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 @q{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 @q{*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 @q{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 @q{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 @q{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 @q{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 @samp{--} 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 @q{fas}, so it
1138 should be entered before @q{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 @q{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 @q{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 @q{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,quote]
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.
1301 @node Lyrics independent of notes
1302 @subsubsection Lyrics independent of notes
1304 In some complex vocal music, it may be desirable to place
1305 lyrics completely independently of notes. Music defined
1306 inside @code{lyricrhythm} disappears into the
1307 @code{Devnull} context, but the rhythms can still be used
1308 to place the lyrics.
1310 @lilypond[quote,verbatim,ragged-right]
1313 \tag #'music { c''2 }
1314 \tag #'lyricrhythm { c''4. c''8 }
1318 lyr = \lyricmode { I like my cat! }
1321 \new Staff \keepWithTag #'music \voice
1322 \new Devnull="nowhere" \keepWithTag #'lyricrhythm \voice
1323 \new Lyrics \lyricsto "nowhere" \lyr
1324 \new Staff { c'8 c' c' c' c' c' c' c'
1325 c' c' c' c' c' c' c' c' }
1330 @node Spacing lyrics
1331 @subsection Spacing lyrics
1333 @cindex Spacing lyrics
1334 @cindex Lyrics, increasing space between
1336 To increase the spacing between lyrics, set the minimum-distance property of
1339 @lilypond[relative,verbatim,fragment,quote,ragged-right]
1342 \override Lyrics.LyricSpace #'minimum-distance = #1.0
1346 longtext longtext longtext longtext
1347 longtext longtext longtext longtext
1351 To make this change for all lyrics in the score, set the property in the
1354 @lilypond[relative,verbatim,quote,ragged-right]
1361 longtext longtext longtext longtext
1362 longtext longtext longtext longtext
1367 \override LyricSpace #'minimum-distance = #1.0
1374 @node More about stanzas
1375 @subsection More about stanzas
1377 @cindex phrasing, in lyrics
1380 @cindex stanza number
1381 @cindex singer's names
1382 @cindex name of singer
1384 Stanza numbers can be added by setting @code{stanza}, e.g.,
1386 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1388 \time 3/4 g2 e4 a2 f4 g2.
1391 Hi, my name is Bert.
1394 Oh, che -- ri, je t'aime
1398 These numbers are put just before the start of first syllable.
1400 Sometimes it is appropriate to have one stanza set
1401 to the music, and the rest added in verse form at
1402 the end of the piece. This can be accomplished by adding
1403 the extra verses into a @code{\markup} section outside
1404 of the main score block. Notice that there are two
1405 different ways to force linebreaks when using
1408 @lilypond[ragged-right,verbatim,quote]
1409 melody = \relative c' {
1415 \set stanza = "1." Ma- ry had a lit- tle lamb,
1416 its fleece was white as snow.
1421 \new Voice = "one" { \melody }
1422 \new Lyrics \lyricsto "one" \text
1428 \line{ All the children laughed and played }
1429 \line{ To see a lamb at school. }
1436 Mary took it home again,
1438 It was against the rule."
1444 Names of singers can also be added. They are printed at the start of
1445 the line, just like instrument names. They are created by setting
1446 @code{vocalName}. A short version may be entered as @code{shortVocalName}.
1449 @lilypond[fragment,ragged-right,quote,verbatim,relative=2]
1451 \time 3/4 g2 e4 a2 f4 g2.
1453 \set vocalName = "Bert "
1454 Hi, my name is Bert.
1456 \set vocalName = "Ernie "
1457 Oh, che -- ri, je t'aime
1462 When a piece of music has many verses, they are often printed in
1463 multiple columns across the page. An outdented verse number often
1464 introduces each verse. The following example shows how to produce such
1467 @lilypond[ragged-right,quote,verbatim]
1468 melody = \relative c' {
1473 \set stanza = "1." This is verse one.
1478 \new Voice = "one" { \melody }
1479 \new Lyrics \lyricsto "one" \text
1486 \hspace #0.1 % moves the column off the left margin; can be removed if
1487 % space on the page is tight
1491 "This is verse two."
1495 \hspace #0.1 % adds vertical spacing between verses
1498 "This is verse three."
1503 \hspace #0.1 % adds horizontal spacing between columns; if they are
1504 % still too close, add more " " pairs until the result
1509 "This is verse four."
1513 \hspace #0.1 % adds vertical spacing between verses
1516 "This is verse five."
1521 \hspace #0.1 % gives some extra space on the right margin; can
1522 % be removed if page space is tight
1530 Program reference: @internalsref{LyricText}, @internalsref{StanzaNumber},
1531 @internalsref{VocalName}.
1539 The term @emph{ambitus} denotes a range of pitches for a given voice
1540 in a part of music. It may also denote the pitch range that a musical
1541 instrument is capable of playing. Ambits are printed on vocal parts,
1542 so performers can easily determine it meets their capabilities.
1544 Ambits are denoted at the beginning of a piece near the initial clef.
1545 The range is graphically specified by two note heads that represent the
1546 minimum and maximum pitch. To print such ambits, add the
1547 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
1554 \consists Ambitus_engraver
1559 This results in the following output
1561 @lilypond[quote,ragged-right]
1565 \consists Ambitus_engraver
1569 \relative \new Staff {
1574 If you have multiple voices in a single staff and you want a single
1575 ambitus per staff rather than per each voice, add the
1576 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
1577 rather than to the @internalsref{Voice} context. Here is an example,
1579 @lilypond[verbatim,ragged-right,quote]
1581 \consists "Ambitus_engraver"
1585 \remove "Ambitus_engraver"
1587 \override Ambitus #'X-offset = #-1.0
1592 \remove "Ambitus_engraver"
1601 This example uses one advanced feature,
1604 \override Ambitus #'X-offset = #-1.0
1608 This code moves the ambitus to the left. The same effect could have
1609 been achieved with @code{extra-offset}, but then the formatting system
1610 would not reserve space for the moved object.
1614 Program reference: @internalsref{Ambitus},
1615 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1616 @internalsref{AmbitusAccidental}.
1618 Examples: @inputfileref{input/@/regression,ambitus@/.ly}.
1622 There is no collision handling in the case of multiple per-voice
1626 @node Other vocal issues
1627 @subsection Other vocal issues
1630 yeah, I'm giving up somewhat by stuffing a bunch of things in
1631 here. But at least they're in the manual now; it's easier to
1632 move them around in the manual once they're already here.
1634 Besides, if users complain about everything stuffed in here, I
1635 can ask them for specific instructions about where to move these
1636 examples, and that might get them more involved in the docs. -gp
1639 @q{Parlato} is spoken without pitch but still with rhythm; it is
1640 notated by cross noteheads. This is demonstrated in
1641 @ref{Special noteheads}.
1647 @node Rhythmic music
1648 @section Rhythmic music
1650 Rhythmic music is primarily used for percussion and drum notation, but it can
1651 also be used to show the rhythms of melodies.
1654 * Showing melody rhythms::
1655 * Entering percussion::
1656 * Percussion staves::
1661 @node Showing melody rhythms
1662 @subsection Showing melody rhythms
1664 Sometimes you might want to show only the rhythm of a melody. This
1665 can be done with the rhythmic staff. All pitches of notes on such a
1666 staff are squashed, and the staff itself has a single line
1668 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1669 \new RhythmicStaff {
1671 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1677 Program reference: @internalsref{RhythmicStaff}.
1679 Examples: @inputfileref{input/@/regression,rhythmic@/-staff@/.ly}.
1682 @node Entering percussion
1683 @subsection Entering percussion
1689 Percussion notes may be entered in @code{\drummode} mode, which is
1690 similar to the standard mode for entering notes. Each piece of
1691 percussion has a full name and an abbreviated name, and both can be used
1694 @lilypond[quote,ragged-right,verbatim]
1696 hihat hh bassdrum bd
1700 The complete list of drum names is in the init file
1701 @file{ly/@/drumpitch@/-init@/.ly}.
1702 @c TODO: properly document this.
