1 @c -*- coding: latin-1; 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.
20 * Other instrument specific notation::
28 Piano staves are two normal staves coupled with a brace. The staves
29 are largely independent, but sometimes voices can cross between the
30 two staves. The same notation is also used for harps and other key
31 @c Is this `harp' or `harpsichord'?
33 instruments. The @internalsref{PianoStaff} is especially built to
34 handle this cross-staffing behavior. In this section we discuss the
35 @internalsref{PianoStaff} and some other pianistic peculiarities.
39 * Automatic staff changes::
40 * Manual staff switches::
42 * Staff switch lines::
48 Dynamics are not centered, but workarounds do exist. See the
49 ``piano centered dynamics'' template in @ref{Piano templates}.
51 @cindex cross staff stem
52 @cindex stem, cross staff
53 @cindex distance between staves in piano music
55 The distance between the two staves is the same for all systems in the
56 score. It is possible to override this per system, but it does require
57 an arcane command incantation. See
58 @inputfileref{input/@/test,piano@/-staff@/-distance@/.ly}.
61 @node Automatic staff changes
62 @subsection Automatic staff changes
63 @cindex Automatic staff changes
65 Voices can be made to switch automatically between the top and the bottom
66 staff. The syntax for this is
70 \autochange @dots{}@var{music}@dots{}
75 This will create two staves inside the current PianoStaff, called
76 @code{up} and @code{down}. The lower staff will be in bass clef by
79 A @code{\relative} section that is outside of @code{\autochange} has
80 no effect on the pitches of @var{music}, so, if necessary, put
81 @code{\relative} inside @code{\autochange} like
85 \autochange \relative @dots{} @dots{}
90 The autochanger switches on basis of the pitch (middle C is the turning
91 point), and it looks ahead skipping over rests to switch in
92 advance. Here is a practical example
94 @lilypond[quote,verbatim,raggedright]
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}.
119 Internally, the @code{\partcombine} interprets both arguments as
120 @code{Voice}s named @code{one} and @code{two}, and then decides when
121 the parts can be combined. Consequently, if the arguments switch to
122 differently named @internalsref{Voice} contexts, the events in those
126 @node Manual staff switches
127 @subsection Manual staff switches
129 @cindex manual staff switches
130 @cindex staff switch, manual
132 Voices can be switched between staves manually, using the command
134 \change Staff = @var{staffname} @var{music}
138 The string @var{staffname} is the name of the staff. It switches the
139 current voice from its current staff to the Staff called
140 @var{staffname}. Typically @var{staffname} is @code{"up"} or
141 @code{"down"}. The @context{Staff} referred to must already exist, so
142 usually the setup for a score will start with a setup of the staves,
146 \context Staff = up @{
147 \skip 1 * 10 % @emph{keep staff alive}
149 \context Staff = down @{
150 \skip 1 * 10 % @emph{idem}
156 and the @context{Voice} is inserted afterwards
159 \context Staff = down
160 \new Voice @{ @dots{} \change Staff = up @dots{} @}
168 Pianos have pedals that alter the way sound is produced. Generally, a
169 piano has three pedals, sustain, una corda, and sostenuto.
172 Piano pedal instruction can be expressed by attaching
173 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
174 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
177 @lilypond[quote,raggedright,fragment,verbatim]
178 c'4\sustainDown c'4\sustainUp
181 What is printed can be modified by setting @code{pedal@var{X}Strings},
182 where @var{X} is one of the pedal types: @code{Sustain},
183 @code{Sostenuto} or @code{UnaCorda}. Refer to
184 @internalsref{SustainPedal} in the program reference for more
187 Pedals can also be indicated by a sequence of brackets, by setting the
188 @code{pedalSustainStyle} property to bracket objects
190 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
191 \set Staff.pedalSustainStyle = #'bracket
193 b\sustainUp\sustainDown
194 b g \sustainUp a \sustainDown \bar "|."
197 A third style of pedal notation is a mixture of text and brackets,
198 obtained by setting the @code{pedalSustainStyle} property to
201 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
202 \set Staff.pedalSustainStyle = #'mixed
204 b\sustainUp\sustainDown
205 b g \sustainUp a \sustainDown \bar "|."
208 The default `*Ped.' style for sustain and damper pedals corresponds to
209 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
212 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
213 c\sostenutoDown d e c, f g a\sostenutoUp
216 For fine-tuning the appearance of a pedal bracket, the properties
217 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
218 @code{PianoPedalBracket} objects (see
219 @internalsref{PianoPedalBracket} in the Program reference) can be
220 modified. For example, the bracket may be extended to the right edge
223 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
224 \override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
225 c\sostenutoDown d e c, f g a\sostenutoUp
228 @node Staff switch lines
229 @subsection Staff switch lines
233 @cindex staff switching
236 @cindex @code{followVoice}
238 Whenever a voice switches to another staff, a line connecting the notes
239 can be printed automatically. This is switched on by setting
240 @code{followVoice} to true
242 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
245 \set followVoice = ##t
250 \context Staff=two { \clef bass \skip 1*2 }
256 Program reference: @internalsref{VoiceFollower}.
260 @cindex @code{\showStaffSwitch}
261 @code{\showStaffSwitch},
262 @cindex @code{\hideStaffSwitch}
263 @code{\hideStaffSwitch}.
266 @node Cross staff stems
267 @subsection Cross staff stems
269 Chords that cross staves may be produced by increasing the length
270 of the stem in the lower staff, so it reaches the stem in the upper
271 staff, or vice versa.
273 @lilypond[raggedright,verbatim,quote]
274 stemExtend = \once \override Stem #'length = #22
275 noFlag = \once \override Stem #'flag-style = #'no-flag
276 \context PianoStaff <<
278 \stemDown \stemExtend
295 * Introducing chord names::
297 * Printing chord names::
301 @c awkward name; awkward section name.
302 @c still, the Basic "chords" seems like a good name... :(
303 @node Introducing chord names
304 @subsection Introducing chord names
307 LilyPond has support for printing chord names. Chords may be entered
308 in musical chord notation, i.e., @code{< .. >}, but they can also be
309 entered by name. Internally, the chords are represented as a set of
310 pitches, so they can be transposed
313 @lilypond[quote,raggedright,verbatim,raggedright]
314 twoWays = \transpose c c' {
323 << \context ChordNames \twoWays
324 \context Voice \twoWays >>
327 This example also shows that the chord printing routines do not try to
328 be intelligent. The last chord (@code{f bes d}) is not interpreted as
333 @subsection Chords mode
336 In chord mode sets of pitches (chords) are entered with normal note
337 names. A chord is entered by the root, which is entered like a
340 @lilypond[quote,raggedright,fragment,verbatim]
341 \chordmode { es4. d8 c2 }
345 The mode is introduced by the keyword @code{\chordmode}.
350 Other chords may be entered by suffixing a colon and introducing a
351 modifier (which may include a number if desired)
352 @lilypond[quote,fragment,verbatim]
353 \chordmode { e1:m e1:7 e1:m7 }
355 The first number following the root is taken to be the `type' of the
356 chord, thirds are added to the root until it reaches the specified
358 @lilypond[quote,fragment,verbatim]
359 \chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
362 @cindex root of chord
363 @cindex additions, in chords
364 @cindex removals, in chords
366 More complex chords may also be constructed adding separate steps
367 to a chord. Additions are added after the number following
368 the colon and are separated by dots
369 @lilypond[quote,verbatim,fragment]
370 \chordmode { c:5.6 c:3.7.8 c:3.6.13 }
372 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
374 @lilypond[quote,verbatim,fragment]
375 \chordmode { c:7+ c:5+.3- c:3-.5-.7- }
377 Removals are specified similarly and are introduced by a caret. They
378 must come after the additions
379 @lilypond[quote,verbatim,fragment]
380 \chordmode { c^3 c:7^5 c:9^3.5 }
383 Modifiers can be used to change pitches. The following modifiers are
388 The minor chord. This modifier lowers the 3rd and (if present) the 7th step.
391 The diminished chord. This modifier lowers the 3rd, 5th and (if present)
395 The augmented chord. This modifier raises the 5th step.
398 The major 7th chord. This modifier raises the 7th step if present.
401 The suspended 4th or 2nd. This modifier removes the 3rd
402 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
406 Modifiers can be mixed with additions
407 @lilypond[quote,verbatim,fragment]
408 \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
411 @cindex modifiers, in chords.
418 Since an unaltered 11 does not sound good when combined with an
419 unaltered 3, the 11 is removed in this case (unless it is added
421 @lilypond[quote,raggedright,fragment,verbatim]
422 \chordmode { c:13 c:13.11 c:m13 }
427 An inversion (putting one pitch of the chord on the bottom), as well
428 as bass notes, can be specified by appending
429 @code{/}@var{pitch} to the chord
430 @lilypond[quote,raggedright,fragment,verbatim]
431 \chordmode { c1 c/g c/f }
435 A bass note can be added instead transposed out of the chord,
436 by using @code{/+}@var{pitch}.
438 @lilypond[quote,raggedright,fragment,verbatim]
439 \chordmode { c1 c/+g c/+f }
442 Chords is a mode similar to @code{\lyricmode}, etc. Most
443 of the commands continue to work, for example, @code{r} and
444 @code{\skip} can be used to insert rests and spaces, and property
445 commands may be used to change various settings.
451 Each step can only be present in a chord once. The following
452 simply produces the augmented chord, since @code{5+} is interpreted
455 @lilypond[quote,raggedright,verbatim,fragment]
456 \chordmode { c:5.5-.5+ }
460 @node Printing chord names
461 @subsection Printing chord names
463 @cindex printing chord names
467 For displaying printed chord names, use the @internalsref{ChordNames} context.
468 The chords may be entered either using the notation
469 described above, or directly using @code{<} and @code{>}
471 @lilypond[quote,verbatim,raggedright]
473 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
476 \context ChordNames \harmonies
477 \context Staff \harmonies
481 You can make the chord changes stand out by setting
482 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
483 display chord names when there is a change in the chords scheme and at
484 the start of a new line
486 @lilypond[quote,verbatim,raggedright]
487 harmonies = \chordmode {
488 c1:m c:m \break c:m c:m d
491 \context ChordNames {
492 \set chordChanges = ##t
494 \context Staff \transpose c c' \harmonies
498 The previous examples all show chords over a staff. This is not
499 necessary. Chords may also be printed separately. It may be necessary
500 to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
503 @lilypond[raggedright,verbatim]
504 \new ChordNames \with {
505 \override BarLine #'bar-size = #4
506 voltaOnThisStaff = ##t
507 \consists Bar_engraver
508 \consists "Volta_engraver"
510 \repeat volta 2 \chordmode {
519 The default chord name layout is a system for Jazz music, proposed by
520 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
524 @cindex @code{chordNameExceptions}
525 @item chordNameExceptions
526 This is a list that contains the chords that have special formatting.
528 The exceptions list should be encoded as
530 @{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
533 To get this information into @code{chordNameExceptions} takes a little
534 manoeuvring. The following code transforms @code{chExceptionMusic}
535 (which is a sequential music) into a list of exceptions.
