1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
8 @node Instrument-specific notation
9 @chapter Instrument-specific notation
11 This chapter explains how to use notation for specific instruments.
21 * Other instrument specific notation::
29 Piano staves are two normal staves coupled with a brace. The staves
30 are largely independent, but sometimes voices can cross between the
31 two staves. The same notation is also used for harps and other key
32 instruments. The @internalsref{PianoStaff} is especially built to
33 handle this cross-staffing behavior. In this section we discuss the
34 @internalsref{PianoStaff} and some other pianistic peculiarities.
37 * Automatic staff changes::
38 * Manual staff switches::
40 * Staff switch lines::
46 Dynamics are not centered, but workarounds do exist. See the
47 ``piano centered dynamics'' template in @ref{Piano templates}.
49 @cindex cross staff stem
50 @cindex stem, cross staff
51 @cindex distance between staves in piano music
53 The distance between the two staves is the same for all systems in the
54 score. It is possible to override this per system, but it does require
55 an arcane command incantation. See
56 @inputfileref{input/@/test,piano@/-staff@/-distance@/.ly}.
59 @node Automatic staff changes
60 @subsection Automatic staff changes
61 @cindex Automatic staff changes
63 Voices can be made to switch automatically between the top and the bottom
64 staff. The syntax for this is
68 \autochange @dots{}@var{music}@dots{}
73 This will create two staves inside the current PianoStaff, called
74 @code{up} and @code{down}. The lower staff will be in bass clef by
77 A @code{\relative} section that is outside of @code{\autochange} has
78 no effect on the pitches of @var{music}, so, if necessary, put
79 @code{\relative} inside @code{\autochange} like
83 \autochange \relative @dots{} @dots{}
88 The autochanger switches on basis of the pitch (middle C is the turning
89 point), and it looks ahead skipping over rests to switch in
90 advance. Here is a practical example
92 @lilypond[quote,verbatim,ragged-right]
94 \autochange \relative c'
103 In this manual: @ref{Manual staff switches}.
105 Program reference: @internalsref{AutoChangeMusic}.
111 The staff switches may not end up in optimal places. For high
112 quality output, staff switches should be specified manually.
115 @code{\autochange} cannot be inside @code{\times}.
118 @node Manual staff switches
119 @subsection Manual staff switches
121 @cindex manual staff switches
122 @cindex staff switch, manual
124 Voices can be switched between staves manually, using the command
126 \change Staff = @var{staffname} @var{music}
130 The string @var{staffname} is the name of the staff. It switches the
131 current voice from its current staff to the Staff called
132 @var{staffname}. Typically @var{staffname} is @code{"up"} or
133 @code{"down"}. The @context{Staff} referred to must already exist, so
134 usually the setup for a score will start with a setup of the staves,
139 \skip 1 * 10 % @emph{keep staff alive}
141 \new Staff = "down" @{
142 \skip 1 * 10 % @emph{idem}
148 and the @context{Voice} is inserted afterwards
152 \new Voice @{ @dots{} \change Staff = up @dots{} @}
160 Pianos have pedals that alter the way sound is produced. Generally, a
161 piano has three pedals, sustain, una corda, and sostenuto.
164 Piano pedal instruction can be expressed by attaching
165 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
166 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
169 @lilypond[quote,ragged-right,fragment,verbatim]
170 c'4\sustainDown c'4\sustainUp
173 What is printed can be modified by setting @code{pedal@var{X}Strings},
174 where @var{X} is one of the pedal types: @code{Sustain},
175 @code{Sostenuto} or @code{UnaCorda}. Refer to
176 @internalsref{SustainPedal} in the program reference for more
179 Pedals can also be indicated by a sequence of brackets, by setting the
180 @code{pedalSustainStyle} property to bracket objects
182 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
183 \set Staff.pedalSustainStyle = #'bracket
185 b\sustainUp\sustainDown
186 b g \sustainUp a \sustainDown \bar "|."
189 A third style of pedal notation is a mixture of text and brackets,
190 obtained by setting the @code{pedalSustainStyle} property to
193 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
194 \set Staff.pedalSustainStyle = #'mixed
196 b\sustainUp\sustainDown
197 b g \sustainUp a \sustainDown \bar "|."
200 The default `*Ped.' style for sustain and damper pedals corresponds to
201 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
204 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
205 c\sostenutoDown d e c, f g a\sostenutoUp
208 For fine-tuning the appearance of a pedal bracket, the properties
209 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
210 @code{PianoPedalBracket} objects (see
211 @internalsref{PianoPedalBracket} in the Program reference) can be
212 modified. For example, the bracket may be extended to the right edge
215 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
216 \override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
217 c\sostenutoDown d e c, f g a\sostenutoUp
222 In this manual: @ref{Laissez vibrer ties}
224 @node Staff switch lines
225 @subsection Staff switch lines
229 @cindex staff switching
232 @funindex followVoice
234 Whenever a voice switches to another staff, a line connecting the notes
235 can be printed automatically. This is switched on by setting
236 @code{followVoice} to true
238 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
241 \set followVoice = ##t
246 \new Staff="two" { \clef bass \skip 1*2 }
252 Program reference: @internalsref{VoiceFollower}.
256 @funindex \showStaffSwitch
257 @code{\showStaffSwitch},
258 @funindex \hideStaffSwitch
259 @code{\hideStaffSwitch}.
262 @node Cross staff stems
263 @subsection Cross staff stems
265 Chords that cross staves may be produced by increasing the length
266 of the stem in the lower staff, so it reaches the stem in the upper
267 staff, or vice versa.
269 @lilypond[ragged-right,verbatim,quote]
270 stemExtend = \once \override Stem #'length = #22
271 noFlag = \once \override Stem #'flag-style = #'no-flag
274 \stemDown \stemExtend
292 * Introducing chord names::
294 * Printing chord names::
298 @c awkward name; awkward section name.
299 @c still, the Basic "chords" seems like a good name... :(
300 @node Introducing chord names
301 @subsection Introducing chord names
304 LilyPond has support for printing chord names. Chords may be entered
305 in musical chord notation, i.e., @code{< .. >}, but they can also be
306 entered by name. Internally, the chords are represented as a set of
307 pitches, so they can be transposed
310 @lilypond[quote,ragged-right,verbatim,ragged-right]
311 twoWays = \transpose c c' {
320 << \new ChordNames \twoWays
321 \new Voice \twoWays >>
324 This example also shows that the chord printing routines do not try to
325 be intelligent. The last chord (@code{f bes d}) is not interpreted as
328 Note that the duration of chords must be specified outside the
337 @subsection Chords mode
340 In chord mode sets of pitches (chords) are entered with normal note
341 names. A chord is entered by the root, which is entered like a
344 @lilypond[quote,ragged-right,fragment,verbatim]
345 \chordmode { es4. d8 c2 }
349 The mode is introduced by the keyword @code{\chordmode}.
354 Other chords may be entered by suffixing a colon and introducing a
355 modifier (which may include a number if desired)
356 @lilypond[quote,fragment,verbatim]
357 \chordmode { e1:m e1:7 e1:m7 }
359 The first number following the root is taken to be the `type' of the
360 chord, thirds are added to the root until it reaches the specified
362 @lilypond[quote,fragment,verbatim]
363 \chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
366 @cindex root of chord
367 @cindex additions, in chords
368 @cindex removals, in chords
370 More complex chords may also be constructed adding separate steps
371 to a chord. Additions are added after the number following
372 the colon and are separated by dots
373 @lilypond[quote,verbatim,fragment]
374 \chordmode { c:5.6 c:3.7.8 c:3.6.13 }
376 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
378 @lilypond[quote,verbatim,fragment]
379 \chordmode { c:7+ c:5+.3- c:3-.5-.7- }
381 Removals are specified similarly and are introduced by a caret. They
382 must come after the additions
383 @lilypond[quote,verbatim,fragment]
384 \chordmode { c^3 c:7^5 c:9^3.5 }
387 Modifiers can be used to change pitches. The following modifiers are
392 The minor chord. This modifier lowers the 3rd and (if present) the 7th step.
395 The diminished chord. This modifier lowers the 3rd, 5th and (if present)
399 The augmented chord. This modifier raises the 5th step.
402 The major 7th chord. This modifier raises the 7th step if present.
405 The suspended 4th or 2nd. This modifier removes the 3rd
406 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
410 Modifiers can be mixed with additions
411 @lilypond[quote,verbatim,fragment]
412 \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
415 @cindex modifiers, in chords.
422 Since an unaltered 11 does not sound good when combined with an
423 unaltered 3, the 11 is removed in this case (unless it is added
425 @lilypond[quote,ragged-right,fragment,verbatim]
426 \chordmode { c:13 c:13.11 c:m13 }
431 An inversion (putting one pitch of the chord on the bottom), as well
432 as bass notes, can be specified by appending
433 @code{/}@var{pitch} to the chord
434 @lilypond[quote,ragged-right,fragment,verbatim]
435 \chordmode { c1 c/g c/f }
439 A bass note can be added instead transposed out of the chord,
440 by using @code{/+}@var{pitch}.
442 @lilypond[quote,ragged-right,fragment,verbatim]
443 \chordmode { c1 c/+g c/+f }
446 Chords is a mode similar to @code{\lyricmode}, etc. Most
447 of the commands continue to work, for example, @code{r} and
448 @code{\skip} can be used to insert rests and spaces, and property
449 commands may be used to change various settings.
455 Each step can only be present in a chord once. The following
456 simply produces the augmented chord, since @code{5+} is interpreted
459 @lilypond[quote,ragged-right,verbatim,fragment]
460 \chordmode { c:5.5-.5+ }
464 @node Printing chord names
465 @subsection Printing chord names
467 @cindex printing chord names
471 For displaying printed chord names, use the @internalsref{ChordNames} context.
472 The chords may be entered either using the notation
473 described above, or directly using @code{<} and @code{>}
475 @lilypond[quote,verbatim,ragged-right]
477 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
480 \new ChordNames \harmonies
481 \new Staff \harmonies
485 You can make the chord changes stand out by setting
486 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
487 display chord names when there is a change in the chords scheme and at
488 the start of a new line
490 @lilypond[quote,verbatim,ragged-right]
491 harmonies = \chordmode {
492 c1:m c:m \break c:m c:m d
496 \set chordChanges = ##t
498 \new Staff \transpose c c' \harmonies
502 The previous examples all show chords over a staff. This is not
503 necessary. Chords may also be printed separately. It may be necessary
504 to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
507 @lilypond[ragged-right,verbatim]
508 \new ChordNames \with {
509 \override BarLine #'bar-size = #4
510 voltaOnThisStaff = ##t
511 \consists Bar_engraver
512 \consists "Volta_engraver"
514 \chordmode { \repeat volta 2 {
524 The default chord name layout is a system for Jazz music, proposed by
525 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
529 @funindex chordNameExceptions
530 @item chordNameExceptions
531 This is a list that contains the chords that have special formatting.
533 The exceptions list should be encoded as
535 @{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
538 To get this information into @code{chordNameExceptions} takes a little
539 manoeuvring. The following code transforms @code{chExceptionMusic}
540 (which is a sequential music) into a list of exceptions.
542 (sequential-music-to-chord-exceptions chExceptionMusic #t)
547 (sequential-music-to-chord-exceptions chExceptionMusic #t)
550 adds the new exceptions to the default ones, which are defined in
551 @file{ly/@/chord@/-modifier@/-init@/.ly}.
553 For an example of tuning this property, see also
554 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly}.
555 @cindex exceptions, chord names.
558 @funindex majorSevenSymbol
559 @item majorSevenSymbol
560 This property contains the markup object used for the 7th step, when
561 it is major. Predefined options are @code{whiteTriangleMarkup} and
562 @code{blackTriangleMarkup}. See
563 @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly} for an example.
