1 @c -*- coding: latin-1; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
10 @chapter Basic notation
12 This chapter explains how to use all basic notation features.
16 * Alternate music entry::
30 This section is about basic notation elements like notes, rests, and
31 related constructs, such as stems, tuplets and ties.
36 * Cautionary accidentals::
51 @cindex Note specification
52 @cindex entering notes
54 A note is printed by specifying its pitch and then its duration,
56 @lilypond[quote,verbatim,raggedright,fragment]
62 This manual: @ref{Pitches}, @ref{Durations}
71 The most common syntax for pitch entry is used for standard notes and
72 @code{\chordmode} modes. In these modes, pitches may be designated by
73 names. The notes are specified by the letters @code{a} through
74 @code{g}. The octave is formed with notes ranging from @code{c}
75 to @code{b}. The pitch @code{c} is an octave below middle C and the
76 letters span the octave above that C
78 @lilypond[quote,fragment,verbatim,raggedright]
80 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
86 The optional octave specification takes the form of a series of
87 single quote (`@code{'}') characters or a series of comma
88 (`@code{,}') characters. Each @code{'} raises the pitch by one
89 octave; each @code{,} lowers the pitch by an octave
91 @lilypond[quote,raggedright,fragment,verbatim]
95 @cindex note names, Dutch
97 A sharp is formed by adding @code{-is} to the end of a pitch name and
98 a flat is formed by adding @code{-es}. Double sharps and double flats
99 are obtained by adding @code{-isis} or @code{-eses}. These
100 names are the Dutch note names. In Dutch, @code{aes} is contracted to
101 @code{as}, but both forms are accepted. Similarly, both
102 @code{es} and @code{ees} are accepted
104 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
112 There are predefined sets of note names for various other languages.
113 To use them, include the language specific init file. For
114 example: @code{\include "english.ly"}. The available language files
115 and the note names they define are
120 Note Names sharp flat
121 nederlands.ly c d e f g a bes b -is -es
122 english.ly c d e f g a bf b -s/-sharp -f/-flat
124 deutsch.ly c d e f g a b h -is -es
125 norsk.ly c d e f g a b h -iss/-is -ess/-es
126 svenska.ly c d e f g a b h -iss -ess
127 italiano.ly do re mi fa sol la sib si -d -b
128 catalan.ly do re mi fa sol la sib si -d/-s -b
129 espanol.ly do re mi fa sol la sib si -s -b
135 In accordance with standard typsetting rules, a natural sign is printed
136 before a sharp or flat if a previous accidental needs to be
137 cancelled. To change this behaviour, use
138 @code{\set Staff.extraNatural = ##f}
140 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
142 \set Staff.extraNatural = ##f
149 Program reference: @internalsref{LedgerLineSpanner}, @internalsref{NoteHead}.
152 @node Cautionary accidentals
153 @subsection Cautionary accidentals
155 @cindex reminder accidental
157 @cindex cautionary accidental
158 @cindex parenthesized accidental
161 Normally accidentals are printed automatically, but you may also
162 print them manually. A reminder accidental
163 can be forced by adding an exclamation mark @code{!}
164 after the pitch. A cautionary accidental
165 (i.e., an accidental within parentheses) can be obtained by adding the
166 question mark `@code{?}' after the pitch.
168 @lilypond[quote,raggedright,fragment,verbatim]
169 cis' cis' cis'! cis'?
175 The automatic production of accidentals can be tuned in many
176 ways. For more information, refer to @ref{Automatic accidentals}.
181 @subsection Micro tones
183 @cindex quarter tones
184 @cindex semi-flats, semi-sharps
186 Half-flats and half-sharps are formed by adding @code{-eh} and
187 @code{-ih}; the following is a series of Cs with increasing pitches
189 @lilypond[verbatim,raggedright,quote,relative=2,fragment]
190 \set Staff.extraNatural = ##f
194 Micro tones are also exported to the MIDI file.
199 There are no generally accepted standards for denoting three quarter
200 flats, so LilyPond's symbol does not conform to any standard.
208 A chord is formed by a enclosing a set of pitches in @code{<} and
209 @code{>}. A chord may be followed by a duration, and a set of
210 articulations, just like simple notes
212 @lilypond[verbatim,raggedright,fragment,quote,relative=1]
216 For more information about chords, see @ref{Chord names}.
227 Rests are entered like notes with the note name @code{r}
229 @lilypond[fragment,quote,raggedright,verbatim]
233 Whole bar rests, centered in middle of the bar,
234 must be done with multi-measure rests. They are discussed in
235 @ref{Multi measure rests}.
238 A rest's vertical position may be explicitly specified by entering a
239 note with the @code{\rest} keyword appended, the rest will be placed at
240 the note's place. This makes manual formatting in polyphonic music
241 easier. Automatic rest collision formatting will leave these rests
244 @lilypond[fragment,quote,raggedright,verbatim]
250 Program reference: @internalsref{Rest}.
257 @cindex Invisible rest
262 An invisible rest (also called a `skip') can be entered like a note
263 with note name `@code{s}' or with @code{\skip @var{duration}}
265 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
266 a4 a4 s4 a4 \skip 1 a4
269 The @code{s} syntax is only available in note mode and chord mode. In
270 other situations, for example, when entering lyrics, you should use
271 the @code{\skip} command
273 @lilypond[quote,raggedright,verbatim]
276 \new Lyrics \lyricmode { \skip 2 bla2 }
280 The skip command is merely an empty musical placeholder. It does not
281 produce any output, not even transparent output.
283 The @code{s} skip command does create @internalsref{Staff} and
284 @internalsref{Voice} when necessary, similar to note and rest
285 commands. For example, the following results in an empty staff.
287 @lilypond[quote,raggedright,verbatim]
291 The fragment @code{@{ \skip 4 @} } would produce an empty page.
295 Program reference: @internalsref{SkipMusic}.
299 @subsection Durations
302 @cindex @code{\longa}
303 @cindex @code{\breve}
304 @cindex @code{\maxima}
306 In Note, Chord, and Lyrics mode, durations are designated by numbers and
307 dots: durations are entered as their reciprocal values. For example, a
308 quarter note is entered using a @code{4} (since it is a 1/4 note), while
309 a half note is entered using a @code{2} (since it is a 1/2 note). For
310 notes longer than a whole you must use the variables @code{\longa} and
315 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
317 r1 r2 r4 r8 r16 r32 r64 r64
323 a\breve*1/2 \autoBeamOff
324 a1 a2 a4 a8 a16 a32 a64 a64
327 r\longa*1/4 r\breve *1/2
328 r1 r2 r4 r8 r16 r32 r64 r64
334 \remove "Clef_engraver"
335 \override StaffSymbol #'transparent = ##t
336 \override TimeSignature #'transparent = ##t
337 \override BarLine #'transparent = ##t
338 \consists "Pitch_squash_engraver"
344 If the duration is omitted then it is set to the previously entered
345 duration. The default for the first note is a quarter note.
347 @lilypond[quote,raggedright,verbatim,fragment]
348 { a a a2 a a4 a a1 a }
352 @node Augmentation dots
353 @subsection Augmentation dots
357 To obtain dotted note lenghts, simply add a dot (`@code{.}') to
358 the number. Double-dotted notes are produced in a similar way.
360 @lilypond[quote,raggedright,fragment,verbatim]
361 a'4 b' c''4. b'8 a'4. b'4.. c''8.
366 Dots are normally moved up to avoid staff lines, except in polyphonic
367 situations. The following commands may be used to force a particular
370 @cindex @code{\dotsUp}
372 @cindex @code{\dotsDown}
374 @cindex @code{\dotsNeutral}
379 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
387 @cindex @code{\times}
389 Tuplets are made out of a music expression by multiplying all durations
393 \times @var{fraction} @var{musicexpr}
397 The duration of @var{musicexpr} will be multiplied by the fraction.
398 The fraction's denominator will be printed over the notes, optionally
399 with a bracket. The most common tuplet is the triplet in which 3
400 notes have the length of 2, so the notes are 2/3 of their written
403 @lilypond[quote,raggedright,fragment,verbatim]
404 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
409 @cindex @code{\tupletUp}
411 @cindex @code{\tupletDown}
413 @cindex @code{\tupletNeutral}
414 @code{\tupletNeutral}.
