1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
8 @node Instrument-specific notation
9 @chapter Instrument-specific notation
11 This chapter explains how to use notation for specific instruments.
21 * Other instrument specific notation::
29 Piano staves are two normal staves coupled with a brace. The staves
30 are largely independent, but sometimes voices can cross between the
31 two staves. The same notation is also used for harps and other key
32 instruments. The @internalsref{PianoStaff} is especially built to
33 handle this cross-staffing behavior. In this section we discuss the
34 @internalsref{PianoStaff} and some other pianistic peculiarities.
37 * Automatic staff changes::
38 * Manual staff switches::
40 * Staff switch lines::
46 Dynamics are not centered, but workarounds do exist. See the
47 ``piano centered dynamics'' template in @ref{Piano templates}.
49 @cindex cross staff stem
50 @cindex stem, cross staff
51 @cindex distance between staves in piano music
53 The distance between the two staves is the same for all systems in the
54 score. It is possible to override this per system, but it does require
55 an arcane command incantation. See
56 @inputfileref{input/@/test,piano@/-staff@/-distance@/.ly}.
59 @node Automatic staff changes
60 @subsection Automatic staff changes
61 @cindex Automatic staff changes
63 Voices can be made to switch automatically between the top and the bottom
64 staff. The syntax for this is
68 \autochange @dots{}@var{music}@dots{}
73 This will create two staves inside the current PianoStaff, called
74 @code{up} and @code{down}. The lower staff will be in bass clef by
77 A @code{\relative} section that is outside of @code{\autochange} has
78 no effect on the pitches of @var{music}, so, if necessary, put
79 @code{\relative} inside @code{\autochange} like
83 \autochange \relative @dots{} @dots{}
88 The autochanger switches on basis of the pitch (middle C is the turning
89 point), and it looks ahead skipping over rests to switch in
90 advance. Here is a practical example
92 @lilypond[quote,verbatim,ragged-right]
94 \autochange \relative c'
103 In this manual: @ref{Manual staff switches}.
105 Program reference: @internalsref{AutoChangeMusic}.
111 The staff switches may not end up in optimal places. For high
112 quality output, staff switches should be specified manually.
115 @code{\autochange} cannot be inside @code{\times}.
118 @node Manual staff switches
119 @subsection Manual staff switches
121 @cindex manual staff switches
122 @cindex staff switch, manual
124 Voices can be switched between staves manually, using the command
126 \change Staff = @var{staffname} @var{music}
130 The string @var{staffname} is the name of the staff. It switches the
131 current voice from its current staff to the Staff called
132 @var{staffname}. Typically @var{staffname} is @code{"up"} or
133 @code{"down"}. The @context{Staff} referred to must already exist, so
134 usually the setup for a score will start with a setup of the staves,
139 \skip 1 * 10 % @emph{keep staff alive}
141 \new Staff = "down" @{
142 \skip 1 * 10 % @emph{idem}
148 and the @context{Voice} is inserted afterwards
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,ragged-right,fragment,verbatim]
170 c'4\sustainDown c'4\sustainUp
173 What is printed can be modified by setting @code{pedal@var{X}Strings},
174 where @var{X} is one of the pedal types: @code{Sustain},
175 @code{Sostenuto} or @code{UnaCorda}. Refer to
176 @internalsref{SustainPedal} in the program reference for more
179 Pedals can also be indicated by a sequence of brackets, by setting the
180 @code{pedalSustainStyle} property to bracket objects
182 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
183 \set Staff.pedalSustainStyle = #'bracket
185 b\sustainUp\sustainDown
186 b g \sustainUp a \sustainDown \bar "|."
189 A third style of pedal notation is a mixture of text and brackets,
190 obtained by setting the @code{pedalSustainStyle} property to
193 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
194 \set Staff.pedalSustainStyle = #'mixed
196 b\sustainUp\sustainDown
197 b g \sustainUp a \sustainDown \bar "|."
200 The default `*Ped.' style for sustain and damper pedals corresponds to
201 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
204 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
205 c\sostenutoDown d e c, f g a\sostenutoUp
208 For fine-tuning the appearance of a pedal bracket, the properties
209 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
210 @code{PianoPedalBracket} objects (see
211 @internalsref{PianoPedalBracket} in the Program reference) can be
212 modified. For example, the bracket may be extended to the right edge
215 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
216 \override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
217 c\sostenutoDown d e c, f g a\sostenutoUp
222 In this manual: @ref{Laissez vibrer ties}
224 @node Staff switch lines
225 @subsection Staff switch lines
229 @cindex staff switching
232 @funindex followVoice
234 Whenever a voice switches to another staff, a line connecting the notes
235 can be printed automatically. This is switched on by setting
236 @code{followVoice} to true
238 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
241 \set followVoice = ##t
246 \new Staff="two" { \clef bass \skip 1*2 }
252 Program reference: @internalsref{VoiceFollower}.
256 @funindex \showStaffSwitch
257 @code{\showStaffSwitch},
258 @funindex \hideStaffSwitch
259 @code{\hideStaffSwitch}.
262 @node Cross staff stems
263 @subsection Cross staff stems
265 Chords that cross staves may be produced by increasing the length
266 of the stem in the lower staff, so it reaches the stem in the upper
267 staff, or vice versa.
269 @lilypond[ragged-right,verbatim,quote]
270 stemExtend = \once \override Stem #'length = #22
271 noFlag = \once \override Stem #'flag-style = #'no-flag
274 \stemDown \stemExtend
292 * Introducing chord names::
294 * Printing chord names::
298 @c awkward name; awkward section name.
299 @c still, the Basic "chords" seems like a good name... :(
300 @node Introducing chord names
301 @subsection Introducing chord names
304 LilyPond has support for printing chord names. Chords may be entered
305 in musical chord notation, i.e., @code{< .. >}, but they can also be
306 entered by name. Internally, the chords are represented as a set of
307 pitches, so they can be transposed
310 @lilypond[quote,ragged-right,verbatim,ragged-right]
311 twoWays = \transpose c c' {
320 << \new ChordNames \twoWays
321 \new Voice \twoWays >>
324 This example also shows that the chord printing routines do not try to
325 be intelligent. The last chord (@code{f bes d}) is not interpreted as
328 Note that the duration of chords must be specified outside the
337 @subsection Chords mode
340 In chord mode sets of pitches (chords) are entered with normal note
341 names. A chord is entered by the root, which is entered like a
344 @lilypond[quote,ragged-right,fragment,verbatim]
345 \chordmode { es4. d8 c2 }
349 The mode is introduced by the keyword @code{\chordmode}.
354 Other chords may be entered by suffixing a colon and introducing a
355 modifier (which may include a number if desired)
356 @lilypond[quote,fragment,verbatim]
357 \chordmode { e1:m e1:7 e1:m7 }
359 The first number following the root is taken to be the `type' of the
360 chord, thirds are added to the root until it reaches the specified
362 @lilypond[quote,fragment,verbatim]
363 \chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
366 @cindex root of chord
367 @cindex additions, in chords
368 @cindex removals, in chords
370 More complex chords may also be constructed adding separate steps
371 to a chord. Additions are added after the number following
372 the colon and are separated by dots
373 @lilypond[quote,verbatim,fragment]
374 \chordmode { c:5.6 c:3.7.8 c:3.6.13 }
376 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
378 @lilypond[quote,verbatim,fragment]
379 \chordmode { c:7+ c:5+.3- c:3-.5-.7- }
381 Removals are specified similarly and are introduced by a caret. They
382 must come after the additions
383 @lilypond[quote,verbatim,fragment]
384 \chordmode { c^3 c:7^5 c:9^3.5 }
387 Modifiers can be used to change pitches. The following modifiers are
392 The minor chord. This modifier lowers the 3rd and (if present) the 7th step.
395 The diminished chord. This modifier lowers the 3rd, 5th and (if present)
399 The augmented chord. This modifier raises the 5th step.
402 The major 7th chord. This modifier raises the 7th step if present.
405 The suspended 4th or 2nd. This modifier removes the 3rd
406 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
410 Modifiers can be mixed with additions
411 @lilypond[quote,verbatim,fragment]
412 \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
415 @cindex modifiers, in chords.
422 Since an unaltered 11 does not sound good when combined with an
423 unaltered 3, the 11 is removed in this case (unless it is added
425 @lilypond[quote,ragged-right,fragment,verbatim]
426 \chordmode { c:13 c:13.11 c:m13 }
431 An inversion (putting one pitch of the chord on the bottom), as well
432 as bass notes, can be specified by appending
433 @code{/}@var{pitch} to the chord
434 @lilypond[quote,ragged-right,fragment,verbatim]
435 \chordmode { c1 c/g c/f }
439 A bass note can be added instead transposed out of the chord,
440 by using @code{/+}@var{pitch}.
442 @lilypond[quote,ragged-right,fragment,verbatim]
443 \chordmode { c1 c/+g c/+f }
446 Chords is a mode similar to @code{\lyricmode}, etc. Most
447 of the commands continue to work, for example, @code{r} and
448 @code{\skip} can be used to insert rests and spaces, and property
449 commands may be used to change various settings.
455 Each step can only be present in a chord once. The following
456 simply produces the augmented chord, since @code{5+} is interpreted
459 @lilypond[quote,ragged-right,verbatim,fragment]
460 \chordmode { c:5.5-.5+ }
464 @node Printing chord names
465 @subsection Printing chord names
467 @cindex printing chord names
471 For displaying printed chord names, use the @internalsref{ChordNames} context.
472 The chords may be entered either using the notation
473 described above, or directly using @code{<} and @code{>}
475 @lilypond[quote,verbatim,ragged-right]
477 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
480 \new ChordNames \harmonies
481 \new Staff \harmonies
485 You can make the chord changes stand out by setting
486 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
487 display chord names when there is a change in the chords scheme and at
488 the start of a new line
490 @lilypond[quote,verbatim,ragged-right]
491 harmonies = \chordmode {
492 c1:m c:m \break c:m c:m d
496 \set chordChanges = ##t
498 \new Staff \transpose c c' \harmonies
502 The previous examples all show chords over a staff. This is not
503 necessary. Chords may also be printed separately. It may be necessary
504 to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
507 @lilypond[ragged-right,verbatim]
508 \new ChordNames \with {
509 \override BarLine #'bar-size = #4
510 voltaOnThisStaff = ##t
511 \consists Bar_engraver
512 \consists "Volta_engraver"
514 \chordmode { \repeat volta 2 {
524 The default chord name layout is a system for Jazz music, proposed by
525 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
529 @funindex chordNameExceptions
530 @item chordNameExceptions
531 This is a list that contains the chords that have special formatting.
533 The exceptions list should be encoded as
535 @{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
538 To get this information into @code{chordNameExceptions} takes a little
539 manoeuvring. The following code transforms @code{chExceptionMusic}
540 (which is a sequential music) into a list of exceptions.
542 (sequential-music-to-chord-exceptions chExceptionMusic #t)
547 (sequential-music-to-chord-exceptions chExceptionMusic #t)
550 adds the new exceptions to the default ones, which are defined in
551 @file{ly/@/chord@/-modifier@/-init@/.ly}.
553 For an example of tuning this property, see also
554 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly}.
555 @cindex exceptions, chord names.
558 @funindex majorSevenSymbol
559 @item majorSevenSymbol
560 This property contains the markup object used for the 7th step, when
561 it is major. Predefined options are @code{whiteTriangleMarkup} and
562 @code{blackTriangleMarkup}. See
563 @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly} for an example.
565 @funindex chordNameSeparator
566 @item chordNameSeparator
567 Different parts of a chord name are normally separated by a
568 slash. By setting @code{chordNameSeparator}, you can specify other
570 @lilypond[quote,ragged-right,fragment,verbatim]
571 \new ChordNames \chordmode {
573 \set chordNameSeparator
574 = \markup { \typewriter "|" }
579 @funindex chordRootNamer
581 The root of a chord is usually printed as a letter with an optional
582 alteration. The transformation from pitch to letter is done by this
583 function. Special note names (for example, the German ``H'' for a
584 B-chord) can be produced by storing a new function in this property.
586 @funindex chordNoteNamer
588 The default is to print single pitch, e.g., the bass note, using the
589 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
590 to a specialized function to change this behavior. For example, the
591 base can be printed in lower case.
