3 @c A menu is needed before every deeper *section nesting of @node's; run
4 @c M-x texinfo-all-menus-update
5 @c to automagically fill in these menus before saving changes
7 @c FIXME: singular vs. plural: Beams/Beam
15 @c .{Reference Manual}
17 @node Reference Manual
18 @chapter Reference Manual
21 <!--- @@WEB-TITLE@@=Reference Manual --->
24 This document describes GNU LilyPond and its input format. The last
25 revision of this document was made for LilyPond 1.6.2. It assumes
26 that you already know a little bit about LilyPond input (how to
27 make an input file, how to create sheet music from that input file,
28 etc). New users are encouraged to study the tutorial before reading
34 * Easier music entry::
53 @c FIXME: Note entry vs Music entry at top level menu is confusing.
59 Notes constitute the most basic elements of LilyPond input, but they do
60 not form valid input on their own without a @code{\score} block. However,
61 for the sake of brevity and simplicity we will generally omit
62 @code{\score} blocks and @code{\paper} declarations in this manual.
68 * Chromatic alterations::
73 * Automatic note splitting ::
75 * Easy Notation note heads ::
83 A note is printed by specifying its pitch and then its duration.
84 @lilypond[fragment,verbatim]
93 @cindex Note specification
95 @cindex entering notes
97 The verbose syntax for pitch specification is
101 \pitch @var{scmpitch}
104 where @var{scmpitch} is a pitch scheme object.
106 In Note and Chord mode, pitches may be designated by names. The default
107 names are the Dutch note names. The notes are specified by the letters
108 @code{a} through @code{g}, while the octave is formed with notes ranging
109 from @code{c} to @code{b}. The pitch @code{c} is an octave below
110 middle C and the letters span the octave above that C. Here's an example
111 which should make things more clear:
113 @lilypond[fragment,verbatim]
115 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
118 @cindex note names, Dutch
120 In Dutch, a sharp is formed by adding @code{-is} to the end of a pitch
121 name and a flat is formed by adding @code{-es}. Double sharps and double
122 flats are obtained by adding @code{-isis} or @code{-eses}. @code{aes}
123 and @code{ees} are contracted to @code{as} and @code{es} in Dutch, but
124 both forms are accepted.
126 LilyPond has predefined sets of note names for various other languages.
127 To use them, simply include the language specific init file. For
128 example: @code{\include "english.ly"}. The available language files and
129 the note names they define are:
134 Note Names sharp flat
135 nederlands.ly c d e f g a bes b -is -es
136 english.ly c d e f g a bf b -s/-sharp -f/-flat
137 deutsch.ly c d e f g a b h -is -es
138 norsk.ly c d e f g a b h -iss/-is -ess/-es
139 svenska.ly c d e f g a b h -iss -ess
140 italiano.ly do re mi fa sol la sib si -d -b
141 catalan.ly do re mi fa sol la sib si -d/-s -b
142 espanol.ly do re mi fa sol la sib si -s -b
151 The optional octave specification takes the form of a series of
152 single quote (`@code{'}') characters or a series of comma
153 (`@code{,}') characters. Each @code{'} raises the pitch by one
154 octave; each @code{,} lowers the pitch by an octave.
156 @lilypond[fragment,verbatim,center]
157 c' c'' es' g' as' gisis' ais'
160 @node Chromatic alterations
161 @subsection Chromatic alterations
163 Normally accidentals are printed automatically, but you may also
164 print them manually. A reminder accidental
165 @cindex reminder accidental
167 can be forced by adding an exclamation mark @code{!}
168 after the pitch. A cautionary accidental
169 @cindex cautionary accidental
170 @cindex parenthesized accidental
171 (an accidental within parentheses) can be obtained by adding the
172 question mark `@code{?}' after the pitch.
174 @lilypond[fragment,verbatim]
175 cis' cis' cis'! cis'?
179 The automatic production of accidentals can be tuned in many
180 ways. For more information, refer to @ref{Accidentals}.
187 Rests are entered like notes, with a ``note name'' of `@code{r}':
189 @lilypond[singleline,verbatim]
193 Whole bar rests, centered in middle of the bar, are specified using
194 @code{R} (capital R); see @ref{Multi measure rests}. See also
197 For some music, you may wish to explicitly specify the rest's vertical
198 position. This can be achieved by entering a note with the @code{\rest}
199 keyword appended. Rest collision testing will leave these rests alone.
201 @lilypond[singleline,verbatim]
211 @cindex Invisible rest
214 An invisible rest (also called a `skip') can be entered like a note
215 with note name `@code{s}' or with @code{\skip @var{duration}}:
217 @lilypond[singleline,verbatim]
221 @c FIXME: in Lyrics mode, we have " " and _
223 In Lyrics mode, invisible rests are entered using either `@code{" "}'
225 @lilypond[singleline,verbatim]
227 \context Lyrics \lyrics { lah2 di4 " " dah2 _4 di }
228 \notes\relative c'' { a2 a4 a a2 a4 a }
232 Note that the @code{s} syntax is only available in Note mode and Chord
233 mode. In other situations, you should use the @code{\skip} command,
234 which will work outside of those two modes:
236 @lilypond[singleline,verbatim]
239 { \time 4/8 \skip 2 \time 4/4 }
240 \notes\relative c'' { a2 a1 }
245 The skip command is merely an empty musical placeholder. It doesn't
246 produce any output, not even transparent output.
252 @subsection Durations
256 @cindex @code{\duration}
259 In Note, Chord, and Lyrics mode, durations are designated by numbers
260 and dots: durations are entered as their reciprocal values. For example,
261 a quarter note is entered using a @code{4} (since it's a 1/4 note), while
262 a half note is entered using a @code{2} (since it's a 1/2 note). For notes
263 longer than a whole you must use identifiers.
264 @c FIXME: what's an identifier? I don't think it's been introduced yet.
265 @c and if it has, I obviously skipped that part. - Graham
269 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
271 r1 r2 r4 r8 r16 r32 r64 r64
274 @lilypond[noindent,noquote]
276 \notes \relative c'' {
278 a1 a2 a4 a8 a16 a32 a64 a64
280 r1 r2 r4 r8 r16 r32 r64 r64
285 \remove "Clef_engraver"
286 \remove "Staff_symbol_engraver"
287 \remove "Time_signature_engraver"
288 \consists "Pitch_squash_engraver"
295 If the duration is omitted then it is set to the previously entered
296 duration. At the start of parsing, a quarter note is assumed. The
297 duration can be followed by dots (`@code{.}') in order to obtain dotted
301 @lilypond[fragment,verbatim,center]
302 a' b' c''8 b' a'4 a'4. b'4.. c'8.
307 You can alter the length of duration by a fraction @var{N/M}
308 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
309 won't affect the appearance of the notes or rests produced.
311 @lilypond[fragment,verbatim]
312 a'2*2 b'4*2 a'8*4 a'4*3/2 gis'4*3/2 a'4*3/2 a'4
315 Durations can also be produced through GUILE extension mechanism.
316 @lilypond[verbatim,fragment]
317 c'\duration #(make-duration 2 1)
323 Dot placement for chords is not perfect. In some cases, dots overlap:
325 \context Voice { <f,4. c'' d e f> }
336 A tie connects two adjacent note heads of the same pitch. The tie in
337 effect extends the length of a note. Ties should not be confused with
338 slurs, which indicate articulation, or phrasing slurs, which indicate
339 musical phrasing. A tie is entered using the tilde symbol `@code{~}'.
341 @lilypond[fragment,verbatim,center]
342 e' ~ e' <c' e' g'> ~ <c' e' g'>
345 When a tie is applied to a chord, all note heads (whose pitches match) are
346 connected. If you try to tie together chords that have no common pitches,
347 no ties will be created.
349 If you want less ties created for a chord, you can set
350 @code{Voice.sparseTies} to true. In this case, a single tie is used
351 for every tied chord.
352 @lilypond[fragment,verbatim,center]
353 \property Voice.sparseTies = ##t
354 <c' e' g'> ~ <c' e' g'>
357 In its meaning a tie is just a way of extending a note duration, similar
358 to the augmentation dot: the following example are two ways of notating
359 exactly the same concept.
361 @lilypond[fragment, singleline]
362 \time 3/4 c'2. c'2 ~ c'4
364 If you need to tie notes over bars, it may be easier to use
365 @ref{Automatic note splitting}.
367 See also @seeinternals{Tie}.
372 At present, the tie is represented as a separate event, temporally
373 located in between the notes. Tying only a subset of the note heads
374 of a chord is not supported in a simple way. It can be achieved by
375 moving the tie-engraver into the Thread context and turning on and off
378 Switching staves when a tie is active will not work.
380 @node Automatic note splitting
381 @subsection Automatic note splitting
382 @c FIXME: This subsection doesn't belong in @ref{Note entry}.
384 LilyPond can automatically converting long notes to tied notes. This
385 is done by replacing the @code{Note_heads_engraver} by the
386 @code{Completion_heads_engraver}.
388 @lilypond[verbatim,noindent,noquote]
390 \notes\relative c'{ \time 2/4
391 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
395 \remove "Note_heads_engraver"
396 \consists "Completion_heads_engraver"
400 This engraver splits all running notes at the bar line, and inserts
401 ties. One of its uses is to debug complex scores: if the measures are
402 not entirely filled, then the ties exactly show how much each measure
407 Not all durations (especially those containing tuplets) can be
408 represented exactly; the engraver will not insert tuplets.
415 @cindex @code{\times}
417 Tuplets are made out of a music expression by multiplying all durations
420 @cindex @code{\times}
422 \times @var{fraction} @var{musicexpr}
425 The duration of @var{musicexpr} will be multiplied by the fraction.
426 In the sheet music, the fraction's denominator will be printed over
427 the notes, optionally with a bracket. The most common tuplet is the
428 triplet in which 3 notes have the length of 2, so the notes are 2/3
429 of their written length:
431 @lilypond[fragment,verbatim,center]
432 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
435 The property @code{tupletSpannerDuration} specifies how long each bracket
436 should last. With this, you can make lots of tuplets while typing
437 @code{\times} only once, saving you lots of typing.
439 @lilypond[fragment, relative, singleline, verbatim]
440 \property Voice.tupletSpannerDuration = #(make-moment 1 4)
441 \times 2/3 { c'8 c c c c c }
444 The format of the number is determined by the property
445 @code{tupletNumberFormatFunction}. The default prints only the
446 denominator, but if you set it to the Scheme function
447 @code{fraction-tuplet-formatter}, Lilypond will print @var{num}:@var{den}
451 @cindex @code{tupletNumberFormatFunction}
452 @cindex tuplet formatting
454 See also @seeinternals{TupletBracket}.
458 Nested tuplets are not formatted automatically. In this case, outer
459 tuplet brackets should be moved automatically.
461 @node Easy Notation note heads
462 @subsection Easy Notation note heads
464 @cindex easy notation
467 A entirely different type of note head is the "easyplay" note head: a
468 note head that includes a note name. It is used in some publications by
469 Hal-Leonard Inc. music publishers.
471 @lilypond[singleline,verbatim,26pt]
473 \notes { c'2 e'4 f' | g'1 }
474 \paper { \translator { \EasyNotation } }
478 Note that @code{EasyNotation} overrides a @internalsref{Score} context. You
479 probably will want to print it with magnification or a large font size to
480 make it more readable. To print with magnification, you must create a dvi
481 (with @file{ly2dvi}) and then enlarge it with something like @file{dvips -x
482 2000 file.dvi}. See @file{man dvips} for details. To print with a larger
483 font, see @ref{Font Size}.
489 If you view the result with Xdvi, then staff lines will show through
490 the letters. Printing the PostScript file obtained with ly2dvi does
491 produce the correct result.
494 @node Easier music entry
495 @section Easier music entry
498 * Graphical interfaces::
502 * Skipping corrected music::
505 When entering music with LilyPond, it is easy to introduce errors. This
506 section deals with tricks and features that help you enter music, and
507 find and correct mistakes.
509 @node Graphical interfaces
510 @subsection Graphical interfaces
513 @cindex graphical interface
520 One way to avoid entering notes using the keyboard is to use a
521 graphical user interface. The following programs are known to have
522 a lilypond export option:
526 Denemo was once intended as
527 a LilyPond graphical user interface. It run on Gnome/GTK.
530 @uref{http://denemo.sourceforge.net/}
534 Noteedit, a graphical score editor that runs under KDE/Qt.
536 @uref{http://rnvs.informatik.tu-chemnitz.de/~jan/noteedit/noteedit.html,}
540 RoseGarden was once the inspiration for naming LilyPond. Nowadays it
541 has been rewritten from scratch and supports LilyPond export as of
545 @uref{http://rosegarden.sf.net/}
549 Another option is to enter the music using your favorite MIDI
550 sequencer, and then import it using midi2ly. midi2ly is described in
551 @ref{Invoking midi2ly}.
555 @node Relative octaves
556 @subsection Relative octaves
558 @cindex relative octave specification
560 Octaves are specified by adding @code{'} and @code{,} to pitch names.
561 When you copy existing music, it is easy to accidentally put a pitch in
562 the wrong octave and hard to find such an error. To prevent these
563 errors, LilyPond features octave entry.
565 @cindex @code{\relative}
567 \relative @var{startpitch} @var{musicexpr}
570 The octave of notes that appear in @var{musicexpr} are calculated as
571 follows: If no octave changing marks are used, the basic interval
572 between this and the last note is always taken to be a fourth or less
573 (This distance is determined without regarding alterations; a
574 @code{fisis} following a @code{ceses} will be put above the
577 The octave changing marks @code{'} and @code{,} can be added to raise or
578 lower the pitch by an extra octave. Upon entering relative mode, an
579 absolute starting pitch must be specified that will act as the
580 predecessor of the first note of @var{musicexpr}.
582 Entering music that changes octave frequently is easy in relative mode.
583 @lilypond[fragment,singleline,verbatim,center]
589 And octave changing marks are used for intervals greater than a fourth.
590 @lilypond[fragment,verbatim,center]
595 If the preceding item is a chord, the first note of the chord is used
596 to determine the first note of the next chord. However, other notes
597 within the second chord are determined by looking at the immediately
600 @lilypond[fragment,verbatim,center]
607 @cindex @code{\notes}
609 The pitch after the @code{\relative} contains a note name. To parse
610 the pitch as a note name, you have to be in note mode, so there must
611 be a surrounding @code{\notes} keyword (which is not
614 The relative conversion will not affect @code{\transpose},
615 @code{\chords} or @code{\relative} sections in its argument. If you
616 want to use relative within transposed music, you must place an
617 additional @code{\relative} inside the @code{\transpose}.
622 @subsection Bar check
626 @cindex @code{barCheckSynchronize}
630 Whenever a bar check is encountered during interpretation, a warning
631 message is issued if it doesn't fall at a measure boundary. This can
632 help you find errors in the input. Depending on the value of
633 @code{barCheckSynchronize}, the beginning of the measure will be
634 relocated, so this can also be used to shorten measures.
636 A bar check is entered using the bar symbol, @code{|}:
638 \time 3/4 c2 e4 | g2.
643 @cindex skipTypesetting
645 Failed bar checks are most often caused by entering incorrect
646 durations. Incorrect durations often completely garble up the score,
647 especially if it is polyphonic, so you should start correcting the score
648 by scanning for failed bar checks and incorrect durations. To speed up
649 this process, you can use @code{skipTypesetting} (See @ref{Skipping
652 @c . {Point and click}
653 @node Point and click
654 @subsection Point and click
655 @cindex poind and click
657 Point and click lets you find notes in the input by clicking on them in
658 the Xdvi window. This makes it very easy to find input that causes some
659 error in the sheet music.
661 To use it, you need the following software
663 @item A dvi viewer that supports src specials.
665 @item Xdvi, version 22.36 or newer. Available from
666 @uref{ftp://ftp.math.berkeley.edu/pub/Software/TeX/xdvi.tar.gz,ftp.math.berkeley.edu}.
668 Note that most @TeX{} distributions ship with xdvik, which is always
669 a few versions behind the official Xdvi. To find out which xdvi you
670 are running, try @code{xdvi -version} or @code{xdvi.bin -version}.
671 @item KDVI. A dvi viewer for KDE. You need KDVI from KDE 3.0 or
672 newer. Enable option @emph{Inverse search} in the menu @emph{Settings}.
681 @item An editor with a client/server interface (or a lightweight GUI
687 @item Emacs. Emacs is an extensible text-editor. It is available from
688 @uref{http://www.gnu.org/software/emacs/}. You need version 21 to use
691 @c move this elsewhere?