419 @cindex @code{tupletNumberFormatFunction}
420 @cindex tuplet formatting
422 The property @code{tupletSpannerDuration} specifies how long each
423 bracket should last. With this, you can make lots of tuplets while
424 typing @code{\times} only once, thus saving lots of typing. In the next
425 example, there are two triplets shown, while @code{\times} was only
428 @lilypond[quote,fragment,relative=1,raggedright,verbatim]
429 \set tupletSpannerDuration = #(ly:make-moment 1 4)
430 \times 2/3 { c'8 c c c c c }
433 The format of the number is determined by the property
434 @code{tupletNumberFormatFunction}. The default prints only the
435 denominator, but if it is set to the Scheme function
436 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
442 Program reference: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
447 Nested tuplets are not formatted automatically. In this case, outer
448 tuplet brackets should be moved manually, which is demonstrated in
449 @inputfileref{input/@/regression,tuplet@/-nest@/.ly}.
452 @node Scaling durations
453 @subsection Scaling durations
455 You can alter the length of duration by a fraction @var{N/M}
456 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
457 will not affect the appearance of the notes or rests produced.
459 In the following example, the first three notes take up exactly two
460 beats, but no triplet bracket is printed.
461 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
463 a4*2/3 gis4*2/3 a4*2/3
471 This manual: @ref{Tuplets}
475 @node Alternate music entry
476 @section Alternate music entry
479 This section deals with tricks and features of the input language that
480 were added solely to help entering music and finding and correcting
481 mistakes. There are also external tools that make debugging easier.
482 See @ref{Point and click} for more information.
484 It is also possible to enter and edit music using other programs, such as
485 GUI interfaces or MIDI sequencers. Refer to the LilyPond
486 website for more information.
493 * Skipping corrected music::
494 * Automatic note splitting::
498 @node Relative octaves
499 @subsection Relative octaves
502 @cindex Relative octave specification
503 @cindex @code{\relative}
505 Octaves are specified by adding @code{'} and @code{,} to pitch names.
506 When you copy existing music, it is easy to accidentally put a pitch
507 in the wrong octave and hard to find such an error. The relative
508 octave mode prevents these errors by making the mistakes much
509 larger: a single error puts the rest of the piece off by one octave
512 \relative @var{startpitch} @var{musicexpr}
519 \relative @var{musicexpr}
522 The octave of notes that appear in @var{musicexpr} are calculated as
523 follows: if no octave changing marks are used, the basic interval
524 between this and the last note is always taken to be a fourth or
525 less. This distance is determined without regarding alterations; a
526 @code{fisis} following a @code{ceses} will be put above the
527 @code{ceses}. In other words, a doubly-augmented fourth is considered
528 a smaller interval than a diminshed fifth, even though the fourth is
529 seven semitones while the fifth is only six semitones.
531 The octave changing marks @code{'} and @code{,} can be added to raise
532 or lower the pitch by an extra octave. Upon entering relative mode,
533 an absolute starting pitch can be specified that will act as the
534 predecessor of the first note of @var{musicexpr}. If no starting pitch
535 is specified, then middle C is used as a start.
537 Here is the relative mode shown in action
538 @lilypond[quote,fragment,raggedright,verbatim]
544 Octave changing marks are used for intervals greater than a fourth
545 @lilypond[quote,raggedright,fragment,verbatim]
551 If the preceding item is a chord, the first note of the chord is used
552 to determine the first note of the next chord
554 @lilypond[quote,raggedright,fragment,verbatim]
562 The pitch after the @code{\relative} contains a note name.
564 The relative conversion will not affect @code{\transpose},
565 @code{\chordmode} or @code{\relative} sections in its argument. To use
566 relative within transposed music, an additional @code{\relative} must
567 be placed inside @code{\transpose}.
571 @subsection Octave check
575 Octave checks make octave errors easier to correct: a note may be
576 followed by @code{=}@var{quotes} which indicates what its absolute
577 octave should be. In the following example,
580 \relative c'' @{ c='' b=' d,='' @}
584 the @code{d} will generate a warning, because a @code{d''} is expected
585 (because @code{b'} to @code{d''} is only a third), but a @code{d'} is
586 found. In the output, the octave is corrected to be a @code{d''} and
587 the next note is calculated relative to @code{d''} instead of @code{d'}.
589 There is also a syntax that is separate from the notes. The syntax
595 This checks that @var{pitch} (without quotes) yields @var{pitch} (with
596 quotes) in \relative mode. If not, a warning is printed, and the
599 In the example below, the first check passes without incident, since
600 the @code{e} (in relative mode) is within a fifth of @code{a'}. However,
601 the second check produces a warning, since the @code{e} is not within
602 a fifth of @code{b'}. The warning message is printed, and the octave
603 is adjusted so that the following notes are in the correct octave
615 The octave of a note following an octave check is determined with
616 respect to the note preceding it. In the next fragment, the last note
617 is an @code{a'}, above middle C. That means that the @code{\octave}
618 check passes successfully, so the check could be deleted without changing
619 the output of the piece.
621 @lilypond[quote,raggedright,verbatim,fragment]
631 @subsection Transpose
634 @cindex transposition of pitches
635 @cindex @code{\transpose}
637 A music expression can be transposed with @code{\transpose}. The
640 \transpose @var{from} @var{to} @var{musicexpr}
643 This means that @var{musicexpr} is transposed by the interval between
644 the pitches @var{from} and @var{to}: any note with pitch @code{from}
645 is changed to @code{to}.
647 For example, consider a piece written in the key of D-major. If
648 this piece is a little too low for its performer, it can be
649 transposed up to E-major with
651 \transpose d e @dots{}
654 Consider a part written for violin (a C instrument). If
655 this part is to be played on the A clarinet, the following
656 transposition will produce the appropriate part
659 \transpose a c @dots{}
662 @code{\transpose} distinguishes between enharmonic pitches: both
663 @code{\transpose c cis} or @code{\transpose c des} will transpose up
664 half a tone. The first version will print sharps and the second
665 version will print flats
667 @lilypond[quote,raggedright,verbatim]
668 mus = { \key d \major cis d fis g }
677 @code{\transpose} may also be used to input written notes for a
678 transposing instrument. Pitches are normally entered into LilyPond
679 in C (or ``concert pitch''), but they may be entered in another
680 key. For example, when entering music for a B-flat trumpet which
681 begins on concert D, one would write
684 \transpose c bes @{ e4 @dots{} @}
687 To print this music in B-flat again (ie producing a trumpet part,
688 instead of a concert pitch conductor's score) you would wrap the
689 existing music with another @code{transpose}
692 \transpose bes c @{ \transpose c bes @{ e4 @dots{} @} @}
698 Program reference: @internalsref{TransposedMusic}.
703 If you want to use both @code{\transpose} and @code{\relative},
704 you must put @code{\transpose} outside of @code{\relative}, since
705 @code{\relative} will have no effect music that appears inside a
710 @subsection Bar check
713 @cindex @code{barCheckSynchronize}
716 Bar checks help detect errors in the durations. A bar check is
717 entered using the bar symbol, `@code{|}'. Whenever it is encountered
718 during interpretation, it should fall on a measure boundary. If it
719 does not, a warning is printed. In the next example, the second bar
720 check will signal an error
722 \time 3/4 c2 e4 | g2 |
725 Bar checks can also be used in lyrics, for example
730 Twin -- kle | Twin -- kle
734 Failed bar checks are caused by entering incorrect
735 durations. Incorrect durations often completely garble up the score,
736 especially if the score is polyphonic, so a good place to start correcting
737 input is by scanning for failed bar checks and incorrect durations.
