1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
8 @node Instrument-specific notation
9 @chapter Instrument-specific notation
11 This chapter explains how to use notation for specific instruments.
21 * Other instrument specific notation::
29 Piano staves are two normal staves coupled with a brace. The staves
30 are largely independent, but sometimes voices can cross between the
31 two staves. The same notation is also used for harps and other key
32 instruments. The @internalsref{PianoStaff} is especially built to
33 handle this cross-staffing behavior. In this section we discuss the
34 @internalsref{PianoStaff} and some other pianistic peculiarities.
37 * Automatic staff changes::
38 * Manual staff switches::
40 * Staff switch lines::
46 Dynamics are not centered, but workarounds do exist. See the
47 ``piano centered dynamics'' template in @ref{Piano templates}.
49 @cindex cross staff stem
50 @cindex stem, cross staff
51 @cindex distance between staves in piano music
53 The distance between the two staves is the same for all systems in the
54 score. It is possible to override this per system, but it does require
55 an arcane command incantation. See
56 @inputfileref{input/@/test,piano@/-staff@/-distance@/.ly}.
59 @node Automatic staff changes
60 @subsection Automatic staff changes
61 @cindex Automatic staff changes
63 Voices can be made to switch automatically between the top and the bottom
64 staff. The syntax for this is
68 \autochange @dots{}@var{music}@dots{}
73 This will create two staves inside the current PianoStaff, called
74 @code{up} and @code{down}. The lower staff will be in bass clef by
77 A @code{\relative} section that is outside of @code{\autochange} has
78 no effect on the pitches of @var{music}, so, if necessary, put
79 @code{\relative} inside @code{\autochange} like
83 \autochange \relative @dots{} @dots{}
88 The autochanger switches on basis of the pitch (middle C is the turning
89 point), and it looks ahead skipping over rests to switch in
90 advance. Here is a practical example
92 @lilypond[quote,verbatim,ragged-right]
94 \autochange \relative c'
103 In this manual: @ref{Manual staff switches}.
105 Program reference: @internalsref{AutoChangeMusic}.
111 The staff switches may not end up in optimal places. For high
112 quality output, staff switches should be specified manually.
115 @code{\autochange} cannot be inside @code{\times}.
118 @node Manual staff switches
119 @subsection Manual staff switches
121 @cindex manual staff switches
122 @cindex staff switch, manual
124 Voices can be switched between staves manually, using the command
126 \change Staff = @var{staffname} @var{music}
130 The string @var{staffname} is the name of the staff. It switches the
131 current voice from its current staff to the Staff called
132 @var{staffname}. Typically @var{staffname} is @code{"up"} or
133 @code{"down"}. The @context{Staff} referred to must already exist, so
134 usually the setup for a score will start with a setup of the staves,
139 \skip 1 * 10 % @emph{keep staff alive}
141 \new Staff = "down" @{
142 \skip 1 * 10 % @emph{idem}
148 and the @context{Voice} is inserted afterwards
152 \new Voice @{ @dots{} \change Staff = up @dots{} @}
160 Pianos have pedals that alter the way sound is produced. Generally, a
161 piano has three pedals, sustain, una corda, and sostenuto.
164 Piano pedal instruction can be expressed by attaching
165 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
166 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
169 @lilypond[quote,ragged-right,fragment,verbatim]
170 c'4\sustainDown c'4\sustainUp
173 What is printed can be modified by setting @code{pedal@var{X}Strings},
174 where @var{X} is one of the pedal types: @code{Sustain},
175 @code{Sostenuto} or @code{UnaCorda}. Refer to
176 @internalsref{SustainPedal} in the program reference for more
179 Pedals can also be indicated by a sequence of brackets, by setting the
180 @code{pedalSustainStyle} property to bracket objects
182 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
183 \set Staff.pedalSustainStyle = #'bracket
185 b\sustainUp\sustainDown
186 b g \sustainUp a \sustainDown \bar "|."
189 A third style of pedal notation is a mixture of text and brackets,
190 obtained by setting the @code{pedalSustainStyle} property to
193 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
194 \set Staff.pedalSustainStyle = #'mixed
196 b\sustainUp\sustainDown
197 b g \sustainUp a \sustainDown \bar "|."
200 The default `*Ped.' style for sustain and damper pedals corresponds to
201 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
204 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
205 c\sostenutoDown d e c, f g a\sostenutoUp
208 For fine-tuning the appearance of a pedal bracket, the properties
209 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
210 @code{PianoPedalBracket} objects (see
211 @internalsref{PianoPedalBracket} in the Program reference) can be
212 modified. For example, the bracket may be extended to the right edge
215 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
216 \override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
217 c\sostenutoDown d e c, f g a\sostenutoUp
222 In this manual: @ref{Laissez vibrer ties}
224 @node Staff switch lines
225 @subsection Staff switch lines
229 @cindex staff switching
232 @cindex @code{followVoice}
234 Whenever a voice switches to another staff, a line connecting the notes
235 can be printed automatically. This is switched on by setting
236 @code{followVoice} to true
238 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
241 \set followVoice = ##t
246 \new Staff="two" { \clef bass \skip 1*2 }
252 Program reference: @internalsref{VoiceFollower}.
256 @cindex @code{\showStaffSwitch}
257 @code{\showStaffSwitch},
258 @cindex @code{\hideStaffSwitch}
259 @code{\hideStaffSwitch}.
262 @node Cross staff stems
263 @subsection Cross staff stems
265 Chords that cross staves may be produced by increasing the length
266 of the stem in the lower staff, so it reaches the stem in the upper
267 staff, or vice versa.
269 @lilypond[ragged-right,verbatim,quote]
270 stemExtend = \once \override Stem #'length = #22
271 noFlag = \once \override Stem #'flag-style = #'no-flag
274 \stemDown \stemExtend
292 * Introducing chord names::
294 * Printing chord names::
298 @c awkward name; awkward section name.
299 @c still, the Basic "chords" seems like a good name... :(
300 @node Introducing chord names
301 @subsection Introducing chord names
304 LilyPond has support for printing chord names. Chords may be entered
305 in musical chord notation, i.e., @code{< .. >}, but they can also be
306 entered by name. Internally, the chords are represented as a set of
307 pitches, so they can be transposed
310 @lilypond[quote,ragged-right,verbatim,ragged-right]
311 twoWays = \transpose c c' {
320 << \new ChordNames \twoWays
321 \new Voice \twoWays >>
324 This example also shows that the chord printing routines do not try to
325 be intelligent. The last chord (@code{f bes d}) is not interpreted as
328 Note that the duration of chords must be specified outside the
337 @subsection Chords mode
340 In chord mode sets of pitches (chords) are entered with normal note
341 names. A chord is entered by the root, which is entered like a
344 @lilypond[quote,ragged-right,fragment,verbatim]
345 \chordmode { es4. d8 c2 }
349 The mode is introduced by the keyword @code{\chordmode}.
354 Other chords may be entered by suffixing a colon and introducing a
355 modifier (which may include a number if desired)
356 @lilypond[quote,fragment,verbatim]
357 \chordmode { e1:m e1:7 e1:m7 }
359 The first number following the root is taken to be the `type' of the
360 chord, thirds are added to the root until it reaches the specified
362 @lilypond[quote,fragment,verbatim]
363 \chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
366 @cindex root of chord
367 @cindex additions, in chords
368 @cindex removals, in chords
370 More complex chords may also be constructed adding separate steps
371 to a chord. Additions are added after the number following
372 the colon and are separated by dots
373 @lilypond[quote,verbatim,fragment]
374 \chordmode { c:5.6 c:3.7.8 c:3.6.13 }
376 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
378 @lilypond[quote,verbatim,fragment]
379 \chordmode { c:7+ c:5+.3- c:3-.5-.7- }
381 Removals are specified similarly and are introduced by a caret. They
382 must come after the additions
383 @lilypond[quote,verbatim,fragment]
384 \chordmode { c^3 c:7^5 c:9^3.5 }
387 Modifiers can be used to change pitches. The following modifiers are
392 The minor chord. This modifier lowers the 3rd and (if present) the 7th step.
395 The diminished chord. This modifier lowers the 3rd, 5th and (if present)
399 The augmented chord. This modifier raises the 5th step.
402 The major 7th chord. This modifier raises the 7th step if present.
405 The suspended 4th or 2nd. This modifier removes the 3rd
406 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
410 Modifiers can be mixed with additions
411 @lilypond[quote,verbatim,fragment]
412 \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
415 @cindex modifiers, in chords.
422 Since an unaltered 11 does not sound good when combined with an
423 unaltered 3, the 11 is removed in this case (unless it is added
425 @lilypond[quote,ragged-right,fragment,verbatim]
426 \chordmode { c:13 c:13.11 c:m13 }
431 An inversion (putting one pitch of the chord on the bottom), as well
432 as bass notes, can be specified by appending
433 @code{/}@var{pitch} to the chord
434 @lilypond[quote,ragged-right,fragment,verbatim]
435 \chordmode { c1 c/g c/f }
439 A bass note can be added instead transposed out of the chord,
440 by using @code{/+}@var{pitch}.
442 @lilypond[quote,ragged-right,fragment,verbatim]
443 \chordmode { c1 c/+g c/+f }
446 Chords is a mode similar to @code{\lyricmode}, etc. Most
447 of the commands continue to work, for example, @code{r} and
448 @code{\skip} can be used to insert rests and spaces, and property
449 commands may be used to change various settings.
455 Each step can only be present in a chord once. The following
456 simply produces the augmented chord, since @code{5+} is interpreted
459 @lilypond[quote,ragged-right,verbatim,fragment]
460 \chordmode { c:5.5-.5+ }
464 @node Printing chord names
465 @subsection Printing chord names
467 @cindex printing chord names
471 For displaying printed chord names, use the @internalsref{ChordNames} context.
472 The chords may be entered either using the notation
473 described above, or directly using @code{<} and @code{>}
475 @lilypond[quote,verbatim,ragged-right]
477 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
480 \new ChordNames \harmonies
481 \new Staff \harmonies
485 You can make the chord changes stand out by setting
486 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
487 display chord names when there is a change in the chords scheme and at
488 the start of a new line
490 @lilypond[quote,verbatim,ragged-right]
491 harmonies = \chordmode {
492 c1:m c:m \break c:m c:m d
496 \set chordChanges = ##t
498 \new Staff \transpose c c' \harmonies
502 The previous examples all show chords over a staff. This is not
503 necessary. Chords may also be printed separately. It may be necessary
504 to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
507 @lilypond[ragged-right,verbatim]
508 \new ChordNames \with {
509 \override BarLine #'bar-size = #4
510 voltaOnThisStaff = ##t
511 \consists Bar_engraver
512 \consists "Volta_engraver"
514 \chordmode { \repeat volta 2 {
524 The default chord name layout is a system for Jazz music, proposed by
525 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
529 @cindex @code{chordNameExceptions}
530 @item chordNameExceptions
531 This is a list that contains the chords that have special formatting.
533 The exceptions list should be encoded as
535 @{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
538 To get this information into @code{chordNameExceptions} takes a little
539 manoeuvring. The following code transforms @code{chExceptionMusic}
540 (which is a sequential music) into a list of exceptions.
542 (sequential-music-to-chord-exceptions chExceptionMusic #t)
547 (sequential-music-to-chord-exceptions chExceptionMusic #t)
550 adds the new exceptions to the default ones, which are defined in
551 @file{ly/@/chord@/-modifier@/-init@/.ly}.
553 For an example of tuning this property, see also
554 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly}.
555 @cindex exceptions, chord names.
558 @cindex @code{majorSevenSymbol}
559 @item majorSevenSymbol
560 This property contains the markup object used for the 7th step, when
561 it is major. Predefined options are @code{whiteTriangleMarkup} and
562 @code{blackTriangleMarkup}. See
563 @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly} for an example.
