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
9 @chapter Notation manual
11 This chapter describes all the different types of notation supported
12 by LilyPond. It is intended as a reference for users that are already
13 somewhat familiar with LilyPond.
17 * Easier music entry::
31 * Contemporary notation::
36 @c FIXME: Note entry vs Music entry at top level menu is confusing.
42 This section is about basic notation elements notes, rests and
43 related constructs, such as stems, tuplets and ties.
48 * Chromatic alterations::
63 A note is printed by specifying its pitch and then its duration:
64 @footnote{Notes constitute the most basic elements of LilyPond input,
65 but they do not form valid input on their own without a @code{\score}
66 block. However, for the sake of brevity and simplicity we will
67 generally omit @code{\score} blocks and @code{\paper} declarations in
70 @lilypond[fragment,verbatim]
79 @cindex Note specification
81 @cindex entering notes
83 The most common syntax for pitch entry is used in @code{\chords} and
84 @code{\notes} mode. In these modes, pitches may be designated by
85 names. The notes are specified by the letters @code{a} through
86 @code{g}, while the octave is formed with notes ranging from @code{c}
87 to @code{b}. The pitch @code{c} is an octave below middle C and the
88 letters span the octave above that C:
90 @lilypond[fragment,verbatim]
92 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
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 Half-flats and half-sharps are formed by adding @code{-eh} and
105 @code{-ih}; the following is a series of Cs with increasing pitches:
107 @cindex quarter tones
108 @cindex semi-flats, semi-sharps
110 @lilypond[verbatim,relative=2]
122 There are predefined sets of note names for various other languages.
123 To use them, include the language specific init file. For
124 example: @code{\include "english.ly"}. The available language files
125 and the note names they define are:
130 Note Names sharp flat
131 nederlands.ly c d e f g a bes b -is -es
132 english.ly c d e f g a bf b -s/-sharp -f/-flat
134 deutsch.ly c d e f g a b h -is -es
135 norsk.ly c d e f g a b h -iss/-is -ess/-es
136 svenska.ly c d e f g a b h -iss -ess
137 italiano.ly do re mi fa sol la sib si -d -b
138 catalan.ly do re mi fa sol la sib si -d/-s -b
139 espanol.ly do re mi fa sol la sib si -s -b
148 The optional octave specification takes the form of a series of
149 single quote (`@code{'}') characters or a series of comma
150 (`@code{,}') characters. Each @code{'} raises the pitch by one
151 octave; each @code{,} lowers the pitch by an octave:
153 @lilypond[fragment,verbatim]
154 c' c'' es' g' as' gisis' ais'
160 Notes can be hidden and unhidden with the following commands:
162 @cindex @code{\hideNotes}
164 @cindex @code{\unHideNotes}
170 Program reference: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
172 @node Chromatic alterations
173 @subsection Chromatic alterations
175 Normally accidentals are printed automatically, but you may also
176 print them manually. A reminder accidental
177 @cindex reminder accidental
179 can be forced by adding an exclamation mark @code{!}
180 after the pitch. A cautionary accidental
181 @cindex cautionary accidental
182 @cindex parenthesized accidental
183 (i.e. an accidental within parentheses) can be obtained by adding the
184 question mark `@code{?}' after the pitch:
186 @lilypond[fragment,verbatim]
187 cis' cis' cis'! cis'?
193 The automatic production of accidentals can be tuned in many
194 ways. For more information, refer to @ref{Accidentals}.
199 There are no generally accepted standards for denoting three quarter
200 flats, so LilyPond's symbol does not conform to any standard.
205 A chord is formed by a enclosing a set of pitches in @code{<} and
206 @code{>}. A chord may be followed by a duration, and a set of
207 articulations, just like simple notes.
220 Rests are entered like notes, with the note name @code{r}:
222 @lilypond[raggedright,verbatim]
226 Whole bar rests, centered in middle of the bar,
227 must be done with multi-measure rests. They are discussed in
228 @ref{Multi measure rests}.
231 A rest's vertical position may be explicitly specified by entering a
232 note with the @code{\rest} keyword appended. This makes manual
233 formatting in polyphonic music easier. Rest collision testing will
234 leave these rests alone:
236 @lilypond[raggedright,verbatim]
242 Program reference: @internalsref{RestEvent}, and @internalsref{Rest}.
249 @cindex Invisible rest
252 An invisible rest (also called a `skip') can be entered like a note
253 with note name `@code{s}' or with @code{\skip @var{duration}}:
255 @lilypond[raggedright,verbatim]
259 The @code{s} syntax is only available in note mode and chord mode. In
260 other situations, you should use the @code{\skip} command:
262 @lilypond[raggedright,verbatim]
265 { \time 4/8 \skip 2 \time 4/4 }
266 \notes\relative c'' { a2 a1 }
271 The skip command is merely an empty musical placeholder. It does not
272 produce any output, not even transparent output.
274 The @code{s} skip command does create @internalsref{Staff} and
275 @internalsref{Voice} when necessary, similar to note and rest
276 commands. For example, the following results in an empty staff.
278 @lilypond[raggedright,verbatim]
279 \score { \notes { s4 } }
282 The same fragment using @code{\skip} results in an empty page.
286 Program reference: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
291 @subsection Durations
297 In Note, Chord, and Lyrics mode, durations are designated by numbers
298 and dots: durations are entered as their reciprocal values. For example,
299 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
300 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
301 longer than a whole you must use variables:
305 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
307 r1 r2 r4 r8 r16 r32 r64 r64
312 \notes \relative c'' {
313 a\breve*1/2 \autoBeamOff
314 a1 a2 a4 a8 a16 a32 a64 a64
315 r\longa*1/4 r\breve *1/2
316 r1 r2 r4 r8 r16 r32 r64 r64
322 \remove "Clef_engraver"
323 \override StaffSymbol #'transparent = ##t
324 \override TimeSignature #'transparent = ##t
325 \override BarLine #'transparent = ##t
326 \consists "Pitch_squash_engraver"
333 If the duration is omitted then it is set to the previously entered
334 duration. The default for the first note is a quarter note. The duration
335 can be followed by dots (`@code{.}') in order to obtain dotted note
339 @lilypond[fragment,verbatim]
340 a' b' c''8 b' a'4 a'4. b'4.. c'8.
345 You can alter the length of duration by a fraction @var{N/M}
346 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
347 will not affect the appearance of the notes or rests produced.
349 In the following example, the first three notes take up exactly two
350 beats, but no triplet bracket is printed.
351 @lilypond[fragment,relative=2,verbatim]
353 a4*2/3 gis4*2/3 a4*2/3
359 Dots are normally moved up to avoid staff lines, except in polyphonic
360 situations. The following commands may be used to force a particular
363 @cindex @code{\dotsUp}
365 @cindex @code{\dotsDown}
367 @cindex @code{\dotsBoth}
372 This manual: @ref{Tuplets}
374 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
379 Whenever a note is found, a @internalsref{Stem} object is created
380 automatically. For whole notes and rests, they are also created but
385 @cindex @code{\stemUp}
387 @cindex @code{\stemDown}
389 @cindex @code{\stemBoth}
400 A tie connects two adjacent note heads of the same pitch. The tie in
401 effect extends the length of a note. Ties should not be confused with
402 slurs, which indicate articulation, or phrasing slurs, which indicate
403 musical phrasing. A tie is entered using the tilde symbol `@code{~}':
405 @lilypond[fragment,verbatim]
406 e' ~ e' <c' e' g'> ~ <c' e' g'>
409 When a tie is applied to a chord, all note heads whose pitches match
410 are connected. When no note heads match, no ties will be created.
412 In its meaning a tie is just a way of extending a note duration, similar
413 to the augmentation dot; in the following example there are two ways of
414 notating exactly the same concept:
416 @lilypond[fragment,raggedright]
417 \time 3/4 c'2. c'2 ~ c'4
419 If you need to tie a lot of notes over bars, it may be easier to use automatic
420 note splitting (see @ref{Automatic note splitting}).
425 @cindex @code{\tieUp}
427 @cindex @code{\tieDown}
429 @cindex @code{\tieBoth}
431 @cindex @code{\tieDotted}
433 @cindex @code{\tieSolid}
438 In this manual: @ref{Automatic note splitting}.
440 Program reference: @internalsref{TieEvent}, @internalsref{Tie}.
442 For tying only a subset of the note heads of a pair of chords, see
443 @inputfileref{input/regression,tie-chord-partial.ly}.
448 Switching staves when a tie is active will not produce a slanted tie.
450 Formatting of ties is a difficult subject. The results are often not
460 @cindex @code{\times}
462 Tuplets are made out of a music expression by multiplying all durations
465 @cindex @code{\times}
467 \times @var{fraction} @var{musicexpr}
471 The duration of @var{musicexpr} will be multiplied by the fraction.
472 The fraction's denominator will be printed over the notes, optionally
473 with a bracket. The most common tuplet is the triplet in which 3
474 notes have the length of 2, so the notes are 2/3 of their written
477 @lilypond[fragment,verbatim]
478 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
481 The property @code{tupletSpannerDuration} specifies how long each
482 bracket should last. With this, you can make lots of tuplets while
483 typing @code{\times} only once, saving lots of typing. In the next
484 example, there are two triplets shown, while @code{\times} was only
487 @lilypond[fragment,relative,raggedright,verbatim]
488 \set tupletSpannerDuration = #(ly:make-moment 1 4)
489 \times 2/3 { c'8 c c c c c }
492 The format of the number is determined by the property
493 @code{tupletNumberFormatFunction}. The default prints only the
494 denominator, but if it is set to the Scheme function
495 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
499 @cindex @code{tupletNumberFormatFunction}
500 @cindex tuplet formatting
505 @cindex @code{\tupletUp}
507 @cindex @code{\tupletDown}
509 @cindex @code{\tupletBoth}
514 Program reference: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
516 Examples: @inputfileref{input/regression,tuplet-nest.ly}.
520 Nested tuplets are not formatted automatically. In this case, outer
521 tuplet brackets should be moved manually, which is demonstrated in
522 @inputfileref{input/regression,tuplet-nest.ly}.
526 @node Easier music entry
527 @section Easier music entry
530 This section deals with tricks and features of the input language that
531 were added solely to help entering music, finding and correcting
532 mistakes. There are also external tools that make debugging easier.
533 See @ref{Point and click} for more information.
535 It is also possible to enter and edit music using other programs. For
536 example, GUI interfaces, or MIDI sequencers. Refer to the LilyPond
537 website for more information.
544 * Skipping corrected music::
545 * Automatic note splitting::
551 @node Relative octaves
552 @subsection Relative octaves
554 @cindex relative octave specification
556 Octaves are specified by adding @code{'} and @code{,} to pitch names.
557 When you copy existing music, it is easy to accidentally put a pitch
558 in the wrong octave and hard to find such an error. The relative
559 octave mode prevents these errors: a single error puts the rest of the
560 piece off by one octave:
562 @cindex @code{\relative}
564 \relative @var{startpitch} @var{musicexpr}
567 The octave of notes that appear in @var{musicexpr} are calculated as
568 follows: If no octave changing marks are used, the basic interval
569 between this and the last note is always taken to be a fourth or
570 less. This distance is determined without regarding alterations; a
571 @code{fisis} following a @code{ceses} will be put above the
574 The octave changing marks @code{'} and @code{,} can be added to raise
575 or lower the pitch by an extra octave. Upon entering relative mode,
576 an absolute starting pitch must be specified that will act as the
577 predecessor of the first note of @var{musicexpr}.
579 Here is the relative mode shown in action:
580 @lilypond[fragment,raggedright,verbatim]
586 Octave changing marks are used for intervals greater than a fourth:
587 @lilypond[fragment,verbatim]
592 If the preceding item is a chord, the first note of the chord is used
593 to determine the first note of the next chord:
595 @lilypond[fragment,verbatim]
602 @cindex @code{\notes}
604 The pitch after the @code{\relative} contains a note name. To parse
605 the note name as a pitch, it must surrounded by @code{\notes}
607 The relative conversion will not affect @code{\transpose},
608 @code{\chords} or @code{\relative} sections in its argument. If you
609 want to use relative within transposed music, you must place an
610 additional @code{\relative} inside the @code{\transpose}.
613 @subsection Octave check
616 Octave checks make octave errors easier to correct: a note may be
617 followed by @code{=}@var{quotes} which indicates what its absolute
618 octave should be. In the following example,
620 \relative c'' @{ c='' b=' d,='' @}
624 @c take care with @code, adds confusing quotes.
625 the d will generate a warning, because a d'' is expected, but a d' is
626 found. In the output, the octave is corrected for this and the
631 There is also a syntax that is separate from the notes.
636 This checks that @var{pitch} (without octave) yields @var{pitch} (with
637 octave) in \relative mode. If not, a warning is printed, and the
638 octave is corrected, for example, the first check is passed
639 successfully. The second check fails with an error message. The
640 octave is adjusted so the following notes are in the correct octave
651 The octave of a note following an octave check is determined with
652 respect to the note preceding it. In the next fragment, the last note
653 is a @code{a'}, above middle C. Hence, the @code{\octave} check may
654 be deleted without changing the meaning of the piece.
656 @lilypond[verbatim,fragment]
665 @subsection Bar check
669 @cindex @code{barCheckSynchronize}
672 Bar checks help detect errors in the durations. A bar check is
673 entered using the bar symbol, `@code{|}'. Whenever it is encountered
674 during interpretation, it should fall on a measure boundary. If it
675 does not, a warning is printed. In the next example, the second bar
676 check will signal an error:
678 \time 3/4 c2 e4 | g2 |
681 Bar checks can also be used in lyrics, for example
686 Twin -- kle | Twin -- kle
691 @cindex skipTypesetting
693 Failed bar checks are caused by entering incorrect
694 durations. Incorrect durations often completely garble up the score,
695 especially if it is polyphonic, so you should start correcting the
696 score by scanning for failed bar checks and incorrect durations. To
697 speed up this process, you can use @code{skipTypesetting}, described
700 @node Skipping corrected music
701 @subsection Skipping corrected music
703 The property @code{Score.skipTypesetting} can be used to switch on and
704 off typesetting completely during the interpretation phase. When
705 typesetting is switched off, the music is processed much more quickly.
706 This can be used to skip over the parts of a score that have already
707 been checked for errors:
709 @lilypond[fragment,raggedright,verbatim]
711 \set Score.skipTypesetting = ##t
713 \set Score.skipTypesetting = ##f
717 @node Automatic note splitting
718 @subsection Automatic note splitting
720 Long notes can be converted automatically to tied notes. This is done
721 by replacing the @internalsref{Note_heads_engraver} by the
722 @internalsref{Completion_heads_engraver}.
723 In the following examples, notes crossing the bar line are split and tied.
726 @lilypond[noindent,verbatim,relative=1]
728 \remove "Note_heads_engraver"
729 \consists "Completion_heads_engraver"
731 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
735 This engraver splits all running notes at the bar line, and inserts
736 ties. One of its uses is to debug complex scores: if the measures are
737 not entirely filled, then the ties exactly show how much each measure
742 Not all durations (especially those containing tuplets) can be
743 represented exactly; the engraver will not insert tuplets.
747 Examples: @inputfileref{input/regression,completion-heads.ly}.
749 Program reference: @internalsref{Completion_heads_engraver}.
753 @section Staff notation
755 This section describes music notation that occurs on staff level,
756 such as keys, clefs and time signatures.
758 @cindex Staff notation
772 @subsection Staff symbol
774 @cindex adjusting staff symbol
776 Notes, dynamic signs, etc. are grouped
777 with a set of horizontal lines, into a staff (plural `staves'). In our
778 system, these lines are drawn using a separate layout object called
782 @cindex staff lines, setting number of
783 @cindex staff lines, setting thickness of
784 @cindex thickness of staff lines, setting
785 @cindex number of staff lines, setting
789 Program reference: @internalsref{StaffSymbol}.
791 Examples: @inputfileref{input/test,staff-lines.ly},
792 @inputfileref{input/test,staff-size.ly}.
796 If a staff is ended halfway a piece, the staff symbol may not end
797 exactly on the bar line.
801 @subsection Key signature
802 @cindex Key signature
806 The key signature indicates the scale in which a piece is played. It
807 is denoted by a set of alterations (flats or sharps) at the start of
811 Setting or changing the key signature is done with the @code{\key}
814 @code{\key} @var{pitch} @var{type}
817 @cindex @code{\minor}
818 @cindex @code{\major}
819 @cindex @code{\minor}
820 @cindex @code{\ionian}
821 @cindex @code{\locrian}
822 @cindex @code{\aeolian}
823 @cindex @code{\mixolydian}
824 @cindex @code{\lydian}
825 @cindex @code{\phrygian}
826 @cindex @code{\dorian}
828 Here, @var{type} should be @code{\major} or @code{\minor} to get
829 @var{pitch}-major or @var{pitch}-minor, respectively.
830 The standard mode names @code{\ionian},
831 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
832 @code{\phrygian}, and @code{\dorian} are also defined.
834 This command sets the context property
835 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
836 can be specified by setting this property directly.
838 Accidentals and key signatures often confuse new users, because
839 unaltered notes get natural signs depending on the key signature. For
840 more information, see @ref{More about pitches}.
844 The ordering of a key cancellation is wrong when it is combined with
845 repeat bar lines. The cancellation is also printed after a line break.
849 Program reference: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
851 @cindex @code{keySignature}
858 The clef indicates which lines of the staff correspond to which
862 The clef can be set or changed with the @code{\clef} command:
863 @lilypond[fragment,verbatim]
864 \key f\major c''2 \clef alto g'2
867 Supported clef-names include:
868 @c Moved standard clefs to the top /MB
872 @item treble, violin, G, G2
885 G clef on 1st line, so-called French violin clef
890 @cindex mezzosoprano clef
893 @cindex baritone clef
896 @cindex varbaritone 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
914 @cindex choral tenor clef
915 @lilypond[verbatim,fragment,relative]
919 This command is equivalent to setting @code{clefGlyph},
920 @code{clefPosition} (which controls the Y position of the clef),
921 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
922 when any of these properties are changed.
926 Program reference: the object for this symbol is @internalsref{Clef}.
930 @node Ottava brackets
931 @subsection Ottava brackets
933 ``Ottava'' brackets introduce an extra transposition of an octave for
934 the staff. They are created by invoking the function
935 @code{set-octavation}:
941 @lilypond[verbatim,fragment]
950 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
951 (for 15ma) as arguments. Internally the function sets the properties
952 @code{ottavation} (e.g. to @code{"8va"}) and
953 @code{centralCPosition}. For overriding the text of the bracket, set
954 @code{ottavation} after invoking @code{set-octavation}, i.e.,
958 \set Staff.ottavation = #"8"
963 Program reference: @internalsref{OttavaBracket}.
965 Examples: @inputfileref{input/regression,ottava.ly},
966 @inputfileref{input/regression,ottava-broken.ly}.
970 @code{set-octavation} will get confused when clef changes happen
971 during an octavation bracket.
974 @subsection Time signature
975 @cindex Time signature
979 Time signature indicates the metrum of a piece: a regular pattern of
980 strong and weak beats. It is denoted by a fraction at the start of the
984 The time signature is set or changed by the @code{\time}
986 @lilypond[fragment,verbatim]
987 \time 2/4 c'2 \time 3/4 c'2.
990 The symbol that is printed can be customized with the @code{style}
991 property. Setting it to @code{#'()} uses fraction style for 4/4 and
992 2/2 time. There are many more options for its layout. See
993 @inputfileref{input/test,time.ly} for more examples.
996 This command sets the property @code{timeSignatureFraction},
997 @code{beatLength} and @code{measureLength} in the @code{Timing}
998 context, which is normally aliased to @internalsref{Score}. The
999 property @code{measureLength} determines where bar lines should be
1000 inserted, and how automatic beams should be generated. Changing the
1001 value of @code{timeSignatureFraction} also causes the symbol to be
1004 More options are available through the Scheme function
1005 @code{set-time-signature}. In combination with the
1006 @internalsref{Measure_grouping_engraver}, it will create
1007 @internalsref{MeasureGrouping} signs. Such signs ease reading
1008 rhythmically complex modern music. In the following example, the 9/8
1009 measure is subdivided in 2, 2, 2 and 3. This is passed to
1010 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
1013 \score { \notes \relative c'' {
1014 #(set-time-signature 9 8 '(2 2 2 3))
1015 g8[ g] d[ d] g[ g] a8[( bes g]) |
1016 #(set-time-signature 5 8 '(3 2))
1021 \context { \StaffContext
1022 \consists "Measure_grouping_engraver"
1028 Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1033 Automatic beaming does not use the measure grouping specified with
1034 @code{set-time-signature}.
1036 @node Partial measures
1037 @subsection Partial measures
1040 @cindex partial measure
1041 @cindex measure, partial
1042 @cindex shorten measures
1043 @cindex @code{\partial}
1045 Partial measures, for example in upsteps, are entered using the
1046 @code{\partial} command:
1047 @lilypond[fragment,verbatim,relative=1]
1048 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1051 The syntax for this command is
1053 \partial @var{duration}
1055 This is internally translated into
1057 \set Timing.measurePosition = -@var{length of duration}
1060 The property @code{measurePosition} contains a rational number
1061 indicating how much of the measure has passed at this point.
