1 @c -*- coding: latin-1; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
8 @node Instrument-specific notation
9 @chapter Instrument-specific notation
11 This chapter explains how to use notation for specific instruments.
20 * Other instrument specific notation::
28 Piano staves are two normal staves coupled with a brace. The staves
29 are largely independent, but sometimes voices can cross between the
30 two staves. The same notation is also used for harps and other key
31 instruments. The @internalsref{PianoStaff} is especially built to
32 handle this cross-staffing behavior. In this section we discuss the
33 @internalsref{PianoStaff} and some other pianistic peculiarities.
37 * Automatic staff changes::
38 * Manual staff switches::
40 * Staff switch lines::
46 Dynamics are not centered, but workarounds do exist. See the
47 ``piano centered dynamics'' template in @ref{Piano templates}.
49 @cindex cross staff stem
50 @cindex stem, cross staff
51 @cindex distance between staves in piano music
53 The distance between the two staves is the same for all systems in the
54 score. It is possible to override this per system, but it does require
55 an arcane command incantation. See
56 @inputfileref{input/@/test,piano@/-staff@/-distance@/.ly}.
59 @node Automatic staff changes
60 @subsection Automatic staff changes
61 @cindex Automatic staff changes
63 Voices can be made to switch automatically between the top and the bottom
64 staff. The syntax for this is
68 \autochange @dots{}@var{music}@dots{}
73 This will create two staves inside the current PianoStaff, called
74 @code{up} and @code{down}. The lower staff will be in bass clef by
77 A @code{\relative} section that is outside of @code{\autochange} has
78 no effect on the pitches of @var{music}, so, if necessary, put
79 @code{\relative} inside @code{\autochange} like
83 \autochange \relative @dots{} @dots{}
88 The autochanger switches on basis of the pitch (middle C is the turning
89 point), and it looks ahead skipping over rests to switch in
90 advance. Here is a practical example
92 @lilypond[quote,verbatim,raggedright]
94 \autochange \relative c'
103 In this manual: @ref{Manual staff switches}.
105 Program reference: @internalsref{AutoChangeMusic}.
111 The staff switches may not end up in optimal places. For high
112 quality output, staff switches should be specified manually.
115 @code{\autochange} cannot be inside @code{\times}.
118 @node Manual staff switches
119 @subsection Manual staff switches
121 @cindex manual staff switches
122 @cindex staff switch, manual
124 Voices can be switched between staves manually, using the command
126 \change Staff = @var{staffname} @var{music}
130 The string @var{staffname} is the name of the staff. It switches the
131 current voice from its current staff to the Staff called
132 @var{staffname}. Typically @var{staffname} is @code{"up"} or
133 @code{"down"}. The @context{Staff} referred to must already exist, so
134 usually the setup for a score will start with a setup of the staves,
138 \context Staff = up @{
139 \skip 1 * 10 % @emph{keep staff alive}
141 \context Staff = down @{
142 \skip 1 * 10 % @emph{idem}
148 and the @context{Voice} is inserted afterwards
151 \context Staff = down
152 \new Voice @{ @dots{} \change Staff = up @dots{} @}
160 Pianos have pedals that alter the way sound is produced. Generally, a
161 piano has three pedals, sustain, una corda, and sostenuto.
164 Piano pedal instruction can be expressed by attaching
165 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
166 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
169 @lilypond[quote,raggedright,fragment,verbatim]
170 c'4\sustainDown c'4\sustainUp
173 What is printed can be modified by setting @code{pedal@var{X}Strings},
174 where @var{X} is one of the pedal types: @code{Sustain},
175 @code{Sostenuto} or @code{UnaCorda}. Refer to
176 @internalsref{SustainPedal} in the program reference for more
179 Pedals can also be indicated by a sequence of brackets, by setting the
180 @code{pedalSustainStyle} property to bracket objects
182 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
183 \set Staff.pedalSustainStyle = #'bracket
185 b\sustainUp\sustainDown
186 b g \sustainUp a \sustainDown \bar "|."
189 A third style of pedal notation is a mixture of text and brackets,
190 obtained by setting the @code{pedalSustainStyle} property to
193 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
194 \set Staff.pedalSustainStyle = #'mixed
196 b\sustainUp\sustainDown
197 b g \sustainUp a \sustainDown \bar "|."
200 The default `*Ped.' style for sustain and damper pedals corresponds to
201 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
204 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
205 c\sostenutoDown d e c, f g a\sostenutoUp
208 For fine-tuning the appearance of a pedal bracket, the properties
209 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
210 @code{PianoPedalBracket} objects (see
211 @internalsref{PianoPedalBracket} in the Program reference) can be
212 modified. For example, the bracket may be extended to the right edge
215 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
216 \override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
217 c\sostenutoDown d e c, f g a\sostenutoUp
220 @node Staff switch lines
221 @subsection Staff switch lines
225 @cindex staff switching
228 @cindex @code{followVoice}
230 Whenever a voice switches to another staff, a line connecting the notes
231 can be printed automatically. This is switched on by setting
232 @code{followVoice} to true
234 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
237 \set followVoice = ##t
242 \context Staff=two { \clef bass \skip 1*2 }
248 Program reference: @internalsref{VoiceFollower}.
252 @cindex @code{\showStaffSwitch}
253 @code{\showStaffSwitch},
254 @cindex @code{\hideStaffSwitch}
255 @code{\hideStaffSwitch}.
258 @node Cross staff stems
259 @subsection Cross staff stems
261 Chords that cross staves may be produced by increasing the length
262 of the stem in the lower staff, so it reaches the stem in the upper
263 staff, or vice versa.
265 @lilypond[raggedright,verbatim,quote]
266 stemExtend = \once \override Stem #'length = #22
267 noFlag = \once \override Stem #'flag-style = #'no-flag
268 \context PianoStaff <<
270 \stemDown \stemExtend
287 * Introducing chord names::
289 * Printing chord names::
293 @c awkward name; awkward section name.
294 @c still, the Basic "chords" seems like a good name... :(
295 @node Introducing chord names
296 @subsection Introducing chord names
299 LilyPond has support for printing chord names. Chords may be entered
300 in musical chord notation, i.e., @code{< .. >}, but they can also be
301 entered by name. Internally, the chords are represented as a set of
302 pitches, so they can be transposed
305 @lilypond[quote,raggedright,verbatim,raggedright]
306 twoWays = \transpose c c' {
315 << \context ChordNames \twoWays
316 \context Voice \twoWays >>
319 This example also shows that the chord printing routines do not try to
320 be intelligent. The last chord (@code{f bes d}) is not interpreted as
325 @subsection Chords mode
328 In chord mode sets of pitches (chords) are entered with normal note
329 names. A chord is entered by the root, which is entered like a
332 @lilypond[quote,raggedright,fragment,verbatim]
333 \chordmode { es4. d8 c2 }
337 The mode is introduced by the keyword @code{\chordmode}.
342 Other chords may be entered by suffixing a colon and introducing a
343 modifier (which may include a number if desired)
344 @lilypond[quote,fragment,verbatim]
345 \chordmode { e1:m e1:7 e1:m7 }
347 The first number following the root is taken to be the `type' of the
348 chord, thirds are added to the root until it reaches the specified
350 @lilypond[quote,fragment,verbatim]
351 \chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
354 @cindex root of chord
355 @cindex additions, in chords
356 @cindex removals, in chords
358 More complex chords may also be constructed adding separate steps
359 to a chord. Additions are added after the number following
360 the colon and are separated by dots
361 @lilypond[quote,verbatim,fragment]
362 \chordmode { c:5.6 c:3.7.8 c:3.6.13 }
364 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
366 @lilypond[quote,verbatim,fragment]
367 \chordmode { c:7+ c:5+.3- c:3-.5-.7- }
369 Removals are specified similarly and are introduced by a caret. They
370 must come after the additions
371 @lilypond[quote,verbatim,fragment]
372 \chordmode { c^3 c:7^5 c:9^3.5 }
375 Modifiers can be used to change pitches. The following modifiers are
380 The minor chord. This modifier lowers the 3rd and (if present) the 7th step.
383 The diminished chord. This modifier lowers the 3rd, 5th and (if present)
387 The augmented chord. This modifier raises the 5th step.
390 The major 7th chord. This modifier raises the 7th step if present.
393 The suspended 4th or 2nd. This modifier removes the 3rd
394 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
398 Modifiers can be mixed with additions
399 @lilypond[quote,verbatim,fragment]
400 \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
403 @cindex modifiers, in chords.
410 Since an unaltered 11 does not sound good when combined with an
411 unaltered 3, the 11 is removed in this case (unless it is added
413 @lilypond[quote,raggedright,fragment,verbatim]
414 \chordmode { c:13 c:13.11 c:m13 }
419 An inversion (putting one pitch of the chord on the bottom), as well
420 as bass notes, can be specified by appending
421 @code{/}@var{pitch} to the chord
422 @lilypond[quote,raggedright,fragment,verbatim]
423 \chordmode { c1 c/g c/f }
427 A bass note can be added instead transposed out of the chord,
428 by using @code{/+}@var{pitch}.
430 @lilypond[quote,raggedright,fragment,verbatim]
431 \chordmode { c1 c/+g c/+f }
434 Chords is a mode similar to @code{\lyricmode}, etc. Most
435 of the commands continue to work, for example, @code{r} and
436 @code{\skip} can be used to insert rests and spaces, and property
437 commands may be used to change various settings.
443 Each step can only be present in a chord once. The following
444 simply produces the augmented chord, since @code{5+} is interpreted
447 @lilypond[quote,raggedright,verbatim,fragment]
448 \chordmode { c:5.5-.5+ }
452 @node Printing chord names
453 @subsection Printing chord names
455 @cindex printing chord names
459 For displaying printed chord names, use the @internalsref{ChordNames} context.
460 The chords may be entered either using the notation
461 described above, or directly using @code{<} and @code{>}
463 @lilypond[quote,verbatim,raggedright]
465 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
468 \context ChordNames \harmonies
469 \context Staff \harmonies
473 You can make the chord changes stand out by setting
474 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
475 display chord names when there is a change in the chords scheme and at
476 the start of a new line
478 @lilypond[quote,verbatim,raggedright]
479 harmonies = \chordmode {
480 c1:m c:m \break c:m c:m d
483 \context ChordNames {
484 \set chordChanges = ##t
486 \context Staff \transpose c c' \harmonies
490 The previous examples all show chords over a staff. This is not
491 necessary. Chords may also be printed separately. It may be necessary
492 to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
495 @lilypond[raggedright,verbatim]
496 \new ChordNames \with {
497 \override BarLine #'bar-size = #4
498 voltaOnThisStaff = ##t
499 \consists Bar_engraver
500 \consists "Volta_engraver"
502 \repeat volta 2 \chordmode {
511 The default chord name layout is a system for Jazz music, proposed by
512 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
516 @cindex @code{chordNameExceptions}
517 @item chordNameExceptions
518 This is a list that contains the chords that have special formatting.
520 The exceptions list should be encoded as
522 @{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
525 To get this information into @code{chordNameExceptions} takes a little
526 manoeuvring. The following code transforms @code{chExceptionMusic}
527 (which is a sequential music) into a list of exceptions.
