1 @c -*- coding: latin-1; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
8 @node Instrument-specific notation
9 @chapter Instrument-specific notation
11 This chapter explains how to use notation for specific instruments.
20 * Other instrument specific notation::
28 Piano staves are two normal staves coupled with a brace. The staves
29 are largely independent, but sometimes voices can cross between the
30 two staves. The same notation is also used for harps and other key
31 instruments. The @internalsref{PianoStaff} is especially built to
32 handle this cross-staffing behavior. In this section we discuss the
33 @internalsref{PianoStaff} and some other pianistic peculiarities.
37 * Automatic staff changes::
38 * Manual staff switches::
40 * Staff switch lines::
46 Dynamics are not centered, but workarounds do exist. See the
47 ``piano centered dynamics'' template in @ref{Piano templates}.
49 @cindex cross staff stem
50 @cindex stem, cross staff
51 @cindex distance between staves in piano music
53 The distance between the two staves is the same for all systems in the
54 score. It is possible to override this per system, but it does require
55 an arcane command incantation. See
56 @inputfileref{input/@/test,piano@/-staff@/-distance@/.ly}.
59 @node Automatic staff changes
60 @subsection Automatic staff changes
61 @cindex Automatic staff changes
63 Voices can be made to switch automatically between the top and the bottom
64 staff. The syntax for this is
68 \autochange @dots{}@var{music}@dots{}
73 This will create two staves inside the current PianoStaff, called
74 @code{up} and @code{down}. The lower staff will be in bass clef by
77 A @code{\relative} section that is outside of @code{\autochange} has
78 no effect on the pitches of @var{music}, so, if necessary, put
79 @code{\relative} inside @code{\autochange} like
83 \autochange \relative @dots{} @dots{}
88 The autochanger switches on basis of the pitch (middle C is the turning
89 point), and it looks ahead skipping over rests to switch in
90 advance. Here is a practical example
92 @lilypond[quote,verbatim,raggedright]
94 \autochange \relative c'
103 In this manual: @ref{Manual staff switches}.
105 Program reference: @internalsref{AutoChangeMusic}.
111 The staff switches may not end up in optimal places. For high
112 quality output, staff switches should be specified manually.
115 @code{\autochange} cannot be inside @code{\times}.
118 @node Manual staff switches
119 @subsection Manual staff switches
121 @cindex manual staff switches
122 @cindex staff switch, manual
124 Voices can be switched between staves manually, using the command
126 \change Staff = @var{staffname} @var{music}
130 The string @var{staffname} is the name of the staff. It switches the
131 current voice from its current staff to the Staff called
132 @var{staffname}. Typically @var{staffname} is @code{"up"} or
133 @code{"down"}. The @context{Staff} referred to must already exist, so
134 usually the setup for a score will start with a setup of the staves,
138 \context Staff = up @{
139 \skip 1 * 10 % @emph{keep staff alive}
141 \context Staff = down @{
142 \skip 1 * 10 % @emph{idem}
148 and the @context{Voice} is inserted afterwards
151 \context Staff = down
152 \new Voice @{ @dots{} \change Staff = up @dots{} @}
160 Pianos have pedals that alter the way sound is produced. Generally, a
161 piano has three pedals, sustain, una corda, and sostenuto.
164 Piano pedal instruction can be expressed by attaching
165 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
166 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
169 @lilypond[quote,raggedright,fragment,verbatim]
170 c'4\sustainDown c'4\sustainUp
173 What is printed can be modified by setting @code{pedal@var{X}Strings},
174 where @var{X} is one of the pedal types: @code{Sustain},
175 @code{Sostenuto} or @code{UnaCorda}. Refer to
176 @internalsref{SustainPedal} in the program reference for more
179 Pedals can also be indicated by a sequence of brackets, by setting the
180 @code{pedalSustainStyle} property to bracket objects
182 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
183 \set Staff.pedalSustainStyle = #'bracket
185 b\sustainUp\sustainDown
186 b g \sustainUp a \sustainDown \bar "|."
189 A third style of pedal notation is a mixture of text and brackets,
190 obtained by setting the @code{pedalSustainStyle} property to
193 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
194 \set Staff.pedalSustainStyle = #'mixed
196 b\sustainUp\sustainDown
197 b g \sustainUp a \sustainDown \bar "|."
200 The default `*Ped.' style for sustain and damper pedals corresponds to
201 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
204 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
205 c\sostenutoDown d e c, f g a\sostenutoUp
208 For fine-tuning the appearance of a pedal bracket, the properties
209 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
210 @code{PianoPedalBracket} objects (see
211 @internalsref{PianoPedalBracket} in the Program reference) can be
212 modified. For example, the bracket may be extended to the right edge
215 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
216 \override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
217 c\sostenutoDown d e c, f g a\sostenutoUp
220 @node Staff switch lines
221 @subsection Staff switch lines
225 @cindex staff switching
228 @cindex @code{followVoice}
230 Whenever a voice switches to another staff, a line connecting the notes
231 can be printed automatically. This is switched on by setting
232 @code{followVoice} to true
234 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
237 \set followVoice = ##t
242 \context Staff=two { \clef bass \skip 1*2 }
248 Program reference: @internalsref{VoiceFollower}.
252 @cindex @code{\showStaffSwitch}
253 @code{\showStaffSwitch},
254 @cindex @code{\hideStaffSwitch}
255 @code{\hideStaffSwitch}.
258 @node Cross staff stems
259 @subsection Cross staff stems
261 Chords that cross staves may be produced by increasing the length
262 of the stem in the lower staff, so it reaches the stem in the upper
263 staff, or vice versa.
265 @lilypond[raggedright,verbatim,quote]
266 stemExtend = \once \override Stem #'length = #22
267 noFlag = \once \override Stem #'flag-style = #'no-flag
268 \context PianoStaff <<
270 \stemDown \stemExtend
287 * Introducing chord names::
289 * Printing chord names::
293 @c awkward name; awkward section name.
294 @c still, the Basic "chords" seems like a good name... :(
295 @node Introducing chord names
296 @subsection Introducing chord names
299 LilyPond has support for printing chord names. Chords may be entered
300 in musical chord notation, i.e., @code{< .. >}, but they can also be
301 entered by name. Internally, the chords are represented as a set of
302 pitches, so they can be transposed
305 @lilypond[quote,raggedright,verbatim,raggedright]
306 twoWays = \transpose c c' {
315 << \context ChordNames \twoWays
316 \context Voice \twoWays >>
319 This example also shows that the chord printing routines do not try to
320 be intelligent. The last chord (@code{f bes d}) is not interpreted as
325 @subsection Chords mode
328 In chord mode sets of pitches (chords) are entered with normal note
329 names. A chord is entered by the root, which is entered like a
332 @lilypond[quote,raggedright,fragment,verbatim]
333 \chordmode { es4. d8 c2 }
337 The mode is introduced by the keyword @code{\chordmode}.
342 Other chords may be entered by suffixing a colon and introducing a
343 modifier (which may include a number if desired)
344 @lilypond[quote,fragment,verbatim]
345 \chordmode { e1:m e1:7 e1:m7 }
347 The first number following the root is taken to be the `type' of the
348 chord, thirds are added to the root until it reaches the specified
350 @lilypond[quote,fragment,verbatim]
351 \chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
354 @cindex root of chord
355 @cindex additions, in chords
356 @cindex removals, in chords
358 More complex chords may also be constructed adding separate steps
359 to a chord. Additions are added after the number following
360 the colon and are separated by dots
361 @lilypond[quote,verbatim,fragment]
362 \chordmode { c:5.6 c:3.7.8 c:3.6.13 }
364 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
366 @lilypond[quote,verbatim,fragment]
367 \chordmode { c:7+ c:5+.3- c:3-.5-.7- }
369 Removals are specified similarly and are introduced by a caret. They
370 must come after the additions
371 @lilypond[quote,verbatim,fragment]
372 \chordmode { c^3 c:7^5 c:9^3.5 }
375 Modifiers can be used to change pitches. The following modifiers are
380 The minor chord. This modifier lowers the 3rd and (if present) the 7th step.
383 The diminished chord. This modifier lowers the 3rd, 5th and (if present)
387 The augmented chord. This modifier raises the 5th step.
390 The major 7th chord. This modifier raises the 7th step if present.
393 The suspended 4th or 2nd. This modifier removes the 3rd
394 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
398 Modifiers can be mixed with additions
399 @lilypond[quote,verbatim,fragment]
400 \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
403 @cindex modifiers, in chords.
410 Since an unaltered 11 does not sound good when combined with an
411 unaltered 3, the 11 is removed in this case (unless it is added
413 @lilypond[quote,raggedright,fragment,verbatim]
414 \chordmode { c:13 c:13.11 c:m13 }
419 An inversion (putting one pitch of the chord on the bottom), as well
420 as bass notes, can be specified by appending
421 @code{/}@var{pitch} to the chord
422 @lilypond[quote,raggedright,fragment,verbatim]
423 \chordmode { c1 c/g c/f }
427 A bass note can be added instead transposed out of the chord,
428 by using @code{/+}@var{pitch}.
430 @lilypond[quote,raggedright,fragment,verbatim]
431 \chordmode { c1 c/+g c/+f }
434 Chords is a mode similar to @code{\lyricmode}, etc. Most
435 of the commands continue to work, for example, @code{r} and
436 @code{\skip} can be used to insert rests and spaces, and property
437 commands may be used to change various settings.
443 Each step can only be present in a chord once. The following
444 simply produces the augmented chord, since @code{5+} is interpreted
447 @lilypond[quote,raggedright,verbatim,fragment]
448 \chordmode { c:5.5-.5+ }
452 @node Printing chord names
453 @subsection Printing chord names
455 @cindex printing chord names
459 For displaying printed chord names, use the @internalsref{ChordNames} context.
460 The chords may be entered either using the notation
461 described above, or directly using @code{<} and @code{>}
463 @lilypond[quote,verbatim,raggedright]
465 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
468 \context ChordNames \harmonies
469 \context Staff \harmonies
473 You can make the chord changes stand out by setting
474 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
475 display chord names when there is a change in the chords scheme and at
476 the start of a new line
478 @lilypond[quote,verbatim,raggedright]
479 harmonies = \chordmode {
480 c1:m c:m \break c:m c:m d
483 \context ChordNames {
484 \set chordChanges = ##t
486 \context Staff \transpose c c' \harmonies
490 The previous examples all show chords over a staff. This is not
491 necessary. Chords may also be printed separately. It may be necessary
492 to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
495 @lilypond[raggedright,verbatim]
496 \new ChordNames \with {
497 \override BarLine #'bar-size = #4
498 voltaOnThisStaff = ##t
499 \consists Bar_engraver
500 \consists "Volta_engraver"
502 \repeat volta 2 \chordmode {
511 The default chord name layout is a system for Jazz music, proposed by
512 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
516 @cindex @code{chordNameExceptions}
517 @item chordNameExceptions
518 This is a list that contains the chords that have special formatting.
520 The exceptions list should be encoded as
522 @{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
525 To get this information into @code{chordNameExceptions} takes a little
526 manoeuvring. The following code transforms @code{chExceptionMusic}
527 (which is a sequential music) into a list of exceptions.
