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
11 @chapter Notation manual
13 This chapter describes all the different types of notation supported
14 by LilyPond. It is intended as a reference for users that are already
15 somewhat familiar with using LilyPond.
19 * Easier music entry::
33 * Contemporary notation::
40 @c FIXME: Note entry vs Music entry at top level menu is confusing.
46 The basic elements of any piece of music are the notes. This section
47 is about basic notation elements notes, rests and related constructs,
48 such as stems, tuplets and ties.
53 * Chromatic alterations::
68 A note is printed by specifying its pitch and then its duration:
69 @footnote{Notes constitute the most basic elements of LilyPond input,
70 but they do not form valid input on their own without a @code{\score}
71 block. However, for the sake of brevity and simplicity we will
72 generally omit @code{\score} blocks and @code{\paper} declarations in
75 @lilypond[fragment,verbatim]
84 @cindex Note specification
86 @cindex entering notes
88 The most common syntax for pitch entry is used in @code{\chords} and
89 @code{\notes} mode. In Note and Chord mode, pitches may be designated
90 by names. The notes are specified by the letters @code{a} through
91 @code{g}, while the octave is formed with notes ranging from @code{c}
92 to @code{b}. The pitch @code{c} is an octave below middle C and the
93 letters span the octave above that C:
95 @lilypond[fragment,verbatim]
97 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
100 @cindex note names, Dutch
102 A sharp is formed by adding @code{-is} to the end of a pitch name and
103 a flat is formed by adding @code{-es}. Double sharps and double flats
104 are obtained by adding @code{-isis} or @code{-eses}. These
105 names are the Dutch note names. In Dutch, @code{aes} is contracted to
106 @code{as}, but both forms are accepted. Similarly, both
107 @code{es} and @code{ees} are accepted.
109 Half-flats and half-sharps are formed by adding @code{-eh} and
110 @code{-ih}; the following is a series of Cs with increasing pitches:
112 @cindex quarter tones
113 @cindex semi-flats, semi-sharps
115 @lilypond[verbatim,relative=2]
127 There are predefined sets of note names for various other languages.
128 To use them, include the language specific init file. For
129 example: @code{\include "english.ly"}. The available language files
130 and the note names they define are:
135 Note Names sharp flat
136 nederlands.ly c d e f g a bes b -is -es
137 english.ly c d e f g a bf b -s/-sharp -f/-flat
139 deutsch.ly c d e f g a b h -is -es
140 norsk.ly c d e f g a b h -iss/-is -ess/-es
141 svenska.ly c d e f g a b h -iss -ess
142 italiano.ly do re mi fa sol la sib si -d -b
143 catalan.ly do re mi fa sol la sib si -d/-s -b
144 espanol.ly do re mi fa sol la sib si -s -b
153 The optional octave specification takes the form of a series of
154 single quote (`@code{'}') characters or a series of comma
155 (`@code{,}') characters. Each @code{'} raises the pitch by one
156 octave; each @code{,} lowers the pitch by an octave:
158 @lilypond[fragment,verbatim,center]
159 c' c'' es' g' as' gisis' ais'
165 Notes can be hidden and unhidden with the following commands:
167 @cindex @code{\hideNotes}
169 @cindex @code{\unHideNotes}
175 Internals: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
177 @node Chromatic alterations
178 @subsection Chromatic alterations
180 Normally accidentals are printed automatically, but you may also
181 print them manually. A reminder accidental
182 @cindex reminder accidental
184 can be forced by adding an exclamation mark @code{!}
185 after the pitch. A cautionary accidental
186 @cindex cautionary accidental
187 @cindex parenthesized accidental
188 (i.e. an accidental within parentheses) can be obtained by adding the
189 question mark `@code{?}' after the pitch:
191 @lilypond[fragment,verbatim]
192 cis' cis' cis'! cis'?
196 The automatic production of accidentals can be tuned in many
197 ways. For more information, refer to @ref{Accidentals}.
202 A chord is formed by a enclosing a set of pitches in @code{<} and
203 @code{>}. A chord may be followed by a duration, and a set of
204 articulations, just like simple notes.
214 Rests are entered like notes, with the note name @code{r}:
216 @lilypond[raggedright,verbatim]
220 Whole bar rests, centered in middle of the bar,
221 must be done with multi measure rests. They are discussed in
222 @ref{Multi measure rests}.
225 A rest's vertical position may be explicitly specified by entering a
226 note with the @code{\rest} keyword appended. This makes manual
227 formatting in polyphonic music easier. Rest collision testing will
228 leave these rests alone:
230 @lilypond[raggedright,verbatim]
236 Internals: @internalsref{RestEvent}, and @internalsref{Rest}.
243 @cindex Invisible rest
246 An invisible rest (also called a `skip') can be entered like a note
247 with note name `@code{s}' or with @code{\skip @var{duration}}:
249 @lilypond[raggedright,verbatim]
253 The @code{s} syntax is only available in Note mode and Chord mode. In
254 other situations, you should use the @code{\skip} command:
256 @lilypond[raggedright,verbatim]
259 { \time 4/8 \skip 2 \time 4/4 }
260 \notes\relative c'' { a2 a1 }
265 The skip command is merely an empty musical placeholder. It does not
266 produce any output, not even transparent output.
270 Internals: @internalsref{SkipEvent}.
275 @subsection Durations
281 In Note, Chord, and Lyrics mode, durations are designated by numbers
282 and dots: durations are entered as their reciprocal values. For example,
283 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
284 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
285 longer than a whole you must use variables:
287 @c FIXME: what is an identifier? I do not think it's been introduced yet.
288 @c and if it has, I obviously skipped that part. - Graham
292 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
294 r1 r2 r4 r8 r16 r32 r64 r64
299 \notes \relative c'' {
301 a1 a2 a4 a8 a16 a32 a64 a64
303 r1 r2 r4 r8 r16 r32 r64 r64
308 \remove "Clef_engraver"
309 \remove "Staff_symbol_engraver"
310 \remove "Time_signature_engraver"
311 \consists "Pitch_squash_engraver"
318 If the duration is omitted then it is set to the previously entered
319 duration. The default for the first note is a quarter note. The duration
320 can be followed by dots (`@code{.}') in order to obtain dotted note
324 @lilypond[fragment,verbatim,center]
325 a' b' c''8 b' a'4 a'4. b'4.. c'8.
330 You can alter the length of duration by a fraction @var{N/M}
331 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
332 will not affect the appearance of the notes or rests produced.
333 In the following example, the first three notes take up exactly two
335 @lilypond[fragment,relative=2,verbatim]
337 a4*2/3 gis4*2/3 a4*2/3
344 Dots are normally moved up to avoid staff lines, except in polyphonic
345 situations. The following commands may be used to force a particular
348 @cindex @code{\dotsUp}
350 @cindex @code{\dotsDown}
352 @cindex @code{\dotsBoth}
357 Internals: @internalsref{Dots}, and @internalsref{DotColumn}.
362 Whenever a note is found, a @internalsref{Stem} object is created
363 automatically. For whole notes and rests, they are also created but
368 @cindex @code{\stemUp}
370 @cindex @code{\stemDown}
372 @cindex @code{\stemBoth}
383 A tie connects two adjacent note heads of the same pitch. The tie in
384 effect extends the length of a note. Ties should not be confused with
385 slurs, which indicate articulation, or phrasing slurs, which indicate
386 musical phrasing. A tie is entered using the tilde symbol `@code{~}':
388 @lilypond[fragment,verbatim,center]
389 e' ~ e' <c' e' g'> ~ <c' e' g'>
392 When a tie is applied to a chord, all note heads whose pitches match
393 are connected. When no note heads match, no ties will be created.
395 In its meaning a tie is just a way of extending a note duration, similar
396 to the augmentation dot; in the following example there are two ways of
397 notating exactly the same concept:
399 @lilypond[fragment,raggedright,quote]
400 \time 3/4 c'2. c'2 ~ c'4
402 If you need to tie a lot of notes over bars, it may be easier to use automatic
403 note splitting (see @ref{Automatic note splitting}).
408 @cindex @code{\tieUp}
410 @cindex @code{\tieDown}
412 @cindex @code{\tieBoth}
414 @cindex @code{\tieDotted}
416 @cindex @code{\tieSolid}
421 In this manual: @ref{Automatic note splitting}.
423 Internals: @internalsref{TieEvent}, @internalsref{NewTieEvent},
426 Examples: if you want less ties created for a chord, see
427 @inputfileref{input/test,tie-sparse.ly}.
429 For tying only a subset of the note heads of a pair of chords, see
430 @inputfileref{input/regression,tie-chord-partial.ly}.
435 Switching staves when a tie is active will not produce a slanted tie.
437 Formatting of ties is a difficult subject. The results are often not
447 @cindex @code{\times}
449 Tuplets are made out of a music expression by multiplying all durations
452 @cindex @code{\times}
454 \times @var{fraction} @var{musicexpr}
458 The duration of @var{musicexpr} will be multiplied by the fraction.
459 The fraction's denominator will be printed over the notes, optionally
460 with a bracket. The most common tuplet is the triplet in which 3
461 notes have the length of 2, so the notes are 2/3 of their written
464 @lilypond[fragment,verbatim,center]
465 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
468 The property @code{tupletSpannerDuration} specifies how long each
469 bracket should last. With this, you can make lots of tuplets while
470 typing @code{\times} only once, saving lots of typing. In the next
471 example, there are two triplets shown, while @code{\times} was only
474 @lilypond[fragment,relative,raggedright,verbatim]
475 \property Voice.tupletSpannerDuration = #(ly:make-moment 1 4)
476 \times 2/3 { c'8 c c c c c }
479 The format of the number is determined by the property
480 @code{tupletNumberFormatFunction}. The default prints only the
481 denominator, but if it is set to the Scheme function
482 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
486 @cindex @code{tupletNumberFormatFunction}
487 @cindex tuplet formatting
492 @cindex @code{\tupletUp}
494 @cindex @code{\tupletDown}
496 @cindex @code{\tupletBoth}
501 Internals: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
503 Examples: @inputfileref{input/regression,tuplet-nest.ly}.
507 Nested tuplets are not formatted automatically. In this case, outer
508 tuplet brackets should be moved manually, which is demonstrated in
509 @inputfileref{input/regression,tuplet-nest.ly}.
513 @node Easier music entry
514 @section Easier music entry
517 When entering music it is easy to introduce errors. This section deals
518 with tricks and features of the input language that were added solely
519 to help entering music, and find and correct mistakes.
521 It is also possible to use external programs, for example GUI
522 interfaces, or MIDI transcription programs, to enter or edit
523 music. Refer to the website for more information. Finally, there are
524 tools make debugging easier, by linking the input file and the output
525 shown on screen. See @ref{Point and click} for more information.
532 * Skipping corrected music::
533 * Automatic note splitting::
539 @node Relative octaves
540 @subsection Relative octaves
542 @cindex relative octave specification
544 Octaves are specified by adding @code{'} and @code{,} to pitch names.
545 When you copy existing music, it is easy to accidentally put a pitch
546 in the wrong octave and hard to find such an error. The relative
547 octave mode prevents these errors: a single error puts the rest of the
548 piece off by one octave:
550 @cindex @code{\relative}
552 \relative @var{startpitch} @var{musicexpr}
555 The octave of notes that appear in @var{musicexpr} are calculated as
556 follows: If no octave changing marks are used, the basic interval
557 between this and the last note is always taken to be a fourth or less
558 (; this distance is determined without regarding alterations: a
559 @code{fisis} following a @code{ceses} will be put above the
562 The octave changing marks @code{'} and @code{,} can be added to raise
563 or lower the pitch by an extra octave. Upon entering relative mode,
564 an absolute starting pitch must be specified that will act as the
565 predecessor of the first note of @var{musicexpr}.
567 Here is the relative mode shown in action:
568 @lilypond[fragment,raggedright,verbatim,center]
574 Octave changing marks are used for intervals greater than a fourth:
575 @lilypond[fragment,verbatim,center]
580 If the preceding item is a chord, the first note of the chord is used
581 to determine the first note of the next chord:
583 @lilypond[fragment,verbatim,center]
590 @cindex @code{\notes}
592 The pitch after the @code{\relative} contains a note name. To parse
593 the pitch as a note name, you have to be in note mode, so there must
594 be a surrounding @code{\notes} keyword (which is not
597 The relative conversion will not affect @code{\transpose},
598 @code{\chords} or @code{\relative} sections in its argument. If you
599 want to use relative within transposed music, you must place an
600 additional @code{\relative} inside the @code{\transpose}.
603 @subsection Octave check
606 Octave checks make octave errors easier to correct: a note may be
607 followed by @code{=}@var{quotes} which indicates what its absolute
608 octave should be. In the following example,
610 \relative c'' @{ c='' b=' d,='' @}
614 @c take care with @code, adds confusing quotes.
615 the d will generate a warning, because a d'' is expected, but a d' is
616 found. In the output, the octave is corrected this and the following
621 There is also a syntax that is separate from the notes.
626 This checks that @var{pitch} (without octave) yields @var{pitch} (with
627 octave) in \relative mode. If not, a warning is printed, and the
628 octave is corrected, for example, the first check is passed
629 successfully. The second check fails with an error message. The
630 octave is adjusted so the following notes are in the correct octave
641 The octave of a note following an octave check is determined with
642 respect to the note preceding it. In the next fragment, the last note
643 is a @code{a'}, above central C. Hence, the @code{\octave} check may
644 be deleted without changing the meaning of the piece.
646 @lilypond[verbatim,fragment]
655 @subsection Bar check
659 @cindex @code{barCheckSynchronize}
662 Bar checks help detect errors in the durations. A bar check is
663 entered using the bar symbol, `@code{|}'. Whenever it is encountered
664 during interpretation, it should fall on a measure boundary. If it
665 does not, a warning is printed. Depending on the value of
666 @code{barCheckSynchronize}, the beginning of the measure will be
669 In the next example, the second bar check will signal an error:
671 \time 3/4 c2 e4 | g2 |
674 Bar checks can also be used in lyrics, for example
679 Twin -- kle | Twin -- kle
684 @cindex skipTypesetting
686 Failed bar checks are caused by entering incorrect
687 durations. Incorrect durations often completely garble up the score,
688 especially if it is polyphonic, so you should start correcting the
689 score by scanning for failed bar checks and incorrect durations. To
690 speed up this process, you can use @code{skipTypesetting}, described
693 @node Skipping corrected music
694 @subsection Skipping corrected music
696 The property @code{Score.skipTypesetting} can be used to switch on and
697 off typesetting completely during the interpretation phase. When
698 typesetting is switched off, the music is processed much more quickly.
699 This can be used to skip over the parts of a score that have already
700 been checked for errors:
702 @lilypond[fragment,raggedright,verbatim]
704 \property Score.skipTypesetting = ##t
706 \property Score.skipTypesetting = ##f
710 @node Automatic note splitting
711 @subsection Automatic note splitting
713 Long notes can be converted automatically to tied notes. This is done
714 by replacing the @internalsref{Note_heads_engraver} by the
715 @internalsref{Completion_heads_engraver}.
716 In the following examples, notes crossing the barline are split and tied.
719 @lilypond[noindent,verbatim]
721 \remove "Note_heads_engraver"
722 \consists "Completion_heads_engraver"
724 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
728 This engraver splits all running notes at the bar line, and inserts
729 ties. One of its uses is to debug complex scores: if the measures are
730 not entirely filled, then the ties exactly show how much each measure
735 Not all durations (especially those containing tuplets) can be
736 represented exactly; the engraver will not insert tuplets.
740 Examples: @inputfileref{input/regression,completion-heads.ly}
742 Internals: @internalsref{Completion_heads_engraver}
746 @section Staff notation
748 This section describes music notation that occurs on staff level,
749 such as keys, clefs and time signatures.
751 @cindex Staff notation
765 @subsection Staff symbol
767 @cindex adjusting staff symbol
768 @cindex StaffSymbol, using \property
770 Notes, dynamic signs, etc. are grouped
771 with a set of horizontal lines, into a staff (plural `staves'). In our
772 system, these lines are drawn using a separate layout object called
776 @cindex staff lines, setting number of
777 @cindex staff lines, setting thickness of
778 @cindex thickness of staff lines, setting
779 @cindex number of staff lines, setting
783 Internals: @internalsref{StaffSymbol},
785 Examples: @inputfileref{input/test,staff-lines.ly},
786 @inputfileref{input/test,staff-size.ly}
790 If a staff is ended halfway a piece, the staff symbol may not end
791 exactly on the barline.
795 @subsection Key signature
796 @cindex Key signature
800 The key signature indicates the scale in which a piece is played. It
801 is denoted by a set of alterations (flats or sharps) at the start of
806 Setting or changing the key signature is done with the @code{\key}
809 @code{\key} @var{pitch} @var{type}
812 @cindex @code{\minor}
813 @cindex @code{\major}
814 @cindex @code{\minor}
815 @cindex @code{\ionian}
816 @cindex @code{\locrian}
817 @cindex @code{\aeolian}
818 @cindex @code{\mixolydian}
819 @cindex @code{\lydian}
820 @cindex @code{\phrygian}
821 @cindex @code{\dorian}
823 Here, @var{type} should be @code{\major} or @code{\minor} to get
824 @var{pitch}-major or @var{pitch}-minor, respectively.
825 The standard mode names @code{\ionian},
826 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
827 @code{\phrygian}, and @code{\dorian} are also defined.
829 This command sets the context property
830 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
831 can be specified by setting this property directly.
833 Accidentals and key signatures often confuse new users, because
834 unaltered notes get natural signs depending on the keysignature. The
835 tutorial explains why this is so in @ref{More about pitches}.
839 The ordering of a key cancellation is wrong when it is combined with
840 repeat bar lines. The cancellation is also printed after a line break.
844 Internals: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
846 @cindex @code{keySignature}
853 The clef indicates which lines of the staff correspond to which
858 The clef can be set or changed with the @code{\clef} command:
859 @lilypond[fragment,verbatim]
860 \key f\major c''2 \clef alto g'2
863 Supported clef-names include:
864 @c Moved standard clefs to the top /MB
868 @item treble, violin, G, G2
881 G clef on 1st line, so-called French violin clef
886 @cindex mezzosoprano clef
889 @cindex baritone clef
892 @cindex varbaritone clef
901 By adding @code{_8} or @code{^8} to the clef name, the clef is
902 transposed one octave down or up, respectively, and @code{_15} and
903 @code{^15} transposes by two octaves. The argument @var{clefname}
904 must be enclosed in quotes when it contains underscores or digits. For
908 @cindex choral tenor clef
909 @lilypond[verbatim,fragment,relative]
913 This command is equivalent to setting @code{clefGlyph},
914 @code{clefPosition} (which controls the Y position of the clef),
915 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
916 when any of these properties are changed.
920 Internals: the object for this symbol is @internalsref{Clef}.
924 @node Ottava brackets
925 @subsection Ottava brackets
927 ``Ottava'' brackets introduce an extra transposition of an octave for
928 the staff. They are created by invoking the function
929 @code{set-octavation}:
935 @lilypond[verbatim,fragment]
944 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
945 (for 15ma) as arguments. Internally the function sets the properties
946 @code{ottavation} (eg. to @code{"8va"}) and
947 @code{centralCPosition}. For overriding the text of the bracket, set
948 @code{ottavation} after invoking @code{set-octavation}, i.e.,
952 \property Staff.ottavation = #"8"
957 Internals: @internalsref{OttavaBracket}.
959 Examples: @inputfileref{input/regression,ottava.ly},
960 @inputfileref{input/regression,ottava-broken.ly}.
964 @code{set-octavation} will get confused when clef changes happen
965 during an octavation bracket.
968 @subsection Time signature
969 @cindex Time signature
973 Time signature indicates the metrum of a piece: a regular pattern of
974 strong and weak beats. It is denoted by a fraction at the start of the
979 The time signature is set or changed by the @code{\time}
981 @lilypond[fragment,verbatim]
982 \time 2/4 c'2 \time 3/4 c'2.
985 The symbol that is printed can be customized with the @code{style}
986 property. Setting it to @code{#'()} uses fraction style for 4/4 and
987 2/2 time. There are many more options for its layout. See
988 @inputfileref{input/test,time.ly} for more examples.
991 This command sets the property @code{timeSignatureFraction},
992 @code{beatLength} and @code{measureLength} in the @code{Timing}
993 context, which is normally aliased to @internalsref{Score}. The
994 property @code{measureLength} determines where bar lines should be
995 inserted, and how automatic beams should be generated. Changing the
996 value of @code{timeSignatureFraction} also causes the symbol to be
999 More options are available through the Scheme function
1000 @code{set-time-signature}. In combination with the
1001 @internalsref{Measure_grouping_engraver}, it will create
1002 @internalsref{MeasureGrouping} signs. Such signs ease reading
1003 rhythmically complex modern music. In the following example, the 9/8
1004 measure is subdivided in 2, 2, 2 and 3. This is passed to
1005 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
1008 \score { \notes \relative c'' {
1009 #(set-time-signature 9 8 '(2 2 2 3))
1010 g8[ g] d[ d] g[ g] a8[( bes g]) |
1011 #(set-time-signature 5 8 '(3 2))
1016 \translator { \StaffContext
1017 \consists "Measure_grouping_engraver"
1023 Internals: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1028 Automatic beaming does not use measure grouping specified with
1029 @code{set-time-signature}.
1031 @node Partial measures
1032 @subsection Partial measures
1035 @cindex partial measure
1036 @cindex measure, partial
1037 @cindex shorten measures
1038 @cindex @code{\partial}
1040 Partial measures, for example in upsteps, are entered using the
1041 @code{\partial} command:
1042 @lilypond[fragment,verbatim,relative=1]
1043 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1046 The syntax for this command is
1048 \partial @var{duration}
1050 This is internally translated into
1052 \property Timing.measurePosition = -@var{length of duration}
1055 The property @code{measurePosition} contains a rational number
1056 indicating how much of the measure has passed at this point.
1058 @node Unmetered music
1059 @subsection Unmetered music
1061 Bar lines and bar numbers are calculated automatically. For unmetered
1062 music (e.g. cadenzas), this is not desirable. By setting
1063 @code{Score.timing} to false, this automatic timing can be switched
1069 @cindex @code{\cadenzaOn}
1071 @cindex @code{\cadenzaOff}
1075 @subsection Bar lines
1079 @cindex measure lines
1083 Bar lines delimit measures, but are also used to indicate repeats.
1084 Normally, they are inserted automatically. Line breaks may only
1090 of barlines can be forced with the @code{\bar} command:
1092 @lilypond[relative=1,fragment,verbatim]
1096 The following bar types are available:
1097 @lilypond[fragment,relative,raggedright,verbatim]
1110 For allowing linebreaks, there is a special command,
1114 This will insert an invisible barline, and allow linebreaks at this
1117 In scores with many staves, a @code{\bar} command in one staff is
1118 automatically applied to all staves. The resulting bar lines are
1119 connected between different staves of a @internalsref{StaffGroup}:
1121 @lilypond[fragment,verbatim]
1122 << \context StaffGroup <<
1126 \new Staff { \clef bass c4 g e g } >>
1127 \new Staff { \clef bass c2 c2 } >>
1131 The command @code{\bar @var{bartype}} is a short cut for doing
1132 @code{\property Score.whichBar = @var{bartype}} Whenever
1133 @code{whichBar} is set to a string, a bar line of that type is
1134 created. At the start of a measure it is set to
1135 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1136 to override default measure bars.
1138 Property @code{whichBar} can also be set directly, using @code{\property}
1139 or @code{\bar}. These settings take precedence over the automatic
1140 @code{whichBar} settings.
1143 @cindex repeatCommands
1144 @cindex defaultBarType
1146 You are encouraged to use @code{\repeat} for repetitions. See
1153 In this manual: @ref{Repeats}.
1156 Internals: the bar line objects that are created at
1157 @internalsref{Staff} level are called @internalsref{BarLine}, the bar
1158 lines that span staves are @internalsref{SpanBar}s.
1160 @cindex bar lines at start of system
1161 @cindex start of system
1163 The barlines at the start of each system are
1164 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1165 @internalsref{SystemStartBracket}. Only one of these types is created
1166 in every context, and that type is determined by the property
1167 @code{systemStartDelimiter}.
1169 Examples: @inputfileref{input/test,bar-lines.ly},
1175 The easiest way to enter fragments with more than one voice on a staff
1176 is to split chords using the separator @code{\\}. You can use it for
1177 small, short-lived voices or for single chords:
1179 @lilypond[verbatim,fragment]
1180 \context Staff \relative c'' {
1181 c4 << { f d e } \\ { b c2 } >>
1182 c4 << g' \\ b, \\ f' \\ d >>
1186 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1187 voices are sometimes called "layers" other notation packages}
1189 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1190 each of these contexts, vertical direction of slurs, stems, etc. is set
1193 @cindex @code{\voiceOne}
1194 @cindex @code{\voiceFour}
1196 This can also be done by instantiating @internalsref{Voice} contexts
1197 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1198 a stem directions and horizontal shift for each part:
1201 @lilypond[raggedright,verbatim]
1203 \context Staff << \new Voice { \voiceOne cis2 b }
1204 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1205 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1209 The command @code{\oneVoice} will revert back to the normal setting.
