1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
6 When revising a translation, copy the HEAD committish of the
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11 @c A menu is needed before every deeper *section nesting of @node's; run
12 @c M-x texinfo-all-menus-update
13 @c to automatically fill in these menus before saving changes
15 @node Instrument-specific notation
16 @chapter Instrument-specific notation
18 This chapter explains how to use notation for specific instruments.
28 * Other instrument specific notation::
36 Piano staves are two normal staves coupled with a brace. The staves
37 are largely independent, but sometimes voices can cross between the
38 two staves. The same notation is also used for harps and other key
39 instruments. The @internalsref{PianoStaff} is especially built to
40 handle this cross-staffing behavior. In this section we discuss the
41 @internalsref{PianoStaff} and some other pianistic peculiarities.
44 * Automatic staff changes::
45 * Manual staff switches::
47 * Staff switch lines::
53 Dynamics are not centered, but workarounds do exist. See the
54 @q{piano centered dynamics} template in @ref{Piano templates}.
56 @cindex cross staff stem
57 @cindex stem, cross staff
58 @cindex distance between staves in piano music
61 @node Automatic staff changes
62 @subsection Automatic staff changes
63 @cindex Automatic staff changes
65 Voices can be made to switch automatically between the top and the bottom
66 staff. The syntax for this is
70 \autochange @dots{}@var{music}@dots{}
75 This will create two staves inside the current PianoStaff, called
76 @code{up} and @code{down}. The lower staff will be in bass clef by
79 A @code{\relative} section that is outside of @code{\autochange} has
80 no effect on the pitches of @var{music}, so, if necessary, put
81 @code{\relative} inside @code{\autochange} like
85 \autochange \relative @dots{} @dots{}
90 The autochanger switches on basis of the pitch (middle C is the turning
91 point), and it looks ahead skipping over rests to switch in
92 advance. Here is a practical example
94 @lilypond[quote,verbatim,ragged-right]
96 \autochange \relative c'
105 In this manual: @ref{Manual staff switches}.
107 Program reference: @internalsref{AutoChangeMusic}.
113 The staff switches may not end up in optimal places. For high
114 quality output, staff switches should be specified manually.
117 @code{\autochange} cannot be inside @code{\times}.
120 @node Manual staff switches
121 @subsection Manual staff switches
123 @cindex manual staff switches
124 @cindex staff switch, manual
126 Voices can be switched between staves manually, using the command
128 \change Staff = @var{staffname} @var{music}
132 The string @var{staffname} is the name of the staff. It switches the
133 current voice from its current staff to the Staff called
134 @var{staffname}. Typically @var{staffname} is @code{"up"} or
135 @code{"down"}. The @context{Staff} referred to must already exist, so
136 usually the setup for a score will start with a setup of the staves,
141 \skip 1 * 10 % @emph{keep staff alive}
143 \new Staff = "down" @{
144 \skip 1 * 10 % @emph{idem}
150 and the @context{Voice} is inserted afterwards
153 \context Staff = down
154 \new Voice @{ @dots{} \change Staff = up @dots{} @}
162 Pianos have pedals that alter the way sound is produced. Generally, a
163 piano has three pedals, sustain, una corda, and sostenuto.
166 Piano pedal instruction can be expressed by attaching
167 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
168 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
171 @lilypond[quote,ragged-right,fragment,verbatim]
172 c'4\sustainDown c'4\sustainUp
175 What is printed can be modified by setting @code{pedal@var{X}Strings},
176 where @var{X} is one of the pedal types: @code{Sustain},
177 @code{Sostenuto} or @code{UnaCorda}. Refer to
178 @internalsref{SustainPedal} in the program reference for more
181 Pedals can also be indicated by a sequence of brackets, by setting the
182 @code{pedalSustainStyle} property to bracket objects
184 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
185 \set Staff.pedalSustainStyle = #'bracket
187 b\sustainUp\sustainDown
188 b g \sustainUp a \sustainDown \bar "|."
191 A third style of pedal notation is a mixture of text and brackets,
192 obtained by setting the @code{pedalSustainStyle} property to
195 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
196 \set Staff.pedalSustainStyle = #'mixed
198 b\sustainUp\sustainDown
199 b g \sustainUp a \sustainDown \bar "|."
202 The default @q{*Ped.} style for sustain and damper pedals corresponds to
203 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
206 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
207 c\sostenutoDown d e c, f g a\sostenutoUp
210 For fine-tuning the appearance of a pedal bracket, the properties
211 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
212 @code{PianoPedalBracket} objects (see
213 @internalsref{PianoPedalBracket} in the Program reference) can be
214 modified. For example, the bracket may be extended to the right edge
217 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
218 \override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
219 c\sostenutoDown d e c, f g a\sostenutoUp
224 In this manual: @ref{Laissez vibrer ties}.
226 @node Staff switch lines
227 @subsection Staff switch lines
231 @cindex staff switching
234 @funindex followVoice
236 Whenever a voice switches to another staff, a line connecting the notes
237 can be printed automatically. This is switched on by setting
238 @code{followVoice} to true
240 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
243 \set followVoice = ##t
248 \new Staff="two" { \clef bass \skip 1*2 }
254 Program reference: @internalsref{VoiceFollower}.
258 @funindex \showStaffSwitch
259 @code{\showStaffSwitch},
260 @funindex \hideStaffSwitch
261 @code{\hideStaffSwitch}.
264 @node Cross staff stems
265 @subsection Cross staff stems
267 Chords that cross staves may be produced by increasing the length
268 of the stem in the lower staff, so it reaches the stem in the upper
269 staff, or vice versa.
271 @lilypond[ragged-right,verbatim,quote]
273 \once \override Stem #'length = #10
274 \once \override Stem #'cross-staff = ##t
276 noFlag = \once \override Stem #'flag-style = #'no-flag
279 \stemDown \stemExtend
297 * Introducing chord names::
299 * Printing chord names::
303 @c awkward name; awkward section name.
304 @c still, the Basic "chords" seems like a good name... :(
305 @node Introducing chord names
306 @subsection Introducing chord names
309 LilyPond has support for printing chord names. Chords may be entered
310 in musical chord notation, i.e., @code{< .. >}, but they can also be
311 entered by name. Internally, the chords are represented as a set of
312 pitches, so they can be transposed
315 @lilypond[quote,ragged-right,verbatim,ragged-right]
316 twoWays = \transpose c c' {
325 << \new ChordNames \twoWays
326 \new Voice \twoWays >>
329 This example also shows that the chord printing routines do not try to
330 be intelligent. The last chord (@code{f bes d}) is not interpreted as
333 Note that the duration of chords must be specified outside the
342 @subsection Chords mode
345 In chord mode sets of pitches (chords) are entered with normal note
346 names. A chord is entered by the root, which is entered like a
349 @lilypond[quote,ragged-right,fragment,verbatim]
350 \chordmode { es4. d8 c2 }
354 The mode is introduced by the keyword @code{\chordmode}.
359 Other chords may be entered by suffixing a colon and introducing a
360 modifier (which may include a number if desired)
361 @lilypond[quote,fragment,verbatim]
362 \chordmode { e1:m e1:7 e1:m7 }
364 The first number following the root is taken to be the @q{type} of the
365 chord, thirds are added to the root until it reaches the specified
367 @lilypond[quote,fragment,verbatim]
368 \chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
371 @cindex root of chord
372 @cindex additions, in chords
373 @cindex removals, in chords
375 More complex chords may also be constructed adding separate steps
376 to a chord. Additions are added after the number following
377 the colon and are separated by dots
378 @lilypond[quote,verbatim,fragment]
379 \chordmode { c:5.6 c:3.7.8 c:3.6.13 }
381 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
383 @lilypond[quote,verbatim,fragment]
384 \chordmode { c:7+ c:5+.3- c:3-.5-.7- }
386 Removals are specified similarly and are introduced by a caret. They
387 must come after the additions
388 @lilypond[quote,verbatim,fragment]
389 \chordmode { c^3 c:7^5 c:9^3.5 }
392 Modifiers can be used to change pitches. The following modifiers are
397 The minor chord. This modifier lowers the 3rd and (if present) the 7th step.
400 The diminished chord. This modifier lowers the 3rd, 5th and (if present)
404 The augmented chord. This modifier raises the 5th step.
407 The major 7th chord. This modifier raises the 7th step if present.
410 The suspended 4th or 2nd. This modifier removes the 3rd
411 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
415 Modifiers can be mixed with additions
416 @lilypond[quote,verbatim,fragment]
417 \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
420 @cindex modifiers, in chords.
427 Since an unaltered 11 does not sound good when combined with an
428 unaltered 13, the 11 is removed in this case (unless it is added
430 @lilypond[quote,ragged-right,fragment,verbatim]
431 \chordmode { c:13 c:13.11 c:m13 }
436 An inversion (putting one pitch of the chord on the bottom), as well
437 as bass notes, can be specified by appending
438 @code{/}@var{pitch} to the chord
439 @lilypond[quote,ragged-right,fragment,verbatim]
440 \chordmode { c1 c/g c/f }
444 A bass note can be added instead of transposed out of the chord,
445 by using @code{/+}@var{pitch}.
447 @lilypond[quote,ragged-right,fragment,verbatim]
448 \chordmode { c1 c/+g c/+f }
451 Chords is a mode similar to @code{\lyricmode}, etc. Most
452 of the commands continue to work, for example, @code{r} and
453 @code{\skip} can be used to insert rests and spaces, and property
454 commands may be used to change various settings.
460 Each step can only be present in a chord once. The following
461 simply produces the augmented chord, since @code{5+} is interpreted
464 @lilypond[quote,ragged-right,verbatim,fragment]
465 \chordmode { c:5.5-.5+ }
469 @node Printing chord names
470 @subsection Printing chord names
472 @cindex printing chord names
476 For displaying printed chord names, use the @internalsref{ChordNames} context.
477 The chords may be entered either using the notation
478 described above, or directly using @code{<} and @code{>}
480 @lilypond[quote,verbatim,ragged-right]
482 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
485 \new ChordNames \harmonies
486 \new Staff \harmonies
490 You can make the chord changes stand out by setting
491 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
492 display chord names when there is a change in the chords scheme and at
493 the start of a new line
495 @lilypond[quote,verbatim,ragged-right]
496 harmonies = \chordmode {
497 c1:m c:m \break c:m c:m d
501 \set chordChanges = ##t
503 \new Staff \transpose c c' \harmonies
507 The previous examples all show chords over a staff. This is not
508 necessary. Chords may also be printed separately. It may be necessary
509 to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
512 @lilypond[ragged-right,verbatim]
513 \new ChordNames \with {
514 \override BarLine #'bar-size = #4
515 voltaOnThisStaff = ##t
516 \consists Bar_engraver
517 \consists "Volta_engraver"
519 \chordmode { \repeat volta 2 {
529 The default chord name layout is a system for Jazz music, proposed by
530 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
534 @funindex chordNameExceptions
535 @item chordNameExceptions
536 This is a list that contains the chords that have special formatting.
538 The exceptions list should be encoded as
540 @{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
543 To get this information into @code{chordNameExceptions} takes a little
544 manoeuvring. The following code transforms @code{chExceptionMusic}
545 (which is a sequential music) into a list of exceptions.
547 (sequential-music-to-chord-exceptions chExceptionMusic #t)
552 (sequential-music-to-chord-exceptions chExceptionMusic #t)
555 adds the new exceptions to the default ones, which are defined in
556 @file{ly/@/chord@/-modifier@/-init@/.ly}.
558 For an example of tuning this property, see also
559 @lsr{chords,chord@/-name@/-exceptions@/.ly}
560 @cindex exceptions, chord names.
563 @funindex majorSevenSymbol
564 @item majorSevenSymbol
565 This property contains the markup object used for the 7th step, when
566 it is major. Predefined options are @code{whiteTriangleMarkup} and
567 @code{blackTriangleMarkup}. See
568 @lsr{chords,chord@/-name@/-major7@/.ly} for an example.
570 @funindex chordNameSeparator
571 @item chordNameSeparator
572 Different parts of a chord name are normally separated by a
573 slash. By setting @code{chordNameSeparator}, you can specify other
575 @lilypond[quote,ragged-right,fragment,verbatim]
576 \new ChordNames \chordmode {
578 \set chordNameSeparator
579 = \markup { \typewriter "|" }
584 @funindex chordRootNamer
586 The root of a chord is usually printed as a letter with an optional
587 alteration. The transformation from pitch to letter is done by this
588 function. Special note names (for example, the German @q{H} for a
589 B-chord) can be produced by storing a new function in this property.
591 @funindex chordNoteNamer
593 The default is to print single pitch, e.g., the bass note, using the
594 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
595 to a specialized function to change this behavior. For example, the
596 base can be printed in lower case.
