1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
8 @node Instrument-specific notation
9 @chapter Instrument-specific notation
11 This chapter explains how to use notation for specific instruments.
21 * Other instrument specific notation::
29 Piano staves are two normal staves coupled with a brace. The staves
30 are largely independent, but sometimes voices can cross between the
31 two staves. The same notation is also used for harps and other key
32 instruments. The @internalsref{PianoStaff} is especially built to
33 handle this cross-staffing behavior. In this section we discuss the
34 @internalsref{PianoStaff} and some other pianistic peculiarities.
37 * Automatic staff changes::
38 * Manual staff switches::
39 * Laissez vibrer ties::
41 * Staff switch lines::
47 Dynamics are not centered, but workarounds do exist. See the
48 ``piano centered dynamics'' template in @ref{Piano templates}.
50 @cindex cross staff stem
51 @cindex stem, cross staff
52 @cindex distance between staves in piano music
54 The distance between the two staves is the same for all systems in the
55 score. It is possible to override this per system, but it does require
56 an arcane command incantation. See
57 @inputfileref{input/@/test,piano@/-staff@/-distance@/.ly}.
60 @node Automatic staff changes
61 @subsection Automatic staff changes
62 @cindex Automatic staff changes
64 Voices can be made to switch automatically between the top and the bottom
65 staff. The syntax for this is
69 \autochange @dots{}@var{music}@dots{}
74 This will create two staves inside the current PianoStaff, called
75 @code{up} and @code{down}. The lower staff will be in bass clef by
78 A @code{\relative} section that is outside of @code{\autochange} has
79 no effect on the pitches of @var{music}, so, if necessary, put
80 @code{\relative} inside @code{\autochange} like
84 \autochange \relative @dots{} @dots{}
89 The autochanger switches on basis of the pitch (middle C is the turning
90 point), and it looks ahead skipping over rests to switch in
91 advance. Here is a practical example
93 @lilypond[quote,verbatim,raggedright]
95 \autochange \relative c'
104 In this manual: @ref{Manual staff switches}.
106 Program reference: @internalsref{AutoChangeMusic}.
112 The staff switches may not end up in optimal places. For high
113 quality output, staff switches should be specified manually.
116 @code{\autochange} cannot be inside @code{\times}.
119 @node Manual staff switches
120 @subsection Manual staff switches
122 @cindex manual staff switches
123 @cindex staff switch, manual
125 Voices can be switched between staves manually, using the command
127 \change Staff = @var{staffname} @var{music}
131 The string @var{staffname} is the name of the staff. It switches the
132 current voice from its current staff to the Staff called
133 @var{staffname}. Typically @var{staffname} is @code{"up"} or
134 @code{"down"}. The @context{Staff} referred to must already exist, so
135 usually the setup for a score will start with a setup of the staves,
139 \context Staff = up @{
140 \skip 1 * 10 % @emph{keep staff alive}
142 \context Staff = down @{
143 \skip 1 * 10 % @emph{idem}
149 and the @context{Voice} is inserted afterwards
152 \context Staff = down
153 \new Voice @{ @dots{} \change Staff = up @dots{} @}
157 @node Laissez vibrer ties
158 @subsection Laissez vibrer ties
159 @cindex Laissez vibrer
160 @cindex Ties, laissez vibrer
162 L.v. ties (laissez vibrer) indicate that notes must not be damped at the
163 end. It is used in notation for piano, harp and other string and
164 percussion instruments. They can be entered using @code{\laissezVibrer},
166 @lilypond[fragment,raggedright,verbatim,relative=1]
167 <c f g>\laissezVibrer
173 @internalsref{LaissezVibrerTie}
174 @internalsref{LaissezVibrerTieColumn}
177 @inputfileref{input/regression,laissez-vibrer-tie.ly}
183 Pianos have pedals that alter the way sound is produced. Generally, a
184 piano has three pedals, sustain, una corda, and sostenuto.
187 Piano pedal instruction can be expressed by attaching
188 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
189 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
192 @lilypond[quote,raggedright,fragment,verbatim]
193 c'4\sustainDown c'4\sustainUp
196 What is printed can be modified by setting @code{pedal@var{X}Strings},
197 where @var{X} is one of the pedal types: @code{Sustain},
198 @code{Sostenuto} or @code{UnaCorda}. Refer to
199 @internalsref{SustainPedal} in the program reference for more
202 Pedals can also be indicated by a sequence of brackets, by setting the
203 @code{pedalSustainStyle} property to bracket objects
205 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
206 \set Staff.pedalSustainStyle = #'bracket
208 b\sustainUp\sustainDown
209 b g \sustainUp a \sustainDown \bar "|."
212 A third style of pedal notation is a mixture of text and brackets,
213 obtained by setting the @code{pedalSustainStyle} property to
216 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
217 \set Staff.pedalSustainStyle = #'mixed
219 b\sustainUp\sustainDown
220 b g \sustainUp a \sustainDown \bar "|."
223 The default `*Ped.' style for sustain and damper pedals corresponds to
224 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
227 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
228 c\sostenutoDown d e c, f g a\sostenutoUp
231 For fine-tuning the appearance of a pedal bracket, the properties
232 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
233 @code{PianoPedalBracket} objects (see
234 @internalsref{PianoPedalBracket} in the Program reference) can be
235 modified. For example, the bracket may be extended to the right edge
238 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
239 \override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
240 c\sostenutoDown d e c, f g a\sostenutoUp
245 In this manual: @ref{Laissez vibrer ties}
247 @node Staff switch lines
248 @subsection Staff switch lines
252 @cindex staff switching
255 @cindex @code{followVoice}
257 Whenever a voice switches to another staff, a line connecting the notes
258 can be printed automatically. This is switched on by setting
259 @code{followVoice} to true
261 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
264 \set followVoice = ##t
269 \context Staff=two { \clef bass \skip 1*2 }
275 Program reference: @internalsref{VoiceFollower}.
279 @cindex @code{\showStaffSwitch}
280 @code{\showStaffSwitch},
281 @cindex @code{\hideStaffSwitch}
282 @code{\hideStaffSwitch}.
285 @node Cross staff stems
286 @subsection Cross staff stems
288 Chords that cross staves may be produced by increasing the length
289 of the stem in the lower staff, so it reaches the stem in the upper
290 staff, or vice versa.
292 @lilypond[raggedright,verbatim,quote]
293 stemExtend = \once \override Stem #'length = #22
294 noFlag = \once \override Stem #'flag-style = #'no-flag
295 \context PianoStaff <<
297 \stemDown \stemExtend
315 * Introducing chord names::
317 * Printing chord names::
321 @c awkward name; awkward section name.
322 @c still, the Basic "chords" seems like a good name... :(
323 @node Introducing chord names
324 @subsection Introducing chord names
327 LilyPond has support for printing chord names. Chords may be entered
328 in musical chord notation, i.e., @code{< .. >}, but they can also be
329 entered by name. Internally, the chords are represented as a set of
330 pitches, so they can be transposed
333 @lilypond[quote,raggedright,verbatim,raggedright]
334 twoWays = \transpose c c' {
343 << \context ChordNames \twoWays
344 \context Voice \twoWays >>
347 This example also shows that the chord printing routines do not try to
348 be intelligent. The last chord (@code{f bes d}) is not interpreted as
351 Note that the duration of chords must be specified outside the
360 @subsection Chords mode
363 In chord mode sets of pitches (chords) are entered with normal note
364 names. A chord is entered by the root, which is entered like a
367 @lilypond[quote,raggedright,fragment,verbatim]
368 \chordmode { es4. d8 c2 }
372 The mode is introduced by the keyword @code{\chordmode}.
377 Other chords may be entered by suffixing a colon and introducing a
378 modifier (which may include a number if desired)
379 @lilypond[quote,fragment,verbatim]
380 \chordmode { e1:m e1:7 e1:m7 }
382 The first number following the root is taken to be the `type' of the
383 chord, thirds are added to the root until it reaches the specified
385 @lilypond[quote,fragment,verbatim]
386 \chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
389 @cindex root of chord
390 @cindex additions, in chords
391 @cindex removals, in chords
393 More complex chords may also be constructed adding separate steps
394 to a chord. Additions are added after the number following
395 the colon and are separated by dots
396 @lilypond[quote,verbatim,fragment]
397 \chordmode { c:5.6 c:3.7.8 c:3.6.13 }
399 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
401 @lilypond[quote,verbatim,fragment]
402 \chordmode { c:7+ c:5+.3- c:3-.5-.7- }
404 Removals are specified similarly and are introduced by a caret. They
405 must come after the additions
406 @lilypond[quote,verbatim,fragment]
407 \chordmode { c^3 c:7^5 c:9^3.5 }
410 Modifiers can be used to change pitches. The following modifiers are
415 The minor chord. This modifier lowers the 3rd and (if present) the 7th step.
418 The diminished chord. This modifier lowers the 3rd, 5th and (if present)
422 The augmented chord. This modifier raises the 5th step.
425 The major 7th chord. This modifier raises the 7th step if present.
428 The suspended 4th or 2nd. This modifier removes the 3rd
429 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
433 Modifiers can be mixed with additions
434 @lilypond[quote,verbatim,fragment]
435 \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
438 @cindex modifiers, in chords.
445 Since an unaltered 11 does not sound good when combined with an
446 unaltered 3, the 11 is removed in this case (unless it is added
448 @lilypond[quote,raggedright,fragment,verbatim]
449 \chordmode { c:13 c:13.11 c:m13 }
454 An inversion (putting one pitch of the chord on the bottom), as well
455 as bass notes, can be specified by appending
456 @code{/}@var{pitch} to the chord
457 @lilypond[quote,raggedright,fragment,verbatim]
458 \chordmode { c1 c/g c/f }
462 A bass note can be added instead transposed out of the chord,
463 by using @code{/+}@var{pitch}.
465 @lilypond[quote,raggedright,fragment,verbatim]
466 \chordmode { c1 c/+g c/+f }
469 Chords is a mode similar to @code{\lyricmode}, etc. Most
470 of the commands continue to work, for example, @code{r} and
471 @code{\skip} can be used to insert rests and spaces, and property
472 commands may be used to change various settings.
478 Each step can only be present in a chord once. The following
479 simply produces the augmented chord, since @code{5+} is interpreted
482 @lilypond[quote,raggedright,verbatim,fragment]
483 \chordmode { c:5.5-.5+ }
487 @node Printing chord names
488 @subsection Printing chord names
490 @cindex printing chord names
494 For displaying printed chord names, use the @internalsref{ChordNames} context.
495 The chords may be entered either using the notation
496 described above, or directly using @code{<} and @code{>}
498 @lilypond[quote,verbatim,raggedright]
500 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
503 \context ChordNames \harmonies
504 \context Staff \harmonies
508 You can make the chord changes stand out by setting
509 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
510 display chord names when there is a change in the chords scheme and at
511 the start of a new line
513 @lilypond[quote,verbatim,raggedright]
514 harmonies = \chordmode {
515 c1:m c:m \break c:m c:m d
518 \context ChordNames {
519 \set chordChanges = ##t
521 \context Staff \transpose c c' \harmonies
525 The previous examples all show chords over a staff. This is not
526 necessary. Chords may also be printed separately. It may be necessary
527 to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
530 @lilypond[raggedright,verbatim]
531 \new ChordNames \with {
532 \override BarLine #'bar-size = #4
533 voltaOnThisStaff = ##t
534 \consists Bar_engraver
535 \consists "Volta_engraver"
537 \chordmode { \repeat volta 2 {
547 The default chord name layout is a system for Jazz music, proposed by
548 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
552 @cindex @code{chordNameExceptions}
553 @item chordNameExceptions
554 This is a list that contains the chords that have special formatting.
556 The exceptions list should be encoded as
558 @{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
561 To get this information into @code{chordNameExceptions} takes a little
562 manoeuvring. The following code transforms @code{chExceptionMusic}
563 (which is a sequential music) into a list of exceptions.