693 LilyPond also comes with support files for emacs: lilypond-mode for
694 emacs provides indentation, syntax coloring and handy compile
695 short-cuts. If lilypond-mode is not installed on your platform, then
696 refer to the installation instructions for more information
700 @cindex lilypond-mode for emacs
701 @cindex syntax coloring
703 @item XEmacs. Xemacs is very similar to emacs.
707 @item NEdit. NEdit runs under Windows, and Unix.
708 It is available from @uref{http://www.nedit.org}.
712 @item GVim. GVim is a GUI variant of VIM, the popular VI
713 clone. It is available from @uref{http://www.vim.org}.
722 Xdvi must be configured to find the @TeX{} fonts and music
723 fonts. Refer to the Xdvi documentation for more information.
725 To use point-and-click, add one of these lines to the top of your .ly
728 #(set-point-and-click! 'line)
730 @cindex line-location
732 When viewing, Control-Mousebutton 1 will take you to the originating
733 spot in the @file{.ly} file. Control-Mousebutton 2 will show all
736 If you correct large files with point-and-click, be sure to start
737 correcting at the end of the file. When you start at the top, and
738 insert one line, all following locations will be off by a line.
741 For using point-and-click with emacs, add the following
742 In your emacs startup file (usually @file{~/.emacs}),
747 Make sure that the environment variable @var{XEDITOR} is set to
749 emacsclient --no-wait +%l %f
751 @cindex @var{XEDITOR}
752 If you use xemacs instead of emacs, you use @code{(gnuserve-start)} in
753 your @file{.emacs}, and set @code{XEDITOR} to @code{gnuclient -q +%l %f}
755 For using Vim, set @code{XEDITOR} to @code{gvim --remote +%l %f}, or use this
756 argument with xdvi's @code{-editor} option.
758 For using NEdit, set @code{XEDITOR} to @code{nc -noask +%l %f}, or
759 use this argument with xdvi's @code{-editor} option.
761 If can also make your editor jump to the exact location of the note
762 you clicked. This is only supported on Emacs. Users of version 20 must
763 apply the patch @file{emacsclient.patch}. Users of version 21 must
764 apply @file{server.el.patch} (version 21.2 and earlier). At the top
765 of the @code{ly} file, replace the @code{set!} line with the following
768 #(set-point-and-click! 'line-column)
770 @cindex line-colomn-location
771 and set @code{XEDITOR} to @code{emacsclient --no-wait +%l:%c %f}.
775 When you convert the @TeX{} file to PostScript using @code{dvips}, it
776 will complain about not finding @code{src:X:Y} files. These complaints
777 are harmless, and can be ignored.
779 @node Skipping corrected music
780 @subsection Skipping corrected music
782 The property @code{Score.skipTypesetting} can be used to switch on and
783 off typesetting completely during the interpretation phase. When
784 typesetting is switched off, the music is processed much more quickly.
785 You can use this to skip over the parts of a score that you have already
788 @lilypond[fragment,singleline,verbatim]
790 \property Score.skipTypesetting = ##t
792 \property Score.skipTypesetting = ##f
800 @section Staff notation
802 This section deals with music notation that occurs on staff level,
803 such as keys, clefs and time signatures.
805 @cindex Staff notation
817 @subsection Staff symbol
820 @cindex adjusting staff symbol
821 @cindex StaffSymbol, using \property
822 @cindex staff lines, setting number of
825 The lines of the staff symbol are formed by the
826 @internalsref{StaffSymbol} object. This object is created at the moment
827 that their context is created. You can not change the appearance of
828 the staff symbol by using @code{\override} or @code{\set}. At the
829 moment that @code{\property Staff} is interpreted, a Staff context is
830 made, and the StaffSymbol is created before any @code{\override} is
831 effective. You can deal with this either overriding properties in a
832 @code{\translator} definition, or by using @code{\outputproperty}.
837 If you end a staff half way a piece, the staff symbol may not end
838 exactly on the barline.
843 @subsection Key signature
848 Setting or changing the key signature is done with the @code{\key}
851 @code{\key} @var{pitch} @var{type}
854 @cindex @code{\minor}
855 @cindex @code{\major}
856 @cindex @code{\minor}
857 @cindex @code{\ionian}
858 @cindex @code{\locrian}
859 @cindex @code{\aeolian}
860 @cindex @code{\mixolydian}
861 @cindex @code{\lydian}
862 @cindex @code{\phrygian}
863 @cindex @code{\dorian}
865 Here, @var{type} should be @code{\major} or @code{\minor} to get
866 @var{pitch}-major or @var{pitch}-minor, respectively.
867 The standard mode names @code{\ionian},
868 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
869 @code{\phrygian}, and @code{\dorian} are also defined.
871 This command sets the context property @code{Staff.keySignature}.
872 Non-standard key signatures can be specified by setting this property
875 The printed signature is a @internalsref{KeySignature} object, typically
876 created in @internalsref{Staff} context.
878 @cindex @code{keySignature}
885 The clef can be set or changed with the @code{\clef} command:
886 @lilypond[fragment,verbatim]
887 \key f\major c''2 \clef alto g'2
890 Supported clef-names include
891 @c Moved standard clefs to the top /MB
893 @item treble, violin, G, G2
902 G clef on 1st line, so-called French violin clef
917 By adding @code{_8} or @code{^8} to the clef name, the clef is
918 transposed one octave down or up, respectively. Note that you have to
919 enclose @var{clefname} in quotes if you use underscores or digits in the
925 The object for this symbol is @internalsref{Clef}.
928 This command is equivalent to setting @code{clefGlyph},
929 @code{clefPosition} (which controls the Y position of the clef),
930 @code{centralCPosition} and @code{clefOctavation}. A clef is created
931 when any of these properties are changed.
934 @c . {Time signature}
936 @subsection Time signature
937 @cindex Time signature
941 The time signature is set or changed by the @code{\time}
943 @lilypond[fragment,verbatim]
944 \time 2/4 c'2 \time 3/4 c'2.
947 The actual symbol that's printed can be customized with the @code{style}
948 property. Setting it to @code{#'()} uses fraction style for 4/4 and
952 The object for this symbol is @internalsref{TimeSignature}. There are
953 many more options for its layout. They are selected through the
954 @code{style} object property. See @file{input/test/time.ly} for more
957 This command sets the property @code{timeSignatureFraction},
958 @code{beatLength} and @code{measureLength} in the @code{Timing}
959 context, which is normally aliased to @internalsref{Score}. The property
960 @code{timeSignatureFraction} determine where bar lines should be
961 inserted, and how automatic beams should be generated. Changing the
962 value of @code{timeSignatureFraction} also causes a time signature
963 symbol to be printed.
970 @cindex partial measure
971 @cindex measure, partial
972 @cindex shorten measures
973 @cindex @code{\partial}
975 Partial measures, for example in upbeats, are entered using the
976 @code{\partial} command:
977 @lilypond[fragment,verbatim]
978 \partial 4* 5/16 c'16 c4 f16 a'2. ~ a'8. a'16 | g'1
981 The syntax for this command is
983 \partial @var{duration}
985 This is internally translated into
987 \property Timing.measurePosition = -@var{length of duration}
990 The property @code{measurePosition} contains a rational number
991 indicating how much of the measure has passed at this point.
994 @node Unmetered music
995 @subsection Unmetered music
997 Bar lines and bar numbers are calculated automatically. For unmetered
998 music (e.g. cadenzas), this is not desirable. The commands
999 @code{\cadenzaOn} and @code{\cadenzaOff} can be used to switch off the
1002 @lilypond[fragment,relative,singleline,verbatim]
1010 The property @code{Score.timing} can be used to switch off this
1015 @subsection Bar lines
1019 @cindex measure lines
1022 Bar lines are inserted automatically, but if you need a special type
1023 of barline, you can force one using the @code{\bar} command:
1024 @lilypond[fragment,verbatim] c4 \bar "|:" c4
1027 The following bar types are available
1028 @lilypond[fragment, relative, singleline, verbatim]
1040 You are encouraged to use @code{\repeat} for repetitions. See
1043 In scores with many staves, the barlines are automatically placed at
1044 top level, and they are connected between different staves of a
1045 @internalsref{StaffGroup}:
1046 @lilypond[fragment, verbatim]
1047 < \context StaffGroup <
1048 \context Staff = up { e'4 d'
1051 \context Staff = down { \clef bass c4 g e g } >
1052 \context Staff = pedal { \clef bass c2 c2 } >
1055 The objects that are created at @internalsref{Staff} level. The name is
1056 @internalsref{BarLine}.
1058 The command @code{\bar @var{bartype}} is a short cut for
1059 doing @code{\property Score.whichBar = @var{bartype}}
1060 Whenever @code{whichBar} is set to a string, a bar line of that type is
1061 created. @code{whichBar} is usually set automatically: at the start of
1062 a measure it is set to @code{defaultBarType}. The contents of
1063 @code{repeatCommands} is used to override default measure bars.
1065 @code{whichBar} can also be set directly, using @code{\property} or
1066 @code{\bar }. These settings take precedence over the automatic
1067 @code{whichBar} settings.
1070 @cindex Bar_line_engraver
1072 @cindex repeatCommands
1073 @cindex defaultBarType
1082 The easiest way to enter such fragments with more than one voice on a
1083 staff is to split chords using the separator @code{\\}. You can use
1084 it for small, short-lived voices (make a chord of voices) or for
1087 @lilypond[verbatim,fragment]
1088 \context Voice = VA \relative c'' {
1089 c4 < { f d e } \\ { b c2 } > c4 < g' \\ b, \\ f \\ d >
1093 The separator causes @internalsref{Voice} contexts to be instantiated,
1094 bearing the names @code{"1"}, @code{"2"}, etc.
1096 Sometimes, it is necessary to instantiate these contexts by hand: For
1097 Instantiate a separate Voice context for each part, and use
1098 @code{\voiceOne}, up to @code{\voiceFour} to assign a stem directions
1099 and horizontal shift for each part.
1102 @lilypond[singleline, verbatim]
1104 \context Staff < \context Voice = VA { \voiceOne cis2 b }
1105 \context Voice = VB { \voiceThree b4 ais ~ ais4 gis4 }
1106 \context Voice = VC { \voiceTwo fis4~ fis4 f ~ f } >
1109 The identifiers @code{\voiceOne} to @code{\voiceFour} set directions
1110 ties, slurs and stems, and set shift directions.
1112 If you want more than four voices, you can also manually set
1113 horizontal shifts and stem directions, as is shown in the following example:
1114 @lilypond[fragment, verbatim]
1115 \context Staff \notes\relative c''<
1116 \context Voice=one {
1117 \shiftOff \stemUp e4
1119 \context Voice=two {
1120 \shiftOn \stemUp cis
1122 \context Voice=three {
1123 \shiftOnn \stemUp ais
1125 \context Voice=four {
1126 \shiftOnnn \stemUp fis
1132 Normally, note heads with a different number of dots are not merged, but
1133 if you set the object property @code{merge-differently-dotted}, they are:
1134 @lilypond[verbatim,fragment,singleline]
1137 \property Staff.NoteCollision \override
1138 #'merge-differently-dotted = ##t
1140 } \\ { [g'8. f16] [g'8. f'16] }
1144 Similarly, you can merge half note heads with eighth notes, by setting
1145 @code{merge-differently-headed}:
1146 @lilypond[fragment, relative=2,verbatim]
1149 \property Staff.NoteCollision
1150 \override #'merge-differently-headed = ##t
1151 c8 c4. } \\ { c2 c2 } >
1154 LilyPond also vertically shifts rests that are opposite of a stem.
1156 @lilypond[singleline,fragment,verbatim]
1157 \context Voice < c''4 \\ r4 >
1160 See also @internalsref{NoteCollision} and @internalsref{RestCollision}
1164 Resolving collisions is a very intricate subject, and LilyPond only
1165 handles a few situations. When it can not cope, you are advised to use
1166 @code{force-hshift} of the @internalsref{NoteColumn} object and pitched
1167 rests to override typesetting decisions.
1172 Beams are used to group short notes into chunks that are aligned with
1173 the metrum. They are inserted automatically in most cases.
1175 @lilypond[fragment,verbatim, relative=2]
1176 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1179 If you're not satisfied with the automatic beaming, you can enter the
1180 beams explicitly. If you have beaming patterns that differ from the
1181 defaults, you can also set the patterns for automatic beamer.
1183 See also @internalsref{Beam}.
1186 @cindex Automatic beams
1187 @subsection Manual beams
1188 @cindex beams, manual
1192 In some cases it may be necessary to override LilyPond's automatic
1193 beaming algorithm. For example, the auto beamer will not beam over
1194 rests or bar lines, If you want that, specify the begin and end point
1195 manually using a @code{[} before the first beamed note and a @code{]}
1196 after the last note:
1198 @lilypond[fragment,relative,verbatim]
1200 r4 [r8 g' a r8] r8 [g | a] r8
1204 @cindex @code{stemLeftBeamCount}
1206 Normally, beaming patterns within a beam are determined automatically.
1207 When this mechanism fouls up, the properties
1208 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
1209 be used to control the beam subdivision on a stem. If you set either
1210 property, its value will be used only once, and then it is erased.
1212 @lilypond[fragment,relative,verbatim]
1215 [f8 r16 \property Voice.stemLeftBeamCount = #1 f g a]
1218 @cindex @code{stemRightBeamCount}
1221 The property @code{subdivideBeams} can be set in order to subdivide
1222 all 16th or shorter beams at beat positions. This accomplishes the
1223 same effect as twiddling with @code{stemLeftBeamCount} and
1224 @code{stemRightBeamCount}, but it take less typing.
1229 \property Voice.subdivideBeams = ##t
1231 [c32 c c c c c c c c c c c c c c c]
1232 \property Score.beatLength = #(make-moment 1 8)
1233 [c32 c c c c c c c c c c c c c c c]
1235 @lilypond[noindent,noquote]
1237 \notes \relative c' {
1239 \property Voice.subdivideBeams = ##t
1241 [c32 c c c c c c c c c c c c c c c]
1242 \property Score.beatLength = #(make-moment 1 8)
1243 [c32 c c c c c c c c c c c c c c c]
1247 @cindex subdivideBeams
1249 Kneed beams are inserted automatically, when a large gap between two
1250 adjacent beamed notes is detected. This behavior can be tuned through
1251 the object property @code{auto-knee-gap}.
1253 @cindex beams, kneed
1255 @cindex auto-knee-gap
1259 @c TODO -> why this ref? Document?
1260 @cindex @code{neutral-direction}
1264 Auto knee beams can not be used together with hara kiri staves.
1268 The Automatic beamer does not put @strong{unfinished} beams on the
1269 last notes of a score.
1271 Formatting of ties is a difficult subject. LilyPond often does not
1272 give optimal results.
1275 * Setting automatic beam behavior ::
1279 @no de Beam typography
1280 @sub section Beam typography
1282 One of the strong points of LilyPond is how beams are formatted. Beams
1283 are quantized, meaning that the left and right endpoints beams start
1284 exactly on staff lines. Without quantization, small wedges of white
1285 space appear between the beam and staff line, and this looks untidy.
1287 Beams are also slope-damped: melodies that go up or down should also
1288 have beams that go up or down, but the slope of the beams should be
1289 less than the slope of the notes themselves.
1291 Some beams should be horizontal. These are so-called concave beams.
1293 [TODO: some pictures.]
1296 @c . {Automatic beams}
1297 @node Setting automatic beam behavior
1298 @subsection Setting automatic beam behavior
1300 @cindex @code{autoBeamSettings}
1301 @cindex @code{(end * * * *)}
1302 @cindex @code{(begin * * * *)}
1303 @cindex automatic beams, tuning
1304 @cindex tuning automatic beaming
1306 In normal time signatures, automatic beams can start on any note but can
1307 only end in a few positions within the measure: beams can end on a beat,
1308 or at durations specified by the properties in
1309 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1310 are defined in @file{scm/auto-beam.scm}.
1312 The value of @code{autoBeamSettings} is changed using
1313 @code{\override} and unset using @code{\revert}:
1315 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1316 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1318 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1319 whether the rule applies to begin or end-points. The quantity
1320 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1321 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1322 signature (wildcards, `@code{* *}' may be entered to designate all time
1325 For example, if you want automatic beams to end on every quarter note,
1326 you can use the following:
1328 \property Voice.autoBeamSettings \override
1329 #'(end * * * *) = #(make-moment 1 4)
1331 Since the duration of a quarter note is 1/4 of a whole note, it is
1332 entered as @code{(make-moment 1 4)}.
1334 The same syntax can be used to specify beam starting points. In this
1335 example, automatic beams can only end on a dotted quarter note.