565 @cindex @code{chordNameSeparator}
566 @item chordNameSeparator
567 Different parts of a chord name are normally separated by a
568 slash. By setting @code{chordNameSeparator}, you can specify other
570 @lilypond[quote,ragged-right,fragment,verbatim]
571 \new ChordNames \chordmode {
573 \set chordNameSeparator
574 = \markup { \typewriter "|" }
579 @cindex @code{chordRootNamer}
581 The root of a chord is usually printed as a letter with an optional
582 alteration. The transformation from pitch to letter is done by this
583 function. Special note names (for example, the German ``H'' for a
584 B-chord) can be produced by storing a new function in this property.
586 @cindex @code{chordNoteNamer}
588 The default is to print single pitch, e.g., the bass note, using the
589 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
590 to a specialized function to change this behavior. For example, the
591 base can be printed in lower case.
593 @cindex @code{chordPrefixSpacer}
594 @item chordPrefixSpacer
595 The ``m'' for minor chords is usually printed right after the root of
596 the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer
597 between the root and ``m''. The spacer is not used when the root
602 The predefined variables @code{\germanChords},
603 @code{\semiGermanChords}, @code{\italianChords} and @code{\frenchChords}
604 set these variables. The effect is
607 @lilypondfile[ragged-right]{chord-names-languages.ly}
609 There are also two other chord name schemes implemented: an alternate
610 Jazz chord notation, and a systematic scheme called Banter chords. The
611 alternate Jazz notation is also shown on the chart in @ref{Chord name
612 chart}. Turning on these styles is described in the input file
613 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
622 @cindex @code{\germanChords}
623 @code{\germanChords},
624 @cindex @code{\semiGermanChords}
625 @code{\semiGermanChords}.
626 @cindex @code{\italianChords}
627 @code{\italianChords}.
628 @cindex @code{\frenchChords}
629 @code{\frenchChords}.
636 Examples: @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly},
637 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly},
638 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
641 Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
642 @file{scm/@/chord@/-entry@/.scm}.
647 Chord names are determined solely from the list of pitches. Chord
648 inversions are not identified, and neither are added bass notes. This
649 may result in strange chord names when chords are entered with the
650 @code{< .. >} syntax.
657 Since LilyPond input files are text, there are two issues to
658 consider when working with vocal music:
662 Song texts must be entered as text, not notes. For example, the
663 input@tie{}@code{d} should be interpreted as a one letter syllable, not the
667 Song texts must be aligned with the notes of their melody.
670 There are a few different ways to define lyrics; the simplest
671 way is to use the @code{\addlyrics} function.
674 * Setting simple songs::
676 * Hyphens and extenders::
677 * The Lyrics context::
679 * Another way of entring lyrics::
680 * Flexibility in alignment::
683 * Other vocal issues::
689 Checking to make sure that text scripts and lyrics are within the margins is a relatively large computational task. To speed up processing, lilypond does not perform such calculations by default; to enable it, use
692 \override Score.PaperColumn #'keep-inside-line = ##t
695 To make lyrics avoid barlines as well, use
700 \consists "Bar_engraver"
701 \consists "Separating_line_group_engraver"
702 \override BarLine #'transparent = ##t
708 @node Setting simple songs
709 @subsection Setting simple songs
711 The easiest way to add lyrics to a melody is to append
714 \addlyrics @{ @var{the lyrics} @}
718 to a melody. Here is an example,
720 @lilypond[ragged-right,verbatim,fragment,quote]
722 \relative { c2 e4 g2. }
723 \addlyrics { play the game }
726 More stanzas can be added by adding more
727 @code{\addlyrics} sections
729 @lilypond[ragged-right,verbatim,fragment,quote]
731 \relative { c2 e4 g2. }
732 \addlyrics { play the game }
733 \addlyrics { speel het spel }
734 \addlyrics { joue le jeu }
737 Sometimes it is appropriate to have one stanza set
738 to the music, and the rest added in verse form at
739 the end of the piece. This can be accomplished by adding
740 the extra verses into a @code{\markup} section outside
741 of the main score block. Notice that there are two
742 different ways to force linebreaks when using
745 @lilypond[ragged-right,verbatim,quote]
746 melody = \relative c' {
752 \set stanza = "1." Ma- ry had a lit- tle lamb,
753 its fleece was white as snow.
758 \new Voice = "one" { \melody }
759 \new Lyrics \lyricsto "one" \text
765 \line{ All the children laughed and played }
766 \line{ To see a lamb at school. }
773 Mary took it home again,
775 It was against the rule."
781 The command @code{\addlyrics} cannot handle polyphony settings. For these cases you should use @code{\lyricsto} and @code{\lyricmode}.
785 @node Entering lyrics
786 @subsection Entering lyrics
789 @cindex @code{\lyricmode}
792 Lyrics are entered in a special input mode. This mode is introduced
793 by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
794 @code{\lyricsto}. In this mode you can enter lyrics,
795 with punctuation and accents, and the input @code{d} is not parsed as
796 a pitch, but rather as a one letter syllable. Syllables are entered
797 like notes, but with pitches replaced by text. For example,
799 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
802 There are two main methods to specify the horizontal placement
803 of the syllables, either by specifying the duration of each syllable
804 explicitly, like in the example above, or by automatically aligning
805 the lyrics to a melody or other voice of music, using @code{\addlyrics}
806 or @code{\lyricsto}. For more details see @ref{The Lyrics context}.
808 A word or syllable of lyrics begins with an alphabetic character, and ends with
809 any space or digit. The following characters can be any character
810 that is not a digit or white space. One important consequence of this
811 is that a word can end with @code{@}}. The following example is
812 usually a mistake in the input file. The syllable includes a @code{@}}, so the
813 opening brace is not balanced
815 \lyricmode @{ twinkle@}
818 @cindex @code{\property}, in @code{\lyricmode}
820 Similarly, a period which follows an alphabetic sequence is included in
821 the resulting string. As a consequence, spaces must be inserted around
824 \override Score . LyricText #'font-shape = #'italic
828 @cindex spaces, in lyrics
829 @cindex quotes, in lyrics
831 In order to assign more than one syllable to a single note, you must
832 surround them with quotes or use a @code{_} character between the syllables.
834 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
836 \relative { c2 e4 g2 e4 }
837 \addlyrics { gran- de_a- mi- go }
838 \addlyrics { pu- "ro y ho-" nes- to }
841 To enter lyrics with characters from non-English languages, or with
842 non-ascii characters (such as the heart symbol or slanted quotes),
843 simply insert the characters directly into the input file and save
844 it with utf-8 encoding. See @ref{Text encoding} for more info.
847 \lyricmode @{ He said: “Let my peo ple go”. @}
850 To use normal quotes in lyrics, add a backslash before the
853 @c FIXME: make this a real example. -gp
854 @code{\lyricmode @{ "\"I" am so "lonely"\", said she @}}, would
855 render: "I am so lonely", said she.
858 The full definition of a word start in Lyrics mode is somewhat more
861 A word in Lyrics mode begins with: an alphabetic character, @code{_},
862 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
863 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
864 any 8-bit character with ASCII code over 127, or a two-character
865 combination of a backslash followed by one of @code{`}, @code{'},
866 @code{"}, or @code{^}.
872 Program reference: @internalsref{LyricText}, @internalsref{LyricSpace}.
876 @node Hyphens and extenders
877 @subsection Hyphens and extenders
881 Centered hyphens are entered as `@code{--}' between syllables.
882 The hyphen will have variable length depending on the space between
883 the syllables and it will be centered between the syllables.
888 When a lyric is sung over many notes (this is called a melisma), this is
889 indicated with a horizontal line centered between a syllable and the
890 next one. Such a line is called an extender line, and it is entered as
893 In tighly engraved music, hyphens can be removed. Whether this
894 happens can be controlled with the @code{minimum-distance} (minimum
895 distance between two syllables) and the @code{minimum-length}
896 (threshold below which hyphens are removed).
900 Program reference: @internalsref{LyricHyphen}, @internalsref{LyricExtender}.
904 @node The Lyrics context
905 @subsection The Lyrics context
907 Lyrics are printed by interpreting them in the context caleld @internalsref{Lyrics}.
910 \new Lyrics \lyricmode @dots{}
913 @cindex automatic syllable durations
914 @cindex @code{\lyricsto}
915 @cindex lyrics and melodies
917 This will place the lyrics according to the durations that were
918 entered. The lyrics can also be aligned under a given melody
919 automatically. In this case, it is no longer necessary to enter the
920 correct duration for each syllable. This is achieved by combining the
921 melody and the lyrics with the @code{\lyricsto} expression
924 \new Lyrics \lyricsto @var{name} @dots{}
927 This aligns the lyrics to the
928 notes of the @internalsref{Voice} context called @var{name}, which has
929 to exist. Therefore, normally the @code{Voice} is specified first, and
930 then the lyrics are specified with @code{\lyricsto}. The command
931 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
932 @code{\lyricmode} keyword may be omitted.
934 The following example uses different commands for entring lyrics.
936 @lilypond[quote,fragment,ragged-right,verbatim]
938 \new Voice = "one" \relative c'' {
941 c4 b8. a16 g4. f8 e4 d c2
943 \new Lyrics \lyricmode { Joy4 to8. the16 world!4. the8 Lord4 is come.2 }
944 \new Lyrics \lyricmode { Joy to the earth! the Sav -- our reigns. }
945 \new Lyrics \lyricsto "one" { No more let sins and sor -- rows grow. }
949 The second stanza is not properly aligned because the durations
950 were not specified. A solution for that would be to use @code{\lyricsto}.
952 To define indentifiers containing lyrics, the function @code{lyricsmode}
956 verseOne = \lyricmode @{ Joy to the world the Lord is come @}
959 \new Voice = "one" \relative c'' @{
962 c4 b8. a16 g4. f8 e4 d c2
964 \addlyrics @{ \verseOne @}
969 The @code{\addlyrics} command is actually just a convienient way
970 to write a more complicated LilyPond structure that sets up the
975 \addlyrics @{ LYRICS @}
982 \new Voice = "blah" @{ music @}
983 \new Lyrics \lyricsto "blah" @{ LYRICS @}
986 For different or more complex orderings, the best way is to setup the
987 hierarchy of staves and lyrics first, e.g.,
990 \new Voice = "soprano" @{ @emph{music} @}
991 \new Lyrics = "sopranoLyrics" @{ s1 @}
992 \new Lyrics = "tenorLyrics" @{ s1 @}
993 \new Voice = "tenor" @{ @emph{music} @}
997 and then combine the appropriate melodies and lyric lines
1000 \context Lyrics = sopranoLyrics \lyricsto "soprano"
1005 The final input would resemble
1008 <<\new ChoirStaff << @emph{setup the music} >>
1009 \lyricsto "soprano" @emph{etc}
1010 \lyricsto "alto" @emph{etc}
1017 Program reference: @internalsref{LyricCombineMusic},
1018 @internalsref{Lyrics}.
1022 @subsection Melismata
1024 The @code{\lyricsto} command detects melismata: it only puts one
1025 syllable under a tied or slurred group of notes. If you want to force
1026 an unslurred group of notes to be a melisma, insert @code{\melisma}
1027 after the first note of the group, and @code{\melismaEnd} after the
1030 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
1032 \new Voice = "lala" {
1040 \new Lyrics \lyricsto "lala" {
1046 In addition, notes are considered a melisma if they are manually
1047 beamed, and automatic beaming (see @ref{Setting automatic beam
1048 behavior}) is switched off.
1051 @cindex choral score
1053 A complete example of a SATB score setup is in section
1054 @ref{Vocal ensembles}.
1059 @code{\melisma}, @code{\melismaEnd}
1060 @cindex @code{\melismaEnd}
1061 @cindex @code{\melisma}
1065 Program reference: @internalsref{Melisma_translator}.
1068 @inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly}.
