1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
6 When revising a translation, copy the HEAD committish of the
7 version that you are working on. See TRANSLATION for details.
11 @c A menu is needed before every deeper *section nesting of @node's; run
12 @c M-x texinfo-all-menus-update
13 @c to automatically fill in these menus before saving changes
15 @node Instrument-specific notation
16 @chapter Instrument-specific notation
18 This chapter explains how to use notation for specific instruments.
28 * Other instrument specific notation::
36 Piano staves are two normal staves coupled with a brace. The staves
37 are largely independent, but sometimes voices can cross between the
38 two staves. The same notation is also used for harps and other key
39 instruments. The @internalsref{PianoStaff} is especially built to
40 handle this cross-staffing behavior. In this section we discuss the
41 @internalsref{PianoStaff} and some other pianistic peculiarities.
44 * Automatic staff changes::
45 * Manual staff switches::
47 * Staff switch lines::
53 Dynamics are not centered, but workarounds do exist. See the
54 @q{piano centered dynamics} template in @ref{Piano templates}.
56 @cindex cross staff stem
57 @cindex stem, cross staff
58 @cindex distance between staves in piano music
61 @node Automatic staff changes
62 @subsection Automatic staff changes
63 @cindex Automatic staff changes
65 Voices can be made to switch automatically between the top and the bottom
66 staff. The syntax for this is
70 \autochange @dots{}@var{music}@dots{}
75 This will create two staves inside the current PianoStaff, called
76 @code{up} and @code{down}. The lower staff will be in bass clef by
79 A @code{\relative} section that is outside of @code{\autochange} has
80 no effect on the pitches of @var{music}, so, if necessary, put
81 @code{\relative} inside @code{\autochange} like
85 \autochange \relative @dots{} @dots{}
90 The autochanger switches on basis of the pitch (middle C is the turning
91 point), and it looks ahead skipping over rests to switch in
92 advance. Here is a practical example
94 @lilypond[quote,verbatim,ragged-right]
96 \autochange \relative c'
105 In this manual: @ref{Manual staff switches}.
107 Program reference: @internalsref{AutoChangeMusic}.
113 The staff switches may not end up in optimal places. For high
114 quality output, staff switches should be specified manually.
117 @code{\autochange} cannot be inside @code{\times}.
120 @node Manual staff switches
121 @subsection Manual staff switches
123 @cindex manual staff switches
124 @cindex staff switch, manual
126 Voices can be switched between staves manually, using the command
128 \change Staff = @var{staffname} @var{music}
132 The string @var{staffname} is the name of the staff. It switches the
133 current voice from its current staff to the Staff called
134 @var{staffname}. Typically @var{staffname} is @code{"up"} or
135 @code{"down"}. The @context{Staff} referred to must already exist, so
136 usually the setup for a score will start with a setup of the staves,
141 \skip 1 * 10 % @emph{keep staff alive}
143 \new Staff = "down" @{
144 \skip 1 * 10 % @emph{idem}
150 and the @context{Voice} is inserted afterwards
153 \context Staff = down
154 \new Voice @{ @dots{} \change Staff = up @dots{} @}
162 Pianos have pedals that alter the way sound is produced. Generally, a
163 piano has three pedals, sustain, una corda, and sostenuto.
166 Piano pedal instruction can be expressed by attaching
167 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
168 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
171 @lilypond[quote,ragged-right,fragment,verbatim]
172 c'4\sustainDown c'4\sustainUp
175 What is printed can be modified by setting @code{pedal@var{X}Strings},
176 where @var{X} is one of the pedal types: @code{Sustain},
177 @code{Sostenuto} or @code{UnaCorda}. Refer to
178 @internalsref{SustainPedal} in the program reference for more
181 Pedals can also be indicated by a sequence of brackets, by setting the
182 @code{pedalSustainStyle} property to bracket objects
184 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
185 \set Staff.pedalSustainStyle = #'bracket
187 b\sustainUp\sustainDown
188 b g \sustainUp a \sustainDown \bar "|."
191 A third style of pedal notation is a mixture of text and brackets,
192 obtained by setting the @code{pedalSustainStyle} property to
195 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
196 \set Staff.pedalSustainStyle = #'mixed
198 b\sustainUp\sustainDown
199 b g \sustainUp a \sustainDown \bar "|."
202 The default @q{*Ped.} style for sustain and damper pedals corresponds to
203 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
206 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
207 c\sostenutoDown d e c, f g a\sostenutoUp
210 For fine-tuning the appearance of a pedal bracket, the properties
211 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
212 @code{PianoPedalBracket} objects (see
213 @internalsref{PianoPedalBracket} in the Program reference) can be
214 modified. For example, the bracket may be extended to the right edge
217 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
218 \override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
219 c\sostenutoDown d e c, f g a\sostenutoUp
224 In this manual: @ref{Laissez vibrer ties}.
226 @node Staff switch lines
227 @subsection Staff switch lines
231 @cindex staff switching
234 @funindex followVoice
236 Whenever a voice switches to another staff, a line connecting the notes
237 can be printed automatically. This is switched on by setting
238 @code{followVoice} to true
240 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
243 \set followVoice = ##t
248 \new Staff="two" { \clef bass \skip 1*2 }
254 Program reference: @internalsref{VoiceFollower}.
258 @funindex \showStaffSwitch
259 @code{\showStaffSwitch},
260 @funindex \hideStaffSwitch
261 @code{\hideStaffSwitch}.
264 @node Cross staff stems
265 @subsection Cross staff stems
267 Chords that cross staves may be produced by increasing the length
268 of the stem in the lower staff, so it reaches the stem in the upper
269 staff, or vice versa.
271 @lilypond[ragged-right,verbatim,quote]
273 \once \override Stem #'length = #10
274 \once \override Stem #'cross-staff = ##t
276 noFlag = \once \override Stem #'flag-style = #'no-flag
279 \stemDown \stemExtend
297 * Introducing chord names::
299 * Printing chord names::
303 @c awkward name; awkward section name.
304 @c still, the Basic "chords" seems like a good name... :(
305 @node Introducing chord names
306 @subsection Introducing chord names
309 LilyPond has support for printing chord names. Chords may be entered
310 in musical chord notation, i.e., @code{< .. >}, but they can also be
311 entered by name. Internally, the chords are represented as a set of
312 pitches, so they can be transposed
315 @lilypond[quote,ragged-right,verbatim,ragged-right]
316 twoWays = \transpose c c' {
325 << \new ChordNames \twoWays
326 \new Voice \twoWays >>
329 This example also shows that the chord printing routines do not try to
330 be intelligent. The last chord (@code{f bes d}) is not interpreted as
333 Note that the duration of chords must be specified outside the
342 @subsection Chords mode
345 In chord mode sets of pitches (chords) are entered with normal note
346 names. A chord is entered by the root, which is entered like a
349 @lilypond[quote,ragged-right,fragment,verbatim]
350 \chordmode { es4. d8 c2 }
354 The mode is introduced by the keyword @code{\chordmode}.
359 Other chords may be entered by suffixing a colon and introducing a
360 modifier (which may include a number if desired)
362 @lilypond[quote,fragment,verbatim]
363 \chordmode { e1:m e1:7 e1:m7 }
366 The first number following the root is taken to be the @q{type} of the
367 chord, thirds are added to the root until it reaches the specified
368 number. The exception is @code{c:13}, for which the 11 is omitted.
370 @lilypond[quote,fragment,verbatim]
371 \chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 c:13}
374 @cindex root of chord
375 @cindex additions, in chords
376 @cindex removals, in chords
378 More complex chords may also be constructed adding separate steps
379 to a chord. Additions are added after the number following
380 the colon and are separated by dots
382 @lilypond[quote,verbatim,fragment]
383 \chordmode { c:5.6 c:3.7.8 c:3.6.13 }
386 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
389 @lilypond[quote,verbatim,fragment]
390 \chordmode { c:7+ c:5+.3- c:3-.5-.7- }
393 Removals are specified similarly and are introduced by a caret. They
394 must come after the additions
396 @lilypond[quote,verbatim,fragment]
397 \chordmode { c^3 c:7^5 c:9^3.5 }
400 Modifiers can be used to change pitches. The following modifiers are
405 The minor chord. This modifier lowers the 3rd and (if present) the 7th step.
408 The diminished chord. This modifier lowers the 3rd, 5th and (if present)
412 The augmented chord. This modifier raises the 5th step.
415 The major 7th chord. This modifier raises the 7th step if present.
418 The suspended 4th or 2nd. This modifier removes the 3rd
419 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
423 Modifiers can be mixed with additions
424 @lilypond[quote,verbatim,fragment]
425 \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
428 @cindex modifiers, in chords.
435 Since an unaltered 11 does not sound good when combined with an
436 unaltered 13, the 11 is removed in this case (unless it is added
438 @lilypond[quote,ragged-right,fragment,verbatim]
439 \chordmode { c:13 c:13.11 c:m13 }
444 An inversion (putting one pitch of the chord on the bottom), as well
445 as bass notes, can be specified by appending
446 @code{/}@var{pitch} to the chord
447 @lilypond[quote,ragged-right,fragment,verbatim]
448 \chordmode { c1 c/g c/f }
452 A bass note can be added instead of transposed out of the chord,
453 by using @code{/+}@var{pitch}.
455 @lilypond[quote,ragged-right,fragment,verbatim]
456 \chordmode { c1 c/+g c/+f }
459 Chords is a mode similar to @code{\lyricmode}, etc. Most
460 of the commands continue to work, for example, @code{r} and
461 @code{\skip} can be used to insert rests and spaces, and property
462 commands may be used to change various settings.
468 Each step can only be present in a chord once. The following
469 simply produces the augmented chord, since @code{5+} is interpreted
472 @lilypond[quote,ragged-right,verbatim,fragment]
473 \chordmode { c:5.5-.5+ }
477 @node Printing chord names
478 @subsection Printing chord names
480 @cindex printing chord names
484 For displaying printed chord names, use the @internalsref{ChordNames} context.
485 The chords may be entered either using the notation
486 described above, or directly using @code{<} and @code{>}
488 @lilypond[quote,verbatim,ragged-right]
490 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
493 \new ChordNames \harmonies
494 \new Staff \harmonies
498 You can make the chord changes stand out by setting
499 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
500 display chord names when there is a change in the chords scheme and at
501 the start of a new line
503 @lilypond[quote,verbatim,ragged-right]
504 harmonies = \chordmode {
505 c1:m c:m \break c:m c:m d
509 \set chordChanges = ##t
511 \new Staff \transpose c c' \harmonies
515 The previous examples all show chords over a staff. This is not
516 necessary. Chords may also be printed separately. It may be necessary
517 to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
520 @lilypond[ragged-right,verbatim]
521 \new ChordNames \with {
522 \override BarLine #'bar-size = #4
523 \consists Bar_engraver
524 \consists "Volta_engraver"
526 \chordmode { \repeat volta 2 {
536 The default chord name layout is a system for Jazz music, proposed by
537 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
541 @funindex chordNameExceptions
542 @item chordNameExceptions
543 This is a list that contains the chords that have special formatting.
545 The exceptions list should be encoded as
547 @{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
550 To get this information into @code{chordNameExceptions} takes a little
551 manoeuvring. The following code transforms @code{chExceptionMusic}
552 (which is a sequential music) into a list of exceptions.
554 (sequential-music-to-chord-exceptions chExceptionMusic #t)
559 (sequential-music-to-chord-exceptions chExceptionMusic #t)
562 adds the new exceptions to the default ones, which are defined in
563 @file{ly/@/chord@/-modifier@/-init@/.ly}.
565 For an example of tuning this property, see also
566 @lsr{chords,chord@/-name@/-exceptions@/.ly}
567 @cindex exceptions, chord names.
570 @funindex majorSevenSymbol
571 @item majorSevenSymbol
572 This property contains the markup object used for the 7th step, when
573 it is major. Predefined options are @code{whiteTriangleMarkup} and
574 @code{blackTriangleMarkup}. See
575 @lsr{chords,chord@/-name@/-major7@/.ly} for an example.
577 @funindex chordNameSeparator
578 @item chordNameSeparator
579 Different parts of a chord name are normally separated by a
580 slash. By setting @code{chordNameSeparator}, you can specify other
582 @lilypond[quote,ragged-right,fragment,verbatim]
583 \new ChordNames \chordmode {
585 \set chordNameSeparator
586 = \markup { \typewriter "|" }
591 @funindex chordRootNamer
593 The root of a chord is usually printed as a letter with an optional
594 alteration. The transformation from pitch to letter is done by this
595 function. Special note names (for example, the German @q{H} for a
596 B-chord) can be produced by storing a new function in this property.
598 @funindex chordNoteNamer
600 The default is to print single pitch, e.g., the bass note, using the
601 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
602 to a specialized function to change this behavior. For example, the
603 base can be printed in lower case.
