1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
6 When revising a translation, copy the HEAD committish of the
7 version that you are working on. See TRANSLATION for details.
11 @c A menu is needed before every deeper *section nesting of @node's; run
12 @c M-x texinfo-all-menus-update
13 @c to automatically fill in these menus before saving changes
15 @node Instrument-specific notation
16 @chapter Instrument-specific notation
18 This chapter explains how to use notation for specific instruments.
28 * Other instrument specific notation::
36 Piano staves are two normal staves coupled with a brace. The staves
37 are largely independent, but sometimes voices can cross between the
38 two staves. The same notation is also used for harps and other key
39 instruments. The @internalsref{PianoStaff} is especially built to
40 handle this cross-staffing behavior. In this section we discuss the
41 @internalsref{PianoStaff} and some other pianistic peculiarities.
44 * Automatic staff changes::
45 * Manual staff switches::
47 * Staff switch lines::
53 Dynamics are not centered, but workarounds do exist. See the
54 @q{piano centered dynamics} template in @ref{Piano templates}.
56 @cindex cross staff stem
57 @cindex stem, cross staff
58 @cindex distance between staves in piano music
61 @node Automatic staff changes
62 @subsection Automatic staff changes
63 @cindex Automatic staff changes
65 Voices can be made to switch automatically between the top and the bottom
66 staff. The syntax for this is
70 \autochange @dots{}@var{music}@dots{}
75 This will create two staves inside the current PianoStaff, called
76 @code{up} and @code{down}. The lower staff will be in bass clef by
79 A @code{\relative} section that is outside of @code{\autochange} has
80 no effect on the pitches of @var{music}, so, if necessary, put
81 @code{\relative} inside @code{\autochange} like
85 \autochange \relative @dots{} @dots{}
90 The autochanger switches on basis of the pitch (middle C is the turning
91 point), and it looks ahead skipping over rests to switch in
92 advance. Here is a practical example
94 @lilypond[quote,verbatim,ragged-right]
96 \autochange \relative c'
105 In this manual: @ref{Manual staff switches}.
107 Program reference: @internalsref{AutoChangeMusic}.
113 The staff switches may not end up in optimal places. For high
114 quality output, staff switches should be specified manually.
117 @code{\autochange} cannot be inside @code{\times}.
120 @node Manual staff switches
121 @subsection Manual staff switches
123 @cindex manual staff switches
124 @cindex staff switch, manual
126 Voices can be switched between staves manually, using the command
128 \change Staff = @var{staffname} @var{music}
132 The string @var{staffname} is the name of the staff. It switches the
133 current voice from its current staff to the Staff called
134 @var{staffname}. Typically @var{staffname} is @code{"up"} or
135 @code{"down"}. The @context{Staff} referred to must already exist, so
136 usually the setup for a score will start with a setup of the staves,
141 \skip 1 * 10 % @emph{keep staff alive}
143 \new Staff = "down" @{
144 \skip 1 * 10 % @emph{idem}
150 and the @context{Voice} is inserted afterwards
153 \context Staff = down
154 \new Voice @{ @dots{} \change Staff = up @dots{} @}
162 Pianos have pedals that alter the way sound is produced. Generally, a
163 piano has three pedals, sustain, una corda, and sostenuto.
166 Piano pedal instruction can be expressed by attaching
167 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
168 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
171 @lilypond[quote,ragged-right,fragment,verbatim]
172 c'4\sustainDown c'4\sustainUp
175 What is printed can be modified by setting @code{pedal@var{X}Strings},
176 where @var{X} is one of the pedal types: @code{Sustain},
177 @code{Sostenuto} or @code{UnaCorda}. Refer to
178 @internalsref{SustainPedal} in the program reference for more
181 Pedals can also be indicated by a sequence of brackets, by setting the
182 @code{pedalSustainStyle} property to bracket objects
184 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
185 \set Staff.pedalSustainStyle = #'bracket
187 b\sustainUp\sustainDown
188 b g \sustainUp a \sustainDown \bar "|."
191 A third style of pedal notation is a mixture of text and brackets,
192 obtained by setting the @code{pedalSustainStyle} property to
195 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
196 \set Staff.pedalSustainStyle = #'mixed
198 b\sustainUp\sustainDown
199 b g \sustainUp a \sustainDown \bar "|."
202 The default @q{*Ped.} style for sustain and damper pedals corresponds to
203 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
206 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
207 c\sostenutoDown d e c, f g a\sostenutoUp
210 For fine-tuning the appearance of a pedal bracket, the properties
211 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
212 @code{PianoPedalBracket} objects (see
213 @internalsref{PianoPedalBracket} in the Program reference) can be
214 modified. For example, the bracket may be extended to the right edge
217 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
218 \override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
219 c\sostenutoDown d e c, f g a\sostenutoUp
224 In this manual: @ref{Laissez vibrer ties}.
226 @node Staff switch lines
227 @subsection Staff switch lines
231 @cindex staff switching
234 @funindex followVoice
236 Whenever a voice switches to another staff, a line connecting the notes
237 can be printed automatically. This is switched on by setting
238 @code{followVoice} to true
240 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
243 \set followVoice = ##t
248 \new Staff="two" { \clef bass \skip 1*2 }
254 Program reference: @internalsref{VoiceFollower}.
258 @funindex \showStaffSwitch
259 @code{\showStaffSwitch},
260 @funindex \hideStaffSwitch
261 @code{\hideStaffSwitch}.
264 @node Cross staff stems
265 @subsection Cross staff stems
267 Chords that cross staves may be produced by increasing the length
268 of the stem in the lower staff, so it reaches the stem in the upper
269 staff, or vice versa.
271 @lilypond[ragged-right,verbatim,quote]
273 \once \override Stem #'length = #10
274 \once \override Stem #'cross-staff = ##t
276 noFlag = \once \override Stem #'flag-style = #'no-flag
279 \stemDown \stemExtend
297 * Introducing chord names::
299 * Printing chord names::
303 @c awkward name; awkward section name.
304 @c still, the Basic "chords" seems like a good name... :(
305 @node Introducing chord names
306 @subsection Introducing chord names
309 LilyPond has support for printing chord names. Chords may be entered
310 in musical chord notation, i.e., @code{< .. >}, but they can also be
311 entered by name. Internally, the chords are represented as a set of
312 pitches, so they can be transposed
315 @lilypond[quote,ragged-right,verbatim,ragged-right]
316 twoWays = \transpose c c' {
325 << \new ChordNames \twoWays
326 \new Voice \twoWays >>
329 This example also shows that the chord printing routines do not try to
330 be intelligent. The last chord (@code{f bes d}) is not interpreted as
333 Note that the duration of chords must be specified outside the
342 @subsection Chords mode
345 In chord mode sets of pitches (chords) are entered with normal note
346 names. A chord is entered by the root, which is entered like a
349 @lilypond[quote,ragged-right,fragment,verbatim]
350 \chordmode { es4. d8 c2 }
354 The mode is introduced by the keyword @code{\chordmode}.
359 Other chords may be entered by suffixing a colon and introducing a
360 modifier (which may include a number if desired)
361 @lilypond[quote,fragment,verbatim]
362 \chordmode { e1:m e1:7 e1:m7 }
364 The first number following the root is taken to be the @q{type} of the
365 chord, thirds are added to the root until it reaches the specified
367 @lilypond[quote,fragment,verbatim]
368 \chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
371 @cindex root of chord
372 @cindex additions, in chords
373 @cindex removals, in chords
375 More complex chords may also be constructed adding separate steps
376 to a chord. Additions are added after the number following
377 the colon and are separated by dots
378 @lilypond[quote,verbatim,fragment]
379 \chordmode { c:5.6 c:3.7.8 c:3.6.13 }
381 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
383 @lilypond[quote,verbatim,fragment]
384 \chordmode { c:7+ c:5+.3- c:3-.5-.7- }
386 Removals are specified similarly and are introduced by a caret. They
387 must come after the additions
388 @lilypond[quote,verbatim,fragment]
389 \chordmode { c^3 c:7^5 c:9^3.5 }
392 Modifiers can be used to change pitches. The following modifiers are
397 The minor chord. This modifier lowers the 3rd and (if present) the 7th step.
400 The diminished chord. This modifier lowers the 3rd, 5th and (if present)
404 The augmented chord. This modifier raises the 5th step.
407 The major 7th chord. This modifier raises the 7th step if present.
410 The suspended 4th or 2nd. This modifier removes the 3rd
411 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
415 Modifiers can be mixed with additions
416 @lilypond[quote,verbatim,fragment]
417 \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
420 @cindex modifiers, in chords.
427 Since an unaltered 11 does not sound good when combined with an
428 unaltered 13, the 11 is removed in this case (unless it is added
430 @lilypond[quote,ragged-right,fragment,verbatim]
431 \chordmode { c:13 c:13.11 c:m13 }
436 An inversion (putting one pitch of the chord on the bottom), as well
437 as bass notes, can be specified by appending
438 @code{/}@var{pitch} to the chord
439 @lilypond[quote,ragged-right,fragment,verbatim]
440 \chordmode { c1 c/g c/f }
444 A bass note can be added instead of transposed out of the chord,
445 by using @code{/+}@var{pitch}.
447 @lilypond[quote,ragged-right,fragment,verbatim]
448 \chordmode { c1 c/+g c/+f }
451 Chords is a mode similar to @code{\lyricmode}, etc. Most
452 of the commands continue to work, for example, @code{r} and
453 @code{\skip} can be used to insert rests and spaces, and property
454 commands may be used to change various settings.
460 Each step can only be present in a chord once. The following
461 simply produces the augmented chord, since @code{5+} is interpreted
464 @lilypond[quote,ragged-right,verbatim,fragment]
465 \chordmode { c:5.5-.5+ }
469 @node Printing chord names
470 @subsection Printing chord names
472 @cindex printing chord names
476 For displaying printed chord names, use the @internalsref{ChordNames} context.
477 The chords may be entered either using the notation
478 described above, or directly using @code{<} and @code{>}
480 @lilypond[quote,verbatim,ragged-right]
482 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
485 \new ChordNames \harmonies
486 \new Staff \harmonies
490 You can make the chord changes stand out by setting
491 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
492 display chord names when there is a change in the chords scheme and at
493 the start of a new line
495 @lilypond[quote,verbatim,ragged-right]
496 harmonies = \chordmode {
497 c1:m c:m \break c:m c:m d
501 \set chordChanges = ##t
503 \new Staff \transpose c c' \harmonies
507 The previous examples all show chords over a staff. This is not
508 necessary. Chords may also be printed separately. It may be necessary
509 to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
512 @lilypond[ragged-right,verbatim]
513 \new ChordNames \with {
514 \override BarLine #'bar-size = #4
515 \consists Bar_engraver
516 \consists "Volta_engraver"
518 \chordmode { \repeat volta 2 {
528 The default chord name layout is a system for Jazz music, proposed by
529 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
533 @funindex chordNameExceptions
534 @item chordNameExceptions
535 This is a list that contains the chords that have special formatting.
537 The exceptions list should be encoded as
539 @{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
542 To get this information into @code{chordNameExceptions} takes a little
543 manoeuvring. The following code transforms @code{chExceptionMusic}
544 (which is a sequential music) into a list of exceptions.
546 (sequential-music-to-chord-exceptions chExceptionMusic #t)
551 (sequential-music-to-chord-exceptions chExceptionMusic #t)
554 adds the new exceptions to the default ones, which are defined in
555 @file{ly/@/chord@/-modifier@/-init@/.ly}.
557 For an example of tuning this property, see also
558 @lsr{chords,chord@/-name@/-exceptions@/.ly}
559 @cindex exceptions, chord names.
562 @funindex majorSevenSymbol
563 @item majorSevenSymbol
564 This property contains the markup object used for the 7th step, when
565 it is major. Predefined options are @code{whiteTriangleMarkup} and
566 @code{blackTriangleMarkup}. See
567 @lsr{chords,chord@/-name@/-major7@/.ly} for an example.
569 @funindex chordNameSeparator
570 @item chordNameSeparator
571 Different parts of a chord name are normally separated by a
572 slash. By setting @code{chordNameSeparator}, you can specify other
574 @lilypond[quote,ragged-right,fragment,verbatim]
575 \new ChordNames \chordmode {
577 \set chordNameSeparator
578 = \markup { \typewriter "|" }
583 @funindex chordRootNamer
585 The root of a chord is usually printed as a letter with an optional
586 alteration. The transformation from pitch to letter is done by this
587 function. Special note names (for example, the German @q{H} for a
588 B-chord) can be produced by storing a new function in this property.
590 @funindex chordNoteNamer
592 The default is to print single pitch, e.g., the bass note, using the
593 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
594 to a specialized function to change this behavior. For example, the
595 base can be printed in lower case.
597 @funindex chordPrefixSpacer
598 @item chordPrefixSpacer
599 The @q{m} for minor chords is usually printed right after the root of
600 the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer
601 between the root and @q{m}. The spacer is not used when the root
606 The predefined variables @code{\germanChords},
607 @code{\semiGermanChords}, @code{\italianChords} and @code{\frenchChords}
608 set these variables. The effect is
611 @lilypondfile[ragged-right]{chord-names-languages.ly}
613 There are also two other chord name schemes implemented: an alternate
614 Jazz chord notation, and a systematic scheme called Banter chords. The
615 alternate Jazz notation is also shown on the chart in @ref{Chord name
616 chart}. Turning on these styles is demonstrated in
617 @lsr{chords,chord-names-jazz.ly}.