593 @funindex chordPrefixSpacer
594 @item chordPrefixSpacer
595 The ``m'' for minor chords is usually printed right after the root of
596 the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer
597 between the root and ``m''. The spacer is not used when the root
602 The predefined variables @code{\germanChords},
603 @code{\semiGermanChords}, @code{\italianChords} and @code{\frenchChords}
604 set these variables. The effect is
607 @lilypondfile[ragged-right]{chord-names-languages.ly}
609 There are also two other chord name schemes implemented: an alternate
610 Jazz chord notation, and a systematic scheme called Banter chords. The
611 alternate Jazz notation is also shown on the chart in @ref{Chord name
612 chart}. Turning on these styles is described in the input file
613 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
622 @funindex \germanChords
623 @code{\germanChords},
624 @funindex \semiGermanChords
625 @code{\semiGermanChords}.
626 @funindex \italianChords
627 @code{\italianChords}.
628 @funindex \frenchChords
629 @code{\frenchChords}.
636 Examples: @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly},
637 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly},
638 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
641 Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
642 @file{scm/@/chord@/-entry@/.scm}.
647 Chord names are determined solely from the list of pitches. Chord
648 inversions are not identified, and neither are added bass notes. This
649 may result in strange chord names when chords are entered with the
650 @code{< .. >} syntax.
657 Since LilyPond input files are text, there are two issues to
658 consider when working with vocal music:
662 Song texts must be entered as text, not notes. For example, the
663 input@tie{}@code{d} should be interpreted as a one letter syllable, not the
667 Song texts must be aligned with the notes of their melody.
670 There are a few different ways to define lyrics; the simplest
671 way is to use the @code{\addlyrics} function.
674 * Setting simple songs::
676 * Hyphens and extenders::
677 * The Lyrics context::
679 * Another way of entering lyrics::
680 * Flexibility in placement::
682 * More about stanzas::
684 * Other vocal issues::
690 Checking to make sure that text scripts and lyrics are within the margins is
691 a relatively large computational task. To speed up processing, lilypond does
692 not perform such calculations by default; to enable it, use
695 \override Score.PaperColumn #'keep-inside-line = ##t
698 To make lyrics avoid barlines as well, use
703 \consists "Bar_engraver"
704 \consists "Separating_line_group_engraver"
705 \override BarLine #'transparent = ##t
711 @node Setting simple songs
712 @subsection Setting simple songs
714 The easiest way to add lyrics to a melody is to append
717 \addlyrics @{ @var{the lyrics} @}
721 to a melody. Here is an example,
723 @lilypond[ragged-right,verbatim,fragment,quote]
725 \relative { c2 e4 g2. }
726 \addlyrics { play the game }
729 More stanzas can be added by adding more
730 @code{\addlyrics} sections
732 @lilypond[ragged-right,verbatim,fragment,quote]
734 \relative { c2 e4 g2. }
735 \addlyrics { play the game }
736 \addlyrics { speel het spel }
737 \addlyrics { joue le jeu }
740 The command @code{\addlyrics} cannot handle polyphony settings. For these
741 cases you should use @code{\lyricsto} and @code{\lyricmode}.
745 @node Entering lyrics
746 @subsection Entering lyrics
752 Lyrics are entered in a special input mode. This mode is introduced
753 by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
754 @code{\lyricsto}. In this mode you can enter lyrics,
755 with punctuation and accents, and the input @code{d} is not parsed as
756 a pitch, but rather as a one letter syllable. Syllables are entered
757 like notes, but with pitches replaced by text. For example,
759 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
762 There are two main methods to specify the horizontal placement
763 of the syllables, either by specifying the duration of each syllable
764 explicitly, like in the example above, or by automatically aligning
765 the lyrics to a melody or other voice of music, using @code{\addlyrics}
766 or @code{\lyricsto}. For more details see @ref{The Lyrics context}.
768 A word or syllable of lyrics begins with an alphabetic character, and ends
770 any space or digit. The following characters can be any character
771 that is not a digit or white space. One important consequence of this
772 is that a word can end with @code{@}}. The following example is
773 usually a mistake in the input file. The syllable includes a @code{@}}, so
775 opening brace is not balanced
777 \lyricmode @{ twinkle@}
780 @funindex \property in \lyricmode
783 Similarly, a period which follows an alphabetic sequence is included in
784 the resulting string. As a consequence, spaces must be inserted around
787 \override Score . LyricText #'font-shape = #'italic
791 @cindex spaces, in lyrics
792 @cindex quotes, in lyrics
793 @cindex ties, in lyrics
795 In order to assign more than one syllable to a single note, you can
796 surround them with quotes or use a @code{_} character, to get spaces
797 between syllables, or use tilde symbol (@code{~}) to get a lyric tie.
799 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
801 \relative { c2 e4 g2 e4 }
802 \addlyrics { gran- de_a- mi- go }
803 \addlyrics { pu- "ro y ho-" nes- to }
804 \addlyrics { pu- ro~yho- nes- to }
807 The lyric ties is implemented with the Unicode character U+203F, so be
808 sure to have a font (Like DejaVuLGC) installed that includes this
812 To enter lyrics with characters from non-English languages, or with
813 non-ascii characters (such as the heart symbol or slanted quotes),
814 simply insert the characters directly into the input file and save
815 it with utf-8 encoding. See @ref{Text encoding} for more info.
817 @lilypond[quote,ragged-right,fragment,verbatim]
818 \relative { e4 f e d e f e2 }
819 \addlyrics { He said: “Let my peo ple go”. }
822 To use normal quotes in lyrics, add a backslash before the
825 @lilypond[quote,ragged-right,fragment,verbatim]
826 \relative c' { \time 3/4 e4 e4. e8 d4 e d c2. }
827 \addlyrics { "\"I" am so lone- "ly\"" said she }
830 The full definition of a word start in Lyrics mode is somewhat more
833 A word in Lyrics mode begins with: an alphabetic character, @code{_},
834 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
835 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
836 any 8-bit character with ASCII code over 127, or a two-character
837 combination of a backslash followed by one of @code{`}, @code{'},
838 @code{"}, or @code{^}.
840 To define indentifiers containing lyrics, the function @code{lyricmode}
844 verseOne = \lyricmode @{ Joy to the world the Lord is come @}
847 \new Voice = "one" \relative c'' @{
850 c4 b8. a16 g4. f8 e4 d c2
852 \addlyrics @{ \verseOne @}
860 Program reference: @internalsref{LyricText}, @internalsref{LyricSpace}.
864 @node Hyphens and extenders
865 @subsection Hyphens and extenders
869 Centered hyphens are entered as `@code{--}' between syllables.
870 The hyphen will have variable length depending on the space between
871 the syllables and it will be centered between the syllables.
876 When a lyric is sung over many notes (this is called a melisma), this is
877 indicated with a horizontal line centered between a syllable and the
878 next one. Such a line is called an extender line, and it is entered as
881 In tighly engraved music, hyphens can be removed. Whether this
882 happens can be controlled with the @code{minimum-distance} (minimum
883 distance between two syllables) and the @code{minimum-length}
884 (threshold below which hyphens are removed).
888 Program reference: @internalsref{LyricHyphen}, @internalsref{LyricExtender}.
892 @node The Lyrics context
893 @subsection The Lyrics context
895 Lyrics are printed by interpreting them in the context called
896 @internalsref{Lyrics}.
899 \new Lyrics \lyricmode @dots{}
902 @cindex automatic syllable durations
904 @cindex lyrics and melodies
906 This will place the lyrics according to the durations that were
907 entered. The lyrics can also be aligned under a given melody
908 automatically. In this case, it is no longer necessary to enter the
909 correct duration for each syllable. This is achieved by combining the
910 melody and the lyrics with the @code{\lyricsto} expression
913 \new Lyrics \lyricsto @var{name} @dots{}
916 This aligns the lyrics to the
917 notes of the @internalsref{Voice} context called @var{name}, which must
918 already exist. Therefore normally the @code{Voice} is specified first, and
919 then the lyrics are specified with @code{\lyricsto}. The command
920 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
921 @code{\lyricmode} keyword may be omitted.
923 The following example uses different commands for entering lyrics.
925 @lilypond[quote,fragment,ragged-right,verbatim]
927 \new Voice = "one" \relative c'' {
930 c4 b8. a16 g4. f8 e4 d c2
932 \new Lyrics \lyricmode { Joy4 to8. the16 world!4. the8 Lord4 is come.2 }
933 \new Lyrics \lyricmode { Joy to the earth! the Sa -- viour reigns. }
934 \new Lyrics \lyricsto "one" { No more let sins and sor -- rows grow. }
938 The second stanza is not properly aligned because the durations
939 were not specified. A solution for that would be to use @code{\lyricsto}.
941 The @code{\addlyrics} command is actually just a convenient way
942 to write a more complicated LilyPond structure that sets up the
947 \addlyrics @{ LYRICS @}
954 \new Voice = "blah" @{ music @}
955 \new Lyrics \lyricsto "blah" @{ LYRICS @}
958 For different or more complex orderings, the best way is to setup the
959 hierarchy of staves and lyrics first, e.g.,
962 \new Voice = "soprano" @{ @emph{music} @}
963 \new Lyrics = "sopranoLyrics" @{ s1 @}
964 \new Lyrics = "tenorLyrics" @{ s1 @}
965 \new Voice = "tenor" @{ @emph{music} @}
969 and then combine the appropriate melodies and lyric lines
972 \context Lyrics = sopranoLyrics \lyricsto "soprano"
977 The final input would resemble
980 <<\new ChoirStaff << @emph{setup the music} >>
981 \lyricsto "soprano" @emph{etc}
982 \lyricsto "alto" @emph{etc}
989 Program reference: @internalsref{LyricCombineMusic},
990 @internalsref{Lyrics}.
994 @subsection Melismata
996 The @code{\lyricsto} command detects melismata: it only puts one
997 syllable under a tied or slurred group of notes. If you want to force
998 an unslurred group of notes to be a melisma, insert @code{\melisma}
999 after the first note of the group, and @code{\melismaEnd} after the
1002 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
1004 \new Voice = "lala" {
1012 \new Lyrics \lyricsto "lala" {
1018 In addition, notes are considered a melisma if they are manually
1019 beamed, and automatic beaming (see @ref{Setting automatic beam
1020 behavior}) is switched off.
1023 @cindex choral score
1025 A complete example of a SATB score setup is in section
1026 @ref{Vocal ensembles}.
1031 @code{\melisma}, @code{\melismaEnd}
1032 @funindex \melismaEnd
1037 Program reference: @internalsref{Melisma_translator}.
1040 @inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly}.
1044 Melismata are not detected automatically, and extender lines must be
1048 @node Another way of entering lyrics
1049 @subsection Another way of entering lyrics
1051 Lyrics can also be entered without @code{\lyricsto}. In this case the
1052 duration of each syllable must be entered explicitly, for example,
1059 The alignment to a melody can be specified with the
1060 @code{associatedVoice} property,
1063 \set associatedVoice = #"lala"
1067 The value of the property (here: @code{"lala"}) should be the name of
1068 a @internalsref{Voice} context. Without this setting, extender lines
1069 will not be formatted properly.
1071 Here is an example demonstrating manual lyric durations,
1073 @lilypond[relative=1,ragged-right,verbatim,fragment,quote]
1074 << \new Voice = "melody" {
1078 \new Lyrics \lyricmode {
1079 \set associatedVoice = #"melody"
1085 @c TODO: document \new Staff << Voice \lyricsto >> bug
1087 @node Flexibility in placement
1088 @subsection Flexibility in placement
1090 Often, different stanzas of one song are put to one melody in slightly
1091 differing ways. Such variations can still be captured with
1095 * Lyrics to multiple notes of a melisma::
1097 * Switching the melody associated with a lyrics line::
1098 * Specifying melismata within the lyrics::
1099 * Lyrics independent of notes::
1102 @node Lyrics to multiple notes of a melisma
1103 @subsubsection Lyrics to multiple notes of a melisma
1106 One possibility is that the text has a melisma in one stanza, but
1107 multiple syllables in another one. One solution is to make the faster
1108 voice ignore the melisma. This is done by setting
1109 @code{ignoreMelismata} in the Lyrics context.
1111 There is one tricky aspect: the setting for @code{ignoreMelismata}
1112 must be set one syllable @emph{before} the non-melismatic syllable
1113 in the text, as shown here,
1115 @lilypond[verbatim,ragged-right,quote]
1117 \relative \new Voice = "lahlah" {
1118 \set Staff.autoBeaming = ##f
1124 \new Lyrics \lyricsto "lahlah" {
1127 \new Lyrics \lyricsto "lahlah" {
1128 \set ignoreMelismata = ##t % applies to "fas"
1130 \unset ignoreMelismata
1137 The @code{ignoreMelismata} applies to the syllable ``fas'', so it
1138 should be entered before ``go''.
1140 The reverse is also possible: making a lyric line slower than the
1141 standard. This can be achieved by insert @code{\skip}s into the
1142 lyrics. For every @code{\skip}, the text will be delayed another note.