1210 @cindex @code{\oneVoice}
1213 Normally, note heads with a different number of dots are not merged, but
1214 when the object property @code{merge-differently-dotted} is set in
1215 the @internalsref{NoteCollision} object, they are merged:
1216 @lilypond[verbatim,fragment,raggedright]
1217 \relative c'' \context Voice << {
1219 \property Staff.NoteCollision \override
1220 #'merge-differently-dotted = ##t
1222 } \\ { g8.[ f16] g8.[ f16] }
1226 Similarly, you can merge half note heads with eighth notes, by setting
1227 @code{merge-differently-headed}:
1228 @lilypond[fragment,relative=2,verbatim]
1231 \property Staff.NoteCollision
1232 \override #'merge-differently-headed = ##t
1233 c8 c4. } \\ { c2 c2 } >>
1236 LilyPond also vertically shifts rests that are opposite of a stem:
1239 @lilypond[raggedright,fragment,verbatim]
1240 \context Voice << c''4 \\ r4 >>
1248 @cindex @code{\oneVoice}
1250 @cindex @code{\voiceOne}
1252 @cindex @code{\voiceTwo}
1254 @cindex @code{\voiceThree}
1256 @cindex @code{\voiceFour}
1260 The following commands specify in what chords of the current voice
1261 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1262 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1265 @cindex @code{\shiftOn}
1267 @cindex @code{\shiftOnn}
1269 @cindex @code{\shiftOnnn}
1271 @cindex @code{\shiftOff}
1278 Internals: the objects responsible for resolving collisions are
1279 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1281 Examples: See also example files
1282 @inputfileref{input/regression,collision-dots.ly},
1283 @inputfileref{input/regression,collision-head-chords.ly},
1284 @inputfileref{input/regression,collision-heads.ly},
1285 @inputfileref{input/regression,collision-mesh.ly}, and
1286 @inputfileref{input/regression,collisions.ly}.
1291 Resolving collisions is a intricate subject, and only a few situations
1292 are handled. When LilyPond cannot cope, the @code{force-hshift}
1293 property of the @internalsref{NoteColumn} object and pitched rests can
1294 be used to override typesetting decisions.
1296 When using @code{merge-differently-headed} with an upstem 8th or a shorter
1297 note, and a downstem half note, the 8th note gets the wrong offset.
1299 There is no support for clusters where the same note occurs with
1300 different accidentals in the same chord. In this case, it is
1301 recommended to use enharmonic transcription, or to use special cluster
1302 notation (see @ref{Clusters}).
1307 Beams are used to group short notes into chunks that are aligned with
1308 the metrum. They are inserted automatically in most cases:
1310 @lilypond[fragment,verbatim,relative=2]
1311 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1314 When these automatic decisions are not good enough, beaming can be
1315 entered explicitly. It is also possible to define beaming patterns
1316 that differ from the defaults.
1320 Internals: @internalsref{Beam}.
1323 @cindex Automatic beams
1326 * Setting automatic beam behavior::
1330 @subsection Manual beams
1331 @cindex beams, manual
1335 In some cases it may be necessary to override the automatic beaming
1336 algorithm. For example, the auto beamer will not put beams over rests
1337 or bar lines. Such beams are specified by manually: the begin and end
1338 point are marked with @code{[} and @code{]}:
1340 @lilypond[fragment,relative,verbatim]
1342 r4 r8[ g' a r8] r8 g[ | a] r8
1346 @cindex @code{stemLeftBeamCount}
1348 Normally, beaming patterns within a beam are determined automatically.
1349 When this mechanism fouls up, the properties
1350 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
1351 be used to control the beam subdivision on a stem. If either property
1352 is set, its value will be used only once, and then it is erased.
1354 @lilypond[fragment,relative,verbatim]
1357 f8[ r16 \property Voice.stemLeftBeamCount = #1 f g a]
1360 @cindex @code{stemRightBeamCount}
1363 The property @code{subdivideBeams} can be set in order to subdivide
1364 all 16th or shorter beams at beat positions, as defined by the
1365 @code{beatLength} property . This accomplishes the same effect as
1366 twiddling with @code{stemLeftBeamCount} and @code{stemRightBeamCount},
1367 but it take less typing:
1370 @lilypond[relative=1,verbatim,noindent]
1372 \property Voice.subdivideBeams = ##t
1374 \property Score.beatLength = #(ly:make-moment 1 8)
1377 @cindex subdivideBeams
1379 Kneed beams are inserted automatically, when a large gap is detected
1380 between the note heads. This behavior can be tuned through the object
1381 property @code{auto-knee-gap}.
1383 Normally, line breaks are forbidden when beams cross bar lines. This
1384 behavior can be changed by setting @code{allowBeamBreak}.
1386 @cindex @code{allowBeamBreak}
1387 @cindex beams and line breaks
1389 @cindex beams, kneed
1391 @cindex auto-knee-gap
1397 @cindex Frenched staves
1399 Automatically kneed beams cannot be used together with hidden staves.
1404 @node Setting automatic beam behavior
1405 @subsection Setting automatic beam behavior
1407 @cindex @code{autoBeamSettings}
1408 @cindex @code{(end * * * *)}
1409 @cindex @code{(begin * * * *)}
1410 @cindex automatic beams, tuning
1411 @cindex tuning automatic beaming
1413 @c [TODO: use \applycontext]
1415 In normal time signatures, automatic beams can start on any note but can
1416 only end in a few positions within the measure: beams can end on a beat,
1417 or at durations specified by the properties in
1418 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1419 are defined in @file{scm/auto-beam.scm}.
1421 The value of @code{autoBeamSettings} is changed using
1422 @code{\override} and restored with @code{\revert}:
1424 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1425 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1427 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1428 whether the rule applies to begin or end-points. The quantity
1429 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1430 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1431 signature (wildcards `@code{* *}' may be entered to designate all time
1434 For example, if automatic beams should end on every quarter note, use
1437 \property Voice.autoBeamSettings \override
1438 #'(end * * * *) = #(ly:make-moment 1 4)
1440 Since the duration of a quarter note is 1/4 of a whole note, it is
1441 entered as @code{(ly:make-moment 1 4)}.
1443 The same syntax can be used to specify beam starting points. In this
1444 example, automatic beams can only end on a dotted quarter note:
1446 \property Voice.autoBeamSettings \override
1447 #'(end * * * *) = #(ly:make-moment 3 8)
1449 In 4/4 time signature, this means that automatic beams could end only on
1450 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1451 3/8, has passed within the measure).
1453 Rules can also be restricted to specific time signatures. A rule that
1454 should only be applied in @var{N}/@var{M} time signature is formed by
1455 replacing the second asterisks by @var{N} and @var{M}. For example, a
1456 rule for 6/8 time exclusively looks like
1458 \property Voice.autoBeamSettings \override
1459 #'(begin * * 6 8) = ...
1462 If a rule should be to applied only to certain types of beams, use the
1463 first pair of asterisks. Beams are classified according to the
1464 shortest note they contain. For a beam ending rule that only applies
1465 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1468 If a score ends while an automatic beam has not been ended and is still
1469 accepting notes, this last beam will not be typeset at all.
1471 @cindex automatic beam generation
1473 @cindex @code{Voice.autoBeaming}
1476 For melodies that have lyrics, you may want to switch off
1477 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1482 @cindex @code{\autoBeamOff}
1483 @code{\autoBeamOff},
1484 @cindex @code{\autoBeamOn}
1490 The rules for ending a beam depend on the shortest note in a beam.
1491 So, while it is possible to have different ending rules for eight
1492 beams and sixteenth beams, a beam that contains both eight and
1493 sixteenth notes will use the rules for the sixteenth beam.
1495 In the example below, the autobeamer makes eight beams and sixteenth
1496 end at 3 eights; the third beam can only be corrected by specifying
1499 @lilypond[raggedright,fragment,relative,noverbatim,quote]
1500 \property Voice.autoBeamSettings
1501 \override #'(end * * * *) = #(ly:make-moment 3 8)
1502 % rather show case where it goes wrong
1503 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1504 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1506 It is not possible to specify beaming parameters that act differently in
1507 different parts of a measure. This means that it is not possible to use
1508 automatic beaming in irregular meters such as @code{5/8}.
1511 @section Accidentals
1514 This section describes how to change the way that accidentals are
1515 inserted automatically before the running notes.
1519 * Using the predefined accidental variables::
1520 * Customized accidental rules::
1523 @node Using the predefined accidental variables
1524 @subsection Using the predefined accidental variables
1526 The constructs for describing the accidental typesetting rules are
1527 quite hairy, so non-experts should stick to the variables
1528 defined in @file{ly/property-init.ly}.
1529 @cindex @file{property-init.ly}
1531 The variables set properties in the ``@code{Current}'' context (see
1532 @ref{Context properties}). This means that the variables should
1533 normally be added right after the creation of the context in which the
1534 accidental typesetting described by the variable is to take
1535 effect. For example, if you want to use piano-accidentals in a piano
1536 staff then issue @code{\pianoAccidentals} first thing after the
1537 creation of the piano staff:
1540 \notes \relative c'' <<
1541 \new Staff @{ cis4 d e2 @}
1542 \context GrandStaff <<
1544 \new Staff @{ cis4 d e2 @}
1545 \new Staff @{ es2 c @}
1547 \new Staff @{ es2 c @}
1551 @lilypond[raggedright]
1553 \notes \relative c'' <<
1554 \new Staff { cis4 d e2 }
1555 \context GrandStaff <<
1557 \new Staff { cis4 d e2 }
1558 \new Staff { es2 c }
1560 \new Staff { es2 c }
1565 minimumVerticalExtent = #'(-4.0 . 4.0)
1573 @item \defaultAccidentals
1574 @cindex @code{\defaultAccidentals}
1575 This is the default typesetting behaviour. It should correspond
1576 to 18th century common practice: Accidentals are
1577 remembered to the end of the measure in which they occur and
1578 only on their own octave.
1580 @item \voiceAccidentals
1581 @cindex @code{\voiceAccidentals}
1583 The normal behaviour is to
1584 remember the accidentals on Staff-level. This variable, however,
1585 typesets accidentals individually for each voice. Apart from that the
1586 rule is similar to @code{\defaultAccidentals}.
1588 This leads to some weird and often unwanted results
1589 because accidentals from one voice do not get cancelled in other
1591 @lilypond[raggedright,relative,fragment,verbatim,quote]
1599 Hence you should only use @code{\voiceAccidentals} if the voices
1600 are to be read solely by individual musicians. If the staff is to be
1601 used by one musician (e.g. a conductor) then you use
1602 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1605 @item \modernAccidentals
1606 @cindex @code{\modernAccidentals}
1607 This rule corresponds to the common practice in the 20th
1609 The rule is more complex than @code{\defaultAccidentals}.
1610 You get all the same accidentals, but temporary
1611 accidentals also get cancelled in other octaves. Furthermore,
1612 in the same octave, they also get cancelled in the following measure:
1613 @lilypond[raggedright,fragment,verbatim]
1615 cis' c'' cis'2 | c'' c'
1618 @item \modernCautionaries
1619 @cindex @code{\modernCautionaries}
1620 This rule is similar to @code{\modernAccidentals}, but the
1621 ``extra'' accidentals (the ones not typeset by
1622 @code{\defaultAccidentals}) are typeset as cautionary accidentals.
1623 They are printed in reduced size or with parentheses:
1624 @lilypond[raggedright,fragment,verbatim]
1626 cis' c'' cis'2 | c'' c'
1629 @cindex @code{\modernVoiceAccidentals}
1630 @item \modernVoiceAccidentals
1631 is used for multivoice accidentals to be read both by musicians
1632 playing one voice and musicians playing all voices. Accidentals are
1633 typeset for each voice, but they @emph{are} cancelled across voices in
1634 the same @internalsref{Staff}.
1636 @cindex @code{\modernVoiceCautionaries}
1637 @item \modernVoiceCautionaries
1638 is the same as @code{\modernVoiceAccidentals}, but with the extra
1639 accidentals (the ones not typeset by @code{\voiceAccidentals}) typeset
1640 as cautionaries. Even though all accidentals typeset by
1641 @code{\defaultAccidentals} @emph{are} typeset by this variable then
1642 some of them are typeset as cautionaries.
1644 @item \pianoAccidentals
1645 @cindex @code{\pianoAccidentals}
1646 20th century practice for piano notation. Very similar to
1647 @code{\modernAccidentals} but accidentals also get cancelled
1648 across the staves in the same @internalsref{GrandStaff} or
1649 @internalsref{PianoStaff}.
1651 @item \pianoCautionaries
1652 @cindex @code{\pianoCautionaries}
1653 As @code{\pianoAccidentals} but with the extra accidentals
1654 typeset as cautionaries.
1657 @cindex @code{\noResetKey}
1658 Same as @code{\defaultAccidentals} but with accidentals lasting
1659 ``forever'' and not only until the next measure:
1660 @lilypond[raggedright,fragment,verbatim,relative]
1665 @item \forgetAccidentals
1666 @cindex @code{\forgetAccidentals}
1667 This is sort of the opposite of @code{\noResetKey}: Accidentals
1668 are not remembered at all---and hence all accidentals are
1669 typeset relative to the key signature, regardless of what was
1670 before in the music:
1671 @lilypond[raggedright,fragment,verbatim,relative]
1673 \key d\major c4 c cis cis d d dis dis
1677 @node Customized accidental rules
1678 @subsection Customized accidental rules
1680 For determining when to print an accidental, several different rules
1681 are tried. The rule that gives the highest number of accidentals is
1682 used. Each rule consists of
1685 In which context is the rule applied. For example, if
1686 @var{context} is @internalsref{Score} then all staves share
1687 accidentals, and if @var{context} is @internalsref{Staff} then all
1688 voices in the same staff share accidentals, but staves do not.
1690 Whether the accidental changes all octaves or only the current
1693 Over how many barlines the accidental lasts.
1694 If @var{lazyness} is @code{-1} then the accidental is forget
1695 immediately, and if @var{lazyness} is @code{#t} then the accidental
1698 @c [TODO: should use +infinity for this case?]
1704 @cindex @code{\defaultAccidentals}
1705 @code{\defaultAccidentals},
1706 @cindex @code{\voiceAccidentals}
1707 @code{\voiceAccidentals},
1708 @cindex @code{\modernAccidentals}
1709 @code{\modernAccidentals},
1710 @cindex @code{\modernCautionaries}
1711 @code{\modernCautionaries},
1712 @cindex @code{\modernVoiceAccidentals}
1713 @code{\modernVoiceAccidentals},
1714 @cindex @code{\modernVoiceCautionaries}
1715 @code{\modernVoiceCautionaries},
1716 @cindex @code{\pianoAccidentals}
1717 @code{\pianoAccidentals},
1718 @cindex @code{\pianoCautionaries}
1719 @code{\pianoCautionaries},
1720 @cindex @code{\noResetKey}
1722 @cindex @code{\forgetAccidentals}
1723 @code{\forgetAccidentals}.
1727 Internals: @internalsref{Accidental_engraver},
1728 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1733 Currently the simultaneous notes are considered to be entered in
1734 sequential mode. This means that in a chord the accidentals are
1735 typeset as if the notes in the chord happened once at a time - in the
1736 order in which they appear in the input file.
1738 This is only a problem when there are simultaneous notes whose
1739 accidentals depend on each other. The problem only occurs when using
1740 non-default accidentals. In the default scheme, accidentals only
1741 depend on other accidentals with the same pitch on the same staff, so
1742 no conflicts possible.
1744 This example shows two examples of the same music giving different
1745 accidentals depending on the order in which the notes occur in the
1748 @lilypond[raggedright,fragment,verbatim]
1749 \property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1750 cis'4 <c'' c'> r2 | cis'4 <c' c''> r2
1751 | <cis' c''> r | <c'' cis'> r |
1754 This problem can be solved by manually inserting @code{!} and @code{?}
1755 for the problematic notes.
1757 @node Expressive marks
1758 @section Expressive marks
1761 @c todo: should change ordering
1762 @c where to put text spanners, metronome marks,
1771 * Analysis brackets::
1773 * Fingering instructions::
1784 A slur indicates that notes are to be played bound or @emph{legato}.
1788 They are entered using parentheses:
1789 @lilypond[relative=1,fragment,verbatim,center]
1790 f( g)( a) a8 b( a4 g2 f4)
1795 @c TODO: should explain that ^( and _( set directions
1796 @c should set attachments with ^ and _ ?
1798 Slurs avoid crossing stems, and are generally attached to note heads.
1799 However, in some situations with beams, slurs may be attached to stem
1800 ends. If you want to override this layout you can do this through the
1801 object property @code{attachment} of @internalsref{Slur} in
1802 @internalsref{Voice} context. Its value is a pair of symbols, specifying
1803 the attachment type of the left and right end points:
1805 @lilypond[fragment,relative,verbatim]
1807 \property Voice.Stem \set #'length = #5.5
1809 \property Voice.Slur \set #'attachment = #'(stem . stem)
1813 If a slur would strike through a stem or beam, the slur will be moved
1814 away upward or downward. If this happens, attaching the slur to the
1815 stems might look better:
1817 @lilypond[fragment,relative,verbatim]
1820 \property Voice.Slur \set #'attachment = #'(stem . stem)
1827 @cindex @code{\slurUp}
1829 @cindex @code{\slurDown}
1831 @cindex @code{\slurBoth}
1833 @cindex @code{\slurDotted}
1835 @cindex @code{\slurSolid}
1840 Internals: @seeinternals{Slur}, and @internalsref{SlurEvent}.
1845 Producing nice slurs is a difficult problem, and LilyPond currently
1846 uses a simple, empiric method to produce slurs. In some cases, its
1850 @cindex Adjusting slurs
1852 @node Phrasing slurs
1853 @subsection Phrasing slurs
1855 @cindex phrasing slurs
1856 @cindex phrasing marks
1858 A phrasing slur (or phrasing mark) connects chords and is used to
1859 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1862 @lilypond[fragment,verbatim,center,relative]
1863 \time 6/4 c'\( d( e) f( e) d\)
1866 Typographically, the phrasing slur behaves almost exactly like a
1867 normal slur. However, they are treated as different objects. A
1868 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1869 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1870 @code{\phrasingSlurBoth}.
1872 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1873 will only affect normal slurs and not phrasing slurs.
1877 @cindex @code{\phrasingSlurUp}
1878 @code{\phrasingSlurUp},
1879 @cindex @code{\phrasingSlurDown}
1880 @code{\phrasingSlurDown},
1881 @cindex @code{\phrasingSlurBoth}
1882 @code{\phrasingSlurBoth},
1886 Internals: see also @internalsref{PhrasingSlur}, and
1887 @internalsref{PhrasingSlurEvent}.
1891 Phrasing slurs have the same limitations in their formatting as normal
1892 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1895 @subsection Breath marks
1897 Breath marks are entered using @code{\breathe}:
1900 @lilypond[fragment,relative,verbatim]
1904 The glyph of the breath mark can be tweaked by overriding the
1905 @code{text} property of the @code{BreathingSign} layout object with
1906 any markup text. For example,
1907 @lilypond[fragment,verbatim,relative]
1909 \property Voice.BreathingSign \override #'text
1910 = #(make-musicglyph-markup "scripts-rvarcomma")
1917 Internals: @internalsref{BreathingSign},
1918 @internalsref{BreathingSignEvent}
1920 Examples: @inputfileref{input/regression,breathing-sign.ly}.
1923 @node Metronome marks
1924 @subsection Metronome marks
1927 @cindex beats per minute
1928 @cindex metronome marking
1930 Metronome settings can be entered as follows:
1932 \tempo @var{duration} = @var{perminute}
1935 In the MIDI output, they are interpreted as a tempo change, and in the
1936 paper output, a metronome marking is printed:
1937 @cindex @code{\tempo}
1938 @lilypond[fragment,verbatim]
1944 Internals: @internalsref{MetronomeChangeEvent}.
1949 @subsection Text spanners
1950 @cindex Text spanners
1952 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1953 are written as texts, and extended over many measures with dotted
1954 lines. You can create such texts using text spanners: attach
1955 @code{\startTextSpan} and @code{\stopTextSpan} to the
1956 start and ending note of the spanner.
1958 The string to be printed, as well as the style, is set through object
1961 @lilypond[fragment,relative,verbatim]
1963 \property Voice.TextSpanner \set #'direction = #-1
1964 \property Voice.TextSpanner \set #'edge-text = #'("rall " . "")
1965 c2\startTextSpan b c\stopTextSpan a }
1971 Internals @internalsref{TextSpanEvent},
1972 @internalsref{TextSpanner}.
1974 Examples: @inputfileref{input/regression,text-spanner.ly}.
1977 @node Analysis brackets
1978 @subsection Analysis brackets
1980 @cindex phrasing brackets
1981 @cindex musicological analysis
1982 @cindex note grouping bracket
1984 Brackets are used in musical analysis to indicate structure in musical
1985 pieces. LilyPond supports a simple form of nested horizontal brackets.
1986 To use this, add the @internalsref{Horizontal_bracket_engraver} to
1987 @internalsref{Staff} context. A bracket is started with
1988 @code{\startGroup} and closed with @code{\stopGroup}:
1990 @lilypond[raggedright,verbatim]
1991 \score { \notes \relative c'' {
1992 c4\startGroup\startGroup
1995 c4\stopGroup\stopGroup
1997 \paper { \translator {
1998 \StaffContext \consists "Horizontal_bracket_engraver"
2004 Internals: @internalsref{HorizontalBracket},
2005 @internalsref{NoteGroupingEvent}
2007 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
2011 @subsection Articulations
2012 @cindex Articulations
2014 @cindex articulations
2018 A variety of symbols can appear above and below notes to indicate
2019 different characteristics of the performance. They are added to a note
2020 by adding a dash and the character signifying the
2021 articulation. They are demonstrated here:
2023 @lilypondfile[notexidoc]{script-abbreviations.ly}
2025 The meanings of these shorthands can be changed: see
2026 @file{ly/script-init.ly} for examples.
2029 The script is automatically placed, but if you need to force
2030 directions, you can use @code{_} to force them down, or @code{^} to
2032 @lilypond[fragment,verbatim]
2036 Other symbols can be added using the syntax
2037 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
2038 can be forced up or down using @code{^} and @code{_},
2041 @lilypond[verbatim,fragment,relative=2]
2042 c\fermata c^\fermata c_\fermata
2049 @cindex staccatissimo
2058 @cindex organ pedal marks
2067 @cindex prallmordent
2071 @cindex thumb marking
2076 @lilypondfile[notexidoc]{script-chart.ly}
2081 @cindex @code{\scriptUp}
2083 @cindex @code{\scriptDown}
2085 @cindex @code{\scriptBoth}
2090 Internals: @internalsref{ScriptEvent}, and @internalsref{Script}.
2094 These note ornaments appear in the printed output but have no
2095 effect on the MIDI rendering of the music.
2098 @node Fingering instructions
2099 @subsection Fingering instructions
2103 Fingering instructions can be entered using
2105 @var{note}-@var{digit}
2107 For finger changes, use markup texts:
2109 @lilypond[verbatim,raggedright,fragment]
2110 c'4-1 c'4-2 c'4-3 c'4-4
2111 c'^\markup { \fontsize #-3 \number "2-3" }
2114 @cindex finger change
2119 You can use the thumb-script to indicate that a note should be
2120 played with the thumb (e.g. in cello music):
2122 @lilypond[verbatim,raggedright,fragment]
2123 <a' a''-3>8(_\thumb <b' b''-3>)_\thumb
2124 <c'' c'''-3>(_\thumb <d'' d'''-3>)_\thumb
2127 Fingerings for chords can also be added to individual notes
2128 of the chord by adding them after the pitches:
2129 @lilypond[verbatim,raggedright,fragment,relative=1]
2130 < c-1 e-2 g-3 b-5 > 4
2134 In this case, setting @code{fingeringOrientations} will put fingerings next
2137 @lilypond[verbatim,raggedright,fragment,relative=1]
2138 \property Voice.fingeringOrientations = #'(left down)
2139 <c-1 es-2 g-4 bes-5 > 4
2140 \property Voice.fingeringOrientations = #'(up right down)
2141 <c-1 es-2 g-4 bes-5 > 4
2144 By using single note chords, fingering instructions can be put close
2145 to note heads in monophonic music.
2149 Internals: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2151 Examples: @inputfileref{input/regression,finger-chords.ly}
2154 @subsection Text scripts
2155 @cindex Text scripts
2157 @cindex text items, non-empty
2158 @cindex non-empty texts
2160 It is possible to place arbitrary strings of text or markup text (see
2161 @ref{Text markup}) above or below notes by using a string:
2162 @code{c^"text"}. By default, these indications do not influence the
2163 note spacing, but by using the command @code{\fatText}, the widths
2164 will be taken into account:
2166 @lilypond[fragment,raggedright,verbatim] \relative c' {
2167 c4^"longtext" \fatText c4_"longlongtext" c4 }
2170 It is possible to use @TeX{} commands in the strings, but this should
2171 be avoided because the exact dimensions of the string can then no
2176 @refcommand{fatText}, @refcommand{emptyText}.
2181 In this manual: @ref{Text markup}.
2183 Internals: @internalsref{TextScriptEvent}, @internalsref{TextScript}
2189 @subsection Grace notes
2192 @c should have blurb about accaciatura / appogiatura
2194 @cindex @code{\grace}
2198 Grace notes are ornaments that are written out. The most common ones
2199 are acciaccatura, which should be played as very short. It is denoted
2200 by a slurred small note with a slashed stem. The appoggiatura is a
2201 grace note that takes a fixed fraction of the main note, is and
2202 denoted as a slurred note in small print without a slash.
2203 They are entered with the commands @code{\acciaccatura} and
2204 @code{\appoggiatura}, as demonstrated in the following example:
2207 @cindex appoggiatura
2208 @cindex acciaccatura
2210 @lilypond[relative=2,verbatim,fragment]
2211 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2212 \acciaccatura { g16[ f] } e4
2215 Both are special forms of the @code{\grace} command. By prefixing this
2216 keyword to a music expression, a new one is formed, which will be
2217 printed in a smaller font and takes up no logical time in a measure.
2218 @lilypond[relative=2,verbatim,fragment]
2220 \grace { c16[ d16] } c2 c4
2224 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2225 @code{\grace} command does not start a slur.
