1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
8 @node Instrument-specific notation
9 @chapter Instrument-specific notation
11 This chapter explains how to use notation for specific instruments.
21 * Other instrument specific notation::
29 Piano staves are two normal staves coupled with a brace. The staves
30 are largely independent, but sometimes voices can cross between the
31 two staves. The same notation is also used for harps and other key
32 instruments. The @internalsref{PianoStaff} is especially built to
33 handle this cross-staffing behavior. In this section we discuss the
34 @internalsref{PianoStaff} and some other pianistic peculiarities.
37 * Automatic staff changes::
38 * Manual staff switches::
39 * Laissez vibrer ties::
41 * Staff switch lines::
47 Dynamics are not centered, but workarounds do exist. See the
48 ``piano centered dynamics'' template in @ref{Piano templates}.
50 @cindex cross staff stem
51 @cindex stem, cross staff
52 @cindex distance between staves in piano music
54 The distance between the two staves is the same for all systems in the
55 score. It is possible to override this per system, but it does require
56 an arcane command incantation. See
57 @inputfileref{input/@/test,piano@/-staff@/-distance@/.ly}.
60 @node Automatic staff changes
61 @subsection Automatic staff changes
62 @cindex Automatic staff changes
64 Voices can be made to switch automatically between the top and the bottom
65 staff. The syntax for this is
69 \autochange @dots{}@var{music}@dots{}
74 This will create two staves inside the current PianoStaff, called
75 @code{up} and @code{down}. The lower staff will be in bass clef by
78 A @code{\relative} section that is outside of @code{\autochange} has
79 no effect on the pitches of @var{music}, so, if necessary, put
80 @code{\relative} inside @code{\autochange} like
84 \autochange \relative @dots{} @dots{}
89 The autochanger switches on basis of the pitch (middle C is the turning
90 point), and it looks ahead skipping over rests to switch in
91 advance. Here is a practical example
93 @lilypond[quote,verbatim,ragged-right]
95 \autochange \relative c'
104 In this manual: @ref{Manual staff switches}.
106 Program reference: @internalsref{AutoChangeMusic}.
112 The staff switches may not end up in optimal places. For high
113 quality output, staff switches should be specified manually.
116 @code{\autochange} cannot be inside @code{\times}.
119 @node Manual staff switches
120 @subsection Manual staff switches
122 @cindex manual staff switches
123 @cindex staff switch, manual
125 Voices can be switched between staves manually, using the command
127 \change Staff = @var{staffname} @var{music}
131 The string @var{staffname} is the name of the staff. It switches the
132 current voice from its current staff to the Staff called
133 @var{staffname}. Typically @var{staffname} is @code{"up"} or
134 @code{"down"}. The @context{Staff} referred to must already exist, so
135 usually the setup for a score will start with a setup of the staves,
140 \skip 1 * 10 % @emph{keep staff alive}
142 \new Staff = "down" @{
143 \skip 1 * 10 % @emph{idem}
149 and the @context{Voice} is inserted afterwards
153 \new Voice @{ @dots{} \change Staff = up @dots{} @}
157 @node Laissez vibrer ties
158 @subsection Laissez vibrer ties
159 @cindex Laissez vibrer
160 @cindex Ties, laissez vibrer
162 L.v. ties (laissez vibrer) indicate that notes must not be damped at the
163 end. It is used in notation for piano, harp and other string and
164 percussion instruments. They can be entered using @code{\laissezVibrer},
166 @lilypond[fragment,ragged-right,verbatim,relative=1]
167 <c f g>\laissezVibrer
173 @internalsref{LaissezVibrerTie}
174 @internalsref{LaissezVibrerTieColumn}
177 @inputfileref{input/regression,laissez-vibrer-tie.ly}
183 Pianos have pedals that alter the way sound is produced. Generally, a
184 piano has three pedals, sustain, una corda, and sostenuto.
187 Piano pedal instruction can be expressed by attaching
188 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
189 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
192 @lilypond[quote,ragged-right,fragment,verbatim]
193 c'4\sustainDown c'4\sustainUp
196 What is printed can be modified by setting @code{pedal@var{X}Strings},
197 where @var{X} is one of the pedal types: @code{Sustain},
198 @code{Sostenuto} or @code{UnaCorda}. Refer to
199 @internalsref{SustainPedal} in the program reference for more
202 Pedals can also be indicated by a sequence of brackets, by setting the
203 @code{pedalSustainStyle} property to bracket objects
205 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
206 \set Staff.pedalSustainStyle = #'bracket
208 b\sustainUp\sustainDown
209 b g \sustainUp a \sustainDown \bar "|."
212 A third style of pedal notation is a mixture of text and brackets,
213 obtained by setting the @code{pedalSustainStyle} property to
216 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
217 \set Staff.pedalSustainStyle = #'mixed
219 b\sustainUp\sustainDown
220 b g \sustainUp a \sustainDown \bar "|."
223 The default `*Ped.' style for sustain and damper pedals corresponds to
224 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
227 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
228 c\sostenutoDown d e c, f g a\sostenutoUp
231 For fine-tuning the appearance of a pedal bracket, the properties
232 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
233 @code{PianoPedalBracket} objects (see
234 @internalsref{PianoPedalBracket} in the Program reference) can be
235 modified. For example, the bracket may be extended to the right edge
238 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
239 \override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
240 c\sostenutoDown d e c, f g a\sostenutoUp
245 In this manual: @ref{Laissez vibrer ties}
247 @node Staff switch lines
248 @subsection Staff switch lines
252 @cindex staff switching
255 @cindex @code{followVoice}
257 Whenever a voice switches to another staff, a line connecting the notes
258 can be printed automatically. This is switched on by setting
259 @code{followVoice} to true
261 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
264 \set followVoice = ##t
269 \new Staff="two" { \clef bass \skip 1*2 }
275 Program reference: @internalsref{VoiceFollower}.
279 @cindex @code{\showStaffSwitch}
280 @code{\showStaffSwitch},
281 @cindex @code{\hideStaffSwitch}
282 @code{\hideStaffSwitch}.
285 @node Cross staff stems
286 @subsection Cross staff stems
288 Chords that cross staves may be produced by increasing the length
289 of the stem in the lower staff, so it reaches the stem in the upper
290 staff, or vice versa.
292 @lilypond[ragged-right,verbatim,quote]
293 stemExtend = \once \override Stem #'length = #22
294 noFlag = \once \override Stem #'flag-style = #'no-flag
297 \stemDown \stemExtend
315 * Introducing chord names::
317 * Printing chord names::
321 @c awkward name; awkward section name.
322 @c still, the Basic "chords" seems like a good name... :(
323 @node Introducing chord names
324 @subsection Introducing chord names
327 LilyPond has support for printing chord names. Chords may be entered
328 in musical chord notation, i.e., @code{< .. >}, but they can also be
329 entered by name. Internally, the chords are represented as a set of
330 pitches, so they can be transposed
333 @lilypond[quote,ragged-right,verbatim,ragged-right]
334 twoWays = \transpose c c' {
343 << \new ChordNames \twoWays
344 \new Voice \twoWays >>
347 This example also shows that the chord printing routines do not try to
348 be intelligent. The last chord (@code{f bes d}) is not interpreted as
351 Note that the duration of chords must be specified outside the
360 @subsection Chords mode
363 In chord mode sets of pitches (chords) are entered with normal note
364 names. A chord is entered by the root, which is entered like a
367 @lilypond[quote,ragged-right,fragment,verbatim]
368 \chordmode { es4. d8 c2 }
372 The mode is introduced by the keyword @code{\chordmode}.
377 Other chords may be entered by suffixing a colon and introducing a
378 modifier (which may include a number if desired)
379 @lilypond[quote,fragment,verbatim]
380 \chordmode { e1:m e1:7 e1:m7 }
382 The first number following the root is taken to be the `type' of the
383 chord, thirds are added to the root until it reaches the specified
385 @lilypond[quote,fragment,verbatim]
386 \chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
389 @cindex root of chord
390 @cindex additions, in chords
391 @cindex removals, in chords
393 More complex chords may also be constructed adding separate steps
394 to a chord. Additions are added after the number following
395 the colon and are separated by dots
396 @lilypond[quote,verbatim,fragment]
397 \chordmode { c:5.6 c:3.7.8 c:3.6.13 }
399 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
401 @lilypond[quote,verbatim,fragment]
402 \chordmode { c:7+ c:5+.3- c:3-.5-.7- }
404 Removals are specified similarly and are introduced by a caret. They
405 must come after the additions
406 @lilypond[quote,verbatim,fragment]
407 \chordmode { c^3 c:7^5 c:9^3.5 }
410 Modifiers can be used to change pitches. The following modifiers are
415 The minor chord. This modifier lowers the 3rd and (if present) the 7th step.
418 The diminished chord. This modifier lowers the 3rd, 5th and (if present)
422 The augmented chord. This modifier raises the 5th step.
425 The major 7th chord. This modifier raises the 7th step if present.
428 The suspended 4th or 2nd. This modifier removes the 3rd
429 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
433 Modifiers can be mixed with additions
434 @lilypond[quote,verbatim,fragment]
435 \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
438 @cindex modifiers, in chords.
445 Since an unaltered 11 does not sound good when combined with an
446 unaltered 3, the 11 is removed in this case (unless it is added
448 @lilypond[quote,ragged-right,fragment,verbatim]
449 \chordmode { c:13 c:13.11 c:m13 }
454 An inversion (putting one pitch of the chord on the bottom), as well
455 as bass notes, can be specified by appending
456 @code{/}@var{pitch} to the chord
457 @lilypond[quote,ragged-right,fragment,verbatim]
458 \chordmode { c1 c/g c/f }
462 A bass note can be added instead transposed out of the chord,
463 by using @code{/+}@var{pitch}.
465 @lilypond[quote,ragged-right,fragment,verbatim]
466 \chordmode { c1 c/+g c/+f }
469 Chords is a mode similar to @code{\lyricmode}, etc. Most
470 of the commands continue to work, for example, @code{r} and
471 @code{\skip} can be used to insert rests and spaces, and property
472 commands may be used to change various settings.
478 Each step can only be present in a chord once. The following
479 simply produces the augmented chord, since @code{5+} is interpreted
482 @lilypond[quote,ragged-right,verbatim,fragment]
483 \chordmode { c:5.5-.5+ }
487 @node Printing chord names
488 @subsection Printing chord names
490 @cindex printing chord names
494 For displaying printed chord names, use the @internalsref{ChordNames} context.
495 The chords may be entered either using the notation
496 described above, or directly using @code{<} and @code{>}
498 @lilypond[quote,verbatim,ragged-right]
500 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
503 \new ChordNames \harmonies
504 \new Staff \harmonies
508 You can make the chord changes stand out by setting
509 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
510 display chord names when there is a change in the chords scheme and at
511 the start of a new line
513 @lilypond[quote,verbatim,ragged-right]
514 harmonies = \chordmode {
515 c1:m c:m \break c:m c:m d
519 \set chordChanges = ##t
521 \new Staff \transpose c c' \harmonies
525 The previous examples all show chords over a staff. This is not
526 necessary. Chords may also be printed separately. It may be necessary
527 to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
530 @lilypond[ragged-right,verbatim]
531 \new ChordNames \with {
532 \override BarLine #'bar-size = #4
533 voltaOnThisStaff = ##t
534 \consists Bar_engraver
535 \consists "Volta_engraver"
537 \chordmode { \repeat volta 2 {
547 The default chord name layout is a system for Jazz music, proposed by
548 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
552 @cindex @code{chordNameExceptions}
553 @item chordNameExceptions
554 This is a list that contains the chords that have special formatting.
556 The exceptions list should be encoded as
558 @{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
561 To get this information into @code{chordNameExceptions} takes a little
562 manoeuvring. The following code transforms @code{chExceptionMusic}
563 (which is a sequential music) into a list of exceptions.