529 (sequential-music-to-chord-exceptions chExceptionMusic #t)
534 (sequential-music-to-chord-exceptions chExceptionMusic #t)
537 adds the new exceptions to the default ones, which are defined in
538 @file{ly/@/chord@/-modifier@/-init@/.ly}.
540 For an example of tuning this property, see also
541 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly}.
542 @cindex exceptions, chord names.
545 @cindex @code{majorSevenSymbol}
546 @item majorSevenSymbol
547 This property contains the markup object used for the 7th step, when
548 it is major. Predefined options are @code{whiteTriangleMarkup} and
549 @code{blackTriangleMarkup}. See
550 @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly} for an example.
552 @cindex @code{chordNameSeparator}
553 @item chordNameSeparator
554 Different parts of a chord name are normally separated by a
555 slash. By setting @code{chordNameSeparator}, you can specify other
557 @lilypond[quote,raggedright,fragment,verbatim]
558 \context ChordNames \chordmode {
560 \set chordNameSeparator
561 = \markup { \typewriter "|" }
566 @cindex @code{chordRootNamer}
568 The root of a chord is usually printed as a letter with an optional
569 alteration. The transformation from pitch to letter is done by this
570 function. Special note names (for example, the German ``H'' for a
571 B-chord) can be produced by storing a new function in this property.
573 @cindex @code{chordNoteNamer}
575 The default is to print single pitch, e.g., the bass note, using the
576 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
577 to a specialized function to change this behavior. For example, the
578 base can be printed in lower case.
580 @cindex @code{chordPrefixSpacer}
581 @item chordPrefixSpacer
582 The ``m'' for minor chords is usually printed right after the root of
583 the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer
584 between the root and ``m''. The spacer is not used when the root
589 The predefined variables @code{\germanChords},
590 @code{\semiGermanChords}, @code{\italianChords} and @code{\frenchChords}
591 set these variables. The effect is
594 @lilypondfile[raggedright]{chord-names-languages.ly}
596 There are also two other chord name schemes implemented: an alternate
597 Jazz chord notation, and a systematic scheme called Banter chords. The
598 alternate Jazz notation is also shown on the chart in @ref{Chord name
599 chart}. Turning on these styles is described in the input file
600 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
609 @cindex @code{\germanChords}
610 @code{\germanChords},
611 @cindex @code{\semiGermanChords}
612 @code{\semiGermanChords}.
613 @cindex @code{\italianChords}
614 @code{\italianChords}.
615 @cindex @code{\frenchChords}
616 @code{\frenchChords}.
623 Examples: @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly},
624 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly},
625 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
628 Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
629 @file{scm/@/chord@/-entry@/.scm}.
634 Chord names are determined solely from the list of pitches. Chord
635 inversions are not identified, and neither are added bass notes. This
636 may result in strange chord names when chords are entered with the
637 @code{< .. >} syntax.
643 There are three different issues when printing vocal music
647 Song texts must be entered as text, not notes. For example, the
648 input@tie{}@code{d} should be interpreted as a one letter syllable, not the
652 Song texts must be printed as text, not as notes.
655 Song texts must be aligned with the notes of their melody.
658 The simplest solution for printing music uses the @code{\addlyrics}
659 function to solve all these problems at once. However, these
660 three functions can be controlled separately, which is necessary
661 for complex vocal music.
665 * Setting simple songs::
667 * Hyphens and extenders::
668 * The Lyrics context::
669 * Flexibility in alignment::
672 * Other vocal issues::
675 @node Setting simple songs
676 @subsection Setting simple songs
678 The easiest way to add lyrics to a melody is to append
681 \addlyrics @{ @var{the lyrics} @}
685 to a melody. Here is an example,
687 @lilypond[raggedright,verbatim,fragment,quote]
689 \relative { c2 e4 g2. }
690 \addlyrics { play the game }
693 More stanzas can be added by adding more
694 @code{\addlyrics} sections
696 @lilypond[raggedright,verbatim,fragment,quote]
698 \relative { c2 e4 g2. }
699 \addlyrics { play the game }
700 \addlyrics { speel het spel }
701 \addlyrics { joue le jeu }
704 @c TODO - this isn't such a great place for this note, but I can't
705 @c find a better place without rearranging a lot of lyric stuff.
706 @c It's yet another thing to look at post-3.0.
708 The @code{\addlyrics} command is actually just a convienient way
709 to write a more complicated LilyPond structure that sets up the
710 lyrics. You should use @code{\addlyrics} unless you need to do
711 fancy things, in which case you should investigate
712 @code{\lyricsto} or @code{\lyricmode}.
716 \addlyrics @{ LYRICS @}
723 \context Voice = blah @{ music @}
724 \lyricsto "blah" \new lyrics @{ LYRICS @}
729 @code{\addlyrics} cannot handle polyphony.
732 @node Entering lyrics
733 @subsection Entering lyrics
737 @cindex @code{\lyricmode}
740 Lyrics are entered in a special input mode. This mode is introduced
741 by the keyword @code{\lyricmode}, or by using @code{addlyrics} or
742 @code{lyricsto}. In this mode you can enter lyrics,
743 with punctuation and accents, and the input @code{d} is not parsed as
744 a pitch, but rather as a one letter syllable. Syllables are entered
745 like notes, but with pitches replaced by text. For example,
747 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
751 A word lyrics mode begins with an alphabetic character, and ends with
752 any space or digit. The following characters can be any character
753 that is not a digit or white space. One important consequence of this
754 is that a word can end with @code{@}}. The following example is
755 usually a mistake in the input file. The syllable includes a @code{@}}, so the
756 opening brace is not balanced
758 \lyricmode @{ twinkle@}
761 @cindex @code{\property}, in @code{\lyricmode}
763 Similarly, a period which follows an alphabetic sequence is included in
764 the resulting string. As a consequence, spaces must be inserted around
767 \override Score . LyricText #'font-shape = #'italic
771 @cindex spaces, in lyrics
772 @cindex quotes, in lyrics
774 Any @code{_} character that appears in an unquoted word is converted
775 to a space. This provides a mechanism for introducing spaces into words
776 without using quotes. Quoted words can also be used in Lyrics mode to
777 specify words that cannot be written with the above rules. The
778 following example incorporates double quotes
781 \lyricmode @{ He said: "\"Let" my peo ple "go\"" @}
784 This example is slightly academic, since it gives better looking
785 results using single quotes, @code{``} and @code{''}
787 \lyricmode @{ He said: ``Let my peo ple go'' @}
791 The full definition of a word start in Lyrics mode is somewhat more
794 A word in Lyrics mode begins with: an alphabetic character, @code{_},
795 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
796 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
797 any 8-bit character with ASCII code over 127, or a two-character
798 combination of a backslash followed by one of @code{`}, @code{'},
799 @code{"}, or @code{^}.
805 Program reference: events @internalsref{LyricEvent}, and
806 @internalsref{LyricText}.
810 The definition of lyrics mode is too complex.
812 @node Hyphens and extenders
813 @subsection Hyphens and extenders
817 Centered hyphens are entered as `@code{-}@code{-}' between syllables.
818 The hyphen will have variable length depending on the space between
819 the syllables and it will be centered between the syllables.
824 When a lyric is sung over many notes (this is called a melisma), this is
825 indicated with a horizontal line centered between a syllable and the
826 next one. Such a line is called an extender line, and it is entered as
830 FIXME: check that this compiles and displays correctly. I don't want
831 to commit this part blindly.
833 In tighly engraved music, hyphens can be removed. In some languages
834 (e.g. German and Hungarian), hyphens should not disappear, since
835 spelling depends on hyphenation. For that purpose, hyphens can be
836 forced to remain by overriding @code{minimum-length} of
837 the @code{LyricHyphen} grob.
841 << \notes \new Staff \relative c'' { \time 1/4 c16[ c c c]
848 \lyrics \new Lyrics \with {
849 % Otherwise lyrics are so far apart that hyphens don't disappear
850 \override SeparationItem #'padding = #0.0
851 }{ bla -- bla -- bla -- bla --
852 bla -- bla -- bla -- bla --
854 \override LyricHyphen #'minimum-length = #0.7
855 \override LyricHyphen #'spacing-procedure =
856 #Hyphen_spanner::set_spacing_rods
858 bla -- bla -- bla -- bla
865 \StaffContext \remove "Time_signature_engraver"
876 Program reference: @internalsref{HyphenEvent},
877 @internalsref{ExtenderEvent}, @internalsref{LyricHyphen}, and
878 @internalsref{LyricExtender}
882 @node The Lyrics context
883 @subsection The Lyrics context
886 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
888 \context Lyrics \lyricmode @dots{}
891 @cindex automatic syllable durations
892 @cindex @code{\lyricsto}
893 @cindex lyrics and melodies
895 This will place the lyrics according to the durations that were
896 entered. The lyrics can also be aligned under a given melody
897 automatically. In this case, it is no longer necessary to enter the
898 correct duration for each syllable. This is achieved by combining the
899 melody and the lyrics with the @code{\lyricsto} expression
901 \lyricsto @var{name} \new Lyrics @dots{}
904 This aligns the lyrics to the
905 notes of the @internalsref{Voice} context called @var{name}, which has
906 to exist. Therefore, normally the @code{Voice} is specified first, and
907 then the lyrics are specified with @code{\lyricsto}. The command
908 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
909 @code{\lyricmode} keyword may be omitted.
911 For different or more complex orderings, the best way is to setup the
912 hierarchy of staves and lyrics first, e.g.,
914 \context ChoirStaff <<
915 \context Lyrics = sopranoLyrics @{ s1 @}
916 \context Voice = soprano @{ @emph{music} @}
917 \context Lyrics = tenorLyrics @{ s1 @}
918 \context Voice = tenor @{ @emph{music} @}
921 and then combine the appropriate melodies and lyric lines
923 \lyricsto "soprano" \context Lyrics = sopranoLyrics
928 The final input would resemble
931 <<\context ChoirStaff << @emph{setup the music} >>
932 \lyricsto "soprano" @emph{etc}
933 \lyricsto "alto" @emph{etc}
939 The @code{\lyricsto} command detects melismata: it only puts one
940 syllable under a tied or slurred group of notes. If you want to force
941 an unslurred group of notes to be a melisma, insert @code{\melisma}
942 after the first note of the group, and @code{\melismaEnd} after the
945 @lilypond[quote,relative=2,raggedright,fragment,verbatim]
947 \context Voice = "lala" {
955 \lyricsto "lala" \new Lyrics {
961 In addition, notes are considered a melisma if they are manually
962 beamed, and automatic beaming (see @ref{Setting automatic beam
963 behavior}) is switched off.
