1 @c -*- coding: latin-1; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
8 @node Instrument-specific notation
9 @chapter Instrument-specific notation
11 This chapter explains how to use notation for specific instruments.
20 * Other instrument specific notation::
28 Piano staves are two normal staves coupled with a brace. The staves
29 are largely independent, but sometimes voices can cross between the
30 two staves. The same notation is also used for harps and other key
31 instruments. The @internalsref{PianoStaff} is especially built to
32 handle this cross-staffing behavior. In this section we discuss the
33 @internalsref{PianoStaff} and some other pianistic peculiarities.
36 * Automatic staff changes::
37 * Manual staff switches::
39 * Staff switch lines::
46 Dynamics are not centered, but workarounds do exist. See the
47 ``piano centered dynamics'' template in @ref{Piano templates}.
49 @cindex cross staff stem
50 @cindex stem, cross staff
51 @cindex distance between staves in piano music
53 The distance between the two staves is the same for all systems in the
54 score. It is possible to override this per system, but it does require
55 an arcane command incantation. See
56 @inputfileref{input/@/test,piano@/-staff@/-distance@/.ly}.
59 @node Automatic staff changes
60 @subsection Automatic staff changes
61 @cindex Automatic staff changes
63 Voices can be made to switch automatically between the top and the bottom
64 staff. The syntax for this is
68 \autochange @dots{}@var{music}@dots{}
73 This will create two staves inside the current PianoStaff, called
74 @code{up} and @code{down}. The lower staff will be in bass clef by
77 A @code{\relative} section that is outside of @code{\autochange} has
78 no effect on the pitches of @var{music}, so, if necessary, put
79 @code{\relative} inside @code{\autochange} like
83 \autochange \relative @dots{} @dots{}
88 The autochanger switches on basis of the pitch (middle C is the turning
89 point), and it looks ahead skipping over rests to switch in
90 advance. Here is a practical example
92 @lilypond[quote,verbatim,raggedright]
94 \autochange \relative c'
103 In this manual: @ref{Manual staff switches}.
105 Program reference: @internalsref{AutoChangeMusic}.
111 The staff switches may not end up in optimal places. For high
112 quality output, staff switches should be specified manually.
115 @code{\autochange} cannot be inside @code{\times}.
118 @node Manual staff switches
119 @subsection Manual staff switches
121 @cindex manual staff switches
122 @cindex staff switch, manual
124 Voices can be switched between staves manually, using the command
126 \change Staff = @var{staffname} @var{music}
130 The string @var{staffname} is the name of the staff. It switches the
131 current voice from its current staff to the Staff called
132 @var{staffname}. Typically @var{staffname} is @code{"up"} or
133 @code{"down"}. The @context{Staff} referred to must already exist, so
134 usually the setup for a score will start with a setup of the staves,
138 \context Staff = up @{
139 \skip 1 * 10 % @emph{keep staff alive}
141 \context Staff = down @{
142 \skip 1 * 10 % @emph{idem}
148 and the @context{Voice} is inserted afterwards
151 \context Staff = down
152 \new Voice @{ @dots{} \change Staff = up @dots{} @}
160 Pianos have pedals that alter the way sound is produced. Generally, a
161 piano has three pedals, sustain, una corda, and sostenuto.
164 Piano pedal instruction can be expressed by attaching
165 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
166 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
169 @lilypond[quote,raggedright,fragment,verbatim]
170 c'4\sustainDown c'4\sustainUp
173 What is printed can be modified by setting @code{pedal@var{X}Strings},
174 where @var{X} is one of the pedal types: @code{Sustain},
175 @code{Sostenuto} or @code{UnaCorda}. Refer to
176 @internalsref{SustainPedal} in the program reference for more
179 Pedals can also be indicated by a sequence of brackets, by setting the
180 @code{pedalSustainStyle} property to bracket objects
182 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
183 \set Staff.pedalSustainStyle = #'bracket
185 b\sustainUp\sustainDown
186 b g \sustainUp a \sustainDown \bar "|."
189 A third style of pedal notation is a mixture of text and brackets,
190 obtained by setting the @code{pedalSustainStyle} property to
193 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
194 \set Staff.pedalSustainStyle = #'mixed
196 b\sustainUp\sustainDown
197 b g \sustainUp a \sustainDown \bar "|."
200 The default `*Ped.' style for sustain and damper pedals corresponds to
201 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
204 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
205 c\sostenutoDown d e c, f g a\sostenutoUp
208 For fine-tuning the appearance of a pedal bracket, the properties
209 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
210 @code{PianoPedalBracket} objects (see
211 @internalsref{PianoPedalBracket} in the Program reference) can be
212 modified. For example, the bracket may be extended to the right edge
215 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
216 \override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
217 c\sostenutoDown d e c, f g a\sostenutoUp
220 @node Staff switch lines
221 @subsection Staff switch lines
225 @cindex staff switching
228 @cindex @code{followVoice}
230 Whenever a voice switches to another staff, a line connecting the notes
231 can be printed automatically. This is switched on by setting
232 @code{followVoice} to true
234 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
237 \set followVoice = ##t
242 \context Staff=two { \clef bass \skip 1*2 }
248 Program reference: @internalsref{VoiceFollower}.
252 @cindex @code{\showStaffSwitch}
253 @code{\showStaffSwitch},
254 @cindex @code{\hideStaffSwitch}
255 @code{\hideStaffSwitch}.
258 @node Cross staff stems
259 @subsection Cross staff stems
261 Chords that cross staves may be produced by increasing the length
262 of the stem in the lower staff, so it reaches the stem in the upper
263 staff, or vice versa.
265 @lilypond[raggedright,verbatim,quote]
266 stemExtend = \once \override Stem #'length = #22
267 noFlag = \once \override Stem #'flag-style = #'no-flag
268 \context PianoStaff <<
270 \stemDown \stemExtend
288 * Introducing chord names::
290 * Printing chord names::
294 @c awkward name; awkward section name.
295 @c still, the Basic "chords" seems like a good name... :(
296 @node Introducing chord names
297 @subsection Introducing chord names
300 LilyPond has support for printing chord names. Chords may be entered
301 in musical chord notation, i.e., @code{< .. >}, but they can also be
302 entered by name. Internally, the chords are represented as a set of
303 pitches, so they can be transposed
306 @lilypond[quote,raggedright,verbatim,raggedright]
307 twoWays = \transpose c c' {
316 << \context ChordNames \twoWays
317 \context Voice \twoWays >>
320 This example also shows that the chord printing routines do not try to
321 be intelligent. The last chord (@code{f bes d}) is not interpreted as
326 @subsection Chords mode
329 In chord mode sets of pitches (chords) are entered with normal note
330 names. A chord is entered by the root, which is entered like a
333 @lilypond[quote,raggedright,fragment,verbatim]
334 \chordmode { es4. d8 c2 }
338 The mode is introduced by the keyword @code{\chordmode}.
343 Other chords may be entered by suffixing a colon and introducing a
344 modifier (which may include a number if desired)
345 @lilypond[quote,fragment,verbatim]
346 \chordmode { e1:m e1:7 e1:m7 }
348 The first number following the root is taken to be the `type' of the
349 chord, thirds are added to the root until it reaches the specified
351 @lilypond[quote,fragment,verbatim]
352 \chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
355 @cindex root of chord
356 @cindex additions, in chords
357 @cindex removals, in chords
359 More complex chords may also be constructed adding separate steps
360 to a chord. Additions are added after the number following
361 the colon and are separated by dots
362 @lilypond[quote,verbatim,fragment]
363 \chordmode { c:5.6 c:3.7.8 c:3.6.13 }
365 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
367 @lilypond[quote,verbatim,fragment]
368 \chordmode { c:7+ c:5+.3- c:3-.5-.7- }
370 Removals are specified similarly and are introduced by a caret. They
371 must come after the additions
372 @lilypond[quote,verbatim,fragment]
373 \chordmode { c^3 c:7^5 c:9^3.5 }
376 Modifiers can be used to change pitches. The following modifiers are
381 The minor chord. This modifier lowers the 3rd and (if present) the 7th step.
384 The diminished chord. This modifier lowers the 3rd, 5th and (if present)
388 The augmented chord. This modifier raises the 5th step.
391 The major 7th chord. This modifier raises the 7th step if present.
394 The suspended 4th or 2nd. This modifier removes the 3rd
395 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
399 Modifiers can be mixed with additions
400 @lilypond[quote,verbatim,fragment]
401 \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
404 @cindex modifiers, in chords.
411 Since an unaltered 11 does not sound good when combined with an
412 unaltered 3, the 11 is removed in this case (unless it is added
414 @lilypond[quote,raggedright,fragment,verbatim]
415 \chordmode { c:13 c:13.11 c:m13 }
420 An inversion (putting one pitch of the chord on the bottom), as well
421 as bass notes, can be specified by appending
422 @code{/}@var{pitch} to the chord
423 @lilypond[quote,raggedright,fragment,verbatim]
424 \chordmode { c1 c/g c/f }
428 A bass note can be added instead transposed out of the chord,
429 by using @code{/+}@var{pitch}.
431 @lilypond[quote,raggedright,fragment,verbatim]
432 \chordmode { c1 c/+g c/+f }
435 Chords is a mode similar to @code{\lyricmode}, etc. Most
436 of the commands continue to work, for example, @code{r} and
437 @code{\skip} can be used to insert rests and spaces, and property
438 commands may be used to change various settings.
444 Each step can only be present in a chord once. The following
445 simply produces the augmented chord, since @code{5+} is interpreted
448 @lilypond[quote,raggedright,verbatim,fragment]
449 \chordmode { c:5.5-.5+ }
453 @node Printing chord names
454 @subsection Printing chord names
456 @cindex printing chord names
460 For displaying printed chord names, use the @internalsref{ChordNames} context.
461 The chords may be entered either using the notation
462 described above, or directly using @code{<} and @code{>}
464 @lilypond[quote,verbatim,raggedright]
466 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
469 \context ChordNames \harmonies
470 \context Staff \harmonies
474 You can make the chord changes stand out by setting
475 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
476 display chord names when there is a change in the chords scheme and at
477 the start of a new line
479 @lilypond[quote,verbatim,raggedright]
480 harmonies = \chordmode {
481 c1:m c:m \break c:m c:m d
484 \context ChordNames {
485 \set chordChanges = ##t
487 \context Staff \transpose c c' \harmonies
491 The previous examples all show chords over a staff. This is not
492 necessary. Chords may also be printed separately. It may be necessary
493 to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
496 @lilypond[raggedright,verbatim]
497 \new ChordNames \with {
498 \override BarLine #'bar-size = #4
499 voltaOnThisStaff = ##t
500 \consists Bar_engraver
501 \consists "Volta_engraver"
503 \repeat volta 2 \chordmode {
512 The default chord name layout is a system for Jazz music, proposed by
513 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
517 @cindex @code{chordNameExceptions}
518 @item chordNameExceptions
519 This is a list that contains the chords that have special formatting.
521 The exceptions list should be encoded as
523 @{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
526 To get this information into @code{chordNameExceptions} takes a little
527 manoeuvring. The following code transforms @code{chExceptionMusic}
528 (which is a sequential music) into a list of exceptions.
