
858 any 8-bit character with ASCII code over 127, or a two-character
859 combination of a backslash followed by one of @code{`}, @code{'},
860 @code{"}, or @code{^}.
862 To define identifiers containing lyrics, the function @code{lyricmode}
866 verseOne = \lyricmode @{ Joy to the world the Lord is come @}
869 \new Voice = "one" \relative c'' @{
872 c4 b8. a16 g4. f8 e4 d c2
874 \addlyrics @{ \verseOne @}
882 Program reference: @internalsref{LyricText}, @internalsref{LyricSpace}.
886 @node Aligning lyrics to a melody
887 @subsection Aligning lyrics to a melody
894 Lyrics are printed by interpreting them in the context called
895 @internalsref{Lyrics}.
898 \new Lyrics \lyricmode @dots{}
901 There are two main methods to specify the horizontal placement
906 by automatically aligning
907 the lyrics to a melody or other voice of music, using @code{\addlyrics}
911 or by specifying the duration of each syllable
912 explicitly, using @code{\lyricmode}
916 * Automatic syllable durations::
917 * Another way of entering lyrics::
918 * Assigning more than one syllable to a single note::
919 * More than one note on a single syllable::
920 * Extenders and hyphens::
923 @node Automatic syllable durations
924 @subsubsection Automatic syllable durations
926 @cindex automatic syllable durations
927 @cindex lyrics and melodies
929 The lyrics can be aligned under a given melody
930 automatically. This is achieved by combining the
931 melody and the lyrics with the @code{\lyricsto} expression
934 \new Lyrics \lyricsto @var{name} @dots{}
937 This aligns the lyrics to the
938 notes of the @internalsref{Voice} context called @var{name}, which must
939 already exist. Therefore normally the @code{Voice} is specified first, and
940 then the lyrics are specified with @code{\lyricsto}. The command
941 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
942 @code{\lyricmode} keyword may be omitted.
944 The following example uses different commands for entering lyrics.
946 @lilypond[quote,fragment,ragged-right,verbatim]
948 \new Voice = "one" \relative c'' {
951 c4 b8. a16 g4. f8 e4 d c2
953 \new Lyrics \lyricmode { Joy4 to8. the16 world!4. the8 Lord4 is come.2 }
954 \new Lyrics \lyricmode { Joy to the earth! the Sa -- viour reigns. }
955 \new Lyrics \lyricsto "one" { No more let sins and sor -- rows grow. }
959 The second stanza is not properly aligned because the durations
960 were not specified. A solution for that would be to use @code{\lyricsto}.
962 The @code{\addlyrics} command is actually just a convenient way
963 to write a more complicated LilyPond structure that sets up the
968 \addlyrics @{ LYRICS @}
975 \new Voice = "blah" @{ music @}
976 \new Lyrics \lyricsto "blah" @{ LYRICS @}
979 @node Another way of entering lyrics
980 @subsubsection Another way of entering lyrics
982 Lyrics can also be entered without @code{\addlyrics} or
983 @code{\lyricsto}. In this case,
984 syllables are entered like notes -- but with pitches replaced by text -- and the
985 duration of each syllable must be entered explicitly. For example:
992 The alignment to a melody can be specified with the
993 @code{associatedVoice} property,
996 \set associatedVoice = #"lala"
1000 The value of the property (here: @code{"lala"}) should be the name of
1001 a @internalsref{Voice} context. Without this setting, extender lines
1002 will not be formatted properly.
1004 Here is an example demonstrating manual lyric durations,
1006 @lilypond[relative=1,ragged-right,verbatim,fragment,quote]
1007 << \new Voice = "melody" {
1011 \new Lyrics \lyricmode {
1012 \set associatedVoice = #"melody"
1017 The following example is a comparison of the different commands for
1020 @lilypond[quote,fragment,ragged-right,verbatim]
1022 \new Voice = "one" \relative c'' {
1025 c4 b8. a16 g4. f8 e4 d c2
1027 \new Lyrics \lyricmode { Joy4 to8. the16 world!4. the8 Lord4 is come.2 }
1028 \new Lyrics \lyricmode { Joy to the earth! the Sa -- viour reigns. }
1029 \new Lyrics \lyricsto "one" { No more let sins and sor -- rows grow. }
1033 The second stanza is not properly aligned because the durations
1034 were not specified. A solution for that, as shown with the
1035 third stanza, would be to use @code{\lyricsto}.
1039 Program reference: @internalsref{Lyrics}.
1042 @node Assigning more than one syllable to a single note
1043 @subsubsection Assigning more than one syllable to a single note
1047 @cindex ties, in lyrics
1049 In order to assign more than one syllable to a single note, you can
1050 surround them with quotes or use a @code{_} character, to get spaces
1051 between syllables, or use tilde symbol (@code{~}) to get a lyric
1052 tie@footnote{The lyric ties is implemented with the Unicode character
1054 sure to have a font (Like DejaVuLGC) installed that includes this
1057 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
1059 \relative { c2 e4 g2 e4 }
1060 \addlyrics { gran- de_a- mi- go }
1061 \addlyrics { pu- "ro y ho-" nes- to }
1062 \addlyrics { pu- ro~y~ho- nes- to }
1067 Program reference: @internalsref{LyricCombineMusic}.
1069 @c Here come the section which used to be "Melismata"
1070 @c the new title might be more self-explanatory
1073 @node More than one note on a single syllable
1074 @subsubsection More than one note on a single syllable
1079 Sometimes, particularly in Medieval music, several notes are to be sung on one
1080 single syllable; such vocalises are called melismas, or melismata.
1082 @c this method seems to be the simplest; therefore
1083 @c it might be better to present it first - vv
1085 You can define melismata entirely in the lyrics, by entering @code{_}
1087 that is part of the melisma.
1089 @lilypond[relative=1,verbatim,fragment,quote]
1090 { \set melismaBusyProperties = #'()
1091 c d( e) f f( e) e e }
1093 { Ky -- _ _ ri __ _ _ _ e }
1096 In this case, you can also have ties and slurs in the melody if you
1097 set @code{melismaBusyProperties}, as is done in the example above.
1099 However, the @code{\lyricsto} command can also
1100 detect melismata automatically: it only puts one
1101 syllable under a tied or slurred group of notes. If you want to force
1102 an unslurred group of notes to be a melisma, insert @code{\melisma}
1103 after the first note of the group, and @code{\melismaEnd} after the
1106 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
1108 \new Voice = "lala" {
1116 \new Lyrics \lyricsto "lala" {
1122 In addition, notes are considered a melisma if they are manually
1123 beamed, and automatic beaming (see @ref{Setting automatic beam
1124 behavior}) is switched off.
1126 @c TODO: there might be some more relevant place for
1127 @c the following link (?)
1130 @cindex choral score
1132 A complete example of a SATB score setup is in section
1133 @ref{Vocal ensembles}.
1138 @code{\melisma}, @code{\melismaEnd}
1139 @funindex \melismaEnd
1144 Program reference: @internalsref{Melisma_translator}.
1146 @lsr{vocal,lyric@/-combine.ly}.
1150 Melismata are not detected automatically, and extender lines must be
1153 @node Extenders and hyphens
1154 @subsubsection Extenders and hyphens
1159 Melismata are indicated with a horizontal line centered between a syllable
1160 and the next one. Such a line is called an extender line, and it is entered
1161 as @samp{ __ } (note the spaces before and after the two underscore
1166 Centered hyphens are entered as @samp{ -- } between syllables of a same word
1167 (note the spaces before and after the two hyphen characters). The hyphen
1168 will be centered between the syllables, and its length will be adjusted
1169 depending on the space between the syllables.
1171 In tighly engraved music, hyphens can be removed. Whether this
1172 happens can be controlled with the @code{minimum-distance} (minimum
1173 distance between two syllables) and the @code{minimum-length}
1174 (threshold below which hyphens are removed).
1178 Program reference: @internalsref{LyricExtender},
1179 @internalsref{LyricHyphen}
1182 @node Working with lyrics and identifiers
1183 @subsection Working with lyrics and identifiers
1184 @cindex lyrics, identifiers
1186 To define identifiers containing lyrics, the function @code{\lyricmode}
1187 must be used. You do not have to enter durations though, if you add
1188 @code{\addlyrics} or @code{\lyricsto}
1189 when invoking your identifier.
1192 verseOne = \lyricmode @{ Joy to the world the Lord is come @}
1195 \new Voice = "one" \relative c'' @{
1198 c4 b8. a16 g4. f8 e4 d c2
1200 \addlyrics @{ \verseOne @}
1205 @c TODO: Move the following section to
1206 @c "Working with lyrics and identifiers"
1208 For different or more complex orderings, the best way is to setup the
1209 hierarchy of staves and lyrics first, e.g.,
1212 \new Voice = "soprano" @{ @emph{music} @}
1213 \new Lyrics = "sopranoLyrics" @{ s1 @}
1214 \new Lyrics = "tenorLyrics" @{ s1 @}
1215 \new Voice = "tenor" @{ @emph{music} @}
1219 and then combine the appropriate melodies and lyric lines
1222 \context Lyrics = sopranoLyrics \lyricsto "soprano"
1228 The final input would resemble
1231 <<\new ChoirStaff << @emph{setup the music} >>
1232 \lyricsto "soprano" @emph{etc}
1233 \lyricsto "alto" @emph{etc}
1240 @c TODO: document \new Staff << Voice \lyricsto >> bug
1241 Program reference: @internalsref{LyricCombineMusic},
1242 @internalsref{Lyrics}.
1244 @node Flexibility in placement
1245 @subsection Flexibility in placement
1247 Often, different stanzas of one song are put to one melody in slightly
1248 differing ways. Such variations can still be captured with
1252 * Lyrics to multiple notes of a melisma::
1254 * Switching the melody associated with a lyrics line::
1255 * Lyrics independent of notes::
1258 @node Lyrics to multiple notes of a melisma
1259 @subsubsection Lyrics to multiple notes of a melisma
1262 One possibility is that the text has a melisma in one stanza, but
1263 multiple syllables in another one. One solution is to make the faster
1264 voice ignore the melisma. This is done by setting
1265 @code{ignoreMelismata} in the Lyrics context.
1267 There is one tricky aspect: the setting for @code{ignoreMelismata}
1268 must be set one syllable @emph{before} the non-melismatic syllable
1269 in the text, as shown here,
1271 @c FIXME: breaks compile
1272 @lilypond[verbatim,ragged-right,quote]
1275 \relative \new Voice = "lahlah" {
1276 \set Staff.autoBeaming = ##f
1282 \new Lyrics \lyricsto "lahlah" {
1285 \new Lyrics \lyricsto "lahlah" {
1286 \set ignoreMelismata = ##t % applies to "fas"
1288 \unset ignoreMelismata
1296 The @code{ignoreMelismata} applies to the syllable @q{fas}, so it
1297 should be entered before @q{go}.
