1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
8 @node Instrument-specific notation
9 @chapter Instrument-specific notation
11 This chapter explains how to use notation for specific instruments.
21 * Other instrument specific notation::
29 Piano staves are two normal staves coupled with a brace. The staves
30 are largely independent, but sometimes voices can cross between the
31 two staves. The same notation is also used for harps and other key
32 instruments. The @internalsref{PianoStaff} is especially built to
33 handle this cross-staffing behavior. In this section we discuss the
34 @internalsref{PianoStaff} and some other pianistic peculiarities.
37 * Automatic staff changes::
38 * Manual staff switches::
39 * Laissez vibrer ties::
41 * Staff switch lines::
47 Dynamics are not centered, but workarounds do exist. See the
48 ``piano centered dynamics'' template in @ref{Piano templates}.
50 @cindex cross staff stem
51 @cindex stem, cross staff
52 @cindex distance between staves in piano music
54 The distance between the two staves is the same for all systems in the
55 score. It is possible to override this per system, but it does require
56 an arcane command incantation. See
57 @inputfileref{input/@/test,piano@/-staff@/-distance@/.ly}.
60 @node Automatic staff changes
61 @subsection Automatic staff changes
62 @cindex Automatic staff changes
64 Voices can be made to switch automatically between the top and the bottom
65 staff. The syntax for this is
69 \autochange @dots{}@var{music}@dots{}
74 This will create two staves inside the current PianoStaff, called
75 @code{up} and @code{down}. The lower staff will be in bass clef by
78 A @code{\relative} section that is outside of @code{\autochange} has
79 no effect on the pitches of @var{music}, so, if necessary, put
80 @code{\relative} inside @code{\autochange} like
84 \autochange \relative @dots{} @dots{}
89 The autochanger switches on basis of the pitch (middle C is the turning
90 point), and it looks ahead skipping over rests to switch in
91 advance. Here is a practical example
93 @lilypond[quote,verbatim,ragged-right]
95 \autochange \relative c'
104 In this manual: @ref{Manual staff switches}.
106 Program reference: @internalsref{AutoChangeMusic}.
112 The staff switches may not end up in optimal places. For high
113 quality output, staff switches should be specified manually.
116 @code{\autochange} cannot be inside @code{\times}.
119 @node Manual staff switches
120 @subsection Manual staff switches
122 @cindex manual staff switches
123 @cindex staff switch, manual
125 Voices can be switched between staves manually, using the command
127 \change Staff = @var{staffname} @var{music}
131 The string @var{staffname} is the name of the staff. It switches the
132 current voice from its current staff to the Staff called
133 @var{staffname}. Typically @var{staffname} is @code{"up"} or
134 @code{"down"}. The @context{Staff} referred to must already exist, so
135 usually the setup for a score will start with a setup of the staves,
139 \context Staff = up @{
140 \skip 1 * 10 % @emph{keep staff alive}
142 \context Staff = down @{
143 \skip 1 * 10 % @emph{idem}
149 and the @context{Voice} is inserted afterwards
152 \context Staff = down
153 \new Voice @{ @dots{} \change Staff = up @dots{} @}
157 @node Laissez vibrer ties
158 @subsection Laissez vibrer ties
159 @cindex Laissez vibrer
160 @cindex Ties, laissez vibrer
162 L.v. ties (laissez vibrer) indicate that notes must not be damped at the
163 end. It is used in notation for piano, harp and other string and
164 percussion instruments. They can be entered using @code{\laissezVibrer},
166 @lilypond[fragment,ragged-right,verbatim,relative=1]
167 <c f g>\laissezVibrer
173 @internalsref{LaissezVibrerTie}
174 @internalsref{LaissezVibrerTieColumn}
177 @inputfileref{input/regression,laissez-vibrer-tie.ly}
183 Pianos have pedals that alter the way sound is produced. Generally, a
184 piano has three pedals, sustain, una corda, and sostenuto.
187 Piano pedal instruction can be expressed by attaching
188 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
189 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
192 @lilypond[quote,ragged-right,fragment,verbatim]
193 c'4\sustainDown c'4\sustainUp
196 What is printed can be modified by setting @code{pedal@var{X}Strings},
197 where @var{X} is one of the pedal types: @code{Sustain},
198 @code{Sostenuto} or @code{UnaCorda}. Refer to
199 @internalsref{SustainPedal} in the program reference for more
202 Pedals can also be indicated by a sequence of brackets, by setting the
203 @code{pedalSustainStyle} property to bracket objects
205 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
206 \set Staff.pedalSustainStyle = #'bracket
208 b\sustainUp\sustainDown
209 b g \sustainUp a \sustainDown \bar "|."
212 A third style of pedal notation is a mixture of text and brackets,
213 obtained by setting the @code{pedalSustainStyle} property to
216 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
217 \set Staff.pedalSustainStyle = #'mixed
219 b\sustainUp\sustainDown
220 b g \sustainUp a \sustainDown \bar "|."
223 The default `*Ped.' style for sustain and damper pedals corresponds to
224 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
227 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
228 c\sostenutoDown d e c, f g a\sostenutoUp
231 For fine-tuning the appearance of a pedal bracket, the properties
232 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
233 @code{PianoPedalBracket} objects (see
234 @internalsref{PianoPedalBracket} in the Program reference) can be
235 modified. For example, the bracket may be extended to the right edge
238 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
239 \override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
240 c\sostenutoDown d e c, f g a\sostenutoUp
245 In this manual: @ref{Laissez vibrer ties}
247 @node Staff switch lines
248 @subsection Staff switch lines
252 @cindex staff switching
255 @cindex @code{followVoice}
257 Whenever a voice switches to another staff, a line connecting the notes
258 can be printed automatically. This is switched on by setting
259 @code{followVoice} to true
261 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
264 \set followVoice = ##t
269 \context Staff=two { \clef bass \skip 1*2 }
275 Program reference: @internalsref{VoiceFollower}.
279 @cindex @code{\showStaffSwitch}
280 @code{\showStaffSwitch},
281 @cindex @code{\hideStaffSwitch}
282 @code{\hideStaffSwitch}.
285 @node Cross staff stems
286 @subsection Cross staff stems
288 Chords that cross staves may be produced by increasing the length
289 of the stem in the lower staff, so it reaches the stem in the upper
290 staff, or vice versa.
292 @lilypond[ragged-right,verbatim,quote]
293 stemExtend = \once \override Stem #'length = #22
294 noFlag = \once \override Stem #'flag-style = #'no-flag
295 \context PianoStaff <<
297 \stemDown \stemExtend
315 * Introducing chord names::
317 * Printing chord names::
321 @c awkward name; awkward section name.
322 @c still, the Basic "chords" seems like a good name... :(
323 @node Introducing chord names
324 @subsection Introducing chord names
327 LilyPond has support for printing chord names. Chords may be entered
328 in musical chord notation, i.e., @code{< .. >}, but they can also be
329 entered by name. Internally, the chords are represented as a set of
330 pitches, so they can be transposed
333 @lilypond[quote,ragged-right,verbatim,ragged-right]
334 twoWays = \transpose c c' {
343 << \context ChordNames \twoWays
344 \context Voice \twoWays >>
347 This example also shows that the chord printing routines do not try to
348 be intelligent. The last chord (@code{f bes d}) is not interpreted as
351 Note that the duration of chords must be specified outside the
360 @subsection Chords mode
363 In chord mode sets of pitches (chords) are entered with normal note
364 names. A chord is entered by the root, which is entered like a
367 @lilypond[quote,ragged-right,fragment,verbatim]
368 \chordmode { es4. d8 c2 }
372 The mode is introduced by the keyword @code{\chordmode}.
377 Other chords may be entered by suffixing a colon and introducing a
378 modifier (which may include a number if desired)
379 @lilypond[quote,fragment,verbatim]
380 \chordmode { e1:m e1:7 e1:m7 }
382 The first number following the root is taken to be the `type' of the
383 chord, thirds are added to the root until it reaches the specified
385 @lilypond[quote,fragment,verbatim]
386 \chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
389 @cindex root of chord
390 @cindex additions, in chords
391 @cindex removals, in chords
393 More complex chords may also be constructed adding separate steps
394 to a chord. Additions are added after the number following
395 the colon and are separated by dots
396 @lilypond[quote,verbatim,fragment]
397 \chordmode { c:5.6 c:3.7.8 c:3.6.13 }
399 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
401 @lilypond[quote,verbatim,fragment]
402 \chordmode { c:7+ c:5+.3- c:3-.5-.7- }
404 Removals are specified similarly and are introduced by a caret. They
405 must come after the additions
406 @lilypond[quote,verbatim,fragment]
407 \chordmode { c^3 c:7^5 c:9^3.5 }
410 Modifiers can be used to change pitches. The following modifiers are
415 The minor chord. This modifier lowers the 3rd and (if present) the 7th step.
418 The diminished chord. This modifier lowers the 3rd, 5th and (if present)
422 The augmented chord. This modifier raises the 5th step.
425 The major 7th chord. This modifier raises the 7th step if present.
428 The suspended 4th or 2nd. This modifier removes the 3rd
429 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
433 Modifiers can be mixed with additions
434 @lilypond[quote,verbatim,fragment]
435 \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
438 @cindex modifiers, in chords.
445 Since an unaltered 11 does not sound good when combined with an
446 unaltered 3, the 11 is removed in this case (unless it is added
448 @lilypond[quote,ragged-right,fragment,verbatim]
449 \chordmode { c:13 c:13.11 c:m13 }
454 An inversion (putting one pitch of the chord on the bottom), as well
455 as bass notes, can be specified by appending
456 @code{/}@var{pitch} to the chord
457 @lilypond[quote,ragged-right,fragment,verbatim]
458 \chordmode { c1 c/g c/f }
462 A bass note can be added instead transposed out of the chord,
463 by using @code{/+}@var{pitch}.
465 @lilypond[quote,ragged-right,fragment,verbatim]
466 \chordmode { c1 c/+g c/+f }
469 Chords is a mode similar to @code{\lyricmode}, etc. Most
470 of the commands continue to work, for example, @code{r} and
471 @code{\skip} can be used to insert rests and spaces, and property
472 commands may be used to change various settings.
478 Each step can only be present in a chord once. The following
479 simply produces the augmented chord, since @code{5+} is interpreted
482 @lilypond[quote,ragged-right,verbatim,fragment]
483 \chordmode { c:5.5-.5+ }
487 @node Printing chord names
488 @subsection Printing chord names
490 @cindex printing chord names
494 For displaying printed chord names, use the @internalsref{ChordNames} context.
495 The chords may be entered either using the notation
496 described above, or directly using @code{<} and @code{>}
498 @lilypond[quote,verbatim,ragged-right]
500 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
503 \context ChordNames \harmonies
504 \context Staff \harmonies
508 You can make the chord changes stand out by setting
509 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
510 display chord names when there is a change in the chords scheme and at
511 the start of a new line
513 @lilypond[quote,verbatim,ragged-right]
514 harmonies = \chordmode {
515 c1:m c:m \break c:m c:m d
518 \context ChordNames {
519 \set chordChanges = ##t
521 \context Staff \transpose c c' \harmonies
525 The previous examples all show chords over a staff. This is not
526 necessary. Chords may also be printed separately. It may be necessary
527 to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
530 @lilypond[ragged-right,verbatim]
531 \new ChordNames \with {
532 \override BarLine #'bar-size = #4
533 voltaOnThisStaff = ##t
534 \consists Bar_engraver
535 \consists "Volta_engraver"
537 \chordmode { \repeat volta 2 {
547 The default chord name layout is a system for Jazz music, proposed by
548 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
552 @cindex @code{chordNameExceptions}
553 @item chordNameExceptions
554 This is a list that contains the chords that have special formatting.
556 The exceptions list should be encoded as
558 @{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
561 To get this information into @code{chordNameExceptions} takes a little
562 manoeuvring. The following code transforms @code{chExceptionMusic}
563 (which is a sequential music) into a list of exceptions.