565 @funindex chordNameSeparator
566 @item chordNameSeparator
567 Different parts of a chord name are normally separated by a
568 slash. By setting @code{chordNameSeparator}, you can specify other
570 @lilypond[quote,ragged-right,fragment,verbatim]
571 \new ChordNames \chordmode {
573 \set chordNameSeparator
574 = \markup { \typewriter "|" }
579 @funindex chordRootNamer
581 The root of a chord is usually printed as a letter with an optional
582 alteration. The transformation from pitch to letter is done by this
583 function. Special note names (for example, the German ``H'' for a
584 B-chord) can be produced by storing a new function in this property.
586 @funindex chordNoteNamer
588 The default is to print single pitch, e.g., the bass note, using the
589 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
590 to a specialized function to change this behavior. For example, the
591 base can be printed in lower case.
593 @funindex chordPrefixSpacer
594 @item chordPrefixSpacer
595 The ``m'' for minor chords is usually printed right after the root of
596 the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer
597 between the root and ``m''. The spacer is not used when the root
602 The predefined variables @code{\germanChords},
603 @code{\semiGermanChords}, @code{\italianChords} and @code{\frenchChords}
604 set these variables. The effect is
607 @lilypondfile[ragged-right]{chord-names-languages.ly}
609 There are also two other chord name schemes implemented: an alternate
610 Jazz chord notation, and a systematic scheme called Banter chords. The
611 alternate Jazz notation is also shown on the chart in @ref{Chord name
612 chart}. Turning on these styles is described in the input file
613 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
622 @funindex \germanChords
623 @code{\germanChords},
624 @funindex \semiGermanChords
625 @code{\semiGermanChords}.
626 @funindex \italianChords
627 @code{\italianChords}.
628 @funindex \frenchChords
629 @code{\frenchChords}.
636 Examples: @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly},
637 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly},
638 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
641 Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
642 @file{scm/@/chord@/-entry@/.scm}.
647 Chord names are determined solely from the list of pitches. Chord
648 inversions are not identified, and neither are added bass notes. This
649 may result in strange chord names when chords are entered with the
650 @code{< .. >} syntax.
657 Since LilyPond input files are text, there are two issues to
658 consider when working with vocal music:
662 Song texts must be entered as text, not notes. For example, the
663 input@tie{}@code{d} should be interpreted as a one letter syllable, not the
667 Song texts must be aligned with the notes of their melody.
670 There are a few different ways to define lyrics; the simplest
671 way is to use the @code{\addlyrics} function.
674 * Setting simple songs::
676 * Hyphens and extenders::
677 * The Lyrics context::
679 * Another way of entering lyrics::
680 * Flexibility in placement::
682 * More about stanzas::
684 * Other vocal issues::
690 Checking to make sure that text scripts and lyrics are within the margins is
691 a relatively large computational task. To speed up processing, lilypond does
692 not perform such calculations by default; to enable it, use
695 \override Score.PaperColumn #'keep-inside-line = ##t
698 To make lyrics avoid barlines as well, use
703 \consists "Bar_engraver"
704 \consists "Separating_line_group_engraver"
705 \override BarLine #'transparent = ##t
711 @node Setting simple songs
712 @subsection Setting simple songs
714 The easiest way to add lyrics to a melody is to append
717 \addlyrics @{ @var{the lyrics} @}
721 to a melody. Here is an example,
723 @lilypond[ragged-right,verbatim,fragment,quote]
725 \relative { c2 e4 g2. }
726 \addlyrics { play the game }
729 More stanzas can be added by adding more
730 @code{\addlyrics} sections
732 @lilypond[ragged-right,verbatim,fragment,quote]
734 \relative { c2 e4 g2. }
735 \addlyrics { play the game }
736 \addlyrics { speel het spel }
737 \addlyrics { joue le jeu }
740 The command @code{\addlyrics} cannot handle polyphony settings. For these
741 cases you should use @code{\lyricsto} and @code{\lyricmode}.
745 @node Entering lyrics
746 @subsection Entering lyrics
752 Lyrics are entered in a special input mode. This mode is introduced
753 by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
754 @code{\lyricsto}. In this mode you can enter lyrics,
755 with punctuation and accents, and the input @code{d} is not parsed as
756 a pitch, but rather as a one letter syllable. Syllables are entered
757 like notes, but with pitches replaced by text. For example,
759 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
762 There are two main methods to specify the horizontal placement
763 of the syllables, either by specifying the duration of each syllable
764 explicitly, like in the example above, or by automatically aligning
765 the lyrics to a melody or other voice of music, using @code{\addlyrics}
766 or @code{\lyricsto}. For more details see @ref{The Lyrics context}.
768 A word or syllable of lyrics begins with an alphabetic character, and ends
770 any space or digit. The following characters can be any character
771 that is not a digit or white space. One important consequence of this
772 is that a word can end with @code{@}}. The following example is
773 usually a mistake in the input file. The syllable includes a @code{@}}, so
775 opening brace is not balanced
777 \lyricmode @{ twinkle@}
780 @funindex \property, in @code{\lyricmode
782 Similarly, a period which follows an alphabetic sequence is included in
783 the resulting string. As a consequence, spaces must be inserted around
786 \override Score . LyricText #'font-shape = #'italic
790 @cindex spaces, in lyrics
791 @cindex quotes, in lyrics
793 In order to assign more than one syllable to a single note, you must
794 surround them with quotes or use a @code{_} character between the syllables.
796 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
798 \relative { c2 e4 g2 e4 }
799 \addlyrics { gran- de_a- mi- go }
800 \addlyrics { pu- "ro y ho-" nes- to }
803 To enter lyrics with characters from non-English languages, or with
804 non-ascii characters (such as the heart symbol or slanted quotes),
805 simply insert the characters directly into the input file and save
806 it with utf-8 encoding. See @ref{Text encoding} for more info.
809 \lyricmode @{ He said: “Let my peo ple go”. @}
812 To use normal quotes in lyrics, add a backslash before the
815 @lilypond[quote,ragged-right,fragment,verbatim]
816 \relative c' { \time 3/4 e4 e4. e8 d4 e d c2. }
817 \addlyrics { "\"I" am so lone- "ly\"" said she }
820 The full definition of a word start in Lyrics mode is somewhat more
823 A word in Lyrics mode begins with: an alphabetic character, @code{_},
824 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
825 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
826 any 8-bit character with ASCII code over 127, or a two-character
827 combination of a backslash followed by one of @code{`}, @code{'},
828 @code{"}, or @code{^}.
833 Program reference: @internalsref{LyricText}, @internalsref{LyricSpace}.
837 @node Hyphens and extenders
838 @subsection Hyphens and extenders
842 Centered hyphens are entered as `@code{--}' between syllables.
843 The hyphen will have variable length depending on the space between
844 the syllables and it will be centered between the syllables.
849 When a lyric is sung over many notes (this is called a melisma), this is
850 indicated with a horizontal line centered between a syllable and the
851 next one. Such a line is called an extender line, and it is entered as
854 In tighly engraved music, hyphens can be removed. Whether this
855 happens can be controlled with the @code{minimum-distance} (minimum
856 distance between two syllables) and the @code{minimum-length}
857 (threshold below which hyphens are removed).
861 Program reference: @internalsref{LyricHyphen}, @internalsref{LyricExtender}.
865 @node The Lyrics context
866 @subsection The Lyrics context
868 Lyrics are printed by interpreting them in the context caleld
869 @internalsref{Lyrics}.
872 \new Lyrics \lyricmode @dots{}
875 @cindex automatic syllable durations
877 @cindex lyrics and melodies
879 This will place the lyrics according to the durations that were
880 entered. The lyrics can also be aligned under a given melody
881 automatically. In this case, it is no longer necessary to enter the
882 correct duration for each syllable. This is achieved by combining the
883 melody and the lyrics with the @code{\lyricsto} expression
886 \new Lyrics \lyricsto @var{name} @dots{}
889 This aligns the lyrics to the
890 notes of the @internalsref{Voice} context called @var{name}, which has
891 to exist. Therefore, normally the @code{Voice} is specified first, and
892 then the lyrics are specified with @code{\lyricsto}. The command
893 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
894 @code{\lyricmode} keyword may be omitted.
896 The following example uses different commands for entering lyrics.
898 @lilypond[quote,fragment,ragged-right,verbatim]
900 \new Voice = "one" \relative c'' {
903 c4 b8. a16 g4. f8 e4 d c2
905 \new Lyrics \lyricmode { Joy4 to8. the16 world!4. the8 Lord4 is come.2 }
906 \new Lyrics \lyricmode { Joy to the earth! the Sav -- our reigns. }
907 \new Lyrics \lyricsto "one" { No more let sins and sor -- rows grow. }
911 The second stanza is not properly aligned because the durations
912 were not specified. A solution for that would be to use @code{\lyricsto}.
919 To define indentifiers containing lyrics, the function @code{lyricmode}
923 verseOne = \lyricmode @{ Joy to the world the Lord is come @}
926 \new Voice = "one" \relative c'' @{
929 c4 b8. a16 g4. f8 e4 d c2
931 \addlyrics @{ \verseOne @}
936 The @code{\addlyrics} command is actually just a convenient way
937 to write a more complicated LilyPond structure that sets up the
942 \addlyrics @{ LYRICS @}
949 \new Voice = "blah" @{ music @}
950 \new Lyrics \lyricsto "blah" @{ LYRICS @}
953 For different or more complex orderings, the best way is to setup the
954 hierarchy of staves and lyrics first, e.g.,
957 \new Voice = "soprano" @{ @emph{music} @}
958 \new Lyrics = "sopranoLyrics" @{ s1 @}
959 \new Lyrics = "tenorLyrics" @{ s1 @}
960 \new Voice = "tenor" @{ @emph{music} @}
964 and then combine the appropriate melodies and lyric lines
967 \context Lyrics = sopranoLyrics \lyricsto "soprano"
972 The final input would resemble
975 <<\new ChoirStaff << @emph{setup the music} >>
976 \lyricsto "soprano" @emph{etc}
977 \lyricsto "alto" @emph{etc}
984 Program reference: @internalsref{LyricCombineMusic},
985 @internalsref{Lyrics}.
989 @subsection Melismata
991 The @code{\lyricsto} command detects melismata: it only puts one
992 syllable under a tied or slurred group of notes. If you want to force
993 an unslurred group of notes to be a melisma, insert @code{\melisma}
994 after the first note of the group, and @code{\melismaEnd} after the
997 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
999 \new Voice = "lala" {
1007 \new Lyrics \lyricsto "lala" {
1013 In addition, notes are considered a melisma if they are manually
1014 beamed, and automatic beaming (see @ref{Setting automatic beam
1015 behavior}) is switched off.
1018 @cindex choral score
1020 A complete example of a SATB score setup is in section
1021 @ref{Vocal ensembles}.
1026 @code{\melisma}, @code{\melismaEnd}
1027 @funindex \melismaEnd
1032 Program reference: @internalsref{Melisma_translator}.
1035 @inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly}.
1039 Melismata are not detected automatically, and extender lines must be
1043 @node Another way of entering lyrics
1044 @subsection Another way of entering lyrics
1046 Lyrics can also be entered without @code{\lyricsto}. In this case the
1047 duration of each syllable must be entered explicitly, for example,
1054 The alignment to a melody can be specified with the
1055 @code{associatedVoice} property,
1058 \set associatedVoice = #"lala"
1062 The value of the property (here: @code{"lala"}) should be the name of
1063 a @internalsref{Voice} context. Without this setting, extender lines
1064 will not be formatted properly.
