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::
40 * Staff switch lines::
46 Dynamics are not centered, but workarounds do exist. See the
47 ``piano centered dynamics'' template in @ref{Piano templates}.
49 @cindex cross staff stem
50 @cindex stem, cross staff
51 @cindex distance between staves in piano music
53 The distance between the two staves is the same for all systems in the
54 score. It is possible to override this per system, but it does require
55 an arcane command incantation. See
56 @inputfileref{input/@/test,piano@/-staff@/-distance@/.ly}.
59 @node Automatic staff changes
60 @subsection Automatic staff changes
61 @cindex Automatic staff changes
63 Voices can be made to switch automatically between the top and the bottom
64 staff. The syntax for this is
68 \autochange @dots{}@var{music}@dots{}
73 This will create two staves inside the current PianoStaff, called
74 @code{up} and @code{down}. The lower staff will be in bass clef by
77 A @code{\relative} section that is outside of @code{\autochange} has
78 no effect on the pitches of @var{music}, so, if necessary, put
79 @code{\relative} inside @code{\autochange} like
83 \autochange \relative @dots{} @dots{}
88 The autochanger switches on basis of the pitch (middle C is the turning
89 point), and it looks ahead skipping over rests to switch in
90 advance. Here is a practical example
92 @lilypond[quote,verbatim,ragged-right]
94 \autochange \relative c'
103 In this manual: @ref{Manual staff switches}.
105 Program reference: @internalsref{AutoChangeMusic}.
111 The staff switches may not end up in optimal places. For high
112 quality output, staff switches should be specified manually.
115 @code{\autochange} cannot be inside @code{\times}.
118 @node Manual staff switches
119 @subsection Manual staff switches
121 @cindex manual staff switches
122 @cindex staff switch, manual
124 Voices can be switched between staves manually, using the command
126 \change Staff = @var{staffname} @var{music}
130 The string @var{staffname} is the name of the staff. It switches the
131 current voice from its current staff to the Staff called
132 @var{staffname}. Typically @var{staffname} is @code{"up"} or
133 @code{"down"}. The @context{Staff} referred to must already exist, so
134 usually the setup for a score will start with a setup of the staves,
139 \skip 1 * 10 % @emph{keep staff alive}
141 \new Staff = "down" @{
142 \skip 1 * 10 % @emph{idem}
148 and the @context{Voice} is inserted afterwards
152 \new Voice @{ @dots{} \change Staff = up @dots{} @}
160 Pianos have pedals that alter the way sound is produced. Generally, a
161 piano has three pedals, sustain, una corda, and sostenuto.
164 Piano pedal instruction can be expressed by attaching
165 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
166 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
169 @lilypond[quote,ragged-right,fragment,verbatim]
170 c'4\sustainDown c'4\sustainUp
173 What is printed can be modified by setting @code{pedal@var{X}Strings},
174 where @var{X} is one of the pedal types: @code{Sustain},
175 @code{Sostenuto} or @code{UnaCorda}. Refer to
176 @internalsref{SustainPedal} in the program reference for more
179 Pedals can also be indicated by a sequence of brackets, by setting the
180 @code{pedalSustainStyle} property to bracket objects
182 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
183 \set Staff.pedalSustainStyle = #'bracket
185 b\sustainUp\sustainDown
186 b g \sustainUp a \sustainDown \bar "|."
189 A third style of pedal notation is a mixture of text and brackets,
190 obtained by setting the @code{pedalSustainStyle} property to
193 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
194 \set Staff.pedalSustainStyle = #'mixed
196 b\sustainUp\sustainDown
197 b g \sustainUp a \sustainDown \bar "|."
200 The default `*Ped.' style for sustain and damper pedals corresponds to
201 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
204 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
205 c\sostenutoDown d e c, f g a\sostenutoUp
208 For fine-tuning the appearance of a pedal bracket, the properties
209 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
210 @code{PianoPedalBracket} objects (see
211 @internalsref{PianoPedalBracket} in the Program reference) can be
212 modified. For example, the bracket may be extended to the right edge
215 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
216 \override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
217 c\sostenutoDown d e c, f g a\sostenutoUp
222 In this manual: @ref{Laissez vibrer ties}
224 @node Staff switch lines
225 @subsection Staff switch lines
229 @cindex staff switching
234 Whenever a voice switches to another staff, a line connecting the notes
235 can be printed automatically. This is switched on by setting
236 @code{followVoice} to true
238 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
241 \set followVoice = ##t
246 \new Staff="two" { \clef bass \skip 1*2 }
252 Program reference: @internalsref{VoiceFollower}.
256 @findex \showStaffSwitch
257 @code{\showStaffSwitch},
258 @findex \hideStaffSwitch
259 @code{\hideStaffSwitch}.
262 @node Cross staff stems
263 @subsection Cross staff stems
265 Chords that cross staves may be produced by increasing the length
266 of the stem in the lower staff, so it reaches the stem in the upper
267 staff, or vice versa.
269 @lilypond[ragged-right,verbatim,quote]
270 stemExtend = \once \override Stem #'length = #22
271 noFlag = \once \override Stem #'flag-style = #'no-flag
274 \stemDown \stemExtend
292 * Introducing chord names::
294 * Printing chord names::
298 @c awkward name; awkward section name.
299 @c still, the Basic "chords" seems like a good name... :(
300 @node Introducing chord names
301 @subsection Introducing chord names
304 LilyPond has support for printing chord names. Chords may be entered
305 in musical chord notation, i.e., @code{< .. >}, but they can also be
306 entered by name. Internally, the chords are represented as a set of
307 pitches, so they can be transposed
310 @lilypond[quote,ragged-right,verbatim,ragged-right]
311 twoWays = \transpose c c' {
320 << \new ChordNames \twoWays
321 \new Voice \twoWays >>
324 This example also shows that the chord printing routines do not try to
325 be intelligent. The last chord (@code{f bes d}) is not interpreted as
328 Note that the duration of chords must be specified outside the
337 @subsection Chords mode
340 In chord mode sets of pitches (chords) are entered with normal note
341 names. A chord is entered by the root, which is entered like a
344 @lilypond[quote,ragged-right,fragment,verbatim]
345 \chordmode { es4. d8 c2 }
349 The mode is introduced by the keyword @code{\chordmode}.
354 Other chords may be entered by suffixing a colon and introducing a
355 modifier (which may include a number if desired)
356 @lilypond[quote,fragment,verbatim]
357 \chordmode { e1:m e1:7 e1:m7 }
359 The first number following the root is taken to be the `type' of the
360 chord, thirds are added to the root until it reaches the specified
362 @lilypond[quote,fragment,verbatim]
363 \chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
366 @cindex root of chord
367 @cindex additions, in chords
368 @cindex removals, in chords
370 More complex chords may also be constructed adding separate steps
371 to a chord. Additions are added after the number following
372 the colon and are separated by dots
373 @lilypond[quote,verbatim,fragment]
374 \chordmode { c:5.6 c:3.7.8 c:3.6.13 }
376 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
378 @lilypond[quote,verbatim,fragment]
379 \chordmode { c:7+ c:5+.3- c:3-.5-.7- }
381 Removals are specified similarly and are introduced by a caret. They
382 must come after the additions
383 @lilypond[quote,verbatim,fragment]
384 \chordmode { c^3 c:7^5 c:9^3.5 }
387 Modifiers can be used to change pitches. The following modifiers are
392 The minor chord. This modifier lowers the 3rd and (if present) the 7th step.
395 The diminished chord. This modifier lowers the 3rd, 5th and (if present)
399 The augmented chord. This modifier raises the 5th step.
402 The major 7th chord. This modifier raises the 7th step if present.
405 The suspended 4th or 2nd. This modifier removes the 3rd
406 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
410 Modifiers can be mixed with additions
411 @lilypond[quote,verbatim,fragment]
412 \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
415 @cindex modifiers, in chords.
422 Since an unaltered 11 does not sound good when combined with an
423 unaltered 3, the 11 is removed in this case (unless it is added
425 @lilypond[quote,ragged-right,fragment,verbatim]
426 \chordmode { c:13 c:13.11 c:m13 }
431 An inversion (putting one pitch of the chord on the bottom), as well
432 as bass notes, can be specified by appending
433 @code{/}@var{pitch} to the chord
434 @lilypond[quote,ragged-right,fragment,verbatim]
435 \chordmode { c1 c/g c/f }
439 A bass note can be added instead transposed out of the chord,
440 by using @code{/+}@var{pitch}.
442 @lilypond[quote,ragged-right,fragment,verbatim]
443 \chordmode { c1 c/+g c/+f }
446 Chords is a mode similar to @code{\lyricmode}, etc. Most
447 of the commands continue to work, for example, @code{r} and
448 @code{\skip} can be used to insert rests and spaces, and property
449 commands may be used to change various settings.
455 Each step can only be present in a chord once. The following
456 simply produces the augmented chord, since @code{5+} is interpreted
459 @lilypond[quote,ragged-right,verbatim,fragment]
460 \chordmode { c:5.5-.5+ }
464 @node Printing chord names
465 @subsection Printing chord names
467 @cindex printing chord names
471 For displaying printed chord names, use the @internalsref{ChordNames} context.
472 The chords may be entered either using the notation
473 described above, or directly using @code{<} and @code{>}
475 @lilypond[quote,verbatim,ragged-right]
477 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
480 \new ChordNames \harmonies
481 \new Staff \harmonies
485 You can make the chord changes stand out by setting
486 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
487 display chord names when there is a change in the chords scheme and at
488 the start of a new line
490 @lilypond[quote,verbatim,ragged-right]
491 harmonies = \chordmode {
492 c1:m c:m \break c:m c:m d
496 \set chordChanges = ##t
498 \new Staff \transpose c c' \harmonies
502 The previous examples all show chords over a staff. This is not
503 necessary. Chords may also be printed separately. It may be necessary
504 to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
507 @lilypond[ragged-right,verbatim]
508 \new ChordNames \with {
509 \override BarLine #'bar-size = #4
510 voltaOnThisStaff = ##t
511 \consists Bar_engraver
512 \consists "Volta_engraver"
514 \chordmode { \repeat volta 2 {
524 The default chord name layout is a system for Jazz music, proposed by
525 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
529 @findex chordNameExceptions
530 @item chordNameExceptions
531 This is a list that contains the chords that have special formatting.
533 The exceptions list should be encoded as
535 @{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
538 To get this information into @code{chordNameExceptions} takes a little
539 manoeuvring. The following code transforms @code{chExceptionMusic}
540 (which is a sequential music) into a list of exceptions.
542 (sequential-music-to-chord-exceptions chExceptionMusic #t)
547 (sequential-music-to-chord-exceptions chExceptionMusic #t)
550 adds the new exceptions to the default ones, which are defined in
551 @file{ly/@/chord@/-modifier@/-init@/.ly}.
553 For an example of tuning this property, see also
554 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly}.
555 @cindex exceptions, chord names.
558 @findex majorSevenSymbol
559 @item majorSevenSymbol
560 This property contains the markup object used for the 7th step, when
561 it is major. Predefined options are @code{whiteTriangleMarkup} and
562 @code{blackTriangleMarkup}. See
563 @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly} for an example.
565 @findex chordNameSeparator
566 @item chordNameSeparator
567 Different parts of a chord name are normally separated by a
568 slash. By setting @code{chordNameSeparator}, you can specify other
570 @lilypond[quote,ragged-right,fragment,verbatim]
571 \new ChordNames \chordmode {
573 \set chordNameSeparator
574 = \markup { \typewriter "|" }
579 @findex chordRootNamer
581 The root of a chord is usually printed as a letter with an optional
582 alteration. The transformation from pitch to letter is done by this
583 function. Special note names (for example, the German ``H'' for a
584 B-chord) can be produced by storing a new function in this property.
586 @findex chordNoteNamer
588 The default is to print single pitch, e.g., the bass note, using the
589 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
590 to a specialized function to change this behavior. For example, the
591 base can be printed in lower case.