565 (sequential-music-to-chord-exceptions chExceptionMusic #t)
570 (sequential-music-to-chord-exceptions chExceptionMusic #t)
573 adds the new exceptions to the default ones, which are defined in
574 @file{ly/@/chord@/-modifier@/-init@/.ly}.
576 For an example of tuning this property, see also
577 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly}.
578 @cindex exceptions, chord names.
581 @cindex @code{majorSevenSymbol}
582 @item majorSevenSymbol
583 This property contains the markup object used for the 7th step, when
584 it is major. Predefined options are @code{whiteTriangleMarkup} and
585 @code{blackTriangleMarkup}. See
586 @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly} for an example.
588 @cindex @code{chordNameSeparator}
589 @item chordNameSeparator
590 Different parts of a chord name are normally separated by a
591 slash. By setting @code{chordNameSeparator}, you can specify other
593 @lilypond[quote,ragged-right,fragment,verbatim]
594 \context ChordNames \chordmode {
596 \set chordNameSeparator
597 = \markup { \typewriter "|" }
602 @cindex @code{chordRootNamer}
604 The root of a chord is usually printed as a letter with an optional
605 alteration. The transformation from pitch to letter is done by this
606 function. Special note names (for example, the German ``H'' for a
607 B-chord) can be produced by storing a new function in this property.
609 @cindex @code{chordNoteNamer}
611 The default is to print single pitch, e.g., the bass note, using the
612 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
613 to a specialized function to change this behavior. For example, the
614 base can be printed in lower case.
616 @cindex @code{chordPrefixSpacer}
617 @item chordPrefixSpacer
618 The ``m'' for minor chords is usually printed right after the root of
619 the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer
620 between the root and ``m''. The spacer is not used when the root
625 The predefined variables @code{\germanChords},
626 @code{\semiGermanChords}, @code{\italianChords} and @code{\frenchChords}
627 set these variables. The effect is
630 @lilypondfile[ragged-right]{chord-names-languages.ly}
632 There are also two other chord name schemes implemented: an alternate
633 Jazz chord notation, and a systematic scheme called Banter chords. The
634 alternate Jazz notation is also shown on the chart in @ref{Chord name
635 chart}. Turning on these styles is described in the input file
636 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
645 @cindex @code{\germanChords}
646 @code{\germanChords},
647 @cindex @code{\semiGermanChords}
648 @code{\semiGermanChords}.
649 @cindex @code{\italianChords}
650 @code{\italianChords}.
651 @cindex @code{\frenchChords}
652 @code{\frenchChords}.
659 Examples: @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly},
660 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly},
661 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
664 Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
665 @file{scm/@/chord@/-entry@/.scm}.
670 Chord names are determined solely from the list of pitches. Chord
671 inversions are not identified, and neither are added bass notes. This
672 may result in strange chord names when chords are entered with the
673 @code{< .. >} syntax.
680 There are three different issues when printing vocal music
684 Song texts must be entered as text, not notes. For example, the
685 input@tie{}@code{d} should be interpreted as a one letter syllable, not the
689 Song texts must be printed as text, not as notes.
692 Song texts must be aligned with the notes of their melody.
695 The simplest solution for printing music uses the @code{\addlyrics}
696 function to solve all these problems at once. However, these
697 three functions can be controlled separately, which is necessary
698 for complex vocal music.
702 * Setting simple songs::
704 * Hyphens and extenders::
705 * The Lyrics context::
706 * Flexibility in alignment::
709 * Other vocal issues::
715 Checking to make sure that text scripts and lyrics are within the margins is a relatively large computational task. To speed up processing, lilypond does not perform such calculations by default; to enable it, use
718 \override Score.PaperColumn #'keep-inside-line = ##t
722 @node Setting simple songs
723 @subsection Setting simple songs
725 The easiest way to add lyrics to a melody is to append
728 \addlyrics @{ @var{the lyrics} @}
732 to a melody. Here is an example,
734 @lilypond[ragged-right,verbatim,fragment,quote]
736 \relative { c2 e4 g2. }
737 \addlyrics { play the game }
740 More stanzas can be added by adding more
741 @code{\addlyrics} sections
743 @lilypond[ragged-right,verbatim,fragment,quote]
745 \relative { c2 e4 g2. }
746 \addlyrics { play the game }
747 \addlyrics { speel het spel }
748 \addlyrics { joue le jeu }
751 Sometimes it is appropriate to have one stanza set
752 to the music, and the rest added in verse form at
753 the end of the piece. This can be accomplished by adding
754 the extra verses into a @code{\markup} section outside
755 of the main score block. Notice that there are two
756 different ways to force linebreaks when using
759 @lilypond[ragged-right,verbatim,quote]
760 melody = \relative c' {
766 \set stanza = "1." Ma- ry had a lit- tle lamb,
767 it's fleece was white as snow.
771 \context Voice = "one" { \melody }
772 \new Lyrics \lyricsto "one" \text
778 \line{ All the children laughed and played }
779 \line{ To see a lamb at school. }
786 Mary took it home again,
788 It was against the rule."
793 @c TODO - this isn't such a great place for this note, but I can't
794 @c find a better place without rearranging a lot of lyric stuff.
795 @c It's yet another thing to look at post-3.0.
797 The @code{\addlyrics} command is actually just a convienient way
798 to write a more complicated LilyPond structure that sets up the
799 lyrics. You should use @code{\addlyrics} unless you need to do
800 fancy things, in which case you should investigate
801 @code{\lyricsto} or @code{\lyricmode}.
805 \addlyrics @{ LYRICS @}
812 \context Voice = "blah" @{ music @}
813 \new Lyrics \lyricsto "blah" @{ LYRICS @}
818 @code{\addlyrics} cannot handle polyphony.
821 @node Entering lyrics
822 @subsection Entering lyrics
825 @cindex @code{\lyricmode}
828 Lyrics are entered in a special input mode. This mode is introduced
829 by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
830 @code{\lyricsto}. In this mode you can enter lyrics,
831 with punctuation and accents, and the input @code{d} is not parsed as
832 a pitch, but rather as a one letter syllable. Syllables are entered
833 like notes, but with pitches replaced by text. For example,
835 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
838 There is a difference between @code{\addlyrics} and
839 @code{\lyricmode}. @code{\addlyrics} and @code{\lyricsto}
840 ignore all durations and aligns syllables to notes; @code{\lyricmode}
841 uses the durations specified.
843 A word lyrics mode begins with an alphabetic character, and ends with
844 any space or digit. The following characters can be any character
845 that is not a digit or white space. One important consequence of this
846 is that a word can end with @code{@}}. The following example is
847 usually a mistake in the input file. The syllable includes a @code{@}}, so the
848 opening brace is not balanced
850 \lyricmode @{ twinkle@}
853 @cindex @code{\property}, in @code{\lyricmode}
855 Similarly, a period which follows an alphabetic sequence is included in
856 the resulting string. As a consequence, spaces must be inserted around
859 \override Score . LyricText #'font-shape = #'italic
863 @cindex spaces, in lyrics
864 @cindex quotes, in lyrics
866 Any @code{_} character that appears in an unquoted word is converted
867 to a space. This provides a mechanism for introducing spaces into words
868 without using quotes.
870 To enter lyrics with characters from non-English languages, or with
871 non-ascii characters (such as the heart symbol or slanted quotes),
872 simply insert the characters directly into the input file and save
873 it with utf-8 encoding. See @ref{Text encoding} for more info.
876 \lyricmode @{ He said: “Let my peo ple go”. @}
879 The full definition of a word start in Lyrics mode is somewhat more
882 A word in Lyrics mode begins with: an alphabetic character, @code{_},
883 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
884 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
885 any 8-bit character with ASCII code over 127, or a two-character
886 combination of a backslash followed by one of @code{`}, @code{'},
887 @code{"}, or @code{^}.
893 Program reference: @internalsref{LyricText}, @internalsref{LyricSpace}.
897 The definition of lyrics mode is too complex.
899 @node Hyphens and extenders
900 @subsection Hyphens and extenders
904 Centered hyphens are entered as `@code{--}' between syllables.
905 The hyphen will have variable length depending on the space between
906 the syllables and it will be centered between the syllables.
911 When a lyric is sung over many notes (this is called a melisma), this is
912 indicated with a horizontal line centered between a syllable and the
913 next one. Such a line is called an extender line, and it is entered as
916 In tighly engraved music, hyphens can be removed. Whether this
917 happens can be controlled with the @code{minimum-distance} (minimum
918 distance between two syllables) and the @code{minimum-length}
919 (threshold below which hyphens are removed).
923 Program reference: @internalsref{LyricHyphen}, @internalsref{LyricExtender}.
927 @node The Lyrics context
928 @subsection The Lyrics context
931 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
933 \context Lyrics \lyricmode @dots{}
936 @cindex automatic syllable durations
937 @cindex @code{\lyricsto}
938 @cindex lyrics and melodies
940 This will place the lyrics according to the durations that were
941 entered. The lyrics can also be aligned under a given melody
942 automatically. In this case, it is no longer necessary to enter the
943 correct duration for each syllable. This is achieved by combining the
944 melody and the lyrics with the @code{\lyricsto} expression
946 \new Lyrics \lyricsto @var{name} @dots{}
949 This aligns the lyrics to the
950 notes of the @internalsref{Voice} context called @var{name}, which has
951 to exist. Therefore, normally the @code{Voice} is specified first, and
952 then the lyrics are specified with @code{\lyricsto}. The command
953 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
954 @code{\lyricmode} keyword may be omitted.
956 For different or more complex orderings, the best way is to setup the
957 hierarchy of staves and lyrics first, e.g.,
959 \context ChoirStaff <<
960 \context Lyrics = sopranoLyrics @{ s1 @}
961 \context Voice = soprano @{ @emph{music} @}
962 \context Lyrics = tenorLyrics @{ s1 @}
963 \context Voice = tenor @{ @emph{music} @}
966 and then combine the appropriate melodies and lyric lines
968 \context Lyrics = sopranoLyrics \lyricsto "soprano"
973 The final input would resemble
976 <<\context ChoirStaff << @emph{setup the music} >>
977 \lyricsto "soprano" @emph{etc}
978 \lyricsto "alto" @emph{etc}
984 The @code{\lyricsto} command detects melismata: it only puts one
985 syllable under a tied or slurred group of notes. If you want to force
986 an unslurred group of notes to be a melisma, insert @code{\melisma}
987 after the first note of the group, and @code{\melismaEnd} after the
990 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
992 \context Voice = "lala" {
1000 \new Lyrics \lyricsto "lala" {
1006 In addition, notes are considered a melisma if they are manually
1007 beamed, and automatic beaming (see @ref{Setting automatic beam
1008 behavior}) is switched off.
1014 The criteria for deciding melismata can
1015 be tuned with the property @code{melismaBusyProperties}. See
1016 @internalsref{Melisma_translator} in the program reference for more
1021 Lyrics can also be entered without @code{\lyricsto}. In this case the
1022 duration of each syllable must be entered explicitly, for example,
1029 The alignment to a melody can be specified with the
1030 @code{associatedVoice} property,
1033 \set associatedVoice = #"lala"
1037 The value of the property (here: @code{"lala"}) should be the name of
1038 a @internalsref{Voice} context. Without this setting, extender lines
1039 will not be formatted properly.