605 @funindex chordPrefixSpacer
606 @item chordPrefixSpacer
607 The @q{m} for minor chords is usually printed right after the root of
608 the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer
609 between the root and @q{m}. The spacer is not used when the root
614 The predefined variables @code{\germanChords},
615 @code{\semiGermanChords}, @code{\italianChords} and @code{\frenchChords}
616 set these variables. The effect is
619 @lilypondfile[ragged-right]{chord-names-languages.ly}
621 There are also two other chord name schemes implemented: an alternate
622 Jazz chord notation, and a systematic scheme called Banter chords. The
623 alternate Jazz notation is also shown on the chart in @ref{Chord name
624 chart}. Turning on these styles is demonstrated in
625 @lsr{chords,chord-names-jazz.ly}.
634 @funindex \germanChords
635 @code{\germanChords},
636 @funindex \semiGermanChords
637 @code{\semiGermanChords}.
638 @funindex \italianChords
639 @code{\italianChords}.
640 @funindex \frenchChords
641 @code{\frenchChords}.
651 Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
652 @file{scm/@/chord@/-entry@/.scm}.
657 Chord names are determined solely from the list of pitches. Chord
658 inversions are not identified, and neither are added bass notes. This
659 may result in strange chord names when chords are entered with the
660 @code{< .. >} syntax.
667 Since LilyPond input files are text, there are two issues to
668 consider when working with vocal music:
672 Song texts must be entered as text, not notes. For example, the
673 input@tie{}@code{d} should be interpreted as a one letter syllable, not the
677 Song texts must be aligned with the notes of their melody.
680 There are a few different ways to define lyrics; we shall begin
681 by examining the simplest method, and gradually increase complexity.
684 * Setting simple songs::
686 * Aligning lyrics to a melody::
687 * Working with lyrics and identifiers::
688 * Flexibility in placement::
690 * More about stanzas::
692 * Other vocal issues::
698 Checking to make sure that text scripts and lyrics are within the margins is
699 a relatively large computational task. To speed up processing, lilypond does
700 not perform such calculations by default; to enable it, use
703 \override Score.PaperColumn #'keep-inside-line = ##t
706 To make lyrics avoid barlines as well, use
711 \consists "Bar_engraver"
712 \consists "Separating_line_group_engraver"
713 \override BarLine #'transparent = ##t
719 @node Setting simple songs
720 @subsection Setting simple songs
724 The easiest way to add lyrics to a melody is to append
727 \addlyrics @{ @var{the lyrics} @}
731 to a melody. Here is an example,
733 @lilypond[ragged-right,verbatim,fragment,quote]
735 \relative { c2 e4 g2. }
736 \addlyrics { play the game }
739 More stanzas can be added by adding more
740 @code{\addlyrics} sections
742 @lilypond[ragged-right,verbatim,fragment,quote]
744 \relative { c2 e4 g2. }
745 \addlyrics { play the game }
746 \addlyrics { speel het spel }
747 \addlyrics { joue le jeu }
750 The command @code{\addlyrics} cannot handle polyphony settings. For these
751 cases you should use @code{\lyricsto} and @code{\lyricmode}, as will be
752 introduced in @ref{Entering lyrics}.
756 @node Entering lyrics
757 @subsection Entering lyrics
762 @cindex spaces, in lyrics
763 @cindex quotes, in lyrics
765 Lyrics are entered in a special input mode, which can be introduced
766 by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
767 @code{\lyricsto}. In this mode you can enter lyrics,
768 with punctuation and accents, and the input @code{d} is not parsed as
769 a pitch, but rather as a one letter syllable. Syllables are entered
770 like notes, but with pitches replaced by text. For example,
773 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
776 There are two main methods to specify the horizontal placement
777 of the syllables, either by specifying the duration of each syllable
778 explicitly, like in the example above, or by automatically aligning
779 the lyrics to a melody or other voice of music, using @code{\addlyrics}
782 @c For more details see @ref{The Lyrics context}.
784 A word or syllable of lyrics begins with an alphabetic character, and ends
786 any space or digit. The following characters can be any character
787 that is not a digit or white space.
789 Any character that is not a digit or white space will be regarded as
790 part of the syllable; one important consequence of this is that a word
791 can end with @code{@}}, which often leads to the following mistake:
794 \lyricmode @{ lah- lah@}
797 In this example, the @code{@}} is included in the final syllable, so the
798 opening brace is not balanced and the input file will probably not
802 @funindex \property in \lyricmode
805 Similarly, a period which follows an alphabetic sequence is included in
806 the resulting string. As a consequence, spaces must be inserted around
807 property commands: do @emph{not} write
810 \override Score.LyricText #'font-shape = #'italic
817 \override Score . LyricText #'font-shape = #'italic
821 @cindex spaces, in lyrics
822 @cindex quotes, in lyrics
823 @cindex ties, in lyrics
825 In order to assign more than one syllable to a single note, you can
826 surround them with quotes or use a @code{_} character, to get spaces
827 between syllables, or use tilde symbol (@code{~}) to get a lyric tie.
829 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
831 \relative { c2 e4 g2 e4 }
832 \addlyrics { gran- de_a- mi- go }
833 \addlyrics { pu- "ro y ho-" nes- to }
834 \addlyrics { pu- ro~y~ho- nes- to }
837 The lyric ties is implemented with the Unicode character U+203F, so be
838 sure to have a font (Like DejaVuLGC) installed that includes this
842 To enter lyrics with characters from non-English languages, or with
843 accented and special characters (such as the heart symbol or slanted quotes),
844 simply insert the characters directly into the input file and save
845 it with utf-8 encoding. See @ref{Text encoding}, for more info.
847 @lilypond[quote,ragged-right,fragment,verbatim]
848 \relative { e4 f e d e f e2 }
849 \addlyrics { He said: “Let my peo ple go”. }
852 To use normal quotes in lyrics, add a backslash before the
855 @lilypond[quote,ragged-right,fragment,verbatim]
856 \relative c' { \time 3/4 e4 e4. e8 d4 e d c2. }
857 \addlyrics { "\"I" am so lone- "ly\"" said she }
860 The full definition of a word start in Lyrics mode is somewhat more
863 A word in Lyrics mode begins with: an alphabetic character, @code{_},
864 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
865 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
866 any 8-bit character with ASCII code over 127, or a two-character
867 combination of a backslash followed by one of @code{`}, @code{'},
868 @code{"}, or @code{^}.
870 To define identifiers containing lyrics, the function @code{lyricmode}
874 verseOne = \lyricmode @{ Joy to the world the Lord is come @}
877 \new Voice = "one" \relative c'' @{
880 c4 b8. a16 g4. f8 e4 d c2
882 \addlyrics @{ \verseOne @}
890 Program reference: @internalsref{LyricText}, @internalsref{LyricSpace}.
894 @node Aligning lyrics to a melody
895 @subsection Aligning lyrics to a melody
902 Lyrics are printed by interpreting them in the context called
903 @internalsref{Lyrics}.
906 \new Lyrics \lyricmode @dots{}
909 There are two main methods to specify the horizontal placement
914 by automatically aligning
915 the lyrics to a melody or other voice of music, using @code{\addlyrics}
919 or by specifying the duration of each syllable
920 explicitly, using @code{\lyricmode}
924 * Automatic syllable durations::
925 * Another way of entering lyrics::
926 * Assigning more than one syllable to a single note::
927 * More than one note on a single syllable::
928 * Extenders and hyphens::
931 @node Automatic syllable durations
932 @subsubsection Automatic syllable durations
934 @cindex automatic syllable durations
935 @cindex lyrics and melodies
937 The lyrics can be aligned under a given melody
938 automatically. This is achieved by combining the
939 melody and the lyrics with the @code{\lyricsto} expression
942 \new Lyrics \lyricsto @var{name} @dots{}
945 This aligns the lyrics to the
946 notes of the @internalsref{Voice} context called @var{name}, which must
947 already exist. Therefore normally the @code{Voice} is specified first, and
948 then the lyrics are specified with @code{\lyricsto}. The command
949 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
950 @code{\lyricmode} keyword may be omitted.
952 The following example uses different commands for entering lyrics.
954 @lilypond[quote,fragment,ragged-right,verbatim]
956 \new Voice = "one" \relative c'' {
959 c4 b8. a16 g4. f8 e4 d c2
961 \new Lyrics \lyricmode { Joy4 to8. the16 world!4. the8 Lord4 is come.2 }
962 \new Lyrics \lyricmode { Joy to the earth! the Sa -- viour reigns. }
963 \new Lyrics \lyricsto "one" { No more let sins and sor -- rows grow. }
967 The second stanza is not properly aligned because the durations
968 were not specified. A solution for that would be to use @code{\lyricsto}.
970 The @code{\addlyrics} command is actually just a convenient way
971 to write a more complicated LilyPond structure that sets up the
976 \addlyrics @{ LYRICS @}
983 \new Voice = "blah" @{ music @}
984 \new Lyrics \lyricsto "blah" @{ LYRICS @}
987 @node Another way of entering lyrics
988 @subsubsection Another way of entering lyrics
990 Lyrics can also be entered without @code{\addlyrics} or
991 @code{\lyricsto}. In this case,
992 syllables are entered like notes -- but with pitches replaced by text -- and the
993 duration of each syllable must be entered explicitly. For example:
1000 The alignment to a melody can be specified with the
1001 @code{associatedVoice} property,
1004 \set associatedVoice = #"lala"
1008 The value of the property (here: @code{"lala"}) should be the name of
1009 a @internalsref{Voice} context. Without this setting, extender lines
1010 will not be formatted properly.
1012 Here is an example demonstrating manual lyric durations,
1014 @lilypond[relative=1,ragged-right,verbatim,fragment,quote]
1015 << \new Voice = "melody" {
1019 \new Lyrics \lyricmode {
1020 \set associatedVoice = #"melody"
1027 Program reference: @internalsref{Lyrics}.
1030 @node Assigning more than one syllable to a single note
1031 @subsubsection Assigning more than one syllable to a single note
1035 @cindex ties, in lyrics
1037 In order to assign more than one syllable to a single note, you can
1038 surround them with quotes or use a @code{_} character, to get spaces
1039 between syllables, or use tilde symbol (@code{~}) to get a lyric
1040 tie@footnote{The lyric ties is implemented with the Unicode character
1042 sure to have a font (Like DejaVuLGC) installed that includes this
1045 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
1047 \relative { c2 e4 g2 e4 }
1048 \addlyrics { gran- de_a- mi- go }
1049 \addlyrics { pu- "ro y ho-" nes- to }
1050 \addlyrics { pu- ro~y~ho- nes- to }
1055 Program reference: @internalsref{LyricCombineMusic}.
1057 @c Here come the section which used to be "Melismata"
1058 @c the new title might be more self-explanatory
1061 @node More than one note on a single syllable
1062 @subsubsection More than one note on a single syllable
1066 @cindex phrasing, in lyrics
1068 Sometimes, particularly in Medieval music, several notes are to be sung on one
1069 single syllable; such vocalises are called melismas, or melismata.
1071 @c this method seems to be the simplest; therefore
1072 @c it might be better to present it first - vv
1074 You can define melismata entirely in the lyrics, by entering @code{_}
1076 that is part of the melisma.
1078 @lilypond[relative=1,verbatim,fragment,quote]
1079 { \set melismaBusyProperties = #'()
1080 c d( e) f f( e) e e }
1082 { Ky -- _ _ ri __ _ _ _ e }
1085 In this case, you can also have ties and slurs in the melody if you
1086 set @code{melismaBusyProperties}, as is done in the example above.
1088 However, the @code{\lyricsto} command can also
1089 detect melismata automatically: it only puts one
1090 syllable under a tied or slurred group of notes. If you want to force
1091 an unslurred group of notes to be a melisma, insert @code{\melisma}
1092 after the first note of the group, and @code{\melismaEnd} after the
1095 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
1097 \new Voice = "lala" {
1105 \new Lyrics \lyricsto "lala" {
1111 In addition, notes are considered a melisma if they are manually
1112 beamed, and automatic beaming (see @ref{Setting automatic beam
1113 behavior}) is switched off.
1115 @c TODO: there might be some more relevant place for
1116 @c the following link (?)
1119 @cindex choral score
1121 A complete example of a SATB score setup is in section
1122 @ref{Vocal ensembles}.
1127 @code{\melisma}, @code{\melismaEnd}
1128 @funindex \melismaEnd
1133 Program reference: @internalsref{Melisma_translator}.
1135 @lsr{vocal,lyric@/-combine.ly}.
1139 Melismata are not detected automatically, and extender lines must be
1142 @node Extenders and hyphens
1143 @subsubsection Extenders and hyphens
1148 Melismata are indicated with a horizontal line centered between a syllable
1149 and the next one. Such a line is called an extender line, and it is entered
1150 as @samp{ __ } (note the spaces before and after the two underscore
1155 Centered hyphens are entered as @samp{ -- } between syllables of a same word
1156 (note the spaces before and after the two hyphen characters). The hyphen
1157 will be centered between the syllables, and its length will be adjusted
1158 depending on the space between the syllables.
1160 In tighly engraved music, hyphens can be removed. Whether this
1161 happens can be controlled with the @code{minimum-distance} (minimum
1162 distance between two syllables) and the @code{minimum-length}
1163 (threshold below which hyphens are removed).