565 (sequential-music-to-chord-exceptions chExceptionMusic #t)
570 (sequential-music-to-chord-exceptions chExceptionMusic #t)
573 adds the new exceptions to the default ones, which are defined in
574 @file{ly/@/chord@/-modifier@/-init@/.ly}.
576 For an example of tuning this property, see also
577 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly}.
578 @cindex exceptions, chord names.
581 @cindex @code{majorSevenSymbol}
582 @item majorSevenSymbol
583 This property contains the markup object used for the 7th step, when
584 it is major. Predefined options are @code{whiteTriangleMarkup} and
585 @code{blackTriangleMarkup}. See
586 @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly} for an example.
588 @cindex @code{chordNameSeparator}
589 @item chordNameSeparator
590 Different parts of a chord name are normally separated by a
591 slash. By setting @code{chordNameSeparator}, you can specify other
593 @lilypond[quote,raggedright,fragment,verbatim]
594 \context ChordNames \chordmode {
596 \set chordNameSeparator
597 = \markup { \typewriter "|" }
602 @cindex @code{chordRootNamer}
604 The root of a chord is usually printed as a letter with an optional
605 alteration. The transformation from pitch to letter is done by this
606 function. Special note names (for example, the German ``H'' for a
607 B-chord) can be produced by storing a new function in this property.
609 @cindex @code{chordNoteNamer}
611 The default is to print single pitch, e.g., the bass note, using the
612 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
613 to a specialized function to change this behavior. For example, the
614 base can be printed in lower case.
616 @cindex @code{chordPrefixSpacer}
617 @item chordPrefixSpacer
618 The ``m'' for minor chords is usually printed right after the root of
619 the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer
620 between the root and ``m''. The spacer is not used when the root
625 The predefined variables @code{\germanChords},
626 @code{\semiGermanChords}, @code{\italianChords} and @code{\frenchChords}
627 set these variables. The effect is
630 @lilypondfile[raggedright]{chord-names-languages.ly}
632 There are also two other chord name schemes implemented: an alternate
633 Jazz chord notation, and a systematic scheme called Banter chords. The
634 alternate Jazz notation is also shown on the chart in @ref{Chord name
635 chart}. Turning on these styles is described in the input file
636 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
645 @cindex @code{\germanChords}
646 @code{\germanChords},
647 @cindex @code{\semiGermanChords}
648 @code{\semiGermanChords}.
649 @cindex @code{\italianChords}
650 @code{\italianChords}.
651 @cindex @code{\frenchChords}
652 @code{\frenchChords}.
659 Examples: @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly},
660 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly},
661 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
664 Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
665 @file{scm/@/chord@/-entry@/.scm}.
670 Chord names are determined solely from the list of pitches. Chord
671 inversions are not identified, and neither are added bass notes. This
672 may result in strange chord names when chords are entered with the
673 @code{< .. >} syntax.
680 There are three different issues when printing vocal music
684 Song texts must be entered as text, not notes. For example, the
685 input@tie{}@code{d} should be interpreted as a one letter syllable, not the
689 Song texts must be printed as text, not as notes.
692 Song texts must be aligned with the notes of their melody.
695 The simplest solution for printing music uses the @code{\addlyrics}
696 function to solve all these problems at once. However, these
697 three functions can be controlled separately, which is necessary
698 for complex vocal music.
702 * Setting simple songs::
704 * Hyphens and extenders::
705 * The Lyrics context::
706 * Flexibility in alignment::
709 * Other vocal issues::
712 @node Setting simple songs
713 @subsection Setting simple songs
715 The easiest way to add lyrics to a melody is to append
718 \addlyrics @{ @var{the lyrics} @}
722 to a melody. Here is an example,
724 @lilypond[raggedright,verbatim,fragment,quote]
726 \relative { c2 e4 g2. }
727 \addlyrics { play the game }
730 More stanzas can be added by adding more
731 @code{\addlyrics} sections
733 @lilypond[raggedright,verbatim,fragment,quote]
735 \relative { c2 e4 g2. }
736 \addlyrics { play the game }
737 \addlyrics { speel het spel }
738 \addlyrics { joue le jeu }
741 Sometimes it is appropriate to have one stanza set
742 to the music, and the rest added in verse form at
743 the end of the piece. This can be accomplished by adding
744 the extra verses into a @code{\markup} section outside
745 of the main score block. Notice that there are two
746 different ways to force linebreaks when using
749 @lilypond[raggedright,verbatim,quote]
750 melody = \relative c' {
756 \set stanza = "1." Ma- ry had a lit- tle lamb,
757 it's fleece was white as snow.
761 \context Voice = one { \melody }
762 \lyricsto "one" \new Lyrics \text
768 \line{ All the children laughed and played }
769 \line{ To see a lamb at school. }
776 Mary took it home again,
778 It was against the rule."
783 @c TODO - this isn't such a great place for this note, but I can't
784 @c find a better place without rearranging a lot of lyric stuff.
785 @c It's yet another thing to look at post-3.0.
787 The @code{\addlyrics} command is actually just a convienient way
788 to write a more complicated LilyPond structure that sets up the
789 lyrics. You should use @code{\addlyrics} unless you need to do
790 fancy things, in which case you should investigate
791 @code{\lyricsto} or @code{\lyricmode}.
795 \addlyrics @{ LYRICS @}
802 \context Voice = blah @{ music @}
803 \lyricsto "blah" \new lyrics @{ LYRICS @}
808 @code{\addlyrics} cannot handle polyphony.
811 @node Entering lyrics
812 @subsection Entering lyrics
815 @cindex @code{\lyricmode}
818 Lyrics are entered in a special input mode. This mode is introduced
819 by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
820 @code{\lyricsto}. In this mode you can enter lyrics,
821 with punctuation and accents, and the input @code{d} is not parsed as
822 a pitch, but rather as a one letter syllable. Syllables are entered
823 like notes, but with pitches replaced by text. For example,
825 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
828 There is a difference between @code{\addlyrics} and
829 @code{\lyricmode}. @code{\addlyrics} and @code{\lyricsto}
830 ignore all durations and aligns syllables to notes; @code{\lyricmode}
831 uses the durations specified.
833 A word lyrics mode begins with an alphabetic character, and ends with
834 any space or digit. The following characters can be any character
835 that is not a digit or white space. One important consequence of this
836 is that a word can end with @code{@}}. The following example is
837 usually a mistake in the input file. The syllable includes a @code{@}}, so the
838 opening brace is not balanced
840 \lyricmode @{ twinkle@}
843 @cindex @code{\property}, in @code{\lyricmode}
845 Similarly, a period which follows an alphabetic sequence is included in
846 the resulting string. As a consequence, spaces must be inserted around
849 \override Score . LyricText #'font-shape = #'italic
853 @cindex spaces, in lyrics
854 @cindex quotes, in lyrics
856 Any @code{_} character that appears in an unquoted word is converted
857 to a space. This provides a mechanism for introducing spaces into words
858 without using quotes.
860 To enter lyrics with characters from non-English languages, or with
861 non-ascii characters (such as the heart symbol or slanted quotes),
862 simply insert the characters directly into the input file and save
863 it with utf-8 encoding. See @ref{Text encoding} for more info.
866 \lyricmode @{ He said: “Let my peo ple go”. @}
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{^}.
883 Program reference: @internalsref{LyricText}, @internalsref{LyricSpace}.
887 The definition of lyrics mode is too complex.
889 @node Hyphens and extenders
890 @subsection Hyphens and extenders
894 Centered hyphens are entered as `@code{--}' between syllables.
895 The hyphen will have variable length depending on the space between
896 the syllables and it will be centered between the syllables.
901 When a lyric is sung over many notes (this is called a melisma), this is
902 indicated with a horizontal line centered between a syllable and the
903 next one. Such a line is called an extender line, and it is entered as
906 In tighly engraved music, hyphens can be removed. Whether this
907 happens can be controlled with the @code{minimum-distance} (minimum
908 distance between two syllables) and the @code{minimum-length}
909 (threshold below which hyphens are removed).
913 Program reference: @internalsref{LyricHyphen}, @internalsref{LyricExtender}.
917 @node The Lyrics context
918 @subsection The Lyrics context
921 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
923 \context Lyrics \lyricmode @dots{}
926 @cindex automatic syllable durations
927 @cindex @code{\lyricsto}
928 @cindex lyrics and melodies
930 This will place the lyrics according to the durations that were
931 entered. The lyrics can also be aligned under a given melody
932 automatically. In this case, it is no longer necessary to enter the
933 correct duration for each syllable. This is achieved by combining the
934 melody and the lyrics with the @code{\lyricsto} expression
936 \lyricsto @var{name} \new Lyrics @dots{}
939 This aligns the lyrics to the
940 notes of the @internalsref{Voice} context called @var{name}, which has
941 to exist. Therefore, normally the @code{Voice} is specified first, and
942 then the lyrics are specified with @code{\lyricsto}. The command
943 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
944 @code{\lyricmode} keyword may be omitted.
946 For different or more complex orderings, the best way is to setup the
947 hierarchy of staves and lyrics first, e.g.,
949 \context ChoirStaff <<
950 \context Lyrics = sopranoLyrics @{ s1 @}
951 \context Voice = soprano @{ @emph{music} @}
952 \context Lyrics = tenorLyrics @{ s1 @}
953 \context Voice = tenor @{ @emph{music} @}
956 and then combine the appropriate melodies and lyric lines
958 \lyricsto "soprano" \context Lyrics = sopranoLyrics
963 The final input would resemble
966 <<\context ChoirStaff << @emph{setup the music} >>
967 \lyricsto "soprano" @emph{etc}
968 \lyricsto "alto" @emph{etc}
974 The @code{\lyricsto} command detects melismata: it only puts one
975 syllable under a tied or slurred group of notes. If you want to force
976 an unslurred group of notes to be a melisma, insert @code{\melisma}
977 after the first note of the group, and @code{\melismaEnd} after the
980 @lilypond[quote,relative=2,raggedright,fragment,verbatim]
982 \context Voice = "lala" {
990 \lyricsto "lala" \new Lyrics {
996 In addition, notes are considered a melisma if they are manually
997 beamed, and automatic beaming (see @ref{Setting automatic beam
998 behavior}) is switched off.
1004 The criteria for deciding melismata can
1005 be tuned with the property @code{melismaBusyProperties}. See
1006 @internalsref{Melisma_translator} in the program reference for more
1011 Lyrics can also be entered without @code{\lyricsto}. In this case the
1012 duration of each syllable must be entered explicitly, for example,
1019 The alignment to a melody can be specified with the
1020 @code{associatedVoice} property,
1023 \set associatedVoice = #"lala"
1027 The value of the property (here: @code{"lala"}) should be the name of
1028 a @internalsref{Voice} context. Without this setting, extender lines
1029 will not be formatted properly.