2227 Internally, timing for grace notes is done using a second, `grace'
2228 time. Every point in time consists of two rational numbers: one
2229 denotes the logical time, one denotes the grace timing. The above
2230 example is shown here with timing tuples:
2232 @lilypond[raggedright]
2235 c4 \grace c16 c4 \grace {
2238 \new Lyrics \lyrics {
2241 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2242 \markup { (\fraction 1 4 , 0 ) } 4
2244 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2245 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2247 \markup { ( \fraction 2 4 , 0 ) }
2252 The placement of grace notes is synchronized between different staves.
2253 In the following example, there are two sixteenth graces notes for
2254 every eighth grace note:
2256 @lilypond[relative=2,verbatim,fragment]
2257 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2258 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2263 If you want to end a note with a grace, then the standard trick
2264 is to put the grace notes after a ``space note'', e.g.
2265 @lilypond[fragment,verbatim,relative=2]
2268 { s2 \grace { c16[ d] } } >>
2274 By adjusting the duration of the skip note (here it is a half-note),
2275 the space between the main-note and the grace is adjusted.
2278 A @code{\grace} section will introduce special typesetting settings,
2279 for example, to produce smaller type, and set directions. Hence, when
2280 introducing layout tweaks, they should be inside the grace section,
2282 @lilypond[fragment,verbatim,relative=1]
2285 \property Voice.Stem \override #'direction = #-1
2287 \property Voice.Stem \revert #'direction
2294 The overrides should also be reverted inside the grace section.
2296 If the layout of grace sections must be changed throughout the music,
2297 then this can be accomplished through the function
2298 @code{add-grace-property}. The following example
2299 undefines the Stem direction grace section, so stems do not always
2304 #(add-grace-property "Voice" Stem direction '())
2310 Another option is to change the variables @code{startGraceMusic},
2311 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2312 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2313 @code{stopAppoggiaturaMstuic}. More information is in the file
2314 @file{ly/grace-init.ly}
2319 Internals: @internalsref{GraceMusic}.
2323 A score that starts with an @code{\grace} section needs an explicit
2324 @code{\context Voice} declaration, otherwise the main note and grace
2325 note end up on different staves.
2327 Grace note synchronization can also lead to surprises. Staff notation,
2328 such as key signatures, barlines, etc. are also synchronized. Take
2329 care when you mix staves with grace notes and staves without, for example,
2331 @lilypond[relative=2,verbatim,fragment]
2332 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2333 \new Staff { c4 \bar "|:" d4 } >>
2336 Grace sections should only be used within sequential music
2337 expressions. Nesting or juxtaposing grace sections is not supported,
2338 and might produce crashes or other errors.
2342 @subsection Glissando
2345 @cindex @code{\glissando}
2347 A glissando is a smooth change in pitch. It is denoted by a line or a
2348 wavy line between two notes.
2352 A glissando line can be requested by attaching a @code{\glissando} to
2355 @lilypond[fragment,relative,verbatim]
2361 Internals: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2366 Adding additional texts (such as @emph{gliss.}) is not supported.
2370 @subsection Dynamics
2383 @cindex @code{\ffff}
2393 Absolute dynamic marks are specified using an variable after a
2394 note: @code{c4\ff}. The available dynamic marks are @code{\ppp},
2395 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2396 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2397 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
2399 @lilypond[verbatim,raggedright,fragment,relative]
2400 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2406 @cindex @code{\decr}
2407 @cindex @code{\rced}
2414 A crescendo mark is started with @code{\<} and terminated with
2415 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2416 with @code{\!}. Because these marks are bound to notes, if you must
2417 use spacer notes if multiple marks during one note are needed:
2419 @lilypond[fragment,verbatim,center,quote]
2420 c''\< c''\! d''\decr e''\rced
2421 << f''1 { s4 s4\< s4\! \> s4\! } >>
2423 This may give rise to very short hairpins. Use @code{minimum-length}
2424 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2428 \property Staff.Hairpin \override #'minimum-length = #5
2431 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2432 is an example how to do it:
2434 @lilypond[fragment,relative=2,verbatim]
2435 c4 \cresc c4 c c c \endcresc c4
2441 You can also supply your own texts:
2442 @lilypond[fragment,relative,verbatim]
2444 \property Voice.crescendoText = \markup { \italic "cresc. poco" }
2445 \property Voice.crescendoSpanner = #'dashed-line
2455 @cindex @code{\dynamicUp}
2457 @cindex @code{\dynamicDown}
2458 @code{\dynamicDown},
2459 @cindex @code{\dynamicBoth}
2460 @code{\dynamicBoth}.
2462 @cindex direction, of dynamics
2466 Internals: @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, and
2467 @internalsref{AbsoluteDynamicEvent}.
2469 Dynamics are objects of @internalsref{DynamicText} and
2470 @internalsref{Hairpin}. Vertical positioning of these symbols is
2471 handled by the @internalsref{DynamicLineSpanner} object.
2473 If you want to adjust padding or vertical direction of the dynamics, you
2474 must set properties for the @internalsref{DynamicLineSpanner} object.
2482 @cindex @code{\repeat}
2485 Repetition is a central concept in music, and multiple notations exist
2486 for repetitions. In LilyPond, most of these notations can be captured
2487 in a uniform syntax. One of the advantages is that they can be
2488 rendered in MIDI accurately.
2490 The following types of repetition are supported:
2494 Repeated music is fully written (played) out. Useful for MIDI
2495 output, and entering repetitive music.
2498 This is the normal notation: Repeats are not written out, but
2499 alternative endings (voltas) are printed, left to right.
2503 Alternative endings are written stacked. This has limited use but may be
2504 used to typeset two lines of lyrics in songs with repeats, see
2505 @inputfileref{input,star-spangled-banner.ly}.
2513 Make beat or measure repeats. These look like percent signs.
2519 * Repeats and MIDI::
2520 * Manual repeat commands::
2522 * Tremolo subdivisions::
2527 @subsection Repeat syntax
2531 LilyPond has one syntactic construct for specifying different types of
2532 repeats. The syntax is
2535 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2538 If you have alternative endings, you may add
2539 @cindex @code{\alternative}
2541 \alternative @code{@{} @var{alternative1}
2543 @var{alternative3} @dots{} @code{@}}
2545 where each @var{alternative} is a music expression. If you do not
2546 give enough alternatives for all of the repeats, then the first
2547 alternative is assumed to be played more than once.
2549 Normal notation repeats are used like this:
2550 @lilypond[fragment,verbatim,relative=1]
2552 \repeat volta 2 { c4 d e f }
2553 \repeat volta 2 { f e d c }
2556 With alternative endings:
2557 @lilypond[fragment,verbatim,relative=1]
2559 \repeat volta 2 {c4 d e f}
2560 \alternative { {d2 d} {f f,} }
2564 @lilypond[fragment,verbatim,relative=1]
2567 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2568 \alternative { { g4 g g } { a | a a a a | b2. } }
2574 If you do a nested repeat like
2583 then it is ambiguous to which @code{\repeat} the @code{\alternative}
2584 belongs. This ambiguity is resolved by always having the
2585 @code{\alternative} belong to the inner @code{\repeat}. For clarity,
2586 it is advisable to use braces in such situations.
2589 @node Repeats and MIDI
2590 @subsection Repeats and MIDI
2592 @cindex expanding repeats
2594 For instructions on how to unfold repeats for MIDI output, see the
2595 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2600 Timing information is not remembered at the start of an alternative,
2601 so after a repeat timing information must be reset by hand, for
2602 example by setting @code{Score.measurePosition} or entering
2603 @code{\partial}. Similarly, slurs or ties are also not repeated.
2606 @node Manual repeat commands
2607 @subsection Manual repeat commands
2609 @cindex @code{repeatCommands}
2611 The property @code{repeatCommands} can be used to control the layout of
2612 repeats. Its value is a Scheme list of repeat commands, where each repeat
2616 @item the symbol @code{start-repeat},
2617 which prints a @code{|:} bar line,
2618 @item the symbol @code{end-repeat},
2619 which prints a @code{:|} bar line,
2620 @item the list @code{(volta @var{text})},
2621 which prints a volta bracket saying @var{text}: The text can be specified as
2622 a text string or as a markup text, see @ref{Text markup}. Do not
2623 forget to change the font, as the default number font does not contain
2624 alphabetic characters. Or,
2625 @item the list @code{(volta #f)}, which
2626 stops a running volta bracket:
2629 @lilypond[verbatim,fragment,relative=2]
2631 \property Score.repeatCommands = #'((volta "93") end-repeat)
2633 \property Score.repeatCommands = #'((volta #f))
2640 Internals: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2641 @internalsref{VoltaRepeatedMusic},
2642 @internalsref{UnfoldedRepeatedMusic}, and
2643 @internalsref{FoldedRepeatedMusic}.
2645 @node Tremolo repeats
2646 @subsection Tremolo repeats
2647 @cindex tremolo beams
2649 To place tremolo marks between notes, use @code{\repeat} with tremolo
2651 @lilypond[verbatim,raggedright]
2653 \context Voice \notes\relative c' {
2654 \repeat "tremolo" 8 { c16 d16 }
2655 \repeat "tremolo" 4 { c16 d16 }
2656 \repeat "tremolo" 2 { c16 d16 }
2661 Tremolo marks can also be put on a single note. In this case, the
2662 note should not be surrounded by braces.
2663 @lilypond[verbatim,raggedright]
2664 \repeat "tremolo" 4 c16
2667 A similar mechanism is the tremolo subdivision, described in
2668 @ref{Tremolo subdivisions}.
2672 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2674 Internals: tremolo beams are @internalsref{Beam} objects. Single stem
2675 tremolos are @internalsref{StemTremolo}s. The music expression is
2676 @internalsref{TremoloEvent},
2678 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2679 @inputfileref{input/regression,stem-tremolo.ly}.
2681 @node Tremolo subdivisions
2682 @subsection Tremolo subdivisions
2683 @cindex tremolo marks
2684 @cindex @code{tremoloFlags}
2686 Tremolo marks can be printed on a single note by adding
2687 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2688 A @var{length} value of 8 gives one line across the note stem. If the
2689 length is omitted, then then the last value (stored in
2690 @code{Voice.tremoloFlags}) is used:
2692 @lilypond[verbatim,fragment,center]
2693 c'2:8 c':32 | c': c': |
2696 @c [TODO : stok is te kort bij 32en]
2700 Tremolos in this style do not carry over into the MIDI output.
2704 In this manual: @ref{Tremolo repeats}.
2706 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
2708 @node Measure repeats
2709 @subsection Measure repeats
2711 @cindex percent repeats
2712 @cindex measure repeats
2714 In the @code{percent} style, a note pattern can be repeated. It is
2715 printed once, and then the pattern is replaced with a special sign.
2716 Patterns of a one and two measures are replaced by percent-like signs,
2717 patterns that divide the measure length are replaced by slashes:
2719 @lilypond[verbatim,raggedright]
2720 \context Voice { \repeat "percent" 4 { c'4 }
2721 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2727 Internals: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2728 @internalsref{PercentRepeatedMusic}, and
2729 @internalsref{DoublePercentRepeat}.
2733 @node Rhythmic music
2734 @section Rhythmic music
2738 * Showing melody rhythms::
2739 * Percussion staves::
2743 @node Showing melody rhythms
2744 @subsection Showing melody rhythms
2746 Sometimes you might want to show only the rhythm of a melody. This
2747 can be done with the rhythmic staff. All pitches of notes on such a
2748 staff are squashed, and the staff itself has a single line:
2750 @lilypond[fragment,relative,verbatim]
2751 \context RhythmicStaff {
2753 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2759 Internals: @internalsref{RhythmicStaff}.
2761 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
2764 @node Percussion staves
2765 @subsection Percussion staves
2769 A percussion part for more than one instrument typically uses a
2770 multiline staff where each position in the staff refers to one piece
2775 Percussion notes may be entered in @code{\drums} mode, which is
2776 similar to @code{notes}. Each piece of percussion has a full name and
2777 an abbreviated name, and both be used in input files:
2779 @lilypond[raggedright]
2780 \drums { hihat4 hh4 }
2783 To typeset the music, the notes must be interpreted in a
2784 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts:
2787 @lilypond[raggedright,verbatim,quote]
2788 up = \drums { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2789 down = \drums { bassdrum4 snare8 bd r bd sn4 }
2792 << \new DrumVoice { \voiceOne \up }
2793 \new DrumVoice { \voiceTwo \down }
2797 There are also other layout possibilities. To use these, set the
2798 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
2799 The following variables have been predefined:
2803 is the default. It typesets a typical drum kit on a five-line staff
2806 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2807 bd sn ss tomh tommh tomml toml tomfh tomfl }
2808 mus = \drums { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
2809 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2811 << \new DrumStaff\with {
2812 \remove Bar_engraver
2813 \remove Time_signature_engraver
2814 Stem \set #'transparent = ##t
2815 Stem \set #'Y-extent-callback = ##f
2816 minimumVerticalExtent = #'(-4.0 . 5.0)
2818 \context LyricsVoice \nam
2821 %% need to do this, because of indented @itemize
2823 \translator { \ScoreContext
2824 BarNumber \set #'transparent =##T
2828 The drum scheme supports six different toms. When there fewer toms, simply
2829 select the toms that produce the desired result, i.e. to get toms on
2830 the three middle lines you use @code{tommh}, @code{tomml} and
2833 @item timbales-style
2834 to typeset timbales on a two line staff:
2836 @lilypond[raggedright]
2837 nam = \lyrics { timh ssh timl ssl cb }
2838 mus = \drums { timh ssh timl ssl cb s16 }
2841 \context DrumStaff \with {
2842 \remove Bar_engraver
2843 \remove Time_signature_engraver
2844 Stem \set #'transparent = ##t
2845 Stem \set #'Y-extent-callback = ##f
2846 StaffSymbol \override #'line-count = #2
2847 StaffSymbol \override #'staff-space = #2
2848 minimumVerticalExtent = #'(-3.0 . 4.0)
2849 drumStyleTable = #timbales-style
2851 \context LyricsVoice \nam
2856 to typeset congas on a two line staff:
2858 @lilypond[raggedright]
2859 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2860 mus = \drums { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2863 \context DrumStaff\with {
2864 \remove Bar_engraver
2865 \remove Time_signature_engraver
2866 drumStyleTable = #congas-style
2867 StaffSymbol \override #'line-count = #2
2869 %% this sucks; it will lengthen stems.
2870 StaffSymbol \override #'staff-space = #2
2871 Stem \set #'transparent = ##t
2872 Stem \set #'Y-extent-callback = ##f
2874 \context LyricsVoice \nam
2879 to typeset bongos on a two line staff:
2881 @lilypond[raggedright]
2882 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2883 mus = \drums { boh boho bohm ssh bol bolo bolm ssl s16 }
2886 \context DrumStaff\with {
2887 \remove Bar_engraver
2888 \remove Time_signature_engraver
2889 StaffSymbol \override #'line-count = #2
2890 drumStyleTable = #bongos-style
2892 %% this sucks; it will lengthen stems.
2893 StaffSymbol \override #'staff-space = #2
2894 Stem \set #'transparent = ##t
2895 Stem \set #'Y-extent-callback = ##f
2897 \context LyricsVoice \nam
2902 @item percussion-style
2903 to typeset all kinds of simple percussion on one line staves:
2904 @lilypond[raggedright]
2905 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2906 mus = \drums { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2909 \context DrumStaff\with{
2910 \remove Bar_engraver
2911 drumStyleTable = #percussion-style
2912 StaffSymbol \override #'line-count = #1
2913 \remove Time_signature_engraver
2914 Stem \set #'transparent = ##t
2915 Stem \set #'Y-extent-callback = ##f
2917 \context LyricsVoice \nam
2923 If you do not like any of the predefined lists you can define your own
2924 list at the top of your file:
2926 @lilypond[raggedright,verbatim]
2928 (bassdrum default #f -1)
2929 (snare default #f 0)
2931 (pedalhihat xcircle "stopped" 2)
2932 (lowtom diamond #f 3)
2934 up = \drums { hh8 hh hh hh hhp4 hhp }
2935 down = \drums { bd4 sn bd toml8 toml }
2938 \property DrumStaff.drumStyleTable
2939 = #(alist->hash-table mydrums)
2940 \new DrumVoice { \voiceOne \up }
2941 \new DrumVoice { \voiceTwo \down }
2949 Init files: @file{ly/drumpitch-init.ly}
2951 Internals: @internalsref{DrumStaff}, @internalsref{DrumVoice}
2955 Short polyphonic notation, @code{<< @dots{} \\ @dots{} >>}, does not
2956 work for @internalsref{DrumVoices}.
2958 Because general MIDI does not contain rimshots the sidestick is used
2959 for this purpose instead.
2962 @section Piano music
2964 Piano staves are two normal staves coupled with a brace. The staves
2965 are largely independent, but sometimes voices can cross between the
2966 two staves. The same notation is also used for harps and other key
2967 instruments. The @internalsref{PianoStaff} is especially built to
2968 handle this cross-staffing behavior. In this section we discuss the
2969 @internalsref{PianoStaff} and some other pianistic peculiarities.
2973 * Automatic staff changes::
2974 * Manual staff switches::
2977 * Staff switch lines::
2982 There is no support for putting chords across staves. You can get
2983 this result by increasing the length of the stem in the lower stave so
2984 it reaches the stem in the upper stave, or vice versa. An example is
2985 included with the distribution as
2986 @inputfileref{input/test,stem-cross-staff.ly}.
2988 Dynamics are not centered, but kludges do exist. See
2989 @inputfileref{input/template,piano-dynamics.ly}.
2991 @cindex cross staff stem
2992 @cindex stem, cross staff
2995 @c fixme: should have hyperlinks as well.
3001 @node Automatic staff changes
3002 @subsection Automatic staff changes
3003 @cindex Automatic staff changes
3005 Voices can switch automatically between the top and the bottom
3006 staff. The syntax for this is
3008 \autochange \context Voice @{ @dots{}@var{music}@dots{} @}
3010 The two staffs of the piano staff must be named @code{up} and
3013 The autochanger switches on basis of pitch (central C is the turning
3014 point), and it looks ahead skipping over rests to switch in
3015 advance. Here is a practical example:
3017 @lilypond[verbatim,raggedright,quote]
3018 \score { \notes \context PianoStaff <<
3019 \context Staff = "up" {
3020 \autochange \new Voice \relative c' {
3021 g4 a b c d r4 a g } }
3022 \context Staff = "down" {
3029 In this example, spacer rests are used to prevent the bottom staff from
3030 terminating too soon.
3035 In this manual: @ref{Manual staff switches}
3037 Internals: @internalsref{AutoChangeMusic}.
3043 The staff switches often do not end up in optimal places. For high
3044 quality output, staff switches should be specified manually.
3048 @node Manual staff switches
3049 @subsection Manual staff switches
3051 @cindex manual staff switches
3052 @cindex staff switch, manual
3054 Voices can be switched between staves manually, using the following command:
3056 \change Staff = @var{staffname} @var{music}
3060 The string @var{staffname} is the name of the staff. It switches the
3061 current voice from its current staff to the Staff called
3062 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3071 Pianos have pedals that alter the way sound are produced. Generally, a
3072 piano has three pedals, sustain, una corda, and sostenuto.
3076 Piano pedal instruction can be expressed by attaching
3077 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3078 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3081 @lilypond[fragment,verbatim]
3082 c'4\sustainDown c'4\sustainUp
3085 What is printed can be modified by setting @code{pedal@var{X}Strings},
3086 where @var{X} is one of the pedal types: @code{Sustain},
3087 @code{Sostenuto} or @code{UnaCorda}. Refer to the generated
3088 documentation of @internalsref{SustainPedal} for more information.
3090 Pedals can also be indicated by a sequence of brackets, by setting the
3091 @code{pedalSustainStyle} property to @code{bracket} objects:
3093 @lilypond[fragment,verbatim]
3094 \property Staff.pedalSustainStyle = #'bracket
3095 c''4\sustainDown d''4 e''4
3096 a'4\sustainUp\sustainDown
3097 f'4 g'4 a'4\sustainUp
3100 A third style of pedal notation is a mixture of text and brackets,
3101 obtained by setting the @code{pedalSustainStyle} style property to
3104 @lilypond[fragment,verbatim]
3105 \property Staff.pedalSustainStyle = #'mixed
3106 c''4\sustainDown d''4 e''4
3107 c'4\sustainUp\sustainDown
3108 f'4 g'4 a'4\sustainUp
3111 The default `*Ped' style for sustain and damper pedals corresponds to
3112 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3115 @lilypond[fragment,verbatim]
3116 c''4\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4\sostenutoUp
3119 For fine-tuning of the appearance of a pedal bracket, the properties
3120 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3121 @code{PianoPedalBracket} objects (see
3122 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3123 bracket may be extended to the end of the note head:
3125 @lilypond[fragment,verbatim]
3126 \property Staff.PianoPedalBracket \override
3127 #'shorten-pair = #'(0 . -1.0)
3128 c''4\sostenutoDown d''4 e''4 c'4
3129 f'4 g'4 a'4\sostenutoUp
3133 @subsection Arpeggio
3136 @cindex broken arpeggio
3137 @cindex @code{\arpeggio}
3139 You can specify an arpeggio sign on a chord by attaching an
3140 @code{\arpeggio} to a chord:
3143 @lilypond[fragment,relative,verbatim]
3147 When an arpeggio crosses staves, you attach an arpeggio to the chords
3148 in both staves, and set
3149 @internalsref{PianoStaff}.@code{connectArpeggios}:
3151 @lilypond[fragment,relative,verbatim]
3152 \context PianoStaff <<
3153 \property PianoStaff.connectArpeggios = ##t
3154 \new Staff { <c' e g c>\arpeggio }
3155 \new Staff { \clef bass <c,, e g>\arpeggio }
3159 The direction of the arpeggio is sometimes denoted by adding an
3160 arrowhead to the wiggly line. This can be typeset by setting
3161 @code{arpeggio-direction}:
3163 @lilypond[fragment,relative,verbatim]
3165 \property Voice.Arpeggio \set #'arpeggio-direction = #1
3167 \property Voice.Arpeggio \set #'arpeggio-direction = #-1
3172 A square bracket on the left indicates that the player should not
3173 arpeggiate the chord. To draw these brackets, set the
3174 @code{molecule-callback} property of @code{Arpeggio} or
3175 @code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
3176 @code{\arpeggio} statements within the chords as before:
3178 @lilypond[fragment,relative,verbatim]
3179 \property PianoStaff.Arpeggio \override
3180 #'molecule-callback = \arpeggioBracket
3186 @cindex @code{\arpeggioBracket}
3187 @code{\arpeggioBracket},
3188 @cindex @code{\arpeggio}
3193 Internals: @internalsref{ArpeggioEvent} music expressions lead to
3194 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3195 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3199 It is not possible to mix connected arpeggios and unconnected
3200 arpeggios in one @internalsref{PianoStaff} at the same time.
3202 @node Staff switch lines
3203 @subsection Staff switch lines
3206 @cindex follow voice
3207 @cindex staff switching
3210 @cindex @code{followVoice}
3212 Whenever a voice switches to another staff a line connecting the notes
3213 can be printed automatically. This is enabled if the property
3214 @code{PianoStaff.followVoice} is set to true:
3216 @lilypond[fragment,relative,verbatim]
3217 \context PianoStaff <<
3218 \property PianoStaff.followVoice = ##t
3219 \context Staff \context Voice {
3224 \context Staff=two { \clef bass \skip 1*2 }
3228 The associated object is @internalsref{VoiceFollower}.
3232 @cindex @code{\showStaffSwitch}
3233 @code{\showStaffSwitch},
3234 @cindex @code{\hideStaffSwitch}
3235 @code{\hideStaffSwitch}.
3239 @section Vocal music
3241 This section discusses how to enter and print lyrics.
3245 * The Lyrics context::
3250 @node Entering lyrics
3251 @subsection Entering lyrics
3255 @cindex @code{\lyrics}
3258 Lyrics are entered in a special input mode. This mode is is introduced
3259 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3260 punctuation and accents without any hassle. Syllables are entered like
3261 notes, but with pitches replaced by text. For example,
3263 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3266 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3267 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3268 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3269 any 8-bit character with ASCII code over 127, or a two-character
3270 combination of a backslash followed by one of @code{`}, @code{'},
3271 @code{"}, or @code{^}.
3273 Subsequent characters of a word can be any character that is not a digit
3274 and not white space. One important consequence of this is that a word
3275 can end with @code{@}}. The following example is usually a bug. The
3276 syllable includes a @code{@}}, and hence the opening brace is not balanced:
3278 \lyrics @{ twinkle@}
3281 @cindex @code{\property}, in @code{\lyrics}
3282 Similarly, a period following a alphabetic sequence, is included in the
3283 resulting string. As a consequence, spaces must be inserted around
3284 @code{\property} commands:
3286 \property Lyrics . LyricText \set #'font-shape = #'italic
3290 @cindex spaces, in lyrics
3291 @cindex quotes, in lyrics
3293 Any @code{_} character which appears in an unquoted word is converted
3294 to a space. This provides a mechanism for introducing spaces into words
3295 without using quotes. Quoted words can also be used in Lyrics mode to
3296 specify words that cannot be written with the above rules:
3299 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3303 Hyphens can be entered as ordinary hyphens at the end of a syllable, i.e.
3308 These will be attached to the end of the first syllable.
3310 Centered hyphens are entered using the special `@code{-}@code{-}' lyric
3311 as a separate word between syllables. The hyphen will have variable
3312 length depending on the space between the syllables and it will be
3313 centered between the syllables.
3318 When a lyric is sung over many notes (this is called a melisma), this is
3319 indicated with a horizontal line centered between a syllable and the
3320 next one. Such a line is called an extender line, and it is entered as
3325 Internals: @internalsref{LyricEvent}, @internalsref{HyphenEvent}, and
3326 @internalsref{ExtenderEvent}.