565 (sequential-music-to-chord-exceptions chExceptionMusic #t)
570 (sequential-music-to-chord-exceptions chExceptionMusic #t)
573 adds the new exceptions to the default ones, which are defined in
574 @file{ly/@/chord@/-modifier@/-init@/.ly}.
576 For an example of tuning this property, see also
577 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly}.
578 @cindex exceptions, chord names.
581 @cindex @code{majorSevenSymbol}
582 @item majorSevenSymbol
583 This property contains the markup object used for the 7th step, when
584 it is major. Predefined options are @code{whiteTriangleMarkup} and
585 @code{blackTriangleMarkup}. See
586 @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly} for an example.
588 @cindex @code{chordNameSeparator}
589 @item chordNameSeparator
590 Different parts of a chord name are normally separated by a
591 slash. By setting @code{chordNameSeparator}, you can specify other
593 @lilypond[quote,ragged-right,fragment,verbatim]
594 \new ChordNames \chordmode {
596 \set chordNameSeparator
597 = \markup { \typewriter "|" }
602 @cindex @code{chordRootNamer}
604 The root of a chord is usually printed as a letter with an optional
605 alteration. The transformation from pitch to letter is done by this
606 function. Special note names (for example, the German ``H'' for a
607 B-chord) can be produced by storing a new function in this property.
609 @cindex @code{chordNoteNamer}
611 The default is to print single pitch, e.g., the bass note, using the
612 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
613 to a specialized function to change this behavior. For example, the
614 base can be printed in lower case.
616 @cindex @code{chordPrefixSpacer}
617 @item chordPrefixSpacer
618 The ``m'' for minor chords is usually printed right after the root of
619 the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer
620 between the root and ``m''. The spacer is not used when the root
625 The predefined variables @code{\germanChords},
626 @code{\semiGermanChords}, @code{\italianChords} and @code{\frenchChords}
627 set these variables. The effect is
630 @lilypondfile[ragged-right]{chord-names-languages.ly}
632 There are also two other chord name schemes implemented: an alternate
633 Jazz chord notation, and a systematic scheme called Banter chords. The
634 alternate Jazz notation is also shown on the chart in @ref{Chord name
635 chart}. Turning on these styles is described in the input file
636 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
645 @cindex @code{\germanChords}
646 @code{\germanChords},
647 @cindex @code{\semiGermanChords}
648 @code{\semiGermanChords}.
649 @cindex @code{\italianChords}
650 @code{\italianChords}.
651 @cindex @code{\frenchChords}
652 @code{\frenchChords}.
659 Examples: @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly},
660 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly},
661 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
664 Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
665 @file{scm/@/chord@/-entry@/.scm}.
670 Chord names are determined solely from the list of pitches. Chord
671 inversions are not identified, and neither are added bass notes. This
672 may result in strange chord names when chords are entered with the
673 @code{< .. >} syntax.
680 There are three different issues when printing vocal music
684 Song texts must be entered as text, not notes. For example, the
685 input@tie{}@code{d} should be interpreted as a one letter syllable, not the
689 Song texts must be printed as text, not as notes.
692 Song texts must be aligned with the notes of their melody.
695 The simplest solution for printing music uses the @code{\addlyrics}
696 function to solve all these problems at once. However, these
697 three functions can be controlled separately, which is necessary
698 for complex vocal music.
702 * Setting simple songs::
704 * Hyphens and extenders::
705 * The Lyrics context::
706 * Flexibility in alignment::
709 * Other vocal issues::
715 Checking to make sure that text scripts and lyrics are within the margins is a relatively large computational task. To speed up processing, lilypond does not perform such calculations by default; to enable it, use
718 \override Score.PaperColumn #'keep-inside-line = ##t
721 To make lyrics avoid barlines as well, use
726 \consists "Bar_engraver"
727 \consists "Separating_line_group_engraver"
728 \override BarLine #'transparent = ##t
734 @node Setting simple songs
735 @subsection Setting simple songs
737 The easiest way to add lyrics to a melody is to append
740 \addlyrics @{ @var{the lyrics} @}
744 to a melody. Here is an example,
746 @lilypond[ragged-right,verbatim,fragment,quote]
748 \relative { c2 e4 g2. }
749 \addlyrics { play the game }
752 More stanzas can be added by adding more
753 @code{\addlyrics} sections
755 @lilypond[ragged-right,verbatim,fragment,quote]
757 \relative { c2 e4 g2. }
758 \addlyrics { play the game }
759 \addlyrics { speel het spel }
760 \addlyrics { joue le jeu }
763 Sometimes it is appropriate to have one stanza set
764 to the music, and the rest added in verse form at
765 the end of the piece. This can be accomplished by adding
766 the extra verses into a @code{\markup} section outside
767 of the main score block. Notice that there are two
768 different ways to force linebreaks when using
771 @lilypond[ragged-right,verbatim,quote]
772 melody = \relative c' {
778 \set stanza = "1." Ma- ry had a lit- tle lamb,
779 it's fleece was white as snow.
783 \new Voice = "one" { \melody }
784 \new Lyrics \lyricsto "one" \text
790 \line{ All the children laughed and played }
791 \line{ To see a lamb at school. }
798 Mary took it home again,
800 It was against the rule."
805 @c TODO - this isn't such a great place for this note, but I can't
806 @c find a better place without rearranging a lot of lyric stuff.
807 @c It's yet another thing to look at post-3.0.
809 The @code{\addlyrics} command is actually just a convienient way
810 to write a more complicated LilyPond structure that sets up the
811 lyrics. You should use @code{\addlyrics} unless you need to do
812 fancy things, in which case you should investigate
813 @code{\lyricsto} or @code{\lyricmode}.
817 \addlyrics @{ LYRICS @}
824 \new Voice = "blah" @{ music @}
825 \new Lyrics \lyricsto "blah" @{ LYRICS @}
830 @code{\addlyrics} cannot handle polyphony.
833 @node Entering lyrics
834 @subsection Entering lyrics
837 @cindex @code{\lyricmode}
840 Lyrics are entered in a special input mode. This mode is introduced
841 by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
842 @code{\lyricsto}. In this mode you can enter lyrics,
843 with punctuation and accents, and the input @code{d} is not parsed as
844 a pitch, but rather as a one letter syllable. Syllables are entered
845 like notes, but with pitches replaced by text. For example,
847 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
850 There is a difference between @code{\addlyrics} and
851 @code{\lyricmode}. @code{\addlyrics} and @code{\lyricsto}
852 ignore all durations and aligns syllables to notes; @code{\lyricmode}
853 uses the durations specified.
855 A word lyrics mode begins with an alphabetic character, and ends with
856 any space or digit. The following characters can be any character
857 that is not a digit or white space. One important consequence of this
858 is that a word can end with @code{@}}. The following example is
859 usually a mistake in the input file. The syllable includes a @code{@}}, so the
860 opening brace is not balanced
862 \lyricmode @{ twinkle@}
865 @cindex @code{\property}, in @code{\lyricmode}
867 Similarly, a period which follows an alphabetic sequence is included in
868 the resulting string. As a consequence, spaces must be inserted around
871 \override Score . LyricText #'font-shape = #'italic
875 @cindex spaces, in lyrics
876 @cindex quotes, in lyrics
878 Any @code{_} character that appears in an unquoted word is converted
879 to a space. This provides a mechanism for introducing spaces into words
880 without using quotes.
882 To enter lyrics with characters from non-English languages, or with
883 non-ascii characters (such as the heart symbol or slanted quotes),
884 simply insert the characters directly into the input file and save
885 it with utf-8 encoding. See @ref{Text encoding} for more info.
888 \lyricmode @{ He said: “Let my peo ple go”. @}
891 The full definition of a word start in Lyrics mode is somewhat more
894 A word in Lyrics mode begins with: an alphabetic character, @code{_},
895 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
896 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
897 any 8-bit character with ASCII code over 127, or a two-character
898 combination of a backslash followed by one of @code{`}, @code{'},
899 @code{"}, or @code{^}.
905 Program reference: @internalsref{LyricText}, @internalsref{LyricSpace}.
909 The definition of lyrics mode is too complex.
911 @node Hyphens and extenders
912 @subsection Hyphens and extenders
916 Centered hyphens are entered as `@code{--}' between syllables.
917 The hyphen will have variable length depending on the space between
918 the syllables and it will be centered between the syllables.
923 When a lyric is sung over many notes (this is called a melisma), this is
924 indicated with a horizontal line centered between a syllable and the
925 next one. Such a line is called an extender line, and it is entered as
928 In tighly engraved music, hyphens can be removed. Whether this
929 happens can be controlled with the @code{minimum-distance} (minimum
930 distance between two syllables) and the @code{minimum-length}
931 (threshold below which hyphens are removed).
935 Program reference: @internalsref{LyricHyphen}, @internalsref{LyricExtender}.
939 @node The Lyrics context
940 @subsection The Lyrics context
943 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
945 \new Lyrics \lyricmode @dots{}
948 @cindex automatic syllable durations
949 @cindex @code{\lyricsto}
950 @cindex lyrics and melodies
952 This will place the lyrics according to the durations that were
953 entered. The lyrics can also be aligned under a given melody
954 automatically. In this case, it is no longer necessary to enter the
955 correct duration for each syllable. This is achieved by combining the
956 melody and the lyrics with the @code{\lyricsto} expression
958 \new Lyrics \lyricsto @var{name} @dots{}
961 This aligns the lyrics to the
962 notes of the @internalsref{Voice} context called @var{name}, which has
963 to exist. Therefore, normally the @code{Voice} is specified first, and
964 then the lyrics are specified with @code{\lyricsto}. The command
965 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
966 @code{\lyricmode} keyword may be omitted.
968 For different or more complex orderings, the best way is to setup the
969 hierarchy of staves and lyrics first, e.g.,
972 \new Lyrics = "sopranoLyrics" @{ s1 @}
973 \new Voice = "soprano" @{ @emph{music} @}
974 \new Lyrics = "tenorLyrics" @{ s1 @}
975 \new Voice = "tenor" @{ @emph{music} @}
978 and then combine the appropriate melodies and lyric lines
980 \context Lyrics = sopranoLyrics \lyricsto "soprano"
985 The final input would resemble
988 <<\new ChoirStaff << @emph{setup the music} >>
989 \lyricsto "soprano" @emph{etc}
990 \lyricsto "alto" @emph{etc}
996 The @code{\lyricsto} command detects melismata: it only puts one
997 syllable under a tied or slurred group of notes. If you want to force
998 an unslurred group of notes to be a melisma, insert @code{\melisma}
999 after the first note of the group, and @code{\melismaEnd} after the
1002 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
1004 \new Voice = "lala" {
1012 \new Lyrics \lyricsto "lala" {
1018 In addition, notes are considered a melisma if they are manually
1019 beamed, and automatic beaming (see @ref{Setting automatic beam
1020 behavior}) is switched off.
1026 The criteria for deciding melismata can
1027 be tuned with the property @code{melismaBusyProperties}. See
1028 @internalsref{Melisma_translator} in the program reference for more
1033 Lyrics can also be entered without @code{\lyricsto}. In this case the
1034 duration of each syllable must be entered explicitly, for example,
1041 The alignment to a melody can be specified with the
1042 @code{associatedVoice} property,
1045 \set associatedVoice = #"lala"
1049 The value of the property (here: @code{"lala"}) should be the name of
1050 a @internalsref{Voice} context. Without this setting, extender lines
1051 will not be formatted properly.
