1 @c -*- coding: latin-1; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
8 @node Instrument-specific notation
9 @chapter Instrument-specific notation
11 This chapter explains how to use notation for specific instruments.
21 * Other instrument specific notation::
29 Piano staves are two normal staves coupled with a brace. The staves
30 are largely independent, but sometimes voices can cross between the
31 two staves. The same notation is also used for harps and other key
32 instruments. The @internalsref{PianoStaff} is especially built to
33 handle this cross-staffing behavior. In this section we discuss the
34 @internalsref{PianoStaff} and some other pianistic peculiarities.
37 * Automatic staff changes::
38 * Manual staff switches::
40 * Staff switch lines::
47 Dynamics are not centered, but workarounds do exist. See the
48 ``piano centered dynamics'' template in @ref{Piano templates}.
50 @cindex cross staff stem
51 @cindex stem, cross staff
52 @cindex distance between staves in piano music
54 The distance between the two staves is the same for all systems in the
55 score. It is possible to override this per system, but it does require
56 an arcane command incantation. See
57 @inputfileref{input/@/test,piano@/-staff@/-distance@/.ly}.
60 @node Automatic staff changes
61 @subsection Automatic staff changes
62 @cindex Automatic staff changes
64 Voices can be made to switch automatically between the top and the bottom
65 staff. The syntax for this is
69 \autochange @dots{}@var{music}@dots{}
74 This will create two staves inside the current PianoStaff, called
75 @code{up} and @code{down}. The lower staff will be in bass clef by
78 A @code{\relative} section that is outside of @code{\autochange} has
79 no effect on the pitches of @var{music}, so, if necessary, put
80 @code{\relative} inside @code{\autochange} like
84 \autochange \relative @dots{} @dots{}
89 The autochanger switches on basis of the pitch (middle C is the turning
90 point), and it looks ahead skipping over rests to switch in
91 advance. Here is a practical example
93 @lilypond[quote,verbatim,raggedright]
95 \autochange \relative c'
104 In this manual: @ref{Manual staff switches}.
106 Program reference: @internalsref{AutoChangeMusic}.
112 The staff switches may not end up in optimal places. For high
113 quality output, staff switches should be specified manually.
116 @code{\autochange} cannot be inside @code{\times}.
119 @node Manual staff switches
120 @subsection Manual staff switches
122 @cindex manual staff switches
123 @cindex staff switch, manual
125 Voices can be switched between staves manually, using the command
127 \change Staff = @var{staffname} @var{music}
131 The string @var{staffname} is the name of the staff. It switches the
132 current voice from its current staff to the Staff called
133 @var{staffname}. Typically @var{staffname} is @code{"up"} or
134 @code{"down"}. The @context{Staff} referred to must already exist, so
135 usually the setup for a score will start with a setup of the staves,
139 \context Staff = up @{
140 \skip 1 * 10 % @emph{keep staff alive}
142 \context Staff = down @{
143 \skip 1 * 10 % @emph{idem}
149 and the @context{Voice} is inserted afterwards
152 \context Staff = down
153 \new Voice @{ @dots{} \change Staff = up @dots{} @}
161 Pianos have pedals that alter the way sound is produced. Generally, a
162 piano has three pedals, sustain, una corda, and sostenuto.
165 Piano pedal instruction can be expressed by attaching
166 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
167 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
170 @lilypond[quote,raggedright,fragment,verbatim]
171 c'4\sustainDown c'4\sustainUp
174 What is printed can be modified by setting @code{pedal@var{X}Strings},
175 where @var{X} is one of the pedal types: @code{Sustain},
176 @code{Sostenuto} or @code{UnaCorda}. Refer to
177 @internalsref{SustainPedal} in the program reference for more
180 Pedals can also be indicated by a sequence of brackets, by setting the
181 @code{pedalSustainStyle} property to bracket objects
183 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
184 \set Staff.pedalSustainStyle = #'bracket
186 b\sustainUp\sustainDown
187 b g \sustainUp a \sustainDown \bar "|."
190 A third style of pedal notation is a mixture of text and brackets,
191 obtained by setting the @code{pedalSustainStyle} property to
194 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
195 \set Staff.pedalSustainStyle = #'mixed
197 b\sustainUp\sustainDown
198 b g \sustainUp a \sustainDown \bar "|."
201 The default `*Ped.' style for sustain and damper pedals corresponds to
202 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
205 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
206 c\sostenutoDown d e c, f g a\sostenutoUp
209 For fine-tuning the appearance of a pedal bracket, the properties
210 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
211 @code{PianoPedalBracket} objects (see
212 @internalsref{PianoPedalBracket} in the Program reference) can be
213 modified. For example, the bracket may be extended to the right edge
216 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
217 \override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
218 c\sostenutoDown d e c, f g a\sostenutoUp
221 @node Staff switch lines
222 @subsection Staff switch lines
226 @cindex staff switching
229 @cindex @code{followVoice}
231 Whenever a voice switches to another staff, a line connecting the notes
232 can be printed automatically. This is switched on by setting
233 @code{followVoice} to true
235 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
238 \set followVoice = ##t
243 \context Staff=two { \clef bass \skip 1*2 }
249 Program reference: @internalsref{VoiceFollower}.
253 @cindex @code{\showStaffSwitch}
254 @code{\showStaffSwitch},
255 @cindex @code{\hideStaffSwitch}
256 @code{\hideStaffSwitch}.
259 @node Cross staff stems
260 @subsection Cross staff stems
262 Chords that cross staves may be produced by increasing the length
263 of the stem in the lower staff, so it reaches the stem in the upper
264 staff, or vice versa.
266 @lilypond[raggedright,verbatim,quote]
267 stemExtend = \once \override Stem #'length = #22
268 noFlag = \once \override Stem #'flag-style = #'no-flag
269 \context PianoStaff <<
271 \stemDown \stemExtend
289 * Introducing chord names::
291 * Printing chord names::
295 @c awkward name; awkward section name.
296 @c still, the Basic "chords" seems like a good name... :(
297 @node Introducing chord names
298 @subsection Introducing chord names
301 LilyPond has support for printing chord names. Chords may be entered
302 in musical chord notation, i.e., @code{< .. >}, but they can also be
303 entered by name. Internally, the chords are represented as a set of
304 pitches, so they can be transposed
307 @lilypond[quote,raggedright,verbatim,raggedright]
308 twoWays = \transpose c c' {
317 << \context ChordNames \twoWays
318 \context Voice \twoWays >>
321 This example also shows that the chord printing routines do not try to
322 be intelligent. The last chord (@code{f bes d}) is not interpreted as
327 @subsection Chords mode
330 In chord mode sets of pitches (chords) are entered with normal note
331 names. A chord is entered by the root, which is entered like a
334 @lilypond[quote,raggedright,fragment,verbatim]
335 \chordmode { es4. d8 c2 }
339 The mode is introduced by the keyword @code{\chordmode}.
344 Other chords may be entered by suffixing a colon and introducing a
345 modifier (which may include a number if desired)
346 @lilypond[quote,fragment,verbatim]
347 \chordmode { e1:m e1:7 e1:m7 }
349 The first number following the root is taken to be the `type' of the
350 chord, thirds are added to the root until it reaches the specified
352 @lilypond[quote,fragment,verbatim]
353 \chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
356 @cindex root of chord
357 @cindex additions, in chords
358 @cindex removals, in chords
360 More complex chords may also be constructed adding separate steps
361 to a chord. Additions are added after the number following
362 the colon and are separated by dots
363 @lilypond[quote,verbatim,fragment]
364 \chordmode { c:5.6 c:3.7.8 c:3.6.13 }
366 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
368 @lilypond[quote,verbatim,fragment]
369 \chordmode { c:7+ c:5+.3- c:3-.5-.7- }
371 Removals are specified similarly and are introduced by a caret. They
372 must come after the additions
373 @lilypond[quote,verbatim,fragment]
374 \chordmode { c^3 c:7^5 c:9^3.5 }
377 Modifiers can be used to change pitches. The following modifiers are
382 The minor chord. This modifier lowers the 3rd and (if present) the 7th step.
385 The diminished chord. This modifier lowers the 3rd, 5th and (if present)
389 The augmented chord. This modifier raises the 5th step.
392 The major 7th chord. This modifier raises the 7th step if present.
395 The suspended 4th or 2nd. This modifier removes the 3rd
396 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
400 Modifiers can be mixed with additions
401 @lilypond[quote,verbatim,fragment]
402 \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
405 @cindex modifiers, in chords.
412 Since an unaltered 11 does not sound good when combined with an
413 unaltered 3, the 11 is removed in this case (unless it is added
415 @lilypond[quote,raggedright,fragment,verbatim]
416 \chordmode { c:13 c:13.11 c:m13 }
421 An inversion (putting one pitch of the chord on the bottom), as well
422 as bass notes, can be specified by appending
423 @code{/}@var{pitch} to the chord
424 @lilypond[quote,raggedright,fragment,verbatim]
425 \chordmode { c1 c/g c/f }
429 A bass note can be added instead transposed out of the chord,
430 by using @code{/+}@var{pitch}.
432 @lilypond[quote,raggedright,fragment,verbatim]
433 \chordmode { c1 c/+g c/+f }
436 Chords is a mode similar to @code{\lyricmode}, etc. Most
437 of the commands continue to work, for example, @code{r} and
438 @code{\skip} can be used to insert rests and spaces, and property
439 commands may be used to change various settings.
445 Each step can only be present in a chord once. The following
446 simply produces the augmented chord, since @code{5+} is interpreted
449 @lilypond[quote,raggedright,verbatim,fragment]
450 \chordmode { c:5.5-.5+ }
454 @node Printing chord names
455 @subsection Printing chord names
457 @cindex printing chord names
461 For displaying printed chord names, use the @internalsref{ChordNames} context.
462 The chords may be entered either using the notation
463 described above, or directly using @code{<} and @code{>}
465 @lilypond[quote,verbatim,raggedright]
467 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
470 \context ChordNames \harmonies
471 \context Staff \harmonies
475 You can make the chord changes stand out by setting
476 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
477 display chord names when there is a change in the chords scheme and at
478 the start of a new line
480 @lilypond[quote,verbatim,raggedright]
481 harmonies = \chordmode {
482 c1:m c:m \break c:m c:m d
485 \context ChordNames {
486 \set chordChanges = ##t
488 \context Staff \transpose c c' \harmonies
492 The previous examples all show chords over a staff. This is not
493 necessary. Chords may also be printed separately. It may be necessary
494 to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
497 @lilypond[raggedright,verbatim]
498 \new ChordNames \with {
499 \override BarLine #'bar-size = #4
500 voltaOnThisStaff = ##t
501 \consists Bar_engraver
502 \consists "Volta_engraver"
504 \repeat volta 2 \chordmode {
513 The default chord name layout is a system for Jazz music, proposed by
514 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
518 @cindex @code{chordNameExceptions}
519 @item chordNameExceptions
520 This is a list that contains the chords that have special formatting.
522 The exceptions list should be encoded as
524 @{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
527 To get this information into @code{chordNameExceptions} takes a little
528 manoeuvring. The following code transforms @code{chExceptionMusic}
529 (which is a sequential music) into a list of exceptions.
