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2 @c This file is part of lilypond.tely
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11 @c A menu is needed before every deeper *section nesting of @node's; run
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13 @c to automatically fill in these menus before saving changes
15 @node Instrument-specific notation
16 @chapter Instrument-specific notation
18 This chapter explains how to use notation for specific instruments.
28 * Other instrument specific notation::
36 Piano staves are two normal staves coupled with a brace. The staves
37 are largely independent, but sometimes voices can cross between the
38 two staves. The same notation is also used for harps and other key
39 instruments. The @internalsref{PianoStaff} is especially built to
40 handle this cross-staffing behavior. In this section we discuss the
41 @internalsref{PianoStaff} and some other pianistic peculiarities.
44 * Automatic staff changes::
45 * Manual staff switches::
47 * Staff switch lines::
53 Dynamics are not centered, but workarounds do exist. See the
54 @q{piano centered dynamics} template in @ref{Piano templates}.
56 @cindex cross staff stem
57 @cindex stem, cross staff
58 @cindex distance between staves in piano music
61 @anchor{Automatic staff changes}
62 @unnumberedsubsubsec Automatic staff changes
63 @cindex Automatic staff changes
65 Voices can be made to switch automatically between the top and the bottom
66 staff. The syntax for this is
70 \autochange @dots{}@var{music}@dots{}
75 This will create two staves inside the current PianoStaff, called
76 @code{up} and @code{down}. The lower staff will be in bass clef by
79 A @code{\relative} section that is outside of @code{\autochange} has
80 no effect on the pitches of @var{music}, so, if necessary, put
81 @code{\relative} inside @code{\autochange} like
85 \autochange \relative @dots{} @dots{}
90 The autochanger switches on basis of the pitch (middle C is the turning
91 point), and it looks ahead skipping over rests to switch in
92 advance. Here is a practical example
94 @lilypond[quote,verbatim,ragged-right]
96 \autochange \relative c'
105 In this manual: @ref{Manual staff switches}.
107 Program reference: @internalsref{AutoChangeMusic}.
113 The staff switches may not end up in optimal places. For high
114 quality output, staff switches should be specified manually.
117 @code{\autochange} cannot be inside @code{\times}.
120 @anchor{Manual staff switches}
121 @unnumberedsubsubsec Manual staff switches
123 @cindex manual staff switches
124 @cindex staff switch, manual
126 Voices can be switched between staves manually, using the command
128 \change Staff = @var{staffname} @var{music}
132 The string @var{staffname} is the name of the staff. It switches the
133 current voice from its current staff to the Staff called
134 @var{staffname}. Typically @var{staffname} is @code{"up"} or
135 @code{"down"}. The @context{Staff} referred to must already exist, so
136 usually the setup for a score will start with a setup of the staves,
141 \skip 1 * 10 % @emph{keep staff alive}
143 \new Staff = "down" @{
144 \skip 1 * 10 % @emph{idem}
150 and the @context{Voice} is inserted afterwards
153 \context Staff = down
154 \new Voice @{ @dots{} \change Staff = up @dots{} @}
159 @unnumberedsubsubsec Pedals
162 Pianos have pedals that alter the way sound is produced. Generally, a
163 piano has three pedals, sustain, una corda, and sostenuto.
166 Piano pedal instruction can be expressed by attaching
167 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
168 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
171 @lilypond[quote,ragged-right,fragment,verbatim]
172 c'4\sustainDown c'4\sustainUp
175 What is printed can be modified by setting @code{pedal@var{X}Strings},
176 where @var{X} is one of the pedal types: @code{Sustain},
177 @code{Sostenuto} or @code{UnaCorda}. Refer to
178 @internalsref{SustainPedal} in the program reference for more
181 Pedals can also be indicated by a sequence of brackets, by setting the
182 @code{pedalSustainStyle} property to bracket objects
184 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
185 \set Staff.pedalSustainStyle = #'bracket
187 b\sustainUp\sustainDown
188 b g \sustainUp a \sustainDown \bar "|."
191 A third style of pedal notation is a mixture of text and brackets,
192 obtained by setting the @code{pedalSustainStyle} property to
195 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
196 \set Staff.pedalSustainStyle = #'mixed
198 b\sustainUp\sustainDown
199 b g \sustainUp a \sustainDown \bar "|."
202 The default @q{*Ped.} style for sustain and damper pedals corresponds to
203 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
206 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
207 c\sostenutoDown d e c, f g a\sostenutoUp
210 For fine-tuning the appearance of a pedal bracket, the properties
211 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
212 @code{PianoPedalBracket} objects (see
213 @internalsref{PianoPedalBracket} in the Program reference) can be
214 modified. For example, the bracket may be extended to the right edge
217 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
218 \override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
219 c\sostenutoDown d e c, f g a\sostenutoUp
224 In this manual: @ref{Laissez vibrer ties}.
226 @anchor{Staff switch lines}
227 @unnumberedsubsubsec Staff switch lines
231 @cindex staff switching
234 @funindex followVoice
236 Whenever a voice switches to another staff, a line connecting the notes
237 can be printed automatically. This is switched on by setting
238 @code{followVoice} to true
240 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
243 \set followVoice = ##t
248 \new Staff="two" { \clef bass \skip 1*2 }
254 Program reference: @internalsref{VoiceFollower}.
258 @funindex \showStaffSwitch
259 @code{\showStaffSwitch},
260 @funindex \hideStaffSwitch
261 @code{\hideStaffSwitch}.
264 @anchor{Cross staff stems}
265 @unnumberedsubsubsec Cross staff stems
267 Chords that cross staves may be produced by increasing the length
268 of the stem in the lower staff, so it reaches the stem in the upper
269 staff, or vice versa.
271 @lilypond[ragged-right,verbatim,quote]
273 \once \override Stem #'length = #10
274 \once \override Stem #'cross-staff = ##t
276 noFlag = \once \override Stem #'flag-style = #'no-flag
279 \stemDown \stemExtend
297 * Introducing chord names::
299 * Printing chord names::
303 @c awkward name; awkward section name.
304 @c still, the Basic "chords" seems like a good name... :(
305 @anchor{Introducing chord names}
306 @unnumberedsubsubsec Introducing chord names
309 LilyPond has support for printing chord names. Chords may be entered
310 in musical chord notation, i.e., @code{< .. >}, but they can also be
311 entered by name. Internally, the chords are represented as a set of
312 pitches, so they can be transposed
315 @lilypond[quote,ragged-right,verbatim,ragged-right]
316 twoWays = \transpose c c' {
325 << \new ChordNames \twoWays
326 \new Voice \twoWays >>
329 This example also shows that the chord printing routines do not try to
330 be intelligent. The last chord (@code{f bes d}) is not interpreted as
333 Note that the duration of chords must be specified outside the
342 @unnumberedsubsubsec Chords mode
345 In chord mode sets of pitches (chords) are entered with normal note
346 names. A chord is entered by the root, which is entered like a
349 @lilypond[quote,ragged-right,fragment,verbatim]
350 \chordmode { es4. d8 c2 }
354 The mode is introduced by the keyword @code{\chordmode}.
359 Other chords may be entered by suffixing a colon and introducing a
360 modifier (which may include a number if desired)
362 @lilypond[quote,fragment,verbatim]
363 \chordmode { e1:m e1:7 e1:m7 }
366 The first number following the root is taken to be the @q{type} of the
367 chord, thirds are added to the root until it reaches the specified
368 number. The exception is @code{c:13}, for which the 11 is omitted.
370 @lilypond[quote,fragment,verbatim]
371 \chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 c:13 }
374 @cindex root of chord
375 @cindex additions, in chords
376 @cindex removals, in chords
378 More complex chords may also be constructed adding separate steps
379 to a chord. Additions are added after the number following
380 the colon and are separated by dots
382 @lilypond[quote,verbatim,fragment]
383 \chordmode { c:5.6 c:3.7.8 c:3.6.13 }
386 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
389 @lilypond[quote,verbatim,fragment]
390 \chordmode { c:7+ c:5+.3- c:3-.5-.7- }
393 Removals are specified similarly and are introduced by a caret. They
394 must come after the additions
396 @lilypond[quote,verbatim,fragment]
397 \chordmode { c^3 c:7^5 c:9^3.5 }
400 Modifiers can be used to change pitches. The following modifiers are
405 The minor chord. This modifier lowers the 3rd and (if present) the 7th step.
408 The diminished chord. This modifier lowers the 3rd, 5th and (if present)
412 The augmented chord. This modifier raises the 5th step.
415 The major 7th chord. This modifier raises the 7th step if present.
418 The suspended 4th or 2nd. This modifier removes the 3rd
419 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
423 Modifiers can be mixed with additions
424 @lilypond[quote,verbatim,fragment]
425 \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
428 @cindex modifiers, in chords.
435 Since an unaltered 11 does not sound good when combined with an
436 unaltered 13, the 11 is removed in this case (unless it is added
438 @lilypond[quote,ragged-right,fragment,verbatim]
439 \chordmode { c:13 c:13.11 c:m13 }
444 An inversion (putting one pitch of the chord on the bottom), as well
445 as bass notes, can be specified by appending
446 @code{/}@var{pitch} to the chord
447 @lilypond[quote,ragged-right,fragment,verbatim]
448 \chordmode { c1 c/g c/f }
452 A bass note can be added instead of transposed out of the chord,
453 by using @code{/+}@var{pitch}.
455 @lilypond[quote,ragged-right,fragment,verbatim]
456 \chordmode { c1 c/+g c/+f }
459 Chords is a mode similar to @code{\lyricmode}, etc. Most
460 of the commands continue to work, for example, @code{r} and
461 @code{\skip} can be used to insert rests and spaces, and property
462 commands may be used to change various settings.
468 Each step can only be present in a chord once. The following
469 simply produces the augmented chord, since @code{5+} is interpreted
472 @lilypond[quote,ragged-right,verbatim,fragment]
473 \chordmode { c:5.5-.5+ }
477 @anchor{Printing chord names}
478 @unnumberedsubsubsec Printing chord names
480 @cindex printing chord names
484 For displaying printed chord names, use the @internalsref{ChordNames} context.
485 The chords may be entered either using the notation
486 described above, or directly using @code{<} and @code{>}
488 @lilypond[quote,verbatim,ragged-right]
490 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
493 \new ChordNames \harmonies
494 \new Staff \harmonies
498 You can make the chord changes stand out by setting
499 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
500 display chord names when there is a change in the chords scheme and at
501 the start of a new line
503 @lilypond[quote,verbatim,ragged-right]
504 harmonies = \chordmode {
505 c1:m c:m \break c:m c:m d
509 \set chordChanges = ##t
511 \new Staff \transpose c c' \harmonies
515 The previous examples all show chords over a staff. This is not
516 necessary. Chords may also be printed separately. It may be necessary
517 to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
520 @lilypond[ragged-right,verbatim]
521 \new ChordNames \with {
522 \override BarLine #'bar-size = #4
523 \consists Bar_engraver
524 \consists "Volta_engraver"
526 \chordmode { \repeat volta 2 {
536 The default chord name layout is a system for Jazz music, proposed by
537 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
541 @funindex chordNameExceptions
542 @item chordNameExceptions
543 This is a list that contains the chords that have special formatting.
545 The exceptions list should be encoded as
547 @{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
550 To get this information into @code{chordNameExceptions} takes a little
551 manoeuvring. The following code transforms @code{chExceptionMusic}
552 (which is a sequential music) into a list of exceptions.
554 (sequential-music-to-chord-exceptions chExceptionMusic #t)
559 (sequential-music-to-chord-exceptions chExceptionMusic #t)
562 adds the new exceptions to the default ones, which are defined in
563 @file{ly/@/chord@/-modifier@/-init@/.ly}.
565 For an example of tuning this property, see also
566 @lsr{chords,chord@/-name@/-exceptions@/.ly}
567 @cindex exceptions, chord names.
570 @funindex majorSevenSymbol
571 @item majorSevenSymbol
572 This property contains the markup object used for the 7th step, when
573 it is major. Predefined options are @code{whiteTriangleMarkup} and
574 @code{blackTriangleMarkup}. See
575 @lsr{chords,chord@/-name@/-major7@/.ly} for an example.
577 @funindex chordNameSeparator
578 @item chordNameSeparator
579 Different parts of a chord name are normally separated by a
580 slash. By setting @code{chordNameSeparator}, you can specify other
582 @lilypond[quote,ragged-right,fragment,verbatim]
583 \new ChordNames \chordmode {
585 \set chordNameSeparator
586 = \markup { \typewriter "|" }
591 @funindex chordRootNamer
593 The root of a chord is usually printed as a letter with an optional
594 alteration. The transformation from pitch to letter is done by this
595 function. Special note names (for example, the German @q{H} for a
596 B-chord) can be produced by storing a new function in this property.
598 @funindex chordNoteNamer
600 The default is to print single pitch, e.g., the bass note, using the
601 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
602 to a specialized function to change this behavior. For example, the
603 base can be printed in lower case.
605 @funindex chordPrefixSpacer
606 @item chordPrefixSpacer
607 The @q{m} for minor chords is usually printed right after the root of
608 the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer
609 between the root and @q{m}. The spacer is not used when the root
614 The predefined variables @code{\germanChords},
615 @code{\semiGermanChords}, @code{\italianChords} and @code{\frenchChords}
616 set these variables. The effect is
619 @lilypondfile[ragged-right]{chord-names-languages.ly}
621 There are also two other chord name schemes implemented: an alternate
622 Jazz chord notation, and a systematic scheme called Banter chords. The
623 alternate Jazz notation is also shown on the chart in @ref{Chord name
624 chart}. Turning on these styles is demonstrated in
625 @lsr{chords,chord-names-jazz.ly}.