1072 Melismata are not detected automatically, and extender lines must be
1076 @node Another way of entring lyrics
1077 @subsection Another way of entring lyrics
1079 Lyrics can also be entered without @code{\lyricsto}. In this case the
1080 duration of each syllable must be entered explicitly, for example,
1087 The alignment to a melody can be specified with the
1088 @code{associatedVoice} property,
1091 \set associatedVoice = #"lala"
1095 The value of the property (here: @code{"lala"}) should be the name of
1096 a @internalsref{Voice} context. Without this setting, extender lines
1097 will not be formatted properly.
1099 Here is an example demonstrating manual lyric durations,
1101 @lilypond[relative=1,ragged-right,verbatim,fragment,quote]
1102 << \new Voice = "melody" {
1106 \new Lyrics \lyricmode {
1107 \set associatedVoice = #"melody"
1113 @c TODO: document \new Staff << Voice \lyricsto >> bug
1115 @node Flexibility in alignment
1116 @subsection Flexibility in alignment
1118 Often, different stanzas of one song are put to one melody in slightly
1119 differing ways. Such variations can still be captured with
1122 @subsubsection Lyrics to multiple notes of a melisma
1125 One possibility is that the text has a melisma in one stanza, but
1126 multiple syllables in another one. One solution is to make the faster
1127 voice ignore the melisma. This is done by setting
1128 @code{ignoreMelismata} in the Lyrics context.
1130 There has one tricky aspect. The setting for @code{ignoreMelismata}
1131 must be set one syllable @emph{before} the non-melismatic syllable
1132 in the text, as shown here,
1134 @lilypond[verbatim,ragged-right,quote]
1136 \relative \new Voice = "lahlah" {
1137 \set Staff.autoBeaming = ##f
1143 \new Lyrics \lyricsto "lahlah" {
1146 \new Lyrics \lyricsto "lahlah" {
1147 \set ignoreMelismata = ##t % applies to "fas"
1149 \unset ignoreMelismata
1156 The @code{ignoreMelismata} applies to the syllable ``fas'', so it
1157 should be entered before ``go''.
1159 The reverse is also possible: making a lyric line slower than the
1160 standard. This can be achieved by insert @code{\skip}s into the
1161 lyrics. For every @code{\skip}, the text will be delayed another note.
1164 @lilypond[verbatim,ragged-right,quote]
1165 \relative { c c g' }
1173 @subsection Switching the melody associated with a lyrics line
1176 More complex variations in text underlay are possible. It is possible
1177 to switch the melody for a line of lyrics during the text. This is
1178 done by setting the @code{associatedVoice} property. In the example
1180 @lilypond[ragged-right,quote]
1182 \relative \new Voice = "lahlah" {
1183 \set Staff.autoBeaming = ##f
1186 \new Voice = "alternative" {
1189 % show associations clearly.
1190 \override NoteColumn #'force-hshift = #-3
1201 \new Lyrics \lyricsto "lahlah" {
1202 Ju -- ras -- sic Park
1204 \new Lyrics \lyricsto "lahlah" {
1205 % Tricky: need to set associatedVoice
1206 % one syllable too soon!
1207 \set associatedVoice = alternative % applies to "ran"
1211 \set associatedVoice = lahlah % applies to "rus"
1217 the text for the first stanza is set to a melody called ``lahlah'',
1220 \new Lyrics \lyricsto "lahlah" @{
1221 Ju -- ras -- sic Park
1226 The second stanza initially is set to the @code{lahlah} context, but
1227 for the syllable ``ran'', it switches to a different melody.
1228 This is achieved with
1230 \set associatedVoice = alternative
1234 Here, @code{alternative} is the name of the @code{Voice} context
1235 containing the triplet.
1237 Again, the command must be one syllable too early, before ``Ty'' in
1241 \new Lyrics \lyricsto "lahlah" @{
1242 \set associatedVoice = alternative % applies to "ran"
1246 \set associatedVoice = lahlah % applies to "rus"
1252 The underlay is switched back to the starting situation by assigning
1253 @code{lahlah} to @code{associatedVoice}.
1257 @subsection Specifying melismata within the lyrics
1259 It is also possible to define melismata entirely in the lyrics. This
1260 can be done by entering @code{_} for every note that is part of the
1263 @lilypond[relative=1,verbatim,fragment]
1264 { \set melismaBusyProperties = #'()
1265 c d( e) f f( e) e e }
1267 { Ky -- _ _ ri __ _ _ _ e }
1270 In this case, you can also have ties and slurs in the melody, if you
1271 set @code{melismaBusyProperties}, as is done in the example above.
1273 @lilypond[relative=1,verbatim,fragment]
1275 \set melismaBusyProperties = #'()
1279 { Ky -- _ _ ri __ _ _ _ e }
1282 @subsubsection Spacing lyrics
1284 @cindex Spacing lyrics
1285 @cindex Lyrics, increasing space between
1287 To increase the spacing between lyrics, set the minimum-distance property of
1290 @lilypond[relative,verbatim,fragment,quote,ragged-right]
1293 \override Lyrics.LyricSpace #'minimum-distance = #1.0
1297 longtext longtext longtext longtext
1298 longtext longtext longtext longtext
1302 To make this change for all lyrics in the score, set the property in the layout.
1304 @lilypond[relative,verbatim,quote,ragged-right]
1311 longtext longtext longtext longtext
1312 longtext longtext longtext longtext
1317 \override LyricSpace #'minimum-distance = #1.0
1325 @subsection More stanzas
1327 @cindex phrasing, in lyrics
1330 @cindex stanza number
1331 @cindex singer's names
1332 @cindex name of singer
1334 Stanza numbers can be added by setting @code{stanza}, e.g.,
1336 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1338 \time 3/4 g2 e4 a2 f4 g2.
1341 Hi, my name is Bert.
1344 Oh, che -- ri, je t'aime
1348 These numbers are put just before the start of first syllable.
1350 Names of singers can also be added. They are printed at the start of
1351 the line, just like instrument names. They are created by setting
1352 @code{vocalName}. A short version may be entered as @code{vocNam}.
1355 @lilypond[fragment,ragged-right,quote,verbatim,relative=2]
1357 \time 3/4 g2 e4 a2 f4 g2.
1359 \set vocalName = "Bert "
1360 Hi, my name is Bert.
1362 \set vocalName = "Ernie "
1363 Oh, che -- ri, je t'aime
1367 You can display alternate (or divisi) lyrics by naming voice
1368 contexts and attaching lyrics to those specific contexts.
1370 @lilypond[verbatim,ragged-right,quote]
1372 \new Voice = "melody" {
1377 \new Voice = "splitpart" { \voiceTwo c4 }
1382 \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
1383 \new Lyrics \lyricsto "splitpart" { will }
1388 You can use this trick to display different lyrics for a repeated
1391 @lilypond[verbatim,ragged-right,quote]
1393 \new Voice = "melody" \relative c' {
1395 \new Voice = "verse" \repeat volta 2 {c4 d e f | g1 | }
1397 \new Lyrics = "mainlyrics" \lyricsto melody \lyricmode {
1400 \context Lyrics = "mainlyrics" \lyricsto verse \lyricmode {
1402 \new Lyrics = "repeatlyrics" \lyricsto verse \lyricmode {
1403 dodo rere mimi fafa solsol }
1411 Program reference: @internalsref{LyricText}, @internalsref{StanzaNumber}, @internalsref{VocalName}.
1419 The term @emph{ambitus} denotes a range of pitches for a given voice
1420 in a part of music. It may also denote the pitch range that a musical
1421 instrument is capable of playing. Ambits are printed on vocal parts,
1422 so performers can easily determine it meets their capabilities.
1424 Ambits are denoted at the beginning of a piece near the initial clef.
1425 The range is graphically specified by two note heads that represent the
1426 minimum and maximum pitch. To print such ambits, add the
1427 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
1434 \consists Ambitus_engraver
1439 This results in the following output
1441 @lilypond[quote,ragged-right]
1445 \consists Ambitus_engraver
1449 \relative \new Staff {
1454 If you have multiple voices in a single staff and you want a single
1455 ambitus per staff rather than per each voice, add the
1456 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
1457 rather than to the @internalsref{Voice} context. Here is an example,
1459 @lilypond[verbatim,ragged-right,quote]
1461 \consists "Ambitus_engraver"
1465 \remove "Ambitus_engraver"
1467 \override Ambitus #'X-offset = #-1.0
1472 \remove "Ambitus_engraver"
1481 This example uses one advanced feature,
1484 \override Ambitus #'X-offset = #-1.0
1488 This code moves the ambitus to the left. The same effect could have
1489 been achieved with @code{extra-offset}, but then the formatting system
1490 would not reserve space for the moved object.
1494 Program reference: @internalsref{Ambitus},
1495 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1496 @internalsref{AmbitusAccidental}.
1498 Examples: @inputfileref{input/@/regression,ambitus@/.ly}.
1502 There is no collision handling in the case of multiple per-voice
1506 @node Other vocal issues
1507 @subsection Other vocal issues
1510 yeah, I'm giving up somewhat by stuffing a bunch of things in
1511 here. But at least they're in the manual now; it's easier to
1512 move them around in the manual once they're already here.
1514 Besides, if users complain about everything stuffed in here, I
1515 can ask them for specific instructions about where to move these
1516 examples, and that might get them more involved in the docs. -gp
1519 ``Parlato'' is spoken without pitch but still with rhythm; it is
1520 notated by cross noteheads. This is demonstrated in
1521 @ref{Special noteheads}.
1527 @node Rhythmic music
1528 @section Rhythmic music
1530 Rhythmic music is primarily used for percussion and drum notation, but it can
1531 also be used to show the rhythms of melodies.
1534 * Showing melody rhythms::
1535 * Entering percussion::
1536 * Percussion staves::
1540 @node Showing melody rhythms
1541 @subsection Showing melody rhythms
1543 Sometimes you might want to show only the rhythm of a melody. This
1544 can be done with the rhythmic staff. All pitches of notes on such a
1545 staff are squashed, and the staff itself has a single line
1547 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1548 \new RhythmicStaff {
1550 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1556 Program reference: @internalsref{RhythmicStaff}.
1558 Examples: @inputfileref{input/@/regression,rhythmic@/-staff@/.ly}.
1561 @node Entering percussion
1562 @subsection Entering percussion
1568 Percussion notes may be entered in @code{\drummode} mode, which is
1569 similar to the standard mode for entering notes. Each piece of
1570 percussion has a full name and an abbreviated name, and both can be used
1573 @lilypond[quote,ragged-right,verbatim]
1575 hihat hh bassdrum bd
1579 The complete list of drum names is in the init file
1580 @file{ly/@/drumpitch@/-init@/.ly}.
1581 @c TODO: properly document this.
