1 @c -*- coding: latin-1; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
8 @node Instrument-specific notation
9 @chapter Instrument-specific notation
11 This chapter explains how to use notation for specific instruments.
20 * Other instrument specific notation::
28 Piano staves are two normal staves coupled with a brace. The staves
29 are largely independent, but sometimes voices can cross between the
30 two staves. The same notation is also used for harps and other key
31 @c Is this `harp' or `harpsichord'?
33 instruments. The @internalsref{PianoStaff} is especially built to
34 handle this cross-staffing behavior. In this section we discuss the
35 @internalsref{PianoStaff} and some other pianistic peculiarities.
39 * Automatic staff changes::
40 * Manual staff switches::
42 * Staff switch lines::
48 Dynamics are not centered, but workarounds do exist. See the
49 ``piano centered dynamics'' template in @ref{Piano templates}.
51 @cindex cross staff stem
52 @cindex stem, cross staff
53 @cindex distance between staves in piano music
55 The distance between the two staves is the same for all systems in the
56 score. It is possible to override this per system, but it does require
57 an arcane command incantation. See
58 @inputfileref{input/@/test,piano@/-staff@/-distance@/.ly}.
61 @node Automatic staff changes
62 @subsection Automatic staff changes
63 @cindex Automatic staff changes
65 Voices can be made to switch automatically between the top and the bottom
66 staff. The syntax for this is
70 \autochange @dots{}@var{music}@dots{}
75 This will create two staves inside the current PianoStaff, called
76 @code{up} and @code{down}. The lower staff will be in bass clef by
79 A @code{\relative} section that is outside of @code{\autochange} has
80 no effect on the pitches of @var{music}, so, if necessary, put
81 @code{\relative} inside @code{\autochange} like
85 \autochange \relative @dots{} @dots{}
90 The autochanger switches on basis of the pitch (middle C is the turning
91 point), and it looks ahead skipping over rests to switch in
92 advance. Here is a practical example
94 @lilypond[quote,verbatim,raggedright]
96 \autochange \relative c'
105 In this manual: @ref{Manual staff switches}.
107 Program reference: @internalsref{AutoChangeMusic}.
113 The staff switches may not end up in optimal places. For high
114 quality output, staff switches should be specified manually.
117 @code{\autochange} cannot be inside @code{\times}.
120 @node Manual staff switches
121 @subsection Manual staff switches
123 @cindex manual staff switches
124 @cindex staff switch, manual
126 Voices can be switched between staves manually, using the command
128 \change Staff = @var{staffname} @var{music}
132 The string @var{staffname} is the name of the staff. It switches the
133 current voice from its current staff to the Staff called
134 @var{staffname}. Typically @var{staffname} is @code{"up"} or
135 @code{"down"}. The @context{Staff} referred to must already exist, so
136 usually the setup for a score will start with a setup of the staves,
140 \context Staff = up @{
141 \skip 1 * 10 % @emph{keep staff alive}
143 \context Staff = down @{
144 \skip 1 * 10 % @emph{idem}
150 and the @context{Voice} is inserted afterwards
153 \context Staff = down
154 \new Voice @{ @dots{} \change Staff = up @dots{} @}
162 Pianos have pedals that alter the way sound is produced. Generally, a
163 piano has three pedals, sustain, una corda, and sostenuto.
166 Piano pedal instruction can be expressed by attaching
167 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
168 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
171 @lilypond[quote,raggedright,fragment,verbatim]
172 c'4\sustainDown c'4\sustainUp
175 What is printed can be modified by setting @code{pedal@var{X}Strings},
176 where @var{X} is one of the pedal types: @code{Sustain},
177 @code{Sostenuto} or @code{UnaCorda}. Refer to
178 @internalsref{SustainPedal} in the program reference for more
181 Pedals can also be indicated by a sequence of brackets, by setting the
182 @code{pedalSustainStyle} property to bracket objects
184 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
185 \set Staff.pedalSustainStyle = #'bracket
187 b\sustainUp\sustainDown
188 b g \sustainUp a \sustainDown \bar "|."
191 A third style of pedal notation is a mixture of text and brackets,
192 obtained by setting the @code{pedalSustainStyle} property to
195 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
196 \set Staff.pedalSustainStyle = #'mixed
198 b\sustainUp\sustainDown
199 b g \sustainUp a \sustainDown \bar "|."
202 The default `*Ped.' style for sustain and damper pedals corresponds to
203 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
206 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
207 c\sostenutoDown d e c, f g a\sostenutoUp
210 For fine-tuning the appearance of a pedal bracket, the properties
211 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
212 @code{PianoPedalBracket} objects (see
213 @internalsref{PianoPedalBracket} in the Program reference) can be
214 modified. For example, the bracket may be extended to the right edge
217 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
218 \override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
219 c\sostenutoDown d e c, f g a\sostenutoUp
222 @node Staff switch lines
223 @subsection Staff switch lines
227 @cindex staff switching
230 @cindex @code{followVoice}
232 Whenever a voice switches to another staff, a line connecting the notes
233 can be printed automatically. This is switched on by setting
234 @code{followVoice} to true
236 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
239 \set followVoice = ##t
244 \context Staff=two { \clef bass \skip 1*2 }
250 Program reference: @internalsref{VoiceFollower}.
254 @cindex @code{\showStaffSwitch}
255 @code{\showStaffSwitch},
256 @cindex @code{\hideStaffSwitch}
257 @code{\hideStaffSwitch}.
260 @node Cross staff stems
261 @subsection Cross staff stems
263 Chords that cross staves may be produced by increasing the length
264 of the stem in the lower staff, so it reaches the stem in the upper
265 staff, or vice versa.
267 @lilypond[raggedright,verbatim,quote]
268 stemExtend = \once \override Stem #'length = #22
269 noFlag = \once \override Stem #'flag-style = #'no-flag
270 \context PianoStaff <<
272 \stemDown \stemExtend
289 * Introducing chord names::
291 * Printing chord names::
295 @c awkward name; awkward section name.
296 @c still, the Basic "chords" seems like a good name... :(
297 @node Introducing chord names
298 @subsection Introducing chord names
301 LilyPond has support for printing chord names. Chords may be entered
302 in musical chord notation, i.e., @code{< .. >}, but they can also be
303 entered by name. Internally, the chords are represented as a set of
304 pitches, so they can be transposed
307 @lilypond[quote,raggedright,verbatim,raggedright]
308 twoWays = \transpose c c' {
317 << \context ChordNames \twoWays
318 \context Voice \twoWays >>
321 This example also shows that the chord printing routines do not try to
322 be intelligent. The last chord (@code{f bes d}) is not interpreted as
327 @subsection Chords mode
330 In chord mode sets of pitches (chords) are entered with normal note
331 names. A chord is entered by the root, which is entered like a
334 @lilypond[quote,raggedright,fragment,verbatim]
335 \chordmode { es4. d8 c2 }
339 The mode is introduced by the keyword @code{\chordmode}.
344 Other chords may be entered by suffixing a colon and introducing a
345 modifier (which may include a number if desired)
346 @lilypond[quote,fragment,verbatim]
347 \chordmode { e1:m e1:7 e1:m7 }
349 The first number following the root is taken to be the `type' of the
350 chord, thirds are added to the root until it reaches the specified
352 @lilypond[quote,fragment,verbatim]
353 \chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
356 @cindex root of chord
357 @cindex additions, in chords
358 @cindex removals, in chords
360 More complex chords may also be constructed adding separate steps
361 to a chord. Additions are added after the number following
362 the colon and are separated by dots
363 @lilypond[quote,verbatim,fragment]
364 \chordmode { c:5.6 c:3.7.8 c:3.6.13 }
366 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
368 @lilypond[quote,verbatim,fragment]
369 \chordmode { c:7+ c:5+.3- c:3-.5-.7- }
371 Removals are specified similarly and are introduced by a caret. They
372 must come after the additions
373 @lilypond[quote,verbatim,fragment]
374 \chordmode { c^3 c:7^5 c:9^3.5 }
377 Modifiers can be used to change pitches. The following modifiers are
382 The minor chord. This modifier lowers the 3rd and (if present) the 7th step.
385 The diminished chord. This modifier lowers the 3rd, 5th and (if present)
389 The augmented chord. This modifier raises the 5th step.
392 The major 7th chord. This modifier raises the 7th step if present.
395 The suspended 4th or 2nd. This modifier removes the 3rd
396 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
400 Modifiers can be mixed with additions
401 @lilypond[quote,verbatim,fragment]
402 \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
405 @cindex modifiers, in chords.
412 Since an unaltered 11 does not sound good when combined with an
413 unaltered 3, the 11 is removed in this case (unless it is added
415 @lilypond[quote,raggedright,fragment,verbatim]
416 \chordmode { c:13 c:13.11 c:m13 }
421 An inversion (putting one pitch of the chord on the bottom), as well
422 as bass notes, can be specified by appending
423 @code{/}@var{pitch} to the chord
424 @lilypond[quote,raggedright,fragment,verbatim]
425 \chordmode { c1 c/g c/f }
429 A bass note can be added instead transposed out of the chord,
430 by using @code{/+}@var{pitch}.
432 @lilypond[quote,raggedright,fragment,verbatim]
433 \chordmode { c1 c/+g c/+f }
436 Chords is a mode similar to @code{\lyricmode}, etc. Most
437 of the commands continue to work, for example, @code{r} and
438 @code{\skip} can be used to insert rests and spaces, and property
439 commands may be used to change various settings.
445 Each step can only be present in a chord once. The following
446 simply produces the augmented chord, since @code{5+} is interpreted
449 @lilypond[quote,raggedright,verbatim,fragment]
450 \chordmode { c:5.5-.5+ }
454 @node Printing chord names
455 @subsection Printing chord names
457 @cindex printing chord names
461 For displaying printed chord names, use the @internalsref{ChordNames} context.
462 The chords may be entered either using the notation
463 described above, or directly using @code{<} and @code{>}
465 @lilypond[quote,verbatim,raggedright]
467 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
470 \context ChordNames \harmonies
471 \context Staff \harmonies
475 You can make the chord changes stand out by setting
476 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
477 display chord names when there is a change in the chords scheme and at
478 the start of a new line
480 @lilypond[quote,verbatim,raggedright]
481 harmonies = \chordmode {
482 c1:m c:m \break c:m c:m d
485 \context ChordNames {
486 \set chordChanges = ##t
488 \context Staff \transpose c c' \harmonies
492 The previous examples all show chords over a staff. This is not
493 necessary. Chords may also be printed separately. It may be necessary
494 to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
497 @lilypond[raggedright,verbatim]
498 \new ChordNames \with {
499 \override BarLine #'bar-size = #4
500 voltaOnThisStaff = ##t
501 \consists Bar_engraver
502 \consists "Volta_engraver"
504 \repeat volta 2 \chordmode {
513 The default chord name layout is a system for Jazz music, proposed by
514 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
518 @cindex @code{chordNameExceptions}
519 @item chordNameExceptions
520 This is a list that contains the chords that have special formatting.
522 The exceptions list should be encoded as
524 @{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
527 To get this information into @code{chordNameExceptions} takes a little
528 manoeuvring. The following code transforms @code{chExceptionMusic}
529 (which is a sequential music) into a list of exceptions.