1167 Program reference: @internalsref{LyricExtender},
1168 @internalsref{LyricHyphen}
1171 @node Working with lyrics and identifiers
1172 @subsection Working with lyrics and identifiers
1173 @cindex lyrics, identifiers
1175 To define identifiers containing lyrics, the function @code{\lyricmode}
1176 must be used. You do not have to enter durations though, if you add
1177 @code{\addlyrics} or @code{\lyricsto}
1178 when invoking your identifier.
1181 verseOne = \lyricmode @{ Joy to the world the Lord is come @}
1184 \new Voice = "one" \relative c'' @{
1187 c4 b8. a16 g4. f8 e4 d c2
1189 \addlyrics @{ \verseOne @}
1194 @c TODO: Move the following section to
1195 @c "Working with lyrics and identifiers"
1197 For different or more complex orderings, the best way is to setup the
1198 hierarchy of staves and lyrics first, e.g.,
1201 \new Voice = "soprano" @{ @emph{music} @}
1202 \new Lyrics = "sopranoLyrics" @{ s1 @}
1203 \new Lyrics = "tenorLyrics" @{ s1 @}
1204 \new Voice = "tenor" @{ @emph{music} @}
1208 and then combine the appropriate melodies and lyric lines
1211 \context Lyrics = sopranoLyrics \lyricsto "soprano"
1217 The final input would resemble
1220 <<\new ChoirStaff << @emph{setup the music} >>
1221 \lyricsto "soprano" @emph{etc}
1222 \lyricsto "alto" @emph{etc}
1229 @c TODO: document \new Staff << Voice \lyricsto >> bug
1230 Program reference: @internalsref{LyricCombineMusic},
1231 @internalsref{Lyrics}.
1233 @node Flexibility in placement
1234 @subsection Flexibility in placement
1236 Often, different stanzas of one song are put to one melody in slightly
1237 differing ways. Such variations can still be captured with
1241 * Lyrics to multiple notes of a melisma::
1243 * Switching the melody associated with a lyrics line::
1244 * Lyrics independent of notes::
1247 @node Lyrics to multiple notes of a melisma
1248 @subsubsection Lyrics to multiple notes of a melisma
1251 One possibility is that the text has a melisma in one stanza, but
1252 multiple syllables in another one. One solution is to make the faster
1253 voice ignore the melisma. This is done by setting
1254 @code{ignoreMelismata} in the Lyrics context.
1256 There is one tricky aspect: the setting for @code{ignoreMelismata}
1257 must be set one syllable @emph{before} the non-melismatic syllable
1258 in the text, as shown here,
1260 @c FIXME: breaks compile
1261 @lilypond[verbatim,ragged-right,quote]
1264 \relative \new Voice = "lahlah" {
1265 \set Staff.autoBeaming = ##f
1271 \new Lyrics \lyricsto "lahlah" {
1274 \new Lyrics \lyricsto "lahlah" {
1275 \set ignoreMelismata = ##t % applies to "fas"
1277 \unset ignoreMelismata
1285 The @code{ignoreMelismata} applies to the syllable @q{fas}, so it
1286 should be entered before @q{go}.
1288 The reverse is also possible: making a lyric line slower than the
1289 standard. This can be achieved by insert @code{\skip}s into the
1290 lyrics. For every @code{\skip}, the text will be delayed another note.
1293 @lilypond[verbatim,ragged-right,quote]
1294 \relative { c c g' }
1303 @subsubsection Divisi lyrics
1305 You can display alternate (or divisi) lyrics by naming voice
1306 contexts and attaching lyrics to those specific contexts.
1308 @lilypond[verbatim,ragged-right,quote]
1310 \new Voice = "melody" {
1315 \new Voice = "splitpart" { \voiceTwo c4 }
1320 \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
1321 \new Lyrics \lyricsto "splitpart" { will }
1326 You can use this trick to display different lyrics for a repeated
1329 @lilypond[verbatim,ragged-right,quote]
1331 \new Voice = "melody" \relative c' {
1333 \new Voice = "verse" \repeat volta 2 {c4 d e f | g1 | }
1335 \new Lyrics = "mainlyrics" \lyricsto melody \lyricmode {
1338 \context Lyrics = "mainlyrics" \lyricsto verse \lyricmode {
1340 \new Lyrics = "repeatlyrics" \lyricsto verse \lyricmode {
1341 dodo rere mimi fafa solsol }
1348 @node Switching the melody associated with a lyrics line
1349 @subsubsection Switching the melody associated with a lyrics line
1351 More complex variations in text underlay are possible. It is possible
1352 to switch the melody for a line of lyrics during the text. This is
1353 done by setting the @code{associatedVoice} property. In the example
1355 @lilypond[ragged-right,quote]
1357 \relative \new Voice = "lahlah" {
1358 \set Staff.autoBeaming = ##f
1361 \new Voice = "alternative" {
1364 % show associations clearly.
1365 \override NoteColumn #'force-hshift = #-3
1376 \new Lyrics \lyricsto "lahlah" {
1377 Ju -- ras -- sic Park
1379 \new Lyrics \lyricsto "lahlah" {
1380 % Tricky: need to set associatedVoice
1381 % one syllable too soon!
1382 \set associatedVoice = alternative % applies to "ran"
1386 \set associatedVoice = lahlah % applies to "rus"
1392 the text for the first stanza is set to a melody called @q{lahlah},
1395 \new Lyrics \lyricsto "lahlah" @{
1396 Ju -- ras -- sic Park
1401 The second stanza initially is set to the @code{lahlah} context, but
1402 for the syllable @q{ran}, it switches to a different melody.
1403 This is achieved with
1405 \set associatedVoice = alternative
1409 Here, @code{alternative} is the name of the @code{Voice} context
1410 containing the triplet.
1412 Again, the command must be one syllable too early, before @q{Ty} in
1416 \new Lyrics \lyricsto "lahlah" @{
1417 \set associatedVoice = alternative % applies to "ran"
1421 \set associatedVoice = lahlah % applies to "rus"
1427 The underlay is switched back to the starting situation by assigning
1428 @code{lahlah} to @code{associatedVoice}.
1431 @node Lyrics independent of notes
1432 @subsubsection Lyrics independent of notes
1434 In some complex vocal music, it may be desirable to place
1435 lyrics completely independently of notes. Music defined
1436 inside @code{lyricrhythm} disappears into the
1437 @code{Devnull} context, but the rhythms can still be used
1438 to place the lyrics.
1440 @lilypond[quote,verbatim,ragged-right]
1443 \tag #'music { c''2 }
1444 \tag #'lyricrhythm { c''4. c''8 }
1448 lyr = \lyricmode { I like my cat! }
1451 \new Staff \keepWithTag #'music \voice
1452 \new Devnull="nowhere" \keepWithTag #'lyricrhythm \voice
1453 \new Lyrics \lyricsto "nowhere" \lyr
1454 \new Staff { c'8 c' c' c' c' c' c' c'
1455 c' c' c' c' c' c' c' c' }
1460 @node Spacing lyrics
1461 @subsection Spacing lyrics
1463 @cindex Spacing lyrics
1464 @cindex Lyrics, increasing space between
1466 To increase the spacing between lyrics, set the minimum-distance property of
1469 @lilypond[relative,verbatim,fragment,quote,ragged-right]
1472 \override Lyrics.LyricSpace #'minimum-distance = #1.0
1476 longtext longtext longtext longtext
1477 longtext longtext longtext longtext
1481 To make this change for all lyrics in the score, set the property in the
1484 @lilypond[relative,verbatim,quote,ragged-right]
1491 longtext longtext longtext longtext
1492 longtext longtext longtext longtext
1497 \override LyricSpace #'minimum-distance = #1.0
1504 @node More about stanzas
1505 @subsection More about stanzas
1507 @cindex stanza number
1508 @subsubsection Adding stanza numbers
1510 Stanza numbers can be added by setting @code{stanza}, e.g.,
1512 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1514 \time 3/4 g2 e4 a2 f4 g2.
1517 Hi, my name is Bert.
1520 Oh, che -- ri, je t'aime
1525 These numbers are put just before the start of the first syllable.
1528 @subsubsection Adding dynamics marks
1530 Stanzas differing in loudness may be indicated by putting a
1531 dynamics mark before each stanza. In Lilypond, everthing coming in
1532 front of a stanza goes into the @code{StanzaNumber} object; dynamics marks
1533 are no different. For technical reasons, you have to set the stanza
1534 outside @code{\lyricmode}:
1536 @lilypond[quote,ragged-right,verbatim]
1538 \set stanza = \markup { \dynamic "ff" "1. " }
1545 \new Voice = "tune" {
1549 \new Lyrics \lyricsto "tune" \text
1554 @cindex name of singer
1555 @subsubsection Adding singer names
1557 Names of singers can also be added. They are printed at the start of
1558 the line, just like instrument names. They are created by setting
1559 @code{vocalName}. A short version may be entered as @code{shortVocalName}.
1561 @lilypond[fragment,ragged-right,quote,verbatim,relative=2]
1563 \time 3/4 g2 e4 a2 f4 g2.
1565 \set vocalName = "Bert "
1566 Hi, my name is Bert.
1568 \set vocalName = "Ernie "
1569 Oh, che -- ri, je t'aime
1574 @subsubsection Printing stanzas at the end
1576 Sometimes it is appropriate to have one stanza set
1577 to the music, and the rest added in verse form at
1578 the end of the piece. This can be accomplished by adding
1579 the extra verses into a @code{\markup} section outside
1580 of the main score block. Notice that there are two
1581 different ways to force linebreaks when using
1584 @lilypond[ragged-right,verbatim,quote]
1585 melody = \relative c' {
1591 \set stanza = "1." Ma- ry had a lit- tle lamb,
1592 its fleece was white as snow.
1596 \new Voice = "one" { \melody }
1597 \new Lyrics \lyricsto "one" \text
1603 \line{ All the children laughed and played }
1604 \line{ To see a lamb at school. }
1611 Mary took it home again,
1613 It was against the rule."
1618 @subsubsection Printing stanzas at the end in multiple columns
1620 When a piece of music has many verses, they are often printed in
1621 multiple columns across the page. An outdented verse number often
1622 introduces each verse. The following example shows how to produce such
1625 @lilypond[ragged-right,quote,verbatim]
1626 melody = \relative c' {
1631 \set stanza = "1." This is verse one.
1636 \new Voice = "one" { \melody }
1637 \new Lyrics \lyricsto "one" \text
1644 \hspace #0.1 % moves the column off the left margin; can be removed if
1645 % space on the page is tight
1649 "This is verse two."
1653 \hspace #0.1 % adds vertical spacing between verses
1656 "This is verse three."
1661 \hspace #0.1 % adds horizontal spacing between columns; if they are
1662 % still too close, add more " " pairs until the result
1667 "This is verse four."
1671 \hspace #0.1 % adds vertical spacing between verses
1674 "This is verse five."
1679 \hspace #0.1 % gives some extra space on the right margin; can
1680 % be removed if page space is tight
1688 Program reference: @internalsref{LyricText}, @internalsref{StanzaNumber},
1689 @internalsref{VocalName}.
1697 The term @emph{ambitus} denotes a range of pitches for a given voice
1698 in a part of music. It may also denote the pitch range that a musical
1699 instrument is capable of playing. Ambits are printed on vocal parts,
1700 so performers can easily determine it meets their capabilities.
1702 Ambits are denoted at the beginning of a piece near the initial clef.
1703 The range is graphically specified by two note heads that represent the
1704 minimum and maximum pitch. To print such ambits, add the
1705 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
1712 \consists Ambitus_engraver
1717 This results in the following output
1719 @lilypond[quote,ragged-right]
1723 \consists Ambitus_engraver
1727 \relative \new Staff {
1732 If you have multiple voices in a single staff and you want a single
1733 ambitus per staff rather than per each voice, add the
1734 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
1735 rather than to the @internalsref{Voice} context. Here is an example,
1737 @lilypond[verbatim,ragged-right,quote]
1739 \consists "Ambitus_engraver"
1743 \remove "Ambitus_engraver"
1745 \override Ambitus #'X-offset = #-1.0
1750 \remove "Ambitus_engraver"
1759 This example uses one advanced feature,
1762 \override Ambitus #'X-offset = #-1.0
1766 This code moves the ambitus to the left. The same effect could have
1767 been achieved with @code{extra-offset}, but then the formatting system
1768 would not reserve space for the moved object.
1772 Program reference: @internalsref{Ambitus},
1773 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1774 @internalsref{AmbitusAccidental}.
1777 @lsr{vocal,ambitus@/.ly}.
1781 There is no collision handling in the case of multiple per-voice
1785 @node Other vocal issues
1786 @subsection Other vocal issues
1789 yeah, I'm giving up somewhat by stuffing a bunch of things in
1790 here. But at least they're in the manual now; it's easier to
1791 move them around in the manual once they're already here.
1793 Besides, if users complain about everything stuffed in here, I
1794 can ask them for specific instructions about where to move these
1795 examples, and that might get them more involved in the docs. -gp
1798 @q{Parlato} is spoken without pitch but still with rhythm; it is
1799 notated by cross noteheads. This is demonstrated in
1800 @ref{Special noteheads}.
1806 @node Rhythmic music
1807 @section Rhythmic music
1809 Rhythmic music is primarily used for percussion and drum notation, but it can
1810 also be used to show the rhythms of melodies.
