1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
8 @node Instrument-specific notation
9 @chapter Instrument-specific notation
11 This chapter explains how to use notation for specific instruments.
21 * Other instrument specific notation::
29 Piano staves are two normal staves coupled with a brace. The staves
30 are largely independent, but sometimes voices can cross between the
31 two staves. The same notation is also used for harps and other key
32 instruments. The @internalsref{PianoStaff} is especially built to
33 handle this cross-staffing behavior. In this section we discuss the
34 @internalsref{PianoStaff} and some other pianistic peculiarities.
37 * Automatic staff changes::
38 * Manual staff switches::
39 * Laissez vibrer ties::
41 * Staff switch lines::
47 Dynamics are not centered, but workarounds do exist. See the
48 ``piano centered dynamics'' template in @ref{Piano templates}.
50 @cindex cross staff stem
51 @cindex stem, cross staff
52 @cindex distance between staves in piano music
54 The distance between the two staves is the same for all systems in the
55 score. It is possible to override this per system, but it does require
56 an arcane command incantation. See
57 @inputfileref{input/@/test,piano@/-staff@/-distance@/.ly}.
60 @node Automatic staff changes
61 @subsection Automatic staff changes
62 @cindex Automatic staff changes
64 Voices can be made to switch automatically between the top and the bottom
65 staff. The syntax for this is
69 \autochange @dots{}@var{music}@dots{}
74 This will create two staves inside the current PianoStaff, called
75 @code{up} and @code{down}. The lower staff will be in bass clef by
78 A @code{\relative} section that is outside of @code{\autochange} has
79 no effect on the pitches of @var{music}, so, if necessary, put
80 @code{\relative} inside @code{\autochange} like
84 \autochange \relative @dots{} @dots{}
89 The autochanger switches on basis of the pitch (middle C is the turning
90 point), and it looks ahead skipping over rests to switch in
91 advance. Here is a practical example
93 @lilypond[quote,verbatim,raggedright]
95 \autochange \relative c'
104 In this manual: @ref{Manual staff switches}.
106 Program reference: @internalsref{AutoChangeMusic}.
112 The staff switches may not end up in optimal places. For high
113 quality output, staff switches should be specified manually.
116 @code{\autochange} cannot be inside @code{\times}.
119 @node Manual staff switches
120 @subsection Manual staff switches
122 @cindex manual staff switches
123 @cindex staff switch, manual
125 Voices can be switched between staves manually, using the command
127 \change Staff = @var{staffname} @var{music}
131 The string @var{staffname} is the name of the staff. It switches the
132 current voice from its current staff to the Staff called
133 @var{staffname}. Typically @var{staffname} is @code{"up"} or
134 @code{"down"}. The @context{Staff} referred to must already exist, so
135 usually the setup for a score will start with a setup of the staves,
139 \context Staff = up @{
140 \skip 1 * 10 % @emph{keep staff alive}
142 \context Staff = down @{
143 \skip 1 * 10 % @emph{idem}
149 and the @context{Voice} is inserted afterwards
152 \context Staff = down
153 \new Voice @{ @dots{} \change Staff = up @dots{} @}
157 @node Laissez vibrer ties
158 @subsection Laissez vibrer ties
159 @cindex Laissez vibrer
160 @cindex Ties, laissez vibrer
162 L.v. ties (laissez vibrer) indicate that notes must not be damped at the
163 end. It is used in notation for piano, harp and other string and
164 percussion instruments. They can be entered using @code{\laissezVibrer},
166 @lilypond[fragment,raggedright,verbatim,relative=1]
167 <c f g>\laissezVibrer
173 @internalsref{LaissezVibrerTie}
174 @internalsref{LaissezVibrerTieColumn}
177 @inputfileref{input/regression,laissez-vibrer-tie.ly}
183 Pianos have pedals that alter the way sound is produced. Generally, a
184 piano has three pedals, sustain, una corda, and sostenuto.
187 Piano pedal instruction can be expressed by attaching
188 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
189 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
192 @lilypond[quote,raggedright,fragment,verbatim]
193 c'4\sustainDown c'4\sustainUp
196 What is printed can be modified by setting @code{pedal@var{X}Strings},
197 where @var{X} is one of the pedal types: @code{Sustain},
198 @code{Sostenuto} or @code{UnaCorda}. Refer to
199 @internalsref{SustainPedal} in the program reference for more
202 Pedals can also be indicated by a sequence of brackets, by setting the
203 @code{pedalSustainStyle} property to bracket objects
205 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
206 \set Staff.pedalSustainStyle = #'bracket
208 b\sustainUp\sustainDown
209 b g \sustainUp a \sustainDown \bar "|."
212 A third style of pedal notation is a mixture of text and brackets,
213 obtained by setting the @code{pedalSustainStyle} property to
216 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
217 \set Staff.pedalSustainStyle = #'mixed
219 b\sustainUp\sustainDown
220 b g \sustainUp a \sustainDown \bar "|."
223 The default `*Ped.' style for sustain and damper pedals corresponds to
224 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
227 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
228 c\sostenutoDown d e c, f g a\sostenutoUp
231 For fine-tuning the appearance of a pedal bracket, the properties
232 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
233 @code{PianoPedalBracket} objects (see
234 @internalsref{PianoPedalBracket} in the Program reference) can be
235 modified. For example, the bracket may be extended to the right edge
238 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
239 \override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
240 c\sostenutoDown d e c, f g a\sostenutoUp
245 In this manual: @ref{Laissez vibrer ties}
247 @node Staff switch lines
248 @subsection Staff switch lines
252 @cindex staff switching
255 @cindex @code{followVoice}
257 Whenever a voice switches to another staff, a line connecting the notes
258 can be printed automatically. This is switched on by setting
259 @code{followVoice} to true
261 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
264 \set followVoice = ##t
269 \context Staff=two { \clef bass \skip 1*2 }
275 Program reference: @internalsref{VoiceFollower}.
279 @cindex @code{\showStaffSwitch}
280 @code{\showStaffSwitch},
281 @cindex @code{\hideStaffSwitch}
282 @code{\hideStaffSwitch}.
285 @node Cross staff stems
286 @subsection Cross staff stems
288 Chords that cross staves may be produced by increasing the length
289 of the stem in the lower staff, so it reaches the stem in the upper
290 staff, or vice versa.
292 @lilypond[raggedright,verbatim,quote]
293 stemExtend = \once \override Stem #'length = #22
294 noFlag = \once \override Stem #'flag-style = #'no-flag
295 \context PianoStaff <<
297 \stemDown \stemExtend
315 * Introducing chord names::
317 * Printing chord names::
321 @c awkward name; awkward section name.
322 @c still, the Basic "chords" seems like a good name... :(
323 @node Introducing chord names
324 @subsection Introducing chord names
327 LilyPond has support for printing chord names. Chords may be entered
328 in musical chord notation, i.e., @code{< .. >}, but they can also be
329 entered by name. Internally, the chords are represented as a set of
330 pitches, so they can be transposed
333 @lilypond[quote,raggedright,verbatim,raggedright]
334 twoWays = \transpose c c' {
343 << \context ChordNames \twoWays
344 \context Voice \twoWays >>
347 This example also shows that the chord printing routines do not try to
348 be intelligent. The last chord (@code{f bes d}) is not interpreted as
351 Note that the duration of chords must be specified outside the
360 @subsection Chords mode
363 In chord mode sets of pitches (chords) are entered with normal note
364 names. A chord is entered by the root, which is entered like a
367 @lilypond[quote,raggedright,fragment,verbatim]
368 \chordmode { es4. d8 c2 }
372 The mode is introduced by the keyword @code{\chordmode}.
377 Other chords may be entered by suffixing a colon and introducing a
378 modifier (which may include a number if desired)
379 @lilypond[quote,fragment,verbatim]
380 \chordmode { e1:m e1:7 e1:m7 }
382 The first number following the root is taken to be the `type' of the
383 chord, thirds are added to the root until it reaches the specified
385 @lilypond[quote,fragment,verbatim]
386 \chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
389 @cindex root of chord
390 @cindex additions, in chords
391 @cindex removals, in chords
393 More complex chords may also be constructed adding separate steps
394 to a chord. Additions are added after the number following
395 the colon and are separated by dots
396 @lilypond[quote,verbatim,fragment]
397 \chordmode { c:5.6 c:3.7.8 c:3.6.13 }
399 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
401 @lilypond[quote,verbatim,fragment]
402 \chordmode { c:7+ c:5+.3- c:3-.5-.7- }
404 Removals are specified similarly and are introduced by a caret. They
405 must come after the additions
406 @lilypond[quote,verbatim,fragment]
407 \chordmode { c^3 c:7^5 c:9^3.5 }
410 Modifiers can be used to change pitches. The following modifiers are
415 The minor chord. This modifier lowers the 3rd and (if present) the 7th step.
418 The diminished chord. This modifier lowers the 3rd, 5th and (if present)
422 The augmented chord. This modifier raises the 5th step.
425 The major 7th chord. This modifier raises the 7th step if present.
428 The suspended 4th or 2nd. This modifier removes the 3rd
429 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
433 Modifiers can be mixed with additions
434 @lilypond[quote,verbatim,fragment]
435 \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
438 @cindex modifiers, in chords.
445 Since an unaltered 11 does not sound good when combined with an
446 unaltered 3, the 11 is removed in this case (unless it is added
448 @lilypond[quote,raggedright,fragment,verbatim]
449 \chordmode { c:13 c:13.11 c:m13 }
454 An inversion (putting one pitch of the chord on the bottom), as well
455 as bass notes, can be specified by appending
456 @code{/}@var{pitch} to the chord
457 @lilypond[quote,raggedright,fragment,verbatim]
458 \chordmode { c1 c/g c/f }
462 A bass note can be added instead transposed out of the chord,
463 by using @code{/+}@var{pitch}.
465 @lilypond[quote,raggedright,fragment,verbatim]
466 \chordmode { c1 c/+g c/+f }
469 Chords is a mode similar to @code{\lyricmode}, etc. Most
470 of the commands continue to work, for example, @code{r} and
471 @code{\skip} can be used to insert rests and spaces, and property
472 commands may be used to change various settings.
478 Each step can only be present in a chord once. The following
479 simply produces the augmented chord, since @code{5+} is interpreted
482 @lilypond[quote,raggedright,verbatim,fragment]
483 \chordmode { c:5.5-.5+ }
487 @node Printing chord names
488 @subsection Printing chord names
490 @cindex printing chord names
494 For displaying printed chord names, use the @internalsref{ChordNames} context.
495 The chords may be entered either using the notation
496 described above, or directly using @code{<} and @code{>}
498 @lilypond[quote,verbatim,raggedright]
500 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
503 \context ChordNames \harmonies
504 \context Staff \harmonies
508 You can make the chord changes stand out by setting
509 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
510 display chord names when there is a change in the chords scheme and at
511 the start of a new line
513 @lilypond[quote,verbatim,raggedright]
514 harmonies = \chordmode {
515 c1:m c:m \break c:m c:m d
518 \context ChordNames {
519 \set chordChanges = ##t
521 \context Staff \transpose c c' \harmonies
525 The previous examples all show chords over a staff. This is not
526 necessary. Chords may also be printed separately. It may be necessary
527 to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
530 @lilypond[raggedright,verbatim]
531 \new ChordNames \with {
532 \override BarLine #'bar-size = #4
533 voltaOnThisStaff = ##t
534 \consists Bar_engraver
535 \consists "Volta_engraver"
537 \repeat volta 2 \chordmode {
546 The default chord name layout is a system for Jazz music, proposed by
547 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
551 @cindex @code{chordNameExceptions}
552 @item chordNameExceptions
553 This is a list that contains the chords that have special formatting.
555 The exceptions list should be encoded as
557 @{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
560 To get this information into @code{chordNameExceptions} takes a little
561 manoeuvring. The following code transforms @code{chExceptionMusic}
562 (which is a sequential music) into a list of exceptions.
