1 @c -*- coding: latin-1; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
8 @node Instrument-specific notation
9 @chapter Instrument-specific notation
11 This chapter explains how to use notation for specific instruments.
20 * Other instrument specific notation::
28 Piano staves are two normal staves coupled with a brace. The staves
29 are largely independent, but sometimes voices can cross between the
30 two staves. The same notation is also used for harps and other key
31 @c Is this `harp' or `harpsichord'?
33 instruments. The @internalsref{PianoStaff} is especially built to
34 handle this cross-staffing behavior. In this section we discuss the
35 @internalsref{PianoStaff} and some other pianistic peculiarities.
39 * Automatic staff changes::
40 * Manual staff switches::
42 * Staff switch lines::
48 Dynamics are not centered, but workarounds do exist. See the
49 ``piano centered dynamics'' template in @ref{Piano templates}.
51 @cindex cross staff stem
52 @cindex stem, cross staff
53 @cindex distance between staves in piano music
55 The distance between the two staves is the same for all systems in the
56 score. It is possible to override this per system, but it does require
57 an arcane command incantation. See
58 @inputfileref{input/@/test,piano@/-staff@/-distance@/.ly}.
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,raggedright]
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}.
119 Internally, the @code{\partcombine} interprets both arguments as
120 @code{Voice}s named @code{one} and @code{two}, and then decides when
121 the parts can be combined. Consequently, if the arguments switch to
122 differently named @internalsref{Voice} contexts, the events in those
126 @node Manual staff switches
127 @subsection Manual staff switches
129 @cindex manual staff switches
130 @cindex staff switch, manual
132 Voices can be switched between staves manually, using the command
134 \change Staff = @var{staffname} @var{music}
138 The string @var{staffname} is the name of the staff. It switches the
139 current voice from its current staff to the Staff called
140 @var{staffname}. Typically @var{staffname} is @code{"up"} or
141 @code{"down"}. The @context{Staff} referred to must already exist, so
142 usually the setup for a score will start with a setup of the staves,
146 \context Staff = up @{
147 \skip 1 * 10 % @emph{keep staff alive}
149 \context Staff = down @{
150 \skip 1 * 10 % @emph{idem}
156 and the @context{Voice} is inserted afterwards
159 \context Staff = down
160 \new Voice @{ @dots{} \change Staff = up @dots{} @}
168 Pianos have pedals that alter the way sound is produced. Generally, a
169 piano has three pedals, sustain, una corda, and sostenuto.
172 Piano pedal instruction can be expressed by attaching
173 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
174 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
177 @lilypond[quote,raggedright,fragment,verbatim]
178 c'4\sustainDown c'4\sustainUp
181 What is printed can be modified by setting @code{pedal@var{X}Strings},
182 where @var{X} is one of the pedal types: @code{Sustain},
183 @code{Sostenuto} or @code{UnaCorda}. Refer to
184 @internalsref{SustainPedal} in the program reference for more
187 Pedals can also be indicated by a sequence of brackets, by setting the
188 @code{pedalSustainStyle} property to bracket objects
190 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
191 \set Staff.pedalSustainStyle = #'bracket
193 b\sustainUp\sustainDown
194 b g \sustainUp a \sustainDown \bar "|."
197 A third style of pedal notation is a mixture of text and brackets,
198 obtained by setting the @code{pedalSustainStyle} property to
201 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
202 \set Staff.pedalSustainStyle = #'mixed
204 b\sustainUp\sustainDown
205 b g \sustainUp a \sustainDown \bar "|."
208 The default `*Ped.' style for sustain and damper pedals corresponds to
209 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
212 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
213 c\sostenutoDown d e c, f g a\sostenutoUp
216 For fine-tuning the appearance of a pedal bracket, the properties
217 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
218 @code{PianoPedalBracket} objects (see
219 @internalsref{PianoPedalBracket} in the Program reference) can be
220 modified. For example, the bracket may be extended to the right edge
223 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
224 \override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
225 c\sostenutoDown d e c, f g a\sostenutoUp
228 @node Staff switch lines
229 @subsection Staff switch lines
233 @cindex staff switching
236 @cindex @code{followVoice}
238 Whenever a voice switches to another staff, a line connecting the notes
239 can be printed automatically. This is switched on by setting
240 @code{followVoice} to true
242 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
245 \set followVoice = ##t
250 \context Staff=two { \clef bass \skip 1*2 }
256 Program reference: @internalsref{VoiceFollower}.
260 @cindex @code{\showStaffSwitch}
261 @code{\showStaffSwitch},
262 @cindex @code{\hideStaffSwitch}
263 @code{\hideStaffSwitch}.
266 @node Cross staff stems
267 @subsection Cross staff stems
269 Chords that cross staves may be produced by increasing the length
270 of the stem in the lower staff, so it reaches the stem in the upper
271 staff, or vice versa.
273 @lilypond[raggedright,verbatim,quote]
274 stemExtend = \once \override Stem #'length = #22
275 noFlag = \once \override Stem #'flag-style = #'no-flag
276 \context PianoStaff <<
278 \stemDown \stemExtend
295 * Introducing chord names::
297 * Printing chord names::
301 @c awkward name; awkward section name.
302 @c still, the Basic "chords" seems like a good name... :(
303 @node Introducing chord names
304 @subsection Introducing chord names
307 LilyPond has support for printing chord names. Chords may be entered
308 in musical chord notation, i.e., @code{< .. >}, but they can also be
309 entered by name. Internally, the chords are represented as a set of
310 pitches, so they can be transposed
313 @lilypond[quote,raggedright,verbatim,raggedright]
314 twoWays = \transpose c c' {
323 << \context ChordNames \twoWays
324 \context Voice \twoWays >>
327 This example also shows that the chord printing routines do not try to
328 be intelligent. The last chord (@code{f bes d}) is not interpreted as
333 @subsection Chords mode
336 In chord mode sets of pitches (chords) are entered with normal note
337 names. A chord is entered by the root, which is entered like a
340 @lilypond[quote,raggedright,fragment,verbatim]
341 \chordmode { es4. d8 c2 }
345 The mode is introduced by the keyword @code{\chordmode}.
350 Other chords may be entered by suffixing a colon and introducing a
351 modifier (which may include a number if desired)
352 @lilypond[quote,fragment,verbatim]
353 \chordmode { e1:m e1:7 e1:m7 }
355 The first number following the root is taken to be the `type' of the
356 chord, thirds are added to the root until it reaches the specified
358 @lilypond[quote,fragment,verbatim]
359 \chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
362 @cindex root of chord
363 @cindex additions, in chords
364 @cindex removals, in chords
366 More complex chords may also be constructed adding separate steps
367 to a chord. Additions are added after the number following
368 the colon and are separated by dots
369 @lilypond[quote,verbatim,fragment]
370 \chordmode { c:5.6 c:3.7.8 c:3.6.13 }
372 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
374 @lilypond[quote,verbatim,fragment]
375 \chordmode { c:7+ c:5+.3- c:3-.5-.7- }
377 Removals are specified similarly and are introduced by a caret. They
378 must come after the additions
379 @lilypond[quote,verbatim,fragment]
380 \chordmode { c^3 c:7^5 c:9^3.5 }
383 Modifiers can be used to change pitches. The following modifiers are
388 The minor chord. This modifier lowers the 3rd and (if present) the 7th step.
391 The diminished chord. This modifier lowers the 3rd, 5th and (if present)
395 The augmented chord. This modifier raises the 5th step.
398 The major 7th chord. This modifier raises the 7th step if present.
401 The suspended 4th or 2nd. This modifier removes the 3rd
402 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
406 Modifiers can be mixed with additions
407 @lilypond[quote,verbatim,fragment]
408 \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
411 @cindex modifiers, in chords.
418 Since an unaltered 11 does not sound good when combined with an
419 unaltered 3, the 11 is removed in this case (unless it is added
421 @lilypond[quote,raggedright,fragment,verbatim]
422 \chordmode { c:13 c:13.11 c:m13 }
427 An inversion (putting one pitch of the chord on the bottom), as well
428 as bass notes, can be specified by appending
429 @code{/}@var{pitch} to the chord
430 @lilypond[quote,raggedright,fragment,verbatim]
431 \chordmode { c1 c/g c/f }
435 A bass note can be added instead transposed out of the chord,
436 by using @code{/+}@var{pitch}.
438 @lilypond[quote,raggedright,fragment,verbatim]
439 \chordmode { c1 c/+g c/+f }
442 Chords is a mode similar to @code{\lyricmode}, etc. Most
443 of the commands continue to work, for example, @code{r} and
444 @code{\skip} can be used to insert rests and spaces, and property
445 commands may be used to change various settings.
451 Each step can only be present in a chord once. The following
452 simply produces the augmented chord, since @code{5+} is interpreted
455 @lilypond[quote,raggedright,verbatim,fragment]
456 \chordmode { c:5.5-.5+ }
460 @node Printing chord names
461 @subsection Printing chord names
463 @cindex printing chord names
467 For displaying printed chord names, use the @internalsref{ChordNames} context.
468 The chords may be entered either using the notation
469 described above, or directly using @code{<} and @code{>}
471 @lilypond[quote,verbatim,raggedright]
473 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
476 \context ChordNames \harmonies
477 \context Staff \harmonies
481 You can make the chord changes stand out by setting
482 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
483 display chord names when there is a change in the chords scheme and at
484 the start of a new line
486 @lilypond[quote,verbatim,raggedright]
487 harmonies = \chordmode {
488 c1:m c:m \break c:m c:m d
491 \context ChordNames {
492 \set chordChanges = ##t
494 \context Staff \transpose c c' \harmonies
498 The previous examples all show chords over a staff. This is not
499 necessary. Chords may also be printed separately. It may be necessary
500 to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
503 @lilypond[raggedright,verbatim]
504 \new ChordNames \with {
505 \override BarLine #'bar-size = #4
506 voltaOnThisStaff = ##t
507 \consists Bar_engraver
508 \consists "Volta_engraver"
510 \repeat volta 2 \chordmode {
519 The default chord name layout is a system for Jazz music, proposed by
520 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
524 @cindex @code{chordNameExceptions}
525 @item chordNameExceptions
526 This is a list that contains the chords that have special formatting.
528 The exceptions list should be encoded as
530 @{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
533 To get this information into @code{chordNameExceptions} takes a little
534 manoeuvring. The following code transforms @code{chExceptionMusic}
535 (which is a sequential music) into a list of exceptions.
537 (sequential-music-to-chord-exceptions chExceptionMusic #t)
542 (sequential-music-to-chord-exceptions chExceptionMusic #t)
545 adds the new exceptions to the default ones, which are defined in
546 @file{ly/@/chord@/-modifier@/-init@/.ly}.