598 @funindex chordPrefixSpacer
599 @item chordPrefixSpacer
600 The @q{m} for minor chords is usually printed right after the root of
601 the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer
602 between the root and @q{m}. The spacer is not used when the root
607 The predefined variables @code{\germanChords},
608 @code{\semiGermanChords}, @code{\italianChords} and @code{\frenchChords}
609 set these variables. The effect is
612 @lilypondfile[ragged-right]{chord-names-languages.ly}
614 There are also two other chord name schemes implemented: an alternate
615 Jazz chord notation, and a systematic scheme called Banter chords. The
616 alternate Jazz notation is also shown on the chart in @ref{Chord name
617 chart}. Turning on these styles is demonstrated in
618 @lsr{chords,chord-names-jazz.ly}.
627 @funindex \germanChords
628 @code{\germanChords},
629 @funindex \semiGermanChords
630 @code{\semiGermanChords}.
631 @funindex \italianChords
632 @code{\italianChords}.
633 @funindex \frenchChords
634 @code{\frenchChords}.
644 Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
645 @file{scm/@/chord@/-entry@/.scm}.
650 Chord names are determined solely from the list of pitches. Chord
651 inversions are not identified, and neither are added bass notes. This
652 may result in strange chord names when chords are entered with the
653 @code{< .. >} syntax.
660 Since LilyPond input files are text, there are two issues to
661 consider when working with vocal music:
665 Song texts must be entered as text, not notes. For example, the
666 input@tie{}@code{d} should be interpreted as a one letter syllable, not the
670 Song texts must be aligned with the notes of their melody.
673 There are a few different ways to define lyrics; we shall begin
674 by examining the simplest method, and gradually increase complexity.
677 * Setting simple songs::
679 * Hyphens and extenders::
680 * The Lyrics context::
682 * Another way of entering lyrics::
683 * Flexibility in placement::
685 * More about stanzas::
687 * Other vocal issues::
693 Checking to make sure that text scripts and lyrics are within the margins is
694 a relatively large computational task. To speed up processing, lilypond does
695 not perform such calculations by default; to enable it, use
698 \override Score.PaperColumn #'keep-inside-line = ##t
701 To make lyrics avoid barlines as well, use
706 \consists "Bar_engraver"
707 \consists "Separating_line_group_engraver"
708 \override BarLine #'transparent = ##t
714 @node Setting simple songs
715 @subsection Setting simple songs
719 The easiest way to add lyrics to a melody is to append
722 \addlyrics @{ @var{the lyrics} @}
726 to a melody. Here is an example,
728 @lilypond[ragged-right,verbatim,fragment,quote]
730 \relative { c2 e4 g2. }
731 \addlyrics { play the game }
734 More stanzas can be added by adding more
735 @code{\addlyrics} sections
737 @lilypond[ragged-right,verbatim,fragment,quote]
739 \relative { c2 e4 g2. }
740 \addlyrics { play the game }
741 \addlyrics { speel het spel }
742 \addlyrics { joue le jeu }
745 The command @code{\addlyrics} cannot handle polyphony settings. For these
746 cases you should use @code{\lyricsto} and @code{\lyricmode}, as will be
747 introduced in @ref{Entering lyrics}.
751 @node Entering lyrics
752 @subsection Entering lyrics
757 @cindex spaces, in lyrics
758 @cindex quotes, in lyrics
760 Lyrics are entered in a special input mode. This mode is introduced
761 by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
762 @code{\lyricsto}. In this mode you can enter lyrics,
763 with punctuation and accents, and the input @code{d} is not parsed as
764 a pitch, but rather as a one letter syllable. Syllables are entered
765 like notes, but with pitches replaced by text. For example,
768 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
771 There are two main methods to specify the horizontal placement
772 of the syllables, either by specifying the duration of each syllable
773 explicitly, like in the example above, or by automatically aligning
774 the lyrics to a melody or other voice of music, using @code{\addlyrics}
775 or @code{\lyricsto}. For more details see @ref{The Lyrics context}.
777 A word or syllable of lyrics begins with an alphabetic character, and ends
779 any space or digit. The following characters can be any character
780 that is not a digit or white space. One important consequence of this
781 is that a word can end with @code{@}}. The following example is
782 usually a mistake in the input file. The syllable includes a @code{@}}, so
784 opening brace is not balanced
786 \lyricmode @{ twinkle@}
789 @funindex \property in \lyricmode
792 Similarly, a period which follows an alphabetic sequence is included in
793 the resulting string. As a consequence, spaces must be inserted around
794 property commands: do @emph{not} write
797 \override Score.LyricText #'font-shape = #'italic
804 \override Score . LyricText #'font-shape = #'italic
808 @cindex spaces, in lyrics
809 @cindex quotes, in lyrics
810 @cindex ties, in lyrics
812 In order to assign more than one syllable to a single note, you can
813 surround them with quotes or use a @code{_} character, to get spaces
814 between syllables, or use tilde symbol (@code{~}) to get a lyric tie.
816 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
818 \relative { c2 e4 g2 e4 }
819 \addlyrics { gran- de_a- mi- go }
820 \addlyrics { pu- "ro y ho-" nes- to }
821 \addlyrics { pu- ro~y~ho- nes- to }
824 The lyric ties is implemented with the Unicode character U+203F, so be
825 sure to have a font (Like DejaVuLGC) installed that includes this
829 To enter lyrics with characters from non-English languages, or with
830 accented and special characters (such as the heart symbol or slanted quotes),
831 simply insert the characters directly into the input file and save
832 it with utf-8 encoding. See @ref{Text encoding}, for more info.
834 @lilypond[quote,ragged-right,fragment,verbatim]
835 \relative { e4 f e d e f e2 }
836 \addlyrics { He said: “Let my peo ple go”. }
839 To use normal quotes in lyrics, add a backslash before the
842 @lilypond[quote,ragged-right,fragment,verbatim]
843 \relative c' { \time 3/4 e4 e4. e8 d4 e d c2. }
844 \addlyrics { "\"I" am so lone- "ly\"" said she }
847 The full definition of a word start in Lyrics mode is somewhat more
850 A word in Lyrics mode begins with: an alphabetic character, @code{_},
851 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
852 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
853 any 8-bit character with ASCII code over 127, or a two-character
854 combination of a backslash followed by one of @code{`}, @code{'},
855 @code{"}, or @code{^}.
857 To define identifiers containing lyrics, the function @code{lyricmode}
861 verseOne = \lyricmode @{ Joy to the world the Lord is come @}
864 \new Voice = "one" \relative c'' @{
867 c4 b8. a16 g4. f8 e4 d c2
869 \addlyrics @{ \verseOne @}
877 Program reference: @internalsref{LyricText}, @internalsref{LyricSpace}.
881 @node Hyphens and extenders
882 @subsection Hyphens and extenders
886 Centered hyphens are entered as @samp{--} between syllables.
887 The hyphen will have variable length depending on the space between
888 the syllables and it will be centered between the syllables.
893 When a lyric is sung over many notes (this is called a melisma), this is
894 indicated with a horizontal line centered between a syllable and the
895 next one. Such a line is called an extender line, and it is entered as
898 In tighly engraved music, hyphens can be removed. Whether this
899 happens can be controlled with the @code{minimum-distance} (minimum
900 distance between two syllables) and the @code{minimum-length}
901 (threshold below which hyphens are removed).
905 Program reference: @internalsref{LyricHyphen}, @internalsref{LyricExtender}.
909 @node The Lyrics context
910 @subsection The Lyrics context
912 Lyrics are printed by interpreting them in the context called
913 @internalsref{Lyrics}.
916 \new Lyrics \lyricmode @dots{}
919 @cindex automatic syllable durations
921 @cindex lyrics and melodies
923 This will place the lyrics according to the durations that were
924 entered. The lyrics can also be aligned under a given melody
925 automatically. In this case, it is no longer necessary to enter the
926 correct duration for each syllable. This is achieved by combining the
927 melody and the lyrics with the @code{\lyricsto} expression
930 \new Lyrics \lyricsto @var{name} @dots{}
933 This aligns the lyrics to the
934 notes of the @internalsref{Voice} context called @var{name}, which must
935 already exist. Therefore normally the @code{Voice} is specified first, and
936 then the lyrics are specified with @code{\lyricsto}. The command
937 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
938 @code{\lyricmode} keyword may be omitted.
940 The following example uses different commands for entering lyrics.
942 @lilypond[quote,fragment,ragged-right,verbatim]
944 \new Voice = "one" \relative c'' {
947 c4 b8. a16 g4. f8 e4 d c2
949 \new Lyrics \lyricmode { Joy4 to8. the16 world!4. the8 Lord4 is come.2 }
950 \new Lyrics \lyricmode { Joy to the earth! the Sa -- viour reigns. }
951 \new Lyrics \lyricsto "one" { No more let sins and sor -- rows grow. }
955 The second stanza is not properly aligned because the durations
956 were not specified. A solution for that would be to use @code{\lyricsto}.
958 The @code{\addlyrics} command is actually just a convenient way
959 to write a more complicated LilyPond structure that sets up the
964 \addlyrics @{ LYRICS @}
971 \new Voice = "blah" @{ music @}
972 \new Lyrics \lyricsto "blah" @{ LYRICS @}
975 For different or more complex orderings, the best way is to setup the
976 hierarchy of staves and lyrics first, e.g.,
979 \new Voice = "soprano" @{ @emph{music} @}
980 \new Lyrics = "sopranoLyrics" @{ s1 @}
981 \new Lyrics = "tenorLyrics" @{ s1 @}
982 \new Voice = "tenor" @{ @emph{music} @}
986 and then combine the appropriate melodies and lyric lines
989 \context Lyrics = sopranoLyrics \lyricsto "soprano"
994 The final input would resemble
997 <<\new ChoirStaff << @emph{setup the music} >>
998 \lyricsto "soprano" @emph{etc}
999 \lyricsto "alto" @emph{etc}
1006 Program reference: @internalsref{LyricCombineMusic},
1007 @internalsref{Lyrics}.
1011 @subsection Melismata
1013 The @code{\lyricsto} command detects melismata: it only puts one
1014 syllable under a tied or slurred group of notes. If you want to force
1015 an unslurred group of notes to be a melisma, insert @code{\melisma}
1016 after the first note of the group, and @code{\melismaEnd} after the
1019 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
1021 \new Voice = "lala" {
1029 \new Lyrics \lyricsto "lala" {
1035 In addition, notes are considered a melisma if they are manually
1036 beamed, and automatic beaming (see @ref{Setting automatic beam
1037 behavior}) is switched off.
1040 @cindex choral score
1042 A complete example of a SATB score setup is in section
1043 @ref{Vocal ensembles}.
1048 @code{\melisma}, @code{\melismaEnd}
1049 @funindex \melismaEnd
1054 Program reference: @internalsref{Melisma_translator}.
1056 @lsr{vocal,lyric@/-combine.ly}.
1060 Melismata are not detected automatically, and extender lines must be
1064 @node Another way of entering lyrics
1065 @subsection Another way of entering lyrics
1067 Lyrics can also be entered without @code{\lyricsto}. In this case the
1068 duration of each syllable must be entered explicitly, for example,
1075 The alignment to a melody can be specified with the
1076 @code{associatedVoice} property,
1079 \set associatedVoice = #"lala"
1083 The value of the property (here: @code{"lala"}) should be the name of
1084 a @internalsref{Voice} context. Without this setting, extender lines
1085 will not be formatted properly.
1087 Here is an example demonstrating manual lyric durations,
1089 @lilypond[relative=1,ragged-right,verbatim,fragment,quote]
1090 << \new Voice = "melody" {
1094 \new Lyrics \lyricmode {
1095 \set associatedVoice = #"melody"
1101 @c TODO: document \new Staff << Voice \lyricsto >> bug
1103 @node Flexibility in placement
1104 @subsection Flexibility in placement
1106 Often, different stanzas of one song are put to one melody in slightly
1107 differing ways. Such variations can still be captured with
1111 * Lyrics to multiple notes of a melisma::
1113 * Switching the melody associated with a lyrics line::
1114 * Specifying melismata within the lyrics::
1115 * Lyrics independent of notes::
1118 @node Lyrics to multiple notes of a melisma
1119 @subsubsection Lyrics to multiple notes of a melisma
1122 One possibility is that the text has a melisma in one stanza, but
1123 multiple syllables in another one. One solution is to make the faster
1124 voice ignore the melisma. This is done by setting
1125 @code{ignoreMelismata} in the Lyrics context.
1127 There is one tricky aspect: the setting for @code{ignoreMelismata}
1128 must be set one syllable @emph{before} the non-melismatic syllable
1129 in the text, as shown here,
1131 @c FIXME: breaks compile
1132 @lilypond[verbatim,ragged-right,quote]
1135 \relative \new Voice = "lahlah" {
1136 \set Staff.autoBeaming = ##f
1142 \new Lyrics \lyricsto "lahlah" {
1145 \new Lyrics \lyricsto "lahlah" {
1146 \set ignoreMelismata = ##t % applies to "fas"
1148 \unset ignoreMelismata
1156 The @code{ignoreMelismata} applies to the syllable @q{fas}, so it
1157 should be entered before @q{go}.