564 (sequential-music-to-chord-exceptions chExceptionMusic #t)
569 (sequential-music-to-chord-exceptions chExceptionMusic #t)
572 adds the new exceptions to the default ones, which are defined in
573 @file{ly/@/chord@/-modifier@/-init@/.ly}.
575 For an example of tuning this property, see also
576 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly}.
577 @cindex exceptions, chord names.
580 @cindex @code{majorSevenSymbol}
581 @item majorSevenSymbol
582 This property contains the markup object used for the 7th step, when
583 it is major. Predefined options are @code{whiteTriangleMarkup} and
584 @code{blackTriangleMarkup}. See
585 @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly} for an example.
587 @cindex @code{chordNameSeparator}
588 @item chordNameSeparator
589 Different parts of a chord name are normally separated by a
590 slash. By setting @code{chordNameSeparator}, you can specify other
592 @lilypond[quote,raggedright,fragment,verbatim]
593 \context ChordNames \chordmode {
595 \set chordNameSeparator
596 = \markup { \typewriter "|" }
601 @cindex @code{chordRootNamer}
603 The root of a chord is usually printed as a letter with an optional
604 alteration. The transformation from pitch to letter is done by this
605 function. Special note names (for example, the German ``H'' for a
606 B-chord) can be produced by storing a new function in this property.
608 @cindex @code{chordNoteNamer}
610 The default is to print single pitch, e.g., the bass note, using the
611 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
612 to a specialized function to change this behavior. For example, the
613 base can be printed in lower case.
615 @cindex @code{chordPrefixSpacer}
616 @item chordPrefixSpacer
617 The ``m'' for minor chords is usually printed right after the root of
618 the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer
619 between the root and ``m''. The spacer is not used when the root
624 The predefined variables @code{\germanChords},
625 @code{\semiGermanChords}, @code{\italianChords} and @code{\frenchChords}
626 set these variables. The effect is
629 @lilypondfile[raggedright]{chord-names-languages.ly}
631 There are also two other chord name schemes implemented: an alternate
632 Jazz chord notation, and a systematic scheme called Banter chords. The
633 alternate Jazz notation is also shown on the chart in @ref{Chord name
634 chart}. Turning on these styles is described in the input file
635 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
644 @cindex @code{\germanChords}
645 @code{\germanChords},
646 @cindex @code{\semiGermanChords}
647 @code{\semiGermanChords}.
648 @cindex @code{\italianChords}
649 @code{\italianChords}.
650 @cindex @code{\frenchChords}
651 @code{\frenchChords}.
658 Examples: @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly},
659 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly},
660 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
663 Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
664 @file{scm/@/chord@/-entry@/.scm}.
669 Chord names are determined solely from the list of pitches. Chord
670 inversions are not identified, and neither are added bass notes. This
671 may result in strange chord names when chords are entered with the
672 @code{< .. >} syntax.
679 There are three different issues when printing vocal music
683 Song texts must be entered as text, not notes. For example, the
684 input@tie{}@code{d} should be interpreted as a one letter syllable, not the
688 Song texts must be printed as text, not as notes.
691 Song texts must be aligned with the notes of their melody.
694 The simplest solution for printing music uses the @code{\addlyrics}
695 function to solve all these problems at once. However, these
696 three functions can be controlled separately, which is necessary
697 for complex vocal music.
701 * Setting simple songs::
703 * Hyphens and extenders::
704 * The Lyrics context::
705 * Flexibility in alignment::
708 * Other vocal issues::
711 @node Setting simple songs
712 @subsection Setting simple songs
714 The easiest way to add lyrics to a melody is to append
717 \addlyrics @{ @var{the lyrics} @}
721 to a melody. Here is an example,
723 @lilypond[raggedright,verbatim,fragment,quote]
725 \relative { c2 e4 g2. }
726 \addlyrics { play the game }
729 More stanzas can be added by adding more
730 @code{\addlyrics} sections
732 @lilypond[raggedright,verbatim,fragment,quote]
734 \relative { c2 e4 g2. }
735 \addlyrics { play the game }
736 \addlyrics { speel het spel }
737 \addlyrics { joue le jeu }
740 Sometimes it is appropriate to have one stanza set
741 to the music, and the rest added in verse form at
742 the end of the piece. This can be accomplished by adding
743 the extra verses into a @code{\markup} section outside
744 of the main score block. Notice that there are two
745 different ways to force linebreaks when using
748 @lilypond[raggedright,verbatim,quote]
749 melody = \relative c' {
755 \set stanza = "1." Ma- ry had a lit- tle lamb,
756 it's fleece was white as snow.
760 \context Voice = one { \melody }
761 \lyricsto "one" \new Lyrics \text
767 \line{ All the children laughed and played }
768 \line{ To see a lamb at school. }
775 Mary took it home again,
777 It was against the rule."
782 @c TODO - this isn't such a great place for this note, but I can't
783 @c find a better place without rearranging a lot of lyric stuff.
784 @c It's yet another thing to look at post-3.0.
786 The @code{\addlyrics} command is actually just a convienient way
787 to write a more complicated LilyPond structure that sets up the
788 lyrics. You should use @code{\addlyrics} unless you need to do
789 fancy things, in which case you should investigate
790 @code{\lyricsto} or @code{\lyricmode}.
794 \addlyrics @{ LYRICS @}
801 \context Voice = blah @{ music @}
802 \lyricsto "blah" \new lyrics @{ LYRICS @}
807 @code{\addlyrics} cannot handle polyphony.
810 @node Entering lyrics
811 @subsection Entering lyrics
814 @cindex @code{\lyricmode}
817 Lyrics are entered in a special input mode. This mode is introduced
818 by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
819 @code{\lyricsto}. In this mode you can enter lyrics,
820 with punctuation and accents, and the input @code{d} is not parsed as
821 a pitch, but rather as a one letter syllable. Syllables are entered
822 like notes, but with pitches replaced by text. For example,
824 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
827 There is a difference between @code{\addlyrics} and
828 @code{\lyricmode}. @code{\addlyrics} and @code{\lyricsto}
829 ignore all durations and aligns syllables to notes; @code{\lyricmode}
830 uses the durations specified.
832 A word lyrics mode begins with an alphabetic character, and ends with
833 any space or digit. The following characters can be any character
834 that is not a digit or white space. One important consequence of this
835 is that a word can end with @code{@}}. The following example is
836 usually a mistake in the input file. The syllable includes a @code{@}}, so the
837 opening brace is not balanced
839 \lyricmode @{ twinkle@}
842 @cindex @code{\property}, in @code{\lyricmode}
844 Similarly, a period which follows an alphabetic sequence is included in
845 the resulting string. As a consequence, spaces must be inserted around
848 \override Score . LyricText #'font-shape = #'italic
852 @cindex spaces, in lyrics
853 @cindex quotes, in lyrics
855 Any @code{_} character that appears in an unquoted word is converted
856 to a space. This provides a mechanism for introducing spaces into words
857 without using quotes.
859 To enter lyrics with characters from non-English languages, or with
860 non-ascii characters (such as the heart symbol or slanted quotes),
861 simply insert the characters directly into the input file and save
862 it with utf-8 encoding. See @ref{Text encoding} for more info.
865 \lyricmode @{ He said: “Let my peo ple go”. @}
868 The full definition of a word start in Lyrics mode is somewhat more
871 A word in Lyrics mode begins with: an alphabetic character, @code{_},
872 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
873 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
874 any 8-bit character with ASCII code over 127, or a two-character
875 combination of a backslash followed by one of @code{`}, @code{'},
876 @code{"}, or @code{^}.
882 Program reference: @internalsref{LyricText}.
886 The definition of lyrics mode is too complex.
888 @node Hyphens and extenders
889 @subsection Hyphens and extenders
893 Centered hyphens are entered as `@code{--}' between syllables.
894 The hyphen will have variable length depending on the space between
895 the syllables and it will be centered between the syllables.
900 When a lyric is sung over many notes (this is called a melisma), this is
901 indicated with a horizontal line centered between a syllable and the
902 next one. Such a line is called an extender line, and it is entered as
905 In tighly engraved music, hyphens can be removed. In some languages
906 (e.g. German and Hungarian), hyphens should not disappear, since
907 spelling depends on hyphenation. For that purpose, hyphens can be
908 forced to remain by overriding @code{minimum-length} of
909 the @code{LyricHyphen} grob.
911 @lilypond[quote,verbatim,raggedright]
914 \new Staff \relative c'' {
915 \time 1/4 c16 c c c c16 c c c c16 c c c
917 \lyricmode { \new Lyrics
919 \override SeparationItem #'padding = #0.0
920 % Otherwise lyrics are so far apart that hyphens don't disappear
923 An -- ti -- cons -- ti --
924 tu -- tion -- nel -- le --
925 \override LyricHyphen #'minimum-length = #0.7
926 \override LyricHyphen #'springs-and-rods =
927 #Hyphen_spanner::set_spacing_rods
928 men -- taire -- ment. ouf~!
936 \Staff \remove "Time_signature_engraver"
944 Program reference: @internalsref{LyricHyphen}, @internalsref{LyricExtender}.
948 @node The Lyrics context
949 @subsection The Lyrics context
952 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
954 \context Lyrics \lyricmode @dots{}
957 @cindex automatic syllable durations
958 @cindex @code{\lyricsto}
959 @cindex lyrics and melodies
961 This will place the lyrics according to the durations that were
962 entered. The lyrics can also be aligned under a given melody
963 automatically. In this case, it is no longer necessary to enter the
964 correct duration for each syllable. This is achieved by combining the
965 melody and the lyrics with the @code{\lyricsto} expression
967 \lyricsto @var{name} \new Lyrics @dots{}
970 This aligns the lyrics to the
971 notes of the @internalsref{Voice} context called @var{name}, which has
972 to exist. Therefore, normally the @code{Voice} is specified first, and
973 then the lyrics are specified with @code{\lyricsto}. The command
974 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
975 @code{\lyricmode} keyword may be omitted.
977 For different or more complex orderings, the best way is to setup the
978 hierarchy of staves and lyrics first, e.g.,
980 \context ChoirStaff <<
981 \context Lyrics = sopranoLyrics @{ s1 @}
982 \context Voice = soprano @{ @emph{music} @}
983 \context Lyrics = tenorLyrics @{ s1 @}
984 \context Voice = tenor @{ @emph{music} @}
987 and then combine the appropriate melodies and lyric lines
989 \lyricsto "soprano" \context Lyrics = sopranoLyrics
994 The final input would resemble
997 <<\context ChoirStaff << @emph{setup the music} >>
998 \lyricsto "soprano" @emph{etc}
999 \lyricsto "alto" @emph{etc}
1005 The @code{\lyricsto} command detects melismata: it only puts one
1006 syllable under a tied or slurred group of notes. If you want to force
1007 an unslurred group of notes to be a melisma, insert @code{\melisma}
1008 after the first note of the group, and @code{\melismaEnd} after the
1011 @lilypond[quote,relative=2,raggedright,fragment,verbatim]
1013 \context Voice = "lala" {
1021 \lyricsto "lala" \new Lyrics {
1027 In addition, notes are considered a melisma if they are manually
1028 beamed, and automatic beaming (see @ref{Setting automatic beam
1029 behavior}) is switched off.