1337 \property Voice.autoBeamSettings \override
1338 #'(end * * * *) = #(make-moment 3 8)
1340 In 4/4 time signature, this means that automatic beams could end only on
1341 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1342 3/8 has passed within the measure).
1344 You can also restrict rules to specific time signatures. A rule that
1345 should only be applied in @var{N}/@var{M} time signature is formed by
1346 replacing the second asterisks by @var{N} and @var{M}. For example, a
1347 rule for 6/8 time exclusively looks like
1349 \property Voice.autoBeamSettings \override
1350 #'(begin * * 6 8) = ...
1353 If you want a rule to apply to certain types of beams, you can use the
1354 first pair of asterisks. Beams are classified according to the shortest
1355 note they contain. For a beam ending rule that only applies to beams
1356 with 32nd notes (and no shorter notes), you would use @code{(end 1
1360 @c Automatic beams can not be put on the last note in a score.
1362 If a score ends while an automatic beam has not been ended and is still
1363 accepting notes, this last beam will not be typeset at all.
1365 @cindex automatic beam generation
1367 @cindex @code{Voice.autoBeaming}
1370 For melodies that have lyrics, you may want to switch off
1371 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1377 It is not possible to specify beaming parameters for beams with mixed
1378 durations, that differ from the beaming parameters of all separate
1379 durations, i.e., you'll have to specify manual beams to get:
1381 @lilypond[singleline,fragment,relative,noverbatim]
1382 \property Voice.autoBeamSettings
1383 \override #'(end * * * *) = #(make-moment 3 8)
1384 \time 12/8 c'8 c c c16 c c c c c [c c c c] c8 c c4
1386 It is not possible to specify beaming parameters that act differently in
1387 different parts of a measure. This means that it is not possible to use
1388 automatic beaming in irregular meters such as @code{5/8}.
1391 @section Accidentals
1393 This section describes how to change the way that LilyPond automatically
1394 inserts accidentals before the running notes.
1397 * Using the predefined accidental macros::
1398 * Defining your own accidental typesettings::
1401 @node Using the predefined accidental macros
1402 @subsection Using the predefined accidental macros
1403 The constructs for describing the accidental typesetting rules are
1404 quite hairy, so non-experts should stick to the macros defined in
1405 @file{ly/property-init.ly}.
1406 @cindex @file{property-init.ly}
1408 The macros operate on the ``Current'' context (see @ref{Context properties}). This
1409 means that the macros shuold normally be invoked right after the
1410 creation of the context in which the accidental typesetting described
1411 by the macro is to take effect. I.e. if you want to use
1412 piano-accidentals in a pianostaff then you issue
1413 @code{\pianoAccidentals} first thing after the creation of the piano
1417 \notes \relative c'' <
1418 \context Staff = sa @{ cis4 d e2 @}
1419 \context GrandStaff <
1421 \context Staff = sb @{ cis4 d e2 @}
1422 \context Staff = sc @{ es2 c @}
1424 \context Staff = sd @{ es2 c @}
1428 @lilypond[singleline]
1430 \notes \relative c'' <
1431 \context Staff = sa { cis4 d e2 }
1432 \context GrandStaff <
1434 \context Staff = sb { cis4 d e2 }
1435 \context Staff = sc { es2 c }
1437 \context Staff = sd { es2 c }
1442 minimumVerticalExtent = #'(-4.0 . 4.0)
1450 @item \defaultAccidentals
1451 @cindex @code{\defaultAccidentals}
1452 This is the default typesetting behaviour. It should correspond
1453 to 18th century common practice: Accidentals are
1454 remembered to the end of the measure in which they occur and
1455 only on their own octave.
1457 @item \voiceAccidentals
1458 @cindex @code{\voiceAccidentals}
1459 The normal behaviour is to remember the accidentals on
1461 This macro, however, typesets accidentals individually for each
1463 Apart from that the rule is similar to
1464 @code{\defaultAccidentals}.
1466 Warning: This leads to some weird and often unwanted results
1467 because accidentals from one voice DO NOT get cancelled in other
1469 @lilypond[singleline,relative,fragment,verbatim]
1472 \context Voice=va { \voiceOne es g }
1473 \context Voice=vb { \voiceTwo c, e }
1476 Hence you should only use @code{\voiceAccidentals}
1477 if the voices are to be read solely by
1478 individual musicians. if the staff should be readable also
1479 by one musician/conductor then you should use
1480 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1483 @item \modernAccidentals
1484 @cindex @code{\modernAccidentals}
1485 This rule should correspond to the common practice in the 20th
1487 The rule is a bit more complex than @code{\defaultAccidentals}:
1488 You get all the same accidentals, but temporary
1489 accidentals also get cancelled in other octaves. Further more,
1490 in the same octave, they also get cancelled in the following measure:
1491 @lilypond[singleline,fragment,verbatim]
1493 cis' c'' cis'2 | c'' c'
1496 @item \modernCautionaries
1497 @cindex @code{\modernCautionaries}
1498 This rule is similar to @code{\modernAccidentals}, but the
1499 ``extra'' accidentals (the ones not typeset by
1500 @code{\defaultAccidentals}) are typeset as cautionary accidentals
1501 (i.e. in reduced size):
1502 @lilypond[singleline,fragment,verbatim]
1504 cis' c'' cis'2 | c'' c'
1507 @item \modernVoiceAccidentals
1508 @cindex @code{\modernVoiceAccidentals}
1509 Multivoice accidentals to be read both by musicians playing one voice
1510 and musicians playing all voices.
1512 Accidentals are typeset for each voice, but they ARE cancelled
1513 across voices in the same @internalsref{Staff}.
1515 @item \modernVoiceCautionaries
1516 @cindex @code{\modernVoiceCautionaries}
1517 The same as @code{\modernVoiceAccidentals}, but with the
1518 extra accidentals (the ones not typeset by
1519 @code{\voiceAccidentals}) typeset as cautionaries.
1520 Notice that even though all accidentals typeset by
1521 @code{\defaultAccidentals} ARE typeset by this macro then some
1522 of them are typeset as cautionaries.
1524 @item \pianoAccidentals
1525 @cindex @code{\pianoAccidentals}
1526 20th century practice for piano notation. Very similar to
1527 @code{\modernAccidentals} but accidentals also get cancelled
1528 across the staves in the same @internalsref{GrandStaff} or
1529 @internalsref{PianoStaff}.
1531 @item \pianoCautionaries
1532 @cindex @code{\pianoCautionaries}
1533 As @code{\pianoAccidentals} but with the extra accidentals
1534 typeset as cationaries.
1537 @cindex @code{\noResetKey}
1538 Same as @code{\defaultAccidentals} but with accidentals lasting
1539 ``forever'' and not only until the next measure:
1540 @lilypond[singleline,fragment,verbatim,relative]
1545 @item \forgetAccidentals
1546 @cindex @code{\forgetAccidentals}
1547 This is sort of the opposite of @code{\noResetKey}: Accidentals
1548 are not remembered at all - and hence all accidentals are
1549 typeset relative to the key signature, regardless of what was
1550 before in the music:
1551 @lilypond[singleline,fragment,verbatim,relative]
1553 \key d\major c4 c cis cis d d dis dis
1557 @node Defining your own accidental typesettings
1558 @subsection Defining your own accidental typesettings
1560 This section must be considered gurus-only, and hence it must be
1561 sufficient with a short description of the system and a reference to
1562 the internal documentation.
1564 The idea of the algorithm is to try several different rules and then
1565 use the rule that gives the highest number of accidentals.
1566 Each rule cosists of
1569 In which context is the rule applied. I.e. if context is
1570 @internalsref{Score} then all staves share accidentals, and if
1571 context is @internalsref{Staff} then all voices in the same
1572 staff share accidentals, but staves don't - like normally.
1574 Whether the accidental changes all octaves or only the current
1577 Over how many barlines the accidental lasts.
1578 If lazyness is @code{-1} then the accidental is forget
1579 immidiately, and if lazyness is @code{#t} then the accidental
1583 As described in the internal documentation of
1584 @reng{Accidental_engraver}, the properties @code{autoAccidentals} and
1585 @code{autoCautionaries} contain lists of rule descriptions. Notice
1586 that the contexts must be listed from in to out - that is
1587 @internalsref{Thread} before @internalsref{Voice},
1588 @internalsref{Voice} before @internalsref{Staff}, etc.
1589 see the macros in @file{ly/property-init.ly} for examples of how the
1594 Currently the simultaneous notes are considered to be entered in
1595 sequential mode. This means that in a chord the accidentals are
1596 typeset as if the notes in the chord happened one at a time - in the
1597 order in which they appear in the input file.
1599 Of course this is only a problem when you have simultainous notes
1600 which accidentals should depend on each other.
1601 Notice that the problem only occurs when using non-default accidentals
1602 - as the default accidentals only depend on other accidentals on the
1603 same staff and same pitch and hence cannot depend on other
1606 This example shows two examples of the same music giving different
1607 accidentals depending on the order in which the notes occur in the
1610 @lilypond[singleline,fragment,verbatim]
1611 \property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1612 cis'4 <c'' c'> r2 | cis'4 <c' c''> r2 | <cis' c''> r | <c'' cis'> r |
1615 The only solution is to manually insert the problematic
1616 accidentals using @code{!} and @code{?}.
1618 @node Expressive marks
1619 @section Expressive marks
1634 A slur indicates that notes are to be played bound or @emph{legato}.
1635 They are entered using parentheses:
1636 @lilypond[fragment,verbatim,center]
1637 f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
1640 See also @seeinternals{Slur}.
1642 Slurs avoid crossing stems, and are generally attached to note heads.
1643 However, in some situations with beams, slurs may be attached to stem
1644 ends. If you want to override this layout you can do this through the
1645 object property @code{attachment} of @internalsref{Slur} in
1646 @internalsref{Voice} context It's value is a pair of symbols, specifying
1647 the attachment type of the left and right end points.
1649 @lilypond[fragment,relative,verbatim]
1651 \property Voice.Stem \set #'length = #5.5
1653 \property Voice.Slur \set #'attachment = #'(stem . stem)
1657 If a slur would strike through a stem or beam, the slur will be moved
1658 away upward or downward. If this happens, attaching the slur to the
1659 stems might look better:
1661 @lilypond[fragment,relative,verbatim]
1664 \property Voice.Slur \set #'attachment = #'(stem . stem)
1669 Similarly, the curvature of a slur is adjusted to stay clear of note
1670 heads and stems. When that would increase the curvature too much, the
1671 slur is reverted to its default shape. The threshold for this
1672 decision is in @internalsref{Slur}'s object property @code{beautiful}.
1673 It is loosely related to the enclosed area between the slur and the
1674 notes. Usually, the default setting works well, but in some cases you
1675 may prefer a curved slur when LilyPond decides for a vertically moved
1676 one. You can indicate this preference by increasing the
1677 @code{beautiful} value:
1679 @lilyp ond[verbatim,singleline,relative]
1681 c16( a' f' a a f a, )c,
1682 c( a' f' a a f d, )c
1683 \property Voice.Slur \override #'beautiful = #5.0
1684 c( a' f' a a f d, )c
1690 Producing nice slurs is a difficult problem, and LilyPond currently
1691 uses a simple, empiric method to produce slurs. In some cases, the
1692 results of this method are ugly.
1695 This is reflected by the
1696 @code{beautiful} property, which it is an arbitrary parameter in the
1697 slur formatter. Useful values can only be determined by trial and
1701 @cindex Adjusting slurs
1703 @node Phrasing slurs
1704 @subsection Phrasing slurs
1706 @cindex phrasing slurs
1707 @cindex phrasing marks
1709 A phrasing slur (or phrasing mark) connects chords and is used to
1710 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1713 @lilypond[fragment,verbatim,center,relative]
1714 \time 6/4 c' \( d () e f () e \) d
1717 Typographically, the phrasing slur behaves almost exactly like a normal
1718 slur. See also @seeinternals{PhrasingSlur}. But although they behave
1719 similarily to normal slurs, phrasing slurs count as different objects.
1720 A @code{\slurUp} will have no effect on a phrasing slur; instead, you
1721 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1722 @code{\phrasingSlurBoth}.
1724 Note that the commands
1725 @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth} will only affect
1726 normal slurs and not phrasing slurs.
1729 @subsection Breath marks
1731 Breath marks are entered using @code{\breathe}. See also
1732 @seeinternals{BreathingSign}.
1734 @lilypond[fragment,relative]
1743 @cindex beats per minute
1744 @cindex metronome marking
1746 Metronome settings can be entered as follows:
1748 @cindex @code{\tempo}
1750 \tempo @var{duration} = @var{perminute}
1753 For example, @code{\tempo 4 = 76} requests output with 76 quarter notes
1758 The tempo setting is not printed, but is only used in the MIDI
1759 output. You can trick lily into producing a metronome mark,
1760 though. Details are in @ref{Text markup}.
1765 @subsection Text spanners
1766 @cindex Text spanners
1768 Some textual indications, e.g. rallentando or accelerando, often extend
1769 over many measures. This is indicated by following the text with a
1770 dotted line. You can create such texts using text spanners. The syntax
1773 \spanrequest \start "text"
1774 \spanrequest \stop "text"
1776 LilyPond will respond by creating a @internalsref{TextSpanner} object (typically
1777 in @internalsref{Voice} context). The string to be printed, as well as the
1778 style is set through object properties.
1780 An application---or rather, a hack---is to fake octavation indications.
1781 @lilypond[fragment,relative,verbatim]
1782 \relative c' { a''' b c a
1783 \property Voice.TextSpanner \set #'type = #'dotted-line
1784 \property Voice.TextSpanner \set #'edge-height = #'(0 . 1.5)
1785 \property Voice.TextSpanner \set #'edge-text = #'("8va " . "")
1786 \property Staff.centralCPosition = #-13
1787 a\spanrequest \start "text" b c a \spanrequest \stop "text" }
1805 @subsection Articulations
1806 @cindex Articulations
1808 @cindex articulations
1812 A variety of symbols can appear above and below notes to indicate
1813 different characteristics of the performance. They are added to a note
1814 by adding a dash and the the character signifying the
1815 articulation. They are demonstrated here.
1816 @lilypond[singleline]
1818 \notes \context Voice {
1819 \property Voice.TextScript \set #'font-family = #'typewriter
1820 \property Voice.TextScript \set #'font-shape = #'upright
1826 c''4-^_"c-\\^{ }" s4
1832 The script is automatically placed, but if you need to force
1833 directions, you can use @code{_} to force them down, or @code{^} to
1835 @lilypond[fragment, verbatim]
1840 Other symbols can be added using the syntax
1841 @var{note}@code{-\}@var{name}. Again, they can be forced up or down
1842 using @code{^} and @code{_}.
1846 @cindex staccatissimo
1855 @cindex organ pedal marks
1864 @cindex prallmordent
1868 @cindex thumb marking
1875 \property Score.LyricText \override #'font-family =#'typewriter
1876 \property Score.LyricText \override #'font-shape = #'upright
1877 \context Staff \notes {
1878 c''-\accent c''-\marcato c''-\staccatissimo c''^\fermata
1879 c''-\stopped c''-\staccato c''-\tenuto c''-\portato
1881 c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
1882 c''-\rtoe c''-\turn c''-\open c''-\flageolet
1883 c''-\reverseturn c''-\trill c''-\prall c''-\mordent
1884 c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
1885 c''-\upmordent c''-\downmordent c''-\pralldown c''-\prallup
1886 c''-\lineprall c''-\thumb c''-\segno c''-\coda
1888 \context Lyrics \lyrics {
1889 accent__ marcato__ staccatissimo__ fermata
1890 stopped__ staccato__ tenuto__ portato
1892 downbow__ lheel__ rheel__ ltoe
1893 rtoe__ turn__ open__ flageolet
1894 reverseturn__ trill__ prall__ mordent
1895 prallprall__ prallmordent__ uprall__ downprall
1896 upmordent__ downmordent__ pralldown__ prallup__
1897 lineprall__ thumb__ segno__ coda
1910 Fingering instructions can also be entered in this shorthand. For
1911 finger changes, use markup texts:
1913 @lilypond[verbatim, singleline, fragment]
1914 c'4-1 c'4-2 c'4-3 c'4-4
1919 @cindex @code{\script}
1924 See also @seeinternals{Script} and @seeinternals{Fingering}.
1928 All of these note ornaments appear in the printed output but have no
1929 effect on the MIDI rendering of the music.
1931 Unfortunately, there is no support for adding fingering instructions or
1932 ornaments to individual note heads. Some hacks exist, though. See
1933 @file{input/test/script-horizontal.ly}.