1031 Here is an example demonstrating manual lyric durations,
1033 @lilypond[relative=1,raggedright,verbatim,fragment,quote]
1034 << \context Voice = melody {
1038 \new Lyrics \lyricmode {
1039 \set associatedVoice = #"melody"
1045 @cindex choral score
1047 A complete example of a SATB score setup is in section
1048 @ref{Vocal ensembles}.
1053 @code{\melisma}, @code{\melismaEnd}
1054 @cindex @code{\melismaEnd}
1055 @cindex @code{\melisma}
1059 Program reference: @internalsref{LyricCombineMusic},
1060 @internalsref{Lyrics}, @internalsref{Melisma_translator}.
1063 @inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly}.
1064 @c TODO: make separate section for melismata
1068 Melismata are not detected automatically, and extender lines must be
1072 @c TODO: document \new Staff << Voice \lyricsto >> bug
1074 @node Flexibility in alignment
1075 @subsection Flexibility in alignment
1077 Often, different stanzas of one song are put to one melody in slightly
1078 differing ways. Such variations can still be captured with
1081 @subsubsection Lyrics to multiple notes of a melisma
1084 One possibility is that the text has a melisma in one stanza, but
1085 multiple syllables in another one. One solution is to make the faster
1086 voice ignore the melisma. This is done by setting
1087 @code{ignoreMelismata} in the Lyrics context.
1089 There has one tricky aspect. The setting for @code{ignoreMelismata}
1090 must be set one syllable @emph{before} the non-melismatic syllable
1091 in the text, as shown here,
1093 @lilypond[verbatim,raggedright,quote]
1095 \relative \context Voice = "lahlah" {
1096 \set Staff.autoBeaming = ##f
1102 \new Lyrics \lyricsto "lahlah" {
1105 \new Lyrics \lyricsto "lahlah" {
1106 \set ignoreMelismata = ##t % applies to "fas"
1108 \unset ignoreMelismata
1115 The @code{ignoreMelismata} applies to the syllable ``fas'', so it
1116 should be entered before ``go''.
1118 The reverse is also possible: making a lyric line slower than the
1119 standard. This can be achieved by insert @code{\skip}s into the
1120 lyrics. For every @code{\skip}, the text will be delayed another note.
1123 @lilypond[verbatim,raggedright,quote]
1124 \relative { c c g' }
1132 @subsection Switching the melody associated with a lyrics line
1136 More complex variations in text underlay are possible. It is possible
1137 to switch the melody for a line of lyrics during the text. This is
1138 done by setting the @code{associatedVoice} property. In the example
1140 @lilypond[raggedright,quote]
1142 \relative \context Voice = "lahlah" {
1143 \set Staff.autoBeaming = ##f
1146 \context Voice = alternative {
1149 % show associations clearly.
1150 \override NoteColumn #'force-hshift = #-3
1161 \new Lyrics \lyricsto "lahlah" {
1162 Ju -- ras -- sic Park
1164 \new Lyrics \lyricsto "lahlah" {
1165 % Tricky: need to set associatedVoice
1166 % one syllable too soon!
1167 \set associatedVoice = alternative % applies to "ran"
1171 \set associatedVoice = lahlah % applies to "rus"
1177 the text for the first stanza is set to a melody called ``lahlah'',
1180 \new Lyrics \lyricsto "lahlah" @{
1181 Ju -- ras -- sic Park
1186 The second stanza initially is set to the @code{lahlah} context, but
1187 for the syllable ``ran'', it switches to a different melody.
1188 This is achieved with
1190 \set associatedVoice = alternative
1194 Here, @code{alternative} is the name of the @code{Voice} context
1195 containing the triplet.
1197 Again, the command must be one syllable too early, before ``Ty'' in
1201 \new Lyrics \lyricsto "lahlah" @{
1202 \set associatedVoice = alternative % applies to "ran"
1206 \set associatedVoice = lahlah % applies to "rus"
1212 The underlay is switched back to the starting situation by assigning
1213 @code{lahlah} to @code{associatedVoice}.
1217 @subsection Specifying melismata within the lyrics
1219 It is also possible to define melismata entirely in the lyrics. This
1220 can be done by entering @code{_} for every note that is part of the
1223 @lilypond[relative=1,verbatim,fragment]
1224 { \set melismaBusyProperties = #'()
1225 c d( e) f f( e) e e }
1227 { Ky -- _ _ ri __ _ _ _ e }
1230 In this case, you can also have ties and slurs in the melody, if you
1231 set @code{melismaBusyProperties}, as is done in the example above.
1233 @lilypond[relative=1,verbatim,fragment]
1235 \set melismaBusyProperties = #'()
1239 { Ky -- _ _ ri __ _ _ _ e }
1242 @subsubsection Spacing lyrics
1244 @cindex Spacing lyrics
1245 @cindex Lyrics, increasing space between
1247 To increase the space between lyrics, use the @code{SeparationItem}
1250 @lilypond[relative,verbatim,fragment,quote,raggedright]
1253 \override Score.SeparationItem #'padding = #5
1257 longtext longtext longtext longtext
1258 longtext longtext longtext longtext
1265 @subsection More stanzas
1267 @cindex phrasing, in lyrics
1270 @cindex stanza number
1271 @cindex singer's names
1272 @cindex name of singer
1274 Stanza numbers can be added by setting @code{stanza}, e.g.,
1276 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
1278 \time 3/4 g2 e4 a2 f4 g2.
1281 Hi, my name is Bert.
1284 Oh, che -- ri, je t'aime
1288 These numbers are put just before the start of first syllable.
1290 Names of singers can also be added. They are printed at the start of
1291 the line, just like instrument names. They are created by setting
1292 @code{vocalName}. A short version may be entered as @code{vocNam}.
1295 @lilypond[fragment,raggedright,quote,verbatim,relative=2]
1297 \time 3/4 g2 e4 a2 f4 g2.
1299 \set vocalName = "Bert "
1300 Hi, my name is Bert.
1302 \set vocalName = "Ernie "
1303 Oh, che -- ri, je t'aime
1307 You can display alternate (or divisi) lyrics by naming voice
1308 contexts and attaching lyrics to those specific contexts.
1310 @lilypond[verbatim,raggedright,quote]
1312 \context Voice = "melody" {
1317 \context Voice = splitpart { \voiceTwo c4 }
1322 \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
1323 \new Lyrics \lyricsto "splitpart" { will }
1328 You can use this trick to display different lyrics for a repeated
1331 @lilypond[verbatim,raggedright,quote]
1333 \context Voice = melody \relative c' {
1335 \context Voice = verse \repeat volta 2 {c4 d e f | g1 | }
1337 \lyricsto melody \context Lyrics = mainlyrics \lyricmode {
1340 \lyricsto verse \context Lyrics = mainlyrics \lyricmode {
1342 \lyricsto verse \context Lyrics = repeatlyrics \lyricmode {
1343 dodo rere mimi fafa solsol }
1351 Program reference: @internalsref{LyricText}, @internalsref{StanzaNumber}, @internalsref{VocalName}.
1359 The term @emph{ambitus} denotes a range of pitches for a given voice
1360 in a part of music. It may also denote the pitch range that a musical
1361 instrument is capable of playing. Ambits are printed on vocal parts,
1362 so performers can easily determine it meets their capabilities.
1364 Ambits are denoted at the beginning of a piece near the initial clef.
1365 The range is graphically specified by two note heads that represent the
1366 minimum and maximum pitch. To print such ambits, add the
1367 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
1374 \consists Ambitus_engraver
1379 This results in the following output
1381 @lilypond[quote,raggedright]
1385 \consists Ambitus_engraver
1389 \relative \new Staff {
1394 If you have multiple voices in a single staff and you want a single
1395 ambitus per staff rather than per each voice, add the
1396 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
1397 rather than to the @internalsref{Voice} context. Here is an example,
1399 @lilypond[verbatim,raggedright,quote]
1401 \consists "Ambitus_engraver"
1405 \remove "Ambitus_engraver"
1407 \override Ambitus #'X-offset = #-1.0
1412 \remove "Ambitus_engraver"
1421 This example uses one advanced feature,
1424 \override Ambitus #'X-offset = #-1.0
1428 This code moves the ambitus to the left. The same effect could have
1429 been achieved with @code{extra-offset}, but then the formatting system
1430 would not reserve space for the moved object.
1434 Program reference: @internalsref{Ambitus},
1435 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1436 @internalsref{AmbitusAccidental}.
1438 Examples: @inputfileref{input/@/regression,ambitus@/.ly}.
1442 There is no collision handling in the case of multiple per-voice
1446 @node Other vocal issues
1447 @subsection Other vocal issues
1450 yeah, I'm giving up somewhat by stuffing a bunch of things in
1451 here. But at least they're in the manual now; it's easier to
1452 move them around in the manual once they're already here.
1454 Besides, if users complain about everything stuffed in here, I
1455 can ask them for specific instructions about where to move these
1456 examples, and that might get them more involved in the docs. -gp
1459 ``Parlato'' is spoken without pitch but still with rhythm; it is
1460 notated by cross noteheads. This is demonstrated in
1461 @ref{Special noteheads}.
1464 @node Rhythmic music
1465 @section Rhythmic music
1467 Rhythmic music is primarily used for percussion and drum notation, but it can
1468 also be used to show the rhythms of melodies.
1471 * Showing melody rhythms::
1472 * Entering percussion::
1473 * Percussion staves::
1477 @node Showing melody rhythms
1478 @subsection Showing melody rhythms
1480 Sometimes you might want to show only the rhythm of a melody. This
1481 can be done with the rhythmic staff. All pitches of notes on such a
1482 staff are squashed, and the staff itself has a single line
1484 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1485 \context RhythmicStaff {
1487 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1493 Program reference: @internalsref{RhythmicStaff}.
1495 Examples: @inputfileref{input/@/regression,rhythmic@/-staff@/.ly}.
1498 @node Entering percussion
1499 @subsection Entering percussion
1505 Percussion notes may be entered in @code{\drummode} mode, which is
1506 similar to the standard mode for entering notes. Each piece of
1507 percussion has a full name and an abbreviated name, and both can be used
1510 @lilypond[quote,raggedright,verbatim]
1512 hihat hh bassdrum bd
1516 The complete list of drum names is in the init file
1517 @file{ly/@/drumpitch@/-init@/.ly}.
1518 @c TODO: properly document this.