634 @funindex \germanChords
635 @code{\germanChords},
636 @funindex \semiGermanChords
637 @code{\semiGermanChords}.
638 @funindex \italianChords
639 @code{\italianChords}.
640 @funindex \frenchChords
641 @code{\frenchChords}.
651 Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
652 @file{scm/@/chord@/-entry@/.scm}.
657 Chord names are determined solely from the list of pitches. Chord
658 inversions are not identified, and neither are added bass notes. This
659 may result in strange chord names when chords are entered with the
660 @code{< .. >} syntax.
667 Since LilyPond input files are text, there are two issues to
668 consider when working with vocal music:
672 Song texts must be entered as text, not notes. For example, the
673 input@tie{}@code{d} should be interpreted as a one letter syllable, not the
677 Song texts must be aligned with the notes of their melody.
680 There are a few different ways to define lyrics; we shall begin
681 by examining the simplest method, and gradually increase complexity.
684 * Setting simple songs::
686 * Aligning lyrics to a melody::
687 * Automatic syllable durations::
688 * Another way of entering lyrics::
689 * Assigning more than one syllable to a single note::
690 * More than one note on a single syllable::
691 * Extenders and hyphens::
692 * Working with lyrics and identifiers::
693 * Flexibility in placement::
694 * Lyrics to multiple notes of a melisma::
696 * Switching the melody associated with a lyrics line::
697 * Lyrics independent of notes::
699 * More about stanzas::
701 * Other vocal issues::
707 Checking to make sure that text scripts and lyrics are within the margins is
708 a relatively large computational task. To speed up processing, lilypond does
709 not perform such calculations by default; to enable it, use
712 \override Score.PaperColumn #'keep-inside-line = ##t
715 To make lyrics avoid barlines as well, use
720 \consists "Bar_engraver"
721 \consists "Separating_line_group_engraver"
722 \override BarLine #'transparent = ##t
728 @anchor{Setting simple songs}
729 @unnumberedsubsubsec Setting simple songs
733 The easiest way to add lyrics to a melody is to append
736 \addlyrics @{ @var{the lyrics} @}
740 to a melody. Here is an example,
742 @lilypond[ragged-right,verbatim,fragment,quote]
744 \relative { c2 e4 g2. }
745 \addlyrics { play the game }
748 More stanzas can be added by adding more
749 @code{\addlyrics} sections
751 @lilypond[ragged-right,verbatim,fragment,quote]
753 \relative { c2 e4 g2. }
754 \addlyrics { play the game }
755 \addlyrics { speel het spel }
756 \addlyrics { joue le jeu }
759 The command @code{\addlyrics} cannot handle polyphony settings. For these
760 cases you should use @code{\lyricsto} and @code{\lyricmode}, as will be
761 introduced in @ref{Entering lyrics}.
765 @anchor{Entering lyrics}
766 @unnumberedsubsubsec Entering lyrics
771 @cindex spaces, in lyrics
772 @cindex quotes, in lyrics
774 Lyrics are entered in a special input mode, which can be introduced
775 by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
776 @code{\lyricsto}. In this mode you can enter lyrics,
777 with punctuation and accents, and the input @code{d} is not parsed as
778 a pitch, but rather as a one letter syllable. Syllables are entered
779 like notes, but with pitches replaced by text. For example,
782 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
785 There are two main methods to specify the horizontal placement
786 of the syllables, either by specifying the duration of each syllable
787 explicitly, like in the example above, or by automatically aligning
788 the lyrics to a melody or other voice of music, using @code{\addlyrics}
791 @c For more details see @ref{The Lyrics context}.
793 A word or syllable of lyrics begins with an alphabetic character, and ends
795 any space or digit. The following characters can be any character
796 that is not a digit or white space.
798 Any character that is not a digit or white space will be regarded as
799 part of the syllable; one important consequence of this is that a word
800 can end with @code{@}}, which often leads to the following mistake:
803 \lyricmode @{ lah- lah@}
806 In this example, the @code{@}} is included in the final syllable, so the
807 opening brace is not balanced and the input file will probably not
811 @funindex \property in \lyricmode
814 Similarly, a period which follows an alphabetic sequence is included in
815 the resulting string. As a consequence, spaces must be inserted around
816 property commands: do @emph{not} write
819 \override Score.LyricText #'font-shape = #'italic
826 \override Score . LyricText #'font-shape = #'italic
830 @cindex spaces, in lyrics
831 @cindex quotes, in lyrics
832 @cindex ties, in lyrics
834 In order to assign more than one syllable to a single note, you can
835 surround them with quotes or use a @code{_} character, to get spaces
836 between syllables, or use tilde symbol (@code{~}) to get a lyric tie.
838 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
840 \relative { c2 e4 g2 e4 }
841 \addlyrics { gran- de_a- mi- go }
842 \addlyrics { pu- "ro y ho-" nes- to }
843 \addlyrics { pu- ro~y~ho- nes- to }
846 The lyric tie is implemented with the Unicode character U+203F, so be
847 sure to have a font (Like DejaVuLGC) installed that includes this
851 To enter lyrics with characters from non-English languages, or with
852 accented and special characters (such as the heart symbol or slanted quotes),
853 simply insert the characters directly into the input file and save
854 it with utf-8 encoding. See @ref{Text encoding}, for more info.
856 @lilypond[quote,ragged-right,fragment,verbatim]
857 \relative { e4 f e d e f e2 }
858 \addlyrics { He said: “Let my peo ple go”. }
861 To use normal quotes in lyrics, add a backslash before the
864 @lilypond[quote,ragged-right,fragment,verbatim]
865 \relative c' { \time 3/4 e4 e4. e8 d4 e d c2. }
866 \addlyrics { "\"I" am so lone- "ly\"" said she }
869 The full definition of a word start in Lyrics mode is somewhat more
872 A word in Lyrics mode begins with: an alphabetic character, @code{_},
873 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
874 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
875 any 8-bit character with ASCII code over 127, or a two-character
876 combination of a backslash followed by one of @code{`}, @code{'},
877 @code{"}, or @code{^}.
879 To define identifiers containing lyrics, the function @code{lyricmode}
883 verseOne = \lyricmode @{ Joy to the world the Lord is come @}
886 \new Voice = "one" \relative c'' @{
889 c4 b8. a16 g4. f8 e4 d c2
891 \addlyrics @{ \verseOne @}
899 Program reference: @internalsref{LyricText}, @internalsref{LyricSpace}.
903 @anchor{Aligning lyrics to a melody}
904 @unnumberedsubsubsec Aligning lyrics to a melody
911 Lyrics are printed by interpreting them in the context called
912 @internalsref{Lyrics}.
915 \new Lyrics \lyricmode @dots{}
918 There are two main methods to specify the horizontal placement
923 by automatically aligning
924 the lyrics to a melody or other voice of music, using @code{\addlyrics}
928 or by specifying the duration of each syllable
929 explicitly, using @code{\lyricmode}
933 * Automatic syllable durations::
934 * Another way of entering lyrics::
935 * Assigning more than one syllable to a single note::
936 * More than one note on a single syllable::
937 * Extenders and hyphens::
940 @anchor{Automatic syllable durations}
941 @unnumberedsubsubsec Automatic syllable durations
943 @cindex automatic syllable durations
944 @cindex lyrics and melodies
946 The lyrics can be aligned under a given melody
947 automatically. This is achieved by combining the
948 melody and the lyrics with the @code{\lyricsto} expression
951 \new Lyrics \lyricsto @var{name} @dots{}
954 This aligns the lyrics to the
955 notes of the @internalsref{Voice} context called @var{name}, which must
956 already exist. Therefore normally the @code{Voice} is specified first, and
957 then the lyrics are specified with @code{\lyricsto}. The command
958 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
959 @code{\lyricmode} keyword may be omitted.
961 The following example uses different commands for entering lyrics.
963 @lilypond[quote,fragment,ragged-right,verbatim]
965 \new Voice = "one" \relative c'' {
968 c4 b8. a16 g4. f8 e4 d c2
970 \new Lyrics \lyricmode { Joy4 to8. the16 world!4. the8 Lord4 is come.2 }
971 \new Lyrics \lyricmode { Joy to the earth! the Sa -- viour reigns. }
972 \new Lyrics \lyricsto "one" { No more let sins and sor -- rows grow. }
976 The second stanza is not properly aligned because the durations
977 were not specified. A solution for that would be to use @code{\lyricsto}.
979 The @code{\addlyrics} command is actually just a convenient way
980 to write a more complicated LilyPond structure that sets up the
985 \addlyrics @{ LYRICS @}
992 \new Voice = "blah" @{ music @}
993 \new Lyrics \lyricsto "blah" @{ LYRICS @}
996 @anchor{Another way of entering lyrics}
997 @unnumberedsubsubsec Another way of entering lyrics
999 Lyrics can also be entered without @code{\addlyrics} or
1000 @code{\lyricsto}. In this case,
1001 syllables are entered like notes -- but with pitches replaced by text -- and the
1002 duration of each syllable must be entered explicitly. For example:
1009 The alignment to a melody can be specified with the
1010 @code{associatedVoice} property,
1013 \set associatedVoice = #"lala"
1017 The value of the property (here: @code{"lala"}) should be the name of
1018 a @internalsref{Voice} context. Without this setting, extender lines
1019 will not be formatted properly.
1021 Here is an example demonstrating manual lyric durations,
1023 @lilypond[relative=1,ragged-right,verbatim,fragment,quote]
1024 << \new Voice = "melody" {
1028 \new Lyrics \lyricmode {
1029 \set associatedVoice = #"melody"
1036 Program reference: @internalsref{Lyrics}.
1039 @anchor{Assigning more than one syllable to a single note}
1040 @unnumberedsubsubsec Assigning more than one syllable to a single note
1044 @cindex ties, in lyrics
1046 In order to assign more than one syllable to a single note, you can
1047 surround them with quotes or use a @code{_} character, to get spaces
1048 between syllables, or use tilde symbol (@code{~}) to get a lyric
1049 tie@footnote{The lyric ties is implemented with the Unicode character
1051 sure to have a font (Like DejaVuLGC) installed that includes this
1054 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
1056 \relative { c2 e4 g2 e4 }
1057 \addlyrics { gran- de_a- mi- go }
1058 \addlyrics { pu- "ro y ho-" nes- to }
1059 \addlyrics { pu- ro~y~ho- nes- to }
1064 Program reference: @internalsref{LyricCombineMusic}.
1066 @c Here come the section which used to be "Melismata"
1067 @c the new title might be more self-explanatory
1070 @anchor{More than one note on a single syllable}
1071 @unnumberedsubsubsec More than one note on a single syllable
1075 @cindex phrasing, in lyrics
1077 Sometimes, particularly in Medieval music, several notes are to be sung on one
1078 single syllable; such vocalises are called melismas, or melismata.
1080 @c this method seems to be the simplest; therefore
1081 @c it might be better to present it first - vv
1083 You can define melismata entirely in the lyrics, by entering @code{_}
1085 that is part of the melisma.
1087 @lilypond[relative=1,verbatim,fragment,quote]
1088 { \set melismaBusyProperties = #'()
1089 c d( e) f f( e) e e }
1091 { Ky -- _ _ ri __ _ _ _ e }
1094 In this case, you can also have ties and slurs in the melody if you
1095 set @code{melismaBusyProperties}, as is done in the example above.
1097 However, the @code{\lyricsto} command can also
1098 detect melismata automatically: it only puts one
1099 syllable under a tied or slurred group of notes. If you want to force
1100 an unslurred group of notes to be a melisma, insert @code{\melisma}
1101 after the first note of the group, and @code{\melismaEnd} after the
1104 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
1106 \new Voice = "lala" {
1114 \new Lyrics \lyricsto "lala" {
1120 In addition, notes are considered a melisma if they are manually
1121 beamed, and automatic beaming (see @ref{Setting automatic beam
1122 behavior}) is switched off.
1124 @c TODO: there might be some more relevant place for
1125 @c the following link (?)
1128 @cindex choral score
1130 A complete example of a SATB score setup is in section
1131 @ref{Vocal ensembles}.
1136 @code{\melisma}, @code{\melismaEnd}
1137 @funindex \melismaEnd
1142 Program reference: @internalsref{Melisma_translator}.
1144 @lsr{vocal,lyric@/-combine.ly}.
1148 Melismata are not detected automatically, and extender lines must be
1151 @anchor{Extenders and hyphens}
1152 @unnumberedsubsubsec Extenders and hyphens
1157 Melismata are indicated with a horizontal line centered between a syllable
1158 and the next one. Such a line is called an extender line, and it is entered
1159 as @samp{ __ } (note the spaces before and after the two underscore
1164 Centered hyphens are entered as @samp{ -- } between syllables of a same word
1165 (note the spaces before and after the two hyphen characters). The hyphen
1166 will be centered between the syllables, and its length will be adjusted
1167 depending on the space between the syllables.
1169 In tighly engraved music, hyphens can be removed. Whether this
1170 happens can be controlled with the @code{minimum-distance} (minimum
1171 distance between two syllables) and the @code{minimum-length}
1172 (threshold below which hyphens are removed).