1041 Here is an example demonstrating manual lyric durations,
1043 @lilypond[relative=1,ragged-right,verbatim,fragment,quote]
1044 << \context Voice = melody {
1048 \new Lyrics \lyricmode {
1049 \set associatedVoice = #"melody"
1055 @cindex choral score
1057 A complete example of a SATB score setup is in section
1058 @ref{Vocal ensembles}.
1063 @code{\melisma}, @code{\melismaEnd}
1064 @cindex @code{\melismaEnd}
1065 @cindex @code{\melisma}
1069 Program reference: @internalsref{LyricCombineMusic},
1070 @internalsref{Lyrics}, @internalsref{Melisma_translator}.
1073 @inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly}.
1074 @c TODO: make separate section for melismata
1078 Melismata are not detected automatically, and extender lines must be
1082 @c TODO: document \new Staff << Voice \lyricsto >> bug
1084 @node Flexibility in alignment
1085 @subsection Flexibility in alignment
1087 Often, different stanzas of one song are put to one melody in slightly
1088 differing ways. Such variations can still be captured with
1091 @subsubsection Lyrics to multiple notes of a melisma
1094 One possibility is that the text has a melisma in one stanza, but
1095 multiple syllables in another one. One solution is to make the faster
1096 voice ignore the melisma. This is done by setting
1097 @code{ignoreMelismata} in the Lyrics context.
1099 There has one tricky aspect. The setting for @code{ignoreMelismata}
1100 must be set one syllable @emph{before} the non-melismatic syllable
1101 in the text, as shown here,
1103 @lilypond[verbatim,ragged-right,quote]
1105 \relative \context Voice = "lahlah" {
1106 \set Staff.autoBeaming = ##f
1112 \new Lyrics \lyricsto "lahlah" {
1115 \new Lyrics \lyricsto "lahlah" {
1116 \set ignoreMelismata = ##t % applies to "fas"
1118 \unset ignoreMelismata
1125 The @code{ignoreMelismata} applies to the syllable ``fas'', so it
1126 should be entered before ``go''.
1128 The reverse is also possible: making a lyric line slower than the
1129 standard. This can be achieved by insert @code{\skip}s into the
1130 lyrics. For every @code{\skip}, the text will be delayed another note.
1133 @lilypond[verbatim,ragged-right,quote]
1134 \relative { c c g' }
1142 @subsection Switching the melody associated with a lyrics line
1146 More complex variations in text underlay are possible. It is possible
1147 to switch the melody for a line of lyrics during the text. This is
1148 done by setting the @code{associatedVoice} property. In the example
1150 @lilypond[ragged-right,quote]
1152 \relative \context Voice = "lahlah" {
1153 \set Staff.autoBeaming = ##f
1156 \context Voice = alternative {
1159 % show associations clearly.
1160 \override NoteColumn #'force-hshift = #-3
1171 \new Lyrics \lyricsto "lahlah" {
1172 Ju -- ras -- sic Park
1174 \new Lyrics \lyricsto "lahlah" {
1175 % Tricky: need to set associatedVoice
1176 % one syllable too soon!
1177 \set associatedVoice = alternative % applies to "ran"
1181 \set associatedVoice = lahlah % applies to "rus"
1187 the text for the first stanza is set to a melody called ``lahlah'',
1190 \new Lyrics \lyricsto "lahlah" @{
1191 Ju -- ras -- sic Park
1196 The second stanza initially is set to the @code{lahlah} context, but
1197 for the syllable ``ran'', it switches to a different melody.
1198 This is achieved with
1200 \set associatedVoice = alternative
1204 Here, @code{alternative} is the name of the @code{Voice} context
1205 containing the triplet.
1207 Again, the command must be one syllable too early, before ``Ty'' in
1211 \new Lyrics \lyricsto "lahlah" @{
1212 \set associatedVoice = alternative % applies to "ran"
1216 \set associatedVoice = lahlah % applies to "rus"
1222 The underlay is switched back to the starting situation by assigning
1223 @code{lahlah} to @code{associatedVoice}.
1227 @subsection Specifying melismata within the lyrics
1229 It is also possible to define melismata entirely in the lyrics. This
1230 can be done by entering @code{_} for every note that is part of the
1233 @lilypond[relative=1,verbatim,fragment]
1234 { \set melismaBusyProperties = #'()
1235 c d( e) f f( e) e e }
1237 { Ky -- _ _ ri __ _ _ _ e }
1240 In this case, you can also have ties and slurs in the melody, if you
1241 set @code{melismaBusyProperties}, as is done in the example above.
1243 @lilypond[relative=1,verbatim,fragment]
1245 \set melismaBusyProperties = #'()
1249 { Ky -- _ _ ri __ _ _ _ e }
1252 @subsubsection Spacing lyrics
1254 @cindex Spacing lyrics
1255 @cindex Lyrics, increasing space between
1257 To increase the space between lyrics, use the @code{SeparationItem}
1260 @lilypond[relative,verbatim,fragment,quote,ragged-right]
1263 \override Score.SeparationItem #'padding = #5
1267 longtext longtext longtext longtext
1268 longtext longtext longtext longtext
1275 @subsection More stanzas
1277 @cindex phrasing, in lyrics
1280 @cindex stanza number
1281 @cindex singer's names
1282 @cindex name of singer
1284 Stanza numbers can be added by setting @code{stanza}, e.g.,
1286 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1288 \time 3/4 g2 e4 a2 f4 g2.
1291 Hi, my name is Bert.
1294 Oh, che -- ri, je t'aime
1298 These numbers are put just before the start of first syllable.
1300 Names of singers can also be added. They are printed at the start of
1301 the line, just like instrument names. They are created by setting
1302 @code{vocalName}. A short version may be entered as @code{vocNam}.
1305 @lilypond[fragment,ragged-right,quote,verbatim,relative=2]
1307 \time 3/4 g2 e4 a2 f4 g2.
1309 \set vocalName = "Bert "
1310 Hi, my name is Bert.
1312 \set vocalName = "Ernie "
1313 Oh, che -- ri, je t'aime
1317 You can display alternate (or divisi) lyrics by naming voice
1318 contexts and attaching lyrics to those specific contexts.
1320 @lilypond[verbatim,ragged-right,quote]
1322 \context Voice = "melody" {
1327 \context Voice = splitpart { \voiceTwo c4 }
1332 \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
1333 \new Lyrics \lyricsto "splitpart" { will }
1338 You can use this trick to display different lyrics for a repeated
1341 @lilypond[verbatim,ragged-right,quote]
1343 \context Voice = melody \relative c' {
1345 \context Voice = verse \repeat volta 2 {c4 d e f | g1 | }
1347 \context Lyrics = mainlyrics \lyricsto melody \lyricmode {
1350 \context Lyrics = mainlyrics \lyricsto verse \lyricmode {
1352 \context Lyrics = repeatlyrics \lyricsto verse \lyricmode {
1353 dodo rere mimi fafa solsol }
1361 Program reference: @internalsref{LyricText}, @internalsref{StanzaNumber}, @internalsref{VocalName}.
1369 The term @emph{ambitus} denotes a range of pitches for a given voice
1370 in a part of music. It may also denote the pitch range that a musical
1371 instrument is capable of playing. Ambits are printed on vocal parts,
1372 so performers can easily determine it meets their capabilities.
1374 Ambits are denoted at the beginning of a piece near the initial clef.
1375 The range is graphically specified by two note heads that represent the
1376 minimum and maximum pitch. To print such ambits, add the
1377 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
1384 \consists Ambitus_engraver
1389 This results in the following output
1391 @lilypond[quote,ragged-right]
1395 \consists Ambitus_engraver
1399 \relative \new Staff {
1404 If you have multiple voices in a single staff and you want a single
1405 ambitus per staff rather than per each voice, add the
1406 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
1407 rather than to the @internalsref{Voice} context. Here is an example,
1409 @lilypond[verbatim,ragged-right,quote]
1411 \consists "Ambitus_engraver"
1415 \remove "Ambitus_engraver"
1417 \override Ambitus #'X-offset = #-1.0
1422 \remove "Ambitus_engraver"
1431 This example uses one advanced feature,
1434 \override Ambitus #'X-offset = #-1.0
1438 This code moves the ambitus to the left. The same effect could have
1439 been achieved with @code{extra-offset}, but then the formatting system
1440 would not reserve space for the moved object.
1444 Program reference: @internalsref{Ambitus},
1445 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1446 @internalsref{AmbitusAccidental}.
1448 Examples: @inputfileref{input/@/regression,ambitus@/.ly}.
1452 There is no collision handling in the case of multiple per-voice
1456 @node Other vocal issues
1457 @subsection Other vocal issues
1460 yeah, I'm giving up somewhat by stuffing a bunch of things in
1461 here. But at least they're in the manual now; it's easier to
1462 move them around in the manual once they're already here.
1464 Besides, if users complain about everything stuffed in here, I
1465 can ask them for specific instructions about where to move these
1466 examples, and that might get them more involved in the docs. -gp
1469 ``Parlato'' is spoken without pitch but still with rhythm; it is
1470 notated by cross noteheads. This is demonstrated in
1471 @ref{Special noteheads}.
1474 @node Rhythmic music
1475 @section Rhythmic music
1477 Rhythmic music is primarily used for percussion and drum notation, but it can
1478 also be used to show the rhythms of melodies.
1481 * Showing melody rhythms::
1482 * Entering percussion::
1483 * Percussion staves::
1487 @node Showing melody rhythms
1488 @subsection Showing melody rhythms
1490 Sometimes you might want to show only the rhythm of a melody. This
1491 can be done with the rhythmic staff. All pitches of notes on such a
1492 staff are squashed, and the staff itself has a single line
1494 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1495 \context RhythmicStaff {
1497 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1503 Program reference: @internalsref{RhythmicStaff}.
1505 Examples: @inputfileref{input/@/regression,rhythmic@/-staff@/.ly}.
1508 @node Entering percussion
1509 @subsection Entering percussion
1515 Percussion notes may be entered in @code{\drummode} mode, which is
1516 similar to the standard mode for entering notes. Each piece of
1517 percussion has a full name and an abbreviated name, and both can be used
1520 @lilypond[quote,ragged-right,verbatim]
1522 hihat hh bassdrum bd
1526 The complete list of drum names is in the init file
1527 @file{ly/@/drumpitch@/-init@/.ly}.
1528 @c TODO: properly document this.