1938 @subsection Text scripts
1939 @cindex Text scripts
1941 In addition, it is possible to place arbitrary strings of text or markup
1942 text (see @ref{Text markup}) above or below notes by using a string:
1945 By default, these indications do not influence the note spacing, but
1946 by using the command @code{\fatText}, the widths will be taken into
1949 @lilypond[fragment,singleline,verbatim] \relative c' {
1950 c4^"longtext" \fatText c4_"longlongtext" c4 }
1953 It is possible to use @TeX{} commands in the strings, but this should be
1954 avoided because it makes it impossible for LilyPond to compute the
1955 exact length of the string, which may lead to collisions. Also, @TeX{}
1956 commands won't work with direct PostScript output.
1957 @c (see @ref{PostScript output}).
1959 Text scripts are created in form of @internalsref{TextScript} objects, in
1960 @internalsref{Voice} context.
1962 @ref{Text markup} describes how to change the font or access
1963 special symbols in text scripts.
1968 @subsection Grace notes
1972 @cindex @code{\grace}
1976 Grace notes are ornaments that are written out
1977 @lilypond[relative=2,verbatim,ifragment] c4 \grace c16 c4 \grace {
1981 In normal notation, grace notes are supposed to take up no logical
1982 time in a measure. Such an idea is practical for normal notation, but
1983 is not strict enough to put it into a program. The model that LilyPond
1984 uses for grace notes internally is that all timing is done in two
1987 Every point in musical time consists of two rational numbers: one
1988 denotes the logical time, one denotes the grace timing. The above
1989 example is shown here with timing tuples.
1992 \score { \notes \relative c''{
1993 c4^"(0,0)" \grace c16_" "_"(1/4,-1/16)" c4^"(1/4,0)" \grace {
1994 [c16_"(2/4,-1/8)" d16^"(2/4,-1/16)" ] } c4_" "_"(2/4,0)"
1996 \paper { linewidth = 8.\cm }
2000 The advantage of this approach is that you can use almost any lilypond
2001 construction together with grace notes, for example slurs and clef
2002 changes may appear halfway in between grace notes:
2004 @lilypond[relative=2,verbatim,fragment]
2005 c4 \grace { [ c16 c, \clef bass c, b(] } )c4
2008 The placement of these grace notes is synchronized between different
2009 staves, using this grace timing.
2011 @lilypond[relative=2,verbatim,fragment]
2012 < \context Staff = SA { e4 \grace { c16 d e f } e4 }
2013 \context Staff = SB { c4 \grace { g8 b } c4 } >
2017 Unbeamed eighth notes and shorter by default have a slash through the
2018 stem. This can be controlled with object property @code{stroke-style} of
2019 @internalsref{Stem}. The change in formatting is accomplished by
2020 inserting @code{\startGraceMusic} before handling the grace notes, and
2021 @code{\stopGraceMusic} after finishing the grace notes. You can add to
2022 these definitions to globally change grace note formatting. The
2023 standard definitions are in @file{ly/grace-init.ly}.
2025 Notice how the @code{\override} is carefully matched with a @code{\revert}.
2030 @lilypond[fragment,verbatim]
2031 \relative c'' \context Voice {
2032 \grace c8 c4 \grace { [c16 c16] } c4
2034 \property Voice.Stem \override #'stroke-style = #'()
2036 \property Voice.Stem \revert #'stroke-style
2043 If you want to end a note with a grace note, then the standard trick
2044 is to put the grace notes before a phantom ``space note'', e.g.
2045 @lilypond[fragment,verbatim, relative=2]
2048 { s2 \grace { [c16 d] } } >
2053 A @code{\grace} section has some default values, and LilyPond will
2054 use those default values unless you specify otherwise inside the
2055 @code{\grace} section. For example, if you specify \slurUp
2056 @emph{before} your @code{\grace} section, a slur which starts inside
2057 the @code{\grace} won't be forced up, even if the slur ends outside
2058 of the @code{\grace}. Note the difference between the first and
2059 second bars in this example:
2061 @lilypond[fragment,verbatim]
2062 \relative c'' \context Voice {
2081 Grace notes can not be used in the smallest size (@file{paper11.ly}).
2083 Grace note synchronization can also lead to surprises. Staff notation,
2084 such as key signatures, barlines, etc. are also synchronized. Take
2085 care when you mix staves with grace notes and staves without.
2087 @lilypond[relative=2,verbatim,fragment]
2088 < \context Staff = SA { e4 \bar "|:" \grace c16 d4 }
2089 \context Staff = SB { c4 \bar "|:" d4 } >
2092 Grace sections should only be used within sequential music
2093 expressions. Nesting, juxtaposing, or ending sequential music with a
2094 grace section is not supported, and might produce crashes or other
2099 @subsection Glissando
2102 @cindex @code{\glissando}
2104 A glissando line can be requested by attaching a @code{\glissando} to
2107 @lilypond[fragment,relative,verbatim]
2113 Printing of an additional text (such as @emph{gliss.}) must be done
2114 manually. See also @seeinternals{Glissando}.
2120 @subsection Dynamics
2133 @cindex @code{\ffff}
2143 Absolute dynamic marks are specified using an identifier after a
2144 note: @code{c4-\ff}. The available dynamic marks are: @code{\ppp},
2145 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2146 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2147 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
2149 @lilypond[verbatim,singleline,fragment,relative]
2150 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2156 @cindex @code{\decr}
2157 @cindex @code{\rced}
2163 A crescendo mark is started with @code{\cr} and terminated with
2164 @code{\rc} (the textual reverse of @code{cr}). A decrescendo mark is
2165 started with @code{\decr} and terminated with @code{\rced}. There are
2166 also shorthands for these marks. A crescendo can be started with
2167 @code{\<} and a decrescendo can be started with @code{\>}. Either one
2168 can be terminated with @code{\!}. Note that @code{\!} must go before
2169 the last note of the dynamic mark whereas @code{\rc} and @code{\rced} go
2170 after the last note. Because these marks are bound to notes, if you
2171 want several marks during one note, you have to use spacer notes.
2173 @lilypond[fragment,verbatim,center]
2174 c'' \< \! c'' d'' \decr e'' \rced
2175 < f''1 { s4 s4 \< \! s4 \> \! s4 } >
2178 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2179 is an example how to do it:
2181 @lilypond[fragment,relative=2,verbatim]
2182 c4 \cresc c4 \endcresc c4
2189 You can also supply your own texts:
2190 @lilypond[fragment,relative,verbatim]
2192 \property Voice.crescendoText = "cresc. poco"
2193 \property Voice.crescendoSpanner = #'dashed-line
2200 Dynamics are objects of @internalsref{DynamicText} and
2201 @internalsref{Hairpin}. Vertical positioning of these symbols is
2202 handled by the @internalsref{DynamicLineSpanner} object. If you want to
2203 adjust padding or vertical direction of the dynamics, you must set
2204 properties for the @internalsref{DynamicLineSpanner} object. Predefined
2205 identifiers to set the vertical direction are \dynamicUp and
2208 @cindex direction, of dynamics
2209 @cindex @code{\dynamicDown}
2210 @cindex @code{\dynamicUp}
2218 @cindex @code{\repeat}
2220 To specify repeats, use the @code{\repeat} keyword. Since repeats
2221 should work differently when played or printed, there are a few
2222 different variants of repeats.
2226 Repeated music is fully written (played) out. Useful for MIDI
2227 output, and entering repetitive music.
2230 This is the normal notation: Repeats are not written out, but
2231 alternative endings (voltas) are printed, left to right.
2234 Alternative endings are written stacked. This has limited use but may be
2235 used to typeset two lines of lyrics in songs with repeats, see
2236 @file{input/star-spangled-banner.ly}.
2242 Make beat or measure repeats. These look like percent signs.
2248 * Repeats and MIDI::
2249 * Manual repeat commands::
2251 * Tremolo subdivisions::
2256 @subsection Repeat syntax
2258 The syntax for repeats is
2261 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2264 If you have alternative endings, you may add
2265 @cindex @code{\alternative}
2267 \alternative @code{@{} @var{alternative1}
2269 @var{alternative3} @dots{} @code{@}}
2271 where each @var{alternative} is a music expression.
2273 Normal notation repeats are used like this:
2274 @lilypond[fragment,verbatim]
2276 \repeat volta 2 { c'4 d' e' f' }
2277 \repeat volta 2 { f' e' d' c' }
2280 With alternative endings:
2281 @lilypond[fragment,verbatim]
2283 \repeat volta 2 {c'4 d' e' f'}
2284 \alternative { {d'2 d'} {f' f} }
2287 Folded repeats look like this:
2290 @lilypond[fragment,verbatim]
2292 \repeat fold 2 {c'4 d' e' f'}
2293 \alternative { {d'2 d'} {f' f} }
2297 If you don't give enough alternatives for all of the repeats, then
2298 the first alternative is assumed to be repeated often enough to equal
2299 the specified number of repeats.
2301 @lilypond[fragment,verbatim]
2305 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2306 \alternative { { g4 g g } { a | a a a a | b2. } }
2311 @node Repeats and MIDI
2312 @subsection Repeats and MIDI
2314 @cindex expanding repeats
2316 For instructions on how to unfoldi repeats for MIDI output, see
2317 the example file @file{input/test/unfold-all-repeats.ly}.
2322 Notice that timing information is not remembered at the start of an
2323 alternative, so you have to reset timing information after a repeat,
2324 e.g. using a bar-check (See @ref{Bar check}), setting
2325 @code{Score.measurePosition} or entering @code{\partial}. Slurs or ties
2326 are also not repeated.
2328 It is possible to nest @code{\repeat}s, although this probably is only
2329 meaningful for unfolded repeats.
2331 Folded repeats offer little more over simultaneous music.
2333 @node Manual repeat commands
2334 @subsection Manual repeat commands
2336 @cindex @code{repeatCommands}
2338 The property @code{repeatCommands} can be used to control the layout of
2339 repeats. Its value is a Scheme list of repeat commands, where each repeat
2347 @item (volta . @var{text})
2348 Print a volta bracket saying @var{text}.
2350 Stop a running volta bracket
2353 @lilypond[verbatim, fragment]
2355 \property Score.repeatCommands = #'((volta "93") end-repeat)
2357 \property Score.repeatCommands = #'((volta #f))
2362 Repeats brackets are @internalsref{VoltaBracket} objects.
2364 @node Tremolo repeats
2365 @subsection Tremolo repeats
2366 @cindex tremolo beams
2368 To place tremolo marks between notes, use @code{\repeat} with tremolo
2370 @lilypond[verbatim,center,singleline]
2372 \context Voice \notes\relative c' {
2373 \repeat "tremolo" 8 { c16 d16 }
2374 \repeat "tremolo" 4 { c16 d16 }
2375 \repeat "tremolo" 2 { c16 d16 }
2376 \repeat "tremolo" 4 c16
2381 Tremolo beams are @internalsref{Beam} objects. Single stem tremolos are
2382 @internalsref{StemTremolo}. The single stem tremolo @emph{must} be
2383 entered without @code{@{} and @code{@}}.
2387 Only powers of two and undotted notes are supported repeat counts.
2389 @node Tremolo subdivisions
2390 @subsection Tremolo subdivisions
2391 @cindex tremolo marks
2392 @cindex @code{tremoloFlags}
2394 Tremolo marks can be printed on a single note by adding
2395 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2396 A @var{length} value of 8 gives one line across the note stem. If the
2397 length is omitted, then then the last value (stored in
2398 @code{Voice.tremoloFlags}) is used.
2400 @lilypond[verbatim,fragment,center]
2401 c'2:8 c':32 | c': c': |
2407 Tremolos in this style do not carry over into the MIDI output.
2410 @node Measure repeats
2411 @subsection Measure repeats
2413 @cindex percent repeats
2414 @cindex measure repeats
2416 In the @code{percent} style, a note pattern can be repeated. It is
2417 printed once, and then the pattern is replaced with a special sign.
2418 Patterns of a one and two measures are replaced by percent-like signs,
2419 patterns that divide the measure length are replaced by slashes.
2421 @lilypond[verbatim,singleline]
2422 \context Voice { \repeat "percent" 4 { c'4 }
2423 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2427 The signs are represented by these objects: @internalsref{RepeatSlash} and
2428 @internalsref{PercentRepeat} and @internalsref{DoublePercentRepeat}.
2432 You can not nest percent repeats, e.g. by filling in the first measure
2433 with slashes, and repeating that measure with percents.
2435 @node Rhythmic music
2436 @section Rhythmic music
2438 Sometimes you might want to show only the rhythm of a melody. This can
2439 be done with the rhythmic staff. All pitches of notes on such a staff
2440 are squashed, and the staff itself looks has a single staff line:
2442 @lilypond[fragment,relative,verbatim]
2443 \context RhythmicStaff {
2445 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2450 * Percussion staves::
2453 @node Percussion staves
2454 @subsection Percussion staves
2457 To typeset more than one piece of percussion to be played by the same
2458 musician one typically uses a multiline staff where each staff
2459 position refers to a specific piece of percussion.
2461 LilyPond is shipped with a bunch of scheme functions which allows you
2462 to do this fairly easily.
2464 The system is based on the general midi drum-pitches.
2465 In order to use the drum pitches you include
2466 @file{ly/drumpitch-init.ly}. This file defines the pitches from the scheme
2467 variable @code{drum-pitch-names} - which definition can be read in
2468 @file{scm/drums.scm}. You see that each piece of percussion has a full
2469 name and an abbreviated name - and you may freely select whether to
2470 refer to the full name or the abbreviation in your music definition.
2472 To typeset the music on a staff you apply the scheme function
2473 @code{drums->paper} to the percussion music. This function takes a
2474 list of percussion instrument names, notehead scripts and staff
2475 positions (that is: pitches relative to the C-clef) and uses this to
2476 transform the input music by moving the pitch, changing the notehead
2477 and (optionally) adding a script:
2478 @lilypond[singleline,verbatim]
2479 \include "drumpitch-init.ly"
2480 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2481 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2483 \apply #(drums->paper 'drums) \context Staff <
2485 \context Voice = up { \voiceOne \up }
2486 \context Voice = down { \voiceTwo \down }
2491 In the above example the music was transformed using the list @code{'drums}.
2492 Currently the following lists are defined in @file{scm/drums.scm}:
2495 To typeset a typical drum kit on a five-line staff.
2498 \include "drumpitch-init.ly"
2499 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2500 bd sn ss tomh tommh tomml toml tomfh tomfl }
2501 mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc
2502 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2505 \apply #(drums->paper 'drums) \context Staff <
2509 \context Lyrics \nam
2512 linewidth = 100.0\mm
2515 \remove Bar_engraver
2516 \remove Time_signature_engraver
2517 minimumVerticalExtent = #'(-4.0 . 5.0)
2521 \remove Stem_engraver
2527 Notice that the scheme supports six different toms.
2528 If you are using fewer toms then you simply select the toms that produce
2529 the desired result - i.e. to get toms on the three middle lines you
2530 use @code{tommh}, @code{tomml} and @code{tomfh}.
2532 Because the general midi contain no rimshots we use the sidestick for
2533 this purpose instead.
