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.
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::
40 * Staff switch lines::
46 Dynamics are not centered, but workarounds do exist. See the
47 ``piano centered dynamics'' template in @ref{Piano templates}.
49 @cindex cross staff stem
50 @cindex stem, cross staff
51 @cindex distance between staves in piano music
53 The distance between the two staves is the same for all systems in the
54 score. It is possible to override this per system, but it does require
55 an arcane command incantation. See
56 @inputfileref{input/@/test,piano@/-staff@/-distance@/.ly}.
59 @node Automatic staff changes
60 @subsection Automatic staff changes
61 @cindex Automatic staff changes
63 Voices can be made to switch automatically between the top and the bottom
64 staff. The syntax for this is
68 \autochange @dots{}@var{music}@dots{}
73 This will create two staves inside the current PianoStaff, called
74 @code{up} and @code{down}. The lower staff will be in bass clef by
77 A @code{\relative} section that is outside of @code{\autochange} has
78 no effect on the pitches of @var{music}, so, if necessary, put
79 @code{\relative} inside @code{\autochange} like
83 \autochange \relative @dots{} @dots{}
88 The autochanger switches on basis of the pitch (middle C is the turning
89 point), and it looks ahead skipping over rests to switch in
90 advance. Here is a practical example
92 @lilypond[quote,verbatim,raggedright]
94 \autochange \relative c'
103 In this manual: @ref{Manual staff switches}.
105 Program reference: @internalsref{AutoChangeMusic}.
111 The staff switches may not end up in optimal places. For high
112 quality output, staff switches should be specified manually.
115 @code{\autochange} cannot be inside @code{\times}.
118 @node Manual staff switches
119 @subsection Manual staff switches
121 @cindex manual staff switches
122 @cindex staff switch, manual
124 Voices can be switched between staves manually, using the command
126 \change Staff = @var{staffname} @var{music}
130 The string @var{staffname} is the name of the staff. It switches the
131 current voice from its current staff to the Staff called
132 @var{staffname}. Typically @var{staffname} is @code{"up"} or
133 @code{"down"}. The @context{Staff} referred to must already exist, so
134 usually the setup for a score will start with a setup of the staves,
138 \context Staff = up @{
139 \skip 1 * 10 % @emph{keep staff alive}
141 \context Staff = down @{
142 \skip 1 * 10 % @emph{idem}
148 and the @context{Voice} is inserted afterwards
151 \context Staff = down
152 \new Voice @{ @dots{} \change Staff = up @dots{} @}
160 Pianos have pedals that alter the way sound is produced. Generally, a
161 piano has three pedals, sustain, una corda, and sostenuto.
164 Piano pedal instruction can be expressed by attaching
165 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
166 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
169 @lilypond[quote,raggedright,fragment,verbatim]
170 c'4\sustainDown c'4\sustainUp
173 What is printed can be modified by setting @code{pedal@var{X}Strings},
174 where @var{X} is one of the pedal types: @code{Sustain},
175 @code{Sostenuto} or @code{UnaCorda}. Refer to
176 @internalsref{SustainPedal} in the program reference for more
179 Pedals can also be indicated by a sequence of brackets, by setting the
180 @code{pedalSustainStyle} property to bracket objects
182 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
183 \set Staff.pedalSustainStyle = #'bracket
185 b\sustainUp\sustainDown
186 b g \sustainUp a \sustainDown \bar "|."
189 A third style of pedal notation is a mixture of text and brackets,
190 obtained by setting the @code{pedalSustainStyle} property to
193 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
194 \set Staff.pedalSustainStyle = #'mixed
196 b\sustainUp\sustainDown
197 b g \sustainUp a \sustainDown \bar "|."
200 The default `*Ped.' style for sustain and damper pedals corresponds to
201 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
204 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
205 c\sostenutoDown d e c, f g a\sostenutoUp
208 For fine-tuning the appearance of a pedal bracket, the properties
209 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
210 @code{PianoPedalBracket} objects (see
211 @internalsref{PianoPedalBracket} in the Program reference) can be
212 modified. For example, the bracket may be extended to the right edge
215 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
216 \override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
217 c\sostenutoDown d e c, f g a\sostenutoUp
220 @node Staff switch lines
221 @subsection Staff switch lines
225 @cindex staff switching
228 @cindex @code{followVoice}
230 Whenever a voice switches to another staff, a line connecting the notes
231 can be printed automatically. This is switched on by setting
232 @code{followVoice} to true
234 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
237 \set followVoice = ##t
242 \context Staff=two { \clef bass \skip 1*2 }
248 Program reference: @internalsref{VoiceFollower}.
252 @cindex @code{\showStaffSwitch}
253 @code{\showStaffSwitch},
254 @cindex @code{\hideStaffSwitch}
255 @code{\hideStaffSwitch}.
258 @node Cross staff stems
259 @subsection Cross staff stems
261 Chords that cross staves may be produced by increasing the length
262 of the stem in the lower staff, so it reaches the stem in the upper
263 staff, or vice versa.
265 @lilypond[raggedright,verbatim,quote]
266 stemExtend = \once \override Stem #'length = #22
267 noFlag = \once \override Stem #'flag-style = #'no-flag
268 \context PianoStaff <<
270 \stemDown \stemExtend
288 * Introducing chord names::
290 * Printing chord names::
294 @c awkward name; awkward section name.
295 @c still, the Basic "chords" seems like a good name... :(
296 @node Introducing chord names
297 @subsection Introducing chord names
300 LilyPond has support for printing chord names. Chords may be entered
301 in musical chord notation, i.e., @code{< .. >}, but they can also be
302 entered by name. Internally, the chords are represented as a set of
303 pitches, so they can be transposed
306 @lilypond[quote,raggedright,verbatim,raggedright]
307 twoWays = \transpose c c' {
316 << \context ChordNames \twoWays
317 \context Voice \twoWays >>
320 This example also shows that the chord printing routines do not try to
321 be intelligent. The last chord (@code{f bes d}) is not interpreted as
324 Note that the duration of chords must be specified outside the
333 @subsection Chords mode
336 In chord mode sets of pitches (chords) are entered with normal note
337 names. A chord is entered by the root, which is entered like a
340 @lilypond[quote,raggedright,fragment,verbatim]
341 \chordmode { es4. d8 c2 }
345 The mode is introduced by the keyword @code{\chordmode}.
350 Other chords may be entered by suffixing a colon and introducing a
351 modifier (which may include a number if desired)
352 @lilypond[quote,fragment,verbatim]
353 \chordmode { e1:m e1:7 e1:m7 }
355 The first number following the root is taken to be the `type' of the
356 chord, thirds are added to the root until it reaches the specified
358 @lilypond[quote,fragment,verbatim]
359 \chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
362 @cindex root of chord
363 @cindex additions, in chords
364 @cindex removals, in chords
366 More complex chords may also be constructed adding separate steps
367 to a chord. Additions are added after the number following
368 the colon and are separated by dots
369 @lilypond[quote,verbatim,fragment]
370 \chordmode { c:5.6 c:3.7.8 c:3.6.13 }
372 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
374 @lilypond[quote,verbatim,fragment]
375 \chordmode { c:7+ c:5+.3- c:3-.5-.7- }
377 Removals are specified similarly and are introduced by a caret. They
378 must come after the additions
379 @lilypond[quote,verbatim,fragment]
380 \chordmode { c^3 c:7^5 c:9^3.5 }
383 Modifiers can be used to change pitches. The following modifiers are
388 The minor chord. This modifier lowers the 3rd and (if present) the 7th step.
391 The diminished chord. This modifier lowers the 3rd, 5th and (if present)
395 The augmented chord. This modifier raises the 5th step.
398 The major 7th chord. This modifier raises the 7th step if present.
401 The suspended 4th or 2nd. This modifier removes the 3rd
402 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
406 Modifiers can be mixed with additions
407 @lilypond[quote,verbatim,fragment]
408 \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
411 @cindex modifiers, in chords.
418 Since an unaltered 11 does not sound good when combined with an
419 unaltered 3, the 11 is removed in this case (unless it is added
421 @lilypond[quote,raggedright,fragment,verbatim]
422 \chordmode { c:13 c:13.11 c:m13 }
427 An inversion (putting one pitch of the chord on the bottom), as well
428 as bass notes, can be specified by appending
429 @code{/}@var{pitch} to the chord
430 @lilypond[quote,raggedright,fragment,verbatim]
431 \chordmode { c1 c/g c/f }
435 A bass note can be added instead transposed out of the chord,
436 by using @code{/+}@var{pitch}.
438 @lilypond[quote,raggedright,fragment,verbatim]
439 \chordmode { c1 c/+g c/+f }
442 Chords is a mode similar to @code{\lyricmode}, etc. Most
443 of the commands continue to work, for example, @code{r} and
444 @code{\skip} can be used to insert rests and spaces, and property
445 commands may be used to change various settings.
451 Each step can only be present in a chord once. The following
452 simply produces the augmented chord, since @code{5+} is interpreted
455 @lilypond[quote,raggedright,verbatim,fragment]
456 \chordmode { c:5.5-.5+ }
460 @node Printing chord names
461 @subsection Printing chord names
463 @cindex printing chord names
467 For displaying printed chord names, use the @internalsref{ChordNames} context.
468 The chords may be entered either using the notation
469 described above, or directly using @code{<} and @code{>}
471 @lilypond[quote,verbatim,raggedright]
473 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
476 \context ChordNames \harmonies
477 \context Staff \harmonies
481 You can make the chord changes stand out by setting
482 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
483 display chord names when there is a change in the chords scheme and at
484 the start of a new line
486 @lilypond[quote,verbatim,raggedright]
487 harmonies = \chordmode {
488 c1:m c:m \break c:m c:m d
491 \context ChordNames {
492 \set chordChanges = ##t
494 \context Staff \transpose c c' \harmonies
498 The previous examples all show chords over a staff. This is not
499 necessary. Chords may also be printed separately. It may be necessary
500 to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
503 @lilypond[raggedright,verbatim]
504 \new ChordNames \with {
505 \override BarLine #'bar-size = #4
506 voltaOnThisStaff = ##t
507 \consists Bar_engraver
508 \consists "Volta_engraver"
510 \repeat volta 2 \chordmode {
519 The default chord name layout is a system for Jazz music, proposed by
520 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
524 @cindex @code{chordNameExceptions}
525 @item chordNameExceptions
526 This is a list that contains the chords that have special formatting.
528 The exceptions list should be encoded as
530 @{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
533 To get this information into @code{chordNameExceptions} takes a little
534 manoeuvring. The following code transforms @code{chExceptionMusic}
535 (which is a sequential music) into a list of exceptions.
537 (sequential-music-to-chord-exceptions chExceptionMusic #t)
542 (sequential-music-to-chord-exceptions chExceptionMusic #t)
545 adds the new exceptions to the default ones, which are defined in
546 @file{ly/@/chord@/-modifier@/-init@/.ly}.
548 For an example of tuning this property, see also
549 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly}.
550 @cindex exceptions, chord names.
553 @cindex @code{majorSevenSymbol}
554 @item majorSevenSymbol
555 This property contains the markup object used for the 7th step, when
556 it is major. Predefined options are @code{whiteTriangleMarkup} and
557 @code{blackTriangleMarkup}. See
558 @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly} for an example.