1063 @node Unmetered music
1064 @subsection Unmetered music
1066 Bar lines and bar numbers are calculated automatically. For unmetered
1067 music (e.g. cadenzas), this is not desirable. By setting
1068 @code{Score.timing} to false, this automatic timing can be switched
1069 off. Empty bar lines,
1076 indicate where line breaks can occur.
1082 @cindex @code{\cadenzaOn}
1084 @cindex @code{\cadenzaOff}
1088 @subsection Bar lines
1092 @cindex measure lines
1096 Bar lines delimit measures, but are also used to indicate repeats.
1097 Normally, they are inserted automatically. Line breaks may only
1098 happen on bar lines.
1102 of bar lines can be forced with the @code{\bar} command:
1104 @lilypond[relative=1,fragment,verbatim]
1108 The following bar types are available:
1109 @lilypond[fragment,relative,raggedright,verbatim]
1122 For allowing line breaks, there is a special command,
1126 This will insert an invisible bar line, and allow line breaks at this
1129 In scores with many staves, a @code{\bar} command in one staff is
1130 automatically applied to all staves. The resulting bar lines are
1131 connected between different staves of a @internalsref{StaffGroup}:
1133 @lilypond[fragment,verbatim]
1134 << \context StaffGroup <<
1138 \new Staff { \clef bass c4 g e g } >>
1139 \new Staff { \clef bass c2 c2 } >>
1142 A bar line is created whenever the @code{whichBar} property is set.
1143 At the start of a measure it is set to the contents of
1144 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1145 to override default measure bars.
1147 The command @code{\bar }@var{bartype} is a short cut for doing
1148 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1149 is set to a string, a bar line of that type is created.
1152 @cindex repeatCommands
1153 @cindex defaultBarType
1155 You are encouraged to use @code{\repeat} for repetitions. See
1162 In this manual: @ref{Repeats}.
1165 Program reference: the bar line objects that are created at
1166 @internalsref{Staff} level are called @internalsref{BarLine}, the bar
1167 lines that span staves are @internalsref{SpanBar} objects.
1169 @cindex bar lines at start of system
1170 @cindex start of system
1172 The bar lines at the start of each system are
1173 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1174 @internalsref{SystemStartBracket}. Only one of these types is created
1175 in every context, and that type is determined by the property
1176 @code{systemStartDelimiter}.
1178 Examples: @inputfileref{input/test,bar-lines.ly},
1184 The easiest way to enter fragments with more than one voice on a staff
1185 is to split chords using the separator @code{\\}. You can use it for
1186 small, short-lived voices or for single chords:
1188 @lilypond[verbatim,fragment]
1189 \context Staff \relative c'' {
1190 c4 << { f d e } \\ { b c2 } >>
1191 c4 << g' \\ b, \\ f' \\ d >>
1195 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1196 voices are sometimes called "layers" other notation packages}
1198 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1199 each of these contexts, vertical direction of slurs, stems, etc. is set
1202 @cindex @code{\voiceOne}
1203 @cindex @code{\voiceFour}
1205 This can also be done by instantiating @internalsref{Voice} contexts
1206 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1207 a stem directions and horizontal shift for each part:
1210 @lilypond[raggedright,verbatim]
1212 \context Staff << \new Voice { \voiceOne cis2 b }
1213 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1214 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1218 The command @code{\oneVoice} will revert back to the normal setting.
1219 @cindex @code{\oneVoice}
1222 Normally, note heads with a different number of dots are not merged, but
1223 when the object property @code{merge-differently-dotted} is set in
1224 the @internalsref{NoteCollision} object, they are merged:
1225 @lilypond[verbatim,fragment,raggedright]
1226 \relative c'' \context Voice << {
1228 \override Staff.NoteCollision
1229 #'merge-differently-dotted = ##t
1231 } \\ { g8.[ f16] g8.[ f16] }
1235 Similarly, you can merge half note heads with eighth notes, by setting
1236 @code{merge-differently-headed}:
1237 @lilypond[fragment,relative=2,verbatim]
1240 \override Staff.NoteCollision
1241 #'merge-differently-headed = ##t
1242 c8 c4. } \\ { c2 c2 } >>
1245 LilyPond also vertically shifts rests that are opposite of a stem:
1248 @lilypond[raggedright,fragment,verbatim]
1249 \context Voice << c''4 \\ r4 >>
1257 @cindex @code{\oneVoice}
1259 @cindex @code{\voiceOne}
1261 @cindex @code{\voiceTwo}
1263 @cindex @code{\voiceThree}
1265 @cindex @code{\voiceFour}
1269 The following commands specify in what chords of the current voice
1270 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1271 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1274 @cindex @code{\shiftOn}
1276 @cindex @code{\shiftOnn}
1278 @cindex @code{\shiftOnnn}
1280 @cindex @code{\shiftOff}
1287 Program reference: the objects responsible for resolving collisions are
1288 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1290 Examples: See also example files
1291 @inputfileref{input/regression,collision-dots.ly},
1292 @inputfileref{input/regression,collision-head-chords.ly},
1293 @inputfileref{input/regression,collision-heads.ly},
1294 @inputfileref{input/regression,collision-mesh.ly}, and
1295 @inputfileref{input/regression,collisions.ly}.
1300 Resolving collisions is a intricate subject, and only a few situations
1301 are handled. When LilyPond cannot cope, the @code{force-hshift}
1302 property of the @internalsref{NoteColumn} object and pitched rests can
1303 be used to override typesetting decisions.
1305 When using @code{merge-differently-headed} with an upstem eighth or a
1306 shorter note, and a downstem half note, the eighth note gets the wrong
1309 There is no support for clusters where the same note occurs with
1310 different accidentals in the same chord. In this case, it is
1311 recommended to use enharmonic transcription, or to use special cluster
1312 notation (see @ref{Clusters}).
1317 Beams are used to group short notes into chunks that are aligned with
1318 the metrum. They are inserted automatically
1320 @lilypond[fragment,verbatim,relative=2]
1321 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1324 When these automatic decisions are not good enough, beaming can be
1325 entered explicitly. It is also possible to define beaming patterns
1326 that differ from the defaults.
1328 Individual notes may be marked with @code{\noBeam}, to prevent them
1331 @lilypond[fragment,verbatim,relative=2]
1332 \time 2/4 c8 c\noBeam c c
1338 Program reference: @internalsref{Beam}.
1341 @cindex Automatic beams
1344 * Setting automatic beam behavior::
1348 @subsection Manual beams
1349 @cindex beams, manual
1353 In some cases it may be necessary to override the automatic beaming
1354 algorithm. For example, the autobeamer will not put beams over rests
1355 or bar lines. Such beams are specified by manually: the begin and end
1356 point are marked with @code{[} and @code{]}:
1358 @lilypond[fragment,relative,verbatim]
1360 r4 r8[ g' a r8] r8 g[ | a] r8
1364 @cindex @code{stemLeftBeamCount}
1366 Normally, beaming patterns within a beam are determined automatically.
1367 If necessary, the properties @code{stemLeftBeamCount} and
1368 @code{stemRightBeamCount} can be used to override the defaults. If
1369 either property is set, its value will be used only once, and then it
1372 @lilypond[fragment,relative,verbatim]
1375 f8[ r16 \set stemLeftBeamCount = #1 f g a]
1378 @cindex @code{stemRightBeamCount}
1381 The property @code{subdivideBeams} can be set in order to subdivide
1382 all 16th or shorter beams at beat positions, as defined by the
1383 @code{beatLength} property.
1386 @lilypond[relative=1,verbatim,noindent]
1388 \set subdivideBeams = ##t
1390 \set Score.beatLength = #(ly:make-moment 1 8)
1393 @cindex subdivideBeams
1395 Kneed beams are inserted automatically, when a large gap is detected
1396 between the note heads. This behavior can be tuned through the object
1397 property @code{auto-knee-gap}.
1399 Normally, line breaks are forbidden when beams cross bar lines. This
1400 behavior can be changed by setting @code{allowBeamBreak}.
1402 @cindex @code{allowBeamBreak}
1403 @cindex beams and line breaks
1405 @cindex beams, kneed
1407 @cindex auto-knee-gap
1413 @cindex Frenched staves
1415 Automatically kneed cross-staff beams cannot be used together with
1421 @node Setting automatic beam behavior
1422 @subsection Setting automatic beam behavior
1424 @cindex @code{autoBeamSettings}
1425 @cindex @code{(end * * * *)}
1426 @cindex @code{(begin * * * *)}
1427 @cindex automatic beams, tuning
1428 @cindex tuning automatic beaming
1430 @c [TODO: use \applycontext]
1432 In normal time signatures, automatic beams can start on any note but can
1433 only end in a few positions within the measure: beams can end on a beat,
1434 or at durations specified by the properties in
1435 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
1436 are defined in @file{scm/auto-beam.scm}.
1438 The value of @code{autoBeamSettings} is changed with two functions,
1440 #(override-auto-beam-setting
1441 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
1443 #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m}))
1445 Here, @var{be} is the symbol @code{begin} or @code{end}, and
1446 @var{context} is an optional context (default: @code{'Voice}). It
1447 determines whether the rule applies to begin or end-points. The
1448 quantity @var{p}/@var{q} refers to the length of the beamed notes (and
1449 `@code{* *}' designates notes of any length), @var{n}/@var{M} refers
1450 to a time signature (wildcards `@code{* *}' may be entered to
1451 designate all time signatures), @var{a}/@var{b} is a duration. By
1452 default, this command changes settings for the current voice. It is
1453 also possible to adjust settings at higher contexts, by adding a
1454 @var{context} argument.
1456 For example, if automatic beams should end on every quarter note, use
1459 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1461 Since the duration of a quarter note is 1/4 of a whole note, it is
1462 entered as @code{(ly:make-moment 1 4)}.
1464 The same syntax can be used to specify beam starting points. In this
1465 example, automatic beams can only end on a dotted quarter note:
1467 #(override-auto-beam-setting '(end * * * *) 3 8)
1469 In 4/4 time signature, this means that automatic beams could end only on
1470 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1471 3/8, has passed within the measure).
1473 Rules can also be restricted to specific time signatures. A rule that
1474 should only be applied in @var{N}/@var{M} time signature is formed by
1475 replacing the second asterisks by @var{N} and @var{M}. For example, a
1476 rule for 6/8 time exclusively looks like
1478 #(override-auto-beam-setting '(begin * * 6 8) @dots{})
1481 If a rule should be to applied only to certain types of beams, use the
1482 first pair of asterisks. Beams are classified according to the
1483 shortest note they contain. For a beam ending rule that only applies
1484 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1487 @cindex automatic beam generation
1489 @cindex @code{autoBeaming}
1492 If beams are used to indicate melismata in songs, then automatic
1493 beaming should be switched off. This is done by setting
1494 @code{autoBeaming} to @code{#f}.
1498 @cindex @code{\autoBeamOff}
1499 @code{\autoBeamOff},
1500 @cindex @code{\autoBeamOn}
1506 If a score ends while an automatic beam has not been ended and is
1507 still accepting notes, this last beam will not be typeset at all. The
1508 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
1509 >>}. If a polyphonic voice ends while an automatic beam is still
1510 accepting notes, it is not typeset.
1512 The rules for ending a beam depend on the shortest note in a beam.
1513 So, while it is possible to have different ending rules for eight
1514 beams and sixteenth beams, a beam that contains both eight and
1515 sixteenth notes will use the rules for the sixteenth beam.
1517 In the example below, the autobeamer makes eight beams and sixteenth
1518 end at 3 eights; the third beam can only be corrected by specifying
1521 @lilypond[raggedright,fragment,relative]
1522 #(override-auto-beam-setting '(end * * * *) 3 8)
1523 % rather show case where it goes wrong
1524 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1525 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1527 It is not possible to specify beaming parameters that act differently in
1528 different parts of a measure. This means that it is not possible to use
1529 automatic beaming in irregular meters such as @code{5/8}.
1532 @section Accidentals
1535 This section describes how to change the way that accidentals are
1536 inserted automatically before the running notes.
1538 Common rules for typesetting accidentals have been canned in a
1539 function. This function is called as follows:
1541 @cindex @code{set-accidental-style}
1543 #(set-accidental-style 'modern 'Voice)
1546 The function takes two arguments: a symbol that denotes the style (in
1547 the example, @code{modern}), and another symbol that denotes the
1548 context name (in this example, @code{Voice}). If no context name is
1549 supplied, @code{Staff} is the default.
1551 The following styles are supported:
1554 This is the default typesetting behavior. It should correspond
1555 to 18th century common practice: Accidentals are
1556 remembered to the end of the measure in which they occur and
1557 only on their own octave.
1561 The normal behavior is to remember the accidentals on
1562 Staff-level. This variable, however, typesets accidentals
1563 individually for each voice. Apart from that, the rule is similar to
1566 This leads to some weird and often unwanted results
1567 because accidentals from one voice do not get canceled in other
1569 @lilypond[raggedright,relative,fragment,verbatim]
1571 #(set-accidental-style 'voice)
1577 Hence you should only use @code{voice} if the voices
1578 are to be read solely by individual musicians. If the staff is to be
1579 used by one musician (e.g. a conductor) then you use
1580 @code{modern} or @code{modern-cautionary}
1584 @cindex @code{modern} style accidentals
1585 This rule corresponds to the common practice in the 20th
1587 This rule prints the same accidentals as @code{default}, but temporary
1588 accidentals also are canceled in other octaves. Furthermore,
1589 in the same octave, they also get canceled in the following
1592 @lilypond[raggedright,fragment,verbatim]
1593 #(set-accidental-style 'modern)
1594 cis' c'' cis'2 | c'' c'
1597 @item @code{modern-cautionary}
1598 @cindex @code{modern-cautionary}
1599 This rule is similar to @code{modern}, but the
1600 ``extra'' accidentals (the ones not typeset by
1601 @code{default}) are typeset as cautionary accidentals.
1602 They are printed in reduced size or with parentheses:
1603 @lilypond[raggedright,fragment,verbatim]
1604 #(set-accidental-style 'modern-cautionary)
1605 cis' c'' cis'2 | c'' c'
1608 @cindex @code{modern-voice}
1610 This rule is used for multivoice accidentals to be read both by musicians
1611 playing one voice and musicians playing all voices. Accidentals are
1612 typeset for each voice, but they @emph{are} canceled across voices in
1613 the same @internalsref{Staff}.
1615 @cindex @code{modern-voice-cautionary}
1616 @item modern-voice-cautionary
1617 This rule is the same as @code{modern-voice}, but with the extra
1618 accidentals (the ones not typeset by @code{voice}) typeset
1619 as cautionaries. Even though all accidentals typeset by
1620 @code{default} @emph{are} typeset by this variable then
1621 some of them are typeset as cautionaries.
1624 @cindex @code{piano} accidentals
1625 This rule reflects 20th century practice for piano notation. Very similar to
1626 @code{modern} but accidentals also get canceled
1627 across the staves in the same @internalsref{GrandStaff} or
1628 @internalsref{PianoStaff}.
1630 @item piano-cautionary
1631 @cindex @code{#(set-accidental-style 'piano-cautionary)}
1632 As @code{#(set-accidental-style 'piano)' , str)} but with the extra accidentals
1633 typeset as cautionaries.
1636 @cindex @code{no-reset} accidental style
1638 This is the same as @code{default} but with accidentals lasting
1639 ``forever'' and not only until the next measure:
1640 @lilypond[raggedright,fragment,verbatim,relative]
1641 #(set-accidental-style 'no-reset)
1646 This is sort of the opposite of @code{no-reset}: Accidentals
1647 are not remembered at all---and hence all accidentals are
1648 typeset relative to the key signature, regardless of what was
1649 before in the music:
1651 @lilypond[raggedright,fragment,verbatim,relative]
1652 #(set-accidental-style 'forget)
1653 \key d\major c4 c cis cis d d dis dis
1660 Program reference: @internalsref{Accidental_engraver},
1661 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1666 Simultaneous notes are considered to be entered in sequential
1667 mode. This means that in a chord the accidentals are typeset as if the
1668 notes in the chord happened once at a time - in the order in which
1669 they appear in the input file.
1671 This is only a problem when accidentals in a chord depend on each
1672 other. This problem can be solved by manually inserting @code{!} and
1673 @code{?} for the problematic notes.
1675 In the default scheme, accidentals only depend on other
1676 accidentals with the same pitch on the same staff, so no conflicts are
1679 @node Expressive marks
1680 @section Expressive marks
1683 @c todo: should change ordering
1684 @c where to put text spanners, metronome marks,
1693 * Analysis brackets::
1695 * Fingering instructions::
1706 A slur indicates that notes are to be played bound or @emph{legato}.
1709 They are entered using parentheses:
1710 @lilypond[relative=1,fragment,verbatim]
1711 f( g)( a) a8 b( a4 g2 f4)
1716 @c TODO: should explain that ^( and _( set directions
1717 @c should set attachments with ^ and _ ?
1719 Slurs avoid crossing stems, and are generally attached to note heads.
1720 However, in some situations with beams, slurs may be attached to stem
1721 ends. If you want to override this layout you can do this through the
1722 object property @code{attachment} of @internalsref{Slur}. Its value
1723 is a pair of symbols, specifying the attachment type of the left and
1726 @lilypond[fragment,relative,verbatim]
1728 \override Stem #'length = #5.5
1730 \override Slur #'attachment = #'(stem . stem)
1734 If a slur would strike through a stem or beam, the slur will be moved
1735 away upward or downward. If this happens, attaching the slur to the
1736 stems might look better:
1738 @lilypond[fragment,relative,verbatim]
1741 \override Slur #'attachment = #'(stem . stem)
1748 @cindex @code{\slurUp}
1750 @cindex @code{\slurDown}
1752 @cindex @code{\slurBoth}
1754 @cindex @code{\slurDotted}
1756 @cindex @code{\slurSolid}
1761 Program reference: @seeinternals{Slur}, and @internalsref{SlurEvent}.
1766 Producing nice slurs is a difficult problem, and LilyPond
1767 uses a simple, empiric method to produce slurs. In some cases, its
1771 @cindex Adjusting slurs
1773 @node Phrasing slurs
1774 @subsection Phrasing slurs
1776 @cindex phrasing slurs
1777 @cindex phrasing marks
1779 A phrasing slur (or phrasing mark) connects chords and is used to
1780 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1783 @lilypond[fragment,verbatim,relative]
1784 \time 6/4 c'\( d( e) f( e) d\)
1787 Typographically, the phrasing slur behaves almost exactly like a
1788 normal slur. However, they are treated as different objects. A
1789 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1790 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1791 @code{\phrasingSlurBoth}.
1793 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1794 will only affect normal slurs and not phrasing slurs.
1798 @cindex @code{\phrasingSlurUp}
1799 @code{\phrasingSlurUp},
1800 @cindex @code{\phrasingSlurDown}
1801 @code{\phrasingSlurDown},
1802 @cindex @code{\phrasingSlurBoth}
1803 @code{\phrasingSlurBoth}.
1807 Program reference: see also @internalsref{PhrasingSlur}, and
1808 @internalsref{PhrasingSlurEvent}.
1812 Phrasing slurs have the same limitations in their formatting as normal
1813 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1816 @subsection Breath marks
1818 Breath marks are entered using @code{\breathe}:
1821 @lilypond[fragment,relative,verbatim]
1825 The glyph of the breath mark can be tuned by overriding the
1826 @code{text} property of the @code{BreathingSign} layout object with
1827 any markup text. For example,
1828 @lilypond[fragment,verbatim,relative]
1830 \override BreathingSign #'text
1831 = #(make-musicglyph-markup "scripts-rvarcomma")
1838 Program reference: @internalsref{BreathingSign},
1839 @internalsref{BreathingSignEvent}.
1841 Examples: @inputfileref{input/regression,breathing-sign.ly}.
1844 @node Metronome marks
1845 @subsection Metronome marks
1848 @cindex beats per minute
1849 @cindex metronome marking
1851 Metronome settings can be entered as follows:
1853 \tempo @var{duration} = @var{per-minute}
1856 In the MIDI output, they are interpreted as a tempo change, and in the
1857 paper output, a metronome marking is printed:
1858 @cindex @code{\tempo}
1859 @lilypond[fragment,verbatim]
1865 Program reference: @internalsref{MetronomeChangeEvent}.
1870 @subsection Text spanners
1871 @cindex Text spanners
1873 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1874 are written as texts, and extended over many measures with dotted
1875 lines. You can create such texts using text spanners: attach
1876 @code{\startTextSpan} and @code{\stopTextSpan} to the
1877 start and ending note of the spanner.
