2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automagically fill in these menus before saving changes
8 @c FIXME: singular vs. plural: Beams/Beam
12 @chapter Notation manual
14 This chapter describes all the different types of notation supported
15 by LilyPond. It is intended as a reference for users that are already
16 somewhat familiar with using LilyPond.
20 * Easier music entry::
34 * Contemporary notation::
42 @c FIXME: Note entry vs Music entry at top level menu is confusing.
48 The basic elements of any piece of music are the notes. This section
49 is about basic notation elements notes, rests and related constructs,
50 such as stems, tuplets and ties.
55 * Chromatic alterations::
70 A note is printed by specifying its pitch and then its duration:
71 @footnote{Notes constitute the most basic elements of LilyPond input,
72 but they do not form valid input on their own without a @code{\score}
73 block. However, for the sake of brevity and simplicity we will
74 generally omit @code{\score} blocks and @code{\paper} declarations in
77 @lilypond[fragment,verbatim]
86 @cindex Note specification
88 @cindex entering notes
90 The most common syntax for pitch entry is used in @code{\chords} and
91 @code{\notes} mode. In Note and Chord mode, pitches may be designated
92 by names. The notes are specified by the letters @code{a} through
93 @code{g}, while the octave is formed with notes ranging from @code{c}
94 to @code{b}. The pitch @code{c} is an octave below middle C and the
95 letters span the octave above that C:
97 @lilypond[fragment,verbatim]
99 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
102 @cindex note names, Dutch
104 A sharp is formed by adding @code{-is} to the end of a pitch name and
105 a flat is formed by adding @code{-es}. Double sharps and double flats
106 are obtained by adding @code{-isis} or @code{-eses}. These
107 names are the Dutch note names. In Dutch, @code{aes} is contracted to
108 @code{as}, but both forms are accepted. Similarly, both
109 @code{es} and @code{ees} are accepted.
111 Half-flats and half-sharps are formed by adding @code{-eh} and
112 @code{-ih}; the following is a series of Cs with increasing pitches:
114 @cindex quarter tones
115 @cindex semi-flats, semi-sharps
117 @lilypond[verbatim,relative=2]
129 There are predefined sets of note names for various other languages.
130 To use them, include the language specific init file. For
131 example: @code{\include "english.ly"}. The available language files
132 and the note names they define are:
137 Note Names sharp flat
138 nederlands.ly c d e f g a bes b -is -es
139 english.ly c d e f g a bf b -s/-sharp -f/-flat
141 deutsch.ly c d e f g a b h -is -es
142 norsk.ly c d e f g a b h -iss/-is -ess/-es
143 svenska.ly c d e f g a b h -iss -ess
144 italiano.ly do re mi fa sol la sib si -d -b
145 catalan.ly do re mi fa sol la sib si -d/-s -b
146 espanol.ly do re mi fa sol la sib si -s -b
155 The optional octave specification takes the form of a series of
156 single quote (`@code{'}') characters or a series of comma
157 (`@code{,}') characters. Each @code{'} raises the pitch by one
158 octave; each @code{,} lowers the pitch by an octave:
160 @lilypond[fragment,verbatim,center]
161 c' c'' es' g' as' gisis' ais'
167 Notes can be hidden and unhidden with the following commands:
169 @cindex @code{\hideNotes}
171 @cindex @code{\unHideNotes}
177 Internals: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
179 @node Chromatic alterations
180 @subsection Chromatic alterations
182 Normally accidentals are printed automatically, but you may also
183 print them manually. A reminder accidental
184 @cindex reminder accidental
186 can be forced by adding an exclamation mark @code{!}
187 after the pitch. A cautionary accidental
188 @cindex cautionary accidental
189 @cindex parenthesized accidental
190 (i.e. an accidental within parentheses) can be obtained by adding the
191 question mark `@code{?}' after the pitch:
193 @lilypond[fragment,verbatim]
194 cis' cis' cis'! cis'?
198 The automatic production of accidentals can be tuned in many
199 ways. For more information, refer to @ref{Accidentals}.