1706 Program reference: @internalsref{note-event}.
1708 @node Percussion staves
1709 @subsection Percussion staves
1713 A percussion part for more than one instrument typically uses a
1714 multiline staff where each position in the staff refers to one piece
1718 To typeset the music, the notes must be interpreted in a
1719 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
1721 @lilypond[quote,ragged-right,verbatim]
1722 up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
1723 down = \drummode { bassdrum4 snare8 bd r bd sn4 }
1725 \new DrumVoice { \voiceOne \up }
1726 \new DrumVoice { \voiceTwo \down }
1730 The above example shows verbose polyphonic notation. The short
1731 polyphonic notation, described in @ref{Basic polyphony}, can also be used if
1732 the @internalsref{DrumVoice}s are instantiated by hand first. For example,
1734 @lilypond[quote,ragged-right,fragment,verbatim]
1736 \new DrumVoice = "1" { s1 *2 }
1737 \new DrumVoice = "2" { s1 *2 }
1741 { \repeat unfold 16 hh16 }
1750 There are also other layout possibilities. To use these, set the
1751 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
1752 The following variables have been predefined
1756 This is the default. It typesets a typical drum kit on a five-line staff
1758 @lilypond[quote,line-width=10.0\cm]
1760 cymc cyms cymr hh hhc hho hhho hhp
1761 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl }
1763 cymc cyms cymr hh hhc hho hhho hhp \break
1764 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
1766 << \new DrumStaff \with {
1767 \remove Bar_engraver
1768 \remove Time_signature_engraver
1769 \override Stem #'transparent = ##t
1770 \override Stem #'Y-extent-callback = ##f
1771 \override VerticalAxisGroup #'minimum-Y-extent = #'(-4.0 . 5.0)
1778 \override LyricText #'font-family = #'typewriter
1779 \override BarNumber #'transparent =##T
1785 The drum scheme supports six different toms. When there are fewer toms,
1786 simply select the toms that produce the desired result, i.e., to get toms
1787 on the three middle lines you use @code{tommh}, @code{tomml}, and
1790 @item timbales-style
1791 This typesets timbales on a two line staff
1793 @lilypond[quote,ragged-right]
1794 nam = \lyricmode { timh ssh timl ssl cb }
1795 mus = \drummode { timh ssh timl ssl cb s16 }
1798 \new DrumStaff \with {
1799 \remove Bar_engraver
1800 \remove Time_signature_engraver
1801 \override Stem #'transparent = ##t
1802 \override Stem #'Y-extent-callback = ##f
1803 \override StaffSymbol #'line-count = #2
1804 \override StaffSymbol #'staff-space = #2
1805 \override VerticalAxisGroup #'minimum-Y-extent = #'(-3.0 . 4.0)
1806 drumStyleTable = #timbales-style
1809 \override LyricText #'font-family = #'typewriter
1816 This typesets congas on a two line staff
1818 @lilypond[quote,ragged-right]
1819 nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
1820 mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
1823 \new DrumStaff \with {
1824 \remove Bar_engraver
1825 \remove Time_signature_engraver
1826 drumStyleTable = #congas-style
1827 \override StaffSymbol #'line-count = #2
1829 %% this sucks; it will lengthen stems.
1830 \override StaffSymbol #'staff-space = #2
1831 \override Stem #'transparent = ##t
1832 \override Stem #'Y-extent-callback = ##f
1835 \override LyricText #'font-family = #'typewriter
1842 This typesets bongos on a two line staff
1844 @lilypond[quote,ragged-right]
1845 nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
1846 mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
1849 \new DrumStaff \with {
1850 \remove Bar_engraver
1851 \remove Time_signature_engraver
1852 \override StaffSymbol #'line-count = #2
1853 drumStyleTable = #bongos-style
1855 %% this sucks; it will lengthen stems.
1856 \override StaffSymbol #'staff-space = #2
1857 \override Stem #'transparent = ##t
1858 \override Stem #'Y-extent-callback = ##f
1861 \override LyricText #'font-family = #'typewriter
1867 @item percussion-style
1868 To typeset all kinds of simple percussion on one line staves.
1870 @lilypond[quote,ragged-right]
1871 nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
1872 mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
1875 \new DrumStaff \with{
1876 \remove Bar_engraver
1877 drumStyleTable = #percussion-style
1878 \override StaffSymbol #'line-count = #1
1879 \remove Time_signature_engraver
1880 \override Stem #'transparent = ##t
1881 \override Stem #'Y-extent-callback = ##f
1884 \override LyricText #'font-family = #'typewriter
1891 If you do not like any of the predefined lists you can define your own
1892 list at the top of your file
1894 @lilypond[quote,ragged-right,verbatim]
1896 (bassdrum default #f -1)
1897 (snare default #f 0)
1899 (pedalhihat xcircle "stopped" 2)
1900 (lowtom diamond #f 3)))
1901 up = \drummode { hh8 hh hh hh hhp4 hhp }
1902 down = \drummode { bd4 sn bd toml8 toml }
1905 \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
1906 \new DrumVoice { \voiceOne \up }
1907 \new DrumVoice { \voiceTwo \down }
1914 Init files: @file{ly/@/drumpitch@/-init@/.ly}.
1916 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
1920 Because general MIDI does not contain rim shots, the sidestick is used
1921 for this purpose instead.
1924 @c FIXME: check name -gp
1926 @subsection Ghost notes
1928 Ghost notes for drums and percussion may be created using the
1929 @code{\parenthesize} command detailed in @ref{Parentheses}. However,
1930 the default @code{\drummode} does
1931 not include the @code{Parenthesis_engraver} plugin which allows
1933 must add the plugin explicitly in the context definition as
1934 detailed in @ref{Changing context properties on the fly}.
1936 @lilypond[quote,ragged-right,verbatim,fragment]
1937 \new DrumStaff \with {
1938 \consists "Parenthesis_engraver"
1940 \context DrumVoice = "1" { s1 *2 }
1941 \context DrumVoice = "2" { s1 *2 }
1945 hh8[ hh] <hh sn> hh16
1946 < \parenthesize sn > hh < \parenthesize
1957 Also note that you must add chords (@code{< >} brackets)
1958 around each @code{\parenthesize} statement.
1965 @cindex guitar tablature
1968 * String number indications::
1969 * Tablatures basic::
1970 * Non-guitar tablatures::
1971 * Banjo tablatures::
1973 * Right hand fingerings::
1974 * Other guitar issues::
1977 @node String number indications
1978 @subsection String number indications
1980 @cindex String numbers
1982 String numbers can be added to chords, by indicating the string number
1983 with @code{\}@var{number},
1985 @lilypond[relative,relative=1,ragged-right,fragment]
1989 See also @inputfileref{input/regression,string-number.ly}.
1994 Program reference: @internalsref{StringNumber}.
1997 @node Tablatures basic
1998 @subsection Tablatures basic
1999 @cindex Tablatures basic
2001 Tablature notation is used for notating music for plucked string
2002 instruments. Pitches are not denoted with note heads, but by
2003 numbers indicating on which string and fret a note must be played. LilyPond
2004 offers limited support for tablature.
2006 The string number associated to a note is given as a backslash
2007 followed by a number, e.g., @code{c4\3} for a C quarter on the third
2008 string. By default, string 1 is the highest one, and the tuning
2009 defaults to the standard guitar tuning (with 6 strings). The notes
2010 are printed as tablature, by using @internalsref{TabStaff} and
2011 @internalsref{TabVoice} contexts
2013 @lilypond[quote,ragged-right,fragment,verbatim]
2020 @funindex minimumFret
2023 When no string is specified, the first string that does not give a
2024 fret number less than @code{minimumFret} is selected. The default
2025 value for @code{minimumFret} is 0
2030 \set TabStaff.minimumFret = #8
2033 @lilypond[quote,ragged-right]
2037 \set TabStaff.minimumFret = #8
2041 \new Staff { \clef "G_8" \frag }
2042 \new TabStaff { \frag }
2049 To print tablatures with stems down and horizontal beams,
2050 initialize the @code{TabStaff} with this code:
2054 \override Beam #'damping = #100000
2059 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}.
2063 Chords are not handled in a special way, and hence the automatic
2064 string selector may easily select the same string to two notes in a
2068 @node Non-guitar tablatures
2069 @subsection Non-guitar tablatures
2070 @cindex Non-guitar tablatures
2072 You can change the tuning of the strings. A string tuning is given as
2073 a Scheme list with one integer number for each string, the number
2074 being the pitch (measured in semitones relative to middle C) of an
2075 open string. The numbers specified for @code{stringTuning} are the
2076 numbers of semitones to subtract or add, starting the specified pitch
2077 by default middle C, in string order. LilyPond automatically calculates
2078 the number of strings by looking at @code{stringTuning}.
2080 In the next example,
2081 @code{stringTunings} is set for the pitches e, a, d, and g
2083 @lilypond[quote,ragged-right,fragment,verbatim]
2085 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
2087 a,4 c' a e' e c' a e'
2092 LilyPond comes with predefined string tunings for banjo, mandolin, guitar
2096 \set TabStaff.stringTunings = #bass-tuning
2099 The default string tuning is @code{guitar-tuning} (the standard EADGBE
2101 Some other predefined tunings are @code{guitar-open-g-tuning},
2102 @code{mandolin-tuning} and @code{banjo-open-g-tuning}.