969 The criteria for deciding melismata can
970 be tuned with the property @code{melismaBusyProperties}. See
971 @internalsref{Melisma_translator} in the program reference for more
976 Lyrics can also be entered without @code{\lyricsto}. In this case the
977 duration of each syllable must be entered explicitly, for example,
984 The alignment to a melody can be specified with the
985 @code{associatedVoice} property,
988 \set associatedVoice = #"lala"
992 The value of the property (here: @code{"lala"}) should be the name of
993 a @internalsref{Voice} context. Without this setting, extender lines
994 will not be formatted properly.
996 Here is an example demonstrating manual lyric durations,
998 @lilypond[relative=1,raggedright,verbatim,fragment,quote]
999 << \context Voice = melody {
1003 \new Lyrics \lyricmode {
1004 \set associatedVoice = #"melody"
1010 @cindex choral score
1012 A complete example of a SATB score setup is in section
1013 @ref{Vocal ensembles}.
1018 @code{\melisma}, @code{\melismaEnd}
1019 @cindex @code{\melismaEnd}
1020 @cindex @code{\melisma}
1024 Program reference: @internalsref{LyricCombineMusic},
1025 @internalsref{Lyrics}, @internalsref{Melisma_translator}.
1028 @inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly}.
1029 @c TODO: make separate section for melismata
1033 Melismata are not detected automatically, and extender lines must be
1037 @c TODO: document \new Staff << Voice \lyricsto >> bug
1039 @node Flexibility in alignment
1040 @subsection Flexibility in alignment
1043 Often, different stanzas of one song are put to one melody in slightly
1044 differing ways. Such variations can still be captured with
1047 One possibility is that the text has a melisma in one stanza, but
1048 multiple syllables in another one. One solution is to make the faster
1049 voice ignore the melisma. This is done by setting
1050 @code{ignoreMelismata} in the Lyrics context.
1052 There has one tricky aspect. The setting for @code{ignoreMelismata}
1053 must be set one syllable @emph{before} the non-melismatic syllable
1054 in the text, as shown here,
1056 @lilypond[verbatim,raggedright,quote]
1058 \relative \context Voice = "lahlah" {
1059 \set Staff.autoBeaming = ##f
1065 \new Lyrics \lyricsto "lahlah" {
1068 \new Lyrics \lyricsto "lahlah" {
1069 \set ignoreMelismata = ##t % applies to "fas"
1071 \unset ignoreMelismata
1078 The @code{ignoreMelismata} applies to the syllable ``fas'', so it
1079 should be entered before ``go''.
1081 The reverse is also possible: making a lyric line slower than the
1082 standard. This can be achieved by insert @code{\skip}s into the
1083 lyrics. For every @code{\skip}, the text will be delayed another note.
1086 @lilypond[verbatim,raggedright,quote]
1087 \relative { c c g' }
1094 More complex variations in text underlay are possible. It is possible
1095 to switch the melody for a line of lyrics during the text. This is
1096 done by setting the @code{associatedVoice} property. In the example
1098 @lilypond[raggedright,quote]
1100 \relative \context Voice = "lahlah" {
1101 \set Staff.autoBeaming = ##f
1104 \context Voice = alternative {
1107 % show associations clearly.
1108 \override NoteColumn #'force-hshift = #-3
1119 \new Lyrics \lyricsto "lahlah" {
1120 Ju -- ras -- sic Park
1122 \new Lyrics \lyricsto "lahlah" {
1123 % Tricky: need to set associatedVoice
1124 % one syllable too soon!
1125 \set associatedVoice = alternative % applies to "ran"
1129 \set associatedVoice = lahlah % applies to "rus"
1135 the text for the first stanza is set to a melody called ``lahlah'',
1138 \new Lyrics \lyricsto "lahlah" @{
1139 Ju -- ras -- sic Park
1144 The second stanza initially is set to the @code{lahlah} context, but
1145 for the syllable ``ran'', it switches to a different melody.
1146 This is achieved with
1148 \set associatedVoice = alternative
1152 Here, @code{alternative} is the name of the @code{Voice} context
1153 containing the triplet.
1155 Again, the command must be one syllable too early, before ``Ty'' in
1159 \new Lyrics \lyricsto "lahlah" @{
1160 \set associatedVoice = alternative % applies to "ran"
1164 \set associatedVoice = lahlah % applies to "rus"
1170 The underlay is switched back to the starting situation by assigning
1171 @code{lahlah} to @code{associatedVoice}.
1177 @subsection More stanzas
1179 @cindex phrasing, in lyrics
1182 @cindex stanza number
1183 @cindex singer's names
1184 @cindex name of singer
1186 Stanza numbers can be added by setting @code{stanza}, e.g.,
1188 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
1190 \time 3/4 g2 e4 a2 f4 g2.
1193 Hi, my name is Bert.
1196 Oh, che -- ri, je t'aime
1200 These numbers are put just before the start of first syllable.
1202 Names of singers can also be added. They are printed at the start of
1203 the line, just like instrument names. They are created by setting
1204 @code{vocalName}. A short version may be entered as @code{vocNam}.
1207 @lilypond[fragment,raggedright,quote,verbatim,relative=2]
1209 \time 3/4 g2 e4 a2 f4 g2.
1211 \set vocalName = "Bert "
1212 Hi, my name is Bert.
1214 \set vocalName = "Ernie "
1215 Oh, che -- ri, je t'aime
1221 Program reference: Layout objects @internalsref{LyricText} and
1222 @internalsref{VocalName}. Music expressions
1223 @internalsref{LyricEvent}.
1231 The term @emph{ambitus} denotes a range of pitches for a given voice
1232 in a part of music. It may also denote the pitch range that a musical
1233 instrument is capable of playing. Ambits are printed on vocal parts,
1234 so performers can easily determine it meets their capabilities.
1236 Ambits are denoted at the beginning of a piece near the initial clef.
1237 The range is graphically specified by two note heads that represent the
1238 minimum and maximum pitch. To print such ambits, add the
1239 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
1246 \consists Ambitus_engraver
1251 This results in the following output
1253 @lilypond[quote,raggedright]
1257 \consists Ambitus_engraver
1261 \relative \new Staff {
1266 If you have multiple voices in a single staff and you want a single
1267 ambitus per staff rather than per each voice, add the
1268 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
1269 rather than to the @internalsref{Voice} context. Here is an example,
1271 @lilypond[verbatim,raggedright,quote]
1273 \consists "Ambitus_engraver"
1277 \remove "Ambitus_engraver"
1279 \override Ambitus #'X-offset-callbacks
1280 = #(list (lambda (grob axis) -1.0))
1285 \remove "Ambitus_engraver"
1294 This example uses one advanced feature,
1297 \override Ambitus #'X-offset-callbacks
1298 = #(list (lambda (grob axis) -1.0))
1302 This code moves the ambitus to the left. The same effect could have
1303 been achieved with @code{extra-offset}, but then the formatting system
1304 would not reserve space for the moved object.
1308 Program reference: @internalsref{Ambitus},
1309 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1310 @internalsref{AmbitusAccidental}.
1312 Examples: @inputfileref{input/@/regression,ambitus@/.ly}.
1316 There is no collision handling in the case of multiple per-voice
1319 @node Other vocal issues
1320 @subsection Other vocal issue
1323 yeah, I'm giving up somewhat by stuffing a bunch of things in
1324 here. But at least they're in the manual now; it's easier to
1325 move them around in the manual once they're already here.
1327 Besides, if users complain about everything stuffed in here, I
1328 can ask them for specific instructions about where to move these
1329 examples, and that might get them more involved in the docs. -gp
1332 You can display alternate (or divisi) lyrics by naming voice
1333 contexts and attaching lyrics to those specific contexts.
1335 @lilypond[verbatim,raggedright,quote]
1337 \context Voice = "melody" {
1342 \context Voice = splitpart { \voiceTwo c4 }
1347 \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
1348 \new Lyrics \lyricsto "splitpart" { shall }
1353 You can use this trick to display different lyrics for a repeated
1356 @lilypond[verbatim,raggedright,quote]
1358 \context Voice = melody \relative c' {
1360 \context Voice = verse \repeat volta 2 {c4 d e f | g1 | }
1362 \lyricsto melody \context Lyrics = mainlyrics \lyricmode {
1365 \lyricsto verse \context Lyrics = mainlyrics \lyricmode {
1367 \lyricsto verse \context Lyrics = repeatlyrics \lyricmode {
1368 dodo rere mimi fafa solsol }
1374 To notate ``parlato'' (spoken without pitch but still with
1377 @lilypond[raggedright,verbatim,quote,fragment,relative=2]
1379 \override NoteHead #'style = #'cross
1381 \revert NoteHead #'style
1386 @node Rhythmic music
1387 @section Rhythmic music
1389 Rhythmic music is primarily used for percussion and drum notation, but it can
1390 also be used to show the rhythms of melodies.
1393 * Showing melody rhythms::
1394 * Entering percussion::
1395 * Percussion staves::
1399 @node Showing melody rhythms
1400 @subsection Showing melody rhythms
1402 Sometimes you might want to show only the rhythm of a melody. This
1403 can be done with the rhythmic staff. All pitches of notes on such a
1404 staff are squashed, and the staff itself has a single line
1406 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1407 \context RhythmicStaff {
1409 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1415 Program reference: @internalsref{RhythmicStaff}.
1417 Examples: @inputfileref{input/@/regression,rhythmic@/-staff@/.ly}.
1420 @node Entering percussion
1421 @subsection Entering percussion
1427 Percussion notes may be entered in @code{\drummode} mode, which is
1428 similar to the standard mode for entering notes. Each piece of
1429 percussion has a full name and an abbreviated name, and both can be used
1432 @lilypond[quote,raggedright,verbatim]
1434 hihat hh bassdrum bd
1438 The complete list of drum names is in the init file
1439 @file{ly/@/drumpitch@/-init@/.ly}.
1440 @c TODO: properly document this.
