1 @c -*- coding: latin-1; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
8 @node Instrument-specific notation
9 @chapter Instrument-specific notation
11 This chapter explains how to use notation for specific instruments.
20 * Other instrument specific notation::
28 Piano staves are two normal staves coupled with a brace. The staves
29 are largely independent, but sometimes voices can cross between the
30 two staves. The same notation is also used for harps and other key
31 instruments. The @internalsref{PianoStaff} is especially built to
32 handle this cross-staffing behavior. In this section we discuss the
33 @internalsref{PianoStaff} and some other pianistic peculiarities.
36 * Automatic staff changes::
37 * Manual staff switches::
39 * 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
326 @subsection Chords mode
329 In chord mode sets of pitches (chords) are entered with normal note
330 names. A chord is entered by the root, which is entered like a
333 @lilypond[quote,raggedright,fragment,verbatim]
334 \chordmode { es4. d8 c2 }
338 The mode is introduced by the keyword @code{\chordmode}.
343 Other chords may be entered by suffixing a colon and introducing a
344 modifier (which may include a number if desired)
345 @lilypond[quote,fragment,verbatim]
346 \chordmode { e1:m e1:7 e1:m7 }
348 The first number following the root is taken to be the `type' of the
349 chord, thirds are added to the root until it reaches the specified
351 @lilypond[quote,fragment,verbatim]
352 \chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
355 @cindex root of chord
356 @cindex additions, in chords
357 @cindex removals, in chords
359 More complex chords may also be constructed adding separate steps
360 to a chord. Additions are added after the number following
361 the colon and are separated by dots
362 @lilypond[quote,verbatim,fragment]
363 \chordmode { c:5.6 c:3.7.8 c:3.6.13 }
365 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
367 @lilypond[quote,verbatim,fragment]
368 \chordmode { c:7+ c:5+.3- c:3-.5-.7- }
370 Removals are specified similarly and are introduced by a caret. They
371 must come after the additions
372 @lilypond[quote,verbatim,fragment]
373 \chordmode { c^3 c:7^5 c:9^3.5 }
376 Modifiers can be used to change pitches. The following modifiers are
381 The minor chord. This modifier lowers the 3rd and (if present) the 7th step.
384 The diminished chord. This modifier lowers the 3rd, 5th and (if present)
388 The augmented chord. This modifier raises the 5th step.
391 The major 7th chord. This modifier raises the 7th step if present.
394 The suspended 4th or 2nd. This modifier removes the 3rd
395 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
399 Modifiers can be mixed with additions
400 @lilypond[quote,verbatim,fragment]
401 \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
404 @cindex modifiers, in chords.
411 Since an unaltered 11 does not sound good when combined with an
412 unaltered 3, the 11 is removed in this case (unless it is added
414 @lilypond[quote,raggedright,fragment,verbatim]
415 \chordmode { c:13 c:13.11 c:m13 }
420 An inversion (putting one pitch of the chord on the bottom), as well
421 as bass notes, can be specified by appending
422 @code{/}@var{pitch} to the chord
423 @lilypond[quote,raggedright,fragment,verbatim]
424 \chordmode { c1 c/g c/f }
428 A bass note can be added instead transposed out of the chord,
429 by using @code{/+}@var{pitch}.
431 @lilypond[quote,raggedright,fragment,verbatim]
432 \chordmode { c1 c/+g c/+f }
435 Chords is a mode similar to @code{\lyricmode}, etc. Most
436 of the commands continue to work, for example, @code{r} and
437 @code{\skip} can be used to insert rests and spaces, and property
438 commands may be used to change various settings.
444 Each step can only be present in a chord once. The following
445 simply produces the augmented chord, since @code{5+} is interpreted
448 @lilypond[quote,raggedright,verbatim,fragment]
449 \chordmode { c:5.5-.5+ }
453 @node Printing chord names
454 @subsection Printing chord names
456 @cindex printing chord names
460 For displaying printed chord names, use the @internalsref{ChordNames} context.
461 The chords may be entered either using the notation
462 described above, or directly using @code{<} and @code{>}
464 @lilypond[quote,verbatim,raggedright]
466 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
469 \context ChordNames \harmonies
470 \context Staff \harmonies
474 You can make the chord changes stand out by setting
475 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
476 display chord names when there is a change in the chords scheme and at
477 the start of a new line
479 @lilypond[quote,verbatim,raggedright]
480 harmonies = \chordmode {
481 c1:m c:m \break c:m c:m d
484 \context ChordNames {
485 \set chordChanges = ##t
487 \context Staff \transpose c c' \harmonies
491 The previous examples all show chords over a staff. This is not
492 necessary. Chords may also be printed separately. It may be necessary
493 to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
496 @lilypond[raggedright,verbatim]
497 \new ChordNames \with {
498 \override BarLine #'bar-size = #4
499 voltaOnThisStaff = ##t
500 \consists Bar_engraver
501 \consists "Volta_engraver"
503 \repeat volta 2 \chordmode {
512 The default chord name layout is a system for Jazz music, proposed by
513 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
517 @cindex @code{chordNameExceptions}
518 @item chordNameExceptions
519 This is a list that contains the chords that have special formatting.
521 The exceptions list should be encoded as
523 @{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
526 To get this information into @code{chordNameExceptions} takes a little
527 manoeuvring. The following code transforms @code{chExceptionMusic}
528 (which is a sequential music) into a list of exceptions.
530 (sequential-music-to-chord-exceptions chExceptionMusic #t)
535 (sequential-music-to-chord-exceptions chExceptionMusic #t)
538 adds the new exceptions to the default ones, which are defined in
539 @file{ly/@/chord@/-modifier@/-init@/.ly}.
541 For an example of tuning this property, see also
542 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly}.
543 @cindex exceptions, chord names.
546 @cindex @code{majorSevenSymbol}
547 @item majorSevenSymbol
548 This property contains the markup object used for the 7th step, when
549 it is major. Predefined options are @code{whiteTriangleMarkup} and
550 @code{blackTriangleMarkup}. See
551 @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly} for an example.
553 @cindex @code{chordNameSeparator}
554 @item chordNameSeparator
555 Different parts of a chord name are normally separated by a
556 slash. By setting @code{chordNameSeparator}, you can specify other
558 @lilypond[quote,raggedright,fragment,verbatim]
559 \context ChordNames \chordmode {
561 \set chordNameSeparator
562 = \markup { \typewriter "|" }
567 @cindex @code{chordRootNamer}
569 The root of a chord is usually printed as a letter with an optional
570 alteration. The transformation from pitch to letter is done by this
571 function. Special note names (for example, the German ``H'' for a
572 B-chord) can be produced by storing a new function in this property.
574 @cindex @code{chordNoteNamer}
576 The default is to print single pitch, e.g., the bass note, using the
577 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
578 to a specialized function to change this behavior. For example, the
579 base can be printed in lower case.
581 @cindex @code{chordPrefixSpacer}
582 @item chordPrefixSpacer
583 The ``m'' for minor chords is usually printed right after the root of
584 the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer
585 between the root and ``m''. The spacer is not used when the root
590 The predefined variables @code{\germanChords},
591 @code{\semiGermanChords}, @code{\italianChords} and @code{\frenchChords}
592 set these variables. The effect is
595 @lilypondfile[raggedright]{chord-names-languages.ly}
597 There are also two other chord name schemes implemented: an alternate
598 Jazz chord notation, and a systematic scheme called Banter chords. The
599 alternate Jazz notation is also shown on the chart in @ref{Chord name
600 chart}. Turning on these styles is described in the input file
601 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
610 @cindex @code{\germanChords}
611 @code{\germanChords},
612 @cindex @code{\semiGermanChords}
613 @code{\semiGermanChords}.
614 @cindex @code{\italianChords}
615 @code{\italianChords}.
616 @cindex @code{\frenchChords}
617 @code{\frenchChords}.
624 Examples: @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly},
625 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly},
626 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
629 Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
630 @file{scm/@/chord@/-entry@/.scm}.
635 Chord names are determined solely from the list of pitches. Chord
636 inversions are not identified, and neither are added bass notes. This
637 may result in strange chord names when chords are entered with the
638 @code{< .. >} syntax.
645 There are three different issues when printing vocal music
649 Song texts must be entered as text, not notes. For example, the
650 input@tie{}@code{d} should be interpreted as a one letter syllable, not the
654 Song texts must be printed as text, not as notes.
657 Song texts must be aligned with the notes of their melody.
660 The simplest solution for printing music uses the @code{\addlyrics}
661 function to solve all these problems at once. However, these
662 three functions can be controlled separately, which is necessary
663 for complex vocal music.
667 * Setting simple songs::
669 * Hyphens and extenders::
670 * The Lyrics context::
671 * Flexibility in alignment::
674 * Other vocal issues::
677 @node Setting simple songs
678 @subsection Setting simple songs
680 The easiest way to add lyrics to a melody is to append
683 \addlyrics @{ @var{the lyrics} @}
687 to a melody. Here is an example,
689 @lilypond[raggedright,verbatim,fragment,quote]
691 \relative { c2 e4 g2. }
692 \addlyrics { play the game }
695 More stanzas can be added by adding more
696 @code{\addlyrics} sections
698 @lilypond[raggedright,verbatim,fragment,quote]
700 \relative { c2 e4 g2. }
701 \addlyrics { play the game }
702 \addlyrics { speel het spel }
703 \addlyrics { joue le jeu }
706 @c TODO - this isn't such a great place for this note, but I can't
707 @c find a better place without rearranging a lot of lyric stuff.
708 @c It's yet another thing to look at post-3.0.
710 The @code{\addlyrics} command is actually just a convienient way
711 to write a more complicated LilyPond structure that sets up the
712 lyrics. You should use @code{\addlyrics} unless you need to do
713 fancy things, in which case you should investigate
714 @code{\lyricsto} or @code{\lyricmode}.
718 \addlyrics @{ LYRICS @}
725 \context Voice = blah @{ music @}
726 \lyricsto "blah" \new lyrics @{ LYRICS @}
731 @code{\addlyrics} cannot handle polyphony.