529 (sequential-music-to-chord-exceptions chExceptionMusic #t)
534 (sequential-music-to-chord-exceptions chExceptionMusic #t)
537 adds the new exceptions to the default ones, which are defined in
538 @file{ly/@/chord@/-modifier@/-init@/.ly}.
540 For an example of tuning this property, see also
541 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly}.
542 @cindex exceptions, chord names.
545 @cindex @code{majorSevenSymbol}
546 @item majorSevenSymbol
547 This property contains the markup object used for the 7th step, when
548 it is major. Predefined options are @code{whiteTriangleMarkup} and
549 @code{blackTriangleMarkup}. See
550 @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly} for an example.
552 @cindex @code{chordNameSeparator}
553 @item chordNameSeparator
554 Different parts of a chord name are normally separated by a
555 slash. By setting @code{chordNameSeparator}, you can specify other
557 @lilypond[quote,raggedright,fragment,verbatim]
558 \context ChordNames \chordmode {
560 \set chordNameSeparator
561 = \markup { \typewriter "|" }
566 @cindex @code{chordRootNamer}
568 The root of a chord is usually printed as a letter with an optional
569 alteration. The transformation from pitch to letter is done by this
570 function. Special note names (for example, the German ``H'' for a
571 B-chord) can be produced by storing a new function in this property.
573 @cindex @code{chordNoteNamer}
575 The default is to print single pitch, e.g., the bass note, using the
576 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
577 to a specialized function to change this behavior. For example, the
578 base can be printed in lower case.
580 @cindex @code{chordPrefixSpacer}
581 @item chordPrefixSpacer
582 The ``m'' for minor chords is usually printed right after the root of
583 the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer
584 between the root and ``m''. The spacer is not used when the root
589 The predefined variables @code{\germanChords},
590 @code{\semiGermanChords}, @code{\italianChords} and @code{\frenchChords}
591 set these variables. The effect is
594 @lilypondfile[raggedright]{chord-names-languages.ly}
596 There are also two other chord name schemes implemented: an alternate
597 Jazz chord notation, and a systematic scheme called Banter chords. The
598 alternate Jazz notation is also shown on the chart in @ref{Chord name
599 chart}. Turning on these styles is described in the input file
600 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
609 @cindex @code{\germanChords}
610 @code{\germanChords},
611 @cindex @code{\semiGermanChords}
612 @code{\semiGermanChords}.
613 @cindex @code{\italianChords}
614 @code{\italianChords}.
615 @cindex @code{\frenchChords}
616 @code{\frenchChords}.
623 Examples: @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly},
624 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly},
625 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
628 Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
629 @file{scm/@/chord@/-entry@/.scm}.
634 Chord names are determined solely from the list of pitches. Chord
635 inversions are not identified, and neither are added bass notes. This
636 may result in strange chord names when chords are entered with the
637 @code{< .. >} syntax.
643 There are three different issues when printing vocal music
647 Song texts must be entered as text, not notes. For example, the
648 input@tie{}@code{d} should be interpreted as a one letter syllable, not the
652 Song texts must be printed as text, not as notes.
655 Song texts must be aligned with the notes of their melody.
658 The simplest solution for printing music uses the @code{\addlyrics}
659 function to solve all these problems at once. However, these
660 three functions can be controlled separately, which is necessary
661 for complex vocal music.
665 * Setting simple songs::
667 * Hyphens and extenders::
668 * The Lyrics context::
669 * Flexibility in alignment::
672 * Other vocal issues::
675 @node Setting simple songs
676 @subsection Setting simple songs
678 The easiest way to add lyrics to a melody is to append
681 \addlyrics @{ @var{the lyrics} @}
685 to a melody. Here is an example,
687 @lilypond[raggedright,verbatim,fragment,quote]
689 \relative { c2 e4 g2. }
690 \addlyrics { play the game }
693 More stanzas can be added by adding more
694 @code{\addlyrics} sections
696 @lilypond[raggedright,verbatim,fragment,quote]
698 \relative { c2 e4 g2. }
699 \addlyrics { play the game }
700 \addlyrics { speel het spel }
701 \addlyrics { joue le jeu }
704 @c TODO - this isn't such a great place for this note, but I can't
705 @c find a better place without rearranging a lot of lyric stuff.
706 @c It's yet another thing to look at post-3.0.
708 The @code{\addlyrics} command is actually just a convienient way
709 to write a more complicated LilyPond structure that sets up the
710 lyrics. You should use @code{\addlyrics} unless you need to do
711 fancy things, in which case you should investigate
712 @code{\lyricsto} or @code{\lyricmode}.
716 \addlyrics @{ LYRICS @}
723 \context Voice = blah @{ music @}
724 \lyricsto "blah" \new lyrics @{ LYRICS @}
729 @code{\addlyrics} cannot handle polyphony.
732 @node Entering lyrics
733 @subsection Entering lyrics
736 @cindex @code{\lyricmode}
739 Lyrics are entered in a special input mode. This mode is introduced
740 by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
741 @code{\lyricsto}. In this mode you can enter lyrics,
742 with punctuation and accents, and the input @code{d} is not parsed as
743 a pitch, but rather as a one letter syllable. Syllables are entered
744 like notes, but with pitches replaced by text. For example,
746 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
749 There is a difference between @code{\addlyrics} and
750 @code{\lyricmode}. @code{\addlyrics} and @code{\lyricsto}
751 ignore all durations and aligns syllables to notes; @code{\lyricmode}
752 uses the durations specified.
754 A word lyrics mode begins with an alphabetic character, and ends with
755 any space or digit. The following characters can be any character
756 that is not a digit or white space. One important consequence of this
757 is that a word can end with @code{@}}. The following example is
758 usually a mistake in the input file. The syllable includes a @code{@}}, so the
759 opening brace is not balanced
761 \lyricmode @{ twinkle@}
764 @cindex @code{\property}, in @code{\lyricmode}
766 Similarly, a period which follows an alphabetic sequence is included in
767 the resulting string. As a consequence, spaces must be inserted around
770 \override Score . LyricText #'font-shape = #'italic
774 @cindex spaces, in lyrics
775 @cindex quotes, in lyrics
777 Any @code{_} character that appears in an unquoted word is converted
778 to a space. This provides a mechanism for introducing spaces into words
779 without using quotes. Quoted words can also be used in Lyrics mode to
780 specify words that cannot be written with the above rules. The
781 following example incorporates double quotes
784 \lyricmode @{ He said: "\"Let" my peo ple "go\"" @}
787 This example is slightly academic, since it gives better looking
788 results using single quotes, @code{``} and @code{''}
790 \lyricmode @{ He said: ``Let my peo ple go'' @}
794 The full definition of a word start in Lyrics mode is somewhat more
797 A word in Lyrics mode begins with: an alphabetic character, @code{_},
798 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
799 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
800 any 8-bit character with ASCII code over 127, or a two-character
801 combination of a backslash followed by one of @code{`}, @code{'},
802 @code{"}, or @code{^}.
808 Program reference: events @internalsref{LyricEvent}, and
809 @internalsref{LyricText}.
813 The definition of lyrics mode is too complex.
815 @node Hyphens and extenders
816 @subsection Hyphens and extenders
820 Centered hyphens are entered as `@code{-}@code{-}' between syllables.
821 The hyphen will have variable length depending on the space between
822 the syllables and it will be centered between the syllables.
827 When a lyric is sung over many notes (this is called a melisma), this is
828 indicated with a horizontal line centered between a syllable and the
829 next one. Such a line is called an extender line, and it is entered as
833 FIXME: check that this compiles and displays correctly. I don't want
834 to commit this part blindly.
836 In tighly engraved music, hyphens can be removed. In some languages
837 (e.g. German and Hungarian), hyphens should not disappear, since
838 spelling depends on hyphenation. For that purpose, hyphens can be
839 forced to remain by overriding @code{minimum-length} of
840 the @code{LyricHyphen} grob.
844 << \notes \new Staff \relative c'' { \time 1/4 c16[ c c c]
851 \lyrics \new Lyrics \with {
852 % Otherwise lyrics are so far apart that hyphens don't disappear
853 \override SeparationItem #'padding = #0.0
854 }{ bla -- bla -- bla -- bla --
855 bla -- bla -- bla -- bla --
857 \override LyricHyphen #'minimum-length = #0.7
858 \override LyricHyphen #'spacing-procedure =
859 #Hyphen_spanner::set_spacing_rods
861 bla -- bla -- bla -- bla
868 \StaffContext \remove "Time_signature_engraver"
879 Program reference: @internalsref{HyphenEvent},
880 @internalsref{ExtenderEvent}, @internalsref{LyricHyphen}, and
881 @internalsref{LyricExtender}
885 @node The Lyrics context
886 @subsection The Lyrics context
889 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
891 \context Lyrics \lyricmode @dots{}
894 @cindex automatic syllable durations
895 @cindex @code{\lyricsto}
896 @cindex lyrics and melodies
898 This will place the lyrics according to the durations that were
899 entered. The lyrics can also be aligned under a given melody
900 automatically. In this case, it is no longer necessary to enter the
901 correct duration for each syllable. This is achieved by combining the
902 melody and the lyrics with the @code{\lyricsto} expression
904 \lyricsto @var{name} \new Lyrics @dots{}
907 This aligns the lyrics to the
908 notes of the @internalsref{Voice} context called @var{name}, which has
909 to exist. Therefore, normally the @code{Voice} is specified first, and
910 then the lyrics are specified with @code{\lyricsto}. The command
911 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
912 @code{\lyricmode} keyword may be omitted.
914 For different or more complex orderings, the best way is to setup the
915 hierarchy of staves and lyrics first, e.g.,
917 \context ChoirStaff <<
918 \context Lyrics = sopranoLyrics @{ s1 @}
919 \context Voice = soprano @{ @emph{music} @}
920 \context Lyrics = tenorLyrics @{ s1 @}
921 \context Voice = tenor @{ @emph{music} @}
924 and then combine the appropriate melodies and lyric lines
926 \lyricsto "soprano" \context Lyrics = sopranoLyrics
931 The final input would resemble
934 <<\context ChoirStaff << @emph{setup the music} >>
935 \lyricsto "soprano" @emph{etc}
936 \lyricsto "alto" @emph{etc}
942 The @code{\lyricsto} command detects melismata: it only puts one
943 syllable under a tied or slurred group of notes. If you want to force
944 an unslurred group of notes to be a melisma, insert @code{\melisma}
945 after the first note of the group, and @code{\melismaEnd} after the
948 @lilypond[quote,relative=2,raggedright,fragment,verbatim]
950 \context Voice = "lala" {
958 \lyricsto "lala" \new Lyrics {
964 In addition, notes are considered a melisma if they are manually
965 beamed, and automatic beaming (see @ref{Setting automatic beam
966 behavior}) is switched off.
