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 3, 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 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 voltaOnThisStaff = ##t
516 \consists Bar_engraver
517 \consists "Volta_engraver"
519 \chordmode { \repeat volta 2 {
529 The default chord name layout is a system for Jazz music, proposed by
530 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
534 @funindex chordNameExceptions
535 @item chordNameExceptions
536 This is a list that contains the chords that have special formatting.
538 The exceptions list should be encoded as
540 @{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
543 To get this information into @code{chordNameExceptions} takes a little
544 manoeuvring. The following code transforms @code{chExceptionMusic}
545 (which is a sequential music) into a list of exceptions.
547 (sequential-music-to-chord-exceptions chExceptionMusic #t)
552 (sequential-music-to-chord-exceptions chExceptionMusic #t)
555 adds the new exceptions to the default ones, which are defined in
556 @file{ly/@/chord@/-modifier@/-init@/.ly}.
558 For an example of tuning this property, see also
559 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly}.
560 @cindex exceptions, chord names.
563 @funindex majorSevenSymbol
564 @item majorSevenSymbol
565 This property contains the markup object used for the 7th step, when
566 it is major. Predefined options are @code{whiteTriangleMarkup} and
567 @code{blackTriangleMarkup}. See
568 @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly} for an example.
570 @funindex chordNameSeparator
571 @item chordNameSeparator
572 Different parts of a chord name are normally separated by a
573 slash. By setting @code{chordNameSeparator}, you can specify other
575 @lilypond[quote,ragged-right,fragment,verbatim]
576 \new ChordNames \chordmode {
578 \set chordNameSeparator
579 = \markup { \typewriter "|" }
584 @funindex chordRootNamer
586 The root of a chord is usually printed as a letter with an optional
587 alteration. The transformation from pitch to letter is done by this
588 function. Special note names (for example, the German @q{H} for a
589 B-chord) can be produced by storing a new function in this property.
591 @funindex chordNoteNamer
593 The default is to print single pitch, e.g., the bass note, using the
594 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
595 to a specialized function to change this behavior. For example, the
596 base can be printed in lower case.
598 @funindex chordPrefixSpacer
599 @item chordPrefixSpacer
600 The @q{m} for minor chords is usually printed right after the root of
601 the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer
602 between the root and @q{m}. The spacer is not used when the root
607 The predefined variables @code{\germanChords},
608 @code{\semiGermanChords}, @code{\italianChords} and @code{\frenchChords}
609 set these variables. The effect is
612 @lilypondfile[ragged-right]{chord-names-languages.ly}
614 There are also two other chord name schemes implemented: an alternate
615 Jazz chord notation, and a systematic scheme called Banter chords. The
616 alternate Jazz notation is also shown on the chart in @ref{Chord name
617 chart}. Turning on these styles is described in the input file
618 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
627 @funindex \germanChords
628 @code{\germanChords},
629 @funindex \semiGermanChords
630 @code{\semiGermanChords}.
631 @funindex \italianChords
632 @code{\italianChords}.
633 @funindex \frenchChords
634 @code{\frenchChords}.
641 Examples: @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly},
642 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly},
643 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
646 Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
647 @file{scm/@/chord@/-entry@/.scm}.
652 Chord names are determined solely from the list of pitches. Chord
653 inversions are not identified, and neither are added bass notes. This
654 may result in strange chord names when chords are entered with the
655 @code{< .. >} syntax.
662 Since LilyPond input files are text, there are two issues to
663 consider when working with vocal music:
667 Song texts must be entered as text, not notes. For example, the
668 input@tie{}@code{d} should be interpreted as a one letter syllable, not the
672 Song texts must be aligned with the notes of their melody.
675 There are a few different ways to define lyrics; the simplest
676 way is to use the @code{\addlyrics} function.
679 * Setting simple songs::
681 * Hyphens and extenders::
682 * The Lyrics context::
684 * Another way of entering lyrics::
685 * Flexibility in placement::
687 * More about stanzas::
689 * Other vocal issues::
695 Checking to make sure that text scripts and lyrics are within the margins is
696 a relatively large computational task. To speed up processing, lilypond does
697 not perform such calculations by default; to enable it, use
700 \override Score.PaperColumn #'keep-inside-line = ##t
703 To make lyrics avoid barlines as well, use
708 \consists "Bar_engraver"
709 \consists "Separating_line_group_engraver"
710 \override BarLine #'transparent = ##t
716 @node Setting simple songs
717 @subsection Setting simple songs
719 The easiest way to add lyrics to a melody is to append
722 \addlyrics @{ @var{the lyrics} @}
726 to a melody. Here is an example,
728 @lilypond[ragged-right,verbatim,fragment,quote]
730 \relative { c2 e4 g2. }
731 \addlyrics { play the game }
734 More stanzas can be added by adding more
735 @code{\addlyrics} sections
737 @lilypond[ragged-right,verbatim,fragment,quote]
739 \relative { c2 e4 g2. }
740 \addlyrics { play the game }
741 \addlyrics { speel het spel }
742 \addlyrics { joue le jeu }
745 The command @code{\addlyrics} cannot handle polyphony settings. For these
746 cases you should use @code{\lyricsto} and @code{\lyricmode}.
750 @node Entering lyrics
751 @subsection Entering lyrics
757 Lyrics are entered in a special input mode. This mode is 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,
764 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
767 There are two main methods to specify the horizontal placement
768 of the syllables, either by specifying the duration of each syllable
769 explicitly, like in the example above, or by automatically aligning
770 the lyrics to a melody or other voice of music, using @code{\addlyrics}
771 or @code{\lyricsto}. For more details see @ref{The Lyrics context}.
773 A word or syllable of lyrics begins with an alphabetic character, and ends
775 any space or digit. The following characters can be any character
776 that is not a digit or white space. One important consequence of this
777 is that a word can end with @code{@}}. The following example is
778 usually a mistake in the input file. The syllable includes a @code{@}}, so
780 opening brace is not balanced
782 \lyricmode @{ twinkle@}
785 @funindex \property in \lyricmode
788 Similarly, a period which follows an alphabetic sequence is included in
789 the resulting string. As a consequence, spaces must be inserted around
792 \override Score . LyricText #'font-shape = #'italic
796 @cindex spaces, in lyrics
797 @cindex quotes, in lyrics
798 @cindex ties, in lyrics
800 In order to assign more than one syllable to a single note, you can
801 surround them with quotes or use a @code{_} character, to get spaces
802 between syllables, or use tilde symbol (@code{~}) to get a lyric tie.
804 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
806 \relative { c2 e4 g2 e4 }
807 \addlyrics { gran- de_a- mi- go }
808 \addlyrics { pu- "ro y ho-" nes- to }
809 \addlyrics { pu- ro~y~ho- nes- to }
812 The lyric ties is implemented with the Unicode character U+203F, so be
813 sure to have a font (Like DejaVuLGC) installed that includes this
817 To enter lyrics with characters from non-English languages, or with
818 non-ascii characters (such as the heart symbol or slanted quotes),
819 simply insert the characters directly into the input file and save
820 it with utf-8 encoding. See @ref{Text encoding} for more info.
822 @lilypond[quote,ragged-right,fragment,verbatim]
823 \relative { e4 f e d e f e2 }
824 \addlyrics { He said: “Let my peo ple go”. }
827 To use normal quotes in lyrics, add a backslash before the
830 @lilypond[quote,ragged-right,fragment,verbatim]
831 \relative c' { \time 3/4 e4 e4. e8 d4 e d c2. }
832 \addlyrics { "\"I" am so lone- "ly\"" said she }
835 The full definition of a word start in Lyrics mode is somewhat more
838 A word in Lyrics mode begins with: an alphabetic character, @code{_},
839 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
840 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
841 any 8-bit character with ASCII code over 127, or a two-character
842 combination of a backslash followed by one of @code{`}, @code{'},
843 @code{"}, or @code{^}.
845 To define indentifiers containing lyrics, the function @code{lyricmode}
849 verseOne = \lyricmode @{ Joy to the world the Lord is come @}
852 \new Voice = "one" \relative c'' @{
855 c4 b8. a16 g4. f8 e4 d c2
857 \addlyrics @{ \verseOne @}
865 Program reference: @internalsref{LyricText}, @internalsref{LyricSpace}.
869 @node Hyphens and extenders
870 @subsection Hyphens and extenders
874 Centered hyphens are entered as @samp{--} between syllables.
875 The hyphen will have variable length depending on the space between
876 the syllables and it will be centered between the syllables.
881 When a lyric is sung over many notes (this is called a melisma), this is
882 indicated with a horizontal line centered between a syllable and the
883 next one. Such a line is called an extender line, and it is entered as
886 In tighly engraved music, hyphens can be removed. Whether this
887 happens can be controlled with the @code{minimum-distance} (minimum
888 distance between two syllables) and the @code{minimum-length}
889 (threshold below which hyphens are removed).
893 Program reference: @internalsref{LyricHyphen}, @internalsref{LyricExtender}.
897 @node The Lyrics context
898 @subsection The Lyrics context
900 Lyrics are printed by interpreting them in the context called
901 @internalsref{Lyrics}.
904 \new Lyrics \lyricmode @dots{}
907 @cindex automatic syllable durations
909 @cindex lyrics and melodies
911 This will place the lyrics according to the durations that were
912 entered. The lyrics can also be aligned under a given melody
913 automatically. In this case, it is no longer necessary to enter the
914 correct duration for each syllable. This is achieved by combining the
915 melody and the lyrics with the @code{\lyricsto} expression
918 \new Lyrics \lyricsto @var{name} @dots{}
921 This aligns the lyrics to the
922 notes of the @internalsref{Voice} context called @var{name}, which must
923 already exist. Therefore normally the @code{Voice} is specified first, and
924 then the lyrics are specified with @code{\lyricsto}. The command
925 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
926 @code{\lyricmode} keyword may be omitted.
928 The following example uses different commands for entering lyrics.
930 @lilypond[quote,fragment,ragged-right,verbatim]
932 \new Voice = "one" \relative c'' {
935 c4 b8. a16 g4. f8 e4 d c2
937 \new Lyrics \lyricmode { Joy4 to8. the16 world!4. the8 Lord4 is come.2 }
938 \new Lyrics \lyricmode { Joy to the earth! the Sa -- viour reigns. }
939 \new Lyrics \lyricsto "one" { No more let sins and sor -- rows grow. }
943 The second stanza is not properly aligned because the durations
944 were not specified. A solution for that would be to use @code{\lyricsto}.
946 The @code{\addlyrics} command is actually just a convenient way
947 to write a more complicated LilyPond structure that sets up the
952 \addlyrics @{ LYRICS @}
959 \new Voice = "blah" @{ music @}
960 \new Lyrics \lyricsto "blah" @{ LYRICS @}
963 For different or more complex orderings, the best way is to setup the
964 hierarchy of staves and lyrics first, e.g.,
967 \new Voice = "soprano" @{ @emph{music} @}
968 \new Lyrics = "sopranoLyrics" @{ s1 @}
969 \new Lyrics = "tenorLyrics" @{ s1 @}
970 \new Voice = "tenor" @{ @emph{music} @}
974 and then combine the appropriate melodies and lyric lines
977 \context Lyrics = sopranoLyrics \lyricsto "soprano"
982 The final input would resemble
985 <<\new ChoirStaff << @emph{setup the music} >>
986 \lyricsto "soprano" @emph{etc}
987 \lyricsto "alto" @emph{etc}
994 Program reference: @internalsref{LyricCombineMusic},
995 @internalsref{Lyrics}.