1532 Program reference: @internalsref{note-event}.
1534 @node Percussion staves
1535 @subsection Percussion staves
1539 A percussion part for more than one instrument typically uses a
1540 multiline staff where each position in the staff refers to one piece
1544 To typeset the music, the notes must be interpreted in a
1545 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
1547 @lilypond[quote,ragged-right,verbatim]
1548 up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
1549 down = \drummode { bassdrum4 snare8 bd r bd sn4 }
1551 \new DrumVoice { \voiceOne \up }
1552 \new DrumVoice { \voiceTwo \down }
1556 The above example shows verbose polyphonic notation. The short
1557 polyphonic notation, described in @ref{Polyphony}, can also be used if
1558 the @internalsref{DrumVoice}s are instantiated by hand first. For example,
1560 @lilypond[quote,ragged-right,fragment,verbatim]
1562 \context DrumVoice = "1" { s1 *2 }
1563 \context DrumVoice = "2" { s1 *2 }
1567 { \repeat unfold 16 hh16 }
1576 There are also other layout possibilities. To use these, set the
1577 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
1578 The following variables have been predefined
1582 This is the default. It typesets a typical drum kit on a five-line staff
1584 @lilypond[quote,line-width=10.0\cm]
1586 cymc cyms cymr hh hhc hho hhho hhp
1587 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl }
1589 cymc cyms cymr hh hhc hho hhho hhp \break
1590 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
1592 << \new DrumStaff \with {
1593 \remove Bar_engraver
1594 \remove Time_signature_engraver
1595 \override Stem #'transparent = ##t
1596 \override Stem #'Y-extent-callback = ##f
1597 \override VerticalAxisGroup #'minimum-Y-extent = #'(-4.0 . 5.0)
1599 \context Lyrics \nam
1604 \override LyricText #'font-family = #'typewriter
1605 \override BarNumber #'transparent =##T
1611 The drum scheme supports six different toms. When there are fewer toms,
1612 simply select the toms that produce the desired result, i.e., to get toms
1613 on the three middle lines you use @code{tommh}, @code{tomml}, and
1616 @item timbales-style
1617 This typesets timbales on a two line staff
1619 @lilypond[quote,ragged-right]
1620 nam = \lyricmode { timh ssh timl ssl cb }
1621 mus = \drummode { timh ssh timl ssl cb s16 }
1624 \context DrumStaff \with {
1625 \remove Bar_engraver
1626 \remove Time_signature_engraver
1627 \override Stem #'transparent = ##t
1628 \override Stem #'Y-extent-callback = ##f
1629 \override StaffSymbol #'line-count = #2
1630 \override StaffSymbol #'staff-space = #2
1631 \override VerticalAxisGroup #'minimum-Y-extent = #'(-3.0 . 4.0)
1632 drumStyleTable = #timbales-style
1635 \override LyricText #'font-family = #'typewriter
1642 This typesets congas on a two line staff
1644 @lilypond[quote,ragged-right]
1645 nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
1646 mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
1649 \context DrumStaff \with {
1650 \remove Bar_engraver
1651 \remove Time_signature_engraver
1652 drumStyleTable = #congas-style
1653 \override StaffSymbol #'line-count = #2
1655 %% this sucks; it will lengthen stems.
1656 \override StaffSymbol #'staff-space = #2
1657 \override Stem #'transparent = ##t
1658 \override Stem #'Y-extent-callback = ##f
1661 \override LyricText #'font-family = #'typewriter
1668 This typesets bongos on a two line staff
1670 @lilypond[quote,ragged-right]
1671 nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
1672 mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
1675 \context DrumStaff\with {
1676 \remove Bar_engraver
1677 \remove Time_signature_engraver
1678 \override StaffSymbol #'line-count = #2
1679 drumStyleTable = #bongos-style
1681 %% this sucks; it will lengthen stems.
1682 \override StaffSymbol #'staff-space = #2
1683 \override Stem #'transparent = ##t
1684 \override Stem #'Y-extent-callback = ##f
1687 \override LyricText #'font-family = #'typewriter
1693 @item percussion-style
1694 To typeset all kinds of simple percussion on one line staves.
1696 @lilypond[quote,ragged-right]
1697 nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
1698 mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
1701 \context DrumStaff\with{
1702 \remove Bar_engraver
1703 drumStyleTable = #percussion-style
1704 \override StaffSymbol #'line-count = #1
1705 \remove Time_signature_engraver
1706 \override Stem #'transparent = ##t
1707 \override Stem #'Y-extent-callback = ##f
1710 \override LyricText #'font-family = #'typewriter
1717 If you do not like any of the predefined lists you can define your own
1718 list at the top of your file
1720 @lilypond[quote,ragged-right,verbatim]
1722 (bassdrum default #f -1)
1723 (snare default #f 0)
1725 (pedalhihat xcircle "stopped" 2)
1726 (lowtom diamond #f 3)))
1727 up = \drummode { hh8 hh hh hh hhp4 hhp }
1728 down = \drummode { bd4 sn bd toml8 toml }
1731 \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
1732 \new DrumVoice { \voiceOne \up }
1733 \new DrumVoice { \voiceTwo \down }
1740 Init files: @file{ly/@/drumpitch@/-init@/.ly}.
1742 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
1746 Because general MIDI does not contain rim shots, the sidestick is used
1747 for this purpose instead.
1755 @cindex guitar tablature
1758 * String number indications::
1759 * Tablatures basic::
1760 * Non-guitar tablatures::
1762 * Other guitar issues::
1765 @node String number indications
1766 @subsection String number indications
1768 @cindex String numbers
1770 String numbers can be added to chords, by indicating the string number
1771 with @code{\}@var{number},
1773 @lilypond[relative,relative=1,ragged-right,fragment]
1777 See also @inputfileref{input/regression,string-number.ly}.
1782 Program reference: @internalsref{StringNumber}.
1785 @node Tablatures basic
1786 @subsection Tablatures basic
1787 @cindex Tablatures basic
1789 Tablature notation is used for notating music for plucked string
1790 instruments. Pitches are not denoted with note heads, but by
1791 numbers indicating on which string and fret a note must be played. LilyPond
1792 offers limited support for tablature.
1794 The string number associated to a note is given as a backslash
1795 followed by a number, e.g., @code{c4\3} for a C quarter on the third
1796 string. By default, string 1 is the highest one, and the tuning
1797 defaults to the standard guitar tuning (with 6 strings). The notes
1798 are printed as tablature, by using @internalsref{TabStaff} and
1799 @internalsref{TabVoice} contexts
1801 @lilypond[quote,ragged-right,fragment,verbatim]
1808 @cindex @code{minimumFret}
1811 When no string is specified, the first string that does not give a
1812 fret number less than @code{minimumFret} is selected. The default
1813 value for @code{minimumFret} is 0
1818 \set TabStaff.minimumFret = #8
1821 @lilypond[quote,ragged-right]
1825 \set TabStaff.minimumFret = #8
1828 \context StaffGroup <<
1829 \context Staff { \clef "G_8" \frag }
1830 \context TabStaff { \frag }
1836 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}.
1840 Chords are not handled in a special way, and hence the automatic
1841 string selector may easily select the same string to two notes in a
1845 @node Non-guitar tablatures
1846 @subsection Non-guitar tablatures
1847 @cindex Non-guitar tablatures
1849 You can change the number of strings, by setting the number of lines
1850 in the @internalsref{TabStaff}.
1852 You can change the tuning of the strings. A string tuning is given as
1853 a Scheme list with one integer number for each string, the number
1854 being the pitch (measured in semitones relative to middle C) of an
1855 open string. The numbers specified for @code{stringTuning} are the
1856 numbers of semitones to subtract or add, starting the specified pitch
1857 by default middle C, in string order. In the next example,
1858 @code{stringTunings} is set for the pitches e, a, d, and g
1860 @lilypond[quote,ragged-right,fragment,verbatim]
1861 \context TabStaff <<
1862 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
1864 a,4 c' a e' e c' a e'
1871 No guitar special effects have been implemented.
1875 Program reference: @internalsref{Tab_note_heads_engraver}.
1879 @subsection Fret diagrams
1880 @cindex fret diagrams
1881 @cindex chord diagrams
1883 Fret diagrams can be added to music as a markup to the desired note. The
1884 markup contains information about the desired fret diagram, as shown in the
1887 @lilypond[verbatim, ragged-right, quote]
1889 d'^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
1891 fis'^\markup \override #'(size . 0.75) {
1892 \override #'(finger-code . below-string) {
1893 \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
1894 (place-fret 5 4 3) (place-fret 4 4 4)
1895 (place-fret 3 3 2) (place-fret 2 2 1)
1900 c'^\markup \override #'(dot-radius . 0.35) {
1901 \override #'(finger-code . in-dot) {
1902 \override #'(dot-color . white) {
1903 \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
1912 There are three different fret-diagram markup interfaces: standard, terse,
1913 and verbose. The three interfaces produce equivalent markups, but have
1914 varying amounts of information in the markup string. Details about the
1915 markup interfaces are found at @ref{Overview of text markup commands}.
1917 You can set a number of graphical properties according to your preference.
1918 Details about the property interface to fret diagrams are found at
1919 @internalsref{fret-diagram-interface}.
1924 Examples: @inputfileref{input/@/test,fret@/-diagram@/.ly}
1927 @node Other guitar issues
1928 @subsection Other guitar issues
1930 This example demonstrates how to include guitar position and
1931 barring indications.
1933 @lilypond[quote,ragged-right,fragment,verbatim,relative=0]
1937 \override TextSpanner #'edge-text = #'("XII " . "")
1939 b16 e16 g16 e16 b16 g16\stopTextSpan
1944 Stopped (X) note heads are used in guitar music to signal a place where the
1945 guitarist must play a certain note or chord, with its fingers just
1946 touching the strings instead of fully pressing them. This gives the sound a
1947 percussive noise-like sound that still maintains part of the original
1948 pitch. It is notated with cross noteheads; this is
1949 demonstrated in @ref{Special noteheads}.
1958 * Bagpipe definitions::
1963 @node Bagpipe definitions
1964 @subsection Bagpipe definitions
1966 LilyPond contains special definitions for music for the Scottish
1967 highland bagpipe; to use them, add
1970 \include "bagpipe.ly"
1974 at the top of your input file. This lets you add the special gracenotes
1975 common to bagpipe music with short commands. For example, you could
1976 write @code{\taor} instead of
1979 \grace @{ \small G32[ d G e] @}
1982 @code{bagpipe.ly} also contains pitch definitions for the bagpipe
1983 notes in the appropiate octaves, so you do not need to worry about
1984 @code{\relative} or @code{\transpose}.
1986 @lilypond[ragged-right,verbatim,quote,notime]
1987 \include "bagpipe.ly"
1988 { \grg G4 \grg a \grg b \grg c \grg d \grg e \grg f \grA g A }
1991 Bagpipe music nominally uses the key of D Major (even though that
1992 isn't really true). However, since that is the only key that can be used,
1993 the key signature is normally not written out. To set this up correctly,
1994 always start your music with @code{\hideKeySignature}. If you for some
1995 reason want to show the key signature, you can use @code{\showKeySignature}
1998 Some modern music use cross fingering on c and f to flatten those notes.
1999 This can be indicated by @code{cflat} or @code{fflat}. Similarly, the
2000 piobaireachd high g can be written @code{gflat} when it occurs in light
2004 @node Bagpipe example
2005 @subsection Bagpipe example
2007 This is what the well known tune Amazing Grace looks like in bagpipe
2010 @lilypond[verbatim,quote]
2011 \include "bagpipe.ly"
2014 \context { \Score \remove "Bar_number_engraver" }
2018 title = "Amazing Grace"
2020 arranger = "Trad. arr."
2026 \grg \partial 4 a8. d16
2027 \slurd d2 \grg f8[ e32 d16.]
2030 \grG a2 \grg a8. d16
2031 \slurd d2 \grg f8[ e32 d16.]
2032 \grg f2 \grg e8. f16
2035 \grg A2 \hdblf f8[ e32 d16.]
2038 \grG a2 \grg a8. d16
2039 \slurd d2 \grg f8[ e32 d16.]
2048 @node Ancient notation
2049 @section Ancient notation
2051 @cindex Vaticana, Editio
2052 @cindex Medicaea, Editio
2057 Support for ancient notation includes features for mensural notation
2058 and Gregorian Chant notation. There is also limited support for
2059 figured bass notation.
