1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
8 @node Instrument-specific notation
9 @chapter Instrument-specific notation
11 This chapter explains how to use notation for specific instruments.
21 * Other instrument specific notation::
29 Piano staves are two normal staves coupled with a brace. The staves
30 are largely independent, but sometimes voices can cross between the
31 two staves. The same notation is also used for harps and other key
32 instruments. The @internalsref{PianoStaff} is especially built to
33 handle this cross-staffing behavior. In this section we discuss the
34 @internalsref{PianoStaff} and some other pianistic peculiarities.
37 * Automatic staff changes::
38 * Manual staff switches::
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,ragged-right]
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,
139 \skip 1 * 10 % @emph{keep staff alive}
141 \new Staff = "down" @{
142 \skip 1 * 10 % @emph{idem}
148 and the @context{Voice} is inserted afterwards
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,ragged-right,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,ragged-right,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,ragged-right,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,ragged-right,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,ragged-right,fragment,verbatim,relative=2]
216 \override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
217 c\sostenutoDown d e c, f g a\sostenutoUp
222 In this manual: @ref{Laissez vibrer ties}
224 @node Staff switch lines
225 @subsection Staff switch lines
229 @cindex staff switching
232 @cindex @code{followVoice}
234 Whenever a voice switches to another staff, a line connecting the notes
235 can be printed automatically. This is switched on by setting
236 @code{followVoice} to true
238 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
241 \set followVoice = ##t
246 \new Staff="two" { \clef bass \skip 1*2 }
252 Program reference: @internalsref{VoiceFollower}.
256 @cindex @code{\showStaffSwitch}
257 @code{\showStaffSwitch},
258 @cindex @code{\hideStaffSwitch}
259 @code{\hideStaffSwitch}.
262 @node Cross staff stems
263 @subsection Cross staff stems
265 Chords that cross staves may be produced by increasing the length
266 of the stem in the lower staff, so it reaches the stem in the upper
267 staff, or vice versa.
269 @lilypond[ragged-right,verbatim,quote]
270 stemExtend = \once \override Stem #'length = #22
271 noFlag = \once \override Stem #'flag-style = #'no-flag
274 \stemDown \stemExtend
292 * Introducing chord names::
294 * Printing chord names::
298 @c awkward name; awkward section name.
299 @c still, the Basic "chords" seems like a good name... :(
300 @node Introducing chord names
301 @subsection Introducing chord names
304 LilyPond has support for printing chord names. Chords may be entered
305 in musical chord notation, i.e., @code{< .. >}, but they can also be
306 entered by name. Internally, the chords are represented as a set of
307 pitches, so they can be transposed
310 @lilypond[quote,ragged-right,verbatim,ragged-right]
311 twoWays = \transpose c c' {
320 << \new ChordNames \twoWays
321 \new Voice \twoWays >>
324 This example also shows that the chord printing routines do not try to
325 be intelligent. The last chord (@code{f bes d}) is not interpreted as
328 Note that the duration of chords must be specified outside the
337 @subsection Chords mode
340 In chord mode sets of pitches (chords) are entered with normal note
341 names. A chord is entered by the root, which is entered like a
344 @lilypond[quote,ragged-right,fragment,verbatim]
345 \chordmode { es4. d8 c2 }
349 The mode is introduced by the keyword @code{\chordmode}.
354 Other chords may be entered by suffixing a colon and introducing a
355 modifier (which may include a number if desired)
356 @lilypond[quote,fragment,verbatim]
357 \chordmode { e1:m e1:7 e1:m7 }
359 The first number following the root is taken to be the `type' of the
360 chord, thirds are added to the root until it reaches the specified
362 @lilypond[quote,fragment,verbatim]
363 \chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
366 @cindex root of chord
367 @cindex additions, in chords
368 @cindex removals, in chords
370 More complex chords may also be constructed adding separate steps
371 to a chord. Additions are added after the number following
372 the colon and are separated by dots
373 @lilypond[quote,verbatim,fragment]
374 \chordmode { c:5.6 c:3.7.8 c:3.6.13 }
376 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
378 @lilypond[quote,verbatim,fragment]
379 \chordmode { c:7+ c:5+.3- c:3-.5-.7- }
381 Removals are specified similarly and are introduced by a caret. They
382 must come after the additions
383 @lilypond[quote,verbatim,fragment]
384 \chordmode { c^3 c:7^5 c:9^3.5 }
387 Modifiers can be used to change pitches. The following modifiers are
392 The minor chord. This modifier lowers the 3rd and (if present) the 7th step.
395 The diminished chord. This modifier lowers the 3rd, 5th and (if present)
399 The augmented chord. This modifier raises the 5th step.
402 The major 7th chord. This modifier raises the 7th step if present.
405 The suspended 4th or 2nd. This modifier removes the 3rd
406 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
410 Modifiers can be mixed with additions
411 @lilypond[quote,verbatim,fragment]
412 \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
415 @cindex modifiers, in chords.
422 Since an unaltered 11 does not sound good when combined with an
423 unaltered 3, the 11 is removed in this case (unless it is added
425 @lilypond[quote,ragged-right,fragment,verbatim]
426 \chordmode { c:13 c:13.11 c:m13 }
431 An inversion (putting one pitch of the chord on the bottom), as well
432 as bass notes, can be specified by appending
433 @code{/}@var{pitch} to the chord
434 @lilypond[quote,ragged-right,fragment,verbatim]
435 \chordmode { c1 c/g c/f }
439 A bass note can be added instead transposed out of the chord,
440 by using @code{/+}@var{pitch}.
442 @lilypond[quote,ragged-right,fragment,verbatim]
443 \chordmode { c1 c/+g c/+f }
446 Chords is a mode similar to @code{\lyricmode}, etc. Most
447 of the commands continue to work, for example, @code{r} and
448 @code{\skip} can be used to insert rests and spaces, and property
449 commands may be used to change various settings.
455 Each step can only be present in a chord once. The following
456 simply produces the augmented chord, since @code{5+} is interpreted
459 @lilypond[quote,ragged-right,verbatim,fragment]
460 \chordmode { c:5.5-.5+ }
464 @node Printing chord names
465 @subsection Printing chord names
467 @cindex printing chord names
471 For displaying printed chord names, use the @internalsref{ChordNames} context.
472 The chords may be entered either using the notation
473 described above, or directly using @code{<} and @code{>}
475 @lilypond[quote,verbatim,ragged-right]
477 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
480 \new ChordNames \harmonies
481 \new Staff \harmonies
485 You can make the chord changes stand out by setting
486 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
487 display chord names when there is a change in the chords scheme and at
488 the start of a new line
490 @lilypond[quote,verbatim,ragged-right]
491 harmonies = \chordmode {
492 c1:m c:m \break c:m c:m d
496 \set chordChanges = ##t
498 \new Staff \transpose c c' \harmonies
502 The previous examples all show chords over a staff. This is not
503 necessary. Chords may also be printed separately. It may be necessary
504 to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
507 @lilypond[ragged-right,verbatim]
508 \new ChordNames \with {
509 \override BarLine #'bar-size = #4
510 voltaOnThisStaff = ##t
511 \consists Bar_engraver
512 \consists "Volta_engraver"
514 \chordmode { \repeat volta 2 {
524 The default chord name layout is a system for Jazz music, proposed by
525 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
529 @cindex @code{chordNameExceptions}
530 @item chordNameExceptions
531 This is a list that contains the chords that have special formatting.
533 The exceptions list should be encoded as
535 @{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
538 To get this information into @code{chordNameExceptions} takes a little
539 manoeuvring. The following code transforms @code{chExceptionMusic}
540 (which is a sequential music) into a list of exceptions.
542 (sequential-music-to-chord-exceptions chExceptionMusic #t)
547 (sequential-music-to-chord-exceptions chExceptionMusic #t)
550 adds the new exceptions to the default ones, which are defined in
551 @file{ly/@/chord@/-modifier@/-init@/.ly}.
553 For an example of tuning this property, see also
554 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly}.
555 @cindex exceptions, chord names.
558 @cindex @code{majorSevenSymbol}
559 @item majorSevenSymbol
560 This property contains the markup object used for the 7th step, when
561 it is major. Predefined options are @code{whiteTriangleMarkup} and
562 @code{blackTriangleMarkup}. See
563 @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly} for an example.
565 @cindex @code{chordNameSeparator}
566 @item chordNameSeparator
567 Different parts of a chord name are normally separated by a
568 slash. By setting @code{chordNameSeparator}, you can specify other
570 @lilypond[quote,ragged-right,fragment,verbatim]
571 \new ChordNames \chordmode {
573 \set chordNameSeparator
574 = \markup { \typewriter "|" }
579 @cindex @code{chordRootNamer}
581 The root of a chord is usually printed as a letter with an optional
582 alteration. The transformation from pitch to letter is done by this
583 function. Special note names (for example, the German ``H'' for a
584 B-chord) can be produced by storing a new function in this property.
586 @cindex @code{chordNoteNamer}
588 The default is to print single pitch, e.g., the bass note, using the
589 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
590 to a specialized function to change this behavior. For example, the
591 base can be printed in lower case.
593 @cindex @code{chordPrefixSpacer}
594 @item chordPrefixSpacer
595 The ``m'' for minor chords is usually printed right after the root of
596 the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer
597 between the root and ``m''. The spacer is not used when the root
602 The predefined variables @code{\germanChords},
603 @code{\semiGermanChords}, @code{\italianChords} and @code{\frenchChords}
604 set these variables. The effect is
607 @lilypondfile[ragged-right]{chord-names-languages.ly}
609 There are also two other chord name schemes implemented: an alternate
610 Jazz chord notation, and a systematic scheme called Banter chords. The
611 alternate Jazz notation is also shown on the chart in @ref{Chord name
612 chart}. Turning on these styles is described in the input file
613 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
622 @cindex @code{\germanChords}
623 @code{\germanChords},
624 @cindex @code{\semiGermanChords}
625 @code{\semiGermanChords}.
626 @cindex @code{\italianChords}
627 @code{\italianChords}.
628 @cindex @code{\frenchChords}
629 @code{\frenchChords}.
636 Examples: @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly},
637 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly},
638 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
641 Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
642 @file{scm/@/chord@/-entry@/.scm}.
647 Chord names are determined solely from the list of pitches. Chord
648 inversions are not identified, and neither are added bass notes. This
649 may result in strange chord names when chords are entered with the
650 @code{< .. >} syntax.
657 There are three different issues when printing vocal music
661 Song texts must be entered as text, not notes. For example, the
662 input@tie{}@code{d} should be interpreted as a one letter syllable, not the
666 Song texts must be printed as text, not as notes.
669 Song texts must be aligned with the notes of their melody.
672 The simplest solution for printing music uses the @code{\addlyrics}
673 function to solve all these problems at once. However, these
674 three functions can be controlled separately, which is necessary
675 for complex vocal music.
