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 }
1205 @subsubsection Spacing lyrics
1207 @cindex Spacing lyrics
1208 @cindex Lyrics, increasing space between
1210 To increase the space between lyrics, use the @code{SeparationItem}
1213 @lilypond[relative,verbatim,fragment,quote,raggedright]
1216 \override Score.SeparationItem #'padding = #5
1220 longtext longtext longtext longtext
1221 longtext longtext longtext longtext
1228 @subsection More stanzas
1230 @cindex phrasing, in lyrics
1233 @cindex stanza number
1234 @cindex singer's names
1235 @cindex name of singer
1237 Stanza numbers can be added by setting @code{stanza}, e.g.,
1239 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
1241 \time 3/4 g2 e4 a2 f4 g2.
1244 Hi, my name is Bert.
1247 Oh, che -- ri, je t'aime
1251 These numbers are put just before the start of first syllable.
1253 Names of singers can also be added. They are printed at the start of
1254 the line, just like instrument names. They are created by setting
1255 @code{vocalName}. A short version may be entered as @code{vocNam}.
1258 @lilypond[fragment,raggedright,quote,verbatim,relative=2]
1260 \time 3/4 g2 e4 a2 f4 g2.
1262 \set vocalName = "Bert "
1263 Hi, my name is Bert.
1265 \set vocalName = "Ernie "
1266 Oh, che -- ri, je t'aime
1270 You can display alternate (or divisi) lyrics by naming voice
1271 contexts and attaching lyrics to those specific contexts.
1273 @lilypond[verbatim,raggedright,quote]
1275 \context Voice = "melody" {
1280 \context Voice = splitpart { \voiceTwo c4 }
1285 \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
1286 \new Lyrics \lyricsto "splitpart" { will }
1291 You can use this trick to display different lyrics for a repeated
1294 @lilypond[verbatim,raggedright,quote]
1296 \context Voice = melody \relative c' {
1298 \context Voice = verse \repeat volta 2 {c4 d e f | g1 | }
1300 \lyricsto melody \context Lyrics = mainlyrics \lyricmode {
1303 \lyricsto verse \context Lyrics = mainlyrics \lyricmode {
1305 \lyricsto verse \context Lyrics = repeatlyrics \lyricmode {
1306 dodo rere mimi fafa solsol }
1314 Program reference: @internalsref{LyricText}, @internalsref{StanzaNumber}, @internalsref{VocalName}.
1322 The term @emph{ambitus} denotes a range of pitches for a given voice
1323 in a part of music. It may also denote the pitch range that a musical
1324 instrument is capable of playing. Ambits are printed on vocal parts,
1325 so performers can easily determine it meets their capabilities.
1327 Ambits are denoted at the beginning of a piece near the initial clef.
1328 The range is graphically specified by two note heads that represent the
1329 minimum and maximum pitch. To print such ambits, add the
1330 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
1337 \consists Ambitus_engraver
1342 This results in the following output
1344 @lilypond[quote,raggedright]
1348 \consists Ambitus_engraver
1352 \relative \new Staff {
1357 If you have multiple voices in a single staff and you want a single
1358 ambitus per staff rather than per each voice, add the
1359 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
1360 rather than to the @internalsref{Voice} context. Here is an example,
1362 @lilypond[verbatim,raggedright,quote]
1364 \consists "Ambitus_engraver"
1368 \remove "Ambitus_engraver"
1370 \override Ambitus #'X-offset-callbacks
1371 = #(list (lambda (grob axis) -1.0))
1376 \remove "Ambitus_engraver"
1385 This example uses one advanced feature,
1388 \override Ambitus #'X-offset-callbacks
1389 = #(list (lambda (grob axis) -1.0))
1393 This code moves the ambitus to the left. The same effect could have
1394 been achieved with @code{extra-offset}, but then the formatting system
1395 would not reserve space for the moved object.
1399 Program reference: @internalsref{Ambitus},
1400 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1401 @internalsref{AmbitusAccidental}.
1403 Examples: @inputfileref{input/@/regression,ambitus@/.ly}.
1407 There is no collision handling in the case of multiple per-voice
1411 @node Other vocal issues
1412 @subsection Other vocal issues
1415 yeah, I'm giving up somewhat by stuffing a bunch of things in
1416 here. But at least they're in the manual now; it's easier to
1417 move them around in the manual once they're already here.
1419 Besides, if users complain about everything stuffed in here, I
1420 can ask them for specific instructions about where to move these
1421 examples, and that might get them more involved in the docs. -gp
1424 ``Parlato'' is spoken without pitch but still with rhythm; it is
1425 notated by cross noteheads. This is demonstrated in
1426 @ref{Special noteheads}.
1429 @node Rhythmic music
1430 @section Rhythmic music
1432 Rhythmic music is primarily used for percussion and drum notation, but it can
1433 also be used to show the rhythms of melodies.
1436 * Showing melody rhythms::
1437 * Entering percussion::
1438 * Percussion staves::
1442 @node Showing melody rhythms
1443 @subsection Showing melody rhythms
1445 Sometimes you might want to show only the rhythm of a melody. This
1446 can be done with the rhythmic staff. All pitches of notes on such a
1447 staff are squashed, and the staff itself has a single line
1449 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1450 \context RhythmicStaff {
1452 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1458 Program reference: @internalsref{RhythmicStaff}.
1460 Examples: @inputfileref{input/@/regression,rhythmic@/-staff@/.ly}.
1463 @node Entering percussion
1464 @subsection Entering percussion
1470 Percussion notes may be entered in @code{\drummode} mode, which is
1471 similar to the standard mode for entering notes. Each piece of
1472 percussion has a full name and an abbreviated name, and both can be used
1475 @lilypond[quote,raggedright,verbatim]
1477 hihat hh bassdrum bd
1481 The complete list of drum names is in the init file
1482 @file{ly/@/drumpitch@/-init@/.ly}.
1483 @c TODO: properly document this.
1487 Program reference: @internalsref{note-event}.
1489 @node Percussion staves
1490 @subsection Percussion staves
1494 A percussion part for more than one instrument typically uses a
1495 multiline staff where each position in the staff refers to one piece
1499 To typeset the music, the notes must be interpreted in a
1500 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
1502 @lilypond[quote,raggedright,verbatim]
1503 up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
1504 down = \drummode { bassdrum4 snare8 bd r bd sn4 }
1506 \new DrumVoice { \voiceOne \up }
1507 \new DrumVoice { \voiceTwo \down }
1511 The above example shows verbose polyphonic notation. The short
1512 polyphonic notation, described in @ref{Polyphony}, can also be used if
1513 the @internalsref{DrumVoice}s are instantiated by hand first. For example,
1515 @lilypond[quote,raggedright,fragment,verbatim]
1517 \context DrumVoice = "1" { s1 *2 }
1518 \context DrumVoice = "2" { s1 *2 }
1522 { \repeat unfold 16 hh16 }
1531 There are also other layout possibilities. To use these, set the
1532 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
1533 The following variables have been predefined
1537 This is the default. It typesets a typical drum kit on a five-line staff
1539 @lilypond[quote,linewidth=10.0\cm]
1541 cymc cyms cymr hh hhc hho hhho hhp
1542 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl }
1544 cymc cyms cymr hh hhc hho hhho hhp \break
1545 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
1547 << \new DrumStaff \with {
1548 \remove Bar_engraver
1549 \remove Time_signature_engraver
1550 \override Stem #'transparent = ##t
1551 \override Stem #'Y-extent-callback = ##f
1552 minimumVerticalExtent = #'(-4.0 . 5.0)
1554 \context Lyrics \nam
1559 \override LyricText #'font-family = #'typewriter
1560 \override BarNumber #'transparent =##T
1566 The drum scheme supports six different toms. When there are fewer toms,
1567 simply select the toms that produce the desired result, i.e., to get toms
1568 on the three middle lines you use @code{tommh}, @code{tomml}, and
1571 @item timbales-style
1572 This typesets timbales on a two line staff
1574 @lilypond[quote,raggedright]
1575 nam = \lyricmode { timh ssh timl ssl cb }
1576 mus = \drummode { timh ssh timl ssl cb s16 }
1579 \context DrumStaff \with {
1580 \remove Bar_engraver
1581 \remove Time_signature_engraver
1582 \override Stem #'transparent = ##t
1583 \override Stem #'Y-extent-callback = ##f
1584 \override StaffSymbol #'line-count = #2
1585 \override StaffSymbol #'staff-space = #2
1586 minimumVerticalExtent = #'(-3.0 . 4.0)
1587 drumStyleTable = #timbales-style
1590 \override LyricText #'font-family = #'typewriter
1597 This typesets congas on a two line staff
1599 @lilypond[quote,raggedright]
1600 nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
1601 mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
1604 \context DrumStaff \with {
1605 \remove Bar_engraver
1606 \remove Time_signature_engraver
1607 drumStyleTable = #congas-style
1608 \override StaffSymbol #'line-count = #2
1610 %% this sucks; it will lengthen stems.
