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,raggedright]
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,raggedright,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,raggedright,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,raggedright,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,raggedright,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,raggedright,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,raggedright,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,raggedright,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[raggedright,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,raggedright,verbatim,raggedright]
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,raggedright,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,raggedright,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,raggedright,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,raggedright,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,raggedright,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,raggedright]
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,raggedright]
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[raggedright,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,raggedright,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[raggedright]{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::
712 @node Setting simple songs
713 @subsection Setting simple songs
715 The easiest way to add lyrics to a melody is to append
718 \addlyrics @{ @var{the lyrics} @}
722 to a melody. Here is an example,
724 @lilypond[raggedright,verbatim,fragment,quote]
726 \relative { c2 e4 g2. }
727 \addlyrics { play the game }
730 More stanzas can be added by adding more
731 @code{\addlyrics} sections
733 @lilypond[raggedright,verbatim,fragment,quote]
735 \relative { c2 e4 g2. }
736 \addlyrics { play the game }
737 \addlyrics { speel het spel }
738 \addlyrics { joue le jeu }
741 Sometimes it is appropriate to have one stanza set
742 to the music, and the rest added in verse form at
743 the end of the piece. This can be accomplished by adding
744 the extra verses into a @code{\markup} section outside
745 of the main score block. Notice that there are two
746 different ways to force linebreaks when using
749 @lilypond[raggedright,verbatim,quote]
750 melody = \relative c' {
756 \set stanza = "1." Ma- ry had a lit- tle lamb,
757 it's fleece was white as snow.
761 \context Voice = one { \melody }
762 \lyricsto "one" \new Lyrics \text
768 \line{ All the children laughed and played }
769 \line{ To see a lamb at school. }
776 Mary took it home again,
778 It was against the rule."
783 @c TODO - this isn't such a great place for this note, but I can't
784 @c find a better place without rearranging a lot of lyric stuff.
785 @c It's yet another thing to look at post-3.0.
787 The @code{\addlyrics} command is actually just a convienient way
788 to write a more complicated LilyPond structure that sets up the
789 lyrics. You should use @code{\addlyrics} unless you need to do
790 fancy things, in which case you should investigate
791 @code{\lyricsto} or @code{\lyricmode}.
795 \addlyrics @{ LYRICS @}
802 \context Voice = blah @{ music @}
803 \lyricsto "blah" \new lyrics @{ LYRICS @}
808 @code{\addlyrics} cannot handle polyphony.
811 @node Entering lyrics
812 @subsection Entering lyrics
815 @cindex @code{\lyricmode}
818 Lyrics are entered in a special input mode. This mode is introduced
819 by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
820 @code{\lyricsto}. In this mode you can enter lyrics,
821 with punctuation and accents, and the input @code{d} is not parsed as
822 a pitch, but rather as a one letter syllable. Syllables are entered
823 like notes, but with pitches replaced by text. For example,
825 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
828 There is a difference between @code{\addlyrics} and
829 @code{\lyricmode}. @code{\addlyrics} and @code{\lyricsto}
830 ignore all durations and aligns syllables to notes; @code{\lyricmode}
831 uses the durations specified.
833 A word lyrics mode begins with an alphabetic character, and ends with
834 any space or digit. The following characters can be any character
835 that is not a digit or white space. One important consequence of this
836 is that a word can end with @code{@}}. The following example is
837 usually a mistake in the input file. The syllable includes a @code{@}}, so the
838 opening brace is not balanced
840 \lyricmode @{ twinkle@}
843 @cindex @code{\property}, in @code{\lyricmode}
845 Similarly, a period which follows an alphabetic sequence is included in
846 the resulting string. As a consequence, spaces must be inserted around
849 \override Score . LyricText #'font-shape = #'italic
853 @cindex spaces, in lyrics
854 @cindex quotes, in lyrics
856 Any @code{_} character that appears in an unquoted word is converted
857 to a space. This provides a mechanism for introducing spaces into words
858 without using quotes.
860 To enter lyrics with characters from non-English languages, or with
861 non-ascii characters (such as the heart symbol or slanted quotes),
862 simply insert the characters directly into the input file and save
863 it with utf-8 encoding. See @ref{Text encoding} for more info.
866 \lyricmode @{ He said: “Let my peo ple go”. @}
869 The full definition of a word start in Lyrics mode is somewhat more
872 A word in Lyrics mode begins with: an alphabetic character, @code{_},
873 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
874 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
875 any 8-bit character with ASCII code over 127, or a two-character
876 combination of a backslash followed by one of @code{`}, @code{'},
877 @code{"}, or @code{^}.
883 Program reference: @internalsref{LyricText}.
887 The definition of lyrics mode is too complex.
889 @node Hyphens and extenders
890 @subsection Hyphens and extenders
894 Centered hyphens are entered as `@code{--}' between syllables.
895 The hyphen will have variable length depending on the space between
896 the syllables and it will be centered between the syllables.
901 When a lyric is sung over many notes (this is called a melisma), this is
902 indicated with a horizontal line centered between a syllable and the
903 next one. Such a line is called an extender line, and it is entered as
906 In tighly engraved music, hyphens can be removed. In some languages
907 (e.g. German and Hungarian), hyphens should not disappear, since
908 spelling depends on hyphenation. For that purpose, hyphens can be
909 forced to remain by overriding @code{minimum-length} of
910 the @code{LyricHyphen} grob.
912 @lilypond[quote,verbatim,raggedright]
915 \new Staff \relative c'' {
916 \time 1/4 c16 c c c c16 c c c c16 c c c
918 \lyricmode { \new Lyrics
920 \override SeparationItem #'padding = #0.0
921 % Otherwise lyrics are so far apart that hyphens don't disappear
924 An -- ti -- cons -- ti --
925 tu -- tion -- nel -- le --
926 \override LyricHyphen #'minimum-length = #0.7
927 \override LyricHyphen #'springs-and-rods =
928 #Hyphen_spanner::set_spacing_rods
929 men -- taire -- ment. ouf~!
937 \Staff \remove "Time_signature_engraver"
945 Program reference: @internalsref{LyricHyphen}, @internalsref{LyricExtender}.
949 @node The Lyrics context
950 @subsection The Lyrics context
953 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
955 \context Lyrics \lyricmode @dots{}
958 @cindex automatic syllable durations
959 @cindex @code{\lyricsto}
960 @cindex lyrics and melodies
962 This will place the lyrics according to the durations that were
963 entered. The lyrics can also be aligned under a given melody
964 automatically. In this case, it is no longer necessary to enter the
965 correct duration for each syllable. This is achieved by combining the
966 melody and the lyrics with the @code{\lyricsto} expression
968 \lyricsto @var{name} \new Lyrics @dots{}
971 This aligns the lyrics to the
972 notes of the @internalsref{Voice} context called @var{name}, which has
973 to exist. Therefore, normally the @code{Voice} is specified first, and
974 then the lyrics are specified with @code{\lyricsto}. The command
975 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
976 @code{\lyricmode} keyword may be omitted.
978 For different or more complex orderings, the best way is to setup the
979 hierarchy of staves and lyrics first, e.g.,
981 \context ChoirStaff <<
982 \context Lyrics = sopranoLyrics @{ s1 @}
983 \context Voice = soprano @{ @emph{music} @}
984 \context Lyrics = tenorLyrics @{ s1 @}
985 \context Voice = tenor @{ @emph{music} @}
988 and then combine the appropriate melodies and lyric lines
990 \lyricsto "soprano" \context Lyrics = sopranoLyrics
995 The final input would resemble
998 <<\context ChoirStaff << @emph{setup the music} >>
999 \lyricsto "soprano" @emph{etc}
1000 \lyricsto "alto" @emph{etc}
1006 The @code{\lyricsto} command detects melismata: it only puts one
1007 syllable under a tied or slurred group of notes. If you want to force
1008 an unslurred group of notes to be a melisma, insert @code{\melisma}
1009 after the first note of the group, and @code{\melismaEnd} after the
1012 @lilypond[quote,relative=2,raggedright,fragment,verbatim]
1014 \context Voice = "lala" {
1022 \lyricsto "lala" \new Lyrics {
1028 In addition, notes are considered a melisma if they are manually
1029 beamed, and automatic beaming (see @ref{Setting automatic beam
1030 behavior}) is switched off.
1036 The criteria for deciding melismata can
1037 be tuned with the property @code{melismaBusyProperties}. See
1038 @internalsref{Melisma_translator} in the program reference for more
1043 Lyrics can also be entered without @code{\lyricsto}. In this case the
1044 duration of each syllable must be entered explicitly, for example,
1051 The alignment to a melody can be specified with the
1052 @code{associatedVoice} property,
1055 \set associatedVoice = #"lala"
1059 The value of the property (here: @code{"lala"}) should be the name of
1060 a @internalsref{Voice} context. Without this setting, extender lines
1061 will not be formatted properly.
1063 Here is an example demonstrating manual lyric durations,
1065 @lilypond[relative=1,raggedright,verbatim,fragment,quote]
1066 << \context Voice = melody {
1070 \new Lyrics \lyricmode {
1071 \set associatedVoice = #"melody"
1077 @cindex choral score
1079 A complete example of a SATB score setup is in section
1080 @ref{Vocal ensembles}.
1085 @code{\melisma}, @code{\melismaEnd}
1086 @cindex @code{\melismaEnd}
1087 @cindex @code{\melisma}
1091 Program reference: @internalsref{LyricCombineMusic},
1092 @internalsref{Lyrics}, @internalsref{Melisma_translator}.
1095 @inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly}.