1879 The string to be printed, as well as the style, is set through object
1882 @lilypond[fragment,relative,verbatim]
1884 \override TextSpanner #'direction = #-1
1885 \override TextSpanner #'edge-text = #'("rall " . "")
1886 c2\startTextSpan b c\stopTextSpan a }
1892 Internals @internalsref{TextSpanEvent},
1893 @internalsref{TextSpanner}.
1895 Examples: @inputfileref{input/regression,text-spanner.ly}.
1898 @node Analysis brackets
1899 @subsection Analysis brackets
1901 @cindex phrasing brackets
1902 @cindex musicological analysis
1903 @cindex note grouping bracket
1905 Brackets are used in musical analysis to indicate structure in musical
1906 pieces. LilyPond supports a simple form of nested horizontal brackets.
1907 To use this, add the @internalsref{Horizontal_bracket_engraver} to
1908 @internalsref{Staff} context. A bracket is started with
1909 @code{\startGroup} and closed with @code{\stopGroup}:
1911 @lilypond[raggedright,verbatim]
1912 \score { \notes \relative c'' {
1913 c4\startGroup\startGroup
1916 c4\stopGroup\stopGroup
1919 \StaffContext \consists "Horizontal_bracket_engraver"
1925 Program reference: @internalsref{HorizontalBracket},
1926 @internalsref{NoteGroupingEvent}.
1928 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
1932 @subsection Articulations
1933 @cindex Articulations
1935 @cindex articulations
1939 A variety of symbols can appear above and below notes to indicate
1940 different characteristics of the performance. They are added to a note
1941 by adding a dash and the character signifying the
1942 articulation. They are demonstrated here:
1944 @lilypondfile[]{script-abbreviations.ly}
1946 The meanings of these shorthands can be changed. See
1947 @file{ly/script-init.ly} for examples.
1950 The script is automatically placed, but if you need to force
1951 directions, you can use @code{_} to force them down, or @code{^} to
1953 @lilypond[fragment,verbatim]
1957 Other symbols can be added using the syntax
1958 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
1959 can be forced up or down using @code{^} and @code{_},
1962 @lilypond[verbatim,fragment,relative=2]
1963 c\fermata c^\fermata c_\fermata
1970 @cindex staccatissimo
1979 @cindex organ pedal marks
1988 @cindex prallmordent
1992 @cindex thumb marking
1997 @lilypondfile[]{script-chart.ly}
2002 @cindex @code{\scriptUp}
2004 @cindex @code{\scriptDown}
2006 @cindex @code{\scriptBoth}
2011 Program reference: @internalsref{ScriptEvent}, and @internalsref{Script}.
2015 These note ornaments appear in the printed output but have no
2016 effect on the MIDI rendering of the music.
2019 @node Fingering instructions
2020 @subsection Fingering instructions
2024 Fingering instructions can be entered using
2026 @var{note}-@var{digit}
2028 For finger changes, use markup texts:
2030 @lilypond[verbatim,raggedright,fragment]
2031 c'4-1 c'4-2 c'4-3 c'4-4
2032 c'^\markup { \finger "2-3" }
2035 @cindex finger change
2040 You can use the thumb-script to indicate that a note should be
2041 played with the thumb (e.g. in cello music):
2043 @lilypond[verbatim,raggedright,fragment]
2044 <a' a''-3>8_\thumb <b' b''-3>_\thumb
2047 Fingerings for chords can also be added to individual notes
2048 of the chord by adding them after the pitches:
2049 @lilypond[verbatim,raggedright,fragment,relative=1]
2050 < c-1 e-2 g-3 b-5 > 4
2054 In this case, setting @code{fingeringOrientations} will put fingerings next
2057 @lilypond[verbatim,raggedright,fragment,relative=1]
2058 \set fingeringOrientations = #'(left down)
2059 <c-1 es-2 g-4 bes-5 > 4
2060 \set fingeringOrientations = #'(up right down)
2061 <c-1 es-2 g-4 bes-5 > 4
2062 \set fingeringOrientations = #'(right)
2066 The last note demonstrates how fingering instructions can be put close
2067 to note heads in monophonic music, using this feature.
2071 Program reference: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2073 Examples: @inputfileref{input/regression,finger-chords.ly}.
2076 @subsection Text scripts
2077 @cindex Text scripts
2079 @cindex text items, non-empty
2080 @cindex non-empty texts
2082 It is possible to place arbitrary strings of text or markup text (see
2083 @ref{Text markup}) above or below notes by using a string:
2084 @code{c^"text"}. By default, these indications do not influence the
2085 note spacing, but by using the command @code{\fatText}, the widths
2086 will be taken into account:
2088 @lilypond[fragment,raggedright,verbatim] \relative c' {
2089 c4^"longtext" \fatText c4_"longlongtext" c4 }
2092 It is possible to use @TeX{} commands in the strings, but this should
2093 be avoided because the exact dimensions of the string can then no
2098 @cindex @code{\fatText}
2100 @cindex @code{\emptyText}
2105 In this manual: @ref{Text markup}.
2107 Program reference: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
2113 @subsection Grace notes
2116 @c should have blurb about accaciatura / appogiatura
2118 @cindex @code{\grace}
2122 Grace notes are ornaments that are written out. The most common ones
2123 are acciaccatura, which should be played as very short. It is denoted
2124 by a slurred small note with a slashed stem. The appoggiatura is a
2125 grace note that takes a fixed fraction of the main note, is and
2126 denoted as a slurred note in small print without a slash.
2127 They are entered with the commands @code{\acciaccatura} and
2128 @code{\appoggiatura}, as demonstrated in the following example:
2131 @cindex appoggiatura
2132 @cindex acciaccatura
2134 @lilypond[relative=2,verbatim,fragment]
2135 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2136 \acciaccatura { g16[ f] } e4
2139 Both are special forms of the @code{\grace} command. By prefixing this
2140 keyword to a music expression, a new one is formed, which will be
2141 printed in a smaller font and takes up no logical time in a measure.
2142 @lilypond[relative=2,verbatim,fragment]
2144 \grace { c16[ d16] } c2 c4
2148 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2149 @code{\grace} command does not start a slur.
2151 Internally, timing for grace notes is done using a second, `grace'
2152 time. Every point in time consists of two rational numbers: one
2153 denotes the logical time, one denotes the grace timing. The above
2154 example is shown here with timing tuples:
2156 @lilypond[raggedright]
2159 c4 \grace c16 c4 \grace {
2162 \new Lyrics \lyrics {
2165 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2166 \markup { (\fraction 1 4 , 0 ) } 4
2168 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2169 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2171 \markup { ( \fraction 2 4 , 0 ) }
2176 The placement of grace notes is synchronized between different staves.
2177 In the following example, there are two sixteenth graces notes for
2178 every eighth grace note:
2180 @lilypond[relative=2,verbatim,fragment]
2181 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2182 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2187 If you want to end a note with a grace, then the standard trick
2188 is to put the grace notes after a ``space note'', e.g.
2189 @lilypond[fragment,verbatim,relative=2]
2192 { s2 \grace { c16[ d] } } >>
2198 By adjusting the duration of the skip note (here it is a half-note),
2199 the space between the main-note and the grace is adjusted.
2202 A @code{\grace} section will introduce special typesetting settings,
2203 for example, to produce smaller type, and set directions. Hence, when
2204 introducing layout tweaks, they should be inside the grace section,
2206 @lilypond[fragment,verbatim,relative=1]
2209 \override Stem #'direction = #-1
2211 \revert Stem #'direction
2218 The overrides should also be reverted inside the grace section.
2220 If the layout of grace sections must be changed throughout the music,
2221 then this can be accomplished through the function
2222 @code{add-grace-property}. The following example undefines the Stem
2223 direction for this grace, so stems do not always point up.
2227 #(add-grace-property "Voice" Stem direction '())
2233 Another option is to change the variables @code{startGraceMusic},
2234 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2235 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2236 @code{stopAppoggiaturaMusic}. More information is in the file
2237 @file{ly/grace-init.ly}.
2242 Program reference: @internalsref{GraceMusic}.
2246 A score that starts with an @code{\grace} section needs an explicit
2247 @code{\context Voice} declaration, otherwise the main note and grace
2248 note end up on different staves.
2250 Grace note synchronization can also lead to surprises. Staff notation,
2251 such as key signatures, bar lines, etc. are also synchronized. Take
2252 care when you mix staves with grace notes and staves without, for example,
2254 @lilypond[relative=2,verbatim,fragment]
2255 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2256 \new Staff { c4 \bar "|:" d4 } >>
2260 This can be remedied by inserting grace skips, for the above example
2263 \new Staff { c4 \bar "|:" \grace s16 d4 } >>
2266 Grace sections should only be used within sequential music
2267 expressions. Nesting or juxtaposing grace sections is not supported,
2268 and might produce crashes or other errors.
2272 @subsection Glissando
2275 @cindex @code{\glissando}
2277 A glissando is a smooth change in pitch. It is denoted by a line or a
2278 wavy line between two notes.
2281 A glissando line can be requested by attaching a @code{\glissando} to
2284 @lilypond[fragment,relative,verbatim]
2290 Program reference: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2292 Example files: @file{input/regression,glissando.ly}
2298 Printing text over the line (such as @emph{gliss.}) is not supported.
2302 @subsection Dynamics
2315 @cindex @code{\ffff}
2325 Absolute dynamic marks are specified using a command after a note:
2326 @code{c4\ff}. The available dynamic marks are @code{\ppp},
2327 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2328 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2329 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
2331 @lilypond[verbatim,raggedright,fragment,relative]
2332 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2342 A crescendo mark is started with @code{\<} and terminated with
2343 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2344 with @code{\!}. Because these marks are bound to notes, if you must
2345 use spacer notes if multiple marks during one note are needed:
2347 @lilypond[fragment,verbatim]
2348 c''\< c''\! d''\> e''\!
2349 << f''1 { s4 s4\< s4\! \> s4\! } >>
2351 This may give rise to very short hairpins. Use @code{minimum-length}
2352 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2356 \override Staff.Hairpin #'minimum-length = #5
2359 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2360 is an example how to do it:
2362 @lilypond[fragment,relative=2,verbatim]
2372 You can also supply your own texts:
2373 @lilypond[fragment,relative,verbatim]
2375 \set crescendoText = \markup { \italic "cresc. poco" }
2376 \set crescendoSpanner = #'dashed-line
2386 @cindex @code{\dynamicUp}
2388 @cindex @code{\dynamicDown}
2389 @code{\dynamicDown},
2390 @cindex @code{\dynamicBoth}
2391 @code{\dynamicBoth}.
2393 @cindex direction, of dynamics
2397 Program reference: @internalsref{CrescendoEvent},
2398 @internalsref{DecrescendoEvent}, and
2399 @internalsref{AbsoluteDynamicEvent}.
2401 Dynamics @internalsref{DynamicText} and @internalsref{Hairpin}
2402 objects. Vertical positioning of these symbols is handled by the
2403 @internalsref{DynamicLineSpanner} object.
2411 @cindex @code{\repeat}
2414 Repetition is a central concept in music, and multiple notations exist
2415 for repetitions. In LilyPond, most of these notations can be captured
2416 in a uniform syntax. One of the advantages is that they can be
2417 rendered in MIDI accurately.
2419 The following types of repetition are supported:
2423 Repeated music is fully written (played) out. Useful for MIDI
2424 output, and entering repetitive music.
2427 This is the normal notation: Repeats are not written out, but
2428 alternative endings (volte) are printed, left to right.
2432 Alternative endings are written stacked. This has limited use but may be
2433 used to typeset two lines of lyrics in songs with repeats, see
2434 @inputfileref{input,star-spangled-banner.ly}.
2442 Make beat or measure repeats. These look like percent signs.
2448 * Repeats and MIDI::
2449 * Manual repeat commands::
2451 * Tremolo subdivisions::
2456 @subsection Repeat syntax
2459 LilyPond has one syntactic construct for specifying different types of
2460 repeats. The syntax is
2463 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2466 If you have alternative endings, you may add
2467 @cindex @code{\alternative}
2469 \alternative @code{@{} @var{alternative1}
2471 @var{alternative3} @dots{} @code{@}}
2473 where each @var{alternative} is a music expression. If you do not
2474 give enough alternatives for all of the repeats, then the first
2475 alternative is assumed to be played more than once.
2477 Normal notation repeats are used like this:
2478 @lilypond[fragment,verbatim,relative=1]
2480 \repeat volta 2 { c4 d e f }
2481 \repeat volta 2 { f e d c }
2484 With alternative endings:
2485 @lilypond[fragment,verbatim,relative=1]
2487 \repeat volta 2 {c4 d e f}
2488 \alternative { {d2 d} {f f,} }
2492 @lilypond[fragment,verbatim,relative=1]
2495 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2496 \alternative { { g4 g g } { a | a a a a | b2. } }
2502 A nested repeat like
2511 is ambiguous, since it is is not clear to which @code{\repeat} the
2512 @code{\alternative} belongs. This ambiguity is resolved by always
2513 having the @code{\alternative} belong to the inner @code{\repeat}.
2514 For clarity, it is advisable to use braces in such situations.
2517 @node Repeats and MIDI
2518 @subsection Repeats and MIDI
2520 @cindex expanding repeats
2522 For instructions on how to expand repeats for MIDI output, see the
2523 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2528 Timing information is not remembered at the start of an alternative,
2529 so after a repeat timing information must be reset by hand, for
2530 example by setting @code{Score.measurePosition} or entering
2531 @code{\partial}. Similarly, slurs or ties are also not repeated.
2534 @node Manual repeat commands
2535 @subsection Manual repeat commands
2537 @cindex @code{repeatCommands}
2539 The property @code{repeatCommands} can be used to control the layout of
2540 repeats. Its value is a Scheme list of repeat commands, where each repeat
2544 @item the symbol @code{start-repeat},
2545 which prints a @code{|:} bar line,
2546 @item the symbol @code{end-repeat},
2547 which prints a @code{:|} bar line,
2548 @item the list @code{(volta @var{text})},
2549 which prints a volta bracket saying @var{text}: The text can be specified as
2550 a text string or as a markup text, see @ref{Text markup}. Do not
2551 forget to change the font, as the default number font does not contain
2552 alphabetic characters. Or,
2553 @item the list @code{(volta #f)}, which
2554 stops a running volta bracket:
2557 @lilypond[verbatim,fragment,relative=2]
2559 \set Score.repeatCommands = #'((volta "93") end-repeat)
2561 \set Score.repeatCommands = #'((volta #f))
2568 Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2569 @internalsref{VoltaRepeatedMusic},
2570 @internalsref{UnfoldedRepeatedMusic}, and
2571 @internalsref{FoldedRepeatedMusic}.
2573 @node Tremolo repeats
2574 @subsection Tremolo repeats
2575 @cindex tremolo beams
2577 To place tremolo marks between notes, use @code{\repeat} with tremolo
2579 @lilypond[verbatim,raggedright]
2581 \context Voice \notes\relative c' {
2582 \repeat "tremolo" 8 { c16 d16 }
2583 \repeat "tremolo" 4 { c16 d16 }
2584 \repeat "tremolo" 2 { c16 d16 }
2589 Tremolo marks can also be put on a single note. In this case, the
2590 note should not be surrounded by braces.
2591 @lilypond[verbatim,raggedright]
2592 \repeat "tremolo" 4 c'16
2595 A similar mechanism is the tremolo subdivision, described in
2596 @ref{Tremolo subdivisions}.
2600 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2602 Program reference: tremolo beams are @internalsref{Beam} objects. Single stem
2603 tremolos are @internalsref{StemTremolo} objects. The music expression is
2604 @internalsref{TremoloEvent}.
2606 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2607 @inputfileref{input/regression,stem-tremolo.ly}.
2609 @node Tremolo subdivisions
2610 @subsection Tremolo subdivisions
2611 @cindex tremolo marks
2612 @cindex @code{tremoloFlags}
2614 Tremolo marks can be printed on a single note by adding
2615 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2616 A @var{length} value of 8 gives one line across the note stem. If the
2617 length is omitted, then then the last value (stored in
2618 @code{tremoloFlags}) is used:
2620 @lilypond[verbatim,fragment]
2621 c'2:8 c':32 | c': c': |
2624 @c [TODO : stok is te kort bij 32en]
2628 Tremolos entered in this way do not carry over into the MIDI output.
2632 In this manual: @ref{Tremolo repeats}.
2634 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
2636 @node Measure repeats
2637 @subsection Measure repeats
2639 @cindex percent repeats
2640 @cindex measure repeats
2642 In the @code{percent} style, a note pattern can be repeated. It is
2643 printed once, and then the pattern is replaced with a special sign.
2644 Patterns of a one and two measures are replaced by percent-like signs,
2645 patterns that divide the measure length are replaced by slashes:
2647 @lilypond[verbatim,raggedright]
2648 \context Voice { \repeat "percent" 4 { c'4 }
2649 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2655 Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2656 @internalsref{PercentRepeatedMusic}, and
2657 @internalsref{DoublePercentRepeat}.
2661 @node Rhythmic music
2662 @section Rhythmic music
2666 * Showing melody rhythms::
2667 * Entering percussion::
2668 * Percussion staves::
2672 @node Showing melody rhythms
2673 @subsection Showing melody rhythms
2675 Sometimes you might want to show only the rhythm of a melody. This
2676 can be done with the rhythmic staff. All pitches of notes on such a
2677 staff are squashed, and the staff itself has a single line:
2679 @lilypond[fragment,relative,verbatim]
2680 \context RhythmicStaff {
2682 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2688 Program reference: @internalsref{RhythmicStaff}.
2690 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
2693 @node Entering percussion
2694 @subsection Entering percussion
2700 Percussion notes may be entered in @code{\drums} mode, which is
2701 similar to @code{notes}. Each piece of percussion has a full name and
2702 an abbreviated name, and both be used in input files:
2705 hihat hh bassdrum bd
2707 @lilypond[raggedright]
2708 \new DrumStaff \drums { hihat hh bassdrum bd
2712 The complete list of drum names is in the init file
2713 @file{ly/drumpitch-init.ly}.
2714 @c TODO: properly document this.
2718 Program reference: @internalsref{DrumNoteEvent}.
2720 @node Percussion staves
2721 @subsection Percussion staves
2725 A percussion part for more than one instrument typically uses a
2726 multiline staff where each position in the staff refers to one piece
2730 To typeset the music, the notes must be interpreted in a
2731 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts:
2734 @lilypond[raggedright,verbatim]
2735 up = \drums { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2736 down = \drums { bassdrum4 snare8 bd r bd sn4 }
2739 << \new DrumVoice { \voiceOne \up }
2740 \new DrumVoice { \voiceTwo \down }
2744 The above example shows verbose polyphonic notation. The short
2745 polyphonic notation, described in @ref{Polyphony}, can also be used if
2746 the @internalsref{DrumVoices} are instantiated by hand first. For example,
2748 @lilypond[fragment,verbatim]
2749 \drums \new DrumStaff <<
2750 \context DrumVoice = "1" { s1 *2 }
2751 \context DrumVoice = "2" { s1 *2 }
2755 { \repeat unfold 16 hh16 }
2764 There are also other layout possibilities. To use these, set the
2765 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
2766 The following variables have been predefined:
2770 is the default. It typesets a typical drum kit on a five-line staff
2773 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2774 bd sn ss tomh tommh tomml toml tomfh tomfl }
2775 mus = \drums { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
2776 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2778 << \new DrumStaff\with {
2779 \remove Bar_engraver
2780 \remove Time_signature_engraver
2781 \override Stem #'transparent = ##t
2782 \override Stem #'Y-extent-callback = ##f
2783 minimumVerticalExtent = #'(-4.0 . 5.0)
2785 \context Lyrics \nam
2788 %% need to do this, because of indented @itemize
2790 \context { \ScoreContext
2791 \override LyricText #'font-family = #'typewriter
2792 \override BarNumber #'transparent =##T
2796 The drum scheme supports six different toms. When there fewer toms, simply
2797 select the toms that produce the desired result, i.e. to get toms on
2798 the three middle lines you use @code{tommh}, @code{tomml} and
2801 @item timbales-style
2802 to typeset timbales on a two line staff:
2804 @lilypond[raggedright]
2805 nam = \lyrics { timh ssh timl ssl cb }
2806 mus = \drums { timh ssh timl ssl cb s16 }
2809 \context DrumStaff \with {
2810 \remove Bar_engraver
2811 \remove Time_signature_engraver
2812 \override Stem #'transparent = ##t
2813 \override Stem #'Y-extent-callback = ##f
2814 \override StaffSymbol #'line-count = #2
2815 \override StaffSymbol #'staff-space = #2
2816 minimumVerticalExtent = #'(-3.0 . 4.0)
2817 drumStyleTable = #timbales-style
2820 \override LyricText #'font-family = #'typewriter
2827 to typeset congas on a two line staff:
2829 @lilypond[raggedright]
2830 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2831 mus = \drums { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2834 \context DrumStaff\with {
2835 \remove Bar_engraver
2836 \remove Time_signature_engraver
2837 drumStyleTable = #congas-style
2838 \override StaffSymbol #'line-count = #2
2840 %% this sucks; it will lengthen stems.