2106 The file @file{scm/@/output@/-lib@/.scm} contains the predefined string
2108 Program reference: @internalsref{Tab_note_heads_engraver}.
2112 No guitar special effects have been implemented.
2116 @node Banjo tablatures
2117 @subsection Banjo tablatures
2118 @cindex Banjo tablatures
2120 LilyPond has basic support for five stringed banjo. When making tablatures
2121 for five stringed banjo, use the banjo tablature format function to get
2123 fret numbers for the fifth string:
2125 @lilypond[quote,ragged-right,fragment,verbatim]
2127 \set TabStaff.tablatureFormat = #fret-number-tablature-format-banjo
2128 \set TabStaff.stringTunings = #banjo-open-g-tuning
2131 g8 d' g'\5 a b g e d' |
2132 g4 d''8\5 b' a'\2 g'\5 e'\2 d' |
2138 A number of common tunings for banjo are predefined in LilyPond:
2139 @code{banjo-c-tuning} (gCGBD), @code{banjo-modal-tuning} (gDGCD),
2140 @code{banjo-open-d-tuning} (aDF#AD) and @code{banjo-open-dm-tuning}
2143 These tunings may be converted to four string banjo tunings using the
2144 @code{four-string-banjo} function:
2147 \set TabStaff.stringTunings = #(four-string-banjo banjo-c-tuning)
2152 The file @file{scm/@/output@/-lib@/.scm} contains predefined banjo tunings.
2156 @subsection Fret diagrams
2157 @cindex fret diagrams
2158 @cindex chord diagrams
2160 Fret diagrams can be added to music as a markup to the desired note. The
2161 markup contains information about the desired fret diagram, as shown in the
2164 @lilypond[verbatim, ragged-right, quote]
2166 d'^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
2168 fis'^\markup \override #'(size . 0.75) {
2169 \override #'(finger-code . below-string) {
2170 \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
2171 (place-fret 5 4 3) (place-fret 4 4 4)
2172 (place-fret 3 3 2) (place-fret 2 2 1)
2177 c'^\markup \override #'(dot-radius . 0.35) {
2178 \override #'(finger-code . in-dot) {
2179 \override #'(dot-color . white) {
2180 \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
2189 There are three different fret-diagram markup interfaces: standard, terse,
2190 and verbose. The three interfaces produce equivalent markups, but have
2191 varying amounts of information in the markup string. Details about the
2192 markup interfaces are found at @ref{Overview of text markup commands}.
2194 You can set a number of graphical properties according to your preference.
2195 Details about the property interface to fret diagrams are found at
2196 @internalsref{fret-diagram-interface}.
2201 Examples: @inputfileref{input/@/test,fret@/-diagram@/.ly}
2204 @node Right hand fingerings
2205 @subsection Right hand fingerings
2207 Right hand fingerings in chords can be entered using
2208 @code{@var{note}-\rightHandFinger @var{finger}}
2210 @lilypond[verbatim,fragment,relative=2]
2211 <c-\rightHandFinger #1 e-\rightHandFinger #2 >
2214 for brevity, you can abbreviate @code{\rightHandFinger} to something
2215 short, for example @code{RH},
2218 #(define RH rightHandFinger)
2221 @cindex fingerings, right hand, for guitar
2222 @cindex right hand fingerings for guitar
2226 You may exercise greater control over right handing fingerings by
2227 setting @code{strokeFingerOrientations},
2229 @lilypond[quote,verbatim,ragged-right,fragment,relative=1]
2230 #(define RH rightHandFinger)
2232 \set strokeFingerOrientations = #'(up down)
2233 <c-\RH #1 es-\RH #2 g-\RH #4 > 4
2234 \set strokeFingerOrientations = #'(up right down)
2235 <c-\RH #1 es-\RH #2 g-\RH #4 > 4
2239 The letters used for the fingerings are contained in the property
2240 @code{digit-names}, but they can also be set individually by supplying
2241 @code{\rightHandFinger} with a string argument, as in the following example
2244 @lilypond[quote,verbatim,ragged-right,fragment,relative=1]
2245 #(define RH rightHandFinger)
2247 \set strokeFingerOrientations = #'(right)
2248 \override StrokeFinger #'digit-names = ##("x" "y" "z" "!" "@")
2256 Internalls: @internalsref{StrokeFinger}
2260 @node Other guitar issues
2261 @subsection Other guitar issues
2263 This example demonstrates how to include guitar position and
2264 barring indications.
2266 @lilypond[quote,ragged-right,fragment,verbatim,relative=0]
2270 \override TextSpanner #'edge-text = #'("XII " . "")
2272 b16 e16 g16 e16 b16 g16\stopTextSpan
2277 Stopped (X) note heads are used in guitar music to signal a place where the
2278 guitarist must play a certain note or chord, with its fingers just
2279 touching the strings instead of fully pressing them. This gives the sound a
2280 percussive noise-like sound that still maintains part of the original
2281 pitch. It is notated with cross noteheads; this is
2282 demonstrated in @ref{Special noteheads}.
2291 * Bagpipe definitions::
2296 @node Bagpipe definitions
2297 @subsection Bagpipe definitions
2299 LilyPond contains special definitions for music for the Scottish
2300 highland bagpipe; to use them, add
2303 \include "bagpipe.ly"
2307 at the top of your input file. This lets you add the special gracenotes
2308 common to bagpipe music with short commands. For example, you could
2309 write @code{\taor} instead of
2312 \grace @{ \small G32[ d G e] @}
2315 @code{bagpipe.ly} also contains pitch definitions for the bagpipe
2316 notes in the appropiate octaves, so you do not need to worry about
2317 @code{\relative} or @code{\transpose}.
2319 @lilypond[ragged-right,verbatim,quote,notime]
2320 \include "bagpipe.ly"
2321 { \grg G4 \grg a \grg b \grg c \grg d \grg e \grg f \grA g A }
2324 Bagpipe music nominally uses the key of D Major (even though that
2325 isn't really true). However, since that is the only key that can be used,
2326 the key signature is normally not written out. To set this up correctly,
2327 always start your music with @code{\hideKeySignature}. If you for some
2328 reason want to show the key signature, you can use @code{\showKeySignature}
2331 Some modern music use cross fingering on c and f to flatten those notes.
2332 This can be indicated by @code{cflat} or @code{fflat}. Similarly, the
2333 piobaireachd high g can be written @code{gflat} when it occurs in light
2337 @node Bagpipe example
2338 @subsection Bagpipe example
2340 This is what the well known tune Amazing Grace looks like in bagpipe
2343 @lilypond[verbatim,quote]
2344 \include "bagpipe.ly"
2347 \context { \Score \remove "Bar_number_engraver" }
2351 title = "Amazing Grace"
2353 arranger = "Trad. arr."
2359 \grg \partial 4 a8. d16
2360 \slurd d2 \grg f8[ e32 d16.]
2363 \grG a2 \grg a8. d16
2364 \slurd d2 \grg f8[ e32 d16.]
2365 \grg f2 \grg e8. f16
2368 \grg A2 \hdblf f8[ e32 d16.]
2371 \grG a2 \grg a8. d16
2372 \slurd d2 \grg f8[ e32 d16.]
2381 @node Ancient notation
2382 @section Ancient notation
2384 @cindex Vaticana, Editio
2385 @cindex Medicaea, Editio
2390 Support for ancient notation includes features for mensural notation
2391 and Gregorian Chant notation. There is also limited support for
2392 figured bass notation.
2394 Many graphical objects provide a @code{style} property, see
2397 @ref{Ancient note heads},
2399 @ref{Ancient accidentals},
2401 @ref{Ancient rests},
2403 @ref{Ancient clefs},
2405 @ref{Ancient flags},
2407 @ref{Ancient time signatures}.
2410 By manipulating such a grob property, the typographical appearance of
2411 the affected graphical objects can be accommodated for a specific
2412 notation flavor without the need for introducing any new notational
2415 In addition to the standard articulation signs described in section
2416 @ref{Articulations}, specific articulation signs for ancient notation
2421 @ref{Ancient articulations}
2424 Other aspects of ancient notation can not that easily be expressed
2425 in terms of just changing a style property of a graphical object or
2426 adding articulation signs. Some notational concepts are introduced
2427 specifically for ancient notation,
2438 If this all is too much of documentation for you, and you just want to
2439 dive into typesetting without worrying too much about the details on
2440 how to customize a context, you may have a look at the predefined
2441 contexts. Use them to set up predefined style-specific voice and
2442 staff contexts, and directly go ahead with the note entry,
2446 @ref{Gregorian Chant contexts},
2448 @ref{Mensural contexts}.
2451 There is limited support for figured bass notation which came
2452 up during the baroque period.
2459 Here are all suptopics at a glance:
2462 * Ancient note heads::
2463 * Ancient accidentals::
2467 * Ancient time signatures::
2468 * Ancient articulations::
2472 * Gregorian Chant contexts::
2473 * Mensural contexts::
2474 * Musica ficta accidentals::
2480 @node Ancient note heads
2481 @subsection Ancient note heads
2483 @cindex note heads, ancient
2485 For ancient notation, a note head style other than the @code{default}
2486 style may be chosen. This is accomplished by setting the @code{style}
2487 property of the @internalsref{NoteHead} object to @code{baroque},
2488 @code{neomensural}, @code{mensural} or @code{petrucci}. The
2489 @code{baroque} style differs from the @code{default} style only in
2490 using a square shape for @code{\breve} note heads. The
2491 @code{neomensural} style differs from the @code{baroque} style in that
2492 it uses rhomboidal heads for whole notes and all smaller durations.