626 @funindex \germanChords
627 @code{\germanChords},
628 @funindex \semiGermanChords
629 @code{\semiGermanChords}.
630 @funindex \italianChords
631 @code{\italianChords}.
632 @funindex \frenchChords
633 @code{\frenchChords}.
643 Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
644 @file{scm/@/chord@/-entry@/.scm}.
649 Chord names are determined solely from the list of pitches. Chord
650 inversions are not identified, and neither are added bass notes. This
651 may result in strange chord names when chords are entered with the
652 @code{< .. >} syntax.
659 Since LilyPond input files are text, there are two issues to
660 consider when working with vocal music:
664 Song texts must be entered as text, not notes. For example, the
665 input@tie{}@code{d} should be interpreted as a one letter syllable, not the
669 Song texts must be aligned with the notes of their melody.
672 There are a few different ways to define lyrics; we shall begin
673 by examining the simplest method, and gradually increase complexity.
676 * Setting simple songs::
678 * Aligning lyrics to a melody::
679 * Working with lyrics and identifiers::
680 * Flexibility in placement::
682 * More about stanzas::
684 * Other vocal issues::
690 Checking to make sure that text scripts and lyrics are within the margins is
691 a relatively large computational task. To speed up processing, lilypond does
692 not perform such calculations by default; to enable it, use
695 \override Score.PaperColumn #'keep-inside-line = ##t
698 To make lyrics avoid barlines as well, use
703 \consists "Bar_engraver"
704 \consists "Separating_line_group_engraver"
705 \override BarLine #'transparent = ##t
711 @node Setting simple songs
712 @subsection Setting simple songs
716 The easiest way to add lyrics to a melody is to append
719 \addlyrics @{ @var{the lyrics} @}
723 to a melody. Here is an example,
725 @lilypond[ragged-right,verbatim,fragment,quote]
727 \relative { c2 e4 g2. }
728 \addlyrics { play the game }
731 More stanzas can be added by adding more
732 @code{\addlyrics} sections
734 @lilypond[ragged-right,verbatim,fragment,quote]
736 \relative { c2 e4 g2. }
737 \addlyrics { play the game }
738 \addlyrics { speel het spel }
739 \addlyrics { joue le jeu }
742 The command @code{\addlyrics} cannot handle polyphony settings. For these
743 cases you should use @code{\lyricsto} and @code{\lyricmode}, as will be
744 introduced in @ref{Entering lyrics}.
748 @node Entering lyrics
749 @subsection Entering lyrics
754 @cindex spaces, in lyrics
755 @cindex quotes, in lyrics
757 Lyrics are entered in a special input mode, which can be introduced
758 by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
759 @code{\lyricsto}. In this mode you can enter lyrics,
760 with punctuation and accents, and the input @code{d} is not parsed as
761 a pitch, but rather as a one letter syllable. Syllables are entered
762 like notes, but with pitches replaced by text. For example,
765 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
768 There are two main methods to specify the horizontal placement
769 of the syllables, either by specifying the duration of each syllable
770 explicitly, like in the example above, or by automatically aligning
771 the lyrics to a melody or other voice of music, using @code{\addlyrics}
774 @c For more details see @ref{The Lyrics context}.
776 A word or syllable of lyrics begins with an alphabetic character, and ends
778 any space or digit. The following characters can be any character
779 that is not a digit or white space.
781 Any character that is not a digit or white space will be regarded as
782 part of the syllable; one important consequence of this is that a word
783 can end with @code{@}}, which often leads to the following mistake:
786 \lyricmode @{ lah- lah@}
789 In this example, the @code{@}} is included in the final syllable, so the
790 opening brace is not balanced and the input file will probably not
794 @funindex \property in \lyricmode
797 Similarly, a period which follows an alphabetic sequence is included in
798 the resulting string. As a consequence, spaces must be inserted around
799 property commands: do @emph{not} write
802 \override Score.LyricText #'font-shape = #'italic
809 \override Score . LyricText #'font-shape = #'italic
813 @cindex spaces, in lyrics
814 @cindex quotes, in lyrics
815 @cindex ties, in lyrics
817 In order to assign more than one syllable to a single note, you can
818 surround them with quotes or use a @code{_} character, to get spaces
819 between syllables, or use tilde symbol (@code{~}) to get a lyric tie.
821 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
823 \relative { c2 e4 g2 e4 }
824 \addlyrics { gran- de_a- mi- go }
825 \addlyrics { pu- "ro y ho-" nes- to }
826 \addlyrics { pu- ro~y~ho- nes- to }
829 The lyric ties is implemented with the Unicode character U+203F, so be
830 sure to have a font (Like DejaVuLGC) installed that includes this
834 To enter lyrics with characters from non-English languages, or with
835 accented and special characters (such as the heart symbol or slanted quotes),
836 simply insert the characters directly into the input file and save
837 it with utf-8 encoding. See @ref{Text encoding}, for more info.
839 @lilypond[quote,ragged-right,fragment,verbatim]
840 \relative { e4 f e d e f e2 }
841 \addlyrics { He said: “Let my peo ple go”. }
844 To use normal quotes in lyrics, add a backslash before the
847 @lilypond[quote,ragged-right,fragment,verbatim]
848 \relative c' { \time 3/4 e4 e4. e8 d4 e d c2. }
849 \addlyrics { "\"I" am so lone- "ly\"" said she }
852 The full definition of a word start in Lyrics mode is somewhat more
855 A word in Lyrics mode begins with: an alphabetic character, @code{_},
856 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
857 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
858 any 8-bit character with ASCII code over 127, or a two-character
859 combination of a backslash followed by one of @code{`}, @code{'},
860 @code{"}, or @code{^}.
862 To define identifiers containing lyrics, the function @code{lyricmode}
866 verseOne = \lyricmode @{ Joy to the world the Lord is come @}
869 \new Voice = "one" \relative c'' @{
872 c4 b8. a16 g4. f8 e4 d c2
874 \addlyrics @{ \verseOne @}
882 Program reference: @internalsref{LyricText}, @internalsref{LyricSpace}.
886 @node Aligning lyrics to a melody
887 @subsection Aligning lyrics to a melody
894 Lyrics are printed by interpreting them in the context called
895 @internalsref{Lyrics}.
898 \new Lyrics \lyricmode @dots{}
901 There are two main methods to specify the horizontal placement
906 by automatically aligning
907 the lyrics to a melody or other voice of music, using @code{\addlyrics}
911 or by specifying the duration of each syllable
912 explicitly, using @code{\lyricmode}
916 * Automatic syllable durations::
917 * Another way of entering lyrics::
918 * Assigning more than one syllable to a single note::
919 * More than one note on a single syllable::
920 * Extenders and hyphens::
923 @node Automatic syllable durations
924 @subsubsection Automatic syllable durations
926 @cindex automatic syllable durations
927 @cindex lyrics and melodies
929 The lyrics can be aligned under a given melody
930 automatically. This is achieved by combining the
931 melody and the lyrics with the @code{\lyricsto} expression
934 \new Lyrics \lyricsto @var{name} @dots{}
937 This aligns the lyrics to the
938 notes of the @internalsref{Voice} context called @var{name}, which must
939 already exist. Therefore normally the @code{Voice} is specified first, and
940 then the lyrics are specified with @code{\lyricsto}. The command
941 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
942 @code{\lyricmode} keyword may be omitted.
944 The following example uses different commands for entering lyrics.
946 @lilypond[quote,fragment,ragged-right,verbatim]
948 \new Voice = "one" \relative c'' {
951 c4 b8. a16 g4. f8 e4 d c2
953 \new Lyrics \lyricmode { Joy4 to8. the16 world!4. the8 Lord4 is come.2 }
954 \new Lyrics \lyricmode { Joy to the earth! the Sa -- viour reigns. }
955 \new Lyrics \lyricsto "one" { No more let sins and sor -- rows grow. }
959 The second stanza is not properly aligned because the durations
960 were not specified. A solution for that would be to use @code{\lyricsto}.
962 The @code{\addlyrics} command is actually just a convenient way
963 to write a more complicated LilyPond structure that sets up the
968 \addlyrics @{ LYRICS @}
975 \new Voice = "blah" @{ music @}
976 \new Lyrics \lyricsto "blah" @{ LYRICS @}
979 @node Another way of entering lyrics
980 @subsubsection Another way of entering lyrics
982 Lyrics can also be entered without @code{\addlyrics} or
983 @code{\lyricsto}. In this case,
984 syllables are entered like notes -- but with pitches replaced by text -- and the
985 duration of each syllable must be entered explicitly. For example:
992 The alignment to a melody can be specified with the
993 @code{associatedVoice} property,
996 \set associatedVoice = #"lala"
1000 The value of the property (here: @code{"lala"}) should be the name of
1001 a @internalsref{Voice} context. Without this setting, extender lines
1002 will not be formatted properly.
1004 Here is an example demonstrating manual lyric durations,
1006 @lilypond[relative=1,ragged-right,verbatim,fragment,quote]
1007 << \new Voice = "melody" {
1011 \new Lyrics \lyricmode {
1012 \set associatedVoice = #"melody"
1019 Program reference: @internalsref{Lyrics}.
1022 @node Assigning more than one syllable to a single note
1023 @subsubsection Assigning more than one syllable to a single note
1027 @cindex ties, in lyrics
1029 In order to assign more than one syllable to a single note, you can
1030 surround them with quotes or use a @code{_} character, to get spaces
1031 between syllables, or use tilde symbol (@code{~}) to get a lyric
1032 tie@footnote{The lyric ties is implemented with the Unicode character
1034 sure to have a font (Like DejaVuLGC) installed that includes this
1037 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
1039 \relative { c2 e4 g2 e4 }
1040 \addlyrics { gran- de_a- mi- go }
1041 \addlyrics { pu- "ro y ho-" nes- to }
1042 \addlyrics { pu- ro~y~ho- nes- to }
1047 Program reference: @internalsref{LyricCombineMusic}.
1049 @c Here come the section which used to be "Melismata"
1050 @c the new title might be more self-explanatory
1053 @node More than one note on a single syllable
1054 @subsubsection More than one note on a single syllable
1058 @cindex phrasing, in lyrics
1060 Sometimes, particularly in Medieval music, several notes are to be sung on one
1061 single syllable; such vocalises are called melismas, or melismata.
1063 @c this method seems to be the simplest; therefore
1064 @c it might be better to present it first - vv
1066 You can define melismata entirely in the lyrics, by entering @code{_}
1068 that is part of the melisma.
1070 @lilypond[relative=1,verbatim,fragment,quote]
1071 { \set melismaBusyProperties = #'()
1072 c d( e) f f( e) e e }
1074 { Ky -- _ _ ri __ _ _ _ e }
1077 In this case, you can also have ties and slurs in the melody if you
1078 set @code{melismaBusyProperties}, as is done in the example above.
1080 However, the @code{\lyricsto} command can also
1081 detect melismata automatically: it only puts one
1082 syllable under a tied or slurred group of notes. If you want to force
1083 an unslurred group of notes to be a melisma, insert @code{\melisma}
1084 after the first note of the group, and @code{\melismaEnd} after the
1087 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
1089 \new Voice = "lala" {
1097 \new Lyrics \lyricsto "lala" {
1103 In addition, notes are considered a melisma if they are manually
1104 beamed, and automatic beaming (see @ref{Setting automatic beam
1105 behavior}) is switched off.
1107 @c TODO: there might be some more relevant place for
1108 @c the following link (?)
1111 @cindex choral score
1113 A complete example of a SATB score setup is in section
1114 @ref{Vocal ensembles}.
1119 @code{\melisma}, @code{\melismaEnd}
1120 @funindex \melismaEnd
1125 Program reference: @internalsref{Melisma_translator}.
1127 @lsr{vocal,lyric@/-combine.ly}.
1131 Melismata are not detected automatically, and extender lines must be
1134 @node Extenders and hyphens
1135 @subsubsection Extenders and hyphens
1140 Melismata are indicated with a horizontal line centered between a syllable
1141 and the next one. Such a line is called an extender line, and it is entered
1142 as @samp{ __ } (note the spaces before and after the two underscore
1147 Centered hyphens are entered as @samp{ -- } between syllables of a same word
1148 (note the spaces before and after the two hyphen characters). The hyphen
1149 will be centered between the syllables, and its length will be adjusted
1150 depending on the space between the syllables.
1152 In tighly engraved music, hyphens can be removed. Whether this
1153 happens can be controlled with the @code{minimum-distance} (minimum
1154 distance between two syllables) and the @code{minimum-length}
1155 (threshold below which hyphens are removed).
1159 Program reference: @internalsref{LyricExtender},
1160 @internalsref{LyricHyphen}
1163 @node Working with lyrics and identifiers
1164 @subsection Working with lyrics and identifiers
1165 @cindex lyrics, identifiers
1167 To define identifiers containing lyrics, the function @code{\lyricmode}
1168 must be used. You do not have to enter durations though, if you add
1169 @code{\addlyrics} or @code{\lyricsto}
1170 when invoking your identifier.
