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::
47 Dynamics are not centered, but workarounds do exist. See the
48 ``piano centered dynamics'' template in @ref{Piano templates}.
50 @cindex cross staff stem
51 @cindex stem, cross staff
52 @cindex distance between staves in piano music
54 The distance between the two staves is the same for all systems in the
55 score. It is possible to override this per system, but it does require
56 an arcane command incantation. See
57 @inputfileref{input/@/test,piano@/-staff@/-distance@/.ly}.
60 @node Automatic staff changes
61 @subsection Automatic staff changes
62 @cindex Automatic staff changes
64 Voices can be made to switch automatically between the top and the bottom
65 staff. The syntax for this is
69 \autochange @dots{}@var{music}@dots{}
74 This will create two staves inside the current PianoStaff, called
75 @code{up} and @code{down}. The lower staff will be in bass clef by
78 A @code{\relative} section that is outside of @code{\autochange} has
79 no effect on the pitches of @var{music}, so, if necessary, put
80 @code{\relative} inside @code{\autochange} like
84 \autochange \relative @dots{} @dots{}
89 The autochanger switches on basis of the pitch (middle C is the turning
90 point), and it looks ahead skipping over rests to switch in
91 advance. Here is a practical example
93 @lilypond[quote,verbatim,raggedright]
95 \autochange \relative c'
104 In this manual: @ref{Manual staff switches}.
106 Program reference: @internalsref{AutoChangeMusic}.
112 The staff switches may not end up in optimal places. For high
113 quality output, staff switches should be specified manually.
116 @code{\autochange} cannot be inside @code{\times}.
119 @node Manual staff switches
120 @subsection Manual staff switches
122 @cindex manual staff switches
123 @cindex staff switch, manual
125 Voices can be switched between staves manually, using the command
127 \change Staff = @var{staffname} @var{music}
131 The string @var{staffname} is the name of the staff. It switches the
132 current voice from its current staff to the Staff called
133 @var{staffname}. Typically @var{staffname} is @code{"up"} or
134 @code{"down"}. The @context{Staff} referred to must already exist, so
135 usually the setup for a score will start with a setup of the staves,
139 \context Staff = up @{
140 \skip 1 * 10 % @emph{keep staff alive}
142 \context Staff = down @{
143 \skip 1 * 10 % @emph{idem}
149 and the @context{Voice} is inserted afterwards
152 \context Staff = down
153 \new Voice @{ @dots{} \change Staff = up @dots{} @}
161 Pianos have pedals that alter the way sound is produced. Generally, a
162 piano has three pedals, sustain, una corda, and sostenuto.
165 Piano pedal instruction can be expressed by attaching
166 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
167 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
170 @lilypond[quote,raggedright,fragment,verbatim]
171 c'4\sustainDown c'4\sustainUp
174 What is printed can be modified by setting @code{pedal@var{X}Strings},
175 where @var{X} is one of the pedal types: @code{Sustain},
176 @code{Sostenuto} or @code{UnaCorda}. Refer to
177 @internalsref{SustainPedal} in the program reference for more
180 Pedals can also be indicated by a sequence of brackets, by setting the
181 @code{pedalSustainStyle} property to bracket objects
183 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
184 \set Staff.pedalSustainStyle = #'bracket
186 b\sustainUp\sustainDown
187 b g \sustainUp a \sustainDown \bar "|."
190 A third style of pedal notation is a mixture of text and brackets,
191 obtained by setting the @code{pedalSustainStyle} property to
194 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
195 \set Staff.pedalSustainStyle = #'mixed
197 b\sustainUp\sustainDown
198 b g \sustainUp a \sustainDown \bar "|."
201 The default `*Ped.' style for sustain and damper pedals corresponds to
202 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
205 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
206 c\sostenutoDown d e c, f g a\sostenutoUp
209 For fine-tuning the appearance of a pedal bracket, the properties
210 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
211 @code{PianoPedalBracket} objects (see
212 @internalsref{PianoPedalBracket} in the Program reference) can be
213 modified. For example, the bracket may be extended to the right edge
216 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
217 \override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
218 c\sostenutoDown d e c, f g a\sostenutoUp
221 @node Staff switch lines
222 @subsection Staff switch lines
226 @cindex staff switching
229 @cindex @code{followVoice}
231 Whenever a voice switches to another staff, a line connecting the notes
232 can be printed automatically. This is switched on by setting
233 @code{followVoice} to true
235 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
238 \set followVoice = ##t
243 \context Staff=two { \clef bass \skip 1*2 }
249 Program reference: @internalsref{VoiceFollower}.
253 @cindex @code{\showStaffSwitch}
254 @code{\showStaffSwitch},
255 @cindex @code{\hideStaffSwitch}
256 @code{\hideStaffSwitch}.
259 @node Cross staff stems
260 @subsection Cross staff stems
262 Chords that cross staves may be produced by increasing the length
263 of the stem in the lower staff, so it reaches the stem in the upper
264 staff, or vice versa.
266 @lilypond[raggedright,verbatim,quote]
267 stemExtend = \once \override Stem #'length = #22
268 noFlag = \once \override Stem #'flag-style = #'no-flag
269 \context PianoStaff <<
271 \stemDown \stemExtend
289 * Introducing chord names::
291 * Printing chord names::
295 @c awkward name; awkward section name.
296 @c still, the Basic "chords" seems like a good name... :(
297 @node Introducing chord names
298 @subsection Introducing chord names
301 LilyPond has support for printing chord names. Chords may be entered
302 in musical chord notation, i.e., @code{< .. >}, but they can also be
303 entered by name. Internally, the chords are represented as a set of
304 pitches, so they can be transposed
307 @lilypond[quote,raggedright,verbatim,raggedright]
308 twoWays = \transpose c c' {
317 << \context ChordNames \twoWays
318 \context Voice \twoWays >>
321 This example also shows that the chord printing routines do not try to
322 be intelligent. The last chord (@code{f bes d}) is not interpreted as
325 Note that the duration of chords must be specified outside the
334 @subsection Chords mode
337 In chord mode sets of pitches (chords) are entered with normal note
338 names. A chord is entered by the root, which is entered like a
341 @lilypond[quote,raggedright,fragment,verbatim]
342 \chordmode { es4. d8 c2 }
346 The mode is introduced by the keyword @code{\chordmode}.
351 Other chords may be entered by suffixing a colon and introducing a
352 modifier (which may include a number if desired)
353 @lilypond[quote,fragment,verbatim]
354 \chordmode { e1:m e1:7 e1:m7 }
356 The first number following the root is taken to be the `type' of the
357 chord, thirds are added to the root until it reaches the specified
359 @lilypond[quote,fragment,verbatim]
360 \chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
363 @cindex root of chord
364 @cindex additions, in chords
365 @cindex removals, in chords
367 More complex chords may also be constructed adding separate steps
368 to a chord. Additions are added after the number following
369 the colon and are separated by dots
370 @lilypond[quote,verbatim,fragment]
371 \chordmode { c:5.6 c:3.7.8 c:3.6.13 }
373 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
375 @lilypond[quote,verbatim,fragment]
376 \chordmode { c:7+ c:5+.3- c:3-.5-.7- }
378 Removals are specified similarly and are introduced by a caret. They
379 must come after the additions
380 @lilypond[quote,verbatim,fragment]
381 \chordmode { c^3 c:7^5 c:9^3.5 }
384 Modifiers can be used to change pitches. The following modifiers are
389 The minor chord. This modifier lowers the 3rd and (if present) the 7th step.
392 The diminished chord. This modifier lowers the 3rd, 5th and (if present)
396 The augmented chord. This modifier raises the 5th step.
399 The major 7th chord. This modifier raises the 7th step if present.
402 The suspended 4th or 2nd. This modifier removes the 3rd
403 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
407 Modifiers can be mixed with additions
408 @lilypond[quote,verbatim,fragment]
409 \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
412 @cindex modifiers, in chords.
419 Since an unaltered 11 does not sound good when combined with an
420 unaltered 3, the 11 is removed in this case (unless it is added
422 @lilypond[quote,raggedright,fragment,verbatim]
423 \chordmode { c:13 c:13.11 c:m13 }
428 An inversion (putting one pitch of the chord on the bottom), as well
429 as bass notes, can be specified by appending
430 @code{/}@var{pitch} to the chord
431 @lilypond[quote,raggedright,fragment,verbatim]
432 \chordmode { c1 c/g c/f }
436 A bass note can be added instead transposed out of the chord,
437 by using @code{/+}@var{pitch}.
439 @lilypond[quote,raggedright,fragment,verbatim]
440 \chordmode { c1 c/+g c/+f }
443 Chords is a mode similar to @code{\lyricmode}, etc. Most
444 of the commands continue to work, for example, @code{r} and
445 @code{\skip} can be used to insert rests and spaces, and property
446 commands may be used to change various settings.
452 Each step can only be present in a chord once. The following
453 simply produces the augmented chord, since @code{5+} is interpreted
456 @lilypond[quote,raggedright,verbatim,fragment]
457 \chordmode { c:5.5-.5+ }
461 @node Printing chord names
462 @subsection Printing chord names
464 @cindex printing chord names
468 For displaying printed chord names, use the @internalsref{ChordNames} context.
469 The chords may be entered either using the notation
470 described above, or directly using @code{<} and @code{>}
472 @lilypond[quote,verbatim,raggedright]
474 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
477 \context ChordNames \harmonies
478 \context Staff \harmonies
482 You can make the chord changes stand out by setting
483 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
484 display chord names when there is a change in the chords scheme and at
485 the start of a new line
487 @lilypond[quote,verbatim,raggedright]
488 harmonies = \chordmode {
489 c1:m c:m \break c:m c:m d
492 \context ChordNames {
493 \set chordChanges = ##t
495 \context Staff \transpose c c' \harmonies
499 The previous examples all show chords over a staff. This is not
500 necessary. Chords may also be printed separately. It may be necessary
501 to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
504 @lilypond[raggedright,verbatim]
505 \new ChordNames \with {
506 \override BarLine #'bar-size = #4
507 voltaOnThisStaff = ##t
508 \consists Bar_engraver
509 \consists "Volta_engraver"
511 \repeat volta 2 \chordmode {
520 The default chord name layout is a system for Jazz music, proposed by
521 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
525 @cindex @code{chordNameExceptions}
526 @item chordNameExceptions
527 This is a list that contains the chords that have special formatting.
529 The exceptions list should be encoded as
531 @{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
534 To get this information into @code{chordNameExceptions} takes a little
535 manoeuvring. The following code transforms @code{chExceptionMusic}
536 (which is a sequential music) into a list of exceptions.
538 (sequential-music-to-chord-exceptions chExceptionMusic #t)
543 (sequential-music-to-chord-exceptions chExceptionMusic #t)
546 adds the new exceptions to the default ones, which are defined in
547 @file{ly/@/chord@/-modifier@/-init@/.ly}.
549 For an example of tuning this property, see also
550 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly}.