537 (sequential-music-to-chord-exceptions chExceptionMusic #t)
542 (sequential-music-to-chord-exceptions chExceptionMusic #t)
545 adds the new exceptions to the default ones, which are defined in
546 @file{ly/@/chord@/-modifier@/-init@/.ly}.
548 For an example of tuning this property, see also
549 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly}.
550 @cindex exceptions, chord names.
553 @cindex @code{majorSevenSymbol}
554 @item majorSevenSymbol
555 This property contains the markup object used for the 7th step, when
556 it is major. Predefined options are @code{whiteTriangleMarkup} and
557 @code{blackTriangleMarkup}. See
558 @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly} for an example.
560 @cindex @code{chordNameSeparator}
561 @item chordNameSeparator
562 Different parts of a chord name are normally separated by a
563 slash. By setting @code{chordNameSeparator}, you can specify other
565 @lilypond[quote,raggedright,fragment,verbatim]
566 \context ChordNames \chordmode {
568 \set chordNameSeparator
569 = \markup { \typewriter "|" }
574 @cindex @code{chordRootNamer}
576 The root of a chord is usually printed as a letter with an optional
577 alteration. The transformation from pitch to letter is done by this
578 function. Special note names (for example, the German ``H'' for a
579 B-chord) can be produced by storing a new function in this property.
581 @cindex @code{chordNoteNamer}
583 The default is to print single pitch, e.g., the bass note, using the
584 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
585 to a specialized function to change this behavior. For example, the
586 base can be printed in lower case.
588 @cindex @code{chordPrefixSpacer}
589 @item chordPrefixSpacer
590 The ``m'' for minor chords is usually printed right after the root of
591 the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer
592 between the root and ``m''. The spacer is not used when the root
597 The predefined variables @code{\germanChords},
598 @code{\semiGermanChords}, @code{\italianChords} and @code{\frenchChords}
599 set these variables. The effect is
602 @lilypondfile[raggedright]{chord-names-german.ly}
604 There are also two other chord name schemes implemented: an alternate
605 Jazz chord notation, and a systematic scheme called Banter chords. The
606 alternate Jazz notation is also shown on the chart in @ref{Chord name
607 chart}. Turning on these styles is described in the input file
608 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
617 @cindex @code{\germanChords}
618 @code{\germanChords},
619 @cindex @code{\semiGermanChords}
620 @code{\semiGermanChords}.
621 @cindex @code{\italianChords}
622 @code{\italianChords}.
623 @cindex @code{\frenchChords}
624 @code{\frenchChords}.
631 Examples: @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly},
632 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly},
633 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
636 Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
637 @file{scm/@/chord@/-entry@/.scm}.
642 Chord names are determined solely from the list of pitches. Chord
643 inversions are not identified, and neither are added bass notes. This
644 may result in strange chord names when chords are entered with the
645 @code{< .. >} syntax.
651 There are three different issues when printing vocal music
655 Song texts must be entered as text, not notes. For example, the
656 input@tie{}@code{d} should be interpreted as a one letter syllable, not the
660 Song texts must be printed as text, not as notes.
663 Song texts must be aligned with the notes of their melody.
666 The simplest solution for printing music uses the @code{\addlyrics}
667 function to solve all these problems at once. However, these
668 three functions can be controlled separately, which is necessary
669 for complex vocal music.
673 * Setting simple songs::
675 * Hyphens and extenders::
676 * The Lyrics context::
677 * Flexibility in alignment::
680 * Other vocal issues::
683 @node Setting simple songs
684 @subsection Setting simple songs
686 The easiest way to add lyrics to a melody is to append
689 \addlyrics @{ @var{the lyrics} @}
693 to a melody. Here is an example,
695 @lilypond[raggedright,verbatim,fragment,quote]
697 \relative { c2 e4 g2. }
698 \addlyrics { play the game }
701 More stanzas can be added by adding more
702 @code{\addlyrics} sections
704 @lilypond[raggedright,verbatim,fragment,quote]
706 \relative { c2 e4 g2. }
707 \addlyrics { play the game }
708 \addlyrics { speel het spel }
709 \addlyrics { joue le jeu }
712 @c TODO - this isn't such a great place for this note, but I can't
713 @c find a better place without rearranging a lot of lyric stuff.
714 @c It's yet another thing to look at post-3.0.
716 The @code{\addlyrics} command is actually just a convienient way
717 to write a more complicated LilyPond structure that sets up the
718 lyrics. You should use @code{\addlyrics} unless you need to do
719 fancy things, in which case you should investigate
720 @code{\lyricsto} or @code{\lyricmode}.
724 \addlyrics @{ LYRICS @}
731 \context Voice = blah @{ music @}
732 \lyricsto "blah" \new lyrics @{ LYRICS @}
737 @code{\addlyrics} cannot handle polyphony.
740 @node Entering lyrics
741 @subsection Entering lyrics
745 @cindex @code{\lyricmode}
748 Lyrics are entered in a special input mode. This mode is introduced
749 by the keyword @code{\lyricmode}, or by using @code{addlyrics} or
750 @code{lyricsto}. In this mode you can enter lyrics,
751 with punctuation and accents, and the input @code{d} is not parsed as
752 a pitch, but rather as a one letter syllable. Syllables are entered
753 like notes, but with pitches replaced by text. For example,
755 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
759 A word lyrics mode begins with an alphabetic character, and ends with
760 any space or digit. The following characters can be any character
761 that is not a digit or white space. One important consequence of this
762 is that a word can end with @code{@}}. The following example is
763 usually a mistake in the input file. The syllable includes a @code{@}}, so the
764 opening brace is not balanced
766 \lyricmode @{ twinkle@}
769 @cindex @code{\property}, in @code{\lyricmode}
771 Similarly, a period which follows an alphabetic sequence is included in
772 the resulting string. As a consequence, spaces must be inserted around
775 \override Score . LyricText #'font-shape = #'italic
779 @cindex spaces, in lyrics
780 @cindex quotes, in lyrics
782 Any @code{_} character that appears in an unquoted word is converted
783 to a space. This provides a mechanism for introducing spaces into words
784 without using quotes. Quoted words can also be used in Lyrics mode to
785 specify words that cannot be written with the above rules. The
786 following example incorporates double quotes
789 \lyricmode @{ He said: "\"Let" my peo ple "go\"" @}
792 This example is slightly academic, since it gives better looking
793 results using single quotes, @code{``} and @code{''}
795 \lyricmode @{ He said: ``Let my peo ple go'' @}
799 The full definition of a word start in Lyrics mode is somewhat more
802 A word in Lyrics mode begins with: an alphabetic character, @code{_},
803 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
804 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
805 any 8-bit character with ASCII code over 127, or a two-character
806 combination of a backslash followed by one of @code{`}, @code{'},
807 @code{"}, or @code{^}.
813 Program reference: events @internalsref{LyricEvent}, and
814 @internalsref{LyricText}.
818 The definition of lyrics mode is too complex.
820 @node Hyphens and extenders
821 @subsection Hyphens and extenders
825 Centered hyphens are entered as `@code{-}@code{-}' between syllables.
826 The hyphen will have variable length depending on the space between
827 the syllables and it will be centered between the syllables.
832 When a lyric is sung over many notes (this is called a melisma), this is
833 indicated with a horizontal line centered between a syllable and the
834 next one. Such a line is called an extender line, and it is entered as
838 FIXME: check that this compiles and displays correctly. I don't want
839 to commit this part blindly.
841 In tighly engraved music, hyphens can be removed. In some languages
842 (e.g. German and Hungarian), hyphens should not disappear, since
843 spelling depends on hyphenation. For that purpose, hyphens can be
844 forced to remain by overriding @code{minimum-length} of
845 the @code{LyricHyphen} grob.
849 << \notes \new Staff \relative c'' { \time 1/4 c16[ c c c]
856 \lyrics \new Lyrics \with {
857 % Otherwise lyrics are so far apart that hyphens don't disappear
858 \override SeparationItem #'padding = #0.0
859 }{ bla -- bla -- bla -- bla --
860 bla -- bla -- bla -- bla --
862 \override LyricHyphen #'minimum-length = #0.7
863 \override LyricHyphen #'spacing-procedure =
864 #Hyphen_spanner::set_spacing_rods
866 bla -- bla -- bla -- bla
873 \StaffContext \remove "Time_signature_engraver"
884 Program reference: @internalsref{HyphenEvent},
885 @internalsref{ExtenderEvent}, @internalsref{LyricHyphen}, and
886 @internalsref{LyricExtender}
890 @node The Lyrics context
891 @subsection The Lyrics context
894 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
896 \context Lyrics \lyricmode @dots{}
899 @cindex automatic syllable durations
900 @cindex @code{\lyricsto}
901 @cindex lyrics and melodies
903 This will place the lyrics according to the durations that were
904 entered. The lyrics can also be aligned under a given melody
905 automatically. In this case, it is no longer necessary to enter the
906 correct duration for each syllable. This is achieved by combining the
907 melody and the lyrics with the @code{\lyricsto} expression
909 \lyricsto @var{name} \new Lyrics @dots{}
912 This aligns the lyrics to the
913 notes of the @internalsref{Voice} context called @var{name}, which has
914 to exist. Therefore, normally the @code{Voice} is specified first, and
915 then the lyrics are specified with @code{\lyricsto}. The command
916 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
917 @code{\lyricmode} keyword may be omitted.
919 For different or more complex orderings, the best way is to setup the
920 hierarchy of staves and lyrics first, e.g.,
922 \context ChoirStaff <<
923 \context Lyrics = sopranoLyrics @{ s1 @}
924 \context Voice = soprano @{ @emph{music} @}
925 \context Lyrics = tenorLyrics @{ s1 @}
926 \context Voice = tenor @{ @emph{music} @}
929 and then combine the appropriate melodies and lyric lines
931 \lyricsto "soprano" \context Lyrics = sopranoLyrics
936 The final input would resemble
939 <<\context ChoirStaff << @emph{setup the music} >>
940 \lyricsto "soprano" @emph{etc}
941 \lyricsto "alto" @emph{etc}
947 The @code{\lyricsto} command detects melismata: it only puts one
948 syllable under a tied or slurred group of notes. If you want to force
949 an unslurred group of notes to be a melisma, insert @code{\melisma}
950 after the first note of the group, and @code{\melismaEnd} after the
953 @lilypond[quote,relative=2,raggedright,fragment,verbatim]
955 \context Voice = "lala" {
963 \lyricsto "lala" \new Lyrics {
969 In addition, notes are considered a melisma if they are manually
970 beamed, and automatic beaming (see @ref{Setting automatic beam
971 behavior}) is switched off.