679 * Setting simple songs::
681 * Hyphens and extenders::
682 * The Lyrics context::
683 * Flexibility in alignment::
686 * Other vocal issues::
692 Checking to make sure that text scripts and lyrics are within the margins is a relatively large computational task. To speed up processing, lilypond does not perform such calculations by default; to enable it, use
695 \override Score.PaperColumn #'keep-inside-line = ##t
698 To make lyrics avoid barlines as well, use
703 \consists "Bar_engraver"
704 \consists "Separating_line_group_engraver"
705 \override BarLine #'transparent = ##t
711 @node Setting simple songs
712 @subsection Setting simple songs
714 The easiest way to add lyrics to a melody is to append
717 \addlyrics @{ @var{the lyrics} @}
721 to a melody. Here is an example,
723 @lilypond[ragged-right,verbatim,fragment,quote]
725 \relative { c2 e4 g2. }
726 \addlyrics { play the game }
729 More stanzas can be added by adding more
730 @code{\addlyrics} sections
732 @lilypond[ragged-right,verbatim,fragment,quote]
734 \relative { c2 e4 g2. }
735 \addlyrics { play the game }
736 \addlyrics { speel het spel }
737 \addlyrics { joue le jeu }
740 Sometimes it is appropriate to have one stanza set
741 to the music, and the rest added in verse form at
742 the end of the piece. This can be accomplished by adding
743 the extra verses into a @code{\markup} section outside
744 of the main score block. Notice that there are two
745 different ways to force linebreaks when using
748 @lilypond[ragged-right,verbatim,quote]
749 melody = \relative c' {
755 \set stanza = "1." Ma- ry had a lit- tle lamb,
756 it's fleece was white as snow.
761 \new Voice = "one" { \melody }
762 \new Lyrics \lyricsto "one" \text
768 \line{ All the children laughed and played }
769 \line{ To see a lamb at school. }
776 Mary took it home again,
778 It was against the rule."
784 @c TODO - this isn't such a great place for this note, but I can't
785 @c find a better place without rearranging a lot of lyric stuff.
786 @c It's yet another thing to look at post-3.0.
788 The @code{\addlyrics} command is actually just a convienient way
789 to write a more complicated LilyPond structure that sets up the
790 lyrics. You should use @code{\addlyrics} unless you need to do
791 fancy things, in which case you should investigate
792 @code{\lyricsto} or @code{\lyricmode}.
796 \addlyrics @{ LYRICS @}
803 \new Voice = "blah" @{ music @}
804 \new Lyrics \lyricsto "blah" @{ LYRICS @}
809 @code{\addlyrics} cannot handle polyphony.
812 @node Entering lyrics
813 @subsection Entering lyrics
816 @cindex @code{\lyricmode}
819 Lyrics are entered in a special input mode. This mode is introduced
820 by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
821 @code{\lyricsto}. In this mode you can enter lyrics,
822 with punctuation and accents, and the input @code{d} is not parsed as
823 a pitch, but rather as a one letter syllable. Syllables are entered
824 like notes, but with pitches replaced by text. For example,
826 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
829 There is a difference between @code{\addlyrics} and
830 @code{\lyricmode}. @code{\addlyrics} and @code{\lyricsto}
831 ignore all durations and aligns syllables to notes; @code{\lyricmode}
832 uses the durations specified.
834 A word lyrics mode begins with an alphabetic character, and ends with
835 any space or digit. The following characters can be any character
836 that is not a digit or white space. One important consequence of this
837 is that a word can end with @code{@}}. The following example is
838 usually a mistake in the input file. The syllable includes a @code{@}}, so the
839 opening brace is not balanced
841 \lyricmode @{ twinkle@}
844 @cindex @code{\property}, in @code{\lyricmode}
846 Similarly, a period which follows an alphabetic sequence is included in
847 the resulting string. As a consequence, spaces must be inserted around
850 \override Score . LyricText #'font-shape = #'italic
854 @cindex spaces, in lyrics
855 @cindex quotes, in lyrics
857 Any @code{_} character that appears in an unquoted word is converted
858 to a space. This provides a mechanism for introducing spaces into words
859 without using quotes.
861 To enter lyrics with characters from non-English languages, or with
862 non-ascii characters (such as the heart symbol or slanted quotes),
863 simply insert the characters directly into the input file and save
864 it with utf-8 encoding. See @ref{Text encoding} for more info.
867 \lyricmode @{ He said: “Let my peo ple go”. @}
870 The full definition of a word start in Lyrics mode is somewhat more
873 A word in Lyrics mode begins with: an alphabetic character, @code{_},
874 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
875 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
876 any 8-bit character with ASCII code over 127, or a two-character
877 combination of a backslash followed by one of @code{`}, @code{'},
878 @code{"}, or @code{^}.
884 Program reference: @internalsref{LyricText}, @internalsref{LyricSpace}.
888 The definition of lyrics mode is too complex.
890 @node Hyphens and extenders
891 @subsection Hyphens and extenders
895 Centered hyphens are entered as `@code{--}' between syllables.
896 The hyphen will have variable length depending on the space between
897 the syllables and it will be centered between the syllables.
902 When a lyric is sung over many notes (this is called a melisma), this is
903 indicated with a horizontal line centered between a syllable and the
904 next one. Such a line is called an extender line, and it is entered as
907 In tighly engraved music, hyphens can be removed. Whether this
908 happens can be controlled with the @code{minimum-distance} (minimum
909 distance between two syllables) and the @code{minimum-length}
910 (threshold below which hyphens are removed).
914 Program reference: @internalsref{LyricHyphen}, @internalsref{LyricExtender}.
918 @node The Lyrics context
919 @subsection The Lyrics context
922 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
924 \new Lyrics \lyricmode @dots{}
927 @cindex automatic syllable durations
928 @cindex @code{\lyricsto}
929 @cindex lyrics and melodies
931 This will place the lyrics according to the durations that were
932 entered. The lyrics can also be aligned under a given melody
933 automatically. In this case, it is no longer necessary to enter the
934 correct duration for each syllable. This is achieved by combining the
935 melody and the lyrics with the @code{\lyricsto} expression
937 \new Lyrics \lyricsto @var{name} @dots{}
940 This aligns the lyrics to the
941 notes of the @internalsref{Voice} context called @var{name}, which has
942 to exist. Therefore, normally the @code{Voice} is specified first, and
943 then the lyrics are specified with @code{\lyricsto}. The command
944 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
945 @code{\lyricmode} keyword may be omitted.
947 For different or more complex orderings, the best way is to setup the
948 hierarchy of staves and lyrics first, e.g.,
951 \new Lyrics = "sopranoLyrics" @{ s1 @}
952 \new Voice = "soprano" @{ @emph{music} @}
953 \new Lyrics = "tenorLyrics" @{ s1 @}
954 \new Voice = "tenor" @{ @emph{music} @}
957 and then combine the appropriate melodies and lyric lines
959 \context Lyrics = sopranoLyrics \lyricsto "soprano"
964 The final input would resemble
967 <<\new ChoirStaff << @emph{setup the music} >>
968 \lyricsto "soprano" @emph{etc}
969 \lyricsto "alto" @emph{etc}
975 The @code{\lyricsto} command detects melismata: it only puts one
976 syllable under a tied or slurred group of notes. If you want to force
977 an unslurred group of notes to be a melisma, insert @code{\melisma}
978 after the first note of the group, and @code{\melismaEnd} after the
981 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
983 \new Voice = "lala" {
991 \new Lyrics \lyricsto "lala" {
997 In addition, notes are considered a melisma if they are manually
998 beamed, and automatic beaming (see @ref{Setting automatic beam
999 behavior}) is switched off.
1005 The criteria for deciding melismata can
1006 be tuned with the property @code{melismaBusyProperties}. See
1007 @internalsref{Melisma_translator} in the program reference for more
1012 Lyrics can also be entered without @code{\lyricsto}. In this case the
1013 duration of each syllable must be entered explicitly, for example,
1020 The alignment to a melody can be specified with the
1021 @code{associatedVoice} property,
1024 \set associatedVoice = #"lala"
1028 The value of the property (here: @code{"lala"}) should be the name of
1029 a @internalsref{Voice} context. Without this setting, extender lines
1030 will not be formatted properly.
1032 Here is an example demonstrating manual lyric durations,
1034 @lilypond[relative=1,ragged-right,verbatim,fragment,quote]
1035 << \new Voice = "melody" {
1039 \new Lyrics \lyricmode {
1040 \set associatedVoice = #"melody"
1046 @cindex choral score
1048 A complete example of a SATB score setup is in section
1049 @ref{Vocal ensembles}.
1054 @code{\melisma}, @code{\melismaEnd}
1055 @cindex @code{\melismaEnd}
1056 @cindex @code{\melisma}
1060 Program reference: @internalsref{LyricCombineMusic},
1061 @internalsref{Lyrics}, @internalsref{Melisma_translator}.
1064 @inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly}.
1065 @c TODO: make separate section for melismata
1069 Melismata are not detected automatically, and extender lines must be
1073 @c TODO: document \new Staff << Voice \lyricsto >> bug
1075 @node Flexibility in alignment
1076 @subsection Flexibility in alignment
1078 Often, different stanzas of one song are put to one melody in slightly
1079 differing ways. Such variations can still be captured with
1082 @subsubsection Lyrics to multiple notes of a melisma
1085 One possibility is that the text has a melisma in one stanza, but
1086 multiple syllables in another one. One solution is to make the faster
1087 voice ignore the melisma. This is done by setting
1088 @code{ignoreMelismata} in the Lyrics context.
1090 There has one tricky aspect. The setting for @code{ignoreMelismata}
1091 must be set one syllable @emph{before} the non-melismatic syllable
1092 in the text, as shown here,
1094 @lilypond[verbatim,ragged-right,quote]
1096 \relative \new Voice = "lahlah" {
1097 \set Staff.autoBeaming = ##f
1103 \new Lyrics \lyricsto "lahlah" {
1106 \new Lyrics \lyricsto "lahlah" {
1107 \set ignoreMelismata = ##t % applies to "fas"
1109 \unset ignoreMelismata
1116 The @code{ignoreMelismata} applies to the syllable ``fas'', so it
1117 should be entered before ``go''.
1119 The reverse is also possible: making a lyric line slower than the
1120 standard. This can be achieved by insert @code{\skip}s into the
1121 lyrics. For every @code{\skip}, the text will be delayed another note.
1124 @lilypond[verbatim,ragged-right,quote]
1125 \relative { c c g' }
1133 @subsection Switching the melody associated with a lyrics line
1137 More complex variations in text underlay are possible. It is possible
1138 to switch the melody for a line of lyrics during the text. This is
1139 done by setting the @code{associatedVoice} property. In the example
1141 @lilypond[ragged-right,quote]
1143 \relative \new Voice = "lahlah" {
1144 \set Staff.autoBeaming = ##f
1147 \new Voice = "alternative" {
1150 % show associations clearly.
1151 \override NoteColumn #'force-hshift = #-3
1162 \new Lyrics \lyricsto "lahlah" {
1163 Ju -- ras -- sic Park
1165 \new Lyrics \lyricsto "lahlah" {
1166 % Tricky: need to set associatedVoice
1167 % one syllable too soon!