204 A chord is formed by a enclosing a set of pitches in @code{<} and
205 @code{>}. A chord may be followed by a duration, and a set of
206 articulations, just like simple notes.
216 Rests are entered like notes, with the note name @code{r}:
218 @lilypond[raggedright,verbatim]
222 Whole bar rests, centered in middle of the bar,
223 must be done with multi measure rests. They are discussed in
224 @ref{Multi measure rests}.
227 A rest's vertical position may be explicitly specified by entering a
228 note with the @code{\rest} keyword appended. This makes manual
229 formatting in polyphonic music easier. Rest collision testing will
230 leave these rests alone:
232 @lilypond[raggedright,verbatim]
238 Internals: @internalsref{RestEvent}, and @internalsref{Rest}.
245 @cindex Invisible rest
248 An invisible rest (also called a `skip') can be entered like a note
249 with note name `@code{s}' or with @code{\skip @var{duration}}:
251 @lilypond[raggedright,verbatim]
255 The @code{s} syntax is only available in note mode and chord mode. In
256 other situations, you should use the @code{\skip} command:
258 @lilypond[raggedright,verbatim]
261 { \time 4/8 \skip 2 \time 4/4 }
262 \notes\relative c'' { a2 a1 }
267 The skip command is merely an empty musical placeholder. It does not
268 produce any output, not even transparent output.
270 The @code{s} skip command does create @internalsref{Staff} and
271 @internalsref{Voice} when necessary, similar to note and rest
272 commands. For example, the following results in an empty staff.
274 @lilypond[raggedright,verbatim]
275 \score { \notes { s4 } }
278 The same fragment using @code{\skip} results in an empty page.
282 Internals: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
287 @subsection Durations
293 In Note, Chord, and Lyrics mode, durations are designated by numbers
294 and dots: durations are entered as their reciprocal values. For example,
295 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
296 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
297 longer than a whole you must use variables:
301 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
303 r1 r2 r4 r8 r16 r32 r64 r64
308 \notes \relative c'' {
310 a1 a2 a4 a8 a16 a32 a64 a64
312 r1 r2 r4 r8 r16 r32 r64 r64
317 \remove "Clef_engraver"
318 \override StaffSymbol #'transparent = ##t
319 \override TimeSignature #'transparent = ##t
320 \consists "Pitch_squash_engraver"
327 If the duration is omitted then it is set to the previously entered
328 duration. The default for the first note is a quarter note. The duration
329 can be followed by dots (`@code{.}') in order to obtain dotted note
333 @lilypond[fragment,verbatim,center]
334 a' b' c''8 b' a'4 a'4. b'4.. c'8.
339 You can alter the length of duration by a fraction @var{N/M}
340 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
341 will not affect the appearance of the notes or rests produced.
342 In the following example, the first three notes take up exactly two
344 @lilypond[fragment,relative=2,verbatim]
346 a4*2/3 gis4*2/3 a4*2/3
353 Dots are normally moved up to avoid staff lines, except in polyphonic
354 situations. The following commands may be used to force a particular
357 @cindex @code{\dotsUp}
359 @cindex @code{\dotsDown}
361 @cindex @code{\dotsBoth}
366 Internals: @internalsref{Dots}, and @internalsref{DotColumn}.
371 Whenever a note is found, a @internalsref{Stem} object is created
372 automatically. For whole notes and rests, they are also created but
377 @cindex @code{\stemUp}
379 @cindex @code{\stemDown}
381 @cindex @code{\stemBoth}
392 A tie connects two adjacent note heads of the same pitch. The tie in
393 effect extends the length of a note. Ties should not be confused with
394 slurs, which indicate articulation, or phrasing slurs, which indicate
395 musical phrasing. A tie is entered using the tilde symbol `@code{~}':
397 @lilypond[fragment,verbatim,center]
398 e' ~ e' <c' e' g'> ~ <c' e' g'>
401 When a tie is applied to a chord, all note heads whose pitches match
402 are connected. When no note heads match, no ties will be created.