1096 @c TODO: make separate section for melismata
1100 Melismata are not detected automatically, and extender lines must be
1104 @c TODO: document \new Staff << Voice \lyricsto >> bug
1106 @node Flexibility in alignment
1107 @subsection Flexibility in alignment
1109 Often, different stanzas of one song are put to one melody in slightly
1110 differing ways. Such variations can still be captured with
1113 @subsubsection Lyrics to multiple notes of a melisma
1116 One possibility is that the text has a melisma in one stanza, but
1117 multiple syllables in another one. One solution is to make the faster
1118 voice ignore the melisma. This is done by setting
1119 @code{ignoreMelismata} in the Lyrics context.
1121 There has one tricky aspect. The setting for @code{ignoreMelismata}
1122 must be set one syllable @emph{before} the non-melismatic syllable
1123 in the text, as shown here,
1125 @lilypond[verbatim,raggedright,quote]
1127 \relative \context Voice = "lahlah" {
1128 \set Staff.autoBeaming = ##f
1134 \new Lyrics \lyricsto "lahlah" {
1137 \new Lyrics \lyricsto "lahlah" {
1138 \set ignoreMelismata = ##t % applies to "fas"
1140 \unset ignoreMelismata
1147 The @code{ignoreMelismata} applies to the syllable ``fas'', so it
1148 should be entered before ``go''.
1150 The reverse is also possible: making a lyric line slower than the
1151 standard. This can be achieved by insert @code{\skip}s into the
1152 lyrics. For every @code{\skip}, the text will be delayed another note.
1155 @lilypond[verbatim,raggedright,quote]
1156 \relative { c c g' }
1164 @subsection Switching the melody associated with a lyrics line
1168 More complex variations in text underlay are possible. It is possible
1169 to switch the melody for a line of lyrics during the text. This is
1170 done by setting the @code{associatedVoice} property. In the example
1172 @lilypond[raggedright,quote]
1174 \relative \context Voice = "lahlah" {
1175 \set Staff.autoBeaming = ##f
1178 \context Voice = alternative {
1181 % show associations clearly.
1182 \override NoteColumn #'force-hshift = #-3
1193 \new Lyrics \lyricsto "lahlah" {
1194 Ju -- ras -- sic Park
1196 \new Lyrics \lyricsto "lahlah" {
1197 % Tricky: need to set associatedVoice
1198 % one syllable too soon!
1199 \set associatedVoice = alternative % applies to "ran"
1203 \set associatedVoice = lahlah % applies to "rus"
1209 the text for the first stanza is set to a melody called ``lahlah'',
1212 \new Lyrics \lyricsto "lahlah" @{
1213 Ju -- ras -- sic Park
1218 The second stanza initially is set to the @code{lahlah} context, but
1219 for the syllable ``ran'', it switches to a different melody.
1220 This is achieved with
1222 \set associatedVoice = alternative
1226 Here, @code{alternative} is the name of the @code{Voice} context
1227 containing the triplet.
1229 Again, the command must be one syllable too early, before ``Ty'' in
1233 \new Lyrics \lyricsto "lahlah" @{
1234 \set associatedVoice = alternative % applies to "ran"
1238 \set associatedVoice = lahlah % applies to "rus"
1244 The underlay is switched back to the starting situation by assigning
1245 @code{lahlah} to @code{associatedVoice}.
1249 @subsection Specifying melismata within the lyrics
1251 It is also possible to define melismata entirely in the lyrics. This
1252 can be done by entering @code{_} for every note that is part of the
1255 @lilypond[relative=1,verbatim,fragment]
1256 { \set melismaBusyProperties = #'()
1257 c d( e) f f( e) e e }
1259 { Ky -- _ _ ri __ _ _ _ e }
1262 In this case, you can also have ties and slurs in the melody, if you
1263 set @code{melismaBusyProperties}, as is done in the example above.
1265 @lilypond[relative=1,verbatim,fragment]
1267 \set melismaBusyProperties = #'()
1271 { Ky -- _ _ ri __ _ _ _ e }
1274 @subsubsection Spacing lyrics
1276 @cindex Spacing lyrics
1277 @cindex Lyrics, increasing space between
1279 To increase the space between lyrics, use the @code{SeparationItem}
1282 @lilypond[relative,verbatim,fragment,quote,raggedright]
1285 \override Score.SeparationItem #'padding = #5
1289 longtext longtext longtext longtext
1290 longtext longtext longtext longtext
1297 @subsection More stanzas
1299 @cindex phrasing, in lyrics
1302 @cindex stanza number
1303 @cindex singer's names
1304 @cindex name of singer
1306 Stanza numbers can be added by setting @code{stanza}, e.g.,
1308 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
1310 \time 3/4 g2 e4 a2 f4 g2.
1313 Hi, my name is Bert.
1316 Oh, che -- ri, je t'aime
1320 These numbers are put just before the start of first syllable.
1322 Names of singers can also be added. They are printed at the start of
1323 the line, just like instrument names. They are created by setting
1324 @code{vocalName}. A short version may be entered as @code{vocNam}.
1327 @lilypond[fragment,raggedright,quote,verbatim,relative=2]
1329 \time 3/4 g2 e4 a2 f4 g2.
1331 \set vocalName = "Bert "
1332 Hi, my name is Bert.
1334 \set vocalName = "Ernie "
1335 Oh, che -- ri, je t'aime
1339 You can display alternate (or divisi) lyrics by naming voice
1340 contexts and attaching lyrics to those specific contexts.
1342 @lilypond[verbatim,raggedright,quote]
1344 \context Voice = "melody" {
1349 \context Voice = splitpart { \voiceTwo c4 }
1354 \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
1355 \new Lyrics \lyricsto "splitpart" { will }
1360 You can use this trick to display different lyrics for a repeated
1363 @lilypond[verbatim,raggedright,quote]
1365 \context Voice = melody \relative c' {
1367 \context Voice = verse \repeat volta 2 {c4 d e f | g1 | }
1369 \lyricsto melody \context Lyrics = mainlyrics \lyricmode {
1372 \lyricsto verse \context Lyrics = mainlyrics \lyricmode {
1374 \lyricsto verse \context Lyrics = repeatlyrics \lyricmode {
1375 dodo rere mimi fafa solsol }
1383 Program reference: @internalsref{LyricText}, @internalsref{StanzaNumber}, @internalsref{VocalName}.
1391 The term @emph{ambitus} denotes a range of pitches for a given voice
1392 in a part of music. It may also denote the pitch range that a musical
1393 instrument is capable of playing. Ambits are printed on vocal parts,
1394 so performers can easily determine it meets their capabilities.
1396 Ambits are denoted at the beginning of a piece near the initial clef.
1397 The range is graphically specified by two note heads that represent the
1398 minimum and maximum pitch. To print such ambits, add the
1399 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
1406 \consists Ambitus_engraver
1411 This results in the following output
1413 @lilypond[quote,raggedright]
1417 \consists Ambitus_engraver
1421 \relative \new Staff {
1426 If you have multiple voices in a single staff and you want a single
1427 ambitus per staff rather than per each voice, add the
1428 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
1429 rather than to the @internalsref{Voice} context. Here is an example,
1431 @lilypond[verbatim,raggedright,quote]
1433 \consists "Ambitus_engraver"
1437 \remove "Ambitus_engraver"
1439 \override Ambitus #'X-offset = #-1.0
1444 \remove "Ambitus_engraver"
1453 This example uses one advanced feature,
1456 \override Ambitus #'X-offset = #-1.0
1460 This code moves the ambitus to the left. The same effect could have
1461 been achieved with @code{extra-offset}, but then the formatting system
1462 would not reserve space for the moved object.
1466 Program reference: @internalsref{Ambitus},
1467 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1468 @internalsref{AmbitusAccidental}.
1470 Examples: @inputfileref{input/@/regression,ambitus@/.ly}.
1474 There is no collision handling in the case of multiple per-voice
1478 @node Other vocal issues
1479 @subsection Other vocal issues
1482 yeah, I'm giving up somewhat by stuffing a bunch of things in
1483 here. But at least they're in the manual now; it's easier to
1484 move them around in the manual once they're already here.
1486 Besides, if users complain about everything stuffed in here, I
1487 can ask them for specific instructions about where to move these
1488 examples, and that might get them more involved in the docs. -gp
1491 ``Parlato'' is spoken without pitch but still with rhythm; it is
1492 notated by cross noteheads. This is demonstrated in
1493 @ref{Special noteheads}.
1496 @node Rhythmic music
1497 @section Rhythmic music
1499 Rhythmic music is primarily used for percussion and drum notation, but it can
1500 also be used to show the rhythms of melodies.
1503 * Showing melody rhythms::
1504 * Entering percussion::
1505 * Percussion staves::
1509 @node Showing melody rhythms
1510 @subsection Showing melody rhythms
1512 Sometimes you might want to show only the rhythm of a melody. This
1513 can be done with the rhythmic staff. All pitches of notes on such a
1514 staff are squashed, and the staff itself has a single line
1516 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1517 \context RhythmicStaff {
1519 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1525 Program reference: @internalsref{RhythmicStaff}.
1527 Examples: @inputfileref{input/@/regression,rhythmic@/-staff@/.ly}.
1530 @node Entering percussion
1531 @subsection Entering percussion
1537 Percussion notes may be entered in @code{\drummode} mode, which is
1538 similar to the standard mode for entering notes. Each piece of
1539 percussion has a full name and an abbreviated name, and both can be used
1542 @lilypond[quote,raggedright,verbatim]
1544 hihat hh bassdrum bd
1548 The complete list of drum names is in the init file
1549 @file{ly/@/drumpitch@/-init@/.ly}.
1550 @c TODO: properly document this.
