1 @c -*- coding: latin-1; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
8 @node Instrument-specific notation
9 @chapter Instrument-specific notation
11 This chapter explains how to use notation for specific instruments.
17 * Other instrument specific notation::
25 @section Rhythmic music
27 Rhythmic music is primarily used for percussion and drum notation, but it can
28 also be used to show the rhythms of melodies.
31 * Showing melody rhythms::
32 * Entering percussion::
37 @node Showing melody rhythms
38 @subsection Showing melody rhythms
40 Sometimes you might want to show only the rhythm of a melody. This
41 can be done with the rhythmic staff. All pitches of notes on such a
42 staff are squashed, and the staff itself has a single line
44 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
45 \context RhythmicStaff {
47 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
53 Program reference: @internalsref{RhythmicStaff}.
55 Examples: @inputfileref{input/@/regression,rhythmic@/-staff@/.ly}.
58 @node Entering percussion
59 @subsection Entering percussion
65 Percussion notes may be entered in @code{\drummode} mode, which is
66 similar to the standard mode for entering notes. Each piece of
67 percussion has a full name and an abbreviated name, and both can be used
70 @lilypond[quote,raggedright,verbatim]
76 The complete list of drum names is in the init file
77 @file{ly/@/drumpitch@/-init@/.ly}.
78 @c TODO: properly document this.
82 Program reference: @internalsref{DrumNoteEvent}.
84 @node Percussion staves
85 @subsection Percussion staves
89 A percussion part for more than one instrument typically uses a
90 multiline staff where each position in the staff refers to one piece
94 To typeset the music, the notes must be interpreted in a
95 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
97 @lilypond[quote,raggedright,verbatim]
98 up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
99 down = \drummode { bassdrum4 snare8 bd r bd sn4 }
101 \new DrumVoice { \voiceOne \up }
102 \new DrumVoice { \voiceTwo \down }
106 The above example shows verbose polyphonic notation. The short
107 polyphonic notation, described in @ref{Polyphony}, can also be used if
108 the @internalsref{DrumVoices} are instantiated by hand first. For example,
110 @lilypond[quote,raggedright,fragment,verbatim]
112 \context DrumVoice = "1" { s1 *2 }
113 \context DrumVoice = "2" { s1 *2 }
117 { \repeat unfold 16 hh16 }
126 There are also other layout possibilities. To use these, set the
127 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
128 The following variables have been predefined
132 This is the default. It typesets a typical drum kit on a five-line staff
134 @lilypond[quote,linewidth=10.0\cm]
136 cymc cyms cymr hh hhc hho hhho hhp
137 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl }
139 cymc cyms cymr hh hhc hho hhho hhp \break
140 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
142 << \new DrumStaff \with {
144 \remove Time_signature_engraver
145 \override Stem #'transparent = ##t
146 \override Stem #'Y-extent-callback = ##f
147 minimumVerticalExtent = #'(-4.0 . 5.0)
154 \override LyricText #'font-family = #'typewriter
155 \override BarNumber #'transparent =##T
161 The drum scheme supports six different toms. When there are fewer toms,
162 simply select the toms that produce the desired result, i.e., to get toms
163 on the three middle lines you use @code{tommh}, @code{tomml}, and
167 This typesets timbales on a two line staff
169 @lilypond[quote,raggedright]
170 nam = \lyricmode { timh ssh timl ssl cb }
171 mus = \drummode { timh ssh timl ssl cb s16 }
174 \context DrumStaff \with {
176 \remove Time_signature_engraver
177 \override Stem #'transparent = ##t
178 \override Stem #'Y-extent-callback = ##f
179 \override StaffSymbol #'line-count = #2
180 \override StaffSymbol #'staff-space = #2
181 minimumVerticalExtent = #'(-3.0 . 4.0)
182 drumStyleTable = #timbales-style
185 \override LyricText #'font-family = #'typewriter
192 This typesets congas on a two line staff
194 @lilypond[quote,raggedright]
195 nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
196 mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
199 \context DrumStaff \with {
201 \remove Time_signature_engraver
202 drumStyleTable = #congas-style
203 \override StaffSymbol #'line-count = #2
205 %% this sucks; it will lengthen stems.
206 \override StaffSymbol #'staff-space = #2
207 \override Stem #'transparent = ##t
208 \override Stem #'Y-extent-callback = ##f
211 \override LyricText #'font-family = #'typewriter
218 This typesets bongos on a two line staff
220 @lilypond[quote,raggedright]
221 nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
222 mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
225 \context DrumStaff\with {
227 \remove Time_signature_engraver
228 \override StaffSymbol #'line-count = #2
229 drumStyleTable = #bongos-style
231 %% this sucks; it will lengthen stems.
232 \override StaffSymbol #'staff-space = #2
233 \override Stem #'transparent = ##t
234 \override Stem #'Y-extent-callback = ##f
237 \override LyricText #'font-family = #'typewriter
243 @item percussion-style
244 To typeset all kinds of simple percussion on one line staves.
246 @lilypond[quote,raggedright]
247 nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
248 mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
251 \context DrumStaff\with{
253 drumStyleTable = #percussion-style
254 \override StaffSymbol #'line-count = #1
255 \remove Time_signature_engraver
256 \override Stem #'transparent = ##t
257 \override Stem #'Y-extent-callback = ##f
260 \override LyricText #'font-family = #'typewriter
267 If you do not like any of the predefined lists you can define your own
268 list at the top of your file
270 @lilypond[quote,raggedright,verbatim]
272 (bassdrum default #f -1)
275 (pedalhihat xcircle "stopped" 2)
276 (lowtom diamond #f 3)))
277 up = \drummode { hh8 hh hh hh hhp4 hhp }
278 down = \drummode { bd4 sn bd toml8 toml }
281 \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
282 \new DrumVoice { \voiceOne \up }
283 \new DrumVoice { \voiceTwo \down }
290 Init files: @file{ly/@/drumpitch@/-init@/.ly}.
292 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
296 Because general MIDI does not contain rim shots, the sidestick is used
297 for this purpose instead.
303 Piano staves are two normal staves coupled with a brace. The staves
304 are largely independent, but sometimes voices can cross between the
305 two staves. The same notation is also used for harps and other key
306 @c Is this `harp' or `harpsichord'?
307 instruments. The @internalsref{PianoStaff} is especially built to
308 handle this cross-staffing behavior. In this section we discuss the
309 @internalsref{PianoStaff} and some other pianistic peculiarities.
313 * Automatic staff changes::
314 * Manual staff switches::
317 * Staff switch lines::
318 * Cross staff stems::
323 Dynamics are not centered, but workarounds do exist. See the
324 ``piano centered dynamics'' template in @ref{Piano templates}.
326 @cindex cross staff stem
327 @cindex stem, cross staff
328 @cindex distance between staves in piano music
330 The distance between the two staves is the same for all systems in the
331 score. It is possible to override this per system, but it does require
332 an arcane command incantation. See
333 @inputfileref{input/@/test,piano@/-staff@/-distance@/.ly}.
336 @node Automatic staff changes
337 @subsection Automatic staff changes
338 @cindex Automatic staff changes
340 Voices can be made to switch automatically between the top and the bottom
341 staff. The syntax for this is
345 \autochange @dots{}@var{music}@dots{}
350 This will create two staves inside the current PianoStaff, called
351 @code{up} and @code{down}. The lower staff will be in bass clef by
354 A @code{\relative} section that is outside of @code{\autochange} has
355 no effect on the pitches of @var{music}, so, if necessary, put
356 @code{\relative} inside @code{\autochange} like
360 \autochange \relative @dots{} @dots{}
365 The autochanger switches on basis of the pitch (middle C is the turning
366 point), and it looks ahead skipping over rests to switch in
367 advance. Here is a practical example
369 @lilypond[quote,verbatim,raggedright]
371 \autochange \relative c'
380 In this manual: @ref{Manual staff switches}.
382 Program reference: @internalsref{AutoChangeMusic}.
388 The staff switches may not end up in optimal places. For high
389 quality output, staff switches should be specified manually.
392 @code{\autochange} cannot be inside @code{\times}.
394 Internally, the @code{\partcombine} interprets both arguments as
395 @code{Voice}s named @code{one} and @code{two}, and then decides when
396 the parts can be combined. Consequently, if the arguments switch to
397 differently named @internalsref{Voice} contexts, the events in those
401 @node Manual staff switches
402 @subsection Manual staff switches
404 @cindex manual staff switches
405 @cindex staff switch, manual
407 Voices can be switched between staves manually, using the command
409 \change Staff = @var{staffname} @var{music}
413 The string @var{staffname} is the name of the staff. It switches the
414 current voice from its current staff to the Staff called
415 @var{staffname}. Typically @var{staffname} is @code{"up"} or
416 @code{"down"}. The @context{Staff} referred to must already exist, so
417 usually the setup for a score will start with a setup of the staves,
421 \context Staff = up @{
422 \skip 1 * 10 % @emph{keep staff alive}
424 \context Staff = down @{
425 \skip 1 * 10 % @emph{idem}
431 and the @context{Voice} is inserted afterwards
434 \context Staff = down
435 \new Voice @{ @dots{} \change Staff = up @dots{} @}
443 Pianos have pedals that alter the way sound is produced. Generally, a
444 piano has three pedals, sustain, una corda, and sostenuto.
447 Piano pedal instruction can be expressed by attaching
448 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
449 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
452 @lilypond[quote,raggedright,fragment,verbatim]
453 c'4\sustainDown c'4\sustainUp
456 What is printed can be modified by setting @code{pedal@var{X}Strings},
457 where @var{X} is one of the pedal types: @code{Sustain},
458 @code{Sostenuto} or @code{UnaCorda}. Refer to
459 @internalsref{SustainPedal} in the program reference for more
462 Pedals can also be indicated by a sequence of brackets, by setting the
463 @code{pedalSustainStyle} property to bracket objects
465 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
466 \set Staff.pedalSustainStyle = #'bracket
468 b\sustainUp\sustainDown
469 b g \sustainUp a \sustainDown \bar "|."
472 A third style of pedal notation is a mixture of text and brackets,
473 obtained by setting the @code{pedalSustainStyle} property to
476 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
477 \set Staff.pedalSustainStyle = #'mixed
479 b\sustainUp\sustainDown
480 b g \sustainUp a \sustainDown \bar "|."