734 @node Entering lyrics
735 @subsection Entering lyrics
738 @cindex @code{\lyricmode}
741 Lyrics are entered in a special input mode. This mode is introduced
742 by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
743 @code{\lyricsto}. In this mode you can enter lyrics,
744 with punctuation and accents, and the input @code{d} is not parsed as
745 a pitch, but rather as a one letter syllable. Syllables are entered
746 like notes, but with pitches replaced by text. For example,
748 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
751 There is a difference between @code{\addlyrics} and
752 @code{\lyricmode}. @code{\addlyrics} and @code{\lyricsto}
753 ignore all durations and aligns syllables to notes; @code{\lyricmode}
754 uses the durations specified.
756 A word lyrics mode begins with an alphabetic character, and ends with
757 any space or digit. The following characters can be any character
758 that is not a digit or white space. One important consequence of this
759 is that a word can end with @code{@}}. The following example is
760 usually a mistake in the input file. The syllable includes a @code{@}}, so the
761 opening brace is not balanced
763 \lyricmode @{ twinkle@}
766 @cindex @code{\property}, in @code{\lyricmode}
768 Similarly, a period which follows an alphabetic sequence is included in
769 the resulting string. As a consequence, spaces must be inserted around
772 \override Score . LyricText #'font-shape = #'italic
776 @cindex spaces, in lyrics
777 @cindex quotes, in lyrics
779 Any @code{_} character that appears in an unquoted word is converted
780 to a space. This provides a mechanism for introducing spaces into words
781 without using quotes. Quoted words can also be used in Lyrics mode to
782 specify words that cannot be written with the above rules. The
783 following example incorporates double quotes
786 \lyricmode @{ He said: "\"Let" my peo ple "go\"" @}
789 This example is slightly academic, since it gives better looking
790 results using single quotes, @code{``} and @code{''}
792 \lyricmode @{ He said: ``Let my peo ple go'' @}
796 The full definition of a word start in Lyrics mode is somewhat more
799 A word in Lyrics mode begins with: an alphabetic character, @code{_},
800 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
801 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
802 any 8-bit character with ASCII code over 127, or a two-character
803 combination of a backslash followed by one of @code{`}, @code{'},
804 @code{"}, or @code{^}.
810 Program reference: @internalsref{LyricText}.
814 The definition of lyrics mode is too complex.
816 @node Hyphens and extenders
817 @subsection Hyphens and extenders
821 Centered hyphens are entered as `@code{--}' between syllables.
822 The hyphen will have variable length depending on the space between
823 the syllables and it will be centered between the syllables.
828 When a lyric is sung over many notes (this is called a melisma), this is
829 indicated with a horizontal line centered between a syllable and the
830 next one. Such a line is called an extender line, and it is entered as
834 FIXME: check that this compiles and displays correctly. I don't want
835 to commit this part blindly.
837 In tighly engraved music, hyphens can be removed. In some languages
838 (e.g. German and Hungarian), hyphens should not disappear, since
839 spelling depends on hyphenation. For that purpose, hyphens can be
840 forced to remain by overriding @code{minimum-length} of
841 the @code{LyricHyphen} grob.
845 << \notes \new Staff \relative c'' { \time 1/4 c16[ c c c]
852 \lyrics \new Lyrics \with {
853 % Otherwise lyrics are so far apart that hyphens don't disappear
854 \override SeparationItem #'padding = #0.0
855 }{ bla -- bla -- bla -- bla --
856 bla -- bla -- bla -- bla --
858 \override LyricHyphen #'minimum-length = #0.7
859 \override LyricHyphen #'spacing-procedure =
860 #Hyphen_spanner::set_spacing_rods
862 bla -- bla -- bla -- bla
869 \StaffContext \remove "Time_signature_engraver"
880 Program reference: @internalsref{LyricHyphen}, @internalsref{LyricExtender}.
884 @node The Lyrics context
885 @subsection The Lyrics context
888 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
890 \context Lyrics \lyricmode @dots{}
893 @cindex automatic syllable durations
894 @cindex @code{\lyricsto}
895 @cindex lyrics and melodies
897 This will place the lyrics according to the durations that were
898 entered. The lyrics can also be aligned under a given melody
899 automatically. In this case, it is no longer necessary to enter the
900 correct duration for each syllable. This is achieved by combining the
901 melody and the lyrics with the @code{\lyricsto} expression
903 \lyricsto @var{name} \new Lyrics @dots{}
906 This aligns the lyrics to the
907 notes of the @internalsref{Voice} context called @var{name}, which has
908 to exist. Therefore, normally the @code{Voice} is specified first, and
909 then the lyrics are specified with @code{\lyricsto}. The command
910 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
911 @code{\lyricmode} keyword may be omitted.
913 For different or more complex orderings, the best way is to setup the
914 hierarchy of staves and lyrics first, e.g.,
916 \context ChoirStaff <<
917 \context Lyrics = sopranoLyrics @{ s1 @}
918 \context Voice = soprano @{ @emph{music} @}
919 \context Lyrics = tenorLyrics @{ s1 @}
920 \context Voice = tenor @{ @emph{music} @}
923 and then combine the appropriate melodies and lyric lines
925 \lyricsto "soprano" \context Lyrics = sopranoLyrics
930 The final input would resemble
933 <<\context ChoirStaff << @emph{setup the music} >>
934 \lyricsto "soprano" @emph{etc}
935 \lyricsto "alto" @emph{etc}
941 The @code{\lyricsto} command detects melismata: it only puts one
942 syllable under a tied or slurred group of notes. If you want to force
943 an unslurred group of notes to be a melisma, insert @code{\melisma}
944 after the first note of the group, and @code{\melismaEnd} after the
947 @lilypond[quote,relative=2,raggedright,fragment,verbatim]
949 \context Voice = "lala" {
957 \lyricsto "lala" \new Lyrics {
963 In addition, notes are considered a melisma if they are manually
964 beamed, and automatic beaming (see @ref{Setting automatic beam
965 behavior}) is switched off.
971 The criteria for deciding melismata can
972 be tuned with the property @code{melismaBusyProperties}. See
973 @internalsref{Melisma_translator} in the program reference for more
978 Lyrics can also be entered without @code{\lyricsto}. In this case the
979 duration of each syllable must be entered explicitly, for example,
986 The alignment to a melody can be specified with the
987 @code{associatedVoice} property,
990 \set associatedVoice = #"lala"
994 The value of the property (here: @code{"lala"}) should be the name of
995 a @internalsref{Voice} context. Without this setting, extender lines
996 will not be formatted properly.
998 Here is an example demonstrating manual lyric durations,
1000 @lilypond[relative=1,raggedright,verbatim,fragment,quote]
1001 << \context Voice = melody {
1005 \new Lyrics \lyricmode {
1006 \set associatedVoice = #"melody"
1012 @cindex choral score
1014 A complete example of a SATB score setup is in section
1015 @ref{Vocal ensembles}.
1020 @code{\melisma}, @code{\melismaEnd}
1021 @cindex @code{\melismaEnd}
1022 @cindex @code{\melisma}
1026 Program reference: @internalsref{LyricCombineMusic},
1027 @internalsref{Lyrics}, @internalsref{Melisma_translator}.
1030 @inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly}.
1031 @c TODO: make separate section for melismata
1035 Melismata are not detected automatically, and extender lines must be
1039 @c TODO: document \new Staff << Voice \lyricsto >> bug
1041 @node Flexibility in alignment
1042 @subsection Flexibility in alignment
1045 Often, different stanzas of one song are put to one melody in slightly
1046 differing ways. Such variations can still be captured with
1049 One possibility is that the text has a melisma in one stanza, but
1050 multiple syllables in another one. One solution is to make the faster
1051 voice ignore the melisma. This is done by setting
1052 @code{ignoreMelismata} in the Lyrics context.
1054 There has one tricky aspect. The setting for @code{ignoreMelismata}
1055 must be set one syllable @emph{before} the non-melismatic syllable
1056 in the text, as shown here,
1058 @lilypond[verbatim,raggedright,quote]
1060 \relative \context Voice = "lahlah" {
1061 \set Staff.autoBeaming = ##f
1067 \new Lyrics \lyricsto "lahlah" {
1070 \new Lyrics \lyricsto "lahlah" {
1071 \set ignoreMelismata = ##t % applies to "fas"
1073 \unset ignoreMelismata
1080 The @code{ignoreMelismata} applies to the syllable ``fas'', so it
1081 should be entered before ``go''.
1083 The reverse is also possible: making a lyric line slower than the
1084 standard. This can be achieved by insert @code{\skip}s into the
1085 lyrics. For every @code{\skip}, the text will be delayed another note.
1088 @lilypond[verbatim,raggedright,quote]
1089 \relative { c c g' }
1096 More complex variations in text underlay are possible. It is possible
1097 to switch the melody for a line of lyrics during the text. This is
1098 done by setting the @code{associatedVoice} property. In the example
1100 @lilypond[raggedright,quote]
1102 \relative \context Voice = "lahlah" {
1103 \set Staff.autoBeaming = ##f
1106 \context Voice = alternative {
1109 % show associations clearly.
1110 \override NoteColumn #'force-hshift = #-3
1121 \new Lyrics \lyricsto "lahlah" {
1122 Ju -- ras -- sic Park
1124 \new Lyrics \lyricsto "lahlah" {
1125 % Tricky: need to set associatedVoice
1126 % one syllable too soon!
1127 \set associatedVoice = alternative % applies to "ran"
1131 \set associatedVoice = lahlah % applies to "rus"
1137 the text for the first stanza is set to a melody called ``lahlah'',
1140 \new Lyrics \lyricsto "lahlah" @{
1141 Ju -- ras -- sic Park
1146 The second stanza initially is set to the @code{lahlah} context, but
1147 for the syllable ``ran'', it switches to a different melody.
1148 This is achieved with
1150 \set associatedVoice = alternative
1154 Here, @code{alternative} is the name of the @code{Voice} context
1155 containing the triplet.
1157 Again, the command must be one syllable too early, before ``Ty'' in
1161 \new Lyrics \lyricsto "lahlah" @{
1162 \set associatedVoice = alternative % applies to "ran"
1166 \set associatedVoice = lahlah % applies to "rus"
1172 The underlay is switched back to the starting situation by assigning
1173 @code{lahlah} to @code{associatedVoice}.