1035 The criteria for deciding melismata can
1036 be tuned with the property @code{melismaBusyProperties}. See
1037 @internalsref{Melisma_translator} in the program reference for more
1042 Lyrics can also be entered without @code{\lyricsto}. In this case the
1043 duration of each syllable must be entered explicitly, for example,
1050 The alignment to a melody can be specified with the
1051 @code{associatedVoice} property,
1054 \set associatedVoice = #"lala"
1058 The value of the property (here: @code{"lala"}) should be the name of
1059 a @internalsref{Voice} context. Without this setting, extender lines
1060 will not be formatted properly.
1062 Here is an example demonstrating manual lyric durations,
1064 @lilypond[relative=1,raggedright,verbatim,fragment,quote]
1065 << \context Voice = melody {
1069 \new Lyrics \lyricmode {
1070 \set associatedVoice = #"melody"
1076 @cindex choral score
1078 A complete example of a SATB score setup is in section
1079 @ref{Vocal ensembles}.
1084 @code{\melisma}, @code{\melismaEnd}
1085 @cindex @code{\melismaEnd}
1086 @cindex @code{\melisma}
1090 Program reference: @internalsref{LyricCombineMusic},
1091 @internalsref{Lyrics}, @internalsref{Melisma_translator}.
1094 @inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly}.
1095 @c TODO: make separate section for melismata
1099 Melismata are not detected automatically, and extender lines must be
1103 @c TODO: document \new Staff << Voice \lyricsto >> bug
1105 @node Flexibility in alignment
1106 @subsection Flexibility in alignment
1108 Often, different stanzas of one song are put to one melody in slightly
1109 differing ways. Such variations can still be captured with
1112 @subsubsection Lyrics to multiple notes of a melisma
1115 One possibility is that the text has a melisma in one stanza, but
1116 multiple syllables in another one. One solution is to make the faster
1117 voice ignore the melisma. This is done by setting
1118 @code{ignoreMelismata} in the Lyrics context.
1120 There has one tricky aspect. The setting for @code{ignoreMelismata}
1121 must be set one syllable @emph{before} the non-melismatic syllable
1122 in the text, as shown here,
1124 @lilypond[verbatim,raggedright,quote]
1126 \relative \context Voice = "lahlah" {
1127 \set Staff.autoBeaming = ##f
1133 \new Lyrics \lyricsto "lahlah" {
1136 \new Lyrics \lyricsto "lahlah" {
1137 \set ignoreMelismata = ##t % applies to "fas"
1139 \unset ignoreMelismata
1146 The @code{ignoreMelismata} applies to the syllable ``fas'', so it
1147 should be entered before ``go''.
1149 The reverse is also possible: making a lyric line slower than the
1150 standard. This can be achieved by insert @code{\skip}s into the
1151 lyrics. For every @code{\skip}, the text will be delayed another note.
1154 @lilypond[verbatim,raggedright,quote]
1155 \relative { c c g' }
1163 @subsection Switching the melody associated with a lyrics line
1167 More complex variations in text underlay are possible. It is possible
1168 to switch the melody for a line of lyrics during the text. This is
1169 done by setting the @code{associatedVoice} property. In the example
1171 @lilypond[raggedright,quote]
1173 \relative \context Voice = "lahlah" {
1174 \set Staff.autoBeaming = ##f
1177 \context Voice = alternative {
1180 % show associations clearly.
1181 \override NoteColumn #'force-hshift = #-3
1192 \new Lyrics \lyricsto "lahlah" {
1193 Ju -- ras -- sic Park
1195 \new Lyrics \lyricsto "lahlah" {
1196 % Tricky: need to set associatedVoice
1197 % one syllable too soon!
1198 \set associatedVoice = alternative % applies to "ran"
1202 \set associatedVoice = lahlah % applies to "rus"
1208 the text for the first stanza is set to a melody called ``lahlah'',
1211 \new Lyrics \lyricsto "lahlah" @{
1212 Ju -- ras -- sic Park
1217 The second stanza initially is set to the @code{lahlah} context, but
1218 for the syllable ``ran'', it switches to a different melody.
1219 This is achieved with
1221 \set associatedVoice = alternative
1225 Here, @code{alternative} is the name of the @code{Voice} context
1226 containing the triplet.
1228 Again, the command must be one syllable too early, before ``Ty'' in
1232 \new Lyrics \lyricsto "lahlah" @{
1233 \set associatedVoice = alternative % applies to "ran"
1237 \set associatedVoice = lahlah % applies to "rus"
1243 The underlay is switched back to the starting situation by assigning
1244 @code{lahlah} to @code{associatedVoice}.
1248 @subsection Specifying melismata within the lyrics
1250 It is also possible to define melismata entirely in the lyrics. This
1251 can be done by entering @code{_} for every note that is part of the
1254 @lilypond[relative=1,verbatim,fragment]
1255 { \set melismaBusyProperties = #'()
1256 c d( e) f f( e) e e }
1258 { Ky -- _ _ ri __ _ _ _ e }
1261 In this case, you can also have ties and slurs in the melody, if you
1262 set @code{melismaBusyProperties}, as is done in the example above.
1264 @lilypond[relative=1,verbatim,fragment]
1266 \set melismaBusyProperties = #'()
1270 { Ky -- _ _ ri __ _ _ _ e }
1273 @subsubsection Spacing lyrics
1275 @cindex Spacing lyrics
1276 @cindex Lyrics, increasing space between
1278 To increase the space between lyrics, use the @code{SeparationItem}
1281 @lilypond[relative,verbatim,fragment,quote,raggedright]
1284 \override Score.SeparationItem #'padding = #5
1288 longtext longtext longtext longtext
1289 longtext longtext longtext longtext
1296 @subsection More stanzas
1298 @cindex phrasing, in lyrics
1301 @cindex stanza number
1302 @cindex singer's names
1303 @cindex name of singer
1305 Stanza numbers can be added by setting @code{stanza}, e.g.,
1307 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
1309 \time 3/4 g2 e4 a2 f4 g2.
1312 Hi, my name is Bert.
1315 Oh, che -- ri, je t'aime
1319 These numbers are put just before the start of first syllable.
1321 Names of singers can also be added. They are printed at the start of
1322 the line, just like instrument names. They are created by setting
1323 @code{vocalName}. A short version may be entered as @code{vocNam}.
1326 @lilypond[fragment,raggedright,quote,verbatim,relative=2]
1328 \time 3/4 g2 e4 a2 f4 g2.
1330 \set vocalName = "Bert "
1331 Hi, my name is Bert.
1333 \set vocalName = "Ernie "
1334 Oh, che -- ri, je t'aime
1338 You can display alternate (or divisi) lyrics by naming voice
1339 contexts and attaching lyrics to those specific contexts.
1341 @lilypond[verbatim,raggedright,quote]
1343 \context Voice = "melody" {
1348 \context Voice = splitpart { \voiceTwo c4 }
1353 \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
1354 \new Lyrics \lyricsto "splitpart" { will }
1359 You can use this trick to display different lyrics for a repeated
1362 @lilypond[verbatim,raggedright,quote]
1364 \context Voice = melody \relative c' {
1366 \context Voice = verse \repeat volta 2 {c4 d e f | g1 | }
1368 \lyricsto melody \context Lyrics = mainlyrics \lyricmode {
1371 \lyricsto verse \context Lyrics = mainlyrics \lyricmode {
1373 \lyricsto verse \context Lyrics = repeatlyrics \lyricmode {
1374 dodo rere mimi fafa solsol }
1382 Program reference: @internalsref{LyricText}, @internalsref{StanzaNumber}, @internalsref{VocalName}.
1390 The term @emph{ambitus} denotes a range of pitches for a given voice
1391 in a part of music. It may also denote the pitch range that a musical
1392 instrument is capable of playing. Ambits are printed on vocal parts,
1393 so performers can easily determine it meets their capabilities.
1395 Ambits are denoted at the beginning of a piece near the initial clef.
1396 The range is graphically specified by two note heads that represent the
1397 minimum and maximum pitch. To print such ambits, add the
1398 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
1405 \consists Ambitus_engraver
1410 This results in the following output
1412 @lilypond[quote,raggedright]
1416 \consists Ambitus_engraver
1420 \relative \new Staff {
1425 If you have multiple voices in a single staff and you want a single
1426 ambitus per staff rather than per each voice, add the
1427 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
1428 rather than to the @internalsref{Voice} context. Here is an example,
1430 @lilypond[verbatim,raggedright,quote]
1432 \consists "Ambitus_engraver"
1436 \remove "Ambitus_engraver"
1438 \override Ambitus #'X-offset = #-1.0
1443 \remove "Ambitus_engraver"
1452 This example uses one advanced feature,
1455 \override Ambitus #'X-offset = #-1.0
1459 This code moves the ambitus to the left. The same effect could have
1460 been achieved with @code{extra-offset}, but then the formatting system
1461 would not reserve space for the moved object.
1465 Program reference: @internalsref{Ambitus},
1466 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1467 @internalsref{AmbitusAccidental}.
1469 Examples: @inputfileref{input/@/regression,ambitus@/.ly}.
1473 There is no collision handling in the case of multiple per-voice
1477 @node Other vocal issues
1478 @subsection Other vocal issues
1481 yeah, I'm giving up somewhat by stuffing a bunch of things in
1482 here. But at least they're in the manual now; it's easier to
1483 move them around in the manual once they're already here.
1485 Besides, if users complain about everything stuffed in here, I
1486 can ask them for specific instructions about where to move these
1487 examples, and that might get them more involved in the docs. -gp
1490 ``Parlato'' is spoken without pitch but still with rhythm; it is
1491 notated by cross noteheads. This is demonstrated in
1492 @ref{Special noteheads}.
1495 @node Rhythmic music
1496 @section Rhythmic music
1498 Rhythmic music is primarily used for percussion and drum notation, but it can
1499 also be used to show the rhythms of melodies.
1502 * Showing melody rhythms::
1503 * Entering percussion::
1504 * Percussion staves::
1508 @node Showing melody rhythms
1509 @subsection Showing melody rhythms
1511 Sometimes you might want to show only the rhythm of a melody. This
1512 can be done with the rhythmic staff. All pitches of notes on such a
1513 staff are squashed, and the staff itself has a single line
1515 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1516 \context RhythmicStaff {
1518 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1524 Program reference: @internalsref{RhythmicStaff}.
1526 Examples: @inputfileref{input/@/regression,rhythmic@/-staff@/.ly}.
1529 @node Entering percussion
1530 @subsection Entering percussion
1536 Percussion notes may be entered in @code{\drummode} mode, which is
1537 similar to the standard mode for entering notes. Each piece of
1538 percussion has a full name and an abbreviated name, and both can be used
1541 @lilypond[quote,raggedright,verbatim]
1543 hihat hh bassdrum bd
1547 The complete list of drum names is in the init file
1548 @file{ly/@/drumpitch@/-init@/.ly}.
1549 @c TODO: properly document this.