1585 Program reference: @internalsref{note-event}.
1587 @node Percussion staves
1588 @subsection Percussion staves
1592 A percussion part for more than one instrument typically uses a
1593 multiline staff where each position in the staff refers to one piece
1597 To typeset the music, the notes must be interpreted in a
1598 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
1600 @lilypond[quote,ragged-right,verbatim]
1601 up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
1602 down = \drummode { bassdrum4 snare8 bd r bd sn4 }
1604 \new DrumVoice { \voiceOne \up }
1605 \new DrumVoice { \voiceTwo \down }
1609 The above example shows verbose polyphonic notation. The short
1610 polyphonic notation, described in @ref{Polyphony}, can also be used if
1611 the @internalsref{DrumVoice}s are instantiated by hand first. For example,
1613 @lilypond[quote,ragged-right,fragment,verbatim]
1615 \new DrumVoice = "1" { s1 *2 }
1616 \new DrumVoice = "2" { s1 *2 }
1620 { \repeat unfold 16 hh16 }
1629 There are also other layout possibilities. To use these, set the
1630 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
1631 The following variables have been predefined
1635 This is the default. It typesets a typical drum kit on a five-line staff
1637 @lilypond[quote,line-width=10.0\cm]
1639 cymc cyms cymr hh hhc hho hhho hhp
1640 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl }
1642 cymc cyms cymr hh hhc hho hhho hhp \break
1643 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
1645 << \new DrumStaff \with {
1646 \remove Bar_engraver
1647 \remove Time_signature_engraver
1648 \override Stem #'transparent = ##t
1649 \override Stem #'Y-extent-callback = ##f
1650 \override VerticalAxisGroup #'minimum-Y-extent = #'(-4.0 . 5.0)
1657 \override LyricText #'font-family = #'typewriter
1658 \override BarNumber #'transparent =##T
1664 The drum scheme supports six different toms. When there are fewer toms,
1665 simply select the toms that produce the desired result, i.e., to get toms
1666 on the three middle lines you use @code{tommh}, @code{tomml}, and
1669 @item timbales-style
1670 This typesets timbales on a two line staff
1672 @lilypond[quote,ragged-right]
1673 nam = \lyricmode { timh ssh timl ssl cb }
1674 mus = \drummode { timh ssh timl ssl cb s16 }
1677 \new DrumStaff \with {
1678 \remove Bar_engraver
1679 \remove Time_signature_engraver
1680 \override Stem #'transparent = ##t
1681 \override Stem #'Y-extent-callback = ##f
1682 \override StaffSymbol #'line-count = #2
1683 \override StaffSymbol #'staff-space = #2
1684 \override VerticalAxisGroup #'minimum-Y-extent = #'(-3.0 . 4.0)
1685 drumStyleTable = #timbales-style
1688 \override LyricText #'font-family = #'typewriter
1695 This typesets congas on a two line staff
1697 @lilypond[quote,ragged-right]
1698 nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
1699 mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
1702 \new DrumStaff \with {
1703 \remove Bar_engraver
1704 \remove Time_signature_engraver
1705 drumStyleTable = #congas-style
1706 \override StaffSymbol #'line-count = #2
1708 %% this sucks; it will lengthen stems.
1709 \override StaffSymbol #'staff-space = #2
1710 \override Stem #'transparent = ##t
1711 \override Stem #'Y-extent-callback = ##f
1714 \override LyricText #'font-family = #'typewriter
1721 This typesets bongos on a two line staff
1723 @lilypond[quote,ragged-right]
1724 nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
1725 mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
1728 \new DrumStaff \with {
1729 \remove Bar_engraver
1730 \remove Time_signature_engraver
1731 \override StaffSymbol #'line-count = #2
1732 drumStyleTable = #bongos-style
1734 %% this sucks; it will lengthen stems.
1735 \override StaffSymbol #'staff-space = #2
1736 \override Stem #'transparent = ##t
1737 \override Stem #'Y-extent-callback = ##f
1740 \override LyricText #'font-family = #'typewriter
1746 @item percussion-style
1747 To typeset all kinds of simple percussion on one line staves.
1749 @lilypond[quote,ragged-right]
1750 nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
1751 mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
1754 \new DrumStaff \with{
1755 \remove Bar_engraver
1756 drumStyleTable = #percussion-style
1757 \override StaffSymbol #'line-count = #1
1758 \remove Time_signature_engraver
1759 \override Stem #'transparent = ##t
1760 \override Stem #'Y-extent-callback = ##f
1763 \override LyricText #'font-family = #'typewriter
1770 If you do not like any of the predefined lists you can define your own
1771 list at the top of your file
1773 @lilypond[quote,ragged-right,verbatim]
1775 (bassdrum default #f -1)
1776 (snare default #f 0)
1778 (pedalhihat xcircle "stopped" 2)
1779 (lowtom diamond #f 3)))
1780 up = \drummode { hh8 hh hh hh hhp4 hhp }
1781 down = \drummode { bd4 sn bd toml8 toml }
1784 \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
1785 \new DrumVoice { \voiceOne \up }
1786 \new DrumVoice { \voiceTwo \down }
1793 Init files: @file{ly/@/drumpitch@/-init@/.ly}.
1795 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
1799 Because general MIDI does not contain rim shots, the sidestick is used
1800 for this purpose instead.
1808 @cindex guitar tablature
1811 * String number indications::
1812 * Tablatures basic::
1813 * Non-guitar tablatures::
1814 * Banjo tablatures::
1816 * Other guitar issues::
1819 @node String number indications
1820 @subsection String number indications
1822 @cindex String numbers
1824 String numbers can be added to chords, by indicating the string number
1825 with @code{\}@var{number},
1827 @lilypond[relative,relative=1,ragged-right,fragment]
1831 See also @inputfileref{input/regression,string-number.ly}.
1836 Program reference: @internalsref{StringNumber}.
1839 @node Tablatures basic
1840 @subsection Tablatures basic
1841 @cindex Tablatures basic
1843 Tablature notation is used for notating music for plucked string
1844 instruments. Pitches are not denoted with note heads, but by
1845 numbers indicating on which string and fret a note must be played. LilyPond
1846 offers limited support for tablature.
1848 The string number associated to a note is given as a backslash
1849 followed by a number, e.g., @code{c4\3} for a C quarter on the third
1850 string. By default, string 1 is the highest one, and the tuning
1851 defaults to the standard guitar tuning (with 6 strings). The notes
1852 are printed as tablature, by using @internalsref{TabStaff} and
1853 @internalsref{TabVoice} contexts
1855 @lilypond[quote,ragged-right,fragment,verbatim]
1862 @cindex @code{minimumFret}
1865 When no string is specified, the first string that does not give a
1866 fret number less than @code{minimumFret} is selected. The default
1867 value for @code{minimumFret} is 0
1872 \set TabStaff.minimumFret = #8
1875 @lilypond[quote,ragged-right]
1879 \set TabStaff.minimumFret = #8
1883 \new Staff { \clef "G_8" \frag }
1884 \new TabStaff { \frag }
1891 To print tablatures with stems down and horizontal beams,
1892 initialize the @code{TabStaff} with this code:
1896 \override Beam #'damping = #100000
1901 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}.
1905 Chords are not handled in a special way, and hence the automatic
1906 string selector may easily select the same string to two notes in a
1910 @node Non-guitar tablatures
1911 @subsection Non-guitar tablatures
1912 @cindex Non-guitar tablatures
1914 You can change the tuning of the strings. A string tuning is given as
1915 a Scheme list with one integer number for each string, the number
1916 being the pitch (measured in semitones relative to middle C) of an
1917 open string. The numbers specified for @code{stringTuning} are the
1918 numbers of semitones to subtract or add, starting the specified pitch
1919 by default middle C, in string order. LilyPond automatically calculates
1920 the number of strings by looking at @code{stringTuning}.
1922 In the next example,
1923 @code{stringTunings} is set for the pitches e, a, d, and g
1925 @lilypond[quote,ragged-right,fragment,verbatim]
1927 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
1929 a,4 c' a e' e c' a e'
1934 LilyPond comes with predefined string tunings for banjo, mandolin, guitar
1938 \set TabStaff.stringTunings = #bass-tuning
1941 The default string tuning is @code{guitar-tuning} (the standard EADGBE tuning).
1942 Some other predefined tunings are @code{guitar-open-g-tuning},
1943 @code{mandolin-tuning} and @code{banjo-open-g-tuning}.
1947 The file @file{scm/@/output@/-lib@/.scm} contains the predefined string tunings.
1948 Program reference: @internalsref{Tab_note_heads_engraver}.
1952 No guitar special effects have been implemented.
1956 @node Banjo tablatures
1957 @subsection Banjo tablatures
1958 @cindex Banjo tablatures
1960 LilyPond has basic support for five stringed banjo. When making tablatures
1961 for five stringed banjo, use the banjo tablature format function to get correct
1962 fret numbers for the fifth string:
1964 @lilypond[quote,ragged-right,fragment,verbatim]
1966 \set TabStaff.tablatureFormat = #fret-number-tablature-format-banjo
1967 \set TabStaff.stringTunings = #banjo-open-g-tuning
1970 g8 d' g'\5 a b g e d' |
1971 g4 d''8\5 b' a'\2 g'\5 e'\2 d' |
1977 A number of common tunings for banjo are predefined in LilyPond:
1978 @code{banjo-c-tuning} (gCGBD), @code{banjo-modal-tuning} (gDGCD),
1979 @code{banjo-open-d-tuning} (aDF#AD) and @code{banjo-open-dm-tuning}
1982 These tunings may be converted to four string banjo tunings using the
1983 @code{four-string-banjo} function:
1986 \set TabStaff.stringTunings = #(four-string-banjo banjo-c-tuning)
1991 The file @file{scm/@/output@/-lib@/.scm} contains predefined banjo tunings.
1995 @subsection Fret diagrams
1996 @cindex fret diagrams
1997 @cindex chord diagrams
1999 Fret diagrams can be added to music as a markup to the desired note. The
2000 markup contains information about the desired fret diagram, as shown in the
2003 @lilypond[verbatim, ragged-right, quote]
2005 d'^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
2007 fis'^\markup \override #'(size . 0.75) {
2008 \override #'(finger-code . below-string) {
2009 \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
2010 (place-fret 5 4 3) (place-fret 4 4 4)
2011 (place-fret 3 3 2) (place-fret 2 2 1)
2016 c'^\markup \override #'(dot-radius . 0.35) {
2017 \override #'(finger-code . in-dot) {
2018 \override #'(dot-color . white) {
2019 \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
2028 There are three different fret-diagram markup interfaces: standard, terse,
2029 and verbose. The three interfaces produce equivalent markups, but have
2030 varying amounts of information in the markup string. Details about the
2031 markup interfaces are found at @ref{Overview of text markup commands}.
2033 You can set a number of graphical properties according to your preference.
2034 Details about the property interface to fret diagrams are found at
2035 @internalsref{fret-diagram-interface}.
2040 Examples: @inputfileref{input/@/test,fret@/-diagram@/.ly}
2043 @node Other guitar issues
2044 @subsection Other guitar issues
2046 This example demonstrates how to include guitar position and
2047 barring indications.
2049 @lilypond[quote,ragged-right,fragment,verbatim,relative=0]
2053 \override TextSpanner #'edge-text = #'("XII " . "")
2055 b16 e16 g16 e16 b16 g16\stopTextSpan
2060 Stopped (X) note heads are used in guitar music to signal a place where the
2061 guitarist must play a certain note or chord, with its fingers just
2062 touching the strings instead of fully pressing them. This gives the sound a
2063 percussive noise-like sound that still maintains part of the original
2064 pitch. It is notated with cross noteheads; this is
2065 demonstrated in @ref{Special noteheads}.
2074 * Bagpipe definitions::
2079 @node Bagpipe definitions
2080 @subsection Bagpipe definitions
2082 LilyPond contains special definitions for music for the Scottish
2083 highland bagpipe; to use them, add
2086 \include "bagpipe.ly"
2090 at the top of your input file. This lets you add the special gracenotes
2091 common to bagpipe music with short commands. For example, you could
2092 write @code{\taor} instead of
2095 \grace @{ \small G32[ d G e] @}
2098 @code{bagpipe.ly} also contains pitch definitions for the bagpipe
2099 notes in the appropiate octaves, so you do not need to worry about
2100 @code{\relative} or @code{\transpose}.
2102 @lilypond[ragged-right,verbatim,quote,notime]
2103 \include "bagpipe.ly"
2104 { \grg G4 \grg a \grg b \grg c \grg d \grg e \grg f \grA g A }
2107 Bagpipe music nominally uses the key of D Major (even though that
2108 isn't really true). However, since that is the only key that can be used,
2109 the key signature is normally not written out. To set this up correctly,
2110 always start your music with @code{\hideKeySignature}. If you for some
2111 reason want to show the key signature, you can use @code{\showKeySignature}
2114 Some modern music use cross fingering on c and f to flatten those notes.
2115 This can be indicated by @code{cflat} or @code{fflat}. Similarly, the
2116 piobaireachd high g can be written @code{gflat} when it occurs in light
2120 @node Bagpipe example
2121 @subsection Bagpipe example
2123 This is what the well known tune Amazing Grace looks like in bagpipe
2126 @lilypond[verbatim,quote]
2127 \include "bagpipe.ly"
2130 \context { \Score \remove "Bar_number_engraver" }
2134 title = "Amazing Grace"
2136 arranger = "Trad. arr."