548 For an example of tuning this property, see also
549 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly}.
550 @cindex exceptions, chord names.
553 @cindex @code{majorSevenSymbol}
554 @item majorSevenSymbol
555 This property contains the markup object used for the 7th step, when
556 it is major. Predefined options are @code{whiteTriangleMarkup} and
557 @code{blackTriangleMarkup}. See
558 @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly} for an example.
560 @cindex @code{chordNameSeparator}
561 @item chordNameSeparator
562 Different parts of a chord name are normally separated by a
563 slash. By setting @code{chordNameSeparator}, you can specify other
565 @lilypond[quote,raggedright,fragment,verbatim]
566 \context ChordNames \chordmode {
568 \set chordNameSeparator
569 = \markup { \typewriter "|" }
574 @cindex @code{chordRootNamer}
576 The root of a chord is usually printed as a letter with an optional
577 alteration. The transformation from pitch to letter is done by this
578 function. Special note names (for example, the German ``H'' for a
579 B-chord) can be produced by storing a new function in this property.
581 @cindex @code{chordNoteNamer}
583 The default is to print single pitch, e.g., the bass note, using the
584 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
585 to a specialized function to change this behavior. For example, the
586 base can be printed in lower case.
590 The predefined variables @code{\germanChords},
591 @code{\semiGermanChords} set these variables. The effect is
594 @lilypondfile[raggedright]{chord-names-german.ly}
596 There are also two other chord name schemes implemented: an alternate
597 Jazz chord notation, and a systematic scheme called Banter chords. The
598 alternate Jazz notation is also shown on the chart in @ref{Chord name
599 chart}. Turning on these styles is described in the input file
600 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
609 @cindex @code{\germanChords}
610 @code{\germanChords},
611 @cindex @code{\semiGermanChords}
612 @code{\semiGermanChords}.
619 Examples: @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly},
620 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly},
621 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
624 Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
625 @file{scm/@/chord@/-entry@/.scm}.
630 Chord names are determined solely from the list of pitches. Chord
631 inversions are not identified, and neither are added bass notes. This
632 may result in strange chord names when chords are entered with the
633 @code{< .. >} syntax.
639 There are three different issues when printing vocal music
643 Song texts must be entered as text, not notes. For example, the
644 input@tie{}@code{d} should be interpreted as a one letter syllable, not the
648 Song texts must be printed as text, not as notes.
651 Song texts must be aligned with the notes of their melody.
654 The simplest solution for printing music uses the @code{\addlyrics}
655 function to solve all these problems at once. However, these
656 three functions can be controlled separately, which is necessary
657 for complex vocal music.
661 * Setting simple songs::
663 * Hyphens and extenders::
664 * The Lyrics context::
665 * Flexibility in alignment::
668 * Other vocal issues::
671 @node Setting simple songs
672 @subsection Setting simple songs
674 The easiest way to add lyrics to a melody is to append
677 \addlyrics @{ @var{the lyrics} @}
681 to a melody. Here is an example,
683 @lilypond[raggedright,verbatim,fragment,quote]
685 \relative { c2 e4 g2. }
686 \addlyrics { play the game }
689 More stanzas can be added by adding more
690 @code{\addlyrics} sections
692 @lilypond[raggedright,verbatim,fragment,quote]
694 \relative { c2 e4 g2. }
695 \addlyrics { play the game }
696 \addlyrics { speel het spel }
697 \addlyrics { joue le jeu }
700 @c TODO - this isn't such a great place for this note, but I can't
701 @c find a better place without rearranging a lot of lyric stuff.
702 @c It's yet another thing to look at post-3.0.
704 The @code{\addlyrics} command is actually just a convienient way
705 to write a more complicated LilyPond structure that sets up the
706 lyrics. You should use @code{\addlyrics} unless you need to do
707 fancy things, in which case you should investigate
708 @code{\lyricsto} or @code{\lyricmode}.
712 \addlyrics @{ LYRICS @}
719 \context Voice = blah @{ music @}
720 \lyricsto "blah" \new lyrics @{ LYRICS @}
725 @code{\addlyrics} cannot handle polyphony.
728 @node Entering lyrics
729 @subsection Entering lyrics
733 @cindex @code{\lyricmode}
736 Lyrics are entered in a special input mode. This mode is introduced
737 by the keyword @code{\lyricmode}, or by using @code{addlyrics} or
738 @code{lyricsto}. In this mode you can enter lyrics,
739 with punctuation and accents, and the input @code{d} is not parsed as
740 a pitch, but rather as a one letter syllable. Syllables are entered
741 like notes, but with pitches replaced by text. For example,
743 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
747 A word lyrics mode begins with an alphabetic character, and ends with
748 any space or digit. The following characters can be any character
749 that is not a digit or white space. One important consequence of this
750 is that a word can end with @code{@}}. The following example is
751 usually a mistake in the input file. The syllable includes a @code{@}}, so the
752 opening brace is not balanced
754 \lyricmode @{ twinkle@}
757 @cindex @code{\property}, in @code{\lyricmode}
759 Similarly, a period which follows an alphabetic sequence is included in
760 the resulting string. As a consequence, spaces must be inserted around
763 \override Score . LyricText #'font-shape = #'italic
767 @cindex spaces, in lyrics
768 @cindex quotes, in lyrics
770 Any @code{_} character that appears in an unquoted word is converted
771 to a space. This provides a mechanism for introducing spaces into words
772 without using quotes. Quoted words can also be used in Lyrics mode to
773 specify words that cannot be written with the above rules. The
774 following example incorporates double quotes
777 \lyricmode @{ He said: "\"Let" my peo ple "go\"" @}
780 This example is slightly academic, since it gives better looking
781 results using single quotes, @code{``} and @code{''}
783 \lyricmode @{ He said: ``Let my peo ple go'' @}
787 The full definition of a word start in Lyrics mode is somewhat more
790 A word in Lyrics mode begins with: an alphabetic character, @code{_},
791 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
792 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
793 any 8-bit character with ASCII code over 127, or a two-character
794 combination of a backslash followed by one of @code{`}, @code{'},
795 @code{"}, or @code{^}.
801 Program reference: events @internalsref{LyricEvent}, and
802 @internalsref{LyricText}.
806 The definition of lyrics mode is too complex.
808 @node Hyphens and extenders
809 @subsection Hyphens and extenders
813 Centered hyphens are entered as `@code{-}@code{-}' between syllables.
814 The hyphen will have variable length depending on the space between
815 the syllables and it will be centered between the syllables.
820 When a lyric is sung over many notes (this is called a melisma), this is
821 indicated with a horizontal line centered between a syllable and the
822 next one. Such a line is called an extender line, and it is entered as
826 FIXME: check that this compiles and displays correctly. I don't want
827 to commit this part blindly.
829 In tighly engraved music, hyphens can be removed. In some languages
830 (e.g. German and Hungarian), hyphens should not disappear, since
831 spelling depends on hyphenation. For that purpose, hyphens can be
832 forced to remain by overriding @code{minimum-length} of
833 the @code{LyricHyphen} grob.
837 << \notes \new Staff \relative c'' { \time 1/4 c16[ c c c]
844 \lyrics \new Lyrics \with {
845 % Otherwise lyrics are so far apart that hyphens don't disappear
846 \override SeparationItem #'padding = #0.0
847 }{ bla -- bla -- bla -- bla --
848 bla -- bla -- bla -- bla --
850 \override LyricHyphen #'minimum-length = #0.7
851 \override LyricHyphen #'spacing-procedure =
852 #Hyphen_spanner::set_spacing_rods
854 bla -- bla -- bla -- bla
861 \StaffContext \remove "Time_signature_engraver"
872 Program reference: @internalsref{HyphenEvent},
873 @internalsref{ExtenderEvent}, @internalsref{LyricHyphen}, and
874 @internalsref{LyricExtender}
878 @node The Lyrics context
879 @subsection The Lyrics context
882 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
884 \context Lyrics \lyricmode @dots{}
887 @cindex automatic syllable durations
888 @cindex @code{\lyricsto}
889 @cindex lyrics and melodies
891 This will place the lyrics according to the durations that were
892 entered. The lyrics can also be aligned under a given melody
893 automatically. In this case, it is no longer necessary to enter the
894 correct duration for each syllable. This is achieved by combining the
895 melody and the lyrics with the @code{\lyricsto} expression
897 \lyricsto @var{name} \new Lyrics @dots{}
900 This aligns the lyrics to the
901 notes of the @internalsref{Voice} context called @var{name}, which has
902 to exist. Therefore, normally the @code{Voice} is specified first, and
903 then the lyrics are specified with @code{\lyricsto}. The command
904 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
905 @code{\lyricmode} keyword may be omitted.
907 For different or more complex orderings, the best way is to setup the
908 hierarchy of staves and lyrics first, e.g.,
910 \context ChoirStaff <<
911 \context Lyrics = sopranoLyrics @{ s1 @}
912 \context Voice = soprano @{ @emph{music} @}
913 \context Lyrics = tenorLyrics @{ s1 @}
914 \context Voice = tenor @{ @emph{music} @}
917 and then combine the appropriate melodies and lyric lines
919 \lyricsto "soprano" \context Lyrics = sopranoLyrics
924 The final input would resemble
927 <<\context ChoirStaff << @emph{setup the music} >>
928 \lyricsto "soprano" @emph{etc}
929 \lyricsto "alto" @emph{etc}
935 The @code{\lyricsto} command detects melismata: it only puts one
936 syllable under a tied or slurred group of notes. If you want to force
937 an unslurred group of notes to be a melisma, insert @code{\melisma}
938 after the first note of the group, and @code{\melismaEnd} after the
941 @lilypond[quote,relative=2,raggedright,fragment,verbatim]
943 \context Voice = "lala" {
951 \lyricsto "lala" \new Lyrics {
957 In addition, notes are considered a melisma if they are manually
958 beamed, and automatic beaming (see @ref{Setting automatic beam
959 behavior}) is switched off.
965 The criteria for deciding melismata can
966 be tuned with the property @code{melismaBusyProperties}. See
967 @internalsref{Melisma_translator} in the program reference for more
972 Lyrics can also be entered without @code{\lyricsto}. In this case the
973 duration of each syllable must be entered explicitly, for example,
980 The alignment to a melody can be specified with the
981 @code{associatedVoice} property,
984 \set associatedVoice = #"lala"
988 The value of the property (here: @code{"lala"}) should be the name of
989 a @internalsref{Voice} context. Without this setting, extender lines
990 will not be formatted properly.