2535 To typeset timbales on a two line staff.
2536 @lilypond[singleline]
2537 \include "drumpitch-init.ly"
2538 nam = \lyrics { timh ssh timl ssl cb }
2539 mus = \notes { timh ssh timl ssl cb s16 }
2542 \apply #(drums->paper 'timbales) \context Staff <
2546 \context Lyrics \nam
2551 \remove Bar_engraver
2552 \remove Time_signature_engraver
2553 StaffSymbol \override #'line-count = #2
2554 StaffSymbol \override #'staff-space = #2
2555 minimumVerticalExtent = #'(-3.0 . 4.0)
2559 \remove Stem_engraver
2566 To typeset congas on a two line staff.
2567 @lilypond[singleline]
2568 \include "drumpitch-init.ly"
2569 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2570 mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2573 \apply #(drums->paper 'congas) \context Staff <
2577 \context Lyrics \nam
2582 \remove Bar_engraver
2583 \remove Time_signature_engraver
2584 StaffSymbol \override #'line-count = #2
2585 StaffSymbol \override #'staff-space = #2
2586 minimumVerticalExtent = #'(-3.0 . 4.0)
2590 \remove Stem_engraver
2596 To typeset bongos on a two line staff.
2597 @lilypond[singleline]
2598 \include "drumpitch-init.ly"
2599 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2600 mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 }
2603 \apply #(drums->paper 'bongos) \context Staff <
2607 \context Lyrics \nam
2612 \remove Bar_engraver
2613 \remove Time_signature_engraver
2614 StaffSymbol \override #'line-count = #2
2615 StaffSymbol \override #'staff-space = #2
2616 minimumVerticalExtent = #'(-3.0 . 4.0)
2620 \remove Stem_engraver
2626 To typeset all kinds of simple percussion on one line staves.
2627 @lilypond[singleline]
2628 \include "drumpitch-init.ly"
2629 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2630 mus = \notes { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2633 \apply #(drums->paper 'percussion) \context Staff <
2637 \context Lyrics \nam
2642 \remove Bar_engraver
2643 \remove Time_signature_engraver
2644 StaffSymbol \override #'line-count = #1
2645 minimumVerticalExtent = #'(-2.0 . 3.0)
2649 \remove Stem_engraver
2656 If you don't like any of the predefined lists you can define your own
2657 list at the top of your file:
2659 @lilypond[singleline, verbatim]
2661 (bassdrum default #f ,(make-pitch -1 2 0))
2662 (snare default #f ,(make-pitch 0 1 0))
2663 (hihat cross #f ,(make-pitch 0 5 0))
2664 (pedalhihat xcircle "stopped" ,(make-pitch 0 5 0))
2665 (lowtom diamond #f ,(make-pitch -1 6 0))
2667 \include "drumpitch-init.ly"
2668 up = \notes { hh8 hh hh hh hhp4 hhp }
2669 down = \notes { bd4 sn bd toml8 toml }
2671 \apply #(drums->paper 'mydrums) \context Staff <
2673 \context Voice = up { \voiceOne \up }
2674 \context Voice = down { \voiceTwo \down }
2679 To use a modified existing list instead of building your own from
2680 scratch you can append your modifications to the start of the existing
2684 #(define mydrums (append `(
2685 (bassdrum default #f ,(make-pitch -1 2 0))
2686 (lowtom diamond #f ,(make-pitch -1 6 0))
2690 @c FIXME: Too many levels of headers when using subsubsections.
2691 @c Perhaps junk subsection ``Percussion staves''
2692 @subsubsection Percussion staves with normal staves
2693 When you include @file{drumpitch-init.ly} then the default pitches
2694 are overridden so that you after the inclusion cannot use the common
2695 dutch pitch names anymore. Hence you might wan't to reinclude
2696 @file{nederlands.ly} after the drum-pattern-definitions:
2697 @lilypond[singleline,verbatim]
2698 \include "drumpitch-init.ly"
2699 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2700 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2701 \include "nederlands.ly"
2702 bass = \notes \transpose c, { a4. e8 r e g e }
2705 \apply #(drums->paper 'drums) \context Staff = drums <
2707 \context Voice = up { \voiceOne \up }
2708 \context Voice = down { \voiceTwo \down }
2710 \context Staff = bass { \clef "F_8" \bass }
2715 @subsubsection Percussion midi output
2716 In order to produce correct midi output you need to produce two score
2717 blocks - one for the paper and one for the midi.
2718 To use the percussion channel you set the property @code{instrument}
2719 to @code{'drums}. Because the drum-pitches themself are similar to the
2720 general midi pitches all you have to do is to insert the voices with
2721 none of the scheme functions to get the correct midi output:
2725 \apply #(drums->paper 'mydrums) \context Staff <
2727 \context Voice = up @{ \voiceOne \up @}
2728 \context Voice = down @{ \voiceTwo \down @}
2734 \property Staff.instrument = #'drums
2743 This scheme is to be considered a temporary implementation. Even
2744 though the scheme will probably keep on working then the future might
2745 bring some other way of typesetting drums, and probably
2746 there will be made no great efforts in keeping things downwards
2751 @section Piano music
2753 Piano music is an odd type of notation. Piano staves are two normal
2754 staves coupled with a brace. The staves are largely independent, but
2755 sometimes voices can cross between the two staves. The
2756 @internalsref{PianoStaff} is especially built to handle this cross-staffing
2757 behavior. In this section we discuss the @internalsref{PianoStaff} and some
2758 other pianistic peculiarities.
2761 * Automatic staff changes::
2762 * Manual staff switches::
2765 * Voice follower lines::
2769 @c . {Automatic staff changes}
2770 @node Automatic staff changes
2771 @subsection Automatic staff changes
2772 @cindex Automatic staff changes
2774 Voices can switch automatically between the top and the bottom
2775 staff. The syntax for this is
2777 \autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
2779 The autochanger switches on basis of pitch (central C is the turning
2780 point), and it looks ahead skipping over rests to switch rests in
2781 advance. Here is a practical example:
2783 @lilypond[verbatim,singleline]
2784 \score { \notes \context PianoStaff <
2785 \context Staff = "up" {
2786 \autochange Staff \context Voice = VA < \relative c' {
2787 g4 a b c d r4 a g } > }
2788 \context Staff = "down" {
2793 Spacer rests are used to prevent the bottom staff from
2794 terminating too soon.
2797 @node Manual staff switches
2798 @subsection Manual staff switches
2800 @cindex manual staff switches
2801 @cindex staff switch, manual
2803 Voices can be switched between staves manually, using the following command:
2805 \translator Staff = @var{staffname} @var{music}
2807 The string @var{staffname} is the name of the staff. It switches the
2808 current voice from its current staff to the Staff called
2809 @var{staffname}. Typically @var{staffname} is @code{"up"} or
2817 Piano pedal instruction can be expressed using
2818 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
2819 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp}.
2821 These identifiers are shorthands for spanner commands of the types
2822 @internalsref{Sustain}, @internalsref{UnaCorda} and @internalsref{Sostenuto}:
2824 @lilypond[fragment,verbatim]
2825 c''4 \spanrequest \start "Sustain" c''4
2826 c''4 \spanrequest \stop "Sustain"
2829 The symbols that are printed can be modified by setting
2830 @code{pedal@var{X}Strings}, where @var{X} is one of the pedal types:
2831 Sustain, Sostenuto or UnaCorda. Refer to the generated documentation of
2832 @rgrob{SustainPedal}, for example, for more information.
2834 Pedals can also be indicated by a sequence of brackets, by setting the
2835 @code{pedal-type} property of SustainPedal objects:
2837 @lilypond[fragment,verbatim]
2838 \property Staff.SustainPedal \override #'pedal-type = #'bracket
2839 c''4 \sustainDown d''4 e''4 a'4
2840 \sustainUp \sustainDown
2841 f'4 g'4 a'4 \sustainUp
2844 A third style of pedal notation is a mixture of text and brackets,
2845 obtained by setting @code{pedal-type} to @code{mixed}:
2847 @lilypond[fragment,verbatim]
2848 \property Staff.SustainPedal \override #'pedal-type = #'mixed
2849 c''4 \sustainDown d''4 e''4 c'4
2850 \sustainUp \sustainDown
2851 f'4 g'4 a'4 \sustainUp
2854 The default '*Ped' style for sustain and damper pedals corresponds to
2855 @code{\pedal-type = #'text}. However, @code{mixed} is the default style
2856 for a sostenuto pedal:
2858 @lilypond[fragment,verbatim]
2859 c''4 \sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4 \sostenutoUp
2862 For fine-tuning of the appearance of a pedal bracket, the properties
2863 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
2864 @code{PianoPedalBracket} objects (see the detailed documentation of
2865 @rgrob{PianoPedalBracket}) can be modified. For example, the bracket
2866 may be extended to the end of the note head.
2868 @lilypond[fragment,verbatim]
2869 \property Staff.PianoPedalBracket \override
2870 #'shorten-pair = #'(0 . -1.0)
2871 c''4 \sostenutoDown d''4 e''4 c'4
2872 f'4 g'4 a'4 \sostenutoUp
2879 @subsection Arpeggio
2882 @cindex broken arpeggio
2883 @cindex @code{\arpeggio}
2885 You can specify an arpeggio sign on a chord by attaching an
2886 @code{\arpeggio} to a note of the chord.
2889 @lilypond[fragment,relative,verbatim]
2890 \context Voice <c\arpeggio e g c>
2893 When an arpeggio crosses staves in piano music, you attach an arpeggio
2894 to the chords in both staves, and set
2895 @code{PianoStaff.connectArpeggios}.
2897 @lilypond[fragment,relative,verbatim]
2898 \context PianoStaff <
2899 \property PianoStaff.connectArpeggios = ##t
2900 \context Voice = one { <c'\arpeggio e g c> }
2901 \context Voice = other { \clef bass <c,,\arpeggio e g>}
2905 This command creates @internalsref{Arpeggio} objects. Cross staff arpeggios
2906 are @code{PianoStaff.Arpeggio}.
2908 To add an arrow head to explicitly specify the direction of the
2909 arpeggio, you should set the arpeggio object property
2910 @code{arpeggio-direction}.
2912 @lilypond[fragment,relative,verbatim]
2914 \property Voice.Arpeggio \set #'arpeggio-direction = #1
2916 \property Voice.Arpeggio \set #'arpeggio-direction = #-1
2921 A square bracket on the left indicates that the player should not
2922 arpeggiate the chord. To draw these brackets, set the
2923 @code{molecule-callback} property of @code{Arpeggio} or
2924 @code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
2925 @code{\arpeggio} statements within the chords as before.
2927 @lilypond[fragment,relative,verbatim]
2928 \context PianoStaff <
2929 \property PianoStaff.connectArpeggios = ##t
2930 \property PianoStaff.Arpeggio \override
2931 #'molecule-callback = \arpeggioBracket
2932 \context Voice = one { <c'\arpeggio e g c> }
2933 \context Voice = other { \clef bass <c,,\arpeggio e g>}
2940 It is not possible to mix connected arpeggios and unconnected
2941 arpeggios in one PianoStaff at the same time.
2945 @node Voice follower lines
2946 @subsection Voice follower lines
2948 @cindex follow voice
2949 @cindex staff switching
2952 @cindex @code{followVoice}
2954 Whenever a voice switches to another staff a line connecting the notes
2955 can be printed automatically. This is enabled if the property
2956 @code{PianoStaff.followVoice} is set to true:
2958 @lilypond[fragment,relative,verbatim]
2959 \context PianoStaff <
2960 \property PianoStaff.followVoice = ##t
2961 \context Staff \context Voice {
2963 \translator Staff=two
2966 \context Staff=two {\clef bass \skip 1*2 }
2970 The associated object is @internalsref{VoiceFollower}.
2976 Tablature notation is used for notating music for plucked string
2977 instruments. It notates pitches not by using note heads, but by
2978 indicating on which string and fret a note must be played. LilyPond
2979 offers limited support for tablature.
2982 * Tablatures basic::
2983 * Non-guitar tablatures::
2984 * Tablature in addition to normal staff::
2987 @node Tablatures basic
2988 @subsection Tablatures basic
2989 @cindex Tablatures basic
2991 Tablature can be typeset with Lilypond by using the
2992 @internalsref{TabStaff} and @internalsref{TabVoice} contexts. As
2993 tablature is a recent feature in Lilypond, most of the guitar special
2994 effects such as bend are not yet supported.
2996 With the @internalsref{TabStaff}, the string number associated to a note
2997 is given as a backslash followed by the string number, e.g. @code{c4\3} for a C
2998 quarter on the third string. By default, string 1 is the highest one, and the
2999 tuning defaults to the standard guitar tuning (with 6 strings).
3001 @lilypond[fragment,verbatim]
3010 If you do not specify a string number then lilypond automatically selects one.
3011 The selection is controlled by the translator property @code{minimumFret}. -- LilyPond
3012 simply selects the first string that does not give a fret number less than
3013 @code{minimumFret}. Default is 0.
3015 Notice that LilyPond does not handle chords in any special way, and hence
3016 the automatic string selector may easily select the same string to two notes in a chord.
3019 e8 fis gis a b cis' dis' e'
3020 \property TabStaff.minimumFret = #8
3021 e8 fis gis a b cis' dis' e'
3023 @lilypond[noindent,noquote]
3026 e8 fis gis a b cis' dis' e'
3027 \property TabStaff.minimumFret = #8
3028 e8 fis gis a b cis' dis' e'
3031 \context StaffGroup <
3032 \context Staff { \clef "G_8" \frag }
3033 \context TabStaff { \frag }
3038 @node Non-guitar tablatures
3039 @subsection Non-guitar tablatures
3040 @cindex Non-guitar tablatures
3042 There are many ways to customize Lilypond tablatures.
3044 First you can change the number of strings, by setting the number of
3045 lines in the @internalsref{TabStaff} (the @code{line-count} property
3046 of TabStaff can only be changed using @code{\outputproperty}, for more
3047 information, see @ref{Tuning per object}. You can change the strings
3048 tuning. A string tuning is given as a Scheme list with one integer
3049 number for each string, the number being the pitch of an open string.
3051 (The numbers specified for stringTuning are the numbers of semitons
3052 to subtract --- or add --- starting the specified pitch by default
3053 middle C, in string order: thus the notes are e, a, d & g)
3055 @lilypond[fragment,verbatim]
3058 \outputproperty #(make-type-checker 'staff-symbol-interface)
3060 \property TabStaff.stringTunings = #'(-5 -10 -15 -20)
3063 a,4 c' a e' e c' a e'
3069 Finally, it is possible to change the Scheme function to format the
3070 tablature note text. The default is @var{fret-number-tablature-format},
3071 which uses the fret number, but for some instruments that may not use
3072 this notation, just create your own tablature-format function. This
3073 function takes three argument: the string number, the string tuning and
3077 @node Tablature in addition to normal staff
3078 @subsection Tablature in addition to normal staff
3079 @cindex Tablature in addition to normal staff
3081 It is possible to typeset both tablature and a "normal" staff, as
3082 commonly done in many parts.
3084 A common trick for that is to put the notes in a variables, and to hide
3085 the fingering information (which correspond to the string number) for
3089 @c @lily pond[verbatim]
3096 \context StaffGroup <
3098 % Hide fingering number
3099 \property Staff.Fingering \override #'transparent = ##t
3104 \property Staff.Stem \override #'direction = #1
3118 LilyPond has support for both entering and printing chords.
3119 @lilypond[verbatim,singleline]
3120 twoWays = \notes \transpose c'' {
3130 < \context ChordNames \twoWays
3131 \context Voice \twoWays > }
3134 This example also shows that the chord printing routines do not try to
3135 be intelligent. If you enter @code{f bes d}, it does not interpret
3136 this as an inversion.
3138 As you can see chords really are a set of pitches. They are internally
3139 stored as simultaneous music expressions. This means you can enter
3140 chords by name and print them as notes, enter them as notes and print
3141 them as chord names, or (the most common case) enter them by name, and
3146 * Printing named chords::
3151 @subsection Chords mode
3154 Chord mode is a mode where you can input sets of pitches using common
3155 names. It is introduced by the keyword @code{\chords}. It is similar
3156 to note mode, but words are also looked up in a chord modifier table
3157 (containing @code{maj}, @code{dim}, etc). Dashes and carets are used
3158 to indicate chord additions and subtractions, so articulation scripts
3159 can not be entered in Chord mode.
3161 Throughout these examples, chords have been shifted around the staff
3162 using @code{\transpose}.
3164 @lilypond[fragment,verbatim]
3168 c:9 c:9-.5+.7+ c:3-.5-
3178 The second type of modifier that may appear after the @code{:} is a
3179 named modifier. Named modifiers are listed in the file
3180 @file{chord-modifiers.ly}. The available modifiers are @code{m} and
3181 @code{min} which lower the 3rd half a step, `@code{aug}' which
3182 raises the 5th, `@code{dim}' which lowers the 5th,
3183 `@code{maj}' which adds a raised 7th, and `@code{sus}'
3184 which replaces the 5th with a 4th.
3186 @lilypond[fragment,verbatim]
3189 c1:m c:min7 c:maj c:aug c:dim c:sus
3195 Chord subtractions are used to eliminate notes from a chord. The
3196 notes to be subtracted are listed after a @code{^} character,
3199 @lilypond[fragment,verbatim,center]
3208 Chord inversions can be specified by appending `@code{/}' and the name
3209 of a single note to a chord. In a chord inversion, the inverted note is
3210 transposed down until it is the lowest note in the chord. If the note
3211 is not in the chord, a warning will be printed.
3213 @lilypond[fragment,verbatim,center]
3223 Bass notes can be added by `@code{/+}' and
3224 the name of a single note to a chord. This has the effect of
3225 adding the specified note to the chord, lowered by an octave,
3226 so it becomes the lowest note in the chord.
3228 @lilypond[fragment,verbatim,center]
3237 The formal syntax for named chords is as follows:
3239 @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
3242 @var{tonic} should be the tonic note of the chord, and @var{duration} is
3243 the chord duration in the usual notation. There are two kinds of
3244 modifiers. One type is formed by @emph{chord additions}. Additions are
3245 obtained by listing intervals separated by dots. An interval is written
3246 by its number with an optional @code{+} or @code{-} to indicate raising
3247 or lowering by half a step. Chord additions have two effects: they adds
3248 the specified interval and all lower odd numbered intervals to the
3249 chord, and they may lower or raise the specified interval.
