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::
39 * Laissez vibrer ties::
41 * 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{} @}
157 @node Laissez vibrer ties
158 @subsection Laissez vibrer ties
159 @cindex Laissez vibrer
160 @cindex Ties, laissez vibrer
162 L.v. ties (laissez vibrer) indicate that notes must not be damped at the
163 end. It is used in notation for piano, harp and other string and
164 percussion instruments. They can be entered using @code{\laissezVibrer},
166 @lilypond[fragment,raggedright,verbatim,relative=1]
167 <c f g>\laissezVibrer
173 @internalsref{LaissezVibrerTie}
174 @internalsref{LaissezVibrerTieColumn}
177 @inputfileref{input/regression,laissez-vibrer-tie.ly}
183 Pianos have pedals that alter the way sound is produced. Generally, a
184 piano has three pedals, sustain, una corda, and sostenuto.
187 Piano pedal instruction can be expressed by attaching
188 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
189 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
192 @lilypond[quote,raggedright,fragment,verbatim]
193 c'4\sustainDown c'4\sustainUp
196 What is printed can be modified by setting @code{pedal@var{X}Strings},
197 where @var{X} is one of the pedal types: @code{Sustain},
198 @code{Sostenuto} or @code{UnaCorda}. Refer to
199 @internalsref{SustainPedal} in the program reference for more
202 Pedals can also be indicated by a sequence of brackets, by setting the
203 @code{pedalSustainStyle} property to bracket objects
205 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
206 \set Staff.pedalSustainStyle = #'bracket
208 b\sustainUp\sustainDown
209 b g \sustainUp a \sustainDown \bar "|."
212 A third style of pedal notation is a mixture of text and brackets,
213 obtained by setting the @code{pedalSustainStyle} property to
216 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
217 \set Staff.pedalSustainStyle = #'mixed
219 b\sustainUp\sustainDown
220 b g \sustainUp a \sustainDown \bar "|."
223 The default `*Ped.' style for sustain and damper pedals corresponds to
224 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
227 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
228 c\sostenutoDown d e c, f g a\sostenutoUp
231 For fine-tuning the appearance of a pedal bracket, the properties
232 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
233 @code{PianoPedalBracket} objects (see
234 @internalsref{PianoPedalBracket} in the Program reference) can be
235 modified. For example, the bracket may be extended to the right edge
238 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
239 \override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
240 c\sostenutoDown d e c, f g a\sostenutoUp
245 In this manual: @ref{Laissez vibrer ties}
247 @node Staff switch lines
248 @subsection Staff switch lines
252 @cindex staff switching
255 @cindex @code{followVoice}
257 Whenever a voice switches to another staff, a line connecting the notes
258 can be printed automatically. This is switched on by setting
259 @code{followVoice} to true
261 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
264 \set followVoice = ##t
269 \context Staff=two { \clef bass \skip 1*2 }
275 Program reference: @internalsref{VoiceFollower}.
279 @cindex @code{\showStaffSwitch}
280 @code{\showStaffSwitch},
281 @cindex @code{\hideStaffSwitch}
282 @code{\hideStaffSwitch}.
285 @node Cross staff stems
286 @subsection Cross staff stems
288 Chords that cross staves may be produced by increasing the length
289 of the stem in the lower staff, so it reaches the stem in the upper
290 staff, or vice versa.
292 @lilypond[raggedright,verbatim,quote]
293 stemExtend = \once \override Stem #'length = #22
294 noFlag = \once \override Stem #'flag-style = #'no-flag
295 \context PianoStaff <<
297 \stemDown \stemExtend
315 * Introducing chord names::
317 * Printing chord names::
321 @c awkward name; awkward section name.
322 @c still, the Basic "chords" seems like a good name... :(
323 @node Introducing chord names
324 @subsection Introducing chord names
327 LilyPond has support for printing chord names. Chords may be entered
328 in musical chord notation, i.e., @code{< .. >}, but they can also be
329 entered by name. Internally, the chords are represented as a set of
330 pitches, so they can be transposed
333 @lilypond[quote,raggedright,verbatim,raggedright]
334 twoWays = \transpose c c' {
343 << \context ChordNames \twoWays
344 \context Voice \twoWays >>
347 This example also shows that the chord printing routines do not try to
348 be intelligent. The last chord (@code{f bes d}) is not interpreted as
351 Note that the duration of chords must be specified outside the
360 @subsection Chords mode
363 In chord mode sets of pitches (chords) are entered with normal note
364 names. A chord is entered by the root, which is entered like a
367 @lilypond[quote,raggedright,fragment,verbatim]
368 \chordmode { es4. d8 c2 }
372 The mode is introduced by the keyword @code{\chordmode}.
377 Other chords may be entered by suffixing a colon and introducing a
378 modifier (which may include a number if desired)
379 @lilypond[quote,fragment,verbatim]
380 \chordmode { e1:m e1:7 e1:m7 }
382 The first number following the root is taken to be the `type' of the
383 chord, thirds are added to the root until it reaches the specified
385 @lilypond[quote,fragment,verbatim]
386 \chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
389 @cindex root of chord
390 @cindex additions, in chords
391 @cindex removals, in chords
393 More complex chords may also be constructed adding separate steps
394 to a chord. Additions are added after the number following
395 the colon and are separated by dots
396 @lilypond[quote,verbatim,fragment]
397 \chordmode { c:5.6 c:3.7.8 c:3.6.13 }
399 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
401 @lilypond[quote,verbatim,fragment]
402 \chordmode { c:7+ c:5+.3- c:3-.5-.7- }
404 Removals are specified similarly and are introduced by a caret. They
405 must come after the additions
406 @lilypond[quote,verbatim,fragment]
407 \chordmode { c^3 c:7^5 c:9^3.5 }
410 Modifiers can be used to change pitches. The following modifiers are
415 The minor chord. This modifier lowers the 3rd and (if present) the 7th step.
418 The diminished chord. This modifier lowers the 3rd, 5th and (if present)
422 The augmented chord. This modifier raises the 5th step.
425 The major 7th chord. This modifier raises the 7th step if present.
428 The suspended 4th or 2nd. This modifier removes the 3rd
429 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
433 Modifiers can be mixed with additions
434 @lilypond[quote,verbatim,fragment]
435 \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
438 @cindex modifiers, in chords.
445 Since an unaltered 11 does not sound good when combined with an
446 unaltered 3, the 11 is removed in this case (unless it is added
448 @lilypond[quote,raggedright,fragment,verbatim]
449 \chordmode { c:13 c:13.11 c:m13 }
454 An inversion (putting one pitch of the chord on the bottom), as well
455 as bass notes, can be specified by appending
456 @code{/}@var{pitch} to the chord
457 @lilypond[quote,raggedright,fragment,verbatim]
458 \chordmode { c1 c/g c/f }
462 A bass note can be added instead transposed out of the chord,
463 by using @code{/+}@var{pitch}.
465 @lilypond[quote,raggedright,fragment,verbatim]
466 \chordmode { c1 c/+g c/+f }
469 Chords is a mode similar to @code{\lyricmode}, etc. Most
470 of the commands continue to work, for example, @code{r} and
471 @code{\skip} can be used to insert rests and spaces, and property
472 commands may be used to change various settings.
478 Each step can only be present in a chord once. The following
479 simply produces the augmented chord, since @code{5+} is interpreted
482 @lilypond[quote,raggedright,verbatim,fragment]
483 \chordmode { c:5.5-.5+ }
487 @node Printing chord names
488 @subsection Printing chord names
490 @cindex printing chord names
494 For displaying printed chord names, use the @internalsref{ChordNames} context.
495 The chords may be entered either using the notation
496 described above, or directly using @code{<} and @code{>}
498 @lilypond[quote,verbatim,raggedright]
500 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
503 \context ChordNames \harmonies
504 \context Staff \harmonies
508 You can make the chord changes stand out by setting
509 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
510 display chord names when there is a change in the chords scheme and at
511 the start of a new line
513 @lilypond[quote,verbatim,raggedright]
514 harmonies = \chordmode {
515 c1:m c:m \break c:m c:m d
518 \context ChordNames {
519 \set chordChanges = ##t
521 \context Staff \transpose c c' \harmonies
525 The previous examples all show chords over a staff. This is not
526 necessary. Chords may also be printed separately. It may be necessary
527 to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
530 @lilypond[raggedright,verbatim]
531 \new ChordNames \with {
532 \override BarLine #'bar-size = #4
533 voltaOnThisStaff = ##t
534 \consists Bar_engraver
535 \consists "Volta_engraver"
537 \repeat volta 2 \chordmode {
546 The default chord name layout is a system for Jazz music, proposed by
547 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
551 @cindex @code{chordNameExceptions}
552 @item chordNameExceptions
553 This is a list that contains the chords that have special formatting.
555 The exceptions list should be encoded as
557 @{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
560 To get this information into @code{chordNameExceptions} takes a little
561 manoeuvring. The following code transforms @code{chExceptionMusic}
562 (which is a sequential music) into a list of exceptions.
564 (sequential-music-to-chord-exceptions chExceptionMusic #t)
569 (sequential-music-to-chord-exceptions chExceptionMusic #t)
572 adds the new exceptions to the default ones, which are defined in
573 @file{ly/@/chord@/-modifier@/-init@/.ly}.
575 For an example of tuning this property, see also
576 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly}.
577 @cindex exceptions, chord names.
580 @cindex @code{majorSevenSymbol}
581 @item majorSevenSymbol
582 This property contains the markup object used for the 7th step, when
583 it is major. Predefined options are @code{whiteTriangleMarkup} and
584 @code{blackTriangleMarkup}. See
585 @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly} for an example.
587 @cindex @code{chordNameSeparator}
588 @item chordNameSeparator
589 Different parts of a chord name are normally separated by a
590 slash. By setting @code{chordNameSeparator}, you can specify other
592 @lilypond[quote,raggedright,fragment,verbatim]
593 \context ChordNames \chordmode {
595 \set chordNameSeparator
596 = \markup { \typewriter "|" }
601 @cindex @code{chordRootNamer}
603 The root of a chord is usually printed as a letter with an optional
604 alteration. The transformation from pitch to letter is done by this
605 function. Special note names (for example, the German ``H'' for a
606 B-chord) can be produced by storing a new function in this property.
608 @cindex @code{chordNoteNamer}
610 The default is to print single pitch, e.g., the bass note, using the
611 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
612 to a specialized function to change this behavior. For example, the
613 base can be printed in lower case.
615 @cindex @code{chordPrefixSpacer}
616 @item chordPrefixSpacer
617 The ``m'' for minor chords is usually printed right after the root of
618 the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer
619 between the root and ``m''. The spacer is not used when the root
624 The predefined variables @code{\germanChords},
625 @code{\semiGermanChords}, @code{\italianChords} and @code{\frenchChords}
626 set these variables. The effect is
629 @lilypondfile[raggedright]{chord-names-languages.ly}
631 There are also two other chord name schemes implemented: an alternate
632 Jazz chord notation, and a systematic scheme called Banter chords. The
633 alternate Jazz notation is also shown on the chart in @ref{Chord name
634 chart}. Turning on these styles is described in the input file
635 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
644 @cindex @code{\germanChords}
645 @code{\germanChords},
646 @cindex @code{\semiGermanChords}
647 @code{\semiGermanChords}.