992 Here is an example demonstrating manual lyric durations,
994 @lilypond[relative=1,raggedright,verbatim,fragment,quote]
995 << \context Voice = melody {
999 \new Lyrics \lyricmode {
1000 \set associatedVoice = #"melody"
1006 @cindex choral score
1008 A complete example of a SATB score setup is in section
1009 @ref{Vocal ensembles}.
1014 @code{\melisma}, @code{\melismaEnd}
1015 @cindex @code{\melismaEnd}
1016 @cindex @code{\melisma}
1020 Program reference: @internalsref{LyricCombineMusic},
1021 @internalsref{Lyrics}, @internalsref{Melisma_translator}.
1024 @inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly}.
1025 @c TODO: make separate section for melismata
1029 Melismata are not detected automatically, and extender lines must be
1033 @c TODO: document \new Staff << Voice \lyricsto >> bug
1035 @node Flexibility in alignment
1036 @subsection Flexibility in alignment
1039 Often, different stanzas of one song are put to one melody in slightly
1040 differing ways. Such variations can still be captured with
1043 One possibility is that the text has a melisma in one stanza, but
1044 multiple syllables in another one. One solution is to make the faster
1045 voice ignore the melisma. This is done by setting
1046 @code{ignoreMelismata} in the Lyrics context.
1048 There has one tricky aspect. The setting for @code{ignoreMelismata}
1049 must be set one syllable @emph{before} the non-melismatic syllable
1050 in the text, as shown here,
1052 @lilypond[verbatim,raggedright,quote]
1054 \relative \context Voice = "lahlah" {
1055 \set Staff.autoBeaming = ##f
1061 \new Lyrics \lyricsto "lahlah" {
1064 \new Lyrics \lyricsto "lahlah" {
1065 \set ignoreMelismata = ##t % applies to "fas"
1067 \unset ignoreMelismata
1074 The @code{ignoreMelismata} applies to the syllable ``fas'', so it
1075 should be entered before ``go''.
1077 The reverse is also possible: making a lyric line slower than the
1078 standard. This can be achieved by insert @code{\skip}s into the
1079 lyrics. For every @code{\skip}, the text will be delayed another note.
1082 @lilypond[verbatim,raggedright,quote]
1083 \relative { c c g' }
1090 More complex variations in text underlay are possible. It is possible
1091 to switch the melody for a line of lyrics during the text. This is
1092 done by setting the @code{associatedVoice} property. In the example
1094 @lilypond[raggedright,quote]
1096 \relative \context Voice = "lahlah" {
1097 \set Staff.autoBeaming = ##f
1100 \context Voice = alternative {
1103 % show associations clearly.
1104 \override NoteColumn #'force-hshift = #-3
1115 \new Lyrics \lyricsto "lahlah" {
1116 Ju -- ras -- sic Park
1118 \new Lyrics \lyricsto "lahlah" {
1119 % Tricky: need to set associatedVoice
1120 % one syllable too soon!
1121 \set associatedVoice = alternative % applies to "ran"
1125 \set associatedVoice = lahlah % applies to "rus"
1131 the text for the first stanza is set to a melody called ``lahlah'',
1134 \new Lyrics \lyricsto "lahlah" @{
1135 Ju -- ras -- sic Park
1140 The second stanza initially is set to the @code{lahlah} context, but
1141 for the syllable ``ran'', it switches to a different melody.
1142 This is achieved with
1144 \set associatedVoice = alternative
1148 Here, @code{alternative} is the name of the @code{Voice} context
1149 containing the triplet.
1151 Again, the command must be one syllable too early, before ``Ty'' in
1155 \new Lyrics \lyricsto "lahlah" @{
1156 \set associatedVoice = alternative % applies to "ran"
1160 \set associatedVoice = lahlah % applies to "rus"
1166 The underlay is switched back to the starting situation by assigning
1167 @code{lahlah} to @code{associatedVoice}.
1173 @subsection More stanzas
1175 @cindex phrasing, in lyrics
1178 @cindex stanza number
1179 @cindex singer's names
1180 @cindex name of singer
1182 Stanza numbers can be added by setting @code{stanza}, e.g.,
1184 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
1186 \time 3/4 g2 e4 a2 f4 g2.
1189 Hi, my name is Bert.
1192 Oh, che -- ri, je t'aime
1196 These numbers are put just before the start of first syllable.
1198 Names of singers can also be added. They are printed at the start of
1199 the line, just like instrument names. They are created by setting
1200 @code{vocalName}. A short version may be entered as @code{vocNam}.
1203 @lilypond[fragment,raggedright,quote,verbatim,relative=2]
1205 \time 3/4 g2 e4 a2 f4 g2.
1207 \set vocalName = "Bert "
1208 Hi, my name is Bert.
1210 \set vocalName = "Ernie "
1211 Oh, che -- ri, je t'aime
1217 Program reference: Layout objects @internalsref{LyricText} and
1218 @internalsref{VocalName}. Music expressions
1219 @internalsref{LyricEvent}.
1227 The term @emph{ambitus} denotes a range of pitches for a given voice
1228 in a part of music. It may also denote the pitch range that a musical
1229 instrument is capable of playing. Ambits are printed on vocal parts,
1230 so performers can easily determine it meets their capabilities.
1232 Ambits are denoted at the beginning of a piece near the initial clef.
1233 The range is graphically specified by two note heads that represent the
1234 minimum and maximum pitch. To print such ambits, add the
1235 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
1242 \consists Ambitus_engraver
1247 This results in the following output
1249 @lilypond[quote,raggedright]
1253 \consists Ambitus_engraver
1257 \relative \new Staff {
1262 If you have multiple voices in a single staff and you want a single
1263 ambitus per staff rather than per each voice, add the
1264 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
1265 rather than to the @internalsref{Voice} context. Here is an example,
1267 @lilypond[verbatim,raggedright,quote]
1269 \consists "Ambitus_engraver"
1273 \remove "Ambitus_engraver"
1275 \override Ambitus #'X-offset-callbacks
1276 = #(list (lambda (grob axis) -1.0))
1281 \remove "Ambitus_engraver"
1290 This example uses one advanced feature,
1293 \override Ambitus #'X-offset-callbacks
1294 = #(list (lambda (grob axis) -1.0))
1298 This code moves the ambitus to the left. The same effect could have
1299 been achieved with @code{extra-offset}, but then the formatting system
1300 would not reserve space for the moved object.
1304 Program reference: @internalsref{Ambitus},
1305 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1306 @internalsref{AmbitusAccidental}.
1308 Examples: @inputfileref{input/@/regression,ambitus@/.ly}.
1312 There is no collision handling in the case of multiple per-voice
1315 @node Other vocal issues
1316 @subsection Other vocal issue
1319 yeah, I'm giving up somewhat by stuffing a bunch of things in
1320 here. But at least they're in the manual now; it's easier to
1321 move them around in the manual once they're already here.
1323 Besides, if users complain about everything stuffed in here, I
1324 can ask them for specific instructions about where to move these
1325 examples, and that might get them more involved in the docs. -gp
1328 You can display alternate (or divisi) lyrics by naming voice
1329 contexts and attaching lyrics to those specific contexts.
1331 @lilypond[verbatim,raggedright,quote]
1333 \context Voice = "melody" {
1338 \context Voice = splitpart { \voiceTwo c4 }
1343 \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
1344 \new Lyrics \lyricsto "splitpart" { shall }
1349 You can use this trick to display different lyrics for a repeated
1352 @lilypond[verbatim,raggedright,quote]
1354 \context Voice = melody \relative c' {
1356 \context Voice = verse \repeat volta 2 {c4 d e f | g1 | }
1358 \lyricsto melody \context Lyrics = mainlyrics \lyricmode {
1361 \lyricsto verse \context Lyrics = mainlyrics \lyricmode {
1363 \lyricsto verse \context Lyrics = repeatlyrics \lyricmode {
1364 dodo rere mimi fafa solsol }
1370 To notate ``parlato'' (spoken without pitch but still with
1373 @lilypond[raggedright,verbatim,quote,fragment,relative=2]
1375 \override NoteHead #'style = #'cross
1377 \revert NoteHead #'style
1382 @node Rhythmic music
1383 @section Rhythmic music
1385 Rhythmic music is primarily used for percussion and drum notation, but it can
1386 also be used to show the rhythms of melodies.
1389 * Showing melody rhythms::
1390 * Entering percussion::
1391 * Percussion staves::
1395 @node Showing melody rhythms
1396 @subsection Showing melody rhythms
1398 Sometimes you might want to show only the rhythm of a melody. This
1399 can be done with the rhythmic staff. All pitches of notes on such a
1400 staff are squashed, and the staff itself has a single line
1402 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1403 \context RhythmicStaff {
1405 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1411 Program reference: @internalsref{RhythmicStaff}.
1413 Examples: @inputfileref{input/@/regression,rhythmic@/-staff@/.ly}.
1416 @node Entering percussion
1417 @subsection Entering percussion
1423 Percussion notes may be entered in @code{\drummode} mode, which is
1424 similar to the standard mode for entering notes. Each piece of
1425 percussion has a full name and an abbreviated name, and both can be used
1428 @lilypond[quote,raggedright,verbatim]
1430 hihat hh bassdrum bd
1434 The complete list of drum names is in the init file
1435 @file{ly/@/drumpitch@/-init@/.ly}.
1436 @c TODO: properly document this.