530 (sequential-music-to-chord-exceptions chExceptionMusic #t)
535 (sequential-music-to-chord-exceptions chExceptionMusic #t)
538 adds the new exceptions to the default ones, which are defined in
539 @file{ly/@/chord@/-modifier@/-init@/.ly}.
541 For an example of tuning this property, see also
542 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly}.
543 @cindex exceptions, chord names.
546 @cindex @code{majorSevenSymbol}
547 @item majorSevenSymbol
548 This property contains the markup object used for the 7th step, when
549 it is major. Predefined options are @code{whiteTriangleMarkup} and
550 @code{blackTriangleMarkup}. See
551 @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly} for an example.
553 @cindex @code{chordNameSeparator}
554 @item chordNameSeparator
555 Different parts of a chord name are normally separated by a
556 slash. By setting @code{chordNameSeparator}, you can specify other
558 @lilypond[quote,raggedright,fragment,verbatim]
559 \context ChordNames \chordmode {
561 \set chordNameSeparator
562 = \markup { \typewriter "|" }
567 @cindex @code{chordRootNamer}
569 The root of a chord is usually printed as a letter with an optional
570 alteration. The transformation from pitch to letter is done by this
571 function. Special note names (for example, the German ``H'' for a
572 B-chord) can be produced by storing a new function in this property.
574 @cindex @code{chordNoteNamer}
576 The default is to print single pitch, e.g., the bass note, using the
577 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
578 to a specialized function to change this behavior. For example, the
579 base can be printed in lower case.
581 @cindex @code{chordPrefixSpacer}
582 @item chordPrefixSpacer
583 The ``m'' for minor chords is usually printed right after the root of
584 the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer
585 between the root and ``m''. The spacer is not used when the root
590 The predefined variables @code{\germanChords},
591 @code{\semiGermanChords}, @code{\italianChords} and @code{\frenchChords}
592 set these variables. The effect is
595 @lilypondfile[raggedright]{chord-names-languages.ly}
597 There are also two other chord name schemes implemented: an alternate
598 Jazz chord notation, and a systematic scheme called Banter chords. The
599 alternate Jazz notation is also shown on the chart in @ref{Chord name
600 chart}. Turning on these styles is described in the input file
601 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
610 @cindex @code{\germanChords}
611 @code{\germanChords},
612 @cindex @code{\semiGermanChords}
613 @code{\semiGermanChords}.
614 @cindex @code{\italianChords}
615 @code{\italianChords}.
616 @cindex @code{\frenchChords}
617 @code{\frenchChords}.
624 Examples: @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly},
625 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly},
626 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
629 Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
630 @file{scm/@/chord@/-entry@/.scm}.
635 Chord names are determined solely from the list of pitches. Chord
636 inversions are not identified, and neither are added bass notes. This
637 may result in strange chord names when chords are entered with the
638 @code{< .. >} syntax.
645 There are three different issues when printing vocal music
649 Song texts must be entered as text, not notes. For example, the
650 input@tie{}@code{d} should be interpreted as a one letter syllable, not the
654 Song texts must be printed as text, not as notes.
657 Song texts must be aligned with the notes of their melody.
660 The simplest solution for printing music uses the @code{\addlyrics}
661 function to solve all these problems at once. However, these
662 three functions can be controlled separately, which is necessary
663 for complex vocal music.
667 * Setting simple songs::
669 * Hyphens and extenders::
670 * The Lyrics context::
671 * Flexibility in alignment::
674 * Other vocal issues::
677 @node Setting simple songs
678 @subsection Setting simple songs
680 The easiest way to add lyrics to a melody is to append
683 \addlyrics @{ @var{the lyrics} @}
687 to a melody. Here is an example,
689 @lilypond[raggedright,verbatim,fragment,quote]
691 \relative { c2 e4 g2. }
692 \addlyrics { play the game }
695 More stanzas can be added by adding more
696 @code{\addlyrics} sections
698 @lilypond[raggedright,verbatim,fragment,quote]
700 \relative { c2 e4 g2. }
701 \addlyrics { play the game }
702 \addlyrics { speel het spel }
703 \addlyrics { joue le jeu }
706 @c TODO - this isn't such a great place for this note, but I can't
707 @c find a better place without rearranging a lot of lyric stuff.
708 @c It's yet another thing to look at post-3.0.
710 The @code{\addlyrics} command is actually just a convienient way
711 to write a more complicated LilyPond structure that sets up the
712 lyrics. You should use @code{\addlyrics} unless you need to do
713 fancy things, in which case you should investigate
714 @code{\lyricsto} or @code{\lyricmode}.
718 \addlyrics @{ LYRICS @}
725 \context Voice = blah @{ music @}
726 \lyricsto "blah" \new lyrics @{ LYRICS @}
731 @code{\addlyrics} cannot handle polyphony.
734 @node Entering lyrics
735 @subsection Entering lyrics
738 @cindex @code{\lyricmode}
741 Lyrics are entered in a special input mode. This mode is introduced
742 by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
743 @code{\lyricsto}. In this mode you can enter lyrics,
744 with punctuation and accents, and the input @code{d} is not parsed as
745 a pitch, but rather as a one letter syllable. Syllables are entered
746 like notes, but with pitches replaced by text. For example,
748 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
751 There is a difference between @code{\addlyrics} and
752 @code{\lyricmode}. @code{\addlyrics} and @code{\lyricsto}
753 ignore all durations and aligns syllables to notes; @code{\lyricmode}
754 uses the durations specified.
756 A word lyrics mode begins with an alphabetic character, and ends with
757 any space or digit. The following characters can be any character
758 that is not a digit or white space. One important consequence of this
759 is that a word can end with @code{@}}. The following example is
760 usually a mistake in the input file. The syllable includes a @code{@}}, so the
761 opening brace is not balanced
763 \lyricmode @{ twinkle@}
766 @cindex @code{\property}, in @code{\lyricmode}
768 Similarly, a period which follows an alphabetic sequence is included in
769 the resulting string. As a consequence, spaces must be inserted around
772 \override Score . LyricText #'font-shape = #'italic
776 @cindex spaces, in lyrics
777 @cindex quotes, in lyrics
779 Any @code{_} character that appears in an unquoted word is converted
780 to a space. This provides a mechanism for introducing spaces into words
781 without using quotes. Quoted words can also be used in Lyrics mode to
782 specify words that cannot be written with the above rules. The
783 following example incorporates double quotes
786 \lyricmode @{ He said: "\"Let" my peo ple "go\"" @}
789 This example is slightly academic, since it gives better looking
790 results using single quotes, @code{``} and @code{''}
792 \lyricmode @{ He said: ``Let my peo ple go'' @}
796 The full definition of a word start in Lyrics mode is somewhat more
799 A word in Lyrics mode begins with: an alphabetic character, @code{_},
800 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
801 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
802 any 8-bit character with ASCII code over 127, or a two-character
803 combination of a backslash followed by one of @code{`}, @code{'},
804 @code{"}, or @code{^}.
810 Program reference: @internalsref{LyricText}.
814 The definition of lyrics mode is too complex.
816 @node Hyphens and extenders
817 @subsection Hyphens and extenders
821 Centered hyphens are entered as `@code{--}' between syllables.
822 The hyphen will have variable length depending on the space between
823 the syllables and it will be centered between the syllables.
828 When a lyric is sung over many notes (this is called a melisma), this is
829 indicated with a horizontal line centered between a syllable and the
830 next one. Such a line is called an extender line, and it is entered as
833 In tighly engraved music, hyphens can be removed. In some languages
834 (e.g. German and Hungarian), hyphens should not disappear, since
835 spelling depends on hyphenation. For that purpose, hyphens can be
836 forced to remain by overriding @code{minimum-length} of
837 the @code{LyricHyphen} grob.
839 @lilypond[quote,verbatim,raggedright]
842 \new Staff \relative c'' {
843 \time 1/4 c16 c c c c16 c c c c16 c c c
845 \lyricmode { \new Lyrics
847 \override SeparationItem #'padding = #0.0
848 % Otherwise lyrics are so far apart that hyphens don't disappear
851 An -- ti -- cons -- ti --
852 tu -- tion -- nel -- le --
853 \override LyricHyphen #'minimum-length = #0.7
854 \override LyricHyphen #'spacing-procedure =
855 #Hyphen_spanner::set_spacing_rods
856 men -- taire -- ment. ouf~!
864 \Staff \remove "Time_signature_engraver"
872 Program reference: @internalsref{LyricHyphen}, @internalsref{LyricExtender}.
876 @node The Lyrics context
877 @subsection The Lyrics context
880 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
882 \context Lyrics \lyricmode @dots{}
885 @cindex automatic syllable durations
886 @cindex @code{\lyricsto}
887 @cindex lyrics and melodies
889 This will place the lyrics according to the durations that were
890 entered. The lyrics can also be aligned under a given melody
891 automatically. In this case, it is no longer necessary to enter the
892 correct duration for each syllable. This is achieved by combining the
893 melody and the lyrics with the @code{\lyricsto} expression
895 \lyricsto @var{name} \new Lyrics @dots{}
898 This aligns the lyrics to the
899 notes of the @internalsref{Voice} context called @var{name}, which has
900 to exist. Therefore, normally the @code{Voice} is specified first, and
901 then the lyrics are specified with @code{\lyricsto}. The command
902 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
903 @code{\lyricmode} keyword may be omitted.
905 For different or more complex orderings, the best way is to setup the
906 hierarchy of staves and lyrics first, e.g.,
908 \context ChoirStaff <<
909 \context Lyrics = sopranoLyrics @{ s1 @}
910 \context Voice = soprano @{ @emph{music} @}
911 \context Lyrics = tenorLyrics @{ s1 @}
912 \context Voice = tenor @{ @emph{music} @}
915 and then combine the appropriate melodies and lyric lines
917 \lyricsto "soprano" \context Lyrics = sopranoLyrics
922 The final input would resemble
925 <<\context ChoirStaff << @emph{setup the music} >>
926 \lyricsto "soprano" @emph{etc}
927 \lyricsto "alto" @emph{etc}
933 The @code{\lyricsto} command detects melismata: it only puts one
934 syllable under a tied or slurred group of notes. If you want to force
935 an unslurred group of notes to be a melisma, insert @code{\melisma}
936 after the first note of the group, and @code{\melismaEnd} after the
939 @lilypond[quote,relative=2,raggedright,fragment,verbatim]
941 \context Voice = "lala" {
949 \lyricsto "lala" \new Lyrics {
955 In addition, notes are considered a melisma if they are manually
956 beamed, and automatic beaming (see @ref{Setting automatic beam
957 behavior}) is switched off.