2142 \grg \partial 4 a8. d16
2143 \slurd d2 \grg f8[ e32 d16.]
2146 \grG a2 \grg a8. d16
2147 \slurd d2 \grg f8[ e32 d16.]
2148 \grg f2 \grg e8. f16
2151 \grg A2 \hdblf f8[ e32 d16.]
2154 \grG a2 \grg a8. d16
2155 \slurd d2 \grg f8[ e32 d16.]
2164 @node Ancient notation
2165 @section Ancient notation
2167 @cindex Vaticana, Editio
2168 @cindex Medicaea, Editio
2173 Support for ancient notation includes features for mensural notation
2174 and Gregorian Chant notation. There is also limited support for
2175 figured bass notation.
2177 Many graphical objects provide a @code{style} property, see
2180 @ref{Ancient note heads},
2182 @ref{Ancient accidentals},
2184 @ref{Ancient rests},
2186 @ref{Ancient clefs},
2188 @ref{Ancient flags},
2190 @ref{Ancient time signatures}.
2193 By manipulating such a grob property, the typographical appearance of
2194 the affected graphical objects can be accommodated for a specific
2195 notation flavor without the need for introducing any new notational
2198 In addition to the standard articulation signs described in section
2199 @ref{Articulations}, specific articulation signs for ancient notation
2204 @ref{Ancient articulations}
2207 Other aspects of ancient notation can not that easily be expressed
2208 in terms of just changing a style property of a graphical object or
2209 adding articulation signs. Some notational concepts are introduced
2210 specifically for ancient notation,
2221 If this all is too much of documentation for you, and you just want to
2222 dive into typesetting without worrying too much about the details on
2223 how to customize a context, you may have a look at the predefined
2224 contexts. Use them to set up predefined style-specific voice and
2225 staff contexts, and directly go ahead with the note entry,
2229 @ref{Gregorian Chant contexts},
2231 @ref{Mensural contexts}.
2234 There is limited support for figured bass notation which came
2235 up during the baroque period.
2242 Here are all suptopics at a glance:
2245 * Ancient note heads::
2246 * Ancient accidentals::
2250 * Ancient time signatures::
2251 * Ancient articulations::
2255 * Gregorian Chant contexts::
2256 * Mensural contexts::
2257 * Musica ficta accidentals::
2263 @node Ancient note heads
2264 @subsection Ancient note heads
2269 For ancient notation, a note head style other than the @code{default}
2270 style may be chosen. This is accomplished by setting the @code{style}
2271 property of the @internalsref{NoteHead} object to @code{baroque},
2272 @code{neomensural}, @code{mensural} or @code{petrucci}. The
2273 @code{baroque} style differs from the @code{default} style only in
2274 using a square shape for @code{\breve} note heads. The
2275 @code{neomensural} style differs from the @code{baroque} style in that
2276 it uses rhomboidal heads for whole notes and all smaller durations.
2277 Stems are centered on the note heads. This style is particularly
2278 useful when transcribing mensural music, e.g., for the incipit. The
2279 @code{mensural} style produces note heads that mimic the look of note
2280 heads in historic printings of the 16th century. Finally, the
2281 @code{petrucci} style also mimicks historic printings, but uses bigger
2284 The following example demonstrates the @code{neomensural} style
2286 @lilypond[quote,fragment,ragged-right,verbatim]
2287 \set Score.skipBars = ##t
2288 \override NoteHead #'style = #'neomensural
2289 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
2292 When typesetting a piece in Gregorian Chant notation, the
2293 @internalsref{Gregorian_ligature_engraver} will automatically select
2294 the proper note heads, so there is no need to explicitly set the
2295 note head style. Still, the note head style can be set, e.g., to
2296 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
2297 @internalsref{Mensural_ligature_engraver} is used to automatically
2298 assemble mensural ligatures. See @ref{Ligatures} for how ligature
2303 Examples: @inputfileref{input/@/regression,note@/-head@/-style@/.ly} gives an
2304 overview over all available note head styles.
2307 @node Ancient accidentals
2308 @subsection Ancient accidentals
2313 Use the @code{style} property of grob @internalsref{Accidental} to
2314 select ancient accidentals. Supported styles are
2315 @code{mensural}, @code{vaticana}, @code{hufnagel}, and @code{medicaea}.
2317 @lilypond[quote,ragged-right,staffsize=26]
2324 \line { " " \musicglyph #"accidentals.vaticana-1"
2325 " " \musicglyph #"accidentals.vaticana0" }
2329 \line { " " \musicglyph #"accidentals.medicaea-1" }
2333 \line { " " \musicglyph #"accidentals.hufnagel-1" }
2337 \line { " " \musicglyph #"accidentals.mensural-1"
2338 " " \musicglyph #"accidentals.mensural1" }
2344 \context { \Score \remove "Bar_number_engraver" }
2346 \remove "Clef_engraver"
2347 \remove "Key_engraver"
2348 \remove "Time_signature_engraver"
2349 \remove "Staff_symbol_engraver"
2350 \override VerticalAxisGroup #'minimum-Y-extent = ##f
2356 As shown, not all accidentals are supported by each style. When
2357 trying to access an unsupported accidental, LilyPond will switch to a
2358 different style, as demonstrated in
2359 @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2361 Similarly to local accidentals, the style of the key signature can be
2362 controlled by the @code{style} property of the
2363 @internalsref{KeySignature} grob.
2367 In this manual: @ref{Pitches}, @ref{Cautionary accidentals} and
2368 @ref{Automatic accidentals} give a general introduction of the use of
2369 accidentals. @ref{Key signature} gives a general introduction of
2370 the use of key signatures.
2372 Program reference: @internalsref{KeySignature}.
2374 Examples: @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2377 @subsection Ancient rests
2379 @cindex rests, ancient
2382 Use the @code{style} property of grob @internalsref{Rest} to select
2383 ancient rests. Supported styles are @code{classical},
2384 @code{neomensural}, and @code{mensural}. @code{classical} differs
2385 from the @code{default} style only in that the quarter rest looks like
2386 a horizontally mirrored 8th rest. The @code{neomensural} style suits
2387 well for, e.g., the incipit of a transcribed mensural piece of music.
2388 The @code{mensural} style finally mimics the appearance of rests as
2389 in historic prints of the 16th century.
2391 The following example demonstrates the @code{neomensural} style
2393 @lilypond[quote,fragment,ragged-right,verbatim]
2394 \set Score.skipBars = ##t
2395 \override Rest #'style = #'neomensural
2396 r\longa r\breve r1 r2 r4 r8 r16
2399 There are no 32th and 64th rests specifically for the mensural or
2400 neo-mensural style. Instead, the rests from the default style will be
2401 taken. See @inputfileref{input/@/test,rests@/.ly} for a chart of all
2404 There are no rests in Gregorian Chant notation; instead, it uses
2409 In this manual: @ref{Rests} gives a general introduction into the use of rests.
2413 @subsection Ancient clefs
2418 LilyPond supports a variety of clefs, many of them ancient.
2420 The following table shows all ancient clefs that are supported via the
2421 @code{\clef} command. Some of the clefs use the same glyph, but
2422 differ only with respect to the line they are printed on. In such
2423 cases, a trailing number in the name is used to enumerate these clefs.
2424 Still, you can manually force a clef glyph to be typeset on an
2425 arbitrary line, as described in @ref{Clef}. The note printed to the
2426 right side of each clef in the example column denotes the @code{c'}
2427 with respect to that clef.
2429 @multitable @columnfractions .4 .4 .2
2438 modern style mensural C clef
2440 @code{neomensural-c1}, @code{neomensural-c2},@*
2441 @code{neomensural-c3}, @code{neomensural-c4}
2443 @lilypond[fragment,relative=1,notime]
2444 \clef "neomensural-c2" c
2448 petrucci style mensural C clefs, for use on different staff lines
2449 (the examples show the 2nd staff line C clef)
2451 @code{petrucci-c1}, @code{petrucci-c2},@*
2452 @code{petrucci-c3}, @code{petrucci-c4},@*
2455 @lilypond[fragment,relative=1,notime]
2457 \override NoteHead #'style = #'mensural
2462 petrucci style mensural F clef
2466 @lilypond[fragment,relative=1,notime]
2468 \override NoteHead #'style = #'mensural
2473 petrucci style mensural G clef
2477 @lilypond[fragment,relative=1,notime]
2479 \override NoteHead #'style = #'mensural
2484 historic style mensural C clef
2486 @code{mensural-c1}, @code{mensural-c2},@*
2487 @code{mensural-c3}, @code{mensural-c4}
2489 @lilypond[fragment,relative=1,notime]
2491 \override NoteHead #'style = #'mensural
2496 historic style mensural F clef
2500 @lilypond[fragment,relative=1,notime]
2502 \override NoteHead #'style = #'mensural
2507 historic style mensural G clef
2511 @lilypond[fragment,relative=1,notime]
2513 \override NoteHead #'style = #'mensural
2518 Editio Vaticana style do clef
2520 @code{vaticana-do1}, @code{vaticana-do2},@*
2523 @lilypond[fragment,relative=1,notime]
2524 \override Staff.StaffSymbol #'line-count = #4
2525 \override Staff.StaffSymbol #'color = #red
2526 \override Staff.LedgerLineSpanner #'color = #red
2527 \override Voice.Stem #'transparent = ##t
2528 \override NoteHead #'style = #'vaticana.punctum
2529 \clef "vaticana-do2"
2534 Editio Vaticana style fa clef
2536 @code{vaticana-fa1}, @code{vaticana-fa2}
2538 @lilypond[fragment,relative=1,notime]
2539 \override Staff.StaffSymbol #'line-count = #4
2540 \override Staff.StaffSymbol #'color = #red
2541 \override Staff.LedgerLineSpanner #'color = #red
2542 \override Voice.Stem #'transparent = ##t
2543 \override NoteHead #'style = #'vaticana.punctum
2544 \clef "vaticana-fa2"
2549 Editio Medicaea style do clef
2551 @code{medicaea-do1}, @code{medicaea-do2},@*
2554 @lilypond[fragment,relative=1,notime]
2555 \override Staff.StaffSymbol #'line-count = #4
2556 \override Staff.StaffSymbol #'color = #red
2557 \override Staff.LedgerLineSpanner #'color = #red
2558 \override Voice.Stem #'transparent = ##t
2559 \override NoteHead #'style = #'medicaea.punctum
2560 \clef "medicaea-do2"
2565 Editio Medicaea style fa clef
2567 @code{medicaea-fa1}, @code{medicaea-fa2}
2569 @lilypond[fragment,relative=1,notime]
2570 \override Staff.StaffSymbol #'line-count = #4
2571 \override Staff.StaffSymbol #'color = #red
2572 \override Staff.LedgerLineSpanner #'color = #red
2573 \override Voice.Stem #'transparent = ##t
2574 \override NoteHead #'style = #'medicaea.punctum
2575 \clef "medicaea-fa2"
2580 historic style hufnagel do clef
2582 @code{hufnagel-do1}, @code{hufnagel-do2},@*
2585 @lilypond[fragment,relative=1,notime]
2586 \override Staff.StaffSymbol #'line-count = #4
2587 \override Staff.StaffSymbol #'color = #red
2588 \override Staff.LedgerLineSpanner #'color = #red
2589 \override Voice.Stem #'transparent = ##t
2590 \override NoteHead #'style = #'hufnagel.punctum
2591 \clef "hufnagel-do2"
2596 historic style hufnagel fa clef
2598 @code{hufnagel-fa1}, @code{hufnagel-fa2}
2600 @lilypond[fragment,relative=1,notime]
2601 \override Staff.StaffSymbol #'line-count = #4
2602 \override Staff.StaffSymbol #'color = #red
2603 \override Staff.LedgerLineSpanner #'color = #red
2604 \override Voice.Stem #'transparent = ##t
2605 \override NoteHead #'style = #'hufnagel.punctum
2606 \clef "hufnagel-fa2"
2611 historic style hufnagel combined do/fa clef
2613 @code{hufnagel-do-fa}
2615 @lilypond[fragment,relative=1,notime]
2616 \override Staff.StaffSymbol #'color = #red
2617 \override Staff.LedgerLineSpanner #'color = #red
2618 \override Voice.Stem #'transparent = ##t
2619 \override NoteHead #'style = #'hufnagel.punctum
2620 \clef "hufnagel-do-fa"
2627 @emph{Modern style} means ``as is typeset in contemporary editions of
2628 transcribed mensural music''.