1813 * Showing melody rhythms::
1814 * Entering percussion::
1815 * Percussion staves::
1820 @node Showing melody rhythms
1821 @subsection Showing melody rhythms
1823 Sometimes you might want to show only the rhythm of a melody. This
1824 can be done with the rhythmic staff. All pitches of notes on such a
1825 staff are squashed, and the staff itself has a single line
1827 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1828 \new RhythmicStaff {
1830 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1836 Program reference: @internalsref{RhythmicStaff}.
1839 @node Entering percussion
1840 @subsection Entering percussion
1846 Percussion notes may be entered in @code{\drummode} mode, which is
1847 similar to the standard mode for entering notes. Each piece of
1848 percussion has a full name and an abbreviated name, and both can be used
1851 @lilypond[quote,ragged-right,verbatim]
1853 hihat hh bassdrum bd
1857 The complete list of drum names is in the init file
1858 @file{ly/@/drumpitch@/-init@/.ly}.
1859 @c TODO: properly document this.
1863 Program reference: @internalsref{note-event}.
1865 @node Percussion staves
1866 @subsection Percussion staves
1870 A percussion part for more than one instrument typically uses a
1871 multiline staff where each position in the staff refers to one piece
1875 To typeset the music, the notes must be interpreted in a
1876 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
1878 @lilypond[quote,ragged-right,verbatim]
1879 up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
1880 down = \drummode { bassdrum4 snare8 bd r bd sn4 }
1882 \new DrumVoice { \voiceOne \up }
1883 \new DrumVoice { \voiceTwo \down }
1887 The above example shows verbose polyphonic notation. The short
1888 polyphonic notation, described in @ref{Basic polyphony}, can also be used if
1889 the @internalsref{DrumVoice}s are instantiated by hand first. For example,
1891 @lilypond[quote,ragged-right,fragment,verbatim]
1893 \new DrumVoice = "1" { s1 *2 }
1894 \new DrumVoice = "2" { s1 *2 }
1898 { \repeat unfold 16 hh16 }
1907 There are also other layout possibilities. To use these, set the
1908 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
1909 The following variables have been predefined
1913 This is the default. It typesets a typical drum kit on a five-line staff
1915 @lilypond[quote,line-width=10.0\cm]
1917 cymc cyms cymr hh hhc hho hhho hhp
1918 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl }
1920 cymc cyms cymr hh hhc hho hhho hhp \break
1921 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
1923 << \new DrumStaff \with {
1924 \remove Bar_engraver
1925 \remove Time_signature_engraver
1926 \override Stem #'transparent = ##t
1927 \override Stem #'Y-extent-callback = ##f
1928 \override VerticalAxisGroup #'minimum-Y-extent = #'(-4.0 . 5.0)
1935 \override LyricText #'font-family = #'typewriter
1936 \override BarNumber #'transparent =##T
1942 The drum scheme supports six different toms. When there are fewer toms,
1943 simply select the toms that produce the desired result, i.e., to get toms
1944 on the three middle lines you use @code{tommh}, @code{tomml}, and
1947 @item timbales-style
1948 This typesets timbales on a two line staff
1950 @lilypond[quote,ragged-right]
1951 nam = \lyricmode { timh ssh timl ssl cb }
1952 mus = \drummode { timh ssh timl ssl cb s16 }
1955 \new DrumStaff \with {
1956 \remove Bar_engraver
1957 \remove Time_signature_engraver
1958 \override Stem #'transparent = ##t
1959 \override Stem #'Y-extent-callback = ##f
1960 \override StaffSymbol #'line-count = #2
1961 \override StaffSymbol #'staff-space = #2
1962 \override VerticalAxisGroup #'minimum-Y-extent = #'(-3.0 . 4.0)
1963 drumStyleTable = #timbales-style
1966 \override LyricText #'font-family = #'typewriter
1973 This typesets congas on a two line staff
1975 @lilypond[quote,ragged-right]
1976 nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
1977 mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
1980 \new DrumStaff \with {
1981 \remove Bar_engraver
1982 \remove Time_signature_engraver
1983 drumStyleTable = #congas-style
1984 \override StaffSymbol #'line-count = #2
1986 %% this sucks; it will lengthen stems.
1987 \override StaffSymbol #'staff-space = #2
1988 \override Stem #'transparent = ##t
1989 \override Stem #'Y-extent-callback = ##f
1992 \override LyricText #'font-family = #'typewriter
1999 This typesets bongos on a two line staff
2001 @lilypond[quote,ragged-right]
2002 nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
2003 mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
2006 \new DrumStaff \with {
2007 \remove Bar_engraver
2008 \remove Time_signature_engraver
2009 \override StaffSymbol #'line-count = #2
2010 drumStyleTable = #bongos-style
2012 %% this sucks; it will lengthen stems.
2013 \override StaffSymbol #'staff-space = #2
2014 \override Stem #'transparent = ##t
2015 \override Stem #'Y-extent-callback = ##f
2018 \override LyricText #'font-family = #'typewriter
2024 @item percussion-style
2025 To typeset all kinds of simple percussion on one line staves.
2027 @lilypond[quote,ragged-right]
2028 nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
2029 mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2032 \new DrumStaff \with{
2033 \remove Bar_engraver
2034 drumStyleTable = #percussion-style
2035 \override StaffSymbol #'line-count = #1
2036 \remove Time_signature_engraver
2037 \override Stem #'transparent = ##t
2038 \override Stem #'Y-extent-callback = ##f
2041 \override LyricText #'font-family = #'typewriter
2048 If you do not like any of the predefined lists you can define your own
2049 list at the top of your file
2051 @lilypond[quote,ragged-right,verbatim]
2053 (bassdrum default #f -1)
2054 (snare default #f 0)
2056 (pedalhihat xcircle "stopped" 2)
2057 (lowtom diamond #f 3)))
2058 up = \drummode { hh8 hh hh hh hhp4 hhp }
2059 down = \drummode { bd4 sn bd toml8 toml }
2062 \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
2063 \new DrumVoice { \voiceOne \up }
2064 \new DrumVoice { \voiceTwo \down }
2071 Init files: @file{ly/@/drumpitch@/-init@/.ly}.
2073 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
2077 Because general MIDI does not contain rim shots, the sidestick is used
2078 for this purpose instead.
2081 @c FIXME: check name -gp
2083 @subsection Ghost notes
2085 Ghost notes for drums and percussion may be created using the
2086 @code{\parenthesize} command detailed in @ref{Parentheses}. However,
2087 the default @code{\drummode} does
2088 not include the @code{Parenthesis_engraver} plugin which allows
2090 must add the plugin explicitly in the context definition as
2091 detailed in @ref{Changing context properties on the fly}.
2093 @lilypond[quote,ragged-right,verbatim,fragment]
2094 \new DrumStaff \with {
2095 \consists "Parenthesis_engraver"
2097 \context DrumVoice = "1" { s1 *2 }
2098 \context DrumVoice = "2" { s1 *2 }
2102 hh8[ hh] <hh sn> hh16
2103 < \parenthesize sn > hh < \parenthesize
2114 Also note that you must add chords (@code{< >} brackets)
2115 around each @code{\parenthesize} statement.
2122 @cindex guitar tablature
2125 * String number indications::
2126 * Tablatures basic::
2127 * Non-guitar tablatures::
2128 * Banjo tablatures::
2130 * Right hand fingerings::
2131 * Other guitar issues::
2134 @node String number indications
2135 @subsection String number indications
2137 @cindex String numbers
2139 String numbers can be added to chords, by indicating the string number
2140 with @code{\}@var{number},
2142 @lilypond[relative,relative=1,ragged-right,fragment]
2149 Program reference: @internalsref{StringNumber},
2150 @lsr{guitar/,string-number.ly}.
2153 @node Tablatures basic
2154 @subsection Tablatures basic
2155 @cindex Tablatures basic
2157 Tablature notation is used for notating music for plucked string
2158 instruments. Pitches are not denoted with note heads, but by
2159 numbers indicating on which string and fret a note must be played. LilyPond
2160 offers limited support for tablature.
2162 The string number associated to a note is given as a backslash
2163 followed by a number, e.g., @code{c4\3} for a C quarter on the third
2164 string. By default, string 1 is the highest one, and the tuning
2165 defaults to the standard guitar tuning (with 6 strings). The notes
2166 are printed as tablature, by using @internalsref{TabStaff} and
2167 @internalsref{TabVoice} contexts
2169 @lilypond[quote,ragged-right,fragment,verbatim]
2176 @funindex minimumFret
2179 When no string is specified, the first string that does not give a
2180 fret number less than @code{minimumFret} is selected. The default
2181 value for @code{minimumFret} is 0
2186 \set TabStaff.minimumFret = #8
2189 @lilypond[quote,ragged-right]
2193 \set TabStaff.minimumFret = #8
2197 \new Staff { \clef "G_8" \frag }
2198 \new TabStaff { \frag }
2205 To print tablatures with stems down and horizontal beams,
2206 initialize the @code{TabStaff} with this code:
2210 \override Beam #'damping = #100000
2215 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}.
2219 Chords are not handled in a special way, and hence the automatic
2220 string selector may easily select the same string to two notes in a
2224 @node Non-guitar tablatures
2225 @subsection Non-guitar tablatures
2226 @cindex Non-guitar tablatures
2228 You can change the tuning of the strings. A string tuning is given as
2229 a Scheme list with one integer number for each string, the number
2230 being the pitch (measured in semitones relative to middle C) of an
2231 open string. The numbers specified for @code{stringTuning} are the
2232 numbers of semitones to subtract or add, starting the specified pitch
2233 by default middle C, in string order. LilyPond automatically calculates
2234 the number of strings by looking at @code{stringTuning}.
2236 In the next example,
2237 @code{stringTunings} is set for the pitches e, a, d, and g
2239 @lilypond[quote,ragged-right,fragment,verbatim]
2241 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
2243 a,4 c' a e' e c' a e'
2248 LilyPond comes with predefined string tunings for banjo, mandolin, guitar
2252 \set TabStaff.stringTunings = #bass-tuning
2255 The default string tuning is @code{guitar-tuning} (the standard EADGBE
2257 Some other predefined tunings are @code{guitar-open-g-tuning},
2258 @code{mandolin-tuning} and @code{banjo-open-g-tuning}.
2262 The file @file{scm/@/output@/-lib@/.scm} contains the predefined string
2264 Program reference: @internalsref{Tab_note_heads_engraver}.
2268 No guitar special effects have been implemented.
2272 @node Banjo tablatures
2273 @subsection Banjo tablatures
2274 @cindex Banjo tablatures
2276 LilyPond has basic support for five stringed banjo. When making tablatures
2277 for five stringed banjo, use the banjo tablature format function to get
2279 fret numbers for the fifth string:
2281 @lilypond[quote,ragged-right,fragment,verbatim]
2283 \set TabStaff.tablatureFormat = #fret-number-tablature-format-banjo
2284 \set TabStaff.stringTunings = #banjo-open-g-tuning
2287 g8 d' g'\5 a b g e d' |
2288 g4 d''8\5 b' a'\2 g'\5 e'\2 d' |
2294 A number of common tunings for banjo are predefined in LilyPond:
2295 @code{banjo-c-tuning} (gCGBD), @code{banjo-modal-tuning} (gDGCD),
2296 @code{banjo-open-d-tuning} (aDF#AD) and @code{banjo-open-dm-tuning}
2299 These tunings may be converted to four string banjo tunings using the
2300 @code{four-string-banjo} function:
2303 \set TabStaff.stringTunings = #(four-string-banjo banjo-c-tuning)
2308 The file @file{scm/@/output@/-lib@/.scm} contains predefined banjo tunings.
2312 @subsection Fret diagrams
2313 @cindex fret diagrams
2314 @cindex chord diagrams
2316 Fret diagrams can be added to music as a markup to the desired note. The
2317 markup contains information about the desired fret diagram, as shown in the
2320 @lilypond[verbatim, ragged-right, quote]
2322 d'^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
2324 fis'^\markup \override #'(size . 0.75) {
2325 \override #'(finger-code . below-string) {
2326 \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
2327 (place-fret 5 4 3) (place-fret 4 4 4)
2328 (place-fret 3 3 2) (place-fret 2 2 1)
2333 c'^\markup \override #'(dot-radius . 0.35) {
2334 \override #'(finger-code . in-dot) {
2335 \override #'(dot-color . white) {
2336 \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
2345 There are three different fret-diagram markup interfaces: standard, terse,
2346 and verbose. The three interfaces produce equivalent markups, but have
2347 varying amounts of information in the markup string. Details about the
2348 markup interfaces are found at @ref{Overview of text markup commands}.
2350 You can set a number of graphical properties according to your preference.
2351 Details about the property interface to fret diagrams are found at
2352 @internalsref{fret-diagram-interface}.