999 @subsection Melismata
1001 The @code{\lyricsto} command detects melismata: it only puts one
1002 syllable under a tied or slurred group of notes. If you want to force
1003 an unslurred group of notes to be a melisma, insert @code{\melisma}
1004 after the first note of the group, and @code{\melismaEnd} after the
1007 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
1009 \new Voice = "lala" {
1017 \new Lyrics \lyricsto "lala" {
1023 In addition, notes are considered a melisma if they are manually
1024 beamed, and automatic beaming (see @ref{Setting automatic beam
1025 behavior}) is switched off.
1028 @cindex choral score
1030 A complete example of a SATB score setup is in section
1031 @ref{Vocal ensembles}.
1036 @code{\melisma}, @code{\melismaEnd}
1037 @funindex \melismaEnd
1042 Program reference: @internalsref{Melisma_translator}.
1045 @inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly}.
1049 Melismata are not detected automatically, and extender lines must be
1053 @node Another way of entering lyrics
1054 @subsection Another way of entering lyrics
1056 Lyrics can also be entered without @code{\lyricsto}. In this case the
1057 duration of each syllable must be entered explicitly, for example,
1064 The alignment to a melody can be specified with the
1065 @code{associatedVoice} property,
1068 \set associatedVoice = #"lala"
1072 The value of the property (here: @code{"lala"}) should be the name of
1073 a @internalsref{Voice} context. Without this setting, extender lines
1074 will not be formatted properly.
1076 Here is an example demonstrating manual lyric durations,
1078 @lilypond[relative=1,ragged-right,verbatim,fragment,quote]
1079 << \new Voice = "melody" {
1083 \new Lyrics \lyricmode {
1084 \set associatedVoice = #"melody"
1090 @c TODO: document \new Staff << Voice \lyricsto >> bug
1092 @node Flexibility in placement
1093 @subsection Flexibility in placement
1095 Often, different stanzas of one song are put to one melody in slightly
1096 differing ways. Such variations can still be captured with
1100 * Lyrics to multiple notes of a melisma::
1102 * Switching the melody associated with a lyrics line::
1103 * Specifying melismata within the lyrics::
1104 * Lyrics independent of notes::
1107 @node Lyrics to multiple notes of a melisma
1108 @subsubsection Lyrics to multiple notes of a melisma
1111 One possibility is that the text has a melisma in one stanza, but
1112 multiple syllables in another one. One solution is to make the faster
1113 voice ignore the melisma. This is done by setting
1114 @code{ignoreMelismata} in the Lyrics context.
1116 There is one tricky aspect: the setting for @code{ignoreMelismata}
1117 must be set one syllable @emph{before} the non-melismatic syllable
1118 in the text, as shown here,
1120 @c FIXME: breaks compile
1121 @lilypond[verbatim,ragged-right,quote]
1124 \relative \new Voice = "lahlah" {
1125 \set Staff.autoBeaming = ##f
1131 \new Lyrics \lyricsto "lahlah" {
1134 \new Lyrics \lyricsto "lahlah" {
1135 \set ignoreMelismata = ##t % applies to "fas"
1137 \unset ignoreMelismata
1145 The @code{ignoreMelismata} applies to the syllable @q{fas}, so it
1146 should be entered before @q{go}.
1148 The reverse is also possible: making a lyric line slower than the
1149 standard. This can be achieved by insert @code{\skip}s into the
1150 lyrics. For every @code{\skip}, the text will be delayed another note.
1153 @lilypond[verbatim,ragged-right,quote]
1154 \relative { c c g' }
1163 @subsubsection Divisi lyrics
1165 You can display alternate (or divisi) lyrics by naming voice
1166 contexts and attaching lyrics to those specific contexts.
1168 @lilypond[verbatim,ragged-right,quote]
1170 \new Voice = "melody" {
1175 \new Voice = "splitpart" { \voiceTwo c4 }
1180 \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
1181 \new Lyrics \lyricsto "splitpart" { will }
1186 You can use this trick to display different lyrics for a repeated
1189 @lilypond[verbatim,ragged-right,quote]
1191 \new Voice = "melody" \relative c' {
1193 \new Voice = "verse" \repeat volta 2 {c4 d e f | g1 | }
1195 \new Lyrics = "mainlyrics" \lyricsto melody \lyricmode {
1198 \context Lyrics = "mainlyrics" \lyricsto verse \lyricmode {
1200 \new Lyrics = "repeatlyrics" \lyricsto verse \lyricmode {
1201 dodo rere mimi fafa solsol }
1208 @node Switching the melody associated with a lyrics line
1209 @subsubsection Switching the melody associated with a lyrics line
1211 More complex variations in text underlay are possible. It is possible
1212 to switch the melody for a line of lyrics during the text. This is
1213 done by setting the @code{associatedVoice} property. In the example
1215 @lilypond[ragged-right,quote]
1217 \relative \new Voice = "lahlah" {
1218 \set Staff.autoBeaming = ##f
1221 \new Voice = "alternative" {
1224 % show associations clearly.
1225 \override NoteColumn #'force-hshift = #-3
1236 \new Lyrics \lyricsto "lahlah" {
1237 Ju -- ras -- sic Park
1239 \new Lyrics \lyricsto "lahlah" {
1240 % Tricky: need to set associatedVoice
1241 % one syllable too soon!
1242 \set associatedVoice = alternative % applies to "ran"
1246 \set associatedVoice = lahlah % applies to "rus"
1252 the text for the first stanza is set to a melody called @q{lahlah},
1255 \new Lyrics \lyricsto "lahlah" @{
1256 Ju -- ras -- sic Park
1261 The second stanza initially is set to the @code{lahlah} context, but
1262 for the syllable @q{ran}, it switches to a different melody.
1263 This is achieved with
1265 \set associatedVoice = alternative
1269 Here, @code{alternative} is the name of the @code{Voice} context
1270 containing the triplet.
1272 Again, the command must be one syllable too early, before @q{Ty} in
1276 \new Lyrics \lyricsto "lahlah" @{
1277 \set associatedVoice = alternative % applies to "ran"
1281 \set associatedVoice = lahlah % applies to "rus"
1287 The underlay is switched back to the starting situation by assigning
1288 @code{lahlah} to @code{associatedVoice}.
1291 @node Specifying melismata within the lyrics
1292 @subsubsection Specifying melismata within the lyrics
1294 It is also possible to define melismata entirely in the lyrics. This
1295 can be done by entering @code{_} for every note that is part of the
1298 @lilypond[relative=1,verbatim,fragment,quote]
1299 { \set melismaBusyProperties = #'()
1300 c d( e) f f( e) e e }
1302 { Ky -- _ _ ri __ _ _ _ e }
1305 In this case, you can also have ties and slurs in the melody if you
1306 set @code{melismaBusyProperties}, as is done in the example above.
1309 @node Lyrics independent of notes
1310 @subsubsection Lyrics independent of notes
1312 In some complex vocal music, it may be desirable to place
1313 lyrics completely independently of notes. Music defined
1314 inside @code{lyricrhythm} disappears into the
1315 @code{Devnull} context, but the rhythms can still be used
1316 to place the lyrics.
1318 @lilypond[quote,verbatim,ragged-right]
1321 \tag #'music { c''2 }
1322 \tag #'lyricrhythm { c''4. c''8 }
1326 lyr = \lyricmode { I like my cat! }
1329 \new Staff \keepWithTag #'music \voice
1330 \new Devnull="nowhere" \keepWithTag #'lyricrhythm \voice
1331 \new Lyrics \lyricsto "nowhere" \lyr
1332 \new Staff { c'8 c' c' c' c' c' c' c'
1333 c' c' c' c' c' c' c' c' }
1338 @node Spacing lyrics
1339 @subsection Spacing lyrics
1341 @cindex Spacing lyrics
1342 @cindex Lyrics, increasing space between
1344 To increase the spacing between lyrics, set the minimum-distance property of
1347 @lilypond[relative,verbatim,fragment,quote,ragged-right]
1350 \override Lyrics.LyricSpace #'minimum-distance = #1.0
1354 longtext longtext longtext longtext
1355 longtext longtext longtext longtext
1359 To make this change for all lyrics in the score, set the property in the
1362 @lilypond[relative,verbatim,quote,ragged-right]
1369 longtext longtext longtext longtext
1370 longtext longtext longtext longtext
1375 \override LyricSpace #'minimum-distance = #1.0
1382 @node More about stanzas
1383 @subsection More about stanzas
1385 @c what's this doing here?
1386 @cindex phrasing, in lyrics
1388 @cindex stanza number
1389 @subsubsection Adding stanza numbers
1391 Stanza numbers can be added by setting @code{stanza}, e.g.,
1393 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1395 \time 3/4 g2 e4 a2 f4 g2.
1398 Hi, my name is Bert.
1401 Oh, che -- ri, je t'aime
1406 These numbers are put just before the start of the first syllable.
1409 @subsubsection Adding dynamics marks
1411 Stanzas differing in loudness may be indicated by putting a
1412 dynamics mark before each stanza. In Lilypond, everthing coming in
1413 front of a stanza goes into the @code{StanzaNumber} object; dynamics marks
1414 are no different. For technical reasons, you have to set the stanza
1415 outside @code{\lyricmode}:
1417 @lilypond[quote,ragged-right,verbatim]
1419 \set stanza = \markup { \dynamic "ff" "1. " }
1426 \new Voice = "tune" {
1430 \new Lyrics \lyricsto "tune" \text
1435 @cindex name of singer
1436 @subsubsection Adding singer names
1438 Names of singers can also be added. They are printed at the start of
1439 the line, just like instrument names. They are created by setting
1440 @code{vocalName}. A short version may be entered as @code{shortVocalName}.
1442 @lilypond[fragment,ragged-right,quote,verbatim,relative=2]
1444 \time 3/4 g2 e4 a2 f4 g2.
1446 \set vocalName = "Bert "
1447 Hi, my name is Bert.
1449 \set vocalName = "Ernie "
1450 Oh, che -- ri, je t'aime
1455 @subsubsection Printing stanzas at the end
1457 Sometimes it is appropriate to have one stanza set
1458 to the music, and the rest added in verse form at
1459 the end of the piece. This can be accomplished by adding
1460 the extra verses into a @code{\markup} section outside
1461 of the main score block. Notice that there are two
1462 different ways to force linebreaks when using
1465 @lilypond[ragged-right,verbatim,quote]
1466 melody = \relative c' {
1472 \set stanza = "1." Ma- ry had a lit- tle lamb,
1473 its fleece was white as snow.
1478 \new Voice = "one" { \melody }
1479 \new Lyrics \lyricsto "one" \text
1485 \line{ All the children laughed and played }
1486 \line{ To see a lamb at school. }
1493 Mary took it home again,
1495 It was against the rule."
1501 @subsubsection Printing stanzas at the end in multiple columns
1503 When a piece of music has many verses, they are often printed in
1504 multiple columns across the page. An outdented verse number often
1505 introduces each verse. The following example shows how to produce such
1508 @lilypond[ragged-right,quote,verbatim]
1509 melody = \relative c' {
1514 \set stanza = "1." This is verse one.
1519 \new Voice = "one" { \melody }
1520 \new Lyrics \lyricsto "one" \text
1527 \hspace #0.1 % moves the column off the left margin; can be removed if
1528 % space on the page is tight
1532 "This is verse two."
1536 \hspace #0.1 % adds vertical spacing between verses
1539 "This is verse three."