551 @cindex exceptions, chord names.
554 @cindex @code{majorSevenSymbol}
555 @item majorSevenSymbol
556 This property contains the markup object used for the 7th step, when
557 it is major. Predefined options are @code{whiteTriangleMarkup} and
558 @code{blackTriangleMarkup}. See
559 @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly} for an example.
561 @cindex @code{chordNameSeparator}
562 @item chordNameSeparator
563 Different parts of a chord name are normally separated by a
564 slash. By setting @code{chordNameSeparator}, you can specify other
566 @lilypond[quote,raggedright,fragment,verbatim]
567 \context ChordNames \chordmode {
569 \set chordNameSeparator
570 = \markup { \typewriter "|" }
575 @cindex @code{chordRootNamer}
577 The root of a chord is usually printed as a letter with an optional
578 alteration. The transformation from pitch to letter is done by this
579 function. Special note names (for example, the German ``H'' for a
580 B-chord) can be produced by storing a new function in this property.
582 @cindex @code{chordNoteNamer}
584 The default is to print single pitch, e.g., the bass note, using the
585 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
586 to a specialized function to change this behavior. For example, the
587 base can be printed in lower case.
589 @cindex @code{chordPrefixSpacer}
590 @item chordPrefixSpacer
591 The ``m'' for minor chords is usually printed right after the root of
592 the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer
593 between the root and ``m''. The spacer is not used when the root
598 The predefined variables @code{\germanChords},
599 @code{\semiGermanChords}, @code{\italianChords} and @code{\frenchChords}
600 set these variables. The effect is
603 @lilypondfile[raggedright]{chord-names-languages.ly}
605 There are also two other chord name schemes implemented: an alternate
606 Jazz chord notation, and a systematic scheme called Banter chords. The
607 alternate Jazz notation is also shown on the chart in @ref{Chord name
608 chart}. Turning on these styles is described in the input file
609 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
618 @cindex @code{\germanChords}
619 @code{\germanChords},
620 @cindex @code{\semiGermanChords}
621 @code{\semiGermanChords}.
622 @cindex @code{\italianChords}
623 @code{\italianChords}.
624 @cindex @code{\frenchChords}
625 @code{\frenchChords}.
632 Examples: @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly},
633 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly},
634 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
637 Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
638 @file{scm/@/chord@/-entry@/.scm}.
643 Chord names are determined solely from the list of pitches. Chord
644 inversions are not identified, and neither are added bass notes. This
645 may result in strange chord names when chords are entered with the
646 @code{< .. >} syntax.
653 There are three different issues when printing vocal music
657 Song texts must be entered as text, not notes. For example, the
658 input@tie{}@code{d} should be interpreted as a one letter syllable, not the
662 Song texts must be printed as text, not as notes.
665 Song texts must be aligned with the notes of their melody.
668 The simplest solution for printing music uses the @code{\addlyrics}
669 function to solve all these problems at once. However, these
670 three functions can be controlled separately, which is necessary
671 for complex vocal music.
675 * Setting simple songs::
677 * Hyphens and extenders::
678 * The Lyrics context::
679 * Flexibility in alignment::
682 * Other vocal issues::
685 @node Setting simple songs
686 @subsection Setting simple songs
688 The easiest way to add lyrics to a melody is to append
691 \addlyrics @{ @var{the lyrics} @}
695 to a melody. Here is an example,
697 @lilypond[raggedright,verbatim,fragment,quote]
699 \relative { c2 e4 g2. }
700 \addlyrics { play the game }
703 More stanzas can be added by adding more
704 @code{\addlyrics} sections
706 @lilypond[raggedright,verbatim,fragment,quote]
708 \relative { c2 e4 g2. }
709 \addlyrics { play the game }
710 \addlyrics { speel het spel }
711 \addlyrics { joue le jeu }
714 @c TODO - this isn't such a great place for this note, but I can't
715 @c find a better place without rearranging a lot of lyric stuff.
716 @c It's yet another thing to look at post-3.0.
718 The @code{\addlyrics} command is actually just a convienient way
719 to write a more complicated LilyPond structure that sets up the
720 lyrics. You should use @code{\addlyrics} unless you need to do
721 fancy things, in which case you should investigate
722 @code{\lyricsto} or @code{\lyricmode}.
726 \addlyrics @{ LYRICS @}
733 \context Voice = blah @{ music @}
734 \lyricsto "blah" \new lyrics @{ LYRICS @}
739 @code{\addlyrics} cannot handle polyphony.
742 @node Entering lyrics
743 @subsection Entering lyrics
746 @cindex @code{\lyricmode}
749 Lyrics are entered in a special input mode. This mode is introduced
750 by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
751 @code{\lyricsto}. In this mode you can enter lyrics,
752 with punctuation and accents, and the input @code{d} is not parsed as
753 a pitch, but rather as a one letter syllable. Syllables are entered
754 like notes, but with pitches replaced by text. For example,
756 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
759 There is a difference between @code{\addlyrics} and
760 @code{\lyricmode}. @code{\addlyrics} and @code{\lyricsto}
761 ignore all durations and aligns syllables to notes; @code{\lyricmode}
762 uses the durations specified.
764 A word lyrics mode begins with an alphabetic character, and ends with
765 any space or digit. The following characters can be any character
766 that is not a digit or white space. One important consequence of this
767 is that a word can end with @code{@}}. The following example is
768 usually a mistake in the input file. The syllable includes a @code{@}}, so the
769 opening brace is not balanced
771 \lyricmode @{ twinkle@}
774 @cindex @code{\property}, in @code{\lyricmode}
776 Similarly, a period which follows an alphabetic sequence is included in
777 the resulting string. As a consequence, spaces must be inserted around
780 \override Score . LyricText #'font-shape = #'italic
784 @cindex spaces, in lyrics
785 @cindex quotes, in lyrics
787 Any @code{_} character that appears in an unquoted word is converted
788 to a space. This provides a mechanism for introducing spaces into words
789 without using quotes.
791 To enter lyrics with characters from non-English languages, or with
792 non-ascii characters (such as the heart symbol or slanted quotes),
793 simply insert the characters directly into the input file and save
794 it with utf-8 encoding. See @ref{Text encoding} for more info.
797 \lyricmode @{ He said: “Let my peo ple go”. @}
800 The full definition of a word start in Lyrics mode is somewhat more
803 A word in Lyrics mode begins with: an alphabetic character, @code{_},
804 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
805 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
806 any 8-bit character with ASCII code over 127, or a two-character
807 combination of a backslash followed by one of @code{`}, @code{'},
808 @code{"}, or @code{^}.
814 Program reference: @internalsref{LyricText}.
818 The definition of lyrics mode is too complex.
820 @node Hyphens and extenders
821 @subsection Hyphens and extenders
825 Centered hyphens are entered as `@code{--}' between syllables.
826 The hyphen will have variable length depending on the space between
827 the syllables and it will be centered between the syllables.
832 When a lyric is sung over many notes (this is called a melisma), this is
833 indicated with a horizontal line centered between a syllable and the
834 next one. Such a line is called an extender line, and it is entered as
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.
843 @lilypond[quote,verbatim,raggedright]
846 \new Staff \relative c'' {
847 \time 1/4 c16 c c c c16 c c c c16 c c c
849 \lyricmode { \new Lyrics
851 \override SeparationItem #'padding = #0.0
852 % Otherwise lyrics are so far apart that hyphens don't disappear
855 An -- ti -- cons -- ti --
856 tu -- tion -- nel -- le --
857 \override LyricHyphen #'minimum-length = #0.7
858 \override LyricHyphen #'spacing-procedure =
859 #Hyphen_spanner::set_spacing_rods
860 men -- taire -- ment. ouf~!
868 \Staff \remove "Time_signature_engraver"
876 Program reference: @internalsref{LyricHyphen}, @internalsref{LyricExtender}.
880 @node The Lyrics context
881 @subsection The Lyrics context
884 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
886 \context Lyrics \lyricmode @dots{}
889 @cindex automatic syllable durations
890 @cindex @code{\lyricsto}
891 @cindex lyrics and melodies
893 This will place the lyrics according to the durations that were
894 entered. The lyrics can also be aligned under a given melody
895 automatically. In this case, it is no longer necessary to enter the
896 correct duration for each syllable. This is achieved by combining the
897 melody and the lyrics with the @code{\lyricsto} expression
899 \lyricsto @var{name} \new Lyrics @dots{}
902 This aligns the lyrics to the
903 notes of the @internalsref{Voice} context called @var{name}, which has
904 to exist. Therefore, normally the @code{Voice} is specified first, and
905 then the lyrics are specified with @code{\lyricsto}. The command
906 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
907 @code{\lyricmode} keyword may be omitted.
909 For different or more complex orderings, the best way is to setup the
910 hierarchy of staves and lyrics first, e.g.,
912 \context ChoirStaff <<
913 \context Lyrics = sopranoLyrics @{ s1 @}
914 \context Voice = soprano @{ @emph{music} @}
915 \context Lyrics = tenorLyrics @{ s1 @}
916 \context Voice = tenor @{ @emph{music} @}
919 and then combine the appropriate melodies and lyric lines
921 \lyricsto "soprano" \context Lyrics = sopranoLyrics
926 The final input would resemble
929 <<\context ChoirStaff << @emph{setup the music} >>
930 \lyricsto "soprano" @emph{etc}
931 \lyricsto "alto" @emph{etc}
937 The @code{\lyricsto} command detects melismata: it only puts one
938 syllable under a tied or slurred group of notes. If you want to force
939 an unslurred group of notes to be a melisma, insert @code{\melisma}
940 after the first note of the group, and @code{\melismaEnd} after the
943 @lilypond[quote,relative=2,raggedright,fragment,verbatim]
945 \context Voice = "lala" {
953 \lyricsto "lala" \new Lyrics {
959 In addition, notes are considered a melisma if they are manually
960 beamed, and automatic beaming (see @ref{Setting automatic beam
961 behavior}) is switched off.
967 The criteria for deciding melismata can
968 be tuned with the property @code{melismaBusyProperties}. See
969 @internalsref{Melisma_translator} in the program reference for more
974 Lyrics can also be entered without @code{\lyricsto}. In this case the
975 duration of each syllable must be entered explicitly, for example,
982 The alignment to a melody can be specified with the
983 @code{associatedVoice} property,
986 \set associatedVoice = #"lala"
990 The value of the property (here: @code{"lala"}) should be the name of
991 a @internalsref{Voice} context. Without this setting, extender lines
992 will not be formatted properly.
994 Here is an example demonstrating manual lyric durations,
996 @lilypond[relative=1,raggedright,verbatim,fragment,quote]
997 << \context Voice = melody {
1001 \new Lyrics \lyricmode {
1002 \set associatedVoice = #"melody"
1008 @cindex choral score
1010 A complete example of a SATB score setup is in section
1011 @ref{Vocal ensembles}.