593 @findex chordPrefixSpacer
594 @item chordPrefixSpacer
595 The ``m'' for minor chords is usually printed right after the root of
596 the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer
597 between the root and ``m''. The spacer is not used when the root
602 The predefined variables @code{\germanChords},
603 @code{\semiGermanChords}, @code{\italianChords} and @code{\frenchChords}
604 set these variables. The effect is
607 @lilypondfile[ragged-right]{chord-names-languages.ly}
609 There are also two other chord name schemes implemented: an alternate
610 Jazz chord notation, and a systematic scheme called Banter chords. The
611 alternate Jazz notation is also shown on the chart in @ref{Chord name
612 chart}. Turning on these styles is described in the input file
613 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
622 @findex \germanChords
623 @code{\germanChords},
624 @findex \semiGermanChords
625 @code{\semiGermanChords}.
626 @findex \italianChords
627 @code{\italianChords}.
628 @findex \frenchChords
629 @code{\frenchChords}.
636 Examples: @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly},
637 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly},
638 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
641 Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
642 @file{scm/@/chord@/-entry@/.scm}.
647 Chord names are determined solely from the list of pitches. Chord
648 inversions are not identified, and neither are added bass notes. This
649 may result in strange chord names when chords are entered with the
650 @code{< .. >} syntax.
657 Since LilyPond input files are text, there are two issues to
658 consider when working with vocal music:
662 Song texts must be entered as text, not notes. For example, the
663 input@tie{}@code{d} should be interpreted as a one letter syllable, not the
667 Song texts must be aligned with the notes of their melody.
670 There are a few different ways to define lyrics; the simplest
671 way is to use the @code{\addlyrics} function.
674 * Setting simple songs::
676 * Hyphens and extenders::
677 * The Lyrics context::
679 * Another way of entering lyrics::
680 * Flexibility in placement::
682 * More about stanzas::
684 * Other vocal issues::
690 Checking to make sure that text scripts and lyrics are within the margins is
691 a relatively large computational task. To speed up processing, lilypond does
692 not perform such calculations by default; to enable it, use
695 \override Score.PaperColumn #'keep-inside-line = ##t
698 To make lyrics avoid barlines as well, use
703 \consists "Bar_engraver"
704 \consists "Separating_line_group_engraver"
705 \override BarLine #'transparent = ##t
711 @node Setting simple songs
712 @subsection Setting simple songs
714 The easiest way to add lyrics to a melody is to append
717 \addlyrics @{ @var{the lyrics} @}
721 to a melody. Here is an example,
723 @lilypond[ragged-right,verbatim,fragment,quote]
725 \relative { c2 e4 g2. }
726 \addlyrics { play the game }
729 More stanzas can be added by adding more
730 @code{\addlyrics} sections
732 @lilypond[ragged-right,verbatim,fragment,quote]
734 \relative { c2 e4 g2. }
735 \addlyrics { play the game }
736 \addlyrics { speel het spel }
737 \addlyrics { joue le jeu }
740 The command @code{\addlyrics} cannot handle polyphony settings. For these
741 cases you should use @code{\lyricsto} and @code{\lyricmode}.
745 @node Entering lyrics
746 @subsection Entering lyrics
752 Lyrics are entered in a special input mode. This mode is introduced
753 by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
754 @code{\lyricsto}. In this mode you can enter lyrics,
755 with punctuation and accents, and the input @code{d} is not parsed as
756 a pitch, but rather as a one letter syllable. Syllables are entered
757 like notes, but with pitches replaced by text. For example,
759 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
762 There are two main methods to specify the horizontal placement
763 of the syllables, either by specifying the duration of each syllable
764 explicitly, like in the example above, or by automatically aligning
765 the lyrics to a melody or other voice of music, using @code{\addlyrics}
766 or @code{\lyricsto}. For more details see @ref{The Lyrics context}.
768 A word or syllable of lyrics begins with an alphabetic character, and ends
770 any space or digit. The following characters can be any character
771 that is not a digit or white space. One important consequence of this
772 is that a word can end with @code{@}}. The following example is
773 usually a mistake in the input file. The syllable includes a @code{@}}, so
775 opening brace is not balanced
777 \lyricmode @{ twinkle@}
780 @findex \property in \lyricmode
783 Similarly, a period which follows an alphabetic sequence is included in
784 the resulting string. As a consequence, spaces must be inserted around
787 \override Score . LyricText #'font-shape = #'italic
791 @cindex spaces, in lyrics
792 @cindex quotes, in lyrics
794 In order to assign more than one syllable to a single note, you must
795 surround them with quotes or use a @code{_} character between the syllables.
797 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
799 \relative { c2 e4 g2 e4 }
800 \addlyrics { gran- de_a- mi- go }
801 \addlyrics { pu- "ro y ho-" nes- to }
804 To enter lyrics with characters from non-English languages, or with
805 non-ascii characters (such as the heart symbol or slanted quotes),
806 simply insert the characters directly into the input file and save
807 it with utf-8 encoding. See @ref{Text encoding} for more info.
809 @lilypond[quote,ragged-right,fragment,verbatim]
810 \relative { e4 f e d e f e2 }
811 \addlyrics { He said: “Let my peo ple go”. }
814 To use normal quotes in lyrics, add a backslash before the
817 @lilypond[quote,ragged-right,fragment,verbatim]
818 \relative c' { \time 3/4 e4 e4. e8 d4 e d c2. }
819 \addlyrics { "\"I" am so lone- "ly\"" said she }
822 The full definition of a word start in Lyrics mode is somewhat more
825 A word in Lyrics mode begins with: an alphabetic character, @code{_},
826 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
827 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
828 any 8-bit character with ASCII code over 127, or a two-character
829 combination of a backslash followed by one of @code{`}, @code{'},
830 @code{"}, or @code{^}.
835 Program reference: @internalsref{LyricText}, @internalsref{LyricSpace}.
839 @node Hyphens and extenders
840 @subsection Hyphens and extenders
844 Centered hyphens are entered as `@code{--}' between syllables.
845 The hyphen will have variable length depending on the space between
846 the syllables and it will be centered between the syllables.
851 When a lyric is sung over many notes (this is called a melisma), this is
852 indicated with a horizontal line centered between a syllable and the
853 next one. Such a line is called an extender line, and it is entered as
856 In tighly engraved music, hyphens can be removed. Whether this
857 happens can be controlled with the @code{minimum-distance} (minimum
858 distance between two syllables) and the @code{minimum-length}
859 (threshold below which hyphens are removed).
863 Program reference: @internalsref{LyricHyphen}, @internalsref{LyricExtender}.
867 @node The Lyrics context
868 @subsection The Lyrics context
870 Lyrics are printed by interpreting them in the context caleld
871 @internalsref{Lyrics}.
874 \new Lyrics \lyricmode @dots{}
877 @cindex automatic syllable durations
879 @cindex lyrics and melodies
881 This will place the lyrics according to the durations that were
882 entered. The lyrics can also be aligned under a given melody
883 automatically. In this case, it is no longer necessary to enter the
884 correct duration for each syllable. This is achieved by combining the
885 melody and the lyrics with the @code{\lyricsto} expression
888 \new Lyrics \lyricsto @var{name} @dots{}
891 This aligns the lyrics to the
892 notes of the @internalsref{Voice} context called @var{name}, which has
893 to exist. Therefore, normally the @code{Voice} is specified first, and
894 then the lyrics are specified with @code{\lyricsto}. The command
895 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
896 @code{\lyricmode} keyword may be omitted.
898 The following example uses different commands for entering lyrics.
900 @lilypond[quote,fragment,ragged-right,verbatim]
902 \new Voice = "one" \relative c'' {
905 c4 b8. a16 g4. f8 e4 d c2
907 \new Lyrics \lyricmode { Joy4 to8. the16 world!4. the8 Lord4 is come.2 }
908 \new Lyrics \lyricmode { Joy to the earth! the Sav -- our reigns. }
909 \new Lyrics \lyricsto "one" { No more let sins and sor -- rows grow. }
913 The second stanza is not properly aligned because the durations
914 were not specified. A solution for that would be to use @code{\lyricsto}.
921 To define indentifiers containing lyrics, the function @code{lyricmode}
925 verseOne = \lyricmode @{ Joy to the world the Lord is come @}
928 \new Voice = "one" \relative c'' @{
931 c4 b8. a16 g4. f8 e4 d c2
933 \addlyrics @{ \verseOne @}
938 The @code{\addlyrics} command is actually just a convenient way
939 to write a more complicated LilyPond structure that sets up the
944 \addlyrics @{ LYRICS @}
951 \new Voice = "blah" @{ music @}
952 \new Lyrics \lyricsto "blah" @{ LYRICS @}
955 For different or more complex orderings, the best way is to setup the
956 hierarchy of staves and lyrics first, e.g.,
959 \new Voice = "soprano" @{ @emph{music} @}
960 \new Lyrics = "sopranoLyrics" @{ s1 @}
961 \new Lyrics = "tenorLyrics" @{ s1 @}
962 \new Voice = "tenor" @{ @emph{music} @}
966 and then combine the appropriate melodies and lyric lines
969 \context Lyrics = sopranoLyrics \lyricsto "soprano"
974 The final input would resemble
977 <<\new ChoirStaff << @emph{setup the music} >>
978 \lyricsto "soprano" @emph{etc}
979 \lyricsto "alto" @emph{etc}
986 Program reference: @internalsref{LyricCombineMusic},
987 @internalsref{Lyrics}.
991 @subsection Melismata
993 The @code{\lyricsto} command detects melismata: it only puts one
994 syllable under a tied or slurred group of notes. If you want to force
995 an unslurred group of notes to be a melisma, insert @code{\melisma}
996 after the first note of the group, and @code{\melismaEnd} after the
999 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
1001 \new Voice = "lala" {
1009 \new Lyrics \lyricsto "lala" {
1015 In addition, notes are considered a melisma if they are manually
1016 beamed, and automatic beaming (see @ref{Setting automatic beam
1017 behavior}) is switched off.
1020 @cindex choral score
1022 A complete example of a SATB score setup is in section
1023 @ref{Vocal ensembles}.
1028 @code{\melisma}, @code{\melismaEnd}
1034 Program reference: @internalsref{Melisma_translator}.
1037 @inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly}.
1041 Melismata are not detected automatically, and extender lines must be
1045 @node Another way of entering lyrics
1046 @subsection Another way of entering lyrics
1048 Lyrics can also be entered without @code{\lyricsto}. In this case the
1049 duration of each syllable must be entered explicitly, for example,
1056 The alignment to a melody can be specified with the
1057 @code{associatedVoice} property,
1060 \set associatedVoice = #"lala"
1064 The value of the property (here: @code{"lala"}) should be the name of
1065 a @internalsref{Voice} context. Without this setting, extender lines
1066 will not be formatted properly.
1068 Here is an example demonstrating manual lyric durations,
1070 @lilypond[relative=1,ragged-right,verbatim,fragment,quote]
1071 << \new Voice = "melody" {
1075 \new Lyrics \lyricmode {
1076 \set associatedVoice = #"melody"
1082 @c TODO: document \new Staff << Voice \lyricsto >> bug
1084 @node Flexibility in placement
1085 @subsection Flexibility in placement
1087 Often, different stanzas of one song are put to one melody in slightly
1088 differing ways. Such variations can still be captured with
1092 * Lyrics to multiple notes of a melisma::
1094 * Switching the melody associated with a lyrics line::
1095 * Specifying melismata within the lyrics::
1098 @node Lyrics to multiple notes of a melisma
1099 @subsubsection Lyrics to multiple notes of a melisma
1102 One possibility is that the text has a melisma in one stanza, but
1103 multiple syllables in another one. One solution is to make the faster
1104 voice ignore the melisma. This is done by setting
1105 @code{ignoreMelismata} in the Lyrics context.