1145 @lilypond[verbatim,ragged-right,quote]
1146 \relative { c c g' }
1155 @subsubsection Divisi lyrics
1157 You can display alternate (or divisi) lyrics by naming voice
1158 contexts and attaching lyrics to those specific contexts.
1160 @lilypond[verbatim,ragged-right,quote]
1162 \new Voice = "melody" {
1167 \new Voice = "splitpart" { \voiceTwo c4 }
1172 \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
1173 \new Lyrics \lyricsto "splitpart" { will }
1178 You can use this trick to display different lyrics for a repeated
1181 @lilypond[verbatim,ragged-right,quote]
1183 \new Voice = "melody" \relative c' {
1185 \new Voice = "verse" \repeat volta 2 {c4 d e f | g1 | }
1187 \new Lyrics = "mainlyrics" \lyricsto melody \lyricmode {
1190 \context Lyrics = "mainlyrics" \lyricsto verse \lyricmode {
1192 \new Lyrics = "repeatlyrics" \lyricsto verse \lyricmode {
1193 dodo rere mimi fafa solsol }
1200 @node Switching the melody associated with a lyrics line
1201 @subsubsection Switching the melody associated with a lyrics line
1203 More complex variations in text underlay are possible. It is possible
1204 to switch the melody for a line of lyrics during the text. This is
1205 done by setting the @code{associatedVoice} property. In the example
1207 @lilypond[ragged-right,quote]
1209 \relative \new Voice = "lahlah" {
1210 \set Staff.autoBeaming = ##f
1213 \new Voice = "alternative" {
1216 % show associations clearly.
1217 \override NoteColumn #'force-hshift = #-3
1228 \new Lyrics \lyricsto "lahlah" {
1229 Ju -- ras -- sic Park
1231 \new Lyrics \lyricsto "lahlah" {
1232 % Tricky: need to set associatedVoice
1233 % one syllable too soon!
1234 \set associatedVoice = alternative % applies to "ran"
1238 \set associatedVoice = lahlah % applies to "rus"
1244 the text for the first stanza is set to a melody called ``lahlah'',
1247 \new Lyrics \lyricsto "lahlah" @{
1248 Ju -- ras -- sic Park
1253 The second stanza initially is set to the @code{lahlah} context, but
1254 for the syllable ``ran'', it switches to a different melody.
1255 This is achieved with
1257 \set associatedVoice = alternative
1261 Here, @code{alternative} is the name of the @code{Voice} context
1262 containing the triplet.
1264 Again, the command must be one syllable too early, before ``Ty'' in
1268 \new Lyrics \lyricsto "lahlah" @{
1269 \set associatedVoice = alternative % applies to "ran"
1273 \set associatedVoice = lahlah % applies to "rus"
1279 The underlay is switched back to the starting situation by assigning
1280 @code{lahlah} to @code{associatedVoice}.
1283 @node Specifying melismata within the lyrics
1284 @subsubsection Specifying melismata within the lyrics
1286 It is also possible to define melismata entirely in the lyrics. This
1287 can be done by entering @code{_} for every note that is part of the
1290 @lilypond[relative=1,verbatim,fragment]
1291 { \set melismaBusyProperties = #'()
1292 c d( e) f f( e) e e }
1294 { Ky -- _ _ ri __ _ _ _ e }
1297 In this case, you can also have ties and slurs in the melody, if you
1298 set @code{melismaBusyProperties}, as is done in the example above.
1300 @lilypond[relative=1,verbatim,fragment,quote]
1302 \set melismaBusyProperties = #'()
1306 { Ky -- _ _ ri __ _ _ _ e }
1310 @node Lyrics independent of notes
1311 @subsubsection Lyrics independent of notes
1313 In some complex vocal music, it may be desirable to place
1314 lyrics completely independently of notes. Music defined
1315 inside @code{lyricrhythm} disappears into the
1316 @code{Devnull} context, but the rhythms can still be used
1317 to place the lyrics.
1319 @lilypond[quote,verbatim,ragged-right]
1322 \tag #'music { c''2 }
1323 \tag #'lyricrhythm { c''4. c''8 }
1327 lyr = \lyricmode { I like my cat! }
1330 \new Staff \keepWithTag #'music \voice
1331 \new Devnull="nowhere" \keepWithTag #'lyricrhythm \voice
1332 \new Lyrics \lyricsto "nowhere" \lyr
1333 \new Staff { c'8 c' c' c' c' c' c' c'
1334 c' c' c' c' c' c' c' c' }
1339 @node Spacing lyrics
1340 @subsection Spacing lyrics
1342 @cindex Spacing lyrics
1343 @cindex Lyrics, increasing space between
1345 To increase the spacing between lyrics, set the minimum-distance property of
1348 @lilypond[relative,verbatim,fragment,quote,ragged-right]
1351 \override Lyrics.LyricSpace #'minimum-distance = #1.0
1355 longtext longtext longtext longtext
1356 longtext longtext longtext longtext
1360 To make this change for all lyrics in the score, set the property in the
1363 @lilypond[relative,verbatim,quote,ragged-right]
1370 longtext longtext longtext longtext
1371 longtext longtext longtext longtext
1376 \override LyricSpace #'minimum-distance = #1.0
1383 @node More about stanzas
1384 @subsection More about stanzas
1386 @cindex phrasing, in lyrics
1389 @cindex stanza number
1390 @cindex singer's names
1391 @cindex name of singer
1393 Stanza numbers can be added by setting @code{stanza}, e.g.,
1395 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1397 \time 3/4 g2 e4 a2 f4 g2.
1400 Hi, my name is Bert.
1403 Oh, che -- ri, je t'aime
1407 These numbers are put just before the start of first syllable.
1409 Sometimes it is appropriate to have one stanza set
1410 to the music, and the rest added in verse form at
1411 the end of the piece. This can be accomplished by adding
1412 the extra verses into a @code{\markup} section outside
1413 of the main score block. Notice that there are two
1414 different ways to force linebreaks when using
1417 @lilypond[ragged-right,verbatim,quote]
1418 melody = \relative c' {
1424 \set stanza = "1." Ma- ry had a lit- tle lamb,
1425 its fleece was white as snow.
1430 \new Voice = "one" { \melody }
1431 \new Lyrics \lyricsto "one" \text
1437 \line{ All the children laughed and played }
1438 \line{ To see a lamb at school. }
1445 Mary took it home again,
1447 It was against the rule."
1453 Names of singers can also be added. They are printed at the start of
1454 the line, just like instrument names. They are created by setting
1455 @code{vocalName}. A short version may be entered as @code{shortVocalName}.
1458 @lilypond[fragment,ragged-right,quote,verbatim,relative=2]
1460 \time 3/4 g2 e4 a2 f4 g2.
1462 \set vocalName = "Bert "
1463 Hi, my name is Bert.
1465 \set vocalName = "Ernie "
1466 Oh, che -- ri, je t'aime
1471 When a piece of music has many verses, they are often printed in
1472 multiple columns across the page. An outdented verse number often
1473 introduces each verse. The following example shows how to produce such
1476 @lilypond[ragged-right,quote,verbatim]
1477 melody = \relative c' {
1482 \set stanza = "1." This is verse one.
1487 \new Voice = "one" { \melody }
1488 \new Lyrics \lyricsto "one" \text
1495 \hspace #0.1 % moves the column off the left margin; can be removed if
1496 % space on the page is tight
1500 "This is verse two."
1504 \hspace #0.1 % adds vertical spacing between verses
1507 "This is verse three."
1512 \hspace #0.1 % adds horizontal spacing between columns; if they are
1513 % still too close, add more " " pairs until the result
1518 "This is verse four."
1522 \hspace #0.1 % adds vertical spacing between verses
1525 "This is verse five."
1530 \hspace #0.1 % gives some extra space on the right margin; can
1531 % be removed if page space is tight
1539 Program reference: @internalsref{LyricText}, @internalsref{StanzaNumber},
1540 @internalsref{VocalName}.
1548 The term @emph{ambitus} denotes a range of pitches for a given voice
1549 in a part of music. It may also denote the pitch range that a musical
1550 instrument is capable of playing. Ambits are printed on vocal parts,
1551 so performers can easily determine it meets their capabilities.
1553 Ambits are denoted at the beginning of a piece near the initial clef.
1554 The range is graphically specified by two note heads that represent the
1555 minimum and maximum pitch. To print such ambits, add the
1556 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
1563 \consists Ambitus_engraver
1568 This results in the following output
1570 @lilypond[quote,ragged-right]
1574 \consists Ambitus_engraver
1578 \relative \new Staff {
1583 If you have multiple voices in a single staff and you want a single
1584 ambitus per staff rather than per each voice, add the
1585 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
1586 rather than to the @internalsref{Voice} context. Here is an example,
1588 @lilypond[verbatim,ragged-right,quote]
1590 \consists "Ambitus_engraver"
1594 \remove "Ambitus_engraver"
1596 \override Ambitus #'X-offset = #-1.0
1601 \remove "Ambitus_engraver"
1610 This example uses one advanced feature,
1613 \override Ambitus #'X-offset = #-1.0
1617 This code moves the ambitus to the left. The same effect could have
1618 been achieved with @code{extra-offset}, but then the formatting system
1619 would not reserve space for the moved object.
1623 Program reference: @internalsref{Ambitus},
1624 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1625 @internalsref{AmbitusAccidental}.
1627 Examples: @inputfileref{input/@/regression,ambitus@/.ly}.
1631 There is no collision handling in the case of multiple per-voice
1635 @node Other vocal issues
1636 @subsection Other vocal issues
1639 yeah, I'm giving up somewhat by stuffing a bunch of things in
1640 here. But at least they're in the manual now; it's easier to
1641 move them around in the manual once they're already here.
1643 Besides, if users complain about everything stuffed in here, I
1644 can ask them for specific instructions about where to move these
1645 examples, and that might get them more involved in the docs. -gp
1648 ``Parlato'' is spoken without pitch but still with rhythm; it is
1649 notated by cross noteheads. This is demonstrated in
1650 @ref{Special noteheads}.
1656 @node Rhythmic music
1657 @section Rhythmic music
1659 Rhythmic music is primarily used for percussion and drum notation, but it can
1660 also be used to show the rhythms of melodies.
1663 * Showing melody rhythms::
1664 * Entering percussion::
1665 * Percussion staves::
1670 @node Showing melody rhythms
1671 @subsection Showing melody rhythms
1673 Sometimes you might want to show only the rhythm of a melody. This
1674 can be done with the rhythmic staff. All pitches of notes on such a
1675 staff are squashed, and the staff itself has a single line
1677 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1678 \new RhythmicStaff {
1680 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1686 Program reference: @internalsref{RhythmicStaff}.
1688 Examples: @inputfileref{input/@/regression,rhythmic@/-staff@/.ly}.
1691 @node Entering percussion
1692 @subsection Entering percussion
1698 Percussion notes may be entered in @code{\drummode} mode, which is
1699 similar to the standard mode for entering notes. Each piece of
1700 percussion has a full name and an abbreviated name, and both can be used
1703 @lilypond[quote,ragged-right,verbatim]
1705 hihat hh bassdrum bd
1709 The complete list of drum names is in the init file
1710 @file{ly/@/drumpitch@/-init@/.ly}.
1711 @c TODO: properly document this.