1299 The reverse is also possible: making a lyric line slower than the
1300 standard. This can be achieved by insert @code{\skip}s into the
1301 lyrics. For every @code{\skip}, the text will be delayed another note.
1304 @lilypond[verbatim,ragged-right,quote]
1305 \relative { c c g' }
1314 @subsubsection Divisi lyrics
1316 You can display alternate (or divisi) lyrics by naming voice
1317 contexts and attaching lyrics to those specific contexts.
1319 @lilypond[verbatim,ragged-right,quote]
1321 \new Voice = "melody" {
1326 \new Voice = "splitpart" { \voiceTwo c4 }
1331 \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
1332 \new Lyrics \lyricsto "splitpart" { will }
1337 You can use this trick to display different lyrics for a repeated
1340 @lilypond[verbatim,ragged-right,quote]
1342 \new Voice = "melody" \relative c' {
1344 \new Voice = "verse" \repeat volta 2 {c4 d e f | g1 | }
1346 \new Lyrics = "mainlyrics" \lyricsto melody \lyricmode {
1349 \context Lyrics = "mainlyrics" \lyricsto verse \lyricmode {
1351 \new Lyrics = "repeatlyrics" \lyricsto verse \lyricmode {
1352 dodo rere mimi fafa solsol }
1359 @node Switching the melody associated with a lyrics line
1360 @subsubsection Switching the melody associated with a lyrics line
1362 More complex variations in text underlay are possible. It is possible
1363 to switch the melody for a line of lyrics during the text. This is
1364 done by setting the @code{associatedVoice} property. In the example
1366 @lilypond[ragged-right,quote]
1368 \relative \new Voice = "lahlah" {
1369 \set Staff.autoBeaming = ##f
1372 \new Voice = "alternative" {
1375 % show associations clearly.
1376 \override NoteColumn #'force-hshift = #-3
1387 \new Lyrics \lyricsto "lahlah" {
1388 Ju -- ras -- sic Park
1390 \new Lyrics \lyricsto "lahlah" {
1391 % Tricky: need to set associatedVoice
1392 % one syllable too soon!
1393 \set associatedVoice = alternative % applies to "ran"
1397 \set associatedVoice = lahlah % applies to "rus"
1403 the text for the first stanza is set to a melody called @q{lahlah},
1406 \new Lyrics \lyricsto "lahlah" @{
1407 Ju -- ras -- sic Park
1412 The second stanza initially is set to the @code{lahlah} context, but
1413 for the syllable @q{ran}, it switches to a different melody.
1414 This is achieved with
1416 \set associatedVoice = alternative
1420 Here, @code{alternative} is the name of the @code{Voice} context
1421 containing the triplet.
1423 Again, the command must be one syllable too early, before @q{Ty} in
1427 \new Lyrics \lyricsto "lahlah" @{
1428 \set associatedVoice = alternative % applies to "ran"
1432 \set associatedVoice = lahlah % applies to "rus"
1438 The underlay is switched back to the starting situation by assigning
1439 @code{lahlah} to @code{associatedVoice}.
1442 @node Lyrics independent of notes
1443 @subsubsection Lyrics independent of notes
1445 In some complex vocal music, it may be desirable to place
1446 lyrics completely independently of notes. Music defined
1447 inside @code{lyricrhythm} disappears into the
1448 @code{Devnull} context, but the rhythms can still be used
1449 to place the lyrics.
1451 @lilypond[quote,verbatim,ragged-right]
1454 \tag #'music { c''2 }
1455 \tag #'lyricrhythm { c''4. c''8 }
1459 lyr = \lyricmode { I like my cat! }
1462 \new Staff \keepWithTag #'music \voice
1463 \new Devnull="nowhere" \keepWithTag #'lyricrhythm \voice
1464 \new Lyrics \lyricsto "nowhere" \lyr
1465 \new Staff { c'8 c' c' c' c' c' c' c'
1466 c' c' c' c' c' c' c' c' }
1471 @node Spacing lyrics
1472 @subsection Spacing lyrics
1474 @cindex Spacing lyrics
1475 @cindex Lyrics, increasing space between
1477 To increase the spacing between lyrics, set the minimum-distance property of
1480 @lilypond[relative,verbatim,fragment,quote,ragged-right]
1483 \override Lyrics.LyricSpace #'minimum-distance = #1.0
1487 longtext longtext longtext longtext
1488 longtext longtext longtext longtext
1492 To make this change for all lyrics in the score, set the property in the
1495 @lilypond[relative,verbatim,quote,ragged-right]
1502 longtext longtext longtext longtext
1503 longtext longtext longtext longtext
1508 \override LyricSpace #'minimum-distance = #1.0
1515 @node More about stanzas
1516 @subsection More about stanzas
1518 @c what's this doing here?
1519 @cindex phrasing, in lyrics
1521 @cindex stanza number
1522 @subsubsection Adding stanza numbers
1524 Stanza numbers can be added by setting @code{stanza}, e.g.,
1526 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1528 \time 3/4 g2 e4 a2 f4 g2.
1531 Hi, my name is Bert.
1534 Oh, che -- ri, je t'aime
1539 These numbers are put just before the start of the first syllable.
1542 @subsubsection Adding dynamics marks
1544 Stanzas differing in loudness may be indicated by putting a
1545 dynamics mark before each stanza. In Lilypond, everthing coming in
1546 front of a stanza goes into the @code{StanzaNumber} object; dynamics marks
1547 are no different. For technical reasons, you have to set the stanza
1548 outside @code{\lyricmode}:
1550 @lilypond[quote,ragged-right,verbatim]
1552 \set stanza = \markup { \dynamic "ff" "1. " }
1559 \new Voice = "tune" {
1563 \new Lyrics \lyricsto "tune" \text
1568 @cindex name of singer
1569 @subsubsection Adding singer names
1571 Names of singers can also be added. They are printed at the start of
1572 the line, just like instrument names. They are created by setting
1573 @code{vocalName}. A short version may be entered as @code{shortVocalName}.
1575 @lilypond[fragment,ragged-right,quote,verbatim,relative=2]
1577 \time 3/4 g2 e4 a2 f4 g2.
1579 \set vocalName = "Bert "
1580 Hi, my name is Bert.
1582 \set vocalName = "Ernie "
1583 Oh, che -- ri, je t'aime
1588 @subsubsection Printing stanzas at the end
1590 Sometimes it is appropriate to have one stanza set
1591 to the music, and the rest added in verse form at
1592 the end of the piece. This can be accomplished by adding
1593 the extra verses into a @code{\markup} section outside
1594 of the main score block. Notice that there are two
1595 different ways to force linebreaks when using
1598 @lilypond[ragged-right,verbatim,quote]
1599 melody = \relative c' {
1605 \set stanza = "1." Ma- ry had a lit- tle lamb,
1606 its fleece was white as snow.
1610 \new Voice = "one" { \melody }
1611 \new Lyrics \lyricsto "one" \text
1617 \line{ All the children laughed and played }
1618 \line{ To see a lamb at school. }
1625 Mary took it home again,
1627 It was against the rule."
1632 @subsubsection Printing stanzas at the end in multiple columns
1634 When a piece of music has many verses, they are often printed in
1635 multiple columns across the page. An outdented verse number often
1636 introduces each verse. The following example shows how to produce such
1639 @lilypond[ragged-right,quote,verbatim]
1640 melody = \relative c' {
1645 \set stanza = "1." This is verse one.
1650 \new Voice = "one" { \melody }
1651 \new Lyrics \lyricsto "one" \text
1658 \hspace #0.1 % moves the column off the left margin; can be removed if
1659 % space on the page is tight
1663 "This is verse two."
1667 \hspace #0.1 % adds vertical spacing between verses
1670 "This is verse three."
1675 \hspace #0.1 % adds horizontal spacing between columns; if they are
1676 % still too close, add more " " pairs until the result
1681 "This is verse four."
1685 \hspace #0.1 % adds vertical spacing between verses
1688 "This is verse five."
1693 \hspace #0.1 % gives some extra space on the right margin; can
1694 % be removed if page space is tight
1702 Program reference: @internalsref{LyricText}, @internalsref{StanzaNumber},
1703 @internalsref{VocalName}.
1711 The term @emph{ambitus} denotes a range of pitches for a given voice
1712 in a part of music. It may also denote the pitch range that a musical
1713 instrument is capable of playing. Ambits are printed on vocal parts,
1714 so performers can easily determine it meets their capabilities.
1716 Ambits are denoted at the beginning of a piece near the initial clef.
1717 The range is graphically specified by two note heads that represent the
1718 minimum and maximum pitch. To print such ambits, add the
1719 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
1726 \consists Ambitus_engraver
1731 This results in the following output
1733 @lilypond[quote,ragged-right]
1737 \consists Ambitus_engraver
1741 \relative \new Staff {
1746 If you have multiple voices in a single staff and you want a single
1747 ambitus per staff rather than per each voice, add the
1748 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
1749 rather than to the @internalsref{Voice} context. Here is an example,
1751 @lilypond[verbatim,ragged-right,quote]
1753 \consists "Ambitus_engraver"
1757 \remove "Ambitus_engraver"
1759 \override Ambitus #'X-offset = #-1.0
1764 \remove "Ambitus_engraver"
1773 This example uses one advanced feature,
1776 \override Ambitus #'X-offset = #-1.0
1780 This code moves the ambitus to the left. The same effect could have
1781 been achieved with @code{extra-offset}, but then the formatting system
1782 would not reserve space for the moved object.
1786 Program reference: @internalsref{Ambitus},
1787 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1788 @internalsref{AmbitusAccidental}.
1791 @lsr{vocal,ambitus@/.ly}.
1795 There is no collision handling in the case of multiple per-voice
1799 @node Other vocal issues
1800 @subsection Other vocal issues
1803 yeah, I'm giving up somewhat by stuffing a bunch of things in
1804 here. But at least they're in the manual now; it's easier to
1805 move them around in the manual once they're already here.
1807 Besides, if users complain about everything stuffed in here, I
1808 can ask them for specific instructions about where to move these
1809 examples, and that might get them more involved in the docs. -gp
1812 @q{Parlato} is spoken without pitch but still with rhythm; it is
1813 notated by cross noteheads. This is demonstrated in
1814 @ref{Special noteheads}.
1820 @node Rhythmic music
1821 @section Rhythmic music
1823 Rhythmic music is primarily used for percussion and drum notation, but it can
1824 also be used to show the rhythms of melodies.
1827 * Showing melody rhythms::
1828 * Entering percussion::
1829 * Percussion staves::
1834 @node Showing melody rhythms
1835 @subsection Showing melody rhythms
1837 Sometimes you might want to show only the rhythm of a melody. This
1838 can be done with the rhythmic staff. All pitches of notes on such a
1839 staff are squashed, and the staff itself has a single line
1841 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1842 \new RhythmicStaff {
1844 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1850 Program reference: @internalsref{RhythmicStaff}.