2061 Many graphical objects provide a @code{style} property, see
2064 @ref{Ancient note heads},
2066 @ref{Ancient accidentals},
2068 @ref{Ancient rests},
2070 @ref{Ancient clefs},
2072 @ref{Ancient flags},
2074 @ref{Ancient time signatures}.
2077 By manipulating such a grob property, the typographical appearance of
2078 the affected graphical objects can be accommodated for a specific
2079 notation flavor without the need for introducing any new notational
2082 In addition to the standard articulation signs described in section
2083 @ref{Articulations}, specific articulation signs for ancient notation
2088 @ref{Ancient articulations}
2091 Other aspects of ancient notation can not that easily be expressed
2092 in terms of just changing a style property of a graphical object or
2093 adding articulation signs. Some notational concepts are introduced
2094 specifically for ancient notation,
2105 If this all is too much of documentation for you, and you just want to
2106 dive into typesetting without worrying too much about the details on
2107 how to customize a context, you may have a look at the predefined
2108 contexts. Use them to set up predefined style-specific voice and
2109 staff contexts, and directly go ahead with the note entry,
2113 @ref{Gregorian Chant contexts},
2115 @ref{Mensural contexts}.
2118 There is limited support for figured bass notation which came
2119 up during the baroque period.
2126 Here are all suptopics at a glance:
2129 * Ancient note heads::
2130 * Ancient accidentals::
2134 * Ancient time signatures::
2135 * Ancient articulations::
2139 * Gregorian Chant contexts::
2140 * Mensural contexts::
2141 * Musica ficta accidentals::
2147 @node Ancient note heads
2148 @subsection Ancient note heads
2153 For ancient notation, a note head style other than the @code{default}
2154 style may be chosen. This is accomplished by setting the @code{style}
2155 property of the @internalsref{NoteHead} object to @code{baroque},
2156 @code{neomensural}, @code{mensural} or @code{petrucci}. The
2157 @code{baroque} style differs from the @code{default} style only in
2158 using a square shape for @code{\breve} note heads. The
2159 @code{neomensural} style differs from the @code{baroque} style in that
2160 it uses rhomboidal heads for whole notes and all smaller durations.
2161 Stems are centered on the note heads. This style is particularly
2162 useful when transcribing mensural music, e.g., for the incipit. The
2163 @code{mensural} style produces note heads that mimic the look of note
2164 heads in historic printings of the 16th century. Finally, the
2165 @code{petrucci} style also mimicks historic printings, but uses bigger
2168 The following example demonstrates the @code{neomensural} style
2170 @lilypond[quote,fragment,ragged-right,verbatim]
2171 \set Score.skipBars = ##t
2172 \override NoteHead #'style = #'neomensural
2173 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
2176 When typesetting a piece in Gregorian Chant notation, the
2177 @internalsref{Gregorian_ligature_engraver} will automatically select
2178 the proper note heads, so there is no need to explicitly set the
2179 note head style. Still, the note head style can be set, e.g., to
2180 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
2181 @internalsref{Mensural_ligature_engraver} is used to automatically
2182 assemble mensural ligatures. See @ref{Ligatures} for how ligature
2187 Examples: @inputfileref{input/@/regression,note@/-head@/-style@/.ly} gives an
2188 overview over all available note head styles.
2191 @node Ancient accidentals
2192 @subsection Ancient accidentals
2197 Use the @code{style} property of grob @internalsref{Accidental} to
2198 select ancient accidentals. Supported styles are
2199 @code{mensural}, @code{vaticana}, @code{hufnagel}, and @code{medicaea}.
2201 @lilypond[quote,ragged-right,staffsize=26]
2208 \line { " " \musicglyph #"accidentals.vaticana-1"
2209 " " \musicglyph #"accidentals.vaticana0" }
2213 \line { " " \musicglyph #"accidentals.medicaea-1" }
2217 \line { " " \musicglyph #"accidentals.hufnagel-1" }
2221 \line { " " \musicglyph #"accidentals.mensural-1"
2222 " " \musicglyph #"accidentals.mensural1" }
2228 \context { \Score \remove "Bar_number_engraver" }
2230 \remove "Clef_engraver"
2231 \remove "Key_engraver"
2232 \remove "Time_signature_engraver"
2233 \remove "Staff_symbol_engraver"
2234 \override VerticalAxisGroup #'minimum-Y-extent = ##f
2240 As shown, not all accidentals are supported by each style. When
2241 trying to access an unsupported accidental, LilyPond will switch to a
2242 different style, as demonstrated in
2243 @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2245 Similarly to local accidentals, the style of the key signature can be
2246 controlled by the @code{style} property of the
2247 @internalsref{KeySignature} grob.
2251 In this manual: @ref{Pitches}, @ref{Cautionary accidentals} and
2252 @ref{Automatic accidentals} give a general introduction of the use of
2253 accidentals. @ref{Key signature} gives a general introduction of
2254 the use of key signatures.
2256 Program reference: @internalsref{KeySignature}.
2258 Examples: @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2261 @subsection Ancient rests
2263 @cindex rests, ancient
2266 Use the @code{style} property of grob @internalsref{Rest} to select
2267 ancient rests. Supported styles are @code{classical},
2268 @code{neomensural}, and @code{mensural}. @code{classical} differs
2269 from the @code{default} style only in that the quarter rest looks like
2270 a horizontally mirrored 8th rest. The @code{neomensural} style suits
2271 well for, e.g., the incipit of a transcribed mensural piece of music.
2272 The @code{mensural} style finally mimics the appearance of rests as
2273 in historic prints of the 16th century.
2275 The following example demonstrates the @code{neomensural} style
2277 @lilypond[quote,fragment,ragged-right,verbatim]
2278 \set Score.skipBars = ##t
2279 \override Rest #'style = #'neomensural
2280 r\longa r\breve r1 r2 r4 r8 r16
2283 There are no 32th and 64th rests specifically for the mensural or
2284 neo-mensural style. Instead, the rests from the default style will be
2285 taken. See @inputfileref{input/@/test,rests@/.ly} for a chart of all
2288 There are no rests in Gregorian Chant notation; instead, it uses
2293 In this manual: @ref{Rests} gives a general introduction into the use of rests.
2297 @subsection Ancient clefs
2302 LilyPond supports a variety of clefs, many of them ancient.
2304 The following table shows all ancient clefs that are supported via the
2305 @code{\clef} command. Some of the clefs use the same glyph, but
2306 differ only with respect to the line they are printed on. In such
2307 cases, a trailing number in the name is used to enumerate these clefs.
2308 Still, you can manually force a clef glyph to be typeset on an
2309 arbitrary line, as described in @ref{Clef}. The note printed to the
2310 right side of each clef in the example column denotes the @code{c'}
2311 with respect to that clef.
2313 @multitable @columnfractions .4 .4 .2
2322 modern style mensural C clef
2324 @code{neomensural-c1}, @code{neomensural-c2},@*
2325 @code{neomensural-c3}, @code{neomensural-c4}
2327 @lilypond[fragment,relative=1,notime]
2328 \clef "neomensural-c2" c
2332 petrucci style mensural C clefs, for use on different staff lines
2333 (the examples show the 2nd staff line C clef)
2335 @code{petrucci-c1}, @code{petrucci-c2},@*
2336 @code{petrucci-c3}, @code{petrucci-c4},@*
2339 @lilypond[fragment,relative=1,notime]
2341 \override NoteHead #'style = #'mensural
2346 petrucci style mensural F clef
2350 @lilypond[fragment,relative=1,notime]
2352 \override NoteHead #'style = #'mensural
2357 petrucci style mensural G clef
2361 @lilypond[fragment,relative=1,notime]
2363 \override NoteHead #'style = #'mensural
2368 historic style mensural C clef
2370 @code{mensural-c1}, @code{mensural-c2},@*
2371 @code{mensural-c3}, @code{mensural-c4}
2373 @lilypond[fragment,relative=1,notime]
2375 \override NoteHead #'style = #'mensural
2380 historic style mensural F clef
2384 @lilypond[fragment,relative=1,notime]
2386 \override NoteHead #'style = #'mensural
2391 historic style mensural G clef
2395 @lilypond[fragment,relative=1,notime]
2397 \override NoteHead #'style = #'mensural
2402 Editio Vaticana style do clef
2404 @code{vaticana-do1}, @code{vaticana-do2},@*
2407 @lilypond[fragment,relative=1,notime]
2408 \override Staff.StaffSymbol #'line-count = #4
2409 \override Staff.StaffSymbol #'color = #red
2410 \override Staff.LedgerLineSpanner #'color = #red
2411 \override Voice.Stem #'transparent = ##t
2412 \override NoteHead #'style = #'vaticana.punctum
2413 \clef "vaticana-do2"
2418 Editio Vaticana style fa clef
2420 @code{vaticana-fa1}, @code{vaticana-fa2}
2422 @lilypond[fragment,relative=1,notime]
2423 \override Staff.StaffSymbol #'line-count = #4
2424 \override Staff.StaffSymbol #'color = #red
2425 \override Staff.LedgerLineSpanner #'color = #red
2426 \override Voice.Stem #'transparent = ##t
2427 \override NoteHead #'style = #'vaticana.punctum
2428 \clef "vaticana-fa2"
2433 Editio Medicaea style do clef
2435 @code{medicaea-do1}, @code{medicaea-do2},@*
2438 @lilypond[fragment,relative=1,notime]
2439 \override Staff.StaffSymbol #'line-count = #4
2440 \override Staff.StaffSymbol #'color = #red
2441 \override Staff.LedgerLineSpanner #'color = #red
2442 \override Voice.Stem #'transparent = ##t
2443 \override NoteHead #'style = #'medicaea.punctum
2444 \clef "medicaea-do2"
2449 Editio Medicaea style fa clef
2451 @code{medicaea-fa1}, @code{medicaea-fa2}
2453 @lilypond[fragment,relative=1,notime]
2454 \override Staff.StaffSymbol #'line-count = #4
2455 \override Staff.StaffSymbol #'color = #red
2456 \override Staff.LedgerLineSpanner #'color = #red
2457 \override Voice.Stem #'transparent = ##t
2458 \override NoteHead #'style = #'medicaea.punctum
2459 \clef "medicaea-fa2"
2464 historic style hufnagel do clef
2466 @code{hufnagel-do1}, @code{hufnagel-do2},@*
2469 @lilypond[fragment,relative=1,notime]
2470 \override Staff.StaffSymbol #'line-count = #4
2471 \override Staff.StaffSymbol #'color = #red
2472 \override Staff.LedgerLineSpanner #'color = #red
2473 \override Voice.Stem #'transparent = ##t
2474 \override NoteHead #'style = #'hufnagel.punctum
2475 \clef "hufnagel-do2"
2480 historic style hufnagel fa clef
2482 @code{hufnagel-fa1}, @code{hufnagel-fa2}
2484 @lilypond[fragment,relative=1,notime]
2485 \override Staff.StaffSymbol #'line-count = #4
2486 \override Staff.StaffSymbol #'color = #red
2487 \override Staff.LedgerLineSpanner #'color = #red
2488 \override Voice.Stem #'transparent = ##t
2489 \override NoteHead #'style = #'hufnagel.punctum
2490 \clef "hufnagel-fa2"
2495 historic style hufnagel combined do/fa clef
2497 @code{hufnagel-do-fa}
2499 @lilypond[fragment,relative=1,notime]
2500 \override Staff.StaffSymbol #'color = #red
2501 \override Staff.LedgerLineSpanner #'color = #red
2502 \override Voice.Stem #'transparent = ##t
2503 \override NoteHead #'style = #'hufnagel.punctum
2504 \clef "hufnagel-do-fa"
2511 @emph{Modern style} means ``as is typeset in contemporary editions of
2512 transcribed mensural music''.