963 The criteria for deciding melismata can
964 be tuned with the property @code{melismaBusyProperties}. See
965 @internalsref{Melisma_translator} in the program reference for more
970 Lyrics can also be entered without @code{\lyricsto}. In this case the
971 duration of each syllable must be entered explicitly, for example,
978 The alignment to a melody can be specified with the
979 @code{associatedVoice} property,
982 \set associatedVoice = #"lala"
986 The value of the property (here: @code{"lala"}) should be the name of
987 a @internalsref{Voice} context. Without this setting, extender lines
988 will not be formatted properly.
990 Here is an example demonstrating manual lyric durations,
992 @lilypond[relative=1,raggedright,verbatim,fragment,quote]
993 << \context Voice = melody {
997 \new Lyrics \lyricmode {
998 \set associatedVoice = #"melody"
1004 @cindex choral score
1006 A complete example of a SATB score setup is in section
1007 @ref{Vocal ensembles}.
1012 @code{\melisma}, @code{\melismaEnd}
1013 @cindex @code{\melismaEnd}
1014 @cindex @code{\melisma}
1018 Program reference: @internalsref{LyricCombineMusic},
1019 @internalsref{Lyrics}, @internalsref{Melisma_translator}.
1022 @inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly}.
1023 @c TODO: make separate section for melismata
1027 Melismata are not detected automatically, and extender lines must be
1031 @c TODO: document \new Staff << Voice \lyricsto >> bug
1033 @node Flexibility in alignment
1034 @subsection Flexibility in alignment
1037 Often, different stanzas of one song are put to one melody in slightly
1038 differing ways. Such variations can still be captured with
1041 One possibility is that the text has a melisma in one stanza, but
1042 multiple syllables in another one. One solution is to make the faster
1043 voice ignore the melisma. This is done by setting
1044 @code{ignoreMelismata} in the Lyrics context.
1046 There has one tricky aspect. The setting for @code{ignoreMelismata}
1047 must be set one syllable @emph{before} the non-melismatic syllable
1048 in the text, as shown here,
1050 @lilypond[verbatim,raggedright,quote]
1052 \relative \context Voice = "lahlah" {
1053 \set Staff.autoBeaming = ##f
1059 \new Lyrics \lyricsto "lahlah" {
1062 \new Lyrics \lyricsto "lahlah" {
1063 \set ignoreMelismata = ##t % applies to "fas"
1065 \unset ignoreMelismata
1072 The @code{ignoreMelismata} applies to the syllable ``fas'', so it
1073 should be entered before ``go''.
1075 The reverse is also possible: making a lyric line slower than the
1076 standard. This can be achieved by insert @code{\skip}s into the
1077 lyrics. For every @code{\skip}, the text will be delayed another note.
1080 @lilypond[verbatim,raggedright,quote]
1081 \relative { c c g' }
1088 More complex variations in text underlay are possible. It is possible
1089 to switch the melody for a line of lyrics during the text. This is
1090 done by setting the @code{associatedVoice} property. In the example
1092 @lilypond[raggedright,quote]
1094 \relative \context Voice = "lahlah" {
1095 \set Staff.autoBeaming = ##f
1098 \context Voice = alternative {
1101 % show associations clearly.
1102 \override NoteColumn #'force-hshift = #-3
1113 \new Lyrics \lyricsto "lahlah" {
1114 Ju -- ras -- sic Park
1116 \new Lyrics \lyricsto "lahlah" {
1117 % Tricky: need to set associatedVoice
1118 % one syllable too soon!
1119 \set associatedVoice = alternative % applies to "ran"
1123 \set associatedVoice = lahlah % applies to "rus"
1129 the text for the first stanza is set to a melody called ``lahlah'',
1132 \new Lyrics \lyricsto "lahlah" @{
1133 Ju -- ras -- sic Park
1138 The second stanza initially is set to the @code{lahlah} context, but
1139 for the syllable ``ran'', it switches to a different melody.
1140 This is achieved with
1142 \set associatedVoice = alternative
1146 Here, @code{alternative} is the name of the @code{Voice} context
1147 containing the triplet.
1149 Again, the command must be one syllable too early, before ``Ty'' in
1153 \new Lyrics \lyricsto "lahlah" @{
1154 \set associatedVoice = alternative % applies to "ran"
1158 \set associatedVoice = lahlah % applies to "rus"
1164 The underlay is switched back to the starting situation by assigning
1165 @code{lahlah} to @code{associatedVoice}.
1171 @subsection More stanzas
1173 @cindex phrasing, in lyrics
1176 @cindex stanza number
1177 @cindex singer's names
1178 @cindex name of singer
1180 Stanza numbers can be added by setting @code{stanza}, e.g.,
1182 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
1184 \time 3/4 g2 e4 a2 f4 g2.
1187 Hi, my name is Bert.
1190 Oh, che -- ri, je t'aime
1194 These numbers are put just before the start of first syllable.
1196 Names of singers can also be added. They are printed at the start of
1197 the line, just like instrument names. They are created by setting
1198 @code{vocalName}. A short version may be entered as @code{vocNam}.
1201 @lilypond[fragment,raggedright,quote,verbatim,relative=2]
1203 \time 3/4 g2 e4 a2 f4 g2.
1205 \set vocalName = "Bert "
1206 Hi, my name is Bert.
1208 \set vocalName = "Ernie "
1209 Oh, che -- ri, je t'aime
1213 You can display alternate (or divisi) lyrics by naming voice
1214 contexts and attaching lyrics to those specific contexts.
1216 @lilypond[verbatim,raggedright,quote]
1218 \context Voice = "melody" {
1223 \context Voice = splitpart { \voiceTwo c4 }
1228 \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
1229 \new Lyrics \lyricsto "splitpart" { will }
1234 You can use this trick to display different lyrics for a repeated
1237 @lilypond[verbatim,raggedright,quote]
1239 \context Voice = melody \relative c' {
1241 \context Voice = verse \repeat volta 2 {c4 d e f | g1 | }
1243 \lyricsto melody \context Lyrics = mainlyrics \lyricmode {
1246 \lyricsto verse \context Lyrics = mainlyrics \lyricmode {
1248 \lyricsto verse \context Lyrics = repeatlyrics \lyricmode {
1249 dodo rere mimi fafa solsol }
1257 Program reference: @internalsref{LyricText}, @internalsref{StanzaNumber}, @internalsref{VocalName}.
1265 The term @emph{ambitus} denotes a range of pitches for a given voice
1266 in a part of music. It may also denote the pitch range that a musical
1267 instrument is capable of playing. Ambits are printed on vocal parts,
1268 so performers can easily determine it meets their capabilities.
1270 Ambits are denoted at the beginning of a piece near the initial clef.
1271 The range is graphically specified by two note heads that represent the
1272 minimum and maximum pitch. To print such ambits, add the
1273 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
1280 \consists Ambitus_engraver
1285 This results in the following output
1287 @lilypond[quote,raggedright]
1291 \consists Ambitus_engraver
1295 \relative \new Staff {
1300 If you have multiple voices in a single staff and you want a single
1301 ambitus per staff rather than per each voice, add the
1302 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
1303 rather than to the @internalsref{Voice} context. Here is an example,
1305 @lilypond[verbatim,raggedright,quote]
1307 \consists "Ambitus_engraver"
1311 \remove "Ambitus_engraver"
1313 \override Ambitus #'X-offset-callbacks
1314 = #(list (lambda (grob axis) -1.0))
1319 \remove "Ambitus_engraver"
1328 This example uses one advanced feature,
1331 \override Ambitus #'X-offset-callbacks
1332 = #(list (lambda (grob axis) -1.0))
1336 This code moves the ambitus to the left. The same effect could have
1337 been achieved with @code{extra-offset}, but then the formatting system
1338 would not reserve space for the moved object.
1342 Program reference: @internalsref{Ambitus},
1343 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1344 @internalsref{AmbitusAccidental}.
1346 Examples: @inputfileref{input/@/regression,ambitus@/.ly}.
1350 There is no collision handling in the case of multiple per-voice
1354 @node Other vocal issues
1355 @subsection Other vocal issues
1358 yeah, I'm giving up somewhat by stuffing a bunch of things in
1359 here. But at least they're in the manual now; it's easier to
1360 move them around in the manual once they're already here.
1362 Besides, if users complain about everything stuffed in here, I
1363 can ask them for specific instructions about where to move these
1364 examples, and that might get them more involved in the docs. -gp
1367 ``Parlato'' is spoken without pitch but still with rhythm; it is
1368 notated by cross noteheads. This is demonstrated in
1369 @ref{Special noteheads}.
1372 @node Rhythmic music
1373 @section Rhythmic music
1375 Rhythmic music is primarily used for percussion and drum notation, but it can
1376 also be used to show the rhythms of melodies.
1379 * Showing melody rhythms::
1380 * Entering percussion::
1381 * Percussion staves::
1385 @node Showing melody rhythms
1386 @subsection Showing melody rhythms
1388 Sometimes you might want to show only the rhythm of a melody. This
1389 can be done with the rhythmic staff. All pitches of notes on such a
1390 staff are squashed, and the staff itself has a single line
1392 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1393 \context RhythmicStaff {
1395 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1401 Program reference: @internalsref{RhythmicStaff}.
1403 Examples: @inputfileref{input/@/regression,rhythmic@/-staff@/.ly}.
1406 @node Entering percussion
1407 @subsection Entering percussion
1413 Percussion notes may be entered in @code{\drummode} mode, which is
1414 similar to the standard mode for entering notes. Each piece of
1415 percussion has a full name and an abbreviated name, and both can be used
1418 @lilypond[quote,raggedright,verbatim]
1420 hihat hh bassdrum bd
1424 The complete list of drum names is in the init file
1425 @file{ly/@/drumpitch@/-init@/.ly}.
1426 @c TODO: properly document this.