1168 \set associatedVoice = alternative % applies to "ran"
1172 \set associatedVoice = lahlah % applies to "rus"
1178 the text for the first stanza is set to a melody called ``lahlah'',
1181 \new Lyrics \lyricsto "lahlah" @{
1182 Ju -- ras -- sic Park
1187 The second stanza initially is set to the @code{lahlah} context, but
1188 for the syllable ``ran'', it switches to a different melody.
1189 This is achieved with
1191 \set associatedVoice = alternative
1195 Here, @code{alternative} is the name of the @code{Voice} context
1196 containing the triplet.
1198 Again, the command must be one syllable too early, before ``Ty'' in
1202 \new Lyrics \lyricsto "lahlah" @{
1203 \set associatedVoice = alternative % applies to "ran"
1207 \set associatedVoice = lahlah % applies to "rus"
1213 The underlay is switched back to the starting situation by assigning
1214 @code{lahlah} to @code{associatedVoice}.
1218 @subsection Specifying melismata within the lyrics
1220 It is also possible to define melismata entirely in the lyrics. This
1221 can be done by entering @code{_} for every note that is part of the
1224 @lilypond[relative=1,verbatim,fragment]
1225 { \set melismaBusyProperties = #'()
1226 c d( e) f f( e) e e }
1228 { Ky -- _ _ ri __ _ _ _ e }
1231 In this case, you can also have ties and slurs in the melody, if you
1232 set @code{melismaBusyProperties}, as is done in the example above.
1234 @lilypond[relative=1,verbatim,fragment]
1236 \set melismaBusyProperties = #'()
1240 { Ky -- _ _ ri __ _ _ _ e }
1243 @subsubsection Spacing lyrics
1245 @cindex Spacing lyrics
1246 @cindex Lyrics, increasing space between
1248 To increase the space between lyrics, use the @code{SeparationItem}
1251 @lilypond[relative,verbatim,fragment,quote,ragged-right]
1254 \override Score.SeparationItem #'padding = #5
1258 longtext longtext longtext longtext
1259 longtext longtext longtext longtext
1266 @subsection More stanzas
1268 @cindex phrasing, in lyrics
1271 @cindex stanza number
1272 @cindex singer's names
1273 @cindex name of singer
1275 Stanza numbers can be added by setting @code{stanza}, e.g.,
1277 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1279 \time 3/4 g2 e4 a2 f4 g2.
1282 Hi, my name is Bert.
1285 Oh, che -- ri, je t'aime
1289 These numbers are put just before the start of first syllable.
1291 Names of singers can also be added. They are printed at the start of
1292 the line, just like instrument names. They are created by setting
1293 @code{vocalName}. A short version may be entered as @code{vocNam}.
1296 @lilypond[fragment,ragged-right,quote,verbatim,relative=2]
1298 \time 3/4 g2 e4 a2 f4 g2.
1300 \set vocalName = "Bert "
1301 Hi, my name is Bert.
1303 \set vocalName = "Ernie "
1304 Oh, che -- ri, je t'aime
1308 You can display alternate (or divisi) lyrics by naming voice
1309 contexts and attaching lyrics to those specific contexts.
1311 @lilypond[verbatim,ragged-right,quote]
1313 \new Voice = "melody" {
1318 \new Voice = "splitpart" { \voiceTwo c4 }
1323 \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
1324 \new Lyrics \lyricsto "splitpart" { will }
1329 You can use this trick to display different lyrics for a repeated
1332 @lilypond[verbatim,ragged-right,quote]
1334 \new Voice = "melody" \relative c' {
1336 \new Voice = "verse" \repeat volta 2 {c4 d e f | g1 | }
1338 \new Lyrics = "mainlyrics" \lyricsto melody \lyricmode {
1341 \new Lyrics = "mainlyrics" \lyricsto verse \lyricmode {
1343 \new Lyrics = "repeatlyrics" \lyricsto verse \lyricmode {
1344 dodo rere mimi fafa solsol }
1352 Program reference: @internalsref{LyricText}, @internalsref{StanzaNumber}, @internalsref{VocalName}.
1360 The term @emph{ambitus} denotes a range of pitches for a given voice
1361 in a part of music. It may also denote the pitch range that a musical
1362 instrument is capable of playing. Ambits are printed on vocal parts,
1363 so performers can easily determine it meets their capabilities.
1365 Ambits are denoted at the beginning of a piece near the initial clef.
1366 The range is graphically specified by two note heads that represent the
1367 minimum and maximum pitch. To print such ambits, add the
1368 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
1375 \consists Ambitus_engraver
1380 This results in the following output
1382 @lilypond[quote,ragged-right]
1386 \consists Ambitus_engraver
1390 \relative \new Staff {
1395 If you have multiple voices in a single staff and you want a single
1396 ambitus per staff rather than per each voice, add the
1397 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
1398 rather than to the @internalsref{Voice} context. Here is an example,
1400 @lilypond[verbatim,ragged-right,quote]
1402 \consists "Ambitus_engraver"
1406 \remove "Ambitus_engraver"
1408 \override Ambitus #'X-offset = #-1.0
1413 \remove "Ambitus_engraver"
1422 This example uses one advanced feature,
1425 \override Ambitus #'X-offset = #-1.0
1429 This code moves the ambitus to the left. The same effect could have
1430 been achieved with @code{extra-offset}, but then the formatting system
1431 would not reserve space for the moved object.
1435 Program reference: @internalsref{Ambitus},
1436 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1437 @internalsref{AmbitusAccidental}.
1439 Examples: @inputfileref{input/@/regression,ambitus@/.ly}.
1443 There is no collision handling in the case of multiple per-voice
1447 @node Other vocal issues
1448 @subsection Other vocal issues
1451 yeah, I'm giving up somewhat by stuffing a bunch of things in
1452 here. But at least they're in the manual now; it's easier to
1453 move them around in the manual once they're already here.
1455 Besides, if users complain about everything stuffed in here, I
1456 can ask them for specific instructions about where to move these
1457 examples, and that might get them more involved in the docs. -gp
1460 ``Parlato'' is spoken without pitch but still with rhythm; it is
1461 notated by cross noteheads. This is demonstrated in
1462 @ref{Special noteheads}.
1468 @node Rhythmic music
1469 @section Rhythmic music
1471 Rhythmic music is primarily used for percussion and drum notation, but it can
1472 also be used to show the rhythms of melodies.
1475 * Showing melody rhythms::
1476 * Entering percussion::
1477 * Percussion staves::
1481 @node Showing melody rhythms
1482 @subsection Showing melody rhythms
1484 Sometimes you might want to show only the rhythm of a melody. This
1485 can be done with the rhythmic staff. All pitches of notes on such a
1486 staff are squashed, and the staff itself has a single line
1488 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1489 \new RhythmicStaff {
1491 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1497 Program reference: @internalsref{RhythmicStaff}.
1499 Examples: @inputfileref{input/@/regression,rhythmic@/-staff@/.ly}.
1502 @node Entering percussion
1503 @subsection Entering percussion
1509 Percussion notes may be entered in @code{\drummode} mode, which is
1510 similar to the standard mode for entering notes. Each piece of
1511 percussion has a full name and an abbreviated name, and both can be used
1514 @lilypond[quote,ragged-right,verbatim]
1516 hihat hh bassdrum bd
1520 The complete list of drum names is in the init file
1521 @file{ly/@/drumpitch@/-init@/.ly}.
1522 @c TODO: properly document this.
1526 Program reference: @internalsref{note-event}.
1528 @node Percussion staves
1529 @subsection Percussion staves
1533 A percussion part for more than one instrument typically uses a
1534 multiline staff where each position in the staff refers to one piece
1538 To typeset the music, the notes must be interpreted in a
1539 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
1541 @lilypond[quote,ragged-right,verbatim]
1542 up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
1543 down = \drummode { bassdrum4 snare8 bd r bd sn4 }
1545 \new DrumVoice { \voiceOne \up }
1546 \new DrumVoice { \voiceTwo \down }
1550 The above example shows verbose polyphonic notation. The short
1551 polyphonic notation, described in @ref{Polyphony}, can also be used if
1552 the @internalsref{DrumVoice}s are instantiated by hand first. For example,
1554 @lilypond[quote,ragged-right,fragment,verbatim]
1556 \new DrumVoice = "1" { s1 *2 }
1557 \new DrumVoice = "2" { s1 *2 }
1561 { \repeat unfold 16 hh16 }
1570 There are also other layout possibilities. To use these, set the
1571 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
1572 The following variables have been predefined
1576 This is the default. It typesets a typical drum kit on a five-line staff
1578 @lilypond[quote,line-width=10.0\cm]
1580 cymc cyms cymr hh hhc hho hhho hhp
1581 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl }
1583 cymc cyms cymr hh hhc hho hhho hhp \break
1584 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
1586 << \new DrumStaff \with {
1587 \remove Bar_engraver
1588 \remove Time_signature_engraver
1589 \override Stem #'transparent = ##t
1590 \override Stem #'Y-extent-callback = ##f
1591 \override VerticalAxisGroup #'minimum-Y-extent = #'(-4.0 . 5.0)
1598 \override LyricText #'font-family = #'typewriter
1599 \override BarNumber #'transparent =##T
1605 The drum scheme supports six different toms. When there are fewer toms,
1606 simply select the toms that produce the desired result, i.e., to get toms
1607 on the three middle lines you use @code{tommh}, @code{tomml}, and
1610 @item timbales-style
1611 This typesets timbales on a two line staff
1613 @lilypond[quote,ragged-right]
1614 nam = \lyricmode { timh ssh timl ssl cb }
1615 mus = \drummode { timh ssh timl ssl cb s16 }
1618 \new DrumStaff \with {
1619 \remove Bar_engraver
1620 \remove Time_signature_engraver
1621 \override Stem #'transparent = ##t
1622 \override Stem #'Y-extent-callback = ##f
1623 \override StaffSymbol #'line-count = #2
1624 \override StaffSymbol #'staff-space = #2
1625 \override VerticalAxisGroup #'minimum-Y-extent = #'(-3.0 . 4.0)
1626 drumStyleTable = #timbales-style
1629 \override LyricText #'font-family = #'typewriter
1636 This typesets congas on a two line staff
1638 @lilypond[quote,ragged-right]
1639 nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
1640 mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
1643 \new DrumStaff \with {
1644 \remove Bar_engraver
1645 \remove Time_signature_engraver
1646 drumStyleTable = #congas-style
1647 \override StaffSymbol #'line-count = #2
1649 %% this sucks; it will lengthen stems.
1650 \override StaffSymbol #'staff-space = #2
1651 \override Stem #'transparent = ##t
1652 \override Stem #'Y-extent-callback = ##f
1655 \override LyricText #'font-family = #'typewriter
1662 This typesets bongos on a two line staff
1664 @lilypond[quote,ragged-right]
1665 nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
1666 mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
1669 \new DrumStaff \with {
1670 \remove Bar_engraver
1671 \remove Time_signature_engraver
1672 \override StaffSymbol #'line-count = #2
1673 drumStyleTable = #bongos-style
1675 %% this sucks; it will lengthen stems.