1179 @subsection More stanzas
1181 @cindex phrasing, in lyrics
1184 @cindex stanza number
1185 @cindex singer's names
1186 @cindex name of singer
1188 Stanza numbers can be added by setting @code{stanza}, e.g.,
1190 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
1192 \time 3/4 g2 e4 a2 f4 g2.
1195 Hi, my name is Bert.
1198 Oh, che -- ri, je t'aime
1202 These numbers are put just before the start of first syllable.
1204 Names of singers can also be added. They are printed at the start of
1205 the line, just like instrument names. They are created by setting
1206 @code{vocalName}. A short version may be entered as @code{vocNam}.
1209 @lilypond[fragment,raggedright,quote,verbatim,relative=2]
1211 \time 3/4 g2 e4 a2 f4 g2.
1213 \set vocalName = "Bert "
1214 Hi, my name is Bert.
1216 \set vocalName = "Ernie "
1217 Oh, che -- ri, je t'aime
1221 You can display alternate (or divisi) lyrics by naming voice
1222 contexts and attaching lyrics to those specific contexts.
1224 @lilypond[verbatim,raggedright,quote]
1226 \context Voice = "melody" {
1231 \context Voice = splitpart { \voiceTwo c4 }
1236 \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
1237 \new Lyrics \lyricsto "splitpart" { will }
1242 You can use this trick to display different lyrics for a repeated
1245 @lilypond[verbatim,raggedright,quote]
1247 \context Voice = melody \relative c' {
1249 \context Voice = verse \repeat volta 2 {c4 d e f | g1 | }
1251 \lyricsto melody \context Lyrics = mainlyrics \lyricmode {
1254 \lyricsto verse \context Lyrics = mainlyrics \lyricmode {
1256 \lyricsto verse \context Lyrics = repeatlyrics \lyricmode {
1257 dodo rere mimi fafa solsol }
1265 Program reference: @internalsref{LyricText}, @internalsref{VocalName}.
1273 The term @emph{ambitus} denotes a range of pitches for a given voice
1274 in a part of music. It may also denote the pitch range that a musical
1275 instrument is capable of playing. Ambits are printed on vocal parts,
1276 so performers can easily determine it meets their capabilities.
1278 Ambits are denoted at the beginning of a piece near the initial clef.
1279 The range is graphically specified by two note heads that represent the
1280 minimum and maximum pitch. To print such ambits, add the
1281 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
1288 \consists Ambitus_engraver
1293 This results in the following output
1295 @lilypond[quote,raggedright]
1299 \consists Ambitus_engraver
1303 \relative \new Staff {
1308 If you have multiple voices in a single staff and you want a single
1309 ambitus per staff rather than per each voice, add the
1310 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
1311 rather than to the @internalsref{Voice} context. Here is an example,
1313 @lilypond[verbatim,raggedright,quote]
1315 \consists "Ambitus_engraver"
1319 \remove "Ambitus_engraver"
1321 \override Ambitus #'X-offset-callbacks
1322 = #(list (lambda (grob axis) -1.0))
1327 \remove "Ambitus_engraver"
1336 This example uses one advanced feature,
1339 \override Ambitus #'X-offset-callbacks
1340 = #(list (lambda (grob axis) -1.0))
1344 This code moves the ambitus to the left. The same effect could have
1345 been achieved with @code{extra-offset}, but then the formatting system
1346 would not reserve space for the moved object.
1350 Program reference: @internalsref{Ambitus},
1351 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1352 @internalsref{AmbitusAccidental}.
1354 Examples: @inputfileref{input/@/regression,ambitus@/.ly}.
1358 There is no collision handling in the case of multiple per-voice
1362 @node Other vocal issues
1363 @subsection Other vocal issues
1366 yeah, I'm giving up somewhat by stuffing a bunch of things in
1367 here. But at least they're in the manual now; it's easier to
1368 move them around in the manual once they're already here.
1370 Besides, if users complain about everything stuffed in here, I
1371 can ask them for specific instructions about where to move these
1372 examples, and that might get them more involved in the docs. -gp
1375 ``Parlato'' is spoken without pitch but still with rhythm; it is
1376 notated by cross noteheads. This is demonstrated in
1377 @ref{Special noteheads}.
1380 @node Rhythmic music
1381 @section Rhythmic music
1383 Rhythmic music is primarily used for percussion and drum notation, but it can
1384 also be used to show the rhythms of melodies.
1387 * Showing melody rhythms::
1388 * Entering percussion::
1389 * Percussion staves::
1393 @node Showing melody rhythms
1394 @subsection Showing melody rhythms
1396 Sometimes you might want to show only the rhythm of a melody. This
1397 can be done with the rhythmic staff. All pitches of notes on such a
1398 staff are squashed, and the staff itself has a single line
1400 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1401 \context RhythmicStaff {
1403 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1409 Program reference: @internalsref{RhythmicStaff}.
1411 Examples: @inputfileref{input/@/regression,rhythmic@/-staff@/.ly}.
1414 @node Entering percussion
1415 @subsection Entering percussion
1421 Percussion notes may be entered in @code{\drummode} mode, which is
1422 similar to the standard mode for entering notes. Each piece of
1423 percussion has a full name and an abbreviated name, and both can be used
1426 @lilypond[quote,raggedright,verbatim]
1428 hihat hh bassdrum bd
1432 The complete list of drum names is in the init file
1433 @file{ly/@/drumpitch@/-init@/.ly}.
1434 @c TODO: properly document this.
1438 Program reference: @internalsref{note-event}.
1440 @node Percussion staves
1441 @subsection Percussion staves
1445 A percussion part for more than one instrument typically uses a
1446 multiline staff where each position in the staff refers to one piece
1450 To typeset the music, the notes must be interpreted in a
1451 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
1453 @lilypond[quote,raggedright,verbatim]
1454 up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
1455 down = \drummode { bassdrum4 snare8 bd r bd sn4 }
1457 \new DrumVoice { \voiceOne \up }
1458 \new DrumVoice { \voiceTwo \down }
1462 The above example shows verbose polyphonic notation. The short
1463 polyphonic notation, described in @ref{Polyphony}, can also be used if
1464 the @internalsref{DrumVoice}s are instantiated by hand first. For example,
1466 @lilypond[quote,raggedright,fragment,verbatim]
1468 \context DrumVoice = "1" { s1 *2 }
1469 \context DrumVoice = "2" { s1 *2 }
1473 { \repeat unfold 16 hh16 }
1482 There are also other layout possibilities. To use these, set the
1483 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
1484 The following variables have been predefined
1488 This is the default. It typesets a typical drum kit on a five-line staff
1490 @lilypond[quote,linewidth=10.0\cm]
1492 cymc cyms cymr hh hhc hho hhho hhp
1493 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl }
1495 cymc cyms cymr hh hhc hho hhho hhp \break
1496 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
1498 << \new DrumStaff \with {
1499 \remove Bar_engraver
1500 \remove Time_signature_engraver
1501 \override Stem #'transparent = ##t
1502 \override Stem #'Y-extent-callback = ##f
1503 minimumVerticalExtent = #'(-4.0 . 5.0)
1505 \context Lyrics \nam
1510 \override LyricText #'font-family = #'typewriter
1511 \override BarNumber #'transparent =##T
1517 The drum scheme supports six different toms. When there are fewer toms,
1518 simply select the toms that produce the desired result, i.e., to get toms
1519 on the three middle lines you use @code{tommh}, @code{tomml}, and
1522 @item timbales-style
1523 This typesets timbales on a two line staff
1525 @lilypond[quote,raggedright]
1526 nam = \lyricmode { timh ssh timl ssl cb }
1527 mus = \drummode { timh ssh timl ssl cb s16 }
1530 \context DrumStaff \with {
1531 \remove Bar_engraver
1532 \remove Time_signature_engraver
1533 \override Stem #'transparent = ##t
1534 \override Stem #'Y-extent-callback = ##f
1535 \override StaffSymbol #'line-count = #2
1536 \override StaffSymbol #'staff-space = #2
1537 minimumVerticalExtent = #'(-3.0 . 4.0)
1538 drumStyleTable = #timbales-style
1541 \override LyricText #'font-family = #'typewriter
1548 This typesets congas on a two line staff
1550 @lilypond[quote,raggedright]
1551 nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
1552 mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
1555 \context DrumStaff \with {
1556 \remove Bar_engraver
1557 \remove Time_signature_engraver
1558 drumStyleTable = #congas-style
1559 \override StaffSymbol #'line-count = #2
1561 %% this sucks; it will lengthen stems.
1562 \override StaffSymbol #'staff-space = #2
1563 \override Stem #'transparent = ##t
1564 \override Stem #'Y-extent-callback = ##f
1567 \override LyricText #'font-family = #'typewriter
1574 This typesets bongos on a two line staff
1576 @lilypond[quote,raggedright]
1577 nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
1578 mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
1581 \context DrumStaff\with {
1582 \remove Bar_engraver
1583 \remove Time_signature_engraver
1584 \override StaffSymbol #'line-count = #2
1585 drumStyleTable = #bongos-style
1587 %% this sucks; it will lengthen stems.
1588 \override StaffSymbol #'staff-space = #2
1589 \override Stem #'transparent = ##t
1590 \override Stem #'Y-extent-callback = ##f
1593 \override LyricText #'font-family = #'typewriter
1599 @item percussion-style
1600 To typeset all kinds of simple percussion on one line staves.
1602 @lilypond[quote,raggedright]
1603 nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
1604 mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
1607 \context DrumStaff\with{
1608 \remove Bar_engraver
1609 drumStyleTable = #percussion-style
1610 \override StaffSymbol #'line-count = #1
1611 \remove Time_signature_engraver
1612 \override Stem #'transparent = ##t
1613 \override Stem #'Y-extent-callback = ##f
1616 \override LyricText #'font-family = #'typewriter
1623 If you do not like any of the predefined lists you can define your own
1624 list at the top of your file
1626 @lilypond[quote,raggedright,verbatim]
1628 (bassdrum default #f -1)
1629 (snare default #f 0)
1631 (pedalhihat xcircle "stopped" 2)
1632 (lowtom diamond #f 3)))
1633 up = \drummode { hh8 hh hh hh hhp4 hhp }
1634 down = \drummode { bd4 sn bd toml8 toml }
1637 \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
1638 \new DrumVoice { \voiceOne \up }
1639 \new DrumVoice { \voiceTwo \down }
1646 Init files: @file{ly/@/drumpitch@/-init@/.ly}.
1648 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
1652 Because general MIDI does not contain rim shots, the sidestick is used
1653 for this purpose instead.