1053 Here is an example demonstrating manual lyric durations,
1055 @lilypond[relative=1,ragged-right,verbatim,fragment,quote]
1056 << \new Voice = "melody" {
1060 \new Lyrics \lyricmode {
1061 \set associatedVoice = #"melody"
1067 @cindex choral score
1069 A complete example of a SATB score setup is in section
1070 @ref{Vocal ensembles}.
1075 @code{\melisma}, @code{\melismaEnd}
1076 @cindex @code{\melismaEnd}
1077 @cindex @code{\melisma}
1081 Program reference: @internalsref{LyricCombineMusic},
1082 @internalsref{Lyrics}, @internalsref{Melisma_translator}.
1085 @inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly}.
1086 @c TODO: make separate section for melismata
1090 Melismata are not detected automatically, and extender lines must be
1094 @c TODO: document \new Staff << Voice \lyricsto >> bug
1096 @node Flexibility in alignment
1097 @subsection Flexibility in alignment
1099 Often, different stanzas of one song are put to one melody in slightly
1100 differing ways. Such variations can still be captured with
1103 @subsubsection Lyrics to multiple notes of a melisma
1106 One possibility is that the text has a melisma in one stanza, but
1107 multiple syllables in another one. One solution is to make the faster
1108 voice ignore the melisma. This is done by setting
1109 @code{ignoreMelismata} in the Lyrics context.
1111 There has one tricky aspect. The setting for @code{ignoreMelismata}
1112 must be set one syllable @emph{before} the non-melismatic syllable
1113 in the text, as shown here,
1115 @lilypond[verbatim,ragged-right,quote]
1117 \relative \new Voice = "lahlah" {
1118 \set Staff.autoBeaming = ##f
1124 \new Lyrics \lyricsto "lahlah" {
1127 \new Lyrics \lyricsto "lahlah" {
1128 \set ignoreMelismata = ##t % applies to "fas"
1130 \unset ignoreMelismata
1137 The @code{ignoreMelismata} applies to the syllable ``fas'', so it
1138 should be entered before ``go''.
1140 The reverse is also possible: making a lyric line slower than the
1141 standard. This can be achieved by insert @code{\skip}s into the
1142 lyrics. For every @code{\skip}, the text will be delayed another note.
1145 @lilypond[verbatim,ragged-right,quote]
1146 \relative { c c g' }
1154 @subsection Switching the melody associated with a lyrics line
1158 More complex variations in text underlay are possible. It is possible
1159 to switch the melody for a line of lyrics during the text. This is
1160 done by setting the @code{associatedVoice} property. In the example
1162 @lilypond[ragged-right,quote]
1164 \relative \new Voice = "lahlah" {
1165 \set Staff.autoBeaming = ##f
1168 \new Voice = "alternative" {
1171 % show associations clearly.
1172 \override NoteColumn #'force-hshift = #-3
1183 \new Lyrics \lyricsto "lahlah" {
1184 Ju -- ras -- sic Park
1186 \new Lyrics \lyricsto "lahlah" {
1187 % Tricky: need to set associatedVoice
1188 % one syllable too soon!
1189 \set associatedVoice = alternative % applies to "ran"
1193 \set associatedVoice = lahlah % applies to "rus"
1199 the text for the first stanza is set to a melody called ``lahlah'',
1202 \new Lyrics \lyricsto "lahlah" @{
1203 Ju -- ras -- sic Park
1208 The second stanza initially is set to the @code{lahlah} context, but
1209 for the syllable ``ran'', it switches to a different melody.
1210 This is achieved with
1212 \set associatedVoice = alternative
1216 Here, @code{alternative} is the name of the @code{Voice} context
1217 containing the triplet.
1219 Again, the command must be one syllable too early, before ``Ty'' in
1223 \new Lyrics \lyricsto "lahlah" @{
1224 \set associatedVoice = alternative % applies to "ran"
1228 \set associatedVoice = lahlah % applies to "rus"
1234 The underlay is switched back to the starting situation by assigning
1235 @code{lahlah} to @code{associatedVoice}.
1239 @subsection Specifying melismata within the lyrics
1241 It is also possible to define melismata entirely in the lyrics. This
1242 can be done by entering @code{_} for every note that is part of the
1245 @lilypond[relative=1,verbatim,fragment]
1246 { \set melismaBusyProperties = #'()
1247 c d( e) f f( e) e e }
1249 { Ky -- _ _ ri __ _ _ _ e }
1252 In this case, you can also have ties and slurs in the melody, if you
1253 set @code{melismaBusyProperties}, as is done in the example above.
1255 @lilypond[relative=1,verbatim,fragment]
1257 \set melismaBusyProperties = #'()
1261 { Ky -- _ _ ri __ _ _ _ e }
1264 @subsubsection Spacing lyrics
1266 @cindex Spacing lyrics
1267 @cindex Lyrics, increasing space between
1269 To increase the space between lyrics, use the @code{SeparationItem}
1272 @lilypond[relative,verbatim,fragment,quote,ragged-right]
1275 \override Score.SeparationItem #'padding = #5
1279 longtext longtext longtext longtext
1280 longtext longtext longtext longtext
1287 @subsection More stanzas
1289 @cindex phrasing, in lyrics
1292 @cindex stanza number
1293 @cindex singer's names
1294 @cindex name of singer
1296 Stanza numbers can be added by setting @code{stanza}, e.g.,
1298 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1300 \time 3/4 g2 e4 a2 f4 g2.
1303 Hi, my name is Bert.
1306 Oh, che -- ri, je t'aime
1310 These numbers are put just before the start of first syllable.
1312 Names of singers can also be added. They are printed at the start of
1313 the line, just like instrument names. They are created by setting
1314 @code{vocalName}. A short version may be entered as @code{vocNam}.
1317 @lilypond[fragment,ragged-right,quote,verbatim,relative=2]
1319 \time 3/4 g2 e4 a2 f4 g2.
1321 \set vocalName = "Bert "
1322 Hi, my name is Bert.
1324 \set vocalName = "Ernie "
1325 Oh, che -- ri, je t'aime
1329 You can display alternate (or divisi) lyrics by naming voice
1330 contexts and attaching lyrics to those specific contexts.
1332 @lilypond[verbatim,ragged-right,quote]
1334 \new Voice = "melody" {
1339 \new Voice = "splitpart" { \voiceTwo c4 }
1344 \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
1345 \new Lyrics \lyricsto "splitpart" { will }
1350 You can use this trick to display different lyrics for a repeated
1353 @lilypond[verbatim,ragged-right,quote]
1355 \new Voice = "melody" \relative c' {
1357 \new Voice = "verse" \repeat volta 2 {c4 d e f | g1 | }
1359 \new Lyrics = "mainlyrics" \lyricsto melody \lyricmode {
1362 \new Lyrics = "mainlyrics" \lyricsto verse \lyricmode {
1364 \new Lyrics = "repeatlyrics" \lyricsto verse \lyricmode {
1365 dodo rere mimi fafa solsol }
1373 Program reference: @internalsref{LyricText}, @internalsref{StanzaNumber}, @internalsref{VocalName}.
1381 The term @emph{ambitus} denotes a range of pitches for a given voice
1382 in a part of music. It may also denote the pitch range that a musical
1383 instrument is capable of playing. Ambits are printed on vocal parts,
1384 so performers can easily determine it meets their capabilities.
1386 Ambits are denoted at the beginning of a piece near the initial clef.
1387 The range is graphically specified by two note heads that represent the
1388 minimum and maximum pitch. To print such ambits, add the
1389 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
1396 \consists Ambitus_engraver
1401 This results in the following output
1403 @lilypond[quote,ragged-right]
1407 \consists Ambitus_engraver
1411 \relative \new Staff {
1416 If you have multiple voices in a single staff and you want a single
1417 ambitus per staff rather than per each voice, add the
1418 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
1419 rather than to the @internalsref{Voice} context. Here is an example,
1421 @lilypond[verbatim,ragged-right,quote]
1423 \consists "Ambitus_engraver"
1427 \remove "Ambitus_engraver"
1429 \override Ambitus #'X-offset = #-1.0
1434 \remove "Ambitus_engraver"
1443 This example uses one advanced feature,
1446 \override Ambitus #'X-offset = #-1.0
1450 This code moves the ambitus to the left. The same effect could have
1451 been achieved with @code{extra-offset}, but then the formatting system
1452 would not reserve space for the moved object.
1456 Program reference: @internalsref{Ambitus},
1457 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1458 @internalsref{AmbitusAccidental}.
1460 Examples: @inputfileref{input/@/regression,ambitus@/.ly}.
1464 There is no collision handling in the case of multiple per-voice
1468 @node Other vocal issues
1469 @subsection Other vocal issues
1472 yeah, I'm giving up somewhat by stuffing a bunch of things in
1473 here. But at least they're in the manual now; it's easier to
1474 move them around in the manual once they're already here.
1476 Besides, if users complain about everything stuffed in here, I
1477 can ask them for specific instructions about where to move these
1478 examples, and that might get them more involved in the docs. -gp
1481 ``Parlato'' is spoken without pitch but still with rhythm; it is
1482 notated by cross noteheads. This is demonstrated in
1483 @ref{Special noteheads}.
1489 @node Rhythmic music
1490 @section Rhythmic music
1492 Rhythmic music is primarily used for percussion and drum notation, but it can
1493 also be used to show the rhythms of melodies.
1496 * Showing melody rhythms::
1497 * Entering percussion::
1498 * Percussion staves::
1502 @node Showing melody rhythms
1503 @subsection Showing melody rhythms
1505 Sometimes you might want to show only the rhythm of a melody. This
1506 can be done with the rhythmic staff. All pitches of notes on such a
1507 staff are squashed, and the staff itself has a single line
1509 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1510 \new RhythmicStaff {
1512 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1518 Program reference: @internalsref{RhythmicStaff}.
1520 Examples: @inputfileref{input/@/regression,rhythmic@/-staff@/.ly}.
1523 @node Entering percussion
1524 @subsection Entering percussion
1530 Percussion notes may be entered in @code{\drummode} mode, which is
1531 similar to the standard mode for entering notes. Each piece of
1532 percussion has a full name and an abbreviated name, and both can be used
1535 @lilypond[quote,ragged-right,verbatim]
1537 hihat hh bassdrum bd
1541 The complete list of drum names is in the init file
1542 @file{ly/@/drumpitch@/-init@/.ly}.
1543 @c TODO: properly document this.