2493 Stems are centered on the note heads. This style is particularly
2494 useful when transcribing mensural music, e.g., for the incipit. The
2495 @code{mensural} style produces note heads that mimic the look of note
2496 heads in historic printings of the 16th century. Finally, the
2497 @code{petrucci} style also mimicks historic printings, but uses bigger
2500 The following example demonstrates the @code{neomensural} style
2502 @lilypond[quote,fragment,ragged-right,verbatim]
2503 \set Score.skipBars = ##t
2504 \override NoteHead #'style = #'neomensural
2505 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
2508 When typesetting a piece in Gregorian Chant notation, the
2509 @internalsref{Gregorian_ligature_engraver} will automatically select
2510 the proper note heads, so there is no need to explicitly set the
2511 note head style. Still, the note head style can be set, e.g., to
2512 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
2513 @internalsref{Mensural_ligature_engraver} is used to automatically
2514 assemble mensural ligatures. See @ref{Ligatures} for how ligature
2519 Examples: @inputfileref{input/@/regression,note@/-head@/-style@/.ly} gives an
2520 overview over all available note head styles.
2523 @node Ancient accidentals
2524 @subsection Ancient accidentals
2529 Use the @code{glyph-name-alist} property of grob
2530 @internalsref{Accidental} and @internalsref{KeySignature} to select
2531 ancient accidentals.
2533 @lilypond[quote,ragged-right,staffsize=26]
2540 \line { " " \musicglyph #"accidentals.vaticana-1"
2541 " " \musicglyph #"accidentals.vaticana0" }
2545 \line { " " \musicglyph #"accidentals.medicaea-1" }
2549 \line { " " \musicglyph #"accidentals.hufnagel-1" }
2553 \line { " " \musicglyph #"accidentals.mensural-1"
2554 " " \musicglyph #"accidentals.mensural1" }
2560 \context { \Score \remove "Bar_number_engraver" }
2562 \remove "Clef_engraver"
2563 \remove "Key_engraver"
2564 \remove "Time_signature_engraver"
2565 \remove "Staff_symbol_engraver"
2566 \override VerticalAxisGroup #'minimum-Y-extent = ##f
2572 As shown, not all accidentals are supported by each style. When
2573 trying to access an unsupported accidental, LilyPond will switch to a
2574 different style, as demonstrated in
2575 @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2577 Similarly to local accidentals, the style of the key signature can be
2578 controlled by the @code{glyph-name-alist} property of the
2579 @internalsref{KeySignature} grob.
2583 In this manual: @ref{Pitches}, @ref{Cautionary accidentals} and
2584 @ref{Automatic accidentals} give a general introduction of the use of
2585 accidentals. @ref{Key signature} gives a general introduction of
2586 the use of key signatures.
2588 Program reference: @internalsref{KeySignature}.
2590 Examples: @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2593 @subsection Ancient rests
2595 @cindex rests, ancient
2598 Use the @code{style} property of grob @internalsref{Rest} to select
2599 ancient rests. Supported styles are @code{classical},
2600 @code{neomensural}, and @code{mensural}. @code{classical} differs
2601 from the @code{default} style only in that the quarter rest looks like
2602 a horizontally mirrored 8th rest. The @code{neomensural} style suits
2603 well for, e.g., the incipit of a transcribed mensural piece of music.
2604 The @code{mensural} style finally mimics the appearance of rests as
2605 in historic prints of the 16th century.
2607 The following example demonstrates the @code{neomensural} style
2609 @lilypond[quote,fragment,ragged-right,verbatim]
2610 \set Score.skipBars = ##t
2611 \override Rest #'style = #'neomensural
2612 r\longa r\breve r1 r2 r4 r8 r16
2615 There are no 32th and 64th rests specifically for the mensural or
2616 neo-mensural style. Instead, the rests from the default style will be
2617 taken. See @inputfileref{input/@/test,rests@/.ly} for a chart of all
2620 There are no rests in Gregorian Chant notation; instead, it uses
2625 In this manual: @ref{Rests} gives a general introduction into the use of
2630 @subsection Ancient clefs
2635 LilyPond supports a variety of clefs, many of them ancient.
2637 The following table shows all ancient clefs that are supported via the
2638 @code{\clef} command. Some of the clefs use the same glyph, but
2639 differ only with respect to the line they are printed on. In such
2640 cases, a trailing number in the name is used to enumerate these clefs.
2641 Still, you can manually force a clef glyph to be typeset on an
2642 arbitrary line, as described in @ref{Clef}. The note printed to the
2643 right side of each clef in the example column denotes the @code{c'}
2644 with respect to that clef.
2646 @multitable @columnfractions .4 .4 .2
2655 modern style mensural C clef
2657 @code{neomensural-c1}, @code{neomensural-c2},@*
2658 @code{neomensural-c3}, @code{neomensural-c4}
2660 @lilypond[fragment,relative=1,notime]
2661 \clef "neomensural-c2" c
2665 petrucci style mensural C clefs, for use on different staff lines
2666 (the examples show the 2nd staff line C clef)
2668 @code{petrucci-c1}, @code{petrucci-c2},@*
2669 @code{petrucci-c3}, @code{petrucci-c4},@*
2672 @lilypond[fragment,relative=1,notime]
2674 \override NoteHead #'style = #'mensural
2679 petrucci style mensural F clef
2683 @lilypond[fragment,relative=1,notime]
2685 \override NoteHead #'style = #'mensural
2690 petrucci style mensural G clef
2694 @lilypond[fragment,relative=1,notime]
2696 \override NoteHead #'style = #'mensural
2701 historic style mensural C clef
2703 @code{mensural-c1}, @code{mensural-c2},@*
2704 @code{mensural-c3}, @code{mensural-c4}
2706 @lilypond[fragment,relative=1,notime]
2708 \override NoteHead #'style = #'mensural
2713 historic style mensural F clef
2717 @lilypond[fragment,relative=1,notime]
2719 \override NoteHead #'style = #'mensural
2724 historic style mensural G clef
2728 @lilypond[fragment,relative=1,notime]
2730 \override NoteHead #'style = #'mensural
2735 Editio Vaticana style do clef
2737 @code{vaticana-do1}, @code{vaticana-do2},@*
2740 @lilypond[fragment,relative=1,notime]
2741 \override Staff.StaffSymbol #'line-count = #4
2742 \override Staff.StaffSymbol #'color = #red
2743 \override Staff.LedgerLineSpanner #'color = #red
2744 \override Voice.Stem #'transparent = ##t
2745 \override NoteHead #'style = #'vaticana.punctum
2746 \clef "vaticana-do2"
2751 Editio Vaticana style fa clef
2753 @code{vaticana-fa1}, @code{vaticana-fa2}
2755 @lilypond[fragment,relative=1,notime]
2756 \override Staff.StaffSymbol #'line-count = #4
2757 \override Staff.StaffSymbol #'color = #red
2758 \override Staff.LedgerLineSpanner #'color = #red
2759 \override Voice.Stem #'transparent = ##t
2760 \override NoteHead #'style = #'vaticana.punctum
2761 \clef "vaticana-fa2"
2766 Editio Medicaea style do clef
2768 @code{medicaea-do1}, @code{medicaea-do2},@*
2771 @lilypond[fragment,relative=1,notime]
2772 \override Staff.StaffSymbol #'line-count = #4
2773 \override Staff.StaffSymbol #'color = #red
2774 \override Staff.LedgerLineSpanner #'color = #red
2775 \override Voice.Stem #'transparent = ##t
2776 \override NoteHead #'style = #'medicaea.punctum
2777 \clef "medicaea-do2"
2782 Editio Medicaea style fa clef
2784 @code{medicaea-fa1}, @code{medicaea-fa2}
2786 @lilypond[fragment,relative=1,notime]
2787 \override Staff.StaffSymbol #'line-count = #4
2788 \override Staff.StaffSymbol #'color = #red
2789 \override Staff.LedgerLineSpanner #'color = #red
2790 \override Voice.Stem #'transparent = ##t
2791 \override NoteHead #'style = #'medicaea.punctum
2792 \clef "medicaea-fa2"
2797 historic style hufnagel do clef
2799 @code{hufnagel-do1}, @code{hufnagel-do2},@*
2802 @lilypond[fragment,relative=1,notime]
2803 \override Staff.StaffSymbol #'line-count = #4
2804 \override Staff.StaffSymbol #'color = #red
2805 \override Staff.LedgerLineSpanner #'color = #red
2806 \override Voice.Stem #'transparent = ##t
2807 \override NoteHead #'style = #'hufnagel.punctum
2808 \clef "hufnagel-do2"
2813 historic style hufnagel fa clef
2815 @code{hufnagel-fa1}, @code{hufnagel-fa2}
2817 @lilypond[fragment,relative=1,notime]
2818 \override Staff.StaffSymbol #'line-count = #4
2819 \override Staff.StaffSymbol #'color = #red
2820 \override Staff.LedgerLineSpanner #'color = #red
2821 \override Voice.Stem #'transparent = ##t
2822 \override NoteHead #'style = #'hufnagel.punctum
2823 \clef "hufnagel-fa2"
2828 historic style hufnagel combined do/fa clef
2830 @code{hufnagel-do-fa}
2832 @lilypond[fragment,relative=1,notime]
2833 \override Staff.StaffSymbol #'color = #red
2834 \override Staff.LedgerLineSpanner #'color = #red
2835 \override Voice.Stem #'transparent = ##t
2836 \override NoteHead #'style = #'hufnagel.punctum
2837 \clef "hufnagel-do-fa"
2844 @emph{Modern style} means @qq{as is typeset in contemporary editions of
2845 transcribed mensural music.}
2847 @emph{Petrucci style} means @qq{inspired by printings published by the
2848 famous engraver Petrucci (1466-1539).}
2850 @emph{Historic style} means @qq{as was typeset or written in historic
2851 editions (other than those of Petrucci).}
2853 @emph{Editio XXX style} means @qq{as is/was printed in Editio XXX.}
2855 Petrucci used C clefs with differently balanced left-side vertical
2856 beams, depending on which staff line it is printed.