1159 The reverse is also possible: making a lyric line slower than the
1160 standard. This can be achieved by insert @code{\skip}s into the
1161 lyrics. For every @code{\skip}, the text will be delayed another note.
1164 @lilypond[verbatim,ragged-right,quote]
1165 \relative { c c g' }
1174 @subsubsection Divisi lyrics
1176 You can display alternate (or divisi) lyrics by naming voice
1177 contexts and attaching lyrics to those specific contexts.
1179 @lilypond[verbatim,ragged-right,quote]
1181 \new Voice = "melody" {
1186 \new Voice = "splitpart" { \voiceTwo c4 }
1191 \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
1192 \new Lyrics \lyricsto "splitpart" { will }
1197 You can use this trick to display different lyrics for a repeated
1200 @lilypond[verbatim,ragged-right,quote]
1202 \new Voice = "melody" \relative c' {
1204 \new Voice = "verse" \repeat volta 2 {c4 d e f | g1 | }
1206 \new Lyrics = "mainlyrics" \lyricsto melody \lyricmode {
1209 \context Lyrics = "mainlyrics" \lyricsto verse \lyricmode {
1211 \new Lyrics = "repeatlyrics" \lyricsto verse \lyricmode {
1212 dodo rere mimi fafa solsol }
1219 @node Switching the melody associated with a lyrics line
1220 @subsubsection Switching the melody associated with a lyrics line
1222 More complex variations in text underlay are possible. It is possible
1223 to switch the melody for a line of lyrics during the text. This is
1224 done by setting the @code{associatedVoice} property. In the example
1226 @lilypond[ragged-right,quote]
1228 \relative \new Voice = "lahlah" {
1229 \set Staff.autoBeaming = ##f
1232 \new Voice = "alternative" {
1235 % show associations clearly.
1236 \override NoteColumn #'force-hshift = #-3
1247 \new Lyrics \lyricsto "lahlah" {
1248 Ju -- ras -- sic Park
1250 \new Lyrics \lyricsto "lahlah" {
1251 % Tricky: need to set associatedVoice
1252 % one syllable too soon!
1253 \set associatedVoice = alternative % applies to "ran"
1257 \set associatedVoice = lahlah % applies to "rus"
1263 the text for the first stanza is set to a melody called @q{lahlah},
1266 \new Lyrics \lyricsto "lahlah" @{
1267 Ju -- ras -- sic Park
1272 The second stanza initially is set to the @code{lahlah} context, but
1273 for the syllable @q{ran}, it switches to a different melody.
1274 This is achieved with
1276 \set associatedVoice = alternative
1280 Here, @code{alternative} is the name of the @code{Voice} context
1281 containing the triplet.
1283 Again, the command must be one syllable too early, before @q{Ty} in
1287 \new Lyrics \lyricsto "lahlah" @{
1288 \set associatedVoice = alternative % applies to "ran"
1292 \set associatedVoice = lahlah % applies to "rus"
1298 The underlay is switched back to the starting situation by assigning
1299 @code{lahlah} to @code{associatedVoice}.
1302 @node Specifying melismata within the lyrics
1303 @subsubsection Specifying melismata within the lyrics
1305 It is also possible to define melismata entirely in the lyrics. This
1306 can be done by entering @code{_} for every note that is part of the
1309 @lilypond[relative=1,verbatim,fragment,quote]
1310 { \set melismaBusyProperties = #'()
1311 c d( e) f f( e) e e }
1313 { Ky -- _ _ ri __ _ _ _ e }
1316 In this case, you can also have ties and slurs in the melody if you
1317 set @code{melismaBusyProperties}, as is done in the example above.
1320 @node Lyrics independent of notes
1321 @subsubsection Lyrics independent of notes
1323 In some complex vocal music, it may be desirable to place
1324 lyrics completely independently of notes. Music defined
1325 inside @code{lyricrhythm} disappears into the
1326 @code{Devnull} context, but the rhythms can still be used
1327 to place the lyrics.
1329 @lilypond[quote,verbatim,ragged-right]
1332 \tag #'music { c''2 }
1333 \tag #'lyricrhythm { c''4. c''8 }
1337 lyr = \lyricmode { I like my cat! }
1340 \new Staff \keepWithTag #'music \voice
1341 \new Devnull="nowhere" \keepWithTag #'lyricrhythm \voice
1342 \new Lyrics \lyricsto "nowhere" \lyr
1343 \new Staff { c'8 c' c' c' c' c' c' c'
1344 c' c' c' c' c' c' c' c' }
1349 @node Spacing lyrics
1350 @subsection Spacing lyrics
1352 @cindex Spacing lyrics
1353 @cindex Lyrics, increasing space between
1355 To increase the spacing between lyrics, set the minimum-distance property of
1358 @lilypond[relative,verbatim,fragment,quote,ragged-right]
1361 \override Lyrics.LyricSpace #'minimum-distance = #1.0
1365 longtext longtext longtext longtext
1366 longtext longtext longtext longtext
1370 To make this change for all lyrics in the score, set the property in the
1373 @lilypond[relative,verbatim,quote,ragged-right]
1380 longtext longtext longtext longtext
1381 longtext longtext longtext longtext
1386 \override LyricSpace #'minimum-distance = #1.0
1393 @node More about stanzas
1394 @subsection More about stanzas
1396 @c what's this doing here?
1397 @cindex phrasing, in lyrics
1399 @cindex stanza number
1400 @subsubsection Adding stanza numbers
1402 Stanza numbers can be added by setting @code{stanza}, e.g.,
1404 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1406 \time 3/4 g2 e4 a2 f4 g2.
1409 Hi, my name is Bert.
1412 Oh, che -- ri, je t'aime
1417 These numbers are put just before the start of the first syllable.
1420 @subsubsection Adding dynamics marks
1422 Stanzas differing in loudness may be indicated by putting a
1423 dynamics mark before each stanza. In Lilypond, everthing coming in
1424 front of a stanza goes into the @code{StanzaNumber} object; dynamics marks
1425 are no different. For technical reasons, you have to set the stanza
1426 outside @code{\lyricmode}:
1428 @lilypond[quote,ragged-right,verbatim]
1430 \set stanza = \markup { \dynamic "ff" "1. " }
1437 \new Voice = "tune" {
1441 \new Lyrics \lyricsto "tune" \text
1446 @cindex name of singer
1447 @subsubsection Adding singer names
1449 Names of singers can also be added. They are printed at the start of
1450 the line, just like instrument names. They are created by setting
1451 @code{vocalName}. A short version may be entered as @code{shortVocalName}.
1453 @lilypond[fragment,ragged-right,quote,verbatim,relative=2]
1455 \time 3/4 g2 e4 a2 f4 g2.
1457 \set vocalName = "Bert "
1458 Hi, my name is Bert.
1460 \set vocalName = "Ernie "
1461 Oh, che -- ri, je t'aime
1466 @subsubsection Printing stanzas at the end
1468 Sometimes it is appropriate to have one stanza set
1469 to the music, and the rest added in verse form at
1470 the end of the piece. This can be accomplished by adding
1471 the extra verses into a @code{\markup} section outside
1472 of the main score block. Notice that there are two
1473 different ways to force linebreaks when using
1476 @lilypond[ragged-right,verbatim,quote]
1477 melody = \relative c' {
1483 \set stanza = "1." Ma- ry had a lit- tle lamb,
1484 its fleece was white as snow.
1488 \new Voice = "one" { \melody }
1489 \new Lyrics \lyricsto "one" \text
1495 \line{ All the children laughed and played }
1496 \line{ To see a lamb at school. }
1503 Mary took it home again,
1505 It was against the rule."
1510 @subsubsection Printing stanzas at the end in multiple columns
1512 When a piece of music has many verses, they are often printed in
1513 multiple columns across the page. An outdented verse number often
1514 introduces each verse. The following example shows how to produce such
1517 @lilypond[ragged-right,quote,verbatim]
1518 melody = \relative c' {
1523 \set stanza = "1." This is verse one.
1528 \new Voice = "one" { \melody }
1529 \new Lyrics \lyricsto "one" \text
1536 \hspace #0.1 % moves the column off the left margin; can be removed if
1537 % space on the page is tight
1541 "This is verse two."
1545 \hspace #0.1 % adds vertical spacing between verses
1548 "This is verse three."
1553 \hspace #0.1 % adds horizontal spacing between columns; if they are
1554 % still too close, add more " " pairs until the result
1559 "This is verse four."
1563 \hspace #0.1 % adds vertical spacing between verses
1566 "This is verse five."
1571 \hspace #0.1 % gives some extra space on the right margin; can
1572 % be removed if page space is tight
1580 Program reference: @internalsref{LyricText}, @internalsref{StanzaNumber},
1581 @internalsref{VocalName}.
1589 The term @emph{ambitus} denotes a range of pitches for a given voice
1590 in a part of music. It may also denote the pitch range that a musical
1591 instrument is capable of playing. Ambits are printed on vocal parts,
1592 so performers can easily determine it meets their capabilities.
1594 Ambits are denoted at the beginning of a piece near the initial clef.
1595 The range is graphically specified by two note heads that represent the
1596 minimum and maximum pitch. To print such ambits, add the
1597 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
1604 \consists Ambitus_engraver
1609 This results in the following output
1611 @lilypond[quote,ragged-right]
1615 \consists Ambitus_engraver
1619 \relative \new Staff {
1624 If you have multiple voices in a single staff and you want a single
1625 ambitus per staff rather than per each voice, add the
1626 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
1627 rather than to the @internalsref{Voice} context. Here is an example,
1629 @lilypond[verbatim,ragged-right,quote]
1631 \consists "Ambitus_engraver"
1635 \remove "Ambitus_engraver"
1637 \override Ambitus #'X-offset = #-1.0
1642 \remove "Ambitus_engraver"
1651 This example uses one advanced feature,
1654 \override Ambitus #'X-offset = #-1.0
1658 This code moves the ambitus to the left. The same effect could have
1659 been achieved with @code{extra-offset}, but then the formatting system
1660 would not reserve space for the moved object.
1664 Program reference: @internalsref{Ambitus},
1665 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1666 @internalsref{AmbitusAccidental}.
1669 @lsr{vocal,ambitus@/.ly}.
1673 There is no collision handling in the case of multiple per-voice
1677 @node Other vocal issues
1678 @subsection Other vocal issues
1681 yeah, I'm giving up somewhat by stuffing a bunch of things in
1682 here. But at least they're in the manual now; it's easier to
1683 move them around in the manual once they're already here.
1685 Besides, if users complain about everything stuffed in here, I
1686 can ask them for specific instructions about where to move these
1687 examples, and that might get them more involved in the docs. -gp
1690 @q{Parlato} is spoken without pitch but still with rhythm; it is
1691 notated by cross noteheads. This is demonstrated in
1692 @ref{Special noteheads}.
1698 @node Rhythmic music
1699 @section Rhythmic music
1701 Rhythmic music is primarily used for percussion and drum notation, but it can
1702 also be used to show the rhythms of melodies.
1705 * Showing melody rhythms::
1706 * Entering percussion::
1707 * Percussion staves::
1712 @node Showing melody rhythms
1713 @subsection Showing melody rhythms
1715 Sometimes you might want to show only the rhythm of a melody. This
1716 can be done with the rhythmic staff. All pitches of notes on such a
1717 staff are squashed, and the staff itself has a single line
1719 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1720 \new RhythmicStaff {
1722 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1728 Program reference: @internalsref{RhythmicStaff}.
1731 @node Entering percussion
1732 @subsection Entering percussion
1738 Percussion notes may be entered in @code{\drummode} mode, which is
1739 similar to the standard mode for entering notes. Each piece of
1740 percussion has a full name and an abbreviated name, and both can be used
1743 @lilypond[quote,ragged-right,verbatim]
1745 hihat hh bassdrum bd
1749 The complete list of drum names is in the init file
1750 @file{ly/@/drumpitch@/-init@/.ly}.
1751 @c TODO: properly document this.