972 The criteria for deciding melismata can
973 be tuned with the property @code{melismaBusyProperties}. See
974 @internalsref{Melisma_translator} in the program reference for more
979 Lyrics can also be entered without @code{\lyricsto}. In this case the
980 duration of each syllable must be entered explicitly, for example,
987 The alignment to a melody can be specified with the
988 @code{associatedVoice} property,
991 \set associatedVoice = #"lala"
995 The value of the property (here: @code{"lala"}) should be the name of
996 a @internalsref{Voice} context. Without this setting, extender lines
997 will not be formatted properly.
999 Here is an example demonstrating manual lyric durations,
1001 @lilypond[relative=1,raggedright,verbatim,fragment,quote]
1002 << \context Voice = melody {
1006 \new Lyrics \lyricmode {
1007 \set associatedVoice = #"melody"
1013 @cindex choral score
1015 A complete example of a SATB score setup is in section
1016 @ref{Vocal ensembles}.
1021 @code{\melisma}, @code{\melismaEnd}
1022 @cindex @code{\melismaEnd}
1023 @cindex @code{\melisma}
1027 Program reference: @internalsref{LyricCombineMusic},
1028 @internalsref{Lyrics}, @internalsref{Melisma_translator}.
1031 @inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly}.
1032 @c TODO: make separate section for melismata
1036 Melismata are not detected automatically, and extender lines must be
1040 @c TODO: document \new Staff << Voice \lyricsto >> bug
1042 @node Flexibility in alignment
1043 @subsection Flexibility in alignment
1046 Often, different stanzas of one song are put to one melody in slightly
1047 differing ways. Such variations can still be captured with
1050 One possibility is that the text has a melisma in one stanza, but
1051 multiple syllables in another one. One solution is to make the faster
1052 voice ignore the melisma. This is done by setting
1053 @code{ignoreMelismata} in the Lyrics context.
1055 There has one tricky aspect. The setting for @code{ignoreMelismata}
1056 must be set one syllable @emph{before} the non-melismatic syllable
1057 in the text, as shown here,
1059 @lilypond[verbatim,raggedright,quote]
1061 \relative \context Voice = "lahlah" {
1062 \set Staff.autoBeaming = ##f
1068 \new Lyrics \lyricsto "lahlah" {
1071 \new Lyrics \lyricsto "lahlah" {
1072 \set ignoreMelismata = ##t % applies to "fas"
1074 \unset ignoreMelismata
1081 The @code{ignoreMelismata} applies to the syllable ``fas'', so it
1082 should be entered before ``go''.
1084 The reverse is also possible: making a lyric line slower than the
1085 standard. This can be achieved by insert @code{\skip}s into the
1086 lyrics. For every @code{\skip}, the text will be delayed another note.
1089 @lilypond[verbatim,raggedright,quote]
1090 \relative { c c g' }
1097 More complex variations in text underlay are possible. It is possible
1098 to switch the melody for a line of lyrics during the text. This is
1099 done by setting the @code{associatedVoice} property. In the example
1101 @lilypond[raggedright,quote]
1103 \relative \context Voice = "lahlah" {
1104 \set Staff.autoBeaming = ##f
1107 \context Voice = alternative {
1110 % show associations clearly.
1111 \override NoteColumn #'force-hshift = #-3
1122 \new Lyrics \lyricsto "lahlah" {
1123 Ju -- ras -- sic Park
1125 \new Lyrics \lyricsto "lahlah" {
1126 % Tricky: need to set associatedVoice
1127 % one syllable too soon!
1128 \set associatedVoice = alternative % applies to "ran"
1132 \set associatedVoice = lahlah % applies to "rus"
1138 the text for the first stanza is set to a melody called ``lahlah'',
1141 \new Lyrics \lyricsto "lahlah" @{
1142 Ju -- ras -- sic Park
1147 The second stanza initially is set to the @code{lahlah} context, but
1148 for the syllable ``ran'', it switches to a different melody.
1149 This is achieved with
1151 \set associatedVoice = alternative
1155 Here, @code{alternative} is the name of the @code{Voice} context
1156 containing the triplet.
1158 Again, the command must be one syllable too early, before ``Ty'' in
1162 \new Lyrics \lyricsto "lahlah" @{
1163 \set associatedVoice = alternative % applies to "ran"
1167 \set associatedVoice = lahlah % applies to "rus"
1173 The underlay is switched back to the starting situation by assigning
1174 @code{lahlah} to @code{associatedVoice}.
1180 @subsection More stanzas
1182 @cindex phrasing, in lyrics
1185 @cindex stanza number
1186 @cindex singer's names
1187 @cindex name of singer
1189 Stanza numbers can be added by setting @code{stanza}, e.g.,
1191 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
1193 \time 3/4 g2 e4 a2 f4 g2.
1196 Hi, my name is Bert.
1199 Oh, che -- ri, je t'aime
1203 These numbers are put just before the start of first syllable.
1205 Names of singers can also be added. They are printed at the start of
1206 the line, just like instrument names. They are created by setting
1207 @code{vocalName}. A short version may be entered as @code{vocNam}.
1210 @lilypond[fragment,raggedright,quote,verbatim,relative=2]
1212 \time 3/4 g2 e4 a2 f4 g2.
1214 \set vocalName = "Bert "
1215 Hi, my name is Bert.
1217 \set vocalName = "Ernie "
1218 Oh, che -- ri, je t'aime
1224 Program reference: Layout objects @internalsref{LyricText} and
1225 @internalsref{VocalName}. Music expressions
1226 @internalsref{LyricEvent}.
1234 The term @emph{ambitus} denotes a range of pitches for a given voice
1235 in a part of music. It may also denote the pitch range that a musical
1236 instrument is capable of playing. Ambits are printed on vocal parts,
1237 so performers can easily determine it meets their capabilities.
1239 Ambits are denoted at the beginning of a piece near the initial clef.
1240 The range is graphically specified by two note heads that represent the
1241 minimum and maximum pitch. To print such ambits, add the
1242 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
1249 \consists Ambitus_engraver
1254 This results in the following output
1256 @lilypond[quote,raggedright]
1260 \consists Ambitus_engraver
1264 \relative \new Staff {
1269 If you have multiple voices in a single staff and you want a single
1270 ambitus per staff rather than per each voice, add the
1271 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
1272 rather than to the @internalsref{Voice} context. Here is an example,
1274 @lilypond[verbatim,raggedright,quote]
1276 \consists "Ambitus_engraver"
1280 \remove "Ambitus_engraver"
1282 \override Ambitus #'X-offset-callbacks
1283 = #(list (lambda (grob axis) -1.0))
1288 \remove "Ambitus_engraver"
1297 This example uses one advanced feature,
1300 \override Ambitus #'X-offset-callbacks
1301 = #(list (lambda (grob axis) -1.0))
1305 This code moves the ambitus to the left. The same effect could have
1306 been achieved with @code{extra-offset}, but then the formatting system
1307 would not reserve space for the moved object.
1311 Program reference: @internalsref{Ambitus},
1312 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1313 @internalsref{AmbitusAccidental}.
1315 Examples: @inputfileref{input/@/regression,ambitus@/.ly}.
1319 There is no collision handling in the case of multiple per-voice
1322 @node Other vocal issues
1323 @subsection Other vocal issues
1326 yeah, I'm giving up somewhat by stuffing a bunch of things in
1327 here. But at least they're in the manual now; it's easier to
1328 move them around in the manual once they're already here.
1330 Besides, if users complain about everything stuffed in here, I
1331 can ask them for specific instructions about where to move these
1332 examples, and that might get them more involved in the docs. -gp
1335 You can display alternate (or divisi) lyrics by naming voice
1336 contexts and attaching lyrics to those specific contexts.
1338 @lilypond[verbatim,raggedright,quote]
1340 \context Voice = "melody" {
1345 \context Voice = splitpart { \voiceTwo c4 }
1350 \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
1351 \new Lyrics \lyricsto "splitpart" { shall }
1356 You can use this trick to display different lyrics for a repeated
1359 @lilypond[verbatim,raggedright,quote]
1361 \context Voice = melody \relative c' {
1363 \context Voice = verse \repeat volta 2 {c4 d e f | g1 | }
1365 \lyricsto melody \context Lyrics = mainlyrics \lyricmode {
1368 \lyricsto verse \context Lyrics = mainlyrics \lyricmode {
1370 \lyricsto verse \context Lyrics = repeatlyrics \lyricmode {
1371 dodo rere mimi fafa solsol }
1377 To notate ``parlato'' (spoken without pitch but still with
1380 @lilypond[raggedright,verbatim,quote,fragment,relative=2]
1382 \override NoteHead #'style = #'cross
1384 \revert NoteHead #'style
1389 @node Rhythmic music
1390 @section Rhythmic music
1392 Rhythmic music is primarily used for percussion and drum notation, but it can
1393 also be used to show the rhythms of melodies.
1396 * Showing melody rhythms::
1397 * Entering percussion::
1398 * Percussion staves::
1402 @node Showing melody rhythms
1403 @subsection Showing melody rhythms
1405 Sometimes you might want to show only the rhythm of a melody. This
1406 can be done with the rhythmic staff. All pitches of notes on such a
1407 staff are squashed, and the staff itself has a single line
1409 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1410 \context RhythmicStaff {
1412 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1418 Program reference: @internalsref{RhythmicStaff}.
1420 Examples: @inputfileref{input/@/regression,rhythmic@/-staff@/.ly}.
1423 @node Entering percussion
1424 @subsection Entering percussion
1430 Percussion notes may be entered in @code{\drummode} mode, which is
1431 similar to the standard mode for entering notes. Each piece of
1432 percussion has a full name and an abbreviated name, and both can be used
1435 @lilypond[quote,raggedright,verbatim]
1437 hihat hh bassdrum bd
1441 The complete list of drum names is in the init file
1442 @file{ly/@/drumpitch@/-init@/.ly}.
1443 @c TODO: properly document this.