1547 Program reference: @internalsref{note-event}.
1549 @node Percussion staves
1550 @subsection Percussion staves
1554 A percussion part for more than one instrument typically uses a
1555 multiline staff where each position in the staff refers to one piece
1559 To typeset the music, the notes must be interpreted in a
1560 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
1562 @lilypond[quote,ragged-right,verbatim]
1563 up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
1564 down = \drummode { bassdrum4 snare8 bd r bd sn4 }
1566 \new DrumVoice { \voiceOne \up }
1567 \new DrumVoice { \voiceTwo \down }
1571 The above example shows verbose polyphonic notation. The short
1572 polyphonic notation, described in @ref{Polyphony}, can also be used if
1573 the @internalsref{DrumVoice}s are instantiated by hand first. For example,
1575 @lilypond[quote,ragged-right,fragment,verbatim]
1577 \new DrumVoice = "1" { s1 *2 }
1578 \new DrumVoice = "2" { s1 *2 }
1582 { \repeat unfold 16 hh16 }
1591 There are also other layout possibilities. To use these, set the
1592 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
1593 The following variables have been predefined
1597 This is the default. It typesets a typical drum kit on a five-line staff
1599 @lilypond[quote,line-width=10.0\cm]
1601 cymc cyms cymr hh hhc hho hhho hhp
1602 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl }
1604 cymc cyms cymr hh hhc hho hhho hhp \break
1605 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
1607 << \new DrumStaff \with {
1608 \remove Bar_engraver
1609 \remove Time_signature_engraver
1610 \override Stem #'transparent = ##t
1611 \override Stem #'Y-extent-callback = ##f
1612 \override VerticalAxisGroup #'minimum-Y-extent = #'(-4.0 . 5.0)
1619 \override LyricText #'font-family = #'typewriter
1620 \override BarNumber #'transparent =##T
1626 The drum scheme supports six different toms. When there are fewer toms,
1627 simply select the toms that produce the desired result, i.e., to get toms
1628 on the three middle lines you use @code{tommh}, @code{tomml}, and
1631 @item timbales-style
1632 This typesets timbales on a two line staff
1634 @lilypond[quote,ragged-right]
1635 nam = \lyricmode { timh ssh timl ssl cb }
1636 mus = \drummode { timh ssh timl ssl cb s16 }
1639 \new DrumStaff \with {
1640 \remove Bar_engraver
1641 \remove Time_signature_engraver
1642 \override Stem #'transparent = ##t
1643 \override Stem #'Y-extent-callback = ##f
1644 \override StaffSymbol #'line-count = #2
1645 \override StaffSymbol #'staff-space = #2
1646 \override VerticalAxisGroup #'minimum-Y-extent = #'(-3.0 . 4.0)
1647 drumStyleTable = #timbales-style
1650 \override LyricText #'font-family = #'typewriter
1657 This typesets congas on a two line staff
1659 @lilypond[quote,ragged-right]
1660 nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
1661 mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
1664 \new DrumStaff \with {
1665 \remove Bar_engraver
1666 \remove Time_signature_engraver
1667 drumStyleTable = #congas-style
1668 \override StaffSymbol #'line-count = #2
1670 %% this sucks; it will lengthen stems.
1671 \override StaffSymbol #'staff-space = #2
1672 \override Stem #'transparent = ##t
1673 \override Stem #'Y-extent-callback = ##f
1676 \override LyricText #'font-family = #'typewriter
1683 This typesets bongos on a two line staff
1685 @lilypond[quote,ragged-right]
1686 nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
1687 mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
1690 \new DrumStaff \with {
1691 \remove Bar_engraver
1692 \remove Time_signature_engraver
1693 \override StaffSymbol #'line-count = #2
1694 drumStyleTable = #bongos-style
1696 %% this sucks; it will lengthen stems.
1697 \override StaffSymbol #'staff-space = #2
1698 \override Stem #'transparent = ##t
1699 \override Stem #'Y-extent-callback = ##f
1702 \override LyricText #'font-family = #'typewriter
1708 @item percussion-style
1709 To typeset all kinds of simple percussion on one line staves.
1711 @lilypond[quote,ragged-right]
1712 nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
1713 mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
1716 \new DrumStaff \with{
1717 \remove Bar_engraver
1718 drumStyleTable = #percussion-style
1719 \override StaffSymbol #'line-count = #1
1720 \remove Time_signature_engraver
1721 \override Stem #'transparent = ##t
1722 \override Stem #'Y-extent-callback = ##f
1725 \override LyricText #'font-family = #'typewriter
1732 If you do not like any of the predefined lists you can define your own
1733 list at the top of your file
1735 @lilypond[quote,ragged-right,verbatim]
1737 (bassdrum default #f -1)
1738 (snare default #f 0)
1740 (pedalhihat xcircle "stopped" 2)
1741 (lowtom diamond #f 3)))
1742 up = \drummode { hh8 hh hh hh hhp4 hhp }
1743 down = \drummode { bd4 sn bd toml8 toml }
1746 \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
1747 \new DrumVoice { \voiceOne \up }
1748 \new DrumVoice { \voiceTwo \down }
1755 Init files: @file{ly/@/drumpitch@/-init@/.ly}.
1757 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
1761 Because general MIDI does not contain rim shots, the sidestick is used
1762 for this purpose instead.
1770 @cindex guitar tablature
1773 * String number indications::
1774 * Tablatures basic::
1775 * Non-guitar tablatures::
1777 * Other guitar issues::
1780 @node String number indications
1781 @subsection String number indications
1783 @cindex String numbers
1785 String numbers can be added to chords, by indicating the string number
1786 with @code{\}@var{number},
1788 @lilypond[relative,relative=1,ragged-right,fragment]
1792 See also @inputfileref{input/regression,string-number.ly}.
1797 Program reference: @internalsref{StringNumber}.
1800 @node Tablatures basic
1801 @subsection Tablatures basic
1802 @cindex Tablatures basic
1804 Tablature notation is used for notating music for plucked string
1805 instruments. Pitches are not denoted with note heads, but by
1806 numbers indicating on which string and fret a note must be played. LilyPond
1807 offers limited support for tablature.
1809 The string number associated to a note is given as a backslash
1810 followed by a number, e.g., @code{c4\3} for a C quarter on the third
1811 string. By default, string 1 is the highest one, and the tuning
1812 defaults to the standard guitar tuning (with 6 strings). The notes
1813 are printed as tablature, by using @internalsref{TabStaff} and
1814 @internalsref{TabVoice} contexts
1816 @lilypond[quote,ragged-right,fragment,verbatim]
1823 @cindex @code{minimumFret}
1826 When no string is specified, the first string that does not give a
1827 fret number less than @code{minimumFret} is selected. The default
1828 value for @code{minimumFret} is 0
1833 \set TabStaff.minimumFret = #8
1836 @lilypond[quote,ragged-right]
1840 \set TabStaff.minimumFret = #8
1844 \new Staff { \clef "G_8" \frag }
1845 \new TabStaff { \frag }
1851 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}.
1855 Chords are not handled in a special way, and hence the automatic
1856 string selector may easily select the same string to two notes in a
1860 @node Non-guitar tablatures
1861 @subsection Non-guitar tablatures
1862 @cindex Non-guitar tablatures
1864 You can change the number of strings, by setting the number of lines
1865 in the @internalsref{TabStaff}.
1867 You can change the tuning of the strings. A string tuning is given as
1868 a Scheme list with one integer number for each string, the number
1869 being the pitch (measured in semitones relative to middle C) of an
1870 open string. The numbers specified for @code{stringTuning} are the
1871 numbers of semitones to subtract or add, starting the specified pitch
1872 by default middle C, in string order. In the next example,
1873 @code{stringTunings} is set for the pitches e, a, d, and g
1875 @lilypond[quote,ragged-right,fragment,verbatim]
1877 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
1879 a,4 c' a e' e c' a e'
1886 No guitar special effects have been implemented.
1890 Program reference: @internalsref{Tab_note_heads_engraver}.
1894 @subsection Fret diagrams
1895 @cindex fret diagrams
1896 @cindex chord diagrams
1898 Fret diagrams can be added to music as a markup to the desired note. The
1899 markup contains information about the desired fret diagram, as shown in the
1902 @lilypond[verbatim, ragged-right, quote]
1904 d'^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
1906 fis'^\markup \override #'(size . 0.75) {
1907 \override #'(finger-code . below-string) {
1908 \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
1909 (place-fret 5 4 3) (place-fret 4 4 4)
1910 (place-fret 3 3 2) (place-fret 2 2 1)
1915 c'^\markup \override #'(dot-radius . 0.35) {
1916 \override #'(finger-code . in-dot) {
1917 \override #'(dot-color . white) {
1918 \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
1927 There are three different fret-diagram markup interfaces: standard, terse,
1928 and verbose. The three interfaces produce equivalent markups, but have
1929 varying amounts of information in the markup string. Details about the
1930 markup interfaces are found at @ref{Overview of text markup commands}.
1932 You can set a number of graphical properties according to your preference.
1933 Details about the property interface to fret diagrams are found at
1934 @internalsref{fret-diagram-interface}.
1939 Examples: @inputfileref{input/@/test,fret@/-diagram@/.ly}
1942 @node Other guitar issues
1943 @subsection Other guitar issues
1945 This example demonstrates how to include guitar position and
1946 barring indications.
1948 @lilypond[quote,ragged-right,fragment,verbatim,relative=0]
1952 \override TextSpanner #'edge-text = #'("XII " . "")
1954 b16 e16 g16 e16 b16 g16\stopTextSpan
1959 Stopped (X) note heads are used in guitar music to signal a place where the
1960 guitarist must play a certain note or chord, with its fingers just
1961 touching the strings instead of fully pressing them. This gives the sound a
1962 percussive noise-like sound that still maintains part of the original
1963 pitch. It is notated with cross noteheads; this is
1964 demonstrated in @ref{Special noteheads}.
1973 * Bagpipe definitions::
1978 @node Bagpipe definitions
1979 @subsection Bagpipe definitions
1981 LilyPond contains special definitions for music for the Scottish
1982 highland bagpipe; to use them, add
1985 \include "bagpipe.ly"
1989 at the top of your input file. This lets you add the special gracenotes
1990 common to bagpipe music with short commands. For example, you could
1991 write @code{\taor} instead of
1994 \grace @{ \small G32[ d G e] @}
1997 @code{bagpipe.ly} also contains pitch definitions for the bagpipe
1998 notes in the appropiate octaves, so you do not need to worry about
1999 @code{\relative} or @code{\transpose}.
2001 @lilypond[ragged-right,verbatim,quote,notime]
2002 \include "bagpipe.ly"
2003 { \grg G4 \grg a \grg b \grg c \grg d \grg e \grg f \grA g A }
2006 Bagpipe music nominally uses the key of D Major (even though that
2007 isn't really true). However, since that is the only key that can be used,
2008 the key signature is normally not written out. To set this up correctly,
2009 always start your music with @code{\hideKeySignature}. If you for some
2010 reason want to show the key signature, you can use @code{\showKeySignature}
2013 Some modern music use cross fingering on c and f to flatten those notes.
2014 This can be indicated by @code{cflat} or @code{fflat}. Similarly, the
2015 piobaireachd high g can be written @code{gflat} when it occurs in light
2019 @node Bagpipe example
2020 @subsection Bagpipe example
2022 This is what the well known tune Amazing Grace looks like in bagpipe
2025 @lilypond[verbatim,quote]
2026 \include "bagpipe.ly"
2029 \context { \Score \remove "Bar_number_engraver" }
2033 title = "Amazing Grace"
2035 arranger = "Trad. arr."
2041 \grg \partial 4 a8. d16
2042 \slurd d2 \grg f8[ e32 d16.]
2045 \grG a2 \grg a8. d16
2046 \slurd d2 \grg f8[ e32 d16.]
2047 \grg f2 \grg e8. f16
2050 \grg A2 \hdblf f8[ e32 d16.]
2053 \grG a2 \grg a8. d16
2054 \slurd d2 \grg f8[ e32 d16.]
2063 @node Ancient notation
2064 @section Ancient notation
2066 @cindex Vaticana, Editio
2067 @cindex Medicaea, Editio
2072 Support for ancient notation includes features for mensural notation
2073 and Gregorian Chant notation. There is also limited support for
2074 figured bass notation.