1715 Program reference: @internalsref{note-event}.
1717 @node Percussion staves
1718 @subsection Percussion staves
1722 A percussion part for more than one instrument typically uses a
1723 multiline staff where each position in the staff refers to one piece
1727 To typeset the music, the notes must be interpreted in a
1728 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
1730 @lilypond[quote,ragged-right,verbatim]
1731 up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
1732 down = \drummode { bassdrum4 snare8 bd r bd sn4 }
1734 \new DrumVoice { \voiceOne \up }
1735 \new DrumVoice { \voiceTwo \down }
1739 The above example shows verbose polyphonic notation. The short
1740 polyphonic notation, described in @ref{Basic polyphony}, can also be used if
1741 the @internalsref{DrumVoice}s are instantiated by hand first. For example,
1743 @lilypond[quote,ragged-right,fragment,verbatim]
1745 \new DrumVoice = "1" { s1 *2 }
1746 \new DrumVoice = "2" { s1 *2 }
1750 { \repeat unfold 16 hh16 }
1759 There are also other layout possibilities. To use these, set the
1760 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
1761 The following variables have been predefined
1765 This is the default. It typesets a typical drum kit on a five-line staff
1767 @lilypond[quote,line-width=10.0\cm]
1769 cymc cyms cymr hh hhc hho hhho hhp
1770 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl }
1772 cymc cyms cymr hh hhc hho hhho hhp \break
1773 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
1775 << \new DrumStaff \with {
1776 \remove Bar_engraver
1777 \remove Time_signature_engraver
1778 \override Stem #'transparent = ##t
1779 \override Stem #'Y-extent-callback = ##f
1780 \override VerticalAxisGroup #'minimum-Y-extent = #'(-4.0 . 5.0)
1787 \override LyricText #'font-family = #'typewriter
1788 \override BarNumber #'transparent =##T
1794 The drum scheme supports six different toms. When there are fewer toms,
1795 simply select the toms that produce the desired result, i.e., to get toms
1796 on the three middle lines you use @code{tommh}, @code{tomml}, and
1799 @item timbales-style
1800 This typesets timbales on a two line staff
1802 @lilypond[quote,ragged-right]
1803 nam = \lyricmode { timh ssh timl ssl cb }
1804 mus = \drummode { timh ssh timl ssl cb 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 StaffSymbol #'line-count = #2
1813 \override StaffSymbol #'staff-space = #2
1814 \override VerticalAxisGroup #'minimum-Y-extent = #'(-3.0 . 4.0)
1815 drumStyleTable = #timbales-style
1818 \override LyricText #'font-family = #'typewriter
1825 This typesets congas on a two line staff
1827 @lilypond[quote,ragged-right]
1828 nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
1829 mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
1832 \new DrumStaff \with {
1833 \remove Bar_engraver
1834 \remove Time_signature_engraver
1835 drumStyleTable = #congas-style
1836 \override StaffSymbol #'line-count = #2
1838 %% this sucks; it will lengthen stems.
1839 \override StaffSymbol #'staff-space = #2
1840 \override Stem #'transparent = ##t
1841 \override Stem #'Y-extent-callback = ##f
1844 \override LyricText #'font-family = #'typewriter
1851 This typesets bongos on a two line staff
1853 @lilypond[quote,ragged-right]
1854 nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
1855 mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
1858 \new DrumStaff \with {
1859 \remove Bar_engraver
1860 \remove Time_signature_engraver
1861 \override StaffSymbol #'line-count = #2
1862 drumStyleTable = #bongos-style
1864 %% this sucks; it will lengthen stems.
1865 \override StaffSymbol #'staff-space = #2
1866 \override Stem #'transparent = ##t
1867 \override Stem #'Y-extent-callback = ##f
1870 \override LyricText #'font-family = #'typewriter
1876 @item percussion-style
1877 To typeset all kinds of simple percussion on one line staves.
1879 @lilypond[quote,ragged-right]
1880 nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
1881 mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
1884 \new DrumStaff \with{
1885 \remove Bar_engraver
1886 drumStyleTable = #percussion-style
1887 \override StaffSymbol #'line-count = #1
1888 \remove Time_signature_engraver
1889 \override Stem #'transparent = ##t
1890 \override Stem #'Y-extent-callback = ##f
1893 \override LyricText #'font-family = #'typewriter
1900 If you do not like any of the predefined lists you can define your own
1901 list at the top of your file
1903 @lilypond[quote,ragged-right,verbatim]
1905 (bassdrum default #f -1)
1906 (snare default #f 0)
1908 (pedalhihat xcircle "stopped" 2)
1909 (lowtom diamond #f 3)))
1910 up = \drummode { hh8 hh hh hh hhp4 hhp }
1911 down = \drummode { bd4 sn bd toml8 toml }
1914 \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
1915 \new DrumVoice { \voiceOne \up }
1916 \new DrumVoice { \voiceTwo \down }
1923 Init files: @file{ly/@/drumpitch@/-init@/.ly}.
1925 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
1929 Because general MIDI does not contain rim shots, the sidestick is used
1930 for this purpose instead.
1933 @c FIXME: check name -gp
1935 @subsection Ghost notes
1937 Ghost notes for drums and percussion may be created using the
1938 @code{\parenthesize} command detailed in @ref{Parentheses}. However,
1939 the default @code{\drummode} does
1940 not include the @code{Parenthesis_engraver} plugin which allows
1942 must add the plugin explicitly in the context definition as
1943 detailed in @ref{Changing context properties on the fly}.
1945 @lilypond[quote,ragged-right,verbatim,fragment]
1946 \new DrumStaff \with {
1947 \consists "Parenthesis_engraver"
1949 \context DrumVoice = "1" { s1 *2 }
1950 \context DrumVoice = "2" { s1 *2 }
1954 hh8[ hh] <hh sn> hh16
1955 < \parenthesize sn > hh < \parenthesize
1966 Also note that you must add chords (@code{< >} brackets)
1967 around each @code{\parenthesize} statement.
1974 @cindex guitar tablature
1977 * String number indications::
1978 * Tablatures basic::
1979 * Non-guitar tablatures::
1980 * Banjo tablatures::
1982 * Right hand fingerings::
1983 * Other guitar issues::
1986 @node String number indications
1987 @subsection String number indications
1989 @cindex String numbers
1991 String numbers can be added to chords, by indicating the string number
1992 with @code{\}@var{number},
1994 @lilypond[relative,relative=1,ragged-right,fragment]
1998 See also @inputfileref{input/regression,string-number.ly}.
2003 Program reference: @internalsref{StringNumber}.
2006 @node Tablatures basic
2007 @subsection Tablatures basic
2008 @cindex Tablatures basic
2010 Tablature notation is used for notating music for plucked string
2011 instruments. Pitches are not denoted with note heads, but by
2012 numbers indicating on which string and fret a note must be played. LilyPond
2013 offers limited support for tablature.
2015 The string number associated to a note is given as a backslash
2016 followed by a number, e.g., @code{c4\3} for a C quarter on the third
2017 string. By default, string 1 is the highest one, and the tuning
2018 defaults to the standard guitar tuning (with 6 strings). The notes
2019 are printed as tablature, by using @internalsref{TabStaff} and
2020 @internalsref{TabVoice} contexts
2022 @lilypond[quote,ragged-right,fragment,verbatim]
2029 @funindex minimumFret
2032 When no string is specified, the first string that does not give a
2033 fret number less than @code{minimumFret} is selected. The default
2034 value for @code{minimumFret} is 0
2039 \set TabStaff.minimumFret = #8
2042 @lilypond[quote,ragged-right]
2046 \set TabStaff.minimumFret = #8
2050 \new Staff { \clef "G_8" \frag }
2051 \new TabStaff { \frag }
2058 To print tablatures with stems down and horizontal beams,
2059 initialize the @code{TabStaff} with this code:
2063 \override Beam #'damping = #100000
2068 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}.
2072 Chords are not handled in a special way, and hence the automatic
2073 string selector may easily select the same string to two notes in a
2077 @node Non-guitar tablatures
2078 @subsection Non-guitar tablatures
2079 @cindex Non-guitar tablatures
2081 You can change the tuning of the strings. A string tuning is given as
2082 a Scheme list with one integer number for each string, the number
2083 being the pitch (measured in semitones relative to middle C) of an
2084 open string. The numbers specified for @code{stringTuning} are the
2085 numbers of semitones to subtract or add, starting the specified pitch
2086 by default middle C, in string order. LilyPond automatically calculates
2087 the number of strings by looking at @code{stringTuning}.
2089 In the next example,
2090 @code{stringTunings} is set for the pitches e, a, d, and g
2092 @lilypond[quote,ragged-right,fragment,verbatim]
2094 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
2096 a,4 c' a e' e c' a e'
2101 LilyPond comes with predefined string tunings for banjo, mandolin, guitar
2105 \set TabStaff.stringTunings = #bass-tuning
2108 The default string tuning is @code{guitar-tuning} (the standard EADGBE
2110 Some other predefined tunings are @code{guitar-open-g-tuning},
2111 @code{mandolin-tuning} and @code{banjo-open-g-tuning}.
2115 The file @file{scm/@/output@/-lib@/.scm} contains the predefined string
2117 Program reference: @internalsref{Tab_note_heads_engraver}.
2121 No guitar special effects have been implemented.
2125 @node Banjo tablatures
2126 @subsection Banjo tablatures
2127 @cindex Banjo tablatures
2129 LilyPond has basic support for five stringed banjo. When making tablatures
2130 for five stringed banjo, use the banjo tablature format function to get
2132 fret numbers for the fifth string:
2134 @lilypond[quote,ragged-right,fragment,verbatim]
2136 \set TabStaff.tablatureFormat = #fret-number-tablature-format-banjo
2137 \set TabStaff.stringTunings = #banjo-open-g-tuning
2140 g8 d' g'\5 a b g e d' |
2141 g4 d''8\5 b' a'\2 g'\5 e'\2 d' |
2147 A number of common tunings for banjo are predefined in LilyPond:
2148 @code{banjo-c-tuning} (gCGBD), @code{banjo-modal-tuning} (gDGCD),
2149 @code{banjo-open-d-tuning} (aDF#AD) and @code{banjo-open-dm-tuning}
2152 These tunings may be converted to four string banjo tunings using the
2153 @code{four-string-banjo} function:
2156 \set TabStaff.stringTunings = #(four-string-banjo banjo-c-tuning)
2161 The file @file{scm/@/output@/-lib@/.scm} contains predefined banjo tunings.
2165 @subsection Fret diagrams
2166 @cindex fret diagrams
2167 @cindex chord diagrams
2169 Fret diagrams can be added to music as a markup to the desired note. The
2170 markup contains information about the desired fret diagram, as shown in the
2173 @lilypond[verbatim, ragged-right, quote]
2175 d'^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
2177 fis'^\markup \override #'(size . 0.75) {
2178 \override #'(finger-code . below-string) {
2179 \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
2180 (place-fret 5 4 3) (place-fret 4 4 4)
2181 (place-fret 3 3 2) (place-fret 2 2 1)
2186 c'^\markup \override #'(dot-radius . 0.35) {
2187 \override #'(finger-code . in-dot) {
2188 \override #'(dot-color . white) {
2189 \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
2198 There are three different fret-diagram markup interfaces: standard, terse,
2199 and verbose. The three interfaces produce equivalent markups, but have
2200 varying amounts of information in the markup string. Details about the
2201 markup interfaces are found at @ref{Overview of text markup commands}.
2203 You can set a number of graphical properties according to your preference.
2204 Details about the property interface to fret diagrams are found at
2205 @internalsref{fret-diagram-interface}.
2210 Examples: @inputfileref{input/@/test,fret@/-diagram@/.ly}
2213 @node Right hand fingerings
2214 @subsection Right hand fingerings
2216 Right hand fingerings in chords can be entered using
2217 @code{@var{note}-\rightHandFinger @var{finger}}
2219 @lilypond[verbatim,fragment,relative=2]
2220 <c-\rightHandFinger #1 e-\rightHandFinger #2 >
2223 for brevity, you can abbreviate @code{\rightHandFinger} to something
2224 short, for example @code{RH},
2227 #(define RH rightHandFinger)
2230 @cindex fingerings, right hand, for guitar
2231 @cindex right hand fingerings for guitar
2235 You may exercise greater control over right handing fingerings by
2236 setting @code{strokeFingerOrientations},
2238 @lilypond[quote,verbatim,ragged-right,fragment,relative=1]
2239 #(define RH rightHandFinger)
2241 \set strokeFingerOrientations = #'(up down)
2242 <c-\RH #1 es-\RH #2 g-\RH #4 > 4
2243 \set strokeFingerOrientations = #'(up right down)
2244 <c-\RH #1 es-\RH #2 g-\RH #4 > 4
2248 The letters used for the fingerings are contained in the property
2249 @code{digit-names}, but they can also be set individually by supplying
2250 @code{\rightHandFinger} with a string argument, as in the following example
2253 @lilypond[quote,verbatim,ragged-right,fragment,relative=1]
2254 #(define RH rightHandFinger)
2256 \set strokeFingerOrientations = #'(right)
2257 \override StrokeFinger #'digit-names = ##("x" "y" "z" "!" "@")
2265 Internalls: @internalsref{StrokeFinger}
2269 @node Other guitar issues
2270 @subsection Other guitar issues
2272 This example demonstrates how to include guitar position and
2273 barring indications.
2275 @lilypond[quote,ragged-right,fragment,verbatim,relative=0]
2279 \override TextSpanner #'edge-text = #'("XII " . "")
2281 b16 e16 g16 e16 b16 g16\stopTextSpan
2286 Stopped (X) note heads are used in guitar music to signal a place where the
2287 guitarist must play a certain note or chord, with its fingers just
2288 touching the strings instead of fully pressing them. This gives the sound a
2289 percussive noise-like sound that still maintains part of the original
2290 pitch. It is notated with cross noteheads; this is
2291 demonstrated in @ref{Special noteheads}.