531 (sequential-music-to-chord-exceptions chExceptionMusic #t)
536 (sequential-music-to-chord-exceptions chExceptionMusic #t)
539 adds the new exceptions to the default ones, which are defined in
540 @file{ly/@/chord@/-modifier@/-init@/.ly}.
542 For an example of tuning this property, see also
543 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly}.
544 @cindex exceptions, chord names.
547 @cindex @code{majorSevenSymbol}
548 @item majorSevenSymbol
549 This property contains the markup object used for the 7th step, when
550 it is major. Predefined options are @code{whiteTriangleMarkup} and
551 @code{blackTriangleMarkup}. See
552 @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly} for an example.
554 @cindex @code{chordNameSeparator}
555 @item chordNameSeparator
556 Different parts of a chord name are normally separated by a
557 slash. By setting @code{chordNameSeparator}, you can specify other
559 @lilypond[quote,raggedright,fragment,verbatim]
560 \context ChordNames \chordmode {
562 \set chordNameSeparator
563 = \markup { \typewriter "|" }
568 @cindex @code{chordRootNamer}
570 The root of a chord is usually printed as a letter with an optional
571 alteration. The transformation from pitch to letter is done by this
572 function. Special note names (for example, the German ``H'' for a
573 B-chord) can be produced by storing a new function in this property.
575 @cindex @code{chordNoteNamer}
577 The default is to print single pitch, e.g., the bass note, using the
578 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
579 to a specialized function to change this behavior. For example, the
580 base can be printed in lower case.
582 @cindex @code{chordPrefixSpacer}
583 @item chordPrefixSpacer
584 The ``m'' for minor chords is usually printed right after the root of
585 the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer
586 between the root and ``m''. The spacer is not used when the root
591 The predefined variables @code{\germanChords},
592 @code{\semiGermanChords}, @code{\italianChords} and @code{\frenchChords}
593 set these variables. The effect is
596 @lilypondfile[raggedright]{chord-names-languages.ly}
598 There are also two other chord name schemes implemented: an alternate
599 Jazz chord notation, and a systematic scheme called Banter chords. The
600 alternate Jazz notation is also shown on the chart in @ref{Chord name
601 chart}. Turning on these styles is described in the input file
602 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
611 @cindex @code{\germanChords}
612 @code{\germanChords},
613 @cindex @code{\semiGermanChords}
614 @code{\semiGermanChords}.
615 @cindex @code{\italianChords}
616 @code{\italianChords}.
617 @cindex @code{\frenchChords}
618 @code{\frenchChords}.
625 Examples: @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly},
626 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly},
627 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
630 Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
631 @file{scm/@/chord@/-entry@/.scm}.
636 Chord names are determined solely from the list of pitches. Chord
637 inversions are not identified, and neither are added bass notes. This
638 may result in strange chord names when chords are entered with the
639 @code{< .. >} syntax.
646 There are three different issues when printing vocal music
650 Song texts must be entered as text, not notes. For example, the
651 input@tie{}@code{d} should be interpreted as a one letter syllable, not the
655 Song texts must be printed as text, not as notes.
658 Song texts must be aligned with the notes of their melody.
661 The simplest solution for printing music uses the @code{\addlyrics}
662 function to solve all these problems at once. However, these
663 three functions can be controlled separately, which is necessary
664 for complex vocal music.
668 * Setting simple songs::
670 * Hyphens and extenders::
671 * The Lyrics context::
672 * Flexibility in alignment::
675 * Other vocal issues::
678 @node Setting simple songs
679 @subsection Setting simple songs
681 The easiest way to add lyrics to a melody is to append
684 \addlyrics @{ @var{the lyrics} @}
688 to a melody. Here is an example,
690 @lilypond[raggedright,verbatim,fragment,quote]
692 \relative { c2 e4 g2. }
693 \addlyrics { play the game }
696 More stanzas can be added by adding more
697 @code{\addlyrics} sections
699 @lilypond[raggedright,verbatim,fragment,quote]
701 \relative { c2 e4 g2. }
702 \addlyrics { play the game }
703 \addlyrics { speel het spel }
704 \addlyrics { joue le jeu }
707 @c TODO - this isn't such a great place for this note, but I can't
708 @c find a better place without rearranging a lot of lyric stuff.
709 @c It's yet another thing to look at post-3.0.
711 The @code{\addlyrics} command is actually just a convienient way
712 to write a more complicated LilyPond structure that sets up the
713 lyrics. You should use @code{\addlyrics} unless you need to do
714 fancy things, in which case you should investigate
715 @code{\lyricsto} or @code{\lyricmode}.
719 \addlyrics @{ LYRICS @}
726 \context Voice = blah @{ music @}
727 \lyricsto "blah" \new lyrics @{ LYRICS @}
732 @code{\addlyrics} cannot handle polyphony.
735 @node Entering lyrics
736 @subsection Entering lyrics
739 @cindex @code{\lyricmode}
742 Lyrics are entered in a special input mode. This mode is introduced
743 by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
744 @code{\lyricsto}. In this mode you can enter lyrics,
745 with punctuation and accents, and the input @code{d} is not parsed as
746 a pitch, but rather as a one letter syllable. Syllables are entered
747 like notes, but with pitches replaced by text. For example,
749 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
752 There is a difference between @code{\addlyrics} and
753 @code{\lyricmode}. @code{\addlyrics} and @code{\lyricsto}
754 ignore all durations and aligns syllables to notes; @code{\lyricmode}
755 uses the durations specified.
757 A word lyrics mode begins with an alphabetic character, and ends with
758 any space or digit. The following characters can be any character
759 that is not a digit or white space. One important consequence of this
760 is that a word can end with @code{@}}. The following example is
761 usually a mistake in the input file. The syllable includes a @code{@}}, so the
762 opening brace is not balanced
764 \lyricmode @{ twinkle@}
767 @cindex @code{\property}, in @code{\lyricmode}
769 Similarly, a period which follows an alphabetic sequence is included in
770 the resulting string. As a consequence, spaces must be inserted around
773 \override Score . LyricText #'font-shape = #'italic
777 @cindex spaces, in lyrics
778 @cindex quotes, in lyrics
780 Any @code{_} character that appears in an unquoted word is converted
781 to a space. This provides a mechanism for introducing spaces into words
782 without using quotes. Quoted words can also be used in Lyrics mode to
783 specify words that cannot be written with the above rules. The
784 following example incorporates double quotes
787 \lyricmode @{ He said: "\"Let" my peo ple "go\"" @}
790 This example is slightly academic, since it gives better looking
791 results using single quotes, @code{``} and @code{''}
793 \lyricmode @{ He said: ``Let my peo ple go'' @}
797 The full definition of a word start in Lyrics mode is somewhat more
800 A word in Lyrics mode begins with: an alphabetic character, @code{_},
801 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
802 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
803 any 8-bit character with ASCII code over 127, or a two-character
804 combination of a backslash followed by one of @code{`}, @code{'},
805 @code{"}, or @code{^}.
811 Program reference: @internalsref{LyricText}.
815 The definition of lyrics mode is too complex.
817 @node Hyphens and extenders
818 @subsection Hyphens and extenders
822 Centered hyphens are entered as `@code{--}' between syllables.
823 The hyphen will have variable length depending on the space between
824 the syllables and it will be centered between the syllables.
829 When a lyric is sung over many notes (this is called a melisma), this is
830 indicated with a horizontal line centered between a syllable and the
831 next one. Such a line is called an extender line, and it is entered as
834 In tighly engraved music, hyphens can be removed. In some languages
835 (e.g. German and Hungarian), hyphens should not disappear, since
836 spelling depends on hyphenation. For that purpose, hyphens can be
837 forced to remain by overriding @code{minimum-length} of
838 the @code{LyricHyphen} grob.
840 @lilypond[quote,verbatim,raggedright]
843 \new Staff \relative c'' {
844 \time 1/4 c16 c c c c16 c c c c16 c c c
846 \lyricmode { \new Lyrics
848 \override SeparationItem #'padding = #0.0
849 % Otherwise lyrics are so far apart that hyphens don't disappear
852 An -- ti -- cons -- ti --
853 tu -- tion -- nel -- le --
854 \override LyricHyphen #'minimum-length = #0.7
855 \override LyricHyphen #'spacing-procedure =
856 #Hyphen_spanner::set_spacing_rods
857 men -- taire -- ment. ouf~!
865 \Staff \remove "Time_signature_engraver"
873 Program reference: @internalsref{LyricHyphen}, @internalsref{LyricExtender}.
877 @node The Lyrics context
878 @subsection The Lyrics context
881 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
883 \context Lyrics \lyricmode @dots{}
886 @cindex automatic syllable durations
887 @cindex @code{\lyricsto}
888 @cindex lyrics and melodies
890 This will place the lyrics according to the durations that were
891 entered. The lyrics can also be aligned under a given melody
892 automatically. In this case, it is no longer necessary to enter the
893 correct duration for each syllable. This is achieved by combining the
894 melody and the lyrics with the @code{\lyricsto} expression
896 \lyricsto @var{name} \new Lyrics @dots{}
899 This aligns the lyrics to the
900 notes of the @internalsref{Voice} context called @var{name}, which has
901 to exist. Therefore, normally the @code{Voice} is specified first, and
902 then the lyrics are specified with @code{\lyricsto}. The command
903 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
904 @code{\lyricmode} keyword may be omitted.
906 For different or more complex orderings, the best way is to setup the
907 hierarchy of staves and lyrics first, e.g.,
909 \context ChoirStaff <<
910 \context Lyrics = sopranoLyrics @{ s1 @}
911 \context Voice = soprano @{ @emph{music} @}
912 \context Lyrics = tenorLyrics @{ s1 @}
913 \context Voice = tenor @{ @emph{music} @}
916 and then combine the appropriate melodies and lyric lines
918 \lyricsto "soprano" \context Lyrics = sopranoLyrics
923 The final input would resemble
926 <<\context ChoirStaff << @emph{setup the music} >>
927 \lyricsto "soprano" @emph{etc}
928 \lyricsto "alto" @emph{etc}
934 The @code{\lyricsto} command detects melismata: it only puts one
935 syllable under a tied or slurred group of notes. If you want to force
936 an unslurred group of notes to be a melisma, insert @code{\melisma}
937 after the first note of the group, and @code{\melismaEnd} after the
940 @lilypond[quote,relative=2,raggedright,fragment,verbatim]
942 \context Voice = "lala" {
950 \lyricsto "lala" \new Lyrics {
956 In addition, notes are considered a melisma if they are manually
957 beamed, and automatic beaming (see @ref{Setting automatic beam
958 behavior}) is switched off.