531 (sequential-music-to-chord-exceptions chExceptionMusic #t)
536 (sequential-music-to-chord-exceptions chExceptionMusic #t)
539 adds the new exceptions to the default ones, which are defined in
540 @file{ly/@/chord@/-modifier@/-init@/.ly}.
542 For an example of tuning this property, see also
543 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly}.
544 @cindex exceptions, chord names.
547 @cindex @code{majorSevenSymbol}
548 @item majorSevenSymbol
549 This property contains the markup object used for the 7th step, when
550 it is major. Predefined options are @code{whiteTriangleMarkup} and
551 @code{blackTriangleMarkup}. See
552 @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly} for an example.
554 @cindex @code{chordNameSeparator}
555 @item chordNameSeparator
556 Different parts of a chord name are normally separated by a
557 slash. By setting @code{chordNameSeparator}, you can specify other
559 @lilypond[quote,raggedright,fragment,verbatim]
560 \context ChordNames \chordmode {
562 \set chordNameSeparator
563 = \markup { \typewriter "|" }
568 @cindex @code{chordRootNamer}
570 The root of a chord is usually printed as a letter with an optional
571 alteration. The transformation from pitch to letter is done by this
572 function. Special note names (for example, the German ``H'' for a
573 B-chord) can be produced by storing a new function in this property.
575 @cindex @code{chordNoteNamer}
577 The default is to print single pitch, e.g., the bass note, using the
578 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
579 to a specialized function to change this behavior. For example, the
580 base can be printed in lower case.
582 @cindex @code{chordPrefixSpacer}
583 @item chordPrefixSpacer
584 The ``m'' for minor chords is usually printed right after the root of
585 the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer
586 between the root and ``m''. The spacer is not used when the root
591 The predefined variables @code{\germanChords},
592 @code{\semiGermanChords}, @code{\italianChords} and @code{\frenchChords}
593 set these variables. The effect is
596 @lilypondfile[raggedright]{chord-names-languages.ly}
598 There are also two other chord name schemes implemented: an alternate
599 Jazz chord notation, and a systematic scheme called Banter chords. The
600 alternate Jazz notation is also shown on the chart in @ref{Chord name
601 chart}. Turning on these styles is described in the input file
602 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
611 @cindex @code{\germanChords}
612 @code{\germanChords},
613 @cindex @code{\semiGermanChords}
614 @code{\semiGermanChords}.
615 @cindex @code{\italianChords}
616 @code{\italianChords}.
617 @cindex @code{\frenchChords}
618 @code{\frenchChords}.
625 Examples: @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly},
626 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly},
627 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
630 Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
631 @file{scm/@/chord@/-entry@/.scm}.
636 Chord names are determined solely from the list of pitches. Chord
637 inversions are not identified, and neither are added bass notes. This
638 may result in strange chord names when chords are entered with the
639 @code{< .. >} syntax.
645 There are three different issues when printing vocal music
649 Song texts must be entered as text, not notes. For example, the
650 input@tie{}@code{d} should be interpreted as a one letter syllable, not the
654 Song texts must be printed as text, not as notes.
657 Song texts must be aligned with the notes of their melody.
660 The simplest solution for printing music uses the @code{\addlyrics}
661 function to solve all these problems at once. However, these
662 three functions can be controlled separately, which is necessary
663 for complex vocal music.
667 * Setting simple songs::
669 * Hyphens and extenders::
670 * The Lyrics context::
671 * Flexibility in alignment::
674 * Other vocal issues::
677 @node Setting simple songs
678 @subsection Setting simple songs
680 The easiest way to add lyrics to a melody is to append
683 \addlyrics @{ @var{the lyrics} @}
687 to a melody. Here is an example,
689 @lilypond[raggedright,verbatim,fragment,quote]
691 \relative { c2 e4 g2. }
692 \addlyrics { play the game }
695 More stanzas can be added by adding more
696 @code{\addlyrics} sections
698 @lilypond[raggedright,verbatim,fragment,quote]
700 \relative { c2 e4 g2. }
701 \addlyrics { play the game }
702 \addlyrics { speel het spel }
703 \addlyrics { joue le jeu }
706 @c TODO - this isn't such a great place for this note, but I can't
707 @c find a better place without rearranging a lot of lyric stuff.
708 @c It's yet another thing to look at post-3.0.
710 The @code{\addlyrics} command is actually just a convienient way
711 to write a more complicated LilyPond structure that sets up the
712 lyrics. You should use @code{\addlyrics} unless you need to do
713 fancy things, in which case you should investigate
714 @code{\lyricsto} or @code{\lyricmode}.
718 \addlyrics @{ LYRICS @}
725 \context Voice = blah @{ music @}
726 \lyricsto "blah" \new lyrics @{ LYRICS @}
731 @code{\addlyrics} cannot handle polyphony.
734 @node Entering lyrics
735 @subsection Entering lyrics
739 @cindex @code{\lyricmode}
742 Lyrics are entered in a special input mode. This mode is introduced
743 by the keyword @code{\lyricmode}, or by using @code{addlyrics} or
744 @code{lyricsto}. In this mode you can enter lyrics,
745 with punctuation and accents, and the input @code{d} is not parsed as
746 a pitch, but rather as a one letter syllable. Syllables are entered
747 like notes, but with pitches replaced by text. For example,
749 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
753 A word lyrics mode begins with an alphabetic character, and ends with
754 any space or digit. The following characters can be any character
755 that is not a digit or white space. One important consequence of this
756 is that a word can end with @code{@}}. The following example is
757 usually a mistake in the input file. The syllable includes a @code{@}}, so the
758 opening brace is not balanced
760 \lyricmode @{ twinkle@}
763 @cindex @code{\property}, in @code{\lyricmode}
765 Similarly, a period which follows an alphabetic sequence is included in
766 the resulting string. As a consequence, spaces must be inserted around
769 \override Score . LyricText #'font-shape = #'italic
773 @cindex spaces, in lyrics
774 @cindex quotes, in lyrics
776 Any @code{_} character that appears in an unquoted word is converted
777 to a space. This provides a mechanism for introducing spaces into words
778 without using quotes. Quoted words can also be used in Lyrics mode to
779 specify words that cannot be written with the above rules. The
780 following example incorporates double quotes
783 \lyricmode @{ He said: "\"Let" my peo ple "go\"" @}
786 This example is slightly academic, since it gives better looking
787 results using single quotes, @code{``} and @code{''}
789 \lyricmode @{ He said: ``Let my peo ple go'' @}
793 The full definition of a word start in Lyrics mode is somewhat more
796 A word in Lyrics mode begins with: an alphabetic character, @code{_},
797 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
798 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
799 any 8-bit character with ASCII code over 127, or a two-character
800 combination of a backslash followed by one of @code{`}, @code{'},
801 @code{"}, or @code{^}.
807 Program reference: events @internalsref{LyricEvent}, and
808 @internalsref{LyricText}.
812 The definition of lyrics mode is too complex.
814 @node Hyphens and extenders
815 @subsection Hyphens and extenders
819 Centered hyphens are entered as `@code{-}@code{-}' between syllables.
820 The hyphen will have variable length depending on the space between
821 the syllables and it will be centered between the syllables.
826 When a lyric is sung over many notes (this is called a melisma), this is
827 indicated with a horizontal line centered between a syllable and the
828 next one. Such a line is called an extender line, and it is entered as
832 FIXME: check that this compiles and displays correctly. I don't want
833 to commit this part blindly.
835 In tighly engraved music, hyphens can be removed. In some languages
836 (e.g. German and Hungarian), hyphens should not disappear, since
837 spelling depends on hyphenation. For that purpose, hyphens can be
838 forced to remain by overriding @code{minimum-length} of
839 the @code{LyricHyphen} grob.
843 << \notes \new Staff \relative c'' { \time 1/4 c16[ c c c]
850 \lyrics \new Lyrics \with {
851 % Otherwise lyrics are so far apart that hyphens don't disappear
852 \override SeparationItem #'padding = #0.0
853 }{ bla -- bla -- bla -- bla --
854 bla -- bla -- bla -- bla --
856 \override LyricHyphen #'minimum-length = #0.7
857 \override LyricHyphen #'spacing-procedure =
858 #Hyphen_spanner::set_spacing_rods
860 bla -- bla -- bla -- bla
867 \StaffContext \remove "Time_signature_engraver"
878 Program reference: @internalsref{HyphenEvent},
879 @internalsref{ExtenderEvent}, @internalsref{LyricHyphen}, and
880 @internalsref{LyricExtender}
884 @node The Lyrics context
885 @subsection The Lyrics context
888 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
890 \context Lyrics \lyricmode @dots{}
893 @cindex automatic syllable durations
894 @cindex @code{\lyricsto}
895 @cindex lyrics and melodies
897 This will place the lyrics according to the durations that were
898 entered. The lyrics can also be aligned under a given melody
899 automatically. In this case, it is no longer necessary to enter the
900 correct duration for each syllable. This is achieved by combining the
901 melody and the lyrics with the @code{\lyricsto} expression
903 \lyricsto @var{name} \new Lyrics @dots{}
906 This aligns the lyrics to the
907 notes of the @internalsref{Voice} context called @var{name}, which has
908 to exist. Therefore, normally the @code{Voice} is specified first, and
909 then the lyrics are specified with @code{\lyricsto}. The command
910 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
911 @code{\lyricmode} keyword may be omitted.
913 For different or more complex orderings, the best way is to setup the
914 hierarchy of staves and lyrics first, e.g.,
916 \context ChoirStaff <<
917 \context Lyrics = sopranoLyrics @{ s1 @}
918 \context Voice = soprano @{ @emph{music} @}
919 \context Lyrics = tenorLyrics @{ s1 @}
920 \context Voice = tenor @{ @emph{music} @}
923 and then combine the appropriate melodies and lyric lines
925 \lyricsto "soprano" \context Lyrics = sopranoLyrics
930 The final input would resemble
933 <<\context ChoirStaff << @emph{setup the music} >>
934 \lyricsto "soprano" @emph{etc}
935 \lyricsto "alto" @emph{etc}
941 The @code{\lyricsto} command detects melismata: it only puts one
942 syllable under a tied or slurred group of notes. If you want to force
943 an unslurred group of notes to be a melisma, insert @code{\melisma}
944 after the first note of the group, and @code{\melismaEnd} after the
947 @lilypond[quote,relative=2,raggedright,fragment,verbatim]
949 \context Voice = "lala" {
957 \lyricsto "lala" \new Lyrics {
963 In addition, notes are considered a melisma if they are manually
964 beamed, and automatic beaming (see @ref{Setting automatic beam
965 behavior}) is switched off.