740 @cindex @code{pipeSymbol}
742 It is also possible to redefine the meaning of @code{|}. This is done
743 by assigning a music expression to @code{pipeSymbol},
745 @lilypond[quote,raggedright,verbatim]
746 pipeSymbol = \bar "||"
752 @node Skipping corrected music
753 @subsection Skipping corrected music
756 @cindex @code{skipTypesetting}
757 @cindex @code{showLastLength}
759 When entering or copying music, only the music near the end (where you
760 are adding notes) is interesting to view and correct. To speed up
761 this correction process, it is possible to skip typesetting of all but
762 the last few measures. This is achieved by putting
765 showLastLength = R1*5
770 in your source file. This will render only the last 5 measures
771 (assuming 4/4 time signature) of every @code{\score} in the input
772 file. For longer pieces, rendering only a small part is often an order
773 of magnitude quicker than rendering it completely
775 Skipping parts of a score can be controlled in a more fine-grained
776 fashing with the property @code{Score.skipTypesetting}. When it is
777 set, no typesetting is performed at all.
779 @lilypond[quote,fragment,raggedright,verbatim]
782 \set Score.skipTypesetting = ##t
784 \set Score.skipTypesetting = ##f
788 In polyphonic music, @code{Score.skipTypesetting} will affect all
789 voices and staves, saving even more time.
792 @node Automatic note splitting
793 @subsection Automatic note splitting
795 Long notes can be converted automatically to tied notes. This is done
796 by replacing the @internalsref{Note_heads_engraver} by the
797 @internalsref{Completion_heads_engraver}.
798 In the following examples, notes crossing the bar line are split and tied.
800 @lilypond[quote,fragment,verbatim,relative=1,linewidth=12\cm]
802 \remove "Note_heads_engraver"
803 \consists "Completion_heads_engraver"
805 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
809 This engraver splits all running notes at the bar line, and inserts
810 ties. One of its uses is to debug complex scores: if the measures are
811 not entirely filled, then the ties exactly show how much each measure
817 Not all durations (especially those containing tuplets) can be
818 represented exactly with normal notes and dots, but the engraver will
821 @code{Completion_heads_engraver} only affects notes; it does not split
827 Examples: @inputfileref{input/@/regression,completion@/-heads@/.ly}.
831 Program reference: @internalsref{Completion_heads_engraver}.
836 @section Staff notation
838 @cindex Staff notation
840 This section describes music notation that occurs on staff level,
841 such as key signatures, clefs and time signatures.
850 * System start delimiters::
860 The clef indicates which lines of the staff correspond to which
861 pitches. The clef is set with the @code{\clef} command
863 @lilypond[quote,raggedright,fragment,verbatim]
864 { c''2 \clef alto g'2 }
874 @cindex mezzosoprano clef
875 @cindex baritone clef
876 @cindex varbaritone clef
879 Supported clefs finclude
881 @item treble, violin, G, G2
890 G clef on 1st line, so-called French violin clef
907 By adding @code{_8} or @code{^8} to the clef name, the clef is
908 transposed one octave down or up, respectively, and @code{_15} and
909 @code{^15} transposes by two octaves. The argument @var{clefname}
910 must be enclosed in quotes when it contains underscores or digits. For
913 @cindex choral tenor clef
914 @lilypond[quote,raggedright,verbatim,fragment,relative=1]
921 The command @code{\clef "treble_8"} is equivalent to setting @code{clefGlyph},
922 @code{clefPosition} (which controls the Y position of the clef),
923 @code{middleCPosition} and @code{clefOctavation}. A clef is printed
924 when any of these properties are changed. The following example shows
925 possibilities when setting properties manually.
927 @lilypond[quote,raggedright,verbatim]
929 \set Staff.clefGlyph = #"clefs.F"
930 \set Staff.clefPosition = #2
932 \set Staff.clefGlyph = #"clefs.G"
934 \set Staff.clefGlyph = #"clefs.C"
936 \set Staff.clefOctavation = #7
938 \set Staff.clefOctavation = #0
939 \set Staff.clefPosition = #0
943 \set Staff.middleCPosition = #4
951 Program reference: @internalsref{Clef}.
955 @subsection Key signature
957 @cindex Key signature
960 The key signature indicates the tonality in which a piece is played. It
961 is denoted by a set of alterations (flats or sharps) at the start of the
964 Setting or changing the key signature is done with the @code{\key}
968 @code{\key} @var{pitch} @var{type}
971 @cindex @code{\minor}
972 @cindex @code{\major}
973 @cindex @code{\minor}
974 @cindex @code{\ionian}
975 @cindex @code{\locrian}
976 @cindex @code{\aeolian}
977 @cindex @code{\mixolydian}
978 @cindex @code{\lydian}
979 @cindex @code{\phrygian}
980 @cindex @code{\dorian}
983 Here, @var{type} should be @code{\major} or @code{\minor} to get
984 @var{pitch}-major or @var{pitch}-minor, respectively. You may also
985 use the standard mode names (also called ``church modes''): @code{\ionian},
986 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
987 @code{\phrygian}, and @code{\dorian}.
989 This command sets the context property
990 @code{Staff.keySignature}. Non-standard key signatures
991 can be specified by setting this property directly.
993 Accidentals and key signatures often confuse new users, because
994 unaltered notes get natural signs depending on the key signature. For
995 more information, see @ref{More about pitches}.
1000 A natural sign is printed to cancel any previous accidentals. This
1001 can be suppressed by setting the @code{Staff.printKeyCancellation}
1004 @lilypond[quote,fragment,raggedright,fragment,verbatim,relative=2]
1009 \set Staff.printKeyCancellation = ##f
1019 Program reference: @internalsref{KeyCancellation}, @internalsref{KeySignature}.
1022 @node Time signature
1023 @subsection Time signature
1025 @cindex Time signature
1027 @cindex @code{\time}
1029 Time signature indicates the metrum of a piece: a regular pattern of
1030 strong and weak beats. It is denoted by a fraction at the start of the
1033 The time signature is set with the @code{\time} command
1035 @lilypond[quote,raggedright,fragment,verbatim]
1036 \time 2/4 c'2 \time 3/4 c'2.
1041 The symbol that is printed can be customized with the @code{style}
1042 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1045 @lilypond[fragment,quote,raggedright,verbatim]
1048 \override Staff.TimeSignature #'style = #'()
1053 There are many more options for its layout. See @ref{Ancient time
1054 signatures} for more examples.
1056 @code{\time} sets the property @code{timeSignatureFraction},
1057 @code{beatLength} and @code{measureLength} in the @code{Timing}
1058 context, which is normally aliased to @internalsref{Score}. The
1059 property @code{measureLength} determines where bar lines should be
1060 inserted, and how automatic beams should be generated. Changing the
1061 value of @code{timeSignatureFraction} also causes the symbol to be
1064 More options are available through the Scheme function
1065 @code{set-time-signature}. In combination with the
1066 @internalsref{Measure_grouping_engraver}, it will create
1067 @internalsref{MeasureGrouping} signs. Such signs ease reading
1068 rhythmically complex modern music. In the following example, the 9/8
1069 measure is subdivided in 2, 2, 2 and 3. This is passed to
1070 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
1072 @lilypond[quote,raggedright,verbatim]
1075 #(set-time-signature 9 8 '(2 2 2 3))
1076 g8[ g] d[ d] g[ g] a8[( bes g]) |
1077 #(set-time-signature 5 8 '(3 2))
1083 \consists "Measure_grouping_engraver"
1091 Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_translator}.
1096 Automatic beaming does not use the measure grouping specified with
1097 @code{set-time-signature}.
1100 @node Partial measures
1101 @subsection Partial measures
1105 @cindex partial measure
1106 @cindex measure, partial
1107 @cindex shorten measures
1108 @cindex @code{\partial}
1110 Partial measures, such as an anacrusis or upbeat, are entered using the
1112 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1113 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1116 The syntax for this command is
1119 \partial @var{duration}
1122 This is internally translated into
1125 \set Timing.measurePosition = -@var{length of duration}
1128 The property @code{measurePosition} contains a rational number
1129 indicating how much of the measure has passed at this point.