1522 Program reference: @internalsref{note-event}.
1524 @node Percussion staves
1525 @subsection Percussion staves
1529 A percussion part for more than one instrument typically uses a
1530 multiline staff where each position in the staff refers to one piece
1534 To typeset the music, the notes must be interpreted in a
1535 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
1537 @lilypond[quote,raggedright,verbatim]
1538 up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
1539 down = \drummode { bassdrum4 snare8 bd r bd sn4 }
1541 \new DrumVoice { \voiceOne \up }
1542 \new DrumVoice { \voiceTwo \down }
1546 The above example shows verbose polyphonic notation. The short
1547 polyphonic notation, described in @ref{Polyphony}, can also be used if
1548 the @internalsref{DrumVoice}s are instantiated by hand first. For example,
1550 @lilypond[quote,raggedright,fragment,verbatim]
1552 \context DrumVoice = "1" { s1 *2 }
1553 \context DrumVoice = "2" { s1 *2 }
1557 { \repeat unfold 16 hh16 }
1566 There are also other layout possibilities. To use these, set the
1567 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
1568 The following variables have been predefined
1572 This is the default. It typesets a typical drum kit on a five-line staff
1574 @lilypond[quote,linewidth=10.0\cm]
1576 cymc cyms cymr hh hhc hho hhho hhp
1577 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl }
1579 cymc cyms cymr hh hhc hho hhho hhp \break
1580 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
1582 << \new DrumStaff \with {
1583 \remove Bar_engraver
1584 \remove Time_signature_engraver
1585 \override Stem #'transparent = ##t
1586 \override Stem #'Y-extent-callback = ##f
1587 \override VerticalAxisGroup #'minimum-Y-extent = #'(-4.0 . 5.0)
1589 \context Lyrics \nam
1594 \override LyricText #'font-family = #'typewriter
1595 \override BarNumber #'transparent =##T
1601 The drum scheme supports six different toms. When there are fewer toms,
1602 simply select the toms that produce the desired result, i.e., to get toms
1603 on the three middle lines you use @code{tommh}, @code{tomml}, and
1606 @item timbales-style
1607 This typesets timbales on a two line staff
1609 @lilypond[quote,raggedright]
1610 nam = \lyricmode { timh ssh timl ssl cb }
1611 mus = \drummode { timh ssh timl ssl cb s16 }
1614 \context DrumStaff \with {
1615 \remove Bar_engraver
1616 \remove Time_signature_engraver
1617 \override Stem #'transparent = ##t
1618 \override Stem #'Y-extent-callback = ##f
1619 \override StaffSymbol #'line-count = #2
1620 \override StaffSymbol #'staff-space = #2
1621 \override VerticalAxisGroup #'minimum-Y-extent = #'(-3.0 . 4.0)
1622 drumStyleTable = #timbales-style
1625 \override LyricText #'font-family = #'typewriter
1632 This typesets congas on a two line staff
1634 @lilypond[quote,raggedright]
1635 nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
1636 mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
1639 \context DrumStaff \with {
1640 \remove Bar_engraver
1641 \remove Time_signature_engraver
1642 drumStyleTable = #congas-style
1643 \override StaffSymbol #'line-count = #2
1645 %% this sucks; it will lengthen stems.
1646 \override StaffSymbol #'staff-space = #2
1647 \override Stem #'transparent = ##t
1648 \override Stem #'Y-extent-callback = ##f
1651 \override LyricText #'font-family = #'typewriter
1658 This typesets bongos on a two line staff
1660 @lilypond[quote,raggedright]
1661 nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
1662 mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
1665 \context DrumStaff\with {
1666 \remove Bar_engraver
1667 \remove Time_signature_engraver
1668 \override StaffSymbol #'line-count = #2
1669 drumStyleTable = #bongos-style
1671 %% this sucks; it will lengthen stems.
1672 \override StaffSymbol #'staff-space = #2
1673 \override Stem #'transparent = ##t
1674 \override Stem #'Y-extent-callback = ##f
1677 \override LyricText #'font-family = #'typewriter
1683 @item percussion-style
1684 To typeset all kinds of simple percussion on one line staves.
1686 @lilypond[quote,raggedright]
1687 nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
1688 mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
1691 \context DrumStaff\with{
1692 \remove Bar_engraver
1693 drumStyleTable = #percussion-style
1694 \override StaffSymbol #'line-count = #1
1695 \remove Time_signature_engraver
1696 \override Stem #'transparent = ##t
1697 \override Stem #'Y-extent-callback = ##f
1700 \override LyricText #'font-family = #'typewriter
1707 If you do not like any of the predefined lists you can define your own
1708 list at the top of your file
1710 @lilypond[quote,raggedright,verbatim]
1712 (bassdrum default #f -1)
1713 (snare default #f 0)
1715 (pedalhihat xcircle "stopped" 2)
1716 (lowtom diamond #f 3)))
1717 up = \drummode { hh8 hh hh hh hhp4 hhp }
1718 down = \drummode { bd4 sn bd toml8 toml }
1721 \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
1722 \new DrumVoice { \voiceOne \up }
1723 \new DrumVoice { \voiceTwo \down }
1730 Init files: @file{ly/@/drumpitch@/-init@/.ly}.
1732 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
1736 Because general MIDI does not contain rim shots, the sidestick is used
1737 for this purpose instead.
1745 @cindex guitar tablature
1748 * String number indications::
1749 * Tablatures basic::
1750 * Non-guitar tablatures::
1752 * Other guitar issues::
1755 @node String number indications
1756 @subsection String number indications
1758 @cindex String numbers
1760 String numbers can be added to chords, by indicating the string number
1761 with @code{\}@var{number},
1763 @lilypond[relative,relative=1,raggedright,fragment]
1767 See also @inputfileref{input/regression,string-number.ly}.
1772 Program reference: @internalsref{StringNumber}.
1775 @node Tablatures basic
1776 @subsection Tablatures basic
1777 @cindex Tablatures basic
1779 Tablature notation is used for notating music for plucked string
1780 instruments. Pitches are not denoted with note heads, but by
1781 numbers indicating on which string and fret a note must be played. LilyPond
1782 offers limited support for tablature.
1784 The string number associated to a note is given as a backslash
1785 followed by a number, e.g., @code{c4\3} for a C quarter on the third
1786 string. By default, string 1 is the highest one, and the tuning
1787 defaults to the standard guitar tuning (with 6 strings). The notes
1788 are printed as tablature, by using @internalsref{TabStaff} and
1789 @internalsref{TabVoice} contexts
1791 @lilypond[quote,raggedright,fragment,verbatim]
1798 @cindex @code{minimumFret}
1801 When no string is specified, the first string that does not give a
1802 fret number less than @code{minimumFret} is selected. The default
1803 value for @code{minimumFret} is 0
1808 \set TabStaff.minimumFret = #8
1811 @lilypond[quote,raggedright]
1815 \set TabStaff.minimumFret = #8
1818 \context StaffGroup <<
1819 \context Staff { \clef "G_8" \frag }
1820 \context TabStaff { \frag }
1826 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}.
1830 Chords are not handled in a special way, and hence the automatic
1831 string selector may easily select the same string to two notes in a
1835 @node Non-guitar tablatures
1836 @subsection Non-guitar tablatures
1837 @cindex Non-guitar tablatures
1839 You can change the number of strings, by setting the number of lines
1840 in the @internalsref{TabStaff}.
1842 You can change the tuning of the strings. A string tuning is given as
1843 a Scheme list with one integer number for each string, the number
1844 being the pitch (measured in semitones relative to middle C) of an
1845 open string. The numbers specified for @code{stringTuning} are the
1846 numbers of semitones to subtract or add, starting the specified pitch
1847 by default middle C, in string order. In the next example,
1848 @code{stringTunings} is set for the pitches e, a, d, and g
1850 @lilypond[quote,raggedright,fragment,verbatim]
1851 \context TabStaff <<
1852 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
1854 a,4 c' a e' e c' a e'
1861 No guitar special effects have been implemented.
1865 Program reference: @internalsref{Tab_note_heads_engraver}.
1869 @subsection Fret diagrams
1870 @cindex fret diagrams
1871 @cindex chord diagrams
1873 Fret diagrams can be added to music as a markup to the desired note. The
1874 markup contains information about the desired fret diagram, as shown in the
1877 @lilypond[verbatim, raggedright, quote]
1879 d'^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
1881 fis'^\markup \override #'(size . 0.75) {
1882 \override #'(finger-code . below-string) {
1883 \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
1884 (place-fret 5 4 3) (place-fret 4 4 4)
1885 (place-fret 3 3 2) (place-fret 2 2 1)
1890 c'^\markup \override #'(dot-radius . 0.35) {
1891 \override #'(finger-code . in-dot) {
1892 \override #'(dot-color . white) {
1893 \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
1902 There are three different fret-diagram markup interfaces: standard, terse,
1903 and verbose. The three interfaces produce equivalent markups, but have
1904 varying amounts of information in the markup string. Details about the
1905 markup interfaces are found at @ref{Overview of text markup commands}.
1907 You can set a number of graphical properties according to your preference.
1908 Details about the property interface to fret diagrams are found at
1909 @internalsref{fret-diagram-interface}.
1914 Examples: @inputfileref{input/@/test,fret@/-diagram@/.ly}
1917 @node Other guitar issues
1918 @subsection Other guitar issues
1920 This example demonstrates how to include guitar position and
1921 barring indications.
1923 @lilypond[quote,raggedright,fragment,verbatim,relative=0]
1927 \override TextSpanner #'edge-text = #'("XII " . "")
1929 b16 e16 g16 e16 b16 g16\stopTextSpan
1934 Stopped (X) note heads are used in guitar music to signal a place where the
1935 guitarist must play a certain note or chord, with its fingers just
1936 touching the strings instead of fully pressing them. This gives the sound a
1937 percussive noise-like sound that still maintains part of the original
1938 pitch. It is notated with cross noteheads; this is
1939 demonstrated in @ref{Special noteheads}.
1948 * Bagpipe definitions::
1953 @node Bagpipe definitions
1954 @subsection Bagpipe definitions
1956 LilyPond contains special definitions for music for the Scottish
1957 highland bagpipe; to use them, add
1960 \include "bagpipe.ly"
1964 at the top of your input file. This lets you add the special gracenotes
1965 common to bagpipe music with short commands. For example, you could
1966 write @code{\taor} instead of
1969 \grace @{ \small G32[ d G e] @}
1972 @code{bagpipe.ly} also contains pitch definitions for the bagpipe
1973 notes in the appropiate octaves, so you do not need to worry about
1974 @code{\relative} or @code{\transpose}.
1976 @lilypond[raggedright,verbatim,quote,notime]
1977 \include "bagpipe.ly"
1978 { \grg G4 \grg a \grg b \grg c \grg d \grg e \grg f \grA g A }
1981 Bagpipe music nominally uses the key of D Major (even though that
1982 isn't really true). However, since that is the only key that can be used,
1983 the key signature is normally not written out. To set this up correctly,
1984 always start your music with @code{\hideKeySignature}. If you for some
1985 reason want to show the key signature, you can use @code{\showKeySignature}
1988 Some modern music use cross fingering on c and f to flatten those notes.
1989 This can be indicated by @code{cflat} or @code{fflat}. Similarly, the
1990 piobaireachd high g can be written @code{gflat} when it occurs in light
1994 @node Bagpipe example
1995 @subsection Bagpipe example
1997 This is what the well known tune Amazing Grace looks like in bagpipe
2000 @lilypond[verbatim,quote]
2001 \include "bagpipe.ly"
2004 \context { \Score \remove "Bar_number_engraver" }
2008 title = "Amazing Grace"
2010 arranger = "Trad. arr."
2016 \grg \partial 4 a8. d16
2017 \slurd d2 \grg f8[ e32 d16.]
2020 \grG a2 \grg a8. d16
2021 \slurd d2 \grg f8[ e32 d16.]
2022 \grg f2 \grg e8. f16
2025 \grg A2 \hdblf f8[ e32 d16.]
2028 \grG a2 \grg a8. d16
2029 \slurd d2 \grg f8[ e32 d16.]
2038 @node Ancient notation
2039 @section Ancient notation
2041 @cindex Vaticana, Editio
2042 @cindex Medicaea, Editio
2047 Support for ancient notation includes features for mensural notation
2048 and Gregorian Chant notation. There is also limited support for
2049 figured bass notation.
2051 Many graphical objects provide a @code{style} property, see
2054 @ref{Ancient note heads},
2056 @ref{Ancient accidentals},
2058 @ref{Ancient rests},
2060 @ref{Ancient clefs},
2062 @ref{Ancient flags},
2064 @ref{Ancient time signatures}.