1016 @code{\melisma}, @code{\melismaEnd}
1017 @cindex @code{\melismaEnd}
1018 @cindex @code{\melisma}
1022 Program reference: @internalsref{LyricCombineMusic},
1023 @internalsref{Lyrics}, @internalsref{Melisma_translator}.
1026 @inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly}.
1027 @c TODO: make separate section for melismata
1031 Melismata are not detected automatically, and extender lines must be
1035 @c TODO: document \new Staff << Voice \lyricsto >> bug
1037 @node Flexibility in alignment
1038 @subsection Flexibility in alignment
1040 Often, different stanzas of one song are put to one melody in slightly
1041 differing ways. Such variations can still be captured with
1044 @subsubsection Lyrics to multiple notes of a melisma
1047 One possibility is that the text has a melisma in one stanza, but
1048 multiple syllables in another one. One solution is to make the faster
1049 voice ignore the melisma. This is done by setting
1050 @code{ignoreMelismata} in the Lyrics context.
1052 There has one tricky aspect. The setting for @code{ignoreMelismata}
1053 must be set one syllable @emph{before} the non-melismatic syllable
1054 in the text, as shown here,
1056 @lilypond[verbatim,raggedright,quote]
1058 \relative \context Voice = "lahlah" {
1059 \set Staff.autoBeaming = ##f
1065 \new Lyrics \lyricsto "lahlah" {
1068 \new Lyrics \lyricsto "lahlah" {
1069 \set ignoreMelismata = ##t % applies to "fas"
1071 \unset ignoreMelismata
1078 The @code{ignoreMelismata} applies to the syllable ``fas'', so it
1079 should be entered before ``go''.
1081 The reverse is also possible: making a lyric line slower than the
1082 standard. This can be achieved by insert @code{\skip}s into the
1083 lyrics. For every @code{\skip}, the text will be delayed another note.
1086 @lilypond[verbatim,raggedright,quote]
1087 \relative { c c g' }
1095 @subsection Switching the melody associated with a lyrics line
1099 More complex variations in text underlay are possible. It is possible
1100 to switch the melody for a line of lyrics during the text. This is
1101 done by setting the @code{associatedVoice} property. In the example
1103 @lilypond[raggedright,quote]
1105 \relative \context Voice = "lahlah" {
1106 \set Staff.autoBeaming = ##f
1109 \context Voice = alternative {
1112 % show associations clearly.
1113 \override NoteColumn #'force-hshift = #-3
1124 \new Lyrics \lyricsto "lahlah" {
1125 Ju -- ras -- sic Park
1127 \new Lyrics \lyricsto "lahlah" {
1128 % Tricky: need to set associatedVoice
1129 % one syllable too soon!
1130 \set associatedVoice = alternative % applies to "ran"
1134 \set associatedVoice = lahlah % applies to "rus"
1140 the text for the first stanza is set to a melody called ``lahlah'',
1143 \new Lyrics \lyricsto "lahlah" @{
1144 Ju -- ras -- sic Park
1149 The second stanza initially is set to the @code{lahlah} context, but
1150 for the syllable ``ran'', it switches to a different melody.
1151 This is achieved with
1153 \set associatedVoice = alternative
1157 Here, @code{alternative} is the name of the @code{Voice} context
1158 containing the triplet.
1160 Again, the command must be one syllable too early, before ``Ty'' in
1164 \new Lyrics \lyricsto "lahlah" @{
1165 \set associatedVoice = alternative % applies to "ran"
1169 \set associatedVoice = lahlah % applies to "rus"
1175 The underlay is switched back to the starting situation by assigning
1176 @code{lahlah} to @code{associatedVoice}.
1180 @subsection Specifying melismata within the lyrics
1182 It is also possible to define melismata entirely in the lyrics. This
1183 can be done by entering @code{_} for every note that is part of the
1186 @lilypond[relative=1,verbatim,fragment]
1187 { \set melismaBusyProperties = #'()
1188 c d( e) f f( e) e e }
1190 { Ky -- _ _ ri __ _ _ _ e }
1193 In this case, you can also have ties and slurs in the melody, if you
1194 set @code{melismaBusyProperties}, as is done in the example above.
1196 @lilypond[relative=1,verbatim,fragment]
1198 \set melismaBusyProperties = #'()
1202 { Ky -- _ _ ri __ _ _ _ e }
1207 @subsection More stanzas
1209 @cindex phrasing, in lyrics
1212 @cindex stanza number
1213 @cindex singer's names
1214 @cindex name of singer
1216 Stanza numbers can be added by setting @code{stanza}, e.g.,
1218 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
1220 \time 3/4 g2 e4 a2 f4 g2.
1223 Hi, my name is Bert.
1226 Oh, che -- ri, je t'aime
1230 These numbers are put just before the start of first syllable.
1232 Names of singers can also be added. They are printed at the start of
1233 the line, just like instrument names. They are created by setting
1234 @code{vocalName}. A short version may be entered as @code{vocNam}.
1237 @lilypond[fragment,raggedright,quote,verbatim,relative=2]
1239 \time 3/4 g2 e4 a2 f4 g2.
1241 \set vocalName = "Bert "
1242 Hi, my name is Bert.
1244 \set vocalName = "Ernie "
1245 Oh, che -- ri, je t'aime
1249 You can display alternate (or divisi) lyrics by naming voice
1250 contexts and attaching lyrics to those specific contexts.
1252 @lilypond[verbatim,raggedright,quote]
1254 \context Voice = "melody" {
1259 \context Voice = splitpart { \voiceTwo c4 }
1264 \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
1265 \new Lyrics \lyricsto "splitpart" { will }
1270 You can use this trick to display different lyrics for a repeated
1273 @lilypond[verbatim,raggedright,quote]
1275 \context Voice = melody \relative c' {
1277 \context Voice = verse \repeat volta 2 {c4 d e f | g1 | }
1279 \lyricsto melody \context Lyrics = mainlyrics \lyricmode {
1282 \lyricsto verse \context Lyrics = mainlyrics \lyricmode {
1284 \lyricsto verse \context Lyrics = repeatlyrics \lyricmode {
1285 dodo rere mimi fafa solsol }
1293 Program reference: @internalsref{LyricText}, @internalsref{StanzaNumber}, @internalsref{VocalName}.
1301 The term @emph{ambitus} denotes a range of pitches for a given voice
1302 in a part of music. It may also denote the pitch range that a musical
1303 instrument is capable of playing. Ambits are printed on vocal parts,
1304 so performers can easily determine it meets their capabilities.
1306 Ambits are denoted at the beginning of a piece near the initial clef.
1307 The range is graphically specified by two note heads that represent the
1308 minimum and maximum pitch. To print such ambits, add the
1309 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
1316 \consists Ambitus_engraver
1321 This results in the following output
1323 @lilypond[quote,raggedright]
1327 \consists Ambitus_engraver
1331 \relative \new Staff {
1336 If you have multiple voices in a single staff and you want a single
1337 ambitus per staff rather than per each voice, add the
1338 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
1339 rather than to the @internalsref{Voice} context. Here is an example,
1341 @lilypond[verbatim,raggedright,quote]
1343 \consists "Ambitus_engraver"
1347 \remove "Ambitus_engraver"
1349 \override Ambitus #'X-offset-callbacks
1350 = #(list (lambda (grob axis) -1.0))
1355 \remove "Ambitus_engraver"
1364 This example uses one advanced feature,
1367 \override Ambitus #'X-offset-callbacks
1368 = #(list (lambda (grob axis) -1.0))
1372 This code moves the ambitus to the left. The same effect could have
1373 been achieved with @code{extra-offset}, but then the formatting system
1374 would not reserve space for the moved object.
1378 Program reference: @internalsref{Ambitus},
1379 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1380 @internalsref{AmbitusAccidental}.
1382 Examples: @inputfileref{input/@/regression,ambitus@/.ly}.
1386 There is no collision handling in the case of multiple per-voice
1390 @node Other vocal issues
1391 @subsection Other vocal issues
1394 yeah, I'm giving up somewhat by stuffing a bunch of things in
1395 here. But at least they're in the manual now; it's easier to
1396 move them around in the manual once they're already here.
1398 Besides, if users complain about everything stuffed in here, I
1399 can ask them for specific instructions about where to move these
1400 examples, and that might get them more involved in the docs. -gp
1403 ``Parlato'' is spoken without pitch but still with rhythm; it is
1404 notated by cross noteheads. This is demonstrated in
1405 @ref{Special noteheads}.
1408 @node Rhythmic music
1409 @section Rhythmic music
1411 Rhythmic music is primarily used for percussion and drum notation, but it can
1412 also be used to show the rhythms of melodies.
1415 * Showing melody rhythms::
1416 * Entering percussion::
1417 * Percussion staves::
1421 @node Showing melody rhythms
1422 @subsection Showing melody rhythms
1424 Sometimes you might want to show only the rhythm of a melody. This
1425 can be done with the rhythmic staff. All pitches of notes on such a
1426 staff are squashed, and the staff itself has a single line
1428 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1429 \context RhythmicStaff {
1431 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1437 Program reference: @internalsref{RhythmicStaff}.
1439 Examples: @inputfileref{input/@/regression,rhythmic@/-staff@/.ly}.
1442 @node Entering percussion
1443 @subsection Entering percussion
1449 Percussion notes may be entered in @code{\drummode} mode, which is
1450 similar to the standard mode for entering notes. Each piece of
1451 percussion has a full name and an abbreviated name, and both can be used
1454 @lilypond[quote,raggedright,verbatim]
1456 hihat hh bassdrum bd
1460 The complete list of drum names is in the init file
1461 @file{ly/@/drumpitch@/-init@/.ly}.
1462 @c TODO: properly document this.