1544 \hspace #0.1 % adds horizontal spacing between columns; if they are
1545 % still too close, add more " " pairs until the result
1550 "This is verse four."
1554 \hspace #0.1 % adds vertical spacing between verses
1557 "This is verse five."
1562 \hspace #0.1 % gives some extra space on the right margin; can
1563 % be removed if page space is tight
1571 Program reference: @internalsref{LyricText}, @internalsref{StanzaNumber},
1572 @internalsref{VocalName}.
1580 The term @emph{ambitus} denotes a range of pitches for a given voice
1581 in a part of music. It may also denote the pitch range that a musical
1582 instrument is capable of playing. Ambits are printed on vocal parts,
1583 so performers can easily determine it meets their capabilities.
1585 Ambits are denoted at the beginning of a piece near the initial clef.
1586 The range is graphically specified by two note heads that represent the
1587 minimum and maximum pitch. To print such ambits, add the
1588 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
1595 \consists Ambitus_engraver
1600 This results in the following output
1602 @lilypond[quote,ragged-right]
1606 \consists Ambitus_engraver
1610 \relative \new Staff {
1615 If you have multiple voices in a single staff and you want a single
1616 ambitus per staff rather than per each voice, add the
1617 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
1618 rather than to the @internalsref{Voice} context. Here is an example,
1620 @lilypond[verbatim,ragged-right,quote]
1622 \consists "Ambitus_engraver"
1626 \remove "Ambitus_engraver"
1628 \override Ambitus #'X-offset = #-1.0
1633 \remove "Ambitus_engraver"
1642 This example uses one advanced feature,
1645 \override Ambitus #'X-offset = #-1.0
1649 This code moves the ambitus to the left. The same effect could have
1650 been achieved with @code{extra-offset}, but then the formatting system
1651 would not reserve space for the moved object.
1655 Program reference: @internalsref{Ambitus},
1656 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1657 @internalsref{AmbitusAccidental}.
1659 Examples: @inputfileref{input/@/regression,ambitus@/.ly}.
1663 There is no collision handling in the case of multiple per-voice
1667 @node Other vocal issues
1668 @subsection Other vocal issues
1671 yeah, I'm giving up somewhat by stuffing a bunch of things in
1672 here. But at least they're in the manual now; it's easier to
1673 move them around in the manual once they're already here.
1675 Besides, if users complain about everything stuffed in here, I
1676 can ask them for specific instructions about where to move these
1677 examples, and that might get them more involved in the docs. -gp
1680 @q{Parlato} is spoken without pitch but still with rhythm; it is
1681 notated by cross noteheads. This is demonstrated in
1682 @ref{Special noteheads}.
1688 @node Rhythmic music
1689 @section Rhythmic music
1691 Rhythmic music is primarily used for percussion and drum notation, but it can
1692 also be used to show the rhythms of melodies.
1695 * Showing melody rhythms::
1696 * Entering percussion::
1697 * Percussion staves::
1702 @node Showing melody rhythms
1703 @subsection Showing melody rhythms
1705 Sometimes you might want to show only the rhythm of a melody. This
1706 can be done with the rhythmic staff. All pitches of notes on such a
1707 staff are squashed, and the staff itself has a single line
1709 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1710 \new RhythmicStaff {
1712 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1718 Program reference: @internalsref{RhythmicStaff}.
1720 Examples: @inputfileref{input/@/regression,rhythmic@/-staff@/.ly}.
1723 @node Entering percussion
1724 @subsection Entering percussion
1730 Percussion notes may be entered in @code{\drummode} mode, which is
1731 similar to the standard mode for entering notes. Each piece of
1732 percussion has a full name and an abbreviated name, and both can be used
1735 @lilypond[quote,ragged-right,verbatim]
1737 hihat hh bassdrum bd
1741 The complete list of drum names is in the init file
1742 @file{ly/@/drumpitch@/-init@/.ly}.
1743 @c TODO: properly document this.
1747 Program reference: @internalsref{note-event}.
1749 @node Percussion staves
1750 @subsection Percussion staves
1754 A percussion part for more than one instrument typically uses a
1755 multiline staff where each position in the staff refers to one piece
1759 To typeset the music, the notes must be interpreted in a
1760 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
1762 @lilypond[quote,ragged-right,verbatim]
1763 up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
1764 down = \drummode { bassdrum4 snare8 bd r bd sn4 }
1766 \new DrumVoice { \voiceOne \up }
1767 \new DrumVoice { \voiceTwo \down }
1771 The above example shows verbose polyphonic notation. The short
1772 polyphonic notation, described in @ref{Basic polyphony}, can also be used if
1773 the @internalsref{DrumVoice}s are instantiated by hand first. For example,
1775 @lilypond[quote,ragged-right,fragment,verbatim]
1777 \new DrumVoice = "1" { s1 *2 }
1778 \new DrumVoice = "2" { s1 *2 }
1782 { \repeat unfold 16 hh16 }
1791 There are also other layout possibilities. To use these, set the
1792 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
1793 The following variables have been predefined
1797 This is the default. It typesets a typical drum kit on a five-line staff
1799 @lilypond[quote,line-width=10.0\cm]
1801 cymc cyms cymr hh hhc hho hhho hhp
1802 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl }
1804 cymc cyms cymr hh hhc hho hhho hhp \break
1805 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
1807 << \new DrumStaff \with {
1808 \remove Bar_engraver
1809 \remove Time_signature_engraver
1810 \override Stem #'transparent = ##t
1811 \override Stem #'Y-extent-callback = ##f
1812 \override VerticalAxisGroup #'minimum-Y-extent = #'(-4.0 . 5.0)
1819 \override LyricText #'font-family = #'typewriter
1820 \override BarNumber #'transparent =##T
1826 The drum scheme supports six different toms. When there are fewer toms,
1827 simply select the toms that produce the desired result, i.e., to get toms
1828 on the three middle lines you use @code{tommh}, @code{tomml}, and
1831 @item timbales-style
1832 This typesets timbales on a two line staff
1834 @lilypond[quote,ragged-right]
1835 nam = \lyricmode { timh ssh timl ssl cb }
1836 mus = \drummode { timh ssh timl ssl cb s16 }
1839 \new DrumStaff \with {
1840 \remove Bar_engraver
1841 \remove Time_signature_engraver
1842 \override Stem #'transparent = ##t
1843 \override Stem #'Y-extent-callback = ##f
1844 \override StaffSymbol #'line-count = #2
1845 \override StaffSymbol #'staff-space = #2
1846 \override VerticalAxisGroup #'minimum-Y-extent = #'(-3.0 . 4.0)
1847 drumStyleTable = #timbales-style
1850 \override LyricText #'font-family = #'typewriter
1857 This typesets congas on a two line staff
1859 @lilypond[quote,ragged-right]
1860 nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
1861 mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
1864 \new DrumStaff \with {
1865 \remove Bar_engraver
1866 \remove Time_signature_engraver
1867 drumStyleTable = #congas-style
1868 \override StaffSymbol #'line-count = #2
1870 %% this sucks; it will lengthen stems.
1871 \override StaffSymbol #'staff-space = #2
1872 \override Stem #'transparent = ##t
1873 \override Stem #'Y-extent-callback = ##f
1876 \override LyricText #'font-family = #'typewriter
1883 This typesets bongos on a two line staff
1885 @lilypond[quote,ragged-right]
1886 nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
1887 mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
1890 \new DrumStaff \with {
1891 \remove Bar_engraver
1892 \remove Time_signature_engraver
1893 \override StaffSymbol #'line-count = #2
1894 drumStyleTable = #bongos-style
1896 %% this sucks; it will lengthen stems.
1897 \override StaffSymbol #'staff-space = #2
1898 \override Stem #'transparent = ##t
1899 \override Stem #'Y-extent-callback = ##f
1902 \override LyricText #'font-family = #'typewriter
1908 @item percussion-style
1909 To typeset all kinds of simple percussion on one line staves.
1911 @lilypond[quote,ragged-right]
1912 nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
1913 mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
1916 \new DrumStaff \with{
1917 \remove Bar_engraver
1918 drumStyleTable = #percussion-style
1919 \override StaffSymbol #'line-count = #1
1920 \remove Time_signature_engraver
1921 \override Stem #'transparent = ##t
1922 \override Stem #'Y-extent-callback = ##f
1925 \override LyricText #'font-family = #'typewriter
1932 If you do not like any of the predefined lists you can define your own
1933 list at the top of your file
1935 @lilypond[quote,ragged-right,verbatim]
1937 (bassdrum default #f -1)
1938 (snare default #f 0)
1940 (pedalhihat xcircle "stopped" 2)
1941 (lowtom diamond #f 3)))
1942 up = \drummode { hh8 hh hh hh hhp4 hhp }
1943 down = \drummode { bd4 sn bd toml8 toml }
1946 \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
1947 \new DrumVoice { \voiceOne \up }
1948 \new DrumVoice { \voiceTwo \down }
1955 Init files: @file{ly/@/drumpitch@/-init@/.ly}.
1957 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
1961 Because general MIDI does not contain rim shots, the sidestick is used
1962 for this purpose instead.
1965 @c FIXME: check name -gp
1967 @subsection Ghost notes
1969 Ghost notes for drums and percussion may be created using the
1970 @code{\parenthesize} command detailed in @ref{Parentheses}. However,
1971 the default @code{\drummode} does
1972 not include the @code{Parenthesis_engraver} plugin which allows
1974 must add the plugin explicitly in the context definition as
1975 detailed in @ref{Changing context properties on the fly}.
1977 @lilypond[quote,ragged-right,verbatim,fragment]
1978 \new DrumStaff \with {
1979 \consists "Parenthesis_engraver"
1981 \context DrumVoice = "1" { s1 *2 }
1982 \context DrumVoice = "2" { s1 *2 }
1986 hh8[ hh] <hh sn> hh16
1987 < \parenthesize sn > hh < \parenthesize
1998 Also note that you must add chords (@code{< >} brackets)
1999 around each @code{\parenthesize} statement.
2006 @cindex guitar tablature
2009 * String number indications::
2010 * Tablatures basic::
2011 * Non-guitar tablatures::
2012 * Banjo tablatures::
2014 * Right hand fingerings::
2015 * Other guitar issues::
2018 @node String number indications
2019 @subsection String number indications
2021 @cindex String numbers
2023 String numbers can be added to chords, by indicating the string number
2024 with @code{\}@var{number},
2026 @lilypond[relative,relative=1,ragged-right,fragment]
2030 See also @inputfileref{input/regression,string-number.ly}.
2035 Program reference: @internalsref{StringNumber}.
2038 @node Tablatures basic
2039 @subsection Tablatures basic
2040 @cindex Tablatures basic
2042 Tablature notation is used for notating music for plucked string
2043 instruments. Pitches are not denoted with note heads, but by
2044 numbers indicating on which string and fret a note must be played. LilyPond
2045 offers limited support for tablature.
2047 The string number associated to a note is given as a backslash
2048 followed by a number, e.g., @code{c4\3} for a C quarter on the third
2049 string. By default, string 1 is the highest one, and the tuning
2050 defaults to the standard guitar tuning (with 6 strings). The notes
2051 are printed as tablature, by using @internalsref{TabStaff} and
2052 @internalsref{TabVoice} contexts
2054 @lilypond[quote,ragged-right,fragment,verbatim]
2061 @funindex minimumFret
2064 When no string is specified, the first string that does not give a
2065 fret number less than @code{minimumFret} is selected. The default
2066 value for @code{minimumFret} is 0
2071 \set TabStaff.minimumFret = #8
2074 @lilypond[quote,ragged-right]
2078 \set TabStaff.minimumFret = #8
2082 \new Staff { \clef "G_8" \frag }
2083 \new TabStaff { \frag }
2090 To print tablatures with stems down and horizontal beams,
2091 initialize the @code{TabStaff} with this code:
2095 \override Beam #'damping = #100000
2100 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}.