964 The criteria for deciding melismata can
965 be tuned with the property @code{melismaBusyProperties}. See
966 @internalsref{Melisma_translator} in the program reference for more
971 Lyrics can also be entered without @code{\lyricsto}. In this case the
972 duration of each syllable must be entered explicitly, for example,
979 The alignment to a melody can be specified with the
980 @code{associatedVoice} property,
983 \set associatedVoice = #"lala"
987 The value of the property (here: @code{"lala"}) should be the name of
988 a @internalsref{Voice} context. Without this setting, extender lines
989 will not be formatted properly.
991 Here is an example demonstrating manual lyric durations,
993 @lilypond[relative=1,raggedright,verbatim,fragment,quote]
994 << \context Voice = melody {
998 \new Lyrics \lyricmode {
999 \set associatedVoice = #"melody"
1005 @cindex choral score
1007 A complete example of a SATB score setup is in section
1008 @ref{Vocal ensembles}.
1013 @code{\melisma}, @code{\melismaEnd}
1014 @cindex @code{\melismaEnd}
1015 @cindex @code{\melisma}
1019 Program reference: @internalsref{LyricCombineMusic},
1020 @internalsref{Lyrics}, @internalsref{Melisma_translator}.
1023 @inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly}.
1024 @c TODO: make separate section for melismata
1028 Melismata are not detected automatically, and extender lines must be
1032 @c TODO: document \new Staff << Voice \lyricsto >> bug
1034 @node Flexibility in alignment
1035 @subsection Flexibility in alignment
1037 Often, different stanzas of one song are put to one melody in slightly
1038 differing ways. Such variations can still be captured with
1041 @subsubsection Lyrics to multiple notes of a melisma
1044 One possibility is that the text has a melisma in one stanza, but
1045 multiple syllables in another one. One solution is to make the faster
1046 voice ignore the melisma. This is done by setting
1047 @code{ignoreMelismata} in the Lyrics context.
1049 There has one tricky aspect. The setting for @code{ignoreMelismata}
1050 must be set one syllable @emph{before} the non-melismatic syllable
1051 in the text, as shown here,
1053 @lilypond[verbatim,raggedright,quote]
1055 \relative \context Voice = "lahlah" {
1056 \set Staff.autoBeaming = ##f
1062 \new Lyrics \lyricsto "lahlah" {
1065 \new Lyrics \lyricsto "lahlah" {
1066 \set ignoreMelismata = ##t % applies to "fas"
1068 \unset ignoreMelismata
1075 The @code{ignoreMelismata} applies to the syllable ``fas'', so it
1076 should be entered before ``go''.
1078 The reverse is also possible: making a lyric line slower than the
1079 standard. This can be achieved by insert @code{\skip}s into the
1080 lyrics. For every @code{\skip}, the text will be delayed another note.
1083 @lilypond[verbatim,raggedright,quote]
1084 \relative { c c g' }
1092 @subsection Switching the melody associated with a lyrics line
1096 More complex variations in text underlay are possible. It is possible
1097 to switch the melody for a line of lyrics during the text. This is
1098 done by setting the @code{associatedVoice} property. In the example
1100 @lilypond[raggedright,quote]
1102 \relative \context Voice = "lahlah" {
1103 \set Staff.autoBeaming = ##f
1106 \context Voice = alternative {
1109 % show associations clearly.
1110 \override NoteColumn #'force-hshift = #-3
1121 \new Lyrics \lyricsto "lahlah" {
1122 Ju -- ras -- sic Park
1124 \new Lyrics \lyricsto "lahlah" {
1125 % Tricky: need to set associatedVoice
1126 % one syllable too soon!
1127 \set associatedVoice = alternative % applies to "ran"
1131 \set associatedVoice = lahlah % applies to "rus"
1137 the text for the first stanza is set to a melody called ``lahlah'',
1140 \new Lyrics \lyricsto "lahlah" @{
1141 Ju -- ras -- sic Park
1146 The second stanza initially is set to the @code{lahlah} context, but
1147 for the syllable ``ran'', it switches to a different melody.
1148 This is achieved with
1150 \set associatedVoice = alternative
1154 Here, @code{alternative} is the name of the @code{Voice} context
1155 containing the triplet.
1157 Again, the command must be one syllable too early, before ``Ty'' in
1161 \new Lyrics \lyricsto "lahlah" @{
1162 \set associatedVoice = alternative % applies to "ran"
1166 \set associatedVoice = lahlah % applies to "rus"
1172 The underlay is switched back to the starting situation by assigning
1173 @code{lahlah} to @code{associatedVoice}.
1177 @subsection Specifying melismata within the lyrics
1179 It is also possible to define melismata entirely in the lyrics. This
1180 can be done by entering @code{_} for every note that is part of the
1183 @lilypond[relative=1,verbatim,fragment]
1184 { \set melismaBusyProperties = #'()
1185 c d( e) f f( e) e e }
1187 { Ky -- _ _ ri __ _ _ _ e }
1190 In this case, you can also have ties and slurs in the melody, if you
1191 set @code{melismaBusyProperties}, as is done in the example above.
1193 @lilypond[relative=1,verbatim,fragment]
1195 \set melismaBusyProperties = #'()
1199 { Ky -- _ _ ri __ _ _ _ e }
1204 @subsection More stanzas
1206 @cindex phrasing, in lyrics
1209 @cindex stanza number
1210 @cindex singer's names
1211 @cindex name of singer
1213 Stanza numbers can be added by setting @code{stanza}, e.g.,
1215 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
1217 \time 3/4 g2 e4 a2 f4 g2.
1220 Hi, my name is Bert.
1223 Oh, che -- ri, je t'aime
1227 These numbers are put just before the start of first syllable.
1229 Names of singers can also be added. They are printed at the start of
1230 the line, just like instrument names. They are created by setting
1231 @code{vocalName}. A short version may be entered as @code{vocNam}.
1234 @lilypond[fragment,raggedright,quote,verbatim,relative=2]
1236 \time 3/4 g2 e4 a2 f4 g2.
1238 \set vocalName = "Bert "
1239 Hi, my name is Bert.
1241 \set vocalName = "Ernie "
1242 Oh, che -- ri, je t'aime
1246 You can display alternate (or divisi) lyrics by naming voice
1247 contexts and attaching lyrics to those specific contexts.
1249 @lilypond[verbatim,raggedright,quote]
1251 \context Voice = "melody" {
1256 \context Voice = splitpart { \voiceTwo c4 }
1261 \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
1262 \new Lyrics \lyricsto "splitpart" { will }
1267 You can use this trick to display different lyrics for a repeated
1270 @lilypond[verbatim,raggedright,quote]
1272 \context Voice = melody \relative c' {
1274 \context Voice = verse \repeat volta 2 {c4 d e f | g1 | }
1276 \lyricsto melody \context Lyrics = mainlyrics \lyricmode {
1279 \lyricsto verse \context Lyrics = mainlyrics \lyricmode {
1281 \lyricsto verse \context Lyrics = repeatlyrics \lyricmode {
1282 dodo rere mimi fafa solsol }
1290 Program reference: @internalsref{LyricText}, @internalsref{StanzaNumber}, @internalsref{VocalName}.
1298 The term @emph{ambitus} denotes a range of pitches for a given voice
1299 in a part of music. It may also denote the pitch range that a musical
1300 instrument is capable of playing. Ambits are printed on vocal parts,
1301 so performers can easily determine it meets their capabilities.
1303 Ambits are denoted at the beginning of a piece near the initial clef.
1304 The range is graphically specified by two note heads that represent the
1305 minimum and maximum pitch. To print such ambits, add the
1306 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
1313 \consists Ambitus_engraver
1318 This results in the following output
1320 @lilypond[quote,raggedright]
1324 \consists Ambitus_engraver
1328 \relative \new Staff {
1333 If you have multiple voices in a single staff and you want a single
1334 ambitus per staff rather than per each voice, add the
1335 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
1336 rather than to the @internalsref{Voice} context. Here is an example,
1338 @lilypond[verbatim,raggedright,quote]
1340 \consists "Ambitus_engraver"
1344 \remove "Ambitus_engraver"
1346 \override Ambitus #'X-offset-callbacks
1347 = #(list (lambda (grob axis) -1.0))
1352 \remove "Ambitus_engraver"
1361 This example uses one advanced feature,
1364 \override Ambitus #'X-offset-callbacks
1365 = #(list (lambda (grob axis) -1.0))
1369 This code moves the ambitus to the left. The same effect could have
1370 been achieved with @code{extra-offset}, but then the formatting system
1371 would not reserve space for the moved object.
1375 Program reference: @internalsref{Ambitus},
1376 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1377 @internalsref{AmbitusAccidental}.
1379 Examples: @inputfileref{input/@/regression,ambitus@/.ly}.
1383 There is no collision handling in the case of multiple per-voice
1387 @node Other vocal issues
1388 @subsection Other vocal issues
1391 yeah, I'm giving up somewhat by stuffing a bunch of things in
1392 here. But at least they're in the manual now; it's easier to
1393 move them around in the manual once they're already here.
1395 Besides, if users complain about everything stuffed in here, I
1396 can ask them for specific instructions about where to move these
1397 examples, and that might get them more involved in the docs. -gp
1400 ``Parlato'' is spoken without pitch but still with rhythm; it is
1401 notated by cross noteheads. This is demonstrated in
1402 @ref{Special noteheads}.
1405 @node Rhythmic music
1406 @section Rhythmic music
1408 Rhythmic music is primarily used for percussion and drum notation, but it can
1409 also be used to show the rhythms of melodies.
1412 * Showing melody rhythms::
1413 * Entering percussion::
1414 * Percussion staves::
1418 @node Showing melody rhythms
1419 @subsection Showing melody rhythms
1421 Sometimes you might want to show only the rhythm of a melody. This
1422 can be done with the rhythmic staff. All pitches of notes on such a
1423 staff are squashed, and the staff itself has a single line
1425 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1426 \context RhythmicStaff {
1428 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1434 Program reference: @internalsref{RhythmicStaff}.
1436 Examples: @inputfileref{input/@/regression,rhythmic@/-staff@/.ly}.
1439 @node Entering percussion
1440 @subsection Entering percussion
1446 Percussion notes may be entered in @code{\drummode} mode, which is
1447 similar to the standard mode for entering notes. Each piece of
1448 percussion has a full name and an abbreviated name, and both can be used
1451 @lilypond[quote,raggedright,verbatim]
1453 hihat hh bassdrum bd
1457 The complete list of drum names is in the init file
1458 @file{ly/@/drumpitch@/-init@/.ly}.
1459 @c TODO: properly document this.