483 The default `*Ped.' style for sustain and damper pedals corresponds to
484 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
487 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
488 c\sostenutoDown d e c, f g a\sostenutoUp
491 For fine-tuning the appearance of a pedal bracket, the properties
492 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
493 @code{PianoPedalBracket} objects (see
494 @internalsref{PianoPedalBracket} in the Program reference) can be
495 modified. For example, the bracket may be extended to the right edge
498 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
499 \override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
500 c\sostenutoDown d e c, f g a\sostenutoUp
508 @cindex @code{\arpeggio}
510 You can specify an arpeggio sign (also known as broken chord) on a
511 chord by attaching an @code{\arpeggio} to a chord
514 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
518 When an arpeggio crosses staves, you attach an arpeggio to the chords
519 in both staves, and set
520 @internalsref{PianoStaff}.@code{connectArpeggios}
522 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
523 \context PianoStaff <<
524 \set PianoStaff.connectArpeggios = ##t
525 \new Staff { <c' e g c>\arpeggio }
526 \new Staff { \clef bass <c,, e g>\arpeggio }
530 The direction of the arpeggio is sometimes denoted by adding an
531 arrowhead to the wiggly line
533 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
542 A square bracket on the left indicates that the player should not
545 @c todo: ugh, lousy typography. Look for real example. --hwn
547 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
554 @cindex @code{\arpeggio}
556 @cindex @code{\arpeggioUp}
558 @cindex @code{\arpeggioDown}
559 @code{\arpeggioDown},
560 @cindex @code{\arpeggioNeutral}
561 @code{\arpeggioNeutral},
562 @cindex @code{\arpeggioBracket}
563 @code{\arpeggioBracket}.
567 Notation manual: @ref{Ties}, for writing out arpeggios.
569 Program reference: @internalsref{ArpeggioEvent},
570 @internalsref{Arpeggio}.
576 It is not possible to mix connected arpeggios and unconnected
577 arpeggios in one @internalsref{PianoStaff} at the same point in time.
579 @node Staff switch lines
580 @subsection Staff switch lines
584 @cindex staff switching
587 @cindex @code{followVoice}
589 Whenever a voice switches to another staff, a line connecting the notes
590 can be printed automatically. This is switched on by setting
591 @code{followVoice} to true
593 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
594 \context PianoStaff <<
595 \set followVoice = ##t
596 \context Staff \context Voice {
601 \context Staff=two { \clef bass \skip 1*2 }
607 Program reference: @internalsref{VoiceFollower}.
611 @cindex @code{\showStaffSwitch}
612 @code{\showStaffSwitch},
613 @cindex @code{\hideStaffSwitch}
614 @code{\hideStaffSwitch}.
617 @node Cross staff stems
618 @subsection Cross staff stems
620 Chords that cross staves may be produced by increasing the length
621 of the stem in the lower staff, so it reaches the stem in the upper
622 staff, or vice versa.
624 @lilypond[raggedright,verbatim,quote]
625 stemExtend = \once \override Stem #'length = #22
626 noFlag = \once \override Stem #'flag-style = #'no-flag
627 \context PianoStaff <<
629 \stemDown \stemExtend
645 There are three different issues when printing vocal music
649 Song texts must be entered as text, not notes. For example, the
650 input@tie{}@code{d} should be interpreted as a one letter syllable, not the
654 Song texts must be printed as text, not as notes.
657 Song texts must be aligned with the notes of their melody.
660 The simplest solution for printing music uses the @code{\addlyrics}
661 function to solve all these problems at once. However, these
662 three functions can be controlled separately, which is necessary
663 for complex vocal music.
667 * Setting simple songs::
669 * Hyphens and extenders::
670 * The Lyrics context::
671 * Flexibility in alignment::
674 * Other vocal issues::
677 @node Setting simple songs
678 @subsection Setting simple songs
680 The easiest way to add lyrics to a melody is to append
683 \addlyrics @{ @var{the lyrics} @}
687 to a melody. Here is an example,
689 @lilypond[raggedright,verbatim,fragment,quote]
691 \relative { c2 e4 g2. }
692 \addlyrics { play the game }
695 More stanzas can be added by adding more
696 @code{\addlyrics} sections
698 @lilypond[raggedright,verbatim,fragment,quote]
700 \relative { c2 e4 g2. }
701 \addlyrics { play the game }
702 \addlyrics { speel het spel }
703 \addlyrics { joue le jeu }
706 @c TODO - this isn't such a great place for this note, but I can't
707 @c find a better place without rearranging a lot of lyric stuff.
708 @c It's yet another thing to look at post-3.0.
710 The @code{\addlyrics} command is actually just a convienient way
711 to write a more complicated LilyPond structure that sets up the
712 lyrics. You should use @code{\addlyrics} unless you need to do
713 fancy things, in which case you should investigate
714 @code{\lyricsto} or @code{\lyricmode}.
718 \addlyrics @{ LYRICS @}
725 \context Voice = blah @{ music @}
726 \lyricsto "blah" \new lyrics @{ LYRICS @}
731 @code{\addlyrics} cannot handle polyphony.
734 @node Entering lyrics
735 @subsection Entering lyrics
739 @cindex @code{\lyricmode}
742 Lyrics are entered in a special input mode. This mode is introduced
743 by the keyword @code{\lyricmode}, or by using @code{addlyrics} or
744 @code{lyricsto}. In this mode you can enter lyrics,
745 with punctuation and accents, and the input @code{d} is not parsed as
746 a pitch, but rather as a one letter syllable. Syllables are entered
747 like notes, but with pitches replaced by text. For example,
749 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
753 A word lyrics mode begins with an alphabetic character, and ends with
754 any space or digit. The following characters can be any character
755 that is not a digit or white space. One important consequence of this
756 is that a word can end with @code{@}}. The following example is
757 usually a mistake in the input file. The syllable includes a @code{@}}, so the
758 opening brace is not balanced
760 \lyricmode @{ twinkle@}
763 @cindex @code{\property}, in @code{\lyricmode}
765 Similarly, a period which follows an alphabetic sequence is included in
766 the resulting string. As a consequence, spaces must be inserted around
769 \override Score . LyricText #'font-shape = #'italic
773 @cindex spaces, in lyrics
774 @cindex quotes, in lyrics
776 Any @code{_} character that appears in an unquoted word is converted
777 to a space. This provides a mechanism for introducing spaces into words
778 without using quotes. Quoted words can also be used in Lyrics mode to
779 specify words that cannot be written with the above rules. The
780 following example incorporates double quotes
783 \lyricmode @{ He said: "\"Let" my peo ple "go\"" @}
786 This example is slightly academic, since it gives better looking
787 results using single quotes, @code{``} and @code{''}
789 \lyricmode @{ He said: ``Let my peo ple go'' @}
793 The full definition of a word start in Lyrics mode is somewhat more
796 A word in Lyrics mode begins with: an alphabetic character, @code{_},
797 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
798 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
799 any 8-bit character with ASCII code over 127, or a two-character
800 combination of a backslash followed by one of @code{`}, @code{'},
801 @code{"}, or @code{^}.
807 Program reference: events @internalsref{LyricEvent}, and
808 @internalsref{LyricText}.
812 The definition of lyrics mode is too complex.
814 @node Hyphens and extenders
815 @subsection Hyphens and extenders
819 Centered hyphens are entered as `@code{-}@code{-}' between syllables.
820 The hyphen will have variable length depending on the space between
821 the syllables and it will be centered between the syllables.
826 When a lyric is sung over many notes (this is called a melisma), this is
827 indicated with a horizontal line centered between a syllable and the
828 next one. Such a line is called an extender line, and it is entered as
832 FIXME: check that this compiles and displays correctly. I don't want
833 to commit this part blindly.
835 In tighly engraved music, hyphens can be removed. In some languages
836 (e.g. German and Hungarian), hyphens should not disappear, since
837 spelling depends on hyphenation. For that purpose, hyphens can be
838 forced to remain by overriding @code{minimum-length} of
839 the @code{LyricHyphen} grob.
843 << \notes \new Staff \relative c'' { \time 1/4 c16[ c c c]
850 \lyrics \new Lyrics \with {
851 % Otherwise lyrics are so far apart that hyphens don't disappear
852 \override SeparationItem #'padding = #0.0
853 }{ bla -- bla -- bla -- bla --
854 bla -- bla -- bla -- bla --
856 \override LyricHyphen #'minimum-length = #0.7
857 \override LyricHyphen #'spacing-procedure =
858 #Hyphen_spanner::set_spacing_rods
860 bla -- bla -- bla -- bla
867 \StaffContext \remove "Time_signature_engraver"
878 Program reference: @internalsref{HyphenEvent},
879 @internalsref{ExtenderEvent}, @internalsref{LyricHyphen}, and
880 @internalsref{LyricExtender}
884 @node The Lyrics context
885 @subsection The Lyrics context
888 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
890 \context Lyrics \lyricmode @dots{}
893 @cindex automatic syllable durations
894 @cindex @code{\lyricsto}
895 @cindex lyrics and melodies
897 This will place the lyrics according to the durations that were
898 entered. The lyrics can also be aligned under a given melody
899 automatically. In this case, it is no longer necessary to enter the
900 correct duration for each syllable. This is achieved by combining the
901 melody and the lyrics with the @code{\lyricsto} expression
903 \lyricsto @var{name} \new Lyrics @dots{}
906 This aligns the lyrics to the
907 notes of the @internalsref{Voice} context called @var{name}, which has
908 to exist. Therefore, normally the @code{Voice} is specified first, and
909 then the lyrics are specified with @code{\lyricsto}. The command
910 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
911 @code{\lyricmode} keyword may be omitted.
913 For different or more complex orderings, the best way is to setup the
914 hierarchy of staves and lyrics first, e.g.,
916 \context ChoirStaff <<
917 \context Lyrics = sopranoLyrics @{ s1 @}
918 \context Voice = soprano @{ @emph{music} @}
919 \context Lyrics = tenorLyrics @{ s1 @}
920 \context Voice = tenor @{ @emph{music} @}
923 and then combine the appropriate melodies and lyric lines
925 \lyricsto "soprano" \context Lyrics = sopranoLyrics
930 The final input would resemble
933 <<\context ChoirStaff << @emph{setup the music} >>
934 \lyricsto "soprano" @emph{etc}
935 \lyricsto "alto" @emph{etc}
941 The @code{\lyricsto} command detects melismata: it only puts one
942 syllable under a tied or slurred group of notes. If you want to force
943 an unslurred group of notes to be a melisma, insert @code{\melisma}
944 after the first note of the group, and @code{\melismaEnd} after the
947 @lilypond[quote,relative=2,raggedright,fragment,verbatim]
949 \context Voice = "lala" {
957 \lyricsto "lala" \new Lyrics {
963 In addition, notes are considered a melisma if they are manually
964 beamed, and automatic beaming (see @ref{Setting automatic beam
965 behavior}) is switched off.