2104 Chords are not handled in a special way, and hence the automatic
2105 string selector may easily select the same string to two notes in a
2109 @node Non-guitar tablatures
2110 @subsection Non-guitar tablatures
2111 @cindex Non-guitar tablatures
2113 You can change the tuning of the strings. A string tuning is given as
2114 a Scheme list with one integer number for each string, the number
2115 being the pitch (measured in semitones relative to middle C) of an
2116 open string. The numbers specified for @code{stringTuning} are the
2117 numbers of semitones to subtract or add, starting the specified pitch
2118 by default middle C, in string order. LilyPond automatically calculates
2119 the number of strings by looking at @code{stringTuning}.
2121 In the next example,
2122 @code{stringTunings} is set for the pitches e, a, d, and g
2124 @lilypond[quote,ragged-right,fragment,verbatim]
2126 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
2128 a,4 c' a e' e c' a e'
2133 LilyPond comes with predefined string tunings for banjo, mandolin, guitar
2137 \set TabStaff.stringTunings = #bass-tuning
2140 The default string tuning is @code{guitar-tuning} (the standard EADGBE
2142 Some other predefined tunings are @code{guitar-open-g-tuning},
2143 @code{mandolin-tuning} and @code{banjo-open-g-tuning}.
2147 The file @file{scm/@/output@/-lib@/.scm} contains the predefined string
2149 Program reference: @internalsref{Tab_note_heads_engraver}.
2153 No guitar special effects have been implemented.
2157 @node Banjo tablatures
2158 @subsection Banjo tablatures
2159 @cindex Banjo tablatures
2161 LilyPond has basic support for five stringed banjo. When making tablatures
2162 for five stringed banjo, use the banjo tablature format function to get
2164 fret numbers for the fifth string:
2166 @lilypond[quote,ragged-right,fragment,verbatim]
2168 \set TabStaff.tablatureFormat = #fret-number-tablature-format-banjo
2169 \set TabStaff.stringTunings = #banjo-open-g-tuning
2172 g8 d' g'\5 a b g e d' |
2173 g4 d''8\5 b' a'\2 g'\5 e'\2 d' |
2179 A number of common tunings for banjo are predefined in LilyPond:
2180 @code{banjo-c-tuning} (gCGBD), @code{banjo-modal-tuning} (gDGCD),
2181 @code{banjo-open-d-tuning} (aDF#AD) and @code{banjo-open-dm-tuning}
2184 These tunings may be converted to four string banjo tunings using the
2185 @code{four-string-banjo} function:
2188 \set TabStaff.stringTunings = #(four-string-banjo banjo-c-tuning)
2193 The file @file{scm/@/output@/-lib@/.scm} contains predefined banjo tunings.
2197 @subsection Fret diagrams
2198 @cindex fret diagrams
2199 @cindex chord diagrams
2201 Fret diagrams can be added to music as a markup to the desired note. The
2202 markup contains information about the desired fret diagram, as shown in the
2205 @lilypond[verbatim, ragged-right, quote]
2207 d'^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
2209 fis'^\markup \override #'(size . 0.75) {
2210 \override #'(finger-code . below-string) {
2211 \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
2212 (place-fret 5 4 3) (place-fret 4 4 4)
2213 (place-fret 3 3 2) (place-fret 2 2 1)
2218 c'^\markup \override #'(dot-radius . 0.35) {
2219 \override #'(finger-code . in-dot) {
2220 \override #'(dot-color . white) {
2221 \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
2230 There are three different fret-diagram markup interfaces: standard, terse,
2231 and verbose. The three interfaces produce equivalent markups, but have
2232 varying amounts of information in the markup string. Details about the
2233 markup interfaces are found at @ref{Overview of text markup commands}.
2235 You can set a number of graphical properties according to your preference.
2236 Details about the property interface to fret diagrams are found at
2237 @internalsref{fret-diagram-interface}.
2242 Examples: @inputfileref{input/@/test,fret@/-diagram@/.ly}
2245 @node Right hand fingerings
2246 @subsection Right hand fingerings
2248 Right hand fingerings in chords can be entered using
2249 @code{@var{note}-\rightHandFinger @var{finger}}
2251 @lilypond[verbatim,fragment,relative=2]
2252 <c-\rightHandFinger #1 e-\rightHandFinger #2 >
2255 for brevity, you can abbreviate @code{\rightHandFinger} to something
2256 short, for example @code{RH},
2259 #(define RH rightHandFinger)
2262 @cindex fingerings, right hand, for guitar
2263 @cindex right hand fingerings for guitar
2267 You may exercise greater control over right handing fingerings by
2268 setting @code{strokeFingerOrientations},
2270 @lilypond[quote,verbatim,ragged-right,fragment,relative=1]
2271 #(define RH rightHandFinger)
2273 \set strokeFingerOrientations = #'(up down)
2274 <c-\RH #1 es-\RH #2 g-\RH #4 > 4
2275 \set strokeFingerOrientations = #'(up right down)
2276 <c-\RH #1 es-\RH #2 g-\RH #4 > 4
2280 The letters used for the fingerings are contained in the property
2281 @code{digit-names}, but they can also be set individually by supplying
2282 @code{\rightHandFinger} with a string argument, as in the following example
2285 @lilypond[quote,verbatim,ragged-right,fragment,relative=1]
2286 #(define RH rightHandFinger)
2288 \set strokeFingerOrientations = #'(right)
2289 \override StrokeFinger #'digit-names = ##("x" "y" "z" "!" "@")
2297 Internalls: @internalsref{StrokeFinger}
2301 @node Other guitar issues
2302 @subsection Other guitar issues
2304 This example demonstrates how to include guitar position and
2305 barring indications.
2307 @lilypond[quote,ragged-right,fragment,verbatim,relative=0]
2311 \override TextSpanner #'edge-text = #'("XII " . "")
2313 b16 e16 g16 e16 b16 g16\stopTextSpan
2318 Stopped (X) note heads are used in guitar music to signal a place where the
2319 guitarist must play a certain note or chord, with its fingers just
2320 touching the strings instead of fully pressing them. This gives the sound a
2321 percussive noise-like sound that still maintains part of the original
2322 pitch. It is notated with cross noteheads; this is
2323 demonstrated in @ref{Special noteheads}.
2332 * Bagpipe definitions::
2337 @node Bagpipe definitions
2338 @subsection Bagpipe definitions
2340 LilyPond contains special definitions for music for the Scottish
2341 highland bagpipe; to use them, add
2344 \include "bagpipe.ly"
2348 at the top of your input file. This lets you add the special gracenotes
2349 common to bagpipe music with short commands. For example, you could
2350 write @code{\taor} instead of
2353 \grace @{ \small G32[ d G e] @}
2356 @code{bagpipe.ly} also contains pitch definitions for the bagpipe
2357 notes in the appropiate octaves, so you do not need to worry about
2358 @code{\relative} or @code{\transpose}.
2360 @lilypond[ragged-right,verbatim,quote,notime]
2361 \include "bagpipe.ly"
2362 { \grg G4 \grg a \grg b \grg c \grg d \grg e \grg f \grA g A }
2365 Bagpipe music nominally uses the key of D Major (even though that
2366 isn't really true). However, since that is the only key that can be used,
2367 the key signature is normally not written out. To set this up correctly,
2368 always start your music with @code{\hideKeySignature}. If you for some
2369 reason want to show the key signature, you can use @code{\showKeySignature}
2372 Some modern music use cross fingering on c and f to flatten those notes.
2373 This can be indicated by @code{cflat} or @code{fflat}. Similarly, the
2374 piobaireachd high g can be written @code{gflat} when it occurs in light
2378 @node Bagpipe example
2379 @subsection Bagpipe example
2381 This is what the well known tune Amazing Grace looks like in bagpipe
2384 @lilypond[verbatim,quote]
2385 \include "bagpipe.ly"
2388 \context { \Score \remove "Bar_number_engraver" }
2392 title = "Amazing Grace"
2394 arranger = "Trad. arr."
2400 \grg \partial 4 a8. d16
2401 \slurd d2 \grg f8[ e32 d16.]
2404 \grG a2 \grg a8. d16
2405 \slurd d2 \grg f8[ e32 d16.]
2406 \grg f2 \grg e8. f16
2409 \grg A2 \hdblf f8[ e32 d16.]
2412 \grG a2 \grg a8. d16
2413 \slurd d2 \grg f8[ e32 d16.]
2422 @node Ancient notation
2423 @section Ancient notation
2425 @cindex Vaticana, Editio
2426 @cindex Medicaea, Editio
2431 Support for ancient notation includes features for mensural notation
2432 and Gregorian Chant notation. There is also limited support for
2433 figured bass notation.
2435 Many graphical objects provide a @code{style} property, see
2438 @ref{Ancient note heads},
2440 @ref{Ancient accidentals},
2442 @ref{Ancient rests},
2444 @ref{Ancient clefs},
2446 @ref{Ancient flags},
2448 @ref{Ancient time signatures}.
2451 By manipulating such a grob property, the typographical appearance of
2452 the affected graphical objects can be accommodated for a specific
2453 notation flavor without the need for introducing any new notational
2456 In addition to the standard articulation signs described in section
2457 @ref{Articulations}, specific articulation signs for ancient notation
2462 @ref{Ancient articulations}
2465 Other aspects of ancient notation can not that easily be expressed
2466 in terms of just changing a style property of a graphical object or
2467 adding articulation signs. Some notational concepts are introduced
2468 specifically for ancient notation,
2479 If this all is too much of documentation for you, and you just want to
2480 dive into typesetting without worrying too much about the details on
2481 how to customize a context, you may have a look at the predefined
2482 contexts. Use them to set up predefined style-specific voice and
2483 staff contexts, and directly go ahead with the note entry,
2487 @ref{Gregorian Chant contexts},
2489 @ref{Mensural contexts}.
2492 There is limited support for figured bass notation which came
2493 up during the baroque period.
2500 Here are all suptopics at a glance:
2503 * Ancient note heads::
2504 * Ancient accidentals::
2508 * Ancient time signatures::
2509 * Ancient articulations::
2513 * Gregorian Chant contexts::
2514 * Mensural contexts::
2515 * Musica ficta accidentals::
2521 @node Ancient note heads
2522 @subsection Ancient note heads
2524 @cindex note heads, ancient
2526 For ancient notation, a note head style other than the @code{default}
2527 style may be chosen. This is accomplished by setting the @code{style}
2528 property of the @internalsref{NoteHead} object to @code{baroque},
2529 @code{neomensural}, @code{mensural} or @code{petrucci}. The
2530 @code{baroque} style differs from the @code{default} style only in
2531 using a square shape for @code{\breve} note heads. The
2532 @code{neomensural} style differs from the @code{baroque} style in that
2533 it uses rhomboidal heads for whole notes and all smaller durations.