1755 Program reference: @internalsref{note-event}.
1757 @node Percussion staves
1758 @subsection Percussion staves
1762 A percussion part for more than one instrument typically uses a
1763 multiline staff where each position in the staff refers to one piece
1767 To typeset the music, the notes must be interpreted in a
1768 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
1770 @lilypond[quote,ragged-right,verbatim]
1771 up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
1772 down = \drummode { bassdrum4 snare8 bd r bd sn4 }
1774 \new DrumVoice { \voiceOne \up }
1775 \new DrumVoice { \voiceTwo \down }
1779 The above example shows verbose polyphonic notation. The short
1780 polyphonic notation, described in @ref{Basic polyphony}, can also be used if
1781 the @internalsref{DrumVoice}s are instantiated by hand first. For example,
1783 @lilypond[quote,ragged-right,fragment,verbatim]
1785 \new DrumVoice = "1" { s1 *2 }
1786 \new DrumVoice = "2" { s1 *2 }
1790 { \repeat unfold 16 hh16 }
1799 There are also other layout possibilities. To use these, set the
1800 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
1801 The following variables have been predefined
1805 This is the default. It typesets a typical drum kit on a five-line staff
1807 @lilypond[quote,line-width=10.0\cm]
1809 cymc cyms cymr hh hhc hho hhho hhp
1810 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl }
1812 cymc cyms cymr hh hhc hho hhho hhp \break
1813 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
1815 << \new DrumStaff \with {
1816 \remove Bar_engraver
1817 \remove Time_signature_engraver
1818 \override Stem #'transparent = ##t
1819 \override Stem #'Y-extent-callback = ##f
1820 \override VerticalAxisGroup #'minimum-Y-extent = #'(-4.0 . 5.0)
1827 \override LyricText #'font-family = #'typewriter
1828 \override BarNumber #'transparent =##T
1834 The drum scheme supports six different toms. When there are fewer toms,
1835 simply select the toms that produce the desired result, i.e., to get toms
1836 on the three middle lines you use @code{tommh}, @code{tomml}, and
1839 @item timbales-style
1840 This typesets timbales on a two line staff
1842 @lilypond[quote,ragged-right]
1843 nam = \lyricmode { timh ssh timl ssl cb }
1844 mus = \drummode { timh ssh timl ssl cb s16 }
1847 \new DrumStaff \with {
1848 \remove Bar_engraver
1849 \remove Time_signature_engraver
1850 \override Stem #'transparent = ##t
1851 \override Stem #'Y-extent-callback = ##f
1852 \override StaffSymbol #'line-count = #2
1853 \override StaffSymbol #'staff-space = #2
1854 \override VerticalAxisGroup #'minimum-Y-extent = #'(-3.0 . 4.0)
1855 drumStyleTable = #timbales-style
1858 \override LyricText #'font-family = #'typewriter
1865 This typesets congas on a two line staff
1867 @lilypond[quote,ragged-right]
1868 nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
1869 mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
1872 \new DrumStaff \with {
1873 \remove Bar_engraver
1874 \remove Time_signature_engraver
1875 drumStyleTable = #congas-style
1876 \override StaffSymbol #'line-count = #2
1878 %% this sucks; it will lengthen stems.
1879 \override StaffSymbol #'staff-space = #2
1880 \override Stem #'transparent = ##t
1881 \override Stem #'Y-extent-callback = ##f
1884 \override LyricText #'font-family = #'typewriter
1891 This typesets bongos on a two line staff
1893 @lilypond[quote,ragged-right]
1894 nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
1895 mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
1898 \new DrumStaff \with {
1899 \remove Bar_engraver
1900 \remove Time_signature_engraver
1901 \override StaffSymbol #'line-count = #2
1902 drumStyleTable = #bongos-style
1904 %% this sucks; it will lengthen stems.
1905 \override StaffSymbol #'staff-space = #2
1906 \override Stem #'transparent = ##t
1907 \override Stem #'Y-extent-callback = ##f
1910 \override LyricText #'font-family = #'typewriter
1916 @item percussion-style
1917 To typeset all kinds of simple percussion on one line staves.
1919 @lilypond[quote,ragged-right]
1920 nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
1921 mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
1924 \new DrumStaff \with{
1925 \remove Bar_engraver
1926 drumStyleTable = #percussion-style
1927 \override StaffSymbol #'line-count = #1
1928 \remove Time_signature_engraver
1929 \override Stem #'transparent = ##t
1930 \override Stem #'Y-extent-callback = ##f
1933 \override LyricText #'font-family = #'typewriter
1940 If you do not like any of the predefined lists you can define your own
1941 list at the top of your file
1943 @lilypond[quote,ragged-right,verbatim]
1945 (bassdrum default #f -1)
1946 (snare default #f 0)
1948 (pedalhihat xcircle "stopped" 2)
1949 (lowtom diamond #f 3)))
1950 up = \drummode { hh8 hh hh hh hhp4 hhp }
1951 down = \drummode { bd4 sn bd toml8 toml }
1954 \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
1955 \new DrumVoice { \voiceOne \up }
1956 \new DrumVoice { \voiceTwo \down }
1963 Init files: @file{ly/@/drumpitch@/-init@/.ly}.
1965 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
1969 Because general MIDI does not contain rim shots, the sidestick is used
1970 for this purpose instead.
1973 @c FIXME: check name -gp
1975 @subsection Ghost notes
1977 Ghost notes for drums and percussion may be created using the
1978 @code{\parenthesize} command detailed in @ref{Parentheses}. However,
1979 the default @code{\drummode} does
1980 not include the @code{Parenthesis_engraver} plugin which allows
1982 must add the plugin explicitly in the context definition as
1983 detailed in @ref{Changing context properties on the fly}.
1985 @lilypond[quote,ragged-right,verbatim,fragment]
1986 \new DrumStaff \with {
1987 \consists "Parenthesis_engraver"
1989 \context DrumVoice = "1" { s1 *2 }
1990 \context DrumVoice = "2" { s1 *2 }
1994 hh8[ hh] <hh sn> hh16
1995 < \parenthesize sn > hh < \parenthesize
2006 Also note that you must add chords (@code{< >} brackets)
2007 around each @code{\parenthesize} statement.
2014 @cindex guitar tablature
2017 * String number indications::
2018 * Tablatures basic::
2019 * Non-guitar tablatures::
2020 * Banjo tablatures::
2022 * Right hand fingerings::
2023 * Other guitar issues::
2026 @node String number indications
2027 @subsection String number indications
2029 @cindex String numbers
2031 String numbers can be added to chords, by indicating the string number
2032 with @code{\}@var{number},
2034 @lilypond[relative,relative=1,ragged-right,fragment]
2041 Program reference: @internalsref{StringNumber},
2042 @lsr{guitar/,string-number.ly}.
2045 @node Tablatures basic
2046 @subsection Tablatures basic
2047 @cindex Tablatures basic
2049 Tablature notation is used for notating music for plucked string
2050 instruments. Pitches are not denoted with note heads, but by
2051 numbers indicating on which string and fret a note must be played. LilyPond
2052 offers limited support for tablature.
2054 The string number associated to a note is given as a backslash
2055 followed by a number, e.g., @code{c4\3} for a C quarter on the third
2056 string. By default, string 1 is the highest one, and the tuning
2057 defaults to the standard guitar tuning (with 6 strings). The notes
2058 are printed as tablature, by using @internalsref{TabStaff} and
2059 @internalsref{TabVoice} contexts
2061 @lilypond[quote,ragged-right,fragment,verbatim]
2068 @funindex minimumFret
2071 When no string is specified, the first string that does not give a
2072 fret number less than @code{minimumFret} is selected. The default
2073 value for @code{minimumFret} is 0
2078 \set TabStaff.minimumFret = #8
2081 @lilypond[quote,ragged-right]
2085 \set TabStaff.minimumFret = #8
2089 \new Staff { \clef "G_8" \frag }
2090 \new TabStaff { \frag }
2097 To print tablatures with stems down and horizontal beams,
2098 initialize the @code{TabStaff} with this code:
2102 \override Beam #'damping = #100000
2107 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}.
2111 Chords are not handled in a special way, and hence the automatic
2112 string selector may easily select the same string to two notes in a
2116 @node Non-guitar tablatures
2117 @subsection Non-guitar tablatures
2118 @cindex Non-guitar tablatures
2120 You can change the tuning of the strings. A string tuning is given as
2121 a Scheme list with one integer number for each string, the number
2122 being the pitch (measured in semitones relative to middle C) of an
2123 open string. The numbers specified for @code{stringTuning} are the
2124 numbers of semitones to subtract or add, starting the specified pitch
2125 by default middle C, in string order. LilyPond automatically calculates
2126 the number of strings by looking at @code{stringTuning}.
2128 In the next example,
2129 @code{stringTunings} is set for the pitches e, a, d, and g
2131 @lilypond[quote,ragged-right,fragment,verbatim]
2133 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
2135 a,4 c' a e' e c' a e'
2140 LilyPond comes with predefined string tunings for banjo, mandolin, guitar
2144 \set TabStaff.stringTunings = #bass-tuning
2147 The default string tuning is @code{guitar-tuning} (the standard EADGBE
2149 Some other predefined tunings are @code{guitar-open-g-tuning},
2150 @code{mandolin-tuning} and @code{banjo-open-g-tuning}.
2154 The file @file{scm/@/output@/-lib@/.scm} contains the predefined string
2156 Program reference: @internalsref{Tab_note_heads_engraver}.
2160 No guitar special effects have been implemented.
2164 @node Banjo tablatures
2165 @subsection Banjo tablatures
2166 @cindex Banjo tablatures
2168 LilyPond has basic support for five stringed banjo. When making tablatures
2169 for five stringed banjo, use the banjo tablature format function to get
2171 fret numbers for the fifth string:
2173 @lilypond[quote,ragged-right,fragment,verbatim]
2175 \set TabStaff.tablatureFormat = #fret-number-tablature-format-banjo
2176 \set TabStaff.stringTunings = #banjo-open-g-tuning
2179 g8 d' g'\5 a b g e d' |
2180 g4 d''8\5 b' a'\2 g'\5 e'\2 d' |
2186 A number of common tunings for banjo are predefined in LilyPond:
2187 @code{banjo-c-tuning} (gCGBD), @code{banjo-modal-tuning} (gDGCD),
2188 @code{banjo-open-d-tuning} (aDF#AD) and @code{banjo-open-dm-tuning}
2191 These tunings may be converted to four string banjo tunings using the
2192 @code{four-string-banjo} function:
2195 \set TabStaff.stringTunings = #(four-string-banjo banjo-c-tuning)
2200 The file @file{scm/@/output@/-lib@/.scm} contains predefined banjo tunings.
2204 @subsection Fret diagrams
2205 @cindex fret diagrams
2206 @cindex chord diagrams
2208 Fret diagrams can be added to music as a markup to the desired note. The
2209 markup contains information about the desired fret diagram, as shown in the
2212 @lilypond[verbatim, ragged-right, quote]
2214 d'^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
2216 fis'^\markup \override #'(size . 0.75) {
2217 \override #'(finger-code . below-string) {
2218 \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
2219 (place-fret 5 4 3) (place-fret 4 4 4)
2220 (place-fret 3 3 2) (place-fret 2 2 1)
2225 c'^\markup \override #'(dot-radius . 0.35) {
2226 \override #'(finger-code . in-dot) {
2227 \override #'(dot-color . white) {
2228 \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
2237 There are three different fret-diagram markup interfaces: standard, terse,
2238 and verbose. The three interfaces produce equivalent markups, but have
2239 varying amounts of information in the markup string. Details about the
2240 markup interfaces are found at @ref{Overview of text markup commands}.
2242 You can set a number of graphical properties according to your preference.
2243 Details about the property interface to fret diagrams are found at
2244 @internalsref{fret-diagram-interface}.
2249 Examples: @lsrdir{guitar}
2252 @node Right hand fingerings
2253 @subsection Right hand fingerings
2255 Right hand fingerings in chords can be entered using
2256 @code{@var{note}-\rightHandFinger @var{finger}}
2258 @lilypond[verbatim,fragment,relative=2]
2259 <c-\rightHandFinger #1 e-\rightHandFinger #2 >
2262 for brevity, you can abbreviate @code{\rightHandFinger} to something
2263 short, for example @code{RH},
2266 #(define RH rightHandFinger)
2269 @cindex fingerings, right hand, for guitar
2270 @cindex right hand fingerings for guitar
2274 You may exercise greater control over right handing fingerings by
2275 setting @code{strokeFingerOrientations},
2277 @lilypond[quote,verbatim,ragged-right,fragment,relative=1]
2278 #(define RH rightHandFinger)
2280 \set strokeFingerOrientations = #'(up down)
2281 <c-\RH #1 es-\RH #2 g-\RH #4 > 4
2282 \set strokeFingerOrientations = #'(up right down)
2283 <c-\RH #1 es-\RH #2 g-\RH #4 > 4
2287 The letters used for the fingerings are contained in the property
2288 @code{digit-names}, but they can also be set individually by supplying
2289 @code{\rightHandFinger} with a string argument, as in the following example
2292 @lilypond[quote,verbatim,ragged-right,fragment,relative=1]
2293 #(define RH rightHandFinger)
2295 \set strokeFingerOrientations = #'(right)
2296 \override StrokeFinger #'digit-names = ##("x" "y" "z" "!" "@")
2304 Internalls: @internalsref{StrokeFinger}
2308 @node Other guitar issues
2309 @subsection Other guitar issues
2311 This example demonstrates how to include guitar position and
2312 barring indications.