1676 \override StaffSymbol #'staff-space = #2
1677 \override Stem #'transparent = ##t
1678 \override Stem #'Y-extent-callback = ##f
1681 \override LyricText #'font-family = #'typewriter
1687 @item percussion-style
1688 To typeset all kinds of simple percussion on one line staves.
1690 @lilypond[quote,ragged-right]
1691 nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
1692 mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
1695 \new DrumStaff \with{
1696 \remove Bar_engraver
1697 drumStyleTable = #percussion-style
1698 \override StaffSymbol #'line-count = #1
1699 \remove Time_signature_engraver
1700 \override Stem #'transparent = ##t
1701 \override Stem #'Y-extent-callback = ##f
1704 \override LyricText #'font-family = #'typewriter
1711 If you do not like any of the predefined lists you can define your own
1712 list at the top of your file
1714 @lilypond[quote,ragged-right,verbatim]
1716 (bassdrum default #f -1)
1717 (snare default #f 0)
1719 (pedalhihat xcircle "stopped" 2)
1720 (lowtom diamond #f 3)))
1721 up = \drummode { hh8 hh hh hh hhp4 hhp }
1722 down = \drummode { bd4 sn bd toml8 toml }
1725 \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
1726 \new DrumVoice { \voiceOne \up }
1727 \new DrumVoice { \voiceTwo \down }
1734 Init files: @file{ly/@/drumpitch@/-init@/.ly}.
1736 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
1740 Because general MIDI does not contain rim shots, the sidestick is used
1741 for this purpose instead.
1749 @cindex guitar tablature
1752 * String number indications::
1753 * Tablatures basic::
1754 * Non-guitar tablatures::
1756 * Other guitar issues::
1759 @node String number indications
1760 @subsection String number indications
1762 @cindex String numbers
1764 String numbers can be added to chords, by indicating the string number
1765 with @code{\}@var{number},
1767 @lilypond[relative,relative=1,ragged-right,fragment]
1771 See also @inputfileref{input/regression,string-number.ly}.
1776 Program reference: @internalsref{StringNumber}.
1779 @node Tablatures basic
1780 @subsection Tablatures basic
1781 @cindex Tablatures basic
1783 Tablature notation is used for notating music for plucked string
1784 instruments. Pitches are not denoted with note heads, but by
1785 numbers indicating on which string and fret a note must be played. LilyPond
1786 offers limited support for tablature.
1788 The string number associated to a note is given as a backslash
1789 followed by a number, e.g., @code{c4\3} for a C quarter on the third
1790 string. By default, string 1 is the highest one, and the tuning
1791 defaults to the standard guitar tuning (with 6 strings). The notes
1792 are printed as tablature, by using @internalsref{TabStaff} and
1793 @internalsref{TabVoice} contexts
1795 @lilypond[quote,ragged-right,fragment,verbatim]
1802 @cindex @code{minimumFret}
1805 When no string is specified, the first string that does not give a
1806 fret number less than @code{minimumFret} is selected. The default
1807 value for @code{minimumFret} is 0
1812 \set TabStaff.minimumFret = #8
1815 @lilypond[quote,ragged-right]
1819 \set TabStaff.minimumFret = #8
1823 \new Staff { \clef "G_8" \frag }
1824 \new TabStaff { \frag }
1830 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}.
1834 Chords are not handled in a special way, and hence the automatic
1835 string selector may easily select the same string to two notes in a
1839 @node Non-guitar tablatures
1840 @subsection Non-guitar tablatures
1841 @cindex Non-guitar tablatures
1843 You can change the number of strings, by setting the number of lines
1844 in the @internalsref{TabStaff}.
1846 You can change the tuning of the strings. A string tuning is given as
1847 a Scheme list with one integer number for each string, the number
1848 being the pitch (measured in semitones relative to middle C) of an
1849 open string. The numbers specified for @code{stringTuning} are the
1850 numbers of semitones to subtract or add, starting the specified pitch
1851 by default middle C, in string order. In the next example,
1852 @code{stringTunings} is set for the pitches e, a, d, and g
1854 @lilypond[quote,ragged-right,fragment,verbatim]
1856 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
1858 a,4 c' a e' e c' a e'
1865 No guitar special effects have been implemented.
1869 Program reference: @internalsref{Tab_note_heads_engraver}.
1873 @subsection Fret diagrams
1874 @cindex fret diagrams
1875 @cindex chord diagrams
1877 Fret diagrams can be added to music as a markup to the desired note. The
1878 markup contains information about the desired fret diagram, as shown in the
1881 @lilypond[verbatim, ragged-right, quote]
1883 d'^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
1885 fis'^\markup \override #'(size . 0.75) {
1886 \override #'(finger-code . below-string) {
1887 \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
1888 (place-fret 5 4 3) (place-fret 4 4 4)
1889 (place-fret 3 3 2) (place-fret 2 2 1)
1894 c'^\markup \override #'(dot-radius . 0.35) {
1895 \override #'(finger-code . in-dot) {
1896 \override #'(dot-color . white) {
1897 \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
1906 There are three different fret-diagram markup interfaces: standard, terse,
1907 and verbose. The three interfaces produce equivalent markups, but have
1908 varying amounts of information in the markup string. Details about the
1909 markup interfaces are found at @ref{Overview of text markup commands}.
1911 You can set a number of graphical properties according to your preference.
1912 Details about the property interface to fret diagrams are found at
1913 @internalsref{fret-diagram-interface}.
1918 Examples: @inputfileref{input/@/test,fret@/-diagram@/.ly}
1921 @node Other guitar issues
1922 @subsection Other guitar issues
1924 This example demonstrates how to include guitar position and
1925 barring indications.
1927 @lilypond[quote,ragged-right,fragment,verbatim,relative=0]
1931 \override TextSpanner #'edge-text = #'("XII " . "")
1933 b16 e16 g16 e16 b16 g16\stopTextSpan
1938 Stopped (X) note heads are used in guitar music to signal a place where the
1939 guitarist must play a certain note or chord, with its fingers just
1940 touching the strings instead of fully pressing them. This gives the sound a
1941 percussive noise-like sound that still maintains part of the original
1942 pitch. It is notated with cross noteheads; this is
1943 demonstrated in @ref{Special noteheads}.
1952 * Bagpipe definitions::
1957 @node Bagpipe definitions
1958 @subsection Bagpipe definitions
1960 LilyPond contains special definitions for music for the Scottish
1961 highland bagpipe; to use them, add
1964 \include "bagpipe.ly"
1968 at the top of your input file. This lets you add the special gracenotes
1969 common to bagpipe music with short commands. For example, you could
1970 write @code{\taor} instead of
1973 \grace @{ \small G32[ d G e] @}
1976 @code{bagpipe.ly} also contains pitch definitions for the bagpipe
1977 notes in the appropiate octaves, so you do not need to worry about
1978 @code{\relative} or @code{\transpose}.
1980 @lilypond[ragged-right,verbatim,quote,notime]
1981 \include "bagpipe.ly"
1982 { \grg G4 \grg a \grg b \grg c \grg d \grg e \grg f \grA g A }
1985 Bagpipe music nominally uses the key of D Major (even though that
1986 isn't really true). However, since that is the only key that can be used,
1987 the key signature is normally not written out. To set this up correctly,
1988 always start your music with @code{\hideKeySignature}. If you for some
1989 reason want to show the key signature, you can use @code{\showKeySignature}
1992 Some modern music use cross fingering on c and f to flatten those notes.
1993 This can be indicated by @code{cflat} or @code{fflat}. Similarly, the
1994 piobaireachd high g can be written @code{gflat} when it occurs in light
1998 @node Bagpipe example
1999 @subsection Bagpipe example
2001 This is what the well known tune Amazing Grace looks like in bagpipe
2004 @lilypond[verbatim,quote]
2005 \include "bagpipe.ly"
2008 \context { \Score \remove "Bar_number_engraver" }
2012 title = "Amazing Grace"
2014 arranger = "Trad. arr."
2020 \grg \partial 4 a8. d16
2021 \slurd d2 \grg f8[ e32 d16.]
2024 \grG a2 \grg a8. d16
2025 \slurd d2 \grg f8[ e32 d16.]
2026 \grg f2 \grg e8. f16
2029 \grg A2 \hdblf f8[ e32 d16.]
2032 \grG a2 \grg a8. d16
2033 \slurd d2 \grg f8[ e32 d16.]
2042 @node Ancient notation
2043 @section Ancient notation
2045 @cindex Vaticana, Editio
2046 @cindex Medicaea, Editio
2051 Support for ancient notation includes features for mensural notation
2052 and Gregorian Chant notation. There is also limited support for
2053 figured bass notation.
2055 Many graphical objects provide a @code{style} property, see
2058 @ref{Ancient note heads},
2060 @ref{Ancient accidentals},
2062 @ref{Ancient rests},
2064 @ref{Ancient clefs},
2066 @ref{Ancient flags},
2068 @ref{Ancient time signatures}.
2071 By manipulating such a grob property, the typographical appearance of
2072 the affected graphical objects can be accommodated for a specific
2073 notation flavor without the need for introducing any new notational
2076 In addition to the standard articulation signs described in section
2077 @ref{Articulations}, specific articulation signs for ancient notation
2082 @ref{Ancient articulations}
2085 Other aspects of ancient notation can not that easily be expressed
2086 in terms of just changing a style property of a graphical object or
2087 adding articulation signs. Some notational concepts are introduced
2088 specifically for ancient notation,
2099 If this all is too much of documentation for you, and you just want to
2100 dive into typesetting without worrying too much about the details on
2101 how to customize a context, you may have a look at the predefined
2102 contexts. Use them to set up predefined style-specific voice and
2103 staff contexts, and directly go ahead with the note entry,
2107 @ref{Gregorian Chant contexts},
2109 @ref{Mensural contexts}.
2112 There is limited support for figured bass notation which came
2113 up during the baroque period.
2120 Here are all suptopics at a glance:
2123 * Ancient note heads::
2124 * Ancient accidentals::
2128 * Ancient time signatures::
2129 * Ancient articulations::
2133 * Gregorian Chant contexts::
2134 * Mensural contexts::
2135 * Musica ficta accidentals::
2141 @node Ancient note heads
2142 @subsection Ancient note heads
2147 For ancient notation, a note head style other than the @code{default}
2148 style may be chosen. This is accomplished by setting the @code{style}
2149 property of the @internalsref{NoteHead} object to @code{baroque},
2150 @code{neomensural}, @code{mensural} or @code{petrucci}. The
2151 @code{baroque} style differs from the @code{default} style only in
2152 using a square shape for @code{\breve} note heads. The
2153 @code{neomensural} style differs from the @code{baroque} style in that
2154 it uses rhomboidal heads for whole notes and all smaller durations.