1466 Program reference: @internalsref{note-event}.
1468 @node Percussion staves
1469 @subsection Percussion staves
1473 A percussion part for more than one instrument typically uses a
1474 multiline staff where each position in the staff refers to one piece
1478 To typeset the music, the notes must be interpreted in a
1479 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
1481 @lilypond[quote,raggedright,verbatim]
1482 up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
1483 down = \drummode { bassdrum4 snare8 bd r bd sn4 }
1485 \new DrumVoice { \voiceOne \up }
1486 \new DrumVoice { \voiceTwo \down }
1490 The above example shows verbose polyphonic notation. The short
1491 polyphonic notation, described in @ref{Polyphony}, can also be used if
1492 the @internalsref{DrumVoice}s are instantiated by hand first. For example,
1494 @lilypond[quote,raggedright,fragment,verbatim]
1496 \context DrumVoice = "1" { s1 *2 }
1497 \context DrumVoice = "2" { s1 *2 }
1501 { \repeat unfold 16 hh16 }
1510 There are also other layout possibilities. To use these, set the
1511 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
1512 The following variables have been predefined
1516 This is the default. It typesets a typical drum kit on a five-line staff
1518 @lilypond[quote,linewidth=10.0\cm]
1520 cymc cyms cymr hh hhc hho hhho hhp
1521 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl }
1523 cymc cyms cymr hh hhc hho hhho hhp \break
1524 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
1526 << \new DrumStaff \with {
1527 \remove Bar_engraver
1528 \remove Time_signature_engraver
1529 \override Stem #'transparent = ##t
1530 \override Stem #'Y-extent-callback = ##f
1531 minimumVerticalExtent = #'(-4.0 . 5.0)
1533 \context Lyrics \nam
1538 \override LyricText #'font-family = #'typewriter
1539 \override BarNumber #'transparent =##T
1545 The drum scheme supports six different toms. When there are fewer toms,
1546 simply select the toms that produce the desired result, i.e., to get toms
1547 on the three middle lines you use @code{tommh}, @code{tomml}, and
1550 @item timbales-style
1551 This typesets timbales on a two line staff
1553 @lilypond[quote,raggedright]
1554 nam = \lyricmode { timh ssh timl ssl cb }
1555 mus = \drummode { timh ssh timl ssl cb s16 }
1558 \context DrumStaff \with {
1559 \remove Bar_engraver
1560 \remove Time_signature_engraver
1561 \override Stem #'transparent = ##t
1562 \override Stem #'Y-extent-callback = ##f
1563 \override StaffSymbol #'line-count = #2
1564 \override StaffSymbol #'staff-space = #2
1565 minimumVerticalExtent = #'(-3.0 . 4.0)
1566 drumStyleTable = #timbales-style
1569 \override LyricText #'font-family = #'typewriter
1576 This typesets congas on a two line staff
1578 @lilypond[quote,raggedright]
1579 nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
1580 mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
1583 \context DrumStaff \with {
1584 \remove Bar_engraver
1585 \remove Time_signature_engraver
1586 drumStyleTable = #congas-style
1587 \override StaffSymbol #'line-count = #2
1589 %% this sucks; it will lengthen stems.
1590 \override StaffSymbol #'staff-space = #2
1591 \override Stem #'transparent = ##t
1592 \override Stem #'Y-extent-callback = ##f
1595 \override LyricText #'font-family = #'typewriter
1602 This typesets bongos on a two line staff
1604 @lilypond[quote,raggedright]
1605 nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
1606 mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
1609 \context DrumStaff\with {
1610 \remove Bar_engraver
1611 \remove Time_signature_engraver
1612 \override StaffSymbol #'line-count = #2
1613 drumStyleTable = #bongos-style
1615 %% this sucks; it will lengthen stems.
1616 \override StaffSymbol #'staff-space = #2
1617 \override Stem #'transparent = ##t
1618 \override Stem #'Y-extent-callback = ##f
1621 \override LyricText #'font-family = #'typewriter
1627 @item percussion-style
1628 To typeset all kinds of simple percussion on one line staves.
1630 @lilypond[quote,raggedright]
1631 nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
1632 mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
1635 \context DrumStaff\with{
1636 \remove Bar_engraver
1637 drumStyleTable = #percussion-style
1638 \override StaffSymbol #'line-count = #1
1639 \remove Time_signature_engraver
1640 \override Stem #'transparent = ##t
1641 \override Stem #'Y-extent-callback = ##f
1644 \override LyricText #'font-family = #'typewriter
1651 If you do not like any of the predefined lists you can define your own
1652 list at the top of your file
1654 @lilypond[quote,raggedright,verbatim]
1656 (bassdrum default #f -1)
1657 (snare default #f 0)
1659 (pedalhihat xcircle "stopped" 2)
1660 (lowtom diamond #f 3)))
1661 up = \drummode { hh8 hh hh hh hhp4 hhp }
1662 down = \drummode { bd4 sn bd toml8 toml }
1665 \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
1666 \new DrumVoice { \voiceOne \up }
1667 \new DrumVoice { \voiceTwo \down }
1674 Init files: @file{ly/@/drumpitch@/-init@/.ly}.
1676 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
1680 Because general MIDI does not contain rim shots, the sidestick is used
1681 for this purpose instead.
1689 @cindex guitar tablature
1692 * String number indications::
1693 * Tablatures basic::
1694 * Non-guitar tablatures::
1696 * Other guitar issues::
1699 @node String number indications
1700 @subsection String number indications
1702 @cindex String numbers
1704 String numbers can be added to chords, by indicating the string number
1705 with @code{\}@var{number},
1707 @lilypond[relative,relative=1,raggedright,fragment]
1711 See also @inputfileref{input/regression,string-number.ly}.
1716 Program reference: @internalsref{StringNumber}.
1719 @node Tablatures basic
1720 @subsection Tablatures basic
1721 @cindex Tablatures basic
1723 Tablature notation is used for notating music for plucked string
1724 instruments. Pitches are not denoted with note heads, but by
1725 numbers indicating on which string and fret a note must be played. LilyPond
1726 offers limited support for tablature.
1728 The string number associated to a note is given as a backslash
1729 followed by a number, e.g., @code{c4\3} for a C quarter on the third
1730 string. By default, string 1 is the highest one, and the tuning
1731 defaults to the standard guitar tuning (with 6 strings). The notes
1732 are printed as tablature, by using @internalsref{TabStaff} and
1733 @internalsref{TabVoice} contexts
1735 @lilypond[quote,raggedright,fragment,verbatim]
1742 @cindex @code{minimumFret}
1745 When no string is specified, the first string that does not give a
1746 fret number less than @code{minimumFret} is selected. The default
1747 value for @code{minimumFret} is 0
1752 \set TabStaff.minimumFret = #8
1755 @lilypond[quote,raggedright]
1759 \set TabStaff.minimumFret = #8
1762 \context StaffGroup <<
1763 \context Staff { \clef "G_8" \frag }
1764 \context TabStaff { \frag }
1770 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}.
1774 Chords are not handled in a special way, and hence the automatic
1775 string selector may easily select the same string to two notes in a
1779 @node Non-guitar tablatures
1780 @subsection Non-guitar tablatures
1781 @cindex Non-guitar tablatures
1783 You can change the number of strings, by setting the number of lines
1784 in the @internalsref{TabStaff}.
1786 You can change the tuning of the strings. A string tuning is given as
1787 a Scheme list with one integer number for each string, the number
1788 being the pitch (measured in semitones relative to middle C) of an
1789 open string. The numbers specified for @code{stringTuning} are the
1790 numbers of semitones to subtract or add, starting the specified pitch
1791 by default middle C, in string order. In the next example,
1792 @code{stringTunings} is set for the pitches e, a, d, and g
1794 @lilypond[quote,raggedright,fragment,verbatim]
1795 \context TabStaff <<
1796 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
1798 a,4 c' a e' e c' a e'
1805 No guitar special effects have been implemented.
1809 Program reference: @internalsref{Tab_note_heads_engraver}.
1813 @subsection Fret diagrams
1814 @cindex fret diagrams
1815 @cindex chord diagrams
1817 Fret diagrams can be added to music as a markup to the desired note. The
1818 markup contains information about the desired fret diagram, as shown in the
1821 @lilypond[verbatim, raggedright, quote]
1823 d'^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
1825 fis'^\markup \override #'(size . 0.75) {
1826 \override #'(finger-code . below-string) {
1827 \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
1828 (place-fret 5 4 3) (place-fret 4 4 4)
1829 (place-fret 3 3 2) (place-fret 2 2 1)
1834 c'^\markup \override #'(dot-radius . 0.35) {
1835 \override #'(finger-code . in-dot) {
1836 \override #'(dot-color . white) {
1837 \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
1846 There are three different fret-diagram markup interfaces: standard, terse,
1847 and verbose. The three interfaces produce equivalent markups, but have
1848 varying amounts of information in the markup string. Details about the
1849 markup interfaces are found at @ref{Overview of text markup commands}.
1851 You can set a number of graphical properties according to your preference.
1852 Details about the property interface to fret diagrams are found at
1853 @internalsref{fret-diagram-interface}.
1858 Examples: @inputfileref{input/@/test,fret@/-diagram@/.ly}
1861 @node Other guitar issues
1862 @subsection Other guitar issues
1864 This example demonstrates how to include guitar position and
1865 barring indications.
1867 @lilypond[quote,raggedright,fragment,verbatim,relative=0]
1871 \override TextSpanner #'edge-text = #'("XII " . "")
1873 b16 e16 g16 e16 b16 g16\stopTextSpan
1878 Stopped (X) note heads are used in guitar music to signal a place where the
1879 guitarist must play a certain note or chord, with its fingers just
1880 touching the strings instead of fully pressing them. This gives the sound a
1881 percussive noise-like sound that still maintains part of the original
1882 pitch. It is notated with cross noteheads; this is
1883 demonstrated in @ref{Special noteheads}.
1892 * Bagpipe definitions::
1897 @node Bagpipe definitions
1898 @subsection Bagpipe definitions
1900 LilyPond contains special definitions for music for the Scottish
1901 highland bagpipe; to use them, add
1904 \include "bagpipe.ly"
1908 at the top of your input file. This lets you add the special flourishes
1909 common to bagpipe music with short commands. For example, you could
1910 write @code{\taor} instead of
1913 \grace @{ \small G32[ d G e] @}
1916 @code{bagpipe.ly} also contains pitch definitions for the bagpipe
1917 notes in the appropiate octaves, so you do not need to worry about
1918 @code{\relative} or @code{\transpose}.
1921 @lilypond[raggedright,verbatim,quote]
1922 \include "bagpipe.ly"
1923 { \grg G4 \grg a \grg b \grg c \grg d \grg e \grg f \grA g A }
1928 @node Bagpipe example
1929 @subsection Bagpipe example
1931 This is what the well known tune Amazing Grace looks like in bagpipe
1935 @lilypond[raggedright,verbatim,quote]
1940 @node Ancient notation
1941 @section Ancient notation
1943 @cindex Vaticana, Editio
1944 @cindex Medicaea, Editio
1949 Support for ancient notation includes features for mensural notation
1950 and Gregorian Chant notation. There is also limited support for
1951 figured bass notation.
1953 Many graphical objects provide a @code{style} property, see
1956 @ref{Ancient note heads},
1958 @ref{Ancient accidentals},
1960 @ref{Ancient rests},
1962 @ref{Ancient clefs},
1964 @ref{Ancient flags},
1966 @ref{Ancient time signatures}.
1969 By manipulating such a grob property, the typographical appearance of
1970 the affected graphical objects can be accommodated for a specific
1971 notation flavor without the need for introducing any new notational
1974 In addition to the standard articulation signs described in section
1975 @ref{Articulations}, specific articulation signs for ancient notation
1980 @ref{Ancient articulations}
1983 Other aspects of ancient notation can not that easily be expressed
1984 in terms of just changing a style property of a graphical object or
1985 adding articulation signs. Some notational concepts are introduced
1986 specifically for ancient notation,
1997 If this all is too much of documentation for you, and you just want to
1998 dive into typesetting without worrying too much about the details on
1999 how to customize a context, you may have a look at the predefined
2000 contexts. Use them to set up predefined style-specific voice and
2001 staff contexts, and directly go ahead with the note entry,
2005 @ref{Gregorian Chant contexts},
2007 @ref{Mensural contexts}.
