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
7 version that you are working on. See TRANSLATION for details.
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 ``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
60 The distance between the two staves is the same for all systems in the
61 score. It is possible to override this per system, but it does require
62 an arcane command incantation. See
63 @inputfileref{input/@/test,piano@/-staff@/-distance@/.ly}.
66 @node Automatic staff changes
67 @subsection Automatic staff changes
68 @cindex Automatic staff changes
70 Voices can be made to switch automatically between the top and the bottom
71 staff. The syntax for this is
75 \autochange @dots{}@var{music}@dots{}
80 This will create two staves inside the current PianoStaff, called
81 @code{up} and @code{down}. The lower staff will be in bass clef by
84 A @code{\relative} section that is outside of @code{\autochange} has
85 no effect on the pitches of @var{music}, so, if necessary, put
86 @code{\relative} inside @code{\autochange} like
90 \autochange \relative @dots{} @dots{}
95 The autochanger switches on basis of the pitch (middle C is the turning
96 point), and it looks ahead skipping over rests to switch in
97 advance. Here is a practical example
99 @lilypond[quote,verbatim,ragged-right]
101 \autochange \relative c'
110 In this manual: @ref{Manual staff switches}.
112 Program reference: @internalsref{AutoChangeMusic}.
118 The staff switches may not end up in optimal places. For high
119 quality output, staff switches should be specified manually.
122 @code{\autochange} cannot be inside @code{\times}.
125 @node Manual staff switches
126 @subsection Manual staff switches
128 @cindex manual staff switches
129 @cindex staff switch, manual
131 Voices can be switched between staves manually, using the command
133 \change Staff = @var{staffname} @var{music}
137 The string @var{staffname} is the name of the staff. It switches the
138 current voice from its current staff to the Staff called
139 @var{staffname}. Typically @var{staffname} is @code{"up"} or
140 @code{"down"}. The @context{Staff} referred to must already exist, so
141 usually the setup for a score will start with a setup of the staves,
146 \skip 1 * 10 % @emph{keep staff alive}
148 \new Staff = "down" @{
149 \skip 1 * 10 % @emph{idem}
155 and the @context{Voice} is inserted afterwards
158 \context Staff = down
159 \new Voice @{ @dots{} \change Staff = up @dots{} @}
167 Pianos have pedals that alter the way sound is produced. Generally, a
168 piano has three pedals, sustain, una corda, and sostenuto.
171 Piano pedal instruction can be expressed by attaching
172 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
173 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
176 @lilypond[quote,ragged-right,fragment,verbatim]
177 c'4\sustainDown c'4\sustainUp
180 What is printed can be modified by setting @code{pedal@var{X}Strings},
181 where @var{X} is one of the pedal types: @code{Sustain},
182 @code{Sostenuto} or @code{UnaCorda}. Refer to
183 @internalsref{SustainPedal} in the program reference for more
186 Pedals can also be indicated by a sequence of brackets, by setting the
187 @code{pedalSustainStyle} property to bracket objects
189 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
190 \set Staff.pedalSustainStyle = #'bracket
192 b\sustainUp\sustainDown
193 b g \sustainUp a \sustainDown \bar "|."
196 A third style of pedal notation is a mixture of text and brackets,
197 obtained by setting the @code{pedalSustainStyle} property to
200 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
201 \set Staff.pedalSustainStyle = #'mixed
203 b\sustainUp\sustainDown
204 b g \sustainUp a \sustainDown \bar "|."
207 The default `*Ped.' style for sustain and damper pedals corresponds to
208 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
211 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
212 c\sostenutoDown d e c, f g a\sostenutoUp
215 For fine-tuning the appearance of a pedal bracket, the properties
216 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
217 @code{PianoPedalBracket} objects (see
218 @internalsref{PianoPedalBracket} in the Program reference) can be
219 modified. For example, the bracket may be extended to the right edge
222 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
223 \override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
224 c\sostenutoDown d e c, f g a\sostenutoUp
229 In this manual: @ref{Laissez vibrer ties}
231 @node Staff switch lines
232 @subsection Staff switch lines
236 @cindex staff switching
239 @funindex followVoice
241 Whenever a voice switches to another staff, a line connecting the notes
242 can be printed automatically. This is switched on by setting
243 @code{followVoice} to true
245 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
248 \set followVoice = ##t
253 \new Staff="two" { \clef bass \skip 1*2 }
259 Program reference: @internalsref{VoiceFollower}.
263 @funindex \showStaffSwitch
264 @code{\showStaffSwitch},
265 @funindex \hideStaffSwitch
266 @code{\hideStaffSwitch}.
269 @node Cross staff stems
270 @subsection Cross staff stems
272 Chords that cross staves may be produced by increasing the length
273 of the stem in the lower staff, so it reaches the stem in the upper
274 staff, or vice versa.
276 @lilypond[ragged-right,verbatim,quote]
277 stemExtend = \once \override Stem #'length = #22
278 noFlag = \once \override Stem #'flag-style = #'no-flag
281 \stemDown \stemExtend
299 * Introducing chord names::
301 * Printing chord names::
305 @c awkward name; awkward section name.
306 @c still, the Basic "chords" seems like a good name... :(
307 @node Introducing chord names
308 @subsection Introducing chord names
311 LilyPond has support for printing chord names. Chords may be entered
312 in musical chord notation, i.e., @code{< .. >}, but they can also be
313 entered by name. Internally, the chords are represented as a set of
314 pitches, so they can be transposed
317 @lilypond[quote,ragged-right,verbatim,ragged-right]
318 twoWays = \transpose c c' {
327 << \new ChordNames \twoWays
328 \new Voice \twoWays >>
331 This example also shows that the chord printing routines do not try to
332 be intelligent. The last chord (@code{f bes d}) is not interpreted as
335 Note that the duration of chords must be specified outside the
344 @subsection Chords mode
347 In chord mode sets of pitches (chords) are entered with normal note
348 names. A chord is entered by the root, which is entered like a
351 @lilypond[quote,ragged-right,fragment,verbatim]
352 \chordmode { es4. d8 c2 }
356 The mode is introduced by the keyword @code{\chordmode}.
361 Other chords may be entered by suffixing a colon and introducing a
362 modifier (which may include a number if desired)
363 @lilypond[quote,fragment,verbatim]
364 \chordmode { e1:m e1:7 e1:m7 }
366 The first number following the root is taken to be the `type' of the
367 chord, thirds are added to the root until it reaches the specified
369 @lilypond[quote,fragment,verbatim]
370 \chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
373 @cindex root of chord
374 @cindex additions, in chords
375 @cindex removals, in chords
377 More complex chords may also be constructed adding separate steps
378 to a chord. Additions are added after the number following
379 the colon and are separated by dots
380 @lilypond[quote,verbatim,fragment]
381 \chordmode { c:5.6 c:3.7.8 c:3.6.13 }
383 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
385 @lilypond[quote,verbatim,fragment]
386 \chordmode { c:7+ c:5+.3- c:3-.5-.7- }
388 Removals are specified similarly and are introduced by a caret. They
389 must come after the additions
390 @lilypond[quote,verbatim,fragment]
391 \chordmode { c^3 c:7^5 c:9^3.5 }
394 Modifiers can be used to change pitches. The following modifiers are
399 The minor chord. This modifier lowers the 3rd and (if present) the 7th step.
402 The diminished chord. This modifier lowers the 3rd, 5th and (if present)
406 The augmented chord. This modifier raises the 5th step.
409 The major 7th chord. This modifier raises the 7th step if present.
412 The suspended 4th or 2nd. This modifier removes the 3rd
413 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
417 Modifiers can be mixed with additions
418 @lilypond[quote,verbatim,fragment]
419 \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
422 @cindex modifiers, in chords.
429 Since an unaltered 11 does not sound good when combined with an
430 unaltered 3, the 11 is removed in this case (unless it is added
432 @lilypond[quote,ragged-right,fragment,verbatim]
433 \chordmode { c:13 c:13.11 c:m13 }
438 An inversion (putting one pitch of the chord on the bottom), as well
439 as bass notes, can be specified by appending
440 @code{/}@var{pitch} to the chord
441 @lilypond[quote,ragged-right,fragment,verbatim]
442 \chordmode { c1 c/g c/f }
446 A bass note can be added instead transposed out of the chord,
447 by using @code{/+}@var{pitch}.
449 @lilypond[quote,ragged-right,fragment,verbatim]
450 \chordmode { c1 c/+g c/+f }
453 Chords is a mode similar to @code{\lyricmode}, etc. Most
454 of the commands continue to work, for example, @code{r} and
455 @code{\skip} can be used to insert rests and spaces, and property
456 commands may be used to change various settings.
462 Each step can only be present in a chord once. The following
463 simply produces the augmented chord, since @code{5+} is interpreted
466 @lilypond[quote,ragged-right,verbatim,fragment]
467 \chordmode { c:5.5-.5+ }
471 @node Printing chord names
472 @subsection Printing chord names
474 @cindex printing chord names
478 For displaying printed chord names, use the @internalsref{ChordNames} context.
479 The chords may be entered either using the notation
480 described above, or directly using @code{<} and @code{>}
482 @lilypond[quote,verbatim,ragged-right]
484 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
487 \new ChordNames \harmonies
488 \new Staff \harmonies
492 You can make the chord changes stand out by setting
493 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
494 display chord names when there is a change in the chords scheme and at
495 the start of a new line
497 @lilypond[quote,verbatim,ragged-right]
498 harmonies = \chordmode {
499 c1:m c:m \break c:m c:m d
503 \set chordChanges = ##t
505 \new Staff \transpose c c' \harmonies
509 The previous examples all show chords over a staff. This is not
510 necessary. Chords may also be printed separately. It may be necessary
511 to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
514 @lilypond[ragged-right,verbatim]
515 \new ChordNames \with {
516 \override BarLine #'bar-size = #4
517 voltaOnThisStaff = ##t
518 \consists Bar_engraver
519 \consists "Volta_engraver"
521 \chordmode { \repeat volta 2 {
531 The default chord name layout is a system for Jazz music, proposed by
532 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
536 @funindex chordNameExceptions
537 @item chordNameExceptions
538 This is a list that contains the chords that have special formatting.
540 The exceptions list should be encoded as
542 @{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
545 To get this information into @code{chordNameExceptions} takes a little
546 manoeuvring. The following code transforms @code{chExceptionMusic}
547 (which is a sequential music) into a list of exceptions.
549 (sequential-music-to-chord-exceptions chExceptionMusic #t)
554 (sequential-music-to-chord-exceptions chExceptionMusic #t)
557 adds the new exceptions to the default ones, which are defined in
558 @file{ly/@/chord@/-modifier@/-init@/.ly}.
560 For an example of tuning this property, see also
561 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly}.
562 @cindex exceptions, chord names.
565 @funindex majorSevenSymbol
566 @item majorSevenSymbol
567 This property contains the markup object used for the 7th step, when
568 it is major. Predefined options are @code{whiteTriangleMarkup} and
569 @code{blackTriangleMarkup}. See
570 @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly} for an example.
572 @funindex chordNameSeparator
573 @item chordNameSeparator
574 Different parts of a chord name are normally separated by a
575 slash. By setting @code{chordNameSeparator}, you can specify other
577 @lilypond[quote,ragged-right,fragment,verbatim]
578 \new ChordNames \chordmode {
580 \set chordNameSeparator
581 = \markup { \typewriter "|" }
586 @funindex chordRootNamer
588 The root of a chord is usually printed as a letter with an optional
589 alteration. The transformation from pitch to letter is done by this
590 function. Special note names (for example, the German ``H'' for a
591 B-chord) can be produced by storing a new function in this property.
593 @funindex chordNoteNamer
595 The default is to print single pitch, e.g., the bass note, using the
596 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
597 to a specialized function to change this behavior. For example, the
598 base can be printed in lower case.
600 @funindex chordPrefixSpacer
601 @item chordPrefixSpacer
602 The ``m'' for minor chords is usually printed right after the root of
603 the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer
604 between the root and ``m''. The spacer is not used when the root
609 The predefined variables @code{\germanChords},
610 @code{\semiGermanChords}, @code{\italianChords} and @code{\frenchChords}
611 set these variables. The effect is
614 @lilypondfile[ragged-right]{chord-names-languages.ly}
616 There are also two other chord name schemes implemented: an alternate
617 Jazz chord notation, and a systematic scheme called Banter chords. The
618 alternate Jazz notation is also shown on the chart in @ref{Chord name
619 chart}. Turning on these styles is described in the input file
620 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
629 @funindex \germanChords
630 @code{\germanChords},
631 @funindex \semiGermanChords
632 @code{\semiGermanChords}.