2841 \override StaffSymbol #'staff-space = #2
2842 \override Stem #'transparent = ##t
2843 \override Stem #'Y-extent-callback = ##f
2846 \override LyricText #'font-family = #'typewriter
2852 to typeset bongos on a two line staff:
2854 @lilypond[raggedright]
2855 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2856 mus = \drums { boh boho bohm ssh bol bolo bolm ssl s16 }
2859 \context DrumStaff\with {
2860 \remove Bar_engraver
2861 \remove Time_signature_engraver
2862 \override StaffSymbol #'line-count = #2
2863 drumStyleTable = #bongos-style
2865 %% this sucks; it will lengthen stems.
2866 \override StaffSymbol #'staff-space = #2
2867 \override Stem #'transparent = ##t
2868 \override Stem #'Y-extent-callback = ##f
2871 \override LyricText #'font-family = #'typewriter
2877 @item percussion-style
2878 to typeset all kinds of simple percussion on one line staves:
2879 @lilypond[raggedright]
2880 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2881 mus = \drums { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2884 \context DrumStaff\with{
2885 \remove Bar_engraver
2886 drumStyleTable = #percussion-style
2887 \override StaffSymbol #'line-count = #1
2888 \remove Time_signature_engraver
2889 \override Stem #'transparent = ##t
2890 \override Stem #'Y-extent-callback = ##f
2894 \override LyricText #'font-family = #'typewriter
2901 If you do not like any of the predefined lists you can define your own
2902 list at the top of your file:
2904 @lilypond[raggedright,verbatim]
2906 (bassdrum default #f -1)
2907 (snare default #f 0)
2909 (pedalhihat xcircle "stopped" 2)
2910 (lowtom diamond #f 3)
2912 up = \drums { hh8 hh hh hh hhp4 hhp }
2913 down = \drums { bd4 sn bd toml8 toml }
2916 \set DrumStaff.drumStyleTable
2917 = #(alist->hash-table mydrums)
2918 \new DrumVoice { \voiceOne \up }
2919 \new DrumVoice { \voiceTwo \down }
2927 Init files: @file{ly/drumpitch-init.ly}.
2929 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
2933 Because general MIDI does not contain rim shots, the sidestick is used
2934 for this purpose instead.
2937 @section Piano music
2939 Piano staves are two normal staves coupled with a brace. The staves
2940 are largely independent, but sometimes voices can cross between the
2941 two staves. The same notation is also used for harps and other key
2942 instruments. The @internalsref{PianoStaff} is especially built to
2943 handle this cross-staffing behavior. In this section we discuss the
2944 @internalsref{PianoStaff} and some other pianistic peculiarities.
2948 * Automatic staff changes::
2949 * Manual staff switches::
2952 * Staff switch lines::
2957 There is no support for putting chords across staves. You can get
2958 this result by increasing the length of the stem in the lower stave so
2959 it reaches the stem in the upper stave, or vice versa. An example is
2960 included with the distribution as
2961 @inputfileref{input/test,stem-cross-staff.ly}.
2963 Dynamics are not centered, but kludges do exist. See
2964 @inputfileref{input/template,piano-dynamics.ly}.
2966 @cindex cross staff stem
2967 @cindex stem, cross staff
2969 The distance between the two staves is normally fixed across the
2970 entire score. It is possible to tune this per system, but it does
2971 require arcane command incantations. See
2972 @inputfileref{input/test,piano-staff-distance.ly}.
2979 @node Automatic staff changes
2980 @subsection Automatic staff changes
2981 @cindex Automatic staff changes
2983 Voices can switch automatically between the top and the bottom
2984 staff. The syntax for this is
2986 \autochange \context Voice @{ @dots{}@var{music}@dots{} @}
2988 The two staves of the piano staff must be named @code{up} and
2991 The autochanger switches on basis of pitch (middle C is the turning
2992 point), and it looks ahead skipping over rests to switch in
2993 advance. Here is a practical example:
2995 @lilypond[verbatim,raggedright]
2996 \score { \notes \context PianoStaff <<
2997 \context Staff = "up" {
2998 \autochange \new Voice \relative c' {
2999 g4 a b c d r4 a g } }
3000 \context Staff = "down" {
3007 In this example, spacer rests are used to prevent the bottom staff from
3008 terminating too soon.
3013 In this manual: @ref{Manual staff switches}.
3015 Program reference: @internalsref{AutoChangeMusic}.
3021 The staff switches often do not end up in optimal places. For high
3022 quality output, staff switches should be specified manually.
3026 @node Manual staff switches
3027 @subsection Manual staff switches
3029 @cindex manual staff switches
3030 @cindex staff switch, manual
3032 Voices can be switched between staves manually, using the following command:
3034 \change Staff = @var{staffname} @var{music}
3038 The string @var{staffname} is the name of the staff. It switches the
3039 current voice from its current staff to the Staff called
3040 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3049 Pianos have pedals that alter the way sound are produced. Generally, a
3050 piano has three pedals, sustain, una corda, and sostenuto.
3053 Piano pedal instruction can be expressed by attaching
3054 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3055 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3058 @lilypond[fragment,verbatim]
3059 c'4\sustainDown c'4\sustainUp
3062 What is printed can be modified by setting @code{pedal@var{X}Strings},
3063 where @var{X} is one of the pedal types: @code{Sustain},
3064 @code{Sostenuto} or @code{UnaCorda}. Refer to
3065 @internalsref{SustainPedal} in the program reference for more
3068 Pedals can also be indicated by a sequence of brackets, by setting the
3069 @code{pedalSustainStyle} property to @code{bracket} objects:
3071 @lilypond[fragment,verbatim,relative=2]
3072 \set Staff.pedalSustainStyle = #'bracket
3074 b\sustainUp\sustainDown
3075 b g \sustainUp a \sustainDown \bar "|."
3078 A third style of pedal notation is a mixture of text and brackets,
3079 obtained by setting the @code{pedalSustainStyle} style property to
3082 @lilypond[fragment,verbatim,relative=2]
3083 \set Staff.pedalSustainStyle = #'mixed
3085 b\sustainUp\sustainDown
3086 b g \sustainUp a \sustainDown \bar "|."
3089 The default `*Ped.' style for sustain and damper pedals corresponds to
3090 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3093 @lilypond[fragment,verbatim,relative=2]
3094 c\sostenutoDown d e c, f g a\sostenutoUp
3097 For fine-tuning of the appearance of a pedal bracket, the properties
3098 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3099 @code{PianoPedalBracket} objects (see
3100 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3101 bracket may be extended to the end of the note head:
3103 @lilypond[fragment,verbatim]
3104 \override Staff.PianoPedalBracket
3105 #'shorten-pair = #'(0 . -1.0)
3106 c\sostenutoDown d e c, f g a\sostenutoUp
3110 @subsection Arpeggio
3113 @cindex broken arpeggio
3114 @cindex @code{\arpeggio}
3116 You can specify an arpeggio sign on a chord by attaching an
3117 @code{\arpeggio} to a chord:
3120 @lilypond[fragment,relative,verbatim]
3124 When an arpeggio crosses staves, you attach an arpeggio to the chords
3125 in both staves, and set
3126 @internalsref{PianoStaff}.@code{connectArpeggios}:
3128 @lilypond[fragment,relative,verbatim]
3129 \context PianoStaff <<
3130 \set PianoStaff.connectArpeggios = ##t
3131 \new Staff { <c' e g c>\arpeggio }
3132 \new Staff { \clef bass <c,, e g>\arpeggio }
3136 The direction of the arpeggio is sometimes denoted by adding an
3137 arrowhead to the wiggly line:
3139 @lilypond[fragment,relative,verbatim]
3148 A square bracket on the left indicates that the player should not
3149 arpeggiate the chord:
3151 @lilypond[fragment,relative,verbatim]
3158 @cindex @code{\arpeggio}
3160 @cindex @code{\arpeggioUp}
3162 @cindex @code{\arpeggioDown}
3164 @cindex @code{\arpeggioBoth}
3165 @code{\arpeggioBoth},
3166 @cindex @code{\arpeggioBracket}
3167 @code{\arpeggioBracket}.
3171 Program reference: @internalsref{ArpeggioEvent} music expressions lead to
3172 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3173 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3177 It is not possible to mix connected arpeggios and unconnected
3178 arpeggios in one @internalsref{PianoStaff} at the same time.
3180 @node Staff switch lines
3181 @subsection Staff switch lines
3184 @cindex follow voice
3185 @cindex staff switching
3188 @cindex @code{followVoice}
3190 Whenever a voice switches to another staff a line connecting the notes
3191 can be printed automatically. This is enabled if the property
3192 @code{PianoStaff.followVoice} is set to true:
3194 @lilypond[fragment,relative,verbatim]
3195 \context PianoStaff <<
3196 \set PianoStaff.followVoice = ##t
3197 \context Staff \context Voice {
3202 \context Staff=two { \clef bass \skip 1*2 }
3208 The associated object is @internalsref{VoiceFollower}.
3212 @cindex @code{\showStaffSwitch}
3213 @code{\showStaffSwitch},
3214 @cindex @code{\hideStaffSwitch}
3215 @code{\hideStaffSwitch}.
3219 @section Vocal music
3221 This section discusses how to enter and print lyrics.
3225 * The Lyrics context::
3230 @node Entering lyrics
3231 @subsection Entering lyrics
3235 @cindex @code{\lyrics}
3238 Lyrics are entered in a special input mode. This mode is is introduced
3239 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3240 punctuation and accents without any hassle. Syllables are entered like
3241 notes, but with pitches replaced by text. For example,
3243 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3246 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3247 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3248 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3249 any 8-bit character with ASCII code over 127, or a two-character
3250 combination of a backslash followed by one of @code{`}, @code{'},
3251 @code{"}, or @code{^}.
3253 Subsequent characters of a word can be any character that is not a digit
3254 and not white space. One important consequence of this is that a word
3255 can end with @code{@}}. The following example is usually a bug. The
3256 syllable includes a @code{@}}, and hence the opening brace is not balanced:
3258 \lyrics @{ twinkle@}
3261 @cindex @code{\property}, in @code{\lyrics}
3262 Similarly, a period following a alphabetic sequence, is included in
3263 the resulting string. As a consequence, spaces must be inserted around
3266 \override Score . LyricText #'font-shape = #'italic
3270 @cindex spaces, in lyrics
3271 @cindex quotes, in lyrics
3273 Any @code{_} character which appears in an unquoted word is converted
3274 to a space. This provides a mechanism for introducing spaces into words
3275 without using quotes. Quoted words can also be used in Lyrics mode to
3276 specify words that cannot be written with the above rules:
3279 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3281 However, at least for english texts, you should use
3283 \lyrics @{ He said: ``Let my peo ple go'' @}
3285 to get the correct shape of the starting and ending quote.
3289 Centered hyphens are entered as `@code{-}@code{-}' between syllables.
3290 The hyphen will have variable length depending on the space between
3291 the syllables and it will be centered between the syllables.
3296 When a lyric is sung over many notes (this is called a melisma), this is
3297 indicated with a horizontal line centered between a syllable and the
3298 next one. Such a line is called an extender line, and it is entered as
3303 Program reference: events @internalsref{LyricEvent},
3304 @internalsref{HyphenEvent}, and @internalsref{ExtenderEvent}. Objects:
3305 @internalsref{LyricHyphen}, @internalsref{LyricExtender} and
3306 @internalsref{LyricText}.
3308 Examples: @inputfileref{input/test,lyric-hyphen-retain.ly}.
3312 The definition of lyrics mode is too complex.
3316 @node The Lyrics context
3317 @subsection The Lyrics context
3319 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context:
3321 \context Lyrics \lyrics @dots{}
3324 @cindex automatic syllable durations
3325 @cindex @code{\lyricsto}
3326 @cindex lyrics and melodies
3328 This will place the lyrics according to the durations that were
3329 entered. The lyrics can also be aligned under a given melody
3330 automatically. In this case, it is no longer necessary to enter the
3331 correct duration for each syllable. This is achieved by combining the
3332 melody and the lyrics with the @code{\lyricsto} expression:
3334 \lyricsto @var{name} \new Lyrics @dots{}
3337 This aligns the lyrics to the
3339 notes of the @internalsref{Voice} context called @var{name}, which has
3340 to exist. Therefore, normally the @code{Voice} is specified first, and
3341 then the lyrics are specified with @code{\lyricsto}.
3343 For different or more complex orderings, the best way is to setup the
3344 hierarchy of staves and lyrics first, e.g.
3346 \context ChoirStaff \notes <<
3347 \context Lyrics = sopranoLyrics @{ s1 @}
3348 \context Voice = soprano @{ @emph{music} @}
3349 \context Lyrics = tenorLyrics @{ s1 @}
3350 \context Voice = tenor @{ @emph{music} @}
3353 and then combine the appropriate melodies and lyric lines:
3355 \lyricsto "soprano" \context Lyrics = sopranoLyrics
3360 The final input would resemble
3363 << \context ChoirStaff \notes << @emph{setup the music} >>
3364 \lyricsto "soprano" @emph{etc}
3365 \lyricsto "alto" @emph{etc}
3371 The @code{\lyricsto} command detects melismata: it only puts one
3372 syllable under a tied or slurred group of notes. If you want to force
3373 an unslurred group of notes to be a melisma, then insert
3374 @code{\melisma} after the first note of the group, and
3375 @code{\melismaEnd} after the last one, e.g.
3377 @lilypond[relative=1,raggedright,fragment,verbatim]
3378 << \context Voice = "lala" { \time 3/4
3384 \lyricsto "lala" \new Lyrics \lyrics {
3389 In addition, notes are considered a melisma if they are manually
3390 beamed, and automatic beaming (see @ref{Setting automatic beam
3391 behavior}) is switched off. The criteria for deciding melismata can
3392 be tuned with the property @code{melismaBusyProperties}. See
3393 @internalsref{Melisma_translator} in the program reference for more
3396 When multiple stanzas are put on the same melody, it can happen that
3397 two stanzas have melismata in different locations. This can be
3398 remedied by switching off melismata for one
3399 @internalsref{Lyrics}. This is achieved by setting
3400 the @code{ignoreMelismata} property to @code{#t}. An example is shown
3401 in @inputfileref{input/regression,lyric-combine-new.ly}.
3404 @cindex choral score
3406 A complete example of a SATB score setup is in the file
3407 @inputfileref{input/template,satb.ly}.
3412 @code{\melisma}, @code{\melismaEnd}
3413 @cindex @code{\melismaEnd}
3414 @cindex @code{\melisma}
3418 Program reference: Music expressions: @internalsref{LyricCombineMusic},
3419 Contexts: @internalsref{Lyrics}, @internalsref{Melisma_translator}.
3421 Examples: @inputfileref{input/template,satb.ly},
3422 @inputfileref{input/regression,lyric-combine-new.ly}.
3426 Melismata are not detected automatically, and extender lines must be
3430 For proper processing of extender lines, the
3431 @internalsref{Lyrics} and @internalsref{Voice} should be
3432 linked. This can be achieved either by using @code{\lyricsto} or by
3433 setting corresponding names for both contexts. The latter is explained
3434 in @ref{More stanzas}.
3437 @subsection More stanzas
3439 @cindex phrasing, in lyrics
3442 The lyrics should be aligned with the note heads of the melody. To
3443 achieve this, each line of lyrics should be marked to correspond with
3444 the melodic line. This is done automatically when @code{\lyricsto},
3445 but it can also be done manually.
3447 To this end, give the @internalsref{Voice} context an identity:
3449 \context Voice = duet @{
3454 Then set the @internalsref{Lyrics} contexts to names starting with
3455 that identity followed by a dash. In the preceding example, the
3456 @internalsref{Voice} identity is @code{duet}, so the identities of the
3457 @internalsref{Lyrics}s are marked @code{duet-1} and @code{duet-2}:
3459 \context Lyrics = "duet-1" @{
3460 Hi, my name is Bert. @}
3461 \context Lyrics = "duet-2" @{
3462 Ooooo, ch\'e -- ri, je t'aime. @}
3465 The complete example is shown here:
3466 @lilypond[raggedright,verbatim]
3468 << \notes \relative c'' \context Voice = duet { \time 3/4
3470 \lyrics << \lyricsto "duet" \new Lyrics {
3471 \set vocalName = "Bert"
3472 Hi, my name is Bert. }
3473 \lyricsto "duet" \new Lyrics {
3474 \set vocalName = "Ernie"
3475 Ooooo, ch\'e -- ri, je t'aime.
3481 @cindex stanza number
3482 @cindex singer's names
3483 @cindex name of singer
3485 Stanza numbers can be added by setting @code{stanza}, e.g.
3487 @lilypond[verbatim,relative=2]
3488 << \context Voice = duet { \time 3/4
3490 \lyrics \lyricsto "duet" \new Lyrics {
3492 Hi, my name is Bert.
3497 This example also demonstrates how names of the singers can be added
3498 using @code{vocalName} analogous to instrument annotations for staves.
3499 A short version may be entered as @code{vocNam}.
3501 To make empty spaces in lyrics, use @code{\skip}.
3506 Program reference: Layout objects @internalsref{LyricText} and
3507 @internalsref{VocalName}. Music expressions:
3508 @internalsref{LyricEvent}.
3514 Input for lyrics introduces a syntactical ambiguity:
3521 is interpreted as assigning a string identifier @code{\foo} such that
3522 it contains @code{"bar"}. However, it could also be interpreted as
3523 making or a music identifier @code{\foo} containing the syllable
3524 `bar'. The force the latter interpretation, use
3534 The term @emph{ambitus} denotes a range of pitches for a given voice
3535 in a part of music. It also may denote the pitch range that a musical
3536 instrument is capable of playing. Ambituses are printed on vocal
3537 parts, so singers can easily determine if it meets his or her
3540 It denoted at the beginning of a piece near the initial clef. The
3541 range is graphically specified by two note heads, that represent the
3542 minimum and maximum pitch. To print such ambituses, add the
3543 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
3550 \consists Ambitus_engraver
3555 This results in the following output:
3557 @lilypond[raggedright]
3560 \notes \relative c' <<
3571 \consists Ambitus_engraver
3577 If you have multiple voices in a single staff, and you want a single
3578 ambitus per staff rather than per each voice, then add the
3579 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3580 rather than to the @internalsref{Voice} context.
3582 It is possible to tune individual ambituses for multiple voices on a
3583 single staff, for example by erasing or shifting them horizontally. An
3584 example is in @inputfileref{input/test,ambitus-mixed.ly}.
3588 Program reference: @internalsref{Ambitus}.
3590 Examples: @inputfileref{input/regression,ambitus.ly},
3591 @inputfileref{input/test,ambitus-mixed.ly}.
3595 There is no collision handling in the case of multiple per-voice
3601 Tablature notation is used for notating music for plucked string
3602 instruments. It notates pitches not by using note heads, but by
3603 indicating on which string and fret a note must be played. LilyPond
3604 offers limited support for tablature.
3607 * Tablatures basic::
3608 * Non-guitar tablatures::
3611 @node Tablatures basic
3612 @subsection Tablatures basic
3613 @cindex Tablatures basic
3615 The string number associated to a note is given as a backslash
3616 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3617 string. By default, string 1 is the highest one, and the tuning
3618 defaults to the standard guitar tuning (with 6 strings). The notes
3619 are printed as tablature, by using @internalsref{TabStaff} and
3620 @internalsref{TabVoice} contexts:
3622 @lilypond[fragment,verbatim]
3623 \notes \context TabStaff {
3631 When no string is specified, the first string that does not give a
3632 fret number less than @code{minimumFret} is selected. The default
3633 value for @code{minimumFret} is 0:
3638 \set TabStaff.minimumFret = #8
3641 @lilypond[noindent,raggedright]
3645 \set TabStaff.minimumFret = #8
3649 \context StaffGroup <<
3650 \context Staff { \clef "G_8" \frag }
3651 \context TabStaff { \frag }
3658 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}, and
3659 @internalsref{StringNumberEvent}.
3663 Chords are not handled in a special way, and hence the automatic
3664 string selector may easily select the same string to two notes in a
3668 @node Non-guitar tablatures
3669 @subsection Non-guitar tablatures
3670 @cindex Non-guitar tablatures
3672 You can change the number of strings, by setting the number of lines
3673 in the @internalsref{TabStaff}.