2010 There is limited support for figured bass notation which came
2011 up during the baroque period.
2018 Here are all suptopics at a glance:
2021 * Ancient note heads::
2022 * Ancient accidentals::
2026 * Ancient time signatures::
2027 * Ancient articulations::
2031 * Gregorian Chant contexts::
2032 * Mensural contexts::
2033 * Musica ficta accidentals::
2039 @node Ancient note heads
2040 @subsection Ancient note heads
2045 For ancient notation, a note head style other than the @code{default}
2046 style may be chosen. This is accomplished by setting the @code{style}
2047 property of the @internalsref{NoteHead} object to @code{baroque},
2048 @code{neomensural}, @code{mensural} or @code{petrucci}. The
2049 @code{baroque} style differs from the @code{default} style only in
2050 using a square shape for @code{\breve} note heads. The
2051 @code{neomensural} style differs from the @code{baroque} style in that
2052 it uses rhomboidal heads for whole notes and all smaller durations.
2053 Stems are centered on the note heads. This style is particularly
2054 useful when transcribing mensural music, e.g., for the incipit. The
2055 @code{mensural} style produces note heads that mimic the look of note
2056 heads in historic printings of the 16th century. Finally, the
2057 @code{petrucci} style also mimicks historic printings, but uses bigger
2060 The following example demonstrates the @code{neomensural} style
2062 @lilypond[quote,fragment,raggedright,verbatim]
2063 \set Score.skipBars = ##t
2064 \override NoteHead #'style = #'neomensural
2065 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
2068 When typesetting a piece in Gregorian Chant notation, the
2069 @internalsref{Gregorian_ligature_engraver} will automatically select
2070 the proper note heads, so there is no need to explicitly set the
2071 note head style. Still, the note head style can be set, e.g., to
2072 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
2073 @internalsref{Mensural_ligature_engraver} is used to automatically
2074 assemble mensural ligatures. See @ref{Ligatures} for how ligature
2079 Examples: @inputfileref{input/@/regression,note@/-head@/-style@/.ly} gives an
2080 overview over all available note head styles.
2083 @node Ancient accidentals
2084 @subsection Ancient accidentals
2089 Use the @code{style} property of grob @internalsref{Accidental} to
2090 select ancient accidentals. Supported styles are
2091 @code{mensural}, @code{vaticana}, @code{hufnagel}, and @code{medicaea}.
2093 @lilypond[quote,raggedright,staffsize=26]
2100 \line { " " \musicglyph #"accidentals.vaticana-1"
2101 " " \musicglyph #"accidentals.vaticana0" }
2105 \line { " " \musicglyph #"accidentals.medicaea-1" }
2109 \line { " " \musicglyph #"accidentals.hufnagel-1" }
2113 \line { " " \musicglyph #"accidentals.mensural-1"
2114 " " \musicglyph #"accidentals.mensural1" }
2120 \context { \Score \remove "Bar_number_engraver" }
2122 \remove "Clef_engraver"
2123 \remove "Key_engraver"
2124 \remove "Time_signature_engraver"
2125 \remove "Staff_symbol_engraver"
2126 minimumVerticalExtent = ##f
2132 As shown, not all accidentals are supported by each style. When
2133 trying to access an unsupported accidental, LilyPond will switch to a
2134 different style, as demonstrated in
2135 @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2137 Similarly to local accidentals, the style of the key signature can be
2138 controlled by the @code{style} property of the
2139 @internalsref{KeySignature} grob.
2143 In this manual: @ref{Pitches}, @ref{Cautionary accidentals} and
2144 @ref{Automatic accidentals} give a general introduction of the use of
2145 accidentals. @ref{Key signature} gives a general introduction of
2146 the use of key signatures.
2148 Program reference: @internalsref{KeySignature}.
2150 Examples: @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2153 @subsection Ancient rests
2155 @cindex rests, ancient
2158 Use the @code{style} property of grob @internalsref{Rest} to select
2159 ancient rests. Supported styles are @code{classical},
2160 @code{neomensural}, and @code{mensural}. @code{classical} differs
2161 from the @code{default} style only in that the quarter rest looks like
2162 a horizontally mirrored 8th rest. The @code{neomensural} style suits
2163 well for, e.g., the incipit of a transcribed mensural piece of music.
2164 The @code{mensural} style finally mimics the appearance of rests as
2165 in historic prints of the 16th century.
2167 The following example demonstrates the @code{neomensural} style
2169 @lilypond[quote,fragment,raggedright,verbatim]
2170 \set Score.skipBars = ##t
2171 \override Rest #'style = #'neomensural
2172 r\longa r\breve r1 r2 r4 r8 r16
2175 There are no 32th and 64th rests specifically for the mensural or
2176 neo-mensural style. Instead, the rests from the default style will be
2177 taken. See @inputfileref{input/@/test,rests@/.ly} for a chart of all
2180 There are no rests in Gregorian Chant notation; instead, it uses
2185 In this manual: @ref{Rests} gives a general introduction into the use of rests.
2189 @subsection Ancient clefs
2194 LilyPond supports a variety of clefs, many of them ancient.
2196 The following table shows all ancient clefs that are supported via the
2197 @code{\clef} command. Some of the clefs use the same glyph, but
2198 differ only with respect to the line they are printed on. In such
2199 cases, a trailing number in the name is used to enumerate these clefs.
2200 Still, you can manually force a clef glyph to be typeset on an
2201 arbitrary line, as described in @ref{Clef}. The note printed to the
2202 right side of each clef in the example column denotes the @code{c'}
2203 with respect to that clef.
2205 @multitable @columnfractions .4 .4 .2
2214 modern style mensural C clef
2216 @code{neomensural-c1}, @code{neomensural-c2},@*
2217 @code{neomensural-c3}, @code{neomensural-c4}
2219 @lilypond[fragment,relative=1,notime]
2220 \clef "neomensural-c2" c
2224 petrucci style mensural C clefs, for use on different staff lines
2225 (the examples show the 2nd staff line C clef)
2227 @code{petrucci-c1}, @code{petrucci-c2},@*
2228 @code{petrucci-c3}, @code{petrucci-c4},@*
2231 @lilypond[fragment,relative=1,notime]
2233 \override NoteHead #'style = #'mensural
2238 petrucci style mensural F clef
2242 @lilypond[fragment,relative=1,notime]
2244 \override NoteHead #'style = #'mensural
2249 petrucci style mensural G clef
2253 @lilypond[fragment,relative=1,notime]
2255 \override NoteHead #'style = #'mensural
2260 historic style mensural C clef
2262 @code{mensural-c1}, @code{mensural-c2},@*
2263 @code{mensural-c3}, @code{mensural-c4}
2265 @lilypond[fragment,relative=1,notime]
2267 \override NoteHead #'style = #'mensural
2272 historic style mensural F clef
2276 @lilypond[fragment,relative=1,notime]
2278 \override NoteHead #'style = #'mensural
2283 historic style mensural G clef
2287 @lilypond[fragment,relative=1,notime]
2289 \override NoteHead #'style = #'mensural
2294 Editio Vaticana style do clef
2296 @code{vaticana-do1}, @code{vaticana-do2},@*
2299 @lilypond[fragment,relative=1,notime]
2300 \override Staff.StaffSymbol #'line-count = #4
2301 \override Staff.StaffSymbol #'color = #red
2302 \override Staff.LedgerLineSpanner #'color = #red
2303 \override Voice.Stem #'transparent = ##t
2304 \override NoteHead #'style = #'vaticana.punctum
2305 \clef "vaticana-do2"
2310 Editio Vaticana style fa clef
2312 @code{vaticana-fa1}, @code{vaticana-fa2}
2314 @lilypond[fragment,relative=1,notime]
2315 \override Staff.StaffSymbol #'line-count = #4
2316 \override Staff.StaffSymbol #'color = #red
2317 \override Staff.LedgerLineSpanner #'color = #red
2318 \override Voice.Stem #'transparent = ##t
2319 \override NoteHead #'style = #'vaticana.punctum
2320 \clef "vaticana-fa2"
2325 Editio Medicaea style do clef
2327 @code{medicaea-do1}, @code{medicaea-do2},@*
2330 @lilypond[fragment,relative=1,notime]
2331 \override Staff.StaffSymbol #'line-count = #4
2332 \override Staff.StaffSymbol #'color = #red
2333 \override Staff.LedgerLineSpanner #'color = #red
2334 \override Voice.Stem #'transparent = ##t
2335 \override NoteHead #'style = #'medicaea.punctum
2336 \clef "medicaea-do2"
2341 Editio Medicaea style fa clef
2343 @code{medicaea-fa1}, @code{medicaea-fa2}
2345 @lilypond[fragment,relative=1,notime]
2346 \override Staff.StaffSymbol #'line-count = #4
2347 \override Staff.StaffSymbol #'color = #red
2348 \override Staff.LedgerLineSpanner #'color = #red
2349 \override Voice.Stem #'transparent = ##t
2350 \override NoteHead #'style = #'medicaea.punctum
2351 \clef "medicaea-fa2"
2356 historic style hufnagel do clef
2358 @code{hufnagel-do1}, @code{hufnagel-do2},@*
2361 @lilypond[fragment,relative=1,notime]
2362 \override Staff.StaffSymbol #'line-count = #4
2363 \override Staff.StaffSymbol #'color = #red
2364 \override Staff.LedgerLineSpanner #'color = #red
2365 \override Voice.Stem #'transparent = ##t
2366 \override NoteHead #'style = #'hufnagel.punctum
2367 \clef "hufnagel-do2"
2372 historic style hufnagel fa clef
2374 @code{hufnagel-fa1}, @code{hufnagel-fa2}
2376 @lilypond[fragment,relative=1,notime]
2377 \override Staff.StaffSymbol #'line-count = #4
2378 \override Staff.StaffSymbol #'color = #red
2379 \override Staff.LedgerLineSpanner #'color = #red
2380 \override Voice.Stem #'transparent = ##t
2381 \override NoteHead #'style = #'hufnagel.punctum
2382 \clef "hufnagel-fa2"
2387 historic style hufnagel combined do/fa clef
2389 @code{hufnagel-do-fa}
2391 @lilypond[fragment,relative=1,notime]
2392 \override Staff.StaffSymbol #'color = #red
2393 \override Staff.LedgerLineSpanner #'color = #red
2394 \override Voice.Stem #'transparent = ##t
2395 \override NoteHead #'style = #'hufnagel.punctum
2396 \clef "hufnagel-do-fa"
2403 @emph{Modern style} means ``as is typeset in contemporary editions of
2404 transcribed mensural music''.
2406 @emph{Petrucci style} means ``inspired by printings published by the
2407 famous engraver Petrucci (1466-1539)''.