2067 By manipulating such a grob property, the typographical appearance of
2068 the affected graphical objects can be accommodated for a specific
2069 notation flavor without the need for introducing any new notational
2072 In addition to the standard articulation signs described in section
2073 @ref{Articulations}, specific articulation signs for ancient notation
2078 @ref{Ancient articulations}
2081 Other aspects of ancient notation can not that easily be expressed
2082 in terms of just changing a style property of a graphical object or
2083 adding articulation signs. Some notational concepts are introduced
2084 specifically for ancient notation,
2095 If this all is too much of documentation for you, and you just want to
2096 dive into typesetting without worrying too much about the details on
2097 how to customize a context, you may have a look at the predefined
2098 contexts. Use them to set up predefined style-specific voice and
2099 staff contexts, and directly go ahead with the note entry,
2103 @ref{Gregorian Chant contexts},
2105 @ref{Mensural contexts}.
2108 There is limited support for figured bass notation which came
2109 up during the baroque period.
2116 Here are all suptopics at a glance:
2119 * Ancient note heads::
2120 * Ancient accidentals::
2124 * Ancient time signatures::
2125 * Ancient articulations::
2129 * Gregorian Chant contexts::
2130 * Mensural contexts::
2131 * Musica ficta accidentals::
2137 @node Ancient note heads
2138 @subsection Ancient note heads
2143 For ancient notation, a note head style other than the @code{default}
2144 style may be chosen. This is accomplished by setting the @code{style}
2145 property of the @internalsref{NoteHead} object to @code{baroque},
2146 @code{neomensural}, @code{mensural} or @code{petrucci}. The
2147 @code{baroque} style differs from the @code{default} style only in
2148 using a square shape for @code{\breve} note heads. The
2149 @code{neomensural} style differs from the @code{baroque} style in that
2150 it uses rhomboidal heads for whole notes and all smaller durations.
2151 Stems are centered on the note heads. This style is particularly
2152 useful when transcribing mensural music, e.g., for the incipit. The
2153 @code{mensural} style produces note heads that mimic the look of note
2154 heads in historic printings of the 16th century. Finally, the
2155 @code{petrucci} style also mimicks historic printings, but uses bigger
2158 The following example demonstrates the @code{neomensural} style
2160 @lilypond[quote,fragment,raggedright,verbatim]
2161 \set Score.skipBars = ##t
2162 \override NoteHead #'style = #'neomensural
2163 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
2166 When typesetting a piece in Gregorian Chant notation, the
2167 @internalsref{Gregorian_ligature_engraver} will automatically select
2168 the proper note heads, so there is no need to explicitly set the
2169 note head style. Still, the note head style can be set, e.g., to
2170 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
2171 @internalsref{Mensural_ligature_engraver} is used to automatically
2172 assemble mensural ligatures. See @ref{Ligatures} for how ligature
2177 Examples: @inputfileref{input/@/regression,note@/-head@/-style@/.ly} gives an
2178 overview over all available note head styles.
2181 @node Ancient accidentals
2182 @subsection Ancient accidentals
2187 Use the @code{style} property of grob @internalsref{Accidental} to
2188 select ancient accidentals. Supported styles are
2189 @code{mensural}, @code{vaticana}, @code{hufnagel}, and @code{medicaea}.
2191 @lilypond[quote,raggedright,staffsize=26]
2198 \line { " " \musicglyph #"accidentals.vaticana-1"
2199 " " \musicglyph #"accidentals.vaticana0" }
2203 \line { " " \musicglyph #"accidentals.medicaea-1" }
2207 \line { " " \musicglyph #"accidentals.hufnagel-1" }
2211 \line { " " \musicglyph #"accidentals.mensural-1"
2212 " " \musicglyph #"accidentals.mensural1" }
2218 \context { \Score \remove "Bar_number_engraver" }
2220 \remove "Clef_engraver"
2221 \remove "Key_engraver"
2222 \remove "Time_signature_engraver"
2223 \remove "Staff_symbol_engraver"
2224 \override VerticalAxisGroup #'minimum-Y-extent = ##f
2230 As shown, not all accidentals are supported by each style. When
2231 trying to access an unsupported accidental, LilyPond will switch to a
2232 different style, as demonstrated in
2233 @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2235 Similarly to local accidentals, the style of the key signature can be
2236 controlled by the @code{style} property of the
2237 @internalsref{KeySignature} grob.
2241 In this manual: @ref{Pitches}, @ref{Cautionary accidentals} and
2242 @ref{Automatic accidentals} give a general introduction of the use of
2243 accidentals. @ref{Key signature} gives a general introduction of
2244 the use of key signatures.
2246 Program reference: @internalsref{KeySignature}.
2248 Examples: @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2251 @subsection Ancient rests
2253 @cindex rests, ancient
2256 Use the @code{style} property of grob @internalsref{Rest} to select
2257 ancient rests. Supported styles are @code{classical},
2258 @code{neomensural}, and @code{mensural}. @code{classical} differs
2259 from the @code{default} style only in that the quarter rest looks like
2260 a horizontally mirrored 8th rest. The @code{neomensural} style suits
2261 well for, e.g., the incipit of a transcribed mensural piece of music.
2262 The @code{mensural} style finally mimics the appearance of rests as
2263 in historic prints of the 16th century.
2265 The following example demonstrates the @code{neomensural} style
2267 @lilypond[quote,fragment,raggedright,verbatim]
2268 \set Score.skipBars = ##t
2269 \override Rest #'style = #'neomensural
2270 r\longa r\breve r1 r2 r4 r8 r16
2273 There are no 32th and 64th rests specifically for the mensural or
2274 neo-mensural style. Instead, the rests from the default style will be
2275 taken. See @inputfileref{input/@/test,rests@/.ly} for a chart of all
2278 There are no rests in Gregorian Chant notation; instead, it uses
2283 In this manual: @ref{Rests} gives a general introduction into the use of rests.
2287 @subsection Ancient clefs
2292 LilyPond supports a variety of clefs, many of them ancient.
2294 The following table shows all ancient clefs that are supported via the
2295 @code{\clef} command. Some of the clefs use the same glyph, but
2296 differ only with respect to the line they are printed on. In such
2297 cases, a trailing number in the name is used to enumerate these clefs.
2298 Still, you can manually force a clef glyph to be typeset on an
2299 arbitrary line, as described in @ref{Clef}. The note printed to the
2300 right side of each clef in the example column denotes the @code{c'}
2301 with respect to that clef.
2303 @multitable @columnfractions .4 .4 .2
2312 modern style mensural C clef
2314 @code{neomensural-c1}, @code{neomensural-c2},@*
2315 @code{neomensural-c3}, @code{neomensural-c4}
2317 @lilypond[fragment,relative=1,notime]
2318 \clef "neomensural-c2" c
2322 petrucci style mensural C clefs, for use on different staff lines
2323 (the examples show the 2nd staff line C clef)
2325 @code{petrucci-c1}, @code{petrucci-c2},@*
2326 @code{petrucci-c3}, @code{petrucci-c4},@*
2329 @lilypond[fragment,relative=1,notime]
2331 \override NoteHead #'style = #'mensural
2336 petrucci style mensural F clef
2340 @lilypond[fragment,relative=1,notime]
2342 \override NoteHead #'style = #'mensural
2347 petrucci style mensural G clef
2351 @lilypond[fragment,relative=1,notime]
2353 \override NoteHead #'style = #'mensural
2358 historic style mensural C clef
2360 @code{mensural-c1}, @code{mensural-c2},@*
2361 @code{mensural-c3}, @code{mensural-c4}
2363 @lilypond[fragment,relative=1,notime]
2365 \override NoteHead #'style = #'mensural
2370 historic style mensural F clef
2374 @lilypond[fragment,relative=1,notime]
2376 \override NoteHead #'style = #'mensural
2381 historic style mensural G clef
2385 @lilypond[fragment,relative=1,notime]
2387 \override NoteHead #'style = #'mensural
2392 Editio Vaticana style do clef
2394 @code{vaticana-do1}, @code{vaticana-do2},@*
2397 @lilypond[fragment,relative=1,notime]
2398 \override Staff.StaffSymbol #'line-count = #4
2399 \override Staff.StaffSymbol #'color = #red
2400 \override Staff.LedgerLineSpanner #'color = #red
2401 \override Voice.Stem #'transparent = ##t
2402 \override NoteHead #'style = #'vaticana.punctum
2403 \clef "vaticana-do2"
2408 Editio Vaticana style fa clef
2410 @code{vaticana-fa1}, @code{vaticana-fa2}
2412 @lilypond[fragment,relative=1,notime]
2413 \override Staff.StaffSymbol #'line-count = #4
2414 \override Staff.StaffSymbol #'color = #red
2415 \override Staff.LedgerLineSpanner #'color = #red
2416 \override Voice.Stem #'transparent = ##t
2417 \override NoteHead #'style = #'vaticana.punctum
2418 \clef "vaticana-fa2"
2423 Editio Medicaea style do clef
2425 @code{medicaea-do1}, @code{medicaea-do2},@*
2428 @lilypond[fragment,relative=1,notime]
2429 \override Staff.StaffSymbol #'line-count = #4
2430 \override Staff.StaffSymbol #'color = #red
2431 \override Staff.LedgerLineSpanner #'color = #red
2432 \override Voice.Stem #'transparent = ##t
2433 \override NoteHead #'style = #'medicaea.punctum
2434 \clef "medicaea-do2"
2439 Editio Medicaea style fa clef
2441 @code{medicaea-fa1}, @code{medicaea-fa2}
2443 @lilypond[fragment,relative=1,notime]
2444 \override Staff.StaffSymbol #'line-count = #4
2445 \override Staff.StaffSymbol #'color = #red
2446 \override Staff.LedgerLineSpanner #'color = #red
2447 \override Voice.Stem #'transparent = ##t
2448 \override NoteHead #'style = #'medicaea.punctum
2449 \clef "medicaea-fa2"
2454 historic style hufnagel do clef
2456 @code{hufnagel-do1}, @code{hufnagel-do2},@*
2459 @lilypond[fragment,relative=1,notime]
2460 \override Staff.StaffSymbol #'line-count = #4
2461 \override Staff.StaffSymbol #'color = #red
2462 \override Staff.LedgerLineSpanner #'color = #red
2463 \override Voice.Stem #'transparent = ##t
2464 \override NoteHead #'style = #'hufnagel.punctum
2465 \clef "hufnagel-do2"
2470 historic style hufnagel fa clef
2472 @code{hufnagel-fa1}, @code{hufnagel-fa2}
2474 @lilypond[fragment,relative=1,notime]
2475 \override Staff.StaffSymbol #'line-count = #4
2476 \override Staff.StaffSymbol #'color = #red
2477 \override Staff.LedgerLineSpanner #'color = #red
2478 \override Voice.Stem #'transparent = ##t
2479 \override NoteHead #'style = #'hufnagel.punctum
2480 \clef "hufnagel-fa2"
2485 historic style hufnagel combined do/fa clef
2487 @code{hufnagel-do-fa}
2489 @lilypond[fragment,relative=1,notime]
2490 \override Staff.StaffSymbol #'color = #red
2491 \override Staff.LedgerLineSpanner #'color = #red
2492 \override Voice.Stem #'transparent = ##t
2493 \override NoteHead #'style = #'hufnagel.punctum
2494 \clef "hufnagel-do-fa"
2501 @emph{Modern style} means ``as is typeset in contemporary editions of
2502 transcribed mensural music''.