2155 Stems are centered on the note heads. This style is particularly
2156 useful when transcribing mensural music, e.g., for the incipit. The
2157 @code{mensural} style produces note heads that mimic the look of note
2158 heads in historic printings of the 16th century. Finally, the
2159 @code{petrucci} style also mimicks historic printings, but uses bigger
2162 The following example demonstrates the @code{neomensural} style
2164 @lilypond[quote,fragment,ragged-right,verbatim]
2165 \set Score.skipBars = ##t
2166 \override NoteHead #'style = #'neomensural
2167 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
2170 When typesetting a piece in Gregorian Chant notation, the
2171 @internalsref{Gregorian_ligature_engraver} will automatically select
2172 the proper note heads, so there is no need to explicitly set the
2173 note head style. Still, the note head style can be set, e.g., to
2174 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
2175 @internalsref{Mensural_ligature_engraver} is used to automatically
2176 assemble mensural ligatures. See @ref{Ligatures} for how ligature
2181 Examples: @inputfileref{input/@/regression,note@/-head@/-style@/.ly} gives an
2182 overview over all available note head styles.
2185 @node Ancient accidentals
2186 @subsection Ancient accidentals
2191 Use the @code{style} property of grob @internalsref{Accidental} to
2192 select ancient accidentals. Supported styles are
2193 @code{mensural}, @code{vaticana}, @code{hufnagel}, and @code{medicaea}.
2195 @lilypond[quote,ragged-right,staffsize=26]
2202 \line { " " \musicglyph #"accidentals.vaticana-1"
2203 " " \musicglyph #"accidentals.vaticana0" }
2207 \line { " " \musicglyph #"accidentals.medicaea-1" }
2211 \line { " " \musicglyph #"accidentals.hufnagel-1" }
2215 \line { " " \musicglyph #"accidentals.mensural-1"
2216 " " \musicglyph #"accidentals.mensural1" }
2222 \context { \Score \remove "Bar_number_engraver" }
2224 \remove "Clef_engraver"
2225 \remove "Key_engraver"
2226 \remove "Time_signature_engraver"
2227 \remove "Staff_symbol_engraver"
2228 \override VerticalAxisGroup #'minimum-Y-extent = ##f
2234 As shown, not all accidentals are supported by each style. When
2235 trying to access an unsupported accidental, LilyPond will switch to a
2236 different style, as demonstrated in
2237 @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2239 Similarly to local accidentals, the style of the key signature can be
2240 controlled by the @code{style} property of the
2241 @internalsref{KeySignature} grob.
2245 In this manual: @ref{Pitches}, @ref{Cautionary accidentals} and
2246 @ref{Automatic accidentals} give a general introduction of the use of
2247 accidentals. @ref{Key signature} gives a general introduction of
2248 the use of key signatures.
2250 Program reference: @internalsref{KeySignature}.
2252 Examples: @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2255 @subsection Ancient rests
2257 @cindex rests, ancient
2260 Use the @code{style} property of grob @internalsref{Rest} to select
2261 ancient rests. Supported styles are @code{classical},
2262 @code{neomensural}, and @code{mensural}. @code{classical} differs
2263 from the @code{default} style only in that the quarter rest looks like
2264 a horizontally mirrored 8th rest. The @code{neomensural} style suits
2265 well for, e.g., the incipit of a transcribed mensural piece of music.
2266 The @code{mensural} style finally mimics the appearance of rests as
2267 in historic prints of the 16th century.
2269 The following example demonstrates the @code{neomensural} style
2271 @lilypond[quote,fragment,ragged-right,verbatim]
2272 \set Score.skipBars = ##t
2273 \override Rest #'style = #'neomensural
2274 r\longa r\breve r1 r2 r4 r8 r16
2277 There are no 32th and 64th rests specifically for the mensural or
2278 neo-mensural style. Instead, the rests from the default style will be
2279 taken. See @inputfileref{input/@/test,rests@/.ly} for a chart of all
2282 There are no rests in Gregorian Chant notation; instead, it uses
2287 In this manual: @ref{Rests} gives a general introduction into the use of rests.
2291 @subsection Ancient clefs
2296 LilyPond supports a variety of clefs, many of them ancient.
2298 The following table shows all ancient clefs that are supported via the
2299 @code{\clef} command. Some of the clefs use the same glyph, but
2300 differ only with respect to the line they are printed on. In such
2301 cases, a trailing number in the name is used to enumerate these clefs.
2302 Still, you can manually force a clef glyph to be typeset on an
2303 arbitrary line, as described in @ref{Clef}. The note printed to the
2304 right side of each clef in the example column denotes the @code{c'}
2305 with respect to that clef.
2307 @multitable @columnfractions .4 .4 .2
2316 modern style mensural C clef
2318 @code{neomensural-c1}, @code{neomensural-c2},@*
2319 @code{neomensural-c3}, @code{neomensural-c4}
2321 @lilypond[fragment,relative=1,notime]
2322 \clef "neomensural-c2" c
2326 petrucci style mensural C clefs, for use on different staff lines
2327 (the examples show the 2nd staff line C clef)
2329 @code{petrucci-c1}, @code{petrucci-c2},@*
2330 @code{petrucci-c3}, @code{petrucci-c4},@*
2333 @lilypond[fragment,relative=1,notime]
2335 \override NoteHead #'style = #'mensural
2340 petrucci style mensural F clef
2344 @lilypond[fragment,relative=1,notime]
2346 \override NoteHead #'style = #'mensural
2351 petrucci style mensural G clef
2355 @lilypond[fragment,relative=1,notime]
2357 \override NoteHead #'style = #'mensural
2362 historic style mensural C clef
2364 @code{mensural-c1}, @code{mensural-c2},@*
2365 @code{mensural-c3}, @code{mensural-c4}
2367 @lilypond[fragment,relative=1,notime]
2369 \override NoteHead #'style = #'mensural
2374 historic style mensural F clef
2378 @lilypond[fragment,relative=1,notime]
2380 \override NoteHead #'style = #'mensural
2385 historic style mensural G clef
2389 @lilypond[fragment,relative=1,notime]
2391 \override NoteHead #'style = #'mensural
2396 Editio Vaticana style do clef
2398 @code{vaticana-do1}, @code{vaticana-do2},@*
2401 @lilypond[fragment,relative=1,notime]
2402 \override Staff.StaffSymbol #'line-count = #4
2403 \override Staff.StaffSymbol #'color = #red
2404 \override Staff.LedgerLineSpanner #'color = #red
2405 \override Voice.Stem #'transparent = ##t
2406 \override NoteHead #'style = #'vaticana.punctum
2407 \clef "vaticana-do2"
2412 Editio Vaticana style fa clef
2414 @code{vaticana-fa1}, @code{vaticana-fa2}
2416 @lilypond[fragment,relative=1,notime]
2417 \override Staff.StaffSymbol #'line-count = #4
2418 \override Staff.StaffSymbol #'color = #red
2419 \override Staff.LedgerLineSpanner #'color = #red
2420 \override Voice.Stem #'transparent = ##t
2421 \override NoteHead #'style = #'vaticana.punctum
2422 \clef "vaticana-fa2"
2427 Editio Medicaea style do clef
2429 @code{medicaea-do1}, @code{medicaea-do2},@*
2432 @lilypond[fragment,relative=1,notime]
2433 \override Staff.StaffSymbol #'line-count = #4
2434 \override Staff.StaffSymbol #'color = #red
2435 \override Staff.LedgerLineSpanner #'color = #red
2436 \override Voice.Stem #'transparent = ##t
2437 \override NoteHead #'style = #'medicaea.punctum
2438 \clef "medicaea-do2"
2443 Editio Medicaea style fa clef
2445 @code{medicaea-fa1}, @code{medicaea-fa2}
2447 @lilypond[fragment,relative=1,notime]
2448 \override Staff.StaffSymbol #'line-count = #4
2449 \override Staff.StaffSymbol #'color = #red
2450 \override Staff.LedgerLineSpanner #'color = #red
2451 \override Voice.Stem #'transparent = ##t
2452 \override NoteHead #'style = #'medicaea.punctum
2453 \clef "medicaea-fa2"
2458 historic style hufnagel do clef
2460 @code{hufnagel-do1}, @code{hufnagel-do2},@*
2463 @lilypond[fragment,relative=1,notime]
2464 \override Staff.StaffSymbol #'line-count = #4
2465 \override Staff.StaffSymbol #'color = #red
2466 \override Staff.LedgerLineSpanner #'color = #red
2467 \override Voice.Stem #'transparent = ##t
2468 \override NoteHead #'style = #'hufnagel.punctum
2469 \clef "hufnagel-do2"
2474 historic style hufnagel fa clef
2476 @code{hufnagel-fa1}, @code{hufnagel-fa2}
2478 @lilypond[fragment,relative=1,notime]
2479 \override Staff.StaffSymbol #'line-count = #4
2480 \override Staff.StaffSymbol #'color = #red
2481 \override Staff.LedgerLineSpanner #'color = #red
2482 \override Voice.Stem #'transparent = ##t
2483 \override NoteHead #'style = #'hufnagel.punctum
2484 \clef "hufnagel-fa2"
2489 historic style hufnagel combined do/fa clef
2491 @code{hufnagel-do-fa}
2493 @lilypond[fragment,relative=1,notime]
2494 \override Staff.StaffSymbol #'color = #red
2495 \override Staff.LedgerLineSpanner #'color = #red
2496 \override Voice.Stem #'transparent = ##t
2497 \override NoteHead #'style = #'hufnagel.punctum
2498 \clef "hufnagel-do-fa"
2505 @emph{Modern style} means ``as is typeset in contemporary editions of
2506 transcribed mensural music''.
2508 @emph{Petrucci style} means ``inspired by printings published by the
2509 famous engraver Petrucci (1466-1539)''.
2511 @emph{Historic style} means ``as was typeset or written in historic
2512 editions (other than those of Petrucci)''.
2514 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
2516 Petrucci used C clefs with differently balanced left-side vertical
2517 beams, depending on which staff line it is printed.
2521 In this manual: see @ref{Clef}.
2525 The mensural g clef is mapped to the Petrucci g clef.
2530 @subsection Ancient flags
2535 Use the @code{flag-style} property of grob @internalsref{Stem} to
2536 select ancient flags. Besides the @code{default} flag style,
2537 only the @code{mensural} style is supported
2539 @lilypond[quote,fragment,ragged-right,verbatim]
2540 \override Stem #'flag-style = #'mensural
2541 \override Stem #'thickness = #1.0
2542 \override NoteHead #'style = #'mensural
2544 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
2545 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
2548 Note that the innermost flare of each mensural flag always is
2549 vertically aligned with a staff line.
2551 There is no particular flag style for neo-mensural notation. Hence,
2552 when typesetting the incipit of a transcribed piece of mensural
2553 music, the default flag style should be used. There are no flags in
2554 Gregorian Chant notation.
2558 The attachment of ancient flags to stems is slightly off due to a
2559 change in early 2.3.x.