1554 Program reference: @internalsref{note-event}.
1556 @node Percussion staves
1557 @subsection Percussion staves
1561 A percussion part for more than one instrument typically uses a
1562 multiline staff where each position in the staff refers to one piece
1566 To typeset the music, the notes must be interpreted in a
1567 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
1569 @lilypond[quote,raggedright,verbatim]
1570 up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
1571 down = \drummode { bassdrum4 snare8 bd r bd sn4 }
1573 \new DrumVoice { \voiceOne \up }
1574 \new DrumVoice { \voiceTwo \down }
1578 The above example shows verbose polyphonic notation. The short
1579 polyphonic notation, described in @ref{Polyphony}, can also be used if
1580 the @internalsref{DrumVoice}s are instantiated by hand first. For example,
1582 @lilypond[quote,raggedright,fragment,verbatim]
1584 \context DrumVoice = "1" { s1 *2 }
1585 \context DrumVoice = "2" { s1 *2 }
1589 { \repeat unfold 16 hh16 }
1598 There are also other layout possibilities. To use these, set the
1599 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
1600 The following variables have been predefined
1604 This is the default. It typesets a typical drum kit on a five-line staff
1606 @lilypond[quote,linewidth=10.0\cm]
1608 cymc cyms cymr hh hhc hho hhho hhp
1609 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl }
1611 cymc cyms cymr hh hhc hho hhho hhp \break
1612 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
1614 << \new DrumStaff \with {
1615 \remove Bar_engraver
1616 \remove Time_signature_engraver
1617 \override Stem #'transparent = ##t
1618 \override Stem #'Y-extent-callback = ##f
1619 \override VerticalAxisGroup #'minimum-Y-extent = #'(-4.0 . 5.0)
1621 \context Lyrics \nam
1626 \override LyricText #'font-family = #'typewriter
1627 \override BarNumber #'transparent =##T
1633 The drum scheme supports six different toms. When there are fewer toms,
1634 simply select the toms that produce the desired result, i.e., to get toms
1635 on the three middle lines you use @code{tommh}, @code{tomml}, and
1638 @item timbales-style
1639 This typesets timbales on a two line staff
1641 @lilypond[quote,raggedright]
1642 nam = \lyricmode { timh ssh timl ssl cb }
1643 mus = \drummode { timh ssh timl ssl cb s16 }
1646 \context DrumStaff \with {
1647 \remove Bar_engraver
1648 \remove Time_signature_engraver
1649 \override Stem #'transparent = ##t
1650 \override Stem #'Y-extent-callback = ##f
1651 \override StaffSymbol #'line-count = #2
1652 \override StaffSymbol #'staff-space = #2
1653 \override VerticalAxisGroup #'minimum-Y-extent = #'(-3.0 . 4.0)
1654 drumStyleTable = #timbales-style
1657 \override LyricText #'font-family = #'typewriter
1664 This typesets congas on a two line staff
1666 @lilypond[quote,raggedright]
1667 nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
1668 mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
1671 \context DrumStaff \with {
1672 \remove Bar_engraver
1673 \remove Time_signature_engraver
1674 drumStyleTable = #congas-style
1675 \override StaffSymbol #'line-count = #2
1677 %% this sucks; it will lengthen stems.
1678 \override StaffSymbol #'staff-space = #2
1679 \override Stem #'transparent = ##t
1680 \override Stem #'Y-extent-callback = ##f
1683 \override LyricText #'font-family = #'typewriter
1690 This typesets bongos on a two line staff
1692 @lilypond[quote,raggedright]
1693 nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
1694 mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
1697 \context DrumStaff\with {
1698 \remove Bar_engraver
1699 \remove Time_signature_engraver
1700 \override StaffSymbol #'line-count = #2
1701 drumStyleTable = #bongos-style
1703 %% this sucks; it will lengthen stems.
1704 \override StaffSymbol #'staff-space = #2
1705 \override Stem #'transparent = ##t
1706 \override Stem #'Y-extent-callback = ##f
1709 \override LyricText #'font-family = #'typewriter
1715 @item percussion-style
1716 To typeset all kinds of simple percussion on one line staves.
1718 @lilypond[quote,raggedright]
1719 nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
1720 mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
1723 \context DrumStaff\with{
1724 \remove Bar_engraver
1725 drumStyleTable = #percussion-style
1726 \override StaffSymbol #'line-count = #1
1727 \remove Time_signature_engraver
1728 \override Stem #'transparent = ##t
1729 \override Stem #'Y-extent-callback = ##f
1732 \override LyricText #'font-family = #'typewriter
1739 If you do not like any of the predefined lists you can define your own
1740 list at the top of your file
1742 @lilypond[quote,raggedright,verbatim]
1744 (bassdrum default #f -1)
1745 (snare default #f 0)
1747 (pedalhihat xcircle "stopped" 2)
1748 (lowtom diamond #f 3)))
1749 up = \drummode { hh8 hh hh hh hhp4 hhp }
1750 down = \drummode { bd4 sn bd toml8 toml }
1753 \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
1754 \new DrumVoice { \voiceOne \up }
1755 \new DrumVoice { \voiceTwo \down }
1762 Init files: @file{ly/@/drumpitch@/-init@/.ly}.
1764 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
1768 Because general MIDI does not contain rim shots, the sidestick is used
1769 for this purpose instead.
1777 @cindex guitar tablature
1780 * String number indications::
1781 * Tablatures basic::
1782 * Non-guitar tablatures::
1784 * Other guitar issues::
1787 @node String number indications
1788 @subsection String number indications
1790 @cindex String numbers
1792 String numbers can be added to chords, by indicating the string number
1793 with @code{\}@var{number},
1795 @lilypond[relative,relative=1,raggedright,fragment]
1799 See also @inputfileref{input/regression,string-number.ly}.
1804 Program reference: @internalsref{StringNumber}.
1807 @node Tablatures basic
1808 @subsection Tablatures basic
1809 @cindex Tablatures basic
1811 Tablature notation is used for notating music for plucked string
1812 instruments. Pitches are not denoted with note heads, but by
1813 numbers indicating on which string and fret a note must be played. LilyPond
1814 offers limited support for tablature.
1816 The string number associated to a note is given as a backslash
1817 followed by a number, e.g., @code{c4\3} for a C quarter on the third
1818 string. By default, string 1 is the highest one, and the tuning
1819 defaults to the standard guitar tuning (with 6 strings). The notes
1820 are printed as tablature, by using @internalsref{TabStaff} and
1821 @internalsref{TabVoice} contexts
1823 @lilypond[quote,raggedright,fragment,verbatim]
1830 @cindex @code{minimumFret}
1833 When no string is specified, the first string that does not give a
1834 fret number less than @code{minimumFret} is selected. The default
1835 value for @code{minimumFret} is 0
1840 \set TabStaff.minimumFret = #8
1843 @lilypond[quote,raggedright]
1847 \set TabStaff.minimumFret = #8
1850 \context StaffGroup <<
1851 \context Staff { \clef "G_8" \frag }
1852 \context TabStaff { \frag }
1858 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}.
1862 Chords are not handled in a special way, and hence the automatic
1863 string selector may easily select the same string to two notes in a
1867 @node Non-guitar tablatures
1868 @subsection Non-guitar tablatures
1869 @cindex Non-guitar tablatures
1871 You can change the number of strings, by setting the number of lines
1872 in the @internalsref{TabStaff}.
1874 You can change the tuning of the strings. A string tuning is given as
1875 a Scheme list with one integer number for each string, the number
1876 being the pitch (measured in semitones relative to middle C) of an
1877 open string. The numbers specified for @code{stringTuning} are the
1878 numbers of semitones to subtract or add, starting the specified pitch
1879 by default middle C, in string order. In the next example,
1880 @code{stringTunings} is set for the pitches e, a, d, and g
1882 @lilypond[quote,raggedright,fragment,verbatim]
1883 \context TabStaff <<
1884 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
1886 a,4 c' a e' e c' a e'
1893 No guitar special effects have been implemented.
1897 Program reference: @internalsref{Tab_note_heads_engraver}.
1901 @subsection Fret diagrams
1902 @cindex fret diagrams
1903 @cindex chord diagrams
1905 Fret diagrams can be added to music as a markup to the desired note. The
1906 markup contains information about the desired fret diagram, as shown in the
1909 @lilypond[verbatim, raggedright, quote]
1911 d'^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
1913 fis'^\markup \override #'(size . 0.75) {
1914 \override #'(finger-code . below-string) {
1915 \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
1916 (place-fret 5 4 3) (place-fret 4 4 4)
1917 (place-fret 3 3 2) (place-fret 2 2 1)
1922 c'^\markup \override #'(dot-radius . 0.35) {
1923 \override #'(finger-code . in-dot) {
1924 \override #'(dot-color . white) {
1925 \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
1934 There are three different fret-diagram markup interfaces: standard, terse,
1935 and verbose. The three interfaces produce equivalent markups, but have
1936 varying amounts of information in the markup string. Details about the
1937 markup interfaces are found at @ref{Overview of text markup commands}.
1939 You can set a number of graphical properties according to your preference.
1940 Details about the property interface to fret diagrams are found at
1941 @internalsref{fret-diagram-interface}.
1946 Examples: @inputfileref{input/@/test,fret@/-diagram@/.ly}
1949 @node Other guitar issues
1950 @subsection Other guitar issues
1952 This example demonstrates how to include guitar position and
1953 barring indications.
1955 @lilypond[quote,raggedright,fragment,verbatim,relative=0]
1959 \override TextSpanner #'edge-text = #'("XII " . "")
1961 b16 e16 g16 e16 b16 g16\stopTextSpan
1966 Stopped (X) note heads are used in guitar music to signal a place where the
1967 guitarist must play a certain note or chord, with its fingers just
1968 touching the strings instead of fully pressing them. This gives the sound a
1969 percussive noise-like sound that still maintains part of the original
1970 pitch. It is notated with cross noteheads; this is
1971 demonstrated in @ref{Special noteheads}.