1066 Here is an example demonstrating manual lyric durations,
1068 @lilypond[relative=1,ragged-right,verbatim,fragment,quote]
1069 << \new Voice = "melody" {
1073 \new Lyrics \lyricmode {
1074 \set associatedVoice = #"melody"
1080 @c TODO: document \new Staff << Voice \lyricsto >> bug
1082 @node Flexibility in placement
1083 @subsection Flexibility in placement
1085 Often, different stanzas of one song are put to one melody in slightly
1086 differing ways. Such variations can still be captured with
1090 * Lyrics to multiple notes of a melisma::
1092 * Switching the melody associated with a lyrics line::
1093 * Specifying melismata within the lyrics::
1096 @node Lyrics to multiple notes of a melisma
1097 @subsubsection Lyrics to multiple notes of a melisma
1100 One possibility is that the text has a melisma in one stanza, but
1101 multiple syllables in another one. One solution is to make the faster
1102 voice ignore the melisma. This is done by setting
1103 @code{ignoreMelismata} in the Lyrics context.
1105 There is one tricky aspect: the setting for @code{ignoreMelismata}
1106 must be set one syllable @emph{before} the non-melismatic syllable
1107 in the text, as shown here,
1109 @lilypond[verbatim,ragged-right,quote]
1111 \relative \new Voice = "lahlah" {
1112 \set Staff.autoBeaming = ##f
1118 \new Lyrics \lyricsto "lahlah" {
1121 \new Lyrics \lyricsto "lahlah" {
1122 \set ignoreMelismata = ##t % applies to "fas"
1124 \unset ignoreMelismata
1131 The @code{ignoreMelismata} applies to the syllable ``fas'', so it
1132 should be entered before ``go''.
1134 The reverse is also possible: making a lyric line slower than the
1135 standard. This can be achieved by insert @code{\skip}s into the
1136 lyrics. For every @code{\skip}, the text will be delayed another note.
1139 @lilypond[verbatim,ragged-right,quote]
1140 \relative { c c g' }
1149 @subsubsection Divisi lyrics
1151 You can display alternate (or divisi) lyrics by naming voice
1152 contexts and attaching lyrics to those specific contexts.
1154 @lilypond[verbatim,ragged-right,quote]
1156 \new Voice = "melody" {
1161 \new Voice = "splitpart" { \voiceTwo c4 }
1166 \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
1167 \new Lyrics \lyricsto "splitpart" { will }
1172 You can use this trick to display different lyrics for a repeated
1175 @lilypond[verbatim,ragged-right,quote]
1177 \new Voice = "melody" \relative c' {
1179 \new Voice = "verse" \repeat volta 2 {c4 d e f | g1 | }
1181 \new Lyrics = "mainlyrics" \lyricsto melody \lyricmode {
1184 \context Lyrics = "mainlyrics" \lyricsto verse \lyricmode {
1186 \new Lyrics = "repeatlyrics" \lyricsto verse \lyricmode {
1187 dodo rere mimi fafa solsol }
1194 @node Switching the melody associated with a lyrics line
1195 @subsubsection Switching the melody associated with a lyrics line
1197 More complex variations in text underlay are possible. It is possible
1198 to switch the melody for a line of lyrics during the text. This is
1199 done by setting the @code{associatedVoice} property. In the example
1201 @lilypond[ragged-right,quote]
1203 \relative \new Voice = "lahlah" {
1204 \set Staff.autoBeaming = ##f
1207 \new Voice = "alternative" {
1210 % show associations clearly.
1211 \override NoteColumn #'force-hshift = #-3
1222 \new Lyrics \lyricsto "lahlah" {
1223 Ju -- ras -- sic Park
1225 \new Lyrics \lyricsto "lahlah" {
1226 % Tricky: need to set associatedVoice
1227 % one syllable too soon!
1228 \set associatedVoice = alternative % applies to "ran"
1232 \set associatedVoice = lahlah % applies to "rus"
1238 the text for the first stanza is set to a melody called ``lahlah'',
1241 \new Lyrics \lyricsto "lahlah" @{
1242 Ju -- ras -- sic Park
1247 The second stanza initially is set to the @code{lahlah} context, but
1248 for the syllable ``ran'', it switches to a different melody.
1249 This is achieved with
1251 \set associatedVoice = alternative
1255 Here, @code{alternative} is the name of the @code{Voice} context
1256 containing the triplet.
1258 Again, the command must be one syllable too early, before ``Ty'' in
1262 \new Lyrics \lyricsto "lahlah" @{
1263 \set associatedVoice = alternative % applies to "ran"
1267 \set associatedVoice = lahlah % applies to "rus"
1273 The underlay is switched back to the starting situation by assigning
1274 @code{lahlah} to @code{associatedVoice}.
1277 @node Specifying melismata within the lyrics
1278 @subsubsection Specifying melismata within the lyrics
1280 It is also possible to define melismata entirely in the lyrics. This
1281 can be done by entering @code{_} for every note that is part of the
1284 @lilypond[relative=1,verbatim,fragment]
1285 { \set melismaBusyProperties = #'()
1286 c d( e) f f( e) e e }
1288 { Ky -- _ _ ri __ _ _ _ e }
1291 In this case, you can also have ties and slurs in the melody, if you
1292 set @code{melismaBusyProperties}, as is done in the example above.
1294 @lilypond[relative=1,verbatim,fragment]
1296 \set melismaBusyProperties = #'()
1300 { Ky -- _ _ ri __ _ _ _ e }
1304 @node Spacing lyrics
1305 @subsection Spacing lyrics
1307 @cindex Spacing lyrics
1308 @cindex Lyrics, increasing space between
1310 To increase the spacing between lyrics, set the minimum-distance property of
1313 @lilypond[relative,verbatim,fragment,quote,ragged-right]
1316 \override Lyrics.LyricSpace #'minimum-distance = #1.0
1320 longtext longtext longtext longtext
1321 longtext longtext longtext longtext
1325 To make this change for all lyrics in the score, set the property in the
1328 @lilypond[relative,verbatim,quote,ragged-right]
1335 longtext longtext longtext longtext
1336 longtext longtext longtext longtext
1341 \override LyricSpace #'minimum-distance = #1.0
1348 @node More about stanzas
1349 @subsection More about stanzas
1351 @cindex phrasing, in lyrics
1354 @cindex stanza number
1355 @cindex singer's names
1356 @cindex name of singer
1358 Stanza numbers can be added by setting @code{stanza}, e.g.,
1360 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1362 \time 3/4 g2 e4 a2 f4 g2.
1365 Hi, my name is Bert.
1368 Oh, che -- ri, je t'aime
1372 These numbers are put just before the start of first syllable.
1374 Sometimes it is appropriate to have one stanza set
1375 to the music, and the rest added in verse form at
1376 the end of the piece. This can be accomplished by adding
1377 the extra verses into a @code{\markup} section outside
1378 of the main score block. Notice that there are two
1379 different ways to force linebreaks when using
1382 @lilypond[ragged-right,verbatim,quote]
1383 melody = \relative c' {
1389 \set stanza = "1." Ma- ry had a lit- tle lamb,
1390 its fleece was white as snow.
1395 \new Voice = "one" { \melody }
1396 \new Lyrics \lyricsto "one" \text
1402 \line{ All the children laughed and played }
1403 \line{ To see a lamb at school. }
1410 Mary took it home again,
1412 It was against the rule."
1418 Names of singers can also be added. They are printed at the start of
1419 the line, just like instrument names. They are created by setting
1420 @code{vocalName}. A short version may be entered as @code{vocNam}.
1423 @lilypond[fragment,ragged-right,quote,verbatim,relative=2]
1425 \time 3/4 g2 e4 a2 f4 g2.
1427 \set vocalName = "Bert "
1428 Hi, my name is Bert.
1430 \set vocalName = "Ernie "
1431 Oh, che -- ri, je t'aime
1438 Program reference: @internalsref{LyricText}, @internalsref{StanzaNumber},
1439 @internalsref{VocalName}.
1447 The term @emph{ambitus} denotes a range of pitches for a given voice
1448 in a part of music. It may also denote the pitch range that a musical
1449 instrument is capable of playing. Ambits are printed on vocal parts,
1450 so performers can easily determine it meets their capabilities.
1452 Ambits are denoted at the beginning of a piece near the initial clef.
1453 The range is graphically specified by two note heads that represent the
1454 minimum and maximum pitch. To print such ambits, add the
1455 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
1462 \consists Ambitus_engraver
1467 This results in the following output
1469 @lilypond[quote,ragged-right]
1473 \consists Ambitus_engraver
1477 \relative \new Staff {
1482 If you have multiple voices in a single staff and you want a single
1483 ambitus per staff rather than per each voice, add the
1484 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
1485 rather than to the @internalsref{Voice} context. Here is an example,
1487 @lilypond[verbatim,ragged-right,quote]
1489 \consists "Ambitus_engraver"
1493 \remove "Ambitus_engraver"
1495 \override Ambitus #'X-offset = #-1.0
1500 \remove "Ambitus_engraver"
1509 This example uses one advanced feature,
1512 \override Ambitus #'X-offset = #-1.0
1516 This code moves the ambitus to the left. The same effect could have
1517 been achieved with @code{extra-offset}, but then the formatting system
1518 would not reserve space for the moved object.
1522 Program reference: @internalsref{Ambitus},
1523 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1524 @internalsref{AmbitusAccidental}.
1526 Examples: @inputfileref{input/@/regression,ambitus@/.ly}.
1530 There is no collision handling in the case of multiple per-voice
1534 @node Other vocal issues
1535 @subsection Other vocal issues
1538 yeah, I'm giving up somewhat by stuffing a bunch of things in
1539 here. But at least they're in the manual now; it's easier to
1540 move them around in the manual once they're already here.
1542 Besides, if users complain about everything stuffed in here, I
1543 can ask them for specific instructions about where to move these
1544 examples, and that might get them more involved in the docs. -gp
1547 ``Parlato'' is spoken without pitch but still with rhythm; it is
1548 notated by cross noteheads. This is demonstrated in
1549 @ref{Special noteheads}.
1555 @node Rhythmic music
1556 @section Rhythmic music
1558 Rhythmic music is primarily used for percussion and drum notation, but it can
1559 also be used to show the rhythms of melodies.
1562 * Showing melody rhythms::
1563 * Entering percussion::
1564 * Percussion staves::
1568 @node Showing melody rhythms
1569 @subsection Showing melody rhythms
1571 Sometimes you might want to show only the rhythm of a melody. This
1572 can be done with the rhythmic staff. All pitches of notes on such a
1573 staff are squashed, and the staff itself has a single line
1575 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1576 \new RhythmicStaff {
1578 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1584 Program reference: @internalsref{RhythmicStaff}.
1586 Examples: @inputfileref{input/@/regression,rhythmic@/-staff@/.ly}.
1589 @node Entering percussion
1590 @subsection Entering percussion
1596 Percussion notes may be entered in @code{\drummode} mode, which is
1597 similar to the standard mode for entering notes. Each piece of
1598 percussion has a full name and an abbreviated name, and both can be used
1601 @lilypond[quote,ragged-right,verbatim]
1603 hihat hh bassdrum bd
1607 The complete list of drum names is in the init file
1608 @file{ly/@/drumpitch@/-init@/.ly}.
1609 @c TODO: properly document this.