2314 @lilypond[quote,ragged-right,fragment,verbatim,relative=0]
2318 \override TextSpanner #'bound-details #'left #'text = "XII "
2320 b16 e16 g16 e16 b16 g16\stopTextSpan
2325 Stopped (X) note heads are used in guitar music to signal a place where the
2326 guitarist must play a certain note or chord, with its fingers just
2327 touching the strings instead of fully pressing them. This gives the sound a
2328 percussive noise-like sound that still maintains part of the original
2329 pitch. It is notated with cross noteheads; this is
2330 demonstrated in @ref{Special noteheads}.
2339 * Bagpipe definitions::
2344 @node Bagpipe definitions
2345 @subsection Bagpipe definitions
2347 LilyPond contains special definitions for music for the Scottish
2348 highland bagpipe; to use them, add
2351 \include "bagpipe.ly"
2355 at the top of your input file. This lets you add the special gracenotes
2356 common to bagpipe music with short commands. For example, you could
2357 write @code{\taor} instead of
2360 \grace @{ \small G32[ d G e] @}
2363 @code{bagpipe.ly} also contains pitch definitions for the bagpipe
2364 notes in the appropiate octaves, so you do not need to worry about
2365 @code{\relative} or @code{\transpose}.
2367 @lilypond[ragged-right,verbatim,quote,notime]
2368 \include "bagpipe.ly"
2369 { \grg G4 \grg a \grg b \grg c \grg d \grg e \grg f \grA g A }
2372 Bagpipe music nominally uses the key of D Major (even though that
2373 isn't really true). However, since that is the only key that can be used,
2374 the key signature is normally not written out. To set this up correctly,
2375 always start your music with @code{\hideKeySignature}. If you for some
2376 reason want to show the key signature, you can use @code{\showKeySignature}
2379 Some modern music use cross fingering on c and f to flatten those notes.
2380 This can be indicated by @code{cflat} or @code{fflat}. Similarly, the
2381 piobaireachd high g can be written @code{gflat} when it occurs in light
2385 @node Bagpipe example
2386 @subsection Bagpipe example
2388 This is what the well known tune Amazing Grace looks like in bagpipe
2391 @lilypond[verbatim,quote]
2392 \include "bagpipe.ly"
2395 \context { \Score \remove "Bar_number_engraver" }
2399 title = "Amazing Grace"
2401 arranger = "Trad. arr."
2407 \grg \partial 4 a8. d16
2408 \slurd d2 \grg f8[ e32 d16.]
2411 \grG a2 \grg a8. d16
2412 \slurd d2 \grg f8[ e32 d16.]
2413 \grg f2 \grg e8. f16
2416 \grg A2 \hdblf f8[ e32 d16.]
2419 \grG a2 \grg a8. d16
2420 \slurd d2 \grg f8[ e32 d16.]
2429 @node Ancient notation
2430 @section Ancient notation
2432 @cindex Vaticana, Editio
2433 @cindex Medicaea, Editio
2438 Support for ancient notation includes features for mensural notation
2439 and Gregorian Chant notation. There is also limited support for
2440 figured bass notation.
2442 Many graphical objects provide a @code{style} property, see
2445 @ref{Ancient note heads},
2447 @ref{Ancient accidentals},
2449 @ref{Ancient rests},
2451 @ref{Ancient clefs},
2453 @ref{Ancient flags},
2455 @ref{Ancient time signatures}.
2458 By manipulating such a grob property, the typographical appearance of
2459 the affected graphical objects can be accommodated for a specific
2460 notation flavor without the need for introducing any new notational
2463 In addition to the standard articulation signs described in section
2464 @ref{Articulations}, specific articulation signs for ancient notation
2469 @ref{Ancient articulations}
2472 Other aspects of ancient notation can not that easily be expressed
2473 in terms of just changing a style property of a graphical object or
2474 adding articulation signs. Some notational concepts are introduced
2475 specifically for ancient notation,
2486 If this all is too much of documentation for you, and you just want to
2487 dive into typesetting without worrying too much about the details on
2488 how to customize a context, you may have a look at the predefined
2489 contexts. Use them to set up predefined style-specific voice and
2490 staff contexts, and directly go ahead with the note entry,
2494 @ref{Gregorian Chant contexts},
2496 @ref{Mensural contexts}.
2499 There is limited support for figured bass notation which came
2500 up during the baroque period.
2507 Here are all suptopics at a glance:
2510 * Ancient note heads::
2511 * Ancient accidentals::
2515 * Ancient time signatures::
2516 * Ancient articulations::
2520 * Gregorian Chant contexts::
2521 * Mensural contexts::
2522 * Musica ficta accidentals::
2528 @node Ancient note heads
2529 @subsection Ancient note heads
2531 @cindex note heads, ancient
2533 For ancient notation, a note head style other than the @code{default}
2534 style may be chosen. This is accomplished by setting the @code{style}
2535 property of the @internalsref{NoteHead} object to @code{baroque},
2536 @code{neomensural}, @code{mensural} or @code{petrucci}. The
2537 @code{baroque} style differs from the @code{default} style only in
2538 using a square shape for @code{\breve} note heads. The
2539 @code{neomensural} style differs from the @code{baroque} style in that
2540 it uses rhomboidal heads for whole notes and all smaller durations.
2541 Stems are centered on the note heads. This style is particularly
2542 useful when transcribing mensural music, e.g., for the incipit. The
2543 @code{mensural} style produces note heads that mimic the look of note
2544 heads in historic printings of the 16th century. Finally, the
2545 @code{petrucci} style also mimicks historic printings, but uses bigger
2548 The following example demonstrates the @code{neomensural} style
2550 @lilypond[quote,fragment,ragged-right,verbatim]
2551 \set Score.skipBars = ##t
2552 \override NoteHead #'style = #'neomensural
2553 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
2556 When typesetting a piece in Gregorian Chant notation, the
2557 @internalsref{Gregorian_ligature_engraver} will automatically select
2558 the proper note heads, so there is no need to explicitly set the
2559 note head style. Still, the note head style can be set, e.g., to
2560 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
2561 @internalsref{Mensural_ligature_engraver} is used to automatically
2562 assemble mensural ligatures. See @ref{Ligatures}, for how ligature
2567 @ref{Note head styles}, gives an overview over all available note head styles.
2570 @node Ancient accidentals
2571 @subsection Ancient accidentals
2576 Use the @code{glyph-name-alist} property of grob
2577 @internalsref{Accidental} and @internalsref{KeySignature} to select
2578 ancient accidentals.
2580 @lilypond[quote,ragged-right,staffsize=26]
2587 \line { " " \musicglyph #"accidentals.vaticana-1"
2588 " " \musicglyph #"accidentals.vaticana0" }
2592 \line { " " \musicglyph #"accidentals.medicaea-1" }
2596 \line { " " \musicglyph #"accidentals.hufnagel-1" }
2600 \line { " " \musicglyph #"accidentals.mensural-1"
2601 " " \musicglyph #"accidentals.mensural1" }
2607 \context { \Score \remove "Bar_number_engraver" }
2609 \remove "Clef_engraver"
2610 \remove "Key_engraver"
2611 \remove "Time_signature_engraver"
2612 \remove "Staff_symbol_engraver"
2613 \override VerticalAxisGroup #'minimum-Y-extent = ##f
2619 As shown, not all accidentals are supported by each style. When
2620 trying to access an unsupported accidental, LilyPond will switch to a
2621 different style, as demonstrated in
2622 @lsr{ancient,ancient-accidentals.ly}.
2624 Similarly to local accidentals, the style of the key signature can be
2625 controlled by the @code{glyph-name-alist} property of the
2626 @internalsref{KeySignature} grob.
2630 In this manual: @ref{Pitches}, @ref{Cautionary accidentals}, and
2631 @ref{Automatic accidentals}, give a general introduction of the use of
2632 accidentals. @ref{Key signature}, gives a general introduction of
2633 the use of key signatures.
2635 Program reference: @internalsref{KeySignature}.
2637 Examples: @lsrdir{ancient}
2640 @subsection Ancient rests
2642 @cindex rests, ancient
2645 Use the @code{style} property of grob @internalsref{Rest} to select
2646 ancient rests. Supported styles are @code{classical},
2647 @code{neomensural}, and @code{mensural}. @code{classical} differs
2648 from the @code{default} style only in that the quarter rest looks like
2649 a horizontally mirrored 8th rest. The @code{neomensural} style suits
2650 well for, e.g., the incipit of a transcribed mensural piece of music.
2651 The @code{mensural} style finally mimics the appearance of rests as
2652 in historic prints of the 16th century.
2654 The following example demonstrates the @code{neomensural} style
2656 @lilypond[quote,fragment,ragged-right,verbatim]
2657 \set Score.skipBars = ##t
2658 \override Rest #'style = #'neomensural
2659 r\longa r\breve r1 r2 r4 r8 r16
2662 There are no 32th and 64th rests specifically for the mensural or
2663 neo-mensural style. Instead, the rests from the default style will be
2664 taken. See @lsr{pitches,rests} for a chart of all rests.
2666 There are no rests in Gregorian Chant notation; instead, it uses
2671 In this manual: @ref{Rests}, gives a general introduction into the use of
2676 @subsection Ancient clefs
2681 LilyPond supports a variety of clefs, many of them ancient.
2683 The following table shows all ancient clefs that are supported via the
2684 @code{\clef} command. Some of the clefs use the same glyph, but
2685 differ only with respect to the line they are printed on. In such
2686 cases, a trailing number in the name is used to enumerate these clefs.
2687 Still, you can manually force a clef glyph to be typeset on an
2688 arbitrary line, as described in @ref{Clef}. The note printed to the
2689 right side of each clef in the example column denotes the @code{c'}
2690 with respect to that clef.
2692 @multitable @columnfractions .4 .4 .2
2701 modern style mensural C clef
2703 @code{neomensural-c1}, @code{neomensural-c2},@*
2704 @code{neomensural-c3}, @code{neomensural-c4}
2706 @lilypond[fragment,relative=1,notime]
2707 \clef "neomensural-c2" c
2711 petrucci style mensural C clefs, for use on different staff lines
2712 (the examples show the 2nd staff line C clef)
2714 @code{petrucci-c1}, @code{petrucci-c2},@*
2715 @code{petrucci-c3}, @code{petrucci-c4},@*
2718 @lilypond[fragment,relative=1,notime]
2720 \override NoteHead #'style = #'mensural
2725 petrucci style mensural F clef
2729 @lilypond[fragment,relative=1,notime]
2731 \override NoteHead #'style = #'mensural
2736 petrucci style mensural G clef
2740 @lilypond[fragment,relative=1,notime]
2742 \override NoteHead #'style = #'mensural
2747 historic style mensural C clef
2749 @code{mensural-c1}, @code{mensural-c2},@*
2750 @code{mensural-c3}, @code{mensural-c4}
2752 @lilypond[fragment,relative=1,notime]
2754 \override NoteHead #'style = #'mensural
2759 historic style mensural F clef
2763 @lilypond[fragment,relative=1,notime]
2765 \override NoteHead #'style = #'mensural
2770 historic style mensural G clef
2774 @lilypond[fragment,relative=1,notime]
2776 \override NoteHead #'style = #'mensural
2781 Editio Vaticana style do clef
2783 @code{vaticana-do1}, @code{vaticana-do2},@*
2786 @lilypond[fragment,relative=1,notime]
2787 \override Staff.StaffSymbol #'line-count = #4
2788 \override Staff.StaffSymbol #'color = #red
2789 \override Staff.LedgerLineSpanner #'color = #red
2790 \override Voice.Stem #'transparent = ##t
2791 \override NoteHead #'style = #'vaticana.punctum
2792 \clef "vaticana-do2"
2797 Editio Vaticana style fa clef
2799 @code{vaticana-fa1}, @code{vaticana-fa2}
2801 @lilypond[fragment,relative=1,notime]
2802 \override Staff.StaffSymbol #'line-count = #4
2803 \override Staff.StaffSymbol #'color = #red
2804 \override Staff.LedgerLineSpanner #'color = #red
2805 \override Voice.Stem #'transparent = ##t
2806 \override NoteHead #'style = #'vaticana.punctum
2807 \clef "vaticana-fa2"
2812 Editio Medicaea style do clef
2814 @code{medicaea-do1}, @code{medicaea-do2},@*
2817 @lilypond[fragment,relative=1,notime]
2818 \override Staff.StaffSymbol #'line-count = #4
2819 \override Staff.StaffSymbol #'color = #red
2820 \override Staff.LedgerLineSpanner #'color = #red
2821 \override Voice.Stem #'transparent = ##t
2822 \override NoteHead #'style = #'medicaea.punctum
2823 \clef "medicaea-do2"
2828 Editio Medicaea style fa clef
2830 @code{medicaea-fa1}, @code{medicaea-fa2}
2832 @lilypond[fragment,relative=1,notime]
2833 \override Staff.StaffSymbol #'line-count = #4
2834 \override Staff.StaffSymbol #'color = #red
2835 \override Staff.LedgerLineSpanner #'color = #red
2836 \override Voice.Stem #'transparent = ##t
2837 \override NoteHead #'style = #'medicaea.punctum
2838 \clef "medicaea-fa2"
2843 historic style hufnagel do clef
2845 @code{hufnagel-do1}, @code{hufnagel-do2},@*
2848 @lilypond[fragment,relative=1,notime]
2849 \override Staff.StaffSymbol #'line-count = #4
2850 \override Staff.StaffSymbol #'color = #red
2851 \override Staff.LedgerLineSpanner #'color = #red
2852 \override Voice.Stem #'transparent = ##t
2853 \override NoteHead #'style = #'hufnagel.punctum
2854 \clef "hufnagel-do2"
2859 historic style hufnagel fa clef
2861 @code{hufnagel-fa1}, @code{hufnagel-fa2}
2863 @lilypond[fragment,relative=1,notime]
2864 \override Staff.StaffSymbol #'line-count = #4
2865 \override Staff.StaffSymbol #'color = #red
2866 \override Staff.LedgerLineSpanner #'color = #red
2867 \override Voice.Stem #'transparent = ##t
2868 \override NoteHead #'style = #'hufnagel.punctum
2869 \clef "hufnagel-fa2"
2874 historic style hufnagel combined do/fa clef
2876 @code{hufnagel-do-fa}
2878 @lilypond[fragment,relative=1,notime]
2879 \override Staff.StaffSymbol #'color = #red
2880 \override Staff.LedgerLineSpanner #'color = #red
2881 \override Voice.Stem #'transparent = ##t
2882 \override NoteHead #'style = #'hufnagel.punctum
2883 \clef "hufnagel-do-fa"
2890 @emph{Modern style} means @qq{as is typeset in contemporary editions of
2891 transcribed mensural music.}
2893 @emph{Petrucci style} means @qq{inspired by printings published by the
2894 famous engraver Petrucci (1466-1539).}
2896 @emph{Historic style} means @qq{as was typeset or written in historic
2897 editions (other than those of Petrucci).}
2899 @emph{Editio XXX style} means @qq{as is/was printed in Editio XXX.}
2901 Petrucci used C clefs with differently balanced left-side vertical
2902 beams, depending on which staff line it is printed.