2300 * Bagpipe definitions::
2305 @node Bagpipe definitions
2306 @subsection Bagpipe definitions
2308 LilyPond contains special definitions for music for the Scottish
2309 highland bagpipe; to use them, add
2312 \include "bagpipe.ly"
2316 at the top of your input file. This lets you add the special gracenotes
2317 common to bagpipe music with short commands. For example, you could
2318 write @code{\taor} instead of
2321 \grace @{ \small G32[ d G e] @}
2324 @code{bagpipe.ly} also contains pitch definitions for the bagpipe
2325 notes in the appropiate octaves, so you do not need to worry about
2326 @code{\relative} or @code{\transpose}.
2328 @lilypond[ragged-right,verbatim,quote,notime]
2329 \include "bagpipe.ly"
2330 { \grg G4 \grg a \grg b \grg c \grg d \grg e \grg f \grA g A }
2333 Bagpipe music nominally uses the key of D Major (even though that
2334 isn't really true). However, since that is the only key that can be used,
2335 the key signature is normally not written out. To set this up correctly,
2336 always start your music with @code{\hideKeySignature}. If you for some
2337 reason want to show the key signature, you can use @code{\showKeySignature}
2340 Some modern music use cross fingering on c and f to flatten those notes.
2341 This can be indicated by @code{cflat} or @code{fflat}. Similarly, the
2342 piobaireachd high g can be written @code{gflat} when it occurs in light
2346 @node Bagpipe example
2347 @subsection Bagpipe example
2349 This is what the well known tune Amazing Grace looks like in bagpipe
2352 @lilypond[verbatim,quote]
2353 \include "bagpipe.ly"
2356 \context { \Score \remove "Bar_number_engraver" }
2360 title = "Amazing Grace"
2362 arranger = "Trad. arr."
2368 \grg \partial 4 a8. d16
2369 \slurd d2 \grg f8[ e32 d16.]
2372 \grG a2 \grg a8. d16
2373 \slurd d2 \grg f8[ e32 d16.]
2374 \grg f2 \grg e8. f16
2377 \grg A2 \hdblf f8[ e32 d16.]
2380 \grG a2 \grg a8. d16
2381 \slurd d2 \grg f8[ e32 d16.]
2390 @node Ancient notation
2391 @section Ancient notation
2393 @cindex Vaticana, Editio
2394 @cindex Medicaea, Editio
2399 Support for ancient notation includes features for mensural notation
2400 and Gregorian Chant notation. There is also limited support for
2401 figured bass notation.
2403 Many graphical objects provide a @code{style} property, see
2406 @ref{Ancient note heads},
2408 @ref{Ancient accidentals},
2410 @ref{Ancient rests},
2412 @ref{Ancient clefs},
2414 @ref{Ancient flags},
2416 @ref{Ancient time signatures}.
2419 By manipulating such a grob property, the typographical appearance of
2420 the affected graphical objects can be accommodated for a specific
2421 notation flavor without the need for introducing any new notational
2424 In addition to the standard articulation signs described in section
2425 @ref{Articulations}, specific articulation signs for ancient notation
2430 @ref{Ancient articulations}
2433 Other aspects of ancient notation can not that easily be expressed
2434 in terms of just changing a style property of a graphical object or
2435 adding articulation signs. Some notational concepts are introduced
2436 specifically for ancient notation,
2447 If this all is too much of documentation for you, and you just want to
2448 dive into typesetting without worrying too much about the details on
2449 how to customize a context, you may have a look at the predefined
2450 contexts. Use them to set up predefined style-specific voice and
2451 staff contexts, and directly go ahead with the note entry,
2455 @ref{Gregorian Chant contexts},
2457 @ref{Mensural contexts}.
2460 There is limited support for figured bass notation which came
2461 up during the baroque period.
2468 Here are all suptopics at a glance:
2471 * Ancient note heads::
2472 * Ancient accidentals::
2476 * Ancient time signatures::
2477 * Ancient articulations::
2481 * Gregorian Chant contexts::
2482 * Mensural contexts::
2483 * Musica ficta accidentals::
2489 @node Ancient note heads
2490 @subsection Ancient note heads
2492 @cindex note heads, ancient
2494 For ancient notation, a note head style other than the @code{default}
2495 style may be chosen. This is accomplished by setting the @code{style}
2496 property of the @internalsref{NoteHead} object to @code{baroque},
2497 @code{neomensural}, @code{mensural} or @code{petrucci}. The
2498 @code{baroque} style differs from the @code{default} style only in
2499 using a square shape for @code{\breve} note heads. The
2500 @code{neomensural} style differs from the @code{baroque} style in that
2501 it uses rhomboidal heads for whole notes and all smaller durations.
2502 Stems are centered on the note heads. This style is particularly
2503 useful when transcribing mensural music, e.g., for the incipit. The
2504 @code{mensural} style produces note heads that mimic the look of note
2505 heads in historic printings of the 16th century. Finally, the
2506 @code{petrucci} style also mimicks historic printings, but uses bigger
2509 The following example demonstrates the @code{neomensural} style
2511 @lilypond[quote,fragment,ragged-right,verbatim]
2512 \set Score.skipBars = ##t
2513 \override NoteHead #'style = #'neomensural
2514 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
2517 When typesetting a piece in Gregorian Chant notation, the
2518 @internalsref{Gregorian_ligature_engraver} will automatically select
2519 the proper note heads, so there is no need to explicitly set the
2520 note head style. Still, the note head style can be set, e.g., to
2521 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
2522 @internalsref{Mensural_ligature_engraver} is used to automatically
2523 assemble mensural ligatures. See @ref{Ligatures} for how ligature
2528 Examples: @inputfileref{input/@/regression,note@/-head@/-style@/.ly} gives an
2529 overview over all available note head styles.
2532 @node Ancient accidentals
2533 @subsection Ancient accidentals
2538 Use the @code{style} property of grob @internalsref{Accidental} to
2539 select ancient accidentals. Supported styles are
2540 @code{mensural}, @code{vaticana}, @code{hufnagel}, and @code{medicaea}.
2542 @lilypond[quote,ragged-right,staffsize=26]
2549 \line { " " \musicglyph #"accidentals.vaticana-1"
2550 " " \musicglyph #"accidentals.vaticana0" }
2554 \line { " " \musicglyph #"accidentals.medicaea-1" }
2558 \line { " " \musicglyph #"accidentals.hufnagel-1" }
2562 \line { " " \musicglyph #"accidentals.mensural-1"
2563 " " \musicglyph #"accidentals.mensural1" }
2569 \context { \Score \remove "Bar_number_engraver" }
2571 \remove "Clef_engraver"
2572 \remove "Key_engraver"
2573 \remove "Time_signature_engraver"
2574 \remove "Staff_symbol_engraver"
2575 \override VerticalAxisGroup #'minimum-Y-extent = ##f
2581 As shown, not all accidentals are supported by each style. When
2582 trying to access an unsupported accidental, LilyPond will switch to a
2583 different style, as demonstrated in
2584 @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2586 Similarly to local accidentals, the style of the key signature can be
2587 controlled by the @code{style} property of the
2588 @internalsref{KeySignature} grob.
2592 In this manual: @ref{Pitches}, @ref{Cautionary accidentals} and
2593 @ref{Automatic accidentals} give a general introduction of the use of
2594 accidentals. @ref{Key signature} gives a general introduction of
2595 the use of key signatures.
2597 Program reference: @internalsref{KeySignature}.
2599 Examples: @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2602 @subsection Ancient rests
2604 @cindex rests, ancient
2607 Use the @code{style} property of grob @internalsref{Rest} to select
2608 ancient rests. Supported styles are @code{classical},
2609 @code{neomensural}, and @code{mensural}. @code{classical} differs
2610 from the @code{default} style only in that the quarter rest looks like
2611 a horizontally mirrored 8th rest. The @code{neomensural} style suits
2612 well for, e.g., the incipit of a transcribed mensural piece of music.
2613 The @code{mensural} style finally mimics the appearance of rests as
2614 in historic prints of the 16th century.
2616 The following example demonstrates the @code{neomensural} style
2618 @lilypond[quote,fragment,ragged-right,verbatim]
2619 \set Score.skipBars = ##t
2620 \override Rest #'style = #'neomensural
2621 r\longa r\breve r1 r2 r4 r8 r16
2624 There are no 32th and 64th rests specifically for the mensural or
2625 neo-mensural style. Instead, the rests from the default style will be
2626 taken. See @inputfileref{input/@/test,rests@/.ly} for a chart of all
2629 There are no rests in Gregorian Chant notation; instead, it uses
2634 In this manual: @ref{Rests} gives a general introduction into the use of
2639 @subsection Ancient clefs
2644 LilyPond supports a variety of clefs, many of them ancient.
2646 The following table shows all ancient clefs that are supported via the
2647 @code{\clef} command. Some of the clefs use the same glyph, but
2648 differ only with respect to the line they are printed on. In such
2649 cases, a trailing number in the name is used to enumerate these clefs.
2650 Still, you can manually force a clef glyph to be typeset on an
2651 arbitrary line, as described in @ref{Clef}. The note printed to the
2652 right side of each clef in the example column denotes the @code{c'}
2653 with respect to that clef.
2655 @multitable @columnfractions .4 .4 .2
2664 modern style mensural C clef
2666 @code{neomensural-c1}, @code{neomensural-c2},@*
2667 @code{neomensural-c3}, @code{neomensural-c4}
2669 @lilypond[fragment,relative=1,notime]
2670 \clef "neomensural-c2" c
2674 petrucci style mensural C clefs, for use on different staff lines
2675 (the examples show the 2nd staff line C clef)
2677 @code{petrucci-c1}, @code{petrucci-c2},@*
2678 @code{petrucci-c3}, @code{petrucci-c4},@*
2681 @lilypond[fragment,relative=1,notime]
2683 \override NoteHead #'style = #'mensural
2688 petrucci style mensural F clef
2692 @lilypond[fragment,relative=1,notime]
2694 \override NoteHead #'style = #'mensural
2699 petrucci style mensural G clef
2703 @lilypond[fragment,relative=1,notime]
2705 \override NoteHead #'style = #'mensural
2710 historic style mensural C clef
2712 @code{mensural-c1}, @code{mensural-c2},@*
2713 @code{mensural-c3}, @code{mensural-c4}
2715 @lilypond[fragment,relative=1,notime]
2717 \override NoteHead #'style = #'mensural
2722 historic style mensural F clef
2726 @lilypond[fragment,relative=1,notime]
2728 \override NoteHead #'style = #'mensural
2733 historic style mensural G clef
2737 @lilypond[fragment,relative=1,notime]
2739 \override NoteHead #'style = #'mensural
2744 Editio Vaticana style do clef
2746 @code{vaticana-do1}, @code{vaticana-do2},@*
2749 @lilypond[fragment,relative=1,notime]
2750 \override Staff.StaffSymbol #'line-count = #4
2751 \override Staff.StaffSymbol #'color = #red
2752 \override Staff.LedgerLineSpanner #'color = #red
2753 \override Voice.Stem #'transparent = ##t
2754 \override NoteHead #'style = #'vaticana.punctum
2755 \clef "vaticana-do2"
2760 Editio Vaticana style fa clef
2762 @code{vaticana-fa1}, @code{vaticana-fa2}
2764 @lilypond[fragment,relative=1,notime]
2765 \override Staff.StaffSymbol #'line-count = #4
2766 \override Staff.StaffSymbol #'color = #red
2767 \override Staff.LedgerLineSpanner #'color = #red
2768 \override Voice.Stem #'transparent = ##t
2769 \override NoteHead #'style = #'vaticana.punctum
2770 \clef "vaticana-fa2"
2775 Editio Medicaea style do clef
2777 @code{medicaea-do1}, @code{medicaea-do2},@*
2780 @lilypond[fragment,relative=1,notime]
2781 \override Staff.StaffSymbol #'line-count = #4
2782 \override Staff.StaffSymbol #'color = #red
2783 \override Staff.LedgerLineSpanner #'color = #red
2784 \override Voice.Stem #'transparent = ##t
2785 \override NoteHead #'style = #'medicaea.punctum
2786 \clef "medicaea-do2"
2791 Editio Medicaea style fa clef
2793 @code{medicaea-fa1}, @code{medicaea-fa2}
2795 @lilypond[fragment,relative=1,notime]
2796 \override Staff.StaffSymbol #'line-count = #4
2797 \override Staff.StaffSymbol #'color = #red
2798 \override Staff.LedgerLineSpanner #'color = #red
2799 \override Voice.Stem #'transparent = ##t
2800 \override NoteHead #'style = #'medicaea.punctum
2801 \clef "medicaea-fa2"
2806 historic style hufnagel do clef
2808 @code{hufnagel-do1}, @code{hufnagel-do2},@*
2811 @lilypond[fragment,relative=1,notime]
2812 \override Staff.StaffSymbol #'line-count = #4
2813 \override Staff.StaffSymbol #'color = #red
2814 \override Staff.LedgerLineSpanner #'color = #red
2815 \override Voice.Stem #'transparent = ##t
2816 \override NoteHead #'style = #'hufnagel.punctum
2817 \clef "hufnagel-do2"
2822 historic style hufnagel fa clef
2824 @code{hufnagel-fa1}, @code{hufnagel-fa2}
2826 @lilypond[fragment,relative=1,notime]
2827 \override Staff.StaffSymbol #'line-count = #4
2828 \override Staff.StaffSymbol #'color = #red
2829 \override Staff.LedgerLineSpanner #'color = #red
2830 \override Voice.Stem #'transparent = ##t
2831 \override NoteHead #'style = #'hufnagel.punctum
2832 \clef "hufnagel-fa2"
2837 historic style hufnagel combined do/fa clef
2839 @code{hufnagel-do-fa}
2841 @lilypond[fragment,relative=1,notime]
2842 \override Staff.StaffSymbol #'color = #red
2843 \override Staff.LedgerLineSpanner #'color = #red
2844 \override Voice.Stem #'transparent = ##t
2845 \override NoteHead #'style = #'hufnagel.punctum
2846 \clef "hufnagel-do-fa"
2853 @emph{Modern style} means ``as is typeset in contemporary editions of
2854 transcribed mensural music''.