3330 The definition of lyrics mode is too complex.
3334 @node The Lyrics context
3335 @subsection The Lyrics context
3337 Lyrics are printed by interpreting them in a @internalsref{LyricsVoice} context:
3339 \context LyricsVoice \lyrics @dots{}
3342 @cindex automatic syllable durations
3343 @cindex @code{\lyricsto}
3344 @cindex lyrics and melodies
3346 This will place the lyrics according to the durations that were
3347 entered. The lyrics can also be aligned under a given melody
3348 automatically. In this case, it is no longer necessary to enter the
3349 correct duration for each syllable. This is achieved by combining the
3350 melody and the lyrics with the @code{\lyricsto} expression:
3352 \lyricsto @var{name} \new LyricsVoice @dots{}
3355 This aligns the lyrics to the
3357 notes of the @internalsref{Voice} context called @var{name}, which has
3358 to exist. Therefore, normally the @code{Voice} is specified first, and
3359 then the lyrics are specified with @code{\lyricsto}.
3361 For different or more complex orderings, the best way is to setup the
3362 hierarchy of staves and lyrics first, e.g.
3364 \context ChoirStaff \notes <<
3365 \context LyricsVoice = sopranoLyrics @{ s1 @}
3366 \context Voice = soprano @{ @emph{music} @}
3367 \context LyricsVoice = tenor @{ s1 @}
3368 \context Voice = tenorLyrics @{ @emph{music} @}
3371 and then combine the appropriate melodies and lyric lines:
3373 \lyricsto "soprano" \new LyricsVoice @emph{the lyrics}
3377 The final input would resemble
3380 << \context ChoirStaff \notes << @emph{setup the music} >>
3381 \lyricsto "soprano" @emph{etc}
3382 \lyricsto "alto" @emph{etc}
3388 The @code{\lyricsto} command detects melismata: it only puts one
3389 syllable under a tied or slurred group of notes. If you want to force
3390 an unslurred group of notes to be a melisma, then insert
3391 @code{\melisma} after the first note of the group, and
3392 @code{\melismaEnd} after the last one, e.g.
3394 @lilypond[relative=1,raggedright,fragment,verbatim]
3395 << \context Voice = "lala" { \time 3/4
3401 \lyricsto "lala" \new LyricsVoice \lyrics {
3406 In addition, notes are considered a melisma if they are manually
3407 beamed, and automatic beaming (see @ref{Setting automatic beam
3408 behavior}) is switched off. The criteria for deciding melismata
3409 can be tuned with the property @code{melismaBusyProperties}. See
3410 @internalsref{Melisma_engraver} for more information.
3412 When multiple stanzas are put on the same melody, it can happen that
3413 two stanzas have melismata in different locations. This can be
3414 remedied by switching off melismata for one
3415 @internalsref{LyricsVoice}. This is achieved by setting
3416 the @code{ignoreMelismata} property to @code{#t}. An example is shown
3417 in @inputfileref{input/regression,lyric-combine-new.ly}.
3420 @cindex choral score
3422 A complete example of a SATB score setup is in the file
3423 @inputfileref{input/template,satb.ly}.
3427 @code{\melisma}, @code{\melismaEnd}
3428 @cindex @code{\melismaEnd}
3429 @cindex @code{\melisma}
3433 Internals: Music expressions: @internalsref{LyricCombineMusic},
3434 Contexts: @internalsref{LyricsVoice}, @internalsref{Melisma_engraver}.
3436 Examples: @inputfileref{input/template,satb.ly},
3437 @inputfileref{input/regression,lyric-combine-new.ly}.
3441 Melismata are not detected automatically, and extender lines must be
3445 For proper processing of extender lines, the
3446 @internalsref{LyricsVoice} and @internalsref{Voice} should be
3447 linked. This can be achieved either by using @code{\lyricsto} or by
3448 setting corresponding names for both contexts. The latter is explained
3449 in @ref{More stanzas}.
3452 @subsection More stanzas
3454 @cindex phrasing, in lyrics
3457 The lyrics should be aligned with the note heads of the melody. To
3458 achieve this, each line of lyrics should be marked to correspond with
3459 the melodic line. This is done automatically when @code{\lyricsto},
3460 but it can also be done manually.
3462 To this end, give the @internalsref{Voice} context an identity:
3464 \context Voice = duet @{
3469 Then set the @internalsref{LyricsVoice} contexts to names starting with
3470 that identity followed by a dash. In the preceding example, the
3471 @internalsref{Voice} identity is @code{duet}, so the identities of the
3472 @internalsref{LyricsVoice}s are marked @code{duet-1} and @code{duet-2}:
3474 \context LyricsVoice = "duet-1" @{
3475 Hi, my name is bert. @}
3476 \context LyricsVoice = "duet-2" @{
3477 Ooooo, ch\'e -- ri, je t'aime. @}
3480 The complete example is shown here:
3481 @lilypond[raggedright,verbatim]
3483 << \notes \relative c'' \context Voice = duet { \time 3/4
3485 \lyrics << \lyricsto "duet" \new LyricsVoice {
3486 \property LyricsVoice . stanza = "1"
3487 Hi, my name is bert. }
3488 \lyricsto "duet" \new LyricsVoice {
3489 \property LyricsVoice . stanza = "2"
3490 Ooooo, ch\'e -- ri, je t'aime. }
3495 @cindex stanza number
3496 @cindex singer's names
3497 @cindex name of singer
3499 Stanza numbers can be added by setting @code{LyricsVoice.stanza}, e.g.
3502 \property LyricsVoice . stanza = "Bert"
3504 \property LyricsVoice . stanza = "Ernie"
3507 Notice how dots are surrounded with spaces in @code{\lyrics} mode, to
3508 prevent @code{LyricsVoice.stanza} being interpreted as a single
3511 Names of the singers should be added using @code{LyricsVoice
3512 . vocalName} and @code{LyricsVoice . vocNam}, analogous to instrument
3513 annotations for staves.
3515 To make empty spaces in lyrics, use @code{\skip}.
3520 Internals: Layout objects @internalsref{LyricText}
3521 @internalsref{VocalName}. Music expressions:
3522 @internalsref{LyricEvent}.
3528 Input for lyrics introduces a syntactical ambiguity:
3535 is interpreted as assigning a string identifier @code{\foo} such that
3536 it contains @code{"bar"}. However, it could also be interpreted as
3537 making or a music identifier @code{\foo} containing the syllable
3538 `bar'. The force the latter interpretation, use
3543 The MIDI version of @code{\lyricsto} doesn't detect melismata caused
3551 The term @emph{ambitus} (plural: ambituses) denotes a range of pitches
3552 for a given voice in a part of music. It also may denote the pitch
3553 range that a musical instrument is capable of playing. Most musical
3554 instruments have their ambitus standardized (or at least there is
3555 agreement upon the minimal ambitus of a particular type of
3556 instrument), such that a composer or arranger of a piece of music can
3557 easily meet the ambitus constraints of the targeted instrument.
3558 However, the ambitus of the human voice depends on individual
3559 physiological state, including education and training of the voice.
3560 Therefore, a singer potentially has to check for each piece of music
3561 if the ambitus of that piece meets his individual capabilities. This
3562 is why the ambitus of a piece may be of particular value to vocal
3565 The ambitus is typically notated on a per-voice basis at the very
3566 beginning of a piece, e.g. nearby the initial clef or time signature of
3567 each staff. The range is graphically specified by two noteheads, that
3568 represent the minimum and maximum pitch. Some publishers use a textual
3569 notation: they put the range in words in front of the corresponding
3570 staff. LilyPond only supports the graphical ambitus notation.
3572 To apply, add the @internalsref{Ambitus_engraver} to the
3573 @internalsref{Voice} context, i.e.
3579 \consists Ambitus_engraver
3584 This results in the following output:
3585 @lilypond[raggedright]
3586 upper = \notes \relative c {
3589 as'' c e2 bes f cis d4 e f2 g
3591 lower = \notes \relative c {
3594 e'4 b g a c es fis a cis b a g f e d2
3597 \context ChoirStaff {
3599 \new Staff { \upper }
3600 \new Staff { \lower }
3606 \consists Ambitus_engraver
3612 If you have multiple voices in a single staff, and you want a single
3613 ambitus per staff rather than per each voice, then add the
3614 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3615 rather than to the @internalsref{Voice} context.
3617 It is possible to tune individual ambituses for multiple voices on a
3618 single staff, for example by erasing or shifting them horizontally. An
3619 example is in @inputfileref{input/test,ambitus-mixed.ly}
3623 Internals: @internalsref{Ambitus}
3625 Examples: @inputfileref{input/regression,ambitus.ly},
3626 @inputfileref{input/test,ambitus-mixed.ly}.
3630 There is no collision handling in the case of multiple per-voice
3636 Tablature notation is used for notating music for plucked string
3637 instruments. It notates pitches not by using note heads, but by
3638 indicating on which string and fret a note must be played. LilyPond
3639 offers limited support for tablature.
3642 * Tablatures basic::
3643 * Non-guitar tablatures::
3646 @node Tablatures basic
3647 @subsection Tablatures basic
3648 @cindex Tablatures basic
3650 The string number associated to a note is given as a backslash
3651 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3652 string. By default, string 1 is the highest one, and the tuning
3653 defaults to the standard guitar tuning (with 6 strings). The notes
3654 are printed as tablature, by using @internalsref{TabStaff} and
3655 @internalsref{TabVoice} contexts:
3657 @lilypond[fragment,verbatim]
3658 \notes \context TabStaff {
3666 When no string is specified, the first string that does not give a
3667 fret number less than @code{minimumFret} is selected. The default
3668 value for @code{minimumFret} is 0:
3672 e8 fis gis a b cis' dis' e'
3673 \property TabStaff.minimumFret = #8
3674 e8 fis gis a b cis' dis' e'
3679 e8 fis gis a b cis' dis' e'
3680 \property TabStaff.minimumFret = #8
3681 e8 fis gis a b cis' dis' e'
3684 \context StaffGroup <<
3685 \context Staff { \clef "G_8" \frag }
3686 \context TabStaff { \frag }
3693 Internals: @internalsref{TabStaff}, @internalsref{TabVoice}, and
3694 @internalsref{StringNumberEvent}.
3698 Chords are not handled in a special way, and hence the automatic
3699 string selector may easily select the same string to two notes in a
3703 @node Non-guitar tablatures
3704 @subsection Non-guitar tablatures
3705 @cindex Non-guitar tablatures
3707 You can change the number of strings, by setting the number of lines
3708 in the @internalsref{TabStaff}.
3710 You can change the tuning of the strings. A string tuning is given as
3711 a Scheme list with one integer number for each string, the number
3712 being the pitch (measured in semitones relative to central C) of an
3713 open string. The numbers specified for @code{stringTuning} are the
3714 numbers of semitones to subtract or add, starting the specified pitch
3715 by default middle C, in string order. Thus, the notes are e, a, d, and
3718 @lilypond[fragment,verbatim]
3719 \context TabStaff <<
3720 \property TabStaff.stringTunings = #'(-5 -10 -15 -20)
3723 a,4 c' a e' e c' a e'
3728 It is possible to change the Scheme function to format the tablature
3729 note text. The default is @code{fret-number-tablature-format}, which
3730 uses the fret number. For instruments that do not use this notation,
3731 you can create a special tablature formatting function. This function
3732 takes three argument: string number, string tuning and note pitch.
3736 No guitar special effects have been implemented.
3741 @section Chord names
3744 LilyPond has support for both printing chord names. Chords may be
3745 entered in musical chord notation, i.e. @code{< .. >}, but they can
3746 also be entered by name. Internally, the chords are represented as a
3747 set of pitches, so they can be transposed:
3750 @lilypond[verbatim,raggedright]
3751 twoWays = \notes \transpose c c' {
3761 << \context ChordNames \twoWays
3762 \context Voice \twoWays >> }
3765 This example also shows that the chord printing routines do not try to
3766 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3772 * Printing chord names::
3777 @subsection Chords mode
3780 Chord mode is a mode where you can input sets of pitches using common
3781 names. It is introduced by the keyword @code{\chords}.
3782 In chords mode, a chord is entered by the root, which is entered
3783 like a common pitch:
3784 @lilypond[fragment,verbatim,quote,relative=1]
3785 \chords { es4. d8 c2 }
3790 Other chords may be entered by suffixing a colon, and introducing a
3791 modifier, and optionally, a number:
3793 @lilypond[fragment,verbatim,quote]
3794 \chords { e1:m e1:7 e1:m7 }
3796 The first number following the root is taken to be the `type' of the
3797 chord, thirds are added to the root until it reaches the specified
3799 @lilypond[fragment,verbatim]
3800 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3803 @cindex root of chord
3804 @cindex additions, in chords
3805 @cindex removals, in chords
3807 More complex chords may also be constructed adding separate steps
3808 to a chord. Additions are added after the number following
3809 the colon, and are separated by dots:
3811 @lilypond[verbatim,fragment,quote]
3812 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3814 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3816 @lilypond[verbatim,fragment,quote]
3817 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3819 Removals are specified similarly, and are introduced by a caret. They
3820 must come after the additions:
3821 @lilypond[verbatim,fragment]
3822 \chords { c^3 c:7^5 c:9^3.5 }
3825 Modifiers can be used to change pitches. The following modifiers are
3829 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3831 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3834 is the augmented chord. This modifier raises the 5th step.
3836 is the major 7th chord. This modifier raises the 7th step if present.
3838 is the suspended 4th or 2nd. This modifier removes the 3rd
3839 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3842 Modifiers can be mixed with additions:
3843 @lilypond[verbatim,fragment]
3844 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3847 @cindex modifiers, in chords.
3854 Since an unaltered 11 does not sound good when combined with an
3855 unaltered 13, the 11 is removed in this case (unless it is added
3858 @lilypond[fragment,verbatim]
3859 \chords { c:13 c:13.11 c:m13 }
3864 An inversion (putting one pitch of the chord on the bottom), as well
3865 as bass notes, can be specified by appending
3866 @code{/}@var{pitch} to the chord:
3867 @lilypond[fragment,verbatim,center]
3868 \chords { c1 c/g c/f }
3872 A bass note can be added instead of transposed out of the chord,
3873 by using @code{/+}@var{pitch}.
3875 @lilypond[fragment,verbatim,center]
3876 \chords { c1 c/+g c/+f }
3879 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3880 of the commands continue to work, for example, @code{r} and
3881 @code{\skip} can be used to insert rests and spaces, and
3882 @code{\property} may be used to change various settings.
3888 Each step can only be present in a chord once. The following
3889 simply produces the augmented chord, since @code{5+} is interpreted
3892 @lilypond[verbatim,fragment]
3893 \chords { c:5.5-.5+ }
3897 @node Printing chord names
3898 @subsection Printing chord names
3900 @cindex printing chord names
3904 For displaying printed chord names, use the @internalsref{ChordNames} context.
3905 The chords may be entered either using the notation
3906 described above, or directly using @code{<} and @code{>}:
3908 @lilypond[verbatim,raggedright]
3910 \chords {a1 b c} <d' f' a'> <e' g' b'>
3914 \context ChordNames \scheme
3915 \context Staff \scheme
3920 You can make the chord changes stand out by setting
3921 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3922 display chord names when there is a change in the chords scheme and at
3923 the start of a new line:
3925 @lilypond[verbatim,linewidth=9\cm]
3927 c1:m c:m \break c:m c:m d
3931 \context ChordNames {
3932 \property ChordNames.chordChanges = ##t
3934 \context Staff \transpose c c' \scheme
3939 The default chord name layout is a system for Jazz music, proposed by
3940 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
3941 following properties:
3944 @cindex chordNameExceptions
3945 @item chordNameExceptions
3946 This is a list that contains the chords that have special formatting.
3948 @inputfileref{input/regression,chord-name-exceptions.ly}.
3949 @cindex exceptions, chord names.
3952 @cindex majorSevenSymbol
3953 @item majorSevenSymbol
3954 This property contains the markup object used for the 7th step, when
3955 it is major. Predefined options are @code{whiteTriangleMarkup} and
3956 @code{blackTriangleMarkup}. See
3957 @inputfileref{input/regression,chord-name-major7.ly} for an example.
3959 @cindex chordNameSeparator
3960 @item chordNameSeparator
3961 Different parts of a chord name are normally separated by a
3962 slash. By setting @code{chordNameSeparator}, you can specify other
3964 @lilypond[fragment,verbatim]
3965 \context ChordNames \chords {
3967 \property ChordNames.chordNameSeparator
3968 = \markup { \typewriter "|" }
3972 @cindex chordRootNamer
3973 @item chordRootNamer
3974 The root of a chord is usually printed as a letter with an optional
3975 alteration. The transformation from pitch to letter is done by this
3976 function. Special note names (for example, the German ``H'' for a
3977 B-chord) can be produced by storing a new function in this property.
3979 The pre-defined variables @code{\germanChords},
3980 @code{\semiGermanChords} set these variables.
3983 @cindex chordNoteNamer
3984 @item chordNoteNamer
3985 The default is to print single pitch, e.g. the bass note, using the
3986 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
3987 to a specialized function to change this behavior. For example, the
3988 base can be printed in lower case.
3993 There are also two other chord name schemes implemented: an alternate
3994 Jazz chord notation, and a systematic scheme called Banter chords. The
3995 alternate jazz notation is also shown on the chart in @ref{Chord name
3996 chart}. Turning on these styles is described in the input file
3997 @inputfileref{input/test,chord-names-jazz.ly}.
4001 @cindex chords, jazz
4006 @cindex @code{\germanChords}
4007 @code{\germanChords},
4008 @cindex @code{\semiGermanChords}
4009 @code{\semiGermanChords}.
4016 Examples: @inputfileref{input/regression,chord-name-major7.ly},
4017 @inputfileref{input/regression,chord-name-exceptions.ly},
4018 @inputfileref{input/test,chord-names-jazz.ly},
4019 @inputfileref{input/test,chord-names-german.ly}.
4021 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4026 Chord names are determined solely from the list of pitches. Chord
4027 inversions are not identified, and neither are added bass notes. This
4028 may result in strange chord names when chords are entered with the
4029 @code{< .. >} syntax.
4034 @node Orchestral music
4035 @section Orchestral music
4037 @cindex Writing parts
4039 Orchestral music involves some special notation, both in the full
4040 score and the individual parts. This section explains how to tackle
4041 some common problems in orchestral music.
4046 * Multiple staff contexts::
4049 * Instrument names::
4051 * Multi measure rests::
4052 * Automatic part combining::
4054 * Different editions from one source::
4055 * Sound output for transposing instruments::
4058 @node Multiple staff contexts
4059 @subsection Multiple staff contexts
4061 Polyphonic scores consist of many staves. These staves can be
4062 constructed in three different ways:
4064 @item The group is started with a brace at the left. This is done with the
4065 @internalsref{GrandStaff} context.
4066 @item The group is started with a bracket. This is done with the
4067 @internalsref{StaffGroup} context
4068 @item The group is started with a vertical line. This is the default
4072 @cindex Staff, multiple
4073 @cindex bracket, vertical
4074 @cindex brace, vertical
4081 @node Rehearsal marks
4082 @subsection Rehearsal marks
4083 @cindex Rehearsal marks
4085 @cindex @code{\mark}
4087 To print a rehearsal mark, use the @code{\mark} command:
4088 @lilypond[fragment,verbatim]
4099 (The letter I is skipped in accordance with engraving traditions.)
4101 The mark is incremented automatically if you use @code{\mark
4102 \default}, but you can also use an integer argument to set the mark
4103 manually. The value to use is stored in the property
4104 @code{rehearsalMark}.
4106 The style is defined by the property @code{markFormatter}. It is a
4107 function taking the current mark (an integer) and the current context
4108 as argument. It should return a markup object. In the following
4109 example, @code{markFormatter} is set to a canned procedure. After a
4110 few measures, it is set to function that produces a boxed number.
4112 @lilypond[verbatim,fragment,relative=1]
4113 \property Score.markFormatter = #format-mark-numbers
4116 \property Score.markFormatter
4117 = #(lambda (mark context)
4118 (make-bold-markup (make-box-markup (number->string mark))))
4123 The file @file{scm/translation-functions.scm} contains the definitions
4124 of @code{format-mark-numbers} (the default format) and
4125 @code{format-mark-letters}. They can be used as inspiration for other
4126 formatting functions.
4129 @cindex coda on bar line
4130 @cindex segno on bar line
4131 @cindex fermata on bar line
4132 @cindex bar lines, symbols on
4134 The @code{\mark} command can also be used to put signs like coda,
4135 segno and fermatas on a barline. Use @code{\markup} to
4136 to access the appropriate symbol:
4138 @lilypond[fragment,verbatim,relative=1]
4139 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4143 In this case, during line breaks, marks must also be printed at the
4144 end of the line, and not at the beginning. Use the following to force
4147 \property Score.RehearsalMark \override
4148 #'break-visibility = #begin-of-line-invisible
4154 @cindex barlines, putting symbols on
4158 Internals: @internalsref{MarkEvent}, @internalsref{RehearsalMark}
4160 Init files: @file{scm/translation-functions.scm} contains the
4161 definition of @code{format-mark-numbers} and
4162 @code{format-mark-letters}. They can be used as inspiration for other
4163 formatting functions.
4165 Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
4166 @inputfileref{input/regression,rehearsal-mark-number.ly}.
4170 @subsection Bar numbers
4174 @cindex measure numbers
4175 @cindex currentBarNumber
4177 Bar numbers are printed by default at the start of the line. The
4178 number itself is stored in the
4179 @code{currentBarNumber} property,
4180 which is normally updated automatically for every measure.
4182 Bar numbers can be typeset at regular intervals instead of at the
4183 beginning of each line. This is illustrated in the following example,
4184 whose source is available as
4185 @inputfileref{input/test,bar-number-regular-interval.ly}:
4187 @lilypondfile[notexidoc]{bar-number-regular-interval.ly}
4192 Internals: @internalsref{BarNumber}.
4194 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4195 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4199 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4200 there is one at the top. To solve this, the
4201 @code{padding} property of @internalsref{BarNumber} can be
4202 used to position the number correctly.
4204 @node Instrument names
4205 @subsection Instrument names
4207 In an orchestral score, instrument names are printed left side of the
4210 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4211 and @internalsref{Staff}.@code{instr}. This will print a string before
4212 the start of the staff. For the first start, @code{instrument} is
4213 used, for the next ones @code{instr} is used:
4216 @lilypond[verbatim,raggedright]
4217 \property Staff.instrument = "ploink " { c''4 }
4221 You can also use markup texts to construct more complicated instrument
4225 @lilypond[fragment,verbatim,raggedright]
4227 \property Staff.instrument = \markup {
4228 \column < "Clarinetti"
4230 \smaller \musicglyph #"accidentals--1"
4241 Internals: @internalsref{InstrumentName}.
4245 When you put a name on a grand staff or piano staff the width of the
4246 brace is not taken into account. You must add extra spaces to the end of
4247 the name to avoid a collision.
4250 @subsection Transpose
4252 @cindex transposition of pitches
4253 @cindex @code{\transpose}
4255 A music expression can be transposed with @code{\transpose}. The syntax
4258 \transpose @var{from} @var{to} @var{musicexpr}
4261 This means that @var{musicexpr} is transposed by the interval between
4262 the pitches @var{from} and @var{to}: any note with pitch @code{from}
4263 is changed to @code{to}.
4266 For example, consider a piece written in the key of D major. If
4267 this piece is a little too low for its performer, it can be
4268 transposed up to E major with
4270 \tranpose d e @dots{}
4273 Consider a part written for violin (a C instrument). If
4274 this part is to be played on the A clarinet, the following
4275 transposition will produce the appropriate part
4278 \transpose a c @dots{}
4281 Since @var{from} and @var{to} are pitches, @code{\transpose} must be
4282 inside a @code{\notes} section. @code{\transpose} distinguishes
4283 between enharmonic pitches: both @code{\transpose c cis} or
4284 @code{\transpose c des} will transpose up half a tone. The first
4285 version will print sharps and the second version will print flats:
4287 @lilypond[raggedright,verbatim]
4288 mus =\notes { \key d \major cis d fis g }
4289 \score { \notes \context Staff {
4292 \transpose c g' \mus
4293 \transpose c f' \mus
4300 Internals: @internalsref{TransposedMusic}, and
4301 @internalsref{UntransposableMusic}.
4305 If you want to use both @code{\transpose} and @code{\relative}, then
4306 you must put @code{\transpose} outside of @code{\relative}, since
4307 @code{\relative} will have no effect music that appears inside a
4313 @node Multi measure rests
4314 @subsection Multi measure rests
4315 @cindex multi measure rests
4316 @cindex Rests, multi measure
4320 Multi measure rests are entered using `@code{R}'. It is specifically
4321 meant for full bar rests and for entering parts: the rest can expand
4322 to fill a score with rests, or it can be printed as a single
4323 multimeasure rest. This expansion is controlled by the property
4324 @code{Score.skipBars}. If this is set to true, empty measures will not
4325 be expanded, and the appropriate number is added automatically:
4327 @lilypond[fragment,verbatim]
4328 \time 4/4 r1 | R1 | R1*2
4329 \property Score.skipBars = ##t R1*17 R1*4
4332 The @code{1} in @code{R1} is similar to the duration notation used for
4333 notes. Hence, for time signatures other than 4/4, you must enter other
4334 durations. This can be done with augmentation dots or fractions:
4336 @lilypond[fragment,verbatim]
4337 \property Score.skipBars = ##t
4345 An @code{R} spanning a single measure is printed as either a whole rest
4346 or a breve, centered in the measure regardless of the time signature.
4348 @cindex text on multi-measure rest
4349 @cindex script on multi-measure rest
4350 @cindex fermata on multi-measure rest
4352 Texts can be added to multi-measure rests by using the
4353 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4354 replaced. If you need both texts and the number, you must add the
4355 number by hand. A variable (@code{\fermataMarkup}) is provided for
4359 @lilypond[verbatim,fragment]
4361 R2._\markup { "Ad lib" }
4365 If you want to have a text on the left end of a multi-measure rest,
4366 attach the text to a zero-length skip note, i.e.