1444 Program reference: @internalsref{note-event}.
1446 @node Percussion staves
1447 @subsection Percussion staves
1451 A percussion part for more than one instrument typically uses a
1452 multiline staff where each position in the staff refers to one piece
1456 To typeset the music, the notes must be interpreted in a
1457 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
1459 @lilypond[quote,raggedright,verbatim]
1460 up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
1461 down = \drummode { bassdrum4 snare8 bd r bd sn4 }
1463 \new DrumVoice { \voiceOne \up }
1464 \new DrumVoice { \voiceTwo \down }
1468 The above example shows verbose polyphonic notation. The short
1469 polyphonic notation, described in @ref{Polyphony}, can also be used if
1470 the @internalsref{DrumVoice}s are instantiated by hand first. For example,
1472 @lilypond[quote,raggedright,fragment,verbatim]
1474 \context DrumVoice = "1" { s1 *2 }
1475 \context DrumVoice = "2" { s1 *2 }
1479 { \repeat unfold 16 hh16 }
1488 There are also other layout possibilities. To use these, set the
1489 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
1490 The following variables have been predefined
1494 This is the default. It typesets a typical drum kit on a five-line staff
1496 @lilypond[quote,linewidth=10.0\cm]
1498 cymc cyms cymr hh hhc hho hhho hhp
1499 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl }
1501 cymc cyms cymr hh hhc hho hhho hhp \break
1502 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
1504 << \new DrumStaff \with {
1505 \remove Bar_engraver
1506 \remove Time_signature_engraver
1507 \override Stem #'transparent = ##t
1508 \override Stem #'Y-extent-callback = ##f
1509 minimumVerticalExtent = #'(-4.0 . 5.0)
1511 \context Lyrics \nam
1516 \override LyricText #'font-family = #'typewriter
1517 \override BarNumber #'transparent =##T
1523 The drum scheme supports six different toms. When there are fewer toms,
1524 simply select the toms that produce the desired result, i.e., to get toms
1525 on the three middle lines you use @code{tommh}, @code{tomml}, and
1528 @item timbales-style
1529 This typesets timbales on a two line staff
1531 @lilypond[quote,raggedright]
1532 nam = \lyricmode { timh ssh timl ssl cb }
1533 mus = \drummode { timh ssh timl ssl cb s16 }
1536 \context DrumStaff \with {
1537 \remove Bar_engraver
1538 \remove Time_signature_engraver
1539 \override Stem #'transparent = ##t
1540 \override Stem #'Y-extent-callback = ##f
1541 \override StaffSymbol #'line-count = #2
1542 \override StaffSymbol #'staff-space = #2
1543 minimumVerticalExtent = #'(-3.0 . 4.0)
1544 drumStyleTable = #timbales-style
1547 \override LyricText #'font-family = #'typewriter
1554 This typesets congas on a two line staff
1556 @lilypond[quote,raggedright]
1557 nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
1558 mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
1561 \context DrumStaff \with {
1562 \remove Bar_engraver
1563 \remove Time_signature_engraver
1564 drumStyleTable = #congas-style
1565 \override StaffSymbol #'line-count = #2
1567 %% this sucks; it will lengthen stems.
1568 \override StaffSymbol #'staff-space = #2
1569 \override Stem #'transparent = ##t
1570 \override Stem #'Y-extent-callback = ##f
1573 \override LyricText #'font-family = #'typewriter
1580 This typesets bongos on a two line staff
1582 @lilypond[quote,raggedright]
1583 nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
1584 mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
1587 \context DrumStaff\with {
1588 \remove Bar_engraver
1589 \remove Time_signature_engraver
1590 \override StaffSymbol #'line-count = #2
1591 drumStyleTable = #bongos-style
1593 %% this sucks; it will lengthen stems.
1594 \override StaffSymbol #'staff-space = #2
1595 \override Stem #'transparent = ##t
1596 \override Stem #'Y-extent-callback = ##f
1599 \override LyricText #'font-family = #'typewriter
1605 @item percussion-style
1606 To typeset all kinds of simple percussion on one line staves.
1608 @lilypond[quote,raggedright]
1609 nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
1610 mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
1613 \context DrumStaff\with{
1614 \remove Bar_engraver
1615 drumStyleTable = #percussion-style
1616 \override StaffSymbol #'line-count = #1
1617 \remove Time_signature_engraver
1618 \override Stem #'transparent = ##t
1619 \override Stem #'Y-extent-callback = ##f
1622 \override LyricText #'font-family = #'typewriter
1629 If you do not like any of the predefined lists you can define your own
1630 list at the top of your file
1632 @lilypond[quote,raggedright,verbatim]
1634 (bassdrum default #f -1)
1635 (snare default #f 0)
1637 (pedalhihat xcircle "stopped" 2)
1638 (lowtom diamond #f 3)))
1639 up = \drummode { hh8 hh hh hh hhp4 hhp }
1640 down = \drummode { bd4 sn bd toml8 toml }
1643 \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
1644 \new DrumVoice { \voiceOne \up }
1645 \new DrumVoice { \voiceTwo \down }
1652 Init files: @file{ly/@/drumpitch@/-init@/.ly}.
1654 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
1658 Because general MIDI does not contain rim shots, the sidestick is used
1659 for this purpose instead.
1668 @cindex guitar tablature
1671 * String number indications::
1672 * Tablatures basic::
1673 * Non-guitar tablatures::
1677 @node String number indications
1678 @subsection String number indications
1680 @cindex String numbers
1682 String numbers can be added to chords, by indicating the string number
1683 with @code{\}@var{number},
1685 @lilypond[relative,relative=1,raggedright,fragment]
1689 See also @inputfileref{input/regression,string-number.ly}.
1694 Program reference: @internalsref{StringNumber},
1695 @internalsref{StringNumberEvent}
1698 @node Tablatures basic
1699 @subsection Tablatures basic
1700 @cindex Tablatures basic
1702 Tablature notation is used for notating music for plucked string
1703 instruments. Pitches are not denoted with note heads, but by
1704 numbers indicating on which string and fret a note must be played. LilyPond
1705 offers limited support for tablature.
1707 The string number associated to a note is given as a backslash
1708 followed by a number, e.g., @code{c4\3} for a C quarter on the third
1709 string. By default, string 1 is the highest one, and the tuning
1710 defaults to the standard guitar tuning (with 6 strings). The notes
1711 are printed as tablature, by using @internalsref{TabStaff} and
1712 @internalsref{TabVoice} contexts
1714 @lilypond[quote,raggedright,fragment,verbatim]
1721 @cindex @code{minimumFret}
1724 When no string is specified, the first string that does not give a
1725 fret number less than @code{minimumFret} is selected. The default
1726 value for @code{minimumFret} is 0
1731 \set TabStaff.minimumFret = #8
1734 @lilypond[quote,raggedright]
1738 \set TabStaff.minimumFret = #8
1741 \context StaffGroup <<
1742 \context Staff { \clef "G_8" \frag }
1743 \context TabStaff { \frag }
1749 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}, and
1750 @internalsref{StringNumberEvent}.
1754 Chords are not handled in a special way, and hence the automatic
1755 string selector may easily select the same string to two notes in a
1759 @node Non-guitar tablatures
1760 @subsection Non-guitar tablatures
1761 @cindex Non-guitar tablatures
1763 You can change the number of strings, by setting the number of lines
1764 in the @internalsref{TabStaff}.
1766 You can change the tuning of the strings. A string tuning is given as
1767 a Scheme list with one integer number for each string, the number
1768 being the pitch (measured in semitones relative to middle C) of an
1769 open string. The numbers specified for @code{stringTuning} are the
1770 numbers of semitones to subtract or add, starting the specified pitch
1771 by default middle C, in string order. In the next example,
1772 @code{stringTunings} is set for the pitches e, a, d, and g
1774 @lilypond[quote,raggedright,fragment,verbatim]
1775 \context TabStaff <<
1776 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
1778 a,4 c' a e' e c' a e'
1785 No guitar special effects have been implemented.
1789 Program reference: @internalsref{Tab_note_heads_engraver}.
1793 @subsection Fret diagrams
1794 @cindex fret diagrams
1795 @cindex chord diagrams
1797 Fret diagrams can be added to music as a markup to the desired note. The
1798 markup contains information about the desired fret diagram, as shown in the
1801 @lilypond[verbatim, raggedright, quote]
1803 d' ^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
1805 fis' ^\markup \override #'(size . 0.75) {
1806 \override #'(finger-code . below-string) {
1807 \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
1808 (place-fret 5 4 3) (place-fret 4 4 4)
1809 (place-fret 3 3 2) (place-fret 2 2 1)
1814 c' ^\markup \override #'(dot-radius . 0.35) {
1815 \override #'(finger-code . in-dot) {
1816 \override #'(dot-color . white) {
1817 \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
1826 There are three different fret-diagram markup interfaces: standard, terse,
1827 and verbose. The three interfaces produce equivalent markups, but have
1828 varying amounts of information in the markup string. Details about the
1829 markup interfaces are found at @ref{Overview of text markup commands}.
1831 You can set a number of graphical properties according to your preference.
1832 Details about the property interface to fret diagrams are found at
1833 @internalsref{fret-diagram-interface}.
1838 Examples: @inputfileref{input/@/test,fret@/-diagram@/.ly}
1842 @node Ancient notation
1843 @section Ancient notation
1845 @cindex Vaticana, Editio
1846 @cindex Medicaea, Editio
1851 Support for ancient notation includes features for mensural notation
1852 and Gregorian Chant notation. There is also limited support for
1853 figured bass notation.
1855 Many graphical objects provide a @code{style} property, see
1858 @ref{Ancient note heads},
1860 @ref{Ancient accidentals},
1862 @ref{Ancient rests},
1864 @ref{Ancient clefs},
1866 @ref{Ancient flags},
1868 @ref{Ancient time signatures}.
1871 By manipulating such a grob property, the typographical appearance of
1872 the affected graphical objects can be accommodated for a specific
1873 notation flavor without the need for introducing any new notational
1876 In addition to the standard articulation signs described in section
1877 @ref{Articulations}, specific articulation signs for ancient notation
1882 @ref{Ancient articulations}
1885 Other aspects of ancient notation can not that easily be expressed
1886 in terms of just changing a style property of a graphical object or
1887 adding articulation signs. Some notational concepts are introduced
1888 specifically for ancient notation,
1899 If this all is too much of documentation for you, and you just want to
1900 dive into typesetting without worrying too much about the details on
1901 how to customize a context, you may have a look at the predefined
1902 contexts. Use them to set up predefined style-specific voice and
1903 staff contexts, and directly go ahead with the note entry,
1907 @ref{Gregorian Chant contexts},
1909 @ref{Mensural contexts}.
1912 There is limited support for figured bass notation which came
1913 up during the baroque period.
1920 Here are all suptopics at a glance:
1923 * Ancient note heads::
1924 * Ancient accidentals::
1928 * Ancient time signatures::
1929 * Ancient articulations::
1933 * Gregorian Chant contexts::
1934 * Mensural contexts::
1939 @node Ancient note heads
1940 @subsection Ancient note heads
1945 For ancient notation, a note head style other than the @code{default}
1946 style may be chosen. This is accomplished by setting the @code{style}
1947 property of the @internalsref{NoteHead} object to @code{baroque},
1948 @code{neomensural} or @code{mensural}. The @code{baroque} style
1949 differs from the @code{default} style only in using a square shape
1950 for @code{\breve} note heads. The @code{neomensural} style differs from
1951 the @code{baroque} style in that it uses rhomboidal heads for whole notes
1952 and all smaller durations. Stems are centered on the note heads.