1853 @node Entering percussion
1854 @subsection Entering percussion
1860 Percussion notes may be entered in @code{\drummode} mode, which is
1861 similar to the standard mode for entering notes. Each piece of
1862 percussion has a full name and an abbreviated name, and both can be used
1865 @lilypond[quote,ragged-right,verbatim]
1867 hihat hh bassdrum bd
1871 The complete list of drum names is in the init file
1872 @file{ly/@/drumpitch@/-init@/.ly}.
1873 @c TODO: properly document this.
1877 Program reference: @internalsref{note-event}.
1879 @node Percussion staves
1880 @subsection Percussion staves
1884 A percussion part for more than one instrument typically uses a
1885 multiline staff where each position in the staff refers to one piece
1889 To typeset the music, the notes must be interpreted in a
1890 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
1892 @lilypond[quote,ragged-right,verbatim]
1893 up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
1894 down = \drummode { bassdrum4 snare8 bd r bd sn4 }
1896 \new DrumVoice { \voiceOne \up }
1897 \new DrumVoice { \voiceTwo \down }
1901 The above example shows verbose polyphonic notation. The short
1902 polyphonic notation, described in @ref{Basic polyphony}, can also be used if
1903 the @internalsref{DrumVoice}s are instantiated by hand first. For example,
1905 @lilypond[quote,ragged-right,fragment,verbatim]
1907 \new DrumVoice = "1" { s1 *2 }
1908 \new DrumVoice = "2" { s1 *2 }
1912 { \repeat unfold 16 hh16 }
1921 There are also other layout possibilities. To use these, set the
1922 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
1923 The following variables have been predefined
1927 This is the default. It typesets a typical drum kit on a five-line staff
1929 @lilypond[quote,line-width=10.0\cm]
1931 cymc cyms cymr hh hhc hho hhho hhp
1932 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl }
1934 cymc cyms cymr hh hhc hho hhho hhp \break
1935 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
1937 << \new DrumStaff \with {
1938 \remove Bar_engraver
1939 \remove Time_signature_engraver
1940 \override Stem #'transparent = ##t
1941 \override Stem #'Y-extent-callback = ##f
1942 \override VerticalAxisGroup #'minimum-Y-extent = #'(-4.0 . 5.0)
1949 \override LyricText #'font-family = #'typewriter
1950 \override BarNumber #'transparent =##T
1956 The drum scheme supports six different toms. When there are fewer toms,
1957 simply select the toms that produce the desired result, i.e., to get toms
1958 on the three middle lines you use @code{tommh}, @code{tomml}, and
1961 @item timbales-style
1962 This typesets timbales on a two line staff
1964 @lilypond[quote,ragged-right]
1965 nam = \lyricmode { timh ssh timl ssl cb }
1966 mus = \drummode { timh ssh timl ssl cb s16 }
1969 \new DrumStaff \with {
1970 \remove Bar_engraver
1971 \remove Time_signature_engraver
1972 \override Stem #'transparent = ##t
1973 \override Stem #'Y-extent-callback = ##f
1974 \override StaffSymbol #'line-count = #2
1975 \override StaffSymbol #'staff-space = #2
1976 \override VerticalAxisGroup #'minimum-Y-extent = #'(-3.0 . 4.0)
1977 drumStyleTable = #timbales-style
1980 \override LyricText #'font-family = #'typewriter
1987 This typesets congas on a two line staff
1989 @lilypond[quote,ragged-right]
1990 nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
1991 mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
1994 \new DrumStaff \with {
1995 \remove Bar_engraver
1996 \remove Time_signature_engraver
1997 drumStyleTable = #congas-style
1998 \override StaffSymbol #'line-count = #2
2000 %% this sucks; it will lengthen stems.
2001 \override StaffSymbol #'staff-space = #2
2002 \override Stem #'transparent = ##t
2003 \override Stem #'Y-extent-callback = ##f
2006 \override LyricText #'font-family = #'typewriter
2013 This typesets bongos on a two line staff
2015 @lilypond[quote,ragged-right]
2016 nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
2017 mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
2020 \new DrumStaff \with {
2021 \remove Bar_engraver
2022 \remove Time_signature_engraver
2023 \override StaffSymbol #'line-count = #2
2024 drumStyleTable = #bongos-style
2026 %% this sucks; it will lengthen stems.
2027 \override StaffSymbol #'staff-space = #2
2028 \override Stem #'transparent = ##t
2029 \override Stem #'Y-extent-callback = ##f
2032 \override LyricText #'font-family = #'typewriter
2038 @item percussion-style
2039 To typeset all kinds of simple percussion on one line staves.
2041 @lilypond[quote,ragged-right]
2042 nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
2043 mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2046 \new DrumStaff \with{
2047 \remove Bar_engraver
2048 drumStyleTable = #percussion-style
2049 \override StaffSymbol #'line-count = #1
2050 \remove Time_signature_engraver
2051 \override Stem #'transparent = ##t
2052 \override Stem #'Y-extent-callback = ##f
2055 \override LyricText #'font-family = #'typewriter
2062 If you do not like any of the predefined lists you can define your own
2063 list at the top of your file
2065 @lilypond[quote,ragged-right,verbatim]
2067 (bassdrum default #f -1)
2068 (snare default #f 0)
2070 (pedalhihat xcircle "stopped" 2)
2071 (lowtom diamond #f 3)))
2072 up = \drummode { hh8 hh hh hh hhp4 hhp }
2073 down = \drummode { bd4 sn bd toml8 toml }
2076 \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
2077 \new DrumVoice { \voiceOne \up }
2078 \new DrumVoice { \voiceTwo \down }
2085 Init files: @file{ly/@/drumpitch@/-init@/.ly}.
2087 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
2091 Because general MIDI does not contain rim shots, the sidestick is used
2092 for this purpose instead.
2095 @c FIXME: check name -gp
2097 @subsection Ghost notes
2099 Ghost notes for drums and percussion may be created using the
2100 @code{\parenthesize} command detailed in @ref{Parentheses}. However,
2101 the default @code{\drummode} does
2102 not include the @code{Parenthesis_engraver} plugin which allows
2104 must add the plugin explicitly in the context definition as
2105 detailed in @ref{Changing context properties on the fly}.
2107 @lilypond[quote,ragged-right,verbatim,fragment]
2108 \new DrumStaff \with {
2109 \consists "Parenthesis_engraver"
2111 \context DrumVoice = "1" { s1 *2 }
2112 \context DrumVoice = "2" { s1 *2 }
2116 hh8[ hh] <hh sn> hh16
2117 < \parenthesize sn > hh < \parenthesize
2128 Also note that you must add chords (@code{< >} brackets)
2129 around each @code{\parenthesize} statement.
2136 @cindex guitar tablature
2139 * String number indications::
2140 * Tablatures basic::
2141 * Non-guitar tablatures::
2142 * Banjo tablatures::
2144 * Right hand fingerings::
2145 * Other guitar issues::
2148 @node String number indications
2149 @subsection String number indications
2151 @cindex String numbers
2153 String numbers can be added to chords, by indicating the string number
2154 with @code{\}@var{number},
2156 @lilypond[relative,relative=1,ragged-right,fragment]
2163 Program reference: @internalsref{StringNumber},
2164 @lsr{guitar/,string-number.ly}.
2167 @node Tablatures basic
2168 @subsection Tablatures basic
2169 @cindex Tablatures basic
2171 Tablature notation is used for notating music for plucked string
2172 instruments. Pitches are not denoted with note heads, but by
2173 numbers indicating on which string and fret a note must be played. LilyPond
2174 offers limited support for tablature.
2176 The string number associated to a note is given as a backslash
2177 followed by a number, e.g., @code{c4\3} for a C quarter on the third
2178 string. By default, string 1 is the highest one, and the tuning
2179 defaults to the standard guitar tuning (with 6 strings). The notes
2180 are printed as tablature, by using @internalsref{TabStaff} and
2181 @internalsref{TabVoice} contexts
2183 @lilypond[quote,ragged-right,fragment,verbatim]
2190 @funindex minimumFret
2193 When no string is specified, the first string that does not give a
2194 fret number less than @code{minimumFret} is selected. The default
2195 value for @code{minimumFret} is 0
2200 \set TabStaff.minimumFret = #8
2203 @lilypond[quote,ragged-right]
2207 \set TabStaff.minimumFret = #8
2211 \new Staff { \clef "G_8" \frag }
2212 \new TabStaff { \frag }
2219 To print tablatures with stems down and horizontal beams,
2220 initialize the @code{TabStaff} with this code:
2224 \override Beam #'damping = #100000
2229 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}.
2233 Chords are not handled in a special way, and hence the automatic
2234 string selector may easily select the same string to two notes in a
2238 @node Non-guitar tablatures
2239 @subsection Non-guitar tablatures
2240 @cindex Non-guitar tablatures
2242 You can change the tuning of the strings. A string tuning is given as
2243 a Scheme list with one integer number for each string, the number
2244 being the pitch (measured in semitones relative to middle C) of an
2245 open string. The numbers specified for @code{stringTuning} are the
2246 numbers of semitones to subtract or add, starting the specified pitch
2247 by default middle C, in string order. LilyPond automatically calculates
2248 the number of strings by looking at @code{stringTuning}.
2250 In the next example,
2251 @code{stringTunings} is set for the pitches e, a, d, and g
2253 @lilypond[quote,ragged-right,fragment,verbatim]
2255 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
2257 a,4 c' a e' e c' a e'
2262 LilyPond comes with predefined string tunings for banjo, mandolin, guitar
2266 \set TabStaff.stringTunings = #bass-tuning
2269 The default string tuning is @code{guitar-tuning} (the standard EADGBE
2271 Some other predefined tunings are @code{guitar-open-g-tuning},
2272 @code{mandolin-tuning} and @code{banjo-open-g-tuning}.