648 @cindex @code{\italianChords}
649 @code{\italianChords}.
650 @cindex @code{\frenchChords}
651 @code{\frenchChords}.
658 Examples: @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly},
659 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly},
660 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
663 Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
664 @file{scm/@/chord@/-entry@/.scm}.
669 Chord names are determined solely from the list of pitches. Chord
670 inversions are not identified, and neither are added bass notes. This
671 may result in strange chord names when chords are entered with the
672 @code{< .. >} syntax.
679 There are three different issues when printing vocal music
683 Song texts must be entered as text, not notes. For example, the
684 input@tie{}@code{d} should be interpreted as a one letter syllable, not the
688 Song texts must be printed as text, not as notes.
691 Song texts must be aligned with the notes of their melody.
694 The simplest solution for printing music uses the @code{\addlyrics}
695 function to solve all these problems at once. However, these
696 three functions can be controlled separately, which is necessary
697 for complex vocal music.
701 * Setting simple songs::
703 * Hyphens and extenders::
704 * The Lyrics context::
705 * Flexibility in alignment::
708 * Other vocal issues::
711 @node Setting simple songs
712 @subsection Setting simple songs
714 The easiest way to add lyrics to a melody is to append
717 \addlyrics @{ @var{the lyrics} @}
721 to a melody. Here is an example,
723 @lilypond[raggedright,verbatim,fragment,quote]
725 \relative { c2 e4 g2. }
726 \addlyrics { play the game }
729 More stanzas can be added by adding more
730 @code{\addlyrics} sections
732 @lilypond[raggedright,verbatim,fragment,quote]
734 \relative { c2 e4 g2. }
735 \addlyrics { play the game }
736 \addlyrics { speel het spel }
737 \addlyrics { joue le jeu }
740 @c TODO - this isn't such a great place for this note, but I can't
741 @c find a better place without rearranging a lot of lyric stuff.
742 @c It's yet another thing to look at post-3.0.
744 The @code{\addlyrics} command is actually just a convienient way
745 to write a more complicated LilyPond structure that sets up the
746 lyrics. You should use @code{\addlyrics} unless you need to do
747 fancy things, in which case you should investigate
748 @code{\lyricsto} or @code{\lyricmode}.
752 \addlyrics @{ LYRICS @}
759 \context Voice = blah @{ music @}
760 \lyricsto "blah" \new lyrics @{ LYRICS @}
765 @code{\addlyrics} cannot handle polyphony.
768 @node Entering lyrics
769 @subsection Entering lyrics
772 @cindex @code{\lyricmode}
775 Lyrics are entered in a special input mode. This mode is introduced
776 by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
777 @code{\lyricsto}. In this mode you can enter lyrics,
778 with punctuation and accents, and the input @code{d} is not parsed as
779 a pitch, but rather as a one letter syllable. Syllables are entered
780 like notes, but with pitches replaced by text. For example,
782 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
785 There is a difference between @code{\addlyrics} and
786 @code{\lyricmode}. @code{\addlyrics} and @code{\lyricsto}
787 ignore all durations and aligns syllables to notes; @code{\lyricmode}
788 uses the durations specified.
790 A word lyrics mode begins with an alphabetic character, and ends with
791 any space or digit. The following characters can be any character
792 that is not a digit or white space. One important consequence of this
793 is that a word can end with @code{@}}. The following example is
794 usually a mistake in the input file. The syllable includes a @code{@}}, so the
795 opening brace is not balanced
797 \lyricmode @{ twinkle@}
800 @cindex @code{\property}, in @code{\lyricmode}
802 Similarly, a period which follows an alphabetic sequence is included in
803 the resulting string. As a consequence, spaces must be inserted around
806 \override Score . LyricText #'font-shape = #'italic
810 @cindex spaces, in lyrics
811 @cindex quotes, in lyrics
813 Any @code{_} character that appears in an unquoted word is converted
814 to a space. This provides a mechanism for introducing spaces into words
815 without using quotes.
817 To enter lyrics with characters from non-English languages, or with
818 non-ascii characters (such as the heart symbol or slanted quotes),
819 simply insert the characters directly into the input file and save
820 it with utf-8 encoding. See @ref{Text encoding} for more info.
823 \lyricmode @{ He said: “Let my peo ple go”. @}
826 The full definition of a word start in Lyrics mode is somewhat more
829 A word in Lyrics mode begins with: an alphabetic character, @code{_},
830 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
831 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
832 any 8-bit character with ASCII code over 127, or a two-character
833 combination of a backslash followed by one of @code{`}, @code{'},
834 @code{"}, or @code{^}.
840 Program reference: @internalsref{LyricText}.
844 The definition of lyrics mode is too complex.
846 @node Hyphens and extenders
847 @subsection Hyphens and extenders
851 Centered hyphens are entered as `@code{--}' between syllables.
852 The hyphen will have variable length depending on the space between
853 the syllables and it will be centered between the syllables.
858 When a lyric is sung over many notes (this is called a melisma), this is
859 indicated with a horizontal line centered between a syllable and the
860 next one. Such a line is called an extender line, and it is entered as
863 In tighly engraved music, hyphens can be removed. In some languages
864 (e.g. German and Hungarian), hyphens should not disappear, since
865 spelling depends on hyphenation. For that purpose, hyphens can be
866 forced to remain by overriding @code{minimum-length} of
867 the @code{LyricHyphen} grob.
869 @lilypond[quote,verbatim,raggedright]
872 \new Staff \relative c'' {
873 \time 1/4 c16 c c c c16 c c c c16 c c c
875 \lyricmode { \new Lyrics
877 \override SeparationItem #'padding = #0.0
878 % Otherwise lyrics are so far apart that hyphens don't disappear
881 An -- ti -- cons -- ti --
882 tu -- tion -- nel -- le --
883 \override LyricHyphen #'minimum-length = #0.7
884 \override LyricHyphen #'springs-and-rods =
885 #Hyphen_spanner::set_spacing_rods
886 men -- taire -- ment. ouf~!
894 \Staff \remove "Time_signature_engraver"
902 Program reference: @internalsref{LyricHyphen}, @internalsref{LyricExtender}.
906 @node The Lyrics context
907 @subsection The Lyrics context
910 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
912 \context Lyrics \lyricmode @dots{}
915 @cindex automatic syllable durations
916 @cindex @code{\lyricsto}
917 @cindex lyrics and melodies
919 This will place the lyrics according to the durations that were
920 entered. The lyrics can also be aligned under a given melody
921 automatically. In this case, it is no longer necessary to enter the
922 correct duration for each syllable. This is achieved by combining the
923 melody and the lyrics with the @code{\lyricsto} expression
925 \lyricsto @var{name} \new Lyrics @dots{}
928 This aligns the lyrics to the
929 notes of the @internalsref{Voice} context called @var{name}, which has
930 to exist. Therefore, normally the @code{Voice} is specified first, and
931 then the lyrics are specified with @code{\lyricsto}. The command
932 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
933 @code{\lyricmode} keyword may be omitted.
935 For different or more complex orderings, the best way is to setup the
936 hierarchy of staves and lyrics first, e.g.,
938 \context ChoirStaff <<
939 \context Lyrics = sopranoLyrics @{ s1 @}
940 \context Voice = soprano @{ @emph{music} @}
941 \context Lyrics = tenorLyrics @{ s1 @}
942 \context Voice = tenor @{ @emph{music} @}
945 and then combine the appropriate melodies and lyric lines
947 \lyricsto "soprano" \context Lyrics = sopranoLyrics
952 The final input would resemble
955 <<\context ChoirStaff << @emph{setup the music} >>
956 \lyricsto "soprano" @emph{etc}
957 \lyricsto "alto" @emph{etc}
963 The @code{\lyricsto} command detects melismata: it only puts one
964 syllable under a tied or slurred group of notes. If you want to force
965 an unslurred group of notes to be a melisma, insert @code{\melisma}
966 after the first note of the group, and @code{\melismaEnd} after the
969 @lilypond[quote,relative=2,raggedright,fragment,verbatim]
971 \context Voice = "lala" {
979 \lyricsto "lala" \new Lyrics {
985 In addition, notes are considered a melisma if they are manually
986 beamed, and automatic beaming (see @ref{Setting automatic beam
987 behavior}) is switched off.
993 The criteria for deciding melismata can
994 be tuned with the property @code{melismaBusyProperties}. See
995 @internalsref{Melisma_translator} in the program reference for more
1000 Lyrics can also be entered without @code{\lyricsto}. In this case the
1001 duration of each syllable must be entered explicitly, for example,
1008 The alignment to a melody can be specified with the
1009 @code{associatedVoice} property,
1012 \set associatedVoice = #"lala"
1016 The value of the property (here: @code{"lala"}) should be the name of
1017 a @internalsref{Voice} context. Without this setting, extender lines
1018 will not be formatted properly.
1020 Here is an example demonstrating manual lyric durations,
1022 @lilypond[relative=1,raggedright,verbatim,fragment,quote]
1023 << \context Voice = melody {
1027 \new Lyrics \lyricmode {
1028 \set associatedVoice = #"melody"
1034 @cindex choral score
1036 A complete example of a SATB score setup is in section
1037 @ref{Vocal ensembles}.
1042 @code{\melisma}, @code{\melismaEnd}
1043 @cindex @code{\melismaEnd}
1044 @cindex @code{\melisma}
1048 Program reference: @internalsref{LyricCombineMusic},
1049 @internalsref{Lyrics}, @internalsref{Melisma_translator}.
1052 @inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly}.
1053 @c TODO: make separate section for melismata
1057 Melismata are not detected automatically, and extender lines must be
1061 @c TODO: document \new Staff << Voice \lyricsto >> bug
1063 @node Flexibility in alignment
1064 @subsection Flexibility in alignment
1066 Often, different stanzas of one song are put to one melody in slightly
1067 differing ways. Such variations can still be captured with
1070 @subsubsection Lyrics to multiple notes of a melisma
1073 One possibility is that the text has a melisma in one stanza, but
1074 multiple syllables in another one. One solution is to make the faster
1075 voice ignore the melisma. This is done by setting
1076 @code{ignoreMelismata} in the Lyrics context.
1078 There has one tricky aspect. The setting for @code{ignoreMelismata}
1079 must be set one syllable @emph{before} the non-melismatic syllable
1080 in the text, as shown here,
1082 @lilypond[verbatim,raggedright,quote]
1084 \relative \context Voice = "lahlah" {
1085 \set Staff.autoBeaming = ##f
1091 \new Lyrics \lyricsto "lahlah" {
1094 \new Lyrics \lyricsto "lahlah" {
1095 \set ignoreMelismata = ##t % applies to "fas"
1097 \unset ignoreMelismata
1104 The @code{ignoreMelismata} applies to the syllable ``fas'', so it
1105 should be entered before ``go''.
1107 The reverse is also possible: making a lyric line slower than the
1108 standard. This can be achieved by insert @code{\skip}s into the
1109 lyrics. For every @code{\skip}, the text will be delayed another note.