971 The criteria for deciding melismata can
972 be tuned with the property @code{melismaBusyProperties}. See
973 @internalsref{Melisma_translator} in the program reference for more
978 Lyrics can also be entered without @code{\lyricsto}. In this case the
979 duration of each syllable must be entered explicitly, for example,
986 The alignment to a melody can be specified with the
987 @code{associatedVoice} property,
990 \set associatedVoice = #"lala"
994 The value of the property (here: @code{"lala"}) should be the name of
995 a @internalsref{Voice} context. Without this setting, extender lines
996 will not be formatted properly.
998 Here is an example demonstrating manual lyric durations,
1000 @lilypond[relative=1,raggedright,verbatim,fragment,quote]
1001 << \context Voice = melody {
1005 \new Lyrics \lyricmode {
1006 \set associatedVoice = #"melody"
1012 @cindex choral score
1014 A complete example of a SATB score setup is in section
1015 @ref{Vocal ensembles}.
1020 @code{\melisma}, @code{\melismaEnd}
1021 @cindex @code{\melismaEnd}
1022 @cindex @code{\melisma}
1026 Program reference: @internalsref{LyricCombineMusic},
1027 @internalsref{Lyrics}, @internalsref{Melisma_translator}.
1030 @inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly}.
1031 @c TODO: make separate section for melismata
1035 Melismata are not detected automatically, and extender lines must be
1039 @c TODO: document \new Staff << Voice \lyricsto >> bug
1041 @node Flexibility in alignment
1042 @subsection Flexibility in alignment
1045 Often, different stanzas of one song are put to one melody in slightly
1046 differing ways. Such variations can still be captured with
1049 One possibility is that the text has a melisma in one stanza, but
1050 multiple syllables in another one. One solution is to make the faster
1051 voice ignore the melisma. This is done by setting
1052 @code{ignoreMelismata} in the Lyrics context.
1054 There has one tricky aspect. The setting for @code{ignoreMelismata}
1055 must be set one syllable @emph{before} the non-melismatic syllable
1056 in the text, as shown here,
1058 @lilypond[verbatim,raggedright,quote]
1060 \relative \context Voice = "lahlah" {
1061 \set Staff.autoBeaming = ##f
1067 \new Lyrics \lyricsto "lahlah" {
1070 \new Lyrics \lyricsto "lahlah" {
1071 \set ignoreMelismata = ##t % applies to "fas"
1073 \unset ignoreMelismata
1080 The @code{ignoreMelismata} applies to the syllable ``fas'', so it
1081 should be entered before ``go''.
1083 The reverse is also possible: making a lyric line slower than the
1084 standard. This can be achieved by insert @code{\skip}s into the
1085 lyrics. For every @code{\skip}, the text will be delayed another note.
1088 @lilypond[verbatim,raggedright,quote]
1089 \relative { c c g' }
1096 More complex variations in text underlay are possible. It is possible
1097 to switch the melody for a line of lyrics during the text. This is
1098 done by setting the @code{associatedVoice} property. In the example
1100 @lilypond[raggedright,quote]
1102 \relative \context Voice = "lahlah" {
1103 \set Staff.autoBeaming = ##f
1106 \context Voice = alternative {
1109 % show associations clearly.
1110 \override NoteColumn #'force-hshift = #-3
1121 \new Lyrics \lyricsto "lahlah" {
1122 Ju -- ras -- sic Park
1124 \new Lyrics \lyricsto "lahlah" {
1125 % Tricky: need to set associatedVoice
1126 % one syllable too soon!
1127 \set associatedVoice = alternative % applies to "ran"
1131 \set associatedVoice = lahlah % applies to "rus"
1137 the text for the first stanza is set to a melody called ``lahlah'',
1140 \new Lyrics \lyricsto "lahlah" @{
1141 Ju -- ras -- sic Park
1146 The second stanza initially is set to the @code{lahlah} context, but
1147 for the syllable ``ran'', it switches to a different melody.
1148 This is achieved with
1150 \set associatedVoice = alternative
1154 Here, @code{alternative} is the name of the @code{Voice} context
1155 containing the triplet.
1157 Again, the command must be one syllable too early, before ``Ty'' in
1161 \new Lyrics \lyricsto "lahlah" @{
1162 \set associatedVoice = alternative % applies to "ran"
1166 \set associatedVoice = lahlah % applies to "rus"
1172 The underlay is switched back to the starting situation by assigning
1173 @code{lahlah} to @code{associatedVoice}.
1179 @subsection More stanzas
1181 @cindex phrasing, in lyrics
1184 @cindex stanza number
1185 @cindex singer's names
1186 @cindex name of singer
1188 Stanza numbers can be added by setting @code{stanza}, e.g.,
1190 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
1192 \time 3/4 g2 e4 a2 f4 g2.
1195 Hi, my name is Bert.
1198 Oh, che -- ri, je t'aime
1202 These numbers are put just before the start of first syllable.
1204 Names of singers can also be added. They are printed at the start of
1205 the line, just like instrument names. They are created by setting
1206 @code{vocalName}. A short version may be entered as @code{vocNam}.
1209 @lilypond[fragment,raggedright,quote,verbatim,relative=2]
1211 \time 3/4 g2 e4 a2 f4 g2.
1213 \set vocalName = "Bert "
1214 Hi, my name is Bert.
1216 \set vocalName = "Ernie "
1217 Oh, che -- ri, je t'aime
1223 Program reference: Layout objects @internalsref{LyricText} and
1224 @internalsref{VocalName}. Music expressions
1225 @internalsref{LyricEvent}.
1233 The term @emph{ambitus} denotes a range of pitches for a given voice
1234 in a part of music. It may also denote the pitch range that a musical
1235 instrument is capable of playing. Ambits are printed on vocal parts,
1236 so performers can easily determine it meets their capabilities.
1238 Ambits are denoted at the beginning of a piece near the initial clef.
1239 The range is graphically specified by two note heads that represent the
1240 minimum and maximum pitch. To print such ambits, add the
1241 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
1248 \consists Ambitus_engraver
1253 This results in the following output
1255 @lilypond[quote,raggedright]
1259 \consists Ambitus_engraver
1263 \relative \new Staff {
1268 If you have multiple voices in a single staff and you want a single
1269 ambitus per staff rather than per each voice, add the
1270 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
1271 rather than to the @internalsref{Voice} context. Here is an example,
1273 @lilypond[verbatim,raggedright,quote]
1275 \consists "Ambitus_engraver"
1279 \remove "Ambitus_engraver"
1281 \override Ambitus #'X-offset-callbacks
1282 = #(list (lambda (grob axis) -1.0))
1287 \remove "Ambitus_engraver"
1296 This example uses one advanced feature,
1299 \override Ambitus #'X-offset-callbacks
1300 = #(list (lambda (grob axis) -1.0))
1304 This code moves the ambitus to the left. The same effect could have
1305 been achieved with @code{extra-offset}, but then the formatting system
1306 would not reserve space for the moved object.
1310 Program reference: @internalsref{Ambitus},
1311 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1312 @internalsref{AmbitusAccidental}.
1314 Examples: @inputfileref{input/@/regression,ambitus@/.ly}.
1318 There is no collision handling in the case of multiple per-voice
1321 @node Other vocal issues
1322 @subsection Other vocal issue
1325 yeah, I'm giving up somewhat by stuffing a bunch of things in
1326 here. But at least they're in the manual now; it's easier to
1327 move them around in the manual once they're already here.
1329 Besides, if users complain about everything stuffed in here, I
1330 can ask them for specific instructions about where to move these
1331 examples, and that might get them more involved in the docs. -gp
1334 You can display alternate (or divisi) lyrics by naming voice
1335 contexts and attaching lyrics to those specific contexts.
1337 @lilypond[verbatim,raggedright,quote]
1339 \context Voice = "melody" {
1344 \context Voice = splitpart { \voiceTwo c4 }
1349 \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
1350 \new Lyrics \lyricsto "splitpart" { shall }
1355 You can use this trick to display different lyrics for a repeated
1358 @lilypond[verbatim,raggedright,quote]
1360 \context Voice = melody \relative c' {
1362 \context Voice = verse \repeat volta 2 {c4 d e f | g1 | }
1364 \lyricsto melody \context Lyrics = mainlyrics \lyricmode {
1367 \lyricsto verse \context Lyrics = mainlyrics \lyricmode {
1369 \lyricsto verse \context Lyrics = repeatlyrics \lyricmode {
1370 dodo rere mimi fafa solsol }
1376 To notate ``parlato'' (spoken without pitch but still with
1379 @lilypond[raggedright,verbatim,quote,fragment,relative=2]
1381 \override NoteHead #'style = #'cross
1383 \revert NoteHead #'style
1388 @node Rhythmic music
1389 @section Rhythmic music
1391 Rhythmic music is primarily used for percussion and drum notation, but it can
1392 also be used to show the rhythms of melodies.
1395 * Showing melody rhythms::
1396 * Entering percussion::
1397 * Percussion staves::
1401 @node Showing melody rhythms
1402 @subsection Showing melody rhythms
1404 Sometimes you might want to show only the rhythm of a melody. This
1405 can be done with the rhythmic staff. All pitches of notes on such a
1406 staff are squashed, and the staff itself has a single line
1408 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1409 \context RhythmicStaff {
1411 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1417 Program reference: @internalsref{RhythmicStaff}.
1419 Examples: @inputfileref{input/@/regression,rhythmic@/-staff@/.ly}.
1422 @node Entering percussion
1423 @subsection Entering percussion
1429 Percussion notes may be entered in @code{\drummode} mode, which is
1430 similar to the standard mode for entering notes. Each piece of
1431 percussion has a full name and an abbreviated name, and both can be used
1434 @lilypond[quote,raggedright,verbatim]
1436 hihat hh bassdrum bd
1440 The complete list of drum names is in the init file
1441 @file{ly/@/drumpitch@/-init@/.ly}.
1442 @c TODO: properly document this.