977 The criteria for deciding melismata can
978 be tuned with the property @code{melismaBusyProperties}. See
979 @internalsref{Melisma_translator} in the program reference for more
984 Lyrics can also be entered without @code{\lyricsto}. In this case the
985 duration of each syllable must be entered explicitly, for example,
992 The alignment to a melody can be specified with the
993 @code{associatedVoice} property,
996 \set associatedVoice = #"lala"
1000 The value of the property (here: @code{"lala"}) should be the name of
1001 a @internalsref{Voice} context. Without this setting, extender lines
1002 will not be formatted properly.
1004 Here is an example demonstrating manual lyric durations,
1006 @lilypond[relative=1,raggedright,verbatim,fragment,quote]
1007 << \context Voice = melody {
1011 \new Lyrics \lyricmode {
1012 \set associatedVoice = #"melody"
1018 @cindex choral score
1020 A complete example of a SATB score setup is in section
1021 @ref{Vocal ensembles}.
1026 @code{\melisma}, @code{\melismaEnd}
1027 @cindex @code{\melismaEnd}
1028 @cindex @code{\melisma}
1032 Program reference: @internalsref{LyricCombineMusic},
1033 @internalsref{Lyrics}, @internalsref{Melisma_translator}.
1036 @inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly}.
1037 @c TODO: make separate section for melismata
1041 Melismata are not detected automatically, and extender lines must be
1045 @c TODO: document \new Staff << Voice \lyricsto >> bug
1047 @node Flexibility in alignment
1048 @subsection Flexibility in alignment
1051 Often, different stanzas of one song are put to one melody in slightly
1052 differing ways. Such variations can still be captured with
1055 One possibility is that the text has a melisma in one stanza, but
1056 multiple syllables in another one. One solution is to make the faster
1057 voice ignore the melisma. This is done by setting
1058 @code{ignoreMelismata} in the Lyrics context.
1060 There has one tricky aspect. The setting for @code{ignoreMelismata}
1061 must be set one syllable @emph{before} the non-melismatic syllable
1062 in the text, as shown here,
1064 @lilypond[verbatim,raggedright,quote]
1066 \relative \context Voice = "lahlah" {
1067 \set Staff.autoBeaming = ##f
1073 \new Lyrics \lyricsto "lahlah" {
1076 \new Lyrics \lyricsto "lahlah" {
1077 \set ignoreMelismata = ##t % applies to "fas"
1079 \unset ignoreMelismata
1086 The @code{ignoreMelismata} applies to the syllable ``fas'', so it
1087 should be entered before ``go''.
1089 The reverse is also possible: making a lyric line slower than the
1090 standard. This can be achieved by insert @code{\skip}s into the
1091 lyrics. For every @code{\skip}, the text will be delayed another note.
1094 @lilypond[verbatim,raggedright,quote]
1095 \relative { c c g' }
1102 More complex variations in text underlay are possible. It is possible
1103 to switch the melody for a line of lyrics during the text. This is
1104 done by setting the @code{associatedVoice} property. In the example
1106 @lilypond[raggedright,quote]
1108 \relative \context Voice = "lahlah" {
1109 \set Staff.autoBeaming = ##f
1112 \context Voice = alternative {
1115 % show associations clearly.
1116 \override NoteColumn #'force-hshift = #-3
1127 \new Lyrics \lyricsto "lahlah" {
1128 Ju -- ras -- sic Park
1130 \new Lyrics \lyricsto "lahlah" {
1131 % Tricky: need to set associatedVoice
1132 % one syllable too soon!
1133 \set associatedVoice = alternative % applies to "ran"
1137 \set associatedVoice = lahlah % applies to "rus"
1143 the text for the first stanza is set to a melody called ``lahlah'',
1146 \new Lyrics \lyricsto "lahlah" @{
1147 Ju -- ras -- sic Park
1152 The second stanza initially is set to the @code{lahlah} context, but
1153 for the syllable ``ran'', it switches to a different melody.
1154 This is achieved with
1156 \set associatedVoice = alternative
1160 Here, @code{alternative} is the name of the @code{Voice} context
1161 containing the triplet.
1163 Again, the command must be one syllable too early, before ``Ty'' in
1167 \new Lyrics \lyricsto "lahlah" @{
1168 \set associatedVoice = alternative % applies to "ran"
1172 \set associatedVoice = lahlah % applies to "rus"
1178 The underlay is switched back to the starting situation by assigning
1179 @code{lahlah} to @code{associatedVoice}.
1185 @subsection More stanzas
1187 @cindex phrasing, in lyrics
1190 @cindex stanza number
1191 @cindex singer's names
1192 @cindex name of singer
1194 Stanza numbers can be added by setting @code{stanza}, e.g.,
1196 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
1198 \time 3/4 g2 e4 a2 f4 g2.
1201 Hi, my name is Bert.
1204 Oh, che -- ri, je t'aime
1208 These numbers are put just before the start of first syllable.
1210 Names of singers can also be added. They are printed at the start of
1211 the line, just like instrument names. They are created by setting
1212 @code{vocalName}. A short version may be entered as @code{vocNam}.
1215 @lilypond[fragment,raggedright,quote,verbatim,relative=2]
1217 \time 3/4 g2 e4 a2 f4 g2.
1219 \set vocalName = "Bert "
1220 Hi, my name is Bert.
1222 \set vocalName = "Ernie "
1223 Oh, che -- ri, je t'aime
1229 Program reference: Layout objects @internalsref{LyricText} and
1230 @internalsref{VocalName}. Music expressions
1231 @internalsref{LyricEvent}.
1239 The term @emph{ambitus} denotes a range of pitches for a given voice
1240 in a part of music. It may also denote the pitch range that a musical
1241 instrument is capable of playing. Ambits are printed on vocal parts,
1242 so performers can easily determine it meets their capabilities.
1244 Ambits are denoted at the beginning of a piece near the initial clef.
1245 The range is graphically specified by two note heads that represent the
1246 minimum and maximum pitch. To print such ambits, add the
1247 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
1254 \consists Ambitus_engraver
1259 This results in the following output
1261 @lilypond[quote,raggedright]
1265 \consists Ambitus_engraver
1269 \relative \new Staff {
1274 If you have multiple voices in a single staff and you want a single
1275 ambitus per staff rather than per each voice, add the
1276 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
1277 rather than to the @internalsref{Voice} context. Here is an example,
1279 @lilypond[verbatim,raggedright,quote]
1281 \consists "Ambitus_engraver"
1285 \remove "Ambitus_engraver"
1287 \override Ambitus #'X-offset-callbacks
1288 = #(list (lambda (grob axis) -1.0))
1293 \remove "Ambitus_engraver"
1302 This example uses one advanced feature,
1305 \override Ambitus #'X-offset-callbacks
1306 = #(list (lambda (grob axis) -1.0))
1310 This code moves the ambitus to the left. The same effect could have
1311 been achieved with @code{extra-offset}, but then the formatting system
1312 would not reserve space for the moved object.
1316 Program reference: @internalsref{Ambitus},
1317 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1318 @internalsref{AmbitusAccidental}.
1320 Examples: @inputfileref{input/@/regression,ambitus@/.ly}.
1324 There is no collision handling in the case of multiple per-voice
1327 @node Other vocal issues
1328 @subsection Other vocal issue
1331 yeah, I'm giving up somewhat by stuffing a bunch of things in
1332 here. But at least they're in the manual now; it's easier to
1333 move them around in the manual once they're already here.
1335 Besides, if users complain about everything stuffed in here, I
1336 can ask them for specific instructions about where to move these
1337 examples, and that might get them more involved in the docs. -gp
1340 You can display alternate (or divisi) lyrics by naming voice
1341 contexts and attaching lyrics to those specific contexts.
1343 @lilypond[verbatim,raggedright,quote]
1345 \context Voice = "melody" {
1350 \context Voice = splitpart { \voiceTwo c4 }
1355 \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
1356 \new Lyrics \lyricsto "splitpart" { shall }
1361 You can use this trick to display different lyrics for a repeated
1364 @lilypond[verbatim,raggedright,quote]
1366 \context Voice = melody \relative c' {
1368 \context Voice = verse \repeat volta 2 {c4 d e f | g1 | }
1370 \lyricsto melody \context Lyrics = mainlyrics \lyricmode {
1373 \lyricsto verse \context Lyrics = mainlyrics \lyricmode {
1375 \lyricsto verse \context Lyrics = repeatlyrics \lyricmode {
1376 dodo rere mimi fafa solsol }
1382 To notate ``parlato'' (spoken without pitch but still with
1385 @lilypond[raggedright,verbatim,quote,fragment,relative=2]
1387 \override NoteHead #'style = #'cross
1389 \revert NoteHead #'style
1394 @node Rhythmic music
1395 @section Rhythmic music
1397 Rhythmic music is primarily used for percussion and drum notation, but it can
1398 also be used to show the rhythms of melodies.
1401 * Showing melody rhythms::
1402 * Entering percussion::
1403 * Percussion staves::
1407 @node Showing melody rhythms
1408 @subsection Showing melody rhythms
1410 Sometimes you might want to show only the rhythm of a melody. This
1411 can be done with the rhythmic staff. All pitches of notes on such a
1412 staff are squashed, and the staff itself has a single line
1414 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1415 \context RhythmicStaff {
1417 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1423 Program reference: @internalsref{RhythmicStaff}.
1425 Examples: @inputfileref{input/@/regression,rhythmic@/-staff@/.ly}.
1428 @node Entering percussion
1429 @subsection Entering percussion
1435 Percussion notes may be entered in @code{\drummode} mode, which is
1436 similar to the standard mode for entering notes. Each piece of
1437 percussion has a full name and an abbreviated name, and both can be used
1440 @lilypond[quote,raggedright,verbatim]
1442 hihat hh bassdrum bd
1446 The complete list of drum names is in the init file
1447 @file{ly/@/drumpitch@/-init@/.ly}.
1448 @c TODO: properly document this.
