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 (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[singleline,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[singleline,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[singleline,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[singleline,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, singleline,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, singleline, 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,singleline,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,singleline,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}:
718 \paper @{ \translator @{
720 \remove "Note_heads_engraver"
721 \consists "Completion_heads_engraver"
725 which will make long notes tied in the following example:
728 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
735 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
737 \paper { \translator {
739 \remove "Note_heads_engraver"
740 \consists "Completion_heads_engraver"
745 This engraver splits all running notes at the bar line, and inserts
746 ties. One of its uses is to debug complex scores: if the measures are
747 not entirely filled, then the ties exactly show how much each measure
752 Not all durations (especially those containing tuplets) can be
753 represented exactly; the engraver will not insert tuplets.
759 @section Staff notation
761 This section describes music notation that occurs on staff level,
762 such as keys, clefs and time signatures.
764 @cindex Staff notation
778 @subsection Staff symbol
780 @cindex adjusting staff symbol
781 @cindex StaffSymbol, using \property
783 Notes, dynamic signs, etc. are grouped
784 with a set of horizontal lines, into a staff (plural `staves'). In our
785 system, these lines are drawn using a separate layout object called
789 @cindex staff lines, setting number of
790 @cindex staff lines, setting thickness of
791 @cindex thickness of staff lines, setting
792 @cindex number of staff lines, setting
796 Internals: @internalsref{StaffSymbol},
798 Examples: @inputfileref{input/test,staff-lines.ly},
799 @inputfileref{input/test,staff-size.ly}
803 If a staff is ended halfway a piece, the staff symbol may not end
804 exactly on the barline.
808 @subsection Key signature
809 @cindex Key signature
813 The key signature indicates the scale in which a piece is played. It
814 is denoted by a set of alterations (flats or sharps) at the start of
819 Setting or changing the key signature is done with the @code{\key}
822 @code{\key} @var{pitch} @var{type}
825 @cindex @code{\minor}
826 @cindex @code{\major}
827 @cindex @code{\minor}
828 @cindex @code{\ionian}
829 @cindex @code{\locrian}
830 @cindex @code{\aeolian}
831 @cindex @code{\mixolydian}
832 @cindex @code{\lydian}
833 @cindex @code{\phrygian}
834 @cindex @code{\dorian}
836 Here, @var{type} should be @code{\major} or @code{\minor} to get
837 @var{pitch}-major or @var{pitch}-minor, respectively.
838 The standard mode names @code{\ionian},
839 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
840 @code{\phrygian}, and @code{\dorian} are also defined.
842 This command sets the context property
843 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
844 can be specified by setting this property directly.
846 Accidentals and key signatures often confuse new users, because
847 unaltered notes get natural signs depending on the keysignature. The
848 tutorial explains why this is so in @ref{More about pitches}.
852 The ordering of a key cancellation is wrong when it is combined with
853 repeat bar lines. The cancellation is also printed after a line break.
857 Internals: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
859 @cindex @code{keySignature}
866 The clef indicates which lines of the staff correspond to which
871 The clef can be set or changed with the @code{\clef} command:
872 @lilypond[fragment,verbatim]
873 \key f\major c''2 \clef alto g'2
876 Supported clef-names include:
877 @c Moved standard clefs to the top /MB
881 @item treble, violin, G, G2
894 G clef on 1st line, so-called French violin clef
899 @cindex mezzosoprano clef
902 @cindex baritone clef
905 @cindex varbaritone clef
914 By adding @code{_8} or @code{^8} to the clef name, the clef is
915 transposed one octave down or up, respectively, and @code{_15} and
916 @code{^15} transposes by two octaves. The argument @var{clefname}
917 must be enclosed in quotes when it contains underscores or digits. For
921 @cindex choral tenor clef
922 @lilypond[verbatim,fragment,relative]
926 This command is equivalent to setting @code{clefGlyph},
927 @code{clefPosition} (which controls the Y position of the clef),
928 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
929 when any of these properties are changed.
933 Internals: the object for this symbol is @internalsref{Clef}.
937 @node Ottava brackets
938 @subsection Ottava brackets
940 ``Ottava'' brackets introduce an extra transposition of an octave for
941 the staff. They are created by invoking the function
942 @code{set-octavation}:
948 @lilypond[verbatim,fragment]
957 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
958 (for 15ma) as arguments. Internally the function sets the properties
959 @code{ottavation} (eg. to @code{"8va"}) and
960 @code{centralCPosition}. For overriding the text of the bracket, set
961 @code{ottavation} after invoking @code{set-octavation}, i.e.,
965 \property Staff.ottavation = #"8"
970 Internals: @internalsref{OttavaBracket}.
972 Examples: @inputfileref{input/regression,ottava.ly},
973 @inputfileref{input/regression,ottava-broken.ly}.
977 @code{set-octavation} will get confused when clef changes happen
978 during an octavation bracket.
981 @subsection Time signature
982 @cindex Time signature
986 Time signature indicates the metrum of a piece: a regular pattern of
987 strong and weak beats. It is denoted by a fraction at the start of the
992 The time signature is set or changed by the @code{\time}
994 @lilypond[fragment,verbatim]
995 \time 2/4 c'2 \time 3/4 c'2.
998 The symbol that is printed can be customized with the @code{style}
999 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1000 2/2 time. There are many more options for its layout. See
1001 @inputfileref{input/test,time.ly} for more examples.
1004 This command sets the property @code{timeSignatureFraction},
1005 @code{beatLength} and @code{measureLength} in the @code{Timing}
1006 context, which is normally aliased to @internalsref{Score}. The
1007 property @code{measureLength} determines where bar lines should be
1008 inserted, and how automatic beams should be generated. Changing the
1009 value of @code{timeSignatureFraction} also causes the symbol to be
1012 More options are available through the Scheme function
1013 @code{set-time-signature}. In combination with the
1014 @internalsref{Measure_grouping_engraver}, it will create
1015 @internalsref{MeasureGrouping} signs. Such signs ease reading
1016 rhythmically complex modern music. In the following example, the 9/8
1017 measure is subdivided in 2, 2, 2 and 3. This is passed to
1018 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
1021 \score { \notes \relative c'' {
1022 #(set-time-signature 9 8 '(2 2 2 3))
1023 g8[ g] d[ d] g[ g] a8[( bes g]) |
1024 #(set-time-signature 5 8 '(3 2))
1029 \translator { \StaffContext
1030 \consists "Measure_grouping_engraver"
1036 Internals: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1041 Automatic beaming does not use measure grouping specified with
1042 @code{set-time-signature}.
1044 @node Partial measures
1045 @subsection Partial measures
1048 @cindex partial measure
1049 @cindex measure, partial
1050 @cindex shorten measures
1051 @cindex @code{\partial}
1053 Partial measures, for example in upsteps, are entered using the
1054 @code{\partial} command:
1055 @lilypond[fragment,verbatim,relative 1]
1056 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1059 The syntax for this command is
1061 \partial @var{duration}
1063 This is internally translated into
1065 \property Timing.measurePosition = -@var{length of duration}
1068 The property @code{measurePosition} contains a rational number
1069 indicating how much of the measure has passed at this point.
1071 @node Unmetered music
1072 @subsection Unmetered music
1074 Bar lines and bar numbers are calculated automatically. For unmetered
1075 music (e.g. cadenzas), this is not desirable. By setting
1076 @code{Score.timing} to false, this automatic timing can be switched
1082 @cindex @code{\cadenzaOn}
1084 @cindex @code{\cadenzaOff}
1088 @subsection Bar lines
1092 @cindex measure lines
1096 Bar lines delimit measures, but are also used to indicate repeats.
1097 Normally, they are inserted automatically. Line breaks may only
1103 of barlines can be forced with the @code{\bar} command:
1105 @lilypond[relative=1,fragment,verbatim]
1109 The following bar types are available:
1110 @lilypond[fragment, relative, singleline, verbatim]
1123 For allowing linebreaks, there is a special command,
1127 This will insert an invisible barline, and allow linebreaks at this
1130 In scores with many staves, a @code{\bar} command in one staff is
1131 automatically applied to all staves. The resulting bar lines are
1132 connected between different staves of a @internalsref{StaffGroup}:
1134 @lilypond[fragment, verbatim]
1135 << \context StaffGroup <<
1139 \new Staff { \clef bass c4 g e g } >>
1140 \new Staff { \clef bass c2 c2 } >>
1144 The command @code{\bar @var{bartype}} is a short cut for doing
1145 @code{\property Score.whichBar = @var{bartype}} Whenever
1146 @code{whichBar} is set to a string, a bar line of that type is
1147 created. At the start of a measure it is set to
1148 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1149 to override default measure bars.
1151 Property @code{whichBar} can also be set directly, using @code{\property}
1152 or @code{\bar}. These settings take precedence over the automatic
1153 @code{whichBar} settings.
1156 @cindex repeatCommands
1157 @cindex defaultBarType
1159 You are encouraged to use @code{\repeat} for repetitions. See
1166 In this manual: @ref{Repeats}.
1169 Internals: the bar line objects that are created at
1170 @internalsref{Staff} level are called @internalsref{BarLine}, the bar
1171 lines that span staves are @internalsref{SpanBar}s.
1173 @cindex bar lines at start of system
1174 @cindex start of system
1176 The barlines at the start of each system are
1177 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1178 @internalsref{SystemStartBracket}. Only one of these types is created
1179 in every context, and that type is determined by the property
1180 @code{systemStartDelimiter}.
1182 Examples: @inputfileref{input/test,bar-lines.ly},
1188 The easiest way to enter fragments with more than one voice on a staff
1189 is to split chords using the separator @code{\\}. You can use it for
1190 small, short-lived voices or for single chords:
1192 @lilypond[verbatim,fragment]
1193 \context Staff \relative c'' {
1194 c4 << { f d e } \\ { b c2 } >>
1195 c4 << g' \\ b, \\ f' \\ d >>
1199 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1200 voices are sometimes called "layers" other notation packages}
1202 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1203 each of these contexts, vertical direction of slurs, stems, etc. is set
1206 @cindex @code{\voiceOne}
1207 @cindex @code{\voiceFour}
1209 This can also be done by instantiating @internalsref{Voice} contexts
1210 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1211 a stem directions and horizontal shift for each part:
1214 @lilypond[singleline, verbatim]
1216 \context Staff << \new Voice { \voiceOne cis2 b }
1217 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1218 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1222 The command @code{\oneVoice} will revert back to the normal setting.
1223 @cindex @code{\oneVoice}
1226 Normally, note heads with a different number of dots are not merged, but
1227 when the object property @code{merge-differently-dotted} is set in
1228 the @internalsref{NoteCollision} object, they are merged:
1229 @lilypond[verbatim,fragment,singleline]
1230 \relative c'' \context Voice << {
1232 \property Staff.NoteCollision \override
1233 #'merge-differently-dotted = ##t
1235 } \\ { g8.[ f16] g8.[ f16] }
1239 Similarly, you can merge half note heads with eighth notes, by setting
1240 @code{merge-differently-headed}:
1241 @lilypond[fragment, relative=2,verbatim]
1244 \property Staff.NoteCollision
1245 \override #'merge-differently-headed = ##t
1246 c8 c4. } \\ { c2 c2 } >>
1249 LilyPond also vertically shifts rests that are opposite of a stem:
1252 @lilypond[singleline,fragment,verbatim]
1253 \context Voice << c''4 \\ r4 >>
1261 @cindex @code{\oneVoice}
1263 @cindex @code{\voiceOne}
1265 @cindex @code{\voiceTwo}
1267 @cindex @code{\voiceThree}
1269 @cindex @code{\voiceFour}
1273 The following commands specify in what chords of the current voice
1274 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1275 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1278 @cindex @code{\shiftOn}
1280 @cindex @code{\shiftOnn}
1282 @cindex @code{\shiftOnnn}
1284 @cindex @code{\shiftOff}
1291 Internals: the objects responsible for resolving collisions are
1292 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1294 Examples: See also example files
1295 @inputfileref{input/regression,collision-dots.ly},
1296 @inputfileref{input/regression,collision-head-chords.ly},
1297 @inputfileref{input/regression,collision-heads.ly},
1298 @inputfileref{input/regression,collision-mesh.ly}, and
1299 @inputfileref{input/regression,collisions.ly}.
1304 Resolving collisions is a intricate subject, and only a few situations
1305 are handled. When LilyPond cannot cope, the @code{force-hshift}
1306 property of the @internalsref{NoteColumn} object and pitched rests can
1307 be used to override typesetting decisions.
1309 When using @code{merge-differently-headed} with an upstem 8th or a shorter
1310 note, and a downstem half note, the 8th note gets the wrong offset.
1312 There is no support for clusters where the same note occurs with
1313 different accidentals in the same chord. In this case, it is
1314 recommended to use enharmonic transcription, or to use special cluster
1315 notation (see @ref{Clusters}).
1320 Beams are used to group short notes into chunks that are aligned with
1321 the metrum. They are inserted automatically in most cases:
1323 @lilypond[fragment,verbatim, relative=2]
1324 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1327 When these automatic decisions are not good enough, beaming can be
1328 entered explicitly. It is also possible to define beaming patterns
1329 that differ from the defaults.
1333 Internals: @internalsref{Beam}.
1336 @cindex Automatic beams
1339 * Setting automatic beam behavior::
1343 @subsection Manual beams
1344 @cindex beams, manual
1348 In some cases it may be necessary to override the automatic beaming
1349 algorithm. For example, the auto beamer will not put beams over rests
1350 or bar lines. Such beams are specified by manually: the begin and end
1351 point are marked with @code{[} and @code{]}:
1353 @lilypond[fragment,relative,verbatim]
1355 r4 r8[ g' a r8] r8 g[ | a] r8
1359 @cindex @code{stemLeftBeamCount}
1361 Normally, beaming patterns within a beam are determined automatically.
1362 When this mechanism fouls up, the properties
1363 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
1364 be used to control the beam subdivision on a stem. If either property
1365 is set, its value will be used only once, and then it is erased.
1367 @lilypond[fragment,relative,verbatim]
1370 f8[ r16 \property Voice.stemLeftBeamCount = #1 f g a]
1373 @cindex @code{stemRightBeamCount}
1376 The property @code{subdivideBeams} can be set in order to subdivide
1377 all 16th or shorter beams at beat positions, as defined by the
1378 @code{beatLength} property . This accomplishes the same effect as
1379 twiddling with @code{stemLeftBeamCount} and @code{stemRightBeamCount},
1380 but it take less typing:
1383 @lilypond[relative=1,verbatim,noindent]
1385 \property Voice.subdivideBeams = ##t
1387 \property Score.beatLength = #(ly:make-moment 1 8)
1390 @cindex subdivideBeams
1392 Kneed beams are inserted automatically, when a large gap is detected
1393 between the note heads. This behavior can be tuned through the object
1394 property @code{auto-knee-gap}.
1396 Normally, line breaks are forbidden when beams cross bar lines. This
1397 behavior can be changed by setting @code{allowBeamBreak}.
1399 @cindex @code{allowBeamBreak}
1400 @cindex beams and line breaks
1402 @cindex beams, kneed
1404 @cindex auto-knee-gap
1410 @cindex Frenched staves
1412 Automatically kneed beams cannot be used together with hidden staves.
1417 @node Setting automatic beam behavior
1418 @subsection Setting automatic beam behavior
1420 @cindex @code{autoBeamSettings}
1421 @cindex @code{(end * * * *)}
1422 @cindex @code{(begin * * * *)}
1423 @cindex automatic beams, tuning
1424 @cindex tuning automatic beaming
1426 @c [TODO: use \applycontext]
1428 In normal time signatures, automatic beams can start on any note but can
1429 only end in a few positions within the measure: beams can end on a beat,
1430 or at durations specified by the properties in
1431 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1432 are defined in @file{scm/auto-beam.scm}.
1434 The value of @code{autoBeamSettings} is changed using
1435 @code{\override} and restored with @code{\revert}:
1437 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1438 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1440 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1441 whether the rule applies to begin or end-points. The quantity
1442 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1443 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1444 signature (wildcards, `@code{* *}' may be entered to designate all time
1447 For example, if automatic beams should end on every quarter note, use
1450 \property Voice.autoBeamSettings \override
1451 #'(end * * * *) = #(ly:make-moment 1 4)
1453 Since the duration of a quarter note is 1/4 of a whole note, it is
1454 entered as @code{(ly:make-moment 1 4)}.
1456 The same syntax can be used to specify beam starting points. In this
1457 example, automatic beams can only end on a dotted quarter note:
1459 \property Voice.autoBeamSettings \override
1460 #'(end * * * *) = #(ly:make-moment 3 8)
1462 In 4/4 time signature, this means that automatic beams could end only on
1463 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1464 3/8 has passed within the measure).
1466 Rules can also be restricted to specific time signatures. A rule that
1467 should only be applied in @var{N}/@var{M} time signature is formed by
1468 replacing the second asterisks by @var{N} and @var{M}. For example, a
1469 rule for 6/8 time exclusively looks like
1471 \property Voice.autoBeamSettings \override
1472 #'(begin * * 6 8) = ...
1475 If a rule should be to applied only to certain types of beams, use the
1476 first pair of asterisks. Beams are classified according to the
1477 shortest note they contain. For a beam ending rule that only applies
1478 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1481 If a score ends while an automatic beam has not been ended and is still
1482 accepting notes, this last beam will not be typeset at all.
1484 @cindex automatic beam generation
1486 @cindex @code{Voice.autoBeaming}
1489 For melodies that have lyrics, you may want to switch off
1490 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1495 @cindex @code{\autoBeamOff}
1496 @code{\autoBeamOff},
1497 @cindex @code{\autoBeamOn}
1503 The rules for ending a beam depend on the shortest note in a beam.
1504 So, while it is possible to have different ending rules for eight
1505 beams and sixteenth beams, a beam that contains both eight and
1506 sixteenth notes will use the rules for the sixteenth beam.
1508 In the example below, the autobeamer makes eight beams and sixteenth
1509 end at 3 eights; the third beam can only be corrected by specifying
1512 @lilypond[singleline,fragment,relative,noverbatim,quote]
1513 \property Voice.autoBeamSettings
1514 \override #'(end * * * *) = #(ly:make-moment 3 8)
1515 % rather show case where it goes wrong
1516 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1517 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1519 It is not possible to specify beaming parameters that act differently in
1520 different parts of a measure. This means that it is not possible to use
1521 automatic beaming in irregular meters such as @code{5/8}.
1524 @section Accidentals
1527 This section describes how to change the way that accidentals are
1528 inserted automatically before the running notes.
1532 * Using the predefined accidental variables::
1533 * Customized accidental rules::
1536 @node Using the predefined accidental variables
1537 @subsection Using the predefined accidental variables
1539 The constructs for describing the accidental typesetting rules are
1540 quite hairy, so non-experts should stick to the variables
1541 defined in @file{ly/property-init.ly}.
1542 @cindex @file{property-init.ly}
1544 The variables set properties in the ``@code{Current}'' context (see
1545 @ref{Context properties}). This means that the variables should
1546 normally be added right after the creation of the context in which the
1547 accidental typesetting described by the variable is to take
1548 effect. For example, if you want to use piano-accidentals in a piano
1549 staff then issue @code{\pianoAccidentals} first thing after the
1550 creation of the piano staff:
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 @}
1564 @lilypond[singleline]
1566 \notes \relative c'' <<
1567 \new Staff { cis4 d e2 }
1568 \context GrandStaff <<
1570 \new Staff { cis4 d e2 }
1571 \new Staff { es2 c }
1573 \new Staff { es2 c }
1578 minimumVerticalExtent = #'(-4.0 . 4.0)
1586 @item \defaultAccidentals
1587 @cindex @code{\defaultAccidentals}
1588 This is the default typesetting behaviour. It should correspond
1589 to 18th century common practice: Accidentals are
1590 remembered to the end of the measure in which they occur and
1591 only on their own octave.
1593 @item \voiceAccidentals
1594 @cindex @code{\voiceAccidentals}
1596 The normal behaviour is to
1597 remember the accidentals on Staff-level. This variable, however,
1598 typesets accidentals individually for each voice. Apart from that the
1599 rule is similar to @code{\defaultAccidentals}.
1601 This leads to some weird and often unwanted results
1602 because accidentals from one voice do not get cancelled in other
1604 @lilypond[singleline,relative,fragment,verbatim,quote]
1612 Hence you should only use @code{\voiceAccidentals} if the voices
1613 are to be read solely by individual musicians. If the staff is to be
1614 used by one musician (e.g. a conductor) then you use
1615 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1618 @item \modernAccidentals
1619 @cindex @code{\modernAccidentals}
1620 This rule corresponds to the common practice in the 20th
1622 The rule is more complex than @code{\defaultAccidentals}.
1623 You get all the same accidentals, but temporary
1624 accidentals also get cancelled in other octaves. Furthermore,
1625 in the same octave, they also get cancelled in the following measure:
1626 @lilypond[singleline,fragment,verbatim]
1628 cis' c'' cis'2 | c'' c'
1631 @item \modernCautionaries
1632 @cindex @code{\modernCautionaries}
1633 This rule is similar to @code{\modernAccidentals}, but the
1634 ``extra'' accidentals (the ones not typeset by
1635 @code{\defaultAccidentals}) are typeset as cautionary accidentals.
1636 They are printed in reduced size or with parentheses:
1637 @lilypond[singleline,fragment,verbatim]
1639 cis' c'' cis'2 | c'' c'
1642 @cindex @code{\modernVoiceAccidentals}
1643 @item \modernVoiceAccidentals
1644 is used for multivoice accidentals to be read both by musicians
1645 playing one voice and musicians playing all voices. Accidentals are
1646 typeset for each voice, but they @emph{are} cancelled across voices in
1647 the same @internalsref{Staff}.
1649 @cindex @code{\modernVoiceCautionaries}
1650 @item \modernVoiceCautionaries
1651 is the same as @code{\modernVoiceAccidentals}, but with the extra
1652 accidentals (the ones not typeset by @code{\voiceAccidentals}) typeset
1653 as cautionaries. Even though all accidentals typeset by
1654 @code{\defaultAccidentals} @emph{are} typeset by this variable then
1655 some of them are typeset as cautionaries.
1657 @item \pianoAccidentals
1658 @cindex @code{\pianoAccidentals}
1659 20th century practice for piano notation. Very similar to
1660 @code{\modernAccidentals} but accidentals also get cancelled
1661 across the staves in the same @internalsref{GrandStaff} or
1662 @internalsref{PianoStaff}.
1664 @item \pianoCautionaries
1665 @cindex @code{\pianoCautionaries}
1666 As @code{\pianoAccidentals} but with the extra accidentals
1667 typeset as cautionaries.
1670 @cindex @code{\noResetKey}
1671 Same as @code{\defaultAccidentals} but with accidentals lasting
1672 ``forever'' and not only until the next measure:
1673 @lilypond[singleline,fragment,verbatim,relative]
1678 @item \forgetAccidentals
1679 @cindex @code{\forgetAccidentals}
1680 This is sort of the opposite of @code{\noResetKey}: Accidentals
1681 are not remembered at all---and hence all accidentals are
1682 typeset relative to the key signature, regardless of what was
1683 before in the music:
1684 @lilypond[singleline,fragment,verbatim,relative]
1686 \key d\major c4 c cis cis d d dis dis
1690 @node Customized accidental rules
1691 @subsection Customized accidental rules
1693 For determining when to print an accidental, several different rules
1694 are tried. The rule that gives the highest number of accidentals is
1695 used. Each rule consists of
1698 In which context is the rule applied. For example, if
1699 @var{context} is @internalsref{Score} then all staves share
1700 accidentals, and if @var{context} is @internalsref{Staff} then all
1701 voices in the same staff share accidentals, but staves do not.
1703 Whether the accidental changes all octaves or only the current
1706 Over how many barlines the accidental lasts.
1707 If @var{lazyness} is @code{-1} then the accidental is forget
1708 immediately, and if @var{lazyness} is @code{#t} then the accidental
1711 @c [TODO: should use +infinity for this case?]