1463 Program reference: @internalsref{note-event}.
1465 @node Percussion staves
1466 @subsection Percussion staves
1470 A percussion part for more than one instrument typically uses a
1471 multiline staff where each position in the staff refers to one piece
1475 To typeset the music, the notes must be interpreted in a
1476 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
1478 @lilypond[quote,raggedright,verbatim]
1479 up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
1480 down = \drummode { bassdrum4 snare8 bd r bd sn4 }
1482 \new DrumVoice { \voiceOne \up }
1483 \new DrumVoice { \voiceTwo \down }
1487 The above example shows verbose polyphonic notation. The short
1488 polyphonic notation, described in @ref{Polyphony}, can also be used if
1489 the @internalsref{DrumVoice}s are instantiated by hand first. For example,
1491 @lilypond[quote,raggedright,fragment,verbatim]
1493 \context DrumVoice = "1" { s1 *2 }
1494 \context DrumVoice = "2" { s1 *2 }
1498 { \repeat unfold 16 hh16 }
1507 There are also other layout possibilities. To use these, set the
1508 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
1509 The following variables have been predefined
1513 This is the default. It typesets a typical drum kit on a five-line staff
1515 @lilypond[quote,linewidth=10.0\cm]
1517 cymc cyms cymr hh hhc hho hhho hhp
1518 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl }
1520 cymc cyms cymr hh hhc hho hhho hhp \break
1521 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
1523 << \new DrumStaff \with {
1524 \remove Bar_engraver
1525 \remove Time_signature_engraver
1526 \override Stem #'transparent = ##t
1527 \override Stem #'Y-extent-callback = ##f
1528 minimumVerticalExtent = #'(-4.0 . 5.0)
1530 \context Lyrics \nam
1535 \override LyricText #'font-family = #'typewriter
1536 \override BarNumber #'transparent =##T
1542 The drum scheme supports six different toms. When there are fewer toms,
1543 simply select the toms that produce the desired result, i.e., to get toms
1544 on the three middle lines you use @code{tommh}, @code{tomml}, and
1547 @item timbales-style
1548 This typesets timbales on a two line staff
1550 @lilypond[quote,raggedright]
1551 nam = \lyricmode { timh ssh timl ssl cb }
1552 mus = \drummode { timh ssh timl ssl cb s16 }
1555 \context DrumStaff \with {
1556 \remove Bar_engraver
1557 \remove Time_signature_engraver
1558 \override Stem #'transparent = ##t
1559 \override Stem #'Y-extent-callback = ##f
1560 \override StaffSymbol #'line-count = #2
1561 \override StaffSymbol #'staff-space = #2
1562 minimumVerticalExtent = #'(-3.0 . 4.0)
1563 drumStyleTable = #timbales-style
1566 \override LyricText #'font-family = #'typewriter
1573 This typesets congas on a two line staff
1575 @lilypond[quote,raggedright]
1576 nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
1577 mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
1580 \context DrumStaff \with {
1581 \remove Bar_engraver
1582 \remove Time_signature_engraver
1583 drumStyleTable = #congas-style
1584 \override StaffSymbol #'line-count = #2
1586 %% this sucks; it will lengthen stems.
1587 \override StaffSymbol #'staff-space = #2
1588 \override Stem #'transparent = ##t
1589 \override Stem #'Y-extent-callback = ##f
1592 \override LyricText #'font-family = #'typewriter
1599 This typesets bongos on a two line staff
1601 @lilypond[quote,raggedright]
1602 nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
1603 mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
1606 \context DrumStaff\with {
1607 \remove Bar_engraver
1608 \remove Time_signature_engraver
1609 \override StaffSymbol #'line-count = #2
1610 drumStyleTable = #bongos-style
1612 %% this sucks; it will lengthen stems.
1613 \override StaffSymbol #'staff-space = #2
1614 \override Stem #'transparent = ##t
1615 \override Stem #'Y-extent-callback = ##f
1618 \override LyricText #'font-family = #'typewriter
1624 @item percussion-style
1625 To typeset all kinds of simple percussion on one line staves.
1627 @lilypond[quote,raggedright]
1628 nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
1629 mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
1632 \context DrumStaff\with{
1633 \remove Bar_engraver
1634 drumStyleTable = #percussion-style
1635 \override StaffSymbol #'line-count = #1
1636 \remove Time_signature_engraver
1637 \override Stem #'transparent = ##t
1638 \override Stem #'Y-extent-callback = ##f
1641 \override LyricText #'font-family = #'typewriter
1648 If you do not like any of the predefined lists you can define your own
1649 list at the top of your file
1651 @lilypond[quote,raggedright,verbatim]
1653 (bassdrum default #f -1)
1654 (snare default #f 0)
1656 (pedalhihat xcircle "stopped" 2)
1657 (lowtom diamond #f 3)))
1658 up = \drummode { hh8 hh hh hh hhp4 hhp }
1659 down = \drummode { bd4 sn bd toml8 toml }
1662 \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
1663 \new DrumVoice { \voiceOne \up }
1664 \new DrumVoice { \voiceTwo \down }
1671 Init files: @file{ly/@/drumpitch@/-init@/.ly}.
1673 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
1677 Because general MIDI does not contain rim shots, the sidestick is used
1678 for this purpose instead.
1686 @cindex guitar tablature
1689 * String number indications::
1690 * Tablatures basic::
1691 * Non-guitar tablatures::
1693 * Other guitar issues::
1696 @node String number indications
1697 @subsection String number indications
1699 @cindex String numbers
1701 String numbers can be added to chords, by indicating the string number
1702 with @code{\}@var{number},
1704 @lilypond[relative,relative=1,raggedright,fragment]
1708 See also @inputfileref{input/regression,string-number.ly}.
1713 Program reference: @internalsref{StringNumber}.
1716 @node Tablatures basic
1717 @subsection Tablatures basic
1718 @cindex Tablatures basic
1720 Tablature notation is used for notating music for plucked string
1721 instruments. Pitches are not denoted with note heads, but by
1722 numbers indicating on which string and fret a note must be played. LilyPond
1723 offers limited support for tablature.
1725 The string number associated to a note is given as a backslash
1726 followed by a number, e.g., @code{c4\3} for a C quarter on the third
1727 string. By default, string 1 is the highest one, and the tuning
1728 defaults to the standard guitar tuning (with 6 strings). The notes
1729 are printed as tablature, by using @internalsref{TabStaff} and
1730 @internalsref{TabVoice} contexts
1732 @lilypond[quote,raggedright,fragment,verbatim]
1739 @cindex @code{minimumFret}
1742 When no string is specified, the first string that does not give a
1743 fret number less than @code{minimumFret} is selected. The default
1744 value for @code{minimumFret} is 0
1749 \set TabStaff.minimumFret = #8
1752 @lilypond[quote,raggedright]
1756 \set TabStaff.minimumFret = #8
1759 \context StaffGroup <<
1760 \context Staff { \clef "G_8" \frag }
1761 \context TabStaff { \frag }
1767 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}.
1771 Chords are not handled in a special way, and hence the automatic
1772 string selector may easily select the same string to two notes in a
1776 @node Non-guitar tablatures
1777 @subsection Non-guitar tablatures
1778 @cindex Non-guitar tablatures
1780 You can change the number of strings, by setting the number of lines
1781 in the @internalsref{TabStaff}.
1783 You can change the tuning of the strings. A string tuning is given as
1784 a Scheme list with one integer number for each string, the number
1785 being the pitch (measured in semitones relative to middle C) of an
1786 open string. The numbers specified for @code{stringTuning} are the
1787 numbers of semitones to subtract or add, starting the specified pitch
1788 by default middle C, in string order. In the next example,
1789 @code{stringTunings} is set for the pitches e, a, d, and g
1791 @lilypond[quote,raggedright,fragment,verbatim]
1792 \context TabStaff <<
1793 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
1795 a,4 c' a e' e c' a e'
1802 No guitar special effects have been implemented.
1806 Program reference: @internalsref{Tab_note_heads_engraver}.
1810 @subsection Fret diagrams
1811 @cindex fret diagrams
1812 @cindex chord diagrams
1814 Fret diagrams can be added to music as a markup to the desired note. The
1815 markup contains information about the desired fret diagram, as shown in the
1818 @lilypond[verbatim, raggedright, quote]
1820 d'^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
1822 fis'^\markup \override #'(size . 0.75) {
1823 \override #'(finger-code . below-string) {
1824 \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
1825 (place-fret 5 4 3) (place-fret 4 4 4)
1826 (place-fret 3 3 2) (place-fret 2 2 1)
1831 c'^\markup \override #'(dot-radius . 0.35) {
1832 \override #'(finger-code . in-dot) {
1833 \override #'(dot-color . white) {
1834 \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
1843 There are three different fret-diagram markup interfaces: standard, terse,
1844 and verbose. The three interfaces produce equivalent markups, but have
1845 varying amounts of information in the markup string. Details about the
1846 markup interfaces are found at @ref{Overview of text markup commands}.
1848 You can set a number of graphical properties according to your preference.
1849 Details about the property interface to fret diagrams are found at
1850 @internalsref{fret-diagram-interface}.
1855 Examples: @inputfileref{input/@/test,fret@/-diagram@/.ly}
1858 @node Other guitar issues
1859 @subsection Other guitar issues
1861 This example demonstrates how to include guitar position and
1862 barring indications.
1864 @lilypond[quote,raggedright,fragment,verbatim,relative=0]
1868 \override TextSpanner #'edge-text = #'("XII " . "")
1870 b16 e16 g16 e16 b16 g16\stopTextSpan
1875 Stopped (X) note heads are used in guitar music to signal a place where the
1876 guitarist must play a certain note or chord, with its fingers just
1877 touching the strings instead of fully pressing them. This gives the sound a
1878 percussive noise-like sound that still maintains part of the original
1879 pitch. It is notated with cross noteheads; this is
1880 demonstrated in @ref{Special noteheads}.
1889 * Bagpipe definitions::
1894 @node Bagpipe definitions
1895 @subsection Bagpipe definitions
1897 LilyPond contains special definitions for bagpipe music; to use them, add
1900 \include "bagpipe.ly"
1904 at the top of your input file. This lets you add the special flourishes
1905 common to bagpipe music with short commands. For example, you could
1906 write @code{\taor} instead of
1909 \grace @{ \small G32[ d G e] @}
1912 @code{bagpipe.ly} also contains pitch definitions for the bagpipe
1913 notes in the appropiate octaves, so you do not need to worry about
1914 @code{\relative} or @code{\transpose}.
1917 @lilypond[raggedright,verbatim,quote]
1918 \include "bagpipe.ly"
1919 { G4 a b c d e f g A B C }
1924 @node Bagpipe example
1925 @subsection Bagpipe example
1927 To be inserted soon.
1930 @node Ancient notation
1931 @section Ancient notation
1933 @cindex Vaticana, Editio
1934 @cindex Medicaea, Editio
1939 Support for ancient notation includes features for mensural notation
1940 and Gregorian Chant notation. There is also limited support for
1941 figured bass notation.
1943 Many graphical objects provide a @code{style} property, see
1946 @ref{Ancient note heads},
1948 @ref{Ancient accidentals},
1950 @ref{Ancient rests},
1952 @ref{Ancient clefs},
1954 @ref{Ancient flags},
1956 @ref{Ancient time signatures}.