3254 Implementation details are gory. For example @code{c:4} not only adds
3255 a fourth, but also removes the third.
3258 @c . {Printing named chords}
3259 @node Printing named chords
3260 @subsection Printing named chords
3262 @cindex printing chord names
3266 For displaying printed chord names, use the @internalsref{ChordNames} context.
3267 The chords may be entered either using the notation described above, or
3268 directly using simultaneous music.
3270 @lilypond[verbatim,singleline]
3272 \chords {a1 b c} <d f g> <e g b>
3276 \context ChordNames \scheme
3277 \context Staff \transpose c'' \scheme
3282 You can make the chord changes stand out by setting
3283 @code{ChordNames.chordChanges} to true. This will only display chord
3284 names when there's a change in the chords scheme and at the start of a
3289 c1:m c:m \break c:m c:m d
3293 \context ChordNames {
3294 \property ChordNames.chordChanges = ##t
3296 \context Staff \transpose c'' \scheme
3298 \paper{linewidth= 9.\cm}
3302 LilyPond examines chords specified as lists of notes to determine a name
3303 to give the chord. LilyPond will not try to identify chord inversions or
3304 an added bass note, which may result in strange chord names when chords
3305 are entered as a list of pitches:
3307 @lilypond[verbatim,center,singleline]
3316 \context ChordNames \scheme
3317 \context Staff \scheme
3323 By default, a chord name system proposed by Harald Banter (See
3324 @ref{Literature}) is used. The system is very regular and predictable.
3325 Typical American style chord names may be selected by setting the
3326 @code{style} property of the @code{ChordNames.ChordName} object to
3327 @code{'american}. Similarly @code{'jazz} selects Jazz chordnames.
3329 Routines that determine the names to be printed are written in Scheme,
3330 and may be customized by the user. The code can be found in
3331 @file{scm/chord-name.scm}. Here's an example showing the differences in
3335 @c maybe just junk verbatim option?
3336 @lilypond[verbatim,singleline,noquote]
3346 \context ChordNames = banter \scheme
3347 \context ChordNames = american {
3348 \property ChordNames.ChordName \override
3349 #'style = #'american \scheme }
3350 \context ChordNames = jazz {
3351 \property ChordNames.ChordName \override
3352 #'style = #'jazz \scheme }
3353 \context Staff \transpose c'' \scheme
3360 @section Writing parts
3362 Orchestral music involves some special notation, both in the full score,
3363 as in the individual parts. This section explains how to tackle common
3364 problems in orchestral music.
3371 * Instrument names::
3373 * Multi measure rests::
3374 * Automatic part combining::
3375 * Hara kiri staves::
3376 * Sound output for transposing instruments::
3379 @c . {Rehearsal marks}
3380 @node Rehearsal marks
3381 @subsection Rehearsal marks
3382 @cindex Rehearsal marks
3384 @cindex @code{\mark}
3386 To print a rehearsal mark, use the @code{\mark} command.
3387 @lilypond[fragment,verbatim]
3398 As you can see, the mark is incremented automatically if you use
3399 @code{\mark \default}. The value to use is stored in the property
3400 @code{rehearsalMark} is used and automatically incremented. The object
3401 is @internalsref{RehearsalMark} in @internalsref{Score} context. See
3402 @code{input/test/boxed-molecule.ly} if you need boxes around the
3405 The @code{\mark} command can also be used to put signs like coda,
3406 segno and fermatas on a barline. The trick is to use the text markup
3407 mechanism to access the fermata symbol.
3408 @lilypond[fragment,verbatim,relative=1]
3409 c1 \mark #'(music "scripts-ufermata")
3413 The problem is that marks that occur at a line break are typeset only
3414 at the beginning of the next line, opposite to what you want for the
3415 fermata. This can be corrected by the following property setting
3417 \property Score.RehearsalMark \override
3418 #'visibility-lambda = #begin-of-line-invisible
3424 @cindex barlines, putting symbols on
3428 @subsection Bar numbers
3432 @cindex measure numbers
3433 @cindex currentBarNumber
3435 Bar numbers are printed by default at the start of the line. The
3436 number itself is a property that can be set by modifying the
3437 @code{currentBarNumber} property, i.e.
3439 \property Score.currentBarNumber = #217
3442 To typeset Bar Numbers at regular intervals instead of at the beginning of each line,
3443 you need to change the grob property @code{break-visibility} as well as the translator
3444 property @code{barNumberVisibility}, as illustrated in the following example which also
3445 adds a box around the bar numbers:
3447 \property Score.BarNumber \override #'break-visibility =
3448 #end-of-line-invisible
3449 \property Score.barNumberVisibility = #(every-nth-bar-number-visible 5)
3450 \property Score.BarNumber \override #'molecule-callback =
3451 #(make-molecule-boxer 0.1 0.25 0.25 Text_item::brew_molecule)
3452 \property Score.BarNumber \override #'font-relative-size = #0
3454 @lilypond[noindent,noquote]
3456 \context Staff \notes \transpose c''' {
3457 \property Score.BarNumber \override #'break-visibility = #end-of-line-invisible
3458 \property Score.barNumberVisibility = #(every-nth-bar-number-visible 5)
3459 \property Score.BarNumber \override #'molecule-callback =
3460 #(make-molecule-boxer 0.1 0.25 0.25 Text_item::brew_molecule)
3461 \property Score.BarNumber \override #'font-relative-size = #0
3463 \repeat unfold 16 c1 \bar "|."
3468 See also @seeinternals{BarNumber}.
3472 Barnumbers can collide with the StaffGroup, if there is one at the
3473 top. To solve this, You have to twiddle with the
3474 @internalsref{padding} property of @internalsref{BarNumber} if your
3475 score starts with a @internalsref{StaffGroup}.
3477 @node Instrument names
3478 @subsection Instrument names
3480 In scores, the instrument name is printed before the staff. This can
3481 be done by setting @code{Staff.instrument} and
3482 @code{Staff.instr}. This will print a string before the start of the
3483 staff. For the first start, @code{instrument} is used, for the next
3484 ones @code{instr} is used.
3486 @lilypond[verbatim,singleline]
3487 \property Staff.instrument = "ploink " { c''4 }
3490 You can also use markup texts to construct more complicated instrument
3494 @lilypond[verbatim,singleline]
3496 '((font-relative-size . -2 ) (music "accidentals--1")))
3499 \property Staff.instrument = #`((kern . 0.5) (lines
3500 "2 Clarinetti" (columns " (B" ,text-flat ")")))
3508 When you put a name on a grand staff or piano staff the width of the
3509 brace is not taken into account. You must add extra spaces to the end of
3510 the name to avoid a collision.
3513 @subsection Transpose
3515 @cindex transposition of pitches
3516 @cindex @code{\transpose}
3518 A music expression can be transposed with @code{\transpose}. The syntax
3521 \transpose @var{pitch} @var{musicexpr}
3524 This means that middle C in @var{musicexpr} is transposed to
3527 @code{\transpose} distinguishes between enharmonic pitches: both
3528 @code{\transpose cis'} or @code{\transpose des'} will transpose up half
3529 a tone. The first version will print sharps and the second version
3532 @lilypond[singleline, verbatim]
3533 mus =\notes { \key d \major cis d fis g }
3534 \score { \notes \context Staff {
3542 If you want to use both @code{\transpose} and @code{\relative}, then
3543 you must use @code{\transpose} first. @code{\relative} will have no
3544 effect music that appears inside a @code{\transpose}.
3546 @c . {Multi measure rests}
3547 @node Multi measure rests
3548 @subsection Multi measure rests
3549 @cindex Multi measure rests
3553 Multi measure rests are entered using `@code{R}'. It is specifically
3554 meant for full bar rests and for entering parts: the rest can expand to
3556 rests, or it can be printed as a single multimeasure rest This expansion
3557 is controlled by the property @code{Score.skipBars}. If this is set to true,
3558 Lily will not expand empty measures, and the appropriate number is added
3561 @lilypond[fragment,verbatim]
3562 \time 3/4 r2. | R2. | R2.*2
3563 \property Score.skipBars = ##t R2.*17 R2.*4
3566 Notice that the @code{R2.} is printed as a whole rest, centered in the
3569 @cindex whole rests for a full measure
3571 The object for this object is @internalsref{MultiMeasureRest}.
3575 Currently, there is no way to automatically condense multiple rests
3576 into a single multimeasure rest. Multi measure rests do not take part
3579 @cindex condensing rests
3581 @node Automatic part combining
3582 @subsection Automatic part combining
3583 @cindex automatic part combining
3584 @cindex part combiner
3587 Automatic part combining is used to merge two parts of music onto a
3588 staff in an intelligent way. It is aimed primarily at typesetting
3589 orchestral scores. When the two parts are identical for a period of
3590 time, only one is shown. In places where the two parts differ, they
3591 are typeset as separate voices, and stem directions are set
3592 automatically. Also, solo and @emph{a due} parts can be identified
3595 The syntax for part combining is
3598 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
3600 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
3601 combined into one context of type @var{context}. The music expressions
3602 must be interpreted by contexts whose names should start with @code{one}
3605 The most useful function of the part combiner is to combine parts into
3606 one voice, as common for wind parts in orchestral scores:
3608 @lilypond[verbatim,singleline,fragment]
3610 \context Voice=one \partcombine Voice
3611 \context Thread=one \relative c'' {
3614 \context Thread=two \relative c'' {
3620 Notice that the first @code{g} appears only once, although it was
3621 specified twice (once in each part). Stem, slur and tie directions are
3622 set automatically, depending whether there is a solo or unisono. The
3623 first part (with context called @code{one}) always gets up stems, and
3624 `solo', while the second (called @code{two}) always gets down stems and
3627 If you just want the merging parts, and not the textual markings, you
3628 may set the property @var{soloADue} to false.
3630 @lilypond[verbatim,singleline,fragment]
3632 \property Staff.soloADue = ##f
3633 \context Voice=one \partcombine Voice
3634 \context Thread=one \relative c'' {
3637 \context Thread=two \relative c'' {
3643 There are a number of other properties that you can use to tweak the
3644 behavior of part combining, refer to the automatically generated
3645 documentation of @reng{Thread_devnull_engraver} and
3646 @reng{Voice_devnull_engraver}. Look at the documentation of the
3647 responsible engravers, @code{Thread_devnull_engraver},
3648 @code{Voice_devnull_engraver} and @code{A2_engraver}.
3652 In @code{soloADue} mode, when the two voices play the same notes on and
3653 off, the part combiner may typeset @code{a2} more than once in a
3656 @lilypond[fragment,singleline]
3658 \context Voice=one \partcombine Voice
3659 \context Thread=one \relative c'' {
3662 \context Thread=two \relative c'' {
3668 @cindex @code{Thread_devnull_engraver}
3669 @cindex @code{Voice_engraver}
3670 @cindex @code{A2_engraver}
3672 @node Hara kiri staves
3673 @subsection Hara kiri staves
3675 In orchestral scores, staff lines that only have rests are usually removed.
3676 This saves some space. LilyPond also supports this through the hara
3677 kiri@footnote{Hara kiri, also called Seppuku, is the ritual suicide of
3678 the Japanese Samourai warriors.} staff. This staff commits suicide when
3679 it finds itself to be empty after the line-breaking process. It will
3680 not disappear when it contains normal rests, you must use multi measure
3683 The hara kiri staff is specialized version of the @internalsref{Staff}
3684 context. It is available as the context identifier
3685 @code{\HaraKiriStaffContext}. Observe how the second staff in this
3686 example disappears in the second line.
3690 \notes \relative c' <
3691 \context Staff = SA { e4 f g a \break c1 }
3692 \context Staff = SB { c4 d e f \break R1 }
3696 \translator { \HaraKiriStaffContext }
3702 @node Sound output for transposing instruments
3703 @subsection Sound output for transposing instruments
3705 When you want to make a MIDI file from a score containing transposed
3706 and untransposed instruments, you have to instruct LilyPond the pitch
3707 offset (in semitones) for the transposed instruments. This is done
3708 using the @code{transposing} property. It does not affect printed
3711 @cindex @code{transposing}
3714 \property Staff.instrument = #"Cl. in B-flat"
3715 \property Staff.transposing = #-2
3721 @node Ancient notation
3722 @section Ancient notation
3724 @cindex Vaticana, Editio
3725 @cindex Medicaea, Editio
3731 * Ancient note heads::
3739 @node Ancient note heads
3740 @subsection Ancient note heads
3742 To get a longa note head, you have to use mensural note heads. This
3743 is accomplished by setting the @code{style} property of the
3744 NoteHead object to @code{mensural}. There is also a note head style
3745 @code{baroque} which gives mensural note heads for @code{\longa} and
3746 @code{\breve} but standard note heads for shorter notes.
3748 @lilypond[fragment,singleline,verbatim]
3749 \property Voice.NoteHead \set #'style = #'mensural
3754 @subsection Ancient clefs
3756 LilyPond supports a variety of clefs, many of them ancient.
3758 For modern clefs, see section @ref{Clef}. For the percussion clef, see
3759 section @ref{Percussion staves}. For the @code{TAB} clef, see section
3762 The following table shows all ancient clefs that are supported via the
3763 @code{\clef} command. Some of the clefs use the same glyph, but differ
3764 only with respect to the line they are printed on. In such cases, a
3765 trailing number in the name is used to enumerate these clefs. Still,
3766 you can manually force a clef glyph to be typeset on an arbitrary line,
3767 as described in section @ref{Clef}. The note printed to the right side
3768 of each clef denotes the @code{c'} with respect to the clef.
3772 @c --- This should go somewhere else: ---
3773 @c @item modern style G clef (glyph: @code{clefs-G})
3776 @c @code{treble}, @code{violin}, @code{G}, @code{G2}, @code{french}
3778 @c @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "G" c'}
3780 @c @item modern style F clef (glyph: @code{clefs-F})
3783 @c @code{varbaritone}, @code{bass}, @code{F}, @code{subbass}
3785 @c @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "F" c'}
3787 @c @item modern style C clef (glyph: @code{clefs-C})
3790 @c @code{soprano}, @code{mezzosoprano}, @code{alto}, @code{C},
3791 @c @code{tenor}, @code{baritone}
3793 @c @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "C" c'}
3795 @item modern style mensural C clef (glyph: @code{clefs-neo_mensural_c'})
3798 @code{neo_mensural_c1}, @code{neo_mensural_c2},
3799 @code{neo_mensural_c3}, @code{neo_mensural_c4}
3801 @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "neo_mensural_c2" c'}
3803 @item petrucci style mensural C clef (glyph: @code{clefs-petrucci_c1})
3809 @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "petrucci_c1" c'}
3811 @item petrucci style mensural C clef (glyph: @code{clefs-petrucci_c2})
3817 @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "petrucci_c2" c'}
3819 @item petrucci style mensural C clef (glyph: @code{clefs-petrucci_c3})
3825 @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "petrucci_c3" c'}
3827 @item petrucci style mensural C clef (glyph: @code{clefs-petrucci_c4})
3833 @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "petrucci_c4" c'}
3835 @item petrucci style mensural C clef (glyph: @code{clefs-petrucci_c5})
3841 @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "petrucci_c5" c'}
3843 @item petrucci style mensural F clef (glyph: @code{clefs-petrucci_f})
3848 @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "petrucci_f" c'}
3850 @item petrucci style mensural G clef (glyph: @code{clefs-petrucci_g})
3855 @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "petrucci_g" c'}
3857 @item historic style mensural C clef (glyph: @code{clefs-mensural_c'})
3860 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
3863 @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "mensural_c2" c'}
3865 @item historic style mensural F clef (glyph: @code{clefs-mensural_f})
3870 @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "mensural_f" c'}
3872 @item historic style mensural G clef (glyph: @code{clefs-mensural_g})
3877 @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "mensural_g" c'}
3879 @item Editio Vaticana style do clef (glyph: @code{clefs-vaticana_do})
3882 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3}
3884 @lilypond[26pt]{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4 \property Staff.TimeSignature \set #'transparent = ##t \clef "vaticana_do2" c'}
3886 @item Editio Vaticana style fa clef (glyph: @code{clefs-vaticana_fa})
3889 @code{vaticana_fa1}, @code{vaticana_fa2}
3891 @lilypond[26pt]{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4 \property Staff.TimeSignature \set #'transparent = ##t \clef "vaticana_fa2" c'}
3893 @item Editio Medicaea style do clef (glyph: @code{clefs-medicaea_do})
3896 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3}
3898 @lilypond[26pt]{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4 \property Staff.TimeSignature \set #'transparent = ##t \clef "medicaea_do2" c'}
3900 @item Editio Medicaea style fa clef (glyph: @code{clefs-medicaea_fa})
3903 @code{medicaea_fa1}, @code{medicaea_fa2}
3905 @lilypond[26pt]{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4 \property Staff.TimeSignature \set #'transparent = ##t \clef "medicaea_fa2" c'}
3907 @item historic style hufnagel do clef (glyph: @code{clefs-hufnagel_do})
3910 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3}
3912 @lilypond[26pt]{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4 \property Staff.TimeSignature \set #'transparent = ##t \clef "hufnagel_do2" c'}
3914 @item historic style hufnagel fa clef (glyph: @code{clefs-hufnagel_fa})
3917 @code{hufnagel_fa1}, @code{hufnagel_fa2}
3919 @lilypond[26pt]{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4 \property Staff.TimeSignature \set #'transparent = ##t \clef "hufnagel_fa2" c'}
3921 @item historic style hufnagel combined do/fa clef (glyph: @code{clefs-hufnagel_do_fa})
3924 @code{hufnagel_do_fa}
3926 @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "hufnagel_do_fa" c'}
3928 @c --- This should go somewhere else: ---
3929 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
3932 @c @code{percussion}
3934 @c @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "percussion" c'}
3936 @c @item modern style tab clef (glyph: @code{clefs-tab})
3941 @c @lilypond[26pt]{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \property Staff.TimeSignature \set #'transparent = ##t \clef "tab" c'}
3945 @emph{Modern style} means ``as is typeset in current editions of
3946 transcribed mensural music''.