1717 @cindex @code{\defaultAccidentals}
1718 @code{\defaultAccidentals},
1719 @cindex @code{\voiceAccidentals}
1720 @code{\voiceAccidentals},
1721 @cindex @code{\modernAccidentals}
1722 @code{\modernAccidentals},
1723 @cindex @code{\modernCautionaries}
1724 @code{\modernCautionaries},
1725 @cindex @code{\modernVoiceAccidentals}
1726 @code{\modernVoiceAccidentals},
1727 @cindex @code{\modernVoiceCautionaries}
1728 @code{\modernVoiceCautionaries},
1729 @cindex @code{\pianoAccidentals}
1730 @code{\pianoAccidentals},
1731 @cindex @code{\pianoCautionaries}
1732 @code{\pianoCautionaries},
1733 @cindex @code{\noResetKey}
1735 @cindex @code{\forgetAccidentals}
1736 @code{\forgetAccidentals}.
1740 Internals: @internalsref{Accidental_engraver},
1741 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1746 Currently the simultaneous notes are considered to be entered in
1747 sequential mode. This means that in a chord the accidentals are
1748 typeset as if the notes in the chord happened once at a time - in the
1749 order in which they appear in the input file.
1751 This is only a problem when there are simultaneous notes whose
1752 accidentals depend on each other. The problem only occurs when using
1753 non-default accidentals. In the default scheme, accidentals only
1754 depend on other accidentals with the same pitch on the same staff, so
1755 no conflicts possible.
1757 This example shows two examples of the same music giving different
1758 accidentals depending on the order in which the notes occur in the
1761 @lilypond[singleline,fragment,verbatim]
1762 \property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1763 cis'4 <c'' c'> r2 | cis'4 <c' c''> r2
1764 | <cis' c''> r | <c'' cis'> r |
1767 This problem can be solved by manually inserting @code{!} and @code{?}
1768 for the problematic notes.
1770 @node Expressive marks
1771 @section Expressive marks
1774 @c todo: should change ordering
1775 @c where to put text spanners, metronome marks,
1784 * Analysis brackets::
1786 * Fingering instructions::
1797 A slur indicates that notes are to be played bound or @emph{legato}.
1801 They are entered using parentheses:
1802 @lilypond[relative 1,fragment,verbatim,center]
1803 f( g)( a) a8 b( a4 g2 f4)
1808 @c TODO: should explain that ^( and _( set directions
1809 @c should set attachments with ^ and _ ?
1811 Slurs avoid crossing stems, and are generally attached to note heads.
1812 However, in some situations with beams, slurs may be attached to stem
1813 ends. If you want to override this layout you can do this through the
1814 object property @code{attachment} of @internalsref{Slur} in
1815 @internalsref{Voice} context. Its value is a pair of symbols, specifying
1816 the attachment type of the left and right end points:
1818 @lilypond[fragment,relative,verbatim]
1820 \property Voice.Stem \set #'length = #5.5
1822 \property Voice.Slur \set #'attachment = #'(stem . stem)
1826 If a slur would strike through a stem or beam, the slur will be moved
1827 away upward or downward. If this happens, attaching the slur to the
1828 stems might look better:
1830 @lilypond[fragment,relative,verbatim]
1833 \property Voice.Slur \set #'attachment = #'(stem . stem)
1840 @cindex @code{\slurUp}
1842 @cindex @code{\slurDown}
1844 @cindex @code{\slurBoth}
1846 @cindex @code{\slurDotted}
1848 @cindex @code{\slurSolid}
1853 Internals: @seeinternals{Slur}, and @internalsref{SlurEvent}.
1858 Producing nice slurs is a difficult problem, and LilyPond currently
1859 uses a simple, empiric method to produce slurs. In some cases, its
1863 @cindex Adjusting slurs
1865 @node Phrasing slurs
1866 @subsection Phrasing slurs
1868 @cindex phrasing slurs
1869 @cindex phrasing marks
1871 A phrasing slur (or phrasing mark) connects chords and is used to
1872 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1875 @lilypond[fragment,verbatim,center,relative]
1876 \time 6/4 c'\( d( e) f( e) d\)
1879 Typographically, the phrasing slur behaves almost exactly like a
1880 normal slur. However, they are treated as different objects. A
1881 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1882 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1883 @code{\phrasingSlurBoth}.
1885 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1886 will only affect normal slurs and not phrasing slurs.
1890 @cindex @code{\phrasingSlurUp}
1891 @code{\phrasingSlurUp},
1892 @cindex @code{\phrasingSlurDown}
1893 @code{\phrasingSlurDown},
1894 @cindex @code{\phrasingSlurBoth}
1895 @code{\phrasingSlurBoth},
1899 Internals: see also @internalsref{PhrasingSlur}, and
1900 @internalsref{PhrasingSlurEvent}.
1904 Phrasing slurs have the same limitations in their formatting as normal
1905 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1908 @subsection Breath marks
1910 Breath marks are entered using @code{\breathe}:
1913 @lilypond[fragment,relative,verbatim]
1917 The glyph of the breath mark can be tweaked by overriding the
1918 @code{text} property of the @code{BreathingSign} layout object with
1919 any markup text. For example,
1920 @lilypond[fragment,verbatim,relative]
1922 \property Voice.BreathingSign \override #'text
1923 = #(make-musicglyph-markup "scripts-rvarcomma")
1930 Internals: @internalsref{BreathingSign},
1931 @internalsref{BreathingSignEvent}
1933 Examples: @inputfileref{input/regression,breathing-sign.ly}.
1936 @node Metronome marks
1937 @subsection Metronome marks
1940 @cindex beats per minute
1941 @cindex metronome marking
1943 Metronome settings can be entered as follows:
1945 \tempo @var{duration} = @var{perminute}
1948 In the MIDI output, they are interpreted as a tempo change, and in the
1949 paper output, a metronome marking is printed:
1950 @cindex @code{\tempo}
1951 @lilypond[fragment,verbatim]
1957 Internals: @internalsref{MetronomeChangeEvent}.
1962 @subsection Text spanners
1963 @cindex Text spanners
1965 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1966 are written as texts, and extended over many measures with dotted
1967 lines. You can create such texts using text spanners: attach
1968 @code{\startTextSpan} and @code{\stopTextSpan} to the
1969 start and ending note of the spanner.
1971 The string to be printed, as well as the style, is set through object
1974 @lilypond[fragment,relative,verbatim]
1976 \property Voice.TextSpanner \set #'direction = #-1
1977 \property Voice.TextSpanner \set #'edge-text = #'("rall " . "")
1978 c2\startTextSpan b c\stopTextSpan a }
1984 Internals @internalsref{TextSpanEvent},
1985 @internalsref{TextSpanner}.
1987 Examples: @inputfileref{input/regression,text-spanner.ly}.
1990 @node Analysis brackets
1991 @subsection Analysis brackets
1993 @cindex phrasing brackets
1994 @cindex musicological analysis
1995 @cindex note grouping bracket
1997 Brackets are used in musical analysis to indicate structure in musical
1998 pieces. LilyPond supports a simple form of nested horizontal brackets.
1999 To use this, add the @internalsref{Horizontal_bracket_engraver} to
2000 @internalsref{Staff} context. A bracket is started with
2001 @code{\startGroup} and closed with @code{\stopGroup}:
2003 @lilypond[singleline,verbatim]
2004 \score { \notes \relative c'' {
2005 c4\startGroup\startGroup
2008 c4\stopGroup\stopGroup
2010 \paper { \translator {
2011 \StaffContext \consists "Horizontal_bracket_engraver"
2017 Internals: @internalsref{HorizontalBracket},
2018 @internalsref{NoteGroupingEvent}
2020 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
2024 @subsection Articulations
2025 @cindex Articulations
2027 @cindex articulations
2031 A variety of symbols can appear above and below notes to indicate
2032 different characteristics of the performance. They are added to a note
2033 by adding a dash and the character signifying the
2034 articulation. They are demonstrated here:
2036 @lilypondfile[notexidoc]{script-abbreviations.ly}
2038 The meanings of these shorthands can be changed: see
2039 @file{ly/script-init.ly} for examples.
2042 The script is automatically placed, but if you need to force
2043 directions, you can use @code{_} to force them down, or @code{^} to
2045 @lilypond[fragment, verbatim]
2049 Other symbols can be added using the syntax
2050 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
2051 can be forced up or down using @code{^} and @code{_},
2054 @lilypond[verbatim,fragment,relative 2]
2055 c\fermata c^\fermata c_\fermata
2062 @cindex staccatissimo
2071 @cindex organ pedal marks
2080 @cindex prallmordent
2084 @cindex thumb marking
2089 @lilypondfile[notexidoc]{script-chart.ly}
2094 @cindex @code{\scriptUp}
2096 @cindex @code{\scriptDown}
2098 @cindex @code{\scriptBoth}
2103 Internals: @internalsref{ScriptEvent}, and @internalsref{Script}.
2107 These note ornaments appear in the printed output but have no
2108 effect on the MIDI rendering of the music.
2111 @node Fingering instructions
2112 @subsection Fingering instructions
2116 Fingering instructions can be entered using
2118 @var{note}-@var{digit}
2120 For finger changes, use markup texts:
2122 @lilypond[verbatim, singleline, fragment]
2123 c'4-1 c'4-2 c'4-3 c'4-4
2124 c'^\markup { \fontsize #-3 \number "2-3" }
2127 @cindex finger change
2132 You can use the thumb-script to indicate that a note should be
2133 played with the thumb. (used in cello music):
2135 @lilypond[verbatim, singleline, fragment]
2136 <a' a''-3>8(_\thumb <b' b''-3>)_\thumb
2137 <c'' c'''-3>(_\thumb <d'' d'''-3>)_\thumb
2140 Fingerings for chords can also be added to individual notes
2141 of the chord by adding them after the pitches:
2142 @lilypond[verbatim,singleline,fragment,relative=1]
2143 < c-1 e-2 g-3 b-5 > 4
2147 In this case, setting @code{fingeringOrientations} will put fingerings next
2150 @lilypond[verbatim,singleline,fragment,relative=1]
2151 \property Voice.fingeringOrientations = #'(left down)
2152 <c-1 es-2 g-4 bes-5 > 4
2153 \property Voice.fingeringOrientations = #'(up right down)
2154 <c-1 es-2 g-4 bes-5 > 4
2159 Internals: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2161 Examples: @inputfileref{input/regression,finger-chords.ly}
2164 @subsection Text scripts
2165 @cindex Text scripts
2167 @cindex text items, non-empty
2168 @cindex non-empty texts
2170 It is possible to place arbitrary strings of text or markup text (see
2171 @ref{Text markup}) above or below notes by using a string:
2172 @code{c^"text"}. By default, these indications do not influence the
2173 note spacing, but by using the command @code{\fatText}, the widths
2174 will be taken into account:
2176 @lilypond[fragment,singleline,verbatim] \relative c' {
2177 c4^"longtext" \fatText c4_"longlongtext" c4 }
2180 It is possible to use @TeX{} commands in the strings, but this should
2181 be avoided because the exact dimensions of the string can then no
2186 @refcommand{fatText}, @refcommand{emptyText}.
2191 In this manual: @ref{Text markup}.
2193 Internals: @internalsref{TextScriptEvent}, @internalsref{TextScript}
2199 @subsection Grace notes
2202 @c should have blurb about accaciatura / appogiatura
2204 @cindex @code{\grace}
2208 Grace notes are ornaments that are written out. The most common ones
2209 are acciaccatura, which should be played as very short. It is denoted
2210 by a slurred small note with a slashed stem. The appoggiatura is a
2211 grace note that takes a fixed fraction of the main note, is and
2212 denoted as a slurred note in small print without a slash.
2213 They are entered with the commands @code{\acciaccatura} and
2214 @code{\appoggiatura}, as demonstrated in the following example:
2217 @cindex appoggiatura
2218 @cindex acciaccatura
2220 @lilypond[relative=2,verbatim,fragment]
2221 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2222 \acciaccatura { g16[ f] } e4
2225 Both are special forms of the @code{\grace} command. By prefixing this
2226 keyword to a music expression, a new one is formed, which will be
2227 printed in a smaller font and takes up no logical time in a measure.
2228 @lilypond[relative=2,verbatim,fragment]
2230 \grace { c16[ d16] } c2 c4
2234 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2235 @code{\grace} command does not start a slur.
2237 Internally, timing for grace notes is done using a second, `grace'
2238 time. Every point in time consists of two rational numbers: one
2239 denotes the logical time, one denotes the grace timing. The above
2240 example is shown here with timing tuples:
2242 @lilypond[singleline]
2245 c4 \grace c16 c4 \grace {
2248 \new Lyrics \lyrics {
2251 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2252 \markup { (\fraction 1 4 , 0 ) } 4
2254 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2255 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2257 \markup { ( \fraction 2 4 , 0 ) }
2262 The placement of grace notes is synchronized between different staves.
2263 In the following example, there are two sixteenth graces notes for
2264 every eighth grace note:
2266 @lilypond[relative=2,verbatim,fragment]
2267 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2268 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2273 If you want to end a note with a grace, then the standard trick
2274 is to put the grace notes after a ``space note'', e.g.
2275 @lilypond[fragment,verbatim, relative=2]
2278 { s2 \grace { c16[ d] } } >>
2284 By adjusting the duration of the skip note (here it is a half-note),
2285 the space between the main-note and the grace is adjusted.
2288 A @code{\grace} section will introduce special typesetting settings,
2289 for example, to produce smaller type, and set directions. Hence, when
2290 introducing layout tweaks, they should be inside the grace section,
2292 @lilypond[fragment,verbatim,relative 1]
2295 \property Voice.Stem \override #'direction = #-1
2297 \property Voice.Stem \revert #'direction
2304 The overrides should also be reverted inside the grace section.
2306 If the layout of grace sections must be changed throughout the music,
2307 then this can be accomplished through the function
2308 @code{add-grace-property}. The following example
2309 undefines the Stem direction grace section, so stems do not always
2314 #(add-grace-property "Voice" Stem direction '())
2320 Another option is to change the variables @code{startGraceMusic},
2321 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2322 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2323 @code{stopAppoggiaturaMstuic}. More information is in the file
2324 @file{ly/grace-init.ly}
2329 Internals: @internalsref{GraceMusic}.
2333 A score that starts with an @code{\grace} section needs an explicit
2334 @code{\context Voice} declaration, otherwise the main note and grace
2335 note end up on different staves.
2337 Grace note synchronization can also lead to surprises. Staff notation,
2338 such as key signatures, barlines, etc. are also synchronized. Take
2339 care when you mix staves with grace notes and staves without, for example,
2341 @lilypond[relative=2,verbatim,fragment]
2342 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2343 \new Staff { c4 \bar "|:" d4 } >>
2346 Grace sections should only be used within sequential music
2347 expressions. Nesting or juxtaposing grace sections is not supported,
2348 and might produce crashes or other errors.
2352 @subsection Glissando
2355 @cindex @code{\glissando}
2357 A glissando is a smooth change in pitch. It is denoted by a line or a
2358 wavy line between two notes.
2362 A glissando line can be requested by attaching a @code{\glissando} to
2365 @lilypond[fragment,relative,verbatim]
2371 Internals: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2376 Adding additional texts (such as @emph{gliss.}) is not supported.
2380 @subsection Dynamics
2393 @cindex @code{\ffff}
2403 Absolute dynamic marks are specified using an variable after a
2404 note: @code{c4\ff}. The available dynamic marks are @code{\ppp},
2405 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2406 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2407 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
2409 @lilypond[verbatim,singleline,fragment,relative]
2410 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2416 @cindex @code{\decr}
2417 @cindex @code{\rced}
2424 A crescendo mark is started with @code{\<} and terminated with
2425 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2426 with @code{\!}. Because these marks are bound to notes, if you must
2427 use spacer notes if multiple marks during one note are needed:
2429 @lilypond[fragment,verbatim,center,quote]
2430 c''\< c''\! d''\decr e''\rced
2431 << f''1 { s4 s4\< s4\! \> s4\! } >>
2433 This may give rise to very short hairpins. Use @code{minimum-length}
2434 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2438 \property Staff.Hairpin \override #'minimum-length = #5
2441 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2442 is an example how to do it:
2444 @lilypond[fragment,relative=2,verbatim]
2445 c4 \cresc c4 c c c \endcresc c4
2451 You can also supply your own texts:
2452 @lilypond[fragment,relative,verbatim]
2454 \property Voice.crescendoText = \markup { \italic "cresc. poco" }
2455 \property Voice.crescendoSpanner = #'dashed-line
2465 @cindex @code{\dynamicUp}
2467 @cindex @code{\dynamicDown}
2468 @code{\dynamicDown},
2469 @cindex @code{\dynamicBoth}
2470 @code{\dynamicBoth}.
2472 @cindex direction, of dynamics
2476 Internals: @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, and
2477 @internalsref{AbsoluteDynamicEvent}.
2479 Dynamics are objects of @internalsref{DynamicText} and
2480 @internalsref{Hairpin}. Vertical positioning of these symbols is
2481 handled by the @internalsref{DynamicLineSpanner} object.
2483 If you want to adjust padding or vertical direction of the dynamics, you
2484 must set properties for the @internalsref{DynamicLineSpanner} object.
2492 @cindex @code{\repeat}
2495 Repetition is a central concept in music, and multiple notations exist
2496 for repetitions. In LilyPond, most of these notations can be captured
2497 in a uniform syntax. One of the advantages is that they can be
2498 rendered in MIDI accurately.
2500 The following types of repetition are supported:
2504 Repeated music is fully written (played) out. Useful for MIDI
2505 output, and entering repetitive music.
2508 This is the normal notation: Repeats are not written out, but
2509 alternative endings (voltas) are printed, left to right.
2513 Alternative endings are written stacked. This has limited use but may be
2514 used to typeset two lines of lyrics in songs with repeats, see
2515 @inputfileref{input,star-spangled-banner.ly}.
2523 Make beat or measure repeats. These look like percent signs.
2529 * Repeats and MIDI::
2530 * Manual repeat commands::
2532 * Tremolo subdivisions::
2537 @subsection Repeat syntax
2541 LilyPond has one syntactic construct for specifying different types of
2542 repeats. The syntax is
2545 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2548 If you have alternative endings, you may add
2549 @cindex @code{\alternative}
2551 \alternative @code{@{} @var{alternative1}
2553 @var{alternative3} @dots{} @code{@}}
2555 where each @var{alternative} is a music expression. If you do not
2556 give enough alternatives for all of the repeats, then the first
2557 alternative is assumed to be played more than once.
2559 Normal notation repeats are used like this:
2560 @lilypond[fragment,verbatim,relative 1]
2562 \repeat volta 2 { c4 d e f }
2563 \repeat volta 2 { f e d c }
2566 With alternative endings:
2567 @lilypond[fragment,verbatim,relative 1]
2569 \repeat volta 2 {c4 d e f}
2570 \alternative { {d2 d} {f f,} }
2574 @lilypond[fragment,verbatim,relative 1]
2577 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2578 \alternative { { g4 g g } { a | a a a a | b2. } }
2584 If you do a nested repeat like
2593 then it is ambiguous to which @code{\repeat} the @code{\alternative}
2594 belongs. This ambiguity is resolved by always having the
2595 @code{\alternative} belong to the inner @code{\repeat}. For clarity,
2596 it is advisable to use braces in such situations.
2599 @node Repeats and MIDI
2600 @subsection Repeats and MIDI
2602 @cindex expanding repeats
2604 For instructions on how to unfold repeats for MIDI output, see the
2605 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2610 Timing information is not remembered at the start of an alternative,
2611 so after a repeat timing information must be reset by hand, for
2612 example by setting @code{Score.measurePosition} or entering
2613 @code{\partial}. Similarly, slurs or ties are also not repeated.
2616 @node Manual repeat commands
2617 @subsection Manual repeat commands
2619 @cindex @code{repeatCommands}
2621 The property @code{repeatCommands} can be used to control the layout of
2622 repeats. Its value is a Scheme list of repeat commands, where each repeat
2626 @item the symbol @code{start-repeat},
2627 which prints a @code{|:} bar line,
2628 @item the symbol @code{end-repeat},
2629 which prints a @code{:|} bar line,
2630 @item the list @code{(volta @var{text})},
2631 which prints a volta bracket saying @var{text}: The text can be specified as
2632 a text string or as a markup text, see @ref{Text markup}. Do not
2633 forget to change the font, as the default number font does not contain
2634 alphabetic characters. Or,
2635 @item the list @code{(volta #f)}, which
2636 stops a running volta bracket:
2639 @lilypond[verbatim, fragment,relative 2]
2641 \property Score.repeatCommands = #'((volta "93") end-repeat)
2643 \property Score.repeatCommands = #'((volta #f))
2650 Internals: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2651 @internalsref{VoltaRepeatedMusic},
2652 @internalsref{UnfoldedRepeatedMusic}, and
2653 @internalsref{FoldedRepeatedMusic}.
2655 @node Tremolo repeats
2656 @subsection Tremolo repeats
2657 @cindex tremolo beams
2659 To place tremolo marks between notes, use @code{\repeat} with tremolo
2661 @lilypond[verbatim,singleline]
2663 \context Voice \notes\relative c' {
2664 \repeat "tremolo" 8 { c16 d16 }
2665 \repeat "tremolo" 4 { c16 d16 }
2666 \repeat "tremolo" 2 { c16 d16 }
2671 Tremolo marks can also be put on a single note. In this case, the
2672 note should not be surrounded by braces.
2673 @lilypond[verbatim,singleline]
2674 \repeat "tremolo" 4 c16
2677 A similar mechanism is the tremolo subdivision, described in
2678 @ref{Tremolo subdivisions}.
2682 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2684 Internals: tremolo beams are @internalsref{Beam} objects. Single stem
2685 tremolos are @internalsref{StemTremolo}s. The music expression is
2686 @internalsref{TremoloEvent},
2688 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2689 @inputfileref{input/regression,stem-tremolo.ly}.
2691 @node Tremolo subdivisions
2692 @subsection Tremolo subdivisions
2693 @cindex tremolo marks
2694 @cindex @code{tremoloFlags}
2696 Tremolo marks can be printed on a single note by adding
2697 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2698 A @var{length} value of 8 gives one line across the note stem. If the
2699 length is omitted, then then the last value (stored in
2700 @code{Voice.tremoloFlags}) is used:
2702 @lilypond[verbatim,fragment,center]
2703 c'2:8 c':32 | c': c': |
2706 @c [TODO : stok is te kort bij 32en]
2710 Tremolos in this style do not carry over into the MIDI output.
2714 In this manual: @ref{Tremolo repeats}.
2716 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
2718 @node Measure repeats
2719 @subsection Measure repeats
2721 @cindex percent repeats
2722 @cindex measure repeats
2724 In the @code{percent} style, a note pattern can be repeated. It is
2725 printed once, and then the pattern is replaced with a special sign.
2726 Patterns of a one and two measures are replaced by percent-like signs,
2727 patterns that divide the measure length are replaced by slashes:
2729 @lilypond[verbatim,singleline]
2730 \context Voice { \repeat "percent" 4 { c'4 }
2731 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2737 Internals: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2738 @internalsref{PercentRepeatedMusic}, and
2739 @internalsref{DoublePercentRepeat}.
2743 @node Rhythmic music
2744 @section Rhythmic music
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}.
2765 * Percussion staves::
2766 * Percussion MIDI output::
2769 @node Percussion staves
2770 @subsection Percussion staves
2774 A percussion part for more than one instrument typically uses a
2775 multiline staff where each position in the staff refers to one piece
2780 Percussion staves are typeset with help of a set of Scheme
2781 functions. The system is based on the general MIDI drum-pitches.
2782 Include @file{drumpitch-init.ly} to use drum pitches. This file
2783 defines the pitches from the Scheme variable @code{drum-pitch-names},
2784 the definition of which can be read in @file{scm/drums.scm}. Each
2785 piece of percussion has a full name and an abbreviated name, and either
2786 the full name or the abbreviation may be used in input files.