633 @funindex \italianChords
634 @code{\italianChords}.
635 @funindex \frenchChords
636 @code{\frenchChords}.
643 Examples: @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly},
644 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly},
645 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
648 Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
649 @file{scm/@/chord@/-entry@/.scm}.
654 Chord names are determined solely from the list of pitches. Chord
655 inversions are not identified, and neither are added bass notes. This
656 may result in strange chord names when chords are entered with the
657 @code{< .. >} syntax.
664 Since LilyPond input files are text, there are two issues to
665 consider when working with vocal music:
669 Song texts must be entered as text, not notes. For example, the
670 input@tie{}@code{d} should be interpreted as a one letter syllable, not the
674 Song texts must be aligned with the notes of their melody.
677 There are a few different ways to define lyrics; the simplest
678 way is to use the @code{\addlyrics} function.
681 * Setting simple songs::
683 * Hyphens and extenders::
684 * The Lyrics context::
686 * Another way of entering lyrics::
687 * Flexibility in placement::
689 * More about stanzas::
691 * Other vocal issues::
697 Checking to make sure that text scripts and lyrics are within the margins is
698 a relatively large computational task. To speed up processing, lilypond does
699 not perform such calculations by default; to enable it, use
702 \override Score.PaperColumn #'keep-inside-line = ##t
705 To make lyrics avoid barlines as well, use
710 \consists "Bar_engraver"
711 \consists "Separating_line_group_engraver"
712 \override BarLine #'transparent = ##t
718 @node Setting simple songs
719 @subsection Setting simple songs
721 The easiest way to add lyrics to a melody is to append
724 \addlyrics @{ @var{the lyrics} @}
728 to a melody. Here is an example,
730 @lilypond[ragged-right,verbatim,fragment,quote]
732 \relative { c2 e4 g2. }
733 \addlyrics { play the game }
736 More stanzas can be added by adding more
737 @code{\addlyrics} sections
739 @lilypond[ragged-right,verbatim,fragment,quote]
741 \relative { c2 e4 g2. }
742 \addlyrics { play the game }
743 \addlyrics { speel het spel }
744 \addlyrics { joue le jeu }
747 The command @code{\addlyrics} cannot handle polyphony settings. For these
748 cases you should use @code{\lyricsto} and @code{\lyricmode}.
752 @node Entering lyrics
753 @subsection Entering lyrics
759 Lyrics are entered in a special input mode. This mode is introduced
760 by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
761 @code{\lyricsto}. In this mode you can enter lyrics,
762 with punctuation and accents, and the input @code{d} is not parsed as
763 a pitch, but rather as a one letter syllable. Syllables are entered
764 like notes, but with pitches replaced by text. For example,
766 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
769 There are two main methods to specify the horizontal placement
770 of the syllables, either by specifying the duration of each syllable
771 explicitly, like in the example above, or by automatically aligning
772 the lyrics to a melody or other voice of music, using @code{\addlyrics}
773 or @code{\lyricsto}. For more details see @ref{The Lyrics context}.
775 A word or syllable of lyrics begins with an alphabetic character, and ends
777 any space or digit. The following characters can be any character
778 that is not a digit or white space. One important consequence of this
779 is that a word can end with @code{@}}. The following example is
780 usually a mistake in the input file. The syllable includes a @code{@}}, so
782 opening brace is not balanced
784 \lyricmode @{ twinkle@}
787 @funindex \property in \lyricmode
790 Similarly, a period which follows an alphabetic sequence is included in
791 the resulting string. As a consequence, spaces must be inserted around
794 \override Score . LyricText #'font-shape = #'italic
798 @cindex spaces, in lyrics
799 @cindex quotes, in lyrics
800 @cindex ties, in lyrics
802 In order to assign more than one syllable to a single note, you can
803 surround them with quotes or use a @code{_} character, to get spaces
804 between syllables, or use tilde symbol (@code{~}) to get a lyric tie.
806 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
808 \relative { c2 e4 g2 e4 }
809 \addlyrics { gran- de_a- mi- go }
810 \addlyrics { pu- "ro y ho-" nes- to }
811 \addlyrics { pu- ro~yho- nes- to }
814 The lyric ties is implemented with the Unicode character U+203F, so be
815 sure to have a font (Like DejaVuLGC) installed that includes this
819 To enter lyrics with characters from non-English languages, or with
820 non-ascii characters (such as the heart symbol or slanted quotes),
821 simply insert the characters directly into the input file and save
822 it with utf-8 encoding. See @ref{Text encoding} for more info.
824 @lilypond[quote,ragged-right,fragment,verbatim]
825 \relative { e4 f e d e f e2 }
826 \addlyrics { He said: “Let my peo ple go”. }
829 To use normal quotes in lyrics, add a backslash before the
832 @lilypond[quote,ragged-right,fragment,verbatim]
833 \relative c' { \time 3/4 e4 e4. e8 d4 e d c2. }
834 \addlyrics { "\"I" am so lone- "ly\"" said she }
837 The full definition of a word start in Lyrics mode is somewhat more
840 A word in Lyrics mode begins with: an alphabetic character, @code{_},
841 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
842 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
843 any 8-bit character with ASCII code over 127, or a two-character
844 combination of a backslash followed by one of @code{`}, @code{'},
845 @code{"}, or @code{^}.
847 To define indentifiers containing lyrics, the function @code{lyricmode}
851 verseOne = \lyricmode @{ Joy to the world the Lord is come @}
854 \new Voice = "one" \relative c'' @{
857 c4 b8. a16 g4. f8 e4 d c2
859 \addlyrics @{ \verseOne @}
867 Program reference: @internalsref{LyricText}, @internalsref{LyricSpace}.
871 @node Hyphens and extenders
872 @subsection Hyphens and extenders
876 Centered hyphens are entered as `@code{--}' between syllables.
877 The hyphen will have variable length depending on the space between
878 the syllables and it will be centered between the syllables.
883 When a lyric is sung over many notes (this is called a melisma), this is
884 indicated with a horizontal line centered between a syllable and the
885 next one. Such a line is called an extender line, and it is entered as
888 In tighly engraved music, hyphens can be removed. Whether this
889 happens can be controlled with the @code{minimum-distance} (minimum
890 distance between two syllables) and the @code{minimum-length}
891 (threshold below which hyphens are removed).
895 Program reference: @internalsref{LyricHyphen}, @internalsref{LyricExtender}.
899 @node The Lyrics context
900 @subsection The Lyrics context
902 Lyrics are printed by interpreting them in the context called
903 @internalsref{Lyrics}.
906 \new Lyrics \lyricmode @dots{}
909 @cindex automatic syllable durations
911 @cindex lyrics and melodies
913 This will place the lyrics according to the durations that were
914 entered. The lyrics can also be aligned under a given melody
915 automatically. In this case, it is no longer necessary to enter the
916 correct duration for each syllable. This is achieved by combining the
917 melody and the lyrics with the @code{\lyricsto} expression
920 \new Lyrics \lyricsto @var{name} @dots{}
923 This aligns the lyrics to the
924 notes of the @internalsref{Voice} context called @var{name}, which must
925 already exist. Therefore normally the @code{Voice} is specified first, and
926 then the lyrics are specified with @code{\lyricsto}. The command
927 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
928 @code{\lyricmode} keyword may be omitted.
930 The following example uses different commands for entering lyrics.
932 @lilypond[quote,fragment,ragged-right,verbatim]
934 \new Voice = "one" \relative c'' {
937 c4 b8. a16 g4. f8 e4 d c2
939 \new Lyrics \lyricmode { Joy4 to8. the16 world!4. the8 Lord4 is come.2 }
940 \new Lyrics \lyricmode { Joy to the earth! the Sa -- viour reigns. }
941 \new Lyrics \lyricsto "one" { No more let sins and sor -- rows grow. }
945 The second stanza is not properly aligned because the durations
946 were not specified. A solution for that would be to use @code{\lyricsto}.
948 The @code{\addlyrics} command is actually just a convenient way
949 to write a more complicated LilyPond structure that sets up the
954 \addlyrics @{ LYRICS @}
961 \new Voice = "blah" @{ music @}
962 \new Lyrics \lyricsto "blah" @{ LYRICS @}
965 For different or more complex orderings, the best way is to setup the
966 hierarchy of staves and lyrics first, e.g.,
969 \new Voice = "soprano" @{ @emph{music} @}
970 \new Lyrics = "sopranoLyrics" @{ s1 @}
971 \new Lyrics = "tenorLyrics" @{ s1 @}
972 \new Voice = "tenor" @{ @emph{music} @}
976 and then combine the appropriate melodies and lyric lines
979 \context Lyrics = sopranoLyrics \lyricsto "soprano"
984 The final input would resemble
987 <<\new ChoirStaff << @emph{setup the music} >>
988 \lyricsto "soprano" @emph{etc}
989 \lyricsto "alto" @emph{etc}
996 Program reference: @internalsref{LyricCombineMusic},
997 @internalsref{Lyrics}.
1001 @subsection Melismata
1003 The @code{\lyricsto} command detects melismata: it only puts one
1004 syllable under a tied or slurred group of notes. If you want to force
1005 an unslurred group of notes to be a melisma, insert @code{\melisma}
1006 after the first note of the group, and @code{\melismaEnd} after the
1009 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
1011 \new Voice = "lala" {
1019 \new Lyrics \lyricsto "lala" {
1025 In addition, notes are considered a melisma if they are manually
1026 beamed, and automatic beaming (see @ref{Setting automatic beam
1027 behavior}) is switched off.
1030 @cindex choral score
1032 A complete example of a SATB score setup is in section
1033 @ref{Vocal ensembles}.
1038 @code{\melisma}, @code{\melismaEnd}
1039 @funindex \melismaEnd
1044 Program reference: @internalsref{Melisma_translator}.
1047 @inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly}.
1051 Melismata are not detected automatically, and extender lines must be
1055 @node Another way of entering lyrics
1056 @subsection Another way of entering lyrics
1058 Lyrics can also be entered without @code{\lyricsto}. In this case the
1059 duration of each syllable must be entered explicitly, for example,
1066 The alignment to a melody can be specified with the
1067 @code{associatedVoice} property,
1070 \set associatedVoice = #"lala"
1074 The value of the property (here: @code{"lala"}) should be the name of
1075 a @internalsref{Voice} context. Without this setting, extender lines
1076 will not be formatted properly.
1078 Here is an example demonstrating manual lyric durations,
1080 @lilypond[relative=1,ragged-right,verbatim,fragment,quote]
1081 << \new Voice = "melody" {
1085 \new Lyrics \lyricmode {
1086 \set associatedVoice = #"melody"
1092 @c TODO: document \new Staff << Voice \lyricsto >> bug
1094 @node Flexibility in placement
1095 @subsection Flexibility in placement
1097 Often, different stanzas of one song are put to one melody in slightly
1098 differing ways. Such variations can still be captured with
1102 * Lyrics to multiple notes of a melisma::
1104 * Switching the melody associated with a lyrics line::
1105 * Specifying melismata within the lyrics::
1106 * Lyrics independent of notes::
1109 @node Lyrics to multiple notes of a melisma
1110 @subsubsection Lyrics to multiple notes of a melisma
1113 One possibility is that the text has a melisma in one stanza, but
1114 multiple syllables in another one. One solution is to make the faster
1115 voice ignore the melisma. This is done by setting
1116 @code{ignoreMelismata} in the Lyrics context.
1118 There is one tricky aspect: the setting for @code{ignoreMelismata}
1119 must be set one syllable @emph{before} the non-melismatic syllable
1120 in the text, as shown here,
1122 @lilypond[verbatim,ragged-right,quote]
1124 \relative \new Voice = "lahlah" {
1125 \set Staff.autoBeaming = ##f
1131 \new Lyrics \lyricsto "lahlah" {
1134 \new Lyrics \lyricsto "lahlah" {
1135 \set ignoreMelismata = ##t % applies to "fas"
1137 \unset ignoreMelismata
1144 The @code{ignoreMelismata} applies to the syllable ``fas'', so it
1145 should be entered before ``go''.
1147 The reverse is also possible: making a lyric line slower than the
1148 standard. This can be achieved by insert @code{\skip}s into the
1149 lyrics. For every @code{\skip}, the text will be delayed another note.
1152 @lilypond[verbatim,ragged-right,quote]
1153 \relative { c c g' }
1162 @subsubsection Divisi lyrics
1164 You can display alternate (or divisi) lyrics by naming voice
1165 contexts and attaching lyrics to those specific contexts.