2860 In this manual: see @ref{Clef}.
2864 The mensural g clef is mapped to the Petrucci g clef.
2869 @subsection Ancient flags
2874 Use the @code{flag-style} property of grob @internalsref{Stem} to
2875 select ancient flags. Besides the @code{default} flag style,
2876 only the @code{mensural} style is supported
2878 @lilypond[quote,fragment,ragged-right,verbatim]
2879 \override Stem #'flag-style = #'mensural
2880 \override Stem #'thickness = #1.0
2881 \override NoteHead #'style = #'mensural
2883 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
2884 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
2887 Note that the innermost flare of each mensural flag always is
2888 vertically aligned with a staff line.
2890 There is no particular flag style for neo-mensural notation. Hence,
2891 when typesetting the incipit of a transcribed piece of mensural
2892 music, the default flag style should be used. There are no flags in
2893 Gregorian Chant notation.
2897 The attachment of ancient flags to stems is slightly off due to a
2898 change in early 2.3.x.
2900 Vertically aligning each flag with a staff line assumes that stems
2901 always end either exactly on or exactly in the middle between two
2902 staff lines. This may not always be true when using advanced layout
2903 features of classical notation (which however are typically out of
2904 scope for mensural notation).
2906 @node Ancient time signatures
2907 @subsection Ancient time signatures
2909 @cindex time signatures
2912 There is limited support for mensural time signatures. The
2913 glyphs are hard-wired to particular time fractions. In other words,
2914 to get a particular mensural signature glyph with the @code{\time n/m}
2915 command, @code{n} and @code{m} have to be chosen according to the
2918 @lilypond[quote,ragged-right]
2923 \remove Staff_symbol_engraver
2924 \remove Clef_engraver
2925 \remove Time_signature_engraver
2929 \set Score.timing = ##f
2930 \set Score.barAlways = ##t
2931 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph
2932 #"timesig.neomensural44" }
2934 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph
2935 #"timesig.neomensural22" }
2937 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph
2938 #"timesig.neomensural64" }
2940 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph
2941 #"timesig.neomensural68" }
2943 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph
2944 #"timesig.neomensural32" }
2946 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph
2947 #"timesig.neomensural34" }
2949 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph
2950 #"timesig.neomensural94" }
2952 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph
2953 #"timesig.neomensural98" }
2955 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph
2956 #"timesig.neomensural48" }
2958 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph
2959 #"timesig.neomensural24" }
2963 Use the @code{style} property of grob @internalsref{TimeSignature} to
2964 select ancient time signatures. Supported styles are
2965 @code{neomensural} and @code{mensural}. The above table uses the
2966 @code{neomensural} style. This style is appropriate for the
2967 incipit of transcriptions of mensural pieces. The @code{mensural}
2968 style mimics the look of historical printings of the 16th century.
2970 The following examples show the differences in style,
2972 @lilypond[ragged-right,fragment,relative=1,quote]
2977 c1^\markup { \hspace #-2.0 \typewriter default }
2979 \override Staff.TimeSignature #'style = #'numbered
2981 c1^\markup { \hspace #-2.0 \typewriter numbered }
2983 \override Staff.TimeSignature #'style = #'mensural
2985 c1^\markup { \hspace #-2.0 \typewriter mensural }
2987 \override Staff.TimeSignature #'style = #'neomensural
2989 c1^\markup { \hspace #-2.0 \typewriter neomensural }
2990 \override Staff.TimeSignature #'style = #'single-digit
2992 c1^\markup { \hspace #-2.0 \typewriter single-digit }
2998 This manual: @ref{Time signature} gives a general introduction to
2999 the use of time signatures.
3003 Ratios of note durations do not change with the time signature. For
3004 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
3005 be made by hand, by setting
3008 breveTP = #(ly:make-duration -1 0 3 2)
3014 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
3016 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
3017 addressable with @code{\time}. Use a @code{\markup} instead
3019 @node Ancient articulations
3020 @subsection Ancient articulations
3022 @cindex articulations
3024 In addition to the standard articulation signs described in section
3025 @ref{Articulations}, articulation signs for ancient notation are
3026 provided. These are specifically designed for use with notation in
3027 Editio Vaticana style.
3029 @lilypond[quote,ragged-right,verbatim]
3030 \include "gregorian-init.ly"
3032 \new VaticanaVoice {
3033 \override TextScript #'font-family = #'typewriter
3034 \override TextScript #'font-shape = #'upright
3035 \override Script #'padding = #-0.1
3036 a\ictus_"ictus" \break
3037 a\circulus_"circulus" \break
3038 a\semicirculus_"semicirculus" \break
3039 a\accentus_"accentus" \break
3040 \[ a_"episem" \episemInitium \pes b \flexa a b \episemFinis \flexa a \]
3047 Some articulations are vertically placed too closely to the
3048 correpsonding note heads.
3050 The episem line is not displayed in many cases. If it is displayed,
3051 the right end of the episem line is often too far to the right.
3054 @subsection Custodes
3059 A @emph{custos} (plural: @emph{custodes}; Latin word for @q{guard}) is a
3060 symbol that appears at the end of a staff. It anticipates the pitch
3061 of the first note(s) of the following line thus helping the performer
3062 to manage line breaks during performance.
3064 Custodes were frequently used in music notation until the 17th
3065 century. Nowadays, they have survived only in a few particular forms
3066 of musical notation such as contemporary editions of Gregorian chant
3067 like the @emph{editio vaticana}. There are different custos glyphs
3068 used in different flavors of notational style.
3070 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
3071 @internalsref{Staff} context when declaring the @code{\layout} block,
3072 as shown in the following example
3078 \consists Custos_engraver
3079 Custos \override #'style = #'mensural
3084 The result looks like this
3086 @lilypond[quote,ragged-right]
3090 \override Staff.Custos #'style = #'mensural
3095 \context { \Staff \consists Custos_engraver }
3100 The custos glyph is selected by the @code{style} property. The styles
3101 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
3102 @code{mensural}. They are demonstrated in the following fragment
3104 @lilypond[quote,ragged-right,fragment]
3105 \new Lyrics \lyricmode {
3107 \typewriter "vaticana"
3108 \line { " " \musicglyph #"custodes.vaticana.u0" }
3111 \typewriter "medicaea"
3112 \line { " " \musicglyph #"custodes.medicaea.u0" }
3115 \typewriter "hufnagel"
3116 \line { " " \musicglyph #"custodes.hufnagel.u0" }
3119 \typewriter "mensural"
3120 \line { " " \musicglyph #"custodes.mensural.u0" }
3127 Program reference: @internalsref{Custos}.
3129 Examples: @inputfileref{input/@/regression,custos@/.ly}.
3133 @subsection Divisiones
3139 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
3140 @q{division}) is a staff context symbol that is used to structure
3141 Gregorian music into phrases and sections. The musical meaning of
3142 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
3143 can be characterized as short, medium, and long pause, somewhat like
3144 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
3145 only marks the end of a chant, but is also frequently used within a
3146 single antiphonal/responsorial chant to mark the end of each section.
3149 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
3150 contains definitions that you can apply by just inserting
3151 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
3152 and @code{\finalis} at proper places in the input. Some editions use
3153 @emph{virgula} or @emph{caesura} instead of divisio minima.
3154 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
3157 @lilypondfile[quote,ragged-right]{divisiones.ly}
3165 @funindex \divisioMinima
3166 @code{\divisioMinima},
3167 @funindex \divisioMaior
3168 @code{\divisioMaior},
3169 @funindex \divisioMaxima
3170 @code{\divisioMaxima},
3176 In this manual: @ref{Breath marks}.
3178 Program reference: @internalsref{BreathingSign}.
3180 Examples: @inputfileref{input/@/test,divisiones@/.ly}.
3183 @subsection Ligatures
3187 @c TODO: Should double check if I recalled things correctly when I wrote
3188 @c down the following paragraph by heart.
3190 A ligature is a graphical symbol that represents at least two distinct
3191 notes. Ligatures originally appeared in the manuscripts of Gregorian
3192 chant notation to denote ascending or descending sequences of notes.
3194 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
3195 Some ligature styles may need additional input syntax specific for
3196 this particular type of ligature. By default, the
3197 @internalsref{LigatureBracket} engraver just puts a square bracket
3200 @lilypond[quote,ragged-right,verbatim]
3208 To select a specific style of ligatures, a proper ligature engraver
3209 has to be added to the @internalsref{Voice} context, as explained in
3210 the following subsections. Only white mensural ligatures
3211 are supported with certain limitations.
3217 Ligatures need special spacing that has not yet been implemented. As
3218 a result, there is too much space between ligatures most of the time,
3219 and line breaking often is unsatisfactory. Also, lyrics do not
3220 correctly align with ligatures.