4374 @cindex whole rests for a full measure
4378 Internals: @internalsref{MultiMeasureRestEvent},
4379 @internalsref{MultiMeasureTextEvent},
4380 @internalsref{MultiMeasureRestMusicGroup}, and
4381 @internalsref{MultiMeasureRest}.
4383 The layout object @internalsref{MultiMeasureRestNumber} is for the
4384 default number, and @internalsref{MultiMeasureRestText} for user
4389 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4390 over multi-measure rests.
4392 @cindex condensing rests
4394 There is no way to automatically condense multiple rests into a single
4395 multimeasure rest. Multi measure rests do not take part in rest
4398 Be careful when entering multimeasure rests followed by whole
4399 notes. The following will enter two notes lasting four measures each:
4403 When @code{skipBars} is set, then the result will look OK, but the
4404 bar numbering will be off.
4406 @node Automatic part combining
4407 @subsection Automatic part combining
4408 @cindex automatic part combining
4409 @cindex part combiner
4412 Automatic part combining is used to merge two parts of music onto a
4413 staff. It is aimed at typesetting orchestral scores. When the two
4414 parts are identical for a period of time, only one is shown. In
4415 places where the two parts differ, they are typeset as separate
4416 voices, and stem directions are set automatically. Also, solo and
4417 @emph{a due} parts are identified and can be marked.
4421 The syntax for part combining is
4424 \partcombine @var{musicexpr1} @var{musicexpr2}
4427 The music expressions will be interpreted as @internalsref{Voice}
4430 The following example demonstrates the basic functionality of the part
4431 combiner: putting parts on one staff, and setting stem directions and
4434 @lilypond[verbatim,raggedright,fragment,relative=1]
4435 \new Staff \partcombine
4444 The first @code{g} appears only once, although it was
4445 specified twice (once in each part). Stem, slur and tie directions are
4446 set automatically, depending whether there is a solo or unisono. The
4447 first part (with context called @code{one}) always gets up stems, and
4448 `solo', while the second (called @code{two}) always gets down stems and
4451 If you just want the merging parts, and not the textual markings, you
4452 may set the property @var{soloADue} to false:
4454 @lilypond[verbatim,raggedright,fragment]
4456 \property Staff.soloADue = ##f
4468 Internals: @internalsref{PartCombineMusic},
4469 @internalsref{SoloOneEvent}, and
4470 @internalsref{SoloTwoEvent}, and
4471 @internalsref{UnisonoEvent}.
4475 In @code{soloADue} mode, when the two voices play the same notes on and
4476 off, the part combiner may typeset @code{a2} more than once in a
4482 @subsection Hiding staves
4484 @cindex Frenched scores
4485 @cindex Hiding staves
4487 In orchestral scores, staff lines that only have rests are usually
4488 removed. This saves some space. This style is called `French Score'.
4489 For @internalsref{Lyrics}, @internalsref{LyricsVoice},
4490 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4491 switched on by default. When these line of these contexts turn out
4492 empty after the line-breaking process, they are removed.
4494 For normal staves, a specialized @internalsref{Staff} context is
4495 available, which does the same: staves containing nothing (or only
4496 multi measure rests) are removed. The context definition is stored in
4497 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4498 in this example disappears in the second line:
4503 \notes \relative c' <<
4504 \new Staff { e4 f g a \break c1 }
4505 \new Staff { c4 d e f \break R1 }
4509 \translator { \RemoveEmptyStaffContext }
4514 The first page shows all staffs in full. If they should be removed
4515 from the first page too, set @code{remove-first} to false
4516 in @internalsref{RemoveEmptyVerticalGroup}.
4518 @node Different editions from one source
4519 @subsection Different editions from one source
4521 The @code{\tag} command marks music expressions with a name. These
4522 tagged expressions can be filtered out later. With this mechanism it
4523 is possible to make different versions of the same music source.
4525 In the following example, we see two versions of a piece of music, one
4526 for the full score, and one with cue notes for the instrumental part:
4534 \property Voice.fontSize = #-1
4542 The same can be applied to articulations, texts, etc.: they are
4545 -\tag #@var{your-tag}
4547 to an articulation, for example,
4552 This defines a note with a conditional fingering indication.
4554 By applying the @code{remove-tag} function, tagged expressions can be
4555 filtered. For example,
4559 \apply #(remove-tag 'score) @var{the music}
4560 \apply #(remove-tag 'part) @var{the music}
4565 @lilypondfile[notexidoc]{tag-filter.ly}
4567 The argument of the @code{\tag} command should be a symbol, or a list
4568 of symbols, for example,
4570 \tag #'(original-part transposed-part) @dots{}
4575 Examples: @inputfileref{input/regression,tag-filter.ly}
4578 @node Sound output for transposing instruments
4579 @subsection Sound output for transposing instruments
4581 When you want to make a MIDI file from a score containing transposed
4582 and untransposed instruments, you have to instruct LilyPond the pitch
4583 offset (in semitones) for the transposed instruments. This is done
4584 using the @code{transposing} property. It does not affect printed
4587 @cindex @code{transposing}
4590 \property Staff.instrument = #"Cl. in B-flat"
4591 \property Staff.transposing = #-2
4595 @node Ancient notation
4596 @section Ancient notation
4598 @cindex Vaticana, Editio
4599 @cindex Medicaea, Editio
4604 @c [TODO: write more comprehensive introduction on ancient notation]
4606 Support for ancient notation is still under heavy development.
4607 Regardless of all of the current limitations (see the bugs section
4608 below for details), it includes features for mensural
4609 notation and Gregorian Chant notation. There is also limited support
4610 for figured bass notation.
4612 Many graphical objects provide a @code{style} property, see
4613 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4614 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4615 signatures}. By manipulating such a grob property, the typographical
4616 appearance of the affected graphical objects can be accomodated for a
4617 specific notation flavour without need for introducing any new
4621 Other aspects of ancient notation can not that easily be expressed as
4622 in terms of just changing a style property of a graphical object.
4623 Therefore, some notational concepts are introduced specifically for
4624 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4625 @ref{Ligatures}, and @ref{Figured bass}.
4629 * Ancient note heads::
4630 * Ancient accidentals::
4634 * Ancient time signatures::
4639 * Vaticana style contexts::
4642 If this all is way too much of documentation for you, and you just
4643 want to dive into typesetting without worrying too much about the
4644 details on how to customize a context, then you may have a look at the
4645 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4646 set up predefined style-specific voice and staff contexts, and
4647 directly go ahead with the note entry.
4651 Ligatures need special spacing that has not yet been implemented. As
4652 a result, there is too much space between ligatures most of the time,
4653 and line breaking often is unsatisfactory. Also, lyrics do not
4654 correctly align with ligatures.
4656 Accidentals must not be printed within a ligature, but instead need to
4657 be collected and printed in front of it.
4659 Augmentum dots within ligatures are not handled correctly.
4662 @node Ancient note heads
4663 @subsection Ancient note heads
4669 For ancient notation, a note head style other than the @code{default}
4670 style may be chosen. This is accomplished by setting the @code{style}
4671 property of the NoteHead object to the desired value (@code{baroque},
4672 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4673 differs from the @code{default} style only in using a square shape for
4674 @code{\breve} note heads. The @code{neo_mensural} style differs from
4675 the @code{baroque} style in that it uses rhomboidal heads for whole
4676 notes and all smaller durations. Stems are centered on the note
4677 heads. This style is in particular useful when transcribing mensural
4678 music, e.g. for the incipit. The @code{mensural} style finally
4679 produces note heads that mimick the look of note heads in historic
4680 printings of the 16th century.
4682 The following example demonstrates the @code{neo_mensural} style:
4684 @lilypond[fragment,raggedright,verbatim]
4685 \property Voice.NoteHead \set #'style = #'neo_mensural
4686 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4689 When typesetting a piece in Gregorian Chant notation, a Gregorian
4690 ligature engraver will automatically select the proper note heads,
4691 such there is no need to explicitly set the note head style. Still,
4692 the note head style can be set e.g. to @code{vaticana_punctum} to
4693 produce punctum neumes. Similarly, a mensural ligature engraver is
4694 used to automatically assemble mensural ligatures. See
4695 @ref{Ligatures} for how ligature engravers work.
4700 @ref{Percussion staves} use note head styles of their own that are
4701 frequently used in contemporary music notation.
4703 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
4704 overview over all available note head styles.
4707 @node Ancient accidentals
4708 @subsection Ancient accidentals
4714 Use the @code{style} property of grob @internalsref{Accidental} to
4715 select ancient accidentals. Supported styles are
4716 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4718 @lilypond[raggedright,staffsize=26]
4726 { " " \musicglyph #"accidentals-vaticana-1"
4727 " " \musicglyph #"accidentals-vaticana0" }
4731 { " " \musicglyph #"accidentals-medicaea-1" }
4735 { " " \musicglyph #"accidentals-hufnagel-1" }
4739 { " " \musicglyph #"accidentals-mensural-1"
4740 " " \musicglyph #"accidentals-mensural1" }
4749 \remove "Bar_number_engraver"
4753 \remove "Clef_engraver"
4754 \remove "Key_engraver"
4755 \remove "Time_signature_engraver"
4756 \remove "Staff_symbol_engraver"
4757 minimumVerticalExtent = ##f
4763 As shown, not all accidentals are supported by each style. When
4764 trying to access an unsupported accidental, LilyPond will switch to a
4765 different style, as demonstrated in
4766 @inputfileref{input/test,ancient-accidentals.ly}.
4768 Similarly to local accidentals, the style of the key signature can be
4769 controlled by the @code{style} property of the
4770 @internalsref{KeySignature} grob.
4774 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
4775 @ref{Accidentals} give a general introduction into the use of
4776 accidentals. @ref{Key signature} gives a general introduction into
4777 the use of key signatures.
4779 Internals: @internalsref{KeySignature}
4781 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
4784 @subsection Ancient rests
4790 Use the @code{style} property of grob @internalsref{Rest} to select
4791 ancient accidentals. Supported styles are @code{classical},
4792 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4793 from the @code{default} style only in that the quarter rest looks like
4794 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4795 well for e.g. the incipit of a transcribed mensural piece of music.
4796 The @code{mensural} style finally mimicks the appearance of rests as
4797 in historic prints of the 16th century.
4799 The following example demonstrates the @code{neo_mensural} style:
4801 @lilypond[fragment,raggedright,verbatim]
4802 \property Voice.Rest \set #'style = #'neo_mensural
4803 r\longa r\breve r1 r2 r4 r8 r16
4806 There are no 32th and 64th rests specifically for the mensural or
4807 neo-mensural style. Instead, the rests from the default style will be
4808 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4811 There are no rests in Gregorian Chant notation; instead, it uses
4816 In this manual: @ref{Rests} gives a general introduction into the use of rests.
4820 @subsection Ancient clefs
4826 LilyPond supports a variety of clefs, many of them ancient.
4828 The following table shows all ancient clefs that are supported via the
4829 @code{\clef} command. Some of the clefs use the same glyph, but
4830 differ only with respect to the line they are printed on. In such
4831 cases, a trailing number in the name is used to enumerate these clefs.
4832 Still, you can manually force a clef glyph to be typeset on an
4833 arbitrary line, as described in @ref{Clef}. The note printed to the
4834 right side of each clef in the example column denotes the @code{c'}
4835 with respect to that clef.
4837 @multitable @columnfractions .3 .3 .3 .1
4841 @b{Description} @tab
4842 @b{Supported Clefs} @tab
4846 @code{clefs-neo_mensural_c} @tab
4847 modern style mensural C clef @tab
4848 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4849 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4850 @lilypond[relative,notime]
4851 \property Staff.TimeSignature \set #'transparent = ##t
4852 \clef "neo_mensural_c2" c
4856 @code{clefs-petrucci_c1}
4857 @code{clefs-petrucci_c2}
4858 @code{clefs-petrucci_c3}
4859 @code{clefs-petrucci_c4}
4860 @code{clefs-petrucci_c5}
4863 petrucci style mensural C clefs, for use on different stafflines
4864 (the examples shows the 2nd staffline C clef).
4874 @lilypond[relative,notime]
4875 \property Staff.TimeSignature \set #'transparent = ##t
4876 \clef "petrucci_c2" c
4880 @code{clefs-petrucci_f} @tab
4881 petrucci style mensural F clef @tab
4882 @code{petrucci_f} @tab
4883 @lilypond[relative,notime]
4884 \property Staff.TimeSignature \set #'transparent = ##t
4885 \clef "petrucci_f" c
4889 @code{clefs-petrucci_g} @tab
4890 petrucci style mensural G clef @tab
4891 @code{petrucci_g} @tab
4892 @lilypond[relative,notime]
4893 \property Staff.TimeSignature \set #'transparent = ##t
4894 \clef "petrucci_g" c
4898 @code{clefs-mensural_c} @tab
4899 historic style mensural C clef @tab
4900 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4901 @code{mensural_c4} @tab
4902 @lilypond[relative,notime]
4903 \property Staff.TimeSignature \set #'transparent = ##t
4904 \clef "mensural_c2" c
4908 @code{clefs-mensural_f} @tab
4909 historic style mensural F clef @tab
4910 @code{mensural_f} @tab
4911 @lilypond[relative,notime]
4912 \property Staff.TimeSignature \set #'transparent = ##t
4913 \clef "mensural_f" c
4917 @code{clefs-mensural_g} @tab
4918 historic style mensural G clef @tab
4919 @code{mensural_g} @tab
4920 @lilypond[relative,notime]
4921 \property Staff.TimeSignature \set #'transparent = ##t
4922 \clef "mensural_g" c
4926 @code{clefs-vaticana_do} @tab
4927 Editio Vaticana style do clef @tab
4928 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
4929 @lilypond[relative,notime]
4930 \property Staff.StaffSymbol \set #'line-count = #4
4931 \property Staff.TimeSignature \set #'transparent = ##t
4932 \clef "vaticana_do2" c
4936 @code{clefs-vaticana_fa} @tab
4937 Editio Vaticana style fa clef @tab
4938 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
4939 @lilypond[relative,notime]
4940 \property Staff.StaffSymbol \set #'line-count = #4
4941 \property Staff.TimeSignature \set #'transparent = ##t
4942 \clef "vaticana_fa2" c
4946 @code{clefs-medicaea_do} @tab
4947 Editio Medicaea style do clef @tab
4948 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
4949 @lilypond[relative,notime]
4950 \property Staff.StaffSymbol \set #'line-count = #4
4951 \property Staff.TimeSignature \set #'transparent = ##t
4952 \clef "medicaea_do2" c
4956 @code{clefs-medicaea_fa} @tab
4957 Editio Medicaea style fa clef @tab
4958 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
4959 @lilypond[relative,notime]
4960 \property Staff.StaffSymbol \set #'line-count = #4
4961 \property Staff.TimeSignature \set #'transparent = ##t
4962 \clef "medicaea_fa2" c
4966 @code{clefs-hufnagel_do} @tab
4967 historic style hufnagel do clef @tab
4968 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
4969 @lilypond[relative,notime]
4970 \property Staff.StaffSymbol \set #'line-count = #4
4971 \property Staff.TimeSignature \set #'transparent = ##t
4972 \clef "hufnagel_do2" c
4976 @code{clefs-hufnagel_fa} @tab
4977 historic style hufnagel fa clef @tab
4978 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
4979 @lilypond[relative,notime]
4980 \property Staff.StaffSymbol \set #'line-count = #4
4981 \property Staff.TimeSignature \set #'transparent = ##t
4982 \clef "hufnagel_fa2" c
4986 @code{clefs-hufnagel_do_fa} @tab
4987 historic style hufnagel combined do/fa clef @tab
4988 @code{hufnagel_do_fa} @tab
4989 @lilypond[relative,notime]
4990 \property Staff.TimeSignature \set #'transparent = ##t
4991 \clef "hufnagel_do_fa" c
4996 @c --- This should go somewhere else: ---
4997 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
5000 @c @code{percussion}
5002 @c @lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "percussion" c'}
5004 @c @item modern style tab clef (glyph: @code{clefs-tab})
5009 @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \property Staff.TimeSignature \set #'transparent = ##t \clef "tab" c'}
5011 @emph{Modern style} means ``as is typeset in contemporary editions of
5012 transcribed mensural music''.
5014 @emph{Petrucci style} means ``inspired by printings published by the
5015 famous engraver Petrucci (1466-1539)''.
5017 @emph{Historic style} means ``as was typeset or written in historic
5018 editions (other than those of Petrucci)''.
5020 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5022 Petrucci used C clefs with differently balanced left-side vertical
5023 beams, depending on which staffline it is printed.
5027 In this manual: for the percussion clef, see @ref{Percussion staves}.
5028 For the @code{TAB} clef, see @ref{Tablatures}.
5030 Internals: for modern clefs, see @ref{Clef}.
5034 The mensural g clef is temporarily mapped to the Petrucci g clef,
5035 until a new mensural g clef will have been implemented.
5040 @subsection Ancient flags
5046 Use the @code{flag-style} property of grob @internalsref{Stem} to
5047 select ancient flags. Besides the @code{default} flag style,
5048 only @code{mensural} style is supported:
5050 @lilypond[fragment,raggedright,verbatim]
5051 \property Voice.Stem \set #'flag-style = #'mensural
5052 \property Voice.Stem \set #'thickness = #1.0
5053 \property Voice.NoteHead \set #'style = #'mensural
5055 c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
5056 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5059 Note that the innermost flare of each mensural flag always is
5060 vertically aligned with a staff line. If you do not like this
5061 behaviour, you can set the @code{adjust-if-on-staffline} property of
5062 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5063 of the end of each flare is different between notes on staff lines and
5064 notes between staff lines:
5066 @lilypond[fragment,raggedright]
5067 \property Voice.Stem \set #'flag-style = #'mensural
5068 \property Voice.Stem \set #'thickness = #1.0
5069 \property Voice.Stem \set #'adjust-if-on-staffline = ##f
5070 \property Voice.NoteHead \set #'style = #'mensural
5072 c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
5073 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5076 There is no particular flag style for neo-mensural notation. Hence,
5077 when typesetting e.g. the incipit of a transcibed piece of mensural
5078 music, the default flag style should be used. There are no flags in
5079 Gregorian Chant notation.
5082 @node Ancient time signatures
5083 @subsection Ancient time signatures
5085 @cindex time signatures
5089 There is limited support for mensural time signatures. The
5090 glyphs are hard-wired to particular time fractions. In other words,
5091 to get a particular mensural signature glyph with the @code{\time n/m}
5092 command, @code{n} and @code{m} have to be chosen according to the
5098 \property Score.timing = ##f
5099 \property Score.barAlways = ##t
5100 s_\markup { "$\\backslash$time 4/4" }
5101 ^\markup { " " \musicglyph #"timesig-neo_mensural4/4" }
5103 s_\markup { "$\\backslash$time 2/2" }
5104 ^\markup { " " \musicglyph #"timesig-neo_mensural2/2" }
5106 s_\markup { "$\\backslash$time 6/4" }
5107 ^\markup { " " \musicglyph #"timesig-neo_mensural6/4" }
5109 s_\markup { "$\\backslash$time 6/8" }
5110 ^\markup { " " \musicglyph #"timesig-neo_mensural6/8" }
5112 s_\markup { "$\\backslash$time 3/2" }
5113 ^\markup { " " \musicglyph #"timesig-neo_mensural3/2" }
5115 s_\markup { "$\\backslash$time 3/4" }
5116 ^\markup { " " \musicglyph #"timesig-neo_mensural3/4" }
5118 s_\markup { "$\\backslash$time 9/4" }
5119 ^\markup { " " \musicglyph #"timesig-neo_mensural9/4" }
5121 s_\markup { "$\\backslash$time 9/8" }
5122 ^\markup { " " \musicglyph #"timesig-neo_mensural9/8" }
5124 s_\markup { "$\\backslash$time 4/8" }
5125 ^\markup { " " \musicglyph #"timesig-neo_mensural4/8" }
5127 s_\markup { "$\\backslash$time 2/4" }
5128 ^\markup { " " \musicglyph #"timesig-neo_mensural2/4" }
5136 \remove Staff_symbol_engraver
5137 \remove Clef_engraver
5138 \remove Time_signature_engraver
5144 Use the @code{style} property of grob @internalsref{TimeSignature} to
5145 select ancient time signatures. Supported styles are
5146 @code{neo_mensural} and @code{mensural}. The above table uses the
5147 @code{neo_mensural} style. This style is appropriate e.g. for the
5148 incipit of transcriptions of mensural pieces. The @code{mensural}
5149 style mimicks the look of historical printings of the 16th century.
5151 @inputfileref{input/test,time.ly} gives an overview over all available
5152 ancient and modern styles.
5156 Internals: @ref{Time signature} gives a general introduction into the use of time
5161 Mensural signature glyphs are mapped to time fractions in a
5162 hard-wired way. This mapping is sensible, but still arbitrary: given
5163 a mensural time signature, the time fraction represents a modern meter
5164 that usually will be a good choice when transcribing a mensural piece
5165 of music. For a particular piece of mensural music, however, the
5166 mapping may be unsatisfactory. In particular, the mapping assumes a
5167 fixed transcription of durations (e.g. brevis = half note in 2/2,
5168 i.e. 4:1). Some glyphs (such as the alternate glyph for 6/8 meter)
5169 are not at all accessible through the @code{\time} command.
5171 Mensural time signatures are supported typographically, but not yet
5172 musically. The internal representation of durations is
5173 based on a purely binary system; a ternary division such as 1 brevis =
5174 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5175 prolatione maiori) is not correctly handled: event times in ternary
5176 modes will be badly computed, resulting e.g. in horizontally
5177 misaligned note heads, and bar checks are likely to erroneously fail.
5179 The syntax and semantics of the @code{\time} command for mensural
5180 music is subject to change.
5183 @subsection Custodes
5188 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
5189 symbol that appears at the end of a staff. It anticipates the pitch
5190 of the first note(s) of the following line and thus helps the player
5191 or singer to manage line breaks during performance, thus enhancing
5192 readability of a score.
5194 Custodes were frequently used in music notation until the 17th
5195 century. Nowadays, they have survived only in a few particular forms
5196 of musical notation such as contemporary editions of Gregorian chant
5197 like the @emph{editio vaticana}. There are different custos glyphs
5198 used in different flavours of notational style.
5202 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5203 @internalsref{Staff} context when declaring the @code{\paper} block,
5204 as shown in the following example:
5210 \consists Custos_engraver
5211 Custos \override #'style = #'mensural
5216 The result looks like this:
5222 \property Staff.Custos \set #'style = #'mensural
5229 \consists Custos_engraver
5236 The custos glyph is selected by the @code{style} property. The styles
5237 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5238 @code{mensural}. They are demonstrated in the following fragment:
5248 { " " \musicglyph #"custodes-vaticana-u0" }
5252 { " " \musicglyph #"custodes-medicaea-u0" }
5256 { " " \musicglyph #"custodes-hufnagel-u0" }
5260 { " " \musicglyph #"custodes-mensural-u0" }
5269 \remove "Bar_number_engraver"
5273 \remove "Clef_engraver"
5274 \remove "Key_engraver"
5275 \remove "Time_signature_engraver"
5276 \remove "Staff_symbol_engraver"
5277 minimumVerticalExtent = ##f
5283 If the boolean property @code{adjust-if-on-staffline} is set to
5284 @code{#t} (which it is by default), lily typesets slightly different
5285 variants of the custos glyph, depending on whether the custos, is
5286 typeset on or between stafflines. The glyph will
5287 optically fit well into the staff, with the appendage on the right of
5288 the custos always ending at the same vertical position between two
5289 stafflines regardless of the pitch. If you set
5290 @code{adjust-if-on-staffline} to @code{#f}, then
5291 a compromise between both forms is used.
5293 Just like stems can be attached to noteheads in two directions
5294 @emph{up} and @emph{down}, each custos glyph is available with its
5295 appendage pointing either up or down. If the pitch of a custos is
5296 above a selectable position, the appendage will point downwards; if
5297 the pitch is below this position, the appendage will point upwards.
5298 Use property @code{neutral-position} to select this position. By
5299 default, it is set to @code{0}, such that the neutral position is the
5300 center of the staff. Use property @code{neutral-direction} to control
5301 what happens if a custos is typeset on the neutral position itself.
5302 By default, this property is set to @code{-1}, such that the appendage
5303 will point downwards. If set to @code{1}, the appendage will point
5304 upwards. Other values such as @code{0} are reserved for future
5305 extensions and should not be used.
5309 Internals: @internalsref{Custos}
5311 Examples: @inputfileref{input/regression,custos.ly}.
5315 @subsection Divisiones
5321 A @emph{divisio} (plural: @emph{divisiones}; latin word for
5322 `division') is a staff context symbol that is used to structure
5323 Gregorian music into phrases and sections. The musical meaning of
5324 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5325 can be characterized as short, medium and long pause, somewhat like
5326 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5327 a chant, but is also frequently used within a single
5328 antiphonal/responsorial chant to mark the end of each section.
5332 To use divisiones, include the file @code{gregorian-init.ly}. It
5333 contains definitions that you can apply by just inserting
5334 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5335 and @code{\finalis} at proper places in the input. Some editions use
5336 @emph{virgula} or @emph{caesura} instead of divisio minima.
5337 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5340 @lilypondfile[notexidoc]{divisiones.ly}
5344 @cindex @code{\virgula}
5346 @cindex @code{\caesura}
5348 @cindex @code{\divisioMinima}
5349 @code{\divisioMinima},
5350 @cindex @code{\divisioMaior}
5351 @code{\divisioMaior},
5352 @cindex @code{\divisioMaxima}
5353 @code{\divisioMaxima},
5354 @cindex @code{\finalis}
5359 In this manual: @ref{Breath marks}.
5361 Internals: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
5363 Examples: @inputfileref{input/test,divisiones.ly}
5366 @subsection Ligatures
5370 @c TODO: Should double check if I recalled things correctly when I wrote
5371 @c down the following paragraph by heart.