2409 @emph{Historic style} means ``as was typeset or written in historic
2410 editions (other than those of Petrucci)''.
2412 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
2414 Petrucci used C clefs with differently balanced left-side vertical
2415 beams, depending on which staff line it is printed.
2419 In this manual: see @ref{Clef}.
2423 The mensural g clef is mapped to the Petrucci g clef.
2428 @subsection Ancient flags
2433 Use the @code{flag-style} property of grob @internalsref{Stem} to
2434 select ancient flags. Besides the @code{default} flag style,
2435 only the @code{mensural} style is supported
2437 @lilypond[quote,fragment,raggedright,verbatim]
2438 \override Stem #'flag-style = #'mensural
2439 \override Stem #'thickness = #1.0
2440 \override NoteHead #'style = #'mensural
2442 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
2443 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
2446 Note that the innermost flare of each mensural flag always is
2447 vertically aligned with a staff line.
2449 There is no particular flag style for neo-mensural notation. Hence,
2450 when typesetting the incipit of a transcribed piece of mensural
2451 music, the default flag style should be used. There are no flags in
2452 Gregorian Chant notation.
2456 The attachment of ancient flags to stems is slightly off due to a
2457 change in early 2.3.x.
2459 Vertically aligning each flag with a staff line assumes that stems
2460 always end either exactly on or exactly in the middle between two
2461 staff lines. This may not always be true when using advanced layout
2462 features of classical notation (which however are typically out of
2463 scope for mensural notation).
2465 @node Ancient time signatures
2466 @subsection Ancient time signatures
2468 @cindex time signatures
2471 There is limited support for mensural time signatures. The
2472 glyphs are hard-wired to particular time fractions. In other words,
2473 to get a particular mensural signature glyph with the @code{\time n/m}
2474 command, @code{n} and @code{m} have to be chosen according to the
2477 @lilypond[quote,raggedright]
2482 \remove Staff_symbol_engraver
2483 \remove Clef_engraver
2484 \remove Time_signature_engraver
2488 \set Score.timing = ##f
2489 \set Score.barAlways = ##t
2490 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph #"timesig.neomensural44" }
2492 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph #"timesig.neomensural22" }
2494 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph #"timesig.neomensural64" }
2496 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph #"timesig.neomensural68" }
2498 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph #"timesig.neomensural32" }
2500 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph #"timesig.neomensural34" }
2502 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph #"timesig.neomensural94" }
2504 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph #"timesig.neomensural98" }
2506 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph #"timesig.neomensural48" }
2508 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph #"timesig.neomensural24" }
2512 Use the @code{style} property of grob @internalsref{TimeSignature} to
2513 select ancient time signatures. Supported styles are
2514 @code{neomensural} and @code{mensural}. The above table uses the
2515 @code{neomensural} style. This style is appropriate for the
2516 incipit of transcriptions of mensural pieces. The @code{mensural}
2517 style mimics the look of historical printings of the 16th century.
2519 The following examples show the differences in style,
2521 @lilypond[raggedright,fragment,relative=1,quote]
2526 c1^\markup { \hspace #-2.0 \typewriter default }
2528 \override Staff.TimeSignature #'style = #'numbered
2530 c1^\markup { \hspace #-2.0 \typewriter numbered }
2532 \override Staff.TimeSignature #'style = #'mensural
2534 c1^\markup { \hspace #-2.0 \typewriter mensural }
2536 \override Staff.TimeSignature #'style = #'neomensural
2538 c1^\markup { \hspace #-2.0 \typewriter neomensural }
2539 \override Staff.TimeSignature #'style = #'single-digit
2541 c1^\markup { \hspace #-2.0 \typewriter single-digit }
2547 This manual: @ref{Time signature} gives a general introduction to
2548 the use of time signatures.
2552 Ratios of note durations do not change with the time signature. For
2553 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
2554 be made by hand, by setting
2557 breveTP = #(ly:make-duration -1 0 3 2)
2563 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
2565 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
2566 addressable with @code{\time}. Use a @code{\markup} instead
2568 @node Ancient articulations
2569 @subsection Ancient articulations
2571 @cindex articulations
2573 In addition to the standard articulation signs described in section
2574 @ref{Articulations}, articulation signs for ancient notation are
2575 provided. These are specifically designed for use with notation in
2576 Editio Vaticana style.
2578 @lilypond[quote,raggedright,verbatim]
2579 \include "gregorian-init.ly"
2581 \context VaticanaVoice {
2582 \override Staff.StaffSymbol #'color = #red
2583 \override Staff.LedgerLineSpanner #'color = #red
2584 \override TextScript #'font-family = #'typewriter
2585 \override TextScript #'font-shape = #'upright
2586 \override Script #'padding = #-0.1
2588 a4\circulus_"circulus" s1
2589 a4\semicirculus_"semicirculus" s1 s
2590 a4\accentus_"accentus" s1
2591 \[ a4_"episem" \episemInitium \pes b \flexa a \episemFinis \]
2598 Some articulations are vertically placed too closely to the
2599 correpsonding note heads.
2602 @subsection Custodes
2607 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
2608 symbol that appears at the end of a staff. It anticipates the pitch
2609 of the first note(s) of the following line thus helping the performer
2610 to manage line breaks during performance.
2612 Custodes were frequently used in music notation until the 17th
2613 century. Nowadays, they have survived only in a few particular forms
2614 of musical notation such as contemporary editions of Gregorian chant
2615 like the @emph{editio vaticana}. There are different custos glyphs
2616 used in different flavors of notational style.
2618 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
2619 @internalsref{Staff} context when declaring the @code{\layout} block,
2620 as shown in the following example
2626 \consists Custos_engraver
2627 Custos \override #'style = #'mensural
2632 The result looks like this
2634 @lilypond[quote,raggedright]
2638 \override Staff.Custos #'style = #'mensural
2643 \context { \Staff \consists Custos_engraver }
2648 The custos glyph is selected by the @code{style} property. The styles
2649 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
2650 @code{mensural}. They are demonstrated in the following fragment
2652 @lilypond[quote,raggedright,fragment]
2653 \new Lyrics \lyricmode {
2655 \typewriter "vaticana"
2656 \line { " " \musicglyph #"custodes.vaticana.u0" }
2659 \typewriter "medicaea"
2660 \line { " " \musicglyph #"custodes.medicaea.u0" }
2663 \typewriter "hufnagel"
2664 \line { " " \musicglyph #"custodes.hufnagel.u0" }
2667 \typewriter "mensural"
2668 \line { " " \musicglyph #"custodes.mensural.u0" }
2675 Program reference: @internalsref{Custos}.
2677 Examples: @inputfileref{input/@/regression,custos@/.ly}.
2681 @subsection Divisiones
2687 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
2688 `division') is a staff context symbol that is used to structure
2689 Gregorian music into phrases and sections. The musical meaning of
2690 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
2691 can be characterized as short, medium, and long pause, somewhat like
2692 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
2693 only marks the end of a chant, but is also frequently used within a
2694 single antiphonal/responsorial chant to mark the end of each section.
2697 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
2698 contains definitions that you can apply by just inserting
2699 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
2700 and @code{\finalis} at proper places in the input. Some editions use
2701 @emph{virgula} or @emph{caesura} instead of divisio minima.
2702 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
2705 @lilypondfile[quote,raggedright]{divisiones.ly}
2709 @cindex @code{\virgula}
2711 @cindex @code{\caesura}
2713 @cindex @code{\divisioMinima}
2714 @code{\divisioMinima},
2715 @cindex @code{\divisioMaior}
2716 @code{\divisioMaior},
2717 @cindex @code{\divisioMaxima}
2718 @code{\divisioMaxima},
2719 @cindex @code{\finalis}
2724 In this manual: @ref{Breath marks}.
2726 Program reference: @internalsref{BreathingSign}.
2728 Examples: @inputfileref{input/@/test,divisiones@/.ly}.
2731 @subsection Ligatures
2735 @c TODO: Should double check if I recalled things correctly when I wrote
2736 @c down the following paragraph by heart.
2738 A ligature is a graphical symbol that represents at least two distinct
2739 notes. Ligatures originally appeared in the manuscripts of Gregorian
2740 chant notation to denote ascending or descending sequences of notes.
2742 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
2743 Some ligature styles may need additional input syntax specific for
2744 this particular type of ligature. By default, the
2745 @internalsref{LigatureBracket} engraver just puts a square bracket
2748 @lilypond[quote,raggedright,verbatim]
2756 To select a specific style of ligatures, a proper ligature engraver
2757 has to be added to the @internalsref{Voice} context, as explained in
2758 the following subsections. Only white mensural ligatures
2759 are supported with certain limitations.
2765 Ligatures need special spacing that has not yet been implemented. As
2766 a result, there is too much space between ligatures most of the time,
2767 and line breaking often is unsatisfactory. Also, lyrics do not
2768 correctly align with ligatures.
2770 Accidentals must not be printed within a ligature, but instead need to
2771 be collected and printed in front of it.
2773 Augmentum dots within ligatures are not handled correctly.
2775 The syntax still uses the deprecated infix style @code{\[ music expr
2776 \]}. For consistency reasons, it will eventually be changed to
2777 postfix style @code{note\[ ... note\]}. Alternatively, the file
2778 @file{gregorian@/-init@/.ly} can be included; it provides a scheme
2781 \ligature @var{music expr}
2783 with the same effect and is believed to be stable.
2786 * White mensural ligatures::
2787 * Gregorian square neumes ligatures::
2790 @node White mensural ligatures
2791 @subsubsection White mensural ligatures
2793 @cindex Mensural ligatures
2794 @cindex White mensural ligatures
2796 There is limited support for white mensural ligatures.
2798 To engrave white mensural ligatures, in the layout block put the
2799 @internalsref{Mensural_ligature_engraver} into the
2800 @internalsref{Voice} context, and remove the
2801 @internalsref{Ligature_bracket_engraver}, like this
2807 \remove Ligature_bracket_engraver
2808 \consists Mensural_ligature_engraver
2813 There is no additional input language to describe the shape of a
2814 white mensural ligature. The shape is rather determined solely from
2815 the pitch and duration of the enclosed notes. While this approach may
2816 take a new user a while to get accustomed to, it has the great advantage
2817 that the full musical information of the ligature is known internally.
2818 This is not only required for correct MIDI output, but also allows for
2819 automatic transcription of the ligatures.