2357 Examples: @lsrdir{guitar}
2360 @node Right hand fingerings
2361 @subsection Right hand fingerings
2363 Right hand fingerings in chords can be entered using
2364 @code{@var{note}-\rightHandFinger @var{finger}}
2366 @lilypond[verbatim,fragment,relative=2]
2367 <c-\rightHandFinger #1 e-\rightHandFinger #2 >
2370 for brevity, you can abbreviate @code{\rightHandFinger} to something
2371 short, for example @code{RH},
2374 #(define RH rightHandFinger)
2377 @cindex fingerings, right hand, for guitar
2378 @cindex right hand fingerings for guitar
2382 You may exercise greater control over right handing fingerings by
2383 setting @code{strokeFingerOrientations},
2385 @lilypond[quote,verbatim,ragged-right,fragment,relative=1]
2386 #(define RH rightHandFinger)
2388 \set strokeFingerOrientations = #'(up down)
2389 <c-\RH #1 es-\RH #2 g-\RH #4 > 4
2390 \set strokeFingerOrientations = #'(up right down)
2391 <c-\RH #1 es-\RH #2 g-\RH #4 > 4
2395 The letters used for the fingerings are contained in the property
2396 @code{digit-names}, but they can also be set individually by supplying
2397 @code{\rightHandFinger} with a string argument, as in the following example
2400 @lilypond[quote,verbatim,ragged-right,fragment,relative=1]
2401 #(define RH rightHandFinger)
2403 \set strokeFingerOrientations = #'(right)
2404 \override StrokeFinger #'digit-names = ##("x" "y" "z" "!" "@")
2412 Internalls: @internalsref{StrokeFinger}
2416 @node Other guitar issues
2417 @subsection Other guitar issues
2419 This example demonstrates how to include guitar position and
2420 barring indications.
2422 @lilypond[quote,ragged-right,fragment,verbatim,relative=0]
2426 \override TextSpanner #'bound-details #'left #'text = #"XII "
2428 b16 e16 g16 e16 b16 g16\stopTextSpan
2433 Stopped (X) note heads are used in guitar music to signal a place where the
2434 guitarist must play a certain note or chord, with its fingers just
2435 touching the strings instead of fully pressing them. This gives the sound a
2436 percussive noise-like sound that still maintains part of the original
2437 pitch. It is notated with cross noteheads; this is
2438 demonstrated in @ref{Special noteheads}.
2447 * Bagpipe definitions::
2452 @node Bagpipe definitions
2453 @subsection Bagpipe definitions
2455 LilyPond contains special definitions for music for the Scottish
2456 highland bagpipe; to use them, add
2459 \include "bagpipe.ly"
2463 at the top of your input file. This lets you add the special gracenotes
2464 common to bagpipe music with short commands. For example, you could
2465 write @code{\taor} instead of
2468 \grace @{ \small G32[ d G e] @}
2471 @code{bagpipe.ly} also contains pitch definitions for the bagpipe
2472 notes in the appropiate octaves, so you do not need to worry about
2473 @code{\relative} or @code{\transpose}.
2475 @lilypond[ragged-right,verbatim,quote,notime]
2476 \include "bagpipe.ly"
2477 { \grg G4 \grg a \grg b \grg c \grg d \grg e \grg f \grA g A }
2480 Bagpipe music nominally uses the key of D Major (even though that
2481 isn't really true). However, since that is the only key that can be used,
2482 the key signature is normally not written out. To set this up correctly,
2483 always start your music with @code{\hideKeySignature}. If you for some
2484 reason want to show the key signature, you can use @code{\showKeySignature}
2487 Some modern music use cross fingering on c and f to flatten those notes.
2488 This can be indicated by @code{cflat} or @code{fflat}. Similarly, the
2489 piobaireachd high g can be written @code{gflat} when it occurs in light
2493 @node Bagpipe example
2494 @subsection Bagpipe example
2496 This is what the well known tune Amazing Grace looks like in bagpipe
2499 @lilypond[verbatim,quote]
2500 \include "bagpipe.ly"
2503 \context { \Score \remove "Bar_number_engraver" }
2507 title = "Amazing Grace"
2509 arranger = "Trad. arr."
2515 \grg \partial 4 a8. d16
2516 \slurd d2 \grg f8[ e32 d16.]
2519 \grG a2 \grg a8. d16
2520 \slurd d2 \grg f8[ e32 d16.]
2521 \grg f2 \grg e8. f16
2524 \grg A2 \hdblf f8[ e32 d16.]
2527 \grG a2 \grg a8. d16
2528 \slurd d2 \grg f8[ e32 d16.]
2537 @node Ancient notation
2538 @section Ancient notation
2540 @cindex Vaticana, Editio
2541 @cindex Medicaea, Editio
2546 Support for ancient notation includes features for mensural notation
2547 and Gregorian Chant notation. There is also limited support for
2548 figured bass notation.
2550 Many graphical objects provide a @code{style} property, see
2553 @ref{Ancient note heads},
2555 @ref{Ancient accidentals},
2557 @ref{Ancient rests},
2559 @ref{Ancient clefs},
2561 @ref{Ancient flags},
2563 @ref{Ancient time signatures}.
2566 By manipulating such a grob property, the typographical appearance of
2567 the affected graphical objects can be accommodated for a specific
2568 notation flavor without the need for introducing any new notational
2571 In addition to the standard articulation signs described in section
2572 @ref{Articulations}, specific articulation signs for ancient notation
2577 @ref{Ancient articulations}
2580 Other aspects of ancient notation can not that easily be expressed
2581 in terms of just changing a style property of a graphical object or
2582 adding articulation signs. Some notational concepts are introduced
2583 specifically for ancient notation,
2594 If this all is too much of documentation for you, and you just want to
2595 dive into typesetting without worrying too much about the details on
2596 how to customize a context, you may have a look at the predefined
2597 contexts. Use them to set up predefined style-specific voice and
2598 staff contexts, and directly go ahead with the note entry,
2602 @ref{Gregorian Chant contexts},
2604 @ref{Mensural contexts}.
2607 There is limited support for figured bass notation which came
2608 up during the baroque period.
2615 Here are all subtopics at a glance:
2618 * Ancient note heads::
2619 * Ancient accidentals::
2623 * Ancient time signatures::
2624 * Ancient articulations::
2628 * Gregorian Chant contexts::
2629 * Mensural contexts::
2630 * Musica ficta accidentals::
2636 @node Ancient note heads
2637 @subsection Ancient note heads
2639 @cindex note heads, ancient
2641 For ancient notation, a note head style other than the @code{default}
2642 style may be chosen. This is accomplished by setting the @code{style}
2643 property of the @internalsref{NoteHead} object to @code{baroque},
2644 @code{neomensural}, @code{mensural} or @code{petrucci}. The
2645 @code{baroque} style differs from the @code{default} style only in
2646 using a square shape for @code{\breve} note heads. The
2647 @code{neomensural} style differs from the @code{baroque} style in that
2648 it uses rhomboidal heads for whole notes and all smaller durations.
2649 Stems are centered on the note heads. This style is particularly
2650 useful when transcribing mensural music, e.g., for the incipit. The
2651 @code{mensural} style produces note heads that mimic the look of note
2652 heads in historic printings of the 16th century. Finally, the
2653 @code{petrucci} style also mimicks historic printings, but uses bigger
2656 The following example demonstrates the @code{neomensural} style
2658 @lilypond[quote,fragment,ragged-right,verbatim]
2659 \set Score.skipBars = ##t
2660 \override NoteHead #'style = #'neomensural
2661 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
2664 When typesetting a piece in Gregorian Chant notation, the
2665 @internalsref{Gregorian_ligature_engraver} will automatically select
2666 the proper note heads, so there is no need to explicitly set the
2667 note head style. Still, the note head style can be set, e.g., to
2668 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
2669 @internalsref{Mensural_ligature_engraver} is used to automatically
2670 assemble mensural ligatures. See @ref{Ligatures}, for how ligature
2675 @ref{Note head styles}, gives an overview over all available note head styles.
2678 @node Ancient accidentals
2679 @subsection Ancient accidentals
2684 Use the @code{glyph-name-alist} property of grob
2685 @internalsref{Accidental} and @internalsref{KeySignature} to select
2686 ancient accidentals.
2688 @lilypond[quote,ragged-right,staffsize=26]
2695 \line { " " \musicglyph #"accidentals.vaticana-1"
2696 " " \musicglyph #"accidentals.vaticana0" }
2700 \line { " " \musicglyph #"accidentals.medicaea-1" }
2704 \line { " " \musicglyph #"accidentals.hufnagel-1" }
2708 \line { " " \musicglyph #"accidentals.mensural-1"
2709 " " \musicglyph #"accidentals.mensural1" }
2715 \context { \Score \remove "Bar_number_engraver" }
2717 \remove "Clef_engraver"
2718 \remove "Key_engraver"
2719 \remove "Time_signature_engraver"
2720 \remove "Staff_symbol_engraver"
2721 \override VerticalAxisGroup #'minimum-Y-extent = ##f
2727 As shown, not all accidentals are supported by each style. When
2728 trying to access an unsupported accidental, LilyPond will switch to a
2729 different style, as demonstrated in
2730 @lsr{ancient,ancient-accidentals.ly}.
2732 Similarly to local accidentals, the style of the key signature can be
2733 controlled by the @code{glyph-name-alist} property of the
2734 @internalsref{KeySignature} grob.
2738 In this manual: @ref{Pitches}, @ref{Cautionary accidentals}, and
2739 @ref{Automatic accidentals}, give a general introduction of the use of
2740 accidentals. @ref{Key signature}, gives a general introduction of
2741 the use of key signatures.
2743 Program reference: @internalsref{KeySignature}.
2745 Examples: @lsrdir{ancient}
2748 @subsection Ancient rests
2750 @cindex rests, ancient
2753 Use the @code{style} property of grob @internalsref{Rest} to select
2754 ancient rests. Supported styles are @code{classical},
2755 @code{neomensural}, and @code{mensural}. @code{classical} differs
2756 from the @code{default} style only in that the quarter rest looks like
2757 a horizontally mirrored 8th rest. The @code{neomensural} style suits
2758 well for, e.g., the incipit of a transcribed mensural piece of music.
2759 The @code{mensural} style finally mimics the appearance of rests as
2760 in historic prints of the 16th century.
2762 The following example demonstrates the @code{neomensural} style
2764 @lilypond[quote,fragment,ragged-right,verbatim]
2765 \set Score.skipBars = ##t
2766 \override Rest #'style = #'neomensural
2767 r\longa r\breve r1 r2 r4 r8 r16
2770 There are no 32th and 64th rests specifically for the mensural or
2771 neo-mensural style. Instead, the rests from the default style will be
2772 taken. See @lsr{pitches,rests} for a chart of all rests.
2774 There are no rests in Gregorian Chant notation; instead, it uses
2779 In this manual: @ref{Rests}, gives a general introduction into the use of
2784 @subsection Ancient clefs
2789 LilyPond supports a variety of clefs, many of them ancient.
2791 The following table shows all ancient clefs that are supported via the
2792 @code{\clef} command. Some of the clefs use the same glyph, but
2793 differ only with respect to the line they are printed on. In such
2794 cases, a trailing number in the name is used to enumerate these clefs.
2795 Still, you can manually force a clef glyph to be typeset on an
2796 arbitrary line, as described in @ref{Clef}. The note printed to the
2797 right side of each clef in the example column denotes the @code{c'}
2798 with respect to that clef.