1440 Program reference: @internalsref{DrumNoteEvent}.
1442 @node Percussion staves
1443 @subsection Percussion staves
1447 A percussion part for more than one instrument typically uses a
1448 multiline staff where each position in the staff refers to one piece
1452 To typeset the music, the notes must be interpreted in a
1453 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
1455 @lilypond[quote,raggedright,verbatim]
1456 up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
1457 down = \drummode { bassdrum4 snare8 bd r bd sn4 }
1459 \new DrumVoice { \voiceOne \up }
1460 \new DrumVoice { \voiceTwo \down }
1464 The above example shows verbose polyphonic notation. The short
1465 polyphonic notation, described in @ref{Polyphony}, can also be used if
1466 the @internalsref{DrumVoices} are instantiated by hand first. For example,
1468 @lilypond[quote,raggedright,fragment,verbatim]
1470 \context DrumVoice = "1" { s1 *2 }
1471 \context DrumVoice = "2" { s1 *2 }
1475 { \repeat unfold 16 hh16 }
1484 There are also other layout possibilities. To use these, set the
1485 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
1486 The following variables have been predefined
1490 This is the default. It typesets a typical drum kit on a five-line staff
1492 @lilypond[quote,linewidth=10.0\cm]
1494 cymc cyms cymr hh hhc hho hhho hhp
1495 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl }
1497 cymc cyms cymr hh hhc hho hhho hhp \break
1498 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
1500 << \new DrumStaff \with {
1501 \remove Bar_engraver
1502 \remove Time_signature_engraver
1503 \override Stem #'transparent = ##t
1504 \override Stem #'Y-extent-callback = ##f
1505 minimumVerticalExtent = #'(-4.0 . 5.0)
1507 \context Lyrics \nam
1512 \override LyricText #'font-family = #'typewriter
1513 \override BarNumber #'transparent =##T
1519 The drum scheme supports six different toms. When there are fewer toms,
1520 simply select the toms that produce the desired result, i.e., to get toms
1521 on the three middle lines you use @code{tommh}, @code{tomml}, and
1524 @item timbales-style
1525 This typesets timbales on a two line staff
1527 @lilypond[quote,raggedright]
1528 nam = \lyricmode { timh ssh timl ssl cb }
1529 mus = \drummode { timh ssh timl ssl cb s16 }
1532 \context DrumStaff \with {
1533 \remove Bar_engraver
1534 \remove Time_signature_engraver
1535 \override Stem #'transparent = ##t
1536 \override Stem #'Y-extent-callback = ##f
1537 \override StaffSymbol #'line-count = #2
1538 \override StaffSymbol #'staff-space = #2
1539 minimumVerticalExtent = #'(-3.0 . 4.0)
1540 drumStyleTable = #timbales-style
1543 \override LyricText #'font-family = #'typewriter
1550 This typesets congas on a two line staff
1552 @lilypond[quote,raggedright]
1553 nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
1554 mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
1557 \context DrumStaff \with {
1558 \remove Bar_engraver
1559 \remove Time_signature_engraver
1560 drumStyleTable = #congas-style
1561 \override StaffSymbol #'line-count = #2
1563 %% this sucks; it will lengthen stems.
1564 \override StaffSymbol #'staff-space = #2
1565 \override Stem #'transparent = ##t
1566 \override Stem #'Y-extent-callback = ##f
1569 \override LyricText #'font-family = #'typewriter
1576 This typesets bongos on a two line staff
1578 @lilypond[quote,raggedright]
1579 nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
1580 mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
1583 \context DrumStaff\with {
1584 \remove Bar_engraver
1585 \remove Time_signature_engraver
1586 \override StaffSymbol #'line-count = #2
1587 drumStyleTable = #bongos-style
1589 %% this sucks; it will lengthen stems.
1590 \override StaffSymbol #'staff-space = #2
1591 \override Stem #'transparent = ##t
1592 \override Stem #'Y-extent-callback = ##f
1595 \override LyricText #'font-family = #'typewriter
1601 @item percussion-style
1602 To typeset all kinds of simple percussion on one line staves.
1604 @lilypond[quote,raggedright]
1605 nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
1606 mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
1609 \context DrumStaff\with{
1610 \remove Bar_engraver
1611 drumStyleTable = #percussion-style
1612 \override StaffSymbol #'line-count = #1
1613 \remove Time_signature_engraver
1614 \override Stem #'transparent = ##t
1615 \override Stem #'Y-extent-callback = ##f
1618 \override LyricText #'font-family = #'typewriter
1625 If you do not like any of the predefined lists you can define your own
1626 list at the top of your file
1628 @lilypond[quote,raggedright,verbatim]
1630 (bassdrum default #f -1)
1631 (snare default #f 0)
1633 (pedalhihat xcircle "stopped" 2)
1634 (lowtom diamond #f 3)))
1635 up = \drummode { hh8 hh hh hh hhp4 hhp }
1636 down = \drummode { bd4 sn bd toml8 toml }
1639 \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
1640 \new DrumVoice { \voiceOne \up }
1641 \new DrumVoice { \voiceTwo \down }
1648 Init files: @file{ly/@/drumpitch@/-init@/.ly}.
1650 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
1654 Because general MIDI does not contain rim shots, the sidestick is used
1655 for this purpose instead.
1664 @cindex guitar tablature
1666 Tablature notation is used for notating music for plucked string
1667 instruments. Pitches are not denoted with note heads, but by
1668 indicating on which string and fret a note must be played. LilyPond
1669 offers limited support for tablature.
1672 * Tablatures basic::
1673 * Non-guitar tablatures::
1677 @node Tablatures basic
1678 @subsection Tablatures basic
1679 @cindex Tablatures basic
1681 The string number associated to a note is given as a backslash
1682 followed by a number, e.g., @code{c4\3} for a C quarter on the third
1683 string. By default, string 1 is the highest one, and the tuning
1684 defaults to the standard guitar tuning (with 6 strings). The notes
1685 are printed as tablature, by using @internalsref{TabStaff} and
1686 @internalsref{TabVoice} contexts
1688 @lilypond[quote,raggedright,fragment,verbatim]
1695 @cindex @code{minimumFret}
1698 When no string is specified, the first string that does not give a
1699 fret number less than @code{minimumFret} is selected. The default
1700 value for @code{minimumFret} is 0
1705 \set TabStaff.minimumFret = #8
1708 @lilypond[quote,raggedright]
1712 \set TabStaff.minimumFret = #8
1715 \context StaffGroup <<
1716 \context Staff { \clef "G_8" \frag }
1717 \context TabStaff { \frag }
1723 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}, and
1724 @internalsref{StringNumberEvent}.
1728 Chords are not handled in a special way, and hence the automatic
1729 string selector may easily select the same string to two notes in a
1733 @node Non-guitar tablatures
1734 @subsection Non-guitar tablatures
1735 @cindex Non-guitar tablatures
1737 You can change the number of strings, by setting the number of lines
1738 in the @internalsref{TabStaff}.
1740 You can change the tuning of the strings. A string tuning is given as
1741 a Scheme list with one integer number for each string, the number
1742 being the pitch (measured in semitones relative to middle C) of an
1743 open string. The numbers specified for @code{stringTuning} are the
1744 numbers of semitones to subtract or add, starting the specified pitch
1745 by default middle C, in string order. In the next example,
1746 @code{stringTunings} is set for the pitches e, a, d, and g
1748 @lilypond[quote,raggedright,fragment,verbatim]
1749 \context TabStaff <<
1750 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
1752 a,4 c' a e' e c' a e'
1759 No guitar special effects have been implemented.
1763 Program reference: @internalsref{Tab_note_heads_engraver}.
1767 @subsection Fret diagrams
1768 @cindex fret diagrams
1769 @cindex chord diagrams
1771 Fret diagrams can be added to music as a markup to the desired note. The
1772 markup contains information about the desired fret diagram, as shown in the
1775 @lilypond[verbatim, raggedright, quote]
1777 d' ^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
1779 fis' ^\markup \override #'(size . 0.75) {
1780 \override #'(finger-code . below-string) {
1781 \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
1782 (place-fret 5 4 3) (place-fret 4 4 4)
1783 (place-fret 3 3 2) (place-fret 2 2 1)
1788 c' ^\markup \override #'(dot-radius . 0.35) {
1789 \override #'(finger-code . in-dot) {
1790 \override #'(dot-color . white) {
1791 \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
1800 There are three different fret-diagram markup interfaces: standard, terse,
1801 and verbose. The three interfaces produce equivalent markups, but have
1802 varying amounts of information in the markup string. Details about the
1803 markup interfaces are found at @ref{Overview of text markup commands}.
1805 You can set a number of graphical properties according to your preference.
1806 Details about the property interface to fret diagrams are found at
1807 @internalsref{fret-diagram-interface}.
1812 Examples: @inputfileref{input/@/test,fret@/-diagram@/.ly}
1816 @node Ancient notation
1817 @section Ancient notation
1819 @cindex Vaticana, Editio
1820 @cindex Medicaea, Editio
1825 Support for ancient notation includes features for mensural notation
1826 and Gregorian Chant notation. There is also limited support for
1827 figured bass notation.
1829 Many graphical objects provide a @code{style} property, see
1832 @ref{Ancient note heads},
1834 @ref{Ancient accidentals},
1836 @ref{Ancient rests},
1838 @ref{Ancient clefs},
1840 @ref{Ancient flags},
1842 @ref{Ancient time signatures}.
1845 By manipulating such a grob property, the typographical appearance of
1846 the affected graphical objects can be accommodated for a specific
1847 notation flavor without the need for introducing any new notational
1850 In addition to the standard articulation signs described in section
1851 @ref{Articulations}, specific articulation signs for ancient notation
1856 @ref{Ancient articulations}
1859 Other aspects of ancient notation can not that easily be expressed
1860 in terms of just changing a style property of a graphical object or
1861 adding articulation signs. Some notational concepts are introduced
1862 specifically for ancient notation,
1873 If this all is too much of documentation for you, and you just want to
1874 dive into typesetting without worrying too much about the details on
1875 how to customize a context, you may have a look at the predefined
1876 contexts. Use them to set up predefined style-specific voice and
1877 staff contexts, and directly go ahead with the note entry,
1881 @ref{Gregorian Chant contexts},
1883 @ref{Mensural contexts}.
1886 There is limited support for figured bass notation which came
1887 up during the baroque period.
1894 Here are all suptopics at a glance:
1897 * Ancient note heads::
1898 * Ancient accidentals::
1902 * Ancient time signatures::
1903 * Ancient articulations::
1907 * Gregorian Chant contexts::
1908 * Mensural contexts::
1913 @node Ancient note heads
1914 @subsection Ancient note heads
1919 For ancient notation, a note head style other than the @code{default}
1920 style may be chosen. This is accomplished by setting the @code{style}
1921 property of the @internalsref{NoteHead} object to @code{baroque},
1922 @code{neomensural} or @code{mensural}. The @code{baroque} style
1923 differs from the @code{default} style only in using a square shape
1924 for @code{\breve} note heads. The @code{neomensural} style differs from
1925 the @code{baroque} style in that it uses rhomboidal heads for whole notes
1926 and all smaller durations. Stems are centered on the note heads.
1927 This style is particularly useful when transcribing mensural music,
1928 e.g., for the incipit. The @code{mensural} style finally produces note
1929 heads that mimic the look of note heads in historic printings of the
1932 The following example demonstrates the @code{neomensural} style
1934 @lilypond[quote,fragment,raggedright,verbatim]
1935 \set Score.skipBars = ##t
1936 \override NoteHead #'style = #'neomensural
1937 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
1940 When typesetting a piece in Gregorian Chant notation, the
1941 @internalsref{Gregorian_ligature_engraver} will automatically select
1942 the proper note heads, so there is no need to explicitly set the
1943 note head style. Still, the note head style can be set, e.g., to
1944 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
1945 @internalsref{Mensural_ligature_engraver} is used to automatically
1946 assemble mensural ligatures. See @ref{Ligatures} for how ligature
1951 Examples: @inputfileref{input/@/regression,note@/-head@/-style@/.ly} gives an
1952 overview over all available note head styles.