5373 In musical terminology, a ligature is a coherent graphical symbol that
5374 represents at least two distinct notes. Ligatures originally appeared
5375 in the manuscripts of Gregorian chant notation roughly since the 9th
5376 century as an allusion to the accent symbols of greek lyric poetry to
5377 denote ascending or descending sequences of notes. Both, the shape
5378 and the exact meaning of ligatures changed tremendously during the
5379 following centuries: In early notation, ligatures were used for
5380 monophonic tunes (Gregorian chant) and very soon denoted also the way
5381 of performance in the sense of articulation. With upcoming
5382 multiphony, the need for a metric system arised, since multiple voices
5383 of a piece have to be synchronized some way. New notation systems
5384 were invented that used the manifold shapes of ligatures to now denote
5385 rhythmical patterns (e.g. black mensural notation, mannered notation,
5386 ars nova). With the invention of the metric system of the white
5387 mensural notation, the need for ligatures to denote such patterns
5388 disappeared. Nevertheless, ligatures were still in use in the
5389 mensural system for a couple of decades until they finally disappeared
5390 during the late 16th / early 17th century. Still, ligatures have
5391 survived in contemporary editions of Gregorian chant such as the
5392 Editio Vaticana from 1905/08.
5396 Syntactically, ligatures are simply enclosed by @code{\[} and
5397 @code{\]}. Some ligature styles (such as Editio Vaticana) may need
5398 additional input syntax specific for this particular type of ligature.
5399 By default, the @internalsref{LigatureBracket} engraver just puts a
5400 square bracket above the ligature:
5402 @lilypond[raggedright,verbatim]
5404 \notes \transpose c c' {
5412 To select a specific style of ligatures, a proper ligature engraver
5413 has to be added to the @internalsref{Voice} context, as explained in
5414 the following subsections. Only white mensural ligatures
5415 are supported with certain limitations. Support for Editio Vaticana
5416 will be added in the future.
5419 * White mensural ligatures::
5420 * Gregorian square neumes ligatures::
5423 @node White mensural ligatures
5424 @subsubsection White mensural ligatures
5426 @cindex Mensural ligatures
5427 @cindex White mensural ligatures
5429 There is limited support for white mensural ligatures. The
5430 implementation is still experimental; it may output strange
5431 warnings or even crash in some cases or produce weird results on more
5436 To engrave white mensural ligatures, in the paper block the
5437 @internalsref{Mensural_ligature_engraver} has to be put into the
5438 @internalsref{Voice} context, and remove the
5439 @internalsref{Ligature_bracket_engraver}:
5445 \remove Ligature_bracket_engraver
5446 \consists Mensural_ligature_engraver
5451 There is no additional input language to describe the shape of a
5452 white mensural ligature. The shape is rather determined solely from
5453 the pitch and duration of the enclosed notes. While this approach may
5454 take a new user a while to get accustomed, it has the great advantage
5455 that the full musical information of the ligature is known internally.
5456 This is not only required for correct MIDI output, but also allows for
5457 automatic transcription of the ligatures.
5462 \property Score.timing = ##f
5463 \property Score.defaultBarType = "empty"
5464 \property Voice.NoteHead \set #'style = #'neo_mensural
5465 \property Staff.TimeSignature \set #'style = #'neo_mensural
5467 \[ g\longa c\breve a\breve f\breve d'\longa \]
5469 \[ e1 f1 a\breve g\longa \]
5471 @lilypond[raggedright]
5473 \notes \transpose c c' {
5474 \property Score.timing = ##f
5475 \property Score.defaultBarType = "empty"
5476 \property Voice.NoteHead \set #'style = #'neo_mensural
5477 \property Staff.TimeSignature \set #'style = #'neo_mensural
5479 \[ g\longa c\breve a\breve f\breve d'\longa \]
5481 \[ e1 f1 a\breve g\longa \]
5486 \remove Ligature_bracket_engraver
5487 \consists Mensural_ligature_engraver
5493 Without replacing @internalsref{Ligature_bracket_engraver} with
5494 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5497 @lilypond[raggedright]
5499 \notes \transpose c c' {
5500 \property Score.timing = ##f
5501 \property Score.defaultBarType = "empty"
5502 \property Voice.NoteHead \set #'style = #'neo_mensural
5503 \property Staff.TimeSignature \set #'style = #'neo_mensural
5505 \[ g\longa c\breve a\breve f\breve d'\longa \]
5507 \[ e1 f1 a\breve g\longa \]
5513 @node Gregorian square neumes ligatures
5514 @subsubsection Gregorian square neumes ligatures
5516 @cindex Square neumes ligatures
5517 @cindex Gregorian square neumes ligatures
5519 Gregorian square neumes notation (following the style of the Editio
5520 Vaticana) is under heavy development, but not yet really usable for
5521 production purposes. Core ligatures can already be typeset, but
5522 essential issues for serious typesetting are still under development,
5523 such as (among others) horizontal alignment of multiple ligatures,
5524 lyrics alignment and proper accidentals handling. Still, this section
5525 gives a sneak preview of what Gregorian chant may look like once it
5528 The following table contains the extended neumes table of the 2nd
5529 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5530 1983 by the monks of Solesmes.
5532 @multitable @columnfractions .4 .2 .2 .2
5535 @b{Neuma aut@*Neumarum Elementa} @tab
5536 @b{Figurae@*Rectae} @tab
5537 @b{Figurae@*Liquescentes Auctae} @tab
5538 @b{Figurae@*Liquescentes Deminutae}
5540 @c TODO: \paper block is identical in all of the below examples.
5541 @c Therefore, it should somehow be included rather than duplicated all
5544 @c why not make identifiers in ly/engraver-init.ly? --hwn
5546 @c Because it's just used to typeset plain notes without
5547 @c a staff for demonstration purposes rather than something
5548 @c special of Gregorian chant notation. --jr
5553 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.5\cm]
5554 \include "gregorian-init.ly"
5556 \notes \transpose c c' {
5559 \noBreak s^\markup {"a"} \noBreak
5561 % Punctum Inclinatum
5563 \noBreak s^\markup {"b"}
5569 \remove "Bar_number_engraver"
5573 \remove "Clef_engraver"
5574 \remove "Key_engraver"
5575 StaffSymbol \set #'transparent = ##t
5576 \remove "Time_signature_engraver"
5577 \remove "Bar_engraver"
5578 minimumVerticalExtent = ##f
5582 \remove Ligature_bracket_engraver
5583 \consists Vaticana_ligature_engraver
5584 NoteHead \set #'style = #'vaticana_punctum
5585 Stem \set #'transparent = ##t
5591 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.5\cm]
5592 \include "gregorian-init.ly"
5594 \notes \transpose c c' {
5595 % Punctum Auctum Ascendens
5596 \[ \auctum \ascendens b \]
5597 \noBreak s^\markup {"c"} \noBreak
5599 % Punctum Auctum Descendens
5600 \[ \auctum \descendens b \]
5601 \noBreak s^\markup {"d"} \noBreak
5603 % Punctum Inclinatum Auctum
5604 \[ \inclinatum \auctum b \]
5605 \noBreak s^\markup {"e"}
5611 \remove "Bar_number_engraver"
5615 \remove "Clef_engraver"
5616 \remove "Key_engraver"
5617 StaffSymbol \set #'transparent = ##t
5618 \remove "Time_signature_engraver"
5619 \remove "Bar_engraver"
5620 minimumVerticalExtent = ##f
5624 \remove Ligature_bracket_engraver
5625 \consists Vaticana_ligature_engraver
5626 NoteHead \set #'style = #'vaticana_punctum
5627 Stem \set #'transparent = ##t
5633 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5634 \include "gregorian-init.ly"
5636 \notes \transpose c c' {
5637 % Punctum Inclinatum Parvum
5638 \[ \inclinatum \deminutum b \]
5639 \noBreak s^\markup {"f"}
5645 \remove "Bar_number_engraver"
5649 \remove "Clef_engraver"
5650 \remove "Key_engraver"
5651 StaffSymbol \set #'transparent = ##t
5652 \remove "Time_signature_engraver"
5653 \remove "Bar_engraver"
5654 minimumVerticalExtent = ##f
5658 \remove Ligature_bracket_engraver
5659 \consists Vaticana_ligature_engraver
5660 NoteHead \set #'style = #'vaticana_punctum
5661 Stem \set #'transparent = ##t
5670 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5671 \include "gregorian-init.ly"
5673 \notes \transpose c c' {
5676 \noBreak s^\markup {"g"}
5682 \remove "Bar_number_engraver"
5686 \remove "Clef_engraver"
5687 \remove "Key_engraver"
5688 StaffSymbol \set #'transparent = ##t
5689 \remove "Time_signature_engraver"
5690 \remove "Bar_engraver"
5691 minimumVerticalExtent = ##f
5695 \remove Ligature_bracket_engraver
5696 \consists Vaticana_ligature_engraver
5697 NoteHead \set #'style = #'vaticana_punctum
5698 Stem \set #'transparent = ##t
5707 @code{3. Apostropha vel Stropha}
5709 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5710 \include "gregorian-init.ly"
5712 \notes \transpose c c' {
5715 \noBreak s^\markup {"h"}
5721 \remove "Bar_number_engraver"
5725 \remove "Clef_engraver"
5726 \remove "Key_engraver"
5727 StaffSymbol \set #'transparent = ##t
5728 \remove "Time_signature_engraver"
5729 \remove "Bar_engraver"
5730 minimumVerticalExtent = ##f
5734 \remove Ligature_bracket_engraver
5735 \consists Vaticana_ligature_engraver
5736 NoteHead \set #'style = #'vaticana_punctum
5737 Stem \set #'transparent = ##t
5743 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5744 \include "gregorian-init.ly"
5746 \notes \transpose c c' {
5748 \[ \stropha \auctum b \]
5749 \noBreak s^\markup {"i"}
5755 \remove "Bar_number_engraver"
5759 \remove "Clef_engraver"
5760 \remove "Key_engraver"
5761 StaffSymbol \set #'transparent = ##t
5762 \remove "Time_signature_engraver"
5763 \remove "Bar_engraver"
5764 minimumVerticalExtent = ##f
5768 \remove Ligature_bracket_engraver
5769 \consists Vaticana_ligature_engraver
5770 NoteHead \set #'style = #'vaticana_punctum
5771 Stem \set #'transparent = ##t
5781 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5782 \include "gregorian-init.ly"
5784 \notes \transpose c c' {
5787 \noBreak s^\markup {"j"}
5793 \remove "Bar_number_engraver"
5797 \remove "Clef_engraver"
5798 \remove "Key_engraver"
5799 StaffSymbol \set #'transparent = ##t
5800 \remove "Time_signature_engraver"
5801 \remove "Bar_engraver"
5802 minimumVerticalExtent = ##f
5806 \remove Ligature_bracket_engraver
5807 \consists Vaticana_ligature_engraver
5808 NoteHead \set #'style = #'vaticana_punctum
5809 Stem \set #'transparent = ##t
5818 @code{5. Clivis vel Flexa}
5820 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5821 \include "gregorian-init.ly"
5823 \notes \transpose c c' {
5832 \remove "Bar_number_engraver"
5836 \remove "Clef_engraver"
5837 \remove "Key_engraver"
5838 StaffSymbol \set #'transparent = ##t
5839 \remove "Time_signature_engraver"
5840 \remove "Bar_engraver"
5841 minimumVerticalExtent = ##f
5845 \remove Ligature_bracket_engraver
5846 \consists Vaticana_ligature_engraver
5847 NoteHead \set #'style = #'vaticana_punctum
5848 Stem \set #'transparent = ##t
5854 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
5855 \include "gregorian-init.ly"
5857 \notes \transpose c c' {
5858 % Clivis Aucta Descendens
5859 \[ b \flexa \auctum \descendens g \]
5860 \noBreak s^\markup {"l"} \noBreak
5862 % Clivis Aucta Ascendens
5863 \[ b \flexa \auctum \ascendens g \]
5864 \noBreak s^\markup {"m"}
5870 \remove "Bar_number_engraver"
5874 \remove "Clef_engraver"
5875 \remove "Key_engraver"
5876 StaffSymbol \set #'transparent = ##t
5877 \remove "Time_signature_engraver"
5878 \remove "Bar_engraver"
5879 minimumVerticalExtent = ##f
5883 \remove Ligature_bracket_engraver
5884 \consists Vaticana_ligature_engraver
5885 NoteHead \set #'style = #'vaticana_punctum
5886 Stem \set #'transparent = ##t
5892 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5893 \include "gregorian-init.ly"
5895 \notes \transpose c c' {
5897 \[ b \flexa \deminutum g \]
5904 \remove "Bar_number_engraver"
5908 \remove "Clef_engraver"
5909 \remove "Key_engraver"
5910 StaffSymbol \set #'transparent = ##t
5911 \remove "Time_signature_engraver"
5912 \remove "Bar_engraver"
5913 minimumVerticalExtent = ##f
5917 \remove Ligature_bracket_engraver
5918 \consists Vaticana_ligature_engraver
5919 NoteHead \set #'style = #'vaticana_punctum
5920 Stem \set #'transparent = ##t
5927 @code{6. Podatus vel Pes}
5929 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5930 \include "gregorian-init.ly"
5932 \notes \transpose c c' {
5941 \remove "Bar_number_engraver"
5945 \remove "Clef_engraver"
5946 \remove "Key_engraver"
5947 StaffSymbol \set #'transparent = ##t
5948 \remove "Time_signature_engraver"
5949 \remove "Bar_engraver"
5950 minimumVerticalExtent = ##f
5954 \remove Ligature_bracket_engraver
5955 \consists Vaticana_ligature_engraver
5956 NoteHead \set #'style = #'vaticana_punctum
5957 Stem \set #'transparent = ##t
5963 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
5964 \include "gregorian-init.ly"
5966 \notes \transpose c c' {
5967 % Pes Auctus Descendens
5968 \[ g \pes \auctum \descendens b \]
5969 \noBreak s^\markup {"p"} \noBreak
5971 % Pes Auctus Ascendens
5972 \[ g \pes \auctum \ascendens b \]
5973 \noBreak s^\markup {"q"}
5979 \remove "Bar_number_engraver"
5983 \remove "Clef_engraver"
5984 \remove "Key_engraver"
5985 StaffSymbol \set #'transparent = ##t
5986 \remove "Time_signature_engraver"
5987 \remove "Bar_engraver"
5988 minimumVerticalExtent = ##f
5992 \remove Ligature_bracket_engraver
5993 \consists Vaticana_ligature_engraver
5994 NoteHead \set #'style = #'vaticana_punctum
5995 Stem \set #'transparent = ##t
6001 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6002 \include "gregorian-init.ly"
6004 \notes \transpose c c' {
6006 \[ g \pes \deminutum b \]
6013 \remove "Bar_number_engraver"
6017 \remove "Clef_engraver"
6018 \remove "Key_engraver"
6019 StaffSymbol \set #'transparent = ##t
6020 \remove "Time_signature_engraver"
6021 \remove "Bar_engraver"
6022 minimumVerticalExtent = ##f
6026 \remove Ligature_bracket_engraver
6027 \consists Vaticana_ligature_engraver
6028 NoteHead \set #'style = #'vaticana_punctum
6029 Stem \set #'transparent = ##t
6036 @code{7. Pes Quassus}
6038 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6039 \include "gregorian-init.ly"
6041 \notes \transpose c c' {
6043 \[ \oriscus g \pes \virga b \]
6050 \remove "Bar_number_engraver"
6054 \remove "Clef_engraver"
6055 \remove "Key_engraver"
6056 StaffSymbol \set #'transparent = ##t
6057 \remove "Time_signature_engraver"
6058 \remove "Bar_engraver"
6059 minimumVerticalExtent = ##f
6063 \remove Ligature_bracket_engraver
6064 \consists Vaticana_ligature_engraver
6065 NoteHead \set #'style = #'vaticana_punctum
6066 Stem \set #'transparent = ##t
6072 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6073 \include "gregorian-init.ly"
6075 \notes \transpose c c' {
6076 % Pes Quassus Auctus Descendens
6077 \[ \oriscus g \pes \auctum \descendens b \]
6084 \remove "Bar_number_engraver"
6088 \remove "Clef_engraver"
6089 \remove "Key_engraver"
6090 StaffSymbol \set #'transparent = ##t
6091 \remove "Time_signature_engraver"
6092 \remove "Bar_engraver"
6093 minimumVerticalExtent = ##f
6097 \remove Ligature_bracket_engraver
6098 \consists Vaticana_ligature_engraver
6099 NoteHead \set #'style = #'vaticana_punctum
6100 Stem \set #'transparent = ##t
6108 @code{8. Quilisma Pes}
6110 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6111 \include "gregorian-init.ly"
6113 \notes \transpose c c' {
6115 \[ \quilisma g \pes b \]
6122 \remove "Bar_number_engraver"
6126 \remove "Clef_engraver"
6127 \remove "Key_engraver"
6128 StaffSymbol \set #'transparent = ##t
6129 \remove "Time_signature_engraver"
6130 \remove "Bar_engraver"
6131 minimumVerticalExtent = ##f
6135 \remove Ligature_bracket_engraver
6136 \consists Vaticana_ligature_engraver
6137 NoteHead \set #'style = #'vaticana_punctum
6138 Stem \set #'transparent = ##t
6144 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6145 \include "gregorian-init.ly"
6147 \notes \transpose c c' {
6148 % Quilisma Pes Auctus Descendens
6149 \[ \quilisma g \pes \auctum \descendens b \]
6156 \remove "Bar_number_engraver"
6160 \remove "Clef_engraver"
6161 \remove "Key_engraver"
6162 StaffSymbol \set #'transparent = ##t
6163 \remove "Time_signature_engraver"
6164 \remove "Bar_engraver"
6165 minimumVerticalExtent = ##f
6169 \remove Ligature_bracket_engraver
6170 \consists Vaticana_ligature_engraver
6171 NoteHead \set #'style = #'vaticana_punctum
6172 Stem \set #'transparent = ##t
6180 @code{9. Podatus Initio Debilis}
6182 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6183 \include "gregorian-init.ly"
6185 \notes \transpose c c' {
6186 % Pes Initio Debilis
6187 \[ \deminutum g \pes b \]
6194 \remove "Bar_number_engraver"
6198 \remove "Clef_engraver"
6199 \remove "Key_engraver"
6200 StaffSymbol \set #'transparent = ##t
6201 \remove "Time_signature_engraver"
6202 \remove "Bar_engraver"
6203 minimumVerticalExtent = ##f
6207 \remove Ligature_bracket_engraver
6208 \consists Vaticana_ligature_engraver
6209 NoteHead \set #'style = #'vaticana_punctum
6210 Stem \set #'transparent = ##t
6216 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6217 \include "gregorian-init.ly"
6219 \notes \transpose c c' {
6220 % Pes Auctus Descendens Initio Debilis
6221 \[ \deminutum g \pes \auctum \descendens b \]
6228 \remove "Bar_number_engraver"
6232 \remove "Clef_engraver"
6233 \remove "Key_engraver"
6234 StaffSymbol \set #'transparent = ##t
6235 \remove "Time_signature_engraver"
6236 \remove "Bar_engraver"
6237 minimumVerticalExtent = ##f
6241 \remove Ligature_bracket_engraver
6242 \consists Vaticana_ligature_engraver
6243 NoteHead \set #'style = #'vaticana_punctum
6244 Stem \set #'transparent = ##t
6254 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6255 \include "gregorian-init.ly"
6257 \notes \transpose c c' {
6259 \[ a \pes b \flexa g \]
6266 \remove "Bar_number_engraver"
6270 \remove "Clef_engraver"
6271 \remove "Key_engraver"
6272 StaffSymbol \set #'transparent = ##t
6273 \remove "Time_signature_engraver"
6274 \remove "Bar_engraver"
6275 minimumVerticalExtent = ##f
6279 \remove Ligature_bracket_engraver
6280 \consists Vaticana_ligature_engraver
6281 NoteHead \set #'style = #'vaticana_punctum
6282 Stem \set #'transparent = ##t
6288 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6289 \include "gregorian-init.ly"
6291 \notes \transpose c c' {
6292 % Torculus Auctus Descendens
6293 \[ a \pes b \flexa \auctum \descendens g \]
6300 \remove "Bar_number_engraver"
6304 \remove "Clef_engraver"
6305 \remove "Key_engraver"
6306 StaffSymbol \set #'transparent = ##t
6307 \remove "Time_signature_engraver"
6308 \remove "Bar_engraver"
6309 minimumVerticalExtent = ##f
6313 \remove Ligature_bracket_engraver
6314 \consists Vaticana_ligature_engraver
6315 NoteHead \set #'style = #'vaticana_punctum
6316 Stem \set #'transparent = ##t
6322 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6323 \include "gregorian-init.ly"
6325 \notes \transpose c c' {
6326 % Torculus Deminutus
6327 \[ a \pes b \flexa \deminutum g \]
6334 \remove "Bar_number_engraver"
6338 \remove "Clef_engraver"
6339 \remove "Key_engraver"
6340 StaffSymbol \set #'transparent = ##t
6341 \remove "Time_signature_engraver"
6342 \remove "Bar_engraver"
6343 minimumVerticalExtent = ##f
6347 \remove Ligature_bracket_engraver
6348 \consists Vaticana_ligature_engraver
6349 NoteHead \set #'style = #'vaticana_punctum
6350 Stem \set #'transparent = ##t
6357 @code{11. Torculus Initio Debilis}
6359 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6360 \include "gregorian-init.ly"
6362 \notes \transpose c c' {
6363 % Torculus Initio Debilis
6364 \[ \deminutum a \pes b \flexa g \]
6371 \remove "Bar_number_engraver"
6375 \remove "Clef_engraver"
6376 \remove "Key_engraver"
6377 StaffSymbol \set #'transparent = ##t
6378 \remove "Time_signature_engraver"
6379 \remove "Bar_engraver"
6380 minimumVerticalExtent = ##f
6384 \remove Ligature_bracket_engraver
6385 \consists Vaticana_ligature_engraver
6386 NoteHead \set #'style = #'vaticana_punctum
6387 Stem \set #'transparent = ##t
6393 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6394 \include "gregorian-init.ly"
6396 \notes \transpose c c' {
6397 % Torculus Auctus Descendens Initio Debilis
6398 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6405 \remove "Bar_number_engraver"
6409 \remove "Clef_engraver"
6410 \remove "Key_engraver"
6411 StaffSymbol \set #'transparent = ##t
6412 \remove "Time_signature_engraver"
6413 \remove "Bar_engraver"
6414 minimumVerticalExtent = ##f
6418 \remove Ligature_bracket_engraver
6419 \consists Vaticana_ligature_engraver
6420 NoteHead \set #'style = #'vaticana_punctum
6421 Stem \set #'transparent = ##t
6427 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6428 \include "gregorian-init.ly"
6430 \notes \transpose c c' {
6431 % Torculus Deminutus Initio Debilis
6432 \[ \deminutum a \pes b \flexa \deminutum g \]
6439 \remove "Bar_number_engraver"
6443 \remove "Clef_engraver"
6444 \remove "Key_engraver"
6445 StaffSymbol \set #'transparent = ##t
6446 \remove "Time_signature_engraver"
6447 \remove "Bar_engraver"
6448 minimumVerticalExtent = ##f
6452 \remove Ligature_bracket_engraver
6453 \consists Vaticana_ligature_engraver
6454 NoteHead \set #'style = #'vaticana_punctum
6455 Stem \set #'transparent = ##t
6462 @code{12. Porrectus}
6464 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6465 \include "gregorian-init.ly"
6467 \notes \transpose c c' {
6469 \[ a \flexa g \pes b \]
6476 \remove "Bar_number_engraver"
6480 \remove "Clef_engraver"
6481 \remove "Key_engraver"
6482 StaffSymbol \set #'transparent = ##t
6483 \remove "Time_signature_engraver"
6484 \remove "Bar_engraver"
6485 minimumVerticalExtent = ##f
6489 \remove Ligature_bracket_engraver
6490 \consists Vaticana_ligature_engraver
6491 NoteHead \set #'style = #'vaticana_punctum
6492 Stem \set #'transparent = ##t
6498 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6499 \include "gregorian-init.ly"
6501 \notes \transpose c c' {
6502 % Porrectus Auctus Descendens
6503 \[ a \flexa g \pes \auctum \descendens b \]
6510 \remove "Bar_number_engraver"
6514 \remove "Clef_engraver"
6515 \remove "Key_engraver"
6516 StaffSymbol \set #'transparent = ##t
6517 \remove "Time_signature_engraver"
6518 \remove "Bar_engraver"
6519 minimumVerticalExtent = ##f
6523 \remove Ligature_bracket_engraver
6524 \consists Vaticana_ligature_engraver
6525 NoteHead \set #'style = #'vaticana_punctum
6526 Stem \set #'transparent = ##t
6532 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6533 \include "gregorian-init.ly"
6535 \notes \transpose c c' {
6536 % Porrectus Deminutus
6537 \[ a \flexa g \pes \deminutum b \]
6544 \remove "Bar_number_engraver"
6548 \remove "Clef_engraver"
6549 \remove "Key_engraver"
6550 StaffSymbol \set #'transparent = ##t
6551 \remove "Time_signature_engraver"
6552 \remove "Bar_engraver"
6553 minimumVerticalExtent = ##f
6557 \remove Ligature_bracket_engraver
6558 \consists Vaticana_ligature_engraver
6559 NoteHead \set #'style = #'vaticana_punctum
6560 Stem \set #'transparent = ##t
6569 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6570 \include "gregorian-init.ly"
6572 \notes \transpose c c' {
6574 \[ \virga b \inclinatum a \inclinatum g \]
6581 \remove "Bar_number_engraver"
6585 \remove "Clef_engraver"
6586 \remove "Key_engraver"
6587 StaffSymbol \set #'transparent = ##t
6588 \remove "Time_signature_engraver"
6589 \remove "Bar_engraver"
6590 minimumVerticalExtent = ##f
6594 \remove Ligature_bracket_engraver
6595 \consists Vaticana_ligature_engraver
6596 NoteHead \set #'style = #'vaticana_punctum
6597 Stem \set #'transparent = ##t
6603 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6604 \include "gregorian-init.ly"
6606 \notes \transpose c c' {
6608 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6615 \remove "Bar_number_engraver"
6619 \remove "Clef_engraver"
6620 \remove "Key_engraver"
6621 StaffSymbol \set #'transparent = ##t
6622 \remove "Time_signature_engraver"
6623 \remove "Bar_engraver"
6624 minimumVerticalExtent = ##f
6628 \remove Ligature_bracket_engraver
6629 \consists Vaticana_ligature_engraver
6630 NoteHead \set #'style = #'vaticana_punctum
6631 Stem \set #'transparent = ##t
6637 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6638 \include "gregorian-init.ly"
6640 \notes \transpose c c' {
6641 % Climacus Deminutus
6642 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6649 \remove "Bar_number_engraver"
6653 \remove "Clef_engraver"
6654 \remove "Key_engraver"
6655 StaffSymbol \set #'transparent = ##t
6656 \remove "Time_signature_engraver"
6657 \remove "Bar_engraver"
6658 minimumVerticalExtent = ##f
6662 \remove Ligature_bracket_engraver
6663 \consists Vaticana_ligature_engraver
6664 NoteHead \set #'style = #'vaticana_punctum
6665 Stem \set #'transparent = ##t
6672 @code{14. Scandicus}
6674 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6675 \include "gregorian-init.ly"
6677 \notes \transpose c c' {
6679 \[ g \pes a \virga b \]
6686 \remove "Bar_number_engraver"
6690 \remove "Clef_engraver"
6691 \remove "Key_engraver"
6692 StaffSymbol \set #'transparent = ##t
6693 \remove "Time_signature_engraver"
6694 \remove "Bar_engraver"
6695 minimumVerticalExtent = ##f
6699 \remove Ligature_bracket_engraver
6700 \consists Vaticana_ligature_engraver
6701 NoteHead \set #'style = #'vaticana_punctum
6702 Stem \set #'transparent = ##t
6708 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6709 \include "gregorian-init.ly"
6711 \notes \transpose c c' {
6712 % Scandicus Auctus Descendens
6713 \[ g \pes a \pes \auctum \descendens b \]
6720 \remove "Bar_number_engraver"
6724 \remove "Clef_engraver"
6725 \remove "Key_engraver"
6726 StaffSymbol \set #'transparent = ##t
6727 \remove "Time_signature_engraver"
6728 \remove "Bar_engraver"
6729 minimumVerticalExtent = ##f
6733 \remove Ligature_bracket_engraver
6734 \consists Vaticana_ligature_engraver
6735 NoteHead \set #'style = #'vaticana_punctum
6736 Stem \set #'transparent = ##t
6742 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6743 \include "gregorian-init.ly"
6745 \notes \transpose c c' {
6746 % Scandicus Deminutus
6747 \[ g \pes a \pes \deminutum b \]
6754 \remove "Bar_number_engraver"
6758 \remove "Clef_engraver"
6759 \remove "Key_engraver"
6760 StaffSymbol \set #'transparent = ##t
6761 \remove "Time_signature_engraver"
6762 \remove "Bar_engraver"
6763 minimumVerticalExtent = ##f
6767 \remove Ligature_bracket_engraver
6768 \consists Vaticana_ligature_engraver
6769 NoteHead \set #'style = #'vaticana_punctum
6770 Stem \set #'transparent = ##t
6779 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6780 \include "gregorian-init.ly"
6782 \notes \transpose c c' {
6784 \[ g \oriscus a \pes \virga b \]
6791 \remove "Bar_number_engraver"
6795 \remove "Clef_engraver"
6796 \remove "Key_engraver"
6797 StaffSymbol \set #'transparent = ##t
6798 \remove "Time_signature_engraver"
6799 \remove "Bar_engraver"
6800 minimumVerticalExtent = ##f
6804 \remove Ligature_bracket_engraver
6805 \consists Vaticana_ligature_engraver
6806 NoteHead \set #'style = #'vaticana_punctum
6807 Stem \set #'transparent = ##t
6813 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6814 \include "gregorian-init.ly"
6816 \notes \transpose c c' {
6817 % Salicus Auctus Descendens
6818 \[ g \oriscus a \pes \auctum \descendens b \]
6825 \remove "Bar_number_engraver"
6829 \remove "Clef_engraver"
6830 \remove "Key_engraver"
6831 StaffSymbol \set #'transparent = ##t
6832 \remove "Time_signature_engraver"
6833 \remove "Bar_engraver"
6834 minimumVerticalExtent = ##f
6838 \remove Ligature_bracket_engraver
6839 \consists Vaticana_ligature_engraver
6840 NoteHead \set #'style = #'vaticana_punctum
6841 Stem \set #'transparent = ##t
6851 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6852 \include "gregorian-init.ly"
6854 \notes \transpose c c' {
6856 \[ \stropha b \stropha b \stropha a \]
6863 \remove "Bar_number_engraver"
6867 \remove "Clef_engraver"
6868 \remove "Key_engraver"
6869 StaffSymbol \set #'transparent = ##t
6870 \remove "Time_signature_engraver"
6871 \remove "Bar_engraver"
6872 minimumVerticalExtent = ##f
6876 \remove Ligature_bracket_engraver
6877 \consists Vaticana_ligature_engraver
6878 NoteHead \set #'style = #'vaticana_punctum
6879 Stem \set #'transparent = ##t
6891 Unlike most other neumes notation systems, the input language for
6892 neumes does not necessarily reflect directly the typographical
6893 appearance, but is designed to solely focuse on musical meaning. For
6894 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6895 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6896 a Porrectus with a curved flexa shape and only a single Punctum head.