1661 @cindex guitar tablature
1664 * String number indications::
1665 * Tablatures basic::
1666 * Non-guitar tablatures::
1668 * Other guitar issues::
1671 @node String number indications
1672 @subsection String number indications
1674 @cindex String numbers
1676 String numbers can be added to chords, by indicating the string number
1677 with @code{\}@var{number},
1679 @lilypond[relative,relative=1,raggedright,fragment]
1683 See also @inputfileref{input/regression,string-number.ly}.
1688 Program reference: @internalsref{StringNumber}.
1691 @node Tablatures basic
1692 @subsection Tablatures basic
1693 @cindex Tablatures basic
1695 Tablature notation is used for notating music for plucked string
1696 instruments. Pitches are not denoted with note heads, but by
1697 numbers indicating on which string and fret a note must be played. LilyPond
1698 offers limited support for tablature.
1700 The string number associated to a note is given as a backslash
1701 followed by a number, e.g., @code{c4\3} for a C quarter on the third
1702 string. By default, string 1 is the highest one, and the tuning
1703 defaults to the standard guitar tuning (with 6 strings). The notes
1704 are printed as tablature, by using @internalsref{TabStaff} and
1705 @internalsref{TabVoice} contexts
1707 @lilypond[quote,raggedright,fragment,verbatim]
1714 @cindex @code{minimumFret}
1717 When no string is specified, the first string that does not give a
1718 fret number less than @code{minimumFret} is selected. The default
1719 value for @code{minimumFret} is 0
1724 \set TabStaff.minimumFret = #8
1727 @lilypond[quote,raggedright]
1731 \set TabStaff.minimumFret = #8
1734 \context StaffGroup <<
1735 \context Staff { \clef "G_8" \frag }
1736 \context TabStaff { \frag }
1742 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}.
1746 Chords are not handled in a special way, and hence the automatic
1747 string selector may easily select the same string to two notes in a
1751 @node Non-guitar tablatures
1752 @subsection Non-guitar tablatures
1753 @cindex Non-guitar tablatures
1755 You can change the number of strings, by setting the number of lines
1756 in the @internalsref{TabStaff}.
1758 You can change the tuning of the strings. A string tuning is given as
1759 a Scheme list with one integer number for each string, the number
1760 being the pitch (measured in semitones relative to middle C) of an
1761 open string. The numbers specified for @code{stringTuning} are the
1762 numbers of semitones to subtract or add, starting the specified pitch
1763 by default middle C, in string order. In the next example,
1764 @code{stringTunings} is set for the pitches e, a, d, and g
1766 @lilypond[quote,raggedright,fragment,verbatim]
1767 \context TabStaff <<
1768 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
1770 a,4 c' a e' e c' a e'
1777 No guitar special effects have been implemented.
1781 Program reference: @internalsref{Tab_note_heads_engraver}.
1785 @subsection Fret diagrams
1786 @cindex fret diagrams
1787 @cindex chord diagrams
1789 Fret diagrams can be added to music as a markup to the desired note. The
1790 markup contains information about the desired fret diagram, as shown in the
1793 @lilypond[verbatim, raggedright, quote]
1795 d' ^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
1797 fis' ^\markup \override #'(size . 0.75) {
1798 \override #'(finger-code . below-string) {
1799 \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
1800 (place-fret 5 4 3) (place-fret 4 4 4)
1801 (place-fret 3 3 2) (place-fret 2 2 1)
1806 c' ^\markup \override #'(dot-radius . 0.35) {
1807 \override #'(finger-code . in-dot) {
1808 \override #'(dot-color . white) {
1809 \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
1818 There are three different fret-diagram markup interfaces: standard, terse,
1819 and verbose. The three interfaces produce equivalent markups, but have
1820 varying amounts of information in the markup string. Details about the
1821 markup interfaces are found at @ref{Overview of text markup commands}.
1823 You can set a number of graphical properties according to your preference.
1824 Details about the property interface to fret diagrams are found at
1825 @internalsref{fret-diagram-interface}.
1830 Examples: @inputfileref{input/@/test,fret@/-diagram@/.ly}
1833 @node Other guitar issues
1834 @subsection Other guitar issues
1836 This example demonstrates how to include guitar position and
1837 barring indications.
1839 @lilypond[quote,raggedright,fragment,verbatim,relative=0]
1843 \override TextSpanner #'edge-text = #'("XII " . "")
1845 b16 e16 g16 e16 b16 g16\stopTextSpan
1850 Stopped (X) note heads are used in guitar music to signal a place where the
1851 guitarist must play a certain note or chord, with its fingers just
1852 touching the strings instead of fully pressing them. This gives the sound a
1853 percussive noise-like sound that still maintains part of the original
1854 pitch. It is notated with cross noteheads; this is
1855 demonstrated in @ref{Special noteheads}.
1858 @node Ancient notation
1859 @section Ancient notation
1861 @cindex Vaticana, Editio
1862 @cindex Medicaea, Editio
1867 Support for ancient notation includes features for mensural notation
1868 and Gregorian Chant notation. There is also limited support for
1869 figured bass notation.
1871 Many graphical objects provide a @code{style} property, see
1874 @ref{Ancient note heads},
1876 @ref{Ancient accidentals},
1878 @ref{Ancient rests},
1880 @ref{Ancient clefs},
1882 @ref{Ancient flags},
1884 @ref{Ancient time signatures}.
1887 By manipulating such a grob property, the typographical appearance of
1888 the affected graphical objects can be accommodated for a specific
1889 notation flavor without the need for introducing any new notational
1892 In addition to the standard articulation signs described in section
1893 @ref{Articulations}, specific articulation signs for ancient notation
1898 @ref{Ancient articulations}
1901 Other aspects of ancient notation can not that easily be expressed
1902 in terms of just changing a style property of a graphical object or
1903 adding articulation signs. Some notational concepts are introduced
1904 specifically for ancient notation,
1915 If this all is too much of documentation for you, and you just want to
1916 dive into typesetting without worrying too much about the details on
1917 how to customize a context, you may have a look at the predefined
1918 contexts. Use them to set up predefined style-specific voice and
1919 staff contexts, and directly go ahead with the note entry,
1923 @ref{Gregorian Chant contexts},
1925 @ref{Mensural contexts}.
1928 There is limited support for figured bass notation which came
1929 up during the baroque period.
1936 Here are all suptopics at a glance:
1939 * Ancient note heads::
1940 * Ancient accidentals::
1944 * Ancient time signatures::
1945 * Ancient articulations::
1949 * Gregorian Chant contexts::
1950 * Mensural contexts::
1955 @node Ancient note heads
1956 @subsection Ancient note heads
1961 For ancient notation, a note head style other than the @code{default}
1962 style may be chosen. This is accomplished by setting the @code{style}
1963 property of the @internalsref{NoteHead} object to @code{baroque},
1964 @code{neomensural}, @code{mensural} or @code{petrucci}. The
1965 @code{baroque} style differs from the @code{default} style only in
1966 using a square shape for @code{\breve} note heads. The
1967 @code{neomensural} style differs from the @code{baroque} style in that
1968 it uses rhomboidal heads for whole notes and all smaller durations.
1969 Stems are centered on the note heads. This style is particularly
1970 useful when transcribing mensural music, e.g., for the incipit. The
1971 @code{mensural} style produces note heads that mimic the look of note
1972 heads in historic printings of the 16th century. Finally, the
1973 @code{petrucci} style also mimicks historic printings, but uses bigger
1976 The following example demonstrates the @code{neomensural} style
1978 @lilypond[quote,fragment,raggedright,verbatim]
1979 \set Score.skipBars = ##t
1980 \override NoteHead #'style = #'neomensural
1981 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
1984 When typesetting a piece in Gregorian Chant notation, the
1985 @internalsref{Gregorian_ligature_engraver} will automatically select
1986 the proper note heads, so there is no need to explicitly set the
1987 note head style. Still, the note head style can be set, e.g., to
1988 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
1989 @internalsref{Mensural_ligature_engraver} is used to automatically
1990 assemble mensural ligatures. See @ref{Ligatures} for how ligature
1995 Examples: @inputfileref{input/@/regression,note@/-head@/-style@/.ly} gives an
1996 overview over all available note head styles.
1999 @node Ancient accidentals
2000 @subsection Ancient accidentals
2005 Use the @code{style} property of grob @internalsref{Accidental} to
2006 select ancient accidentals. Supported styles are
2007 @code{mensural}, @code{vaticana}, @code{hufnagel}, and @code{medicaea}.
2009 @lilypond[quote,raggedright,staffsize=26]
2016 \line { " " \musicglyph #"accidentals.vaticana-1"
2017 " " \musicglyph #"accidentals.vaticana0" }
2021 \line { " " \musicglyph #"accidentals.medicaea-1" }
2025 \line { " " \musicglyph #"accidentals.hufnagel-1" }
2029 \line { " " \musicglyph #"accidentals.mensural-1"
2030 " " \musicglyph #"accidentals.mensural1" }
2036 \context { \Score \remove "Bar_number_engraver" }
2038 \remove "Clef_engraver"
2039 \remove "Key_engraver"
2040 \remove "Time_signature_engraver"
2041 \remove "Staff_symbol_engraver"
2042 minimumVerticalExtent = ##f
2048 As shown, not all accidentals are supported by each style. When
2049 trying to access an unsupported accidental, LilyPond will switch to a
2050 different style, as demonstrated in
2051 @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2053 Similarly to local accidentals, the style of the key signature can be
2054 controlled by the @code{style} property of the
2055 @internalsref{KeySignature} grob.