1447 Program reference: @internalsref{note-event}.
1449 @node Percussion staves
1450 @subsection Percussion staves
1454 A percussion part for more than one instrument typically uses a
1455 multiline staff where each position in the staff refers to one piece
1459 To typeset the music, the notes must be interpreted in a
1460 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
1462 @lilypond[quote,raggedright,verbatim]
1463 up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
1464 down = \drummode { bassdrum4 snare8 bd r bd sn4 }
1466 \new DrumVoice { \voiceOne \up }
1467 \new DrumVoice { \voiceTwo \down }
1471 The above example shows verbose polyphonic notation. The short
1472 polyphonic notation, described in @ref{Polyphony}, can also be used if
1473 the @internalsref{DrumVoice}s are instantiated by hand first. For example,
1475 @lilypond[quote,raggedright,fragment,verbatim]
1477 \context DrumVoice = "1" { s1 *2 }
1478 \context DrumVoice = "2" { s1 *2 }
1482 { \repeat unfold 16 hh16 }
1491 There are also other layout possibilities. To use these, set the
1492 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
1493 The following variables have been predefined
1497 This is the default. It typesets a typical drum kit on a five-line staff
1499 @lilypond[quote,linewidth=10.0\cm]
1501 cymc cyms cymr hh hhc hho hhho hhp
1502 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl }
1504 cymc cyms cymr hh hhc hho hhho hhp \break
1505 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
1507 << \new DrumStaff \with {
1508 \remove Bar_engraver
1509 \remove Time_signature_engraver
1510 \override Stem #'transparent = ##t
1511 \override Stem #'Y-extent-callback = ##f
1512 minimumVerticalExtent = #'(-4.0 . 5.0)
1514 \context Lyrics \nam
1519 \override LyricText #'font-family = #'typewriter
1520 \override BarNumber #'transparent =##T
1526 The drum scheme supports six different toms. When there are fewer toms,
1527 simply select the toms that produce the desired result, i.e., to get toms
1528 on the three middle lines you use @code{tommh}, @code{tomml}, and
1531 @item timbales-style
1532 This typesets timbales on a two line staff
1534 @lilypond[quote,raggedright]
1535 nam = \lyricmode { timh ssh timl ssl cb }
1536 mus = \drummode { timh ssh timl ssl cb s16 }
1539 \context DrumStaff \with {
1540 \remove Bar_engraver
1541 \remove Time_signature_engraver
1542 \override Stem #'transparent = ##t
1543 \override Stem #'Y-extent-callback = ##f
1544 \override StaffSymbol #'line-count = #2
1545 \override StaffSymbol #'staff-space = #2
1546 minimumVerticalExtent = #'(-3.0 . 4.0)
1547 drumStyleTable = #timbales-style
1550 \override LyricText #'font-family = #'typewriter
1557 This typesets congas on a two line staff
1559 @lilypond[quote,raggedright]
1560 nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
1561 mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
1564 \context DrumStaff \with {
1565 \remove Bar_engraver
1566 \remove Time_signature_engraver
1567 drumStyleTable = #congas-style
1568 \override StaffSymbol #'line-count = #2
1570 %% this sucks; it will lengthen stems.
1571 \override StaffSymbol #'staff-space = #2
1572 \override Stem #'transparent = ##t
1573 \override Stem #'Y-extent-callback = ##f
1576 \override LyricText #'font-family = #'typewriter
1583 This typesets bongos on a two line staff
1585 @lilypond[quote,raggedright]
1586 nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
1587 mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
1590 \context DrumStaff\with {
1591 \remove Bar_engraver
1592 \remove Time_signature_engraver
1593 \override StaffSymbol #'line-count = #2
1594 drumStyleTable = #bongos-style
1596 %% this sucks; it will lengthen stems.
1597 \override StaffSymbol #'staff-space = #2
1598 \override Stem #'transparent = ##t
1599 \override Stem #'Y-extent-callback = ##f
1602 \override LyricText #'font-family = #'typewriter
1608 @item percussion-style
1609 To typeset all kinds of simple percussion on one line staves.
1611 @lilypond[quote,raggedright]
1612 nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
1613 mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
1616 \context DrumStaff\with{
1617 \remove Bar_engraver
1618 drumStyleTable = #percussion-style
1619 \override StaffSymbol #'line-count = #1
1620 \remove Time_signature_engraver
1621 \override Stem #'transparent = ##t
1622 \override Stem #'Y-extent-callback = ##f
1625 \override LyricText #'font-family = #'typewriter
1632 If you do not like any of the predefined lists you can define your own
1633 list at the top of your file
1635 @lilypond[quote,raggedright,verbatim]
1637 (bassdrum default #f -1)
1638 (snare default #f 0)
1640 (pedalhihat xcircle "stopped" 2)
1641 (lowtom diamond #f 3)))
1642 up = \drummode { hh8 hh hh hh hhp4 hhp }
1643 down = \drummode { bd4 sn bd toml8 toml }
1646 \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
1647 \new DrumVoice { \voiceOne \up }
1648 \new DrumVoice { \voiceTwo \down }
1655 Init files: @file{ly/@/drumpitch@/-init@/.ly}.
1657 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
1661 Because general MIDI does not contain rim shots, the sidestick is used
1662 for this purpose instead.
1671 @cindex guitar tablature
1674 * String number indications::
1675 * Tablatures basic::
1676 * Non-guitar tablatures::
1678 * Other guitar issues::
1681 @node String number indications
1682 @subsection String number indications
1684 @cindex String numbers
1686 String numbers can be added to chords, by indicating the string number
1687 with @code{\}@var{number},
1689 @lilypond[relative,relative=1,raggedright,fragment]
1693 See also @inputfileref{input/regression,string-number.ly}.
1698 Program reference: @internalsref{StringNumber},
1699 @internalsref{StringNumberEvent}
1702 @node Tablatures basic
1703 @subsection Tablatures basic
1704 @cindex Tablatures basic
1706 Tablature notation is used for notating music for plucked string
1707 instruments. Pitches are not denoted with note heads, but by
1708 numbers indicating on which string and fret a note must be played. LilyPond
1709 offers limited support for tablature.
1711 The string number associated to a note is given as a backslash
1712 followed by a number, e.g., @code{c4\3} for a C quarter on the third
1713 string. By default, string 1 is the highest one, and the tuning
1714 defaults to the standard guitar tuning (with 6 strings). The notes
1715 are printed as tablature, by using @internalsref{TabStaff} and
1716 @internalsref{TabVoice} contexts
1718 @lilypond[quote,raggedright,fragment,verbatim]
1725 @cindex @code{minimumFret}
1728 When no string is specified, the first string that does not give a
1729 fret number less than @code{minimumFret} is selected. The default
1730 value for @code{minimumFret} is 0
1735 \set TabStaff.minimumFret = #8
1738 @lilypond[quote,raggedright]
1742 \set TabStaff.minimumFret = #8
1745 \context StaffGroup <<
1746 \context Staff { \clef "G_8" \frag }
1747 \context TabStaff { \frag }
1753 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}, and
1754 @internalsref{StringNumberEvent}.
1758 Chords are not handled in a special way, and hence the automatic
1759 string selector may easily select the same string to two notes in a
1763 @node Non-guitar tablatures
1764 @subsection Non-guitar tablatures
1765 @cindex Non-guitar tablatures
1767 You can change the number of strings, by setting the number of lines
1768 in the @internalsref{TabStaff}.
1770 You can change the tuning of the strings. A string tuning is given as
1771 a Scheme list with one integer number for each string, the number
1772 being the pitch (measured in semitones relative to middle C) of an
1773 open string. The numbers specified for @code{stringTuning} are the
1774 numbers of semitones to subtract or add, starting the specified pitch
1775 by default middle C, in string order. In the next example,
1776 @code{stringTunings} is set for the pitches e, a, d, and g
1778 @lilypond[quote,raggedright,fragment,verbatim]
1779 \context TabStaff <<
1780 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
1782 a,4 c' a e' e c' a e'
1789 No guitar special effects have been implemented.
1793 Program reference: @internalsref{Tab_note_heads_engraver}.
1797 @subsection Fret diagrams
1798 @cindex fret diagrams
1799 @cindex chord diagrams
1801 Fret diagrams can be added to music as a markup to the desired note. The
1802 markup contains information about the desired fret diagram, as shown in the
1805 @lilypond[verbatim, raggedright, quote]
1807 d' ^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
1809 fis' ^\markup \override #'(size . 0.75) {
1810 \override #'(finger-code . below-string) {
1811 \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
1812 (place-fret 5 4 3) (place-fret 4 4 4)
1813 (place-fret 3 3 2) (place-fret 2 2 1)
1818 c' ^\markup \override #'(dot-radius . 0.35) {
1819 \override #'(finger-code . in-dot) {
1820 \override #'(dot-color . white) {
1821 \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
1830 There are three different fret-diagram markup interfaces: standard, terse,
1831 and verbose. The three interfaces produce equivalent markups, but have
1832 varying amounts of information in the markup string. Details about the
1833 markup interfaces are found at @ref{Overview of text markup commands}.
1835 You can set a number of graphical properties according to your preference.
1836 Details about the property interface to fret diagrams are found at
1837 @internalsref{fret-diagram-interface}.
1842 Examples: @inputfileref{input/@/test,fret@/-diagram@/.ly}
1845 @node Other guitar issues
1846 @subsection Other guitar issues
1848 FIXME: insert guitar fret number example here.
1851 @node Ancient notation
1852 @section Ancient notation
1854 @cindex Vaticana, Editio
1855 @cindex Medicaea, Editio
1860 Support for ancient notation includes features for mensural notation
1861 and Gregorian Chant notation. There is also limited support for
1862 figured bass notation.
1864 Many graphical objects provide a @code{style} property, see
1867 @ref{Ancient note heads},
1869 @ref{Ancient accidentals},
1871 @ref{Ancient rests},
1873 @ref{Ancient clefs},
1875 @ref{Ancient flags},
1877 @ref{Ancient time signatures}.
1880 By manipulating such a grob property, the typographical appearance of
1881 the affected graphical objects can be accommodated for a specific
1882 notation flavor without the need for introducing any new notational
1885 In addition to the standard articulation signs described in section
1886 @ref{Articulations}, specific articulation signs for ancient notation
1891 @ref{Ancient articulations}
1894 Other aspects of ancient notation can not that easily be expressed
1895 in terms of just changing a style property of a graphical object or
1896 adding articulation signs. Some notational concepts are introduced
1897 specifically for ancient notation,
1908 If this all is too much of documentation for you, and you just want to
1909 dive into typesetting without worrying too much about the details on
1910 how to customize a context, you may have a look at the predefined
1911 contexts. Use them to set up predefined style-specific voice and
1912 staff contexts, and directly go ahead with the note entry,
1916 @ref{Gregorian Chant contexts},
1918 @ref{Mensural contexts}.
1921 There is limited support for figured bass notation which came
1922 up during the baroque period.
1929 Here are all suptopics at a glance:
1932 * Ancient note heads::
1933 * Ancient accidentals::
1937 * Ancient time signatures::
1938 * Ancient articulations::
1942 * Gregorian Chant contexts::
1943 * Mensural contexts::
1948 @node Ancient note heads
1949 @subsection Ancient note heads
1954 For ancient notation, a note head style other than the @code{default}
1955 style may be chosen. This is accomplished by setting the @code{style}
1956 property of the @internalsref{NoteHead} object to @code{baroque},
1957 @code{neomensural} or @code{mensural}. The @code{baroque} style
1958 differs from the @code{default} style only in using a square shape
1959 for @code{\breve} note heads. The @code{neomensural} style differs from
1960 the @code{baroque} style in that it uses rhomboidal heads for whole notes
1961 and all smaller durations. Stems are centered on the note heads.