2276 The file @file{scm/@/output@/-lib@/.scm} contains the predefined string
2278 Program reference: @internalsref{Tab_note_heads_engraver}.
2282 No guitar special effects have been implemented.
2286 @node Banjo tablatures
2287 @subsection Banjo tablatures
2288 @cindex Banjo tablatures
2290 LilyPond has basic support for five stringed banjo. When making tablatures
2291 for five stringed banjo, use the banjo tablature format function to get
2293 fret numbers for the fifth string:
2295 @lilypond[quote,ragged-right,fragment,verbatim]
2297 \set TabStaff.tablatureFormat = #fret-number-tablature-format-banjo
2298 \set TabStaff.stringTunings = #banjo-open-g-tuning
2301 g8 d' g'\5 a b g e d' |
2302 g4 d''8\5 b' a'\2 g'\5 e'\2 d' |
2308 A number of common tunings for banjo are predefined in LilyPond:
2309 @code{banjo-c-tuning} (gCGBD), @code{banjo-modal-tuning} (gDGCD),
2310 @code{banjo-open-d-tuning} (aDF#AD) and @code{banjo-open-dm-tuning}
2313 These tunings may be converted to four string banjo tunings using the
2314 @code{four-string-banjo} function:
2317 \set TabStaff.stringTunings = #(four-string-banjo banjo-c-tuning)
2322 The file @file{scm/@/output@/-lib@/.scm} contains predefined banjo tunings.
2326 @subsection Fret diagrams
2327 @cindex fret diagrams
2328 @cindex chord diagrams
2330 Fret diagrams can be added to music as a markup to the desired note. The
2331 markup contains information about the desired fret diagram, as shown in the
2334 @lilypond[verbatim, ragged-right, quote]
2336 d'^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
2338 fis'^\markup \override #'(size . 0.75) {
2339 \override #'(finger-code . below-string) {
2340 \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
2341 (place-fret 5 4 3) (place-fret 4 4 4)
2342 (place-fret 3 3 2) (place-fret 2 2 1)
2347 c'^\markup \override #'(dot-radius . 0.35) {
2348 \override #'(finger-code . in-dot) {
2349 \override #'(dot-color . white) {
2350 \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
2359 There are three different fret-diagram markup interfaces: standard, terse,
2360 and verbose. The three interfaces produce equivalent markups, but have
2361 varying amounts of information in the markup string. Details about the
2362 markup interfaces are found at @ref{Overview of text markup commands}.
2364 You can set a number of graphical properties according to your preference.
2365 Details about the property interface to fret diagrams are found at
2366 @internalsref{fret-diagram-interface}.
2371 Examples: @lsrdir{guitar}
2374 @node Right hand fingerings
2375 @subsection Right hand fingerings
2377 Right hand fingerings in chords can be entered using
2378 @code{@var{note}-\rightHandFinger @var{finger}}
2380 @lilypond[verbatim,fragment,relative=2]
2381 <c-\rightHandFinger #1 e-\rightHandFinger #2 >
2384 for brevity, you can abbreviate @code{\rightHandFinger} to something
2385 short, for example @code{RH},
2388 #(define RH rightHandFinger)
2391 @cindex fingerings, right hand, for guitar
2392 @cindex right hand fingerings for guitar
2396 You may exercise greater control over right handing fingerings by
2397 setting @code{strokeFingerOrientations},
2399 @lilypond[quote,verbatim,ragged-right,fragment,relative=1]
2400 #(define RH rightHandFinger)
2402 \set strokeFingerOrientations = #'(up down)
2403 <c-\RH #1 es-\RH #2 g-\RH #4 > 4
2404 \set strokeFingerOrientations = #'(up right down)
2405 <c-\RH #1 es-\RH #2 g-\RH #4 > 4
2409 The letters used for the fingerings are contained in the property
2410 @code{digit-names}, but they can also be set individually by supplying
2411 @code{\rightHandFinger} with a string argument, as in the following example
2414 @lilypond[quote,verbatim,ragged-right,fragment,relative=1]
2415 #(define RH rightHandFinger)
2417 \set strokeFingerOrientations = #'(right)
2418 \override StrokeFinger #'digit-names = ##("x" "y" "z" "!" "@")
2426 Internalls: @internalsref{StrokeFinger}
2430 @node Other guitar issues
2431 @subsection Other guitar issues
2433 This example demonstrates how to include guitar position and
2434 barring indications.
2436 @lilypond[quote,ragged-right,fragment,verbatim,relative=0]
2440 \override TextSpanner #'bound-details #'left #'text = #"XII "
2442 b16 e16 g16 e16 b16 g16\stopTextSpan
2447 Stopped (X) note heads are used in guitar music to signal a place where the
2448 guitarist must play a certain note or chord, with its fingers just
2449 touching the strings instead of fully pressing them. This gives the sound a
2450 percussive noise-like sound that still maintains part of the original
2451 pitch. It is notated with cross noteheads; this is
2452 demonstrated in @ref{Special noteheads}.
2461 * Bagpipe definitions::
2466 @node Bagpipe definitions
2467 @subsection Bagpipe definitions
2469 LilyPond contains special definitions for music for the Scottish
2470 highland bagpipe; to use them, add
2473 \include "bagpipe.ly"
2477 at the top of your input file. This lets you add the special gracenotes
2478 common to bagpipe music with short commands. For example, you could
2479 write @code{\taor} instead of
2482 \grace @{ \small G32[ d G e] @}
2485 @code{bagpipe.ly} also contains pitch definitions for the bagpipe
2486 notes in the appropiate octaves, so you do not need to worry about
2487 @code{\relative} or @code{\transpose}.
2489 @lilypond[ragged-right,verbatim,quote,notime]
2490 \include "bagpipe.ly"
2491 { \grg G4 \grg a \grg b \grg c \grg d \grg e \grg f \grA g A }
2494 Bagpipe music nominally uses the key of D Major (even though that
2495 isn't really true). However, since that is the only key that can be used,
2496 the key signature is normally not written out. To set this up correctly,
2497 always start your music with @code{\hideKeySignature}. If you for some
2498 reason want to show the key signature, you can use @code{\showKeySignature}
2501 Some modern music use cross fingering on c and f to flatten those notes.
2502 This can be indicated by @code{cflat} or @code{fflat}. Similarly, the
2503 piobaireachd high g can be written @code{gflat} when it occurs in light
2507 @node Bagpipe example
2508 @subsection Bagpipe example
2510 This is what the well known tune Amazing Grace looks like in bagpipe
2513 @lilypond[verbatim,quote]
2514 \include "bagpipe.ly"
2517 \context { \Score \remove "Bar_number_engraver" }
2521 title = "Amazing Grace"
2523 arranger = "Trad. arr."
2529 \grg \partial 4 a8. d16
2530 \slurd d2 \grg f8[ e32 d16.]
2533 \grG a2 \grg a8. d16
2534 \slurd d2 \grg f8[ e32 d16.]
2535 \grg f2 \grg e8. f16
2538 \grg A2 \hdblf f8[ e32 d16.]
2541 \grG a2 \grg a8. d16
2542 \slurd d2 \grg f8[ e32 d16.]
2551 @node Ancient notation
2552 @section Ancient notation
2554 @cindex Vaticana, Editio
2555 @cindex Medicaea, Editio
2560 Support for ancient notation includes features for mensural notation
2561 and Gregorian Chant notation. There is also limited support for
2562 figured bass notation.
2564 Many graphical objects provide a @code{style} property, see
2567 @ref{Ancient note heads},
2569 @ref{Ancient accidentals},
2571 @ref{Ancient rests},
2573 @ref{Ancient clefs},
2575 @ref{Ancient flags},
2577 @ref{Ancient time signatures}.
2580 By manipulating such a grob property, the typographical appearance of
2581 the affected graphical objects can be accommodated for a specific
2582 notation flavor without the need for introducing any new notational
2585 In addition to the standard articulation signs described in section
2586 @ref{Articulations}, specific articulation signs for ancient notation
2591 @ref{Ancient articulations}
2594 Other aspects of ancient notation can not that easily be expressed
2595 in terms of just changing a style property of a graphical object or
2596 adding articulation signs. Some notational concepts are introduced
2597 specifically for ancient notation,
2608 If this all is too much of documentation for you, and you just want to
2609 dive into typesetting without worrying too much about the details on
2610 how to customize a context, you may have a look at the predefined
2611 contexts. Use them to set up predefined style-specific voice and
2612 staff contexts, and directly go ahead with the note entry,
2616 @ref{Gregorian Chant contexts},
2618 @ref{Mensural contexts}.
2621 There is limited support for figured bass notation which came
2622 up during the baroque period.
2629 Here are all suptopics at a glance:
2632 * Ancient note heads::
2633 * Ancient accidentals::
2637 * Ancient time signatures::
2638 * Ancient articulations::
2642 * Gregorian Chant contexts::
2643 * Mensural contexts::
2644 * Musica ficta accidentals::
2650 @node Ancient note heads
2651 @subsection Ancient note heads
2653 @cindex note heads, ancient
2655 For ancient notation, a note head style other than the @code{default}
2656 style may be chosen. This is accomplished by setting the @code{style}
2657 property of the @internalsref{NoteHead} object to @code{baroque},
2658 @code{neomensural}, @code{mensural} or @code{petrucci}. The
2659 @code{baroque} style differs from the @code{default} style only in
2660 using a square shape for @code{\breve} note heads. The
2661 @code{neomensural} style differs from the @code{baroque} style in that
2662 it uses rhomboidal heads for whole notes and all smaller durations.
2663 Stems are centered on the note heads. This style is particularly
2664 useful when transcribing mensural music, e.g., for the incipit. The
2665 @code{mensural} style produces note heads that mimic the look of note
2666 heads in historic printings of the 16th century. Finally, the
2667 @code{petrucci} style also mimicks historic printings, but uses bigger
2670 The following example demonstrates the @code{neomensural} style
2672 @lilypond[quote,fragment,ragged-right,verbatim]
2673 \set Score.skipBars = ##t
2674 \override NoteHead #'style = #'neomensural
2675 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
2678 When typesetting a piece in Gregorian Chant notation, the
2679 @internalsref{Gregorian_ligature_engraver} will automatically select
2680 the proper note heads, so there is no need to explicitly set the
2681 note head style. Still, the note head style can be set, e.g., to
2682 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
2683 @internalsref{Mensural_ligature_engraver} is used to automatically
2684 assemble mensural ligatures. See @ref{Ligatures}, for how ligature
2689 @ref{Note head styles}, gives an overview over all available note head styles.
2692 @node Ancient accidentals
2693 @subsection Ancient accidentals
2698 Use the @code{glyph-name-alist} property of grob
2699 @internalsref{Accidental} and @internalsref{KeySignature} to select
2700 ancient accidentals.
2702 @lilypond[quote,ragged-right,staffsize=26]
2709 \line { " " \musicglyph #"accidentals.vaticana-1"
2710 " " \musicglyph #"accidentals.vaticana0" }
2714 \line { " " \musicglyph #"accidentals.medicaea-1" }
2718 \line { " " \musicglyph #"accidentals.hufnagel-1" }
2722 \line { " " \musicglyph #"accidentals.mensural-1"
2723 " " \musicglyph #"accidentals.mensural1" }
2729 \context { \Score \remove "Bar_number_engraver" }
2731 \remove "Clef_engraver"
2732 \remove "Key_engraver"
2733 \remove "Time_signature_engraver"
2734 \remove "Staff_symbol_engraver"
2735 \override VerticalAxisGroup #'minimum-Y-extent = ##f
2741 As shown, not all accidentals are supported by each style. When
2742 trying to access an unsupported accidental, LilyPond will switch to a
2743 different style, as demonstrated in
2744 @lsr{ancient,ancient-accidentals.ly}.
2746 Similarly to local accidentals, the style of the key signature can be
2747 controlled by the @code{glyph-name-alist} property of the
2748 @internalsref{KeySignature} grob.