1167 @lilypond[verbatim,ragged-right,quote]
1169 \new Voice = "melody" {
1174 \new Voice = "splitpart" { \voiceTwo c4 }
1179 \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
1180 \new Lyrics \lyricsto "splitpart" { will }
1185 You can use this trick to display different lyrics for a repeated
1188 @lilypond[verbatim,ragged-right,quote]
1190 \new Voice = "melody" \relative c' {
1192 \new Voice = "verse" \repeat volta 2 {c4 d e f | g1 | }
1194 \new Lyrics = "mainlyrics" \lyricsto melody \lyricmode {
1197 \context Lyrics = "mainlyrics" \lyricsto verse \lyricmode {
1199 \new Lyrics = "repeatlyrics" \lyricsto verse \lyricmode {
1200 dodo rere mimi fafa solsol }
1207 @node Switching the melody associated with a lyrics line
1208 @subsubsection Switching the melody associated with a lyrics line
1210 More complex variations in text underlay are possible. It is possible
1211 to switch the melody for a line of lyrics during the text. This is
1212 done by setting the @code{associatedVoice} property. In the example
1214 @lilypond[ragged-right,quote]
1216 \relative \new Voice = "lahlah" {
1217 \set Staff.autoBeaming = ##f
1220 \new Voice = "alternative" {
1223 % show associations clearly.
1224 \override NoteColumn #'force-hshift = #-3
1235 \new Lyrics \lyricsto "lahlah" {
1236 Ju -- ras -- sic Park
1238 \new Lyrics \lyricsto "lahlah" {
1239 % Tricky: need to set associatedVoice
1240 % one syllable too soon!
1241 \set associatedVoice = alternative % applies to "ran"
1245 \set associatedVoice = lahlah % applies to "rus"
1251 the text for the first stanza is set to a melody called ``lahlah'',
1254 \new Lyrics \lyricsto "lahlah" @{
1255 Ju -- ras -- sic Park
1260 The second stanza initially is set to the @code{lahlah} context, but
1261 for the syllable ``ran'', it switches to a different melody.
1262 This is achieved with
1264 \set associatedVoice = alternative
1268 Here, @code{alternative} is the name of the @code{Voice} context
1269 containing the triplet.
1271 Again, the command must be one syllable too early, before ``Ty'' in
1275 \new Lyrics \lyricsto "lahlah" @{
1276 \set associatedVoice = alternative % applies to "ran"
1280 \set associatedVoice = lahlah % applies to "rus"
1286 The underlay is switched back to the starting situation by assigning
1287 @code{lahlah} to @code{associatedVoice}.
1290 @node Specifying melismata within the lyrics
1291 @subsubsection Specifying melismata within the lyrics
1293 It is also possible to define melismata entirely in the lyrics. This
1294 can be done by entering @code{_} for every note that is part of the
1297 @lilypond[relative=1,verbatim,fragment,quote]
1298 { \set melismaBusyProperties = #'()
1299 c d( e) f f( e) e e }
1301 { Ky -- _ _ ri __ _ _ _ e }
1304 In this case, you can also have ties and slurs in the melody if you
1305 set @code{melismaBusyProperties}, as is done in the example above.
1308 @node Lyrics independent of notes
1309 @subsubsection Lyrics independent of notes
1311 In some complex vocal music, it may be desirable to place
1312 lyrics completely independently of notes. Music defined
1313 inside @code{lyricrhythm} disappears into the
1314 @code{Devnull} context, but the rhythms can still be used
1315 to place the lyrics.
1317 @lilypond[quote,verbatim,ragged-right]
1320 \tag #'music { c''2 }
1321 \tag #'lyricrhythm { c''4. c''8 }
1325 lyr = \lyricmode { I like my cat! }
1328 \new Staff \keepWithTag #'music \voice
1329 \new Devnull="nowhere" \keepWithTag #'lyricrhythm \voice
1330 \new Lyrics \lyricsto "nowhere" \lyr
1331 \new Staff { c'8 c' c' c' c' c' c' c'
1332 c' c' c' c' c' c' c' c' }
1337 @node Spacing lyrics
1338 @subsection Spacing lyrics
1340 @cindex Spacing lyrics
1341 @cindex Lyrics, increasing space between
1343 To increase the spacing between lyrics, set the minimum-distance property of
1346 @lilypond[relative,verbatim,fragment,quote,ragged-right]
1349 \override Lyrics.LyricSpace #'minimum-distance = #1.0
1353 longtext longtext longtext longtext
1354 longtext longtext longtext longtext
1358 To make this change for all lyrics in the score, set the property in the
1361 @lilypond[relative,verbatim,quote,ragged-right]
1368 longtext longtext longtext longtext
1369 longtext longtext longtext longtext
1374 \override LyricSpace #'minimum-distance = #1.0
1381 @node More about stanzas
1382 @subsection More about stanzas
1384 @cindex phrasing, in lyrics
1387 @cindex stanza number
1388 @cindex singer's names
1389 @cindex name of singer
1391 Stanza numbers can be added by setting @code{stanza}, e.g.,
1393 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1395 \time 3/4 g2 e4 a2 f4 g2.
1398 Hi, my name is Bert.
1401 Oh, che -- ri, je t'aime
1405 These numbers are put just before the start of first syllable.
1407 Sometimes it is appropriate to have one stanza set
1408 to the music, and the rest added in verse form at
1409 the end of the piece. This can be accomplished by adding
1410 the extra verses into a @code{\markup} section outside
1411 of the main score block. Notice that there are two
1412 different ways to force linebreaks when using
1415 @lilypond[ragged-right,verbatim,quote]
1416 melody = \relative c' {
1422 \set stanza = "1." Ma- ry had a lit- tle lamb,
1423 its fleece was white as snow.
1428 \new Voice = "one" { \melody }
1429 \new Lyrics \lyricsto "one" \text
1435 \line{ All the children laughed and played }
1436 \line{ To see a lamb at school. }
1443 Mary took it home again,
1445 It was against the rule."
1451 Names of singers can also be added. They are printed at the start of
1452 the line, just like instrument names. They are created by setting
1453 @code{vocalName}. A short version may be entered as @code{shortVocalName}.
1456 @lilypond[fragment,ragged-right,quote,verbatim,relative=2]
1458 \time 3/4 g2 e4 a2 f4 g2.
1460 \set vocalName = "Bert "
1461 Hi, my name is Bert.
1463 \set vocalName = "Ernie "
1464 Oh, che -- ri, je t'aime
1469 When a piece of music has many verses, they are often printed in
1470 multiple columns across the page. An outdented verse number often
1471 introduces each verse. The following example shows how to produce such
1474 @lilypond[ragged-right,quote,verbatim]
1475 melody = \relative c' {
1480 \set stanza = "1." This is verse one.
1485 \new Voice = "one" { \melody }
1486 \new Lyrics \lyricsto "one" \text
1493 \hspace #0.1 % moves the column off the left margin; can be removed if
1494 % space on the page is tight
1498 "This is verse two."
1502 \hspace #0.1 % adds vertical spacing between verses
1505 "This is verse three."
1510 \hspace #0.1 % adds horizontal spacing between columns; if they are
1511 % still too close, add more " " pairs until the result
1516 "This is verse four."
1520 \hspace #0.1 % adds vertical spacing between verses
1523 "This is verse five."
1528 \hspace #0.1 % gives some extra space on the right margin; can
1529 % be removed if page space is tight
1537 Program reference: @internalsref{LyricText}, @internalsref{StanzaNumber},
1538 @internalsref{VocalName}.
1546 The term @emph{ambitus} denotes a range of pitches for a given voice
1547 in a part of music. It may also denote the pitch range that a musical
1548 instrument is capable of playing. Ambits are printed on vocal parts,
1549 so performers can easily determine it meets their capabilities.
1551 Ambits are denoted at the beginning of a piece near the initial clef.
1552 The range is graphically specified by two note heads that represent the
1553 minimum and maximum pitch. To print such ambits, add the
1554 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
1561 \consists Ambitus_engraver
1566 This results in the following output
1568 @lilypond[quote,ragged-right]
1572 \consists Ambitus_engraver
1576 \relative \new Staff {
1581 If you have multiple voices in a single staff and you want a single
1582 ambitus per staff rather than per each voice, add the
1583 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
1584 rather than to the @internalsref{Voice} context. Here is an example,
1586 @lilypond[verbatim,ragged-right,quote]
1588 \consists "Ambitus_engraver"
1592 \remove "Ambitus_engraver"
1594 \override Ambitus #'X-offset = #-1.0
1599 \remove "Ambitus_engraver"
1608 This example uses one advanced feature,
1611 \override Ambitus #'X-offset = #-1.0
1615 This code moves the ambitus to the left. The same effect could have
1616 been achieved with @code{extra-offset}, but then the formatting system
1617 would not reserve space for the moved object.
1621 Program reference: @internalsref{Ambitus},
1622 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1623 @internalsref{AmbitusAccidental}.
1625 Examples: @inputfileref{input/@/regression,ambitus@/.ly}.
1629 There is no collision handling in the case of multiple per-voice
1633 @node Other vocal issues
1634 @subsection Other vocal issues
1637 yeah, I'm giving up somewhat by stuffing a bunch of things in
1638 here. But at least they're in the manual now; it's easier to
1639 move them around in the manual once they're already here.
1641 Besides, if users complain about everything stuffed in here, I
1642 can ask them for specific instructions about where to move these
1643 examples, and that might get them more involved in the docs. -gp
1646 ``Parlato'' is spoken without pitch but still with rhythm; it is
1647 notated by cross noteheads. This is demonstrated in
1648 @ref{Special noteheads}.
1654 @node Rhythmic music
1655 @section Rhythmic music
1657 Rhythmic music is primarily used for percussion and drum notation, but it can
1658 also be used to show the rhythms of melodies.
1661 * Showing melody rhythms::
1662 * Entering percussion::
1663 * Percussion staves::
1668 @node Showing melody rhythms
1669 @subsection Showing melody rhythms
1671 Sometimes you might want to show only the rhythm of a melody. This
1672 can be done with the rhythmic staff. All pitches of notes on such a
1673 staff are squashed, and the staff itself has a single line
1675 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1676 \new RhythmicStaff {
1678 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1684 Program reference: @internalsref{RhythmicStaff}.
1686 Examples: @inputfileref{input/@/regression,rhythmic@/-staff@/.ly}.
1689 @node Entering percussion
1690 @subsection Entering percussion
1696 Percussion notes may be entered in @code{\drummode} mode, which is
1697 similar to the standard mode for entering notes. Each piece of
1698 percussion has a full name and an abbreviated name, and both can be used
1701 @lilypond[quote,ragged-right,verbatim]
1703 hihat hh bassdrum bd
1707 The complete list of drum names is in the init file
1708 @file{ly/@/drumpitch@/-init@/.ly}.
1709 @c TODO: properly document this.
1713 Program reference: @internalsref{note-event}.
1715 @node Percussion staves
1716 @subsection Percussion staves
1720 A percussion part for more than one instrument typically uses a
1721 multiline staff where each position in the staff refers to one piece
1725 To typeset the music, the notes must be interpreted in a
1726 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
1728 @lilypond[quote,ragged-right,verbatim]
1729 up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
1730 down = \drummode { bassdrum4 snare8 bd r bd sn4 }
1732 \new DrumVoice { \voiceOne \up }
1733 \new DrumVoice { \voiceTwo \down }
1737 The above example shows verbose polyphonic notation. The short
1738 polyphonic notation, described in @ref{Basic polyphony}, can also be used if
1739 the @internalsref{DrumVoice}s are instantiated by hand first. For example,
1741 @lilypond[quote,ragged-right,fragment,verbatim]
1743 \new DrumVoice = "1" { s1 *2 }
1744 \new DrumVoice = "2" { s1 *2 }
1748 { \repeat unfold 16 hh16 }
1757 There are also other layout possibilities. To use these, set the
1758 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
1759 The following variables have been predefined
1763 This is the default. It typesets a typical drum kit on a five-line staff
1765 @lilypond[quote,line-width=10.0\cm]
1767 cymc cyms cymr hh hhc hho hhho hhp
1768 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl }
1770 cymc cyms cymr hh hhc hho hhho hhp \break
1771 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
1773 << \new DrumStaff \with {
1774 \remove Bar_engraver
1775 \remove Time_signature_engraver
1776 \override Stem #'transparent = ##t
1777 \override Stem #'Y-extent-callback = ##f
1778 \override VerticalAxisGroup #'minimum-Y-extent = #'(-4.0 . 5.0)
1785 \override LyricText #'font-family = #'typewriter
1786 \override BarNumber #'transparent =##T
1792 The drum scheme supports six different toms. When there are fewer toms,
1793 simply select the toms that produce the desired result, i.e., to get toms
1794 on the three middle lines you use @code{tommh}, @code{tomml}, and
1797 @item timbales-style
1798 This typesets timbales on a two line staff
1800 @lilypond[quote,ragged-right]
1801 nam = \lyricmode { timh ssh timl ssl cb }
1802 mus = \drummode { timh ssh timl ssl cb s16 }
1805 \new DrumStaff \with {
1806 \remove Bar_engraver
1807 \remove Time_signature_engraver
1808 \override Stem #'transparent = ##t
1809 \override Stem #'Y-extent-callback = ##f
1810 \override StaffSymbol #'line-count = #2
1811 \override StaffSymbol #'staff-space = #2
1812 \override VerticalAxisGroup #'minimum-Y-extent = #'(-3.0 . 4.0)
1813 drumStyleTable = #timbales-style
1816 \override LyricText #'font-family = #'typewriter
1823 This typesets congas on a two line staff
1825 @lilypond[quote,ragged-right]
1826 nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
1827 mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
1830 \new DrumStaff \with {
1831 \remove Bar_engraver
1832 \remove Time_signature_engraver
1833 drumStyleTable = #congas-style
1834 \override StaffSymbol #'line-count = #2
1836 %% this sucks; it will lengthen stems.