2561 Vertically aligning each flag with a staff line assumes that stems
2562 always end either exactly on or exactly in the middle between two
2563 staff lines. This may not always be true when using advanced layout
2564 features of classical notation (which however are typically out of
2565 scope for mensural notation).
2567 @node Ancient time signatures
2568 @subsection Ancient time signatures
2570 @cindex time signatures
2573 There is limited support for mensural time signatures. The
2574 glyphs are hard-wired to particular time fractions. In other words,
2575 to get a particular mensural signature glyph with the @code{\time n/m}
2576 command, @code{n} and @code{m} have to be chosen according to the
2579 @lilypond[quote,ragged-right]
2584 \remove Staff_symbol_engraver
2585 \remove Clef_engraver
2586 \remove Time_signature_engraver
2590 \set Score.timing = ##f
2591 \set Score.barAlways = ##t
2592 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph #"timesig.neomensural44" }
2594 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph #"timesig.neomensural22" }
2596 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph #"timesig.neomensural64" }
2598 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph #"timesig.neomensural68" }
2600 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph #"timesig.neomensural32" }
2602 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph #"timesig.neomensural34" }
2604 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph #"timesig.neomensural94" }
2606 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph #"timesig.neomensural98" }
2608 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph #"timesig.neomensural48" }
2610 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph #"timesig.neomensural24" }
2614 Use the @code{style} property of grob @internalsref{TimeSignature} to
2615 select ancient time signatures. Supported styles are
2616 @code{neomensural} and @code{mensural}. The above table uses the
2617 @code{neomensural} style. This style is appropriate for the
2618 incipit of transcriptions of mensural pieces. The @code{mensural}
2619 style mimics the look of historical printings of the 16th century.
2621 The following examples show the differences in style,
2623 @lilypond[ragged-right,fragment,relative=1,quote]
2628 c1^\markup { \hspace #-2.0 \typewriter default }
2630 \override Staff.TimeSignature #'style = #'numbered
2632 c1^\markup { \hspace #-2.0 \typewriter numbered }
2634 \override Staff.TimeSignature #'style = #'mensural
2636 c1^\markup { \hspace #-2.0 \typewriter mensural }
2638 \override Staff.TimeSignature #'style = #'neomensural
2640 c1^\markup { \hspace #-2.0 \typewriter neomensural }
2641 \override Staff.TimeSignature #'style = #'single-digit
2643 c1^\markup { \hspace #-2.0 \typewriter single-digit }
2649 This manual: @ref{Time signature} gives a general introduction to
2650 the use of time signatures.
2654 Ratios of note durations do not change with the time signature. For
2655 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
2656 be made by hand, by setting
2659 breveTP = #(ly:make-duration -1 0 3 2)
2665 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
2667 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
2668 addressable with @code{\time}. Use a @code{\markup} instead
2670 @node Ancient articulations
2671 @subsection Ancient articulations
2673 @cindex articulations
2675 In addition to the standard articulation signs described in section
2676 @ref{Articulations}, articulation signs for ancient notation are
2677 provided. These are specifically designed for use with notation in
2678 Editio Vaticana style.
2680 @lilypond[quote,ragged-right,verbatim]
2681 \include "gregorian-init.ly"
2683 \new VaticanaVoice {
2684 \override Staff.StaffSymbol #'color = #red
2685 \override Staff.LedgerLineSpanner #'color = #red
2686 \override TextScript #'font-family = #'typewriter
2687 \override TextScript #'font-shape = #'upright
2688 \override Script #'padding = #-0.1
2690 a4\circulus_"circulus" s1
2691 a4\semicirculus_"semicirculus" s1 s
2692 a4\accentus_"accentus" s1
2693 \[ a4_"episem" \episemInitium \pes b \flexa a \episemFinis \]
2700 Some articulations are vertically placed too closely to the
2701 correpsonding note heads.
2704 @subsection Custodes
2709 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
2710 symbol that appears at the end of a staff. It anticipates the pitch
2711 of the first note(s) of the following line thus helping the performer
2712 to manage line breaks during performance.
2714 Custodes were frequently used in music notation until the 17th
2715 century. Nowadays, they have survived only in a few particular forms
2716 of musical notation such as contemporary editions of Gregorian chant
2717 like the @emph{editio vaticana}. There are different custos glyphs
2718 used in different flavors of notational style.
2720 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
2721 @internalsref{Staff} context when declaring the @code{\layout} block,
2722 as shown in the following example
2728 \consists Custos_engraver
2729 Custos \override #'style = #'mensural
2734 The result looks like this
2736 @lilypond[quote,ragged-right]
2740 \override Staff.Custos #'style = #'mensural
2745 \context { \Staff \consists Custos_engraver }
2750 The custos glyph is selected by the @code{style} property. The styles
2751 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
2752 @code{mensural}. They are demonstrated in the following fragment
2754 @lilypond[quote,ragged-right,fragment]
2755 \new Lyrics \lyricmode {
2757 \typewriter "vaticana"
2758 \line { " " \musicglyph #"custodes.vaticana.u0" }
2761 \typewriter "medicaea"
2762 \line { " " \musicglyph #"custodes.medicaea.u0" }
2765 \typewriter "hufnagel"
2766 \line { " " \musicglyph #"custodes.hufnagel.u0" }
2769 \typewriter "mensural"
2770 \line { " " \musicglyph #"custodes.mensural.u0" }
2777 Program reference: @internalsref{Custos}.
2779 Examples: @inputfileref{input/@/regression,custos@/.ly}.
2783 @subsection Divisiones
2789 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
2790 `division') is a staff context symbol that is used to structure
2791 Gregorian music into phrases and sections. The musical meaning of
2792 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
2793 can be characterized as short, medium, and long pause, somewhat like
2794 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
2795 only marks the end of a chant, but is also frequently used within a
2796 single antiphonal/responsorial chant to mark the end of each section.
2799 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
2800 contains definitions that you can apply by just inserting
2801 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
2802 and @code{\finalis} at proper places in the input. Some editions use
2803 @emph{virgula} or @emph{caesura} instead of divisio minima.
2804 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
2807 @lilypondfile[quote,ragged-right]{divisiones.ly}
2811 @cindex @code{\virgula}
2813 @cindex @code{\caesura}
2815 @cindex @code{\divisioMinima}
2816 @code{\divisioMinima},
2817 @cindex @code{\divisioMaior}
2818 @code{\divisioMaior},
2819 @cindex @code{\divisioMaxima}
2820 @code{\divisioMaxima},
2821 @cindex @code{\finalis}
2826 In this manual: @ref{Breath marks}.
2828 Program reference: @internalsref{BreathingSign}.
2830 Examples: @inputfileref{input/@/test,divisiones@/.ly}.
2833 @subsection Ligatures
2837 @c TODO: Should double check if I recalled things correctly when I wrote
2838 @c down the following paragraph by heart.
2840 A ligature is a graphical symbol that represents at least two distinct
2841 notes. Ligatures originally appeared in the manuscripts of Gregorian
2842 chant notation to denote ascending or descending sequences of notes.
2844 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
2845 Some ligature styles may need additional input syntax specific for
2846 this particular type of ligature. By default, the
2847 @internalsref{LigatureBracket} engraver just puts a square bracket
2850 @lilypond[quote,ragged-right,verbatim]
2858 To select a specific style of ligatures, a proper ligature engraver
2859 has to be added to the @internalsref{Voice} context, as explained in
2860 the following subsections. Only white mensural ligatures
2861 are supported with certain limitations.
2867 Ligatures need special spacing that has not yet been implemented. As
2868 a result, there is too much space between ligatures most of the time,
2869 and line breaking often is unsatisfactory. Also, lyrics do not
2870 correctly align with ligatures.
2872 Accidentals must not be printed within a ligature, but instead need to
2873 be collected and printed in front of it.
2875 Augmentum dots within ligatures are not handled correctly.
2877 The syntax still uses the deprecated infix style @code{\[ music expr
2878 \]}. For consistency reasons, it will eventually be changed to
2879 postfix style @code{note\[ ... note\]}. Alternatively, the file
2880 @file{gregorian@/-init@/.ly} can be included; it provides a scheme
2883 \ligature @var{music expr}
2885 with the same effect and is believed to be stable.
2888 * White mensural ligatures::
2889 * Gregorian square neumes ligatures::
2892 @node White mensural ligatures
2893 @subsubsection White mensural ligatures
2895 @cindex Mensural ligatures
2896 @cindex White mensural ligatures
2898 There is limited support for white mensural ligatures.
2900 To engrave white mensural ligatures, in the layout block put the
2901 @internalsref{Mensural_ligature_engraver} into the
2902 @internalsref{Voice} context, and remove the
2903 @internalsref{Ligature_bracket_engraver}, like this
2909 \remove Ligature_bracket_engraver
2910 \consists Mensural_ligature_engraver
2915 There is no additional input language to describe the shape of a
2916 white mensural ligature. The shape is rather determined solely from
2917 the pitch and duration of the enclosed notes. While this approach may
2918 take a new user a while to get accustomed to, it has the great advantage
2919 that the full musical information of the ligature is known internally.
2920 This is not only required for correct MIDI output, but also allows for
2921 automatic transcription of the ligatures.
2926 \set Score.timing = ##f
2927 \set Score.defaultBarType = "empty"
2928 \override NoteHead #'style = #'neomensural
2929 \override Staff.TimeSignature #'style = #'neomensural
2933 \[ d\longa c\breve f e d \]
2935 \[ c'\maxima d'\longa \]
2939 @lilypond[quote,ragged-right]
2942 \set Score.timing = ##f
2943 \set Score.defaultBarType = "empty"
2944 \override NoteHead #'style = #'neomensural
2945 \override Staff.TimeSignature #'style = #'neomensural
2949 \[ d\longa c\breve f e d \]
2951 \[ c'\maxima d'\longa \]
2958 \remove Ligature_bracket_engraver
2959 \consists Mensural_ligature_engraver
2965 Without replacing @internalsref{Ligature_bracket_engraver} with
2966 @internalsref{Mensural_ligature_engraver}, the same music transcribes
2969 @lilypond[quote,ragged-right]
2971 \set Score.timing = ##f
2972 \set Score.defaultBarType = "empty"
2973 \override NoteHead #'style = #'neomensural
2974 \override Staff.TimeSignature #'style = #'neomensural
2978 \[ d\longa c\breve f e d \]
2980 \[ c'\maxima d'\longa \]
2988 The invisible rests (@code{s4}) in the example are used to compensate
2989 for the poor horizontal spacing.
2991 @node Gregorian square neumes ligatures
2992 @subsubsection Gregorian square neumes ligatures
2994 @cindex Square neumes ligatures
2995 @cindex Gregorian square neumes ligatures
2997 There is limited support for Gregorian square neumes notation
2998 (following the style of the Editio Vaticana). Core ligatures can
2999 already be typeset, but essential issues for serious typesetting are
3000 still lacking, such as (among others) horizontal alignment of multiple
3001 ligatures, lyrics alignment and proper handling of accidentals.