1611 \override StaffSymbol #'staff-space = #2
1612 \override Stem #'transparent = ##t
1613 \override Stem #'Y-extent-callback = ##f
1616 \override LyricText #'font-family = #'typewriter
1623 This typesets bongos on a two line staff
1625 @lilypond[quote,raggedright]
1626 nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
1627 mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
1630 \context DrumStaff\with {
1631 \remove Bar_engraver
1632 \remove Time_signature_engraver
1633 \override StaffSymbol #'line-count = #2
1634 drumStyleTable = #bongos-style
1636 %% this sucks; it will lengthen stems.
1637 \override StaffSymbol #'staff-space = #2
1638 \override Stem #'transparent = ##t
1639 \override Stem #'Y-extent-callback = ##f
1642 \override LyricText #'font-family = #'typewriter
1648 @item percussion-style
1649 To typeset all kinds of simple percussion on one line staves.
1651 @lilypond[quote,raggedright]
1652 nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
1653 mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
1656 \context DrumStaff\with{
1657 \remove Bar_engraver
1658 drumStyleTable = #percussion-style
1659 \override StaffSymbol #'line-count = #1
1660 \remove Time_signature_engraver
1661 \override Stem #'transparent = ##t
1662 \override Stem #'Y-extent-callback = ##f
1665 \override LyricText #'font-family = #'typewriter
1672 If you do not like any of the predefined lists you can define your own
1673 list at the top of your file
1675 @lilypond[quote,raggedright,verbatim]
1677 (bassdrum default #f -1)
1678 (snare default #f 0)
1680 (pedalhihat xcircle "stopped" 2)
1681 (lowtom diamond #f 3)))
1682 up = \drummode { hh8 hh hh hh hhp4 hhp }
1683 down = \drummode { bd4 sn bd toml8 toml }
1686 \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
1687 \new DrumVoice { \voiceOne \up }
1688 \new DrumVoice { \voiceTwo \down }
1695 Init files: @file{ly/@/drumpitch@/-init@/.ly}.
1697 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
1701 Because general MIDI does not contain rim shots, the sidestick is used
1702 for this purpose instead.
1710 @cindex guitar tablature
1713 * String number indications::
1714 * Tablatures basic::
1715 * Non-guitar tablatures::
1717 * Other guitar issues::
1720 @node String number indications
1721 @subsection String number indications
1723 @cindex String numbers
1725 String numbers can be added to chords, by indicating the string number
1726 with @code{\}@var{number},
1728 @lilypond[relative,relative=1,raggedright,fragment]
1732 See also @inputfileref{input/regression,string-number.ly}.
1737 Program reference: @internalsref{StringNumber}.
1740 @node Tablatures basic
1741 @subsection Tablatures basic
1742 @cindex Tablatures basic
1744 Tablature notation is used for notating music for plucked string
1745 instruments. Pitches are not denoted with note heads, but by
1746 numbers indicating on which string and fret a note must be played. LilyPond
1747 offers limited support for tablature.
1749 The string number associated to a note is given as a backslash
1750 followed by a number, e.g., @code{c4\3} for a C quarter on the third
1751 string. By default, string 1 is the highest one, and the tuning
1752 defaults to the standard guitar tuning (with 6 strings). The notes
1753 are printed as tablature, by using @internalsref{TabStaff} and
1754 @internalsref{TabVoice} contexts
1756 @lilypond[quote,raggedright,fragment,verbatim]
1763 @cindex @code{minimumFret}
1766 When no string is specified, the first string that does not give a
1767 fret number less than @code{minimumFret} is selected. The default
1768 value for @code{minimumFret} is 0
1773 \set TabStaff.minimumFret = #8
1776 @lilypond[quote,raggedright]
1780 \set TabStaff.minimumFret = #8
1783 \context StaffGroup <<
1784 \context Staff { \clef "G_8" \frag }
1785 \context TabStaff { \frag }
1791 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}.
1795 Chords are not handled in a special way, and hence the automatic
1796 string selector may easily select the same string to two notes in a
1800 @node Non-guitar tablatures
1801 @subsection Non-guitar tablatures
1802 @cindex Non-guitar tablatures
1804 You can change the number of strings, by setting the number of lines
1805 in the @internalsref{TabStaff}.
1807 You can change the tuning of the strings. A string tuning is given as
1808 a Scheme list with one integer number for each string, the number
1809 being the pitch (measured in semitones relative to middle C) of an
1810 open string. The numbers specified for @code{stringTuning} are the
1811 numbers of semitones to subtract or add, starting the specified pitch
1812 by default middle C, in string order. In the next example,
1813 @code{stringTunings} is set for the pitches e, a, d, and g
1815 @lilypond[quote,raggedright,fragment,verbatim]
1816 \context TabStaff <<
1817 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
1819 a,4 c' a e' e c' a e'
1826 No guitar special effects have been implemented.
1830 Program reference: @internalsref{Tab_note_heads_engraver}.
1834 @subsection Fret diagrams
1835 @cindex fret diagrams
1836 @cindex chord diagrams
1838 Fret diagrams can be added to music as a markup to the desired note. The
1839 markup contains information about the desired fret diagram, as shown in the
1842 @lilypond[verbatim, raggedright, quote]
1844 d'^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
1846 fis'^\markup \override #'(size . 0.75) {
1847 \override #'(finger-code . below-string) {
1848 \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
1849 (place-fret 5 4 3) (place-fret 4 4 4)
1850 (place-fret 3 3 2) (place-fret 2 2 1)
1855 c'^\markup \override #'(dot-radius . 0.35) {
1856 \override #'(finger-code . in-dot) {
1857 \override #'(dot-color . white) {
1858 \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
1867 There are three different fret-diagram markup interfaces: standard, terse,
1868 and verbose. The three interfaces produce equivalent markups, but have
1869 varying amounts of information in the markup string. Details about the
1870 markup interfaces are found at @ref{Overview of text markup commands}.
1872 You can set a number of graphical properties according to your preference.
1873 Details about the property interface to fret diagrams are found at
1874 @internalsref{fret-diagram-interface}.
1879 Examples: @inputfileref{input/@/test,fret@/-diagram@/.ly}
1882 @node Other guitar issues
1883 @subsection Other guitar issues
1885 This example demonstrates how to include guitar position and
1886 barring indications.
1888 @lilypond[quote,raggedright,fragment,verbatim,relative=0]
1892 \override TextSpanner #'edge-text = #'("XII " . "")
1894 b16 e16 g16 e16 b16 g16\stopTextSpan
1899 Stopped (X) note heads are used in guitar music to signal a place where the
1900 guitarist must play a certain note or chord, with its fingers just
1901 touching the strings instead of fully pressing them. This gives the sound a
1902 percussive noise-like sound that still maintains part of the original
1903 pitch. It is notated with cross noteheads; this is
1904 demonstrated in @ref{Special noteheads}.