1980 * Bagpipe definitions::
1985 @node Bagpipe definitions
1986 @subsection Bagpipe definitions
1988 LilyPond contains special definitions for music for the Scottish
1989 highland bagpipe; to use them, add
1992 \include "bagpipe.ly"
1996 at the top of your input file. This lets you add the special gracenotes
1997 common to bagpipe music with short commands. For example, you could
1998 write @code{\taor} instead of
2001 \grace @{ \small G32[ d G e] @}
2004 @code{bagpipe.ly} also contains pitch definitions for the bagpipe
2005 notes in the appropiate octaves, so you do not need to worry about
2006 @code{\relative} or @code{\transpose}.
2008 @lilypond[raggedright,verbatim,quote,notime]
2009 \include "bagpipe.ly"
2010 { \grg G4 \grg a \grg b \grg c \grg d \grg e \grg f \grA g A }
2013 Bagpipe music nominally uses the key of D Major (even though that
2014 isn't really true). However, since that is the only key that can be used,
2015 the key signature is normally not written out. To set this up correctly,
2016 always start your music with @code{\hideKeySignature}. If you for some
2017 reason want to show the key signature, you can use @code{\showKeySignature}
2020 Some modern music use cross fingering on c and f to flatten those notes.
2021 This can be indicated by @code{cflat} or @code{fflat}. Similarly, the
2022 piobaireachd high g can be written @code{gflat} when it occurs in light
2026 @node Bagpipe example
2027 @subsection Bagpipe example
2029 This is what the well known tune Amazing Grace looks like in bagpipe
2032 @lilypond[verbatim,quote]
2033 \include "bagpipe.ly"
2036 \context { \Score \remove "Bar_number_engraver" }
2040 title = "Amazing Grace"
2042 arranger = "Trad. arr."
2048 \grg \partial 4 a8. d16
2049 \slurd d2 \grg f8[ e32 d16.]
2052 \grG a2 \grg a8. d16
2053 \slurd d2 \grg f8[ e32 d16.]
2054 \grg f2 \grg e8. f16
2057 \grg A2 \hdblf f8[ e32 d16.]
2060 \grG a2 \grg a8. d16
2061 \slurd d2 \grg f8[ e32 d16.]
2070 @node Ancient notation
2071 @section Ancient notation
2073 @cindex Vaticana, Editio
2074 @cindex Medicaea, Editio
2079 Support for ancient notation includes features for mensural notation
2080 and Gregorian Chant notation. There is also limited support for
2081 figured bass notation.
2083 Many graphical objects provide a @code{style} property, see
2086 @ref{Ancient note heads},
2088 @ref{Ancient accidentals},
2090 @ref{Ancient rests},
2092 @ref{Ancient clefs},
2094 @ref{Ancient flags},
2096 @ref{Ancient time signatures}.
2099 By manipulating such a grob property, the typographical appearance of
2100 the affected graphical objects can be accommodated for a specific
2101 notation flavor without the need for introducing any new notational
2104 In addition to the standard articulation signs described in section
2105 @ref{Articulations}, specific articulation signs for ancient notation
2110 @ref{Ancient articulations}
2113 Other aspects of ancient notation can not that easily be expressed
2114 in terms of just changing a style property of a graphical object or
2115 adding articulation signs. Some notational concepts are introduced
2116 specifically for ancient notation,
2127 If this all is too much of documentation for you, and you just want to
2128 dive into typesetting without worrying too much about the details on
2129 how to customize a context, you may have a look at the predefined
2130 contexts. Use them to set up predefined style-specific voice and
2131 staff contexts, and directly go ahead with the note entry,
2135 @ref{Gregorian Chant contexts},
2137 @ref{Mensural contexts}.
2140 There is limited support for figured bass notation which came
2141 up during the baroque period.
2148 Here are all suptopics at a glance:
2151 * Ancient note heads::
2152 * Ancient accidentals::
2156 * Ancient time signatures::
2157 * Ancient articulations::
2161 * Gregorian Chant contexts::
2162 * Mensural contexts::
2163 * Musica ficta accidentals::
2169 @node Ancient note heads
2170 @subsection Ancient note heads
2175 For ancient notation, a note head style other than the @code{default}
2176 style may be chosen. This is accomplished by setting the @code{style}
2177 property of the @internalsref{NoteHead} object to @code{baroque},
2178 @code{neomensural}, @code{mensural} or @code{petrucci}. The
2179 @code{baroque} style differs from the @code{default} style only in
2180 using a square shape for @code{\breve} note heads. The
2181 @code{neomensural} style differs from the @code{baroque} style in that
2182 it uses rhomboidal heads for whole notes and all smaller durations.
2183 Stems are centered on the note heads. This style is particularly
2184 useful when transcribing mensural music, e.g., for the incipit. The
2185 @code{mensural} style produces note heads that mimic the look of note
2186 heads in historic printings of the 16th century. Finally, the
2187 @code{petrucci} style also mimicks historic printings, but uses bigger
2190 The following example demonstrates the @code{neomensural} style
2192 @lilypond[quote,fragment,raggedright,verbatim]
2193 \set Score.skipBars = ##t
2194 \override NoteHead #'style = #'neomensural
2195 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
2198 When typesetting a piece in Gregorian Chant notation, the
2199 @internalsref{Gregorian_ligature_engraver} will automatically select
2200 the proper note heads, so there is no need to explicitly set the
2201 note head style. Still, the note head style can be set, e.g., to
2202 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
2203 @internalsref{Mensural_ligature_engraver} is used to automatically
2204 assemble mensural ligatures. See @ref{Ligatures} for how ligature
2209 Examples: @inputfileref{input/@/regression,note@/-head@/-style@/.ly} gives an
2210 overview over all available note head styles.
2213 @node Ancient accidentals
2214 @subsection Ancient accidentals
2219 Use the @code{style} property of grob @internalsref{Accidental} to
2220 select ancient accidentals. Supported styles are
2221 @code{mensural}, @code{vaticana}, @code{hufnagel}, and @code{medicaea}.
2223 @lilypond[quote,raggedright,staffsize=26]
2230 \line { " " \musicglyph #"accidentals.vaticana-1"
2231 " " \musicglyph #"accidentals.vaticana0" }
2235 \line { " " \musicglyph #"accidentals.medicaea-1" }
2239 \line { " " \musicglyph #"accidentals.hufnagel-1" }
2243 \line { " " \musicglyph #"accidentals.mensural-1"
2244 " " \musicglyph #"accidentals.mensural1" }
2250 \context { \Score \remove "Bar_number_engraver" }
2252 \remove "Clef_engraver"
2253 \remove "Key_engraver"
2254 \remove "Time_signature_engraver"
2255 \remove "Staff_symbol_engraver"
2256 \override VerticalAxisGroup #'minimum-Y-extent = ##f
2262 As shown, not all accidentals are supported by each style. When
2263 trying to access an unsupported accidental, LilyPond will switch to a
2264 different style, as demonstrated in
2265 @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2267 Similarly to local accidentals, the style of the key signature can be
2268 controlled by the @code{style} property of the
2269 @internalsref{KeySignature} grob.
2273 In this manual: @ref{Pitches}, @ref{Cautionary accidentals} and
2274 @ref{Automatic accidentals} give a general introduction of the use of
2275 accidentals. @ref{Key signature} gives a general introduction of
2276 the use of key signatures.
2278 Program reference: @internalsref{KeySignature}.
2280 Examples: @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2283 @subsection Ancient rests
2285 @cindex rests, ancient
2288 Use the @code{style} property of grob @internalsref{Rest} to select
2289 ancient rests. Supported styles are @code{classical},
2290 @code{neomensural}, and @code{mensural}. @code{classical} differs
2291 from the @code{default} style only in that the quarter rest looks like
2292 a horizontally mirrored 8th rest. The @code{neomensural} style suits
2293 well for, e.g., the incipit of a transcribed mensural piece of music.
2294 The @code{mensural} style finally mimics the appearance of rests as
2295 in historic prints of the 16th century.
2297 The following example demonstrates the @code{neomensural} style
2299 @lilypond[quote,fragment,raggedright,verbatim]
2300 \set Score.skipBars = ##t
2301 \override Rest #'style = #'neomensural
2302 r\longa r\breve r1 r2 r4 r8 r16
2305 There are no 32th and 64th rests specifically for the mensural or
2306 neo-mensural style. Instead, the rests from the default style will be
2307 taken. See @inputfileref{input/@/test,rests@/.ly} for a chart of all
2310 There are no rests in Gregorian Chant notation; instead, it uses
2315 In this manual: @ref{Rests} gives a general introduction into the use of rests.
2319 @subsection Ancient clefs
2324 LilyPond supports a variety of clefs, many of them ancient.
2326 The following table shows all ancient clefs that are supported via the
2327 @code{\clef} command. Some of the clefs use the same glyph, but
2328 differ only with respect to the line they are printed on. In such
2329 cases, a trailing number in the name is used to enumerate these clefs.
2330 Still, you can manually force a clef glyph to be typeset on an
2331 arbitrary line, as described in @ref{Clef}. The note printed to the
2332 right side of each clef in the example column denotes the @code{c'}
2333 with respect to that clef.