1452 Program reference: @internalsref{note-event}.
1454 @node Percussion staves
1455 @subsection Percussion staves
1459 A percussion part for more than one instrument typically uses a
1460 multiline staff where each position in the staff refers to one piece
1464 To typeset the music, the notes must be interpreted in a
1465 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
1467 @lilypond[quote,raggedright,verbatim]
1468 up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
1469 down = \drummode { bassdrum4 snare8 bd r bd sn4 }
1471 \new DrumVoice { \voiceOne \up }
1472 \new DrumVoice { \voiceTwo \down }
1476 The above example shows verbose polyphonic notation. The short
1477 polyphonic notation, described in @ref{Polyphony}, can also be used if
1478 the @internalsref{DrumVoice}s are instantiated by hand first. For example,
1480 @lilypond[quote,raggedright,fragment,verbatim]
1482 \context DrumVoice = "1" { s1 *2 }
1483 \context DrumVoice = "2" { s1 *2 }
1487 { \repeat unfold 16 hh16 }
1496 There are also other layout possibilities. To use these, set the
1497 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
1498 The following variables have been predefined
1502 This is the default. It typesets a typical drum kit on a five-line staff
1504 @lilypond[quote,linewidth=10.0\cm]
1506 cymc cyms cymr hh hhc hho hhho hhp
1507 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl }
1509 cymc cyms cymr hh hhc hho hhho hhp \break
1510 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
1512 << \new DrumStaff \with {
1513 \remove Bar_engraver
1514 \remove Time_signature_engraver
1515 \override Stem #'transparent = ##t
1516 \override Stem #'Y-extent-callback = ##f
1517 minimumVerticalExtent = #'(-4.0 . 5.0)
1519 \context Lyrics \nam
1524 \override LyricText #'font-family = #'typewriter
1525 \override BarNumber #'transparent =##T
1531 The drum scheme supports six different toms. When there are fewer toms,
1532 simply select the toms that produce the desired result, i.e., to get toms
1533 on the three middle lines you use @code{tommh}, @code{tomml}, and
1536 @item timbales-style
1537 This typesets timbales on a two line staff
1539 @lilypond[quote,raggedright]
1540 nam = \lyricmode { timh ssh timl ssl cb }
1541 mus = \drummode { timh ssh timl ssl cb s16 }
1544 \context DrumStaff \with {
1545 \remove Bar_engraver
1546 \remove Time_signature_engraver
1547 \override Stem #'transparent = ##t
1548 \override Stem #'Y-extent-callback = ##f
1549 \override StaffSymbol #'line-count = #2
1550 \override StaffSymbol #'staff-space = #2
1551 minimumVerticalExtent = #'(-3.0 . 4.0)
1552 drumStyleTable = #timbales-style
1555 \override LyricText #'font-family = #'typewriter
1562 This typesets congas on a two line staff
1564 @lilypond[quote,raggedright]
1565 nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
1566 mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
1569 \context DrumStaff \with {
1570 \remove Bar_engraver
1571 \remove Time_signature_engraver
1572 drumStyleTable = #congas-style
1573 \override StaffSymbol #'line-count = #2
1575 %% this sucks; it will lengthen stems.
1576 \override StaffSymbol #'staff-space = #2
1577 \override Stem #'transparent = ##t
1578 \override Stem #'Y-extent-callback = ##f
1581 \override LyricText #'font-family = #'typewriter
1588 This typesets bongos on a two line staff
1590 @lilypond[quote,raggedright]
1591 nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
1592 mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
1595 \context DrumStaff\with {
1596 \remove Bar_engraver
1597 \remove Time_signature_engraver
1598 \override StaffSymbol #'line-count = #2
1599 drumStyleTable = #bongos-style
1601 %% this sucks; it will lengthen stems.
1602 \override StaffSymbol #'staff-space = #2
1603 \override Stem #'transparent = ##t
1604 \override Stem #'Y-extent-callback = ##f
1607 \override LyricText #'font-family = #'typewriter
1613 @item percussion-style
1614 To typeset all kinds of simple percussion on one line staves.
1616 @lilypond[quote,raggedright]
1617 nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
1618 mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
1621 \context DrumStaff\with{
1622 \remove Bar_engraver
1623 drumStyleTable = #percussion-style
1624 \override StaffSymbol #'line-count = #1
1625 \remove Time_signature_engraver
1626 \override Stem #'transparent = ##t
1627 \override Stem #'Y-extent-callback = ##f
1630 \override LyricText #'font-family = #'typewriter
1637 If you do not like any of the predefined lists you can define your own
1638 list at the top of your file
1640 @lilypond[quote,raggedright,verbatim]
1642 (bassdrum default #f -1)
1643 (snare default #f 0)
1645 (pedalhihat xcircle "stopped" 2)
1646 (lowtom diamond #f 3)))
1647 up = \drummode { hh8 hh hh hh hhp4 hhp }
1648 down = \drummode { bd4 sn bd toml8 toml }
1651 \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
1652 \new DrumVoice { \voiceOne \up }
1653 \new DrumVoice { \voiceTwo \down }
1660 Init files: @file{ly/@/drumpitch@/-init@/.ly}.
1662 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
1666 Because general MIDI does not contain rim shots, the sidestick is used
1667 for this purpose instead.
1676 @cindex guitar tablature
1679 * String number indications::
1680 * Tablatures basic::
1681 * Non-guitar tablatures::
1685 @node String number indications
1686 @subsection String number indications
1688 @cindex String numbers
1690 String numbers can be added to chords, by indicating the string number
1691 with @code{\}@var{number},
1693 @lilypond[relative,relative=1,raggedright,fragment]
1697 See also @inputfileref{input/regression,string-number.ly}.
1702 Program reference: @internalsref{StringNumber},
1703 @internalsref{StringNumberEvent}
1706 @node Tablatures basic
1707 @subsection Tablatures basic
1708 @cindex Tablatures basic
1710 Tablature notation is used for notating music for plucked string
1711 instruments. Pitches are not denoted with note heads, but by
1712 numbers indicating on which string and fret a note must be played. LilyPond
1713 offers limited support for tablature.
1715 The string number associated to a note is given as a backslash
1716 followed by a number, e.g., @code{c4\3} for a C quarter on the third
1717 string. By default, string 1 is the highest one, and the tuning
1718 defaults to the standard guitar tuning (with 6 strings). The notes
1719 are printed as tablature, by using @internalsref{TabStaff} and
1720 @internalsref{TabVoice} contexts
1722 @lilypond[quote,raggedright,fragment,verbatim]
1729 @cindex @code{minimumFret}
1732 When no string is specified, the first string that does not give a
1733 fret number less than @code{minimumFret} is selected. The default
1734 value for @code{minimumFret} is 0
1739 \set TabStaff.minimumFret = #8
1742 @lilypond[quote,raggedright]
1746 \set TabStaff.minimumFret = #8
1749 \context StaffGroup <<
1750 \context Staff { \clef "G_8" \frag }
1751 \context TabStaff { \frag }
1757 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}, and
1758 @internalsref{StringNumberEvent}.
1762 Chords are not handled in a special way, and hence the automatic
1763 string selector may easily select the same string to two notes in a
1767 @node Non-guitar tablatures
1768 @subsection Non-guitar tablatures
1769 @cindex Non-guitar tablatures
1771 You can change the number of strings, by setting the number of lines
1772 in the @internalsref{TabStaff}.
1774 You can change the tuning of the strings. A string tuning is given as
1775 a Scheme list with one integer number for each string, the number
1776 being the pitch (measured in semitones relative to middle C) of an
1777 open string. The numbers specified for @code{stringTuning} are the
1778 numbers of semitones to subtract or add, starting the specified pitch
1779 by default middle C, in string order. In the next example,
1780 @code{stringTunings} is set for the pitches e, a, d, and g
1782 @lilypond[quote,raggedright,fragment,verbatim]
1783 \context TabStaff <<
1784 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
1786 a,4 c' a e' e c' a e'
1793 No guitar special effects have been implemented.
1797 Program reference: @internalsref{Tab_note_heads_engraver}.
1801 @subsection Fret diagrams
1802 @cindex fret diagrams
1803 @cindex chord diagrams
1805 Fret diagrams can be added to music as a markup to the desired note. The
1806 markup contains information about the desired fret diagram, as shown in the
1809 @lilypond[verbatim, raggedright, quote]
1811 d' ^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
1813 fis' ^\markup \override #'(size . 0.75) {
1814 \override #'(finger-code . below-string) {
1815 \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
1816 (place-fret 5 4 3) (place-fret 4 4 4)
1817 (place-fret 3 3 2) (place-fret 2 2 1)
1822 c' ^\markup \override #'(dot-radius . 0.35) {
1823 \override #'(finger-code . in-dot) {
1824 \override #'(dot-color . white) {
1825 \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
1834 There are three different fret-diagram markup interfaces: standard, terse,
1835 and verbose. The three interfaces produce equivalent markups, but have
1836 varying amounts of information in the markup string. Details about the
1837 markup interfaces are found at @ref{Overview of text markup commands}.
1839 You can set a number of graphical properties according to your preference.
1840 Details about the property interface to fret diagrams are found at
1841 @internalsref{fret-diagram-interface}.
1846 Examples: @inputfileref{input/@/test,fret@/-diagram@/.ly}
1850 @node Ancient notation
1851 @section Ancient notation
1853 @cindex Vaticana, Editio
1854 @cindex Medicaea, Editio
1859 Support for ancient notation includes features for mensural notation
1860 and Gregorian Chant notation. There is also limited support for
1861 figured bass notation.
1863 Many graphical objects provide a @code{style} property, see
1866 @ref{Ancient note heads},
1868 @ref{Ancient accidentals},
1870 @ref{Ancient rests},
1872 @ref{Ancient clefs},
1874 @ref{Ancient flags},
1876 @ref{Ancient time signatures}.
1879 By manipulating such a grob property, the typographical appearance of
1880 the affected graphical objects can be accommodated for a specific
1881 notation flavor without the need for introducing any new notational
1884 In addition to the standard articulation signs described in section
1885 @ref{Articulations}, specific articulation signs for ancient notation
1890 @ref{Ancient articulations}
1893 Other aspects of ancient notation can not that easily be expressed
1894 in terms of just changing a style property of a graphical object or
1895 adding articulation signs. Some notational concepts are introduced
1896 specifically for ancient notation,
1907 If this all is too much of documentation for you, and you just want to
1908 dive into typesetting without worrying too much about the details on
1909 how to customize a context, you may have a look at the predefined
1910 contexts. Use them to set up predefined style-specific voice and
1911 staff contexts, and directly go ahead with the note entry,
1915 @ref{Gregorian Chant contexts},
1917 @ref{Mensural contexts}.
1920 There is limited support for figured bass notation which came
1921 up during the baroque period.
1928 Here are all suptopics at a glance:
1931 * Ancient note heads::
1932 * Ancient accidentals::
1936 * Ancient time signatures::
1937 * Ancient articulations::
1941 * Gregorian Chant contexts::
1942 * Mensural contexts::
1947 @node Ancient note heads
1948 @subsection Ancient note heads
1953 For ancient notation, a note head style other than the @code{default}
1954 style may be chosen. This is accomplished by setting the @code{style}
1955 property of the @internalsref{NoteHead} object to @code{baroque},
1956 @code{neomensural} or @code{mensural}. The @code{baroque} style
1957 differs from the @code{default} style only in using a square shape
1958 for @code{\breve} note heads. The @code{neomensural} style differs from
1959 the @code{baroque} style in that it uses rhomboidal heads for whole notes
1960 and all smaller durations. Stems are centered on the note heads.