1613 Program reference: @internalsref{note-event}.
1615 @node Percussion staves
1616 @subsection Percussion staves
1620 A percussion part for more than one instrument typically uses a
1621 multiline staff where each position in the staff refers to one piece
1625 To typeset the music, the notes must be interpreted in a
1626 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
1628 @lilypond[quote,ragged-right,verbatim]
1629 up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
1630 down = \drummode { bassdrum4 snare8 bd r bd sn4 }
1632 \new DrumVoice { \voiceOne \up }
1633 \new DrumVoice { \voiceTwo \down }
1637 The above example shows verbose polyphonic notation. The short
1638 polyphonic notation, described in @ref{Basic polyphony}, can also be used if
1639 the @internalsref{DrumVoice}s are instantiated by hand first. For example,
1641 @lilypond[quote,ragged-right,fragment,verbatim]
1643 \new DrumVoice = "1" { s1 *2 }
1644 \new DrumVoice = "2" { s1 *2 }
1648 { \repeat unfold 16 hh16 }
1657 There are also other layout possibilities. To use these, set the
1658 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
1659 The following variables have been predefined
1663 This is the default. It typesets a typical drum kit on a five-line staff
1665 @lilypond[quote,line-width=10.0\cm]
1667 cymc cyms cymr hh hhc hho hhho hhp
1668 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl }
1670 cymc cyms cymr hh hhc hho hhho hhp \break
1671 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
1673 << \new DrumStaff \with {
1674 \remove Bar_engraver
1675 \remove Time_signature_engraver
1676 \override Stem #'transparent = ##t
1677 \override Stem #'Y-extent-callback = ##f
1678 \override VerticalAxisGroup #'minimum-Y-extent = #'(-4.0 . 5.0)
1685 \override LyricText #'font-family = #'typewriter
1686 \override BarNumber #'transparent =##T
1692 The drum scheme supports six different toms. When there are fewer toms,
1693 simply select the toms that produce the desired result, i.e., to get toms
1694 on the three middle lines you use @code{tommh}, @code{tomml}, and
1697 @item timbales-style
1698 This typesets timbales on a two line staff
1700 @lilypond[quote,ragged-right]
1701 nam = \lyricmode { timh ssh timl ssl cb }
1702 mus = \drummode { timh ssh timl ssl cb s16 }
1705 \new DrumStaff \with {
1706 \remove Bar_engraver
1707 \remove Time_signature_engraver
1708 \override Stem #'transparent = ##t
1709 \override Stem #'Y-extent-callback = ##f
1710 \override StaffSymbol #'line-count = #2
1711 \override StaffSymbol #'staff-space = #2
1712 \override VerticalAxisGroup #'minimum-Y-extent = #'(-3.0 . 4.0)
1713 drumStyleTable = #timbales-style
1716 \override LyricText #'font-family = #'typewriter
1723 This typesets congas on a two line staff
1725 @lilypond[quote,ragged-right]
1726 nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
1727 mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
1730 \new DrumStaff \with {
1731 \remove Bar_engraver
1732 \remove Time_signature_engraver
1733 drumStyleTable = #congas-style
1734 \override StaffSymbol #'line-count = #2
1736 %% this sucks; it will lengthen stems.
1737 \override StaffSymbol #'staff-space = #2
1738 \override Stem #'transparent = ##t
1739 \override Stem #'Y-extent-callback = ##f
1742 \override LyricText #'font-family = #'typewriter
1749 This typesets bongos on a two line staff
1751 @lilypond[quote,ragged-right]
1752 nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
1753 mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
1756 \new DrumStaff \with {
1757 \remove Bar_engraver
1758 \remove Time_signature_engraver
1759 \override StaffSymbol #'line-count = #2
1760 drumStyleTable = #bongos-style
1762 %% this sucks; it will lengthen stems.
1763 \override StaffSymbol #'staff-space = #2
1764 \override Stem #'transparent = ##t
1765 \override Stem #'Y-extent-callback = ##f
1768 \override LyricText #'font-family = #'typewriter
1774 @item percussion-style
1775 To typeset all kinds of simple percussion on one line staves.
1777 @lilypond[quote,ragged-right]
1778 nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
1779 mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
1782 \new DrumStaff \with{
1783 \remove Bar_engraver
1784 drumStyleTable = #percussion-style
1785 \override StaffSymbol #'line-count = #1
1786 \remove Time_signature_engraver
1787 \override Stem #'transparent = ##t
1788 \override Stem #'Y-extent-callback = ##f
1791 \override LyricText #'font-family = #'typewriter
1798 If you do not like any of the predefined lists you can define your own
1799 list at the top of your file
1801 @lilypond[quote,ragged-right,verbatim]
1803 (bassdrum default #f -1)
1804 (snare default #f 0)
1806 (pedalhihat xcircle "stopped" 2)
1807 (lowtom diamond #f 3)))
1808 up = \drummode { hh8 hh hh hh hhp4 hhp }
1809 down = \drummode { bd4 sn bd toml8 toml }
1812 \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
1813 \new DrumVoice { \voiceOne \up }
1814 \new DrumVoice { \voiceTwo \down }
1821 Init files: @file{ly/@/drumpitch@/-init@/.ly}.
1823 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
1827 Because general MIDI does not contain rim shots, the sidestick is used
1828 for this purpose instead.
1836 @cindex guitar tablature
1839 * String number indications::
1840 * Tablatures basic::
1841 * Non-guitar tablatures::
1842 * Banjo tablatures::
1844 * Other guitar issues::
1847 @node String number indications
1848 @subsection String number indications
1850 @cindex String numbers
1852 String numbers can be added to chords, by indicating the string number
1853 with @code{\}@var{number},
1855 @lilypond[relative,relative=1,ragged-right,fragment]
1859 See also @inputfileref{input/regression,string-number.ly}.
1864 Program reference: @internalsref{StringNumber}.
1867 @node Tablatures basic
1868 @subsection Tablatures basic
1869 @cindex Tablatures basic
1871 Tablature notation is used for notating music for plucked string
1872 instruments. Pitches are not denoted with note heads, but by
1873 numbers indicating on which string and fret a note must be played. LilyPond
1874 offers limited support for tablature.
1876 The string number associated to a note is given as a backslash
1877 followed by a number, e.g., @code{c4\3} for a C quarter on the third
1878 string. By default, string 1 is the highest one, and the tuning
1879 defaults to the standard guitar tuning (with 6 strings). The notes
1880 are printed as tablature, by using @internalsref{TabStaff} and
1881 @internalsref{TabVoice} contexts
1883 @lilypond[quote,ragged-right,fragment,verbatim]
1890 @funindex minimumFret
1893 When no string is specified, the first string that does not give a
1894 fret number less than @code{minimumFret} is selected. The default
1895 value for @code{minimumFret} is 0
1900 \set TabStaff.minimumFret = #8
1903 @lilypond[quote,ragged-right]
1907 \set TabStaff.minimumFret = #8
1911 \new Staff { \clef "G_8" \frag }
1912 \new TabStaff { \frag }
1919 To print tablatures with stems down and horizontal beams,
1920 initialize the @code{TabStaff} with this code:
1924 \override Beam #'damping = #100000
1929 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}.
1933 Chords are not handled in a special way, and hence the automatic
1934 string selector may easily select the same string to two notes in a
1938 @node Non-guitar tablatures
1939 @subsection Non-guitar tablatures
1940 @cindex Non-guitar tablatures
1942 You can change the tuning of the strings. A string tuning is given as
1943 a Scheme list with one integer number for each string, the number
1944 being the pitch (measured in semitones relative to middle C) of an
1945 open string. The numbers specified for @code{stringTuning} are the
1946 numbers of semitones to subtract or add, starting the specified pitch
1947 by default middle C, in string order. LilyPond automatically calculates
1948 the number of strings by looking at @code{stringTuning}.
1950 In the next example,
1951 @code{stringTunings} is set for the pitches e, a, d, and g
1953 @lilypond[quote,ragged-right,fragment,verbatim]
1955 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
1957 a,4 c' a e' e c' a e'
1962 LilyPond comes with predefined string tunings for banjo, mandolin, guitar
1966 \set TabStaff.stringTunings = #bass-tuning
1969 The default string tuning is @code{guitar-tuning} (the standard EADGBE
1971 Some other predefined tunings are @code{guitar-open-g-tuning},
1972 @code{mandolin-tuning} and @code{banjo-open-g-tuning}.
1976 The file @file{scm/@/output@/-lib@/.scm} contains the predefined string
1978 Program reference: @internalsref{Tab_note_heads_engraver}.
1982 No guitar special effects have been implemented.
1986 @node Banjo tablatures
1987 @subsection Banjo tablatures
1988 @cindex Banjo tablatures
1990 LilyPond has basic support for five stringed banjo. When making tablatures
1991 for five stringed banjo, use the banjo tablature format function to get
1993 fret numbers for the fifth string:
1995 @lilypond[quote,ragged-right,fragment,verbatim]
1997 \set TabStaff.tablatureFormat = #fret-number-tablature-format-banjo
1998 \set TabStaff.stringTunings = #banjo-open-g-tuning
2001 g8 d' g'\5 a b g e d' |
2002 g4 d''8\5 b' a'\2 g'\5 e'\2 d' |
2008 A number of common tunings for banjo are predefined in LilyPond:
2009 @code{banjo-c-tuning} (gCGBD), @code{banjo-modal-tuning} (gDGCD),
2010 @code{banjo-open-d-tuning} (aDF#AD) and @code{banjo-open-dm-tuning}
2013 These tunings may be converted to four string banjo tunings using the
2014 @code{four-string-banjo} function:
2017 \set TabStaff.stringTunings = #(four-string-banjo banjo-c-tuning)
2022 The file @file{scm/@/output@/-lib@/.scm} contains predefined banjo tunings.
2026 @subsection Fret diagrams
2027 @cindex fret diagrams
2028 @cindex chord diagrams
2030 Fret diagrams can be added to music as a markup to the desired note. The
2031 markup contains information about the desired fret diagram, as shown in the
2034 @lilypond[verbatim, ragged-right, quote]
2036 d'^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
2038 fis'^\markup \override #'(size . 0.75) {
2039 \override #'(finger-code . below-string) {
2040 \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
2041 (place-fret 5 4 3) (place-fret 4 4 4)
2042 (place-fret 3 3 2) (place-fret 2 2 1)
2047 c'^\markup \override #'(dot-radius . 0.35) {
2048 \override #'(finger-code . in-dot) {
2049 \override #'(dot-color . white) {
2050 \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
2059 There are three different fret-diagram markup interfaces: standard, terse,
2060 and verbose. The three interfaces produce equivalent markups, but have
2061 varying amounts of information in the markup string. Details about the
2062 markup interfaces are found at @ref{Overview of text markup commands}.
2064 You can set a number of graphical properties according to your preference.
2065 Details about the property interface to fret diagrams are found at
2066 @internalsref{fret-diagram-interface}.
2071 Examples: @inputfileref{input/@/test,fret@/-diagram@/.ly}
2074 @node Other guitar issues
2075 @subsection Other guitar issues
2077 This example demonstrates how to include guitar position and
2078 barring indications.
2080 @lilypond[quote,ragged-right,fragment,verbatim,relative=0]
2084 \override TextSpanner #'edge-text = #'("XII " . "")
2086 b16 e16 g16 e16 b16 g16\stopTextSpan
2091 Stopped (X) note heads are used in guitar music to signal a place where the
2092 guitarist must play a certain note or chord, with its fingers just
2093 touching the strings instead of fully pressing them. This gives the sound a
2094 percussive noise-like sound that still maintains part of the original
2095 pitch. It is notated with cross noteheads; this is
2096 demonstrated in @ref{Special noteheads}.
2105 * Bagpipe definitions::
2110 @node Bagpipe definitions
2111 @subsection Bagpipe definitions
2113 LilyPond contains special definitions for music for the Scottish
2114 highland bagpipe; to use them, add
2117 \include "bagpipe.ly"
2121 at the top of your input file. This lets you add the special gracenotes
2122 common to bagpipe music with short commands. For example, you could
2123 write @code{\taor} instead of
2126 \grace @{ \small G32[ d G e] @}
2129 @code{bagpipe.ly} also contains pitch definitions for the bagpipe
2130 notes in the appropiate octaves, so you do not need to worry about
2131 @code{\relative} or @code{\transpose}.
2133 @lilypond[ragged-right,verbatim,quote,notime]
2134 \include "bagpipe.ly"
2135 { \grg G4 \grg a \grg b \grg c \grg d \grg e \grg f \grA g A }
2138 Bagpipe music nominally uses the key of D Major (even though that
2139 isn't really true). However, since that is the only key that can be used,
2140 the key signature is normally not written out. To set this up correctly,
2141 always start your music with @code{\hideKeySignature}. If you for some
2142 reason want to show the key signature, you can use @code{\showKeySignature}
2145 Some modern music use cross fingering on c and f to flatten those notes.
2146 This can be indicated by @code{cflat} or @code{fflat}. Similarly, the
2147 piobaireachd high g can be written @code{gflat} when it occurs in light
2151 @node Bagpipe example
2152 @subsection Bagpipe example
2154 This is what the well known tune Amazing Grace looks like in bagpipe
2157 @lilypond[verbatim,quote]
2158 \include "bagpipe.ly"
2161 \context { \Score \remove "Bar_number_engraver" }
2165 title = "Amazing Grace"
2167 arranger = "Trad. arr."