2335 @multitable @columnfractions .4 .4 .2
2344 modern style mensural C clef
2346 @code{neomensural-c1}, @code{neomensural-c2},@*
2347 @code{neomensural-c3}, @code{neomensural-c4}
2349 @lilypond[fragment,relative=1,notime]
2350 \clef "neomensural-c2" c
2354 petrucci style mensural C clefs, for use on different staff lines
2355 (the examples show the 2nd staff line C clef)
2357 @code{petrucci-c1}, @code{petrucci-c2},@*
2358 @code{petrucci-c3}, @code{petrucci-c4},@*
2361 @lilypond[fragment,relative=1,notime]
2363 \override NoteHead #'style = #'mensural
2368 petrucci style mensural F clef
2372 @lilypond[fragment,relative=1,notime]
2374 \override NoteHead #'style = #'mensural
2379 petrucci style mensural G clef
2383 @lilypond[fragment,relative=1,notime]
2385 \override NoteHead #'style = #'mensural
2390 historic style mensural C clef
2392 @code{mensural-c1}, @code{mensural-c2},@*
2393 @code{mensural-c3}, @code{mensural-c4}
2395 @lilypond[fragment,relative=1,notime]
2397 \override NoteHead #'style = #'mensural
2402 historic style mensural F clef
2406 @lilypond[fragment,relative=1,notime]
2408 \override NoteHead #'style = #'mensural
2413 historic style mensural G clef
2417 @lilypond[fragment,relative=1,notime]
2419 \override NoteHead #'style = #'mensural
2424 Editio Vaticana style do clef
2426 @code{vaticana-do1}, @code{vaticana-do2},@*
2429 @lilypond[fragment,relative=1,notime]
2430 \override Staff.StaffSymbol #'line-count = #4
2431 \override Staff.StaffSymbol #'color = #red
2432 \override Staff.LedgerLineSpanner #'color = #red
2433 \override Voice.Stem #'transparent = ##t
2434 \override NoteHead #'style = #'vaticana.punctum
2435 \clef "vaticana-do2"
2440 Editio Vaticana style fa clef
2442 @code{vaticana-fa1}, @code{vaticana-fa2}
2444 @lilypond[fragment,relative=1,notime]
2445 \override Staff.StaffSymbol #'line-count = #4
2446 \override Staff.StaffSymbol #'color = #red
2447 \override Staff.LedgerLineSpanner #'color = #red
2448 \override Voice.Stem #'transparent = ##t
2449 \override NoteHead #'style = #'vaticana.punctum
2450 \clef "vaticana-fa2"
2455 Editio Medicaea style do clef
2457 @code{medicaea-do1}, @code{medicaea-do2},@*
2460 @lilypond[fragment,relative=1,notime]
2461 \override Staff.StaffSymbol #'line-count = #4
2462 \override Staff.StaffSymbol #'color = #red
2463 \override Staff.LedgerLineSpanner #'color = #red
2464 \override Voice.Stem #'transparent = ##t
2465 \override NoteHead #'style = #'medicaea.punctum
2466 \clef "medicaea-do2"
2471 Editio Medicaea style fa clef
2473 @code{medicaea-fa1}, @code{medicaea-fa2}
2475 @lilypond[fragment,relative=1,notime]
2476 \override Staff.StaffSymbol #'line-count = #4
2477 \override Staff.StaffSymbol #'color = #red
2478 \override Staff.LedgerLineSpanner #'color = #red
2479 \override Voice.Stem #'transparent = ##t
2480 \override NoteHead #'style = #'medicaea.punctum
2481 \clef "medicaea-fa2"
2486 historic style hufnagel do clef
2488 @code{hufnagel-do1}, @code{hufnagel-do2},@*
2491 @lilypond[fragment,relative=1,notime]
2492 \override Staff.StaffSymbol #'line-count = #4
2493 \override Staff.StaffSymbol #'color = #red
2494 \override Staff.LedgerLineSpanner #'color = #red
2495 \override Voice.Stem #'transparent = ##t
2496 \override NoteHead #'style = #'hufnagel.punctum
2497 \clef "hufnagel-do2"
2502 historic style hufnagel fa clef
2504 @code{hufnagel-fa1}, @code{hufnagel-fa2}
2506 @lilypond[fragment,relative=1,notime]
2507 \override Staff.StaffSymbol #'line-count = #4
2508 \override Staff.StaffSymbol #'color = #red
2509 \override Staff.LedgerLineSpanner #'color = #red
2510 \override Voice.Stem #'transparent = ##t
2511 \override NoteHead #'style = #'hufnagel.punctum
2512 \clef "hufnagel-fa2"
2517 historic style hufnagel combined do/fa clef
2519 @code{hufnagel-do-fa}
2521 @lilypond[fragment,relative=1,notime]
2522 \override Staff.StaffSymbol #'color = #red
2523 \override Staff.LedgerLineSpanner #'color = #red
2524 \override Voice.Stem #'transparent = ##t
2525 \override NoteHead #'style = #'hufnagel.punctum
2526 \clef "hufnagel-do-fa"
2533 @emph{Modern style} means ``as is typeset in contemporary editions of
2534 transcribed mensural music''.
2536 @emph{Petrucci style} means ``inspired by printings published by the
2537 famous engraver Petrucci (1466-1539)''.
2539 @emph{Historic style} means ``as was typeset or written in historic
2540 editions (other than those of Petrucci)''.
2542 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
2544 Petrucci used C clefs with differently balanced left-side vertical
2545 beams, depending on which staff line it is printed.
2549 In this manual: see @ref{Clef}.
2553 The mensural g clef is mapped to the Petrucci g clef.
2558 @subsection Ancient flags
2563 Use the @code{flag-style} property of grob @internalsref{Stem} to
2564 select ancient flags. Besides the @code{default} flag style,
2565 only the @code{mensural} style is supported
2567 @lilypond[quote,fragment,raggedright,verbatim]
2568 \override Stem #'flag-style = #'mensural
2569 \override Stem #'thickness = #1.0
2570 \override NoteHead #'style = #'mensural
2572 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
2573 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
2576 Note that the innermost flare of each mensural flag always is
2577 vertically aligned with a staff line.
2579 There is no particular flag style for neo-mensural notation. Hence,
2580 when typesetting the incipit of a transcribed piece of mensural
2581 music, the default flag style should be used. There are no flags in
2582 Gregorian Chant notation.
2586 The attachment of ancient flags to stems is slightly off due to a
2587 change in early 2.3.x.
2589 Vertically aligning each flag with a staff line assumes that stems
2590 always end either exactly on or exactly in the middle between two
2591 staff lines. This may not always be true when using advanced layout
2592 features of classical notation (which however are typically out of
2593 scope for mensural notation).
2595 @node Ancient time signatures
2596 @subsection Ancient time signatures
2598 @cindex time signatures
2601 There is limited support for mensural time signatures. The
2602 glyphs are hard-wired to particular time fractions. In other words,
2603 to get a particular mensural signature glyph with the @code{\time n/m}
2604 command, @code{n} and @code{m} have to be chosen according to the
2607 @lilypond[quote,raggedright]
2612 \remove Staff_symbol_engraver
2613 \remove Clef_engraver
2614 \remove Time_signature_engraver
2618 \set Score.timing = ##f
2619 \set Score.barAlways = ##t
2620 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph #"timesig.neomensural44" }
2622 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph #"timesig.neomensural22" }
2624 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph #"timesig.neomensural64" }
2626 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph #"timesig.neomensural68" }
2628 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph #"timesig.neomensural32" }
2630 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph #"timesig.neomensural34" }
2632 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph #"timesig.neomensural94" }
2634 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph #"timesig.neomensural98" }
2636 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph #"timesig.neomensural48" }
2638 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph #"timesig.neomensural24" }
2642 Use the @code{style} property of grob @internalsref{TimeSignature} to
2643 select ancient time signatures. Supported styles are
2644 @code{neomensural} and @code{mensural}. The above table uses the
2645 @code{neomensural} style. This style is appropriate for the
2646 incipit of transcriptions of mensural pieces. The @code{mensural}
2647 style mimics the look of historical printings of the 16th century.
2649 The following examples show the differences in style,
2651 @lilypond[raggedright,fragment,relative=1,quote]
2656 c1^\markup { \hspace #-2.0 \typewriter default }
2658 \override Staff.TimeSignature #'style = #'numbered
2660 c1^\markup { \hspace #-2.0 \typewriter numbered }
2662 \override Staff.TimeSignature #'style = #'mensural
2664 c1^\markup { \hspace #-2.0 \typewriter mensural }
2666 \override Staff.TimeSignature #'style = #'neomensural
2668 c1^\markup { \hspace #-2.0 \typewriter neomensural }
2669 \override Staff.TimeSignature #'style = #'single-digit
2671 c1^\markup { \hspace #-2.0 \typewriter single-digit }
2677 This manual: @ref{Time signature} gives a general introduction to
2678 the use of time signatures.
2682 Ratios of note durations do not change with the time signature. For
2683 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
2684 be made by hand, by setting
2687 breveTP = #(ly:make-duration -1 0 3 2)
2693 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
2695 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
2696 addressable with @code{\time}. Use a @code{\markup} instead
2698 @node Ancient articulations
2699 @subsection Ancient articulations
2701 @cindex articulations
2703 In addition to the standard articulation signs described in section
2704 @ref{Articulations}, articulation signs for ancient notation are
2705 provided. These are specifically designed for use with notation in
2706 Editio Vaticana style.
2708 @lilypond[quote,raggedright,verbatim]
2709 \include "gregorian-init.ly"
2711 \context VaticanaVoice {
2712 \override Staff.StaffSymbol #'color = #red
2713 \override Staff.LedgerLineSpanner #'color = #red
2714 \override TextScript #'font-family = #'typewriter
2715 \override TextScript #'font-shape = #'upright
2716 \override Script #'padding = #-0.1
2718 a4\circulus_"circulus" s1
2719 a4\semicirculus_"semicirculus" s1 s
2720 a4\accentus_"accentus" s1
2721 \[ a4_"episem" \episemInitium \pes b \flexa a \episemFinis \]
2728 Some articulations are vertically placed too closely to the
2729 correpsonding note heads.
2732 @subsection Custodes
2737 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
2738 symbol that appears at the end of a staff. It anticipates the pitch
2739 of the first note(s) of the following line thus helping the performer
2740 to manage line breaks during performance.