3222 Accidentals must not be printed within a ligature, but instead need to
3223 be collected and printed in front of it.
3225 The syntax still uses the deprecated infix style @code{\[ music expr
3226 \]}. For consistency reasons, it will eventually be changed to
3227 postfix style @code{note\[ ... note\]}. Alternatively, the file
3228 @file{gregorian@/-init@/.ly} can be included; it provides a scheme
3231 \ligature @var{music expr}
3233 with the same effect and is believed to be stable.
3236 * White mensural ligatures::
3237 * Gregorian square neumes ligatures::
3240 @node White mensural ligatures
3241 @subsubsection White mensural ligatures
3243 @cindex Mensural ligatures
3244 @cindex White mensural ligatures
3246 There is limited support for white mensural ligatures.
3248 To engrave white mensural ligatures, in the layout block put the
3249 @internalsref{Mensural_ligature_engraver} into the
3250 @internalsref{Voice} context, and remove the
3251 @internalsref{Ligature_bracket_engraver}, like this
3257 \remove Ligature_bracket_engraver
3258 \consists Mensural_ligature_engraver
3263 There is no additional input language to describe the shape of a
3264 white mensural ligature. The shape is rather determined solely from
3265 the pitch and duration of the enclosed notes. While this approach may
3266 take a new user a while to get accustomed to, it has the great advantage
3267 that the full musical information of the ligature is known internally.
3268 This is not only required for correct MIDI output, but also allows for
3269 automatic transcription of the ligatures.
3274 \set Score.timing = ##f
3275 \set Score.defaultBarType = "empty"
3276 \override NoteHead #'style = #'neomensural
3277 \override Staff.TimeSignature #'style = #'neomensural
3280 \[ d\longa c\breve f e d \]
3281 \[ c'\maxima d'\longa \]
3284 @lilypond[quote,ragged-right]
3287 \set Score.timing = ##f
3288 \set Score.defaultBarType = "empty"
3289 \override NoteHead #'style = #'neomensural
3290 \override Staff.TimeSignature #'style = #'neomensural
3293 \[ d\longa c\breve f e d \]
3294 \[ c'\maxima d'\longa \]
3300 \remove Ligature_bracket_engraver
3301 \consists Mensural_ligature_engraver
3307 Without replacing @internalsref{Ligature_bracket_engraver} with
3308 @internalsref{Mensural_ligature_engraver}, the same music transcribes
3311 @lilypond[quote,ragged-right]
3313 \set Score.timing = ##f
3314 \set Score.defaultBarType = "empty"
3315 \override NoteHead #'style = #'neomensural
3316 \override Staff.TimeSignature #'style = #'neomensural
3319 \[ d\longa c\breve f e d \]
3320 \[ c'\maxima d'\longa \]
3327 Horizontal spacing is poor.
3329 @node Gregorian square neumes ligatures
3330 @subsubsection Gregorian square neumes ligatures
3332 @cindex Square neumes ligatures
3333 @cindex Gregorian square neumes ligatures
3335 There is limited support for Gregorian square neumes notation
3336 (following the style of the Editio Vaticana). Core ligatures can
3337 already be typeset, but essential issues for serious typesetting are
3338 still lacking, such as (among others) horizontal alignment of multiple
3339 ligatures, lyrics alignment and proper handling of accidentals.
3342 The following table contains the extended neumes table of the 2nd
3343 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
3344 1983 by the monks of Solesmes.
3346 @multitable @columnfractions .4 .2 .2 .2
3363 @c TODO: \layout block is identical in all of the below examples.
3364 @c Therefore, it should somehow be included rather than duplicated all
3367 @c why not make identifiers in ly/engraver-init.ly? --hwn
3369 @c Because it's just used to typeset plain notes without
3370 @c a staff for demonstration purposes rather than something
3371 @c special of Gregorian chant notation. --jr
3376 @lilypond[staffsize=26,line-width=1.5\cm]
3377 \include "gregorian-init.ly"
3382 \noBreak s^\markup {"a"} \noBreak
3384 % Punctum Inclinatum
3386 \noBreak s^\markup {"b"}
3388 \layout { \neumeDemoLayout }}
3391 @lilypond[staffsize=26,line-width=2.5\cm]
3392 \include "gregorian-init.ly"
3395 % Punctum Auctum Ascendens
3396 \[ \auctum \ascendens b \]
3397 \noBreak s^\markup {"c"} \noBreak
3399 % Punctum Auctum Descendens
3400 \[ \auctum \descendens b \]
3401 \noBreak s^\markup {"d"} \noBreak
3403 % Punctum Inclinatum Auctum
3404 \[ \inclinatum \auctum b \]
3405 \noBreak s^\markup {"e"}
3407 \layout { \neumeDemoLayout }}
3410 @lilypond[staffsize=26,line-width=1.0\cm]
3411 \include "gregorian-init.ly"
3414 % Punctum Inclinatum Parvum
3415 \[ \inclinatum \deminutum b \]
3416 \noBreak s^\markup {"f"}
3418 \layout { \neumeDemoLayout }}
3424 @lilypond[staffsize=26,line-width=1.0\cm]
3425 \include "gregorian-init.ly"
3430 \noBreak s^\markup {"g"}
3432 \layout { \neumeDemoLayout }}
3438 @code{3. Apostropha vel Stropha}
3440 @lilypond[staffsize=26,line-width=1.0\cm]
3441 \include "gregorian-init.ly"
3446 \noBreak s^\markup {"h"}
3448 \layout { \neumeDemoLayout }}
3451 @lilypond[staffsize=26,line-width=1.0\cm]
3452 \include "gregorian-init.ly"
3456 \[ \stropha \auctum b \]
3457 \noBreak s^\markup {"i"}
3459 \layout { \neumeDemoLayout }}
3466 @lilypond[staffsize=26,line-width=1.0\cm]
3467 \include "gregorian-init.ly"
3472 \noBreak s^\markup {"j"}
3474 \layout { \neumeDemoLayout }}
3480 @code{5. Clivis vel Flexa}
3482 @lilypond[staffsize=26,line-width=1.0\cm]
3483 \include "gregorian-init.ly"
3490 \layout { \neumeDemoLayout }}
3493 @lilypond[staffsize=26,line-width=2.0\cm]
3494 \include "gregorian-init.ly"
3497 % Clivis Aucta Descendens
3498 \[ b \flexa \auctum \descendens g \]
3499 \noBreak s^\markup {"l"} \noBreak
3501 % Clivis Aucta Ascendens
3502 \[ b \flexa \auctum \ascendens g \]
3503 \noBreak s^\markup {"m"}
3505 \layout { \neumeDemoLayout }}
3508 @lilypond[staffsize=26,line-width=1.0\cm]
3509 \include "gregorian-init.ly"
3513 \[ b \flexa \deminutum g \]
3516 \layout { \neumeDemoLayout }}
3520 @code{6. Podatus vel Pes}
3522 @lilypond[staffsize=26,line-width=1.0\cm]
3523 \include "gregorian-init.ly"
3530 \layout { \neumeDemoLayout }}
3533 @lilypond[staffsize=26,line-width=2.0\cm]
3534 \include "gregorian-init.ly"
3537 % Pes Auctus Descendens
3538 \[ g \pes \auctum \descendens b \]
3539 \noBreak s^\markup {"p"} \noBreak
3541 % Pes Auctus Ascendens
3542 \[ g \pes \auctum \ascendens b \]
3543 \noBreak s^\markup {"q"}
3545 \layout { \neumeDemoLayout }}
3548 @lilypond[staffsize=26,line-width=1.0\cm]
3549 \include "gregorian-init.ly"
3553 \[ g \pes \deminutum b \]
3556 \layout { \neumeDemoLayout }}
3560 @code{7. Pes Quassus}
3562 @lilypond[staffsize=26,line-width=1.0\cm]
3563 \include "gregorian-init.ly"
3567 \[ \oriscus g \pes \virga b \]
3570 \layout { \neumeDemoLayout }}
3573 @lilypond[staffsize=26,line-width=1.0\cm]
3574 \include "gregorian-init.ly"
3577 % Pes Quassus Auctus Descendens
3578 \[ \oriscus g \pes \auctum \descendens b \]
3581 \layout { \neumeDemoLayout }}
3586 @code{8. Quilisma Pes}
3588 @lilypond[staffsize=26,line-width=1.0\cm]
3589 \include "gregorian-init.ly"
3593 \[ \quilisma g \pes b \]
3596 \layout { \neumeDemoLayout }}
3599 @lilypond[staffsize=26,line-width=1.0\cm]
3600 \include "gregorian-init.ly"
3603 % Quilisma Pes Auctus Descendens
3604 \[ \quilisma g \pes \auctum \descendens b \]
3607 \layout { \neumeDemoLayout }}
3612 @code{9. Podatus Initio Debilis}
3614 @lilypond[staffsize=26,line-width=1.0\cm]
3615 \include "gregorian-init.ly"
3618 % Pes Initio Debilis
3619 \[ \deminutum g \pes b \]
3622 \layout { \neumeDemoLayout }}
3625 @lilypond[staffsize=26,line-width=1.0\cm]
3626 \include "gregorian-init.ly"
3629 % Pes Auctus Descendens Initio Debilis
3630 \[ \deminutum g \pes \auctum \descendens b \]
3633 \layout { \neumeDemoLayout }}
3640 @lilypond[staffsize=26,line-width=1.0\cm]
3641 \include "gregorian-init.ly"
3645 \[ a \pes b \flexa g \]