1112 @lilypond[verbatim,raggedright,quote]
1113 \relative { c c g' }
1121 @subsection Switching the melody associated with a lyrics line
1125 More complex variations in text underlay are possible. It is possible
1126 to switch the melody for a line of lyrics during the text. This is
1127 done by setting the @code{associatedVoice} property. In the example
1129 @lilypond[raggedright,quote]
1131 \relative \context Voice = "lahlah" {
1132 \set Staff.autoBeaming = ##f
1135 \context Voice = alternative {
1138 % show associations clearly.
1139 \override NoteColumn #'force-hshift = #-3
1150 \new Lyrics \lyricsto "lahlah" {
1151 Ju -- ras -- sic Park
1153 \new Lyrics \lyricsto "lahlah" {
1154 % Tricky: need to set associatedVoice
1155 % one syllable too soon!
1156 \set associatedVoice = alternative % applies to "ran"
1160 \set associatedVoice = lahlah % applies to "rus"
1166 the text for the first stanza is set to a melody called ``lahlah'',
1169 \new Lyrics \lyricsto "lahlah" @{
1170 Ju -- ras -- sic Park
1175 The second stanza initially is set to the @code{lahlah} context, but
1176 for the syllable ``ran'', it switches to a different melody.
1177 This is achieved with
1179 \set associatedVoice = alternative
1183 Here, @code{alternative} is the name of the @code{Voice} context
1184 containing the triplet.
1186 Again, the command must be one syllable too early, before ``Ty'' in
1190 \new Lyrics \lyricsto "lahlah" @{
1191 \set associatedVoice = alternative % applies to "ran"
1195 \set associatedVoice = lahlah % applies to "rus"
1201 The underlay is switched back to the starting situation by assigning
1202 @code{lahlah} to @code{associatedVoice}.
1206 @subsection Specifying melismata within the lyrics
1208 It is also possible to define melismata entirely in the lyrics. This
1209 can be done by entering @code{_} for every note that is part of the
1212 @lilypond[relative=1,verbatim,fragment]
1213 { \set melismaBusyProperties = #'()
1214 c d( e) f f( e) e e }
1216 { Ky -- _ _ ri __ _ _ _ e }
1219 In this case, you can also have ties and slurs in the melody, if you
1220 set @code{melismaBusyProperties}, as is done in the example above.
1222 @lilypond[relative=1,verbatim,fragment]
1224 \set melismaBusyProperties = #'()
1228 { Ky -- _ _ ri __ _ _ _ e }
1231 @subsubsection Spacing lyrics
1233 @cindex Spacing lyrics
1234 @cindex Lyrics, increasing space between
1236 To increase the space between lyrics, use the @code{SeparationItem}
1239 @lilypond[relative,verbatim,fragment,quote,raggedright]
1242 \override Score.SeparationItem #'padding = #5
1246 longtext longtext longtext longtext
1247 longtext longtext longtext longtext
1254 @subsection More stanzas
1256 @cindex phrasing, in lyrics
1259 @cindex stanza number
1260 @cindex singer's names
1261 @cindex name of singer
1263 Stanza numbers can be added by setting @code{stanza}, e.g.,
1265 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
1267 \time 3/4 g2 e4 a2 f4 g2.
1270 Hi, my name is Bert.
1273 Oh, che -- ri, je t'aime
1277 These numbers are put just before the start of first syllable.
1279 Names of singers can also be added. They are printed at the start of
1280 the line, just like instrument names. They are created by setting
1281 @code{vocalName}. A short version may be entered as @code{vocNam}.
1284 @lilypond[fragment,raggedright,quote,verbatim,relative=2]
1286 \time 3/4 g2 e4 a2 f4 g2.
1288 \set vocalName = "Bert "
1289 Hi, my name is Bert.
1291 \set vocalName = "Ernie "
1292 Oh, che -- ri, je t'aime
1296 You can display alternate (or divisi) lyrics by naming voice
1297 contexts and attaching lyrics to those specific contexts.
1299 @lilypond[verbatim,raggedright,quote]
1301 \context Voice = "melody" {
1306 \context Voice = splitpart { \voiceTwo c4 }
1311 \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
1312 \new Lyrics \lyricsto "splitpart" { will }
1317 You can use this trick to display different lyrics for a repeated
1320 @lilypond[verbatim,raggedright,quote]
1322 \context Voice = melody \relative c' {
1324 \context Voice = verse \repeat volta 2 {c4 d e f | g1 | }
1326 \lyricsto melody \context Lyrics = mainlyrics \lyricmode {
1329 \lyricsto verse \context Lyrics = mainlyrics \lyricmode {
1331 \lyricsto verse \context Lyrics = repeatlyrics \lyricmode {
1332 dodo rere mimi fafa solsol }
1340 Program reference: @internalsref{LyricText}, @internalsref{StanzaNumber}, @internalsref{VocalName}.
1348 The term @emph{ambitus} denotes a range of pitches for a given voice
1349 in a part of music. It may also denote the pitch range that a musical
1350 instrument is capable of playing. Ambits are printed on vocal parts,
1351 so performers can easily determine it meets their capabilities.
1353 Ambits are denoted at the beginning of a piece near the initial clef.
1354 The range is graphically specified by two note heads that represent the
1355 minimum and maximum pitch. To print such ambits, add the
1356 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
1363 \consists Ambitus_engraver
1368 This results in the following output
1370 @lilypond[quote,raggedright]
1374 \consists Ambitus_engraver
1378 \relative \new Staff {
1383 If you have multiple voices in a single staff and you want a single
1384 ambitus per staff rather than per each voice, add the
1385 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
1386 rather than to the @internalsref{Voice} context. Here is an example,
1388 @lilypond[verbatim,raggedright,quote]
1390 \consists "Ambitus_engraver"
1394 \remove "Ambitus_engraver"
1396 \override Ambitus #'X-offset = #-1.0
1401 \remove "Ambitus_engraver"
1410 This example uses one advanced feature,
1413 \override Ambitus #'X-offset = #-1.0
1417 This code moves the ambitus to the left. The same effect could have
1418 been achieved with @code{extra-offset}, but then the formatting system
1419 would not reserve space for the moved object.
1423 Program reference: @internalsref{Ambitus},
1424 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1425 @internalsref{AmbitusAccidental}.
1427 Examples: @inputfileref{input/@/regression,ambitus@/.ly}.
1431 There is no collision handling in the case of multiple per-voice
1435 @node Other vocal issues
1436 @subsection Other vocal issues
1439 yeah, I'm giving up somewhat by stuffing a bunch of things in
1440 here. But at least they're in the manual now; it's easier to
1441 move them around in the manual once they're already here.
1443 Besides, if users complain about everything stuffed in here, I
1444 can ask them for specific instructions about where to move these
1445 examples, and that might get them more involved in the docs. -gp
1448 ``Parlato'' is spoken without pitch but still with rhythm; it is
1449 notated by cross noteheads. This is demonstrated in
1450 @ref{Special noteheads}.
1453 @node Rhythmic music
1454 @section Rhythmic music
1456 Rhythmic music is primarily used for percussion and drum notation, but it can
1457 also be used to show the rhythms of melodies.
1460 * Showing melody rhythms::
1461 * Entering percussion::
1462 * Percussion staves::
1466 @node Showing melody rhythms
1467 @subsection Showing melody rhythms
1469 Sometimes you might want to show only the rhythm of a melody. This
1470 can be done with the rhythmic staff. All pitches of notes on such a
1471 staff are squashed, and the staff itself has a single line
1473 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1474 \context RhythmicStaff {
1476 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1482 Program reference: @internalsref{RhythmicStaff}.
1484 Examples: @inputfileref{input/@/regression,rhythmic@/-staff@/.ly}.
1487 @node Entering percussion
1488 @subsection Entering percussion
1494 Percussion notes may be entered in @code{\drummode} mode, which is
1495 similar to the standard mode for entering notes. Each piece of
1496 percussion has a full name and an abbreviated name, and both can be used
1499 @lilypond[quote,raggedright,verbatim]
1501 hihat hh bassdrum bd
1505 The complete list of drum names is in the init file
1506 @file{ly/@/drumpitch@/-init@/.ly}.
1507 @c TODO: properly document this.
1511 Program reference: @internalsref{note-event}.
1513 @node Percussion staves
1514 @subsection Percussion staves
1518 A percussion part for more than one instrument typically uses a
1519 multiline staff where each position in the staff refers to one piece
1523 To typeset the music, the notes must be interpreted in a
1524 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
1526 @lilypond[quote,raggedright,verbatim]
1527 up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
1528 down = \drummode { bassdrum4 snare8 bd r bd sn4 }
1530 \new DrumVoice { \voiceOne \up }
1531 \new DrumVoice { \voiceTwo \down }
1535 The above example shows verbose polyphonic notation. The short
1536 polyphonic notation, described in @ref{Polyphony}, can also be used if
1537 the @internalsref{DrumVoice}s are instantiated by hand first. For example,
1539 @lilypond[quote,raggedright,fragment,verbatim]
1541 \context DrumVoice = "1" { s1 *2 }
1542 \context DrumVoice = "2" { s1 *2 }
1546 { \repeat unfold 16 hh16 }
1555 There are also other layout possibilities. To use these, set the
1556 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
1557 The following variables have been predefined
1561 This is the default. It typesets a typical drum kit on a five-line staff
1563 @lilypond[quote,linewidth=10.0\cm]
1565 cymc cyms cymr hh hhc hho hhho hhp
1566 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl }
1568 cymc cyms cymr hh hhc hho hhho hhp \break
1569 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
1571 << \new DrumStaff \with {
1572 \remove Bar_engraver
1573 \remove Time_signature_engraver
1574 \override Stem #'transparent = ##t
1575 \override Stem #'Y-extent-callback = ##f
1576 \override VerticalAxisGroup #'minimum-Y-extent = #'(-4.0 . 5.0)
1578 \context Lyrics \nam
1583 \override LyricText #'font-family = #'typewriter
1584 \override BarNumber #'transparent =##T
1590 The drum scheme supports six different toms. When there are fewer toms,
1591 simply select the toms that produce the desired result, i.e., to get toms
1592 on the three middle lines you use @code{tommh}, @code{tomml}, and
1595 @item timbales-style
1596 This typesets timbales on a two line staff
1598 @lilypond[quote,raggedright]
1599 nam = \lyricmode { timh ssh timl ssl cb }
1600 mus = \drummode { timh ssh timl ssl cb s16 }
1603 \context DrumStaff \with {
1604 \remove Bar_engraver
1605 \remove Time_signature_engraver
1606 \override Stem #'transparent = ##t
1607 \override Stem #'Y-extent-callback = ##f
1608 \override StaffSymbol #'line-count = #2
1609 \override StaffSymbol #'staff-space = #2
1610 \override VerticalAxisGroup #'minimum-Y-extent = #'(-3.0 . 4.0)
1611 drumStyleTable = #timbales-style
1614 \override LyricText #'font-family = #'typewriter
1621 This typesets congas on a two line staff
1623 @lilypond[quote,raggedright]
1624 nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
1625 mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
1628 \context DrumStaff \with {
1629 \remove Bar_engraver
1630 \remove Time_signature_engraver
1631 drumStyleTable = #congas-style
1632 \override StaffSymbol #'line-count = #2
1634 %% this sucks; it will lengthen stems.