1173 verseOne = \lyricmode @{ Joy to the world the Lord is come @}
1176 \new Voice = "one" \relative c'' @{
1179 c4 b8. a16 g4. f8 e4 d c2
1181 \addlyrics @{ \verseOne @}
1186 @c TODO: Move the following section to
1187 @c "Working with lyrics and identifiers"
1189 For different or more complex orderings, the best way is to setup the
1190 hierarchy of staves and lyrics first, e.g.,
1193 \new Voice = "soprano" @{ @emph{music} @}
1194 \new Lyrics = "sopranoLyrics" @{ s1 @}
1195 \new Lyrics = "tenorLyrics" @{ s1 @}
1196 \new Voice = "tenor" @{ @emph{music} @}
1200 and then combine the appropriate melodies and lyric lines
1203 \context Lyrics = sopranoLyrics \lyricsto "soprano"
1209 The final input would resemble
1212 <<\new ChoirStaff << @emph{setup the music} >>
1213 \lyricsto "soprano" @emph{etc}
1214 \lyricsto "alto" @emph{etc}
1221 @c TODO: document \new Staff << Voice \lyricsto >> bug
1222 Program reference: @internalsref{LyricCombineMusic},
1223 @internalsref{Lyrics}.
1225 @node Flexibility in placement
1226 @subsection Flexibility in placement
1228 Often, different stanzas of one song are put to one melody in slightly
1229 differing ways. Such variations can still be captured with
1233 * Lyrics to multiple notes of a melisma::
1235 * Switching the melody associated with a lyrics line::
1236 * Lyrics independent of notes::
1239 @node Lyrics to multiple notes of a melisma
1240 @subsubsection Lyrics to multiple notes of a melisma
1243 One possibility is that the text has a melisma in one stanza, but
1244 multiple syllables in another one. One solution is to make the faster
1245 voice ignore the melisma. This is done by setting
1246 @code{ignoreMelismata} in the Lyrics context.
1248 There is one tricky aspect: the setting for @code{ignoreMelismata}
1249 must be set one syllable @emph{before} the non-melismatic syllable
1250 in the text, as shown here,
1252 @c FIXME: breaks compile
1253 @lilypond[verbatim,ragged-right,quote]
1256 \relative \new Voice = "lahlah" {
1257 \set Staff.autoBeaming = ##f
1263 \new Lyrics \lyricsto "lahlah" {
1266 \new Lyrics \lyricsto "lahlah" {
1267 \set ignoreMelismata = ##t % applies to "fas"
1269 \unset ignoreMelismata
1277 The @code{ignoreMelismata} applies to the syllable @q{fas}, so it
1278 should be entered before @q{go}.
1280 The reverse is also possible: making a lyric line slower than the
1281 standard. This can be achieved by insert @code{\skip}s into the
1282 lyrics. For every @code{\skip}, the text will be delayed another note.
1285 @lilypond[verbatim,ragged-right,quote]
1286 \relative { c c g' }
1295 @subsubsection Divisi lyrics
1297 You can display alternate (or divisi) lyrics by naming voice
1298 contexts and attaching lyrics to those specific contexts.
1300 @lilypond[verbatim,ragged-right,quote]
1302 \new Voice = "melody" {
1307 \new Voice = "splitpart" { \voiceTwo c4 }
1312 \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
1313 \new Lyrics \lyricsto "splitpart" { will }
1318 You can use this trick to display different lyrics for a repeated
1321 @lilypond[verbatim,ragged-right,quote]
1323 \new Voice = "melody" \relative c' {
1325 \new Voice = "verse" \repeat volta 2 {c4 d e f | g1 | }
1327 \new Lyrics = "mainlyrics" \lyricsto melody \lyricmode {
1330 \context Lyrics = "mainlyrics" \lyricsto verse \lyricmode {
1332 \new Lyrics = "repeatlyrics" \lyricsto verse \lyricmode {
1333 dodo rere mimi fafa solsol }
1340 @node Switching the melody associated with a lyrics line
1341 @subsubsection Switching the melody associated with a lyrics line
1343 More complex variations in text underlay are possible. It is possible
1344 to switch the melody for a line of lyrics during the text. This is
1345 done by setting the @code{associatedVoice} property. In the example
1347 @lilypond[ragged-right,quote]
1349 \relative \new Voice = "lahlah" {
1350 \set Staff.autoBeaming = ##f
1353 \new Voice = "alternative" {
1356 % show associations clearly.
1357 \override NoteColumn #'force-hshift = #-3
1368 \new Lyrics \lyricsto "lahlah" {
1369 Ju -- ras -- sic Park
1371 \new Lyrics \lyricsto "lahlah" {
1372 % Tricky: need to set associatedVoice
1373 % one syllable too soon!
1374 \set associatedVoice = alternative % applies to "ran"
1378 \set associatedVoice = lahlah % applies to "rus"
1384 the text for the first stanza is set to a melody called @q{lahlah},
1387 \new Lyrics \lyricsto "lahlah" @{
1388 Ju -- ras -- sic Park
1393 The second stanza initially is set to the @code{lahlah} context, but
1394 for the syllable @q{ran}, it switches to a different melody.
1395 This is achieved with
1397 \set associatedVoice = alternative
1401 Here, @code{alternative} is the name of the @code{Voice} context
1402 containing the triplet.
1404 Again, the command must be one syllable too early, before @q{Ty} in
1408 \new Lyrics \lyricsto "lahlah" @{
1409 \set associatedVoice = alternative % applies to "ran"
1413 \set associatedVoice = lahlah % applies to "rus"
1419 The underlay is switched back to the starting situation by assigning
1420 @code{lahlah} to @code{associatedVoice}.
1423 @node Lyrics independent of notes
1424 @subsubsection Lyrics independent of notes
1426 In some complex vocal music, it may be desirable to place
1427 lyrics completely independently of notes. Music defined
1428 inside @code{lyricrhythm} disappears into the
1429 @code{Devnull} context, but the rhythms can still be used
1430 to place the lyrics.
1432 @lilypond[quote,verbatim,ragged-right]
1435 \tag #'music { c''2 }
1436 \tag #'lyricrhythm { c''4. c''8 }
1440 lyr = \lyricmode { I like my cat! }
1443 \new Staff \keepWithTag #'music \voice
1444 \new Devnull="nowhere" \keepWithTag #'lyricrhythm \voice
1445 \new Lyrics \lyricsto "nowhere" \lyr
1446 \new Staff { c'8 c' c' c' c' c' c' c'
1447 c' c' c' c' c' c' c' c' }
1452 @node Spacing lyrics
1453 @subsection Spacing lyrics
1455 @cindex Spacing lyrics
1456 @cindex Lyrics, increasing space between
1458 To increase the spacing between lyrics, set the minimum-distance property of
1461 @lilypond[relative,verbatim,fragment,quote,ragged-right]
1464 \override Lyrics.LyricSpace #'minimum-distance = #1.0
1468 longtext longtext longtext longtext
1469 longtext longtext longtext longtext
1473 To make this change for all lyrics in the score, set the property in the
1476 @lilypond[relative,verbatim,quote,ragged-right]
1483 longtext longtext longtext longtext
1484 longtext longtext longtext longtext
1489 \override LyricSpace #'minimum-distance = #1.0
1496 @node More about stanzas
1497 @subsection More about stanzas
1499 @cindex stanza number
1500 @subsubsection Adding stanza numbers
1502 Stanza numbers can be added by setting @code{stanza}, e.g.,
1504 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1506 \time 3/4 g2 e4 a2 f4 g2.
1509 Hi, my name is Bert.
1512 Oh, che -- ri, je t'aime
1517 These numbers are put just before the start of the first syllable.
1520 @subsubsection Adding dynamics marks
1522 Stanzas differing in loudness may be indicated by putting a
1523 dynamics mark before each stanza. In Lilypond, everthing coming in
1524 front of a stanza goes into the @code{StanzaNumber} object; dynamics marks
1525 are no different. For technical reasons, you have to set the stanza
1526 outside @code{\lyricmode}:
1528 @lilypond[quote,ragged-right,verbatim]
1530 \set stanza = \markup { \dynamic "ff" "1. " }
1537 \new Voice = "tune" {
1541 \new Lyrics \lyricsto "tune" \text
1546 @cindex name of singer
1547 @subsubsection Adding singer names
1549 Names of singers can also be added. They are printed at the start of
1550 the line, just like instrument names. They are created by setting
1551 @code{vocalName}. A short version may be entered as @code{shortVocalName}.
1553 @lilypond[fragment,ragged-right,quote,verbatim,relative=2]
1555 \time 3/4 g2 e4 a2 f4 g2.
1557 \set vocalName = "Bert "
1558 Hi, my name is Bert.
1560 \set vocalName = "Ernie "
1561 Oh, che -- ri, je t'aime
1566 @subsubsection Printing stanzas at the end
1568 Sometimes it is appropriate to have one stanza set
1569 to the music, and the rest added in verse form at
1570 the end of the piece. This can be accomplished by adding
1571 the extra verses into a @code{\markup} section outside
1572 of the main score block. Notice that there are two
1573 different ways to force linebreaks when using
1576 @lilypond[ragged-right,verbatim,quote]
1577 melody = \relative c' {
1583 \set stanza = "1." Ma- ry had a lit- tle lamb,
1584 its fleece was white as snow.
1588 \new Voice = "one" { \melody }
1589 \new Lyrics \lyricsto "one" \text
1595 \line{ All the children laughed and played }
1596 \line{ To see a lamb at school. }
1603 Mary took it home again,
1605 It was against the rule."
1610 @subsubsection Printing stanzas at the end in multiple columns
1612 When a piece of music has many verses, they are often printed in
1613 multiple columns across the page. An outdented verse number often
1614 introduces each verse. The following example shows how to produce such
1617 @lilypond[ragged-right,quote,verbatim]
1618 melody = \relative c' {
1623 \set stanza = "1." This is verse one.
1628 \new Voice = "one" { \melody }
1629 \new Lyrics \lyricsto "one" \text
1636 \hspace #0.1 % moves the column off the left margin; can be removed if
1637 % space on the page is tight
1641 "This is verse two."
1645 \hspace #0.1 % adds vertical spacing between verses
1648 "This is verse three."
1653 \hspace #0.1 % adds horizontal spacing between columns; if they are
1654 % still too close, add more " " pairs until the result
1659 "This is verse four."
1663 \hspace #0.1 % adds vertical spacing between verses
1666 "This is verse five."
1671 \hspace #0.1 % gives some extra space on the right margin; can
1672 % be removed if page space is tight
1680 Program reference: @internalsref{LyricText}, @internalsref{StanzaNumber},
1681 @internalsref{VocalName}.
1689 The term @emph{ambitus} denotes a range of pitches for a given voice
1690 in a part of music. It may also denote the pitch range that a musical
1691 instrument is capable of playing. Ambits are printed on vocal parts,
1692 so performers can easily determine it meets their capabilities.
1694 Ambits are denoted at the beginning of a piece near the initial clef.
1695 The range is graphically specified by two note heads that represent the
1696 minimum and maximum pitch. To print such ambits, add the
1697 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
1704 \consists Ambitus_engraver
1709 This results in the following output
1711 @lilypond[quote,ragged-right]
1715 \consists Ambitus_engraver
1719 \relative \new Staff {
1724 If you have multiple voices in a single staff and you want a single
1725 ambitus per staff rather than per each voice, add the
1726 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
1727 rather than to the @internalsref{Voice} context. Here is an example,
1729 @lilypond[verbatim,ragged-right,quote]
1731 \consists "Ambitus_engraver"
1735 \remove "Ambitus_engraver"
1737 \override Ambitus #'X-offset = #-1.0
1742 \remove "Ambitus_engraver"
1751 This example uses one advanced feature,
1754 \override Ambitus #'X-offset = #-1.0
1758 This code moves the ambitus to the left. The same effect could have
1759 been achieved with @code{extra-offset}, but then the formatting system
1760 would not reserve space for the moved object.
1764 Program reference: @internalsref{Ambitus},
1765 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1766 @internalsref{AmbitusAccidental}.
1769 @lsr{vocal,ambitus@/.ly}.
1773 There is no collision handling in the case of multiple per-voice
1777 @node Other vocal issues
1778 @subsection Other vocal issues
1781 yeah, I'm giving up somewhat by stuffing a bunch of things in
1782 here. But at least they're in the manual now; it's easier to
1783 move them around in the manual once they're already here.
1785 Besides, if users complain about everything stuffed in here, I
1786 can ask them for specific instructions about where to move these
1787 examples, and that might get them more involved in the docs. -gp
1790 @q{Parlato} is spoken without pitch but still with rhythm; it is
1791 notated by cross noteheads. This is demonstrated in
1792 @ref{Special noteheads}.
1798 @node Rhythmic music
1799 @section Rhythmic music
1801 Rhythmic music is primarily used for percussion and drum notation, but it can
1802 also be used to show the rhythms of melodies.