3648 \layout { \neumeDemoLayout }}
3651 @lilypond[staffsize=26,line-width=1.0\cm]
3652 \include "gregorian-init.ly"
3655 % Torculus Auctus Descendens
3656 \[ a \pes b \flexa \auctum \descendens g \]
3659 \layout { \neumeDemoLayout }}
3662 @lilypond[staffsize=26,line-width=1.0\cm]
3663 \include "gregorian-init.ly"
3666 % Torculus Deminutus
3667 \[ a \pes b \flexa \deminutum g \]
3670 \layout { \neumeDemoLayout }}
3674 @code{11. Torculus Initio Debilis}
3676 @lilypond[staffsize=26,line-width=1.0\cm]
3677 \include "gregorian-init.ly"
3680 % Torculus Initio Debilis
3681 \[ \deminutum a \pes b \flexa g \]
3684 \layout { \neumeDemoLayout }}
3687 @lilypond[staffsize=26,line-width=1.0\cm]
3688 \include "gregorian-init.ly"
3691 % Torculus Auctus Descendens Initio Debilis
3692 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
3695 \layout { \neumeDemoLayout }}
3698 @lilypond[staffsize=26,line-width=1.0\cm]
3699 \include "gregorian-init.ly"
3702 % Torculus Deminutus Initio Debilis
3703 \[ \deminutum a \pes b \flexa \deminutum g \]
3706 \layout { \neumeDemoLayout }}
3710 @code{12. Porrectus}
3712 @lilypond[staffsize=26,line-width=1.0\cm]
3713 \include "gregorian-init.ly"
3717 \[ a \flexa g \pes b \]
3720 \layout { \neumeDemoLayout }}
3723 @lilypond[staffsize=26,line-width=1.0\cm]
3724 \include "gregorian-init.ly"
3727 % Porrectus Auctus Descendens
3728 \[ a \flexa g \pes \auctum \descendens b \]
3731 \layout { \neumeDemoLayout }}
3734 @lilypond[staffsize=26,line-width=1.0\cm]
3735 \include "gregorian-init.ly"
3738 % Porrectus Deminutus
3739 \[ a \flexa g \pes \deminutum b \]
3742 \layout { \neumeDemoLayout }}
3748 @lilypond[staffsize=26,line-width=1.0\cm]
3749 \include "gregorian-init.ly"
3753 \[ \virga b \inclinatum a \inclinatum g \]
3756 \layout { \neumeDemoLayout }
3760 @lilypond[staffsize=26,line-width=1.0\cm]
3761 \include "gregorian-init.ly"
3765 \[ \virga b \inclinatum a \inclinatum \auctum g \]
3768 \layout { \neumeDemoLayout }}
3771 @lilypond[staffsize=26,line-width=1.0\cm]
3772 \include "gregorian-init.ly"
3775 % Climacus Deminutus
3776 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
3779 \layout { \neumeDemoLayout }}
3783 @code{14. Scandicus}
3785 @lilypond[staffsize=26,line-width=1.0\cm]
3786 \include "gregorian-init.ly"
3790 \[ g \pes a \virga b \]
3793 \layout { \neumeDemoLayout }}
3796 @lilypond[staffsize=26,line-width=1.0\cm]
3797 \include "gregorian-init.ly"
3800 % Scandicus Auctus Descendens
3801 \[ g \pes a \pes \auctum \descendens b \]
3804 \layout { \neumeDemoLayout }}
3807 @lilypond[staffsize=26,line-width=1.0\cm]
3808 \include "gregorian-init.ly"
3811 % Scandicus Deminutus
3812 \[ g \pes a \pes \deminutum b \]
3815 \layout { \neumeDemoLayout }}
3821 @lilypond[staffsize=26,line-width=1.0\cm]
3822 \include "gregorian-init.ly"
3826 \[ g \oriscus a \pes \virga b \]
3829 \layout { \neumeDemoLayout }}
3832 @lilypond[staffsize=26,line-width=1.0\cm]
3833 \include "gregorian-init.ly"
3836 % Salicus Auctus Descendens
3837 \[ g \oriscus a \pes \auctum \descendens b \]
3840 \layout { \neumeDemoLayout }}
3847 @lilypond[staffsize=26,line-width=1.0\cm]
3848 \include "gregorian-init.ly"
3852 \[ \stropha b \stropha b \stropha a \]
3855 \layout { \neumeDemoLayout }
3864 Unlike most other neumes notation systems, the input language for
3865 neumes does not reflect the typographical appearance, but is designed
3866 to focus on musical meaning. For example, @code{\[ a \pes b
3867 \flexa g \]} produces a Torculus consisting of three Punctum heads,
3868 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
3869 curved flexa shape and only a single Punctum head. There is no
3870 command to explicitly typeset the curved flexa shape; the decision of
3871 when to typeset a curved flexa shape is based on the musical
3872 input. The idea of this approach is to separate the musical aspects
3873 of the input from the notation style of the output. This way, the
3874 same input can be reused to typeset the same music in a different
3875 style of Gregorian chant notation.
3877 The following table shows the code fragments that produce the
3878 ligatures in the above neumes table. The letter in the first column
3879 in each line of the below table indicates to which ligature in the
3880 above table it refers. The second column gives the name of the
3881 ligature. The third column shows the code fragment that produces this
3882 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
3884 @multitable @columnfractions .02 .31 .67
3904 @code{\[ \inclinatum b \]}
3912 @code{\[ \auctum \ascendens b \]}
3920 @code{\[ \auctum \descendens b \]}
3925 Punctum Inclinatum@*
3928 @code{\[ \inclinatum \auctum b \]}
3933 Punctum Inclinatum@*
3935 @code{\[ \inclinatum \deminutum b \]}
3942 @code{\[ \virga b \]}
3949 @code{\[ \stropha b \]}
3956 @code{\[ \stropha \auctum b \]}
3963 @code{\[ \oriscus b \]}
3970 @code{\[ b \flexa g \]}
3978 @code{\[ b \flexa \auctum \descendens g \]}
3986 @code{\[ b \flexa \auctum \ascendens g \]}
3993 @code{\[ b \flexa \deminutum g \]}
4000 @code{\[ g \pes b \]}
4008 @code{\[ g \pes \auctum \descendens b \]}
4016 @code{\[ g \pes \auctum \ascendens b \]}
4023 @code{\[ g \pes \deminutum b \]}
4030 @code{\[ \oriscus g \pes \virga b \]}
4036 Auctus Descendens @tab
4037 @code{\[ \oriscus g \pes \auctum \descendens b \]}
4044 @code{\[ \quilisma g \pes b \]}
4052 @code{\[ \quilisma g \pes \auctum \descendens b \]}
4059 @code{\[ \deminutum g \pes b \]}
4064 Pes Auctus Descendens@*
4067 @code{\[ \deminutum g \pes \auctum \descendens b \]}
4074 @code{\[ a \pes b \flexa g \]}
4082 @code{\[ a \pes b \flexa \auctum \descendens g \]}
4089 @code{\[ a \pes b \flexa \deminutum g \]}
4094 Torculus Initio Debilis
4096 @code{\[ \deminutum a \pes b \flexa g \]}
4102 Descendens Initio Debilis
4104 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
4109 Torculus Deminutus@*
4112 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
4119 @code{\[ a \flexa g \pes b \]}
4127 @code{\[ a \flexa g \pes \auctum \descendens b \]}
4134 @code{\[ a \flexa g \pes \deminutum b \]}
4141 @code{\[ \virga b \inclinatum a \inclinatum g \]}
4148 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
4155 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
4162 @code{\[ g \pes a \virga b \]}
4170 @code{\[ g \pes a \pes \auctum \descendens b \]}
4177 @code{\[ g \pes a \pes \deminutum b \]}
4184 @code{\[ g \oriscus a \pes \virga b \]}
4189 Salicus Auctus Descendens
4191 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
4198 @code{\[ \stropha b \stropha b \stropha a \]}
4201 The ligatures listed above mainly serve as a limited, but still
4202 representative pool of Gregorian ligature examples. Virtually, within
4203 the ligature delimiters @code{\[} and @code{\]}, any number of heads
4204 may be accumulated to form a single ligature, and head prefixes like
4205 @code{\pes}, @code{\flexa}, @code{\virga}, @code{\inclinatum},
4206 etc. may be mixed in as desired. The use of the set of rules that
4207 underlies the construction of the ligatures in the above table is
4208 accordingly extrapolated. This way, infinitely many different
4209 ligatures can be created.
4211 @c TODO: create a regression or tips & tricks example document with
4212 @c even more Gregorian ligatures, and add a link to this document
4215 Augmentum dots, also called @emph{morae}, are added with the music
4216 function @code{\augmentum}. Note that @code{\augmentum} is
4217 implemented as a unary music function rather than as head prefix. It
4218 applies to the immediately following music expression only. That is,
4219 @code{\augmentum \virga c} will have no visible effect. Instead, say
4220 @code{\virga \augmentum c} or @code{\augmentum @{\virga c@}}. Also
4221 note that you can say @code{\augmentum @{a g@}} as a shortcut for
4222 @code{\augmentum a \augmentum g}.