2788 To typeset the music on a staff apply the function @code{drums->paper}
2789 to the percussion music. This function takes a list of percussion
2790 instrument names, notehead scripts and staff positions (that is:
2791 pitches relative to the C-clef) and transforms the input
2792 music by moving the pitch, changing the notehead and (optionally)
2795 @lilypond[singleline,verbatim,quote]
2796 \include "drumpitch-init.ly"
2797 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2798 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2800 \apply #(drums->paper 'drums) \context Staff <<
2802 \new Voice { \voiceOne \up }
2803 \new Voice { \voiceTwo \down }
2808 In the above example the music was transformed using the list @code{'drums}.
2809 The following lists are defined in @file{scm/drums.scm}:
2812 to typeset a typical drum kit on a five-line staff:
2815 \include "drumpitch-init.ly"
2816 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2817 bd sn ss tomh tommh tomml toml tomfh tomfl }
2818 mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc
2819 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2822 \apply #(drums->paper 'drums) \context Staff <<
2826 \context Lyrics \nam
2829 linewidth = 100.0\mm
2832 \remove Bar_engraver
2833 \remove Time_signature_engraver
2834 minimumVerticalExtent = #'(-4.0 . 5.0)
2838 \remove Stem_engraver
2844 The drum scheme supports six different toms. When there fewer toms, simply
2845 select the toms that produce the desired result, i.e. to get toms on
2846 the three middle lines you use @code{tommh}, @code{tomml} and
2849 Because general MIDI does not contain rimshots the sidestick is used
2850 for this purpose instead.
2852 to typeset timbales on a two line staff:
2854 @lilypond[singleline]
2855 \include "drumpitch-init.ly"
2856 nam = \lyrics { timh ssh timl ssl cb }
2857 mus = \notes { timh ssh timl ssl cb s16 }
2860 \apply #(drums->paper 'timbales) \context Staff <<
2864 \context Lyrics \nam
2869 \remove Bar_engraver
2870 \remove Time_signature_engraver
2871 StaffSymbol \override #'line-count = #2
2872 StaffSymbol \override #'staff-space = #2
2873 minimumVerticalExtent = #'(-3.0 . 4.0)
2877 \remove Stem_engraver
2884 to typeset congas on a two line staff:
2886 @lilypond[singleline]
2887 \include "drumpitch-init.ly"
2888 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2889 mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2892 \apply #(drums->paper 'congas) \context Staff <<
2896 \context Lyrics \nam
2901 \remove Bar_engraver
2902 \remove Time_signature_engraver
2903 StaffSymbol \override #'line-count = #2
2904 StaffSymbol \override #'staff-space = #2
2905 minimumVerticalExtent = #'(-3.0 . 4.0)
2909 \remove Stem_engraver
2915 to typeset bongos on a two line staff:
2917 @lilypond[singleline]
2918 \include "drumpitch-init.ly"
2919 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2920 mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 }
2923 \apply #(drums->paper 'bongos) \context Staff <<
2927 \context Lyrics \nam
2932 \remove Bar_engraver
2933 \remove Time_signature_engraver
2934 StaffSymbol \override #'line-count = #2
2935 StaffSymbol \override #'staff-space = #2
2936 minimumVerticalExtent = #'(-3.0 . 4.0)
2940 \remove Stem_engraver
2946 to typeset all kinds of simple percussion on one line staves:
2947 @lilypond[singleline]
2948 \include "drumpitch-init.ly"
2949 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2950 mus = \notes { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2953 \apply #(drums->paper 'percussion) \context Staff <<
2957 \context Lyrics \nam
2962 \remove Bar_engraver
2963 \remove Time_signature_engraver
2964 StaffSymbol \override #'line-count = #1
2965 minimumVerticalExtent = #'(-2.0 . 3.0)
2969 \remove Stem_engraver
2976 If you do not like any of the predefined lists you can define your own
2977 list at the top of your file:
2979 @lilypond[singleline, verbatim]
2980 #(set-drum-kit 'mydrums `(
2981 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2982 (snare default #f ,(ly:make-pitch 0 1 0))
2983 (hihat cross #f ,(ly:make-pitch 0 5 0))
2984 (pedalhihat xcircle "stopped" ,(ly:make-pitch 0 5 0))
2985 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
2987 \include "drumpitch-init.ly"
2988 up = \notes { hh8 hh hh hh hhp4 hhp }
2989 down = \notes { bd4 sn bd toml8 toml }
2991 \apply #(drums->paper 'mydrums) \context Staff <<
2993 \new Voice { \voiceOne \up }
2994 \new Voice { \voiceTwo \down }
2999 To use a modified existing list, one can prepend modifications to the
3003 #(set-drum-kit 'mydrums (append `(
3004 (bassdrum default #f ,(ly:make-pitch -1 2 0))
3005 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
3006 ) (get-drum-kit 'drums)))
3009 You can easily combine percussion notation with pitched notation.
3010 Indeed, the file @file{drumpitch-init.ly} replaces the normal pitch
3011 names, so you will have to reinclude @file{nederlands.ly} after the
3012 drum-pattern-definitions to enter normal notes:
3014 @lilypond[singleline,verbatim]
3015 \include "drumpitch-init.ly"
3016 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
3017 down = \notes { bassdrum4 snare8 bd r bd sn4 }
3018 \include "nederlands.ly"
3019 bass = \notes \transpose c c,, { a4. e8 r e g e }
3022 \apply #(drums->paper 'drums) \new Staff <<
3024 \new Voice { \voiceOne \up }
3025 \new Voice { \voiceTwo \down }
3027 \new Staff { \clef "F_8" \bass }
3032 @node Percussion MIDI output
3033 @subsection Percussion MIDI output
3035 In order to produce correct MIDI output you need to produce two score
3036 blocks---one for the paper and one for the MIDI output. To use the
3037 percussion channel you set the property @code{instrument} to
3038 @code{'drums}. Because the drum-pitches themselves are similar to the
3039 general MIDI pitches all you have to do is to insert the voices with
3040 none of the scheme functions to get the correct MIDI output:
3044 \apply #(drums->paper 'mydrums) \context Staff <<
3053 \property Staff.instrument = #'drums
3063 Chords entered with @code{< @dots{} >} do not work. This scheme is a
3064 temporary implementation.
3068 @section Piano music
3070 Piano staves are two normal staves coupled with a brace. The staves
3071 are largely independent, but sometimes voices can cross between the
3072 two staves. The same notation is also used for harps and other key
3073 instruments. The @internalsref{PianoStaff} is especially built to
3074 handle this cross-staffing behavior. In this section we discuss the
3075 @internalsref{PianoStaff} and some other pianistic peculiarities.
3079 * Automatic staff changes::
3080 * Manual staff switches::
3083 * Staff switch lines::
3088 There is no support for putting chords across staves. You can get
3089 this result by increasing the length of the stem in the lower stave so
3090 it reaches the stem in the upper stave, or vice versa. An example is
3091 included with the distribution as
3092 @inputfileref{input/test,stem-cross-staff.ly}.
3094 Dynamics are not centered, but kludges do exist. See
3095 @inputfileref{input/template,piano-dynamics.ly}.
3097 @cindex cross staff stem
3098 @cindex stem, cross staff
3101 @c fixme: should have hyperlinks as well.
3107 @node Automatic staff changes
3108 @subsection Automatic staff changes
3109 @cindex Automatic staff changes
3111 Voices can switch automatically between the top and the bottom
3112 staff. The syntax for this is
3114 \autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
3116 The two staffs of the piano staff must be named @code{up} and
3119 The autochanger switches on basis of pitch (central C is the turning
3120 point), and it looks ahead skipping over rests to switch in
3121 advance. Here is a practical example:
3123 @lilypond[verbatim,singleline,quote]
3124 \score { \notes \context PianoStaff <<
3125 \context Staff = "up" {
3126 \autochange Staff \context Voice = VA << \relative c' {
3127 g4 a b c d r4 a g } >> }
3128 \context Staff = "down" {
3135 In this example, spacer rests are used to prevent the bottom staff from
3136 terminating too soon.
3141 In this manual: @ref{Manual staff switches}
3143 Internals: @internalsref{AutoChangeMusic}.
3149 The staff switches often do not end up in optimal places. For high
3150 quality output, staff switches should be specified manually.
3153 @node Manual staff switches
3154 @subsection Manual staff switches
3156 @cindex manual staff switches
3157 @cindex staff switch, manual
3159 Voices can be switched between staves manually, using the following command:
3161 \change Staff = @var{staffname} @var{music}
3165 The string @var{staffname} is the name of the staff. It switches the
3166 current voice from its current staff to the Staff called
3167 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3176 Pianos have pedals that alter the way sound are produced. Generally, a
3177 piano has three pedals, sustain, una corda, and sostenuto.
3181 Piano pedal instruction can be expressed by attaching
3182 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3183 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3186 @lilypond[fragment,verbatim]
3187 c'4\sustainDown c'4\sustainUp
3190 What is printed can be modified by setting @code{pedal@var{X}Strings},
3191 where @var{X} is one of the pedal types: @code{Sustain},
3192 @code{Sostenuto} or @code{UnaCorda}. Refer to the generated
3193 documentation of @internalsref{SustainPedal} for more information.
3195 Pedals can also be indicated by a sequence of brackets, by setting the
3196 @code{pedalSustainStyle} property to @code{bracket} objects:
3198 @lilypond[fragment,verbatim]
3199 \property Staff.pedalSustainStyle = #'bracket
3200 c''4\sustainDown d''4 e''4
3201 a'4\sustainUp\sustainDown
3202 f'4 g'4 a'4\sustainUp
3205 A third style of pedal notation is a mixture of text and brackets,
3206 obtained by setting the @code{pedalSustainStyle} style property to
3209 @lilypond[fragment,verbatim]
3210 \property Staff.pedalSustainStyle = #'mixed
3211 c''4\sustainDown d''4 e''4
3212 c'4\sustainUp\sustainDown
3213 f'4 g'4 a'4\sustainUp
3216 The default `*Ped' style for sustain and damper pedals corresponds to
3217 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3220 @lilypond[fragment,verbatim]
3221 c''4\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4\sostenutoUp
3224 For fine-tuning of the appearance of a pedal bracket, the properties
3225 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3226 @code{PianoPedalBracket} objects (see
3227 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3228 bracket may be extended to the end of the note head:
3230 @lilypond[fragment,verbatim]
3231 \property Staff.PianoPedalBracket \override
3232 #'shorten-pair = #'(0 . -1.0)
3233 c''4\sostenutoDown d''4 e''4 c'4
3234 f'4 g'4 a'4\sostenutoUp
3238 @subsection Arpeggio
3241 @cindex broken arpeggio
3242 @cindex @code{\arpeggio}
3244 You can specify an arpeggio sign on a chord by attaching an
3245 @code{\arpeggio} to a chord:
3248 @lilypond[fragment,relative,verbatim]
3252 When an arpeggio crosses staves, you attach an arpeggio to the chords
3253 in both staves, and set
3254 @internalsref{PianoStaff}.@code{connectArpeggios}:
3256 @lilypond[fragment,relative,verbatim]
3257 \context PianoStaff <<
3258 \property PianoStaff.connectArpeggios = ##t
3259 \new Staff { <c' e g c>\arpeggio }
3260 \new Staff { \clef bass <c,, e g>\arpeggio }
3264 The direction of the arpeggio is sometimes denoted by adding an
3265 arrowhead to the wiggly line. This can be typeset by setting
3266 @code{arpeggio-direction}:
3268 @lilypond[fragment,relative,verbatim]
3270 \property Voice.Arpeggio \set #'arpeggio-direction = #1
3272 \property Voice.Arpeggio \set #'arpeggio-direction = #-1
3277 A square bracket on the left indicates that the player should not
3278 arpeggiate the chord. To draw these brackets, set the
3279 @code{molecule-callback} property of @code{Arpeggio} or
3280 @code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
3281 @code{\arpeggio} statements within the chords as before:
3283 @lilypond[fragment,relative,verbatim]
3284 \property PianoStaff.Arpeggio \override
3285 #'molecule-callback = \arpeggioBracket
3291 @cindex @code{\arpeggioBracket}
3292 @code{\arpeggioBracket},
3293 @cindex @code{\arpeggio}
3298 Internals: @internalsref{ArpeggioEvent} music expressions lead to
3299 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3300 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3304 It is not possible to mix connected arpeggios and unconnected
3305 arpeggios in one @internalsref{PianoStaff} at the same time.
3307 @node Staff switch lines
3308 @subsection Staff switch lines
3311 @cindex follow voice
3312 @cindex staff switching
3315 @cindex @code{followVoice}
3317 Whenever a voice switches to another staff a line connecting the notes
3318 can be printed automatically. This is enabled if the property
3319 @code{PianoStaff.followVoice} is set to true:
3321 @lilypond[fragment,relative,verbatim]
3322 \context PianoStaff <<
3323 \property PianoStaff.followVoice = ##t
3324 \context Staff \context Voice {
3329 \context Staff=two { \clef bass \skip 1*2 }
3333 The associated object is @internalsref{VoiceFollower}.
3337 @cindex @code{\showStaffSwitch}
3338 @code{\showStaffSwitch},
3339 @cindex @code{\hideStaffSwitch}
3340 @code{\hideStaffSwitch}.
3344 @section Vocal music
3346 This section discusses how to enter and print lyrics.
3350 * The Lyrics context::
3355 @node Entering lyrics
3356 @subsection Entering lyrics
3360 @cindex @code{\lyrics}
3363 Lyrics are entered in a special input mode. This mode is is introduced
3364 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3365 punctuation and accents without any hassle. Syllables are entered like
3366 notes, but with pitches replaced by text. For example,
3368 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3371 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3372 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3373 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3374 any 8-bit character with ASCII code over 127, or a two-character
3375 combination of a backslash followed by one of @code{`}, @code{'},
3376 @code{"}, or @code{^}.
3378 Subsequent characters of a word can be any character that is not a digit
3379 and not white space. One important consequence of this is that a word
3380 can end with @code{@}}. The following example is usually a bug. The
3381 syllable includes a @code{@}}, and hence the opening brace is not balanced:
3383 \lyrics @{ twinkle@}
3386 @cindex @code{\property}, in @code{\lyrics}
3387 Similarly, a period following a alphabetic sequence, is included in the
3388 resulting string. As a consequence, spaces must be inserted around
3389 @code{\property} commands:
3391 \property Lyrics . LyricText \set #'font-shape = #'italic
3395 @cindex spaces, in lyrics
3396 @cindex quotes, in lyrics
3398 Any @code{_} character which appears in an unquoted word is converted
3399 to a space. This provides a mechanism for introducing spaces into words
3400 without using quotes. Quoted words can also be used in Lyrics mode to
3401 specify words that cannot be written with the above rules:
3404 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3408 Hyphens can be entered as ordinary hyphens at the end of a syllable, i.e.
3413 These will be attached to the end of the first syllable.
3415 Centered hyphens are entered using the special `@code{-}@code{-}' lyric
3416 as a separate word between syllables. The hyphen will have variable
3417 length depending on the space between the syllables and it will be
3418 centered between the syllables.
3423 When a lyric is sung over many notes (this is called a melisma), this is
3424 indicated with a horizontal line centered between a syllable and the
3425 next one. Such a line is called an extender line, and it is entered as
3430 Internals: @internalsref{LyricEvent}, @internalsref{HyphenEvent}, and
3431 @internalsref{ExtenderEvent}.
3435 The definition of lyrics mode is too complex.
3437 @node The Lyrics context
3438 @subsection The Lyrics context
3440 Lyrics are printed by interpreting them in a @internalsref{LyricsVoice} context:
3442 \context LyricsVoice \lyrics @dots{}
3445 @cindex automatic syllable durations
3446 @cindex @code{\lyricsto}
3447 @cindex lyrics and melodies
3449 This will place the lyrics according to the durations that were
3450 entered. The lyrics can also be aligned under a given melody
3451 automatically. In this case, it is no longer necessary to enter the
3452 correct duration for each syllable. This is achieved by combining the
3453 melody and the lyrics with the @code{\lyricsto} expression:
3455 \lyricsto @var{name} \new LyricsVoice @dots{}
3458 This aligns the lyrics to the
3460 notes of the @internalsref{Voice} context called @var{name}, which has
3461 to exist. Therefore, normally the @code{Voice} is specified first, and
3462 then the lyrics are specified with @code{\lyricsto}.
3464 For different or more complex orderings, the best way is to setup the
3465 hierarchy of staves and lyrics first, e.g.
3467 \context ChoirStaff \notes <<
3468 \context LyricsVoice = sopranoLyrics @{ s1 @}
3469 \context Voice = soprano @{ @emph{music} @}
3470 \context LyricsVoice = tenor @{ s1 @}
3471 \context Voice = tenorLyrics @{ @emph{music} @}
3474 and then combine the appropriate melodies and lyric lines:
3476 \lyricsto "soprano" \new LyricsVoice @emph{the lyrics}
3480 The final input would resemble
3483 << \context ChoirStaff \notes << @emph{setup the music} >>
3484 \lyricsto "soprano" @emph{etc}
3485 \lyricsto "alto" @emph{etc}
3491 The @code{\lyricsto} command detects melismata: it only puts one
3492 syllable under a tied or slurred group of notes. If you want to force
3493 an unslurred group of notes to be a melisma, then insert
3494 @code{\melisma} after the first note of the group, and
3495 @code{\melismaEnd} after the last one, e.g.
3497 @lilypond[relative 1, singleline, fragment,verbatim]
3498 << \context Voice = "lala" { \time 3/4
3504 \lyricsto "lala" \new LyricsVoice \lyrics {
3509 In addition, notes are considered a melisma if they are manually
3510 beamed, and automatic beaming (See @ref{Setting automatic beam
3511 behavior}) is switched off. The criteria for deciding melismata
3512 can be tuned with the property @code{melismaBusyProperties}. See
3513 @internalsref{Melisma_engraver} for more information.
3515 When multiple stanzas are put on the same melody, it can happen that
3516 two stanzas have melismata in different locations. This can be
3517 remedied by switching off melismata for one
3518 @internalsref{LyricsVoice}. This is achieved by setting
3519 the @code{ignoreMelismata} property to @code{#t}. An example is shown
3520 in @inputfileref{input/regression,lyric-combine-new.ly}.
3523 @cindex choral score
3525 A complete example of a SATB score setup is in the file
3526 @inputfileref{input/template,satb.ly}.
3530 @code{\melisma}, @code{\melismaEnd}
3531 @cindex @code{\melismaEnd}
3532 @cindex @code{\melisma}
3536 Internals: @internalsref{LyricCombineMusic}, @internalsref{Lyrics},
3537 @internalsref{Melisma_engraver}.
3539 Examples: @inputfileref{input/template,satb.ly},
3540 @inputfileref{input/regression,lyric-combine-new.ly}.
3544 Melismata are not detected automatically, and must be inserted by hand.
3548 @subsection More stanzas
3550 @cindex phrasing, in lyrics
3553 The lyrics should be aligned with the note heads of the melody. To
3554 achieve this, each line of lyrics should be marked to correspond with
3557 To this end, give the @internalsref{Voice} context an identity:
3559 \context Voice = duet @{
3564 Then set the @internalsref{LyricsVoice} contexts to names starting with
3565 that identity followed by a dash. In the preceding example, the
3566 @internalsref{Voice} identity is @code{duet}, so the identities of the
3567 @internalsref{LyricsVoice}s are marked @code{duet-1} and @code{duet-2}:
3569 \context LyricsVoice = "duet-1" @{
3570 Hi, my name is bert. @}
3571 \context LyricsVoice = "duet-2" @{
3572 Ooooo, ch\'e -- ri, je t'aime. @}
3575 The complete example is shown here:
3576 @lilypond[singleline,verbatim]
3578 << \notes \relative c'' \context Voice = duet { \time 3/4
3580 \lyrics << \lyricsto "duet" \new LyricsVoice {
3581 \property LyricsVoice . stanza = "1"
3582 Hi, my name is bert. }
3583 \lyricsto "duet" \new LyricsVoice {
3584 \property LyricsVoice . stanza = "2"
3585 Ooooo, ch\'e -- ri, je t'aime. }
3590 @cindex stanza number
3591 @cindex singer's names
3592 @cindex name of singer
3594 Stanza numbers can be added by setting @code{LyricsVoice.stanza}, e.g.
3597 \property LyricsVoice . stanza = "Bert"
3599 \property LyricsVoice . stanza = "Ernie"
3602 Notice how dots are surrounded with spaces in @code{\lyrics} mode, to
3603 prevent @code{LyricsVoice.stanza} being interpreted as a single
3606 Names of the singers should be added using @code{LyricsVoice
3607 . instrument} and @code{LyricsVoice . instr}, analogous to instrument
3608 annotations for staves.
3610 To make empty spaces in lyrics, use @code{\skip}.
3618 Input for lyrics introduces a syntactical ambiguity:
3625 is interpreted as assigning a string identifier @code{\foo} such that
3626 it contains @code{"bar"}. However, it could also be interpreted as
3627 making or a music identifier @code{\foo} containing the syllable
3628 `bar'. The force the latter interpretation, use
3638 The term @emph{ambitus} (plural: ambituses) denotes a range of pitches
3639 for a given voice in a part of music. It also may denote the pitch
3640 range that a musical instrument is capable of playing. Most musical
3641 instruments have their ambitus standardized (or at least there is
3642 agreement upon the minimal ambitus of a particular type of
3643 instrument), such that a composer or arranger of a piece of music can
3644 easily meet the ambitus constraints of the targeted instrument.
3645 However, the ambitus of the human voice depends on individual
3646 physiological state, including education and training of the voice.
3647 Therefore, a singer potentially has to check for each piece of music
3648 if the ambitus of that piece meets his individual capabilities. This
3649 is why the ambitus of a piece may be of particular value to vocal
3652 The ambitus is typically notated on a per-voice basis at the very
3653 beginning of a piece, e.g. nearby the initial clef or time signature of
3654 each staff. The range is graphically specified by two noteheads, that
3655 represent the minimum and maximum pitch. Some publishers use a textual
3656 notation: they put the range in words in front of the corresponding
3657 staff. LilyPond only supports the graphical ambitus notation.
3659 To apply, add the @internalsref{Ambitus_engraver} to the
3660 @internalsref{Voice} context, i.e.
3666 \consists Ambitus_engraver
3671 This results in the following output:
3672 @lilypond[singleline]
3673 upper = \notes \relative c {
3676 as'' c e2 bes f cis d4 e f2 g
3678 lower = \notes \relative c {
3681 e'4 b g a c es fis a cis b a g f e d2
3684 \context ChoirStaff {
3686 \new Staff { \upper }
3687 \new Staff { \lower }
3693 \consists Ambitus_engraver
3699 If you have multiple voices in a single staff, and you want a single
3700 ambitus per staff rather than per each voice, then add the
3701 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3702 rather than to the @internalsref{Voice} context.
3704 It is possible to tune individual ambituses for multiple voices on a
3705 single staff, for example by erasing or shifting them horizontally. An
3706 example is in @inputfileref{input/test,ambitus-mixed.ly}
3710 Internals: @internalsref{Ambitus}
3712 Examples: @inputfileref{input/regression,ambitus.ly},
3713 @inputfileref{input/test,ambitus-mixed.ly}.
3717 There is no collision handling in the case of multiple per-voice
3723 Tablature notation is used for notating music for plucked string
3724 instruments. It notates pitches not by using note heads, but by
3725 indicating on which string and fret a note must be played. LilyPond
3726 offers limited support for tablature.
3729 * Tablatures basic::
3730 * Non-guitar tablatures::
3733 @node Tablatures basic
3734 @subsection Tablatures basic
3735 @cindex Tablatures basic
3737 The string number associated to a note is given as a backslash
3738 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3739 string. By default, string 1 is the highest one, and the tuning
3740 defaults to the standard guitar tuning (with 6 strings). The notes
3741 are printed as tablature, by using @internalsref{TabStaff} and
3742 @internalsref{TabVoice} contexts:
3744 @lilypond[fragment,verbatim]
3745 \notes \context TabStaff {
3753 When no string is specified, the first string that does not give a
3754 fret number less than @code{minimumFret} is selected. The default
3755 value for @code{minimumFret} is 0:
3759 e8 fis gis a b cis' dis' e'
3760 \property TabStaff.minimumFret = #8
3761 e8 fis gis a b cis' dis' e'
3766 e8 fis gis a b cis' dis' e'
3767 \property TabStaff.minimumFret = #8
3768 e8 fis gis a b cis' dis' e'
3771 \context StaffGroup <<
3772 \context Staff { \clef "G_8" \frag }
3773 \context TabStaff { \frag }
3780 Internals: @internalsref{TabStaff}, @internalsref{TabVoice}, and
3781 @internalsref{StringNumberEvent}.