1953 This style is particularly useful when transcribing mensural music,
1954 e.g., for the incipit. The @code{mensural} style finally produces note
1955 heads that mimic the look of note heads in historic printings of the
1958 The following example demonstrates the @code{neomensural} style
1960 @lilypond[quote,fragment,raggedright,verbatim]
1961 \set Score.skipBars = ##t
1962 \override NoteHead #'style = #'neomensural
1963 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
1966 When typesetting a piece in Gregorian Chant notation, the
1967 @internalsref{Gregorian_ligature_engraver} will automatically select
1968 the proper note heads, so there is no need to explicitly set the
1969 note head style. Still, the note head style can be set, e.g., to
1970 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
1971 @internalsref{Mensural_ligature_engraver} is used to automatically
1972 assemble mensural ligatures. See @ref{Ligatures} for how ligature
1977 Examples: @inputfileref{input/@/regression,note@/-head@/-style@/.ly} gives an
1978 overview over all available note head styles.
1981 @node Ancient accidentals
1982 @subsection Ancient accidentals
1987 Use the @code{style} property of grob @internalsref{Accidental} to
1988 select ancient accidentals. Supported styles are
1989 @code{mensural}, @code{vaticana}, @code{hufnagel}, and @code{medicaea}.
1991 @lilypond[quote,raggedright,staffsize=26]
1998 \line { " " \musicglyph #"accidentals.vaticana-1"
1999 " " \musicglyph #"accidentals.vaticana0" }
2003 \line { " " \musicglyph #"accidentals.medicaea-1" }
2007 \line { " " \musicglyph #"accidentals.hufnagel-1" }
2011 \line { " " \musicglyph #"accidentals.mensural-1"
2012 " " \musicglyph #"accidentals.mensural1" }
2018 \context { \Score \remove "Bar_number_engraver" }
2020 \remove "Clef_engraver"
2021 \remove "Key_engraver"
2022 \remove "Time_signature_engraver"
2023 \remove "Staff_symbol_engraver"
2024 minimumVerticalExtent = ##f
2030 As shown, not all accidentals are supported by each style. When
2031 trying to access an unsupported accidental, LilyPond will switch to a
2032 different style, as demonstrated in
2033 @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2035 Similarly to local accidentals, the style of the key signature can be
2036 controlled by the @code{style} property of the
2037 @internalsref{KeySignature} grob.
2041 In this manual: @ref{Pitches}, @ref{Cautionary accidentals} and
2042 @ref{Automatic accidentals} give a general introduction of the use of
2043 accidentals. @ref{Key signature} gives a general introduction of
2044 the use of key signatures.
2046 Program reference: @internalsref{KeySignature}.
2048 Examples: @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2051 @subsection Ancient rests
2056 Use the @code{style} property of grob @internalsref{Rest} to select
2057 ancient rests. Supported styles are @code{classical},
2058 @code{neomensural}, and @code{mensural}. @code{classical} differs
2059 from the @code{default} style only in that the quarter rest looks like
2060 a horizontally mirrored 8th rest. The @code{neomensural} style suits
2061 well for, e.g., the incipit of a transcribed mensural piece of music.
2062 The @code{mensural} style finally mimics the appearance of rests as
2063 in historic prints of the 16th century.
2065 The following example demonstrates the @code{neomensural} style
2067 @lilypond[quote,fragment,raggedright,verbatim]
2068 \set Score.skipBars = ##t
2069 \override Rest #'style = #'neomensural
2070 r\longa r\breve r1 r2 r4 r8 r16
2073 There are no 32th and 64th rests specifically for the mensural or
2074 neo-mensural style. Instead, the rests from the default style will be
2075 taken. See @inputfileref{input/@/test,rests@/.ly} for a chart of all
2078 There are no rests in Gregorian Chant notation; instead, it uses
2083 In this manual: @ref{Rests} gives a general introduction into the use of rests.
2087 @subsection Ancient clefs
2092 LilyPond supports a variety of clefs, many of them ancient.
2094 The following table shows all ancient clefs that are supported via the
2095 @code{\clef} command. Some of the clefs use the same glyph, but
2096 differ only with respect to the line they are printed on. In such
2097 cases, a trailing number in the name is used to enumerate these clefs.
2098 Still, you can manually force a clef glyph to be typeset on an
2099 arbitrary line, as described in @ref{Clef}. The note printed to the
2100 right side of each clef in the example column denotes the @code{c'}
2101 with respect to that clef.
2103 @multitable @columnfractions .4 .4 .2
2112 modern style mensural C clef
2114 @code{neomensural-c1}, @code{neomensural-c2},@*
2115 @code{neomensural-c3}, @code{neomensural-c4}
2117 @lilypond[fragment,relative=1,notime]
2118 \clef "neomensural-c2" c
2122 petrucci style mensural C clefs, for use on different staff lines
2123 (the examples show the 2nd staff line C clef)
2125 @code{petrucci-c1}, @code{petrucci-c2},@*
2126 @code{petrucci-c3}, @code{petrucci-c4},@*
2129 @lilypond[fragment,relative=1,notime]
2131 \override NoteHead #'style = #'mensural
2136 petrucci style mensural F clef
2140 @lilypond[fragment,relative=1,notime]
2142 \override NoteHead #'style = #'mensural
2147 petrucci style mensural G clef
2151 @lilypond[fragment,relative=1,notime]
2153 \override NoteHead #'style = #'mensural
2158 historic style mensural C clef
2160 @code{mensural-c1}, @code{mensural-c2},@*
2161 @code{mensural-c3}, @code{mensural-c4}
2163 @lilypond[fragment,relative=1,notime]
2165 \override NoteHead #'style = #'mensural
2170 historic style mensural F clef
2174 @lilypond[fragment,relative=1,notime]
2176 \override NoteHead #'style = #'mensural
2181 historic style mensural G clef
2185 @lilypond[fragment,relative=1,notime]
2187 \override NoteHead #'style = #'mensural
2192 Editio Vaticana style do clef
2194 @code{vaticana-do1}, @code{vaticana-do2},@*
2197 @lilypond[fragment,relative=1,notime]
2198 \override Staff.StaffSymbol #'line-count = #4
2199 \override Staff.StaffSymbol #'color = #red
2200 \override Staff.LedgerLineSpanner #'color = #red
2201 \override Voice.Stem #'transparent = ##t
2202 \override NoteHead #'style = #'vaticana.punctum
2203 \clef "vaticana-do2"
2208 Editio Vaticana style fa clef
2210 @code{vaticana-fa1}, @code{vaticana-fa2}
2212 @lilypond[fragment,relative=1,notime]
2213 \override Staff.StaffSymbol #'line-count = #4
2214 \override Staff.StaffSymbol #'color = #red
2215 \override Staff.LedgerLineSpanner #'color = #red
2216 \override Voice.Stem #'transparent = ##t
2217 \override NoteHead #'style = #'vaticana.punctum
2218 \clef "vaticana-fa2"
2223 Editio Medicaea style do clef
2225 @code{medicaea-do1}, @code{medicaea-do2},@*
2228 @lilypond[fragment,relative=1,notime]
2229 \override Staff.StaffSymbol #'line-count = #4
2230 \override Staff.StaffSymbol #'color = #red
2231 \override Staff.LedgerLineSpanner #'color = #red
2232 \override Voice.Stem #'transparent = ##t
2233 \override NoteHead #'style = #'medicaea.punctum
2234 \clef "medicaea-do2"
2239 Editio Medicaea style fa clef
2241 @code{medicaea-fa1}, @code{medicaea-fa2}
2243 @lilypond[fragment,relative=1,notime]
2244 \override Staff.StaffSymbol #'line-count = #4
2245 \override Staff.StaffSymbol #'color = #red
2246 \override Staff.LedgerLineSpanner #'color = #red
2247 \override Voice.Stem #'transparent = ##t
2248 \override NoteHead #'style = #'medicaea.punctum
2249 \clef "medicaea-fa2"
2254 historic style hufnagel do clef
2256 @code{hufnagel-do1}, @code{hufnagel-do2},@*
2259 @lilypond[fragment,relative=1,notime]
2260 \override Staff.StaffSymbol #'line-count = #4
2261 \override Staff.StaffSymbol #'color = #red
2262 \override Staff.LedgerLineSpanner #'color = #red
2263 \override Voice.Stem #'transparent = ##t
2264 \override NoteHead #'style = #'hufnagel.punctum
2265 \clef "hufnagel-do2"
2270 historic style hufnagel fa clef
2272 @code{hufnagel-fa1}, @code{hufnagel-fa2}
2274 @lilypond[fragment,relative=1,notime]
2275 \override Staff.StaffSymbol #'line-count = #4
2276 \override Staff.StaffSymbol #'color = #red
2277 \override Staff.LedgerLineSpanner #'color = #red
2278 \override Voice.Stem #'transparent = ##t
2279 \override NoteHead #'style = #'hufnagel.punctum
2280 \clef "hufnagel-fa2"
2285 historic style hufnagel combined do/fa clef
2287 @code{hufnagel-do-fa}
2289 @lilypond[fragment,relative=1,notime]
2290 \override Staff.StaffSymbol #'color = #red
2291 \override Staff.LedgerLineSpanner #'color = #red
2292 \override Voice.Stem #'transparent = ##t
2293 \override NoteHead #'style = #'hufnagel.punctum
2294 \clef "hufnagel-do-fa"
2301 @emph{Modern style} means ``as is typeset in contemporary editions of
2302 transcribed mensural music''.
2304 @emph{Petrucci style} means ``inspired by printings published by the
2305 famous engraver Petrucci (1466-1539)''.
2307 @emph{Historic style} means ``as was typeset or written in historic
2308 editions (other than those of Petrucci)''.
2310 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
2312 Petrucci used C clefs with differently balanced left-side vertical
2313 beams, depending on which staff line it is printed.
2317 In this manual: see @ref{Clef}.
2321 The mensural g clef is mapped to the Petrucci g clef.
2326 @subsection Ancient flags
2331 Use the @code{flag-style} property of grob @internalsref{Stem} to
2332 select ancient flags. Besides the @code{default} flag style,
2333 only the @code{mensural} style is supported
2335 @lilypond[quote,fragment,raggedright,verbatim]
2336 \override Stem #'flag-style = #'mensural
2337 \override Stem #'thickness = #1.0
2338 \override NoteHead #'style = #'mensural
2340 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
2341 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
2344 Note that the innermost flare of each mensural flag always is
2345 vertically aligned with a staff line.
2347 There is no particular flag style for neo-mensural notation. Hence,
2348 when typesetting the incipit of a transcribed piece of mensural
2349 music, the default flag style should be used. There are no flags in
2350 Gregorian Chant notation.
2354 The attachment of ancient flags to stems is slightly off due to a
2355 change in early 2.3.x.