2824 \set Score.timing = ##f
2825 \set Score.defaultBarType = "empty"
2826 \override NoteHead #'style = #'neomensural
2827 \override Staff.TimeSignature #'style = #'neomensural
2831 \[ d\longa c\breve f e d \]
2833 \[ c'\maxima d'\longa \]
2837 @lilypond[quote,raggedright]
2840 \set Score.timing = ##f
2841 \set Score.defaultBarType = "empty"
2842 \override NoteHead #'style = #'neomensural
2843 \override Staff.TimeSignature #'style = #'neomensural
2847 \[ d\longa c\breve f e d \]
2849 \[ c'\maxima d'\longa \]
2856 \remove Ligature_bracket_engraver
2857 \consists Mensural_ligature_engraver
2863 Without replacing @internalsref{Ligature_bracket_engraver} with
2864 @internalsref{Mensural_ligature_engraver}, the same music transcribes
2867 @lilypond[quote,raggedright]
2869 \set Score.timing = ##f
2870 \set Score.defaultBarType = "empty"
2871 \override NoteHead #'style = #'neomensural
2872 \override Staff.TimeSignature #'style = #'neomensural
2876 \[ d\longa c\breve f e d \]
2878 \[ c'\maxima d'\longa \]
2886 The invisible rests (@code{s4}) in the example are used to compensate
2887 for the poor horizontal spacing.
2889 @node Gregorian square neumes ligatures
2890 @subsubsection Gregorian square neumes ligatures
2892 @cindex Square neumes ligatures
2893 @cindex Gregorian square neumes ligatures
2895 There is limited support for Gregorian square neumes notation
2896 (following the style of the Editio Vaticana). Core ligatures can
2897 already be typeset, but essential issues for serious typesetting are
2898 still lacking, such as (among others) horizontal alignment of multiple
2899 ligatures, lyrics alignment and proper handling of accidentals.
2902 The following table contains the extended neumes table of the 2nd
2903 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
2904 1983 by the monks of Solesmes.
2906 @multitable @columnfractions .4 .2 .2 .2
2923 @c TODO: \layout block is identical in all of the below examples.
2924 @c Therefore, it should somehow be included rather than duplicated all
2927 @c why not make identifiers in ly/engraver-init.ly? --hwn
2929 @c Because it's just used to typeset plain notes without
2930 @c a staff for demonstration purposes rather than something
2931 @c special of Gregorian chant notation. --jr
2936 @lilypond[staffsize=26,linewidth=1.5\cm]
2937 \include "gregorian-init.ly"
2942 \noBreak s^\markup {"a"} \noBreak
2944 % Punctum Inclinatum
2946 \noBreak s^\markup {"b"}
2948 \layout { \neumeDemoLayout }}
2951 @lilypond[staffsize=26,linewidth=2.5\cm]
2952 \include "gregorian-init.ly"
2955 % Punctum Auctum Ascendens
2956 \[ \auctum \ascendens b \]
2957 \noBreak s^\markup {"c"} \noBreak
2959 % Punctum Auctum Descendens
2960 \[ \auctum \descendens b \]
2961 \noBreak s^\markup {"d"} \noBreak
2963 % Punctum Inclinatum Auctum
2964 \[ \inclinatum \auctum b \]
2965 \noBreak s^\markup {"e"}
2967 \layout { \neumeDemoLayout }}
2970 @lilypond[staffsize=26,linewidth=1.0\cm]
2971 \include "gregorian-init.ly"
2974 % Punctum Inclinatum Parvum
2975 \[ \inclinatum \deminutum b \]
2976 \noBreak s^\markup {"f"}
2978 \layout { \neumeDemoLayout }}
2984 @lilypond[staffsize=26,linewidth=1.0\cm]
2985 \include "gregorian-init.ly"
2990 \noBreak s^\markup {"g"}
2992 \layout { \neumeDemoLayout }}
2998 @code{3. Apostropha vel Stropha}
3000 @lilypond[staffsize=26,linewidth=1.0\cm]
3001 \include "gregorian-init.ly"
3006 \noBreak s^\markup {"h"}
3008 \layout { \neumeDemoLayout }}
3011 @lilypond[staffsize=26,linewidth=1.0\cm]
3012 \include "gregorian-init.ly"
3016 \[ \stropha \auctum b \]
3017 \noBreak s^\markup {"i"}
3019 \layout { \neumeDemoLayout }}
3026 @lilypond[staffsize=26,linewidth=1.0\cm]
3027 \include "gregorian-init.ly"
3032 \noBreak s^\markup {"j"}
3034 \layout { \neumeDemoLayout }}
3040 @code{5. Clivis vel Flexa}
3042 @lilypond[staffsize=26,linewidth=1.0\cm]
3043 \include "gregorian-init.ly"
3050 \layout { \neumeDemoLayout }}
3053 @lilypond[staffsize=26,linewidth=2.0\cm]
3054 \include "gregorian-init.ly"
3057 % Clivis Aucta Descendens
3058 \[ b \flexa \auctum \descendens g \]
3059 \noBreak s^\markup {"l"} \noBreak
3061 % Clivis Aucta Ascendens
3062 \[ b \flexa \auctum \ascendens g \]
3063 \noBreak s^\markup {"m"}
3065 \layout { \neumeDemoLayout }}
3068 @lilypond[staffsize=26,linewidth=1.0\cm]
3069 \include "gregorian-init.ly"
3073 \[ b \flexa \deminutum g \]
3076 \layout { \neumeDemoLayout }}
3080 @code{6. Podatus vel Pes}
3082 @lilypond[staffsize=26,linewidth=1.0\cm]
3083 \include "gregorian-init.ly"
3090 \layout { \neumeDemoLayout }}
3093 @lilypond[staffsize=26,linewidth=2.0\cm]
3094 \include "gregorian-init.ly"
3097 % Pes Auctus Descendens
3098 \[ g \pes \auctum \descendens b \]
3099 \noBreak s^\markup {"p"} \noBreak
3101 % Pes Auctus Ascendens
3102 \[ g \pes \auctum \ascendens b \]
3103 \noBreak s^\markup {"q"}
3105 \layout { \neumeDemoLayout }}
3108 @lilypond[staffsize=26,linewidth=1.0\cm]
3109 \include "gregorian-init.ly"
3113 \[ g \pes \deminutum b \]
3116 \layout { \neumeDemoLayout }}
3120 @code{7. Pes Quassus}
3122 @lilypond[staffsize=26,linewidth=1.0\cm]
3123 \include "gregorian-init.ly"
3127 \[ \oriscus g \pes \virga b \]
3130 \layout { \neumeDemoLayout }}
3133 @lilypond[staffsize=26,linewidth=1.0\cm]
3134 \include "gregorian-init.ly"
3137 % Pes Quassus Auctus Descendens
3138 \[ \oriscus g \pes \auctum \descendens b \]
3141 \layout { \neumeDemoLayout }}
3146 @code{8. Quilisma Pes}
3148 @lilypond[staffsize=26,linewidth=1.0\cm]
3149 \include "gregorian-init.ly"
3153 \[ \quilisma g \pes b \]
3156 \layout { \neumeDemoLayout }}
3159 @lilypond[staffsize=26,linewidth=1.0\cm]
3160 \include "gregorian-init.ly"
3163 % Quilisma Pes Auctus Descendens
3164 \[ \quilisma g \pes \auctum \descendens b \]
3167 \layout { \neumeDemoLayout }}
3172 @code{9. Podatus Initio Debilis}
3174 @lilypond[staffsize=26,linewidth=1.0\cm]
3175 \include "gregorian-init.ly"
3178 % Pes Initio Debilis
3179 \[ \deminutum g \pes b \]
3182 \layout { \neumeDemoLayout }}
3185 @lilypond[staffsize=26,linewidth=1.0\cm]
3186 \include "gregorian-init.ly"
3189 % Pes Auctus Descendens Initio Debilis
3190 \[ \deminutum g \pes \auctum \descendens b \]
3193 \layout { \neumeDemoLayout }}
3200 @lilypond[staffsize=26,linewidth=1.0\cm]
3201 \include "gregorian-init.ly"
3205 \[ a \pes b \flexa g \]
3208 \layout { \neumeDemoLayout }}
3211 @lilypond[staffsize=26,linewidth=1.0\cm]
3212 \include "gregorian-init.ly"
3215 % Torculus Auctus Descendens
3216 \[ a \pes b \flexa \auctum \descendens g \]
3219 \layout { \neumeDemoLayout }}
3222 @lilypond[staffsize=26,linewidth=1.0\cm]
3223 \include "gregorian-init.ly"
3226 % Torculus Deminutus
3227 \[ a \pes b \flexa \deminutum g \]
3230 \layout { \neumeDemoLayout }}
3234 @code{11. Torculus Initio Debilis}
3236 @lilypond[staffsize=26,linewidth=1.0\cm]
3237 \include "gregorian-init.ly"
3240 % Torculus Initio Debilis
3241 \[ \deminutum a \pes b \flexa g \]
3244 \layout { \neumeDemoLayout }}
3247 @lilypond[staffsize=26,linewidth=1.0\cm]
3248 \include "gregorian-init.ly"
3251 % Torculus Auctus Descendens Initio Debilis
3252 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
3255 \layout { \neumeDemoLayout }}
3258 @lilypond[staffsize=26,linewidth=1.0\cm]
3259 \include "gregorian-init.ly"
3262 % Torculus Deminutus Initio Debilis
3263 \[ \deminutum a \pes b \flexa \deminutum g \]
3266 \layout { \neumeDemoLayout }}
3270 @code{12. Porrectus}
3272 @lilypond[staffsize=26,linewidth=1.0\cm]
3273 \include "gregorian-init.ly"
3277 \[ a \flexa g \pes b \]
3280 \layout { \neumeDemoLayout }}
3283 @lilypond[staffsize=26,linewidth=1.0\cm]
3284 \include "gregorian-init.ly"
3287 % Porrectus Auctus Descendens
3288 \[ a \flexa g \pes \auctum \descendens b \]
3291 \layout { \neumeDemoLayout }}
3294 @lilypond[staffsize=26,linewidth=1.0\cm]
3295 \include "gregorian-init.ly"
3298 % Porrectus Deminutus
3299 \[ a \flexa g \pes \deminutum b \]
3302 \layout { \neumeDemoLayout }}
3308 @lilypond[staffsize=26,linewidth=1.0\cm]
3309 \include "gregorian-init.ly"
3313 \[ \virga b \inclinatum a \inclinatum g \]
3316 \layout { \neumeDemoLayout }
3320 @lilypond[staffsize=26,linewidth=1.0\cm]
3321 \include "gregorian-init.ly"
3325 \[ \virga b \inclinatum a \inclinatum \auctum g \]
3328 \layout { \neumeDemoLayout }}
3331 @lilypond[staffsize=26,linewidth=1.0\cm]
3332 \include "gregorian-init.ly"
3335 % Climacus Deminutus
3336 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
3339 \layout { \neumeDemoLayout }}
3343 @code{14. Scandicus}
3345 @lilypond[staffsize=26,linewidth=1.0\cm]
3346 \include "gregorian-init.ly"
3350 \[ g \pes a \virga b \]
3353 \layout { \neumeDemoLayout }}
3356 @lilypond[staffsize=26,linewidth=1.0\cm]
3357 \include "gregorian-init.ly"
3360 % Scandicus Auctus Descendens
3361 \[ g \pes a \pes \auctum \descendens b \]
3364 \layout { \neumeDemoLayout }}
3367 @lilypond[staffsize=26,linewidth=1.0\cm]
3368 \include "gregorian-init.ly"
3371 % Scandicus Deminutus
3372 \[ g \pes a \pes \deminutum b \]
3375 \layout { \neumeDemoLayout }}
3381 @lilypond[staffsize=26,linewidth=1.0\cm]
3382 \include "gregorian-init.ly"
3386 \[ g \oriscus a \pes \virga b \]
3389 \layout { \neumeDemoLayout }}
3392 @lilypond[staffsize=26,linewidth=1.0\cm]
3393 \include "gregorian-init.ly"
3396 % Salicus Auctus Descendens
3397 \[ g \oriscus a \pes \auctum \descendens b \]
3400 \layout { \neumeDemoLayout }}
3407 @lilypond[staffsize=26,linewidth=1.0\cm]
3408 \include "gregorian-init.ly"
3412 \[ \stropha b \stropha b \stropha a \]
3415 \layout { \neumeDemoLayout }
3424 Unlike most other neumes notation systems, the input language for
3425 neumes does not reflect the typographical appearance, but is designed
3426 to focus on musical meaning. For example, @code{\[ a \pes b
3427 \flexa g \]} produces a Torculus consisting of three Punctum heads,
3428 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
3429 curved flexa shape and only a single Punctum head. There is no
3430 command to explicitly typeset the curved flexa shape; the decision of
3431 when to typeset a curved flexa shape is based on the musical
3432 input. The idea of this approach is to separate the musical aspects
3433 of the input from the notation style of the output. This way, the
3434 same input can be reused to typeset the same music in a different
3435 style of Gregorian chant notation.