1430 Program reference: @internalsref{note-event}.
1432 @node Percussion staves
1433 @subsection Percussion staves
1437 A percussion part for more than one instrument typically uses a
1438 multiline staff where each position in the staff refers to one piece
1442 To typeset the music, the notes must be interpreted in a
1443 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
1445 @lilypond[quote,raggedright,verbatim]
1446 up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
1447 down = \drummode { bassdrum4 snare8 bd r bd sn4 }
1449 \new DrumVoice { \voiceOne \up }
1450 \new DrumVoice { \voiceTwo \down }
1454 The above example shows verbose polyphonic notation. The short
1455 polyphonic notation, described in @ref{Polyphony}, can also be used if
1456 the @internalsref{DrumVoice}s are instantiated by hand first. For example,
1458 @lilypond[quote,raggedright,fragment,verbatim]
1460 \context DrumVoice = "1" { s1 *2 }
1461 \context DrumVoice = "2" { s1 *2 }
1465 { \repeat unfold 16 hh16 }
1474 There are also other layout possibilities. To use these, set the
1475 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
1476 The following variables have been predefined
1480 This is the default. It typesets a typical drum kit on a five-line staff
1482 @lilypond[quote,linewidth=10.0\cm]
1484 cymc cyms cymr hh hhc hho hhho hhp
1485 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl }
1487 cymc cyms cymr hh hhc hho hhho hhp \break
1488 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
1490 << \new DrumStaff \with {
1491 \remove Bar_engraver
1492 \remove Time_signature_engraver
1493 \override Stem #'transparent = ##t
1494 \override Stem #'Y-extent-callback = ##f
1495 minimumVerticalExtent = #'(-4.0 . 5.0)
1497 \context Lyrics \nam
1502 \override LyricText #'font-family = #'typewriter
1503 \override BarNumber #'transparent =##T
1509 The drum scheme supports six different toms. When there are fewer toms,
1510 simply select the toms that produce the desired result, i.e., to get toms
1511 on the three middle lines you use @code{tommh}, @code{tomml}, and
1514 @item timbales-style
1515 This typesets timbales on a two line staff
1517 @lilypond[quote,raggedright]
1518 nam = \lyricmode { timh ssh timl ssl cb }
1519 mus = \drummode { timh ssh timl ssl cb s16 }
1522 \context DrumStaff \with {
1523 \remove Bar_engraver
1524 \remove Time_signature_engraver
1525 \override Stem #'transparent = ##t
1526 \override Stem #'Y-extent-callback = ##f
1527 \override StaffSymbol #'line-count = #2
1528 \override StaffSymbol #'staff-space = #2
1529 minimumVerticalExtent = #'(-3.0 . 4.0)
1530 drumStyleTable = #timbales-style
1533 \override LyricText #'font-family = #'typewriter
1540 This typesets congas on a two line staff
1542 @lilypond[quote,raggedright]
1543 nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
1544 mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
1547 \context DrumStaff \with {
1548 \remove Bar_engraver
1549 \remove Time_signature_engraver
1550 drumStyleTable = #congas-style
1551 \override StaffSymbol #'line-count = #2
1553 %% this sucks; it will lengthen stems.
1554 \override StaffSymbol #'staff-space = #2
1555 \override Stem #'transparent = ##t
1556 \override Stem #'Y-extent-callback = ##f
1559 \override LyricText #'font-family = #'typewriter
1566 This typesets bongos on a two line staff
1568 @lilypond[quote,raggedright]
1569 nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
1570 mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
1573 \context DrumStaff\with {
1574 \remove Bar_engraver
1575 \remove Time_signature_engraver
1576 \override StaffSymbol #'line-count = #2
1577 drumStyleTable = #bongos-style
1579 %% this sucks; it will lengthen stems.
1580 \override StaffSymbol #'staff-space = #2
1581 \override Stem #'transparent = ##t
1582 \override Stem #'Y-extent-callback = ##f
1585 \override LyricText #'font-family = #'typewriter
1591 @item percussion-style
1592 To typeset all kinds of simple percussion on one line staves.
1594 @lilypond[quote,raggedright]
1595 nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
1596 mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
1599 \context DrumStaff\with{
1600 \remove Bar_engraver
1601 drumStyleTable = #percussion-style
1602 \override StaffSymbol #'line-count = #1
1603 \remove Time_signature_engraver
1604 \override Stem #'transparent = ##t
1605 \override Stem #'Y-extent-callback = ##f
1608 \override LyricText #'font-family = #'typewriter
1615 If you do not like any of the predefined lists you can define your own
1616 list at the top of your file
1618 @lilypond[quote,raggedright,verbatim]
1620 (bassdrum default #f -1)
1621 (snare default #f 0)
1623 (pedalhihat xcircle "stopped" 2)
1624 (lowtom diamond #f 3)))
1625 up = \drummode { hh8 hh hh hh hhp4 hhp }
1626 down = \drummode { bd4 sn bd toml8 toml }
1629 \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
1630 \new DrumVoice { \voiceOne \up }
1631 \new DrumVoice { \voiceTwo \down }
1638 Init files: @file{ly/@/drumpitch@/-init@/.ly}.
1640 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
1644 Because general MIDI does not contain rim shots, the sidestick is used
1645 for this purpose instead.
1653 @cindex guitar tablature
1656 * String number indications::
1657 * Tablatures basic::
1658 * Non-guitar tablatures::
1660 * Other guitar issues::
1663 @node String number indications
1664 @subsection String number indications
1666 @cindex String numbers
1668 String numbers can be added to chords, by indicating the string number
1669 with @code{\}@var{number},
1671 @lilypond[relative,relative=1,raggedright,fragment]
1675 See also @inputfileref{input/regression,string-number.ly}.
1680 Program reference: @internalsref{StringNumber}.
1683 @node Tablatures basic
1684 @subsection Tablatures basic
1685 @cindex Tablatures basic
1687 Tablature notation is used for notating music for plucked string
1688 instruments. Pitches are not denoted with note heads, but by
1689 numbers indicating on which string and fret a note must be played. LilyPond
1690 offers limited support for tablature.
1692 The string number associated to a note is given as a backslash
1693 followed by a number, e.g., @code{c4\3} for a C quarter on the third
1694 string. By default, string 1 is the highest one, and the tuning
1695 defaults to the standard guitar tuning (with 6 strings). The notes
1696 are printed as tablature, by using @internalsref{TabStaff} and
1697 @internalsref{TabVoice} contexts
1699 @lilypond[quote,raggedright,fragment,verbatim]
1706 @cindex @code{minimumFret}
1709 When no string is specified, the first string that does not give a
1710 fret number less than @code{minimumFret} is selected. The default
1711 value for @code{minimumFret} is 0
1716 \set TabStaff.minimumFret = #8
1719 @lilypond[quote,raggedright]
1723 \set TabStaff.minimumFret = #8
1726 \context StaffGroup <<
1727 \context Staff { \clef "G_8" \frag }
1728 \context TabStaff { \frag }
1734 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}.
1738 Chords are not handled in a special way, and hence the automatic
1739 string selector may easily select the same string to two notes in a
1743 @node Non-guitar tablatures
1744 @subsection Non-guitar tablatures
1745 @cindex Non-guitar tablatures
1747 You can change the number of strings, by setting the number of lines
1748 in the @internalsref{TabStaff}.
1750 You can change the tuning of the strings. A string tuning is given as
1751 a Scheme list with one integer number for each string, the number
1752 being the pitch (measured in semitones relative to middle C) of an
1753 open string. The numbers specified for @code{stringTuning} are the
1754 numbers of semitones to subtract or add, starting the specified pitch
1755 by default middle C, in string order. In the next example,
1756 @code{stringTunings} is set for the pitches e, a, d, and g
1758 @lilypond[quote,raggedright,fragment,verbatim]
1759 \context TabStaff <<
1760 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
1762 a,4 c' a e' e c' a e'
1769 No guitar special effects have been implemented.
1773 Program reference: @internalsref{Tab_note_heads_engraver}.
1777 @subsection Fret diagrams
1778 @cindex fret diagrams
1779 @cindex chord diagrams
1781 Fret diagrams can be added to music as a markup to the desired note. The
1782 markup contains information about the desired fret diagram, as shown in the
1785 @lilypond[verbatim, raggedright, quote]
1787 d'^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
1789 fis'^\markup \override #'(size . 0.75) {
1790 \override #'(finger-code . below-string) {
1791 \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
1792 (place-fret 5 4 3) (place-fret 4 4 4)
1793 (place-fret 3 3 2) (place-fret 2 2 1)
1798 c'^\markup \override #'(dot-radius . 0.35) {
1799 \override #'(finger-code . in-dot) {
1800 \override #'(dot-color . white) {
1801 \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
1810 There are three different fret-diagram markup interfaces: standard, terse,
1811 and verbose. The three interfaces produce equivalent markups, but have
1812 varying amounts of information in the markup string. Details about the
1813 markup interfaces are found at @ref{Overview of text markup commands}.
1815 You can set a number of graphical properties according to your preference.
1816 Details about the property interface to fret diagrams are found at
1817 @internalsref{fret-diagram-interface}.
1822 Examples: @inputfileref{input/@/test,fret@/-diagram@/.ly}
1825 @node Other guitar issues
1826 @subsection Other guitar issues
1828 This example demonstrates how to include guitar position and
1829 barring indications.
1831 @lilypond[quote,raggedright,fragment,verbatim,relative=0]
1835 \override TextSpanner #'edge-text = #'("XII " . "")
1837 b16 e16 g16 e16 b16 g16\stopTextSpan
1842 Stopped (X) note heads are used in guitar music to signal a place where the
1843 guitarist must play a certain note or chord, with its fingers just
1844 touching the strings instead of fully pressing them. This gives the sound a
1845 percussive noise-like sound that still maintains part of the original
1846 pitch. It is notated with cross noteheads; this is
1847 demonstrated in @ref{Special noteheads}.
1850 @node Ancient notation
1851 @section Ancient notation
1853 @cindex Vaticana, Editio
1854 @cindex Medicaea, Editio
1859 Support for ancient notation includes features for mensural notation
1860 and Gregorian Chant notation. There is also limited support for
1861 figured bass notation.
1863 Many graphical objects provide a @code{style} property, see
1866 @ref{Ancient note heads},
1868 @ref{Ancient accidentals},
1870 @ref{Ancient rests},
1872 @ref{Ancient clefs},
1874 @ref{Ancient flags},
1876 @ref{Ancient time signatures}.
1879 By manipulating such a grob property, the typographical appearance of
1880 the affected graphical objects can be accommodated for a specific
1881 notation flavor without the need for introducing any new notational
1884 In addition to the standard articulation signs described in section
1885 @ref{Articulations}, specific articulation signs for ancient notation
1890 @ref{Ancient articulations}
1893 Other aspects of ancient notation can not that easily be expressed
1894 in terms of just changing a style property of a graphical object or
1895 adding articulation signs. Some notational concepts are introduced
1896 specifically for ancient notation,
1907 If this all is too much of documentation for you, and you just want to
1908 dive into typesetting without worrying too much about the details on
1909 how to customize a context, you may have a look at the predefined
1910 contexts. Use them to set up predefined style-specific voice and
1911 staff contexts, and directly go ahead with the note entry,
1915 @ref{Gregorian Chant contexts},
1917 @ref{Mensural contexts}.