971 The criteria for deciding melismata can
972 be tuned with the property @code{melismaBusyProperties}. See
973 @internalsref{Melisma_translator} in the program reference for more
978 Lyrics can also be entered without @code{\lyricsto}. In this case the
979 duration of each syllable must be entered explicitly, for example,
986 The alignment to a melody can be specified with the
987 @code{associatedVoice} property,
990 \set associatedVoice = #"lala"
994 The value of the property (here: @code{"lala"}) should be the name of
995 a @internalsref{Voice} context. Without this setting, extender lines
996 will not be formatted properly.
998 Here is an example demonstrating manual lyric durations,
1000 @lilypond[relative=1,raggedright,verbatim,fragment,quote]
1001 << \context Voice = melody {
1005 \new Lyrics \lyricmode {
1006 \set associatedVoice = #"melody"
1012 @cindex choral score
1014 A complete example of a SATB score setup is in section
1015 @ref{Vocal ensembles}.
1020 @code{\melisma}, @code{\melismaEnd}
1021 @cindex @code{\melismaEnd}
1022 @cindex @code{\melisma}
1026 Program reference: @internalsref{LyricCombineMusic},
1027 @internalsref{Lyrics}, @internalsref{Melisma_translator}.
1030 @inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly}.
1031 @c TODO: make separate section for melismata
1035 Melismata are not detected automatically, and extender lines must be
1039 @c TODO: document \new Staff << Voice \lyricsto >> bug
1041 @node Flexibility in alignment
1042 @subsection Flexibility in alignment
1045 Often, different stanzas of one song are put to one melody in slightly
1046 differing ways. Such variations can still be captured with
1049 One possibility is that the text has a melisma in one stanza, but
1050 multiple syllables in another one. One solution is to make the faster
1051 voice ignore the melisma. This is done by setting
1052 @code{ignoreMelismata} in the Lyrics context.
1054 There has one tricky aspect. The setting for @code{ignoreMelismata}
1055 must be set one syllable @emph{before} the non-melismatic syllable
1056 in the text, as shown here,
1058 @lilypond[verbatim,raggedright,quote]
1060 \relative \context Voice = "lahlah" {
1061 \set Staff.autoBeaming = ##f
1067 \new Lyrics \lyricsto "lahlah" {
1070 \new Lyrics \lyricsto "lahlah" {
1071 \set ignoreMelismata = ##t % applies to "fas"
1073 \unset ignoreMelismata
1080 The @code{ignoreMelismata} applies to the syllable ``fas'', so it
1081 should be entered before ``go''.
1083 The reverse is also possible: making a lyric line slower than the
1084 standard. This can be achieved by insert @code{\skip}s into the
1085 lyrics. For every @code{\skip}, the text will be delayed another note.
1088 @lilypond[verbatim,raggedright,quote]
1089 \relative { c c g' }
1096 More complex variations in text underlay are possible. It is possible
1097 to switch the melody for a line of lyrics during the text. This is
1098 done by setting the @code{associatedVoice} property. In the example
1100 @lilypond[raggedright,quote]
1102 \relative \context Voice = "lahlah" {
1103 \set Staff.autoBeaming = ##f
1106 \context Voice = alternative {
1109 % show associations clearly.
1110 \override NoteColumn #'force-hshift = #-3
1121 \new Lyrics \lyricsto "lahlah" {
1122 Ju -- ras -- sic Park
1124 \new Lyrics \lyricsto "lahlah" {
1125 % Tricky: need to set associatedVoice
1126 % one syllable too soon!
1127 \set associatedVoice = alternative % applies to "ran"
1131 \set associatedVoice = lahlah % applies to "rus"
1137 the text for the first stanza is set to a melody called ``lahlah'',
1140 \new Lyrics \lyricsto "lahlah" @{
1141 Ju -- ras -- sic Park
1146 The second stanza initially is set to the @code{lahlah} context, but
1147 for the syllable ``ran'', it switches to a different melody.
1148 This is achieved with
1150 \set associatedVoice = alternative
1154 Here, @code{alternative} is the name of the @code{Voice} context
1155 containing the triplet.
1157 Again, the command must be one syllable too early, before ``Ty'' in
1161 \new Lyrics \lyricsto "lahlah" @{
1162 \set associatedVoice = alternative % applies to "ran"
1166 \set associatedVoice = lahlah % applies to "rus"
1172 The underlay is switched back to the starting situation by assigning
1173 @code{lahlah} to @code{associatedVoice}.
1179 @subsection More stanzas
1181 @cindex phrasing, in lyrics
1184 @cindex stanza number
1185 @cindex singer's names
1186 @cindex name of singer
1188 Stanza numbers can be added by setting @code{stanza}, e.g.,
1190 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
1192 \time 3/4 g2 e4 a2 f4 g2.
1195 Hi, my name is Bert.
1198 Oh, che -- ri, je t'aime
1202 These numbers are put just before the start of first syllable.
1204 Names of singers can also be added. They are printed at the start of
1205 the line, just like instrument names. They are created by setting
1206 @code{vocalName}. A short version may be entered as @code{vocNam}.
1209 @lilypond[fragment,raggedright,quote,verbatim,relative=2]
1211 \time 3/4 g2 e4 a2 f4 g2.
1213 \set vocalName = "Bert "
1214 Hi, my name is Bert.
1216 \set vocalName = "Ernie "
1217 Oh, che -- ri, je t'aime
1223 Program reference: Layout objects @internalsref{LyricText} and
1224 @internalsref{VocalName}. Music expressions
1225 @internalsref{LyricEvent}.
1233 The term @emph{ambitus} denotes a range of pitches for a given voice
1234 in a part of music. It may also denote the pitch range that a musical
1235 instrument is capable of playing. Ambits are printed on vocal parts,
1236 so performers can easily determine it meets their capabilities.
1238 Ambits are denoted at the beginning of a piece near the initial clef.
1239 The range is graphically specified by two note heads that represent the
1240 minimum and maximum pitch. To print such ambits, add the
1241 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
1248 \consists Ambitus_engraver
1253 This results in the following output
1255 @lilypond[quote,raggedright]
1259 \consists Ambitus_engraver
1263 \relative \new Staff {
1268 If you have multiple voices in a single staff and you want a single
1269 ambitus per staff rather than per each voice, add the
1270 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
1271 rather than to the @internalsref{Voice} context. Here is an example,
1273 @lilypond[verbatim,raggedright,quote]
1275 \consists "Ambitus_engraver"
1279 \remove "Ambitus_engraver"
1281 \override Ambitus #'X-offset-callbacks
1282 = #(list (lambda (grob axis) -1.0))
1287 \remove "Ambitus_engraver"
1296 This example uses one advanced feature,
1299 \override Ambitus #'X-offset-callbacks
1300 = #(list (lambda (grob axis) -1.0))
1304 This code moves the ambitus to the left. The same effect could have
1305 been achieved with @code{extra-offset}, but then the formatting system
1306 would not reserve space for the moved object.
1310 Program reference: @internalsref{Ambitus},
1311 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1312 @internalsref{AmbitusAccidental}.
1314 Examples: @inputfileref{input/@/regression,ambitus@/.ly}.
1318 There is no collision handling in the case of multiple per-voice
1321 @node Other vocal issues
1322 @subsection Other vocal issue
1325 yeah, I'm giving up somewhat by stuffing a bunch of things in
1326 here. But at least they're in the manual now; it's easier to
1327 move them around in the manual once they're already here.
1329 Besides, if users complain about everything stuffed in here, I
1330 can ask them for specific instructions about where to move these
1331 examples, and that might get them more involved in the docs. -gp
1334 You can display alternate (or divisi) lyrics by naming voice
1335 contexts and attaching lyrics to those specific contexts.
1337 @lilypond[verbatim,raggedright,quote]
1339 \context Voice = "melody" {
1344 \context Voice = splitpart { \voiceTwo c4 }
1349 \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
1350 \new Lyrics \lyricsto "splitpart" { shall }
1355 You can use this trick to display different lyrics for a repeated
1358 @lilypond[verbatim,raggedright,quote]
1360 \context Voice = melody \relative c' {
1362 \context Voice = verse \repeat volta 2 {c4 d e f | g1 | }
1364 \lyricsto melody \context Lyrics = mainlyrics \lyricmode {
1367 \lyricsto verse \context Lyrics = mainlyrics \lyricmode {
1369 \lyricsto verse \context Lyrics = repeatlyrics \lyricmode {
1370 dodo rere mimi fafa solsol }
1376 @node Other instrument specific notation, Tablatures, Vocal music, Notation manual
1377 @section Other instrument specific notation
1379 This section includes extra information for writing string music, and may
1380 include extra information for other instruments in the future.
1386 @node Harmonic notes, , Other instrument specific notation, Other instrument specific notation
1387 @subsection Harmonic notes
1389 @cindex artificial harmonics
1392 Artificial harmonics are notated with a different notehead style. They
1393 are entered by marking the harmonic pitch with @code{\harmonic}.
1395 @lilypond[raggedright,verbatim,quote,fragment]
1400 @node Tablatures, Popular music, Other instrument specific notation, Notation manual
1404 @cindex guitar tablature
1406 Tablature notation is used for notating music for plucked string
1407 instruments. Pitches are not denoted with note heads, but by
1408 indicating on which string and fret a note must be played. LilyPond
1409 offers limited support for tablature.
1412 * Tablatures basic::
1413 * Non-guitar tablatures::
1416 @node Tablatures basic, Non-guitar tablatures, Tablatures, Tablatures
1417 @subsection Tablatures basic
1418 @cindex Tablatures basic
1420 The string number associated to a note is given as a backslash
1421 followed by a number, e.g., @code{c4\3} for a C quarter on the third
1422 string. By default, string 1 is the highest one, and the tuning
1423 defaults to the standard guitar tuning (with 6 strings). The notes
1424 are printed as tablature, by using @internalsref{TabStaff} and
1425 @internalsref{TabVoice} contexts
1427 @lilypond[quote,raggedright,fragment,verbatim]
1434 @cindex @code{minimumFret}
1437 When no string is specified, the first string that does not give a
1438 fret number less than @code{minimumFret} is selected. The default
1439 value for @code{minimumFret} is 0
1444 \set TabStaff.minimumFret = #8
1447 @lilypond[quote,raggedright]
1451 \set TabStaff.minimumFret = #8
1454 \context StaffGroup <<
1455 \context Staff { \clef "G_8" \frag }
1456 \context TabStaff { \frag }
1462 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}, and
1463 @internalsref{StringNumberEvent}.
