1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
6 When revising a translation, copy the HEAD committish of the
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11 @c A menu is needed before every deeper *section nesting of @node's; run
12 @c M-x texinfo-all-menus-update
13 @c to automatically fill in these menus before saving changes
15 @node Instrument-specific notation
16 @chapter Instrument-specific notation
18 This chapter explains how to use notation for specific instruments.
28 * Other instrument specific notation::
36 Piano staves are two normal staves coupled with a brace. The staves
37 are largely independent, but sometimes voices can cross between the
38 two staves. The same notation is also used for harps and other key
39 instruments. The @internalsref{PianoStaff} is especially built to
40 handle this cross-staffing behavior. In this section we discuss the
41 @internalsref{PianoStaff} and some other pianistic peculiarities.
44 * Automatic staff changes::
45 * Manual staff switches::
47 * Staff switch lines::
53 Dynamics are not centered, but workarounds do exist. See the
54 @q{piano centered dynamics} template in @ref{Piano templates}.
56 @cindex cross staff stem
57 @cindex stem, cross staff
58 @cindex distance between staves in piano music
60 The distance between the two staves is the same for all systems in the
61 score. It is possible to override this per system, but it does require
62 an arcane command incantation. See
63 @inputfileref{input/@/test,piano@/-staff@/-distance@/.ly}.
66 @node Automatic staff changes
67 @subsection Automatic staff changes
68 @cindex Automatic staff changes
70 Voices can be made to switch automatically between the top and the bottom
71 staff. The syntax for this is
75 \autochange @dots{}@var{music}@dots{}
80 This will create two staves inside the current PianoStaff, called
81 @code{up} and @code{down}. The lower staff will be in bass clef by
84 A @code{\relative} section that is outside of @code{\autochange} has
85 no effect on the pitches of @var{music}, so, if necessary, put
86 @code{\relative} inside @code{\autochange} like
90 \autochange \relative @dots{} @dots{}
95 The autochanger switches on basis of the pitch (middle C is the turning
96 point), and it looks ahead skipping over rests to switch in
97 advance. Here is a practical example
99 @lilypond[quote,verbatim,ragged-right]
101 \autochange \relative c'
110 In this manual: @ref{Manual staff switches}.
112 Program reference: @internalsref{AutoChangeMusic}.
118 The staff switches may not end up in optimal places. For high
119 quality output, staff switches should be specified manually.
122 @code{\autochange} cannot be inside @code{\times}.
125 @node Manual staff switches
126 @subsection Manual staff switches
128 @cindex manual staff switches
129 @cindex staff switch, manual
131 Voices can be switched between staves manually, using the command
133 \change Staff = @var{staffname} @var{music}
137 The string @var{staffname} is the name of the staff. It switches the
138 current voice from its current staff to the Staff called
139 @var{staffname}. Typically @var{staffname} is @code{"up"} or
140 @code{"down"}. The @context{Staff} referred to must already exist, so
141 usually the setup for a score will start with a setup of the staves,
146 \skip 1 * 10 % @emph{keep staff alive}
148 \new Staff = "down" @{
149 \skip 1 * 10 % @emph{idem}
155 and the @context{Voice} is inserted afterwards
158 \context Staff = down
159 \new Voice @{ @dots{} \change Staff = up @dots{} @}
167 Pianos have pedals that alter the way sound is produced. Generally, a
168 piano has three pedals, sustain, una corda, and sostenuto.
171 Piano pedal instruction can be expressed by attaching
172 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
173 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
176 @lilypond[quote,ragged-right,fragment,verbatim]
177 c'4\sustainDown c'4\sustainUp
180 What is printed can be modified by setting @code{pedal@var{X}Strings},
181 where @var{X} is one of the pedal types: @code{Sustain},
182 @code{Sostenuto} or @code{UnaCorda}. Refer to
183 @internalsref{SustainPedal} in the program reference for more
186 Pedals can also be indicated by a sequence of brackets, by setting the
187 @code{pedalSustainStyle} property to bracket objects
189 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
190 \set Staff.pedalSustainStyle = #'bracket
192 b\sustainUp\sustainDown
193 b g \sustainUp a \sustainDown \bar "|."
196 A third style of pedal notation is a mixture of text and brackets,
197 obtained by setting the @code{pedalSustainStyle} property to
200 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
201 \set Staff.pedalSustainStyle = #'mixed
203 b\sustainUp\sustainDown
204 b g \sustainUp a \sustainDown \bar "|."
207 The default @q{*Ped.} style for sustain and damper pedals corresponds to
208 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
211 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
212 c\sostenutoDown d e c, f g a\sostenutoUp
215 For fine-tuning the appearance of a pedal bracket, the properties
216 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
217 @code{PianoPedalBracket} objects (see
218 @internalsref{PianoPedalBracket} in the Program reference) can be
219 modified. For example, the bracket may be extended to the right edge
222 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
223 \override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
224 c\sostenutoDown d e c, f g a\sostenutoUp
229 In this manual: @ref{Laissez vibrer ties}
231 @node Staff switch lines
232 @subsection Staff switch lines
236 @cindex staff switching
239 @funindex followVoice
241 Whenever a voice switches to another staff, a line connecting the notes
242 can be printed automatically. This is switched on by setting
243 @code{followVoice} to true
245 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
248 \set followVoice = ##t
253 \new Staff="two" { \clef bass \skip 1*2 }
259 Program reference: @internalsref{VoiceFollower}.
263 @funindex \showStaffSwitch
264 @code{\showStaffSwitch},
265 @funindex \hideStaffSwitch
266 @code{\hideStaffSwitch}.
269 @node Cross staff stems
270 @subsection Cross staff stems
272 Chords that cross staves may be produced by increasing the length
273 of the stem in the lower staff, so it reaches the stem in the upper
274 staff, or vice versa.
276 @lilypond[ragged-right,verbatim,quote]
277 stemExtend = \once \override Stem #'length = #22
278 noFlag = \once \override Stem #'flag-style = #'no-flag
281 \stemDown \stemExtend
299 * Introducing chord names::
301 * Printing chord names::
305 @c awkward name; awkward section name.
306 @c still, the Basic "chords" seems like a good name... :(
307 @node Introducing chord names
308 @subsection Introducing chord names
311 LilyPond has support for printing chord names. Chords may be entered
312 in musical chord notation, i.e., @code{< .. >}, but they can also be
313 entered by name. Internally, the chords are represented as a set of
314 pitches, so they can be transposed
317 @lilypond[quote,ragged-right,verbatim,ragged-right]
318 twoWays = \transpose c c' {
327 << \new ChordNames \twoWays
328 \new Voice \twoWays >>
331 This example also shows that the chord printing routines do not try to
332 be intelligent. The last chord (@code{f bes d}) is not interpreted as
335 Note that the duration of chords must be specified outside the
344 @subsection Chords mode
347 In chord mode sets of pitches (chords) are entered with normal note
348 names. A chord is entered by the root, which is entered like a
351 @lilypond[quote,ragged-right,fragment,verbatim]
352 \chordmode { es4. d8 c2 }
356 The mode is introduced by the keyword @code{\chordmode}.
361 Other chords may be entered by suffixing a colon and introducing a
362 modifier (which may include a number if desired)
363 @lilypond[quote,fragment,verbatim]
364 \chordmode { e1:m e1:7 e1:m7 }
366 The first number following the root is taken to be the @q{type} of the
367 chord, thirds are added to the root until it reaches the specified
369 @lilypond[quote,fragment,verbatim]
370 \chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
373 @cindex root of chord
374 @cindex additions, in chords
375 @cindex removals, in chords
377 More complex chords may also be constructed adding separate steps
378 to a chord. Additions are added after the number following
379 the colon and are separated by dots
380 @lilypond[quote,verbatim,fragment]
381 \chordmode { c:5.6 c:3.7.8 c:3.6.13 }
383 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
385 @lilypond[quote,verbatim,fragment]
386 \chordmode { c:7+ c:5+.3- c:3-.5-.7- }
388 Removals are specified similarly and are introduced by a caret. They
389 must come after the additions
390 @lilypond[quote,verbatim,fragment]
391 \chordmode { c^3 c:7^5 c:9^3.5 }
394 Modifiers can be used to change pitches. The following modifiers are
399 The minor chord. This modifier lowers the 3rd and (if present) the 7th step.
402 The diminished chord. This modifier lowers the 3rd, 5th and (if present)
406 The augmented chord. This modifier raises the 5th step.
409 The major 7th chord. This modifier raises the 7th step if present.
412 The suspended 4th or 2nd. This modifier removes the 3rd
413 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
417 Modifiers can be mixed with additions
418 @lilypond[quote,verbatim,fragment]
419 \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
422 @cindex modifiers, in chords.
429 Since an unaltered 11 does not sound good when combined with an
430 unaltered 3, the 11 is removed in this case (unless it is added
432 @lilypond[quote,ragged-right,fragment,verbatim]
433 \chordmode { c:13 c:13.11 c:m13 }
438 An inversion (putting one pitch of the chord on the bottom), as well
439 as bass notes, can be specified by appending
440 @code{/}@var{pitch} to the chord
441 @lilypond[quote,ragged-right,fragment,verbatim]
442 \chordmode { c1 c/g c/f }
446 A bass note can be added instead transposed out of the chord,
447 by using @code{/+}@var{pitch}.
449 @lilypond[quote,ragged-right,fragment,verbatim]
450 \chordmode { c1 c/+g c/+f }
453 Chords is a mode similar to @code{\lyricmode}, etc. Most
454 of the commands continue to work, for example, @code{r} and
455 @code{\skip} can be used to insert rests and spaces, and property
456 commands may be used to change various settings.
462 Each step can only be present in a chord once. The following
463 simply produces the augmented chord, since @code{5+} is interpreted
466 @lilypond[quote,ragged-right,verbatim,fragment]
467 \chordmode { c:5.5-.5+ }
471 @node Printing chord names
472 @subsection Printing chord names
474 @cindex printing chord names
478 For displaying printed chord names, use the @internalsref{ChordNames} context.
479 The chords may be entered either using the notation
480 described above, or directly using @code{<} and @code{>}
482 @lilypond[quote,verbatim,ragged-right]
484 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
487 \new ChordNames \harmonies
488 \new Staff \harmonies
492 You can make the chord changes stand out by setting
493 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
494 display chord names when there is a change in the chords scheme and at
495 the start of a new line
497 @lilypond[quote,verbatim,ragged-right]
498 harmonies = \chordmode {
499 c1:m c:m \break c:m c:m d
503 \set chordChanges = ##t
505 \new Staff \transpose c c' \harmonies
509 The previous examples all show chords over a staff. This is not
510 necessary. Chords may also be printed separately. It may be necessary
511 to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
514 @lilypond[ragged-right,verbatim]
515 \new ChordNames \with {
516 \override BarLine #'bar-size = #4
517 voltaOnThisStaff = ##t
518 \consists Bar_engraver
519 \consists "Volta_engraver"
521 \chordmode { \repeat volta 2 {
531 The default chord name layout is a system for Jazz music, proposed by
532 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
536 @funindex chordNameExceptions
537 @item chordNameExceptions
538 This is a list that contains the chords that have special formatting.
540 The exceptions list should be encoded as
542 @{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
545 To get this information into @code{chordNameExceptions} takes a little
546 manoeuvring. The following code transforms @code{chExceptionMusic}
547 (which is a sequential music) into a list of exceptions.
549 (sequential-music-to-chord-exceptions chExceptionMusic #t)
554 (sequential-music-to-chord-exceptions chExceptionMusic #t)
557 adds the new exceptions to the default ones, which are defined in
558 @file{ly/@/chord@/-modifier@/-init@/.ly}.
560 For an example of tuning this property, see also
561 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly}.
562 @cindex exceptions, chord names.
565 @funindex majorSevenSymbol
566 @item majorSevenSymbol
567 This property contains the markup object used for the 7th step, when
568 it is major. Predefined options are @code{whiteTriangleMarkup} and
569 @code{blackTriangleMarkup}. See
570 @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly} for an example.
572 @funindex chordNameSeparator
573 @item chordNameSeparator
574 Different parts of a chord name are normally separated by a
575 slash. By setting @code{chordNameSeparator}, you can specify other
577 @lilypond[quote,ragged-right,fragment,verbatim]
578 \new ChordNames \chordmode {
580 \set chordNameSeparator
581 = \markup { \typewriter "|" }
586 @funindex chordRootNamer
588 The root of a chord is usually printed as a letter with an optional
589 alteration. The transformation from pitch to letter is done by this
590 function. Special note names (for example, the German @q{H} for a
591 B-chord) can be produced by storing a new function in this property.
593 @funindex chordNoteNamer
595 The default is to print single pitch, e.g., the bass note, using the
596 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
597 to a specialized function to change this behavior. For example, the
598 base can be printed in lower case.