560 @cindex @code{chordNameSeparator}
561 @item chordNameSeparator
562 Different parts of a chord name are normally separated by a
563 slash. By setting @code{chordNameSeparator}, you can specify other
565 @lilypond[quote,raggedright,fragment,verbatim]
566 \context ChordNames \chordmode {
568 \set chordNameSeparator
569 = \markup { \typewriter "|" }
574 @cindex @code{chordRootNamer}
576 The root of a chord is usually printed as a letter with an optional
577 alteration. The transformation from pitch to letter is done by this
578 function. Special note names (for example, the German ``H'' for a
579 B-chord) can be produced by storing a new function in this property.
581 @cindex @code{chordNoteNamer}
583 The default is to print single pitch, e.g., the bass note, using the
584 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
585 to a specialized function to change this behavior. For example, the
586 base can be printed in lower case.
588 @cindex @code{chordPrefixSpacer}
589 @item chordPrefixSpacer
590 The ``m'' for minor chords is usually printed right after the root of
591 the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer
592 between the root and ``m''. The spacer is not used when the root
597 The predefined variables @code{\germanChords},
598 @code{\semiGermanChords}, @code{\italianChords} and @code{\frenchChords}
599 set these variables. The effect is
602 @lilypondfile[raggedright]{chord-names-languages.ly}
604 There are also two other chord name schemes implemented: an alternate
605 Jazz chord notation, and a systematic scheme called Banter chords. The
606 alternate Jazz notation is also shown on the chart in @ref{Chord name
607 chart}. Turning on these styles is described in the input file
608 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
617 @cindex @code{\germanChords}
618 @code{\germanChords},
619 @cindex @code{\semiGermanChords}
620 @code{\semiGermanChords}.
621 @cindex @code{\italianChords}
622 @code{\italianChords}.
623 @cindex @code{\frenchChords}
624 @code{\frenchChords}.
631 Examples: @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly},
632 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly},
633 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
636 Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
637 @file{scm/@/chord@/-entry@/.scm}.
642 Chord names are determined solely from the list of pitches. Chord
643 inversions are not identified, and neither are added bass notes. This
644 may result in strange chord names when chords are entered with the
645 @code{< .. >} syntax.
652 There are three different issues when printing vocal music
656 Song texts must be entered as text, not notes. For example, the
657 input@tie{}@code{d} should be interpreted as a one letter syllable, not the
661 Song texts must be printed as text, not as notes.
664 Song texts must be aligned with the notes of their melody.
667 The simplest solution for printing music uses the @code{\addlyrics}
668 function to solve all these problems at once. However, these
669 three functions can be controlled separately, which is necessary
670 for complex vocal music.
674 * Setting simple songs::
676 * Hyphens and extenders::
677 * The Lyrics context::
678 * Flexibility in alignment::
681 * Other vocal issues::
684 @node Setting simple songs
685 @subsection Setting simple songs
687 The easiest way to add lyrics to a melody is to append
690 \addlyrics @{ @var{the lyrics} @}
694 to a melody. Here is an example,
696 @lilypond[raggedright,verbatim,fragment,quote]
698 \relative { c2 e4 g2. }
699 \addlyrics { play the game }
702 More stanzas can be added by adding more
703 @code{\addlyrics} sections
705 @lilypond[raggedright,verbatim,fragment,quote]
707 \relative { c2 e4 g2. }
708 \addlyrics { play the game }
709 \addlyrics { speel het spel }
710 \addlyrics { joue le jeu }
713 @c TODO - this isn't such a great place for this note, but I can't
714 @c find a better place without rearranging a lot of lyric stuff.
715 @c It's yet another thing to look at post-3.0.
717 The @code{\addlyrics} command is actually just a convienient way
718 to write a more complicated LilyPond structure that sets up the
719 lyrics. You should use @code{\addlyrics} unless you need to do
720 fancy things, in which case you should investigate
721 @code{\lyricsto} or @code{\lyricmode}.
725 \addlyrics @{ LYRICS @}
732 \context Voice = blah @{ music @}
733 \lyricsto "blah" \new lyrics @{ LYRICS @}
738 @code{\addlyrics} cannot handle polyphony.
741 @node Entering lyrics
742 @subsection Entering lyrics
745 @cindex @code{\lyricmode}
748 Lyrics are entered in a special input mode. This mode is introduced
749 by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
750 @code{\lyricsto}. In this mode you can enter lyrics,
751 with punctuation and accents, and the input @code{d} is not parsed as
752 a pitch, but rather as a one letter syllable. Syllables are entered
753 like notes, but with pitches replaced by text. For example,
755 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
758 There is a difference between @code{\addlyrics} and
759 @code{\lyricmode}. @code{\addlyrics} and @code{\lyricsto}
760 ignore all durations and aligns syllables to notes; @code{\lyricmode}
761 uses the durations specified.
763 A word lyrics mode begins with an alphabetic character, and ends with
764 any space or digit. The following characters can be any character
765 that is not a digit or white space. One important consequence of this
766 is that a word can end with @code{@}}. The following example is
767 usually a mistake in the input file. The syllable includes a @code{@}}, so the
768 opening brace is not balanced
770 \lyricmode @{ twinkle@}
773 @cindex @code{\property}, in @code{\lyricmode}
775 Similarly, a period which follows an alphabetic sequence is included in
776 the resulting string. As a consequence, spaces must be inserted around
779 \override Score . LyricText #'font-shape = #'italic
783 @cindex spaces, in lyrics
784 @cindex quotes, in lyrics
786 Any @code{_} character that appears in an unquoted word is converted
787 to a space. This provides a mechanism for introducing spaces into words
788 without using quotes.
790 To enter lyrics with characters from non-English languages, or with
791 non-ascii characters (such as the heart symbol or slanted quotes),
792 simply insert the characters directly into the input file and save
793 it with utf-8 encoding. See @ref{Text encoding} for more info.
796 \lyricmode @{ He said: âÂ
\80Â
\9cLet my peo ple goâÂ
\80Â
\9d. @}
799 The full definition of a word start in Lyrics mode is somewhat more
802 A word in Lyrics mode begins with: an alphabetic character, @code{_},
803 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
804 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
805 any 8-bit character with ASCII code over 127, or a two-character
806 combination of a backslash followed by one of @code{`}, @code{'},
807 @code{"}, or @code{^}.
813 Program reference: @internalsref{LyricText}.
817 The definition of lyrics mode is too complex.
819 @node Hyphens and extenders
820 @subsection Hyphens and extenders
824 Centered hyphens are entered as `@code{--}' between syllables.
825 The hyphen will have variable length depending on the space between
826 the syllables and it will be centered between the syllables.
831 When a lyric is sung over many notes (this is called a melisma), this is
832 indicated with a horizontal line centered between a syllable and the
833 next one. Such a line is called an extender line, and it is entered as
836 In tighly engraved music, hyphens can be removed. In some languages
837 (e.g. German and Hungarian), hyphens should not disappear, since
838 spelling depends on hyphenation. For that purpose, hyphens can be
839 forced to remain by overriding @code{minimum-length} of
840 the @code{LyricHyphen} grob.
842 @lilypond[quote,verbatim,raggedright]
845 \new Staff \relative c'' {
846 \time 1/4 c16 c c c c16 c c c c16 c c c
848 \lyricmode { \new Lyrics
850 \override SeparationItem #'padding = #0.0
851 % Otherwise lyrics are so far apart that hyphens don't disappear
854 An -- ti -- cons -- ti --
855 tu -- tion -- nel -- le --
856 \override LyricHyphen #'minimum-length = #0.7
857 \override LyricHyphen #'spacing-procedure =
858 #Hyphen_spanner::set_spacing_rods
859 men -- taire -- ment. ouf~!
867 \Staff \remove "Time_signature_engraver"
875 Program reference: @internalsref{LyricHyphen}, @internalsref{LyricExtender}.
879 @node The Lyrics context
880 @subsection The Lyrics context
883 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
885 \context Lyrics \lyricmode @dots{}
888 @cindex automatic syllable durations
889 @cindex @code{\lyricsto}
890 @cindex lyrics and melodies
892 This will place the lyrics according to the durations that were
893 entered. The lyrics can also be aligned under a given melody
894 automatically. In this case, it is no longer necessary to enter the
895 correct duration for each syllable. This is achieved by combining the
896 melody and the lyrics with the @code{\lyricsto} expression
898 \lyricsto @var{name} \new Lyrics @dots{}
901 This aligns the lyrics to the
902 notes of the @internalsref{Voice} context called @var{name}, which has
903 to exist. Therefore, normally the @code{Voice} is specified first, and
904 then the lyrics are specified with @code{\lyricsto}. The command
905 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
906 @code{\lyricmode} keyword may be omitted.
908 For different or more complex orderings, the best way is to setup the
909 hierarchy of staves and lyrics first, e.g.,
911 \context ChoirStaff <<
912 \context Lyrics = sopranoLyrics @{ s1 @}
913 \context Voice = soprano @{ @emph{music} @}
914 \context Lyrics = tenorLyrics @{ s1 @}
915 \context Voice = tenor @{ @emph{music} @}
918 and then combine the appropriate melodies and lyric lines
920 \lyricsto "soprano" \context Lyrics = sopranoLyrics
925 The final input would resemble
928 <<\context ChoirStaff << @emph{setup the music} >>
929 \lyricsto "soprano" @emph{etc}
930 \lyricsto "alto" @emph{etc}
936 The @code{\lyricsto} command detects melismata: it only puts one
937 syllable under a tied or slurred group of notes. If you want to force
938 an unslurred group of notes to be a melisma, insert @code{\melisma}
939 after the first note of the group, and @code{\melismaEnd} after the
942 @lilypond[quote,relative=2,raggedright,fragment,verbatim]
944 \context Voice = "lala" {
952 \lyricsto "lala" \new Lyrics {
958 In addition, notes are considered a melisma if they are manually
959 beamed, and automatic beaming (see @ref{Setting automatic beam
960 behavior}) is switched off.
966 The criteria for deciding melismata can
967 be tuned with the property @code{melismaBusyProperties}. See
968 @internalsref{Melisma_translator} in the program reference for more
973 Lyrics can also be entered without @code{\lyricsto}. In this case the
974 duration of each syllable must be entered explicitly, for example,
981 The alignment to a melody can be specified with the
982 @code{associatedVoice} property,
985 \set associatedVoice = #"lala"
989 The value of the property (here: @code{"lala"}) should be the name of
990 a @internalsref{Voice} context. Without this setting, extender lines
991 will not be formatted properly.
993 Here is an example demonstrating manual lyric durations,
995 @lilypond[relative=1,raggedright,verbatim,fragment,quote]
996 << \context Voice = melody {
1000 \new Lyrics \lyricmode {
1001 \set associatedVoice = #"melody"
1007 @cindex choral score
1009 A complete example of a SATB score setup is in section
1010 @ref{Vocal ensembles}.