1805 * Showing melody rhythms::
1806 * Entering percussion::
1807 * Percussion staves::
1812 @node Showing melody rhythms
1813 @subsection Showing melody rhythms
1815 Sometimes you might want to show only the rhythm of a melody. This
1816 can be done with the rhythmic staff. All pitches of notes on such a
1817 staff are squashed, and the staff itself has a single line
1819 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1820 \new RhythmicStaff {
1822 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1828 Program reference: @internalsref{RhythmicStaff}.
1831 @node Entering percussion
1832 @subsection Entering percussion
1838 Percussion notes may be entered in @code{\drummode} mode, which is
1839 similar to the standard mode for entering notes. Each piece of
1840 percussion has a full name and an abbreviated name, and both can be used
1843 @lilypond[quote,ragged-right,verbatim]
1845 hihat hh bassdrum bd
1849 The complete list of drum names is in the init file
1850 @file{ly/@/drumpitch@/-init@/.ly}.
1851 @c TODO: properly document this.
1855 Program reference: @internalsref{note-event}.
1857 @node Percussion staves
1858 @subsection Percussion staves
1862 A percussion part for more than one instrument typically uses a
1863 multiline staff where each position in the staff refers to one piece
1867 To typeset the music, the notes must be interpreted in a
1868 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
1870 @lilypond[quote,ragged-right,verbatim]
1871 up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
1872 down = \drummode { bassdrum4 snare8 bd r bd sn4 }
1874 \new DrumVoice { \voiceOne \up }
1875 \new DrumVoice { \voiceTwo \down }
1879 The above example shows verbose polyphonic notation. The short
1880 polyphonic notation, described in @ref{Basic polyphony}, can also be used if
1881 the @internalsref{DrumVoice}s are instantiated by hand first. For example,
1883 @lilypond[quote,ragged-right,fragment,verbatim]
1885 \new DrumVoice = "1" { s1 *2 }
1886 \new DrumVoice = "2" { s1 *2 }
1890 { \repeat unfold 16 hh16 }
1899 There are also other layout possibilities. To use these, set the
1900 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
1901 The following variables have been predefined
1905 This is the default. It typesets a typical drum kit on a five-line staff
1907 @lilypond[quote,line-width=10.0\cm]
1909 cymc cyms cymr hh hhc hho hhho hhp
1910 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl }
1912 cymc cyms cymr hh hhc hho hhho hhp \break
1913 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
1915 << \new DrumStaff \with {
1916 \remove Bar_engraver
1917 \remove Time_signature_engraver
1918 \override Stem #'transparent = ##t
1919 \override Stem #'Y-extent-callback = ##f
1920 \override VerticalAxisGroup #'minimum-Y-extent = #'(-4.0 . 5.0)
1927 \override LyricText #'font-family = #'typewriter
1928 \override BarNumber #'transparent =##T
1934 The drum scheme supports six different toms. When there are fewer toms,
1935 simply select the toms that produce the desired result, i.e., to get toms
1936 on the three middle lines you use @code{tommh}, @code{tomml}, and
1939 @item timbales-style
1940 This typesets timbales on a two line staff
1942 @lilypond[quote,ragged-right]
1943 nam = \lyricmode { timh ssh timl ssl cb }
1944 mus = \drummode { timh ssh timl ssl cb s16 }
1947 \new DrumStaff \with {
1948 \remove Bar_engraver
1949 \remove Time_signature_engraver
1950 \override Stem #'transparent = ##t
1951 \override Stem #'Y-extent-callback = ##f
1952 \override StaffSymbol #'line-count = #2
1953 \override StaffSymbol #'staff-space = #2
1954 \override VerticalAxisGroup #'minimum-Y-extent = #'(-3.0 . 4.0)
1955 drumStyleTable = #timbales-style
1958 \override LyricText #'font-family = #'typewriter
1965 This typesets congas on a two line staff
1967 @lilypond[quote,ragged-right]
1968 nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
1969 mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
1972 \new DrumStaff \with {
1973 \remove Bar_engraver
1974 \remove Time_signature_engraver
1975 drumStyleTable = #congas-style
1976 \override StaffSymbol #'line-count = #2
1978 %% this sucks; it will lengthen stems.
1979 \override StaffSymbol #'staff-space = #2
1980 \override Stem #'transparent = ##t
1981 \override Stem #'Y-extent-callback = ##f
1984 \override LyricText #'font-family = #'typewriter
1991 This typesets bongos on a two line staff
1993 @lilypond[quote,ragged-right]
1994 nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
1995 mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
1998 \new DrumStaff \with {
1999 \remove Bar_engraver
2000 \remove Time_signature_engraver
2001 \override StaffSymbol #'line-count = #2
2002 drumStyleTable = #bongos-style
2004 %% this sucks; it will lengthen stems.
2005 \override StaffSymbol #'staff-space = #2
2006 \override Stem #'transparent = ##t
2007 \override Stem #'Y-extent-callback = ##f
2010 \override LyricText #'font-family = #'typewriter
2016 @item percussion-style
2017 To typeset all kinds of simple percussion on one line staves.
2019 @lilypond[quote,ragged-right]
2020 nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
2021 mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2024 \new DrumStaff \with{
2025 \remove Bar_engraver
2026 drumStyleTable = #percussion-style
2027 \override StaffSymbol #'line-count = #1
2028 \remove Time_signature_engraver
2029 \override Stem #'transparent = ##t
2030 \override Stem #'Y-extent-callback = ##f
2033 \override LyricText #'font-family = #'typewriter
2040 If you do not like any of the predefined lists you can define your own
2041 list at the top of your file
2043 @lilypond[quote,ragged-right,verbatim]
2045 (bassdrum default #f -1)
2046 (snare default #f 0)
2048 (pedalhihat xcircle "stopped" 2)
2049 (lowtom diamond #f 3)))
2050 up = \drummode { hh8 hh hh hh hhp4 hhp }
2051 down = \drummode { bd4 sn bd toml8 toml }
2054 \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
2055 \new DrumVoice { \voiceOne \up }
2056 \new DrumVoice { \voiceTwo \down }
2063 Init files: @file{ly/@/drumpitch@/-init@/.ly}.
2065 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
2069 Because general MIDI does not contain rim shots, the sidestick is used
2070 for this purpose instead.
2073 @c FIXME: check name -gp
2075 @subsection Ghost notes
2077 Ghost notes for drums and percussion may be created using the
2078 @code{\parenthesize} command detailed in @ref{Parentheses}. However,
2079 the default @code{\drummode} does
2080 not include the @code{Parenthesis_engraver} plugin which allows
2082 must add the plugin explicitly in the context definition as
2083 detailed in @ref{Changing context properties on the fly}.
2085 @lilypond[quote,ragged-right,verbatim,fragment]
2086 \new DrumStaff \with {
2087 \consists "Parenthesis_engraver"
2089 \context DrumVoice = "1" { s1 *2 }
2090 \context DrumVoice = "2" { s1 *2 }
2094 hh8[ hh] <hh sn> hh16
2095 < \parenthesize sn > hh < \parenthesize
2106 Also note that you must add chords (@code{< >} brackets)
2107 around each @code{\parenthesize} statement.
2114 @cindex guitar tablature
2117 * String number indications::
2118 * Tablatures basic::
2119 * Non-guitar tablatures::
2120 * Banjo tablatures::
2122 * Right hand fingerings::
2123 * Other guitar issues::
2126 @node String number indications
2127 @subsection String number indications
2129 @cindex String numbers
2131 String numbers can be added to chords, by indicating the string number
2132 with @code{\}@var{number},
2134 @lilypond[relative,relative=1,ragged-right,fragment]
2141 Program reference: @internalsref{StringNumber},
2142 @lsr{guitar/,string-number.ly}.
2145 @node Tablatures basic
2146 @subsection Tablatures basic
2147 @cindex Tablatures basic
2149 Tablature notation is used for notating music for plucked string
2150 instruments. Pitches are not denoted with note heads, but by
2151 numbers indicating on which string and fret a note must be played. LilyPond
2152 offers limited support for tablature.
2154 The string number associated to a note is given as a backslash
2155 followed by a number, e.g., @code{c4\3} for a C quarter on the third
2156 string. By default, string 1 is the highest one, and the tuning
2157 defaults to the standard guitar tuning (with 6 strings). The notes
2158 are printed as tablature, by using @internalsref{TabStaff} and
2159 @internalsref{TabVoice} contexts
2161 @lilypond[quote,ragged-right,fragment,verbatim]
2168 @funindex minimumFret
2171 When no string is specified, the first string that does not give a
2172 fret number less than @code{minimumFret} is selected. The default
2173 value for @code{minimumFret} is 0
2178 \set TabStaff.minimumFret = #8
2181 @lilypond[quote,ragged-right]
2185 \set TabStaff.minimumFret = #8
2189 \new Staff { \clef "G_8" \frag }
2190 \new TabStaff { \frag }
2197 To print tablatures with stems down and horizontal beams,
2198 initialize the @code{TabStaff} with this code:
2202 \override Beam #'damping = #100000
2207 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}.
2211 Chords are not handled in a special way, and hence the automatic
2212 string selector may easily select the same string to two notes in a
2216 @node Non-guitar tablatures
2217 @subsection Non-guitar tablatures
2218 @cindex Non-guitar tablatures
2220 You can change the tuning of the strings. A string tuning is given as
2221 a Scheme list with one integer number for each string, the number
2222 being the pitch (measured in semitones relative to middle C) of an
2223 open string. The numbers specified for @code{stringTuning} are the
2224 numbers of semitones to subtract or add, starting the specified pitch
2225 by default middle C, in string order. LilyPond automatically calculates
2226 the number of strings by looking at @code{stringTuning}.
2228 In the next example,
2229 @code{stringTunings} is set for the pitches e, a, d, and g
2231 @lilypond[quote,ragged-right,fragment,verbatim]
2233 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
2235 a,4 c' a e' e c' a e'
2240 LilyPond comes with predefined string tunings for banjo, mandolin, guitar
2244 \set TabStaff.stringTunings = #bass-tuning
2247 The default string tuning is @code{guitar-tuning} (the standard EADGBE
2249 Some other predefined tunings are @code{guitar-open-g-tuning},
2250 @code{mandolin-tuning} and @code{banjo-open-g-tuning}.
2254 The file @file{scm/@/output@/-lib@/.scm} contains the predefined string
2256 Program reference: @internalsref{Tab_note_heads_engraver}.
2260 No guitar special effects have been implemented.
2264 @node Banjo tablatures
2265 @subsection Banjo tablatures
2266 @cindex Banjo tablatures
2268 LilyPond has basic support for five stringed banjo. When making tablatures
2269 for five stringed banjo, use the banjo tablature format function to get
2271 fret numbers for the fifth string:
2273 @lilypond[quote,ragged-right,fragment,verbatim]
2275 \set TabStaff.tablatureFormat = #fret-number-tablature-format-banjo
2276 \set TabStaff.stringTunings = #banjo-open-g-tuning
2279 g8 d' g'\5 a b g e d' |
2280 g4 d''8\5 b' a'\2 g'\5 e'\2 d' |
2286 A number of common tunings for banjo are predefined in LilyPond:
2287 @code{banjo-c-tuning} (gCGBD), @code{banjo-modal-tuning} (gDGCD),
2288 @code{banjo-open-d-tuning} (aDF#AD) and @code{banjo-open-dm-tuning}
2291 These tunings may be converted to four string banjo tunings using the
2292 @code{four-string-banjo} function:
2295 \set TabStaff.stringTunings = #(four-string-banjo banjo-c-tuning)
2300 The file @file{scm/@/output@/-lib@/.scm} contains predefined banjo tunings.
2304 @subsection Fret diagrams
2305 @cindex fret diagrams
2306 @cindex chord diagrams
2308 Fret diagrams can be added to music as a markup to the desired note. The
2309 markup contains information about the desired fret diagram, as shown in the
2312 @lilypond[verbatim, ragged-right, quote]
2314 d'^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
2316 fis'^\markup \override #'(size . 0.75) {
2317 \override #'(finger-code . below-string) {
2318 \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
2319 (place-fret 5 4 3) (place-fret 4 4 4)
2320 (place-fret 3 3 2) (place-fret 2 2 1)
2325 c'^\markup \override #'(dot-radius . 0.35) {
2326 \override #'(finger-code . in-dot) {
2327 \override #'(dot-color . white) {
2328 \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
2337 There are three different fret-diagram markup interfaces: standard, terse,
2338 and verbose. The three interfaces produce equivalent markups, but have
2339 varying amounts of information in the markup string. Details about the
2340 markup interfaces are found at @ref{Overview of text markup commands}.
2342 You can set a number of graphical properties according to your preference.
2343 Details about the property interface to fret diagrams are found at
2344 @internalsref{fret-diagram-interface}.