2800 @multitable @columnfractions .4 .4 .2
2809 modern style mensural C clef
2811 @code{neomensural-c1}, @code{neomensural-c2},@*
2812 @code{neomensural-c3}, @code{neomensural-c4}
2814 @lilypond[fragment,relative=1,notime]
2815 \clef "neomensural-c2" c
2819 petrucci style mensural C clefs, for use on different staff lines
2820 (the examples show the 2nd staff line C clef)
2822 @code{petrucci-c1}, @code{petrucci-c2},@*
2823 @code{petrucci-c3}, @code{petrucci-c4},@*
2826 @lilypond[fragment,relative=1,notime]
2828 \override NoteHead #'style = #'mensural
2833 petrucci style mensural F clef
2837 @lilypond[fragment,relative=1,notime]
2839 \override NoteHead #'style = #'mensural
2844 petrucci style mensural G clef
2848 @lilypond[fragment,relative=1,notime]
2850 \override NoteHead #'style = #'mensural
2855 historic style mensural C clef
2857 @code{mensural-c1}, @code{mensural-c2},@*
2858 @code{mensural-c3}, @code{mensural-c4}
2860 @lilypond[fragment,relative=1,notime]
2862 \override NoteHead #'style = #'mensural
2867 historic style mensural F clef
2871 @lilypond[fragment,relative=1,notime]
2873 \override NoteHead #'style = #'mensural
2878 historic style mensural G clef
2882 @lilypond[fragment,relative=1,notime]
2884 \override NoteHead #'style = #'mensural
2889 Editio Vaticana style do clef
2891 @code{vaticana-do1}, @code{vaticana-do2},@*
2894 @lilypond[fragment,relative=1,notime]
2895 \override Staff.StaffSymbol #'line-count = #4
2896 \override Staff.StaffSymbol #'color = #red
2897 \override Staff.LedgerLineSpanner #'color = #red
2898 \override Voice.Stem #'transparent = ##t
2899 \override NoteHead #'style = #'vaticana.punctum
2900 \clef "vaticana-do2"
2905 Editio Vaticana style fa clef
2907 @code{vaticana-fa1}, @code{vaticana-fa2}
2909 @lilypond[fragment,relative=1,notime]
2910 \override Staff.StaffSymbol #'line-count = #4
2911 \override Staff.StaffSymbol #'color = #red
2912 \override Staff.LedgerLineSpanner #'color = #red
2913 \override Voice.Stem #'transparent = ##t
2914 \override NoteHead #'style = #'vaticana.punctum
2915 \clef "vaticana-fa2"
2920 Editio Medicaea style do clef
2922 @code{medicaea-do1}, @code{medicaea-do2},@*
2925 @lilypond[fragment,relative=1,notime]
2926 \override Staff.StaffSymbol #'line-count = #4
2927 \override Staff.StaffSymbol #'color = #red
2928 \override Staff.LedgerLineSpanner #'color = #red
2929 \override Voice.Stem #'transparent = ##t
2930 \override NoteHead #'style = #'medicaea.punctum
2931 \clef "medicaea-do2"
2936 Editio Medicaea style fa clef
2938 @code{medicaea-fa1}, @code{medicaea-fa2}
2940 @lilypond[fragment,relative=1,notime]
2941 \override Staff.StaffSymbol #'line-count = #4
2942 \override Staff.StaffSymbol #'color = #red
2943 \override Staff.LedgerLineSpanner #'color = #red
2944 \override Voice.Stem #'transparent = ##t
2945 \override NoteHead #'style = #'medicaea.punctum
2946 \clef "medicaea-fa2"
2951 historic style hufnagel do clef
2953 @code{hufnagel-do1}, @code{hufnagel-do2},@*
2956 @lilypond[fragment,relative=1,notime]
2957 \override Staff.StaffSymbol #'line-count = #4
2958 \override Staff.StaffSymbol #'color = #red
2959 \override Staff.LedgerLineSpanner #'color = #red
2960 \override Voice.Stem #'transparent = ##t
2961 \override NoteHead #'style = #'hufnagel.punctum
2962 \clef "hufnagel-do2"
2967 historic style hufnagel fa clef
2969 @code{hufnagel-fa1}, @code{hufnagel-fa2}
2971 @lilypond[fragment,relative=1,notime]
2972 \override Staff.StaffSymbol #'line-count = #4
2973 \override Staff.StaffSymbol #'color = #red
2974 \override Staff.LedgerLineSpanner #'color = #red
2975 \override Voice.Stem #'transparent = ##t
2976 \override NoteHead #'style = #'hufnagel.punctum
2977 \clef "hufnagel-fa2"
2982 historic style hufnagel combined do/fa clef
2984 @code{hufnagel-do-fa}
2986 @lilypond[fragment,relative=1,notime]
2987 \override Staff.StaffSymbol #'color = #red
2988 \override Staff.LedgerLineSpanner #'color = #red
2989 \override Voice.Stem #'transparent = ##t
2990 \override NoteHead #'style = #'hufnagel.punctum
2991 \clef "hufnagel-do-fa"
2998 @emph{Modern style} means @qq{as is typeset in contemporary editions of
2999 transcribed mensural music.}
3001 @emph{Petrucci style} means @qq{inspired by printings published by the
3002 famous engraver Petrucci (1466-1539).}
3004 @emph{Historic style} means @qq{as was typeset or written in historic
3005 editions (other than those of Petrucci).}
3007 @emph{Editio XXX style} means @qq{as is/was printed in Editio XXX.}
3009 Petrucci used C clefs with differently balanced left-side vertical
3010 beams, depending on which staff line it is printed.
3014 In this manual: see @ref{Clef}.
3018 The mensural g clef is mapped to the Petrucci g clef.
3023 @subsection Ancient flags
3028 Use the @code{flag-style} property of grob @internalsref{Stem} to
3029 select ancient flags. Besides the @code{default} flag style,
3030 only the @code{mensural} style is supported
3032 @lilypond[quote,fragment,ragged-right,verbatim]
3033 \override Stem #'flag-style = #'mensural
3034 \override Stem #'thickness = #1.0
3035 \override NoteHead #'style = #'mensural
3037 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
3038 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
3041 Note that the innermost flare of each mensural flag always is
3042 vertically aligned with a staff line.
3044 There is no particular flag style for neo-mensural notation. Hence,
3045 when typesetting the incipit of a transcribed piece of mensural
3046 music, the default flag style should be used. There are no flags in
3047 Gregorian Chant notation.
3051 The attachment of ancient flags to stems is slightly off due to a
3052 change in early 2.3.x.
3054 Vertically aligning each flag with a staff line assumes that stems
3055 always end either exactly on or exactly in the middle between two
3056 staff lines. This may not always be true when using advanced layout
3057 features of classical notation (which however are typically out of
3058 scope for mensural notation).
3060 @node Ancient time signatures
3061 @subsection Ancient time signatures
3063 @cindex time signatures
3066 There is limited support for mensural time signatures. The
3067 glyphs are hard-wired to particular time fractions. In other words,
3068 to get a particular mensural signature glyph with the @code{\time n/m}
3069 command, @code{n} and @code{m} have to be chosen according to the
3072 @lilypond[quote,ragged-right]
3077 \remove Staff_symbol_engraver
3078 \remove Clef_engraver
3079 \remove Time_signature_engraver
3083 \set Score.timing = ##f
3084 \set Score.barAlways = ##t
3085 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph
3086 #"timesig.neomensural44" }
3088 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph
3089 #"timesig.neomensural22" }
3091 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph
3092 #"timesig.neomensural64" }
3094 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph
3095 #"timesig.neomensural68" }
3097 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph
3098 #"timesig.neomensural32" }
3100 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph
3101 #"timesig.neomensural34" }
3103 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph
3104 #"timesig.neomensural94" }
3106 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph
3107 #"timesig.neomensural98" }
3109 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph
3110 #"timesig.neomensural48" }
3112 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph
3113 #"timesig.neomensural24" }
3117 Use the @code{style} property of grob @internalsref{TimeSignature} to
3118 select ancient time signatures. Supported styles are
3119 @code{neomensural} and @code{mensural}. The above table uses the
3120 @code{neomensural} style. This style is appropriate for the
3121 incipit of transcriptions of mensural pieces. The @code{mensural}
3122 style mimics the look of historical printings of the 16th century.
3124 The following examples show the differences in style,
3126 @lilypond[ragged-right,fragment,relative=1,quote]
3131 c1^\markup { \hspace #-2.0 \typewriter default }
3133 \override Staff.TimeSignature #'style = #'numbered
3135 c1^\markup { \hspace #-2.0 \typewriter numbered }
3137 \override Staff.TimeSignature #'style = #'mensural
3139 c1^\markup { \hspace #-2.0 \typewriter mensural }
3141 \override Staff.TimeSignature #'style = #'neomensural
3143 c1^\markup { \hspace #-2.0 \typewriter neomensural }
3144 \override Staff.TimeSignature #'style = #'single-digit
3146 c1^\markup { \hspace #-2.0 \typewriter single-digit }
3152 This manual: @ref{Time signature}, gives a general introduction to
3153 the use of time signatures.
3157 Ratios of note durations do not change with the time signature. For
3158 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
3159 be made by hand, by setting
3162 breveTP = #(ly:make-duration -1 0 3 2)
3168 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
3170 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
3171 addressable with @code{\time}. Use a @code{\markup} instead
3173 @node Ancient articulations
3174 @subsection Ancient articulations
3176 @cindex articulations
3178 In addition to the standard articulation signs described in section
3179 @ref{Articulations}, articulation signs for ancient notation are
3180 provided. These are specifically designed for use with notation in
3181 Editio Vaticana style.
3183 @lilypond[quote,ragged-right,verbatim]
3184 \include "gregorian-init.ly"
3186 \new VaticanaVoice {
3187 \override TextScript #'font-family = #'typewriter
3188 \override TextScript #'font-shape = #'upright
3189 \override Script #'padding = #-0.1
3190 a\ictus_"ictus" \break
3191 a\circulus_"circulus" \break
3192 a\semicirculus_"semicirculus" \break
3193 a\accentus_"accentus" \break
3194 \[ a_"episem" \episemInitium \pes b \flexa a b \episemFinis \flexa a \]
3201 Some articulations are vertically placed too closely to the
3202 corresponding note heads.
3204 The episem line is not displayed in many cases. If it is displayed,
3205 the right end of the episem line is often too far to the right.
3208 @subsection Custodes
3213 A @emph{custos} (plural: @emph{custodes}; Latin word for @q{guard}) is a
3214 symbol that appears at the end of a staff. It anticipates the pitch
3215 of the first note(s) of the following line thus helping the performer
3216 to manage line breaks during performance.
3218 Custodes were frequently used in music notation until the 17th
3219 century. Nowadays, they have survived only in a few particular forms
3220 of musical notation such as contemporary editions of Gregorian chant
3221 like the @emph{editio vaticana}. There are different custos glyphs
3222 used in different flavors of notational style.
3224 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
3225 @internalsref{Staff} context when declaring the @code{\layout} block,
3226 as shown in the following example
3232 \consists Custos_engraver
3233 Custos \override #'style = #'mensural
3238 The result looks like this
3240 @lilypond[quote,ragged-right]
3244 \override Staff.Custos #'style = #'mensural
3249 \context { \Staff \consists Custos_engraver }
3254 The custos glyph is selected by the @code{style} property. The styles
3255 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
3256 @code{mensural}. They are demonstrated in the following fragment
3258 @lilypond[quote,ragged-right,fragment]
3259 \new Lyrics \lyricmode {
3261 \typewriter "vaticana"
3262 \line { " " \musicglyph #"custodes.vaticana.u0" }
3265 \typewriter "medicaea"
3266 \line { " " \musicglyph #"custodes.medicaea.u0" }
3269 \typewriter "hufnagel"
3270 \line { " " \musicglyph #"custodes.hufnagel.u0" }
3273 \typewriter "mensural"
3274 \line { " " \musicglyph #"custodes.mensural.u0" }
3281 Program reference: @internalsref{Custos}.
3284 @lsr{ancient,custodes@/.ly}.
3288 @subsection Divisiones
3294 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
3295 @q{division}) is a staff context symbol that is used to structure
3296 Gregorian music into phrases and sections. The musical meaning of
3297 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
3298 can be characterized as short, medium, and long pause, somewhat like
3299 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
3300 only marks the end of a chant, but is also frequently used within a
3301 single antiphonal/responsorial chant to mark the end of each section.
3304 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
3305 contains definitions that you can apply by just inserting
3306 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
3307 and @code{\finalis} at proper places in the input. Some editions use
3308 @emph{virgula} or @emph{caesura} instead of divisio minima.
3309 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
3312 @lilypondfile[quote,ragged-right]{divisiones.ly}
3320 @funindex \divisioMinima
3321 @code{\divisioMinima},
3322 @funindex \divisioMaior
3323 @code{\divisioMaior},
3324 @funindex \divisioMaxima
3325 @code{\divisioMaxima},
3331 In this manual: @ref{Breath marks}.
3333 Program reference: @internalsref{BreathingSign}.
3335 Examples: @lsr{expressive,breathing-sign.ly}.
3339 @subsection Ligatures
3343 @c TODO: Should double check if I recalled things correctly when I wrote
3344 @c down the following paragraph by heart.
3346 A ligature is a graphical symbol that represents at least two distinct
3347 notes. Ligatures originally appeared in the manuscripts of Gregorian
3348 chant notation to denote ascending or descending sequences of notes.
3350 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
3351 Some ligature styles may need additional input syntax specific for
3352 this particular type of ligature. By default, the
3353 @internalsref{LigatureBracket} engraver just puts a square bracket
3356 @lilypond[quote,ragged-right,verbatim]
3364 To select a specific style of ligatures, a proper ligature engraver
3365 has to be added to the @internalsref{Voice} context, as explained in
3366 the following subsections. Only white mensural ligatures
3367 are supported with certain limitations.
3373 Ligatures need special spacing that has not yet been implemented. As
3374 a result, there is too much space between ligatures most of the time,
3375 and line breaking often is unsatisfactory. Also, lyrics do not
3376 correctly align with ligatures.
3378 Accidentals must not be printed within a ligature, but instead need to
3379 be collected and printed in front of it.
3381 The syntax still uses the deprecated infix style @code{\[ music expr
3382 \]}. For consistency reasons, it will eventually be changed to
3383 postfix style @code{note\[ ... note\]}. Alternatively, the file
3384 @file{gregorian@/-init@/.ly} can be included; it provides a scheme
3387 \ligature @var{music expr}
3389 with the same effect and is believed to be stable.
3392 * White mensural ligatures::
3393 * Gregorian square neumes ligatures::
3396 @node White mensural ligatures
3397 @subsubsection White mensural ligatures
3399 @cindex Mensural ligatures
3400 @cindex White mensural ligatures
3402 There is limited support for white mensural ligatures.
3404 To engrave white mensural ligatures, in the layout block put the
3405 @internalsref{Mensural_ligature_engraver} into the
3406 @internalsref{Voice} context, and remove the
3407 @internalsref{Ligature_bracket_engraver}, like this
3413 \remove Ligature_bracket_engraver
3414 \consists Mensural_ligature_engraver
3419 There is no additional input language to describe the shape of a
3420 white mensural ligature. The shape is rather determined solely from
3421 the pitch and duration of the enclosed notes. While this approach may
3422 take a new user a while to get accustomed to, it has the great advantage
3423 that the full musical information of the ligature is known internally.