1015 @code{\melisma}, @code{\melismaEnd}
1016 @cindex @code{\melismaEnd}
1017 @cindex @code{\melisma}
1021 Program reference: @internalsref{LyricCombineMusic},
1022 @internalsref{Lyrics}, @internalsref{Melisma_translator}.
1025 @inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly}.
1026 @c TODO: make separate section for melismata
1030 Melismata are not detected automatically, and extender lines must be
1034 @c TODO: document \new Staff << Voice \lyricsto >> bug
1036 @node Flexibility in alignment
1037 @subsection Flexibility in alignment
1039 Often, different stanzas of one song are put to one melody in slightly
1040 differing ways. Such variations can still be captured with
1043 @subsubsection Lyrics to multiple notes of a melisma
1046 One possibility is that the text has a melisma in one stanza, but
1047 multiple syllables in another one. One solution is to make the faster
1048 voice ignore the melisma. This is done by setting
1049 @code{ignoreMelismata} in the Lyrics context.
1051 There has one tricky aspect. The setting for @code{ignoreMelismata}
1052 must be set one syllable @emph{before} the non-melismatic syllable
1053 in the text, as shown here,
1055 @lilypond[verbatim,raggedright,quote]
1057 \relative \context Voice = "lahlah" {
1058 \set Staff.autoBeaming = ##f
1064 \new Lyrics \lyricsto "lahlah" {
1067 \new Lyrics \lyricsto "lahlah" {
1068 \set ignoreMelismata = ##t % applies to "fas"
1070 \unset ignoreMelismata
1077 The @code{ignoreMelismata} applies to the syllable ``fas'', so it
1078 should be entered before ``go''.
1080 The reverse is also possible: making a lyric line slower than the
1081 standard. This can be achieved by insert @code{\skip}s into the
1082 lyrics. For every @code{\skip}, the text will be delayed another note.
1085 @lilypond[verbatim,raggedright,quote]
1086 \relative { c c g' }
1094 @subsection Switching the melody associated with a lyrics line
1098 More complex variations in text underlay are possible. It is possible
1099 to switch the melody for a line of lyrics during the text. This is
1100 done by setting the @code{associatedVoice} property. In the example
1102 @lilypond[raggedright,quote]
1104 \relative \context Voice = "lahlah" {
1105 \set Staff.autoBeaming = ##f
1108 \context Voice = alternative {
1111 % show associations clearly.
1112 \override NoteColumn #'force-hshift = #-3
1123 \new Lyrics \lyricsto "lahlah" {
1124 Ju -- ras -- sic Park
1126 \new Lyrics \lyricsto "lahlah" {
1127 % Tricky: need to set associatedVoice
1128 % one syllable too soon!
1129 \set associatedVoice = alternative % applies to "ran"
1133 \set associatedVoice = lahlah % applies to "rus"
1139 the text for the first stanza is set to a melody called ``lahlah'',
1142 \new Lyrics \lyricsto "lahlah" @{
1143 Ju -- ras -- sic Park
1148 The second stanza initially is set to the @code{lahlah} context, but
1149 for the syllable ``ran'', it switches to a different melody.
1150 This is achieved with
1152 \set associatedVoice = alternative
1156 Here, @code{alternative} is the name of the @code{Voice} context
1157 containing the triplet.
1159 Again, the command must be one syllable too early, before ``Ty'' in
1163 \new Lyrics \lyricsto "lahlah" @{
1164 \set associatedVoice = alternative % applies to "ran"
1168 \set associatedVoice = lahlah % applies to "rus"
1174 The underlay is switched back to the starting situation by assigning
1175 @code{lahlah} to @code{associatedVoice}.
1179 @subsection Specifying melismata within the lyrics
1181 It is also possible to define melismata entirely in the lyrics. This
1182 can be done by entering @code{_} for every note that is part of the
1185 @lilypond[relative=1,verbatim,fragment]
1186 { \set melismaBusyProperties = #'()
1187 c d( e) f f( e) e e }
1189 { Ky -- _ _ ri __ _ _ _ e }
1192 In this case, you can also have ties and slurs in the melody, if you
1193 set @code{melismaBusyProperties}, as is done in the example above.
1195 @lilypond[relative=1,verbatim,fragment]
1197 \set melismaBusyProperties = #'()
1201 { Ky -- _ _ ri __ _ _ _ e }
1204 @subsubsection Spacing lyrics
1206 @cindex Spacing lyrics
1207 @cindex Lyrics, increasing space between
1209 To increase the space between lyrics, use the @code{SeparationItem}
1212 @lilypond[relative,verbatim,fragment,quote,raggedright]
1215 \override Score.SeparationItem #'padding = #5
1219 longtext longtext longtext longtext
1220 longtext longtext longtext longtext
1227 @subsection More stanzas
1229 @cindex phrasing, in lyrics
1232 @cindex stanza number
1233 @cindex singer's names
1234 @cindex name of singer
1236 Stanza numbers can be added by setting @code{stanza}, e.g.,
1238 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
1240 \time 3/4 g2 e4 a2 f4 g2.
1243 Hi, my name is Bert.
1246 Oh, che -- ri, je t'aime
1250 These numbers are put just before the start of first syllable.
1252 Names of singers can also be added. They are printed at the start of
1253 the line, just like instrument names. They are created by setting
1254 @code{vocalName}. A short version may be entered as @code{vocNam}.
1257 @lilypond[fragment,raggedright,quote,verbatim,relative=2]
1259 \time 3/4 g2 e4 a2 f4 g2.
1261 \set vocalName = "Bert "
1262 Hi, my name is Bert.
1264 \set vocalName = "Ernie "
1265 Oh, che -- ri, je t'aime
1269 You can display alternate (or divisi) lyrics by naming voice
1270 contexts and attaching lyrics to those specific contexts.
1272 @lilypond[verbatim,raggedright,quote]
1274 \context Voice = "melody" {
1279 \context Voice = splitpart { \voiceTwo c4 }
1284 \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
1285 \new Lyrics \lyricsto "splitpart" { will }
1290 You can use this trick to display different lyrics for a repeated
1293 @lilypond[verbatim,raggedright,quote]
1295 \context Voice = melody \relative c' {
1297 \context Voice = verse \repeat volta 2 {c4 d e f | g1 | }
1299 \lyricsto melody \context Lyrics = mainlyrics \lyricmode {
1302 \lyricsto verse \context Lyrics = mainlyrics \lyricmode {
1304 \lyricsto verse \context Lyrics = repeatlyrics \lyricmode {
1305 dodo rere mimi fafa solsol }
1313 Program reference: @internalsref{LyricText}, @internalsref{StanzaNumber}, @internalsref{VocalName}.
1321 The term @emph{ambitus} denotes a range of pitches for a given voice
1322 in a part of music. It may also denote the pitch range that a musical
1323 instrument is capable of playing. Ambits are printed on vocal parts,
1324 so performers can easily determine it meets their capabilities.
1326 Ambits are denoted at the beginning of a piece near the initial clef.
1327 The range is graphically specified by two note heads that represent the
1328 minimum and maximum pitch. To print such ambits, add the
1329 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
1336 \consists Ambitus_engraver
1341 This results in the following output
1343 @lilypond[quote,raggedright]
1347 \consists Ambitus_engraver
1351 \relative \new Staff {
1356 If you have multiple voices in a single staff and you want a single
1357 ambitus per staff rather than per each voice, add the
1358 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
1359 rather than to the @internalsref{Voice} context. Here is an example,
1361 @lilypond[verbatim,raggedright,quote]
1363 \consists "Ambitus_engraver"
1367 \remove "Ambitus_engraver"
1369 \override Ambitus #'X-offset-callbacks
1370 = #(list (lambda (grob axis) -1.0))
1375 \remove "Ambitus_engraver"
1384 This example uses one advanced feature,
1387 \override Ambitus #'X-offset-callbacks
1388 = #(list (lambda (grob axis) -1.0))
1392 This code moves the ambitus to the left. The same effect could have
1393 been achieved with @code{extra-offset}, but then the formatting system
1394 would not reserve space for the moved object.
1398 Program reference: @internalsref{Ambitus},
1399 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1400 @internalsref{AmbitusAccidental}.
1402 Examples: @inputfileref{input/@/regression,ambitus@/.ly}.
1406 There is no collision handling in the case of multiple per-voice
1410 @node Other vocal issues
1411 @subsection Other vocal issues
1414 yeah, I'm giving up somewhat by stuffing a bunch of things in
1415 here. But at least they're in the manual now; it's easier to
1416 move them around in the manual once they're already here.
1418 Besides, if users complain about everything stuffed in here, I
1419 can ask them for specific instructions about where to move these
1420 examples, and that might get them more involved in the docs. -gp
1423 ``Parlato'' is spoken without pitch but still with rhythm; it is
1424 notated by cross noteheads. This is demonstrated in
1425 @ref{Special noteheads}.
1428 @node Rhythmic music
1429 @section Rhythmic music
1431 Rhythmic music is primarily used for percussion and drum notation, but it can
1432 also be used to show the rhythms of melodies.
1435 * Showing melody rhythms::
1436 * Entering percussion::
1437 * Percussion staves::
1441 @node Showing melody rhythms
1442 @subsection Showing melody rhythms
1444 Sometimes you might want to show only the rhythm of a melody. This
1445 can be done with the rhythmic staff. All pitches of notes on such a
1446 staff are squashed, and the staff itself has a single line
1448 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1449 \context RhythmicStaff {
1451 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1457 Program reference: @internalsref{RhythmicStaff}.
1459 Examples: @inputfileref{input/@/regression,rhythmic@/-staff@/.ly}.
1462 @node Entering percussion
1463 @subsection Entering percussion
1469 Percussion notes may be entered in @code{\drummode} mode, which is
1470 similar to the standard mode for entering notes. Each piece of
1471 percussion has a full name and an abbreviated name, and both can be used
1474 @lilypond[quote,raggedright,verbatim]
1476 hihat hh bassdrum bd
1480 The complete list of drum names is in the init file
1481 @file{ly/@/drumpitch@/-init@/.ly}.
1482 @c TODO: properly document this.