2906 In this manual: see @ref{Clef}.
2910 The mensural g clef is mapped to the Petrucci g clef.
2915 @subsection Ancient flags
2920 Use the @code{flag-style} property of grob @internalsref{Stem} to
2921 select ancient flags. Besides the @code{default} flag style,
2922 only the @code{mensural} style is supported
2924 @lilypond[quote,fragment,ragged-right,verbatim]
2925 \override Stem #'flag-style = #'mensural
2926 \override Stem #'thickness = #1.0
2927 \override NoteHead #'style = #'mensural
2929 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
2930 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
2933 Note that the innermost flare of each mensural flag always is
2934 vertically aligned with a staff line.
2936 There is no particular flag style for neo-mensural notation. Hence,
2937 when typesetting the incipit of a transcribed piece of mensural
2938 music, the default flag style should be used. There are no flags in
2939 Gregorian Chant notation.
2943 The attachment of ancient flags to stems is slightly off due to a
2944 change in early 2.3.x.
2946 Vertically aligning each flag with a staff line assumes that stems
2947 always end either exactly on or exactly in the middle between two
2948 staff lines. This may not always be true when using advanced layout
2949 features of classical notation (which however are typically out of
2950 scope for mensural notation).
2952 @node Ancient time signatures
2953 @subsection Ancient time signatures
2955 @cindex time signatures
2958 There is limited support for mensural time signatures. The
2959 glyphs are hard-wired to particular time fractions. In other words,
2960 to get a particular mensural signature glyph with the @code{\time n/m}
2961 command, @code{n} and @code{m} have to be chosen according to the
2964 @lilypond[quote,ragged-right]
2969 \remove Staff_symbol_engraver
2970 \remove Clef_engraver
2971 \remove Time_signature_engraver
2975 \set Score.timing = ##f
2976 \set Score.barAlways = ##t
2977 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph
2978 #"timesig.neomensural44" }
2980 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph
2981 #"timesig.neomensural22" }
2983 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph
2984 #"timesig.neomensural64" }
2986 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph
2987 #"timesig.neomensural68" }
2989 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph
2990 #"timesig.neomensural32" }
2992 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph
2993 #"timesig.neomensural34" }
2995 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph
2996 #"timesig.neomensural94" }
2998 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph
2999 #"timesig.neomensural98" }
3001 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph
3002 #"timesig.neomensural48" }
3004 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph
3005 #"timesig.neomensural24" }
3009 Use the @code{style} property of grob @internalsref{TimeSignature} to
3010 select ancient time signatures. Supported styles are
3011 @code{neomensural} and @code{mensural}. The above table uses the
3012 @code{neomensural} style. This style is appropriate for the
3013 incipit of transcriptions of mensural pieces. The @code{mensural}
3014 style mimics the look of historical printings of the 16th century.
3016 The following examples show the differences in style,
3018 @lilypond[ragged-right,fragment,relative=1,quote]
3023 c1^\markup { \hspace #-2.0 \typewriter default }
3025 \override Staff.TimeSignature #'style = #'numbered
3027 c1^\markup { \hspace #-2.0 \typewriter numbered }
3029 \override Staff.TimeSignature #'style = #'mensural
3031 c1^\markup { \hspace #-2.0 \typewriter mensural }
3033 \override Staff.TimeSignature #'style = #'neomensural
3035 c1^\markup { \hspace #-2.0 \typewriter neomensural }
3036 \override Staff.TimeSignature #'style = #'single-digit
3038 c1^\markup { \hspace #-2.0 \typewriter single-digit }
3044 This manual: @ref{Time signature}, gives a general introduction to
3045 the use of time signatures.
3049 Ratios of note durations do not change with the time signature. For
3050 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
3051 be made by hand, by setting
3054 breveTP = #(ly:make-duration -1 0 3 2)
3060 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
3062 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
3063 addressable with @code{\time}. Use a @code{\markup} instead
3065 @node Ancient articulations
3066 @subsection Ancient articulations
3068 @cindex articulations
3070 In addition to the standard articulation signs described in section
3071 @ref{Articulations}, articulation signs for ancient notation are
3072 provided. These are specifically designed for use with notation in
3073 Editio Vaticana style.
3075 @lilypond[quote,ragged-right,verbatim]
3076 \include "gregorian-init.ly"
3078 \new VaticanaVoice {
3079 \override TextScript #'font-family = #'typewriter
3080 \override TextScript #'font-shape = #'upright
3081 \override Script #'padding = #-0.1
3082 a\ictus_"ictus" \break
3083 a\circulus_"circulus" \break
3084 a\semicirculus_"semicirculus" \break
3085 a\accentus_"accentus" \break
3086 \[ a_"episem" \episemInitium \pes b \flexa a b \episemFinis \flexa a \]
3093 Some articulations are vertically placed too closely to the
3094 correpsonding note heads.
3096 The episem line is not displayed in many cases. If it is displayed,
3097 the right end of the episem line is often too far to the right.
3100 @subsection Custodes
3105 A @emph{custos} (plural: @emph{custodes}; Latin word for @q{guard}) is a
3106 symbol that appears at the end of a staff. It anticipates the pitch
3107 of the first note(s) of the following line thus helping the performer
3108 to manage line breaks during performance.
3110 Custodes were frequently used in music notation until the 17th
3111 century. Nowadays, they have survived only in a few particular forms
3112 of musical notation such as contemporary editions of Gregorian chant
3113 like the @emph{editio vaticana}. There are different custos glyphs
3114 used in different flavors of notational style.
3116 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
3117 @internalsref{Staff} context when declaring the @code{\layout} block,
3118 as shown in the following example
3124 \consists Custos_engraver
3125 Custos \override #'style = #'mensural
3130 The result looks like this
3132 @lilypond[quote,ragged-right]
3136 \override Staff.Custos #'style = #'mensural
3141 \context { \Staff \consists Custos_engraver }
3146 The custos glyph is selected by the @code{style} property. The styles
3147 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
3148 @code{mensural}. They are demonstrated in the following fragment
3150 @lilypond[quote,ragged-right,fragment]
3151 \new Lyrics \lyricmode {
3153 \typewriter "vaticana"
3154 \line { " " \musicglyph #"custodes.vaticana.u0" }
3157 \typewriter "medicaea"
3158 \line { " " \musicglyph #"custodes.medicaea.u0" }
3161 \typewriter "hufnagel"
3162 \line { " " \musicglyph #"custodes.hufnagel.u0" }
3165 \typewriter "mensural"
3166 \line { " " \musicglyph #"custodes.mensural.u0" }
3173 Program reference: @internalsref{Custos}.
3176 @lsr{ancient,custodes@/.ly}.
3180 @subsection Divisiones
3186 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
3187 @q{division}) is a staff context symbol that is used to structure
3188 Gregorian music into phrases and sections. The musical meaning of
3189 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
3190 can be characterized as short, medium, and long pause, somewhat like
3191 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
3192 only marks the end of a chant, but is also frequently used within a
3193 single antiphonal/responsorial chant to mark the end of each section.
3196 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
3197 contains definitions that you can apply by just inserting
3198 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
3199 and @code{\finalis} at proper places in the input. Some editions use
3200 @emph{virgula} or @emph{caesura} instead of divisio minima.
3201 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
3204 @lilypondfile[quote,ragged-right]{divisiones.ly}
3212 @funindex \divisioMinima
3213 @code{\divisioMinima},
3214 @funindex \divisioMaior
3215 @code{\divisioMaior},
3216 @funindex \divisioMaxima
3217 @code{\divisioMaxima},
3223 In this manual: @ref{Breath marks}.
3225 Program reference: @internalsref{BreathingSign}.
3227 Examples: @lsr{expressive,breathing-sign.ly}.
3231 @subsection Ligatures
3235 @c TODO: Should double check if I recalled things correctly when I wrote
3236 @c down the following paragraph by heart.
3238 A ligature is a graphical symbol that represents at least two distinct
3239 notes. Ligatures originally appeared in the manuscripts of Gregorian
3240 chant notation to denote ascending or descending sequences of notes.
3242 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
3243 Some ligature styles may need additional input syntax specific for
3244 this particular type of ligature. By default, the
3245 @internalsref{LigatureBracket} engraver just puts a square bracket
3248 @lilypond[quote,ragged-right,verbatim]
3256 To select a specific style of ligatures, a proper ligature engraver
3257 has to be added to the @internalsref{Voice} context, as explained in
3258 the following subsections. Only white mensural ligatures
3259 are supported with certain limitations.
3265 Ligatures need special spacing that has not yet been implemented. As
3266 a result, there is too much space between ligatures most of the time,
3267 and line breaking often is unsatisfactory. Also, lyrics do not
3268 correctly align with ligatures.
3270 Accidentals must not be printed within a ligature, but instead need to
3271 be collected and printed in front of it.
3273 The syntax still uses the deprecated infix style @code{\[ music expr
3274 \]}. For consistency reasons, it will eventually be changed to
3275 postfix style @code{note\[ ... note\]}. Alternatively, the file
3276 @file{gregorian@/-init@/.ly} can be included; it provides a scheme
3279 \ligature @var{music expr}
3281 with the same effect and is believed to be stable.
3284 * White mensural ligatures::
3285 * Gregorian square neumes ligatures::
3288 @node White mensural ligatures
3289 @subsubsection White mensural ligatures
3291 @cindex Mensural ligatures
3292 @cindex White mensural ligatures
3294 There is limited support for white mensural ligatures.
3296 To engrave white mensural ligatures, in the layout block put the
3297 @internalsref{Mensural_ligature_engraver} into the
3298 @internalsref{Voice} context, and remove the
3299 @internalsref{Ligature_bracket_engraver}, like this
3305 \remove Ligature_bracket_engraver
3306 \consists Mensural_ligature_engraver
3311 There is no additional input language to describe the shape of a
3312 white mensural ligature. The shape is rather determined solely from
3313 the pitch and duration of the enclosed notes. While this approach may
3314 take a new user a while to get accustomed to, it has the great advantage
3315 that the full musical information of the ligature is known internally.
3316 This is not only required for correct MIDI output, but also allows for
3317 automatic transcription of the ligatures.