1446 Program reference: @internalsref{note-event}.
1448 @node Percussion staves
1449 @subsection Percussion staves
1453 A percussion part for more than one instrument typically uses a
1454 multiline staff where each position in the staff refers to one piece
1458 To typeset the music, the notes must be interpreted in a
1459 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
1461 @lilypond[quote,raggedright,verbatim]
1462 up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
1463 down = \drummode { bassdrum4 snare8 bd r bd sn4 }
1465 \new DrumVoice { \voiceOne \up }
1466 \new DrumVoice { \voiceTwo \down }
1470 The above example shows verbose polyphonic notation. The short
1471 polyphonic notation, described in @ref{Polyphony}, can also be used if
1472 the @internalsref{DrumVoice}s are instantiated by hand first. For example,
1474 @lilypond[quote,raggedright,fragment,verbatim]
1476 \context DrumVoice = "1" { s1 *2 }
1477 \context DrumVoice = "2" { s1 *2 }
1481 { \repeat unfold 16 hh16 }
1490 There are also other layout possibilities. To use these, set the
1491 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
1492 The following variables have been predefined
1496 This is the default. It typesets a typical drum kit on a five-line staff
1498 @lilypond[quote,linewidth=10.0\cm]
1500 cymc cyms cymr hh hhc hho hhho hhp
1501 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl }
1503 cymc cyms cymr hh hhc hho hhho hhp \break
1504 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
1506 << \new DrumStaff \with {
1507 \remove Bar_engraver
1508 \remove Time_signature_engraver
1509 \override Stem #'transparent = ##t
1510 \override Stem #'Y-extent-callback = ##f
1511 minimumVerticalExtent = #'(-4.0 . 5.0)
1513 \context Lyrics \nam
1518 \override LyricText #'font-family = #'typewriter
1519 \override BarNumber #'transparent =##T
1525 The drum scheme supports six different toms. When there are fewer toms,
1526 simply select the toms that produce the desired result, i.e., to get toms
1527 on the three middle lines you use @code{tommh}, @code{tomml}, and
1530 @item timbales-style
1531 This typesets timbales on a two line staff
1533 @lilypond[quote,raggedright]
1534 nam = \lyricmode { timh ssh timl ssl cb }
1535 mus = \drummode { timh ssh timl ssl cb s16 }
1538 \context DrumStaff \with {
1539 \remove Bar_engraver
1540 \remove Time_signature_engraver
1541 \override Stem #'transparent = ##t
1542 \override Stem #'Y-extent-callback = ##f
1543 \override StaffSymbol #'line-count = #2
1544 \override StaffSymbol #'staff-space = #2
1545 minimumVerticalExtent = #'(-3.0 . 4.0)
1546 drumStyleTable = #timbales-style
1549 \override LyricText #'font-family = #'typewriter
1556 This typesets congas on a two line staff
1558 @lilypond[quote,raggedright]
1559 nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
1560 mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
1563 \context DrumStaff \with {
1564 \remove Bar_engraver
1565 \remove Time_signature_engraver
1566 drumStyleTable = #congas-style
1567 \override StaffSymbol #'line-count = #2
1569 %% this sucks; it will lengthen stems.
1570 \override StaffSymbol #'staff-space = #2
1571 \override Stem #'transparent = ##t
1572 \override Stem #'Y-extent-callback = ##f
1575 \override LyricText #'font-family = #'typewriter
1582 This typesets bongos on a two line staff
1584 @lilypond[quote,raggedright]
1585 nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
1586 mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
1589 \context DrumStaff\with {
1590 \remove Bar_engraver
1591 \remove Time_signature_engraver
1592 \override StaffSymbol #'line-count = #2
1593 drumStyleTable = #bongos-style
1595 %% this sucks; it will lengthen stems.
1596 \override StaffSymbol #'staff-space = #2
1597 \override Stem #'transparent = ##t
1598 \override Stem #'Y-extent-callback = ##f
1601 \override LyricText #'font-family = #'typewriter
1607 @item percussion-style
1608 To typeset all kinds of simple percussion on one line staves.
1610 @lilypond[quote,raggedright]
1611 nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
1612 mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
1615 \context DrumStaff\with{
1616 \remove Bar_engraver
1617 drumStyleTable = #percussion-style
1618 \override StaffSymbol #'line-count = #1
1619 \remove Time_signature_engraver
1620 \override Stem #'transparent = ##t
1621 \override Stem #'Y-extent-callback = ##f
1624 \override LyricText #'font-family = #'typewriter
1631 If you do not like any of the predefined lists you can define your own
1632 list at the top of your file
1634 @lilypond[quote,raggedright,verbatim]
1636 (bassdrum default #f -1)
1637 (snare default #f 0)
1639 (pedalhihat xcircle "stopped" 2)
1640 (lowtom diamond #f 3)))
1641 up = \drummode { hh8 hh hh hh hhp4 hhp }
1642 down = \drummode { bd4 sn bd toml8 toml }
1645 \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
1646 \new DrumVoice { \voiceOne \up }
1647 \new DrumVoice { \voiceTwo \down }
1654 Init files: @file{ly/@/drumpitch@/-init@/.ly}.
1656 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
1660 Because general MIDI does not contain rim shots, the sidestick is used
1661 for this purpose instead.
1670 @cindex guitar tablature
1673 * String number indications::
1674 * Tablatures basic::
1675 * Non-guitar tablatures::
1679 @node String number indications
1680 @subsection String number indications
1682 @cindex String numbers
1684 String numbers can be added to chords, by indicating the string number
1685 with @code{\}@var{number},
1687 @lilypond[relative,relative=1,raggedright,fragment]
1691 See also @inputfileref{input/regression,string-number.ly}.
1696 Program reference: @internalsref{StringNumber},
1697 @internalsref{StringNumberEvent}
1700 @node Tablatures basic
1701 @subsection Tablatures basic
1702 @cindex Tablatures basic
1704 Tablature notation is used for notating music for plucked string
1705 instruments. Pitches are not denoted with note heads, but by
1706 numbers indicating on which string and fret a note must be played. LilyPond
1707 offers limited support for tablature.
1709 The string number associated to a note is given as a backslash
1710 followed by a number, e.g., @code{c4\3} for a C quarter on the third
1711 string. By default, string 1 is the highest one, and the tuning
1712 defaults to the standard guitar tuning (with 6 strings). The notes
1713 are printed as tablature, by using @internalsref{TabStaff} and
1714 @internalsref{TabVoice} contexts
1716 @lilypond[quote,raggedright,fragment,verbatim]
1723 @cindex @code{minimumFret}
1726 When no string is specified, the first string that does not give a
1727 fret number less than @code{minimumFret} is selected. The default
1728 value for @code{minimumFret} is 0
1733 \set TabStaff.minimumFret = #8
1736 @lilypond[quote,raggedright]
1740 \set TabStaff.minimumFret = #8
1743 \context StaffGroup <<
1744 \context Staff { \clef "G_8" \frag }
1745 \context TabStaff { \frag }
1751 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}, and
1752 @internalsref{StringNumberEvent}.
1756 Chords are not handled in a special way, and hence the automatic
1757 string selector may easily select the same string to two notes in a
1761 @node Non-guitar tablatures
1762 @subsection Non-guitar tablatures
1763 @cindex Non-guitar tablatures
1765 You can change the number of strings, by setting the number of lines
1766 in the @internalsref{TabStaff}.
1768 You can change the tuning of the strings. A string tuning is given as
1769 a Scheme list with one integer number for each string, the number
1770 being the pitch (measured in semitones relative to middle C) of an
1771 open string. The numbers specified for @code{stringTuning} are the
1772 numbers of semitones to subtract or add, starting the specified pitch
1773 by default middle C, in string order. In the next example,
1774 @code{stringTunings} is set for the pitches e, a, d, and g
1776 @lilypond[quote,raggedright,fragment,verbatim]
1777 \context TabStaff <<
1778 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
1780 a,4 c' a e' e c' a e'
1787 No guitar special effects have been implemented.
1791 Program reference: @internalsref{Tab_note_heads_engraver}.
1795 @subsection Fret diagrams
1796 @cindex fret diagrams
1797 @cindex chord diagrams
1799 Fret diagrams can be added to music as a markup to the desired note. The
1800 markup contains information about the desired fret diagram, as shown in the
1803 @lilypond[verbatim, raggedright, quote]
1805 d' ^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
1807 fis' ^\markup \override #'(size . 0.75) {
1808 \override #'(finger-code . below-string) {
1809 \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
1810 (place-fret 5 4 3) (place-fret 4 4 4)
1811 (place-fret 3 3 2) (place-fret 2 2 1)
1816 c' ^\markup \override #'(dot-radius . 0.35) {
1817 \override #'(finger-code . in-dot) {
1818 \override #'(dot-color . white) {
1819 \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
1828 There are three different fret-diagram markup interfaces: standard, terse,
1829 and verbose. The three interfaces produce equivalent markups, but have
1830 varying amounts of information in the markup string. Details about the
1831 markup interfaces are found at @ref{Overview of text markup commands}.
1833 You can set a number of graphical properties according to your preference.
1834 Details about the property interface to fret diagrams are found at
1835 @internalsref{fret-diagram-interface}.
1840 Examples: @inputfileref{input/@/test,fret@/-diagram@/.ly}
1844 @node Ancient notation
1845 @section Ancient notation
1847 @cindex Vaticana, Editio
1848 @cindex Medicaea, Editio
1853 Support for ancient notation includes features for mensural notation
1854 and Gregorian Chant notation. There is also limited support for
1855 figured bass notation.
1857 Many graphical objects provide a @code{style} property, see
1860 @ref{Ancient note heads},
1862 @ref{Ancient accidentals},
1864 @ref{Ancient rests},
1866 @ref{Ancient clefs},
1868 @ref{Ancient flags},
1870 @ref{Ancient time signatures}.
1873 By manipulating such a grob property, the typographical appearance of
1874 the affected graphical objects can be accommodated for a specific
1875 notation flavor without the need for introducing any new notational
1878 In addition to the standard articulation signs described in section
1879 @ref{Articulations}, specific articulation signs for ancient notation
1884 @ref{Ancient articulations}
1887 Other aspects of ancient notation can not that easily be expressed
1888 in terms of just changing a style property of a graphical object or
1889 adding articulation signs. Some notational concepts are introduced
1890 specifically for ancient notation,
1901 If this all is too much of documentation for you, and you just want to
1902 dive into typesetting without worrying too much about the details on
1903 how to customize a context, you may have a look at the predefined
1904 contexts. Use them to set up predefined style-specific voice and
1905 staff contexts, and directly go ahead with the note entry,
1909 @ref{Gregorian Chant contexts},
1911 @ref{Mensural contexts}.
1914 There is limited support for figured bass notation which came
1915 up during the baroque period.
1922 Here are all suptopics at a glance:
1925 * Ancient note heads::
1926 * Ancient accidentals::
1930 * Ancient time signatures::
1931 * Ancient articulations::
1935 * Gregorian Chant contexts::
1936 * Mensural contexts::
1941 @node Ancient note heads
1942 @subsection Ancient note heads
1947 For ancient notation, a note head style other than the @code{default}
1948 style may be chosen. This is accomplished by setting the @code{style}
1949 property of the @internalsref{NoteHead} object to @code{baroque},
1950 @code{neomensural} or @code{mensural}. The @code{baroque} style
1951 differs from the @code{default} style only in using a square shape
1952 for @code{\breve} note heads. The @code{neomensural} style differs from
1953 the @code{baroque} style in that it uses rhomboidal heads for whole notes
1954 and all smaller durations. Stems are centered on the note heads.