2173 \grg \partial 4 a8. d16
2174 \slurd d2 \grg f8[ e32 d16.]
2177 \grG a2 \grg a8. d16
2178 \slurd d2 \grg f8[ e32 d16.]
2179 \grg f2 \grg e8. f16
2182 \grg A2 \hdblf f8[ e32 d16.]
2185 \grG a2 \grg a8. d16
2186 \slurd d2 \grg f8[ e32 d16.]
2195 @node Ancient notation
2196 @section Ancient notation
2198 @cindex Vaticana, Editio
2199 @cindex Medicaea, Editio
2204 Support for ancient notation includes features for mensural notation
2205 and Gregorian Chant notation. There is also limited support for
2206 figured bass notation.
2208 Many graphical objects provide a @code{style} property, see
2211 @ref{Ancient note heads},
2213 @ref{Ancient accidentals},
2215 @ref{Ancient rests},
2217 @ref{Ancient clefs},
2219 @ref{Ancient flags},
2221 @ref{Ancient time signatures}.
2224 By manipulating such a grob property, the typographical appearance of
2225 the affected graphical objects can be accommodated for a specific
2226 notation flavor without the need for introducing any new notational
2229 In addition to the standard articulation signs described in section
2230 @ref{Articulations}, specific articulation signs for ancient notation
2235 @ref{Ancient articulations}
2238 Other aspects of ancient notation can not that easily be expressed
2239 in terms of just changing a style property of a graphical object or
2240 adding articulation signs. Some notational concepts are introduced
2241 specifically for ancient notation,
2252 If this all is too much of documentation for you, and you just want to
2253 dive into typesetting without worrying too much about the details on
2254 how to customize a context, you may have a look at the predefined
2255 contexts. Use them to set up predefined style-specific voice and
2256 staff contexts, and directly go ahead with the note entry,
2260 @ref{Gregorian Chant contexts},
2262 @ref{Mensural contexts}.
2265 There is limited support for figured bass notation which came
2266 up during the baroque period.
2273 Here are all suptopics at a glance:
2276 * Ancient note heads::
2277 * Ancient accidentals::
2281 * Ancient time signatures::
2282 * Ancient articulations::
2286 * Gregorian Chant contexts::
2287 * Mensural contexts::
2288 * Musica ficta accidentals::
2294 @node Ancient note heads
2295 @subsection Ancient note heads
2300 For ancient notation, a note head style other than the @code{default}
2301 style may be chosen. This is accomplished by setting the @code{style}
2302 property of the @internalsref{NoteHead} object to @code{baroque},
2303 @code{neomensural}, @code{mensural} or @code{petrucci}. The
2304 @code{baroque} style differs from the @code{default} style only in
2305 using a square shape for @code{\breve} note heads. The
2306 @code{neomensural} style differs from the @code{baroque} style in that
2307 it uses rhomboidal heads for whole notes and all smaller durations.
2308 Stems are centered on the note heads. This style is particularly
2309 useful when transcribing mensural music, e.g., for the incipit. The
2310 @code{mensural} style produces note heads that mimic the look of note
2311 heads in historic printings of the 16th century. Finally, the
2312 @code{petrucci} style also mimicks historic printings, but uses bigger
2315 The following example demonstrates the @code{neomensural} style
2317 @lilypond[quote,fragment,ragged-right,verbatim]
2318 \set Score.skipBars = ##t
2319 \override NoteHead #'style = #'neomensural
2320 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
2323 When typesetting a piece in Gregorian Chant notation, the
2324 @internalsref{Gregorian_ligature_engraver} will automatically select
2325 the proper note heads, so there is no need to explicitly set the
2326 note head style. Still, the note head style can be set, e.g., to
2327 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
2328 @internalsref{Mensural_ligature_engraver} is used to automatically
2329 assemble mensural ligatures. See @ref{Ligatures} for how ligature
2334 Examples: @inputfileref{input/@/regression,note@/-head@/-style@/.ly} gives an
2335 overview over all available note head styles.
2338 @node Ancient accidentals
2339 @subsection Ancient accidentals
2344 Use the @code{style} property of grob @internalsref{Accidental} to
2345 select ancient accidentals. Supported styles are
2346 @code{mensural}, @code{vaticana}, @code{hufnagel}, and @code{medicaea}.
2348 @lilypond[quote,ragged-right,staffsize=26]
2355 \line { " " \musicglyph #"accidentals.vaticana-1"
2356 " " \musicglyph #"accidentals.vaticana0" }
2360 \line { " " \musicglyph #"accidentals.medicaea-1" }
2364 \line { " " \musicglyph #"accidentals.hufnagel-1" }
2368 \line { " " \musicglyph #"accidentals.mensural-1"
2369 " " \musicglyph #"accidentals.mensural1" }
2375 \context { \Score \remove "Bar_number_engraver" }
2377 \remove "Clef_engraver"
2378 \remove "Key_engraver"
2379 \remove "Time_signature_engraver"
2380 \remove "Staff_symbol_engraver"
2381 \override VerticalAxisGroup #'minimum-Y-extent = ##f
2387 As shown, not all accidentals are supported by each style. When
2388 trying to access an unsupported accidental, LilyPond will switch to a
2389 different style, as demonstrated in
2390 @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2392 Similarly to local accidentals, the style of the key signature can be
2393 controlled by the @code{style} property of the
2394 @internalsref{KeySignature} grob.
2398 In this manual: @ref{Pitches}, @ref{Cautionary accidentals} and
2399 @ref{Automatic accidentals} give a general introduction of the use of
2400 accidentals. @ref{Key signature} gives a general introduction of
2401 the use of key signatures.
2403 Program reference: @internalsref{KeySignature}.
2405 Examples: @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2408 @subsection Ancient rests
2410 @cindex rests, ancient
2413 Use the @code{style} property of grob @internalsref{Rest} to select
2414 ancient rests. Supported styles are @code{classical},
2415 @code{neomensural}, and @code{mensural}. @code{classical} differs
2416 from the @code{default} style only in that the quarter rest looks like
2417 a horizontally mirrored 8th rest. The @code{neomensural} style suits
2418 well for, e.g., the incipit of a transcribed mensural piece of music.
2419 The @code{mensural} style finally mimics the appearance of rests as
2420 in historic prints of the 16th century.
2422 The following example demonstrates the @code{neomensural} style
2424 @lilypond[quote,fragment,ragged-right,verbatim]
2425 \set Score.skipBars = ##t
2426 \override Rest #'style = #'neomensural
2427 r\longa r\breve r1 r2 r4 r8 r16
2430 There are no 32th and 64th rests specifically for the mensural or
2431 neo-mensural style. Instead, the rests from the default style will be
2432 taken. See @inputfileref{input/@/test,rests@/.ly} for a chart of all
2435 There are no rests in Gregorian Chant notation; instead, it uses
2440 In this manual: @ref{Rests} gives a general introduction into the use of
2445 @subsection Ancient clefs
2450 LilyPond supports a variety of clefs, many of them ancient.
2452 The following table shows all ancient clefs that are supported via the
2453 @code{\clef} command. Some of the clefs use the same glyph, but
2454 differ only with respect to the line they are printed on. In such
2455 cases, a trailing number in the name is used to enumerate these clefs.
2456 Still, you can manually force a clef glyph to be typeset on an
2457 arbitrary line, as described in @ref{Clef}. The note printed to the
2458 right side of each clef in the example column denotes the @code{c'}
2459 with respect to that clef.
2461 @multitable @columnfractions .4 .4 .2
2470 modern style mensural C clef
2472 @code{neomensural-c1}, @code{neomensural-c2},@*
2473 @code{neomensural-c3}, @code{neomensural-c4}
2475 @lilypond[fragment,relative=1,notime]
2476 \clef "neomensural-c2" c
2480 petrucci style mensural C clefs, for use on different staff lines
2481 (the examples show the 2nd staff line C clef)
2483 @code{petrucci-c1}, @code{petrucci-c2},@*
2484 @code{petrucci-c3}, @code{petrucci-c4},@*
2487 @lilypond[fragment,relative=1,notime]
2489 \override NoteHead #'style = #'mensural
2494 petrucci style mensural F clef
2498 @lilypond[fragment,relative=1,notime]
2500 \override NoteHead #'style = #'mensural
2505 petrucci style mensural G clef
2509 @lilypond[fragment,relative=1,notime]
2511 \override NoteHead #'style = #'mensural
2516 historic style mensural C clef
2518 @code{mensural-c1}, @code{mensural-c2},@*
2519 @code{mensural-c3}, @code{mensural-c4}
2521 @lilypond[fragment,relative=1,notime]
2523 \override NoteHead #'style = #'mensural
2528 historic style mensural F clef
2532 @lilypond[fragment,relative=1,notime]
2534 \override NoteHead #'style = #'mensural
2539 historic style mensural G clef
2543 @lilypond[fragment,relative=1,notime]
2545 \override NoteHead #'style = #'mensural
2550 Editio Vaticana style do clef
2552 @code{vaticana-do1}, @code{vaticana-do2},@*
2555 @lilypond[fragment,relative=1,notime]
2556 \override Staff.StaffSymbol #'line-count = #4
2557 \override Staff.StaffSymbol #'color = #red
2558 \override Staff.LedgerLineSpanner #'color = #red
2559 \override Voice.Stem #'transparent = ##t
2560 \override NoteHead #'style = #'vaticana.punctum
2561 \clef "vaticana-do2"
2566 Editio Vaticana style fa clef
2568 @code{vaticana-fa1}, @code{vaticana-fa2}
2570 @lilypond[fragment,relative=1,notime]
2571 \override Staff.StaffSymbol #'line-count = #4
2572 \override Staff.StaffSymbol #'color = #red
2573 \override Staff.LedgerLineSpanner #'color = #red
2574 \override Voice.Stem #'transparent = ##t
2575 \override NoteHead #'style = #'vaticana.punctum
2576 \clef "vaticana-fa2"
2581 Editio Medicaea style do clef
2583 @code{medicaea-do1}, @code{medicaea-do2},@*
2586 @lilypond[fragment,relative=1,notime]
2587 \override Staff.StaffSymbol #'line-count = #4
2588 \override Staff.StaffSymbol #'color = #red
2589 \override Staff.LedgerLineSpanner #'color = #red
2590 \override Voice.Stem #'transparent = ##t
2591 \override NoteHead #'style = #'medicaea.punctum
2592 \clef "medicaea-do2"
2597 Editio Medicaea style fa clef
2599 @code{medicaea-fa1}, @code{medicaea-fa2}
2601 @lilypond[fragment,relative=1,notime]
2602 \override Staff.StaffSymbol #'line-count = #4
2603 \override Staff.StaffSymbol #'color = #red
2604 \override Staff.LedgerLineSpanner #'color = #red
2605 \override Voice.Stem #'transparent = ##t
2606 \override NoteHead #'style = #'medicaea.punctum
2607 \clef "medicaea-fa2"
2612 historic style hufnagel do clef
2614 @code{hufnagel-do1}, @code{hufnagel-do2},@*
2617 @lilypond[fragment,relative=1,notime]
2618 \override Staff.StaffSymbol #'line-count = #4
2619 \override Staff.StaffSymbol #'color = #red
2620 \override Staff.LedgerLineSpanner #'color = #red
2621 \override Voice.Stem #'transparent = ##t
2622 \override NoteHead #'style = #'hufnagel.punctum
2623 \clef "hufnagel-do2"
2628 historic style hufnagel fa clef
2630 @code{hufnagel-fa1}, @code{hufnagel-fa2}
2632 @lilypond[fragment,relative=1,notime]
2633 \override Staff.StaffSymbol #'line-count = #4
2634 \override Staff.StaffSymbol #'color = #red
2635 \override Staff.LedgerLineSpanner #'color = #red
2636 \override Voice.Stem #'transparent = ##t
2637 \override NoteHead #'style = #'hufnagel.punctum
2638 \clef "hufnagel-fa2"
2643 historic style hufnagel combined do/fa clef
2645 @code{hufnagel-do-fa}
2647 @lilypond[fragment,relative=1,notime]
2648 \override Staff.StaffSymbol #'color = #red
2649 \override Staff.LedgerLineSpanner #'color = #red
2650 \override Voice.Stem #'transparent = ##t
2651 \override NoteHead #'style = #'hufnagel.punctum
2652 \clef "hufnagel-do-fa"
2659 @emph{Modern style} means ``as is typeset in contemporary editions of
2660 transcribed mensural music''.