2742 Custodes were frequently used in music notation until the 17th
2743 century. Nowadays, they have survived only in a few particular forms
2744 of musical notation such as contemporary editions of Gregorian chant
2745 like the @emph{editio vaticana}. There are different custos glyphs
2746 used in different flavors of notational style.
2748 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
2749 @internalsref{Staff} context when declaring the @code{\layout} block,
2750 as shown in the following example
2756 \consists Custos_engraver
2757 Custos \override #'style = #'mensural
2762 The result looks like this
2764 @lilypond[quote,raggedright]
2768 \override Staff.Custos #'style = #'mensural
2773 \context { \Staff \consists Custos_engraver }
2778 The custos glyph is selected by the @code{style} property. The styles
2779 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
2780 @code{mensural}. They are demonstrated in the following fragment
2782 @lilypond[quote,raggedright,fragment]
2783 \new Lyrics \lyricmode {
2785 \typewriter "vaticana"
2786 \line { " " \musicglyph #"custodes.vaticana.u0" }
2789 \typewriter "medicaea"
2790 \line { " " \musicglyph #"custodes.medicaea.u0" }
2793 \typewriter "hufnagel"
2794 \line { " " \musicglyph #"custodes.hufnagel.u0" }
2797 \typewriter "mensural"
2798 \line { " " \musicglyph #"custodes.mensural.u0" }
2805 Program reference: @internalsref{Custos}.
2807 Examples: @inputfileref{input/@/regression,custos@/.ly}.
2811 @subsection Divisiones
2817 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
2818 `division') is a staff context symbol that is used to structure
2819 Gregorian music into phrases and sections. The musical meaning of
2820 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
2821 can be characterized as short, medium, and long pause, somewhat like
2822 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
2823 only marks the end of a chant, but is also frequently used within a
2824 single antiphonal/responsorial chant to mark the end of each section.
2827 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
2828 contains definitions that you can apply by just inserting
2829 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
2830 and @code{\finalis} at proper places in the input. Some editions use
2831 @emph{virgula} or @emph{caesura} instead of divisio minima.
2832 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
2835 @lilypondfile[quote,raggedright]{divisiones.ly}
2839 @cindex @code{\virgula}
2841 @cindex @code{\caesura}
2843 @cindex @code{\divisioMinima}
2844 @code{\divisioMinima},
2845 @cindex @code{\divisioMaior}
2846 @code{\divisioMaior},
2847 @cindex @code{\divisioMaxima}
2848 @code{\divisioMaxima},
2849 @cindex @code{\finalis}
2854 In this manual: @ref{Breath marks}.
2856 Program reference: @internalsref{BreathingSign}.
2858 Examples: @inputfileref{input/@/test,divisiones@/.ly}.
2861 @subsection Ligatures
2865 @c TODO: Should double check if I recalled things correctly when I wrote
2866 @c down the following paragraph by heart.
2868 A ligature is a graphical symbol that represents at least two distinct
2869 notes. Ligatures originally appeared in the manuscripts of Gregorian
2870 chant notation to denote ascending or descending sequences of notes.
2872 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
2873 Some ligature styles may need additional input syntax specific for
2874 this particular type of ligature. By default, the
2875 @internalsref{LigatureBracket} engraver just puts a square bracket
2878 @lilypond[quote,raggedright,verbatim]
2886 To select a specific style of ligatures, a proper ligature engraver
2887 has to be added to the @internalsref{Voice} context, as explained in
2888 the following subsections. Only white mensural ligatures
2889 are supported with certain limitations.
2895 Ligatures need special spacing that has not yet been implemented. As
2896 a result, there is too much space between ligatures most of the time,
2897 and line breaking often is unsatisfactory. Also, lyrics do not
2898 correctly align with ligatures.
2900 Accidentals must not be printed within a ligature, but instead need to
2901 be collected and printed in front of it.
2903 Augmentum dots within ligatures are not handled correctly.
2905 The syntax still uses the deprecated infix style @code{\[ music expr
2906 \]}. For consistency reasons, it will eventually be changed to
2907 postfix style @code{note\[ ... note\]}. Alternatively, the file
2908 @file{gregorian@/-init@/.ly} can be included; it provides a scheme
2911 \ligature @var{music expr}
2913 with the same effect and is believed to be stable.
2916 * White mensural ligatures::
2917 * Gregorian square neumes ligatures::
2920 @node White mensural ligatures
2921 @subsubsection White mensural ligatures
2923 @cindex Mensural ligatures
2924 @cindex White mensural ligatures
2926 There is limited support for white mensural ligatures.
2928 To engrave white mensural ligatures, in the layout block put the
2929 @internalsref{Mensural_ligature_engraver} into the
2930 @internalsref{Voice} context, and remove the
2931 @internalsref{Ligature_bracket_engraver}, like this
2937 \remove Ligature_bracket_engraver
2938 \consists Mensural_ligature_engraver
2943 There is no additional input language to describe the shape of a
2944 white mensural ligature. The shape is rather determined solely from
2945 the pitch and duration of the enclosed notes. While this approach may
2946 take a new user a while to get accustomed to, it has the great advantage
2947 that the full musical information of the ligature is known internally.
2948 This is not only required for correct MIDI output, but also allows for
2949 automatic transcription of the ligatures.
2954 \set Score.timing = ##f
2955 \set Score.defaultBarType = "empty"
2956 \override NoteHead #'style = #'neomensural
2957 \override Staff.TimeSignature #'style = #'neomensural
2961 \[ d\longa c\breve f e d \]
2963 \[ c'\maxima d'\longa \]
2967 @lilypond[quote,raggedright]
2970 \set Score.timing = ##f
2971 \set Score.defaultBarType = "empty"
2972 \override NoteHead #'style = #'neomensural
2973 \override Staff.TimeSignature #'style = #'neomensural
2977 \[ d\longa c\breve f e d \]
2979 \[ c'\maxima d'\longa \]
2986 \remove Ligature_bracket_engraver
2987 \consists Mensural_ligature_engraver
2993 Without replacing @internalsref{Ligature_bracket_engraver} with
2994 @internalsref{Mensural_ligature_engraver}, the same music transcribes
2997 @lilypond[quote,raggedright]
2999 \set Score.timing = ##f
3000 \set Score.defaultBarType = "empty"
3001 \override NoteHead #'style = #'neomensural
3002 \override Staff.TimeSignature #'style = #'neomensural
3006 \[ d\longa c\breve f e d \]
3008 \[ c'\maxima d'\longa \]
3016 The invisible rests (@code{s4}) in the example are used to compensate
3017 for the poor horizontal spacing.
3019 @node Gregorian square neumes ligatures
3020 @subsubsection Gregorian square neumes ligatures
3022 @cindex Square neumes ligatures
3023 @cindex Gregorian square neumes ligatures
3025 There is limited support for Gregorian square neumes notation
3026 (following the style of the Editio Vaticana). Core ligatures can
3027 already be typeset, but essential issues for serious typesetting are
3028 still lacking, such as (among others) horizontal alignment of multiple
3029 ligatures, lyrics alignment and proper handling of accidentals.
3032 The following table contains the extended neumes table of the 2nd
3033 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
3034 1983 by the monks of Solesmes.
3036 @multitable @columnfractions .4 .2 .2 .2
3053 @c TODO: \layout block is identical in all of the below examples.