1107 There is one tricky aspect: the setting for @code{ignoreMelismata}
1108 must be set one syllable @emph{before} the non-melismatic syllable
1109 in the text, as shown here,
1111 @lilypond[verbatim,ragged-right,quote]
1113 \relative \new Voice = "lahlah" {
1114 \set Staff.autoBeaming = ##f
1120 \new Lyrics \lyricsto "lahlah" {
1123 \new Lyrics \lyricsto "lahlah" {
1124 \set ignoreMelismata = ##t % applies to "fas"
1126 \unset ignoreMelismata
1133 The @code{ignoreMelismata} applies to the syllable ``fas'', so it
1134 should be entered before ``go''.
1136 The reverse is also possible: making a lyric line slower than the
1137 standard. This can be achieved by insert @code{\skip}s into the
1138 lyrics. For every @code{\skip}, the text will be delayed another note.
1141 @lilypond[verbatim,ragged-right,quote]
1142 \relative { c c g' }
1151 @subsubsection Divisi lyrics
1153 You can display alternate (or divisi) lyrics by naming voice
1154 contexts and attaching lyrics to those specific contexts.
1156 @lilypond[verbatim,ragged-right,quote]
1158 \new Voice = "melody" {
1163 \new Voice = "splitpart" { \voiceTwo c4 }
1168 \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
1169 \new Lyrics \lyricsto "splitpart" { will }
1174 You can use this trick to display different lyrics for a repeated
1177 @lilypond[verbatim,ragged-right,quote]
1179 \new Voice = "melody" \relative c' {
1181 \new Voice = "verse" \repeat volta 2 {c4 d e f | g1 | }
1183 \new Lyrics = "mainlyrics" \lyricsto melody \lyricmode {
1186 \context Lyrics = "mainlyrics" \lyricsto verse \lyricmode {
1188 \new Lyrics = "repeatlyrics" \lyricsto verse \lyricmode {
1189 dodo rere mimi fafa solsol }
1196 @node Switching the melody associated with a lyrics line
1197 @subsubsection Switching the melody associated with a lyrics line
1199 More complex variations in text underlay are possible. It is possible
1200 to switch the melody for a line of lyrics during the text. This is
1201 done by setting the @code{associatedVoice} property. In the example
1203 @lilypond[ragged-right,quote]
1205 \relative \new Voice = "lahlah" {
1206 \set Staff.autoBeaming = ##f
1209 \new Voice = "alternative" {
1212 % show associations clearly.
1213 \override NoteColumn #'force-hshift = #-3
1224 \new Lyrics \lyricsto "lahlah" {
1225 Ju -- ras -- sic Park
1227 \new Lyrics \lyricsto "lahlah" {
1228 % Tricky: need to set associatedVoice
1229 % one syllable too soon!
1230 \set associatedVoice = alternative % applies to "ran"
1234 \set associatedVoice = lahlah % applies to "rus"
1240 the text for the first stanza is set to a melody called ``lahlah'',
1243 \new Lyrics \lyricsto "lahlah" @{
1244 Ju -- ras -- sic Park
1249 The second stanza initially is set to the @code{lahlah} context, but
1250 for the syllable ``ran'', it switches to a different melody.
1251 This is achieved with
1253 \set associatedVoice = alternative
1257 Here, @code{alternative} is the name of the @code{Voice} context
1258 containing the triplet.
1260 Again, the command must be one syllable too early, before ``Ty'' in
1264 \new Lyrics \lyricsto "lahlah" @{
1265 \set associatedVoice = alternative % applies to "ran"
1269 \set associatedVoice = lahlah % applies to "rus"
1275 The underlay is switched back to the starting situation by assigning
1276 @code{lahlah} to @code{associatedVoice}.
1279 @node Specifying melismata within the lyrics
1280 @subsubsection Specifying melismata within the lyrics
1282 It is also possible to define melismata entirely in the lyrics. This
1283 can be done by entering @code{_} for every note that is part of the
1286 @lilypond[relative=1,verbatim,fragment]
1287 { \set melismaBusyProperties = #'()
1288 c d( e) f f( e) e e }
1290 { Ky -- _ _ ri __ _ _ _ e }
1293 In this case, you can also have ties and slurs in the melody, if you
1294 set @code{melismaBusyProperties}, as is done in the example above.
1296 @lilypond[relative=1,verbatim,fragment]
1298 \set melismaBusyProperties = #'()
1302 { Ky -- _ _ ri __ _ _ _ e }
1306 @node Spacing lyrics
1307 @subsection Spacing lyrics
1309 @cindex Spacing lyrics
1310 @cindex Lyrics, increasing space between
1312 To increase the spacing between lyrics, set the minimum-distance property of
1315 @lilypond[relative,verbatim,fragment,quote,ragged-right]
1318 \override Lyrics.LyricSpace #'minimum-distance = #1.0
1322 longtext longtext longtext longtext
1323 longtext longtext longtext longtext
1327 To make this change for all lyrics in the score, set the property in the
1330 @lilypond[relative,verbatim,quote,ragged-right]
1337 longtext longtext longtext longtext
1338 longtext longtext longtext longtext
1343 \override LyricSpace #'minimum-distance = #1.0
1350 @node More about stanzas
1351 @subsection More about stanzas
1353 @cindex phrasing, in lyrics
1356 @cindex stanza number
1357 @cindex singer's names
1358 @cindex name of singer
1360 Stanza numbers can be added by setting @code{stanza}, e.g.,
1362 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1364 \time 3/4 g2 e4 a2 f4 g2.
1367 Hi, my name is Bert.
1370 Oh, che -- ri, je t'aime
1374 These numbers are put just before the start of first syllable.
1376 Sometimes it is appropriate to have one stanza set
1377 to the music, and the rest added in verse form at
1378 the end of the piece. This can be accomplished by adding
1379 the extra verses into a @code{\markup} section outside
1380 of the main score block. Notice that there are two
1381 different ways to force linebreaks when using
1384 @lilypond[ragged-right,verbatim,quote]
1385 melody = \relative c' {
1391 \set stanza = "1." Ma- ry had a lit- tle lamb,
1392 its fleece was white as snow.
1397 \new Voice = "one" { \melody }
1398 \new Lyrics \lyricsto "one" \text
1404 \line{ All the children laughed and played }
1405 \line{ To see a lamb at school. }
1412 Mary took it home again,
1414 It was against the rule."
1420 Names of singers can also be added. They are printed at the start of
1421 the line, just like instrument names. They are created by setting
1422 @code{vocalName}. A short version may be entered as @code{vocNam}.
1425 @lilypond[fragment,ragged-right,quote,verbatim,relative=2]
1427 \time 3/4 g2 e4 a2 f4 g2.
1429 \set vocalName = "Bert "
1430 Hi, my name is Bert.
1432 \set vocalName = "Ernie "
1433 Oh, che -- ri, je t'aime
1440 Program reference: @internalsref{LyricText}, @internalsref{StanzaNumber},
1441 @internalsref{VocalName}.
1449 The term @emph{ambitus} denotes a range of pitches for a given voice
1450 in a part of music. It may also denote the pitch range that a musical
1451 instrument is capable of playing. Ambits are printed on vocal parts,
1452 so performers can easily determine it meets their capabilities.
1454 Ambits are denoted at the beginning of a piece near the initial clef.
1455 The range is graphically specified by two note heads that represent the
1456 minimum and maximum pitch. To print such ambits, add the
1457 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
1464 \consists Ambitus_engraver
1469 This results in the following output
1471 @lilypond[quote,ragged-right]
1475 \consists Ambitus_engraver
1479 \relative \new Staff {
1484 If you have multiple voices in a single staff and you want a single
1485 ambitus per staff rather than per each voice, add the
1486 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
1487 rather than to the @internalsref{Voice} context. Here is an example,
1489 @lilypond[verbatim,ragged-right,quote]
1491 \consists "Ambitus_engraver"
1495 \remove "Ambitus_engraver"
1497 \override Ambitus #'X-offset = #-1.0
1502 \remove "Ambitus_engraver"
1511 This example uses one advanced feature,
1514 \override Ambitus #'X-offset = #-1.0
1518 This code moves the ambitus to the left. The same effect could have
1519 been achieved with @code{extra-offset}, but then the formatting system
1520 would not reserve space for the moved object.
1524 Program reference: @internalsref{Ambitus},
1525 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1526 @internalsref{AmbitusAccidental}.
1528 Examples: @inputfileref{input/@/regression,ambitus@/.ly}.
1532 There is no collision handling in the case of multiple per-voice
1536 @node Other vocal issues
1537 @subsection Other vocal issues
1540 yeah, I'm giving up somewhat by stuffing a bunch of things in
1541 here. But at least they're in the manual now; it's easier to
1542 move them around in the manual once they're already here.
1544 Besides, if users complain about everything stuffed in here, I
1545 can ask them for specific instructions about where to move these
1546 examples, and that might get them more involved in the docs. -gp
1549 ``Parlato'' is spoken without pitch but still with rhythm; it is
1550 notated by cross noteheads. This is demonstrated in
1551 @ref{Special noteheads}.
1557 @node Rhythmic music
1558 @section Rhythmic music
1560 Rhythmic music is primarily used for percussion and drum notation, but it can
1561 also be used to show the rhythms of melodies.
1564 * Showing melody rhythms::
1565 * Entering percussion::
1566 * Percussion staves::
1570 @node Showing melody rhythms
1571 @subsection Showing melody rhythms
1573 Sometimes you might want to show only the rhythm of a melody. This
1574 can be done with the rhythmic staff. All pitches of notes on such a
1575 staff are squashed, and the staff itself has a single line
1577 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1578 \new RhythmicStaff {
1580 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1586 Program reference: @internalsref{RhythmicStaff}.
1588 Examples: @inputfileref{input/@/regression,rhythmic@/-staff@/.ly}.
1591 @node Entering percussion
1592 @subsection Entering percussion
1598 Percussion notes may be entered in @code{\drummode} mode, which is
1599 similar to the standard mode for entering notes. Each piece of
1600 percussion has a full name and an abbreviated name, and both can be used
1603 @lilypond[quote,ragged-right,verbatim]
1605 hihat hh bassdrum bd
1609 The complete list of drum names is in the init file
1610 @file{ly/@/drumpitch@/-init@/.ly}.
1611 @c TODO: properly document this.