1134 This command does not take into account grace notes at the start of
1135 the music. When a piece starts with graces notes in the pickup, then
1136 the @code{\partial} should follow the grace notes
1138 @lilypond[verbatim,quote,raggedright,relative,fragment]
1147 @subsection Bar lines
1151 @cindex measure lines
1154 Bar lines delimit measures, but are also used to indicate
1155 repeats. Normally they are inserted automatically. Line
1156 breaks may only happen on bar lines.
1158 Special types of bar lines can be forced with the @code{\bar} command
1160 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1164 The following bar types are available
1166 @lilypondfile[raggedright,quote]{bar-lines.ly}
1168 To allow a line break where there is no visible bar line, use
1175 This will insert an invisible bar line and allow line breaks at this
1178 In scores with many staves, a @code{\bar} command in one staff is
1179 automatically applied to all staves. The resulting bar lines are
1180 connected between different staves of a StaffGroup
1182 @lilypond[quote,raggedright,fragment,verbatim]
1184 \context StaffGroup <<
1190 \new Staff { \clef bass c4 g e g }
1192 \new Staff { \clef bass c2 c2 }
1196 @cindex @code{whichBar}
1197 @cindex @code{repeatCommands}
1198 @cindex @code{defaultBarType}
1200 The command @code{\bar }@var{bartype} is a short cut for doing
1201 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1202 is set to a string, a bar line of that type is created.
1204 A bar line is created whenever the @code{whichBar} property is set.
1205 At the start of a measure it is set to the contents of
1206 @code{Timing.defaultBarType}. The contents of @code{repeatCommands} are used
1207 to override default measure bars.
1209 You are encouraged to use @code{\repeat} for repetitions. See
1215 In this manual: @ref{Repeats}, @ref{System start delimiters}.
1217 Program reference: @internalsref{BarLine} (created at
1218 @internalsref{Staff} level), @internalsref{SpanBar} (across staves).
1220 Examples: @inputfileref{input/@/test,bar@/-lines@/.ly},
1223 @node Unmetered music
1224 @subsection Unmetered music
1227 @cindex @code{\cadenzaOn}
1228 @cindex @code{\cadenzaOff}
1230 Bar lines and bar numbers are calculated automatically. For unmetered
1231 music (cadenzas, for example), this is not desirable. To turn off
1232 automatic bar lines and bar numbers, use the commands @code{\cadenzaOn}
1233 and @code{\cadenzaOff}.
1235 @lilypond[verbatim,quote,raggedright,relative=2,fragment]
1247 LilyPond will only insert page breaks at a barline. Unless the unmetered
1248 music ends before the end of the staff line, you will need to insert
1256 to indicate where line breaks can occur.
1259 @node System start delimiters
1260 @subsection System start delimiters
1262 @cindex start of system
1263 @cindex Staff, multiple
1264 @cindex bracket, vertical
1265 @cindex brace, vertical
1268 @cindex staff, choir
1270 Many scores consist of more than one staff. These staves can be
1271 joined in four different ways
1274 @item The group is started with a brace at the left, and bar lines are
1275 connected. This is done with the @internalsref{GrandStaff} context.
1277 @lilypond[verbatim,raggedright,quote]
1285 @item The group is started with a bracket, and bar lines are connected.
1286 This is done with the
1287 @internalsref{StaffGroup} context
1289 @lilypond[verbatim,raggedright,quote]
1297 @item The group is started with a bracket, but bar lines are not
1298 connected. This is done with the @internalsref{ChoirStaff} context.
1300 @lilypond[verbatim,raggedright,quote]
1308 @item The group is started with a vertical line. Bar lines are not
1309 connected. This is the default for the score.
1311 @lilypond[verbatim,raggedright,quote]
1322 The bar lines at the start of each system are
1323 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1324 @internalsref{SystemStartBracket}. Only one of these types is created
1325 in every context, and that type is determined by the property
1326 @code{systemStartDelimiter}.
1330 @subsection Staff symbol
1332 @cindex adjusting staff symbol
1334 Notes, dynamic signs, etc., are grouped
1335 with a set of horizontal lines, called a staff (plural `staves'). In
1336 LilyPond, these lines are drawn using a separate layout object called
1339 The staff symbol may be tuned in the number, thickness and distance
1340 of lines, using properties. This is demonstrated in the example files
1341 @inputfileref{input/@/test,staff@/-lines@/.ly},
1342 @inputfileref{input/@/test,staff@/-size@/.ly}.
1344 In addition, staves may be started and stopped at will. This is done
1345 with @code{\startStaff} and @code{\stopStaff}.
1347 @lilypond[verbatim,relative=2,fragment]
1349 \override Staff.StaffSymbol #'line-count = 2
1350 \stopStaff \startStaff
1352 \revert Staff.StaffSymbol #'line-count
1353 \stopStaff \startStaff
1357 In combination with Frenched staves, this may be used to typeset ossia
1358 sections. An example is in @inputfileref{input/@/test@/,ossia.ly},
1363 @lilypondfile{ossia.ly}
1365 @cindex staff lines, setting number of
1366 @cindex staff lines, setting thickness of
1367 @cindex thickness of staff lines, setting
1368 @cindex number of staff lines, setting
1372 Program reference: @internalsref{StaffSymbol}.
1374 Examples: @inputfileref{input/@/test,staff@/-lines@/.ly},
1375 @inputfileref{input/@/test@/,ossia.ly},
1376 @inputfileref{input/@/test,staff@/-size@/.ly}.
1380 @node Connecting notes
1381 @section Connecting notes
1383 This section deals with notation that affects groups of notes.
1401 A tie connects two adjacent note heads of the same pitch. The tie in
1402 effect extends the length of a note. Ties should not be confused with
1403 slurs, which indicate articulation, or phrasing slurs, which indicate
1404 musical phrasing. A tie is entered using the tilde symbol `@code{~}'
1406 @lilypond[quote,raggedright,fragment,verbatim]
1407 e' ~ e' <c' e' g'> ~ <c' e' g'>
1410 When a tie is applied to a chord, all note heads whose pitches match
1411 are connected. When no note heads match, no ties will be created.
1413 A tie is just a way of extending a note duration, similar to the
1414 augmentation dot. The following example shows two ways of notating
1415 exactly the same concept
1417 @lilypond[quote,fragment,raggedright]
1418 \time 3/4 c'2. c'2 ~ c'4
1422 Ties are used either when the note crosses a bar line, or when dots
1423 cannot be used to denote the rhythm. When using ties, larger note
1424 values should be aligned to subdivisions of the measure, eg.
1426 @lilypond[fragment,quote,raggedright]
1428 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
1432 If you need to tie a lot of notes over bars, it may be easier to use
1433 automatic note splitting (see @ref{Automatic note splitting}). This
1434 mechanism automatically splits long notes, and ties them across bar
1440 Ties are sometimes used to write out arpeggios. In this case, two tied
1441 notes need not be consecutive. This can be achieved by setting the
1442 @code{tieWaitForNote} property to true. For example,
1444 @lilypond[fragment,verbatim,relative=1,raggedright]
1445 \set tieWaitForNote = ##t
1446 \grace { c16[~ e~ g]~ } <c, e g>4
1453 @cindex @code{\tieUp}
1455 @cindex @code{\tieDown}
1457 @cindex @code{\tieNeutral}
1459 @cindex @code{\tieDotted}
1461 @cindex @code{\tieDashed}
1463 @cindex @code{\tieSolid}
1469 In this manual: @ref{Automatic note splitting}.
1471 Program reference: @internalsref{Tie}.
1476 Switching staves when a tie is active will not produce a slanted tie.
1478 Formatting of ties is a difficult subject. The results are often not
1487 A slur indicates that notes are to be played bound or
1488 @emph{legato}. They are entered using parentheses
1490 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1491 f( g a) a8 b( a4 g2 f4)
1495 The direction of a slur can be specified with
1496 @code{\slur@emph{DIR}}, where @code{@emph{DIR}} is
1497 either @code{Up}, @code{Down}, or @code{Neutral} (automatically
1500 However, there is a convenient shorthand for forcing slur
1501 directions. By adding @code{_} or @code{^} before the opening
1502 parentheses, the direction is also set. For example,
1504 @lilypond[relative=2,raggedright,quote,verbatim,fragment]
1508 Only one slur can be printed at once. If you need to print a long
1509 slur over a few small slurs, please see @ref{Phrasing slurs}.