3785 Chords are not handled in a special way, and hence the automatic
3786 string selector may easily select the same string to two notes in a
3790 @node Non-guitar tablatures
3791 @subsection Non-guitar tablatures
3792 @cindex Non-guitar tablatures
3794 You can change the number of strings, by setting the number of lines
3795 in the @internalsref{TabStaff}.
3797 You can change the tuning of the strings. A string tuning is given as
3798 a Scheme list with one integer number for each string, the number
3799 being the pitch (measured in semitones relative to central C) of an
3800 open string. The numbers specified for @code{stringTuning} are the
3801 numbers of semitones to subtract or add, starting the specified pitch
3802 by default middle C, in string order. Thus, the notes are e, a, d, and
3805 @lilypond[fragment,verbatim]
3806 \context TabStaff <<
3807 \property TabStaff.stringTunings = #'(-5 -10 -15 -20)
3810 a,4 c' a e' e c' a e'
3815 It is possible to change the Scheme function to format the tablature
3816 note text. The default is @code{fret-number-tablature-format}, which
3817 uses the fret number. For instruments that do not use this notation,
3818 you can create a special tablature formatting function. This function
3819 takes three argument: string number, string tuning and note pitch.
3823 No guitar special effects have been implemented.
3828 @section Chord names
3831 LilyPond has support for both printing chord names. Chords may be
3832 entered in musical chord notation, i.e. @code{< .. >}, but they can
3833 also be entered by name. Internally, the chords are represented as a
3834 set of pitches, so they can be transposed:
3837 @lilypond[verbatim,singleline]
3838 twoWays = \notes \transpose c c' {
3848 << \context ChordNames \twoWays
3849 \context Voice \twoWays >> }
3852 This example also shows that the chord printing routines do not try to
3853 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3859 * Printing chord names::
3864 @subsection Chords mode
3867 Chord mode is a mode where you can input sets of pitches using common
3868 names. It is introduced by the keyword @code{\chords}.
3869 In chords mode, a chord is entered by the root, which is entered
3870 like a common pitch:
3871 @lilypond[fragment,verbatim,quote, relative=1]
3872 \chords { es4. d8 c2 }
3877 Other chords may be entered by suffixing a colon, and introducing a
3878 modifier, and optionally, a number:
3880 @lilypond[fragment,verbatim,quote]
3881 \chords { e1:m e1:7 e1:m7 }
3883 The first number following the root is taken to be the `type' of the
3884 chord, thirds are added to the root until it reaches the specified
3886 @lilypond[fragment,verbatim]
3887 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3890 @cindex root of chord
3891 @cindex additions, in chords
3892 @cindex removals, in chords
3894 More complex chords may also be constructed adding separate steps
3895 to a chord. Additions are added after the number following
3896 the colon, and are separated by dots:
3898 @lilypond[verbatim,fragment,quote]
3899 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3901 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3903 @lilypond[verbatim,fragment,quote]
3904 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3906 Removals are specified similarly, and are introduced by a caret. They
3907 must come after the additions:
3908 @lilypond[verbatim,fragment]
3909 \chords { c^3 c:7^5 c:9^3.5 }
3912 Modifiers can be used to change pitches. The following modifiers are
3916 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3918 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3921 is the augmented chord. This modifier raises the 5th step.
3923 is the major 7th chord. This modifier raises the 7th step if present.
3925 is the suspended 4th or 2nd. This modifier removes the 3rd
3926 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3929 Modifiers can be mixed with additions:
3930 @lilypond[verbatim,fragment]
3931 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3934 @cindex modifiers, in chords.
3941 Since an unaltered 11 does not sound good when combined with an
3942 unaltered 13, the 11 is removed in this case (unless it is added
3945 @lilypond[fragment,verbatim]
3946 \chords { c:13 c:13.11 c:m13 }
3951 An inversion (putting one pitch of the chord on the bottom), as well
3952 as bass notes, can be specified by appending
3953 @code{/}@var{pitch} to the chord:
3954 @lilypond[fragment,verbatim,center]
3955 \chords { c1 c/g c/f }
3959 A bass note can be added instead of transposed out of the chord,
3960 by using @code{/+}@var{pitch}.
3962 @lilypond[fragment,verbatim,center]
3963 \chords { c1 c/+g c/+f }
3966 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3967 of the commands continue to work, for example, @code{r} and
3968 @code{\skip} can be used to insert rests and spaces, and
3969 @code{\property} may be used to change various settings.
3975 Each step can only be present in a chord once. The following
3976 simply produces the augmented chord, since @code{5+} is interpreted
3979 @lilypond[verbatim,fragment]
3980 \chords { c:5.5-.5+ }
3984 @node Printing chord names
3985 @subsection Printing chord names
3987 @cindex printing chord names
3991 For displaying printed chord names, use the @internalsref{ChordNames} context.
3992 The chords may be entered either using the notation
3993 described above, or directly using @code{<} and @code{>}:
3995 @lilypond[verbatim,singleline]
3997 \chords {a1 b c} <d' f' a'> <e' g' b'>
4001 \context ChordNames \scheme
4002 \context Staff \scheme
4007 You can make the chord changes stand out by setting
4008 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
4009 display chord names when there is a change in the chords scheme and at
4010 the start of a new line:
4012 @lilypond[verbatim, linewidth=9cm]
4014 c1:m c:m \break c:m c:m d
4018 \context ChordNames {
4019 \property ChordNames.chordChanges = ##t
4021 \context Staff \transpose c c' \scheme
4026 The default chord name layout is a system for Jazz music, proposed by
4027 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
4028 following properties:
4031 @cindex chordNameExceptions
4032 @item chordNameExceptions
4033 This is a list that contains the chords that have special formatting.
4035 @inputfileref{input/regression,chord-name-exceptions.ly}.
4036 @cindex exceptions, chord names.
4039 @cindex majorSevenSymbol
4040 @item majorSevenSymbol
4041 This property contains the markup object used for the 7th step, when
4042 it is major. Predefined options are @code{whiteTriangleMarkup} and
4043 @code{blackTriangleMarkup}. See
4044 @inputfileref{input/regression,chord-name-major7.ly} for an example.
4046 @cindex chordNameSeparator
4047 @item chordNameSeparator
4048 Different parts of a chord name are normally separated by a
4049 slash. By setting @code{chordNameSeparator}, you can specify other
4051 @lilypond[fragment,verbatim]
4052 \context ChordNames \chords {
4054 \property ChordNames.chordNameSeparator
4055 = \markup { \typewriter "|" }
4059 @cindex chordRootNamer
4060 @item chordRootNamer
4061 The root of a chord is usually printed as a letter with an optional
4062 alteration. The transformation from pitch to letter is done by this
4063 function. Special note names (for example, the German ``H'' for a
4064 B-chord) can be produced by storing a new function in this property.
4066 The pre-defined variables @code{\germanChords},
4067 @code{\semiGermanChords} set these variables.
4070 @cindex chordNoteNamer
4071 @item chordNoteNamer
4072 The default is to print single pitch, e.g. the bass note, using the
4073 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4074 to a specialized function to change this behavior. For example, the
4075 base can be printed in lower case.
4080 There are also two other chord name schemes implemented: an alternate
4081 Jazz chord notation, and a systematic scheme called Banter chords. The
4082 alternate jazz notation is also shown on the chart in @ref{Chord name
4083 chart}. Turning on these styles is described in the input file
4084 @inputfileref{input/test,chord-names-jazz.ly}.
4088 @cindex chords, jazz
4093 @cindex @code{\germanChords}
4094 @code{\germanChords},
4095 @cindex @code{\semiGermanChords}
4096 @code{\semiGermanChords}.
4103 Examples: @inputfileref{input/regression,chord-name-major7.ly},
4104 @inputfileref{input/regression,chord-name-exceptions.ly},
4105 @inputfileref{input/test,chord-names-jazz.ly},
4106 @inputfileref{input/test,chord-names-german.ly}.
4108 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4113 Chord names are determined solely from the list of pitches. Chord
4114 inversions are not identified, and neither are added bass notes. This
4115 may result in strange chord names when chords are entered with the
4116 @code{< .. >} syntax.
4121 @node Orchestral music
4122 @section Orchestral music
4124 @cindex Writing parts
4126 Orchestral music involves some special notation, both in the full
4127 score and the individual parts. This section explains how to tackle
4128 some common problems in orchestral music.
4133 * Multiple staff contexts::
4136 * Instrument names::
4138 * Multi measure rests::
4139 * Automatic part combining::
4141 * Different editions from one source::
4142 * Sound output for transposing instruments::
4145 @node Multiple staff contexts
4146 @subsection Multiple staff contexts
4148 Polyphonic scores consist of many staves. These staves can be
4149 constructed in three different ways:
4151 @item The group is started with a brace at the left. This is done with the
4152 @internalsref{GrandStaff} context.
4153 @item The group is started with a bracket. This is done with the
4154 @internalsref{StaffGroup} context
4155 @item The group is started with a vertical line. This is the default
4159 @cindex Staff, multiple
4160 @cindex bracket, vertical
4161 @cindex brace, vertical
4168 @node Rehearsal marks
4169 @subsection Rehearsal marks
4170 @cindex Rehearsal marks
4172 @cindex @code{\mark}
4174 To print a rehearsal mark, use the @code{\mark} command:
4175 @lilypond[fragment,verbatim]
4186 (The letter I is skipped in accordance with engraving traditions.)
4188 The mark is incremented automatically if you use @code{\mark
4189 \default}, but you can also use an integer argument to set the mark
4190 manually. The value to use is stored in the property
4191 @code{rehearsalMark}.
4193 The style is defined by the property @code{markFormatter}. It is a
4194 function taking the current mark (an integer) and the current context
4195 as argument. It should return a markup object. In the following
4196 example, @code{markFormatter} is set to a canned procedure. After a
4197 few measures, it is set to function that produces a boxed number.
4199 @lilypond[verbatim,fragment,relative 1]
4200 \property Score.markFormatter = #format-mark-numbers
4203 \property Score.markFormatter
4204 = #(lambda (mark context)
4205 (make-bold-markup (make-box-markup (number->string mark))))
4210 The file @file{scm/translation-functions.scm} contains the definitions
4211 of @code{format-mark-numbers} (the default format) and
4212 @code{format-mark-letters}. They can be used as inspiration for other
4213 formatting functions.
4216 @cindex coda on bar line
4217 @cindex segno on bar line
4218 @cindex fermata on bar line
4219 @cindex bar lines, symbols on
4221 The @code{\mark} command can also be used to put signs like coda,
4222 segno and fermatas on a barline. Use @code{\markup} to
4223 to access the appropriate symbol:
4225 @lilypond[fragment,verbatim,relative=1]
4226 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4230 In this case, during line breaks, marks must also be printed at the
4231 end of the line, and not at the beginning. Use the following to force
4234 \property Score.RehearsalMark \override
4235 #'break-visibility = #begin-of-line-invisible
4241 @cindex barlines, putting symbols on
4245 Internals: @internalsref{MarkEvent}, @internalsref{RehearsalMark}
4247 Init files: @file{scm/translation-functions.scm} contains the
4248 definition of @code{format-mark-numbers} and
4249 @code{format-mark-letters}. They can be used as inspiration for other
4250 formatting functions.
4252 Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
4253 @inputfileref{input/regression,rehearsal-mark-number.ly}.
4257 @subsection Bar numbers
4261 @cindex measure numbers
4262 @cindex currentBarNumber
4264 Bar numbers are printed by default at the start of the line. The
4265 number itself is stored in the
4266 @code{currentBarNumber} property,
4267 which is normally updated automatically for every measure.
4269 Bar numbers can be typeset at regular intervals instead of at the
4270 beginning of each line. This is illustrated in the following example,
4271 whose source is available as
4272 @inputfileref{input/test,bar-number-regular-interval.ly}:
4274 @lilypondfile[notexidoc]{bar-number-regular-interval.ly}
4279 Internals: @internalsref{BarNumber}.
4281 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4282 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4286 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4287 there is one at the top. To solve this, the
4288 @code{padding} property of @internalsref{BarNumber} can be
4289 used to position the number correctly.
4291 @node Instrument names
4292 @subsection Instrument names
4294 In an orchestral score, instrument names are printed left side of the
4297 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4298 and @internalsref{Staff}.@code{instr}. This will print a string before
4299 the start of the staff. For the first start, @code{instrument} is
4300 used, for the next ones @code{instr} is used:
4303 @lilypond[verbatim,singleline]
4304 \property Staff.instrument = "ploink " { c''4 }
4308 You can also use markup texts to construct more complicated instrument
4312 @lilypond[fragment,verbatim,singleline]
4314 \property Staff.instrument = \markup {
4315 \column < "Clarinetti"
4317 \smaller \musicglyph #"accidentals--1"
4328 Internals: @internalsref{InstrumentName}.
4332 When you put a name on a grand staff or piano staff the width of the
4333 brace is not taken into account. You must add extra spaces to the end of
4334 the name to avoid a collision.
4337 @subsection Transpose
4339 @cindex transposition of pitches
4340 @cindex @code{\transpose}
4342 A music expression can be transposed with @code{\transpose}. The syntax
4345 \transpose @var{from} @var{to} @var{musicexpr}
4348 This means that @var{musicexpr} is transposed by the interval
4349 between the pitches @var{from} and @var{to}.
4350 Since @var{from} and @var{to} are pitches, @code{\transpose} must be
4351 inside a @code{\notes} section.
4353 @code{\transpose} distinguishes between enharmonic pitches: both
4354 @code{\transpose c cis} or @code{\transpose c des} will transpose up
4355 half a tone. The first version will print sharps and the second
4356 version will print flats:
4358 @lilypond[singleline, verbatim]
4359 mus =\notes { \key d \major cis d fis g }
4360 \score { \notes \context Staff {
4363 \transpose c g' \mus
4364 \transpose c f' \mus
4371 Internals: @internalsref{TransposedMusic}, and
4372 @internalsref{UntransposableMusic}.
4376 If you want to use both @code{\transpose} and @code{\relative}, then
4377 you must put @code{\transpose} outside of @code{\relative}, since
4378 @code{\relative} will have no effect music that appears inside a
4384 @node Multi measure rests
4385 @subsection Multi measure rests
4386 @cindex multi measure rests
4387 @cindex Rests, multi measure
4391 Multi measure rests are entered using `@code{R}'. It is specifically
4392 meant for full bar rests and for entering parts: the rest can expand
4393 to fill a score with rests, or it can be printed as a single
4394 multimeasure rest. This expansion is controlled by the property
4395 @code{Score.skipBars}. If this is set to true, empty measures will not
4396 be expanded, and the appropriate number is added automatically:
4398 @lilypond[fragment,verbatim]
4399 \time 4/4 r1 | R1 | R1*2
4400 \property Score.skipBars = ##t R1*17 R1*4
4403 The @code{1} in @code{R1} is similar to the duration notation used for
4404 notes. Hence, for time signatures other than 4/4, you must enter other
4405 durations. This can be done with augmentation dots or fractions:
4407 @lilypond[fragment,verbatim]
4408 \property Score.skipBars = ##t
4416 An @code{R} spanning a single measure is printed as either a whole rest
4417 or a breve, centered in the measure regardless of the time signature.
4419 @cindex text on multi-measure rest
4420 @cindex script on multi-measure rest
4421 @cindex fermata on multi-measure rest
4423 Texts can be added to multi-measure rests by using the
4424 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4425 replaced. If you need both texts and the number, you must add the
4426 number by hand. A variable (@code{\fermataMarkup}) is provided for
4430 @lilypond[verbatim,fragment]
4432 R2._\markup { "Ad lib" }
4436 If you want to have a text on the left end of a multi-measure rest,
4437 attach the text to a zero-length skip note, i.e.
4445 @cindex whole rests for a full measure
4449 Internals: @internalsref{MultiMeasureRestEvent},
4450 @internalsref{MultiMeasureTextEvent},
4451 @internalsref{MultiMeasureRestMusicGroup}, and
4452 @internalsref{MultiMeasureRest}.
4454 The layout object @internalsref{MultiMeasureRestNumber} is for the
4455 default number, and @internalsref{MultiMeasureRestText} for user
4460 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4461 over multi-measure rests.
4463 @cindex condensing rests
4465 There is no way to automatically condense multiple rests into a single
4466 multimeasure rest. Multi measure rests do not take part in rest
4469 Be careful when entering multimeasure rests followed by whole
4470 notes. The following will enter two notes lasting four measures each:
4474 When @code{skipBars} is set, then the result will look OK, but the
4475 bar numbering will be off.
4477 @node Automatic part combining
4478 @subsection Automatic part combining
4479 @cindex automatic part combining
4480 @cindex part combiner
4483 Automatic part combining is used to merge two parts of music onto a
4484 staff. It is aimed at typesetting orchestral scores. When the two
4485 parts are identical for a period of time, only one is shown. In
4486 places where the two parts differ, they are typeset as separate
4487 voices, and stem directions are set automatically. Also, solo and
4488 @emph{a due} parts are identified and can be marked.
4492 The syntax for part combining is
4495 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
4497 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
4498 combined into one context of type @var{context}. The music expressions
4499 must be interpreted by contexts whose names should start with @code{one}
4502 The following example demonstrates the basic functionality of the part
4503 combiner: putting parts on one staff, and setting stem directions and
4506 @lilypond[verbatim,singleline,fragment]
4508 \context Voice=one \partcombine Voice
4509 \context Thread=one \relative c'' {
4512 \context Thread=two \relative c'' {
4518 The first @code{g} appears only once, although it was
4519 specified twice (once in each part). Stem, slur and tie directions are
4520 set automatically, depending whether there is a solo or unisono. The
4521 first part (with context called @code{one}) always gets up stems, and
4522 `solo', while the second (called @code{two}) always gets down stems and
4525 If you just want the merging parts, and not the textual markings, you
4526 may set the property @var{soloADue} to false:
4528 @lilypond[verbatim,singleline,fragment]
4530 \property Staff.soloADue = ##f
4531 \context Voice=one \partcombine Voice
4532 \context Thread=one \relative c'' {
4535 \context Thread=two \relative c'' {
4543 Internals: @internalsref{PartCombineMusic},
4544 @internalsref{Thread_devnull_engraver}, and
4545 @internalsref{Voice_devnull_engraver} and @internalsref{A2_engraver}.
4549 The syntax for naming contexts in inconsistent with the syntax for
4552 In @code{soloADue} mode, when the two voices play the same notes on and
4553 off, the part combiner may typeset @code{a2} more than once in a
4556 @lilypond[fragment,singleline]
4558 \context Voice=one \partcombine Voice
4559 \context Thread=one \relative c'' {
4562 \context Thread=two \relative c'' {
4568 The part combiner is rather buggy, and it will be replaced by a better
4569 mechanism in the near future.
4571 @cindex @code{Thread_devnull_engraver}
4572 @cindex @code{Voice_engraver}
4573 @cindex @code{A2_engraver}
4576 @subsection Hiding staves
4578 @cindex Frenched scores
4579 @cindex Hiding staves
4581 In orchestral scores, staff lines that only have rests are usually
4582 removed. This saves some space. This style is called `French Score'.
4583 For @internalsref{Lyrics}, @internalsref{LyricsVoice},
4584 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4585 switched on by default. When these line of these contexts turn out
4586 empty after the line-breaking process, they are removed.
4588 For normal staves, a specialized @internalsref{Staff} context is
4589 available, which does the same: staves containing nothing (or only
4590 multi measure rests) are removed. The context definition is stored in
4591 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4592 in this example disappears in the second line:
4597 \notes \relative c' <<
4598 \new Staff { e4 f g a \break c1 }
4599 \new Staff { c4 d e f \break R1 }
4603 \translator { \RemoveEmptyStaffContext }
4608 The first page shows all staffs in full. If they should be removed
4609 from the first page too, set @code{remove-first} to false
4610 in @internalsref{RemoveEmptyVerticalGroup}.
4612 @node Different editions from one source
4613 @subsection Different editions from one source
4615 The @code{\tag} command marks music expressions with a name. These
4616 tagged expressions can be filtered out later. With this mechanism it
4617 is possible to make different versions of the same music source.
4619 In the following example, we see two versions of a piece of music, one
4620 for the full score, and one with cue notes for the instrumental part:
4628 \property Voice.fontSize = #-1
4636 The same can be applied to articulations, texts, etc.: they are
4639 -\tag #@var{your-tag}
4641 to an articulation, for example,
4646 This defines a note with a conditional fingering indication.
4648 By applying the @code{remove-tag} function, tagged expressions can be
4649 filtered. For example,
4653 \apply #(remove-tag 'score) @var{the music}
4654 \apply #(remove-tag 'part) @var{the music}
4659 @lilypondfile[notexidoc]{tag-filter.ly}
4661 The argument of the @code{\tag} command should be a symbol, or a list
4662 of symbols, for example,
4664 \tag #'(original-part transposed-part) @dots{}
4669 Examples: @inputfileref{input/regression,tag-filter.ly}
4672 @node Sound output for transposing instruments
4673 @subsection Sound output for transposing instruments
4675 When you want to make a MIDI file from a score containing transposed
4676 and untransposed instruments, you have to instruct LilyPond the pitch
4677 offset (in semitones) for the transposed instruments. This is done
4678 using the @code{transposing} property. It does not affect printed
4681 @cindex @code{transposing}
4684 \property Staff.instrument = #"Cl. in B-flat"
4685 \property Staff.transposing = #-2
4689 @node Ancient notation
4690 @section Ancient notation
4692 @cindex Vaticana, Editio
4693 @cindex Medicaea, Editio
4698 @c [TODO: write more comprehensive introduction on ancient notation]
4700 Support for ancient notation is still under heavy development.
4701 Regardless of all of the current limitations (see the bugs section
4702 below for details), it includes features for mensural
4703 notation and Gregorian Chant notation. There is also limited support
4704 for figured bass notation.
4706 Many graphical objects provide a @code{style} property, see
4707 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4708 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4709 signatures}. By manipulating such a grob property, the typographical
4710 appearance of the affected graphical objects can be accomodated for a
4711 specific notation flavour without need for introducing any new
4715 Other aspects of ancient notation can not that easily be expressed as
4716 in terms of just changing a style property of a graphical object.
4717 Therefore, some notational concepts are introduced specifically for
4718 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4719 @ref{Ligatures}, and @ref{Figured bass}.
4723 * Ancient note heads::
4724 * Ancient accidentals::
4728 * Ancient time signatures::
4733 * Vaticana style contexts::
4736 If this all is way too much of documentation for you, and you just
4737 want to dive into typesetting without worrying too much about the
4738 details on how to customize a context, then you may have a look at the
4739 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4740 set up predefined style-specific voice and staff contexts, and
4741 directly go ahead with the note entry.
4745 Ligatures need special spacing that has not yet been implemented. As
4746 a result, there is too much space between ligatures most of the time,
4747 and line breaking often is unsatisfactory. Also, lyrics do not
4748 correctly align with ligatures.
4750 Accidentals must not be printed within a ligature, but instead need to
4751 be collected and printed in front of it.
4753 Augmentum dots within ligatures are not handled correctly.
4756 @node Ancient note heads
4757 @subsection Ancient note heads
4763 For ancient notation, a note head style other than the @code{default}
4764 style may be chosen. This is accomplished by setting the @code{style}
4765 property of the NoteHead object to the desired value (@code{baroque},
4766 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4767 differs from the @code{default} style only in using a square shape for
4768 @code{\breve} note heads. The @code{neo_mensural} style differs from
4769 the @code{baroque} style in that it uses rhomboidal heads for whole
4770 notes and all smaller durations. Stems are centered on the note
4771 heads. This style is in particular useful when transcribing mensural
4772 music, e.g. for the incipit. The @code{mensural} style finally
4773 produces note heads that mimick the look of note heads in historic
4774 printings of the 16th century.