1486 Program reference: @internalsref{note-event}.
1488 @node Percussion staves
1489 @subsection Percussion staves
1493 A percussion part for more than one instrument typically uses a
1494 multiline staff where each position in the staff refers to one piece
1498 To typeset the music, the notes must be interpreted in a
1499 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
1501 @lilypond[quote,raggedright,verbatim]
1502 up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
1503 down = \drummode { bassdrum4 snare8 bd r bd sn4 }
1505 \new DrumVoice { \voiceOne \up }
1506 \new DrumVoice { \voiceTwo \down }
1510 The above example shows verbose polyphonic notation. The short
1511 polyphonic notation, described in @ref{Polyphony}, can also be used if
1512 the @internalsref{DrumVoice}s are instantiated by hand first. For example,
1514 @lilypond[quote,raggedright,fragment,verbatim]
1516 \context DrumVoice = "1" { s1 *2 }
1517 \context DrumVoice = "2" { s1 *2 }
1521 { \repeat unfold 16 hh16 }
1530 There are also other layout possibilities. To use these, set the
1531 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
1532 The following variables have been predefined
1536 This is the default. It typesets a typical drum kit on a five-line staff
1538 @lilypond[quote,linewidth=10.0\cm]
1540 cymc cyms cymr hh hhc hho hhho hhp
1541 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl }
1543 cymc cyms cymr hh hhc hho hhho hhp \break
1544 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
1546 << \new DrumStaff \with {
1547 \remove Bar_engraver
1548 \remove Time_signature_engraver
1549 \override Stem #'transparent = ##t
1550 \override Stem #'Y-extent-callback = ##f
1551 minimumVerticalExtent = #'(-4.0 . 5.0)
1553 \context Lyrics \nam
1558 \override LyricText #'font-family = #'typewriter
1559 \override BarNumber #'transparent =##T
1565 The drum scheme supports six different toms. When there are fewer toms,
1566 simply select the toms that produce the desired result, i.e., to get toms
1567 on the three middle lines you use @code{tommh}, @code{tomml}, and
1570 @item timbales-style
1571 This typesets timbales on a two line staff
1573 @lilypond[quote,raggedright]
1574 nam = \lyricmode { timh ssh timl ssl cb }
1575 mus = \drummode { timh ssh timl ssl cb s16 }
1578 \context DrumStaff \with {
1579 \remove Bar_engraver
1580 \remove Time_signature_engraver
1581 \override Stem #'transparent = ##t
1582 \override Stem #'Y-extent-callback = ##f
1583 \override StaffSymbol #'line-count = #2
1584 \override StaffSymbol #'staff-space = #2
1585 minimumVerticalExtent = #'(-3.0 . 4.0)
1586 drumStyleTable = #timbales-style
1589 \override LyricText #'font-family = #'typewriter
1596 This typesets congas on a two line staff
1598 @lilypond[quote,raggedright]
1599 nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
1600 mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
1603 \context DrumStaff \with {
1604 \remove Bar_engraver
1605 \remove Time_signature_engraver
1606 drumStyleTable = #congas-style
1607 \override StaffSymbol #'line-count = #2
1609 %% this sucks; it will lengthen stems.
1610 \override StaffSymbol #'staff-space = #2
1611 \override Stem #'transparent = ##t
1612 \override Stem #'Y-extent-callback = ##f
1615 \override LyricText #'font-family = #'typewriter
1622 This typesets bongos on a two line staff
1624 @lilypond[quote,raggedright]
1625 nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
1626 mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
1629 \context DrumStaff\with {
1630 \remove Bar_engraver
1631 \remove Time_signature_engraver
1632 \override StaffSymbol #'line-count = #2
1633 drumStyleTable = #bongos-style
1635 %% this sucks; it will lengthen stems.
1636 \override StaffSymbol #'staff-space = #2
1637 \override Stem #'transparent = ##t
1638 \override Stem #'Y-extent-callback = ##f
1641 \override LyricText #'font-family = #'typewriter
1647 @item percussion-style
1648 To typeset all kinds of simple percussion on one line staves.
1650 @lilypond[quote,raggedright]
1651 nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
1652 mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
1655 \context DrumStaff\with{
1656 \remove Bar_engraver
1657 drumStyleTable = #percussion-style
1658 \override StaffSymbol #'line-count = #1
1659 \remove Time_signature_engraver
1660 \override Stem #'transparent = ##t
1661 \override Stem #'Y-extent-callback = ##f
1664 \override LyricText #'font-family = #'typewriter
1671 If you do not like any of the predefined lists you can define your own
1672 list at the top of your file
1674 @lilypond[quote,raggedright,verbatim]
1676 (bassdrum default #f -1)
1677 (snare default #f 0)
1679 (pedalhihat xcircle "stopped" 2)
1680 (lowtom diamond #f 3)))
1681 up = \drummode { hh8 hh hh hh hhp4 hhp }
1682 down = \drummode { bd4 sn bd toml8 toml }
1685 \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
1686 \new DrumVoice { \voiceOne \up }
1687 \new DrumVoice { \voiceTwo \down }
1694 Init files: @file{ly/@/drumpitch@/-init@/.ly}.
1696 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
1700 Because general MIDI does not contain rim shots, the sidestick is used
1701 for this purpose instead.
1709 @cindex guitar tablature
1712 * String number indications::
1713 * Tablatures basic::
1714 * Non-guitar tablatures::
1716 * Other guitar issues::
1719 @node String number indications
1720 @subsection String number indications
1722 @cindex String numbers
1724 String numbers can be added to chords, by indicating the string number
1725 with @code{\}@var{number},
1727 @lilypond[relative,relative=1,raggedright,fragment]
1731 See also @inputfileref{input/regression,string-number.ly}.
1736 Program reference: @internalsref{StringNumber}.
1739 @node Tablatures basic
1740 @subsection Tablatures basic
1741 @cindex Tablatures basic
1743 Tablature notation is used for notating music for plucked string
1744 instruments. Pitches are not denoted with note heads, but by
1745 numbers indicating on which string and fret a note must be played. LilyPond
1746 offers limited support for tablature.
1748 The string number associated to a note is given as a backslash
1749 followed by a number, e.g., @code{c4\3} for a C quarter on the third
1750 string. By default, string 1 is the highest one, and the tuning
1751 defaults to the standard guitar tuning (with 6 strings). The notes
1752 are printed as tablature, by using @internalsref{TabStaff} and
1753 @internalsref{TabVoice} contexts
1755 @lilypond[quote,raggedright,fragment,verbatim]
1762 @cindex @code{minimumFret}
1765 When no string is specified, the first string that does not give a
1766 fret number less than @code{minimumFret} is selected. The default
1767 value for @code{minimumFret} is 0
1772 \set TabStaff.minimumFret = #8
1775 @lilypond[quote,raggedright]
1779 \set TabStaff.minimumFret = #8
1782 \context StaffGroup <<
1783 \context Staff { \clef "G_8" \frag }
1784 \context TabStaff { \frag }
1790 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}.
1794 Chords are not handled in a special way, and hence the automatic
1795 string selector may easily select the same string to two notes in a
1799 @node Non-guitar tablatures
1800 @subsection Non-guitar tablatures
1801 @cindex Non-guitar tablatures
1803 You can change the number of strings, by setting the number of lines
1804 in the @internalsref{TabStaff}.
1806 You can change the tuning of the strings. A string tuning is given as
1807 a Scheme list with one integer number for each string, the number
1808 being the pitch (measured in semitones relative to middle C) of an
1809 open string. The numbers specified for @code{stringTuning} are the
1810 numbers of semitones to subtract or add, starting the specified pitch
1811 by default middle C, in string order. In the next example,
1812 @code{stringTunings} is set for the pitches e, a, d, and g
1814 @lilypond[quote,raggedright,fragment,verbatim]
1815 \context TabStaff <<
1816 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
1818 a,4 c' a e' e c' a e'
1825 No guitar special effects have been implemented.
1829 Program reference: @internalsref{Tab_note_heads_engraver}.
1833 @subsection Fret diagrams
1834 @cindex fret diagrams
1835 @cindex chord diagrams
1837 Fret diagrams can be added to music as a markup to the desired note. The
1838 markup contains information about the desired fret diagram, as shown in the
1841 @lilypond[verbatim, raggedright, quote]
1843 d'^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
1845 fis'^\markup \override #'(size . 0.75) {
1846 \override #'(finger-code . below-string) {
1847 \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
1848 (place-fret 5 4 3) (place-fret 4 4 4)
1849 (place-fret 3 3 2) (place-fret 2 2 1)
1854 c'^\markup \override #'(dot-radius . 0.35) {
1855 \override #'(finger-code . in-dot) {
1856 \override #'(dot-color . white) {
1857 \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
1866 There are three different fret-diagram markup interfaces: standard, terse,
1867 and verbose. The three interfaces produce equivalent markups, but have
1868 varying amounts of information in the markup string. Details about the
1869 markup interfaces are found at @ref{Overview of text markup commands}.
1871 You can set a number of graphical properties according to your preference.
1872 Details about the property interface to fret diagrams are found at
1873 @internalsref{fret-diagram-interface}.
1878 Examples: @inputfileref{input/@/test,fret@/-diagram@/.ly}
1881 @node Other guitar issues
1882 @subsection Other guitar issues
1884 This example demonstrates how to include guitar position and
1885 barring indications.
1887 @lilypond[quote,raggedright,fragment,verbatim,relative=0]
1891 \override TextSpanner #'edge-text = #'("XII " . "")
1893 b16 e16 g16 e16 b16 g16\stopTextSpan
1898 Stopped (X) note heads are used in guitar music to signal a place where the
1899 guitarist must play a certain note or chord, with its fingers just
1900 touching the strings instead of fully pressing them. This gives the sound a
1901 percussive noise-like sound that still maintains part of the original
1902 pitch. It is notated with cross noteheads; this is
1903 demonstrated in @ref{Special noteheads}.
1912 * Bagpipe definitions::
1917 @node Bagpipe definitions
1918 @subsection Bagpipe definitions
1920 LilyPond contains special definitions for music for the Scottish
1921 highland bagpipe; to use them, add
1924 \include "bagpipe.ly"
1928 at the top of your input file. This lets you add the special gracenotes
1929 common to bagpipe music with short commands. For example, you could
1930 write @code{\taor} instead of
1933 \grace @{ \small G32[ d G e] @}
1936 @code{bagpipe.ly} also contains pitch definitions for the bagpipe
1937 notes in the appropiate octaves, so you do not need to worry about
1938 @code{\relative} or @code{\transpose}.
1940 @lilypond[raggedright,verbatim,quote,notime]
1941 \include "bagpipe.ly"
1942 { \grg G4 \grg a \grg b \grg c \grg d \grg e \grg f \grA g A }
1945 Bagpipe music nominally uses the key of D Major (even though that
1946 isn't really true). However, since that is the only key that can be used,
1947 the key signature is normally not written out. To set this up correctly,
1948 always start your music with @code{\hideKeySignature}. If you for some
1949 reason want to show the key signature, you can use @code{\showKeySignature}
1952 Some modern music use cross fingering on c and f to flatten those notes.
1953 This can be indicated by @code{cflat} or @code{fflat}. Similarly, the
1954 piobaireachd high g can be written @code{gflat} when it occurs in light
1958 @node Bagpipe example
1959 @subsection Bagpipe example
1961 This is what the well known tune Amazing Grace looks like in bagpipe
1964 @lilypond[verbatim,quote]
1965 \include "bagpipe.ly"
1968 \context { \Score \remove "Bar_number_engraver" }
1972 title = "Amazing Grace"
1974 arranger = "Trad. arr."
1980 \grg \partial 4 a8. d16
1981 \slurd d2 \grg f8[ e32 d16.]
1984 \grG a2 \grg a8. d16
1985 \slurd d2 \grg f8[ e32 d16.]
1986 \grg f2 \grg e8. f16
1989 \grg A2 \hdblf f8[ e32 d16.]
1992 \grG a2 \grg a8. d16
1993 \slurd d2 \grg f8[ e32 d16.]
2002 @node Ancient notation
2003 @section Ancient notation
2005 @cindex Vaticana, Editio
2006 @cindex Medicaea, Editio
2011 Support for ancient notation includes features for mensural notation
2012 and Gregorian Chant notation. There is also limited support for
2013 figured bass notation.