1553 Program reference: @internalsref{note-event}.
1555 @node Percussion staves
1556 @subsection Percussion staves
1560 A percussion part for more than one instrument typically uses a
1561 multiline staff where each position in the staff refers to one piece
1565 To typeset the music, the notes must be interpreted in a
1566 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
1568 @lilypond[quote,raggedright,verbatim]
1569 up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
1570 down = \drummode { bassdrum4 snare8 bd r bd sn4 }
1572 \new DrumVoice { \voiceOne \up }
1573 \new DrumVoice { \voiceTwo \down }
1577 The above example shows verbose polyphonic notation. The short
1578 polyphonic notation, described in @ref{Polyphony}, can also be used if
1579 the @internalsref{DrumVoice}s are instantiated by hand first. For example,
1581 @lilypond[quote,raggedright,fragment,verbatim]
1583 \context DrumVoice = "1" { s1 *2 }
1584 \context DrumVoice = "2" { s1 *2 }
1588 { \repeat unfold 16 hh16 }
1597 There are also other layout possibilities. To use these, set the
1598 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
1599 The following variables have been predefined
1603 This is the default. It typesets a typical drum kit on a five-line staff
1605 @lilypond[quote,linewidth=10.0\cm]
1607 cymc cyms cymr hh hhc hho hhho hhp
1608 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl }
1610 cymc cyms cymr hh hhc hho hhho hhp \break
1611 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
1613 << \new DrumStaff \with {
1614 \remove Bar_engraver
1615 \remove Time_signature_engraver
1616 \override Stem #'transparent = ##t
1617 \override Stem #'Y-extent-callback = ##f
1618 \override VerticalAxisGroup #'minimum-Y-extent = #'(-4.0 . 5.0)
1620 \context Lyrics \nam
1625 \override LyricText #'font-family = #'typewriter
1626 \override BarNumber #'transparent =##T
1632 The drum scheme supports six different toms. When there are fewer toms,
1633 simply select the toms that produce the desired result, i.e., to get toms
1634 on the three middle lines you use @code{tommh}, @code{tomml}, and
1637 @item timbales-style
1638 This typesets timbales on a two line staff
1640 @lilypond[quote,raggedright]
1641 nam = \lyricmode { timh ssh timl ssl cb }
1642 mus = \drummode { timh ssh timl ssl cb s16 }
1645 \context DrumStaff \with {
1646 \remove Bar_engraver
1647 \remove Time_signature_engraver
1648 \override Stem #'transparent = ##t
1649 \override Stem #'Y-extent-callback = ##f
1650 \override StaffSymbol #'line-count = #2
1651 \override StaffSymbol #'staff-space = #2
1652 \override VerticalAxisGroup #'minimum-Y-extent = #'(-3.0 . 4.0)
1653 drumStyleTable = #timbales-style
1656 \override LyricText #'font-family = #'typewriter
1663 This typesets congas on a two line staff
1665 @lilypond[quote,raggedright]
1666 nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
1667 mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
1670 \context DrumStaff \with {
1671 \remove Bar_engraver
1672 \remove Time_signature_engraver
1673 drumStyleTable = #congas-style
1674 \override StaffSymbol #'line-count = #2
1676 %% this sucks; it will lengthen stems.
1677 \override StaffSymbol #'staff-space = #2
1678 \override Stem #'transparent = ##t
1679 \override Stem #'Y-extent-callback = ##f
1682 \override LyricText #'font-family = #'typewriter
1689 This typesets bongos on a two line staff
1691 @lilypond[quote,raggedright]
1692 nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
1693 mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
1696 \context DrumStaff\with {
1697 \remove Bar_engraver
1698 \remove Time_signature_engraver
1699 \override StaffSymbol #'line-count = #2
1700 drumStyleTable = #bongos-style
1702 %% this sucks; it will lengthen stems.
1703 \override StaffSymbol #'staff-space = #2
1704 \override Stem #'transparent = ##t
1705 \override Stem #'Y-extent-callback = ##f
1708 \override LyricText #'font-family = #'typewriter
1714 @item percussion-style
1715 To typeset all kinds of simple percussion on one line staves.
1717 @lilypond[quote,raggedright]
1718 nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
1719 mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
1722 \context DrumStaff\with{
1723 \remove Bar_engraver
1724 drumStyleTable = #percussion-style
1725 \override StaffSymbol #'line-count = #1
1726 \remove Time_signature_engraver
1727 \override Stem #'transparent = ##t
1728 \override Stem #'Y-extent-callback = ##f
1731 \override LyricText #'font-family = #'typewriter
1738 If you do not like any of the predefined lists you can define your own
1739 list at the top of your file
1741 @lilypond[quote,raggedright,verbatim]
1743 (bassdrum default #f -1)
1744 (snare default #f 0)
1746 (pedalhihat xcircle "stopped" 2)
1747 (lowtom diamond #f 3)))
1748 up = \drummode { hh8 hh hh hh hhp4 hhp }
1749 down = \drummode { bd4 sn bd toml8 toml }
1752 \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
1753 \new DrumVoice { \voiceOne \up }
1754 \new DrumVoice { \voiceTwo \down }
1761 Init files: @file{ly/@/drumpitch@/-init@/.ly}.
1763 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
1767 Because general MIDI does not contain rim shots, the sidestick is used
1768 for this purpose instead.
1776 @cindex guitar tablature
1779 * String number indications::
1780 * Tablatures basic::
1781 * Non-guitar tablatures::
1783 * Other guitar issues::
1786 @node String number indications
1787 @subsection String number indications
1789 @cindex String numbers
1791 String numbers can be added to chords, by indicating the string number
1792 with @code{\}@var{number},
1794 @lilypond[relative,relative=1,raggedright,fragment]
1798 See also @inputfileref{input/regression,string-number.ly}.
1803 Program reference: @internalsref{StringNumber}.
1806 @node Tablatures basic
1807 @subsection Tablatures basic
1808 @cindex Tablatures basic
1810 Tablature notation is used for notating music for plucked string
1811 instruments. Pitches are not denoted with note heads, but by
1812 numbers indicating on which string and fret a note must be played. LilyPond
1813 offers limited support for tablature.
1815 The string number associated to a note is given as a backslash
1816 followed by a number, e.g., @code{c4\3} for a C quarter on the third
1817 string. By default, string 1 is the highest one, and the tuning
1818 defaults to the standard guitar tuning (with 6 strings). The notes
1819 are printed as tablature, by using @internalsref{TabStaff} and
1820 @internalsref{TabVoice} contexts
1822 @lilypond[quote,raggedright,fragment,verbatim]
1829 @cindex @code{minimumFret}
1832 When no string is specified, the first string that does not give a
1833 fret number less than @code{minimumFret} is selected. The default
1834 value for @code{minimumFret} is 0
1839 \set TabStaff.minimumFret = #8
1842 @lilypond[quote,raggedright]
1846 \set TabStaff.minimumFret = #8
1849 \context StaffGroup <<
1850 \context Staff { \clef "G_8" \frag }
1851 \context TabStaff { \frag }
1857 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}.
1861 Chords are not handled in a special way, and hence the automatic
1862 string selector may easily select the same string to two notes in a
1866 @node Non-guitar tablatures
1867 @subsection Non-guitar tablatures
1868 @cindex Non-guitar tablatures
1870 You can change the number of strings, by setting the number of lines
1871 in the @internalsref{TabStaff}.
1873 You can change the tuning of the strings. A string tuning is given as
1874 a Scheme list with one integer number for each string, the number
1875 being the pitch (measured in semitones relative to middle C) of an
1876 open string. The numbers specified for @code{stringTuning} are the
1877 numbers of semitones to subtract or add, starting the specified pitch
1878 by default middle C, in string order. In the next example,
1879 @code{stringTunings} is set for the pitches e, a, d, and g
1881 @lilypond[quote,raggedright,fragment,verbatim]
1882 \context TabStaff <<
1883 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
1885 a,4 c' a e' e c' a e'
1892 No guitar special effects have been implemented.
1896 Program reference: @internalsref{Tab_note_heads_engraver}.
1900 @subsection Fret diagrams
1901 @cindex fret diagrams
1902 @cindex chord diagrams
1904 Fret diagrams can be added to music as a markup to the desired note. The
1905 markup contains information about the desired fret diagram, as shown in the
1908 @lilypond[verbatim, raggedright, quote]
1910 d'^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
1912 fis'^\markup \override #'(size . 0.75) {
1913 \override #'(finger-code . below-string) {
1914 \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
1915 (place-fret 5 4 3) (place-fret 4 4 4)
1916 (place-fret 3 3 2) (place-fret 2 2 1)
1921 c'^\markup \override #'(dot-radius . 0.35) {
1922 \override #'(finger-code . in-dot) {
1923 \override #'(dot-color . white) {
1924 \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
1933 There are three different fret-diagram markup interfaces: standard, terse,
1934 and verbose. The three interfaces produce equivalent markups, but have
1935 varying amounts of information in the markup string. Details about the
1936 markup interfaces are found at @ref{Overview of text markup commands}.
1938 You can set a number of graphical properties according to your preference.
1939 Details about the property interface to fret diagrams are found at
1940 @internalsref{fret-diagram-interface}.
1945 Examples: @inputfileref{input/@/test,fret@/-diagram@/.ly}
1948 @node Other guitar issues
1949 @subsection Other guitar issues
1951 This example demonstrates how to include guitar position and
1952 barring indications.
1954 @lilypond[quote,raggedright,fragment,verbatim,relative=0]
1958 \override TextSpanner #'edge-text = #'("XII " . "")
1960 b16 e16 g16 e16 b16 g16\stopTextSpan
1965 Stopped (X) note heads are used in guitar music to signal a place where the
1966 guitarist must play a certain note or chord, with its fingers just
1967 touching the strings instead of fully pressing them. This gives the sound a
1968 percussive noise-like sound that still maintains part of the original
1969 pitch. It is notated with cross noteheads; this is
1970 demonstrated in @ref{Special noteheads}.
1979 * Bagpipe definitions::
1984 @node Bagpipe definitions
1985 @subsection Bagpipe definitions
1987 LilyPond contains special definitions for music for the Scottish
1988 highland bagpipe; to use them, add
1991 \include "bagpipe.ly"
1995 at the top of your input file. This lets you add the special gracenotes
1996 common to bagpipe music with short commands. For example, you could
1997 write @code{\taor} instead of
2000 \grace @{ \small G32[ d G e] @}
2003 @code{bagpipe.ly} also contains pitch definitions for the bagpipe
2004 notes in the appropiate octaves, so you do not need to worry about
2005 @code{\relative} or @code{\transpose}.
2007 @lilypond[raggedright,verbatim,quote,notime]
2008 \include "bagpipe.ly"
2009 { \grg G4 \grg a \grg b \grg c \grg d \grg e \grg f \grA g A }
2012 Bagpipe music nominally uses the key of D Major (even though that
2013 isn't really true). However, since that is the only key that can be used,
2014 the key signature is normally not written out. To set this up correctly,
2015 always start your music with @code{\hideKeySignature}. If you for some
2016 reason want to show the key signature, you can use @code{\showKeySignature}
2019 Some modern music use cross fingering on c and f to flatten those notes.
2020 This can be indicated by @code{cflat} or @code{fflat}. Similarly, the
2021 piobaireachd high g can be written @code{gflat} when it occurs in light
2025 @node Bagpipe example
2026 @subsection Bagpipe example
2028 This is what the well known tune Amazing Grace looks like in bagpipe
2031 @lilypond[verbatim,quote]
2032 \include "bagpipe.ly"
2035 \context { \Score \remove "Bar_number_engraver" }
2039 title = "Amazing Grace"
2041 arranger = "Trad. arr."
2047 \grg \partial 4 a8. d16
2048 \slurd d2 \grg f8[ e32 d16.]
2051 \grG a2 \grg a8. d16
2052 \slurd d2 \grg f8[ e32 d16.]
2053 \grg f2 \grg e8. f16
2056 \grg A2 \hdblf f8[ e32 d16.]
2059 \grG a2 \grg a8. d16
2060 \slurd d2 \grg f8[ e32 d16.]