2630 @emph{Petrucci style} means ``inspired by printings published by the
2631 famous engraver Petrucci (1466-1539)''.
2633 @emph{Historic style} means ``as was typeset or written in historic
2634 editions (other than those of Petrucci)''.
2636 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
2638 Petrucci used C clefs with differently balanced left-side vertical
2639 beams, depending on which staff line it is printed.
2643 In this manual: see @ref{Clef}.
2647 The mensural g clef is mapped to the Petrucci g clef.
2652 @subsection Ancient flags
2657 Use the @code{flag-style} property of grob @internalsref{Stem} to
2658 select ancient flags. Besides the @code{default} flag style,
2659 only the @code{mensural} style is supported
2661 @lilypond[quote,fragment,ragged-right,verbatim]
2662 \override Stem #'flag-style = #'mensural
2663 \override Stem #'thickness = #1.0
2664 \override NoteHead #'style = #'mensural
2666 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
2667 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
2670 Note that the innermost flare of each mensural flag always is
2671 vertically aligned with a staff line.
2673 There is no particular flag style for neo-mensural notation. Hence,
2674 when typesetting the incipit of a transcribed piece of mensural
2675 music, the default flag style should be used. There are no flags in
2676 Gregorian Chant notation.
2680 The attachment of ancient flags to stems is slightly off due to a
2681 change in early 2.3.x.
2683 Vertically aligning each flag with a staff line assumes that stems
2684 always end either exactly on or exactly in the middle between two
2685 staff lines. This may not always be true when using advanced layout
2686 features of classical notation (which however are typically out of
2687 scope for mensural notation).
2689 @node Ancient time signatures
2690 @subsection Ancient time signatures
2692 @cindex time signatures
2695 There is limited support for mensural time signatures. The
2696 glyphs are hard-wired to particular time fractions. In other words,
2697 to get a particular mensural signature glyph with the @code{\time n/m}
2698 command, @code{n} and @code{m} have to be chosen according to the
2701 @lilypond[quote,ragged-right]
2706 \remove Staff_symbol_engraver
2707 \remove Clef_engraver
2708 \remove Time_signature_engraver
2712 \set Score.timing = ##f
2713 \set Score.barAlways = ##t
2714 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph #"timesig.neomensural44" }
2716 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph #"timesig.neomensural22" }
2718 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph #"timesig.neomensural64" }
2720 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph #"timesig.neomensural68" }
2722 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph #"timesig.neomensural32" }
2724 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph #"timesig.neomensural34" }
2726 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph #"timesig.neomensural94" }
2728 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph #"timesig.neomensural98" }
2730 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph #"timesig.neomensural48" }
2732 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph #"timesig.neomensural24" }
2736 Use the @code{style} property of grob @internalsref{TimeSignature} to
2737 select ancient time signatures. Supported styles are
2738 @code{neomensural} and @code{mensural}. The above table uses the
2739 @code{neomensural} style. This style is appropriate for the
2740 incipit of transcriptions of mensural pieces. The @code{mensural}
2741 style mimics the look of historical printings of the 16th century.
2743 The following examples show the differences in style,
2745 @lilypond[ragged-right,fragment,relative=1,quote]
2750 c1^\markup { \hspace #-2.0 \typewriter default }
2752 \override Staff.TimeSignature #'style = #'numbered
2754 c1^\markup { \hspace #-2.0 \typewriter numbered }
2756 \override Staff.TimeSignature #'style = #'mensural
2758 c1^\markup { \hspace #-2.0 \typewriter mensural }
2760 \override Staff.TimeSignature #'style = #'neomensural
2762 c1^\markup { \hspace #-2.0 \typewriter neomensural }
2763 \override Staff.TimeSignature #'style = #'single-digit
2765 c1^\markup { \hspace #-2.0 \typewriter single-digit }
2771 This manual: @ref{Time signature} gives a general introduction to
2772 the use of time signatures.
2776 Ratios of note durations do not change with the time signature. For
2777 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
2778 be made by hand, by setting
2781 breveTP = #(ly:make-duration -1 0 3 2)
2787 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
2789 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
2790 addressable with @code{\time}. Use a @code{\markup} instead
2792 @node Ancient articulations
2793 @subsection Ancient articulations
2795 @cindex articulations
2797 In addition to the standard articulation signs described in section
2798 @ref{Articulations}, articulation signs for ancient notation are
2799 provided. These are specifically designed for use with notation in
2800 Editio Vaticana style.
2802 @lilypond[quote,ragged-right,verbatim]
2803 \include "gregorian-init.ly"
2805 \new VaticanaVoice {
2806 \override Staff.StaffSymbol #'color = #red
2807 \override Staff.LedgerLineSpanner #'color = #red
2808 \override TextScript #'font-family = #'typewriter
2809 \override TextScript #'font-shape = #'upright
2810 \override Script #'padding = #-0.1
2812 a4\circulus_"circulus" s1
2813 a4\semicirculus_"semicirculus" s1 s
2814 a4\accentus_"accentus" s1
2815 \[ a4_"episem" \episemInitium \pes b \flexa a \episemFinis \]
2822 Some articulations are vertically placed too closely to the
2823 correpsonding note heads.
2826 @subsection Custodes
2831 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
2832 symbol that appears at the end of a staff. It anticipates the pitch
2833 of the first note(s) of the following line thus helping the performer
2834 to manage line breaks during performance.
2836 Custodes were frequently used in music notation until the 17th
2837 century. Nowadays, they have survived only in a few particular forms
2838 of musical notation such as contemporary editions of Gregorian chant
2839 like the @emph{editio vaticana}. There are different custos glyphs
2840 used in different flavors of notational style.
2842 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
2843 @internalsref{Staff} context when declaring the @code{\layout} block,
2844 as shown in the following example
2850 \consists Custos_engraver
2851 Custos \override #'style = #'mensural
2856 The result looks like this
2858 @lilypond[quote,ragged-right]
2862 \override Staff.Custos #'style = #'mensural
2867 \context { \Staff \consists Custos_engraver }
2872 The custos glyph is selected by the @code{style} property. The styles
2873 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
2874 @code{mensural}. They are demonstrated in the following fragment
2876 @lilypond[quote,ragged-right,fragment]
2877 \new Lyrics \lyricmode {
2879 \typewriter "vaticana"
2880 \line { " " \musicglyph #"custodes.vaticana.u0" }
2883 \typewriter "medicaea"
2884 \line { " " \musicglyph #"custodes.medicaea.u0" }
2887 \typewriter "hufnagel"
2888 \line { " " \musicglyph #"custodes.hufnagel.u0" }
2891 \typewriter "mensural"
2892 \line { " " \musicglyph #"custodes.mensural.u0" }
2899 Program reference: @internalsref{Custos}.
2901 Examples: @inputfileref{input/@/regression,custos@/.ly}.
2905 @subsection Divisiones
2911 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
2912 `division') is a staff context symbol that is used to structure
2913 Gregorian music into phrases and sections. The musical meaning of
2914 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
2915 can be characterized as short, medium, and long pause, somewhat like
2916 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
2917 only marks the end of a chant, but is also frequently used within a
2918 single antiphonal/responsorial chant to mark the end of each section.
2921 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
2922 contains definitions that you can apply by just inserting
2923 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
2924 and @code{\finalis} at proper places in the input. Some editions use
2925 @emph{virgula} or @emph{caesura} instead of divisio minima.
2926 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
2929 @lilypondfile[quote,ragged-right]{divisiones.ly}
2933 @cindex @code{\virgula}
2935 @cindex @code{\caesura}
2937 @cindex @code{\divisioMinima}
2938 @code{\divisioMinima},
2939 @cindex @code{\divisioMaior}
2940 @code{\divisioMaior},
2941 @cindex @code{\divisioMaxima}
2942 @code{\divisioMaxima},
2943 @cindex @code{\finalis}
2948 In this manual: @ref{Breath marks}.
2950 Program reference: @internalsref{BreathingSign}.
2952 Examples: @inputfileref{input/@/test,divisiones@/.ly}.
2955 @subsection Ligatures
2959 @c TODO: Should double check if I recalled things correctly when I wrote
2960 @c down the following paragraph by heart.
2962 A ligature is a graphical symbol that represents at least two distinct
2963 notes. Ligatures originally appeared in the manuscripts of Gregorian
2964 chant notation to denote ascending or descending sequences of notes.
2966 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
2967 Some ligature styles may need additional input syntax specific for
2968 this particular type of ligature. By default, the
2969 @internalsref{LigatureBracket} engraver just puts a square bracket
2972 @lilypond[quote,ragged-right,verbatim]
2980 To select a specific style of ligatures, a proper ligature engraver
2981 has to be added to the @internalsref{Voice} context, as explained in
2982 the following subsections. Only white mensural ligatures
2983 are supported with certain limitations.
2989 Ligatures need special spacing that has not yet been implemented. As
2990 a result, there is too much space between ligatures most of the time,
2991 and line breaking often is unsatisfactory. Also, lyrics do not
2992 correctly align with ligatures.
2994 Accidentals must not be printed within a ligature, but instead need to
2995 be collected and printed in front of it.
2997 Augmentum dots within ligatures are not handled correctly.
2999 The syntax still uses the deprecated infix style @code{\[ music expr
3000 \]}. For consistency reasons, it will eventually be changed to
3001 postfix style @code{note\[ ... note\]}. Alternatively, the file
3002 @file{gregorian@/-init@/.ly} can be included; it provides a scheme
3005 \ligature @var{music expr}
3007 with the same effect and is believed to be stable.
3010 * White mensural ligatures::
3011 * Gregorian square neumes ligatures::
3014 @node White mensural ligatures
3015 @subsubsection White mensural ligatures
3017 @cindex Mensural ligatures
3018 @cindex White mensural ligatures
3020 There is limited support for white mensural ligatures.
3022 To engrave white mensural ligatures, in the layout block put the
3023 @internalsref{Mensural_ligature_engraver} into the
3024 @internalsref{Voice} context, and remove the
3025 @internalsref{Ligature_bracket_engraver}, like this
3031 \remove Ligature_bracket_engraver
3032 \consists Mensural_ligature_engraver
3037 There is no additional input language to describe the shape of a
3038 white mensural ligature. The shape is rather determined solely from
3039 the pitch and duration of the enclosed notes. While this approach may
3040 take a new user a while to get accustomed to, it has the great advantage
3041 that the full musical information of the ligature is known internally.
3042 This is not only required for correct MIDI output, but also allows for
3043 automatic transcription of the ligatures.
3048 \set Score.timing = ##f
3049 \set Score.defaultBarType = "empty"
3050 \override NoteHead #'style = #'neomensural
3051 \override Staff.TimeSignature #'style = #'neomensural
3055 \[ d\longa c\breve f e d \]
3057 \[ c'\maxima d'\longa \]
3061 @lilypond[quote,ragged-right]
3064 \set Score.timing = ##f
3065 \set Score.defaultBarType = "empty"
3066 \override NoteHead #'style = #'neomensural
3067 \override Staff.TimeSignature #'style = #'neomensural
3071 \[ d\longa c\breve f e d \]
3073 \[ c'\maxima d'\longa \]
3080 \remove Ligature_bracket_engraver
3081 \consists Mensural_ligature_engraver
3087 Without replacing @internalsref{Ligature_bracket_engraver} with
3088 @internalsref{Mensural_ligature_engraver}, the same music transcribes
3091 @lilypond[quote,ragged-right]
3093 \set Score.timing = ##f
3094 \set Score.defaultBarType = "empty"
3095 \override NoteHead #'style = #'neomensural
3096 \override Staff.TimeSignature #'style = #'neomensural
3100 \[ d\longa c\breve f e d \]
3102 \[ c'\maxima d'\longa \]
3110 The invisible rests (@code{s4}) in the example are used to compensate
3111 for the poor horizontal spacing.