1913 * Bagpipe definitions::
1918 @node Bagpipe definitions
1919 @subsection Bagpipe definitions
1921 LilyPond contains special definitions for music for the Scottish
1922 highland bagpipe; to use them, add
1925 \include "bagpipe.ly"
1929 at the top of your input file. This lets you add the special gracenotes
1930 common to bagpipe music with short commands. For example, you could
1931 write @code{\taor} instead of
1934 \grace @{ \small G32[ d G e] @}
1937 @code{bagpipe.ly} also contains pitch definitions for the bagpipe
1938 notes in the appropiate octaves, so you do not need to worry about
1939 @code{\relative} or @code{\transpose}.
1941 @lilypond[raggedright,verbatim,quote,notime]
1942 \include "bagpipe.ly"
1943 { \grg G4 \grg a \grg b \grg c \grg d \grg e \grg f \grA g A }
1946 Bagpipe music nominally uses the key of D Major (even though that
1947 isn't really true). However, since that is the only key that can be used,
1948 the key signature is normally not written out. To set this up correctly,
1949 always start your music with @code{\hideKeySignature}. If you for some
1950 reason want to show the key signature, you can use @code{\showKeySignature}
1953 Some modern music use cross fingering on c and f to flatten those notes.
1954 This can be indicated by @code{cflat} or @code{fflat}. Similarly, the
1955 piobaireachd high g can be written @code{gflat} when it occurs in light
1959 @node Bagpipe example
1960 @subsection Bagpipe example
1962 This is what the well known tune Amazing Grace looks like in bagpipe
1965 @lilypond[verbatim,quote]
1966 \include "bagpipe.ly"
1969 \context { \Score \remove "Bar_number_engraver" }
1973 title = "Amazing Grace"
1975 arranger = "Trad. arr."
1981 \grg \partial 4 a8. d16
1982 \slurd d2 \grg f8[ e32 d16.]
1985 \grG a2 \grg a8. d16
1986 \slurd d2 \grg f8[ e32 d16.]
1987 \grg f2 \grg e8. f16
1990 \grg A2 \hdblf f8[ e32 d16.]
1993 \grG a2 \grg a8. d16
1994 \slurd d2 \grg f8[ e32 d16.]
2003 @node Ancient notation
2004 @section Ancient notation
2006 @cindex Vaticana, Editio
2007 @cindex Medicaea, Editio
2012 Support for ancient notation includes features for mensural notation
2013 and Gregorian Chant notation. There is also limited support for
2014 figured bass notation.
2016 Many graphical objects provide a @code{style} property, see
2019 @ref{Ancient note heads},
2021 @ref{Ancient accidentals},
2023 @ref{Ancient rests},
2025 @ref{Ancient clefs},
2027 @ref{Ancient flags},
2029 @ref{Ancient time signatures}.
2032 By manipulating such a grob property, the typographical appearance of
2033 the affected graphical objects can be accommodated for a specific
2034 notation flavor without the need for introducing any new notational
2037 In addition to the standard articulation signs described in section
2038 @ref{Articulations}, specific articulation signs for ancient notation
2043 @ref{Ancient articulations}
2046 Other aspects of ancient notation can not that easily be expressed
2047 in terms of just changing a style property of a graphical object or
2048 adding articulation signs. Some notational concepts are introduced
2049 specifically for ancient notation,
2060 If this all is too much of documentation for you, and you just want to
2061 dive into typesetting without worrying too much about the details on
2062 how to customize a context, you may have a look at the predefined
2063 contexts. Use them to set up predefined style-specific voice and
2064 staff contexts, and directly go ahead with the note entry,
2068 @ref{Gregorian Chant contexts},
2070 @ref{Mensural contexts}.
2073 There is limited support for figured bass notation which came
2074 up during the baroque period.
2081 Here are all suptopics at a glance:
2084 * Ancient note heads::
2085 * Ancient accidentals::
2089 * Ancient time signatures::
2090 * Ancient articulations::
2094 * Gregorian Chant contexts::
2095 * Mensural contexts::
2096 * Musica ficta accidentals::
2102 @node Ancient note heads
2103 @subsection Ancient note heads
2108 For ancient notation, a note head style other than the @code{default}
2109 style may be chosen. This is accomplished by setting the @code{style}
2110 property of the @internalsref{NoteHead} object to @code{baroque},
2111 @code{neomensural}, @code{mensural} or @code{petrucci}. The
2112 @code{baroque} style differs from the @code{default} style only in
2113 using a square shape for @code{\breve} note heads. The
2114 @code{neomensural} style differs from the @code{baroque} style in that
2115 it uses rhomboidal heads for whole notes and all smaller durations.
2116 Stems are centered on the note heads. This style is particularly
2117 useful when transcribing mensural music, e.g., for the incipit. The
2118 @code{mensural} style produces note heads that mimic the look of note
2119 heads in historic printings of the 16th century. Finally, the
2120 @code{petrucci} style also mimicks historic printings, but uses bigger
2123 The following example demonstrates the @code{neomensural} style
2125 @lilypond[quote,fragment,raggedright,verbatim]
2126 \set Score.skipBars = ##t
2127 \override NoteHead #'style = #'neomensural
2128 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
2131 When typesetting a piece in Gregorian Chant notation, the
2132 @internalsref{Gregorian_ligature_engraver} will automatically select
2133 the proper note heads, so there is no need to explicitly set the
2134 note head style. Still, the note head style can be set, e.g., to
2135 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
2136 @internalsref{Mensural_ligature_engraver} is used to automatically
2137 assemble mensural ligatures. See @ref{Ligatures} for how ligature
2142 Examples: @inputfileref{input/@/regression,note@/-head@/-style@/.ly} gives an
2143 overview over all available note head styles.
2146 @node Ancient accidentals
2147 @subsection Ancient accidentals
2152 Use the @code{style} property of grob @internalsref{Accidental} to
2153 select ancient accidentals. Supported styles are
2154 @code{mensural}, @code{vaticana}, @code{hufnagel}, and @code{medicaea}.
2156 @lilypond[quote,raggedright,staffsize=26]
2163 \line { " " \musicglyph #"accidentals.vaticana-1"
2164 " " \musicglyph #"accidentals.vaticana0" }
2168 \line { " " \musicglyph #"accidentals.medicaea-1" }
2172 \line { " " \musicglyph #"accidentals.hufnagel-1" }
2176 \line { " " \musicglyph #"accidentals.mensural-1"
2177 " " \musicglyph #"accidentals.mensural1" }
2183 \context { \Score \remove "Bar_number_engraver" }
2185 \remove "Clef_engraver"
2186 \remove "Key_engraver"
2187 \remove "Time_signature_engraver"
2188 \remove "Staff_symbol_engraver"
2189 minimumVerticalExtent = ##f
2195 As shown, not all accidentals are supported by each style. When
2196 trying to access an unsupported accidental, LilyPond will switch to a
2197 different style, as demonstrated in
2198 @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2200 Similarly to local accidentals, the style of the key signature can be
2201 controlled by the @code{style} property of the
2202 @internalsref{KeySignature} grob.
2206 In this manual: @ref{Pitches}, @ref{Cautionary accidentals} and
2207 @ref{Automatic accidentals} give a general introduction of the use of
2208 accidentals. @ref{Key signature} gives a general introduction of
2209 the use of key signatures.
2211 Program reference: @internalsref{KeySignature}.
2213 Examples: @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2216 @subsection Ancient rests
2218 @cindex rests, ancient
2221 Use the @code{style} property of grob @internalsref{Rest} to select
2222 ancient rests. Supported styles are @code{classical},
2223 @code{neomensural}, and @code{mensural}. @code{classical} differs
2224 from the @code{default} style only in that the quarter rest looks like
2225 a horizontally mirrored 8th rest. The @code{neomensural} style suits
2226 well for, e.g., the incipit of a transcribed mensural piece of music.