2534 Stems are centered on the note heads. This style is particularly
2535 useful when transcribing mensural music, e.g., for the incipit. The
2536 @code{mensural} style produces note heads that mimic the look of note
2537 heads in historic printings of the 16th century. Finally, the
2538 @code{petrucci} style also mimicks historic printings, but uses bigger
2541 The following example demonstrates the @code{neomensural} style
2543 @lilypond[quote,fragment,ragged-right,verbatim]
2544 \set Score.skipBars = ##t
2545 \override NoteHead #'style = #'neomensural
2546 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
2549 When typesetting a piece in Gregorian Chant notation, the
2550 @internalsref{Gregorian_ligature_engraver} will automatically select
2551 the proper note heads, so there is no need to explicitly set the
2552 note head style. Still, the note head style can be set, e.g., to
2553 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
2554 @internalsref{Mensural_ligature_engraver} is used to automatically
2555 assemble mensural ligatures. See @ref{Ligatures} for how ligature
2560 Examples: @inputfileref{input/@/regression,note@/-head@/-style@/.ly} gives an
2561 overview over all available note head styles.
2564 @node Ancient accidentals
2565 @subsection Ancient accidentals
2570 Use the @code{glyph-name-alist} property of grob
2571 @internalsref{Accidental} and @internalsref{KeySignature} to select
2572 ancient accidentals.
2574 @lilypond[quote,ragged-right,staffsize=26]
2581 \line { " " \musicglyph #"accidentals.vaticana-1"
2582 " " \musicglyph #"accidentals.vaticana0" }
2586 \line { " " \musicglyph #"accidentals.medicaea-1" }
2590 \line { " " \musicglyph #"accidentals.hufnagel-1" }
2594 \line { " " \musicglyph #"accidentals.mensural-1"
2595 " " \musicglyph #"accidentals.mensural1" }
2601 \context { \Score \remove "Bar_number_engraver" }
2603 \remove "Clef_engraver"
2604 \remove "Key_engraver"
2605 \remove "Time_signature_engraver"
2606 \remove "Staff_symbol_engraver"
2607 \override VerticalAxisGroup #'minimum-Y-extent = ##f
2613 As shown, not all accidentals are supported by each style. When
2614 trying to access an unsupported accidental, LilyPond will switch to a
2615 different style, as demonstrated in
2616 @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2618 Similarly to local accidentals, the style of the key signature can be
2619 controlled by the @code{glyph-name-alist} property of the
2620 @internalsref{KeySignature} grob.
2624 In this manual: @ref{Pitches}, @ref{Cautionary accidentals} and
2625 @ref{Automatic accidentals} give a general introduction of the use of
2626 accidentals. @ref{Key signature} gives a general introduction of
2627 the use of key signatures.
2629 Program reference: @internalsref{KeySignature}.
2631 Examples: @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2634 @subsection Ancient rests
2636 @cindex rests, ancient
2639 Use the @code{style} property of grob @internalsref{Rest} to select
2640 ancient rests. Supported styles are @code{classical},
2641 @code{neomensural}, and @code{mensural}. @code{classical} differs
2642 from the @code{default} style only in that the quarter rest looks like
2643 a horizontally mirrored 8th rest. The @code{neomensural} style suits
2644 well for, e.g., the incipit of a transcribed mensural piece of music.
2645 The @code{mensural} style finally mimics the appearance of rests as
2646 in historic prints of the 16th century.
2648 The following example demonstrates the @code{neomensural} style
2650 @lilypond[quote,fragment,ragged-right,verbatim]
2651 \set Score.skipBars = ##t
2652 \override Rest #'style = #'neomensural
2653 r\longa r\breve r1 r2 r4 r8 r16
2656 There are no 32th and 64th rests specifically for the mensural or
2657 neo-mensural style. Instead, the rests from the default style will be
2658 taken. See @inputfileref{input/@/test,rests@/.ly} for a chart of all
2661 There are no rests in Gregorian Chant notation; instead, it uses
2666 In this manual: @ref{Rests} gives a general introduction into the use of
2671 @subsection Ancient clefs
2676 LilyPond supports a variety of clefs, many of them ancient.
2678 The following table shows all ancient clefs that are supported via the
2679 @code{\clef} command. Some of the clefs use the same glyph, but
2680 differ only with respect to the line they are printed on. In such
2681 cases, a trailing number in the name is used to enumerate these clefs.
2682 Still, you can manually force a clef glyph to be typeset on an
2683 arbitrary line, as described in @ref{Clef}. The note printed to the
2684 right side of each clef in the example column denotes the @code{c'}
2685 with respect to that clef.
2687 @multitable @columnfractions .4 .4 .2
2696 modern style mensural C clef
2698 @code{neomensural-c1}, @code{neomensural-c2},@*
2699 @code{neomensural-c3}, @code{neomensural-c4}
2701 @lilypond[fragment,relative=1,notime]
2702 \clef "neomensural-c2" c
2706 petrucci style mensural C clefs, for use on different staff lines
2707 (the examples show the 2nd staff line C clef)
2709 @code{petrucci-c1}, @code{petrucci-c2},@*
2710 @code{petrucci-c3}, @code{petrucci-c4},@*
2713 @lilypond[fragment,relative=1,notime]
2715 \override NoteHead #'style = #'mensural
2720 petrucci style mensural F clef
2724 @lilypond[fragment,relative=1,notime]
2726 \override NoteHead #'style = #'mensural
2731 petrucci style mensural G clef
2735 @lilypond[fragment,relative=1,notime]
2737 \override NoteHead #'style = #'mensural
2742 historic style mensural C clef
2744 @code{mensural-c1}, @code{mensural-c2},@*
2745 @code{mensural-c3}, @code{mensural-c4}
2747 @lilypond[fragment,relative=1,notime]
2749 \override NoteHead #'style = #'mensural
2754 historic style mensural F clef
2758 @lilypond[fragment,relative=1,notime]
2760 \override NoteHead #'style = #'mensural
2765 historic style mensural G clef
2769 @lilypond[fragment,relative=1,notime]
2771 \override NoteHead #'style = #'mensural
2776 Editio Vaticana style do clef
2778 @code{vaticana-do1}, @code{vaticana-do2},@*
2781 @lilypond[fragment,relative=1,notime]
2782 \override Staff.StaffSymbol #'line-count = #4
2783 \override Staff.StaffSymbol #'color = #red
2784 \override Staff.LedgerLineSpanner #'color = #red
2785 \override Voice.Stem #'transparent = ##t
2786 \override NoteHead #'style = #'vaticana.punctum
2787 \clef "vaticana-do2"
2792 Editio Vaticana style fa clef
2794 @code{vaticana-fa1}, @code{vaticana-fa2}
2796 @lilypond[fragment,relative=1,notime]
2797 \override Staff.StaffSymbol #'line-count = #4
2798 \override Staff.StaffSymbol #'color = #red
2799 \override Staff.LedgerLineSpanner #'color = #red
2800 \override Voice.Stem #'transparent = ##t
2801 \override NoteHead #'style = #'vaticana.punctum
2802 \clef "vaticana-fa2"
2807 Editio Medicaea style do clef
2809 @code{medicaea-do1}, @code{medicaea-do2},@*
2812 @lilypond[fragment,relative=1,notime]
2813 \override Staff.StaffSymbol #'line-count = #4
2814 \override Staff.StaffSymbol #'color = #red
2815 \override Staff.LedgerLineSpanner #'color = #red
2816 \override Voice.Stem #'transparent = ##t
2817 \override NoteHead #'style = #'medicaea.punctum
2818 \clef "medicaea-do2"
2823 Editio Medicaea style fa clef
2825 @code{medicaea-fa1}, @code{medicaea-fa2}
2827 @lilypond[fragment,relative=1,notime]
2828 \override Staff.StaffSymbol #'line-count = #4
2829 \override Staff.StaffSymbol #'color = #red
2830 \override Staff.LedgerLineSpanner #'color = #red
2831 \override Voice.Stem #'transparent = ##t
2832 \override NoteHead #'style = #'medicaea.punctum
2833 \clef "medicaea-fa2"
2838 historic style hufnagel do clef
2840 @code{hufnagel-do1}, @code{hufnagel-do2},@*
2843 @lilypond[fragment,relative=1,notime]
2844 \override Staff.StaffSymbol #'line-count = #4
2845 \override Staff.StaffSymbol #'color = #red
2846 \override Staff.LedgerLineSpanner #'color = #red
2847 \override Voice.Stem #'transparent = ##t
2848 \override NoteHead #'style = #'hufnagel.punctum
2849 \clef "hufnagel-do2"
2854 historic style hufnagel fa clef
2856 @code{hufnagel-fa1}, @code{hufnagel-fa2}
2858 @lilypond[fragment,relative=1,notime]
2859 \override Staff.StaffSymbol #'line-count = #4
2860 \override Staff.StaffSymbol #'color = #red
2861 \override Staff.LedgerLineSpanner #'color = #red
2862 \override Voice.Stem #'transparent = ##t
2863 \override NoteHead #'style = #'hufnagel.punctum
2864 \clef "hufnagel-fa2"
2869 historic style hufnagel combined do/fa clef
2871 @code{hufnagel-do-fa}
2873 @lilypond[fragment,relative=1,notime]
2874 \override Staff.StaffSymbol #'color = #red
2875 \override Staff.LedgerLineSpanner #'color = #red
2876 \override Voice.Stem #'transparent = ##t
2877 \override NoteHead #'style = #'hufnagel.punctum
2878 \clef "hufnagel-do-fa"
2885 @emph{Modern style} means @qq{as is typeset in contemporary editions of
2886 transcribed mensural music.}
2888 @emph{Petrucci style} means @qq{inspired by printings published by the
2889 famous engraver Petrucci (1466-1539).}
2891 @emph{Historic style} means @qq{as was typeset or written in historic
2892 editions (other than those of Petrucci).}
2894 @emph{Editio XXX style} means @qq{as is/was printed in Editio XXX.}
2896 Petrucci used C clefs with differently balanced left-side vertical
2897 beams, depending on which staff line it is printed.
2901 In this manual: see @ref{Clef}.
2905 The mensural g clef is mapped to the Petrucci g clef.
2910 @subsection Ancient flags
2915 Use the @code{flag-style} property of grob @internalsref{Stem} to
2916 select ancient flags. Besides the @code{default} flag style,
2917 only the @code{mensural} style is supported
2919 @lilypond[quote,fragment,ragged-right,verbatim]
2920 \override Stem #'flag-style = #'mensural
2921 \override Stem #'thickness = #1.0
2922 \override NoteHead #'style = #'mensural
2924 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
2925 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
2928 Note that the innermost flare of each mensural flag always is
2929 vertically aligned with a staff line.
2931 There is no particular flag style for neo-mensural notation. Hence,
2932 when typesetting the incipit of a transcribed piece of mensural
2933 music, the default flag style should be used. There are no flags in
2934 Gregorian Chant notation.
2938 The attachment of ancient flags to stems is slightly off due to a
2939 change in early 2.3.x.
2941 Vertically aligning each flag with a staff line assumes that stems
2942 always end either exactly on or exactly in the middle between two
2943 staff lines. This may not always be true when using advanced layout
2944 features of classical notation (which however are typically out of
2945 scope for mensural notation).