2752 In this manual: @ref{Pitches}, @ref{Cautionary accidentals}, and
2753 @ref{Automatic accidentals}, give a general introduction of the use of
2754 accidentals. @ref{Key signature}, gives a general introduction of
2755 the use of key signatures.
2757 Program reference: @internalsref{KeySignature}.
2759 Examples: @lsrdir{ancient}
2762 @subsection Ancient rests
2764 @cindex rests, ancient
2767 Use the @code{style} property of grob @internalsref{Rest} to select
2768 ancient rests. Supported styles are @code{classical},
2769 @code{neomensural}, and @code{mensural}. @code{classical} differs
2770 from the @code{default} style only in that the quarter rest looks like
2771 a horizontally mirrored 8th rest. The @code{neomensural} style suits
2772 well for, e.g., the incipit of a transcribed mensural piece of music.
2773 The @code{mensural} style finally mimics the appearance of rests as
2774 in historic prints of the 16th century.
2776 The following example demonstrates the @code{neomensural} style
2778 @lilypond[quote,fragment,ragged-right,verbatim]
2779 \set Score.skipBars = ##t
2780 \override Rest #'style = #'neomensural
2781 r\longa r\breve r1 r2 r4 r8 r16
2784 There are no 32th and 64th rests specifically for the mensural or
2785 neo-mensural style. Instead, the rests from the default style will be
2786 taken. See @lsr{pitches,rests} for a chart of all rests.
2788 There are no rests in Gregorian Chant notation; instead, it uses
2793 In this manual: @ref{Rests}, gives a general introduction into the use of
2798 @subsection Ancient clefs
2803 LilyPond supports a variety of clefs, many of them ancient.
2805 The following table shows all ancient clefs that are supported via the
2806 @code{\clef} command. Some of the clefs use the same glyph, but
2807 differ only with respect to the line they are printed on. In such
2808 cases, a trailing number in the name is used to enumerate these clefs.
2809 Still, you can manually force a clef glyph to be typeset on an
2810 arbitrary line, as described in @ref{Clef}. The note printed to the
2811 right side of each clef in the example column denotes the @code{c'}
2812 with respect to that clef.
2814 @multitable @columnfractions .4 .4 .2
2823 modern style mensural C clef
2825 @code{neomensural-c1}, @code{neomensural-c2},@*
2826 @code{neomensural-c3}, @code{neomensural-c4}
2828 @lilypond[fragment,relative=1,notime]
2829 \clef "neomensural-c2" c
2833 petrucci style mensural C clefs, for use on different staff lines
2834 (the examples show the 2nd staff line C clef)
2836 @code{petrucci-c1}, @code{petrucci-c2},@*
2837 @code{petrucci-c3}, @code{petrucci-c4},@*
2840 @lilypond[fragment,relative=1,notime]
2842 \override NoteHead #'style = #'mensural
2847 petrucci style mensural F clef
2851 @lilypond[fragment,relative=1,notime]
2853 \override NoteHead #'style = #'mensural
2858 petrucci style mensural G clef
2862 @lilypond[fragment,relative=1,notime]
2864 \override NoteHead #'style = #'mensural
2869 historic style mensural C clef
2871 @code{mensural-c1}, @code{mensural-c2},@*
2872 @code{mensural-c3}, @code{mensural-c4}
2874 @lilypond[fragment,relative=1,notime]
2876 \override NoteHead #'style = #'mensural
2881 historic style mensural F clef
2885 @lilypond[fragment,relative=1,notime]
2887 \override NoteHead #'style = #'mensural
2892 historic style mensural G clef
2896 @lilypond[fragment,relative=1,notime]
2898 \override NoteHead #'style = #'mensural
2903 Editio Vaticana style do clef
2905 @code{vaticana-do1}, @code{vaticana-do2},@*
2908 @lilypond[fragment,relative=1,notime]
2909 \override Staff.StaffSymbol #'line-count = #4
2910 \override Staff.StaffSymbol #'color = #red
2911 \override Staff.LedgerLineSpanner #'color = #red
2912 \override Voice.Stem #'transparent = ##t
2913 \override NoteHead #'style = #'vaticana.punctum
2914 \clef "vaticana-do2"
2919 Editio Vaticana style fa clef
2921 @code{vaticana-fa1}, @code{vaticana-fa2}
2923 @lilypond[fragment,relative=1,notime]
2924 \override Staff.StaffSymbol #'line-count = #4
2925 \override Staff.StaffSymbol #'color = #red
2926 \override Staff.LedgerLineSpanner #'color = #red
2927 \override Voice.Stem #'transparent = ##t
2928 \override NoteHead #'style = #'vaticana.punctum
2929 \clef "vaticana-fa2"
2934 Editio Medicaea style do clef
2936 @code{medicaea-do1}, @code{medicaea-do2},@*
2939 @lilypond[fragment,relative=1,notime]
2940 \override Staff.StaffSymbol #'line-count = #4
2941 \override Staff.StaffSymbol #'color = #red
2942 \override Staff.LedgerLineSpanner #'color = #red
2943 \override Voice.Stem #'transparent = ##t
2944 \override NoteHead #'style = #'medicaea.punctum
2945 \clef "medicaea-do2"
2950 Editio Medicaea style fa clef
2952 @code{medicaea-fa1}, @code{medicaea-fa2}
2954 @lilypond[fragment,relative=1,notime]
2955 \override Staff.StaffSymbol #'line-count = #4
2956 \override Staff.StaffSymbol #'color = #red
2957 \override Staff.LedgerLineSpanner #'color = #red
2958 \override Voice.Stem #'transparent = ##t
2959 \override NoteHead #'style = #'medicaea.punctum
2960 \clef "medicaea-fa2"
2965 historic style hufnagel do clef
2967 @code{hufnagel-do1}, @code{hufnagel-do2},@*
2970 @lilypond[fragment,relative=1,notime]
2971 \override Staff.StaffSymbol #'line-count = #4
2972 \override Staff.StaffSymbol #'color = #red
2973 \override Staff.LedgerLineSpanner #'color = #red
2974 \override Voice.Stem #'transparent = ##t
2975 \override NoteHead #'style = #'hufnagel.punctum
2976 \clef "hufnagel-do2"
2981 historic style hufnagel fa clef
2983 @code{hufnagel-fa1}, @code{hufnagel-fa2}
2985 @lilypond[fragment,relative=1,notime]
2986 \override Staff.StaffSymbol #'line-count = #4
2987 \override Staff.StaffSymbol #'color = #red
2988 \override Staff.LedgerLineSpanner #'color = #red
2989 \override Voice.Stem #'transparent = ##t
2990 \override NoteHead #'style = #'hufnagel.punctum
2991 \clef "hufnagel-fa2"
2996 historic style hufnagel combined do/fa clef
2998 @code{hufnagel-do-fa}
3000 @lilypond[fragment,relative=1,notime]
3001 \override Staff.StaffSymbol #'color = #red
3002 \override Staff.LedgerLineSpanner #'color = #red
3003 \override Voice.Stem #'transparent = ##t
3004 \override NoteHead #'style = #'hufnagel.punctum
3005 \clef "hufnagel-do-fa"
3012 @emph{Modern style} means @qq{as is typeset in contemporary editions of
3013 transcribed mensural music.}
3015 @emph{Petrucci style} means @qq{inspired by printings published by the
3016 famous engraver Petrucci (1466-1539).}
3018 @emph{Historic style} means @qq{as was typeset or written in historic
3019 editions (other than those of Petrucci).}
3021 @emph{Editio XXX style} means @qq{as is/was printed in Editio XXX.}
3023 Petrucci used C clefs with differently balanced left-side vertical
3024 beams, depending on which staff line it is printed.
3028 In this manual: see @ref{Clef}.
3032 The mensural g clef is mapped to the Petrucci g clef.
3037 @subsection Ancient flags
3042 Use the @code{flag-style} property of grob @internalsref{Stem} to
3043 select ancient flags. Besides the @code{default} flag style,
3044 only the @code{mensural} style is supported
3046 @lilypond[quote,fragment,ragged-right,verbatim]
3047 \override Stem #'flag-style = #'mensural
3048 \override Stem #'thickness = #1.0
3049 \override NoteHead #'style = #'mensural
3051 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
3052 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
3055 Note that the innermost flare of each mensural flag always is
3056 vertically aligned with a staff line.
3058 There is no particular flag style for neo-mensural notation. Hence,
3059 when typesetting the incipit of a transcribed piece of mensural
3060 music, the default flag style should be used. There are no flags in
3061 Gregorian Chant notation.
3065 The attachment of ancient flags to stems is slightly off due to a
3066 change in early 2.3.x.
3068 Vertically aligning each flag with a staff line assumes that stems
3069 always end either exactly on or exactly in the middle between two
3070 staff lines. This may not always be true when using advanced layout
3071 features of classical notation (which however are typically out of
3072 scope for mensural notation).
3074 @node Ancient time signatures
3075 @subsection Ancient time signatures
3077 @cindex time signatures
3080 There is limited support for mensural time signatures. The
3081 glyphs are hard-wired to particular time fractions. In other words,
3082 to get a particular mensural signature glyph with the @code{\time n/m}
3083 command, @code{n} and @code{m} have to be chosen according to the
3086 @lilypond[quote,ragged-right]
3091 \remove Staff_symbol_engraver
3092 \remove Clef_engraver
3093 \remove Time_signature_engraver
3097 \set Score.timing = ##f
3098 \set Score.barAlways = ##t
3099 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph
3100 #"timesig.neomensural44" }
3102 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph
3103 #"timesig.neomensural22" }
3105 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph
3106 #"timesig.neomensural64" }
3108 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph
3109 #"timesig.neomensural68" }
3111 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph
3112 #"timesig.neomensural32" }
3114 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph
3115 #"timesig.neomensural34" }
3117 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph
3118 #"timesig.neomensural94" }
3120 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph
3121 #"timesig.neomensural98" }
3123 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph
3124 #"timesig.neomensural48" }
3126 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph
3127 #"timesig.neomensural24" }
3131 Use the @code{style} property of grob @internalsref{TimeSignature} to
3132 select ancient time signatures. Supported styles are
3133 @code{neomensural} and @code{mensural}. The above table uses the
3134 @code{neomensural} style. This style is appropriate for the
3135 incipit of transcriptions of mensural pieces. The @code{mensural}
3136 style mimics the look of historical printings of the 16th century.
3138 The following examples show the differences in style,
3140 @lilypond[ragged-right,fragment,relative=1,quote]
3145 c1^\markup { \hspace #-2.0 \typewriter default }
3147 \override Staff.TimeSignature #'style = #'numbered
3149 c1^\markup { \hspace #-2.0 \typewriter numbered }
3151 \override Staff.TimeSignature #'style = #'mensural
3153 c1^\markup { \hspace #-2.0 \typewriter mensural }
3155 \override Staff.TimeSignature #'style = #'neomensural
3157 c1^\markup { \hspace #-2.0 \typewriter neomensural }
3158 \override Staff.TimeSignature #'style = #'single-digit
3160 c1^\markup { \hspace #-2.0 \typewriter single-digit }
3166 This manual: @ref{Time signature}, gives a general introduction to
3167 the use of time signatures.