2059 In this manual: @ref{Pitches}, @ref{Cautionary accidentals} and
2060 @ref{Automatic accidentals} give a general introduction of the use of
2061 accidentals. @ref{Key signature} gives a general introduction of
2062 the use of key signatures.
2064 Program reference: @internalsref{KeySignature}.
2066 Examples: @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2069 @subsection Ancient rests
2071 @cindex rests, ancient
2074 Use the @code{style} property of grob @internalsref{Rest} to select
2075 ancient rests. Supported styles are @code{classical},
2076 @code{neomensural}, and @code{mensural}. @code{classical} differs
2077 from the @code{default} style only in that the quarter rest looks like
2078 a horizontally mirrored 8th rest. The @code{neomensural} style suits
2079 well for, e.g., the incipit of a transcribed mensural piece of music.
2080 The @code{mensural} style finally mimics the appearance of rests as
2081 in historic prints of the 16th century.
2083 The following example demonstrates the @code{neomensural} style
2085 @lilypond[quote,fragment,raggedright,verbatim]
2086 \set Score.skipBars = ##t
2087 \override Rest #'style = #'neomensural
2088 r\longa r\breve r1 r2 r4 r8 r16
2091 There are no 32th and 64th rests specifically for the mensural or
2092 neo-mensural style. Instead, the rests from the default style will be
2093 taken. See @inputfileref{input/@/test,rests@/.ly} for a chart of all
2096 There are no rests in Gregorian Chant notation; instead, it uses
2101 In this manual: @ref{Rests} gives a general introduction into the use of rests.
2105 @subsection Ancient clefs
2110 LilyPond supports a variety of clefs, many of them ancient.
2112 The following table shows all ancient clefs that are supported via the
2113 @code{\clef} command. Some of the clefs use the same glyph, but
2114 differ only with respect to the line they are printed on. In such
2115 cases, a trailing number in the name is used to enumerate these clefs.
2116 Still, you can manually force a clef glyph to be typeset on an
2117 arbitrary line, as described in @ref{Clef}. The note printed to the
2118 right side of each clef in the example column denotes the @code{c'}
2119 with respect to that clef.
2121 @multitable @columnfractions .4 .4 .2
2130 modern style mensural C clef
2132 @code{neomensural-c1}, @code{neomensural-c2},@*
2133 @code{neomensural-c3}, @code{neomensural-c4}
2135 @lilypond[fragment,relative=1,notime]
2136 \clef "neomensural-c2" c
2140 petrucci style mensural C clefs, for use on different staff lines
2141 (the examples show the 2nd staff line C clef)
2143 @code{petrucci-c1}, @code{petrucci-c2},@*
2144 @code{petrucci-c3}, @code{petrucci-c4},@*
2147 @lilypond[fragment,relative=1,notime]
2149 \override NoteHead #'style = #'mensural
2154 petrucci style mensural F clef
2158 @lilypond[fragment,relative=1,notime]
2160 \override NoteHead #'style = #'mensural
2165 petrucci style mensural G clef
2169 @lilypond[fragment,relative=1,notime]
2171 \override NoteHead #'style = #'mensural
2176 historic style mensural C clef
2178 @code{mensural-c1}, @code{mensural-c2},@*
2179 @code{mensural-c3}, @code{mensural-c4}
2181 @lilypond[fragment,relative=1,notime]
2183 \override NoteHead #'style = #'mensural
2188 historic style mensural F clef
2192 @lilypond[fragment,relative=1,notime]
2194 \override NoteHead #'style = #'mensural
2199 historic style mensural G clef
2203 @lilypond[fragment,relative=1,notime]
2205 \override NoteHead #'style = #'mensural
2210 Editio Vaticana style do clef
2212 @code{vaticana-do1}, @code{vaticana-do2},@*
2215 @lilypond[fragment,relative=1,notime]
2216 \override Staff.StaffSymbol #'line-count = #4
2217 \override Staff.StaffSymbol #'color = #red
2218 \override Staff.LedgerLineSpanner #'color = #red
2219 \override Voice.Stem #'transparent = ##t
2220 \override NoteHead #'style = #'vaticana.punctum
2221 \clef "vaticana-do2"
2226 Editio Vaticana style fa clef
2228 @code{vaticana-fa1}, @code{vaticana-fa2}
2230 @lilypond[fragment,relative=1,notime]
2231 \override Staff.StaffSymbol #'line-count = #4
2232 \override Staff.StaffSymbol #'color = #red
2233 \override Staff.LedgerLineSpanner #'color = #red
2234 \override Voice.Stem #'transparent = ##t
2235 \override NoteHead #'style = #'vaticana.punctum
2236 \clef "vaticana-fa2"
2241 Editio Medicaea style do clef
2243 @code{medicaea-do1}, @code{medicaea-do2},@*
2246 @lilypond[fragment,relative=1,notime]
2247 \override Staff.StaffSymbol #'line-count = #4
2248 \override Staff.StaffSymbol #'color = #red
2249 \override Staff.LedgerLineSpanner #'color = #red
2250 \override Voice.Stem #'transparent = ##t
2251 \override NoteHead #'style = #'medicaea.punctum
2252 \clef "medicaea-do2"
2257 Editio Medicaea style fa clef
2259 @code{medicaea-fa1}, @code{medicaea-fa2}
2261 @lilypond[fragment,relative=1,notime]
2262 \override Staff.StaffSymbol #'line-count = #4
2263 \override Staff.StaffSymbol #'color = #red
2264 \override Staff.LedgerLineSpanner #'color = #red
2265 \override Voice.Stem #'transparent = ##t
2266 \override NoteHead #'style = #'medicaea.punctum
2267 \clef "medicaea-fa2"
2272 historic style hufnagel do clef
2274 @code{hufnagel-do1}, @code{hufnagel-do2},@*
2277 @lilypond[fragment,relative=1,notime]
2278 \override Staff.StaffSymbol #'line-count = #4
2279 \override Staff.StaffSymbol #'color = #red
2280 \override Staff.LedgerLineSpanner #'color = #red
2281 \override Voice.Stem #'transparent = ##t
2282 \override NoteHead #'style = #'hufnagel.punctum
2283 \clef "hufnagel-do2"
2288 historic style hufnagel fa clef
2290 @code{hufnagel-fa1}, @code{hufnagel-fa2}
2292 @lilypond[fragment,relative=1,notime]
2293 \override Staff.StaffSymbol #'line-count = #4
2294 \override Staff.StaffSymbol #'color = #red
2295 \override Staff.LedgerLineSpanner #'color = #red
2296 \override Voice.Stem #'transparent = ##t
2297 \override NoteHead #'style = #'hufnagel.punctum
2298 \clef "hufnagel-fa2"
2303 historic style hufnagel combined do/fa clef
2305 @code{hufnagel-do-fa}
2307 @lilypond[fragment,relative=1,notime]
2308 \override Staff.StaffSymbol #'color = #red
2309 \override Staff.LedgerLineSpanner #'color = #red
2310 \override Voice.Stem #'transparent = ##t
2311 \override NoteHead #'style = #'hufnagel.punctum
2312 \clef "hufnagel-do-fa"
2319 @emph{Modern style} means ``as is typeset in contemporary editions of
2320 transcribed mensural music''.
2322 @emph{Petrucci style} means ``inspired by printings published by the
2323 famous engraver Petrucci (1466-1539)''.
2325 @emph{Historic style} means ``as was typeset or written in historic
2326 editions (other than those of Petrucci)''.
2328 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
2330 Petrucci used C clefs with differently balanced left-side vertical
2331 beams, depending on which staff line it is printed.
2335 In this manual: see @ref{Clef}.
2339 The mensural g clef is mapped to the Petrucci g clef.
2344 @subsection Ancient flags
2349 Use the @code{flag-style} property of grob @internalsref{Stem} to
2350 select ancient flags. Besides the @code{default} flag style,
2351 only the @code{mensural} style is supported
2353 @lilypond[quote,fragment,raggedright,verbatim]
2354 \override Stem #'flag-style = #'mensural
2355 \override Stem #'thickness = #1.0
2356 \override NoteHead #'style = #'mensural
2358 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
2359 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
2362 Note that the innermost flare of each mensural flag always is
2363 vertically aligned with a staff line.
2365 There is no particular flag style for neo-mensural notation. Hence,
2366 when typesetting the incipit of a transcribed piece of mensural
2367 music, the default flag style should be used. There are no flags in
2368 Gregorian Chant notation.
2372 The attachment of ancient flags to stems is slightly off due to a
2373 change in early 2.3.x.
2375 Vertically aligning each flag with a staff line assumes that stems
2376 always end either exactly on or exactly in the middle between two
2377 staff lines. This may not always be true when using advanced layout
2378 features of classical notation (which however are typically out of
2379 scope for mensural notation).
2381 @node Ancient time signatures
2382 @subsection Ancient time signatures
2384 @cindex time signatures
2387 There is limited support for mensural time signatures. The
2388 glyphs are hard-wired to particular time fractions. In other words,
2389 to get a particular mensural signature glyph with the @code{\time n/m}
2390 command, @code{n} and @code{m} have to be chosen according to the
2393 @lilypond[quote,raggedright]
2398 \remove Staff_symbol_engraver
2399 \remove Clef_engraver
2400 \remove Time_signature_engraver
2404 \set Score.timing = ##f
2405 \set Score.barAlways = ##t
2406 s_\markup { "\\time 4/4" }
2407 ^\markup { " " \musicglyph #"timesig.neomensural44" }
2409 s_\markup { "\\time 2/2" }
2410 ^\markup { " " \musicglyph #"timesig.neomensural22" }
2412 s_\markup { "\\time 6/4" }
2413 ^\markup { " " \musicglyph #"timesig.neomensural64" }
2415 s_\markup { "\\time 6/8" }
2416 ^\markup { " " \musicglyph #"timesig.neomensural68" }
2418 s_\markup { "\\time 3/2" }
2419 ^\markup { " " \musicglyph #"timesig.neomensural32" }
2421 s_\markup { "\\time 3/4" }
2422 ^\markup { " " \musicglyph #"timesig.neomensural34" }
2424 s_\markup { "\\time 9/4" }
2425 ^\markup { " " \musicglyph #"timesig.neomensural94" }
2427 s_\markup { "\\time 9/8" }
2428 ^\markup { " " \musicglyph #"timesig.neomensural98" }
2430 s_\markup { "\\time 4/8" }
2431 ^\markup { " " \musicglyph #"timesig.neomensural48" }
2433 s_\markup { "\\time 2/4" }
2434 ^\markup { " " \musicglyph #"timesig.neomensural24" }
2438 Use the @code{style} property of grob @internalsref{TimeSignature} to
2439 select ancient time signatures. Supported styles are
2440 @code{neomensural} and @code{mensural}. The above table uses the
2441 @code{neomensural} style. This style is appropriate for the
2442 incipit of transcriptions of mensural pieces. The @code{mensural}
2443 style mimics the look of historical printings of the 16th century.