2947 @node Ancient time signatures
2948 @subsection Ancient time signatures
2950 @cindex time signatures
2953 There is limited support for mensural time signatures. The
2954 glyphs are hard-wired to particular time fractions. In other words,
2955 to get a particular mensural signature glyph with the @code{\time n/m}
2956 command, @code{n} and @code{m} have to be chosen according to the
2959 @lilypond[quote,ragged-right]
2964 \remove Staff_symbol_engraver
2965 \remove Clef_engraver
2966 \remove Time_signature_engraver
2970 \set Score.timing = ##f
2971 \set Score.barAlways = ##t
2972 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph
2973 #"timesig.neomensural44" }
2975 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph
2976 #"timesig.neomensural22" }
2978 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph
2979 #"timesig.neomensural64" }
2981 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph
2982 #"timesig.neomensural68" }
2984 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph
2985 #"timesig.neomensural32" }
2987 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph
2988 #"timesig.neomensural34" }
2990 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph
2991 #"timesig.neomensural94" }
2993 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph
2994 #"timesig.neomensural98" }
2996 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph
2997 #"timesig.neomensural48" }
2999 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph
3000 #"timesig.neomensural24" }
3004 Use the @code{style} property of grob @internalsref{TimeSignature} to
3005 select ancient time signatures. Supported styles are
3006 @code{neomensural} and @code{mensural}. The above table uses the
3007 @code{neomensural} style. This style is appropriate for the
3008 incipit of transcriptions of mensural pieces. The @code{mensural}
3009 style mimics the look of historical printings of the 16th century.
3011 The following examples show the differences in style,
3013 @lilypond[ragged-right,fragment,relative=1,quote]
3018 c1^\markup { \hspace #-2.0 \typewriter default }
3020 \override Staff.TimeSignature #'style = #'numbered
3022 c1^\markup { \hspace #-2.0 \typewriter numbered }
3024 \override Staff.TimeSignature #'style = #'mensural
3026 c1^\markup { \hspace #-2.0 \typewriter mensural }
3028 \override Staff.TimeSignature #'style = #'neomensural
3030 c1^\markup { \hspace #-2.0 \typewriter neomensural }
3031 \override Staff.TimeSignature #'style = #'single-digit
3033 c1^\markup { \hspace #-2.0 \typewriter single-digit }
3039 This manual: @ref{Time signature} gives a general introduction to
3040 the use of time signatures.
3044 Ratios of note durations do not change with the time signature. For
3045 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
3046 be made by hand, by setting
3049 breveTP = #(ly:make-duration -1 0 3 2)
3055 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
3057 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
3058 addressable with @code{\time}. Use a @code{\markup} instead
3060 @node Ancient articulations
3061 @subsection Ancient articulations
3063 @cindex articulations
3065 In addition to the standard articulation signs described in section
3066 @ref{Articulations}, articulation signs for ancient notation are
3067 provided. These are specifically designed for use with notation in
3068 Editio Vaticana style.
3070 @lilypond[quote,ragged-right,verbatim]
3071 \include "gregorian-init.ly"
3073 \new VaticanaVoice {
3074 \override TextScript #'font-family = #'typewriter
3075 \override TextScript #'font-shape = #'upright
3076 \override Script #'padding = #-0.1
3077 a\ictus_"ictus" \break
3078 a\circulus_"circulus" \break
3079 a\semicirculus_"semicirculus" \break
3080 a\accentus_"accentus" \break
3081 \[ a_"episem" \episemInitium \pes b \flexa a b \episemFinis \flexa a \]
3088 Some articulations are vertically placed too closely to the
3089 correpsonding note heads.
3091 The episem line is not displayed in many cases. If it is displayed,
3092 the right end of the episem line is often too far to the right.
3095 @subsection Custodes
3100 A @emph{custos} (plural: @emph{custodes}; Latin word for @q{guard}) is a
3101 symbol that appears at the end of a staff. It anticipates the pitch
3102 of the first note(s) of the following line thus helping the performer
3103 to manage line breaks during performance.
3105 Custodes were frequently used in music notation until the 17th
3106 century. Nowadays, they have survived only in a few particular forms
3107 of musical notation such as contemporary editions of Gregorian chant
3108 like the @emph{editio vaticana}. There are different custos glyphs
3109 used in different flavors of notational style.
3111 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
3112 @internalsref{Staff} context when declaring the @code{\layout} block,
3113 as shown in the following example
3119 \consists Custos_engraver
3120 Custos \override #'style = #'mensural
3125 The result looks like this
3127 @lilypond[quote,ragged-right]
3131 \override Staff.Custos #'style = #'mensural
3136 \context { \Staff \consists Custos_engraver }
3141 The custos glyph is selected by the @code{style} property. The styles
3142 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
3143 @code{mensural}. They are demonstrated in the following fragment
3145 @lilypond[quote,ragged-right,fragment]
3146 \new Lyrics \lyricmode {
3148 \typewriter "vaticana"
3149 \line { " " \musicglyph #"custodes.vaticana.u0" }
3152 \typewriter "medicaea"
3153 \line { " " \musicglyph #"custodes.medicaea.u0" }
3156 \typewriter "hufnagel"
3157 \line { " " \musicglyph #"custodes.hufnagel.u0" }
3160 \typewriter "mensural"
3161 \line { " " \musicglyph #"custodes.mensural.u0" }
3168 Program reference: @internalsref{Custos}.
3170 Examples: @inputfileref{input/@/regression,custos@/.ly}.
3174 @subsection Divisiones
3180 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
3181 @q{division}) is a staff context symbol that is used to structure
3182 Gregorian music into phrases and sections. The musical meaning of
3183 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
3184 can be characterized as short, medium, and long pause, somewhat like
3185 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
3186 only marks the end of a chant, but is also frequently used within a
3187 single antiphonal/responsorial chant to mark the end of each section.
3190 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
3191 contains definitions that you can apply by just inserting
3192 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
3193 and @code{\finalis} at proper places in the input. Some editions use
3194 @emph{virgula} or @emph{caesura} instead of divisio minima.
3195 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
3198 @lilypondfile[quote,ragged-right]{divisiones.ly}
3206 @funindex \divisioMinima
3207 @code{\divisioMinima},
3208 @funindex \divisioMaior
3209 @code{\divisioMaior},
3210 @funindex \divisioMaxima
3211 @code{\divisioMaxima},
3217 In this manual: @ref{Breath marks}.
3219 Program reference: @internalsref{BreathingSign}.
3221 Examples: @inputfileref{input/@/test,divisiones@/.ly}.
3224 @subsection Ligatures
3228 @c TODO: Should double check if I recalled things correctly when I wrote
3229 @c down the following paragraph by heart.
3231 A ligature is a graphical symbol that represents at least two distinct
3232 notes. Ligatures originally appeared in the manuscripts of Gregorian
3233 chant notation to denote ascending or descending sequences of notes.
3235 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
3236 Some ligature styles may need additional input syntax specific for
3237 this particular type of ligature. By default, the
3238 @internalsref{LigatureBracket} engraver just puts a square bracket
3241 @lilypond[quote,ragged-right,verbatim]
3249 To select a specific style of ligatures, a proper ligature engraver
3250 has to be added to the @internalsref{Voice} context, as explained in
3251 the following subsections. Only white mensural ligatures
3252 are supported with certain limitations.
3258 Ligatures need special spacing that has not yet been implemented. As
3259 a result, there is too much space between ligatures most of the time,
3260 and line breaking often is unsatisfactory. Also, lyrics do not
3261 correctly align with ligatures.
3263 Accidentals must not be printed within a ligature, but instead need to
3264 be collected and printed in front of it.
3266 The syntax still uses the deprecated infix style @code{\[ music expr
3267 \]}. For consistency reasons, it will eventually be changed to
3268 postfix style @code{note\[ ... note\]}. Alternatively, the file
3269 @file{gregorian@/-init@/.ly} can be included; it provides a scheme
3272 \ligature @var{music expr}
3274 with the same effect and is believed to be stable.
3277 * White mensural ligatures::
3278 * Gregorian square neumes ligatures::
3281 @node White mensural ligatures
3282 @subsubsection White mensural ligatures
3284 @cindex Mensural ligatures
3285 @cindex White mensural ligatures
3287 There is limited support for white mensural ligatures.
3289 To engrave white mensural ligatures, in the layout block put the
3290 @internalsref{Mensural_ligature_engraver} into the
3291 @internalsref{Voice} context, and remove the
3292 @internalsref{Ligature_bracket_engraver}, like this
3298 \remove Ligature_bracket_engraver
3299 \consists Mensural_ligature_engraver
3304 There is no additional input language to describe the shape of a
3305 white mensural ligature. The shape is rather determined solely from
3306 the pitch and duration of the enclosed notes. While this approach may
3307 take a new user a while to get accustomed to, it has the great advantage
3308 that the full musical information of the ligature is known internally.
3309 This is not only required for correct MIDI output, but also allows for
3310 automatic transcription of the ligatures.
3315 \set Score.timing = ##f
3316 \set Score.defaultBarType = "empty"
3317 \override NoteHead #'style = #'neomensural
3318 \override Staff.TimeSignature #'style = #'neomensural
3321 \[ d\longa c\breve f e d \]
3322 \[ c'\maxima d'\longa \]
3325 @lilypond[quote,ragged-right]
3328 \set Score.timing = ##f
3329 \set Score.defaultBarType = "empty"
3330 \override NoteHead #'style = #'neomensural
3331 \override Staff.TimeSignature #'style = #'neomensural
3334 \[ d\longa c\breve f e d \]
3335 \[ c'\maxima d'\longa \]
3341 \remove Ligature_bracket_engraver
3342 \consists Mensural_ligature_engraver
3348 Without replacing @internalsref{Ligature_bracket_engraver} with
3349 @internalsref{Mensural_ligature_engraver}, the same music transcribes
3352 @lilypond[quote,ragged-right]
3354 \set Score.timing = ##f
3355 \set Score.defaultBarType = "empty"
3356 \override NoteHead #'style = #'neomensural
3357 \override Staff.TimeSignature #'style = #'neomensural
3360 \[ d\longa c\breve f e d \]
3361 \[ c'\maxima d'\longa \]
3368 Horizontal spacing is poor.
3370 @node Gregorian square neumes ligatures
3371 @subsubsection Gregorian square neumes ligatures
3373 @cindex Square neumes ligatures
3374 @cindex Gregorian square neumes ligatures
3376 There is limited support for Gregorian square neumes notation
3377 (following the style of the Editio Vaticana). Core ligatures can
3378 already be typeset, but essential issues for serious typesetting are
3379 still lacking, such as (among others) horizontal alignment of multiple
3380 ligatures, lyrics alignment and proper handling of accidentals.
3383 The following table contains the extended neumes table of the 2nd
3384 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
3385 1983 by the monks of Solesmes.
3387 @multitable @columnfractions .4 .2 .2 .2
3404 @c TODO: \layout block is identical in all of the below examples.