2015 Many graphical objects provide a @code{style} property, see
2018 @ref{Ancient note heads},
2020 @ref{Ancient accidentals},
2022 @ref{Ancient rests},
2024 @ref{Ancient clefs},
2026 @ref{Ancient flags},
2028 @ref{Ancient time signatures}.
2031 By manipulating such a grob property, the typographical appearance of
2032 the affected graphical objects can be accommodated for a specific
2033 notation flavor without the need for introducing any new notational
2036 In addition to the standard articulation signs described in section
2037 @ref{Articulations}, specific articulation signs for ancient notation
2042 @ref{Ancient articulations}
2045 Other aspects of ancient notation can not that easily be expressed
2046 in terms of just changing a style property of a graphical object or
2047 adding articulation signs. Some notational concepts are introduced
2048 specifically for ancient notation,
2059 If this all is too much of documentation for you, and you just want to
2060 dive into typesetting without worrying too much about the details on
2061 how to customize a context, you may have a look at the predefined
2062 contexts. Use them to set up predefined style-specific voice and
2063 staff contexts, and directly go ahead with the note entry,
2067 @ref{Gregorian Chant contexts},
2069 @ref{Mensural contexts}.
2072 There is limited support for figured bass notation which came
2073 up during the baroque period.
2080 Here are all suptopics at a glance:
2083 * Ancient note heads::
2084 * Ancient accidentals::
2088 * Ancient time signatures::
2089 * Ancient articulations::
2093 * Gregorian Chant contexts::
2094 * Mensural contexts::
2095 * Musica ficta accidentals::
2101 @node Ancient note heads
2102 @subsection Ancient note heads
2107 For ancient notation, a note head style other than the @code{default}
2108 style may be chosen. This is accomplished by setting the @code{style}
2109 property of the @internalsref{NoteHead} object to @code{baroque},
2110 @code{neomensural}, @code{mensural} or @code{petrucci}. The
2111 @code{baroque} style differs from the @code{default} style only in
2112 using a square shape for @code{\breve} note heads. The
2113 @code{neomensural} style differs from the @code{baroque} style in that
2114 it uses rhomboidal heads for whole notes and all smaller durations.
2115 Stems are centered on the note heads. This style is particularly
2116 useful when transcribing mensural music, e.g., for the incipit. The
2117 @code{mensural} style produces note heads that mimic the look of note
2118 heads in historic printings of the 16th century. Finally, the
2119 @code{petrucci} style also mimicks historic printings, but uses bigger
2122 The following example demonstrates the @code{neomensural} style
2124 @lilypond[quote,fragment,raggedright,verbatim]
2125 \set Score.skipBars = ##t
2126 \override NoteHead #'style = #'neomensural
2127 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
2130 When typesetting a piece in Gregorian Chant notation, the
2131 @internalsref{Gregorian_ligature_engraver} will automatically select
2132 the proper note heads, so there is no need to explicitly set the
2133 note head style. Still, the note head style can be set, e.g., to
2134 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
2135 @internalsref{Mensural_ligature_engraver} is used to automatically
2136 assemble mensural ligatures. See @ref{Ligatures} for how ligature
2141 Examples: @inputfileref{input/@/regression,note@/-head@/-style@/.ly} gives an
2142 overview over all available note head styles.
2145 @node Ancient accidentals
2146 @subsection Ancient accidentals
2151 Use the @code{style} property of grob @internalsref{Accidental} to
2152 select ancient accidentals. Supported styles are
2153 @code{mensural}, @code{vaticana}, @code{hufnagel}, and @code{medicaea}.
2155 @lilypond[quote,raggedright,staffsize=26]
2162 \line { " " \musicglyph #"accidentals.vaticana-1"
2163 " " \musicglyph #"accidentals.vaticana0" }
2167 \line { " " \musicglyph #"accidentals.medicaea-1" }
2171 \line { " " \musicglyph #"accidentals.hufnagel-1" }
2175 \line { " " \musicglyph #"accidentals.mensural-1"
2176 " " \musicglyph #"accidentals.mensural1" }
2182 \context { \Score \remove "Bar_number_engraver" }
2184 \remove "Clef_engraver"
2185 \remove "Key_engraver"
2186 \remove "Time_signature_engraver"
2187 \remove "Staff_symbol_engraver"
2188 minimumVerticalExtent = ##f
2194 As shown, not all accidentals are supported by each style. When
2195 trying to access an unsupported accidental, LilyPond will switch to a
2196 different style, as demonstrated in
2197 @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2199 Similarly to local accidentals, the style of the key signature can be
2200 controlled by the @code{style} property of the
2201 @internalsref{KeySignature} grob.
2205 In this manual: @ref{Pitches}, @ref{Cautionary accidentals} and
2206 @ref{Automatic accidentals} give a general introduction of the use of
2207 accidentals. @ref{Key signature} gives a general introduction of
2208 the use of key signatures.
2210 Program reference: @internalsref{KeySignature}.
2212 Examples: @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2215 @subsection Ancient rests
2217 @cindex rests, ancient
2220 Use the @code{style} property of grob @internalsref{Rest} to select
2221 ancient rests. Supported styles are @code{classical},
2222 @code{neomensural}, and @code{mensural}. @code{classical} differs
2223 from the @code{default} style only in that the quarter rest looks like
2224 a horizontally mirrored 8th rest. The @code{neomensural} style suits
2225 well for, e.g., the incipit of a transcribed mensural piece of music.
2226 The @code{mensural} style finally mimics the appearance of rests as
2227 in historic prints of the 16th century.
2229 The following example demonstrates the @code{neomensural} style
2231 @lilypond[quote,fragment,raggedright,verbatim]
2232 \set Score.skipBars = ##t
2233 \override Rest #'style = #'neomensural
2234 r\longa r\breve r1 r2 r4 r8 r16
2237 There are no 32th and 64th rests specifically for the mensural or
2238 neo-mensural style. Instead, the rests from the default style will be
2239 taken. See @inputfileref{input/@/test,rests@/.ly} for a chart of all
2242 There are no rests in Gregorian Chant notation; instead, it uses
2247 In this manual: @ref{Rests} gives a general introduction into the use of rests.
2251 @subsection Ancient clefs
2256 LilyPond supports a variety of clefs, many of them ancient.
2258 The following table shows all ancient clefs that are supported via the
2259 @code{\clef} command. Some of the clefs use the same glyph, but
2260 differ only with respect to the line they are printed on. In such
2261 cases, a trailing number in the name is used to enumerate these clefs.
2262 Still, you can manually force a clef glyph to be typeset on an
2263 arbitrary line, as described in @ref{Clef}. The note printed to the
2264 right side of each clef in the example column denotes the @code{c'}
2265 with respect to that clef.
2267 @multitable @columnfractions .4 .4 .2
2276 modern style mensural C clef
2278 @code{neomensural-c1}, @code{neomensural-c2},@*
2279 @code{neomensural-c3}, @code{neomensural-c4}
2281 @lilypond[fragment,relative=1,notime]
2282 \clef "neomensural-c2" c
2286 petrucci style mensural C clefs, for use on different staff lines
2287 (the examples show the 2nd staff line C clef)
2289 @code{petrucci-c1}, @code{petrucci-c2},@*
2290 @code{petrucci-c3}, @code{petrucci-c4},@*
2293 @lilypond[fragment,relative=1,notime]
2295 \override NoteHead #'style = #'mensural
2300 petrucci style mensural F clef
2304 @lilypond[fragment,relative=1,notime]
2306 \override NoteHead #'style = #'mensural
2311 petrucci style mensural G clef
2315 @lilypond[fragment,relative=1,notime]
2317 \override NoteHead #'style = #'mensural
2322 historic style mensural C clef
2324 @code{mensural-c1}, @code{mensural-c2},@*
2325 @code{mensural-c3}, @code{mensural-c4}
2327 @lilypond[fragment,relative=1,notime]
2329 \override NoteHead #'style = #'mensural
2334 historic style mensural F clef
2338 @lilypond[fragment,relative=1,notime]
2340 \override NoteHead #'style = #'mensural
2345 historic style mensural G clef
2349 @lilypond[fragment,relative=1,notime]
2351 \override NoteHead #'style = #'mensural
2356 Editio Vaticana style do clef
2358 @code{vaticana-do1}, @code{vaticana-do2},@*
2361 @lilypond[fragment,relative=1,notime]
2362 \override Staff.StaffSymbol #'line-count = #4
2363 \override Staff.StaffSymbol #'color = #red
2364 \override Staff.LedgerLineSpanner #'color = #red
2365 \override Voice.Stem #'transparent = ##t
2366 \override NoteHead #'style = #'vaticana.punctum
2367 \clef "vaticana-do2"
2372 Editio Vaticana style fa clef
2374 @code{vaticana-fa1}, @code{vaticana-fa2}
2376 @lilypond[fragment,relative=1,notime]
2377 \override Staff.StaffSymbol #'line-count = #4
2378 \override Staff.StaffSymbol #'color = #red
2379 \override Staff.LedgerLineSpanner #'color = #red
2380 \override Voice.Stem #'transparent = ##t
2381 \override NoteHead #'style = #'vaticana.punctum
2382 \clef "vaticana-fa2"
2387 Editio Medicaea style do clef
2389 @code{medicaea-do1}, @code{medicaea-do2},@*
2392 @lilypond[fragment,relative=1,notime]
2393 \override Staff.StaffSymbol #'line-count = #4
2394 \override Staff.StaffSymbol #'color = #red
2395 \override Staff.LedgerLineSpanner #'color = #red
2396 \override Voice.Stem #'transparent = ##t
2397 \override NoteHead #'style = #'medicaea.punctum
2398 \clef "medicaea-do2"
2403 Editio Medicaea style fa clef
2405 @code{medicaea-fa1}, @code{medicaea-fa2}
2407 @lilypond[fragment,relative=1,notime]
2408 \override Staff.StaffSymbol #'line-count = #4
2409 \override Staff.StaffSymbol #'color = #red
2410 \override Staff.LedgerLineSpanner #'color = #red
2411 \override Voice.Stem #'transparent = ##t
2412 \override NoteHead #'style = #'medicaea.punctum
2413 \clef "medicaea-fa2"
2418 historic style hufnagel do clef
2420 @code{hufnagel-do1}, @code{hufnagel-do2},@*
2423 @lilypond[fragment,relative=1,notime]
2424 \override Staff.StaffSymbol #'line-count = #4
2425 \override Staff.StaffSymbol #'color = #red
2426 \override Staff.LedgerLineSpanner #'color = #red
2427 \override Voice.Stem #'transparent = ##t
2428 \override NoteHead #'style = #'hufnagel.punctum
2429 \clef "hufnagel-do2"
2434 historic style hufnagel fa clef
2436 @code{hufnagel-fa1}, @code{hufnagel-fa2}
2438 @lilypond[fragment,relative=1,notime]
2439 \override Staff.StaffSymbol #'line-count = #4
2440 \override Staff.StaffSymbol #'color = #red
2441 \override Staff.LedgerLineSpanner #'color = #red
2442 \override Voice.Stem #'transparent = ##t
2443 \override NoteHead #'style = #'hufnagel.punctum
2444 \clef "hufnagel-fa2"
2449 historic style hufnagel combined do/fa clef
2451 @code{hufnagel-do-fa}
2453 @lilypond[fragment,relative=1,notime]
2454 \override Staff.StaffSymbol #'color = #red
2455 \override Staff.LedgerLineSpanner #'color = #red
2456 \override Voice.Stem #'transparent = ##t
2457 \override NoteHead #'style = #'hufnagel.punctum
2458 \clef "hufnagel-do-fa"
2465 @emph{Modern style} means ``as is typeset in contemporary editions of
2466 transcribed mensural music''.