1837 \override StaffSymbol #'staff-space = #2
1838 \override Stem #'transparent = ##t
1839 \override Stem #'Y-extent-callback = ##f
1842 \override LyricText #'font-family = #'typewriter
1849 This typesets bongos on a two line staff
1851 @lilypond[quote,ragged-right]
1852 nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
1853 mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
1856 \new DrumStaff \with {
1857 \remove Bar_engraver
1858 \remove Time_signature_engraver
1859 \override StaffSymbol #'line-count = #2
1860 drumStyleTable = #bongos-style
1862 %% this sucks; it will lengthen stems.
1863 \override StaffSymbol #'staff-space = #2
1864 \override Stem #'transparent = ##t
1865 \override Stem #'Y-extent-callback = ##f
1868 \override LyricText #'font-family = #'typewriter
1874 @item percussion-style
1875 To typeset all kinds of simple percussion on one line staves.
1877 @lilypond[quote,ragged-right]
1878 nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
1879 mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
1882 \new DrumStaff \with{
1883 \remove Bar_engraver
1884 drumStyleTable = #percussion-style
1885 \override StaffSymbol #'line-count = #1
1886 \remove Time_signature_engraver
1887 \override Stem #'transparent = ##t
1888 \override Stem #'Y-extent-callback = ##f
1891 \override LyricText #'font-family = #'typewriter
1898 If you do not like any of the predefined lists you can define your own
1899 list at the top of your file
1901 @lilypond[quote,ragged-right,verbatim]
1903 (bassdrum default #f -1)
1904 (snare default #f 0)
1906 (pedalhihat xcircle "stopped" 2)
1907 (lowtom diamond #f 3)))
1908 up = \drummode { hh8 hh hh hh hhp4 hhp }
1909 down = \drummode { bd4 sn bd toml8 toml }
1912 \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
1913 \new DrumVoice { \voiceOne \up }
1914 \new DrumVoice { \voiceTwo \down }
1921 Init files: @file{ly/@/drumpitch@/-init@/.ly}.
1923 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
1927 Because general MIDI does not contain rim shots, the sidestick is used
1928 for this purpose instead.
1931 @c FIXME: check name -gp
1933 @subsection Ghost notes
1935 Ghost notes for drums and percussion may be created using the
1936 @code{\parenthesize} command detailed in @ref{Parentheses}. However,
1937 the default @code{\drummode} does
1938 not include the @code{Parenthesis_engraver} plugin which allows
1940 must add the plugin explicitly in the context definition as
1941 detailed in @ref{Changing context properties on the fly}.
1943 @lilypond[quote,ragged-right,verbatim,fragment]
1944 \new DrumStaff \with {
1945 \consists "Parenthesis_engraver"
1947 \context DrumVoice = "1" { s1 *2 }
1948 \context DrumVoice = "2" { s1 *2 }
1952 hh8[ hh] <hh sn> hh16
1953 < \parenthesize sn > hh < \parenthesize
1964 Also note that you must add chords (@code{< >} brackets)
1965 around each @code{\parenthesize} statement.
1972 @cindex guitar tablature
1975 * String number indications::
1976 * Tablatures basic::
1977 * Non-guitar tablatures::
1978 * Banjo tablatures::
1980 * Right hand fingerings::
1981 * Other guitar issues::
1984 @node String number indications
1985 @subsection String number indications
1987 @cindex String numbers
1989 String numbers can be added to chords, by indicating the string number
1990 with @code{\}@var{number},
1992 @lilypond[relative,relative=1,ragged-right,fragment]
1996 See also @inputfileref{input/regression,string-number.ly}.
2001 Program reference: @internalsref{StringNumber}.
2004 @node Tablatures basic
2005 @subsection Tablatures basic
2006 @cindex Tablatures basic
2008 Tablature notation is used for notating music for plucked string
2009 instruments. Pitches are not denoted with note heads, but by
2010 numbers indicating on which string and fret a note must be played. LilyPond
2011 offers limited support for tablature.
2013 The string number associated to a note is given as a backslash
2014 followed by a number, e.g., @code{c4\3} for a C quarter on the third
2015 string. By default, string 1 is the highest one, and the tuning
2016 defaults to the standard guitar tuning (with 6 strings). The notes
2017 are printed as tablature, by using @internalsref{TabStaff} and
2018 @internalsref{TabVoice} contexts
2020 @lilypond[quote,ragged-right,fragment,verbatim]
2027 @funindex minimumFret
2030 When no string is specified, the first string that does not give a
2031 fret number less than @code{minimumFret} is selected. The default
2032 value for @code{minimumFret} is 0
2037 \set TabStaff.minimumFret = #8
2040 @lilypond[quote,ragged-right]
2044 \set TabStaff.minimumFret = #8
2048 \new Staff { \clef "G_8" \frag }
2049 \new TabStaff { \frag }
2056 To print tablatures with stems down and horizontal beams,
2057 initialize the @code{TabStaff} with this code:
2061 \override Beam #'damping = #100000
2066 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}.
2070 Chords are not handled in a special way, and hence the automatic
2071 string selector may easily select the same string to two notes in a
2075 @node Non-guitar tablatures
2076 @subsection Non-guitar tablatures
2077 @cindex Non-guitar tablatures
2079 You can change the tuning of the strings. A string tuning is given as
2080 a Scheme list with one integer number for each string, the number
2081 being the pitch (measured in semitones relative to middle C) of an
2082 open string. The numbers specified for @code{stringTuning} are the
2083 numbers of semitones to subtract or add, starting the specified pitch
2084 by default middle C, in string order. LilyPond automatically calculates
2085 the number of strings by looking at @code{stringTuning}.
2087 In the next example,
2088 @code{stringTunings} is set for the pitches e, a, d, and g
2090 @lilypond[quote,ragged-right,fragment,verbatim]
2092 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
2094 a,4 c' a e' e c' a e'
2099 LilyPond comes with predefined string tunings for banjo, mandolin, guitar
2103 \set TabStaff.stringTunings = #bass-tuning
2106 The default string tuning is @code{guitar-tuning} (the standard EADGBE
2108 Some other predefined tunings are @code{guitar-open-g-tuning},
2109 @code{mandolin-tuning} and @code{banjo-open-g-tuning}.
2113 The file @file{scm/@/output@/-lib@/.scm} contains the predefined string
2115 Program reference: @internalsref{Tab_note_heads_engraver}.
2119 No guitar special effects have been implemented.
2123 @node Banjo tablatures
2124 @subsection Banjo tablatures
2125 @cindex Banjo tablatures
2127 LilyPond has basic support for five stringed banjo. When making tablatures
2128 for five stringed banjo, use the banjo tablature format function to get
2130 fret numbers for the fifth string:
2132 @lilypond[quote,ragged-right,fragment,verbatim]
2134 \set TabStaff.tablatureFormat = #fret-number-tablature-format-banjo
2135 \set TabStaff.stringTunings = #banjo-open-g-tuning
2138 g8 d' g'\5 a b g e d' |
2139 g4 d''8\5 b' a'\2 g'\5 e'\2 d' |
2145 A number of common tunings for banjo are predefined in LilyPond:
2146 @code{banjo-c-tuning} (gCGBD), @code{banjo-modal-tuning} (gDGCD),
2147 @code{banjo-open-d-tuning} (aDF#AD) and @code{banjo-open-dm-tuning}
2150 These tunings may be converted to four string banjo tunings using the
2151 @code{four-string-banjo} function:
2154 \set TabStaff.stringTunings = #(four-string-banjo banjo-c-tuning)
2159 The file @file{scm/@/output@/-lib@/.scm} contains predefined banjo tunings.
2163 @subsection Fret diagrams
2164 @cindex fret diagrams
2165 @cindex chord diagrams
2167 Fret diagrams can be added to music as a markup to the desired note. The
2168 markup contains information about the desired fret diagram, as shown in the
2171 @lilypond[verbatim, ragged-right, quote]
2173 d'^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
2175 fis'^\markup \override #'(size . 0.75) {
2176 \override #'(finger-code . below-string) {
2177 \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
2178 (place-fret 5 4 3) (place-fret 4 4 4)
2179 (place-fret 3 3 2) (place-fret 2 2 1)
2184 c'^\markup \override #'(dot-radius . 0.35) {
2185 \override #'(finger-code . in-dot) {
2186 \override #'(dot-color . white) {
2187 \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
2196 There are three different fret-diagram markup interfaces: standard, terse,
2197 and verbose. The three interfaces produce equivalent markups, but have
2198 varying amounts of information in the markup string. Details about the
2199 markup interfaces are found at @ref{Overview of text markup commands}.
2201 You can set a number of graphical properties according to your preference.
2202 Details about the property interface to fret diagrams are found at
2203 @internalsref{fret-diagram-interface}.
2208 Examples: @inputfileref{input/@/test,fret@/-diagram@/.ly}
2211 @node Right hand fingerings
2212 @subsection Right hand fingerings
2214 Right hand fingerings in chords can be entered using
2215 @code{@var{note}-\rightHandFinger @var{finger}}
2217 @lilypond[verbatim,fragment,relative=2]
2218 <c-\rightHandFinger #1 e-\rightHandFinger #2 >
2221 for brevity, you can abbreviate @code{\rightHandFinger} to something
2222 short, for example @code{RH},
2225 #(define RH rightHandFinger)
2228 @cindex fingerings, right hand, for guitar
2229 @cindex right hand fingerings for guitar
2233 You may exercise greater control over right handing fingerings by
2234 setting @code{strokeFingerOrientations},
2236 @lilypond[quote,verbatim,ragged-right,fragment,relative=1]
2237 #(define RH rightHandFinger)
2239 \set strokeFingerOrientations = #'(up down)
2240 <c-\RH #1 es-\RH #2 g-\RH #4 > 4
2241 \set strokeFingerOrientations = #'(up right down)
2242 <c-\RH #1 es-\RH #2 g-\RH #4 > 4
2246 The letters used for the fingerings are contained in the property
2247 @code{digit-names}, but they can also be set individually by supplying
2248 @code{\rightHandFinger} with a string argument, as in the following example
2251 @lilypond[quote,verbatim,ragged-right,fragment,relative=1]
2252 #(define RH rightHandFinger)
2254 \set strokeFingerOrientations = #'(right)
2255 \override StrokeFinger #'digit-names = ##("x" "y" "z" "!" "@")
2263 Internalls: @internalsref{StrokeFinger}
2267 @node Other guitar issues
2268 @subsection Other guitar issues
2270 This example demonstrates how to include guitar position and
2271 barring indications.
2273 @lilypond[quote,ragged-right,fragment,verbatim,relative=0]
2277 \override TextSpanner #'edge-text = #'("XII " . "")
2279 b16 e16 g16 e16 b16 g16\stopTextSpan
2284 Stopped (X) note heads are used in guitar music to signal a place where the
2285 guitarist must play a certain note or chord, with its fingers just
2286 touching the strings instead of fully pressing them. This gives the sound a
2287 percussive noise-like sound that still maintains part of the original
2288 pitch. It is notated with cross noteheads; this is
2289 demonstrated in @ref{Special noteheads}.