1920 There is limited support for figured bass notation which came
1921 up during the baroque period.
1928 Here are all suptopics at a glance:
1931 * Ancient note heads::
1932 * Ancient accidentals::
1936 * Ancient time signatures::
1937 * Ancient articulations::
1941 * Gregorian Chant contexts::
1942 * Mensural contexts::
1947 @node Ancient note heads
1948 @subsection Ancient note heads
1953 For ancient notation, a note head style other than the @code{default}
1954 style may be chosen. This is accomplished by setting the @code{style}
1955 property of the @internalsref{NoteHead} object to @code{baroque},
1956 @code{neomensural}, @code{mensural} or @code{petrucci}. The
1957 @code{baroque} style differs from the @code{default} style only in
1958 using a square shape for @code{\breve} note heads. The
1959 @code{neomensural} style differs from the @code{baroque} style in that
1960 it uses rhomboidal heads for whole notes and all smaller durations.
1961 Stems are centered on the note heads. This style is particularly
1962 useful when transcribing mensural music, e.g., for the incipit. The
1963 @code{mensural} style produces note heads that mimic the look of note
1964 heads in historic printings of the 16th century. Finally, the
1965 @code{petrucci} style also mimicks historic printings, but uses bigger
1968 The following example demonstrates the @code{neomensural} style
1970 @lilypond[quote,fragment,raggedright,verbatim]
1971 \set Score.skipBars = ##t
1972 \override NoteHead #'style = #'neomensural
1973 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
1976 When typesetting a piece in Gregorian Chant notation, the
1977 @internalsref{Gregorian_ligature_engraver} will automatically select
1978 the proper note heads, so there is no need to explicitly set the
1979 note head style. Still, the note head style can be set, e.g., to
1980 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
1981 @internalsref{Mensural_ligature_engraver} is used to automatically
1982 assemble mensural ligatures. See @ref{Ligatures} for how ligature
1987 Examples: @inputfileref{input/@/regression,note@/-head@/-style@/.ly} gives an
1988 overview over all available note head styles.
1991 @node Ancient accidentals
1992 @subsection Ancient accidentals
1997 Use the @code{style} property of grob @internalsref{Accidental} to
1998 select ancient accidentals. Supported styles are
1999 @code{mensural}, @code{vaticana}, @code{hufnagel}, and @code{medicaea}.
2001 @lilypond[quote,raggedright,staffsize=26]
2008 \line { " " \musicglyph #"accidentals.vaticana-1"
2009 " " \musicglyph #"accidentals.vaticana0" }
2013 \line { " " \musicglyph #"accidentals.medicaea-1" }
2017 \line { " " \musicglyph #"accidentals.hufnagel-1" }
2021 \line { " " \musicglyph #"accidentals.mensural-1"
2022 " " \musicglyph #"accidentals.mensural1" }
2028 \context { \Score \remove "Bar_number_engraver" }
2030 \remove "Clef_engraver"
2031 \remove "Key_engraver"
2032 \remove "Time_signature_engraver"
2033 \remove "Staff_symbol_engraver"
2034 minimumVerticalExtent = ##f
2040 As shown, not all accidentals are supported by each style. When
2041 trying to access an unsupported accidental, LilyPond will switch to a
2042 different style, as demonstrated in
2043 @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2045 Similarly to local accidentals, the style of the key signature can be
2046 controlled by the @code{style} property of the
2047 @internalsref{KeySignature} grob.
2051 In this manual: @ref{Pitches}, @ref{Cautionary accidentals} and
2052 @ref{Automatic accidentals} give a general introduction of the use of
2053 accidentals. @ref{Key signature} gives a general introduction of
2054 the use of key signatures.
2056 Program reference: @internalsref{KeySignature}.
2058 Examples: @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2061 @subsection Ancient rests
2063 @cindex rests, ancient
2066 Use the @code{style} property of grob @internalsref{Rest} to select
2067 ancient rests. Supported styles are @code{classical},
2068 @code{neomensural}, and @code{mensural}. @code{classical} differs
2069 from the @code{default} style only in that the quarter rest looks like
2070 a horizontally mirrored 8th rest. The @code{neomensural} style suits
2071 well for, e.g., the incipit of a transcribed mensural piece of music.
2072 The @code{mensural} style finally mimics the appearance of rests as
2073 in historic prints of the 16th century.
2075 The following example demonstrates the @code{neomensural} style
2077 @lilypond[quote,fragment,raggedright,verbatim]
2078 \set Score.skipBars = ##t
2079 \override Rest #'style = #'neomensural
2080 r\longa r\breve r1 r2 r4 r8 r16
2083 There are no 32th and 64th rests specifically for the mensural or
2084 neo-mensural style. Instead, the rests from the default style will be
2085 taken. See @inputfileref{input/@/test,rests@/.ly} for a chart of all
2088 There are no rests in Gregorian Chant notation; instead, it uses
2093 In this manual: @ref{Rests} gives a general introduction into the use of rests.
2097 @subsection Ancient clefs
2102 LilyPond supports a variety of clefs, many of them ancient.
2104 The following table shows all ancient clefs that are supported via the
2105 @code{\clef} command. Some of the clefs use the same glyph, but
2106 differ only with respect to the line they are printed on. In such
2107 cases, a trailing number in the name is used to enumerate these clefs.
2108 Still, you can manually force a clef glyph to be typeset on an
2109 arbitrary line, as described in @ref{Clef}. The note printed to the
2110 right side of each clef in the example column denotes the @code{c'}
2111 with respect to that clef.
2113 @multitable @columnfractions .4 .4 .2
2122 modern style mensural C clef
2124 @code{neomensural-c1}, @code{neomensural-c2},@*
2125 @code{neomensural-c3}, @code{neomensural-c4}
2127 @lilypond[fragment,relative=1,notime]
2128 \clef "neomensural-c2" c
2132 petrucci style mensural C clefs, for use on different staff lines
2133 (the examples show the 2nd staff line C clef)
2135 @code{petrucci-c1}, @code{petrucci-c2},@*
2136 @code{petrucci-c3}, @code{petrucci-c4},@*
2139 @lilypond[fragment,relative=1,notime]
2141 \override NoteHead #'style = #'mensural
2146 petrucci style mensural F clef
2150 @lilypond[fragment,relative=1,notime]
2152 \override NoteHead #'style = #'mensural
2157 petrucci style mensural G clef
2161 @lilypond[fragment,relative=1,notime]
2163 \override NoteHead #'style = #'mensural
2168 historic style mensural C clef
2170 @code{mensural-c1}, @code{mensural-c2},@*
2171 @code{mensural-c3}, @code{mensural-c4}
2173 @lilypond[fragment,relative=1,notime]
2175 \override NoteHead #'style = #'mensural
2180 historic style mensural F clef
2184 @lilypond[fragment,relative=1,notime]
2186 \override NoteHead #'style = #'mensural
2191 historic style mensural G clef
2195 @lilypond[fragment,relative=1,notime]
2197 \override NoteHead #'style = #'mensural
2202 Editio Vaticana style do clef
2204 @code{vaticana-do1}, @code{vaticana-do2},@*
2207 @lilypond[fragment,relative=1,notime]
2208 \override Staff.StaffSymbol #'line-count = #4
2209 \override Staff.StaffSymbol #'color = #red
2210 \override Staff.LedgerLineSpanner #'color = #red
2211 \override Voice.Stem #'transparent = ##t
2212 \override NoteHead #'style = #'vaticana.punctum
2213 \clef "vaticana-do2"
2218 Editio Vaticana style fa clef
2220 @code{vaticana-fa1}, @code{vaticana-fa2}
2222 @lilypond[fragment,relative=1,notime]
2223 \override Staff.StaffSymbol #'line-count = #4
2224 \override Staff.StaffSymbol #'color = #red
2225 \override Staff.LedgerLineSpanner #'color = #red
2226 \override Voice.Stem #'transparent = ##t
2227 \override NoteHead #'style = #'vaticana.punctum
2228 \clef "vaticana-fa2"
2233 Editio Medicaea style do clef
2235 @code{medicaea-do1}, @code{medicaea-do2},@*
2238 @lilypond[fragment,relative=1,notime]
2239 \override Staff.StaffSymbol #'line-count = #4
2240 \override Staff.StaffSymbol #'color = #red
2241 \override Staff.LedgerLineSpanner #'color = #red
2242 \override Voice.Stem #'transparent = ##t
2243 \override NoteHead #'style = #'medicaea.punctum
2244 \clef "medicaea-do2"
2249 Editio Medicaea style fa clef
2251 @code{medicaea-fa1}, @code{medicaea-fa2}
2253 @lilypond[fragment,relative=1,notime]
2254 \override Staff.StaffSymbol #'line-count = #4
2255 \override Staff.StaffSymbol #'color = #red
2256 \override Staff.LedgerLineSpanner #'color = #red
2257 \override Voice.Stem #'transparent = ##t
2258 \override NoteHead #'style = #'medicaea.punctum
2259 \clef "medicaea-fa2"
2264 historic style hufnagel do clef
2266 @code{hufnagel-do1}, @code{hufnagel-do2},@*
2269 @lilypond[fragment,relative=1,notime]
2270 \override Staff.StaffSymbol #'line-count = #4
2271 \override Staff.StaffSymbol #'color = #red
2272 \override Staff.LedgerLineSpanner #'color = #red
2273 \override Voice.Stem #'transparent = ##t
2274 \override NoteHead #'style = #'hufnagel.punctum
2275 \clef "hufnagel-do2"
2280 historic style hufnagel fa clef
2282 @code{hufnagel-fa1}, @code{hufnagel-fa2}
2284 @lilypond[fragment,relative=1,notime]
2285 \override Staff.StaffSymbol #'line-count = #4
2286 \override Staff.StaffSymbol #'color = #red
2287 \override Staff.LedgerLineSpanner #'color = #red
2288 \override Voice.Stem #'transparent = ##t
2289 \override NoteHead #'style = #'hufnagel.punctum
2290 \clef "hufnagel-fa2"
2295 historic style hufnagel combined do/fa clef
2297 @code{hufnagel-do-fa}
2299 @lilypond[fragment,relative=1,notime]
2300 \override Staff.StaffSymbol #'color = #red
2301 \override Staff.LedgerLineSpanner #'color = #red
2302 \override Voice.Stem #'transparent = ##t
2303 \override NoteHead #'style = #'hufnagel.punctum
2304 \clef "hufnagel-do-fa"
2311 @emph{Modern style} means ``as is typeset in contemporary editions of
2312 transcribed mensural music''.
2314 @emph{Petrucci style} means ``inspired by printings published by the
2315 famous engraver Petrucci (1466-1539)''.