2349 Examples: @lsrdir{guitar}
2352 @node Right hand fingerings
2353 @subsection Right hand fingerings
2355 Right hand fingerings in chords can be entered using
2356 @code{@var{note}-\rightHandFinger @var{finger}}
2358 @lilypond[verbatim,fragment,relative=2]
2359 <c-\rightHandFinger #1 e-\rightHandFinger #2 >
2362 for brevity, you can abbreviate @code{\rightHandFinger} to something
2363 short, for example @code{RH},
2366 #(define RH rightHandFinger)
2369 @cindex fingerings, right hand, for guitar
2370 @cindex right hand fingerings for guitar
2374 You may exercise greater control over right handing fingerings by
2375 setting @code{strokeFingerOrientations},
2377 @lilypond[quote,verbatim,ragged-right,fragment,relative=1]
2378 #(define RH rightHandFinger)
2380 \set strokeFingerOrientations = #'(up down)
2381 <c-\RH #1 es-\RH #2 g-\RH #4 > 4
2382 \set strokeFingerOrientations = #'(up right down)
2383 <c-\RH #1 es-\RH #2 g-\RH #4 > 4
2387 The letters used for the fingerings are contained in the property
2388 @code{digit-names}, but they can also be set individually by supplying
2389 @code{\rightHandFinger} with a string argument, as in the following example
2392 @lilypond[quote,verbatim,ragged-right,fragment,relative=1]
2393 #(define RH rightHandFinger)
2395 \set strokeFingerOrientations = #'(right)
2396 \override StrokeFinger #'digit-names = ##("x" "y" "z" "!" "@")
2404 Internalls: @internalsref{StrokeFinger}
2408 @node Other guitar issues
2409 @subsection Other guitar issues
2411 This example demonstrates how to include guitar position and
2412 barring indications.
2414 @lilypond[quote,ragged-right,fragment,verbatim,relative=0]
2418 \override TextSpanner #'bound-details #'left #'text = #"XII "
2420 b16 e16 g16 e16 b16 g16\stopTextSpan
2425 Stopped (X) note heads are used in guitar music to signal a place where the
2426 guitarist must play a certain note or chord, with its fingers just
2427 touching the strings instead of fully pressing them. This gives the sound a
2428 percussive noise-like sound that still maintains part of the original
2429 pitch. It is notated with cross noteheads; this is
2430 demonstrated in @ref{Special noteheads}.
2439 * Bagpipe definitions::
2444 @node Bagpipe definitions
2445 @subsection Bagpipe definitions
2447 LilyPond contains special definitions for music for the Scottish
2448 highland bagpipe; to use them, add
2451 \include "bagpipe.ly"
2455 at the top of your input file. This lets you add the special gracenotes
2456 common to bagpipe music with short commands. For example, you could
2457 write @code{\taor} instead of
2460 \grace @{ \small G32[ d G e] @}
2463 @code{bagpipe.ly} also contains pitch definitions for the bagpipe
2464 notes in the appropiate octaves, so you do not need to worry about
2465 @code{\relative} or @code{\transpose}.
2467 @lilypond[ragged-right,verbatim,quote,notime]
2468 \include "bagpipe.ly"
2469 { \grg G4 \grg a \grg b \grg c \grg d \grg e \grg f \grA g A }
2472 Bagpipe music nominally uses the key of D Major (even though that
2473 isn't really true). However, since that is the only key that can be used,
2474 the key signature is normally not written out. To set this up correctly,
2475 always start your music with @code{\hideKeySignature}. If you for some
2476 reason want to show the key signature, you can use @code{\showKeySignature}
2479 Some modern music use cross fingering on c and f to flatten those notes.
2480 This can be indicated by @code{cflat} or @code{fflat}. Similarly, the
2481 piobaireachd high g can be written @code{gflat} when it occurs in light
2485 @node Bagpipe example
2486 @subsection Bagpipe example
2488 This is what the well known tune Amazing Grace looks like in bagpipe
2491 @lilypond[verbatim,quote]
2492 \include "bagpipe.ly"
2495 \context { \Score \remove "Bar_number_engraver" }
2499 title = "Amazing Grace"
2501 arranger = "Trad. arr."
2507 \grg \partial 4 a8. d16
2508 \slurd d2 \grg f8[ e32 d16.]
2511 \grG a2 \grg a8. d16
2512 \slurd d2 \grg f8[ e32 d16.]
2513 \grg f2 \grg e8. f16
2516 \grg A2 \hdblf f8[ e32 d16.]
2519 \grG a2 \grg a8. d16
2520 \slurd d2 \grg f8[ e32 d16.]
2529 @node Ancient notation
2530 @section Ancient notation
2532 @cindex Vaticana, Editio
2533 @cindex Medicaea, Editio
2538 Support for ancient notation includes features for mensural notation
2539 and Gregorian Chant notation. There is also limited support for
2540 figured bass notation.
2542 Many graphical objects provide a @code{style} property, see
2545 @ref{Ancient note heads},
2547 @ref{Ancient accidentals},
2549 @ref{Ancient rests},
2551 @ref{Ancient clefs},
2553 @ref{Ancient flags},
2555 @ref{Ancient time signatures}.
2558 By manipulating such a grob property, the typographical appearance of
2559 the affected graphical objects can be accommodated for a specific
2560 notation flavor without the need for introducing any new notational
2563 In addition to the standard articulation signs described in section
2564 @ref{Articulations}, specific articulation signs for ancient notation
2569 @ref{Ancient articulations}
2572 Other aspects of ancient notation can not that easily be expressed
2573 in terms of just changing a style property of a graphical object or
2574 adding articulation signs. Some notational concepts are introduced
2575 specifically for ancient notation,
2586 If this all is too much of documentation for you, and you just want to
2587 dive into typesetting without worrying too much about the details on
2588 how to customize a context, you may have a look at the predefined
2589 contexts. Use them to set up predefined style-specific voice and
2590 staff contexts, and directly go ahead with the note entry,
2594 @ref{Gregorian Chant contexts},
2596 @ref{Mensural contexts}.
2599 There is limited support for figured bass notation which came
2600 up during the baroque period.
2607 Here are all subtopics at a glance:
2610 * Ancient note heads::
2611 * Ancient accidentals::
2615 * Ancient time signatures::
2616 * Ancient articulations::
2620 * Gregorian Chant contexts::
2621 * Mensural contexts::
2622 * Musica ficta accidentals::
2628 @node Ancient note heads
2629 @subsection Ancient note heads
2631 @cindex note heads, ancient
2633 For ancient notation, a note head style other than the @code{default}
2634 style may be chosen. This is accomplished by setting the @code{style}
2635 property of the @internalsref{NoteHead} object to @code{baroque},
2636 @code{neomensural}, @code{mensural} or @code{petrucci}. The
2637 @code{baroque} style differs from the @code{default} style only in
2638 using a square shape for @code{\breve} note heads. The
2639 @code{neomensural} style differs from the @code{baroque} style in that
2640 it uses rhomboidal heads for whole notes and all smaller durations.
2641 Stems are centered on the note heads. This style is particularly
2642 useful when transcribing mensural music, e.g., for the incipit. The
2643 @code{mensural} style produces note heads that mimic the look of note
2644 heads in historic printings of the 16th century. Finally, the
2645 @code{petrucci} style also mimicks historic printings, but uses bigger
2648 The following example demonstrates the @code{neomensural} style
2650 @lilypond[quote,fragment,ragged-right,verbatim]
2651 \set Score.skipBars = ##t
2652 \override NoteHead #'style = #'neomensural
2653 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
2656 When typesetting a piece in Gregorian Chant notation, the
2657 @internalsref{Gregorian_ligature_engraver} will automatically select
2658 the proper note heads, so there is no need to explicitly set the
2659 note head style. Still, the note head style can be set, e.g., to
2660 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
2661 @internalsref{Mensural_ligature_engraver} is used to automatically
2662 assemble mensural ligatures. See @ref{Ligatures}, for how ligature
2667 @ref{Note head styles}, gives an overview over all available note head styles.
2670 @node Ancient accidentals
2671 @subsection Ancient accidentals
2676 Use the @code{glyph-name-alist} property of grob
2677 @internalsref{Accidental} and @internalsref{KeySignature} to select
2678 ancient accidentals.
2680 @lilypond[quote,ragged-right,staffsize=26]
2687 \line { " " \musicglyph #"accidentals.vaticana-1"
2688 " " \musicglyph #"accidentals.vaticana0" }
2692 \line { " " \musicglyph #"accidentals.medicaea-1" }
2696 \line { " " \musicglyph #"accidentals.hufnagel-1" }
2700 \line { " " \musicglyph #"accidentals.mensural-1"
2701 " " \musicglyph #"accidentals.mensural1" }
2707 \context { \Score \remove "Bar_number_engraver" }
2709 \remove "Clef_engraver"
2710 \remove "Key_engraver"
2711 \remove "Time_signature_engraver"
2712 \remove "Staff_symbol_engraver"
2713 \override VerticalAxisGroup #'minimum-Y-extent = ##f
2719 As shown, not all accidentals are supported by each style. When
2720 trying to access an unsupported accidental, LilyPond will switch to a
2721 different style, as demonstrated in
2722 @lsr{ancient,ancient-accidentals.ly}.
2724 Similarly to local accidentals, the style of the key signature can be
2725 controlled by the @code{glyph-name-alist} property of the
2726 @internalsref{KeySignature} grob.
2730 In this manual: @ref{Pitches}, @ref{Cautionary accidentals}, and
2731 @ref{Automatic accidentals}, give a general introduction of the use of
2732 accidentals. @ref{Key signature}, gives a general introduction of
2733 the use of key signatures.
2735 Program reference: @internalsref{KeySignature}.
2737 Examples: @lsrdir{ancient}
2740 @subsection Ancient rests
2742 @cindex rests, ancient
2745 Use the @code{style} property of grob @internalsref{Rest} to select
2746 ancient rests. Supported styles are @code{classical},
2747 @code{neomensural}, and @code{mensural}. @code{classical} differs
2748 from the @code{default} style only in that the quarter rest looks like
2749 a horizontally mirrored 8th rest. The @code{neomensural} style suits
2750 well for, e.g., the incipit of a transcribed mensural piece of music.
2751 The @code{mensural} style finally mimics the appearance of rests as
2752 in historic prints of the 16th century.
2754 The following example demonstrates the @code{neomensural} style
2756 @lilypond[quote,fragment,ragged-right,verbatim]
2757 \set Score.skipBars = ##t
2758 \override Rest #'style = #'neomensural
2759 r\longa r\breve r1 r2 r4 r8 r16
2762 There are no 32th and 64th rests specifically for the mensural or
2763 neo-mensural style. Instead, the rests from the default style will be
2764 taken. See @lsr{pitches,rests} for a chart of all rests.
2766 There are no rests in Gregorian Chant notation; instead, it uses
2771 In this manual: @ref{Rests}, gives a general introduction into the use of
2776 @subsection Ancient clefs
2781 LilyPond supports a variety of clefs, many of them ancient.
2783 The following table shows all ancient clefs that are supported via the
2784 @code{\clef} command. Some of the clefs use the same glyph, but
2785 differ only with respect to the line they are printed on. In such
2786 cases, a trailing number in the name is used to enumerate these clefs.
2787 Still, you can manually force a clef glyph to be typeset on an
2788 arbitrary line, as described in @ref{Clef}. The note printed to the
2789 right side of each clef in the example column denotes the @code{c'}
2790 with respect to that clef.