1962 This style is particularly useful when transcribing mensural music,
1963 e.g., for the incipit. The @code{mensural} style finally produces note
1964 heads that mimic the look of note heads in historic printings of the
1967 The following example demonstrates the @code{neomensural} style
1969 @lilypond[quote,fragment,raggedright,verbatim]
1970 \set Score.skipBars = ##t
1971 \override NoteHead #'style = #'neomensural
1972 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
1975 When typesetting a piece in Gregorian Chant notation, the
1976 @internalsref{Gregorian_ligature_engraver} will automatically select
1977 the proper note heads, so there is no need to explicitly set the
1978 note head style. Still, the note head style can be set, e.g., to
1979 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
1980 @internalsref{Mensural_ligature_engraver} is used to automatically
1981 assemble mensural ligatures. See @ref{Ligatures} for how ligature
1986 Examples: @inputfileref{input/@/regression,note@/-head@/-style@/.ly} gives an
1987 overview over all available note head styles.
1990 @node Ancient accidentals
1991 @subsection Ancient accidentals
1996 Use the @code{style} property of grob @internalsref{Accidental} to
1997 select ancient accidentals. Supported styles are
1998 @code{mensural}, @code{vaticana}, @code{hufnagel}, and @code{medicaea}.
2000 @lilypond[quote,raggedright,staffsize=26]
2007 \line { " " \musicglyph #"accidentals.vaticana-1"
2008 " " \musicglyph #"accidentals.vaticana0" }
2012 \line { " " \musicglyph #"accidentals.medicaea-1" }
2016 \line { " " \musicglyph #"accidentals.hufnagel-1" }
2020 \line { " " \musicglyph #"accidentals.mensural-1"
2021 " " \musicglyph #"accidentals.mensural1" }
2027 \context { \Score \remove "Bar_number_engraver" }
2029 \remove "Clef_engraver"
2030 \remove "Key_engraver"
2031 \remove "Time_signature_engraver"
2032 \remove "Staff_symbol_engraver"
2033 minimumVerticalExtent = ##f
2039 As shown, not all accidentals are supported by each style. When
2040 trying to access an unsupported accidental, LilyPond will switch to a
2041 different style, as demonstrated in
2042 @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2044 Similarly to local accidentals, the style of the key signature can be
2045 controlled by the @code{style} property of the
2046 @internalsref{KeySignature} grob.
2050 In this manual: @ref{Pitches}, @ref{Cautionary accidentals} and
2051 @ref{Automatic accidentals} give a general introduction of the use of
2052 accidentals. @ref{Key signature} gives a general introduction of
2053 the use of key signatures.
2055 Program reference: @internalsref{KeySignature}.
2057 Examples: @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2060 @subsection Ancient rests
2065 Use the @code{style} property of grob @internalsref{Rest} to select
2066 ancient rests. Supported styles are @code{classical},
2067 @code{neomensural}, and @code{mensural}. @code{classical} differs
2068 from the @code{default} style only in that the quarter rest looks like
2069 a horizontally mirrored 8th rest. The @code{neomensural} style suits
2070 well for, e.g., the incipit of a transcribed mensural piece of music.
2071 The @code{mensural} style finally mimics the appearance of rests as
2072 in historic prints of the 16th century.
2074 The following example demonstrates the @code{neomensural} style
2076 @lilypond[quote,fragment,raggedright,verbatim]
2077 \set Score.skipBars = ##t
2078 \override Rest #'style = #'neomensural
2079 r\longa r\breve r1 r2 r4 r8 r16
2082 There are no 32th and 64th rests specifically for the mensural or
2083 neo-mensural style. Instead, the rests from the default style will be
2084 taken. See @inputfileref{input/@/test,rests@/.ly} for a chart of all
2087 There are no rests in Gregorian Chant notation; instead, it uses
2092 In this manual: @ref{Rests} gives a general introduction into the use of rests.
2096 @subsection Ancient clefs
2101 LilyPond supports a variety of clefs, many of them ancient.
2103 The following table shows all ancient clefs that are supported via the
2104 @code{\clef} command. Some of the clefs use the same glyph, but
2105 differ only with respect to the line they are printed on. In such
2106 cases, a trailing number in the name is used to enumerate these clefs.
2107 Still, you can manually force a clef glyph to be typeset on an
2108 arbitrary line, as described in @ref{Clef}. The note printed to the
2109 right side of each clef in the example column denotes the @code{c'}
2110 with respect to that clef.
2112 @multitable @columnfractions .4 .4 .2
2121 modern style mensural C clef
2123 @code{neomensural-c1}, @code{neomensural-c2},@*
2124 @code{neomensural-c3}, @code{neomensural-c4}
2126 @lilypond[fragment,relative=1,notime]
2127 \clef "neomensural-c2" c
2131 petrucci style mensural C clefs, for use on different staff lines
2132 (the examples show the 2nd staff line C clef)
2134 @code{petrucci-c1}, @code{petrucci-c2},@*
2135 @code{petrucci-c3}, @code{petrucci-c4},@*
2138 @lilypond[fragment,relative=1,notime]
2140 \override NoteHead #'style = #'mensural
2145 petrucci style mensural F clef
2149 @lilypond[fragment,relative=1,notime]
2151 \override NoteHead #'style = #'mensural
2156 petrucci style mensural G clef
2160 @lilypond[fragment,relative=1,notime]
2162 \override NoteHead #'style = #'mensural
2167 historic style mensural C clef
2169 @code{mensural-c1}, @code{mensural-c2},@*
2170 @code{mensural-c3}, @code{mensural-c4}
2172 @lilypond[fragment,relative=1,notime]
2174 \override NoteHead #'style = #'mensural
2179 historic style mensural F clef
2183 @lilypond[fragment,relative=1,notime]
2185 \override NoteHead #'style = #'mensural
2190 historic style mensural G clef
2194 @lilypond[fragment,relative=1,notime]
2196 \override NoteHead #'style = #'mensural
2201 Editio Vaticana style do clef
2203 @code{vaticana-do1}, @code{vaticana-do2},@*
2206 @lilypond[fragment,relative=1,notime]
2207 \override Staff.StaffSymbol #'line-count = #4
2208 \override Staff.StaffSymbol #'color = #red
2209 \override Staff.LedgerLineSpanner #'color = #red
2210 \override Voice.Stem #'transparent = ##t
2211 \override NoteHead #'style = #'vaticana.punctum
2212 \clef "vaticana-do2"
2217 Editio Vaticana style fa clef
2219 @code{vaticana-fa1}, @code{vaticana-fa2}
2221 @lilypond[fragment,relative=1,notime]
2222 \override Staff.StaffSymbol #'line-count = #4
2223 \override Staff.StaffSymbol #'color = #red
2224 \override Staff.LedgerLineSpanner #'color = #red
2225 \override Voice.Stem #'transparent = ##t
2226 \override NoteHead #'style = #'vaticana.punctum
2227 \clef "vaticana-fa2"
2232 Editio Medicaea style do clef
2234 @code{medicaea-do1}, @code{medicaea-do2},@*
2237 @lilypond[fragment,relative=1,notime]
2238 \override Staff.StaffSymbol #'line-count = #4
2239 \override Staff.StaffSymbol #'color = #red
2240 \override Staff.LedgerLineSpanner #'color = #red
2241 \override Voice.Stem #'transparent = ##t
2242 \override NoteHead #'style = #'medicaea.punctum
2243 \clef "medicaea-do2"
2248 Editio Medicaea style fa clef
2250 @code{medicaea-fa1}, @code{medicaea-fa2}
2252 @lilypond[fragment,relative=1,notime]
2253 \override Staff.StaffSymbol #'line-count = #4
2254 \override Staff.StaffSymbol #'color = #red
2255 \override Staff.LedgerLineSpanner #'color = #red
2256 \override Voice.Stem #'transparent = ##t
2257 \override NoteHead #'style = #'medicaea.punctum
2258 \clef "medicaea-fa2"
2263 historic style hufnagel do clef
2265 @code{hufnagel-do1}, @code{hufnagel-do2},@*
2268 @lilypond[fragment,relative=1,notime]
2269 \override Staff.StaffSymbol #'line-count = #4
2270 \override Staff.StaffSymbol #'color = #red
2271 \override Staff.LedgerLineSpanner #'color = #red
2272 \override Voice.Stem #'transparent = ##t
2273 \override NoteHead #'style = #'hufnagel.punctum
2274 \clef "hufnagel-do2"
2279 historic style hufnagel fa clef
2281 @code{hufnagel-fa1}, @code{hufnagel-fa2}
2283 @lilypond[fragment,relative=1,notime]
2284 \override Staff.StaffSymbol #'line-count = #4
2285 \override Staff.StaffSymbol #'color = #red
2286 \override Staff.LedgerLineSpanner #'color = #red
2287 \override Voice.Stem #'transparent = ##t
2288 \override NoteHead #'style = #'hufnagel.punctum
2289 \clef "hufnagel-fa2"
2294 historic style hufnagel combined do/fa clef
2296 @code{hufnagel-do-fa}
2298 @lilypond[fragment,relative=1,notime]
2299 \override Staff.StaffSymbol #'color = #red
2300 \override Staff.LedgerLineSpanner #'color = #red
2301 \override Voice.Stem #'transparent = ##t
2302 \override NoteHead #'style = #'hufnagel.punctum
2303 \clef "hufnagel-do-fa"
2310 @emph{Modern style} means ``as is typeset in contemporary editions of
2311 transcribed mensural music''.
2313 @emph{Petrucci style} means ``inspired by printings published by the
2314 famous engraver Petrucci (1466-1539)''.
2316 @emph{Historic style} means ``as was typeset or written in historic
2317 editions (other than those of Petrucci)''.
2319 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
2321 Petrucci used C clefs with differently balanced left-side vertical
2322 beams, depending on which staff line it is printed.
2326 In this manual: see @ref{Clef}.
2330 The mensural g clef is mapped to the Petrucci g clef.
2335 @subsection Ancient flags
2340 Use the @code{flag-style} property of grob @internalsref{Stem} to
2341 select ancient flags. Besides the @code{default} flag style,
2342 only the @code{mensural} style is supported
2344 @lilypond[quote,fragment,raggedright,verbatim]
2345 \override Stem #'flag-style = #'mensural
2346 \override Stem #'thickness = #1.0
2347 \override NoteHead #'style = #'mensural
2349 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
2350 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
2353 Note that the innermost flare of each mensural flag always is
2354 vertically aligned with a staff line.
2356 There is no particular flag style for neo-mensural notation. Hence,
2357 when typesetting the incipit of a transcribed piece of mensural
2358 music, the default flag style should be used. There are no flags in
2359 Gregorian Chant notation.
2363 The attachment of ancient flags to stems is slightly off due to a
2364 change in early 2.3.x.