2662 @emph{Petrucci style} means ``inspired by printings published by the
2663 famous engraver Petrucci (1466-1539)''.
2665 @emph{Historic style} means ``as was typeset or written in historic
2666 editions (other than those of Petrucci)''.
2668 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
2670 Petrucci used C clefs with differently balanced left-side vertical
2671 beams, depending on which staff line it is printed.
2675 In this manual: see @ref{Clef}.
2679 The mensural g clef is mapped to the Petrucci g clef.
2684 @subsection Ancient flags
2689 Use the @code{flag-style} property of grob @internalsref{Stem} to
2690 select ancient flags. Besides the @code{default} flag style,
2691 only the @code{mensural} style is supported
2693 @lilypond[quote,fragment,ragged-right,verbatim]
2694 \override Stem #'flag-style = #'mensural
2695 \override Stem #'thickness = #1.0
2696 \override NoteHead #'style = #'mensural
2698 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
2699 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
2702 Note that the innermost flare of each mensural flag always is
2703 vertically aligned with a staff line.
2705 There is no particular flag style for neo-mensural notation. Hence,
2706 when typesetting the incipit of a transcribed piece of mensural
2707 music, the default flag style should be used. There are no flags in
2708 Gregorian Chant notation.
2712 The attachment of ancient flags to stems is slightly off due to a
2713 change in early 2.3.x.
2715 Vertically aligning each flag with a staff line assumes that stems
2716 always end either exactly on or exactly in the middle between two
2717 staff lines. This may not always be true when using advanced layout
2718 features of classical notation (which however are typically out of
2719 scope for mensural notation).
2721 @node Ancient time signatures
2722 @subsection Ancient time signatures
2724 @cindex time signatures
2727 There is limited support for mensural time signatures. The
2728 glyphs are hard-wired to particular time fractions. In other words,
2729 to get a particular mensural signature glyph with the @code{\time n/m}
2730 command, @code{n} and @code{m} have to be chosen according to the
2733 @lilypond[quote,ragged-right]
2738 \remove Staff_symbol_engraver
2739 \remove Clef_engraver
2740 \remove Time_signature_engraver
2744 \set Score.timing = ##f
2745 \set Score.barAlways = ##t
2746 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph
2747 #"timesig.neomensural44" }
2749 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph
2750 #"timesig.neomensural22" }
2752 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph
2753 #"timesig.neomensural64" }
2755 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph
2756 #"timesig.neomensural68" }
2758 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph
2759 #"timesig.neomensural32" }
2761 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph
2762 #"timesig.neomensural34" }
2764 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph
2765 #"timesig.neomensural94" }
2767 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph
2768 #"timesig.neomensural98" }
2770 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph
2771 #"timesig.neomensural48" }
2773 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph
2774 #"timesig.neomensural24" }
2778 Use the @code{style} property of grob @internalsref{TimeSignature} to
2779 select ancient time signatures. Supported styles are
2780 @code{neomensural} and @code{mensural}. The above table uses the
2781 @code{neomensural} style. This style is appropriate for the
2782 incipit of transcriptions of mensural pieces. The @code{mensural}
2783 style mimics the look of historical printings of the 16th century.
2785 The following examples show the differences in style,
2787 @lilypond[ragged-right,fragment,relative=1,quote]
2792 c1^\markup { \hspace #-2.0 \typewriter default }
2794 \override Staff.TimeSignature #'style = #'numbered
2796 c1^\markup { \hspace #-2.0 \typewriter numbered }
2798 \override Staff.TimeSignature #'style = #'mensural
2800 c1^\markup { \hspace #-2.0 \typewriter mensural }
2802 \override Staff.TimeSignature #'style = #'neomensural
2804 c1^\markup { \hspace #-2.0 \typewriter neomensural }
2805 \override Staff.TimeSignature #'style = #'single-digit
2807 c1^\markup { \hspace #-2.0 \typewriter single-digit }
2813 This manual: @ref{Time signature} gives a general introduction to
2814 the use of time signatures.
2818 Ratios of note durations do not change with the time signature. For
2819 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
2820 be made by hand, by setting
2823 breveTP = #(ly:make-duration -1 0 3 2)
2829 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
2831 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
2832 addressable with @code{\time}. Use a @code{\markup} instead
2834 @node Ancient articulations
2835 @subsection Ancient articulations
2837 @cindex articulations
2839 In addition to the standard articulation signs described in section
2840 @ref{Articulations}, articulation signs for ancient notation are
2841 provided. These are specifically designed for use with notation in
2842 Editio Vaticana style.
2844 @lilypond[quote,ragged-right,verbatim]
2845 \include "gregorian-init.ly"
2847 \new VaticanaVoice {
2848 \override Staff.StaffSymbol #'color = #red
2849 \override Staff.LedgerLineSpanner #'color = #red
2850 \override TextScript #'font-family = #'typewriter
2851 \override TextScript #'font-shape = #'upright
2852 \override Script #'padding = #-0.1
2854 a4\circulus_"circulus" s1
2855 a4\semicirculus_"semicirculus" s1 s
2856 a4\accentus_"accentus" s1
2857 \[ a4_"episem" \episemInitium \pes b \flexa a \episemFinis \]
2864 Some articulations are vertically placed too closely to the
2865 correpsonding note heads.
2868 @subsection Custodes
2873 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
2874 symbol that appears at the end of a staff. It anticipates the pitch
2875 of the first note(s) of the following line thus helping the performer
2876 to manage line breaks during performance.
2878 Custodes were frequently used in music notation until the 17th
2879 century. Nowadays, they have survived only in a few particular forms
2880 of musical notation such as contemporary editions of Gregorian chant
2881 like the @emph{editio vaticana}. There are different custos glyphs
2882 used in different flavors of notational style.
2884 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
2885 @internalsref{Staff} context when declaring the @code{\layout} block,
2886 as shown in the following example
2892 \consists Custos_engraver
2893 Custos \override #'style = #'mensural
2898 The result looks like this
2900 @lilypond[quote,ragged-right]
2904 \override Staff.Custos #'style = #'mensural
2909 \context { \Staff \consists Custos_engraver }
2914 The custos glyph is selected by the @code{style} property. The styles
2915 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
2916 @code{mensural}. They are demonstrated in the following fragment
2918 @lilypond[quote,ragged-right,fragment]
2919 \new Lyrics \lyricmode {
2921 \typewriter "vaticana"
2922 \line { " " \musicglyph #"custodes.vaticana.u0" }
2925 \typewriter "medicaea"
2926 \line { " " \musicglyph #"custodes.medicaea.u0" }
2929 \typewriter "hufnagel"
2930 \line { " " \musicglyph #"custodes.hufnagel.u0" }
2933 \typewriter "mensural"
2934 \line { " " \musicglyph #"custodes.mensural.u0" }
2941 Program reference: @internalsref{Custos}.
2943 Examples: @inputfileref{input/@/regression,custos@/.ly}.
2947 @subsection Divisiones
2953 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
2954 `division') is a staff context symbol that is used to structure
2955 Gregorian music into phrases and sections. The musical meaning of
2956 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
2957 can be characterized as short, medium, and long pause, somewhat like
2958 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
2959 only marks the end of a chant, but is also frequently used within a
2960 single antiphonal/responsorial chant to mark the end of each section.
2963 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
2964 contains definitions that you can apply by just inserting
2965 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
2966 and @code{\finalis} at proper places in the input. Some editions use
2967 @emph{virgula} or @emph{caesura} instead of divisio minima.
2968 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
2971 @lilypondfile[quote,ragged-right]{divisiones.ly}
2979 @funindex \divisioMinima
2980 @code{\divisioMinima},
2981 @funindex \divisioMaior
2982 @code{\divisioMaior},
2983 @funindex \divisioMaxima
2984 @code{\divisioMaxima},
2990 In this manual: @ref{Breath marks}.
2992 Program reference: @internalsref{BreathingSign}.
2994 Examples: @inputfileref{input/@/test,divisiones@/.ly}.
2997 @subsection Ligatures
3001 @c TODO: Should double check if I recalled things correctly when I wrote
3002 @c down the following paragraph by heart.
3004 A ligature is a graphical symbol that represents at least two distinct
3005 notes. Ligatures originally appeared in the manuscripts of Gregorian
3006 chant notation to denote ascending or descending sequences of notes.
3008 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
3009 Some ligature styles may need additional input syntax specific for
3010 this particular type of ligature. By default, the
3011 @internalsref{LigatureBracket} engraver just puts a square bracket
3014 @lilypond[quote,ragged-right,verbatim]
3022 To select a specific style of ligatures, a proper ligature engraver
3023 has to be added to the @internalsref{Voice} context, as explained in
3024 the following subsections. Only white mensural ligatures
3025 are supported with certain limitations.
3031 Ligatures need special spacing that has not yet been implemented. As
3032 a result, there is too much space between ligatures most of the time,
3033 and line breaking often is unsatisfactory. Also, lyrics do not
3034 correctly align with ligatures.
3036 Accidentals must not be printed within a ligature, but instead need to
3037 be collected and printed in front of it.
3039 Augmentum dots within ligatures are not handled correctly.
3041 The syntax still uses the deprecated infix style @code{\[ music expr
3042 \]}. For consistency reasons, it will eventually be changed to
3043 postfix style @code{note\[ ... note\]}. Alternatively, the file
3044 @file{gregorian@/-init@/.ly} can be included; it provides a scheme
3047 \ligature @var{music expr}
3049 with the same effect and is believed to be stable.
3052 * White mensural ligatures::
3053 * Gregorian square neumes ligatures::
3056 @node White mensural ligatures
3057 @subsubsection White mensural ligatures
3059 @cindex Mensural ligatures
3060 @cindex White mensural ligatures
3062 There is limited support for white mensural ligatures.
3064 To engrave white mensural ligatures, in the layout block put the
3065 @internalsref{Mensural_ligature_engraver} into the
3066 @internalsref{Voice} context, and remove the
3067 @internalsref{Ligature_bracket_engraver}, like this
3073 \remove Ligature_bracket_engraver
3074 \consists Mensural_ligature_engraver
3079 There is no additional input language to describe the shape of a
3080 white mensural ligature. The shape is rather determined solely from
3081 the pitch and duration of the enclosed notes. While this approach may
3082 take a new user a while to get accustomed to, it has the great advantage
3083 that the full musical information of the ligature is known internally.
3084 This is not only required for correct MIDI output, but also allows for
3085 automatic transcription of the ligatures.