2504 @emph{Petrucci style} means ``inspired by printings published by the
2505 famous engraver Petrucci (1466-1539)''.
2507 @emph{Historic style} means ``as was typeset or written in historic
2508 editions (other than those of Petrucci)''.
2510 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
2512 Petrucci used C clefs with differently balanced left-side vertical
2513 beams, depending on which staff line it is printed.
2517 In this manual: see @ref{Clef}.
2521 The mensural g clef is mapped to the Petrucci g clef.
2526 @subsection Ancient flags
2531 Use the @code{flag-style} property of grob @internalsref{Stem} to
2532 select ancient flags. Besides the @code{default} flag style,
2533 only the @code{mensural} style is supported
2535 @lilypond[quote,fragment,raggedright,verbatim]
2536 \override Stem #'flag-style = #'mensural
2537 \override Stem #'thickness = #1.0
2538 \override NoteHead #'style = #'mensural
2540 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
2541 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
2544 Note that the innermost flare of each mensural flag always is
2545 vertically aligned with a staff line.
2547 There is no particular flag style for neo-mensural notation. Hence,
2548 when typesetting the incipit of a transcribed piece of mensural
2549 music, the default flag style should be used. There are no flags in
2550 Gregorian Chant notation.
2554 The attachment of ancient flags to stems is slightly off due to a
2555 change in early 2.3.x.
2557 Vertically aligning each flag with a staff line assumes that stems
2558 always end either exactly on or exactly in the middle between two
2559 staff lines. This may not always be true when using advanced layout
2560 features of classical notation (which however are typically out of
2561 scope for mensural notation).
2563 @node Ancient time signatures
2564 @subsection Ancient time signatures
2566 @cindex time signatures
2569 There is limited support for mensural time signatures. The
2570 glyphs are hard-wired to particular time fractions. In other words,
2571 to get a particular mensural signature glyph with the @code{\time n/m}
2572 command, @code{n} and @code{m} have to be chosen according to the
2575 @lilypond[quote,raggedright]
2580 \remove Staff_symbol_engraver
2581 \remove Clef_engraver
2582 \remove Time_signature_engraver
2586 \set Score.timing = ##f
2587 \set Score.barAlways = ##t
2588 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph #"timesig.neomensural44" }
2590 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph #"timesig.neomensural22" }
2592 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph #"timesig.neomensural64" }
2594 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph #"timesig.neomensural68" }
2596 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph #"timesig.neomensural32" }
2598 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph #"timesig.neomensural34" }
2600 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph #"timesig.neomensural94" }
2602 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph #"timesig.neomensural98" }
2604 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph #"timesig.neomensural48" }
2606 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph #"timesig.neomensural24" }
2610 Use the @code{style} property of grob @internalsref{TimeSignature} to
2611 select ancient time signatures. Supported styles are
2612 @code{neomensural} and @code{mensural}. The above table uses the
2613 @code{neomensural} style. This style is appropriate for the
2614 incipit of transcriptions of mensural pieces. The @code{mensural}
2615 style mimics the look of historical printings of the 16th century.
2617 The following examples show the differences in style,
2619 @lilypond[raggedright,fragment,relative=1,quote]
2624 c1^\markup { \hspace #-2.0 \typewriter default }
2626 \override Staff.TimeSignature #'style = #'numbered
2628 c1^\markup { \hspace #-2.0 \typewriter numbered }
2630 \override Staff.TimeSignature #'style = #'mensural
2632 c1^\markup { \hspace #-2.0 \typewriter mensural }
2634 \override Staff.TimeSignature #'style = #'neomensural
2636 c1^\markup { \hspace #-2.0 \typewriter neomensural }
2637 \override Staff.TimeSignature #'style = #'single-digit
2639 c1^\markup { \hspace #-2.0 \typewriter single-digit }
2645 This manual: @ref{Time signature} gives a general introduction to
2646 the use of time signatures.
2650 Ratios of note durations do not change with the time signature. For
2651 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
2652 be made by hand, by setting
2655 breveTP = #(ly:make-duration -1 0 3 2)
2661 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
2663 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
2664 addressable with @code{\time}. Use a @code{\markup} instead
2666 @node Ancient articulations
2667 @subsection Ancient articulations
2669 @cindex articulations
2671 In addition to the standard articulation signs described in section
2672 @ref{Articulations}, articulation signs for ancient notation are
2673 provided. These are specifically designed for use with notation in
2674 Editio Vaticana style.
2676 @lilypond[quote,raggedright,verbatim]
2677 \include "gregorian-init.ly"
2679 \context VaticanaVoice {
2680 \override Staff.StaffSymbol #'color = #red
2681 \override Staff.LedgerLineSpanner #'color = #red
2682 \override TextScript #'font-family = #'typewriter
2683 \override TextScript #'font-shape = #'upright
2684 \override Script #'padding = #-0.1
2686 a4\circulus_"circulus" s1
2687 a4\semicirculus_"semicirculus" s1 s
2688 a4\accentus_"accentus" s1
2689 \[ a4_"episem" \episemInitium \pes b \flexa a \episemFinis \]
2696 Some articulations are vertically placed too closely to the
2697 correpsonding note heads.
2700 @subsection Custodes
2705 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
2706 symbol that appears at the end of a staff. It anticipates the pitch
2707 of the first note(s) of the following line thus helping the performer
2708 to manage line breaks during performance.
2710 Custodes were frequently used in music notation until the 17th
2711 century. Nowadays, they have survived only in a few particular forms
2712 of musical notation such as contemporary editions of Gregorian chant
2713 like the @emph{editio vaticana}. There are different custos glyphs
2714 used in different flavors of notational style.
2716 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
2717 @internalsref{Staff} context when declaring the @code{\layout} block,
2718 as shown in the following example
2724 \consists Custos_engraver
2725 Custos \override #'style = #'mensural
2730 The result looks like this
2732 @lilypond[quote,raggedright]
2736 \override Staff.Custos #'style = #'mensural
2741 \context { \Staff \consists Custos_engraver }
2746 The custos glyph is selected by the @code{style} property. The styles
2747 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
2748 @code{mensural}. They are demonstrated in the following fragment
2750 @lilypond[quote,raggedright,fragment]
2751 \new Lyrics \lyricmode {
2753 \typewriter "vaticana"
2754 \line { " " \musicglyph #"custodes.vaticana.u0" }
2757 \typewriter "medicaea"
2758 \line { " " \musicglyph #"custodes.medicaea.u0" }
2761 \typewriter "hufnagel"
2762 \line { " " \musicglyph #"custodes.hufnagel.u0" }
2765 \typewriter "mensural"
2766 \line { " " \musicglyph #"custodes.mensural.u0" }
2773 Program reference: @internalsref{Custos}.
2775 Examples: @inputfileref{input/@/regression,custos@/.ly}.
2779 @subsection Divisiones
2785 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
2786 `division') is a staff context symbol that is used to structure
2787 Gregorian music into phrases and sections. The musical meaning of
2788 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
2789 can be characterized as short, medium, and long pause, somewhat like
2790 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
2791 only marks the end of a chant, but is also frequently used within a
2792 single antiphonal/responsorial chant to mark the end of each section.
2795 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
2796 contains definitions that you can apply by just inserting
2797 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
2798 and @code{\finalis} at proper places in the input. Some editions use
2799 @emph{virgula} or @emph{caesura} instead of divisio minima.
2800 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
2803 @lilypondfile[quote,raggedright]{divisiones.ly}
2807 @cindex @code{\virgula}
2809 @cindex @code{\caesura}
2811 @cindex @code{\divisioMinima}
2812 @code{\divisioMinima},
2813 @cindex @code{\divisioMaior}
2814 @code{\divisioMaior},
2815 @cindex @code{\divisioMaxima}
2816 @code{\divisioMaxima},
2817 @cindex @code{\finalis}
2822 In this manual: @ref{Breath marks}.
2824 Program reference: @internalsref{BreathingSign}.
2826 Examples: @inputfileref{input/@/test,divisiones@/.ly}.
2829 @subsection Ligatures
2833 @c TODO: Should double check if I recalled things correctly when I wrote
2834 @c down the following paragraph by heart.
2836 A ligature is a graphical symbol that represents at least two distinct
2837 notes. Ligatures originally appeared in the manuscripts of Gregorian
2838 chant notation to denote ascending or descending sequences of notes.
2840 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
2841 Some ligature styles may need additional input syntax specific for
2842 this particular type of ligature. By default, the
2843 @internalsref{LigatureBracket} engraver just puts a square bracket
2846 @lilypond[quote,raggedright,verbatim]
2854 To select a specific style of ligatures, a proper ligature engraver
2855 has to be added to the @internalsref{Voice} context, as explained in
2856 the following subsections. Only white mensural ligatures
2857 are supported with certain limitations.
2863 Ligatures need special spacing that has not yet been implemented. As
2864 a result, there is too much space between ligatures most of the time,
2865 and line breaking often is unsatisfactory. Also, lyrics do not
2866 correctly align with ligatures.
2868 Accidentals must not be printed within a ligature, but instead need to
2869 be collected and printed in front of it.
2871 Augmentum dots within ligatures are not handled correctly.
2873 The syntax still uses the deprecated infix style @code{\[ music expr
2874 \]}. For consistency reasons, it will eventually be changed to
2875 postfix style @code{note\[ ... note\]}. Alternatively, the file
2876 @file{gregorian@/-init@/.ly} can be included; it provides a scheme
2879 \ligature @var{music expr}
2881 with the same effect and is believed to be stable.
2884 * White mensural ligatures::
2885 * Gregorian square neumes ligatures::
2888 @node White mensural ligatures
2889 @subsubsection White mensural ligatures
2891 @cindex Mensural ligatures
2892 @cindex White mensural ligatures
2894 There is limited support for white mensural ligatures.
2896 To engrave white mensural ligatures, in the layout block put the
2897 @internalsref{Mensural_ligature_engraver} into the
2898 @internalsref{Voice} context, and remove the
2899 @internalsref{Ligature_bracket_engraver}, like this
2905 \remove Ligature_bracket_engraver
2906 \consists Mensural_ligature_engraver
2911 There is no additional input language to describe the shape of a
2912 white mensural ligature. The shape is rather determined solely from
2913 the pitch and duration of the enclosed notes. While this approach may
2914 take a new user a while to get accustomed to, it has the great advantage
2915 that the full musical information of the ligature is known internally.
2916 This is not only required for correct MIDI output, but also allows for
2917 automatic transcription of the ligatures.
2922 \set Score.timing = ##f
2923 \set Score.defaultBarType = "empty"
2924 \override NoteHead #'style = #'neomensural
2925 \override Staff.TimeSignature #'style = #'neomensural
2929 \[ d\longa c\breve f e d \]
2931 \[ c'\maxima d'\longa \]
2935 @lilypond[quote,raggedright]
2938 \set Score.timing = ##f
2939 \set Score.defaultBarType = "empty"
2940 \override NoteHead #'style = #'neomensural
2941 \override Staff.TimeSignature #'style = #'neomensural
2945 \[ d\longa c\breve f e d \]
2947 \[ c'\maxima d'\longa \]
2954 \remove Ligature_bracket_engraver
2955 \consists Mensural_ligature_engraver
2961 Without replacing @internalsref{Ligature_bracket_engraver} with
2962 @internalsref{Mensural_ligature_engraver}, the same music transcribes
2965 @lilypond[quote,raggedright]
2967 \set Score.timing = ##f
2968 \set Score.defaultBarType = "empty"
2969 \override NoteHead #'style = #'neomensural
2970 \override Staff.TimeSignature #'style = #'neomensural
2974 \[ d\longa c\breve f e d \]
2976 \[ c'\maxima d'\longa \]
2984 The invisible rests (@code{s4}) in the example are used to compensate
2985 for the poor horizontal spacing.