1615 Program reference: @internalsref{note-event}.
1617 @node Percussion staves
1618 @subsection Percussion staves
1622 A percussion part for more than one instrument typically uses a
1623 multiline staff where each position in the staff refers to one piece
1627 To typeset the music, the notes must be interpreted in a
1628 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
1630 @lilypond[quote,ragged-right,verbatim]
1631 up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
1632 down = \drummode { bassdrum4 snare8 bd r bd sn4 }
1634 \new DrumVoice { \voiceOne \up }
1635 \new DrumVoice { \voiceTwo \down }
1639 The above example shows verbose polyphonic notation. The short
1640 polyphonic notation, described in @ref{Basic polyphony}, can also be used if
1641 the @internalsref{DrumVoice}s are instantiated by hand first. For example,
1643 @lilypond[quote,ragged-right,fragment,verbatim]
1645 \new DrumVoice = "1" { s1 *2 }
1646 \new DrumVoice = "2" { s1 *2 }
1650 { \repeat unfold 16 hh16 }
1659 There are also other layout possibilities. To use these, set the
1660 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
1661 The following variables have been predefined
1665 This is the default. It typesets a typical drum kit on a five-line staff
1667 @lilypond[quote,line-width=10.0\cm]
1669 cymc cyms cymr hh hhc hho hhho hhp
1670 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl }
1672 cymc cyms cymr hh hhc hho hhho hhp \break
1673 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
1675 << \new DrumStaff \with {
1676 \remove Bar_engraver
1677 \remove Time_signature_engraver
1678 \override Stem #'transparent = ##t
1679 \override Stem #'Y-extent-callback = ##f
1680 \override VerticalAxisGroup #'minimum-Y-extent = #'(-4.0 . 5.0)
1687 \override LyricText #'font-family = #'typewriter
1688 \override BarNumber #'transparent =##T
1694 The drum scheme supports six different toms. When there are fewer toms,
1695 simply select the toms that produce the desired result, i.e., to get toms
1696 on the three middle lines you use @code{tommh}, @code{tomml}, and
1699 @item timbales-style
1700 This typesets timbales on a two line staff
1702 @lilypond[quote,ragged-right]
1703 nam = \lyricmode { timh ssh timl ssl cb }
1704 mus = \drummode { timh ssh timl ssl cb s16 }
1707 \new DrumStaff \with {
1708 \remove Bar_engraver
1709 \remove Time_signature_engraver
1710 \override Stem #'transparent = ##t
1711 \override Stem #'Y-extent-callback = ##f
1712 \override StaffSymbol #'line-count = #2
1713 \override StaffSymbol #'staff-space = #2
1714 \override VerticalAxisGroup #'minimum-Y-extent = #'(-3.0 . 4.0)
1715 drumStyleTable = #timbales-style
1718 \override LyricText #'font-family = #'typewriter
1725 This typesets congas on a two line staff
1727 @lilypond[quote,ragged-right]
1728 nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
1729 mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
1732 \new DrumStaff \with {
1733 \remove Bar_engraver
1734 \remove Time_signature_engraver
1735 drumStyleTable = #congas-style
1736 \override StaffSymbol #'line-count = #2
1738 %% this sucks; it will lengthen stems.
1739 \override StaffSymbol #'staff-space = #2
1740 \override Stem #'transparent = ##t
1741 \override Stem #'Y-extent-callback = ##f
1744 \override LyricText #'font-family = #'typewriter
1751 This typesets bongos on a two line staff
1753 @lilypond[quote,ragged-right]
1754 nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
1755 mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
1758 \new DrumStaff \with {
1759 \remove Bar_engraver
1760 \remove Time_signature_engraver
1761 \override StaffSymbol #'line-count = #2
1762 drumStyleTable = #bongos-style
1764 %% this sucks; it will lengthen stems.
1765 \override StaffSymbol #'staff-space = #2
1766 \override Stem #'transparent = ##t
1767 \override Stem #'Y-extent-callback = ##f
1770 \override LyricText #'font-family = #'typewriter
1776 @item percussion-style
1777 To typeset all kinds of simple percussion on one line staves.
1779 @lilypond[quote,ragged-right]
1780 nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
1781 mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
1784 \new DrumStaff \with{
1785 \remove Bar_engraver
1786 drumStyleTable = #percussion-style
1787 \override StaffSymbol #'line-count = #1
1788 \remove Time_signature_engraver
1789 \override Stem #'transparent = ##t
1790 \override Stem #'Y-extent-callback = ##f
1793 \override LyricText #'font-family = #'typewriter
1800 If you do not like any of the predefined lists you can define your own
1801 list at the top of your file
1803 @lilypond[quote,ragged-right,verbatim]
1805 (bassdrum default #f -1)
1806 (snare default #f 0)
1808 (pedalhihat xcircle "stopped" 2)
1809 (lowtom diamond #f 3)))
1810 up = \drummode { hh8 hh hh hh hhp4 hhp }
1811 down = \drummode { bd4 sn bd toml8 toml }
1814 \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
1815 \new DrumVoice { \voiceOne \up }
1816 \new DrumVoice { \voiceTwo \down }
1823 Init files: @file{ly/@/drumpitch@/-init@/.ly}.
1825 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
1829 Because general MIDI does not contain rim shots, the sidestick is used
1830 for this purpose instead.
1838 @cindex guitar tablature
1841 * String number indications::
1842 * Tablatures basic::
1843 * Non-guitar tablatures::
1844 * Banjo tablatures::
1846 * Other guitar issues::
1849 @node String number indications
1850 @subsection String number indications
1852 @cindex String numbers
1854 String numbers can be added to chords, by indicating the string number
1855 with @code{\}@var{number},
1857 @lilypond[relative,relative=1,ragged-right,fragment]
1861 See also @inputfileref{input/regression,string-number.ly}.
1866 Program reference: @internalsref{StringNumber}.
1869 @node Tablatures basic
1870 @subsection Tablatures basic
1871 @cindex Tablatures basic
1873 Tablature notation is used for notating music for plucked string
1874 instruments. Pitches are not denoted with note heads, but by
1875 numbers indicating on which string and fret a note must be played. LilyPond
1876 offers limited support for tablature.
1878 The string number associated to a note is given as a backslash
1879 followed by a number, e.g., @code{c4\3} for a C quarter on the third
1880 string. By default, string 1 is the highest one, and the tuning
1881 defaults to the standard guitar tuning (with 6 strings). The notes
1882 are printed as tablature, by using @internalsref{TabStaff} and
1883 @internalsref{TabVoice} contexts
1885 @lilypond[quote,ragged-right,fragment,verbatim]
1895 When no string is specified, the first string that does not give a
1896 fret number less than @code{minimumFret} is selected. The default
1897 value for @code{minimumFret} is 0
1902 \set TabStaff.minimumFret = #8
1905 @lilypond[quote,ragged-right]
1909 \set TabStaff.minimumFret = #8
1913 \new Staff { \clef "G_8" \frag }
1914 \new TabStaff { \frag }
1921 To print tablatures with stems down and horizontal beams,
1922 initialize the @code{TabStaff} with this code:
1926 \override Beam #'damping = #100000
1931 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}.
1935 Chords are not handled in a special way, and hence the automatic
1936 string selector may easily select the same string to two notes in a
1940 @node Non-guitar tablatures
1941 @subsection Non-guitar tablatures
1942 @cindex Non-guitar tablatures
1944 You can change the tuning of the strings. A string tuning is given as
1945 a Scheme list with one integer number for each string, the number
1946 being the pitch (measured in semitones relative to middle C) of an
1947 open string. The numbers specified for @code{stringTuning} are the
1948 numbers of semitones to subtract or add, starting the specified pitch
1949 by default middle C, in string order. LilyPond automatically calculates
1950 the number of strings by looking at @code{stringTuning}.
1952 In the next example,
1953 @code{stringTunings} is set for the pitches e, a, d, and g
1955 @lilypond[quote,ragged-right,fragment,verbatim]
1957 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
1959 a,4 c' a e' e c' a e'
1964 LilyPond comes with predefined string tunings for banjo, mandolin, guitar
1968 \set TabStaff.stringTunings = #bass-tuning
1971 The default string tuning is @code{guitar-tuning} (the standard EADGBE
1973 Some other predefined tunings are @code{guitar-open-g-tuning},
1974 @code{mandolin-tuning} and @code{banjo-open-g-tuning}.
1978 The file @file{scm/@/output@/-lib@/.scm} contains the predefined string
1980 Program reference: @internalsref{Tab_note_heads_engraver}.
1984 No guitar special effects have been implemented.
1988 @node Banjo tablatures
1989 @subsection Banjo tablatures
1990 @cindex Banjo tablatures
1992 LilyPond has basic support for five stringed banjo. When making tablatures
1993 for five stringed banjo, use the banjo tablature format function to get
1995 fret numbers for the fifth string:
1997 @lilypond[quote,ragged-right,fragment,verbatim]
1999 \set TabStaff.tablatureFormat = #fret-number-tablature-format-banjo
2000 \set TabStaff.stringTunings = #banjo-open-g-tuning
2003 g8 d' g'\5 a b g e d' |
2004 g4 d''8\5 b' a'\2 g'\5 e'\2 d' |
2010 A number of common tunings for banjo are predefined in LilyPond:
2011 @code{banjo-c-tuning} (gCGBD), @code{banjo-modal-tuning} (gDGCD),
2012 @code{banjo-open-d-tuning} (aDF#AD) and @code{banjo-open-dm-tuning}
2015 These tunings may be converted to four string banjo tunings using the
2016 @code{four-string-banjo} function:
2019 \set TabStaff.stringTunings = #(four-string-banjo banjo-c-tuning)
2024 The file @file{scm/@/output@/-lib@/.scm} contains predefined banjo tunings.
2028 @subsection Fret diagrams
2029 @cindex fret diagrams
2030 @cindex chord diagrams
2032 Fret diagrams can be added to music as a markup to the desired note. The
2033 markup contains information about the desired fret diagram, as shown in the
2036 @lilypond[verbatim, ragged-right, quote]
2038 d'^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
2040 fis'^\markup \override #'(size . 0.75) {
2041 \override #'(finger-code . below-string) {
2042 \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
2043 (place-fret 5 4 3) (place-fret 4 4 4)
2044 (place-fret 3 3 2) (place-fret 2 2 1)
2049 c'^\markup \override #'(dot-radius . 0.35) {
2050 \override #'(finger-code . in-dot) {
2051 \override #'(dot-color . white) {
2052 \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
2061 There are three different fret-diagram markup interfaces: standard, terse,
2062 and verbose. The three interfaces produce equivalent markups, but have
2063 varying amounts of information in the markup string. Details about the
2064 markup interfaces are found at @ref{Overview of text markup commands}.
2066 You can set a number of graphical properties according to your preference.
2067 Details about the property interface to fret diagrams are found at
2068 @internalsref{fret-diagram-interface}.
2073 Examples: @inputfileref{input/@/test,fret@/-diagram@/.ly}
2076 @node Other guitar issues
2077 @subsection Other guitar issues
2079 This example demonstrates how to include guitar position and
2080 barring indications.
2082 @lilypond[quote,ragged-right,fragment,verbatim,relative=0]
2086 \override TextSpanner #'edge-text = #'("XII " . "")
2088 b16 e16 g16 e16 b16 g16\stopTextSpan
2093 Stopped (X) note heads are used in guitar music to signal a place where the
2094 guitarist must play a certain note or chord, with its fingers just
2095 touching the strings instead of fully pressing them. This gives the sound a
2096 percussive noise-like sound that still maintains part of the original
2097 pitch. It is notated with cross noteheads; this is
2098 demonstrated in @ref{Special noteheads}.
2107 * Bagpipe definitions::
2112 @node Bagpipe definitions
2113 @subsection Bagpipe definitions
2115 LilyPond contains special definitions for music for the Scottish
2116 highland bagpipe; to use them, add
2119 \include "bagpipe.ly"
2123 at the top of your input file. This lets you add the special gracenotes
2124 common to bagpipe music with short commands. For example, you could
2125 write @code{\taor} instead of
2128 \grace @{ \small G32[ d G e] @}
2131 @code{bagpipe.ly} also contains pitch definitions for the bagpipe
2132 notes in the appropiate octaves, so you do not need to worry about
2133 @code{\relative} or @code{\transpose}.
2135 @lilypond[ragged-right,verbatim,quote,notime]
2136 \include "bagpipe.ly"
2137 { \grg G4 \grg a \grg b \grg c \grg d \grg e \grg f \grA g A }
2140 Bagpipe music nominally uses the key of D Major (even though that
2141 isn't really true). However, since that is the only key that can be used,
2142 the key signature is normally not written out. To set this up correctly,
2143 always start your music with @code{\hideKeySignature}. If you for some
2144 reason want to show the key signature, you can use @code{\showKeySignature}
2147 Some modern music use cross fingering on c and f to flatten those notes.
2148 This can be indicated by @code{cflat} or @code{fflat}. Similarly, the
2149 piobaireachd high g can be written @code{gflat} when it occurs in light
2153 @node Bagpipe example
2154 @subsection Bagpipe example
2156 This is what the well known tune Amazing Grace looks like in bagpipe
2159 @lilypond[verbatim,quote]
2160 \include "bagpipe.ly"
2163 \context { \Score \remove "Bar_number_engraver" }
2167 title = "Amazing Grace"
2169 arranger = "Trad. arr."