1514 Some composers write two slurs when they want legato chords. This can
1515 be achieved in LilyPond by setting @code{doubleSlurs},
1517 @lilypond[verbatim,raggedright,relative,fragment,quote]
1518 \set doubleSlurs = ##t
1519 <c e>4 ( <d f> <c e> <d f> )
1525 @cindex @code{\slurUp}
1527 @cindex @code{\slurDown}
1529 @cindex @code{\slurNeutral}
1530 @code{\slurNeutral},
1531 @cindex @code{\slurDashed}
1533 @cindex @code{\slurDotted}
1535 @cindex @code{\slurSolid}
1540 Program reference: @seeinternals{Slur}.
1543 @node Phrasing slurs
1544 @subsection Phrasing slurs
1546 @cindex phrasing slurs
1547 @cindex phrasing marks
1549 A phrasing slur (or phrasing mark) connects notes and is used to
1550 indicate a musical sentence. It is written using @code{\(} and @code{\)}
1553 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1554 \time 6/4 c'\( d( e) f( e) d\)
1557 Typographically, the phrasing slur behaves almost exactly like a
1558 normal slur. However, they are treated as different objects. A
1559 @code{\slurUp} will have no effect on a phrasing slur; instead, use
1560 @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1561 @code{\phrasingSlurNeutral}.
1563 You cannot have simultaneous phrasing slurs.
1568 @cindex @code{\phrasingSlurUp}
1569 @code{\phrasingSlurUp},
1570 @cindex @code{\phrasingSlurDown}
1571 @code{\phrasingSlurDown},
1572 @cindex @code{\phrasingSlurNeutral}
1573 @code{\phrasingSlurNeutral}.
1578 Program reference: @internalsref{PhrasingSlur}.
1581 @node Automatic beams
1582 @subsection Automatic beams
1584 LilyPond inserts beams automatically
1586 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1587 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1590 When these automatic decisions are not good enough, beaming can be
1591 entered explicitly. It is also possible to define beaming patterns
1592 that differ from the defaults. See @ref{Setting automatic beam behavior}
1595 Individual notes may be marked with @code{\noBeam} to prevent them
1598 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1599 \time 2/4 c8 c\noBeam c c
1605 Program reference: @internalsref{Beam}.
1609 @subsection Manual beams
1611 @cindex beams, manual
1615 In some cases it may be necessary to override the automatic beaming
1616 algorithm. For example, the autobeamer will not put beams over rests
1617 or bar lines. Such beams are specified manually by marking the begin
1618 and end point with @code{[} and @code{]}
1620 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1622 r4 r8[ g' a r8] r8 g[ | a] r8
1629 @cindex @code{stemLeftBeamCount}
1630 @cindex @code{stemRightBeamCount}
1632 Normally, beaming patterns within a beam are determined automatically.
1633 If necessary, the properties @code{stemLeftBeamCount} and
1634 @code{stemRightBeamCount} can be used to override the defaults. If
1635 either property is set, its value will be used only once, and then it
1638 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1643 \set stemLeftBeamCount = #1
1648 The property @code{subdivideBeams} can be set in order to subdivide
1649 all 16th or shorter beams at beat positions, as defined by the
1650 @code{beatLength} property.
1652 @lilypond[fragment,quote,relative=2,verbatim]
1654 \set subdivideBeams = ##t
1656 \set Score.beatLength = #(ly:make-moment 1 8)
1659 @cindex @code{subdivideBeams}
1661 Line breaks are normally forbidden when beams cross bar lines. This
1662 behavior can be changed by setting @code{allowBeamBreak}.
1664 @cindex @code{allowBeamBreak}
1665 @cindex beams and line breaks
1666 @cindex beams, kneed
1668 @cindex auto-knee-gap
1673 Kneed beams are inserted automatically when a large gap is detected
1674 between the note heads. This behavior can be tuned through the object.
1676 Automatically kneed cross-staff beams cannot be used together with
1677 hidden staves. See @ref{Hiding staves}.
1679 Beams do not avoid collisions with symbols around the notes, such as
1680 texts and accidentals.
1684 @subsection Grace notes
1686 @cindex @code{\grace}
1689 @cindex appoggiatura
1690 @cindex acciaccatura
1692 Grace notes are ornaments that are written out. The most common ones
1693 are acciaccatura, which should be played as very short. It is denoted
1694 by a slurred small note with a slashed stem. The appoggiatura is a
1695 grace note that takes a fixed fraction of the main note, and is
1696 denoted as a slurred note in small print without a slash. They
1697 are entered with the commands @code{\acciaccatura} and
1698 @code{\appoggiatura}, as demonstrated in the following example
1700 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
1701 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
1702 \acciaccatura { g16[ f] } e4
1705 Both are special forms of the @code{\grace} command. By prefixing this
1706 keyword to a music expression, a new one is formed, which will be
1707 printed in a smaller font and takes up no logical time in a measure.
1709 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
1711 \grace { c16[ d16] } c2 c4
1715 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
1716 @code{\grace} command does not start a slur.
1718 Internally, timing for grace notes is done using a second, `grace'
1719 timing. Every point in time consists of two rational numbers: one
1720 denotes the logical time, one denotes the grace timing. The above
1721 example is shown here with timing tuples
1723 @lilypond[quote,raggedright]
1726 c4 \grace c16 c4 \grace {
1729 \new Lyrics \lyricmode {
1730 \override LyricText #'font-family = #'typewriter
1734 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
1735 \markup { (\fraction 1 4 , 0 ) } 4
1737 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
1738 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
1740 \markup { ( \fraction 2 4 , 0 ) }
1745 The placement of grace notes is synchronized between different staves.
1746 In the following example, there are two sixteenth grace notes for
1747 every eighth grace note
1749 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
1750 << \new Staff { e4 \grace { c16[ d e f] } e4 }
1751 \new Staff { c4 \grace { g8[ b] } c4 } >>
1754 If you want to end a note with a grace, use the @code{\afterGrace}
1755 command. It takes two arguments: the main note, and the grace notes
1756 following the main note.
1758 @lilypond[raggedright, verbatim,relative=2,fragment]
1759 c1 \afterGrace d1 { c16[ d] } c4
1762 This will put the grace notes after a ``space'' lasting 3/4 of the
1763 length of the main note. The fraction 3/4 can be changed by setting
1764 @code{afterGraceFraction}, ie.
1767 afterGraceFraction = #(cons 7 8)
1771 will put the grace note at 7/8 of the main note.
1773 The same effect can be achieved manually by doing
1775 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1778 { s2 \grace { c16[ d] } } >>
1784 By adjusting the duration of the skip note (here it is a half-note),
1785 the space between the main-note and the grace is adjusted.
1787 A @code{\grace} section will introduce special typesetting settings,
1788 for example, to produce smaller type, and set directions. Hence, when
1789 introducing layout tweaks, they should be inside the grace section,
1791 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1803 The overrides should also be reverted inside the grace section.
1805 The layout of grace sections can be changed throughout the music using
1806 the function @code{add-grace-property}. The following example
1807 undefines the Stem direction for this grace, so stems do not always
1812 #(add-grace-property 'Voice 'Stem 'direction '())
1818 Another option is to change the variables @code{startGraceMusic},
1819 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
1820 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
1821 @code{stopAppoggiaturaMusic}. More information is in the file
1822 @file{ly/@/grace@/-init@/.ly}.