3090 \set Score.timing = ##f
3091 \set Score.defaultBarType = "empty"
3092 \override NoteHead #'style = #'neomensural
3093 \override Staff.TimeSignature #'style = #'neomensural
3097 \[ d\longa c\breve f e d \]
3099 \[ c'\maxima d'\longa \]
3103 @lilypond[quote,ragged-right]
3106 \set Score.timing = ##f
3107 \set Score.defaultBarType = "empty"
3108 \override NoteHead #'style = #'neomensural
3109 \override Staff.TimeSignature #'style = #'neomensural
3113 \[ d\longa c\breve f e d \]
3115 \[ c'\maxima d'\longa \]
3122 \remove Ligature_bracket_engraver
3123 \consists Mensural_ligature_engraver
3129 Without replacing @internalsref{Ligature_bracket_engraver} with
3130 @internalsref{Mensural_ligature_engraver}, the same music transcribes
3133 @lilypond[quote,ragged-right]
3135 \set Score.timing = ##f
3136 \set Score.defaultBarType = "empty"
3137 \override NoteHead #'style = #'neomensural
3138 \override Staff.TimeSignature #'style = #'neomensural
3142 \[ d\longa c\breve f e d \]
3144 \[ c'\maxima d'\longa \]
3152 The invisible rests (@code{s4}) in the example are used to compensate
3153 for the poor horizontal spacing.
3155 @node Gregorian square neumes ligatures
3156 @subsubsection Gregorian square neumes ligatures
3158 @cindex Square neumes ligatures
3159 @cindex Gregorian square neumes ligatures
3161 There is limited support for Gregorian square neumes notation
3162 (following the style of the Editio Vaticana). Core ligatures can
3163 already be typeset, but essential issues for serious typesetting are
3164 still lacking, such as (among others) horizontal alignment of multiple
3165 ligatures, lyrics alignment and proper handling of accidentals.
3168 The following table contains the extended neumes table of the 2nd
3169 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
3170 1983 by the monks of Solesmes.
3172 @multitable @columnfractions .4 .2 .2 .2
3189 @c TODO: \layout block is identical in all of the below examples.
3190 @c Therefore, it should somehow be included rather than duplicated all
3193 @c why not make identifiers in ly/engraver-init.ly? --hwn
3195 @c Because it's just used to typeset plain notes without
3196 @c a staff for demonstration purposes rather than something
3197 @c special of Gregorian chant notation. --jr
3202 @lilypond[staffsize=26,line-width=1.5\cm]
3203 \include "gregorian-init.ly"
3208 \noBreak s^\markup {"a"} \noBreak
3210 % Punctum Inclinatum
3212 \noBreak s^\markup {"b"}
3214 \layout { \neumeDemoLayout }}
3217 @lilypond[staffsize=26,line-width=2.5\cm]
3218 \include "gregorian-init.ly"
3221 % Punctum Auctum Ascendens
3222 \[ \auctum \ascendens b \]
3223 \noBreak s^\markup {"c"} \noBreak
3225 % Punctum Auctum Descendens
3226 \[ \auctum \descendens b \]
3227 \noBreak s^\markup {"d"} \noBreak
3229 % Punctum Inclinatum Auctum
3230 \[ \inclinatum \auctum b \]
3231 \noBreak s^\markup {"e"}
3233 \layout { \neumeDemoLayout }}
3236 @lilypond[staffsize=26,line-width=1.0\cm]
3237 \include "gregorian-init.ly"
3240 % Punctum Inclinatum Parvum
3241 \[ \inclinatum \deminutum b \]
3242 \noBreak s^\markup {"f"}
3244 \layout { \neumeDemoLayout }}
3250 @lilypond[staffsize=26,line-width=1.0\cm]
3251 \include "gregorian-init.ly"
3256 \noBreak s^\markup {"g"}
3258 \layout { \neumeDemoLayout }}
3264 @code{3. Apostropha vel Stropha}
3266 @lilypond[staffsize=26,line-width=1.0\cm]
3267 \include "gregorian-init.ly"
3272 \noBreak s^\markup {"h"}
3274 \layout { \neumeDemoLayout }}
3277 @lilypond[staffsize=26,line-width=1.0\cm]
3278 \include "gregorian-init.ly"
3282 \[ \stropha \auctum b \]
3283 \noBreak s^\markup {"i"}
3285 \layout { \neumeDemoLayout }}
3292 @lilypond[staffsize=26,line-width=1.0\cm]
3293 \include "gregorian-init.ly"
3298 \noBreak s^\markup {"j"}
3300 \layout { \neumeDemoLayout }}
3306 @code{5. Clivis vel Flexa}
3308 @lilypond[staffsize=26,line-width=1.0\cm]
3309 \include "gregorian-init.ly"
3316 \layout { \neumeDemoLayout }}
3319 @lilypond[staffsize=26,line-width=2.0\cm]
3320 \include "gregorian-init.ly"
3323 % Clivis Aucta Descendens
3324 \[ b \flexa \auctum \descendens g \]
3325 \noBreak s^\markup {"l"} \noBreak
3327 % Clivis Aucta Ascendens
3328 \[ b \flexa \auctum \ascendens g \]
3329 \noBreak s^\markup {"m"}
3331 \layout { \neumeDemoLayout }}
3334 @lilypond[staffsize=26,line-width=1.0\cm]
3335 \include "gregorian-init.ly"
3339 \[ b \flexa \deminutum g \]
3342 \layout { \neumeDemoLayout }}
3346 @code{6. Podatus vel Pes}
3348 @lilypond[staffsize=26,line-width=1.0\cm]
3349 \include "gregorian-init.ly"
3356 \layout { \neumeDemoLayout }}
3359 @lilypond[staffsize=26,line-width=2.0\cm]
3360 \include "gregorian-init.ly"
3363 % Pes Auctus Descendens
3364 \[ g \pes \auctum \descendens b \]
3365 \noBreak s^\markup {"p"} \noBreak
3367 % Pes Auctus Ascendens
3368 \[ g \pes \auctum \ascendens b \]
3369 \noBreak s^\markup {"q"}
3371 \layout { \neumeDemoLayout }}
3374 @lilypond[staffsize=26,line-width=1.0\cm]
3375 \include "gregorian-init.ly"
3379 \[ g \pes \deminutum b \]
3382 \layout { \neumeDemoLayout }}
3386 @code{7. Pes Quassus}
3388 @lilypond[staffsize=26,line-width=1.0\cm]
3389 \include "gregorian-init.ly"
3393 \[ \oriscus g \pes \virga b \]
3396 \layout { \neumeDemoLayout }}
3399 @lilypond[staffsize=26,line-width=1.0\cm]
3400 \include "gregorian-init.ly"
3403 % Pes Quassus Auctus Descendens
3404 \[ \oriscus g \pes \auctum \descendens b \]
3407 \layout { \neumeDemoLayout }}
3412 @code{8. Quilisma Pes}
3414 @lilypond[staffsize=26,line-width=1.0\cm]
3415 \include "gregorian-init.ly"
3419 \[ \quilisma g \pes b \]
3422 \layout { \neumeDemoLayout }}
3425 @lilypond[staffsize=26,line-width=1.0\cm]
3426 \include "gregorian-init.ly"
3429 % Quilisma Pes Auctus Descendens
3430 \[ \quilisma g \pes \auctum \descendens b \]
3433 \layout { \neumeDemoLayout }}
3438 @code{9. Podatus Initio Debilis}
3440 @lilypond[staffsize=26,line-width=1.0\cm]
3441 \include "gregorian-init.ly"
3444 % Pes Initio Debilis
3445 \[ \deminutum g \pes b \]
3448 \layout { \neumeDemoLayout }}
3451 @lilypond[staffsize=26,line-width=1.0\cm]
3452 \include "gregorian-init.ly"
3455 % Pes Auctus Descendens Initio Debilis
3456 \[ \deminutum g \pes \auctum \descendens b \]
3459 \layout { \neumeDemoLayout }}
3466 @lilypond[staffsize=26,line-width=1.0\cm]
3467 \include "gregorian-init.ly"
3471 \[ a \pes b \flexa g \]
3474 \layout { \neumeDemoLayout }}
3477 @lilypond[staffsize=26,line-width=1.0\cm]
3478 \include "gregorian-init.ly"
3481 % Torculus Auctus Descendens
3482 \[ a \pes b \flexa \auctum \descendens g \]
3485 \layout { \neumeDemoLayout }}
3488 @lilypond[staffsize=26,line-width=1.0\cm]
3489 \include "gregorian-init.ly"
3492 % Torculus Deminutus
3493 \[ a \pes b \flexa \deminutum g \]
3496 \layout { \neumeDemoLayout }}
3500 @code{11. Torculus Initio Debilis}
3502 @lilypond[staffsize=26,line-width=1.0\cm]
3503 \include "gregorian-init.ly"
3506 % Torculus Initio Debilis
3507 \[ \deminutum a \pes b \flexa g \]
3510 \layout { \neumeDemoLayout }}
3513 @lilypond[staffsize=26,line-width=1.0\cm]
3514 \include "gregorian-init.ly"
3517 % Torculus Auctus Descendens Initio Debilis
3518 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
3521 \layout { \neumeDemoLayout }}
3524 @lilypond[staffsize=26,line-width=1.0\cm]
3525 \include "gregorian-init.ly"
3528 % Torculus Deminutus Initio Debilis
3529 \[ \deminutum a \pes b \flexa \deminutum g \]
3532 \layout { \neumeDemoLayout }}
3536 @code{12. Porrectus}
3538 @lilypond[staffsize=26,line-width=1.0\cm]
3539 \include "gregorian-init.ly"
3543 \[ a \flexa g \pes b \]
3546 \layout { \neumeDemoLayout }}
3549 @lilypond[staffsize=26,line-width=1.0\cm]
3550 \include "gregorian-init.ly"
3553 % Porrectus Auctus Descendens
3554 \[ a \flexa g \pes \auctum \descendens b \]
3557 \layout { \neumeDemoLayout }}
3560 @lilypond[staffsize=26,line-width=1.0\cm]
3561 \include "gregorian-init.ly"
3564 % Porrectus Deminutus
3565 \[ a \flexa g \pes \deminutum b \]
3568 \layout { \neumeDemoLayout }}
3574 @lilypond[staffsize=26,line-width=1.0\cm]
3575 \include "gregorian-init.ly"
3579 \[ \virga b \inclinatum a \inclinatum g \]
3582 \layout { \neumeDemoLayout }
3586 @lilypond[staffsize=26,line-width=1.0\cm]
3587 \include "gregorian-init.ly"
3591 \[ \virga b \inclinatum a \inclinatum \auctum g \]
3594 \layout { \neumeDemoLayout }}
3597 @lilypond[staffsize=26,line-width=1.0\cm]
3598 \include "gregorian-init.ly"
3601 % Climacus Deminutus
3602 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
3605 \layout { \neumeDemoLayout }}
3609 @code{14. Scandicus}
3611 @lilypond[staffsize=26,line-width=1.0\cm]
3612 \include "gregorian-init.ly"
3616 \[ g \pes a \virga b \]
3619 \layout { \neumeDemoLayout }}
3622 @lilypond[staffsize=26,line-width=1.0\cm]
3623 \include "gregorian-init.ly"
3626 % Scandicus Auctus Descendens
3627 \[ g \pes a \pes \auctum \descendens b \]
3630 \layout { \neumeDemoLayout }}
3633 @lilypond[staffsize=26,line-width=1.0\cm]
3634 \include "gregorian-init.ly"
3637 % Scandicus Deminutus
3638 \[ g \pes a \pes \deminutum b \]
3641 \layout { \neumeDemoLayout }}
3647 @lilypond[staffsize=26,line-width=1.0\cm]
3648 \include "gregorian-init.ly"
3652 \[ g \oriscus a \pes \virga b \]
3655 \layout { \neumeDemoLayout }}
3658 @lilypond[staffsize=26,line-width=1.0\cm]
3659 \include "gregorian-init.ly"
3662 % Salicus Auctus Descendens
3663 \[ g \oriscus a \pes \auctum \descendens b \]
3666 \layout { \neumeDemoLayout }}
3673 @lilypond[staffsize=26,line-width=1.0\cm]
3674 \include "gregorian-init.ly"
3678 \[ \stropha b \stropha b \stropha a \]
3681 \layout { \neumeDemoLayout }
3690 Unlike most other neumes notation systems, the input language for
3691 neumes does not reflect the typographical appearance, but is designed
3692 to focus on musical meaning. For example, @code{\[ a \pes b
3693 \flexa g \]} produces a Torculus consisting of three Punctum heads,
3694 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
3695 curved flexa shape and only a single Punctum head. There is no
3696 command to explicitly typeset the curved flexa shape; the decision of
3697 when to typeset a curved flexa shape is based on the musical
3698 input. The idea of this approach is to separate the musical aspects
3699 of the input from the notation style of the output. This way, the
3700 same input can be reused to typeset the same music in a different
3701 style of Gregorian chant notation.