3171 Ratios of note durations do not change with the time signature. For
3172 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
3173 be made by hand, by setting
3176 breveTP = #(ly:make-duration -1 0 3 2)
3182 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
3184 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
3185 addressable with @code{\time}. Use a @code{\markup} instead
3187 @node Ancient articulations
3188 @subsection Ancient articulations
3190 @cindex articulations
3192 In addition to the standard articulation signs described in section
3193 @ref{Articulations}, articulation signs for ancient notation are
3194 provided. These are specifically designed for use with notation in
3195 Editio Vaticana style.
3197 @lilypond[quote,ragged-right,verbatim]
3198 \include "gregorian-init.ly"
3200 \new VaticanaVoice {
3201 \override TextScript #'font-family = #'typewriter
3202 \override TextScript #'font-shape = #'upright
3203 \override Script #'padding = #-0.1
3204 a\ictus_"ictus" \break
3205 a\circulus_"circulus" \break
3206 a\semicirculus_"semicirculus" \break
3207 a\accentus_"accentus" \break
3208 \[ a_"episem" \episemInitium \pes b \flexa a b \episemFinis \flexa a \]
3215 Some articulations are vertically placed too closely to the
3216 correpsonding note heads.
3218 The episem line is not displayed in many cases. If it is displayed,
3219 the right end of the episem line is often too far to the right.
3222 @subsection Custodes
3227 A @emph{custos} (plural: @emph{custodes}; Latin word for @q{guard}) is a
3228 symbol that appears at the end of a staff. It anticipates the pitch
3229 of the first note(s) of the following line thus helping the performer
3230 to manage line breaks during performance.
3232 Custodes were frequently used in music notation until the 17th
3233 century. Nowadays, they have survived only in a few particular forms
3234 of musical notation such as contemporary editions of Gregorian chant
3235 like the @emph{editio vaticana}. There are different custos glyphs
3236 used in different flavors of notational style.
3238 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
3239 @internalsref{Staff} context when declaring the @code{\layout} block,
3240 as shown in the following example
3246 \consists Custos_engraver
3247 Custos \override #'style = #'mensural
3252 The result looks like this
3254 @lilypond[quote,ragged-right]
3258 \override Staff.Custos #'style = #'mensural
3263 \context { \Staff \consists Custos_engraver }
3268 The custos glyph is selected by the @code{style} property. The styles
3269 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
3270 @code{mensural}. They are demonstrated in the following fragment
3272 @lilypond[quote,ragged-right,fragment]
3273 \new Lyrics \lyricmode {
3275 \typewriter "vaticana"
3276 \line { " " \musicglyph #"custodes.vaticana.u0" }
3279 \typewriter "medicaea"
3280 \line { " " \musicglyph #"custodes.medicaea.u0" }
3283 \typewriter "hufnagel"
3284 \line { " " \musicglyph #"custodes.hufnagel.u0" }
3287 \typewriter "mensural"
3288 \line { " " \musicglyph #"custodes.mensural.u0" }
3295 Program reference: @internalsref{Custos}.
3298 @lsr{ancient,custodes@/.ly}.
3302 @subsection Divisiones
3308 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
3309 @q{division}) is a staff context symbol that is used to structure
3310 Gregorian music into phrases and sections. The musical meaning of
3311 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
3312 can be characterized as short, medium, and long pause, somewhat like
3313 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
3314 only marks the end of a chant, but is also frequently used within a
3315 single antiphonal/responsorial chant to mark the end of each section.
3318 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
3319 contains definitions that you can apply by just inserting
3320 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
3321 and @code{\finalis} at proper places in the input. Some editions use
3322 @emph{virgula} or @emph{caesura} instead of divisio minima.
3323 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
3326 @lilypondfile[quote,ragged-right]{divisiones.ly}
3334 @funindex \divisioMinima
3335 @code{\divisioMinima},
3336 @funindex \divisioMaior
3337 @code{\divisioMaior},
3338 @funindex \divisioMaxima
3339 @code{\divisioMaxima},
3345 In this manual: @ref{Breath marks}.
3347 Program reference: @internalsref{BreathingSign}.
3349 Examples: @lsr{expressive,breathing-sign.ly}.
3353 @subsection Ligatures
3357 @c TODO: Should double check if I recalled things correctly when I wrote
3358 @c down the following paragraph by heart.
3360 A ligature is a graphical symbol that represents at least two distinct
3361 notes. Ligatures originally appeared in the manuscripts of Gregorian
3362 chant notation to denote ascending or descending sequences of notes.
3364 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
3365 Some ligature styles may need additional input syntax specific for
3366 this particular type of ligature. By default, the
3367 @internalsref{LigatureBracket} engraver just puts a square bracket
3370 @lilypond[quote,ragged-right,verbatim]
3378 To select a specific style of ligatures, a proper ligature engraver
3379 has to be added to the @internalsref{Voice} context, as explained in
3380 the following subsections. Only white mensural ligatures
3381 are supported with certain limitations.
3387 Ligatures need special spacing that has not yet been implemented. As
3388 a result, there is too much space between ligatures most of the time,
3389 and line breaking often is unsatisfactory. Also, lyrics do not
3390 correctly align with ligatures.
3392 Accidentals must not be printed within a ligature, but instead need to
3393 be collected and printed in front of it.
3395 The syntax still uses the deprecated infix style @code{\[ music expr
3396 \]}. For consistency reasons, it will eventually be changed to
3397 postfix style @code{note\[ ... note\]}. Alternatively, the file
3398 @file{gregorian@/-init@/.ly} can be included; it provides a scheme
3401 \ligature @var{music expr}
3403 with the same effect and is believed to be stable.
3406 * White mensural ligatures::
3407 * Gregorian square neumes ligatures::
3410 @node White mensural ligatures
3411 @subsubsection White mensural ligatures
3413 @cindex Mensural ligatures
3414 @cindex White mensural ligatures
3416 There is limited support for white mensural ligatures.
3418 To engrave white mensural ligatures, in the layout block put the
3419 @internalsref{Mensural_ligature_engraver} into the
3420 @internalsref{Voice} context, and remove the
3421 @internalsref{Ligature_bracket_engraver}, like this
3427 \remove Ligature_bracket_engraver
3428 \consists Mensural_ligature_engraver
3433 There is no additional input language to describe the shape of a
3434 white mensural ligature. The shape is rather determined solely from
3435 the pitch and duration of the enclosed notes. While this approach may
3436 take a new user a while to get accustomed to, it has the great advantage
3437 that the full musical information of the ligature is known internally.
3438 This is not only required for correct MIDI output, but also allows for
3439 automatic transcription of the ligatures.
3444 \set Score.timing = ##f
3445 \set Score.defaultBarType = "empty"
3446 \override NoteHead #'style = #'neomensural
3447 \override Staff.TimeSignature #'style = #'neomensural
3450 \[ d\longa c\breve f e d \]
3451 \[ c'\maxima d'\longa \]
3454 @lilypond[quote,ragged-right]
3457 \set Score.timing = ##f
3458 \set Score.defaultBarType = "empty"
3459 \override NoteHead #'style = #'neomensural
3460 \override Staff.TimeSignature #'style = #'neomensural
3463 \[ d\longa c\breve f e d \]
3464 \[ c'\maxima d'\longa \]
3470 \remove Ligature_bracket_engraver
3471 \consists Mensural_ligature_engraver
3477 Without replacing @internalsref{Ligature_bracket_engraver} with
3478 @internalsref{Mensural_ligature_engraver}, the same music transcribes
3481 @lilypond[quote,ragged-right]
3483 \set Score.timing = ##f
3484 \set Score.defaultBarType = "empty"
3485 \override NoteHead #'style = #'neomensural
3486 \override Staff.TimeSignature #'style = #'neomensural
3489 \[ d\longa c\breve f e d \]
3490 \[ c'\maxima d'\longa \]
3497 Horizontal spacing is poor.
3499 @node Gregorian square neumes ligatures
3500 @subsubsection Gregorian square neumes ligatures
3502 @cindex Square neumes ligatures
3503 @cindex Gregorian square neumes ligatures
3505 There is limited support for Gregorian square neumes notation
3506 (following the style of the Editio Vaticana). Core ligatures can
3507 already be typeset, but essential issues for serious typesetting are
3508 still lacking, such as (among others) horizontal alignment of multiple
3509 ligatures, lyrics alignment and proper handling of accidentals.
3512 The following table contains the extended neumes table of the 2nd
3513 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
3514 1983 by the monks of Solesmes.
3516 @multitable @columnfractions .4 .2 .2 .2
3533 @c TODO: \layout block is identical in all of the below examples.