2445 The following examples show the differences in style,
2447 @lilypond[raggedright,fragment,relative=1,quote]
2452 c1^\markup { \hspace #-2.0 \typewriter default }
2454 \override Staff.TimeSignature #'style = #'numbered
2456 c1^\markup { \hspace #-2.0 \typewriter numbered }
2458 \override Staff.TimeSignature #'style = #'mensural
2460 c1^\markup { \hspace #-2.0 \typewriter mensural }
2462 \override Staff.TimeSignature #'style = #'neomensural
2464 c1^\markup { \hspace #-2.0 \typewriter neomensural }
2465 \override Staff.TimeSignature #'style = #'single-digit
2467 c1^\markup { \hspace #-2.0 \typewriter single-digit }
2473 This manual: @ref{Time signature} gives a general introduction to
2474 the use of time signatures.
2478 Ratios of note durations do not change with the time signature. For
2479 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
2480 be made by hand, by setting
2483 breveTP = #(ly:make-duration -1 0 3 2)
2489 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
2491 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
2492 addressable with @code{\time}. Use a @code{\markup} instead
2494 @node Ancient articulations
2495 @subsection Ancient articulations
2497 @cindex articulations
2499 In addition to the standard articulation signs described in section
2500 @ref{Articulations}, articulation signs for ancient notation are
2501 provided. These are specifically designed for use with notation in
2502 Editio Vaticana style.
2504 @lilypond[quote,raggedright,verbatim]
2505 \include "gregorian-init.ly"
2507 \context VaticanaVoice {
2508 \override Staff.StaffSymbol #'color = #red
2509 \override Staff.LedgerLineSpanner #'color = #red
2510 \override TextScript #'font-family = #'typewriter
2511 \override TextScript #'font-shape = #'upright
2512 \override Script #'padding = #-0.1
2514 a4\circulus_"circulus" s1
2515 a4\semicirculus_"semicirculus" s1 s
2516 a4\accentus_"accentus" s1
2517 \[ a4_"episem" \episemInitium \pes b \flexa a \episemFinis \]
2524 Some articulations are vertically placed too closely to the
2525 correpsonding note heads.
2528 @subsection Custodes
2533 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
2534 symbol that appears at the end of a staff. It anticipates the pitch
2535 of the first note(s) of the following line thus helping the performer
2536 to manage line breaks during performance.
2538 Custodes were frequently used in music notation until the 17th
2539 century. Nowadays, they have survived only in a few particular forms
2540 of musical notation such as contemporary editions of Gregorian chant
2541 like the @emph{editio vaticana}. There are different custos glyphs
2542 used in different flavors of notational style.
2544 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
2545 @internalsref{Staff} context when declaring the @code{\layout} block,
2546 as shown in the following example
2552 \consists Custos_engraver
2553 Custos \override #'style = #'mensural
2558 The result looks like this
2560 @lilypond[quote,raggedright]
2564 \override Staff.Custos #'style = #'mensural
2569 \context { \Staff \consists Custos_engraver }
2574 The custos glyph is selected by the @code{style} property. The styles
2575 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
2576 @code{mensural}. They are demonstrated in the following fragment
2578 @lilypond[quote,raggedright,fragment]
2579 \new Lyrics \lyricmode {
2581 \typewriter "vaticana"
2582 \line { " " \musicglyph #"custodes.vaticana.u0" }
2585 \typewriter "medicaea"
2586 \line { " " \musicglyph #"custodes.medicaea.u0" }
2589 \typewriter "hufnagel"
2590 \line { " " \musicglyph #"custodes.hufnagel.u0" }
2593 \typewriter "mensural"
2594 \line { " " \musicglyph #"custodes.mensural.u0" }
2601 Program reference: @internalsref{Custos}.
2603 Examples: @inputfileref{input/@/regression,custos@/.ly}.
2607 @subsection Divisiones
2613 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
2614 `division') is a staff context symbol that is used to structure
2615 Gregorian music into phrases and sections. The musical meaning of
2616 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
2617 can be characterized as short, medium, and long pause, somewhat like
2618 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
2619 only marks the end of a chant, but is also frequently used within a
2620 single antiphonal/responsorial chant to mark the end of each section.
2623 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
2624 contains definitions that you can apply by just inserting
2625 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
2626 and @code{\finalis} at proper places in the input. Some editions use
2627 @emph{virgula} or @emph{caesura} instead of divisio minima.
2628 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
2631 @lilypondfile[quote,raggedright]{divisiones.ly}
2635 @cindex @code{\virgula}
2637 @cindex @code{\caesura}
2639 @cindex @code{\divisioMinima}
2640 @code{\divisioMinima},
2641 @cindex @code{\divisioMaior}
2642 @code{\divisioMaior},
2643 @cindex @code{\divisioMaxima}
2644 @code{\divisioMaxima},
2645 @cindex @code{\finalis}
2650 In this manual: @ref{Breath marks}.
2652 Program reference: @internalsref{BreathingSign}.
2654 Examples: @inputfileref{input/@/test,divisiones@/.ly}.
2657 @subsection Ligatures
2661 @c TODO: Should double check if I recalled things correctly when I wrote
2662 @c down the following paragraph by heart.
2664 A ligature is a graphical symbol that represents at least two distinct
2665 notes. Ligatures originally appeared in the manuscripts of Gregorian
2666 chant notation to denote ascending or descending sequences of notes.
2668 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
2669 Some ligature styles may need additional input syntax specific for
2670 this particular type of ligature. By default, the
2671 @internalsref{LigatureBracket} engraver just puts a square bracket
2674 @lilypond[quote,raggedright,verbatim]
2682 To select a specific style of ligatures, a proper ligature engraver
2683 has to be added to the @internalsref{Voice} context, as explained in
2684 the following subsections. Only white mensural ligatures
2685 are supported with certain limitations.
2691 Ligatures need special spacing that has not yet been implemented. As
2692 a result, there is too much space between ligatures most of the time,
2693 and line breaking often is unsatisfactory. Also, lyrics do not
2694 correctly align with ligatures.
2696 Accidentals must not be printed within a ligature, but instead need to
2697 be collected and printed in front of it.
2699 Augmentum dots within ligatures are not handled correctly.
2701 The syntax still uses the deprecated infix style @code{\[ music expr
2702 \]}. For consistency reasons, it will eventually be changed to
2703 postfix style @code{note\[ ... note\]}. Alternatively, the file
2704 @file{gregorian@/-init@/.ly} can be included; it provides a scheme
2707 \ligature @var{music expr}
2709 with the same effect and is believed to be stable.
2712 * White mensural ligatures::
2713 * Gregorian square neumes ligatures::
2716 @node White mensural ligatures
2717 @subsubsection White mensural ligatures
2719 @cindex Mensural ligatures
2720 @cindex White mensural ligatures
2722 There is limited support for white mensural ligatures.
2724 To engrave white mensural ligatures, in the layout block put the
2725 @internalsref{Mensural_ligature_engraver} into the
2726 @internalsref{Voice} context, and remove the
2727 @internalsref{Ligature_bracket_engraver}, like this
2733 \remove Ligature_bracket_engraver
2734 \consists Mensural_ligature_engraver
2739 There is no additional input language to describe the shape of a
2740 white mensural ligature. The shape is rather determined solely from
2741 the pitch and duration of the enclosed notes. While this approach may
2742 take a new user a while to get accustomed to, it has the great advantage
2743 that the full musical information of the ligature is known internally.
2744 This is not only required for correct MIDI output, but also allows for
2745 automatic transcription of the ligatures.
2750 \set Score.timing = ##f
2751 \set Score.defaultBarType = "empty"
2752 \override NoteHead #'style = #'neomensural
2753 \override Staff.TimeSignature #'style = #'neomensural
2757 \[ d\longa c\breve f e d \]
2759 \[ c'\maxima d'\longa \]
2763 @lilypond[quote,raggedright]
2766 \set Score.timing = ##f
2767 \set Score.defaultBarType = "empty"
2768 \override NoteHead #'style = #'neomensural
2769 \override Staff.TimeSignature #'style = #'neomensural
2773 \[ d\longa c\breve f e d \]
2775 \[ c'\maxima d'\longa \]
2782 \remove Ligature_bracket_engraver
2783 \consists Mensural_ligature_engraver
2789 Without replacing @internalsref{Ligature_bracket_engraver} with
2790 @internalsref{Mensural_ligature_engraver}, the same music transcribes
2793 @lilypond[quote,raggedright]
2795 \set Score.timing = ##f
2796 \set Score.defaultBarType = "empty"
2797 \override NoteHead #'style = #'neomensural
2798 \override Staff.TimeSignature #'style = #'neomensural
2802 \[ d\longa c\breve f e d \]
2804 \[ c'\maxima d'\longa \]
2812 The invisible rests (@code{s4}) in the example are used to compensate
2813 for the poor horizontal spacing.
2815 @node Gregorian square neumes ligatures
2816 @subsubsection Gregorian square neumes ligatures
2818 @cindex Square neumes ligatures
2819 @cindex Gregorian square neumes ligatures
2821 There is limited support for Gregorian square neumes notation
2822 (following the style of the Editio Vaticana). Core ligatures can
2823 already be typeset, but essential issues for serious typesetting are
2824 still lacking, such as (among others) horizontal alignment of multiple
2825 ligatures, lyrics alignment and proper handling of accidentals.