600 @funindex chordPrefixSpacer
601 @item chordPrefixSpacer
602 The @q{m} for minor chords is usually printed right after the root of
603 the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer
604 between the root and @q{m}. The spacer is not used when the root
609 The predefined variables @code{\germanChords},
610 @code{\semiGermanChords}, @code{\italianChords} and @code{\frenchChords}
611 set these variables. The effect is
614 @lilypondfile[ragged-right]{chord-names-languages.ly}
616 There are also two other chord name schemes implemented: an alternate
617 Jazz chord notation, and a systematic scheme called Banter chords. The
618 alternate Jazz notation is also shown on the chart in @ref{Chord name
619 chart}. Turning on these styles is described in the input file
620 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
629 @funindex \germanChords
630 @code{\germanChords},
631 @funindex \semiGermanChords
632 @code{\semiGermanChords}.
633 @funindex \italianChords
634 @code{\italianChords}.
635 @funindex \frenchChords
636 @code{\frenchChords}.
643 Examples: @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly},
644 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly},
645 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
648 Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
649 @file{scm/@/chord@/-entry@/.scm}.
654 Chord names are determined solely from the list of pitches. Chord
655 inversions are not identified, and neither are added bass notes. This
656 may result in strange chord names when chords are entered with the
657 @code{< .. >} syntax.
664 Since LilyPond input files are text, there are two issues to
665 consider when working with vocal music:
669 Song texts must be entered as text, not notes. For example, the
670 input@tie{}@code{d} should be interpreted as a one letter syllable, not the
674 Song texts must be aligned with the notes of their melody.
677 There are a few different ways to define lyrics; the simplest
678 way is to use the @code{\addlyrics} function.
681 * Setting simple songs::
683 * Hyphens and extenders::
684 * The Lyrics context::
686 * Another way of entering lyrics::
687 * Flexibility in placement::
689 * More about stanzas::
691 * Other vocal issues::
697 Checking to make sure that text scripts and lyrics are within the margins is
698 a relatively large computational task. To speed up processing, lilypond does
699 not perform such calculations by default; to enable it, use
702 \override Score.PaperColumn #'keep-inside-line = ##t
705 To make lyrics avoid barlines as well, use
710 \consists "Bar_engraver"
711 \consists "Separating_line_group_engraver"
712 \override BarLine #'transparent = ##t
718 @node Setting simple songs
719 @subsection Setting simple songs
721 The easiest way to add lyrics to a melody is to append
724 \addlyrics @{ @var{the lyrics} @}
728 to a melody. Here is an example,
730 @lilypond[ragged-right,verbatim,fragment,quote]
732 \relative { c2 e4 g2. }
733 \addlyrics { play the game }
736 More stanzas can be added by adding more
737 @code{\addlyrics} sections
739 @lilypond[ragged-right,verbatim,fragment,quote]
741 \relative { c2 e4 g2. }
742 \addlyrics { play the game }
743 \addlyrics { speel het spel }
744 \addlyrics { joue le jeu }
747 The command @code{\addlyrics} cannot handle polyphony settings. For these
748 cases you should use @code{\lyricsto} and @code{\lyricmode}.
752 @node Entering lyrics
753 @subsection Entering lyrics
759 Lyrics are entered in a special input mode. This mode is introduced
760 by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
761 @code{\lyricsto}. In this mode you can enter lyrics,
762 with punctuation and accents, and the input @code{d} is not parsed as
763 a pitch, but rather as a one letter syllable. Syllables are entered
764 like notes, but with pitches replaced by text. For example,
766 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
769 There are two main methods to specify the horizontal placement
770 of the syllables, either by specifying the duration of each syllable
771 explicitly, like in the example above, or by automatically aligning
772 the lyrics to a melody or other voice of music, using @code{\addlyrics}
773 or @code{\lyricsto}. For more details see @ref{The Lyrics context}.
775 A word or syllable of lyrics begins with an alphabetic character, and ends
777 any space or digit. The following characters can be any character
778 that is not a digit or white space. One important consequence of this
779 is that a word can end with @code{@}}. The following example is
780 usually a mistake in the input file. The syllable includes a @code{@}}, so
782 opening brace is not balanced
784 \lyricmode @{ twinkle@}
787 @funindex \property in \lyricmode
790 Similarly, a period which follows an alphabetic sequence is included in
791 the resulting string. As a consequence, spaces must be inserted around
794 \override Score . LyricText #'font-shape = #'italic
798 @cindex spaces, in lyrics
799 @cindex quotes, in lyrics
800 @cindex ties, in lyrics
802 In order to assign more than one syllable to a single note, you can
803 surround them with quotes or use a @code{_} character, to get spaces
804 between syllables, or use tilde symbol (@code{~}) to get a lyric tie.
806 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
808 \relative { c2 e4 g2 e4 }
809 \addlyrics { gran- de_a- mi- go }
810 \addlyrics { pu- "ro y ho-" nes- to }
811 \addlyrics { pu- ro~y~ho- nes- to }
814 The lyric ties is implemented with the Unicode character U+203F, so be
815 sure to have a font (Like DejaVuLGC) installed that includes this
819 To enter lyrics with characters from non-English languages, or with
820 non-ascii characters (such as the heart symbol or slanted quotes),
821 simply insert the characters directly into the input file and save
822 it with utf-8 encoding. See @ref{Text encoding} for more info.
824 @lilypond[quote,ragged-right,fragment,verbatim]
825 \relative { e4 f e d e f e2 }
826 \addlyrics { He said: “Let my peo ple go”. }
829 To use normal quotes in lyrics, add a backslash before the
832 @lilypond[quote,ragged-right,fragment,verbatim]
833 \relative c' { \time 3/4 e4 e4. e8 d4 e d c2. }
834 \addlyrics { "\"I" am so lone- "ly\"" said she }
837 The full definition of a word start in Lyrics mode is somewhat more
840 A word in Lyrics mode begins with: an alphabetic character, @code{_},
841 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
842 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
843 any 8-bit character with ASCII code over 127, or a two-character
844 combination of a backslash followed by one of @code{`}, @code{'},
845 @code{"}, or @code{^}.
847 To define indentifiers containing lyrics, the function @code{lyricmode}
851 verseOne = \lyricmode @{ Joy to the world the Lord is come @}
854 \new Voice = "one" \relative c'' @{
857 c4 b8. a16 g4. f8 e4 d c2
859 \addlyrics @{ \verseOne @}
867 Program reference: @internalsref{LyricText}, @internalsref{LyricSpace}.
871 @node Hyphens and extenders
872 @subsection Hyphens and extenders
876 Centered hyphens are entered as @samp{--} between syllables.
877 The hyphen will have variable length depending on the space between
878 the syllables and it will be centered between the syllables.
883 When a lyric is sung over many notes (this is called a melisma), this is
884 indicated with a horizontal line centered between a syllable and the
885 next one. Such a line is called an extender line, and it is entered as
888 In tighly engraved music, hyphens can be removed. Whether this
889 happens can be controlled with the @code{minimum-distance} (minimum
890 distance between two syllables) and the @code{minimum-length}
891 (threshold below which hyphens are removed).
895 Program reference: @internalsref{LyricHyphen}, @internalsref{LyricExtender}.
899 @node The Lyrics context
900 @subsection The Lyrics context
902 Lyrics are printed by interpreting them in the context called
903 @internalsref{Lyrics}.
906 \new Lyrics \lyricmode @dots{}
909 @cindex automatic syllable durations
911 @cindex lyrics and melodies
913 This will place the lyrics according to the durations that were
914 entered. The lyrics can also be aligned under a given melody
915 automatically. In this case, it is no longer necessary to enter the
916 correct duration for each syllable. This is achieved by combining the
917 melody and the lyrics with the @code{\lyricsto} expression
920 \new Lyrics \lyricsto @var{name} @dots{}
923 This aligns the lyrics to the
924 notes of the @internalsref{Voice} context called @var{name}, which must
925 already exist. Therefore normally the @code{Voice} is specified first, and
926 then the lyrics are specified with @code{\lyricsto}. The command
927 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
928 @code{\lyricmode} keyword may be omitted.
930 The following example uses different commands for entering lyrics.
932 @lilypond[quote,fragment,ragged-right,verbatim]
934 \new Voice = "one" \relative c'' {
937 c4 b8. a16 g4. f8 e4 d c2
939 \new Lyrics \lyricmode { Joy4 to8. the16 world!4. the8 Lord4 is come.2 }
940 \new Lyrics \lyricmode { Joy to the earth! the Sa -- viour reigns. }
941 \new Lyrics \lyricsto "one" { No more let sins and sor -- rows grow. }
945 The second stanza is not properly aligned because the durations
946 were not specified. A solution for that would be to use @code{\lyricsto}.
948 The @code{\addlyrics} command is actually just a convenient way
949 to write a more complicated LilyPond structure that sets up the
954 \addlyrics @{ LYRICS @}
961 \new Voice = "blah" @{ music @}
962 \new Lyrics \lyricsto "blah" @{ LYRICS @}
965 For different or more complex orderings, the best way is to setup the
966 hierarchy of staves and lyrics first, e.g.,
969 \new Voice = "soprano" @{ @emph{music} @}
970 \new Lyrics = "sopranoLyrics" @{ s1 @}
971 \new Lyrics = "tenorLyrics" @{ s1 @}
972 \new Voice = "tenor" @{ @emph{music} @}
976 and then combine the appropriate melodies and lyric lines
979 \context Lyrics = sopranoLyrics \lyricsto "soprano"
984 The final input would resemble
987 <<\new ChoirStaff << @emph{setup the music} >>
988 \lyricsto "soprano" @emph{etc}
989 \lyricsto "alto" @emph{etc}
996 Program reference: @internalsref{LyricCombineMusic},
997 @internalsref{Lyrics}.
1001 @subsection Melismata
1003 The @code{\lyricsto} command detects melismata: it only puts one
1004 syllable under a tied or slurred group of notes. If you want to force
1005 an unslurred group of notes to be a melisma, insert @code{\melisma}
1006 after the first note of the group, and @code{\melismaEnd} after the
1009 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
1011 \new Voice = "lala" {
1019 \new Lyrics \lyricsto "lala" {
1025 In addition, notes are considered a melisma if they are manually
1026 beamed, and automatic beaming (see @ref{Setting automatic beam
1027 behavior}) is switched off.
1030 @cindex choral score
1032 A complete example of a SATB score setup is in section
1033 @ref{Vocal ensembles}.
1038 @code{\melisma}, @code{\melismaEnd}
1039 @funindex \melismaEnd
1044 Program reference: @internalsref{Melisma_translator}.
1047 @inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly}.
1051 Melismata are not detected automatically, and extender lines must be
1055 @node Another way of entering lyrics
1056 @subsection Another way of entering lyrics
1058 Lyrics can also be entered without @code{\lyricsto}. In this case the
1059 duration of each syllable must be entered explicitly, for example,
1066 The alignment to a melody can be specified with the
1067 @code{associatedVoice} property,
1070 \set associatedVoice = #"lala"
1074 The value of the property (here: @code{"lala"}) should be the name of
1075 a @internalsref{Voice} context. Without this setting, extender lines
1076 will not be formatted properly.
1078 Here is an example demonstrating manual lyric durations,
1080 @lilypond[relative=1,ragged-right,verbatim,fragment,quote]
1081 << \new Voice = "melody" {
1085 \new Lyrics \lyricmode {
1086 \set associatedVoice = #"melody"
1092 @c TODO: document \new Staff << Voice \lyricsto >> bug
1094 @node Flexibility in placement
1095 @subsection Flexibility in placement
1097 Often, different stanzas of one song are put to one melody in slightly
1098 differing ways. Such variations can still be captured with
1102 * Lyrics to multiple notes of a melisma::
1104 * Switching the melody associated with a lyrics line::
1105 * Specifying melismata within the lyrics::
1106 * Lyrics independent of notes::
1109 @node Lyrics to multiple notes of a melisma
1110 @subsubsection Lyrics to multiple notes of a melisma
1113 One possibility is that the text has a melisma in one stanza, but
1114 multiple syllables in another one. One solution is to make the faster
1115 voice ignore the melisma. This is done by setting
1116 @code{ignoreMelismata} in the Lyrics context.
1118 There is one tricky aspect: the setting for @code{ignoreMelismata}
1119 must be set one syllable @emph{before} the non-melismatic syllable
1120 in the text, as shown here,
1122 @c FIXME: breaks compile
1123 @lilypond[verbatim,ragged-right,quote]
1126 \relative \new Voice = "lahlah" {
1127 \set Staff.autoBeaming = ##f
1133 \new Lyrics \lyricsto "lahlah" {
1136 \new Lyrics \lyricsto "lahlah" {
1137 \set ignoreMelismata = ##t % applies to "fas"
1139 \unset ignoreMelismata
1147 The @code{ignoreMelismata} applies to the syllable @q{fas}, so it
1148 should be entered before @q{go}.