1635 \override StaffSymbol #'staff-space = #2
1636 \override Stem #'transparent = ##t
1637 \override Stem #'Y-extent-callback = ##f
1640 \override LyricText #'font-family = #'typewriter
1647 This typesets bongos on a two line staff
1649 @lilypond[quote,raggedright]
1650 nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
1651 mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
1654 \context DrumStaff\with {
1655 \remove Bar_engraver
1656 \remove Time_signature_engraver
1657 \override StaffSymbol #'line-count = #2
1658 drumStyleTable = #bongos-style
1660 %% this sucks; it will lengthen stems.
1661 \override StaffSymbol #'staff-space = #2
1662 \override Stem #'transparent = ##t
1663 \override Stem #'Y-extent-callback = ##f
1666 \override LyricText #'font-family = #'typewriter
1672 @item percussion-style
1673 To typeset all kinds of simple percussion on one line staves.
1675 @lilypond[quote,raggedright]
1676 nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
1677 mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
1680 \context DrumStaff\with{
1681 \remove Bar_engraver
1682 drumStyleTable = #percussion-style
1683 \override StaffSymbol #'line-count = #1
1684 \remove Time_signature_engraver
1685 \override Stem #'transparent = ##t
1686 \override Stem #'Y-extent-callback = ##f
1689 \override LyricText #'font-family = #'typewriter
1696 If you do not like any of the predefined lists you can define your own
1697 list at the top of your file
1699 @lilypond[quote,raggedright,verbatim]
1701 (bassdrum default #f -1)
1702 (snare default #f 0)
1704 (pedalhihat xcircle "stopped" 2)
1705 (lowtom diamond #f 3)))
1706 up = \drummode { hh8 hh hh hh hhp4 hhp }
1707 down = \drummode { bd4 sn bd toml8 toml }
1710 \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
1711 \new DrumVoice { \voiceOne \up }
1712 \new DrumVoice { \voiceTwo \down }
1719 Init files: @file{ly/@/drumpitch@/-init@/.ly}.
1721 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
1725 Because general MIDI does not contain rim shots, the sidestick is used
1726 for this purpose instead.
1734 @cindex guitar tablature
1737 * String number indications::
1738 * Tablatures basic::
1739 * Non-guitar tablatures::
1741 * Other guitar issues::
1744 @node String number indications
1745 @subsection String number indications
1747 @cindex String numbers
1749 String numbers can be added to chords, by indicating the string number
1750 with @code{\}@var{number},
1752 @lilypond[relative,relative=1,raggedright,fragment]
1756 See also @inputfileref{input/regression,string-number.ly}.
1761 Program reference: @internalsref{StringNumber}.
1764 @node Tablatures basic
1765 @subsection Tablatures basic
1766 @cindex Tablatures basic
1768 Tablature notation is used for notating music for plucked string
1769 instruments. Pitches are not denoted with note heads, but by
1770 numbers indicating on which string and fret a note must be played. LilyPond
1771 offers limited support for tablature.
1773 The string number associated to a note is given as a backslash
1774 followed by a number, e.g., @code{c4\3} for a C quarter on the third
1775 string. By default, string 1 is the highest one, and the tuning
1776 defaults to the standard guitar tuning (with 6 strings). The notes
1777 are printed as tablature, by using @internalsref{TabStaff} and
1778 @internalsref{TabVoice} contexts
1780 @lilypond[quote,raggedright,fragment,verbatim]
1787 @cindex @code{minimumFret}
1790 When no string is specified, the first string that does not give a
1791 fret number less than @code{minimumFret} is selected. The default
1792 value for @code{minimumFret} is 0
1797 \set TabStaff.minimumFret = #8
1800 @lilypond[quote,raggedright]
1804 \set TabStaff.minimumFret = #8
1807 \context StaffGroup <<
1808 \context Staff { \clef "G_8" \frag }
1809 \context TabStaff { \frag }
1815 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}.
1819 Chords are not handled in a special way, and hence the automatic
1820 string selector may easily select the same string to two notes in a
1824 @node Non-guitar tablatures
1825 @subsection Non-guitar tablatures
1826 @cindex Non-guitar tablatures
1828 You can change the number of strings, by setting the number of lines
1829 in the @internalsref{TabStaff}.
1831 You can change the tuning of the strings. A string tuning is given as
1832 a Scheme list with one integer number for each string, the number
1833 being the pitch (measured in semitones relative to middle C) of an
1834 open string. The numbers specified for @code{stringTuning} are the
1835 numbers of semitones to subtract or add, starting the specified pitch
1836 by default middle C, in string order. In the next example,
1837 @code{stringTunings} is set for the pitches e, a, d, and g
1839 @lilypond[quote,raggedright,fragment,verbatim]
1840 \context TabStaff <<
1841 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
1843 a,4 c' a e' e c' a e'
1850 No guitar special effects have been implemented.
1854 Program reference: @internalsref{Tab_note_heads_engraver}.
1858 @subsection Fret diagrams
1859 @cindex fret diagrams
1860 @cindex chord diagrams
1862 Fret diagrams can be added to music as a markup to the desired note. The
1863 markup contains information about the desired fret diagram, as shown in the
1866 @lilypond[verbatim, raggedright, quote]
1868 d'^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
1870 fis'^\markup \override #'(size . 0.75) {
1871 \override #'(finger-code . below-string) {
1872 \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
1873 (place-fret 5 4 3) (place-fret 4 4 4)
1874 (place-fret 3 3 2) (place-fret 2 2 1)
1879 c'^\markup \override #'(dot-radius . 0.35) {
1880 \override #'(finger-code . in-dot) {
1881 \override #'(dot-color . white) {
1882 \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
1891 There are three different fret-diagram markup interfaces: standard, terse,
1892 and verbose. The three interfaces produce equivalent markups, but have
1893 varying amounts of information in the markup string. Details about the
1894 markup interfaces are found at @ref{Overview of text markup commands}.
1896 You can set a number of graphical properties according to your preference.
1897 Details about the property interface to fret diagrams are found at
1898 @internalsref{fret-diagram-interface}.
1903 Examples: @inputfileref{input/@/test,fret@/-diagram@/.ly}
1906 @node Other guitar issues
1907 @subsection Other guitar issues
1909 This example demonstrates how to include guitar position and
1910 barring indications.
1912 @lilypond[quote,raggedright,fragment,verbatim,relative=0]
1916 \override TextSpanner #'edge-text = #'("XII " . "")
1918 b16 e16 g16 e16 b16 g16\stopTextSpan
1923 Stopped (X) note heads are used in guitar music to signal a place where the
1924 guitarist must play a certain note or chord, with its fingers just
1925 touching the strings instead of fully pressing them. This gives the sound a
1926 percussive noise-like sound that still maintains part of the original
1927 pitch. It is notated with cross noteheads; this is
1928 demonstrated in @ref{Special noteheads}.
1937 * Bagpipe definitions::
1942 @node Bagpipe definitions
1943 @subsection Bagpipe definitions
1945 LilyPond contains special definitions for music for the Scottish
1946 highland bagpipe; to use them, add
1949 \include "bagpipe.ly"
1953 at the top of your input file. This lets you add the special gracenotes
1954 common to bagpipe music with short commands. For example, you could
1955 write @code{\taor} instead of
1958 \grace @{ \small G32[ d G e] @}
1961 @code{bagpipe.ly} also contains pitch definitions for the bagpipe
1962 notes in the appropiate octaves, so you do not need to worry about
1963 @code{\relative} or @code{\transpose}.
1965 @lilypond[raggedright,verbatim,quote,notime]
1966 \include "bagpipe.ly"
1967 { \grg G4 \grg a \grg b \grg c \grg d \grg e \grg f \grA g A }
1970 Bagpipe music nominally uses the key of D Major (even though that
1971 isn't really true). However, since that is the only key that can be used,
1972 the key signature is normally not written out. To set this up correctly,
1973 always start your music with @code{\hideKeySignature}. If you for some
1974 reason want to show the key signature, you can use @code{\showKeySignature}
1977 Some modern music use cross fingering on c and f to flatten those notes.
1978 This can be indicated by @code{cflat} or @code{fflat}. Similarly, the
1979 piobaireachd high g can be written @code{gflat} when it occurs in light
1983 @node Bagpipe example
1984 @subsection Bagpipe example
1986 This is what the well known tune Amazing Grace looks like in bagpipe
1989 @lilypond[verbatim,quote]
1990 \include "bagpipe.ly"
1993 \context { \Score \remove "Bar_number_engraver" }
1997 title = "Amazing Grace"
1999 arranger = "Trad. arr."
2005 \grg \partial 4 a8. d16
2006 \slurd d2 \grg f8[ e32 d16.]
2009 \grG a2 \grg a8. d16
2010 \slurd d2 \grg f8[ e32 d16.]
2011 \grg f2 \grg e8. f16
2014 \grg A2 \hdblf f8[ e32 d16.]
2017 \grG a2 \grg a8. d16
2018 \slurd d2 \grg f8[ e32 d16.]
2027 @node Ancient notation
2028 @section Ancient notation
2030 @cindex Vaticana, Editio
2031 @cindex Medicaea, Editio
2036 Support for ancient notation includes features for mensural notation
2037 and Gregorian Chant notation. There is also limited support for
2038 figured bass notation.
2040 Many graphical objects provide a @code{style} property, see
2043 @ref{Ancient note heads},
2045 @ref{Ancient accidentals},
2047 @ref{Ancient rests},
2049 @ref{Ancient clefs},
2051 @ref{Ancient flags},
2053 @ref{Ancient time signatures}.
2056 By manipulating such a grob property, the typographical appearance of
2057 the affected graphical objects can be accommodated for a specific
2058 notation flavor without the need for introducing any new notational
2061 In addition to the standard articulation signs described in section
2062 @ref{Articulations}, specific articulation signs for ancient notation
2067 @ref{Ancient articulations}
2070 Other aspects of ancient notation can not that easily be expressed
2071 in terms of just changing a style property of a graphical object or
2072 adding articulation signs. Some notational concepts are introduced
2073 specifically for ancient notation,
2084 If this all is too much of documentation for you, and you just want to
2085 dive into typesetting without worrying too much about the details on
2086 how to customize a context, you may have a look at the predefined
2087 contexts. Use them to set up predefined style-specific voice and
2088 staff contexts, and directly go ahead with the note entry,
2092 @ref{Gregorian Chant contexts},
2094 @ref{Mensural contexts}.
2097 There is limited support for figured bass notation which came
2098 up during the baroque period.