2828 The following table contains the extended neumes table of the 2nd
2829 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
2830 1983 by the monks of Solesmes.
2832 @multitable @columnfractions .4 .2 .2 .2
2849 @c TODO: \layout block is identical in all of the below examples.
2850 @c Therefore, it should somehow be included rather than duplicated all
2853 @c why not make identifiers in ly/engraver-init.ly? --hwn
2855 @c Because it's just used to typeset plain notes without
2856 @c a staff for demonstration purposes rather than something
2857 @c special of Gregorian chant notation. --jr
2862 @lilypond[staffsize=26,linewidth=1.5\cm]
2863 \include "gregorian-init.ly"
2868 \noBreak s^\markup {"a"} \noBreak
2870 % Punctum Inclinatum
2872 \noBreak s^\markup {"b"}
2874 \layout { \neumeDemoLayout }}
2877 @lilypond[staffsize=26,linewidth=2.5\cm]
2878 \include "gregorian-init.ly"
2881 % Punctum Auctum Ascendens
2882 \[ \auctum \ascendens b \]
2883 \noBreak s^\markup {"c"} \noBreak
2885 % Punctum Auctum Descendens
2886 \[ \auctum \descendens b \]
2887 \noBreak s^\markup {"d"} \noBreak
2889 % Punctum Inclinatum Auctum
2890 \[ \inclinatum \auctum b \]
2891 \noBreak s^\markup {"e"}
2893 \layout { \neumeDemoLayout }}
2896 @lilypond[staffsize=26,linewidth=1.0\cm]
2897 \include "gregorian-init.ly"
2900 % Punctum Inclinatum Parvum
2901 \[ \inclinatum \deminutum b \]
2902 \noBreak s^\markup {"f"}
2904 \layout { \neumeDemoLayout }}
2910 @lilypond[staffsize=26,linewidth=1.0\cm]
2911 \include "gregorian-init.ly"
2916 \noBreak s^\markup {"g"}
2918 \layout { \neumeDemoLayout }}
2924 @code{3. Apostropha vel Stropha}
2926 @lilypond[staffsize=26,linewidth=1.0\cm]
2927 \include "gregorian-init.ly"
2932 \noBreak s^\markup {"h"}
2934 \layout { \neumeDemoLayout }}
2937 @lilypond[staffsize=26,linewidth=1.0\cm]
2938 \include "gregorian-init.ly"
2942 \[ \stropha \auctum b \]
2943 \noBreak s^\markup {"i"}
2945 \layout { \neumeDemoLayout }}
2952 @lilypond[staffsize=26,linewidth=1.0\cm]
2953 \include "gregorian-init.ly"
2958 \noBreak s^\markup {"j"}
2960 \layout { \neumeDemoLayout }}
2966 @code{5. Clivis vel Flexa}
2968 @lilypond[staffsize=26,linewidth=1.0\cm]
2969 \include "gregorian-init.ly"
2976 \layout { \neumeDemoLayout }}
2979 @lilypond[staffsize=26,linewidth=2.0\cm]
2980 \include "gregorian-init.ly"
2983 % Clivis Aucta Descendens
2984 \[ b \flexa \auctum \descendens g \]
2985 \noBreak s^\markup {"l"} \noBreak
2987 % Clivis Aucta Ascendens
2988 \[ b \flexa \auctum \ascendens g \]
2989 \noBreak s^\markup {"m"}
2991 \layout { \neumeDemoLayout }}
2994 @lilypond[staffsize=26,linewidth=1.0\cm]
2995 \include "gregorian-init.ly"
2999 \[ b \flexa \deminutum g \]
3002 \layout { \neumeDemoLayout }}
3006 @code{6. Podatus vel Pes}
3008 @lilypond[staffsize=26,linewidth=1.0\cm]
3009 \include "gregorian-init.ly"
3016 \layout { \neumeDemoLayout }}
3019 @lilypond[staffsize=26,linewidth=2.0\cm]
3020 \include "gregorian-init.ly"
3023 % Pes Auctus Descendens
3024 \[ g \pes \auctum \descendens b \]
3025 \noBreak s^\markup {"p"} \noBreak
3027 % Pes Auctus Ascendens
3028 \[ g \pes \auctum \ascendens b \]
3029 \noBreak s^\markup {"q"}
3031 \layout { \neumeDemoLayout }}
3034 @lilypond[staffsize=26,linewidth=1.0\cm]
3035 \include "gregorian-init.ly"
3039 \[ g \pes \deminutum b \]
3042 \layout { \neumeDemoLayout }}
3046 @code{7. Pes Quassus}
3048 @lilypond[staffsize=26,linewidth=1.0\cm]
3049 \include "gregorian-init.ly"
3053 \[ \oriscus g \pes \virga b \]
3056 \layout { \neumeDemoLayout }}
3059 @lilypond[staffsize=26,linewidth=1.0\cm]
3060 \include "gregorian-init.ly"
3063 % Pes Quassus Auctus Descendens
3064 \[ \oriscus g \pes \auctum \descendens b \]
3067 \layout { \neumeDemoLayout }}
3072 @code{8. Quilisma Pes}
3074 @lilypond[staffsize=26,linewidth=1.0\cm]
3075 \include "gregorian-init.ly"
3079 \[ \quilisma g \pes b \]
3082 \layout { \neumeDemoLayout }}
3085 @lilypond[staffsize=26,linewidth=1.0\cm]
3086 \include "gregorian-init.ly"
3089 % Quilisma Pes Auctus Descendens
3090 \[ \quilisma g \pes \auctum \descendens b \]
3093 \layout { \neumeDemoLayout }}
3098 @code{9. Podatus Initio Debilis}
3100 @lilypond[staffsize=26,linewidth=1.0\cm]
3101 \include "gregorian-init.ly"
3104 % Pes Initio Debilis
3105 \[ \deminutum g \pes b \]
3108 \layout { \neumeDemoLayout }}
3111 @lilypond[staffsize=26,linewidth=1.0\cm]
3112 \include "gregorian-init.ly"
3115 % Pes Auctus Descendens Initio Debilis
3116 \[ \deminutum g \pes \auctum \descendens b \]
3119 \layout { \neumeDemoLayout }}
3126 @lilypond[staffsize=26,linewidth=1.0\cm]
3127 \include "gregorian-init.ly"
3131 \[ a \pes b \flexa g \]
3134 \layout { \neumeDemoLayout }}
3137 @lilypond[staffsize=26,linewidth=1.0\cm]
3138 \include "gregorian-init.ly"
3141 % Torculus Auctus Descendens
3142 \[ a \pes b \flexa \auctum \descendens g \]
3145 \layout { \neumeDemoLayout }}
3148 @lilypond[staffsize=26,linewidth=1.0\cm]
3149 \include "gregorian-init.ly"
3152 % Torculus Deminutus
3153 \[ a \pes b \flexa \deminutum g \]
3156 \layout { \neumeDemoLayout }}
3160 @code{11. Torculus Initio Debilis}
3162 @lilypond[staffsize=26,linewidth=1.0\cm]
3163 \include "gregorian-init.ly"
3166 % Torculus Initio Debilis
3167 \[ \deminutum a \pes b \flexa g \]
3170 \layout { \neumeDemoLayout }}
3173 @lilypond[staffsize=26,linewidth=1.0\cm]
3174 \include "gregorian-init.ly"
3177 % Torculus Auctus Descendens Initio Debilis
3178 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
3181 \layout { \neumeDemoLayout }}
3184 @lilypond[staffsize=26,linewidth=1.0\cm]
3185 \include "gregorian-init.ly"
3188 % Torculus Deminutus Initio Debilis
3189 \[ \deminutum a \pes b \flexa \deminutum g \]
3192 \layout { \neumeDemoLayout }}
3196 @code{12. Porrectus}
3198 @lilypond[staffsize=26,linewidth=1.0\cm]
3199 \include "gregorian-init.ly"
3203 \[ a \flexa g \pes b \]
3206 \layout { \neumeDemoLayout }}
3209 @lilypond[staffsize=26,linewidth=1.0\cm]
3210 \include "gregorian-init.ly"
3213 % Porrectus Auctus Descendens
3214 \[ a \flexa g \pes \auctum \descendens b \]
3217 \layout { \neumeDemoLayout }}
3220 @lilypond[staffsize=26,linewidth=1.0\cm]
3221 \include "gregorian-init.ly"
3224 % Porrectus Deminutus
3225 \[ a \flexa g \pes \deminutum b \]
3228 \layout { \neumeDemoLayout }}
3234 @lilypond[staffsize=26,linewidth=1.0\cm]
3235 \include "gregorian-init.ly"
3239 \[ \virga b \inclinatum a \inclinatum g \]
3242 \layout { \neumeDemoLayout }
3246 @lilypond[staffsize=26,linewidth=1.0\cm]
3247 \include "gregorian-init.ly"
3251 \[ \virga b \inclinatum a \inclinatum \auctum g \]
3254 \layout { \neumeDemoLayout }}
3257 @lilypond[staffsize=26,linewidth=1.0\cm]
3258 \include "gregorian-init.ly"
3261 % Climacus Deminutus
3262 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
3265 \layout { \neumeDemoLayout }}
3269 @code{14. Scandicus}
3271 @lilypond[staffsize=26,linewidth=1.0\cm]
3272 \include "gregorian-init.ly"
3276 \[ g \pes a \virga b \]
3279 \layout { \neumeDemoLayout }}
3282 @lilypond[staffsize=26,linewidth=1.0\cm]
3283 \include "gregorian-init.ly"
3286 % Scandicus Auctus Descendens
3287 \[ g \pes a \pes \auctum \descendens b \]
3290 \layout { \neumeDemoLayout }}
3293 @lilypond[staffsize=26,linewidth=1.0\cm]
3294 \include "gregorian-init.ly"
3297 % Scandicus Deminutus
3298 \[ g \pes a \pes \deminutum b \]
3301 \layout { \neumeDemoLayout }}
3307 @lilypond[staffsize=26,linewidth=1.0\cm]
3308 \include "gregorian-init.ly"
3312 \[ g \oriscus a \pes \virga b \]
3315 \layout { \neumeDemoLayout }}
3318 @lilypond[staffsize=26,linewidth=1.0\cm]
3319 \include "gregorian-init.ly"
3322 % Salicus Auctus Descendens
3323 \[ g \oriscus a \pes \auctum \descendens b \]
3326 \layout { \neumeDemoLayout }}
3333 @lilypond[staffsize=26,linewidth=1.0\cm]
3334 \include "gregorian-init.ly"
3338 \[ \stropha b \stropha b \stropha a \]
3341 \layout { \neumeDemoLayout }
3350 Unlike most other neumes notation systems, the input language for
3351 neumes does not reflect the typographical appearance, but is designed
3352 to focus on musical meaning. For example, @code{\[ a \pes b
3353 \flexa g \]} produces a Torculus consisting of three Punctum heads,
3354 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
3355 curved flexa shape and only a single Punctum head. There is no
3356 command to explicitly typeset the curved flexa shape; the decision of
3357 when to typeset a curved flexa shape is based on the musical
3358 input. The idea of this approach is to separate the musical aspects
3359 of the input from the notation style of the output. This way, the
3360 same input can be reused to typeset the same music in a different
3361 style of Gregorian chant notation.