1955 This style is particularly useful when transcribing mensural music,
1956 e.g., for the incipit. The @code{mensural} style finally produces note
1957 heads that mimic the look of note heads in historic printings of the
1960 The following example demonstrates the @code{neomensural} style
1962 @lilypond[quote,fragment,raggedright,verbatim]
1963 \set Score.skipBars = ##t
1964 \override NoteHead #'style = #'neomensural
1965 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
1968 When typesetting a piece in Gregorian Chant notation, the
1969 @internalsref{Gregorian_ligature_engraver} will automatically select
1970 the proper note heads, so there is no need to explicitly set the
1971 note head style. Still, the note head style can be set, e.g., to
1972 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
1973 @internalsref{Mensural_ligature_engraver} is used to automatically
1974 assemble mensural ligatures. See @ref{Ligatures} for how ligature
1979 Examples: @inputfileref{input/@/regression,note@/-head@/-style@/.ly} gives an
1980 overview over all available note head styles.
1983 @node Ancient accidentals
1984 @subsection Ancient accidentals
1989 Use the @code{style} property of grob @internalsref{Accidental} to
1990 select ancient accidentals. Supported styles are
1991 @code{mensural}, @code{vaticana}, @code{hufnagel}, and @code{medicaea}.
1993 @lilypond[quote,raggedright,staffsize=26]
2000 \line { " " \musicglyph #"accidentals.vaticana-1"
2001 " " \musicglyph #"accidentals.vaticana0" }
2005 \line { " " \musicglyph #"accidentals.medicaea-1" }
2009 \line { " " \musicglyph #"accidentals.hufnagel-1" }
2013 \line { " " \musicglyph #"accidentals.mensural-1"
2014 " " \musicglyph #"accidentals.mensural1" }
2020 \context { \Score \remove "Bar_number_engraver" }
2022 \remove "Clef_engraver"
2023 \remove "Key_engraver"
2024 \remove "Time_signature_engraver"
2025 \remove "Staff_symbol_engraver"
2026 minimumVerticalExtent = ##f
2032 As shown, not all accidentals are supported by each style. When
2033 trying to access an unsupported accidental, LilyPond will switch to a
2034 different style, as demonstrated in
2035 @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2037 Similarly to local accidentals, the style of the key signature can be
2038 controlled by the @code{style} property of the
2039 @internalsref{KeySignature} grob.
2043 In this manual: @ref{Pitches}, @ref{Cautionary accidentals} and
2044 @ref{Automatic accidentals} give a general introduction of the use of
2045 accidentals. @ref{Key signature} gives a general introduction of
2046 the use of key signatures.
2048 Program reference: @internalsref{KeySignature}.
2050 Examples: @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2053 @subsection Ancient rests
2058 Use the @code{style} property of grob @internalsref{Rest} to select
2059 ancient rests. Supported styles are @code{classical},
2060 @code{neomensural}, and @code{mensural}. @code{classical} differs
2061 from the @code{default} style only in that the quarter rest looks like
2062 a horizontally mirrored 8th rest. The @code{neomensural} style suits
2063 well for, e.g., the incipit of a transcribed mensural piece of music.
2064 The @code{mensural} style finally mimics the appearance of rests as
2065 in historic prints of the 16th century.
2067 The following example demonstrates the @code{neomensural} style
2069 @lilypond[quote,fragment,raggedright,verbatim]
2070 \set Score.skipBars = ##t
2071 \override Rest #'style = #'neomensural
2072 r\longa r\breve r1 r2 r4 r8 r16
2075 There are no 32th and 64th rests specifically for the mensural or
2076 neo-mensural style. Instead, the rests from the default style will be
2077 taken. See @inputfileref{input/@/test,rests@/.ly} for a chart of all
2080 There are no rests in Gregorian Chant notation; instead, it uses
2085 In this manual: @ref{Rests} gives a general introduction into the use of rests.
2089 @subsection Ancient clefs
2094 LilyPond supports a variety of clefs, many of them ancient.
2096 The following table shows all ancient clefs that are supported via the
2097 @code{\clef} command. Some of the clefs use the same glyph, but
2098 differ only with respect to the line they are printed on. In such
2099 cases, a trailing number in the name is used to enumerate these clefs.
2100 Still, you can manually force a clef glyph to be typeset on an
2101 arbitrary line, as described in @ref{Clef}. The note printed to the
2102 right side of each clef in the example column denotes the @code{c'}
2103 with respect to that clef.
2105 @multitable @columnfractions .4 .4 .2
2114 modern style mensural C clef
2116 @code{neomensural-c1}, @code{neomensural-c2},@*
2117 @code{neomensural-c3}, @code{neomensural-c4}
2119 @lilypond[fragment,relative=1,notime]
2120 \clef "neomensural-c2" c
2124 petrucci style mensural C clefs, for use on different staff lines
2125 (the examples show the 2nd staff line C clef)
2127 @code{petrucci-c1}, @code{petrucci-c2},@*
2128 @code{petrucci-c3}, @code{petrucci-c4},@*
2131 @lilypond[fragment,relative=1,notime]
2133 \override NoteHead #'style = #'mensural
2138 petrucci style mensural F clef
2142 @lilypond[fragment,relative=1,notime]
2144 \override NoteHead #'style = #'mensural
2149 petrucci style mensural G clef
2153 @lilypond[fragment,relative=1,notime]
2155 \override NoteHead #'style = #'mensural
2160 historic style mensural C clef
2162 @code{mensural-c1}, @code{mensural-c2},@*
2163 @code{mensural-c3}, @code{mensural-c4}
2165 @lilypond[fragment,relative=1,notime]
2167 \override NoteHead #'style = #'mensural
2172 historic style mensural F clef
2176 @lilypond[fragment,relative=1,notime]
2178 \override NoteHead #'style = #'mensural
2183 historic style mensural G clef
2187 @lilypond[fragment,relative=1,notime]
2189 \override NoteHead #'style = #'mensural
2194 Editio Vaticana style do clef
2196 @code{vaticana-do1}, @code{vaticana-do2},@*
2199 @lilypond[fragment,relative=1,notime]
2200 \override Staff.StaffSymbol #'line-count = #4
2201 \override Staff.StaffSymbol #'color = #red
2202 \override Staff.LedgerLineSpanner #'color = #red
2203 \override Voice.Stem #'transparent = ##t
2204 \override NoteHead #'style = #'vaticana.punctum
2205 \clef "vaticana-do2"
2210 Editio Vaticana style fa clef
2212 @code{vaticana-fa1}, @code{vaticana-fa2}
2214 @lilypond[fragment,relative=1,notime]
2215 \override Staff.StaffSymbol #'line-count = #4
2216 \override Staff.StaffSymbol #'color = #red
2217 \override Staff.LedgerLineSpanner #'color = #red
2218 \override Voice.Stem #'transparent = ##t
2219 \override NoteHead #'style = #'vaticana.punctum
2220 \clef "vaticana-fa2"
2225 Editio Medicaea style do clef
2227 @code{medicaea-do1}, @code{medicaea-do2},@*
2230 @lilypond[fragment,relative=1,notime]
2231 \override Staff.StaffSymbol #'line-count = #4
2232 \override Staff.StaffSymbol #'color = #red
2233 \override Staff.LedgerLineSpanner #'color = #red
2234 \override Voice.Stem #'transparent = ##t
2235 \override NoteHead #'style = #'medicaea.punctum
2236 \clef "medicaea-do2"
2241 Editio Medicaea style fa clef
2243 @code{medicaea-fa1}, @code{medicaea-fa2}
2245 @lilypond[fragment,relative=1,notime]
2246 \override Staff.StaffSymbol #'line-count = #4
2247 \override Staff.StaffSymbol #'color = #red
2248 \override Staff.LedgerLineSpanner #'color = #red
2249 \override Voice.Stem #'transparent = ##t
2250 \override NoteHead #'style = #'medicaea.punctum
2251 \clef "medicaea-fa2"
2256 historic style hufnagel do clef
2258 @code{hufnagel-do1}, @code{hufnagel-do2},@*
2261 @lilypond[fragment,relative=1,notime]
2262 \override Staff.StaffSymbol #'line-count = #4
2263 \override Staff.StaffSymbol #'color = #red
2264 \override Staff.LedgerLineSpanner #'color = #red
2265 \override Voice.Stem #'transparent = ##t
2266 \override NoteHead #'style = #'hufnagel.punctum
2267 \clef "hufnagel-do2"
2272 historic style hufnagel fa clef
2274 @code{hufnagel-fa1}, @code{hufnagel-fa2}
2276 @lilypond[fragment,relative=1,notime]
2277 \override Staff.StaffSymbol #'line-count = #4
2278 \override Staff.StaffSymbol #'color = #red
2279 \override Staff.LedgerLineSpanner #'color = #red
2280 \override Voice.Stem #'transparent = ##t
2281 \override NoteHead #'style = #'hufnagel.punctum
2282 \clef "hufnagel-fa2"
2287 historic style hufnagel combined do/fa clef
2289 @code{hufnagel-do-fa}
2291 @lilypond[fragment,relative=1,notime]
2292 \override Staff.StaffSymbol #'color = #red
2293 \override Staff.LedgerLineSpanner #'color = #red
2294 \override Voice.Stem #'transparent = ##t
2295 \override NoteHead #'style = #'hufnagel.punctum
2296 \clef "hufnagel-do-fa"
2303 @emph{Modern style} means ``as is typeset in contemporary editions of
2304 transcribed mensural music''.
2306 @emph{Petrucci style} means ``inspired by printings published by the
2307 famous engraver Petrucci (1466-1539)''.
2309 @emph{Historic style} means ``as was typeset or written in historic
2310 editions (other than those of Petrucci)''.
2312 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
2314 Petrucci used C clefs with differently balanced left-side vertical
2315 beams, depending on which staff line it is printed.
2319 In this manual: see @ref{Clef}.
2323 The mensural g clef is mapped to the Petrucci g clef.
2328 @subsection Ancient flags
2333 Use the @code{flag-style} property of grob @internalsref{Stem} to
2334 select ancient flags. Besides the @code{default} flag style,
2335 only the @code{mensural} style is supported
2337 @lilypond[quote,fragment,raggedright,verbatim]
2338 \override Stem #'flag-style = #'mensural
2339 \override Stem #'thickness = #1.0
2340 \override NoteHead #'style = #'mensural
2342 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
2343 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
2346 Note that the innermost flare of each mensural flag always is
2347 vertically aligned with a staff line.
2349 There is no particular flag style for neo-mensural notation. Hence,
2350 when typesetting the incipit of a transcribed piece of mensural
2351 music, the default flag style should be used. There are no flags in
2352 Gregorian Chant notation.
2356 The attachment of ancient flags to stems is slightly off due to a
2357 change in early 2.3.x.