1176 Program reference: @internalsref{LyricExtender},
1177 @internalsref{LyricHyphen}
1180 @anchor{Working with lyrics and identifiers}
1181 @unnumberedsubsubsec Working with lyrics and identifiers
1182 @cindex lyrics, identifiers
1184 To define identifiers containing lyrics, the function @code{\lyricmode}
1185 must be used. You do not have to enter durations though, if you add
1186 @code{\addlyrics} or @code{\lyricsto}
1187 when invoking your identifier.
1190 verseOne = \lyricmode @{ Joy to the world the Lord is come @}
1193 \new Voice = "one" \relative c'' @{
1196 c4 b8. a16 g4. f8 e4 d c2
1198 \addlyrics @{ \verseOne @}
1203 For different or more complex orderings, the best way is to setup the
1204 hierarchy of staves and lyrics first, e.g.,
1207 \new Voice = "soprano" @{ @emph{music} @}
1208 \new Lyrics = "sopranoLyrics" @{ s1 @}
1209 \new Lyrics = "tenorLyrics" @{ s1 @}
1210 \new Voice = "tenor" @{ @emph{music} @}
1214 and then combine the appropriate melodies and lyric lines
1217 \context Lyrics = sopranoLyrics \lyricsto "soprano"
1223 The final input would resemble
1226 <<\new ChoirStaff << @emph{setup the music} >>
1227 \lyricsto "soprano" @emph{etc}
1228 \lyricsto "alto" @emph{etc}
1235 @c TODO: document \new Staff << Voice \lyricsto >> bug
1236 Program reference: @internalsref{LyricCombineMusic},
1237 @internalsref{Lyrics}.
1240 @anchor{Flexibility in placement}
1241 @unnumberedsubsubsec Flexibility in placement
1243 Often, different stanzas of one song are put to one melody in slightly
1244 differing ways. Such variations can still be captured with
1248 * Lyrics to multiple notes of a melisma::
1250 * Switching the melody associated with a lyrics line::
1251 * Lyrics independent of notes::
1255 @anchor{Lyrics to multiple notes of a melisma}
1256 @unnumberedsubsubsec Lyrics to multiple notes of a melisma
1258 One possibility is that the text has a melisma in one stanza, but
1259 multiple syllables in another one. One solution is to make the faster
1260 voice ignore the melisma. This is done by setting
1261 @code{ignoreMelismata} in the Lyrics context.
1263 There is one tricky aspect: the setting for @code{ignoreMelismata}
1264 must be set one syllable @emph{before} the non-melismatic syllable
1265 in the text, as shown here,
1267 @c FIXME: breaks compile
1268 @lilypond[verbatim,ragged-right,quote]
1271 \relative \new Voice = "lahlah" {
1272 \set Staff.autoBeaming = ##f
1278 \new Lyrics \lyricsto "lahlah" {
1281 \new Lyrics \lyricsto "lahlah" {
1282 \set ignoreMelismata = ##t % applies to "fas"
1284 \unset ignoreMelismata
1292 The @code{ignoreMelismata} applies to the syllable @q{fas}, so it
1293 should be entered before @q{go}.
1295 The reverse is also possible: making a lyric line slower than the
1296 standard. This can be achieved by insert @code{\skip}s into the
1297 lyrics. For every @code{\skip}, the text will be delayed another note.
1300 @lilypond[verbatim,ragged-right,quote]
1301 \relative { c c g' }
1309 @anchor{Divisi lyrics}
1310 @unnumberedsubsubsec Divisi lyrics
1312 You can display alternate (or divisi) lyrics by naming voice
1313 contexts and attaching lyrics to those specific contexts.
1315 @lilypond[verbatim,ragged-right,quote]
1317 \new Voice = "melody" {
1322 \new Voice = "splitpart" { \voiceTwo c4 }
1327 \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
1328 \new Lyrics \lyricsto "splitpart" { will }
1333 You can use this trick to display different lyrics for a repeated
1336 @lilypond[verbatim,ragged-right,quote]
1338 \new Voice = "melody" \relative c' {
1340 \new Voice = "verse" \repeat volta 2 {c4 d e f | g1 | }
1342 \new Lyrics = "mainlyrics" \lyricsto melody \lyricmode {
1345 \context Lyrics = "mainlyrics" \lyricsto verse \lyricmode {
1347 \new Lyrics = "repeatlyrics" \lyricsto verse \lyricmode {
1348 dodo rere mimi fafa solsol }
1355 @anchor{Switching the melody associated with a lyrics line}
1356 @unnumberedsubsubsec Switching the melody associated with a lyrics line
1358 More complex variations in text underlay are possible. It is possible
1359 to switch the melody for a line of lyrics during the text. This is
1360 done by setting the @code{associatedVoice} property. In the example
1362 @lilypond[ragged-right,quote]
1364 \relative \new Voice = "lahlah" {
1365 \set Staff.autoBeaming = ##f
1368 \new Voice = "alternative" {
1371 % show associations clearly.
1372 \override NoteColumn #'force-hshift = #-3
1383 \new Lyrics \lyricsto "lahlah" {
1384 Ju -- ras -- sic Park
1386 \new Lyrics \lyricsto "lahlah" {
1387 % Tricky: need to set associatedVoice
1388 % one syllable too soon!
1389 \set associatedVoice = alternative % applies to "ran"
1393 \set associatedVoice = lahlah % applies to "rus"
1399 the text for the first stanza is set to a melody called @q{lahlah},
1402 \new Lyrics \lyricsto "lahlah" @{
1403 Ju -- ras -- sic Park
1408 The second stanza initially is set to the @code{lahlah} context, but
1409 for the syllable @q{ran}, it switches to a different melody.
1410 This is achieved with
1412 \set associatedVoice = alternative
1416 Here, @code{alternative} is the name of the @code{Voice} context
1417 containing the triplet.
1419 Again, the command must be one syllable too early, before @q{Ty} in
1423 \new Lyrics \lyricsto "lahlah" @{
1424 \set associatedVoice = alternative % applies to "ran"
1428 \set associatedVoice = lahlah % applies to "rus"
1434 The underlay is switched back to the starting situation by assigning
1435 @code{lahlah} to @code{associatedVoice}.
1438 @anchor{Lyrics independent of notes}
1439 @unnumberedsubsubsec Lyrics independent of notes
1441 In some complex vocal music, it may be desirable to place
1442 lyrics completely independently of notes. Music defined
1443 inside @code{lyricrhythm} disappears into the
1444 @code{Devnull} context, but the rhythms can still be used
1445 to place the lyrics.
1447 @lilypond[quote,verbatim,ragged-right]
1450 \tag #'music { c''2 }
1451 \tag #'lyricrhythm { c''4. c''8 }
1455 lyr = \lyricmode { I like my cat! }
1458 \new Staff \keepWithTag #'music \voice
1459 \new Devnull="nowhere" \keepWithTag #'lyricrhythm \voice
1460 \new Lyrics \lyricsto "nowhere" \lyr
1461 \new Staff { c'8 c' c' c' c' c' c' c'
1462 c' c' c' c' c' c' c' c' }
1467 @anchor{Spacing lyrics}
1468 @unnumberedsubsubsec Spacing lyrics
1470 @cindex Spacing lyrics
1471 @cindex Lyrics, increasing space between
1473 To increase the spacing between lyrics, set the minimum-distance property of
1476 @lilypond[relative,verbatim,fragment,quote,ragged-right]
1479 \override Lyrics.LyricSpace #'minimum-distance = #1.0
1483 longtext longtext longtext longtext
1484 longtext longtext longtext longtext
1488 To make this change for all lyrics in the score, set the property in the
1491 @lilypond[relative,verbatim,quote,ragged-right]
1498 longtext longtext longtext longtext
1499 longtext longtext longtext longtext
1504 \override LyricSpace #'minimum-distance = #1.0
1511 @anchor{More about stanzas}
1512 @unnumberedsubsubsec More about stanzas
1514 @cindex stanza number
1515 @subsection Adding stanza numbers
1517 Stanza numbers can be added by setting @code{stanza}, e.g.,
1519 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1521 \time 3/4 g2 e4 a2 f4 g2.
1524 Hi, my name is Bert.
1527 Oh, ché -- ri, je t'aime
1532 These numbers are put just before the start of the first syllable.
1535 @subsection Adding dynamics marks
1537 Stanzas differing in loudness may be indicated by putting a
1538 dynamics mark before each stanza. In Lilypond, everthing coming in
1539 front of a stanza goes into the @code{StanzaNumber} object; dynamics marks
1540 are no different. For technical reasons, you have to set the stanza
1541 outside @code{\lyricmode}:
1543 @lilypond[quote,ragged-right,verbatim]
1545 \set stanza = \markup { \dynamic "ff" "1. " }
1552 \new Voice = "tune" {
1556 \new Lyrics \lyricsto "tune" \text
1561 @cindex name of singer
1562 @subsection Adding singer names
1564 Names of singers can also be added. They are printed at the start of
1565 the line, just like instrument names. They are created by setting
1566 @code{vocalName}. A short version may be entered as @code{shortVocalName}.
1568 @lilypond[fragment,ragged-right,quote,verbatim,relative=2]
1570 \time 3/4 g2 e4 a2 f4 g2.
1572 \set vocalName = "Bert "
1573 Hi, my name is Bert.
1575 \set vocalName = "Ernie "
1576 Oh, che -- ri, je t'aime
1581 @subsection Printing stanzas at the end
1583 Sometimes it is appropriate to have one stanza set
1584 to the music, and the rest added in verse form at
1585 the end of the piece. This can be accomplished by adding
1586 the extra verses into a @code{\markup} section outside
1587 of the main score block. Notice that there are two
1588 different ways to force linebreaks when using
1591 @lilypond[ragged-right,verbatim,quote]
1592 melody = \relative c' {
1598 \set stanza = "1." Ma- ry had a lit- tle lamb,
1599 its fleece was white as snow.
1603 \new Voice = "one" { \melody }
1604 \new Lyrics \lyricsto "one" \text
1610 \line{ All the children laughed and played }
1611 \line{ To see a lamb at school. }
1618 Mary took it home again,
1620 It was against the rule."
1625 @subsection Printing stanzas at the end in multiple columns
1627 When a piece of music has many verses, they are often printed in
1628 multiple columns across the page. An outdented verse number often
1629 introduces each verse. The following example shows how to produce such
1632 @lilypond[ragged-right,quote,verbatim]
1633 melody = \relative c' {
1638 \set stanza = "1." This is verse one.
1643 \new Voice = "one" { \melody }
1644 \new Lyrics \lyricsto "one" \text
1651 \hspace #0.1 % moves the column off the left margin; can be removed if
1652 % space on the page is tight
1656 "This is verse two."
1660 \hspace #0.1 % adds vertical spacing between verses
1663 "This is verse three."
1668 \hspace #0.1 % adds horizontal spacing between columns; if they are
1669 % still too close, add more " " pairs until the result
1674 "This is verse four."
1678 \hspace #0.1 % adds vertical spacing between verses
1681 "This is verse five."
1686 \hspace #0.1 % gives some extra space on the right margin; can
1687 % be removed if page space is tight
1695 Program reference: @internalsref{LyricText}, @internalsref{StanzaNumber},
1696 @internalsref{VocalName}.
1701 @unnumberedsubsubsec Ambitus
1704 The term @emph{ambitus} denotes a range of pitches for a given voice
1705 in a part of music. It may also denote the pitch range that a musical
1706 instrument is capable of playing. Ambits are printed on vocal parts,
1707 so performers can easily determine it meets their capabilities.
1709 Ambits are denoted at the beginning of a piece near the initial clef.
1710 The range is graphically specified by two note heads that represent the
1711 minimum and maximum pitch. To print such ambits, add the
1712 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
1719 \consists Ambitus_engraver
1724 This results in the following output
1726 @lilypond[quote,ragged-right]
1730 \consists Ambitus_engraver
1734 \relative \new Staff {
1739 If you have multiple voices in a single staff and you want a single
1740 ambitus per staff rather than per each voice, add the
1741 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
1742 rather than to the @internalsref{Voice} context. Here is an example,
1744 @lilypond[verbatim,ragged-right,quote]
1746 \consists "Ambitus_engraver"
1750 \remove "Ambitus_engraver"
1752 \override Ambitus #'X-offset = #-1.0
1757 \remove "Ambitus_engraver"
1766 This example uses one advanced feature,
1769 \override Ambitus #'X-offset = #-1.0
1773 This code moves the ambitus to the left. The same effect could have
1774 been achieved with @code{extra-offset}, but then the formatting system
1775 would not reserve space for the moved object.
1779 Program reference: @internalsref{Ambitus},
1780 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1781 @internalsref{AmbitusAccidental}.
1784 @lsr{vocal,ambitus@/.ly}.
1788 There is no collision handling in the case of multiple per-voice
1792 @anchor{Other vocal issues}
1793 @unnumberedsubsubsec Other vocal issues
1796 yeah, I'm giving up somewhat by stuffing a bunch of things in
1797 here. But at least they're in the manual now; it's easier to
1798 move them around in the manual once they're already here.
1800 Besides, if users complain about everything stuffed in here, I
1801 can ask them for specific instructions about where to move these
1802 examples, and that might get them more involved in the docs. -gp
1805 @q{Parlato} is spoken without pitch but still with rhythm; it is
1806 notated by cross noteheads. This is demonstrated in
1807 @ref{Special noteheads}.
1813 @node Rhythmic music
1814 @section Rhythmic music
1816 Rhythmic music is primarily used for percussion and drum notation, but it can
1817 also be used to show the rhythms of melodies.