2856 @emph{Petrucci style} means ``inspired by printings published by the
2857 famous engraver Petrucci (1466-1539)''.
2859 @emph{Historic style} means ``as was typeset or written in historic
2860 editions (other than those of Petrucci)''.
2862 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
2864 Petrucci used C clefs with differently balanced left-side vertical
2865 beams, depending on which staff line it is printed.
2869 In this manual: see @ref{Clef}.
2873 The mensural g clef is mapped to the Petrucci g clef.
2878 @subsection Ancient flags
2883 Use the @code{flag-style} property of grob @internalsref{Stem} to
2884 select ancient flags. Besides the @code{default} flag style,
2885 only the @code{mensural} style is supported
2887 @lilypond[quote,fragment,ragged-right,verbatim]
2888 \override Stem #'flag-style = #'mensural
2889 \override Stem #'thickness = #1.0
2890 \override NoteHead #'style = #'mensural
2892 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
2893 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
2896 Note that the innermost flare of each mensural flag always is
2897 vertically aligned with a staff line.
2899 There is no particular flag style for neo-mensural notation. Hence,
2900 when typesetting the incipit of a transcribed piece of mensural
2901 music, the default flag style should be used. There are no flags in
2902 Gregorian Chant notation.
2906 The attachment of ancient flags to stems is slightly off due to a
2907 change in early 2.3.x.
2909 Vertically aligning each flag with a staff line assumes that stems
2910 always end either exactly on or exactly in the middle between two
2911 staff lines. This may not always be true when using advanced layout
2912 features of classical notation (which however are typically out of
2913 scope for mensural notation).
2915 @node Ancient time signatures
2916 @subsection Ancient time signatures
2918 @cindex time signatures
2921 There is limited support for mensural time signatures. The
2922 glyphs are hard-wired to particular time fractions. In other words,
2923 to get a particular mensural signature glyph with the @code{\time n/m}
2924 command, @code{n} and @code{m} have to be chosen according to the
2927 @lilypond[quote,ragged-right]
2932 \remove Staff_symbol_engraver
2933 \remove Clef_engraver
2934 \remove Time_signature_engraver
2938 \set Score.timing = ##f
2939 \set Score.barAlways = ##t
2940 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph
2941 #"timesig.neomensural44" }
2943 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph
2944 #"timesig.neomensural22" }
2946 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph
2947 #"timesig.neomensural64" }
2949 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph
2950 #"timesig.neomensural68" }
2952 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph
2953 #"timesig.neomensural32" }
2955 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph
2956 #"timesig.neomensural34" }
2958 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph
2959 #"timesig.neomensural94" }
2961 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph
2962 #"timesig.neomensural98" }
2964 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph
2965 #"timesig.neomensural48" }
2967 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph
2968 #"timesig.neomensural24" }
2972 Use the @code{style} property of grob @internalsref{TimeSignature} to
2973 select ancient time signatures. Supported styles are
2974 @code{neomensural} and @code{mensural}. The above table uses the
2975 @code{neomensural} style. This style is appropriate for the
2976 incipit of transcriptions of mensural pieces. The @code{mensural}
2977 style mimics the look of historical printings of the 16th century.
2979 The following examples show the differences in style,
2981 @lilypond[ragged-right,fragment,relative=1,quote]
2986 c1^\markup { \hspace #-2.0 \typewriter default }
2988 \override Staff.TimeSignature #'style = #'numbered
2990 c1^\markup { \hspace #-2.0 \typewriter numbered }
2992 \override Staff.TimeSignature #'style = #'mensural
2994 c1^\markup { \hspace #-2.0 \typewriter mensural }
2996 \override Staff.TimeSignature #'style = #'neomensural
2998 c1^\markup { \hspace #-2.0 \typewriter neomensural }
2999 \override Staff.TimeSignature #'style = #'single-digit
3001 c1^\markup { \hspace #-2.0 \typewriter single-digit }
3007 This manual: @ref{Time signature} gives a general introduction to
3008 the use of time signatures.
3012 Ratios of note durations do not change with the time signature. For
3013 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
3014 be made by hand, by setting
3017 breveTP = #(ly:make-duration -1 0 3 2)
3023 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
3025 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
3026 addressable with @code{\time}. Use a @code{\markup} instead
3028 @node Ancient articulations
3029 @subsection Ancient articulations
3031 @cindex articulations
3033 In addition to the standard articulation signs described in section
3034 @ref{Articulations}, articulation signs for ancient notation are
3035 provided. These are specifically designed for use with notation in
3036 Editio Vaticana style.
3038 @lilypond[quote,ragged-right,verbatim]
3039 \include "gregorian-init.ly"
3041 \new VaticanaVoice {
3042 \override TextScript #'font-family = #'typewriter
3043 \override TextScript #'font-shape = #'upright
3044 \override Script #'padding = #-0.1
3045 a\ictus_"ictus" \break
3046 a\circulus_"circulus" \break
3047 a\semicirculus_"semicirculus" \break
3048 a\accentus_"accentus" \break
3049 \[ a_"episem" \episemInitium \pes b \flexa a b \episemFinis \flexa a \]
3056 Some articulations are vertically placed too closely to the
3057 correpsonding note heads.
3059 The episem line is not displayed in many cases. If it is displayed,
3060 the right end of the episem line is often too far to the right.
3063 @subsection Custodes
3068 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
3069 symbol that appears at the end of a staff. It anticipates the pitch
3070 of the first note(s) of the following line thus helping the performer
3071 to manage line breaks during performance.
3073 Custodes were frequently used in music notation until the 17th
3074 century. Nowadays, they have survived only in a few particular forms
3075 of musical notation such as contemporary editions of Gregorian chant
3076 like the @emph{editio vaticana}. There are different custos glyphs
3077 used in different flavors of notational style.
3079 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
3080 @internalsref{Staff} context when declaring the @code{\layout} block,
3081 as shown in the following example
3087 \consists Custos_engraver
3088 Custos \override #'style = #'mensural
3093 The result looks like this
3095 @lilypond[quote,ragged-right]
3099 \override Staff.Custos #'style = #'mensural
3104 \context { \Staff \consists Custos_engraver }
3109 The custos glyph is selected by the @code{style} property. The styles
3110 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
3111 @code{mensural}. They are demonstrated in the following fragment
3113 @lilypond[quote,ragged-right,fragment]
3114 \new Lyrics \lyricmode {
3116 \typewriter "vaticana"
3117 \line { " " \musicglyph #"custodes.vaticana.u0" }
3120 \typewriter "medicaea"
3121 \line { " " \musicglyph #"custodes.medicaea.u0" }
3124 \typewriter "hufnagel"
3125 \line { " " \musicglyph #"custodes.hufnagel.u0" }
3128 \typewriter "mensural"
3129 \line { " " \musicglyph #"custodes.mensural.u0" }
3136 Program reference: @internalsref{Custos}.
3138 Examples: @inputfileref{input/@/regression,custos@/.ly}.
3142 @subsection Divisiones
3148 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
3149 `division') is a staff context symbol that is used to structure
3150 Gregorian music into phrases and sections. The musical meaning of
3151 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
3152 can be characterized as short, medium, and long pause, somewhat like
3153 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
3154 only marks the end of a chant, but is also frequently used within a
3155 single antiphonal/responsorial chant to mark the end of each section.
3158 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
3159 contains definitions that you can apply by just inserting
3160 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
3161 and @code{\finalis} at proper places in the input. Some editions use
3162 @emph{virgula} or @emph{caesura} instead of divisio minima.
3163 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
3166 @lilypondfile[quote,ragged-right]{divisiones.ly}
3174 @funindex \divisioMinima
3175 @code{\divisioMinima},
3176 @funindex \divisioMaior
3177 @code{\divisioMaior},
3178 @funindex \divisioMaxima
3179 @code{\divisioMaxima},
3185 In this manual: @ref{Breath marks}.
3187 Program reference: @internalsref{BreathingSign}.
3189 Examples: @inputfileref{input/@/test,divisiones@/.ly}.
3192 @subsection Ligatures
3196 @c TODO: Should double check if I recalled things correctly when I wrote
3197 @c down the following paragraph by heart.
3199 A ligature is a graphical symbol that represents at least two distinct
3200 notes. Ligatures originally appeared in the manuscripts of Gregorian
3201 chant notation to denote ascending or descending sequences of notes.
3203 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
3204 Some ligature styles may need additional input syntax specific for
3205 this particular type of ligature. By default, the
3206 @internalsref{LigatureBracket} engraver just puts a square bracket
3209 @lilypond[quote,ragged-right,verbatim]
3217 To select a specific style of ligatures, a proper ligature engraver
3218 has to be added to the @internalsref{Voice} context, as explained in
3219 the following subsections. Only white mensural ligatures
3220 are supported with certain limitations.
3226 Ligatures need special spacing that has not yet been implemented. As
3227 a result, there is too much space between ligatures most of the time,
3228 and line breaking often is unsatisfactory. Also, lyrics do not
3229 correctly align with ligatures.
3231 Accidentals must not be printed within a ligature, but instead need to
3232 be collected and printed in front of it.
3234 The syntax still uses the deprecated infix style @code{\[ music expr
3235 \]}. For consistency reasons, it will eventually be changed to
3236 postfix style @code{note\[ ... note\]}. Alternatively, the file
3237 @file{gregorian@/-init@/.ly} can be included; it provides a scheme
3240 \ligature @var{music expr}
3242 with the same effect and is believed to be stable.
3245 * White mensural ligatures::
3246 * Gregorian square neumes ligatures::
3249 @node White mensural ligatures
3250 @subsubsection White mensural ligatures
3252 @cindex Mensural ligatures
3253 @cindex White mensural ligatures
3255 There is limited support for white mensural ligatures.
3257 To engrave white mensural ligatures, in the layout block put the
3258 @internalsref{Mensural_ligature_engraver} into the
3259 @internalsref{Voice} context, and remove the
3260 @internalsref{Ligature_bracket_engraver}, like this
3266 \remove Ligature_bracket_engraver
3267 \consists Mensural_ligature_engraver
3272 There is no additional input language to describe the shape of a
3273 white mensural ligature. The shape is rather determined solely from
3274 the pitch and duration of the enclosed notes. While this approach may
3275 take a new user a while to get accustomed to, it has the great advantage
3276 that the full musical information of the ligature is known internally.
3277 This is not only required for correct MIDI output, but also allows for
3278 automatic transcription of the ligatures.