2298 * Bagpipe definitions::
2303 @node Bagpipe definitions
2304 @subsection Bagpipe definitions
2306 LilyPond contains special definitions for music for the Scottish
2307 highland bagpipe; to use them, add
2310 \include "bagpipe.ly"
2314 at the top of your input file. This lets you add the special gracenotes
2315 common to bagpipe music with short commands. For example, you could
2316 write @code{\taor} instead of
2319 \grace @{ \small G32[ d G e] @}
2322 @code{bagpipe.ly} also contains pitch definitions for the bagpipe
2323 notes in the appropiate octaves, so you do not need to worry about
2324 @code{\relative} or @code{\transpose}.
2326 @lilypond[ragged-right,verbatim,quote,notime]
2327 \include "bagpipe.ly"
2328 { \grg G4 \grg a \grg b \grg c \grg d \grg e \grg f \grA g A }
2331 Bagpipe music nominally uses the key of D Major (even though that
2332 isn't really true). However, since that is the only key that can be used,
2333 the key signature is normally not written out. To set this up correctly,
2334 always start your music with @code{\hideKeySignature}. If you for some
2335 reason want to show the key signature, you can use @code{\showKeySignature}
2338 Some modern music use cross fingering on c and f to flatten those notes.
2339 This can be indicated by @code{cflat} or @code{fflat}. Similarly, the
2340 piobaireachd high g can be written @code{gflat} when it occurs in light
2344 @node Bagpipe example
2345 @subsection Bagpipe example
2347 This is what the well known tune Amazing Grace looks like in bagpipe
2350 @lilypond[verbatim,quote]
2351 \include "bagpipe.ly"
2354 \context { \Score \remove "Bar_number_engraver" }
2358 title = "Amazing Grace"
2360 arranger = "Trad. arr."
2366 \grg \partial 4 a8. d16
2367 \slurd d2 \grg f8[ e32 d16.]
2370 \grG a2 \grg a8. d16
2371 \slurd d2 \grg f8[ e32 d16.]
2372 \grg f2 \grg e8. f16
2375 \grg A2 \hdblf f8[ e32 d16.]
2378 \grG a2 \grg a8. d16
2379 \slurd d2 \grg f8[ e32 d16.]
2388 @node Ancient notation
2389 @section Ancient notation
2391 @cindex Vaticana, Editio
2392 @cindex Medicaea, Editio
2397 Support for ancient notation includes features for mensural notation
2398 and Gregorian Chant notation. There is also limited support for
2399 figured bass notation.
2401 Many graphical objects provide a @code{style} property, see
2404 @ref{Ancient note heads},
2406 @ref{Ancient accidentals},
2408 @ref{Ancient rests},
2410 @ref{Ancient clefs},
2412 @ref{Ancient flags},
2414 @ref{Ancient time signatures}.
2417 By manipulating such a grob property, the typographical appearance of
2418 the affected graphical objects can be accommodated for a specific
2419 notation flavor without the need for introducing any new notational
2422 In addition to the standard articulation signs described in section
2423 @ref{Articulations}, specific articulation signs for ancient notation
2428 @ref{Ancient articulations}
2431 Other aspects of ancient notation can not that easily be expressed
2432 in terms of just changing a style property of a graphical object or
2433 adding articulation signs. Some notational concepts are introduced
2434 specifically for ancient notation,
2445 If this all is too much of documentation for you, and you just want to
2446 dive into typesetting without worrying too much about the details on
2447 how to customize a context, you may have a look at the predefined
2448 contexts. Use them to set up predefined style-specific voice and
2449 staff contexts, and directly go ahead with the note entry,
2453 @ref{Gregorian Chant contexts},
2455 @ref{Mensural contexts}.
2458 There is limited support for figured bass notation which came
2459 up during the baroque period.
2466 Here are all suptopics at a glance:
2469 * Ancient note heads::
2470 * Ancient accidentals::
2474 * Ancient time signatures::
2475 * Ancient articulations::
2479 * Gregorian Chant contexts::
2480 * Mensural contexts::
2481 * Musica ficta accidentals::
2487 @node Ancient note heads
2488 @subsection Ancient note heads
2490 @cindex note heads, ancient
2492 For ancient notation, a note head style other than the @code{default}
2493 style may be chosen. This is accomplished by setting the @code{style}
2494 property of the @internalsref{NoteHead} object to @code{baroque},
2495 @code{neomensural}, @code{mensural} or @code{petrucci}. The
2496 @code{baroque} style differs from the @code{default} style only in
2497 using a square shape for @code{\breve} note heads. The
2498 @code{neomensural} style differs from the @code{baroque} style in that
2499 it uses rhomboidal heads for whole notes and all smaller durations.
2500 Stems are centered on the note heads. This style is particularly
2501 useful when transcribing mensural music, e.g., for the incipit. The
2502 @code{mensural} style produces note heads that mimic the look of note
2503 heads in historic printings of the 16th century. Finally, the
2504 @code{petrucci} style also mimicks historic printings, but uses bigger
2507 The following example demonstrates the @code{neomensural} style
2509 @lilypond[quote,fragment,ragged-right,verbatim]
2510 \set Score.skipBars = ##t
2511 \override NoteHead #'style = #'neomensural
2512 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
2515 When typesetting a piece in Gregorian Chant notation, the
2516 @internalsref{Gregorian_ligature_engraver} will automatically select
2517 the proper note heads, so there is no need to explicitly set the
2518 note head style. Still, the note head style can be set, e.g., to
2519 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
2520 @internalsref{Mensural_ligature_engraver} is used to automatically
2521 assemble mensural ligatures. See @ref{Ligatures} for how ligature
2526 Examples: @inputfileref{input/@/regression,note@/-head@/-style@/.ly} gives an
2527 overview over all available note head styles.
2530 @node Ancient accidentals
2531 @subsection Ancient accidentals
2536 Use the @code{glyph-name-alist} property of grob
2537 @internalsref{Accidental} and @internalsref{KeySignature} to select
2538 ancient accidentals.
2540 @lilypond[quote,ragged-right,staffsize=26]
2547 \line { " " \musicglyph #"accidentals.vaticana-1"
2548 " " \musicglyph #"accidentals.vaticana0" }
2552 \line { " " \musicglyph #"accidentals.medicaea-1" }
2556 \line { " " \musicglyph #"accidentals.hufnagel-1" }
2560 \line { " " \musicglyph #"accidentals.mensural-1"
2561 " " \musicglyph #"accidentals.mensural1" }
2567 \context { \Score \remove "Bar_number_engraver" }
2569 \remove "Clef_engraver"
2570 \remove "Key_engraver"
2571 \remove "Time_signature_engraver"
2572 \remove "Staff_symbol_engraver"
2573 \override VerticalAxisGroup #'minimum-Y-extent = ##f
2579 As shown, not all accidentals are supported by each style. When
2580 trying to access an unsupported accidental, LilyPond will switch to a
2581 different style, as demonstrated in
2582 @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2584 Similarly to local accidentals, the style of the key signature can be
2585 controlled by the @code{glyph-name-alist} property of the
2586 @internalsref{KeySignature} grob.
2590 In this manual: @ref{Pitches}, @ref{Cautionary accidentals} and
2591 @ref{Automatic accidentals} give a general introduction of the use of
2592 accidentals. @ref{Key signature} gives a general introduction of
2593 the use of key signatures.
2595 Program reference: @internalsref{KeySignature}.
2597 Examples: @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2600 @subsection Ancient rests
2602 @cindex rests, ancient
2605 Use the @code{style} property of grob @internalsref{Rest} to select
2606 ancient rests. Supported styles are @code{classical},
2607 @code{neomensural}, and @code{mensural}. @code{classical} differs
2608 from the @code{default} style only in that the quarter rest looks like
2609 a horizontally mirrored 8th rest. The @code{neomensural} style suits
2610 well for, e.g., the incipit of a transcribed mensural piece of music.
2611 The @code{mensural} style finally mimics the appearance of rests as
2612 in historic prints of the 16th century.
2614 The following example demonstrates the @code{neomensural} style
2616 @lilypond[quote,fragment,ragged-right,verbatim]
2617 \set Score.skipBars = ##t
2618 \override Rest #'style = #'neomensural
2619 r\longa r\breve r1 r2 r4 r8 r16
2622 There are no 32th and 64th rests specifically for the mensural or
2623 neo-mensural style. Instead, the rests from the default style will be
2624 taken. See @inputfileref{input/@/test,rests@/.ly} for a chart of all
2627 There are no rests in Gregorian Chant notation; instead, it uses
2632 In this manual: @ref{Rests} gives a general introduction into the use of
2637 @subsection Ancient clefs
2642 LilyPond supports a variety of clefs, many of them ancient.
2644 The following table shows all ancient clefs that are supported via the
2645 @code{\clef} command. Some of the clefs use the same glyph, but
2646 differ only with respect to the line they are printed on. In such
2647 cases, a trailing number in the name is used to enumerate these clefs.
2648 Still, you can manually force a clef glyph to be typeset on an
2649 arbitrary line, as described in @ref{Clef}. The note printed to the
2650 right side of each clef in the example column denotes the @code{c'}
2651 with respect to that clef.
2653 @multitable @columnfractions .4 .4 .2
2662 modern style mensural C clef
2664 @code{neomensural-c1}, @code{neomensural-c2},@*
2665 @code{neomensural-c3}, @code{neomensural-c4}
2667 @lilypond[fragment,relative=1,notime]
2668 \clef "neomensural-c2" c
2672 petrucci style mensural C clefs, for use on different staff lines
2673 (the examples show the 2nd staff line C clef)
2675 @code{petrucci-c1}, @code{petrucci-c2},@*
2676 @code{petrucci-c3}, @code{petrucci-c4},@*
2679 @lilypond[fragment,relative=1,notime]
2681 \override NoteHead #'style = #'mensural
2686 petrucci style mensural F clef
2690 @lilypond[fragment,relative=1,notime]
2692 \override NoteHead #'style = #'mensural
2697 petrucci style mensural G clef
2701 @lilypond[fragment,relative=1,notime]
2703 \override NoteHead #'style = #'mensural
2708 historic style mensural C clef
2710 @code{mensural-c1}, @code{mensural-c2},@*
2711 @code{mensural-c3}, @code{mensural-c4}
2713 @lilypond[fragment,relative=1,notime]
2715 \override NoteHead #'style = #'mensural
2720 historic style mensural F clef
2724 @lilypond[fragment,relative=1,notime]
2726 \override NoteHead #'style = #'mensural
2731 historic style mensural G clef
2735 @lilypond[fragment,relative=1,notime]
2737 \override NoteHead #'style = #'mensural
2742 Editio Vaticana style do clef
2744 @code{vaticana-do1}, @code{vaticana-do2},@*
2747 @lilypond[fragment,relative=1,notime]
2748 \override Staff.StaffSymbol #'line-count = #4
2749 \override Staff.StaffSymbol #'color = #red
2750 \override Staff.LedgerLineSpanner #'color = #red
2751 \override Voice.Stem #'transparent = ##t
2752 \override NoteHead #'style = #'vaticana.punctum
2753 \clef "vaticana-do2"
2758 Editio Vaticana style fa clef
2760 @code{vaticana-fa1}, @code{vaticana-fa2}
2762 @lilypond[fragment,relative=1,notime]
2763 \override Staff.StaffSymbol #'line-count = #4
2764 \override Staff.StaffSymbol #'color = #red
2765 \override Staff.LedgerLineSpanner #'color = #red
2766 \override Voice.Stem #'transparent = ##t
2767 \override NoteHead #'style = #'vaticana.punctum
2768 \clef "vaticana-fa2"
2773 Editio Medicaea style do clef
2775 @code{medicaea-do1}, @code{medicaea-do2},@*
2778 @lilypond[fragment,relative=1,notime]
2779 \override Staff.StaffSymbol #'line-count = #4
2780 \override Staff.StaffSymbol #'color = #red
2781 \override Staff.LedgerLineSpanner #'color = #red
2782 \override Voice.Stem #'transparent = ##t
2783 \override NoteHead #'style = #'medicaea.punctum
2784 \clef "medicaea-do2"
2789 Editio Medicaea style fa clef
2791 @code{medicaea-fa1}, @code{medicaea-fa2}
2793 @lilypond[fragment,relative=1,notime]
2794 \override Staff.StaffSymbol #'line-count = #4
2795 \override Staff.StaffSymbol #'color = #red
2796 \override Staff.LedgerLineSpanner #'color = #red
2797 \override Voice.Stem #'transparent = ##t
2798 \override NoteHead #'style = #'medicaea.punctum
2799 \clef "medicaea-fa2"
2804 historic style hufnagel do clef
2806 @code{hufnagel-do1}, @code{hufnagel-do2},@*
2809 @lilypond[fragment,relative=1,notime]
2810 \override Staff.StaffSymbol #'line-count = #4
2811 \override Staff.StaffSymbol #'color = #red
2812 \override Staff.LedgerLineSpanner #'color = #red
2813 \override Voice.Stem #'transparent = ##t
2814 \override NoteHead #'style = #'hufnagel.punctum
2815 \clef "hufnagel-do2"
2820 historic style hufnagel fa clef
2822 @code{hufnagel-fa1}, @code{hufnagel-fa2}
2824 @lilypond[fragment,relative=1,notime]
2825 \override Staff.StaffSymbol #'line-count = #4
2826 \override Staff.StaffSymbol #'color = #red
2827 \override Staff.LedgerLineSpanner #'color = #red
2828 \override Voice.Stem #'transparent = ##t
2829 \override NoteHead #'style = #'hufnagel.punctum
2830 \clef "hufnagel-fa2"
2835 historic style hufnagel combined do/fa clef
2837 @code{hufnagel-do-fa}
2839 @lilypond[fragment,relative=1,notime]
2840 \override Staff.StaffSymbol #'color = #red
2841 \override Staff.LedgerLineSpanner #'color = #red
2842 \override Voice.Stem #'transparent = ##t
2843 \override NoteHead #'style = #'hufnagel.punctum
2844 \clef "hufnagel-do-fa"
2851 @emph{Modern style} means ``as is typeset in contemporary editions of
2852 transcribed mensural music''.