2357 Vertically aligning each flag with a staff line assumes that stems
2358 always end either exactly on or exactly in the middle between two
2359 staff lines. This may not always be true when using advanced layout
2360 features of classical notation (which however are typically out of
2361 scope for mensural notation).
2363 @node Ancient time signatures
2364 @subsection Ancient time signatures
2366 @cindex time signatures
2369 There is limited support for mensural time signatures. The
2370 glyphs are hard-wired to particular time fractions. In other words,
2371 to get a particular mensural signature glyph with the @code{\time n/m}
2372 command, @code{n} and @code{m} have to be chosen according to the
2375 @lilypond[quote,raggedright]
2380 \remove Staff_symbol_engraver
2381 \remove Clef_engraver
2382 \remove Time_signature_engraver
2386 \set Score.timing = ##f
2387 \set Score.barAlways = ##t
2388 s_\markup { "\\time 4/4" }
2389 ^\markup { " " \musicglyph #"timesig.neomensural44" }
2391 s_\markup { "\\time 2/2" }
2392 ^\markup { " " \musicglyph #"timesig.neomensural22" }
2394 s_\markup { "\\time 6/4" }
2395 ^\markup { " " \musicglyph #"timesig.neomensural64" }
2397 s_\markup { "\\time 6/8" }
2398 ^\markup { " " \musicglyph #"timesig.neomensural68" }
2400 s_\markup { "\\time 3/2" }
2401 ^\markup { " " \musicglyph #"timesig.neomensural32" }
2403 s_\markup { "\\time 3/4" }
2404 ^\markup { " " \musicglyph #"timesig.neomensural34" }
2406 s_\markup { "\\time 9/4" }
2407 ^\markup { " " \musicglyph #"timesig.neomensural94" }
2409 s_\markup { "\\time 9/8" }
2410 ^\markup { " " \musicglyph #"timesig.neomensural98" }
2412 s_\markup { "\\time 4/8" }
2413 ^\markup { " " \musicglyph #"timesig.neomensural48" }
2415 s_\markup { "\\time 2/4" }
2416 ^\markup { " " \musicglyph #"timesig.neomensural24" }
2420 Use the @code{style} property of grob @internalsref{TimeSignature} to
2421 select ancient time signatures. Supported styles are
2422 @code{neomensural} and @code{mensural}. The above table uses the
2423 @code{neomensural} style. This style is appropriate for the
2424 incipit of transcriptions of mensural pieces. The @code{mensural}
2425 style mimics the look of historical printings of the 16th century.
2427 The following examples show the differences in style,
2429 @lilypond[raggedright,fragment,relative=1,quote]
2434 c1^\markup { \hspace #-2.0 \typewriter default }
2436 \override Staff.TimeSignature #'style = #'numbered
2438 c1^\markup { \hspace #-2.0 \typewriter numbered }
2440 \override Staff.TimeSignature #'style = #'mensural
2442 c1^\markup { \hspace #-2.0 \typewriter mensural }
2444 \override Staff.TimeSignature #'style = #'neomensural
2446 c1^\markup { \hspace #-2.0 \typewriter neomensural }
2447 \override Staff.TimeSignature #'style = #'single-digit
2449 c1^\markup { \hspace #-2.0 \typewriter single-digit }
2455 This manual: @ref{Time signature} gives a general introduction to
2456 the use of time signatures.
2460 Ratios of note durations do not change with the time signature. For
2461 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
2462 be made by hand, by setting
2465 breveTP = #(ly:make-duration -1 0 3 2)
2471 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
2473 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
2474 addressable with @code{\time}. Use a @code{\markup} instead
2476 @node Ancient articulations
2477 @subsection Ancient articulations
2479 @cindex articulations
2481 In addition to the standard articulation signs described in section
2482 @ref{Articulations}, articulation signs for ancient notation are
2483 provided. These are specifically designed for use with notation in
2484 Editio Vaticana style.
2486 @lilypond[quote,raggedright,verbatim]
2487 \include "gregorian-init.ly"
2489 \context VaticanaVoice {
2490 \override Staff.StaffSymbol #'color = #red
2491 \override Staff.LedgerLineSpanner #'color = #red
2492 \override TextScript #'font-family = #'typewriter
2493 \override TextScript #'font-shape = #'upright
2494 \override Script #'padding = #-0.1
2496 a4\circulus_"circulus" s1
2497 a4\semicirculus_"semicirculus" s1 s
2498 a4\accentus_"accentus" s1
2499 \[ a4_"episem" \episemInitium \pes b \flexa a \episemFinis \]
2506 Some articulations are vertically placed too closely to the
2507 correpsonding note heads.
2510 @subsection Custodes
2515 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
2516 symbol that appears at the end of a staff. It anticipates the pitch
2517 of the first note(s) of the following line thus helping the performer
2518 to manage line breaks during performance.
2520 Custodes were frequently used in music notation until the 17th
2521 century. Nowadays, they have survived only in a few particular forms
2522 of musical notation such as contemporary editions of Gregorian chant
2523 like the @emph{editio vaticana}. There are different custos glyphs
2524 used in different flavors of notational style.
2526 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
2527 @internalsref{Staff} context when declaring the @code{\layout} block,
2528 as shown in the following example
2534 \consists Custos_engraver
2535 Custos \override #'style = #'mensural
2540 The result looks like this
2542 @lilypond[quote,raggedright]
2546 \override Staff.Custos #'style = #'mensural
2551 \context { \Staff \consists Custos_engraver }
2556 The custos glyph is selected by the @code{style} property. The styles
2557 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
2558 @code{mensural}. They are demonstrated in the following fragment
2560 @lilypond[quote,raggedright,fragment]
2561 \new Lyrics \lyricmode {
2563 \typewriter "vaticana"
2564 \line { " " \musicglyph #"custodes.vaticana.u0" }
2567 \typewriter "medicaea"
2568 \line { " " \musicglyph #"custodes.medicaea.u0" }
2571 \typewriter "hufnagel"
2572 \line { " " \musicglyph #"custodes.hufnagel.u0" }
2575 \typewriter "mensural"
2576 \line { " " \musicglyph #"custodes.mensural.u0" }
2583 Program reference: @internalsref{Custos}.
2585 Examples: @inputfileref{input/@/regression,custos@/.ly}.
2589 @subsection Divisiones
2595 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
2596 `division') is a staff context symbol that is used to structure
2597 Gregorian music into phrases and sections. The musical meaning of
2598 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
2599 can be characterized as short, medium, and long pause, somewhat like
2600 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
2601 only marks the end of a chant, but is also frequently used within a
2602 single antiphonal/responsorial chant to mark the end of each section.
2605 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
2606 contains definitions that you can apply by just inserting
2607 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
2608 and @code{\finalis} at proper places in the input. Some editions use
2609 @emph{virgula} or @emph{caesura} instead of divisio minima.
2610 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
2613 @lilypondfile[quote,raggedright]{divisiones.ly}
2617 @cindex @code{\virgula}
2619 @cindex @code{\caesura}
2621 @cindex @code{\divisioMinima}
2622 @code{\divisioMinima},
2623 @cindex @code{\divisioMaior}
2624 @code{\divisioMaior},
2625 @cindex @code{\divisioMaxima}
2626 @code{\divisioMaxima},
2627 @cindex @code{\finalis}
2632 In this manual: @ref{Breath marks}.
2634 Program reference: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
2636 Examples: @inputfileref{input/@/test,divisiones@/.ly}.
2639 @subsection Ligatures
2643 @c TODO: Should double check if I recalled things correctly when I wrote
2644 @c down the following paragraph by heart.
2646 A ligature is a graphical symbol that represents at least two distinct
2647 notes. Ligatures originally appeared in the manuscripts of Gregorian
2648 chant notation to denote ascending or descending sequences of notes.
2650 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
2651 Some ligature styles may need additional input syntax specific for
2652 this particular type of ligature. By default, the
2653 @internalsref{LigatureBracket} engraver just puts a square bracket
2656 @lilypond[quote,raggedright,verbatim]
2664 To select a specific style of ligatures, a proper ligature engraver
2665 has to be added to the @internalsref{Voice} context, as explained in
2666 the following subsections. Only white mensural ligatures
2667 are supported with certain limitations.
2673 Ligatures need special spacing that has not yet been implemented. As
2674 a result, there is too much space between ligatures most of the time,
2675 and line breaking often is unsatisfactory. Also, lyrics do not
2676 correctly align with ligatures.
2678 Accidentals must not be printed within a ligature, but instead need to
2679 be collected and printed in front of it.
2681 Augmentum dots within ligatures are not handled correctly.
2683 The syntax still uses the deprecated infix style @code{\[ music expr
2684 \]}. For consistency reasons, it will eventually be changed to
2685 postfix style @code{note\[ ... note\]}. Alternatively, the file
2686 @file{gregorian@/-init@/.ly} can be included; it provides a scheme
2689 \ligature @var{music expr}
2691 with the same effect and is believed to be stable.
2694 * White mensural ligatures::
2695 * Gregorian square neumes ligatures::
2698 @node White mensural ligatures
2699 @subsubsection White mensural ligatures
2701 @cindex Mensural ligatures
2702 @cindex White mensural ligatures
2704 There is limited support for white mensural ligatures.
2706 To engrave white mensural ligatures, in the layout block put the
2707 @internalsref{Mensural_ligature_engraver} into the
2708 @internalsref{Voice} context, and remove the
2709 @internalsref{Ligature_bracket_engraver}, like this
2715 \remove Ligature_bracket_engraver
2716 \consists Mensural_ligature_engraver
2721 There is no additional input language to describe the shape of a
2722 white mensural ligature. The shape is rather determined solely from
2723 the pitch and duration of the enclosed notes. While this approach may
2724 take a new user a while to get accustomed to, it has the great advantage
2725 that the full musical information of the ligature is known internally.
2726 This is not only required for correct MIDI output, but also allows for
2727 automatic transcription of the ligatures.
2732 \set Score.timing = ##f
2733 \set Score.defaultBarType = "empty"
2734 \override NoteHead #'style = #'neomensural
2735 \override Staff.TimeSignature #'style = #'neomensural
2739 \[ d\longa c\breve f e d \]
2741 \[ c'\maxima d'\longa \]
2745 @lilypond[quote,raggedright]
2748 \set Score.timing = ##f
2749 \set Score.defaultBarType = "empty"
2750 \override NoteHead #'style = #'neomensural
2751 \override Staff.TimeSignature #'style = #'neomensural
2755 \[ d\longa c\breve f e d \]
2757 \[ c'\maxima d'\longa \]
2764 \remove Ligature_bracket_engraver
2765 \consists Mensural_ligature_engraver
2771 Without replacing @internalsref{Ligature_bracket_engraver} with
2772 @internalsref{Mensural_ligature_engraver}, the same music transcribes
2775 @lilypond[quote,raggedright]
2777 \set Score.timing = ##f
2778 \set Score.defaultBarType = "empty"
2779 \override NoteHead #'style = #'neomensural
2780 \override Staff.TimeSignature #'style = #'neomensural
2784 \[ d\longa c\breve f e d \]
2786 \[ c'\maxima d'\longa \]
2794 The invisible rests (@code{s4}) in the example are used to compensate
2795 for the poor horizontal spacing.