2105 Here are all suptopics at a glance:
2108 * Ancient note heads::
2109 * Ancient accidentals::
2113 * Ancient time signatures::
2114 * Ancient articulations::
2118 * Gregorian Chant contexts::
2119 * Mensural contexts::
2120 * Musica ficta accidentals::
2126 @node Ancient note heads
2127 @subsection Ancient note heads
2132 For ancient notation, a note head style other than the @code{default}
2133 style may be chosen. This is accomplished by setting the @code{style}
2134 property of the @internalsref{NoteHead} object to @code{baroque},
2135 @code{neomensural}, @code{mensural} or @code{petrucci}. The
2136 @code{baroque} style differs from the @code{default} style only in
2137 using a square shape for @code{\breve} note heads. The
2138 @code{neomensural} style differs from the @code{baroque} style in that
2139 it uses rhomboidal heads for whole notes and all smaller durations.
2140 Stems are centered on the note heads. This style is particularly
2141 useful when transcribing mensural music, e.g., for the incipit. The
2142 @code{mensural} style produces note heads that mimic the look of note
2143 heads in historic printings of the 16th century. Finally, the
2144 @code{petrucci} style also mimicks historic printings, but uses bigger
2147 The following example demonstrates the @code{neomensural} style
2149 @lilypond[quote,fragment,raggedright,verbatim]
2150 \set Score.skipBars = ##t
2151 \override NoteHead #'style = #'neomensural
2152 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
2155 When typesetting a piece in Gregorian Chant notation, the
2156 @internalsref{Gregorian_ligature_engraver} will automatically select
2157 the proper note heads, so there is no need to explicitly set the
2158 note head style. Still, the note head style can be set, e.g., to
2159 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
2160 @internalsref{Mensural_ligature_engraver} is used to automatically
2161 assemble mensural ligatures. See @ref{Ligatures} for how ligature
2166 Examples: @inputfileref{input/@/regression,note@/-head@/-style@/.ly} gives an
2167 overview over all available note head styles.
2170 @node Ancient accidentals
2171 @subsection Ancient accidentals
2176 Use the @code{style} property of grob @internalsref{Accidental} to
2177 select ancient accidentals. Supported styles are
2178 @code{mensural}, @code{vaticana}, @code{hufnagel}, and @code{medicaea}.
2180 @lilypond[quote,raggedright,staffsize=26]
2187 \line { " " \musicglyph #"accidentals.vaticana-1"
2188 " " \musicglyph #"accidentals.vaticana0" }
2192 \line { " " \musicglyph #"accidentals.medicaea-1" }
2196 \line { " " \musicglyph #"accidentals.hufnagel-1" }
2200 \line { " " \musicglyph #"accidentals.mensural-1"
2201 " " \musicglyph #"accidentals.mensural1" }
2207 \context { \Score \remove "Bar_number_engraver" }
2209 \remove "Clef_engraver"
2210 \remove "Key_engraver"
2211 \remove "Time_signature_engraver"
2212 \remove "Staff_symbol_engraver"
2213 \override VerticalAxisGroup #'minimum-Y-extent = ##f
2219 As shown, not all accidentals are supported by each style. When
2220 trying to access an unsupported accidental, LilyPond will switch to a
2221 different style, as demonstrated in
2222 @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2224 Similarly to local accidentals, the style of the key signature can be
2225 controlled by the @code{style} property of the
2226 @internalsref{KeySignature} grob.
2230 In this manual: @ref{Pitches}, @ref{Cautionary accidentals} and
2231 @ref{Automatic accidentals} give a general introduction of the use of
2232 accidentals. @ref{Key signature} gives a general introduction of
2233 the use of key signatures.
2235 Program reference: @internalsref{KeySignature}.
2237 Examples: @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2240 @subsection Ancient rests
2242 @cindex rests, ancient
2245 Use the @code{style} property of grob @internalsref{Rest} to select
2246 ancient rests. Supported styles are @code{classical},
2247 @code{neomensural}, and @code{mensural}. @code{classical} differs
2248 from the @code{default} style only in that the quarter rest looks like
2249 a horizontally mirrored 8th rest. The @code{neomensural} style suits
2250 well for, e.g., the incipit of a transcribed mensural piece of music.
2251 The @code{mensural} style finally mimics the appearance of rests as
2252 in historic prints of the 16th century.
2254 The following example demonstrates the @code{neomensural} style
2256 @lilypond[quote,fragment,raggedright,verbatim]
2257 \set Score.skipBars = ##t
2258 \override Rest #'style = #'neomensural
2259 r\longa r\breve r1 r2 r4 r8 r16
2262 There are no 32th and 64th rests specifically for the mensural or
2263 neo-mensural style. Instead, the rests from the default style will be
2264 taken. See @inputfileref{input/@/test,rests@/.ly} for a chart of all
2267 There are no rests in Gregorian Chant notation; instead, it uses
2272 In this manual: @ref{Rests} gives a general introduction into the use of rests.
2276 @subsection Ancient clefs
2281 LilyPond supports a variety of clefs, many of them ancient.
2283 The following table shows all ancient clefs that are supported via the
2284 @code{\clef} command. Some of the clefs use the same glyph, but
2285 differ only with respect to the line they are printed on. In such
2286 cases, a trailing number in the name is used to enumerate these clefs.
2287 Still, you can manually force a clef glyph to be typeset on an
2288 arbitrary line, as described in @ref{Clef}. The note printed to the
2289 right side of each clef in the example column denotes the @code{c'}
2290 with respect to that clef.
2292 @multitable @columnfractions .4 .4 .2
2301 modern style mensural C clef
2303 @code{neomensural-c1}, @code{neomensural-c2},@*
2304 @code{neomensural-c3}, @code{neomensural-c4}
2306 @lilypond[fragment,relative=1,notime]
2307 \clef "neomensural-c2" c
2311 petrucci style mensural C clefs, for use on different staff lines
2312 (the examples show the 2nd staff line C clef)
2314 @code{petrucci-c1}, @code{petrucci-c2},@*
2315 @code{petrucci-c3}, @code{petrucci-c4},@*
2318 @lilypond[fragment,relative=1,notime]
2320 \override NoteHead #'style = #'mensural
2325 petrucci style mensural F clef
2329 @lilypond[fragment,relative=1,notime]
2331 \override NoteHead #'style = #'mensural
2336 petrucci style mensural G clef
2340 @lilypond[fragment,relative=1,notime]
2342 \override NoteHead #'style = #'mensural
2347 historic style mensural C clef
2349 @code{mensural-c1}, @code{mensural-c2},@*
2350 @code{mensural-c3}, @code{mensural-c4}
2352 @lilypond[fragment,relative=1,notime]
2354 \override NoteHead #'style = #'mensural
2359 historic style mensural F clef
2363 @lilypond[fragment,relative=1,notime]
2365 \override NoteHead #'style = #'mensural
2370 historic style mensural G clef
2374 @lilypond[fragment,relative=1,notime]
2376 \override NoteHead #'style = #'mensural
2381 Editio Vaticana style do clef
2383 @code{vaticana-do1}, @code{vaticana-do2},@*
2386 @lilypond[fragment,relative=1,notime]
2387 \override Staff.StaffSymbol #'line-count = #4
2388 \override Staff.StaffSymbol #'color = #red
2389 \override Staff.LedgerLineSpanner #'color = #red
2390 \override Voice.Stem #'transparent = ##t
2391 \override NoteHead #'style = #'vaticana.punctum
2392 \clef "vaticana-do2"
2397 Editio Vaticana style fa clef
2399 @code{vaticana-fa1}, @code{vaticana-fa2}
2401 @lilypond[fragment,relative=1,notime]
2402 \override Staff.StaffSymbol #'line-count = #4
2403 \override Staff.StaffSymbol #'color = #red
2404 \override Staff.LedgerLineSpanner #'color = #red
2405 \override Voice.Stem #'transparent = ##t
2406 \override NoteHead #'style = #'vaticana.punctum
2407 \clef "vaticana-fa2"
2412 Editio Medicaea style do clef
2414 @code{medicaea-do1}, @code{medicaea-do2},@*
2417 @lilypond[fragment,relative=1,notime]
2418 \override Staff.StaffSymbol #'line-count = #4
2419 \override Staff.StaffSymbol #'color = #red
2420 \override Staff.LedgerLineSpanner #'color = #red
2421 \override Voice.Stem #'transparent = ##t
2422 \override NoteHead #'style = #'medicaea.punctum
2423 \clef "medicaea-do2"
2428 Editio Medicaea style fa clef
2430 @code{medicaea-fa1}, @code{medicaea-fa2}
2432 @lilypond[fragment,relative=1,notime]
2433 \override Staff.StaffSymbol #'line-count = #4
2434 \override Staff.StaffSymbol #'color = #red
2435 \override Staff.LedgerLineSpanner #'color = #red
2436 \override Voice.Stem #'transparent = ##t
2437 \override NoteHead #'style = #'medicaea.punctum
2438 \clef "medicaea-fa2"
2443 historic style hufnagel do clef
2445 @code{hufnagel-do1}, @code{hufnagel-do2},@*
2448 @lilypond[fragment,relative=1,notime]
2449 \override Staff.StaffSymbol #'line-count = #4
2450 \override Staff.StaffSymbol #'color = #red
2451 \override Staff.LedgerLineSpanner #'color = #red
2452 \override Voice.Stem #'transparent = ##t
2453 \override NoteHead #'style = #'hufnagel.punctum
2454 \clef "hufnagel-do2"
2459 historic style hufnagel fa clef
2461 @code{hufnagel-fa1}, @code{hufnagel-fa2}
2463 @lilypond[fragment,relative=1,notime]
2464 \override Staff.StaffSymbol #'line-count = #4
2465 \override Staff.StaffSymbol #'color = #red
2466 \override Staff.LedgerLineSpanner #'color = #red
2467 \override Voice.Stem #'transparent = ##t
2468 \override NoteHead #'style = #'hufnagel.punctum
2469 \clef "hufnagel-fa2"
2474 historic style hufnagel combined do/fa clef
2476 @code{hufnagel-do-fa}
2478 @lilypond[fragment,relative=1,notime]
2479 \override Staff.StaffSymbol #'color = #red
2480 \override Staff.LedgerLineSpanner #'color = #red
2481 \override Voice.Stem #'transparent = ##t
2482 \override NoteHead #'style = #'hufnagel.punctum
2483 \clef "hufnagel-do-fa"
2490 @emph{Modern style} means ``as is typeset in contemporary editions of
2491 transcribed mensural music''.
2493 @emph{Petrucci style} means ``inspired by printings published by the
2494 famous engraver Petrucci (1466-1539)''.
2496 @emph{Historic style} means ``as was typeset or written in historic
2497 editions (other than those of Petrucci)''.
2499 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
2501 Petrucci used C clefs with differently balanced left-side vertical
2502 beams, depending on which staff line it is printed.
2506 In this manual: see @ref{Clef}.
2510 The mensural g clef is mapped to the Petrucci g clef.
2515 @subsection Ancient flags
2520 Use the @code{flag-style} property of grob @internalsref{Stem} to
2521 select ancient flags. Besides the @code{default} flag style,
2522 only the @code{mensural} style is supported
2524 @lilypond[quote,fragment,raggedright,verbatim]
2525 \override Stem #'flag-style = #'mensural
2526 \override Stem #'thickness = #1.0
2527 \override NoteHead #'style = #'mensural
2529 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
2530 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
2533 Note that the innermost flare of each mensural flag always is
2534 vertically aligned with a staff line.