3113 @node Gregorian square neumes ligatures
3114 @subsubsection Gregorian square neumes ligatures
3116 @cindex Square neumes ligatures
3117 @cindex Gregorian square neumes ligatures
3119 There is limited support for Gregorian square neumes notation
3120 (following the style of the Editio Vaticana). Core ligatures can
3121 already be typeset, but essential issues for serious typesetting are
3122 still lacking, such as (among others) horizontal alignment of multiple
3123 ligatures, lyrics alignment and proper handling of accidentals.
3126 The following table contains the extended neumes table of the 2nd
3127 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
3128 1983 by the monks of Solesmes.
3130 @multitable @columnfractions .4 .2 .2 .2
3147 @c TODO: \layout block is identical in all of the below examples.
3148 @c Therefore, it should somehow be included rather than duplicated all
3151 @c why not make identifiers in ly/engraver-init.ly? --hwn
3153 @c Because it's just used to typeset plain notes without
3154 @c a staff for demonstration purposes rather than something
3155 @c special of Gregorian chant notation. --jr
3160 @lilypond[staffsize=26,line-width=1.5\cm]
3161 \include "gregorian-init.ly"
3166 \noBreak s^\markup {"a"} \noBreak
3168 % Punctum Inclinatum
3170 \noBreak s^\markup {"b"}
3172 \layout { \neumeDemoLayout }}
3175 @lilypond[staffsize=26,line-width=2.5\cm]
3176 \include "gregorian-init.ly"
3179 % Punctum Auctum Ascendens
3180 \[ \auctum \ascendens b \]
3181 \noBreak s^\markup {"c"} \noBreak
3183 % Punctum Auctum Descendens
3184 \[ \auctum \descendens b \]
3185 \noBreak s^\markup {"d"} \noBreak
3187 % Punctum Inclinatum Auctum
3188 \[ \inclinatum \auctum b \]
3189 \noBreak s^\markup {"e"}
3191 \layout { \neumeDemoLayout }}
3194 @lilypond[staffsize=26,line-width=1.0\cm]
3195 \include "gregorian-init.ly"
3198 % Punctum Inclinatum Parvum
3199 \[ \inclinatum \deminutum b \]
3200 \noBreak s^\markup {"f"}
3202 \layout { \neumeDemoLayout }}
3208 @lilypond[staffsize=26,line-width=1.0\cm]
3209 \include "gregorian-init.ly"
3214 \noBreak s^\markup {"g"}
3216 \layout { \neumeDemoLayout }}
3222 @code{3. Apostropha vel Stropha}
3224 @lilypond[staffsize=26,line-width=1.0\cm]
3225 \include "gregorian-init.ly"
3230 \noBreak s^\markup {"h"}
3232 \layout { \neumeDemoLayout }}
3235 @lilypond[staffsize=26,line-width=1.0\cm]
3236 \include "gregorian-init.ly"
3240 \[ \stropha \auctum b \]
3241 \noBreak s^\markup {"i"}
3243 \layout { \neumeDemoLayout }}
3250 @lilypond[staffsize=26,line-width=1.0\cm]
3251 \include "gregorian-init.ly"
3256 \noBreak s^\markup {"j"}
3258 \layout { \neumeDemoLayout }}
3264 @code{5. Clivis vel Flexa}
3266 @lilypond[staffsize=26,line-width=1.0\cm]
3267 \include "gregorian-init.ly"
3274 \layout { \neumeDemoLayout }}
3277 @lilypond[staffsize=26,line-width=2.0\cm]
3278 \include "gregorian-init.ly"
3281 % Clivis Aucta Descendens
3282 \[ b \flexa \auctum \descendens g \]
3283 \noBreak s^\markup {"l"} \noBreak
3285 % Clivis Aucta Ascendens
3286 \[ b \flexa \auctum \ascendens g \]
3287 \noBreak s^\markup {"m"}
3289 \layout { \neumeDemoLayout }}
3292 @lilypond[staffsize=26,line-width=1.0\cm]
3293 \include "gregorian-init.ly"
3297 \[ b \flexa \deminutum g \]
3300 \layout { \neumeDemoLayout }}
3304 @code{6. Podatus vel Pes}
3306 @lilypond[staffsize=26,line-width=1.0\cm]
3307 \include "gregorian-init.ly"
3314 \layout { \neumeDemoLayout }}
3317 @lilypond[staffsize=26,line-width=2.0\cm]
3318 \include "gregorian-init.ly"
3321 % Pes Auctus Descendens
3322 \[ g \pes \auctum \descendens b \]
3323 \noBreak s^\markup {"p"} \noBreak
3325 % Pes Auctus Ascendens
3326 \[ g \pes \auctum \ascendens b \]
3327 \noBreak s^\markup {"q"}
3329 \layout { \neumeDemoLayout }}
3332 @lilypond[staffsize=26,line-width=1.0\cm]
3333 \include "gregorian-init.ly"
3337 \[ g \pes \deminutum b \]
3340 \layout { \neumeDemoLayout }}
3344 @code{7. Pes Quassus}
3346 @lilypond[staffsize=26,line-width=1.0\cm]
3347 \include "gregorian-init.ly"
3351 \[ \oriscus g \pes \virga b \]
3354 \layout { \neumeDemoLayout }}
3357 @lilypond[staffsize=26,line-width=1.0\cm]
3358 \include "gregorian-init.ly"
3361 % Pes Quassus Auctus Descendens
3362 \[ \oriscus g \pes \auctum \descendens b \]
3365 \layout { \neumeDemoLayout }}
3370 @code{8. Quilisma Pes}
3372 @lilypond[staffsize=26,line-width=1.0\cm]
3373 \include "gregorian-init.ly"
3377 \[ \quilisma g \pes b \]
3380 \layout { \neumeDemoLayout }}
3383 @lilypond[staffsize=26,line-width=1.0\cm]
3384 \include "gregorian-init.ly"
3387 % Quilisma Pes Auctus Descendens
3388 \[ \quilisma g \pes \auctum \descendens b \]
3391 \layout { \neumeDemoLayout }}
3396 @code{9. Podatus Initio Debilis}
3398 @lilypond[staffsize=26,line-width=1.0\cm]
3399 \include "gregorian-init.ly"
3402 % Pes Initio Debilis
3403 \[ \deminutum g \pes b \]
3406 \layout { \neumeDemoLayout }}
3409 @lilypond[staffsize=26,line-width=1.0\cm]
3410 \include "gregorian-init.ly"
3413 % Pes Auctus Descendens Initio Debilis
3414 \[ \deminutum g \pes \auctum \descendens b \]
3417 \layout { \neumeDemoLayout }}
3424 @lilypond[staffsize=26,line-width=1.0\cm]
3425 \include "gregorian-init.ly"
3429 \[ a \pes b \flexa g \]
3432 \layout { \neumeDemoLayout }}
3435 @lilypond[staffsize=26,line-width=1.0\cm]
3436 \include "gregorian-init.ly"
3439 % Torculus Auctus Descendens
3440 \[ a \pes b \flexa \auctum \descendens g \]
3443 \layout { \neumeDemoLayout }}
3446 @lilypond[staffsize=26,line-width=1.0\cm]
3447 \include "gregorian-init.ly"
3450 % Torculus Deminutus
3451 \[ a \pes b \flexa \deminutum g \]
3454 \layout { \neumeDemoLayout }}
3458 @code{11. Torculus Initio Debilis}
3460 @lilypond[staffsize=26,line-width=1.0\cm]
3461 \include "gregorian-init.ly"
3464 % Torculus Initio Debilis
3465 \[ \deminutum a \pes b \flexa g \]
3468 \layout { \neumeDemoLayout }}
3471 @lilypond[staffsize=26,line-width=1.0\cm]
3472 \include "gregorian-init.ly"
3475 % Torculus Auctus Descendens Initio Debilis
3476 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
3479 \layout { \neumeDemoLayout }}
3482 @lilypond[staffsize=26,line-width=1.0\cm]
3483 \include "gregorian-init.ly"
3486 % Torculus Deminutus Initio Debilis
3487 \[ \deminutum a \pes b \flexa \deminutum g \]
3490 \layout { \neumeDemoLayout }}
3494 @code{12. Porrectus}
3496 @lilypond[staffsize=26,line-width=1.0\cm]
3497 \include "gregorian-init.ly"
3501 \[ a \flexa g \pes b \]
3504 \layout { \neumeDemoLayout }}
3507 @lilypond[staffsize=26,line-width=1.0\cm]
3508 \include "gregorian-init.ly"
3511 % Porrectus Auctus Descendens
3512 \[ a \flexa g \pes \auctum \descendens b \]
3515 \layout { \neumeDemoLayout }}
3518 @lilypond[staffsize=26,line-width=1.0\cm]
3519 \include "gregorian-init.ly"
3522 % Porrectus Deminutus
3523 \[ a \flexa g \pes \deminutum b \]
3526 \layout { \neumeDemoLayout }}
3532 @lilypond[staffsize=26,line-width=1.0\cm]
3533 \include "gregorian-init.ly"
3537 \[ \virga b \inclinatum a \inclinatum g \]
3540 \layout { \neumeDemoLayout }
3544 @lilypond[staffsize=26,line-width=1.0\cm]
3545 \include "gregorian-init.ly"
3549 \[ \virga b \inclinatum a \inclinatum \auctum g \]
3552 \layout { \neumeDemoLayout }}
3555 @lilypond[staffsize=26,line-width=1.0\cm]
3556 \include "gregorian-init.ly"
3559 % Climacus Deminutus
3560 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
3563 \layout { \neumeDemoLayout }}
3567 @code{14. Scandicus}
3569 @lilypond[staffsize=26,line-width=1.0\cm]
3570 \include "gregorian-init.ly"
3574 \[ g \pes a \virga b \]
3577 \layout { \neumeDemoLayout }}
3580 @lilypond[staffsize=26,line-width=1.0\cm]
3581 \include "gregorian-init.ly"
3584 % Scandicus Auctus Descendens
3585 \[ g \pes a \pes \auctum \descendens b \]
3588 \layout { \neumeDemoLayout }}
3591 @lilypond[staffsize=26,line-width=1.0\cm]
3592 \include "gregorian-init.ly"
3595 % Scandicus Deminutus
3596 \[ g \pes a \pes \deminutum b \]
3599 \layout { \neumeDemoLayout }}
3605 @lilypond[staffsize=26,line-width=1.0\cm]
3606 \include "gregorian-init.ly"
3610 \[ g \oriscus a \pes \virga b \]
3613 \layout { \neumeDemoLayout }}
3616 @lilypond[staffsize=26,line-width=1.0\cm]
3617 \include "gregorian-init.ly"
3620 % Salicus Auctus Descendens
3621 \[ g \oriscus a \pes \auctum \descendens b \]
3624 \layout { \neumeDemoLayout }}
3631 @lilypond[staffsize=26,line-width=1.0\cm]
3632 \include "gregorian-init.ly"
3636 \[ \stropha b \stropha b \stropha a \]
3639 \layout { \neumeDemoLayout }
3648 Unlike most other neumes notation systems, the input language for
3649 neumes does not reflect the typographical appearance, but is designed
3650 to focus on musical meaning. For example, @code{\[ a \pes b
3651 \flexa g \]} produces a Torculus consisting of three Punctum heads,
3652 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
3653 curved flexa shape and only a single Punctum head. There is no
3654 command to explicitly typeset the curved flexa shape; the decision of
3655 when to typeset a curved flexa shape is based on the musical
3656 input. The idea of this approach is to separate the musical aspects
3657 of the input from the notation style of the output. This way, the
3658 same input can be reused to typeset the same music in a different
3659 style of Gregorian chant notation.