2175 \grg \partial 4 a8. d16
2176 \slurd d2 \grg f8[ e32 d16.]
2179 \grG a2 \grg a8. d16
2180 \slurd d2 \grg f8[ e32 d16.]
2181 \grg f2 \grg e8. f16
2184 \grg A2 \hdblf f8[ e32 d16.]
2187 \grG a2 \grg a8. d16
2188 \slurd d2 \grg f8[ e32 d16.]
2197 @node Ancient notation
2198 @section Ancient notation
2200 @cindex Vaticana, Editio
2201 @cindex Medicaea, Editio
2206 Support for ancient notation includes features for mensural notation
2207 and Gregorian Chant notation. There is also limited support for
2208 figured bass notation.
2210 Many graphical objects provide a @code{style} property, see
2213 @ref{Ancient note heads},
2215 @ref{Ancient accidentals},
2217 @ref{Ancient rests},
2219 @ref{Ancient clefs},
2221 @ref{Ancient flags},
2223 @ref{Ancient time signatures}.
2226 By manipulating such a grob property, the typographical appearance of
2227 the affected graphical objects can be accommodated for a specific
2228 notation flavor without the need for introducing any new notational
2231 In addition to the standard articulation signs described in section
2232 @ref{Articulations}, specific articulation signs for ancient notation
2237 @ref{Ancient articulations}
2240 Other aspects of ancient notation can not that easily be expressed
2241 in terms of just changing a style property of a graphical object or
2242 adding articulation signs. Some notational concepts are introduced
2243 specifically for ancient notation,
2254 If this all is too much of documentation for you, and you just want to
2255 dive into typesetting without worrying too much about the details on
2256 how to customize a context, you may have a look at the predefined
2257 contexts. Use them to set up predefined style-specific voice and
2258 staff contexts, and directly go ahead with the note entry,
2262 @ref{Gregorian Chant contexts},
2264 @ref{Mensural contexts}.
2267 There is limited support for figured bass notation which came
2268 up during the baroque period.
2275 Here are all suptopics at a glance:
2278 * Ancient note heads::
2279 * Ancient accidentals::
2283 * Ancient time signatures::
2284 * Ancient articulations::
2288 * Gregorian Chant contexts::
2289 * Mensural contexts::
2290 * Musica ficta accidentals::
2296 @node Ancient note heads
2297 @subsection Ancient note heads
2302 For ancient notation, a note head style other than the @code{default}
2303 style may be chosen. This is accomplished by setting the @code{style}
2304 property of the @internalsref{NoteHead} object to @code{baroque},
2305 @code{neomensural}, @code{mensural} or @code{petrucci}. The
2306 @code{baroque} style differs from the @code{default} style only in
2307 using a square shape for @code{\breve} note heads. The
2308 @code{neomensural} style differs from the @code{baroque} style in that
2309 it uses rhomboidal heads for whole notes and all smaller durations.
2310 Stems are centered on the note heads. This style is particularly
2311 useful when transcribing mensural music, e.g., for the incipit. The
2312 @code{mensural} style produces note heads that mimic the look of note
2313 heads in historic printings of the 16th century. Finally, the
2314 @code{petrucci} style also mimicks historic printings, but uses bigger
2317 The following example demonstrates the @code{neomensural} style
2319 @lilypond[quote,fragment,ragged-right,verbatim]
2320 \set Score.skipBars = ##t
2321 \override NoteHead #'style = #'neomensural
2322 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
2325 When typesetting a piece in Gregorian Chant notation, the
2326 @internalsref{Gregorian_ligature_engraver} will automatically select
2327 the proper note heads, so there is no need to explicitly set the
2328 note head style. Still, the note head style can be set, e.g., to
2329 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
2330 @internalsref{Mensural_ligature_engraver} is used to automatically
2331 assemble mensural ligatures. See @ref{Ligatures} for how ligature
2336 Examples: @inputfileref{input/@/regression,note@/-head@/-style@/.ly} gives an
2337 overview over all available note head styles.
2340 @node Ancient accidentals
2341 @subsection Ancient accidentals
2346 Use the @code{style} property of grob @internalsref{Accidental} to
2347 select ancient accidentals. Supported styles are
2348 @code{mensural}, @code{vaticana}, @code{hufnagel}, and @code{medicaea}.
2350 @lilypond[quote,ragged-right,staffsize=26]
2357 \line { " " \musicglyph #"accidentals.vaticana-1"
2358 " " \musicglyph #"accidentals.vaticana0" }
2362 \line { " " \musicglyph #"accidentals.medicaea-1" }
2366 \line { " " \musicglyph #"accidentals.hufnagel-1" }
2370 \line { " " \musicglyph #"accidentals.mensural-1"
2371 " " \musicglyph #"accidentals.mensural1" }
2377 \context { \Score \remove "Bar_number_engraver" }
2379 \remove "Clef_engraver"
2380 \remove "Key_engraver"
2381 \remove "Time_signature_engraver"
2382 \remove "Staff_symbol_engraver"
2383 \override VerticalAxisGroup #'minimum-Y-extent = ##f
2389 As shown, not all accidentals are supported by each style. When
2390 trying to access an unsupported accidental, LilyPond will switch to a
2391 different style, as demonstrated in
2392 @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2394 Similarly to local accidentals, the style of the key signature can be
2395 controlled by the @code{style} property of the
2396 @internalsref{KeySignature} grob.
2400 In this manual: @ref{Pitches}, @ref{Cautionary accidentals} and
2401 @ref{Automatic accidentals} give a general introduction of the use of
2402 accidentals. @ref{Key signature} gives a general introduction of
2403 the use of key signatures.
2405 Program reference: @internalsref{KeySignature}.
2407 Examples: @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2410 @subsection Ancient rests
2412 @cindex rests, ancient
2415 Use the @code{style} property of grob @internalsref{Rest} to select
2416 ancient rests. Supported styles are @code{classical},
2417 @code{neomensural}, and @code{mensural}. @code{classical} differs
2418 from the @code{default} style only in that the quarter rest looks like
2419 a horizontally mirrored 8th rest. The @code{neomensural} style suits
2420 well for, e.g., the incipit of a transcribed mensural piece of music.
2421 The @code{mensural} style finally mimics the appearance of rests as
2422 in historic prints of the 16th century.
2424 The following example demonstrates the @code{neomensural} style
2426 @lilypond[quote,fragment,ragged-right,verbatim]
2427 \set Score.skipBars = ##t
2428 \override Rest #'style = #'neomensural
2429 r\longa r\breve r1 r2 r4 r8 r16
2432 There are no 32th and 64th rests specifically for the mensural or
2433 neo-mensural style. Instead, the rests from the default style will be
2434 taken. See @inputfileref{input/@/test,rests@/.ly} for a chart of all
2437 There are no rests in Gregorian Chant notation; instead, it uses
2442 In this manual: @ref{Rests} gives a general introduction into the use of
2447 @subsection Ancient clefs
2452 LilyPond supports a variety of clefs, many of them ancient.
2454 The following table shows all ancient clefs that are supported via the
2455 @code{\clef} command. Some of the clefs use the same glyph, but
2456 differ only with respect to the line they are printed on. In such
2457 cases, a trailing number in the name is used to enumerate these clefs.
2458 Still, you can manually force a clef glyph to be typeset on an
2459 arbitrary line, as described in @ref{Clef}. The note printed to the
2460 right side of each clef in the example column denotes the @code{c'}
2461 with respect to that clef.
2463 @multitable @columnfractions .4 .4 .2
2472 modern style mensural C clef
2474 @code{neomensural-c1}, @code{neomensural-c2},@*
2475 @code{neomensural-c3}, @code{neomensural-c4}
2477 @lilypond[fragment,relative=1,notime]
2478 \clef "neomensural-c2" c
2482 petrucci style mensural C clefs, for use on different staff lines
2483 (the examples show the 2nd staff line C clef)
2485 @code{petrucci-c1}, @code{petrucci-c2},@*
2486 @code{petrucci-c3}, @code{petrucci-c4},@*
2489 @lilypond[fragment,relative=1,notime]
2491 \override NoteHead #'style = #'mensural
2496 petrucci style mensural F clef
2500 @lilypond[fragment,relative=1,notime]
2502 \override NoteHead #'style = #'mensural
2507 petrucci style mensural G clef
2511 @lilypond[fragment,relative=1,notime]
2513 \override NoteHead #'style = #'mensural
2518 historic style mensural C clef
2520 @code{mensural-c1}, @code{mensural-c2},@*
2521 @code{mensural-c3}, @code{mensural-c4}
2523 @lilypond[fragment,relative=1,notime]
2525 \override NoteHead #'style = #'mensural
2530 historic style mensural F clef
2534 @lilypond[fragment,relative=1,notime]
2536 \override NoteHead #'style = #'mensural
2541 historic style mensural G clef
2545 @lilypond[fragment,relative=1,notime]
2547 \override NoteHead #'style = #'mensural
2552 Editio Vaticana style do clef
2554 @code{vaticana-do1}, @code{vaticana-do2},@*
2557 @lilypond[fragment,relative=1,notime]
2558 \override Staff.StaffSymbol #'line-count = #4
2559 \override Staff.StaffSymbol #'color = #red
2560 \override Staff.LedgerLineSpanner #'color = #red
2561 \override Voice.Stem #'transparent = ##t
2562 \override NoteHead #'style = #'vaticana.punctum
2563 \clef "vaticana-do2"
2568 Editio Vaticana style fa clef
2570 @code{vaticana-fa1}, @code{vaticana-fa2}
2572 @lilypond[fragment,relative=1,notime]
2573 \override Staff.StaffSymbol #'line-count = #4
2574 \override Staff.StaffSymbol #'color = #red
2575 \override Staff.LedgerLineSpanner #'color = #red
2576 \override Voice.Stem #'transparent = ##t
2577 \override NoteHead #'style = #'vaticana.punctum
2578 \clef "vaticana-fa2"
2583 Editio Medicaea style do clef
2585 @code{medicaea-do1}, @code{medicaea-do2},@*
2588 @lilypond[fragment,relative=1,notime]
2589 \override Staff.StaffSymbol #'line-count = #4
2590 \override Staff.StaffSymbol #'color = #red
2591 \override Staff.LedgerLineSpanner #'color = #red
2592 \override Voice.Stem #'transparent = ##t
2593 \override NoteHead #'style = #'medicaea.punctum
2594 \clef "medicaea-do2"
2599 Editio Medicaea style fa clef
2601 @code{medicaea-fa1}, @code{medicaea-fa2}
2603 @lilypond[fragment,relative=1,notime]
2604 \override Staff.StaffSymbol #'line-count = #4
2605 \override Staff.StaffSymbol #'color = #red
2606 \override Staff.LedgerLineSpanner #'color = #red
2607 \override Voice.Stem #'transparent = ##t
2608 \override NoteHead #'style = #'medicaea.punctum
2609 \clef "medicaea-fa2"
2614 historic style hufnagel do clef
2616 @code{hufnagel-do1}, @code{hufnagel-do2},@*
2619 @lilypond[fragment,relative=1,notime]
2620 \override Staff.StaffSymbol #'line-count = #4
2621 \override Staff.StaffSymbol #'color = #red
2622 \override Staff.LedgerLineSpanner #'color = #red
2623 \override Voice.Stem #'transparent = ##t
2624 \override NoteHead #'style = #'hufnagel.punctum
2625 \clef "hufnagel-do2"
2630 historic style hufnagel fa clef
2632 @code{hufnagel-fa1}, @code{hufnagel-fa2}
2634 @lilypond[fragment,relative=1,notime]
2635 \override Staff.StaffSymbol #'line-count = #4
2636 \override Staff.StaffSymbol #'color = #red
2637 \override Staff.LedgerLineSpanner #'color = #red
2638 \override Voice.Stem #'transparent = ##t
2639 \override NoteHead #'style = #'hufnagel.punctum
2640 \clef "hufnagel-fa2"
2645 historic style hufnagel combined do/fa clef
2647 @code{hufnagel-do-fa}
2649 @lilypond[fragment,relative=1,notime]
2650 \override Staff.StaffSymbol #'color = #red
2651 \override Staff.LedgerLineSpanner #'color = #red
2652 \override Voice.Stem #'transparent = ##t
2653 \override NoteHead #'style = #'hufnagel.punctum
2654 \clef "hufnagel-do-fa"
2661 @emph{Modern style} means ``as is typeset in contemporary editions of
2662 transcribed mensural music''.