2317 @emph{Historic style} means ``as was typeset or written in historic
2318 editions (other than those of Petrucci)''.
2320 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
2322 Petrucci used C clefs with differently balanced left-side vertical
2323 beams, depending on which staff line it is printed.
2327 In this manual: see @ref{Clef}.
2331 The mensural g clef is mapped to the Petrucci g clef.
2336 @subsection Ancient flags
2341 Use the @code{flag-style} property of grob @internalsref{Stem} to
2342 select ancient flags. Besides the @code{default} flag style,
2343 only the @code{mensural} style is supported
2345 @lilypond[quote,fragment,raggedright,verbatim]
2346 \override Stem #'flag-style = #'mensural
2347 \override Stem #'thickness = #1.0
2348 \override NoteHead #'style = #'mensural
2350 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
2351 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
2354 Note that the innermost flare of each mensural flag always is
2355 vertically aligned with a staff line.
2357 There is no particular flag style for neo-mensural notation. Hence,
2358 when typesetting the incipit of a transcribed piece of mensural
2359 music, the default flag style should be used. There are no flags in
2360 Gregorian Chant notation.
2364 The attachment of ancient flags to stems is slightly off due to a
2365 change in early 2.3.x.
2367 Vertically aligning each flag with a staff line assumes that stems
2368 always end either exactly on or exactly in the middle between two
2369 staff lines. This may not always be true when using advanced layout
2370 features of classical notation (which however are typically out of
2371 scope for mensural notation).
2373 @node Ancient time signatures
2374 @subsection Ancient time signatures
2376 @cindex time signatures
2379 There is limited support for mensural time signatures. The
2380 glyphs are hard-wired to particular time fractions. In other words,
2381 to get a particular mensural signature glyph with the @code{\time n/m}
2382 command, @code{n} and @code{m} have to be chosen according to the
2385 @lilypond[quote,raggedright]
2390 \remove Staff_symbol_engraver
2391 \remove Clef_engraver
2392 \remove Time_signature_engraver
2396 \set Score.timing = ##f
2397 \set Score.barAlways = ##t
2398 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph #"timesig.neomensural44" }
2400 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph #"timesig.neomensural22" }
2402 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph #"timesig.neomensural64" }
2404 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph #"timesig.neomensural68" }
2406 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph #"timesig.neomensural32" }
2408 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph #"timesig.neomensural34" }
2410 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph #"timesig.neomensural94" }
2412 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph #"timesig.neomensural98" }
2414 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph #"timesig.neomensural48" }
2416 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph #"timesig.neomensural24" }
2420 Use the @code{style} property of grob @internalsref{TimeSignature} to
2421 select ancient time signatures. Supported styles are
2422 @code{neomensural} and @code{mensural}. The above table uses the
2423 @code{neomensural} style. This style is appropriate for the
2424 incipit of transcriptions of mensural pieces. The @code{mensural}
2425 style mimics the look of historical printings of the 16th century.
2427 The following examples show the differences in style,
2429 @lilypond[raggedright,fragment,relative=1,quote]
2434 c1^\markup { \hspace #-2.0 \typewriter default }
2436 \override Staff.TimeSignature #'style = #'numbered
2438 c1^\markup { \hspace #-2.0 \typewriter numbered }
2440 \override Staff.TimeSignature #'style = #'mensural
2442 c1^\markup { \hspace #-2.0 \typewriter mensural }
2444 \override Staff.TimeSignature #'style = #'neomensural
2446 c1^\markup { \hspace #-2.0 \typewriter neomensural }
2447 \override Staff.TimeSignature #'style = #'single-digit
2449 c1^\markup { \hspace #-2.0 \typewriter single-digit }
2455 This manual: @ref{Time signature} gives a general introduction to
2456 the use of time signatures.
2460 Ratios of note durations do not change with the time signature. For
2461 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
2462 be made by hand, by setting
2465 breveTP = #(ly:make-duration -1 0 3 2)
2471 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
2473 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
2474 addressable with @code{\time}. Use a @code{\markup} instead
2476 @node Ancient articulations
2477 @subsection Ancient articulations
2479 @cindex articulations
2481 In addition to the standard articulation signs described in section
2482 @ref{Articulations}, articulation signs for ancient notation are
2483 provided. These are specifically designed for use with notation in
2484 Editio Vaticana style.
2486 @lilypond[quote,raggedright,verbatim]
2487 \include "gregorian-init.ly"
2489 \context VaticanaVoice {
2490 \override Staff.StaffSymbol #'color = #red
2491 \override Staff.LedgerLineSpanner #'color = #red
2492 \override TextScript #'font-family = #'typewriter
2493 \override TextScript #'font-shape = #'upright
2494 \override Script #'padding = #-0.1
2496 a4\circulus_"circulus" s1
2497 a4\semicirculus_"semicirculus" s1 s
2498 a4\accentus_"accentus" s1
2499 \[ a4_"episem" \episemInitium \pes b \flexa a \episemFinis \]
2506 Some articulations are vertically placed too closely to the
2507 correpsonding note heads.
2510 @subsection Custodes
2515 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
2516 symbol that appears at the end of a staff. It anticipates the pitch
2517 of the first note(s) of the following line thus helping the performer
2518 to manage line breaks during performance.
2520 Custodes were frequently used in music notation until the 17th
2521 century. Nowadays, they have survived only in a few particular forms
2522 of musical notation such as contemporary editions of Gregorian chant
2523 like the @emph{editio vaticana}. There are different custos glyphs
2524 used in different flavors of notational style.
2526 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
2527 @internalsref{Staff} context when declaring the @code{\layout} block,
2528 as shown in the following example
2534 \consists Custos_engraver
2535 Custos \override #'style = #'mensural
2540 The result looks like this
2542 @lilypond[quote,raggedright]
2546 \override Staff.Custos #'style = #'mensural
2551 \context { \Staff \consists Custos_engraver }
2556 The custos glyph is selected by the @code{style} property. The styles
2557 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
2558 @code{mensural}. They are demonstrated in the following fragment
2560 @lilypond[quote,raggedright,fragment]
2561 \new Lyrics \lyricmode {
2563 \typewriter "vaticana"
2564 \line { " " \musicglyph #"custodes.vaticana.u0" }
2567 \typewriter "medicaea"
2568 \line { " " \musicglyph #"custodes.medicaea.u0" }
2571 \typewriter "hufnagel"
2572 \line { " " \musicglyph #"custodes.hufnagel.u0" }
2575 \typewriter "mensural"
2576 \line { " " \musicglyph #"custodes.mensural.u0" }
2583 Program reference: @internalsref{Custos}.
2585 Examples: @inputfileref{input/@/regression,custos@/.ly}.
2589 @subsection Divisiones
2595 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
2596 `division') is a staff context symbol that is used to structure
2597 Gregorian music into phrases and sections. The musical meaning of
2598 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
2599 can be characterized as short, medium, and long pause, somewhat like
2600 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
2601 only marks the end of a chant, but is also frequently used within a
2602 single antiphonal/responsorial chant to mark the end of each section.
2605 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
2606 contains definitions that you can apply by just inserting
2607 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
2608 and @code{\finalis} at proper places in the input. Some editions use
2609 @emph{virgula} or @emph{caesura} instead of divisio minima.
2610 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
2613 @lilypondfile[quote,raggedright]{divisiones.ly}
2617 @cindex @code{\virgula}
2619 @cindex @code{\caesura}
2621 @cindex @code{\divisioMinima}
2622 @code{\divisioMinima},
2623 @cindex @code{\divisioMaior}
2624 @code{\divisioMaior},
2625 @cindex @code{\divisioMaxima}
2626 @code{\divisioMaxima},
2627 @cindex @code{\finalis}
2632 In this manual: @ref{Breath marks}.
2634 Program reference: @internalsref{BreathingSign}.
2636 Examples: @inputfileref{input/@/test,divisiones@/.ly}.
2639 @subsection Ligatures
2643 @c TODO: Should double check if I recalled things correctly when I wrote
2644 @c down the following paragraph by heart.
2646 A ligature is a graphical symbol that represents at least two distinct
2647 notes. Ligatures originally appeared in the manuscripts of Gregorian
2648 chant notation to denote ascending or descending sequences of notes.
2650 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
2651 Some ligature styles may need additional input syntax specific for
2652 this particular type of ligature. By default, the
2653 @internalsref{LigatureBracket} engraver just puts a square bracket
2656 @lilypond[quote,raggedright,verbatim]
2664 To select a specific style of ligatures, a proper ligature engraver
2665 has to be added to the @internalsref{Voice} context, as explained in
2666 the following subsections. Only white mensural ligatures
2667 are supported with certain limitations.
2673 Ligatures need special spacing that has not yet been implemented. As
2674 a result, there is too much space between ligatures most of the time,
2675 and line breaking often is unsatisfactory. Also, lyrics do not
2676 correctly align with ligatures.
2678 Accidentals must not be printed within a ligature, but instead need to
2679 be collected and printed in front of it.
2681 Augmentum dots within ligatures are not handled correctly.
2683 The syntax still uses the deprecated infix style @code{\[ music expr
2684 \]}. For consistency reasons, it will eventually be changed to
2685 postfix style @code{note\[ ... note\]}. Alternatively, the file
2686 @file{gregorian@/-init@/.ly} can be included; it provides a scheme
2689 \ligature @var{music expr}
2691 with the same effect and is believed to be stable.
2694 * White mensural ligatures::
2695 * Gregorian square neumes ligatures::
2698 @node White mensural ligatures
2699 @subsubsection White mensural ligatures
2701 @cindex Mensural ligatures
2702 @cindex White mensural ligatures
2704 There is limited support for white mensural ligatures.
2706 To engrave white mensural ligatures, in the layout block put the
2707 @internalsref{Mensural_ligature_engraver} into the
2708 @internalsref{Voice} context, and remove the
2709 @internalsref{Ligature_bracket_engraver}, like this
2715 \remove Ligature_bracket_engraver
2716 \consists Mensural_ligature_engraver
2721 There is no additional input language to describe the shape of a
2722 white mensural ligature. The shape is rather determined solely from
2723 the pitch and duration of the enclosed notes. While this approach may
2724 take a new user a while to get accustomed to, it has the great advantage
2725 that the full musical information of the ligature is known internally.
2726 This is not only required for correct MIDI output, but also allows for
2727 automatic transcription of the ligatures.