1959 By manipulating such a grob property, the typographical appearance of
1960 the affected graphical objects can be accommodated for a specific
1961 notation flavor without the need for introducing any new notational
1964 In addition to the standard articulation signs described in section
1965 @ref{Articulations}, specific articulation signs for ancient notation
1970 @ref{Ancient articulations}
1973 Other aspects of ancient notation can not that easily be expressed
1974 in terms of just changing a style property of a graphical object or
1975 adding articulation signs. Some notational concepts are introduced
1976 specifically for ancient notation,
1987 If this all is too much of documentation for you, and you just want to
1988 dive into typesetting without worrying too much about the details on
1989 how to customize a context, you may have a look at the predefined
1990 contexts. Use them to set up predefined style-specific voice and
1991 staff contexts, and directly go ahead with the note entry,
1995 @ref{Gregorian Chant contexts},
1997 @ref{Mensural contexts}.
2000 There is limited support for figured bass notation which came
2001 up during the baroque period.
2008 Here are all suptopics at a glance:
2011 * Ancient note heads::
2012 * Ancient accidentals::
2016 * Ancient time signatures::
2017 * Ancient articulations::
2021 * Gregorian Chant contexts::
2022 * Mensural contexts::
2023 * Musica ficta accidentals::
2029 @node Ancient note heads
2030 @subsection Ancient note heads
2035 For ancient notation, a note head style other than the @code{default}
2036 style may be chosen. This is accomplished by setting the @code{style}
2037 property of the @internalsref{NoteHead} object to @code{baroque},
2038 @code{neomensural}, @code{mensural} or @code{petrucci}. The
2039 @code{baroque} style differs from the @code{default} style only in
2040 using a square shape for @code{\breve} note heads. The
2041 @code{neomensural} style differs from the @code{baroque} style in that
2042 it uses rhomboidal heads for whole notes and all smaller durations.
2043 Stems are centered on the note heads. This style is particularly
2044 useful when transcribing mensural music, e.g., for the incipit. The
2045 @code{mensural} style produces note heads that mimic the look of note
2046 heads in historic printings of the 16th century. Finally, the
2047 @code{petrucci} style also mimicks historic printings, but uses bigger
2050 The following example demonstrates the @code{neomensural} style
2052 @lilypond[quote,fragment,raggedright,verbatim]
2053 \set Score.skipBars = ##t
2054 \override NoteHead #'style = #'neomensural
2055 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
2058 When typesetting a piece in Gregorian Chant notation, the
2059 @internalsref{Gregorian_ligature_engraver} will automatically select
2060 the proper note heads, so there is no need to explicitly set the
2061 note head style. Still, the note head style can be set, e.g., to
2062 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
2063 @internalsref{Mensural_ligature_engraver} is used to automatically
2064 assemble mensural ligatures. See @ref{Ligatures} for how ligature
2069 Examples: @inputfileref{input/@/regression,note@/-head@/-style@/.ly} gives an
2070 overview over all available note head styles.
2073 @node Ancient accidentals
2074 @subsection Ancient accidentals
2079 Use the @code{style} property of grob @internalsref{Accidental} to
2080 select ancient accidentals. Supported styles are
2081 @code{mensural}, @code{vaticana}, @code{hufnagel}, and @code{medicaea}.
2083 @lilypond[quote,raggedright,staffsize=26]
2090 \line { " " \musicglyph #"accidentals.vaticana-1"
2091 " " \musicglyph #"accidentals.vaticana0" }
2095 \line { " " \musicglyph #"accidentals.medicaea-1" }
2099 \line { " " \musicglyph #"accidentals.hufnagel-1" }
2103 \line { " " \musicglyph #"accidentals.mensural-1"
2104 " " \musicglyph #"accidentals.mensural1" }
2110 \context { \Score \remove "Bar_number_engraver" }
2112 \remove "Clef_engraver"
2113 \remove "Key_engraver"
2114 \remove "Time_signature_engraver"
2115 \remove "Staff_symbol_engraver"
2116 minimumVerticalExtent = ##f
2122 As shown, not all accidentals are supported by each style. When
2123 trying to access an unsupported accidental, LilyPond will switch to a
2124 different style, as demonstrated in
2125 @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2127 Similarly to local accidentals, the style of the key signature can be
2128 controlled by the @code{style} property of the
2129 @internalsref{KeySignature} grob.
2133 In this manual: @ref{Pitches}, @ref{Cautionary accidentals} and
2134 @ref{Automatic accidentals} give a general introduction of the use of
2135 accidentals. @ref{Key signature} gives a general introduction of
2136 the use of key signatures.
2138 Program reference: @internalsref{KeySignature}.
2140 Examples: @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2143 @subsection Ancient rests
2145 @cindex rests, ancient
2148 Use the @code{style} property of grob @internalsref{Rest} to select
2149 ancient rests. Supported styles are @code{classical},
2150 @code{neomensural}, and @code{mensural}. @code{classical} differs
2151 from the @code{default} style only in that the quarter rest looks like
2152 a horizontally mirrored 8th rest. The @code{neomensural} style suits
2153 well for, e.g., the incipit of a transcribed mensural piece of music.
2154 The @code{mensural} style finally mimics the appearance of rests as
2155 in historic prints of the 16th century.
2157 The following example demonstrates the @code{neomensural} style
2159 @lilypond[quote,fragment,raggedright,verbatim]
2160 \set Score.skipBars = ##t
2161 \override Rest #'style = #'neomensural
2162 r\longa r\breve r1 r2 r4 r8 r16
2165 There are no 32th and 64th rests specifically for the mensural or
2166 neo-mensural style. Instead, the rests from the default style will be
2167 taken. See @inputfileref{input/@/test,rests@/.ly} for a chart of all
2170 There are no rests in Gregorian Chant notation; instead, it uses
2175 In this manual: @ref{Rests} gives a general introduction into the use of rests.
2179 @subsection Ancient clefs
2184 LilyPond supports a variety of clefs, many of them ancient.
2186 The following table shows all ancient clefs that are supported via the
2187 @code{\clef} command. Some of the clefs use the same glyph, but
2188 differ only with respect to the line they are printed on. In such
2189 cases, a trailing number in the name is used to enumerate these clefs.
2190 Still, you can manually force a clef glyph to be typeset on an
2191 arbitrary line, as described in @ref{Clef}. The note printed to the
2192 right side of each clef in the example column denotes the @code{c'}
2193 with respect to that clef.
2195 @multitable @columnfractions .4 .4 .2
2204 modern style mensural C clef
2206 @code{neomensural-c1}, @code{neomensural-c2},@*
2207 @code{neomensural-c3}, @code{neomensural-c4}
2209 @lilypond[fragment,relative=1,notime]
2210 \clef "neomensural-c2" c
2214 petrucci style mensural C clefs, for use on different staff lines
2215 (the examples show the 2nd staff line C clef)
2217 @code{petrucci-c1}, @code{petrucci-c2},@*
2218 @code{petrucci-c3}, @code{petrucci-c4},@*
2221 @lilypond[fragment,relative=1,notime]
2223 \override NoteHead #'style = #'mensural
2228 petrucci style mensural F clef
2232 @lilypond[fragment,relative=1,notime]
2234 \override NoteHead #'style = #'mensural
2239 petrucci style mensural G clef
2243 @lilypond[fragment,relative=1,notime]
2245 \override NoteHead #'style = #'mensural
2250 historic style mensural C clef
2252 @code{mensural-c1}, @code{mensural-c2},@*
2253 @code{mensural-c3}, @code{mensural-c4}
2255 @lilypond[fragment,relative=1,notime]
2257 \override NoteHead #'style = #'mensural
2262 historic style mensural F clef
2266 @lilypond[fragment,relative=1,notime]
2268 \override NoteHead #'style = #'mensural
2273 historic style mensural G clef
2277 @lilypond[fragment,relative=1,notime]
2279 \override NoteHead #'style = #'mensural
2284 Editio Vaticana style do clef
2286 @code{vaticana-do1}, @code{vaticana-do2},@*
2289 @lilypond[fragment,relative=1,notime]
2290 \override Staff.StaffSymbol #'line-count = #4
2291 \override Staff.StaffSymbol #'color = #red
2292 \override Staff.LedgerLineSpanner #'color = #red
2293 \override Voice.Stem #'transparent = ##t
2294 \override NoteHead #'style = #'vaticana.punctum
2295 \clef "vaticana-do2"
2300 Editio Vaticana style fa clef
2302 @code{vaticana-fa1}, @code{vaticana-fa2}
2304 @lilypond[fragment,relative=1,notime]
2305 \override Staff.StaffSymbol #'line-count = #4
2306 \override Staff.StaffSymbol #'color = #red
2307 \override Staff.LedgerLineSpanner #'color = #red
2308 \override Voice.Stem #'transparent = ##t
2309 \override NoteHead #'style = #'vaticana.punctum
2310 \clef "vaticana-fa2"
2315 Editio Medicaea style do clef
2317 @code{medicaea-do1}, @code{medicaea-do2},@*
2320 @lilypond[fragment,relative=1,notime]
2321 \override Staff.StaffSymbol #'line-count = #4
2322 \override Staff.StaffSymbol #'color = #red
2323 \override Staff.LedgerLineSpanner #'color = #red
2324 \override Voice.Stem #'transparent = ##t
2325 \override NoteHead #'style = #'medicaea.punctum
2326 \clef "medicaea-do2"
2331 Editio Medicaea style fa clef
2333 @code{medicaea-fa1}, @code{medicaea-fa2}
2335 @lilypond[fragment,relative=1,notime]
2336 \override Staff.StaffSymbol #'line-count = #4
2337 \override Staff.StaffSymbol #'color = #red
2338 \override Staff.LedgerLineSpanner #'color = #red
2339 \override Voice.Stem #'transparent = ##t
2340 \override NoteHead #'style = #'medicaea.punctum
2341 \clef "medicaea-fa2"
2346 historic style hufnagel do clef
2348 @code{hufnagel-do1}, @code{hufnagel-do2},@*
2351 @lilypond[fragment,relative=1,notime]
2352 \override Staff.StaffSymbol #'line-count = #4
2353 \override Staff.StaffSymbol #'color = #red
2354 \override Staff.LedgerLineSpanner #'color = #red
2355 \override Voice.Stem #'transparent = ##t
2356 \override NoteHead #'style = #'hufnagel.punctum
2357 \clef "hufnagel-do2"
2362 historic style hufnagel fa clef
2364 @code{hufnagel-fa1}, @code{hufnagel-fa2}
2366 @lilypond[fragment,relative=1,notime]
2367 \override Staff.StaffSymbol #'line-count = #4
2368 \override Staff.StaffSymbol #'color = #red
2369 \override Staff.LedgerLineSpanner #'color = #red
2370 \override Voice.Stem #'transparent = ##t
2371 \override NoteHead #'style = #'hufnagel.punctum
2372 \clef "hufnagel-fa2"
2377 historic style hufnagel combined do/fa clef
2379 @code{hufnagel-do-fa}
2381 @lilypond[fragment,relative=1,notime]
2382 \override Staff.StaffSymbol #'color = #red
2383 \override Staff.LedgerLineSpanner #'color = #red
2384 \override Voice.Stem #'transparent = ##t
2385 \override NoteHead #'style = #'hufnagel.punctum
2386 \clef "hufnagel-do-fa"
2393 @emph{Modern style} means ``as is typeset in contemporary editions of
2394 transcribed mensural music''.