2514 @emph{Petrucci style} means ``inspired by printings published by the
2515 famous engraver Petrucci (1466-1539)''.
2517 @emph{Historic style} means ``as was typeset or written in historic
2518 editions (other than those of Petrucci)''.
2520 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
2522 Petrucci used C clefs with differently balanced left-side vertical
2523 beams, depending on which staff line it is printed.
2527 In this manual: see @ref{Clef}.
2531 The mensural g clef is mapped to the Petrucci g clef.
2536 @subsection Ancient flags
2541 Use the @code{flag-style} property of grob @internalsref{Stem} to
2542 select ancient flags. Besides the @code{default} flag style,
2543 only the @code{mensural} style is supported
2545 @lilypond[quote,fragment,ragged-right,verbatim]
2546 \override Stem #'flag-style = #'mensural
2547 \override Stem #'thickness = #1.0
2548 \override NoteHead #'style = #'mensural
2550 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
2551 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
2554 Note that the innermost flare of each mensural flag always is
2555 vertically aligned with a staff line.
2557 There is no particular flag style for neo-mensural notation. Hence,
2558 when typesetting the incipit of a transcribed piece of mensural
2559 music, the default flag style should be used. There are no flags in
2560 Gregorian Chant notation.
2564 The attachment of ancient flags to stems is slightly off due to a
2565 change in early 2.3.x.
2567 Vertically aligning each flag with a staff line assumes that stems
2568 always end either exactly on or exactly in the middle between two
2569 staff lines. This may not always be true when using advanced layout
2570 features of classical notation (which however are typically out of
2571 scope for mensural notation).
2573 @node Ancient time signatures
2574 @subsection Ancient time signatures
2576 @cindex time signatures
2579 There is limited support for mensural time signatures. The
2580 glyphs are hard-wired to particular time fractions. In other words,
2581 to get a particular mensural signature glyph with the @code{\time n/m}
2582 command, @code{n} and @code{m} have to be chosen according to the
2585 @lilypond[quote,ragged-right]
2590 \remove Staff_symbol_engraver
2591 \remove Clef_engraver
2592 \remove Time_signature_engraver
2596 \set Score.timing = ##f
2597 \set Score.barAlways = ##t
2598 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph #"timesig.neomensural44" }
2600 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph #"timesig.neomensural22" }
2602 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph #"timesig.neomensural64" }
2604 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph #"timesig.neomensural68" }
2606 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph #"timesig.neomensural32" }
2608 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph #"timesig.neomensural34" }
2610 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph #"timesig.neomensural94" }
2612 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph #"timesig.neomensural98" }
2614 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph #"timesig.neomensural48" }
2616 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph #"timesig.neomensural24" }
2620 Use the @code{style} property of grob @internalsref{TimeSignature} to
2621 select ancient time signatures. Supported styles are
2622 @code{neomensural} and @code{mensural}. The above table uses the
2623 @code{neomensural} style. This style is appropriate for the
2624 incipit of transcriptions of mensural pieces. The @code{mensural}
2625 style mimics the look of historical printings of the 16th century.
2627 The following examples show the differences in style,
2629 @lilypond[ragged-right,fragment,relative=1,quote]
2634 c1^\markup { \hspace #-2.0 \typewriter default }
2636 \override Staff.TimeSignature #'style = #'numbered
2638 c1^\markup { \hspace #-2.0 \typewriter numbered }
2640 \override Staff.TimeSignature #'style = #'mensural
2642 c1^\markup { \hspace #-2.0 \typewriter mensural }
2644 \override Staff.TimeSignature #'style = #'neomensural
2646 c1^\markup { \hspace #-2.0 \typewriter neomensural }
2647 \override Staff.TimeSignature #'style = #'single-digit
2649 c1^\markup { \hspace #-2.0 \typewriter single-digit }
2655 This manual: @ref{Time signature} gives a general introduction to
2656 the use of time signatures.
2660 Ratios of note durations do not change with the time signature. For
2661 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
2662 be made by hand, by setting
2665 breveTP = #(ly:make-duration -1 0 3 2)
2671 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
2673 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
2674 addressable with @code{\time}. Use a @code{\markup} instead
2676 @node Ancient articulations
2677 @subsection Ancient articulations
2679 @cindex articulations
2681 In addition to the standard articulation signs described in section
2682 @ref{Articulations}, articulation signs for ancient notation are
2683 provided. These are specifically designed for use with notation in
2684 Editio Vaticana style.
2686 @lilypond[quote,ragged-right,verbatim]
2687 \include "gregorian-init.ly"
2689 \context VaticanaVoice {
2690 \override Staff.StaffSymbol #'color = #red
2691 \override Staff.LedgerLineSpanner #'color = #red
2692 \override TextScript #'font-family = #'typewriter
2693 \override TextScript #'font-shape = #'upright
2694 \override Script #'padding = #-0.1
2696 a4\circulus_"circulus" s1
2697 a4\semicirculus_"semicirculus" s1 s
2698 a4\accentus_"accentus" s1
2699 \[ a4_"episem" \episemInitium \pes b \flexa a \episemFinis \]
2706 Some articulations are vertically placed too closely to the
2707 correpsonding note heads.
2710 @subsection Custodes
2715 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
2716 symbol that appears at the end of a staff. It anticipates the pitch
2717 of the first note(s) of the following line thus helping the performer
2718 to manage line breaks during performance.
2720 Custodes were frequently used in music notation until the 17th
2721 century. Nowadays, they have survived only in a few particular forms
2722 of musical notation such as contemporary editions of Gregorian chant
2723 like the @emph{editio vaticana}. There are different custos glyphs
2724 used in different flavors of notational style.
2726 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
2727 @internalsref{Staff} context when declaring the @code{\layout} block,
2728 as shown in the following example
2734 \consists Custos_engraver
2735 Custos \override #'style = #'mensural
2740 The result looks like this
2742 @lilypond[quote,ragged-right]
2746 \override Staff.Custos #'style = #'mensural
2751 \context { \Staff \consists Custos_engraver }
2756 The custos glyph is selected by the @code{style} property. The styles
2757 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
2758 @code{mensural}. They are demonstrated in the following fragment
2760 @lilypond[quote,ragged-right,fragment]
2761 \new Lyrics \lyricmode {
2763 \typewriter "vaticana"
2764 \line { " " \musicglyph #"custodes.vaticana.u0" }
2767 \typewriter "medicaea"
2768 \line { " " \musicglyph #"custodes.medicaea.u0" }
2771 \typewriter "hufnagel"
2772 \line { " " \musicglyph #"custodes.hufnagel.u0" }
2775 \typewriter "mensural"
2776 \line { " " \musicglyph #"custodes.mensural.u0" }
2783 Program reference: @internalsref{Custos}.
2785 Examples: @inputfileref{input/@/regression,custos@/.ly}.
2789 @subsection Divisiones
2795 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
2796 `division') is a staff context symbol that is used to structure
2797 Gregorian music into phrases and sections. The musical meaning of
2798 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
2799 can be characterized as short, medium, and long pause, somewhat like
2800 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
2801 only marks the end of a chant, but is also frequently used within a
2802 single antiphonal/responsorial chant to mark the end of each section.
2805 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
2806 contains definitions that you can apply by just inserting
2807 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
2808 and @code{\finalis} at proper places in the input. Some editions use
2809 @emph{virgula} or @emph{caesura} instead of divisio minima.
2810 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
2813 @lilypondfile[quote,ragged-right]{divisiones.ly}
2817 @cindex @code{\virgula}
2819 @cindex @code{\caesura}
2821 @cindex @code{\divisioMinima}
2822 @code{\divisioMinima},
2823 @cindex @code{\divisioMaior}
2824 @code{\divisioMaior},
2825 @cindex @code{\divisioMaxima}
2826 @code{\divisioMaxima},
2827 @cindex @code{\finalis}
2832 In this manual: @ref{Breath marks}.
2834 Program reference: @internalsref{BreathingSign}.
2836 Examples: @inputfileref{input/@/test,divisiones@/.ly}.
2839 @subsection Ligatures
2843 @c TODO: Should double check if I recalled things correctly when I wrote
2844 @c down the following paragraph by heart.
2846 A ligature is a graphical symbol that represents at least two distinct
2847 notes. Ligatures originally appeared in the manuscripts of Gregorian
2848 chant notation to denote ascending or descending sequences of notes.
2850 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
2851 Some ligature styles may need additional input syntax specific for
2852 this particular type of ligature. By default, the
2853 @internalsref{LigatureBracket} engraver just puts a square bracket
2856 @lilypond[quote,ragged-right,verbatim]
2864 To select a specific style of ligatures, a proper ligature engraver
2865 has to be added to the @internalsref{Voice} context, as explained in
2866 the following subsections. Only white mensural ligatures
2867 are supported with certain limitations.
2873 Ligatures need special spacing that has not yet been implemented. As
2874 a result, there is too much space between ligatures most of the time,
2875 and line breaking often is unsatisfactory. Also, lyrics do not
2876 correctly align with ligatures.
2878 Accidentals must not be printed within a ligature, but instead need to
2879 be collected and printed in front of it.
2881 Augmentum dots within ligatures are not handled correctly.
2883 The syntax still uses the deprecated infix style @code{\[ music expr
2884 \]}. For consistency reasons, it will eventually be changed to
2885 postfix style @code{note\[ ... note\]}. Alternatively, the file
2886 @file{gregorian@/-init@/.ly} can be included; it provides a scheme
2889 \ligature @var{music expr}
2891 with the same effect and is believed to be stable.
2894 * White mensural ligatures::
2895 * Gregorian square neumes ligatures::
2898 @node White mensural ligatures
2899 @subsubsection White mensural ligatures
2901 @cindex Mensural ligatures
2902 @cindex White mensural ligatures
2904 There is limited support for white mensural ligatures.
2906 To engrave white mensural ligatures, in the layout block put the
2907 @internalsref{Mensural_ligature_engraver} into the
2908 @internalsref{Voice} context, and remove the
2909 @internalsref{Ligature_bracket_engraver}, like this
2915 \remove Ligature_bracket_engraver
2916 \consists Mensural_ligature_engraver
2921 There is no additional input language to describe the shape of a
2922 white mensural ligature. The shape is rather determined solely from
2923 the pitch and duration of the enclosed notes. While this approach may
2924 take a new user a while to get accustomed to, it has the great advantage
2925 that the full musical information of the ligature is known internally.
2926 This is not only required for correct MIDI output, but also allows for
2927 automatic transcription of the ligatures.
2932 \set Score.timing = ##f
2933 \set Score.defaultBarType = "empty"
2934 \override NoteHead #'style = #'neomensural
2935 \override Staff.TimeSignature #'style = #'neomensural
2939 \[ d\longa c\breve f e d \]
2941 \[ c'\maxima d'\longa \]
2945 @lilypond[quote,ragged-right]
2948 \set Score.timing = ##f
2949 \set Score.defaultBarType = "empty"
2950 \override NoteHead #'style = #'neomensural
2951 \override Staff.TimeSignature #'style = #'neomensural
2955 \[ d\longa c\breve f e d \]
2957 \[ c'\maxima d'\longa \]
2964 \remove Ligature_bracket_engraver
2965 \consists Mensural_ligature_engraver
2971 Without replacing @internalsref{Ligature_bracket_engraver} with
2972 @internalsref{Mensural_ligature_engraver}, the same music transcribes
2975 @lilypond[quote,ragged-right]
2977 \set Score.timing = ##f
2978 \set Score.defaultBarType = "empty"
2979 \override NoteHead #'style = #'neomensural
2980 \override Staff.TimeSignature #'style = #'neomensural
2984 \[ d\longa c\breve f e d \]
2986 \[ c'\maxima d'\longa \]
2994 The invisible rests (@code{s4}) in the example are used to compensate
2995 for the poor horizontal spacing.