3948 @emph{Petrucci style} means ``inspired by printings published by the
3949 famous engraver Petrucci (1466-1539)''.
3951 @emph{Historic style} means ``as was typeset or written in contemporary
3952 historic editions (other than those of Petrucci)''.
3954 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
3956 Petrucci used C clefs with differently balanced left-side vertical
3957 beams, depending on which staffline it was printed.
3960 @subsection Custodes
3965 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
3966 staff context symbol that appears at the end of a staff line. It
3967 anticipates the pitch of the first note(s) of the following line and
3968 thus helps the player or singer to manage line breaks during
3969 performance, thus enhancing readability of a score.
3971 @lilypond[verbatim,noquote]
3974 \property Staff.Custos \set #'style = #'mensural
3979 \consists Custos_engraver
3985 Custodes were frequently used in music notation until the 17th century.
3986 There were different appearances for different notation styles.
3987 Nowadays, they have survived only in special forms of musical notation
3988 such as via the @emph{editio vaticana} dating back to the beginning of
3991 For typesetting custodes, just put a @code{Custos_engraver} into the
3992 @internalsref{Staff} context when declaring the @code{\paper} block. In this
3993 block, you can also globally control the appearance of the custos symbol
3994 by setting the custos @code{style} property. Currently supported styles
3995 are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
4002 \consists Custos_engraver
4003 Custos \override #'style = #'mensural
4008 The property can also be set locally, for example in a @code{\notes}
4013 \property Staff.Custos \override #'style = #'vaticana
4014 c'1 d' e' d' \break c' d' e' d'
4019 @subsection Ligatures
4023 @c TODO: Should double check if I recalled things correctly when I wrote
4024 @c down the following paragraph by heart.
4025 In musical terminology, a ligature is a coherent graphical symbol that
4026 represents at least two different notes. Ligatures originally appeared
4027 in the manuscripts of Gregorian chant notation roughly since the 9th
4028 century as an allusion to the accent symbols of greek lyric poetry to
4029 denote ascending or descending sequences of notes. Both, the shape and
4030 the exact meaning of ligatures changed tremendously during the following
4031 centuries: In early notation, ligatures where used for monophonic tunes
4032 (Gregorian chant) and very soon denoted also the way of performance in
4033 the sense of articulation. With upcoming multiphony, the need for a
4034 metric system arised, since multiple voices of a piece have to be
4035 synchronized some way. New notation systems were invented, that used
4036 the manifold shapes of ligatures to now denote rhythmical patterns
4037 (e.g. black mensural notation, mannered notation, ars nova). With the
4038 invention of the metric system of the white mensural notation, the need
4039 for ligatures to denote such patterns disappeared. Nevertheless,
4040 ligatures were still in use in the mensural system for a couple of
4041 decades until they finally disappeared during the late 16th / early 17th
4042 century. Still, ligatures have survived in contemporary editions of
4043 Gregorian chant such as the Editio Vaticana from 1905/08.
4045 Syntactically, ligatures are simply enclosed by @code{\[} and @code{\]}.
4046 Some ligature styles (such as Editio Vaticana) may need additional input
4047 syntax specific for this particular type of ligature. By default, the
4048 @internalsref{LigatureBracket} engraver just marks the start and end of
4049 a ligature by small square angles:
4051 @lilypond[singleline,verbatim]
4053 \notes \transpose c'' {
4061 To select a specific style of ligatures, a proper ligature engraver has
4062 to be added to the @internalsref{Voice} context, as explained in the
4063 following subsections. Currently, Lilypond only supports white mensural
4064 ligatures with certain limitations. Support for Editio Vaticana will be
4065 added in the future.
4068 * White mensural ligatures::
4071 @node White mensural ligatures
4072 @subsubsection White mensural ligatures
4074 @cindex Mensural ligatures
4075 @cindex White mensural ligatures
4077 Lilypond has limited support for white mensural ligatures. The
4078 implementation is still experimental; it currently may output strange
4079 warnings or even crash in some cases or produce weird results on more
4080 complex ligatures. To engrave white mensural ligatures, in the paper
4081 block the @internalsref{MensuralLigature} engraver has to be put into
4082 the @internalsref{Voice} context (and you probably want to remove the
4083 @internalsref{LigatureBracket} engraver). There is no additional input
4084 language to describe the shape of a white mensural ligature. The shape
4085 is rather determined solely from the pitch and duration of the enclosed
4086 notes. While this approach may take a new user quite a while to get
4087 accustomed, it has a great advantage: this way, lily has full musical
4088 information about the ligature. This is not only required for correct
4089 MIDI output, but also allows for automatic transcription of the
4094 @lilypond[singleline,verbatim]
4096 \notes \transpose c'' {
4097 \property Score.timing = ##f
4098 \property Score.defaultBarType = "empty"
4099 \property Voice.NoteHead \set #'style = #'neo_mensural
4100 \property Staff.TimeSignature \set #'style = #'neo_mensural
4102 \[ g\longa c\breve a\breve f\breve d'\longa \]
4104 \[ e1 f1 a\breve g\longa \]
4109 \remove Ligature_bracket_engraver
4110 \consists Mensural_ligature_engraver
4116 Without replacing @code{Ligature_bracket_engraver} with
4117 @code{Mensural_ligature_engraver}, the same music transcribes to the
4120 @lilypond[singleline,verbatim]
4122 \notes \transpose c'' {
4123 \property Score.timing = ##f
4124 \property Score.defaultBarType = "empty"
4125 \property Voice.NoteHead \set #'style = #'neo_mensural
4126 \property Staff.TimeSignature \set #'style = #'neo_mensural
4128 \[ g\longa c\breve a\breve f\breve d'\longa \]
4130 \[ e1 f1 a\breve g\longa \]
4136 @subsection Figured bass
4138 @cindex Basso continuo
4140 LilyPond has limited support for figured bass:
4142 @lilypond[verbatim,fragment]
4144 \context FiguredBass
4149 \context Voice { c4 g8 }
4153 The support for figured bass consists of two parts: there is an input
4154 mode, introduced by @code{\figures}, where you can enter bass figures
4155 as numbers, and there is a context called @internalsref{FiguredBass}
4156 that takes care of making @internalsref{BassFigure} objects.
4158 In figures input mode, a group of bass figures is delimited by
4159 @code{<} and @code{>}. The duration is entered after the @code{>}.
4164 \context FiguredBass
4168 Accidentals are added to the numbers if you alterate them by
4169 appending @code{-}, @code{!} and @code{+}.
4175 \context FiguredBass
4176 \figures { <4- 6+ 7!> }
4179 Spaces or dashes may be inserted by using @code{_}. Brackets are
4180 introduced with @code{[} and @code{]}.
4186 \context FiguredBass
4187 \figures { < [4 6] 8 [_ 12]> }
4190 Although the support for figured bass may superficially resemble chord
4191 support, it works much simpler: in figured bass simply stores the
4192 numbers, and then prints the numbers you entered. There is no
4193 conversion to pitches, and no realizations of the bass are played in
4197 @c . {Tuning output}
4199 @section Tuning output
4201 LilyPond tries to take as much formatting as possible out of your
4202 hands. Nevertheless, there are situations where it needs some help, or
4203 where you want to override its decisions. In this section we discuss
4204 ways to do just that.
4206 Formatting is internally done by manipulating so called objects (graphic
4207 objects). Each object carries with it a set of properties (object
4208 properties) specific to that object. For example, a stem object has
4209 properties that specify its direction, length and thickness.
4211 The most direct way of tuning the output is by altering the values of
4212 these properties. There are two ways of doing that: first, you can
4213 temporarily change the definition of a certain type of object, thus
4214 affecting a whole set of objects. Second, you can select one specific
4215 object, and set a object property in that object.
4218 * Tuning groups of objects ::
4219 * Tuning per object ::
4224 @node Tuning groups of objects
4225 @subsection Tuning groups of objects
4227 @cindex object description
4231 A object definition is a Scheme association list, that is stored in a
4232 context property. By assigning to that property (using plain
4233 @code{\property}), you can change the resulting objects.
4235 @lilypond[verbatim, fragment]
4236 c'4 \property Voice.Stem = #'()
4239 The @code{\property} assignment effectively empties the definition of
4240 the Stem object. One of the effects is that the recipe of how it should be
4241 printed is erased, with the effect of rendering it invisible. The above
4242 assignment is available as a standard identifier, for the case that you
4246 \property Voice.Stem = \turnOff
4253 This mechanism is fairly crude, since you can only set, but not modify,
4254 the definition of a object. For this reason, there is a more advanced
4257 The definition of a object is actually a list of default object
4258 properties. For example, the definition of the Stem object (available in
4259 @file{scm/grob-description.scm}), defines the following values for
4264 (beamed-lengths . (0.0 2.5 2.0 1.5))
4265 (Y-extent-callback . ,Stem::height)
4269 You can add a property on top of the existing definition, or remove a
4270 property, thus overriding the system defaults:
4272 c'4 \property Voice.Stem \override #'thickness = #4.0
4273 c'4 \property Voice.Stem \revert #'thickness
4276 You should balance @code{\override} and @code{\revert}. If that's too
4277 much work, you can use the @code{\set} shorthand. It performs a revert
4278 followed by an override. The following example gives exactly the same
4279 result as the previous one.
4281 c'4 \property Voice.Stem \set #'thickness = #4.0
4282 c'4 \property Voice.Stem \set #'thickness = #0.8
4285 If you use @code{\set}, you must explicitly restore the default.
4288 Formally the syntax for these constructions is
4290 \property @var{context}.@var{grobname} \override @var{symbol} = @var{value}
4291 \property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
4292 \property @var{context}.@var{grobname} \revert @var{symbol}
4294 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
4295 and @var{grobname} are strings and @var{value} is a Scheme expression.
4298 If you revert a setting which was not set in the first place, then it
4299 has no effect. However, if the setting was set as a system default, it
4300 may remove the default value, and this may give surprising results,
4301 including crashes. In other words, @code{\override} and @code{\revert},
4302 must be carefully balanced.
4304 These are examples of correct nesting of @code{\override}, @code{\set},
4307 A clumsy but correct form:
4309 \override \revert \override \revert \override \revert
4312 Shorter version of the same:
4314 \override \set \set \revert
4317 A short form, using only @code{\set}. This requires you to know the
4320 \set \set \set \set @var{to default value}
4323 If there is no default (i.e. by default, the object property is unset),
4326 \set \set \set \revert
4329 For the digirati, the object description is an Scheme association
4330 list. Since a Scheme list is a singly linked list, we can treat it as a
4331 stack, and @code{\override} and @code{\revert} are just push and pop
4332 operations. This pushing and popping is also used for overriding
4333 automatic beaming settings.
4337 LilyPond will hang or crash if @var{value} contains cyclic references.
4338 The backend is not very strict in type-checking object properties. If you
4339 @code{\revert} properties that are expected to be set by default,
4345 @node Tuning per object
4346 @subsection Tuning per object
4348 Tuning a single object is most often done with @code{\property}. The
4351 \once \property @dots{}
4354 applies a setting only during one moment in the score: notice how the
4355 original setting for stem thickness is restored automatically in the
4358 @lilypond[verbatim, fragment, relative=1]
4360 \once \property Voice.Stem \set #'thickness = #4
4366 @cindex \outputproperty
4368 A second way of tuning objects is the more arcane @code{\outputproperty}
4369 feature. The syntax is as follows:
4371 \outputproperty @var{predicate} @var{symbol} = @var{value}
4373 Here @code{predicate} is a Scheme function taking a object argument, and
4374 returning a boolean. This statement is processed by the
4375 @code{Output_property_engraver}. It instructs the engraver to feed all
4376 objects that it sees to @var{predicate}. Whenever the predicate returns
4377 true, the object property @var{symbol} will be set to @var{value}.
4379 This command is only single shot, in contrast to @code{\override} and
4382 You will need to combine this statement with @code{\context} to select
4383 the appropriate context to apply this to.
4385 In the following example, all note heads occurring at current staff
4386 level, are shifted up and right by setting their @code{extra-offset}
4389 @lilypond[fragment,verbatim,singleline]
4391 \context Staff \outputproperty
4392 #(make-type-checker 'note-head-interface)
4393 #'extra-offset = #'(0.5 . 0.75)
4397 @cindex @code{extra-offset}
4399 In this example, the predicate checks the @code{text} object property, to
4400 shift only the `m.d.' text, but not the fingering instruction "2".
4401 @lilypond[verbatim,singleline]
4402 #(define (make-text-checker text)
4403 (lambda (grob) (equal? text (ly-get-grob-property grob 'text))))
4406 \notes\relative c''' {
4407 \property Voice.Stem \set #'direction = #1
4408 \outputproperty #(make-text-checker "m.d.")
4409 #'extra-offset = #'(-3.5 . -4.5)
4417 If possible, avoid this feature: the semantics are not very clean, and
4418 the syntax and semantics are up for rewrite.
4423 @node Font selection
4424 @subsection Font selection
4426 The most common thing to change about the appearance of fonts is
4427 their size. The font size of a @internalsref{Voice},
4428 @internalsref{Staff} or @internalsref{Thread} context, can be easily
4429 changed by setting the @code{fontSize} property for that context:
4430 @lilypond[fragment,relative=1]
4431 c4 c4 \property Voice.fontSize = #-1
4434 This command will not change the size of variable symbols, such as
4435 beams or slurs. You can use this command to get smaller symbol for
4436 cue notes, but that involves some more subtleties. An elaborate
4437 example of those is in @file{input/test/cue-notes.ly}.
4443 The font used for printing a object can be selected by setting
4444 @code{font-name}, e.g.
4446 \property Staff.TimeSignature
4447 \set #'font-name = #"cmr17"
4449 You may use any font which is available to @TeX{}, such as foreign
4450 fonts or fonts that do not belong to the Computer Modern font family.
4451 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
4452 can also be adjusted with a more fine-grained mechanism. By setting
4453 the object properties described below, you can select a different font.
4454 All three mechanisms work for every object that supports
4455 @code{font-interface}.
4459 A symbol indicating the general class of the typeface. Supported are
4460 @code{roman} (Computer Modern), @code{braces} (for piano staff
4461 braces), @code{music} (the standard music font), @code{ancient} (the
4462 ancient notation font) @code{dynamic} (font for dynamic signs) and
4466 A symbol indicating the shape of the font, there are typically several
4467 font shapes available for each font family. Choices are @code{italic},
4468 @code{caps} and @code{upright}
4471 A symbol indicating the series of the font. There are typically several
4472 font series for each font family and shape. Choices are @code{medium}
4475 @item font-relative-size
4476 A number indicating the size relative the standard size. For example,
4477 with 20pt staff height, relative size -1 corresponds to 16pt staff
4478 height, and relative size +1 corresponds to 23 pt staff height.
4480 @item font-design-size
4481 A number indicating the design size of the font.
4483 This is a feature of the Computer Modern Font: each point size has a
4484 slightly different design. Smaller design sizes are relatively wider,
4485 which enhances readability.