2732 \set Score.timing = ##f
2733 \set Score.defaultBarType = "empty"
2734 \override NoteHead #'style = #'neomensural
2735 \override Staff.TimeSignature #'style = #'neomensural
2739 \[ d\longa c\breve f e d \]
2741 \[ c'\maxima d'\longa \]
2745 @lilypond[quote,raggedright]
2748 \set Score.timing = ##f
2749 \set Score.defaultBarType = "empty"
2750 \override NoteHead #'style = #'neomensural
2751 \override Staff.TimeSignature #'style = #'neomensural
2755 \[ d\longa c\breve f e d \]
2757 \[ c'\maxima d'\longa \]
2764 \remove Ligature_bracket_engraver
2765 \consists Mensural_ligature_engraver
2771 Without replacing @internalsref{Ligature_bracket_engraver} with
2772 @internalsref{Mensural_ligature_engraver}, the same music transcribes
2775 @lilypond[quote,raggedright]
2777 \set Score.timing = ##f
2778 \set Score.defaultBarType = "empty"
2779 \override NoteHead #'style = #'neomensural
2780 \override Staff.TimeSignature #'style = #'neomensural
2784 \[ d\longa c\breve f e d \]
2786 \[ c'\maxima d'\longa \]
2794 The invisible rests (@code{s4}) in the example are used to compensate
2795 for the poor horizontal spacing.
2797 @node Gregorian square neumes ligatures
2798 @subsubsection Gregorian square neumes ligatures
2800 @cindex Square neumes ligatures
2801 @cindex Gregorian square neumes ligatures
2803 There is limited support for Gregorian square neumes notation
2804 (following the style of the Editio Vaticana). Core ligatures can
2805 already be typeset, but essential issues for serious typesetting are
2806 still lacking, such as (among others) horizontal alignment of multiple
2807 ligatures, lyrics alignment and proper handling of accidentals.
2810 The following table contains the extended neumes table of the 2nd
2811 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
2812 1983 by the monks of Solesmes.
2814 @multitable @columnfractions .4 .2 .2 .2
2831 @c TODO: \layout block is identical in all of the below examples.
2832 @c Therefore, it should somehow be included rather than duplicated all
2835 @c why not make identifiers in ly/engraver-init.ly? --hwn
2837 @c Because it's just used to typeset plain notes without
2838 @c a staff for demonstration purposes rather than something
2839 @c special of Gregorian chant notation. --jr
2844 @lilypond[staffsize=26,linewidth=1.5\cm]
2845 \include "gregorian-init.ly"
2850 \noBreak s^\markup {"a"} \noBreak
2852 % Punctum Inclinatum
2854 \noBreak s^\markup {"b"}
2856 \layout { \neumeDemoLayout }}
2859 @lilypond[staffsize=26,linewidth=2.5\cm]
2860 \include "gregorian-init.ly"
2863 % Punctum Auctum Ascendens
2864 \[ \auctum \ascendens b \]
2865 \noBreak s^\markup {"c"} \noBreak
2867 % Punctum Auctum Descendens
2868 \[ \auctum \descendens b \]
2869 \noBreak s^\markup {"d"} \noBreak
2871 % Punctum Inclinatum Auctum
2872 \[ \inclinatum \auctum b \]
2873 \noBreak s^\markup {"e"}
2875 \layout { \neumeDemoLayout }}
2878 @lilypond[staffsize=26,linewidth=1.0\cm]
2879 \include "gregorian-init.ly"
2882 % Punctum Inclinatum Parvum
2883 \[ \inclinatum \deminutum b \]
2884 \noBreak s^\markup {"f"}
2886 \layout { \neumeDemoLayout }}
2892 @lilypond[staffsize=26,linewidth=1.0\cm]
2893 \include "gregorian-init.ly"
2898 \noBreak s^\markup {"g"}
2900 \layout { \neumeDemoLayout }}
2906 @code{3. Apostropha vel Stropha}
2908 @lilypond[staffsize=26,linewidth=1.0\cm]
2909 \include "gregorian-init.ly"
2914 \noBreak s^\markup {"h"}
2916 \layout { \neumeDemoLayout }}
2919 @lilypond[staffsize=26,linewidth=1.0\cm]
2920 \include "gregorian-init.ly"
2924 \[ \stropha \auctum b \]
2925 \noBreak s^\markup {"i"}
2927 \layout { \neumeDemoLayout }}
2934 @lilypond[staffsize=26,linewidth=1.0\cm]
2935 \include "gregorian-init.ly"
2940 \noBreak s^\markup {"j"}
2942 \layout { \neumeDemoLayout }}
2948 @code{5. Clivis vel Flexa}
2950 @lilypond[staffsize=26,linewidth=1.0\cm]
2951 \include "gregorian-init.ly"
2958 \layout { \neumeDemoLayout }}
2961 @lilypond[staffsize=26,linewidth=2.0\cm]
2962 \include "gregorian-init.ly"
2965 % Clivis Aucta Descendens
2966 \[ b \flexa \auctum \descendens g \]
2967 \noBreak s^\markup {"l"} \noBreak
2969 % Clivis Aucta Ascendens
2970 \[ b \flexa \auctum \ascendens g \]
2971 \noBreak s^\markup {"m"}
2973 \layout { \neumeDemoLayout }}
2976 @lilypond[staffsize=26,linewidth=1.0\cm]
2977 \include "gregorian-init.ly"
2981 \[ b \flexa \deminutum g \]
2984 \layout { \neumeDemoLayout }}
2988 @code{6. Podatus vel Pes}
2990 @lilypond[staffsize=26,linewidth=1.0\cm]
2991 \include "gregorian-init.ly"
2998 \layout { \neumeDemoLayout }}
3001 @lilypond[staffsize=26,linewidth=2.0\cm]
3002 \include "gregorian-init.ly"
3005 % Pes Auctus Descendens
3006 \[ g \pes \auctum \descendens b \]
3007 \noBreak s^\markup {"p"} \noBreak
3009 % Pes Auctus Ascendens
3010 \[ g \pes \auctum \ascendens b \]
3011 \noBreak s^\markup {"q"}
3013 \layout { \neumeDemoLayout }}
3016 @lilypond[staffsize=26,linewidth=1.0\cm]
3017 \include "gregorian-init.ly"
3021 \[ g \pes \deminutum b \]
3024 \layout { \neumeDemoLayout }}
3028 @code{7. Pes Quassus}
3030 @lilypond[staffsize=26,linewidth=1.0\cm]
3031 \include "gregorian-init.ly"
3035 \[ \oriscus g \pes \virga b \]
3038 \layout { \neumeDemoLayout }}
3041 @lilypond[staffsize=26,linewidth=1.0\cm]
3042 \include "gregorian-init.ly"
3045 % Pes Quassus Auctus Descendens
3046 \[ \oriscus g \pes \auctum \descendens b \]
3049 \layout { \neumeDemoLayout }}
3054 @code{8. Quilisma Pes}
3056 @lilypond[staffsize=26,linewidth=1.0\cm]
3057 \include "gregorian-init.ly"
3061 \[ \quilisma g \pes b \]
3064 \layout { \neumeDemoLayout }}
3067 @lilypond[staffsize=26,linewidth=1.0\cm]
3068 \include "gregorian-init.ly"
3071 % Quilisma Pes Auctus Descendens
3072 \[ \quilisma g \pes \auctum \descendens b \]
3075 \layout { \neumeDemoLayout }}
3080 @code{9. Podatus Initio Debilis}
3082 @lilypond[staffsize=26,linewidth=1.0\cm]
3083 \include "gregorian-init.ly"
3086 % Pes Initio Debilis
3087 \[ \deminutum g \pes b \]
3090 \layout { \neumeDemoLayout }}
3093 @lilypond[staffsize=26,linewidth=1.0\cm]
3094 \include "gregorian-init.ly"
3097 % Pes Auctus Descendens Initio Debilis
3098 \[ \deminutum g \pes \auctum \descendens b \]
3101 \layout { \neumeDemoLayout }}
3108 @lilypond[staffsize=26,linewidth=1.0\cm]
3109 \include "gregorian-init.ly"
3113 \[ a \pes b \flexa g \]
3116 \layout { \neumeDemoLayout }}
3119 @lilypond[staffsize=26,linewidth=1.0\cm]
3120 \include "gregorian-init.ly"
3123 % Torculus Auctus Descendens
3124 \[ a \pes b \flexa \auctum \descendens g \]
3127 \layout { \neumeDemoLayout }}
3130 @lilypond[staffsize=26,linewidth=1.0\cm]
3131 \include "gregorian-init.ly"
3134 % Torculus Deminutus
3135 \[ a \pes b \flexa \deminutum g \]
3138 \layout { \neumeDemoLayout }}
3142 @code{11. Torculus Initio Debilis}
3144 @lilypond[staffsize=26,linewidth=1.0\cm]
3145 \include "gregorian-init.ly"
3148 % Torculus Initio Debilis
3149 \[ \deminutum a \pes b \flexa g \]
3152 \layout { \neumeDemoLayout }}
3155 @lilypond[staffsize=26,linewidth=1.0\cm]
3156 \include "gregorian-init.ly"
3159 % Torculus Auctus Descendens Initio Debilis
3160 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
3163 \layout { \neumeDemoLayout }}
3166 @lilypond[staffsize=26,linewidth=1.0\cm]
3167 \include "gregorian-init.ly"
3170 % Torculus Deminutus Initio Debilis
3171 \[ \deminutum a \pes b \flexa \deminutum g \]
3174 \layout { \neumeDemoLayout }}
3178 @code{12. Porrectus}
3180 @lilypond[staffsize=26,linewidth=1.0\cm]
3181 \include "gregorian-init.ly"
3185 \[ a \flexa g \pes b \]
3188 \layout { \neumeDemoLayout }}
3191 @lilypond[staffsize=26,linewidth=1.0\cm]
3192 \include "gregorian-init.ly"
3195 % Porrectus Auctus Descendens
3196 \[ a \flexa g \pes \auctum \descendens b \]
3199 \layout { \neumeDemoLayout }}
3202 @lilypond[staffsize=26,linewidth=1.0\cm]
3203 \include "gregorian-init.ly"
3206 % Porrectus Deminutus
3207 \[ a \flexa g \pes \deminutum b \]
3210 \layout { \neumeDemoLayout }}
3216 @lilypond[staffsize=26,linewidth=1.0\cm]
3217 \include "gregorian-init.ly"
3221 \[ \virga b \inclinatum a \inclinatum g \]
3224 \layout { \neumeDemoLayout }
3228 @lilypond[staffsize=26,linewidth=1.0\cm]
3229 \include "gregorian-init.ly"
3233 \[ \virga b \inclinatum a \inclinatum \auctum g \]
3236 \layout { \neumeDemoLayout }}
3239 @lilypond[staffsize=26,linewidth=1.0\cm]
3240 \include "gregorian-init.ly"
3243 % Climacus Deminutus
3244 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
3247 \layout { \neumeDemoLayout }}
3251 @code{14. Scandicus}
3253 @lilypond[staffsize=26,linewidth=1.0\cm]
3254 \include "gregorian-init.ly"
3258 \[ g \pes a \virga b \]
3261 \layout { \neumeDemoLayout }}
3264 @lilypond[staffsize=26,linewidth=1.0\cm]
3265 \include "gregorian-init.ly"
3268 % Scandicus Auctus Descendens
3269 \[ g \pes a \pes \auctum \descendens b \]
3272 \layout { \neumeDemoLayout }}
3275 @lilypond[staffsize=26,linewidth=1.0\cm]
3276 \include "gregorian-init.ly"
3279 % Scandicus Deminutus
3280 \[ g \pes a \pes \deminutum b \]
3283 \layout { \neumeDemoLayout }}
3289 @lilypond[staffsize=26,linewidth=1.0\cm]
3290 \include "gregorian-init.ly"
3294 \[ g \oriscus a \pes \virga b \]
3297 \layout { \neumeDemoLayout }}
3300 @lilypond[staffsize=26,linewidth=1.0\cm]
3301 \include "gregorian-init.ly"
3304 % Salicus Auctus Descendens
3305 \[ g \oriscus a \pes \auctum \descendens b \]
3308 \layout { \neumeDemoLayout }}
3315 @lilypond[staffsize=26,linewidth=1.0\cm]
3316 \include "gregorian-init.ly"
3320 \[ \stropha b \stropha b \stropha a \]
3323 \layout { \neumeDemoLayout }
3332 Unlike most other neumes notation systems, the input language for
3333 neumes does not reflect the typographical appearance, but is designed
3334 to focus on musical meaning. For example, @code{\[ a \pes b
3335 \flexa g \]} produces a Torculus consisting of three Punctum heads,
3336 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
3337 curved flexa shape and only a single Punctum head. There is no
3338 command to explicitly typeset the curved flexa shape; the decision of
3339 when to typeset a curved flexa shape is based on the musical
3340 input. The idea of this approach is to separate the musical aspects
3341 of the input from the notation style of the output. This way, the
3342 same input can be reused to typeset the same music in a different
3343 style of Gregorian chant notation.