2664 @emph{Petrucci style} means ``inspired by printings published by the
2665 famous engraver Petrucci (1466-1539)''.
2667 @emph{Historic style} means ``as was typeset or written in historic
2668 editions (other than those of Petrucci)''.
2670 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
2672 Petrucci used C clefs with differently balanced left-side vertical
2673 beams, depending on which staff line it is printed.
2677 In this manual: see @ref{Clef}.
2681 The mensural g clef is mapped to the Petrucci g clef.
2686 @subsection Ancient flags
2691 Use the @code{flag-style} property of grob @internalsref{Stem} to
2692 select ancient flags. Besides the @code{default} flag style,
2693 only the @code{mensural} style is supported
2695 @lilypond[quote,fragment,ragged-right,verbatim]
2696 \override Stem #'flag-style = #'mensural
2697 \override Stem #'thickness = #1.0
2698 \override NoteHead #'style = #'mensural
2700 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
2701 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
2704 Note that the innermost flare of each mensural flag always is
2705 vertically aligned with a staff line.
2707 There is no particular flag style for neo-mensural notation. Hence,
2708 when typesetting the incipit of a transcribed piece of mensural
2709 music, the default flag style should be used. There are no flags in
2710 Gregorian Chant notation.
2714 The attachment of ancient flags to stems is slightly off due to a
2715 change in early 2.3.x.
2717 Vertically aligning each flag with a staff line assumes that stems
2718 always end either exactly on or exactly in the middle between two
2719 staff lines. This may not always be true when using advanced layout
2720 features of classical notation (which however are typically out of
2721 scope for mensural notation).
2723 @node Ancient time signatures
2724 @subsection Ancient time signatures
2726 @cindex time signatures
2729 There is limited support for mensural time signatures. The
2730 glyphs are hard-wired to particular time fractions. In other words,
2731 to get a particular mensural signature glyph with the @code{\time n/m}
2732 command, @code{n} and @code{m} have to be chosen according to the
2735 @lilypond[quote,ragged-right]
2740 \remove Staff_symbol_engraver
2741 \remove Clef_engraver
2742 \remove Time_signature_engraver
2746 \set Score.timing = ##f
2747 \set Score.barAlways = ##t
2748 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph
2749 #"timesig.neomensural44" }
2751 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph
2752 #"timesig.neomensural22" }
2754 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph
2755 #"timesig.neomensural64" }
2757 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph
2758 #"timesig.neomensural68" }
2760 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph
2761 #"timesig.neomensural32" }
2763 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph
2764 #"timesig.neomensural34" }
2766 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph
2767 #"timesig.neomensural94" }
2769 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph
2770 #"timesig.neomensural98" }
2772 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph
2773 #"timesig.neomensural48" }
2775 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph
2776 #"timesig.neomensural24" }
2780 Use the @code{style} property of grob @internalsref{TimeSignature} to
2781 select ancient time signatures. Supported styles are
2782 @code{neomensural} and @code{mensural}. The above table uses the
2783 @code{neomensural} style. This style is appropriate for the
2784 incipit of transcriptions of mensural pieces. The @code{mensural}
2785 style mimics the look of historical printings of the 16th century.
2787 The following examples show the differences in style,
2789 @lilypond[ragged-right,fragment,relative=1,quote]
2794 c1^\markup { \hspace #-2.0 \typewriter default }
2796 \override Staff.TimeSignature #'style = #'numbered
2798 c1^\markup { \hspace #-2.0 \typewriter numbered }
2800 \override Staff.TimeSignature #'style = #'mensural
2802 c1^\markup { \hspace #-2.0 \typewriter mensural }
2804 \override Staff.TimeSignature #'style = #'neomensural
2806 c1^\markup { \hspace #-2.0 \typewriter neomensural }
2807 \override Staff.TimeSignature #'style = #'single-digit
2809 c1^\markup { \hspace #-2.0 \typewriter single-digit }
2815 This manual: @ref{Time signature} gives a general introduction to
2816 the use of time signatures.
2820 Ratios of note durations do not change with the time signature. For
2821 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
2822 be made by hand, by setting
2825 breveTP = #(ly:make-duration -1 0 3 2)
2831 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
2833 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
2834 addressable with @code{\time}. Use a @code{\markup} instead
2836 @node Ancient articulations
2837 @subsection Ancient articulations
2839 @cindex articulations
2841 In addition to the standard articulation signs described in section
2842 @ref{Articulations}, articulation signs for ancient notation are
2843 provided. These are specifically designed for use with notation in
2844 Editio Vaticana style.
2846 @lilypond[quote,ragged-right,verbatim]
2847 \include "gregorian-init.ly"
2849 \new VaticanaVoice {
2850 \override Staff.StaffSymbol #'color = #red
2851 \override Staff.LedgerLineSpanner #'color = #red
2852 \override TextScript #'font-family = #'typewriter
2853 \override TextScript #'font-shape = #'upright
2854 \override Script #'padding = #-0.1
2856 a4\circulus_"circulus" s1
2857 a4\semicirculus_"semicirculus" s1 s
2858 a4\accentus_"accentus" s1
2859 \[ a4_"episem" \episemInitium \pes b \flexa a \episemFinis \]
2866 Some articulations are vertically placed too closely to the
2867 correpsonding note heads.
2870 @subsection Custodes
2875 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
2876 symbol that appears at the end of a staff. It anticipates the pitch
2877 of the first note(s) of the following line thus helping the performer
2878 to manage line breaks during performance.
2880 Custodes were frequently used in music notation until the 17th
2881 century. Nowadays, they have survived only in a few particular forms
2882 of musical notation such as contemporary editions of Gregorian chant
2883 like the @emph{editio vaticana}. There are different custos glyphs
2884 used in different flavors of notational style.
2886 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
2887 @internalsref{Staff} context when declaring the @code{\layout} block,
2888 as shown in the following example
2894 \consists Custos_engraver
2895 Custos \override #'style = #'mensural
2900 The result looks like this
2902 @lilypond[quote,ragged-right]
2906 \override Staff.Custos #'style = #'mensural
2911 \context { \Staff \consists Custos_engraver }
2916 The custos glyph is selected by the @code{style} property. The styles
2917 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
2918 @code{mensural}. They are demonstrated in the following fragment
2920 @lilypond[quote,ragged-right,fragment]
2921 \new Lyrics \lyricmode {
2923 \typewriter "vaticana"
2924 \line { " " \musicglyph #"custodes.vaticana.u0" }
2927 \typewriter "medicaea"
2928 \line { " " \musicglyph #"custodes.medicaea.u0" }
2931 \typewriter "hufnagel"
2932 \line { " " \musicglyph #"custodes.hufnagel.u0" }
2935 \typewriter "mensural"
2936 \line { " " \musicglyph #"custodes.mensural.u0" }
2943 Program reference: @internalsref{Custos}.
2945 Examples: @inputfileref{input/@/regression,custos@/.ly}.
2949 @subsection Divisiones
2955 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
2956 `division') is a staff context symbol that is used to structure
2957 Gregorian music into phrases and sections. The musical meaning of
2958 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
2959 can be characterized as short, medium, and long pause, somewhat like
2960 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
2961 only marks the end of a chant, but is also frequently used within a
2962 single antiphonal/responsorial chant to mark the end of each section.
2965 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
2966 contains definitions that you can apply by just inserting
2967 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
2968 and @code{\finalis} at proper places in the input. Some editions use
2969 @emph{virgula} or @emph{caesura} instead of divisio minima.
2970 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
2973 @lilypondfile[quote,ragged-right]{divisiones.ly}
2981 @findex \divisioMinima
2982 @code{\divisioMinima},
2983 @findex \divisioMaior
2984 @code{\divisioMaior},
2985 @findex \divisioMaxima
2986 @code{\divisioMaxima},
2992 In this manual: @ref{Breath marks}.
2994 Program reference: @internalsref{BreathingSign}.
2996 Examples: @inputfileref{input/@/test,divisiones@/.ly}.
2999 @subsection Ligatures
3003 @c TODO: Should double check if I recalled things correctly when I wrote
3004 @c down the following paragraph by heart.
3006 A ligature is a graphical symbol that represents at least two distinct
3007 notes. Ligatures originally appeared in the manuscripts of Gregorian
3008 chant notation to denote ascending or descending sequences of notes.
3010 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
3011 Some ligature styles may need additional input syntax specific for
3012 this particular type of ligature. By default, the
3013 @internalsref{LigatureBracket} engraver just puts a square bracket
3016 @lilypond[quote,ragged-right,verbatim]
3024 To select a specific style of ligatures, a proper ligature engraver
3025 has to be added to the @internalsref{Voice} context, as explained in
3026 the following subsections. Only white mensural ligatures
3027 are supported with certain limitations.
3033 Ligatures need special spacing that has not yet been implemented. As
3034 a result, there is too much space between ligatures most of the time,
3035 and line breaking often is unsatisfactory. Also, lyrics do not
3036 correctly align with ligatures.
3038 Accidentals must not be printed within a ligature, but instead need to
3039 be collected and printed in front of it.
3041 Augmentum dots within ligatures are not handled correctly.
3043 The syntax still uses the deprecated infix style @code{\[ music expr
3044 \]}. For consistency reasons, it will eventually be changed to
3045 postfix style @code{note\[ ... note\]}. Alternatively, the file
3046 @file{gregorian@/-init@/.ly} can be included; it provides a scheme
3049 \ligature @var{music expr}
3051 with the same effect and is believed to be stable.
3054 * White mensural ligatures::
3055 * Gregorian square neumes ligatures::
3058 @node White mensural ligatures
3059 @subsubsection White mensural ligatures
3061 @cindex Mensural ligatures
3062 @cindex White mensural ligatures
3064 There is limited support for white mensural ligatures.
3066 To engrave white mensural ligatures, in the layout block put the
3067 @internalsref{Mensural_ligature_engraver} into the
3068 @internalsref{Voice} context, and remove the
3069 @internalsref{Ligature_bracket_engraver}, like this
3075 \remove Ligature_bracket_engraver
3076 \consists Mensural_ligature_engraver
3081 There is no additional input language to describe the shape of a
3082 white mensural ligature. The shape is rather determined solely from
3083 the pitch and duration of the enclosed notes. While this approach may
3084 take a new user a while to get accustomed to, it has the great advantage
3085 that the full musical information of the ligature is known internally.
3086 This is not only required for correct MIDI output, but also allows for
3087 automatic transcription of the ligatures.