2359 Vertically aligning each flag with a staff line assumes that stems
2360 always end either exactly on or exactly in the middle between two
2361 staff lines. This may not always be true when using advanced layout
2362 features of classical notation (which however are typically out of
2363 scope for mensural notation).
2365 @node Ancient time signatures
2366 @subsection Ancient time signatures
2368 @cindex time signatures
2371 There is limited support for mensural time signatures. The
2372 glyphs are hard-wired to particular time fractions. In other words,
2373 to get a particular mensural signature glyph with the @code{\time n/m}
2374 command, @code{n} and @code{m} have to be chosen according to the
2377 @lilypond[quote,raggedright]
2382 \remove Staff_symbol_engraver
2383 \remove Clef_engraver
2384 \remove Time_signature_engraver
2388 \set Score.timing = ##f
2389 \set Score.barAlways = ##t
2390 s_\markup { "\\time 4/4" }
2391 ^\markup { " " \musicglyph #"timesig.neomensural44" }
2393 s_\markup { "\\time 2/2" }
2394 ^\markup { " " \musicglyph #"timesig.neomensural22" }
2396 s_\markup { "\\time 6/4" }
2397 ^\markup { " " \musicglyph #"timesig.neomensural64" }
2399 s_\markup { "\\time 6/8" }
2400 ^\markup { " " \musicglyph #"timesig.neomensural68" }
2402 s_\markup { "\\time 3/2" }
2403 ^\markup { " " \musicglyph #"timesig.neomensural32" }
2405 s_\markup { "\\time 3/4" }
2406 ^\markup { " " \musicglyph #"timesig.neomensural34" }
2408 s_\markup { "\\time 9/4" }
2409 ^\markup { " " \musicglyph #"timesig.neomensural94" }
2411 s_\markup { "\\time 9/8" }
2412 ^\markup { " " \musicglyph #"timesig.neomensural98" }
2414 s_\markup { "\\time 4/8" }
2415 ^\markup { " " \musicglyph #"timesig.neomensural48" }
2417 s_\markup { "\\time 2/4" }
2418 ^\markup { " " \musicglyph #"timesig.neomensural24" }
2422 Use the @code{style} property of grob @internalsref{TimeSignature} to
2423 select ancient time signatures. Supported styles are
2424 @code{neomensural} and @code{mensural}. The above table uses the
2425 @code{neomensural} style. This style is appropriate for the
2426 incipit of transcriptions of mensural pieces. The @code{mensural}
2427 style mimics the look of historical printings of the 16th century.
2429 The following examples show the differences in style,
2431 @lilypond[raggedright,fragment,relative=1,quote]
2436 c1^\markup { \hspace #-2.0 \typewriter default }
2438 \override Staff.TimeSignature #'style = #'numbered
2440 c1^\markup { \hspace #-2.0 \typewriter numbered }
2442 \override Staff.TimeSignature #'style = #'mensural
2444 c1^\markup { \hspace #-2.0 \typewriter mensural }
2446 \override Staff.TimeSignature #'style = #'neomensural
2448 c1^\markup { \hspace #-2.0 \typewriter neomensural }
2449 \override Staff.TimeSignature #'style = #'single-digit
2451 c1^\markup { \hspace #-2.0 \typewriter single-digit }
2457 This manual: @ref{Time signature} gives a general introduction to
2458 the use of time signatures.
2462 Ratios of note durations do not change with the time signature. For
2463 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
2464 be made by hand, by setting
2467 breveTP = #(ly:make-duration -1 0 3 2)
2473 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
2475 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
2476 addressable with @code{\time}. Use a @code{\markup} instead
2478 @node Ancient articulations
2479 @subsection Ancient articulations
2481 @cindex articulations
2483 In addition to the standard articulation signs described in section
2484 @ref{Articulations}, articulation signs for ancient notation are
2485 provided. These are specifically designed for use with notation in
2486 Editio Vaticana style.
2488 @lilypond[quote,raggedright,verbatim]
2489 \include "gregorian-init.ly"
2491 \context VaticanaVoice {
2492 \override Staff.StaffSymbol #'color = #red
2493 \override Staff.LedgerLineSpanner #'color = #red
2494 \override TextScript #'font-family = #'typewriter
2495 \override TextScript #'font-shape = #'upright
2496 \override Script #'padding = #-0.1
2498 a4\circulus_"circulus" s1
2499 a4\semicirculus_"semicirculus" s1 s
2500 a4\accentus_"accentus" s1
2501 \[ a4_"episem" \episemInitium \pes b \flexa a \episemFinis \]
2508 Some articulations are vertically placed too closely to the
2509 correpsonding note heads.
2512 @subsection Custodes
2517 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
2518 symbol that appears at the end of a staff. It anticipates the pitch
2519 of the first note(s) of the following line thus helping the performer
2520 to manage line breaks during performance.
2522 Custodes were frequently used in music notation until the 17th
2523 century. Nowadays, they have survived only in a few particular forms
2524 of musical notation such as contemporary editions of Gregorian chant
2525 like the @emph{editio vaticana}. There are different custos glyphs
2526 used in different flavors of notational style.
2528 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
2529 @internalsref{Staff} context when declaring the @code{\layout} block,
2530 as shown in the following example
2536 \consists Custos_engraver
2537 Custos \override #'style = #'mensural
2542 The result looks like this
2544 @lilypond[quote,raggedright]
2548 \override Staff.Custos #'style = #'mensural
2553 \context { \Staff \consists Custos_engraver }
2558 The custos glyph is selected by the @code{style} property. The styles
2559 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
2560 @code{mensural}. They are demonstrated in the following fragment
2562 @lilypond[quote,raggedright,fragment]
2563 \new Lyrics \lyricmode {
2565 \typewriter "vaticana"
2566 \line { " " \musicglyph #"custodes.vaticana.u0" }
2569 \typewriter "medicaea"
2570 \line { " " \musicglyph #"custodes.medicaea.u0" }
2573 \typewriter "hufnagel"
2574 \line { " " \musicglyph #"custodes.hufnagel.u0" }
2577 \typewriter "mensural"
2578 \line { " " \musicglyph #"custodes.mensural.u0" }
2585 Program reference: @internalsref{Custos}.
2587 Examples: @inputfileref{input/@/regression,custos@/.ly}.
2591 @subsection Divisiones
2597 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
2598 `division') is a staff context symbol that is used to structure
2599 Gregorian music into phrases and sections. The musical meaning of
2600 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
2601 can be characterized as short, medium, and long pause, somewhat like
2602 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
2603 only marks the end of a chant, but is also frequently used within a
2604 single antiphonal/responsorial chant to mark the end of each section.
2607 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
2608 contains definitions that you can apply by just inserting
2609 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
2610 and @code{\finalis} at proper places in the input. Some editions use
2611 @emph{virgula} or @emph{caesura} instead of divisio minima.
2612 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
2615 @lilypondfile[quote,raggedright]{divisiones.ly}
2619 @cindex @code{\virgula}
2621 @cindex @code{\caesura}
2623 @cindex @code{\divisioMinima}
2624 @code{\divisioMinima},
2625 @cindex @code{\divisioMaior}
2626 @code{\divisioMaior},
2627 @cindex @code{\divisioMaxima}
2628 @code{\divisioMaxima},
2629 @cindex @code{\finalis}
2634 In this manual: @ref{Breath marks}.
2636 Program reference: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
2638 Examples: @inputfileref{input/@/test,divisiones@/.ly}.
2641 @subsection Ligatures
2645 @c TODO: Should double check if I recalled things correctly when I wrote
2646 @c down the following paragraph by heart.
2648 A ligature is a graphical symbol that represents at least two distinct
2649 notes. Ligatures originally appeared in the manuscripts of Gregorian
2650 chant notation to denote ascending or descending sequences of notes.
2652 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
2653 Some ligature styles may need additional input syntax specific for
2654 this particular type of ligature. By default, the
2655 @internalsref{LigatureBracket} engraver just puts a square bracket
2658 @lilypond[quote,raggedright,verbatim]
2666 To select a specific style of ligatures, a proper ligature engraver
2667 has to be added to the @internalsref{Voice} context, as explained in
2668 the following subsections. Only white mensural ligatures
2669 are supported with certain limitations.
2675 Ligatures need special spacing that has not yet been implemented. As
2676 a result, there is too much space between ligatures most of the time,
2677 and line breaking often is unsatisfactory. Also, lyrics do not
2678 correctly align with ligatures.
2680 Accidentals must not be printed within a ligature, but instead need to
2681 be collected and printed in front of it.
2683 Augmentum dots within ligatures are not handled correctly.
2687 * White mensural ligatures::
2688 * Gregorian square neumes ligatures::
2691 @node White mensural ligatures
2692 @subsubsection White mensural ligatures
2694 @cindex Mensural ligatures
2695 @cindex White mensural ligatures
2697 There is limited support for white mensural ligatures.
2699 To engrave white mensural ligatures, in the layout block put the
2700 @internalsref{Mensural_ligature_engraver} into the
2701 @internalsref{Voice} context, and remove the
2702 @internalsref{Ligature_bracket_engraver}, like this
2708 \remove Ligature_bracket_engraver
2709 \consists Mensural_ligature_engraver
2714 There is no additional input language to describe the shape of a
2715 white mensural ligature. The shape is rather determined solely from
2716 the pitch and duration of the enclosed notes. While this approach may
2717 take a new user a while to get accustomed to, it has the great advantage
2718 that the full musical information of the ligature is known internally.
2719 This is not only required for correct MIDI output, but also allows for
2720 automatic transcription of the ligatures.
2725 \set Score.timing = ##f
2726 \set Score.defaultBarType = "empty"
2727 \override NoteHead #'style = #'neomensural
2728 \override Staff.TimeSignature #'style = #'neomensural
2730 \[ g\longa c\breve a\breve f\breve d'\longa \]
2732 \[ e1 f1 a\breve g\longa \]
2734 @lilypond[quote,raggedright]
2737 \set Score.timing = ##f
2738 \set Score.defaultBarType = "empty"
2739 \override NoteHead #'style = #'neomensural
2740 \override Staff.TimeSignature #'style = #'neomensural
2742 \[ g\longa c\breve a\breve f\breve d'\longa \]
2744 \[ e1 f1 a\breve g\longa \]
2749 \remove Ligature_bracket_engraver
2750 \consists Mensural_ligature_engraver
2756 Without replacing @internalsref{Ligature_bracket_engraver} with
2757 @internalsref{Mensural_ligature_engraver}, the same music transcribes
2760 @lilypond[quote,raggedright]
2762 \set Score.timing = ##f
2763 \set Score.defaultBarType = "empty"
2764 \override NoteHead #'style = #'neomensural
2765 \override Staff.TimeSignature #'style = #'neomensural
2767 \[ g\longa c\breve a\breve f\breve d'\longa \]
2769 \[ e1 f1 a\breve g\longa \]
2775 The implementation is experimental. It may output strange warnings,
2776 incorrect results, and might even crash on more complex ligatures.