2076 Many graphical objects provide a @code{style} property, see
2079 @ref{Ancient note heads},
2081 @ref{Ancient accidentals},
2083 @ref{Ancient rests},
2085 @ref{Ancient clefs},
2087 @ref{Ancient flags},
2089 @ref{Ancient time signatures}.
2092 By manipulating such a grob property, the typographical appearance of
2093 the affected graphical objects can be accommodated for a specific
2094 notation flavor without the need for introducing any new notational
2097 In addition to the standard articulation signs described in section
2098 @ref{Articulations}, specific articulation signs for ancient notation
2103 @ref{Ancient articulations}
2106 Other aspects of ancient notation can not that easily be expressed
2107 in terms of just changing a style property of a graphical object or
2108 adding articulation signs. Some notational concepts are introduced
2109 specifically for ancient notation,
2120 If this all is too much of documentation for you, and you just want to
2121 dive into typesetting without worrying too much about the details on
2122 how to customize a context, you may have a look at the predefined
2123 contexts. Use them to set up predefined style-specific voice and
2124 staff contexts, and directly go ahead with the note entry,
2128 @ref{Gregorian Chant contexts},
2130 @ref{Mensural contexts}.
2133 There is limited support for figured bass notation which came
2134 up during the baroque period.
2141 Here are all suptopics at a glance:
2144 * Ancient note heads::
2145 * Ancient accidentals::
2149 * Ancient time signatures::
2150 * Ancient articulations::
2154 * Gregorian Chant contexts::
2155 * Mensural contexts::
2156 * Musica ficta accidentals::
2162 @node Ancient note heads
2163 @subsection Ancient note heads
2168 For ancient notation, a note head style other than the @code{default}
2169 style may be chosen. This is accomplished by setting the @code{style}
2170 property of the @internalsref{NoteHead} object to @code{baroque},
2171 @code{neomensural}, @code{mensural} or @code{petrucci}. The
2172 @code{baroque} style differs from the @code{default} style only in
2173 using a square shape for @code{\breve} note heads. The
2174 @code{neomensural} style differs from the @code{baroque} style in that
2175 it uses rhomboidal heads for whole notes and all smaller durations.
2176 Stems are centered on the note heads. This style is particularly
2177 useful when transcribing mensural music, e.g., for the incipit. The
2178 @code{mensural} style produces note heads that mimic the look of note
2179 heads in historic printings of the 16th century. Finally, the
2180 @code{petrucci} style also mimicks historic printings, but uses bigger
2183 The following example demonstrates the @code{neomensural} style
2185 @lilypond[quote,fragment,ragged-right,verbatim]
2186 \set Score.skipBars = ##t
2187 \override NoteHead #'style = #'neomensural
2188 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
2191 When typesetting a piece in Gregorian Chant notation, the
2192 @internalsref{Gregorian_ligature_engraver} will automatically select
2193 the proper note heads, so there is no need to explicitly set the
2194 note head style. Still, the note head style can be set, e.g., to
2195 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
2196 @internalsref{Mensural_ligature_engraver} is used to automatically
2197 assemble mensural ligatures. See @ref{Ligatures} for how ligature
2202 Examples: @inputfileref{input/@/regression,note@/-head@/-style@/.ly} gives an
2203 overview over all available note head styles.
2206 @node Ancient accidentals
2207 @subsection Ancient accidentals
2212 Use the @code{style} property of grob @internalsref{Accidental} to
2213 select ancient accidentals. Supported styles are
2214 @code{mensural}, @code{vaticana}, @code{hufnagel}, and @code{medicaea}.
2216 @lilypond[quote,ragged-right,staffsize=26]
2223 \line { " " \musicglyph #"accidentals.vaticana-1"
2224 " " \musicglyph #"accidentals.vaticana0" }
2228 \line { " " \musicglyph #"accidentals.medicaea-1" }
2232 \line { " " \musicglyph #"accidentals.hufnagel-1" }
2236 \line { " " \musicglyph #"accidentals.mensural-1"
2237 " " \musicglyph #"accidentals.mensural1" }
2243 \context { \Score \remove "Bar_number_engraver" }
2245 \remove "Clef_engraver"
2246 \remove "Key_engraver"
2247 \remove "Time_signature_engraver"
2248 \remove "Staff_symbol_engraver"
2249 \override VerticalAxisGroup #'minimum-Y-extent = ##f
2255 As shown, not all accidentals are supported by each style. When
2256 trying to access an unsupported accidental, LilyPond will switch to a
2257 different style, as demonstrated in
2258 @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2260 Similarly to local accidentals, the style of the key signature can be
2261 controlled by the @code{style} property of the
2262 @internalsref{KeySignature} grob.
2266 In this manual: @ref{Pitches}, @ref{Cautionary accidentals} and
2267 @ref{Automatic accidentals} give a general introduction of the use of
2268 accidentals. @ref{Key signature} gives a general introduction of
2269 the use of key signatures.
2271 Program reference: @internalsref{KeySignature}.
2273 Examples: @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2276 @subsection Ancient rests
2278 @cindex rests, ancient
2281 Use the @code{style} property of grob @internalsref{Rest} to select
2282 ancient rests. Supported styles are @code{classical},
2283 @code{neomensural}, and @code{mensural}. @code{classical} differs
2284 from the @code{default} style only in that the quarter rest looks like
2285 a horizontally mirrored 8th rest. The @code{neomensural} style suits
2286 well for, e.g., the incipit of a transcribed mensural piece of music.
2287 The @code{mensural} style finally mimics the appearance of rests as
2288 in historic prints of the 16th century.
2290 The following example demonstrates the @code{neomensural} style
2292 @lilypond[quote,fragment,ragged-right,verbatim]
2293 \set Score.skipBars = ##t
2294 \override Rest #'style = #'neomensural
2295 r\longa r\breve r1 r2 r4 r8 r16
2298 There are no 32th and 64th rests specifically for the mensural or
2299 neo-mensural style. Instead, the rests from the default style will be
2300 taken. See @inputfileref{input/@/test,rests@/.ly} for a chart of all
2303 There are no rests in Gregorian Chant notation; instead, it uses
2308 In this manual: @ref{Rests} gives a general introduction into the use of rests.
2312 @subsection Ancient clefs
2317 LilyPond supports a variety of clefs, many of them ancient.
2319 The following table shows all ancient clefs that are supported via the
2320 @code{\clef} command. Some of the clefs use the same glyph, but
2321 differ only with respect to the line they are printed on. In such
2322 cases, a trailing number in the name is used to enumerate these clefs.
2323 Still, you can manually force a clef glyph to be typeset on an
2324 arbitrary line, as described in @ref{Clef}. The note printed to the
2325 right side of each clef in the example column denotes the @code{c'}
2326 with respect to that clef.
2328 @multitable @columnfractions .4 .4 .2
2337 modern style mensural C clef
2339 @code{neomensural-c1}, @code{neomensural-c2},@*
2340 @code{neomensural-c3}, @code{neomensural-c4}
2342 @lilypond[fragment,relative=1,notime]
2343 \clef "neomensural-c2" c
2347 petrucci style mensural C clefs, for use on different staff lines
2348 (the examples show the 2nd staff line C clef)
2350 @code{petrucci-c1}, @code{petrucci-c2},@*
2351 @code{petrucci-c3}, @code{petrucci-c4},@*
2354 @lilypond[fragment,relative=1,notime]
2356 \override NoteHead #'style = #'mensural
2361 petrucci style mensural F clef
2365 @lilypond[fragment,relative=1,notime]
2367 \override NoteHead #'style = #'mensural
2372 petrucci style mensural G clef
2376 @lilypond[fragment,relative=1,notime]
2378 \override NoteHead #'style = #'mensural
2383 historic style mensural C clef
2385 @code{mensural-c1}, @code{mensural-c2},@*
2386 @code{mensural-c3}, @code{mensural-c4}
2388 @lilypond[fragment,relative=1,notime]
2390 \override NoteHead #'style = #'mensural
2395 historic style mensural F clef
2399 @lilypond[fragment,relative=1,notime]
2401 \override NoteHead #'style = #'mensural
2406 historic style mensural G clef
2410 @lilypond[fragment,relative=1,notime]
2412 \override NoteHead #'style = #'mensural
2417 Editio Vaticana style do clef
2419 @code{vaticana-do1}, @code{vaticana-do2},@*
2422 @lilypond[fragment,relative=1,notime]
2423 \override Staff.StaffSymbol #'line-count = #4
2424 \override Staff.StaffSymbol #'color = #red
2425 \override Staff.LedgerLineSpanner #'color = #red
2426 \override Voice.Stem #'transparent = ##t
2427 \override NoteHead #'style = #'vaticana.punctum
2428 \clef "vaticana-do2"
2433 Editio Vaticana style fa clef
2435 @code{vaticana-fa1}, @code{vaticana-fa2}
2437 @lilypond[fragment,relative=1,notime]
2438 \override Staff.StaffSymbol #'line-count = #4
2439 \override Staff.StaffSymbol #'color = #red
2440 \override Staff.LedgerLineSpanner #'color = #red
2441 \override Voice.Stem #'transparent = ##t
2442 \override NoteHead #'style = #'vaticana.punctum
2443 \clef "vaticana-fa2"
2448 Editio Medicaea style do clef
2450 @code{medicaea-do1}, @code{medicaea-do2},@*
2453 @lilypond[fragment,relative=1,notime]
2454 \override Staff.StaffSymbol #'line-count = #4
2455 \override Staff.StaffSymbol #'color = #red
2456 \override Staff.LedgerLineSpanner #'color = #red
2457 \override Voice.Stem #'transparent = ##t
2458 \override NoteHead #'style = #'medicaea.punctum
2459 \clef "medicaea-do2"
2464 Editio Medicaea style fa clef
2466 @code{medicaea-fa1}, @code{medicaea-fa2}
2468 @lilypond[fragment,relative=1,notime]
2469 \override Staff.StaffSymbol #'line-count = #4
2470 \override Staff.StaffSymbol #'color = #red
2471 \override Staff.LedgerLineSpanner #'color = #red
2472 \override Voice.Stem #'transparent = ##t
2473 \override NoteHead #'style = #'medicaea.punctum
2474 \clef "medicaea-fa2"
2479 historic style hufnagel do clef
2481 @code{hufnagel-do1}, @code{hufnagel-do2},@*
2484 @lilypond[fragment,relative=1,notime]
2485 \override Staff.StaffSymbol #'line-count = #4
2486 \override Staff.StaffSymbol #'color = #red
2487 \override Staff.LedgerLineSpanner #'color = #red
2488 \override Voice.Stem #'transparent = ##t
2489 \override NoteHead #'style = #'hufnagel.punctum
2490 \clef "hufnagel-do2"
2495 historic style hufnagel fa clef
2497 @code{hufnagel-fa1}, @code{hufnagel-fa2}
2499 @lilypond[fragment,relative=1,notime]
2500 \override Staff.StaffSymbol #'line-count = #4
2501 \override Staff.StaffSymbol #'color = #red
2502 \override Staff.LedgerLineSpanner #'color = #red
2503 \override Voice.Stem #'transparent = ##t
2504 \override NoteHead #'style = #'hufnagel.punctum
2505 \clef "hufnagel-fa2"
2510 historic style hufnagel combined do/fa clef
2512 @code{hufnagel-do-fa}
2514 @lilypond[fragment,relative=1,notime]
2515 \override Staff.StaffSymbol #'color = #red
2516 \override Staff.LedgerLineSpanner #'color = #red
2517 \override Voice.Stem #'transparent = ##t
2518 \override NoteHead #'style = #'hufnagel.punctum
2519 \clef "hufnagel-do-fa"
2526 @emph{Modern style} means ``as is typeset in contemporary editions of
2527 transcribed mensural music''.