4776 The following example demonstrates the @code{neo_mensural} style:
4778 @lilypond[fragment,singleline,verbatim]
4779 \property Voice.NoteHead \set #'style = #'neo_mensural
4780 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4783 When typesetting a piece in Gregorian Chant notation, a Gregorian
4784 ligature engraver will automatically select the proper note heads,
4785 such there is no need to explicitly set the note head style. Still,
4786 the note head style can be set e.g. to @code{vaticana_punctum} to
4787 produce punctum neumes. Similarly, a mensural ligature engraver is
4788 used to automatically assemble mensural ligatures. See
4789 @ref{Ligatures} for how ligature engravers work.
4794 @ref{Percussion staves} use note head styles of their own that are
4795 frequently used in contemporary music notation.
4797 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
4798 overview over all available note head styles.
4801 @node Ancient accidentals
4802 @subsection Ancient accidentals
4808 Use the @code{style} property of grob @internalsref{Accidental} to
4809 select ancient accidentals. Supported styles are
4810 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4812 @lilypond[singleline,26pt]
4820 { " " \musicglyph #"accidentals-vaticana-1"
4821 " " \musicglyph #"accidentals-vaticana0" }
4825 { " " \musicglyph #"accidentals-medicaea-1" }
4829 { " " \musicglyph #"accidentals-hufnagel-1" }
4833 { " " \musicglyph #"accidentals-mensural-1"
4834 " " \musicglyph #"accidentals-mensural1" }
4843 \remove "Bar_number_engraver"
4847 \remove "Clef_engraver"
4848 \remove "Key_engraver"
4849 \remove "Time_signature_engraver"
4850 \remove "Staff_symbol_engraver"
4851 minimumVerticalExtent = ##f
4857 As shown, not all accidentals are supported by each style. When
4858 trying to access an unsupported accidental, LilyPond will switch to a
4859 different style, as demonstrated in
4860 @inputfileref{input/test,ancient-accidentals.ly}.
4862 Similarly to local accidentals, the style of the key signature can be
4863 controlled by the @code{style} property of the
4864 @internalsref{KeySignature} grob.
4868 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
4869 @ref{Accidentals} give a general introduction into the use of
4870 accidentals. @ref{Key signature} gives a general introduction into
4871 the use of key signatures.
4873 Internals: @internalsref{KeySignature}
4875 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
4878 @subsection Ancient rests
4884 Use the @code{style} property of grob @internalsref{Rest} to select
4885 ancient accidentals. Supported styles are @code{classical},
4886 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4887 from the @code{default} style only in that the quarter rest looks like
4888 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4889 well for e.g. the incipit of a transcribed mensural piece of music.
4890 The @code{mensural} style finally mimicks the appearance of rests as
4891 in historic prints of the 16th century.
4893 The following example demonstrates the @code{neo_mensural} style:
4895 @lilypond[fragment,singleline,verbatim]
4896 \property Voice.Rest \set #'style = #'neo_mensural
4897 r\longa r\breve r1 r2 r4 r8 r16
4900 There are no 32th and 64th rests specifically for the mensural or
4901 neo-mensural style. Instead, the rests from the default style will be
4902 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4905 There are no rests in Gregorian Chant notation; instead, it uses
4910 In this manual: @ref{Rests} gives a general introduction into the use of rests.
4914 @subsection Ancient clefs
4920 LilyPond supports a variety of clefs, many of them ancient.
4922 The following table shows all ancient clefs that are supported via the
4923 @code{\clef} command. Some of the clefs use the same glyph, but
4924 differ only with respect to the line they are printed on. In such
4925 cases, a trailing number in the name is used to enumerate these clefs.
4926 Still, you can manually force a clef glyph to be typeset on an
4927 arbitrary line, as described in @ref{Clef}. The note printed to the
4928 right side of each clef in the example column denotes the @code{c'}
4929 with respect to that clef.
4931 @multitable @columnfractions .3 .3 .3 .1
4935 @b{Description} @tab
4936 @b{Supported Clefs} @tab
4940 @code{clefs-neo_mensural_c} @tab
4941 modern style mensural C clef @tab
4942 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4943 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4944 @lilypond[relative 0, notime]
4945 \property Staff.TimeSignature \set #'transparent = ##t
4946 \clef "neo_mensural_c2" c
4950 @code{clefs-petrucci_c1}
4951 @code{clefs-petrucci_c2}
4952 @code{clefs-petrucci_c3}
4953 @code{clefs-petrucci_c4}
4954 @code{clefs-petrucci_c5}
4957 petrucci style mensural C clefs, for use on different stafflines
4958 (the examples shows the 2nd staffline C clef).
4968 @lilypond[relative 0, notime]
4969 \property Staff.TimeSignature \set #'transparent = ##t
4970 \clef "petrucci_c2" c
4974 @code{clefs-petrucci_f} @tab
4975 petrucci style mensural F clef @tab
4976 @code{petrucci_f} @tab
4977 @lilypond[relative 0, notime]
4978 \property Staff.TimeSignature \set #'transparent = ##t
4979 \clef "petrucci_f" c
4983 @code{clefs-petrucci_g} @tab
4984 petrucci style mensural G clef @tab
4985 @code{petrucci_g} @tab
4986 @lilypond[relative 0, notime]
4987 \property Staff.TimeSignature \set #'transparent = ##t
4988 \clef "petrucci_g" c
4992 @code{clefs-mensural_c} @tab
4993 historic style mensural C clef @tab
4994 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4995 @code{mensural_c4} @tab
4996 @lilypond[relative 0, notime]
4997 \property Staff.TimeSignature \set #'transparent = ##t
4998 \clef "mensural_c2" c
5002 @code{clefs-mensural_f} @tab
5003 historic style mensural F clef @tab
5004 @code{mensural_f} @tab
5005 @lilypond[relative 0, notime]
5006 \property Staff.TimeSignature \set #'transparent = ##t
5007 \clef "mensural_f" c
5011 @code{clefs-mensural_g} @tab
5012 historic style mensural G clef @tab
5013 @code{mensural_g} @tab
5014 @lilypond[relative 0, notime]
5015 \property Staff.TimeSignature \set #'transparent = ##t
5016 \clef "mensural_g" c
5020 @code{clefs-vaticana_do} @tab
5021 Editio Vaticana style do clef @tab
5022 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
5023 @lilypond[relative 0, notime]
5024 \property Staff.StaffSymbol \set #'line-count = #4
5025 \property Staff.TimeSignature \set #'transparent = ##t
5026 \clef "vaticana_do2" c
5030 @code{clefs-vaticana_fa} @tab
5031 Editio Vaticana style fa clef @tab
5032 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
5033 @lilypond[relative 0, notime]
5034 \property Staff.StaffSymbol \set #'line-count = #4
5035 \property Staff.TimeSignature \set #'transparent = ##t
5036 \clef "vaticana_fa2" c
5040 @code{clefs-medicaea_do} @tab
5041 Editio Medicaea style do clef @tab
5042 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
5043 @lilypond[relative 0, notime]
5044 \property Staff.StaffSymbol \set #'line-count = #4
5045 \property Staff.TimeSignature \set #'transparent = ##t
5046 \clef "medicaea_do2" c
5050 @code{clefs-medicaea_fa} @tab
5051 Editio Medicaea style fa clef @tab
5052 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
5053 @lilypond[relative 0, notime]
5054 \property Staff.StaffSymbol \set #'line-count = #4
5055 \property Staff.TimeSignature \set #'transparent = ##t
5056 \clef "medicaea_fa2" c
5060 @code{clefs-hufnagel_do} @tab
5061 historic style hufnagel do clef @tab
5062 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
5063 @lilypond[relative 0, notime]
5064 \property Staff.StaffSymbol \set #'line-count = #4
5065 \property Staff.TimeSignature \set #'transparent = ##t
5066 \clef "hufnagel_do2" c
5070 @code{clefs-hufnagel_fa} @tab
5071 historic style hufnagel fa clef @tab
5072 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
5073 @lilypond[relative 0, notime]
5074 \property Staff.StaffSymbol \set #'line-count = #4
5075 \property Staff.TimeSignature \set #'transparent = ##t
5076 \clef "hufnagel_fa2" c
5080 @code{clefs-hufnagel_do_fa} @tab
5081 historic style hufnagel combined do/fa clef @tab
5082 @code{hufnagel_do_fa} @tab
5083 @lilypond[relative 0, notime]
5084 \property Staff.TimeSignature \set #'transparent = ##t
5085 \clef "hufnagel_do_fa" c
5090 @c --- This should go somewhere else: ---
5091 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
5094 @c @code{percussion}
5096 @c @lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "percussion" c'}
5098 @c @item modern style tab clef (glyph: @code{clefs-tab})
5103 @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \property Staff.TimeSignature \set #'transparent = ##t \clef "tab" c'}
5105 @emph{Modern style} means ``as is typeset in contemporary editions of
5106 transcribed mensural music''.
5108 @emph{Petrucci style} means ``inspired by printings published by the
5109 famous engraver Petrucci (1466-1539)''.
5111 @emph{Historic style} means ``as was typeset or written in historic
5112 editions (other than those of Petrucci)''.
5114 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5116 Petrucci used C clefs with differently balanced left-side vertical
5117 beams, depending on which staffline it is printed.
5121 In this manual: for the percussion clef, see @ref{Percussion staves}.
5122 For the @code{TAB} clef, see @ref{Tablatures}.
5124 Internals: for modern clefs, see @ref{Clef}.
5129 @subsection Ancient flags
5135 Use the @code{flag-style} property of grob @internalsref{Stem} to
5136 select ancient flags. Besides the @code{default} flag style,
5137 only @code{mensural} style is supported:
5139 @lilypond[fragment,singleline,verbatim]
5140 \property Voice.Stem \set #'flag-style = #'mensural
5141 \property Voice.Stem \set #'thickness = #1.0
5142 \property Voice.NoteHead \set #'style = #'mensural
5144 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
5145 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5148 Note that the innermost flare of each mensural flag always is
5149 vertically aligned with a staff line. If you do not like this
5150 behaviour, you can set the @code{adjust-if-on-staffline} property of
5151 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5152 of the end of each flare is different between notes on staff lines and
5153 notes between staff lines:
5155 @lilypond[fragment,singleline]
5156 \property Voice.Stem \set #'flag-style = #'mensural
5157 \property Voice.Stem \set #'thickness = #1.0
5158 \property Voice.Stem \set #'adjust-if-on-staffline = ##f
5159 \property Voice.NoteHead \set #'style = #'mensural
5161 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
5162 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5165 There is no particular flag style for neo-mensural notation. Hence,
5166 when typesetting e.g. the incipit of a transcibed piece of mensural
5167 music, the default flag style should be used. There are no flags in
5168 Gregorian Chant notation.
5171 @node Ancient time signatures
5172 @subsection Ancient time signatures
5174 @cindex time signatures
5178 There is limited support for mensural time signatures. The
5179 glyphs are hard-wired to particular time fractions. In other words,
5180 to get a particular mensural signature glyph with the @code{\time n/m}
5181 command, @code{n} and @code{m} have to be chosen according to the
5187 \property Score.timing = ##f
5188 \property Score.barAlways = ##t
5189 s_\markup { "$\\backslash$time 4/4" }
5190 ^\markup { " " \musicglyph #"timesig-neo_mensural4/4" }
5192 s_\markup { "$\\backslash$time 2/2" }
5193 ^\markup { " " \musicglyph #"timesig-neo_mensural2/2" }
5195 s_\markup { "$\\backslash$time 6/4" }
5196 ^\markup { " " \musicglyph #"timesig-neo_mensural6/4" }
5198 s_\markup { "$\\backslash$time 6/8" }
5199 ^\markup { " " \musicglyph #"timesig-neo_mensural6/8" }
5201 s_\markup { "$\\backslash$time 3/2" }
5202 ^\markup { " " \musicglyph #"timesig-neo_mensural3/2" }
5204 s_\markup { "$\\backslash$time 3/4" }
5205 ^\markup { " " \musicglyph #"timesig-neo_mensural3/4" }
5207 s_\markup { "$\\backslash$time 9/4" }
5208 ^\markup { " " \musicglyph #"timesig-neo_mensural9/4" }
5210 s_\markup { "$\\backslash$time 9/8" }
5211 ^\markup { " " \musicglyph #"timesig-neo_mensural9/8" }
5213 s_\markup { "$\\backslash$time 4/8" }
5214 ^\markup { " " \musicglyph #"timesig-neo_mensural4/8" }
5216 s_\markup { "$\\backslash$time 2/4" }
5217 ^\markup { " " \musicglyph #"timesig-neo_mensural2/4" }
5225 \remove Staff_symbol_engraver
5226 \remove Clef_engraver
5227 \remove Time_signature_engraver
5233 Use the @code{style} property of grob @internalsref{TimeSignature} to
5234 select ancient time signatures. Supported styles are
5235 @code{neo_mensural} and @code{mensural}. The above table uses the
5236 @code{neo_mensural} style. This style is appropriate e.g. for the
5237 incipit of transcriptions of mensural pieces. The @code{mensural}
5238 style mimicks the look of historical printings of the 16th century.
5240 @inputfileref{input/test,time.ly} gives an overview over all available
5241 ancient and modern styles.
5245 Internals: @ref{Time signature} gives a general introduction into the use of time
5250 Mensural signature glyphs are mapped to time fractions in a
5251 hard-wired way. This mapping is sensible, but still arbitrary: given
5252 a mensural time signature, the time fraction represents a modern meter
5253 that usually will be a good choice when transcribing a mensural piece
5254 of music. For a particular piece of mensural music, however, the
5255 mapping may be unsatisfactory. In particular, the mapping assumes a
5256 fixed transcription of durations (e.g. brevis = half note in 2/2,
5257 i.e. 4:1). Some glyphs (such as the alternate glyph for 6/8 meter)
5258 are not at all accessible through the @code{\time} command.
5260 Mensural time signatures are supported typographically, but not yet
5261 musically. The internal representation of durations is
5262 based on a purely binary system; a ternary division such as 1 brevis =
5263 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5264 prolatione maiori) is not correctly handled: event times in ternary
5265 modes will be badly computed, resulting e.g. in horizontally
5266 misaligned note heads, and bar checks are likely to erroneously fail.
5268 The syntax and semantics of the @code{\time} command for mensural
5269 music is subject to change.
5272 @subsection Custodes
5277 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
5278 symbol that appears at the end of a staff. It anticipates the pitch
5279 of the first note(s) of the following line and thus helps the player
5280 or singer to manage line breaks during performance, thus enhancing
5281 readability of a score.
5283 Custodes were frequently used in music notation until the 17th
5284 century. Nowadays, they have survived only in a few particular forms
5285 of musical notation such as contemporary editions of Gregorian chant
5286 like the @emph{editio vaticana}. There are different custos glyphs
5287 used in different flavours of notational style.
5291 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5292 @internalsref{Staff} context when declaring the @code{\paper} block,
5293 as shown in the following example:
5299 \consists Custos_engraver
5300 Custos \override #'style = #'mensural
5305 The result looks like this:
5311 \property Staff.Custos \set #'style = #'mensural
5318 \consists Custos_engraver
5325 The custos glyph is selected by the @code{style} property. The styles
5326 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5327 @code{mensural}. They are demonstrated in the following fragment:
5337 { " " \musicglyph #"custodes-vaticana-u0" }
5341 { " " \musicglyph #"custodes-medicaea-u0" }
5345 { " " \musicglyph #"custodes-hufnagel-u0" }
5349 { " " \musicglyph #"custodes-mensural-u0" }
5358 \remove "Bar_number_engraver"
5362 \remove "Clef_engraver"
5363 \remove "Key_engraver"
5364 \remove "Time_signature_engraver"
5365 \remove "Staff_symbol_engraver"
5366 minimumVerticalExtent = ##f
5372 If the boolean property @code{adjust-if-on-staffline} is set to
5373 @code{#t} (which it is by default), lily typesets slightly different
5374 variants of the custos glyph, depending on whether the custos, is
5375 typeset on or between stafflines. The glyph will
5376 optically fit well into the staff, with the appendage on the right of
5377 the custos always ending at the same vertical position between two
5378 stafflines regardless of the pitch. If you set
5379 @code{adjust-if-on-staffline} to @code{#f}, then
5380 a compromise between both forms is used.
5382 Just like stems can be attached to noteheads in two directions
5383 @emph{up} and @emph{down}, each custos glyph is available with its
5384 appendage pointing either up or down. If the pitch of a custos is
5385 above a selectable position, the appendage will point downwards; if
5386 the pitch is below this position, the appendage will point upwards.
5387 Use property @code{neutral-position} to select this position. By
5388 default, it is set to @code{0}, such that the neutral position is the
5389 center of the staff. Use property @code{neutral-direction} to control
5390 what happens if a custos is typeset on the neutral position itself.
5391 By default, this property is set to @code{-1}, such that the appendage
5392 will point downwards. If set to @code{1}, the appendage will point
5393 upwards. Other values such as @code{0} are reserved for future
5394 extensions and should not be used.
5398 Internals: @internalsref{Custos}
5400 Examples: @inputfileref{input/regression,custos.ly}.
5404 @subsection Divisiones
5410 A @emph{divisio} (plural: @emph{divisiones}; latin word for
5411 `division') is a staff context symbol that is used to structure
5412 Gregorian music into phrases and sections. The musical meaning of
5413 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5414 can be characterized as short, medium and long pause, somewhat like
5415 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5416 a chant, but is also frequently used within a single
5417 antiphonal/responsorial chant to mark the end of each section.
5421 To use divisiones, include the file @code{gregorian-init.ly}. It
5422 contains definitions that you can apply by just inserting
5423 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5424 and @code{\finalis} at proper places in the input. Some editions use
5425 @emph{virgula} or @emph{caesura} instead of divisio minima.
5426 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5429 @lilypondfile[notexidoc]{divisiones.ly}
5433 @cindex @code{\virgula}
5435 @cindex @code{\caesura}
5437 @cindex @code{\divisioMinima}
5438 @code{\divisioMinima},
5439 @cindex @code{\divisioMaior}
5440 @code{\divisioMaior},
5441 @cindex @code{\divisioMaxima}
5442 @code{\divisioMaxima},
5443 @cindex @code{\finalis}
5448 In this manual: @ref{Breath marks}.
5450 Internals: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
5452 Examples: @inputfileref{input/test,divisiones.ly}
5455 @subsection Ligatures
5459 @c TODO: Should double check if I recalled things correctly when I wrote
5460 @c down the following paragraph by heart.
5462 In musical terminology, a ligature is a coherent graphical symbol that
5463 represents at least two distinct notes. Ligatures originally appeared
5464 in the manuscripts of Gregorian chant notation roughly since the 9th
5465 century as an allusion to the accent symbols of greek lyric poetry to
5466 denote ascending or descending sequences of notes. Both, the shape
5467 and the exact meaning of ligatures changed tremendously during the
5468 following centuries: In early notation, ligatures were used for
5469 monophonic tunes (Gregorian chant) and very soon denoted also the way
5470 of performance in the sense of articulation. With upcoming
5471 multiphony, the need for a metric system arised, since multiple voices
5472 of a piece have to be synchronized some way. New notation systems
5473 were invented that used the manifold shapes of ligatures to now denote
5474 rhythmical patterns (e.g. black mensural notation, mannered notation,
5475 ars nova). With the invention of the metric system of the white
5476 mensural notation, the need for ligatures to denote such patterns
5477 disappeared. Nevertheless, ligatures were still in use in the
5478 mensural system for a couple of decades until they finally disappeared
5479 during the late 16th / early 17th century. Still, ligatures have
5480 survived in contemporary editions of Gregorian chant such as the
5481 Editio Vaticana from 1905/08.
5485 Syntactically, ligatures are simply enclosed by @code{\[} and
5486 @code{\]}. Some ligature styles (such as Editio Vaticana) may need
5487 additional input syntax specific for this particular type of ligature.
5488 By default, the @internalsref{LigatureBracket} engraver just puts a
5489 square bracket above the ligature:
5491 @lilypond[singleline,verbatim]
5493 \notes \transpose c c' {
5501 To select a specific style of ligatures, a proper ligature engraver
5502 has to be added to the @internalsref{Voice} context, as explained in
5503 the following subsections. Only white mensural ligatures
5504 are supported with certain limitations. Support for Editio Vaticana
5505 will be added in the future.
5508 * White mensural ligatures::
5509 * Gregorian square neumes ligatures::
5512 @node White mensural ligatures
5513 @subsubsection White mensural ligatures
5515 @cindex Mensural ligatures
5516 @cindex White mensural ligatures
5518 There is limited support for white mensural ligatures. The
5519 implementation is still experimental; it may output strange
5520 warnings or even crash in some cases or produce weird results on more
5525 To engrave white mensural ligatures, in the paper block the
5526 @internalsref{Mensural_ligature_engraver} has to be put into the
5527 @internalsref{Voice} context, and remove the
5528 @internalsref{Ligature_bracket_engraver}:
5534 \remove Ligature_bracket_engraver
5535 \consists Mensural_ligature_engraver
5540 There is no additional input language to describe the shape of a
5541 white mensural ligature. The shape is rather determined solely from
5542 the pitch and duration of the enclosed notes. While this approach may
5543 take a new user a while to get accustomed, it has the great advantage
5544 that the full musical information of the ligature is known internally.
5545 This is not only required for correct MIDI output, but also allows for
5546 automatic transcription of the ligatures.
5551 \property Score.timing = ##f
5552 \property Score.defaultBarType = "empty"
5553 \property Voice.NoteHead \set #'style = #'neo_mensural
5554 \property Staff.TimeSignature \set #'style = #'neo_mensural
5556 \[ g\longa c\breve a\breve f\breve d'\longa \]
5558 \[ e1 f1 a\breve g\longa \]
5560 @lilypond[singleline]
5562 \notes \transpose c c' {
5563 \property Score.timing = ##f
5564 \property Score.defaultBarType = "empty"
5565 \property Voice.NoteHead \set #'style = #'neo_mensural
5566 \property Staff.TimeSignature \set #'style = #'neo_mensural
5568 \[ g\longa c\breve a\breve f\breve d'\longa \]
5570 \[ e1 f1 a\breve g\longa \]
5575 \remove Ligature_bracket_engraver
5576 \consists Mensural_ligature_engraver
5582 Without replacing @internalsref{Ligature_bracket_engraver} with
5583 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5586 @lilypond[singleline]
5588 \notes \transpose c c' {
5589 \property Score.timing = ##f
5590 \property Score.defaultBarType = "empty"
5591 \property Voice.NoteHead \set #'style = #'neo_mensural
5592 \property Staff.TimeSignature \set #'style = #'neo_mensural
5594 \[ g\longa c\breve a\breve f\breve d'\longa \]
5596 \[ e1 f1 a\breve g\longa \]
5602 @node Gregorian square neumes ligatures
5603 @subsubsection Gregorian square neumes ligatures
5605 @cindex Square neumes ligatures
5606 @cindex Gregorian square neumes ligatures
5608 Gregorian square neumes notation (following the style of the Editio
5609 Vaticana) is under heavy development, but not yet really usable for
5610 production purposes. Core ligatures can already be typeset, but
5611 essential issues for serious typesetting are still under development,
5612 such as (among others) horizontal alignment of multiple ligatures,
5613 lyrics alignment and proper accidentals handling. Still, this section
5614 gives a sneak preview of what Gregorian chant may look like once it
5617 The following table contains the extended neumes table of the 2nd
5618 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5619 1983 by the monks of Solesmes.
5621 @multitable @columnfractions .4 .2 .2 .2
5624 @b{Neuma aut@*Neumarum Elementa} @tab
5625 @b{Figurae@*Rectae} @tab
5626 @b{Figurae@*Liquescentes Auctae} @tab
5627 @b{Figurae@*Liquescentes Deminutae}
5629 @c TODO: \paper block is identical in all of the below examples.