1827 Program reference: @internalsref{GraceMusic}.
1832 A score that starts with a @code{\grace} section needs an explicit
1833 @code{\context Voice} declaration, otherwise the main note and the grace
1834 note end up on different staves.
1836 Grace note synchronization can also lead to surprises. Staff notation,
1837 such as key signatures, bar lines, etc., are also synchronized. Take
1838 care when you mix staves with grace notes and staves without, for example,
1840 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
1841 << \new Staff { e4 \bar "|:" \grace c16 d4 }
1842 \new Staff { c4 \bar "|:" d4 } >>
1846 This can be remedied by inserting grace skips, for the above example
1849 \new Staff @{ c4 \bar "|:" \grace s16 d4 @}
1852 Grace sections should only be used within sequential music
1853 expressions. Nesting or juxtaposing grace sections is not supported,
1854 and might produce crashes or other errors.
1858 @node Expressive marks
1859 @section Expressive marks
1861 Expressive marks help musicians to bring more to the music than simple
1866 * Fingering instructions::
1876 @subsection Articulations
1878 @cindex Articulations
1882 A variety of symbols can appear above and below notes to indicate
1883 different characteristics of the performance. They are added to a note
1884 by adding a dash and the character signifying the
1885 articulation. They are demonstrated here
1887 @lilypondfile[quote,raggedright]{script-abbreviations.ly}
1889 The meanings of these shorthands can be changed. See
1890 @file{ly/@/script@/-init@/.ly} for examples.
1892 The script is automatically placed, but the direction can be forced as
1893 well. Like other pieces of LilyPond code, @code{_} will place them
1894 below the staff, and @code{^} will place them above.
1896 @lilypond[quote,raggedright,fragment,verbatim]
1900 Other symbols can be added using the syntax
1901 @var{note}@code{\}@var{name}. Again, they
1902 can be forced up or down using @code{^} and @code{_},
1905 @lilypond[quote,raggedright,verbatim,fragment,relative=2]
1906 c\fermata c^\fermata c_\fermata
1911 @cindex staccatissimo
1921 @cindex organ pedal marks
1930 @cindex prallmordent
1934 @cindex thumb marking
1939 Here is a chart showing all scripts available,
1941 @lilypondfile[raggedright,quote]{script-chart.ly}
1946 The vertical ordering of scripts is controlled with the
1947 @code{script-priority} property. The lower this number, the closer it
1948 will be put to the note. In this example, the
1949 @internalsref{TextScript} (the sharp symbol) first has the lowest
1950 priority, so it is put lowest in the first example. In the second, the
1951 prall trill (the @internalsref{Script}) has the lowest, so it is on the
1952 inside. When two objects have the same priority, the order in which
1953 they are entered decides which one comes first.
1955 @lilypond[verbatim,relative=3,raggedright,fragment,quote]
1956 \once \override TextScript #'script-priority = #-100
1957 a4^\prall^\markup { \sharp }
1959 \once \override Script #'script-priority = #-100
1960 a4^\prall^\markup { \sharp }
1966 Program reference: @internalsref{Script}.
1971 These signs appear in the printed output but have no effect on the
1972 MIDI rendering of the music.
1975 @node Fingering instructions
1976 @subsection Fingering instructions
1979 @cindex finger change
1981 Fingering instructions can be entered using
1983 @var{note}-@var{digit}
1985 For finger changes, use markup texts
1987 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
1989 c^\markup { \finger "2 - 3" }
1992 You can use the thumb-script to indicate that a note should be
1993 played with the thumb (e.g., in cello music)
1994 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
1995 <a_\thumb a'-3>8 <b_\thumb b'-3>
1998 Fingerings for chords can also be added to individual notes
1999 of the chord by adding them after the pitches
2000 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2001 < c-1 e-2 g-3 b-5 >4
2007 You may exercise greater control over fingering chords by
2008 setting @code{fingeringOrientations}
2010 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2011 \set fingeringOrientations = #'(left down)
2012 <c-1 es-2 g-4 bes-5 > 4
2013 \set fingeringOrientations = #'(up right down)
2014 <c-1 es-2 g-4 bes-5 > 4
2017 Using this feature, it is also possible to put fingering instructions
2018 very close to note heads in monophonic music,
2020 @lilypond[verbatim,raggedright,quote,fragment]
2021 \set fingeringOrientations = #'(right)
2028 Program reference: @internalsref{Fingering}.
2030 Examples: @inputfileref{input/@/regression,finger@/-chords@/.ly}.
2034 @subsection Dynamics
2045 @cindex @code{\ffff}
2054 Absolute dynamic marks are specified using a command after a note
2055 @code{c4\ff}. The available dynamic marks are @code{\ppp},
2056 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2057 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2058 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
2060 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2061 c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2062 c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
2069 A crescendo mark is started with @code{\<} and terminated with
2070 @code{\!} or an absolute dynamic. A decrescendo is started with
2071 @code{\>} and is also terminated with @code{\!} or an absolute
2072 dynamic. Because these marks are bound to notes, you must
2073 use spacer notes if multiple marks are needed during one note
2075 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2077 << f1 { s4 s4\< s4\! \> s4\! } >>
2079 This may give rise to very short hairpins. Use @code{minimum-length}
2080 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2084 \override Staff.Hairpin #'minimum-length = #5
2091 You can also use a text saying @emph{cresc.} instead of hairpins
2093 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
2104 You can also supply your own texts
2105 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2106 \set crescendoText = \markup { \italic "cresc. poco" }
2107 \set crescendoSpanner = #'dashed-line
2111 To create new dynamic marks or text that should be aligned
2112 with dynamics, see @ref{New dynamic marks}.
2117 @cindex @code{\dynamicUp}
2119 @cindex @code{\dynamicDown}
2120 @code{\dynamicDown},
2121 @cindex @code{\dynamicNeutral}
2122 @code{\dynamicNeutral}.
2127 Program reference: @internalsref{DynamicText}, @internalsref{Hairpin}.
2128 Vertical positioning of these symbols is handled by
2129 @internalsref{DynamicLineSpanner}.
2133 @subsection Breath marks
2135 Breath marks are entered using @code{\breathe}
2137 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2144 The glyph of the breath mark can be tuned by overriding the
2145 @code{text} property of the @code{BreathingSign} layout object with
2146 any markup text. For example,
2147 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2149 \override BreathingSign #'text
2150 = #(make-musicglyph-markup "scripts.rvarcomma")
2157 Program reference: @internalsref{BreathingSign}.
2159 Examples: @inputfileref{input/@/regression,breathing@/-sign@/.ly}.
2162 @node Running trills
2163 @subsection Running trills
2165 Long running trills are made with @code{\startTrillSpan} and
2166 @code{\stopTrillSpan},
2168 @lilypond[verbatim,raggedright,relative=2,quote,fragment]
2170 << { c1 \startTrillSpan }
2171 { s2. \grace { d16[\stopTrillSpan e] } } >>
2178 @code{\startTrillSpan},
2179 @cindex @code{\startTrillSpan}
2180 @code{\stopTrillSpan}.