2366 Vertically aligning each flag with a staff line assumes that stems
2367 always end either exactly on or exactly in the middle between two
2368 staff lines. This may not always be true when using advanced layout
2369 features of classical notation (which however are typically out of
2370 scope for mensural notation).
2372 @node Ancient time signatures
2373 @subsection Ancient time signatures
2375 @cindex time signatures
2378 There is limited support for mensural time signatures. The
2379 glyphs are hard-wired to particular time fractions. In other words,
2380 to get a particular mensural signature glyph with the @code{\time n/m}
2381 command, @code{n} and @code{m} have to be chosen according to the
2384 @lilypond[quote,raggedright]
2389 \remove Staff_symbol_engraver
2390 \remove Clef_engraver
2391 \remove Time_signature_engraver
2395 \set Score.timing = ##f
2396 \set Score.barAlways = ##t
2397 s_\markup { "\\time 4/4" }
2398 ^\markup { " " \musicglyph #"timesig.neomensural44" }
2400 s_\markup { "\\time 2/2" }
2401 ^\markup { " " \musicglyph #"timesig.neomensural22" }
2403 s_\markup { "\\time 6/4" }
2404 ^\markup { " " \musicglyph #"timesig.neomensural64" }
2406 s_\markup { "\\time 6/8" }
2407 ^\markup { " " \musicglyph #"timesig.neomensural68" }
2409 s_\markup { "\\time 3/2" }
2410 ^\markup { " " \musicglyph #"timesig.neomensural32" }
2412 s_\markup { "\\time 3/4" }
2413 ^\markup { " " \musicglyph #"timesig.neomensural34" }
2415 s_\markup { "\\time 9/4" }
2416 ^\markup { " " \musicglyph #"timesig.neomensural94" }
2418 s_\markup { "\\time 9/8" }
2419 ^\markup { " " \musicglyph #"timesig.neomensural98" }
2421 s_\markup { "\\time 4/8" }
2422 ^\markup { " " \musicglyph #"timesig.neomensural48" }
2424 s_\markup { "\\time 2/4" }
2425 ^\markup { " " \musicglyph #"timesig.neomensural24" }
2429 Use the @code{style} property of grob @internalsref{TimeSignature} to
2430 select ancient time signatures. Supported styles are
2431 @code{neomensural} and @code{mensural}. The above table uses the
2432 @code{neomensural} style. This style is appropriate for the
2433 incipit of transcriptions of mensural pieces. The @code{mensural}
2434 style mimics the look of historical printings of the 16th century.
2436 The following examples show the differences in style,
2438 @lilypond[raggedright,fragment,relative=1,quote]
2443 c1^\markup { \hspace #-2.0 \typewriter default }
2445 \override Staff.TimeSignature #'style = #'numbered
2447 c1^\markup { \hspace #-2.0 \typewriter numbered }
2449 \override Staff.TimeSignature #'style = #'mensural
2451 c1^\markup { \hspace #-2.0 \typewriter mensural }
2453 \override Staff.TimeSignature #'style = #'neomensural
2455 c1^\markup { \hspace #-2.0 \typewriter neomensural }
2456 \override Staff.TimeSignature #'style = #'single-digit
2458 c1^\markup { \hspace #-2.0 \typewriter single-digit }
2464 This manual: @ref{Time signature} gives a general introduction to
2465 the use of time signatures.
2469 Ratios of note durations do not change with the time signature. For
2470 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
2471 be made by hand, by setting
2474 breveTP = #(ly:make-duration -1 0 3 2)
2480 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
2482 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
2483 addressable with @code{\time}. Use a @code{\markup} instead
2485 @node Ancient articulations
2486 @subsection Ancient articulations
2488 @cindex articulations
2490 In addition to the standard articulation signs described in section
2491 @ref{Articulations}, articulation signs for ancient notation are
2492 provided. These are specifically designed for use with notation in
2493 Editio Vaticana style.
2495 @lilypond[quote,raggedright,verbatim]
2496 \include "gregorian-init.ly"
2498 \context VaticanaVoice {
2499 \override Staff.StaffSymbol #'color = #red
2500 \override Staff.LedgerLineSpanner #'color = #red
2501 \override TextScript #'font-family = #'typewriter
2502 \override TextScript #'font-shape = #'upright
2503 \override Script #'padding = #-0.1
2505 a4\circulus_"circulus" s1
2506 a4\semicirculus_"semicirculus" s1 s
2507 a4\accentus_"accentus" s1
2508 \[ a4_"episem" \episemInitium \pes b \flexa a \episemFinis \]
2515 Some articulations are vertically placed too closely to the
2516 correpsonding note heads.
2519 @subsection Custodes
2524 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
2525 symbol that appears at the end of a staff. It anticipates the pitch
2526 of the first note(s) of the following line thus helping the performer
2527 to manage line breaks during performance.
2529 Custodes were frequently used in music notation until the 17th
2530 century. Nowadays, they have survived only in a few particular forms
2531 of musical notation such as contemporary editions of Gregorian chant
2532 like the @emph{editio vaticana}. There are different custos glyphs
2533 used in different flavors of notational style.
2535 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
2536 @internalsref{Staff} context when declaring the @code{\layout} block,
2537 as shown in the following example
2543 \consists Custos_engraver
2544 Custos \override #'style = #'mensural
2549 The result looks like this
2551 @lilypond[quote,raggedright]
2555 \override Staff.Custos #'style = #'mensural
2560 \context { \Staff \consists Custos_engraver }
2565 The custos glyph is selected by the @code{style} property. The styles
2566 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
2567 @code{mensural}. They are demonstrated in the following fragment
2569 @lilypond[quote,raggedright,fragment]
2570 \new Lyrics \lyricmode {
2572 \typewriter "vaticana"
2573 \line { " " \musicglyph #"custodes.vaticana.u0" }
2576 \typewriter "medicaea"
2577 \line { " " \musicglyph #"custodes.medicaea.u0" }
2580 \typewriter "hufnagel"
2581 \line { " " \musicglyph #"custodes.hufnagel.u0" }
2584 \typewriter "mensural"
2585 \line { " " \musicglyph #"custodes.mensural.u0" }
2592 Program reference: @internalsref{Custos}.
2594 Examples: @inputfileref{input/@/regression,custos@/.ly}.
2598 @subsection Divisiones
2604 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
2605 `division') is a staff context symbol that is used to structure
2606 Gregorian music into phrases and sections. The musical meaning of
2607 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
2608 can be characterized as short, medium, and long pause, somewhat like
2609 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
2610 only marks the end of a chant, but is also frequently used within a
2611 single antiphonal/responsorial chant to mark the end of each section.
2614 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
2615 contains definitions that you can apply by just inserting
2616 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
2617 and @code{\finalis} at proper places in the input. Some editions use
2618 @emph{virgula} or @emph{caesura} instead of divisio minima.
2619 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
2622 @lilypondfile[quote,raggedright]{divisiones.ly}
2626 @cindex @code{\virgula}
2628 @cindex @code{\caesura}
2630 @cindex @code{\divisioMinima}
2631 @code{\divisioMinima},
2632 @cindex @code{\divisioMaior}
2633 @code{\divisioMaior},
2634 @cindex @code{\divisioMaxima}
2635 @code{\divisioMaxima},
2636 @cindex @code{\finalis}
2641 In this manual: @ref{Breath marks}.
2643 Program reference: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
2645 Examples: @inputfileref{input/@/test,divisiones@/.ly}.
2648 @subsection Ligatures
2652 @c TODO: Should double check if I recalled things correctly when I wrote
2653 @c down the following paragraph by heart.
2655 A ligature is a graphical symbol that represents at least two distinct
2656 notes. Ligatures originally appeared in the manuscripts of Gregorian
2657 chant notation to denote ascending or descending sequences of notes.
2659 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
2660 Some ligature styles may need additional input syntax specific for
2661 this particular type of ligature. By default, the
2662 @internalsref{LigatureBracket} engraver just puts a square bracket
2665 @lilypond[quote,raggedright,verbatim]
2673 To select a specific style of ligatures, a proper ligature engraver
2674 has to be added to the @internalsref{Voice} context, as explained in
2675 the following subsections. Only white mensural ligatures
2676 are supported with certain limitations.
2682 Ligatures need special spacing that has not yet been implemented. As
2683 a result, there is too much space between ligatures most of the time,
2684 and line breaking often is unsatisfactory. Also, lyrics do not
2685 correctly align with ligatures.
2687 Accidentals must not be printed within a ligature, but instead need to
2688 be collected and printed in front of it.
2690 Augmentum dots within ligatures are not handled correctly.
2692 The syntax still uses the deprecated infix style @code{\[ music expr
2693 \]}. For consistency reasons, it will eventually be changed to
2694 postfix style @code{note\[ ... note\]}. Alternatively, the file
2695 @file{gregorian@/-init@/.ly} can be included; it provides a scheme
2698 \ligature @var{music expr}
2700 with the same effect and is believed to be stable.
2703 * White mensural ligatures::
2704 * Gregorian square neumes ligatures::
2707 @node White mensural ligatures
2708 @subsubsection White mensural ligatures
2710 @cindex Mensural ligatures
2711 @cindex White mensural ligatures
2713 There is limited support for white mensural ligatures.
2715 To engrave white mensural ligatures, in the layout block put the
2716 @internalsref{Mensural_ligature_engraver} into the
2717 @internalsref{Voice} context, and remove the
2718 @internalsref{Ligature_bracket_engraver}, like this
2724 \remove Ligature_bracket_engraver
2725 \consists Mensural_ligature_engraver
2730 There is no additional input language to describe the shape of a
2731 white mensural ligature. The shape is rather determined solely from
2732 the pitch and duration of the enclosed notes. While this approach may
2733 take a new user a while to get accustomed to, it has the great advantage
2734 that the full musical information of the ligature is known internally.
2735 This is not only required for correct MIDI output, but also allows for
2736 automatic transcription of the ligatures.
2741 \set Score.timing = ##f
2742 \set Score.defaultBarType = "empty"
2743 \override NoteHead #'style = #'neomensural
2744 \override Staff.TimeSignature #'style = #'neomensural
2748 \[ d\longa c\breve f e d \]
2750 \[ c'\maxima d'\longa \]
2754 @lilypond[quote,raggedright]
2757 \set Score.timing = ##f
2758 \set Score.defaultBarType = "empty"
2759 \override NoteHead #'style = #'neomensural
2760 \override Staff.TimeSignature #'style = #'neomensural
2764 \[ d\longa c\breve f e d \]
2766 \[ c'\maxima d'\longa \]
2773 \remove Ligature_bracket_engraver
2774 \consists Mensural_ligature_engraver
2780 Without replacing @internalsref{Ligature_bracket_engraver} with
2781 @internalsref{Mensural_ligature_engraver}, the same music transcribes
2784 @lilypond[quote,raggedright]
2786 \set Score.timing = ##f
2787 \set Score.defaultBarType = "empty"
2788 \override NoteHead #'style = #'neomensural
2789 \override Staff.TimeSignature #'style = #'neomensural
2793 \[ d\longa c\breve f e d \]
2795 \[ c'\maxima d'\longa \]
2803 The invisible rests (@code{s4}) in the example are used to compensate
2804 for the poor horizontal spacing.