1961 This style is particularly useful when transcribing mensural music,
1962 e.g., for the incipit. The @code{mensural} style finally produces note
1963 heads that mimic the look of note heads in historic printings of the
1966 The following example demonstrates the @code{neomensural} style
1968 @lilypond[quote,fragment,raggedright,verbatim]
1969 \set Score.skipBars = ##t
1970 \override NoteHead #'style = #'neomensural
1971 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
1974 When typesetting a piece in Gregorian Chant notation, the
1975 @internalsref{Gregorian_ligature_engraver} will automatically select
1976 the proper note heads, so there is no need to explicitly set the
1977 note head style. Still, the note head style can be set, e.g., to
1978 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
1979 @internalsref{Mensural_ligature_engraver} is used to automatically
1980 assemble mensural ligatures. See @ref{Ligatures} for how ligature
1985 Examples: @inputfileref{input/@/regression,note@/-head@/-style@/.ly} gives an
1986 overview over all available note head styles.
1989 @node Ancient accidentals
1990 @subsection Ancient accidentals
1995 Use the @code{style} property of grob @internalsref{Accidental} to
1996 select ancient accidentals. Supported styles are
1997 @code{mensural}, @code{vaticana}, @code{hufnagel}, and @code{medicaea}.
1999 @lilypond[quote,raggedright,staffsize=26]
2006 \line { " " \musicglyph #"accidentals.vaticana-1"
2007 " " \musicglyph #"accidentals.vaticana0" }
2011 \line { " " \musicglyph #"accidentals.medicaea-1" }
2015 \line { " " \musicglyph #"accidentals.hufnagel-1" }
2019 \line { " " \musicglyph #"accidentals.mensural-1"
2020 " " \musicglyph #"accidentals.mensural1" }
2026 \context { \Score \remove "Bar_number_engraver" }
2028 \remove "Clef_engraver"
2029 \remove "Key_engraver"
2030 \remove "Time_signature_engraver"
2031 \remove "Staff_symbol_engraver"
2032 minimumVerticalExtent = ##f
2038 As shown, not all accidentals are supported by each style. When
2039 trying to access an unsupported accidental, LilyPond will switch to a
2040 different style, as demonstrated in
2041 @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2043 Similarly to local accidentals, the style of the key signature can be
2044 controlled by the @code{style} property of the
2045 @internalsref{KeySignature} grob.
2049 In this manual: @ref{Pitches}, @ref{Cautionary accidentals} and
2050 @ref{Automatic accidentals} give a general introduction of the use of
2051 accidentals. @ref{Key signature} gives a general introduction of
2052 the use of key signatures.
2054 Program reference: @internalsref{KeySignature}.
2056 Examples: @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2059 @subsection Ancient rests
2064 Use the @code{style} property of grob @internalsref{Rest} to select
2065 ancient rests. Supported styles are @code{classical},
2066 @code{neomensural}, and @code{mensural}. @code{classical} differs
2067 from the @code{default} style only in that the quarter rest looks like
2068 a horizontally mirrored 8th rest. The @code{neomensural} style suits
2069 well for, e.g., the incipit of a transcribed mensural piece of music.
2070 The @code{mensural} style finally mimics the appearance of rests as
2071 in historic prints of the 16th century.
2073 The following example demonstrates the @code{neomensural} style
2075 @lilypond[quote,fragment,raggedright,verbatim]
2076 \set Score.skipBars = ##t
2077 \override Rest #'style = #'neomensural
2078 r\longa r\breve r1 r2 r4 r8 r16
2081 There are no 32th and 64th rests specifically for the mensural or
2082 neo-mensural style. Instead, the rests from the default style will be
2083 taken. See @inputfileref{input/@/test,rests@/.ly} for a chart of all
2086 There are no rests in Gregorian Chant notation; instead, it uses
2091 In this manual: @ref{Rests} gives a general introduction into the use of rests.
2095 @subsection Ancient clefs
2100 LilyPond supports a variety of clefs, many of them ancient.
2102 The following table shows all ancient clefs that are supported via the
2103 @code{\clef} command. Some of the clefs use the same glyph, but
2104 differ only with respect to the line they are printed on. In such
2105 cases, a trailing number in the name is used to enumerate these clefs.
2106 Still, you can manually force a clef glyph to be typeset on an
2107 arbitrary line, as described in @ref{Clef}. The note printed to the
2108 right side of each clef in the example column denotes the @code{c'}
2109 with respect to that clef.
2111 @multitable @columnfractions .4 .4 .2
2120 modern style mensural C clef
2122 @code{neomensural-c1}, @code{neomensural-c2},@*
2123 @code{neomensural-c3}, @code{neomensural-c4}
2125 @lilypond[fragment,relative=1,notime]
2126 \clef "neomensural-c2" c
2130 petrucci style mensural C clefs, for use on different staff lines
2131 (the examples show the 2nd staff line C clef)
2133 @code{petrucci-c1}, @code{petrucci-c2},@*
2134 @code{petrucci-c3}, @code{petrucci-c4},@*
2137 @lilypond[fragment,relative=1,notime]
2139 \override NoteHead #'style = #'mensural
2144 petrucci style mensural F clef
2148 @lilypond[fragment,relative=1,notime]
2150 \override NoteHead #'style = #'mensural
2155 petrucci style mensural G clef
2159 @lilypond[fragment,relative=1,notime]
2161 \override NoteHead #'style = #'mensural
2166 historic style mensural C clef
2168 @code{mensural-c1}, @code{mensural-c2},@*
2169 @code{mensural-c3}, @code{mensural-c4}
2171 @lilypond[fragment,relative=1,notime]
2173 \override NoteHead #'style = #'mensural
2178 historic style mensural F clef
2182 @lilypond[fragment,relative=1,notime]
2184 \override NoteHead #'style = #'mensural
2189 historic style mensural G clef
2193 @lilypond[fragment,relative=1,notime]
2195 \override NoteHead #'style = #'mensural
2200 Editio Vaticana style do clef
2202 @code{vaticana-do1}, @code{vaticana-do2},@*
2205 @lilypond[fragment,relative=1,notime]
2206 \override Staff.StaffSymbol #'line-count = #4
2207 \override Staff.StaffSymbol #'color = #red
2208 \override Staff.LedgerLineSpanner #'color = #red
2209 \override Voice.Stem #'transparent = ##t
2210 \override NoteHead #'style = #'vaticana.punctum
2211 \clef "vaticana-do2"
2216 Editio Vaticana style fa clef
2218 @code{vaticana-fa1}, @code{vaticana-fa2}
2220 @lilypond[fragment,relative=1,notime]
2221 \override Staff.StaffSymbol #'line-count = #4
2222 \override Staff.StaffSymbol #'color = #red
2223 \override Staff.LedgerLineSpanner #'color = #red
2224 \override Voice.Stem #'transparent = ##t
2225 \override NoteHead #'style = #'vaticana.punctum
2226 \clef "vaticana-fa2"
2231 Editio Medicaea style do clef
2233 @code{medicaea-do1}, @code{medicaea-do2},@*
2236 @lilypond[fragment,relative=1,notime]
2237 \override Staff.StaffSymbol #'line-count = #4
2238 \override Staff.StaffSymbol #'color = #red
2239 \override Staff.LedgerLineSpanner #'color = #red
2240 \override Voice.Stem #'transparent = ##t
2241 \override NoteHead #'style = #'medicaea.punctum
2242 \clef "medicaea-do2"
2247 Editio Medicaea style fa clef
2249 @code{medicaea-fa1}, @code{medicaea-fa2}
2251 @lilypond[fragment,relative=1,notime]
2252 \override Staff.StaffSymbol #'line-count = #4
2253 \override Staff.StaffSymbol #'color = #red
2254 \override Staff.LedgerLineSpanner #'color = #red
2255 \override Voice.Stem #'transparent = ##t
2256 \override NoteHead #'style = #'medicaea.punctum
2257 \clef "medicaea-fa2"
2262 historic style hufnagel do clef
2264 @code{hufnagel-do1}, @code{hufnagel-do2},@*
2267 @lilypond[fragment,relative=1,notime]
2268 \override Staff.StaffSymbol #'line-count = #4
2269 \override Staff.StaffSymbol #'color = #red
2270 \override Staff.LedgerLineSpanner #'color = #red
2271 \override Voice.Stem #'transparent = ##t
2272 \override NoteHead #'style = #'hufnagel.punctum
2273 \clef "hufnagel-do2"
2278 historic style hufnagel fa clef
2280 @code{hufnagel-fa1}, @code{hufnagel-fa2}
2282 @lilypond[fragment,relative=1,notime]
2283 \override Staff.StaffSymbol #'line-count = #4
2284 \override Staff.StaffSymbol #'color = #red
2285 \override Staff.LedgerLineSpanner #'color = #red
2286 \override Voice.Stem #'transparent = ##t
2287 \override NoteHead #'style = #'hufnagel.punctum
2288 \clef "hufnagel-fa2"
2293 historic style hufnagel combined do/fa clef
2295 @code{hufnagel-do-fa}
2297 @lilypond[fragment,relative=1,notime]
2298 \override Staff.StaffSymbol #'color = #red
2299 \override Staff.LedgerLineSpanner #'color = #red
2300 \override Voice.Stem #'transparent = ##t
2301 \override NoteHead #'style = #'hufnagel.punctum
2302 \clef "hufnagel-do-fa"
2309 @emph{Modern style} means ``as is typeset in contemporary editions of
2310 transcribed mensural music''.
2312 @emph{Petrucci style} means ``inspired by printings published by the
2313 famous engraver Petrucci (1466-1539)''.
2315 @emph{Historic style} means ``as was typeset or written in historic
2316 editions (other than those of Petrucci)''.
2318 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
2320 Petrucci used C clefs with differently balanced left-side vertical
2321 beams, depending on which staff line it is printed.
2325 In this manual: see @ref{Clef}.
2329 The mensural g clef is mapped to the Petrucci g clef.
2334 @subsection Ancient flags
2339 Use the @code{flag-style} property of grob @internalsref{Stem} to
2340 select ancient flags. Besides the @code{default} flag style,
2341 only the @code{mensural} style is supported
2343 @lilypond[quote,fragment,raggedright,verbatim]
2344 \override Stem #'flag-style = #'mensural
2345 \override Stem #'thickness = #1.0
2346 \override NoteHead #'style = #'mensural
2348 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
2349 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
2352 Note that the innermost flare of each mensural flag always is
2353 vertically aligned with a staff line.
2355 There is no particular flag style for neo-mensural notation. Hence,
2356 when typesetting the incipit of a transcribed piece of mensural
2357 music, the default flag style should be used. There are no flags in
2358 Gregorian Chant notation.
2362 The attachment of ancient flags to stems is slightly off due to a
2363 change in early 2.3.x.