1955 @node Ancient accidentals
1956 @subsection Ancient accidentals
1961 Use the @code{style} property of grob @internalsref{Accidental} to
1962 select ancient accidentals. Supported styles are
1963 @code{mensural}, @code{vaticana}, @code{hufnagel}, and @code{medicaea}.
1965 @lilypond[quote,raggedright,staffsize=26]
1972 \line { " " \musicglyph #"accidentals.vaticana-1"
1973 " " \musicglyph #"accidentals.vaticana0" }
1977 \line { " " \musicglyph #"accidentals.medicaea-1" }
1981 \line { " " \musicglyph #"accidentals.hufnagel-1" }
1985 \line { " " \musicglyph #"accidentals.mensural-1"
1986 " " \musicglyph #"accidentals.mensural1" }
1992 \context { \Score \remove "Bar_number_engraver" }
1994 \remove "Clef_engraver"
1995 \remove "Key_engraver"
1996 \remove "Time_signature_engraver"
1997 \remove "Staff_symbol_engraver"
1998 minimumVerticalExtent = ##f
2004 As shown, not all accidentals are supported by each style. When
2005 trying to access an unsupported accidental, LilyPond will switch to a
2006 different style, as demonstrated in
2007 @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2009 Similarly to local accidentals, the style of the key signature can be
2010 controlled by the @code{style} property of the
2011 @internalsref{KeySignature} grob.
2015 In this manual: @ref{Pitches}, @ref{Cautionary accidentals} and
2016 @ref{Automatic accidentals} give a general introduction of the use of
2017 accidentals. @ref{Key signature} gives a general introduction of
2018 the use of key signatures.
2020 Program reference: @internalsref{KeySignature}.
2022 Examples: @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2025 @subsection Ancient rests
2030 Use the @code{style} property of grob @internalsref{Rest} to select
2031 ancient rests. Supported styles are @code{classical},
2032 @code{neomensural}, and @code{mensural}. @code{classical} differs
2033 from the @code{default} style only in that the quarter rest looks like
2034 a horizontally mirrored 8th rest. The @code{neomensural} style suits
2035 well for, e.g., the incipit of a transcribed mensural piece of music.
2036 The @code{mensural} style finally mimics the appearance of rests as
2037 in historic prints of the 16th century.
2039 The following example demonstrates the @code{neomensural} style
2041 @lilypond[quote,fragment,raggedright,verbatim]
2042 \set Score.skipBars = ##t
2043 \override Rest #'style = #'neomensural
2044 r\longa r\breve r1 r2 r4 r8 r16
2047 There are no 32th and 64th rests specifically for the mensural or
2048 neo-mensural style. Instead, the rests from the default style will be
2049 taken. See @inputfileref{input/@/test,rests@/.ly} for a chart of all
2052 There are no rests in Gregorian Chant notation; instead, it uses
2057 In this manual: @ref{Rests} gives a general introduction into the use of rests.
2061 @subsection Ancient clefs
2066 LilyPond supports a variety of clefs, many of them ancient.
2068 The following table shows all ancient clefs that are supported via the
2069 @code{\clef} command. Some of the clefs use the same glyph, but
2070 differ only with respect to the line they are printed on. In such
2071 cases, a trailing number in the name is used to enumerate these clefs.
2072 Still, you can manually force a clef glyph to be typeset on an
2073 arbitrary line, as described in @ref{Clef}. The note printed to the
2074 right side of each clef in the example column denotes the @code{c'}
2075 with respect to that clef.
2077 @multitable @columnfractions .4 .4 .2
2086 modern style mensural C clef
2088 @code{neomensural-c1}, @code{neomensural-c2},@*
2089 @code{neomensural-c3}, @code{neomensural-c4}
2091 @lilypond[fragment,relative=1,notime]
2092 \clef "neomensural-c2" c
2096 petrucci style mensural C clefs, for use on different staff lines
2097 (the examples show the 2nd staff line C clef)
2099 @code{petrucci-c1}, @code{petrucci-c2},@*
2100 @code{petrucci-c3}, @code{petrucci-c4},@*
2103 @lilypond[fragment,relative=1,notime]
2105 \override NoteHead #'style = #'mensural
2110 petrucci style mensural F clef
2114 @lilypond[fragment,relative=1,notime]
2116 \override NoteHead #'style = #'mensural
2121 petrucci style mensural G clef
2125 @lilypond[fragment,relative=1,notime]
2127 \override NoteHead #'style = #'mensural
2132 historic style mensural C clef
2134 @code{mensural-c1}, @code{mensural-c2},@*
2135 @code{mensural-c3}, @code{mensural-c4}
2137 @lilypond[fragment,relative=1,notime]
2139 \override NoteHead #'style = #'mensural
2144 historic style mensural F clef
2148 @lilypond[fragment,relative=1,notime]
2150 \override NoteHead #'style = #'mensural
2155 historic style mensural G clef
2159 @lilypond[fragment,relative=1,notime]
2161 \override NoteHead #'style = #'mensural
2166 Editio Vaticana style do clef
2168 @code{vaticana-do1}, @code{vaticana-do2},@*
2171 @lilypond[fragment,relative=1,notime]
2172 \override Staff.StaffSymbol #'line-count = #4
2173 \override Staff.StaffSymbol #'color = #red
2174 \override Staff.LedgerLineSpanner #'color = #red
2175 \override Voice.Stem #'transparent = ##t
2176 \override NoteHead #'style = #'vaticana.punctum
2177 \clef "vaticana-do2"
2182 Editio Vaticana style fa clef
2184 @code{vaticana-fa1}, @code{vaticana-fa2}
2186 @lilypond[fragment,relative=1,notime]
2187 \override Staff.StaffSymbol #'line-count = #4
2188 \override Staff.StaffSymbol #'color = #red
2189 \override Staff.LedgerLineSpanner #'color = #red
2190 \override Voice.Stem #'transparent = ##t
2191 \override NoteHead #'style = #'vaticana.punctum
2192 \clef "vaticana-fa2"
2197 Editio Medicaea style do clef
2199 @code{medicaea-do1}, @code{medicaea-do2},@*
2202 @lilypond[fragment,relative=1,notime]
2203 \override Staff.StaffSymbol #'line-count = #4
2204 \override Staff.StaffSymbol #'color = #red
2205 \override Staff.LedgerLineSpanner #'color = #red
2206 \override Voice.Stem #'transparent = ##t
2207 \override NoteHead #'style = #'medicaea.punctum
2208 \clef "medicaea-do2"
2213 Editio Medicaea style fa clef
2215 @code{medicaea-fa1}, @code{medicaea-fa2}
2217 @lilypond[fragment,relative=1,notime]
2218 \override Staff.StaffSymbol #'line-count = #4
2219 \override Staff.StaffSymbol #'color = #red
2220 \override Staff.LedgerLineSpanner #'color = #red
2221 \override Voice.Stem #'transparent = ##t
2222 \override NoteHead #'style = #'medicaea.punctum
2223 \clef "medicaea-fa2"
2228 historic style hufnagel do clef
2230 @code{hufnagel-do1}, @code{hufnagel-do2},@*
2233 @lilypond[fragment,relative=1,notime]
2234 \override Staff.StaffSymbol #'line-count = #4
2235 \override Staff.StaffSymbol #'color = #red
2236 \override Staff.LedgerLineSpanner #'color = #red
2237 \override Voice.Stem #'transparent = ##t
2238 \override NoteHead #'style = #'hufnagel.punctum
2239 \clef "hufnagel-do2"
2244 historic style hufnagel fa clef
2246 @code{hufnagel-fa1}, @code{hufnagel-fa2}
2248 @lilypond[fragment,relative=1,notime]
2249 \override Staff.StaffSymbol #'line-count = #4
2250 \override Staff.StaffSymbol #'color = #red
2251 \override Staff.LedgerLineSpanner #'color = #red
2252 \override Voice.Stem #'transparent = ##t
2253 \override NoteHead #'style = #'hufnagel.punctum
2254 \clef "hufnagel-fa2"
2259 historic style hufnagel combined do/fa clef
2261 @code{hufnagel-do-fa}
2263 @lilypond[fragment,relative=1,notime]
2264 \override Staff.StaffSymbol #'color = #red
2265 \override Staff.LedgerLineSpanner #'color = #red
2266 \override Voice.Stem #'transparent = ##t
2267 \override NoteHead #'style = #'hufnagel.punctum
2268 \clef "hufnagel-do-fa"
2275 @emph{Modern style} means ``as is typeset in contemporary editions of
2276 transcribed mensural music''.
2278 @emph{Petrucci style} means ``inspired by printings published by the
2279 famous engraver Petrucci (1466-1539)''.
2281 @emph{Historic style} means ``as was typeset or written in historic
2282 editions (other than those of Petrucci)''.
2284 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
2286 Petrucci used C clefs with differently balanced left-side vertical
2287 beams, depending on which staff line it is printed.
2291 In this manual: see @ref{Clef}.
2295 The mensural g clef is mapped to the Petrucci g clef.
2300 @subsection Ancient flags
2305 Use the @code{flag-style} property of grob @internalsref{Stem} to
2306 select ancient flags. Besides the @code{default} flag style,
2307 only the @code{mensural} style is supported
2309 @lilypond[quote,fragment,raggedright,verbatim]
2310 \override Stem #'flag-style = #'mensural
2311 \override Stem #'thickness = #1.0
2312 \override NoteHead #'style = #'mensural
2314 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
2315 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
2318 Note that the innermost flare of each mensural flag always is
2319 vertically aligned with a staff line.
2321 There is no particular flag style for neo-mensural notation. Hence,
2322 when typesetting the incipit of a transcribed piece of mensural
2323 music, the default flag style should be used. There are no flags in
2324 Gregorian Chant notation.
2328 The attachment of ancient flags to stems is slightly off due to a
2329 change in early 2.3.x.
2331 Vertically aligning each flag with a staff line assumes that stems
2332 always end either exactly on or exactly in the middle between two
2333 staff lines. This may not always be true when using advanced layout
2334 features of classical notation (which however are typically out of
2335 scope for mensural notation).