2181 @cindex @code{\stopTrillSpan}
2186 Program reference: @internalsref{TrillSpanner}.
2190 @subsection Glissando
2193 @cindex @code{\glissando}
2195 A glissando is a smooth change in pitch. It is denoted by a line or a
2196 wavy line between two notes. It is requested by attaching
2197 @code{\glissando} to a note
2199 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
2201 \override Glissando #'style = #'zigzag
2208 Program reference: @internalsref{Glissando}.
2210 Example files: @file{input/@/regression/@/glissando@/.ly}.
2215 Printing text over the line (such as @emph{gliss.}) is not supported.
2219 @subsection Arpeggio
2222 @cindex broken chord
2223 @cindex @code{\arpeggio}
2225 You can specify an arpeggio sign (also known as broken chord) on a
2226 chord by attaching an @code{\arpeggio} to a chord
2228 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2232 A square bracket on the left indicates that the player should not
2233 arpeggiate the chord
2235 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2240 The direction of the arpeggio is sometimes denoted by adding an
2241 arrowhead to the wiggly line
2243 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2255 When an arpeggio crosses staves, you may attach an arpeggio to the chords
2256 in both staves and set
2257 @internalsref{PianoStaff}.@code{connectArpeggios}
2259 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2260 \context PianoStaff <<
2261 \set PianoStaff.connectArpeggios = ##t
2262 \new Staff { <c' e g c>\arpeggio }
2263 \new Staff { \clef bass <c,, e g>\arpeggio }
2271 @cindex @code{\arpeggioUp}
2273 @cindex @code{\arpeggioDown}
2274 @code{\arpeggioDown},
2275 @cindex @code{\arpeggioNeutral}
2276 @code{\arpeggioNeutral},
2277 @cindex @code{\arpeggioBracket}
2278 @code{\arpeggioBracket}.
2283 Notation manual: @ref{Ties}, for writing out arpeggios.
2285 Program reference: @internalsref{Arpeggio}.
2290 It is not possible to mix connected arpeggios and unconnected
2291 arpeggios in one @internalsref{PianoStaff} at the same point in time.
2298 Polyphony in music refers to having more than one voice occuring in
2299 a piece of music. Polyphony in LilyPond refers to having more than
2300 one voice on the same staff.
2304 * Explicitly instantiating voices::
2305 * Collision Resolution::
2309 @node Basic polyphony
2310 @subsection Basic polyphony
2314 The easiest way to enter fragments with more than one voice on a staff
2315 is to enter each voice as a sequence (with @code{@{...@}}), and combine
2316 them simultaneously, separating the voices with @code{\\}
2320 @lilypond[quote,verbatim,fragment]
2321 \new Staff \relative c' {
2324 { g4 f e | d2 e2 } \\
2325 { r8 e4 d c8 ~ | c b16 a b8 g ~ g2 } \\
2331 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
2332 voices are sometimes called ``layers'' in other notation packages}
2334 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
2335 each of these contexts, vertical direction of slurs, stems, etc., is set
2338 These voices are all seperate from the voice that contains the notes just
2339 outside the @code{<< \\ >>} construct. This should be noted when making
2340 changes at the voice level. This also means that slurs and ties cannot go
2341 into or out of a @code{<< \\ >>} construct. Conversely, parallel voices
2342 from separate @code{<< \\ >>} constructs on the same staff are the the
2343 same voice. Here is the same example, with different noteheads for each
2344 voice. Note that the change to the note-head style in the main voice does not affect
2345 the inside of the @code{<< \\ >>} constructs. Also, the change to the second
2346 voice in the first @code{<< \\ >>} construct is effective in the second
2347 @code{<< \\ >>}, and the voice is tied accross the two constructs.
2349 @lilypond[quote,verbatim,fragment]
2350 \new Staff \relative c' {
2351 \override NoteHead #'style = #'cross
2355 { \override NoteHead #'style = #'triangle
2360 { c8 b16 a b8 g ~ g2 } \\
2361 { \override NoteHead #'style = #'slash s4 b4 c2 }
2366 Polyphony does not change the relationship of notes within a
2367 @code{\relative @{ @}} block. Each note is calculated relative
2368 to the note immediately preceding it.
2371 \relative @{ noteA << noteB \\ noteC >> noteD @}
2374 @code{noteC} is relative to @code{noteB}, not @code{noteA};
2375 @code{noteD} is relative to @code{noteC}, not @code{noteB} or
2378 @node Explicitly instantiating voices
2379 @subsection Explicitly instantiating voices
2381 @internalsref{Voice} contexts can also also be instantiated manually
2382 inside a @code{<< >>} block to create polyphonic music, using
2383 @code{\voiceOne}, up to @code{\voiceFour} to assign stem directions
2384 and a horizontal shift for each part.
2388 << \upper \\ \lower >>
2396 \context Voice = "1" @{ \voiceOne \upper @}
2397 \context Voice = "2" @{ \voiceTwo \lower @}
2401 The @code{\voiceXXX} commands set the direction of stems, slurs, ties,
2402 articulations, text annotations, augmentation dots of dotted
2403 notes, and fingerings. @code{\voiceOne} and @code{\voiceThree} make
2404 these objects point upwards, while @code{\voiceTwo} and @code{\voiceFour}
2405 make them point downwards.
2406 The command @code{\oneVoice} will revert back to the normal setting.
2408 An expression that appears directly inside a @code{<< >>} belongs to
2409 the main voice. This is useful when extra voices appear while the main
2410 voice is playing. Here is a more correct rendition of the example from
2411 the previous section. The crossed noteheads demonstrate that the main
2412 melody is now in a single voice context.
2414 @lilypond[quote,raggedright,verbatim]
2415 \new Staff \relative c' {
2416 \override NoteHead #'style = #'cross
2421 \context Voice="1" { \voiceTwo
2422 r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
2425 \new Voice { \voiceThree
2434 The correct definition of the voices allows the melody to be slurred.
2435 @lilypond[quote,raggedright,verbatim]
2436 \new Staff \relative c' {
2441 \context Voice="1" { \voiceTwo
2442 r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
2445 \new Voice { \voiceThree
2454 Avoiding the @code{\\} seperator also allows nesting polyphony
2455 constructs, which in some case might be a more natural way to typeset
2458 @lilypond[quote,raggedright,verbatim]
2459 \new Staff \relative c' {
2464 \context Voice="1" { \voiceTwo
2467 {c8 b16 a b8 g ~ g2}
2468 \new Voice { \voiceThree
2481 @node Collision Resolution
2482 @subsection Collision Resolution
2484 Normally, note heads with a different number of dots are not merged, but
2485 when the object property @code{merge-differently-dotted} is set in
2486 the @internalsref{NoteCollision} object, they are merged
2487 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
2490 \override Staff.NoteCollision
2491 #'merge-differently-dotted = ##t
2493 } \\ { g8.[ f16] g8.[ f16] } >>
2496 Similarly, you can merge half note heads with eighth notes, by setting
2497 @code{merge-differently-headed}
2498 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
2501 \override Staff.NoteCollision
2502 #'merge-differently-headed = ##t
2503 c8 c4. } \\ { c2 c2 } >>
2506 LilyPond also vertically shifts rests that are opposite of a stem,
2509 @lilypond[quote,raggedright,fragment,verbatim]
2510 \context Voice << c''4 \\ r4 >>
2516 @cindex @code{\oneVoice}
2518 @cindex @code{\voiceOne}
2520 @cindex @code{\voiceTwo}
2522 @cindex @code{\voiceThree}
2524 @cindex @code{\voiceFour}
2527 @cindex @code{\shiftOn}
2529 @cindex @code{\shiftOnn}
2531 @cindex @code{\shiftOnnn}
2533 @cindex @code{\shiftOff}
2534 @code{\shiftOff}: these commands specify in what chords of the current
2535 voice should be shifted. The outer voices (normally: voice one and
2536 two) have @code{\shiftOff}, while the inner voices (three and four)
2537 have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define
2538 further shift levels.
2540 When LilyPond cannot cope, the @code{force-hshift}
2541 property of the @internalsref{NoteColumn} object and pitched rests can
2542 be used to override typesetting decisions.
2544 @lilypond[quote,verbatim,raggedright]
2551 \once \override NoteColumn #'force-hshift = #1.7
2559 Program reference: the objects responsible for resolving collisions are
2560 @internalsref{NoteCollision} and @internalsref{RestCollision}.
2563 @inputfileref{input/@/regression,collision@/-dots@/.ly},
2564 @inputfileref{input/@/regression,collision@/-head-chords@/.ly},
2565 @inputfileref{input/@/regression,collision@/-heads@/.ly},
2566 @inputfileref{input/@/regression,collision@/-mesh@/.ly}, and
2567 @inputfileref{input/@/regression,collisions@/.ly}.