2365 Vertically aligning each flag with a staff line assumes that stems
2366 always end either exactly on or exactly in the middle between two
2367 staff lines. This may not always be true when using advanced layout
2368 features of classical notation (which however are typically out of
2369 scope for mensural notation).
2371 @node Ancient time signatures
2372 @subsection Ancient time signatures
2374 @cindex time signatures
2377 There is limited support for mensural time signatures. The
2378 glyphs are hard-wired to particular time fractions. In other words,
2379 to get a particular mensural signature glyph with the @code{\time n/m}
2380 command, @code{n} and @code{m} have to be chosen according to the
2383 @lilypond[quote,raggedright]
2388 \remove Staff_symbol_engraver
2389 \remove Clef_engraver
2390 \remove Time_signature_engraver
2394 \set Score.timing = ##f
2395 \set Score.barAlways = ##t
2396 s_\markup { "\\time 4/4" }
2397 ^\markup { " " \musicglyph #"timesig.neomensural44" }
2399 s_\markup { "\\time 2/2" }
2400 ^\markup { " " \musicglyph #"timesig.neomensural22" }
2402 s_\markup { "\\time 6/4" }
2403 ^\markup { " " \musicglyph #"timesig.neomensural64" }
2405 s_\markup { "\\time 6/8" }
2406 ^\markup { " " \musicglyph #"timesig.neomensural68" }
2408 s_\markup { "\\time 3/2" }
2409 ^\markup { " " \musicglyph #"timesig.neomensural32" }
2411 s_\markup { "\\time 3/4" }
2412 ^\markup { " " \musicglyph #"timesig.neomensural34" }
2414 s_\markup { "\\time 9/4" }
2415 ^\markup { " " \musicglyph #"timesig.neomensural94" }
2417 s_\markup { "\\time 9/8" }
2418 ^\markup { " " \musicglyph #"timesig.neomensural98" }
2420 s_\markup { "\\time 4/8" }
2421 ^\markup { " " \musicglyph #"timesig.neomensural48" }
2423 s_\markup { "\\time 2/4" }
2424 ^\markup { " " \musicglyph #"timesig.neomensural24" }
2428 Use the @code{style} property of grob @internalsref{TimeSignature} to
2429 select ancient time signatures. Supported styles are
2430 @code{neomensural} and @code{mensural}. The above table uses the
2431 @code{neomensural} style. This style is appropriate for the
2432 incipit of transcriptions of mensural pieces. The @code{mensural}
2433 style mimics the look of historical printings of the 16th century.
2435 The following examples show the differences in style,
2437 @lilypond[raggedright,fragment,relative=1,quote]
2442 c1^\markup { \hspace #-2.0 \typewriter default }
2444 \override Staff.TimeSignature #'style = #'numbered
2446 c1^\markup { \hspace #-2.0 \typewriter numbered }
2448 \override Staff.TimeSignature #'style = #'mensural
2450 c1^\markup { \hspace #-2.0 \typewriter mensural }
2452 \override Staff.TimeSignature #'style = #'neomensural
2454 c1^\markup { \hspace #-2.0 \typewriter neomensural }
2455 \override Staff.TimeSignature #'style = #'single-digit
2457 c1^\markup { \hspace #-2.0 \typewriter single-digit }
2463 This manual: @ref{Time signature} gives a general introduction to
2464 the use of time signatures.
2468 Ratios of note durations do not change with the time signature. For
2469 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
2470 be made by hand, by setting
2473 breveTP = #(ly:make-duration -1 0 3 2)
2479 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
2481 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
2482 addressable with @code{\time}. Use a @code{\markup} instead
2484 @node Ancient articulations
2485 @subsection Ancient articulations
2487 @cindex articulations
2489 In addition to the standard articulation signs described in section
2490 @ref{Articulations}, articulation signs for ancient notation are
2491 provided. These are specifically designed for use with notation in
2492 Editio Vaticana style.
2494 @lilypond[quote,raggedright,verbatim]
2495 \include "gregorian-init.ly"
2497 \context VaticanaVoice {
2498 \override Staff.StaffSymbol #'color = #red
2499 \override Staff.LedgerLineSpanner #'color = #red
2500 \override TextScript #'font-family = #'typewriter
2501 \override TextScript #'font-shape = #'upright
2502 \override Script #'padding = #-0.1
2504 a4\circulus_"circulus" s1
2505 a4\semicirculus_"semicirculus" s1 s
2506 a4\accentus_"accentus" s1
2507 \[ a4_"episem" \episemInitium \pes b \flexa a \episemFinis \]
2514 Some articulations are vertically placed too closely to the
2515 correpsonding note heads.
2518 @subsection Custodes
2523 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
2524 symbol that appears at the end of a staff. It anticipates the pitch
2525 of the first note(s) of the following line thus helping the performer
2526 to manage line breaks during performance.
2528 Custodes were frequently used in music notation until the 17th
2529 century. Nowadays, they have survived only in a few particular forms
2530 of musical notation such as contemporary editions of Gregorian chant
2531 like the @emph{editio vaticana}. There are different custos glyphs
2532 used in different flavors of notational style.
2534 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
2535 @internalsref{Staff} context when declaring the @code{\layout} block,
2536 as shown in the following example
2542 \consists Custos_engraver
2543 Custos \override #'style = #'mensural
2548 The result looks like this
2550 @lilypond[quote,raggedright]
2554 \override Staff.Custos #'style = #'mensural
2559 \context { \Staff \consists Custos_engraver }
2564 The custos glyph is selected by the @code{style} property. The styles
2565 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
2566 @code{mensural}. They are demonstrated in the following fragment
2568 @lilypond[quote,raggedright,fragment]
2569 \new Lyrics \lyricmode {
2571 \typewriter "vaticana"
2572 \line { " " \musicglyph #"custodes.vaticana.u0" }
2575 \typewriter "medicaea"
2576 \line { " " \musicglyph #"custodes.medicaea.u0" }
2579 \typewriter "hufnagel"
2580 \line { " " \musicglyph #"custodes.hufnagel.u0" }
2583 \typewriter "mensural"
2584 \line { " " \musicglyph #"custodes.mensural.u0" }
2591 Program reference: @internalsref{Custos}.
2593 Examples: @inputfileref{input/@/regression,custos@/.ly}.
2597 @subsection Divisiones
2603 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
2604 `division') is a staff context symbol that is used to structure
2605 Gregorian music into phrases and sections. The musical meaning of
2606 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
2607 can be characterized as short, medium, and long pause, somewhat like
2608 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
2609 only marks the end of a chant, but is also frequently used within a
2610 single antiphonal/responsorial chant to mark the end of each section.
2613 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
2614 contains definitions that you can apply by just inserting
2615 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
2616 and @code{\finalis} at proper places in the input. Some editions use
2617 @emph{virgula} or @emph{caesura} instead of divisio minima.
2618 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
2621 @lilypondfile[quote,raggedright]{divisiones.ly}
2625 @cindex @code{\virgula}
2627 @cindex @code{\caesura}
2629 @cindex @code{\divisioMinima}
2630 @code{\divisioMinima},
2631 @cindex @code{\divisioMaior}
2632 @code{\divisioMaior},
2633 @cindex @code{\divisioMaxima}
2634 @code{\divisioMaxima},
2635 @cindex @code{\finalis}
2640 In this manual: @ref{Breath marks}.
2642 Program reference: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
2644 Examples: @inputfileref{input/@/test,divisiones@/.ly}.
2647 @subsection Ligatures
2651 @c TODO: Should double check if I recalled things correctly when I wrote
2652 @c down the following paragraph by heart.
2654 A ligature is a graphical symbol that represents at least two distinct
2655 notes. Ligatures originally appeared in the manuscripts of Gregorian
2656 chant notation to denote ascending or descending sequences of notes.
2658 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
2659 Some ligature styles may need additional input syntax specific for
2660 this particular type of ligature. By default, the
2661 @internalsref{LigatureBracket} engraver just puts a square bracket
2664 @lilypond[quote,raggedright,verbatim]
2672 To select a specific style of ligatures, a proper ligature engraver
2673 has to be added to the @internalsref{Voice} context, as explained in
2674 the following subsections. Only white mensural ligatures
2675 are supported with certain limitations.
2681 Ligatures need special spacing that has not yet been implemented. As
2682 a result, there is too much space between ligatures most of the time,
2683 and line breaking often is unsatisfactory. Also, lyrics do not
2684 correctly align with ligatures.
2686 Accidentals must not be printed within a ligature, but instead need to
2687 be collected and printed in front of it.
2689 Augmentum dots within ligatures are not handled correctly.
2693 * White mensural ligatures::
2694 * Gregorian square neumes ligatures::
2697 @node White mensural ligatures
2698 @subsubsection White mensural ligatures
2700 @cindex Mensural ligatures
2701 @cindex White mensural ligatures
2703 There is limited support for white mensural ligatures.
2705 To engrave white mensural ligatures, in the layout block put the
2706 @internalsref{Mensural_ligature_engraver} into the
2707 @internalsref{Voice} context, and remove the
2708 @internalsref{Ligature_bracket_engraver}, like this
2714 \remove Ligature_bracket_engraver
2715 \consists Mensural_ligature_engraver
2720 There is no additional input language to describe the shape of a
2721 white mensural ligature. The shape is rather determined solely from
2722 the pitch and duration of the enclosed notes. While this approach may
2723 take a new user a while to get accustomed to, it has the great advantage
2724 that the full musical information of the ligature is known internally.
2725 This is not only required for correct MIDI output, but also allows for
2726 automatic transcription of the ligatures.
2731 \set Score.timing = ##f
2732 \set Score.defaultBarType = "empty"
2733 \override NoteHead #'style = #'neomensural
2734 \override Staff.TimeSignature #'style = #'neomensural
2736 \[ g\longa c\breve a\breve f\breve d'\longa \]
2738 \[ e1 f1 a\breve g\longa \]
2740 @lilypond[quote,raggedright]
2743 \set Score.timing = ##f
2744 \set Score.defaultBarType = "empty"
2745 \override NoteHead #'style = #'neomensural
2746 \override Staff.TimeSignature #'style = #'neomensural
2748 \[ g\longa c\breve a\breve f\breve d'\longa \]
2750 \[ e1 f1 a\breve g\longa \]
2755 \remove Ligature_bracket_engraver
2756 \consists Mensural_ligature_engraver
2762 Without replacing @internalsref{Ligature_bracket_engraver} with
2763 @internalsref{Mensural_ligature_engraver}, the same music transcribes
2766 @lilypond[quote,raggedright]
2768 \set Score.timing = ##f
2769 \set Score.defaultBarType = "empty"
2770 \override NoteHead #'style = #'neomensural
2771 \override Staff.TimeSignature #'style = #'neomensural
2773 \[ g\longa c\breve a\breve f\breve d'\longa \]
2775 \[ e1 f1 a\breve g\longa \]
2781 The implementation is experimental. It may output strange warnings,
2782 incorrect results, and might even crash on more complex ligatures.