1467 Chords are not handled in a special way, and hence the automatic
1468 string selector may easily select the same string to two notes in a
1472 @node Non-guitar tablatures, , Tablatures basic, Tablatures
1473 @subsection Non-guitar tablatures
1474 @cindex Non-guitar tablatures
1476 You can change the number of strings, by setting the number of lines
1477 in the @internalsref{TabStaff}.
1479 You can change the tuning of the strings. A string tuning is given as
1480 a Scheme list with one integer number for each string, the number
1481 being the pitch (measured in semitones relative to middle C) of an
1482 open string. The numbers specified for @code{stringTuning} are the
1483 numbers of semitones to subtract or add, starting the specified pitch
1484 by default middle C, in string order. In the next example,
1485 @code{stringTunings} is set for the pitches e, a, d, and g
1487 @lilypond[quote,raggedright,fragment,verbatim]
1488 \context TabStaff <<
1489 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
1491 a,4 c' a e' e c' a e'
1498 No guitar special effects have been implemented.
1502 Program reference: @internalsref{Tab_note_heads_engraver}.
1505 @node Popular music, Orchestral music, Tablatures, Notation manual
1506 @section Popular music
1508 This section discusses issues that arise when writing popular music.
1513 * Printing chord names::
1517 @node Chord names, Chords mode, Popular music, Popular music
1518 @subsection Chord names
1521 LilyPond has support for printing chord names. Chords may be entered
1522 in musical chord notation, i.e., @code{< .. >}, but they can also be
1523 entered by name. Internally, the chords are represented as a set of
1524 pitches, so they can be transposed
1527 @lilypond[quote,raggedright,verbatim,raggedright]
1528 twoWays = \transpose c c' {
1537 << \context ChordNames \twoWays
1538 \context Voice \twoWays >>
1541 This example also shows that the chord printing routines do not try to
1542 be intelligent. The last chord (@code{f bes d}) is not interpreted as
1545 @c this menu isn't needed.
1549 * Printing chord names::
1554 @subsection Chords mode
1557 In chord mode sets of pitches (chords) are entered with normal note
1558 names. A chord is entered by the root, which is entered like a
1561 @lilypond[quote,raggedright,fragment,verbatim]
1562 \chordmode { es4. d8 c2 }
1566 The mode is introduced by the keyword @code{\chordmode}.
1571 Other chords may be entered by suffixing a colon and introducing a
1572 modifier (which may include a number if desired)
1573 @lilypond[quote,fragment,verbatim]
1574 \chordmode { e1:m e1:7 e1:m7 }
1576 The first number following the root is taken to be the `type' of the
1577 chord, thirds are added to the root until it reaches the specified
1579 @lilypond[quote,fragment,verbatim]
1580 \chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
1583 @cindex root of chord
1584 @cindex additions, in chords
1585 @cindex removals, in chords
1587 More complex chords may also be constructed adding separate steps
1588 to a chord. Additions are added after the number following
1589 the colon and are separated by dots
1590 @lilypond[quote,verbatim,fragment]
1591 \chordmode { c:5.6 c:3.7.8 c:3.6.13 }
1593 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
1595 @lilypond[quote,verbatim,fragment]
1596 \chordmode { c:7+ c:5+.3- c:3-.5-.7- }
1598 Removals are specified similarly and are introduced by a caret. They
1599 must come after the additions
1600 @lilypond[quote,verbatim,fragment]
1601 \chordmode { c^3 c:7^5 c:9^3.5 }
1604 Modifiers can be used to change pitches. The following modifiers are
1609 The minor chord. This modifier lowers the 3rd and (if present) the 7th step.
1612 The diminished chord. This modifier lowers the 3rd, 5th and (if present)
1616 The augmented chord. This modifier raises the 5th step.
1619 The major 7th chord. This modifier raises the 7th step if present.
1622 The suspended 4th or 2nd. This modifier removes the 3rd
1623 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
1627 Modifiers can be mixed with additions
1628 @lilypond[quote,verbatim,fragment]
1629 \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
1632 @cindex modifiers, in chords.
1639 Since an unaltered 11 does not sound good when combined with an
1640 unaltered 3, the 11 is removed in this case (unless it is added
1642 @lilypond[quote,raggedright,fragment,verbatim]
1643 \chordmode { c:13 c:13.11 c:m13 }
1648 An inversion (putting one pitch of the chord on the bottom), as well
1649 as bass notes, can be specified by appending
1650 @code{/}@var{pitch} to the chord
1651 @lilypond[quote,raggedright,fragment,verbatim]
1652 \chordmode { c1 c/g c/f }
1656 A bass note can be added instead transposed out of the chord,
1657 by using @code{/+}@var{pitch}.
1659 @lilypond[quote,raggedright,fragment,verbatim]
1660 \chordmode { c1 c/+g c/+f }
1663 Chords is a mode similar to @code{\lyricmode}, etc. Most
1664 of the commands continue to work, for example, @code{r} and
1665 @code{\skip} can be used to insert rests and spaces, and property
1666 commands may be used to change various settings.
1672 Each step can only be present in a chord once. The following
1673 simply produces the augmented chord, since @code{5+} is interpreted
1676 @lilypond[quote,raggedright,verbatim,fragment]
1677 \chordmode { c:5.5-.5+ }
1681 @node Printing chord names
1682 @subsection Printing chord names
1684 @cindex printing chord names
1688 For displaying printed chord names, use the @internalsref{ChordNames} context.
1689 The chords may be entered either using the notation
1690 described above, or directly using @code{<} and @code{>}
1692 @lilypond[quote,verbatim,raggedright]
1694 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
1697 \context ChordNames \harmonies
1698 \context Staff \harmonies
1702 You can make the chord changes stand out by setting
1703 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
1704 display chord names when there is a change in the chords scheme and at
1705 the start of a new line
1707 @lilypond[quote,verbatim,raggedright]
1708 harmonies = \chordmode {
1709 c1:m c:m \break c:m c:m d
1712 \context ChordNames {
1713 \set chordChanges = ##t
1715 \context Staff \transpose c c' \harmonies
1719 The previous examples all show chords over a staff. This is not
1720 necessary. Chords may also be printed separately. It may be necessary
1721 to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
1722 for showing repeats.
1724 @lilypond[raggedright,verbatim]
1725 \new ChordNames \with {
1726 \override BarLine #'bar-size = #4
1727 voltaOnThisStaff = ##t
1728 \consists Bar_engraver
1729 \consists "Volta_engraver"
1731 \repeat volta 2 \chordmode {
1740 The default chord name layout is a system for Jazz music, proposed by
1741 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
1742 following properties
1745 @cindex @code{chordNameExceptions}
1746 @item chordNameExceptions
1747 This is a list that contains the chords that have special formatting.
1749 The exceptions list should be encoded as
1751 @{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
1754 To get this information into @code{chordNameExceptions} takes a little
1755 manoeuvring. The following code transforms @code{chExceptionMusic}
1756 (which is a sequential music) into a list of exceptions.
1758 (sequential-music-to-chord-exceptions chExceptionMusic #t)
1763 (sequential-music-to-chord-exceptions chExceptionMusic #t)
1766 adds the new exceptions to the default ones, which are defined in
1767 @file{ly/@/chord@/-modifier@/-init@/.ly}.
1769 For an example of tuning this property, see also
1770 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly}.
1771 @cindex exceptions, chord names.
1774 @cindex @code{majorSevenSymbol}
1775 @item majorSevenSymbol
1776 This property contains the markup object used for the 7th step, when
1777 it is major. Predefined options are @code{whiteTriangleMarkup} and
1778 @code{blackTriangleMarkup}. See
1779 @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly} for an example.
1781 @cindex @code{chordNameSeparator}
1782 @item chordNameSeparator
1783 Different parts of a chord name are normally separated by a
1784 slash. By setting @code{chordNameSeparator}, you can specify other
1786 @lilypond[quote,raggedright,fragment,verbatim]
1787 \context ChordNames \chordmode {
1789 \set chordNameSeparator
1790 = \markup { \typewriter "|" }
1795 @cindex @code{chordRootNamer}
1796 @item chordRootNamer
1797 The root of a chord is usually printed as a letter with an optional
1798 alteration. The transformation from pitch to letter is done by this
1799 function. Special note names (for example, the German ``H'' for a
1800 B-chord) can be produced by storing a new function in this property.
1802 @cindex @code{chordNoteNamer}
1803 @item chordNoteNamer
1804 The default is to print single pitch, e.g., the bass note, using the
1805 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
1806 to a specialized function to change this behavior. For example, the
1807 base can be printed in lower case.
1811 The predefined variables @code{\germanChords},
1812 @code{\semiGermanChords} set these variables. The effect is
1815 @lilypondfile[raggedright]{chord-names-german.ly}
1817 There are also two other chord name schemes implemented: an alternate
1818 Jazz chord notation, and a systematic scheme called Banter chords. The
1819 alternate Jazz notation is also shown on the chart in @ref{Chord name
1820 chart}. Turning on these styles is described in the input file
1821 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
1825 @cindex chords, jazz
1830 @cindex @code{\germanChords}
1831 @code{\germanChords},
1832 @cindex @code{\semiGermanChords}
1833 @code{\semiGermanChords}.
1840 Examples: @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly},
1841 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly},
1842 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
1845 Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
1846 @file{scm/@/chord@/-entry@/.scm}.
1851 Chord names are determined solely from the list of pitches. Chord
1852 inversions are not identified, and neither are added bass notes. This
1853 may result in strange chord names when chords are entered with the
1854 @code{< .. >} syntax.
1858 @subsection Fret diagrams
1859 @cindex fret diagrams
1860 @cindex chord diagrams
1862 Fret diagrams can be added to music as a markup to the desired note. The
1863 markup contains information about the desired fret diagram, as shown in the
1866 @lilypond[verbatim, raggedright, quote]
1868 d' ^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
1870 fis' ^\markup \override #'(size . 0.75) {
1871 \override #'(finger-code . below-string) {
1872 \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
1873 (place-fret 5 4 3) (place-fret 4 4 4)
1874 (place-fret 3 3 2) (place-fret 2 2 1)
1879 c' ^\markup \override #'(dot-radius . 0.35) {
1880 \override #'(finger-code . in-dot) {
1881 \override #'(dot-color . white) {
1882 \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
1891 There are three different fret-diagram markup interfaces: standard, terse,
1892 and verbose. The three interfaces produce equivalent markups, but have
1893 varying amounts of information in the markup string. Details about the
1894 markup interfaces are found at @ref{Overview of text markup commands}.