1820 * Showing melody rhythms::
1821 * Entering percussion::
1822 * Percussion staves::
1827 @anchor{Showing melody rhythms}
1828 @unnumberedsubsubsec Showing melody rhythms
1830 Sometimes you might want to show only the rhythm of a melody. This
1831 can be done with the rhythmic staff. All pitches of notes on such a
1832 staff are squashed, and the staff itself has a single line
1834 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1835 \new RhythmicStaff {
1837 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1843 Program reference: @internalsref{RhythmicStaff}.
1846 @anchor{Entering percussion}
1847 @unnumberedsubsubsec Entering percussion
1853 Percussion notes may be entered in @code{\drummode} mode, which is
1854 similar to the standard mode for entering notes. Each piece of
1855 percussion has a full name and an abbreviated name, and both can be used
1858 @lilypond[quote,ragged-right,verbatim]
1860 hihat hh bassdrum bd
1864 The complete list of drum names is in the init file
1865 @file{ly/@/drumpitch@/-init@/.ly}.
1866 @c TODO: properly document this.
1870 Program reference: @internalsref{note-event}.
1872 @anchor{Percussion staves}
1873 @unnumberedsubsubsec Percussion staves
1877 A percussion part for more than one instrument typically uses a
1878 multiline staff where each position in the staff refers to one piece
1882 To typeset the music, the notes must be interpreted in a
1883 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
1885 @lilypond[quote,ragged-right,verbatim]
1886 up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
1887 down = \drummode { bassdrum4 snare8 bd r bd sn4 }
1889 \new DrumVoice { \voiceOne \up }
1890 \new DrumVoice { \voiceTwo \down }
1894 The above example shows verbose polyphonic notation. The short
1895 polyphonic notation, described in @ref{Basic polyphony}, can also be used if
1896 the @internalsref{DrumVoice}s are instantiated by hand first. For example,
1898 @lilypond[quote,ragged-right,fragment,verbatim]
1900 \new DrumVoice = "1" { s1 *2 }
1901 \new DrumVoice = "2" { s1 *2 }
1905 { \repeat unfold 16 hh16 }
1914 There are also other layout possibilities. To use these, set the
1915 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
1916 The following variables have been predefined
1920 This is the default. It typesets a typical drum kit on a five-line staff
1922 @lilypond[quote,line-width=10.0\cm]
1924 cymc cyms cymr hh hhc hho hhho hhp
1925 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl }
1927 cymc cyms cymr hh hhc hho hhho hhp \break
1928 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
1930 << \new DrumStaff \with {
1931 \remove Bar_engraver
1932 \remove Time_signature_engraver
1933 \override Stem #'transparent = ##t
1934 \override Stem #'Y-extent-callback = ##f
1935 \override VerticalAxisGroup #'minimum-Y-extent = #'(-4.0 . 5.0)
1942 \override LyricText #'font-family = #'typewriter
1943 \override BarNumber #'transparent =##T
1949 The drum scheme supports six different toms. When there are fewer toms,
1950 simply select the toms that produce the desired result, i.e., to get toms
1951 on the three middle lines you use @code{tommh}, @code{tomml}, and
1954 @item timbales-style
1955 This typesets timbales on a two line staff
1957 @lilypond[quote,ragged-right]
1958 nam = \lyricmode { timh ssh timl ssl cb }
1959 mus = \drummode { timh ssh timl ssl cb s16 }
1962 \new DrumStaff \with {
1963 \remove Bar_engraver
1964 \remove Time_signature_engraver
1965 \override Stem #'transparent = ##t
1966 \override Stem #'Y-extent-callback = ##f
1967 \override StaffSymbol #'line-count = #2
1968 \override StaffSymbol #'staff-space = #2
1969 \override VerticalAxisGroup #'minimum-Y-extent = #'(-3.0 . 4.0)
1970 drumStyleTable = #timbales-style
1973 \override LyricText #'font-family = #'typewriter
1980 This typesets congas on a two line staff
1982 @lilypond[quote,ragged-right]
1983 nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
1984 mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
1987 \new DrumStaff \with {
1988 \remove Bar_engraver
1989 \remove Time_signature_engraver
1990 drumStyleTable = #congas-style
1991 \override StaffSymbol #'line-count = #2
1993 %% this sucks; it will lengthen stems.
1994 \override StaffSymbol #'staff-space = #2
1995 \override Stem #'transparent = ##t
1996 \override Stem #'Y-extent-callback = ##f
1999 \override LyricText #'font-family = #'typewriter
2006 This typesets bongos on a two line staff
2008 @lilypond[quote,ragged-right]
2009 nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
2010 mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
2013 \new DrumStaff \with {
2014 \remove Bar_engraver
2015 \remove Time_signature_engraver
2016 \override StaffSymbol #'line-count = #2
2017 drumStyleTable = #bongos-style
2019 %% this sucks; it will lengthen stems.
2020 \override StaffSymbol #'staff-space = #2
2021 \override Stem #'transparent = ##t
2022 \override Stem #'Y-extent-callback = ##f
2025 \override LyricText #'font-family = #'typewriter
2031 @item percussion-style
2032 To typeset all kinds of simple percussion on one line staves.
2034 @lilypond[quote,ragged-right]
2035 nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
2036 mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2039 \new DrumStaff \with{
2040 \remove Bar_engraver
2041 drumStyleTable = #percussion-style
2042 \override StaffSymbol #'line-count = #1
2043 \remove Time_signature_engraver
2044 \override Stem #'transparent = ##t
2045 \override Stem #'Y-extent-callback = ##f
2048 \override LyricText #'font-family = #'typewriter
2055 If you do not like any of the predefined lists you can define your own
2056 list at the top of your file
2058 @lilypond[quote,ragged-right,verbatim]
2060 (bassdrum default #f -1)
2061 (snare default #f 0)
2063 (pedalhihat xcircle "stopped" 2)
2064 (lowtom diamond #f 3)))
2065 up = \drummode { hh8 hh hh hh hhp4 hhp }
2066 down = \drummode { bd4 sn bd toml8 toml }
2069 \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
2070 \new DrumVoice { \voiceOne \up }
2071 \new DrumVoice { \voiceTwo \down }
2078 Init files: @file{ly/@/drumpitch@/-init@/.ly}.
2080 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
2084 Because general MIDI does not contain rim shots, the sidestick is used
2085 for this purpose instead.
2088 @c FIXME: check name -gp
2089 @anchor{Ghost notes}
2090 @unnumberedsubsubsec Ghost notes
2092 Ghost notes for drums and percussion may be created using the
2093 @code{\parenthesize} command detailed in @ref{Parentheses}. However,
2094 the default @code{\drummode} does
2095 not include the @code{Parenthesis_engraver} plugin which allows
2097 must add the plugin explicitly in the context definition as
2098 detailed in @ref{Changing context properties on the fly}.
2100 @lilypond[quote,ragged-right,verbatim,fragment]
2101 \new DrumStaff \with {
2102 \consists "Parenthesis_engraver"
2104 \context DrumVoice = "1" { s1 *2 }
2105 \context DrumVoice = "2" { s1 *2 }
2109 hh8[ hh] <hh sn> hh16
2110 < \parenthesize sn > hh < \parenthesize
2121 Also note that you must add chords (@code{< >} brackets)
2122 around each @code{\parenthesize} statement.
2129 @cindex guitar tablature
2132 * String number indications::
2133 * Tablatures basic::
2134 * Non-guitar tablatures::
2135 * Banjo tablatures::
2137 * Right hand fingerings::
2138 * Other guitar issues::
2141 @anchor{String number indications}
2142 @unnumberedsubsubsec String number indications
2144 @cindex String numbers
2146 String numbers can be added to chords, by indicating the string number
2147 with @code{\}@var{number},
2149 @lilypond[relative,relative=1,ragged-right,fragment]
2156 Program reference: @internalsref{StringNumber},
2157 @lsr{guitar/,string-number.ly}.
2160 @anchor{Tablatures basic}
2161 @unnumberedsubsubsec Tablatures basic
2162 @cindex Tablatures basic
2164 Tablature notation is used for notating music for plucked string
2165 instruments. Pitches are not denoted with note heads, but by
2166 numbers indicating on which string and fret a note must be played. LilyPond
2167 offers limited support for tablature.
2169 The string number associated to a note is given as a backslash
2170 followed by a number, e.g., @code{c4\3} for a C quarter on the third
2171 string. By default, string 1 is the highest one, and the tuning
2172 defaults to the standard guitar tuning (with 6 strings). The notes
2173 are printed as tablature, by using @internalsref{TabStaff} and
2174 @internalsref{TabVoice} contexts
2176 @lilypond[quote,ragged-right,fragment,verbatim]
2183 @funindex minimumFret
2186 When no string is specified, the first string that does not give a
2187 fret number less than @code{minimumFret} is selected. The default
2188 value for @code{minimumFret} is 0
2193 \set TabStaff.minimumFret = #8
2196 @lilypond[quote,ragged-right]
2200 \set TabStaff.minimumFret = #8
2204 \new Staff { \clef "G_8" \frag }
2205 \new TabStaff { \frag }
2212 To print tablatures with stems down and horizontal beams,
2213 initialize the @code{TabStaff} with this code:
2217 \override Beam #'damping = #100000
2222 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}.
2226 Chords are not handled in a special way, and hence the automatic
2227 string selector may easily select the same string to two notes in a
2230 In order to handle @code{\partcombine}, a @code{TabStaff} must use
2231 specially-created voices:
2233 @lilypond[quote,ragged-right,verbatim]
2234 melodia = \partcombine { e4 g g g }{ e4 e e e }
2237 \new TabVoice = "one" s1
2238 \new TabVoice = "two" s1
2239 \new TabVoice = "shared" s1
2240 \new TabVoice = "solo" s1
2247 @anchor{Non-guitar tablatures}
2248 @unnumberedsubsubsec Non-guitar tablatures
2249 @cindex Non-guitar tablatures
2251 You can change the tuning of the strings. A string tuning is given as
2252 a Scheme list with one integer number for each string, the number
2253 being the pitch (measured in semitones relative to middle C) of an
2254 open string. The numbers specified for @code{stringTunings} are the
2255 numbers of semitones to subtract or add, starting the specified pitch
2256 by default middle C, in string order. LilyPond automatically calculates
2257 the number of strings by looking at @code{stringTunings}.
2259 In the next example,
2260 @code{stringTunings} is set for the pitches e, a, d, and g
2262 @lilypond[quote,ragged-right,fragment,verbatim]
2264 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
2266 a,4 c' a e' e c' a e'
2271 LilyPond comes with predefined string tunings for banjo, mandolin, guitar
2275 \set TabStaff.stringTunings = #bass-tuning
2278 The default string tuning is @code{guitar-tuning} (the standard EADGBE
2280 Some other predefined tunings are @code{guitar-open-g-tuning},
2281 @code{mandolin-tuning} and @code{banjo-open-g-tuning}.
2285 The file @file{scm/@/output@/-lib@/.scm} contains the predefined string
2287 Program reference: @internalsref{Tab_note_heads_engraver}.
2291 No guitar special effects have been implemented.
2295 @anchor{Banjo tablatures}
2296 @unnumberedsubsubsec Banjo tablatures
2297 @cindex Banjo tablatures
2299 LilyPond has basic support for five stringed banjo. When making tablatures
2300 for five stringed banjo, use the banjo tablature format function to get
2302 fret numbers for the fifth string:
2304 @lilypond[quote,ragged-right,fragment,verbatim]
2306 \set TabStaff.tablatureFormat = #fret-number-tablature-format-banjo
2307 \set TabStaff.stringTunings = #banjo-open-g-tuning
2310 g8 d' g'\5 a b g e d' |
2311 g4 d''8\5 b' a'\2 g'\5 e'\2 d' |
2317 A number of common tunings for banjo are predefined in LilyPond:
2318 @code{banjo-c-tuning} (gCGBD), @code{banjo-modal-tuning} (gDGCD),
2319 @code{banjo-open-d-tuning} (aDF#AD) and @code{banjo-open-dm-tuning}
2322 These tunings may be converted to four string banjo tunings using the
2323 @code{four-string-banjo} function:
2326 \set TabStaff.stringTunings = #(four-string-banjo banjo-c-tuning)
2331 The file @file{scm/@/output@/-lib@/.scm} contains predefined banjo tunings.
2334 @anchor{Fret diagrams}
2335 @unnumberedsubsubsec Fret diagrams
2336 @cindex fret diagrams
2337 @cindex chord diagrams
2339 Fret diagrams can be added to music as a markup to the desired note. The
2340 markup contains information about the desired fret diagram, as shown in the
2343 @lilypond[verbatim, ragged-right, quote]
2345 d'^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
2347 fis'^\markup \override #'(size . 0.75) {
2348 \override #'(finger-code . below-string) {
2349 \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
2350 (place-fret 5 4 3) (place-fret 4 4 4)
2351 (place-fret 3 3 2) (place-fret 2 2 1)
2356 c'^\markup \override #'(dot-radius . 0.35) {
2357 \override #'(finger-code . in-dot) {
2358 \override #'(dot-color . white) {
2359 \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
2368 There are three different fret-diagram markup interfaces: standard, terse,
2369 and verbose. The three interfaces produce equivalent markups, but have
2370 varying amounts of information in the markup string. Details about the
2371 markup interfaces are found at @ref{Overview of text markup commands}.