2987 @node Gregorian square neumes ligatures
2988 @subsubsection Gregorian square neumes ligatures
2990 @cindex Square neumes ligatures
2991 @cindex Gregorian square neumes ligatures
2993 There is limited support for Gregorian square neumes notation
2994 (following the style of the Editio Vaticana). Core ligatures can
2995 already be typeset, but essential issues for serious typesetting are
2996 still lacking, such as (among others) horizontal alignment of multiple
2997 ligatures, lyrics alignment and proper handling of accidentals.
3000 The following table contains the extended neumes table of the 2nd
3001 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
3002 1983 by the monks of Solesmes.
3004 @multitable @columnfractions .4 .2 .2 .2
3021 @c TODO: \layout block is identical in all of the below examples.
3022 @c Therefore, it should somehow be included rather than duplicated all
3025 @c why not make identifiers in ly/engraver-init.ly? --hwn
3027 @c Because it's just used to typeset plain notes without
3028 @c a staff for demonstration purposes rather than something
3029 @c special of Gregorian chant notation. --jr
3034 @lilypond[staffsize=26,linewidth=1.5\cm]
3035 \include "gregorian-init.ly"
3040 \noBreak s^\markup {"a"} \noBreak
3042 % Punctum Inclinatum
3044 \noBreak s^\markup {"b"}
3046 \layout { \neumeDemoLayout }}
3049 @lilypond[staffsize=26,linewidth=2.5\cm]
3050 \include "gregorian-init.ly"
3053 % Punctum Auctum Ascendens
3054 \[ \auctum \ascendens b \]
3055 \noBreak s^\markup {"c"} \noBreak
3057 % Punctum Auctum Descendens
3058 \[ \auctum \descendens b \]
3059 \noBreak s^\markup {"d"} \noBreak
3061 % Punctum Inclinatum Auctum
3062 \[ \inclinatum \auctum b \]
3063 \noBreak s^\markup {"e"}
3065 \layout { \neumeDemoLayout }}
3068 @lilypond[staffsize=26,linewidth=1.0\cm]
3069 \include "gregorian-init.ly"
3072 % Punctum Inclinatum Parvum
3073 \[ \inclinatum \deminutum b \]
3074 \noBreak s^\markup {"f"}
3076 \layout { \neumeDemoLayout }}
3082 @lilypond[staffsize=26,linewidth=1.0\cm]
3083 \include "gregorian-init.ly"
3088 \noBreak s^\markup {"g"}
3090 \layout { \neumeDemoLayout }}
3096 @code{3. Apostropha vel Stropha}
3098 @lilypond[staffsize=26,linewidth=1.0\cm]
3099 \include "gregorian-init.ly"
3104 \noBreak s^\markup {"h"}
3106 \layout { \neumeDemoLayout }}
3109 @lilypond[staffsize=26,linewidth=1.0\cm]
3110 \include "gregorian-init.ly"
3114 \[ \stropha \auctum b \]
3115 \noBreak s^\markup {"i"}
3117 \layout { \neumeDemoLayout }}
3124 @lilypond[staffsize=26,linewidth=1.0\cm]
3125 \include "gregorian-init.ly"
3130 \noBreak s^\markup {"j"}
3132 \layout { \neumeDemoLayout }}
3138 @code{5. Clivis vel Flexa}
3140 @lilypond[staffsize=26,linewidth=1.0\cm]
3141 \include "gregorian-init.ly"
3148 \layout { \neumeDemoLayout }}
3151 @lilypond[staffsize=26,linewidth=2.0\cm]
3152 \include "gregorian-init.ly"
3155 % Clivis Aucta Descendens
3156 \[ b \flexa \auctum \descendens g \]
3157 \noBreak s^\markup {"l"} \noBreak
3159 % Clivis Aucta Ascendens
3160 \[ b \flexa \auctum \ascendens g \]
3161 \noBreak s^\markup {"m"}
3163 \layout { \neumeDemoLayout }}
3166 @lilypond[staffsize=26,linewidth=1.0\cm]
3167 \include "gregorian-init.ly"
3171 \[ b \flexa \deminutum g \]
3174 \layout { \neumeDemoLayout }}
3178 @code{6. Podatus vel Pes}
3180 @lilypond[staffsize=26,linewidth=1.0\cm]
3181 \include "gregorian-init.ly"
3188 \layout { \neumeDemoLayout }}
3191 @lilypond[staffsize=26,linewidth=2.0\cm]
3192 \include "gregorian-init.ly"
3195 % Pes Auctus Descendens
3196 \[ g \pes \auctum \descendens b \]
3197 \noBreak s^\markup {"p"} \noBreak
3199 % Pes Auctus Ascendens
3200 \[ g \pes \auctum \ascendens b \]
3201 \noBreak s^\markup {"q"}
3203 \layout { \neumeDemoLayout }}
3206 @lilypond[staffsize=26,linewidth=1.0\cm]
3207 \include "gregorian-init.ly"
3211 \[ g \pes \deminutum b \]
3214 \layout { \neumeDemoLayout }}
3218 @code{7. Pes Quassus}
3220 @lilypond[staffsize=26,linewidth=1.0\cm]
3221 \include "gregorian-init.ly"
3225 \[ \oriscus g \pes \virga b \]
3228 \layout { \neumeDemoLayout }}
3231 @lilypond[staffsize=26,linewidth=1.0\cm]
3232 \include "gregorian-init.ly"
3235 % Pes Quassus Auctus Descendens
3236 \[ \oriscus g \pes \auctum \descendens b \]
3239 \layout { \neumeDemoLayout }}
3244 @code{8. Quilisma Pes}
3246 @lilypond[staffsize=26,linewidth=1.0\cm]
3247 \include "gregorian-init.ly"
3251 \[ \quilisma g \pes b \]
3254 \layout { \neumeDemoLayout }}
3257 @lilypond[staffsize=26,linewidth=1.0\cm]
3258 \include "gregorian-init.ly"
3261 % Quilisma Pes Auctus Descendens
3262 \[ \quilisma g \pes \auctum \descendens b \]
3265 \layout { \neumeDemoLayout }}
3270 @code{9. Podatus Initio Debilis}
3272 @lilypond[staffsize=26,linewidth=1.0\cm]
3273 \include "gregorian-init.ly"
3276 % Pes Initio Debilis
3277 \[ \deminutum g \pes b \]
3280 \layout { \neumeDemoLayout }}
3283 @lilypond[staffsize=26,linewidth=1.0\cm]
3284 \include "gregorian-init.ly"
3287 % Pes Auctus Descendens Initio Debilis
3288 \[ \deminutum g \pes \auctum \descendens b \]
3291 \layout { \neumeDemoLayout }}
3298 @lilypond[staffsize=26,linewidth=1.0\cm]
3299 \include "gregorian-init.ly"
3303 \[ a \pes b \flexa g \]
3306 \layout { \neumeDemoLayout }}
3309 @lilypond[staffsize=26,linewidth=1.0\cm]
3310 \include "gregorian-init.ly"
3313 % Torculus Auctus Descendens
3314 \[ a \pes b \flexa \auctum \descendens g \]
3317 \layout { \neumeDemoLayout }}
3320 @lilypond[staffsize=26,linewidth=1.0\cm]
3321 \include "gregorian-init.ly"
3324 % Torculus Deminutus
3325 \[ a \pes b \flexa \deminutum g \]
3328 \layout { \neumeDemoLayout }}
3332 @code{11. Torculus Initio Debilis}
3334 @lilypond[staffsize=26,linewidth=1.0\cm]
3335 \include "gregorian-init.ly"
3338 % Torculus Initio Debilis
3339 \[ \deminutum a \pes b \flexa g \]
3342 \layout { \neumeDemoLayout }}
3345 @lilypond[staffsize=26,linewidth=1.0\cm]
3346 \include "gregorian-init.ly"
3349 % Torculus Auctus Descendens Initio Debilis
3350 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
3353 \layout { \neumeDemoLayout }}
3356 @lilypond[staffsize=26,linewidth=1.0\cm]
3357 \include "gregorian-init.ly"
3360 % Torculus Deminutus Initio Debilis
3361 \[ \deminutum a \pes b \flexa \deminutum g \]
3364 \layout { \neumeDemoLayout }}
3368 @code{12. Porrectus}
3370 @lilypond[staffsize=26,linewidth=1.0\cm]
3371 \include "gregorian-init.ly"
3375 \[ a \flexa g \pes b \]
3378 \layout { \neumeDemoLayout }}
3381 @lilypond[staffsize=26,linewidth=1.0\cm]
3382 \include "gregorian-init.ly"
3385 % Porrectus Auctus Descendens
3386 \[ a \flexa g \pes \auctum \descendens b \]
3389 \layout { \neumeDemoLayout }}
3392 @lilypond[staffsize=26,linewidth=1.0\cm]
3393 \include "gregorian-init.ly"
3396 % Porrectus Deminutus
3397 \[ a \flexa g \pes \deminutum b \]
3400 \layout { \neumeDemoLayout }}
3406 @lilypond[staffsize=26,linewidth=1.0\cm]
3407 \include "gregorian-init.ly"
3411 \[ \virga b \inclinatum a \inclinatum g \]
3414 \layout { \neumeDemoLayout }
3418 @lilypond[staffsize=26,linewidth=1.0\cm]
3419 \include "gregorian-init.ly"
3423 \[ \virga b \inclinatum a \inclinatum \auctum g \]
3426 \layout { \neumeDemoLayout }}
3429 @lilypond[staffsize=26,linewidth=1.0\cm]
3430 \include "gregorian-init.ly"
3433 % Climacus Deminutus
3434 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
3437 \layout { \neumeDemoLayout }}
3441 @code{14. Scandicus}
3443 @lilypond[staffsize=26,linewidth=1.0\cm]
3444 \include "gregorian-init.ly"
3448 \[ g \pes a \virga b \]
3451 \layout { \neumeDemoLayout }}
3454 @lilypond[staffsize=26,linewidth=1.0\cm]
3455 \include "gregorian-init.ly"
3458 % Scandicus Auctus Descendens
3459 \[ g \pes a \pes \auctum \descendens b \]
3462 \layout { \neumeDemoLayout }}
3465 @lilypond[staffsize=26,linewidth=1.0\cm]
3466 \include "gregorian-init.ly"
3469 % Scandicus Deminutus
3470 \[ g \pes a \pes \deminutum b \]
3473 \layout { \neumeDemoLayout }}
3479 @lilypond[staffsize=26,linewidth=1.0\cm]
3480 \include "gregorian-init.ly"
3484 \[ g \oriscus a \pes \virga b \]
3487 \layout { \neumeDemoLayout }}
3490 @lilypond[staffsize=26,linewidth=1.0\cm]
3491 \include "gregorian-init.ly"
3494 % Salicus Auctus Descendens
3495 \[ g \oriscus a \pes \auctum \descendens b \]
3498 \layout { \neumeDemoLayout }}
3505 @lilypond[staffsize=26,linewidth=1.0\cm]
3506 \include "gregorian-init.ly"
3510 \[ \stropha b \stropha b \stropha a \]
3513 \layout { \neumeDemoLayout }
3522 Unlike most other neumes notation systems, the input language for
3523 neumes does not reflect the typographical appearance, but is designed
3524 to focus on musical meaning. For example, @code{\[ a \pes b
3525 \flexa g \]} produces a Torculus consisting of three Punctum heads,
3526 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
3527 curved flexa shape and only a single Punctum head. There is no
3528 command to explicitly typeset the curved flexa shape; the decision of
3529 when to typeset a curved flexa shape is based on the musical
3530 input. The idea of this approach is to separate the musical aspects
3531 of the input from the notation style of the output. This way, the
3532 same input can be reused to typeset the same music in a different
3533 style of Gregorian chant notation.