2468 @emph{Petrucci style} means ``inspired by printings published by the
2469 famous engraver Petrucci (1466-1539)''.
2471 @emph{Historic style} means ``as was typeset or written in historic
2472 editions (other than those of Petrucci)''.
2474 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
2476 Petrucci used C clefs with differently balanced left-side vertical
2477 beams, depending on which staff line it is printed.
2481 In this manual: see @ref{Clef}.
2485 The mensural g clef is mapped to the Petrucci g clef.
2490 @subsection Ancient flags
2495 Use the @code{flag-style} property of grob @internalsref{Stem} to
2496 select ancient flags. Besides the @code{default} flag style,
2497 only the @code{mensural} style is supported
2499 @lilypond[quote,fragment,raggedright,verbatim]
2500 \override Stem #'flag-style = #'mensural
2501 \override Stem #'thickness = #1.0
2502 \override NoteHead #'style = #'mensural
2504 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
2505 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
2508 Note that the innermost flare of each mensural flag always is
2509 vertically aligned with a staff line.
2511 There is no particular flag style for neo-mensural notation. Hence,
2512 when typesetting the incipit of a transcribed piece of mensural
2513 music, the default flag style should be used. There are no flags in
2514 Gregorian Chant notation.
2518 The attachment of ancient flags to stems is slightly off due to a
2519 change in early 2.3.x.
2521 Vertically aligning each flag with a staff line assumes that stems
2522 always end either exactly on or exactly in the middle between two
2523 staff lines. This may not always be true when using advanced layout
2524 features of classical notation (which however are typically out of
2525 scope for mensural notation).
2527 @node Ancient time signatures
2528 @subsection Ancient time signatures
2530 @cindex time signatures
2533 There is limited support for mensural time signatures. The
2534 glyphs are hard-wired to particular time fractions. In other words,
2535 to get a particular mensural signature glyph with the @code{\time n/m}
2536 command, @code{n} and @code{m} have to be chosen according to the
2539 @lilypond[quote,raggedright]
2544 \remove Staff_symbol_engraver
2545 \remove Clef_engraver
2546 \remove Time_signature_engraver
2550 \set Score.timing = ##f
2551 \set Score.barAlways = ##t
2552 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph #"timesig.neomensural44" }
2554 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph #"timesig.neomensural22" }
2556 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph #"timesig.neomensural64" }
2558 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph #"timesig.neomensural68" }
2560 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph #"timesig.neomensural32" }
2562 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph #"timesig.neomensural34" }
2564 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph #"timesig.neomensural94" }
2566 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph #"timesig.neomensural98" }
2568 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph #"timesig.neomensural48" }
2570 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph #"timesig.neomensural24" }
2574 Use the @code{style} property of grob @internalsref{TimeSignature} to
2575 select ancient time signatures. Supported styles are
2576 @code{neomensural} and @code{mensural}. The above table uses the
2577 @code{neomensural} style. This style is appropriate for the
2578 incipit of transcriptions of mensural pieces. The @code{mensural}
2579 style mimics the look of historical printings of the 16th century.
2581 The following examples show the differences in style,
2583 @lilypond[raggedright,fragment,relative=1,quote]
2588 c1^\markup { \hspace #-2.0 \typewriter default }
2590 \override Staff.TimeSignature #'style = #'numbered
2592 c1^\markup { \hspace #-2.0 \typewriter numbered }
2594 \override Staff.TimeSignature #'style = #'mensural
2596 c1^\markup { \hspace #-2.0 \typewriter mensural }
2598 \override Staff.TimeSignature #'style = #'neomensural
2600 c1^\markup { \hspace #-2.0 \typewriter neomensural }
2601 \override Staff.TimeSignature #'style = #'single-digit
2603 c1^\markup { \hspace #-2.0 \typewriter single-digit }
2609 This manual: @ref{Time signature} gives a general introduction to
2610 the use of time signatures.
2614 Ratios of note durations do not change with the time signature. For
2615 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
2616 be made by hand, by setting
2619 breveTP = #(ly:make-duration -1 0 3 2)
2625 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
2627 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
2628 addressable with @code{\time}. Use a @code{\markup} instead
2630 @node Ancient articulations
2631 @subsection Ancient articulations
2633 @cindex articulations
2635 In addition to the standard articulation signs described in section
2636 @ref{Articulations}, articulation signs for ancient notation are
2637 provided. These are specifically designed for use with notation in
2638 Editio Vaticana style.
2640 @lilypond[quote,raggedright,verbatim]
2641 \include "gregorian-init.ly"
2643 \context VaticanaVoice {
2644 \override Staff.StaffSymbol #'color = #red
2645 \override Staff.LedgerLineSpanner #'color = #red
2646 \override TextScript #'font-family = #'typewriter
2647 \override TextScript #'font-shape = #'upright
2648 \override Script #'padding = #-0.1
2650 a4\circulus_"circulus" s1
2651 a4\semicirculus_"semicirculus" s1 s
2652 a4\accentus_"accentus" s1
2653 \[ a4_"episem" \episemInitium \pes b \flexa a \episemFinis \]
2660 Some articulations are vertically placed too closely to the
2661 correpsonding note heads.
2664 @subsection Custodes
2669 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
2670 symbol that appears at the end of a staff. It anticipates the pitch
2671 of the first note(s) of the following line thus helping the performer
2672 to manage line breaks during performance.
2674 Custodes were frequently used in music notation until the 17th
2675 century. Nowadays, they have survived only in a few particular forms
2676 of musical notation such as contemporary editions of Gregorian chant
2677 like the @emph{editio vaticana}. There are different custos glyphs
2678 used in different flavors of notational style.
2680 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
2681 @internalsref{Staff} context when declaring the @code{\layout} block,
2682 as shown in the following example
2688 \consists Custos_engraver
2689 Custos \override #'style = #'mensural
2694 The result looks like this
2696 @lilypond[quote,raggedright]
2700 \override Staff.Custos #'style = #'mensural
2705 \context { \Staff \consists Custos_engraver }
2710 The custos glyph is selected by the @code{style} property. The styles
2711 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
2712 @code{mensural}. They are demonstrated in the following fragment
2714 @lilypond[quote,raggedright,fragment]
2715 \new Lyrics \lyricmode {
2717 \typewriter "vaticana"
2718 \line { " " \musicglyph #"custodes.vaticana.u0" }
2721 \typewriter "medicaea"
2722 \line { " " \musicglyph #"custodes.medicaea.u0" }
2725 \typewriter "hufnagel"
2726 \line { " " \musicglyph #"custodes.hufnagel.u0" }
2729 \typewriter "mensural"
2730 \line { " " \musicglyph #"custodes.mensural.u0" }
2737 Program reference: @internalsref{Custos}.
2739 Examples: @inputfileref{input/@/regression,custos@/.ly}.
2743 @subsection Divisiones
2749 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
2750 `division') is a staff context symbol that is used to structure
2751 Gregorian music into phrases and sections. The musical meaning of
2752 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
2753 can be characterized as short, medium, and long pause, somewhat like
2754 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
2755 only marks the end of a chant, but is also frequently used within a
2756 single antiphonal/responsorial chant to mark the end of each section.
2759 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
2760 contains definitions that you can apply by just inserting
2761 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
2762 and @code{\finalis} at proper places in the input. Some editions use
2763 @emph{virgula} or @emph{caesura} instead of divisio minima.
2764 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
2767 @lilypondfile[quote,raggedright]{divisiones.ly}
2771 @cindex @code{\virgula}
2773 @cindex @code{\caesura}
2775 @cindex @code{\divisioMinima}
2776 @code{\divisioMinima},
2777 @cindex @code{\divisioMaior}
2778 @code{\divisioMaior},
2779 @cindex @code{\divisioMaxima}
2780 @code{\divisioMaxima},
2781 @cindex @code{\finalis}
2786 In this manual: @ref{Breath marks}.
2788 Program reference: @internalsref{BreathingSign}.
2790 Examples: @inputfileref{input/@/test,divisiones@/.ly}.
2793 @subsection Ligatures
2797 @c TODO: Should double check if I recalled things correctly when I wrote
2798 @c down the following paragraph by heart.
2800 A ligature is a graphical symbol that represents at least two distinct
2801 notes. Ligatures originally appeared in the manuscripts of Gregorian
2802 chant notation to denote ascending or descending sequences of notes.
2804 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
2805 Some ligature styles may need additional input syntax specific for
2806 this particular type of ligature. By default, the
2807 @internalsref{LigatureBracket} engraver just puts a square bracket
2810 @lilypond[quote,raggedright,verbatim]
2818 To select a specific style of ligatures, a proper ligature engraver
2819 has to be added to the @internalsref{Voice} context, as explained in
2820 the following subsections. Only white mensural ligatures
2821 are supported with certain limitations.
2827 Ligatures need special spacing that has not yet been implemented. As
2828 a result, there is too much space between ligatures most of the time,
2829 and line breaking often is unsatisfactory. Also, lyrics do not
2830 correctly align with ligatures.
2832 Accidentals must not be printed within a ligature, but instead need to
2833 be collected and printed in front of it.
2835 Augmentum dots within ligatures are not handled correctly.
2837 The syntax still uses the deprecated infix style @code{\[ music expr
2838 \]}. For consistency reasons, it will eventually be changed to
2839 postfix style @code{note\[ ... note\]}. Alternatively, the file
2840 @file{gregorian@/-init@/.ly} can be included; it provides a scheme
2843 \ligature @var{music expr}
2845 with the same effect and is believed to be stable.
2848 * White mensural ligatures::
2849 * Gregorian square neumes ligatures::
2852 @node White mensural ligatures
2853 @subsubsection White mensural ligatures
2855 @cindex Mensural ligatures
2856 @cindex White mensural ligatures
2858 There is limited support for white mensural ligatures.
2860 To engrave white mensural ligatures, in the layout block put the
2861 @internalsref{Mensural_ligature_engraver} into the
2862 @internalsref{Voice} context, and remove the
2863 @internalsref{Ligature_bracket_engraver}, like this
2869 \remove Ligature_bracket_engraver
2870 \consists Mensural_ligature_engraver
2875 There is no additional input language to describe the shape of a
2876 white mensural ligature. The shape is rather determined solely from
2877 the pitch and duration of the enclosed notes. While this approach may
2878 take a new user a while to get accustomed to, it has the great advantage
2879 that the full musical information of the ligature is known internally.
2880 This is not only required for correct MIDI output, but also allows for
2881 automatic transcription of the ligatures.