3405 @c Therefore, it should somehow be included rather than duplicated all
3408 @c why not make identifiers in ly/engraver-init.ly? --hwn
3410 @c Because it's just used to typeset plain notes without
3411 @c a staff for demonstration purposes rather than something
3412 @c special of Gregorian chant notation. --jr
3417 @lilypond[staffsize=26,line-width=1.5\cm]
3418 \include "gregorian-init.ly"
3423 \noBreak s^\markup {"a"} \noBreak
3425 % Punctum Inclinatum
3427 \noBreak s^\markup {"b"}
3429 \layout { \neumeDemoLayout }}
3432 @lilypond[staffsize=26,line-width=2.5\cm]
3433 \include "gregorian-init.ly"
3436 % Punctum Auctum Ascendens
3437 \[ \auctum \ascendens b \]
3438 \noBreak s^\markup {"c"} \noBreak
3440 % Punctum Auctum Descendens
3441 \[ \auctum \descendens b \]
3442 \noBreak s^\markup {"d"} \noBreak
3444 % Punctum Inclinatum Auctum
3445 \[ \inclinatum \auctum b \]
3446 \noBreak s^\markup {"e"}
3448 \layout { \neumeDemoLayout }}
3451 @lilypond[staffsize=26,line-width=1.0\cm]
3452 \include "gregorian-init.ly"
3455 % Punctum Inclinatum Parvum
3456 \[ \inclinatum \deminutum b \]
3457 \noBreak s^\markup {"f"}
3459 \layout { \neumeDemoLayout }}
3465 @lilypond[staffsize=26,line-width=1.0\cm]
3466 \include "gregorian-init.ly"
3471 \noBreak s^\markup {"g"}
3473 \layout { \neumeDemoLayout }}
3479 @code{3. Apostropha vel Stropha}
3481 @lilypond[staffsize=26,line-width=1.0\cm]
3482 \include "gregorian-init.ly"
3487 \noBreak s^\markup {"h"}
3489 \layout { \neumeDemoLayout }}
3492 @lilypond[staffsize=26,line-width=1.0\cm]
3493 \include "gregorian-init.ly"
3497 \[ \stropha \auctum b \]
3498 \noBreak s^\markup {"i"}
3500 \layout { \neumeDemoLayout }}
3507 @lilypond[staffsize=26,line-width=1.0\cm]
3508 \include "gregorian-init.ly"
3513 \noBreak s^\markup {"j"}
3515 \layout { \neumeDemoLayout }}
3521 @code{5. Clivis vel Flexa}
3523 @lilypond[staffsize=26,line-width=1.0\cm]
3524 \include "gregorian-init.ly"
3531 \layout { \neumeDemoLayout }}
3534 @lilypond[staffsize=26,line-width=2.0\cm]
3535 \include "gregorian-init.ly"
3538 % Clivis Aucta Descendens
3539 \[ b \flexa \auctum \descendens g \]
3540 \noBreak s^\markup {"l"} \noBreak
3542 % Clivis Aucta Ascendens
3543 \[ b \flexa \auctum \ascendens g \]
3544 \noBreak s^\markup {"m"}
3546 \layout { \neumeDemoLayout }}
3549 @lilypond[staffsize=26,line-width=1.0\cm]
3550 \include "gregorian-init.ly"
3554 \[ b \flexa \deminutum g \]
3557 \layout { \neumeDemoLayout }}
3561 @code{6. Podatus vel Pes}
3563 @lilypond[staffsize=26,line-width=1.0\cm]
3564 \include "gregorian-init.ly"
3571 \layout { \neumeDemoLayout }}
3574 @lilypond[staffsize=26,line-width=2.0\cm]
3575 \include "gregorian-init.ly"
3578 % Pes Auctus Descendens
3579 \[ g \pes \auctum \descendens b \]
3580 \noBreak s^\markup {"p"} \noBreak
3582 % Pes Auctus Ascendens
3583 \[ g \pes \auctum \ascendens b \]
3584 \noBreak s^\markup {"q"}
3586 \layout { \neumeDemoLayout }}
3589 @lilypond[staffsize=26,line-width=1.0\cm]
3590 \include "gregorian-init.ly"
3594 \[ g \pes \deminutum b \]
3597 \layout { \neumeDemoLayout }}
3601 @code{7. Pes Quassus}
3603 @lilypond[staffsize=26,line-width=1.0\cm]
3604 \include "gregorian-init.ly"
3608 \[ \oriscus g \pes \virga b \]
3611 \layout { \neumeDemoLayout }}
3614 @lilypond[staffsize=26,line-width=1.0\cm]
3615 \include "gregorian-init.ly"
3618 % Pes Quassus Auctus Descendens
3619 \[ \oriscus g \pes \auctum \descendens b \]
3622 \layout { \neumeDemoLayout }}
3627 @code{8. Quilisma Pes}
3629 @lilypond[staffsize=26,line-width=1.0\cm]
3630 \include "gregorian-init.ly"
3634 \[ \quilisma g \pes b \]
3637 \layout { \neumeDemoLayout }}
3640 @lilypond[staffsize=26,line-width=1.0\cm]
3641 \include "gregorian-init.ly"
3644 % Quilisma Pes Auctus Descendens
3645 \[ \quilisma g \pes \auctum \descendens b \]
3648 \layout { \neumeDemoLayout }}
3653 @code{9. Podatus Initio Debilis}
3655 @lilypond[staffsize=26,line-width=1.0\cm]
3656 \include "gregorian-init.ly"
3659 % Pes Initio Debilis
3660 \[ \deminutum g \pes b \]
3663 \layout { \neumeDemoLayout }}
3666 @lilypond[staffsize=26,line-width=1.0\cm]
3667 \include "gregorian-init.ly"
3670 % Pes Auctus Descendens Initio Debilis
3671 \[ \deminutum g \pes \auctum \descendens b \]
3674 \layout { \neumeDemoLayout }}
3681 @lilypond[staffsize=26,line-width=1.0\cm]
3682 \include "gregorian-init.ly"
3686 \[ a \pes b \flexa g \]
3689 \layout { \neumeDemoLayout }}
3692 @lilypond[staffsize=26,line-width=1.0\cm]
3693 \include "gregorian-init.ly"
3696 % Torculus Auctus Descendens
3697 \[ a \pes b \flexa \auctum \descendens g \]
3700 \layout { \neumeDemoLayout }}
3703 @lilypond[staffsize=26,line-width=1.0\cm]
3704 \include "gregorian-init.ly"
3707 % Torculus Deminutus
3708 \[ a \pes b \flexa \deminutum g \]
3711 \layout { \neumeDemoLayout }}
3715 @code{11. Torculus Initio Debilis}
3717 @lilypond[staffsize=26,line-width=1.0\cm]
3718 \include "gregorian-init.ly"
3721 % Torculus Initio Debilis
3722 \[ \deminutum a \pes b \flexa g \]
3725 \layout { \neumeDemoLayout }}
3728 @lilypond[staffsize=26,line-width=1.0\cm]
3729 \include "gregorian-init.ly"
3732 % Torculus Auctus Descendens Initio Debilis
3733 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
3736 \layout { \neumeDemoLayout }}
3739 @lilypond[staffsize=26,line-width=1.0\cm]
3740 \include "gregorian-init.ly"
3743 % Torculus Deminutus Initio Debilis
3744 \[ \deminutum a \pes b \flexa \deminutum g \]
3747 \layout { \neumeDemoLayout }}
3751 @code{12. Porrectus}
3753 @lilypond[staffsize=26,line-width=1.0\cm]
3754 \include "gregorian-init.ly"
3758 \[ a \flexa g \pes b \]
3761 \layout { \neumeDemoLayout }}
3764 @lilypond[staffsize=26,line-width=1.0\cm]
3765 \include "gregorian-init.ly"
3768 % Porrectus Auctus Descendens
3769 \[ a \flexa g \pes \auctum \descendens b \]
3772 \layout { \neumeDemoLayout }}
3775 @lilypond[staffsize=26,line-width=1.0\cm]
3776 \include "gregorian-init.ly"
3779 % Porrectus Deminutus
3780 \[ a \flexa g \pes \deminutum b \]
3783 \layout { \neumeDemoLayout }}
3789 @lilypond[staffsize=26,line-width=1.0\cm]
3790 \include "gregorian-init.ly"
3794 \[ \virga b \inclinatum a \inclinatum g \]
3797 \layout { \neumeDemoLayout }
3801 @lilypond[staffsize=26,line-width=1.0\cm]
3802 \include "gregorian-init.ly"
3806 \[ \virga b \inclinatum a \inclinatum \auctum g \]
3809 \layout { \neumeDemoLayout }}
3812 @lilypond[staffsize=26,line-width=1.0\cm]
3813 \include "gregorian-init.ly"
3816 % Climacus Deminutus
3817 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
3820 \layout { \neumeDemoLayout }}
3824 @code{14. Scandicus}
3826 @lilypond[staffsize=26,line-width=1.0\cm]
3827 \include "gregorian-init.ly"
3831 \[ g \pes a \virga b \]
3834 \layout { \neumeDemoLayout }}
3837 @lilypond[staffsize=26,line-width=1.0\cm]
3838 \include "gregorian-init.ly"
3841 % Scandicus Auctus Descendens
3842 \[ g \pes a \pes \auctum \descendens b \]
3845 \layout { \neumeDemoLayout }}
3848 @lilypond[staffsize=26,line-width=1.0\cm]
3849 \include "gregorian-init.ly"
3852 % Scandicus Deminutus
3853 \[ g \pes a \pes \deminutum b \]
3856 \layout { \neumeDemoLayout }}
3862 @lilypond[staffsize=26,line-width=1.0\cm]
3863 \include "gregorian-init.ly"
3867 \[ g \oriscus a \pes \virga b \]
3870 \layout { \neumeDemoLayout }}
3873 @lilypond[staffsize=26,line-width=1.0\cm]
3874 \include "gregorian-init.ly"
3877 % Salicus Auctus Descendens
3878 \[ g \oriscus a \pes \auctum \descendens b \]
3881 \layout { \neumeDemoLayout }}
3888 @lilypond[staffsize=26,line-width=1.0\cm]
3889 \include "gregorian-init.ly"
3893 \[ \stropha b \stropha b \stropha a \]
3896 \layout { \neumeDemoLayout }
3905 Unlike most other neumes notation systems, the input language for
3906 neumes does not reflect the typographical appearance, but is designed
3907 to focus on musical meaning. For example, @code{\[ a \pes b
3908 \flexa g \]} produces a Torculus consisting of three Punctum heads,
3909 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
3910 curved flexa shape and only a single Punctum head. There is no
3911 command to explicitly typeset the curved flexa shape; the decision of
3912 when to typeset a curved flexa shape is based on the musical
3913 input. The idea of this approach is to separate the musical aspects
3914 of the input from the notation style of the output. This way, the
3915 same input can be reused to typeset the same music in a different
3916 style of Gregorian chant notation.