2373 You can set a number of graphical properties according to your preference.
2374 Details about the property interface to fret diagrams are found at
2375 @internalsref{fret-diagram-interface}.
2380 Examples: @lsrdir{guitar}
2383 @anchor{Right hand fingerings}
2384 @unnumberedsubsubsec Right hand fingerings
2386 Right hand fingerings in chords can be entered using
2387 @code{@var{note}-\rightHandFinger @var{finger}}
2389 @lilypond[verbatim,fragment,relative=2]
2390 <c-\rightHandFinger #1 e-\rightHandFinger #2 >
2393 for brevity, you can abbreviate @code{\rightHandFinger} to something
2394 short, for example @code{RH},
2397 #(define RH rightHandFinger)
2400 @cindex fingerings, right hand, for guitar
2401 @cindex right hand fingerings for guitar
2405 You may exercise greater control over right handing fingerings by
2406 setting @code{strokeFingerOrientations},
2408 @lilypond[quote,verbatim,ragged-right,fragment,relative=1]
2409 #(define RH rightHandFinger)
2411 \set strokeFingerOrientations = #'(up down)
2412 <c-\RH #1 es-\RH #2 g-\RH #4 > 4
2413 \set strokeFingerOrientations = #'(up right down)
2414 <c-\RH #1 es-\RH #2 g-\RH #4 > 4
2418 The letters used for the fingerings are contained in the property
2419 @code{digit-names}, but they can also be set individually by supplying
2420 @code{\rightHandFinger} with a string argument, as in the following example
2423 @lilypond[quote,verbatim,ragged-right,fragment,relative=1]
2424 #(define RH rightHandFinger)
2426 \set strokeFingerOrientations = #'(right)
2427 \override StrokeFinger #'digit-names = ##("x" "y" "z" "!" "@")
2435 Program reference: @internalsref{StrokeFinger}
2439 @anchor{Other guitar issues}
2440 @unnumberedsubsubsec Other guitar issues
2442 This example demonstrates how to include guitar position and
2443 barring indications.
2445 @lilypond[quote,ragged-right,fragment,verbatim,relative=0]
2449 \override TextSpanner #'bound-details #'left #'text = #"XII "
2451 b16 e16 g16 e16 b16 g16\stopTextSpan
2456 Stopped (X) note heads are used in guitar music to signal a place where the
2457 guitarist must play a certain note or chord, with its fingers just
2458 touching the strings instead of fully pressing them. This gives the sound a
2459 percussive noise-like sound that still maintains part of the original
2460 pitch. It is notated with cross noteheads; this is
2461 demonstrated in @ref{Special noteheads}.
2470 * Bagpipe definitions::
2475 @anchor{Bagpipe definitions}
2476 @unnumberedsubsubsec Bagpipe definitions
2478 LilyPond contains special definitions for music for the Scottish
2479 highland bagpipe; to use them, add
2482 \include "bagpipe.ly"
2486 at the top of your input file. This lets you add the special gracenotes
2487 common to bagpipe music with short commands. For example, you could
2488 write @code{\taor} instead of
2491 \grace @{ \small G32[ d G e] @}
2494 @code{bagpipe.ly} also contains pitch definitions for the bagpipe
2495 notes in the appropriate octaves, so you do not need to worry about
2496 @code{\relative} or @code{\transpose}.
2498 @lilypond[ragged-right,verbatim,quote,notime]
2499 \include "bagpipe.ly"
2500 { \grg G4 \grg a \grg b \grg c \grg d \grg e \grg f \grA g A }
2503 Bagpipe music nominally uses the key of D Major (even though that
2504 isn't really true). However, since that is the only key that can be used,
2505 the key signature is normally not written out. To set this up correctly,
2506 always start your music with @code{\hideKeySignature}. If you for some
2507 reason want to show the key signature, you can use @code{\showKeySignature}
2510 Some modern music use cross fingering on c and f to flatten those notes.
2511 This can be indicated by @code{cflat} or @code{fflat}. Similarly, the
2512 piobaireachd high g can be written @code{gflat} when it occurs in light
2516 @anchor{Bagpipe example}
2517 @unnumberedsubsubsec Bagpipe example
2519 This is what the well known tune Amazing Grace looks like in bagpipe
2522 @lilypond[verbatim,quote]
2523 \include "bagpipe.ly"
2526 \context { \Score \remove "Bar_number_engraver" }
2530 title = "Amazing Grace"
2532 arranger = "Trad. arr."
2538 \grg \partial 4 a8. d16
2539 \slurd d2 \grg f8[ e32 d16.]
2542 \grG a2 \grg a8. d16
2543 \slurd d2 \grg f8[ e32 d16.]
2544 \grg f2 \grg e8. f16
2547 \grg A2 \hdblf f8[ e32 d16.]
2550 \grG a2 \grg a8. d16
2551 \slurd d2 \grg f8[ e32 d16.]
2560 @node Ancient notation
2561 @section Ancient notation
2563 @cindex Vaticana, Editio
2564 @cindex Medicaea, Editio
2569 Support for ancient notation includes features for mensural notation
2570 and Gregorian Chant notation. There is also limited support for
2571 figured bass notation.
2573 Many graphical objects provide a @code{style} property, see
2576 @ref{Ancient note heads},
2578 @ref{Ancient accidentals},
2580 @ref{Ancient rests},
2582 @ref{Ancient clefs},
2584 @ref{Ancient flags},
2586 @ref{Ancient time signatures}.
2589 By manipulating such a grob property, the typographical appearance of
2590 the affected graphical objects can be accommodated for a specific
2591 notation flavor without the need for introducing any new notational
2594 In addition to the standard articulation signs described in section
2595 @ref{Articulations}, specific articulation signs for ancient notation
2600 @ref{Ancient articulations}
2603 Other aspects of ancient notation can not that easily be expressed
2604 in terms of just changing a style property of a graphical object or
2605 adding articulation signs. Some notational concepts are introduced
2606 specifically for ancient notation,
2617 If this all is too much of documentation for you, and you just want to
2618 dive into typesetting without worrying too much about the details on
2619 how to customize a context, you may have a look at the predefined
2620 contexts. Use them to set up predefined style-specific voice and
2621 staff contexts, and directly go ahead with the note entry,
2625 @ref{Gregorian Chant contexts},
2627 @ref{Mensural contexts}.
2630 There is limited support for figured bass notation which came
2631 up during the baroque period.
2638 Here are all subtopics at a glance:
2641 * Ancient note heads::
2642 * Ancient accidentals::
2646 * Ancient time signatures::
2647 * Ancient articulations::
2651 * White mensural ligatures::
2652 * Gregorian square neumes ligatures::
2653 * Gregorian Chant contexts::
2654 * Mensural contexts::
2655 * Musica ficta accidentals::
2661 @anchor{Ancient note heads}
2662 @unnumberedsubsubsec Ancient note heads
2664 @cindex note heads, ancient
2666 For ancient notation, a note head style other than the @code{default}
2667 style may be chosen. This is accomplished by setting the @code{style}
2668 property of the @internalsref{NoteHead} object to @code{baroque},
2669 @code{neomensural}, @code{mensural} or @code{petrucci}. The
2670 @code{baroque} style differs from the @code{default} style only in
2671 using a square shape for @code{\breve} note heads. The
2672 @code{neomensural} style differs from the @code{baroque} style in that
2673 it uses rhomboidal heads for whole notes and all smaller durations.
2674 Stems are centered on the note heads. This style is particularly
2675 useful when transcribing mensural music, e.g., for the incipit. The
2676 @code{mensural} style produces note heads that mimic the look of note
2677 heads in historic printings of the 16th century. Finally, the
2678 @code{petrucci} style also mimicks historic printings, but uses bigger
2681 The following example demonstrates the @code{neomensural} style
2683 @lilypond[quote,fragment,ragged-right,verbatim]
2684 \set Score.skipBars = ##t
2685 \override NoteHead #'style = #'neomensural
2686 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
2689 When typesetting a piece in Gregorian Chant notation, the
2690 @internalsref{Gregorian_ligature_engraver} will automatically select
2691 the proper note heads, so there is no need to explicitly set the
2692 note head style. Still, the note head style can be set, e.g., to
2693 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
2694 @internalsref{Mensural_ligature_engraver} is used to automatically
2695 assemble mensural ligatures. See @ref{Ligatures}, for how ligature
2700 @ref{Note head styles}, gives an overview over all available note head styles.
2703 @anchor{Ancient accidentals}
2704 @unnumberedsubsubsec Ancient accidentals
2709 Use the @code{glyph-name-alist} property of grob
2710 @internalsref{Accidental} and @internalsref{KeySignature} to select
2711 ancient accidentals.
2713 @lilypond[quote,ragged-right,staffsize=26]
2720 \line { " " \musicglyph #"accidentals.vaticana-1"
2721 " " \musicglyph #"accidentals.vaticana0" }
2725 \line { " " \musicglyph #"accidentals.medicaea-1" }
2729 \line { " " \musicglyph #"accidentals.hufnagel-1" }
2733 \line { " " \musicglyph #"accidentals.mensural-1"
2734 " " \musicglyph #"accidentals.mensural1" }
2740 \context { \Score \remove "Bar_number_engraver" }
2742 \remove "Clef_engraver"
2743 \remove "Key_engraver"
2744 \remove "Time_signature_engraver"
2745 \remove "Staff_symbol_engraver"
2746 \override VerticalAxisGroup #'minimum-Y-extent = ##f
2752 As shown, not all accidentals are supported by each style. When
2753 trying to access an unsupported accidental, LilyPond will switch to a
2754 different style, as demonstrated in
2755 @lsr{ancient,ancient-accidentals.ly}.
2757 Similarly to local accidentals, the style of the key signature can be
2758 controlled by the @code{glyph-name-alist} property of the
2759 @internalsref{KeySignature} grob.
2763 In this manual: @ref{Pitches}, @ref{Cautionary accidentals}, and
2764 @ref{Automatic accidentals}, give a general introduction of the use of
2765 accidentals. @ref{Key signature}, gives a general introduction of
2766 the use of key signatures.
2768 Program reference: @internalsref{KeySignature}.
2770 Examples: @lsrdir{ancient}
2772 @anchor{Ancient rests}
2773 @unnumberedsubsubsec Ancient rests
2775 @cindex rests, ancient
2778 Use the @code{style} property of grob @internalsref{Rest} to select
2779 ancient rests. Supported styles are @code{classical},
2780 @code{neomensural}, and @code{mensural}. @code{classical} differs
2781 from the @code{default} style only in that the quarter rest looks like
2782 a horizontally mirrored 8th rest. The @code{neomensural} style suits
2783 well for, e.g., the incipit of a transcribed mensural piece of music.
2784 The @code{mensural} style finally mimics the appearance of rests as
2785 in historic prints of the 16th century.
2787 The following example demonstrates the @code{neomensural} style
2789 @lilypond[quote,fragment,ragged-right,verbatim]
2790 \set Score.skipBars = ##t
2791 \override Rest #'style = #'neomensural
2792 r\longa r\breve r1 r2 r4 r8 r16
2795 There are no 32th and 64th rests specifically for the mensural or
2796 neo-mensural style. Instead, the rests from the default style will be
2797 taken. See @lsr{pitches,rests} for a chart of all rests.
2799 There are no rests in Gregorian Chant notation; instead, it uses
2804 In this manual: @ref{Rests}, gives a general introduction into the use of
2808 @anchor{Ancient clefs}
2809 @unnumberedsubsubsec Ancient clefs
2814 LilyPond supports a variety of clefs, many of them ancient.
2816 The following table shows all ancient clefs that are supported via the
2817 @code{\clef} command. Some of the clefs use the same glyph, but
2818 differ only with respect to the line they are printed on. In such
2819 cases, a trailing number in the name is used to enumerate these clefs.
2820 Still, you can manually force a clef glyph to be typeset on an
2821 arbitrary line, as described in @ref{Clef}. The note printed to the
2822 right side of each clef in the example column denotes the @code{c'}
2823 with respect to that clef.