2227 The @code{mensural} style finally mimics the appearance of rests as
2228 in historic prints of the 16th century.
2230 The following example demonstrates the @code{neomensural} style
2232 @lilypond[quote,fragment,raggedright,verbatim]
2233 \set Score.skipBars = ##t
2234 \override Rest #'style = #'neomensural
2235 r\longa r\breve r1 r2 r4 r8 r16
2238 There are no 32th and 64th rests specifically for the mensural or
2239 neo-mensural style. Instead, the rests from the default style will be
2240 taken. See @inputfileref{input/@/test,rests@/.ly} for a chart of all
2243 There are no rests in Gregorian Chant notation; instead, it uses
2248 In this manual: @ref{Rests} gives a general introduction into the use of rests.
2252 @subsection Ancient clefs
2257 LilyPond supports a variety of clefs, many of them ancient.
2259 The following table shows all ancient clefs that are supported via the
2260 @code{\clef} command. Some of the clefs use the same glyph, but
2261 differ only with respect to the line they are printed on. In such
2262 cases, a trailing number in the name is used to enumerate these clefs.
2263 Still, you can manually force a clef glyph to be typeset on an
2264 arbitrary line, as described in @ref{Clef}. The note printed to the
2265 right side of each clef in the example column denotes the @code{c'}
2266 with respect to that clef.
2268 @multitable @columnfractions .4 .4 .2
2277 modern style mensural C clef
2279 @code{neomensural-c1}, @code{neomensural-c2},@*
2280 @code{neomensural-c3}, @code{neomensural-c4}
2282 @lilypond[fragment,relative=1,notime]
2283 \clef "neomensural-c2" c
2287 petrucci style mensural C clefs, for use on different staff lines
2288 (the examples show the 2nd staff line C clef)
2290 @code{petrucci-c1}, @code{petrucci-c2},@*
2291 @code{petrucci-c3}, @code{petrucci-c4},@*
2294 @lilypond[fragment,relative=1,notime]
2296 \override NoteHead #'style = #'mensural
2301 petrucci style mensural F clef
2305 @lilypond[fragment,relative=1,notime]
2307 \override NoteHead #'style = #'mensural
2312 petrucci style mensural G clef
2316 @lilypond[fragment,relative=1,notime]
2318 \override NoteHead #'style = #'mensural
2323 historic style mensural C clef
2325 @code{mensural-c1}, @code{mensural-c2},@*
2326 @code{mensural-c3}, @code{mensural-c4}
2328 @lilypond[fragment,relative=1,notime]
2330 \override NoteHead #'style = #'mensural
2335 historic style mensural F clef
2339 @lilypond[fragment,relative=1,notime]
2341 \override NoteHead #'style = #'mensural
2346 historic style mensural G clef
2350 @lilypond[fragment,relative=1,notime]
2352 \override NoteHead #'style = #'mensural
2357 Editio Vaticana style do clef
2359 @code{vaticana-do1}, @code{vaticana-do2},@*
2362 @lilypond[fragment,relative=1,notime]
2363 \override Staff.StaffSymbol #'line-count = #4
2364 \override Staff.StaffSymbol #'color = #red
2365 \override Staff.LedgerLineSpanner #'color = #red
2366 \override Voice.Stem #'transparent = ##t
2367 \override NoteHead #'style = #'vaticana.punctum
2368 \clef "vaticana-do2"
2373 Editio Vaticana style fa clef
2375 @code{vaticana-fa1}, @code{vaticana-fa2}
2377 @lilypond[fragment,relative=1,notime]
2378 \override Staff.StaffSymbol #'line-count = #4
2379 \override Staff.StaffSymbol #'color = #red
2380 \override Staff.LedgerLineSpanner #'color = #red
2381 \override Voice.Stem #'transparent = ##t
2382 \override NoteHead #'style = #'vaticana.punctum
2383 \clef "vaticana-fa2"
2388 Editio Medicaea style do clef
2390 @code{medicaea-do1}, @code{medicaea-do2},@*
2393 @lilypond[fragment,relative=1,notime]
2394 \override Staff.StaffSymbol #'line-count = #4
2395 \override Staff.StaffSymbol #'color = #red
2396 \override Staff.LedgerLineSpanner #'color = #red
2397 \override Voice.Stem #'transparent = ##t
2398 \override NoteHead #'style = #'medicaea.punctum
2399 \clef "medicaea-do2"
2404 Editio Medicaea style fa clef
2406 @code{medicaea-fa1}, @code{medicaea-fa2}
2408 @lilypond[fragment,relative=1,notime]
2409 \override Staff.StaffSymbol #'line-count = #4
2410 \override Staff.StaffSymbol #'color = #red
2411 \override Staff.LedgerLineSpanner #'color = #red
2412 \override Voice.Stem #'transparent = ##t
2413 \override NoteHead #'style = #'medicaea.punctum
2414 \clef "medicaea-fa2"
2419 historic style hufnagel do clef
2421 @code{hufnagel-do1}, @code{hufnagel-do2},@*
2424 @lilypond[fragment,relative=1,notime]
2425 \override Staff.StaffSymbol #'line-count = #4
2426 \override Staff.StaffSymbol #'color = #red
2427 \override Staff.LedgerLineSpanner #'color = #red
2428 \override Voice.Stem #'transparent = ##t
2429 \override NoteHead #'style = #'hufnagel.punctum
2430 \clef "hufnagel-do2"
2435 historic style hufnagel fa clef
2437 @code{hufnagel-fa1}, @code{hufnagel-fa2}
2439 @lilypond[fragment,relative=1,notime]
2440 \override Staff.StaffSymbol #'line-count = #4
2441 \override Staff.StaffSymbol #'color = #red
2442 \override Staff.LedgerLineSpanner #'color = #red
2443 \override Voice.Stem #'transparent = ##t
2444 \override NoteHead #'style = #'hufnagel.punctum
2445 \clef "hufnagel-fa2"
2450 historic style hufnagel combined do/fa clef
2452 @code{hufnagel-do-fa}
2454 @lilypond[fragment,relative=1,notime]
2455 \override Staff.StaffSymbol #'color = #red
2456 \override Staff.LedgerLineSpanner #'color = #red
2457 \override Voice.Stem #'transparent = ##t
2458 \override NoteHead #'style = #'hufnagel.punctum
2459 \clef "hufnagel-do-fa"
2466 @emph{Modern style} means ``as is typeset in contemporary editions of
2467 transcribed mensural music''.
2469 @emph{Petrucci style} means ``inspired by printings published by the
2470 famous engraver Petrucci (1466-1539)''.
2472 @emph{Historic style} means ``as was typeset or written in historic
2473 editions (other than those of Petrucci)''.
2475 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
2477 Petrucci used C clefs with differently balanced left-side vertical
2478 beams, depending on which staff line it is printed.
2482 In this manual: see @ref{Clef}.
2486 The mensural g clef is mapped to the Petrucci g clef.
2491 @subsection Ancient flags
2496 Use the @code{flag-style} property of grob @internalsref{Stem} to
2497 select ancient flags. Besides the @code{default} flag style,
2498 only the @code{mensural} style is supported
2500 @lilypond[quote,fragment,raggedright,verbatim]
2501 \override Stem #'flag-style = #'mensural
2502 \override Stem #'thickness = #1.0
2503 \override NoteHead #'style = #'mensural
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 s8
2506 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
2509 Note that the innermost flare of each mensural flag always is
2510 vertically aligned with a staff line.
2512 There is no particular flag style for neo-mensural notation. Hence,
2513 when typesetting the incipit of a transcribed piece of mensural
2514 music, the default flag style should be used. There are no flags in
2515 Gregorian Chant notation.
2519 The attachment of ancient flags to stems is slightly off due to a
2520 change in early 2.3.x.
2522 Vertically aligning each flag with a staff line assumes that stems
2523 always end either exactly on or exactly in the middle between two
2524 staff lines. This may not always be true when using advanced layout
2525 features of classical notation (which however are typically out of
2526 scope for mensural notation).