2069 @node Ancient notation
2070 @section Ancient notation
2072 @cindex Vaticana, Editio
2073 @cindex Medicaea, Editio
2078 Support for ancient notation includes features for mensural notation
2079 and Gregorian Chant notation. There is also limited support for
2080 figured bass notation.
2082 Many graphical objects provide a @code{style} property, see
2085 @ref{Ancient note heads},
2087 @ref{Ancient accidentals},
2089 @ref{Ancient rests},
2091 @ref{Ancient clefs},
2093 @ref{Ancient flags},
2095 @ref{Ancient time signatures}.
2098 By manipulating such a grob property, the typographical appearance of
2099 the affected graphical objects can be accommodated for a specific
2100 notation flavor without the need for introducing any new notational
2103 In addition to the standard articulation signs described in section
2104 @ref{Articulations}, specific articulation signs for ancient notation
2109 @ref{Ancient articulations}
2112 Other aspects of ancient notation can not that easily be expressed
2113 in terms of just changing a style property of a graphical object or
2114 adding articulation signs. Some notational concepts are introduced
2115 specifically for ancient notation,
2126 If this all is too much of documentation for you, and you just want to
2127 dive into typesetting without worrying too much about the details on
2128 how to customize a context, you may have a look at the predefined
2129 contexts. Use them to set up predefined style-specific voice and
2130 staff contexts, and directly go ahead with the note entry,
2134 @ref{Gregorian Chant contexts},
2136 @ref{Mensural contexts}.
2139 There is limited support for figured bass notation which came
2140 up during the baroque period.
2147 Here are all suptopics at a glance:
2150 * Ancient note heads::
2151 * Ancient accidentals::
2155 * Ancient time signatures::
2156 * Ancient articulations::
2160 * Gregorian Chant contexts::
2161 * Mensural contexts::
2162 * Musica ficta accidentals::
2168 @node Ancient note heads
2169 @subsection Ancient note heads
2174 For ancient notation, a note head style other than the @code{default}
2175 style may be chosen. This is accomplished by setting the @code{style}
2176 property of the @internalsref{NoteHead} object to @code{baroque},
2177 @code{neomensural}, @code{mensural} or @code{petrucci}. The
2178 @code{baroque} style differs from the @code{default} style only in
2179 using a square shape for @code{\breve} note heads. The
2180 @code{neomensural} style differs from the @code{baroque} style in that
2181 it uses rhomboidal heads for whole notes and all smaller durations.
2182 Stems are centered on the note heads. This style is particularly
2183 useful when transcribing mensural music, e.g., for the incipit. The
2184 @code{mensural} style produces note heads that mimic the look of note
2185 heads in historic printings of the 16th century. Finally, the
2186 @code{petrucci} style also mimicks historic printings, but uses bigger
2189 The following example demonstrates the @code{neomensural} style
2191 @lilypond[quote,fragment,raggedright,verbatim]
2192 \set Score.skipBars = ##t
2193 \override NoteHead #'style = #'neomensural
2194 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
2197 When typesetting a piece in Gregorian Chant notation, the
2198 @internalsref{Gregorian_ligature_engraver} will automatically select
2199 the proper note heads, so there is no need to explicitly set the
2200 note head style. Still, the note head style can be set, e.g., to
2201 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
2202 @internalsref{Mensural_ligature_engraver} is used to automatically
2203 assemble mensural ligatures. See @ref{Ligatures} for how ligature
2208 Examples: @inputfileref{input/@/regression,note@/-head@/-style@/.ly} gives an
2209 overview over all available note head styles.
2212 @node Ancient accidentals
2213 @subsection Ancient accidentals
2218 Use the @code{style} property of grob @internalsref{Accidental} to
2219 select ancient accidentals. Supported styles are
2220 @code{mensural}, @code{vaticana}, @code{hufnagel}, and @code{medicaea}.
2222 @lilypond[quote,raggedright,staffsize=26]
2229 \line { " " \musicglyph #"accidentals.vaticana-1"
2230 " " \musicglyph #"accidentals.vaticana0" }
2234 \line { " " \musicglyph #"accidentals.medicaea-1" }
2238 \line { " " \musicglyph #"accidentals.hufnagel-1" }
2242 \line { " " \musicglyph #"accidentals.mensural-1"
2243 " " \musicglyph #"accidentals.mensural1" }
2249 \context { \Score \remove "Bar_number_engraver" }
2251 \remove "Clef_engraver"
2252 \remove "Key_engraver"
2253 \remove "Time_signature_engraver"
2254 \remove "Staff_symbol_engraver"
2255 \override VerticalAxisGroup #'minimum-Y-extent = ##f
2261 As shown, not all accidentals are supported by each style. When
2262 trying to access an unsupported accidental, LilyPond will switch to a
2263 different style, as demonstrated in
2264 @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2266 Similarly to local accidentals, the style of the key signature can be
2267 controlled by the @code{style} property of the
2268 @internalsref{KeySignature} grob.
2272 In this manual: @ref{Pitches}, @ref{Cautionary accidentals} and
2273 @ref{Automatic accidentals} give a general introduction of the use of
2274 accidentals. @ref{Key signature} gives a general introduction of
2275 the use of key signatures.
2277 Program reference: @internalsref{KeySignature}.
2279 Examples: @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
2282 @subsection Ancient rests
2284 @cindex rests, ancient
2287 Use the @code{style} property of grob @internalsref{Rest} to select
2288 ancient rests. Supported styles are @code{classical},
2289 @code{neomensural}, and @code{mensural}. @code{classical} differs
2290 from the @code{default} style only in that the quarter rest looks like
2291 a horizontally mirrored 8th rest. The @code{neomensural} style suits
2292 well for, e.g., the incipit of a transcribed mensural piece of music.
2293 The @code{mensural} style finally mimics the appearance of rests as
2294 in historic prints of the 16th century.
2296 The following example demonstrates the @code{neomensural} style
2298 @lilypond[quote,fragment,raggedright,verbatim]
2299 \set Score.skipBars = ##t
2300 \override Rest #'style = #'neomensural
2301 r\longa r\breve r1 r2 r4 r8 r16
2304 There are no 32th and 64th rests specifically for the mensural or
2305 neo-mensural style. Instead, the rests from the default style will be
2306 taken. See @inputfileref{input/@/test,rests@/.ly} for a chart of all
2309 There are no rests in Gregorian Chant notation; instead, it uses
2314 In this manual: @ref{Rests} gives a general introduction into the use of rests.
2318 @subsection Ancient clefs
2323 LilyPond supports a variety of clefs, many of them ancient.
2325 The following table shows all ancient clefs that are supported via the
2326 @code{\clef} command. Some of the clefs use the same glyph, but
2327 differ only with respect to the line they are printed on. In such
2328 cases, a trailing number in the name is used to enumerate these clefs.
2329 Still, you can manually force a clef glyph to be typeset on an
2330 arbitrary line, as described in @ref{Clef}. The note printed to the
2331 right side of each clef in the example column denotes the @code{c'}
2332 with respect to that clef.
2334 @multitable @columnfractions .4 .4 .2
2343 modern style mensural C clef
2345 @code{neomensural-c1}, @code{neomensural-c2},@*
2346 @code{neomensural-c3}, @code{neomensural-c4}
2348 @lilypond[fragment,relative=1,notime]
2349 \clef "neomensural-c2" c
2353 petrucci style mensural C clefs, for use on different staff lines
2354 (the examples show the 2nd staff line C clef)
2356 @code{petrucci-c1}, @code{petrucci-c2},@*
2357 @code{petrucci-c3}, @code{petrucci-c4},@*
2360 @lilypond[fragment,relative=1,notime]
2362 \override NoteHead #'style = #'mensural
2367 petrucci style mensural F clef
2371 @lilypond[fragment,relative=1,notime]
2373 \override NoteHead #'style = #'mensural
2378 petrucci style mensural G clef
2382 @lilypond[fragment,relative=1,notime]
2384 \override NoteHead #'style = #'mensural
2389 historic style mensural C clef
2391 @code{mensural-c1}, @code{mensural-c2},@*
2392 @code{mensural-c3}, @code{mensural-c4}
2394 @lilypond[fragment,relative=1,notime]
2396 \override NoteHead #'style = #'mensural
2401 historic style mensural F clef
2405 @lilypond[fragment,relative=1,notime]
2407 \override NoteHead #'style = #'mensural
2412 historic style mensural G clef
2416 @lilypond[fragment,relative=1,notime]
2418 \override NoteHead #'style = #'mensural
2423 Editio Vaticana style do clef
2425 @code{vaticana-do1}, @code{vaticana-do2},@*
2428 @lilypond[fragment,relative=1,notime]
2429 \override Staff.StaffSymbol #'line-count = #4
2430 \override Staff.StaffSymbol #'color = #red
2431 \override Staff.LedgerLineSpanner #'color = #red
2432 \override Voice.Stem #'transparent = ##t
2433 \override NoteHead #'style = #'vaticana.punctum
2434 \clef "vaticana-do2"
2439 Editio Vaticana style fa clef
2441 @code{vaticana-fa1}, @code{vaticana-fa2}
2443 @lilypond[fragment,relative=1,notime]
2444 \override Staff.StaffSymbol #'line-count = #4
2445 \override Staff.StaffSymbol #'color = #red
2446 \override Staff.LedgerLineSpanner #'color = #red
2447 \override Voice.Stem #'transparent = ##t
2448 \override NoteHead #'style = #'vaticana.punctum
2449 \clef "vaticana-fa2"
2454 Editio Medicaea style do clef
2456 @code{medicaea-do1}, @code{medicaea-do2},@*
2459 @lilypond[fragment,relative=1,notime]
2460 \override Staff.StaffSymbol #'line-count = #4
2461 \override Staff.StaffSymbol #'color = #red
2462 \override Staff.LedgerLineSpanner #'color = #red
2463 \override Voice.Stem #'transparent = ##t
2464 \override NoteHead #'style = #'medicaea.punctum
2465 \clef "medicaea-do2"
2470 Editio Medicaea style fa clef
2472 @code{medicaea-fa1}, @code{medicaea-fa2}
2474 @lilypond[fragment,relative=1,notime]
2475 \override Staff.StaffSymbol #'line-count = #4
2476 \override Staff.StaffSymbol #'color = #red
2477 \override Staff.LedgerLineSpanner #'color = #red
2478 \override Voice.Stem #'transparent = ##t
2479 \override NoteHead #'style = #'medicaea.punctum
2480 \clef "medicaea-fa2"
2485 historic style hufnagel do clef
2487 @code{hufnagel-do1}, @code{hufnagel-do2},@*
2490 @lilypond[fragment,relative=1,notime]
2491 \override Staff.StaffSymbol #'line-count = #4
2492 \override Staff.StaffSymbol #'color = #red
2493 \override Staff.LedgerLineSpanner #'color = #red
2494 \override Voice.Stem #'transparent = ##t
2495 \override NoteHead #'style = #'hufnagel.punctum
2496 \clef "hufnagel-do2"
2501 historic style hufnagel fa clef
2503 @code{hufnagel-fa1}, @code{hufnagel-fa2}
2505 @lilypond[fragment,relative=1,notime]
2506 \override Staff.StaffSymbol #'line-count = #4
2507 \override Staff.StaffSymbol #'color = #red
2508 \override Staff.LedgerLineSpanner #'color = #red
2509 \override Voice.Stem #'transparent = ##t
2510 \override NoteHead #'style = #'hufnagel.punctum
2511 \clef "hufnagel-fa2"
2516 historic style hufnagel combined do/fa clef
2518 @code{hufnagel-do-fa}
2520 @lilypond[fragment,relative=1,notime]
2521 \override Staff.StaffSymbol #'color = #red
2522 \override Staff.LedgerLineSpanner #'color = #red
2523 \override Voice.Stem #'transparent = ##t
2524 \override NoteHead #'style = #'hufnagel.punctum
2525 \clef "hufnagel-do-fa"
2532 @emph{Modern style} means ``as is typeset in contemporary editions of
2533 transcribed mensural music''.