3363 The following table shows the code fragments that produce the
3364 ligatures in the above neumes table. The letter in the first column
3365 in each line of the below table indicates to which ligature in the
3366 above table it refers. The second column gives the name of the
3367 ligature. The third column shows the code fragment that produces this
3368 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
3370 @multitable @columnfractions .02 .31 .67
3390 @code{\[ \inclinatum b \]}
3398 @code{\[ \auctum \ascendens b \]}
3406 @code{\[ \auctum \descendens b \]}
3411 Punctum Inclinatum@*
3414 @code{\[ \inclinatum \auctum b \]}
3419 Punctum Inclinatum@*
3421 @code{\[ \inclinatum \deminutum b \]}
3428 @code{\[ \virga b \]}
3435 @code{\[ \stropha b \]}
3442 @code{\[ \stropha \auctum b \]}
3449 @code{\[ \oriscus b \]}
3456 @code{\[ b \flexa g \]}
3464 @code{\[ b \flexa \auctum \descendens g \]}
3472 @code{\[ b \flexa \auctum \ascendens g \]}
3479 @code{\[ b \flexa \deminutum g \]}
3486 @code{\[ g \pes b \]}
3494 @code{\[ g \pes \auctum \descendens b \]}
3502 @code{\[ g \pes \auctum \ascendens b \]}
3509 @code{\[ g \pes \deminutum b \]}
3516 @code{\[ \oriscus g \pes \virga b \]}
3522 Auctus Descendens @tab
3523 @code{\[ \oriscus g \pes \auctum \descendens b \]}
3530 @code{\[ \quilisma g \pes b \]}
3538 @code{\[ \quilisma g \pes \auctum \descendens b \]}
3545 @code{\[ \deminutum g \pes b \]}
3550 Pes Auctus Descendens@*
3553 @code{\[ \deminutum g \pes \auctum \descendens b \]}
3560 @code{\[ a \pes b \flexa g \]}
3568 @code{\[ a \pes b \flexa \auctum \descendens g \]}
3575 @code{\[ a \pes b \flexa \deminutum g \]}
3580 Torculus Initio Debilis
3582 @code{\[ \deminutum a \pes b \flexa g \]}
3588 Descendens Initio Debilis
3590 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
3595 Torculus Deminutus@*
3598 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
3605 @code{\[ a \flexa g \pes b \]}
3613 @code{\[ a \flexa g \pes \auctum \descendens b \]}
3620 @code{\[ a \flexa g \pes \deminutum b \]}
3627 @code{\[ \virga b \inclinatum a \inclinatum g \]}
3634 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
3641 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
3648 @code{\[ g \pes a \virga b \]}
3656 @code{\[ g \pes a \pes \auctum \descendens b \]}
3663 @code{\[ g \pes a \pes \deminutum b \]}
3670 @code{\[ g \oriscus a \pes \virga b \]}
3675 Salicus Auctus Descendens
3677 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
3684 @code{\[ \stropha b \stropha b \stropha a \]}
3689 The following head prefixes are supported
3691 @cindex @code{\virga}
3693 @cindex @code{\stropha}
3695 @cindex @code{\inclinatum}
3697 @cindex @code{\auctum}
3699 @cindex @code{\descendens}
3701 @cindex @code{\ascendens}
3703 @cindex @code{\oriscus}
3705 @cindex @code{\quilisma}
3707 @cindex @code{\deminutum}
3710 Head prefixes can be accumulated, though restrictions apply. For
3711 example, either @code{\descendens} or @code{\ascendens} can be applied
3712 to a head, but not both to the same head.
3715 @cindex @code{\flexa}
3716 Two adjacent heads can be tied together with the @code{\pes} and
3717 @code{\flexa} infix commands for a rising and falling line of melody,
3722 @node Gregorian Chant contexts
3723 @subsection Gregorian Chant contexts
3725 @cindex VaticanaVoiceContext
3726 @cindex VaticanaStaffContext
3728 The predefined @code{VaticanaVoiceContext} and
3729 @code{VaticanaStaffContext} can be used to engrave a piece of
3730 Gregorian Chant in the style of the Editio Vaticana. These contexts
3731 initialize all relevant context properties and grob properties to
3732 proper values, so you can immediately go ahead entering the chant, as
3733 the following excerpt demonstrates
3735 @lilypond[quote,raggedright,packed,verbatim]
3736 \include "gregorian-init.ly"
3739 \context VaticanaVoice = "cantus" {
3740 \override Staff.StaffSymbol #'color = #red
3741 \override Staff.LedgerLineSpanner #'color = #red
3742 \override Score.BarNumber #'transparent = ##t {
3743 \[ c'\melisma c' \flexa a \]
3744 \[ a \flexa \deminutum g\melismaEnd \]
3746 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
3747 c' \divisioMinima \break
3748 \[ c'\melisma c' \flexa a \]
3749 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
3752 \lyricsto "cantus" \new Lyrics {
3753 San- ctus, San- ctus, San- ctus
3760 @node Mensural contexts
3761 @subsection Mensural contexts
3763 @cindex MensuralVoiceContext
3764 @cindex MensuralStaffContext
3766 The predefined @code{MensuralVoiceContext} and
3767 @code{MensuralStaffContext} can be used to engrave a piece in mensural
3768 style. These contexts initialize all relevant context properties and
3769 grob properties to proper values, so you can immediately go ahead
3770 entering the chant, as the following excerpt demonstrates
3772 @lilypond[quote,raggedright,verbatim]
3775 \context MensuralVoice = "discantus" \transpose c c' {
3776 \override Score.BarNumber #'transparent = ##t {
3777 c'1\melisma bes a g\melismaEnd
3779 \[ f1\melisma a c'\breve d'\melismaEnd \]
3781 c'\breve\melisma a1 g1\melismaEnd
3782 fis\longa^\signumcongruentiae
3785 \lyricsto "discantus" \new Lyrics {
3786 San -- ctus, San -- ctus, San -- ctus
3794 @subsection Figured bass
3796 @cindex Basso continuo
3798 @c TODO: musicological blurb about FB
3801 LilyPond has limited support for figured bass
3803 @lilypond[quote,raggedright,verbatim,fragment]
3805 \context Voice { \clef bass dis4 c d ais g fis}
3806 \context FiguredBass \figuremode {
3807 < 6 >4 < 7 >8 < 6+ [_!] >
3814 The support for figured bass consists of two parts: there is an input
3815 mode, introduced by @code{\figuremode}, where you can enter bass figures
3816 as numbers, and there is a context called @internalsref{FiguredBass} that
3817 takes care of making @internalsref{BassFigure} objects.
3819 In figures input mode, a group of bass figures is delimited by
3820 @code{<} and @code{>}. The duration is entered after the @code{>}
3824 @lilypond[quote,raggedright,fragment]
3825 \context FiguredBass
3826 \figuremode { <4 6> }
3829 Accidentals are added when you append @code{-}, @code{!}, and @code{+}
3835 @lilypond[quote,raggedright,fragment]
3836 \context FiguredBass
3837 \figuremode { <4- 6+ 7!> }
3840 Spaces or dashes may be inserted by using @code{_}. Brackets are
3841 introduced with @code{[} and @code{]}. You can also include text
3842 strings and text markups, see @ref{Overview of text markup commands}.
3845 < [4 6] 8 [_! 12] > < 5 \markup @{ + \number 6 @} >
3847 @lilypond[quote,raggedright,fragment]
3848 \context FiguredBass
3849 \figuremode { < [4 6] 8 [_! 12] > < 5 \markup{ + \number 6 } > }
3853 Although the support for figured bass may superficially resemble chord
3854 support, it works much simpler. The @code{\figuremode} mode simply
3855 stores the numbers and @internalsref{FiguredBass} context prints
3856 them as entered. There is no conversion to pitches and no
3857 realizations of the bass are played in the MIDI file.
3859 Internally, the code produces markup texts. You can use any of the
3860 markup text properties to override formatting. For example, the
3861 vertical spacing of the figures may be set with @code{baseline-skip}.
3865 Program reference: @internalsref{BassFigure} object,
3866 @internalsref{FiguredBass} context.
3870 Slash notation for alterations is not supported.
3874 @node Other instrument specific notation
3875 @section Other instrument specific notation
3877 This section includes extra information for writing for instruments.
3880 * Artificial harmonics (strings)::
3881 * Stopped notes (guitar)::
3884 @node Artificial harmonics (strings)
3885 @subsection Artificial harmonics (strings)
3887 @cindex artificial harmonics
3889 Artificial harmonics are notated with a different notehead style. They
3890 are entered by marking the harmonic pitch with @code{\harmonic}.
3892 @lilypond[raggedright,verbatim,quote,fragment,relative=1]
3897 @node Stopped notes (guitar)
3898 @subsection Stopped notes (guitar)