2529 @emph{Petrucci style} means ``inspired by printings published by the
2530 famous engraver Petrucci (1466-1539)''.
2532 @emph{Historic style} means ``as was typeset or written in historic
2533 editions (other than those of Petrucci)''.
2535 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
2537 Petrucci used C clefs with differently balanced left-side vertical
2538 beams, depending on which staff line it is printed.
2542 In this manual: see @ref{Clef}.
2546 The mensural g clef is mapped to the Petrucci g clef.
2551 @subsection Ancient flags
2556 Use the @code{flag-style} property of grob @internalsref{Stem} to
2557 select ancient flags. Besides the @code{default} flag style,
2558 only the @code{mensural} style is supported
2560 @lilypond[quote,fragment,ragged-right,verbatim]
2561 \override Stem #'flag-style = #'mensural
2562 \override Stem #'thickness = #1.0
2563 \override NoteHead #'style = #'mensural
2565 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
2566 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
2569 Note that the innermost flare of each mensural flag always is
2570 vertically aligned with a staff line.
2572 There is no particular flag style for neo-mensural notation. Hence,
2573 when typesetting the incipit of a transcribed piece of mensural
2574 music, the default flag style should be used. There are no flags in
2575 Gregorian Chant notation.
2579 The attachment of ancient flags to stems is slightly off due to a
2580 change in early 2.3.x.
2582 Vertically aligning each flag with a staff line assumes that stems
2583 always end either exactly on or exactly in the middle between two
2584 staff lines. This may not always be true when using advanced layout
2585 features of classical notation (which however are typically out of
2586 scope for mensural notation).
2588 @node Ancient time signatures
2589 @subsection Ancient time signatures
2591 @cindex time signatures
2594 There is limited support for mensural time signatures. The
2595 glyphs are hard-wired to particular time fractions. In other words,
2596 to get a particular mensural signature glyph with the @code{\time n/m}
2597 command, @code{n} and @code{m} have to be chosen according to the
2600 @lilypond[quote,ragged-right]
2605 \remove Staff_symbol_engraver
2606 \remove Clef_engraver
2607 \remove Time_signature_engraver
2611 \set Score.timing = ##f
2612 \set Score.barAlways = ##t
2613 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph #"timesig.neomensural44" }
2615 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph #"timesig.neomensural22" }
2617 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph #"timesig.neomensural64" }
2619 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph #"timesig.neomensural68" }
2621 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph #"timesig.neomensural32" }
2623 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph #"timesig.neomensural34" }
2625 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph #"timesig.neomensural94" }
2627 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph #"timesig.neomensural98" }
2629 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph #"timesig.neomensural48" }
2631 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph #"timesig.neomensural24" }
2635 Use the @code{style} property of grob @internalsref{TimeSignature} to
2636 select ancient time signatures. Supported styles are
2637 @code{neomensural} and @code{mensural}. The above table uses the
2638 @code{neomensural} style. This style is appropriate for the
2639 incipit of transcriptions of mensural pieces. The @code{mensural}
2640 style mimics the look of historical printings of the 16th century.
2642 The following examples show the differences in style,
2644 @lilypond[ragged-right,fragment,relative=1,quote]
2649 c1^\markup { \hspace #-2.0 \typewriter default }
2651 \override Staff.TimeSignature #'style = #'numbered
2653 c1^\markup { \hspace #-2.0 \typewriter numbered }
2655 \override Staff.TimeSignature #'style = #'mensural
2657 c1^\markup { \hspace #-2.0 \typewriter mensural }
2659 \override Staff.TimeSignature #'style = #'neomensural
2661 c1^\markup { \hspace #-2.0 \typewriter neomensural }
2662 \override Staff.TimeSignature #'style = #'single-digit
2664 c1^\markup { \hspace #-2.0 \typewriter single-digit }
2670 This manual: @ref{Time signature} gives a general introduction to
2671 the use of time signatures.
2675 Ratios of note durations do not change with the time signature. For
2676 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
2677 be made by hand, by setting
2680 breveTP = #(ly:make-duration -1 0 3 2)
2686 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
2688 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
2689 addressable with @code{\time}. Use a @code{\markup} instead
2691 @node Ancient articulations
2692 @subsection Ancient articulations
2694 @cindex articulations
2696 In addition to the standard articulation signs described in section
2697 @ref{Articulations}, articulation signs for ancient notation are
2698 provided. These are specifically designed for use with notation in
2699 Editio Vaticana style.
2701 @lilypond[quote,ragged-right,verbatim]
2702 \include "gregorian-init.ly"
2704 \new VaticanaVoice {
2705 \override Staff.StaffSymbol #'color = #red
2706 \override Staff.LedgerLineSpanner #'color = #red
2707 \override TextScript #'font-family = #'typewriter
2708 \override TextScript #'font-shape = #'upright
2709 \override Script #'padding = #-0.1
2711 a4\circulus_"circulus" s1
2712 a4\semicirculus_"semicirculus" s1 s
2713 a4\accentus_"accentus" s1
2714 \[ a4_"episem" \episemInitium \pes b \flexa a \episemFinis \]
2721 Some articulations are vertically placed too closely to the
2722 correpsonding note heads.
2725 @subsection Custodes
2730 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
2731 symbol that appears at the end of a staff. It anticipates the pitch
2732 of the first note(s) of the following line thus helping the performer
2733 to manage line breaks during performance.
2735 Custodes were frequently used in music notation until the 17th
2736 century. Nowadays, they have survived only in a few particular forms
2737 of musical notation such as contemporary editions of Gregorian chant
2738 like the @emph{editio vaticana}. There are different custos glyphs
2739 used in different flavors of notational style.
2741 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
2742 @internalsref{Staff} context when declaring the @code{\layout} block,
2743 as shown in the following example
2749 \consists Custos_engraver
2750 Custos \override #'style = #'mensural
2755 The result looks like this
2757 @lilypond[quote,ragged-right]
2761 \override Staff.Custos #'style = #'mensural
2766 \context { \Staff \consists Custos_engraver }
2771 The custos glyph is selected by the @code{style} property. The styles
2772 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
2773 @code{mensural}. They are demonstrated in the following fragment
2775 @lilypond[quote,ragged-right,fragment]
2776 \new Lyrics \lyricmode {
2778 \typewriter "vaticana"
2779 \line { " " \musicglyph #"custodes.vaticana.u0" }
2782 \typewriter "medicaea"
2783 \line { " " \musicglyph #"custodes.medicaea.u0" }
2786 \typewriter "hufnagel"
2787 \line { " " \musicglyph #"custodes.hufnagel.u0" }
2790 \typewriter "mensural"
2791 \line { " " \musicglyph #"custodes.mensural.u0" }
2798 Program reference: @internalsref{Custos}.
2800 Examples: @inputfileref{input/@/regression,custos@/.ly}.
2804 @subsection Divisiones
2810 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
2811 `division') is a staff context symbol that is used to structure
2812 Gregorian music into phrases and sections. The musical meaning of
2813 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
2814 can be characterized as short, medium, and long pause, somewhat like
2815 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
2816 only marks the end of a chant, but is also frequently used within a
2817 single antiphonal/responsorial chant to mark the end of each section.
2820 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
2821 contains definitions that you can apply by just inserting
2822 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
2823 and @code{\finalis} at proper places in the input. Some editions use
2824 @emph{virgula} or @emph{caesura} instead of divisio minima.
2825 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
2828 @lilypondfile[quote,ragged-right]{divisiones.ly}
2832 @cindex @code{\virgula}
2834 @cindex @code{\caesura}
2836 @cindex @code{\divisioMinima}
2837 @code{\divisioMinima},
2838 @cindex @code{\divisioMaior}
2839 @code{\divisioMaior},
2840 @cindex @code{\divisioMaxima}
2841 @code{\divisioMaxima},
2842 @cindex @code{\finalis}
2847 In this manual: @ref{Breath marks}.
2849 Program reference: @internalsref{BreathingSign}.
2851 Examples: @inputfileref{input/@/test,divisiones@/.ly}.
2854 @subsection Ligatures
2858 @c TODO: Should double check if I recalled things correctly when I wrote
2859 @c down the following paragraph by heart.
2861 A ligature is a graphical symbol that represents at least two distinct
2862 notes. Ligatures originally appeared in the manuscripts of Gregorian
2863 chant notation to denote ascending or descending sequences of notes.
2865 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
2866 Some ligature styles may need additional input syntax specific for
2867 this particular type of ligature. By default, the
2868 @internalsref{LigatureBracket} engraver just puts a square bracket
2871 @lilypond[quote,ragged-right,verbatim]
2879 To select a specific style of ligatures, a proper ligature engraver
2880 has to be added to the @internalsref{Voice} context, as explained in
2881 the following subsections. Only white mensural ligatures
2882 are supported with certain limitations.
2888 Ligatures need special spacing that has not yet been implemented. As
2889 a result, there is too much space between ligatures most of the time,
2890 and line breaking often is unsatisfactory. Also, lyrics do not
2891 correctly align with ligatures.
2893 Accidentals must not be printed within a ligature, but instead need to
2894 be collected and printed in front of it.
2896 Augmentum dots within ligatures are not handled correctly.
2898 The syntax still uses the deprecated infix style @code{\[ music expr
2899 \]}. For consistency reasons, it will eventually be changed to
2900 postfix style @code{note\[ ... note\]}. Alternatively, the file
2901 @file{gregorian@/-init@/.ly} can be included; it provides a scheme
2904 \ligature @var{music expr}
2906 with the same effect and is believed to be stable.
2909 * White mensural ligatures::
2910 * Gregorian square neumes ligatures::
2913 @node White mensural ligatures
2914 @subsubsection White mensural ligatures
2916 @cindex Mensural ligatures
2917 @cindex White mensural ligatures
2919 There is limited support for white mensural ligatures.
2921 To engrave white mensural ligatures, in the layout block put the
2922 @internalsref{Mensural_ligature_engraver} into the
2923 @internalsref{Voice} context, and remove the
2924 @internalsref{Ligature_bracket_engraver}, like this
2930 \remove Ligature_bracket_engraver
2931 \consists Mensural_ligature_engraver
2936 There is no additional input language to describe the shape of a
2937 white mensural ligature. The shape is rather determined solely from
2938 the pitch and duration of the enclosed notes. While this approach may
2939 take a new user a while to get accustomed to, it has the great advantage
2940 that the full musical information of the ligature is known internally.
2941 This is not only required for correct MIDI output, but also allows for
2942 automatic transcription of the ligatures.
2947 \set Score.timing = ##f
2948 \set Score.defaultBarType = "empty"
2949 \override NoteHead #'style = #'neomensural
2950 \override Staff.TimeSignature #'style = #'neomensural
2954 \[ d\longa c\breve f e d \]
2956 \[ c'\maxima d'\longa \]
2960 @lilypond[quote,ragged-right]
2963 \set Score.timing = ##f
2964 \set Score.defaultBarType = "empty"
2965 \override NoteHead #'style = #'neomensural
2966 \override Staff.TimeSignature #'style = #'neomensural
2970 \[ d\longa c\breve f e d \]
2972 \[ c'\maxima d'\longa \]
2979 \remove Ligature_bracket_engraver
2980 \consists Mensural_ligature_engraver
2986 Without replacing @internalsref{Ligature_bracket_engraver} with
2987 @internalsref{Mensural_ligature_engraver}, the same music transcribes
2990 @lilypond[quote,ragged-right]
2992 \set Score.timing = ##f
2993 \set Score.defaultBarType = "empty"
2994 \override NoteHead #'style = #'neomensural
2995 \override Staff.TimeSignature #'style = #'neomensural
2999 \[ d\longa c\breve f e d \]
3001 \[ c'\maxima d'\longa \]
3009 The invisible rests (@code{s4}) in the example are used to compensate
3010 for the poor horizontal spacing.