3535 The following table shows the code fragments that produce the
3536 ligatures in the above neumes table. The letter in the first column
3537 in each line of the below table indicates to which ligature in the
3538 above table it refers. The second column gives the name of the
3539 ligature. The third column shows the code fragment that produces this
3540 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
3542 @multitable @columnfractions .02 .31 .67
3562 @code{\[ \inclinatum b \]}
3570 @code{\[ \auctum \ascendens b \]}
3578 @code{\[ \auctum \descendens b \]}
3583 Punctum Inclinatum@*
3586 @code{\[ \inclinatum \auctum b \]}
3591 Punctum Inclinatum@*
3593 @code{\[ \inclinatum \deminutum b \]}
3600 @code{\[ \virga b \]}
3607 @code{\[ \stropha b \]}
3614 @code{\[ \stropha \auctum b \]}
3621 @code{\[ \oriscus b \]}
3628 @code{\[ b \flexa g \]}
3636 @code{\[ b \flexa \auctum \descendens g \]}
3644 @code{\[ b \flexa \auctum \ascendens g \]}
3651 @code{\[ b \flexa \deminutum g \]}
3658 @code{\[ g \pes b \]}
3666 @code{\[ g \pes \auctum \descendens b \]}
3674 @code{\[ g \pes \auctum \ascendens b \]}
3681 @code{\[ g \pes \deminutum b \]}
3688 @code{\[ \oriscus g \pes \virga b \]}
3694 Auctus Descendens @tab
3695 @code{\[ \oriscus g \pes \auctum \descendens b \]}
3702 @code{\[ \quilisma g \pes b \]}
3710 @code{\[ \quilisma g \pes \auctum \descendens b \]}
3717 @code{\[ \deminutum g \pes b \]}
3722 Pes Auctus Descendens@*
3725 @code{\[ \deminutum g \pes \auctum \descendens b \]}
3732 @code{\[ a \pes b \flexa g \]}
3740 @code{\[ a \pes b \flexa \auctum \descendens g \]}
3747 @code{\[ a \pes b \flexa \deminutum g \]}
3752 Torculus Initio Debilis
3754 @code{\[ \deminutum a \pes b \flexa g \]}
3760 Descendens Initio Debilis
3762 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
3767 Torculus Deminutus@*
3770 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
3777 @code{\[ a \flexa g \pes b \]}
3785 @code{\[ a \flexa g \pes \auctum \descendens b \]}
3792 @code{\[ a \flexa g \pes \deminutum b \]}
3799 @code{\[ \virga b \inclinatum a \inclinatum g \]}
3806 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
3813 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
3820 @code{\[ g \pes a \virga b \]}
3828 @code{\[ g \pes a \pes \auctum \descendens b \]}
3835 @code{\[ g \pes a \pes \deminutum b \]}
3842 @code{\[ g \oriscus a \pes \virga b \]}
3847 Salicus Auctus Descendens
3849 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
3856 @code{\[ \stropha b \stropha b \stropha a \]}
3861 The following head prefixes are supported
3863 @cindex @code{\virga}
3865 @cindex @code{\stropha}
3867 @cindex @code{\inclinatum}
3869 @cindex @code{\auctum}
3871 @cindex @code{\descendens}
3873 @cindex @code{\ascendens}
3875 @cindex @code{\oriscus}
3877 @cindex @code{\quilisma}
3879 @cindex @code{\deminutum}
3882 Head prefixes can be accumulated, though restrictions apply. For
3883 example, either @code{\descendens} or @code{\ascendens} can be applied
3884 to a head, but not both to the same head.
3887 @cindex @code{\flexa}
3888 Two adjacent heads can be tied together with the @code{\pes} and
3889 @code{\flexa} infix commands for a rising and falling line of melody,
3894 @node Gregorian Chant contexts
3895 @subsection Gregorian Chant contexts
3897 @cindex VaticanaVoiceContext
3898 @cindex VaticanaStaffContext
3900 The predefined @code{VaticanaVoiceContext} and
3901 @code{VaticanaStaffContext} can be used to engrave a piece of
3902 Gregorian Chant in the style of the Editio Vaticana. These contexts
3903 initialize all relevant context properties and grob properties to
3904 proper values, so you can immediately go ahead entering the chant, as
3905 the following excerpt demonstrates
3907 @lilypond[quote,raggedright,packed,verbatim]
3908 \include "gregorian-init.ly"
3911 \context VaticanaVoice = "cantus" {
3912 \override Staff.StaffSymbol #'color = #red
3913 \override Staff.LedgerLineSpanner #'color = #red
3914 \override Score.BarNumber #'transparent = ##t {
3915 \[ c'\melisma c' \flexa a \]
3916 \[ a \flexa \deminutum g\melismaEnd \]
3918 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
3919 c' \divisioMinima \break
3920 \[ c'\melisma c' \flexa a \]
3921 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
3924 \lyricsto "cantus" \new Lyrics {
3925 San- ctus, San- ctus, San- ctus
3932 @node Mensural contexts
3933 @subsection Mensural contexts
3935 @cindex MensuralVoiceContext
3936 @cindex MensuralStaffContext
3938 The predefined @code{MensuralVoiceContext} and
3939 @code{MensuralStaffContext} can be used to engrave a piece in mensural
3940 style. These contexts initialize all relevant context properties and
3941 grob properties to proper values, so you can immediately go ahead
3942 entering the chant, as the following excerpt demonstrates
3944 @lilypond[quote,raggedright,verbatim]
3947 \context MensuralVoice = "discantus" \transpose c c' {
3948 \override Score.BarNumber #'transparent = ##t {
3949 c'1\melisma bes a g\melismaEnd
3951 \[ f1\melisma a c'\breve d'\melismaEnd \]
3953 c'\breve\melisma a1 g1\melismaEnd
3954 fis\longa^\signumcongruentiae
3957 \lyricsto "discantus" \new Lyrics {
3958 San -- ctus, San -- ctus, San -- ctus
3964 @node Musica ficta accidentals
3965 @subsection Musica ficta accidentals
3967 In European music from before about 1600, singers were often expected
3968 to chromatically alter notes at their own initiative. This is called
3969 ``Musica Ficta''. In modern transcriptions, these accidentals are
3970 usually printed over the note.
3972 @cindex Musica ficta
3974 Support for such suggested accidentals is included, and can be
3975 switched on by setting @code{suggestAccidentals} to true.
3977 @cindex @code{suggestAccidentals}
3979 @lilypond[verbatim,fragment,relative=1]
3981 \set suggestAccidentals = ##t
3987 Program reference: @internalsref{Accidental_engraver} engraver and the
3988 @internalsref{AccidentalSuggestion} object.
3991 @subsection Figured bass
3993 @cindex Basso continuo
3995 @c TODO: musicological blurb about FB
3998 LilyPond has support for figured bass
4000 @lilypond[quote,raggedright,verbatim,fragment]
4002 \context Voice { \clef bass dis4 c d ais g fis}
4003 \context FiguredBass \figuremode {
4004 < 6 >4 < 7\+ >8 < 6+ [_!] >
4011 The support for figured bass consists of two parts: there is an input
4012 mode, introduced by @code{\figuremode}, where you can enter bass figures
4013 as numbers, and there is a context called @internalsref{FiguredBass} that
4014 takes care of making @internalsref{BassFigure} objects.
4016 In figures input mode, a group of bass figures is delimited by
4017 @code{<} and @code{>}. The duration is entered after the @code{>}
4021 @lilypond[quote,raggedright,fragment]
4022 \context FiguredBass
4023 \figuremode { <4 6> }
4026 Accidentals are added when you append @code{-}, @code{!}, and @code{+}
4027 to the numbers. A plus sign is added when you append @code{\+}, and
4028 diminished fifths and sevenths can be obtained with @code{5/} and @code{7/}.
4031 <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/>
4033 @lilypond[quote,raggedright,fragment]
4034 \figures { <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/> }
4037 Spaces may be inserted by using @code{_}. Brackets are
4038 introduced with @code{[} and @code{]}. You can also include text
4039 strings and text markups, see @ref{Overview of text markup commands}.
4042 < [4 6] 8 [_! 12] > < 5 \markup @{ \number 6 \super (1) @} >
4044 @lilypond[quote,raggedright,fragment]
4045 \context FiguredBass
4046 \figuremode { < [4 6] 8 [_! 12] > < 5 \markup{ \tiny \number 6 \super (1)} > }
4050 It is also possible to use continuation lines for repeated figures,
4052 @lilypond[verbatim,relative=1]
4059 \set useBassFigureExtenders = ##t
4066 In this case, the extender lines always replace existing figures.
4068 The @code{FiguredBass} context doesn't pay attention to the actual
4069 bass line. As a consequence, you may have to insert extra figures to
4070 get extender lines below all notes, and you may have to add @code{\!}
4071 to avoid getting an extender line, eg.
4073 @lilypond[relative=1]
4077 \set useBassFigureExtenders = ##t
4078 <6 4->4. <6 4->16. <6 4->32 <5>8. r16 <6>8 <6\! 5->
4082 f16. g32 f16. g32 f16. g32 f16. g32 f8. es16 d8 es
4087 When using continuation lines, common figures are always put in the
4088 same vertical position. When this is unwanted, you can insert a rest
4089 with @code{r}. The rest will clear any previous alignment. For
4090 example, you can write
4102 Accidentals and plus signs can appear before or after the numbers,
4103 depending on the @code{figuredBassAlterationDirection} and @code{figuredBassPlusDirection}
4109 \set figuredBassAlterationDirection = #1
4111 \set figuredBassPlusDirection = #1
4113 \set figuredBassAlterationDirection = #-1
4119 Although the support for figured bass may superficially resemble chord
4120 support, it is much simpler. The @code{\figuremode} mode simply
4121 stores the numbers and @internalsref{FiguredBass} context prints them
4122 as entered. There is no conversion to pitches and no realizations of
4123 the bass are played in the MIDI file.
4125 Internally, the code produces markup texts. You can use any of the
4126 markup text properties to override formatting. For example, the
4127 vertical spacing of the figures may be set with @code{baseline-skip}.
4131 Program reference: @internalsref{NewBassFigure},
4132 @internalsref{BassFigureAlignment}, @internalsref{BassFigureLine},
4133 @internalsref{BassFigureBracket}, and
4134 @internalsref{BassFigureContinuation} objects and
4135 @internalsref{FiguredBass} context.
4139 @node Other instrument specific notation
4140 @section Other instrument specific notation
4142 This section includes extra information for writing for instruments.
4145 * Artificial harmonics (strings)::
4148 @node Artificial harmonics (strings)
4149 @subsection Artificial harmonics (strings)
4151 @cindex artificial harmonics
4153 Artificial harmonics are notated with a different notehead style. They
4154 are entered by marking the harmonic pitch with @code{\harmonic}.
4156 @lilypond[raggedright,verbatim,quote,fragment,relative=1]