4488 For any of these properties, the value @code{*} (i.e. the @emph{symbol},
4489 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
4490 to override default setting, which are always present. For example:
4492 \property Lyrics.LyricText \override #'font-series = #'bold
4493 \property Lyrics.LyricText \override #'font-family = #'typewriter
4494 \property Lyrics.LyricText \override #'font-shape = #'*
4497 @cindex @code{font-style}
4499 There are also pre-cooked font selection qualifiers. These are
4500 selected through the object property @code{font-style}. For example,
4501 the style @code{finger} selects family @code{number} and relative size
4502 @code{-3}. Styles available include @code{volta}, @code{finger},
4503 @code{tuplet}, @code{timesig}, @code{mmrest}, @code{script},
4504 @code{large}, @code{Large} and @code{dynamic}. The style sheets and
4505 tables for selecting fonts are located in @file{scm/font.scm}. Refer
4506 to this file for more information.
4508 @cindex magnification
4510 The size of the font may be scaled with the object property
4511 @code{font-magnification}. For example, @code{2.0} blows up all
4512 letters by a factor 2 in both directions.
4516 Relative size is not linked to any real size.
4518 There is no style sheet provided for other fonts besides the @TeX{}
4519 family, and the style sheet can not be modified easiyl.
4521 @cindex font selection
4522 @cindex font magnification
4523 @cindex @code{font-interface}
4527 @subsection Text markup
4531 LilyPond has an internal mechanism to typeset texts. You can
4532 form text markup expressions by composing scheme expressions
4533 in the following way.
4535 @lilypond[verbatim, singleline]
4540 c^#'(italic "italic")
4541 d_#'((bold italic) "ff")
4543 f_#'(lines "one" (bold "two"))
4544 g^#'(music "noteheads-2" ((raise . 2.4) "flags-u3"))
4548 Normally, the Scheme markup text is stored in the @code{text} property
4549 of a object. Formally, it is defined as follows:
4552 text: string | (head? text+)
4553 head: markup | (markup+)
4554 markup-item: property | abbrev
4555 property: (@var{key} . @var{value})
4556 abbrev: @code{columns lines roman music bold italic named super sub}
4557 @code{overstrike text finger volta timesig mmrest mark script}
4558 @code{large Large dynamic}
4561 The markup is broken down and converted into a list of object properties,
4562 which are prepended to the property list. The @var{key}-@var{value}
4563 pair is a object property. A list of properties available is included in
4564 the generated documentation for @internalsref{text-interface}.
4566 The following abbreviations are defined:
4569 horizontal mode: set all text on one line (default)
4571 vertical mode: set every text on a new line
4575 selects the Feta font (the standard font for music notation glyphs),
4576 and uses named lookup
4583 lookup by character name
4585 plain text lookup (by character value)
4591 the next text or character overstrikes this one
4593 select fingering number fontstyle
4595 select volta number fontstyle
4597 select time signature number fontstyle
4599 select multi measure rest number fontstyle
4601 select mark number fontstyle
4603 select scriptsize roman fontstyle
4605 select large roman fontstyle
4607 select Large roman fontstyle
4609 select dynamics fontstyle
4613 @cindex metronome mark
4615 One practical application of complicated markup is to fake a metronome
4619 #(define note '(columns
4620 (music "noteheads-2" ((kern . -0.1) "flags-stem"))))
4621 #(define eight-note `(columns ,note ((kern . -0.1)
4622 (music ((raise . 3.5) "flags-u3")))))
4623 #(define dotted-eight-note
4624 `(columns ,eight-note (music "dots-dot")))
4627 \notes\relative c'' {
4628 a1^#`((columns (font-relative-size . -1))
4629 ,dotted-eight-note " = 64")
4635 TextScript \override #'font-shape = #'upright
4643 The syntax and semantics of markup texts are not clean, and both
4644 syntax and semantics are slated for a rewrite.
4646 LilyPond does not do kerning, and there generally spaces texts
4652 @section Global layout
4654 The global layout determined by three factors: the page layout, the
4655 line breaks and the spacing. These all influence each other: The
4656 choice of spacing determines how densely each system of music is set,
4657 where line breaks breaks are chosen, and thus ultimately how many
4658 pages a piece of music takes. In this section we will explain how the
4659 lilypond spacing engine works, and how you can tune its results.
4661 Globally spoken, this procedure happens in three steps: first,
4662 flexible distances (``springs'') are chosen, based on durations. All
4663 possible line breaking combination are tried, and the one with the
4664 best results---a layout that has uniform density and requires as
4665 little stretching or cramping as possible---is chosen. When the score
4666 is processed by @TeX{}, page are filled with systems, and page breaks
4667 are chosen whenever the page gets full.
4670 * Vertical spacing::
4671 * Horizontal spacing::
4678 @node Vertical spacing
4679 @subsection Vertical spacing
4681 @cindex vertical spacing
4682 @cindex distance between staves
4683 @cindex staff distance
4684 @cindex between staves, distance
4686 The height of each system is determined automatically by lilypond, to
4687 keep systems from bumping into each other, some minimum distances are
4688 set. By changing these, you can put staves closer together, and thus
4689 put more systems onto one page.
4691 Normally staves are stacked vertically. To make
4692 staves maintain a distance, their vertical size is padded. This is
4693 done with the property @code{minimumVerticalExtent}. It takes a pair
4694 of numbers, so if you want to make it smaller from its, then you could
4697 \property Staff.minimumVerticalExtent = #'(-4 . 4)
4699 This sets the vertical size of the current staff to 4 staff-space on
4700 either side of the center staff line. The argument of
4701 @code{minimumVerticalExtent} is interpreted as an interval, where the
4702 center line is the 0, so the first number is generally negative. you
4703 could also make the staff larger at the bottom by setting it to
4704 @code{(-6 . 4)}. The default value is @code{(-6 . 6)}.
4706 Vertical aligment of staves is handled by the
4707 @internalsref{VerticalAlignment} object, which lives at
4708 @internalsref{Score} level.
4710 The piano staves are handled a little differently: to make cross-staff
4711 beaming work correctly, it necessary that the distance between staves
4712 is fixed. This is also done with a @internalsref{VerticalAlignment}
4713 object, created in @internalsref{PianoStaff}, but a forced distance is
4714 set. This is done with the object property #'forced-distance. If you
4715 want to override this, use a @code{\translator} block as follows:
4719 VerticalAlignment \override #'forced-distance = #9
4722 This would bring the staves together at a distance of 9 staff spaces,
4723 and again this is measured from the center line of each staff.
4727 @node Horizontal spacing
4728 @subsection Horizontal Spacing
4730 The spacing engine translates differences in durations into
4731 stretchable distances (``springs'') of differing lengths. Longer
4732 durations get more space, shorter durations get less. The basis for
4733 assigning spaces to durations, is that the shortest durations get a
4734 fixed amount of space, and the longer durations get more: doubling a
4735 duration adds a fixed amount of space to the note.
4737 For example, the following piece contains lots of half, quarter and
4738 8th notes, the eighth note is followed by 1 note head width. The The
4739 quarter note is followed by 2 NHW, the half by 3 NHW, etc.
4740 @lilypond[fragment, verbatim, relative=1]
4741 c2 c4. c8 c4. c8 c4. c8 c8 c8 c4 c4 c4
4744 These two amounts of space are @code{shortest-duration-space}
4745 @code{spacing-increment}, object properties of
4746 @internalsref{SpacingSpanner}. Normally @code{spacing-increment} is
4747 set to 1.2, which is the width of a note head, and
4748 @code{shortest-duration-space} is set to 2.0, meaning that the
4749 shortest note gets 2 noteheads of space. For normal notes, this space
4750 is always counted from the left edge of the symbol, so the short notes
4751 in a score is generally followed by one note head width of space.
4753 If one would follow the above procedure exactly, then adding a single
4754 32th note to a score that uses 8th and 16th notes, would widen up the
4755 entire score a lot. The shortest note is no longer a 16th, but a 64th,
4756 thus adding 2 noteheads of space to every note. To prevent this, the
4757 shortest duration for spacing is not the shortest note in the score,
4758 but the most commonly found shortest note. Notes that are even
4759 shorter this are followed by a space that is proportonial to their
4760 duration relative to the common shortest note. So if we were to add
4761 only a few 16th notes to the example above, they would be followed by
4764 @lilypond[fragment, verbatim, relative=1]
4765 c2 c4. c8 c4. [c16 c] c4. c8 c8 c8 c4 c4 c4
4768 The most common shortest duration is determined as follows: in every
4769 measure, the shortest duration is determined. The most common short
4770 duration, is taken as the basis for the spacing, with the stipulation
4771 that this shortest duration should always be equal to or shorter than
4772 1/8th note. The shortest duration is printed when you run lilypond
4773 with @code{--verbose}. These durations may also be customized. If you
4774 set the @code{common-shortest-duration} in
4775 @internalsref{SpacingSpanner}, then this sets the base duration for
4776 spacing. The maximum duration for this base (normally 1/8th), is set
4777 through @code{base-shortest-duration}.
4779 @cindex @code{common-shortest-duration}
4780 @cindex @code{base-shortest-duration}
4781 @cindex @code{stem-spacing-correction}
4782 @cindex @code{spacing}
4784 In the introduction it was explained that stem directions influence
4785 spacing. This is controlled with @code{stem-spacing-correction} in
4786 @internalsref{NoteSpacing}. The @code{StaffSpacing} object contains the
4787 same property for controlling the stem/barline spacing. In the
4788 following example shows these corrections, once with default settings,
4789 and once with exaggerated corrections.
4795 \property Staff.NoteSpacing \override #'stem-spacing-correction
4797 \property Staff.StaffSpacing \override #'stem-spacing-correction
4802 \paper { linewidth = -1. } }
4809 Spacing is determined on a score wide basis. If you have a score that
4810 changes its character (measured in durations) half way during the
4811 score, the part containing the longer durations will be spaced too
4814 Generating optically pleasing spacing is black magic. LilyPond tries
4815 to deal with a number of frequent cases. Here is an example that is
4816 not handled correctly, due to the combination of chord collisions and
4821 \context PianoStaff \notes \transpose c''' <
4822 \context Staff = up { s1 }
4823 \context Staff = down { [c8 c \translator Staff=up <c d> c
4824 \translator Staff=down c c c] }
4826 \paper { linewidth = -1 }
4833 @subsection Font size
4834 @cindex font size, setting
4835 @cindex staff size, setting
4836 @cindex @code{paper} file
4838 The Feta font provides musical symbols at seven different sizes.
4839 These fonts are 11 point, 13 point, 16 point, 19 pt, 20 point, 23
4840 point, and 26 point. The point size of a font is the height of the
4841 five lines in a staff when displayed in the font.
4843 Definitions for these sizes are the files @file{paperSZ.ly}, where
4844 @code{SZ} is one of 11, 13, 16, 19, 20, 23 and 26. If you include any
4845 of these files, the identifiers @code{paperEleven},
4846 @code{paperThirteen}, @code{paperSixteen}, @code{paperNineteen},
4847 @code{paperTwenty}, @code{paperTwentythree}, and @code{paperTwentysix}
4848 are defined respectively. The default @code{\paper} block is also
4849 set. These files should be imported at toplevel, i.e.
4851 \include "paper26.ly"
4855 The font definitions are generated using a Scheme function. For more
4856 details, see the file @file{scm/font.scm}.
4861 @subsection Line breaking
4864 @cindex breaking lines
4866 Line breaks are normally computed automatically. They are chosen such
4867 that it looks neither cramped nor loose, and that consecutive lines have
4870 Occasionally you might want to override the automatic breaks; you can
4871 do this by specifying @code{\break}. This will force a line break at
4872 this point. Line breaks can only occur at places where there are bar
4873 lines. If you want to have a line break where there is no bar line,
4874 you can force an invisible bar line by entering @code{\bar
4875 ""}. Similarly, @code{\noBreak} forbids a line break at a certain
4879 @cindex regular line breaks
4880 @cindex four bar music.
4882 If you want linebreaks at regular intervals, you can use the following:
4884 < \repeat 7 unfold @{ s1 * 4 \break @}
4888 This makes the following 28 measures (assuming 4/4 time) be broken every
4892 @subsection Page layout
4895 @cindex breaking pages
4897 @cindex @code{indent}
4898 @cindex @code{linewidth}
4900 The most basic settings influencing the spacing are @code{linewidth}
4901 and @code{indent}, both set in the @code{\paper} block. They control
4902 the indentation of the first line of music, and the lengths of the
4903 lines. If @code{linewidth} set to a negative value, a single
4904 unjustified line is produced. A similar effect for scores that are
4905 longer than one line, can be produced by setting @code{raggedright} to
4906 true in the @code{\paper} block.
4910 The page layout process happens outside lilypond. Ly2dvi sets page
4911 layout instructions. Ly2dvi responds to the following variables in the
4912 @code{\paper} block. The variable @code{textheight} sets the total
4913 height of the music on each page. The spacing between systems is
4914 controlled with @code{interscoreline}, its default is 16pt.
4915 The distance between the score lines will stretch in order to fill the
4916 full page @code{interscorelinefill} is set to a positive number. In
4917 that case @code{interscoreline} specifies the minimum spacing.
4919 @cindex @code{textheight}
4920 @cindex @code{interscoreline}
4921 @cindex @code{interscorelinefill}
4923 If the variable @code{lastpagefill} is defined (that is, it gets any
4924 value assigned in the @code{\paper} block), systems are evenly
4925 distributed vertically on the last page. This might produce ugly
4926 results in case there are not enough systems on the last page. Note
4927 that @command{lilypond-book} ignores @code{lastpagefill}. See
4928 @ref{Integrating text and music with lilypond-book} for
4931 @cindex @code{lastpagefill}
4933 Page breaks are normally computed by @TeX{}, so they are not under
4934 direct control of LilyPond. However, you can insert a commands into
4935 the @file{.tex} output to instruct @TeX{} where to break pages. You
4936 can insert a @code{\newpage} from within lilypond. This is done by
4937 setting the @code{between-systems-strings} on the
4938 @internalsref{NonMusicalPaperColumn} where the system is broken.
4942 @cindex @code{papersize}
4944 To change the paper size, you must first set the
4945 @code{papersize} paper variable variable. Set it to
4946 the strings @code{a4}, @code{letter}, or @code{legal}. After this
4947 specification, you must set the font as described above. If you want
4948 the default font, then use the 20 point font.
4951 \paper@{ papersize = "a4" @}
4952 \include "paper16.ly"
4955 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
4956 will set the paper variables @code{hsize} and @code{vsize} (used by
4957 Lilypond and @code{ly2dvi})
4967 LilyPond can produce MIDI output. The performance lacks lots of
4968 interesting effects, such as swing, articulation, slurring, etc., but it
4969 is good enough for proof-hearing the music you have entered. Ties,
4970 dynamics and tempo changes are interpreted.
4972 Dynamic marks, crescendi and decrescendi translate into MIDI volume
4973 levels. Dynamic marks translate to a fixed fraction of the available
4974 MIDI volume range, crescendi and decrescendi make the the volume vary
4975 linearly between their two extremities. The fractions be adjusted by
4976 overriding the @code{absolute-volume-alist} defined in
4977 @file{scm/midi.scm}.
4979 For each type of musical instrument (that MIDI supports), a volume range
4980 can be defined. This gives you basic equalizer control, which can
4981 enhance the quality of the MIDI output remarkably. You can add
4982 instruments and ranges or change the default settings by overriding the
4983 @code{instrument-equalizer-alist} defined in @file{scm/midi.scm}.
4985 Both loudness controls are combined to produce the final MIDI volume.
4991 * MIDI instrument names::
4996 @subsection MIDI block
5000 The MIDI block is analogous to the paper block, but it is somewhat
5001 simpler. The @code{\midi} block can contain:
5005 @item a @code{\tempo} definition
5006 @item context definitions
5009 Assignments in the @code{\midi} block are not allowed.
5013 @cindex context definition
5015 Context definitions follow precisely the same syntax as within the
5016 \paper block. Translation modules for sound are called performers.
5017 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
5020 @node MIDI instrument names
5021 @subsection MIDI instrument names
5023 @cindex instrument names
5024 @cindex @code{Staff.midiInstrument}
5025 @cindex @code{Staff.instrument}
5027 The MIDI instrument name is set by the @code{Staff.midiInstrument}
5028 property or, if that property is not set, the @code{Staff.instrument}
5029 property. The instrument name should be chosen from the list in
5030 @ref{MIDI instruments}.
5034 If the selected string does not exactly match, then LilyPond uses the
5035 default (Grand Piano). It is not possible to select an instrument by