404 In its meaning a tie is just a way of extending a note duration, similar
405 to the augmentation dot; in the following example there are two ways of
406 notating exactly the same concept:
408 @lilypond[fragment,raggedright,quote]
409 \time 3/4 c'2. c'2 ~ c'4
411 If you need to tie a lot of notes over bars, it may be easier to use automatic
412 note splitting (see @ref{Automatic note splitting}).
417 @cindex @code{\tieUp}
419 @cindex @code{\tieDown}
421 @cindex @code{\tieBoth}
423 @cindex @code{\tieDotted}
425 @cindex @code{\tieSolid}
430 In this manual: @ref{Automatic note splitting}.
432 Internals: @internalsref{TieEvent}, @internalsref{NewTieEvent},
433 @internalsref{Tie} @c
435 Examples: if you want less ties created for a chord, see
436 @inputfileref{input/test,tie-sparse.ly}.
438 For tying only a subset of the note heads of a pair of chords, see
439 @inputfileref{input/regression,tie-chord-partial.ly}.
444 Switching staves when a tie is active will not produce a slanted tie.
446 Formatting of ties is a difficult subject. The results are often not
456 @cindex @code{\times}
458 Tuplets are made out of a music expression by multiplying all durations
461 @cindex @code{\times}
463 \times @var{fraction} @var{musicexpr}
467 The duration of @var{musicexpr} will be multiplied by the fraction.
468 The fraction's denominator will be printed over the notes, optionally
469 with a bracket. The most common tuplet is the triplet in which 3
470 notes have the length of 2, so the notes are 2/3 of their written
473 @lilypond[fragment,verbatim,center]
474 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
477 The property @code{tupletSpannerDuration} specifies how long each
478 bracket should last. With this, you can make lots of tuplets while
479 typing @code{\times} only once, saving lots of typing. In the next
480 example, there are two triplets shown, while @code{\times} was only
483 @lilypond[fragment,relative,raggedright,verbatim]
484 \set tupletSpannerDuration = #(ly:make-moment 1 4)
485 \times 2/3 { c'8 c c c c c }
488 The format of the number is determined by the property
489 @code{tupletNumberFormatFunction}. The default prints only the
490 denominator, but if it is set to the Scheme function
491 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
495 @cindex @code{tupletNumberFormatFunction}
496 @cindex tuplet formatting
501 @cindex @code{\tupletUp}
503 @cindex @code{\tupletDown}
505 @cindex @code{\tupletBoth}
510 Internals: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
512 Examples: @inputfileref{input/regression,tuplet-nest.ly}.
516 Nested tuplets are not formatted automatically. In this case, outer
517 tuplet brackets should be moved manually, which is demonstrated in
518 @inputfileref{input/regression,tuplet-nest.ly}.
522 @node Easier music entry
523 @section Easier music entry
526 When entering music it is easy to introduce errors. This section deals
527 with tricks and features of the input language that were added solely
528 to help entering music, and find and correct mistakes.
530 It is also possible to use external programs, for example GUI
531 interfaces, or MIDI transcription programs, to enter or edit
532 music. Refer to the website for more information. Finally, there are
533 tools make debugging easier, by linking the input file and the output
534 shown on screen. See @ref{Point and click} for more information.
541 * Skipping corrected music::
542 * Automatic note splitting::
548 @node Relative octaves
549 @subsection Relative octaves
551 @cindex relative octave specification
553 Octaves are specified by adding @code{'} and @code{,} to pitch names.
554 When you copy existing music, it is easy to accidentally put a pitch
555 in the wrong octave and hard to find such an error. The relative
556 octave mode prevents these errors: a single error puts the rest of the
557 piece off by one octave:
559 @cindex @code{\relative}
561 \relative @var{startpitch} @var{musicexpr}
564 The octave of notes that appear in @var{musicexpr} are calculated as
565 follows: If no octave changing marks are used, the basic interval
566 between this and the last note is always taken to be a fourth or less
567 (; this distance is determined without regarding alterations: a
568 @code{fisis} following a @code{ceses} will be put above the
571 The octave changing marks @code{'} and @code{,} can be added to raise
572 or lower the pitch by an extra octave. Upon entering relative mode,
573 an absolute starting pitch must be specified that will act as the
574 predecessor of the first note of @var{musicexpr}.