2806 @node Gregorian square neumes ligatures
2807 @subsubsection Gregorian square neumes ligatures
2809 @cindex Square neumes ligatures
2810 @cindex Gregorian square neumes ligatures
2812 There is limited support for Gregorian square neumes notation
2813 (following the style of the Editio Vaticana). Core ligatures can
2814 already be typeset, but essential issues for serious typesetting are
2815 still lacking, such as (among others) horizontal alignment of multiple
2816 ligatures, lyrics alignment and proper handling of accidentals.
2819 The following table contains the extended neumes table of the 2nd
2820 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
2821 1983 by the monks of Solesmes.
2823 @multitable @columnfractions .4 .2 .2 .2
2840 @c TODO: \layout block is identical in all of the below examples.
2841 @c Therefore, it should somehow be included rather than duplicated all
2844 @c why not make identifiers in ly/engraver-init.ly? --hwn
2846 @c Because it's just used to typeset plain notes without
2847 @c a staff for demonstration purposes rather than something
2848 @c special of Gregorian chant notation. --jr
2853 @lilypond[staffsize=26,linewidth=1.5\cm]
2854 \include "gregorian-init.ly"
2859 \noBreak s^\markup {"a"} \noBreak
2861 % Punctum Inclinatum
2863 \noBreak s^\markup {"b"}
2865 \layout { \neumeDemoLayout }}
2868 @lilypond[staffsize=26,linewidth=2.5\cm]
2869 \include "gregorian-init.ly"
2872 % Punctum Auctum Ascendens
2873 \[ \auctum \ascendens b \]
2874 \noBreak s^\markup {"c"} \noBreak
2876 % Punctum Auctum Descendens
2877 \[ \auctum \descendens b \]
2878 \noBreak s^\markup {"d"} \noBreak
2880 % Punctum Inclinatum Auctum
2881 \[ \inclinatum \auctum b \]
2882 \noBreak s^\markup {"e"}
2884 \layout { \neumeDemoLayout }}
2887 @lilypond[staffsize=26,linewidth=1.0\cm]
2888 \include "gregorian-init.ly"
2891 % Punctum Inclinatum Parvum
2892 \[ \inclinatum \deminutum b \]
2893 \noBreak s^\markup {"f"}
2895 \layout { \neumeDemoLayout }}
2901 @lilypond[staffsize=26,linewidth=1.0\cm]
2902 \include "gregorian-init.ly"
2907 \noBreak s^\markup {"g"}
2909 \layout { \neumeDemoLayout }}
2915 @code{3. Apostropha vel Stropha}
2917 @lilypond[staffsize=26,linewidth=1.0\cm]
2918 \include "gregorian-init.ly"
2923 \noBreak s^\markup {"h"}
2925 \layout { \neumeDemoLayout }}
2928 @lilypond[staffsize=26,linewidth=1.0\cm]
2929 \include "gregorian-init.ly"
2933 \[ \stropha \auctum b \]
2934 \noBreak s^\markup {"i"}
2936 \layout { \neumeDemoLayout }}
2943 @lilypond[staffsize=26,linewidth=1.0\cm]
2944 \include "gregorian-init.ly"
2949 \noBreak s^\markup {"j"}
2951 \layout { \neumeDemoLayout }}
2957 @code{5. Clivis vel Flexa}
2959 @lilypond[staffsize=26,linewidth=1.0\cm]
2960 \include "gregorian-init.ly"
2967 \layout { \neumeDemoLayout }}
2970 @lilypond[staffsize=26,linewidth=2.0\cm]
2971 \include "gregorian-init.ly"
2974 % Clivis Aucta Descendens
2975 \[ b \flexa \auctum \descendens g \]
2976 \noBreak s^\markup {"l"} \noBreak
2978 % Clivis Aucta Ascendens
2979 \[ b \flexa \auctum \ascendens g \]
2980 \noBreak s^\markup {"m"}
2982 \layout { \neumeDemoLayout }}
2985 @lilypond[staffsize=26,linewidth=1.0\cm]
2986 \include "gregorian-init.ly"
2990 \[ b \flexa \deminutum g \]
2993 \layout { \neumeDemoLayout }}
2997 @code{6. Podatus vel Pes}
2999 @lilypond[staffsize=26,linewidth=1.0\cm]
3000 \include "gregorian-init.ly"
3007 \layout { \neumeDemoLayout }}
3010 @lilypond[staffsize=26,linewidth=2.0\cm]
3011 \include "gregorian-init.ly"
3014 % Pes Auctus Descendens
3015 \[ g \pes \auctum \descendens b \]
3016 \noBreak s^\markup {"p"} \noBreak
3018 % Pes Auctus Ascendens
3019 \[ g \pes \auctum \ascendens b \]
3020 \noBreak s^\markup {"q"}
3022 \layout { \neumeDemoLayout }}
3025 @lilypond[staffsize=26,linewidth=1.0\cm]
3026 \include "gregorian-init.ly"
3030 \[ g \pes \deminutum b \]
3033 \layout { \neumeDemoLayout }}
3037 @code{7. Pes Quassus}
3039 @lilypond[staffsize=26,linewidth=1.0\cm]
3040 \include "gregorian-init.ly"
3044 \[ \oriscus g \pes \virga b \]
3047 \layout { \neumeDemoLayout }}
3050 @lilypond[staffsize=26,linewidth=1.0\cm]
3051 \include "gregorian-init.ly"
3054 % Pes Quassus Auctus Descendens
3055 \[ \oriscus g \pes \auctum \descendens b \]
3058 \layout { \neumeDemoLayout }}
3063 @code{8. Quilisma Pes}
3065 @lilypond[staffsize=26,linewidth=1.0\cm]
3066 \include "gregorian-init.ly"
3070 \[ \quilisma g \pes b \]
3073 \layout { \neumeDemoLayout }}
3076 @lilypond[staffsize=26,linewidth=1.0\cm]
3077 \include "gregorian-init.ly"
3080 % Quilisma Pes Auctus Descendens
3081 \[ \quilisma g \pes \auctum \descendens b \]
3084 \layout { \neumeDemoLayout }}
3089 @code{9. Podatus Initio Debilis}
3091 @lilypond[staffsize=26,linewidth=1.0\cm]
3092 \include "gregorian-init.ly"
3095 % Pes Initio Debilis
3096 \[ \deminutum g \pes b \]
3099 \layout { \neumeDemoLayout }}
3102 @lilypond[staffsize=26,linewidth=1.0\cm]
3103 \include "gregorian-init.ly"
3106 % Pes Auctus Descendens Initio Debilis
3107 \[ \deminutum g \pes \auctum \descendens b \]
3110 \layout { \neumeDemoLayout }}
3117 @lilypond[staffsize=26,linewidth=1.0\cm]
3118 \include "gregorian-init.ly"
3122 \[ a \pes b \flexa g \]
3125 \layout { \neumeDemoLayout }}
3128 @lilypond[staffsize=26,linewidth=1.0\cm]
3129 \include "gregorian-init.ly"
3132 % Torculus Auctus Descendens
3133 \[ a \pes b \flexa \auctum \descendens g \]
3136 \layout { \neumeDemoLayout }}
3139 @lilypond[staffsize=26,linewidth=1.0\cm]
3140 \include "gregorian-init.ly"
3143 % Torculus Deminutus
3144 \[ a \pes b \flexa \deminutum g \]
3147 \layout { \neumeDemoLayout }}
3151 @code{11. Torculus Initio Debilis}
3153 @lilypond[staffsize=26,linewidth=1.0\cm]
3154 \include "gregorian-init.ly"
3157 % Torculus Initio Debilis
3158 \[ \deminutum a \pes b \flexa g \]
3161 \layout { \neumeDemoLayout }}
3164 @lilypond[staffsize=26,linewidth=1.0\cm]
3165 \include "gregorian-init.ly"
3168 % Torculus Auctus Descendens Initio Debilis
3169 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
3172 \layout { \neumeDemoLayout }}
3175 @lilypond[staffsize=26,linewidth=1.0\cm]
3176 \include "gregorian-init.ly"
3179 % Torculus Deminutus Initio Debilis
3180 \[ \deminutum a \pes b \flexa \deminutum g \]
3183 \layout { \neumeDemoLayout }}
3187 @code{12. Porrectus}
3189 @lilypond[staffsize=26,linewidth=1.0\cm]
3190 \include "gregorian-init.ly"
3194 \[ a \flexa g \pes b \]
3197 \layout { \neumeDemoLayout }}
3200 @lilypond[staffsize=26,linewidth=1.0\cm]
3201 \include "gregorian-init.ly"
3204 % Porrectus Auctus Descendens
3205 \[ a \flexa g \pes \auctum \descendens b \]
3208 \layout { \neumeDemoLayout }}
3211 @lilypond[staffsize=26,linewidth=1.0\cm]
3212 \include "gregorian-init.ly"
3215 % Porrectus Deminutus
3216 \[ a \flexa g \pes \deminutum b \]
3219 \layout { \neumeDemoLayout }}
3225 @lilypond[staffsize=26,linewidth=1.0\cm]
3226 \include "gregorian-init.ly"
3230 \[ \virga b \inclinatum a \inclinatum g \]
3233 \layout { \neumeDemoLayout }
3237 @lilypond[staffsize=26,linewidth=1.0\cm]
3238 \include "gregorian-init.ly"
3242 \[ \virga b \inclinatum a \inclinatum \auctum g \]
3245 \layout { \neumeDemoLayout }}
3248 @lilypond[staffsize=26,linewidth=1.0\cm]
3249 \include "gregorian-init.ly"
3252 % Climacus Deminutus
3253 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
3256 \layout { \neumeDemoLayout }}
3260 @code{14. Scandicus}
3262 @lilypond[staffsize=26,linewidth=1.0\cm]
3263 \include "gregorian-init.ly"
3267 \[ g \pes a \virga b \]
3270 \layout { \neumeDemoLayout }}
3273 @lilypond[staffsize=26,linewidth=1.0\cm]
3274 \include "gregorian-init.ly"
3277 % Scandicus Auctus Descendens
3278 \[ g \pes a \pes \auctum \descendens b \]
3281 \layout { \neumeDemoLayout }}
3284 @lilypond[staffsize=26,linewidth=1.0\cm]
3285 \include "gregorian-init.ly"
3288 % Scandicus Deminutus
3289 \[ g \pes a \pes \deminutum b \]
3292 \layout { \neumeDemoLayout }}
3298 @lilypond[staffsize=26,linewidth=1.0\cm]
3299 \include "gregorian-init.ly"
3303 \[ g \oriscus a \pes \virga b \]
3306 \layout { \neumeDemoLayout }}
3309 @lilypond[staffsize=26,linewidth=1.0\cm]
3310 \include "gregorian-init.ly"
3313 % Salicus Auctus Descendens
3314 \[ g \oriscus a \pes \auctum \descendens b \]
3317 \layout { \neumeDemoLayout }}
3324 @lilypond[staffsize=26,linewidth=1.0\cm]
3325 \include "gregorian-init.ly"
3329 \[ \stropha b \stropha b \stropha a \]
3332 \layout { \neumeDemoLayout }
3341 Unlike most other neumes notation systems, the input language for
3342 neumes does not reflect the typographical appearance, but is designed
3343 to focus on musical meaning. For example, @code{\[ a \pes b
3344 \flexa g \]} produces a Torculus consisting of three Punctum heads,
3345 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
3346 curved flexa shape and only a single Punctum head. There is no
3347 command to explicitly typeset the curved flexa shape; the decision of
3348 when to typeset a curved flexa shape is based on the musical
3349 input. The idea of this approach is to separate the musical aspects
3350 of the input from the notation style of the output. This way, the
3351 same input can be reused to typeset the same music in a different
3352 style of Gregorian chant notation.