3424 This is not only required for correct MIDI output, but also allows for
3425 automatic transcription of the ligatures.
3430 \set Score.timing = ##f
3431 \set Score.defaultBarType = "empty"
3432 \override NoteHead #'style = #'neomensural
3433 \override Staff.TimeSignature #'style = #'neomensural
3436 \[ d\longa c\breve f e d \]
3437 \[ c'\maxima d'\longa \]
3440 @lilypond[quote,ragged-right]
3443 \set Score.timing = ##f
3444 \set Score.defaultBarType = "empty"
3445 \override NoteHead #'style = #'neomensural
3446 \override Staff.TimeSignature #'style = #'neomensural
3449 \[ d\longa c\breve f e d \]
3450 \[ c'\maxima d'\longa \]
3456 \remove Ligature_bracket_engraver
3457 \consists Mensural_ligature_engraver
3463 Without replacing @internalsref{Ligature_bracket_engraver} with
3464 @internalsref{Mensural_ligature_engraver}, the same music transcribes
3467 @lilypond[quote,ragged-right]
3469 \set Score.timing = ##f
3470 \set Score.defaultBarType = "empty"
3471 \override NoteHead #'style = #'neomensural
3472 \override Staff.TimeSignature #'style = #'neomensural
3475 \[ d\longa c\breve f e d \]
3476 \[ c'\maxima d'\longa \]
3483 Horizontal spacing is poor.
3485 @node Gregorian square neumes ligatures
3486 @subsubsection Gregorian square neumes ligatures
3488 @cindex Square neumes ligatures
3489 @cindex Gregorian square neumes ligatures
3491 There is limited support for Gregorian square neumes notation
3492 (following the style of the Editio Vaticana). Core ligatures can
3493 already be typeset, but essential issues for serious typesetting are
3494 still lacking, such as (among others) horizontal alignment of multiple
3495 ligatures, lyrics alignment and proper handling of accidentals.
3498 The following table contains the extended neumes table of the 2nd
3499 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
3500 1983 by the monks of Solesmes.
3502 @multitable @columnfractions .4 .2 .2 .2
3519 @c TODO: \layout block is identical in all of the below examples.
3520 @c Therefore, it should somehow be included rather than duplicated all
3523 @c why not make identifiers in ly/engraver-init.ly? --hwn
3525 @c Because it's just used to typeset plain notes without
3526 @c a staff for demonstration purposes rather than something
3527 @c special of Gregorian chant notation. --jr
3532 @lilypond[staffsize=26,line-width=1.5\cm]
3533 \include "gregorian-init.ly"
3538 \noBreak s^\markup {"a"} \noBreak
3540 % Punctum Inclinatum
3542 \noBreak s^\markup {"b"}
3544 \layout { \neumeDemoLayout }}
3547 @lilypond[staffsize=26,line-width=2.5\cm]
3548 \include "gregorian-init.ly"
3551 % Punctum Auctum Ascendens
3552 \[ \auctum \ascendens b \]
3553 \noBreak s^\markup {"c"} \noBreak
3555 % Punctum Auctum Descendens
3556 \[ \auctum \descendens b \]
3557 \noBreak s^\markup {"d"} \noBreak
3559 % Punctum Inclinatum Auctum
3560 \[ \inclinatum \auctum b \]
3561 \noBreak s^\markup {"e"}
3563 \layout { \neumeDemoLayout }}
3566 @lilypond[staffsize=26,line-width=1.0\cm]
3567 \include "gregorian-init.ly"
3570 % Punctum Inclinatum Parvum
3571 \[ \inclinatum \deminutum b \]
3572 \noBreak s^\markup {"f"}
3574 \layout { \neumeDemoLayout }}
3580 @lilypond[staffsize=26,line-width=1.0\cm]
3581 \include "gregorian-init.ly"
3586 \noBreak s^\markup {"g"}
3588 \layout { \neumeDemoLayout }}
3594 @code{3. Apostropha vel Stropha}
3596 @lilypond[staffsize=26,line-width=1.0\cm]
3597 \include "gregorian-init.ly"
3602 \noBreak s^\markup {"h"}
3604 \layout { \neumeDemoLayout }}
3607 @lilypond[staffsize=26,line-width=1.0\cm]
3608 \include "gregorian-init.ly"
3612 \[ \stropha \auctum b \]
3613 \noBreak s^\markup {"i"}
3615 \layout { \neumeDemoLayout }}
3622 @lilypond[staffsize=26,line-width=1.0\cm]
3623 \include "gregorian-init.ly"
3628 \noBreak s^\markup {"j"}
3630 \layout { \neumeDemoLayout }}
3636 @code{5. Clivis vel Flexa}
3638 @lilypond[staffsize=26,line-width=1.0\cm]
3639 \include "gregorian-init.ly"
3646 \layout { \neumeDemoLayout }}
3649 @lilypond[staffsize=26,line-width=2.0\cm]
3650 \include "gregorian-init.ly"
3653 % Clivis Aucta Descendens
3654 \[ b \flexa \auctum \descendens g \]
3655 \noBreak s^\markup {"l"} \noBreak
3657 % Clivis Aucta Ascendens
3658 \[ b \flexa \auctum \ascendens g \]
3659 \noBreak s^\markup {"m"}
3661 \layout { \neumeDemoLayout }}
3664 @lilypond[staffsize=26,line-width=1.0\cm]
3665 \include "gregorian-init.ly"
3669 \[ b \flexa \deminutum g \]
3672 \layout { \neumeDemoLayout }}
3676 @code{6. Podatus vel Pes}
3678 @lilypond[staffsize=26,line-width=1.0\cm]
3679 \include "gregorian-init.ly"
3686 \layout { \neumeDemoLayout }}
3689 @lilypond[staffsize=26,line-width=2.0\cm]
3690 \include "gregorian-init.ly"
3693 % Pes Auctus Descendens
3694 \[ g \pes \auctum \descendens b \]
3695 \noBreak s^\markup {"p"} \noBreak
3697 % Pes Auctus Ascendens
3698 \[ g \pes \auctum \ascendens b \]
3699 \noBreak s^\markup {"q"}
3701 \layout { \neumeDemoLayout }}
3704 @lilypond[staffsize=26,line-width=1.0\cm]
3705 \include "gregorian-init.ly"
3709 \[ g \pes \deminutum b \]
3712 \layout { \neumeDemoLayout }}
3716 @code{7. Pes Quassus}
3718 @lilypond[staffsize=26,line-width=1.0\cm]
3719 \include "gregorian-init.ly"
3723 \[ \oriscus g \pes \virga b \]
3726 \layout { \neumeDemoLayout }}
3729 @lilypond[staffsize=26,line-width=1.0\cm]
3730 \include "gregorian-init.ly"
3733 % Pes Quassus Auctus Descendens
3734 \[ \oriscus g \pes \auctum \descendens b \]
3737 \layout { \neumeDemoLayout }}
3742 @code{8. Quilisma Pes}
3744 @lilypond[staffsize=26,line-width=1.0\cm]
3745 \include "gregorian-init.ly"
3749 \[ \quilisma g \pes b \]
3752 \layout { \neumeDemoLayout }}
3755 @lilypond[staffsize=26,line-width=1.0\cm]
3756 \include "gregorian-init.ly"
3759 % Quilisma Pes Auctus Descendens
3760 \[ \quilisma g \pes \auctum \descendens b \]
3763 \layout { \neumeDemoLayout }}
3768 @code{9. Podatus Initio Debilis}
3770 @lilypond[staffsize=26,line-width=1.0\cm]
3771 \include "gregorian-init.ly"
3774 % Pes Initio Debilis
3775 \[ \deminutum g \pes b \]
3778 \layout { \neumeDemoLayout }}
3781 @lilypond[staffsize=26,line-width=1.0\cm]
3782 \include "gregorian-init.ly"
3785 % Pes Auctus Descendens Initio Debilis
3786 \[ \deminutum g \pes \auctum \descendens b \]
3789 \layout { \neumeDemoLayout }}
3796 @lilypond[staffsize=26,line-width=1.0\cm]
3797 \include "gregorian-init.ly"
3801 \[ a \pes b \flexa g \]
3804 \layout { \neumeDemoLayout }}
3807 @lilypond[staffsize=26,line-width=1.0\cm]
3808 \include "gregorian-init.ly"
3811 % Torculus Auctus Descendens
3812 \[ a \pes b \flexa \auctum \descendens g \]
3815 \layout { \neumeDemoLayout }}
3818 @lilypond[staffsize=26,line-width=1.0\cm]
3819 \include "gregorian-init.ly"
3822 % Torculus Deminutus
3823 \[ a \pes b \flexa \deminutum g \]
3826 \layout { \neumeDemoLayout }}
3830 @code{11. Torculus Initio Debilis}
3832 @lilypond[staffsize=26,line-width=1.0\cm]
3833 \include "gregorian-init.ly"
3836 % Torculus Initio Debilis
3837 \[ \deminutum a \pes b \flexa g \]
3840 \layout { \neumeDemoLayout }}
3843 @lilypond[staffsize=26,line-width=1.0\cm]
3844 \include "gregorian-init.ly"
3847 % Torculus Auctus Descendens Initio Debilis
3848 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
3851 \layout { \neumeDemoLayout }}
3854 @lilypond[staffsize=26,line-width=1.0\cm]
3855 \include "gregorian-init.ly"
3858 % Torculus Deminutus Initio Debilis
3859 \[ \deminutum a \pes b \flexa \deminutum g \]
3862 \layout { \neumeDemoLayout }}
3866 @code{12. Porrectus}
3868 @lilypond[staffsize=26,line-width=1.0\cm]
3869 \include "gregorian-init.ly"
3873 \[ a \flexa g \pes b \]
3876 \layout { \neumeDemoLayout }}
3879 @lilypond[staffsize=26,line-width=1.0\cm]
3880 \include "gregorian-init.ly"
3883 % Porrectus Auctus Descendens
3884 \[ a \flexa g \pes \auctum \descendens b \]
3887 \layout { \neumeDemoLayout }}
3890 @lilypond[staffsize=26,line-width=1.0\cm]
3891 \include "gregorian-init.ly"
3894 % Porrectus Deminutus
3895 \[ a \flexa g \pes \deminutum b \]
3898 \layout { \neumeDemoLayout }}
3904 @lilypond[staffsize=26,line-width=1.0\cm]
3905 \include "gregorian-init.ly"
3909 \[ \virga b \inclinatum a \inclinatum g \]
3912 \layout { \neumeDemoLayout }
3916 @lilypond[staffsize=26,line-width=1.0\cm]
3917 \include "gregorian-init.ly"
3921 \[ \virga b \inclinatum a \inclinatum \auctum g \]
3924 \layout { \neumeDemoLayout }}
3927 @lilypond[staffsize=26,line-width=1.0\cm]
3928 \include "gregorian-init.ly"
3931 % Climacus Deminutus
3932 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
3935 \layout { \neumeDemoLayout }}
3939 @code{14. Scandicus}
3941 @lilypond[staffsize=26,line-width=1.0\cm]
3942 \include "gregorian-init.ly"
3946 \[ g \pes a \virga b \]
3949 \layout { \neumeDemoLayout }}
3952 @lilypond[staffsize=26,line-width=1.0\cm]
3953 \include "gregorian-init.ly"
3956 % Scandicus Auctus Descendens
3957 \[ g \pes a \pes \auctum \descendens b \]
3960 \layout { \neumeDemoLayout }}
3963 @lilypond[staffsize=26,line-width=1.0\cm]
3964 \include "gregorian-init.ly"
3967 % Scandicus Deminutus
3968 \[ g \pes a \pes \deminutum b \]
3971 \layout { \neumeDemoLayout }}
3977 @lilypond[staffsize=26,line-width=1.0\cm]
3978 \include "gregorian-init.ly"
3982 \[ g \oriscus a \pes \virga b \]
3985 \layout { \neumeDemoLayout }}
3988 @lilypond[staffsize=26,line-width=1.0\cm]
3989 \include "gregorian-init.ly"
3992 % Salicus Auctus Descendens
3993 \[ g \oriscus a \pes \auctum \descendens b \]
3996 \layout { \neumeDemoLayout }}
4003 @lilypond[staffsize=26,line-width=1.0\cm]
4004 \include "gregorian-init.ly"
4008 \[ \stropha b \stropha b \stropha a \]
4011 \layout { \neumeDemoLayout }
4020 Unlike most other neumes notation systems, the input language for
4021 neumes does not reflect the typographical appearance, but is designed
4022 to focus on musical meaning. For example, @code{\[ a \pes b
4023 \flexa g \]} produces a Torculus consisting of three Punctum heads,
4024 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
4025 curved flexa shape and only a single Punctum head. There is no
4026 command to explicitly typeset the curved flexa shape; the decision of
4027 when to typeset a curved flexa shape is based on the musical
4028 input. The idea of this approach is to separate the musical aspects
4029 of the input from the notation style of the output. This way, the
4030 same input can be reused to typeset the same music in a different
4031 style of Gregorian chant notation.