3534 @c Therefore, it should somehow be included rather than duplicated all
3537 @c why not make identifiers in ly/engraver-init.ly? --hwn
3539 @c Because it's just used to typeset plain notes without
3540 @c a staff for demonstration purposes rather than something
3541 @c special of Gregorian chant notation. --jr
3546 @lilypond[staffsize=26,line-width=1.5\cm]
3547 \include "gregorian-init.ly"
3552 \noBreak s^\markup {"a"} \noBreak
3554 % Punctum Inclinatum
3556 \noBreak s^\markup {"b"}
3558 \layout { \neumeDemoLayout }}
3561 @lilypond[staffsize=26,line-width=2.5\cm]
3562 \include "gregorian-init.ly"
3565 % Punctum Auctum Ascendens
3566 \[ \auctum \ascendens b \]
3567 \noBreak s^\markup {"c"} \noBreak
3569 % Punctum Auctum Descendens
3570 \[ \auctum \descendens b \]
3571 \noBreak s^\markup {"d"} \noBreak
3573 % Punctum Inclinatum Auctum
3574 \[ \inclinatum \auctum b \]
3575 \noBreak s^\markup {"e"}
3577 \layout { \neumeDemoLayout }}
3580 @lilypond[staffsize=26,line-width=1.0\cm]
3581 \include "gregorian-init.ly"
3584 % Punctum Inclinatum Parvum
3585 \[ \inclinatum \deminutum b \]
3586 \noBreak s^\markup {"f"}
3588 \layout { \neumeDemoLayout }}
3594 @lilypond[staffsize=26,line-width=1.0\cm]
3595 \include "gregorian-init.ly"
3600 \noBreak s^\markup {"g"}
3602 \layout { \neumeDemoLayout }}
3608 @code{3. Apostropha vel Stropha}
3610 @lilypond[staffsize=26,line-width=1.0\cm]
3611 \include "gregorian-init.ly"
3616 \noBreak s^\markup {"h"}
3618 \layout { \neumeDemoLayout }}
3621 @lilypond[staffsize=26,line-width=1.0\cm]
3622 \include "gregorian-init.ly"
3626 \[ \stropha \auctum b \]
3627 \noBreak s^\markup {"i"}
3629 \layout { \neumeDemoLayout }}
3636 @lilypond[staffsize=26,line-width=1.0\cm]
3637 \include "gregorian-init.ly"
3642 \noBreak s^\markup {"j"}
3644 \layout { \neumeDemoLayout }}
3650 @code{5. Clivis vel Flexa}
3652 @lilypond[staffsize=26,line-width=1.0\cm]
3653 \include "gregorian-init.ly"
3660 \layout { \neumeDemoLayout }}
3663 @lilypond[staffsize=26,line-width=2.0\cm]
3664 \include "gregorian-init.ly"
3667 % Clivis Aucta Descendens
3668 \[ b \flexa \auctum \descendens g \]
3669 \noBreak s^\markup {"l"} \noBreak
3671 % Clivis Aucta Ascendens
3672 \[ b \flexa \auctum \ascendens g \]
3673 \noBreak s^\markup {"m"}
3675 \layout { \neumeDemoLayout }}
3678 @lilypond[staffsize=26,line-width=1.0\cm]
3679 \include "gregorian-init.ly"
3683 \[ b \flexa \deminutum g \]
3686 \layout { \neumeDemoLayout }}
3690 @code{6. Podatus vel Pes}
3692 @lilypond[staffsize=26,line-width=1.0\cm]
3693 \include "gregorian-init.ly"
3700 \layout { \neumeDemoLayout }}
3703 @lilypond[staffsize=26,line-width=2.0\cm]
3704 \include "gregorian-init.ly"
3707 % Pes Auctus Descendens
3708 \[ g \pes \auctum \descendens b \]
3709 \noBreak s^\markup {"p"} \noBreak
3711 % Pes Auctus Ascendens
3712 \[ g \pes \auctum \ascendens b \]
3713 \noBreak s^\markup {"q"}
3715 \layout { \neumeDemoLayout }}
3718 @lilypond[staffsize=26,line-width=1.0\cm]
3719 \include "gregorian-init.ly"
3723 \[ g \pes \deminutum b \]
3726 \layout { \neumeDemoLayout }}
3730 @code{7. Pes Quassus}
3732 @lilypond[staffsize=26,line-width=1.0\cm]
3733 \include "gregorian-init.ly"
3737 \[ \oriscus g \pes \virga b \]
3740 \layout { \neumeDemoLayout }}
3743 @lilypond[staffsize=26,line-width=1.0\cm]
3744 \include "gregorian-init.ly"
3747 % Pes Quassus Auctus Descendens
3748 \[ \oriscus g \pes \auctum \descendens b \]
3751 \layout { \neumeDemoLayout }}
3756 @code{8. Quilisma Pes}
3758 @lilypond[staffsize=26,line-width=1.0\cm]
3759 \include "gregorian-init.ly"
3763 \[ \quilisma g \pes b \]
3766 \layout { \neumeDemoLayout }}
3769 @lilypond[staffsize=26,line-width=1.0\cm]
3770 \include "gregorian-init.ly"
3773 % Quilisma Pes Auctus Descendens
3774 \[ \quilisma g \pes \auctum \descendens b \]
3777 \layout { \neumeDemoLayout }}
3782 @code{9. Podatus Initio Debilis}
3784 @lilypond[staffsize=26,line-width=1.0\cm]
3785 \include "gregorian-init.ly"
3788 % Pes Initio Debilis
3789 \[ \deminutum g \pes b \]
3792 \layout { \neumeDemoLayout }}
3795 @lilypond[staffsize=26,line-width=1.0\cm]
3796 \include "gregorian-init.ly"
3799 % Pes Auctus Descendens Initio Debilis
3800 \[ \deminutum g \pes \auctum \descendens b \]
3803 \layout { \neumeDemoLayout }}
3810 @lilypond[staffsize=26,line-width=1.0\cm]
3811 \include "gregorian-init.ly"
3815 \[ a \pes b \flexa g \]
3818 \layout { \neumeDemoLayout }}
3821 @lilypond[staffsize=26,line-width=1.0\cm]
3822 \include "gregorian-init.ly"
3825 % Torculus Auctus Descendens
3826 \[ a \pes b \flexa \auctum \descendens g \]
3829 \layout { \neumeDemoLayout }}
3832 @lilypond[staffsize=26,line-width=1.0\cm]
3833 \include "gregorian-init.ly"
3836 % Torculus Deminutus
3837 \[ a \pes b \flexa \deminutum g \]
3840 \layout { \neumeDemoLayout }}
3844 @code{11. Torculus Initio Debilis}
3846 @lilypond[staffsize=26,line-width=1.0\cm]
3847 \include "gregorian-init.ly"
3850 % Torculus Initio Debilis
3851 \[ \deminutum a \pes b \flexa g \]
3854 \layout { \neumeDemoLayout }}
3857 @lilypond[staffsize=26,line-width=1.0\cm]
3858 \include "gregorian-init.ly"
3861 % Torculus Auctus Descendens Initio Debilis
3862 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
3865 \layout { \neumeDemoLayout }}
3868 @lilypond[staffsize=26,line-width=1.0\cm]
3869 \include "gregorian-init.ly"
3872 % Torculus Deminutus Initio Debilis
3873 \[ \deminutum a \pes b \flexa \deminutum g \]
3876 \layout { \neumeDemoLayout }}
3880 @code{12. Porrectus}
3882 @lilypond[staffsize=26,line-width=1.0\cm]
3883 \include "gregorian-init.ly"
3887 \[ a \flexa g \pes b \]
3890 \layout { \neumeDemoLayout }}
3893 @lilypond[staffsize=26,line-width=1.0\cm]
3894 \include "gregorian-init.ly"
3897 % Porrectus Auctus Descendens
3898 \[ a \flexa g \pes \auctum \descendens b \]
3901 \layout { \neumeDemoLayout }}
3904 @lilypond[staffsize=26,line-width=1.0\cm]
3905 \include "gregorian-init.ly"
3908 % Porrectus Deminutus
3909 \[ a \flexa g \pes \deminutum b \]
3912 \layout { \neumeDemoLayout }}
3918 @lilypond[staffsize=26,line-width=1.0\cm]
3919 \include "gregorian-init.ly"
3923 \[ \virga b \inclinatum a \inclinatum g \]
3926 \layout { \neumeDemoLayout }
3930 @lilypond[staffsize=26,line-width=1.0\cm]
3931 \include "gregorian-init.ly"
3935 \[ \virga b \inclinatum a \inclinatum \auctum g \]
3938 \layout { \neumeDemoLayout }}
3941 @lilypond[staffsize=26,line-width=1.0\cm]
3942 \include "gregorian-init.ly"
3945 % Climacus Deminutus
3946 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
3949 \layout { \neumeDemoLayout }}
3953 @code{14. Scandicus}
3955 @lilypond[staffsize=26,line-width=1.0\cm]
3956 \include "gregorian-init.ly"
3960 \[ g \pes a \virga b \]
3963 \layout { \neumeDemoLayout }}
3966 @lilypond[staffsize=26,line-width=1.0\cm]
3967 \include "gregorian-init.ly"
3970 % Scandicus Auctus Descendens
3971 \[ g \pes a \pes \auctum \descendens b \]
3974 \layout { \neumeDemoLayout }}
3977 @lilypond[staffsize=26,line-width=1.0\cm]
3978 \include "gregorian-init.ly"
3981 % Scandicus Deminutus
3982 \[ g \pes a \pes \deminutum b \]
3985 \layout { \neumeDemoLayout }}
3991 @lilypond[staffsize=26,line-width=1.0\cm]
3992 \include "gregorian-init.ly"
3996 \[ g \oriscus a \pes \virga b \]
3999 \layout { \neumeDemoLayout }}
4002 @lilypond[staffsize=26,line-width=1.0\cm]
4003 \include "gregorian-init.ly"
4006 % Salicus Auctus Descendens
4007 \[ g \oriscus a \pes \auctum \descendens b \]
4010 \layout { \neumeDemoLayout }}
4017 @lilypond[staffsize=26,line-width=1.0\cm]
4018 \include "gregorian-init.ly"
4022 \[ \stropha b \stropha b \stropha a \]
4025 \layout { \neumeDemoLayout }
4034 Unlike most other neumes notation systems, the input language for
4035 neumes does not reflect the typographical appearance, but is designed
4036 to focus on musical meaning. For example, @code{\[ a \pes b
4037 \flexa g \]} produces a Torculus consisting of three Punctum heads,
4038 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
4039 curved flexa shape and only a single Punctum head. There is no
4040 command to explicitly typeset the curved flexa shape; the decision of
4041 when to typeset a curved flexa shape is based on the musical
4042 input. The idea of this approach is to separate the musical aspects
4043 of the input from the notation style of the output. This way, the
4044 same input can be reused to typeset the same music in a different
4045 style of Gregorian chant notation.
4047 The following table shows the code fragments that produce the
4048 ligatures in the above neumes table. The letter in the first column
4049 in each line of the below table indicates to which ligature in the
4050 above table it refers. The second column gives the name of the
4051 ligature. The third column shows the code fragment that produces this
4052 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
4054 @multitable @columnfractions .02 .31 .67
4074 @code{\[ \inclinatum b \]}
4082 @code{\[ \auctum \ascendens b \]}
4090 @code{\[ \auctum \descendens b \]}
4095 Punctum Inclinatum@*
4098 @code{\[ \inclinatum \auctum b \]}
4103 Punctum Inclinatum@*
4105 @code{\[ \inclinatum \deminutum b \]}
4112 @code{\[ \virga b \]}
4119 @code{\[ \stropha b \]}
4126 @code{\[ \stropha \auctum b \]}
4133 @code{\[ \oriscus b \]}
4140 @code{\[ b \flexa g \]}
4148 @code{\[ b \flexa \auctum \descendens g \]}
4156 @code{\[ b \flexa \auctum \ascendens g \]}
4163 @code{\[ b \flexa \deminutum g \]}
4170 @code{\[ g \pes b \]}
4178 @code{\[ g \pes \auctum \descendens b \]}
4186 @code{\[ g \pes \auctum \ascendens b \]}
4193 @code{\[ g \pes \deminutum b \]}
4200 @code{\[ \oriscus g \pes \virga b \]}
4206 Auctus Descendens @tab
4207 @code{\[ \oriscus g \pes \auctum \descendens b \]}
4214 @code{\[ \quilisma g \pes b \]}
4222 @code{\[ \quilisma g \pes \auctum \descendens b \]}
4229 @code{\[ \deminutum g \pes b \]}
4234 Pes Auctus Descendens@*
4237 @code{\[ \deminutum g \pes \auctum \descendens b \]}
4244 @code{\[ a \pes b \flexa g \]}
4252 @code{\[ a \pes b \flexa \auctum \descendens g \]}
4259 @code{\[ a \pes b \flexa \deminutum g \]}
4264 Torculus Initio Debilis
4266 @code{\[ \deminutum a \pes b \flexa g \]}
4272 Descendens Initio Debilis
4274 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
4279 Torculus Deminutus@*
4282 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
4289 @code{\[ a \flexa g \pes b \]}
4297 @code{\[ a \flexa g \pes \auctum \descendens b \]}
4304 @code{\[ a \flexa g \pes \deminutum b \]}
4311 @code{\[ \virga b \inclinatum a \inclinatum g \]}
4318 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
4325 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
4332 @code{\[ g \pes a \virga b \]}
4340 @code{\[ g \pes a \pes \auctum \descendens b \]}
4347 @code{\[ g \pes a \pes \deminutum b \]}
4354 @code{\[ g \oriscus a \pes \virga b \]}
4359 Salicus Auctus Descendens
4361 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
4368 @code{\[ \stropha b \stropha b \stropha a \]}
4371 The ligatures listed above mainly serve as a limited, but still
4372 representative pool of Gregorian ligature examples. Virtually, within
4373 the ligature delimiters @code{\[} and @code{\]}, any number of heads
4374 may be accumulated to form a single ligature, and head prefixes like
4375 @code{\pes}, @code{\flexa}, @code{\virga}, @code{\inclinatum},
4376 etc. may be mixed in as desired. The use of the set of rules that
4377 underlies the construction of the ligatures in the above table is
4378 accordingly extrapolated. This way, infinitely many different
4379 ligatures can be created.