2337 @node Ancient time signatures
2338 @subsection Ancient time signatures
2340 @cindex time signatures
2343 There is limited support for mensural time signatures. The
2344 glyphs are hard-wired to particular time fractions. In other words,
2345 to get a particular mensural signature glyph with the @code{\time n/m}
2346 command, @code{n} and @code{m} have to be chosen according to the
2349 @lilypond[quote,raggedright]
2354 \remove Staff_symbol_engraver
2355 \remove Clef_engraver
2356 \remove Time_signature_engraver
2360 \set Score.timing = ##f
2361 \set Score.barAlways = ##t
2362 s_\markup { "\\time 4/4" }
2363 ^\markup { " " \musicglyph #"timesig.neomensural44" }
2365 s_\markup { "\\time 2/2" }
2366 ^\markup { " " \musicglyph #"timesig.neomensural22" }
2368 s_\markup { "\\time 6/4" }
2369 ^\markup { " " \musicglyph #"timesig.neomensural64" }
2371 s_\markup { "\\time 6/8" }
2372 ^\markup { " " \musicglyph #"timesig.neomensural68" }
2374 s_\markup { "\\time 3/2" }
2375 ^\markup { " " \musicglyph #"timesig.neomensural32" }
2377 s_\markup { "\\time 3/4" }
2378 ^\markup { " " \musicglyph #"timesig.neomensural34" }
2380 s_\markup { "\\time 9/4" }
2381 ^\markup { " " \musicglyph #"timesig.neomensural94" }
2383 s_\markup { "\\time 9/8" }
2384 ^\markup { " " \musicglyph #"timesig.neomensural98" }
2386 s_\markup { "\\time 4/8" }
2387 ^\markup { " " \musicglyph #"timesig.neomensural48" }
2389 s_\markup { "\\time 2/4" }
2390 ^\markup { " " \musicglyph #"timesig.neomensural24" }
2394 Use the @code{style} property of grob @internalsref{TimeSignature} to
2395 select ancient time signatures. Supported styles are
2396 @code{neomensural} and @code{mensural}. The above table uses the
2397 @code{neomensural} style. This style is appropriate for the
2398 incipit of transcriptions of mensural pieces. The @code{mensural}
2399 style mimics the look of historical printings of the 16th century.
2401 The following examples show the differences in style,
2403 @lilypond[raggedright,fragment,relative=1,quote]
2408 c1^\markup { \hspace #-2.0 \typewriter default }
2410 \override Staff.TimeSignature #'style = #'numbered
2412 c1^\markup { \hspace #-2.0 \typewriter numbered }
2414 \override Staff.TimeSignature #'style = #'mensural
2416 c1^\markup { \hspace #-2.0 \typewriter mensural }
2418 \override Staff.TimeSignature #'style = #'neomensural
2420 c1^\markup { \hspace #-2.0 \typewriter neomensural }
2421 \override Staff.TimeSignature #'style = #'single-digit
2423 c1^\markup { \hspace #-2.0 \typewriter single-digit }
2429 This manual: @ref{Time signature} gives a general introduction to
2430 the use of time signatures.
2434 Ratios of note durations do not change with the time signature. For
2435 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
2436 be made by hand, by setting
2439 breveTP = #(ly:make-duration -1 0 3 2)
2445 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
2447 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
2448 addressable with @code{\time}. Use a @code{\markup} instead
2450 @node Ancient articulations
2451 @subsection Ancient articulations
2453 @cindex articulations
2455 In addition to the standard articulation signs described in section
2456 @ref{Articulations}, articulation signs for ancient notation are
2457 provided. These are specifically designed for use with notation in
2458 Editio Vaticana style.
2460 @lilypond[quote,raggedright,verbatim]
2461 \include "gregorian-init.ly"
2463 \context VaticanaVoice {
2464 \override Staff.StaffSymbol #'color = #red
2465 \override Staff.LedgerLineSpanner #'color = #red
2466 \override TextScript #'font-family = #'typewriter
2467 \override TextScript #'font-shape = #'upright
2468 \override Script #'padding = #-0.1
2470 a4\circulus_"circulus" s1
2471 a4\semicirculus_"semicirculus" s1 s
2472 a4\accentus_"accentus" s1
2473 \[ a4_"episem" \episemInitium \pes b \flexa a \episemFinis \]
2480 Some articulations are vertically placed too closely to the
2481 correpsonding note heads.
2484 @subsection Custodes
2489 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
2490 symbol that appears at the end of a staff. It anticipates the pitch
2491 of the first note(s) of the following line thus helping the performer
2492 to manage line breaks during performance.
2494 Custodes were frequently used in music notation until the 17th
2495 century. Nowadays, they have survived only in a few particular forms
2496 of musical notation such as contemporary editions of Gregorian chant
2497 like the @emph{editio vaticana}. There are different custos glyphs
2498 used in different flavors of notational style.
2500 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
2501 @internalsref{Staff} context when declaring the @code{\layout} block,
2502 as shown in the following example
2508 \consists Custos_engraver
2509 Custos \override #'style = #'mensural
2514 The result looks like this
2516 @lilypond[quote,raggedright]
2520 \override Staff.Custos #'style = #'mensural
2525 \context { \Staff \consists Custos_engraver }
2530 The custos glyph is selected by the @code{style} property. The styles
2531 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
2532 @code{mensural}. They are demonstrated in the following fragment
2534 @lilypond[quote,raggedright,fragment]
2535 \new Lyrics \lyricmode {
2537 \typewriter "vaticana"
2538 \line { " " \musicglyph #"custodes.vaticana.u0" }
2541 \typewriter "medicaea"
2542 \line { " " \musicglyph #"custodes.medicaea.u0" }
2545 \typewriter "hufnagel"
2546 \line { " " \musicglyph #"custodes.hufnagel.u0" }
2549 \typewriter "mensural"
2550 \line { " " \musicglyph #"custodes.mensural.u0" }
2557 Program reference: @internalsref{Custos}.
2559 Examples: @inputfileref{input/@/regression,custos@/.ly}.
2563 @subsection Divisiones
2569 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
2570 `division') is a staff context symbol that is used to structure
2571 Gregorian music into phrases and sections. The musical meaning of
2572 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
2573 can be characterized as short, medium, and long pause, somewhat like
2574 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
2575 only marks the end of a chant, but is also frequently used within a
2576 single antiphonal/responsorial chant to mark the end of each section.
2579 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
2580 contains definitions that you can apply by just inserting
2581 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
2582 and @code{\finalis} at proper places in the input. Some editions use
2583 @emph{virgula} or @emph{caesura} instead of divisio minima.
2584 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
2587 @lilypondfile[quote,raggedright]{divisiones.ly}
2591 @cindex @code{\virgula}
2593 @cindex @code{\caesura}
2595 @cindex @code{\divisioMinima}
2596 @code{\divisioMinima},
2597 @cindex @code{\divisioMaior}
2598 @code{\divisioMaior},
2599 @cindex @code{\divisioMaxima}
2600 @code{\divisioMaxima},
2601 @cindex @code{\finalis}
2606 In this manual: @ref{Breath marks}.
2608 Program reference: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
2610 Examples: @inputfileref{input/@/test,divisiones@/.ly}.
2613 @subsection Ligatures
2617 @c TODO: Should double check if I recalled things correctly when I wrote
2618 @c down the following paragraph by heart.
2620 A ligature is a graphical symbol that represents at least two distinct
2621 notes. Ligatures originally appeared in the manuscripts of Gregorian
2622 chant notation to denote ascending or descending sequences of notes.
2624 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
2625 Some ligature styles may need additional input syntax specific for
2626 this particular type of ligature. By default, the
2627 @internalsref{LigatureBracket} engraver just puts a square bracket
2630 @lilypond[quote,raggedright,verbatim]
2638 To select a specific style of ligatures, a proper ligature engraver
2639 has to be added to the @internalsref{Voice} context, as explained in
2640 the following subsections. Only white mensural ligatures
2641 are supported with certain limitations.
2647 Ligatures need special spacing that has not yet been implemented. As
2648 a result, there is too much space between ligatures most of the time,
2649 and line breaking often is unsatisfactory. Also, lyrics do not
2650 correctly align with ligatures.
2652 Accidentals must not be printed within a ligature, but instead need to
2653 be collected and printed in front of it.
2655 Augmentum dots within ligatures are not handled correctly.
2659 * White mensural ligatures::
2660 * Gregorian square neumes ligatures::
2663 @node White mensural ligatures
2664 @subsubsection White mensural ligatures
2666 @cindex Mensural ligatures
2667 @cindex White mensural ligatures
2669 There is limited support for white mensural ligatures.
2671 To engrave white mensural ligatures, in the layout block put the
2672 @internalsref{Mensural_ligature_engraver} into the
2673 @internalsref{Voice} context, and remove the
2674 @internalsref{Ligature_bracket_engraver}, like this
2680 \remove Ligature_bracket_engraver
2681 \consists Mensural_ligature_engraver
2686 There is no additional input language to describe the shape of a
2687 white mensural ligature. The shape is rather determined solely from
2688 the pitch and duration of the enclosed notes. While this approach may
2689 take a new user a while to get accustomed to, it has the great advantage
2690 that the full musical information of the ligature is known internally.
2691 This is not only required for correct MIDI output, but also allows for
2692 automatic transcription of the ligatures.
2697 \set Score.timing = ##f
2698 \set Score.defaultBarType = "empty"
2699 \override NoteHead #'style = #'neomensural
2700 \override Staff.TimeSignature #'style = #'neomensural
2702 \[ g\longa c\breve a\breve f\breve d'\longa \]
2704 \[ e1 f1 a\breve g\longa \]
2706 @lilypond[quote,raggedright]
2709 \set Score.timing = ##f
2710 \set Score.defaultBarType = "empty"
2711 \override NoteHead #'style = #'neomensural
2712 \override Staff.TimeSignature #'style = #'neomensural
2714 \[ g\longa c\breve a\breve f\breve d'\longa \]
2716 \[ e1 f1 a\breve g\longa \]
2721 \remove Ligature_bracket_engraver
2722 \consists Mensural_ligature_engraver
2728 Without replacing @internalsref{Ligature_bracket_engraver} with
2729 @internalsref{Mensural_ligature_engraver}, the same music transcribes
2732 @lilypond[quote,raggedright]
2734 \set Score.timing = ##f
2735 \set Score.defaultBarType = "empty"
2736 \override NoteHead #'style = #'neomensural
2737 \override Staff.TimeSignature #'style = #'neomensural
2739 \[ g\longa c\breve a\breve f\breve d'\longa \]
2741 \[ e1 f1 a\breve g\longa \]
2747 The implementation is experimental. It may output strange warnings,
2748 incorrect results, and might even crash on more complex ligatures.