2854 @emph{Petrucci style} means ``inspired by printings published by the
2855 famous engraver Petrucci (1466-1539)''.
2857 @emph{Historic style} means ``as was typeset or written in historic
2858 editions (other than those of Petrucci)''.
2860 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
2862 Petrucci used C clefs with differently balanced left-side vertical
2863 beams, depending on which staff line it is printed.
2867 In this manual: see @ref{Clef}.
2871 The mensural g clef is mapped to the Petrucci g clef.
2876 @subsection Ancient flags
2881 Use the @code{flag-style} property of grob @internalsref{Stem} to
2882 select ancient flags. Besides the @code{default} flag style,
2883 only the @code{mensural} style is supported
2885 @lilypond[quote,fragment,ragged-right,verbatim]
2886 \override Stem #'flag-style = #'mensural
2887 \override Stem #'thickness = #1.0
2888 \override NoteHead #'style = #'mensural
2890 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
2891 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
2894 Note that the innermost flare of each mensural flag always is
2895 vertically aligned with a staff line.
2897 There is no particular flag style for neo-mensural notation. Hence,
2898 when typesetting the incipit of a transcribed piece of mensural
2899 music, the default flag style should be used. There are no flags in
2900 Gregorian Chant notation.
2904 The attachment of ancient flags to stems is slightly off due to a
2905 change in early 2.3.x.
2907 Vertically aligning each flag with a staff line assumes that stems
2908 always end either exactly on or exactly in the middle between two
2909 staff lines. This may not always be true when using advanced layout
2910 features of classical notation (which however are typically out of
2911 scope for mensural notation).
2913 @node Ancient time signatures
2914 @subsection Ancient time signatures
2916 @cindex time signatures
2919 There is limited support for mensural time signatures. The
2920 glyphs are hard-wired to particular time fractions. In other words,
2921 to get a particular mensural signature glyph with the @code{\time n/m}
2922 command, @code{n} and @code{m} have to be chosen according to the
2925 @lilypond[quote,ragged-right]
2930 \remove Staff_symbol_engraver
2931 \remove Clef_engraver
2932 \remove Time_signature_engraver
2936 \set Score.timing = ##f
2937 \set Score.barAlways = ##t
2938 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph
2939 #"timesig.neomensural44" }
2941 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph
2942 #"timesig.neomensural22" }
2944 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph
2945 #"timesig.neomensural64" }
2947 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph
2948 #"timesig.neomensural68" }
2950 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph
2951 #"timesig.neomensural32" }
2953 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph
2954 #"timesig.neomensural34" }
2956 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph
2957 #"timesig.neomensural94" }
2959 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph
2960 #"timesig.neomensural98" }
2962 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph
2963 #"timesig.neomensural48" }
2965 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph
2966 #"timesig.neomensural24" }
2970 Use the @code{style} property of grob @internalsref{TimeSignature} to
2971 select ancient time signatures. Supported styles are
2972 @code{neomensural} and @code{mensural}. The above table uses the
2973 @code{neomensural} style. This style is appropriate for the
2974 incipit of transcriptions of mensural pieces. The @code{mensural}
2975 style mimics the look of historical printings of the 16th century.
2977 The following examples show the differences in style,
2979 @lilypond[ragged-right,fragment,relative=1,quote]
2984 c1^\markup { \hspace #-2.0 \typewriter default }
2986 \override Staff.TimeSignature #'style = #'numbered
2988 c1^\markup { \hspace #-2.0 \typewriter numbered }
2990 \override Staff.TimeSignature #'style = #'mensural
2992 c1^\markup { \hspace #-2.0 \typewriter mensural }
2994 \override Staff.TimeSignature #'style = #'neomensural
2996 c1^\markup { \hspace #-2.0 \typewriter neomensural }
2997 \override Staff.TimeSignature #'style = #'single-digit
2999 c1^\markup { \hspace #-2.0 \typewriter single-digit }
3005 This manual: @ref{Time signature} gives a general introduction to
3006 the use of time signatures.
3010 Ratios of note durations do not change with the time signature. For
3011 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
3012 be made by hand, by setting
3015 breveTP = #(ly:make-duration -1 0 3 2)
3021 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
3023 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
3024 addressable with @code{\time}. Use a @code{\markup} instead
3026 @node Ancient articulations
3027 @subsection Ancient articulations
3029 @cindex articulations
3031 In addition to the standard articulation signs described in section
3032 @ref{Articulations}, articulation signs for ancient notation are
3033 provided. These are specifically designed for use with notation in
3034 Editio Vaticana style.
3036 @lilypond[quote,ragged-right,verbatim]
3037 \include "gregorian-init.ly"
3039 \new VaticanaVoice {
3040 \override TextScript #'font-family = #'typewriter
3041 \override TextScript #'font-shape = #'upright
3042 \override Script #'padding = #-0.1
3043 a\ictus_"ictus" \break
3044 a\circulus_"circulus" \break
3045 a\semicirculus_"semicirculus" \break
3046 a\accentus_"accentus" \break
3047 \[ a_"episem" \episemInitium \pes b \flexa a b \episemFinis \flexa a \]
3054 Some articulations are vertically placed too closely to the
3055 correpsonding note heads.
3057 The episem line is not displayed in many cases. If it is displayed,
3058 the right end of the episem line is often too far to the right.
3061 @subsection Custodes
3066 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
3067 symbol that appears at the end of a staff. It anticipates the pitch
3068 of the first note(s) of the following line thus helping the performer
3069 to manage line breaks during performance.
3071 Custodes were frequently used in music notation until the 17th
3072 century. Nowadays, they have survived only in a few particular forms
3073 of musical notation such as contemporary editions of Gregorian chant
3074 like the @emph{editio vaticana}. There are different custos glyphs
3075 used in different flavors of notational style.
3077 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
3078 @internalsref{Staff} context when declaring the @code{\layout} block,
3079 as shown in the following example
3085 \consists Custos_engraver
3086 Custos \override #'style = #'mensural
3091 The result looks like this
3093 @lilypond[quote,ragged-right]
3097 \override Staff.Custos #'style = #'mensural
3102 \context { \Staff \consists Custos_engraver }
3107 The custos glyph is selected by the @code{style} property. The styles
3108 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
3109 @code{mensural}. They are demonstrated in the following fragment
3111 @lilypond[quote,ragged-right,fragment]
3112 \new Lyrics \lyricmode {
3114 \typewriter "vaticana"
3115 \line { " " \musicglyph #"custodes.vaticana.u0" }
3118 \typewriter "medicaea"
3119 \line { " " \musicglyph #"custodes.medicaea.u0" }
3122 \typewriter "hufnagel"
3123 \line { " " \musicglyph #"custodes.hufnagel.u0" }
3126 \typewriter "mensural"
3127 \line { " " \musicglyph #"custodes.mensural.u0" }
3134 Program reference: @internalsref{Custos}.
3136 Examples: @inputfileref{input/@/regression,custos@/.ly}.
3140 @subsection Divisiones
3146 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
3147 `division') is a staff context symbol that is used to structure
3148 Gregorian music into phrases and sections. The musical meaning of
3149 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
3150 can be characterized as short, medium, and long pause, somewhat like
3151 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
3152 only marks the end of a chant, but is also frequently used within a
3153 single antiphonal/responsorial chant to mark the end of each section.
3156 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
3157 contains definitions that you can apply by just inserting
3158 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
3159 and @code{\finalis} at proper places in the input. Some editions use
3160 @emph{virgula} or @emph{caesura} instead of divisio minima.
3161 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
3164 @lilypondfile[quote,ragged-right]{divisiones.ly}
3172 @funindex \divisioMinima
3173 @code{\divisioMinima},
3174 @funindex \divisioMaior
3175 @code{\divisioMaior},
3176 @funindex \divisioMaxima
3177 @code{\divisioMaxima},
3183 In this manual: @ref{Breath marks}.
3185 Program reference: @internalsref{BreathingSign}.
3187 Examples: @inputfileref{input/@/test,divisiones@/.ly}.
3190 @subsection Ligatures
3194 @c TODO: Should double check if I recalled things correctly when I wrote
3195 @c down the following paragraph by heart.
3197 A ligature is a graphical symbol that represents at least two distinct
3198 notes. Ligatures originally appeared in the manuscripts of Gregorian
3199 chant notation to denote ascending or descending sequences of notes.
3201 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
3202 Some ligature styles may need additional input syntax specific for
3203 this particular type of ligature. By default, the
3204 @internalsref{LigatureBracket} engraver just puts a square bracket
3207 @lilypond[quote,ragged-right,verbatim]
3215 To select a specific style of ligatures, a proper ligature engraver
3216 has to be added to the @internalsref{Voice} context, as explained in
3217 the following subsections. Only white mensural ligatures
3218 are supported with certain limitations.
3224 Ligatures need special spacing that has not yet been implemented. As
3225 a result, there is too much space between ligatures most of the time,
3226 and line breaking often is unsatisfactory. Also, lyrics do not
3227 correctly align with ligatures.
3229 Accidentals must not be printed within a ligature, but instead need to
3230 be collected and printed in front of it.
3232 The syntax still uses the deprecated infix style @code{\[ music expr
3233 \]}. For consistency reasons, it will eventually be changed to
3234 postfix style @code{note\[ ... note\]}. Alternatively, the file
3235 @file{gregorian@/-init@/.ly} can be included; it provides a scheme
3238 \ligature @var{music expr}
3240 with the same effect and is believed to be stable.
3243 * White mensural ligatures::
3244 * Gregorian square neumes ligatures::
3247 @node White mensural ligatures
3248 @subsubsection White mensural ligatures
3250 @cindex Mensural ligatures
3251 @cindex White mensural ligatures
3253 There is limited support for white mensural ligatures.
3255 To engrave white mensural ligatures, in the layout block put the
3256 @internalsref{Mensural_ligature_engraver} into the
3257 @internalsref{Voice} context, and remove the
3258 @internalsref{Ligature_bracket_engraver}, like this
3264 \remove Ligature_bracket_engraver
3265 \consists Mensural_ligature_engraver
3270 There is no additional input language to describe the shape of a
3271 white mensural ligature. The shape is rather determined solely from
3272 the pitch and duration of the enclosed notes. While this approach may
3273 take a new user a while to get accustomed to, it has the great advantage
3274 that the full musical information of the ligature is known internally.
3275 This is not only required for correct MIDI output, but also allows for
3276 automatic transcription of the ligatures.