5630 @c Therefore, it should somehow be included rather than duplicated all
5633 @c why not make identifiers in ly/engraver-init.ly? --hwn
5635 @c Because it's just used to typeset plain notes without
5636 @c a staff for demonstration purposes rather than something
5637 @c special of Gregorian chant notation. --jr
5642 @lilypond[noindent, 26pt, nofragment, linewidth=1.5cm]
5643 \include "gregorian-init.ly"
5645 \notes \transpose c c' {
5648 \noBreak s^\markup {"a"} \noBreak
5650 % Punctum Inclinatum
5652 \noBreak s^\markup {"b"}
5658 \remove "Bar_number_engraver"
5662 \remove "Clef_engraver"
5663 \remove "Key_engraver"
5664 StaffSymbol \set #'transparent = ##t
5665 \remove "Time_signature_engraver"
5666 \remove "Bar_engraver"
5667 minimumVerticalExtent = ##f
5671 \remove Ligature_bracket_engraver
5672 \consists Vaticana_ligature_engraver
5673 NoteHead \set #'style = #'vaticana_punctum
5674 Stem \set #'transparent = ##t
5680 @lilypond[noindent, 26pt, nofragment, linewidth=2.5cm]
5681 \include "gregorian-init.ly"
5683 \notes \transpose c c' {
5684 % Punctum Auctum Ascendens
5685 \[ \auctum \ascendens b \]
5686 \noBreak s^\markup {"c"} \noBreak
5688 % Punctum Auctum Descendens
5689 \[ \auctum \descendens b \]
5690 \noBreak s^\markup {"d"} \noBreak
5692 % Punctum Inclinatum Auctum
5693 \[ \inclinatum \auctum b \]
5694 \noBreak s^\markup {"e"}
5700 \remove "Bar_number_engraver"
5704 \remove "Clef_engraver"
5705 \remove "Key_engraver"
5706 StaffSymbol \set #'transparent = ##t
5707 \remove "Time_signature_engraver"
5708 \remove "Bar_engraver"
5709 minimumVerticalExtent = ##f
5713 \remove Ligature_bracket_engraver
5714 \consists Vaticana_ligature_engraver
5715 NoteHead \set #'style = #'vaticana_punctum
5716 Stem \set #'transparent = ##t
5722 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5723 \include "gregorian-init.ly"
5725 \notes \transpose c c' {
5726 % Punctum Inclinatum Parvum
5727 \[ \inclinatum \deminutum b \]
5728 \noBreak s^\markup {"f"}
5734 \remove "Bar_number_engraver"
5738 \remove "Clef_engraver"
5739 \remove "Key_engraver"
5740 StaffSymbol \set #'transparent = ##t
5741 \remove "Time_signature_engraver"
5742 \remove "Bar_engraver"
5743 minimumVerticalExtent = ##f
5747 \remove Ligature_bracket_engraver
5748 \consists Vaticana_ligature_engraver
5749 NoteHead \set #'style = #'vaticana_punctum
5750 Stem \set #'transparent = ##t
5759 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5760 \include "gregorian-init.ly"
5762 \notes \transpose c c' {
5765 \noBreak s^\markup {"g"}
5771 \remove "Bar_number_engraver"
5775 \remove "Clef_engraver"
5776 \remove "Key_engraver"
5777 StaffSymbol \set #'transparent = ##t
5778 \remove "Time_signature_engraver"
5779 \remove "Bar_engraver"
5780 minimumVerticalExtent = ##f
5784 \remove Ligature_bracket_engraver
5785 \consists Vaticana_ligature_engraver
5786 NoteHead \set #'style = #'vaticana_punctum
5787 Stem \set #'transparent = ##t
5796 @code{3. Apostropha vel Stropha}
5798 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5799 \include "gregorian-init.ly"
5801 \notes \transpose c c' {
5804 \noBreak s^\markup {"h"}
5810 \remove "Bar_number_engraver"
5814 \remove "Clef_engraver"
5815 \remove "Key_engraver"
5816 StaffSymbol \set #'transparent = ##t
5817 \remove "Time_signature_engraver"
5818 \remove "Bar_engraver"
5819 minimumVerticalExtent = ##f
5823 \remove Ligature_bracket_engraver
5824 \consists Vaticana_ligature_engraver
5825 NoteHead \set #'style = #'vaticana_punctum
5826 Stem \set #'transparent = ##t
5832 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5833 \include "gregorian-init.ly"
5835 \notes \transpose c c' {
5837 \[ \stropha \auctum b \]
5838 \noBreak s^\markup {"i"}
5844 \remove "Bar_number_engraver"
5848 \remove "Clef_engraver"
5849 \remove "Key_engraver"
5850 StaffSymbol \set #'transparent = ##t
5851 \remove "Time_signature_engraver"
5852 \remove "Bar_engraver"
5853 minimumVerticalExtent = ##f
5857 \remove Ligature_bracket_engraver
5858 \consists Vaticana_ligature_engraver
5859 NoteHead \set #'style = #'vaticana_punctum
5860 Stem \set #'transparent = ##t
5870 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5871 \include "gregorian-init.ly"
5873 \notes \transpose c c' {
5876 \noBreak s^\markup {"j"}
5882 \remove "Bar_number_engraver"
5886 \remove "Clef_engraver"
5887 \remove "Key_engraver"
5888 StaffSymbol \set #'transparent = ##t
5889 \remove "Time_signature_engraver"
5890 \remove "Bar_engraver"
5891 minimumVerticalExtent = ##f
5895 \remove Ligature_bracket_engraver
5896 \consists Vaticana_ligature_engraver
5897 NoteHead \set #'style = #'vaticana_punctum
5898 Stem \set #'transparent = ##t
5907 @code{5. Clivis vel Flexa}
5909 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5910 \include "gregorian-init.ly"
5912 \notes \transpose c c' {
5921 \remove "Bar_number_engraver"
5925 \remove "Clef_engraver"
5926 \remove "Key_engraver"
5927 StaffSymbol \set #'transparent = ##t
5928 \remove "Time_signature_engraver"
5929 \remove "Bar_engraver"
5930 minimumVerticalExtent = ##f
5934 \remove Ligature_bracket_engraver
5935 \consists Vaticana_ligature_engraver
5936 NoteHead \set #'style = #'vaticana_punctum
5937 Stem \set #'transparent = ##t
5943 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5944 \include "gregorian-init.ly"
5946 \notes \transpose c c' {
5947 % Clivis Aucta Descendens
5948 \[ b \flexa \auctum \descendens g \]
5949 \noBreak s^\markup {"l"} \noBreak
5951 % Clivis Aucta Ascendens
5952 \[ b \flexa \auctum \ascendens g \]
5953 \noBreak s^\markup {"m"}
5959 \remove "Bar_number_engraver"
5963 \remove "Clef_engraver"
5964 \remove "Key_engraver"
5965 StaffSymbol \set #'transparent = ##t
5966 \remove "Time_signature_engraver"
5967 \remove "Bar_engraver"
5968 minimumVerticalExtent = ##f
5972 \remove Ligature_bracket_engraver
5973 \consists Vaticana_ligature_engraver
5974 NoteHead \set #'style = #'vaticana_punctum
5975 Stem \set #'transparent = ##t
5981 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5982 \include "gregorian-init.ly"
5984 \notes \transpose c c' {
5986 \[ b \flexa \deminutum g \]
5993 \remove "Bar_number_engraver"
5997 \remove "Clef_engraver"
5998 \remove "Key_engraver"
5999 StaffSymbol \set #'transparent = ##t
6000 \remove "Time_signature_engraver"
6001 \remove "Bar_engraver"
6002 minimumVerticalExtent = ##f
6006 \remove Ligature_bracket_engraver
6007 \consists Vaticana_ligature_engraver
6008 NoteHead \set #'style = #'vaticana_punctum
6009 Stem \set #'transparent = ##t
6016 @code{6. Podatus vel Pes}
6018 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6019 \include "gregorian-init.ly"
6021 \notes \transpose c c' {
6030 \remove "Bar_number_engraver"
6034 \remove "Clef_engraver"
6035 \remove "Key_engraver"
6036 StaffSymbol \set #'transparent = ##t
6037 \remove "Time_signature_engraver"
6038 \remove "Bar_engraver"
6039 minimumVerticalExtent = ##f
6043 \remove Ligature_bracket_engraver
6044 \consists Vaticana_ligature_engraver
6045 NoteHead \set #'style = #'vaticana_punctum
6046 Stem \set #'transparent = ##t
6052 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
6053 \include "gregorian-init.ly"
6055 \notes \transpose c c' {
6056 % Pes Auctus Descendens
6057 \[ g \pes \auctum \descendens b \]
6058 \noBreak s^\markup {"p"} \noBreak
6060 % Pes Auctus Ascendens
6061 \[ g \pes \auctum \ascendens b \]
6062 \noBreak s^\markup {"q"}
6068 \remove "Bar_number_engraver"
6072 \remove "Clef_engraver"
6073 \remove "Key_engraver"
6074 StaffSymbol \set #'transparent = ##t
6075 \remove "Time_signature_engraver"
6076 \remove "Bar_engraver"
6077 minimumVerticalExtent = ##f
6081 \remove Ligature_bracket_engraver
6082 \consists Vaticana_ligature_engraver
6083 NoteHead \set #'style = #'vaticana_punctum
6084 Stem \set #'transparent = ##t
6090 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6091 \include "gregorian-init.ly"
6093 \notes \transpose c c' {
6095 \[ g \pes \deminutum b \]
6102 \remove "Bar_number_engraver"
6106 \remove "Clef_engraver"
6107 \remove "Key_engraver"
6108 StaffSymbol \set #'transparent = ##t
6109 \remove "Time_signature_engraver"
6110 \remove "Bar_engraver"
6111 minimumVerticalExtent = ##f
6115 \remove Ligature_bracket_engraver
6116 \consists Vaticana_ligature_engraver
6117 NoteHead \set #'style = #'vaticana_punctum
6118 Stem \set #'transparent = ##t
6125 @code{7. Pes Quassus}
6127 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6128 \include "gregorian-init.ly"
6130 \notes \transpose c c' {
6132 \[ \oriscus g \pes \virga b \]
6139 \remove "Bar_number_engraver"
6143 \remove "Clef_engraver"
6144 \remove "Key_engraver"
6145 StaffSymbol \set #'transparent = ##t
6146 \remove "Time_signature_engraver"
6147 \remove "Bar_engraver"
6148 minimumVerticalExtent = ##f
6152 \remove Ligature_bracket_engraver
6153 \consists Vaticana_ligature_engraver
6154 NoteHead \set #'style = #'vaticana_punctum
6155 Stem \set #'transparent = ##t
6161 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6162 \include "gregorian-init.ly"
6164 \notes \transpose c c' {
6165 % Pes Quassus Auctus Descendens
6166 \[ \oriscus g \pes \auctum \descendens b \]
6173 \remove "Bar_number_engraver"
6177 \remove "Clef_engraver"
6178 \remove "Key_engraver"
6179 StaffSymbol \set #'transparent = ##t
6180 \remove "Time_signature_engraver"
6181 \remove "Bar_engraver"
6182 minimumVerticalExtent = ##f
6186 \remove Ligature_bracket_engraver
6187 \consists Vaticana_ligature_engraver
6188 NoteHead \set #'style = #'vaticana_punctum
6189 Stem \set #'transparent = ##t
6197 @code{8. Quilisma Pes}
6199 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6200 \include "gregorian-init.ly"
6202 \notes \transpose c c' {
6204 \[ \quilisma g \pes b \]
6211 \remove "Bar_number_engraver"
6215 \remove "Clef_engraver"
6216 \remove "Key_engraver"
6217 StaffSymbol \set #'transparent = ##t
6218 \remove "Time_signature_engraver"
6219 \remove "Bar_engraver"
6220 minimumVerticalExtent = ##f
6224 \remove Ligature_bracket_engraver
6225 \consists Vaticana_ligature_engraver
6226 NoteHead \set #'style = #'vaticana_punctum
6227 Stem \set #'transparent = ##t
6233 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6234 \include "gregorian-init.ly"
6236 \notes \transpose c c' {
6237 % Quilisma Pes Auctus Descendens
6238 \[ \quilisma g \pes \auctum \descendens b \]
6245 \remove "Bar_number_engraver"
6249 \remove "Clef_engraver"
6250 \remove "Key_engraver"
6251 StaffSymbol \set #'transparent = ##t
6252 \remove "Time_signature_engraver"
6253 \remove "Bar_engraver"
6254 minimumVerticalExtent = ##f
6258 \remove Ligature_bracket_engraver
6259 \consists Vaticana_ligature_engraver
6260 NoteHead \set #'style = #'vaticana_punctum
6261 Stem \set #'transparent = ##t
6269 @code{9. Podatus Initio Debilis}
6271 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6272 \include "gregorian-init.ly"
6274 \notes \transpose c c' {
6275 % Pes Initio Debilis
6276 \[ \deminutum g \pes b \]
6283 \remove "Bar_number_engraver"
6287 \remove "Clef_engraver"
6288 \remove "Key_engraver"
6289 StaffSymbol \set #'transparent = ##t
6290 \remove "Time_signature_engraver"
6291 \remove "Bar_engraver"
6292 minimumVerticalExtent = ##f
6296 \remove Ligature_bracket_engraver
6297 \consists Vaticana_ligature_engraver
6298 NoteHead \set #'style = #'vaticana_punctum
6299 Stem \set #'transparent = ##t
6305 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6306 \include "gregorian-init.ly"
6308 \notes \transpose c c' {
6309 % Pes Auctus Descendens Initio Debilis
6310 \[ \deminutum g \pes \auctum \descendens b \]
6317 \remove "Bar_number_engraver"
6321 \remove "Clef_engraver"
6322 \remove "Key_engraver"
6323 StaffSymbol \set #'transparent = ##t
6324 \remove "Time_signature_engraver"
6325 \remove "Bar_engraver"
6326 minimumVerticalExtent = ##f
6330 \remove Ligature_bracket_engraver
6331 \consists Vaticana_ligature_engraver
6332 NoteHead \set #'style = #'vaticana_punctum
6333 Stem \set #'transparent = ##t
6343 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6344 \include "gregorian-init.ly"
6346 \notes \transpose c c' {
6348 \[ a \pes b \flexa g \]
6355 \remove "Bar_number_engraver"
6359 \remove "Clef_engraver"
6360 \remove "Key_engraver"
6361 StaffSymbol \set #'transparent = ##t
6362 \remove "Time_signature_engraver"
6363 \remove "Bar_engraver"
6364 minimumVerticalExtent = ##f
6368 \remove Ligature_bracket_engraver
6369 \consists Vaticana_ligature_engraver
6370 NoteHead \set #'style = #'vaticana_punctum
6371 Stem \set #'transparent = ##t
6377 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6378 \include "gregorian-init.ly"
6380 \notes \transpose c c' {
6381 % Torculus Auctus Descendens
6382 \[ a \pes b \flexa \auctum \descendens g \]
6389 \remove "Bar_number_engraver"
6393 \remove "Clef_engraver"
6394 \remove "Key_engraver"
6395 StaffSymbol \set #'transparent = ##t
6396 \remove "Time_signature_engraver"
6397 \remove "Bar_engraver"
6398 minimumVerticalExtent = ##f
6402 \remove Ligature_bracket_engraver
6403 \consists Vaticana_ligature_engraver
6404 NoteHead \set #'style = #'vaticana_punctum
6405 Stem \set #'transparent = ##t
6411 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6412 \include "gregorian-init.ly"
6414 \notes \transpose c c' {
6415 % Torculus Deminutus
6416 \[ a \pes b \flexa \deminutum g \]
6423 \remove "Bar_number_engraver"
6427 \remove "Clef_engraver"
6428 \remove "Key_engraver"
6429 StaffSymbol \set #'transparent = ##t
6430 \remove "Time_signature_engraver"
6431 \remove "Bar_engraver"
6432 minimumVerticalExtent = ##f
6436 \remove Ligature_bracket_engraver
6437 \consists Vaticana_ligature_engraver
6438 NoteHead \set #'style = #'vaticana_punctum
6439 Stem \set #'transparent = ##t
6446 @code{11. Torculus Initio Debilis}
6448 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6449 \include "gregorian-init.ly"
6451 \notes \transpose c c' {
6452 % Torculus Initio Debilis
6453 \[ \deminutum a \pes b \flexa g \]
6460 \remove "Bar_number_engraver"
6464 \remove "Clef_engraver"
6465 \remove "Key_engraver"
6466 StaffSymbol \set #'transparent = ##t
6467 \remove "Time_signature_engraver"
6468 \remove "Bar_engraver"
6469 minimumVerticalExtent = ##f
6473 \remove Ligature_bracket_engraver
6474 \consists Vaticana_ligature_engraver
6475 NoteHead \set #'style = #'vaticana_punctum
6476 Stem \set #'transparent = ##t
6482 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6483 \include "gregorian-init.ly"
6485 \notes \transpose c c' {
6486 % Torculus Auctus Descendens Initio Debilis
6487 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6494 \remove "Bar_number_engraver"
6498 \remove "Clef_engraver"
6499 \remove "Key_engraver"
6500 StaffSymbol \set #'transparent = ##t
6501 \remove "Time_signature_engraver"
6502 \remove "Bar_engraver"
6503 minimumVerticalExtent = ##f
6507 \remove Ligature_bracket_engraver
6508 \consists Vaticana_ligature_engraver
6509 NoteHead \set #'style = #'vaticana_punctum
6510 Stem \set #'transparent = ##t
6516 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6517 \include "gregorian-init.ly"
6519 \notes \transpose c c' {
6520 % Torculus Deminutus Initio Debilis
6521 \[ \deminutum a \pes b \flexa \deminutum g \]
6528 \remove "Bar_number_engraver"
6532 \remove "Clef_engraver"
6533 \remove "Key_engraver"
6534 StaffSymbol \set #'transparent = ##t
6535 \remove "Time_signature_engraver"
6536 \remove "Bar_engraver"
6537 minimumVerticalExtent = ##f
6541 \remove Ligature_bracket_engraver
6542 \consists Vaticana_ligature_engraver
6543 NoteHead \set #'style = #'vaticana_punctum
6544 Stem \set #'transparent = ##t
6551 @code{12. Porrectus}
6553 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6554 \include "gregorian-init.ly"
6556 \notes \transpose c c' {
6558 \[ a \flexa g \pes b \]
6565 \remove "Bar_number_engraver"
6569 \remove "Clef_engraver"
6570 \remove "Key_engraver"
6571 StaffSymbol \set #'transparent = ##t
6572 \remove "Time_signature_engraver"
6573 \remove "Bar_engraver"
6574 minimumVerticalExtent = ##f
6578 \remove Ligature_bracket_engraver
6579 \consists Vaticana_ligature_engraver
6580 NoteHead \set #'style = #'vaticana_punctum
6581 Stem \set #'transparent = ##t
6587 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6588 \include "gregorian-init.ly"
6590 \notes \transpose c c' {
6591 % Porrectus Auctus Descendens
6592 \[ a \flexa g \pes \auctum \descendens b \]
6599 \remove "Bar_number_engraver"
6603 \remove "Clef_engraver"
6604 \remove "Key_engraver"
6605 StaffSymbol \set #'transparent = ##t
6606 \remove "Time_signature_engraver"
6607 \remove "Bar_engraver"
6608 minimumVerticalExtent = ##f
6612 \remove Ligature_bracket_engraver
6613 \consists Vaticana_ligature_engraver
6614 NoteHead \set #'style = #'vaticana_punctum
6615 Stem \set #'transparent = ##t
6621 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6622 \include "gregorian-init.ly"
6624 \notes \transpose c c' {
6625 % Porrectus Deminutus
6626 \[ a \flexa g \pes \deminutum b \]
6633 \remove "Bar_number_engraver"
6637 \remove "Clef_engraver"
6638 \remove "Key_engraver"
6639 StaffSymbol \set #'transparent = ##t
6640 \remove "Time_signature_engraver"
6641 \remove "Bar_engraver"
6642 minimumVerticalExtent = ##f
6646 \remove Ligature_bracket_engraver
6647 \consists Vaticana_ligature_engraver
6648 NoteHead \set #'style = #'vaticana_punctum
6649 Stem \set #'transparent = ##t
6658 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6659 \include "gregorian-init.ly"
6661 \notes \transpose c c' {
6663 \[ \virga b \inclinatum a \inclinatum g \]
6670 \remove "Bar_number_engraver"
6674 \remove "Clef_engraver"
6675 \remove "Key_engraver"
6676 StaffSymbol \set #'transparent = ##t
6677 \remove "Time_signature_engraver"
6678 \remove "Bar_engraver"
6679 minimumVerticalExtent = ##f
6683 \remove Ligature_bracket_engraver
6684 \consists Vaticana_ligature_engraver
6685 NoteHead \set #'style = #'vaticana_punctum
6686 Stem \set #'transparent = ##t
6692 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6693 \include "gregorian-init.ly"
6695 \notes \transpose c c' {
6697 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6704 \remove "Bar_number_engraver"
6708 \remove "Clef_engraver"
6709 \remove "Key_engraver"
6710 StaffSymbol \set #'transparent = ##t
6711 \remove "Time_signature_engraver"
6712 \remove "Bar_engraver"
6713 minimumVerticalExtent = ##f
6717 \remove Ligature_bracket_engraver
6718 \consists Vaticana_ligature_engraver
6719 NoteHead \set #'style = #'vaticana_punctum
6720 Stem \set #'transparent = ##t
6726 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6727 \include "gregorian-init.ly"
6729 \notes \transpose c c' {
6730 % Climacus Deminutus
6731 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6738 \remove "Bar_number_engraver"
6742 \remove "Clef_engraver"
6743 \remove "Key_engraver"
6744 StaffSymbol \set #'transparent = ##t
6745 \remove "Time_signature_engraver"
6746 \remove "Bar_engraver"
6747 minimumVerticalExtent = ##f
6751 \remove Ligature_bracket_engraver
6752 \consists Vaticana_ligature_engraver
6753 NoteHead \set #'style = #'vaticana_punctum
6754 Stem \set #'transparent = ##t
6761 @code{14. Scandicus}
6763 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6764 \include "gregorian-init.ly"
6766 \notes \transpose c c' {
6768 \[ g \pes a \virga b \]
6775 \remove "Bar_number_engraver"
6779 \remove "Clef_engraver"
6780 \remove "Key_engraver"
6781 StaffSymbol \set #'transparent = ##t
6782 \remove "Time_signature_engraver"
6783 \remove "Bar_engraver"
6784 minimumVerticalExtent = ##f
6788 \remove Ligature_bracket_engraver
6789 \consists Vaticana_ligature_engraver
6790 NoteHead \set #'style = #'vaticana_punctum
6791 Stem \set #'transparent = ##t
6797 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6798 \include "gregorian-init.ly"
6800 \notes \transpose c c' {
6801 % Scandicus Auctus Descendens
6802 \[ g \pes a \pes \auctum \descendens b \]
6809 \remove "Bar_number_engraver"
6813 \remove "Clef_engraver"
6814 \remove "Key_engraver"
6815 StaffSymbol \set #'transparent = ##t
6816 \remove "Time_signature_engraver"
6817 \remove "Bar_engraver"
6818 minimumVerticalExtent = ##f
6822 \remove Ligature_bracket_engraver
6823 \consists Vaticana_ligature_engraver
6824 NoteHead \set #'style = #'vaticana_punctum
6825 Stem \set #'transparent = ##t
6831 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6832 \include "gregorian-init.ly"
6834 \notes \transpose c c' {
6835 % Scandicus Deminutus
6836 \[ g \pes a \pes \deminutum b \]
6843 \remove "Bar_number_engraver"
6847 \remove "Clef_engraver"
6848 \remove "Key_engraver"
6849 StaffSymbol \set #'transparent = ##t
6850 \remove "Time_signature_engraver"
6851 \remove "Bar_engraver"
6852 minimumVerticalExtent = ##f
6856 \remove Ligature_bracket_engraver
6857 \consists Vaticana_ligature_engraver
6858 NoteHead \set #'style = #'vaticana_punctum
6859 Stem \set #'transparent = ##t
6868 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6869 \include "gregorian-init.ly"
6871 \notes \transpose c c' {
6873 \[ g \oriscus a \pes \virga b \]
6880 \remove "Bar_number_engraver"
6884 \remove "Clef_engraver"
6885 \remove "Key_engraver"
6886 StaffSymbol \set #'transparent = ##t
6887 \remove "Time_signature_engraver"
6888 \remove "Bar_engraver"
6889 minimumVerticalExtent = ##f
6893 \remove Ligature_bracket_engraver
6894 \consists Vaticana_ligature_engraver
6895 NoteHead \set #'style = #'vaticana_punctum
6896 Stem \set #'transparent = ##t
6902 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6903 \include "gregorian-init.ly"
6905 \notes \transpose c c' {
6906 % Salicus Auctus Descendens
6907 \[ g \oriscus a \pes \auctum \descendens b \]
6914 \remove "Bar_number_engraver"
6918 \remove "Clef_engraver"
6919 \remove "Key_engraver"
6920 StaffSymbol \set #'transparent = ##t
6921 \remove "Time_signature_engraver"
6922 \remove "Bar_engraver"
6923 minimumVerticalExtent = ##f
6927 \remove Ligature_bracket_engraver
6928 \consists Vaticana_ligature_engraver
6929 NoteHead \set #'style = #'vaticana_punctum
6930 Stem \set #'transparent = ##t
6940 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6941 \include "gregorian-init.ly"
6943 \notes \transpose c c' {
6945 \[ \stropha b \stropha b \stropha a \]
6952 \remove "Bar_number_engraver"
6956 \remove "Clef_engraver"
6957 \remove "Key_engraver"
6958 StaffSymbol \set #'transparent = ##t
6959 \remove "Time_signature_engraver"
6960 \remove "Bar_engraver"
6961 minimumVerticalExtent = ##f
6965 \remove Ligature_bracket_engraver
6966 \consists Vaticana_ligature_engraver
6967 NoteHead \set #'style = #'vaticana_punctum
6968 Stem \set #'transparent = ##t
6980 Unlike most other neumes notation systems, the input language for
6981 neumes does not necessarily reflect directly the typographical
6982 appearance, but is designed to solely focuse on musical meaning. For
6983 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6984 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6985 a Porrectus with a curved flexa shape and only a single Punctum head.