2797 @node Gregorian square neumes ligatures
2798 @subsubsection Gregorian square neumes ligatures
2800 @cindex Square neumes ligatures
2801 @cindex Gregorian square neumes ligatures
2803 There is limited support for Gregorian square neumes notation
2804 (following the style of the Editio Vaticana). Core ligatures can
2805 already be typeset, but essential issues for serious typesetting are
2806 still lacking, such as (among others) horizontal alignment of multiple
2807 ligatures, lyrics alignment and proper handling of accidentals.
2810 The following table contains the extended neumes table of the 2nd
2811 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
2812 1983 by the monks of Solesmes.
2814 @multitable @columnfractions .4 .2 .2 .2
2831 @c TODO: \layout block is identical in all of the below examples.
2832 @c Therefore, it should somehow be included rather than duplicated all
2835 @c why not make identifiers in ly/engraver-init.ly? --hwn
2837 @c Because it's just used to typeset plain notes without
2838 @c a staff for demonstration purposes rather than something
2839 @c special of Gregorian chant notation. --jr
2844 @lilypond[staffsize=26,linewidth=1.5\cm]
2845 \include "gregorian-init.ly"
2850 \noBreak s^\markup {"a"} \noBreak
2852 % Punctum Inclinatum
2854 \noBreak s^\markup {"b"}
2856 \layout { \neumeDemoLayout }}
2859 @lilypond[staffsize=26,linewidth=2.5\cm]
2860 \include "gregorian-init.ly"
2863 % Punctum Auctum Ascendens
2864 \[ \auctum \ascendens b \]
2865 \noBreak s^\markup {"c"} \noBreak
2867 % Punctum Auctum Descendens
2868 \[ \auctum \descendens b \]
2869 \noBreak s^\markup {"d"} \noBreak
2871 % Punctum Inclinatum Auctum
2872 \[ \inclinatum \auctum b \]
2873 \noBreak s^\markup {"e"}
2875 \layout { \neumeDemoLayout }}
2878 @lilypond[staffsize=26,linewidth=1.0\cm]
2879 \include "gregorian-init.ly"
2882 % Punctum Inclinatum Parvum
2883 \[ \inclinatum \deminutum b \]
2884 \noBreak s^\markup {"f"}
2886 \layout { \neumeDemoLayout }}
2892 @lilypond[staffsize=26,linewidth=1.0\cm]
2893 \include "gregorian-init.ly"
2898 \noBreak s^\markup {"g"}
2900 \layout { \neumeDemoLayout }}
2906 @code{3. Apostropha vel Stropha}
2908 @lilypond[staffsize=26,linewidth=1.0\cm]
2909 \include "gregorian-init.ly"
2914 \noBreak s^\markup {"h"}
2916 \layout { \neumeDemoLayout }}
2919 @lilypond[staffsize=26,linewidth=1.0\cm]
2920 \include "gregorian-init.ly"
2924 \[ \stropha \auctum b \]
2925 \noBreak s^\markup {"i"}
2927 \layout { \neumeDemoLayout }}
2934 @lilypond[staffsize=26,linewidth=1.0\cm]
2935 \include "gregorian-init.ly"
2940 \noBreak s^\markup {"j"}
2942 \layout { \neumeDemoLayout }}
2948 @code{5. Clivis vel Flexa}
2950 @lilypond[staffsize=26,linewidth=1.0\cm]
2951 \include "gregorian-init.ly"
2958 \layout { \neumeDemoLayout }}
2961 @lilypond[staffsize=26,linewidth=2.0\cm]
2962 \include "gregorian-init.ly"
2965 % Clivis Aucta Descendens
2966 \[ b \flexa \auctum \descendens g \]
2967 \noBreak s^\markup {"l"} \noBreak
2969 % Clivis Aucta Ascendens
2970 \[ b \flexa \auctum \ascendens g \]
2971 \noBreak s^\markup {"m"}
2973 \layout { \neumeDemoLayout }}
2976 @lilypond[staffsize=26,linewidth=1.0\cm]
2977 \include "gregorian-init.ly"
2981 \[ b \flexa \deminutum g \]
2984 \layout { \neumeDemoLayout }}
2988 @code{6. Podatus vel Pes}
2990 @lilypond[staffsize=26,linewidth=1.0\cm]
2991 \include "gregorian-init.ly"
2998 \layout { \neumeDemoLayout }}
3001 @lilypond[staffsize=26,linewidth=2.0\cm]
3002 \include "gregorian-init.ly"
3005 % Pes Auctus Descendens
3006 \[ g \pes \auctum \descendens b \]
3007 \noBreak s^\markup {"p"} \noBreak
3009 % Pes Auctus Ascendens
3010 \[ g \pes \auctum \ascendens b \]
3011 \noBreak s^\markup {"q"}
3013 \layout { \neumeDemoLayout }}
3016 @lilypond[staffsize=26,linewidth=1.0\cm]
3017 \include "gregorian-init.ly"
3021 \[ g \pes \deminutum b \]
3024 \layout { \neumeDemoLayout }}
3028 @code{7. Pes Quassus}
3030 @lilypond[staffsize=26,linewidth=1.0\cm]
3031 \include "gregorian-init.ly"
3035 \[ \oriscus g \pes \virga b \]
3038 \layout { \neumeDemoLayout }}
3041 @lilypond[staffsize=26,linewidth=1.0\cm]
3042 \include "gregorian-init.ly"
3045 % Pes Quassus Auctus Descendens
3046 \[ \oriscus g \pes \auctum \descendens b \]
3049 \layout { \neumeDemoLayout }}
3054 @code{8. Quilisma Pes}
3056 @lilypond[staffsize=26,linewidth=1.0\cm]
3057 \include "gregorian-init.ly"
3061 \[ \quilisma g \pes b \]
3064 \layout { \neumeDemoLayout }}
3067 @lilypond[staffsize=26,linewidth=1.0\cm]
3068 \include "gregorian-init.ly"
3071 % Quilisma Pes Auctus Descendens
3072 \[ \quilisma g \pes \auctum \descendens b \]
3075 \layout { \neumeDemoLayout }}
3080 @code{9. Podatus Initio Debilis}
3082 @lilypond[staffsize=26,linewidth=1.0\cm]
3083 \include "gregorian-init.ly"
3086 % Pes Initio Debilis
3087 \[ \deminutum g \pes b \]
3090 \layout { \neumeDemoLayout }}
3093 @lilypond[staffsize=26,linewidth=1.0\cm]
3094 \include "gregorian-init.ly"
3097 % Pes Auctus Descendens Initio Debilis
3098 \[ \deminutum g \pes \auctum \descendens b \]
3101 \layout { \neumeDemoLayout }}
3108 @lilypond[staffsize=26,linewidth=1.0\cm]
3109 \include "gregorian-init.ly"
3113 \[ a \pes b \flexa g \]
3116 \layout { \neumeDemoLayout }}
3119 @lilypond[staffsize=26,linewidth=1.0\cm]
3120 \include "gregorian-init.ly"
3123 % Torculus Auctus Descendens
3124 \[ a \pes b \flexa \auctum \descendens g \]
3127 \layout { \neumeDemoLayout }}
3130 @lilypond[staffsize=26,linewidth=1.0\cm]
3131 \include "gregorian-init.ly"
3134 % Torculus Deminutus
3135 \[ a \pes b \flexa \deminutum g \]
3138 \layout { \neumeDemoLayout }}
3142 @code{11. Torculus Initio Debilis}
3144 @lilypond[staffsize=26,linewidth=1.0\cm]
3145 \include "gregorian-init.ly"
3148 % Torculus Initio Debilis
3149 \[ \deminutum a \pes b \flexa g \]
3152 \layout { \neumeDemoLayout }}
3155 @lilypond[staffsize=26,linewidth=1.0\cm]
3156 \include "gregorian-init.ly"
3159 % Torculus Auctus Descendens Initio Debilis
3160 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
3163 \layout { \neumeDemoLayout }}
3166 @lilypond[staffsize=26,linewidth=1.0\cm]
3167 \include "gregorian-init.ly"
3170 % Torculus Deminutus Initio Debilis
3171 \[ \deminutum a \pes b \flexa \deminutum g \]
3174 \layout { \neumeDemoLayout }}
3178 @code{12. Porrectus}
3180 @lilypond[staffsize=26,linewidth=1.0\cm]
3181 \include "gregorian-init.ly"
3185 \[ a \flexa g \pes b \]
3188 \layout { \neumeDemoLayout }}
3191 @lilypond[staffsize=26,linewidth=1.0\cm]
3192 \include "gregorian-init.ly"
3195 % Porrectus Auctus Descendens
3196 \[ a \flexa g \pes \auctum \descendens b \]
3199 \layout { \neumeDemoLayout }}
3202 @lilypond[staffsize=26,linewidth=1.0\cm]
3203 \include "gregorian-init.ly"
3206 % Porrectus Deminutus
3207 \[ a \flexa g \pes \deminutum b \]
3210 \layout { \neumeDemoLayout }}
3216 @lilypond[staffsize=26,linewidth=1.0\cm]
3217 \include "gregorian-init.ly"
3221 \[ \virga b \inclinatum a \inclinatum g \]
3224 \layout { \neumeDemoLayout }
3228 @lilypond[staffsize=26,linewidth=1.0\cm]
3229 \include "gregorian-init.ly"
3233 \[ \virga b \inclinatum a \inclinatum \auctum g \]
3236 \layout { \neumeDemoLayout }}
3239 @lilypond[staffsize=26,linewidth=1.0\cm]
3240 \include "gregorian-init.ly"
3243 % Climacus Deminutus
3244 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
3247 \layout { \neumeDemoLayout }}
3251 @code{14. Scandicus}
3253 @lilypond[staffsize=26,linewidth=1.0\cm]
3254 \include "gregorian-init.ly"
3258 \[ g \pes a \virga b \]
3261 \layout { \neumeDemoLayout }}
3264 @lilypond[staffsize=26,linewidth=1.0\cm]
3265 \include "gregorian-init.ly"
3268 % Scandicus Auctus Descendens
3269 \[ g \pes a \pes \auctum \descendens b \]
3272 \layout { \neumeDemoLayout }}
3275 @lilypond[staffsize=26,linewidth=1.0\cm]
3276 \include "gregorian-init.ly"
3279 % Scandicus Deminutus
3280 \[ g \pes a \pes \deminutum b \]
3283 \layout { \neumeDemoLayout }}
3289 @lilypond[staffsize=26,linewidth=1.0\cm]
3290 \include "gregorian-init.ly"
3294 \[ g \oriscus a \pes \virga b \]
3297 \layout { \neumeDemoLayout }}
3300 @lilypond[staffsize=26,linewidth=1.0\cm]
3301 \include "gregorian-init.ly"
3304 % Salicus Auctus Descendens
3305 \[ g \oriscus a \pes \auctum \descendens b \]
3308 \layout { \neumeDemoLayout }}
3315 @lilypond[staffsize=26,linewidth=1.0\cm]
3316 \include "gregorian-init.ly"
3320 \[ \stropha b \stropha b \stropha a \]
3323 \layout { \neumeDemoLayout }
3332 Unlike most other neumes notation systems, the input language for
3333 neumes does not reflect the typographical appearance, but is designed
3334 to focus on musical meaning. For example, @code{\[ a \pes b
3335 \flexa g \]} produces a Torculus consisting of three Punctum heads,
3336 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
3337 curved flexa shape and only a single Punctum head. There is no
3338 command to explicitly typeset the curved flexa shape; the decision of
3339 when to typeset a curved flexa shape is based on the musical
3340 input. The idea of this approach is to separate the musical aspects
3341 of the input from the notation style of the output. This way, the
3342 same input can be reused to typeset the same music in a different
3343 style of Gregorian chant notation.