4381 Augmentum dots, also called @emph{morae}, are added with the music
4382 function @code{\augmentum}. Note that @code{\augmentum} is
4383 implemented as a unary music function rather than as head prefix. It
4384 applies to the immediately following music expression only. That is,
4385 @code{\augmentum \virga c} will have no visible effect. Instead, say
4386 @code{\virga \augmentum c} or @code{\augmentum @{\virga c@}}. Also
4387 note that you can say @code{\augmentum @{a g@}} as a shortcut for
4388 @code{\augmentum a \augmentum g}.
4390 @lilypond[quote,ragged-right,verbatim]
4391 \include "gregorian-init.ly"
4393 \new VaticanaVoice {
4394 \[ \augmentum a \flexa \augmentum g \]
4402 The following head prefixes are supported
4408 @funindex \inclinatum
4412 @funindex \descendens
4414 @funindex \ascendens
4420 @funindex \deminutum
4427 Head prefixes can be accumulated, though restrictions apply. For
4428 example, either @code{\descendens} or @code{\ascendens} can be applied
4429 to a head, but not both to the same head.
4433 Two adjacent heads can be tied together with the @code{\pes} and
4434 @code{\flexa} infix commands for a rising and falling line of melody,
4437 @funindex \augmentum
4438 Use the unary music function @code{\augmentum} to add augmentum dots.
4442 When an @code{\augmentum} dot appears at the end of the last staff
4443 within a ligature, it is sometimes vertically placed wrong. As a
4444 workaround, add an additional skip note (e.g. @code{s8}) as last note
4447 @code{\augmentum} should be implemented as a head prefix rather than a
4448 unary music function, such that @code{\augmentum} can be intermixed
4449 with head prefixes in arbitrary order.
4451 @node Gregorian Chant contexts
4452 @subsection Gregorian Chant contexts
4454 @cindex VaticanaVoiceContext
4455 @cindex VaticanaStaffContext
4457 The predefined @code{VaticanaVoiceContext} and
4458 @code{VaticanaStaffContext} can be used to engrave a piece of
4459 Gregorian Chant in the style of the Editio Vaticana. These contexts
4460 initialize all relevant context properties and grob properties to
4461 proper values, so you can immediately go ahead entering the chant, as
4462 the following excerpt demonstrates
4464 @lilypond[quote,ragged-right,packed,verbatim]
4465 \include "gregorian-init.ly"
4468 \new VaticanaVoice = "cantus" {
4469 \[ c'\melisma c' \flexa a \]
4470 \[ a \flexa \deminutum g\melismaEnd \]
4472 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
4473 c' \divisioMinima \break
4474 \[ c'\melisma c' \flexa a \]
4475 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
4477 \new Lyrics \lyricsto "cantus" {
4478 San- ctus, San- ctus, San- ctus
4485 @node Mensural contexts
4486 @subsection Mensural contexts
4488 @cindex MensuralVoiceContext
4489 @cindex MensuralStaffContext
4491 The predefined @code{MensuralVoiceContext} and
4492 @code{MensuralStaffContext} can be used to engrave a piece in mensural
4493 style. These contexts initialize all relevant context properties and
4494 grob properties to proper values, so you can immediately go ahead
4495 entering the chant, as the following excerpt demonstrates
4497 @lilypond[quote,ragged-right,verbatim]
4500 \new MensuralVoice = "discantus" \transpose c c' {
4501 \override Score.BarNumber #'transparent = ##t {
4502 c'1\melisma bes a g\melismaEnd
4504 \[ f1\melisma a c'\breve d'\melismaEnd \]
4506 c'\breve\melisma a1 g1\melismaEnd
4507 fis\longa^\signumcongruentiae
4510 \new Lyrics \lyricsto "discantus" {
4511 San -- ctus, San -- ctus, San -- ctus
4517 @node Musica ficta accidentals
4518 @subsection Musica ficta accidentals
4520 In European music from before about 1600, singers were often expected
4521 to chromatically alter notes at their own initiative. This is called
4522 @q{Musica Ficta}. In modern transcriptions, these accidentals are
4523 usually printed over the note.
4525 @cindex Accidental, musica ficta
4526 @cindex Musica ficta
4528 Support for such suggested accidentals is included, and can be
4529 switched on by setting @code{suggestAccidentals} to true.
4531 @funindex suggestAccidentals
4533 @lilypond[verbatim,fragment,relative=1]
4535 \set suggestAccidentals = ##t
4541 Program reference: @internalsref{Accidental_engraver} engraver and the
4542 @internalsref{AccidentalSuggestion} object.
4545 @subsection Figured bass
4547 @cindex Basso continuo
4549 @c TODO: musicological blurb about FB
4552 LilyPond has support for figured bass
4554 @lilypond[quote,ragged-right,verbatim,fragment]
4556 \new Voice { \clef bass dis4 c d ais g fis}
4557 \new FiguredBass \figuremode {
4558 < 6 >4 < 7\+ >8 < 6+ [_!] >
4565 The support for figured bass consists of two parts: there is an input
4566 mode, introduced by @code{\figuremode}, where you can enter bass figures
4567 as numbers, and there is a context called @internalsref{FiguredBass} that
4568 takes care of making @internalsref{BassFigure} objects.
4570 In figures input mode, a group of bass figures is delimited by
4571 @code{<} and @code{>}. The duration is entered after the @code{>}
4575 @lilypond[quote,ragged-right,fragment]
4577 \figuremode { <4 6> }
4580 Accidentals are added when you append @code{-}, @code{!}, and @code{+}
4581 to the numbers. A plus sign is added when you append @code{\+}, and
4582 diminished fifths and sevenths can be obtained with @code{5/} and @code{7/}.
4585 <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/>
4587 @lilypond[quote,ragged-right,fragment]
4588 \figures { <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/> }
4591 Spaces may be inserted by using @code{_}. Brackets are
4592 introduced with @code{[} and @code{]}. You can also include text
4593 strings and text markups, see @ref{Overview of text markup commands}.
4596 < [4 6] 8 [_! 12] > < 5 \markup @{ \number 6 \super (1) @} >
4598 @lilypond[quote,ragged-right,fragment]
4600 \figuremode { < [4 6] 8 [_! 12] > < 5 \markup{ \tiny \number 6 \super (1)} > }
4604 It is also possible to use continuation lines for repeated figures,
4606 @lilypond[verbatim,relative=1]
4613 \set useBassFigureExtenders = ##t
4620 In this case, the extender lines always replace existing figures.
4622 The @code{FiguredBass} context doesn't pay attention to the actual
4623 bass line. As a consequence, you may have to insert extra figures to
4624 get extender lines below all notes, and you may have to add @code{\!}
4625 to avoid getting an extender line, e.g.
4627 @lilypond[relative=1]
4631 \set useBassFigureExtenders = ##t
4632 <6 4->4. <6 4->16. <6 4->32 <5>8. r16 <6>8 <6\! 5->
4636 f16. g32 f16. g32 f16. g32 f16. g32 f8. es16 d8 es
4641 When using continuation lines, common figures are always put in the
4642 same vertical position. When this is unwanted, you can insert a rest
4643 with @code{r}. The rest will clear any previous alignment. For
4644 example, you can write
4656 Accidentals and plus signs can appear before or after the numbers,
4657 depending on the @code{figuredBassAlterationDirection} and
4658 @code{figuredBassPlusDirection}
4664 \set figuredBassAlterationDirection = #1
4666 \set figuredBassPlusDirection = #1
4668 \set figuredBassAlterationDirection = #-1
4674 Although the support for figured bass may superficially resemble chord
4675 support, it is much simpler. The @code{\figuremode} mode simply
4676 stores the numbers and @internalsref{FiguredBass} context prints them
4677 as entered. There is no conversion to pitches and no realizations of
4678 the bass are played in the MIDI file.
4680 Internally, the code produces markup texts. You can use any of the
4681 markup text properties to override formatting. For example, the
4682 vertical spacing of the figures may be set with @code{baseline-skip}.
4685 Figured bass can also be added to @code{Staff} contexts
4686 directly. In this case, their vertical position is adjusted
4689 @lilypond[ragged-right,fragment,quote]
4691 \new Staff = someUniqueName
4696 %% send to existing Staff.
4697 \context Staff = someUniqueName
4701 \set Staff.useBassFigureExtenders = ##t
4710 By default, this method produces figures above the notes. To get
4711 figures below the notes, use
4714 \override Staff.BassFigureAlignmentPositioning #'direction = #DOWN
4720 When using figured bass above the staff with extender lines and
4721 @code{implicitBassFigures} the lines may become swapped around.
4722 Maintaining order consistently will be impossible when multiple figures
4723 have overlapping extender lines. To avoid this problem, please
4724 use @code{stacking-dir} on @code{BassFigureAlignment}.
4729 Program reference: @internalsref{NewBassFigure},
4730 @internalsref{BassFigureAlignment}, @internalsref{BassFigureLine},
4731 @internalsref{BassFigureBracket}, and
4732 @internalsref{BassFigureContinuation} objects and
4733 @internalsref{FiguredBass} context.
4737 @node Other instrument specific notation
4738 @section Other instrument specific notation
4740 This section includes extra information for writing for instruments.
4743 * Artificial harmonics (strings)::
4746 @node Artificial harmonics (strings)
4747 @subsection Artificial harmonics (strings)
4749 @cindex artificial harmonics
4751 Artificial harmonics are notated with a different notehead style. They
4752 are entered by marking the harmonic pitch with @code{\harmonic}.
4754 @lilypond[ragged-right,verbatim,quote,fragment,relative=1]