2535 @emph{Petrucci style} means ``inspired by printings published by the
2536 famous engraver Petrucci (1466-1539)''.
2538 @emph{Historic style} means ``as was typeset or written in historic
2539 editions (other than those of Petrucci)''.
2541 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
2543 Petrucci used C clefs with differently balanced left-side vertical
2544 beams, depending on which staff line it is printed.
2548 In this manual: see @ref{Clef}.
2552 The mensural g clef is mapped to the Petrucci g clef.
2557 @subsection Ancient flags
2562 Use the @code{flag-style} property of grob @internalsref{Stem} to
2563 select ancient flags. Besides the @code{default} flag style,
2564 only the @code{mensural} style is supported
2566 @lilypond[quote,fragment,raggedright,verbatim]
2567 \override Stem #'flag-style = #'mensural
2568 \override Stem #'thickness = #1.0
2569 \override NoteHead #'style = #'mensural
2571 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
2572 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
2575 Note that the innermost flare of each mensural flag always is
2576 vertically aligned with a staff line.
2578 There is no particular flag style for neo-mensural notation. Hence,
2579 when typesetting the incipit of a transcribed piece of mensural
2580 music, the default flag style should be used. There are no flags in
2581 Gregorian Chant notation.
2585 The attachment of ancient flags to stems is slightly off due to a
2586 change in early 2.3.x.
2588 Vertically aligning each flag with a staff line assumes that stems
2589 always end either exactly on or exactly in the middle between two
2590 staff lines. This may not always be true when using advanced layout
2591 features of classical notation (which however are typically out of
2592 scope for mensural notation).
2594 @node Ancient time signatures
2595 @subsection Ancient time signatures
2597 @cindex time signatures
2600 There is limited support for mensural time signatures. The
2601 glyphs are hard-wired to particular time fractions. In other words,
2602 to get a particular mensural signature glyph with the @code{\time n/m}
2603 command, @code{n} and @code{m} have to be chosen according to the
2606 @lilypond[quote,raggedright]
2611 \remove Staff_symbol_engraver
2612 \remove Clef_engraver
2613 \remove Time_signature_engraver
2617 \set Score.timing = ##f
2618 \set Score.barAlways = ##t
2619 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph #"timesig.neomensural44" }
2621 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph #"timesig.neomensural22" }
2623 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph #"timesig.neomensural64" }
2625 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph #"timesig.neomensural68" }
2627 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph #"timesig.neomensural32" }
2629 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph #"timesig.neomensural34" }
2631 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph #"timesig.neomensural94" }
2633 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph #"timesig.neomensural98" }
2635 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph #"timesig.neomensural48" }
2637 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph #"timesig.neomensural24" }
2641 Use the @code{style} property of grob @internalsref{TimeSignature} to
2642 select ancient time signatures. Supported styles are
2643 @code{neomensural} and @code{mensural}. The above table uses the
2644 @code{neomensural} style. This style is appropriate for the
2645 incipit of transcriptions of mensural pieces. The @code{mensural}
2646 style mimics the look of historical printings of the 16th century.
2648 The following examples show the differences in style,
2650 @lilypond[raggedright,fragment,relative=1,quote]
2655 c1^\markup { \hspace #-2.0 \typewriter default }
2657 \override Staff.TimeSignature #'style = #'numbered
2659 c1^\markup { \hspace #-2.0 \typewriter numbered }
2661 \override Staff.TimeSignature #'style = #'mensural
2663 c1^\markup { \hspace #-2.0 \typewriter mensural }
2665 \override Staff.TimeSignature #'style = #'neomensural
2667 c1^\markup { \hspace #-2.0 \typewriter neomensural }
2668 \override Staff.TimeSignature #'style = #'single-digit
2670 c1^\markup { \hspace #-2.0 \typewriter single-digit }
2676 This manual: @ref{Time signature} gives a general introduction to
2677 the use of time signatures.
2681 Ratios of note durations do not change with the time signature. For
2682 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
2683 be made by hand, by setting
2686 breveTP = #(ly:make-duration -1 0 3 2)
2692 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
2694 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
2695 addressable with @code{\time}. Use a @code{\markup} instead
2697 @node Ancient articulations
2698 @subsection Ancient articulations
2700 @cindex articulations
2702 In addition to the standard articulation signs described in section
2703 @ref{Articulations}, articulation signs for ancient notation are
2704 provided. These are specifically designed for use with notation in
2705 Editio Vaticana style.
2707 @lilypond[quote,raggedright,verbatim]
2708 \include "gregorian-init.ly"
2710 \context VaticanaVoice {
2711 \override Staff.StaffSymbol #'color = #red
2712 \override Staff.LedgerLineSpanner #'color = #red
2713 \override TextScript #'font-family = #'typewriter
2714 \override TextScript #'font-shape = #'upright
2715 \override Script #'padding = #-0.1
2717 a4\circulus_"circulus" s1
2718 a4\semicirculus_"semicirculus" s1 s
2719 a4\accentus_"accentus" s1
2720 \[ a4_"episem" \episemInitium \pes b \flexa a \episemFinis \]
2727 Some articulations are vertically placed too closely to the
2728 correpsonding note heads.
2731 @subsection Custodes
2736 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
2737 symbol that appears at the end of a staff. It anticipates the pitch
2738 of the first note(s) of the following line thus helping the performer
2739 to manage line breaks during performance.
2741 Custodes were frequently used in music notation until the 17th
2742 century. Nowadays, they have survived only in a few particular forms
2743 of musical notation such as contemporary editions of Gregorian chant
2744 like the @emph{editio vaticana}. There are different custos glyphs
2745 used in different flavors of notational style.
2747 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
2748 @internalsref{Staff} context when declaring the @code{\layout} block,
2749 as shown in the following example
2755 \consists Custos_engraver
2756 Custos \override #'style = #'mensural
2761 The result looks like this
2763 @lilypond[quote,raggedright]
2767 \override Staff.Custos #'style = #'mensural
2772 \context { \Staff \consists Custos_engraver }
2777 The custos glyph is selected by the @code{style} property. The styles
2778 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
2779 @code{mensural}. They are demonstrated in the following fragment
2781 @lilypond[quote,raggedright,fragment]
2782 \new Lyrics \lyricmode {
2784 \typewriter "vaticana"
2785 \line { " " \musicglyph #"custodes.vaticana.u0" }
2788 \typewriter "medicaea"
2789 \line { " " \musicglyph #"custodes.medicaea.u0" }
2792 \typewriter "hufnagel"
2793 \line { " " \musicglyph #"custodes.hufnagel.u0" }
2796 \typewriter "mensural"
2797 \line { " " \musicglyph #"custodes.mensural.u0" }
2804 Program reference: @internalsref{Custos}.
2806 Examples: @inputfileref{input/@/regression,custos@/.ly}.
2810 @subsection Divisiones
2816 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
2817 `division') is a staff context symbol that is used to structure
2818 Gregorian music into phrases and sections. The musical meaning of
2819 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
2820 can be characterized as short, medium, and long pause, somewhat like
2821 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
2822 only marks the end of a chant, but is also frequently used within a
2823 single antiphonal/responsorial chant to mark the end of each section.
2826 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
2827 contains definitions that you can apply by just inserting
2828 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
2829 and @code{\finalis} at proper places in the input. Some editions use
2830 @emph{virgula} or @emph{caesura} instead of divisio minima.
2831 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
2834 @lilypondfile[quote,raggedright]{divisiones.ly}
2838 @cindex @code{\virgula}
2840 @cindex @code{\caesura}
2842 @cindex @code{\divisioMinima}
2843 @code{\divisioMinima},
2844 @cindex @code{\divisioMaior}
2845 @code{\divisioMaior},
2846 @cindex @code{\divisioMaxima}
2847 @code{\divisioMaxima},
2848 @cindex @code{\finalis}
2853 In this manual: @ref{Breath marks}.
2855 Program reference: @internalsref{BreathingSign}.
2857 Examples: @inputfileref{input/@/test,divisiones@/.ly}.
2860 @subsection Ligatures
2864 @c TODO: Should double check if I recalled things correctly when I wrote
2865 @c down the following paragraph by heart.
2867 A ligature is a graphical symbol that represents at least two distinct
2868 notes. Ligatures originally appeared in the manuscripts of Gregorian
2869 chant notation to denote ascending or descending sequences of notes.
2871 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
2872 Some ligature styles may need additional input syntax specific for
2873 this particular type of ligature. By default, the
2874 @internalsref{LigatureBracket} engraver just puts a square bracket
2877 @lilypond[quote,raggedright,verbatim]
2885 To select a specific style of ligatures, a proper ligature engraver
2886 has to be added to the @internalsref{Voice} context, as explained in
2887 the following subsections. Only white mensural ligatures
2888 are supported with certain limitations.
2894 Ligatures need special spacing that has not yet been implemented. As
2895 a result, there is too much space between ligatures most of the time,
2896 and line breaking often is unsatisfactory. Also, lyrics do not
2897 correctly align with ligatures.
2899 Accidentals must not be printed within a ligature, but instead need to
2900 be collected and printed in front of it.
2902 Augmentum dots within ligatures are not handled correctly.
2904 The syntax still uses the deprecated infix style @code{\[ music expr
2905 \]}. For consistency reasons, it will eventually be changed to
2906 postfix style @code{note\[ ... note\]}. Alternatively, the file
2907 @file{gregorian@/-init@/.ly} can be included; it provides a scheme
2910 \ligature @var{music expr}
2912 with the same effect and is believed to be stable.
2915 * White mensural ligatures::
2916 * Gregorian square neumes ligatures::
2919 @node White mensural ligatures
2920 @subsubsection White mensural ligatures
2922 @cindex Mensural ligatures
2923 @cindex White mensural ligatures
2925 There is limited support for white mensural ligatures.
2927 To engrave white mensural ligatures, in the layout block put the
2928 @internalsref{Mensural_ligature_engraver} into the
2929 @internalsref{Voice} context, and remove the
2930 @internalsref{Ligature_bracket_engraver}, like this
2936 \remove Ligature_bracket_engraver
2937 \consists Mensural_ligature_engraver
2942 There is no additional input language to describe the shape of a
2943 white mensural ligature. The shape is rather determined solely from
2944 the pitch and duration of the enclosed notes. While this approach may
2945 take a new user a while to get accustomed to, it has the great advantage
2946 that the full musical information of the ligature is known internally.
2947 This is not only required for correct MIDI output, but also allows for
2948 automatic transcription of the ligatures.
2953 \set Score.timing = ##f
2954 \set Score.defaultBarType = "empty"
2955 \override NoteHead #'style = #'neomensural
2956 \override Staff.TimeSignature #'style = #'neomensural
2960 \[ d\longa c\breve f e d \]
2962 \[ c'\maxima d'\longa \]
2966 @lilypond[quote,raggedright]
2969 \set Score.timing = ##f
2970 \set Score.defaultBarType = "empty"
2971 \override NoteHead #'style = #'neomensural
2972 \override Staff.TimeSignature #'style = #'neomensural
2976 \[ d\longa c\breve f e d \]
2978 \[ c'\maxima d'\longa \]
2985 \remove Ligature_bracket_engraver
2986 \consists Mensural_ligature_engraver
2992 Without replacing @internalsref{Ligature_bracket_engraver} with
2993 @internalsref{Mensural_ligature_engraver}, the same music transcribes
2996 @lilypond[quote,raggedright]
2998 \set Score.timing = ##f
2999 \set Score.defaultBarType = "empty"
3000 \override NoteHead #'style = #'neomensural
3001 \override Staff.TimeSignature #'style = #'neomensural
3005 \[ d\longa c\breve f e d \]
3007 \[ c'\maxima d'\longa \]
3015 The invisible rests (@code{s4}) in the example are used to compensate
3016 for the poor horizontal spacing.