3092 \set Score.timing = ##f
3093 \set Score.defaultBarType = "empty"
3094 \override NoteHead #'style = #'neomensural
3095 \override Staff.TimeSignature #'style = #'neomensural
3099 \[ d\longa c\breve f e d \]
3101 \[ c'\maxima d'\longa \]
3105 @lilypond[quote,ragged-right]
3108 \set Score.timing = ##f
3109 \set Score.defaultBarType = "empty"
3110 \override NoteHead #'style = #'neomensural
3111 \override Staff.TimeSignature #'style = #'neomensural
3115 \[ d\longa c\breve f e d \]
3117 \[ c'\maxima d'\longa \]
3124 \remove Ligature_bracket_engraver
3125 \consists Mensural_ligature_engraver
3131 Without replacing @internalsref{Ligature_bracket_engraver} with
3132 @internalsref{Mensural_ligature_engraver}, the same music transcribes
3135 @lilypond[quote,ragged-right]
3137 \set Score.timing = ##f
3138 \set Score.defaultBarType = "empty"
3139 \override NoteHead #'style = #'neomensural
3140 \override Staff.TimeSignature #'style = #'neomensural
3144 \[ d\longa c\breve f e d \]
3146 \[ c'\maxima d'\longa \]
3154 The invisible rests (@code{s4}) in the example are used to compensate
3155 for the poor horizontal spacing.
3157 @node Gregorian square neumes ligatures
3158 @subsubsection Gregorian square neumes ligatures
3160 @cindex Square neumes ligatures
3161 @cindex Gregorian square neumes ligatures
3163 There is limited support for Gregorian square neumes notation
3164 (following the style of the Editio Vaticana). Core ligatures can
3165 already be typeset, but essential issues for serious typesetting are
3166 still lacking, such as (among others) horizontal alignment of multiple
3167 ligatures, lyrics alignment and proper handling of accidentals.
3170 The following table contains the extended neumes table of the 2nd
3171 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
3172 1983 by the monks of Solesmes.
3174 @multitable @columnfractions .4 .2 .2 .2
3191 @c TODO: \layout block is identical in all of the below examples.
3192 @c Therefore, it should somehow be included rather than duplicated all
3195 @c why not make identifiers in ly/engraver-init.ly? --hwn
3197 @c Because it's just used to typeset plain notes without
3198 @c a staff for demonstration purposes rather than something
3199 @c special of Gregorian chant notation. --jr
3204 @lilypond[staffsize=26,line-width=1.5\cm]
3205 \include "gregorian-init.ly"
3210 \noBreak s^\markup {"a"} \noBreak
3212 % Punctum Inclinatum
3214 \noBreak s^\markup {"b"}
3216 \layout { \neumeDemoLayout }}
3219 @lilypond[staffsize=26,line-width=2.5\cm]
3220 \include "gregorian-init.ly"
3223 % Punctum Auctum Ascendens
3224 \[ \auctum \ascendens b \]
3225 \noBreak s^\markup {"c"} \noBreak
3227 % Punctum Auctum Descendens
3228 \[ \auctum \descendens b \]
3229 \noBreak s^\markup {"d"} \noBreak
3231 % Punctum Inclinatum Auctum
3232 \[ \inclinatum \auctum b \]
3233 \noBreak s^\markup {"e"}
3235 \layout { \neumeDemoLayout }}
3238 @lilypond[staffsize=26,line-width=1.0\cm]
3239 \include "gregorian-init.ly"
3242 % Punctum Inclinatum Parvum
3243 \[ \inclinatum \deminutum b \]
3244 \noBreak s^\markup {"f"}
3246 \layout { \neumeDemoLayout }}
3252 @lilypond[staffsize=26,line-width=1.0\cm]
3253 \include "gregorian-init.ly"
3258 \noBreak s^\markup {"g"}
3260 \layout { \neumeDemoLayout }}
3266 @code{3. Apostropha vel Stropha}
3268 @lilypond[staffsize=26,line-width=1.0\cm]
3269 \include "gregorian-init.ly"
3274 \noBreak s^\markup {"h"}
3276 \layout { \neumeDemoLayout }}
3279 @lilypond[staffsize=26,line-width=1.0\cm]
3280 \include "gregorian-init.ly"
3284 \[ \stropha \auctum b \]
3285 \noBreak s^\markup {"i"}
3287 \layout { \neumeDemoLayout }}
3294 @lilypond[staffsize=26,line-width=1.0\cm]
3295 \include "gregorian-init.ly"
3300 \noBreak s^\markup {"j"}
3302 \layout { \neumeDemoLayout }}
3308 @code{5. Clivis vel Flexa}
3310 @lilypond[staffsize=26,line-width=1.0\cm]
3311 \include "gregorian-init.ly"
3318 \layout { \neumeDemoLayout }}
3321 @lilypond[staffsize=26,line-width=2.0\cm]
3322 \include "gregorian-init.ly"
3325 % Clivis Aucta Descendens
3326 \[ b \flexa \auctum \descendens g \]
3327 \noBreak s^\markup {"l"} \noBreak
3329 % Clivis Aucta Ascendens
3330 \[ b \flexa \auctum \ascendens g \]
3331 \noBreak s^\markup {"m"}
3333 \layout { \neumeDemoLayout }}
3336 @lilypond[staffsize=26,line-width=1.0\cm]
3337 \include "gregorian-init.ly"
3341 \[ b \flexa \deminutum g \]
3344 \layout { \neumeDemoLayout }}
3348 @code{6. Podatus vel Pes}
3350 @lilypond[staffsize=26,line-width=1.0\cm]
3351 \include "gregorian-init.ly"
3358 \layout { \neumeDemoLayout }}
3361 @lilypond[staffsize=26,line-width=2.0\cm]
3362 \include "gregorian-init.ly"
3365 % Pes Auctus Descendens
3366 \[ g \pes \auctum \descendens b \]
3367 \noBreak s^\markup {"p"} \noBreak
3369 % Pes Auctus Ascendens
3370 \[ g \pes \auctum \ascendens b \]
3371 \noBreak s^\markup {"q"}
3373 \layout { \neumeDemoLayout }}
3376 @lilypond[staffsize=26,line-width=1.0\cm]
3377 \include "gregorian-init.ly"
3381 \[ g \pes \deminutum b \]
3384 \layout { \neumeDemoLayout }}
3388 @code{7. Pes Quassus}
3390 @lilypond[staffsize=26,line-width=1.0\cm]
3391 \include "gregorian-init.ly"
3395 \[ \oriscus g \pes \virga b \]
3398 \layout { \neumeDemoLayout }}
3401 @lilypond[staffsize=26,line-width=1.0\cm]
3402 \include "gregorian-init.ly"
3405 % Pes Quassus Auctus Descendens
3406 \[ \oriscus g \pes \auctum \descendens b \]
3409 \layout { \neumeDemoLayout }}
3414 @code{8. Quilisma Pes}
3416 @lilypond[staffsize=26,line-width=1.0\cm]
3417 \include "gregorian-init.ly"
3421 \[ \quilisma g \pes b \]
3424 \layout { \neumeDemoLayout }}
3427 @lilypond[staffsize=26,line-width=1.0\cm]
3428 \include "gregorian-init.ly"
3431 % Quilisma Pes Auctus Descendens
3432 \[ \quilisma g \pes \auctum \descendens b \]
3435 \layout { \neumeDemoLayout }}
3440 @code{9. Podatus Initio Debilis}
3442 @lilypond[staffsize=26,line-width=1.0\cm]
3443 \include "gregorian-init.ly"
3446 % Pes Initio Debilis
3447 \[ \deminutum g \pes b \]
3450 \layout { \neumeDemoLayout }}
3453 @lilypond[staffsize=26,line-width=1.0\cm]
3454 \include "gregorian-init.ly"
3457 % Pes Auctus Descendens Initio Debilis
3458 \[ \deminutum g \pes \auctum \descendens b \]
3461 \layout { \neumeDemoLayout }}
3468 @lilypond[staffsize=26,line-width=1.0\cm]
3469 \include "gregorian-init.ly"
3473 \[ a \pes b \flexa g \]
3476 \layout { \neumeDemoLayout }}
3479 @lilypond[staffsize=26,line-width=1.0\cm]
3480 \include "gregorian-init.ly"
3483 % Torculus Auctus Descendens
3484 \[ a \pes b \flexa \auctum \descendens g \]
3487 \layout { \neumeDemoLayout }}
3490 @lilypond[staffsize=26,line-width=1.0\cm]
3491 \include "gregorian-init.ly"
3494 % Torculus Deminutus
3495 \[ a \pes b \flexa \deminutum g \]
3498 \layout { \neumeDemoLayout }}
3502 @code{11. Torculus Initio Debilis}
3504 @lilypond[staffsize=26,line-width=1.0\cm]
3505 \include "gregorian-init.ly"
3508 % Torculus Initio Debilis
3509 \[ \deminutum a \pes b \flexa g \]
3512 \layout { \neumeDemoLayout }}
3515 @lilypond[staffsize=26,line-width=1.0\cm]
3516 \include "gregorian-init.ly"
3519 % Torculus Auctus Descendens Initio Debilis
3520 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
3523 \layout { \neumeDemoLayout }}
3526 @lilypond[staffsize=26,line-width=1.0\cm]
3527 \include "gregorian-init.ly"
3530 % Torculus Deminutus Initio Debilis
3531 \[ \deminutum a \pes b \flexa \deminutum g \]
3534 \layout { \neumeDemoLayout }}
3538 @code{12. Porrectus}
3540 @lilypond[staffsize=26,line-width=1.0\cm]
3541 \include "gregorian-init.ly"
3545 \[ a \flexa g \pes b \]
3548 \layout { \neumeDemoLayout }}
3551 @lilypond[staffsize=26,line-width=1.0\cm]
3552 \include "gregorian-init.ly"
3555 % Porrectus Auctus Descendens
3556 \[ a \flexa g \pes \auctum \descendens b \]
3559 \layout { \neumeDemoLayout }}
3562 @lilypond[staffsize=26,line-width=1.0\cm]
3563 \include "gregorian-init.ly"
3566 % Porrectus Deminutus
3567 \[ a \flexa g \pes \deminutum b \]
3570 \layout { \neumeDemoLayout }}
3576 @lilypond[staffsize=26,line-width=1.0\cm]
3577 \include "gregorian-init.ly"
3581 \[ \virga b \inclinatum a \inclinatum g \]
3584 \layout { \neumeDemoLayout }
3588 @lilypond[staffsize=26,line-width=1.0\cm]
3589 \include "gregorian-init.ly"
3593 \[ \virga b \inclinatum a \inclinatum \auctum g \]
3596 \layout { \neumeDemoLayout }}
3599 @lilypond[staffsize=26,line-width=1.0\cm]
3600 \include "gregorian-init.ly"
3603 % Climacus Deminutus
3604 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
3607 \layout { \neumeDemoLayout }}
3611 @code{14. Scandicus}
3613 @lilypond[staffsize=26,line-width=1.0\cm]
3614 \include "gregorian-init.ly"
3618 \[ g \pes a \virga b \]
3621 \layout { \neumeDemoLayout }}
3624 @lilypond[staffsize=26,line-width=1.0\cm]
3625 \include "gregorian-init.ly"
3628 % Scandicus Auctus Descendens
3629 \[ g \pes a \pes \auctum \descendens b \]
3632 \layout { \neumeDemoLayout }}
3635 @lilypond[staffsize=26,line-width=1.0\cm]
3636 \include "gregorian-init.ly"
3639 % Scandicus Deminutus
3640 \[ g \pes a \pes \deminutum b \]
3643 \layout { \neumeDemoLayout }}
3649 @lilypond[staffsize=26,line-width=1.0\cm]
3650 \include "gregorian-init.ly"
3654 \[ g \oriscus a \pes \virga b \]
3657 \layout { \neumeDemoLayout }}
3660 @lilypond[staffsize=26,line-width=1.0\cm]
3661 \include "gregorian-init.ly"
3664 % Salicus Auctus Descendens
3665 \[ g \oriscus a \pes \auctum \descendens b \]
3668 \layout { \neumeDemoLayout }}
3675 @lilypond[staffsize=26,line-width=1.0\cm]
3676 \include "gregorian-init.ly"
3680 \[ \stropha b \stropha b \stropha a \]
3683 \layout { \neumeDemoLayout }
3692 Unlike most other neumes notation systems, the input language for
3693 neumes does not reflect the typographical appearance, but is designed
3694 to focus on musical meaning. For example, @code{\[ a \pes b
3695 \flexa g \]} produces a Torculus consisting of three Punctum heads,
3696 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
3697 curved flexa shape and only a single Punctum head. There is no
3698 command to explicitly typeset the curved flexa shape; the decision of
3699 when to typeset a curved flexa shape is based on the musical
3700 input. The idea of this approach is to separate the musical aspects
3701 of the input from the notation style of the output. This way, the
3702 same input can be reused to typeset the same music in a different
3703 style of Gregorian chant notation.