3345 The following table shows the code fragments that produce the
3346 ligatures in the above neumes table. The letter in the first column
3347 in each line of the below table indicates to which ligature in the
3348 above table it refers. The second column gives the name of the
3349 ligature. The third column shows the code fragment that produces this
3350 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
3352 @multitable @columnfractions .02 .31 .67
3372 @code{\[ \inclinatum b \]}
3380 @code{\[ \auctum \ascendens b \]}
3388 @code{\[ \auctum \descendens b \]}
3393 Punctum Inclinatum@*
3396 @code{\[ \inclinatum \auctum b \]}
3401 Punctum Inclinatum@*
3403 @code{\[ \inclinatum \deminutum b \]}
3410 @code{\[ \virga b \]}
3417 @code{\[ \stropha b \]}
3424 @code{\[ \stropha \auctum b \]}
3431 @code{\[ \oriscus b \]}
3438 @code{\[ b \flexa g \]}
3446 @code{\[ b \flexa \auctum \descendens g \]}
3454 @code{\[ b \flexa \auctum \ascendens g \]}
3461 @code{\[ b \flexa \deminutum g \]}
3468 @code{\[ g \pes b \]}
3476 @code{\[ g \pes \auctum \descendens b \]}
3484 @code{\[ g \pes \auctum \ascendens b \]}
3491 @code{\[ g \pes \deminutum b \]}
3498 @code{\[ \oriscus g \pes \virga b \]}
3504 Auctus Descendens @tab
3505 @code{\[ \oriscus g \pes \auctum \descendens b \]}
3512 @code{\[ \quilisma g \pes b \]}
3520 @code{\[ \quilisma g \pes \auctum \descendens b \]}
3527 @code{\[ \deminutum g \pes b \]}
3532 Pes Auctus Descendens@*
3535 @code{\[ \deminutum g \pes \auctum \descendens b \]}
3542 @code{\[ a \pes b \flexa g \]}
3550 @code{\[ a \pes b \flexa \auctum \descendens g \]}
3557 @code{\[ a \pes b \flexa \deminutum g \]}
3562 Torculus Initio Debilis
3564 @code{\[ \deminutum a \pes b \flexa g \]}
3570 Descendens Initio Debilis
3572 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
3577 Torculus Deminutus@*
3580 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
3587 @code{\[ a \flexa g \pes b \]}
3595 @code{\[ a \flexa g \pes \auctum \descendens b \]}
3602 @code{\[ a \flexa g \pes \deminutum b \]}
3609 @code{\[ \virga b \inclinatum a \inclinatum g \]}
3616 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
3623 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
3630 @code{\[ g \pes a \virga b \]}
3638 @code{\[ g \pes a \pes \auctum \descendens b \]}
3645 @code{\[ g \pes a \pes \deminutum b \]}
3652 @code{\[ g \oriscus a \pes \virga b \]}
3657 Salicus Auctus Descendens
3659 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
3666 @code{\[ \stropha b \stropha b \stropha a \]}
3671 The following head prefixes are supported
3673 @cindex @code{\virga}
3675 @cindex @code{\stropha}
3677 @cindex @code{\inclinatum}
3679 @cindex @code{\auctum}
3681 @cindex @code{\descendens}
3683 @cindex @code{\ascendens}
3685 @cindex @code{\oriscus}
3687 @cindex @code{\quilisma}
3689 @cindex @code{\deminutum}
3692 Head prefixes can be accumulated, though restrictions apply. For
3693 example, either @code{\descendens} or @code{\ascendens} can be applied
3694 to a head, but not both to the same head.
3697 @cindex @code{\flexa}
3698 Two adjacent heads can be tied together with the @code{\pes} and
3699 @code{\flexa} infix commands for a rising and falling line of melody,
3704 @node Gregorian Chant contexts
3705 @subsection Gregorian Chant contexts
3707 @cindex VaticanaVoiceContext
3708 @cindex VaticanaStaffContext
3710 The predefined @code{VaticanaVoiceContext} and
3711 @code{VaticanaStaffContext} can be used to engrave a piece of
3712 Gregorian Chant in the style of the Editio Vaticana. These contexts
3713 initialize all relevant context properties and grob properties to
3714 proper values, so you can immediately go ahead entering the chant, as
3715 the following excerpt demonstrates
3717 @lilypond[quote,raggedright,packed,verbatim]
3718 \include "gregorian-init.ly"
3721 \context VaticanaVoice = "cantus" {
3722 \override Staff.StaffSymbol #'color = #red
3723 \override Staff.LedgerLineSpanner #'color = #red
3724 \override Score.BarNumber #'transparent = ##t {
3725 \[ c'\melisma c' \flexa a \]
3726 \[ a \flexa \deminutum g\melismaEnd \]
3728 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
3729 c' \divisioMinima \break
3730 \[ c'\melisma c' \flexa a \]
3731 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
3734 \lyricsto "cantus" \new Lyrics {
3735 San- ctus, San- ctus, San- ctus
3742 @node Mensural contexts
3743 @subsection Mensural contexts
3745 @cindex MensuralVoiceContext
3746 @cindex MensuralStaffContext
3748 The predefined @code{MensuralVoiceContext} and
3749 @code{MensuralStaffContext} can be used to engrave a piece in mensural
3750 style. These contexts initialize all relevant context properties and
3751 grob properties to proper values, so you can immediately go ahead
3752 entering the chant, as the following excerpt demonstrates
3754 @lilypond[quote,raggedright,verbatim]
3757 \context MensuralVoice = "discantus" \transpose c c' {
3758 \override Score.BarNumber #'transparent = ##t {
3759 c'1\melisma bes a g\melismaEnd
3761 \[ f1\melisma a c'\breve d'\melismaEnd \]
3763 c'\breve\melisma a1 g1\melismaEnd
3764 fis\longa^\signumcongruentiae
3767 \lyricsto "discantus" \new Lyrics {
3768 San -- ctus, San -- ctus, San -- ctus
3776 @subsection Figured bass
3778 @cindex Basso continuo
3780 @c TODO: musicological blurb about FB
3783 LilyPond has limited support for figured bass
3785 @lilypond[quote,raggedright,verbatim,fragment]
3787 \context Voice { \clef bass dis4 c d ais g fis}
3788 \context FiguredBass \figuremode {
3789 < 6 >4 < 7 >8 < 6+ [_!] >
3796 The support for figured bass consists of two parts: there is an input
3797 mode, introduced by @code{\figuremode}, where you can enter bass figures
3798 as numbers, and there is a context called @internalsref{FiguredBass} that
3799 takes care of making @internalsref{BassFigure} objects.
3801 In figures input mode, a group of bass figures is delimited by
3802 @code{<} and @code{>}. The duration is entered after the @code{>}
3806 @lilypond[quote,raggedright,fragment]
3807 \context FiguredBass
3808 \figuremode { <4 6> }
3811 Accidentals are added when you append @code{-}, @code{!}, and @code{+}
3817 @lilypond[quote,raggedright,fragment]
3818 \context FiguredBass
3819 \figuremode { <4- 6+ 7!> }
3822 Spaces or dashes may be inserted by using @code{_}. Brackets are
3823 introduced with @code{[} and @code{]}. You can also include text
3824 strings and text markups, see @ref{Overview of text markup commands}.
3827 < [4 6] 8 [_! 12] > < 5 \markup @{ + \number 6 @} >
3829 @lilypond[quote,raggedright,fragment]
3830 \context FiguredBass
3831 \figuremode { < [4 6] 8 [_! 12] > < 5 \markup{ + \number 6 } > }
3835 Although the support for figured bass may superficially resemble chord
3836 support, it works much simpler. The @code{\figuremode} mode simply
3837 stores the numbers and @internalsref{FiguredBass} context prints
3838 them as entered. There is no conversion to pitches and no
3839 realizations of the bass are played in the MIDI file.
3841 Internally, the code produces markup texts. You can use any of the
3842 markup text properties to override formatting. For example, the
3843 vertical spacing of the figures may be set with @code{baseline-skip}.
3847 Program reference: @internalsref{BassFigure} object,
3848 @internalsref{FiguredBass} context.
3852 Slash notation for alterations is not supported.
3856 @node Other instrument specific notation
3857 @section Other instrument specific notation
3859 This section includes extra information for writing for instruments.
3862 * Artificial harmonics (strings)::
3865 @node Artificial harmonics (strings)
3866 @subsection Artificial harmonics (strings)
3868 @cindex artificial harmonics
3870 Artificial harmonics are notated with a different notehead style. They
3871 are entered by marking the harmonic pitch with @code{\harmonic}.
3873 @lilypond[raggedright,verbatim,quote,fragment,relative=1]