2750 @node Gregorian square neumes ligatures
2751 @subsubsection Gregorian square neumes ligatures
2753 @cindex Square neumes ligatures
2754 @cindex Gregorian square neumes ligatures
2756 There is limited support for Gregorian square neumes notation
2757 (following the style of the Editio Vaticana). Core ligatures can
2758 already be typeset, but essential issues for serious typesetting are
2759 still lacking, such as (among others) horizontal alignment of multiple
2760 ligatures, lyrics alignment and proper handling of accidentals.
2763 The following table contains the extended neumes table of the 2nd
2764 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
2765 1983 by the monks of Solesmes.
2767 @multitable @columnfractions .4 .2 .2 .2
2784 @c TODO: \layout block is identical in all of the below examples.
2785 @c Therefore, it should somehow be included rather than duplicated all
2788 @c why not make identifiers in ly/engraver-init.ly? --hwn
2790 @c Because it's just used to typeset plain notes without
2791 @c a staff for demonstration purposes rather than something
2792 @c special of Gregorian chant notation. --jr
2797 @lilypond[staffsize=26,linewidth=1.5\cm]
2798 \include "gregorian-init.ly"
2803 \noBreak s^\markup {"a"} \noBreak
2805 % Punctum Inclinatum
2807 \noBreak s^\markup {"b"}
2809 \layout { \neumeDemoLayout }}
2812 @lilypond[staffsize=26,linewidth=2.5\cm]
2813 \include "gregorian-init.ly"
2816 % Punctum Auctum Ascendens
2817 \[ \auctum \ascendens b \]
2818 \noBreak s^\markup {"c"} \noBreak
2820 % Punctum Auctum Descendens
2821 \[ \auctum \descendens b \]
2822 \noBreak s^\markup {"d"} \noBreak
2824 % Punctum Inclinatum Auctum
2825 \[ \inclinatum \auctum b \]
2826 \noBreak s^\markup {"e"}
2828 \layout { \neumeDemoLayout }}
2831 @lilypond[staffsize=26,linewidth=1.0\cm]
2832 \include "gregorian-init.ly"
2835 % Punctum Inclinatum Parvum
2836 \[ \inclinatum \deminutum b \]
2837 \noBreak s^\markup {"f"}
2839 \layout { \neumeDemoLayout }}
2845 @lilypond[staffsize=26,linewidth=1.0\cm]
2846 \include "gregorian-init.ly"
2851 \noBreak s^\markup {"g"}
2853 \layout { \neumeDemoLayout }}
2859 @code{3. Apostropha vel Stropha}
2861 @lilypond[staffsize=26,linewidth=1.0\cm]
2862 \include "gregorian-init.ly"
2867 \noBreak s^\markup {"h"}
2869 \layout { \neumeDemoLayout }}
2872 @lilypond[staffsize=26,linewidth=1.0\cm]
2873 \include "gregorian-init.ly"
2877 \[ \stropha \auctum b \]
2878 \noBreak s^\markup {"i"}
2880 \layout { \neumeDemoLayout }}
2887 @lilypond[staffsize=26,linewidth=1.0\cm]
2888 \include "gregorian-init.ly"
2893 \noBreak s^\markup {"j"}
2895 \layout { \neumeDemoLayout }}
2901 @code{5. Clivis vel Flexa}
2903 @lilypond[staffsize=26,linewidth=1.0\cm]
2904 \include "gregorian-init.ly"
2911 \layout { \neumeDemoLayout }}
2914 @lilypond[staffsize=26,linewidth=2.0\cm]
2915 \include "gregorian-init.ly"
2918 % Clivis Aucta Descendens
2919 \[ b \flexa \auctum \descendens g \]
2920 \noBreak s^\markup {"l"} \noBreak
2922 % Clivis Aucta Ascendens
2923 \[ b \flexa \auctum \ascendens g \]
2924 \noBreak s^\markup {"m"}
2926 \layout { \neumeDemoLayout }}
2929 @lilypond[staffsize=26,linewidth=1.0\cm]
2930 \include "gregorian-init.ly"
2934 \[ b \flexa \deminutum g \]
2937 \layout { \neumeDemoLayout }}
2941 @code{6. Podatus vel Pes}
2943 @lilypond[staffsize=26,linewidth=1.0\cm]
2944 \include "gregorian-init.ly"
2951 \layout { \neumeDemoLayout }}
2954 @lilypond[staffsize=26,linewidth=2.0\cm]
2955 \include "gregorian-init.ly"
2958 % Pes Auctus Descendens
2959 \[ g \pes \auctum \descendens b \]
2960 \noBreak s^\markup {"p"} \noBreak
2962 % Pes Auctus Ascendens
2963 \[ g \pes \auctum \ascendens b \]
2964 \noBreak s^\markup {"q"}
2966 \layout { \neumeDemoLayout }}
2969 @lilypond[staffsize=26,linewidth=1.0\cm]
2970 \include "gregorian-init.ly"
2974 \[ g \pes \deminutum b \]
2977 \layout { \neumeDemoLayout }}
2981 @code{7. Pes Quassus}
2983 @lilypond[staffsize=26,linewidth=1.0\cm]
2984 \include "gregorian-init.ly"
2988 \[ \oriscus g \pes \virga b \]
2991 \layout { \neumeDemoLayout }}
2994 @lilypond[staffsize=26,linewidth=1.0\cm]
2995 \include "gregorian-init.ly"
2998 % Pes Quassus Auctus Descendens
2999 \[ \oriscus g \pes \auctum \descendens b \]
3002 \layout { \neumeDemoLayout }}
3007 @code{8. Quilisma Pes}
3009 @lilypond[staffsize=26,linewidth=1.0\cm]
3010 \include "gregorian-init.ly"
3014 \[ \quilisma g \pes b \]
3017 \layout { \neumeDemoLayout }}
3020 @lilypond[staffsize=26,linewidth=1.0\cm]
3021 \include "gregorian-init.ly"
3024 % Quilisma Pes Auctus Descendens
3025 \[ \quilisma g \pes \auctum \descendens b \]
3028 \layout { \neumeDemoLayout }}
3033 @code{9. Podatus Initio Debilis}
3035 @lilypond[staffsize=26,linewidth=1.0\cm]
3036 \include "gregorian-init.ly"
3039 % Pes Initio Debilis
3040 \[ \deminutum g \pes b \]
3043 \layout { \neumeDemoLayout }}
3046 @lilypond[staffsize=26,linewidth=1.0\cm]
3047 \include "gregorian-init.ly"
3050 % Pes Auctus Descendens Initio Debilis
3051 \[ \deminutum g \pes \auctum \descendens b \]
3054 \layout { \neumeDemoLayout }}
3061 @lilypond[staffsize=26,linewidth=1.0\cm]
3062 \include "gregorian-init.ly"
3066 \[ a \pes b \flexa g \]
3069 \layout { \neumeDemoLayout }}
3072 @lilypond[staffsize=26,linewidth=1.0\cm]
3073 \include "gregorian-init.ly"
3076 % Torculus Auctus Descendens
3077 \[ a \pes b \flexa \auctum \descendens g \]
3080 \layout { \neumeDemoLayout }}
3083 @lilypond[staffsize=26,linewidth=1.0\cm]
3084 \include "gregorian-init.ly"
3087 % Torculus Deminutus
3088 \[ a \pes b \flexa \deminutum g \]
3091 \layout { \neumeDemoLayout }}
3095 @code{11. Torculus Initio Debilis}
3097 @lilypond[staffsize=26,linewidth=1.0\cm]
3098 \include "gregorian-init.ly"
3101 % Torculus Initio Debilis
3102 \[ \deminutum a \pes b \flexa g \]
3105 \layout { \neumeDemoLayout }}
3108 @lilypond[staffsize=26,linewidth=1.0\cm]
3109 \include "gregorian-init.ly"
3112 % Torculus Auctus Descendens Initio Debilis
3113 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
3116 \layout { \neumeDemoLayout }}
3119 @lilypond[staffsize=26,linewidth=1.0\cm]
3120 \include "gregorian-init.ly"
3123 % Torculus Deminutus Initio Debilis
3124 \[ \deminutum a \pes b \flexa \deminutum g \]
3127 \layout { \neumeDemoLayout }}
3131 @code{12. Porrectus}
3133 @lilypond[staffsize=26,linewidth=1.0\cm]
3134 \include "gregorian-init.ly"
3138 \[ a \flexa g \pes b \]
3141 \layout { \neumeDemoLayout }}
3144 @lilypond[staffsize=26,linewidth=1.0\cm]
3145 \include "gregorian-init.ly"
3148 % Porrectus Auctus Descendens
3149 \[ a \flexa g \pes \auctum \descendens b \]
3152 \layout { \neumeDemoLayout }}
3155 @lilypond[staffsize=26,linewidth=1.0\cm]
3156 \include "gregorian-init.ly"
3159 % Porrectus Deminutus
3160 \[ a \flexa g \pes \deminutum b \]
3163 \layout { \neumeDemoLayout }}
3169 @lilypond[staffsize=26,linewidth=1.0\cm]
3170 \include "gregorian-init.ly"
3174 \[ \virga b \inclinatum a \inclinatum g \]
3177 \layout { \neumeDemoLayout }
3181 @lilypond[staffsize=26,linewidth=1.0\cm]
3182 \include "gregorian-init.ly"
3186 \[ \virga b \inclinatum a \inclinatum \auctum g \]
3189 \layout { \neumeDemoLayout }}
3192 @lilypond[staffsize=26,linewidth=1.0\cm]
3193 \include "gregorian-init.ly"
3196 % Climacus Deminutus
3197 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
3200 \layout { \neumeDemoLayout }}
3204 @code{14. Scandicus}
3206 @lilypond[staffsize=26,linewidth=1.0\cm]
3207 \include "gregorian-init.ly"
3211 \[ g \pes a \virga b \]
3214 \layout { \neumeDemoLayout }}
3217 @lilypond[staffsize=26,linewidth=1.0\cm]
3218 \include "gregorian-init.ly"
3221 % Scandicus Auctus Descendens
3222 \[ g \pes a \pes \auctum \descendens b \]
3225 \layout { \neumeDemoLayout }}
3228 @lilypond[staffsize=26,linewidth=1.0\cm]
3229 \include "gregorian-init.ly"
3232 % Scandicus Deminutus
3233 \[ g \pes a \pes \deminutum b \]
3236 \layout { \neumeDemoLayout }}
3242 @lilypond[staffsize=26,linewidth=1.0\cm]
3243 \include "gregorian-init.ly"
3247 \[ g \oriscus a \pes \virga b \]
3250 \layout { \neumeDemoLayout }}
3253 @lilypond[staffsize=26,linewidth=1.0\cm]
3254 \include "gregorian-init.ly"
3257 % Salicus Auctus Descendens
3258 \[ g \oriscus a \pes \auctum \descendens b \]
3261 \layout { \neumeDemoLayout }}
3268 @lilypond[staffsize=26,linewidth=1.0\cm]
3269 \include "gregorian-init.ly"
3273 \[ \stropha b \stropha b \stropha a \]
3276 \layout { \neumeDemoLayout }
3285 Unlike most other neumes notation systems, the input language for
3286 neumes does not reflect the typographical appearance, but is designed
3287 to focus on musical meaning. For example, @code{\[ a \pes b
3288 \flexa g \]} produces a Torculus consisting of three Punctum heads,
3289 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
3290 curved flexa shape and only a single Punctum head. There is no
3291 command to explicitly typeset the curved flexa shape; the decision of
3292 when to typeset a curved flexa shape is based on the musical
3293 input. The idea of this approach is to separate the musical aspects
3294 of the input from the notation style of the output. This way, the
3295 same input can be reused to typeset the same music in a different
3296 style of Gregorian chant notation.