2792 @multitable @columnfractions .4 .4 .2
2801 modern style mensural C clef
2803 @code{neomensural-c1}, @code{neomensural-c2},@*
2804 @code{neomensural-c3}, @code{neomensural-c4}
2806 @lilypond[fragment,relative=1,notime]
2807 \clef "neomensural-c2" c
2811 petrucci style mensural C clefs, for use on different staff lines
2812 (the examples show the 2nd staff line C clef)
2814 @code{petrucci-c1}, @code{petrucci-c2},@*
2815 @code{petrucci-c3}, @code{petrucci-c4},@*
2818 @lilypond[fragment,relative=1,notime]
2820 \override NoteHead #'style = #'mensural
2825 petrucci style mensural F clef
2829 @lilypond[fragment,relative=1,notime]
2831 \override NoteHead #'style = #'mensural
2836 petrucci style mensural G clef
2840 @lilypond[fragment,relative=1,notime]
2842 \override NoteHead #'style = #'mensural
2847 historic style mensural C clef
2849 @code{mensural-c1}, @code{mensural-c2},@*
2850 @code{mensural-c3}, @code{mensural-c4}
2852 @lilypond[fragment,relative=1,notime]
2854 \override NoteHead #'style = #'mensural
2859 historic style mensural F clef
2863 @lilypond[fragment,relative=1,notime]
2865 \override NoteHead #'style = #'mensural
2870 historic style mensural G clef
2874 @lilypond[fragment,relative=1,notime]
2876 \override NoteHead #'style = #'mensural
2881 Editio Vaticana style do clef
2883 @code{vaticana-do1}, @code{vaticana-do2},@*
2886 @lilypond[fragment,relative=1,notime]
2887 \override Staff.StaffSymbol #'line-count = #4
2888 \override Staff.StaffSymbol #'color = #red
2889 \override Staff.LedgerLineSpanner #'color = #red
2890 \override Voice.Stem #'transparent = ##t
2891 \override NoteHead #'style = #'vaticana.punctum
2892 \clef "vaticana-do2"
2897 Editio Vaticana style fa clef
2899 @code{vaticana-fa1}, @code{vaticana-fa2}
2901 @lilypond[fragment,relative=1,notime]
2902 \override Staff.StaffSymbol #'line-count = #4
2903 \override Staff.StaffSymbol #'color = #red
2904 \override Staff.LedgerLineSpanner #'color = #red
2905 \override Voice.Stem #'transparent = ##t
2906 \override NoteHead #'style = #'vaticana.punctum
2907 \clef "vaticana-fa2"
2912 Editio Medicaea style do clef
2914 @code{medicaea-do1}, @code{medicaea-do2},@*
2917 @lilypond[fragment,relative=1,notime]
2918 \override Staff.StaffSymbol #'line-count = #4
2919 \override Staff.StaffSymbol #'color = #red
2920 \override Staff.LedgerLineSpanner #'color = #red
2921 \override Voice.Stem #'transparent = ##t
2922 \override NoteHead #'style = #'medicaea.punctum
2923 \clef "medicaea-do2"
2928 Editio Medicaea style fa clef
2930 @code{medicaea-fa1}, @code{medicaea-fa2}
2932 @lilypond[fragment,relative=1,notime]
2933 \override Staff.StaffSymbol #'line-count = #4
2934 \override Staff.StaffSymbol #'color = #red
2935 \override Staff.LedgerLineSpanner #'color = #red
2936 \override Voice.Stem #'transparent = ##t
2937 \override NoteHead #'style = #'medicaea.punctum
2938 \clef "medicaea-fa2"
2943 historic style hufnagel do clef
2945 @code{hufnagel-do1}, @code{hufnagel-do2},@*
2948 @lilypond[fragment,relative=1,notime]
2949 \override Staff.StaffSymbol #'line-count = #4
2950 \override Staff.StaffSymbol #'color = #red
2951 \override Staff.LedgerLineSpanner #'color = #red
2952 \override Voice.Stem #'transparent = ##t
2953 \override NoteHead #'style = #'hufnagel.punctum
2954 \clef "hufnagel-do2"
2959 historic style hufnagel fa clef
2961 @code{hufnagel-fa1}, @code{hufnagel-fa2}
2963 @lilypond[fragment,relative=1,notime]
2964 \override Staff.StaffSymbol #'line-count = #4
2965 \override Staff.StaffSymbol #'color = #red
2966 \override Staff.LedgerLineSpanner #'color = #red
2967 \override Voice.Stem #'transparent = ##t
2968 \override NoteHead #'style = #'hufnagel.punctum
2969 \clef "hufnagel-fa2"
2974 historic style hufnagel combined do/fa clef
2976 @code{hufnagel-do-fa}
2978 @lilypond[fragment,relative=1,notime]
2979 \override Staff.StaffSymbol #'color = #red
2980 \override Staff.LedgerLineSpanner #'color = #red
2981 \override Voice.Stem #'transparent = ##t
2982 \override NoteHead #'style = #'hufnagel.punctum
2983 \clef "hufnagel-do-fa"
2990 @emph{Modern style} means @qq{as is typeset in contemporary editions of
2991 transcribed mensural music.}
2993 @emph{Petrucci style} means @qq{inspired by printings published by the
2994 famous engraver Petrucci (1466-1539).}
2996 @emph{Historic style} means @qq{as was typeset or written in historic
2997 editions (other than those of Petrucci).}
2999 @emph{Editio XXX style} means @qq{as is/was printed in Editio XXX.}
3001 Petrucci used C clefs with differently balanced left-side vertical
3002 beams, depending on which staff line it is printed.
3006 In this manual: see @ref{Clef}.
3010 The mensural g clef is mapped to the Petrucci g clef.
3015 @subsection Ancient flags
3020 Use the @code{flag-style} property of grob @internalsref{Stem} to
3021 select ancient flags. Besides the @code{default} flag style,
3022 only the @code{mensural} style is supported
3024 @lilypond[quote,fragment,ragged-right,verbatim]
3025 \override Stem #'flag-style = #'mensural
3026 \override Stem #'thickness = #1.0
3027 \override NoteHead #'style = #'mensural
3029 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
3030 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
3033 Note that the innermost flare of each mensural flag always is
3034 vertically aligned with a staff line.
3036 There is no particular flag style for neo-mensural notation. Hence,
3037 when typesetting the incipit of a transcribed piece of mensural
3038 music, the default flag style should be used. There are no flags in
3039 Gregorian Chant notation.
3043 The attachment of ancient flags to stems is slightly off due to a
3044 change in early 2.3.x.
3046 Vertically aligning each flag with a staff line assumes that stems
3047 always end either exactly on or exactly in the middle between two
3048 staff lines. This may not always be true when using advanced layout
3049 features of classical notation (which however are typically out of
3050 scope for mensural notation).
3052 @node Ancient time signatures
3053 @subsection Ancient time signatures
3055 @cindex time signatures
3058 There is limited support for mensural time signatures. The
3059 glyphs are hard-wired to particular time fractions. In other words,
3060 to get a particular mensural signature glyph with the @code{\time n/m}
3061 command, @code{n} and @code{m} have to be chosen according to the
3064 @lilypond[quote,ragged-right]
3069 \remove Staff_symbol_engraver
3070 \remove Clef_engraver
3071 \remove Time_signature_engraver
3075 \set Score.timing = ##f
3076 \set Score.barAlways = ##t
3077 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph
3078 #"timesig.neomensural44" }
3080 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph
3081 #"timesig.neomensural22" }
3083 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph
3084 #"timesig.neomensural64" }
3086 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph
3087 #"timesig.neomensural68" }
3089 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph
3090 #"timesig.neomensural32" }
3092 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph
3093 #"timesig.neomensural34" }
3095 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph
3096 #"timesig.neomensural94" }
3098 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph
3099 #"timesig.neomensural98" }
3101 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph
3102 #"timesig.neomensural48" }
3104 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph
3105 #"timesig.neomensural24" }
3109 Use the @code{style} property of grob @internalsref{TimeSignature} to
3110 select ancient time signatures. Supported styles are
3111 @code{neomensural} and @code{mensural}. The above table uses the
3112 @code{neomensural} style. This style is appropriate for the
3113 incipit of transcriptions of mensural pieces. The @code{mensural}
3114 style mimics the look of historical printings of the 16th century.
3116 The following examples show the differences in style,
3118 @lilypond[ragged-right,fragment,relative=1,quote]
3123 c1^\markup { \hspace #-2.0 \typewriter default }
3125 \override Staff.TimeSignature #'style = #'numbered
3127 c1^\markup { \hspace #-2.0 \typewriter numbered }
3129 \override Staff.TimeSignature #'style = #'mensural
3131 c1^\markup { \hspace #-2.0 \typewriter mensural }
3133 \override Staff.TimeSignature #'style = #'neomensural
3135 c1^\markup { \hspace #-2.0 \typewriter neomensural }
3136 \override Staff.TimeSignature #'style = #'single-digit
3138 c1^\markup { \hspace #-2.0 \typewriter single-digit }
3144 This manual: @ref{Time signature}, gives a general introduction to
3145 the use of time signatures.
3149 Ratios of note durations do not change with the time signature. For
3150 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
3151 be made by hand, by setting
3154 breveTP = #(ly:make-duration -1 0 3 2)
3160 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
3162 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
3163 addressable with @code{\time}. Use a @code{\markup} instead
3165 @node Ancient articulations
3166 @subsection Ancient articulations
3168 @cindex articulations
3170 In addition to the standard articulation signs described in section
3171 @ref{Articulations}, articulation signs for ancient notation are
3172 provided. These are specifically designed for use with notation in
3173 Editio Vaticana style.
3175 @lilypond[quote,ragged-right,verbatim]
3176 \include "gregorian-init.ly"
3178 \new VaticanaVoice {
3179 \override TextScript #'font-family = #'typewriter
3180 \override TextScript #'font-shape = #'upright
3181 \override Script #'padding = #-0.1
3182 a\ictus_"ictus" \break
3183 a\circulus_"circulus" \break
3184 a\semicirculus_"semicirculus" \break
3185 a\accentus_"accentus" \break
3186 \[ a_"episem" \episemInitium \pes b \flexa a b \episemFinis \flexa a \]
3193 Some articulations are vertically placed too closely to the
3194 corresponding note heads.
3196 The episem line is not displayed in many cases. If it is displayed,
3197 the right end of the episem line is often too far to the right.
3200 @subsection Custodes
3205 A @emph{custos} (plural: @emph{custodes}; Latin word for @q{guard}) is a
3206 symbol that appears at the end of a staff. It anticipates the pitch
3207 of the first note(s) of the following line thus helping the performer
3208 to manage line breaks during performance.
3210 Custodes were frequently used in music notation until the 17th
3211 century. Nowadays, they have survived only in a few particular forms
3212 of musical notation such as contemporary editions of Gregorian chant
3213 like the @emph{editio vaticana}. There are different custos glyphs
3214 used in different flavors of notational style.
3216 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
3217 @internalsref{Staff} context when declaring the @code{\layout} block,
3218 as shown in the following example
3224 \consists Custos_engraver
3225 Custos \override #'style = #'mensural
3230 The result looks like this
3232 @lilypond[quote,ragged-right]
3236 \override Staff.Custos #'style = #'mensural
3241 \context { \Staff \consists Custos_engraver }
3246 The custos glyph is selected by the @code{style} property. The styles
3247 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
3248 @code{mensural}. They are demonstrated in the following fragment
3250 @lilypond[quote,ragged-right,fragment]
3251 \new Lyrics \lyricmode {
3253 \typewriter "vaticana"
3254 \line { " " \musicglyph #"custodes.vaticana.u0" }
3257 \typewriter "medicaea"
3258 \line { " " \musicglyph #"custodes.medicaea.u0" }
3261 \typewriter "hufnagel"
3262 \line { " " \musicglyph #"custodes.hufnagel.u0" }
3265 \typewriter "mensural"
3266 \line { " " \musicglyph #"custodes.mensural.u0" }
3273 Program reference: @internalsref{Custos}.
3276 @lsr{ancient,custodes@/.ly}.
3280 @subsection Divisiones
3286 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
3287 @q{division}) is a staff context symbol that is used to structure
3288 Gregorian music into phrases and sections. The musical meaning of
3289 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
3290 can be characterized as short, medium, and long pause, somewhat like
3291 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
3292 only marks the end of a chant, but is also frequently used within a
3293 single antiphonal/responsorial chant to mark the end of each section.
3296 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
3297 contains definitions that you can apply by just inserting
3298 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
3299 and @code{\finalis} at proper places in the input. Some editions use
3300 @emph{virgula} or @emph{caesura} instead of divisio minima.
3301 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
3304 @lilypondfile[quote,ragged-right]{divisiones.ly}
3312 @funindex \divisioMinima
3313 @code{\divisioMinima},
3314 @funindex \divisioMaior
3315 @code{\divisioMaior},
3316 @funindex \divisioMaxima
3317 @code{\divisioMaxima},
3323 In this manual: @ref{Breath marks}.
3325 Program reference: @internalsref{BreathingSign}.
3327 Examples: @lsr{expressive,breathing-sign.ly}.
3331 @subsection Ligatures
3335 @c TODO: Should double check if I recalled things correctly when I wrote
3336 @c down the following paragraph by heart.
3338 A ligature is a graphical symbol that represents at least two distinct
3339 notes. Ligatures originally appeared in the manuscripts of Gregorian
3340 chant notation to denote ascending or descending sequences of notes.
3342 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
3343 Some ligature styles may need additional input syntax specific for
3344 this particular type of ligature. By default, the
3345 @internalsref{LigatureBracket} engraver just puts a square bracket
3348 @lilypond[quote,ragged-right,verbatim]
3356 To select a specific style of ligatures, a proper ligature engraver
3357 has to be added to the @internalsref{Voice} context, as explained in
3358 the following subsections. Only white mensural ligatures
3359 are supported with certain limitations.
3365 Ligatures need special spacing that has not yet been implemented. As
3366 a result, there is too much space between ligatures most of the time,
3367 and line breaking often is unsatisfactory. Also, lyrics do not
3368 correctly align with ligatures.
3370 Accidentals must not be printed within a ligature, but instead need to
3371 be collected and printed in front of it.
3373 The syntax still uses the deprecated infix style @code{\[ music expr
3374 \]}. For consistency reasons, it will eventually be changed to
3375 postfix style @code{note\[ ... note\]}. Alternatively, the file
3376 @file{gregorian@/-init@/.ly} can be included; it provides a scheme
3379 \ligature @var{music expr}
3381 with the same effect and is believed to be stable.
3384 * White mensural ligatures::
3385 * Gregorian square neumes ligatures::
3388 @node White mensural ligatures
3389 @subsubsection White mensural ligatures
3391 @cindex Mensural ligatures
3392 @cindex White mensural ligatures
3394 There is limited support for white mensural ligatures.
3396 To engrave white mensural ligatures, in the layout block put the
3397 @internalsref{Mensural_ligature_engraver} into the
3398 @internalsref{Voice} context, and remove the
3399 @internalsref{Ligature_bracket_engraver}, like this
3405 \remove Ligature_bracket_engraver
3406 \consists Mensural_ligature_engraver
3411 There is no additional input language to describe the shape of a
3412 white mensural ligature. The shape is rather determined solely from
3413 the pitch and duration of the enclosed notes. While this approach may
3414 take a new user a while to get accustomed to, it has the great advantage
3415 that the full musical information of the ligature is known internally.