6897 There is no command to explicitly typeset the curved flexa shape; the
6898 decision of when to typeset a curved flexa shape is purely taken from
6899 the musical input. The idea of this approach is to separate the
6900 musical aspects of the input from the notation style of the output.
6901 This way, the same input can be reused to typeset the same music in a
6902 different style of Gregorian chant notation such as Hufnagel (also
6903 known as German gothic neumes) or Medicaea (kind of a very simple
6904 forerunner of the Editio Vaticana). As soon as Hufnagel ligature
6905 engraver and Medicaea ligature engraver will have been implemented, it
6906 will be as simple as replacing the ligature engraver in the
6907 @internalsref{Voice} context to get the desired notation style from
6910 The following table shows the code fragments that produce the
6911 ligatures in the above neumes table. The letter in the first column
6912 in each line of the below table indicates to which ligature in the
6913 above table it refers. The second column gives the name of the
6914 ligature. The third column shows the code fragment that produces this
6915 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6917 @multitable @columnfractions .1 .4 .5
6931 Punctum Inclinatum @tab
6932 @code{\[ \inclinatum b \]}
6936 Punctum Auctum Ascendens @tab
6937 @code{\[ \auctum \ascendens b \]}
6941 Punctum Auctum Descendens @tab
6942 @code{\[ \auctum \descendens b \]}
6946 Punctum Inclinatum Auctum @tab
6947 @code{\[ \inclinatum \auctum b \]}
6951 Punctum Inclinatum Parvum @tab
6952 @code{\[ \inclinatum \deminutum b \]}
6957 @code{\[ \virga b \]}
6962 @code{\[ \stropha b \]}
6967 @code{\[ \stropha \auctum b \]}
6972 @code{\[ \oriscus b \]}
6976 Clivis vel Flexa @tab
6977 @code{\[ b \flexa g \]}
6981 Clivis Aucta Descendens @tab
6982 @code{\[ b \flexa \auctum \descendens g \]}
6986 Clivis Aucta Ascendens @tab
6987 @code{\[ b \flexa \auctum \ascendens g \]}
6992 @code{\[ b \flexa \deminutum g \]}
6996 Podatus vel Pes @tab
6997 @code{\[ g \pes b \]}
7001 Pes Auctus Descendens @tab
7002 @code{\[ g \pes \auctum \descendens b \]}
7006 Pes Auctus Ascendens @tab
7007 @code{\[ g \pes \auctum \ascendens b \]}
7012 @code{\[ g \pes \deminutum b \]}
7017 @code{\[ \oriscus g \pes \virga b \]}
7021 Pes Quassus Auctus Descendens @tab
7022 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7027 @code{\[ \quilisma g \pes b \]}
7031 Quilisma Pes Auctus Descendens @tab
7032 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7036 Pes Initio Debilis @tab
7037 @code{\[ \deminutum g \pes b \]}
7041 Pes Auctus Descendens Initio Debilis @tab
7042 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7047 @code{\[ a \pes b \flexa g \]}
7051 Torculus Auctus Descendens @tab
7052 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7056 Torculus Deminutus @tab
7057 @code{\[ a \pes b \flexa \deminutum g \]}
7061 Torculus Initio Debilis @tab
7062 @code{\[ \deminutum a \pes b \flexa g \]}
7066 Torculus Auctus Descendens Initio Debilis @tab
7067 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7071 Torculus Deminutus Initio Debilis @tab
7072 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7077 @code{\[ a \flexa g \pes b \]}
7081 Porrectus Auctus Descendens @tab
7082 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7086 Porrectus Deminutus @tab
7087 @code{\[ a \flexa g \pes \deminutum b \]}
7092 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7096 Climacus Auctus @tab
7097 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7101 Climacus Deminutus @tab
7102 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7107 @code{\[ g \pes a \virga b \]}
7111 Scandicus Auctus Descendens @tab
7112 @code{\[ g \pes a \pes \auctum \descendens b \]}
7116 Scandicus Deminutus @tab
7117 @code{\[ g \pes a \pes \deminutum b \]}
7122 @code{\[ g \oriscus a \pes \virga b \]}
7126 Salicus Auctus Descendens @tab
7127 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7132 @code{\[ \stropha b \stropha b \stropha a \]}
7138 The following head prefixes are supported:
7140 @cindex @code{\virga}
7142 @cindex @code{\stropha}
7144 @cindex @code{\inclinatum}
7146 @cindex @code{\auctum}
7148 @cindex @code{\descendens}
7150 @cindex @code{\ascendens}
7152 @cindex @code{\oriscus}
7154 @cindex @code{\quilisma}
7156 @cindex @code{\deminutum}
7159 Head prefixes can be accumulated, though restrictions apply. For
7160 example, either @code{\descendens} or @code{\ascendens} can be applied
7161 to a head, but not both to the same head.
7164 @cindex @code{\flexa}
7165 Two adjacent heads can be tied together with the @code{\pes} and
7166 @code{\flexa} infix commands for a rising and falling line of melody,
7171 Trigonus: apply equal spacing, regardless of pitch.
7174 @subsection Figured bass
7176 @cindex Basso continuo
7178 @c TODO: musicological blurb about FB
7182 LilyPond has limited support for figured bass:
7184 @lilypond[verbatim,fragment]
7186 \context Voice \notes { \clef bass dis4 c d ais}
7187 \context FiguredBass
7189 < 6 >4 < 7 >8 < 6+ [_!] >
7195 The support for figured bass consists of two parts: there is an input
7196 mode, introduced by @code{\figures}, where you can enter bass figures
7197 as numbers, and there is a context called @internalsref{FiguredBass} that
7198 takes care of making @internalsref{BassFigure} objects.
7200 In figures input mode, a group of bass figures is delimited by
7201 @code{<} and @code{>}. The duration is entered after the @code{>>}:
7206 \context FiguredBass
7210 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7217 \context FiguredBass
7218 \figures { <4- 6+ 7!> }
7221 Spaces or dashes may be inserted by using @code{_}. Brackets are
7222 introduced with @code{[} and @code{]}:
7228 \context FiguredBass
7229 \figures { < [4 6] 8 [_! 12]> }
7232 Although the support for figured bass may superficially resemble chord
7233 support, it works much simpler. The @code{\figures} mode simply
7234 stores the numbers , and @internalsref{FiguredBass} context prints
7235 them as entered. There is no conversion to pitches, and no
7236 realizations of the bass are played in the MIDI file.
7238 Internally, the code produces markup texts. You can use any of the
7239 markup text properties to override formatting. For example, the
7240 vertical spacing of the figures may be set with @code{baseline-skip}.
7244 Internals: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7245 and @internalsref{FiguredBass} context.
7249 Slash notation for alterations is not supported.
7252 @node Vaticana style contexts
7253 @subsection Vaticana style contexts
7255 @cindex VaticanaVoiceContext
7256 @cindex VaticanaStaffContext
7258 The predefined @code{VaticanaVoiceContext} and
7259 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7260 Gregorian Chant in the style of the Editio Vaticana. These contexts
7261 initialize all relevant context properties and grob properties to
7262 proper values. With these contexts, you can immediately go ahead
7263 entering the chant, as the following short excerpt demonstrates:
7265 @lilypond[raggedright,verbatim,noindent]
7266 \include "gregorian-init.ly"
7269 \context VaticanaVoice = "cantus" {
7270 \property Score.BarNumber \set #'transparent = ##t
7272 \[ c'\melisma c' \flexa a \] \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7273 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \] c' \divisioMinima \break
7274 \[ c'\melisma c' \flexa a \] \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7277 \lyricsto "cantus" \new LyricsVoice \lyrics {
7278 San- ctus, San- ctus, San- ctus
7284 @node Contemporary notation
7285 @section Contemporary notation
7287 In the 20th century, composers have greatly expanded the musical
7288 vocabulary. With this expansion, many innovations in musical notation
7289 have been tried. The book by Stone (1980) gives a comprehensive
7290 overview (see @ref{Literature list}). In general, the use of new,
7291 innovative notation makes a piece harder to understand and perform and
7292 its use should therefore be avoided if possible. For this reason,
7293 support for contemporary notation in LilyPond is limited.
7302 @subsection Clusters
7306 In musical terminology, a @emph{cluster} denotes a range of
7307 simultaneously sounding pitches that may change over time. The set of
7308 available pitches to apply usually depends on the accoustic source.
7309 Thus, in piano music, a cluster typically consists of a continous range
7310 of the semitones as provided by the piano's fixed set of a chromatic
7311 scale. In choral music, each singer of the choir typically may sing an
7312 arbitrary pitch within the cluster's range that is not bound to any
7313 diatonic, chromatic or other scale. In electronic music, a cluster
7314 (theoretically) may even cover a continuous range of pitches, thus
7315 resulting in coloured noise, such as pink noise.
7317 Clusters can be denoted in the context of ordinary staff notation by
7318 engraving simple geometrical shapes that replace ordinary notation of
7319 notes. Ordinary notes as musical events specify starting time and
7320 duration of pitches; however, the duration of a note is expressed by the
7321 shape of the note head rather than by the horizontal graphical extent of
7322 the note symbol. In contrast, the shape of a cluster geometrically
7323 describes the development of a range of pitches (vertical extent) over
7324 time (horizontal extent). Still, the geometrical shape of a cluster
7325 covers the area in wich any single pitch contained in the cluster would
7326 be notated as an ordinary note. From this point of view, it is
7327 reasonable to specify a cluster as the envelope of a set of notes.
7331 A cluster is engraved as the envelope of a set of
7332 cluster-notes. Cluster notes are created by applying the function
7333 @code{notes-to-clusters} to a sequence of chords, e.g.
7335 @lilypond[relative=1,verbatim]
7336 \apply #notes-to-clusters { <c e > <b f'> }
7339 The following example (from
7340 @inputfileref{input/regression,cluster.ly}) shows what the result
7343 @lilypondfile[notexidoc]{cluster.ly}
7345 By default, @internalsref{Cluster_spanner_engraver} is in the
7346 @internalsref{Voice} context. This allows putting ordinary notes and
7347 clusters together in the same staff, even simultaneously. In such a
7348 case no attempt is made to automatically avoid collisions between
7349 ordinary notes and clusters.
7353 Internals: @internalsref{ClusterSpanner},
7354 @internalsref{ClusterSpannerBeacon},
7355 @internalsref{Cluster_spanner_engraver}, and
7356 @internalsref{ClusterNoteEvent}.
7358 Examples: @inputfileref{input/regression,cluster.ly}.
7362 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7363 accurately. Use @code{<g a>8 <e a>8} instead.
7368 @subsection Fermatas
7374 Contemporary music notation frequently uses special fermata symbols to
7375 indicate fermatas of differing lengths.
7379 The following are supported
7381 @lilypond[raggedright]
7383 << \addlyrics \notes {
7403 \context LyricsVoice \lyrics {
7404 "shortfermata" "fermata" "longfermata" "verylongfermata"
7409 See @ref{Articulations} for general instructions how to apply scripts
7410 such as fermatas to a @code{\notes@{@}} block.
7413 @node Special notation
7414 @section Special notation
7418 * Easy Notation note heads::
7422 @subsection Balloon help
7424 Elements of notation can be marked and named with the help of a square
7425 balloon. The primary purpose of this feature is to explain notation.
7427 The following example demonstrates its use.
7429 @lilypond[verbatim,fragment,raggedright,relative=1]
7432 #(add-balloon-text 'NoteHead "heads, or tails?"
7438 The function @code{add-balloon-text} takes the name of a grob, the
7439 label to print and where to put the label relative to the object. In
7440 the above example, the text ``heads or tails?'' ends 3 spaces below
7444 @cindex notation, explaining
7448 Internals: @internalsref{text-balloon-interface}
7450 Examples: @inputfileref{input/regression,balloon.ly}
7452 @node Easy Notation note heads
7453 @subsection Easy Notation note heads
7455 @cindex easy notation
7458 The `easy play' note head includes a note name inside the head. It is
7459 used in music aimed at beginners:
7461 @lilypond[raggedright,verbatim,staffsize=26]
7463 \notes { c'2 e'4 f' | g'1 }
7464 \paper { \translator { \EasyNotation } }
7468 The @code{EasyNotation} variable overrides a @internalsref{Score}
7469 context. To make the letters readable, it has to be printed in a
7470 large font size. To print with a larger font, see @ref{Font Size}.
7475 If you view the result with Xdvi, then staff lines may show through
7476 the letters. Printing the PostScript file obtained does produce the
7482 @section Tuning output
7484 There are situations where default layout decisions are not
7485 sufficient. In this section we discuss ways to override these
7488 Formatting is internally done by manipulating so called objects
7489 (graphic objects). Each object carries with it a set of properties
7490 (object or layout properties) specific to that object. For example, a
7491 stem object has properties that specify its direction, length and
7494 The most direct way of tuning the output is by altering the values of
7495 these properties. There are two ways of doing that: first, you can
7496 temporarily change the definition of one type of object, thus
7497 affecting a whole set of objects. Second, you can select one specific
7498 object, and set a layout property in that object.
7500 Do not confuse layout properties with translation
7501 properties. Translation properties always use a mixed caps style
7502 naming, and are manipulated using @code{\property}:
7504 \property Context.propertyName = @var{value}
7507 Layout properties are use Scheme style variable naming, i.e. lower
7508 case words separated with dashes. They are symbols, and should always
7509 be quoted using @code{#'}. For example, this could be an imaginary
7510 layout property name:
7512 #'layout-property-name
7517 The introduction of the @ref{Technical manual} gives a more in-depth
7518 treatment of the difference between translation and layout.
7522 * Constructing a tweak::
7530 @node Tuning objects
7531 @subsection Tuning objects
7533 @cindex object description
7535 The definition of an object is a list of default object
7536 properties. For example, the definition of the Stem object (available
7537 in @file{scm/define-grobs.scm}), includes the following definitions
7538 for @internalsref{Stem}:
7542 (beamed-lengths . (3.5 3.5 3.5 4.5 5.0))
7543 (Y-extent-callback . ,Stem::height)
7548 Adding variables on top of this existing definition overrides the
7549 system default, and alters the resulting appearance of the layout
7555 Changing a variable for only one object is commonly achieved with
7559 \once \property @var{context}.@var{objectname}
7560 \override @var{symbol} = @var{value}
7562 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
7563 and @var{objectname} is a string and @var{value} is a Scheme expression.
7564 This command applies a setting only during one moment in the score.
7566 In the following example, only one @internalsref{Stem} object is
7567 changed from its original setting:
7569 @lilypond[verbatim,fragment,relative=1]
7571 \once \property Voice.Stem \set #'thickness = #4
7575 @cindex @code{\once}
7577 For changing more objects, the same command, without @code{\once} can
7580 \property @var{context}.@var{objectname} \override @var{symbol} = @var{value}
7582 This command adds @code{@var{symbol} = @var{value}} to the definition
7583 of @var{objectname} in the context @var{context}, and this definition
7584 stays in place until it is removed.
7586 An existing definition may be removed by the following command:
7589 \property @var{context}.@var{objectname} \revert @var{symbol}
7592 All @code{\override} and @code{\revert} commands should be balanced.
7593 The @code{\set} shorthand performs a revert followed by an override,
7594 and is often more convenient to use
7597 \property @var{context}.@var{objectname} \set @var{symbol} = @var{value}
7601 @lilypond[verbatim,quote]
7602 c'4 \property Voice.Stem \override #'thickness = #4.0
7604 c'4 \property Voice.Stem \revert #'thickness
7608 The following example gives exactly the same result as the previous
7609 one (assuming the system default for stem thickness is 1.3):
7611 @lilypond[verbatim,quote]
7612 c'4 \property Voice.Stem \set #'thickness = #4.0
7614 c'4 \property Voice.Stem \set #'thickness = #1.3
7618 Reverting a setting which was not set in the first place has no
7619 effect. However, if the setting was set as a system default, this may
7620 remove the default value, and this may give surprising results,
7621 including crashes. In other words, @code{\override} and
7622 @code{\revert} must be carefully balanced. The following are examples
7623 of correct nesting of @code{\override}, @code{\set}, @code{\revert}:
7627 a clumsy but correct form:
7629 \override \revert \override \revert \override \revert
7633 shorter version of the same:
7635 \override \set \set \revert
7639 a short form, using only @code{\set}. This requires you to know the
7642 \set \set \set \set @var{to default value}
7646 if there is no default (i.e. by default, the object property is unset),
7649 \set \set \set \revert
7653 The object description is an Scheme association list. Since a Scheme
7654 list is a singly linked list, we can treat it as a stack, and
7655 @code{\override} and @code{\revert} are push and pop operations. The
7656 association list is stored in a normal context property, hence
7658 \property Voice.NoteHead = #'()
7660 will effectively erase @internalsref{NoteHead}s from the current
7661 @internalsref{Voice}. Typically, this will blank the object. However,
7662 this mechanism should not be used: it may cause crashes or other
7667 Internals: @internalsref{OverrideProperty}, @internalsref{RevertProperty},
7668 @internalsref{PropertySet}, @internalsref{All-backend-properties}, and
7669 @internalsref{All-layout-objects}.
7674 The backend is not very strict in type-checking object properties.
7675 Cyclic references in Scheme values for properties cause hangs and/or
7676 crashes. Reverting properties that are system defaults may also lead
7679 A property tweak of modifies a local copy of the object definition.
7680 After such a tweak, the definition is independent of the objects in
7681 enclosing contexts. For example
7683 @lilypond[verbatim,fragment]
7684 \property Voice.Stem \set #'direction = #UP
7686 \property Staff.Stem \set #'thickness = #4.0
7691 In this fragment, @code{direction} is tweaked. As a result, the
7692 current @internalsref{Voice} gets a private version of the
7693 @internalsref{Stem} object. The following tweak modifies the
7694 definition at @internalsref{Staff} level. Since it a different
7695 definition, the thickness of the first @code{d'} is unaffected. For
7696 the third note, a new Voice is created, which inherits the new
7697 definition, including the changed thickness, but excluding the new
7703 * Constructing a tweak::
7709 @node Constructing a tweak
7710 @subsection Constructing a tweak
7713 @cindex internal documentation
7714 @cindex finding graphical objects
7715 @cindex graphical object descriptions
7717 @cindex @code{\override}
7719 @cindex internal documentation
7723 Three pieces of information are required to use @code{\override} and
7724 @code{\set}: the name of the layout object, the context and the name
7725 of the property. We demonstrate how to glean this information from
7726 the notation manual and the generated documentation.
7728 The generated documentation is a set of HTML pages which should be
7729 included if you installed a binary distribution, typically in
7730 @file{/usr/share/doc/lilypond}. They are also available on the web:
7731 go to the @uref{http://lilypond.org,LilyPond website}, click
7732 ``Documentation'', select the correct version, and click then
7733 ``Program reference.'' It is advisable to bookmark the local HTML
7734 files. They will load faster than the ones on the web. If you use the
7735 version from the web, you must check whether the documentation matches
7736 the program version: it is generated from the definitions that the
7737 program uses, and therefore it is strongly tied to the LilyPond
7741 @c [TODO: revise for new site.]
7743 Suppose we want to move the fingering indication in the fragment below:
7745 @lilypond[relative=2,verbatim]
7751 If you visit the documentation of @code{Fingering} (in @ref{Fingering
7752 instructions}), you will notice that there is written:
7757 Internals: @internalsref{FingerEvent} and @internalsref{Fingering}.
7764 In other words, the fingerings once entered, are internally stored as
7765 @code{FingerEvent} music objects. When printed, a @code{Fingering}
7766 layout object is created for every @code{FingerEvent}.
7768 The Fingering object has a number of different functions, and each of
7769 those is captured in an interface. The interfaces are listed under
7770 @internalsref{Fingering} in the program reference.
7774 The @code{Fingering} object has a fixed size
7775 (@internalsref{item-interface}), the symbol is a piece of text
7776 (@internalsref{text-interface}), whose font can be set
7777 (@internalsref{font-interface}). It is centered horizontally
7778 (@internalsref{self-alignment-interface}), it is placed next to other
7779 objects (@internalsref{side-position-interface}) vertically, and its
7780 placement is coordinated with other scripts
7781 (@internalsref{text-script-interface}). It also has the standard
7782 @internalsref{grob-interface} (grob stands for Graphical object)
7784 @cindex graphical object
7785 @cindex layout object
7786 @cindex object, layout
7787 with all the variables that come with
7788 it. Finally, it denotes a fingering instruction, so it has
7789 @internalsref{finger-interface}.