2528 @node Ancient time signatures
2529 @subsection Ancient time signatures
2531 @cindex time signatures
2534 There is limited support for mensural time signatures. The
2535 glyphs are hard-wired to particular time fractions. In other words,
2536 to get a particular mensural signature glyph with the @code{\time n/m}
2537 command, @code{n} and @code{m} have to be chosen according to the
2540 @lilypond[quote,raggedright]
2545 \remove Staff_symbol_engraver
2546 \remove Clef_engraver
2547 \remove Time_signature_engraver
2551 \set Score.timing = ##f
2552 \set Score.barAlways = ##t
2553 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph #"timesig.neomensural44" }
2555 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph #"timesig.neomensural22" }
2557 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph #"timesig.neomensural64" }
2559 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph #"timesig.neomensural68" }
2561 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph #"timesig.neomensural32" }
2563 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph #"timesig.neomensural34" }
2565 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph #"timesig.neomensural94" }
2567 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph #"timesig.neomensural98" }
2569 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph #"timesig.neomensural48" }
2571 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph #"timesig.neomensural24" }
2575 Use the @code{style} property of grob @internalsref{TimeSignature} to
2576 select ancient time signatures. Supported styles are
2577 @code{neomensural} and @code{mensural}. The above table uses the
2578 @code{neomensural} style. This style is appropriate for the
2579 incipit of transcriptions of mensural pieces. The @code{mensural}
2580 style mimics the look of historical printings of the 16th century.
2582 The following examples show the differences in style,
2584 @lilypond[raggedright,fragment,relative=1,quote]
2589 c1^\markup { \hspace #-2.0 \typewriter default }
2591 \override Staff.TimeSignature #'style = #'numbered
2593 c1^\markup { \hspace #-2.0 \typewriter numbered }
2595 \override Staff.TimeSignature #'style = #'mensural
2597 c1^\markup { \hspace #-2.0 \typewriter mensural }
2599 \override Staff.TimeSignature #'style = #'neomensural
2601 c1^\markup { \hspace #-2.0 \typewriter neomensural }
2602 \override Staff.TimeSignature #'style = #'single-digit
2604 c1^\markup { \hspace #-2.0 \typewriter single-digit }
2610 This manual: @ref{Time signature} gives a general introduction to
2611 the use of time signatures.
2615 Ratios of note durations do not change with the time signature. For
2616 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
2617 be made by hand, by setting
2620 breveTP = #(ly:make-duration -1 0 3 2)
2626 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
2628 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
2629 addressable with @code{\time}. Use a @code{\markup} instead
2631 @node Ancient articulations
2632 @subsection Ancient articulations
2634 @cindex articulations
2636 In addition to the standard articulation signs described in section
2637 @ref{Articulations}, articulation signs for ancient notation are
2638 provided. These are specifically designed for use with notation in
2639 Editio Vaticana style.
2641 @lilypond[quote,raggedright,verbatim]
2642 \include "gregorian-init.ly"
2644 \context VaticanaVoice {
2645 \override Staff.StaffSymbol #'color = #red
2646 \override Staff.LedgerLineSpanner #'color = #red
2647 \override TextScript #'font-family = #'typewriter
2648 \override TextScript #'font-shape = #'upright
2649 \override Script #'padding = #-0.1
2651 a4\circulus_"circulus" s1
2652 a4\semicirculus_"semicirculus" s1 s
2653 a4\accentus_"accentus" s1
2654 \[ a4_"episem" \episemInitium \pes b \flexa a \episemFinis \]
2661 Some articulations are vertically placed too closely to the
2662 correpsonding note heads.
2665 @subsection Custodes
2670 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
2671 symbol that appears at the end of a staff. It anticipates the pitch
2672 of the first note(s) of the following line thus helping the performer
2673 to manage line breaks during performance.
2675 Custodes were frequently used in music notation until the 17th
2676 century. Nowadays, they have survived only in a few particular forms
2677 of musical notation such as contemporary editions of Gregorian chant
2678 like the @emph{editio vaticana}. There are different custos glyphs
2679 used in different flavors of notational style.
2681 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
2682 @internalsref{Staff} context when declaring the @code{\layout} block,
2683 as shown in the following example
2689 \consists Custos_engraver
2690 Custos \override #'style = #'mensural
2695 The result looks like this
2697 @lilypond[quote,raggedright]
2701 \override Staff.Custos #'style = #'mensural
2706 \context { \Staff \consists Custos_engraver }
2711 The custos glyph is selected by the @code{style} property. The styles
2712 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
2713 @code{mensural}. They are demonstrated in the following fragment
2715 @lilypond[quote,raggedright,fragment]
2716 \new Lyrics \lyricmode {
2718 \typewriter "vaticana"
2719 \line { " " \musicglyph #"custodes.vaticana.u0" }
2722 \typewriter "medicaea"
2723 \line { " " \musicglyph #"custodes.medicaea.u0" }
2726 \typewriter "hufnagel"
2727 \line { " " \musicglyph #"custodes.hufnagel.u0" }
2730 \typewriter "mensural"
2731 \line { " " \musicglyph #"custodes.mensural.u0" }
2738 Program reference: @internalsref{Custos}.
2740 Examples: @inputfileref{input/@/regression,custos@/.ly}.
2744 @subsection Divisiones
2750 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
2751 `division') is a staff context symbol that is used to structure
2752 Gregorian music into phrases and sections. The musical meaning of
2753 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
2754 can be characterized as short, medium, and long pause, somewhat like
2755 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
2756 only marks the end of a chant, but is also frequently used within a
2757 single antiphonal/responsorial chant to mark the end of each section.
2760 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
2761 contains definitions that you can apply by just inserting
2762 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
2763 and @code{\finalis} at proper places in the input. Some editions use
2764 @emph{virgula} or @emph{caesura} instead of divisio minima.
2765 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
2768 @lilypondfile[quote,raggedright]{divisiones.ly}
2772 @cindex @code{\virgula}
2774 @cindex @code{\caesura}
2776 @cindex @code{\divisioMinima}
2777 @code{\divisioMinima},
2778 @cindex @code{\divisioMaior}
2779 @code{\divisioMaior},
2780 @cindex @code{\divisioMaxima}
2781 @code{\divisioMaxima},
2782 @cindex @code{\finalis}
2787 In this manual: @ref{Breath marks}.
2789 Program reference: @internalsref{BreathingSign}.
2791 Examples: @inputfileref{input/@/test,divisiones@/.ly}.
2794 @subsection Ligatures
2798 @c TODO: Should double check if I recalled things correctly when I wrote
2799 @c down the following paragraph by heart.
2801 A ligature is a graphical symbol that represents at least two distinct
2802 notes. Ligatures originally appeared in the manuscripts of Gregorian
2803 chant notation to denote ascending or descending sequences of notes.
2805 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
2806 Some ligature styles may need additional input syntax specific for
2807 this particular type of ligature. By default, the
2808 @internalsref{LigatureBracket} engraver just puts a square bracket
2811 @lilypond[quote,raggedright,verbatim]
2819 To select a specific style of ligatures, a proper ligature engraver
2820 has to be added to the @internalsref{Voice} context, as explained in
2821 the following subsections. Only white mensural ligatures
2822 are supported with certain limitations.
2828 Ligatures need special spacing that has not yet been implemented. As
2829 a result, there is too much space between ligatures most of the time,
2830 and line breaking often is unsatisfactory. Also, lyrics do not
2831 correctly align with ligatures.
2833 Accidentals must not be printed within a ligature, but instead need to
2834 be collected and printed in front of it.
2836 Augmentum dots within ligatures are not handled correctly.
2838 The syntax still uses the deprecated infix style @code{\[ music expr
2839 \]}. For consistency reasons, it will eventually be changed to
2840 postfix style @code{note\[ ... note\]}. Alternatively, the file
2841 @file{gregorian@/-init@/.ly} can be included; it provides a scheme
2844 \ligature @var{music expr}
2846 with the same effect and is believed to be stable.