2536 There is no particular flag style for neo-mensural notation. Hence,
2537 when typesetting the incipit of a transcribed piece of mensural
2538 music, the default flag style should be used. There are no flags in
2539 Gregorian Chant notation.
2543 The attachment of ancient flags to stems is slightly off due to a
2544 change in early 2.3.x.
2546 Vertically aligning each flag with a staff line assumes that stems
2547 always end either exactly on or exactly in the middle between two
2548 staff lines. This may not always be true when using advanced layout
2549 features of classical notation (which however are typically out of
2550 scope for mensural notation).
2552 @node Ancient time signatures
2553 @subsection Ancient time signatures
2555 @cindex time signatures
2558 There is limited support for mensural time signatures. The
2559 glyphs are hard-wired to particular time fractions. In other words,
2560 to get a particular mensural signature glyph with the @code{\time n/m}
2561 command, @code{n} and @code{m} have to be chosen according to the
2564 @lilypond[quote,raggedright]
2569 \remove Staff_symbol_engraver
2570 \remove Clef_engraver
2571 \remove Time_signature_engraver
2575 \set Score.timing = ##f
2576 \set Score.barAlways = ##t
2577 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph #"timesig.neomensural44" }
2579 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph #"timesig.neomensural22" }
2581 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph #"timesig.neomensural64" }
2583 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph #"timesig.neomensural68" }
2585 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph #"timesig.neomensural32" }
2587 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph #"timesig.neomensural34" }
2589 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph #"timesig.neomensural94" }
2591 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph #"timesig.neomensural98" }
2593 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph #"timesig.neomensural48" }
2595 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph #"timesig.neomensural24" }
2599 Use the @code{style} property of grob @internalsref{TimeSignature} to
2600 select ancient time signatures. Supported styles are
2601 @code{neomensural} and @code{mensural}. The above table uses the
2602 @code{neomensural} style. This style is appropriate for the
2603 incipit of transcriptions of mensural pieces. The @code{mensural}
2604 style mimics the look of historical printings of the 16th century.
2606 The following examples show the differences in style,
2608 @lilypond[raggedright,fragment,relative=1,quote]
2613 c1^\markup { \hspace #-2.0 \typewriter default }
2615 \override Staff.TimeSignature #'style = #'numbered
2617 c1^\markup { \hspace #-2.0 \typewriter numbered }
2619 \override Staff.TimeSignature #'style = #'mensural
2621 c1^\markup { \hspace #-2.0 \typewriter mensural }
2623 \override Staff.TimeSignature #'style = #'neomensural
2625 c1^\markup { \hspace #-2.0 \typewriter neomensural }
2626 \override Staff.TimeSignature #'style = #'single-digit
2628 c1^\markup { \hspace #-2.0 \typewriter single-digit }
2634 This manual: @ref{Time signature} gives a general introduction to
2635 the use of time signatures.
2639 Ratios of note durations do not change with the time signature. For
2640 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
2641 be made by hand, by setting
2644 breveTP = #(ly:make-duration -1 0 3 2)
2650 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
2652 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
2653 addressable with @code{\time}. Use a @code{\markup} instead
2655 @node Ancient articulations
2656 @subsection Ancient articulations
2658 @cindex articulations
2660 In addition to the standard articulation signs described in section
2661 @ref{Articulations}, articulation signs for ancient notation are
2662 provided. These are specifically designed for use with notation in
2663 Editio Vaticana style.
2665 @lilypond[quote,raggedright,verbatim]
2666 \include "gregorian-init.ly"
2668 \context VaticanaVoice {
2669 \override Staff.StaffSymbol #'color = #red
2670 \override Staff.LedgerLineSpanner #'color = #red
2671 \override TextScript #'font-family = #'typewriter
2672 \override TextScript #'font-shape = #'upright
2673 \override Script #'padding = #-0.1
2675 a4\circulus_"circulus" s1
2676 a4\semicirculus_"semicirculus" s1 s
2677 a4\accentus_"accentus" s1
2678 \[ a4_"episem" \episemInitium \pes b \flexa a \episemFinis \]
2685 Some articulations are vertically placed too closely to the
2686 correpsonding note heads.
2689 @subsection Custodes
2694 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
2695 symbol that appears at the end of a staff. It anticipates the pitch
2696 of the first note(s) of the following line thus helping the performer
2697 to manage line breaks during performance.
2699 Custodes were frequently used in music notation until the 17th
2700 century. Nowadays, they have survived only in a few particular forms
2701 of musical notation such as contemporary editions of Gregorian chant
2702 like the @emph{editio vaticana}. There are different custos glyphs
2703 used in different flavors of notational style.
2705 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
2706 @internalsref{Staff} context when declaring the @code{\layout} block,
2707 as shown in the following example
2713 \consists Custos_engraver
2714 Custos \override #'style = #'mensural
2719 The result looks like this
2721 @lilypond[quote,raggedright]
2725 \override Staff.Custos #'style = #'mensural
2730 \context { \Staff \consists Custos_engraver }
2735 The custos glyph is selected by the @code{style} property. The styles
2736 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
2737 @code{mensural}. They are demonstrated in the following fragment
2739 @lilypond[quote,raggedright,fragment]
2740 \new Lyrics \lyricmode {
2742 \typewriter "vaticana"
2743 \line { " " \musicglyph #"custodes.vaticana.u0" }
2746 \typewriter "medicaea"
2747 \line { " " \musicglyph #"custodes.medicaea.u0" }
2750 \typewriter "hufnagel"
2751 \line { " " \musicglyph #"custodes.hufnagel.u0" }
2754 \typewriter "mensural"
2755 \line { " " \musicglyph #"custodes.mensural.u0" }
2762 Program reference: @internalsref{Custos}.
2764 Examples: @inputfileref{input/@/regression,custos@/.ly}.
2768 @subsection Divisiones
2774 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
2775 `division') is a staff context symbol that is used to structure
2776 Gregorian music into phrases and sections. The musical meaning of
2777 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
2778 can be characterized as short, medium, and long pause, somewhat like
2779 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
2780 only marks the end of a chant, but is also frequently used within a
2781 single antiphonal/responsorial chant to mark the end of each section.
2784 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
2785 contains definitions that you can apply by just inserting
2786 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
2787 and @code{\finalis} at proper places in the input. Some editions use
2788 @emph{virgula} or @emph{caesura} instead of divisio minima.
2789 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
2792 @lilypondfile[quote,raggedright]{divisiones.ly}
2796 @cindex @code{\virgula}
2798 @cindex @code{\caesura}
2800 @cindex @code{\divisioMinima}
2801 @code{\divisioMinima},
2802 @cindex @code{\divisioMaior}
2803 @code{\divisioMaior},
2804 @cindex @code{\divisioMaxima}
2805 @code{\divisioMaxima},
2806 @cindex @code{\finalis}
2811 In this manual: @ref{Breath marks}.
2813 Program reference: @internalsref{BreathingSign}.
2815 Examples: @inputfileref{input/@/test,divisiones@/.ly}.
2818 @subsection Ligatures
2822 @c TODO: Should double check if I recalled things correctly when I wrote
2823 @c down the following paragraph by heart.
2825 A ligature is a graphical symbol that represents at least two distinct
2826 notes. Ligatures originally appeared in the manuscripts of Gregorian
2827 chant notation to denote ascending or descending sequences of notes.
2829 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
2830 Some ligature styles may need additional input syntax specific for
2831 this particular type of ligature. By default, the
2832 @internalsref{LigatureBracket} engraver just puts a square bracket
2835 @lilypond[quote,raggedright,verbatim]
2843 To select a specific style of ligatures, a proper ligature engraver
2844 has to be added to the @internalsref{Voice} context, as explained in
2845 the following subsections. Only white mensural ligatures
2846 are supported with certain limitations.
2852 Ligatures need special spacing that has not yet been implemented. As
2853 a result, there is too much space between ligatures most of the time,
2854 and line breaking often is unsatisfactory. Also, lyrics do not
2855 correctly align with ligatures.
2857 Accidentals must not be printed within a ligature, but instead need to
2858 be collected and printed in front of it.
2860 Augmentum dots within ligatures are not handled correctly.
2862 The syntax still uses the deprecated infix style @code{\[ music expr
2863 \]}. For consistency reasons, it will eventually be changed to
2864 postfix style @code{note\[ ... note\]}. Alternatively, the file
2865 @file{gregorian@/-init@/.ly} can be included; it provides a scheme
2868 \ligature @var{music expr}
2870 with the same effect and is believed to be stable.
2873 * White mensural ligatures::
2874 * Gregorian square neumes ligatures::
2877 @node White mensural ligatures
2878 @subsubsection White mensural ligatures
2880 @cindex Mensural ligatures
2881 @cindex White mensural ligatures
2883 There is limited support for white mensural ligatures.
2885 To engrave white mensural ligatures, in the layout block put the
2886 @internalsref{Mensural_ligature_engraver} into the
2887 @internalsref{Voice} context, and remove the
2888 @internalsref{Ligature_bracket_engraver}, like this
2894 \remove Ligature_bracket_engraver
2895 \consists Mensural_ligature_engraver
2900 There is no additional input language to describe the shape of a
2901 white mensural ligature. The shape is rather determined solely from
2902 the pitch and duration of the enclosed notes. While this approach may
2903 take a new user a while to get accustomed to, it has the great advantage
2904 that the full musical information of the ligature is known internally.
2905 This is not only required for correct MIDI output, but also allows for
2906 automatic transcription of the ligatures.
2911 \set Score.timing = ##f
2912 \set Score.defaultBarType = "empty"
2913 \override NoteHead #'style = #'neomensural
2914 \override Staff.TimeSignature #'style = #'neomensural
2918 \[ d\longa c\breve f e d \]
2920 \[ c'\maxima d'\longa \]
2924 @lilypond[quote,raggedright]
2927 \set Score.timing = ##f
2928 \set Score.defaultBarType = "empty"
2929 \override NoteHead #'style = #'neomensural
2930 \override Staff.TimeSignature #'style = #'neomensural
2934 \[ d\longa c\breve f e d \]
2936 \[ c'\maxima d'\longa \]
2943 \remove Ligature_bracket_engraver
2944 \consists Mensural_ligature_engraver
2950 Without replacing @internalsref{Ligature_bracket_engraver} with
2951 @internalsref{Mensural_ligature_engraver}, the same music transcribes
2954 @lilypond[quote,raggedright]
2956 \set Score.timing = ##f
2957 \set Score.defaultBarType = "empty"
2958 \override NoteHead #'style = #'neomensural
2959 \override Staff.TimeSignature #'style = #'neomensural
2963 \[ d\longa c\breve f e d \]
2965 \[ c'\maxima d'\longa \]
2973 The invisible rests (@code{s4}) in the example are used to compensate
2974 for the poor horizontal spacing.
2976 @node Gregorian square neumes ligatures
2977 @subsubsection Gregorian square neumes ligatures
2979 @cindex Square neumes ligatures
2980 @cindex Gregorian square neumes ligatures
2982 There is limited support for Gregorian square neumes notation
2983 (following the style of the Editio Vaticana). Core ligatures can
2984 already be typeset, but essential issues for serious typesetting are
2985 still lacking, such as (among others) horizontal alignment of multiple
2986 ligatures, lyrics alignment and proper handling of accidentals.