2396 @emph{Petrucci style} means ``inspired by printings published by the
2397 famous engraver Petrucci (1466-1539)''.
2399 @emph{Historic style} means ``as was typeset or written in historic
2400 editions (other than those of Petrucci)''.
2402 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
2404 Petrucci used C clefs with differently balanced left-side vertical
2405 beams, depending on which staff line it is printed.
2409 In this manual: see @ref{Clef}.
2413 The mensural g clef is mapped to the Petrucci g clef.
2418 @subsection Ancient flags
2423 Use the @code{flag-style} property of grob @internalsref{Stem} to
2424 select ancient flags. Besides the @code{default} flag style,
2425 only the @code{mensural} style is supported
2427 @lilypond[quote,fragment,raggedright,verbatim]
2428 \override Stem #'flag-style = #'mensural
2429 \override Stem #'thickness = #1.0
2430 \override NoteHead #'style = #'mensural
2432 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
2433 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
2436 Note that the innermost flare of each mensural flag always is
2437 vertically aligned with a staff line.
2439 There is no particular flag style for neo-mensural notation. Hence,
2440 when typesetting the incipit of a transcribed piece of mensural
2441 music, the default flag style should be used. There are no flags in
2442 Gregorian Chant notation.
2446 The attachment of ancient flags to stems is slightly off due to a
2447 change in early 2.3.x.
2449 Vertically aligning each flag with a staff line assumes that stems
2450 always end either exactly on or exactly in the middle between two
2451 staff lines. This may not always be true when using advanced layout
2452 features of classical notation (which however are typically out of
2453 scope for mensural notation).
2455 @node Ancient time signatures
2456 @subsection Ancient time signatures
2458 @cindex time signatures
2461 There is limited support for mensural time signatures. The
2462 glyphs are hard-wired to particular time fractions. In other words,
2463 to get a particular mensural signature glyph with the @code{\time n/m}
2464 command, @code{n} and @code{m} have to be chosen according to the
2467 @lilypond[quote,raggedright]
2472 \remove Staff_symbol_engraver
2473 \remove Clef_engraver
2474 \remove Time_signature_engraver
2478 \set Score.timing = ##f
2479 \set Score.barAlways = ##t
2480 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph #"timesig.neomensural44" }
2482 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph #"timesig.neomensural22" }
2484 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph #"timesig.neomensural64" }
2486 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph #"timesig.neomensural68" }
2488 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph #"timesig.neomensural32" }
2490 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph #"timesig.neomensural34" }
2492 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph #"timesig.neomensural94" }
2494 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph #"timesig.neomensural98" }
2496 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph #"timesig.neomensural48" }
2498 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph #"timesig.neomensural24" }
2502 Use the @code{style} property of grob @internalsref{TimeSignature} to
2503 select ancient time signatures. Supported styles are
2504 @code{neomensural} and @code{mensural}. The above table uses the
2505 @code{neomensural} style. This style is appropriate for the
2506 incipit of transcriptions of mensural pieces. The @code{mensural}
2507 style mimics the look of historical printings of the 16th century.
2509 The following examples show the differences in style,
2511 @lilypond[raggedright,fragment,relative=1,quote]
2516 c1^\markup { \hspace #-2.0 \typewriter default }
2518 \override Staff.TimeSignature #'style = #'numbered
2520 c1^\markup { \hspace #-2.0 \typewriter numbered }
2522 \override Staff.TimeSignature #'style = #'mensural
2524 c1^\markup { \hspace #-2.0 \typewriter mensural }
2526 \override Staff.TimeSignature #'style = #'neomensural
2528 c1^\markup { \hspace #-2.0 \typewriter neomensural }
2529 \override Staff.TimeSignature #'style = #'single-digit
2531 c1^\markup { \hspace #-2.0 \typewriter single-digit }
2537 This manual: @ref{Time signature} gives a general introduction to
2538 the use of time signatures.
2542 Ratios of note durations do not change with the time signature. For
2543 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
2544 be made by hand, by setting
2547 breveTP = #(ly:make-duration -1 0 3 2)
2553 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
2555 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
2556 addressable with @code{\time}. Use a @code{\markup} instead
2558 @node Ancient articulations
2559 @subsection Ancient articulations
2561 @cindex articulations
2563 In addition to the standard articulation signs described in section
2564 @ref{Articulations}, articulation signs for ancient notation are
2565 provided. These are specifically designed for use with notation in
2566 Editio Vaticana style.
2568 @lilypond[quote,raggedright,verbatim]
2569 \include "gregorian-init.ly"
2571 \context VaticanaVoice {
2572 \override Staff.StaffSymbol #'color = #red
2573 \override Staff.LedgerLineSpanner #'color = #red
2574 \override TextScript #'font-family = #'typewriter
2575 \override TextScript #'font-shape = #'upright
2576 \override Script #'padding = #-0.1
2578 a4\circulus_"circulus" s1
2579 a4\semicirculus_"semicirculus" s1 s
2580 a4\accentus_"accentus" s1
2581 \[ a4_"episem" \episemInitium \pes b \flexa a \episemFinis \]
2588 Some articulations are vertically placed too closely to the
2589 correpsonding note heads.
2592 @subsection Custodes
2597 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
2598 symbol that appears at the end of a staff. It anticipates the pitch
2599 of the first note(s) of the following line thus helping the performer
2600 to manage line breaks during performance.
2602 Custodes were frequently used in music notation until the 17th
2603 century. Nowadays, they have survived only in a few particular forms
2604 of musical notation such as contemporary editions of Gregorian chant
2605 like the @emph{editio vaticana}. There are different custos glyphs
2606 used in different flavors of notational style.
2608 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
2609 @internalsref{Staff} context when declaring the @code{\layout} block,
2610 as shown in the following example
2616 \consists Custos_engraver
2617 Custos \override #'style = #'mensural
2622 The result looks like this
2624 @lilypond[quote,raggedright]
2628 \override Staff.Custos #'style = #'mensural
2633 \context { \Staff \consists Custos_engraver }
2638 The custos glyph is selected by the @code{style} property. The styles
2639 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
2640 @code{mensural}. They are demonstrated in the following fragment
2642 @lilypond[quote,raggedright,fragment]
2643 \new Lyrics \lyricmode {
2645 \typewriter "vaticana"
2646 \line { " " \musicglyph #"custodes.vaticana.u0" }
2649 \typewriter "medicaea"
2650 \line { " " \musicglyph #"custodes.medicaea.u0" }
2653 \typewriter "hufnagel"
2654 \line { " " \musicglyph #"custodes.hufnagel.u0" }
2657 \typewriter "mensural"
2658 \line { " " \musicglyph #"custodes.mensural.u0" }
2665 Program reference: @internalsref{Custos}.
2667 Examples: @inputfileref{input/@/regression,custos@/.ly}.
2671 @subsection Divisiones
2677 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
2678 `division') is a staff context symbol that is used to structure
2679 Gregorian music into phrases and sections. The musical meaning of
2680 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
2681 can be characterized as short, medium, and long pause, somewhat like
2682 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
2683 only marks the end of a chant, but is also frequently used within a
2684 single antiphonal/responsorial chant to mark the end of each section.
2687 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
2688 contains definitions that you can apply by just inserting
2689 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
2690 and @code{\finalis} at proper places in the input. Some editions use
2691 @emph{virgula} or @emph{caesura} instead of divisio minima.
2692 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
2695 @lilypondfile[quote,raggedright]{divisiones.ly}
2699 @cindex @code{\virgula}
2701 @cindex @code{\caesura}
2703 @cindex @code{\divisioMinima}
2704 @code{\divisioMinima},
2705 @cindex @code{\divisioMaior}
2706 @code{\divisioMaior},
2707 @cindex @code{\divisioMaxima}
2708 @code{\divisioMaxima},
2709 @cindex @code{\finalis}
2714 In this manual: @ref{Breath marks}.
2716 Program reference: @internalsref{BreathingSign}.
2718 Examples: @inputfileref{input/@/test,divisiones@/.ly}.
2721 @subsection Ligatures
2725 @c TODO: Should double check if I recalled things correctly when I wrote
2726 @c down the following paragraph by heart.
2728 A ligature is a graphical symbol that represents at least two distinct
2729 notes. Ligatures originally appeared in the manuscripts of Gregorian
2730 chant notation to denote ascending or descending sequences of notes.
2732 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
2733 Some ligature styles may need additional input syntax specific for
2734 this particular type of ligature. By default, the
2735 @internalsref{LigatureBracket} engraver just puts a square bracket
2738 @lilypond[quote,raggedright,verbatim]
2746 To select a specific style of ligatures, a proper ligature engraver
2747 has to be added to the @internalsref{Voice} context, as explained in
2748 the following subsections. Only white mensural ligatures
2749 are supported with certain limitations.
2755 Ligatures need special spacing that has not yet been implemented. As
2756 a result, there is too much space between ligatures most of the time,
2757 and line breaking often is unsatisfactory. Also, lyrics do not
2758 correctly align with ligatures.
2760 Accidentals must not be printed within a ligature, but instead need to
2761 be collected and printed in front of it.
2763 Augmentum dots within ligatures are not handled correctly.
2765 The syntax still uses the deprecated infix style @code{\[ music expr
2766 \]}. For consistency reasons, it will eventually be changed to
2767 postfix style @code{note\[ ... note\]}. Alternatively, the file
2768 @file{gregorian@/-init@/.ly} can be included; it provides a scheme
2771 \ligature @var{music expr}
2773 with the same effect and is believed to be stable.
2776 * White mensural ligatures::
2777 * Gregorian square neumes ligatures::
2780 @node White mensural ligatures
2781 @subsubsection White mensural ligatures
2783 @cindex Mensural ligatures
2784 @cindex White mensural ligatures
2786 There is limited support for white mensural ligatures.
2788 To engrave white mensural ligatures, in the layout block put the
2789 @internalsref{Mensural_ligature_engraver} into the
2790 @internalsref{Voice} context, and remove the
2791 @internalsref{Ligature_bracket_engraver}, like this
2797 \remove Ligature_bracket_engraver
2798 \consists Mensural_ligature_engraver
2803 There is no additional input language to describe the shape of a
2804 white mensural ligature. The shape is rather determined solely from
2805 the pitch and duration of the enclosed notes. While this approach may
2806 take a new user a while to get accustomed to, it has the great advantage
2807 that the full musical information of the ligature is known internally.
2808 This is not only required for correct MIDI output, but also allows for
2809 automatic transcription of the ligatures.