3675 You can change the tuning of the strings. A string tuning is given as
3676 a Scheme list with one integer number for each string, the number
3677 being the pitch (measured in semitones relative to middle C) of an
3678 open string. The numbers specified for @code{stringTuning} are the
3679 numbers of semitones to subtract or add, starting the specified pitch
3680 by default middle C, in string order. Thus, the notes are e, a, d, and
3683 @lilypond[fragment,verbatim]
3684 \context TabStaff <<
3685 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
3688 a,4 c' a e' e c' a e'
3695 No guitar special effects have been implemented.
3699 Program reference: @internalsref{Tab_note_heads_engraver}.
3703 @section Chord names
3706 LilyPond has support for both printing chord names. Chords may be
3707 entered in musical chord notation, i.e. @code{< .. >}, but they can
3708 also be entered by name. Internally, the chords are represented as a
3709 set of pitches, so they can be transposed:
3712 @lilypond[verbatim,raggedright]
3713 twoWays = \notes \transpose c c' {
3723 << \context ChordNames \twoWays
3724 \context Voice \twoWays >> }
3727 This example also shows that the chord printing routines do not try to
3728 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3734 * Printing chord names::
3739 @subsection Chords mode
3742 Chord mode is a mode where you can input sets of pitches using common
3743 names. It is introduced by the keyword @code{\chords}.
3744 In chords mode, a chord is entered by the root, which is entered
3745 like a common pitch:
3746 @lilypond[fragment,verbatim,relative=1]
3747 \chords { es4. d8 c2 }
3752 Other chords may be entered by suffixing a colon, and introducing a
3753 modifier, and optionally, a number:
3755 @lilypond[fragment,verbatim]
3756 \chords { e1:m e1:7 e1:m7 }
3758 The first number following the root is taken to be the `type' of the
3759 chord, thirds are added to the root until it reaches the specified
3761 @lilypond[fragment,verbatim]
3762 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3765 @cindex root of chord
3766 @cindex additions, in chords
3767 @cindex removals, in chords
3769 More complex chords may also be constructed adding separate steps
3770 to a chord. Additions are added after the number following
3771 the colon, and are separated by dots:
3773 @lilypond[verbatim,fragment]
3774 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3776 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3778 @lilypond[verbatim,fragment]
3779 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3781 Removals are specified similarly, and are introduced by a caret. They
3782 must come after the additions:
3783 @lilypond[verbatim,fragment]
3784 \chords { c^3 c:7^5 c:9^3.5 }
3787 Modifiers can be used to change pitches. The following modifiers are
3791 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3793 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3796 is the augmented chord. This modifier raises the 5th step.
3798 is the major 7th chord. This modifier raises the 7th step if present.
3800 is the suspended 4th or 2nd. This modifier removes the 3rd
3801 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3804 Modifiers can be mixed with additions:
3805 @lilypond[verbatim,fragment]
3806 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3809 @cindex modifiers, in chords.
3816 Since an unaltered 11 does not sound good when combined with an
3817 unaltered 13, the 11 is removed in this case (unless it is added
3820 @lilypond[fragment,verbatim]
3821 \chords { c:13 c:13.11 c:m13 }
3826 An inversion (putting one pitch of the chord on the bottom), as well
3827 as bass notes, can be specified by appending
3828 @code{/}@var{pitch} to the chord:
3829 @lilypond[fragment,verbatim]
3830 \chords { c1 c/g c/f }
3834 A bass note can be added instead of transposed out of the chord,
3835 by using @code{/+}@var{pitch}.
3837 @lilypond[fragment,verbatim]
3838 \chords { c1 c/+g c/+f }
3841 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3842 of the commands continue to work, for example, @code{r} and
3843 @code{\skip} can be used to insert rests and spaces, and property
3844 commands may be used to change various settings.
3850 Each step can only be present in a chord once. The following
3851 simply produces the augmented chord, since @code{5+} is interpreted
3854 @lilypond[verbatim,fragment]
3855 \chords { c:5.5-.5+ }
3859 @node Printing chord names
3860 @subsection Printing chord names
3862 @cindex printing chord names
3866 For displaying printed chord names, use the @internalsref{ChordNames} context.
3867 The chords may be entered either using the notation
3868 described above, or directly using @code{<} and @code{>}:
3870 @lilypond[verbatim,raggedright]
3872 \chords {a1 b c} <d' f' a'> <e' g' b'>
3876 \context ChordNames \scheme
3877 \context Staff \scheme
3882 You can make the chord changes stand out by setting
3883 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3884 display chord names when there is a change in the chords scheme and at
3885 the start of a new line:
3887 @lilypond[verbatim,linewidth=9\cm]
3889 c1:m c:m \break c:m c:m d
3893 \context ChordNames {
3894 \set chordChanges = ##t
3896 \context Staff \transpose c c' \scheme
3901 The default chord name layout is a system for Jazz music, proposed by
3902 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
3903 following properties:
3906 @cindex chordNameExceptions
3907 @item chordNameExceptions
3908 This is a list that contains the chords that have special formatting.
3910 @inputfileref{input/regression,chord-name-exceptions.ly}.
3911 @cindex exceptions, chord names.
3914 @cindex majorSevenSymbol
3915 @item majorSevenSymbol
3916 This property contains the markup object used for the 7th step, when
3917 it is major. Predefined options are @code{whiteTriangleMarkup} and
3918 @code{blackTriangleMarkup}. See
3919 @inputfileref{input/regression,chord-name-major7.ly} for an example.
3921 @cindex chordNameSeparator
3922 @item chordNameSeparator
3923 Different parts of a chord name are normally separated by a
3924 slash. By setting @code{chordNameSeparator}, you can specify other
3926 @lilypond[fragment,verbatim]
3927 \context ChordNames \chords {
3929 \set chordNameSeparator
3930 = \markup { \typewriter "|" }
3934 @cindex chordRootNamer
3935 @item chordRootNamer
3936 The root of a chord is usually printed as a letter with an optional
3937 alteration. The transformation from pitch to letter is done by this
3938 function. Special note names (for example, the German ``H'' for a
3939 B-chord) can be produced by storing a new function in this property.
3941 The predefined variables @code{\germanChords},
3942 @code{\semiGermanChords} set these variables.
3945 @cindex chordNoteNamer
3946 @item chordNoteNamer
3947 The default is to print single pitch, e.g. the bass note, using the
3948 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
3949 to a specialized function to change this behavior. For example, the
3950 base can be printed in lower case.
3955 There are also two other chord name schemes implemented: an alternate
3956 Jazz chord notation, and a systematic scheme called Banter chords. The
3957 alternate jazz notation is also shown on the chart in @ref{Chord name
3958 chart}. Turning on these styles is described in the input file
3959 @inputfileref{input/test,chord-names-jazz.ly}.
3963 @cindex chords, jazz
3968 @cindex @code{\germanChords}
3969 @code{\germanChords},
3970 @cindex @code{\semiGermanChords}
3971 @code{\semiGermanChords}.
3978 Examples: @inputfileref{input/regression,chord-name-major7.ly},
3979 @inputfileref{input/regression,chord-name-exceptions.ly},
3980 @inputfileref{input/test,chord-names-jazz.ly},
3981 @inputfileref{input/test,chord-names-german.ly}.
3983 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
3988 Chord names are determined solely from the list of pitches. Chord
3989 inversions are not identified, and neither are added bass notes. This
3990 may result in strange chord names when chords are entered with the
3991 @code{< .. >} syntax.
3996 @node Orchestral music
3997 @section Orchestral music
3999 @cindex Writing parts
4001 Orchestral music involves some special notation, both in the full
4002 score and the individual parts. This section explains how to tackle
4003 some common problems in orchestral music.
4008 * Multiple staff contexts::
4011 * Instrument names::
4013 * Instrument transpositions::
4014 * Multi measure rests::
4015 * Automatic part combining::
4017 * Different editions from one source::
4018 * Quoting other voices::
4021 @node Multiple staff contexts
4022 @subsection Multiple staff contexts
4024 Polyphonic scores consist of many staves. These staves can be
4025 constructed in three different ways:
4027 @item The group is started with a brace at the left, and bar lines are
4028 connected. This is done with the @internalsref{GrandStaff} context.
4030 @item The group is started with a bracket, and bar lines are connected. This is done with the
4031 @internalsref{StaffGroup} context
4034 @item The group is started with a vertical line. Bar lines are not
4035 connected. This is the default for the score.
4039 @cindex Staff, multiple
4040 @cindex bracket, vertical
4041 @cindex brace, vertical
4048 @node Rehearsal marks
4049 @subsection Rehearsal marks
4050 @cindex Rehearsal marks
4052 @cindex @code{\mark}
4054 To print a rehearsal mark, use the @code{\mark} command:
4055 @lilypond[fragment,verbatim]
4066 (The letter I is skipped in accordance with engraving traditions.)
4068 The mark is incremented automatically if you use @code{\mark
4069 \default}, but you can also use an integer argument to set the mark
4070 manually. The value to use is stored in the property
4071 @code{rehearsalMark}.
4073 The style is defined by the property @code{markFormatter}. It is a
4074 function taking the current mark (an integer) and the current context
4075 as argument. It should return a markup object. In the following
4076 example, @code{markFormatter} is set to a canned procedure. After a
4077 few measures, it is set to function that produces a boxed number.
4079 @lilypond[verbatim,fragment,relative=1]
4080 \set Score.markFormatter = #format-mark-numbers
4083 \set Score.markFormatter
4084 = #(lambda (mark context)
4085 (make-bold-markup (make-box-markup (number->string mark))))
4090 The file @file{scm/translation-functions.scm} contains the definitions
4091 of @code{format-mark-numbers} (the default format) and
4092 @code{format-mark-letters}. They can be used as inspiration for other
4093 formatting functions.
4096 @cindex coda on bar line
4097 @cindex segno on bar line
4098 @cindex fermata on bar line
4099 @cindex bar lines, symbols on
4101 The @code{\mark} command can also be used to put signs like coda,
4102 segno and fermatas on a bar line. Use @code{\markup} to
4103 to access the appropriate symbol:
4105 @lilypond[fragment,verbatim,relative=1]
4106 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4110 In the case of a line break, marks must also be printed at the end of
4111 the line, and not at the beginning. Use the following to force that
4114 \override Score.RehearsalMark
4115 #'break-visibility = #begin-of-line-invisible
4121 @cindex bar lines, putting symbols on
4125 Program reference: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
4127 Init files: @file{scm/translation-functions.scm} contains the
4128 definition of @code{format-mark-numbers} and
4129 @code{format-mark-letters}. They can be used as inspiration for other
4130 formatting functions.
4132 Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
4133 @inputfileref{input/regression,rehearsal-mark-number.ly}.
4137 @subsection Bar numbers
4141 @cindex measure numbers
4142 @cindex currentBarNumber
4144 Bar numbers are printed by default at the start of the line. The
4145 number itself is stored in the
4146 @code{currentBarNumber} property,
4147 which is normally updated automatically for every measure.
4149 Bar numbers can be typeset at regular intervals instead of at the
4150 beginning of each line. This is illustrated in the following example,
4151 whose source is available as
4152 @inputfileref{input/test,bar-number-regular-interval.ly}:
4154 @lilypondfile[]{bar-number-regular-interval.ly}
4159 Program reference: @internalsref{BarNumber}.
4161 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4162 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4166 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4167 there is one at the top. To solve this, the
4168 @code{padding} property of @internalsref{BarNumber} can be
4169 used to position the number correctly.
4171 @node Instrument names
4172 @subsection Instrument names
4174 In an orchestral score, instrument names are printed left side of the
4177 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4178 and @internalsref{Staff}.@code{instr}. This will print a string before
4179 the start of the staff. For the first start, @code{instrument} is
4180 used, for the next ones @code{instr} is used.
4183 @lilypond[verbatim,raggedright,relative=2]
4184 \set Staff.instrument = "Ploink "
4185 \set Staff.instr = "Plk "
4192 You can also use markup texts to construct more complicated instrument
4196 @lilypond[fragment,verbatim,raggedright]
4198 \set Staff.instrument = \markup {
4199 \column < "Clarinetti"
4212 Program reference: @internalsref{InstrumentName}.
4216 When you put a name on a grand staff or piano staff the width of the
4217 brace is not taken into account. You must add extra spaces to the end of
4218 the name to avoid a collision.
4221 @subsection Transpose
4223 @cindex transposition of pitches
4224 @cindex @code{\transpose}
4226 A music expression can be transposed with @code{\transpose}. The syntax
4229 \transpose @var{from} @var{to} @var{musicexpr}
4232 This means that @var{musicexpr} is transposed by the interval between
4233 the pitches @var{from} and @var{to}: any note with pitch @code{from}
4234 is changed to @code{to}.
4237 For example, consider a piece written in the key of D major. If
4238 this piece is a little too low for its performer, it can be
4239 transposed up to E major with
4241 \transpose d e @dots{}
4244 Consider a part written for violin (a C instrument). If
4245 this part is to be played on the A clarinet, the following
4246 transposition will produce the appropriate part
4249 \transpose a c @dots{}
4252 Since @var{from} and @var{to} are pitches, so @code{\transpose} must be
4253 inside a @code{\notes} section. @code{\transpose} distinguishes
4254 between enharmonic pitches: both @code{\transpose c cis} or
4255 @code{\transpose c des} will transpose up half a tone. The first
4256 version will print sharps and the second version will print flats:
4258 @lilypond[raggedright,verbatim]
4259 mus =\notes { \key d \major cis d fis g }
4260 \score { \notes \context Staff {
4263 \transpose c g' \mus
4264 \transpose c f' \mus
4271 Program reference: @internalsref{TransposedMusic}, and
4272 @internalsref{UntransposableMusic}.
4276 If you want to use both @code{\transpose} and @code{\relative}, then
4277 you must put @code{\transpose} outside of @code{\relative}, since
4278 @code{\relative} will have no effect music that appears inside a
4281 @node Instrument transpositions
4282 @subsection Instrument transpositions
4284 The key of a transposing instrument can also be specified. This
4285 applies to many wind instruments, for example, clarinets (B-flat, A and
4286 E-flat), horn (F) and trumpet (B-flat, C, D and E-flat).
4289 The transposition is entered after the keyword @code{\transposition}:
4292 \transposition bes %% B-flat clarinet
4295 This command sets the property @code{instrumentTuning}. The value of
4296 this property is used for MIDI output and quotations. It does not
4297 affect how notes are printed in the current staff.
4299 @cindex transposition, MIDI
4300 @cindex transposition, instrument
4303 @node Multi measure rests
4304 @subsection Multi measure rests
4305 @cindex multi measure rests
4306 @cindex Rests, multi measure
4310 Multi measure rests are entered using `@code{R}'. It is specifically
4311 meant for full bar rests and for entering parts: the rest can expand
4312 to fill a score with rests, or it can be printed as a single
4313 multimeasure rest. This expansion is controlled by the property
4314 @code{Score.skipBars}. If this is set to true, empty measures will not
4315 be expanded, and the appropriate number is added automatically:
4317 @lilypond[fragment,verbatim]
4318 \time 4/4 r1 | R1 | R1*2
4319 \set Score.skipBars = ##t R1*17 R1*4
4322 The @code{1} in @code{R1} is similar to the duration notation used for
4323 notes. Hence, for time signatures other than 4/4, you must enter other
4324 durations. This can be done with augmentation dots or fractions:
4326 @lilypond[fragment,verbatim]
4327 \set Score.skipBars = ##t
4335 An @code{R} spanning a single measure is printed as either a whole rest
4336 or a breve, centered in the measure regardless of the time signature.
4338 @cindex text on multi-measure rest
4339 @cindex script on multi-measure rest
4340 @cindex fermata on multi-measure rest
4342 Texts can be added to multi-measure rests by using the
4343 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4344 replaced. If you need both texts and the number, you must add the
4345 number by hand. A variable (@code{\fermataMarkup}) is provided for
4349 @lilypond[verbatim,fragment]
4351 R2._\markup { "Ad lib" }
4355 If you want to have a text on the left end of a multi-measure rest,
4356 attach the text to a zero-length skip note, i.e.
4364 @cindex whole rests for a full measure
4368 Program reference: @internalsref{MultiMeasureRestEvent},
4369 @internalsref{MultiMeasureTextEvent},
4370 @internalsref{MultiMeasureRestMusicGroup}, and
4371 @internalsref{MultiMeasureRest}.
4373 The layout object @internalsref{MultiMeasureRestNumber} is for the
4374 default number, and @internalsref{MultiMeasureRestText} for user
4379 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4380 over multi-measure rests.
4382 @cindex condensing rests
4384 There is no way to automatically condense multiple rests into a single
4385 multimeasure rest. Multi measure rests do not take part in rest
4388 Be careful when entering multimeasure rests followed by whole
4389 notes. The following will enter two notes lasting four measures each:
4393 When @code{skipBars} is set, then the result will look OK, but the
4394 bar numbering will be off.
4396 @node Automatic part combining
4397 @subsection Automatic part combining
4398 @cindex automatic part combining
4399 @cindex part combiner
4402 Automatic part combining is used to merge two parts of music onto a
4403 staff. It is aimed at typesetting orchestral scores. When the two
4404 parts are identical for a period of time, only one is shown. In
4405 places where the two parts differ, they are typeset as separate
4406 voices, and stem directions are set automatically. Also, solo and
4407 @emph{a due} parts are identified and can be marked.
4410 The syntax for part combining is
4413 \partcombine @var{musicexpr1} @var{musicexpr2}
4416 The music expressions will be interpreted as @internalsref{Voice} contexts.
4418 The following example demonstrates the basic functionality of the part
4419 combiner: putting parts on one staff, and setting stem directions and
4422 @lilypond[verbatim,raggedright,fragment,relative=1]
4423 \new Staff \partcombine
4432 The first @code{g} appears only once, although it was
4433 specified twice (once in each part). Stem, slur and tie directions are
4434 set automatically, depending whether there is a solo or unisono. The
4435 first part (with context called @code{one}) always gets up stems, and
4436 `solo', while the second (called @code{two}) always gets down stems and
4439 If you just want the merging parts, and not the textual markings, you
4440 may set the property @var{soloADue} to false:
4442 @lilypond[verbatim,raggedright,fragment,relative=1]
4444 \set Staff.soloADue = ##f
4456 Program reference: @internalsref{PartCombineMusic},
4457 @internalsref{SoloOneEvent}, and
4458 @internalsref{SoloTwoEvent}, and
4459 @internalsref{UnisonoEvent}.
4463 In @code{soloADue} mode, when the two voices play the same notes on and
4464 off, the part combiner may typeset @code{a2} more than once in a
4467 @code{\partcombine} can not be inside @code{\times}.
4469 Internally, the @code{\partcombine} interprets both arguments as
4470 @code{Voice}s named @code{one} and @code{two}, and then decides when
4471 the parts can be combined. Consequently, if the arguments switch to
4472 differently named @internalsref{Voice} contexts, then the events in
4473 those will be ignored.
4476 @subsection Hiding staves
4478 @cindex Frenched scores
4479 @cindex Hiding staves
4481 In orchestral scores, staff lines that only have rests are usually
4482 removed. This saves some space. This style is called `French Score'.
4483 For @internalsref{Lyrics},
4484 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4485 switched on by default. When these line of these contexts turn out
4486 empty after the line-breaking process, they are removed.
4488 For normal staves, a specialized @internalsref{Staff} context is
4489 available, which does the same: staves containing nothing (or only
4490 multi measure rests) are removed. The context definition is stored in
4491 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4492 in this example disappears in the second line:
4497 \notes \relative c' <<
4498 \new Staff { e4 f g a \break c1 }
4499 \new Staff { c4 d e f \break R1 }
4503 \context { \RemoveEmptyStaffContext }
4508 The first page shows all staves in full. If empty staves should be
4509 removed from the first page too, set @code{remove-first} to false in
4510 @internalsref{RemoveEmptyVerticalGroup}.
4512 Another application is making ossia sections, i.e. alternative
4513 melodies on a separate piece of staff, with help of a Frenched
4514 staff. See @inputfileref{input/test,ossia.ly} for an example.
4517 @node Different editions from one source
4518 @subsection Different editions from one source
4520 The @code{\tag} command marks music expressions with a name. These
4521 tagged expressions can be filtered out later. With this mechanism it
4522 is possible to make different versions of the same music source.
4524 In the following example, we see two versions of a piece of music, one
4525 for the full score, and one with cue notes for the instrumental part:
4541 The same can be applied to articulations, texts, etc.: they are
4544 -\tag #@var{your-tag}
4546 to an articulation, for example,
4551 This defines a note with a conditional fingering indication.
4553 By applying the @code{remove-tag} function, tagged expressions can be
4554 filtered. For example,
4558 \apply #(remove-tag 'score) @var{the music}
4559 \apply #(remove-tag 'part) @var{the music}
4564 @lilypondfile[]{tag-filter.ly}
4566 The argument of the @code{\tag} command should be a symbol, or a list
4567 of symbols, for example,
4569 \tag #'(original-part transposed-part) @dots{}
4574 Examples: @inputfileref{input/regression,tag-filter.ly}.
4577 @node Quoting other voices
4578 @subsection Quoting other voices
4580 With quotations, fragments of other parts can be inserted into a part
4581 directly. Before a part can be quoted, it must be marked especially as
4582 quotable. This is done with code @code{\addquote} command. The
4583 quotation may then be done with @code{\quote}
4586 \addquote @var{name} @var{music}
4587 \quote @var{name} @var{duration}
4592 Here, @var{name} is an identifying string. The @var{music} is any kind
4593 of music. This is an example of @code{\addquote}:
4596 \addquote clarinet \notes\relative c' {
4601 During a part, a piece of music can be quoted with the @code{\quote}
4608 This would cite 3 quarter notes (a dotted half note) of the previously
4609 added clarinet voice.