2997 @node Gregorian square neumes ligatures
2998 @subsubsection Gregorian square neumes ligatures
3000 @cindex Square neumes ligatures
3001 @cindex Gregorian square neumes ligatures
3003 There is limited support for Gregorian square neumes notation
3004 (following the style of the Editio Vaticana). Core ligatures can
3005 already be typeset, but essential issues for serious typesetting are
3006 still lacking, such as (among others) horizontal alignment of multiple
3007 ligatures, lyrics alignment and proper handling of accidentals.
3010 The following table contains the extended neumes table of the 2nd
3011 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
3012 1983 by the monks of Solesmes.
3014 @multitable @columnfractions .4 .2 .2 .2
3031 @c TODO: \layout block is identical in all of the below examples.
3032 @c Therefore, it should somehow be included rather than duplicated all
3035 @c why not make identifiers in ly/engraver-init.ly? --hwn
3037 @c Because it's just used to typeset plain notes without
3038 @c a staff for demonstration purposes rather than something
3039 @c special of Gregorian chant notation. --jr
3044 @lilypond[staffsize=26,line-width=1.5\cm]
3045 \include "gregorian-init.ly"
3050 \noBreak s^\markup {"a"} \noBreak
3052 % Punctum Inclinatum
3054 \noBreak s^\markup {"b"}
3056 \layout { \neumeDemoLayout }}
3059 @lilypond[staffsize=26,line-width=2.5\cm]
3060 \include "gregorian-init.ly"
3063 % Punctum Auctum Ascendens
3064 \[ \auctum \ascendens b \]
3065 \noBreak s^\markup {"c"} \noBreak
3067 % Punctum Auctum Descendens
3068 \[ \auctum \descendens b \]
3069 \noBreak s^\markup {"d"} \noBreak
3071 % Punctum Inclinatum Auctum
3072 \[ \inclinatum \auctum b \]
3073 \noBreak s^\markup {"e"}
3075 \layout { \neumeDemoLayout }}
3078 @lilypond[staffsize=26,line-width=1.0\cm]
3079 \include "gregorian-init.ly"
3082 % Punctum Inclinatum Parvum
3083 \[ \inclinatum \deminutum b \]
3084 \noBreak s^\markup {"f"}
3086 \layout { \neumeDemoLayout }}
3092 @lilypond[staffsize=26,line-width=1.0\cm]
3093 \include "gregorian-init.ly"
3098 \noBreak s^\markup {"g"}
3100 \layout { \neumeDemoLayout }}
3106 @code{3. Apostropha vel Stropha}
3108 @lilypond[staffsize=26,line-width=1.0\cm]
3109 \include "gregorian-init.ly"
3114 \noBreak s^\markup {"h"}
3116 \layout { \neumeDemoLayout }}
3119 @lilypond[staffsize=26,line-width=1.0\cm]
3120 \include "gregorian-init.ly"
3124 \[ \stropha \auctum b \]
3125 \noBreak s^\markup {"i"}
3127 \layout { \neumeDemoLayout }}
3134 @lilypond[staffsize=26,line-width=1.0\cm]
3135 \include "gregorian-init.ly"
3140 \noBreak s^\markup {"j"}
3142 \layout { \neumeDemoLayout }}
3148 @code{5. Clivis vel Flexa}
3150 @lilypond[staffsize=26,line-width=1.0\cm]
3151 \include "gregorian-init.ly"
3158 \layout { \neumeDemoLayout }}
3161 @lilypond[staffsize=26,line-width=2.0\cm]
3162 \include "gregorian-init.ly"
3165 % Clivis Aucta Descendens
3166 \[ b \flexa \auctum \descendens g \]
3167 \noBreak s^\markup {"l"} \noBreak
3169 % Clivis Aucta Ascendens
3170 \[ b \flexa \auctum \ascendens g \]
3171 \noBreak s^\markup {"m"}
3173 \layout { \neumeDemoLayout }}
3176 @lilypond[staffsize=26,line-width=1.0\cm]
3177 \include "gregorian-init.ly"
3181 \[ b \flexa \deminutum g \]
3184 \layout { \neumeDemoLayout }}
3188 @code{6. Podatus vel Pes}
3190 @lilypond[staffsize=26,line-width=1.0\cm]
3191 \include "gregorian-init.ly"
3198 \layout { \neumeDemoLayout }}
3201 @lilypond[staffsize=26,line-width=2.0\cm]
3202 \include "gregorian-init.ly"
3205 % Pes Auctus Descendens
3206 \[ g \pes \auctum \descendens b \]
3207 \noBreak s^\markup {"p"} \noBreak
3209 % Pes Auctus Ascendens
3210 \[ g \pes \auctum \ascendens b \]
3211 \noBreak s^\markup {"q"}
3213 \layout { \neumeDemoLayout }}
3216 @lilypond[staffsize=26,line-width=1.0\cm]
3217 \include "gregorian-init.ly"
3221 \[ g \pes \deminutum b \]
3224 \layout { \neumeDemoLayout }}
3228 @code{7. Pes Quassus}
3230 @lilypond[staffsize=26,line-width=1.0\cm]
3231 \include "gregorian-init.ly"
3235 \[ \oriscus g \pes \virga b \]
3238 \layout { \neumeDemoLayout }}
3241 @lilypond[staffsize=26,line-width=1.0\cm]
3242 \include "gregorian-init.ly"
3245 % Pes Quassus Auctus Descendens
3246 \[ \oriscus g \pes \auctum \descendens b \]
3249 \layout { \neumeDemoLayout }}
3254 @code{8. Quilisma Pes}
3256 @lilypond[staffsize=26,line-width=1.0\cm]
3257 \include "gregorian-init.ly"
3261 \[ \quilisma g \pes b \]
3264 \layout { \neumeDemoLayout }}
3267 @lilypond[staffsize=26,line-width=1.0\cm]
3268 \include "gregorian-init.ly"
3271 % Quilisma Pes Auctus Descendens
3272 \[ \quilisma g \pes \auctum \descendens b \]
3275 \layout { \neumeDemoLayout }}
3280 @code{9. Podatus Initio Debilis}
3282 @lilypond[staffsize=26,line-width=1.0\cm]
3283 \include "gregorian-init.ly"
3286 % Pes Initio Debilis
3287 \[ \deminutum g \pes b \]
3290 \layout { \neumeDemoLayout }}
3293 @lilypond[staffsize=26,line-width=1.0\cm]
3294 \include "gregorian-init.ly"
3297 % Pes Auctus Descendens Initio Debilis
3298 \[ \deminutum g \pes \auctum \descendens b \]
3301 \layout { \neumeDemoLayout }}
3308 @lilypond[staffsize=26,line-width=1.0\cm]
3309 \include "gregorian-init.ly"
3313 \[ a \pes b \flexa g \]
3316 \layout { \neumeDemoLayout }}
3319 @lilypond[staffsize=26,line-width=1.0\cm]
3320 \include "gregorian-init.ly"
3323 % Torculus Auctus Descendens
3324 \[ a \pes b \flexa \auctum \descendens g \]
3327 \layout { \neumeDemoLayout }}
3330 @lilypond[staffsize=26,line-width=1.0\cm]
3331 \include "gregorian-init.ly"
3334 % Torculus Deminutus
3335 \[ a \pes b \flexa \deminutum g \]
3338 \layout { \neumeDemoLayout }}
3342 @code{11. Torculus Initio Debilis}
3344 @lilypond[staffsize=26,line-width=1.0\cm]
3345 \include "gregorian-init.ly"
3348 % Torculus Initio Debilis
3349 \[ \deminutum a \pes b \flexa g \]
3352 \layout { \neumeDemoLayout }}
3355 @lilypond[staffsize=26,line-width=1.0\cm]
3356 \include "gregorian-init.ly"
3359 % Torculus Auctus Descendens Initio Debilis
3360 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
3363 \layout { \neumeDemoLayout }}
3366 @lilypond[staffsize=26,line-width=1.0\cm]
3367 \include "gregorian-init.ly"
3370 % Torculus Deminutus Initio Debilis
3371 \[ \deminutum a \pes b \flexa \deminutum g \]
3374 \layout { \neumeDemoLayout }}
3378 @code{12. Porrectus}
3380 @lilypond[staffsize=26,line-width=1.0\cm]
3381 \include "gregorian-init.ly"
3385 \[ a \flexa g \pes b \]
3388 \layout { \neumeDemoLayout }}
3391 @lilypond[staffsize=26,line-width=1.0\cm]
3392 \include "gregorian-init.ly"
3395 % Porrectus Auctus Descendens
3396 \[ a \flexa g \pes \auctum \descendens b \]
3399 \layout { \neumeDemoLayout }}
3402 @lilypond[staffsize=26,line-width=1.0\cm]
3403 \include "gregorian-init.ly"
3406 % Porrectus Deminutus
3407 \[ a \flexa g \pes \deminutum b \]
3410 \layout { \neumeDemoLayout }}
3416 @lilypond[staffsize=26,line-width=1.0\cm]
3417 \include "gregorian-init.ly"
3421 \[ \virga b \inclinatum a \inclinatum g \]
3424 \layout { \neumeDemoLayout }
3428 @lilypond[staffsize=26,line-width=1.0\cm]
3429 \include "gregorian-init.ly"
3433 \[ \virga b \inclinatum a \inclinatum \auctum g \]
3436 \layout { \neumeDemoLayout }}
3439 @lilypond[staffsize=26,line-width=1.0\cm]
3440 \include "gregorian-init.ly"
3443 % Climacus Deminutus
3444 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
3447 \layout { \neumeDemoLayout }}
3451 @code{14. Scandicus}
3453 @lilypond[staffsize=26,line-width=1.0\cm]
3454 \include "gregorian-init.ly"
3458 \[ g \pes a \virga b \]
3461 \layout { \neumeDemoLayout }}
3464 @lilypond[staffsize=26,line-width=1.0\cm]
3465 \include "gregorian-init.ly"
3468 % Scandicus Auctus Descendens
3469 \[ g \pes a \pes \auctum \descendens b \]
3472 \layout { \neumeDemoLayout }}
3475 @lilypond[staffsize=26,line-width=1.0\cm]
3476 \include "gregorian-init.ly"
3479 % Scandicus Deminutus
3480 \[ g \pes a \pes \deminutum b \]
3483 \layout { \neumeDemoLayout }}
3489 @lilypond[staffsize=26,line-width=1.0\cm]
3490 \include "gregorian-init.ly"
3494 \[ g \oriscus a \pes \virga b \]
3497 \layout { \neumeDemoLayout }}
3500 @lilypond[staffsize=26,line-width=1.0\cm]
3501 \include "gregorian-init.ly"
3504 % Salicus Auctus Descendens
3505 \[ g \oriscus a \pes \auctum \descendens b \]
3508 \layout { \neumeDemoLayout }}
3515 @lilypond[staffsize=26,line-width=1.0\cm]
3516 \include "gregorian-init.ly"
3520 \[ \stropha b \stropha b \stropha a \]
3523 \layout { \neumeDemoLayout }
3532 Unlike most other neumes notation systems, the input language for
3533 neumes does not reflect the typographical appearance, but is designed
3534 to focus on musical meaning. For example, @code{\[ a \pes b
3535 \flexa g \]} produces a Torculus consisting of three Punctum heads,
3536 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
3537 curved flexa shape and only a single Punctum head. There is no
3538 command to explicitly typeset the curved flexa shape; the decision of
3539 when to typeset a curved flexa shape is based on the musical
3540 input. The idea of this approach is to separate the musical aspects
3541 of the input from the notation style of the output. This way, the
3542 same input can be reused to typeset the same music in a different
3543 style of Gregorian chant notation.