2989 The following table contains the extended neumes table of the 2nd
2990 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
2991 1983 by the monks of Solesmes.
2993 @multitable @columnfractions .4 .2 .2 .2
3010 @c TODO: \layout block is identical in all of the below examples.
3011 @c Therefore, it should somehow be included rather than duplicated all
3014 @c why not make identifiers in ly/engraver-init.ly? --hwn
3016 @c Because it's just used to typeset plain notes without
3017 @c a staff for demonstration purposes rather than something
3018 @c special of Gregorian chant notation. --jr
3023 @lilypond[staffsize=26,linewidth=1.5\cm]
3024 \include "gregorian-init.ly"
3029 \noBreak s^\markup {"a"} \noBreak
3031 % Punctum Inclinatum
3033 \noBreak s^\markup {"b"}
3035 \layout { \neumeDemoLayout }}
3038 @lilypond[staffsize=26,linewidth=2.5\cm]
3039 \include "gregorian-init.ly"
3042 % Punctum Auctum Ascendens
3043 \[ \auctum \ascendens b \]
3044 \noBreak s^\markup {"c"} \noBreak
3046 % Punctum Auctum Descendens
3047 \[ \auctum \descendens b \]
3048 \noBreak s^\markup {"d"} \noBreak
3050 % Punctum Inclinatum Auctum
3051 \[ \inclinatum \auctum b \]
3052 \noBreak s^\markup {"e"}
3054 \layout { \neumeDemoLayout }}
3057 @lilypond[staffsize=26,linewidth=1.0\cm]
3058 \include "gregorian-init.ly"
3061 % Punctum Inclinatum Parvum
3062 \[ \inclinatum \deminutum b \]
3063 \noBreak s^\markup {"f"}
3065 \layout { \neumeDemoLayout }}
3071 @lilypond[staffsize=26,linewidth=1.0\cm]
3072 \include "gregorian-init.ly"
3077 \noBreak s^\markup {"g"}
3079 \layout { \neumeDemoLayout }}
3085 @code{3. Apostropha vel Stropha}
3087 @lilypond[staffsize=26,linewidth=1.0\cm]
3088 \include "gregorian-init.ly"
3093 \noBreak s^\markup {"h"}
3095 \layout { \neumeDemoLayout }}
3098 @lilypond[staffsize=26,linewidth=1.0\cm]
3099 \include "gregorian-init.ly"
3103 \[ \stropha \auctum b \]
3104 \noBreak s^\markup {"i"}
3106 \layout { \neumeDemoLayout }}
3113 @lilypond[staffsize=26,linewidth=1.0\cm]
3114 \include "gregorian-init.ly"
3119 \noBreak s^\markup {"j"}
3121 \layout { \neumeDemoLayout }}
3127 @code{5. Clivis vel Flexa}
3129 @lilypond[staffsize=26,linewidth=1.0\cm]
3130 \include "gregorian-init.ly"
3137 \layout { \neumeDemoLayout }}
3140 @lilypond[staffsize=26,linewidth=2.0\cm]
3141 \include "gregorian-init.ly"
3144 % Clivis Aucta Descendens
3145 \[ b \flexa \auctum \descendens g \]
3146 \noBreak s^\markup {"l"} \noBreak
3148 % Clivis Aucta Ascendens
3149 \[ b \flexa \auctum \ascendens g \]
3150 \noBreak s^\markup {"m"}
3152 \layout { \neumeDemoLayout }}
3155 @lilypond[staffsize=26,linewidth=1.0\cm]
3156 \include "gregorian-init.ly"
3160 \[ b \flexa \deminutum g \]
3163 \layout { \neumeDemoLayout }}
3167 @code{6. Podatus vel Pes}
3169 @lilypond[staffsize=26,linewidth=1.0\cm]
3170 \include "gregorian-init.ly"
3177 \layout { \neumeDemoLayout }}
3180 @lilypond[staffsize=26,linewidth=2.0\cm]
3181 \include "gregorian-init.ly"
3184 % Pes Auctus Descendens
3185 \[ g \pes \auctum \descendens b \]
3186 \noBreak s^\markup {"p"} \noBreak
3188 % Pes Auctus Ascendens
3189 \[ g \pes \auctum \ascendens b \]
3190 \noBreak s^\markup {"q"}
3192 \layout { \neumeDemoLayout }}
3195 @lilypond[staffsize=26,linewidth=1.0\cm]
3196 \include "gregorian-init.ly"
3200 \[ g \pes \deminutum b \]
3203 \layout { \neumeDemoLayout }}
3207 @code{7. Pes Quassus}
3209 @lilypond[staffsize=26,linewidth=1.0\cm]
3210 \include "gregorian-init.ly"
3214 \[ \oriscus g \pes \virga b \]
3217 \layout { \neumeDemoLayout }}
3220 @lilypond[staffsize=26,linewidth=1.0\cm]
3221 \include "gregorian-init.ly"
3224 % Pes Quassus Auctus Descendens
3225 \[ \oriscus g \pes \auctum \descendens b \]
3228 \layout { \neumeDemoLayout }}
3233 @code{8. Quilisma Pes}
3235 @lilypond[staffsize=26,linewidth=1.0\cm]
3236 \include "gregorian-init.ly"
3240 \[ \quilisma g \pes b \]
3243 \layout { \neumeDemoLayout }}
3246 @lilypond[staffsize=26,linewidth=1.0\cm]
3247 \include "gregorian-init.ly"
3250 % Quilisma Pes Auctus Descendens
3251 \[ \quilisma g \pes \auctum \descendens b \]
3254 \layout { \neumeDemoLayout }}
3259 @code{9. Podatus Initio Debilis}
3261 @lilypond[staffsize=26,linewidth=1.0\cm]
3262 \include "gregorian-init.ly"
3265 % Pes Initio Debilis
3266 \[ \deminutum g \pes b \]
3269 \layout { \neumeDemoLayout }}
3272 @lilypond[staffsize=26,linewidth=1.0\cm]
3273 \include "gregorian-init.ly"
3276 % Pes Auctus Descendens Initio Debilis
3277 \[ \deminutum g \pes \auctum \descendens b \]
3280 \layout { \neumeDemoLayout }}
3287 @lilypond[staffsize=26,linewidth=1.0\cm]
3288 \include "gregorian-init.ly"
3292 \[ a \pes b \flexa g \]
3295 \layout { \neumeDemoLayout }}
3298 @lilypond[staffsize=26,linewidth=1.0\cm]
3299 \include "gregorian-init.ly"
3302 % Torculus Auctus Descendens
3303 \[ a \pes b \flexa \auctum \descendens g \]
3306 \layout { \neumeDemoLayout }}
3309 @lilypond[staffsize=26,linewidth=1.0\cm]
3310 \include "gregorian-init.ly"
3313 % Torculus Deminutus
3314 \[ a \pes b \flexa \deminutum g \]
3317 \layout { \neumeDemoLayout }}
3321 @code{11. Torculus Initio Debilis}
3323 @lilypond[staffsize=26,linewidth=1.0\cm]
3324 \include "gregorian-init.ly"
3327 % Torculus Initio Debilis
3328 \[ \deminutum a \pes b \flexa g \]
3331 \layout { \neumeDemoLayout }}
3334 @lilypond[staffsize=26,linewidth=1.0\cm]
3335 \include "gregorian-init.ly"
3338 % Torculus Auctus Descendens Initio Debilis
3339 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
3342 \layout { \neumeDemoLayout }}
3345 @lilypond[staffsize=26,linewidth=1.0\cm]
3346 \include "gregorian-init.ly"
3349 % Torculus Deminutus Initio Debilis
3350 \[ \deminutum a \pes b \flexa \deminutum g \]
3353 \layout { \neumeDemoLayout }}
3357 @code{12. Porrectus}
3359 @lilypond[staffsize=26,linewidth=1.0\cm]
3360 \include "gregorian-init.ly"
3364 \[ a \flexa g \pes b \]
3367 \layout { \neumeDemoLayout }}
3370 @lilypond[staffsize=26,linewidth=1.0\cm]
3371 \include "gregorian-init.ly"
3374 % Porrectus Auctus Descendens
3375 \[ a \flexa g \pes \auctum \descendens b \]
3378 \layout { \neumeDemoLayout }}
3381 @lilypond[staffsize=26,linewidth=1.0\cm]
3382 \include "gregorian-init.ly"
3385 % Porrectus Deminutus
3386 \[ a \flexa g \pes \deminutum b \]
3389 \layout { \neumeDemoLayout }}
3395 @lilypond[staffsize=26,linewidth=1.0\cm]
3396 \include "gregorian-init.ly"
3400 \[ \virga b \inclinatum a \inclinatum g \]
3403 \layout { \neumeDemoLayout }
3407 @lilypond[staffsize=26,linewidth=1.0\cm]
3408 \include "gregorian-init.ly"
3412 \[ \virga b \inclinatum a \inclinatum \auctum g \]
3415 \layout { \neumeDemoLayout }}
3418 @lilypond[staffsize=26,linewidth=1.0\cm]
3419 \include "gregorian-init.ly"
3422 % Climacus Deminutus
3423 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
3426 \layout { \neumeDemoLayout }}
3430 @code{14. Scandicus}
3432 @lilypond[staffsize=26,linewidth=1.0\cm]
3433 \include "gregorian-init.ly"
3437 \[ g \pes a \virga b \]
3440 \layout { \neumeDemoLayout }}
3443 @lilypond[staffsize=26,linewidth=1.0\cm]
3444 \include "gregorian-init.ly"
3447 % Scandicus Auctus Descendens
3448 \[ g \pes a \pes \auctum \descendens b \]
3451 \layout { \neumeDemoLayout }}
3454 @lilypond[staffsize=26,linewidth=1.0\cm]
3455 \include "gregorian-init.ly"
3458 % Scandicus Deminutus
3459 \[ g \pes a \pes \deminutum b \]
3462 \layout { \neumeDemoLayout }}
3468 @lilypond[staffsize=26,linewidth=1.0\cm]
3469 \include "gregorian-init.ly"
3473 \[ g \oriscus a \pes \virga b \]
3476 \layout { \neumeDemoLayout }}
3479 @lilypond[staffsize=26,linewidth=1.0\cm]
3480 \include "gregorian-init.ly"
3483 % Salicus Auctus Descendens
3484 \[ g \oriscus a \pes \auctum \descendens b \]
3487 \layout { \neumeDemoLayout }}
3494 @lilypond[staffsize=26,linewidth=1.0\cm]
3495 \include "gregorian-init.ly"
3499 \[ \stropha b \stropha b \stropha a \]
3502 \layout { \neumeDemoLayout }
3511 Unlike most other neumes notation systems, the input language for
3512 neumes does not reflect the typographical appearance, but is designed
3513 to focus on musical meaning. For example, @code{\[ a \pes b
3514 \flexa g \]} produces a Torculus consisting of three Punctum heads,
3515 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
3516 curved flexa shape and only a single Punctum head. There is no
3517 command to explicitly typeset the curved flexa shape; the decision of
3518 when to typeset a curved flexa shape is based on the musical
3519 input. The idea of this approach is to separate the musical aspects
3520 of the input from the notation style of the output. This way, the
3521 same input can be reused to typeset the same music in a different
3522 style of Gregorian chant notation.