3703 The following table shows the code fragments that produce the
3704 ligatures in the above neumes table. The letter in the first column
3705 in each line of the below table indicates to which ligature in the
3706 above table it refers. The second column gives the name of the
3707 ligature. The third column shows the code fragment that produces this
3708 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
3710 @multitable @columnfractions .02 .31 .67
3730 @code{\[ \inclinatum b \]}
3738 @code{\[ \auctum \ascendens b \]}
3746 @code{\[ \auctum \descendens b \]}
3751 Punctum Inclinatum@*
3754 @code{\[ \inclinatum \auctum b \]}
3759 Punctum Inclinatum@*
3761 @code{\[ \inclinatum \deminutum b \]}
3768 @code{\[ \virga b \]}
3775 @code{\[ \stropha b \]}
3782 @code{\[ \stropha \auctum b \]}
3789 @code{\[ \oriscus b \]}
3796 @code{\[ b \flexa g \]}
3804 @code{\[ b \flexa \auctum \descendens g \]}
3812 @code{\[ b \flexa \auctum \ascendens g \]}
3819 @code{\[ b \flexa \deminutum g \]}
3826 @code{\[ g \pes b \]}
3834 @code{\[ g \pes \auctum \descendens b \]}
3842 @code{\[ g \pes \auctum \ascendens b \]}
3849 @code{\[ g \pes \deminutum b \]}
3856 @code{\[ \oriscus g \pes \virga b \]}
3862 Auctus Descendens @tab
3863 @code{\[ \oriscus g \pes \auctum \descendens b \]}
3870 @code{\[ \quilisma g \pes b \]}
3878 @code{\[ \quilisma g \pes \auctum \descendens b \]}
3885 @code{\[ \deminutum g \pes b \]}
3890 Pes Auctus Descendens@*
3893 @code{\[ \deminutum g \pes \auctum \descendens b \]}
3900 @code{\[ a \pes b \flexa g \]}
3908 @code{\[ a \pes b \flexa \auctum \descendens g \]}
3915 @code{\[ a \pes b \flexa \deminutum g \]}
3920 Torculus Initio Debilis
3922 @code{\[ \deminutum a \pes b \flexa g \]}
3928 Descendens Initio Debilis
3930 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
3935 Torculus Deminutus@*
3938 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
3945 @code{\[ a \flexa g \pes b \]}
3953 @code{\[ a \flexa g \pes \auctum \descendens b \]}
3960 @code{\[ a \flexa g \pes \deminutum b \]}
3967 @code{\[ \virga b \inclinatum a \inclinatum g \]}
3974 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
3981 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
3988 @code{\[ g \pes a \virga b \]}
3996 @code{\[ g \pes a \pes \auctum \descendens b \]}
4003 @code{\[ g \pes a \pes \deminutum b \]}
4010 @code{\[ g \oriscus a \pes \virga b \]}
4015 Salicus Auctus Descendens
4017 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
4024 @code{\[ \stropha b \stropha b \stropha a \]}
4027 The ligatures listed above mainly serve as a limited, but still
4028 representative pool of Gregorian ligature examples. Virtually, within
4029 the ligature delimiters @code{\[} and @code{\]}, any number of heads
4030 may be accumulated to form a single ligature, and head prefixes like
4031 @code{\pes}, @code{\flexa}, @code{\virga}, @code{\inclinatum},
4032 etc. may be mixed in as desired. The use of the set of rules that
4033 underlies the construction of the ligatures in the above table is
4034 accordingly extrapolated. This way, infinitely many different
4035 ligatures can be created.
4037 @c TODO: create a regression or tips & tricks example document with
4038 @c even more Gregorian ligatures, and add a link to this document
4043 The following head prefixes are supported
4049 @funindex \inclinatum
4053 @funindex \descendens
4055 @funindex \ascendens
4061 @funindex \deminutum
4068 Head prefixes can be accumulated, though restrictions apply. For
4069 example, either @code{\descendens} or @code{\ascendens} can be applied
4070 to a head, but not both to the same head.
4074 Two adjacent heads can be tied together with the @code{\pes} and
4075 @code{\flexa} infix commands for a rising and falling line of melody,
4080 @node Gregorian Chant contexts
4081 @subsection Gregorian Chant contexts
4083 @cindex VaticanaVoiceContext
4084 @cindex VaticanaStaffContext
4086 The predefined @code{VaticanaVoiceContext} and
4087 @code{VaticanaStaffContext} can be used to engrave a piece of
4088 Gregorian Chant in the style of the Editio Vaticana. These contexts
4089 initialize all relevant context properties and grob properties to
4090 proper values, so you can immediately go ahead entering the chant, as
4091 the following excerpt demonstrates
4093 @lilypond[quote,ragged-right,packed,verbatim]
4094 \include "gregorian-init.ly"
4097 \new VaticanaVoice = "cantus" {
4098 \override Staff.StaffSymbol #'color = #red
4099 \override Staff.LedgerLineSpanner #'color = #red
4100 \override Score.BarNumber #'transparent = ##t {
4101 \[ c'\melisma c' \flexa a \]
4102 \[ a \flexa \deminutum g\melismaEnd \]
4104 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
4105 c' \divisioMinima \break
4106 \[ c'\melisma c' \flexa a \]
4107 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
4110 \new Lyrics \lyricsto "cantus" {
4111 San- ctus, San- ctus, San- ctus
4118 @node Mensural contexts
4119 @subsection Mensural contexts
4121 @cindex MensuralVoiceContext
4122 @cindex MensuralStaffContext
4124 The predefined @code{MensuralVoiceContext} and
4125 @code{MensuralStaffContext} can be used to engrave a piece in mensural
4126 style. These contexts initialize all relevant context properties and
4127 grob properties to proper values, so you can immediately go ahead
4128 entering the chant, as the following excerpt demonstrates
4130 @lilypond[quote,ragged-right,verbatim]
4133 \new MensuralVoice = "discantus" \transpose c c' {
4134 \override Score.BarNumber #'transparent = ##t {
4135 c'1\melisma bes a g\melismaEnd
4137 \[ f1\melisma a c'\breve d'\melismaEnd \]
4139 c'\breve\melisma a1 g1\melismaEnd
4140 fis\longa^\signumcongruentiae
4143 \new Lyrics \lyricsto "discantus" {
4144 San -- ctus, San -- ctus, San -- ctus
4150 @node Musica ficta accidentals
4151 @subsection Musica ficta accidentals
4153 In European music from before about 1600, singers were often expected
4154 to chromatically alter notes at their own initiative. This is called
4155 ``Musica Ficta''. In modern transcriptions, these accidentals are
4156 usually printed over the note.
4158 @cindex Accidental, musica ficta
4159 @cindex Musica ficta
4161 Support for such suggested accidentals is included, and can be
4162 switched on by setting @code{suggestAccidentals} to true.
4164 @funindex suggestAccidentals
4166 @lilypond[verbatim,fragment,relative=1]
4168 \set suggestAccidentals = ##t
4174 Program reference: @internalsref{Accidental_engraver} engraver and the
4175 @internalsref{AccidentalSuggestion} object.
4178 @subsection Figured bass
4180 @cindex Basso continuo
4182 @c TODO: musicological blurb about FB
4185 LilyPond has support for figured bass
4187 @lilypond[quote,ragged-right,verbatim,fragment]
4189 \new Voice { \clef bass dis4 c d ais g fis}
4190 \new FiguredBass \figuremode {
4191 < 6 >4 < 7\+ >8 < 6+ [_!] >
4198 The support for figured bass consists of two parts: there is an input
4199 mode, introduced by @code{\figuremode}, where you can enter bass figures
4200 as numbers, and there is a context called @internalsref{FiguredBass} that
4201 takes care of making @internalsref{BassFigure} objects.
4203 In figures input mode, a group of bass figures is delimited by
4204 @code{<} and @code{>}. The duration is entered after the @code{>}
4208 @lilypond[quote,ragged-right,fragment]
4210 \figuremode { <4 6> }
4213 Accidentals are added when you append @code{-}, @code{!}, and @code{+}
4214 to the numbers. A plus sign is added when you append @code{\+}, and
4215 diminished fifths and sevenths can be obtained with @code{5/} and @code{7/}.
4218 <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/>
4220 @lilypond[quote,ragged-right,fragment]
4221 \figures { <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/> }
4224 Spaces may be inserted by using @code{_}. Brackets are
4225 introduced with @code{[} and @code{]}. You can also include text
4226 strings and text markups, see @ref{Overview of text markup commands}.
4229 < [4 6] 8 [_! 12] > < 5 \markup @{ \number 6 \super (1) @} >
4231 @lilypond[quote,ragged-right,fragment]
4233 \figuremode { < [4 6] 8 [_! 12] > < 5 \markup{ \tiny \number 6 \super (1)} > }
4237 It is also possible to use continuation lines for repeated figures,
4239 @lilypond[verbatim,relative=1]
4246 \set useBassFigureExtenders = ##t
4253 In this case, the extender lines always replace existing figures.
4255 The @code{FiguredBass} context doesn't pay attention to the actual
4256 bass line. As a consequence, you may have to insert extra figures to
4257 get extender lines below all notes, and you may have to add @code{\!}
4258 to avoid getting an extender line, e.g.
4260 @lilypond[relative=1]
4264 \set useBassFigureExtenders = ##t
4265 <6 4->4. <6 4->16. <6 4->32 <5>8. r16 <6>8 <6\! 5->
4269 f16. g32 f16. g32 f16. g32 f16. g32 f8. es16 d8 es
4274 When using continuation lines, common figures are always put in the
4275 same vertical position. When this is unwanted, you can insert a rest
4276 with @code{r}. The rest will clear any previous alignment. For
4277 example, you can write
4289 Accidentals and plus signs can appear before or after the numbers,
4290 depending on the @code{figuredBassAlterationDirection} and
4291 @code{figuredBassPlusDirection}
4297 \set figuredBassAlterationDirection = #1
4299 \set figuredBassPlusDirection = #1
4301 \set figuredBassAlterationDirection = #-1
4307 Although the support for figured bass may superficially resemble chord
4308 support, it is much simpler. The @code{\figuremode} mode simply
4309 stores the numbers and @internalsref{FiguredBass} context prints them
4310 as entered. There is no conversion to pitches and no realizations of
4311 the bass are played in the MIDI file.
4313 Internally, the code produces markup texts. You can use any of the
4314 markup text properties to override formatting. For example, the
4315 vertical spacing of the figures may be set with @code{baseline-skip}.
4319 Program reference: @internalsref{NewBassFigure},
4320 @internalsref{BassFigureAlignment}, @internalsref{BassFigureLine},
4321 @internalsref{BassFigureBracket}, and
4322 @internalsref{BassFigureContinuation} objects and
4323 @internalsref{FiguredBass} context.
4327 @node Other instrument specific notation
4328 @section Other instrument specific notation
4330 This section includes extra information for writing for instruments.
4333 * Artificial harmonics (strings)::
4336 @node Artificial harmonics (strings)
4337 @subsection Artificial harmonics (strings)
4339 @cindex artificial harmonics
4341 Artificial harmonics are notated with a different notehead style. They
4342 are entered by marking the harmonic pitch with @code{\harmonic}.
4344 @lilypond[ragged-right,verbatim,quote,fragment,relative=1]