3416 This is not only required for correct MIDI output, but also allows for
3417 automatic transcription of the ligatures.
3422 \set Score.timing = ##f
3423 \set Score.defaultBarType = "empty"
3424 \override NoteHead #'style = #'neomensural
3425 \override Staff.TimeSignature #'style = #'neomensural
3428 \[ d\longa c\breve f e d \]
3429 \[ c'\maxima d'\longa \]
3432 @lilypond[quote,ragged-right]
3435 \set Score.timing = ##f
3436 \set Score.defaultBarType = "empty"
3437 \override NoteHead #'style = #'neomensural
3438 \override Staff.TimeSignature #'style = #'neomensural
3441 \[ d\longa c\breve f e d \]
3442 \[ c'\maxima d'\longa \]
3448 \remove Ligature_bracket_engraver
3449 \consists Mensural_ligature_engraver
3455 Without replacing @internalsref{Ligature_bracket_engraver} with
3456 @internalsref{Mensural_ligature_engraver}, the same music transcribes
3459 @lilypond[quote,ragged-right]
3461 \set Score.timing = ##f
3462 \set Score.defaultBarType = "empty"
3463 \override NoteHead #'style = #'neomensural
3464 \override Staff.TimeSignature #'style = #'neomensural
3467 \[ d\longa c\breve f e d \]
3468 \[ c'\maxima d'\longa \]
3475 Horizontal spacing is poor.
3477 @node Gregorian square neumes ligatures
3478 @subsubsection Gregorian square neumes ligatures
3480 @cindex Square neumes ligatures
3481 @cindex Gregorian square neumes ligatures
3483 There is limited support for Gregorian square neumes notation
3484 (following the style of the Editio Vaticana). Core ligatures can
3485 already be typeset, but essential issues for serious typesetting are
3486 still lacking, such as (among others) horizontal alignment of multiple
3487 ligatures, lyrics alignment and proper handling of accidentals.
3490 The following table contains the extended neumes table of the 2nd
3491 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
3492 1983 by the monks of Solesmes.
3494 @multitable @columnfractions .4 .2 .2 .2
3511 @c TODO: \layout block is identical in all of the below examples.
3512 @c Therefore, it should somehow be included rather than duplicated all
3515 @c why not make identifiers in ly/engraver-init.ly? --hwn
3517 @c Because it's just used to typeset plain notes without
3518 @c a staff for demonstration purposes rather than something
3519 @c special of Gregorian chant notation. --jr
3524 @lilypond[staffsize=26,line-width=1.5\cm]
3525 \include "gregorian-init.ly"
3530 \noBreak s^\markup {"a"} \noBreak
3532 % Punctum Inclinatum
3534 \noBreak s^\markup {"b"}
3536 \layout { \neumeDemoLayout }}
3539 @lilypond[staffsize=26,line-width=2.5\cm]
3540 \include "gregorian-init.ly"
3543 % Punctum Auctum Ascendens
3544 \[ \auctum \ascendens b \]
3545 \noBreak s^\markup {"c"} \noBreak
3547 % Punctum Auctum Descendens
3548 \[ \auctum \descendens b \]
3549 \noBreak s^\markup {"d"} \noBreak
3551 % Punctum Inclinatum Auctum
3552 \[ \inclinatum \auctum b \]
3553 \noBreak s^\markup {"e"}
3555 \layout { \neumeDemoLayout }}
3558 @lilypond[staffsize=26,line-width=1.0\cm]
3559 \include "gregorian-init.ly"
3562 % Punctum Inclinatum Parvum
3563 \[ \inclinatum \deminutum b \]
3564 \noBreak s^\markup {"f"}
3566 \layout { \neumeDemoLayout }}
3572 @lilypond[staffsize=26,line-width=1.0\cm]
3573 \include "gregorian-init.ly"
3578 \noBreak s^\markup {"g"}
3580 \layout { \neumeDemoLayout }}
3586 @code{3. Apostropha vel Stropha}
3588 @lilypond[staffsize=26,line-width=1.0\cm]
3589 \include "gregorian-init.ly"
3594 \noBreak s^\markup {"h"}
3596 \layout { \neumeDemoLayout }}
3599 @lilypond[staffsize=26,line-width=1.0\cm]
3600 \include "gregorian-init.ly"
3604 \[ \stropha \auctum b \]
3605 \noBreak s^\markup {"i"}
3607 \layout { \neumeDemoLayout }}
3614 @lilypond[staffsize=26,line-width=1.0\cm]
3615 \include "gregorian-init.ly"
3620 \noBreak s^\markup {"j"}
3622 \layout { \neumeDemoLayout }}
3628 @code{5. Clivis vel Flexa}
3630 @lilypond[staffsize=26,line-width=1.0\cm]
3631 \include "gregorian-init.ly"
3638 \layout { \neumeDemoLayout }}
3641 @lilypond[staffsize=26,line-width=2.0\cm]
3642 \include "gregorian-init.ly"
3645 % Clivis Aucta Descendens
3646 \[ b \flexa \auctum \descendens g \]
3647 \noBreak s^\markup {"l"} \noBreak
3649 % Clivis Aucta Ascendens
3650 \[ b \flexa \auctum \ascendens g \]
3651 \noBreak s^\markup {"m"}
3653 \layout { \neumeDemoLayout }}
3656 @lilypond[staffsize=26,line-width=1.0\cm]
3657 \include "gregorian-init.ly"
3661 \[ b \flexa \deminutum g \]
3664 \layout { \neumeDemoLayout }}
3668 @code{6. Podatus vel Pes}
3670 @lilypond[staffsize=26,line-width=1.0\cm]
3671 \include "gregorian-init.ly"
3678 \layout { \neumeDemoLayout }}
3681 @lilypond[staffsize=26,line-width=2.0\cm]
3682 \include "gregorian-init.ly"
3685 % Pes Auctus Descendens
3686 \[ g \pes \auctum \descendens b \]
3687 \noBreak s^\markup {"p"} \noBreak
3689 % Pes Auctus Ascendens
3690 \[ g \pes \auctum \ascendens b \]
3691 \noBreak s^\markup {"q"}
3693 \layout { \neumeDemoLayout }}
3696 @lilypond[staffsize=26,line-width=1.0\cm]
3697 \include "gregorian-init.ly"
3701 \[ g \pes \deminutum b \]
3704 \layout { \neumeDemoLayout }}
3708 @code{7. Pes Quassus}
3710 @lilypond[staffsize=26,line-width=1.0\cm]
3711 \include "gregorian-init.ly"
3715 \[ \oriscus g \pes \virga b \]
3718 \layout { \neumeDemoLayout }}
3721 @lilypond[staffsize=26,line-width=1.0\cm]
3722 \include "gregorian-init.ly"
3725 % Pes Quassus Auctus Descendens
3726 \[ \oriscus g \pes \auctum \descendens b \]
3729 \layout { \neumeDemoLayout }}
3734 @code{8. Quilisma Pes}
3736 @lilypond[staffsize=26,line-width=1.0\cm]
3737 \include "gregorian-init.ly"
3741 \[ \quilisma g \pes b \]
3744 \layout { \neumeDemoLayout }}
3747 @lilypond[staffsize=26,line-width=1.0\cm]
3748 \include "gregorian-init.ly"
3751 % Quilisma Pes Auctus Descendens
3752 \[ \quilisma g \pes \auctum \descendens b \]
3755 \layout { \neumeDemoLayout }}
3760 @code{9. Podatus Initio Debilis}
3762 @lilypond[staffsize=26,line-width=1.0\cm]
3763 \include "gregorian-init.ly"
3766 % Pes Initio Debilis
3767 \[ \deminutum g \pes b \]
3770 \layout { \neumeDemoLayout }}
3773 @lilypond[staffsize=26,line-width=1.0\cm]
3774 \include "gregorian-init.ly"
3777 % Pes Auctus Descendens Initio Debilis
3778 \[ \deminutum g \pes \auctum \descendens b \]
3781 \layout { \neumeDemoLayout }}
3788 @lilypond[staffsize=26,line-width=1.0\cm]
3789 \include "gregorian-init.ly"
3793 \[ a \pes b \flexa g \]
3796 \layout { \neumeDemoLayout }}
3799 @lilypond[staffsize=26,line-width=1.0\cm]
3800 \include "gregorian-init.ly"
3803 % Torculus Auctus Descendens
3804 \[ a \pes b \flexa \auctum \descendens g \]
3807 \layout { \neumeDemoLayout }}
3810 @lilypond[staffsize=26,line-width=1.0\cm]
3811 \include "gregorian-init.ly"
3814 % Torculus Deminutus
3815 \[ a \pes b \flexa \deminutum g \]
3818 \layout { \neumeDemoLayout }}
3822 @code{11. Torculus Initio Debilis}
3824 @lilypond[staffsize=26,line-width=1.0\cm]
3825 \include "gregorian-init.ly"
3828 % Torculus Initio Debilis
3829 \[ \deminutum a \pes b \flexa g \]
3832 \layout { \neumeDemoLayout }}
3835 @lilypond[staffsize=26,line-width=1.0\cm]
3836 \include "gregorian-init.ly"
3839 % Torculus Auctus Descendens Initio Debilis
3840 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
3843 \layout { \neumeDemoLayout }}
3846 @lilypond[staffsize=26,line-width=1.0\cm]
3847 \include "gregorian-init.ly"
3850 % Torculus Deminutus Initio Debilis
3851 \[ \deminutum a \pes b \flexa \deminutum g \]
3854 \layout { \neumeDemoLayout }}
3858 @code{12. Porrectus}
3860 @lilypond[staffsize=26,line-width=1.0\cm]
3861 \include "gregorian-init.ly"
3865 \[ a \flexa g \pes b \]
3868 \layout { \neumeDemoLayout }}
3871 @lilypond[staffsize=26,line-width=1.0\cm]
3872 \include "gregorian-init.ly"
3875 % Porrectus Auctus Descendens
3876 \[ a \flexa g \pes \auctum \descendens b \]
3879 \layout { \neumeDemoLayout }}
3882 @lilypond[staffsize=26,line-width=1.0\cm]
3883 \include "gregorian-init.ly"
3886 % Porrectus Deminutus
3887 \[ a \flexa g \pes \deminutum b \]
3890 \layout { \neumeDemoLayout }}
3896 @lilypond[staffsize=26,line-width=1.0\cm]
3897 \include "gregorian-init.ly"
3901 \[ \virga b \inclinatum a \inclinatum g \]
3904 \layout { \neumeDemoLayout }
3908 @lilypond[staffsize=26,line-width=1.0\cm]
3909 \include "gregorian-init.ly"
3913 \[ \virga b \inclinatum a \inclinatum \auctum g \]
3916 \layout { \neumeDemoLayout }}
3919 @lilypond[staffsize=26,line-width=1.0\cm]
3920 \include "gregorian-init.ly"
3923 % Climacus Deminutus
3924 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
3927 \layout { \neumeDemoLayout }}
3931 @code{14. Scandicus}
3933 @lilypond[staffsize=26,line-width=1.0\cm]
3934 \include "gregorian-init.ly"
3938 \[ g \pes a \virga b \]
3941 \layout { \neumeDemoLayout }}
3944 @lilypond[staffsize=26,line-width=1.0\cm]
3945 \include "gregorian-init.ly"
3948 % Scandicus Auctus Descendens
3949 \[ g \pes a \pes \auctum \descendens b \]
3952 \layout { \neumeDemoLayout }}
3955 @lilypond[staffsize=26,line-width=1.0\cm]
3956 \include "gregorian-init.ly"
3959 % Scandicus Deminutus
3960 \[ g \pes a \pes \deminutum b \]
3963 \layout { \neumeDemoLayout }}
3969 @lilypond[staffsize=26,line-width=1.0\cm]
3970 \include "gregorian-init.ly"
3974 \[ g \oriscus a \pes \virga b \]
3977 \layout { \neumeDemoLayout }}
3980 @lilypond[staffsize=26,line-width=1.0\cm]
3981 \include "gregorian-init.ly"
3984 % Salicus Auctus Descendens
3985 \[ g \oriscus a \pes \auctum \descendens b \]
3988 \layout { \neumeDemoLayout }}
3995 @lilypond[staffsize=26,line-width=1.0\cm]
3996 \include "gregorian-init.ly"
4000 \[ \stropha b \stropha b \stropha a \]
4003 \layout { \neumeDemoLayout }
4012 Unlike most other neumes notation systems, the input language for
4013 neumes does not reflect the typographical appearance, but is designed
4014 to focus on musical meaning. For example, @code{\[ a \pes b
4015 \flexa g \]} produces a Torculus consisting of three Punctum heads,
4016 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
4017 curved flexa shape and only a single Punctum head. There is no
4018 command to explicitly typeset the curved flexa shape; the decision of
4019 when to typeset a curved flexa shape is based on the musical
4020 input. The idea of this approach is to separate the musical aspects
4021 of the input from the notation style of the output. This way, the
4022 same input can be reused to typeset the same music in a different
4023 style of Gregorian chant notation.