4611 Quotations take into account the transposition both source and target
4612 instruments, if they are specified using the @code{\transposition} command.
4614 @lilypond[verbatim,fragment]
4615 \addquote clarinet \notes\relative c' {
4621 e'8 f'8 \quote clarinet 2
4627 Only the contents of the first @internalsref{Voice} occurring in an
4628 @code{\addquote} command will be considered for quotation, so
4629 @var{music} can not contain @code{\new} and @code{\context Voice}
4630 statements that would switch to a different Voice.
4635 In this manual: @ref{Instrument transpositions}.
4637 Examples: @inputfileref{input/regression,quote.ly}
4638 @inputfileref{input/regression,quote-transposition.ly}
4640 Program reference: @internalsref{QuoteMusic}.
4642 @node Ancient notation
4643 @section Ancient notation
4645 @cindex Vaticana, Editio
4646 @cindex Medicaea, Editio
4651 Support for ancient notation includes features for mensural notation
4652 and Gregorian Chant notation. There is also limited support for
4653 figured bass notation.
4655 Many graphical objects provide a @code{style} property, see
4656 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4657 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4658 signatures}. By manipulating such a grob property, the typographical
4659 appearance of the affected graphical objects can be accommodated for a
4660 specific notation flavor without need for introducing any new
4663 Other aspects of ancient notation can not that easily be expressed as
4664 in terms of just changing a style property of a graphical object.
4665 Therefore, some notational concepts are introduced specifically for
4666 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4667 @ref{Ligatures}, and @ref{Figured bass}.
4671 * Ancient note heads::
4672 * Ancient accidentals::
4676 * Ancient time signatures::
4681 * Vaticana style contexts::
4684 If this all is way too much of documentation for you, and you just
4685 want to dive into typesetting without worrying too much about the
4686 details on how to customize a context, then you may have a look at the
4687 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4688 set up predefined style-specific voice and staff contexts, and
4689 directly go ahead with the note entry.
4693 Ligatures need special spacing that has not yet been implemented. As
4694 a result, there is too much space between ligatures most of the time,
4695 and line breaking often is unsatisfactory. Also, lyrics do not
4696 correctly align with ligatures.
4698 Accidentals must not be printed within a ligature, but instead need to
4699 be collected and printed in front of it.
4701 Augmentum dots within ligatures are not handled correctly.
4704 @node Ancient note heads
4705 @subsection Ancient note heads
4710 For ancient notation, a note head style other than the @code{default}
4711 style may be chosen. This is accomplished by setting the @code{style}
4712 property of the NoteHead object to the desired value (@code{baroque},
4713 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4714 differs from the @code{default} style only in using a square shape for
4715 @code{\breve} note heads. The @code{neo_mensural} style differs from
4716 the @code{baroque} style in that it uses rhomboidal heads for whole
4717 notes and all smaller durations. Stems are centered on the note
4718 heads. This style is in particular useful when transcribing mensural
4719 music, e.g. for the incipit. The @code{mensural} style finally
4720 produces note heads that mimic the look of note heads in historic
4721 printings of the 16th century.
4723 The following example demonstrates the @code{neo_mensural} style:
4725 @lilypond[fragment,raggedright,verbatim]
4726 \override NoteHead #'style = #'neo_mensural
4727 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4730 When typesetting a piece in Gregorian Chant notation, a Gregorian
4731 ligature engraver will automatically select the proper note heads,
4732 such there is no need to explicitly set the note head style. Still,
4733 the note head style can be set e.g. to @code{vaticana_punctum} to
4734 produce punctum neumes. Similarly, a mensural ligature engraver is
4735 used to automatically assemble mensural ligatures. See
4736 @ref{Ligatures} for how ligature engravers work.
4741 @ref{Percussion staves} use note head styles of their own that are
4742 frequently used in contemporary music notation.
4744 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
4745 overview over all available note head styles.
4748 @node Ancient accidentals
4749 @subsection Ancient accidentals
4754 Use the @code{style} property of grob @internalsref{Accidental} to
4755 select ancient accidentals. Supported styles are
4756 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4758 @lilypond[raggedright,staffsize=26]
4766 { " " \musicglyph #"accidentals-vaticana-1"
4767 " " \musicglyph #"accidentals-vaticana0" }
4771 { " " \musicglyph #"accidentals-medicaea-1" }
4775 { " " \musicglyph #"accidentals-hufnagel-1" }
4779 { " " \musicglyph #"accidentals-mensural-1"
4780 " " \musicglyph #"accidentals-mensural1" }
4789 \remove "Bar_number_engraver"
4793 \remove "Clef_engraver"
4794 \remove "Key_engraver"
4795 \remove "Time_signature_engraver"
4796 \remove "Staff_symbol_engraver"
4797 minimumVerticalExtent = ##f
4803 As shown, not all accidentals are supported by each style. When
4804 trying to access an unsupported accidental, LilyPond will switch to a
4805 different style, as demonstrated in
4806 @inputfileref{input/test,ancient-accidentals.ly}.
4808 Similarly to local accidentals, the style of the key signature can be
4809 controlled by the @code{style} property of the
4810 @internalsref{KeySignature} grob.
4814 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
4815 @ref{Accidentals} give a general introduction into the use of
4816 accidentals. @ref{Key signature} gives a general introduction into
4817 the use of key signatures.
4819 Program reference: @internalsref{KeySignature}.
4821 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
4824 @subsection Ancient rests
4829 Use the @code{style} property of grob @internalsref{Rest} to select
4830 ancient accidentals. Supported styles are @code{classical},
4831 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4832 from the @code{default} style only in that the quarter rest looks like
4833 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4834 well for e.g. the incipit of a transcribed mensural piece of music.
4835 The @code{mensural} style finally mimics the appearance of rests as
4836 in historic prints of the 16th century.
4838 The following example demonstrates the @code{neo_mensural} style:
4840 @lilypond[fragment,raggedright,verbatim]
4841 \override Rest #'style = #'neo_mensural
4842 r\longa r\breve r1 r2 r4 r8 r16
4845 There are no 32th and 64th rests specifically for the mensural or
4846 neo-mensural style. Instead, the rests from the default style will be
4847 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4850 There are no rests in Gregorian Chant notation; instead, it uses
4855 In this manual: @ref{Rests} gives a general introduction into the use of rests.
4859 @subsection Ancient clefs
4864 LilyPond supports a variety of clefs, many of them ancient.
4866 The following table shows all ancient clefs that are supported via the
4867 @code{\clef} command. Some of the clefs use the same glyph, but
4868 differ only with respect to the line they are printed on. In such
4869 cases, a trailing number in the name is used to enumerate these clefs.
4870 Still, you can manually force a clef glyph to be typeset on an
4871 arbitrary line, as described in @ref{Clef}. The note printed to the
4872 right side of each clef in the example column denotes the @code{c'}
4873 with respect to that clef.
4875 @multitable @columnfractions .3 .3 .3 .1
4879 @b{Description} @tab
4880 @b{Supported Clefs} @tab
4884 @code{clefs-neo_mensural_c} @tab
4885 modern style mensural C clef @tab
4886 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4887 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4888 @lilypond[relative,notime]
4889 \override Staff.TimeSignature #'transparent = ##t
4890 \clef "neo_mensural_c2" c
4894 @code{clefs-petrucci_c1}
4895 @code{clefs-petrucci_c2}
4896 @code{clefs-petrucci_c3}
4897 @code{clefs-petrucci_c4}
4898 @code{clefs-petrucci_c5}
4901 petrucci style mensural C clefs, for use on different staff lines
4902 (the examples shows the 2nd staff line C clef).
4912 @lilypond[relative,notime]
4913 \override Staff.TimeSignature #'transparent = ##t
4914 \clef "petrucci_c2" c
4918 @code{clefs-petrucci_f} @tab
4919 petrucci style mensural F clef @tab
4920 @code{petrucci_f} @tab
4921 @lilypond[relative,notime]
4922 \override Staff.TimeSignature #'transparent = ##t
4923 \clef "petrucci_f" c
4927 @code{clefs-petrucci_g} @tab
4928 petrucci style mensural G clef @tab
4929 @code{petrucci_g} @tab
4930 @lilypond[relative,notime]
4931 \override Staff.TimeSignature #'transparent = ##t
4932 \clef "petrucci_g" c
4936 @code{clefs-mensural_c} @tab
4937 historic style mensural C clef @tab
4938 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4939 @code{mensural_c4} @tab
4940 @lilypond[relative,notime]
4941 \override Staff.TimeSignature #'transparent = ##t
4942 \clef "mensural_c2" c
4946 @code{clefs-mensural_f} @tab
4947 historic style mensural F clef @tab
4948 @code{mensural_f} @tab
4949 @lilypond[relative,notime]
4950 \override Staff.TimeSignature #'transparent = ##t
4951 \clef "mensural_f" c
4955 @code{clefs-mensural_g} @tab
4956 historic style mensural G clef @tab
4957 @code{mensural_g} @tab
4958 @lilypond[relative,notime]
4959 \override Staff.TimeSignature #'transparent = ##t
4960 \clef "mensural_g" c
4964 @code{clefs-vaticana_do} @tab
4965 Editio Vaticana style do clef @tab
4966 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
4967 @lilypond[relative,notime]
4968 \override Staff.StaffSymbol #'line-count = #4
4969 \override Staff.TimeSignature #'transparent = ##t
4970 \clef "vaticana_do2" c
4974 @code{clefs-vaticana_fa} @tab
4975 Editio Vaticana style fa clef @tab
4976 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
4977 @lilypond[relative,notime]
4978 \override Staff.StaffSymbol #'line-count = #4
4979 \override Staff.TimeSignature #'transparent = ##t
4980 \clef "vaticana_fa2" c
4984 @code{clefs-medicaea_do} @tab
4985 Editio Medicaea style do clef @tab
4986 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
4987 @lilypond[relative,notime]
4988 \override Staff.StaffSymbol #'line-count = #4
4989 \override Staff.TimeSignature #'transparent = ##t
4990 \clef "medicaea_do2" c
4994 @code{clefs-medicaea_fa} @tab
4995 Editio Medicaea style fa clef @tab
4996 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
4997 @lilypond[relative,notime]
4998 \override Staff.StaffSymbol #'line-count = #4
4999 \override Staff.TimeSignature #'transparent = ##t
5000 \clef "medicaea_fa2" c
5004 @code{clefs-hufnagel_do} @tab
5005 historic style hufnagel do clef @tab
5006 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
5007 @lilypond[relative,notime]
5008 \override Staff.StaffSymbol #'line-count = #4
5009 \override Staff.TimeSignature #'transparent = ##t
5010 \clef "hufnagel_do2" c
5014 @code{clefs-hufnagel_fa} @tab
5015 historic style hufnagel fa clef @tab
5016 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
5017 @lilypond[relative,notime]
5018 \override Staff.StaffSymbol #'line-count = #4
5019 \override Staff.TimeSignature #'transparent = ##t
5020 \clef "hufnagel_fa2" c
5024 @code{clefs-hufnagel_do_fa} @tab
5025 historic style hufnagel combined do/fa clef @tab
5026 @code{hufnagel_do_fa} @tab
5027 @lilypond[relative,notime]
5028 \override Staff.TimeSignature #'transparent = ##t
5029 \clef "hufnagel_do_fa" c
5036 @emph{Modern style} means ``as is typeset in contemporary editions of
5037 transcribed mensural music''.
5039 @emph{Petrucci style} means ``inspired by printings published by the
5040 famous engraver Petrucci (1466-1539)''.
5042 @emph{Historic style} means ``as was typeset or written in historic
5043 editions (other than those of Petrucci)''.
5045 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5047 Petrucci used C clefs with differently balanced left-side vertical
5048 beams, depending on which staff line it is printed.
5052 In this manual: see @ref{Clef}.
5056 The mensural g clef is mapped to the Petrucci g clef, until a new
5057 mensural g clef is implemented.
5062 @subsection Ancient flags
5067 Use the @code{flag-style} property of grob @internalsref{Stem} to
5068 select ancient flags. Besides the @code{default} flag style,
5069 only @code{mensural} style is supported:
5071 @lilypond[fragment,raggedright,verbatim]
5072 \override Stem #'flag-style = #'mensural
5073 \override Stem #'thickness = #1.0
5074 \override NoteHead #'style = #'mensural
5076 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
5077 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5080 Note that the innermost flare of each mensural flag always is
5081 vertically aligned with a staff line. If you do not like this
5082 behavior, you can set the @code{adjust-if-on-staffline} property of
5083 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5084 of the end of each flare is different between notes on staff lines and
5085 notes between staff lines:
5087 @lilypond[fragment,raggedright]
5088 \override Stem #'flag-style = #'mensural
5089 \override Stem #'thickness = #1.0
5090 \override Stem #'adjust-if-on-staffline = ##f
5091 \override NoteHead #'style = #'mensural
5093 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
5094 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5097 There is no particular flag style for neo-mensural notation. Hence,
5098 when typesetting e.g. the incipit of a transcribed piece of mensural
5099 music, the default flag style should be used. There are no flags in
5100 Gregorian Chant notation.
5103 @node Ancient time signatures
5104 @subsection Ancient time signatures
5106 @cindex time signatures
5109 There is limited support for mensural time signatures. The
5110 glyphs are hard-wired to particular time fractions. In other words,
5111 to get a particular mensural signature glyph with the @code{\time n/m}
5112 command, @code{n} and @code{m} have to be chosen according to the
5118 \set Score.timing = ##f
5119 \set Score.barAlways = ##t
5120 s_\markup { "$\\backslash$time 4/4" }
5121 ^\markup { " " \musicglyph #"timesig-neo_mensural4/4" }
5123 s_\markup { "$\\backslash$time 2/2" }
5124 ^\markup { " " \musicglyph #"timesig-neo_mensural2/2" }
5126 s_\markup { "$\\backslash$time 6/4" }
5127 ^\markup { " " \musicglyph #"timesig-neo_mensural6/4" }
5129 s_\markup { "$\\backslash$time 6/8" }
5130 ^\markup { " " \musicglyph #"timesig-neo_mensural6/8" }
5132 s_\markup { "$\\backslash$time 3/2" }
5133 ^\markup { " " \musicglyph #"timesig-neo_mensural3/2" }
5135 s_\markup { "$\\backslash$time 3/4" }
5136 ^\markup { " " \musicglyph #"timesig-neo_mensural3/4" }
5138 s_\markup { "$\\backslash$time 9/4" }
5139 ^\markup { " " \musicglyph #"timesig-neo_mensural9/4" }
5141 s_\markup { "$\\backslash$time 9/8" }
5142 ^\markup { " " \musicglyph #"timesig-neo_mensural9/8" }
5144 s_\markup { "$\\backslash$time 4/8" }
5145 ^\markup { " " \musicglyph #"timesig-neo_mensural4/8" }
5147 s_\markup { "$\\backslash$time 2/4" }
5148 ^\markup { " " \musicglyph #"timesig-neo_mensural2/4" }
5156 \remove Staff_symbol_engraver
5157 \remove Clef_engraver
5158 \remove Time_signature_engraver
5164 Use the @code{style} property of grob @internalsref{TimeSignature} to
5165 select ancient time signatures. Supported styles are
5166 @code{neo_mensural} and @code{mensural}. The above table uses the
5167 @code{neo_mensural} style. This style is appropriate e.g. for the
5168 incipit of transcriptions of mensural pieces. The @code{mensural}
5169 style mimics the look of historical printings of the 16th century.
5171 @inputfileref{input/test,time.ly} gives an overview over all available
5172 ancient and modern styles.
5176 Program reference: @ref{Time signature} gives a general introduction into the use of time
5181 Mensural signature glyphs are mapped to time fractions in a hard-wired
5182 way. This mapping is sensible, but still arbitrary: given a mensural
5183 time signature, the time fraction represents a modern meter that
5184 usually will be a good choice when transcribing a mensural piece of
5185 music. For a particular piece of mensural music, however, the mapping
5186 may be unsatisfactory. In particular, the mapping assumes a fixed
5187 transcription of durations (e.g. brevis = half note in 2/2, i.e. 4:1).
5188 Some glyphs (such as the alternate glyph for 6/8 meter) are not at all
5189 accessible through the @code{\time} command.
5191 Mensural time signatures are supported typographically, but not yet
5192 musically. The internal representation of durations is
5193 based on a purely binary system; a ternary division such as 1 brevis =
5194 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5195 prolatione maiori) is not correctly handled: event times in ternary
5196 modes will be badly computed, resulting e.g. in horizontally
5197 misaligned note heads, and bar checks are likely to erroneously fail.
5199 The syntax and semantics of the @code{\time} command for mensural
5200 music is subject to change.
5203 @subsection Custodes
5208 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
5209 symbol that appears at the end of a staff. It anticipates the pitch
5210 of the first note(s) of the following line and thus helps the player
5211 or singer to manage line breaks during performance, thus enhancing
5212 readability of a score.
5214 Custodes were frequently used in music notation until the 17th
5215 century. Nowadays, they have survived only in a few particular forms
5216 of musical notation such as contemporary editions of Gregorian chant
5217 like the @emph{editio vaticana}. There are different custos glyphs
5218 used in different flavors of notational style.
5220 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5221 @internalsref{Staff} context when declaring the @code{\paper} block,
5222 as shown in the following example:
5228 \consists Custos_engraver
5229 Custos \override #'style = #'mensural
5234 The result looks like this:
5236 @lilypond[raggedright]
5240 \override Staff.Custos #'style = #'mensural
5247 \consists Custos_engraver
5253 The custos glyph is selected by the @code{style} property. The styles
5254 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5255 @code{mensural}. They are demonstrated in the following fragment:
5259 \new Lyrics \lyrics {
5263 { " " \musicglyph #"custodes-vaticana-u0" }
5267 { " " \musicglyph #"custodes-medicaea-u0" }
5272 { " " \musicglyph #"custodes-hufnagel-u0" }
5277 { " " \musicglyph #"custodes-mensural-u0" }
5289 Program reference: @internalsref{Custos}.
5291 Examples: @inputfileref{input/regression,custos.ly}.
5295 @subsection Divisiones
5301 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
5302 `division') is a staff context symbol that is used to structure
5303 Gregorian music into phrases and sections. The musical meaning of
5304 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5305 can be characterized as short, medium and long pause, somewhat like
5306 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5307 a chant, but is also frequently used within a single
5308 antiphonal/responsorial chant to mark the end of each section.
5311 To use divisiones, include the file @code{gregorian-init.ly}. It
5312 contains definitions that you can apply by just inserting
5313 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5314 and @code{\finalis} at proper places in the input. Some editions use
5315 @emph{virgula} or @emph{caesura} instead of divisio minima.
5316 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5319 @lilypondfile[]{divisiones.ly}
5323 @cindex @code{\virgula}
5325 @cindex @code{\caesura}
5327 @cindex @code{\divisioMinima}
5328 @code{\divisioMinima},
5329 @cindex @code{\divisioMaior}
5330 @code{\divisioMaior},
5331 @cindex @code{\divisioMaxima}
5332 @code{\divisioMaxima},
5333 @cindex @code{\finalis}
5338 In this manual: @ref{Breath marks}.
5340 Program reference: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
5342 Examples: @inputfileref{input/test,divisiones.ly}.
5345 @subsection Ligatures
5349 @c TODO: Should double check if I recalled things correctly when I wrote
5350 @c down the following paragraph by heart.
5352 A ligature is a coherent graphical symbol that represents at least two
5353 distinct notes. Ligatures originally appeared in the manuscripts of
5354 Gregorian chant notation roughly since the 9th century to denote
5355 ascending or descending sequences of notes.
5357 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
5358 Some ligature styles may need additional input syntax specific for
5359 this particular type of ligature. By default, the
5360 @internalsref{LigatureBracket} engraver just puts a square bracket
5363 @lilypond[raggedright,verbatim]
5365 \notes \transpose c c' {
5373 To select a specific style of ligatures, a proper ligature engraver
5374 has to be added to the @internalsref{Voice} context, as explained in
5375 the following subsections. Only white mensural ligatures
5376 are supported with certain limitations.
5379 * White mensural ligatures::
5380 * Gregorian square neumes ligatures::
5383 @node White mensural ligatures
5384 @subsubsection White mensural ligatures
5386 @cindex Mensural ligatures
5387 @cindex White mensural ligatures
5389 There is limited support for white mensural ligatures.
5391 To engrave white mensural ligatures, in the paper block the
5392 @internalsref{Mensural_ligature_engraver} has to be put into the
5393 @internalsref{Voice} context, and remove the
5394 @internalsref{Ligature_bracket_engraver}:
5400 \remove Ligature_bracket_engraver
5401 \consists Mensural_ligature_engraver
5406 There is no additional input language to describe the shape of a
5407 white mensural ligature. The shape is rather determined solely from
5408 the pitch and duration of the enclosed notes. While this approach may
5409 take a new user a while to get accustomed, it has the great advantage
5410 that the full musical information of the ligature is known internally.