2572 When using @code{merge-differently-headed} with an upstem eighth or a
2573 shorter note, and a downstem half note, the eighth note gets the wrong
2576 There is no support for clusters where the same note occurs with
2577 different accidentals in the same chord. In this case, it is
2578 recommended to use enharmonic transcription, or to use special cluster
2579 notation (see @ref{Clusters}).
2586 Repetition is a central concept in music, and multiple notations exist
2592 * Repeats and MIDI::
2593 * Manual repeat commands::
2595 * Tremolo subdivisions::
2601 @subsection Repeat types
2604 @cindex @code{\repeat}
2606 The following types of repetition are supported
2610 Repeated music is fully written (played) out. This is useful when
2611 entering repetitious music. This is the only kind of repeat that
2612 is included in MIDI output.
2615 Repeats are not written out, but alternative endings (volte) are
2616 printed, left to right with brackets. This is the standard notation
2617 for repeats with alternatives. These are not played in MIDI output by default.
2621 Alternative endings are written stacked. This has limited use but may be
2622 used to typeset two lines of lyrics in songs with repeats, see
2623 @inputfileref{input,star-spangled-banner@/.ly}.
2627 Make tremolo beams. These are not played in MIDI output by default.
2630 Make beat or measure repeats. These look like percent signs. These
2631 are not played in MIDI output by default. Percent repeats must be
2632 declared within a Voice context.
2638 @subsection Repeat syntax
2640 LilyPond has one syntactic construct for specifying different types of
2641 repeats. The syntax is
2644 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2647 If you have alternative endings, you may add
2648 @cindex @code{\alternative}
2659 where each @var{alternative} is a music expression. If you do not
2660 give enough alternatives for all of the repeats, the first alternative
2661 is assumed to be played more than once.
2663 Standard repeats are used like this
2664 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2666 \repeat volta 2 { c4 d e f }
2667 \repeat volta 2 { f e d c }
2670 With alternative endings
2671 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2673 \repeat volta 2 {c4 d e f}
2674 \alternative { {d2 d} {f f,} }
2677 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2680 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2681 \alternative { { g4 g g } { a | a a a a | b2. } }
2685 It is possible to shorten volta brackets
2686 by setting @code{voltaSpannerDuration}. In the next example, the
2687 bracket only lasts one measure, which is a duration of 3/4.
2689 @lilypond[verbatim,raggedright,quote]
2693 \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4)
2694 \repeat "volta" 5 { d d d }
2695 \alternative { { e e e f f f }
2705 Brackets for the repeat are normally only printed over the topmost
2706 staff. This can be adjusted by setting the @code{voltaOnThisStaff}
2707 property; see @inputfileref{input/@/regression,volta@/-multi@/-staff@/.ly}.
2712 @cindex repeat, ambiguous
2714 A nested repeat like
2723 is ambiguous, since it is is not clear to which @code{\repeat} the
2724 @code{\alternative} belongs. This ambiguity is resolved by always
2725 having the @code{\alternative} belong to the inner @code{\repeat}.
2726 For clarity, it is advisable to use braces in such situations.
2728 Timing information is not remembered at the start of an alternative,
2729 so after a repeat timing information must be reset by hand, for
2730 example by setting @code{Score.measurePosition} or entering
2731 @code{\partial}. Similarly, slurs or ties are also not repeated.
2734 @node Repeats and MIDI
2735 @subsection Repeats and MIDI
2737 @cindex expanding repeats
2738 @cindex @code{\unfoldRepeats}
2740 With a little bit of tweaking, all types of repeats can be present
2741 in the MIDI output. This is achieved by applying the
2742 @code{\unfoldRepeats} music function. This functions changes all
2743 repeats to unfold repeats.
2745 @lilypond[quote,verbatim,fragment,linewidth=8.0\cm]
2747 \repeat tremolo 8 {c'32 e' }
2748 \repeat percent 2 { c''8 d'' }
2749 \repeat volta 2 {c'4 d' e' f'}
2758 When creating a score file using @code{\unfoldRepeats} for midi, then
2759 it is necessary to make two @code{\score} blocks. One for MIDI (with
2760 unfolded repeats) and one for notation (with volta, tremolo, and
2761 percent repeats). For example,
2769 \unfoldRepeats @var{..music..}
2775 @node Manual repeat commands
2776 @subsection Manual repeat commands
2778 @cindex @code{repeatCommands}
2780 The property @code{repeatCommands} can be used to control the layout of
2781 repeats. Its value is a Scheme list of repeat commands.
2784 @item @code{start-repeat}
2785 Print a @code{|:} bar line.
2787 @item @code{end-repeat}
2788 Print a @code{:|} bar line.
2790 @item @code{(volta @var{text})}
2791 Print a volta bracket saying @var{text}: The text can be specified as
2792 a text string or as a markup text, see @ref{Text markup}. Do not
2793 forget to change the font, as the default number font does not contain
2794 alphabetic characters;
2796 @item @code{(volta #f)}
2797 Stop a running volta bracket.
2800 @lilypond[quote,raggedright,verbatim,fragment,relative=2]
2802 \set Score.repeatCommands = #'((volta "93") end-repeat)
2804 \set Score.repeatCommands = #'((volta #f))
2811 Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2812 @internalsref{VoltaRepeatedMusic},
2813 @internalsref{UnfoldedRepeatedMusic}, and
2814 @internalsref{FoldedRepeatedMusic}.
2817 @node Tremolo repeats
2818 @subsection Tremolo repeats
2820 @cindex tremolo beams
2822 To place tremolo marks between notes, use @code{\repeat} with tremolo
2824 @lilypond[quote,verbatim,raggedright]
2825 \new Voice \relative c' {
2826 \repeat "tremolo" 8 { c16 d16 }
2827 \repeat "tremolo" 4 { c16 d16 }
2828 \repeat "tremolo" 2 { c16 d16 }
2832 Tremolo marks can also be put on a single note. In this case, the
2833 note should not be surrounded by braces.
2834 @lilypond[quote,verbatim,raggedright]
2835 \repeat "tremolo" 4 c'16
2838 Similar output is obtained using the tremolo subdivision, described in
2839 @ref{Tremolo subdivisions}.
2844 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2846 Program reference: @internalsref{Beam}, @internalsref{StemTremolo}.
2848 Example files: @inputfileref{input/@/regression,chord@/-tremolo@/.ly},
2849 @inputfileref{input/@/regression,stem@/-tremolo@/.ly}.
2852 @node Tremolo subdivisions
2853 @subsection Tremolo subdivisions
2855 @cindex tremolo marks
2856 @cindex @code{tremoloFlags}
2858 Tremolo marks can be printed on a single note by adding
2859 `@code{:}[@var{number}]' after the note. The number indicates the
2860 duration of the subdivision, and it must be at least 8. A
2861 @var{length} value of 8 gives one line across the note stem. If the
2862 length is omitted, the last value (stored in @code{tremoloFlags}) is
2865 @lilypond[quote,raggedright,verbatim,fragment]
2866 c'2:8 c':32 | c': c': |
2872 Tremolos entered in this way do not carry over into the MIDI output.
2877 In this manual: @ref{Tremolo repeats}.
2879 Elsewhere: @internalsref{StemTremolo}.
2882 @node Measure repeats
2883 @subsection Measure repeats
2885 @cindex percent repeats
2886 @cindex measure repeats
2888 In the @code{percent} style, a note pattern can be repeated. It is
2889 printed once, and then the pattern is replaced with a special sign.
2890 Patterns of one and two measures are replaced by percent-like signs,
2891 patterns that divide the measure length are replaced by slashes.
2892 Percent repeats must be declared within a @code{Voice} context.
2894 @lilypond[quote,verbatim,raggedright]
2895 \new Voice \relative c' {
2896 \repeat "percent" 4 { c4 }
2897 \repeat "percent" 2 { c2 es2 f4 fis4 g4 c4 }
2904 Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2905 @internalsref{PercentRepeatedMusic}, and
2906 @internalsref{DoublePercentRepeat}.