2784 @node Gregorian square neumes ligatures
2785 @subsubsection Gregorian square neumes ligatures
2787 @cindex Square neumes ligatures
2788 @cindex Gregorian square neumes ligatures
2790 There is limited support for Gregorian square neumes notation
2791 (following the style of the Editio Vaticana). Core ligatures can
2792 already be typeset, but essential issues for serious typesetting are
2793 still lacking, such as (among others) horizontal alignment of multiple
2794 ligatures, lyrics alignment and proper handling of accidentals.
2797 The following table contains the extended neumes table of the 2nd
2798 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
2799 1983 by the monks of Solesmes.
2801 @multitable @columnfractions .4 .2 .2 .2
2818 @c TODO: \layout block is identical in all of the below examples.
2819 @c Therefore, it should somehow be included rather than duplicated all
2822 @c why not make identifiers in ly/engraver-init.ly? --hwn
2824 @c Because it's just used to typeset plain notes without
2825 @c a staff for demonstration purposes rather than something
2826 @c special of Gregorian chant notation. --jr
2831 @lilypond[staffsize=26,linewidth=1.5\cm]
2832 \include "gregorian-init.ly"
2837 \noBreak s^\markup {"a"} \noBreak
2839 % Punctum Inclinatum
2841 \noBreak s^\markup {"b"}
2843 \layout { \neumeDemoLayout }}
2846 @lilypond[staffsize=26,linewidth=2.5\cm]
2847 \include "gregorian-init.ly"
2850 % Punctum Auctum Ascendens
2851 \[ \auctum \ascendens b \]
2852 \noBreak s^\markup {"c"} \noBreak
2854 % Punctum Auctum Descendens
2855 \[ \auctum \descendens b \]
2856 \noBreak s^\markup {"d"} \noBreak
2858 % Punctum Inclinatum Auctum
2859 \[ \inclinatum \auctum b \]
2860 \noBreak s^\markup {"e"}
2862 \layout { \neumeDemoLayout }}
2865 @lilypond[staffsize=26,linewidth=1.0\cm]
2866 \include "gregorian-init.ly"
2869 % Punctum Inclinatum Parvum
2870 \[ \inclinatum \deminutum b \]
2871 \noBreak s^\markup {"f"}
2873 \layout { \neumeDemoLayout }}
2879 @lilypond[staffsize=26,linewidth=1.0\cm]
2880 \include "gregorian-init.ly"
2885 \noBreak s^\markup {"g"}
2887 \layout { \neumeDemoLayout }}
2893 @code{3. Apostropha vel Stropha}
2895 @lilypond[staffsize=26,linewidth=1.0\cm]
2896 \include "gregorian-init.ly"
2901 \noBreak s^\markup {"h"}
2903 \layout { \neumeDemoLayout }}
2906 @lilypond[staffsize=26,linewidth=1.0\cm]
2907 \include "gregorian-init.ly"
2911 \[ \stropha \auctum b \]
2912 \noBreak s^\markup {"i"}
2914 \layout { \neumeDemoLayout }}
2921 @lilypond[staffsize=26,linewidth=1.0\cm]
2922 \include "gregorian-init.ly"
2927 \noBreak s^\markup {"j"}
2929 \layout { \neumeDemoLayout }}
2935 @code{5. Clivis vel Flexa}
2937 @lilypond[staffsize=26,linewidth=1.0\cm]
2938 \include "gregorian-init.ly"
2945 \layout { \neumeDemoLayout }}
2948 @lilypond[staffsize=26,linewidth=2.0\cm]
2949 \include "gregorian-init.ly"
2952 % Clivis Aucta Descendens
2953 \[ b \flexa \auctum \descendens g \]
2954 \noBreak s^\markup {"l"} \noBreak
2956 % Clivis Aucta Ascendens
2957 \[ b \flexa \auctum \ascendens g \]
2958 \noBreak s^\markup {"m"}
2960 \layout { \neumeDemoLayout }}
2963 @lilypond[staffsize=26,linewidth=1.0\cm]
2964 \include "gregorian-init.ly"
2968 \[ b \flexa \deminutum g \]
2971 \layout { \neumeDemoLayout }}
2975 @code{6. Podatus vel Pes}
2977 @lilypond[staffsize=26,linewidth=1.0\cm]
2978 \include "gregorian-init.ly"
2985 \layout { \neumeDemoLayout }}
2988 @lilypond[staffsize=26,linewidth=2.0\cm]
2989 \include "gregorian-init.ly"
2992 % Pes Auctus Descendens
2993 \[ g \pes \auctum \descendens b \]
2994 \noBreak s^\markup {"p"} \noBreak
2996 % Pes Auctus Ascendens
2997 \[ g \pes \auctum \ascendens b \]
2998 \noBreak s^\markup {"q"}
3000 \layout { \neumeDemoLayout }}
3003 @lilypond[staffsize=26,linewidth=1.0\cm]
3004 \include "gregorian-init.ly"
3008 \[ g \pes \deminutum b \]
3011 \layout { \neumeDemoLayout }}
3015 @code{7. Pes Quassus}
3017 @lilypond[staffsize=26,linewidth=1.0\cm]
3018 \include "gregorian-init.ly"
3022 \[ \oriscus g \pes \virga b \]
3025 \layout { \neumeDemoLayout }}
3028 @lilypond[staffsize=26,linewidth=1.0\cm]
3029 \include "gregorian-init.ly"
3032 % Pes Quassus Auctus Descendens
3033 \[ \oriscus g \pes \auctum \descendens b \]
3036 \layout { \neumeDemoLayout }}
3041 @code{8. Quilisma Pes}
3043 @lilypond[staffsize=26,linewidth=1.0\cm]
3044 \include "gregorian-init.ly"
3048 \[ \quilisma g \pes b \]
3051 \layout { \neumeDemoLayout }}
3054 @lilypond[staffsize=26,linewidth=1.0\cm]
3055 \include "gregorian-init.ly"
3058 % Quilisma Pes Auctus Descendens
3059 \[ \quilisma g \pes \auctum \descendens b \]
3062 \layout { \neumeDemoLayout }}
3067 @code{9. Podatus Initio Debilis}
3069 @lilypond[staffsize=26,linewidth=1.0\cm]
3070 \include "gregorian-init.ly"
3073 % Pes Initio Debilis
3074 \[ \deminutum g \pes b \]
3077 \layout { \neumeDemoLayout }}
3080 @lilypond[staffsize=26,linewidth=1.0\cm]
3081 \include "gregorian-init.ly"
3084 % Pes Auctus Descendens Initio Debilis
3085 \[ \deminutum g \pes \auctum \descendens b \]
3088 \layout { \neumeDemoLayout }}
3095 @lilypond[staffsize=26,linewidth=1.0\cm]
3096 \include "gregorian-init.ly"
3100 \[ a \pes b \flexa g \]
3103 \layout { \neumeDemoLayout }}
3106 @lilypond[staffsize=26,linewidth=1.0\cm]
3107 \include "gregorian-init.ly"
3110 % Torculus Auctus Descendens
3111 \[ a \pes b \flexa \auctum \descendens g \]
3114 \layout { \neumeDemoLayout }}
3117 @lilypond[staffsize=26,linewidth=1.0\cm]
3118 \include "gregorian-init.ly"
3121 % Torculus Deminutus
3122 \[ a \pes b \flexa \deminutum g \]
3125 \layout { \neumeDemoLayout }}
3129 @code{11. Torculus Initio Debilis}
3131 @lilypond[staffsize=26,linewidth=1.0\cm]
3132 \include "gregorian-init.ly"
3135 % Torculus Initio Debilis
3136 \[ \deminutum a \pes b \flexa g \]
3139 \layout { \neumeDemoLayout }}
3142 @lilypond[staffsize=26,linewidth=1.0\cm]
3143 \include "gregorian-init.ly"
3146 % Torculus Auctus Descendens Initio Debilis
3147 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
3150 \layout { \neumeDemoLayout }}
3153 @lilypond[staffsize=26,linewidth=1.0\cm]
3154 \include "gregorian-init.ly"
3157 % Torculus Deminutus Initio Debilis
3158 \[ \deminutum a \pes b \flexa \deminutum g \]
3161 \layout { \neumeDemoLayout }}
3165 @code{12. Porrectus}
3167 @lilypond[staffsize=26,linewidth=1.0\cm]
3168 \include "gregorian-init.ly"
3172 \[ a \flexa g \pes b \]
3175 \layout { \neumeDemoLayout }}
3178 @lilypond[staffsize=26,linewidth=1.0\cm]
3179 \include "gregorian-init.ly"
3182 % Porrectus Auctus Descendens
3183 \[ a \flexa g \pes \auctum \descendens b \]
3186 \layout { \neumeDemoLayout }}
3189 @lilypond[staffsize=26,linewidth=1.0\cm]
3190 \include "gregorian-init.ly"
3193 % Porrectus Deminutus
3194 \[ a \flexa g \pes \deminutum b \]
3197 \layout { \neumeDemoLayout }}
3203 @lilypond[staffsize=26,linewidth=1.0\cm]
3204 \include "gregorian-init.ly"
3208 \[ \virga b \inclinatum a \inclinatum g \]
3211 \layout { \neumeDemoLayout }
3215 @lilypond[staffsize=26,linewidth=1.0\cm]
3216 \include "gregorian-init.ly"
3220 \[ \virga b \inclinatum a \inclinatum \auctum g \]
3223 \layout { \neumeDemoLayout }}
3226 @lilypond[staffsize=26,linewidth=1.0\cm]
3227 \include "gregorian-init.ly"
3230 % Climacus Deminutus
3231 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
3234 \layout { \neumeDemoLayout }}
3238 @code{14. Scandicus}
3240 @lilypond[staffsize=26,linewidth=1.0\cm]
3241 \include "gregorian-init.ly"
3245 \[ g \pes a \virga b \]
3248 \layout { \neumeDemoLayout }}
3251 @lilypond[staffsize=26,linewidth=1.0\cm]
3252 \include "gregorian-init.ly"
3255 % Scandicus Auctus Descendens
3256 \[ g \pes a \pes \auctum \descendens b \]
3259 \layout { \neumeDemoLayout }}
3262 @lilypond[staffsize=26,linewidth=1.0\cm]
3263 \include "gregorian-init.ly"
3266 % Scandicus Deminutus
3267 \[ g \pes a \pes \deminutum b \]
3270 \layout { \neumeDemoLayout }}
3276 @lilypond[staffsize=26,linewidth=1.0\cm]
3277 \include "gregorian-init.ly"
3281 \[ g \oriscus a \pes \virga b \]
3284 \layout { \neumeDemoLayout }}
3287 @lilypond[staffsize=26,linewidth=1.0\cm]
3288 \include "gregorian-init.ly"
3291 % Salicus Auctus Descendens
3292 \[ g \oriscus a \pes \auctum \descendens b \]
3295 \layout { \neumeDemoLayout }}
3302 @lilypond[staffsize=26,linewidth=1.0\cm]
3303 \include "gregorian-init.ly"
3307 \[ \stropha b \stropha b \stropha a \]
3310 \layout { \neumeDemoLayout }
3319 Unlike most other neumes notation systems, the input language for
3320 neumes does not reflect the typographical appearance, but is designed
3321 to focus on musical meaning. For example, @code{\[ a \pes b
3322 \flexa g \]} produces a Torculus consisting of three Punctum heads,
3323 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
3324 curved flexa shape and only a single Punctum head. There is no
3325 command to explicitly typeset the curved flexa shape; the decision of
3326 when to typeset a curved flexa shape is based on the musical
3327 input. The idea of this approach is to separate the musical aspects
3328 of the input from the notation style of the output. This way, the
3329 same input can be reused to typeset the same music in a different
3330 style of Gregorian chant notation.