3281 \set Score.timing = ##f
3282 \set Score.defaultBarType = "empty"
3283 \override NoteHead #'style = #'neomensural
3284 \override Staff.TimeSignature #'style = #'neomensural
3287 \[ d\longa c\breve f e d \]
3288 \[ c'\maxima d'\longa \]
3291 @lilypond[quote,ragged-right]
3294 \set Score.timing = ##f
3295 \set Score.defaultBarType = "empty"
3296 \override NoteHead #'style = #'neomensural
3297 \override Staff.TimeSignature #'style = #'neomensural
3300 \[ d\longa c\breve f e d \]
3301 \[ c'\maxima d'\longa \]
3307 \remove Ligature_bracket_engraver
3308 \consists Mensural_ligature_engraver
3314 Without replacing @internalsref{Ligature_bracket_engraver} with
3315 @internalsref{Mensural_ligature_engraver}, the same music transcribes
3318 @lilypond[quote,ragged-right]
3320 \set Score.timing = ##f
3321 \set Score.defaultBarType = "empty"
3322 \override NoteHead #'style = #'neomensural
3323 \override Staff.TimeSignature #'style = #'neomensural
3326 \[ d\longa c\breve f e d \]
3327 \[ c'\maxima d'\longa \]
3334 Horizontal spacing is poor.
3336 @node Gregorian square neumes ligatures
3337 @subsubsection Gregorian square neumes ligatures
3339 @cindex Square neumes ligatures
3340 @cindex Gregorian square neumes ligatures
3342 There is limited support for Gregorian square neumes notation
3343 (following the style of the Editio Vaticana). Core ligatures can
3344 already be typeset, but essential issues for serious typesetting are
3345 still lacking, such as (among others) horizontal alignment of multiple
3346 ligatures, lyrics alignment and proper handling of accidentals.
3349 The following table contains the extended neumes table of the 2nd
3350 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
3351 1983 by the monks of Solesmes.
3353 @multitable @columnfractions .4 .2 .2 .2
3370 @c TODO: \layout block is identical in all of the below examples.
3371 @c Therefore, it should somehow be included rather than duplicated all
3374 @c why not make identifiers in ly/engraver-init.ly? --hwn
3376 @c Because it's just used to typeset plain notes without
3377 @c a staff for demonstration purposes rather than something
3378 @c special of Gregorian chant notation. --jr
3383 @lilypond[staffsize=26,line-width=1.5\cm]
3384 \include "gregorian-init.ly"
3389 \noBreak s^\markup {"a"} \noBreak
3391 % Punctum Inclinatum
3393 \noBreak s^\markup {"b"}
3395 \layout { \neumeDemoLayout }}
3398 @lilypond[staffsize=26,line-width=2.5\cm]
3399 \include "gregorian-init.ly"
3402 % Punctum Auctum Ascendens
3403 \[ \auctum \ascendens b \]
3404 \noBreak s^\markup {"c"} \noBreak
3406 % Punctum Auctum Descendens
3407 \[ \auctum \descendens b \]
3408 \noBreak s^\markup {"d"} \noBreak
3410 % Punctum Inclinatum Auctum
3411 \[ \inclinatum \auctum b \]
3412 \noBreak s^\markup {"e"}
3414 \layout { \neumeDemoLayout }}
3417 @lilypond[staffsize=26,line-width=1.0\cm]
3418 \include "gregorian-init.ly"
3421 % Punctum Inclinatum Parvum
3422 \[ \inclinatum \deminutum b \]
3423 \noBreak s^\markup {"f"}
3425 \layout { \neumeDemoLayout }}
3431 @lilypond[staffsize=26,line-width=1.0\cm]
3432 \include "gregorian-init.ly"
3437 \noBreak s^\markup {"g"}
3439 \layout { \neumeDemoLayout }}
3445 @code{3. Apostropha vel Stropha}
3447 @lilypond[staffsize=26,line-width=1.0\cm]
3448 \include "gregorian-init.ly"
3453 \noBreak s^\markup {"h"}
3455 \layout { \neumeDemoLayout }}
3458 @lilypond[staffsize=26,line-width=1.0\cm]
3459 \include "gregorian-init.ly"
3463 \[ \stropha \auctum b \]
3464 \noBreak s^\markup {"i"}
3466 \layout { \neumeDemoLayout }}
3473 @lilypond[staffsize=26,line-width=1.0\cm]
3474 \include "gregorian-init.ly"
3479 \noBreak s^\markup {"j"}
3481 \layout { \neumeDemoLayout }}
3487 @code{5. Clivis vel Flexa}
3489 @lilypond[staffsize=26,line-width=1.0\cm]
3490 \include "gregorian-init.ly"
3497 \layout { \neumeDemoLayout }}
3500 @lilypond[staffsize=26,line-width=2.0\cm]
3501 \include "gregorian-init.ly"
3504 % Clivis Aucta Descendens
3505 \[ b \flexa \auctum \descendens g \]
3506 \noBreak s^\markup {"l"} \noBreak
3508 % Clivis Aucta Ascendens
3509 \[ b \flexa \auctum \ascendens g \]
3510 \noBreak s^\markup {"m"}
3512 \layout { \neumeDemoLayout }}
3515 @lilypond[staffsize=26,line-width=1.0\cm]
3516 \include "gregorian-init.ly"
3520 \[ b \flexa \deminutum g \]
3523 \layout { \neumeDemoLayout }}
3527 @code{6. Podatus vel Pes}
3529 @lilypond[staffsize=26,line-width=1.0\cm]
3530 \include "gregorian-init.ly"
3537 \layout { \neumeDemoLayout }}
3540 @lilypond[staffsize=26,line-width=2.0\cm]
3541 \include "gregorian-init.ly"
3544 % Pes Auctus Descendens
3545 \[ g \pes \auctum \descendens b \]
3546 \noBreak s^\markup {"p"} \noBreak
3548 % Pes Auctus Ascendens
3549 \[ g \pes \auctum \ascendens b \]
3550 \noBreak s^\markup {"q"}
3552 \layout { \neumeDemoLayout }}
3555 @lilypond[staffsize=26,line-width=1.0\cm]
3556 \include "gregorian-init.ly"
3560 \[ g \pes \deminutum b \]
3563 \layout { \neumeDemoLayout }}
3567 @code{7. Pes Quassus}
3569 @lilypond[staffsize=26,line-width=1.0\cm]
3570 \include "gregorian-init.ly"
3574 \[ \oriscus g \pes \virga b \]
3577 \layout { \neumeDemoLayout }}
3580 @lilypond[staffsize=26,line-width=1.0\cm]
3581 \include "gregorian-init.ly"
3584 % Pes Quassus Auctus Descendens
3585 \[ \oriscus g \pes \auctum \descendens b \]
3588 \layout { \neumeDemoLayout }}
3593 @code{8. Quilisma Pes}
3595 @lilypond[staffsize=26,line-width=1.0\cm]
3596 \include "gregorian-init.ly"
3600 \[ \quilisma g \pes b \]
3603 \layout { \neumeDemoLayout }}
3606 @lilypond[staffsize=26,line-width=1.0\cm]
3607 \include "gregorian-init.ly"
3610 % Quilisma Pes Auctus Descendens
3611 \[ \quilisma g \pes \auctum \descendens b \]
3614 \layout { \neumeDemoLayout }}
3619 @code{9. Podatus Initio Debilis}
3621 @lilypond[staffsize=26,line-width=1.0\cm]
3622 \include "gregorian-init.ly"
3625 % Pes Initio Debilis
3626 \[ \deminutum g \pes b \]
3629 \layout { \neumeDemoLayout }}
3632 @lilypond[staffsize=26,line-width=1.0\cm]
3633 \include "gregorian-init.ly"
3636 % Pes Auctus Descendens Initio Debilis
3637 \[ \deminutum g \pes \auctum \descendens b \]
3640 \layout { \neumeDemoLayout }}
3647 @lilypond[staffsize=26,line-width=1.0\cm]
3648 \include "gregorian-init.ly"
3652 \[ a \pes b \flexa g \]
3655 \layout { \neumeDemoLayout }}
3658 @lilypond[staffsize=26,line-width=1.0\cm]
3659 \include "gregorian-init.ly"
3662 % Torculus Auctus Descendens
3663 \[ a \pes b \flexa \auctum \descendens g \]
3666 \layout { \neumeDemoLayout }}
3669 @lilypond[staffsize=26,line-width=1.0\cm]
3670 \include "gregorian-init.ly"
3673 % Torculus Deminutus
3674 \[ a \pes b \flexa \deminutum g \]
3677 \layout { \neumeDemoLayout }}
3681 @code{11. Torculus Initio Debilis}
3683 @lilypond[staffsize=26,line-width=1.0\cm]
3684 \include "gregorian-init.ly"
3687 % Torculus Initio Debilis
3688 \[ \deminutum a \pes b \flexa g \]
3691 \layout { \neumeDemoLayout }}
3694 @lilypond[staffsize=26,line-width=1.0\cm]
3695 \include "gregorian-init.ly"
3698 % Torculus Auctus Descendens Initio Debilis
3699 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
3702 \layout { \neumeDemoLayout }}
3705 @lilypond[staffsize=26,line-width=1.0\cm]
3706 \include "gregorian-init.ly"
3709 % Torculus Deminutus Initio Debilis
3710 \[ \deminutum a \pes b \flexa \deminutum g \]
3713 \layout { \neumeDemoLayout }}
3717 @code{12. Porrectus}
3719 @lilypond[staffsize=26,line-width=1.0\cm]
3720 \include "gregorian-init.ly"
3724 \[ a \flexa g \pes b \]
3727 \layout { \neumeDemoLayout }}
3730 @lilypond[staffsize=26,line-width=1.0\cm]
3731 \include "gregorian-init.ly"
3734 % Porrectus Auctus Descendens
3735 \[ a \flexa g \pes \auctum \descendens b \]
3738 \layout { \neumeDemoLayout }}
3741 @lilypond[staffsize=26,line-width=1.0\cm]
3742 \include "gregorian-init.ly"
3745 % Porrectus Deminutus
3746 \[ a \flexa g \pes \deminutum b \]
3749 \layout { \neumeDemoLayout }}
3755 @lilypond[staffsize=26,line-width=1.0\cm]
3756 \include "gregorian-init.ly"
3760 \[ \virga b \inclinatum a \inclinatum g \]
3763 \layout { \neumeDemoLayout }
3767 @lilypond[staffsize=26,line-width=1.0\cm]
3768 \include "gregorian-init.ly"
3772 \[ \virga b \inclinatum a \inclinatum \auctum g \]
3775 \layout { \neumeDemoLayout }}
3778 @lilypond[staffsize=26,line-width=1.0\cm]
3779 \include "gregorian-init.ly"
3782 % Climacus Deminutus
3783 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
3786 \layout { \neumeDemoLayout }}
3790 @code{14. Scandicus}
3792 @lilypond[staffsize=26,line-width=1.0\cm]
3793 \include "gregorian-init.ly"
3797 \[ g \pes a \virga b \]
3800 \layout { \neumeDemoLayout }}
3803 @lilypond[staffsize=26,line-width=1.0\cm]
3804 \include "gregorian-init.ly"
3807 % Scandicus Auctus Descendens
3808 \[ g \pes a \pes \auctum \descendens b \]
3811 \layout { \neumeDemoLayout }}
3814 @lilypond[staffsize=26,line-width=1.0\cm]
3815 \include "gregorian-init.ly"
3818 % Scandicus Deminutus
3819 \[ g \pes a \pes \deminutum b \]
3822 \layout { \neumeDemoLayout }}
3828 @lilypond[staffsize=26,line-width=1.0\cm]
3829 \include "gregorian-init.ly"
3833 \[ g \oriscus a \pes \virga b \]
3836 \layout { \neumeDemoLayout }}
3839 @lilypond[staffsize=26,line-width=1.0\cm]
3840 \include "gregorian-init.ly"
3843 % Salicus Auctus Descendens
3844 \[ g \oriscus a \pes \auctum \descendens b \]
3847 \layout { \neumeDemoLayout }}
3854 @lilypond[staffsize=26,line-width=1.0\cm]
3855 \include "gregorian-init.ly"
3859 \[ \stropha b \stropha b \stropha a \]
3862 \layout { \neumeDemoLayout }
3871 Unlike most other neumes notation systems, the input language for
3872 neumes does not reflect the typographical appearance, but is designed
3873 to focus on musical meaning. For example, @code{\[ a \pes b
3874 \flexa g \]} produces a Torculus consisting of three Punctum heads,
3875 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
3876 curved flexa shape and only a single Punctum head. There is no
3877 command to explicitly typeset the curved flexa shape; the decision of
3878 when to typeset a curved flexa shape is based on the musical
3879 input. The idea of this approach is to separate the musical aspects
3880 of the input from the notation style of the output. This way, the
3881 same input can be reused to typeset the same music in a different
3882 style of Gregorian chant notation.