5411 This is not only required for correct MIDI output, but also allows for
5412 automatic transcription of the ligatures.
5417 \set Score.timing = ##f
5418 \set Score.defaultBarType = "empty"
5419 \override NoteHead #'style = #'neo_mensural
5420 \override Staff.TimeSignature #'style = #'neo_mensural
5422 \[ g\longa c\breve a\breve f\breve d'\longa \]
5424 \[ e1 f1 a\breve g\longa \]
5426 @lilypond[raggedright]
5428 \notes \transpose c c' {
5429 \set Score.timing = ##f
5430 \set Score.defaultBarType = "empty"
5431 \override NoteHead #'style = #'neo_mensural
5432 \override Staff.TimeSignature #'style = #'neo_mensural
5434 \[ g\longa c\breve a\breve f\breve d'\longa \]
5436 \[ e1 f1 a\breve g\longa \]
5441 \remove Ligature_bracket_engraver
5442 \consists Mensural_ligature_engraver
5448 Without replacing @internalsref{Ligature_bracket_engraver} with
5449 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5452 @lilypond[raggedright]
5454 \notes \transpose c c' {
5455 \set Score.timing = ##f
5456 \set Score.defaultBarType = "empty"
5457 \override NoteHead #'style = #'neo_mensural
5458 \override Staff.TimeSignature #'style = #'neo_mensural
5460 \[ g\longa c\breve a\breve f\breve d'\longa \]
5462 \[ e1 f1 a\breve g\longa \]
5469 The implementation is experimental; it may output strange warnings or
5470 even crash in some cases or produce weird results on more complex
5473 @node Gregorian square neumes ligatures
5474 @subsubsection Gregorian square neumes ligatures
5476 @cindex Square neumes ligatures
5477 @cindex Gregorian square neumes ligatures
5479 Gregorian square neumes notation (following the style of the Editio
5480 Vaticana) is under heavy development, but not yet really usable for
5481 production purposes. Core ligatures can already be typeset, but
5482 essential issues for serious typesetting are still under development,
5483 such as (among others) horizontal alignment of multiple ligatures,
5484 lyrics alignment and proper accidentals handling. Still, this section
5485 gives a sneak preview of what Gregorian chant may look like once it
5488 The following table contains the extended neumes table of the 2nd
5489 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5490 1983 by the monks of Solesmes.
5492 @multitable @columnfractions .4 .2 .2 .2
5495 @b{Neuma aut@*Neumarum Elementa} @tab
5496 @b{Figurae@*Rectae} @tab
5497 @b{Figurae@*Liquescentes Auctae} @tab
5498 @b{Figurae@*Liquescentes Deminutae}
5500 @c TODO: \paper block is identical in all of the below examples.
5501 @c Therefore, it should somehow be included rather than duplicated all
5504 @c why not make identifiers in ly/engraver-init.ly? --hwn
5506 @c Because it's just used to typeset plain notes without
5507 @c a staff for demonstration purposes rather than something
5508 @c special of Gregorian chant notation. --jr
5513 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.5\cm]
5514 \include "gregorian-init.ly"
5516 \notes \transpose c c' {
5519 \noBreak s^\markup {"a"} \noBreak
5521 % Punctum Inclinatum
5523 \noBreak s^\markup {"b"}
5529 \remove "Bar_number_engraver"
5533 \remove "Clef_engraver"
5534 \remove "Key_engraver"
5535 \override StaffSymbol #'transparent = ##t
5536 \remove "Time_signature_engraver"
5537 \remove "Bar_engraver"
5538 minimumVerticalExtent = ##f
5542 \remove Ligature_bracket_engraver
5543 \consists Vaticana_ligature_engraver
5544 \override NoteHead #'style = #'vaticana_punctum
5545 \override Stem #'transparent = ##t
5551 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.5\cm]
5552 \include "gregorian-init.ly"
5554 \notes \transpose c c' {
5555 % Punctum Auctum Ascendens
5556 \[ \auctum \ascendens b \]
5557 \noBreak s^\markup {"c"} \noBreak
5559 % Punctum Auctum Descendens
5560 \[ \auctum \descendens b \]
5561 \noBreak s^\markup {"d"} \noBreak
5563 % Punctum Inclinatum Auctum
5564 \[ \inclinatum \auctum b \]
5565 \noBreak s^\markup {"e"}
5571 \remove "Bar_number_engraver"
5575 \remove "Clef_engraver"
5576 \remove "Key_engraver"
5577 \override StaffSymbol #'transparent = ##t
5578 \remove "Time_signature_engraver"
5579 \remove "Bar_engraver"
5580 minimumVerticalExtent = ##f
5584 \remove Ligature_bracket_engraver
5585 \consists Vaticana_ligature_engraver
5586 \override NoteHead #'style = #'vaticana_punctum
5587 \override Stem #'transparent = ##t
5593 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5594 \include "gregorian-init.ly"
5596 \notes \transpose c c' {
5597 % Punctum Inclinatum Parvum
5598 \[ \inclinatum \deminutum b \]
5599 \noBreak s^\markup {"f"}
5605 \remove "Bar_number_engraver"
5609 \remove "Clef_engraver"
5610 \remove "Key_engraver"
5611 \override StaffSymbol #'transparent = ##t
5612 \remove "Time_signature_engraver"
5613 \remove "Bar_engraver"
5614 minimumVerticalExtent = ##f
5618 \remove Ligature_bracket_engraver
5619 \consists Vaticana_ligature_engraver
5620 \override NoteHead #'style = #'vaticana_punctum
5621 \override Stem #'transparent = ##t
5630 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5631 \include "gregorian-init.ly"
5633 \notes \transpose c c' {
5636 \noBreak s^\markup {"g"}
5642 \remove "Bar_number_engraver"
5646 \remove "Clef_engraver"
5647 \remove "Key_engraver"
5648 \override StaffSymbol #'transparent = ##t
5649 \remove "Time_signature_engraver"
5650 \remove "Bar_engraver"
5651 minimumVerticalExtent = ##f
5655 \remove Ligature_bracket_engraver
5656 \consists Vaticana_ligature_engraver
5657 \override NoteHead #'style = #'vaticana_punctum
5658 \override Stem #'transparent = ##t
5667 @code{3. Apostropha vel Stropha}
5669 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5670 \include "gregorian-init.ly"
5672 \notes \transpose c c' {
5675 \noBreak s^\markup {"h"}
5681 \remove "Bar_number_engraver"
5685 \remove "Clef_engraver"
5686 \remove "Key_engraver"
5687 \override StaffSymbol #'transparent = ##t
5688 \remove "Time_signature_engraver"
5689 \remove "Bar_engraver"
5690 minimumVerticalExtent = ##f
5694 \remove Ligature_bracket_engraver
5695 \consists Vaticana_ligature_engraver
5696 \override NoteHead #'style = #'vaticana_punctum
5697 \override Stem #'transparent = ##t
5703 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5704 \include "gregorian-init.ly"
5706 \notes \transpose c c' {
5708 \[ \stropha \auctum b \]
5709 \noBreak s^\markup {"i"}
5715 \remove "Bar_number_engraver"
5719 \remove "Clef_engraver"
5720 \remove "Key_engraver"
5721 \override StaffSymbol #'transparent = ##t
5722 \remove "Time_signature_engraver"
5723 \remove "Bar_engraver"
5724 minimumVerticalExtent = ##f
5728 \remove Ligature_bracket_engraver
5729 \consists Vaticana_ligature_engraver
5730 \override NoteHead #'style = #'vaticana_punctum
5731 \override Stem #'transparent = ##t
5741 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5742 \include "gregorian-init.ly"
5744 \notes \transpose c c' {
5747 \noBreak s^\markup {"j"}
5753 \remove "Bar_number_engraver"
5757 \remove "Clef_engraver"
5758 \remove "Key_engraver"
5759 \override StaffSymbol #'transparent = ##t
5760 \remove "Time_signature_engraver"
5761 \remove "Bar_engraver"
5762 minimumVerticalExtent = ##f
5766 \remove Ligature_bracket_engraver
5767 \consists Vaticana_ligature_engraver
5768 \override NoteHead #'style = #'vaticana_punctum
5769 \override Stem #'transparent = ##t
5778 @code{5. Clivis vel Flexa}
5780 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5781 \include "gregorian-init.ly"
5783 \notes \transpose c c' {
5792 \remove "Bar_number_engraver"
5796 \remove "Clef_engraver"
5797 \remove "Key_engraver"
5798 \override StaffSymbol #'transparent = ##t
5799 \remove "Time_signature_engraver"
5800 \remove "Bar_engraver"
5801 minimumVerticalExtent = ##f
5805 \remove Ligature_bracket_engraver
5806 \consists Vaticana_ligature_engraver
5807 \override NoteHead #'style = #'vaticana_punctum
5808 \override Stem #'transparent = ##t
5814 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
5815 \include "gregorian-init.ly"
5817 \notes \transpose c c' {
5818 % Clivis Aucta Descendens
5819 \[ b \flexa \auctum \descendens g \]
5820 \noBreak s^\markup {"l"} \noBreak
5822 % Clivis Aucta Ascendens
5823 \[ b \flexa \auctum \ascendens g \]
5824 \noBreak s^\markup {"m"}
5830 \remove "Bar_number_engraver"
5834 \remove "Clef_engraver"
5835 \remove "Key_engraver"
5836 \override StaffSymbol #'transparent = ##t
5837 \remove "Time_signature_engraver"
5838 \remove "Bar_engraver"
5839 minimumVerticalExtent = ##f
5843 \remove Ligature_bracket_engraver
5844 \consists Vaticana_ligature_engraver
5845 \override NoteHead #'style = #'vaticana_punctum
5846 \override Stem #'transparent = ##t
5852 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5853 \include "gregorian-init.ly"
5855 \notes \transpose c c' {
5857 \[ b \flexa \deminutum g \]
5864 \remove "Bar_number_engraver"
5868 \remove "Clef_engraver"
5869 \remove "Key_engraver"
5870 \override StaffSymbol #'transparent = ##t
5871 \remove "Time_signature_engraver"
5872 \remove "Bar_engraver"
5873 minimumVerticalExtent = ##f
5877 \remove Ligature_bracket_engraver
5878 \consists Vaticana_ligature_engraver
5879 \override NoteHead #'style = #'vaticana_punctum
5880 \override Stem #'transparent = ##t
5887 @code{6. Podatus vel Pes}
5889 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5890 \include "gregorian-init.ly"
5892 \notes \transpose c c' {
5901 \remove "Bar_number_engraver"
5905 \remove "Clef_engraver"
5906 \remove "Key_engraver"
5907 \override StaffSymbol #'transparent = ##t
5908 \remove "Time_signature_engraver"
5909 \remove "Bar_engraver"
5910 minimumVerticalExtent = ##f
5914 \remove Ligature_bracket_engraver
5915 \consists Vaticana_ligature_engraver
5916 \override NoteHead #'style = #'vaticana_punctum
5917 \override Stem #'transparent = ##t
5923 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
5924 \include "gregorian-init.ly"
5926 \notes \transpose c c' {
5927 % Pes Auctus Descendens
5928 \[ g \pes \auctum \descendens b \]
5929 \noBreak s^\markup {"p"} \noBreak
5931 % Pes Auctus Ascendens
5932 \[ g \pes \auctum \ascendens b \]
5933 \noBreak s^\markup {"q"}
5939 \remove "Bar_number_engraver"
5943 \remove "Clef_engraver"
5944 \remove "Key_engraver"
5945 \override StaffSymbol #'transparent = ##t
5946 \remove "Time_signature_engraver"
5947 \remove "Bar_engraver"
5948 minimumVerticalExtent = ##f
5952 \remove Ligature_bracket_engraver
5953 \consists Vaticana_ligature_engraver
5954 \override NoteHead #'style = #'vaticana_punctum
5955 \override Stem #'transparent = ##t
5961 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5962 \include "gregorian-init.ly"
5964 \notes \transpose c c' {
5966 \[ g \pes \deminutum b \]
5973 \remove "Bar_number_engraver"
5977 \remove "Clef_engraver"
5978 \remove "Key_engraver"
5979 \override StaffSymbol #'transparent = ##t
5980 \remove "Time_signature_engraver"
5981 \remove "Bar_engraver"
5982 minimumVerticalExtent = ##f
5986 \remove Ligature_bracket_engraver
5987 \consists Vaticana_ligature_engraver
5988 \override NoteHead #'style = #'vaticana_punctum
5989 \override Stem #'transparent = ##t
5996 @code{7. Pes Quassus}
5998 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5999 \include "gregorian-init.ly"
6001 \notes \transpose c c' {
6003 \[ \oriscus g \pes \virga b \]
6010 \remove "Bar_number_engraver"
6014 \remove "Clef_engraver"
6015 \remove "Key_engraver"
6016 \override StaffSymbol #'transparent = ##t
6017 \remove "Time_signature_engraver"
6018 \remove "Bar_engraver"
6019 minimumVerticalExtent = ##f
6023 \remove Ligature_bracket_engraver
6024 \consists Vaticana_ligature_engraver
6025 \override NoteHead #'style = #'vaticana_punctum
6026 \override Stem #'transparent = ##t
6032 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6033 \include "gregorian-init.ly"
6035 \notes \transpose c c' {
6036 % Pes Quassus Auctus Descendens
6037 \[ \oriscus g \pes \auctum \descendens b \]
6044 \remove "Bar_number_engraver"
6048 \remove "Clef_engraver"
6049 \remove "Key_engraver"
6050 \override StaffSymbol #'transparent = ##t
6051 \remove "Time_signature_engraver"
6052 \remove "Bar_engraver"
6053 minimumVerticalExtent = ##f
6057 \remove Ligature_bracket_engraver
6058 \consists Vaticana_ligature_engraver
6059 \override NoteHead #'style = #'vaticana_punctum
6060 \override Stem #'transparent = ##t
6068 @code{8. Quilisma Pes}
6070 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6071 \include "gregorian-init.ly"
6073 \notes \transpose c c' {
6075 \[ \quilisma g \pes b \]
6082 \remove "Bar_number_engraver"
6086 \remove "Clef_engraver"
6087 \remove "Key_engraver"
6088 \override StaffSymbol #'transparent = ##t
6089 \remove "Time_signature_engraver"
6090 \remove "Bar_engraver"
6091 minimumVerticalExtent = ##f
6095 \remove Ligature_bracket_engraver
6096 \consists Vaticana_ligature_engraver
6097 \override NoteHead #'style = #'vaticana_punctum
6098 \override Stem #'transparent = ##t
6104 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6105 \include "gregorian-init.ly"
6107 \notes \transpose c c' {
6108 % Quilisma Pes Auctus Descendens
6109 \[ \quilisma g \pes \auctum \descendens b \]
6116 \remove "Bar_number_engraver"
6120 \remove "Clef_engraver"
6121 \remove "Key_engraver"
6122 \override StaffSymbol #'transparent = ##t
6123 \remove "Time_signature_engraver"
6124 \remove "Bar_engraver"
6125 minimumVerticalExtent = ##f
6129 \remove Ligature_bracket_engraver
6130 \consists Vaticana_ligature_engraver
6131 \override NoteHead #'style = #'vaticana_punctum
6132 \override Stem #'transparent = ##t
6140 @code{9. Podatus Initio Debilis}
6142 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6143 \include "gregorian-init.ly"
6145 \notes \transpose c c' {
6146 % Pes Initio Debilis
6147 \[ \deminutum g \pes b \]
6154 \remove "Bar_number_engraver"
6158 \remove "Clef_engraver"
6159 \remove "Key_engraver"
6160 \override StaffSymbol #'transparent = ##t
6161 \remove "Time_signature_engraver"
6162 \remove "Bar_engraver"
6163 minimumVerticalExtent = ##f
6167 \remove Ligature_bracket_engraver
6168 \consists Vaticana_ligature_engraver
6169 \override NoteHead #'style = #'vaticana_punctum
6170 \override Stem #'transparent = ##t
6176 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6177 \include "gregorian-init.ly"
6179 \notes \transpose c c' {
6180 % Pes Auctus Descendens Initio Debilis
6181 \[ \deminutum g \pes \auctum \descendens b \]
6188 \remove "Bar_number_engraver"
6192 \remove "Clef_engraver"
6193 \remove "Key_engraver"
6194 \override StaffSymbol #'transparent = ##t
6195 \remove "Time_signature_engraver"
6196 \remove "Bar_engraver"
6197 minimumVerticalExtent = ##f
6201 \remove Ligature_bracket_engraver
6202 \consists Vaticana_ligature_engraver
6203 \override NoteHead #'style = #'vaticana_punctum
6204 \override Stem #'transparent = ##t
6214 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6215 \include "gregorian-init.ly"
6217 \notes \transpose c c' {
6219 \[ a \pes b \flexa g \]
6226 \remove "Bar_number_engraver"
6230 \remove "Clef_engraver"
6231 \remove "Key_engraver"
6232 \override StaffSymbol #'transparent = ##t
6233 \remove "Time_signature_engraver"
6234 \remove "Bar_engraver"
6235 minimumVerticalExtent = ##f
6239 \remove Ligature_bracket_engraver
6240 \consists Vaticana_ligature_engraver
6241 \override NoteHead #'style = #'vaticana_punctum
6242 \override Stem #'transparent = ##t
6248 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6249 \include "gregorian-init.ly"
6251 \notes \transpose c c' {
6252 % Torculus Auctus Descendens
6253 \[ a \pes b \flexa \auctum \descendens g \]
6260 \remove "Bar_number_engraver"
6264 \remove "Clef_engraver"
6265 \remove "Key_engraver"
6266 \override StaffSymbol #'transparent = ##t
6267 \remove "Time_signature_engraver"
6268 \remove "Bar_engraver"
6269 minimumVerticalExtent = ##f
6273 \remove Ligature_bracket_engraver
6274 \consists Vaticana_ligature_engraver
6275 \override NoteHead #'style = #'vaticana_punctum
6276 \override Stem #'transparent = ##t
6282 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6283 \include "gregorian-init.ly"
6285 \notes \transpose c c' {
6286 % Torculus Deminutus
6287 \[ a \pes b \flexa \deminutum g \]
6294 \remove "Bar_number_engraver"
6298 \remove "Clef_engraver"
6299 \remove "Key_engraver"
6300 \override StaffSymbol #'transparent = ##t
6301 \remove "Time_signature_engraver"
6302 \remove "Bar_engraver"
6303 minimumVerticalExtent = ##f
6307 \remove Ligature_bracket_engraver
6308 \consists Vaticana_ligature_engraver
6309 \override NoteHead #'style = #'vaticana_punctum
6310 \override Stem #'transparent = ##t
6317 @code{11. Torculus Initio Debilis}
6319 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6320 \include "gregorian-init.ly"
6322 \notes \transpose c c' {
6323 % Torculus Initio Debilis
6324 \[ \deminutum a \pes b \flexa g \]
6331 \remove "Bar_number_engraver"
6335 \remove "Clef_engraver"
6336 \remove "Key_engraver"
6337 \override StaffSymbol #'transparent = ##t
6338 \remove "Time_signature_engraver"
6339 \remove "Bar_engraver"
6340 minimumVerticalExtent = ##f
6344 \remove Ligature_bracket_engraver
6345 \consists Vaticana_ligature_engraver
6346 \override NoteHead #'style = #'vaticana_punctum
6347 \override Stem #'transparent = ##t
6353 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6354 \include "gregorian-init.ly"
6356 \notes \transpose c c' {
6357 % Torculus Auctus Descendens Initio Debilis
6358 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6365 \remove "Bar_number_engraver"
6369 \remove "Clef_engraver"
6370 \remove "Key_engraver"
6371 \override StaffSymbol #'transparent = ##t
6372 \remove "Time_signature_engraver"
6373 \remove "Bar_engraver"
6374 minimumVerticalExtent = ##f
6378 \remove Ligature_bracket_engraver
6379 \consists Vaticana_ligature_engraver
6380 \override NoteHead #'style = #'vaticana_punctum
6381 \override Stem #'transparent = ##t
6387 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6388 \include "gregorian-init.ly"
6390 \notes \transpose c c' {
6391 % Torculus Deminutus Initio Debilis
6392 \[ \deminutum a \pes b \flexa \deminutum g \]
6399 \remove "Bar_number_engraver"
6403 \remove "Clef_engraver"
6404 \remove "Key_engraver"
6405 \override StaffSymbol #'transparent = ##t
6406 \remove "Time_signature_engraver"
6407 \remove "Bar_engraver"
6408 minimumVerticalExtent = ##f
6412 \remove Ligature_bracket_engraver
6413 \consists Vaticana_ligature_engraver
6414 \override NoteHead #'style = #'vaticana_punctum
6415 \override Stem #'transparent = ##t
6422 @code{12. Porrectus}
6424 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6425 \include "gregorian-init.ly"
6427 \notes \transpose c c' {
6429 \[ a \flexa g \pes b \]
6436 \remove "Bar_number_engraver"
6440 \remove "Clef_engraver"
6441 \remove "Key_engraver"
6442 \override StaffSymbol #'transparent = ##t
6443 \remove "Time_signature_engraver"
6444 \remove "Bar_engraver"
6445 minimumVerticalExtent = ##f
6449 \remove Ligature_bracket_engraver
6450 \consists Vaticana_ligature_engraver
6451 \override NoteHead #'style = #'vaticana_punctum
6452 \override Stem #'transparent = ##t
6458 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6459 \include "gregorian-init.ly"
6461 \notes \transpose c c' {
6462 % Porrectus Auctus Descendens
6463 \[ a \flexa g \pes \auctum \descendens b \]
6470 \remove "Bar_number_engraver"
6474 \remove "Clef_engraver"
6475 \remove "Key_engraver"
6476 \override StaffSymbol #'transparent = ##t
6477 \remove "Time_signature_engraver"
6478 \remove "Bar_engraver"
6479 minimumVerticalExtent = ##f
6483 \remove Ligature_bracket_engraver