2886 \set Score.timing = ##f
2887 \set Score.defaultBarType = "empty"
2888 \override NoteHead #'style = #'neomensural
2889 \override Staff.TimeSignature #'style = #'neomensural
2893 \[ d\longa c\breve f e d \]
2895 \[ c'\maxima d'\longa \]
2899 @lilypond[quote,raggedright]
2902 \set Score.timing = ##f
2903 \set Score.defaultBarType = "empty"
2904 \override NoteHead #'style = #'neomensural
2905 \override Staff.TimeSignature #'style = #'neomensural
2909 \[ d\longa c\breve f e d \]
2911 \[ c'\maxima d'\longa \]
2918 \remove Ligature_bracket_engraver
2919 \consists Mensural_ligature_engraver
2925 Without replacing @internalsref{Ligature_bracket_engraver} with
2926 @internalsref{Mensural_ligature_engraver}, the same music transcribes
2929 @lilypond[quote,raggedright]
2931 \set Score.timing = ##f
2932 \set Score.defaultBarType = "empty"
2933 \override NoteHead #'style = #'neomensural
2934 \override Staff.TimeSignature #'style = #'neomensural
2938 \[ d\longa c\breve f e d \]
2940 \[ c'\maxima d'\longa \]
2948 The invisible rests (@code{s4}) in the example are used to compensate
2949 for the poor horizontal spacing.
2951 @node Gregorian square neumes ligatures
2952 @subsubsection Gregorian square neumes ligatures
2954 @cindex Square neumes ligatures
2955 @cindex Gregorian square neumes ligatures
2957 There is limited support for Gregorian square neumes notation
2958 (following the style of the Editio Vaticana). Core ligatures can
2959 already be typeset, but essential issues for serious typesetting are
2960 still lacking, such as (among others) horizontal alignment of multiple
2961 ligatures, lyrics alignment and proper handling of accidentals.
2964 The following table contains the extended neumes table of the 2nd
2965 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
2966 1983 by the monks of Solesmes.
2968 @multitable @columnfractions .4 .2 .2 .2
2985 @c TODO: \layout block is identical in all of the below examples.
2986 @c Therefore, it should somehow be included rather than duplicated all
2989 @c why not make identifiers in ly/engraver-init.ly? --hwn
2991 @c Because it's just used to typeset plain notes without
2992 @c a staff for demonstration purposes rather than something
2993 @c special of Gregorian chant notation. --jr
2998 @lilypond[staffsize=26,linewidth=1.5\cm]
2999 \include "gregorian-init.ly"
3004 \noBreak s^\markup {"a"} \noBreak
3006 % Punctum Inclinatum
3008 \noBreak s^\markup {"b"}
3010 \layout { \neumeDemoLayout }}
3013 @lilypond[staffsize=26,linewidth=2.5\cm]
3014 \include "gregorian-init.ly"
3017 % Punctum Auctum Ascendens
3018 \[ \auctum \ascendens b \]
3019 \noBreak s^\markup {"c"} \noBreak
3021 % Punctum Auctum Descendens
3022 \[ \auctum \descendens b \]
3023 \noBreak s^\markup {"d"} \noBreak
3025 % Punctum Inclinatum Auctum
3026 \[ \inclinatum \auctum b \]
3027 \noBreak s^\markup {"e"}
3029 \layout { \neumeDemoLayout }}
3032 @lilypond[staffsize=26,linewidth=1.0\cm]
3033 \include "gregorian-init.ly"
3036 % Punctum Inclinatum Parvum
3037 \[ \inclinatum \deminutum b \]
3038 \noBreak s^\markup {"f"}
3040 \layout { \neumeDemoLayout }}
3046 @lilypond[staffsize=26,linewidth=1.0\cm]
3047 \include "gregorian-init.ly"
3052 \noBreak s^\markup {"g"}
3054 \layout { \neumeDemoLayout }}
3060 @code{3. Apostropha vel Stropha}
3062 @lilypond[staffsize=26,linewidth=1.0\cm]
3063 \include "gregorian-init.ly"
3068 \noBreak s^\markup {"h"}
3070 \layout { \neumeDemoLayout }}
3073 @lilypond[staffsize=26,linewidth=1.0\cm]
3074 \include "gregorian-init.ly"
3078 \[ \stropha \auctum b \]
3079 \noBreak s^\markup {"i"}
3081 \layout { \neumeDemoLayout }}
3088 @lilypond[staffsize=26,linewidth=1.0\cm]
3089 \include "gregorian-init.ly"
3094 \noBreak s^\markup {"j"}
3096 \layout { \neumeDemoLayout }}
3102 @code{5. Clivis vel Flexa}
3104 @lilypond[staffsize=26,linewidth=1.0\cm]
3105 \include "gregorian-init.ly"
3112 \layout { \neumeDemoLayout }}
3115 @lilypond[staffsize=26,linewidth=2.0\cm]
3116 \include "gregorian-init.ly"
3119 % Clivis Aucta Descendens
3120 \[ b \flexa \auctum \descendens g \]
3121 \noBreak s^\markup {"l"} \noBreak
3123 % Clivis Aucta Ascendens
3124 \[ b \flexa \auctum \ascendens g \]
3125 \noBreak s^\markup {"m"}
3127 \layout { \neumeDemoLayout }}
3130 @lilypond[staffsize=26,linewidth=1.0\cm]
3131 \include "gregorian-init.ly"
3135 \[ b \flexa \deminutum g \]
3138 \layout { \neumeDemoLayout }}
3142 @code{6. Podatus vel Pes}
3144 @lilypond[staffsize=26,linewidth=1.0\cm]
3145 \include "gregorian-init.ly"
3152 \layout { \neumeDemoLayout }}
3155 @lilypond[staffsize=26,linewidth=2.0\cm]
3156 \include "gregorian-init.ly"
3159 % Pes Auctus Descendens
3160 \[ g \pes \auctum \descendens b \]
3161 \noBreak s^\markup {"p"} \noBreak
3163 % Pes Auctus Ascendens
3164 \[ g \pes \auctum \ascendens b \]
3165 \noBreak s^\markup {"q"}
3167 \layout { \neumeDemoLayout }}
3170 @lilypond[staffsize=26,linewidth=1.0\cm]
3171 \include "gregorian-init.ly"
3175 \[ g \pes \deminutum b \]
3178 \layout { \neumeDemoLayout }}
3182 @code{7. Pes Quassus}
3184 @lilypond[staffsize=26,linewidth=1.0\cm]
3185 \include "gregorian-init.ly"
3189 \[ \oriscus g \pes \virga b \]
3192 \layout { \neumeDemoLayout }}
3195 @lilypond[staffsize=26,linewidth=1.0\cm]
3196 \include "gregorian-init.ly"
3199 % Pes Quassus Auctus Descendens
3200 \[ \oriscus g \pes \auctum \descendens b \]
3203 \layout { \neumeDemoLayout }}
3208 @code{8. Quilisma Pes}
3210 @lilypond[staffsize=26,linewidth=1.0\cm]
3211 \include "gregorian-init.ly"
3215 \[ \quilisma g \pes b \]
3218 \layout { \neumeDemoLayout }}
3221 @lilypond[staffsize=26,linewidth=1.0\cm]
3222 \include "gregorian-init.ly"
3225 % Quilisma Pes Auctus Descendens
3226 \[ \quilisma g \pes \auctum \descendens b \]
3229 \layout { \neumeDemoLayout }}
3234 @code{9. Podatus Initio Debilis}
3236 @lilypond[staffsize=26,linewidth=1.0\cm]
3237 \include "gregorian-init.ly"
3240 % Pes Initio Debilis
3241 \[ \deminutum g \pes b \]
3244 \layout { \neumeDemoLayout }}
3247 @lilypond[staffsize=26,linewidth=1.0\cm]
3248 \include "gregorian-init.ly"
3251 % Pes Auctus Descendens Initio Debilis
3252 \[ \deminutum g \pes \auctum \descendens b \]
3255 \layout { \neumeDemoLayout }}
3262 @lilypond[staffsize=26,linewidth=1.0\cm]
3263 \include "gregorian-init.ly"
3267 \[ a \pes b \flexa g \]
3270 \layout { \neumeDemoLayout }}
3273 @lilypond[staffsize=26,linewidth=1.0\cm]
3274 \include "gregorian-init.ly"
3277 % Torculus Auctus Descendens
3278 \[ a \pes b \flexa \auctum \descendens g \]
3281 \layout { \neumeDemoLayout }}
3284 @lilypond[staffsize=26,linewidth=1.0\cm]
3285 \include "gregorian-init.ly"
3288 % Torculus Deminutus
3289 \[ a \pes b \flexa \deminutum g \]
3292 \layout { \neumeDemoLayout }}
3296 @code{11. Torculus Initio Debilis}
3298 @lilypond[staffsize=26,linewidth=1.0\cm]
3299 \include "gregorian-init.ly"
3302 % Torculus Initio Debilis
3303 \[ \deminutum a \pes b \flexa g \]
3306 \layout { \neumeDemoLayout }}
3309 @lilypond[staffsize=26,linewidth=1.0\cm]
3310 \include "gregorian-init.ly"
3313 % Torculus Auctus Descendens Initio Debilis
3314 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
3317 \layout { \neumeDemoLayout }}
3320 @lilypond[staffsize=26,linewidth=1.0\cm]
3321 \include "gregorian-init.ly"
3324 % Torculus Deminutus Initio Debilis
3325 \[ \deminutum a \pes b \flexa \deminutum g \]
3328 \layout { \neumeDemoLayout }}
3332 @code{12. Porrectus}
3334 @lilypond[staffsize=26,linewidth=1.0\cm]
3335 \include "gregorian-init.ly"
3339 \[ a \flexa g \pes b \]
3342 \layout { \neumeDemoLayout }}
3345 @lilypond[staffsize=26,linewidth=1.0\cm]
3346 \include "gregorian-init.ly"
3349 % Porrectus Auctus Descendens
3350 \[ a \flexa g \pes \auctum \descendens b \]
3353 \layout { \neumeDemoLayout }}
3356 @lilypond[staffsize=26,linewidth=1.0\cm]
3357 \include "gregorian-init.ly"
3360 % Porrectus Deminutus
3361 \[ a \flexa g \pes \deminutum b \]
3364 \layout { \neumeDemoLayout }}
3370 @lilypond[staffsize=26,linewidth=1.0\cm]
3371 \include "gregorian-init.ly"
3375 \[ \virga b \inclinatum a \inclinatum g \]
3378 \layout { \neumeDemoLayout }
3382 @lilypond[staffsize=26,linewidth=1.0\cm]
3383 \include "gregorian-init.ly"
3387 \[ \virga b \inclinatum a \inclinatum \auctum g \]
3390 \layout { \neumeDemoLayout }}
3393 @lilypond[staffsize=26,linewidth=1.0\cm]
3394 \include "gregorian-init.ly"
3397 % Climacus Deminutus
3398 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
3401 \layout { \neumeDemoLayout }}
3405 @code{14. Scandicus}
3407 @lilypond[staffsize=26,linewidth=1.0\cm]
3408 \include "gregorian-init.ly"
3412 \[ g \pes a \virga b \]
3415 \layout { \neumeDemoLayout }}
3418 @lilypond[staffsize=26,linewidth=1.0\cm]
3419 \include "gregorian-init.ly"
3422 % Scandicus Auctus Descendens
3423 \[ g \pes a \pes \auctum \descendens b \]
3426 \layout { \neumeDemoLayout }}
3429 @lilypond[staffsize=26,linewidth=1.0\cm]
3430 \include "gregorian-init.ly"
3433 % Scandicus Deminutus
3434 \[ g \pes a \pes \deminutum b \]
3437 \layout { \neumeDemoLayout }}
3443 @lilypond[staffsize=26,linewidth=1.0\cm]
3444 \include "gregorian-init.ly"
3448 \[ g \oriscus a \pes \virga b \]
3451 \layout { \neumeDemoLayout }}
3454 @lilypond[staffsize=26,linewidth=1.0\cm]
3455 \include "gregorian-init.ly"
3458 % Salicus Auctus Descendens
3459 \[ g \oriscus a \pes \auctum \descendens b \]
3462 \layout { \neumeDemoLayout }}
3469 @lilypond[staffsize=26,linewidth=1.0\cm]
3470 \include "gregorian-init.ly"
3474 \[ \stropha b \stropha b \stropha a \]
3477 \layout { \neumeDemoLayout }
3486 Unlike most other neumes notation systems, the input language for
3487 neumes does not reflect the typographical appearance, but is designed
3488 to focus on musical meaning. For example, @code{\[ a \pes b
3489 \flexa g \]} produces a Torculus consisting of three Punctum heads,
3490 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
3491 curved flexa shape and only a single Punctum head. There is no
3492 command to explicitly typeset the curved flexa shape; the decision of
3493 when to typeset a curved flexa shape is based on the musical
3494 input. The idea of this approach is to separate the musical aspects
3495 of the input from the notation style of the output. This way, the
3496 same input can be reused to typeset the same music in a different
3497 style of Gregorian chant notation.