2825 @multitable @columnfractions .4 .4 .2
2834 modern style mensural C clef
2836 @code{neomensural-c1}, @code{neomensural-c2},@*
2837 @code{neomensural-c3}, @code{neomensural-c4}
2839 @lilypond[fragment,relative=1,notime]
2840 \clef "neomensural-c2" c
2844 petrucci style mensural C clefs, for use on different staff lines
2845 (the examples show the 2nd staff line C clef)
2847 @code{petrucci-c1}, @code{petrucci-c2},@*
2848 @code{petrucci-c3}, @code{petrucci-c4},@*
2851 @lilypond[fragment,relative=1,notime]
2853 \override NoteHead #'style = #'mensural
2858 petrucci style mensural F clef
2862 @lilypond[fragment,relative=1,notime]
2864 \override NoteHead #'style = #'mensural
2869 petrucci style mensural G clef
2873 @lilypond[fragment,relative=1,notime]
2875 \override NoteHead #'style = #'mensural
2880 historic style mensural C clef
2882 @code{mensural-c1}, @code{mensural-c2},@*
2883 @code{mensural-c3}, @code{mensural-c4}
2885 @lilypond[fragment,relative=1,notime]
2887 \override NoteHead #'style = #'mensural
2892 historic style mensural F clef
2896 @lilypond[fragment,relative=1,notime]
2898 \override NoteHead #'style = #'mensural
2903 historic style mensural G clef
2907 @lilypond[fragment,relative=1,notime]
2909 \override NoteHead #'style = #'mensural
2914 Editio Vaticana style do clef
2916 @code{vaticana-do1}, @code{vaticana-do2},@*
2919 @lilypond[fragment,relative=1,notime]
2920 \override Staff.StaffSymbol #'line-count = #4
2921 \override Staff.StaffSymbol #'color = #red
2922 \override Staff.LedgerLineSpanner #'color = #red
2923 \override Voice.Stem #'transparent = ##t
2924 \override NoteHead #'style = #'vaticana.punctum
2925 \clef "vaticana-do2"
2930 Editio Vaticana style fa clef
2932 @code{vaticana-fa1}, @code{vaticana-fa2}
2934 @lilypond[fragment,relative=1,notime]
2935 \override Staff.StaffSymbol #'line-count = #4
2936 \override Staff.StaffSymbol #'color = #red
2937 \override Staff.LedgerLineSpanner #'color = #red
2938 \override Voice.Stem #'transparent = ##t
2939 \override NoteHead #'style = #'vaticana.punctum
2940 \clef "vaticana-fa2"
2945 Editio Medicaea style do clef
2947 @code{medicaea-do1}, @code{medicaea-do2},@*
2950 @lilypond[fragment,relative=1,notime]
2951 \override Staff.StaffSymbol #'line-count = #4
2952 \override Staff.StaffSymbol #'color = #red
2953 \override Staff.LedgerLineSpanner #'color = #red
2954 \override Voice.Stem #'transparent = ##t
2955 \override NoteHead #'style = #'medicaea.punctum
2956 \clef "medicaea-do2"
2961 Editio Medicaea style fa clef
2963 @code{medicaea-fa1}, @code{medicaea-fa2}
2965 @lilypond[fragment,relative=1,notime]
2966 \override Staff.StaffSymbol #'line-count = #4
2967 \override Staff.StaffSymbol #'color = #red
2968 \override Staff.LedgerLineSpanner #'color = #red
2969 \override Voice.Stem #'transparent = ##t
2970 \override NoteHead #'style = #'medicaea.punctum
2971 \clef "medicaea-fa2"
2976 historic style hufnagel do clef
2978 @code{hufnagel-do1}, @code{hufnagel-do2},@*
2981 @lilypond[fragment,relative=1,notime]
2982 \override Staff.StaffSymbol #'line-count = #4
2983 \override Staff.StaffSymbol #'color = #red
2984 \override Staff.LedgerLineSpanner #'color = #red
2985 \override Voice.Stem #'transparent = ##t
2986 \override NoteHead #'style = #'hufnagel.punctum
2987 \clef "hufnagel-do2"
2992 historic style hufnagel fa clef
2994 @code{hufnagel-fa1}, @code{hufnagel-fa2}
2996 @lilypond[fragment,relative=1,notime]
2997 \override Staff.StaffSymbol #'line-count = #4
2998 \override Staff.StaffSymbol #'color = #red
2999 \override Staff.LedgerLineSpanner #'color = #red
3000 \override Voice.Stem #'transparent = ##t
3001 \override NoteHead #'style = #'hufnagel.punctum
3002 \clef "hufnagel-fa2"
3007 historic style hufnagel combined do/fa clef
3009 @code{hufnagel-do-fa}
3011 @lilypond[fragment,relative=1,notime]
3012 \override Staff.StaffSymbol #'color = #red
3013 \override Staff.LedgerLineSpanner #'color = #red
3014 \override Voice.Stem #'transparent = ##t
3015 \override NoteHead #'style = #'hufnagel.punctum
3016 \clef "hufnagel-do-fa"
3023 @emph{Modern style} means @qq{as is typeset in contemporary editions of
3024 transcribed mensural music.}
3026 @emph{Petrucci style} means @qq{inspired by printings published by the
3027 famous engraver Petrucci (1466-1539).}
3029 @emph{Historic style} means @qq{as was typeset or written in historic
3030 editions (other than those of Petrucci).}
3032 @emph{Editio XXX style} means @qq{as is/was printed in Editio XXX.}
3034 Petrucci used C clefs with differently balanced left-side vertical
3035 beams, depending on which staff line it is printed.
3039 In this manual: see @ref{Clef}.
3043 The mensural g clef is mapped to the Petrucci g clef.
3047 @anchor{Ancient flags}
3048 @unnumberedsubsubsec Ancient flags
3053 Use the @code{flag-style} property of grob @internalsref{Stem} to
3054 select ancient flags. Besides the @code{default} flag style,
3055 only the @code{mensural} style is supported
3057 @lilypond[quote,fragment,ragged-right,verbatim]
3058 \override Stem #'flag-style = #'mensural
3059 \override Stem #'thickness = #1.0
3060 \override NoteHead #'style = #'mensural
3062 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
3063 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
3066 Note that the innermost flare of each mensural flag always is
3067 vertically aligned with a staff line.
3069 There is no particular flag style for neo-mensural notation. Hence,
3070 when typesetting the incipit of a transcribed piece of mensural
3071 music, the default flag style should be used. There are no flags in
3072 Gregorian Chant notation.
3076 The attachment of ancient flags to stems is slightly off due to a
3077 change in early 2.3.x.
3079 Vertically aligning each flag with a staff line assumes that stems
3080 always end either exactly on or exactly in the middle between two
3081 staff lines. This may not always be true when using advanced layout
3082 features of classical notation (which however are typically out of
3083 scope for mensural notation).
3085 @anchor{Ancient time signatures}
3086 @unnumberedsubsubsec Ancient time signatures
3088 @cindex time signatures
3091 There is limited support for mensural time signatures. The
3092 glyphs are hard-wired to particular time fractions. In other words,
3093 to get a particular mensural signature glyph with the @code{\time n/m}
3094 command, @code{n} and @code{m} have to be chosen according to the
3097 @lilypond[quote,ragged-right]
3102 \remove Staff_symbol_engraver
3103 \remove Clef_engraver
3104 \remove Time_signature_engraver
3108 \set Score.timing = ##f
3109 \set Score.barAlways = ##t
3110 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph
3111 #"timesig.neomensural44" }
3113 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph
3114 #"timesig.neomensural22" }
3116 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph
3117 #"timesig.neomensural64" }
3119 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph
3120 #"timesig.neomensural68" }
3122 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph
3123 #"timesig.neomensural32" }
3125 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph
3126 #"timesig.neomensural34" }
3128 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph
3129 #"timesig.neomensural94" }
3131 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph
3132 #"timesig.neomensural98" }
3134 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph
3135 #"timesig.neomensural48" }
3137 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph
3138 #"timesig.neomensural24" }
3142 Use the @code{style} property of grob @internalsref{TimeSignature} to
3143 select ancient time signatures. Supported styles are
3144 @code{neomensural} and @code{mensural}. The above table uses the
3145 @code{neomensural} style. This style is appropriate for the
3146 incipit of transcriptions of mensural pieces. The @code{mensural}
3147 style mimics the look of historical printings of the 16th century.
3149 The following examples show the differences in style,
3151 @lilypond[ragged-right,fragment,relative=1,quote]
3156 c1^\markup { \hspace #-2.0 \typewriter default }
3158 \override Staff.TimeSignature #'style = #'numbered
3160 c1^\markup { \hspace #-2.0 \typewriter numbered }
3162 \override Staff.TimeSignature #'style = #'mensural
3164 c1^\markup { \hspace #-2.0 \typewriter mensural }
3166 \override Staff.TimeSignature #'style = #'neomensural
3168 c1^\markup { \hspace #-2.0 \typewriter neomensural }
3169 \override Staff.TimeSignature #'style = #'single-digit
3171 c1^\markup { \hspace #-2.0 \typewriter single-digit }
3177 This manual: @ref{Time signature}, gives a general introduction to
3178 the use of time signatures.
3182 Ratios of note durations do not change with the time signature. For
3183 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
3184 be made by hand, by setting
3187 breveTP = #(ly:make-duration -1 0 3 2)
3193 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
3195 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
3196 addressable with @code{\time}. Use a @code{\markup} instead
3198 @anchor{Ancient articulations}
3199 @unnumberedsubsubsec Ancient articulations
3201 @cindex articulations
3203 In addition to the standard articulation signs described in section
3204 @ref{Articulations}, articulation signs for ancient notation are
3205 provided. These are specifically designed for use with notation in
3206 Editio Vaticana style.
3208 @lilypond[quote,ragged-right,verbatim]
3209 \include "gregorian-init.ly"
3211 \new VaticanaVoice {
3212 \override TextScript #'font-family = #'typewriter
3213 \override TextScript #'font-shape = #'upright
3214 \override Script #'padding = #-0.1
3215 a\ictus_"ictus" \break
3216 a\circulus_"circulus" \break
3217 a\semicirculus_"semicirculus" \break
3218 a\accentus_"accentus" \break
3219 \[ a_"episem" \episemInitium \pes b \flexa a b \episemFinis \flexa a \]
3226 Some articulations are vertically placed too closely to the
3227 corresponding note heads.
3229 The episem line is not displayed in many cases. If it is displayed,
3230 the right end of the episem line is often too far to the right.
3233 @unnumberedsubsubsec Custodes
3238 A @emph{custos} (plural: @emph{custodes}; Latin word for @q{guard}) is a
3239 symbol that appears at the end of a staff. It anticipates the pitch
3240 of the first note(s) of the following line thus helping the performer
3241 to manage line breaks during performance.
3243 Custodes were frequently used in music notation until the 17th
3244 century. Nowadays, they have survived only in a few particular forms
3245 of musical notation such as contemporary editions of Gregorian chant
3246 like the @emph{editio vaticana}. There are different custos glyphs
3247 used in different flavors of notational style.
3249 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
3250 @internalsref{Staff} context when declaring the @code{\layout} block,
3251 as shown in the following example
3257 \consists Custos_engraver
3258 Custos \override #'style = #'mensural
3263 The result looks like this
3265 @lilypond[quote,ragged-right]
3269 \override Staff.Custos #'style = #'mensural
3274 \context { \Staff \consists Custos_engraver }
3279 The custos glyph is selected by the @code{style} property. The styles
3280 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
3281 @code{mensural}. They are demonstrated in the following fragment
3283 @lilypond[quote,ragged-right,fragment]
3284 \new Lyrics \lyricmode {
3286 \typewriter "vaticana"
3287 \line { " " \musicglyph #"custodes.vaticana.u0" }
3290 \typewriter "medicaea"
3291 \line { " " \musicglyph #"custodes.medicaea.u0" }
3294 \typewriter "hufnagel"
3295 \line { " " \musicglyph #"custodes.hufnagel.u0" }
3298 \typewriter "mensural"
3299 \line { " " \musicglyph #"custodes.mensural.u0" }
3306 Program reference: @internalsref{Custos}.
3309 @lsr{ancient,custodes@/.ly}.
3313 @unnumberedsubsubsec Divisiones
3319 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
3320 @q{division}) is a staff context symbol that is used to structure
3321 Gregorian music into phrases and sections. The musical meaning of
3322 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
3323 can be characterized as short, medium, and long pause, somewhat like
3324 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
3325 only marks the end of a chant, but is also frequently used within a
3326 single antiphonal/responsorial chant to mark the end of each section.
3329 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
3330 contains definitions that you can apply by just inserting
3331 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
3332 and @code{\finalis} at proper places in the input. Some editions use
3333 @emph{virgula} or @emph{caesura} instead of divisio minima.
3334 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
3337 @lilypondfile[quote,ragged-right]{divisiones.ly}
3345 @funindex \divisioMinima
3346 @code{\divisioMinima},
3347 @funindex \divisioMaior
3348 @code{\divisioMaior},
3349 @funindex \divisioMaxima
3350 @code{\divisioMaxima},
3356 In this manual: @ref{Breath marks}.
3358 Program reference: @internalsref{BreathingSign}.
3360 Examples: @lsr{expressive,breathing-sign.ly}.
3364 @unnumberedsubsubsec Ligatures
3368 @c TODO: Should double check if I recalled things correctly when I wrote
3369 @c down the following paragraph by heart.
3371 A ligature is a graphical symbol that represents at least two distinct
3372 notes. Ligatures originally appeared in the manuscripts of Gregorian
3373 chant notation to denote ascending or descending sequences of notes.
3375 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
3376 Some ligature styles may need additional input syntax specific for
3377 this particular type of ligature. By default, the
3378 @internalsref{LigatureBracket} engraver just puts a square bracket
3381 @lilypond[quote,ragged-right,verbatim]
3389 To select a specific style of ligatures, a proper ligature engraver
3390 has to be added to the @internalsref{Voice} context, as explained in
3391 the following subsections. Only white mensural ligatures
3392 are supported with certain limitations.
3398 Ligatures need special spacing that has not yet been implemented. As
3399 a result, there is too much space between ligatures most of the time,
3400 and line breaking often is unsatisfactory. Also, lyrics do not
3401 correctly align with ligatures.
3403 Accidentals must not be printed within a ligature, but instead need to
3404 be collected and printed in front of it.
3406 The syntax still uses the deprecated infix style @code{\[ music expr
3407 \]}. For consistency reasons, it will eventually be changed to
3408 postfix style @code{note\[ ... note\]}. Alternatively, the file
3409 @file{gregorian@/-init@/.ly} can be included; it provides a scheme
3412 \ligature @var{music expr}
3414 with the same effect and is believed to be stable.