1896 You can set a number of graphical properties according to your preference.
1897 Details about the property interface to fret diagrams are found at
1898 @internalsref{fret-diagram-interface}.
1903 Examples: @inputfileref{input/@/test,fret@/-diagram@/.ly}
1907 @node Ancient notation
1908 @section Ancient notation
1910 @cindex Vaticana, Editio
1911 @cindex Medicaea, Editio
1916 Support for ancient notation includes features for mensural notation
1917 and Gregorian Chant notation. There is also limited support for
1918 figured bass notation.
1920 Many graphical objects provide a @code{style} property, see
1923 @ref{Ancient note heads},
1925 @ref{Ancient accidentals},
1927 @ref{Ancient rests},
1929 @ref{Ancient clefs},
1931 @ref{Ancient flags},
1933 @ref{Ancient time signatures}.
1936 By manipulating such a grob property, the typographical appearance of
1937 the affected graphical objects can be accommodated for a specific
1938 notation flavor without the need for introducing any new notational
1941 In addition to the standard articulation signs described in section
1942 @ref{Articulations}, specific articulation signs for ancient notation
1947 @ref{Ancient articulations}
1950 Other aspects of ancient notation can not that easily be expressed
1951 in terms of just changing a style property of a graphical object or
1952 adding articulation signs. Some notational concepts are introduced
1953 specifically for ancient notation,
1964 If this all is too much of documentation for you, and you just want to
1965 dive into typesetting without worrying too much about the details on
1966 how to customize a context, you may have a look at the predefined
1967 contexts. Use them to set up predefined style-specific voice and
1968 staff contexts, and directly go ahead with the note entry,
1972 @ref{Gregorian Chant contexts},
1974 @ref{Mensural contexts}.
1977 There is limited support for figured bass notation which came
1978 up during the baroque period.
1985 Here are all suptopics at a glance:
1988 * Ancient note heads::
1989 * Ancient accidentals::
1993 * Ancient time signatures::
1994 * Ancient articulations::
1998 * Gregorian Chant contexts::
1999 * Mensural contexts::
2004 @node Ancient note heads
2005 @subsection Ancient note heads
2010 For ancient notation, a note head style other than the @code{default}
2011 style may be chosen. This is accomplished by setting the @code{style}
2012 property of the @internalsref{NoteHead} object to @code{baroque},
2013 @code{neomensural} or @code{mensural}. The @code{baroque} style
2014 differs from the @code{default} style only in using a square shape
2015 for @code{\breve} note heads. The @code{neomensural} style differs from
2016 the @code{baroque} style in that it uses rhomboidal heads for whole notes
2017 and all smaller durations. Stems are centered on the note heads.
2018 This style is particularly useful when transcribing mensural music,
2019 e.g., for the incipit. The @code{mensural} style finally produces note
2020 heads that mimic the look of note heads in historic printings of the
2023 The following example demonstrates the @code{neomensural} style
2025 @lilypond[quote,fragment,raggedright,verbatim]
2026 \set Score.skipBars = ##t
2027 \override NoteHead #'style = #'neomensural
2028 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
2031 When typesetting a piece in Gregorian Chant notation, the
2032 @internalsref{Gregorian_ligature_engraver} will automatically select
2033 the proper note heads, so there is no need to explicitly set the
2034 note head style. Still, the note head style can be set, e.g., to
2035 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
2036 @internalsref{Mensural_ligature_engraver} is used to automatically
2037 assemble mensural ligatures. See @ref{Ligatures} for how ligature
2042 Examples: @inputfileref{input/@/regression,note@/-head@/-style@/.ly} gives an
2043 overview over all available note head styles.
2046 @node Ancient accidentals
2047 @subsection Ancient accidentals
2052 Use the @code{style} property of grob @internalsref{Accidental} to
2053 select ancient accidentals. Supported styles are
2054 @code{mensural}, @code{vaticana}, @code{hufnagel}, and @code{medicaea}.
2056 @lilypond[quote,raggedright,staffsize=26]
2063 \line { " " \musicglyph #"accidentals.vaticana-1"
2064 " " \musicglyph #"accidentals.vaticana0" }
2068 \line { " " \musicglyph #"accidentals.medicaea-1" }
2072 \line { " " \musicglyph #"accidentals.hufnagel-1" }
2076 \line { " " \musicglyph #"accidentals.mensural-1"
2077 " " \musicglyph #"accidentals.mensural1" }
2083 \context { \Score \remove "Bar_number_engraver" }
2085 \remove "Clef_engraver"
2086 \remove "Key_engraver"
2087 \remove "Time_signature_engraver"
2088 \remove "Staff_symbol_engraver"
2089 minimumVerticalExtent = ##f
2095 As shown, not all accidentals are supported by each style. When
2096 trying to access an unsupported accidental, LilyPond will switch to a
2097 different style, as demonstrated in
2098 @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2100 Similarly to local accidentals, the style of the key signature can be
2101 controlled by the @code{style} property of the
2102 @internalsref{KeySignature} grob.
2106 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
2107 @ref{Accidentals} give a general introduction of the use of
2108 accidentals. @ref{Key signature} gives a general introduction of
2109 the use of key signatures.
2111 Program reference: @internalsref{KeySignature}.
2113 Examples: @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2116 @subsection Ancient rests
2121 Use the @code{style} property of grob @internalsref{Rest} to select
2122 ancient rests. Supported styles are @code{classical},
2123 @code{neomensural}, and @code{mensural}. @code{classical} differs
2124 from the @code{default} style only in that the quarter rest looks like
2125 a horizontally mirrored 8th rest. The @code{neomensural} style suits
2126 well for, e.g., the incipit of a transcribed mensural piece of music.
2127 The @code{mensural} style finally mimics the appearance of rests as
2128 in historic prints of the 16th century.
2130 The following example demonstrates the @code{neomensural} style
2132 @lilypond[quote,fragment,raggedright,verbatim]
2133 \set Score.skipBars = ##t
2134 \override Rest #'style = #'neomensural
2135 r\longa r\breve r1 r2 r4 r8 r16
2138 There are no 32th and 64th rests specifically for the mensural or
2139 neo-mensural style. Instead, the rests from the default style will be
2140 taken. See @inputfileref{input/@/test,rests@/.ly} for a chart of all
2143 There are no rests in Gregorian Chant notation; instead, it uses
2148 In this manual: @ref{Rests} gives a general introduction into the use of rests.
2152 @subsection Ancient clefs
2157 LilyPond supports a variety of clefs, many of them ancient.
2159 The following table shows all ancient clefs that are supported via the
2160 @code{\clef} command. Some of the clefs use the same glyph, but
2161 differ only with respect to the line they are printed on. In such
2162 cases, a trailing number in the name is used to enumerate these clefs.
2163 Still, you can manually force a clef glyph to be typeset on an
2164 arbitrary line, as described in @ref{Clef}. The note printed to the
2165 right side of each clef in the example column denotes the @code{c'}
2166 with respect to that clef.
2168 @multitable @columnfractions .4 .4 .2
2177 modern style mensural C clef
2179 @code{neomensural-c1}, @code{neomensural-c2},@*
2180 @code{neomensural-c3}, @code{neomensural-c4}
2182 @lilypond[fragment,relative=1,notime]
2183 \clef "neomensural-c2" c
2187 petrucci style mensural C clefs, for use on different staff lines
2188 (the examples show the 2nd staff line C clef)
2190 @code{petrucci-c1}, @code{petrucci-c2},@*
2191 @code{petrucci-c3}, @code{petrucci-c4},@*
2194 @lilypond[fragment,relative=1,notime]
2195 \clef "petrucci-c2" c
2199 petrucci style mensural F clef
2203 @lilypond[fragment,relative=1,notime]
2204 \clef "petrucci-f" c
2208 petrucci style mensural G clef
2212 @lilypond[fragment,relative=1,notime]
2213 \clef "petrucci-g" c
2217 historic style mensural C clef
2219 @code{mensural-c1}, @code{mensural-c2},@*
2220 @code{mensural-c3}, @code{mensural-c4}
2222 @lilypond[fragment,relative=1,notime]
2223 \clef "mensural-c2" c
2227 historic style mensural F clef
2231 @lilypond[fragment,relative=1,notime]
2232 \clef "mensural-f" c
2236 historic style mensural G clef
2240 @lilypond[fragment,relative=1,notime]
2241 \clef "mensural-g" c
2245 Editio Vaticana style do clef
2247 @code{vaticana-do1}, @code{vaticana-do2},@*
2250 @lilypond[fragment,relative=1,notime]
2251 \override Staff.StaffSymbol #'line-count = #4
2252 \clef "vaticana-do2" c
2256 Editio Vaticana style fa clef
2258 @code{vaticana-fa1}, @code{vaticana-fa2}
2260 @lilypond[fragment,relative=1,notime]
2261 \override Staff.StaffSymbol #'line-count = #4
2262 \clef "vaticana-fa2" c
2266 Editio Medicaea style do clef
2268 @code{medicaea-do1}, @code{medicaea-do2},@*
2271 @lilypond[fragment,relative=1,notime]
2272 \override Staff.StaffSymbol #'line-count = #4
2273 \clef "medicaea-do2" c
2277 Editio Medicaea style fa clef
2279 @code{medicaea-fa1}, @code{medicaea-fa2}
2281 @lilypond[fragment,relative=1,notime]
2282 \override Staff.StaffSymbol #'line-count = #4
2283 \clef "medicaea-fa2" c
2287 historic style hufnagel do clef
2289 @code{hufnagel-do1}, @code{hufnagel-do2},@*
2292 @lilypond[fragment,relative=1,notime]
2293 \override Staff.StaffSymbol #'line-count = #4
2294 \clef "hufnagel-do2" c
2298 historic style hufnagel fa clef
2300 @code{hufnagel-fa1}, @code{hufnagel-fa2}
2302 @lilypond[fragment,relative=1,notime]
2303 \override Staff.StaffSymbol #'line-count = #4
2304 \clef "hufnagel-fa2" c
2308 historic style hufnagel combined do/fa clef
2310 @code{hufnagel-do-fa}
2312 @lilypond[fragment,relative=1,notime]
2313 \clef "hufnagel-do-fa" c
2319 @emph{Modern style} means ``as is typeset in contemporary editions of
2320 transcribed mensural music''.
2322 @emph{Petrucci style} means ``inspired by printings published by the
2323 famous engraver Petrucci (1466-1539)''.