2778 @node Gregorian square neumes ligatures
2779 @subsubsection Gregorian square neumes ligatures
2781 @cindex Square neumes ligatures
2782 @cindex Gregorian square neumes ligatures
2784 There is limited support for Gregorian square neumes notation
2785 (following the style of the Editio Vaticana). Core ligatures can
2786 already be typeset, but essential issues for serious typesetting are
2787 still lacking, such as (among others) horizontal alignment of multiple
2788 ligatures, lyrics alignment and proper handling of accidentals.
2791 The following table contains the extended neumes table of the 2nd
2792 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
2793 1983 by the monks of Solesmes.
2795 @multitable @columnfractions .4 .2 .2 .2
2812 @c TODO: \layout block is identical in all of the below examples.
2813 @c Therefore, it should somehow be included rather than duplicated all
2816 @c why not make identifiers in ly/engraver-init.ly? --hwn
2818 @c Because it's just used to typeset plain notes without
2819 @c a staff for demonstration purposes rather than something
2820 @c special of Gregorian chant notation. --jr
2825 @lilypond[staffsize=26,linewidth=1.5\cm]
2826 \include "gregorian-init.ly"
2831 \noBreak s^\markup {"a"} \noBreak
2833 % Punctum Inclinatum
2835 \noBreak s^\markup {"b"}
2837 \layout { \neumeDemoLayout }}
2840 @lilypond[staffsize=26,linewidth=2.5\cm]
2841 \include "gregorian-init.ly"
2844 % Punctum Auctum Ascendens
2845 \[ \auctum \ascendens b \]
2846 \noBreak s^\markup {"c"} \noBreak
2848 % Punctum Auctum Descendens
2849 \[ \auctum \descendens b \]
2850 \noBreak s^\markup {"d"} \noBreak
2852 % Punctum Inclinatum Auctum
2853 \[ \inclinatum \auctum b \]
2854 \noBreak s^\markup {"e"}
2856 \layout { \neumeDemoLayout }}
2859 @lilypond[staffsize=26,linewidth=1.0\cm]
2860 \include "gregorian-init.ly"
2863 % Punctum Inclinatum Parvum
2864 \[ \inclinatum \deminutum b \]
2865 \noBreak s^\markup {"f"}
2867 \layout { \neumeDemoLayout }}
2873 @lilypond[staffsize=26,linewidth=1.0\cm]
2874 \include "gregorian-init.ly"
2879 \noBreak s^\markup {"g"}
2881 \layout { \neumeDemoLayout }}
2887 @code{3. Apostropha vel Stropha}
2889 @lilypond[staffsize=26,linewidth=1.0\cm]
2890 \include "gregorian-init.ly"
2895 \noBreak s^\markup {"h"}
2897 \layout { \neumeDemoLayout }}
2900 @lilypond[staffsize=26,linewidth=1.0\cm]
2901 \include "gregorian-init.ly"
2905 \[ \stropha \auctum b \]
2906 \noBreak s^\markup {"i"}
2908 \layout { \neumeDemoLayout }}
2915 @lilypond[staffsize=26,linewidth=1.0\cm]
2916 \include "gregorian-init.ly"
2921 \noBreak s^\markup {"j"}
2923 \layout { \neumeDemoLayout }}
2929 @code{5. Clivis vel Flexa}
2931 @lilypond[staffsize=26,linewidth=1.0\cm]
2932 \include "gregorian-init.ly"
2939 \layout { \neumeDemoLayout }}
2942 @lilypond[staffsize=26,linewidth=2.0\cm]
2943 \include "gregorian-init.ly"
2946 % Clivis Aucta Descendens
2947 \[ b \flexa \auctum \descendens g \]
2948 \noBreak s^\markup {"l"} \noBreak
2950 % Clivis Aucta Ascendens
2951 \[ b \flexa \auctum \ascendens g \]
2952 \noBreak s^\markup {"m"}
2954 \layout { \neumeDemoLayout }}
2957 @lilypond[staffsize=26,linewidth=1.0\cm]
2958 \include "gregorian-init.ly"
2962 \[ b \flexa \deminutum g \]
2965 \layout { \neumeDemoLayout }}
2969 @code{6. Podatus vel Pes}
2971 @lilypond[staffsize=26,linewidth=1.0\cm]
2972 \include "gregorian-init.ly"
2979 \layout { \neumeDemoLayout }}
2982 @lilypond[staffsize=26,linewidth=2.0\cm]
2983 \include "gregorian-init.ly"
2986 % Pes Auctus Descendens
2987 \[ g \pes \auctum \descendens b \]
2988 \noBreak s^\markup {"p"} \noBreak
2990 % Pes Auctus Ascendens
2991 \[ g \pes \auctum \ascendens b \]
2992 \noBreak s^\markup {"q"}
2994 \layout { \neumeDemoLayout }}
2997 @lilypond[staffsize=26,linewidth=1.0\cm]
2998 \include "gregorian-init.ly"
3002 \[ g \pes \deminutum b \]
3005 \layout { \neumeDemoLayout }}
3009 @code{7. Pes Quassus}
3011 @lilypond[staffsize=26,linewidth=1.0\cm]
3012 \include "gregorian-init.ly"
3016 \[ \oriscus g \pes \virga b \]
3019 \layout { \neumeDemoLayout }}
3022 @lilypond[staffsize=26,linewidth=1.0\cm]
3023 \include "gregorian-init.ly"
3026 % Pes Quassus Auctus Descendens
3027 \[ \oriscus g \pes \auctum \descendens b \]
3030 \layout { \neumeDemoLayout }}
3035 @code{8. Quilisma Pes}
3037 @lilypond[staffsize=26,linewidth=1.0\cm]
3038 \include "gregorian-init.ly"
3042 \[ \quilisma g \pes b \]
3045 \layout { \neumeDemoLayout }}
3048 @lilypond[staffsize=26,linewidth=1.0\cm]
3049 \include "gregorian-init.ly"
3052 % Quilisma Pes Auctus Descendens
3053 \[ \quilisma g \pes \auctum \descendens b \]
3056 \layout { \neumeDemoLayout }}
3061 @code{9. Podatus Initio Debilis}
3063 @lilypond[staffsize=26,linewidth=1.0\cm]
3064 \include "gregorian-init.ly"
3067 % Pes Initio Debilis
3068 \[ \deminutum g \pes b \]
3071 \layout { \neumeDemoLayout }}
3074 @lilypond[staffsize=26,linewidth=1.0\cm]
3075 \include "gregorian-init.ly"
3078 % Pes Auctus Descendens Initio Debilis
3079 \[ \deminutum g \pes \auctum \descendens b \]
3082 \layout { \neumeDemoLayout }}
3089 @lilypond[staffsize=26,linewidth=1.0\cm]
3090 \include "gregorian-init.ly"
3094 \[ a \pes b \flexa g \]
3097 \layout { \neumeDemoLayout }}
3100 @lilypond[staffsize=26,linewidth=1.0\cm]
3101 \include "gregorian-init.ly"
3104 % Torculus Auctus Descendens
3105 \[ a \pes b \flexa \auctum \descendens g \]
3108 \layout { \neumeDemoLayout }}
3111 @lilypond[staffsize=26,linewidth=1.0\cm]
3112 \include "gregorian-init.ly"
3115 % Torculus Deminutus
3116 \[ a \pes b \flexa \deminutum g \]
3119 \layout { \neumeDemoLayout }}
3123 @code{11. Torculus Initio Debilis}
3125 @lilypond[staffsize=26,linewidth=1.0\cm]
3126 \include "gregorian-init.ly"
3129 % Torculus Initio Debilis
3130 \[ \deminutum a \pes b \flexa g \]
3133 \layout { \neumeDemoLayout }}
3136 @lilypond[staffsize=26,linewidth=1.0\cm]
3137 \include "gregorian-init.ly"
3140 % Torculus Auctus Descendens Initio Debilis
3141 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
3144 \layout { \neumeDemoLayout }}
3147 @lilypond[staffsize=26,linewidth=1.0\cm]
3148 \include "gregorian-init.ly"
3151 % Torculus Deminutus Initio Debilis
3152 \[ \deminutum a \pes b \flexa \deminutum g \]
3155 \layout { \neumeDemoLayout }}
3159 @code{12. Porrectus}
3161 @lilypond[staffsize=26,linewidth=1.0\cm]
3162 \include "gregorian-init.ly"
3166 \[ a \flexa g \pes b \]
3169 \layout { \neumeDemoLayout }}
3172 @lilypond[staffsize=26,linewidth=1.0\cm]
3173 \include "gregorian-init.ly"
3176 % Porrectus Auctus Descendens
3177 \[ a \flexa g \pes \auctum \descendens b \]
3180 \layout { \neumeDemoLayout }}
3183 @lilypond[staffsize=26,linewidth=1.0\cm]
3184 \include "gregorian-init.ly"
3187 % Porrectus Deminutus
3188 \[ a \flexa g \pes \deminutum b \]
3191 \layout { \neumeDemoLayout }}
3197 @lilypond[staffsize=26,linewidth=1.0\cm]
3198 \include "gregorian-init.ly"
3202 \[ \virga b \inclinatum a \inclinatum g \]
3205 \layout { \neumeDemoLayout }
3209 @lilypond[staffsize=26,linewidth=1.0\cm]
3210 \include "gregorian-init.ly"
3214 \[ \virga b \inclinatum a \inclinatum \auctum g \]
3217 \layout { \neumeDemoLayout }}
3220 @lilypond[staffsize=26,linewidth=1.0\cm]
3221 \include "gregorian-init.ly"
3224 % Climacus Deminutus
3225 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
3228 \layout { \neumeDemoLayout }}
3232 @code{14. Scandicus}
3234 @lilypond[staffsize=26,linewidth=1.0\cm]
3235 \include "gregorian-init.ly"
3239 \[ g \pes a \virga b \]
3242 \layout { \neumeDemoLayout }}
3245 @lilypond[staffsize=26,linewidth=1.0\cm]
3246 \include "gregorian-init.ly"
3249 % Scandicus Auctus Descendens
3250 \[ g \pes a \pes \auctum \descendens b \]
3253 \layout { \neumeDemoLayout }}
3256 @lilypond[staffsize=26,linewidth=1.0\cm]
3257 \include "gregorian-init.ly"
3260 % Scandicus Deminutus
3261 \[ g \pes a \pes \deminutum b \]
3264 \layout { \neumeDemoLayout }}
3270 @lilypond[staffsize=26,linewidth=1.0\cm]
3271 \include "gregorian-init.ly"
3275 \[ g \oriscus a \pes \virga b \]
3278 \layout { \neumeDemoLayout }}
3281 @lilypond[staffsize=26,linewidth=1.0\cm]
3282 \include "gregorian-init.ly"
3285 % Salicus Auctus Descendens
3286 \[ g \oriscus a \pes \auctum \descendens b \]
3289 \layout { \neumeDemoLayout }}
3296 @lilypond[staffsize=26,linewidth=1.0\cm]
3297 \include "gregorian-init.ly"
3301 \[ \stropha b \stropha b \stropha a \]
3304 \layout { \neumeDemoLayout }
3313 Unlike most other neumes notation systems, the input language for
3314 neumes does not reflect the typographical appearance, but is designed
3315 to focus on musical meaning. For example, @code{\[ a \pes b
3316 \flexa g \]} produces a Torculus consisting of three Punctum heads,
3317 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
3318 curved flexa shape and only a single Punctum head. There is no
3319 command to explicitly typeset the curved flexa shape; the decision of
3320 when to typeset a curved flexa shape is based on the musical
3321 input. The idea of this approach is to separate the musical aspects
3322 of the input from the notation style of the output. This way, the
3323 same input can be reused to typeset the same music in a different
3324 style of Gregorian chant notation.