3345 The following table shows the code fragments that produce the
3346 ligatures in the above neumes table. The letter in the first column
3347 in each line of the below table indicates to which ligature in the
3348 above table it refers. The second column gives the name of the
3349 ligature. The third column shows the code fragment that produces this
3350 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
3352 @multitable @columnfractions .02 .31 .67
3372 @code{\[ \inclinatum b \]}
3380 @code{\[ \auctum \ascendens b \]}
3388 @code{\[ \auctum \descendens b \]}
3393 Punctum Inclinatum@*
3396 @code{\[ \inclinatum \auctum b \]}
3401 Punctum Inclinatum@*
3403 @code{\[ \inclinatum \deminutum b \]}
3410 @code{\[ \virga b \]}
3417 @code{\[ \stropha b \]}
3424 @code{\[ \stropha \auctum b \]}
3431 @code{\[ \oriscus b \]}
3438 @code{\[ b \flexa g \]}
3446 @code{\[ b \flexa \auctum \descendens g \]}
3454 @code{\[ b \flexa \auctum \ascendens g \]}
3461 @code{\[ b \flexa \deminutum g \]}
3468 @code{\[ g \pes b \]}
3476 @code{\[ g \pes \auctum \descendens b \]}
3484 @code{\[ g \pes \auctum \ascendens b \]}
3491 @code{\[ g \pes \deminutum b \]}
3498 @code{\[ \oriscus g \pes \virga b \]}
3504 Auctus Descendens @tab
3505 @code{\[ \oriscus g \pes \auctum \descendens b \]}
3512 @code{\[ \quilisma g \pes b \]}
3520 @code{\[ \quilisma g \pes \auctum \descendens b \]}
3527 @code{\[ \deminutum g \pes b \]}
3532 Pes Auctus Descendens@*
3535 @code{\[ \deminutum g \pes \auctum \descendens b \]}
3542 @code{\[ a \pes b \flexa g \]}
3550 @code{\[ a \pes b \flexa \auctum \descendens g \]}
3557 @code{\[ a \pes b \flexa \deminutum g \]}
3562 Torculus Initio Debilis
3564 @code{\[ \deminutum a \pes b \flexa g \]}
3570 Descendens Initio Debilis
3572 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
3577 Torculus Deminutus@*
3580 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
3587 @code{\[ a \flexa g \pes b \]}
3595 @code{\[ a \flexa g \pes \auctum \descendens b \]}
3602 @code{\[ a \flexa g \pes \deminutum b \]}
3609 @code{\[ \virga b \inclinatum a \inclinatum g \]}
3616 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
3623 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
3630 @code{\[ g \pes a \virga b \]}
3638 @code{\[ g \pes a \pes \auctum \descendens b \]}
3645 @code{\[ g \pes a \pes \deminutum b \]}
3652 @code{\[ g \oriscus a \pes \virga b \]}
3657 Salicus Auctus Descendens
3659 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
3666 @code{\[ \stropha b \stropha b \stropha a \]}
3671 The following head prefixes are supported
3673 @cindex @code{\virga}
3675 @cindex @code{\stropha}
3677 @cindex @code{\inclinatum}
3679 @cindex @code{\auctum}
3681 @cindex @code{\descendens}
3683 @cindex @code{\ascendens}
3685 @cindex @code{\oriscus}
3687 @cindex @code{\quilisma}
3689 @cindex @code{\deminutum}
3692 Head prefixes can be accumulated, though restrictions apply. For
3693 example, either @code{\descendens} or @code{\ascendens} can be applied
3694 to a head, but not both to the same head.
3697 @cindex @code{\flexa}
3698 Two adjacent heads can be tied together with the @code{\pes} and
3699 @code{\flexa} infix commands for a rising and falling line of melody,
3704 @node Gregorian Chant contexts
3705 @subsection Gregorian Chant contexts
3707 @cindex VaticanaVoiceContext
3708 @cindex VaticanaStaffContext
3710 The predefined @code{VaticanaVoiceContext} and
3711 @code{VaticanaStaffContext} can be used to engrave a piece of
3712 Gregorian Chant in the style of the Editio Vaticana. These contexts
3713 initialize all relevant context properties and grob properties to
3714 proper values, so you can immediately go ahead entering the chant, as
3715 the following excerpt demonstrates
3717 @lilypond[quote,raggedright,packed,verbatim]
3718 \include "gregorian-init.ly"
3721 \context VaticanaVoice = "cantus" {
3722 \override Staff.StaffSymbol #'color = #red
3723 \override Staff.LedgerLineSpanner #'color = #red
3724 \override Score.BarNumber #'transparent = ##t {
3725 \[ c'\melisma c' \flexa a \]
3726 \[ a \flexa \deminutum g\melismaEnd \]
3728 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
3729 c' \divisioMinima \break
3730 \[ c'\melisma c' \flexa a \]
3731 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
3734 \lyricsto "cantus" \new Lyrics {
3735 San- ctus, San- ctus, San- ctus
3742 @node Mensural contexts
3743 @subsection Mensural contexts
3745 @cindex MensuralVoiceContext
3746 @cindex MensuralStaffContext
3748 The predefined @code{MensuralVoiceContext} and
3749 @code{MensuralStaffContext} can be used to engrave a piece in mensural
3750 style. These contexts initialize all relevant context properties and
3751 grob properties to proper values, so you can immediately go ahead
3752 entering the chant, as the following excerpt demonstrates
3754 @lilypond[quote,raggedright,verbatim]
3757 \context MensuralVoice = "discantus" \transpose c c' {
3758 \override Score.BarNumber #'transparent = ##t {
3759 c'1\melisma bes a g\melismaEnd
3761 \[ f1\melisma a c'\breve d'\melismaEnd \]
3763 c'\breve\melisma a1 g1\melismaEnd
3764 fis\longa^\signumcongruentiae
3767 \lyricsto "discantus" \new Lyrics {
3768 San -- ctus, San -- ctus, San -- ctus
3776 @subsection Figured bass
3778 @cindex Basso continuo
3780 @c TODO: musicological blurb about FB
3783 LilyPond has limited support for figured bass
3785 @lilypond[quote,raggedright,verbatim,fragment]
3787 \context Voice { \clef bass dis4 c d ais g fis}
3788 \context FiguredBass \figuremode {
3789 < 6 >4 < 7 >8 < 6+ [_!] >
3796 The support for figured bass consists of two parts: there is an input
3797 mode, introduced by @code{\figuremode}, where you can enter bass figures
3798 as numbers, and there is a context called @internalsref{FiguredBass} that
3799 takes care of making @internalsref{BassFigure} objects.
3801 In figures input mode, a group of bass figures is delimited by
3802 @code{<} and @code{>}. The duration is entered after the @code{>}
3806 @lilypond[quote,raggedright,fragment]
3807 \context FiguredBass
3808 \figuremode { <4 6> }
3811 Accidentals are added when you append @code{-}, @code{!}, and @code{+}
3817 @lilypond[quote,raggedright,fragment]
3818 \context FiguredBass
3819 \figuremode { <4- 6+ 7!> }
3822 Spaces or dashes may be inserted by using @code{_}. Brackets are
3823 introduced with @code{[} and @code{]}. You can also include text
3824 strings and text markups, see @ref{Overview of text markup commands}.
3827 < [4 6] 8 [_! 12] > < 5 \markup @{ + \number 6 @} >
3829 @lilypond[quote,raggedright,fragment]
3830 \context FiguredBass
3831 \figuremode { < [4 6] 8 [_! 12] > < 5 \markup{ + \number 6 } > }
3835 Although the support for figured bass may superficially resemble chord
3836 support, it works much simpler. The @code{\figuremode} mode simply
3837 stores the numbers and @internalsref{FiguredBass} context prints
3838 them as entered. There is no conversion to pitches and no
3839 realizations of the bass are played in the MIDI file.
3841 Internally, the code produces markup texts. You can use any of the
3842 markup text properties to override formatting. For example, the
3843 vertical spacing of the figures may be set with @code{baseline-skip}.
3847 Program reference: @internalsref{BassFigureEvent} music,
3848 @internalsref{BassFigure} object, and @internalsref{FiguredBass} context.
3852 Slash notation for alterations is not supported.
3856 @node Other instrument specific notation
3857 @section Other instrument specific notation
3859 This section includes extra information for writing for instruments.
3862 * Artificial harmonics (strings)::
3863 * Stopped notes (guitar)::
3866 @node Artificial harmonics (strings)
3867 @subsection Artificial harmonics (strings)
3869 @cindex artificial harmonics
3871 Artificial harmonics are notated with a different notehead style. They
3872 are entered by marking the harmonic pitch with @code{\harmonic}.
3874 @lilypond[raggedright,verbatim,quote,fragment,relative=1]
3879 @node Stopped notes (guitar)
3880 @subsection Stopped notes (guitar)
3882 Stopped (X) note heads are used in guitar music to signal a place where the
3883 guitarist must play a certain note or chord, with its fingers just
3884 touching the strings instead of fully pressing them. This gives the sound a
3885 percussive noise-like sound that still maintains part of the original pitch.
3887 Finger stopped technique is extremely important for rhythm and rock-heavy
3888 metal guitarists; the former often uses barré based stopped chords to
3889 intermix harmony with rythm, the latters use finger stopping to mute power
3890 chords, or charge them with more expression in close-tied power chord stums.
3892 It is also used (even if rarely) in classic guitar music, generally in the
3893 melodic line, to provide some rithmic pattern right in the melody.
3895 @lilypond[raggedright,verbatim,quote,fragment,relative=2]
3897 \override NoteHead #'style = #'cross
3899 \revert NoteHead #'style