3283 \set Score.timing = ##f
3284 \set Score.defaultBarType = "empty"
3285 \override NoteHead #'style = #'neomensural
3286 \override Staff.TimeSignature #'style = #'neomensural
3289 \[ d\longa c\breve f e d \]
3290 \[ c'\maxima d'\longa \]
3293 @lilypond[quote,ragged-right]
3296 \set Score.timing = ##f
3297 \set Score.defaultBarType = "empty"
3298 \override NoteHead #'style = #'neomensural
3299 \override Staff.TimeSignature #'style = #'neomensural
3302 \[ d\longa c\breve f e d \]
3303 \[ c'\maxima d'\longa \]
3309 \remove Ligature_bracket_engraver
3310 \consists Mensural_ligature_engraver
3316 Without replacing @internalsref{Ligature_bracket_engraver} with
3317 @internalsref{Mensural_ligature_engraver}, the same music transcribes
3320 @lilypond[quote,ragged-right]
3322 \set Score.timing = ##f
3323 \set Score.defaultBarType = "empty"
3324 \override NoteHead #'style = #'neomensural
3325 \override Staff.TimeSignature #'style = #'neomensural
3328 \[ d\longa c\breve f e d \]
3329 \[ c'\maxima d'\longa \]
3336 Horizontal spacing is poor.
3338 @node Gregorian square neumes ligatures
3339 @subsubsection Gregorian square neumes ligatures
3341 @cindex Square neumes ligatures
3342 @cindex Gregorian square neumes ligatures
3344 There is limited support for Gregorian square neumes notation
3345 (following the style of the Editio Vaticana). Core ligatures can
3346 already be typeset, but essential issues for serious typesetting are
3347 still lacking, such as (among others) horizontal alignment of multiple
3348 ligatures, lyrics alignment and proper handling of accidentals.
3351 The following table contains the extended neumes table of the 2nd
3352 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
3353 1983 by the monks of Solesmes.
3355 @multitable @columnfractions .4 .2 .2 .2
3372 @c TODO: \layout block is identical in all of the below examples.
3373 @c Therefore, it should somehow be included rather than duplicated all
3376 @c why not make identifiers in ly/engraver-init.ly? --hwn
3378 @c Because it's just used to typeset plain notes without
3379 @c a staff for demonstration purposes rather than something
3380 @c special of Gregorian chant notation. --jr
3385 @lilypond[staffsize=26,line-width=1.5\cm]
3386 \include "gregorian-init.ly"
3391 \noBreak s^\markup {"a"} \noBreak
3393 % Punctum Inclinatum
3395 \noBreak s^\markup {"b"}
3397 \layout { \neumeDemoLayout }}
3400 @lilypond[staffsize=26,line-width=2.5\cm]
3401 \include "gregorian-init.ly"
3404 % Punctum Auctum Ascendens
3405 \[ \auctum \ascendens b \]
3406 \noBreak s^\markup {"c"} \noBreak
3408 % Punctum Auctum Descendens
3409 \[ \auctum \descendens b \]
3410 \noBreak s^\markup {"d"} \noBreak
3412 % Punctum Inclinatum Auctum
3413 \[ \inclinatum \auctum b \]
3414 \noBreak s^\markup {"e"}
3416 \layout { \neumeDemoLayout }}
3419 @lilypond[staffsize=26,line-width=1.0\cm]
3420 \include "gregorian-init.ly"
3423 % Punctum Inclinatum Parvum
3424 \[ \inclinatum \deminutum b \]
3425 \noBreak s^\markup {"f"}
3427 \layout { \neumeDemoLayout }}
3433 @lilypond[staffsize=26,line-width=1.0\cm]
3434 \include "gregorian-init.ly"
3439 \noBreak s^\markup {"g"}
3441 \layout { \neumeDemoLayout }}
3447 @code{3. Apostropha vel Stropha}
3449 @lilypond[staffsize=26,line-width=1.0\cm]
3450 \include "gregorian-init.ly"
3455 \noBreak s^\markup {"h"}
3457 \layout { \neumeDemoLayout }}
3460 @lilypond[staffsize=26,line-width=1.0\cm]
3461 \include "gregorian-init.ly"
3465 \[ \stropha \auctum b \]
3466 \noBreak s^\markup {"i"}
3468 \layout { \neumeDemoLayout }}
3475 @lilypond[staffsize=26,line-width=1.0\cm]
3476 \include "gregorian-init.ly"
3481 \noBreak s^\markup {"j"}
3483 \layout { \neumeDemoLayout }}
3489 @code{5. Clivis vel Flexa}
3491 @lilypond[staffsize=26,line-width=1.0\cm]
3492 \include "gregorian-init.ly"
3499 \layout { \neumeDemoLayout }}
3502 @lilypond[staffsize=26,line-width=2.0\cm]
3503 \include "gregorian-init.ly"
3506 % Clivis Aucta Descendens
3507 \[ b \flexa \auctum \descendens g \]
3508 \noBreak s^\markup {"l"} \noBreak
3510 % Clivis Aucta Ascendens
3511 \[ b \flexa \auctum \ascendens g \]
3512 \noBreak s^\markup {"m"}
3514 \layout { \neumeDemoLayout }}
3517 @lilypond[staffsize=26,line-width=1.0\cm]
3518 \include "gregorian-init.ly"
3522 \[ b \flexa \deminutum g \]
3525 \layout { \neumeDemoLayout }}
3529 @code{6. Podatus vel Pes}
3531 @lilypond[staffsize=26,line-width=1.0\cm]
3532 \include "gregorian-init.ly"
3539 \layout { \neumeDemoLayout }}
3542 @lilypond[staffsize=26,line-width=2.0\cm]
3543 \include "gregorian-init.ly"
3546 % Pes Auctus Descendens
3547 \[ g \pes \auctum \descendens b \]
3548 \noBreak s^\markup {"p"} \noBreak
3550 % Pes Auctus Ascendens
3551 \[ g \pes \auctum \ascendens b \]
3552 \noBreak s^\markup {"q"}
3554 \layout { \neumeDemoLayout }}
3557 @lilypond[staffsize=26,line-width=1.0\cm]
3558 \include "gregorian-init.ly"
3562 \[ g \pes \deminutum b \]
3565 \layout { \neumeDemoLayout }}
3569 @code{7. Pes Quassus}
3571 @lilypond[staffsize=26,line-width=1.0\cm]
3572 \include "gregorian-init.ly"
3576 \[ \oriscus g \pes \virga b \]
3579 \layout { \neumeDemoLayout }}
3582 @lilypond[staffsize=26,line-width=1.0\cm]
3583 \include "gregorian-init.ly"
3586 % Pes Quassus Auctus Descendens
3587 \[ \oriscus g \pes \auctum \descendens b \]
3590 \layout { \neumeDemoLayout }}
3595 @code{8. Quilisma Pes}
3597 @lilypond[staffsize=26,line-width=1.0\cm]
3598 \include "gregorian-init.ly"
3602 \[ \quilisma g \pes b \]
3605 \layout { \neumeDemoLayout }}
3608 @lilypond[staffsize=26,line-width=1.0\cm]
3609 \include "gregorian-init.ly"
3612 % Quilisma Pes Auctus Descendens
3613 \[ \quilisma g \pes \auctum \descendens b \]
3616 \layout { \neumeDemoLayout }}
3621 @code{9. Podatus Initio Debilis}
3623 @lilypond[staffsize=26,line-width=1.0\cm]
3624 \include "gregorian-init.ly"
3627 % Pes Initio Debilis
3628 \[ \deminutum g \pes b \]
3631 \layout { \neumeDemoLayout }}
3634 @lilypond[staffsize=26,line-width=1.0\cm]
3635 \include "gregorian-init.ly"
3638 % Pes Auctus Descendens Initio Debilis
3639 \[ \deminutum g \pes \auctum \descendens b \]
3642 \layout { \neumeDemoLayout }}
3649 @lilypond[staffsize=26,line-width=1.0\cm]
3650 \include "gregorian-init.ly"
3654 \[ a \pes b \flexa g \]
3657 \layout { \neumeDemoLayout }}
3660 @lilypond[staffsize=26,line-width=1.0\cm]
3661 \include "gregorian-init.ly"
3664 % Torculus Auctus Descendens
3665 \[ a \pes b \flexa \auctum \descendens g \]
3668 \layout { \neumeDemoLayout }}
3671 @lilypond[staffsize=26,line-width=1.0\cm]
3672 \include "gregorian-init.ly"
3675 % Torculus Deminutus
3676 \[ a \pes b \flexa \deminutum g \]
3679 \layout { \neumeDemoLayout }}
3683 @code{11. Torculus Initio Debilis}
3685 @lilypond[staffsize=26,line-width=1.0\cm]
3686 \include "gregorian-init.ly"
3689 % Torculus Initio Debilis
3690 \[ \deminutum a \pes b \flexa g \]
3693 \layout { \neumeDemoLayout }}
3696 @lilypond[staffsize=26,line-width=1.0\cm]
3697 \include "gregorian-init.ly"
3700 % Torculus Auctus Descendens Initio Debilis
3701 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
3704 \layout { \neumeDemoLayout }}
3707 @lilypond[staffsize=26,line-width=1.0\cm]
3708 \include "gregorian-init.ly"
3711 % Torculus Deminutus Initio Debilis
3712 \[ \deminutum a \pes b \flexa \deminutum g \]
3715 \layout { \neumeDemoLayout }}
3719 @code{12. Porrectus}
3721 @lilypond[staffsize=26,line-width=1.0\cm]
3722 \include "gregorian-init.ly"
3726 \[ a \flexa g \pes b \]
3729 \layout { \neumeDemoLayout }}
3732 @lilypond[staffsize=26,line-width=1.0\cm]
3733 \include "gregorian-init.ly"
3736 % Porrectus Auctus Descendens
3737 \[ a \flexa g \pes \auctum \descendens b \]
3740 \layout { \neumeDemoLayout }}
3743 @lilypond[staffsize=26,line-width=1.0\cm]
3744 \include "gregorian-init.ly"
3747 % Porrectus Deminutus
3748 \[ a \flexa g \pes \deminutum b \]
3751 \layout { \neumeDemoLayout }}
3757 @lilypond[staffsize=26,line-width=1.0\cm]
3758 \include "gregorian-init.ly"
3762 \[ \virga b \inclinatum a \inclinatum g \]
3765 \layout { \neumeDemoLayout }
3769 @lilypond[staffsize=26,line-width=1.0\cm]
3770 \include "gregorian-init.ly"
3774 \[ \virga b \inclinatum a \inclinatum \auctum g \]
3777 \layout { \neumeDemoLayout }}
3780 @lilypond[staffsize=26,line-width=1.0\cm]
3781 \include "gregorian-init.ly"
3784 % Climacus Deminutus
3785 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
3788 \layout { \neumeDemoLayout }}
3792 @code{14. Scandicus}
3794 @lilypond[staffsize=26,line-width=1.0\cm]
3795 \include "gregorian-init.ly"
3799 \[ g \pes a \virga b \]
3802 \layout { \neumeDemoLayout }}
3805 @lilypond[staffsize=26,line-width=1.0\cm]
3806 \include "gregorian-init.ly"
3809 % Scandicus Auctus Descendens
3810 \[ g \pes a \pes \auctum \descendens b \]
3813 \layout { \neumeDemoLayout }}
3816 @lilypond[staffsize=26,line-width=1.0\cm]
3817 \include "gregorian-init.ly"
3820 % Scandicus Deminutus
3821 \[ g \pes a \pes \deminutum b \]
3824 \layout { \neumeDemoLayout }}
3830 @lilypond[staffsize=26,line-width=1.0\cm]
3831 \include "gregorian-init.ly"
3835 \[ g \oriscus a \pes \virga b \]
3838 \layout { \neumeDemoLayout }}
3841 @lilypond[staffsize=26,line-width=1.0\cm]
3842 \include "gregorian-init.ly"
3845 % Salicus Auctus Descendens
3846 \[ g \oriscus a \pes \auctum \descendens b \]
3849 \layout { \neumeDemoLayout }}
3856 @lilypond[staffsize=26,line-width=1.0\cm]
3857 \include "gregorian-init.ly"
3861 \[ \stropha b \stropha b \stropha a \]
3864 \layout { \neumeDemoLayout }
3873 Unlike most other neumes notation systems, the input language for
3874 neumes does not reflect the typographical appearance, but is designed
3875 to focus on musical meaning. For example, @code{\[ a \pes b
3876 \flexa g \]} produces a Torculus consisting of three Punctum heads,
3877 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
3878 curved flexa shape and only a single Punctum head. There is no
3879 command to explicitly typeset the curved flexa shape; the decision of
3880 when to typeset a curved flexa shape is based on the musical
3881 input. The idea of this approach is to separate the musical aspects
3882 of the input from the notation style of the output. This way, the
3883 same input can be reused to typeset the same music in a different
3884 style of Gregorian chant notation.