4033 The following table shows the code fragments that produce the
4034 ligatures in the above neumes table. The letter in the first column
4035 in each line of the below table indicates to which ligature in the
4036 above table it refers. The second column gives the name of the
4037 ligature. The third column shows the code fragment that produces this
4038 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
4040 @multitable @columnfractions .02 .31 .67
4060 @code{\[ \inclinatum b \]}
4068 @code{\[ \auctum \ascendens b \]}
4076 @code{\[ \auctum \descendens b \]}
4081 Punctum Inclinatum@*
4084 @code{\[ \inclinatum \auctum b \]}
4089 Punctum Inclinatum@*
4091 @code{\[ \inclinatum \deminutum b \]}
4098 @code{\[ \virga b \]}
4105 @code{\[ \stropha b \]}
4112 @code{\[ \stropha \auctum b \]}
4119 @code{\[ \oriscus b \]}
4126 @code{\[ b \flexa g \]}
4134 @code{\[ b \flexa \auctum \descendens g \]}
4142 @code{\[ b \flexa \auctum \ascendens g \]}
4149 @code{\[ b \flexa \deminutum g \]}
4156 @code{\[ g \pes b \]}
4164 @code{\[ g \pes \auctum \descendens b \]}
4172 @code{\[ g \pes \auctum \ascendens b \]}
4179 @code{\[ g \pes \deminutum b \]}
4186 @code{\[ \oriscus g \pes \virga b \]}
4192 Auctus Descendens @tab
4193 @code{\[ \oriscus g \pes \auctum \descendens b \]}
4200 @code{\[ \quilisma g \pes b \]}
4208 @code{\[ \quilisma g \pes \auctum \descendens b \]}
4215 @code{\[ \deminutum g \pes b \]}
4220 Pes Auctus Descendens@*
4223 @code{\[ \deminutum g \pes \auctum \descendens b \]}
4230 @code{\[ a \pes b \flexa g \]}
4238 @code{\[ a \pes b \flexa \auctum \descendens g \]}
4245 @code{\[ a \pes b \flexa \deminutum g \]}
4250 Torculus Initio Debilis
4252 @code{\[ \deminutum a \pes b \flexa g \]}
4258 Descendens Initio Debilis
4260 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
4265 Torculus Deminutus@*
4268 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
4275 @code{\[ a \flexa g \pes b \]}
4283 @code{\[ a \flexa g \pes \auctum \descendens b \]}
4290 @code{\[ a \flexa g \pes \deminutum b \]}
4297 @code{\[ \virga b \inclinatum a \inclinatum g \]}
4304 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
4311 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
4318 @code{\[ g \pes a \virga b \]}
4326 @code{\[ g \pes a \pes \auctum \descendens b \]}
4333 @code{\[ g \pes a \pes \deminutum b \]}
4340 @code{\[ g \oriscus a \pes \virga b \]}
4345 Salicus Auctus Descendens
4347 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
4354 @code{\[ \stropha b \stropha b \stropha a \]}
4357 The ligatures listed above mainly serve as a limited, but still
4358 representative pool of Gregorian ligature examples. Virtually, within
4359 the ligature delimiters @code{\[} and @code{\]}, any number of heads
4360 may be accumulated to form a single ligature, and head prefixes like
4361 @code{\pes}, @code{\flexa}, @code{\virga}, @code{\inclinatum},
4362 etc. may be mixed in as desired. The use of the set of rules that
4363 underlies the construction of the ligatures in the above table is
4364 accordingly extrapolated. This way, infinitely many different
4365 ligatures can be created.
4367 Augmentum dots, also called @emph{morae}, are added with the music
4368 function @code{\augmentum}. Note that @code{\augmentum} is
4369 implemented as a unary music function rather than as head prefix. It
4370 applies to the immediately following music expression only. That is,
4371 @code{\augmentum \virga c} will have no visible effect. Instead, say
4372 @code{\virga \augmentum c} or @code{\augmentum @{\virga c@}}. Also
4373 note that you can say @code{\augmentum @{a g@}} as a shortcut for
4374 @code{\augmentum a \augmentum g}.
4376 @lilypond[quote,ragged-right,verbatim]
4377 \include "gregorian-init.ly"
4379 \new VaticanaVoice {
4380 \[ \augmentum a \flexa \augmentum g \]
4388 The following head prefixes are supported
4394 @funindex \inclinatum
4398 @funindex \descendens
4400 @funindex \ascendens
4406 @funindex \deminutum
4413 Head prefixes can be accumulated, though restrictions apply. For
4414 example, either @code{\descendens} or @code{\ascendens} can be applied
4415 to a head, but not both to the same head.
4419 Two adjacent heads can be tied together with the @code{\pes} and
4420 @code{\flexa} infix commands for a rising and falling line of melody,
4423 @funindex \augmentum
4424 Use the unary music function @code{\augmentum} to add augmentum dots.
4428 When an @code{\augmentum} dot appears at the end of the last staff
4429 within a ligature, it is sometimes vertically placed wrong. As a
4430 workaround, add an additional skip note (e.g. @code{s8}) as last note
4433 @code{\augmentum} should be implemented as a head prefix rather than a
4434 unary music function, such that @code{\augmentum} can be intermixed
4435 with head prefixes in arbitrary order.
4437 @node Gregorian Chant contexts
4438 @subsection Gregorian Chant contexts
4440 @cindex VaticanaVoiceContext
4441 @cindex VaticanaStaffContext
4443 The predefined @code{VaticanaVoiceContext} and
4444 @code{VaticanaStaffContext} can be used to engrave a piece of
4445 Gregorian Chant in the style of the Editio Vaticana. These contexts
4446 initialize all relevant context properties and grob properties to
4447 proper values, so you can immediately go ahead entering the chant, as
4448 the following excerpt demonstrates
4450 @lilypond[quote,ragged-right,packed,verbatim]
4451 \include "gregorian-init.ly"
4454 \new VaticanaVoice = "cantus" {
4455 \[ c'\melisma c' \flexa a \]
4456 \[ a \flexa \deminutum g\melismaEnd \]
4458 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
4459 c' \divisioMinima \break
4460 \[ c'\melisma c' \flexa a \]
4461 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
4463 \new Lyrics \lyricsto "cantus" {
4464 San- ctus, San- ctus, San- ctus
4471 @node Mensural contexts
4472 @subsection Mensural contexts
4474 @cindex MensuralVoiceContext
4475 @cindex MensuralStaffContext
4477 The predefined @code{MensuralVoiceContext} and
4478 @code{MensuralStaffContext} can be used to engrave a piece in mensural
4479 style. These contexts initialize all relevant context properties and
4480 grob properties to proper values, so you can immediately go ahead
4481 entering the chant, as the following excerpt demonstrates
4483 @lilypond[quote,ragged-right,verbatim]
4486 \new MensuralVoice = "discantus" \transpose c c' {
4487 \override Score.BarNumber #'transparent = ##t {
4488 c'1\melisma bes a g\melismaEnd
4490 \[ f1\melisma a c'\breve d'\melismaEnd \]
4492 c'\breve\melisma a1 g1\melismaEnd
4493 fis\longa^\signumcongruentiae
4496 \new Lyrics \lyricsto "discantus" {
4497 San -- ctus, San -- ctus, San -- ctus
4503 @node Musica ficta accidentals
4504 @subsection Musica ficta accidentals
4506 In European music from before about 1600, singers were often expected
4507 to chromatically alter notes at their own initiative. This is called
4508 @q{Musica Ficta}. In modern transcriptions, these accidentals are
4509 usually printed over the note.
4511 @cindex Accidental, musica ficta
4512 @cindex Musica ficta
4514 Support for such suggested accidentals is included, and can be
4515 switched on by setting @code{suggestAccidentals} to true.
4517 @funindex suggestAccidentals
4519 @lilypond[verbatim,fragment,relative=1]
4521 \set suggestAccidentals = ##t
4527 Program reference: @internalsref{Accidental_engraver} engraver and the
4528 @internalsref{AccidentalSuggestion} object.
4531 @subsection Figured bass
4533 @cindex Basso continuo
4535 @c TODO: musicological blurb about FB
4538 LilyPond has support for figured bass
4540 @lilypond[quote,ragged-right,verbatim,fragment]
4542 \new Voice { \clef bass dis4 c d ais g fis}
4543 \new FiguredBass \figuremode {
4544 < 6 >4 < 7\+ >8 < 6+ [_!] >
4551 The support for figured bass consists of two parts: there is an input
4552 mode, introduced by @code{\figuremode}, where you can enter bass figures
4553 as numbers, and there is a context called @internalsref{FiguredBass} that
4554 takes care of making @internalsref{BassFigure} objects.
4556 In figures input mode, a group of bass figures is delimited by
4557 @code{<} and @code{>}. The duration is entered after the @code{>}
4561 @lilypond[quote,ragged-right,fragment]
4563 \figuremode { <4 6> }
4566 Accidentals are added when you append @code{-}, @code{!}, and @code{+}
4567 to the numbers. A plus sign is added when you append @code{\+}, and
4568 diminished fifths and sevenths can be obtained with @code{5/} and @code{7/}.
4571 <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/>
4573 @lilypond[quote,ragged-right,fragment]
4574 \figures { <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/> }
4577 Spaces may be inserted by using @code{_}. Brackets are
4578 introduced with @code{[} and @code{]}. You can also include text
4579 strings and text markups, see @ref{Overview of text markup commands}.
4582 < [4 6] 8 [_! 12] > < 5 \markup @{ \number 6 \super (1) @} >
4584 @lilypond[quote,ragged-right,fragment]
4586 \figuremode { < [4 6] 8 [_! 12] > < 5 \markup{ \tiny \number 6 \super (1)} > }
4590 It is also possible to use continuation lines for repeated figures,
4592 @lilypond[verbatim,relative=1]
4599 \set useBassFigureExtenders = ##t
4606 In this case, the extender lines always replace existing figures.
4608 The @code{FiguredBass} context doesn't pay attention to the actual
4609 bass line. As a consequence, you may have to insert extra figures to
4610 get extender lines below all notes, and you may have to add @code{\!}
4611 to avoid getting an extender line, e.g.
4613 @lilypond[relative=1]
4617 \set useBassFigureExtenders = ##t
4618 <6 4->4. <6 4->16. <6 4->32 <5>8. r16 <6>8 <6\! 5->
4622 f16. g32 f16. g32 f16. g32 f16. g32 f8. es16 d8 es
4627 When using continuation lines, common figures are always put in the
4628 same vertical position. When this is unwanted, you can insert a rest
4629 with @code{r}. The rest will clear any previous alignment. For
4630 example, you can write
4642 Accidentals and plus signs can appear before or after the numbers,
4643 depending on the @code{figuredBassAlterationDirection} and
4644 @code{figuredBassPlusDirection}
4650 \set figuredBassAlterationDirection = #1
4652 \set figuredBassPlusDirection = #1
4654 \set figuredBassAlterationDirection = #-1
4660 Although the support for figured bass may superficially resemble chord
4661 support, it is much simpler. The @code{\figuremode} mode simply
4662 stores the numbers and @internalsref{FiguredBass} context prints them
4663 as entered. There is no conversion to pitches and no realizations of
4664 the bass are played in the MIDI file.
4666 Internally, the code produces markup texts. You can use any of the
4667 markup text properties to override formatting. For example, the
4668 vertical spacing of the figures may be set with @code{baseline-skip}.
4671 Figured bass can also be added to @code{Staff} contexts
4672 directly. In this case, their vertical position is adjusted
4675 @lilypond[ragged-right,fragment,quote]
4677 \new Staff = someUniqueName
4682 %% send to existing Staff.
4683 \context Staff = someUniqueName
4687 \set Staff.useBassFigureExtenders = ##t
4696 By default, this method produces figures above the notes. To get
4697 figures below the notes, use
4700 \override Staff.BassFigureAlignmentPositioning #'direction = #DOWN
4706 When using figured bass above the staff with extender lines and
4707 @code{implicitBassFigures} the lines may become swapped around.
4708 Maintaining order consistently will be impossible when multiple figures
4709 have overlapping extender lines. To avoid this problem, please
4710 use @code{stacking-dir} on @code{BassFigureAlignment}.
4715 Program reference: @internalsref{NewBassFigure},
4716 @internalsref{BassFigureAlignment}, @internalsref{BassFigureLine},
4717 @internalsref{BassFigureBracket}, and
4718 @internalsref{BassFigureContinuation} objects and
4719 @internalsref{FiguredBass} context.
4723 @node Other instrument specific notation
4724 @section Other instrument specific notation
4726 This section includes extra information for writing for instruments.
4729 * Artificial harmonics (strings)::
4732 @node Artificial harmonics (strings)
4733 @subsection Artificial harmonics (strings)
4735 @cindex artificial harmonics
4737 Artificial harmonics are notated with a different notehead style. They
4738 are entered by marking the harmonic pitch with @code{\harmonic}.
4740 @lilypond[ragged-right,verbatim,quote,fragment,relative=1]