3524 The following table shows the code fragments that produce the
3525 ligatures in the above neumes table. The letter in the first column
3526 in each line of the below table indicates to which ligature in the
3527 above table it refers. The second column gives the name of the
3528 ligature. The third column shows the code fragment that produces this
3529 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
3531 @multitable @columnfractions .02 .31 .67
3551 @code{\[ \inclinatum b \]}
3559 @code{\[ \auctum \ascendens b \]}
3567 @code{\[ \auctum \descendens b \]}
3572 Punctum Inclinatum@*
3575 @code{\[ \inclinatum \auctum b \]}
3580 Punctum Inclinatum@*
3582 @code{\[ \inclinatum \deminutum b \]}
3589 @code{\[ \virga b \]}
3596 @code{\[ \stropha b \]}
3603 @code{\[ \stropha \auctum b \]}
3610 @code{\[ \oriscus b \]}
3617 @code{\[ b \flexa g \]}
3625 @code{\[ b \flexa \auctum \descendens g \]}
3633 @code{\[ b \flexa \auctum \ascendens g \]}
3640 @code{\[ b \flexa \deminutum g \]}
3647 @code{\[ g \pes b \]}
3655 @code{\[ g \pes \auctum \descendens b \]}
3663 @code{\[ g \pes \auctum \ascendens b \]}
3670 @code{\[ g \pes \deminutum b \]}
3677 @code{\[ \oriscus g \pes \virga b \]}
3683 Auctus Descendens @tab
3684 @code{\[ \oriscus g \pes \auctum \descendens b \]}
3691 @code{\[ \quilisma g \pes b \]}
3699 @code{\[ \quilisma g \pes \auctum \descendens b \]}
3706 @code{\[ \deminutum g \pes b \]}
3711 Pes Auctus Descendens@*
3714 @code{\[ \deminutum g \pes \auctum \descendens b \]}
3721 @code{\[ a \pes b \flexa g \]}
3729 @code{\[ a \pes b \flexa \auctum \descendens g \]}
3736 @code{\[ a \pes b \flexa \deminutum g \]}
3741 Torculus Initio Debilis
3743 @code{\[ \deminutum a \pes b \flexa g \]}
3749 Descendens Initio Debilis
3751 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
3756 Torculus Deminutus@*
3759 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
3766 @code{\[ a \flexa g \pes b \]}
3774 @code{\[ a \flexa g \pes \auctum \descendens b \]}
3781 @code{\[ a \flexa g \pes \deminutum b \]}
3788 @code{\[ \virga b \inclinatum a \inclinatum g \]}
3795 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
3802 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
3809 @code{\[ g \pes a \virga b \]}
3817 @code{\[ g \pes a \pes \auctum \descendens b \]}
3824 @code{\[ g \pes a \pes \deminutum b \]}
3831 @code{\[ g \oriscus a \pes \virga b \]}
3836 Salicus Auctus Descendens
3838 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
3845 @code{\[ \stropha b \stropha b \stropha a \]}
3850 The following head prefixes are supported
3852 @cindex @code{\virga}
3854 @cindex @code{\stropha}
3856 @cindex @code{\inclinatum}
3858 @cindex @code{\auctum}
3860 @cindex @code{\descendens}
3862 @cindex @code{\ascendens}
3864 @cindex @code{\oriscus}
3866 @cindex @code{\quilisma}
3868 @cindex @code{\deminutum}
3871 Head prefixes can be accumulated, though restrictions apply. For
3872 example, either @code{\descendens} or @code{\ascendens} can be applied
3873 to a head, but not both to the same head.
3876 @cindex @code{\flexa}
3877 Two adjacent heads can be tied together with the @code{\pes} and
3878 @code{\flexa} infix commands for a rising and falling line of melody,
3883 @node Gregorian Chant contexts
3884 @subsection Gregorian Chant contexts
3886 @cindex VaticanaVoiceContext
3887 @cindex VaticanaStaffContext
3889 The predefined @code{VaticanaVoiceContext} and
3890 @code{VaticanaStaffContext} can be used to engrave a piece of
3891 Gregorian Chant in the style of the Editio Vaticana. These contexts
3892 initialize all relevant context properties and grob properties to
3893 proper values, so you can immediately go ahead entering the chant, as
3894 the following excerpt demonstrates
3896 @lilypond[quote,raggedright,packed,verbatim]
3897 \include "gregorian-init.ly"
3900 \context VaticanaVoice = "cantus" {
3901 \override Staff.StaffSymbol #'color = #red
3902 \override Staff.LedgerLineSpanner #'color = #red
3903 \override Score.BarNumber #'transparent = ##t {
3904 \[ c'\melisma c' \flexa a \]
3905 \[ a \flexa \deminutum g\melismaEnd \]
3907 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
3908 c' \divisioMinima \break
3909 \[ c'\melisma c' \flexa a \]
3910 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
3913 \lyricsto "cantus" \new Lyrics {
3914 San- ctus, San- ctus, San- ctus
3921 @node Mensural contexts
3922 @subsection Mensural contexts
3924 @cindex MensuralVoiceContext
3925 @cindex MensuralStaffContext
3927 The predefined @code{MensuralVoiceContext} and
3928 @code{MensuralStaffContext} can be used to engrave a piece in mensural
3929 style. These contexts initialize all relevant context properties and
3930 grob properties to proper values, so you can immediately go ahead
3931 entering the chant, as the following excerpt demonstrates
3933 @lilypond[quote,raggedright,verbatim]
3936 \context MensuralVoice = "discantus" \transpose c c' {
3937 \override Score.BarNumber #'transparent = ##t {
3938 c'1\melisma bes a g\melismaEnd
3940 \[ f1\melisma a c'\breve d'\melismaEnd \]
3942 c'\breve\melisma a1 g1\melismaEnd
3943 fis\longa^\signumcongruentiae
3946 \lyricsto "discantus" \new Lyrics {
3947 San -- ctus, San -- ctus, San -- ctus
3953 @node Musica ficta accidentals
3954 @subsection Musica ficta accidentals
3956 In European music from before about 1600, singers were often expected
3957 to chromatically alter notes at their own initiative. This is called
3958 ``Musica Ficta''. In modern transcriptions, these accidentals are
3959 usually printed over the note.
3961 @cindex Musica ficta
3963 Support for such suggested accidentals is included, and can be
3964 switched on by setting @code{suggestAccidentals} to true.
3966 @cindex @code{suggestAccidentals}
3968 @lilypond[verbatim,fragment,relative=1]
3970 \set suggestAccidentals = ##t
3976 Program reference: @internalsref{Accidental_engraver} engraver and the
3977 @internalsref{AccidentalSuggestion} object.
3980 @subsection Figured bass
3982 @cindex Basso continuo
3984 @c TODO: musicological blurb about FB
3987 LilyPond has support for figured bass
3989 @lilypond[quote,raggedright,verbatim,fragment]
3991 \context Voice { \clef bass dis4 c d ais g fis}
3992 \context FiguredBass \figuremode {
3993 < 6 >4 < 7\+ >8 < 6+ [_!] >
4000 The support for figured bass consists of two parts: there is an input
4001 mode, introduced by @code{\figuremode}, where you can enter bass figures
4002 as numbers, and there is a context called @internalsref{FiguredBass} that
4003 takes care of making @internalsref{BassFigure} objects.
4005 In figures input mode, a group of bass figures is delimited by
4006 @code{<} and @code{>}. The duration is entered after the @code{>}
4010 @lilypond[quote,raggedright,fragment]
4011 \context FiguredBass
4012 \figuremode { <4 6> }
4015 Accidentals are added when you append @code{-}, @code{!}, and @code{+}
4016 to the numbers. A plus sign is added when you append @code{\+}, and
4017 diminished fifths and sevenths can be obtained with @code{5/} and @code{7/}.
4020 <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/>
4022 @lilypond[quote,raggedright,fragment]
4023 \figures { <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/> }
4026 Spaces may be inserted by using @code{_}. Brackets are
4027 introduced with @code{[} and @code{]}. You can also include text
4028 strings and text markups, see @ref{Overview of text markup commands}.
4031 < [4 6] 8 [_! 12] > < 5 \markup @{ \number 6 \super (1) @} >
4033 @lilypond[quote,raggedright,fragment]
4034 \context FiguredBass
4035 \figuremode { < [4 6] 8 [_! 12] > < 5 \markup{ \tiny \number 6 \super (1)} > }
4039 It is also possible to use continuation lines for repeated figures,
4041 @lilypond[verbatim,relative=1]
4048 \set useBassFigureExtenders = ##t
4054 The @code{FiguredBass} context doesn't pay attention to the actual
4055 bass line. As a consequence, you may have to insert extra figures to
4056 get extender lines below all notes, and you may have to add @code{\!}
4057 to avoid getting an extender line, eg.
4059 @lilypond[relative=1]
4063 \set useBassFigureExtenders = ##t
4064 <6 4->4. <6 4->16. <6 4->32 <5>8. r16 <6>8 <6\! 5->
4068 f16. g32 f16. g32 f16. g32 f16. g32 f8. es16 d8 es
4073 When using continuation lines, common figures are always put in the
4074 same vertical position. When this is unwanted, you can insert a rest
4075 with @code{r}. The rest will clear any previous alignment. For
4076 example, you can write
4088 Accidentals and plus signs can appear before or after the numbers,
4089 depending on the @code{figuredBassAlterationDirection} and @code{figuredBassPlusDirection}
4095 \set figuredBassAlterationDirection = #1
4097 \set figuredBassPlusDirection = #1
4099 \set figuredBassAlterationDirection = #-1
4105 Although the support for figured bass may superficially resemble chord
4106 support, it is much simpler. The @code{\figuremode} mode simply
4107 stores the numbers and @internalsref{FiguredBass} context prints them
4108 as entered. There is no conversion to pitches and no realizations of
4109 the bass are played in the MIDI file.
4111 Internally, the code produces markup texts. You can use any of the
4112 markup text properties to override formatting. For example, the
4113 vertical spacing of the figures may be set with @code{baseline-skip}.
4117 Program reference: @internalsref{NewBassFigure},
4118 @internalsref{BassFigureAlignment}, @internalsref{BassFigureLine},
4119 @internalsref{BassFigureBracket}, and
4120 @internalsref{BassFigureContinuation} objects and
4121 @internalsref{FiguredBass} context.
4125 @node Other instrument specific notation
4126 @section Other instrument specific notation
4128 This section includes extra information for writing for instruments.
4131 * Artificial harmonics (strings)::
4134 @node Artificial harmonics (strings)
4135 @subsection Artificial harmonics (strings)
4137 @cindex artificial harmonics
4139 Artificial harmonics are notated with a different notehead style. They
4140 are entered by marking the harmonic pitch with @code{\harmonic}.
4142 @lilypond[raggedright,verbatim,quote,fragment,relative=1]