3354 The following table shows the code fragments that produce the
3355 ligatures in the above neumes table. The letter in the first column
3356 in each line of the below table indicates to which ligature in the
3357 above table it refers. The second column gives the name of the
3358 ligature. The third column shows the code fragment that produces this
3359 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
3361 @multitable @columnfractions .02 .31 .67
3381 @code{\[ \inclinatum b \]}
3389 @code{\[ \auctum \ascendens b \]}
3397 @code{\[ \auctum \descendens b \]}
3402 Punctum Inclinatum@*
3405 @code{\[ \inclinatum \auctum b \]}
3410 Punctum Inclinatum@*
3412 @code{\[ \inclinatum \deminutum b \]}
3419 @code{\[ \virga b \]}
3426 @code{\[ \stropha b \]}
3433 @code{\[ \stropha \auctum b \]}
3440 @code{\[ \oriscus b \]}
3447 @code{\[ b \flexa g \]}
3455 @code{\[ b \flexa \auctum \descendens g \]}
3463 @code{\[ b \flexa \auctum \ascendens g \]}
3470 @code{\[ b \flexa \deminutum g \]}
3477 @code{\[ g \pes b \]}
3485 @code{\[ g \pes \auctum \descendens b \]}
3493 @code{\[ g \pes \auctum \ascendens b \]}
3500 @code{\[ g \pes \deminutum b \]}
3507 @code{\[ \oriscus g \pes \virga b \]}
3513 Auctus Descendens @tab
3514 @code{\[ \oriscus g \pes \auctum \descendens b \]}
3521 @code{\[ \quilisma g \pes b \]}
3529 @code{\[ \quilisma g \pes \auctum \descendens b \]}
3536 @code{\[ \deminutum g \pes b \]}
3541 Pes Auctus Descendens@*
3544 @code{\[ \deminutum g \pes \auctum \descendens b \]}
3551 @code{\[ a \pes b \flexa g \]}
3559 @code{\[ a \pes b \flexa \auctum \descendens g \]}
3566 @code{\[ a \pes b \flexa \deminutum g \]}
3571 Torculus Initio Debilis
3573 @code{\[ \deminutum a \pes b \flexa g \]}
3579 Descendens Initio Debilis
3581 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
3586 Torculus Deminutus@*
3589 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
3596 @code{\[ a \flexa g \pes b \]}
3604 @code{\[ a \flexa g \pes \auctum \descendens b \]}
3611 @code{\[ a \flexa g \pes \deminutum b \]}
3618 @code{\[ \virga b \inclinatum a \inclinatum g \]}
3625 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
3632 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
3639 @code{\[ g \pes a \virga b \]}
3647 @code{\[ g \pes a \pes \auctum \descendens b \]}
3654 @code{\[ g \pes a \pes \deminutum b \]}
3661 @code{\[ g \oriscus a \pes \virga b \]}
3666 Salicus Auctus Descendens
3668 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
3675 @code{\[ \stropha b \stropha b \stropha a \]}
3680 The following head prefixes are supported
3682 @cindex @code{\virga}
3684 @cindex @code{\stropha}
3686 @cindex @code{\inclinatum}
3688 @cindex @code{\auctum}
3690 @cindex @code{\descendens}
3692 @cindex @code{\ascendens}
3694 @cindex @code{\oriscus}
3696 @cindex @code{\quilisma}
3698 @cindex @code{\deminutum}
3701 Head prefixes can be accumulated, though restrictions apply. For
3702 example, either @code{\descendens} or @code{\ascendens} can be applied
3703 to a head, but not both to the same head.
3706 @cindex @code{\flexa}
3707 Two adjacent heads can be tied together with the @code{\pes} and
3708 @code{\flexa} infix commands for a rising and falling line of melody,
3713 @node Gregorian Chant contexts
3714 @subsection Gregorian Chant contexts
3716 @cindex VaticanaVoiceContext
3717 @cindex VaticanaStaffContext
3719 The predefined @code{VaticanaVoiceContext} and
3720 @code{VaticanaStaffContext} can be used to engrave a piece of
3721 Gregorian Chant in the style of the Editio Vaticana. These contexts
3722 initialize all relevant context properties and grob properties to
3723 proper values, so you can immediately go ahead entering the chant, as
3724 the following excerpt demonstrates
3726 @lilypond[quote,raggedright,packed,verbatim]
3727 \include "gregorian-init.ly"
3730 \context VaticanaVoice = "cantus" {
3731 \override Staff.StaffSymbol #'color = #red
3732 \override Staff.LedgerLineSpanner #'color = #red
3733 \override Score.BarNumber #'transparent = ##t {
3734 \[ c'\melisma c' \flexa a \]
3735 \[ a \flexa \deminutum g\melismaEnd \]
3737 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
3738 c' \divisioMinima \break
3739 \[ c'\melisma c' \flexa a \]
3740 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
3743 \lyricsto "cantus" \new Lyrics {
3744 San- ctus, San- ctus, San- ctus
3751 @node Mensural contexts
3752 @subsection Mensural contexts
3754 @cindex MensuralVoiceContext
3755 @cindex MensuralStaffContext
3757 The predefined @code{MensuralVoiceContext} and
3758 @code{MensuralStaffContext} can be used to engrave a piece in mensural
3759 style. These contexts initialize all relevant context properties and
3760 grob properties to proper values, so you can immediately go ahead
3761 entering the chant, as the following excerpt demonstrates
3763 @lilypond[quote,raggedright,verbatim]
3766 \context MensuralVoice = "discantus" \transpose c c' {
3767 \override Score.BarNumber #'transparent = ##t {
3768 c'1\melisma bes a g\melismaEnd
3770 \[ f1\melisma a c'\breve d'\melismaEnd \]
3772 c'\breve\melisma a1 g1\melismaEnd
3773 fis\longa^\signumcongruentiae
3776 \lyricsto "discantus" \new Lyrics {
3777 San -- ctus, San -- ctus, San -- ctus
3785 @subsection Figured bass
3787 @cindex Basso continuo
3789 @c TODO: musicological blurb about FB
3792 LilyPond has limited support for figured bass
3794 @lilypond[quote,raggedright,verbatim,fragment]
3796 \context Voice { \clef bass dis4 c d ais g fis}
3797 \context FiguredBass \figuremode {
3798 < 6 >4 < 7 >8 < 6+ [_!] >
3805 The support for figured bass consists of two parts: there is an input
3806 mode, introduced by @code{\figuremode}, where you can enter bass figures
3807 as numbers, and there is a context called @internalsref{FiguredBass} that
3808 takes care of making @internalsref{BassFigure} objects.
3810 In figures input mode, a group of bass figures is delimited by
3811 @code{<} and @code{>}. The duration is entered after the @code{>}
3815 @lilypond[quote,raggedright,fragment]
3816 \context FiguredBass
3817 \figuremode { <4 6> }
3820 Accidentals are added when you append @code{-}, @code{!}, and @code{+}
3826 @lilypond[quote,raggedright,fragment]
3827 \context FiguredBass
3828 \figuremode { <4- 6+ 7!> }
3831 Spaces or dashes may be inserted by using @code{_}. Brackets are
3832 introduced with @code{[} and @code{]}. You can also include text
3833 strings and text markups, see @ref{Overview of text markup commands}.
3836 < [4 6] 8 [_! 12] > < 5 \markup @{ + \number 6 @} >
3838 @lilypond[quote,raggedright,fragment]
3839 \context FiguredBass
3840 \figuremode { < [4 6] 8 [_! 12] > < 5 \markup{ + \number 6 } > }
3844 Although the support for figured bass may superficially resemble chord
3845 support, it works much simpler. The @code{\figuremode} mode simply
3846 stores the numbers and @internalsref{FiguredBass} context prints
3847 them as entered. There is no conversion to pitches and no
3848 realizations of the bass are played in the MIDI file.
3850 Internally, the code produces markup texts. You can use any of the
3851 markup text properties to override formatting. For example, the
3852 vertical spacing of the figures may be set with @code{baseline-skip}.
3856 Program reference: @internalsref{BassFigureEvent} music,
3857 @internalsref{BassFigure} object, and @internalsref{FiguredBass} context.
3861 Slash notation for alterations is not supported.
3865 @node Other instrument specific notation
3866 @section Other instrument specific notation
3868 This section includes extra information for writing for instruments.
3871 * Artificial harmonics (strings)::
3872 * Stopped notes (guitar)::
3875 @node Artificial harmonics (strings)
3876 @subsection Artificial harmonics (strings)
3878 @cindex artificial harmonics
3880 Artificial harmonics are notated with a different notehead style. They
3881 are entered by marking the harmonic pitch with @code{\harmonic}.
3883 @lilypond[raggedright,verbatim,quote,fragment,relative=1]
3888 @node Stopped notes (guitar)
3889 @subsection Stopped notes (guitar)
3891 Stopped (X) note heads are used in guitar music to signal a place where the
3892 guitarist must play a certain note or chord, with its fingers just
3893 touching the strings instead of fully pressing them. This gives the sound a
3894 percussive noise-like sound that still maintains part of the original pitch.
3896 Finger stopped technique is extremely important for rhythm and rock-heavy
3897 metal guitarists; the former often uses barré based stopped chords to
3898 intermix harmony with rythm, the latters use finger stopping to mute power
3899 chords, or charge them with more expression in close-tied power chord stums.
3901 It is also used (even if rarely) in classic guitar music, generally in the
3902 melodic line, to provide some rithmic pattern right in the melody.
3904 @lilypond[raggedright,verbatim,quote,fragment,relative=2]
3906 \override NoteHead #'style = #'cross
3908 \revert NoteHead #'style