3012 @node Gregorian square neumes ligatures
3013 @subsubsection Gregorian square neumes ligatures
3015 @cindex Square neumes ligatures
3016 @cindex Gregorian square neumes ligatures
3018 There is limited support for Gregorian square neumes notation
3019 (following the style of the Editio Vaticana). Core ligatures can
3020 already be typeset, but essential issues for serious typesetting are
3021 still lacking, such as (among others) horizontal alignment of multiple
3022 ligatures, lyrics alignment and proper handling of accidentals.
3025 The following table contains the extended neumes table of the 2nd
3026 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
3027 1983 by the monks of Solesmes.
3029 @multitable @columnfractions .4 .2 .2 .2
3046 @c TODO: \layout block is identical in all of the below examples.
3047 @c Therefore, it should somehow be included rather than duplicated all
3050 @c why not make identifiers in ly/engraver-init.ly? --hwn
3052 @c Because it's just used to typeset plain notes without
3053 @c a staff for demonstration purposes rather than something
3054 @c special of Gregorian chant notation. --jr
3059 @lilypond[staffsize=26,line-width=1.5\cm]
3060 \include "gregorian-init.ly"
3065 \noBreak s^\markup {"a"} \noBreak
3067 % Punctum Inclinatum
3069 \noBreak s^\markup {"b"}
3071 \layout { \neumeDemoLayout }}
3074 @lilypond[staffsize=26,line-width=2.5\cm]
3075 \include "gregorian-init.ly"
3078 % Punctum Auctum Ascendens
3079 \[ \auctum \ascendens b \]
3080 \noBreak s^\markup {"c"} \noBreak
3082 % Punctum Auctum Descendens
3083 \[ \auctum \descendens b \]
3084 \noBreak s^\markup {"d"} \noBreak
3086 % Punctum Inclinatum Auctum
3087 \[ \inclinatum \auctum b \]
3088 \noBreak s^\markup {"e"}
3090 \layout { \neumeDemoLayout }}
3093 @lilypond[staffsize=26,line-width=1.0\cm]
3094 \include "gregorian-init.ly"
3097 % Punctum Inclinatum Parvum
3098 \[ \inclinatum \deminutum b \]
3099 \noBreak s^\markup {"f"}
3101 \layout { \neumeDemoLayout }}
3107 @lilypond[staffsize=26,line-width=1.0\cm]
3108 \include "gregorian-init.ly"
3113 \noBreak s^\markup {"g"}
3115 \layout { \neumeDemoLayout }}
3121 @code{3. Apostropha vel Stropha}
3123 @lilypond[staffsize=26,line-width=1.0\cm]
3124 \include "gregorian-init.ly"
3129 \noBreak s^\markup {"h"}
3131 \layout { \neumeDemoLayout }}
3134 @lilypond[staffsize=26,line-width=1.0\cm]
3135 \include "gregorian-init.ly"
3139 \[ \stropha \auctum b \]
3140 \noBreak s^\markup {"i"}
3142 \layout { \neumeDemoLayout }}
3149 @lilypond[staffsize=26,line-width=1.0\cm]
3150 \include "gregorian-init.ly"
3155 \noBreak s^\markup {"j"}
3157 \layout { \neumeDemoLayout }}
3163 @code{5. Clivis vel Flexa}
3165 @lilypond[staffsize=26,line-width=1.0\cm]
3166 \include "gregorian-init.ly"
3173 \layout { \neumeDemoLayout }}
3176 @lilypond[staffsize=26,line-width=2.0\cm]
3177 \include "gregorian-init.ly"
3180 % Clivis Aucta Descendens
3181 \[ b \flexa \auctum \descendens g \]
3182 \noBreak s^\markup {"l"} \noBreak
3184 % Clivis Aucta Ascendens
3185 \[ b \flexa \auctum \ascendens g \]
3186 \noBreak s^\markup {"m"}
3188 \layout { \neumeDemoLayout }}
3191 @lilypond[staffsize=26,line-width=1.0\cm]
3192 \include "gregorian-init.ly"
3196 \[ b \flexa \deminutum g \]
3199 \layout { \neumeDemoLayout }}
3203 @code{6. Podatus vel Pes}
3205 @lilypond[staffsize=26,line-width=1.0\cm]
3206 \include "gregorian-init.ly"
3213 \layout { \neumeDemoLayout }}
3216 @lilypond[staffsize=26,line-width=2.0\cm]
3217 \include "gregorian-init.ly"
3220 % Pes Auctus Descendens
3221 \[ g \pes \auctum \descendens b \]
3222 \noBreak s^\markup {"p"} \noBreak
3224 % Pes Auctus Ascendens
3225 \[ g \pes \auctum \ascendens b \]
3226 \noBreak s^\markup {"q"}
3228 \layout { \neumeDemoLayout }}
3231 @lilypond[staffsize=26,line-width=1.0\cm]
3232 \include "gregorian-init.ly"
3236 \[ g \pes \deminutum b \]
3239 \layout { \neumeDemoLayout }}
3243 @code{7. Pes Quassus}
3245 @lilypond[staffsize=26,line-width=1.0\cm]
3246 \include "gregorian-init.ly"
3250 \[ \oriscus g \pes \virga b \]
3253 \layout { \neumeDemoLayout }}
3256 @lilypond[staffsize=26,line-width=1.0\cm]
3257 \include "gregorian-init.ly"
3260 % Pes Quassus Auctus Descendens
3261 \[ \oriscus g \pes \auctum \descendens b \]
3264 \layout { \neumeDemoLayout }}
3269 @code{8. Quilisma Pes}
3271 @lilypond[staffsize=26,line-width=1.0\cm]
3272 \include "gregorian-init.ly"
3276 \[ \quilisma g \pes b \]
3279 \layout { \neumeDemoLayout }}
3282 @lilypond[staffsize=26,line-width=1.0\cm]
3283 \include "gregorian-init.ly"
3286 % Quilisma Pes Auctus Descendens
3287 \[ \quilisma g \pes \auctum \descendens b \]
3290 \layout { \neumeDemoLayout }}
3295 @code{9. Podatus Initio Debilis}
3297 @lilypond[staffsize=26,line-width=1.0\cm]
3298 \include "gregorian-init.ly"
3301 % Pes Initio Debilis
3302 \[ \deminutum g \pes b \]
3305 \layout { \neumeDemoLayout }}
3308 @lilypond[staffsize=26,line-width=1.0\cm]
3309 \include "gregorian-init.ly"
3312 % Pes Auctus Descendens Initio Debilis
3313 \[ \deminutum g \pes \auctum \descendens b \]
3316 \layout { \neumeDemoLayout }}
3323 @lilypond[staffsize=26,line-width=1.0\cm]
3324 \include "gregorian-init.ly"
3328 \[ a \pes b \flexa g \]
3331 \layout { \neumeDemoLayout }}
3334 @lilypond[staffsize=26,line-width=1.0\cm]
3335 \include "gregorian-init.ly"
3338 % Torculus Auctus Descendens
3339 \[ a \pes b \flexa \auctum \descendens g \]
3342 \layout { \neumeDemoLayout }}
3345 @lilypond[staffsize=26,line-width=1.0\cm]
3346 \include "gregorian-init.ly"
3349 % Torculus Deminutus
3350 \[ a \pes b \flexa \deminutum g \]
3353 \layout { \neumeDemoLayout }}
3357 @code{11. Torculus Initio Debilis}
3359 @lilypond[staffsize=26,line-width=1.0\cm]
3360 \include "gregorian-init.ly"
3363 % Torculus Initio Debilis
3364 \[ \deminutum a \pes b \flexa g \]
3367 \layout { \neumeDemoLayout }}
3370 @lilypond[staffsize=26,line-width=1.0\cm]
3371 \include "gregorian-init.ly"
3374 % Torculus Auctus Descendens Initio Debilis
3375 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
3378 \layout { \neumeDemoLayout }}
3381 @lilypond[staffsize=26,line-width=1.0\cm]
3382 \include "gregorian-init.ly"
3385 % Torculus Deminutus Initio Debilis
3386 \[ \deminutum a \pes b \flexa \deminutum g \]
3389 \layout { \neumeDemoLayout }}
3393 @code{12. Porrectus}
3395 @lilypond[staffsize=26,line-width=1.0\cm]
3396 \include "gregorian-init.ly"
3400 \[ a \flexa g \pes b \]
3403 \layout { \neumeDemoLayout }}
3406 @lilypond[staffsize=26,line-width=1.0\cm]
3407 \include "gregorian-init.ly"
3410 % Porrectus Auctus Descendens
3411 \[ a \flexa g \pes \auctum \descendens b \]
3414 \layout { \neumeDemoLayout }}
3417 @lilypond[staffsize=26,line-width=1.0\cm]
3418 \include "gregorian-init.ly"
3421 % Porrectus Deminutus
3422 \[ a \flexa g \pes \deminutum b \]
3425 \layout { \neumeDemoLayout }}
3431 @lilypond[staffsize=26,line-width=1.0\cm]
3432 \include "gregorian-init.ly"
3436 \[ \virga b \inclinatum a \inclinatum g \]
3439 \layout { \neumeDemoLayout }
3443 @lilypond[staffsize=26,line-width=1.0\cm]
3444 \include "gregorian-init.ly"
3448 \[ \virga b \inclinatum a \inclinatum \auctum g \]
3451 \layout { \neumeDemoLayout }}
3454 @lilypond[staffsize=26,line-width=1.0\cm]
3455 \include "gregorian-init.ly"
3458 % Climacus Deminutus
3459 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
3462 \layout { \neumeDemoLayout }}
3466 @code{14. Scandicus}
3468 @lilypond[staffsize=26,line-width=1.0\cm]
3469 \include "gregorian-init.ly"
3473 \[ g \pes a \virga b \]
3476 \layout { \neumeDemoLayout }}
3479 @lilypond[staffsize=26,line-width=1.0\cm]
3480 \include "gregorian-init.ly"
3483 % Scandicus Auctus Descendens
3484 \[ g \pes a \pes \auctum \descendens b \]
3487 \layout { \neumeDemoLayout }}
3490 @lilypond[staffsize=26,line-width=1.0\cm]
3491 \include "gregorian-init.ly"
3494 % Scandicus Deminutus
3495 \[ g \pes a \pes \deminutum b \]
3498 \layout { \neumeDemoLayout }}
3504 @lilypond[staffsize=26,line-width=1.0\cm]
3505 \include "gregorian-init.ly"
3509 \[ g \oriscus a \pes \virga b \]
3512 \layout { \neumeDemoLayout }}
3515 @lilypond[staffsize=26,line-width=1.0\cm]
3516 \include "gregorian-init.ly"
3519 % Salicus Auctus Descendens
3520 \[ g \oriscus a \pes \auctum \descendens b \]
3523 \layout { \neumeDemoLayout }}
3530 @lilypond[staffsize=26,line-width=1.0\cm]
3531 \include "gregorian-init.ly"
3535 \[ \stropha b \stropha b \stropha a \]
3538 \layout { \neumeDemoLayout }
3547 Unlike most other neumes notation systems, the input language for
3548 neumes does not reflect the typographical appearance, but is designed
3549 to focus on musical meaning. For example, @code{\[ a \pes b
3550 \flexa g \]} produces a Torculus consisting of three Punctum heads,
3551 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
3552 curved flexa shape and only a single Punctum head. There is no
3553 command to explicitly typeset the curved flexa shape; the decision of
3554 when to typeset a curved flexa shape is based on the musical
3555 input. The idea of this approach is to separate the musical aspects
3556 of the input from the notation style of the output. This way, the
3557 same input can be reused to typeset the same music in a different
3558 style of Gregorian chant notation.