6986 There is no command to explicitly typeset the curved flexa shape; the
6987 decision of when to typeset a curved flexa shape is purely taken from
6988 the musical input. The idea of this approach is to separate the
6989 musical aspects of the input from the notation style of the output.
6990 This way, the same input can be reused to typeset the same music in a
6991 different style of Gregorian chant notation such as Hufnagel (also
6992 known as German gothic neumes) or Medicaea (kind of a very simple
6993 forerunner of the Editio Vaticana). As soon as Hufnagel ligature
6994 engraver and Medicaea ligature engraver will have been implemented, it
6995 will be as simple as replacing the ligature engraver in the
6996 @internalsref{Voice} context to get the desired notation style from
6999 The following table shows the code fragments that produce the
7000 ligatures in the above neumes table. The letter in the first column
7001 in each line of the below table indicates to which ligature in the
7002 above table it refers. The second column gives the name of the
7003 ligature. The third column shows the code fragment that produces this
7004 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
7006 @multitable @columnfractions .1 .4 .5
7020 Punctum Inclinatum @tab
7021 @code{\[ \inclinatum b \]}
7025 Punctum Auctum Ascendens @tab
7026 @code{\[ \auctum \ascendens b \]}
7030 Punctum Auctum Descendens @tab
7031 @code{\[ \auctum \descendens b \]}
7035 Punctum Inclinatum Auctum @tab
7036 @code{\[ \inclinatum \auctum b \]}
7040 Punctum Inclinatum Parvum @tab
7041 @code{\[ \inclinatum \deminutum b \]}
7046 @code{\[ \virga b \]}
7051 @code{\[ \stropha b \]}
7056 @code{\[ \stropha \auctum b \]}
7061 @code{\[ \oriscus b \]}
7065 Clivis vel Flexa @tab
7066 @code{\[ b \flexa g \]}
7070 Clivis Aucta Descendens @tab
7071 @code{\[ b \flexa \auctum \descendens g \]}
7075 Clivis Aucta Ascendens @tab
7076 @code{\[ b \flexa \auctum \ascendens g \]}
7081 @code{\[ b \flexa \deminutum g \]}
7085 Podatus vel Pes @tab
7086 @code{\[ g \pes b \]}
7090 Pes Auctus Descendens @tab
7091 @code{\[ g \pes \auctum \descendens b \]}
7095 Pes Auctus Ascendens @tab
7096 @code{\[ g \pes \auctum \ascendens b \]}
7101 @code{\[ g \pes \deminutum b \]}
7106 @code{\[ \oriscus g \pes \virga b \]}
7110 Pes Quassus Auctus Descendens @tab
7111 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7116 @code{\[ \quilisma g \pes b \]}
7120 Quilisma Pes Auctus Descendens @tab
7121 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7125 Pes Initio Debilis @tab
7126 @code{\[ \deminutum g \pes b \]}
7130 Pes Auctus Descendens Initio Debilis @tab
7131 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7136 @code{\[ a \pes b \flexa g \]}
7140 Torculus Auctus Descendens @tab
7141 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7145 Torculus Deminutus @tab
7146 @code{\[ a \pes b \flexa \deminutum g \]}
7150 Torculus Initio Debilis @tab
7151 @code{\[ \deminutum a \pes b \flexa g \]}
7155 Torculus Auctus Descendens Initio Debilis @tab
7156 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7160 Torculus Deminutus Initio Debilis @tab
7161 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7166 @code{\[ a \flexa g \pes b \]}
7170 Porrectus Auctus Descendens @tab
7171 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7175 Porrectus Deminutus @tab
7176 @code{\[ a \flexa g \pes \deminutum b \]}
7181 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7185 Climacus Auctus @tab
7186 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7190 Climacus Deminutus @tab
7191 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7196 @code{\[ g \pes a \virga b \]}
7200 Scandicus Auctus Descendens @tab
7201 @code{\[ g \pes a \pes \auctum \descendens b \]}
7205 Scandicus Deminutus @tab
7206 @code{\[ g \pes a \pes \deminutum b \]}
7211 @code{\[ g \oriscus a \pes \virga b \]}
7215 Salicus Auctus Descendens @tab
7216 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7221 @code{\[ \stropha b \stropha b \stropha a \]}
7227 The following head prefixes are supported:
7229 @cindex @code{\virga}
7231 @cindex @code{\stropha}
7233 @cindex @code{\inclinatum}
7235 @cindex @code{\auctum}
7237 @cindex @code{\descendens}
7239 @cindex @code{\ascendens}
7241 @cindex @code{\oriscus}
7243 @cindex @code{\quilisma}
7245 @cindex @code{\deminutum}
7248 Head prefixes can be accumulated, though restrictions apply. For
7249 example, either @code{\descendens} or @code{\ascendens} can be applied
7250 to a head, but not both to the same head.
7253 @cindex @code{\flexa}
7254 Two adjacent heads can be tied together with the @code{\pes} and
7255 @code{\flexa} infix commands for a rising and falling line of melody,
7260 Trigonus: apply equal spacing, regardless of pitch.
7263 @subsection Figured bass
7265 @cindex Basso continuo
7267 @c TODO: musicological blurb about FB
7271 LilyPond has limited support for figured bass:
7273 @lilypond[verbatim,fragment]
7275 \context Voice \notes { \clef bass dis4 c d ais}
7276 \context FiguredBass
7278 < 6 >4 < 7 >8 < 6+ [_!] >
7284 The support for figured bass consists of two parts: there is an input
7285 mode, introduced by @code{\figures}, where you can enter bass figures
7286 as numbers, and there is a context called @internalsref{FiguredBass} that
7287 takes care of making @internalsref{BassFigure} objects.
7289 In figures input mode, a group of bass figures is delimited by
7290 @code{<} and @code{>}. The duration is entered after the @code{>>}:
7295 \context FiguredBass
7299 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7306 \context FiguredBass
7307 \figures { <4- 6+ 7!> }
7310 Spaces or dashes may be inserted by using @code{_}. Brackets are
7311 introduced with @code{[} and @code{]}:
7317 \context FiguredBass
7318 \figures { < [4 6] 8 [_! 12]> }
7321 Although the support for figured bass may superficially resemble chord
7322 support, it works much simpler. The @code{\figures} mode simply
7323 stores the numbers , and @internalsref{FiguredBass} context prints
7324 them as entered. There is no conversion to pitches, and no
7325 realizations of the bass are played in the MIDI file.
7327 Internally, the code produces markup texts. You can use any of the
7328 markup text properties to override formatting. For example, the
7329 vertical spacing of the figures may be set with @code{baseline-skip}.
7333 Internals: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7334 and @internalsref{FiguredBass} context.
7338 Slash notation for alterations is not supported.
7341 @node Vaticana style contexts
7342 @subsection Vaticana style contexts
7344 @cindex VaticanaVoiceContext
7345 @cindex VaticanaStaffContext
7347 The predefined @code{VaticanaVoiceContext} and
7348 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7349 Gregorian Chant in the style of the Editio Vaticana. These contexts
7350 initialize all relevant context properties and grob properties to
7351 proper values. With these contexts, you can immediately go ahead
7352 entering the chant, as the following short excerpt demonstrates:
7354 @lilypond[raggedright,verbatim,noindent]
7355 \include "gregorian-init.ly"
7358 \context VaticanaVoice {
7359 \property Score.BarNumber \set #'transparent = ##t
7361 \[ c'( c' \flexa a \] \[ a \flexa \deminutum g) \] f \divisioMinima
7362 \[ f( \pes a c' c' \pes d') \] c' \divisioMinima \break
7363 \[ c'( c' \flexa a \] \[ a \flexa \deminutum g) \] f \divisioMinima
7366 \lyricsto "" \new LyricsVoice \lyrics {
7367 San- ctus, San- ctus, San- ctus
7373 @node Contemporary notation
7374 @section Contemporary notation
7376 In the 20th century, composers have greatly expanded the musical
7377 vocabulary. With this expansion, many innovations in musical notation
7378 have been tried. The book by Stone (1980) gives a comprehensive
7379 overview (see @ref{Literature list}). In general, the use of new,
7380 innovative notation makes a piece harder to understand and perform and
7381 its use should therefore be avoided if possible. For this reason,
7382 support for contemporary notation in LilyPond is limited.
7391 @subsection Clusters
7395 In musical terminology, a @emph{cluster} denotes a range of
7396 simultaneously sounding pitches that may change over time. The set of
7397 available pitches to apply usually depends on the accoustic source.
7398 Thus, in piano music, a cluster typically consists of a continous range
7399 of the semitones as provided by the piano's fixed set of a chromatic
7400 scale. In choral music, each singer of the choir typically may sing an
7401 arbitrary pitch within the cluster's range that is not bound to any
7402 diatonic, chromatic or other scale. In electronic music, a cluster
7403 (theoretically) may even cover a continuous range of pitches, thus
7404 resulting in coloured noise, such as pink noise.
7406 Clusters can be denoted in the context of ordinary staff notation by
7407 engraving simple geometrical shapes that replace ordinary notation of
7408 notes. Ordinary notes as musical events specify starting time and
7409 duration of pitches; however, the duration of a note is expressed by the
7410 shape of the note head rather than by the horizontal graphical extent of
7411 the note symbol. In contrast, the shape of a cluster geometrically
7412 describes the development of a range of pitches (vertical extent) over
7413 time (horizontal extent). Still, the geometrical shape of a cluster
7414 covers the area in wich any single pitch contained in the cluster would
7415 be notated as an ordinary note. From this point of view, it is
7416 reasonable to specify a cluster as the envelope of a set of notes.
7420 A cluster is engraved as the envelope of a set of
7421 cluster-notes. Cluster notes are created by applying the function
7422 @code{notes-to-clusters} to a sequence of chords, e.g.
7424 @lilypond[relative 1,verbatim]
7425 \apply #notes-to-clusters { <c e > <b f'> }
7428 The following example (from
7429 @inputfileref{input/regression,cluster.ly}) shows what the result
7432 @lilypondfile[notexidoc]{cluster.ly}
7434 By default, @internalsref{Cluster_spanner_engraver} is in the
7435 @internalsref{Voice} context. This allows putting ordinary notes and
7436 clusters together in the same staff, even simultaneously. In such a
7437 case no attempt is made to automatically avoid collisions between
7438 ordinary notes and clusters.
7442 Internals: @internalsref{ClusterSpanner},
7443 @internalsref{ClusterSpannerBeacon},
7444 @internalsref{Cluster_spanner_engraver}, and
7445 @internalsref{ClusterNoteEvent}.
7447 Examples: @inputfileref{input/regression,cluster.ly}.
7451 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7452 accurately. Use @code{<g a>8 <e a>8} instead.
7457 @subsection Fermatas
7463 Contemporary music notation frequently uses special fermata symbols to
7464 indicate fermatas of differing lengths.
7468 The following are supported
7470 @lilypond[singleline]
7472 << \addlyrics \notes {
7492 \context Lyrics \lyrics {
7493 "shortfermata" "fermata" "longfermata" "verylongfermata"
7498 See @ref{Articulations} for general instructions how to apply scripts
7499 such as fermatas to a @code{\notes@{@}} block.
7502 @node Special notation
7503 @section Special notation
7507 * Easy Notation note heads::
7511 @subsection Balloon help
7513 Elements of notation can be marked and named with the help of a square
7514 balloon. The primary purpose of this feature is to explain notation.
7516 The following example demonstrates its use.
7518 @lilypond[verbatim,fragment,singleline,relative 1]
7521 #(add-balloon-text 'NoteHead "heads, or tails?"
7527 The function @code{add-balloon-text} takes the name of a grob, the
7528 label to print and where to put the label relative to the object. In
7529 the above example, the text ``heads or tails?'' ends 3 spaces below
7533 @cindex notation, explaining
7537 Internals: @internalsref{text-balloon-interface}
7539 Examples: @inputfileref{input/regression,balloon.ly}
7541 @node Easy Notation note heads
7542 @subsection Easy Notation note heads
7544 @cindex easy notation
7547 The `easy play' note head includes a note name inside the head. It is
7548 used in music aimed at beginners:
7550 @lilypond[singleline,verbatim,26pt]
7552 \notes { c'2 e'4 f' | g'1 }
7553 \paper { \translator { \EasyNotation } }
7557 The @code{EasyNotation} variable overrides a @internalsref{Score}
7558 context. To make the letters readable, it has to be printed in a
7559 large font size. To print with a larger font, see @ref{Font Size}.
7564 If you view the result with Xdvi, then staff lines may show through
7565 the letters. Printing the PostScript file obtained does produce the
7571 @section Tuning output
7573 There are situations where default layout decisions are not
7574 sufficient. In this section we discuss ways to override these
7577 Formatting is internally done by manipulating so called objects
7578 (graphic objects). Each object carries with it a set of properties
7579 (object or layout properties) specific to that object. For example, a
7580 stem object has properties that specify its direction, length and
7583 The most direct way of tuning the output is by altering the values of
7584 these properties. There are two ways of doing that: first, you can
7585 temporarily change the definition of one type of object, thus
7586 affecting a whole set of objects. Second, you can select one specific
7587 object, and set a layout property in that object.
7589 Do not confuse layout properties with translation
7590 properties. Translation properties always use a mixed caps style
7591 naming, and are manipulated using @code{\property}:
7593 \property Context.propertyName = @var{value}
7596 Layout properties are use Scheme style variable naming, i.e. lower
7597 case words separated with dashes. They are symbols, and should always
7598 be quoted using @code{#'}. For example, this could be an imaginary
7599 layout property name:
7601 #'layout-property-name
7606 The introduction of the @ref{Technical manual} gives a more in-depth
7607 treatment of the difference between translation and layout.
7611 * Constructing a tweak::
7619 @node Tuning objects
7620 @subsection Tuning objects
7622 @cindex object description
7624 The definition of an object is a list of default object
7625 properties. For example, the definition of the Stem object (available
7626 in @file{scm/define-grobs.scm}), includes the following definitions
7627 for @internalsref{Stem}:
7631 (beamed-lengths . (3.5 3.5 3.5 4.5 5.0))
7632 (Y-extent-callback . ,Stem::height)
7637 Adding variables on top of this existing definition overrides the
7638 system default, and alters the resulting appearance of the layout
7644 Changing a variable for only one object is commonly achieved with
7648 \once \property @var{context}.@var{objectname}
7649 \override @var{symbol} = @var{value}
7651 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
7652 and @var{objectname} is a string and @var{value} is a Scheme expression.
7653 This command applies a setting only during one moment in the score.
7655 In the following example, only one @internalsref{Stem} object is
7656 changed from its original setting:
7658 @lilypond[verbatim, fragment, relative=1]
7660 \once \property Voice.Stem \set #'thickness = #4
7664 @cindex @code{\once}
7666 For changing more objects, the same command, without @code{\once} can
7669 \property @var{context}.@var{objectname} \override @var{symbol} = @var{value}
7671 This command adds @code{@var{symbol} = @var{value}} to the definition
7672 of @var{objectname} in the context @var{context}, and this definition
7673 stays in place until it is removed.
7675 An existing definition may be removed by the following command:
7678 \property @var{context}.@var{objectname} \revert @var{symbol}
7681 All @code{\override} and @code{\revert} commands should be balanced.
7682 The @code{\set} shorthand performs a revert followed by an override,
7683 and is often more convenient to use
7686 \property @var{context}.@var{objectname} \set @var{symbol} = @var{value}
7690 @lilypond[verbatim,quote]
7691 c'4 \property Voice.Stem \override #'thickness = #4.0
7693 c'4 \property Voice.Stem \revert #'thickness
7697 The following example gives exactly the same result as the previous
7698 one (assuming the system default for stem thickness is 1.3):
7700 @lilypond[verbatim,quote]
7701 c'4 \property Voice.Stem \set #'thickness = #4.0
7703 c'4 \property Voice.Stem \set #'thickness = #1.3
7707 Reverting a setting which was not set in the first place has no
7708 effect. However, if the setting was set as a system default, this may
7709 remove the default value, and this may give surprising results,
7710 including crashes. In other words, @code{\override} and
7711 @code{\revert} must be carefully balanced. The following are examples
7712 of correct nesting of @code{\override}, @code{\set}, @code{\revert}:
7716 a clumsy but correct form:
7718 \override \revert \override \revert \override \revert
7722 shorter version of the same:
7724 \override \set \set \revert
7728 a short form, using only @code{\set}. This requires you to know the
7731 \set \set \set \set @var{to default value}
7735 if there is no default (i.e. by default, the object property is unset),
7738 \set \set \set \revert
7742 The object description is an Scheme association list. Since a Scheme
7743 list is a singly linked list, we can treat it as a stack, and
7744 @code{\override} and @code{\revert} are push and pop operations. The
7745 association list is stored in a normal context property, hence
7747 \property Voice.NoteHead = #'()
7749 will effectively erase @internalsref{NoteHead}s from the current
7750 @internalsref{Voice}. Typically, this will blank the object. However,
7751 this mechanism should not be used: it may cause crashes or other
7756 Internals: @internalsref{OverrideProperty}, @internalsref{RevertProperty},
7757 @internalsref{PropertySet}, @internalsref{All-backend-properties}, and
7758 @internalsref{All-layout-objects}.
7763 The backend is not very strict in type-checking object properties.
7764 Cyclic references in Scheme values for properties cause hangs and/or
7765 crashes. Reverting properties that are system defaults may also lead
7768 A property tweak of modifies a local copy of the object definition.
7769 After such a tweak, the definition is independent of the objects in
7770 enclosing contexts. For example
7772 @lilypond[verbatim,fragment]
7773 \property Voice.Stem \set #'direction = #1
7775 \property Staff.Stem \set #'thickness = #4.0
7780 In this fragment, @code{direction} is tweaked. As a result, the
7781 current @internalsref{Voice} gets a private version of the
7782 @internalsref{Stem} object. The following tweak modifies the
7783 definition at @internalsref{Staff} level. Since it a different
7784 definition, the thickness of the first @code{b'16} is unaffected. For
7785 the third note, a new Voice is created, which inherits the new
7786 definition, including the changed thickness, but excluding the new
7792 * Constructing a tweak::
7798 @node Constructing a tweak
7799 @subsection Constructing a tweak
7802 @cindex internal documentation
7803 @cindex finding graphical objects
7804 @cindex graphical object descriptions
7806 @cindex @code{\override}
7808 @cindex internal documentation
7812 Three pieces of information are required to use @code{\override} and
7813 @code{\set}: the name of the layout object, the context and the name
7814 of the property. We demonstrate how to glean this information from
7815 the notation manual and the generated documentation.
7817 The generated documentation is a set of HTML pages which should be
7818 included if you installed a binary distribution, typically in
7819 @file{/usr/share/doc/lilypond}. They are also available on the web:
7820 go to the @uref{http://lilypond.org,LilyPond website}, click
7821 ``Documentation'', select the correct version, and click then
7822 ``Program reference.'' It is advisable to bookmark the local HTML
7823 files. They will load faster than the ones on the web. If you use the
7824 version from the web, you must check whether the documentation matches
7825 the program version: it is generated from the definitions that the
7826 program uses, and therefore it is strongly tied to the LilyPond
7830 @c [TODO: revise for new site.]
7832 Suppose we want to move the fingering indication in the fragment below:
7834 @lilypond[relative=2,verbatim]
7840 If you visit the documentation of @code{Fingering} (in @ref{Fingering
7841 instructions}), you will notice that there is written:
7846 Internals: @internalsref{FingerEvent} and @internalsref{Fingering}.
7853 In other words, the fingerings once entered, are internally stored as
7854 @code{FingerEvent} music objects. When printed, a @code{Fingering}
7855 layout object is created for every @code{FingerEvent}.
7857 The Fingering object has a number of different functions, and each of
7858 those is captured in an interface. The interfaces are listed under
7859 @internalsref{Fingering} in the program reference.
7863 The @code{Fingering} object has a fixed size
7864 (@internalsref{item-interface}), the symbol is a piece of text
7865 (@internalsref{text-interface}), whose font can be set
7866 (@internalsref{font-interface}). It is centered horizontally
7867 (@internalsref{self-alignment-interface}), it is placed next to other
7868 objects (@internalsref{side-position-interface}) vertically, and its
7869 placement is coordinated with other scripts
7870 (@internalsref{text-script-interface}). It also has the standard
7871 @internalsref{grob-interface} (grob stands for Graphical object)
7873 @cindex graphical object
7874 @cindex layout object
7875 @cindex object, layout
7876 with all the variables that come with
7877 it. Finally, it denotes a fingering instruction, so it has
7878 @internalsref{finger-interface}.
7880 For the vertical placement, we have to look under
7881 @code{side-position-interface}:
7883 @code{side-position-interface}
7885 Position a victim object (this one) next to other objects (the
7886 support). In this case, the property @code{direction} signifies where to put the
7887 victim object relative to the support (left or right, up or down?)
7892 below this description, the variable @code{padding} is described as
7896 (dimension, in staff space)
7898 add this much extra space between objects that are next to each
7899 other. Default value: @code{0.6}
7903 By increasing the value of @code{padding}, we can move away the
7904 fingering. The following command inserts 3 staff spaces of white
7905 between the note and the fingering:
7907 \once \property Voice.Fingering \set #'padding = #3
7910 Inserting this command before the Fingering object is created,
7911 i.e. before @code{c2}, yields the following result:
7913 @lilypond[relative=2,fragment,verbatim]
7914 \once \property Voice.Fingering
7921 The context name @code{Voice} in the example above can be determined
7922 as follows. In the documentation for @internalsref{Fingering}, it says
7924 Fingering grobs are created by: @internalsref{Fingering_engraver}
7927 Clicking @code{Fingering_engraver} shows the documentation of
7928 the module responsible for interpreting the fingering instructions and
7929 translating them to a @code{Fingering} object. Such a module is called
7930 an @emph{engraver}. The documentation of the @code{Fingering_engraver}
7933 Fingering_engraver is part of contexts: Voice
7935 so tuning the settings for Fingering should be done with
7937 \property Voice.Fingering \set @dots{}
7940 Of course, the tweak may also done in a larger context than
7941 @code{Voice}, for example, @internalsref{Staff} or
7942 @internalsref{Score}.