3332 The following table shows the code fragments that produce the
3333 ligatures in the above neumes table. The letter in the first column
3334 in each line of the below table indicates to which ligature in the
3335 above table it refers. The second column gives the name of the
3336 ligature. The third column shows the code fragment that produces this
3337 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
3339 @multitable @columnfractions .02 .31 .67
3359 @code{\[ \inclinatum b \]}
3367 @code{\[ \auctum \ascendens b \]}
3375 @code{\[ \auctum \descendens b \]}
3380 Punctum Inclinatum@*
3383 @code{\[ \inclinatum \auctum b \]}
3388 Punctum Inclinatum@*
3390 @code{\[ \inclinatum \deminutum b \]}
3397 @code{\[ \virga b \]}
3404 @code{\[ \stropha b \]}
3411 @code{\[ \stropha \auctum b \]}
3418 @code{\[ \oriscus b \]}
3425 @code{\[ b \flexa g \]}
3433 @code{\[ b \flexa \auctum \descendens g \]}
3441 @code{\[ b \flexa \auctum \ascendens g \]}
3448 @code{\[ b \flexa \deminutum g \]}
3455 @code{\[ g \pes b \]}
3463 @code{\[ g \pes \auctum \descendens b \]}
3471 @code{\[ g \pes \auctum \ascendens b \]}
3478 @code{\[ g \pes \deminutum b \]}
3485 @code{\[ \oriscus g \pes \virga b \]}
3491 Auctus Descendens @tab
3492 @code{\[ \oriscus g \pes \auctum \descendens b \]}
3499 @code{\[ \quilisma g \pes b \]}
3507 @code{\[ \quilisma g \pes \auctum \descendens b \]}
3514 @code{\[ \deminutum g \pes b \]}
3519 Pes Auctus Descendens@*
3522 @code{\[ \deminutum g \pes \auctum \descendens b \]}
3529 @code{\[ a \pes b \flexa g \]}
3537 @code{\[ a \pes b \flexa \auctum \descendens g \]}
3544 @code{\[ a \pes b \flexa \deminutum g \]}
3549 Torculus Initio Debilis
3551 @code{\[ \deminutum a \pes b \flexa g \]}
3557 Descendens Initio Debilis
3559 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
3564 Torculus Deminutus@*
3567 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
3574 @code{\[ a \flexa g \pes b \]}
3582 @code{\[ a \flexa g \pes \auctum \descendens b \]}
3589 @code{\[ a \flexa g \pes \deminutum b \]}
3596 @code{\[ \virga b \inclinatum a \inclinatum g \]}
3603 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
3610 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
3617 @code{\[ g \pes a \virga b \]}
3625 @code{\[ g \pes a \pes \auctum \descendens b \]}
3632 @code{\[ g \pes a \pes \deminutum b \]}
3639 @code{\[ g \oriscus a \pes \virga b \]}
3644 Salicus Auctus Descendens
3646 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
3653 @code{\[ \stropha b \stropha b \stropha a \]}
3658 The following head prefixes are supported
3660 @cindex @code{\virga}
3662 @cindex @code{\stropha}
3664 @cindex @code{\inclinatum}
3666 @cindex @code{\auctum}
3668 @cindex @code{\descendens}
3670 @cindex @code{\ascendens}
3672 @cindex @code{\oriscus}
3674 @cindex @code{\quilisma}
3676 @cindex @code{\deminutum}
3679 Head prefixes can be accumulated, though restrictions apply. For
3680 example, either @code{\descendens} or @code{\ascendens} can be applied
3681 to a head, but not both to the same head.
3684 @cindex @code{\flexa}
3685 Two adjacent heads can be tied together with the @code{\pes} and
3686 @code{\flexa} infix commands for a rising and falling line of melody,
3691 @node Gregorian Chant contexts
3692 @subsection Gregorian Chant contexts
3694 @cindex VaticanaVoiceContext
3695 @cindex VaticanaStaffContext
3697 The predefined @code{VaticanaVoiceContext} and
3698 @code{VaticanaStaffContext} can be used to engrave a piece of
3699 Gregorian Chant in the style of the Editio Vaticana. These contexts
3700 initialize all relevant context properties and grob properties to
3701 proper values, so you can immediately go ahead entering the chant, as
3702 the following excerpt demonstrates
3704 @lilypond[quote,raggedright,packed,verbatim]
3705 \include "gregorian-init.ly"
3708 \context VaticanaVoice = "cantus" {
3709 \override Staff.StaffSymbol #'color = #red
3710 \override Staff.LedgerLineSpanner #'color = #red
3711 \override Score.BarNumber #'transparent = ##t {
3712 \[ c'\melisma c' \flexa a \]
3713 \[ a \flexa \deminutum g\melismaEnd \]
3715 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
3716 c' \divisioMinima \break
3717 \[ c'\melisma c' \flexa a \]
3718 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
3721 \lyricsto "cantus" \new Lyrics {
3722 San- ctus, San- ctus, San- ctus
3729 @node Mensural contexts
3730 @subsection Mensural contexts
3732 @cindex MensuralVoiceContext
3733 @cindex MensuralStaffContext
3735 The predefined @code{MensuralVoiceContext} and
3736 @code{MensuralStaffContext} can be used to engrave a piece in mensural
3737 style. These contexts initialize all relevant context properties and
3738 grob properties to proper values, so you can immediately go ahead
3739 entering the chant, as the following excerpt demonstrates
3741 @lilypond[quote,raggedright,verbatim]
3744 \context MensuralVoice = "discantus" \transpose c c' {
3745 \override Score.BarNumber #'transparent = ##t {
3746 c'1\melisma bes a g\melismaEnd
3748 \[ f1\melisma a c'\breve d'\melismaEnd \]
3750 c'\breve\melisma a1 g1\melismaEnd
3751 fis\longa^\signumcongruentiae
3754 \lyricsto "discantus" \new Lyrics {
3755 San -- ctus, San -- ctus, San -- ctus
3763 @subsection Figured bass
3765 @cindex Basso continuo
3767 @c TODO: musicological blurb about FB
3770 LilyPond has limited support for figured bass
3772 @lilypond[quote,raggedright,verbatim,fragment]
3774 \context Voice { \clef bass dis4 c d ais g fis}
3775 \context FiguredBass \figuremode {
3776 < 6 >4 < 7 >8 < 6+ [_!] >
3783 The support for figured bass consists of two parts: there is an input
3784 mode, introduced by @code{\figuremode}, where you can enter bass figures
3785 as numbers, and there is a context called @internalsref{FiguredBass} that
3786 takes care of making @internalsref{BassFigure} objects.
3788 In figures input mode, a group of bass figures is delimited by
3789 @code{<} and @code{>}. The duration is entered after the @code{>}
3793 @lilypond[quote,raggedright,fragment]
3794 \context FiguredBass
3795 \figuremode { <4 6> }
3798 Accidentals are added when you append @code{-}, @code{!}, and @code{+}
3804 @lilypond[quote,raggedright,fragment]
3805 \context FiguredBass
3806 \figuremode { <4- 6+ 7!> }
3809 Spaces or dashes may be inserted by using @code{_}. Brackets are
3810 introduced with @code{[} and @code{]}. You can also include text
3811 strings and text markups, see @ref{Overview of text markup commands}.
3814 < [4 6] 8 [_! 12] > < 5 \markup @{ + \number 6 @} >
3816 @lilypond[quote,raggedright,fragment]
3817 \context FiguredBass
3818 \figuremode { < [4 6] 8 [_! 12] > < 5 \markup{ + \number 6 } > }
3822 Although the support for figured bass may superficially resemble chord
3823 support, it works much simpler. The @code{\figuremode} mode simply
3824 stores the numbers and @internalsref{FiguredBass} context prints
3825 them as entered. There is no conversion to pitches and no
3826 realizations of the bass are played in the MIDI file.
3828 Internally, the code produces markup texts. You can use any of the
3829 markup text properties to override formatting. For example, the
3830 vertical spacing of the figures may be set with @code{baseline-skip}.
3834 Program reference: @internalsref{BassFigureEvent} music,
3835 @internalsref{BassFigure} object, and @internalsref{FiguredBass} context.
3839 Slash notation for alterations is not supported.
3843 @node Other instrument specific notation
3844 @section Other instrument specific notation
3846 This section includes extra information for writing for instruments.
3849 * Artificial harmonics (strings)::
3850 * Stopped notes (guitar)::
3853 @node Artificial harmonics (strings)
3854 @subsection Artificial harmonics (strings)
3856 @cindex artificial harmonics
3858 Artificial harmonics are notated with a different notehead style. They
3859 are entered by marking the harmonic pitch with @code{\harmonic}.
3861 @lilypond[raggedright,verbatim,quote,fragment,relative=1]
3866 @node Stopped notes (guitar)
3867 @subsection Stopped notes (guitar)
3869 Stopped (X) note heads are used in guitar music to signal a place where the
3870 guitarist must play a certain note or chord, with its fingers just
3871 touching the strings instead of fully pressing them. This gives the sound a
3872 percussive noise-like sound that still maintains part of the original pitch.
3874 Finger stopped technique is extremely important for rhythm and rock-heavy
3875 metal guitarists; the former often uses barré based stopped chords to
3876 intermix harmony with rythm, the latters use finger stopping to mute power
3877 chords, or charge them with more expression in close-tied power chord stums.
3879 It is also used (even if rarely) in classic guitar music, generally in the
3880 melodic line, to provide some rithmic pattern right in the melody.
3882 @lilypond[raggedright,verbatim,quote,fragment,relative=2]
3884 \override NoteHead #'style = #'cross
3886 \revert NoteHead #'style