1150 The reverse is also possible: making a lyric line slower than the
1151 standard. This can be achieved by insert @code{\skip}s into the
1152 lyrics. For every @code{\skip}, the text will be delayed another note.
1155 @lilypond[verbatim,ragged-right,quote]
1156 \relative { c c g' }
1165 @subsubsection Divisi lyrics
1167 You can display alternate (or divisi) lyrics by naming voice
1168 contexts and attaching lyrics to those specific contexts.
1170 @lilypond[verbatim,ragged-right,quote]
1172 \new Voice = "melody" {
1177 \new Voice = "splitpart" { \voiceTwo c4 }
1182 \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
1183 \new Lyrics \lyricsto "splitpart" { will }
1188 You can use this trick to display different lyrics for a repeated
1191 @lilypond[verbatim,ragged-right,quote]
1193 \new Voice = "melody" \relative c' {
1195 \new Voice = "verse" \repeat volta 2 {c4 d e f | g1 | }
1197 \new Lyrics = "mainlyrics" \lyricsto melody \lyricmode {
1200 \context Lyrics = "mainlyrics" \lyricsto verse \lyricmode {
1202 \new Lyrics = "repeatlyrics" \lyricsto verse \lyricmode {
1203 dodo rere mimi fafa solsol }
1210 @node Switching the melody associated with a lyrics line
1211 @subsubsection Switching the melody associated with a lyrics line
1213 More complex variations in text underlay are possible. It is possible
1214 to switch the melody for a line of lyrics during the text. This is
1215 done by setting the @code{associatedVoice} property. In the example
1217 @lilypond[ragged-right,quote]
1219 \relative \new Voice = "lahlah" {
1220 \set Staff.autoBeaming = ##f
1223 \new Voice = "alternative" {
1226 % show associations clearly.
1227 \override NoteColumn #'force-hshift = #-3
1238 \new Lyrics \lyricsto "lahlah" {
1239 Ju -- ras -- sic Park
1241 \new Lyrics \lyricsto "lahlah" {
1242 % Tricky: need to set associatedVoice
1243 % one syllable too soon!
1244 \set associatedVoice = alternative % applies to "ran"
1248 \set associatedVoice = lahlah % applies to "rus"
1254 the text for the first stanza is set to a melody called @q{lahlah},
1257 \new Lyrics \lyricsto "lahlah" @{
1258 Ju -- ras -- sic Park
1263 The second stanza initially is set to the @code{lahlah} context, but
1264 for the syllable @q{ran}, it switches to a different melody.
1265 This is achieved with
1267 \set associatedVoice = alternative
1271 Here, @code{alternative} is the name of the @code{Voice} context
1272 containing the triplet.
1274 Again, the command must be one syllable too early, before @q{Ty} in
1278 \new Lyrics \lyricsto "lahlah" @{
1279 \set associatedVoice = alternative % applies to "ran"
1283 \set associatedVoice = lahlah % applies to "rus"
1289 The underlay is switched back to the starting situation by assigning
1290 @code{lahlah} to @code{associatedVoice}.
1293 @node Specifying melismata within the lyrics
1294 @subsubsection Specifying melismata within the lyrics
1296 It is also possible to define melismata entirely in the lyrics. This
1297 can be done by entering @code{_} for every note that is part of the
1300 @lilypond[relative=1,verbatim,fragment,quote]
1301 { \set melismaBusyProperties = #'()
1302 c d( e) f f( e) e e }
1304 { Ky -- _ _ ri __ _ _ _ e }
1307 In this case, you can also have ties and slurs in the melody if you
1308 set @code{melismaBusyProperties}, as is done in the example above.
1311 @node Lyrics independent of notes
1312 @subsubsection Lyrics independent of notes
1314 In some complex vocal music, it may be desirable to place
1315 lyrics completely independently of notes. Music defined
1316 inside @code{lyricrhythm} disappears into the
1317 @code{Devnull} context, but the rhythms can still be used
1318 to place the lyrics.
1320 @lilypond[quote,verbatim,ragged-right]
1323 \tag #'music { c''2 }
1324 \tag #'lyricrhythm { c''4. c''8 }
1328 lyr = \lyricmode { I like my cat! }
1331 \new Staff \keepWithTag #'music \voice
1332 \new Devnull="nowhere" \keepWithTag #'lyricrhythm \voice
1333 \new Lyrics \lyricsto "nowhere" \lyr
1334 \new Staff { c'8 c' c' c' c' c' c' c'
1335 c' c' c' c' c' c' c' c' }
1340 @node Spacing lyrics
1341 @subsection Spacing lyrics
1343 @cindex Spacing lyrics
1344 @cindex Lyrics, increasing space between
1346 To increase the spacing between lyrics, set the minimum-distance property of
1349 @lilypond[relative,verbatim,fragment,quote,ragged-right]
1352 \override Lyrics.LyricSpace #'minimum-distance = #1.0
1356 longtext longtext longtext longtext
1357 longtext longtext longtext longtext
1361 To make this change for all lyrics in the score, set the property in the
1364 @lilypond[relative,verbatim,quote,ragged-right]
1371 longtext longtext longtext longtext
1372 longtext longtext longtext longtext
1377 \override LyricSpace #'minimum-distance = #1.0
1384 @node More about stanzas
1385 @subsection More about stanzas
1387 @c what's this doing here?
1388 @cindex phrasing, in lyrics
1390 @cindex stanza number
1391 @subsubsection Adding stanza numbers
1393 Stanza numbers can be added by setting @code{stanza}, e.g.,
1395 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1397 \time 3/4 g2 e4 a2 f4 g2.
1400 Hi, my name is Bert.
1403 Oh, che -- ri, je t'aime
1408 These numbers are put just before the start of the first syllable.
1411 @subsubsection Adding dynamics marks
1413 Stanzas differing in loudness may be indicated by putting a
1414 dynamics mark before each stanza. In Lilypond, everthing coming in
1415 front of a stanza goes into the @code{StanzaNumber} object; dynamics marks
1416 are no different. For technical reasons, you have to set the stanza
1417 outside @code{\lyricmode}:
1419 @lilypond[quote,ragged-right,verbatim]
1421 \set stanza = \markup { \dynamic "ff" "1. " }
1428 \new Voice = "tune" {
1432 \new Lyrics \lyricsto "tune" \text
1437 @cindex name of singer
1438 @subsubsection Adding singer names
1440 Names of singers can also be added. They are printed at the start of
1441 the line, just like instrument names. They are created by setting
1442 @code{vocalName}. A short version may be entered as @code{shortVocalName}.
1444 @lilypond[fragment,ragged-right,quote,verbatim,relative=2]
1446 \time 3/4 g2 e4 a2 f4 g2.
1448 \set vocalName = "Bert "
1449 Hi, my name is Bert.
1451 \set vocalName = "Ernie "
1452 Oh, che -- ri, je t'aime
1457 @subsubsection Printing stanzas at the end
1459 Sometimes it is appropriate to have one stanza set
1460 to the music, and the rest added in verse form at
1461 the end of the piece. This can be accomplished by adding
1462 the extra verses into a @code{\markup} section outside
1463 of the main score block. Notice that there are two
1464 different ways to force linebreaks when using
1467 @lilypond[ragged-right,verbatim,quote]
1468 melody = \relative c' {
1474 \set stanza = "1." Ma- ry had a lit- tle lamb,
1475 its fleece was white as snow.
1480 \new Voice = "one" { \melody }
1481 \new Lyrics \lyricsto "one" \text
1487 \line{ All the children laughed and played }
1488 \line{ To see a lamb at school. }
1495 Mary took it home again,
1497 It was against the rule."
1503 @subsubsection Printing stanzas at the end in multiple columns
1505 When a piece of music has many verses, they are often printed in
1506 multiple columns across the page. An outdented verse number often
1507 introduces each verse. The following example shows how to produce such
1510 @lilypond[ragged-right,quote,verbatim]
1511 melody = \relative c' {
1516 \set stanza = "1." This is verse one.
1521 \new Voice = "one" { \melody }
1522 \new Lyrics \lyricsto "one" \text
1529 \hspace #0.1 % moves the column off the left margin; can be removed if
1530 % space on the page is tight
1534 "This is verse two."
1538 \hspace #0.1 % adds vertical spacing between verses
1541 "This is verse three."
1546 \hspace #0.1 % adds horizontal spacing between columns; if they are
1547 % still too close, add more " " pairs until the result
1552 "This is verse four."
1556 \hspace #0.1 % adds vertical spacing between verses
1559 "This is verse five."
1564 \hspace #0.1 % gives some extra space on the right margin; can
1565 % be removed if page space is tight
1573 Program reference: @internalsref{LyricText}, @internalsref{StanzaNumber},
1574 @internalsref{VocalName}.
1582 The term @emph{ambitus} denotes a range of pitches for a given voice
1583 in a part of music. It may also denote the pitch range that a musical
1584 instrument is capable of playing. Ambits are printed on vocal parts,
1585 so performers can easily determine it meets their capabilities.
1587 Ambits are denoted at the beginning of a piece near the initial clef.
1588 The range is graphically specified by two note heads that represent the
1589 minimum and maximum pitch. To print such ambits, add the
1590 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
1597 \consists Ambitus_engraver
1602 This results in the following output
1604 @lilypond[quote,ragged-right]
1608 \consists Ambitus_engraver
1612 \relative \new Staff {
1617 If you have multiple voices in a single staff and you want a single
1618 ambitus per staff rather than per each voice, add the
1619 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
1620 rather than to the @internalsref{Voice} context. Here is an example,
1622 @lilypond[verbatim,ragged-right,quote]
1624 \consists "Ambitus_engraver"
1628 \remove "Ambitus_engraver"
1630 \override Ambitus #'X-offset = #-1.0
1635 \remove "Ambitus_engraver"
1644 This example uses one advanced feature,
1647 \override Ambitus #'X-offset = #-1.0
1651 This code moves the ambitus to the left. The same effect could have
1652 been achieved with @code{extra-offset}, but then the formatting system
1653 would not reserve space for the moved object.
1657 Program reference: @internalsref{Ambitus},
1658 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1659 @internalsref{AmbitusAccidental}.
1661 Examples: @inputfileref{input/@/regression,ambitus@/.ly}.
1665 There is no collision handling in the case of multiple per-voice
1669 @node Other vocal issues
1670 @subsection Other vocal issues
1673 yeah, I'm giving up somewhat by stuffing a bunch of things in
1674 here. But at least they're in the manual now; it's easier to
1675 move them around in the manual once they're already here.
1677 Besides, if users complain about everything stuffed in here, I
1678 can ask them for specific instructions about where to move these
1679 examples, and that might get them more involved in the docs. -gp
1682 @q{Parlato} is spoken without pitch but still with rhythm; it is
1683 notated by cross noteheads. This is demonstrated in
1684 @ref{Special noteheads}.
1690 @node Rhythmic music
1691 @section Rhythmic music
1693 Rhythmic music is primarily used for percussion and drum notation, but it can
1694 also be used to show the rhythms of melodies.
1697 * Showing melody rhythms::
1698 * Entering percussion::
1699 * Percussion staves::
1704 @node Showing melody rhythms
1705 @subsection Showing melody rhythms
1707 Sometimes you might want to show only the rhythm of a melody. This
1708 can be done with the rhythmic staff. All pitches of notes on such a
1709 staff are squashed, and the staff itself has a single line
1711 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1712 \new RhythmicStaff {
1714 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1720 Program reference: @internalsref{RhythmicStaff}.
1722 Examples: @inputfileref{input/@/regression,rhythmic@/-staff@/.ly}.
1725 @node Entering percussion
1726 @subsection Entering percussion
1732 Percussion notes may be entered in @code{\drummode} mode, which is
1733 similar to the standard mode for entering notes. Each piece of
1734 percussion has a full name and an abbreviated name, and both can be used
1737 @lilypond[quote,ragged-right,verbatim]
1739 hihat hh bassdrum bd
1743 The complete list of drum names is in the init file
1744 @file{ly/@/drumpitch@/-init@/.ly}.
1745 @c TODO: properly document this.