3018 @node Gregorian square neumes ligatures
3019 @subsubsection Gregorian square neumes ligatures
3021 @cindex Square neumes ligatures
3022 @cindex Gregorian square neumes ligatures
3024 There is limited support for Gregorian square neumes notation
3025 (following the style of the Editio Vaticana). Core ligatures can
3026 already be typeset, but essential issues for serious typesetting are
3027 still lacking, such as (among others) horizontal alignment of multiple
3028 ligatures, lyrics alignment and proper handling of accidentals.
3031 The following table contains the extended neumes table of the 2nd
3032 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
3033 1983 by the monks of Solesmes.
3035 @multitable @columnfractions .4 .2 .2 .2
3052 @c TODO: \layout block is identical in all of the below examples.
3053 @c Therefore, it should somehow be included rather than duplicated all
3056 @c why not make identifiers in ly/engraver-init.ly? --hwn
3058 @c Because it's just used to typeset plain notes without
3059 @c a staff for demonstration purposes rather than something
3060 @c special of Gregorian chant notation. --jr
3065 @lilypond[staffsize=26,linewidth=1.5\cm]
3066 \include "gregorian-init.ly"
3071 \noBreak s^\markup {"a"} \noBreak
3073 % Punctum Inclinatum
3075 \noBreak s^\markup {"b"}
3077 \layout { \neumeDemoLayout }}
3080 @lilypond[staffsize=26,linewidth=2.5\cm]
3081 \include "gregorian-init.ly"
3084 % Punctum Auctum Ascendens
3085 \[ \auctum \ascendens b \]
3086 \noBreak s^\markup {"c"} \noBreak
3088 % Punctum Auctum Descendens
3089 \[ \auctum \descendens b \]
3090 \noBreak s^\markup {"d"} \noBreak
3092 % Punctum Inclinatum Auctum
3093 \[ \inclinatum \auctum b \]
3094 \noBreak s^\markup {"e"}
3096 \layout { \neumeDemoLayout }}
3099 @lilypond[staffsize=26,linewidth=1.0\cm]
3100 \include "gregorian-init.ly"
3103 % Punctum Inclinatum Parvum
3104 \[ \inclinatum \deminutum b \]
3105 \noBreak s^\markup {"f"}
3107 \layout { \neumeDemoLayout }}
3113 @lilypond[staffsize=26,linewidth=1.0\cm]
3114 \include "gregorian-init.ly"
3119 \noBreak s^\markup {"g"}
3121 \layout { \neumeDemoLayout }}
3127 @code{3. Apostropha vel Stropha}
3129 @lilypond[staffsize=26,linewidth=1.0\cm]
3130 \include "gregorian-init.ly"
3135 \noBreak s^\markup {"h"}
3137 \layout { \neumeDemoLayout }}
3140 @lilypond[staffsize=26,linewidth=1.0\cm]
3141 \include "gregorian-init.ly"
3145 \[ \stropha \auctum b \]
3146 \noBreak s^\markup {"i"}
3148 \layout { \neumeDemoLayout }}
3155 @lilypond[staffsize=26,linewidth=1.0\cm]
3156 \include "gregorian-init.ly"
3161 \noBreak s^\markup {"j"}
3163 \layout { \neumeDemoLayout }}
3169 @code{5. Clivis vel Flexa}
3171 @lilypond[staffsize=26,linewidth=1.0\cm]
3172 \include "gregorian-init.ly"
3179 \layout { \neumeDemoLayout }}
3182 @lilypond[staffsize=26,linewidth=2.0\cm]
3183 \include "gregorian-init.ly"
3186 % Clivis Aucta Descendens
3187 \[ b \flexa \auctum \descendens g \]
3188 \noBreak s^\markup {"l"} \noBreak
3190 % Clivis Aucta Ascendens
3191 \[ b \flexa \auctum \ascendens g \]
3192 \noBreak s^\markup {"m"}
3194 \layout { \neumeDemoLayout }}
3197 @lilypond[staffsize=26,linewidth=1.0\cm]
3198 \include "gregorian-init.ly"
3202 \[ b \flexa \deminutum g \]
3205 \layout { \neumeDemoLayout }}
3209 @code{6. Podatus vel Pes}
3211 @lilypond[staffsize=26,linewidth=1.0\cm]
3212 \include "gregorian-init.ly"
3219 \layout { \neumeDemoLayout }}
3222 @lilypond[staffsize=26,linewidth=2.0\cm]
3223 \include "gregorian-init.ly"
3226 % Pes Auctus Descendens
3227 \[ g \pes \auctum \descendens b \]
3228 \noBreak s^\markup {"p"} \noBreak
3230 % Pes Auctus Ascendens
3231 \[ g \pes \auctum \ascendens b \]
3232 \noBreak s^\markup {"q"}
3234 \layout { \neumeDemoLayout }}
3237 @lilypond[staffsize=26,linewidth=1.0\cm]
3238 \include "gregorian-init.ly"
3242 \[ g \pes \deminutum b \]
3245 \layout { \neumeDemoLayout }}
3249 @code{7. Pes Quassus}
3251 @lilypond[staffsize=26,linewidth=1.0\cm]
3252 \include "gregorian-init.ly"
3256 \[ \oriscus g \pes \virga b \]
3259 \layout { \neumeDemoLayout }}
3262 @lilypond[staffsize=26,linewidth=1.0\cm]
3263 \include "gregorian-init.ly"
3266 % Pes Quassus Auctus Descendens
3267 \[ \oriscus g \pes \auctum \descendens b \]
3270 \layout { \neumeDemoLayout }}
3275 @code{8. Quilisma Pes}
3277 @lilypond[staffsize=26,linewidth=1.0\cm]
3278 \include "gregorian-init.ly"
3282 \[ \quilisma g \pes b \]
3285 \layout { \neumeDemoLayout }}
3288 @lilypond[staffsize=26,linewidth=1.0\cm]
3289 \include "gregorian-init.ly"
3292 % Quilisma Pes Auctus Descendens
3293 \[ \quilisma g \pes \auctum \descendens b \]
3296 \layout { \neumeDemoLayout }}
3301 @code{9. Podatus Initio Debilis}
3303 @lilypond[staffsize=26,linewidth=1.0\cm]
3304 \include "gregorian-init.ly"
3307 % Pes Initio Debilis
3308 \[ \deminutum g \pes b \]
3311 \layout { \neumeDemoLayout }}
3314 @lilypond[staffsize=26,linewidth=1.0\cm]
3315 \include "gregorian-init.ly"
3318 % Pes Auctus Descendens Initio Debilis
3319 \[ \deminutum g \pes \auctum \descendens b \]
3322 \layout { \neumeDemoLayout }}
3329 @lilypond[staffsize=26,linewidth=1.0\cm]
3330 \include "gregorian-init.ly"
3334 \[ a \pes b \flexa g \]
3337 \layout { \neumeDemoLayout }}
3340 @lilypond[staffsize=26,linewidth=1.0\cm]
3341 \include "gregorian-init.ly"
3344 % Torculus Auctus Descendens
3345 \[ a \pes b \flexa \auctum \descendens g \]
3348 \layout { \neumeDemoLayout }}
3351 @lilypond[staffsize=26,linewidth=1.0\cm]
3352 \include "gregorian-init.ly"
3355 % Torculus Deminutus
3356 \[ a \pes b \flexa \deminutum g \]
3359 \layout { \neumeDemoLayout }}
3363 @code{11. Torculus Initio Debilis}
3365 @lilypond[staffsize=26,linewidth=1.0\cm]
3366 \include "gregorian-init.ly"
3369 % Torculus Initio Debilis
3370 \[ \deminutum a \pes b \flexa g \]
3373 \layout { \neumeDemoLayout }}
3376 @lilypond[staffsize=26,linewidth=1.0\cm]
3377 \include "gregorian-init.ly"
3380 % Torculus Auctus Descendens Initio Debilis
3381 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
3384 \layout { \neumeDemoLayout }}
3387 @lilypond[staffsize=26,linewidth=1.0\cm]
3388 \include "gregorian-init.ly"
3391 % Torculus Deminutus Initio Debilis
3392 \[ \deminutum a \pes b \flexa \deminutum g \]
3395 \layout { \neumeDemoLayout }}
3399 @code{12. Porrectus}
3401 @lilypond[staffsize=26,linewidth=1.0\cm]
3402 \include "gregorian-init.ly"
3406 \[ a \flexa g \pes b \]
3409 \layout { \neumeDemoLayout }}
3412 @lilypond[staffsize=26,linewidth=1.0\cm]
3413 \include "gregorian-init.ly"
3416 % Porrectus Auctus Descendens
3417 \[ a \flexa g \pes \auctum \descendens b \]
3420 \layout { \neumeDemoLayout }}
3423 @lilypond[staffsize=26,linewidth=1.0\cm]
3424 \include "gregorian-init.ly"
3427 % Porrectus Deminutus
3428 \[ a \flexa g \pes \deminutum b \]
3431 \layout { \neumeDemoLayout }}
3437 @lilypond[staffsize=26,linewidth=1.0\cm]
3438 \include "gregorian-init.ly"
3442 \[ \virga b \inclinatum a \inclinatum g \]
3445 \layout { \neumeDemoLayout }
3449 @lilypond[staffsize=26,linewidth=1.0\cm]
3450 \include "gregorian-init.ly"
3454 \[ \virga b \inclinatum a \inclinatum \auctum g \]
3457 \layout { \neumeDemoLayout }}
3460 @lilypond[staffsize=26,linewidth=1.0\cm]
3461 \include "gregorian-init.ly"
3464 % Climacus Deminutus
3465 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
3468 \layout { \neumeDemoLayout }}
3472 @code{14. Scandicus}
3474 @lilypond[staffsize=26,linewidth=1.0\cm]
3475 \include "gregorian-init.ly"
3479 \[ g \pes a \virga b \]
3482 \layout { \neumeDemoLayout }}
3485 @lilypond[staffsize=26,linewidth=1.0\cm]
3486 \include "gregorian-init.ly"
3489 % Scandicus Auctus Descendens
3490 \[ g \pes a \pes \auctum \descendens b \]
3493 \layout { \neumeDemoLayout }}
3496 @lilypond[staffsize=26,linewidth=1.0\cm]
3497 \include "gregorian-init.ly"
3500 % Scandicus Deminutus
3501 \[ g \pes a \pes \deminutum b \]
3504 \layout { \neumeDemoLayout }}
3510 @lilypond[staffsize=26,linewidth=1.0\cm]
3511 \include "gregorian-init.ly"
3515 \[ g \oriscus a \pes \virga b \]
3518 \layout { \neumeDemoLayout }}
3521 @lilypond[staffsize=26,linewidth=1.0\cm]
3522 \include "gregorian-init.ly"
3525 % Salicus Auctus Descendens
3526 \[ g \oriscus a \pes \auctum \descendens b \]
3529 \layout { \neumeDemoLayout }}
3536 @lilypond[staffsize=26,linewidth=1.0\cm]
3537 \include "gregorian-init.ly"
3541 \[ \stropha b \stropha b \stropha a \]
3544 \layout { \neumeDemoLayout }
3553 Unlike most other neumes notation systems, the input language for
3554 neumes does not reflect the typographical appearance, but is designed
3555 to focus on musical meaning. For example, @code{\[ a \pes b
3556 \flexa g \]} produces a Torculus consisting of three Punctum heads,
3557 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
3558 curved flexa shape and only a single Punctum head. There is no
3559 command to explicitly typeset the curved flexa shape; the decision of
3560 when to typeset a curved flexa shape is based on the musical
3561 input. The idea of this approach is to separate the musical aspects
3562 of the input from the notation style of the output. This way, the
3563 same input can be reused to typeset the same music in a different
3564 style of Gregorian chant notation.