3705 The following table shows the code fragments that produce the
3706 ligatures in the above neumes table. The letter in the first column
3707 in each line of the below table indicates to which ligature in the
3708 above table it refers. The second column gives the name of the
3709 ligature. The third column shows the code fragment that produces this
3710 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
3712 @multitable @columnfractions .02 .31 .67
3732 @code{\[ \inclinatum b \]}
3740 @code{\[ \auctum \ascendens b \]}
3748 @code{\[ \auctum \descendens b \]}
3753 Punctum Inclinatum@*
3756 @code{\[ \inclinatum \auctum b \]}
3761 Punctum Inclinatum@*
3763 @code{\[ \inclinatum \deminutum b \]}
3770 @code{\[ \virga b \]}
3777 @code{\[ \stropha b \]}
3784 @code{\[ \stropha \auctum b \]}
3791 @code{\[ \oriscus b \]}
3798 @code{\[ b \flexa g \]}
3806 @code{\[ b \flexa \auctum \descendens g \]}
3814 @code{\[ b \flexa \auctum \ascendens g \]}
3821 @code{\[ b \flexa \deminutum g \]}
3828 @code{\[ g \pes b \]}
3836 @code{\[ g \pes \auctum \descendens b \]}
3844 @code{\[ g \pes \auctum \ascendens b \]}
3851 @code{\[ g \pes \deminutum b \]}
3858 @code{\[ \oriscus g \pes \virga b \]}
3864 Auctus Descendens @tab
3865 @code{\[ \oriscus g \pes \auctum \descendens b \]}
3872 @code{\[ \quilisma g \pes b \]}
3880 @code{\[ \quilisma g \pes \auctum \descendens b \]}
3887 @code{\[ \deminutum g \pes b \]}
3892 Pes Auctus Descendens@*
3895 @code{\[ \deminutum g \pes \auctum \descendens b \]}
3902 @code{\[ a \pes b \flexa g \]}
3910 @code{\[ a \pes b \flexa \auctum \descendens g \]}
3917 @code{\[ a \pes b \flexa \deminutum g \]}
3922 Torculus Initio Debilis
3924 @code{\[ \deminutum a \pes b \flexa g \]}
3930 Descendens Initio Debilis
3932 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
3937 Torculus Deminutus@*
3940 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
3947 @code{\[ a \flexa g \pes b \]}
3955 @code{\[ a \flexa g \pes \auctum \descendens b \]}
3962 @code{\[ a \flexa g \pes \deminutum b \]}
3969 @code{\[ \virga b \inclinatum a \inclinatum g \]}
3976 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
3983 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
3990 @code{\[ g \pes a \virga b \]}
3998 @code{\[ g \pes a \pes \auctum \descendens b \]}
4005 @code{\[ g \pes a \pes \deminutum b \]}
4012 @code{\[ g \oriscus a \pes \virga b \]}
4017 Salicus Auctus Descendens
4019 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
4026 @code{\[ \stropha b \stropha b \stropha a \]}
4029 The ligatures listed above mainly serve as a limited, but still
4030 representative pool of Gregorian ligature examples. Virtually, within
4031 the ligature delimiters @code{\[} and @code{\]}, any number of heads
4032 may be accumulated to form a single ligature, and head prefixes like
4033 @code{\pes}, @code{\flexa}, @code{\virga}, @code{\inclinatum},
4034 etc. may be mixed in as desired. The use of the set of rules that
4035 underlies the construction of the ligatures in the above table is
4036 accordingly extrapolated. This way, infinitely many different
4037 ligatures can be created.
4039 @c TODO: create a regression or tips & tricks example document with
4040 @c even more Gregorian ligatures, and add a link to this document
4045 The following head prefixes are supported
4070 Head prefixes can be accumulated, though restrictions apply. For
4071 example, either @code{\descendens} or @code{\ascendens} can be applied
4072 to a head, but not both to the same head.
4076 Two adjacent heads can be tied together with the @code{\pes} and
4077 @code{\flexa} infix commands for a rising and falling line of melody,
4082 @node Gregorian Chant contexts
4083 @subsection Gregorian Chant contexts
4085 @cindex VaticanaVoiceContext
4086 @cindex VaticanaStaffContext
4088 The predefined @code{VaticanaVoiceContext} and
4089 @code{VaticanaStaffContext} can be used to engrave a piece of
4090 Gregorian Chant in the style of the Editio Vaticana. These contexts
4091 initialize all relevant context properties and grob properties to
4092 proper values, so you can immediately go ahead entering the chant, as
4093 the following excerpt demonstrates
4095 @lilypond[quote,ragged-right,packed,verbatim]
4096 \include "gregorian-init.ly"
4099 \new VaticanaVoice = "cantus" {
4100 \override Staff.StaffSymbol #'color = #red
4101 \override Staff.LedgerLineSpanner #'color = #red
4102 \override Score.BarNumber #'transparent = ##t {
4103 \[ c'\melisma c' \flexa a \]
4104 \[ a \flexa \deminutum g\melismaEnd \]
4106 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
4107 c' \divisioMinima \break
4108 \[ c'\melisma c' \flexa a \]
4109 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
4112 \new Lyrics \lyricsto "cantus" {
4113 San- ctus, San- ctus, San- ctus
4120 @node Mensural contexts
4121 @subsection Mensural contexts
4123 @cindex MensuralVoiceContext
4124 @cindex MensuralStaffContext
4126 The predefined @code{MensuralVoiceContext} and
4127 @code{MensuralStaffContext} can be used to engrave a piece in mensural
4128 style. These contexts initialize all relevant context properties and
4129 grob properties to proper values, so you can immediately go ahead
4130 entering the chant, as the following excerpt demonstrates
4132 @lilypond[quote,ragged-right,verbatim]
4135 \new MensuralVoice = "discantus" \transpose c c' {
4136 \override Score.BarNumber #'transparent = ##t {
4137 c'1\melisma bes a g\melismaEnd
4139 \[ f1\melisma a c'\breve d'\melismaEnd \]
4141 c'\breve\melisma a1 g1\melismaEnd
4142 fis\longa^\signumcongruentiae
4145 \new Lyrics \lyricsto "discantus" {
4146 San -- ctus, San -- ctus, San -- ctus
4152 @node Musica ficta accidentals
4153 @subsection Musica ficta accidentals
4155 In European music from before about 1600, singers were often expected
4156 to chromatically alter notes at their own initiative. This is called
4157 ``Musica Ficta''. In modern transcriptions, these accidentals are
4158 usually printed over the note.
4160 @cindex Accidental, musica ficta
4161 @cindex Musica ficta
4163 Support for such suggested accidentals is included, and can be
4164 switched on by setting @code{suggestAccidentals} to true.
4166 @findex suggestAccidentals
4168 @lilypond[verbatim,fragment,relative=1]
4170 \set suggestAccidentals = ##t
4176 Program reference: @internalsref{Accidental_engraver} engraver and the
4177 @internalsref{AccidentalSuggestion} object.
4180 @subsection Figured bass
4182 @cindex Basso continuo
4184 @c TODO: musicological blurb about FB
4187 LilyPond has support for figured bass
4189 @lilypond[quote,ragged-right,verbatim,fragment]
4191 \new Voice { \clef bass dis4 c d ais g fis}
4192 \new FiguredBass \figuremode {
4193 < 6 >4 < 7\+ >8 < 6+ [_!] >
4200 The support for figured bass consists of two parts: there is an input
4201 mode, introduced by @code{\figuremode}, where you can enter bass figures
4202 as numbers, and there is a context called @internalsref{FiguredBass} that
4203 takes care of making @internalsref{BassFigure} objects.
4205 In figures input mode, a group of bass figures is delimited by
4206 @code{<} and @code{>}. The duration is entered after the @code{>}
4210 @lilypond[quote,ragged-right,fragment]
4212 \figuremode { <4 6> }
4215 Accidentals are added when you append @code{-}, @code{!}, and @code{+}
4216 to the numbers. A plus sign is added when you append @code{\+}, and
4217 diminished fifths and sevenths can be obtained with @code{5/} and @code{7/}.
4220 <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/>
4222 @lilypond[quote,ragged-right,fragment]
4223 \figures { <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/> }
4226 Spaces may be inserted by using @code{_}. Brackets are
4227 introduced with @code{[} and @code{]}. You can also include text
4228 strings and text markups, see @ref{Overview of text markup commands}.
4231 < [4 6] 8 [_! 12] > < 5 \markup @{ \number 6 \super (1) @} >
4233 @lilypond[quote,ragged-right,fragment]
4235 \figuremode { < [4 6] 8 [_! 12] > < 5 \markup{ \tiny \number 6 \super (1)} > }
4239 It is also possible to use continuation lines for repeated figures,
4241 @lilypond[verbatim,relative=1]
4248 \set useBassFigureExtenders = ##t
4255 In this case, the extender lines always replace existing figures.
4257 The @code{FiguredBass} context doesn't pay attention to the actual
4258 bass line. As a consequence, you may have to insert extra figures to
4259 get extender lines below all notes, and you may have to add @code{\!}
4260 to avoid getting an extender line, e.g.
4262 @lilypond[relative=1]
4266 \set useBassFigureExtenders = ##t
4267 <6 4->4. <6 4->16. <6 4->32 <5>8. r16 <6>8 <6\! 5->
4271 f16. g32 f16. g32 f16. g32 f16. g32 f8. es16 d8 es
4276 When using continuation lines, common figures are always put in the
4277 same vertical position. When this is unwanted, you can insert a rest
4278 with @code{r}. The rest will clear any previous alignment. For
4279 example, you can write
4291 Accidentals and plus signs can appear before or after the numbers,
4292 depending on the @code{figuredBassAlterationDirection} and
4293 @code{figuredBassPlusDirection}
4299 \set figuredBassAlterationDirection = #1
4301 \set figuredBassPlusDirection = #1
4303 \set figuredBassAlterationDirection = #-1
4309 Although the support for figured bass may superficially resemble chord
4310 support, it is much simpler. The @code{\figuremode} mode simply
4311 stores the numbers and @internalsref{FiguredBass} context prints them
4312 as entered. There is no conversion to pitches and no realizations of
4313 the bass are played in the MIDI file.
4315 Internally, the code produces markup texts. You can use any of the
4316 markup text properties to override formatting. For example, the
4317 vertical spacing of the figures may be set with @code{baseline-skip}.
4321 Program reference: @internalsref{NewBassFigure},
4322 @internalsref{BassFigureAlignment}, @internalsref{BassFigureLine},
4323 @internalsref{BassFigureBracket}, and
4324 @internalsref{BassFigureContinuation} objects and
4325 @internalsref{FiguredBass} context.
4329 @node Other instrument specific notation
4330 @section Other instrument specific notation
4332 This section includes extra information for writing for instruments.
4335 * Artificial harmonics (strings)::
4338 @node Artificial harmonics (strings)
4339 @subsection Artificial harmonics (strings)
4341 @cindex artificial harmonics
4343 Artificial harmonics are notated with a different notehead style. They
4344 are entered by marking the harmonic pitch with @code{\harmonic}.
4346 @lilypond[ragged-right,verbatim,quote,fragment,relative=1]