3004 The following table contains the extended neumes table of the 2nd
3005 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
3006 1983 by the monks of Solesmes.
3008 @multitable @columnfractions .4 .2 .2 .2
3025 @c TODO: \layout block is identical in all of the below examples.
3026 @c Therefore, it should somehow be included rather than duplicated all
3029 @c why not make identifiers in ly/engraver-init.ly? --hwn
3031 @c Because it's just used to typeset plain notes without
3032 @c a staff for demonstration purposes rather than something
3033 @c special of Gregorian chant notation. --jr
3038 @lilypond[staffsize=26,line-width=1.5\cm]
3039 \include "gregorian-init.ly"
3044 \noBreak s^\markup {"a"} \noBreak
3046 % Punctum Inclinatum
3048 \noBreak s^\markup {"b"}
3050 \layout { \neumeDemoLayout }}
3053 @lilypond[staffsize=26,line-width=2.5\cm]
3054 \include "gregorian-init.ly"
3057 % Punctum Auctum Ascendens
3058 \[ \auctum \ascendens b \]
3059 \noBreak s^\markup {"c"} \noBreak
3061 % Punctum Auctum Descendens
3062 \[ \auctum \descendens b \]
3063 \noBreak s^\markup {"d"} \noBreak
3065 % Punctum Inclinatum Auctum
3066 \[ \inclinatum \auctum b \]
3067 \noBreak s^\markup {"e"}
3069 \layout { \neumeDemoLayout }}
3072 @lilypond[staffsize=26,line-width=1.0\cm]
3073 \include "gregorian-init.ly"
3076 % Punctum Inclinatum Parvum
3077 \[ \inclinatum \deminutum b \]
3078 \noBreak s^\markup {"f"}
3080 \layout { \neumeDemoLayout }}
3086 @lilypond[staffsize=26,line-width=1.0\cm]
3087 \include "gregorian-init.ly"
3092 \noBreak s^\markup {"g"}
3094 \layout { \neumeDemoLayout }}
3100 @code{3. Apostropha vel Stropha}
3102 @lilypond[staffsize=26,line-width=1.0\cm]
3103 \include "gregorian-init.ly"
3108 \noBreak s^\markup {"h"}
3110 \layout { \neumeDemoLayout }}
3113 @lilypond[staffsize=26,line-width=1.0\cm]
3114 \include "gregorian-init.ly"
3118 \[ \stropha \auctum b \]
3119 \noBreak s^\markup {"i"}
3121 \layout { \neumeDemoLayout }}
3128 @lilypond[staffsize=26,line-width=1.0\cm]
3129 \include "gregorian-init.ly"
3134 \noBreak s^\markup {"j"}
3136 \layout { \neumeDemoLayout }}
3142 @code{5. Clivis vel Flexa}
3144 @lilypond[staffsize=26,line-width=1.0\cm]
3145 \include "gregorian-init.ly"
3152 \layout { \neumeDemoLayout }}
3155 @lilypond[staffsize=26,line-width=2.0\cm]
3156 \include "gregorian-init.ly"
3159 % Clivis Aucta Descendens
3160 \[ b \flexa \auctum \descendens g \]
3161 \noBreak s^\markup {"l"} \noBreak
3163 % Clivis Aucta Ascendens
3164 \[ b \flexa \auctum \ascendens g \]
3165 \noBreak s^\markup {"m"}
3167 \layout { \neumeDemoLayout }}
3170 @lilypond[staffsize=26,line-width=1.0\cm]
3171 \include "gregorian-init.ly"
3175 \[ b \flexa \deminutum g \]
3178 \layout { \neumeDemoLayout }}
3182 @code{6. Podatus vel Pes}
3184 @lilypond[staffsize=26,line-width=1.0\cm]
3185 \include "gregorian-init.ly"
3192 \layout { \neumeDemoLayout }}
3195 @lilypond[staffsize=26,line-width=2.0\cm]
3196 \include "gregorian-init.ly"
3199 % Pes Auctus Descendens
3200 \[ g \pes \auctum \descendens b \]
3201 \noBreak s^\markup {"p"} \noBreak
3203 % Pes Auctus Ascendens
3204 \[ g \pes \auctum \ascendens b \]
3205 \noBreak s^\markup {"q"}
3207 \layout { \neumeDemoLayout }}
3210 @lilypond[staffsize=26,line-width=1.0\cm]
3211 \include "gregorian-init.ly"
3215 \[ g \pes \deminutum b \]
3218 \layout { \neumeDemoLayout }}
3222 @code{7. Pes Quassus}
3224 @lilypond[staffsize=26,line-width=1.0\cm]
3225 \include "gregorian-init.ly"
3229 \[ \oriscus g \pes \virga b \]
3232 \layout { \neumeDemoLayout }}
3235 @lilypond[staffsize=26,line-width=1.0\cm]
3236 \include "gregorian-init.ly"
3239 % Pes Quassus Auctus Descendens
3240 \[ \oriscus g \pes \auctum \descendens b \]
3243 \layout { \neumeDemoLayout }}
3248 @code{8. Quilisma Pes}
3250 @lilypond[staffsize=26,line-width=1.0\cm]
3251 \include "gregorian-init.ly"
3255 \[ \quilisma g \pes b \]
3258 \layout { \neumeDemoLayout }}
3261 @lilypond[staffsize=26,line-width=1.0\cm]
3262 \include "gregorian-init.ly"
3265 % Quilisma Pes Auctus Descendens
3266 \[ \quilisma g \pes \auctum \descendens b \]
3269 \layout { \neumeDemoLayout }}
3274 @code{9. Podatus Initio Debilis}
3276 @lilypond[staffsize=26,line-width=1.0\cm]
3277 \include "gregorian-init.ly"
3280 % Pes Initio Debilis
3281 \[ \deminutum g \pes b \]
3284 \layout { \neumeDemoLayout }}
3287 @lilypond[staffsize=26,line-width=1.0\cm]
3288 \include "gregorian-init.ly"
3291 % Pes Auctus Descendens Initio Debilis
3292 \[ \deminutum g \pes \auctum \descendens b \]
3295 \layout { \neumeDemoLayout }}
3302 @lilypond[staffsize=26,line-width=1.0\cm]
3303 \include "gregorian-init.ly"
3307 \[ a \pes b \flexa g \]
3310 \layout { \neumeDemoLayout }}
3313 @lilypond[staffsize=26,line-width=1.0\cm]
3314 \include "gregorian-init.ly"
3317 % Torculus Auctus Descendens
3318 \[ a \pes b \flexa \auctum \descendens g \]
3321 \layout { \neumeDemoLayout }}
3324 @lilypond[staffsize=26,line-width=1.0\cm]
3325 \include "gregorian-init.ly"
3328 % Torculus Deminutus
3329 \[ a \pes b \flexa \deminutum g \]
3332 \layout { \neumeDemoLayout }}
3336 @code{11. Torculus Initio Debilis}
3338 @lilypond[staffsize=26,line-width=1.0\cm]
3339 \include "gregorian-init.ly"
3342 % Torculus Initio Debilis
3343 \[ \deminutum a \pes b \flexa g \]
3346 \layout { \neumeDemoLayout }}
3349 @lilypond[staffsize=26,line-width=1.0\cm]
3350 \include "gregorian-init.ly"
3353 % Torculus Auctus Descendens Initio Debilis
3354 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
3357 \layout { \neumeDemoLayout }}
3360 @lilypond[staffsize=26,line-width=1.0\cm]
3361 \include "gregorian-init.ly"
3364 % Torculus Deminutus Initio Debilis
3365 \[ \deminutum a \pes b \flexa \deminutum g \]
3368 \layout { \neumeDemoLayout }}
3372 @code{12. Porrectus}
3374 @lilypond[staffsize=26,line-width=1.0\cm]
3375 \include "gregorian-init.ly"
3379 \[ a \flexa g \pes b \]
3382 \layout { \neumeDemoLayout }}
3385 @lilypond[staffsize=26,line-width=1.0\cm]
3386 \include "gregorian-init.ly"
3389 % Porrectus Auctus Descendens
3390 \[ a \flexa g \pes \auctum \descendens b \]
3393 \layout { \neumeDemoLayout }}
3396 @lilypond[staffsize=26,line-width=1.0\cm]
3397 \include "gregorian-init.ly"
3400 % Porrectus Deminutus
3401 \[ a \flexa g \pes \deminutum b \]
3404 \layout { \neumeDemoLayout }}
3410 @lilypond[staffsize=26,line-width=1.0\cm]
3411 \include "gregorian-init.ly"
3415 \[ \virga b \inclinatum a \inclinatum g \]
3418 \layout { \neumeDemoLayout }
3422 @lilypond[staffsize=26,line-width=1.0\cm]
3423 \include "gregorian-init.ly"
3427 \[ \virga b \inclinatum a \inclinatum \auctum g \]
3430 \layout { \neumeDemoLayout }}
3433 @lilypond[staffsize=26,line-width=1.0\cm]
3434 \include "gregorian-init.ly"
3437 % Climacus Deminutus
3438 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
3441 \layout { \neumeDemoLayout }}
3445 @code{14. Scandicus}
3447 @lilypond[staffsize=26,line-width=1.0\cm]
3448 \include "gregorian-init.ly"
3452 \[ g \pes a \virga b \]
3455 \layout { \neumeDemoLayout }}
3458 @lilypond[staffsize=26,line-width=1.0\cm]
3459 \include "gregorian-init.ly"
3462 % Scandicus Auctus Descendens
3463 \[ g \pes a \pes \auctum \descendens b \]
3466 \layout { \neumeDemoLayout }}
3469 @lilypond[staffsize=26,line-width=1.0\cm]
3470 \include "gregorian-init.ly"
3473 % Scandicus Deminutus
3474 \[ g \pes a \pes \deminutum b \]
3477 \layout { \neumeDemoLayout }}
3483 @lilypond[staffsize=26,line-width=1.0\cm]
3484 \include "gregorian-init.ly"
3488 \[ g \oriscus a \pes \virga b \]
3491 \layout { \neumeDemoLayout }}
3494 @lilypond[staffsize=26,line-width=1.0\cm]
3495 \include "gregorian-init.ly"
3498 % Salicus Auctus Descendens
3499 \[ g \oriscus a \pes \auctum \descendens b \]
3502 \layout { \neumeDemoLayout }}
3509 @lilypond[staffsize=26,line-width=1.0\cm]
3510 \include "gregorian-init.ly"
3514 \[ \stropha b \stropha b \stropha a \]
3517 \layout { \neumeDemoLayout }
3526 Unlike most other neumes notation systems, the input language for
3527 neumes does not reflect the typographical appearance, but is designed
3528 to focus on musical meaning. For example, @code{\[ a \pes b
3529 \flexa g \]} produces a Torculus consisting of three Punctum heads,
3530 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
3531 curved flexa shape and only a single Punctum head. There is no
3532 command to explicitly typeset the curved flexa shape; the decision of
3533 when to typeset a curved flexa shape is based on the musical
3534 input. The idea of this approach is to separate the musical aspects
3535 of the input from the notation style of the output. This way, the
3536 same input can be reused to typeset the same music in a different
3537 style of Gregorian chant notation.