3417 * White mensural ligatures::
3418 * Gregorian square neumes ligatures::
3421 @anchor{White mensural ligatures}
3422 @unnumberedsubsubsec White mensural ligatures
3424 @cindex Mensural ligatures
3425 @cindex White mensural ligatures
3427 There is limited support for white mensural ligatures.
3429 To engrave white mensural ligatures, in the layout block put the
3430 @internalsref{Mensural_ligature_engraver} into the
3431 @internalsref{Voice} context, and remove the
3432 @internalsref{Ligature_bracket_engraver}, like this
3438 \remove Ligature_bracket_engraver
3439 \consists Mensural_ligature_engraver
3444 There is no additional input language to describe the shape of a
3445 white mensural ligature. The shape is rather determined solely from
3446 the pitch and duration of the enclosed notes. While this approach may
3447 take a new user a while to get accustomed to, it has the great advantage
3448 that the full musical information of the ligature is known internally.
3449 This is not only required for correct MIDI output, but also allows for
3450 automatic transcription of the ligatures.
3455 \set Score.timing = ##f
3456 \set Score.defaultBarType = "empty"
3457 \override NoteHead #'style = #'neomensural
3458 \override Staff.TimeSignature #'style = #'neomensural
3461 \[ d\longa c\breve f e d \]
3462 \[ c'\maxima d'\longa \]
3465 @lilypond[quote,ragged-right]
3468 \set Score.timing = ##f
3469 \set Score.defaultBarType = "empty"
3470 \override NoteHead #'style = #'neomensural
3471 \override Staff.TimeSignature #'style = #'neomensural
3474 \[ d\longa c\breve f e d \]
3475 \[ c'\maxima d'\longa \]
3481 \remove Ligature_bracket_engraver
3482 \consists Mensural_ligature_engraver
3488 Without replacing @internalsref{Ligature_bracket_engraver} with
3489 @internalsref{Mensural_ligature_engraver}, the same music transcribes
3492 @lilypond[quote,ragged-right]
3494 \set Score.timing = ##f
3495 \set Score.defaultBarType = "empty"
3496 \override NoteHead #'style = #'neomensural
3497 \override Staff.TimeSignature #'style = #'neomensural
3500 \[ d\longa c\breve f e d \]
3501 \[ c'\maxima d'\longa \]
3508 Horizontal spacing is poor.
3510 @anchor{Gregorian square neumes ligatures}
3511 @unnumberedsubsubsec Gregorian square neumes ligatures
3513 @cindex Square neumes ligatures
3514 @cindex Gregorian square neumes ligatures
3516 There is limited support for Gregorian square neumes notation
3517 (following the style of the Editio Vaticana). Core ligatures can
3518 already be typeset, but essential issues for serious typesetting are
3519 still lacking, such as (among others) horizontal alignment of multiple
3520 ligatures, lyrics alignment and proper handling of accidentals.
3523 The following table contains the extended neumes table of the 2nd
3524 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
3525 1983 by the monks of Solesmes.
3527 @multitable @columnfractions .4 .2 .2 .2
3544 @c TODO: \layout block is identical in all of the below examples.
3545 @c Therefore, it should somehow be included rather than duplicated all
3548 @c why not make identifiers in ly/engraver-init.ly? --hwn
3550 @c Because it's just used to typeset plain notes without
3551 @c a staff for demonstration purposes rather than something
3552 @c special of Gregorian chant notation. --jr
3557 @lilypond[staffsize=26,line-width=1.5\cm]
3558 \include "gregorian-init.ly"
3563 \noBreak s^\markup {"a"} \noBreak
3565 % Punctum Inclinatum
3567 \noBreak s^\markup {"b"}
3569 \layout { \neumeDemoLayout }}
3572 @lilypond[staffsize=26,line-width=2.5\cm]
3573 \include "gregorian-init.ly"
3576 % Punctum Auctum Ascendens
3577 \[ \auctum \ascendens b \]
3578 \noBreak s^\markup {"c"} \noBreak
3580 % Punctum Auctum Descendens
3581 \[ \auctum \descendens b \]
3582 \noBreak s^\markup {"d"} \noBreak
3584 % Punctum Inclinatum Auctum
3585 \[ \inclinatum \auctum b \]
3586 \noBreak s^\markup {"e"}
3588 \layout { \neumeDemoLayout }}
3591 @lilypond[staffsize=26,line-width=1.0\cm]
3592 \include "gregorian-init.ly"
3595 % Punctum Inclinatum Parvum
3596 \[ \inclinatum \deminutum b \]
3597 \noBreak s^\markup {"f"}
3599 \layout { \neumeDemoLayout }}
3605 @lilypond[staffsize=26,line-width=1.0\cm]
3606 \include "gregorian-init.ly"
3611 \noBreak s^\markup {"g"}
3613 \layout { \neumeDemoLayout }}
3619 @code{3. Apostropha vel Stropha}
3621 @lilypond[staffsize=26,line-width=1.0\cm]
3622 \include "gregorian-init.ly"
3627 \noBreak s^\markup {"h"}
3629 \layout { \neumeDemoLayout }}
3632 @lilypond[staffsize=26,line-width=1.0\cm]
3633 \include "gregorian-init.ly"
3637 \[ \stropha \auctum b \]
3638 \noBreak s^\markup {"i"}
3640 \layout { \neumeDemoLayout }}
3647 @lilypond[staffsize=26,line-width=1.0\cm]
3648 \include "gregorian-init.ly"
3653 \noBreak s^\markup {"j"}
3655 \layout { \neumeDemoLayout }}
3661 @code{5. Clivis vel Flexa}
3663 @lilypond[staffsize=26,line-width=1.0\cm]
3664 \include "gregorian-init.ly"
3671 \layout { \neumeDemoLayout }}
3674 @lilypond[staffsize=26,line-width=2.0\cm]
3675 \include "gregorian-init.ly"
3678 % Clivis Aucta Descendens
3679 \[ b \flexa \auctum \descendens g \]
3680 \noBreak s^\markup {"l"} \noBreak
3682 % Clivis Aucta Ascendens
3683 \[ b \flexa \auctum \ascendens g \]
3684 \noBreak s^\markup {"m"}
3686 \layout { \neumeDemoLayout }}
3689 @lilypond[staffsize=26,line-width=1.0\cm]
3690 \include "gregorian-init.ly"
3694 \[ b \flexa \deminutum g \]
3697 \layout { \neumeDemoLayout }}
3701 @code{6. Podatus vel Pes}
3703 @lilypond[staffsize=26,line-width=1.0\cm]
3704 \include "gregorian-init.ly"
3711 \layout { \neumeDemoLayout }}
3714 @lilypond[staffsize=26,line-width=2.0\cm]
3715 \include "gregorian-init.ly"
3718 % Pes Auctus Descendens
3719 \[ g \pes \auctum \descendens b \]
3720 \noBreak s^\markup {"p"} \noBreak
3722 % Pes Auctus Ascendens
3723 \[ g \pes \auctum \ascendens b \]
3724 \noBreak s^\markup {"q"}
3726 \layout { \neumeDemoLayout }}
3729 @lilypond[staffsize=26,line-width=1.0\cm]
3730 \include "gregorian-init.ly"
3734 \[ g \pes \deminutum b \]
3737 \layout { \neumeDemoLayout }}
3741 @code{7. Pes Quassus}
3743 @lilypond[staffsize=26,line-width=1.0\cm]
3744 \include "gregorian-init.ly"
3748 \[ \oriscus g \pes \virga b \]
3751 \layout { \neumeDemoLayout }}
3754 @lilypond[staffsize=26,line-width=1.0\cm]
3755 \include "gregorian-init.ly"
3758 % Pes Quassus Auctus Descendens
3759 \[ \oriscus g \pes \auctum \descendens b \]
3762 \layout { \neumeDemoLayout }}
3767 @code{8. Quilisma Pes}
3769 @lilypond[staffsize=26,line-width=1.0\cm]
3770 \include "gregorian-init.ly"
3774 \[ \quilisma g \pes b \]
3777 \layout { \neumeDemoLayout }}
3780 @lilypond[staffsize=26,line-width=1.0\cm]
3781 \include "gregorian-init.ly"
3784 % Quilisma Pes Auctus Descendens
3785 \[ \quilisma g \pes \auctum \descendens b \]
3788 \layout { \neumeDemoLayout }}
3793 @code{9. Podatus Initio Debilis}
3795 @lilypond[staffsize=26,line-width=1.0\cm]
3796 \include "gregorian-init.ly"
3799 % Pes Initio Debilis
3800 \[ \deminutum g \pes b \]
3803 \layout { \neumeDemoLayout }}
3806 @lilypond[staffsize=26,line-width=1.0\cm]
3807 \include "gregorian-init.ly"
3810 % Pes Auctus Descendens Initio Debilis
3811 \[ \deminutum g \pes \auctum \descendens b \]
3814 \layout { \neumeDemoLayout }}
3821 @lilypond[staffsize=26,line-width=1.0\cm]
3822 \include "gregorian-init.ly"
3826 \[ a \pes b \flexa g \]
3829 \layout { \neumeDemoLayout }}
3832 @lilypond[staffsize=26,line-width=1.0\cm]
3833 \include "gregorian-init.ly"
3836 % Torculus Auctus Descendens
3837 \[ a \pes b \flexa \auctum \descendens g \]
3840 \layout { \neumeDemoLayout }}
3843 @lilypond[staffsize=26,line-width=1.0\cm]
3844 \include "gregorian-init.ly"
3847 % Torculus Deminutus
3848 \[ a \pes b \flexa \deminutum g \]
3851 \layout { \neumeDemoLayout }}
3855 @code{11. Torculus Initio Debilis}
3857 @lilypond[staffsize=26,line-width=1.0\cm]
3858 \include "gregorian-init.ly"
3861 % Torculus Initio Debilis
3862 \[ \deminutum a \pes b \flexa g \]
3865 \layout { \neumeDemoLayout }}
3868 @lilypond[staffsize=26,line-width=1.0\cm]
3869 \include "gregorian-init.ly"
3872 % Torculus Auctus Descendens Initio Debilis
3873 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
3876 \layout { \neumeDemoLayout }}
3879 @lilypond[staffsize=26,line-width=1.0\cm]
3880 \include "gregorian-init.ly"
3883 % Torculus Deminutus Initio Debilis
3884 \[ \deminutum a \pes b \flexa \deminutum g \]
3887 \layout { \neumeDemoLayout }}
3891 @code{12. Porrectus}
3893 @lilypond[staffsize=26,line-width=1.0\cm]
3894 \include "gregorian-init.ly"
3898 \[ a \flexa g \pes b \]
3901 \layout { \neumeDemoLayout }}
3904 @lilypond[staffsize=26,line-width=1.0\cm]
3905 \include "gregorian-init.ly"
3908 % Porrectus Auctus Descendens
3909 \[ a \flexa g \pes \auctum \descendens b \]
3912 \layout { \neumeDemoLayout }}
3915 @lilypond[staffsize=26,line-width=1.0\cm]
3916 \include "gregorian-init.ly"
3919 % Porrectus Deminutus
3920 \[ a \flexa g \pes \deminutum b \]
3923 \layout { \neumeDemoLayout }}
3929 @lilypond[staffsize=26,line-width=1.0\cm]
3930 \include "gregorian-init.ly"
3934 \[ \virga b \inclinatum a \inclinatum g \]
3937 \layout { \neumeDemoLayout }
3941 @lilypond[staffsize=26,line-width=1.0\cm]
3942 \include "gregorian-init.ly"
3946 \[ \virga b \inclinatum a \inclinatum \auctum g \]
3949 \layout { \neumeDemoLayout }}
3952 @lilypond[staffsize=26,line-width=1.0\cm]
3953 \include "gregorian-init.ly"
3956 % Climacus Deminutus
3957 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
3960 \layout { \neumeDemoLayout }}
3964 @code{14. Scandicus}
3966 @lilypond[staffsize=26,line-width=1.0\cm]
3967 \include "gregorian-init.ly"
3971 \[ g \pes a \virga b \]
3974 \layout { \neumeDemoLayout }}
3977 @lilypond[staffsize=26,line-width=1.0\cm]
3978 \include "gregorian-init.ly"
3981 % Scandicus Auctus Descendens
3982 \[ g \pes a \pes \auctum \descendens b \]
3985 \layout { \neumeDemoLayout }}
3988 @lilypond[staffsize=26,line-width=1.0\cm]
3989 \include "gregorian-init.ly"
3992 % Scandicus Deminutus
3993 \[ g \pes a \pes \deminutum b \]
3996 \layout { \neumeDemoLayout }}
4002 @lilypond[staffsize=26,line-width=1.0\cm]
4003 \include "gregorian-init.ly"
4007 \[ g \oriscus a \pes \virga b \]
4010 \layout { \neumeDemoLayout }}
4013 @lilypond[staffsize=26,line-width=1.0\cm]
4014 \include "gregorian-init.ly"
4017 % Salicus Auctus Descendens
4018 \[ g \oriscus a \pes \auctum \descendens b \]
4021 \layout { \neumeDemoLayout }}
4028 @lilypond[staffsize=26,line-width=1.0\cm]
4029 \include "gregorian-init.ly"
4033 \[ \stropha b \stropha b \stropha a \]
4036 \layout { \neumeDemoLayout }
4045 Unlike most other neumes notation systems, the input language for
4046 neumes does not reflect the typographical appearance, but is designed
4047 to focus on musical meaning. For example, @code{\[ a \pes b
4048 \flexa g \]} produces a Torculus consisting of three Punctum heads,
4049 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
4050 curved flexa shape and only a single Punctum head. There is no
4051 command to explicitly typeset the curved flexa shape; the decision of
4052 when to typeset a curved flexa shape is based on the musical
4053 input. The idea of this approach is to separate the musical aspects
4054 of the input from the notation style of the output. This way, the
4055 same input can be reused to typeset the same music in a different
4056 style of Gregorian chant notation.