4224 @lilypond[quote,ragged-right,verbatim]
4225 \include "gregorian-init.ly"
4227 \new VaticanaVoice {
4228 \[ \augmentum a \flexa \augmentum g \]
4236 The following head prefixes are supported
4242 @funindex \inclinatum
4246 @funindex \descendens
4248 @funindex \ascendens
4254 @funindex \deminutum
4261 Head prefixes can be accumulated, though restrictions apply. For
4262 example, either @code{\descendens} or @code{\ascendens} can be applied
4263 to a head, but not both to the same head.
4267 Two adjacent heads can be tied together with the @code{\pes} and
4268 @code{\flexa} infix commands for a rising and falling line of melody,
4271 @funindex \augmentum
4272 Use the unary music function @code{\augmentum} to add augmentum dots.
4276 When an @code{\augmentum} dot appears at the end of the last staff
4277 within a ligature, it is sometimes vertically placed wrong. As a
4278 workaround, add an additional skip note (e.g. @code{s8}) as last note
4281 @code{\augmentum} should be implemented as a head prefix rather than a
4282 unary music function, such that @code{\augmentum} can be intermixed
4283 with head prefixes in arbitrary order.
4285 @node Gregorian Chant contexts
4286 @subsection Gregorian Chant contexts
4288 @cindex VaticanaVoiceContext
4289 @cindex VaticanaStaffContext
4291 The predefined @code{VaticanaVoiceContext} and
4292 @code{VaticanaStaffContext} can be used to engrave a piece of
4293 Gregorian Chant in the style of the Editio Vaticana. These contexts
4294 initialize all relevant context properties and grob properties to
4295 proper values, so you can immediately go ahead entering the chant, as
4296 the following excerpt demonstrates
4298 @lilypond[quote,ragged-right,packed,verbatim]
4299 \include "gregorian-init.ly"
4302 \new VaticanaVoice = "cantus" {
4303 \[ c'\melisma c' \flexa a \]
4304 \[ a \flexa \deminutum g\melismaEnd \]
4306 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
4307 c' \divisioMinima \break
4308 \[ c'\melisma c' \flexa a \]
4309 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
4311 \new Lyrics \lyricsto "cantus" {
4312 San- ctus, San- ctus, San- ctus
4319 @node Mensural contexts
4320 @subsection Mensural contexts
4322 @cindex MensuralVoiceContext
4323 @cindex MensuralStaffContext
4325 The predefined @code{MensuralVoiceContext} and
4326 @code{MensuralStaffContext} can be used to engrave a piece in mensural
4327 style. These contexts initialize all relevant context properties and
4328 grob properties to proper values, so you can immediately go ahead
4329 entering the chant, as the following excerpt demonstrates
4331 @lilypond[quote,ragged-right,verbatim]
4334 \new MensuralVoice = "discantus" \transpose c c' {
4335 \override Score.BarNumber #'transparent = ##t {
4336 c'1\melisma bes a g\melismaEnd
4338 \[ f1\melisma a c'\breve d'\melismaEnd \]
4340 c'\breve\melisma a1 g1\melismaEnd
4341 fis\longa^\signumcongruentiae
4344 \new Lyrics \lyricsto "discantus" {
4345 San -- ctus, San -- ctus, San -- ctus
4351 @node Musica ficta accidentals
4352 @subsection Musica ficta accidentals
4354 In European music from before about 1600, singers were often expected
4355 to chromatically alter notes at their own initiative. This is called
4356 @q{Musica Ficta}. In modern transcriptions, these accidentals are
4357 usually printed over the note.
4359 @cindex Accidental, musica ficta
4360 @cindex Musica ficta
4362 Support for such suggested accidentals is included, and can be
4363 switched on by setting @code{suggestAccidentals} to true.
4365 @funindex suggestAccidentals
4367 @lilypond[verbatim,fragment,relative=1]
4369 \set suggestAccidentals = ##t
4375 Program reference: @internalsref{Accidental_engraver} engraver and the
4376 @internalsref{AccidentalSuggestion} object.
4379 @subsection Figured bass
4381 @cindex Basso continuo
4383 @c TODO: musicological blurb about FB
4386 LilyPond has support for figured bass
4388 @lilypond[quote,ragged-right,verbatim,fragment]
4390 \new Voice { \clef bass dis4 c d ais g fis}
4391 \new FiguredBass \figuremode {
4392 < 6 >4 < 7\+ >8 < 6+ [_!] >
4399 The support for figured bass consists of two parts: there is an input
4400 mode, introduced by @code{\figuremode}, where you can enter bass figures
4401 as numbers, and there is a context called @internalsref{FiguredBass} that
4402 takes care of making @internalsref{BassFigure} objects.
4404 In figures input mode, a group of bass figures is delimited by
4405 @code{<} and @code{>}. The duration is entered after the @code{>}
4409 @lilypond[quote,ragged-right,fragment]
4411 \figuremode { <4 6> }
4414 Accidentals are added when you append @code{-}, @code{!}, and @code{+}
4415 to the numbers. A plus sign is added when you append @code{\+}, and
4416 diminished fifths and sevenths can be obtained with @code{5/} and @code{7/}.
4419 <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/>
4421 @lilypond[quote,ragged-right,fragment]
4422 \figures { <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/> }
4425 Spaces may be inserted by using @code{_}. Brackets are
4426 introduced with @code{[} and @code{]}. You can also include text
4427 strings and text markups, see @ref{Overview of text markup commands}.
4430 < [4 6] 8 [_! 12] > < 5 \markup @{ \number 6 \super (1) @} >
4432 @lilypond[quote,ragged-right,fragment]
4434 \figuremode { < [4 6] 8 [_! 12] > < 5 \markup{ \tiny \number 6 \super (1)} > }
4438 It is also possible to use continuation lines for repeated figures,
4440 @lilypond[verbatim,relative=1]
4447 \set useBassFigureExtenders = ##t
4454 In this case, the extender lines always replace existing figures.
4456 The @code{FiguredBass} context doesn't pay attention to the actual
4457 bass line. As a consequence, you may have to insert extra figures to
4458 get extender lines below all notes, and you may have to add @code{\!}
4459 to avoid getting an extender line, e.g.
4461 @lilypond[relative=1]
4465 \set useBassFigureExtenders = ##t
4466 <6 4->4. <6 4->16. <6 4->32 <5>8. r16 <6>8 <6\! 5->
4470 f16. g32 f16. g32 f16. g32 f16. g32 f8. es16 d8 es
4475 When using continuation lines, common figures are always put in the
4476 same vertical position. When this is unwanted, you can insert a rest
4477 with @code{r}. The rest will clear any previous alignment. For
4478 example, you can write
4490 Accidentals and plus signs can appear before or after the numbers,
4491 depending on the @code{figuredBassAlterationDirection} and
4492 @code{figuredBassPlusDirection}
4498 \set figuredBassAlterationDirection = #1
4500 \set figuredBassPlusDirection = #1
4502 \set figuredBassAlterationDirection = #-1
4508 Although the support for figured bass may superficially resemble chord
4509 support, it is much simpler. The @code{\figuremode} mode simply
4510 stores the numbers and @internalsref{FiguredBass} context prints them
4511 as entered. There is no conversion to pitches and no realizations of
4512 the bass are played in the MIDI file.
4514 Internally, the code produces markup texts. You can use any of the
4515 markup text properties to override formatting. For example, the
4516 vertical spacing of the figures may be set with @code{baseline-skip}.
4519 Figured bass can also be added to @code{Staff} contexts
4520 directly. In this case, their vertical position is adjusted
4523 @lilypond[ragged-right,fragment,quote]
4525 \new Staff = someUniqueName
4530 %% send to existing Staff.
4531 \context Staff = someUniqueName
4535 \set Staff.useBassFigureExtenders = ##t
4544 When using figured bass above the staff with extender lines and
4545 @code{implicitBassFigures} the lines may become swapped around.
4546 Maintaining order consistently will be impossible when multiple figures
4547 have overlapping extender lines. To avoid this problem, plese
4548 use @code{stacking-dir} on @code{BassFigureAlignment}.
4553 Program reference: @internalsref{NewBassFigure},
4554 @internalsref{BassFigureAlignment}, @internalsref{BassFigureLine},
4555 @internalsref{BassFigureBracket}, and
4556 @internalsref{BassFigureContinuation} objects and
4557 @internalsref{FiguredBass} context.
4561 @node Other instrument specific notation
4562 @section Other instrument specific notation
4564 This section includes extra information for writing for instruments.
4567 * Artificial harmonics (strings)::
4570 @node Artificial harmonics (strings)
4571 @subsection Artificial harmonics (strings)
4573 @cindex artificial harmonics
4575 Artificial harmonics are notated with a different notehead style. They
4576 are entered by marking the harmonic pitch with @code{\harmonic}.
4578 @lilypond[ragged-right,verbatim,quote,fragment,relative=1]