1749 Program reference: @internalsref{note-event}.
1751 @node Percussion staves
1752 @subsection Percussion staves
1756 A percussion part for more than one instrument typically uses a
1757 multiline staff where each position in the staff refers to one piece
1761 To typeset the music, the notes must be interpreted in a
1762 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
1764 @lilypond[quote,ragged-right,verbatim]
1765 up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
1766 down = \drummode { bassdrum4 snare8 bd r bd sn4 }
1768 \new DrumVoice { \voiceOne \up }
1769 \new DrumVoice { \voiceTwo \down }
1773 The above example shows verbose polyphonic notation. The short
1774 polyphonic notation, described in @ref{Basic polyphony}, can also be used if
1775 the @internalsref{DrumVoice}s are instantiated by hand first. For example,
1777 @lilypond[quote,ragged-right,fragment,verbatim]
1779 \new DrumVoice = "1" { s1 *2 }
1780 \new DrumVoice = "2" { s1 *2 }
1784 { \repeat unfold 16 hh16 }
1793 There are also other layout possibilities. To use these, set the
1794 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
1795 The following variables have been predefined
1799 This is the default. It typesets a typical drum kit on a five-line staff
1801 @lilypond[quote,line-width=10.0\cm]
1803 cymc cyms cymr hh hhc hho hhho hhp
1804 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl }
1806 cymc cyms cymr hh hhc hho hhho hhp \break
1807 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
1809 << \new DrumStaff \with {
1810 \remove Bar_engraver
1811 \remove Time_signature_engraver
1812 \override Stem #'transparent = ##t
1813 \override Stem #'Y-extent-callback = ##f
1814 \override VerticalAxisGroup #'minimum-Y-extent = #'(-4.0 . 5.0)
1821 \override LyricText #'font-family = #'typewriter
1822 \override BarNumber #'transparent =##T
1828 The drum scheme supports six different toms. When there are fewer toms,
1829 simply select the toms that produce the desired result, i.e., to get toms
1830 on the three middle lines you use @code{tommh}, @code{tomml}, and
1833 @item timbales-style
1834 This typesets timbales on a two line staff
1836 @lilypond[quote,ragged-right]
1837 nam = \lyricmode { timh ssh timl ssl cb }
1838 mus = \drummode { timh ssh timl ssl cb s16 }
1841 \new DrumStaff \with {
1842 \remove Bar_engraver
1843 \remove Time_signature_engraver
1844 \override Stem #'transparent = ##t
1845 \override Stem #'Y-extent-callback = ##f
1846 \override StaffSymbol #'line-count = #2
1847 \override StaffSymbol #'staff-space = #2
1848 \override VerticalAxisGroup #'minimum-Y-extent = #'(-3.0 . 4.0)
1849 drumStyleTable = #timbales-style
1852 \override LyricText #'font-family = #'typewriter
1859 This typesets congas on a two line staff
1861 @lilypond[quote,ragged-right]
1862 nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
1863 mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
1866 \new DrumStaff \with {
1867 \remove Bar_engraver
1868 \remove Time_signature_engraver
1869 drumStyleTable = #congas-style
1870 \override StaffSymbol #'line-count = #2
1872 %% this sucks; it will lengthen stems.
1873 \override StaffSymbol #'staff-space = #2
1874 \override Stem #'transparent = ##t
1875 \override Stem #'Y-extent-callback = ##f
1878 \override LyricText #'font-family = #'typewriter
1885 This typesets bongos on a two line staff
1887 @lilypond[quote,ragged-right]
1888 nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
1889 mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
1892 \new DrumStaff \with {
1893 \remove Bar_engraver
1894 \remove Time_signature_engraver
1895 \override StaffSymbol #'line-count = #2
1896 drumStyleTable = #bongos-style
1898 %% this sucks; it will lengthen stems.
1899 \override StaffSymbol #'staff-space = #2
1900 \override Stem #'transparent = ##t
1901 \override Stem #'Y-extent-callback = ##f
1904 \override LyricText #'font-family = #'typewriter
1910 @item percussion-style
1911 To typeset all kinds of simple percussion on one line staves.
1913 @lilypond[quote,ragged-right]
1914 nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
1915 mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
1918 \new DrumStaff \with{
1919 \remove Bar_engraver
1920 drumStyleTable = #percussion-style
1921 \override StaffSymbol #'line-count = #1
1922 \remove Time_signature_engraver
1923 \override Stem #'transparent = ##t
1924 \override Stem #'Y-extent-callback = ##f
1927 \override LyricText #'font-family = #'typewriter
1934 If you do not like any of the predefined lists you can define your own
1935 list at the top of your file
1937 @lilypond[quote,ragged-right,verbatim]
1939 (bassdrum default #f -1)
1940 (snare default #f 0)
1942 (pedalhihat xcircle "stopped" 2)
1943 (lowtom diamond #f 3)))
1944 up = \drummode { hh8 hh hh hh hhp4 hhp }
1945 down = \drummode { bd4 sn bd toml8 toml }
1948 \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
1949 \new DrumVoice { \voiceOne \up }
1950 \new DrumVoice { \voiceTwo \down }
1957 Init files: @file{ly/@/drumpitch@/-init@/.ly}.
1959 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
1963 Because general MIDI does not contain rim shots, the sidestick is used
1964 for this purpose instead.
1967 @c FIXME: check name -gp
1969 @subsection Ghost notes
1971 Ghost notes for drums and percussion may be created using the
1972 @code{\parenthesize} command detailed in @ref{Parentheses}. However,
1973 the default @code{\drummode} does
1974 not include the @code{Parenthesis_engraver} plugin which allows
1976 must add the plugin explicitly in the context definition as
1977 detailed in @ref{Changing context properties on the fly}.
1979 @lilypond[quote,ragged-right,verbatim,fragment]
1980 \new DrumStaff \with {
1981 \consists "Parenthesis_engraver"
1983 \context DrumVoice = "1" { s1 *2 }
1984 \context DrumVoice = "2" { s1 *2 }
1988 hh8[ hh] <hh sn> hh16
1989 < \parenthesize sn > hh < \parenthesize
2000 Also note that you must add chords (@code{< >} brackets)
2001 around each @code{\parenthesize} statement.
2008 @cindex guitar tablature
2011 * String number indications::
2012 * Tablatures basic::
2013 * Non-guitar tablatures::
2014 * Banjo tablatures::
2016 * Right hand fingerings::
2017 * Other guitar issues::
2020 @node String number indications
2021 @subsection String number indications
2023 @cindex String numbers
2025 String numbers can be added to chords, by indicating the string number
2026 with @code{\}@var{number},
2028 @lilypond[relative,relative=1,ragged-right,fragment]
2032 See also @inputfileref{input/regression,string-number.ly}.
2037 Program reference: @internalsref{StringNumber}.
2040 @node Tablatures basic
2041 @subsection Tablatures basic
2042 @cindex Tablatures basic
2044 Tablature notation is used for notating music for plucked string
2045 instruments. Pitches are not denoted with note heads, but by
2046 numbers indicating on which string and fret a note must be played. LilyPond
2047 offers limited support for tablature.
2049 The string number associated to a note is given as a backslash
2050 followed by a number, e.g., @code{c4\3} for a C quarter on the third
2051 string. By default, string 1 is the highest one, and the tuning
2052 defaults to the standard guitar tuning (with 6 strings). The notes
2053 are printed as tablature, by using @internalsref{TabStaff} and
2054 @internalsref{TabVoice} contexts
2056 @lilypond[quote,ragged-right,fragment,verbatim]
2063 @funindex minimumFret
2066 When no string is specified, the first string that does not give a
2067 fret number less than @code{minimumFret} is selected. The default
2068 value for @code{minimumFret} is 0
2073 \set TabStaff.minimumFret = #8
2076 @lilypond[quote,ragged-right]
2080 \set TabStaff.minimumFret = #8
2084 \new Staff { \clef "G_8" \frag }
2085 \new TabStaff { \frag }
2092 To print tablatures with stems down and horizontal beams,
2093 initialize the @code{TabStaff} with this code:
2097 \override Beam #'damping = #100000
2102 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}.
2106 Chords are not handled in a special way, and hence the automatic
2107 string selector may easily select the same string to two notes in a
2111 @node Non-guitar tablatures
2112 @subsection Non-guitar tablatures
2113 @cindex Non-guitar tablatures
2115 You can change the tuning of the strings. A string tuning is given as
2116 a Scheme list with one integer number for each string, the number
2117 being the pitch (measured in semitones relative to middle C) of an
2118 open string. The numbers specified for @code{stringTuning} are the
2119 numbers of semitones to subtract or add, starting the specified pitch
2120 by default middle C, in string order. LilyPond automatically calculates
2121 the number of strings by looking at @code{stringTuning}.
2123 In the next example,
2124 @code{stringTunings} is set for the pitches e, a, d, and g
2126 @lilypond[quote,ragged-right,fragment,verbatim]
2128 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
2130 a,4 c' a e' e c' a e'
2135 LilyPond comes with predefined string tunings for banjo, mandolin, guitar
2139 \set TabStaff.stringTunings = #bass-tuning
2142 The default string tuning is @code{guitar-tuning} (the standard EADGBE
2144 Some other predefined tunings are @code{guitar-open-g-tuning},
2145 @code{mandolin-tuning} and @code{banjo-open-g-tuning}.
2149 The file @file{scm/@/output@/-lib@/.scm} contains the predefined string
2151 Program reference: @internalsref{Tab_note_heads_engraver}.
2155 No guitar special effects have been implemented.
2159 @node Banjo tablatures
2160 @subsection Banjo tablatures
2161 @cindex Banjo tablatures
2163 LilyPond has basic support for five stringed banjo. When making tablatures
2164 for five stringed banjo, use the banjo tablature format function to get
2166 fret numbers for the fifth string:
2168 @lilypond[quote,ragged-right,fragment,verbatim]
2170 \set TabStaff.tablatureFormat = #fret-number-tablature-format-banjo
2171 \set TabStaff.stringTunings = #banjo-open-g-tuning
2174 g8 d' g'\5 a b g e d' |
2175 g4 d''8\5 b' a'\2 g'\5 e'\2 d' |
2181 A number of common tunings for banjo are predefined in LilyPond:
2182 @code{banjo-c-tuning} (gCGBD), @code{banjo-modal-tuning} (gDGCD),
2183 @code{banjo-open-d-tuning} (aDF#AD) and @code{banjo-open-dm-tuning}
2186 These tunings may be converted to four string banjo tunings using the
2187 @code{four-string-banjo} function:
2190 \set TabStaff.stringTunings = #(four-string-banjo banjo-c-tuning)
2195 The file @file{scm/@/output@/-lib@/.scm} contains predefined banjo tunings.
2199 @subsection Fret diagrams
2200 @cindex fret diagrams
2201 @cindex chord diagrams
2203 Fret diagrams can be added to music as a markup to the desired note. The
2204 markup contains information about the desired fret diagram, as shown in the
2207 @lilypond[verbatim, ragged-right, quote]
2209 d'^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
2211 fis'^\markup \override #'(size . 0.75) {
2212 \override #'(finger-code . below-string) {
2213 \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
2214 (place-fret 5 4 3) (place-fret 4 4 4)
2215 (place-fret 3 3 2) (place-fret 2 2 1)
2220 c'^\markup \override #'(dot-radius . 0.35) {
2221 \override #'(finger-code . in-dot) {
2222 \override #'(dot-color . white) {
2223 \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
2232 There are three different fret-diagram markup interfaces: standard, terse,
2233 and verbose. The three interfaces produce equivalent markups, but have
2234 varying amounts of information in the markup string. Details about the
2235 markup interfaces are found at @ref{Overview of text markup commands}.
2237 You can set a number of graphical properties according to your preference.
2238 Details about the property interface to fret diagrams are found at
2239 @internalsref{fret-diagram-interface}.
2244 Examples: @inputfileref{input/@/test,fret@/-diagram@/.ly}
2247 @node Right hand fingerings
2248 @subsection Right hand fingerings
2250 Right hand fingerings in chords can be entered using
2251 @code{@var{note}-\rightHandFinger @var{finger}}
2253 @lilypond[verbatim,fragment,relative=2]
2254 <c-\rightHandFinger #1 e-\rightHandFinger #2 >
2257 for brevity, you can abbreviate @code{\rightHandFinger} to something
2258 short, for example @code{RH},
2261 #(define RH rightHandFinger)
2264 @cindex fingerings, right hand, for guitar
2265 @cindex right hand fingerings for guitar
2269 You may exercise greater control over right handing fingerings by
2270 setting @code{strokeFingerOrientations},
2272 @lilypond[quote,verbatim,ragged-right,fragment,relative=1]
2273 #(define RH rightHandFinger)
2275 \set strokeFingerOrientations = #'(up down)
2276 <c-\RH #1 es-\RH #2 g-\RH #4 > 4
2277 \set strokeFingerOrientations = #'(up right down)
2278 <c-\RH #1 es-\RH #2 g-\RH #4 > 4
2282 The letters used for the fingerings are contained in the property
2283 @code{digit-names}, but they can also be set individually by supplying
2284 @code{\rightHandFinger} with a string argument, as in the following example
2287 @lilypond[quote,verbatim,ragged-right,fragment,relative=1]
2288 #(define RH rightHandFinger)
2290 \set strokeFingerOrientations = #'(right)
2291 \override StrokeFinger #'digit-names = ##("x" "y" "z" "!" "@")
2299 Internalls: @internalsref{StrokeFinger}
2303 @node Other guitar issues
2304 @subsection Other guitar issues
2306 This example demonstrates how to include guitar position and
2307 barring indications.