4025 The following table shows the code fragments that produce the
4026 ligatures in the above neumes table. The letter in the first column
4027 in each line of the below table indicates to which ligature in the
4028 above table it refers. The second column gives the name of the
4029 ligature. The third column shows the code fragment that produces this
4030 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
4032 @multitable @columnfractions .02 .31 .67
4052 @code{\[ \inclinatum b \]}
4060 @code{\[ \auctum \ascendens b \]}
4068 @code{\[ \auctum \descendens b \]}
4073 Punctum Inclinatum@*
4076 @code{\[ \inclinatum \auctum b \]}
4081 Punctum Inclinatum@*
4083 @code{\[ \inclinatum \deminutum b \]}
4090 @code{\[ \virga b \]}
4097 @code{\[ \stropha b \]}
4104 @code{\[ \stropha \auctum b \]}
4111 @code{\[ \oriscus b \]}
4118 @code{\[ b \flexa g \]}
4126 @code{\[ b \flexa \auctum \descendens g \]}
4134 @code{\[ b \flexa \auctum \ascendens g \]}
4141 @code{\[ b \flexa \deminutum g \]}
4148 @code{\[ g \pes b \]}
4156 @code{\[ g \pes \auctum \descendens b \]}
4164 @code{\[ g \pes \auctum \ascendens b \]}
4171 @code{\[ g \pes \deminutum b \]}
4178 @code{\[ \oriscus g \pes \virga b \]}
4184 Auctus Descendens @tab
4185 @code{\[ \oriscus g \pes \auctum \descendens b \]}
4192 @code{\[ \quilisma g \pes b \]}
4200 @code{\[ \quilisma g \pes \auctum \descendens b \]}
4207 @code{\[ \deminutum g \pes b \]}
4212 Pes Auctus Descendens@*
4215 @code{\[ \deminutum g \pes \auctum \descendens b \]}
4222 @code{\[ a \pes b \flexa g \]}
4230 @code{\[ a \pes b \flexa \auctum \descendens g \]}
4237 @code{\[ a \pes b \flexa \deminutum g \]}
4242 Torculus Initio Debilis
4244 @code{\[ \deminutum a \pes b \flexa g \]}
4250 Descendens Initio Debilis
4252 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
4257 Torculus Deminutus@*
4260 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
4267 @code{\[ a \flexa g \pes b \]}
4275 @code{\[ a \flexa g \pes \auctum \descendens b \]}
4282 @code{\[ a \flexa g \pes \deminutum b \]}
4289 @code{\[ \virga b \inclinatum a \inclinatum g \]}
4296 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
4303 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
4310 @code{\[ g \pes a \virga b \]}
4318 @code{\[ g \pes a \pes \auctum \descendens b \]}
4325 @code{\[ g \pes a \pes \deminutum b \]}
4332 @code{\[ g \oriscus a \pes \virga b \]}
4337 Salicus Auctus Descendens
4339 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
4346 @code{\[ \stropha b \stropha b \stropha a \]}
4349 The ligatures listed above mainly serve as a limited, but still
4350 representative pool of Gregorian ligature examples. Virtually, within
4351 the ligature delimiters @code{\[} and @code{\]}, any number of heads
4352 may be accumulated to form a single ligature, and head prefixes like
4353 @code{\pes}, @code{\flexa}, @code{\virga}, @code{\inclinatum},
4354 etc. may be mixed in as desired. The use of the set of rules that
4355 underlies the construction of the ligatures in the above table is
4356 accordingly extrapolated. This way, infinitely many different
4357 ligatures can be created.
4359 Augmentum dots, also called @emph{morae}, are added with the music
4360 function @code{\augmentum}. Note that @code{\augmentum} is
4361 implemented as a unary music function rather than as head prefix. It
4362 applies to the immediately following music expression only. That is,
4363 @code{\augmentum \virga c} will have no visible effect. Instead, say
4364 @code{\virga \augmentum c} or @code{\augmentum @{\virga c@}}. Also
4365 note that you can say @code{\augmentum @{a g@}} as a shortcut for
4366 @code{\augmentum a \augmentum g}.
4368 @lilypond[quote,ragged-right,verbatim]
4369 \include "gregorian-init.ly"
4371 \new VaticanaVoice {
4372 \[ \augmentum a \flexa \augmentum g \]
4380 The following head prefixes are supported
4386 @funindex \inclinatum
4390 @funindex \descendens
4392 @funindex \ascendens
4398 @funindex \deminutum
4405 Head prefixes can be accumulated, though restrictions apply. For
4406 example, either @code{\descendens} or @code{\ascendens} can be applied
4407 to a head, but not both to the same head.
4411 Two adjacent heads can be tied together with the @code{\pes} and
4412 @code{\flexa} infix commands for a rising and falling line of melody,
4415 @funindex \augmentum
4416 Use the unary music function @code{\augmentum} to add augmentum dots.
4420 When an @code{\augmentum} dot appears at the end of the last staff
4421 within a ligature, it is sometimes vertically placed wrong. As a
4422 workaround, add an additional skip note (e.g. @code{s8}) as last note
4425 @code{\augmentum} should be implemented as a head prefix rather than a
4426 unary music function, such that @code{\augmentum} can be intermixed
4427 with head prefixes in arbitrary order.
4429 @node Gregorian Chant contexts
4430 @subsection Gregorian Chant contexts
4432 @cindex VaticanaVoiceContext
4433 @cindex VaticanaStaffContext
4435 The predefined @code{VaticanaVoiceContext} and
4436 @code{VaticanaStaffContext} can be used to engrave a piece of
4437 Gregorian Chant in the style of the Editio Vaticana. These contexts
4438 initialize all relevant context properties and grob properties to
4439 proper values, so you can immediately go ahead entering the chant, as
4440 the following excerpt demonstrates
4442 @lilypond[quote,ragged-right,packed,verbatim]
4443 \include "gregorian-init.ly"
4446 \new VaticanaVoice = "cantus" {
4447 \[ c'\melisma c' \flexa a \]
4448 \[ a \flexa \deminutum g\melismaEnd \]
4450 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
4451 c' \divisioMinima \break
4452 \[ c'\melisma c' \flexa a \]
4453 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
4455 \new Lyrics \lyricsto "cantus" {
4456 San- ctus, San- ctus, San- ctus
4463 @node Mensural contexts
4464 @subsection Mensural contexts
4466 @cindex MensuralVoiceContext
4467 @cindex MensuralStaffContext
4469 The predefined @code{MensuralVoiceContext} and
4470 @code{MensuralStaffContext} can be used to engrave a piece in mensural
4471 style. These contexts initialize all relevant context properties and
4472 grob properties to proper values, so you can immediately go ahead
4473 entering the chant, as the following excerpt demonstrates
4475 @lilypond[quote,ragged-right,verbatim]
4478 \new MensuralVoice = "discantus" \transpose c c' {
4479 \override Score.BarNumber #'transparent = ##t {
4480 c'1\melisma bes a g\melismaEnd
4482 \[ f1\melisma a c'\breve d'\melismaEnd \]
4484 c'\breve\melisma a1 g1\melismaEnd
4485 fis\longa^\signumcongruentiae
4488 \new Lyrics \lyricsto "discantus" {
4489 San -- ctus, San -- ctus, San -- ctus
4495 @node Musica ficta accidentals
4496 @subsection Musica ficta accidentals
4498 In European music from before about 1600, singers were often expected
4499 to chromatically alter notes at their own initiative. This is called
4500 @q{Musica Ficta}. In modern transcriptions, these accidentals are
4501 usually printed over the note.
4503 @cindex Accidental, musica ficta
4504 @cindex Musica ficta
4506 Support for such suggested accidentals is included, and can be
4507 switched on by setting @code{suggestAccidentals} to true.
4509 @funindex suggestAccidentals
4511 @lilypond[verbatim,fragment,relative=1]
4513 \set suggestAccidentals = ##t
4519 Program reference: @internalsref{Accidental_engraver} engraver and the
4520 @internalsref{AccidentalSuggestion} object.
4523 @subsection Figured bass
4525 @cindex Basso continuo
4527 @c TODO: musicological blurb about FB
4530 LilyPond has support for figured bass
4532 @lilypond[quote,ragged-right,verbatim,fragment]
4534 \new Voice { \clef bass dis4 c d ais g fis}
4535 \new FiguredBass \figuremode {
4536 < 6 >4 < 7\+ >8 < 6+ [_!] >
4543 The support for figured bass consists of two parts: there is an input
4544 mode, introduced by @code{\figuremode}, where you can enter bass figures
4545 as numbers, and there is a context called @internalsref{FiguredBass} that
4546 takes care of making @internalsref{BassFigure} objects.
4548 In figures input mode, a group of bass figures is delimited by
4549 @code{<} and @code{>}. The duration is entered after the @code{>}
4553 @lilypond[quote,ragged-right,fragment]
4555 \figuremode { <4 6> }
4558 Accidentals are added when you append @code{-}, @code{!}, and @code{+}
4559 to the numbers. A plus sign is added when you append @code{\+}, and
4560 diminished fifths and sevenths can be obtained with @code{5/} and @code{7/}.
4563 <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/>
4565 @lilypond[quote,ragged-right,fragment]
4566 \figures { <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/> }
4569 Spaces may be inserted by using @code{_}. Brackets are
4570 introduced with @code{[} and @code{]}. You can also include text
4571 strings and text markups, see @ref{Overview of text markup commands}.
4574 < [4 6] 8 [_! 12] > < 5 \markup @{ \number 6 \super (1) @} >
4576 @lilypond[quote,ragged-right,fragment]
4578 \figuremode { < [4 6] 8 [_! 12] > < 5 \markup{ \tiny \number 6 \super (1)} > }
4582 It is also possible to use continuation lines for repeated figures,
4584 @lilypond[verbatim,relative=1]
4591 \set useBassFigureExtenders = ##t
4598 In this case, the extender lines always replace existing figures.
4600 The @code{FiguredBass} context doesn't pay attention to the actual
4601 bass line. As a consequence, you may have to insert extra figures to
4602 get extender lines below all notes, and you may have to add @code{\!}
4603 to avoid getting an extender line, e.g.
4605 @lilypond[relative=1]
4609 \set useBassFigureExtenders = ##t
4610 <6 4->4. <6 4->16. <6 4->32 <5>8. r16 <6>8 <6\! 5->
4614 f16. g32 f16. g32 f16. g32 f16. g32 f8. es16 d8 es
4619 When using continuation lines, common figures are always put in the
4620 same vertical position. When this is unwanted, you can insert a rest
4621 with @code{r}. The rest will clear any previous alignment. For
4622 example, you can write
4634 Accidentals and plus signs can appear before or after the numbers,
4635 depending on the @code{figuredBassAlterationDirection} and
4636 @code{figuredBassPlusDirection}
4642 \set figuredBassAlterationDirection = #1
4644 \set figuredBassPlusDirection = #1
4646 \set figuredBassAlterationDirection = #-1
4652 Although the support for figured bass may superficially resemble chord
4653 support, it is much simpler. The @code{\figuremode} mode simply
4654 stores the numbers and @internalsref{FiguredBass} context prints them
4655 as entered. There is no conversion to pitches and no realizations of
4656 the bass are played in the MIDI file.
4658 Internally, the code produces markup texts. You can use any of the
4659 markup text properties to override formatting. For example, the
4660 vertical spacing of the figures may be set with @code{baseline-skip}.
4663 Figured bass can also be added to @code{Staff} contexts
4664 directly. In this case, their vertical position is adjusted
4667 @lilypond[ragged-right,fragment,quote]
4669 \new Staff = someUniqueName
4674 %% send to existing Staff.
4675 \context Staff = someUniqueName
4679 \set Staff.useBassFigureExtenders = ##t
4688 By default, this method produces figures above the notes. To get
4689 figures below the notes, use
4692 \override Staff.BassFigureAlignmentPositioning #'direction = #DOWN
4698 When using figured bass above the staff with extender lines and
4699 @code{implicitBassFigures} the lines may become swapped around.
4700 Maintaining order consistently will be impossible when multiple figures
4701 have overlapping extender lines. To avoid this problem, please
4702 use @code{stacking-dir} on @code{BassFigureAlignment}.
4707 Program reference: @internalsref{NewBassFigure},
4708 @internalsref{BassFigureAlignment}, @internalsref{BassFigureLine},
4709 @internalsref{BassFigureBracket}, and
4710 @internalsref{BassFigureContinuation} objects and
4711 @internalsref{FiguredBass} context.
4715 @node Other instrument specific notation
4716 @section Other instrument specific notation
4718 This section includes extra information for writing for instruments.
4721 * Artificial harmonics (strings)::
4724 @node Artificial harmonics (strings)
4725 @subsection Artificial harmonics (strings)
4727 @cindex artificial harmonics
4729 Artificial harmonics are notated with a different notehead style. They
4730 are entered by marking the harmonic pitch with @code{\harmonic}.
4732 @lilypond[ragged-right,verbatim,quote,fragment,relative=1]