2325 @emph{Historic style} means ``as was typeset or written in historic
2326 editions (other than those of Petrucci)''.
2328 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
2330 Petrucci used C clefs with differently balanced left-side vertical
2331 beams, depending on which staff line it is printed.
2335 In this manual: see @ref{Clef}.
2339 The mensural g clef is mapped to the Petrucci g clef.
2344 @subsection Ancient flags
2349 Use the @code{flag-style} property of grob @internalsref{Stem} to
2350 select ancient flags. Besides the @code{default} flag style,
2351 only the @code{mensural} style is supported
2353 @lilypond[quote,fragment,raggedright,verbatim]
2354 \override Stem #'flag-style = #'mensural
2355 \override Stem #'thickness = #1.0
2356 \override NoteHead #'style = #'mensural
2358 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
2359 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
2362 Note that the innermost flare of each mensural flag always is
2363 vertically aligned with a staff line.
2365 There is no particular flag style for neo-mensural notation. Hence,
2366 when typesetting the incipit of a transcribed piece of mensural
2367 music, the default flag style should be used. There are no flags in
2368 Gregorian Chant notation.
2372 The attachment of ancient flags to stems is slightly off due to a
2373 change in early 2.3.x.
2375 Vertically aligning each flag with a staff line assumes that stems
2376 always end either exactly on or exactly in the middle between two
2377 staff lines. This may not always be true when using advanced layout
2378 features of classical notation (which however are typically out of
2379 scope for mensural notation).
2381 @node Ancient time signatures
2382 @subsection Ancient time signatures
2384 @cindex time signatures
2387 There is limited support for mensural time signatures. The
2388 glyphs are hard-wired to particular time fractions. In other words,
2389 to get a particular mensural signature glyph with the @code{\time n/m}
2390 command, @code{n} and @code{m} have to be chosen according to the
2393 @lilypond[quote,raggedright]
2397 \remove Staff_symbol_engraver
2398 \remove Clef_engraver
2399 \remove Time_signature_engraver
2402 \set Score.timing = ##f
2403 \set Score.barAlways = ##t
2404 s_\markup { "\\time 4/4" }
2405 ^\markup { " " \musicglyph #"timesig.neomensural44" }
2407 s_\markup { "\\time 2/2" }
2408 ^\markup { " " \musicglyph #"timesig.neomensural22" }
2410 s_\markup { "\\time 6/4" }
2411 ^\markup { " " \musicglyph #"timesig.neomensural64" }
2413 s_\markup { "\\time 6/8" }
2414 ^\markup { " " \musicglyph #"timesig.neomensural68" }
2416 s_\markup { "\\time 3/2" }
2417 ^\markup { " " \musicglyph #"timesig.neomensural32" }
2419 s_\markup { "\\time 3/4" }
2420 ^\markup { " " \musicglyph #"timesig.neomensural34" }
2422 s_\markup { "\\time 9/4" }
2423 ^\markup { " " \musicglyph #"timesig.neomensural94" }
2425 s_\markup { "\\time 9/8" }
2426 ^\markup { " " \musicglyph #"timesig.neomensural98" }
2428 s_\markup { "\\time 4/8" }
2429 ^\markup { " " \musicglyph #"timesig.neomensural48" }
2431 s_\markup { "\\time 2/4" }
2432 ^\markup { " " \musicglyph #"timesig.neomensural24" }
2436 Use the @code{style} property of grob @internalsref{TimeSignature} to
2437 select ancient time signatures. Supported styles are
2438 @code{neomensural} and @code{mensural}. The above table uses the
2439 @code{neomensural} style. This style is appropriate for the
2440 incipit of transcriptions of mensural pieces. The @code{mensural}
2441 style mimics the look of historical printings of the 16th century.
2443 The following examples show the differences in style,
2445 @lilypond[raggedright,fragment,relative=1,quote]
2449 c1^\markup { \hspace #-2.0 \typewriter default }
2451 \override Staff.TimeSignature #'style = #'numbered
2453 c1^\markup { \hspace #-2.0 \typewriter numbered }
2455 \override Staff.TimeSignature #'style = #'mensural
2457 c1^\markup { \hspace #-2.0 \typewriter mensural }
2459 \override Staff.TimeSignature #'style = #'neomensural
2461 c1^\markup { \hspace #-2.0 \typewriter neomensural }
2462 \override Staff.TimeSignature #'style = #'single-digit
2464 c1^\markup { \hspace #-2.0 \typewriter single-digit }
2470 This manual: @ref{Time signature} gives a general introduction to
2471 the use of time signatures.
2475 Ratios of note durations do not change with the time signature. For
2476 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
2477 be made by hand, by setting
2480 breveTP = #(ly:make-duration -1 0 3 2)
2486 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
2488 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
2489 addressable with @code{\time}. Use a @code{\markup} instead
2491 @node Ancient articulations
2492 @subsection Ancient articulations
2494 @cindex articulations
2496 In addition to the standard articulation signs described in section
2497 @ref{Articulations}, articulation signs for ancient notation are
2498 provided. These are specifically designed for use with notation in
2499 Editio Vaticana style.
2501 @lilypond[quote,raggedright,verbatim]
2502 \include "gregorian-init.ly"
2504 \context VaticanaVoice {
2505 \override TextScript #'font-family = #'typewriter
2506 \override TextScript #'font-shape = #'upright
2507 \override Script #'padding = #-0.1
2509 a4\circulus_"circulus" s1
2510 a4\semicirculus_"semicirculus" s1 s
2511 a4\accentus_"accentus" s1
2512 \[ a4_"episem" \episemInitium \pes b \flexa a \episemFinis \]
2519 Some articulations are vertically placed too closely to the
2520 correpsonding note heads.
2523 @subsection Custodes
2528 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
2529 symbol that appears at the end of a staff. It anticipates the pitch
2530 of the first note(s) of the following line thus helping the performer
2531 to manage line breaks during performance.
2533 Custodes were frequently used in music notation until the 17th
2534 century. Nowadays, they have survived only in a few particular forms
2535 of musical notation such as contemporary editions of Gregorian chant
2536 like the @emph{editio vaticana}. There are different custos glyphs
2537 used in different flavors of notational style.
2539 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
2540 @internalsref{Staff} context when declaring the @code{\layout} block,
2541 as shown in the following example
2547 \consists Custos_engraver
2548 Custos \override #'style = #'mensural
2553 The result looks like this
2555 @lilypond[quote,raggedright]
2559 \override Staff.Custos #'style = #'mensural
2564 \context { \Staff \consists Custos_engraver }
2569 The custos glyph is selected by the @code{style} property. The styles
2570 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
2571 @code{mensural}. They are demonstrated in the following fragment
2573 @lilypond[quote,raggedright,fragment]
2574 \new Lyrics \lyricmode {
2576 \typewriter "vaticana"
2577 \line { " " \musicglyph #"custodes.vaticana-u0" }
2580 \typewriter "medicaea"
2581 \line { " " \musicglyph #"custodes.medicaea-u0" }
2584 \typewriter "hufnagel"
2585 \line { " " \musicglyph #"custodes.hufnagel-u0" }
2588 \typewriter "mensural"
2589 \line { " " \musicglyph #"custodes.mensural-u0" }
2596 Program reference: @internalsref{Custos}.
2598 Examples: @inputfileref{input/@/regression,custos@/.ly}.
2602 @subsection Divisiones
2608 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
2609 `division') is a staff context symbol that is used to structure
2610 Gregorian music into phrases and sections. The musical meaning of
2611 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
2612 can be characterized as short, medium, and long pause, somewhat like
2613 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
2614 only marks the end of a chant, but is also frequently used within a
2615 single antiphonal/responsorial chant to mark the end of each section.
2618 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
2619 contains definitions that you can apply by just inserting
2620 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
2621 and @code{\finalis} at proper places in the input. Some editions use
2622 @emph{virgula} or @emph{caesura} instead of divisio minima.
2623 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
2626 @lilypondfile[quote,raggedright]{divisiones.ly}
2630 @cindex @code{\virgula}
2632 @cindex @code{\caesura}
2634 @cindex @code{\divisioMinima}
2635 @code{\divisioMinima},
2636 @cindex @code{\divisioMaior}
2637 @code{\divisioMaior},
2638 @cindex @code{\divisioMaxima}
2639 @code{\divisioMaxima},
2640 @cindex @code{\finalis}
2645 In this manual: @ref{Breath marks}.
2647 Program reference: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
2649 Examples: @inputfileref{input/@/test,divisiones@/.ly}.
2652 @subsection Ligatures
2656 @c TODO: Should double check if I recalled things correctly when I wrote
2657 @c down the following paragraph by heart.
2659 A ligature is a graphical symbol that represents at least two distinct
2660 notes. Ligatures originally appeared in the manuscripts of Gregorian
2661 chant notation to denote ascending or descending sequences of notes.
2663 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
2664 Some ligature styles may need additional input syntax specific for
2665 this particular type of ligature. By default, the
2666 @internalsref{LigatureBracket} engraver just puts a square bracket
2669 @lilypond[quote,raggedright,verbatim]
2677 To select a specific style of ligatures, a proper ligature engraver
2678 has to be added to the @internalsref{Voice} context, as explained in
2679 the following subsections. Only white mensural ligatures
2680 are supported with certain limitations.
2686 Ligatures need special spacing that has not yet been implemented. As
2687 a result, there is too much space between ligatures most of the time,
2688 and line breaking often is unsatisfactory. Also, lyrics do not
2689 correctly align with ligatures.
2691 Accidentals must not be printed within a ligature, but instead need to
2692 be collected and printed in front of it.
2694 Augmentum dots within ligatures are not handled correctly.
2698 * White mensural ligatures::
2699 * Gregorian square neumes ligatures::
2702 @node White mensural ligatures
2703 @subsubsection White mensural ligatures
2705 @cindex Mensural ligatures
2706 @cindex White mensural ligatures
2708 There is limited support for white mensural ligatures.
2710 To engrave white mensural ligatures, in the layout block put the
2711 @internalsref{Mensural_ligature_engraver} into the
2712 @internalsref{Voice} context, and remove the
2713 @internalsref{Ligature_bracket_engraver}, like this
2719 \remove Ligature_bracket_engraver
2720 \consists Mensural_ligature_engraver
2725 There is no additional input language to describe the shape of a
2726 white mensural ligature. The shape is rather determined solely from
2727 the pitch and duration of the enclosed notes. While this approach may
2728 take a new user a while to get accustomed to, it has the great advantage
2729 that the full musical information of the ligature is known internally.