2309 @lilypond[quote,ragged-right,fragment,verbatim,relative=0]
2313 \override TextSpanner #'edge-text = #'("XII " . "")
2315 b16 e16 g16 e16 b16 g16\stopTextSpan
2320 Stopped (X) note heads are used in guitar music to signal a place where the
2321 guitarist must play a certain note or chord, with its fingers just
2322 touching the strings instead of fully pressing them. This gives the sound a
2323 percussive noise-like sound that still maintains part of the original
2324 pitch. It is notated with cross noteheads; this is
2325 demonstrated in @ref{Special noteheads}.
2334 * Bagpipe definitions::
2339 @node Bagpipe definitions
2340 @subsection Bagpipe definitions
2342 LilyPond contains special definitions for music for the Scottish
2343 highland bagpipe; to use them, add
2346 \include "bagpipe.ly"
2350 at the top of your input file. This lets you add the special gracenotes
2351 common to bagpipe music with short commands. For example, you could
2352 write @code{\taor} instead of
2355 \grace @{ \small G32[ d G e] @}
2358 @code{bagpipe.ly} also contains pitch definitions for the bagpipe
2359 notes in the appropiate octaves, so you do not need to worry about
2360 @code{\relative} or @code{\transpose}.
2362 @lilypond[ragged-right,verbatim,quote,notime]
2363 \include "bagpipe.ly"
2364 { \grg G4 \grg a \grg b \grg c \grg d \grg e \grg f \grA g A }
2367 Bagpipe music nominally uses the key of D Major (even though that
2368 isn't really true). However, since that is the only key that can be used,
2369 the key signature is normally not written out. To set this up correctly,
2370 always start your music with @code{\hideKeySignature}. If you for some
2371 reason want to show the key signature, you can use @code{\showKeySignature}
2374 Some modern music use cross fingering on c and f to flatten those notes.
2375 This can be indicated by @code{cflat} or @code{fflat}. Similarly, the
2376 piobaireachd high g can be written @code{gflat} when it occurs in light
2380 @node Bagpipe example
2381 @subsection Bagpipe example
2383 This is what the well known tune Amazing Grace looks like in bagpipe
2386 @lilypond[verbatim,quote]
2387 \include "bagpipe.ly"
2390 \context { \Score \remove "Bar_number_engraver" }
2394 title = "Amazing Grace"
2396 arranger = "Trad. arr."
2402 \grg \partial 4 a8. d16
2403 \slurd d2 \grg f8[ e32 d16.]
2406 \grG a2 \grg a8. d16
2407 \slurd d2 \grg f8[ e32 d16.]
2408 \grg f2 \grg e8. f16
2411 \grg A2 \hdblf f8[ e32 d16.]
2414 \grG a2 \grg a8. d16
2415 \slurd d2 \grg f8[ e32 d16.]
2424 @node Ancient notation
2425 @section Ancient notation
2427 @cindex Vaticana, Editio
2428 @cindex Medicaea, Editio
2433 Support for ancient notation includes features for mensural notation
2434 and Gregorian Chant notation. There is also limited support for
2435 figured bass notation.
2437 Many graphical objects provide a @code{style} property, see
2440 @ref{Ancient note heads},
2442 @ref{Ancient accidentals},
2444 @ref{Ancient rests},
2446 @ref{Ancient clefs},
2448 @ref{Ancient flags},
2450 @ref{Ancient time signatures}.
2453 By manipulating such a grob property, the typographical appearance of
2454 the affected graphical objects can be accommodated for a specific
2455 notation flavor without the need for introducing any new notational
2458 In addition to the standard articulation signs described in section
2459 @ref{Articulations}, specific articulation signs for ancient notation
2464 @ref{Ancient articulations}
2467 Other aspects of ancient notation can not that easily be expressed
2468 in terms of just changing a style property of a graphical object or
2469 adding articulation signs. Some notational concepts are introduced
2470 specifically for ancient notation,
2481 If this all is too much of documentation for you, and you just want to
2482 dive into typesetting without worrying too much about the details on
2483 how to customize a context, you may have a look at the predefined
2484 contexts. Use them to set up predefined style-specific voice and
2485 staff contexts, and directly go ahead with the note entry,
2489 @ref{Gregorian Chant contexts},
2491 @ref{Mensural contexts}.
2494 There is limited support for figured bass notation which came
2495 up during the baroque period.
2502 Here are all suptopics at a glance:
2505 * Ancient note heads::
2506 * Ancient accidentals::
2510 * Ancient time signatures::
2511 * Ancient articulations::
2515 * Gregorian Chant contexts::
2516 * Mensural contexts::
2517 * Musica ficta accidentals::
2523 @node Ancient note heads
2524 @subsection Ancient note heads
2526 @cindex note heads, ancient
2528 For ancient notation, a note head style other than the @code{default}
2529 style may be chosen. This is accomplished by setting the @code{style}
2530 property of the @internalsref{NoteHead} object to @code{baroque},
2531 @code{neomensural}, @code{mensural} or @code{petrucci}. The
2532 @code{baroque} style differs from the @code{default} style only in
2533 using a square shape for @code{\breve} note heads. The
2534 @code{neomensural} style differs from the @code{baroque} style in that
2535 it uses rhomboidal heads for whole notes and all smaller durations.
2536 Stems are centered on the note heads. This style is particularly
2537 useful when transcribing mensural music, e.g., for the incipit. The
2538 @code{mensural} style produces note heads that mimic the look of note
2539 heads in historic printings of the 16th century. Finally, the
2540 @code{petrucci} style also mimicks historic printings, but uses bigger
2543 The following example demonstrates the @code{neomensural} style
2545 @lilypond[quote,fragment,ragged-right,verbatim]
2546 \set Score.skipBars = ##t
2547 \override NoteHead #'style = #'neomensural
2548 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
2551 When typesetting a piece in Gregorian Chant notation, the
2552 @internalsref{Gregorian_ligature_engraver} will automatically select
2553 the proper note heads, so there is no need to explicitly set the
2554 note head style. Still, the note head style can be set, e.g., to
2555 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
2556 @internalsref{Mensural_ligature_engraver} is used to automatically
2557 assemble mensural ligatures. See @ref{Ligatures} for how ligature
2562 Examples: @inputfileref{input/@/regression,note@/-head@/-style@/.ly} gives an
2563 overview over all available note head styles.
2566 @node Ancient accidentals
2567 @subsection Ancient accidentals
2572 Use the @code{glyph-name-alist} property of grob
2573 @internalsref{Accidental} and @internalsref{KeySignature} to select
2574 ancient accidentals.
2576 @lilypond[quote,ragged-right,staffsize=26]
2583 \line { " " \musicglyph #"accidentals.vaticana-1"
2584 " " \musicglyph #"accidentals.vaticana0" }
2588 \line { " " \musicglyph #"accidentals.medicaea-1" }
2592 \line { " " \musicglyph #"accidentals.hufnagel-1" }
2596 \line { " " \musicglyph #"accidentals.mensural-1"
2597 " " \musicglyph #"accidentals.mensural1" }
2603 \context { \Score \remove "Bar_number_engraver" }
2605 \remove "Clef_engraver"
2606 \remove "Key_engraver"
2607 \remove "Time_signature_engraver"
2608 \remove "Staff_symbol_engraver"
2609 \override VerticalAxisGroup #'minimum-Y-extent = ##f
2615 As shown, not all accidentals are supported by each style. When
2616 trying to access an unsupported accidental, LilyPond will switch to a
2617 different style, as demonstrated in
2618 @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2620 Similarly to local accidentals, the style of the key signature can be
2621 controlled by the @code{glyph-name-alist} property of the
2622 @internalsref{KeySignature} grob.
2626 In this manual: @ref{Pitches}, @ref{Cautionary accidentals} and
2627 @ref{Automatic accidentals} give a general introduction of the use of
2628 accidentals. @ref{Key signature} gives a general introduction of
2629 the use of key signatures.
2631 Program reference: @internalsref{KeySignature}.
2633 Examples: @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2636 @subsection Ancient rests
2638 @cindex rests, ancient
2641 Use the @code{style} property of grob @internalsref{Rest} to select
2642 ancient rests. Supported styles are @code{classical},
2643 @code{neomensural}, and @code{mensural}. @code{classical} differs
2644 from the @code{default} style only in that the quarter rest looks like
2645 a horizontally mirrored 8th rest. The @code{neomensural} style suits
2646 well for, e.g., the incipit of a transcribed mensural piece of music.
2647 The @code{mensural} style finally mimics the appearance of rests as
2648 in historic prints of the 16th century.
2650 The following example demonstrates the @code{neomensural} style
2652 @lilypond[quote,fragment,ragged-right,verbatim]
2653 \set Score.skipBars = ##t
2654 \override Rest #'style = #'neomensural
2655 r\longa r\breve r1 r2 r4 r8 r16
2658 There are no 32th and 64th rests specifically for the mensural or
2659 neo-mensural style. Instead, the rests from the default style will be
2660 taken. See @inputfileref{input/@/test,rests@/.ly} for a chart of all
2663 There are no rests in Gregorian Chant notation; instead, it uses
2668 In this manual: @ref{Rests} gives a general introduction into the use of
2673 @subsection Ancient clefs
2678 LilyPond supports a variety of clefs, many of them ancient.
2680 The following table shows all ancient clefs that are supported via the
2681 @code{\clef} command. Some of the clefs use the same glyph, but
2682 differ only with respect to the line they are printed on. In such
2683 cases, a trailing number in the name is used to enumerate these clefs.
2684 Still, you can manually force a clef glyph to be typeset on an
2685 arbitrary line, as described in @ref{Clef}. The note printed to the
2686 right side of each clef in the example column denotes the @code{c'}
2687 with respect to that clef.
2689 @multitable @columnfractions .4 .4 .2
2698 modern style mensural C clef
2700 @code{neomensural-c1}, @code{neomensural-c2},@*
2701 @code{neomensural-c3}, @code{neomensural-c4}
2703 @lilypond[fragment,relative=1,notime]
2704 \clef "neomensural-c2" c
2708 petrucci style mensural C clefs, for use on different staff lines
2709 (the examples show the 2nd staff line C clef)
2711 @code{petrucci-c1}, @code{petrucci-c2},@*
2712 @code{petrucci-c3}, @code{petrucci-c4},@*
2715 @lilypond[fragment,relative=1,notime]
2717 \override NoteHead #'style = #'mensural
2722 petrucci style mensural F clef
2726 @lilypond[fragment,relative=1,notime]
2728 \override NoteHead #'style = #'mensural
2733 petrucci style mensural G clef
2737 @lilypond[fragment,relative=1,notime]
2739 \override NoteHead #'style = #'mensural
2744 historic style mensural C clef
2746 @code{mensural-c1}, @code{mensural-c2},@*
2747 @code{mensural-c3}, @code{mensural-c4}
2749 @lilypond[fragment,relative=1,notime]
2751 \override NoteHead #'style = #'mensural
2756 historic style mensural F clef
2760 @lilypond[fragment,relative=1,notime]
2762 \override NoteHead #'style = #'mensural
2767 historic style mensural G clef
2771 @lilypond[fragment,relative=1,notime]
2773 \override NoteHead #'style = #'mensural
2778 Editio Vaticana style do clef
2780 @code{vaticana-do1}, @code{vaticana-do2},@*
2783 @lilypond[fragment,relative=1,notime]
2784 \override Staff.StaffSymbol #'line-count = #4
2785 \override Staff.StaffSymbol #'color = #red
2786 \override Staff.LedgerLineSpanner #'color = #red
2787 \override Voice.Stem #'transparent = ##t
2788 \override NoteHead #'style = #'vaticana.punctum
2789 \clef "vaticana-do2"
2794 Editio Vaticana style fa clef
2796 @code{vaticana-fa1}, @code{vaticana-fa2}
2798 @lilypond[fragment,relative=1,notime]
2799 \override Staff.StaffSymbol #'line-count = #4
2800 \override Staff.StaffSymbol #'color = #red
2801 \override Staff.LedgerLineSpanner #'color = #red
2802 \override Voice.Stem #'transparent = ##t
2803 \override NoteHead #'style = #'vaticana.punctum
2804 \clef "vaticana-fa2"
2809 Editio Medicaea style do clef
2811 @code{medicaea-do1}, @code{medicaea-do2},@*
2814 @lilypond[fragment,relative=1,notime]
2815 \override Staff.StaffSymbol #'line-count = #4
2816 \override Staff.StaffSymbol #'color = #red
2817 \override Staff.LedgerLineSpanner #'color = #red
2818 \override Voice.Stem #'transparent = ##t
2819 \override NoteHead #'style = #'medicaea.punctum
2820 \clef "medicaea-do2"
2825 Editio Medicaea style fa clef
2827 @code{medicaea-fa1}, @code{medicaea-fa2}
2829 @lilypond[fragment,relative=1,notime]
2830 \override Staff.StaffSymbol #'line-count = #4
2831 \override Staff.StaffSymbol #'color = #red
2832 \override Staff.LedgerLineSpanner #'color = #red
2833 \override Voice.Stem #'transparent = ##t
2834 \override NoteHead #'style = #'medicaea.punctum
2835 \clef "medicaea-fa2"
2840 historic style hufnagel do clef
2842 @code{hufnagel-do1}, @code{hufnagel-do2},@*
2845 @lilypond[fragment,relative=1,notime]
2846 \override Staff.StaffSymbol #'line-count = #4
2847 \override Staff.StaffSymbol #'color = #red
2848 \override Staff.LedgerLineSpanner #'color = #red
2849 \override Voice.Stem #'transparent = ##t
2850 \override NoteHead #'style = #'hufnagel.punctum
2851 \clef "hufnagel-do2"
2856 historic style hufnagel fa clef
2858 @code{hufnagel-fa1}, @code{hufnagel-fa2}
2860 @lilypond[fragment,relative=1,notime]
2861 \override Staff.StaffSymbol #'line-count = #4
2862 \override Staff.StaffSymbol #'color = #red
2863 \override Staff.LedgerLineSpanner #'color = #red
2864 \override Voice.Stem #'transparent = ##t
2865 \override NoteHead #'style = #'hufnagel.punctum
2866 \clef "hufnagel-fa2"
2871 historic style hufnagel combined do/fa clef
2873 @code{hufnagel-do-fa}
2875 @lilypond[fragment,relative=1,notime]
2876 \override Staff.StaffSymbol #'color = #red
2877 \override Staff.LedgerLineSpanner #'color = #red
2878 \override Voice.Stem #'transparent = ##t
2879 \override NoteHead #'style = #'hufnagel.punctum
2880 \clef "hufnagel-do-fa"
2887 @emph{Modern style} means @qq{as is typeset in contemporary editions of
2888 transcribed mensural music.}
2890 @emph{Petrucci style} means @qq{inspired by printings published by the
2891 famous engraver Petrucci (1466-1539).}
2893 @emph{Historic style} means @qq{as was typeset or written in historic
2894 editions (other than those of Petrucci).}
2896 @emph{Editio XXX style} means @qq{as is/was printed in Editio XXX.}
2898 Petrucci used C clefs with differently balanced left-side vertical
2899 beams, depending on which staff line it is printed.