3054 @c Therefore, it should somehow be included rather than duplicated all
3057 @c why not make identifiers in ly/engraver-init.ly? --hwn
3059 @c Because it's just used to typeset plain notes without
3060 @c a staff for demonstration purposes rather than something
3061 @c special of Gregorian chant notation. --jr
3066 @lilypond[staffsize=26,linewidth=1.5\cm]
3067 \include "gregorian-init.ly"
3072 \noBreak s^\markup {"a"} \noBreak
3074 % Punctum Inclinatum
3076 \noBreak s^\markup {"b"}
3078 \layout { \neumeDemoLayout }}
3081 @lilypond[staffsize=26,linewidth=2.5\cm]
3082 \include "gregorian-init.ly"
3085 % Punctum Auctum Ascendens
3086 \[ \auctum \ascendens b \]
3087 \noBreak s^\markup {"c"} \noBreak
3089 % Punctum Auctum Descendens
3090 \[ \auctum \descendens b \]
3091 \noBreak s^\markup {"d"} \noBreak
3093 % Punctum Inclinatum Auctum
3094 \[ \inclinatum \auctum b \]
3095 \noBreak s^\markup {"e"}
3097 \layout { \neumeDemoLayout }}
3100 @lilypond[staffsize=26,linewidth=1.0\cm]
3101 \include "gregorian-init.ly"
3104 % Punctum Inclinatum Parvum
3105 \[ \inclinatum \deminutum b \]
3106 \noBreak s^\markup {"f"}
3108 \layout { \neumeDemoLayout }}
3114 @lilypond[staffsize=26,linewidth=1.0\cm]
3115 \include "gregorian-init.ly"
3120 \noBreak s^\markup {"g"}
3122 \layout { \neumeDemoLayout }}
3128 @code{3. Apostropha vel Stropha}
3130 @lilypond[staffsize=26,linewidth=1.0\cm]
3131 \include "gregorian-init.ly"
3136 \noBreak s^\markup {"h"}
3138 \layout { \neumeDemoLayout }}
3141 @lilypond[staffsize=26,linewidth=1.0\cm]
3142 \include "gregorian-init.ly"
3146 \[ \stropha \auctum b \]
3147 \noBreak s^\markup {"i"}
3149 \layout { \neumeDemoLayout }}
3156 @lilypond[staffsize=26,linewidth=1.0\cm]
3157 \include "gregorian-init.ly"
3162 \noBreak s^\markup {"j"}
3164 \layout { \neumeDemoLayout }}
3170 @code{5. Clivis vel Flexa}
3172 @lilypond[staffsize=26,linewidth=1.0\cm]
3173 \include "gregorian-init.ly"
3180 \layout { \neumeDemoLayout }}
3183 @lilypond[staffsize=26,linewidth=2.0\cm]
3184 \include "gregorian-init.ly"
3187 % Clivis Aucta Descendens
3188 \[ b \flexa \auctum \descendens g \]
3189 \noBreak s^\markup {"l"} \noBreak
3191 % Clivis Aucta Ascendens
3192 \[ b \flexa \auctum \ascendens g \]
3193 \noBreak s^\markup {"m"}
3195 \layout { \neumeDemoLayout }}
3198 @lilypond[staffsize=26,linewidth=1.0\cm]
3199 \include "gregorian-init.ly"
3203 \[ b \flexa \deminutum g \]
3206 \layout { \neumeDemoLayout }}
3210 @code{6. Podatus vel Pes}
3212 @lilypond[staffsize=26,linewidth=1.0\cm]
3213 \include "gregorian-init.ly"
3220 \layout { \neumeDemoLayout }}
3223 @lilypond[staffsize=26,linewidth=2.0\cm]
3224 \include "gregorian-init.ly"
3227 % Pes Auctus Descendens
3228 \[ g \pes \auctum \descendens b \]
3229 \noBreak s^\markup {"p"} \noBreak
3231 % Pes Auctus Ascendens
3232 \[ g \pes \auctum \ascendens b \]
3233 \noBreak s^\markup {"q"}
3235 \layout { \neumeDemoLayout }}
3238 @lilypond[staffsize=26,linewidth=1.0\cm]
3239 \include "gregorian-init.ly"
3243 \[ g \pes \deminutum b \]
3246 \layout { \neumeDemoLayout }}
3250 @code{7. Pes Quassus}
3252 @lilypond[staffsize=26,linewidth=1.0\cm]
3253 \include "gregorian-init.ly"
3257 \[ \oriscus g \pes \virga b \]
3260 \layout { \neumeDemoLayout }}
3263 @lilypond[staffsize=26,linewidth=1.0\cm]
3264 \include "gregorian-init.ly"
3267 % Pes Quassus Auctus Descendens
3268 \[ \oriscus g \pes \auctum \descendens b \]
3271 \layout { \neumeDemoLayout }}
3276 @code{8. Quilisma Pes}
3278 @lilypond[staffsize=26,linewidth=1.0\cm]
3279 \include "gregorian-init.ly"
3283 \[ \quilisma g \pes b \]
3286 \layout { \neumeDemoLayout }}
3289 @lilypond[staffsize=26,linewidth=1.0\cm]
3290 \include "gregorian-init.ly"
3293 % Quilisma Pes Auctus Descendens
3294 \[ \quilisma g \pes \auctum \descendens b \]
3297 \layout { \neumeDemoLayout }}
3302 @code{9. Podatus Initio Debilis}
3304 @lilypond[staffsize=26,linewidth=1.0\cm]
3305 \include "gregorian-init.ly"
3308 % Pes Initio Debilis
3309 \[ \deminutum g \pes b \]
3312 \layout { \neumeDemoLayout }}
3315 @lilypond[staffsize=26,linewidth=1.0\cm]
3316 \include "gregorian-init.ly"
3319 % Pes Auctus Descendens Initio Debilis
3320 \[ \deminutum g \pes \auctum \descendens b \]
3323 \layout { \neumeDemoLayout }}
3330 @lilypond[staffsize=26,linewidth=1.0\cm]
3331 \include "gregorian-init.ly"
3335 \[ a \pes b \flexa g \]
3338 \layout { \neumeDemoLayout }}
3341 @lilypond[staffsize=26,linewidth=1.0\cm]
3342 \include "gregorian-init.ly"
3345 % Torculus Auctus Descendens
3346 \[ a \pes b \flexa \auctum \descendens g \]
3349 \layout { \neumeDemoLayout }}
3352 @lilypond[staffsize=26,linewidth=1.0\cm]
3353 \include "gregorian-init.ly"
3356 % Torculus Deminutus
3357 \[ a \pes b \flexa \deminutum g \]
3360 \layout { \neumeDemoLayout }}
3364 @code{11. Torculus Initio Debilis}
3366 @lilypond[staffsize=26,linewidth=1.0\cm]
3367 \include "gregorian-init.ly"
3370 % Torculus Initio Debilis
3371 \[ \deminutum a \pes b \flexa g \]
3374 \layout { \neumeDemoLayout }}
3377 @lilypond[staffsize=26,linewidth=1.0\cm]
3378 \include "gregorian-init.ly"
3381 % Torculus Auctus Descendens Initio Debilis
3382 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
3385 \layout { \neumeDemoLayout }}
3388 @lilypond[staffsize=26,linewidth=1.0\cm]
3389 \include "gregorian-init.ly"
3392 % Torculus Deminutus Initio Debilis
3393 \[ \deminutum a \pes b \flexa \deminutum g \]
3396 \layout { \neumeDemoLayout }}
3400 @code{12. Porrectus}
3402 @lilypond[staffsize=26,linewidth=1.0\cm]
3403 \include "gregorian-init.ly"
3407 \[ a \flexa g \pes b \]
3410 \layout { \neumeDemoLayout }}
3413 @lilypond[staffsize=26,linewidth=1.0\cm]
3414 \include "gregorian-init.ly"
3417 % Porrectus Auctus Descendens
3418 \[ a \flexa g \pes \auctum \descendens b \]
3421 \layout { \neumeDemoLayout }}
3424 @lilypond[staffsize=26,linewidth=1.0\cm]
3425 \include "gregorian-init.ly"
3428 % Porrectus Deminutus
3429 \[ a \flexa g \pes \deminutum b \]
3432 \layout { \neumeDemoLayout }}
3438 @lilypond[staffsize=26,linewidth=1.0\cm]
3439 \include "gregorian-init.ly"
3443 \[ \virga b \inclinatum a \inclinatum g \]
3446 \layout { \neumeDemoLayout }
3450 @lilypond[staffsize=26,linewidth=1.0\cm]
3451 \include "gregorian-init.ly"
3455 \[ \virga b \inclinatum a \inclinatum \auctum g \]
3458 \layout { \neumeDemoLayout }}
3461 @lilypond[staffsize=26,linewidth=1.0\cm]
3462 \include "gregorian-init.ly"
3465 % Climacus Deminutus
3466 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
3469 \layout { \neumeDemoLayout }}
3473 @code{14. Scandicus}
3475 @lilypond[staffsize=26,linewidth=1.0\cm]
3476 \include "gregorian-init.ly"
3480 \[ g \pes a \virga b \]
3483 \layout { \neumeDemoLayout }}
3486 @lilypond[staffsize=26,linewidth=1.0\cm]
3487 \include "gregorian-init.ly"
3490 % Scandicus Auctus Descendens
3491 \[ g \pes a \pes \auctum \descendens b \]
3494 \layout { \neumeDemoLayout }}
3497 @lilypond[staffsize=26,linewidth=1.0\cm]
3498 \include "gregorian-init.ly"
3501 % Scandicus Deminutus
3502 \[ g \pes a \pes \deminutum b \]
3505 \layout { \neumeDemoLayout }}
3511 @lilypond[staffsize=26,linewidth=1.0\cm]
3512 \include "gregorian-init.ly"
3516 \[ g \oriscus a \pes \virga b \]
3519 \layout { \neumeDemoLayout }}
3522 @lilypond[staffsize=26,linewidth=1.0\cm]
3523 \include "gregorian-init.ly"
3526 % Salicus Auctus Descendens
3527 \[ g \oriscus a \pes \auctum \descendens b \]
3530 \layout { \neumeDemoLayout }}
3537 @lilypond[staffsize=26,linewidth=1.0\cm]
3538 \include "gregorian-init.ly"
3542 \[ \stropha b \stropha b \stropha a \]
3545 \layout { \neumeDemoLayout }
3554 Unlike most other neumes notation systems, the input language for
3555 neumes does not reflect the typographical appearance, but is designed
3556 to focus on musical meaning. For example, @code{\[ a \pes b
3557 \flexa g \]} produces a Torculus consisting of three Punctum heads,
3558 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
3559 curved flexa shape and only a single Punctum head. There is no
3560 command to explicitly typeset the curved flexa shape; the decision of
3561 when to typeset a curved flexa shape is based on the musical
3562 input. The idea of this approach is to separate the musical aspects
3563 of the input from the notation style of the output. This way, the
3564 same input can be reused to typeset the same music in a different
3565 style of Gregorian chant notation.