2730 This is not only required for correct MIDI output, but also allows for
2731 automatic transcription of the ligatures.
2736 \set Score.timing = ##f
2737 \set Score.defaultBarType = "empty"
2738 \override NoteHead #'style = #'neomensural
2739 \override Staff.TimeSignature #'style = #'neomensural
2741 \[ g\longa c\breve a\breve f\breve d'\longa \]
2743 \[ e1 f1 a\breve g\longa \]
2745 @lilypond[quote,raggedright]
2748 \set Score.timing = ##f
2749 \set Score.defaultBarType = "empty"
2750 \override NoteHead #'style = #'neomensural
2751 \override Staff.TimeSignature #'style = #'neomensural
2753 \[ g\longa c\breve a\breve f\breve d'\longa \]
2755 \[ e1 f1 a\breve g\longa \]
2760 \remove Ligature_bracket_engraver
2761 \consists Mensural_ligature_engraver
2767 Without replacing @internalsref{Ligature_bracket_engraver} with
2768 @internalsref{Mensural_ligature_engraver}, the same music transcribes
2771 @lilypond[quote,raggedright]
2773 \set Score.timing = ##f
2774 \set Score.defaultBarType = "empty"
2775 \override NoteHead #'style = #'neomensural
2776 \override Staff.TimeSignature #'style = #'neomensural
2778 \[ g\longa c\breve a\breve f\breve d'\longa \]
2780 \[ e1 f1 a\breve g\longa \]
2786 The implementation is experimental. It may output strange warnings,
2787 incorrect results, and might even crash on more complex ligatures.
2789 @node Gregorian square neumes ligatures
2790 @subsubsection Gregorian square neumes ligatures
2792 @cindex Square neumes ligatures
2793 @cindex Gregorian square neumes ligatures
2795 There is limited support for Gregorian square neumes notation
2796 (following the style of the Editio Vaticana). Core ligatures can
2797 already be typeset, but essential issues for serious typesetting are
2798 still lacking, such as (among others) horizontal alignment of multiple
2799 ligatures, lyrics alignment and proper handling of accidentals.
2802 The following table contains the extended neumes table of the 2nd
2803 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
2804 1983 by the monks of Solesmes.
2806 @multitable @columnfractions .4 .2 .2 .2
2823 @c TODO: \layout block is identical in all of the below examples.
2824 @c Therefore, it should somehow be included rather than duplicated all
2827 @c why not make identifiers in ly/engraver-init.ly? --hwn
2829 @c Because it's just used to typeset plain notes without
2830 @c a staff for demonstration purposes rather than something
2831 @c special of Gregorian chant notation. --jr
2836 @lilypond[staffsize=26,linewidth=1.5\cm]
2837 \include "gregorian-init.ly"
2842 \noBreak s^\markup {"a"} \noBreak
2844 % Punctum Inclinatum
2846 \noBreak s^\markup {"b"}
2848 \layout { \neumeDemoLayout }}
2851 @lilypond[staffsize=26,linewidth=2.5\cm]
2852 \include "gregorian-init.ly"
2855 % Punctum Auctum Ascendens
2856 \[ \auctum \ascendens b \]
2857 \noBreak s^\markup {"c"} \noBreak
2859 % Punctum Auctum Descendens
2860 \[ \auctum \descendens b \]
2861 \noBreak s^\markup {"d"} \noBreak
2863 % Punctum Inclinatum Auctum
2864 \[ \inclinatum \auctum b \]
2865 \noBreak s^\markup {"e"}
2867 \layout { \neumeDemoLayout }}
2870 @lilypond[staffsize=26,linewidth=1.0\cm]
2871 \include "gregorian-init.ly"
2874 % Punctum Inclinatum Parvum
2875 \[ \inclinatum \deminutum b \]
2876 \noBreak s^\markup {"f"}
2878 \layout { \neumeDemoLayout }}
2884 @lilypond[staffsize=26,linewidth=1.0\cm]
2885 \include "gregorian-init.ly"
2890 \noBreak s^\markup {"g"}
2892 \layout { \neumeDemoLayout }}
2898 @code{3. Apostropha vel Stropha}
2900 @lilypond[staffsize=26,linewidth=1.0\cm]
2901 \include "gregorian-init.ly"
2906 \noBreak s^\markup {"h"}
2908 \layout { \neumeDemoLayout }}
2911 @lilypond[staffsize=26,linewidth=1.0\cm]
2912 \include "gregorian-init.ly"
2916 \[ \stropha \auctum b \]
2917 \noBreak s^\markup {"i"}
2919 \layout { \neumeDemoLayout }}
2926 @lilypond[staffsize=26,linewidth=1.0\cm]
2927 \include "gregorian-init.ly"
2932 \noBreak s^\markup {"j"}
2934 \layout { \neumeDemoLayout }}
2940 @code{5. Clivis vel Flexa}
2942 @lilypond[staffsize=26,linewidth=1.0\cm]
2943 \include "gregorian-init.ly"
2950 \layout { \neumeDemoLayout }}
2953 @lilypond[staffsize=26,linewidth=2.0\cm]
2954 \include "gregorian-init.ly"
2957 % Clivis Aucta Descendens
2958 \[ b \flexa \auctum \descendens g \]
2959 \noBreak s^\markup {"l"} \noBreak
2961 % Clivis Aucta Ascendens
2962 \[ b \flexa \auctum \ascendens g \]
2963 \noBreak s^\markup {"m"}
2965 \layout { \neumeDemoLayout }}
2968 @lilypond[staffsize=26,linewidth=1.0\cm]
2969 \include "gregorian-init.ly"
2973 \[ b \flexa \deminutum g \]
2976 \layout { \neumeDemoLayout }}
2980 @code{6. Podatus vel Pes}
2982 @lilypond[staffsize=26,linewidth=1.0\cm]
2983 \include "gregorian-init.ly"
2990 \layout { \neumeDemoLayout }}
2993 @lilypond[staffsize=26,linewidth=2.0\cm]
2994 \include "gregorian-init.ly"
2997 % Pes Auctus Descendens
2998 \[ g \pes \auctum \descendens b \]
2999 \noBreak s^\markup {"p"} \noBreak
3001 % Pes Auctus Ascendens
3002 \[ g \pes \auctum \ascendens b \]
3003 \noBreak s^\markup {"q"}
3005 \layout { \neumeDemoLayout }}
3008 @lilypond[staffsize=26,linewidth=1.0\cm]
3009 \include "gregorian-init.ly"
3013 \[ g \pes \deminutum b \]
3016 \layout { \neumeDemoLayout }}
3020 @code{7. Pes Quassus}
3022 @lilypond[staffsize=26,linewidth=1.0\cm]
3023 \include "gregorian-init.ly"
3027 \[ \oriscus g \pes \virga b \]
3030 \layout { \neumeDemoLayout }}
3033 @lilypond[staffsize=26,linewidth=1.0\cm]
3034 \include "gregorian-init.ly"
3037 % Pes Quassus Auctus Descendens
3038 \[ \oriscus g \pes \auctum \descendens b \]
3041 \layout { \neumeDemoLayout }}
3046 @code{8. Quilisma Pes}
3048 @lilypond[staffsize=26,linewidth=1.0\cm]
3049 \include "gregorian-init.ly"
3053 \[ \quilisma g \pes b \]
3056 \layout { \neumeDemoLayout }}
3059 @lilypond[staffsize=26,linewidth=1.0\cm]
3060 \include "gregorian-init.ly"
3063 % Quilisma Pes Auctus Descendens
3064 \[ \quilisma g \pes \auctum \descendens b \]
3067 \layout { \neumeDemoLayout }}
3072 @code{9. Podatus Initio Debilis}
3074 @lilypond[staffsize=26,linewidth=1.0\cm]
3075 \include "gregorian-init.ly"
3078 % Pes Initio Debilis
3079 \[ \deminutum g \pes b \]
3082 \layout { \neumeDemoLayout }}
3085 @lilypond[staffsize=26,linewidth=1.0\cm]
3086 \include "gregorian-init.ly"
3089 % Pes Auctus Descendens Initio Debilis
3090 \[ \deminutum g \pes \auctum \descendens b \]
3093 \layout { \neumeDemoLayout }}
3100 @lilypond[staffsize=26,linewidth=1.0\cm]
3101 \include "gregorian-init.ly"
3105 \[ a \pes b \flexa g \]
3108 \layout { \neumeDemoLayout }}
3111 @lilypond[staffsize=26,linewidth=1.0\cm]
3112 \include "gregorian-init.ly"
3115 % Torculus Auctus Descendens
3116 \[ a \pes b \flexa \auctum \descendens g \]
3119 \layout { \neumeDemoLayout }}
3122 @lilypond[staffsize=26,linewidth=1.0\cm]
3123 \include "gregorian-init.ly"
3126 % Torculus Deminutus
3127 \[ a \pes b \flexa \deminutum g \]
3130 \layout { \neumeDemoLayout }}
3134 @code{11. Torculus Initio Debilis}
3136 @lilypond[staffsize=26,linewidth=1.0\cm]
3137 \include "gregorian-init.ly"
3140 % Torculus Initio Debilis
3141 \[ \deminutum a \pes b \flexa g \]
3144 \layout { \neumeDemoLayout }}
3147 @lilypond[staffsize=26,linewidth=1.0\cm]
3148 \include "gregorian-init.ly"
3151 % Torculus Auctus Descendens Initio Debilis
3152 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
3155 \layout { \neumeDemoLayout }}
3158 @lilypond[staffsize=26,linewidth=1.0\cm]
3159 \include "gregorian-init.ly"
3162 % Torculus Deminutus Initio Debilis
3163 \[ \deminutum a \pes b \flexa \deminutum g \]
3166 \layout { \neumeDemoLayout }}
3170 @code{12. Porrectus}
3172 @lilypond[staffsize=26,linewidth=1.0\cm]
3173 \include "gregorian-init.ly"
3177 \[ a \flexa g \pes b \]
3180 \layout { \neumeDemoLayout }}
3183 @lilypond[staffsize=26,linewidth=1.0\cm]
3184 \include "gregorian-init.ly"
3187 % Porrectus Auctus Descendens
3188 \[ a \flexa g \pes \auctum \descendens b \]
3191 \layout { \neumeDemoLayout }}
3194 @lilypond[staffsize=26,linewidth=1.0\cm]
3195 \include "gregorian-init.ly"
3198 % Porrectus Deminutus
3199 \[ a \flexa g \pes \deminutum b \]
3202 \layout { \neumeDemoLayout }}
3208 @lilypond[staffsize=26,linewidth=1.0\cm]
3209 \include "gregorian-init.ly"
3213 \[ \virga b \inclinatum a \inclinatum g \]
3216 \layout { \neumeDemoLayout }
3220 @lilypond[staffsize=26,linewidth=1.0\cm]
3221 \include "gregorian-init.ly"
3225 \[ \virga b \inclinatum a \inclinatum \auctum g \]
3228 \layout { \neumeDemoLayout }}
3231 @lilypond[staffsize=26,linewidth=1.0\cm]
3232 \include "gregorian-init.ly"
3235 % Climacus Deminutus
3236 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
3239 \layout { \neumeDemoLayout }}
3243 @code{14. Scandicus}
3245 @lilypond[staffsize=26,linewidth=1.0\cm]
3246 \include "gregorian-init.ly"
3250 \[ g \pes a \virga b \]
3253 \layout { \neumeDemoLayout }}
3256 @lilypond[staffsize=26,linewidth=1.0\cm]
3257 \include "gregorian-init.ly"
3260 % Scandicus Auctus Descendens
3261 \[ g \pes a \pes \auctum \descendens b \]
3264 \layout { \neumeDemoLayout }}
3267 @lilypond[staffsize=26,linewidth=1.0\cm]
3268 \include "gregorian-init.ly"
3271 % Scandicus Deminutus
3272 \[ g \pes a \pes \deminutum b \]
3275 \layout { \neumeDemoLayout }}
3281 @lilypond[staffsize=26,linewidth=1.0\cm]
3282 \include "gregorian-init.ly"
3286 \[ g \oriscus a \pes \virga b \]
3289 \layout { \neumeDemoLayout }}
3292 @lilypond[staffsize=26,linewidth=1.0\cm]
3293 \include "gregorian-init.ly"
3296 % Salicus Auctus Descendens
3297 \[ g \oriscus a \pes \auctum \descendens b \]
3300 \layout { \neumeDemoLayout }}
3307 @lilypond[staffsize=26,linewidth=1.0\cm]
3308 \include "gregorian-init.ly"
3312 \[ \stropha b \stropha b \stropha a \]
3315 \layout { \neumeDemoLayout }
3324 Unlike most other neumes notation systems, the input language for
3325 neumes does not reflect the typographical appearance, but is designed
3326 to focus on musical meaning. For example, @code{\[ a \pes b
3327 \flexa g \]} produces a Torculus consisting of three Punctum heads,
3328 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
3329 curved flexa shape and only a single Punctum head. There is no
3330 command to explicitly typeset the curved flexa shape; the decision of
3331 when to typeset a curved flexa shape is based on the musical
3332 input. The idea of this approach is to separate the musical aspects
3333 of the input from the notation style of the output. This way, the
3334 same input can be reused to typeset the same music in a different
3335 style of Gregorian chant notation.