3886 The following table shows the code fragments that produce the
3887 ligatures in the above neumes table. The letter in the first column
3888 in each line of the below table indicates to which ligature in the
3889 above table it refers. The second column gives the name of the
3890 ligature. The third column shows the code fragment that produces this
3891 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
3893 @multitable @columnfractions .02 .31 .67
3913 @code{\[ \inclinatum b \]}
3921 @code{\[ \auctum \ascendens b \]}
3929 @code{\[ \auctum \descendens b \]}
3934 Punctum Inclinatum@*
3937 @code{\[ \inclinatum \auctum b \]}
3942 Punctum Inclinatum@*
3944 @code{\[ \inclinatum \deminutum b \]}
3951 @code{\[ \virga b \]}
3958 @code{\[ \stropha b \]}
3965 @code{\[ \stropha \auctum b \]}
3972 @code{\[ \oriscus b \]}
3979 @code{\[ b \flexa g \]}
3987 @code{\[ b \flexa \auctum \descendens g \]}
3995 @code{\[ b \flexa \auctum \ascendens g \]}
4002 @code{\[ b \flexa \deminutum g \]}
4009 @code{\[ g \pes b \]}
4017 @code{\[ g \pes \auctum \descendens b \]}
4025 @code{\[ g \pes \auctum \ascendens b \]}
4032 @code{\[ g \pes \deminutum b \]}
4039 @code{\[ \oriscus g \pes \virga b \]}
4045 Auctus Descendens @tab
4046 @code{\[ \oriscus g \pes \auctum \descendens b \]}
4053 @code{\[ \quilisma g \pes b \]}
4061 @code{\[ \quilisma g \pes \auctum \descendens b \]}
4068 @code{\[ \deminutum g \pes b \]}
4073 Pes Auctus Descendens@*
4076 @code{\[ \deminutum g \pes \auctum \descendens b \]}
4083 @code{\[ a \pes b \flexa g \]}
4091 @code{\[ a \pes b \flexa \auctum \descendens g \]}
4098 @code{\[ a \pes b \flexa \deminutum g \]}
4103 Torculus Initio Debilis
4105 @code{\[ \deminutum a \pes b \flexa g \]}
4111 Descendens Initio Debilis
4113 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
4118 Torculus Deminutus@*
4121 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
4128 @code{\[ a \flexa g \pes b \]}
4136 @code{\[ a \flexa g \pes \auctum \descendens b \]}
4143 @code{\[ a \flexa g \pes \deminutum b \]}
4150 @code{\[ \virga b \inclinatum a \inclinatum g \]}
4157 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
4164 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
4171 @code{\[ g \pes a \virga b \]}
4179 @code{\[ g \pes a \pes \auctum \descendens b \]}
4186 @code{\[ g \pes a \pes \deminutum b \]}
4193 @code{\[ g \oriscus a \pes \virga b \]}
4198 Salicus Auctus Descendens
4200 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
4207 @code{\[ \stropha b \stropha b \stropha a \]}
4210 The ligatures listed above mainly serve as a limited, but still
4211 representative pool of Gregorian ligature examples. Virtually, within
4212 the ligature delimiters @code{\[} and @code{\]}, any number of heads
4213 may be accumulated to form a single ligature, and head prefixes like
4214 @code{\pes}, @code{\flexa}, @code{\virga}, @code{\inclinatum},
4215 etc. may be mixed in as desired. The use of the set of rules that
4216 underlies the construction of the ligatures in the above table is
4217 accordingly extrapolated. This way, infinitely many different
4218 ligatures can be created.
4220 @c TODO: create a regression or tips & tricks example document with
4221 @c even more Gregorian ligatures, and add a link to this document
4224 Augmentum dots, also called @emph{morae}, are added with the music
4225 function @code{\augmentum}. Note that @code{\augmentum} is
4226 implemented as a unary music function rather than as head prefix. It
4227 applies to the immediately following music expression only. That is,
4228 @code{\augmentum \virga c} will have no visible effect. Instead, say
4229 @code{\virga \augmentum c} or @code{\augmentum @{\virga c@}}. Also
4230 note that you can say @code{\augmentum @{a g@}} as a shortcut for
4231 @code{\augmentum a \augmentum g}.
4233 @lilypond[quote,ragged-right,verbatim]
4234 \include "gregorian-init.ly"
4236 \new VaticanaVoice {
4237 \[ \augmentum a \flexa \augmentum g \]
4245 The following head prefixes are supported
4251 @funindex \inclinatum
4255 @funindex \descendens
4257 @funindex \ascendens
4263 @funindex \deminutum
4270 Head prefixes can be accumulated, though restrictions apply. For
4271 example, either @code{\descendens} or @code{\ascendens} can be applied
4272 to a head, but not both to the same head.
4276 Two adjacent heads can be tied together with the @code{\pes} and
4277 @code{\flexa} infix commands for a rising and falling line of melody,
4280 @funindex \augmentum
4281 Use the unary music function @code{\augmentum} to add augmentum dots.
4285 When an @code{\augmentum} dot appears at the end of the last staff
4286 within a ligature, it is sometimes vertically placed wrong. As a
4287 workaround, add an additional skip note (e.g. @code{s8}) as last note
4290 @code{\augmentum} should be implemented as a head prefix rather than a
4291 unary music function, such that @code{\augmentum} can be intermixed
4292 with head prefixes in arbitrary order.
4294 @node Gregorian Chant contexts
4295 @subsection Gregorian Chant contexts
4297 @cindex VaticanaVoiceContext
4298 @cindex VaticanaStaffContext
4300 The predefined @code{VaticanaVoiceContext} and
4301 @code{VaticanaStaffContext} can be used to engrave a piece of
4302 Gregorian Chant in the style of the Editio Vaticana. These contexts
4303 initialize all relevant context properties and grob properties to
4304 proper values, so you can immediately go ahead entering the chant, as
4305 the following excerpt demonstrates
4307 @lilypond[quote,ragged-right,packed,verbatim]
4308 \include "gregorian-init.ly"
4311 \new VaticanaVoice = "cantus" {
4312 \[ c'\melisma c' \flexa a \]
4313 \[ a \flexa \deminutum g\melismaEnd \]
4315 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
4316 c' \divisioMinima \break
4317 \[ c'\melisma c' \flexa a \]
4318 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
4320 \new Lyrics \lyricsto "cantus" {
4321 San- ctus, San- ctus, San- ctus
4328 @node Mensural contexts
4329 @subsection Mensural contexts
4331 @cindex MensuralVoiceContext
4332 @cindex MensuralStaffContext
4334 The predefined @code{MensuralVoiceContext} and
4335 @code{MensuralStaffContext} can be used to engrave a piece in mensural
4336 style. These contexts initialize all relevant context properties and
4337 grob properties to proper values, so you can immediately go ahead
4338 entering the chant, as the following excerpt demonstrates
4340 @lilypond[quote,ragged-right,verbatim]
4343 \new MensuralVoice = "discantus" \transpose c c' {
4344 \override Score.BarNumber #'transparent = ##t {
4345 c'1\melisma bes a g\melismaEnd
4347 \[ f1\melisma a c'\breve d'\melismaEnd \]
4349 c'\breve\melisma a1 g1\melismaEnd
4350 fis\longa^\signumcongruentiae
4353 \new Lyrics \lyricsto "discantus" {
4354 San -- ctus, San -- ctus, San -- ctus
4360 @node Musica ficta accidentals
4361 @subsection Musica ficta accidentals
4363 In European music from before about 1600, singers were often expected
4364 to chromatically alter notes at their own initiative. This is called
4365 ``Musica Ficta''. In modern transcriptions, these accidentals are
4366 usually printed over the note.
4368 @cindex Accidental, musica ficta
4369 @cindex Musica ficta
4371 Support for such suggested accidentals is included, and can be
4372 switched on by setting @code{suggestAccidentals} to true.
4374 @funindex suggestAccidentals
4376 @lilypond[verbatim,fragment,relative=1]
4378 \set suggestAccidentals = ##t
4384 Program reference: @internalsref{Accidental_engraver} engraver and the
4385 @internalsref{AccidentalSuggestion} object.
4388 @subsection Figured bass
4390 @cindex Basso continuo
4392 @c TODO: musicological blurb about FB
4395 LilyPond has support for figured bass
4397 @lilypond[quote,ragged-right,verbatim,fragment]
4399 \new Voice { \clef bass dis4 c d ais g fis}
4400 \new FiguredBass \figuremode {
4401 < 6 >4 < 7\+ >8 < 6+ [_!] >
4408 The support for figured bass consists of two parts: there is an input
4409 mode, introduced by @code{\figuremode}, where you can enter bass figures
4410 as numbers, and there is a context called @internalsref{FiguredBass} that
4411 takes care of making @internalsref{BassFigure} objects.
4413 In figures input mode, a group of bass figures is delimited by
4414 @code{<} and @code{>}. The duration is entered after the @code{>}
4418 @lilypond[quote,ragged-right,fragment]
4420 \figuremode { <4 6> }
4423 Accidentals are added when you append @code{-}, @code{!}, and @code{+}
4424 to the numbers. A plus sign is added when you append @code{\+}, and
4425 diminished fifths and sevenths can be obtained with @code{5/} and @code{7/}.
4428 <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/>
4430 @lilypond[quote,ragged-right,fragment]
4431 \figures { <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/> }
4434 Spaces may be inserted by using @code{_}. Brackets are
4435 introduced with @code{[} and @code{]}. You can also include text
4436 strings and text markups, see @ref{Overview of text markup commands}.
4439 < [4 6] 8 [_! 12] > < 5 \markup @{ \number 6 \super (1) @} >
4441 @lilypond[quote,ragged-right,fragment]
4443 \figuremode { < [4 6] 8 [_! 12] > < 5 \markup{ \tiny \number 6 \super (1)} > }
4447 It is also possible to use continuation lines for repeated figures,
4449 @lilypond[verbatim,relative=1]
4456 \set useBassFigureExtenders = ##t
4463 In this case, the extender lines always replace existing figures.
4465 The @code{FiguredBass} context doesn't pay attention to the actual
4466 bass line. As a consequence, you may have to insert extra figures to
4467 get extender lines below all notes, and you may have to add @code{\!}
4468 to avoid getting an extender line, e.g.
4470 @lilypond[relative=1]
4474 \set useBassFigureExtenders = ##t
4475 <6 4->4. <6 4->16. <6 4->32 <5>8. r16 <6>8 <6\! 5->
4479 f16. g32 f16. g32 f16. g32 f16. g32 f8. es16 d8 es
4484 When using continuation lines, common figures are always put in the
4485 same vertical position. When this is unwanted, you can insert a rest
4486 with @code{r}. The rest will clear any previous alignment. For
4487 example, you can write
4499 Accidentals and plus signs can appear before or after the numbers,
4500 depending on the @code{figuredBassAlterationDirection} and
4501 @code{figuredBassPlusDirection}
4507 \set figuredBassAlterationDirection = #1
4509 \set figuredBassPlusDirection = #1
4511 \set figuredBassAlterationDirection = #-1
4517 Although the support for figured bass may superficially resemble chord
4518 support, it is much simpler. The @code{\figuremode} mode simply
4519 stores the numbers and @internalsref{FiguredBass} context prints them
4520 as entered. There is no conversion to pitches and no realizations of
4521 the bass are played in the MIDI file.
4523 Internally, the code produces markup texts. You can use any of the
4524 markup text properties to override formatting. For example, the
4525 vertical spacing of the figures may be set with @code{baseline-skip}.
4528 Figured bass can also be added to @code{Staff} contexts
4529 directly. In this case, their vertical position is adjusted
4532 @lilypond[ragged-right,fragment,quote]
4534 \new Staff = someUniqueName
4539 %% send to existing Staff.
4540 \context Staff = someUniqueName
4544 \set Staff.useBassFigureExtenders = ##t
4553 When using figured bass above the staff with extender lines and
4554 @code{implicitBassFigures} the lines may become swapped around.
4555 Maintaining order consistently will be impossible when multiple figures
4556 have overlapping extender lines. To avoid this problem, plese
4557 use @code{stacking-dir} on @code{BassFigureAlignment}.
4562 Program reference: @internalsref{NewBassFigure},
4563 @internalsref{BassFigureAlignment}, @internalsref{BassFigureLine},
4564 @internalsref{BassFigureBracket}, and
4565 @internalsref{BassFigureContinuation} objects and
4566 @internalsref{FiguredBass} context.
4570 @node Other instrument specific notation
4571 @section Other instrument specific notation
4573 This section includes extra information for writing for instruments.
4576 * Artificial harmonics (strings)::
4579 @node Artificial harmonics (strings)
4580 @subsection Artificial harmonics (strings)
4582 @cindex artificial harmonics
4584 Artificial harmonics are notated with a different notehead style. They
4585 are entered by marking the harmonic pitch with @code{\harmonic}.
4587 @lilypond[ragged-right,verbatim,quote,fragment,relative=1]