3298 The following table shows the code fragments that produce the
3299 ligatures in the above neumes table. The letter in the first column
3300 in each line of the below table indicates to which ligature in the
3301 above table it refers. The second column gives the name of the
3302 ligature. The third column shows the code fragment that produces this
3303 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
3305 @multitable @columnfractions .02 .31 .67
3325 @code{\[ \inclinatum b \]}
3333 @code{\[ \auctum \ascendens b \]}
3341 @code{\[ \auctum \descendens b \]}
3346 Punctum Inclinatum@*
3349 @code{\[ \inclinatum \auctum b \]}
3354 Punctum Inclinatum@*
3356 @code{\[ \inclinatum \deminutum b \]}
3363 @code{\[ \virga b \]}
3370 @code{\[ \stropha b \]}
3377 @code{\[ \stropha \auctum b \]}
3384 @code{\[ \oriscus b \]}
3391 @code{\[ b \flexa g \]}
3399 @code{\[ b \flexa \auctum \descendens g \]}
3407 @code{\[ b \flexa \auctum \ascendens g \]}
3414 @code{\[ b \flexa \deminutum g \]}
3421 @code{\[ g \pes b \]}
3429 @code{\[ g \pes \auctum \descendens b \]}
3437 @code{\[ g \pes \auctum \ascendens b \]}
3444 @code{\[ g \pes \deminutum b \]}
3451 @code{\[ \oriscus g \pes \virga b \]}
3457 Auctus Descendens @tab
3458 @code{\[ \oriscus g \pes \auctum \descendens b \]}
3465 @code{\[ \quilisma g \pes b \]}
3473 @code{\[ \quilisma g \pes \auctum \descendens b \]}
3480 @code{\[ \deminutum g \pes b \]}
3485 Pes Auctus Descendens@*
3488 @code{\[ \deminutum g \pes \auctum \descendens b \]}
3495 @code{\[ a \pes b \flexa g \]}
3503 @code{\[ a \pes b \flexa \auctum \descendens g \]}
3510 @code{\[ a \pes b \flexa \deminutum g \]}
3515 Torculus Initio Debilis
3517 @code{\[ \deminutum a \pes b \flexa g \]}
3523 Descendens Initio Debilis
3525 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
3530 Torculus Deminutus@*
3533 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
3540 @code{\[ a \flexa g \pes b \]}
3548 @code{\[ a \flexa g \pes \auctum \descendens b \]}
3555 @code{\[ a \flexa g \pes \deminutum b \]}
3562 @code{\[ \virga b \inclinatum a \inclinatum g \]}
3569 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
3576 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
3583 @code{\[ g \pes a \virga b \]}
3591 @code{\[ g \pes a \pes \auctum \descendens b \]}
3598 @code{\[ g \pes a \pes \deminutum b \]}
3605 @code{\[ g \oriscus a \pes \virga b \]}
3610 Salicus Auctus Descendens
3612 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
3619 @code{\[ \stropha b \stropha b \stropha a \]}
3624 The following head prefixes are supported
3626 @cindex @code{\virga}
3628 @cindex @code{\stropha}
3630 @cindex @code{\inclinatum}
3632 @cindex @code{\auctum}
3634 @cindex @code{\descendens}
3636 @cindex @code{\ascendens}
3638 @cindex @code{\oriscus}
3640 @cindex @code{\quilisma}
3642 @cindex @code{\deminutum}
3645 Head prefixes can be accumulated, though restrictions apply. For
3646 example, either @code{\descendens} or @code{\ascendens} can be applied
3647 to a head, but not both to the same head.
3650 @cindex @code{\flexa}
3651 Two adjacent heads can be tied together with the @code{\pes} and
3652 @code{\flexa} infix commands for a rising and falling line of melody,
3657 @node Gregorian Chant contexts
3658 @subsection Gregorian Chant contexts
3660 @cindex VaticanaVoiceContext
3661 @cindex VaticanaStaffContext
3663 The predefined @code{VaticanaVoiceContext} and
3664 @code{VaticanaStaffContext} can be used to engrave a piece of
3665 Gregorian Chant in the style of the Editio Vaticana. These contexts
3666 initialize all relevant context properties and grob properties to
3667 proper values, so you can immediately go ahead entering the chant, as
3668 the following excerpt demonstrates
3670 @lilypond[quote,raggedright,packed,verbatim]
3671 \include "gregorian-init.ly"
3674 \context VaticanaVoice = "cantus" {
3675 \override Staff.StaffSymbol #'color = #red
3676 \override Staff.LedgerLineSpanner #'color = #red
3677 \override Score.BarNumber #'transparent = ##t {
3678 \[ c'\melisma c' \flexa a \]
3679 \[ a \flexa \deminutum g\melismaEnd \]
3681 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
3682 c' \divisioMinima \break
3683 \[ c'\melisma c' \flexa a \]
3684 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
3687 \lyricsto "cantus" \new Lyrics {
3688 San- ctus, San- ctus, San- ctus
3695 @node Mensural contexts
3696 @subsection Mensural contexts
3698 @cindex MensuralVoiceContext
3699 @cindex MensuralStaffContext
3701 The predefined @code{MensuralVoiceContext} and
3702 @code{MensuralStaffContext} can be used to engrave a piece in mensural
3703 style. These contexts initialize all relevant context properties and
3704 grob properties to proper values, so you can immediately go ahead
3705 entering the chant, as the following excerpt demonstrates
3707 @lilypond[quote,raggedright,verbatim]
3710 \context MensuralVoice = "discantus" \transpose c c' {
3711 \override Score.BarNumber #'transparent = ##t {
3712 c'1\melisma bes a g\melismaEnd
3714 \[ f1\melisma a c'\breve d'\melismaEnd \]
3716 c'\breve\melisma a1 g1\melismaEnd
3717 fis\longa^\signumcongruentiae
3720 \lyricsto "discantus" \new Lyrics {
3721 San -- ctus, San -- ctus, San -- ctus
3729 @subsection Figured bass
3731 @cindex Basso continuo
3733 @c TODO: musicological blurb about FB
3736 LilyPond has limited support for figured bass
3738 @lilypond[quote,raggedright,verbatim,fragment]
3740 \context Voice { \clef bass dis4 c d ais g fis}
3741 \context FiguredBass \figuremode {
3742 < 6 >4 < 7 >8 < 6+ [_!] >
3749 The support for figured bass consists of two parts: there is an input
3750 mode, introduced by @code{\figuremode}, where you can enter bass figures
3751 as numbers, and there is a context called @internalsref{FiguredBass} that
3752 takes care of making @internalsref{BassFigure} objects.
3754 In figures input mode, a group of bass figures is delimited by
3755 @code{<} and @code{>}. The duration is entered after the @code{>}
3759 @lilypond[quote,raggedright,fragment]
3760 \context FiguredBass
3761 \figuremode { <4 6> }
3764 Accidentals are added when you append @code{-}, @code{!}, and @code{+}
3770 @lilypond[quote,raggedright,fragment]
3771 \context FiguredBass
3772 \figuremode { <4- 6+ 7!> }
3775 Spaces or dashes may be inserted by using @code{_}. Brackets are
3776 introduced with @code{[} and @code{]}. You can also include text
3777 strings and text markups, see @ref{Overview of text markup commands}.
3780 < [4 6] 8 [_! 12] > < 5 \markup @{ + \number 6 @} >
3782 @lilypond[quote,raggedright,fragment]
3783 \context FiguredBass
3784 \figuremode { < [4 6] 8 [_! 12] > < 5 \markup{ + \number 6 } > }
3788 Although the support for figured bass may superficially resemble chord
3789 support, it works much simpler. The @code{\figuremode} mode simply
3790 stores the numbers and @internalsref{FiguredBass} context prints
3791 them as entered. There is no conversion to pitches and no
3792 realizations of the bass are played in the MIDI file.
3794 Internally, the code produces markup texts. You can use any of the
3795 markup text properties to override formatting. For example, the
3796 vertical spacing of the figures may be set with @code{baseline-skip}.
3800 Program reference: @internalsref{BassFigureEvent} music,
3801 @internalsref{BassFigure} object, and @internalsref{FiguredBass} context.
3805 Slash notation for alterations is not supported.
3809 @node Other instrument specific notation
3810 @section Other instrument specific notation
3812 This section includes extra information for writing for instruments.
3815 * Artificial harmonics (strings)::
3816 * Stopped notes (guitar)::
3819 @node Artificial harmonics (strings)
3820 @subsection Artificial harmonics (strings)
3822 @cindex artificial harmonics
3824 Artificial harmonics are notated with a different notehead style. They
3825 are entered by marking the harmonic pitch with @code{\harmonic}.
3827 @lilypond[raggedright,verbatim,quote,fragment,relative=1]
3832 @node Stopped notes (guitar)
3833 @subsection Stopped notes (guitar)
3835 Stopped (X) note heads are used in guitar music to signal a place where the
3836 guitarist must play a certain note or chord, with its fingers just
3837 touching the strings instead of fully pressing them. This gives the sound a
3838 percussive noise-like sound that still maintains part of the original pitch.
3840 Finger stopped technique is extremely important for rhythm and rock-heavy
3841 metal guitarists; the former often uses barré based stopped chords to
3842 intermix harmony with rythm, the latters use finger stopping to mute power
3843 chords, or charge them with more expression in close-tied power chord stums.
3845 It is also used (even if rarely) in classic guitar music, generally in the
3846 melodic line, to provide some rithmic pattern right in the melody.
3848 @lilypond[raggedright,verbatim,quote,fragment,relative=2]
3850 \override NoteHead #'style = #'cross
3852 \revert NoteHead #'style