2814 \set Score.timing = ##f
2815 \set Score.defaultBarType = "empty"
2816 \override NoteHead #'style = #'neomensural
2817 \override Staff.TimeSignature #'style = #'neomensural
2821 \[ d\longa c\breve f e d \]
2823 \[ c'\maxima d'\longa \]
2827 @lilypond[quote,raggedright]
2830 \set Score.timing = ##f
2831 \set Score.defaultBarType = "empty"
2832 \override NoteHead #'style = #'neomensural
2833 \override Staff.TimeSignature #'style = #'neomensural
2837 \[ d\longa c\breve f e d \]
2839 \[ c'\maxima d'\longa \]
2846 \remove Ligature_bracket_engraver
2847 \consists Mensural_ligature_engraver
2853 Without replacing @internalsref{Ligature_bracket_engraver} with
2854 @internalsref{Mensural_ligature_engraver}, the same music transcribes
2857 @lilypond[quote,raggedright]
2859 \set Score.timing = ##f
2860 \set Score.defaultBarType = "empty"
2861 \override NoteHead #'style = #'neomensural
2862 \override Staff.TimeSignature #'style = #'neomensural
2866 \[ d\longa c\breve f e d \]
2868 \[ c'\maxima d'\longa \]
2876 The invisible rests (@code{s4}) in the example are used to compensate
2877 for the poor horizontal spacing.
2879 @node Gregorian square neumes ligatures
2880 @subsubsection Gregorian square neumes ligatures
2882 @cindex Square neumes ligatures
2883 @cindex Gregorian square neumes ligatures
2885 There is limited support for Gregorian square neumes notation
2886 (following the style of the Editio Vaticana). Core ligatures can
2887 already be typeset, but essential issues for serious typesetting are
2888 still lacking, such as (among others) horizontal alignment of multiple
2889 ligatures, lyrics alignment and proper handling of accidentals.
2892 The following table contains the extended neumes table of the 2nd
2893 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
2894 1983 by the monks of Solesmes.
2896 @multitable @columnfractions .4 .2 .2 .2
2913 @c TODO: \layout block is identical in all of the below examples.
2914 @c Therefore, it should somehow be included rather than duplicated all
2917 @c why not make identifiers in ly/engraver-init.ly? --hwn
2919 @c Because it's just used to typeset plain notes without
2920 @c a staff for demonstration purposes rather than something
2921 @c special of Gregorian chant notation. --jr
2926 @lilypond[staffsize=26,linewidth=1.5\cm]
2927 \include "gregorian-init.ly"
2932 \noBreak s^\markup {"a"} \noBreak
2934 % Punctum Inclinatum
2936 \noBreak s^\markup {"b"}
2938 \layout { \neumeDemoLayout }}
2941 @lilypond[staffsize=26,linewidth=2.5\cm]
2942 \include "gregorian-init.ly"
2945 % Punctum Auctum Ascendens
2946 \[ \auctum \ascendens b \]
2947 \noBreak s^\markup {"c"} \noBreak
2949 % Punctum Auctum Descendens
2950 \[ \auctum \descendens b \]
2951 \noBreak s^\markup {"d"} \noBreak
2953 % Punctum Inclinatum Auctum
2954 \[ \inclinatum \auctum b \]
2955 \noBreak s^\markup {"e"}
2957 \layout { \neumeDemoLayout }}
2960 @lilypond[staffsize=26,linewidth=1.0\cm]
2961 \include "gregorian-init.ly"
2964 % Punctum Inclinatum Parvum
2965 \[ \inclinatum \deminutum b \]
2966 \noBreak s^\markup {"f"}
2968 \layout { \neumeDemoLayout }}
2974 @lilypond[staffsize=26,linewidth=1.0\cm]
2975 \include "gregorian-init.ly"
2980 \noBreak s^\markup {"g"}
2982 \layout { \neumeDemoLayout }}
2988 @code{3. Apostropha vel Stropha}
2990 @lilypond[staffsize=26,linewidth=1.0\cm]
2991 \include "gregorian-init.ly"
2996 \noBreak s^\markup {"h"}
2998 \layout { \neumeDemoLayout }}
3001 @lilypond[staffsize=26,linewidth=1.0\cm]
3002 \include "gregorian-init.ly"
3006 \[ \stropha \auctum b \]
3007 \noBreak s^\markup {"i"}
3009 \layout { \neumeDemoLayout }}
3016 @lilypond[staffsize=26,linewidth=1.0\cm]
3017 \include "gregorian-init.ly"
3022 \noBreak s^\markup {"j"}
3024 \layout { \neumeDemoLayout }}
3030 @code{5. Clivis vel Flexa}
3032 @lilypond[staffsize=26,linewidth=1.0\cm]
3033 \include "gregorian-init.ly"
3040 \layout { \neumeDemoLayout }}
3043 @lilypond[staffsize=26,linewidth=2.0\cm]
3044 \include "gregorian-init.ly"
3047 % Clivis Aucta Descendens
3048 \[ b \flexa \auctum \descendens g \]
3049 \noBreak s^\markup {"l"} \noBreak
3051 % Clivis Aucta Ascendens
3052 \[ b \flexa \auctum \ascendens g \]
3053 \noBreak s^\markup {"m"}
3055 \layout { \neumeDemoLayout }}
3058 @lilypond[staffsize=26,linewidth=1.0\cm]
3059 \include "gregorian-init.ly"
3063 \[ b \flexa \deminutum g \]
3066 \layout { \neumeDemoLayout }}
3070 @code{6. Podatus vel Pes}
3072 @lilypond[staffsize=26,linewidth=1.0\cm]
3073 \include "gregorian-init.ly"
3080 \layout { \neumeDemoLayout }}
3083 @lilypond[staffsize=26,linewidth=2.0\cm]
3084 \include "gregorian-init.ly"
3087 % Pes Auctus Descendens
3088 \[ g \pes \auctum \descendens b \]
3089 \noBreak s^\markup {"p"} \noBreak
3091 % Pes Auctus Ascendens
3092 \[ g \pes \auctum \ascendens b \]
3093 \noBreak s^\markup {"q"}
3095 \layout { \neumeDemoLayout }}
3098 @lilypond[staffsize=26,linewidth=1.0\cm]
3099 \include "gregorian-init.ly"
3103 \[ g \pes \deminutum b \]
3106 \layout { \neumeDemoLayout }}
3110 @code{7. Pes Quassus}
3112 @lilypond[staffsize=26,linewidth=1.0\cm]
3113 \include "gregorian-init.ly"
3117 \[ \oriscus g \pes \virga b \]
3120 \layout { \neumeDemoLayout }}
3123 @lilypond[staffsize=26,linewidth=1.0\cm]
3124 \include "gregorian-init.ly"
3127 % Pes Quassus Auctus Descendens
3128 \[ \oriscus g \pes \auctum \descendens b \]
3131 \layout { \neumeDemoLayout }}
3136 @code{8. Quilisma Pes}
3138 @lilypond[staffsize=26,linewidth=1.0\cm]
3139 \include "gregorian-init.ly"
3143 \[ \quilisma g \pes b \]
3146 \layout { \neumeDemoLayout }}
3149 @lilypond[staffsize=26,linewidth=1.0\cm]
3150 \include "gregorian-init.ly"
3153 % Quilisma Pes Auctus Descendens
3154 \[ \quilisma g \pes \auctum \descendens b \]
3157 \layout { \neumeDemoLayout }}
3162 @code{9. Podatus Initio Debilis}
3164 @lilypond[staffsize=26,linewidth=1.0\cm]
3165 \include "gregorian-init.ly"
3168 % Pes Initio Debilis
3169 \[ \deminutum g \pes b \]
3172 \layout { \neumeDemoLayout }}
3175 @lilypond[staffsize=26,linewidth=1.0\cm]
3176 \include "gregorian-init.ly"
3179 % Pes Auctus Descendens Initio Debilis
3180 \[ \deminutum g \pes \auctum \descendens b \]
3183 \layout { \neumeDemoLayout }}
3190 @lilypond[staffsize=26,linewidth=1.0\cm]
3191 \include "gregorian-init.ly"
3195 \[ a \pes b \flexa g \]
3198 \layout { \neumeDemoLayout }}
3201 @lilypond[staffsize=26,linewidth=1.0\cm]
3202 \include "gregorian-init.ly"
3205 % Torculus Auctus Descendens
3206 \[ a \pes b \flexa \auctum \descendens g \]
3209 \layout { \neumeDemoLayout }}
3212 @lilypond[staffsize=26,linewidth=1.0\cm]
3213 \include "gregorian-init.ly"
3216 % Torculus Deminutus
3217 \[ a \pes b \flexa \deminutum g \]
3220 \layout { \neumeDemoLayout }}
3224 @code{11. Torculus Initio Debilis}
3226 @lilypond[staffsize=26,linewidth=1.0\cm]
3227 \include "gregorian-init.ly"
3230 % Torculus Initio Debilis
3231 \[ \deminutum a \pes b \flexa g \]
3234 \layout { \neumeDemoLayout }}
3237 @lilypond[staffsize=26,linewidth=1.0\cm]
3238 \include "gregorian-init.ly"
3241 % Torculus Auctus Descendens Initio Debilis
3242 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
3245 \layout { \neumeDemoLayout }}
3248 @lilypond[staffsize=26,linewidth=1.0\cm]
3249 \include "gregorian-init.ly"
3252 % Torculus Deminutus Initio Debilis
3253 \[ \deminutum a \pes b \flexa \deminutum g \]
3256 \layout { \neumeDemoLayout }}
3260 @code{12. Porrectus}
3262 @lilypond[staffsize=26,linewidth=1.0\cm]
3263 \include "gregorian-init.ly"
3267 \[ a \flexa g \pes b \]
3270 \layout { \neumeDemoLayout }}
3273 @lilypond[staffsize=26,linewidth=1.0\cm]
3274 \include "gregorian-init.ly"
3277 % Porrectus Auctus Descendens
3278 \[ a \flexa g \pes \auctum \descendens b \]
3281 \layout { \neumeDemoLayout }}
3284 @lilypond[staffsize=26,linewidth=1.0\cm]
3285 \include "gregorian-init.ly"
3288 % Porrectus Deminutus
3289 \[ a \flexa g \pes \deminutum b \]
3292 \layout { \neumeDemoLayout }}
3298 @lilypond[staffsize=26,linewidth=1.0\cm]
3299 \include "gregorian-init.ly"
3303 \[ \virga b \inclinatum a \inclinatum g \]
3306 \layout { \neumeDemoLayout }
3310 @lilypond[staffsize=26,linewidth=1.0\cm]
3311 \include "gregorian-init.ly"
3315 \[ \virga b \inclinatum a \inclinatum \auctum g \]
3318 \layout { \neumeDemoLayout }}
3321 @lilypond[staffsize=26,linewidth=1.0\cm]
3322 \include "gregorian-init.ly"
3325 % Climacus Deminutus
3326 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
3329 \layout { \neumeDemoLayout }}
3333 @code{14. Scandicus}
3335 @lilypond[staffsize=26,linewidth=1.0\cm]
3336 \include "gregorian-init.ly"
3340 \[ g \pes a \virga b \]
3343 \layout { \neumeDemoLayout }}
3346 @lilypond[staffsize=26,linewidth=1.0\cm]
3347 \include "gregorian-init.ly"
3350 % Scandicus Auctus Descendens
3351 \[ g \pes a \pes \auctum \descendens b \]
3354 \layout { \neumeDemoLayout }}
3357 @lilypond[staffsize=26,linewidth=1.0\cm]
3358 \include "gregorian-init.ly"
3361 % Scandicus Deminutus
3362 \[ g \pes a \pes \deminutum b \]
3365 \layout { \neumeDemoLayout }}
3371 @lilypond[staffsize=26,linewidth=1.0\cm]
3372 \include "gregorian-init.ly"
3376 \[ g \oriscus a \pes \virga b \]
3379 \layout { \neumeDemoLayout }}
3382 @lilypond[staffsize=26,linewidth=1.0\cm]
3383 \include "gregorian-init.ly"
3386 % Salicus Auctus Descendens
3387 \[ g \oriscus a \pes \auctum \descendens b \]
3390 \layout { \neumeDemoLayout }}
3397 @lilypond[staffsize=26,linewidth=1.0\cm]
3398 \include "gregorian-init.ly"
3402 \[ \stropha b \stropha b \stropha a \]
3405 \layout { \neumeDemoLayout }
3414 Unlike most other neumes notation systems, the input language for
3415 neumes does not reflect the typographical appearance, but is designed
3416 to focus on musical meaning. For example, @code{\[ a \pes b
3417 \flexa g \]} produces a Torculus consisting of three Punctum heads,
3418 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
3419 curved flexa shape and only a single Punctum head. There is no
3420 command to explicitly typeset the curved flexa shape; the decision of
3421 when to typeset a curved flexa shape is based on the musical
3422 input. The idea of this approach is to separate the musical aspects
3423 of the input from the notation style of the output. This way, the
3424 same input can be reused to typeset the same music in a different
3425 style of Gregorian chant notation.