2903 In this manual: see @ref{Clef}.
2907 The mensural g clef is mapped to the Petrucci g clef.
2912 @subsection Ancient flags
2917 Use the @code{flag-style} property of grob @internalsref{Stem} to
2918 select ancient flags. Besides the @code{default} flag style,
2919 only the @code{mensural} style is supported
2921 @lilypond[quote,fragment,ragged-right,verbatim]
2922 \override Stem #'flag-style = #'mensural
2923 \override Stem #'thickness = #1.0
2924 \override NoteHead #'style = #'mensural
2926 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
2927 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
2930 Note that the innermost flare of each mensural flag always is
2931 vertically aligned with a staff line.
2933 There is no particular flag style for neo-mensural notation. Hence,
2934 when typesetting the incipit of a transcribed piece of mensural
2935 music, the default flag style should be used. There are no flags in
2936 Gregorian Chant notation.
2940 The attachment of ancient flags to stems is slightly off due to a
2941 change in early 2.3.x.
2943 Vertically aligning each flag with a staff line assumes that stems
2944 always end either exactly on or exactly in the middle between two
2945 staff lines. This may not always be true when using advanced layout
2946 features of classical notation (which however are typically out of
2947 scope for mensural notation).
2949 @node Ancient time signatures
2950 @subsection Ancient time signatures
2952 @cindex time signatures
2955 There is limited support for mensural time signatures. The
2956 glyphs are hard-wired to particular time fractions. In other words,
2957 to get a particular mensural signature glyph with the @code{\time n/m}
2958 command, @code{n} and @code{m} have to be chosen according to the
2961 @lilypond[quote,ragged-right]
2966 \remove Staff_symbol_engraver
2967 \remove Clef_engraver
2968 \remove Time_signature_engraver
2972 \set Score.timing = ##f
2973 \set Score.barAlways = ##t
2974 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph
2975 #"timesig.neomensural44" }
2977 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph
2978 #"timesig.neomensural22" }
2980 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph
2981 #"timesig.neomensural64" }
2983 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph
2984 #"timesig.neomensural68" }
2986 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph
2987 #"timesig.neomensural32" }
2989 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph
2990 #"timesig.neomensural34" }
2992 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph
2993 #"timesig.neomensural94" }
2995 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph
2996 #"timesig.neomensural98" }
2998 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph
2999 #"timesig.neomensural48" }
3001 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph
3002 #"timesig.neomensural24" }
3006 Use the @code{style} property of grob @internalsref{TimeSignature} to
3007 select ancient time signatures. Supported styles are
3008 @code{neomensural} and @code{mensural}. The above table uses the
3009 @code{neomensural} style. This style is appropriate for the
3010 incipit of transcriptions of mensural pieces. The @code{mensural}
3011 style mimics the look of historical printings of the 16th century.
3013 The following examples show the differences in style,
3015 @lilypond[ragged-right,fragment,relative=1,quote]
3020 c1^\markup { \hspace #-2.0 \typewriter default }
3022 \override Staff.TimeSignature #'style = #'numbered
3024 c1^\markup { \hspace #-2.0 \typewriter numbered }
3026 \override Staff.TimeSignature #'style = #'mensural
3028 c1^\markup { \hspace #-2.0 \typewriter mensural }
3030 \override Staff.TimeSignature #'style = #'neomensural
3032 c1^\markup { \hspace #-2.0 \typewriter neomensural }
3033 \override Staff.TimeSignature #'style = #'single-digit
3035 c1^\markup { \hspace #-2.0 \typewriter single-digit }
3041 This manual: @ref{Time signature} gives a general introduction to
3042 the use of time signatures.
3046 Ratios of note durations do not change with the time signature. For
3047 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
3048 be made by hand, by setting
3051 breveTP = #(ly:make-duration -1 0 3 2)
3057 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
3059 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
3060 addressable with @code{\time}. Use a @code{\markup} instead
3062 @node Ancient articulations
3063 @subsection Ancient articulations
3065 @cindex articulations
3067 In addition to the standard articulation signs described in section
3068 @ref{Articulations}, articulation signs for ancient notation are
3069 provided. These are specifically designed for use with notation in
3070 Editio Vaticana style.
3072 @lilypond[quote,ragged-right,verbatim]
3073 \include "gregorian-init.ly"
3075 \new VaticanaVoice {
3076 \override TextScript #'font-family = #'typewriter
3077 \override TextScript #'font-shape = #'upright
3078 \override Script #'padding = #-0.1
3079 a\ictus_"ictus" \break
3080 a\circulus_"circulus" \break
3081 a\semicirculus_"semicirculus" \break
3082 a\accentus_"accentus" \break
3083 \[ a_"episem" \episemInitium \pes b \flexa a b \episemFinis \flexa a \]
3090 Some articulations are vertically placed too closely to the
3091 correpsonding note heads.
3093 The episem line is not displayed in many cases. If it is displayed,
3094 the right end of the episem line is often too far to the right.
3097 @subsection Custodes
3102 A @emph{custos} (plural: @emph{custodes}; Latin word for @q{guard}) is a
3103 symbol that appears at the end of a staff. It anticipates the pitch
3104 of the first note(s) of the following line thus helping the performer
3105 to manage line breaks during performance.
3107 Custodes were frequently used in music notation until the 17th
3108 century. Nowadays, they have survived only in a few particular forms
3109 of musical notation such as contemporary editions of Gregorian chant
3110 like the @emph{editio vaticana}. There are different custos glyphs
3111 used in different flavors of notational style.
3113 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
3114 @internalsref{Staff} context when declaring the @code{\layout} block,
3115 as shown in the following example
3121 \consists Custos_engraver
3122 Custos \override #'style = #'mensural
3127 The result looks like this
3129 @lilypond[quote,ragged-right]
3133 \override Staff.Custos #'style = #'mensural
3138 \context { \Staff \consists Custos_engraver }
3143 The custos glyph is selected by the @code{style} property. The styles
3144 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
3145 @code{mensural}. They are demonstrated in the following fragment
3147 @lilypond[quote,ragged-right,fragment]
3148 \new Lyrics \lyricmode {
3150 \typewriter "vaticana"
3151 \line { " " \musicglyph #"custodes.vaticana.u0" }
3154 \typewriter "medicaea"
3155 \line { " " \musicglyph #"custodes.medicaea.u0" }
3158 \typewriter "hufnagel"
3159 \line { " " \musicglyph #"custodes.hufnagel.u0" }
3162 \typewriter "mensural"
3163 \line { " " \musicglyph #"custodes.mensural.u0" }
3170 Program reference: @internalsref{Custos}.
3172 Examples: @inputfileref{input/@/regression,custos@/.ly}.
3176 @subsection Divisiones
3182 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
3183 @q{division}) is a staff context symbol that is used to structure
3184 Gregorian music into phrases and sections. The musical meaning of
3185 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
3186 can be characterized as short, medium, and long pause, somewhat like
3187 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
3188 only marks the end of a chant, but is also frequently used within a
3189 single antiphonal/responsorial chant to mark the end of each section.
3192 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
3193 contains definitions that you can apply by just inserting
3194 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
3195 and @code{\finalis} at proper places in the input. Some editions use
3196 @emph{virgula} or @emph{caesura} instead of divisio minima.
3197 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
3200 @lilypondfile[quote,ragged-right]{divisiones.ly}
3208 @funindex \divisioMinima
3209 @code{\divisioMinima},
3210 @funindex \divisioMaior
3211 @code{\divisioMaior},
3212 @funindex \divisioMaxima
3213 @code{\divisioMaxima},
3219 In this manual: @ref{Breath marks}.
3221 Program reference: @internalsref{BreathingSign}.
3223 Examples: @inputfileref{input/@/test,divisiones@/.ly}.
3226 @subsection Ligatures
3230 @c TODO: Should double check if I recalled things correctly when I wrote
3231 @c down the following paragraph by heart.
3233 A ligature is a graphical symbol that represents at least two distinct
3234 notes. Ligatures originally appeared in the manuscripts of Gregorian
3235 chant notation to denote ascending or descending sequences of notes.
3237 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
3238 Some ligature styles may need additional input syntax specific for
3239 this particular type of ligature. By default, the
3240 @internalsref{LigatureBracket} engraver just puts a square bracket
3243 @lilypond[quote,ragged-right,verbatim]
3251 To select a specific style of ligatures, a proper ligature engraver
3252 has to be added to the @internalsref{Voice} context, as explained in
3253 the following subsections. Only white mensural ligatures
3254 are supported with certain limitations.
3260 Ligatures need special spacing that has not yet been implemented. As
3261 a result, there is too much space between ligatures most of the time,
3262 and line breaking often is unsatisfactory. Also, lyrics do not
3263 correctly align with ligatures.
3265 Accidentals must not be printed within a ligature, but instead need to
3266 be collected and printed in front of it.
3268 The syntax still uses the deprecated infix style @code{\[ music expr
3269 \]}. For consistency reasons, it will eventually be changed to
3270 postfix style @code{note\[ ... note\]}. Alternatively, the file
3271 @file{gregorian@/-init@/.ly} can be included; it provides a scheme
3274 \ligature @var{music expr}
3276 with the same effect and is believed to be stable.
3279 * White mensural ligatures::
3280 * Gregorian square neumes ligatures::
3283 @node White mensural ligatures
3284 @subsubsection White mensural ligatures
3286 @cindex Mensural ligatures
3287 @cindex White mensural ligatures
3289 There is limited support for white mensural ligatures.
3291 To engrave white mensural ligatures, in the layout block put the
3292 @internalsref{Mensural_ligature_engraver} into the
3293 @internalsref{Voice} context, and remove the
3294 @internalsref{Ligature_bracket_engraver}, like this
3300 \remove Ligature_bracket_engraver
3301 \consists Mensural_ligature_engraver
3306 There is no additional input language to describe the shape of a
3307 white mensural ligature. The shape is rather determined solely from
3308 the pitch and duration of the enclosed notes. While this approach may
3309 take a new user a while to get accustomed to, it has the great advantage
3310 that the full musical information of the ligature is known internally.
3311 This is not only required for correct MIDI output, but also allows for
3312 automatic transcription of the ligatures.