3661 The following table shows the code fragments that produce the
3662 ligatures in the above neumes table. The letter in the first column
3663 in each line of the below table indicates to which ligature in the
3664 above table it refers. The second column gives the name of the
3665 ligature. The third column shows the code fragment that produces this
3666 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
3668 @multitable @columnfractions .02 .31 .67
3688 @code{\[ \inclinatum b \]}
3696 @code{\[ \auctum \ascendens b \]}
3704 @code{\[ \auctum \descendens b \]}
3709 Punctum Inclinatum@*
3712 @code{\[ \inclinatum \auctum b \]}
3717 Punctum Inclinatum@*
3719 @code{\[ \inclinatum \deminutum b \]}
3726 @code{\[ \virga b \]}
3733 @code{\[ \stropha b \]}
3740 @code{\[ \stropha \auctum b \]}
3747 @code{\[ \oriscus b \]}
3754 @code{\[ b \flexa g \]}
3762 @code{\[ b \flexa \auctum \descendens g \]}
3770 @code{\[ b \flexa \auctum \ascendens g \]}
3777 @code{\[ b \flexa \deminutum g \]}
3784 @code{\[ g \pes b \]}
3792 @code{\[ g \pes \auctum \descendens b \]}
3800 @code{\[ g \pes \auctum \ascendens b \]}
3807 @code{\[ g \pes \deminutum b \]}
3814 @code{\[ \oriscus g \pes \virga b \]}
3820 Auctus Descendens @tab
3821 @code{\[ \oriscus g \pes \auctum \descendens b \]}
3828 @code{\[ \quilisma g \pes b \]}
3836 @code{\[ \quilisma g \pes \auctum \descendens b \]}
3843 @code{\[ \deminutum g \pes b \]}
3848 Pes Auctus Descendens@*
3851 @code{\[ \deminutum g \pes \auctum \descendens b \]}
3858 @code{\[ a \pes b \flexa g \]}
3866 @code{\[ a \pes b \flexa \auctum \descendens g \]}
3873 @code{\[ a \pes b \flexa \deminutum g \]}
3878 Torculus Initio Debilis
3880 @code{\[ \deminutum a \pes b \flexa g \]}
3886 Descendens Initio Debilis
3888 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
3893 Torculus Deminutus@*
3896 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
3903 @code{\[ a \flexa g \pes b \]}
3911 @code{\[ a \flexa g \pes \auctum \descendens b \]}
3918 @code{\[ a \flexa g \pes \deminutum b \]}
3925 @code{\[ \virga b \inclinatum a \inclinatum g \]}
3932 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
3939 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
3946 @code{\[ g \pes a \virga b \]}
3954 @code{\[ g \pes a \pes \auctum \descendens b \]}
3961 @code{\[ g \pes a \pes \deminutum b \]}
3968 @code{\[ g \oriscus a \pes \virga b \]}
3973 Salicus Auctus Descendens
3975 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
3982 @code{\[ \stropha b \stropha b \stropha a \]}
3985 The ligatures listed above mainly serve as a limited, but still
3986 representative pool of Gregorian ligature examples. Virtually, within
3987 the ligature delimiters @code{\[} and @code{\]}, any number of heads
3988 may be accumulated to form a single ligature, and head prefixes like
3989 @code{\pes}, @code{\flexa}, @code{\virga}, @code{\inclinatum},
3990 etc. may be mixed in as desired. The use of the set of rules that
3991 underlies the construction of the ligatures in the above table is
3992 accordingly extrapolated. This way, infinitely many different
3993 ligatures can be created.
3995 @c TODO: create a regression or tips & tricks example document with
3996 @c even more Gregorian ligatures, and add a link to this document
4001 The following head prefixes are supported
4003 @cindex @code{\virga}
4005 @cindex @code{\stropha}
4007 @cindex @code{\inclinatum}
4009 @cindex @code{\auctum}
4011 @cindex @code{\descendens}
4013 @cindex @code{\ascendens}
4015 @cindex @code{\oriscus}
4017 @cindex @code{\quilisma}
4019 @cindex @code{\deminutum}
4021 @cindex @code{\cavum}
4023 @cindex @code{\linea}
4026 Head prefixes can be accumulated, though restrictions apply. For
4027 example, either @code{\descendens} or @code{\ascendens} can be applied
4028 to a head, but not both to the same head.
4031 @cindex @code{\flexa}
4032 Two adjacent heads can be tied together with the @code{\pes} and
4033 @code{\flexa} infix commands for a rising and falling line of melody,
4038 @node Gregorian Chant contexts
4039 @subsection Gregorian Chant contexts
4041 @cindex VaticanaVoiceContext
4042 @cindex VaticanaStaffContext
4044 The predefined @code{VaticanaVoiceContext} and
4045 @code{VaticanaStaffContext} can be used to engrave a piece of
4046 Gregorian Chant in the style of the Editio Vaticana. These contexts
4047 initialize all relevant context properties and grob properties to
4048 proper values, so you can immediately go ahead entering the chant, as
4049 the following excerpt demonstrates
4051 @lilypond[quote,ragged-right,packed,verbatim]
4052 \include "gregorian-init.ly"
4055 \new VaticanaVoice = "cantus" {
4056 \override Staff.StaffSymbol #'color = #red
4057 \override Staff.LedgerLineSpanner #'color = #red
4058 \override Score.BarNumber #'transparent = ##t {
4059 \[ c'\melisma c' \flexa a \]
4060 \[ a \flexa \deminutum g\melismaEnd \]
4062 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
4063 c' \divisioMinima \break
4064 \[ c'\melisma c' \flexa a \]
4065 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
4068 \new Lyrics \lyricsto "cantus" {
4069 San- ctus, San- ctus, San- ctus
4076 @node Mensural contexts
4077 @subsection Mensural contexts
4079 @cindex MensuralVoiceContext
4080 @cindex MensuralStaffContext
4082 The predefined @code{MensuralVoiceContext} and
4083 @code{MensuralStaffContext} can be used to engrave a piece in mensural
4084 style. These contexts initialize all relevant context properties and
4085 grob properties to proper values, so you can immediately go ahead
4086 entering the chant, as the following excerpt demonstrates
4088 @lilypond[quote,ragged-right,verbatim]
4091 \new MensuralVoice = "discantus" \transpose c c' {
4092 \override Score.BarNumber #'transparent = ##t {
4093 c'1\melisma bes a g\melismaEnd
4095 \[ f1\melisma a c'\breve d'\melismaEnd \]
4097 c'\breve\melisma a1 g1\melismaEnd
4098 fis\longa^\signumcongruentiae
4101 \new Lyrics \lyricsto "discantus" {
4102 San -- ctus, San -- ctus, San -- ctus
4108 @node Musica ficta accidentals
4109 @subsection Musica ficta accidentals
4111 In European music from before about 1600, singers were often expected
4112 to chromatically alter notes at their own initiative. This is called
4113 ``Musica Ficta''. In modern transcriptions, these accidentals are
4114 usually printed over the note.
4116 @cindex Musica ficta
4118 Support for such suggested accidentals is included, and can be
4119 switched on by setting @code{suggestAccidentals} to true.
4121 @cindex @code{suggestAccidentals}
4123 @lilypond[verbatim,fragment,relative=1]
4125 \set suggestAccidentals = ##t
4131 Program reference: @internalsref{Accidental_engraver} engraver and the
4132 @internalsref{AccidentalSuggestion} object.
4135 @subsection Figured bass
4137 @cindex Basso continuo
4139 @c TODO: musicological blurb about FB
4142 LilyPond has support for figured bass
4144 @lilypond[quote,ragged-right,verbatim,fragment]
4146 \new Voice { \clef bass dis4 c d ais g fis}
4147 \new FiguredBass \figuremode {
4148 < 6 >4 < 7\+ >8 < 6+ [_!] >
4155 The support for figured bass consists of two parts: there is an input
4156 mode, introduced by @code{\figuremode}, where you can enter bass figures
4157 as numbers, and there is a context called @internalsref{FiguredBass} that
4158 takes care of making @internalsref{BassFigure} objects.
4160 In figures input mode, a group of bass figures is delimited by
4161 @code{<} and @code{>}. The duration is entered after the @code{>}
4165 @lilypond[quote,ragged-right,fragment]
4167 \figuremode { <4 6> }
4170 Accidentals are added when you append @code{-}, @code{!}, and @code{+}
4171 to the numbers. A plus sign is added when you append @code{\+}, and
4172 diminished fifths and sevenths can be obtained with @code{5/} and @code{7/}.
4175 <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/>
4177 @lilypond[quote,ragged-right,fragment]
4178 \figures { <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/> }
4181 Spaces may be inserted by using @code{_}. Brackets are
4182 introduced with @code{[} and @code{]}. You can also include text
4183 strings and text markups, see @ref{Overview of text markup commands}.
4186 < [4 6] 8 [_! 12] > < 5 \markup @{ \number 6 \super (1) @} >
4188 @lilypond[quote,ragged-right,fragment]
4190 \figuremode { < [4 6] 8 [_! 12] > < 5 \markup{ \tiny \number 6 \super (1)} > }
4194 It is also possible to use continuation lines for repeated figures,
4196 @lilypond[verbatim,relative=1]
4203 \set useBassFigureExtenders = ##t
4210 In this case, the extender lines always replace existing figures.
4212 The @code{FiguredBass} context doesn't pay attention to the actual
4213 bass line. As a consequence, you may have to insert extra figures to
4214 get extender lines below all notes, and you may have to add @code{\!}
4215 to avoid getting an extender line, e.g.
4217 @lilypond[relative=1]
4221 \set useBassFigureExtenders = ##t
4222 <6 4->4. <6 4->16. <6 4->32 <5>8. r16 <6>8 <6\! 5->
4226 f16. g32 f16. g32 f16. g32 f16. g32 f8. es16 d8 es
4231 When using continuation lines, common figures are always put in the
4232 same vertical position. When this is unwanted, you can insert a rest
4233 with @code{r}. The rest will clear any previous alignment. For
4234 example, you can write
4246 Accidentals and plus signs can appear before or after the numbers,
4247 depending on the @code{figuredBassAlterationDirection} and @code{figuredBassPlusDirection}
4253 \set figuredBassAlterationDirection = #1
4255 \set figuredBassPlusDirection = #1
4257 \set figuredBassAlterationDirection = #-1
4263 Although the support for figured bass may superficially resemble chord
4264 support, it is much simpler. The @code{\figuremode} mode simply
4265 stores the numbers and @internalsref{FiguredBass} context prints them
4266 as entered. There is no conversion to pitches and no realizations of
4267 the bass are played in the MIDI file.
4269 Internally, the code produces markup texts. You can use any of the
4270 markup text properties to override formatting. For example, the
4271 vertical spacing of the figures may be set with @code{baseline-skip}.
4275 Program reference: @internalsref{NewBassFigure},
4276 @internalsref{BassFigureAlignment}, @internalsref{BassFigureLine},
4277 @internalsref{BassFigureBracket}, and
4278 @internalsref{BassFigureContinuation} objects and
4279 @internalsref{FiguredBass} context.
4283 @node Other instrument specific notation
4284 @section Other instrument specific notation
4286 This section includes extra information for writing for instruments.
4289 * Artificial harmonics (strings)::
4292 @node Artificial harmonics (strings)
4293 @subsection Artificial harmonics (strings)
4295 @cindex artificial harmonics
4297 Artificial harmonics are notated with a different notehead style. They
4298 are entered by marking the harmonic pitch with @code{\harmonic}.
4300 @lilypond[ragged-right,verbatim,quote,fragment,relative=1]