3322 \set Score.timing = ##f
3323 \set Score.defaultBarType = "empty"
3324 \override NoteHead #'style = #'neomensural
3325 \override Staff.TimeSignature #'style = #'neomensural
3328 \[ d\longa c\breve f e d \]
3329 \[ c'\maxima d'\longa \]
3332 @lilypond[quote,ragged-right]
3335 \set Score.timing = ##f
3336 \set Score.defaultBarType = "empty"
3337 \override NoteHead #'style = #'neomensural
3338 \override Staff.TimeSignature #'style = #'neomensural
3341 \[ d\longa c\breve f e d \]
3342 \[ c'\maxima d'\longa \]
3348 \remove Ligature_bracket_engraver
3349 \consists Mensural_ligature_engraver
3355 Without replacing @internalsref{Ligature_bracket_engraver} with
3356 @internalsref{Mensural_ligature_engraver}, the same music transcribes
3359 @lilypond[quote,ragged-right]
3361 \set Score.timing = ##f
3362 \set Score.defaultBarType = "empty"
3363 \override NoteHead #'style = #'neomensural
3364 \override Staff.TimeSignature #'style = #'neomensural
3367 \[ d\longa c\breve f e d \]
3368 \[ c'\maxima d'\longa \]
3375 Horizontal spacing is poor.
3377 @node Gregorian square neumes ligatures
3378 @subsubsection Gregorian square neumes ligatures
3380 @cindex Square neumes ligatures
3381 @cindex Gregorian square neumes ligatures
3383 There is limited support for Gregorian square neumes notation
3384 (following the style of the Editio Vaticana). Core ligatures can
3385 already be typeset, but essential issues for serious typesetting are
3386 still lacking, such as (among others) horizontal alignment of multiple
3387 ligatures, lyrics alignment and proper handling of accidentals.
3390 The following table contains the extended neumes table of the 2nd
3391 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
3392 1983 by the monks of Solesmes.
3394 @multitable @columnfractions .4 .2 .2 .2
3411 @c TODO: \layout block is identical in all of the below examples.
3412 @c Therefore, it should somehow be included rather than duplicated all
3415 @c why not make identifiers in ly/engraver-init.ly? --hwn
3417 @c Because it's just used to typeset plain notes without
3418 @c a staff for demonstration purposes rather than something
3419 @c special of Gregorian chant notation. --jr
3424 @lilypond[staffsize=26,line-width=1.5\cm]
3425 \include "gregorian-init.ly"
3430 \noBreak s^\markup {"a"} \noBreak
3432 % Punctum Inclinatum
3434 \noBreak s^\markup {"b"}
3436 \layout { \neumeDemoLayout }}
3439 @lilypond[staffsize=26,line-width=2.5\cm]
3440 \include "gregorian-init.ly"
3443 % Punctum Auctum Ascendens
3444 \[ \auctum \ascendens b \]
3445 \noBreak s^\markup {"c"} \noBreak
3447 % Punctum Auctum Descendens
3448 \[ \auctum \descendens b \]
3449 \noBreak s^\markup {"d"} \noBreak
3451 % Punctum Inclinatum Auctum
3452 \[ \inclinatum \auctum b \]
3453 \noBreak s^\markup {"e"}
3455 \layout { \neumeDemoLayout }}
3458 @lilypond[staffsize=26,line-width=1.0\cm]
3459 \include "gregorian-init.ly"
3462 % Punctum Inclinatum Parvum
3463 \[ \inclinatum \deminutum b \]
3464 \noBreak s^\markup {"f"}
3466 \layout { \neumeDemoLayout }}
3472 @lilypond[staffsize=26,line-width=1.0\cm]
3473 \include "gregorian-init.ly"
3478 \noBreak s^\markup {"g"}
3480 \layout { \neumeDemoLayout }}
3486 @code{3. Apostropha vel Stropha}
3488 @lilypond[staffsize=26,line-width=1.0\cm]
3489 \include "gregorian-init.ly"
3494 \noBreak s^\markup {"h"}
3496 \layout { \neumeDemoLayout }}
3499 @lilypond[staffsize=26,line-width=1.0\cm]
3500 \include "gregorian-init.ly"
3504 \[ \stropha \auctum b \]
3505 \noBreak s^\markup {"i"}
3507 \layout { \neumeDemoLayout }}
3514 @lilypond[staffsize=26,line-width=1.0\cm]
3515 \include "gregorian-init.ly"
3520 \noBreak s^\markup {"j"}
3522 \layout { \neumeDemoLayout }}
3528 @code{5. Clivis vel Flexa}
3530 @lilypond[staffsize=26,line-width=1.0\cm]
3531 \include "gregorian-init.ly"
3538 \layout { \neumeDemoLayout }}
3541 @lilypond[staffsize=26,line-width=2.0\cm]
3542 \include "gregorian-init.ly"
3545 % Clivis Aucta Descendens
3546 \[ b \flexa \auctum \descendens g \]
3547 \noBreak s^\markup {"l"} \noBreak
3549 % Clivis Aucta Ascendens
3550 \[ b \flexa \auctum \ascendens g \]
3551 \noBreak s^\markup {"m"}
3553 \layout { \neumeDemoLayout }}
3556 @lilypond[staffsize=26,line-width=1.0\cm]
3557 \include "gregorian-init.ly"
3561 \[ b \flexa \deminutum g \]
3564 \layout { \neumeDemoLayout }}
3568 @code{6. Podatus vel Pes}
3570 @lilypond[staffsize=26,line-width=1.0\cm]
3571 \include "gregorian-init.ly"
3578 \layout { \neumeDemoLayout }}
3581 @lilypond[staffsize=26,line-width=2.0\cm]
3582 \include "gregorian-init.ly"
3585 % Pes Auctus Descendens
3586 \[ g \pes \auctum \descendens b \]
3587 \noBreak s^\markup {"p"} \noBreak
3589 % Pes Auctus Ascendens
3590 \[ g \pes \auctum \ascendens b \]
3591 \noBreak s^\markup {"q"}
3593 \layout { \neumeDemoLayout }}
3596 @lilypond[staffsize=26,line-width=1.0\cm]
3597 \include "gregorian-init.ly"
3601 \[ g \pes \deminutum b \]
3604 \layout { \neumeDemoLayout }}
3608 @code{7. Pes Quassus}
3610 @lilypond[staffsize=26,line-width=1.0\cm]
3611 \include "gregorian-init.ly"
3615 \[ \oriscus g \pes \virga b \]
3618 \layout { \neumeDemoLayout }}
3621 @lilypond[staffsize=26,line-width=1.0\cm]
3622 \include "gregorian-init.ly"
3625 % Pes Quassus Auctus Descendens
3626 \[ \oriscus g \pes \auctum \descendens b \]
3629 \layout { \neumeDemoLayout }}
3634 @code{8. Quilisma Pes}
3636 @lilypond[staffsize=26,line-width=1.0\cm]
3637 \include "gregorian-init.ly"
3641 \[ \quilisma g \pes b \]
3644 \layout { \neumeDemoLayout }}
3647 @lilypond[staffsize=26,line-width=1.0\cm]
3648 \include "gregorian-init.ly"
3651 % Quilisma Pes Auctus Descendens
3652 \[ \quilisma g \pes \auctum \descendens b \]
3655 \layout { \neumeDemoLayout }}
3660 @code{9. Podatus Initio Debilis}
3662 @lilypond[staffsize=26,line-width=1.0\cm]
3663 \include "gregorian-init.ly"
3666 % Pes Initio Debilis
3667 \[ \deminutum g \pes b \]
3670 \layout { \neumeDemoLayout }}
3673 @lilypond[staffsize=26,line-width=1.0\cm]
3674 \include "gregorian-init.ly"
3677 % Pes Auctus Descendens Initio Debilis
3678 \[ \deminutum g \pes \auctum \descendens b \]
3681 \layout { \neumeDemoLayout }}
3688 @lilypond[staffsize=26,line-width=1.0\cm]
3689 \include "gregorian-init.ly"
3693 \[ a \pes b \flexa g \]
3696 \layout { \neumeDemoLayout }}
3699 @lilypond[staffsize=26,line-width=1.0\cm]
3700 \include "gregorian-init.ly"
3703 % Torculus Auctus Descendens
3704 \[ a \pes b \flexa \auctum \descendens g \]
3707 \layout { \neumeDemoLayout }}
3710 @lilypond[staffsize=26,line-width=1.0\cm]
3711 \include "gregorian-init.ly"
3714 % Torculus Deminutus
3715 \[ a \pes b \flexa \deminutum g \]
3718 \layout { \neumeDemoLayout }}
3722 @code{11. Torculus Initio Debilis}
3724 @lilypond[staffsize=26,line-width=1.0\cm]
3725 \include "gregorian-init.ly"
3728 % Torculus Initio Debilis
3729 \[ \deminutum a \pes b \flexa g \]
3732 \layout { \neumeDemoLayout }}
3735 @lilypond[staffsize=26,line-width=1.0\cm]
3736 \include "gregorian-init.ly"
3739 % Torculus Auctus Descendens Initio Debilis
3740 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
3743 \layout { \neumeDemoLayout }}
3746 @lilypond[staffsize=26,line-width=1.0\cm]
3747 \include "gregorian-init.ly"
3750 % Torculus Deminutus Initio Debilis
3751 \[ \deminutum a \pes b \flexa \deminutum g \]
3754 \layout { \neumeDemoLayout }}
3758 @code{12. Porrectus}
3760 @lilypond[staffsize=26,line-width=1.0\cm]
3761 \include "gregorian-init.ly"
3765 \[ a \flexa g \pes b \]
3768 \layout { \neumeDemoLayout }}
3771 @lilypond[staffsize=26,line-width=1.0\cm]
3772 \include "gregorian-init.ly"
3775 % Porrectus Auctus Descendens
3776 \[ a \flexa g \pes \auctum \descendens b \]
3779 \layout { \neumeDemoLayout }}
3782 @lilypond[staffsize=26,line-width=1.0\cm]
3783 \include "gregorian-init.ly"
3786 % Porrectus Deminutus
3787 \[ a \flexa g \pes \deminutum b \]
3790 \layout { \neumeDemoLayout }}
3796 @lilypond[staffsize=26,line-width=1.0\cm]
3797 \include "gregorian-init.ly"
3801 \[ \virga b \inclinatum a \inclinatum g \]
3804 \layout { \neumeDemoLayout }
3808 @lilypond[staffsize=26,line-width=1.0\cm]
3809 \include "gregorian-init.ly"
3813 \[ \virga b \inclinatum a \inclinatum \auctum g \]
3816 \layout { \neumeDemoLayout }}
3819 @lilypond[staffsize=26,line-width=1.0\cm]
3820 \include "gregorian-init.ly"
3823 % Climacus Deminutus
3824 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
3827 \layout { \neumeDemoLayout }}
3831 @code{14. Scandicus}
3833 @lilypond[staffsize=26,line-width=1.0\cm]
3834 \include "gregorian-init.ly"
3838 \[ g \pes a \virga b \]
3841 \layout { \neumeDemoLayout }}
3844 @lilypond[staffsize=26,line-width=1.0\cm]
3845 \include "gregorian-init.ly"
3848 % Scandicus Auctus Descendens
3849 \[ g \pes a \pes \auctum \descendens b \]
3852 \layout { \neumeDemoLayout }}
3855 @lilypond[staffsize=26,line-width=1.0\cm]
3856 \include "gregorian-init.ly"
3859 % Scandicus Deminutus
3860 \[ g \pes a \pes \deminutum b \]
3863 \layout { \neumeDemoLayout }}
3869 @lilypond[staffsize=26,line-width=1.0\cm]
3870 \include "gregorian-init.ly"
3874 \[ g \oriscus a \pes \virga b \]
3877 \layout { \neumeDemoLayout }}
3880 @lilypond[staffsize=26,line-width=1.0\cm]
3881 \include "gregorian-init.ly"
3884 % Salicus Auctus Descendens
3885 \[ g \oriscus a \pes \auctum \descendens b \]
3888 \layout { \neumeDemoLayout }}
3895 @lilypond[staffsize=26,line-width=1.0\cm]
3896 \include "gregorian-init.ly"
3900 \[ \stropha b \stropha b \stropha a \]
3903 \layout { \neumeDemoLayout }
3912 Unlike most other neumes notation systems, the input language for
3913 neumes does not reflect the typographical appearance, but is designed
3914 to focus on musical meaning. For example, @code{\[ a \pes b
3915 \flexa g \]} produces a Torculus consisting of three Punctum heads,
3916 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
3917 curved flexa shape and only a single Punctum head. There is no
3918 command to explicitly typeset the curved flexa shape; the decision of
3919 when to typeset a curved flexa shape is based on the musical
3920 input. The idea of this approach is to separate the musical aspects
3921 of the input from the notation style of the output. This way, the
3922 same input can be reused to typeset the same music in a different
3923 style of Gregorian chant notation.