3567 The following table shows the code fragments that produce the
3568 ligatures in the above neumes table. The letter in the first column
3569 in each line of the below table indicates to which ligature in the
3570 above table it refers. The second column gives the name of the
3571 ligature. The third column shows the code fragment that produces this
3572 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
3574 @multitable @columnfractions .02 .31 .67
3594 @code{\[ \inclinatum b \]}
3602 @code{\[ \auctum \ascendens b \]}
3610 @code{\[ \auctum \descendens b \]}
3615 Punctum Inclinatum@*
3618 @code{\[ \inclinatum \auctum b \]}
3623 Punctum Inclinatum@*
3625 @code{\[ \inclinatum \deminutum b \]}
3632 @code{\[ \virga b \]}
3639 @code{\[ \stropha b \]}
3646 @code{\[ \stropha \auctum b \]}
3653 @code{\[ \oriscus b \]}
3660 @code{\[ b \flexa g \]}
3668 @code{\[ b \flexa \auctum \descendens g \]}
3676 @code{\[ b \flexa \auctum \ascendens g \]}
3683 @code{\[ b \flexa \deminutum g \]}
3690 @code{\[ g \pes b \]}
3698 @code{\[ g \pes \auctum \descendens b \]}
3706 @code{\[ g \pes \auctum \ascendens b \]}
3713 @code{\[ g \pes \deminutum b \]}
3720 @code{\[ \oriscus g \pes \virga b \]}
3726 Auctus Descendens @tab
3727 @code{\[ \oriscus g \pes \auctum \descendens b \]}
3734 @code{\[ \quilisma g \pes b \]}
3742 @code{\[ \quilisma g \pes \auctum \descendens b \]}
3749 @code{\[ \deminutum g \pes b \]}
3754 Pes Auctus Descendens@*
3757 @code{\[ \deminutum g \pes \auctum \descendens b \]}
3764 @code{\[ a \pes b \flexa g \]}
3772 @code{\[ a \pes b \flexa \auctum \descendens g \]}
3779 @code{\[ a \pes b \flexa \deminutum g \]}
3784 Torculus Initio Debilis
3786 @code{\[ \deminutum a \pes b \flexa g \]}
3792 Descendens Initio Debilis
3794 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
3799 Torculus Deminutus@*
3802 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
3809 @code{\[ a \flexa g \pes b \]}
3817 @code{\[ a \flexa g \pes \auctum \descendens b \]}
3824 @code{\[ a \flexa g \pes \deminutum b \]}
3831 @code{\[ \virga b \inclinatum a \inclinatum g \]}
3838 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
3845 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
3852 @code{\[ g \pes a \virga b \]}
3860 @code{\[ g \pes a \pes \auctum \descendens b \]}
3867 @code{\[ g \pes a \pes \deminutum b \]}
3874 @code{\[ g \oriscus a \pes \virga b \]}
3879 Salicus Auctus Descendens
3881 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
3888 @code{\[ \stropha b \stropha b \stropha a \]}
3893 The following head prefixes are supported
3895 @cindex @code{\virga}
3897 @cindex @code{\stropha}
3899 @cindex @code{\inclinatum}
3901 @cindex @code{\auctum}
3903 @cindex @code{\descendens}
3905 @cindex @code{\ascendens}
3907 @cindex @code{\oriscus}
3909 @cindex @code{\quilisma}
3911 @cindex @code{\deminutum}
3914 Head prefixes can be accumulated, though restrictions apply. For
3915 example, either @code{\descendens} or @code{\ascendens} can be applied
3916 to a head, but not both to the same head.
3919 @cindex @code{\flexa}
3920 Two adjacent heads can be tied together with the @code{\pes} and
3921 @code{\flexa} infix commands for a rising and falling line of melody,
3926 @node Gregorian Chant contexts
3927 @subsection Gregorian Chant contexts
3929 @cindex VaticanaVoiceContext
3930 @cindex VaticanaStaffContext
3932 The predefined @code{VaticanaVoiceContext} and
3933 @code{VaticanaStaffContext} can be used to engrave a piece of
3934 Gregorian Chant in the style of the Editio Vaticana. These contexts
3935 initialize all relevant context properties and grob properties to
3936 proper values, so you can immediately go ahead entering the chant, as
3937 the following excerpt demonstrates
3939 @lilypond[quote,raggedright,packed,verbatim]
3940 \include "gregorian-init.ly"
3943 \context VaticanaVoice = "cantus" {
3944 \override Staff.StaffSymbol #'color = #red
3945 \override Staff.LedgerLineSpanner #'color = #red
3946 \override Score.BarNumber #'transparent = ##t {
3947 \[ c'\melisma c' \flexa a \]
3948 \[ a \flexa \deminutum g\melismaEnd \]
3950 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
3951 c' \divisioMinima \break
3952 \[ c'\melisma c' \flexa a \]
3953 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
3956 \lyricsto "cantus" \new Lyrics {
3957 San- ctus, San- ctus, San- ctus
3964 @node Mensural contexts
3965 @subsection Mensural contexts
3967 @cindex MensuralVoiceContext
3968 @cindex MensuralStaffContext
3970 The predefined @code{MensuralVoiceContext} and
3971 @code{MensuralStaffContext} can be used to engrave a piece in mensural
3972 style. These contexts initialize all relevant context properties and
3973 grob properties to proper values, so you can immediately go ahead
3974 entering the chant, as the following excerpt demonstrates
3976 @lilypond[quote,raggedright,verbatim]
3979 \context MensuralVoice = "discantus" \transpose c c' {
3980 \override Score.BarNumber #'transparent = ##t {
3981 c'1\melisma bes a g\melismaEnd
3983 \[ f1\melisma a c'\breve d'\melismaEnd \]
3985 c'\breve\melisma a1 g1\melismaEnd
3986 fis\longa^\signumcongruentiae
3989 \lyricsto "discantus" \new Lyrics {
3990 San -- ctus, San -- ctus, San -- ctus
3996 @node Musica ficta accidentals
3997 @subsection Musica ficta accidentals
3999 In European music from before about 1600, singers were often expected
4000 to chromatically alter notes at their own initiative. This is called
4001 ``Musica Ficta''. In modern transcriptions, these accidentals are
4002 usually printed over the note.
4004 @cindex Musica ficta
4006 Support for such suggested accidentals is included, and can be
4007 switched on by setting @code{suggestAccidentals} to true.
4009 @cindex @code{suggestAccidentals}
4011 @lilypond[verbatim,fragment,relative=1]
4013 \set suggestAccidentals = ##t
4019 Program reference: @internalsref{Accidental_engraver} engraver and the
4020 @internalsref{AccidentalSuggestion} object.
4023 @subsection Figured bass
4025 @cindex Basso continuo
4027 @c TODO: musicological blurb about FB
4030 LilyPond has support for figured bass
4032 @lilypond[quote,raggedright,verbatim,fragment]
4034 \context Voice { \clef bass dis4 c d ais g fis}
4035 \context FiguredBass \figuremode {
4036 < 6 >4 < 7\+ >8 < 6+ [_!] >
4043 The support for figured bass consists of two parts: there is an input
4044 mode, introduced by @code{\figuremode}, where you can enter bass figures
4045 as numbers, and there is a context called @internalsref{FiguredBass} that
4046 takes care of making @internalsref{BassFigure} objects.
4048 In figures input mode, a group of bass figures is delimited by
4049 @code{<} and @code{>}. The duration is entered after the @code{>}
4053 @lilypond[quote,raggedright,fragment]
4054 \context FiguredBass
4055 \figuremode { <4 6> }
4058 Accidentals are added when you append @code{-}, @code{!}, and @code{+}
4059 to the numbers. A plus sign is added when you append @code{\+}, and
4060 diminished fifths and sevenths can be obtained with @code{5/} and @code{7/}.
4063 <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/>
4065 @lilypond[quote,raggedright,fragment]
4066 \figures { <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/> }
4069 Spaces may be inserted by using @code{_}. Brackets are
4070 introduced with @code{[} and @code{]}. You can also include text
4071 strings and text markups, see @ref{Overview of text markup commands}.
4074 < [4 6] 8 [_! 12] > < 5 \markup @{ \number 6 \super (1) @} >
4076 @lilypond[quote,raggedright,fragment]
4077 \context FiguredBass
4078 \figuremode { < [4 6] 8 [_! 12] > < 5 \markup{ \tiny \number 6 \super (1)} > }
4082 It is also possible to use continuation lines for repeated figures,
4084 @lilypond[verbatim,relative=1]
4091 \set useBassFigureExtenders = ##t
4098 In this case, the extender lines always replace existing figures.
4100 The @code{FiguredBass} context doesn't pay attention to the actual
4101 bass line. As a consequence, you may have to insert extra figures to
4102 get extender lines below all notes, and you may have to add @code{\!}
4103 to avoid getting an extender line, eg.
4105 @lilypond[relative=1]
4109 \set useBassFigureExtenders = ##t
4110 <6 4->4. <6 4->16. <6 4->32 <5>8. r16 <6>8 <6\! 5->
4114 f16. g32 f16. g32 f16. g32 f16. g32 f8. es16 d8 es
4119 When using continuation lines, common figures are always put in the
4120 same vertical position. When this is unwanted, you can insert a rest
4121 with @code{r}. The rest will clear any previous alignment. For
4122 example, you can write
4134 Accidentals and plus signs can appear before or after the numbers,
4135 depending on the @code{figuredBassAlterationDirection} and @code{figuredBassPlusDirection}
4141 \set figuredBassAlterationDirection = #1
4143 \set figuredBassPlusDirection = #1
4145 \set figuredBassAlterationDirection = #-1
4151 Although the support for figured bass may superficially resemble chord
4152 support, it is much simpler. The @code{\figuremode} mode simply
4153 stores the numbers and @internalsref{FiguredBass} context prints them
4154 as entered. There is no conversion to pitches and no realizations of
4155 the bass are played in the MIDI file.
4157 Internally, the code produces markup texts. You can use any of the
4158 markup text properties to override formatting. For example, the
4159 vertical spacing of the figures may be set with @code{baseline-skip}.
4163 Program reference: @internalsref{NewBassFigure},
4164 @internalsref{BassFigureAlignment}, @internalsref{BassFigureLine},
4165 @internalsref{BassFigureBracket}, and
4166 @internalsref{BassFigureContinuation} objects and
4167 @internalsref{FiguredBass} context.
4171 @node Other instrument specific notation
4172 @section Other instrument specific notation
4174 This section includes extra information for writing for instruments.
4177 * Artificial harmonics (strings)::
4180 @node Artificial harmonics (strings)
4181 @subsection Artificial harmonics (strings)
4183 @cindex artificial harmonics
4185 Artificial harmonics are notated with a different notehead style. They
4186 are entered by marking the harmonic pitch with @code{\harmonic}.
4188 @lilypond[raggedright,verbatim,quote,fragment,relative=1]