3566 The following table shows the code fragments that produce the
3567 ligatures in the above neumes table. The letter in the first column
3568 in each line of the below table indicates to which ligature in the
3569 above table it refers. The second column gives the name of the
3570 ligature. The third column shows the code fragment that produces this
3571 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
3573 @multitable @columnfractions .02 .31 .67
3593 @code{\[ \inclinatum b \]}
3601 @code{\[ \auctum \ascendens b \]}
3609 @code{\[ \auctum \descendens b \]}
3614 Punctum Inclinatum@*
3617 @code{\[ \inclinatum \auctum b \]}
3622 Punctum Inclinatum@*
3624 @code{\[ \inclinatum \deminutum b \]}
3631 @code{\[ \virga b \]}
3638 @code{\[ \stropha b \]}
3645 @code{\[ \stropha \auctum b \]}
3652 @code{\[ \oriscus b \]}
3659 @code{\[ b \flexa g \]}
3667 @code{\[ b \flexa \auctum \descendens g \]}
3675 @code{\[ b \flexa \auctum \ascendens g \]}
3682 @code{\[ b \flexa \deminutum g \]}
3689 @code{\[ g \pes b \]}
3697 @code{\[ g \pes \auctum \descendens b \]}
3705 @code{\[ g \pes \auctum \ascendens b \]}
3712 @code{\[ g \pes \deminutum b \]}
3719 @code{\[ \oriscus g \pes \virga b \]}
3725 Auctus Descendens @tab
3726 @code{\[ \oriscus g \pes \auctum \descendens b \]}
3733 @code{\[ \quilisma g \pes b \]}
3741 @code{\[ \quilisma g \pes \auctum \descendens b \]}
3748 @code{\[ \deminutum g \pes b \]}
3753 Pes Auctus Descendens@*
3756 @code{\[ \deminutum g \pes \auctum \descendens b \]}
3763 @code{\[ a \pes b \flexa g \]}
3771 @code{\[ a \pes b \flexa \auctum \descendens g \]}
3778 @code{\[ a \pes b \flexa \deminutum g \]}
3783 Torculus Initio Debilis
3785 @code{\[ \deminutum a \pes b \flexa g \]}
3791 Descendens Initio Debilis
3793 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
3798 Torculus Deminutus@*
3801 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
3808 @code{\[ a \flexa g \pes b \]}
3816 @code{\[ a \flexa g \pes \auctum \descendens b \]}
3823 @code{\[ a \flexa g \pes \deminutum b \]}
3830 @code{\[ \virga b \inclinatum a \inclinatum g \]}
3837 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
3844 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
3851 @code{\[ g \pes a \virga b \]}
3859 @code{\[ g \pes a \pes \auctum \descendens b \]}
3866 @code{\[ g \pes a \pes \deminutum b \]}
3873 @code{\[ g \oriscus a \pes \virga b \]}
3878 Salicus Auctus Descendens
3880 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
3887 @code{\[ \stropha b \stropha b \stropha a \]}
3892 The following head prefixes are supported
3894 @cindex @code{\virga}
3896 @cindex @code{\stropha}
3898 @cindex @code{\inclinatum}
3900 @cindex @code{\auctum}
3902 @cindex @code{\descendens}
3904 @cindex @code{\ascendens}
3906 @cindex @code{\oriscus}
3908 @cindex @code{\quilisma}
3910 @cindex @code{\deminutum}
3913 Head prefixes can be accumulated, though restrictions apply. For
3914 example, either @code{\descendens} or @code{\ascendens} can be applied
3915 to a head, but not both to the same head.
3918 @cindex @code{\flexa}
3919 Two adjacent heads can be tied together with the @code{\pes} and
3920 @code{\flexa} infix commands for a rising and falling line of melody,
3925 @node Gregorian Chant contexts
3926 @subsection Gregorian Chant contexts
3928 @cindex VaticanaVoiceContext
3929 @cindex VaticanaStaffContext
3931 The predefined @code{VaticanaVoiceContext} and
3932 @code{VaticanaStaffContext} can be used to engrave a piece of
3933 Gregorian Chant in the style of the Editio Vaticana. These contexts
3934 initialize all relevant context properties and grob properties to
3935 proper values, so you can immediately go ahead entering the chant, as
3936 the following excerpt demonstrates
3938 @lilypond[quote,raggedright,packed,verbatim]
3939 \include "gregorian-init.ly"
3942 \context VaticanaVoice = "cantus" {
3943 \override Staff.StaffSymbol #'color = #red
3944 \override Staff.LedgerLineSpanner #'color = #red
3945 \override Score.BarNumber #'transparent = ##t {
3946 \[ c'\melisma c' \flexa a \]
3947 \[ a \flexa \deminutum g\melismaEnd \]
3949 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
3950 c' \divisioMinima \break
3951 \[ c'\melisma c' \flexa a \]
3952 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
3955 \lyricsto "cantus" \new Lyrics {
3956 San- ctus, San- ctus, San- ctus
3963 @node Mensural contexts
3964 @subsection Mensural contexts
3966 @cindex MensuralVoiceContext
3967 @cindex MensuralStaffContext
3969 The predefined @code{MensuralVoiceContext} and
3970 @code{MensuralStaffContext} can be used to engrave a piece in mensural
3971 style. These contexts initialize all relevant context properties and
3972 grob properties to proper values, so you can immediately go ahead
3973 entering the chant, as the following excerpt demonstrates
3975 @lilypond[quote,raggedright,verbatim]
3978 \context MensuralVoice = "discantus" \transpose c c' {
3979 \override Score.BarNumber #'transparent = ##t {
3980 c'1\melisma bes a g\melismaEnd
3982 \[ f1\melisma a c'\breve d'\melismaEnd \]
3984 c'\breve\melisma a1 g1\melismaEnd
3985 fis\longa^\signumcongruentiae
3988 \lyricsto "discantus" \new Lyrics {
3989 San -- ctus, San -- ctus, San -- ctus
3995 @node Musica ficta accidentals
3996 @subsection Musica ficta accidentals
3998 In European music from before about 1600, singers were often expected
3999 to chromatically alter notes at their own initiative. This is called
4000 ``Musica Ficta''. In modern transcriptions, these accidentals are
4001 usually printed over the note.
4003 @cindex Musica ficta
4005 Support for such suggested accidentals is included, and can be
4006 switched on by setting @code{suggestAccidentals} to true.
4008 @cindex @code{suggestAccidentals}
4010 @lilypond[verbatim,fragment,relative=1]
4012 \set suggestAccidentals = ##t
4018 Program reference: @internalsref{Accidental_engraver} engraver and the
4019 @internalsref{AccidentalSuggestion} object.
4022 @subsection Figured bass
4024 @cindex Basso continuo
4026 @c TODO: musicological blurb about FB
4029 LilyPond has support for figured bass
4031 @lilypond[quote,raggedright,verbatim,fragment]
4033 \context Voice { \clef bass dis4 c d ais g fis}
4034 \context FiguredBass \figuremode {
4035 < 6 >4 < 7\+ >8 < 6+ [_!] >
4042 The support for figured bass consists of two parts: there is an input
4043 mode, introduced by @code{\figuremode}, where you can enter bass figures
4044 as numbers, and there is a context called @internalsref{FiguredBass} that
4045 takes care of making @internalsref{BassFigure} objects.
4047 In figures input mode, a group of bass figures is delimited by
4048 @code{<} and @code{>}. The duration is entered after the @code{>}
4052 @lilypond[quote,raggedright,fragment]
4053 \context FiguredBass
4054 \figuremode { <4 6> }
4057 Accidentals are added when you append @code{-}, @code{!}, and @code{+}
4058 to the numbers. A plus sign is added when you append @code{\+}, and
4059 diminished fifths and sevenths can be obtained with @code{5/} and @code{7/}.
4062 <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/>
4064 @lilypond[quote,raggedright,fragment]
4065 \figures { <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/> }
4068 Spaces may be inserted by using @code{_}. Brackets are
4069 introduced with @code{[} and @code{]}. You can also include text
4070 strings and text markups, see @ref{Overview of text markup commands}.
4073 < [4 6] 8 [_! 12] > < 5 \markup @{ \number 6 \super (1) @} >
4075 @lilypond[quote,raggedright,fragment]
4076 \context FiguredBass
4077 \figuremode { < [4 6] 8 [_! 12] > < 5 \markup{ \tiny \number 6 \super (1)} > }
4081 It is also possible to use continuation lines for repeated figures,
4083 @lilypond[verbatim,relative=1]
4090 \set useBassFigureExtenders = ##t
4097 In this case, the extender lines always replace existing figures.
4099 The @code{FiguredBass} context doesn't pay attention to the actual
4100 bass line. As a consequence, you may have to insert extra figures to
4101 get extender lines below all notes, and you may have to add @code{\!}
4102 to avoid getting an extender line, eg.
4104 @lilypond[relative=1]
4108 \set useBassFigureExtenders = ##t
4109 <6 4->4. <6 4->16. <6 4->32 <5>8. r16 <6>8 <6\! 5->
4113 f16. g32 f16. g32 f16. g32 f16. g32 f8. es16 d8 es
4118 When using continuation lines, common figures are always put in the
4119 same vertical position. When this is unwanted, you can insert a rest
4120 with @code{r}. The rest will clear any previous alignment. For
4121 example, you can write
4133 Accidentals and plus signs can appear before or after the numbers,
4134 depending on the @code{figuredBassAlterationDirection} and @code{figuredBassPlusDirection}
4140 \set figuredBassAlterationDirection = #1
4142 \set figuredBassPlusDirection = #1
4144 \set figuredBassAlterationDirection = #-1
4150 Although the support for figured bass may superficially resemble chord
4151 support, it is much simpler. The @code{\figuremode} mode simply
4152 stores the numbers and @internalsref{FiguredBass} context prints them
4153 as entered. There is no conversion to pitches and no realizations of
4154 the bass are played in the MIDI file.
4156 Internally, the code produces markup texts. You can use any of the
4157 markup text properties to override formatting. For example, the
4158 vertical spacing of the figures may be set with @code{baseline-skip}.
4162 Program reference: @internalsref{NewBassFigure},
4163 @internalsref{BassFigureAlignment}, @internalsref{BassFigureLine},
4164 @internalsref{BassFigureBracket}, and
4165 @internalsref{BassFigureContinuation} objects and
4166 @internalsref{FiguredBass} context.
4170 @node Other instrument specific notation
4171 @section Other instrument specific notation
4173 This section includes extra information for writing for instruments.
4176 * Artificial harmonics (strings)::
4179 @node Artificial harmonics (strings)
4180 @subsection Artificial harmonics (strings)
4182 @cindex artificial harmonics
4184 Artificial harmonics are notated with a different notehead style. They
4185 are entered by marking the harmonic pitch with @code{\harmonic}.
4187 @lilypond[raggedright,verbatim,quote,fragment,relative=1]