7791 For the vertical placement, we have to look under
7792 @code{side-position-interface}:
7794 @code{side-position-interface}
7796 Position a victim object (this one) next to other objects (the
7797 support). In this case, the property @code{direction} signifies where to put the
7798 victim object relative to the support (left or right, up or down?)
7803 below this description, the variable @code{padding} is described as
7807 (dimension, in staff space)
7809 add this much extra space between objects that are next to each
7810 other. Default value: @code{0.6}
7814 By increasing the value of @code{padding}, we can move away the
7815 fingering. The following command inserts 3 staff spaces of white
7816 between the note and the fingering:
7818 \once \property Voice.Fingering \set #'padding = #3
7821 Inserting this command before the Fingering object is created,
7822 i.e. before @code{c2}, yields the following result:
7824 @lilypond[relative=2,fragment,verbatim]
7825 \once \property Voice.Fingering
7832 The context name @code{Voice} in the example above can be determined
7833 as follows. In the documentation for @internalsref{Fingering}, it says
7835 Fingering grobs are created by: @internalsref{Fingering_engraver}
7838 Clicking @code{Fingering_engraver} shows the documentation of
7839 the module responsible for interpreting the fingering instructions and
7840 translating them to a @code{Fingering} object. Such a module is called
7841 an @emph{engraver}. The documentation of the @code{Fingering_engraver}
7844 Fingering_engraver is part of contexts: Voice
7846 so tuning the settings for Fingering should be done with
7848 \property Voice.Fingering \set @dots{}
7851 Of course, the tweak may also done in a larger context than
7852 @code{Voice}, for example, @internalsref{Staff} or
7853 @internalsref{Score}.
7857 Internals: the program reference also contains alphabetical lists of
7858 @internalsref{Contexts}, @internalsref{All-layout-objects} and
7859 @internalsref{Music-expressions}, so you can also find which objects
7860 to tweak by browsing the internals document.
7864 @subsection Applyoutput
7866 The most versatile way of tuning an object is @code{\applyoutput}. Its
7869 \applyoutput @var{proc}
7873 where @var{proc} is a Scheme function, taking three arguments.
7875 When interpreted, the function @var{proc} is called for every layout
7876 object found in the context, with the following arguments:
7878 @item the layout object itself,
7879 @item the context where the layout object was created, and
7880 @item the context where @code{\applyoutput} is processed.
7884 In addition, the cause of the layout object, i.e. the music
7885 expression or object that was responsible for creating it, is in the
7886 object property @code{cause}. For example, for a note head, this is a
7887 @internalsref{NoteHead} event, and for a @internalsref{Stem} object,
7888 this is a @internalsref{NoteHead} object.
7890 Here is a simple example of @code{\applyoutput}; it blanks note-heads on the
7893 (define (blanker grob grob-origin context)
7894 (if (and (memq (ly:get-grob-property grob 'interfaces)
7895 note-head-interface)
7896 (eq? (ly:get-grob-property grob 'staff-position) 0))
7898 (ly:set-grob-property! grob 'transparent #t)))
7903 @node Font selection
7904 @subsection Font selection
7906 The most common thing to change about the appearance of fonts is their
7907 size. The font size of any context can be easily changed by setting
7908 the @code{fontSize} property for that context. Its value is a number:
7909 negative numbers make the font smaller, positive numbers larger. An
7910 example is given below:
7912 @lilypond[fragment,relative=1,verbatim,quote]
7913 c4 c4 \property Voice.fontSize = #-1
7916 This command will set @code{font-size} (see below), and does
7917 not change the size of variable symbols, such as beams or slurs.
7919 One of the uses of @code{fontSize} is to get smaller symbols for cue
7920 notes. An elaborate example of those is in
7921 @inputfileref{input/test,cue-notes.ly}.
7923 @cindex magnification
7926 The font used for printing a object can be selected by setting
7927 @code{font-name}, e.g.
7929 \property Staff.TimeSignature
7930 \set #'font-name = #"cmr17"
7934 Any font can be used, as long as it is available to @TeX{}. Possible
7935 fonts include foreign fonts or fonts that do not belong to the
7936 Computer Modern font family. The size of fonts selected in this way
7937 can be changed with the @code{font-magnification} property. For
7938 example, @code{2.0} blows up all letters by a factor 2 in both
7942 @cindex font magnification
7944 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
7945 can also be adjusted with a more fine-grained mechanism. By setting
7946 the object properties described below, you can select a different font;
7947 all three mechanisms work for every object that supports
7948 @code{font-interface}:
7953 is a symbol indicating the general class of the typeface. Supported are
7954 @code{roman} (Computer Modern), @code{braces} (for piano staff
7955 braces), @code{music} (the standard music font, including ancient
7956 glyphs), @code{dynamic} (for dynamic signs) and @code{typewriter}.
7959 is a symbol indicating the shape of the font, there are typically several
7960 font shapes available for each font family. Choices are @code{italic},
7961 @code{caps} and @code{upright}.
7964 is a symbol indicating the series of the font. There are typically several
7965 font series for each font family and shape. Choices are @code{medium}
7970 For any of these properties, the value @code{*} (i.e. the symbol
7971 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
7972 to override default setting, which are always present. For example:
7974 \property Lyrics . LyricText \override #'font-series = #'bold
7975 \property Lyrics . LyricText \override #'font-family = #'typewriter
7976 \property Lyrics . LyricText \override #'font-shape = #'*
7979 @cindex @code{font-style}
7981 The font size is set by modifying the @code{font-size} property. Its
7982 value is a number indicating the size relative to the standard size.
7983 Each step up is an increase of approximately 12% of the font size. Six
7984 steps is exactly a factor two. The Scheme function @code{magstep}
7985 converts a @code{font-size} number to a scaling factor.
7987 LilyPond has fonts in different design sizes: the music fonts for
7988 smaller sizes are chubbier, while the text fonts are relatively wider.
7989 Font size changes are achieved by scaling the design size that is
7990 closest to the desired size.
7992 The @code{font-size} mechanism does not work for fonts selected
7993 through @code{font-name}. These may be scaled with
7994 @code{font-magnification}.
7998 The following commands set @code{fontSize} for the current voice.
8000 @cindex @code{\tiny}
8002 @cindex @code{\small}
8004 @cindex @code{\normalsize}
8009 Init files: @file{ly/declarations-init.ly} contains hints how new
8010 fonts may be added to LilyPond.
8014 There is no style sheet provided for other fonts besides the @TeX{}
8015 Computer Modern family.
8017 @cindex font selection
8018 @cindex font magnification
8019 @cindex @code{font-interface}
8023 @subsection Text markup
8028 @cindex typeset text
8030 LilyPond has an internal mechanism to typeset texts. You can access it
8031 with the keyword @code{\markup}. Within markup mode, you can enter texts
8032 similar to lyrics: simply enter them, surrounded by spaces:
8035 @lilypond[verbatim,fragment,relative=1]
8036 c1^\markup { hello }
8037 c1_\markup { hi there }
8038 c1^\markup { hi \bold there, is \italic anyone home? }
8041 @cindex font switching
8043 The markup in the example demonstrates font switching commands. The
8044 command @code{\bold} and @code{\italic} only apply to the first
8045 following word; enclose a set of texts with braces to apply a command
8048 \markup @{ \bold @{ hi there @} @}
8052 For clarity, you can also do this for single arguments, e.g.
8054 \markup @{ is \italic @{ anyone @} home @}
8057 @cindex font size, texts
8059 The following size commands set absolute sizes:
8061 @cindex @code{\teeny}
8062 @cindex @code{\tiny}
8063 @cindex @code{\small}
8064 @cindex @code{\large}
8065 @cindex @code{\huge}
8075 You can also make letter larger or smaller relative to their neighbors,
8076 with the commands @code{\larger} and @code{\smaller}.
8080 @cindex font style, for texts
8081 @cindex @code{\bold}
8082 @cindex @code{\dynamic}
8083 @cindex @code{\number}
8084 @cindex @code{\italic}
8086 The following font change commands are defined:
8089 changes to the font used in dynamic signs. This font does not
8090 contain all characters of the alphabet, so when producing ``piu f'',
8091 the ``piu'' should be done in a different font.
8095 changes to the font used in time signatures. It only contains
8096 numbers and a few punctuation marks.
8098 changes @code{font-shape} to @code{italic}.
8100 changes @code{font-series} to @code{bold}.
8103 @cindex raising text
8104 @cindex lowering text
8106 @cindex translating text
8109 @cindex @code{\super}
8111 Raising and lowering texts can be done with @code{\super} and
8114 @lilypond[verbatim,fragment,relative=1]
8115 c1^\markup { E "=" mc \super "2" }
8118 @cindex @code{\raise}
8120 If you want to give an explicit amount for lowering or raising, use
8121 @code{\raise}. This command takes a Scheme valued first argument, and
8122 a markup object as second argument:
8124 @lilypond[verbatim,fragment,relative=1,quote]
8125 c1^\markup { C \small \raise #1.0 \bold { "9/7+" }}
8127 The argument to @code{\raise} is the vertical displacement amount,
8128 measured in (global) staff spaces. @code{\raise} and @code{\super}
8129 raise objects in relation to their surrounding markups. They cannot be
8130 used to move a single text up or down, when it is above or below a
8131 note, since the mechanism that positions it next to the note cancels
8132 any vertical shift. For vertical positioning, use the @code{padding}
8133 and/or @code{extra-offset} properties.
8135 Other commands taking single arguments include
8138 @item \bracket, \hbracket
8139 Bracket the argument markup with normal and horizontal brackets
8143 @cindex @code{\musicglyph}
8144 This is converted to a musical symbol, e.g. @code{\musicglyph
8145 #"accidentals-0"} will select the natural sign from the music font.
8146 See @ref{The Feta font} for a complete listing of the possible glyphs.
8149 This produces a single character, e.g. @code{\char #65} produces the
8152 @item \note @var{duration} @var{dir}
8153 @cindex @code{\note}
8155 This produces a note with a stem pointing in @var{dir} direction, with
8156 the @var{duration} for the note head type and augmentation dots. For
8157 example, @code{\note #"4." #-0.75} creates a dotted quarter note, with
8158 a shortened down stem.
8160 @item \hspace #@var{amount}
8161 @cindex @code{\hspace}
8162 This produces a invisible object taking horizontal space.
8164 \markup @{ A \hspace #2.0 B @}
8166 will put extra space between A and B, on top of the space that is
8167 normally inserted before elements on a line.
8169 @item \fontsize #@var{size}
8170 @cindex @code{\fontsize}
8171 This sets the relative font size, eg.
8173 A \fontsize #2 @{ B C @} D
8177 This will enlarge the B and the C by two steps.
8178 @item \translate #(cons @var{x} @var{y})
8180 This translates an object. Its first argument is a cons of numbers
8182 A \translate #(cons 2 -3) @{ B C @} D
8184 This moves `B C' 2 spaces to the right, and 3 down, relative to its
8185 surroundings. This command cannot be used to move isolated scripts
8186 vertically, for the same reason that @code{\raise} cannot be used for
8189 @item \magnify #@var{mag}
8190 @cindex @code{\magnify}
8191 This sets the font magnification for the its argument. In the following
8192 example, the middle A will be 10% larger:
8194 A \magnify #1.1 @{ A @} A
8198 @item \override #(@var{key} . @var{value})
8199 @cindex @code{\override}
8200 This overrides a formatting property for its argument. The argument
8201 should be a key/value pair, e.g.
8203 m \override #'(font-family . math) m m
8207 In markup mode you can compose expressions, similar to mathematical
8208 expressions, XML documents and music expressions. The braces group
8209 notes into horizontal lines. Other types of lists also exist: you can
8210 stack expressions grouped with @code{<}, and @code{>} vertically with
8211 the command @code{\column}. Similarly, @code{\center} aligns texts by
8214 @lilypond[verbatim,fragment,relative=1]
8215 c1^\markup { \column < a bbbb c > }
8216 c1^\markup { \center < a bbbb c > }
8217 c1^\markup { \line < a b c > }
8221 Markups can be stored in variables, and these variables
8222 may be attached to notes, like
8224 allegro = \markup { \bold \large { Allegro } }
8225 \notes { a^\allegro b c d }
8228 The markup mechanism is extensible. Refer to
8229 @file{scm/new-markup.scm} for more information.
8232 Some objects have alignment procedures of their own, which cancel out
8233 any effects of alignments applied to their markup arguments as a
8234 whole. For example, the @internalsref{RehearsalMark} is horizontally
8235 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
8236 effect. Similarly, whole texts over notes cannot be moved vertically
8237 with @code{\raise}. For moving and aligning complete objects, grob
8238 properties should be used.
8242 Internals: @internalsref{Markup-functions} contains a complete list of
8243 all markup commands.
8245 Init files: @file{scm/new-markup.scm}.
8252 Text layout is ultimately done by @TeX{}, which does kerning of
8253 letters. LilyPond does not account for kerning, so texts will be
8254 spaced slightly too wide.
8256 Syntax errors for markup mode are confusing.
8258 Markup texts cannot be used in the titling of the @code{\header}
8259 field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
8268 @section Global layout
8270 The global layout determined by three factors: the page layout, the
8271 line breaks and the spacing. These all influence each other. The
8272 choice of spacing determines how densely each system of music is set,
8273 which influences where line breaks breaks are chosen, and thus
8274 ultimately how many pages a piece of music takes. This section
8275 explains how to tune the algorithm for spacing.
8277 Globally spoken, this procedure happens in three steps: first,
8278 flexible distances (``springs'') are chosen, based on durations. All
8279 possible line breaking combination are tried, and the one with the
8280 best results---a layout that has uniform density and requires as
8281 little stretching or cramping as possible---is chosen. When the score
8282 is processed by @TeX{}, each page is filled with systems, and page breaks
8283 are chosen whenever the page gets full.
8288 * Vertical spacing::
8289 * Horizontal spacing::
8296 @node Vertical spacing
8297 @subsection Vertical spacing
8299 @cindex vertical spacing
8300 @cindex distance between staves
8301 @cindex staff distance
8302 @cindex between staves, distance
8303 @cindex staffs per page
8304 @cindex space between staves
8306 The height of each system is determined automatically by LilyPond, to
8307 keep systems from bumping into each other, some minimum distances are
8308 set. By changing these, you can put staves closer together, and thus
8309 put more systems onto one page.
8311 Normally staves are stacked vertically. To make
8312 staves maintain a distance, their vertical size is padded. This is
8313 done with the property @code{minimumVerticalExtent}. It takes a pair
8314 of numbers, so if you want to make it smaller from its, then you could
8317 \property Staff.minimumVerticalExtent = #'(-4 . 4)
8319 This sets the vertical size of the current staff to 4 staff spaces on
8320 either side of the center staff line. The argument of
8321 @code{minimumVerticalExtent} is interpreted as an interval, where the
8322 center line is the 0, so the first number is generally negative. The
8323 staff can be made larger at the bottom by setting it to @code{(-6
8326 The piano staves are handled a little differently: to make cross-staff
8327 beaming work correctly, it is necessary that the distance between staves
8328 is fixed beforehand. This is also done with a
8329 @internalsref{VerticalAlignment} object, created in
8330 @internalsref{PianoStaff}. In this object the distance between the
8331 staves is fixed by setting @code{forced-distance}. If you want to
8332 override this, use a @code{\translator} block as follows:
8336 VerticalAlignment \override #'forced-distance = #9
8339 This would bring the staves together at a distance of 9 staff spaces,
8340 measured from the center line of each staff.
8344 Internals: Vertical alignment of staves is handled by the
8345 @internalsref{VerticalAlignment} object.
8349 @node Horizontal spacing
8350 @subsection Horizontal Spacing
8352 The spacing engine translates differences in durations into
8353 stretchable distances (``springs'') of differing lengths. Longer
8354 durations get more space, shorter durations get less. The shortest
8355 durations get a fixed amount of space (which is controlled by
8356 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
8357 The longer the duration, the more space it gets: doubling a
8358 duration adds a fixed amount (this amount is controlled by
8359 @code{spacing-increment}) of space to the note.
8361 For example, the following piece contains lots of half, quarter and
8362 8th notes, the eighth note is followed by 1 note head width (NHW).
8363 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
8364 @lilypond[fragment,verbatim,relative=1] c2 c4. c8 c4. c8 c4. c8 c8
8368 Normally, @code{shortest-duration-space} is set to 1.2, which is the
8369 width of a note head, and @code{shortest-duration-space} is set to
8370 2.0, meaning that the shortest note gets 2 NHW (i.e. 2 times
8371 @code{shortest-duration-space}) of space. For normal notes, this space
8372 is always counted from the left edge of the symbol, so the shortest
8373 notes are generally followed by one NHW of space.
8375 If one would follow the above procedure exactly, then adding a single
8376 32th note to a score that uses 8th and 16th notes, would widen up the
8377 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
8378 thus adding 1 NHW to every note. To prevent this, the
8379 shortest duration for spacing is not the shortest note in the score,
8380 but the most commonly found shortest note. Notes that are even
8381 shorter this are followed by a space that is proportional to their
8382 duration relative to the common shortest note. So if we were to add
8383 only a few 16th notes to the example above, they would be followed by
8386 @lilypond[fragment,verbatim,relative=2]
8387 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
8390 The most common shortest duration is determined as follows: in every
8391 measure, the shortest duration is determined. The most common short
8392 duration, is taken as the basis for the spacing, with the stipulation
8393 that this shortest duration should always be equal to or shorter than
8394 1/8th note. The shortest duration is printed when you run lilypond
8395 with @code{--verbose}. These durations may also be customized. If you
8396 set the @code{common-shortest-duration} in
8397 @internalsref{SpacingSpanner}, then this sets the base duration for
8398 spacing. The maximum duration for this base (normally 1/8th), is set
8399 through @code{base-shortest-duration}.
8401 @cindex @code{common-shortest-duration}
8402 @cindex @code{base-shortest-duration}
8403 @cindex @code{stem-spacing-correction}
8404 @cindex @code{spacing}
8406 In the introduction it was explained that stem directions influence
8407 spacing. This is controlled with @code{stem-spacing-correction}
8408 property in @internalsref{NoteSpacing}, which are generated for every
8409 @internalsref{Voice} context. The @code{StaffSpacing} object
8410 (generated at @internalsref{Staff} context) contains the same property
8411 for controlling the stem/barline spacing. The following example
8412 shows these corrections, once with default settings, and once with
8413 exaggerated corrections:
8419 \property Staff.NoteSpacing \override #'stem-spacing-correction
8421 \property Staff.StaffSpacing \override #'stem-spacing-correction
8426 \paper { raggedright = ##t } }
8429 @cindex SpacingSpanner, overriding properties
8431 Properties of the @internalsref{SpacingSpanner} must be overridden
8432 from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
8433 created before any @code{\property} statements are interpreted.
8435 \paper @{ \translator @{
8437 SpacingSpanner \override #'spacing-increment = #3.0
8444 Internals: @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
8445 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
8446 @internalsref{SeparatingGroupSpanner}.
8450 Spacing is determined on a score wide basis. If you have a score that
8451 changes its character (measured in durations) halfway during the
8452 score, the part containing the longer durations will be spaced too
8455 There is no convenient mechanism to manually override spacing.
8460 @subsection Font size
8461 @cindex font size, setting
8462 @cindex staff size, setting
8463 @cindex @code{paper} file
8465 The Feta font provides musical symbols at eight seven different
8466 sizes. Each font is tuned for a different staff size: at smaller sizes
8467 the font gets heavier, to match the relatively heavier staff lines.
8468 The recommended font sizes are listed in the following table:
8470 @multitable @columnfractions .25 .25 .25 .25
8473 @tab @b{staff height (pt)}
8474 @tab @b{staff height (mm)}
8516 @c modern rental material ?
8520 These fonts are available in any sizes. The context property
8521 @code{fontSize} and the layout property @code{staff-space} (in
8522 @internalsref{StaffSymbol}) can be used to tune size for individual
8523 staffs. The size of individual staffs are relative to the global size,
8524 which can be set in the following manner:
8527 #(set-global-staff-size 14)
8530 This sets the global default size to 14pt staff height, and scales all
8536 @subsection Line breaking
8539 @cindex breaking lines
8541 Line breaks are normally computed automatically. They are chosen such
8542 that lines look neither cramped nor loose, and that consecutive lines
8543 have similar density.
8545 Occasionally you might want to override the automatic breaks; you can
8546 do this by specifying @code{\break}. This will force a line break at
8547 this point. Line breaks can only occur at places where there are bar
8548 lines. If you want to have a line break where there is no bar line,
8549 you can force an invisible bar line by entering @code{\bar
8550 ""}. Similarly, @code{\noBreak} forbids a line break at a
8554 @cindex regular line breaks
8555 @cindex four bar music.
8557 For linebreaks at regular intervals use @code{\break} separated by
8558 skips and repeated with @code{\repeat}:
8560 << \repeat unfold 7 @{
8561 s1 \noBreak s1 \noBreak
8562 s1 \noBreak s1 \break @}
8563 @emph{the real music}
8568 This makes the following 28 measures (assuming 4/4 time) be broken every
8569 4 measures, and only there.
8573 @code{\break}, @code{\noBreak}
8574 @cindex @code{\break}
8575 @cindex @code{\noBreak}
8579 Internals: @internalsref{BreakEvent}.
8583 @subsection Page layout
8586 @cindex breaking pages
8588 @cindex @code{indent}
8589 @cindex @code{linewidth}
8591 The most basic settings influencing the spacing are @code{indent} and
8592 @code{linewidth}. They are set in the @code{\paper} block. They
8593 control the indentation of the first line of music, and the lengths of
8596 If @code{raggedright} is set to true in the @code{\paper}
8597 block, then the lines are justified at their natural length. This
8598 useful for short fragments, and for checking how tight the natural
8602 @cindex vertical spacing
8604 The page layout process happens outside the LilyPond formatting
8605 engine: variables controlling page layout are passed to the output,
8606 and are further interpreted by @code{lilypond} wrapper program. It
8607 responds to the following variables in the @code{\paper} block. The
8608 variable @code{textheight} sets the total height of the music on each
8609 page. The spacing between systems is controlled with
8610 @code{interscoreline}, its default is 16pt. The distance between the
8611 score lines will stretch in order to fill the full page
8612 @code{interscorelinefill} is set to a positive number. In that case
8613 @code{interscoreline} specifies the minimum spacing.
8615 @cindex @code{textheight}
8616 @cindex @code{interscoreline}
8617 @cindex @code{interscorelinefill}
8619 If the variable @code{lastpagefill} is defined,
8620 @c fixme: this should only be done if lastpagefill= #t
8621 systems are evenly distributed vertically on the last page. This
8622 might produce ugly results in case there are not enough systems on the
8623 last page. The @command{lilypond-book} command ignores
8624 @code{lastpagefill}. See @ref{lilypond-book manual} for more
8627 @cindex @code{lastpagefill}
8629 Page breaks are normally computed by @TeX{}, so they are not under
8630 direct control of LilyPond. However, you can insert a commands into
8631 the @file{.tex} output to instruct @TeX{} where to break pages. This
8632 is done by setting the @code{between-systems-strings} on the
8633 @internalsref{NonMusicalPaperColumn} where the system is broken.
8634 An example is shown in @inputfileref{input/regression,between-systems.ly}.
8635 The predefined command @code{\newpage} also does this.
8639 @cindex @code{papersize}
8641 To change the paper size, use the following Scheme code:
8644 #(set-paper-size "a4")
8651 @cindex @code{\newpage}
8657 In this manual @ref{Invoking lilypond}
8659 Examples: @inputfileref{input/regression,between-systems.ly}
8661 Internals: @internalsref{NonMusicalPaperColumn}.
8665 LilyPond has no concept of page layout, which makes it difficult to
8666 reliably choose page breaks in longer pieces.
8675 Entered music can also be converted to MIDI output. The performance
8676 is good enough for proof-hearing the music for errors.
8678 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
8679 crescendi and decrescendi translate into MIDI volume levels. Dynamic
8680 marks translate to a fixed fraction of the available MIDI volume
8681 range, crescendi and decrescendi make the volume vary linearly between
8682 their two extremities. The fractions can be adjusted by
8683 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
8684 For each type of MIDI instrument, a volume range can be defined. This
8685 gives a basic equalizer control, which can enhance the quality of
8686 the MIDI output remarkably. The equalizer can be controlled by
8687 setting @code{instrumentEqualizer}.
8691 Many musically interesting effects, such as swing, articulation,
8692 slurring, etc., are not translated to MIDI.
8694 Since slurs are not interpreted, @code{\lyricsto} and
8695 @code{\addlyrics} sections will be interpreted wrongly.
8700 * MIDI instrument names::
8705 @subsection MIDI block
8709 The MIDI block is analogous to the paper block, but it is somewhat
8710 simpler. The @code{\midi} block can contain:
8714 @item a @code{\tempo} definition, and
8715 @item context definitions.
8718 Assignments in the @code{\midi} block are not allowed.
8720 A number followed by a period is interpreted as a real number, so
8721 for setting the tempo for dotted notes, an extra space should be
8722 inserted, for example:
8725 \midi @{ \tempo 4 . = 120 @}
8729 @cindex context definition
8731 Context definitions follow precisely the same syntax as within the
8732 \paper block. Translation modules for sound are called performers.
8733 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
8736 @node MIDI instrument names
8737 @subsection MIDI instrument names
8739 @cindex instrument names
8740 @cindex @code{Staff.midiInstrument}
8742 The MIDI instrument name is set by the @code{Staff.midiInstrument}
8743 property. The instrument name should be chosen from the list in
8744 @ref{MIDI instruments}.
8748 If the selected string does not exactly match, then the default is
8749 used, which is the Grand Piano.