3918 The following table shows the code fragments that produce the
3919 ligatures in the above neumes table. The letter in the first column
3920 in each line of the below table indicates to which ligature in the
3921 above table it refers. The second column gives the name of the
3922 ligature. The third column shows the code fragment that produces this
3923 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
3925 @multitable @columnfractions .02 .31 .67
3945 @code{\[ \inclinatum b \]}
3953 @code{\[ \auctum \ascendens b \]}
3961 @code{\[ \auctum \descendens b \]}
3966 Punctum Inclinatum@*
3969 @code{\[ \inclinatum \auctum b \]}
3974 Punctum Inclinatum@*
3976 @code{\[ \inclinatum \deminutum b \]}
3983 @code{\[ \virga b \]}
3990 @code{\[ \stropha b \]}
3997 @code{\[ \stropha \auctum b \]}
4004 @code{\[ \oriscus b \]}
4011 @code{\[ b \flexa g \]}
4019 @code{\[ b \flexa \auctum \descendens g \]}
4027 @code{\[ b \flexa \auctum \ascendens g \]}
4034 @code{\[ b \flexa \deminutum g \]}
4041 @code{\[ g \pes b \]}
4049 @code{\[ g \pes \auctum \descendens b \]}
4057 @code{\[ g \pes \auctum \ascendens b \]}
4064 @code{\[ g \pes \deminutum b \]}
4071 @code{\[ \oriscus g \pes \virga b \]}
4077 Auctus Descendens @tab
4078 @code{\[ \oriscus g \pes \auctum \descendens b \]}
4085 @code{\[ \quilisma g \pes b \]}
4093 @code{\[ \quilisma g \pes \auctum \descendens b \]}
4100 @code{\[ \deminutum g \pes b \]}
4105 Pes Auctus Descendens@*
4108 @code{\[ \deminutum g \pes \auctum \descendens b \]}
4115 @code{\[ a \pes b \flexa g \]}
4123 @code{\[ a \pes b \flexa \auctum \descendens g \]}
4130 @code{\[ a \pes b \flexa \deminutum g \]}
4135 Torculus Initio Debilis
4137 @code{\[ \deminutum a \pes b \flexa g \]}
4143 Descendens Initio Debilis
4145 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
4150 Torculus Deminutus@*
4153 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
4160 @code{\[ a \flexa g \pes b \]}
4168 @code{\[ a \flexa g \pes \auctum \descendens b \]}
4175 @code{\[ a \flexa g \pes \deminutum b \]}
4182 @code{\[ \virga b \inclinatum a \inclinatum g \]}
4189 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
4196 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
4203 @code{\[ g \pes a \virga b \]}
4211 @code{\[ g \pes a \pes \auctum \descendens b \]}
4218 @code{\[ g \pes a \pes \deminutum b \]}
4225 @code{\[ g \oriscus a \pes \virga b \]}
4230 Salicus Auctus Descendens
4232 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
4239 @code{\[ \stropha b \stropha b \stropha a \]}
4242 The ligatures listed above mainly serve as a limited, but still
4243 representative pool of Gregorian ligature examples. Virtually, within
4244 the ligature delimiters @code{\[} and @code{\]}, any number of heads
4245 may be accumulated to form a single ligature, and head prefixes like
4246 @code{\pes}, @code{\flexa}, @code{\virga}, @code{\inclinatum},
4247 etc. may be mixed in as desired. The use of the set of rules that
4248 underlies the construction of the ligatures in the above table is
4249 accordingly extrapolated. This way, infinitely many different
4250 ligatures can be created.
4252 @c TODO: create a regression or tips & tricks example document with
4253 @c even more Gregorian ligatures, and add a link to this document
4256 Augmentum dots, also called @emph{morae}, are added with the music
4257 function @code{\augmentum}. Note that @code{\augmentum} is
4258 implemented as a unary music function rather than as head prefix. It
4259 applies to the immediately following music expression only. That is,
4260 @code{\augmentum \virga c} will have no visible effect. Instead, say
4261 @code{\virga \augmentum c} or @code{\augmentum @{\virga c@}}. Also
4262 note that you can say @code{\augmentum @{a g@}} as a shortcut for
4263 @code{\augmentum a \augmentum g}.
4265 @lilypond[quote,ragged-right,verbatim]
4266 \include "gregorian-init.ly"
4268 \new VaticanaVoice {
4269 \[ \augmentum a \flexa \augmentum g \]
4277 The following head prefixes are supported
4283 @funindex \inclinatum
4287 @funindex \descendens
4289 @funindex \ascendens
4295 @funindex \deminutum
4302 Head prefixes can be accumulated, though restrictions apply. For
4303 example, either @code{\descendens} or @code{\ascendens} can be applied
4304 to a head, but not both to the same head.
4308 Two adjacent heads can be tied together with the @code{\pes} and
4309 @code{\flexa} infix commands for a rising and falling line of melody,
4312 @funindex \augmentum
4313 Use the unary music function @code{\augmentum} to add augmentum dots.
4317 When an @code{\augmentum} dot appears at the end of the last staff
4318 within a ligature, it is sometimes vertically placed wrong. As a
4319 workaround, add an additional skip note (e.g. @code{s8}) as last note
4322 @code{\augmentum} should be implemented as a head prefix rather than a
4323 unary music function, such that @code{\augmentum} can be intermixed
4324 with head prefixes in arbitrary order.
4326 @node Gregorian Chant contexts
4327 @subsection Gregorian Chant contexts
4329 @cindex VaticanaVoiceContext
4330 @cindex VaticanaStaffContext
4332 The predefined @code{VaticanaVoiceContext} and
4333 @code{VaticanaStaffContext} can be used to engrave a piece of
4334 Gregorian Chant in the style of the Editio Vaticana. These contexts
4335 initialize all relevant context properties and grob properties to
4336 proper values, so you can immediately go ahead entering the chant, as
4337 the following excerpt demonstrates
4339 @lilypond[quote,ragged-right,packed,verbatim]
4340 \include "gregorian-init.ly"
4343 \new VaticanaVoice = "cantus" {
4344 \[ c'\melisma c' \flexa a \]
4345 \[ a \flexa \deminutum g\melismaEnd \]
4347 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
4348 c' \divisioMinima \break
4349 \[ c'\melisma c' \flexa a \]
4350 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
4352 \new Lyrics \lyricsto "cantus" {
4353 San- ctus, San- ctus, San- ctus
4360 @node Mensural contexts
4361 @subsection Mensural contexts
4363 @cindex MensuralVoiceContext
4364 @cindex MensuralStaffContext
4366 The predefined @code{MensuralVoiceContext} and
4367 @code{MensuralStaffContext} can be used to engrave a piece in mensural
4368 style. These contexts initialize all relevant context properties and
4369 grob properties to proper values, so you can immediately go ahead
4370 entering the chant, as the following excerpt demonstrates
4372 @lilypond[quote,ragged-right,verbatim]
4375 \new MensuralVoice = "discantus" \transpose c c' {
4376 \override Score.BarNumber #'transparent = ##t {
4377 c'1\melisma bes a g\melismaEnd
4379 \[ f1\melisma a c'\breve d'\melismaEnd \]
4381 c'\breve\melisma a1 g1\melismaEnd
4382 fis\longa^\signumcongruentiae
4385 \new Lyrics \lyricsto "discantus" {
4386 San -- ctus, San -- ctus, San -- ctus
4392 @node Musica ficta accidentals
4393 @subsection Musica ficta accidentals
4395 In European music from before about 1600, singers were often expected
4396 to chromatically alter notes at their own initiative. This is called
4397 @q{Musica Ficta}. In modern transcriptions, these accidentals are
4398 usually printed over the note.
4400 @cindex Accidental, musica ficta
4401 @cindex Musica ficta
4403 Support for such suggested accidentals is included, and can be
4404 switched on by setting @code{suggestAccidentals} to true.
4406 @funindex suggestAccidentals
4408 @lilypond[verbatim,fragment,relative=1]
4410 \set suggestAccidentals = ##t
4416 Program reference: @internalsref{Accidental_engraver} engraver and the
4417 @internalsref{AccidentalSuggestion} object.
4420 @subsection Figured bass
4422 @cindex Basso continuo
4424 @c TODO: musicological blurb about FB
4427 LilyPond has support for figured bass
4429 @lilypond[quote,ragged-right,verbatim,fragment]
4431 \new Voice { \clef bass dis4 c d ais g fis}
4432 \new FiguredBass \figuremode {
4433 < 6 >4 < 7\+ >8 < 6+ [_!] >
4440 The support for figured bass consists of two parts: there is an input
4441 mode, introduced by @code{\figuremode}, where you can enter bass figures
4442 as numbers, and there is a context called @internalsref{FiguredBass} that
4443 takes care of making @internalsref{BassFigure} objects.
4445 In figures input mode, a group of bass figures is delimited by
4446 @code{<} and @code{>}. The duration is entered after the @code{>}
4450 @lilypond[quote,ragged-right,fragment]
4452 \figuremode { <4 6> }
4455 Accidentals are added when you append @code{-}, @code{!}, and @code{+}
4456 to the numbers. A plus sign is added when you append @code{\+}, and
4457 diminished fifths and sevenths can be obtained with @code{5/} and @code{7/}.
4460 <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/>
4462 @lilypond[quote,ragged-right,fragment]
4463 \figures { <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/> }
4466 Spaces may be inserted by using @code{_}. Brackets are
4467 introduced with @code{[} and @code{]}. You can also include text
4468 strings and text markups, see @ref{Overview of text markup commands}.
4471 < [4 6] 8 [_! 12] > < 5 \markup @{ \number 6 \super (1) @} >
4473 @lilypond[quote,ragged-right,fragment]
4475 \figuremode { < [4 6] 8 [_! 12] > < 5 \markup{ \tiny \number 6 \super (1)} > }
4479 It is also possible to use continuation lines for repeated figures,
4481 @lilypond[verbatim,relative=1]
4488 \set useBassFigureExtenders = ##t
4495 In this case, the extender lines always replace existing figures.
4497 The @code{FiguredBass} context doesn't pay attention to the actual
4498 bass line. As a consequence, you may have to insert extra figures to
4499 get extender lines below all notes, and you may have to add @code{\!}
4500 to avoid getting an extender line, e.g.
4502 @lilypond[relative=1]
4506 \set useBassFigureExtenders = ##t
4507 <6 4->4. <6 4->16. <6 4->32 <5>8. r16 <6>8 <6\! 5->
4511 f16. g32 f16. g32 f16. g32 f16. g32 f8. es16 d8 es
4516 When using continuation lines, common figures are always put in the
4517 same vertical position. When this is unwanted, you can insert a rest
4518 with @code{r}. The rest will clear any previous alignment. For
4519 example, you can write
4531 Accidentals and plus signs can appear before or after the numbers,
4532 depending on the @code{figuredBassAlterationDirection} and
4533 @code{figuredBassPlusDirection}
4539 \set figuredBassAlterationDirection = #1
4541 \set figuredBassPlusDirection = #1
4543 \set figuredBassAlterationDirection = #-1
4549 Although the support for figured bass may superficially resemble chord
4550 support, it is much simpler. The @code{\figuremode} mode simply
4551 stores the numbers and @internalsref{FiguredBass} context prints them
4552 as entered. There is no conversion to pitches and no realizations of
4553 the bass are played in the MIDI file.
4555 Internally, the code produces markup texts. You can use any of the
4556 markup text properties to override formatting. For example, the
4557 vertical spacing of the figures may be set with @code{baseline-skip}.
4560 Figured bass can also be added to @code{Staff} contexts
4561 directly. In this case, their vertical position is adjusted
4564 @lilypond[ragged-right,fragment,quote]
4566 \new Staff = someUniqueName
4571 %% send to existing Staff.
4572 \context Staff = someUniqueName
4576 \set Staff.useBassFigureExtenders = ##t
4585 When using figured bass above the staff with extender lines and
4586 @code{implicitBassFigures} the lines may become swapped around.
4587 Maintaining order consistently will be impossible when multiple figures
4588 have overlapping extender lines. To avoid this problem, plese
4589 use @code{stacking-dir} on @code{BassFigureAlignment}.
4594 Program reference: @internalsref{NewBassFigure},
4595 @internalsref{BassFigureAlignment}, @internalsref{BassFigureLine},
4596 @internalsref{BassFigureBracket}, and
4597 @internalsref{BassFigureContinuation} objects and
4598 @internalsref{FiguredBass} context.
4602 @node Other instrument specific notation
4603 @section Other instrument specific notation
4605 This section includes extra information for writing for instruments.
4608 * Artificial harmonics (strings)::
4611 @node Artificial harmonics (strings)
4612 @subsection Artificial harmonics (strings)
4614 @cindex artificial harmonics
4616 Artificial harmonics are notated with a different notehead style. They
4617 are entered by marking the harmonic pitch with @code{\harmonic}.
4619 @lilypond[ragged-right,verbatim,quote,fragment,relative=1]