3499 The following table shows the code fragments that produce the
3500 ligatures in the above neumes table. The letter in the first column
3501 in each line of the below table indicates to which ligature in the
3502 above table it refers. The second column gives the name of the
3503 ligature. The third column shows the code fragment that produces this
3504 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
3506 @multitable @columnfractions .02 .31 .67
3526 @code{\[ \inclinatum b \]}
3534 @code{\[ \auctum \ascendens b \]}
3542 @code{\[ \auctum \descendens b \]}
3547 Punctum Inclinatum@*
3550 @code{\[ \inclinatum \auctum b \]}
3555 Punctum Inclinatum@*
3557 @code{\[ \inclinatum \deminutum b \]}
3564 @code{\[ \virga b \]}
3571 @code{\[ \stropha b \]}
3578 @code{\[ \stropha \auctum b \]}
3585 @code{\[ \oriscus b \]}
3592 @code{\[ b \flexa g \]}
3600 @code{\[ b \flexa \auctum \descendens g \]}
3608 @code{\[ b \flexa \auctum \ascendens g \]}
3615 @code{\[ b \flexa \deminutum g \]}
3622 @code{\[ g \pes b \]}
3630 @code{\[ g \pes \auctum \descendens b \]}
3638 @code{\[ g \pes \auctum \ascendens b \]}
3645 @code{\[ g \pes \deminutum b \]}
3652 @code{\[ \oriscus g \pes \virga b \]}
3658 Auctus Descendens @tab
3659 @code{\[ \oriscus g \pes \auctum \descendens b \]}
3666 @code{\[ \quilisma g \pes b \]}
3674 @code{\[ \quilisma g \pes \auctum \descendens b \]}
3681 @code{\[ \deminutum g \pes b \]}
3686 Pes Auctus Descendens@*
3689 @code{\[ \deminutum g \pes \auctum \descendens b \]}
3696 @code{\[ a \pes b \flexa g \]}
3704 @code{\[ a \pes b \flexa \auctum \descendens g \]}
3711 @code{\[ a \pes b \flexa \deminutum g \]}
3716 Torculus Initio Debilis
3718 @code{\[ \deminutum a \pes b \flexa g \]}
3724 Descendens Initio Debilis
3726 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
3731 Torculus Deminutus@*
3734 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
3741 @code{\[ a \flexa g \pes b \]}
3749 @code{\[ a \flexa g \pes \auctum \descendens b \]}
3756 @code{\[ a \flexa g \pes \deminutum b \]}
3763 @code{\[ \virga b \inclinatum a \inclinatum g \]}
3770 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
3777 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
3784 @code{\[ g \pes a \virga b \]}
3792 @code{\[ g \pes a \pes \auctum \descendens b \]}
3799 @code{\[ g \pes a \pes \deminutum b \]}
3806 @code{\[ g \oriscus a \pes \virga b \]}
3811 Salicus Auctus Descendens
3813 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
3820 @code{\[ \stropha b \stropha b \stropha a \]}
3825 The following head prefixes are supported
3827 @cindex @code{\virga}
3829 @cindex @code{\stropha}
3831 @cindex @code{\inclinatum}
3833 @cindex @code{\auctum}
3835 @cindex @code{\descendens}
3837 @cindex @code{\ascendens}
3839 @cindex @code{\oriscus}
3841 @cindex @code{\quilisma}
3843 @cindex @code{\deminutum}
3846 Head prefixes can be accumulated, though restrictions apply. For
3847 example, either @code{\descendens} or @code{\ascendens} can be applied
3848 to a head, but not both to the same head.
3851 @cindex @code{\flexa}
3852 Two adjacent heads can be tied together with the @code{\pes} and
3853 @code{\flexa} infix commands for a rising and falling line of melody,
3858 @node Gregorian Chant contexts
3859 @subsection Gregorian Chant contexts
3861 @cindex VaticanaVoiceContext
3862 @cindex VaticanaStaffContext
3864 The predefined @code{VaticanaVoiceContext} and
3865 @code{VaticanaStaffContext} can be used to engrave a piece of
3866 Gregorian Chant in the style of the Editio Vaticana. These contexts
3867 initialize all relevant context properties and grob properties to
3868 proper values, so you can immediately go ahead entering the chant, as
3869 the following excerpt demonstrates
3871 @lilypond[quote,raggedright,packed,verbatim]
3872 \include "gregorian-init.ly"
3875 \context VaticanaVoice = "cantus" {
3876 \override Staff.StaffSymbol #'color = #red
3877 \override Staff.LedgerLineSpanner #'color = #red
3878 \override Score.BarNumber #'transparent = ##t {
3879 \[ c'\melisma c' \flexa a \]
3880 \[ a \flexa \deminutum g\melismaEnd \]
3882 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
3883 c' \divisioMinima \break
3884 \[ c'\melisma c' \flexa a \]
3885 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
3888 \lyricsto "cantus" \new Lyrics {
3889 San- ctus, San- ctus, San- ctus
3896 @node Mensural contexts
3897 @subsection Mensural contexts
3899 @cindex MensuralVoiceContext
3900 @cindex MensuralStaffContext
3902 The predefined @code{MensuralVoiceContext} and
3903 @code{MensuralStaffContext} can be used to engrave a piece in mensural
3904 style. These contexts initialize all relevant context properties and
3905 grob properties to proper values, so you can immediately go ahead
3906 entering the chant, as the following excerpt demonstrates
3908 @lilypond[quote,raggedright,verbatim]
3911 \context MensuralVoice = "discantus" \transpose c c' {
3912 \override Score.BarNumber #'transparent = ##t {
3913 c'1\melisma bes a g\melismaEnd
3915 \[ f1\melisma a c'\breve d'\melismaEnd \]
3917 c'\breve\melisma a1 g1\melismaEnd
3918 fis\longa^\signumcongruentiae
3921 \lyricsto "discantus" \new Lyrics {
3922 San -- ctus, San -- ctus, San -- ctus
3928 @node Musica ficta accidentals
3929 @subsection Musica ficta accidentals
3931 In European music from before about 1600, singers were often expected
3932 to chromatically alter notes at their own initiative. This is called
3933 ``Musica Ficta''. In modern transcriptions, these accidentals are
3934 usually printed over the note.
3936 @cindex Musica ficta
3938 Support for such suggested accidentals is included, and can be
3939 switched on by setting @code{suggestAccidentals} to true.
3941 @cindex @code{suggestAccidentals}
3943 @lilypond[verbatim,fragment,relative=1]
3945 \set suggestAccidentals = ##t
3951 Program reference: @internalsref{Accidental_engraver} engraver and the
3952 @internalsref{AccidentalSuggestion} object.
3955 @subsection Figured bass
3957 @cindex Basso continuo
3959 @c TODO: musicological blurb about FB
3962 LilyPond has limited support for figured bass
3964 @lilypond[quote,raggedright,verbatim,fragment]
3966 \context Voice { \clef bass dis4 c d ais g fis}
3967 \context FiguredBass \figuremode {
3968 < 6 >4 < 7 >8 < 6+ [_!] >
3975 The support for figured bass consists of two parts: there is an input
3976 mode, introduced by @code{\figuremode}, where you can enter bass figures
3977 as numbers, and there is a context called @internalsref{FiguredBass} that
3978 takes care of making @internalsref{BassFigure} objects.
3980 In figures input mode, a group of bass figures is delimited by
3981 @code{<} and @code{>}. The duration is entered after the @code{>}
3985 @lilypond[quote,raggedright,fragment]
3986 \context FiguredBass
3987 \figuremode { <4 6> }
3990 Accidentals are added when you append @code{-}, @code{!}, and @code{+}
3996 @lilypond[quote,raggedright,fragment]
3997 \context FiguredBass
3998 \figuremode { <4- 6+ 7!> }
4001 Spaces or dashes may be inserted by using @code{_}. Brackets are
4002 introduced with @code{[} and @code{]}. You can also include text
4003 strings and text markups, see @ref{Overview of text markup commands}.
4006 < [4 6] 8 [_! 12] > < 5 \markup @{ + \number 6 @} >
4008 @lilypond[quote,raggedright,fragment]
4009 \context FiguredBass
4010 \figuremode { < [4 6] 8 [_! 12] > < 5 \markup{ + \number 6 } > }
4014 Although the support for figured bass may superficially resemble chord
4015 support, it works much simpler. The @code{\figuremode} mode simply
4016 stores the numbers and @internalsref{FiguredBass} context prints
4017 them as entered. There is no conversion to pitches and no
4018 realizations of the bass are played in the MIDI file.
4020 Internally, the code produces markup texts. You can use any of the
4021 markup text properties to override formatting. For example, the
4022 vertical spacing of the figures may be set with @code{baseline-skip}.
4026 Program reference: @internalsref{BassFigure} object,
4027 @internalsref{FiguredBass} context.
4031 Slash notation for alterations is not supported.
4035 @node Other instrument specific notation
4036 @section Other instrument specific notation
4038 This section includes extra information for writing for instruments.
4041 * Artificial harmonics (strings)::
4044 @node Artificial harmonics (strings)
4045 @subsection Artificial harmonics (strings)
4047 @cindex artificial harmonics
4049 Artificial harmonics are notated with a different notehead style. They
4050 are entered by marking the harmonic pitch with @code{\harmonic}.
4052 @lilypond[raggedright,verbatim,quote,fragment,relative=1]