3539 The following table shows the code fragments that produce the
3540 ligatures in the above neumes table. The letter in the first column
3541 in each line of the below table indicates to which ligature in the
3542 above table it refers. The second column gives the name of the
3543 ligature. The third column shows the code fragment that produces this
3544 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
3546 @multitable @columnfractions .02 .31 .67
3566 @code{\[ \inclinatum b \]}
3574 @code{\[ \auctum \ascendens b \]}
3582 @code{\[ \auctum \descendens b \]}
3587 Punctum Inclinatum@*
3590 @code{\[ \inclinatum \auctum b \]}
3595 Punctum Inclinatum@*
3597 @code{\[ \inclinatum \deminutum b \]}
3604 @code{\[ \virga b \]}
3611 @code{\[ \stropha b \]}
3618 @code{\[ \stropha \auctum b \]}
3625 @code{\[ \oriscus b \]}
3632 @code{\[ b \flexa g \]}
3640 @code{\[ b \flexa \auctum \descendens g \]}
3648 @code{\[ b \flexa \auctum \ascendens g \]}
3655 @code{\[ b \flexa \deminutum g \]}
3662 @code{\[ g \pes b \]}
3670 @code{\[ g \pes \auctum \descendens b \]}
3678 @code{\[ g \pes \auctum \ascendens b \]}
3685 @code{\[ g \pes \deminutum b \]}
3692 @code{\[ \oriscus g \pes \virga b \]}
3698 Auctus Descendens @tab
3699 @code{\[ \oriscus g \pes \auctum \descendens b \]}
3706 @code{\[ \quilisma g \pes b \]}
3714 @code{\[ \quilisma g \pes \auctum \descendens b \]}
3721 @code{\[ \deminutum g \pes b \]}
3726 Pes Auctus Descendens@*
3729 @code{\[ \deminutum g \pes \auctum \descendens b \]}
3736 @code{\[ a \pes b \flexa g \]}
3744 @code{\[ a \pes b \flexa \auctum \descendens g \]}
3751 @code{\[ a \pes b \flexa \deminutum g \]}
3756 Torculus Initio Debilis
3758 @code{\[ \deminutum a \pes b \flexa g \]}
3764 Descendens Initio Debilis
3766 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
3771 Torculus Deminutus@*
3774 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
3781 @code{\[ a \flexa g \pes b \]}
3789 @code{\[ a \flexa g \pes \auctum \descendens b \]}
3796 @code{\[ a \flexa g \pes \deminutum b \]}
3803 @code{\[ \virga b \inclinatum a \inclinatum g \]}
3810 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
3817 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
3824 @code{\[ g \pes a \virga b \]}
3832 @code{\[ g \pes a \pes \auctum \descendens b \]}
3839 @code{\[ g \pes a \pes \deminutum b \]}
3846 @code{\[ g \oriscus a \pes \virga b \]}
3851 Salicus Auctus Descendens
3853 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
3860 @code{\[ \stropha b \stropha b \stropha a \]}
3865 The following head prefixes are supported
3867 @cindex @code{\virga}
3869 @cindex @code{\stropha}
3871 @cindex @code{\inclinatum}
3873 @cindex @code{\auctum}
3875 @cindex @code{\descendens}
3877 @cindex @code{\ascendens}
3879 @cindex @code{\oriscus}
3881 @cindex @code{\quilisma}
3883 @cindex @code{\deminutum}
3886 Head prefixes can be accumulated, though restrictions apply. For
3887 example, either @code{\descendens} or @code{\ascendens} can be applied
3888 to a head, but not both to the same head.
3891 @cindex @code{\flexa}
3892 Two adjacent heads can be tied together with the @code{\pes} and
3893 @code{\flexa} infix commands for a rising and falling line of melody,
3898 @node Gregorian Chant contexts
3899 @subsection Gregorian Chant contexts
3901 @cindex VaticanaVoiceContext
3902 @cindex VaticanaStaffContext
3904 The predefined @code{VaticanaVoiceContext} and
3905 @code{VaticanaStaffContext} can be used to engrave a piece of
3906 Gregorian Chant in the style of the Editio Vaticana. These contexts
3907 initialize all relevant context properties and grob properties to
3908 proper values, so you can immediately go ahead entering the chant, as
3909 the following excerpt demonstrates
3911 @lilypond[quote,ragged-right,packed,verbatim]
3912 \include "gregorian-init.ly"
3915 \new VaticanaVoice = "cantus" {
3916 \override Staff.StaffSymbol #'color = #red
3917 \override Staff.LedgerLineSpanner #'color = #red
3918 \override Score.BarNumber #'transparent = ##t {
3919 \[ c'\melisma c' \flexa a \]
3920 \[ a \flexa \deminutum g\melismaEnd \]
3922 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
3923 c' \divisioMinima \break
3924 \[ c'\melisma c' \flexa a \]
3925 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
3928 \new Lyrics \lyricsto "cantus" {
3929 San- ctus, San- ctus, San- ctus
3936 @node Mensural contexts
3937 @subsection Mensural contexts
3939 @cindex MensuralVoiceContext
3940 @cindex MensuralStaffContext
3942 The predefined @code{MensuralVoiceContext} and
3943 @code{MensuralStaffContext} can be used to engrave a piece in mensural
3944 style. These contexts initialize all relevant context properties and
3945 grob properties to proper values, so you can immediately go ahead
3946 entering the chant, as the following excerpt demonstrates
3948 @lilypond[quote,ragged-right,verbatim]
3951 \new MensuralVoice = "discantus" \transpose c c' {
3952 \override Score.BarNumber #'transparent = ##t {
3953 c'1\melisma bes a g\melismaEnd
3955 \[ f1\melisma a c'\breve d'\melismaEnd \]
3957 c'\breve\melisma a1 g1\melismaEnd
3958 fis\longa^\signumcongruentiae
3961 \new Lyrics \lyricsto "discantus" {
3962 San -- ctus, San -- ctus, San -- ctus
3968 @node Musica ficta accidentals
3969 @subsection Musica ficta accidentals
3971 In European music from before about 1600, singers were often expected
3972 to chromatically alter notes at their own initiative. This is called
3973 ``Musica Ficta''. In modern transcriptions, these accidentals are
3974 usually printed over the note.
3976 @cindex Musica ficta
3978 Support for such suggested accidentals is included, and can be
3979 switched on by setting @code{suggestAccidentals} to true.
3981 @cindex @code{suggestAccidentals}
3983 @lilypond[verbatim,fragment,relative=1]
3985 \set suggestAccidentals = ##t
3991 Program reference: @internalsref{Accidental_engraver} engraver and the
3992 @internalsref{AccidentalSuggestion} object.
3995 @subsection Figured bass
3997 @cindex Basso continuo
3999 @c TODO: musicological blurb about FB
4002 LilyPond has support for figured bass
4004 @lilypond[quote,ragged-right,verbatim,fragment]
4006 \new Voice { \clef bass dis4 c d ais g fis}
4007 \new FiguredBass \figuremode {
4008 < 6 >4 < 7\+ >8 < 6+ [_!] >
4015 The support for figured bass consists of two parts: there is an input
4016 mode, introduced by @code{\figuremode}, where you can enter bass figures
4017 as numbers, and there is a context called @internalsref{FiguredBass} that
4018 takes care of making @internalsref{BassFigure} objects.
4020 In figures input mode, a group of bass figures is delimited by
4021 @code{<} and @code{>}. The duration is entered after the @code{>}
4025 @lilypond[quote,ragged-right,fragment]
4027 \figuremode { <4 6> }
4030 Accidentals are added when you append @code{-}, @code{!}, and @code{+}
4031 to the numbers. A plus sign is added when you append @code{\+}, and
4032 diminished fifths and sevenths can be obtained with @code{5/} and @code{7/}.
4035 <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/>
4037 @lilypond[quote,ragged-right,fragment]
4038 \figures { <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/> }
4041 Spaces may be inserted by using @code{_}. Brackets are
4042 introduced with @code{[} and @code{]}. You can also include text
4043 strings and text markups, see @ref{Overview of text markup commands}.
4046 < [4 6] 8 [_! 12] > < 5 \markup @{ \number 6 \super (1) @} >
4048 @lilypond[quote,ragged-right,fragment]
4050 \figuremode { < [4 6] 8 [_! 12] > < 5 \markup{ \tiny \number 6 \super (1)} > }
4054 It is also possible to use continuation lines for repeated figures,
4056 @lilypond[verbatim,relative=1]
4063 \set useBassFigureExtenders = ##t
4070 In this case, the extender lines always replace existing figures.
4072 The @code{FiguredBass} context doesn't pay attention to the actual
4073 bass line. As a consequence, you may have to insert extra figures to
4074 get extender lines below all notes, and you may have to add @code{\!}
4075 to avoid getting an extender line, eg.
4077 @lilypond[relative=1]
4081 \set useBassFigureExtenders = ##t
4082 <6 4->4. <6 4->16. <6 4->32 <5>8. r16 <6>8 <6\! 5->
4086 f16. g32 f16. g32 f16. g32 f16. g32 f8. es16 d8 es
4091 When using continuation lines, common figures are always put in the
4092 same vertical position. When this is unwanted, you can insert a rest
4093 with @code{r}. The rest will clear any previous alignment. For
4094 example, you can write
4106 Accidentals and plus signs can appear before or after the numbers,
4107 depending on the @code{figuredBassAlterationDirection} and @code{figuredBassPlusDirection}
4113 \set figuredBassAlterationDirection = #1
4115 \set figuredBassPlusDirection = #1
4117 \set figuredBassAlterationDirection = #-1
4123 Although the support for figured bass may superficially resemble chord
4124 support, it is much simpler. The @code{\figuremode} mode simply
4125 stores the numbers and @internalsref{FiguredBass} context prints them
4126 as entered. There is no conversion to pitches and no realizations of
4127 the bass are played in the MIDI file.
4129 Internally, the code produces markup texts. You can use any of the
4130 markup text properties to override formatting. For example, the
4131 vertical spacing of the figures may be set with @code{baseline-skip}.
4135 Program reference: @internalsref{NewBassFigure},
4136 @internalsref{BassFigureAlignment}, @internalsref{BassFigureLine},
4137 @internalsref{BassFigureBracket}, and
4138 @internalsref{BassFigureContinuation} objects and
4139 @internalsref{FiguredBass} context.
4143 @node Other instrument specific notation
4144 @section Other instrument specific notation
4146 This section includes extra information for writing for instruments.
4149 * Artificial harmonics (strings)::
4152 @node Artificial harmonics (strings)
4153 @subsection Artificial harmonics (strings)
4155 @cindex artificial harmonics
4157 Artificial harmonics are notated with a different notehead style. They
4158 are entered by marking the harmonic pitch with @code{\harmonic}.
4160 @lilypond[ragged-right,verbatim,quote,fragment,relative=1]