3326 The following table shows the code fragments that produce the
3327 ligatures in the above neumes table. The letter in the first column
3328 in each line of the below table indicates to which ligature in the
3329 above table it refers. The second column gives the name of the
3330 ligature. The third column shows the code fragment that produces this
3331 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
3333 @multitable @columnfractions .02 .31 .67
3353 @code{\[ \inclinatum b \]}
3361 @code{\[ \auctum \ascendens b \]}
3369 @code{\[ \auctum \descendens b \]}
3374 Punctum Inclinatum@*
3377 @code{\[ \inclinatum \auctum b \]}
3382 Punctum Inclinatum@*
3384 @code{\[ \inclinatum \deminutum b \]}
3391 @code{\[ \virga b \]}
3398 @code{\[ \stropha b \]}
3405 @code{\[ \stropha \auctum b \]}
3412 @code{\[ \oriscus b \]}
3419 @code{\[ b \flexa g \]}
3427 @code{\[ b \flexa \auctum \descendens g \]}
3435 @code{\[ b \flexa \auctum \ascendens g \]}
3442 @code{\[ b \flexa \deminutum g \]}
3449 @code{\[ g \pes b \]}
3457 @code{\[ g \pes \auctum \descendens b \]}
3465 @code{\[ g \pes \auctum \ascendens b \]}
3472 @code{\[ g \pes \deminutum b \]}
3479 @code{\[ \oriscus g \pes \virga b \]}
3485 Auctus Descendens @tab
3486 @code{\[ \oriscus g \pes \auctum \descendens b \]}
3493 @code{\[ \quilisma g \pes b \]}
3501 @code{\[ \quilisma g \pes \auctum \descendens b \]}
3508 @code{\[ \deminutum g \pes b \]}
3513 Pes Auctus Descendens@*
3516 @code{\[ \deminutum g \pes \auctum \descendens b \]}
3523 @code{\[ a \pes b \flexa g \]}
3531 @code{\[ a \pes b \flexa \auctum \descendens g \]}
3538 @code{\[ a \pes b \flexa \deminutum g \]}
3543 Torculus Initio Debilis
3545 @code{\[ \deminutum a \pes b \flexa g \]}
3551 Descendens Initio Debilis
3553 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
3558 Torculus Deminutus@*
3561 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
3568 @code{\[ a \flexa g \pes b \]}
3576 @code{\[ a \flexa g \pes \auctum \descendens b \]}
3583 @code{\[ a \flexa g \pes \deminutum b \]}
3590 @code{\[ \virga b \inclinatum a \inclinatum g \]}
3597 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
3604 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
3611 @code{\[ g \pes a \virga b \]}
3619 @code{\[ g \pes a \pes \auctum \descendens b \]}
3626 @code{\[ g \pes a \pes \deminutum b \]}
3633 @code{\[ g \oriscus a \pes \virga b \]}
3638 Salicus Auctus Descendens
3640 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
3647 @code{\[ \stropha b \stropha b \stropha a \]}
3652 The following head prefixes are supported
3654 @cindex @code{\virga}
3656 @cindex @code{\stropha}
3658 @cindex @code{\inclinatum}
3660 @cindex @code{\auctum}
3662 @cindex @code{\descendens}
3664 @cindex @code{\ascendens}
3666 @cindex @code{\oriscus}
3668 @cindex @code{\quilisma}
3670 @cindex @code{\deminutum}
3673 Head prefixes can be accumulated, though restrictions apply. For
3674 example, either @code{\descendens} or @code{\ascendens} can be applied
3675 to a head, but not both to the same head.
3678 @cindex @code{\flexa}
3679 Two adjacent heads can be tied together with the @code{\pes} and
3680 @code{\flexa} infix commands for a rising and falling line of melody,
3685 @node Gregorian Chant contexts
3686 @subsection Gregorian Chant contexts
3688 @cindex VaticanaVoiceContext
3689 @cindex VaticanaStaffContext
3691 The predefined @code{VaticanaVoiceContext} and
3692 @code{VaticanaStaffContext} can be used to engrave a piece of
3693 Gregorian Chant in the style of the Editio Vaticana. These contexts
3694 initialize all relevant context properties and grob properties to
3695 proper values, so you can immediately go ahead entering the chant, as
3696 the following excerpt demonstrates
3698 @lilypond[quote,raggedright,packed,verbatim]
3699 \include "gregorian-init.ly"
3702 \context VaticanaVoice = "cantus" {
3703 \override Staff.StaffSymbol #'color = #red
3704 \override Staff.LedgerLineSpanner #'color = #red
3705 \override Score.BarNumber #'transparent = ##t {
3706 \[ c'\melisma c' \flexa a \]
3707 \[ a \flexa \deminutum g\melismaEnd \]
3709 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
3710 c' \divisioMinima \break
3711 \[ c'\melisma c' \flexa a \]
3712 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
3715 \lyricsto "cantus" \new Lyrics {
3716 San- ctus, San- ctus, San- ctus
3723 @node Mensural contexts
3724 @subsection Mensural contexts
3726 @cindex MensuralVoiceContext
3727 @cindex MensuralStaffContext
3729 The predefined @code{MensuralVoiceContext} and
3730 @code{MensuralStaffContext} can be used to engrave a piece in mensural
3731 style. These contexts initialize all relevant context properties and
3732 grob properties to proper values, so you can immediately go ahead
3733 entering the chant, as the following excerpt demonstrates
3735 @lilypond[quote,raggedright,verbatim]
3738 \context MensuralVoice = "discantus" \transpose c c' {
3739 \override Score.BarNumber #'transparent = ##t {
3740 c'1\melisma bes a g\melismaEnd
3742 \[ f1\melisma a c'\breve d'\melismaEnd \]
3744 c'\breve\melisma a1 g1\melismaEnd
3745 fis\longa^\signumcongruentiae
3748 \lyricsto "discantus" \new Lyrics {
3749 San -- ctus, San -- ctus, San -- ctus
3757 @subsection Figured bass
3759 @cindex Basso continuo
3761 @c TODO: musicological blurb about FB
3764 LilyPond has limited support for figured bass
3766 @lilypond[quote,raggedright,verbatim,fragment]
3768 \context Voice { \clef bass dis4 c d ais g fis}
3769 \context FiguredBass \figuremode {
3770 < 6 >4 < 7 >8 < 6+ [_!] >
3777 The support for figured bass consists of two parts: there is an input
3778 mode, introduced by @code{\figuremode}, where you can enter bass figures
3779 as numbers, and there is a context called @internalsref{FiguredBass} that
3780 takes care of making @internalsref{BassFigure} objects.
3782 In figures input mode, a group of bass figures is delimited by
3783 @code{<} and @code{>}. The duration is entered after the @code{>}
3787 @lilypond[quote,raggedright,fragment]
3788 \context FiguredBass
3789 \figuremode { <4 6> }
3792 Accidentals are added when you append @code{-}, @code{!}, and @code{+}
3798 @lilypond[quote,raggedright,fragment]
3799 \context FiguredBass
3800 \figuremode { <4- 6+ 7!> }
3803 Spaces or dashes may be inserted by using @code{_}. Brackets are
3804 introduced with @code{[} and @code{]}. You can also include text
3805 strings and text markups, see @ref{Overview of text markup commands}.
3808 < [4 6] 8 [_! 12] > < 5 \markup @{ + \number 6 @} >
3810 @lilypond[quote,raggedright,fragment]
3811 \context FiguredBass
3812 \figuremode { < [4 6] 8 [_! 12] > < 5 \markup{ + \number 6 } > }
3816 Although the support for figured bass may superficially resemble chord
3817 support, it works much simpler. The @code{\figuremode} mode simply
3818 stores the numbers and @internalsref{FiguredBass} context prints
3819 them as entered. There is no conversion to pitches and no
3820 realizations of the bass are played in the MIDI file.
3822 Internally, the code produces markup texts. You can use any of the
3823 markup text properties to override formatting. For example, the
3824 vertical spacing of the figures may be set with @code{baseline-skip}.
3828 Program reference: @internalsref{BassFigureEvent} music,
3829 @internalsref{BassFigure} object, and @internalsref{FiguredBass} context.
3833 Slash notation for alterations is not supported.
3837 @node Other instrument specific notation
3838 @section Other instrument specific notation
3840 This section includes extra information for writing for instruments.
3843 * Artificial harmonics (strings)::
3844 * Stopped notes (guitar)::
3847 @node Artificial harmonics (strings)
3848 @subsection Artificial harmonics (strings)
3850 @cindex artificial harmonics
3852 Artificial harmonics are notated with a different notehead style. They
3853 are entered by marking the harmonic pitch with @code{\harmonic}.
3855 @lilypond[raggedright,verbatim,quote,fragment,relative=1]
3860 @node Stopped notes (guitar)
3861 @subsection Stopped notes (guitar)
3863 Stopped (X) note heads are used in guitar music to signal a place where the
3864 guitarist must play a certain note or chord, with its fingers just
3865 touching the strings instead of fully pressing them. This gives the sound a
3866 percussive noise-like sound that still maintains part of the original pitch.
3868 Finger stopped technique is extremely important for rhythm and rock-heavy
3869 metal guitarists; the former often uses barré based stopped chords to
3870 intermix harmony with rythm, the latters use finger stopping to mute power
3871 chords, or charge them with more expression in close-tied power chord stums.
3873 It is also used (even if rarely) in classic guitar music, generally in the
3874 melodic line, to provide some rithmic pattern right in the melody.
3876 @lilypond[raggedright,verbatim,quote,fragment,relative=2]
3878 \override NoteHead #'style = #'cross
3880 \revert NoteHead #'style