7946 Internals: the program reference also contains alphabetical lists of
7947 @internalsref{Contexts}, @internalsref{All-layout-objects} and
7948 @internalsref{Music-expressions}, so you can also find which objects
7949 to tweak by browsing the internals document.
7953 @subsection Applyoutput
7955 The most versatile way of tuning an object is @code{\applyoutput}. Its
7958 \applyoutput @var{proc}
7962 where @var{proc} is a Scheme function, taking three arguments.
7964 When interpreted, the function @var{proc} is called for every layout
7965 object found in the context, with the following arguments:
7967 @item the layout object itself,
7968 @item the context where the layout object was created, and
7969 @item the context where @code{\applyoutput} is processed.
7973 In addition, the cause of the layout object, i.e. the music
7974 expression or object that was responsible for creating it, is in the
7975 object property @code{cause}. For example, for a note head, this is a
7976 @internalsref{NoteHead} event, and for a @internalsref{Stem} object,
7977 this is a @internalsref{NoteHead} object.
7979 Here is a simple example of @code{\applyoutput}; it blanks note-heads on the
7982 (define (blanker grob grob-origin context)
7983 (if (and (memq (ly:get-grob-property grob 'interfaces)
7984 note-head-interface)
7985 (eq? (ly:get-grob-property grob 'staff-position) 0))
7987 (ly:set-grob-property! grob 'transparent #t)))
7992 @node Font selection
7993 @subsection Font selection
7995 The most common thing to change about the appearance of fonts is their
7996 size. The font size of any context can be easily changed by setting
7997 the @code{fontSize} property for that context. Its value is a number:
7998 negative numbers make the font smaller, positive numbers larger. An
7999 example is given below:
8001 @lilypond[fragment,relative=1,verbatim,quote]
8002 c4 c4 \property Voice.fontSize = #-1
8005 This command will set @code{font-size} (see below), and does
8006 not change the size of variable symbols, such as beams or slurs.
8008 One of the uses of @code{fontSize} is to get smaller symbols for cue
8009 notes. An elaborate example of those is in
8010 @inputfileref{input/test,cue-notes.ly}.
8012 @cindex magnification
8015 The font used for printing a object can be selected by setting
8016 @code{font-name}, e.g.
8018 \property Staff.TimeSignature
8019 \set #'font-name = #"cmr17"
8023 Any font can be used, as long as it is available to @TeX{}. Possible
8024 fonts include foreign fonts or fonts that do not belong to the
8025 Computer Modern font family. The size of fonts selected in this way
8026 can be changed with the @code{font-magnification} property. For
8027 example, @code{2.0} blows up all letters by a factor 2 in both
8031 @cindex font magnification
8033 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
8034 can also be adjusted with a more fine-grained mechanism. By setting
8035 the object properties described below, you can select a different font;
8036 all three mechanisms work for every object that supports
8037 @code{font-interface}:
8042 is a symbol indicating the general class of the typeface. Supported are
8043 @code{roman} (Computer Modern), @code{braces} (for piano staff
8044 braces), @code{music} (the standard music font, including ancient
8045 glyphs), @code{dynamic} (for dynamic signs) and @code{typewriter}.
8048 is a symbol indicating the shape of the font, there are typically several
8049 font shapes available for each font family. Choices are @code{italic},
8050 @code{caps} and @code{upright}.
8053 is a symbol indicating the series of the font. There are typically several
8054 font series for each font family and shape. Choices are @code{medium}
8059 For any of these properties, the value @code{*} (i.e. the symbol
8060 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
8061 to override default setting, which are always present. For example:
8063 \property Lyrics . LyricText \override #'font-series = #'bold
8064 \property Lyrics . LyricText \override #'font-family = #'typewriter
8065 \property Lyrics . LyricText \override #'font-shape = #'*
8068 @cindex @code{font-style}
8070 The font size is set by modifying the @code{font-size} property. Its
8071 value is a number indicating the size relative to the standard size.
8072 Each step up is an increase of approximately 12% of the font size. Six
8073 steps is exactly a factor two. The Scheme function @code{magstep}
8074 converts a @code{font-size} number to a scaling factor.
8076 LilyPond has fonts in different design sizes: the music fonts for
8077 smaller sizes are chubbier, while the text fonts are relatively wider.
8078 Font size changes are achieved by scaling the design size that is
8079 closest to the desired size.
8081 The @code{font-size} mechanism does not work for fonts selected
8082 through @code{font-name}. These may be scaled with
8083 @code{font-magnification}.
8087 The following commands set @code{fontSize} for the current voice.
8089 @cindex @code{\tiny}
8091 @cindex @code{\small}
8093 @cindex @code{\normalsize}
8098 Init files: @file{ly/declarations-init.ly} contains hints how new
8099 fonts may be added to LilyPond.
8103 There is no style sheet provided for other fonts besides the @TeX{}
8104 Computer Modern family.
8106 @cindex font selection
8107 @cindex font magnification
8108 @cindex @code{font-interface}
8112 @subsection Text markup
8117 @cindex typeset text
8119 LilyPond has an internal mechanism to typeset texts. You can access it
8120 with the keyword @code{\markup}. Within markup mode, you can enter texts
8121 similar to lyrics: simply enter them, surrounded by spaces:
8124 @lilypond[verbatim,fragment,relative=1]
8125 c1^\markup { hello }
8126 c1_\markup { hi there }
8127 c1^\markup { hi \bold there, is \italic anyone home? }
8130 @cindex font switching
8132 The markup in the example demonstrates font switching commands. The
8133 command @code{\bold} and @code{\italic} only apply to the first
8134 following word; enclose a set of texts with braces to apply a command
8137 \markup @{ \bold @{ hi there @} @}
8141 For clarity, you can also do this for single arguments, e.g.
8143 \markup @{ is \italic @{ anyone @} home @}
8146 @cindex font size, texts
8148 The following size commands set absolute sizes:
8150 @cindex @code{\teeny}
8151 @cindex @code{\tiny}
8152 @cindex @code{\small}
8153 @cindex @code{\large}
8154 @cindex @code{\huge}
8164 You can also make letter larger or smaller relative to their neighbors,
8165 with the commands @code{\larger} and @code{\smaller}.
8169 @cindex font style, for texts
8170 @cindex @code{\bold}
8171 @cindex @code{\dynamic}
8172 @cindex @code{\number}
8173 @cindex @code{\italic}
8175 The following font change commands are defined:
8178 changes to the font used in dynamic signs. This font does not
8179 contain all characters of the alphabet, so when producing ``piu f'',
8180 the ``piu'' should be done in a different font.
8184 changes to the font used in time signatures. It only contains
8185 numbers and a few punctuation marks.
8187 changes @code{font-shape} to @code{italic}.
8189 changes @code{font-series} to @code{bold}.
8192 @cindex raising text
8193 @cindex lowering text
8195 @cindex translating text
8198 @cindex @code{\super}
8200 Raising and lowering texts can be done with @code{\super} and
8203 @lilypond[verbatim,fragment,relative=1]
8204 c1^\markup { E "=" mc \super "2" }
8207 @cindex @code{\raise}
8209 If you want to give an explicit amount for lowering or raising, use
8210 @code{\raise}. This command takes a Scheme valued first argument, and
8211 a markup object as second argument:
8213 @lilypond[verbatim,fragment,relative=1,quote]
8214 c1^\markup { C \small \raise #1.0 \bold { "9/7+" }}
8216 The argument to @code{\raise} is the vertical displacement amount,
8217 measured in (global) staff spaces. @code{\raise} and @code{\super}
8218 raise objects in relation to their surrounding markups. They cannot be
8219 used to move a single text up or down, when it is above or below a
8220 note, since the mechanism that positions it next to the note cancels
8221 any vertical shift. For vertical positioning, use the @code{padding}
8222 and/or @code{extra-offset} properties.
8224 Other commands taking single arguments include
8227 @item \bracket, \hbracket
8228 Bracket the argument markup with normal and horizontal brackets
8232 @cindex @code{\musicglyph}
8233 This is converted to a musical symbol, e.g. @code{\musicglyph
8234 #"accidentals-0"} will select the natural sign from the music font.
8235 See @ref{The Feta font} for a complete listing of the possible glyphs.
8238 This produces a single character, e.g. @code{\char #65} produces the
8241 @item \note @var{duration} @var{dir}
8242 @cindex @code{\note}
8244 This produces a note with a stem pointing in @var{dir} direction, with
8245 the @var{duration} for the note head type and augmentation dots. For
8246 example, @code{\note #"4." #-0.75} creates a dotted quarter note, with
8247 a shortened down stem.
8249 @item \hspace #@var{amount}
8250 @cindex @code{\hspace}
8251 This produces a invisible object taking horizontal space.
8253 \markup @{ A \hspace #2.0 B @}
8255 will put extra space between A and B, on top of the space that is
8256 normally inserted before elements on a line.
8258 @item \fontsize #@var{size}
8259 @cindex @code{\fontsize}
8260 This sets the relative font size, eg.
8262 A \fontsize #2 @{ B C @} D
8266 This will enlarge the B and the C by two steps.
8267 @item \translate #(cons @var{x} @var{y})
8269 This translates an object. Its first argument is a cons of numbers
8271 A \translate #(cons 2 -3) @{ B C @} D
8273 This moves `B C' 2 spaces to the right, and 3 down, relative to its
8274 surroundings. This command cannot be used to move isolated scripts
8275 vertically, for the same reason that @code{\raise} cannot be used for
8278 @item \magnify #@var{mag}
8279 @cindex @code{\magnify}
8280 This sets the font magnification for the its argument. In the following
8281 example, the middle A will be 10% larger:
8283 A \magnify #1.1 @{ A @} A
8287 @item \override #(@var{key} . @var{value})
8288 @cindex @code{\override}
8289 This overrides a formatting property for its argument. The argument
8290 should be a key/value pair, e.g.
8292 m \override #'(font-family . math) m m
8296 In markup mode you can compose expressions, similar to mathematical
8297 expressions, XML documents and music expressions. The braces group
8298 notes into horizontal lines. Other types of lists also exist: you can
8299 stack expressions grouped with @code{<}, and @code{>} vertically with
8300 the command @code{\column}. Similarly, @code{\center} aligns texts by
8303 @lilypond[verbatim,fragment,relative=1]
8304 c1^\markup { \column < a bbbb c > }
8305 c1^\markup { \center < a bbbb c > }
8306 c1^\markup { \line < a b c > }
8310 Markups can be stored in variables, and these variables
8311 may be attached to notes, like
8313 allegro = \markup { \bold \large { Allegro } }
8314 \notes { a^\allegro b c d }
8317 The markup mechanism is extensible. Refer to
8318 @file{scm/new-markup.scm} for more information.
8321 Some objects have alignment procedures of their own, which cancel out
8322 any effects of alignments applied to their markup arguments as a
8323 whole. For example, the @internalsref{RehearsalMark} is horizontally
8324 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
8325 effect. Similarly, whole texts over notes cannot be moved vertically
8326 with @code{\raise}. For moving and aligning complete objects, grob
8327 properties should be used.
8331 Internals: @internalsref{Markup-functions} contains a complete list of
8332 all markup commands.
8334 Init files: @file{scm/new-markup.scm}.
8341 Text layout is ultimately done by @TeX{}, which does kerning of
8342 letters. LilyPond does not account for kerning, so texts will be
8343 spaced slightly too wide.
8345 Syntax errors for markup mode are confusing.
8347 Markup texts cannot be used in the titling of the @code{\header}
8348 field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
8357 @section Global layout
8359 The global layout determined by three factors: the page layout, the
8360 line breaks and the spacing. These all influence each other. The
8361 choice of spacing determines how densely each system of music is set,
8362 which influences where line breaks breaks are chosen, and thus
8363 ultimately how many pages a piece of music takes. This section
8364 explains how to tune the algorithm for spacing.
8366 Globally spoken, this procedure happens in three steps: first,
8367 flexible distances (``springs'') are chosen, based on durations. All
8368 possible line breaking combination are tried, and the one with the
8369 best results---a layout that has uniform density and requires as
8370 little stretching or cramping as possible---is chosen. When the score
8371 is processed by @TeX{}, each page is filled with systems, and page breaks
8372 are chosen whenever the page gets full.
8377 * Vertical spacing::
8378 * Horizontal spacing::
8385 @node Vertical spacing
8386 @subsection Vertical spacing
8388 @cindex vertical spacing
8389 @cindex distance between staves
8390 @cindex staff distance
8391 @cindex between staves, distance
8392 @cindex staffs per page
8393 @cindex space between staves
8395 The height of each system is determined automatically by LilyPond, to
8396 keep systems from bumping into each other, some minimum distances are
8397 set. By changing these, you can put staves closer together, and thus
8398 put more systems onto one page.
8400 Normally staves are stacked vertically. To make
8401 staves maintain a distance, their vertical size is padded. This is
8402 done with the property @code{minimumVerticalExtent}. It takes a pair
8403 of numbers, so if you want to make it smaller from its, then you could
8406 \property Staff.minimumVerticalExtent = #'(-4 . 4)
8408 This sets the vertical size of the current staff to 4 staff spaces on
8409 either side of the center staff line. The argument of
8410 @code{minimumVerticalExtent} is interpreted as an interval, where the
8411 center line is the 0, so the first number is generally negative. The
8412 staff can be made larger at the bottom by setting it to @code{(-6
8415 The piano staves are handled a little differently: to make cross-staff
8416 beaming work correctly, it is necessary that the distance between staves
8417 is fixed beforehand. This is also done with a
8418 @internalsref{VerticalAlignment} object, created in
8419 @internalsref{PianoStaff}. In this object the distance between the
8420 staves is fixed by setting @code{forced-distance}. If you want to
8421 override this, use a @code{\translator} block as follows:
8425 VerticalAlignment \override #'forced-distance = #9
8428 This would bring the staves together at a distance of 9 staff spaces,
8429 measured from the center line of each staff.
8433 Internals: Vertical alignment of staves is handled by the
8434 @internalsref{VerticalAlignment} object.
8438 @node Horizontal spacing
8439 @subsection Horizontal Spacing
8441 The spacing engine translates differences in durations into
8442 stretchable distances (``springs'') of differing lengths. Longer
8443 durations get more space, shorter durations get less. The shortest
8444 durations get a fixed amount of space (which is controlled by
8445 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
8446 /The longer the duration, the more space it gets: doubling a
8447 duration adds a fixed amount (this amount is controlled by
8448 @code{spacing-increment}) of space to the note.
8450 For example, the following piece contains lots of half, quarter and
8451 8th notes, the eighth note is followed by 1 note head width (NHW).
8452 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
8453 @lilypond[fragment, verbatim, relative=1] c2 c4. c8 c4. c8 c4. c8 c8
8457 Normally, @code{shortest-duration-space} is set to 1.2, which is the
8458 width of a note head, and @code{shortest-duration-space} is set to
8459 2.0, meaning that the shortest note gets 2 NHW (2 times
8460 @code{shortest-duration-space}) of space. For normal notes, this space
8461 is always counted from the left edge of the symbol, so the shortest
8462 notes are generally followed by one NHW of space.
8464 If one would follow the above procedure exactly, then adding a single
8465 32th note to a score that uses 8th and 16th notes, would widen up the
8466 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
8467 thus adding 1 NHW to every note. To prevent this, the
8468 shortest duration for spacing is not the shortest note in the score,
8469 but the most commonly found shortest note. Notes that are even
8470 shorter this are followed by a space that is proportional to their
8471 duration relative to the common shortest note. So if we were to add
8472 only a few 16th notes to the example above, they would be followed by
8475 @lilypond[fragment, verbatim, relative=2]
8476 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
8479 The most common shortest duration is determined as follows: in every
8480 measure, the shortest duration is determined. The most common short
8481 duration, is taken as the basis for the spacing, with the stipulation
8482 that this shortest duration should always be equal to or shorter than
8483 1/8th note. The shortest duration is printed when you run lilypond
8484 with @code{--verbose}. These durations may also be customized. If you
8485 set the @code{common-shortest-duration} in
8486 @internalsref{SpacingSpanner}, then this sets the base duration for
8487 spacing. The maximum duration for this base (normally 1/8th), is set
8488 through @code{base-shortest-duration}.
8490 @cindex @code{common-shortest-duration}
8491 @cindex @code{base-shortest-duration}
8492 @cindex @code{stem-spacing-correction}
8493 @cindex @code{spacing}
8495 In the introduction it was explained that stem directions influence
8496 spacing. This is controlled with @code{stem-spacing-correction}
8497 property in @internalsref{NoteSpacing}, which are generated for every
8498 @internalsref{Voice} context. The @code{StaffSpacing} object
8499 (generated at @internalsref{Staff} context) contains the same property
8500 for controlling the stem/barline spacing. The following example
8501 shows these corrections, once with default settings, and once with
8502 exaggerated corrections:
8508 \property Staff.NoteSpacing \override #'stem-spacing-correction
8510 \property Staff.StaffSpacing \override #'stem-spacing-correction
8515 \paper { raggedright = ##t } }
8518 @cindex SpacingSpanner, overriding properties
8520 Properties of the @internalsref{SpacingSpanner} must be overridden
8521 from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
8522 created before any @code{\property} statements are interpreted.
8524 \paper @{ \translator @{
8526 SpacingSpanner \override #'spacing-increment = #3.0
8533 Internals: @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
8534 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
8535 @internalsref{SeparatingGroupSpanner}.
8539 Spacing is determined on a score wide basis. If you have a score that
8540 changes its character (measured in durations) halfway during the
8541 score, the part containing the longer durations will be spaced too
8544 There is no convenient mechanism to manually override spacing.
8549 @subsection Font size
8550 @cindex font size, setting
8551 @cindex staff size, setting
8552 @cindex @code{paper} file
8554 The Feta font provides musical symbols at eight seven different
8555 sizes. Each font is tuned for a different staff size: at smaller sizes
8556 the font gets heavier, to match the relatively heavier staff lines.
8557 The recommended font sizes are listed in the following table:
8559 @multitable @columnfractions .25 .25 .25 .25
8562 @tab @b{staff height (pt)}
8563 @tab @b{staff height (mm)}
8605 @c modern rental material ?
8609 These fonts are available in any sizes. The context property
8610 @code{fontSize} and the layout property @code{staff-space} (in
8611 @internalsref{StaffSymbol}) can be used to tune size for individual
8612 staffs. The size of individual staffs are relative to the global size,
8613 which can be set in the following manner:
8616 #(set-global-staff-size 14)
8619 This sets the global default size to 14pt staff height, and scales all
8625 @subsection Line breaking
8628 @cindex breaking lines
8630 Line breaks are normally computed automatically. They are chosen such
8631 that lines look neither cramped nor loose, and that consecutive lines
8632 have similar density.
8634 Occasionally you might want to override the automatic breaks; you can
8635 do this by specifying @code{\break}. This will force a line break at
8636 this point. Line breaks can only occur at places where there are bar
8637 lines. If you want to have a line break where there is no bar line,
8638 you can force an invisible bar line by entering @code{\bar
8639 ""}. Similarly, @code{\noBreak} forbids a line break at a
8643 @cindex regular line breaks
8644 @cindex four bar music.
8646 For linebreaks at regular intervals use @code{\break} separated by
8647 skips and repeated with @code{\repeat}:
8649 << \repeat unfold 7 @{
8650 s1 \noBreak s1 \noBreak
8651 s1 \noBreak s1 \break @}
8652 @emph{the real music}
8657 This makes the following 28 measures (assuming 4/4 time) be broken every
8658 4 measures, and only there.
8662 @code{\break}, @code{\noBreak}
8663 @cindex @code{\break}
8664 @cindex @code{\noBreak}
8668 Internals: @internalsref{BreakEvent}.
8672 @subsection Page layout
8675 @cindex breaking pages
8677 @cindex @code{indent}
8678 @cindex @code{linewidth}
8680 The most basic settings influencing the spacing are @code{indent} and
8681 @code{linewidth}. They are set in the @code{\paper} block. They
8682 control the indentation of the first line of music, and the lengths of
8685 If @code{raggedright} is set to true in the @code{\paper}
8686 block, then the lines are justified at their natural length. This
8687 useful for short fragments, and for checking how tight the natural
8691 @cindex vertical spacing
8693 The page layout process happens outside the LilyPond formatting
8694 engine: variables controlling page layout are passed to the output,
8695 and are further interpreted by @code{lilypond} wrapper program. It
8696 responds to the following variables in the @code{\paper} block. The
8697 variable @code{textheight} sets the total height of the music on each
8698 page. The spacing between systems is controlled with
8699 @code{interscoreline}, its default is 16pt. The distance between the
8700 score lines will stretch in order to fill the full page
8701 @code{interscorelinefill} is set to a positive number. In that case
8702 @code{interscoreline} specifies the minimum spacing.
8704 @cindex @code{textheight}
8705 @cindex @code{interscoreline}
8706 @cindex @code{interscorelinefill}
8708 If the variable @code{lastpagefill} is defined,
8709 @c fixme: this should only be done if lastpagefill == #t
8710 systems are evenly distributed vertically on the last page. This
8711 might produce ugly results in case there are not enough systems on the
8712 last page. The @command{lilypond-book} command ignores
8713 @code{lastpagefill}. See @ref{lilypond-book manual} for more
8716 @cindex @code{lastpagefill}
8718 Page breaks are normally computed by @TeX{}, so they are not under
8719 direct control of LilyPond. However, you can insert a commands into
8720 the @file{.tex} output to instruct @TeX{} where to break pages. This
8721 is done by setting the @code{between-systems-strings} on the
8722 @internalsref{NonMusicalPaperColumn} where the system is broken.
8723 An example is shown in @inputfileref{input/regression,between-systems.ly}.
8724 The predefined command @code{\newpage} also does this.
8728 @cindex @code{papersize}
8730 To change the paper size, use the following Scheme code:
8733 #(set-paper-size "a4")
8740 @cindex @code{\newpage}
8746 In this manual @ref{Invoking lilypond}
8748 Examples: @inputfileref{input/regression,between-systems.ly}
8750 Internals: @internalsref{NonMusicalPaperColumn}.
8754 LilyPond has no concept of page layout, which makes it difficult to
8755 reliably choose page breaks in longer pieces.
8764 Entered music can also be converted to MIDI output. The performance
8765 is good enough for proof-hearing the music for errors.
8767 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
8768 crescendi and decrescendi translate into MIDI volume levels. Dynamic
8769 marks translate to a fixed fraction of the available MIDI volume
8770 range, crescendi and decrescendi make the volume vary linearly between
8771 their two extremities. The fractions can be adjusted by
8772 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
8773 For each type of MIDI instrument, a volume range can be defined. This
8774 gives a basic equalizer control, which can enhance the quality of
8775 the MIDI output remarkably. The equalizer can be controlled by
8776 setting @code{instrumentEqualizer}.
8780 Many musically interesting effects, such as swing, articulation,
8781 slurring, etc., are not translated to MIDI.
8786 * MIDI instrument names::
8791 @subsection MIDI block
8795 The MIDI block is analogous to the paper block, but it is somewhat
8796 simpler. The @code{\midi} block can contain:
8800 @item a @code{\tempo} definition, and
8801 @item context definitions.
8804 Assignments in the @code{\midi} block are not allowed.
8806 A number followed by a period is interpreted as a real number, so
8807 for setting the tempo for dotted notes, an extra space should be
8808 inserted, for example:
8811 \midi @{ \tempo 4 . = 120 @}
8815 @cindex context definition
8817 Context definitions follow precisely the same syntax as within the
8818 \paper block. Translation modules for sound are called performers.
8819 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
8822 @node MIDI instrument names
8823 @subsection MIDI instrument names
8825 @cindex instrument names
8826 @cindex @code{Staff.midiInstrument}
8828 The MIDI instrument name is set by the @code{Staff.midiInstrument}
8829 property. The instrument name should be chosen from the list in
8830 @ref{MIDI instruments}.
8834 If the selected string does not exactly match, then the default is
8835 used, which is the Grand Piano.