4058 The following table shows the code fragments that produce the
4059 ligatures in the above neumes table. The letter in the first column
4060 in each line of the below table indicates to which ligature in the
4061 above table it refers. The second column gives the name of the
4062 ligature. The third column shows the code fragment that produces this
4063 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
4065 @multitable @columnfractions .02 .31 .67
4085 @code{\[ \inclinatum b \]}
4093 @code{\[ \auctum \ascendens b \]}
4101 @code{\[ \auctum \descendens b \]}
4106 Punctum Inclinatum@*
4109 @code{\[ \inclinatum \auctum b \]}
4114 Punctum Inclinatum@*
4116 @code{\[ \inclinatum \deminutum b \]}
4123 @code{\[ \virga b \]}
4130 @code{\[ \stropha b \]}
4137 @code{\[ \stropha \auctum b \]}
4144 @code{\[ \oriscus b \]}
4151 @code{\[ b \flexa g \]}
4159 @code{\[ b \flexa \auctum \descendens g \]}
4167 @code{\[ b \flexa \auctum \ascendens g \]}
4174 @code{\[ b \flexa \deminutum g \]}
4181 @code{\[ g \pes b \]}
4189 @code{\[ g \pes \auctum \descendens b \]}
4197 @code{\[ g \pes \auctum \ascendens b \]}
4204 @code{\[ g \pes \deminutum b \]}
4211 @code{\[ \oriscus g \pes \virga b \]}
4217 Auctus Descendens @tab
4218 @code{\[ \oriscus g \pes \auctum \descendens b \]}
4225 @code{\[ \quilisma g \pes b \]}
4233 @code{\[ \quilisma g \pes \auctum \descendens b \]}
4240 @code{\[ \deminutum g \pes b \]}
4245 Pes Auctus Descendens@*
4248 @code{\[ \deminutum g \pes \auctum \descendens b \]}
4255 @code{\[ a \pes b \flexa g \]}
4263 @code{\[ a \pes b \flexa \auctum \descendens g \]}
4270 @code{\[ a \pes b \flexa \deminutum g \]}
4275 Torculus Initio Debilis
4277 @code{\[ \deminutum a \pes b \flexa g \]}
4283 Descendens Initio Debilis
4285 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
4290 Torculus Deminutus@*
4293 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
4300 @code{\[ a \flexa g \pes b \]}
4308 @code{\[ a \flexa g \pes \auctum \descendens b \]}
4315 @code{\[ a \flexa g \pes \deminutum b \]}
4322 @code{\[ \virga b \inclinatum a \inclinatum g \]}
4329 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
4336 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
4343 @code{\[ g \pes a \virga b \]}
4351 @code{\[ g \pes a \pes \auctum \descendens b \]}
4358 @code{\[ g \pes a \pes \deminutum b \]}
4365 @code{\[ g \oriscus a \pes \virga b \]}
4370 Salicus Auctus Descendens
4372 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
4379 @code{\[ \stropha b \stropha b \stropha a \]}
4382 The ligatures listed above mainly serve as a limited, but still
4383 representative pool of Gregorian ligature examples. Virtually, within
4384 the ligature delimiters @code{\[} and @code{\]}, any number of heads
4385 may be accumulated to form a single ligature, and head prefixes like
4386 @code{\pes}, @code{\flexa}, @code{\virga}, @code{\inclinatum},
4387 etc. may be mixed in as desired. The use of the set of rules that
4388 underlies the construction of the ligatures in the above table is
4389 accordingly extrapolated. This way, infinitely many different
4390 ligatures can be created.
4392 Augmentum dots, also called @emph{morae}, are added with the music
4393 function @code{\augmentum}. Note that @code{\augmentum} is
4394 implemented as a unary music function rather than as head prefix. It
4395 applies to the immediately following music expression only. That is,
4396 @code{\augmentum \virga c} will have no visible effect. Instead, say
4397 @code{\virga \augmentum c} or @code{\augmentum @{\virga c@}}. Also
4398 note that you can say @code{\augmentum @{a g@}} as a shortcut for
4399 @code{\augmentum a \augmentum g}.
4401 @lilypond[quote,ragged-right,verbatim]
4402 \include "gregorian-init.ly"
4404 \new VaticanaVoice {
4405 \[ \augmentum a \flexa \augmentum g \]
4413 The following head prefixes are supported
4419 @funindex \inclinatum
4423 @funindex \descendens
4425 @funindex \ascendens
4431 @funindex \deminutum
4438 Head prefixes can be accumulated, though restrictions apply. For
4439 example, either @code{\descendens} or @code{\ascendens} can be applied
4440 to a head, but not both to the same head.
4444 Two adjacent heads can be tied together with the @code{\pes} and
4445 @code{\flexa} infix commands for a rising and falling line of melody,
4448 @funindex \augmentum
4449 Use the unary music function @code{\augmentum} to add augmentum dots.
4453 When an @code{\augmentum} dot appears at the end of the last staff
4454 within a ligature, it is sometimes vertically placed wrong. As a
4455 workaround, add an additional skip note (e.g. @code{s8}) as last note
4458 @code{\augmentum} should be implemented as a head prefix rather than a
4459 unary music function, such that @code{\augmentum} can be intermixed
4460 with head prefixes in arbitrary order.
4462 @anchor{Gregorian Chant contexts}
4463 @unnumberedsubsubsec Gregorian Chant contexts
4465 @cindex VaticanaVoiceContext
4466 @cindex VaticanaStaffContext
4468 The predefined @code{VaticanaVoiceContext} and
4469 @code{VaticanaStaffContext} can be used to engrave a piece of
4470 Gregorian Chant in the style of the Editio Vaticana. These contexts
4471 initialize all relevant context properties and grob properties to
4472 proper values, so you can immediately go ahead entering the chant, as
4473 the following excerpt demonstrates
4475 @lilypond[quote,ragged-right,packed,verbatim]
4476 \include "gregorian-init.ly"
4479 \new VaticanaVoice = "cantus" {
4480 \[ c'\melisma c' \flexa a \]
4481 \[ a \flexa \deminutum g\melismaEnd \]
4483 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
4484 c' \divisioMinima \break
4485 \[ c'\melisma c' \flexa a \]
4486 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
4488 \new Lyrics \lyricsto "cantus" {
4489 San- ctus, San- ctus, San- ctus
4496 @anchor{Mensural contexts}
4497 @unnumberedsubsubsec Mensural contexts
4499 @cindex MensuralVoiceContext
4500 @cindex MensuralStaffContext
4502 The predefined @code{MensuralVoiceContext} and
4503 @code{MensuralStaffContext} can be used to engrave a piece in mensural
4504 style. These contexts initialize all relevant context properties and
4505 grob properties to proper values, so you can immediately go ahead
4506 entering the chant, as the following excerpt demonstrates
4508 @lilypond[quote,ragged-right,verbatim]
4511 \new MensuralVoice = "discantus" \transpose c c' {
4512 \override Score.BarNumber #'transparent = ##t {
4513 c'1\melisma bes a g\melismaEnd
4515 \[ f1\melisma a c'\breve d'\melismaEnd \]
4517 c'\breve\melisma a1 g1\melismaEnd
4518 fis\longa^\signumcongruentiae
4521 \new Lyrics \lyricsto "discantus" {
4522 San -- ctus, San -- ctus, San -- ctus
4528 @anchor{Musica ficta accidentals}
4529 @unnumberedsubsubsec Musica ficta accidentals
4531 In European music from before about 1600, singers were often expected
4532 to chromatically alter notes at their own initiative. This is called
4533 @q{Musica Ficta}. In modern transcriptions, these accidentals are
4534 usually printed over the note.
4536 @cindex Accidental, musica ficta
4537 @cindex Musica ficta
4539 Support for such suggested accidentals is included, and can be
4540 switched on by setting @code{suggestAccidentals} to true.
4542 @funindex suggestAccidentals
4544 @lilypond[verbatim,fragment,relative=1]
4546 \set suggestAccidentals = ##t
4552 Program reference: @internalsref{Accidental_engraver} engraver and the
4553 @internalsref{AccidentalSuggestion} object.
4555 @anchor{Figured bass}
4556 @unnumberedsubsubsec Figured bass
4558 @cindex Basso continuo
4560 @c TODO: musicological blurb about FB
4563 LilyPond has support for figured bass
4565 @lilypond[quote,ragged-right,verbatim,fragment]
4567 \new Voice { \clef bass dis4 c d ais g fis}
4568 \new FiguredBass \figuremode {
4569 < 6 >4 < 7\+ >8 < 6+ [_!] >
4576 The support for figured bass consists of two parts: there is an input
4577 mode, introduced by @code{\figuremode}, where you can enter bass figures
4578 as numbers, and there is a context called @internalsref{FiguredBass} that
4579 takes care of making @internalsref{BassFigure} objects.
4581 In figures input mode, a group of bass figures is delimited by
4582 @code{<} and @code{>}. The duration is entered after the @code{>}
4586 @lilypond[quote,ragged-right,fragment]
4588 \figuremode { <4 6> }
4591 Accidentals are added when you append @code{-}, @code{!}, and @code{+}
4592 to the numbers. A plus sign is added when you append @code{\+}, and
4593 diminished fifths and sevenths can be obtained with @code{5/} and @code{7/}.
4596 <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/>
4598 @lilypond[quote,ragged-right,fragment]
4599 \figures { <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/> }
4602 Spaces may be inserted by using @code{_}. Brackets are
4603 introduced with @code{[} and @code{]}. You can also include text
4604 strings and text markups, see @ref{Overview of text markup commands}.
4607 < [4 6] 8 [_! 12] > < 5 \markup @{ \number 6 \super (1) @} >
4609 @lilypond[quote,ragged-right,fragment]
4611 \figuremode { < [4 6] 8 [_! 12] > < 5 \markup{ \tiny \number 6 \super (1)} > }
4615 It is also possible to use continuation lines for repeated figures,
4617 @lilypond[verbatim,relative=1]
4624 \set useBassFigureExtenders = ##t
4631 In this case, the extender lines always replace existing figures.
4633 The @code{FiguredBass} context doesn't pay attention to the actual
4634 bass line. As a consequence, you may have to insert extra figures to
4635 get extender lines below all notes, and you may have to add @code{\!}
4636 to avoid getting an extender line, e.g.
4638 @lilypond[relative=1]
4642 \set useBassFigureExtenders = ##t
4643 <6 4->4. <6 4->16. <6 4->32 <5>8. r16 <6>8 <6\! 5->
4647 f16. g32 f16. g32 f16. g32 f16. g32 f8. es16 d8 es
4652 When using continuation lines, common figures are always put in the
4653 same vertical position. When this is unwanted, you can insert a rest
4654 with @code{r}. The rest will clear any previous alignment. For
4655 example, you can write
4667 Accidentals and plus signs can appear before or after the numbers,
4668 depending on the @code{figuredBassAlterationDirection} and
4669 @code{figuredBassPlusDirection}
4675 \set figuredBassAlterationDirection = #1
4677 \set figuredBassPlusDirection = #1
4679 \set figuredBassAlterationDirection = #-1
4685 Although the support for figured bass may superficially resemble chord
4686 support, it is much simpler. The @code{\figuremode} mode simply
4687 stores the numbers and @internalsref{FiguredBass} context prints them
4688 as entered. There is no conversion to pitches and no realizations of
4689 the bass are played in the MIDI file.
4691 Internally, the code produces markup texts. You can use any of the
4692 markup text properties to override formatting. For example, the
4693 vertical spacing of the figures may be set with @code{baseline-skip}.
4696 Figured bass can also be added to @code{Staff} contexts
4697 directly. In this case, their vertical position is adjusted
4700 @lilypond[ragged-right,fragment,quote]
4702 \new Staff = someUniqueName
4707 %% send to existing Staff.
4708 \context Staff = someUniqueName
4712 \set Staff.useBassFigureExtenders = ##t
4721 By default, this method produces figures above the notes. To get
4722 figures below the notes, use
4725 \override Staff.BassFigureAlignmentPositioning #'direction = #DOWN
4731 When using figured bass above the staff with extender lines and
4732 @code{implicitBassFigures} the lines may become swapped around.
4733 Maintaining order consistently will be impossible when multiple figures
4734 have overlapping extender lines. To avoid this problem, please
4735 use @code{stacking-dir} on @code{BassFigureAlignment}.
4740 Program reference: @internalsref{NewBassFigure},
4741 @internalsref{BassFigureAlignment}, @internalsref{BassFigureLine},
4742 @internalsref{BassFigureBracket}, and
4743 @internalsref{BassFigureContinuation} objects and
4744 @internalsref{FiguredBass} context.
4748 @node Other instrument specific notation
4749 @section Other instrument specific notation
4751 This section includes extra information for writing for instruments.
4754 * Artificial harmonics (strings)::
4757 @anchor{Artificial harmonics (strings)}
4758 @unnumberedsubsubsec Artificial harmonics (strings)
4760 @cindex artificial harmonics
4762 Artificial harmonics are notated with a different notehead style. They
4763 are entered by marking the harmonic pitch with @code{\harmonic}.
4765 @lilypond[ragged-right,verbatim,quote,fragment,relative=1]