3545 The following table shows the code fragments that produce the
3546 ligatures in the above neumes table. The letter in the first column
3547 in each line of the below table indicates to which ligature in the
3548 above table it refers. The second column gives the name of the
3549 ligature. The third column shows the code fragment that produces this
3550 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
3552 @multitable @columnfractions .02 .31 .67
3572 @code{\[ \inclinatum b \]}
3580 @code{\[ \auctum \ascendens b \]}
3588 @code{\[ \auctum \descendens b \]}
3593 Punctum Inclinatum@*
3596 @code{\[ \inclinatum \auctum b \]}
3601 Punctum Inclinatum@*
3603 @code{\[ \inclinatum \deminutum b \]}
3610 @code{\[ \virga b \]}
3617 @code{\[ \stropha b \]}
3624 @code{\[ \stropha \auctum b \]}
3631 @code{\[ \oriscus b \]}
3638 @code{\[ b \flexa g \]}
3646 @code{\[ b \flexa \auctum \descendens g \]}
3654 @code{\[ b \flexa \auctum \ascendens g \]}
3661 @code{\[ b \flexa \deminutum g \]}
3668 @code{\[ g \pes b \]}
3676 @code{\[ g \pes \auctum \descendens b \]}
3684 @code{\[ g \pes \auctum \ascendens b \]}
3691 @code{\[ g \pes \deminutum b \]}
3698 @code{\[ \oriscus g \pes \virga b \]}
3704 Auctus Descendens @tab
3705 @code{\[ \oriscus g \pes \auctum \descendens b \]}
3712 @code{\[ \quilisma g \pes b \]}
3720 @code{\[ \quilisma g \pes \auctum \descendens b \]}
3727 @code{\[ \deminutum g \pes b \]}
3732 Pes Auctus Descendens@*
3735 @code{\[ \deminutum g \pes \auctum \descendens b \]}
3742 @code{\[ a \pes b \flexa g \]}
3750 @code{\[ a \pes b \flexa \auctum \descendens g \]}
3757 @code{\[ a \pes b \flexa \deminutum g \]}
3762 Torculus Initio Debilis
3764 @code{\[ \deminutum a \pes b \flexa g \]}
3770 Descendens Initio Debilis
3772 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
3777 Torculus Deminutus@*
3780 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
3787 @code{\[ a \flexa g \pes b \]}
3795 @code{\[ a \flexa g \pes \auctum \descendens b \]}
3802 @code{\[ a \flexa g \pes \deminutum b \]}
3809 @code{\[ \virga b \inclinatum a \inclinatum g \]}
3816 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
3823 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
3830 @code{\[ g \pes a \virga b \]}
3838 @code{\[ g \pes a \pes \auctum \descendens b \]}
3845 @code{\[ g \pes a \pes \deminutum b \]}
3852 @code{\[ g \oriscus a \pes \virga b \]}
3857 Salicus Auctus Descendens
3859 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
3866 @code{\[ \stropha b \stropha b \stropha a \]}
3871 The following head prefixes are supported
3873 @cindex @code{\virga}
3875 @cindex @code{\stropha}
3877 @cindex @code{\inclinatum}
3879 @cindex @code{\auctum}
3881 @cindex @code{\descendens}
3883 @cindex @code{\ascendens}
3885 @cindex @code{\oriscus}
3887 @cindex @code{\quilisma}
3889 @cindex @code{\deminutum}
3892 Head prefixes can be accumulated, though restrictions apply. For
3893 example, either @code{\descendens} or @code{\ascendens} can be applied
3894 to a head, but not both to the same head.
3897 @cindex @code{\flexa}
3898 Two adjacent heads can be tied together with the @code{\pes} and
3899 @code{\flexa} infix commands for a rising and falling line of melody,
3904 @node Gregorian Chant contexts
3905 @subsection Gregorian Chant contexts
3907 @cindex VaticanaVoiceContext
3908 @cindex VaticanaStaffContext
3910 The predefined @code{VaticanaVoiceContext} and
3911 @code{VaticanaStaffContext} can be used to engrave a piece of
3912 Gregorian Chant in the style of the Editio Vaticana. These contexts
3913 initialize all relevant context properties and grob properties to
3914 proper values, so you can immediately go ahead entering the chant, as
3915 the following excerpt demonstrates
3917 @lilypond[quote,ragged-right,packed,verbatim]
3918 \include "gregorian-init.ly"
3921 \context VaticanaVoice = "cantus" {
3922 \override Staff.StaffSymbol #'color = #red
3923 \override Staff.LedgerLineSpanner #'color = #red
3924 \override Score.BarNumber #'transparent = ##t {
3925 \[ c'\melisma c' \flexa a \]
3926 \[ a \flexa \deminutum g\melismaEnd \]
3928 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
3929 c' \divisioMinima \break
3930 \[ c'\melisma c' \flexa a \]
3931 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
3934 \new Lyrics \lyricsto "cantus" {
3935 San- ctus, San- ctus, San- ctus
3942 @node Mensural contexts
3943 @subsection Mensural contexts
3945 @cindex MensuralVoiceContext
3946 @cindex MensuralStaffContext
3948 The predefined @code{MensuralVoiceContext} and
3949 @code{MensuralStaffContext} can be used to engrave a piece in mensural
3950 style. These contexts initialize all relevant context properties and
3951 grob properties to proper values, so you can immediately go ahead
3952 entering the chant, as the following excerpt demonstrates
3954 @lilypond[quote,ragged-right,verbatim]
3957 \context MensuralVoice = "discantus" \transpose c c' {
3958 \override Score.BarNumber #'transparent = ##t {
3959 c'1\melisma bes a g\melismaEnd
3961 \[ f1\melisma a c'\breve d'\melismaEnd \]
3963 c'\breve\melisma a1 g1\melismaEnd
3964 fis\longa^\signumcongruentiae
3967 \new Lyrics \lyricsto "discantus" {
3968 San -- ctus, San -- ctus, San -- ctus
3974 @node Musica ficta accidentals
3975 @subsection Musica ficta accidentals
3977 In European music from before about 1600, singers were often expected
3978 to chromatically alter notes at their own initiative. This is called
3979 ``Musica Ficta''. In modern transcriptions, these accidentals are
3980 usually printed over the note.
3982 @cindex Musica ficta
3984 Support for such suggested accidentals is included, and can be
3985 switched on by setting @code{suggestAccidentals} to true.
3987 @cindex @code{suggestAccidentals}
3989 @lilypond[verbatim,fragment,relative=1]
3991 \set suggestAccidentals = ##t
3997 Program reference: @internalsref{Accidental_engraver} engraver and the
3998 @internalsref{AccidentalSuggestion} object.
4001 @subsection Figured bass
4003 @cindex Basso continuo
4005 @c TODO: musicological blurb about FB
4008 LilyPond has support for figured bass
4010 @lilypond[quote,ragged-right,verbatim,fragment]
4012 \context Voice { \clef bass dis4 c d ais g fis}
4013 \context FiguredBass \figuremode {
4014 < 6 >4 < 7\+ >8 < 6+ [_!] >
4021 The support for figured bass consists of two parts: there is an input
4022 mode, introduced by @code{\figuremode}, where you can enter bass figures
4023 as numbers, and there is a context called @internalsref{FiguredBass} that
4024 takes care of making @internalsref{BassFigure} objects.
4026 In figures input mode, a group of bass figures is delimited by
4027 @code{<} and @code{>}. The duration is entered after the @code{>}
4031 @lilypond[quote,ragged-right,fragment]
4032 \context FiguredBass
4033 \figuremode { <4 6> }
4036 Accidentals are added when you append @code{-}, @code{!}, and @code{+}
4037 to the numbers. A plus sign is added when you append @code{\+}, and
4038 diminished fifths and sevenths can be obtained with @code{5/} and @code{7/}.
4041 <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/>
4043 @lilypond[quote,ragged-right,fragment]
4044 \figures { <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/> }
4047 Spaces may be inserted by using @code{_}. Brackets are
4048 introduced with @code{[} and @code{]}. You can also include text
4049 strings and text markups, see @ref{Overview of text markup commands}.
4052 < [4 6] 8 [_! 12] > < 5 \markup @{ \number 6 \super (1) @} >
4054 @lilypond[quote,ragged-right,fragment]
4055 \context FiguredBass
4056 \figuremode { < [4 6] 8 [_! 12] > < 5 \markup{ \tiny \number 6 \super (1)} > }
4060 It is also possible to use continuation lines for repeated figures,
4062 @lilypond[verbatim,relative=1]
4069 \set useBassFigureExtenders = ##t
4076 In this case, the extender lines always replace existing figures.
4078 The @code{FiguredBass} context doesn't pay attention to the actual
4079 bass line. As a consequence, you may have to insert extra figures to
4080 get extender lines below all notes, and you may have to add @code{\!}
4081 to avoid getting an extender line, eg.
4083 @lilypond[relative=1]
4087 \set useBassFigureExtenders = ##t
4088 <6 4->4. <6 4->16. <6 4->32 <5>8. r16 <6>8 <6\! 5->
4092 f16. g32 f16. g32 f16. g32 f16. g32 f8. es16 d8 es
4097 When using continuation lines, common figures are always put in the
4098 same vertical position. When this is unwanted, you can insert a rest
4099 with @code{r}. The rest will clear any previous alignment. For
4100 example, you can write
4112 Accidentals and plus signs can appear before or after the numbers,
4113 depending on the @code{figuredBassAlterationDirection} and @code{figuredBassPlusDirection}
4119 \set figuredBassAlterationDirection = #1
4121 \set figuredBassPlusDirection = #1
4123 \set figuredBassAlterationDirection = #-1
4129 Although the support for figured bass may superficially resemble chord
4130 support, it is much simpler. The @code{\figuremode} mode simply
4131 stores the numbers and @internalsref{FiguredBass} context prints them
4132 as entered. There is no conversion to pitches and no realizations of
4133 the bass are played in the MIDI file.
4135 Internally, the code produces markup texts. You can use any of the
4136 markup text properties to override formatting. For example, the
4137 vertical spacing of the figures may be set with @code{baseline-skip}.
4141 Program reference: @internalsref{NewBassFigure},
4142 @internalsref{BassFigureAlignment}, @internalsref{BassFigureLine},
4143 @internalsref{BassFigureBracket}, and
4144 @internalsref{BassFigureContinuation} objects and
4145 @internalsref{FiguredBass} context.
4149 @node Other instrument specific notation
4150 @section Other instrument specific notation
4152 This section includes extra information for writing for instruments.
4155 * Artificial harmonics (strings)::
4158 @node Artificial harmonics (strings)
4159 @subsection Artificial harmonics (strings)
4161 @cindex artificial harmonics
4163 Artificial harmonics are notated with a different notehead style. They
4164 are entered by marking the harmonic pitch with @code{\harmonic}.
4166 @lilypond[ragged-right,verbatim,quote,fragment,relative=1]