2849 * White mensural ligatures::
2850 * Gregorian square neumes ligatures::
2853 @node White mensural ligatures
2854 @subsubsection White mensural ligatures
2856 @cindex Mensural ligatures
2857 @cindex White mensural ligatures
2859 There is limited support for white mensural ligatures.
2861 To engrave white mensural ligatures, in the layout block put the
2862 @internalsref{Mensural_ligature_engraver} into the
2863 @internalsref{Voice} context, and remove the
2864 @internalsref{Ligature_bracket_engraver}, like this
2870 \remove Ligature_bracket_engraver
2871 \consists Mensural_ligature_engraver
2876 There is no additional input language to describe the shape of a
2877 white mensural ligature. The shape is rather determined solely from
2878 the pitch and duration of the enclosed notes. While this approach may
2879 take a new user a while to get accustomed to, it has the great advantage
2880 that the full musical information of the ligature is known internally.
2881 This is not only required for correct MIDI output, but also allows for
2882 automatic transcription of the ligatures.
2887 \set Score.timing = ##f
2888 \set Score.defaultBarType = "empty"
2889 \override NoteHead #'style = #'neomensural
2890 \override Staff.TimeSignature #'style = #'neomensural
2894 \[ d\longa c\breve f e d \]
2896 \[ c'\maxima d'\longa \]
2900 @lilypond[quote,raggedright]
2903 \set Score.timing = ##f
2904 \set Score.defaultBarType = "empty"
2905 \override NoteHead #'style = #'neomensural
2906 \override Staff.TimeSignature #'style = #'neomensural
2910 \[ d\longa c\breve f e d \]
2912 \[ c'\maxima d'\longa \]
2919 \remove Ligature_bracket_engraver
2920 \consists Mensural_ligature_engraver
2926 Without replacing @internalsref{Ligature_bracket_engraver} with
2927 @internalsref{Mensural_ligature_engraver}, the same music transcribes
2930 @lilypond[quote,raggedright]
2932 \set Score.timing = ##f
2933 \set Score.defaultBarType = "empty"
2934 \override NoteHead #'style = #'neomensural
2935 \override Staff.TimeSignature #'style = #'neomensural
2939 \[ d\longa c\breve f e d \]
2941 \[ c'\maxima d'\longa \]
2949 The invisible rests (@code{s4}) in the example are used to compensate
2950 for the poor horizontal spacing.
2952 @node Gregorian square neumes ligatures
2953 @subsubsection Gregorian square neumes ligatures
2955 @cindex Square neumes ligatures
2956 @cindex Gregorian square neumes ligatures
2958 There is limited support for Gregorian square neumes notation
2959 (following the style of the Editio Vaticana). Core ligatures can
2960 already be typeset, but essential issues for serious typesetting are
2961 still lacking, such as (among others) horizontal alignment of multiple
2962 ligatures, lyrics alignment and proper handling of accidentals.
2965 The following table contains the extended neumes table of the 2nd
2966 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
2967 1983 by the monks of Solesmes.
2969 @multitable @columnfractions .4 .2 .2 .2
2986 @c TODO: \layout block is identical in all of the below examples.
2987 @c Therefore, it should somehow be included rather than duplicated all
2990 @c why not make identifiers in ly/engraver-init.ly? --hwn
2992 @c Because it's just used to typeset plain notes without
2993 @c a staff for demonstration purposes rather than something
2994 @c special of Gregorian chant notation. --jr
2999 @lilypond[staffsize=26,linewidth=1.5\cm]
3000 \include "gregorian-init.ly"
3005 \noBreak s^\markup {"a"} \noBreak
3007 % Punctum Inclinatum
3009 \noBreak s^\markup {"b"}
3011 \layout { \neumeDemoLayout }}
3014 @lilypond[staffsize=26,linewidth=2.5\cm]
3015 \include "gregorian-init.ly"
3018 % Punctum Auctum Ascendens
3019 \[ \auctum \ascendens b \]
3020 \noBreak s^\markup {"c"} \noBreak
3022 % Punctum Auctum Descendens
3023 \[ \auctum \descendens b \]
3024 \noBreak s^\markup {"d"} \noBreak
3026 % Punctum Inclinatum Auctum
3027 \[ \inclinatum \auctum b \]
3028 \noBreak s^\markup {"e"}
3030 \layout { \neumeDemoLayout }}
3033 @lilypond[staffsize=26,linewidth=1.0\cm]
3034 \include "gregorian-init.ly"
3037 % Punctum Inclinatum Parvum
3038 \[ \inclinatum \deminutum b \]
3039 \noBreak s^\markup {"f"}
3041 \layout { \neumeDemoLayout }}
3047 @lilypond[staffsize=26,linewidth=1.0\cm]
3048 \include "gregorian-init.ly"
3053 \noBreak s^\markup {"g"}
3055 \layout { \neumeDemoLayout }}
3061 @code{3. Apostropha vel Stropha}
3063 @lilypond[staffsize=26,linewidth=1.0\cm]
3064 \include "gregorian-init.ly"
3069 \noBreak s^\markup {"h"}
3071 \layout { \neumeDemoLayout }}
3074 @lilypond[staffsize=26,linewidth=1.0\cm]
3075 \include "gregorian-init.ly"
3079 \[ \stropha \auctum b \]
3080 \noBreak s^\markup {"i"}
3082 \layout { \neumeDemoLayout }}
3089 @lilypond[staffsize=26,linewidth=1.0\cm]
3090 \include "gregorian-init.ly"
3095 \noBreak s^\markup {"j"}
3097 \layout { \neumeDemoLayout }}
3103 @code{5. Clivis vel Flexa}
3105 @lilypond[staffsize=26,linewidth=1.0\cm]
3106 \include "gregorian-init.ly"
3113 \layout { \neumeDemoLayout }}
3116 @lilypond[staffsize=26,linewidth=2.0\cm]
3117 \include "gregorian-init.ly"
3120 % Clivis Aucta Descendens
3121 \[ b \flexa \auctum \descendens g \]
3122 \noBreak s^\markup {"l"} \noBreak
3124 % Clivis Aucta Ascendens
3125 \[ b \flexa \auctum \ascendens g \]
3126 \noBreak s^\markup {"m"}
3128 \layout { \neumeDemoLayout }}
3131 @lilypond[staffsize=26,linewidth=1.0\cm]
3132 \include "gregorian-init.ly"
3136 \[ b \flexa \deminutum g \]
3139 \layout { \neumeDemoLayout }}
3143 @code{6. Podatus vel Pes}
3145 @lilypond[staffsize=26,linewidth=1.0\cm]
3146 \include "gregorian-init.ly"
3153 \layout { \neumeDemoLayout }}
3156 @lilypond[staffsize=26,linewidth=2.0\cm]
3157 \include "gregorian-init.ly"