3317 \set Score.timing = ##f
3318 \set Score.defaultBarType = "empty"
3319 \override NoteHead #'style = #'neomensural
3320 \override Staff.TimeSignature #'style = #'neomensural
3323 \[ d\longa c\breve f e d \]
3324 \[ c'\maxima d'\longa \]
3327 @lilypond[quote,ragged-right]
3330 \set Score.timing = ##f
3331 \set Score.defaultBarType = "empty"
3332 \override NoteHead #'style = #'neomensural
3333 \override Staff.TimeSignature #'style = #'neomensural
3336 \[ d\longa c\breve f e d \]
3337 \[ c'\maxima d'\longa \]
3343 \remove Ligature_bracket_engraver
3344 \consists Mensural_ligature_engraver
3350 Without replacing @internalsref{Ligature_bracket_engraver} with
3351 @internalsref{Mensural_ligature_engraver}, the same music transcribes
3354 @lilypond[quote,ragged-right]
3356 \set Score.timing = ##f
3357 \set Score.defaultBarType = "empty"
3358 \override NoteHead #'style = #'neomensural
3359 \override Staff.TimeSignature #'style = #'neomensural
3362 \[ d\longa c\breve f e d \]
3363 \[ c'\maxima d'\longa \]
3370 Horizontal spacing is poor.
3372 @node Gregorian square neumes ligatures
3373 @subsubsection Gregorian square neumes ligatures
3375 @cindex Square neumes ligatures
3376 @cindex Gregorian square neumes ligatures
3378 There is limited support for Gregorian square neumes notation
3379 (following the style of the Editio Vaticana). Core ligatures can
3380 already be typeset, but essential issues for serious typesetting are
3381 still lacking, such as (among others) horizontal alignment of multiple
3382 ligatures, lyrics alignment and proper handling of accidentals.
3385 The following table contains the extended neumes table of the 2nd
3386 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
3387 1983 by the monks of Solesmes.
3389 @multitable @columnfractions .4 .2 .2 .2
3406 @c TODO: \layout block is identical in all of the below examples.
3407 @c Therefore, it should somehow be included rather than duplicated all
3410 @c why not make identifiers in ly/engraver-init.ly? --hwn
3412 @c Because it's just used to typeset plain notes without
3413 @c a staff for demonstration purposes rather than something
3414 @c special of Gregorian chant notation. --jr
3419 @lilypond[staffsize=26,line-width=1.5\cm]
3420 \include "gregorian-init.ly"
3425 \noBreak s^\markup {"a"} \noBreak
3427 % Punctum Inclinatum
3429 \noBreak s^\markup {"b"}
3431 \layout { \neumeDemoLayout }}
3434 @lilypond[staffsize=26,line-width=2.5\cm]
3435 \include "gregorian-init.ly"
3438 % Punctum Auctum Ascendens
3439 \[ \auctum \ascendens b \]
3440 \noBreak s^\markup {"c"} \noBreak
3442 % Punctum Auctum Descendens
3443 \[ \auctum \descendens b \]
3444 \noBreak s^\markup {"d"} \noBreak
3446 % Punctum Inclinatum Auctum
3447 \[ \inclinatum \auctum b \]
3448 \noBreak s^\markup {"e"}
3450 \layout { \neumeDemoLayout }}
3453 @lilypond[staffsize=26,line-width=1.0\cm]
3454 \include "gregorian-init.ly"
3457 % Punctum Inclinatum Parvum
3458 \[ \inclinatum \deminutum b \]
3459 \noBreak s^\markup {"f"}
3461 \layout { \neumeDemoLayout }}
3467 @lilypond[staffsize=26,line-width=1.0\cm]
3468 \include "gregorian-init.ly"
3473 \noBreak s^\markup {"g"}
3475 \layout { \neumeDemoLayout }}
3481 @code{3. Apostropha vel Stropha}
3483 @lilypond[staffsize=26,line-width=1.0\cm]
3484 \include "gregorian-init.ly"
3489 \noBreak s^\markup {"h"}
3491 \layout { \neumeDemoLayout }}
3494 @lilypond[staffsize=26,line-width=1.0\cm]
3495 \include "gregorian-init.ly"
3499 \[ \stropha \auctum b \]
3500 \noBreak s^\markup {"i"}
3502 \layout { \neumeDemoLayout }}
3509 @lilypond[staffsize=26,line-width=1.0\cm]
3510 \include "gregorian-init.ly"
3515 \noBreak s^\markup {"j"}
3517 \layout { \neumeDemoLayout }}
3523 @code{5. Clivis vel Flexa}
3525 @lilypond[staffsize=26,line-width=1.0\cm]
3526 \include "gregorian-init.ly"
3533 \layout { \neumeDemoLayout }}
3536 @lilypond[staffsize=26,line-width=2.0\cm]
3537 \include "gregorian-init.ly"
3540 % Clivis Aucta Descendens
3541 \[ b \flexa \auctum \descendens g \]
3542 \noBreak s^\markup {"l"} \noBreak
3544 % Clivis Aucta Ascendens
3545 \[ b \flexa \auctum \ascendens g \]
3546 \noBreak s^\markup {"m"}
3548 \layout { \neumeDemoLayout }}
3551 @lilypond[staffsize=26,line-width=1.0\cm]
3552 \include "gregorian-init.ly"
3556 \[ b \flexa \deminutum g \]
3559 \layout { \neumeDemoLayout }}
3563 @code{6. Podatus vel Pes}
3565 @lilypond[staffsize=26,line-width=1.0\cm]
3566 \include "gregorian-init.ly"
3573 \layout { \neumeDemoLayout }}
3576 @lilypond[staffsize=26,line-width=2.0\cm]
3577 \include "gregorian-init.ly"
3580 % Pes Auctus Descendens
3581 \[ g \pes \auctum \descendens b \]
3582 \noBreak s^\markup {"p"} \noBreak
3584 % Pes Auctus Ascendens
3585 \[ g \pes \auctum \ascendens b \]
3586 \noBreak s^\markup {"q"}
3588 \layout { \neumeDemoLayout }}
3591 @lilypond[staffsize=26,line-width=1.0\cm]
3592 \include "gregorian-init.ly"
3596 \[ g \pes \deminutum b \]
3599 \layout { \neumeDemoLayout }}
3603 @code{7. Pes Quassus}
3605 @lilypond[staffsize=26,line-width=1.0\cm]
3606 \include "gregorian-init.ly"
3610 \[ \oriscus g \pes \virga b \]
3613 \layout { \neumeDemoLayout }}
3616 @lilypond[staffsize=26,line-width=1.0\cm]
3617 \include "gregorian-init.ly"
3620 % Pes Quassus Auctus Descendens
3621 \[ \oriscus g \pes \auctum \descendens b \]
3624 \layout { \neumeDemoLayout }}
3629 @code{8. Quilisma Pes}
3631 @lilypond[staffsize=26,line-width=1.0\cm]
3632 \include "gregorian-init.ly"
3636 \[ \quilisma g \pes b \]
3639 \layout { \neumeDemoLayout }}
3642 @lilypond[staffsize=26,line-width=1.0\cm]
3643 \include "gregorian-init.ly"
3646 % Quilisma Pes Auctus Descendens
3647 \[ \quilisma g \pes \auctum \descendens b \]
3650 \layout { \neumeDemoLayout }}
3655 @code{9. Podatus Initio Debilis}
3657 @lilypond[staffsize=26,line-width=1.0\cm]
3658 \include "gregorian-init.ly"
3661 % Pes Initio Debilis
3662 \[ \deminutum g \pes b \]
3665 \layout { \neumeDemoLayout }}
3668 @lilypond[staffsize=26,line-width=1.0\cm]
3669 \include "gregorian-init.ly"
3672 % Pes Auctus Descendens Initio Debilis
3673 \[ \deminutum g \pes \auctum \descendens b \]
3676 \layout { \neumeDemoLayout }}
3683 @lilypond[staffsize=26,line-width=1.0\cm]
3684 \include "gregorian-init.ly"
3688 \[ a \pes b \flexa g \]
3691 \layout { \neumeDemoLayout }}
3694 @lilypond[staffsize=26,line-width=1.0\cm]
3695 \include "gregorian-init.ly"
3698 % Torculus Auctus Descendens
3699 \[ a \pes b \flexa \auctum \descendens g \]
3702 \layout { \neumeDemoLayout }}
3705 @lilypond[staffsize=26,line-width=1.0\cm]
3706 \include "gregorian-init.ly"
3709 % Torculus Deminutus
3710 \[ a \pes b \flexa \deminutum g \]
3713 \layout { \neumeDemoLayout }}
3717 @code{11. Torculus Initio Debilis}
3719 @lilypond[staffsize=26,line-width=1.0\cm]
3720 \include "gregorian-init.ly"
3723 % Torculus Initio Debilis
3724 \[ \deminutum a \pes b \flexa g \]
3727 \layout { \neumeDemoLayout }}
3730 @lilypond[staffsize=26,line-width=1.0\cm]
3731 \include "gregorian-init.ly"
3734 % Torculus Auctus Descendens Initio Debilis
3735 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
3738 \layout { \neumeDemoLayout }}
3741 @lilypond[staffsize=26,line-width=1.0\cm]
3742 \include "gregorian-init.ly"
3745 % Torculus Deminutus Initio Debilis
3746 \[ \deminutum a \pes b \flexa \deminutum g \]
3749 \layout { \neumeDemoLayout }}
3753 @code{12. Porrectus}
3755 @lilypond[staffsize=26,line-width=1.0\cm]
3756 \include "gregorian-init.ly"
3760 \[ a \flexa g \pes b \]
3763 \layout { \neumeDemoLayout }}
3766 @lilypond[staffsize=26,line-width=1.0\cm]
3767 \include "gregorian-init.ly"
3770 % Porrectus Auctus Descendens
3771 \[ a \flexa g \pes \auctum \descendens b \]
3774 \layout { \neumeDemoLayout }}
3777 @lilypond[staffsize=26,line-width=1.0\cm]
3778 \include "gregorian-init.ly"
3781 % Porrectus Deminutus
3782 \[ a \flexa g \pes \deminutum b \]
3785 \layout { \neumeDemoLayout }}
3791 @lilypond[staffsize=26,line-width=1.0\cm]
3792 \include "gregorian-init.ly"
3796 \[ \virga b \inclinatum a \inclinatum g \]
3799 \layout { \neumeDemoLayout }
3803 @lilypond[staffsize=26,line-width=1.0\cm]
3804 \include "gregorian-init.ly"
3808 \[ \virga b \inclinatum a \inclinatum \auctum g \]
3811 \layout { \neumeDemoLayout }}
3814 @lilypond[staffsize=26,line-width=1.0\cm]
3815 \include "gregorian-init.ly"
3818 % Climacus Deminutus
3819 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
3822 \layout { \neumeDemoLayout }}
3826 @code{14. Scandicus}
3828 @lilypond[staffsize=26,line-width=1.0\cm]
3829 \include "gregorian-init.ly"
3833 \[ g \pes a \virga b \]
3836 \layout { \neumeDemoLayout }}
3839 @lilypond[staffsize=26,line-width=1.0\cm]
3840 \include "gregorian-init.ly"
3843 % Scandicus Auctus Descendens
3844 \[ g \pes a \pes \auctum \descendens b \]
3847 \layout { \neumeDemoLayout }}
3850 @lilypond[staffsize=26,line-width=1.0\cm]
3851 \include "gregorian-init.ly"
3854 % Scandicus Deminutus
3855 \[ g \pes a \pes \deminutum b \]
3858 \layout { \neumeDemoLayout }}
3864 @lilypond[staffsize=26,line-width=1.0\cm]
3865 \include "gregorian-init.ly"
3869 \[ g \oriscus a \pes \virga b \]
3872 \layout { \neumeDemoLayout }}
3875 @lilypond[staffsize=26,line-width=1.0\cm]
3876 \include "gregorian-init.ly"
3879 % Salicus Auctus Descendens
3880 \[ g \oriscus a \pes \auctum \descendens b \]
3883 \layout { \neumeDemoLayout }}
3890 @lilypond[staffsize=26,line-width=1.0\cm]
3891 \include "gregorian-init.ly"
3895 \[ \stropha b \stropha b \stropha a \]
3898 \layout { \neumeDemoLayout }
3907 Unlike most other neumes notation systems, the input language for
3908 neumes does not reflect the typographical appearance, but is designed
3909 to focus on musical meaning. For example, @code{\[ a \pes b
3910 \flexa g \]} produces a Torculus consisting of three Punctum heads,
3911 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
3912 curved flexa shape and only a single Punctum head. There is no
3913 command to explicitly typeset the curved flexa shape; the decision of
3914 when to typeset a curved flexa shape is based on the musical
3915 input. The idea of this approach is to separate the musical aspects
3916 of the input from the notation style of the output. This way, the
3917 same input can be reused to typeset the same music in a different
3918 style of Gregorian chant notation.