3337 The following table shows the code fragments that produce the
3338 ligatures in the above neumes table. The letter in the first column
3339 in each line of the below table indicates to which ligature in the
3340 above table it refers. The second column gives the name of the
3341 ligature. The third column shows the code fragment that produces this
3342 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
3344 @multitable @columnfractions .02 .31 .67
3364 @code{\[ \inclinatum b \]}
3372 @code{\[ \auctum \ascendens b \]}
3380 @code{\[ \auctum \descendens b \]}
3385 Punctum Inclinatum@*
3388 @code{\[ \inclinatum \auctum b \]}
3393 Punctum Inclinatum@*
3395 @code{\[ \inclinatum \deminutum b \]}
3402 @code{\[ \virga b \]}
3409 @code{\[ \stropha b \]}
3416 @code{\[ \stropha \auctum b \]}
3423 @code{\[ \oriscus b \]}
3430 @code{\[ b \flexa g \]}
3438 @code{\[ b \flexa \auctum \descendens g \]}
3446 @code{\[ b \flexa \auctum \ascendens g \]}
3453 @code{\[ b \flexa \deminutum g \]}
3460 @code{\[ g \pes b \]}
3468 @code{\[ g \pes \auctum \descendens b \]}
3476 @code{\[ g \pes \auctum \ascendens b \]}
3483 @code{\[ g \pes \deminutum b \]}
3490 @code{\[ \oriscus g \pes \virga b \]}
3496 Auctus Descendens @tab
3497 @code{\[ \oriscus g \pes \auctum \descendens b \]}
3504 @code{\[ \quilisma g \pes b \]}
3512 @code{\[ \quilisma g \pes \auctum \descendens b \]}
3519 @code{\[ \deminutum g \pes b \]}
3524 Pes Auctus Descendens@*
3527 @code{\[ \deminutum g \pes \auctum \descendens b \]}
3534 @code{\[ a \pes b \flexa g \]}
3542 @code{\[ a \pes b \flexa \auctum \descendens g \]}
3549 @code{\[ a \pes b \flexa \deminutum g \]}
3554 Torculus Initio Debilis
3556 @code{\[ \deminutum a \pes b \flexa g \]}
3562 Descendens Initio Debilis
3564 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
3569 Torculus Deminutus@*
3572 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
3579 @code{\[ a \flexa g \pes b \]}
3587 @code{\[ a \flexa g \pes \auctum \descendens b \]}
3594 @code{\[ a \flexa g \pes \deminutum b \]}
3601 @code{\[ \virga b \inclinatum a \inclinatum g \]}
3608 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
3615 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
3622 @code{\[ g \pes a \virga b \]}
3630 @code{\[ g \pes a \pes \auctum \descendens b \]}
3637 @code{\[ g \pes a \pes \deminutum b \]}
3644 @code{\[ g \oriscus a \pes \virga b \]}
3649 Salicus Auctus Descendens
3651 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
3658 @code{\[ \stropha b \stropha b \stropha a \]}
3663 The following head prefixes are supported
3665 @cindex @code{\virga}
3667 @cindex @code{\stropha}
3669 @cindex @code{\inclinatum}
3671 @cindex @code{\auctum}
3673 @cindex @code{\descendens}
3675 @cindex @code{\ascendens}
3677 @cindex @code{\oriscus}
3679 @cindex @code{\quilisma}
3681 @cindex @code{\deminutum}
3684 Head prefixes can be accumulated, though restrictions apply. For
3685 example, either @code{\descendens} or @code{\ascendens} can be applied
3686 to a head, but not both to the same head.
3689 @cindex @code{\flexa}
3690 Two adjacent heads can be tied together with the @code{\pes} and
3691 @code{\flexa} infix commands for a rising and falling line of melody,
3696 @node Gregorian Chant contexts
3697 @subsection Gregorian Chant contexts
3699 @cindex VaticanaVoiceContext
3700 @cindex VaticanaStaffContext
3702 The predefined @code{VaticanaVoiceContext} and
3703 @code{VaticanaStaffContext} can be used to engrave a piece of
3704 Gregorian Chant in the style of the Editio Vaticana. These contexts
3705 initialize all relevant context properties and grob properties to
3706 proper values, so you can immediately go ahead entering the chant, as
3707 the following excerpt demonstrates
3709 @lilypond[quote,raggedright,verbatim]
3710 \include "gregorian-init.ly"
3713 \context VaticanaVoice = "cantus" {
3714 \override Score.BarNumber #'transparent = ##t {
3715 \[ c'\melisma c' \flexa a \]
3716 \[ a \flexa \deminutum g\melismaEnd \]
3718 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
3719 c' \divisioMinima \break
3720 \[ c'\melisma c' \flexa a \]
3721 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
3724 \lyricsto "cantus" \new Lyrics {
3725 San- ctus, San- ctus, San- ctus
3732 @node Mensural contexts
3733 @subsection Mensural contexts
3735 @cindex MensuralVoiceContext
3736 @cindex MensuralStaffContext
3738 The predefined @code{MensuralVoiceContext} and
3739 @code{MensuralStaffContext} can be used to engrave a piece in mensural
3740 style. These contexts initialize all relevant context properties and
3741 grob properties to proper values, so you can immediately go ahead
3742 entering the chant, as the following excerpt demonstrates
3744 @lilypond[quote,raggedright,verbatim]
3747 \context MensuralVoice = "discantus" \transpose c c' {
3748 \override Score.BarNumber #'transparent = ##t {
3749 c'1\melisma bes a g\melismaEnd
3751 \[ f1\melisma a c'\breve d'\melismaEnd \]
3753 c'\breve\melisma a1 g1\melismaEnd
3754 fis\longa^\signumcongruentiae
3757 \lyricsto "discantus" \new Lyrics {
3758 San -- ctus, San -- ctus, San -- ctus
3766 @subsection Figured bass
3768 @cindex Basso continuo
3770 @c TODO: musicological blurb about FB
3773 LilyPond has limited support for figured bass
3775 @lilypond[quote,raggedright,verbatim,fragment]
3777 \context Voice { \clef bass dis4 c d ais g fis}
3778 \context FiguredBass \figuremode {
3779 < 6 >4 < 7 >8 < 6+ [_!] >
3786 The support for figured bass consists of two parts: there is an input
3787 mode, introduced by @code{\figuremode}, where you can enter bass figures
3788 as numbers, and there is a context called @internalsref{FiguredBass} that
3789 takes care of making @internalsref{BassFigure} objects.
3791 In figures input mode, a group of bass figures is delimited by
3792 @code{<} and @code{>}. The duration is entered after the @code{>}
3796 @lilypond[quote,raggedright,fragment]
3797 \context FiguredBass
3798 \figuremode { <4 6> }
3801 Accidentals are added when you append @code{-}, @code{!}, and @code{+}
3807 @lilypond[quote,raggedright,fragment]
3808 \context FiguredBass
3809 \figuremode { <4- 6+ 7!> }
3812 Spaces or dashes may be inserted by using @code{_}. Brackets are
3813 introduced with @code{[} and @code{]}
3818 @lilypond[quote,raggedright,fragment]
3819 \context FiguredBass
3820 \figuremode { < [4 6] 8 [_! 12] > }
3823 Although the support for figured bass may superficially resemble chord
3824 support, it works much simpler. The @code{\figuremode} mode simply
3825 stores the numbers and @internalsref{FiguredBass} context prints
3826 them as entered. There is no conversion to pitches and no
3827 realizations of the bass are played in the MIDI file.
3829 Internally, the code produces markup texts. You can use any of the
3830 markup text properties to override formatting. For example, the
3831 vertical spacing of the figures may be set with @code{baseline-skip}.
3835 Program reference: @internalsref{BassFigureEvent} music,
3836 @internalsref{BassFigure} object, and @internalsref{FiguredBass} context.
3840 Slash notation for alterations is not supported.