3160 % Pes Auctus Descendens
3161 \[ g \pes \auctum \descendens b \]
3162 \noBreak s^\markup {"p"} \noBreak
3164 % Pes Auctus Ascendens
3165 \[ g \pes \auctum \ascendens b \]
3166 \noBreak s^\markup {"q"}
3168 \layout { \neumeDemoLayout }}
3171 @lilypond[staffsize=26,linewidth=1.0\cm]
3172 \include "gregorian-init.ly"
3176 \[ g \pes \deminutum b \]
3179 \layout { \neumeDemoLayout }}
3183 @code{7. Pes Quassus}
3185 @lilypond[staffsize=26,linewidth=1.0\cm]
3186 \include "gregorian-init.ly"
3190 \[ \oriscus g \pes \virga b \]
3193 \layout { \neumeDemoLayout }}
3196 @lilypond[staffsize=26,linewidth=1.0\cm]
3197 \include "gregorian-init.ly"
3200 % Pes Quassus Auctus Descendens
3201 \[ \oriscus g \pes \auctum \descendens b \]
3204 \layout { \neumeDemoLayout }}
3209 @code{8. Quilisma Pes}
3211 @lilypond[staffsize=26,linewidth=1.0\cm]
3212 \include "gregorian-init.ly"
3216 \[ \quilisma g \pes b \]
3219 \layout { \neumeDemoLayout }}
3222 @lilypond[staffsize=26,linewidth=1.0\cm]
3223 \include "gregorian-init.ly"
3226 % Quilisma Pes Auctus Descendens
3227 \[ \quilisma g \pes \auctum \descendens b \]
3230 \layout { \neumeDemoLayout }}
3235 @code{9. Podatus Initio Debilis}
3237 @lilypond[staffsize=26,linewidth=1.0\cm]
3238 \include "gregorian-init.ly"
3241 % Pes Initio Debilis
3242 \[ \deminutum g \pes b \]
3245 \layout { \neumeDemoLayout }}
3248 @lilypond[staffsize=26,linewidth=1.0\cm]
3249 \include "gregorian-init.ly"
3252 % Pes Auctus Descendens Initio Debilis
3253 \[ \deminutum g \pes \auctum \descendens b \]
3256 \layout { \neumeDemoLayout }}
3263 @lilypond[staffsize=26,linewidth=1.0\cm]
3264 \include "gregorian-init.ly"
3268 \[ a \pes b \flexa g \]
3271 \layout { \neumeDemoLayout }}
3274 @lilypond[staffsize=26,linewidth=1.0\cm]
3275 \include "gregorian-init.ly"
3278 % Torculus Auctus Descendens
3279 \[ a \pes b \flexa \auctum \descendens g \]
3282 \layout { \neumeDemoLayout }}
3285 @lilypond[staffsize=26,linewidth=1.0\cm]
3286 \include "gregorian-init.ly"
3289 % Torculus Deminutus
3290 \[ a \pes b \flexa \deminutum g \]
3293 \layout { \neumeDemoLayout }}
3297 @code{11. Torculus Initio Debilis}
3299 @lilypond[staffsize=26,linewidth=1.0\cm]
3300 \include "gregorian-init.ly"
3303 % Torculus Initio Debilis
3304 \[ \deminutum a \pes b \flexa g \]
3307 \layout { \neumeDemoLayout }}
3310 @lilypond[staffsize=26,linewidth=1.0\cm]
3311 \include "gregorian-init.ly"
3314 % Torculus Auctus Descendens Initio Debilis
3315 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
3318 \layout { \neumeDemoLayout }}
3321 @lilypond[staffsize=26,linewidth=1.0\cm]
3322 \include "gregorian-init.ly"
3325 % Torculus Deminutus Initio Debilis
3326 \[ \deminutum a \pes b \flexa \deminutum g \]
3329 \layout { \neumeDemoLayout }}
3333 @code{12. Porrectus}
3335 @lilypond[staffsize=26,linewidth=1.0\cm]
3336 \include "gregorian-init.ly"
3340 \[ a \flexa g \pes b \]
3343 \layout { \neumeDemoLayout }}
3346 @lilypond[staffsize=26,linewidth=1.0\cm]
3347 \include "gregorian-init.ly"
3350 % Porrectus Auctus Descendens
3351 \[ a \flexa g \pes \auctum \descendens b \]
3354 \layout { \neumeDemoLayout }}
3357 @lilypond[staffsize=26,linewidth=1.0\cm]
3358 \include "gregorian-init.ly"
3361 % Porrectus Deminutus
3362 \[ a \flexa g \pes \deminutum b \]
3365 \layout { \neumeDemoLayout }}
3371 @lilypond[staffsize=26,linewidth=1.0\cm]
3372 \include "gregorian-init.ly"
3376 \[ \virga b \inclinatum a \inclinatum g \]
3379 \layout { \neumeDemoLayout }
3383 @lilypond[staffsize=26,linewidth=1.0\cm]
3384 \include "gregorian-init.ly"
3388 \[ \virga b \inclinatum a \inclinatum \auctum g \]
3391 \layout { \neumeDemoLayout }}
3394 @lilypond[staffsize=26,linewidth=1.0\cm]
3395 \include "gregorian-init.ly"
3398 % Climacus Deminutus
3399 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
3402 \layout { \neumeDemoLayout }}
3406 @code{14. Scandicus}
3408 @lilypond[staffsize=26,linewidth=1.0\cm]
3409 \include "gregorian-init.ly"
3413 \[ g \pes a \virga b \]
3416 \layout { \neumeDemoLayout }}
3419 @lilypond[staffsize=26,linewidth=1.0\cm]
3420 \include "gregorian-init.ly"
3423 % Scandicus Auctus Descendens
3424 \[ g \pes a \pes \auctum \descendens b \]
3427 \layout { \neumeDemoLayout }}
3430 @lilypond[staffsize=26,linewidth=1.0\cm]
3431 \include "gregorian-init.ly"
3434 % Scandicus Deminutus
3435 \[ g \pes a \pes \deminutum b \]
3438 \layout { \neumeDemoLayout }}
3444 @lilypond[staffsize=26,linewidth=1.0\cm]
3445 \include "gregorian-init.ly"
3449 \[ g \oriscus a \pes \virga b \]
3452 \layout { \neumeDemoLayout }}
3455 @lilypond[staffsize=26,linewidth=1.0\cm]
3456 \include "gregorian-init.ly"
3459 % Salicus Auctus Descendens
3460 \[ g \oriscus a \pes \auctum \descendens b \]
3463 \layout { \neumeDemoLayout }}
3470 @lilypond[staffsize=26,linewidth=1.0\cm]
3471 \include "gregorian-init.ly"
3475 \[ \stropha b \stropha b \stropha a \]
3478 \layout { \neumeDemoLayout }
3487 Unlike most other neumes notation systems, the input language for
3488 neumes does not reflect the typographical appearance, but is designed
3489 to focus on musical meaning. For example, @code{\[ a \pes b
3490 \flexa g \]} produces a Torculus consisting of three Punctum heads,
3491 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
3492 curved flexa shape and only a single Punctum head. There is no
3493 command to explicitly typeset the curved flexa shape; the decision of
3494 when to typeset a curved flexa shape is based on the musical
3495 input. The idea of this approach is to separate the musical aspects
3496 of the input from the notation style of the output. This way, the
3497 same input can be reused to typeset the same music in a different
3498 style of Gregorian chant notation.