3920 The following table shows the code fragments that produce the
3921 ligatures in the above neumes table. The letter in the first column
3922 in each line of the below table indicates to which ligature in the
3923 above table it refers. The second column gives the name of the
3924 ligature. The third column shows the code fragment that produces this
3925 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
3927 @multitable @columnfractions .02 .31 .67
3947 @code{\[ \inclinatum b \]}
3955 @code{\[ \auctum \ascendens b \]}
3963 @code{\[ \auctum \descendens b \]}
3968 Punctum Inclinatum@*
3971 @code{\[ \inclinatum \auctum b \]}
3976 Punctum Inclinatum@*
3978 @code{\[ \inclinatum \deminutum b \]}
3985 @code{\[ \virga b \]}
3992 @code{\[ \stropha b \]}
3999 @code{\[ \stropha \auctum b \]}
4006 @code{\[ \oriscus b \]}
4013 @code{\[ b \flexa g \]}
4021 @code{\[ b \flexa \auctum \descendens g \]}
4029 @code{\[ b \flexa \auctum \ascendens g \]}
4036 @code{\[ b \flexa \deminutum g \]}
4043 @code{\[ g \pes b \]}
4051 @code{\[ g \pes \auctum \descendens b \]}
4059 @code{\[ g \pes \auctum \ascendens b \]}
4066 @code{\[ g \pes \deminutum b \]}
4073 @code{\[ \oriscus g \pes \virga b \]}
4079 Auctus Descendens @tab
4080 @code{\[ \oriscus g \pes \auctum \descendens b \]}
4087 @code{\[ \quilisma g \pes b \]}
4095 @code{\[ \quilisma g \pes \auctum \descendens b \]}
4102 @code{\[ \deminutum g \pes b \]}
4107 Pes Auctus Descendens@*
4110 @code{\[ \deminutum g \pes \auctum \descendens b \]}
4117 @code{\[ a \pes b \flexa g \]}
4125 @code{\[ a \pes b \flexa \auctum \descendens g \]}
4132 @code{\[ a \pes b \flexa \deminutum g \]}
4137 Torculus Initio Debilis
4139 @code{\[ \deminutum a \pes b \flexa g \]}
4145 Descendens Initio Debilis
4147 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
4152 Torculus Deminutus@*
4155 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
4162 @code{\[ a \flexa g \pes b \]}
4170 @code{\[ a \flexa g \pes \auctum \descendens b \]}
4177 @code{\[ a \flexa g \pes \deminutum b \]}
4184 @code{\[ \virga b \inclinatum a \inclinatum g \]}
4191 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
4198 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
4205 @code{\[ g \pes a \virga b \]}
4213 @code{\[ g \pes a \pes \auctum \descendens b \]}
4220 @code{\[ g \pes a \pes \deminutum b \]}
4227 @code{\[ g \oriscus a \pes \virga b \]}
4232 Salicus Auctus Descendens
4234 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
4241 @code{\[ \stropha b \stropha b \stropha a \]}
4244 The ligatures listed above mainly serve as a limited, but still
4245 representative pool of Gregorian ligature examples. Virtually, within
4246 the ligature delimiters @code{\[} and @code{\]}, any number of heads
4247 may be accumulated to form a single ligature, and head prefixes like
4248 @code{\pes}, @code{\flexa}, @code{\virga}, @code{\inclinatum},
4249 etc. may be mixed in as desired. The use of the set of rules that
4250 underlies the construction of the ligatures in the above table is
4251 accordingly extrapolated. This way, infinitely many different
4252 ligatures can be created.
4254 @c TODO: create a regression or tips & tricks example document with
4255 @c even more Gregorian ligatures, and add a link to this document
4258 Augmentum dots, also called @emph{morae}, are added with the music
4259 function @code{\augmentum}. Note that @code{\augmentum} is
4260 implemented as a unary music function rather than as head prefix. It
4261 applies to the immediately following music expression only. That is,
4262 @code{\augmentum \virga c} will have no visible effect. Instead, say
4263 @code{\virga \augmentum c} or @code{\augmentum @{\virga c@}}. Also
4264 note that you can say @code{\augmentum @{a g@}} as a shortcut for
4265 @code{\augmentum a \augmentum g}.
4267 @lilypond[quote,ragged-right,verbatim]
4268 \include "gregorian-init.ly"
4270 \new VaticanaVoice {
4271 \[ \augmentum a \flexa \augmentum g \]
4279 The following head prefixes are supported
4285 @funindex \inclinatum
4289 @funindex \descendens
4291 @funindex \ascendens
4297 @funindex \deminutum
4304 Head prefixes can be accumulated, though restrictions apply. For
4305 example, either @code{\descendens} or @code{\ascendens} can be applied
4306 to a head, but not both to the same head.
4310 Two adjacent heads can be tied together with the @code{\pes} and
4311 @code{\flexa} infix commands for a rising and falling line of melody,
4314 @funindex \augmentum
4315 Use the unary music function @code{\augmentum} to add augmentum dots.
4319 When an @code{\augmentum} dot appears at the end of the last staff
4320 within a ligature, it is sometimes vertically placed wrong. As a
4321 workaround, add an additional skip note (e.g. @code{s8}) as last note
4324 @code{\augmentum} should be implemented as a head prefix rather than a
4325 unary music function, such that @code{\augmentum} can be intermixed
4326 with head prefixes in arbitrary order.
4328 @node Gregorian Chant contexts
4329 @subsection Gregorian Chant contexts
4331 @cindex VaticanaVoiceContext
4332 @cindex VaticanaStaffContext
4334 The predefined @code{VaticanaVoiceContext} and
4335 @code{VaticanaStaffContext} can be used to engrave a piece of
4336 Gregorian Chant in the style of the Editio Vaticana. These contexts
4337 initialize all relevant context properties and grob properties to
4338 proper values, so you can immediately go ahead entering the chant, as
4339 the following excerpt demonstrates
4341 @lilypond[quote,ragged-right,packed,verbatim]
4342 \include "gregorian-init.ly"
4345 \new VaticanaVoice = "cantus" {
4346 \[ c'\melisma c' \flexa a \]
4347 \[ a \flexa \deminutum g\melismaEnd \]
4349 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
4350 c' \divisioMinima \break
4351 \[ c'\melisma c' \flexa a \]
4352 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
4354 \new Lyrics \lyricsto "cantus" {
4355 San- ctus, San- ctus, San- ctus
4362 @node Mensural contexts
4363 @subsection Mensural contexts
4365 @cindex MensuralVoiceContext
4366 @cindex MensuralStaffContext
4368 The predefined @code{MensuralVoiceContext} and
4369 @code{MensuralStaffContext} can be used to engrave a piece in mensural
4370 style. These contexts initialize all relevant context properties and
4371 grob properties to proper values, so you can immediately go ahead
4372 entering the chant, as the following excerpt demonstrates
4374 @lilypond[quote,ragged-right,verbatim]
4377 \new MensuralVoice = "discantus" \transpose c c' {
4378 \override Score.BarNumber #'transparent = ##t {
4379 c'1\melisma bes a g\melismaEnd
4381 \[ f1\melisma a c'\breve d'\melismaEnd \]
4383 c'\breve\melisma a1 g1\melismaEnd
4384 fis\longa^\signumcongruentiae
4387 \new Lyrics \lyricsto "discantus" {
4388 San -- ctus, San -- ctus, San -- ctus
4394 @node Musica ficta accidentals
4395 @subsection Musica ficta accidentals
4397 In European music from before about 1600, singers were often expected
4398 to chromatically alter notes at their own initiative. This is called
4399 @q{Musica Ficta}. In modern transcriptions, these accidentals are
4400 usually printed over the note.
4402 @cindex Accidental, musica ficta
4403 @cindex Musica ficta
4405 Support for such suggested accidentals is included, and can be
4406 switched on by setting @code{suggestAccidentals} to true.
4408 @funindex suggestAccidentals
4410 @lilypond[verbatim,fragment,relative=1]
4412 \set suggestAccidentals = ##t
4418 Program reference: @internalsref{Accidental_engraver} engraver and the
4419 @internalsref{AccidentalSuggestion} object.
4422 @subsection Figured bass
4424 @cindex Basso continuo
4426 @c TODO: musicological blurb about FB
4429 LilyPond has support for figured bass
4431 @lilypond[quote,ragged-right,verbatim,fragment]
4433 \new Voice { \clef bass dis4 c d ais g fis}
4434 \new FiguredBass \figuremode {
4435 < 6 >4 < 7\+ >8 < 6+ [_!] >
4442 The support for figured bass consists of two parts: there is an input
4443 mode, introduced by @code{\figuremode}, where you can enter bass figures
4444 as numbers, and there is a context called @internalsref{FiguredBass} that
4445 takes care of making @internalsref{BassFigure} objects.
4447 In figures input mode, a group of bass figures is delimited by
4448 @code{<} and @code{>}. The duration is entered after the @code{>}
4452 @lilypond[quote,ragged-right,fragment]
4454 \figuremode { <4 6> }
4457 Accidentals are added when you append @code{-}, @code{!}, and @code{+}
4458 to the numbers. A plus sign is added when you append @code{\+}, and
4459 diminished fifths and sevenths can be obtained with @code{5/} and @code{7/}.
4462 <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/>
4464 @lilypond[quote,ragged-right,fragment]
4465 \figures { <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/> }
4468 Spaces may be inserted by using @code{_}. Brackets are
4469 introduced with @code{[} and @code{]}. You can also include text
4470 strings and text markups, see @ref{Overview of text markup commands}.
4473 < [4 6] 8 [_! 12] > < 5 \markup @{ \number 6 \super (1) @} >
4475 @lilypond[quote,ragged-right,fragment]
4477 \figuremode { < [4 6] 8 [_! 12] > < 5 \markup{ \tiny \number 6 \super (1)} > }
4481 It is also possible to use continuation lines for repeated figures,
4483 @lilypond[verbatim,relative=1]
4490 \set useBassFigureExtenders = ##t
4497 In this case, the extender lines always replace existing figures.
4499 The @code{FiguredBass} context doesn't pay attention to the actual
4500 bass line. As a consequence, you may have to insert extra figures to
4501 get extender lines below all notes, and you may have to add @code{\!}
4502 to avoid getting an extender line, e.g.
4504 @lilypond[relative=1]
4508 \set useBassFigureExtenders = ##t
4509 <6 4->4. <6 4->16. <6 4->32 <5>8. r16 <6>8 <6\! 5->
4513 f16. g32 f16. g32 f16. g32 f16. g32 f8. es16 d8 es
4518 When using continuation lines, common figures are always put in the
4519 same vertical position. When this is unwanted, you can insert a rest
4520 with @code{r}. The rest will clear any previous alignment. For
4521 example, you can write
4533 Accidentals and plus signs can appear before or after the numbers,
4534 depending on the @code{figuredBassAlterationDirection} and
4535 @code{figuredBassPlusDirection}
4541 \set figuredBassAlterationDirection = #1
4543 \set figuredBassPlusDirection = #1
4545 \set figuredBassAlterationDirection = #-1
4551 Although the support for figured bass may superficially resemble chord
4552 support, it is much simpler. The @code{\figuremode} mode simply
4553 stores the numbers and @internalsref{FiguredBass} context prints them
4554 as entered. There is no conversion to pitches and no realizations of
4555 the bass are played in the MIDI file.
4557 Internally, the code produces markup texts. You can use any of the
4558 markup text properties to override formatting. For example, the
4559 vertical spacing of the figures may be set with @code{baseline-skip}.
4562 Figured bass can also be added to @code{Staff} contexts
4563 directly. In this case, their vertical position is adjusted
4566 @lilypond[ragged-right,fragment,quote]
4568 \new Staff = someUniqueName
4573 %% send to existing Staff.
4574 \context Staff = someUniqueName
4578 \set Staff.useBassFigureExtenders = ##t
4587 When using figured bass above the staff with extender lines and
4588 @code{implicitBassFigures} the lines may become swapped around.
4589 Maintaining order consistently will be impossible when multiple figures
4590 have overlapping extender lines. To avoid this problem, plese
4591 use @code{stacking-dir} on @code{BassFigureAlignment}.
4596 Program reference: @internalsref{NewBassFigure},
4597 @internalsref{BassFigureAlignment}, @internalsref{BassFigureLine},
4598 @internalsref{BassFigureBracket}, and
4599 @internalsref{BassFigureContinuation} objects and
4600 @internalsref{FiguredBass} context.
4604 @node Other instrument specific notation
4605 @section Other instrument specific notation
4607 This section includes extra information for writing for instruments.
4610 * Artificial harmonics (strings)::
4613 @node Artificial harmonics (strings)
4614 @subsection Artificial harmonics (strings)
4616 @cindex artificial harmonics
4618 Artificial harmonics are notated with a different notehead style. They
4619 are entered by marking the harmonic pitch with @code{\harmonic}.
4621 @lilypond[ragged-right,verbatim,quote,fragment,relative=1]