3437 The following table shows the code fragments that produce the
3438 ligatures in the above neumes table. The letter in the first column
3439 in each line of the below table indicates to which ligature in the
3440 above table it refers. The second column gives the name of the
3441 ligature. The third column shows the code fragment that produces this
3442 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
3444 @multitable @columnfractions .02 .31 .67
3464 @code{\[ \inclinatum b \]}
3472 @code{\[ \auctum \ascendens b \]}
3480 @code{\[ \auctum \descendens b \]}
3485 Punctum Inclinatum@*
3488 @code{\[ \inclinatum \auctum b \]}
3493 Punctum Inclinatum@*
3495 @code{\[ \inclinatum \deminutum b \]}
3502 @code{\[ \virga b \]}
3509 @code{\[ \stropha b \]}
3516 @code{\[ \stropha \auctum b \]}
3523 @code{\[ \oriscus b \]}
3530 @code{\[ b \flexa g \]}
3538 @code{\[ b \flexa \auctum \descendens g \]}
3546 @code{\[ b \flexa \auctum \ascendens g \]}
3553 @code{\[ b \flexa \deminutum g \]}
3560 @code{\[ g \pes b \]}
3568 @code{\[ g \pes \auctum \descendens b \]}
3576 @code{\[ g \pes \auctum \ascendens b \]}
3583 @code{\[ g \pes \deminutum b \]}
3590 @code{\[ \oriscus g \pes \virga b \]}
3596 Auctus Descendens @tab
3597 @code{\[ \oriscus g \pes \auctum \descendens b \]}
3604 @code{\[ \quilisma g \pes b \]}
3612 @code{\[ \quilisma g \pes \auctum \descendens b \]}
3619 @code{\[ \deminutum g \pes b \]}
3624 Pes Auctus Descendens@*
3627 @code{\[ \deminutum g \pes \auctum \descendens b \]}
3634 @code{\[ a \pes b \flexa g \]}
3642 @code{\[ a \pes b \flexa \auctum \descendens g \]}
3649 @code{\[ a \pes b \flexa \deminutum g \]}
3654 Torculus Initio Debilis
3656 @code{\[ \deminutum a \pes b \flexa g \]}
3662 Descendens Initio Debilis
3664 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
3669 Torculus Deminutus@*
3672 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
3679 @code{\[ a \flexa g \pes b \]}
3687 @code{\[ a \flexa g \pes \auctum \descendens b \]}
3694 @code{\[ a \flexa g \pes \deminutum b \]}
3701 @code{\[ \virga b \inclinatum a \inclinatum g \]}
3708 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
3715 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
3722 @code{\[ g \pes a \virga b \]}
3730 @code{\[ g \pes a \pes \auctum \descendens b \]}
3737 @code{\[ g \pes a \pes \deminutum b \]}
3744 @code{\[ g \oriscus a \pes \virga b \]}
3749 Salicus Auctus Descendens
3751 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
3758 @code{\[ \stropha b \stropha b \stropha a \]}
3763 The following head prefixes are supported
3765 @cindex @code{\virga}
3767 @cindex @code{\stropha}
3769 @cindex @code{\inclinatum}
3771 @cindex @code{\auctum}
3773 @cindex @code{\descendens}
3775 @cindex @code{\ascendens}
3777 @cindex @code{\oriscus}
3779 @cindex @code{\quilisma}
3781 @cindex @code{\deminutum}
3784 Head prefixes can be accumulated, though restrictions apply. For
3785 example, either @code{\descendens} or @code{\ascendens} can be applied
3786 to a head, but not both to the same head.
3789 @cindex @code{\flexa}
3790 Two adjacent heads can be tied together with the @code{\pes} and
3791 @code{\flexa} infix commands for a rising and falling line of melody,
3796 @node Gregorian Chant contexts
3797 @subsection Gregorian Chant contexts
3799 @cindex VaticanaVoiceContext
3800 @cindex VaticanaStaffContext
3802 The predefined @code{VaticanaVoiceContext} and
3803 @code{VaticanaStaffContext} can be used to engrave a piece of
3804 Gregorian Chant in the style of the Editio Vaticana. These contexts
3805 initialize all relevant context properties and grob properties to
3806 proper values, so you can immediately go ahead entering the chant, as
3807 the following excerpt demonstrates
3809 @lilypond[quote,raggedright,packed,verbatim]
3810 \include "gregorian-init.ly"
3813 \context VaticanaVoice = "cantus" {
3814 \override Staff.StaffSymbol #'color = #red
3815 \override Staff.LedgerLineSpanner #'color = #red
3816 \override Score.BarNumber #'transparent = ##t {
3817 \[ c'\melisma c' \flexa a \]
3818 \[ a \flexa \deminutum g\melismaEnd \]
3820 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
3821 c' \divisioMinima \break
3822 \[ c'\melisma c' \flexa a \]
3823 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
3826 \lyricsto "cantus" \new Lyrics {
3827 San- ctus, San- ctus, San- ctus
3834 @node Mensural contexts
3835 @subsection Mensural contexts
3837 @cindex MensuralVoiceContext
3838 @cindex MensuralStaffContext
3840 The predefined @code{MensuralVoiceContext} and
3841 @code{MensuralStaffContext} can be used to engrave a piece in mensural
3842 style. These contexts initialize all relevant context properties and
3843 grob properties to proper values, so you can immediately go ahead
3844 entering the chant, as the following excerpt demonstrates
3846 @lilypond[quote,raggedright,verbatim]
3849 \context MensuralVoice = "discantus" \transpose c c' {
3850 \override Score.BarNumber #'transparent = ##t {
3851 c'1\melisma bes a g\melismaEnd
3853 \[ f1\melisma a c'\breve d'\melismaEnd \]
3855 c'\breve\melisma a1 g1\melismaEnd
3856 fis\longa^\signumcongruentiae
3859 \lyricsto "discantus" \new Lyrics {
3860 San -- ctus, San -- ctus, San -- ctus
3866 @node Musica ficta accidentals
3867 @subsection Musica ficta accidentals
3869 In European music from before about 1600, singers were often expected
3870 to chromatically alter notes at their own initiative. This is called
3871 ``Musica Ficta''. In modern transcriptions, these accidentals are
3872 usually printed over the note.
3874 @cindex Musica ficta
3876 Support for such suggested accidentals is included, and can be
3877 switched on by setting @code{suggestAccidentals} to true.
3879 @cindex @code{suggestAccidentals}
3881 @lilypond[verbatim,fragment,relative=1]
3883 \set suggestAccidentals = ##t
3889 Program reference: @internalsref{Accidental_engraver} engraver and the
3890 @internalsref{AccidentalSuggestion} object.
3893 @subsection Figured bass
3895 @cindex Basso continuo
3897 @c TODO: musicological blurb about FB
3900 LilyPond has limited support for figured bass
3902 @lilypond[quote,raggedright,verbatim,fragment]
3904 \context Voice { \clef bass dis4 c d ais g fis}
3905 \context FiguredBass \figuremode {
3906 < 6 >4 < 7 >8 < 6+ [_!] >
3913 The support for figured bass consists of two parts: there is an input
3914 mode, introduced by @code{\figuremode}, where you can enter bass figures
3915 as numbers, and there is a context called @internalsref{FiguredBass} that
3916 takes care of making @internalsref{BassFigure} objects.
3918 In figures input mode, a group of bass figures is delimited by
3919 @code{<} and @code{>}. The duration is entered after the @code{>}
3923 @lilypond[quote,raggedright,fragment]
3924 \context FiguredBass
3925 \figuremode { <4 6> }
3928 Accidentals are added when you append @code{-}, @code{!}, and @code{+}
3934 @lilypond[quote,raggedright,fragment]
3935 \context FiguredBass
3936 \figuremode { <4- 6+ 7!> }
3939 Spaces or dashes may be inserted by using @code{_}. Brackets are
3940 introduced with @code{[} and @code{]}. You can also include text
3941 strings and text markups, see @ref{Overview of text markup commands}.
3944 < [4 6] 8 [_! 12] > < 5 \markup @{ + \number 6 @} >
3946 @lilypond[quote,raggedright,fragment]
3947 \context FiguredBass
3948 \figuremode { < [4 6] 8 [_! 12] > < 5 \markup{ + \number 6 } > }
3952 Although the support for figured bass may superficially resemble chord
3953 support, it works much simpler. The @code{\figuremode} mode simply
3954 stores the numbers and @internalsref{FiguredBass} context prints
3955 them as entered. There is no conversion to pitches and no
3956 realizations of the bass are played in the MIDI file.
3958 Internally, the code produces markup texts. You can use any of the
3959 markup text properties to override formatting. For example, the
3960 vertical spacing of the figures may be set with @code{baseline-skip}.
3964 Program reference: @internalsref{BassFigure} object,
3965 @internalsref{FiguredBass} context.
3969 Slash notation for alterations is not supported.
3973 @node Other instrument specific notation
3974 @section Other instrument specific notation
3976 This section includes extra information for writing for instruments.
3979 * Artificial harmonics (strings)::
3982 @node Artificial harmonics (strings)
3983 @subsection Artificial harmonics (strings)
3985 @cindex artificial harmonics
3987 Artificial harmonics are notated with a different notehead style. They
3988 are entered by marking the harmonic pitch with @code{\harmonic}.
3990 @lilypond[raggedright,verbatim,quote,fragment,relative=1]