3500 The following table shows the code fragments that produce the
3501 ligatures in the above neumes table. The letter in the first column
3502 in each line of the below table indicates to which ligature in the
3503 above table it refers. The second column gives the name of the
3504 ligature. The third column shows the code fragment that produces this
3505 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
3507 @multitable @columnfractions .02 .31 .67
3527 @code{\[ \inclinatum b \]}
3535 @code{\[ \auctum \ascendens b \]}
3543 @code{\[ \auctum \descendens b \]}
3548 Punctum Inclinatum@*
3551 @code{\[ \inclinatum \auctum b \]}
3556 Punctum Inclinatum@*
3558 @code{\[ \inclinatum \deminutum b \]}
3565 @code{\[ \virga b \]}
3572 @code{\[ \stropha b \]}
3579 @code{\[ \stropha \auctum b \]}
3586 @code{\[ \oriscus b \]}
3593 @code{\[ b \flexa g \]}
3601 @code{\[ b \flexa \auctum \descendens g \]}
3609 @code{\[ b \flexa \auctum \ascendens g \]}
3616 @code{\[ b \flexa \deminutum g \]}
3623 @code{\[ g \pes b \]}
3631 @code{\[ g \pes \auctum \descendens b \]}
3639 @code{\[ g \pes \auctum \ascendens b \]}
3646 @code{\[ g \pes \deminutum b \]}
3653 @code{\[ \oriscus g \pes \virga b \]}
3659 Auctus Descendens @tab
3660 @code{\[ \oriscus g \pes \auctum \descendens b \]}
3667 @code{\[ \quilisma g \pes b \]}
3675 @code{\[ \quilisma g \pes \auctum \descendens b \]}
3682 @code{\[ \deminutum g \pes b \]}
3687 Pes Auctus Descendens@*
3690 @code{\[ \deminutum g \pes \auctum \descendens b \]}
3697 @code{\[ a \pes b \flexa g \]}
3705 @code{\[ a \pes b \flexa \auctum \descendens g \]}
3712 @code{\[ a \pes b \flexa \deminutum g \]}
3717 Torculus Initio Debilis
3719 @code{\[ \deminutum a \pes b \flexa g \]}
3725 Descendens Initio Debilis
3727 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
3732 Torculus Deminutus@*
3735 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
3742 @code{\[ a \flexa g \pes b \]}
3750 @code{\[ a \flexa g \pes \auctum \descendens b \]}
3757 @code{\[ a \flexa g \pes \deminutum b \]}
3764 @code{\[ \virga b \inclinatum a \inclinatum g \]}
3771 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
3778 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
3785 @code{\[ g \pes a \virga b \]}
3793 @code{\[ g \pes a \pes \auctum \descendens b \]}
3800 @code{\[ g \pes a \pes \deminutum b \]}
3807 @code{\[ g \oriscus a \pes \virga b \]}
3812 Salicus Auctus Descendens
3814 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
3821 @code{\[ \stropha b \stropha b \stropha a \]}
3826 The following head prefixes are supported
3828 @cindex @code{\virga}
3830 @cindex @code{\stropha}
3832 @cindex @code{\inclinatum}
3834 @cindex @code{\auctum}
3836 @cindex @code{\descendens}
3838 @cindex @code{\ascendens}
3840 @cindex @code{\oriscus}
3842 @cindex @code{\quilisma}
3844 @cindex @code{\deminutum}
3847 Head prefixes can be accumulated, though restrictions apply. For
3848 example, either @code{\descendens} or @code{\ascendens} can be applied
3849 to a head, but not both to the same head.
3852 @cindex @code{\flexa}
3853 Two adjacent heads can be tied together with the @code{\pes} and
3854 @code{\flexa} infix commands for a rising and falling line of melody,
3859 @node Gregorian Chant contexts
3860 @subsection Gregorian Chant contexts
3862 @cindex VaticanaVoiceContext
3863 @cindex VaticanaStaffContext
3865 The predefined @code{VaticanaVoiceContext} and
3866 @code{VaticanaStaffContext} can be used to engrave a piece of
3867 Gregorian Chant in the style of the Editio Vaticana. These contexts
3868 initialize all relevant context properties and grob properties to
3869 proper values, so you can immediately go ahead entering the chant, as
3870 the following excerpt demonstrates
3872 @lilypond[quote,raggedright,packed,verbatim]
3873 \include "gregorian-init.ly"
3876 \context VaticanaVoice = "cantus" {
3877 \override Staff.StaffSymbol #'color = #red
3878 \override Staff.LedgerLineSpanner #'color = #red
3879 \override Score.BarNumber #'transparent = ##t {
3880 \[ c'\melisma c' \flexa a \]
3881 \[ a \flexa \deminutum g\melismaEnd \]
3883 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
3884 c' \divisioMinima \break
3885 \[ c'\melisma c' \flexa a \]
3886 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
3889 \lyricsto "cantus" \new Lyrics {
3890 San- ctus, San- ctus, San- ctus
3897 @node Mensural contexts
3898 @subsection Mensural contexts
3900 @cindex MensuralVoiceContext
3901 @cindex MensuralStaffContext
3903 The predefined @code{MensuralVoiceContext} and
3904 @code{MensuralStaffContext} can be used to engrave a piece in mensural
3905 style. These contexts initialize all relevant context properties and
3906 grob properties to proper values, so you can immediately go ahead
3907 entering the chant, as the following excerpt demonstrates
3909 @lilypond[quote,raggedright,verbatim]
3912 \context MensuralVoice = "discantus" \transpose c c' {
3913 \override Score.BarNumber #'transparent = ##t {
3914 c'1\melisma bes a g\melismaEnd
3916 \[ f1\melisma a c'\breve d'\melismaEnd \]
3918 c'\breve\melisma a1 g1\melismaEnd
3919 fis\longa^\signumcongruentiae
3922 \lyricsto "discantus" \new Lyrics {
3923 San -- ctus, San -- ctus, San -- ctus
3929 @node Musica ficta accidentals
3930 @subsection Musica ficta accidentals
3932 In European music from before about 1600, singers were often expected
3933 to chromatically alter notes at their own initiative. This is called
3934 ``Musica Ficta''. In modern transcriptions, these accidentals are
3935 usually printed over the note.
3937 @cindex Musica ficta
3939 Support for such suggested accidentals is included, and can be
3940 switched on by setting @code{suggestAccidentals} to true.
3942 @cindex @code{suggestAccidentals}
3944 @lilypond[verbatim,fragment,relative=1]
3946 \set suggestAccidentals = ##t
3952 Program reference: @internalsref{Accidental_engraver} engraver and the
3953 @internalsref{AccidentalSuggestion} object.
3956 @subsection Figured bass
3958 @cindex Basso continuo
3960 @c TODO: musicological blurb about FB
3963 LilyPond has limited support for figured bass
3965 @lilypond[quote,raggedright,verbatim,fragment]
3967 \context Voice { \clef bass dis4 c d ais g fis}
3968 \context FiguredBass \figuremode {
3969 < 6 >4 < 7 >8 < 6+ [_!] >
3976 The support for figured bass consists of two parts: there is an input
3977 mode, introduced by @code{\figuremode}, where you can enter bass figures
3978 as numbers, and there is a context called @internalsref{FiguredBass} that
3979 takes care of making @internalsref{BassFigure} objects.
3981 In figures input mode, a group of bass figures is delimited by
3982 @code{<} and @code{>}. The duration is entered after the @code{>}
3986 @lilypond[quote,raggedright,fragment]
3987 \context FiguredBass
3988 \figuremode { <4 6> }
3991 Accidentals are added when you append @code{-}, @code{!}, and @code{+}
3997 @lilypond[quote,raggedright,fragment]
3998 \context FiguredBass
3999 \figuremode { <4- 6+ 7!> }
4002 Spaces or dashes may be inserted by using @code{_}. Brackets are
4003 introduced with @code{[} and @code{]}. You can also include text
4004 strings and text markups, see @ref{Overview of text markup commands}.
4007 < [4 6] 8 [_! 12] > < 5 \markup @{ + \number 6 @} >
4009 @lilypond[quote,raggedright,fragment]
4010 \context FiguredBass
4011 \figuremode { < [4 6] 8 [_! 12] > < 5 \markup{ + \number 6 } > }
4015 Although the support for figured bass may superficially resemble chord
4016 support, it works much simpler. The @code{\figuremode} mode simply
4017 stores the numbers and @internalsref{FiguredBass} context prints
4018 them as entered. There is no conversion to pitches and no
4019 realizations of the bass are played in the MIDI file.
4021 Internally, the code produces markup texts. You can use any of the
4022 markup text properties to override formatting. For example, the
4023 vertical spacing of the figures may be set with @code{baseline-skip}.
4027 Program reference: @internalsref{BassFigure} object,
4028 @internalsref{FiguredBass} context.
4032 Slash notation for alterations is not supported.
4036 @node Other instrument specific notation
4037 @section Other instrument specific notation
4039 This section includes extra information for writing for instruments.
4042 * Artificial harmonics (strings)::
4045 @node Artificial harmonics (strings)
4046 @subsection Artificial harmonics (strings)
4048 @cindex artificial harmonics
4050 Artificial harmonics are notated with a different notehead style. They
4051 are entered by marking the harmonic pitch with @code{\harmonic}.
4053 @lilypond[raggedright,verbatim,quote,fragment,relative=1]