3560 The following table shows the code fragments that produce the
3561 ligatures in the above neumes table. The letter in the first column
3562 in each line of the below table indicates to which ligature in the
3563 above table it refers. The second column gives the name of the
3564 ligature. The third column shows the code fragment that produces this
3565 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
3567 @multitable @columnfractions .02 .31 .67
3587 @code{\[ \inclinatum b \]}
3595 @code{\[ \auctum \ascendens b \]}
3603 @code{\[ \auctum \descendens b \]}
3608 Punctum Inclinatum@*
3611 @code{\[ \inclinatum \auctum b \]}
3616 Punctum Inclinatum@*
3618 @code{\[ \inclinatum \deminutum b \]}
3625 @code{\[ \virga b \]}
3632 @code{\[ \stropha b \]}
3639 @code{\[ \stropha \auctum b \]}
3646 @code{\[ \oriscus b \]}
3653 @code{\[ b \flexa g \]}
3661 @code{\[ b \flexa \auctum \descendens g \]}
3669 @code{\[ b \flexa \auctum \ascendens g \]}
3676 @code{\[ b \flexa \deminutum g \]}
3683 @code{\[ g \pes b \]}
3691 @code{\[ g \pes \auctum \descendens b \]}
3699 @code{\[ g \pes \auctum \ascendens b \]}
3706 @code{\[ g \pes \deminutum b \]}
3713 @code{\[ \oriscus g \pes \virga b \]}
3719 Auctus Descendens @tab
3720 @code{\[ \oriscus g \pes \auctum \descendens b \]}
3727 @code{\[ \quilisma g \pes b \]}
3735 @code{\[ \quilisma g \pes \auctum \descendens b \]}
3742 @code{\[ \deminutum g \pes b \]}
3747 Pes Auctus Descendens@*
3750 @code{\[ \deminutum g \pes \auctum \descendens b \]}
3757 @code{\[ a \pes b \flexa g \]}
3765 @code{\[ a \pes b \flexa \auctum \descendens g \]}
3772 @code{\[ a \pes b \flexa \deminutum g \]}
3777 Torculus Initio Debilis
3779 @code{\[ \deminutum a \pes b \flexa g \]}
3785 Descendens Initio Debilis
3787 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
3792 Torculus Deminutus@*
3795 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
3802 @code{\[ a \flexa g \pes b \]}
3810 @code{\[ a \flexa g \pes \auctum \descendens b \]}
3817 @code{\[ a \flexa g \pes \deminutum b \]}
3824 @code{\[ \virga b \inclinatum a \inclinatum g \]}
3831 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
3838 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
3845 @code{\[ g \pes a \virga b \]}
3853 @code{\[ g \pes a \pes \auctum \descendens b \]}
3860 @code{\[ g \pes a \pes \deminutum b \]}
3867 @code{\[ g \oriscus a \pes \virga b \]}
3872 Salicus Auctus Descendens
3874 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
3881 @code{\[ \stropha b \stropha b \stropha a \]}
3886 The following head prefixes are supported
3888 @cindex @code{\virga}
3890 @cindex @code{\stropha}
3892 @cindex @code{\inclinatum}
3894 @cindex @code{\auctum}
3896 @cindex @code{\descendens}
3898 @cindex @code{\ascendens}
3900 @cindex @code{\oriscus}
3902 @cindex @code{\quilisma}
3904 @cindex @code{\deminutum}
3907 Head prefixes can be accumulated, though restrictions apply. For
3908 example, either @code{\descendens} or @code{\ascendens} can be applied
3909 to a head, but not both to the same head.
3912 @cindex @code{\flexa}
3913 Two adjacent heads can be tied together with the @code{\pes} and
3914 @code{\flexa} infix commands for a rising and falling line of melody,
3919 @node Gregorian Chant contexts
3920 @subsection Gregorian Chant contexts
3922 @cindex VaticanaVoiceContext
3923 @cindex VaticanaStaffContext
3925 The predefined @code{VaticanaVoiceContext} and
3926 @code{VaticanaStaffContext} can be used to engrave a piece of
3927 Gregorian Chant in the style of the Editio Vaticana. These contexts
3928 initialize all relevant context properties and grob properties to
3929 proper values, so you can immediately go ahead entering the chant, as
3930 the following excerpt demonstrates
3932 @lilypond[quote,ragged-right,packed,verbatim]
3933 \include "gregorian-init.ly"
3936 \new VaticanaVoice = "cantus" {
3937 \override Staff.StaffSymbol #'color = #red
3938 \override Staff.LedgerLineSpanner #'color = #red
3939 \override Score.BarNumber #'transparent = ##t {
3940 \[ c'\melisma c' \flexa a \]
3941 \[ a \flexa \deminutum g\melismaEnd \]
3943 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
3944 c' \divisioMinima \break
3945 \[ c'\melisma c' \flexa a \]
3946 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
3949 \new Lyrics \lyricsto "cantus" {
3950 San- ctus, San- ctus, San- ctus
3957 @node Mensural contexts
3958 @subsection Mensural contexts
3960 @cindex MensuralVoiceContext
3961 @cindex MensuralStaffContext
3963 The predefined @code{MensuralVoiceContext} and
3964 @code{MensuralStaffContext} can be used to engrave a piece in mensural
3965 style. These contexts initialize all relevant context properties and
3966 grob properties to proper values, so you can immediately go ahead
3967 entering the chant, as the following excerpt demonstrates
3969 @lilypond[quote,ragged-right,verbatim]
3972 \new MensuralVoice = "discantus" \transpose c c' {
3973 \override Score.BarNumber #'transparent = ##t {
3974 c'1\melisma bes a g\melismaEnd
3976 \[ f1\melisma a c'\breve d'\melismaEnd \]
3978 c'\breve\melisma a1 g1\melismaEnd
3979 fis\longa^\signumcongruentiae
3982 \new Lyrics \lyricsto "discantus" {
3983 San -- ctus, San -- ctus, San -- ctus
3989 @node Musica ficta accidentals
3990 @subsection Musica ficta accidentals
3992 In European music from before about 1600, singers were often expected
3993 to chromatically alter notes at their own initiative. This is called
3994 ``Musica Ficta''. In modern transcriptions, these accidentals are
3995 usually printed over the note.
3997 @cindex Musica ficta
3999 Support for such suggested accidentals is included, and can be
4000 switched on by setting @code{suggestAccidentals} to true.
4002 @cindex @code{suggestAccidentals}
4004 @lilypond[verbatim,fragment,relative=1]
4006 \set suggestAccidentals = ##t
4012 Program reference: @internalsref{Accidental_engraver} engraver and the
4013 @internalsref{AccidentalSuggestion} object.
4016 @subsection Figured bass
4018 @cindex Basso continuo
4020 @c TODO: musicological blurb about FB
4023 LilyPond has support for figured bass
4025 @lilypond[quote,ragged-right,verbatim,fragment]
4027 \new Voice { \clef bass dis4 c d ais g fis}
4028 \new FiguredBass \figuremode {
4029 < 6 >4 < 7\+ >8 < 6+ [_!] >
4036 The support for figured bass consists of two parts: there is an input
4037 mode, introduced by @code{\figuremode}, where you can enter bass figures
4038 as numbers, and there is a context called @internalsref{FiguredBass} that
4039 takes care of making @internalsref{BassFigure} objects.
4041 In figures input mode, a group of bass figures is delimited by
4042 @code{<} and @code{>}. The duration is entered after the @code{>}
4046 @lilypond[quote,ragged-right,fragment]
4048 \figuremode { <4 6> }
4051 Accidentals are added when you append @code{-}, @code{!}, and @code{+}
4052 to the numbers. A plus sign is added when you append @code{\+}, and
4053 diminished fifths and sevenths can be obtained with @code{5/} and @code{7/}.
4056 <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/>
4058 @lilypond[quote,ragged-right,fragment]
4059 \figures { <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/> }
4062 Spaces may be inserted by using @code{_}. Brackets are
4063 introduced with @code{[} and @code{]}. You can also include text
4064 strings and text markups, see @ref{Overview of text markup commands}.
4067 < [4 6] 8 [_! 12] > < 5 \markup @{ \number 6 \super (1) @} >
4069 @lilypond[quote,ragged-right,fragment]
4071 \figuremode { < [4 6] 8 [_! 12] > < 5 \markup{ \tiny \number 6 \super (1)} > }
4075 It is also possible to use continuation lines for repeated figures,
4077 @lilypond[verbatim,relative=1]
4084 \set useBassFigureExtenders = ##t
4091 In this case, the extender lines always replace existing figures.
4093 The @code{FiguredBass} context doesn't pay attention to the actual
4094 bass line. As a consequence, you may have to insert extra figures to
4095 get extender lines below all notes, and you may have to add @code{\!}
4096 to avoid getting an extender line, eg.
4098 @lilypond[relative=1]
4102 \set useBassFigureExtenders = ##t
4103 <6 4->4. <6 4->16. <6 4->32 <5>8. r16 <6>8 <6\! 5->
4107 f16. g32 f16. g32 f16. g32 f16. g32 f8. es16 d8 es
4112 When using continuation lines, common figures are always put in the
4113 same vertical position. When this is unwanted, you can insert a rest
4114 with @code{r}. The rest will clear any previous alignment. For
4115 example, you can write
4127 Accidentals and plus signs can appear before or after the numbers,
4128 depending on the @code{figuredBassAlterationDirection} and @code{figuredBassPlusDirection}
4134 \set figuredBassAlterationDirection = #1
4136 \set figuredBassPlusDirection = #1
4138 \set figuredBassAlterationDirection = #-1
4144 Although the support for figured bass may superficially resemble chord
4145 support, it is much simpler. The @code{\figuremode} mode simply
4146 stores the numbers and @internalsref{FiguredBass} context prints them
4147 as entered. There is no conversion to pitches and no realizations of
4148 the bass are played in the MIDI file.
4150 Internally, the code produces markup texts. You can use any of the
4151 markup text properties to override formatting. For example, the
4152 vertical spacing of the figures may be set with @code{baseline-skip}.
4156 Program reference: @internalsref{NewBassFigure},
4157 @internalsref{BassFigureAlignment}, @internalsref{BassFigureLine},
4158 @internalsref{BassFigureBracket}, and
4159 @internalsref{BassFigureContinuation} objects and
4160 @internalsref{FiguredBass} context.
4164 @node Other instrument specific notation
4165 @section Other instrument specific notation
4167 This section includes extra information for writing for instruments.
4170 * Artificial harmonics (strings)::
4173 @node Artificial harmonics (strings)
4174 @subsection Artificial harmonics (strings)
4176 @cindex artificial harmonics
4178 Artificial harmonics are notated with a different notehead style. They
4179 are entered by marking the harmonic pitch with @code{\harmonic}.
4181 @lilypond[ragged-right,verbatim,quote,fragment,relative=1]