3925 The following table shows the code fragments that produce the
3926 ligatures in the above neumes table. The letter in the first column
3927 in each line of the below table indicates to which ligature in the
3928 above table it refers. The second column gives the name of the
3929 ligature. The third column shows the code fragment that produces this
3930 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
3932 @multitable @columnfractions .02 .31 .67
3952 @code{\[ \inclinatum b \]}
3960 @code{\[ \auctum \ascendens b \]}
3968 @code{\[ \auctum \descendens b \]}
3973 Punctum Inclinatum@*
3976 @code{\[ \inclinatum \auctum b \]}
3981 Punctum Inclinatum@*
3983 @code{\[ \inclinatum \deminutum b \]}
3990 @code{\[ \virga b \]}
3997 @code{\[ \stropha b \]}
4004 @code{\[ \stropha \auctum b \]}
4011 @code{\[ \oriscus b \]}
4018 @code{\[ b \flexa g \]}
4026 @code{\[ b \flexa \auctum \descendens g \]}
4034 @code{\[ b \flexa \auctum \ascendens g \]}
4041 @code{\[ b \flexa \deminutum g \]}
4048 @code{\[ g \pes b \]}
4056 @code{\[ g \pes \auctum \descendens b \]}
4064 @code{\[ g \pes \auctum \ascendens b \]}
4071 @code{\[ g \pes \deminutum b \]}
4078 @code{\[ \oriscus g \pes \virga b \]}
4084 Auctus Descendens @tab
4085 @code{\[ \oriscus g \pes \auctum \descendens b \]}
4092 @code{\[ \quilisma g \pes b \]}
4100 @code{\[ \quilisma g \pes \auctum \descendens b \]}
4107 @code{\[ \deminutum g \pes b \]}
4112 Pes Auctus Descendens@*
4115 @code{\[ \deminutum g \pes \auctum \descendens b \]}
4122 @code{\[ a \pes b \flexa g \]}
4130 @code{\[ a \pes b \flexa \auctum \descendens g \]}
4137 @code{\[ a \pes b \flexa \deminutum g \]}
4142 Torculus Initio Debilis
4144 @code{\[ \deminutum a \pes b \flexa g \]}
4150 Descendens Initio Debilis
4152 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
4157 Torculus Deminutus@*
4160 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
4167 @code{\[ a \flexa g \pes b \]}
4175 @code{\[ a \flexa g \pes \auctum \descendens b \]}
4182 @code{\[ a \flexa g \pes \deminutum b \]}
4189 @code{\[ \virga b \inclinatum a \inclinatum g \]}
4196 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
4203 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
4210 @code{\[ g \pes a \virga b \]}
4218 @code{\[ g \pes a \pes \auctum \descendens b \]}
4225 @code{\[ g \pes a \pes \deminutum b \]}
4232 @code{\[ g \oriscus a \pes \virga b \]}
4237 Salicus Auctus Descendens
4239 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
4246 @code{\[ \stropha b \stropha b \stropha a \]}
4249 The ligatures listed above mainly serve as a limited, but still
4250 representative pool of Gregorian ligature examples. Virtually, within
4251 the ligature delimiters @code{\[} and @code{\]}, any number of heads
4252 may be accumulated to form a single ligature, and head prefixes like
4253 @code{\pes}, @code{\flexa}, @code{\virga}, @code{\inclinatum},
4254 etc. may be mixed in as desired. The use of the set of rules that
4255 underlies the construction of the ligatures in the above table is
4256 accordingly extrapolated. This way, infinitely many different
4257 ligatures can be created.
4259 Augmentum dots, also called @emph{morae}, are added with the music
4260 function @code{\augmentum}. Note that @code{\augmentum} is
4261 implemented as a unary music function rather than as head prefix. It
4262 applies to the immediately following music expression only. That is,
4263 @code{\augmentum \virga c} will have no visible effect. Instead, say
4264 @code{\virga \augmentum c} or @code{\augmentum @{\virga c@}}. Also
4265 note that you can say @code{\augmentum @{a g@}} as a shortcut for
4266 @code{\augmentum a \augmentum g}.
4268 @lilypond[quote,ragged-right,verbatim]
4269 \include "gregorian-init.ly"
4271 \new VaticanaVoice {
4272 \[ \augmentum a \flexa \augmentum g \]
4280 The following head prefixes are supported
4286 @funindex \inclinatum
4290 @funindex \descendens
4292 @funindex \ascendens
4298 @funindex \deminutum
4305 Head prefixes can be accumulated, though restrictions apply. For
4306 example, either @code{\descendens} or @code{\ascendens} can be applied
4307 to a head, but not both to the same head.
4311 Two adjacent heads can be tied together with the @code{\pes} and
4312 @code{\flexa} infix commands for a rising and falling line of melody,
4315 @funindex \augmentum
4316 Use the unary music function @code{\augmentum} to add augmentum dots.
4320 When an @code{\augmentum} dot appears at the end of the last staff
4321 within a ligature, it is sometimes vertically placed wrong. As a
4322 workaround, add an additional skip note (e.g. @code{s8}) as last note
4325 @code{\augmentum} should be implemented as a head prefix rather than a
4326 unary music function, such that @code{\augmentum} can be intermixed
4327 with head prefixes in arbitrary order.
4329 @node Gregorian Chant contexts
4330 @subsection Gregorian Chant contexts
4332 @cindex VaticanaVoiceContext
4333 @cindex VaticanaStaffContext
4335 The predefined @code{VaticanaVoiceContext} and
4336 @code{VaticanaStaffContext} can be used to engrave a piece of
4337 Gregorian Chant in the style of the Editio Vaticana. These contexts
4338 initialize all relevant context properties and grob properties to
4339 proper values, so you can immediately go ahead entering the chant, as
4340 the following excerpt demonstrates
4342 @lilypond[quote,ragged-right,packed,verbatim]
4343 \include "gregorian-init.ly"
4346 \new VaticanaVoice = "cantus" {
4347 \[ c'\melisma c' \flexa a \]
4348 \[ a \flexa \deminutum g\melismaEnd \]
4350 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
4351 c' \divisioMinima \break
4352 \[ c'\melisma c' \flexa a \]
4353 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
4355 \new Lyrics \lyricsto "cantus" {
4356 San- ctus, San- ctus, San- ctus
4363 @node Mensural contexts
4364 @subsection Mensural contexts
4366 @cindex MensuralVoiceContext
4367 @cindex MensuralStaffContext
4369 The predefined @code{MensuralVoiceContext} and
4370 @code{MensuralStaffContext} can be used to engrave a piece in mensural
4371 style. These contexts initialize all relevant context properties and
4372 grob properties to proper values, so you can immediately go ahead
4373 entering the chant, as the following excerpt demonstrates
4375 @lilypond[quote,ragged-right,verbatim]
4378 \new MensuralVoice = "discantus" \transpose c c' {
4379 \override Score.BarNumber #'transparent = ##t {
4380 c'1\melisma bes a g\melismaEnd
4382 \[ f1\melisma a c'\breve d'\melismaEnd \]
4384 c'\breve\melisma a1 g1\melismaEnd
4385 fis\longa^\signumcongruentiae
4388 \new Lyrics \lyricsto "discantus" {
4389 San -- ctus, San -- ctus, San -- ctus
4395 @node Musica ficta accidentals
4396 @subsection Musica ficta accidentals
4398 In European music from before about 1600, singers were often expected
4399 to chromatically alter notes at their own initiative. This is called
4400 @q{Musica Ficta}. In modern transcriptions, these accidentals are
4401 usually printed over the note.
4403 @cindex Accidental, musica ficta
4404 @cindex Musica ficta
4406 Support for such suggested accidentals is included, and can be
4407 switched on by setting @code{suggestAccidentals} to true.
4409 @funindex suggestAccidentals
4411 @lilypond[verbatim,fragment,relative=1]
4413 \set suggestAccidentals = ##t
4419 Program reference: @internalsref{Accidental_engraver} engraver and the
4420 @internalsref{AccidentalSuggestion} object.
4423 @subsection Figured bass
4425 @cindex Basso continuo
4427 @c TODO: musicological blurb about FB
4430 LilyPond has support for figured bass
4432 @lilypond[quote,ragged-right,verbatim,fragment]
4434 \new Voice { \clef bass dis4 c d ais g fis}
4435 \new FiguredBass \figuremode {
4436 < 6 >4 < 7\+ >8 < 6+ [_!] >
4443 The support for figured bass consists of two parts: there is an input
4444 mode, introduced by @code{\figuremode}, where you can enter bass figures
4445 as numbers, and there is a context called @internalsref{FiguredBass} that
4446 takes care of making @internalsref{BassFigure} objects.
4448 In figures input mode, a group of bass figures is delimited by
4449 @code{<} and @code{>}. The duration is entered after the @code{>}
4453 @lilypond[quote,ragged-right,fragment]
4455 \figuremode { <4 6> }
4458 Accidentals are added when you append @code{-}, @code{!}, and @code{+}
4459 to the numbers. A plus sign is added when you append @code{\+}, and
4460 diminished fifths and sevenths can be obtained with @code{5/} and @code{7/}.
4463 <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/>
4465 @lilypond[quote,ragged-right,fragment]
4466 \figures { <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/> }
4469 Spaces may be inserted by using @code{_}. Brackets are
4470 introduced with @code{[} and @code{]}. You can also include text
4471 strings and text markups, see @ref{Overview of text markup commands}.
4474 < [4 6] 8 [_! 12] > < 5 \markup @{ \number 6 \super (1) @} >
4476 @lilypond[quote,ragged-right,fragment]
4478 \figuremode { < [4 6] 8 [_! 12] > < 5 \markup{ \tiny \number 6 \super (1)} > }
4482 It is also possible to use continuation lines for repeated figures,
4484 @lilypond[verbatim,relative=1]
4491 \set useBassFigureExtenders = ##t
4498 In this case, the extender lines always replace existing figures.
4500 The @code{FiguredBass} context doesn't pay attention to the actual
4501 bass line. As a consequence, you may have to insert extra figures to
4502 get extender lines below all notes, and you may have to add @code{\!}
4503 to avoid getting an extender line, e.g.
4505 @lilypond[relative=1]
4509 \set useBassFigureExtenders = ##t
4510 <6 4->4. <6 4->16. <6 4->32 <5>8. r16 <6>8 <6\! 5->
4514 f16. g32 f16. g32 f16. g32 f16. g32 f8. es16 d8 es
4519 When using continuation lines, common figures are always put in the
4520 same vertical position. When this is unwanted, you can insert a rest
4521 with @code{r}. The rest will clear any previous alignment. For
4522 example, you can write
4534 Accidentals and plus signs can appear before or after the numbers,
4535 depending on the @code{figuredBassAlterationDirection} and
4536 @code{figuredBassPlusDirection}
4542 \set figuredBassAlterationDirection = #1
4544 \set figuredBassPlusDirection = #1
4546 \set figuredBassAlterationDirection = #-1
4552 Although the support for figured bass may superficially resemble chord
4553 support, it is much simpler. The @code{\figuremode} mode simply
4554 stores the numbers and @internalsref{FiguredBass} context prints them
4555 as entered. There is no conversion to pitches and no realizations of
4556 the bass are played in the MIDI file.
4558 Internally, the code produces markup texts. You can use any of the
4559 markup text properties to override formatting. For example, the
4560 vertical spacing of the figures may be set with @code{baseline-skip}.
4563 Figured bass can also be added to @code{Staff} contexts
4564 directly. In this case, their vertical position is adjusted
4567 @lilypond[ragged-right,fragment,quote]
4569 \new Staff = someUniqueName
4574 %% send to existing Staff.
4575 \context Staff = someUniqueName
4579 \set Staff.useBassFigureExtenders = ##t
4588 By default, this method produces figures above the notes. To get
4589 figures below the notes, use
4592 \override Staff.BassFigureAlignmentPositioning #'direction = #DOWN
4598 When using figured bass above the staff with extender lines and
4599 @code{implicitBassFigures} the lines may become swapped around.
4600 Maintaining order consistently will be impossible when multiple figures
4601 have overlapping extender lines. To avoid this problem, please
4602 use @code{stacking-dir} on @code{BassFigureAlignment}.
4607 Program reference: @internalsref{NewBassFigure},
4608 @internalsref{BassFigureAlignment}, @internalsref{BassFigureLine},
4609 @internalsref{BassFigureBracket}, and
4610 @internalsref{BassFigureContinuation} objects and
4611 @internalsref{FiguredBass} context.
4615 @node Other instrument specific notation
4616 @section Other instrument specific notation
4618 This section includes extra information for writing for instruments.
4621 * Artificial harmonics (strings)::
4624 @node Artificial harmonics (strings)
4625 @subsection Artificial harmonics (strings)
4627 @cindex artificial harmonics
4629 Artificial harmonics are notated with a different notehead style. They
4630 are entered by marking the harmonic pitch with @code{\harmonic}.
4632 @lilypond[ragged-right,verbatim,quote,fragment,relative=1]