3884 The following table shows the code fragments that produce the
3885 ligatures in the above neumes table. The letter in the first column
3886 in each line of the below table indicates to which ligature in the
3887 above table it refers. The second column gives the name of the
3888 ligature. The third column shows the code fragment that produces this
3889 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
3891 @multitable @columnfractions .02 .31 .67
3911 @code{\[ \inclinatum b \]}
3919 @code{\[ \auctum \ascendens b \]}
3927 @code{\[ \auctum \descendens b \]}
3932 Punctum Inclinatum@*
3935 @code{\[ \inclinatum \auctum b \]}
3940 Punctum Inclinatum@*
3942 @code{\[ \inclinatum \deminutum b \]}
3949 @code{\[ \virga b \]}
3956 @code{\[ \stropha b \]}
3963 @code{\[ \stropha \auctum b \]}
3970 @code{\[ \oriscus b \]}
3977 @code{\[ b \flexa g \]}
3985 @code{\[ b \flexa \auctum \descendens g \]}
3993 @code{\[ b \flexa \auctum \ascendens g \]}
4000 @code{\[ b \flexa \deminutum g \]}
4007 @code{\[ g \pes b \]}
4015 @code{\[ g \pes \auctum \descendens b \]}
4023 @code{\[ g \pes \auctum \ascendens b \]}
4030 @code{\[ g \pes \deminutum b \]}
4037 @code{\[ \oriscus g \pes \virga b \]}
4043 Auctus Descendens @tab
4044 @code{\[ \oriscus g \pes \auctum \descendens b \]}
4051 @code{\[ \quilisma g \pes b \]}
4059 @code{\[ \quilisma g \pes \auctum \descendens b \]}
4066 @code{\[ \deminutum g \pes b \]}
4071 Pes Auctus Descendens@*
4074 @code{\[ \deminutum g \pes \auctum \descendens b \]}
4081 @code{\[ a \pes b \flexa g \]}
4089 @code{\[ a \pes b \flexa \auctum \descendens g \]}
4096 @code{\[ a \pes b \flexa \deminutum g \]}
4101 Torculus Initio Debilis
4103 @code{\[ \deminutum a \pes b \flexa g \]}
4109 Descendens Initio Debilis
4111 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
4116 Torculus Deminutus@*
4119 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
4126 @code{\[ a \flexa g \pes b \]}
4134 @code{\[ a \flexa g \pes \auctum \descendens b \]}
4141 @code{\[ a \flexa g \pes \deminutum b \]}
4148 @code{\[ \virga b \inclinatum a \inclinatum g \]}
4155 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
4162 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
4169 @code{\[ g \pes a \virga b \]}
4177 @code{\[ g \pes a \pes \auctum \descendens b \]}
4184 @code{\[ g \pes a \pes \deminutum b \]}
4191 @code{\[ g \oriscus a \pes \virga b \]}
4196 Salicus Auctus Descendens
4198 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
4205 @code{\[ \stropha b \stropha b \stropha a \]}
4208 The ligatures listed above mainly serve as a limited, but still
4209 representative pool of Gregorian ligature examples. Virtually, within
4210 the ligature delimiters @code{\[} and @code{\]}, any number of heads
4211 may be accumulated to form a single ligature, and head prefixes like
4212 @code{\pes}, @code{\flexa}, @code{\virga}, @code{\inclinatum},
4213 etc. may be mixed in as desired. The use of the set of rules that
4214 underlies the construction of the ligatures in the above table is
4215 accordingly extrapolated. This way, infinitely many different
4216 ligatures can be created.
4218 @c TODO: create a regression or tips & tricks example document with
4219 @c even more Gregorian ligatures, and add a link to this document
4222 Augmentum dots, also called @emph{morae}, are added with the music
4223 function @code{\augmentum}. Note that @code{\augmentum} is
4224 implemented as a unary music function rather than as head prefix. It
4225 applies to the immediately following music expression only. That is,
4226 @code{\augmentum \virga c} will have no visible effect. Instead, say
4227 @code{\virga \augmentum c} or @code{\augmentum @{\virga c@}}. Also
4228 note that you can say @code{\augmentum @{a g@}} as a shortcut for
4229 @code{\augmentum a \augmentum g}.
4231 @lilypond[quote,ragged-right,verbatim]
4232 \include "gregorian-init.ly"
4234 \new VaticanaVoice {
4235 \[ \augmentum a \flexa \augmentum g \]
4243 The following head prefixes are supported
4249 @funindex \inclinatum
4253 @funindex \descendens
4255 @funindex \ascendens
4261 @funindex \deminutum
4268 Head prefixes can be accumulated, though restrictions apply. For
4269 example, either @code{\descendens} or @code{\ascendens} can be applied
4270 to a head, but not both to the same head.
4274 Two adjacent heads can be tied together with the @code{\pes} and
4275 @code{\flexa} infix commands for a rising and falling line of melody,
4278 @funindex \augmentum
4279 Use the unary music function @code{\augmentum} to add augmentum dots.
4283 When an @code{\augmentum} dot appears at the end of the last staff
4284 within a ligature, it is sometimes vertically placed wrong. As a
4285 workaround, add an additional skip note (e.g. @code{s8}) as last note
4288 @code{\augmentum} should be implemented as a head prefix rather than a
4289 unary music function, such that @code{\augmentum} can be intermixed
4290 with head prefixes in arbitrary order.
4292 @node Gregorian Chant contexts
4293 @subsection Gregorian Chant contexts
4295 @cindex VaticanaVoiceContext
4296 @cindex VaticanaStaffContext
4298 The predefined @code{VaticanaVoiceContext} and
4299 @code{VaticanaStaffContext} can be used to engrave a piece of
4300 Gregorian Chant in the style of the Editio Vaticana. These contexts
4301 initialize all relevant context properties and grob properties to
4302 proper values, so you can immediately go ahead entering the chant, as
4303 the following excerpt demonstrates
4305 @lilypond[quote,ragged-right,packed,verbatim]
4306 \include "gregorian-init.ly"
4309 \new VaticanaVoice = "cantus" {
4310 \[ c'\melisma c' \flexa a \]
4311 \[ a \flexa \deminutum g\melismaEnd \]
4313 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
4314 c' \divisioMinima \break
4315 \[ c'\melisma c' \flexa a \]
4316 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
4318 \new Lyrics \lyricsto "cantus" {
4319 San- ctus, San- ctus, San- ctus
4326 @node Mensural contexts
4327 @subsection Mensural contexts
4329 @cindex MensuralVoiceContext
4330 @cindex MensuralStaffContext
4332 The predefined @code{MensuralVoiceContext} and
4333 @code{MensuralStaffContext} can be used to engrave a piece in mensural
4334 style. These contexts initialize all relevant context properties and
4335 grob properties to proper values, so you can immediately go ahead
4336 entering the chant, as the following excerpt demonstrates
4338 @lilypond[quote,ragged-right,verbatim]
4341 \new MensuralVoice = "discantus" \transpose c c' {
4342 \override Score.BarNumber #'transparent = ##t {
4343 c'1\melisma bes a g\melismaEnd
4345 \[ f1\melisma a c'\breve d'\melismaEnd \]
4347 c'\breve\melisma a1 g1\melismaEnd
4348 fis\longa^\signumcongruentiae
4351 \new Lyrics \lyricsto "discantus" {
4352 San -- ctus, San -- ctus, San -- ctus
4358 @node Musica ficta accidentals
4359 @subsection Musica ficta accidentals
4361 In European music from before about 1600, singers were often expected
4362 to chromatically alter notes at their own initiative. This is called
4363 ``Musica Ficta''. In modern transcriptions, these accidentals are
4364 usually printed over the note.
4366 @cindex Accidental, musica ficta
4367 @cindex Musica ficta
4369 Support for such suggested accidentals is included, and can be
4370 switched on by setting @code{suggestAccidentals} to true.
4372 @funindex suggestAccidentals
4374 @lilypond[verbatim,fragment,relative=1]
4376 \set suggestAccidentals = ##t
4382 Program reference: @internalsref{Accidental_engraver} engraver and the
4383 @internalsref{AccidentalSuggestion} object.
4386 @subsection Figured bass
4388 @cindex Basso continuo
4390 @c TODO: musicological blurb about FB
4393 LilyPond has support for figured bass
4395 @lilypond[quote,ragged-right,verbatim,fragment]
4397 \new Voice { \clef bass dis4 c d ais g fis}
4398 \new FiguredBass \figuremode {
4399 < 6 >4 < 7\+ >8 < 6+ [_!] >
4406 The support for figured bass consists of two parts: there is an input
4407 mode, introduced by @code{\figuremode}, where you can enter bass figures
4408 as numbers, and there is a context called @internalsref{FiguredBass} that
4409 takes care of making @internalsref{BassFigure} objects.
4411 In figures input mode, a group of bass figures is delimited by
4412 @code{<} and @code{>}. The duration is entered after the @code{>}
4416 @lilypond[quote,ragged-right,fragment]
4418 \figuremode { <4 6> }
4421 Accidentals are added when you append @code{-}, @code{!}, and @code{+}
4422 to the numbers. A plus sign is added when you append @code{\+}, and
4423 diminished fifths and sevenths can be obtained with @code{5/} and @code{7/}.
4426 <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/>
4428 @lilypond[quote,ragged-right,fragment]
4429 \figures { <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/> }
4432 Spaces may be inserted by using @code{_}. Brackets are
4433 introduced with @code{[} and @code{]}. You can also include text
4434 strings and text markups, see @ref{Overview of text markup commands}.
4437 < [4 6] 8 [_! 12] > < 5 \markup @{ \number 6 \super (1) @} >
4439 @lilypond[quote,ragged-right,fragment]
4441 \figuremode { < [4 6] 8 [_! 12] > < 5 \markup{ \tiny \number 6 \super (1)} > }
4445 It is also possible to use continuation lines for repeated figures,
4447 @lilypond[verbatim,relative=1]
4454 \set useBassFigureExtenders = ##t
4461 In this case, the extender lines always replace existing figures.
4463 The @code{FiguredBass} context doesn't pay attention to the actual
4464 bass line. As a consequence, you may have to insert extra figures to
4465 get extender lines below all notes, and you may have to add @code{\!}
4466 to avoid getting an extender line, e.g.
4468 @lilypond[relative=1]
4472 \set useBassFigureExtenders = ##t
4473 <6 4->4. <6 4->16. <6 4->32 <5>8. r16 <6>8 <6\! 5->
4477 f16. g32 f16. g32 f16. g32 f16. g32 f8. es16 d8 es
4482 When using continuation lines, common figures are always put in the
4483 same vertical position. When this is unwanted, you can insert a rest
4484 with @code{r}. The rest will clear any previous alignment. For
4485 example, you can write
4497 Accidentals and plus signs can appear before or after the numbers,
4498 depending on the @code{figuredBassAlterationDirection} and
4499 @code{figuredBassPlusDirection}
4505 \set figuredBassAlterationDirection = #1
4507 \set figuredBassPlusDirection = #1
4509 \set figuredBassAlterationDirection = #-1
4515 Although the support for figured bass may superficially resemble chord
4516 support, it is much simpler. The @code{\figuremode} mode simply
4517 stores the numbers and @internalsref{FiguredBass} context prints them
4518 as entered. There is no conversion to pitches and no realizations of
4519 the bass are played in the MIDI file.
4521 Internally, the code produces markup texts. You can use any of the
4522 markup text properties to override formatting. For example, the
4523 vertical spacing of the figures may be set with @code{baseline-skip}.
4526 Figured bass can also be added to @code{Staff} contexts
4527 directly. In this case, their vertical position is adjusted
4530 @lilypond[ragged-right,fragment,quote]
4532 \new Staff = someUniqueName
4537 %% send to existing Staff.
4538 \context Staff = someUniqueName
4542 \set Staff.useBassFigureExtenders = ##t
4551 When using figured bass above the staff with extender lines and
4552 @code{implicitBassFigures} the lines may become swapped around.
4553 Maintaining order consistently will be impossible when multiple figures
4554 have overlapping extender lines. To avoid this problem, plese
4555 use @code{stacking-dir} on @code{BassFigureAlignment}.
4560 Program reference: @internalsref{NewBassFigure},
4561 @internalsref{BassFigureAlignment}, @internalsref{BassFigureLine},
4562 @internalsref{BassFigureBracket}, and
4563 @internalsref{BassFigureContinuation} objects and
4564 @internalsref{FiguredBass} context.
4568 @node Other instrument specific notation
4569 @section Other instrument specific notation
4571 This section includes extra information for writing for instruments.
4574 * Artificial harmonics (strings)::
4577 @node Artificial harmonics (strings)
4578 @subsection Artificial harmonics (strings)
4580 @cindex artificial harmonics
4582 Artificial harmonics are notated with a different notehead style. They
4583 are entered by marking the harmonic pitch with @code{\harmonic}.
4585 @lilypond[ragged-right,verbatim,quote,fragment,relative=1]