6484 \consists Vaticana_ligature_engraver
6485 \override NoteHead #'style = #'vaticana_punctum
6486 \override Stem #'transparent = ##t
6492 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6493 \include "gregorian-init.ly"
6495 \notes \transpose c c' {
6496 % Porrectus Deminutus
6497 \[ a \flexa g \pes \deminutum b \]
6504 \remove "Bar_number_engraver"
6508 \remove "Clef_engraver"
6509 \remove "Key_engraver"
6510 \override StaffSymbol #'transparent = ##t
6511 \remove "Time_signature_engraver"
6512 \remove "Bar_engraver"
6513 minimumVerticalExtent = ##f
6517 \remove Ligature_bracket_engraver
6518 \consists Vaticana_ligature_engraver
6519 \override NoteHead #'style = #'vaticana_punctum
6520 \override Stem #'transparent = ##t
6529 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6530 \include "gregorian-init.ly"
6532 \notes \transpose c c' {
6534 \[ \virga b \inclinatum a \inclinatum g \]
6541 \remove "Bar_number_engraver"
6545 \remove "Clef_engraver"
6546 \remove "Key_engraver"
6547 \override StaffSymbol #'transparent = ##t
6548 \remove "Time_signature_engraver"
6549 \remove "Bar_engraver"
6550 minimumVerticalExtent = ##f
6554 \remove Ligature_bracket_engraver
6555 \consists Vaticana_ligature_engraver
6556 \override NoteHead #'style = #'vaticana_punctum
6557 \override Stem #'transparent = ##t
6563 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6564 \include "gregorian-init.ly"
6566 \notes \transpose c c' {
6568 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6575 \remove "Bar_number_engraver"
6579 \remove "Clef_engraver"
6580 \remove "Key_engraver"
6581 \override StaffSymbol #'transparent = ##t
6582 \remove "Time_signature_engraver"
6583 \remove "Bar_engraver"
6584 minimumVerticalExtent = ##f
6588 \remove Ligature_bracket_engraver
6589 \consists Vaticana_ligature_engraver
6590 \override NoteHead #'style = #'vaticana_punctum
6591 \override Stem #'transparent = ##t
6597 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6598 \include "gregorian-init.ly"
6600 \notes \transpose c c' {
6601 % Climacus Deminutus
6602 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6609 \remove "Bar_number_engraver"
6613 \remove "Clef_engraver"
6614 \remove "Key_engraver"
6615 \override StaffSymbol #'transparent = ##t
6616 \remove "Time_signature_engraver"
6617 \remove "Bar_engraver"
6618 minimumVerticalExtent = ##f
6622 \remove Ligature_bracket_engraver
6623 \consists Vaticana_ligature_engraver
6624 \override NoteHead #'style = #'vaticana_punctum
6625 \override Stem #'transparent = ##t
6632 @code{14. Scandicus}
6634 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6635 \include "gregorian-init.ly"
6637 \notes \transpose c c' {
6639 \[ g \pes a \virga b \]
6646 \remove "Bar_number_engraver"
6650 \remove "Clef_engraver"
6651 \remove "Key_engraver"
6652 \override StaffSymbol #'transparent = ##t
6653 \remove "Time_signature_engraver"
6654 \remove "Bar_engraver"
6655 minimumVerticalExtent = ##f
6659 \remove Ligature_bracket_engraver
6660 \consists Vaticana_ligature_engraver
6661 \override NoteHead #'style = #'vaticana_punctum
6662 \override Stem #'transparent = ##t
6668 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6669 \include "gregorian-init.ly"
6671 \notes \transpose c c' {
6672 % Scandicus Auctus Descendens
6673 \[ g \pes a \pes \auctum \descendens b \]
6680 \remove "Bar_number_engraver"
6684 \remove "Clef_engraver"
6685 \remove "Key_engraver"
6686 \override StaffSymbol #'transparent = ##t
6687 \remove "Time_signature_engraver"
6688 \remove "Bar_engraver"
6689 minimumVerticalExtent = ##f
6693 \remove Ligature_bracket_engraver
6694 \consists Vaticana_ligature_engraver
6695 \override NoteHead #'style = #'vaticana_punctum
6696 \override Stem #'transparent = ##t
6702 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6703 \include "gregorian-init.ly"
6705 \notes \transpose c c' {
6706 % Scandicus Deminutus
6707 \[ g \pes a \pes \deminutum b \]
6714 \remove "Bar_number_engraver"
6718 \remove "Clef_engraver"
6719 \remove "Key_engraver"
6720 \override StaffSymbol #'transparent = ##t
6721 \remove "Time_signature_engraver"
6722 \remove "Bar_engraver"
6723 minimumVerticalExtent = ##f
6727 \remove Ligature_bracket_engraver
6728 \consists Vaticana_ligature_engraver
6729 \override NoteHead #'style = #'vaticana_punctum
6730 \override Stem #'transparent = ##t
6739 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6740 \include "gregorian-init.ly"
6742 \notes \transpose c c' {
6744 \[ g \oriscus a \pes \virga b \]
6751 \remove "Bar_number_engraver"
6755 \remove "Clef_engraver"
6756 \remove "Key_engraver"
6757 \override StaffSymbol #'transparent = ##t
6758 \remove "Time_signature_engraver"
6759 \remove "Bar_engraver"
6760 minimumVerticalExtent = ##f
6764 \remove Ligature_bracket_engraver
6765 \consists Vaticana_ligature_engraver
6766 \override NoteHead #'style = #'vaticana_punctum
6767 \override Stem #'transparent = ##t
6773 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6774 \include "gregorian-init.ly"
6776 \notes \transpose c c' {
6777 % Salicus Auctus Descendens
6778 \[ g \oriscus a \pes \auctum \descendens b \]
6785 \remove "Bar_number_engraver"
6789 \remove "Clef_engraver"
6790 \remove "Key_engraver"
6791 \override StaffSymbol #'transparent = ##t
6792 \remove "Time_signature_engraver"
6793 \remove "Bar_engraver"
6794 minimumVerticalExtent = ##f
6798 \remove Ligature_bracket_engraver
6799 \consists Vaticana_ligature_engraver
6800 \override NoteHead #'style = #'vaticana_punctum
6801 \override Stem #'transparent = ##t
6811 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6812 \include "gregorian-init.ly"
6814 \notes \transpose c c' {
6816 \[ \stropha b \stropha b \stropha a \]
6823 \remove "Bar_number_engraver"
6827 \remove "Clef_engraver"
6828 \remove "Key_engraver"
6829 \override StaffSymbol #'transparent = ##t
6830 \remove "Time_signature_engraver"
6831 \remove "Bar_engraver"
6832 minimumVerticalExtent = ##f
6836 \remove Ligature_bracket_engraver
6837 \consists Vaticana_ligature_engraver
6838 \override NoteHead #'style = #'vaticana_punctum
6839 \override Stem #'transparent = ##t
6850 Unlike most other neumes notation systems, the input language for
6851 neumes does not necessarily reflect directly the typographical
6852 appearance, but is designed to solely focuse on musical meaning. For
6853 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6854 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6855 a Porrectus with a curved flexa shape and only a single Punctum head.
6856 There is no command to explicitly typeset the curved flexa shape; the
6857 decision of when to typeset a curved flexa shape is purely taken from
6858 the musical input. The idea of this approach is to separate the
6859 musical aspects of the input from the notation style of the output.
6860 This way, the same input can be reused to typeset the same music in a
6861 different style of Gregorian chant notation.
6863 The following table shows the code fragments that produce the
6864 ligatures in the above neumes table. The letter in the first column
6865 in each line of the below table indicates to which ligature in the
6866 above table it refers. The second column gives the name of the
6867 ligature. The third column shows the code fragment that produces this
6868 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6870 @multitable @columnfractions .1 .4 .5
6884 Punctum Inclinatum @tab
6885 @code{\[ \inclinatum b \]}
6889 Punctum Auctum Ascendens @tab
6890 @code{\[ \auctum \ascendens b \]}
6894 Punctum Auctum Descendens @tab
6895 @code{\[ \auctum \descendens b \]}
6899 Punctum Inclinatum Auctum @tab
6900 @code{\[ \inclinatum \auctum b \]}
6904 Punctum Inclinatum Parvum @tab
6905 @code{\[ \inclinatum \deminutum b \]}
6910 @code{\[ \virga b \]}
6915 @code{\[ \stropha b \]}
6920 @code{\[ \stropha \auctum b \]}
6925 @code{\[ \oriscus b \]}
6929 Clivis vel Flexa @tab
6930 @code{\[ b \flexa g \]}
6934 Clivis Aucta Descendens @tab
6935 @code{\[ b \flexa \auctum \descendens g \]}
6939 Clivis Aucta Ascendens @tab
6940 @code{\[ b \flexa \auctum \ascendens g \]}
6945 @code{\[ b \flexa \deminutum g \]}
6949 Podatus vel Pes @tab
6950 @code{\[ g \pes b \]}
6954 Pes Auctus Descendens @tab
6955 @code{\[ g \pes \auctum \descendens b \]}
6959 Pes Auctus Ascendens @tab
6960 @code{\[ g \pes \auctum \ascendens b \]}
6965 @code{\[ g \pes \deminutum b \]}
6970 @code{\[ \oriscus g \pes \virga b \]}
6974 Pes Quassus Auctus Descendens @tab
6975 @code{\[ \oriscus g \pes \auctum \descendens b \]}
6980 @code{\[ \quilisma g \pes b \]}
6984 Quilisma Pes Auctus Descendens @tab
6985 @code{\[ \quilisma g \pes \auctum \descendens b \]}
6989 Pes Initio Debilis @tab
6990 @code{\[ \deminutum g \pes b \]}
6994 Pes Auctus Descendens Initio Debilis @tab
6995 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7000 @code{\[ a \pes b \flexa g \]}
7004 Torculus Auctus Descendens @tab
7005 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7009 Torculus Deminutus @tab
7010 @code{\[ a \pes b \flexa \deminutum g \]}
7014 Torculus Initio Debilis @tab
7015 @code{\[ \deminutum a \pes b \flexa g \]}
7019 Torculus Auctus Descendens Initio Debilis @tab
7020 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7024 Torculus Deminutus Initio Debilis @tab
7025 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7030 @code{\[ a \flexa g \pes b \]}
7034 Porrectus Auctus Descendens @tab
7035 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7039 Porrectus Deminutus @tab
7040 @code{\[ a \flexa g \pes \deminutum b \]}
7045 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7049 Climacus Auctus @tab
7050 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7054 Climacus Deminutus @tab
7055 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7060 @code{\[ g \pes a \virga b \]}
7064 Scandicus Auctus Descendens @tab
7065 @code{\[ g \pes a \pes \auctum \descendens b \]}
7069 Scandicus Deminutus @tab
7070 @code{\[ g \pes a \pes \deminutum b \]}
7075 @code{\[ g \oriscus a \pes \virga b \]}
7079 Salicus Auctus Descendens @tab
7080 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7085 @code{\[ \stropha b \stropha b \stropha a \]}
7091 The following head prefixes are supported:
7093 @cindex @code{\virga}
7095 @cindex @code{\stropha}
7097 @cindex @code{\inclinatum}
7099 @cindex @code{\auctum}
7101 @cindex @code{\descendens}
7103 @cindex @code{\ascendens}
7105 @cindex @code{\oriscus}
7107 @cindex @code{\quilisma}
7109 @cindex @code{\deminutum}
7112 Head prefixes can be accumulated, though restrictions apply. For
7113 example, either @code{\descendens} or @code{\ascendens} can be applied
7114 to a head, but not both to the same head.
7117 @cindex @code{\flexa}
7118 Two adjacent heads can be tied together with the @code{\pes} and
7119 @code{\flexa} infix commands for a rising and falling line of melody,
7124 @node Vaticana style contexts
7125 @subsection Vaticana style contexts
7127 @cindex VaticanaVoiceContext
7128 @cindex VaticanaStaffContext
7130 The predefined @code{VaticanaVoiceContext} and
7131 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7132 Gregorian Chant in the style of the Editio Vaticana. These contexts
7133 initialize all relevant context properties and grob properties to
7134 proper values. With these contexts, you can immediately go ahead
7135 entering the chant, as the following short excerpt demonstrates:
7137 @lilypond[raggedright,verbatim,noindent]
7138 \include "gregorian-init.ly"
7141 \context VaticanaVoice = "cantus" {
7142 \override Score.BarNumber #'transparent = ##t
7144 \[ c'\melisma c' \flexa a \]
7145 \[ a \flexa \deminutum g\melismaEnd \]
7147 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
7148 c' \divisioMinima \break
7149 \[ c'\melisma c' \flexa a \]
7150 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7153 \lyricsto "cantus" \new Lyrics \lyrics {
7154 San- ctus, San- ctus, San- ctus
7161 @subsection Figured bass
7163 @cindex Basso continuo
7165 @c TODO: musicological blurb about FB
7168 LilyPond has limited support for figured bass:
7170 @lilypond[verbatim,fragment]
7172 \context Voice \notes { \clef bass dis4 c d ais}
7173 \context FiguredBass
7175 < 6 >4 < 7 >8 < 6+ [_!] >
7181 The support for figured bass consists of two parts: there is an input
7182 mode, introduced by @code{\figures}, where you can enter bass figures
7183 as numbers, and there is a context called @internalsref{FiguredBass} that
7184 takes care of making @internalsref{BassFigure} objects.
7186 In figures input mode, a group of bass figures is delimited by
7187 @code{<} and @code{>}. The duration is entered after the @code{>>}:
7192 \context FiguredBass
7196 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7203 \context FiguredBass
7204 \figures { <4- 6+ 7!> }
7207 Spaces or dashes may be inserted by using @code{_}. Brackets are
7208 introduced with @code{[} and @code{]}:
7214 \context FiguredBass
7215 \figures { < [4 6] 8 [_! 12]> }
7218 Although the support for figured bass may superficially resemble chord
7219 support, it works much simpler. The @code{\figures} mode simply
7220 stores the numbers , and @internalsref{FiguredBass} context prints
7221 them as entered. There is no conversion to pitches, and no
7222 realizations of the bass are played in the MIDI file.
7224 Internally, the code produces markup texts. You can use any of the
7225 markup text properties to override formatting. For example, the
7226 vertical spacing of the figures may be set with @code{baseline-skip}.
7230 Program reference: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7231 and @internalsref{FiguredBass} context.
7235 Slash notation for alterations is not supported.
7237 @node Contemporary notation
7238 @section Contemporary notation
7240 In the 20th century, composers have greatly expanded the musical
7241 vocabulary. With this expansion, many innovations in musical notation
7242 have been tried. The book by Stone (1980) gives a comprehensive
7243 overview (see @ref{Literature list}). In general, the use of new,
7244 innovative notation makes a piece harder to understand and perform and
7245 its use should therefore be avoided if possible. For this reason,
7246 support for contemporary notation in LilyPond is limited.
7255 @subsection Clusters
7259 A cluster indicates a continuous range of pitches to be played. They
7260 can be denoted as the envelope of a set of notes. They are entered by
7261 applying the function @code{notes-to-clusters} to a sequence of
7264 @lilypond[relative=1,verbatim]
7265 \apply #notes-to-clusters { <c e > <b f'> }
7268 The following example (from
7269 @inputfileref{input/regression,cluster.ly}) shows what the result
7272 @lilypondfile[]{cluster.ly}
7274 Ordinary notes and clusters can be put together in the same staff,
7275 even simultaneously. In such a case no attempt is made to
7276 automatically avoid collisions between ordinary notes and clusters.
7280 Program reference: @internalsref{ClusterSpanner},
7281 @internalsref{ClusterSpannerBeacon},
7282 @internalsref{Cluster_spanner_engraver}, and
7283 @internalsref{ClusterNoteEvent}.
7285 Examples: @inputfileref{input/regression,cluster.ly}.
7289 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7290 accurately. Use @code{<g a>8 <e a>8} instead.
7295 @subsection Fermatas
7301 Contemporary music notation frequently uses special fermata symbols to
7302 indicate fermatas of differing lengths. The following fermatas are
7305 @lilypond[raggedright]
7307 << \addlyrics \notes {
7327 \context Lyrics \lyrics {
7328 \override LyricText #'font-family = #'typewriter
7329 "shortfermata" "fermata" "longfermata" "verylongfermata"
7334 See @ref{Articulations} for general instructions how to apply scripts
7335 such as fermatas to a @code{\notes@{@}} block.
7338 @node Special notation
7339 @section Special notation
7343 * Easy Notation note heads::
7347 @subsection Balloon help
7349 Elements of notation can be marked and named with the help of a square
7350 balloon. The primary purpose of this feature is to explain notation.
7352 The following example demonstrates its use.
7354 @lilypond[verbatim,fragment,raggedright,relative=1]
7357 #(add-balloon-text 'NoteHead "heads, or tails?"
7363 The function @code{add-balloon-text} takes the name of a grob, the
7364 label to print and where to put the label relative to the object. In
7365 the above example, the text ``heads or tails?'' ends 3 spaces below
7369 @cindex notation, explaining
7373 Program reference: @internalsref{text-balloon-interface}.
7375 Examples: @inputfileref{input/regression,balloon.ly}.
7377 @node Easy Notation note heads
7378 @subsection Easy Notation note heads
7380 @cindex easy notation
7383 The `easy play' note head includes a name inside the head. It is
7384 used in music for beginners:
7386 @lilypond[raggedright,verbatim,staffsize=26]
7391 The command @code{\setEasyHeads} overrides settings for the
7392 @internalsref{NoteHead} object. To make the letters readable, it has
7393 to be printed in a large font size. To print with a larger font, see
7394 @ref{Setting global staff size}.
7399 If you view the result with Xdvi, then staff lines may show through
7400 the letters. Printing the PostScript file obtained does produce the
7405 @cindex \setEasyHeads
7406 @code{\setEasyHeads}
7412 Entered music can also be converted to MIDI output. The performance
7413 is intended for proof-hearing the music for errors.
7415 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
7416 crescendi and decrescendi translate into MIDI volume levels. Dynamic
7417 marks translate to a fixed fraction of the available MIDI volume
7418 range, crescendi and decrescendi make the volume vary linearly between
7419 their two extremities. The fractions can be adjusted by
7420 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
7421 For each type of MIDI instrument, a volume range can be defined. This
7422 gives a basic equalizer control, which can enhance the quality of
7423 the MIDI output remarkably. The equalizer can be controlled by
7424 setting @code{instrumentEqualizer}.
7428 Many musically interesting effects, such as swing, articulation,
7429 slurring, etc., are not translated to MIDI.
7431 The MIDI output allocates a channel for each Staff, and one for global
7432 settings. Hence, the MIDI file should not have more than 15 staves
7433 (or 14 if you do not use drums). Other staves will remain silent.
7438 * MIDI instrument names::
7443 @subsection MIDI block
7447 The MIDI block is analogous to the paper block, but it is somewhat
7448 simpler. The @code{\midi} block can contain:
7452 @item a @code{\tempo} definition, and
7453 @item context definitions.
7456 A number followed by a period is interpreted as a real number, so
7457 for setting the tempo for dotted notes, an extra space should be
7458 inserted, for example:
7461 \midi @{ \tempo 4 . = 120 @}
7465 @cindex context definition
7467 Context definitions follow precisely the same syntax as within the
7468 \paper block. Translation modules for sound are called performers.
7469 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
7472 @node MIDI instrument names
7473 @subsection MIDI instrument names
7475 @cindex instrument names
7476 @cindex @code{Staff.midiInstrument}
7478 The MIDI instrument name is set by the @code{Staff.midiInstrument}
7479 property. The instrument name should be chosen from the list in
7480 @ref{MIDI instruments}.
7484 If the selected string does not exactly match, then the default is
7485 used, which is the Grand Piano.