3427 The following table shows the code fragments that produce the
3428 ligatures in the above neumes table. The letter in the first column
3429 in each line of the below table indicates to which ligature in the
3430 above table it refers. The second column gives the name of the
3431 ligature. The third column shows the code fragment that produces this
3432 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
3434 @multitable @columnfractions .02 .31 .67
3454 @code{\[ \inclinatum b \]}
3462 @code{\[ \auctum \ascendens b \]}
3470 @code{\[ \auctum \descendens b \]}
3475 Punctum Inclinatum@*
3478 @code{\[ \inclinatum \auctum b \]}
3483 Punctum Inclinatum@*
3485 @code{\[ \inclinatum \deminutum b \]}
3492 @code{\[ \virga b \]}
3499 @code{\[ \stropha b \]}
3506 @code{\[ \stropha \auctum b \]}
3513 @code{\[ \oriscus b \]}
3520 @code{\[ b \flexa g \]}
3528 @code{\[ b \flexa \auctum \descendens g \]}
3536 @code{\[ b \flexa \auctum \ascendens g \]}
3543 @code{\[ b \flexa \deminutum g \]}
3550 @code{\[ g \pes b \]}
3558 @code{\[ g \pes \auctum \descendens b \]}
3566 @code{\[ g \pes \auctum \ascendens b \]}
3573 @code{\[ g \pes \deminutum b \]}
3580 @code{\[ \oriscus g \pes \virga b \]}
3586 Auctus Descendens @tab
3587 @code{\[ \oriscus g \pes \auctum \descendens b \]}
3594 @code{\[ \quilisma g \pes b \]}
3602 @code{\[ \quilisma g \pes \auctum \descendens b \]}
3609 @code{\[ \deminutum g \pes b \]}
3614 Pes Auctus Descendens@*
3617 @code{\[ \deminutum g \pes \auctum \descendens b \]}
3624 @code{\[ a \pes b \flexa g \]}
3632 @code{\[ a \pes b \flexa \auctum \descendens g \]}
3639 @code{\[ a \pes b \flexa \deminutum g \]}
3644 Torculus Initio Debilis
3646 @code{\[ \deminutum a \pes b \flexa g \]}
3652 Descendens Initio Debilis
3654 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
3659 Torculus Deminutus@*
3662 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
3669 @code{\[ a \flexa g \pes b \]}
3677 @code{\[ a \flexa g \pes \auctum \descendens b \]}
3684 @code{\[ a \flexa g \pes \deminutum b \]}
3691 @code{\[ \virga b \inclinatum a \inclinatum g \]}
3698 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
3705 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
3712 @code{\[ g \pes a \virga b \]}
3720 @code{\[ g \pes a \pes \auctum \descendens b \]}
3727 @code{\[ g \pes a \pes \deminutum b \]}
3734 @code{\[ g \oriscus a \pes \virga b \]}
3739 Salicus Auctus Descendens
3741 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
3748 @code{\[ \stropha b \stropha b \stropha a \]}
3753 The following head prefixes are supported
3755 @cindex @code{\virga}
3757 @cindex @code{\stropha}
3759 @cindex @code{\inclinatum}
3761 @cindex @code{\auctum}
3763 @cindex @code{\descendens}
3765 @cindex @code{\ascendens}
3767 @cindex @code{\oriscus}
3769 @cindex @code{\quilisma}
3771 @cindex @code{\deminutum}
3774 Head prefixes can be accumulated, though restrictions apply. For
3775 example, either @code{\descendens} or @code{\ascendens} can be applied
3776 to a head, but not both to the same head.
3779 @cindex @code{\flexa}
3780 Two adjacent heads can be tied together with the @code{\pes} and
3781 @code{\flexa} infix commands for a rising and falling line of melody,
3786 @node Gregorian Chant contexts
3787 @subsection Gregorian Chant contexts
3789 @cindex VaticanaVoiceContext
3790 @cindex VaticanaStaffContext
3792 The predefined @code{VaticanaVoiceContext} and
3793 @code{VaticanaStaffContext} can be used to engrave a piece of
3794 Gregorian Chant in the style of the Editio Vaticana. These contexts
3795 initialize all relevant context properties and grob properties to
3796 proper values, so you can immediately go ahead entering the chant, as
3797 the following excerpt demonstrates
3799 @lilypond[quote,raggedright,packed,verbatim]
3800 \include "gregorian-init.ly"
3803 \context VaticanaVoice = "cantus" {
3804 \override Staff.StaffSymbol #'color = #red
3805 \override Staff.LedgerLineSpanner #'color = #red
3806 \override Score.BarNumber #'transparent = ##t {
3807 \[ c'\melisma c' \flexa a \]
3808 \[ a \flexa \deminutum g\melismaEnd \]
3810 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
3811 c' \divisioMinima \break
3812 \[ c'\melisma c' \flexa a \]
3813 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
3816 \lyricsto "cantus" \new Lyrics {
3817 San- ctus, San- ctus, San- ctus
3824 @node Mensural contexts
3825 @subsection Mensural contexts
3827 @cindex MensuralVoiceContext
3828 @cindex MensuralStaffContext
3830 The predefined @code{MensuralVoiceContext} and
3831 @code{MensuralStaffContext} can be used to engrave a piece in mensural
3832 style. These contexts initialize all relevant context properties and
3833 grob properties to proper values, so you can immediately go ahead
3834 entering the chant, as the following excerpt demonstrates
3836 @lilypond[quote,raggedright,verbatim]
3839 \context MensuralVoice = "discantus" \transpose c c' {
3840 \override Score.BarNumber #'transparent = ##t {
3841 c'1\melisma bes a g\melismaEnd
3843 \[ f1\melisma a c'\breve d'\melismaEnd \]
3845 c'\breve\melisma a1 g1\melismaEnd
3846 fis\longa^\signumcongruentiae
3849 \lyricsto "discantus" \new Lyrics {
3850 San -- ctus, San -- ctus, San -- ctus
3856 @node Musica ficta accidentals
3857 @subsection Musica ficta accidentals
3859 In European music from before about 1600, singers were often expected
3860 to chromatically alter notes at their own initiative. This is called
3861 ``Musica Ficta''. In modern transcriptions, these accidentals are
3862 usually printed over the note.
3864 @cindex Musica ficta
3866 Support for such suggested accidentals is included, and can be
3867 switched on by setting @code{suggestAccidentals} to true.
3869 @cindex @code{suggestAccidentals}
3871 @lilypond[verbatim,fragment,relative=1]
3873 \set suggestAccidentals = ##t
3879 Program reference: @internalsref{Accidental_engraver} engraver and the
3880 @internalsref{AccidentalSuggestion} object.
3883 @subsection Figured bass
3885 @cindex Basso continuo
3887 @c TODO: musicological blurb about FB
3890 LilyPond has limited support for figured bass
3892 @lilypond[quote,raggedright,verbatim,fragment]
3894 \context Voice { \clef bass dis4 c d ais g fis}
3895 \context FiguredBass \figuremode {
3896 < 6 >4 < 7 >8 < 6+ [_!] >
3903 The support for figured bass consists of two parts: there is an input
3904 mode, introduced by @code{\figuremode}, where you can enter bass figures
3905 as numbers, and there is a context called @internalsref{FiguredBass} that
3906 takes care of making @internalsref{BassFigure} objects.
3908 In figures input mode, a group of bass figures is delimited by
3909 @code{<} and @code{>}. The duration is entered after the @code{>}
3913 @lilypond[quote,raggedright,fragment]
3914 \context FiguredBass
3915 \figuremode { <4 6> }
3918 Accidentals are added when you append @code{-}, @code{!}, and @code{+}
3924 @lilypond[quote,raggedright,fragment]
3925 \context FiguredBass
3926 \figuremode { <4- 6+ 7!> }
3929 Spaces or dashes may be inserted by using @code{_}. Brackets are
3930 introduced with @code{[} and @code{]}. You can also include text
3931 strings and text markups, see @ref{Overview of text markup commands}.
3934 < [4 6] 8 [_! 12] > < 5 \markup @{ + \number 6 @} >
3936 @lilypond[quote,raggedright,fragment]
3937 \context FiguredBass
3938 \figuremode { < [4 6] 8 [_! 12] > < 5 \markup{ + \number 6 } > }
3942 Although the support for figured bass may superficially resemble chord
3943 support, it works much simpler. The @code{\figuremode} mode simply
3944 stores the numbers and @internalsref{FiguredBass} context prints
3945 them as entered. There is no conversion to pitches and no
3946 realizations of the bass are played in the MIDI file.
3948 Internally, the code produces markup texts. You can use any of the
3949 markup text properties to override formatting. For example, the
3950 vertical spacing of the figures may be set with @code{baseline-skip}.
3954 Program reference: @internalsref{BassFigure} object,
3955 @internalsref{FiguredBass} context.
3959 Slash notation for alterations is not supported.
3963 @node Other instrument specific notation
3964 @section Other instrument specific notation
3966 This section includes extra information for writing for instruments.
3969 * Artificial harmonics (strings)::
3972 @node Artificial harmonics (strings)
3973 @subsection Artificial harmonics (strings)
3975 @cindex artificial harmonics
3977 Artificial harmonics are notated with a different notehead style. They
3978 are entered by marking the harmonic pitch with @code{\harmonic}.
3980 @lilypond[raggedright,verbatim,quote,fragment,relative=1]