576 Here is the relative mode shown in action:
577 @lilypond[fragment,raggedright,verbatim,center]
583 Octave changing marks are used for intervals greater than a fourth:
584 @lilypond[fragment,verbatim,center]
589 If the preceding item is a chord, the first note of the chord is used
590 to determine the first note of the next chord:
592 @lilypond[fragment,verbatim,center]
599 @cindex @code{\notes}
601 The pitch after the @code{\relative} contains a note name. To parse
602 the pitch as a note name, you have to be in note mode, so there must
603 be a surrounding @code{\notes} keyword (which is not
606 The relative conversion will not affect @code{\transpose},
607 @code{\chords} or @code{\relative} sections in its argument. If you
608 want to use relative within transposed music, you must place an
609 additional @code{\relative} inside the @code{\transpose}.
612 @subsection Octave check
615 Octave checks make octave errors easier to correct: a note may be
616 followed by @code{=}@var{quotes} which indicates what its absolute
617 octave should be. In the following example,
619 \relative c'' @{ c='' b=' d,='' @}
623 @c take care with @code, adds confusing quotes.
624 the d will generate a warning, because a d'' is expected, but a d' is
625 found. In the output, the octave is corrected this and the following
630 There is also a syntax that is separate from the notes.
635 This checks that @var{pitch} (without octave) yields @var{pitch} (with
636 octave) in \relative mode. If not, a warning is printed, and the
637 octave is corrected, for example, the first check is passed
638 successfully. The second check fails with an error message. The
639 octave is adjusted so the following notes are in the correct octave
650 The octave of a note following an octave check is determined with
651 respect to the note preceding it. In the next fragment, the last note
652 is a @code{a'}, above central C. Hence, the @code{\octave} check may
653 be deleted without changing the meaning of the piece.
655 @lilypond[verbatim,fragment]
664 @subsection Bar check
668 @cindex @code{barCheckSynchronize}
671 Bar checks help detect errors in the durations. A bar check is
672 entered using the bar symbol, `@code{|}'. Whenever it is encountered
673 during interpretation, it should fall on a measure boundary. If it
674 does not, a warning is printed. Depending on the value of
675 @code{barCheckSynchronize}, the beginning of the measure will be
678 In the next example, the second bar check will signal an error:
680 \time 3/4 c2 e4 | g2 |
683 Bar checks can also be used in lyrics, for example
688 Twin -- kle | Twin -- kle
693 @cindex skipTypesetting
695 Failed bar checks are caused by entering incorrect
696 durations. Incorrect durations often completely garble up the score,
697 especially if it is polyphonic, so you should start correcting the
698 score by scanning for failed bar checks and incorrect durations. To
699 speed up this process, you can use @code{skipTypesetting}, described
702 @node Skipping corrected music
703 @subsection Skipping corrected music
705 The property @code{Score.skipTypesetting} can be used to switch on and
706 off typesetting completely during the interpretation phase. When
707 typesetting is switched off, the music is processed much more quickly.
708 This can be used to skip over the parts of a score that have already
709 been checked for errors:
711 @lilypond[fragment,raggedright,verbatim]
713 \set Score.skipTypesetting = ##t
715 \set Score.skipTypesetting = ##f
719 @node Automatic note splitting
720 @subsection Automatic note splitting
722 Long notes can be converted automatically to tied notes. This is done
723 by replacing the @internalsref{Note_heads_engraver} by the
724 @internalsref{Completion_heads_engraver}.
725 In the following examples, notes crossing the barline are split and tied.
728 @lilypond[noindent,verbatim,relative=1]
730 \remove "Note_heads_engraver"
731 \consists "Completion_heads_engraver"
733 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
737 This engraver splits all running notes at the bar line, and inserts
738 ties. One of its uses is to debug complex scores: if the measures are
739 not entirely filled, then the ties exactly show how much each measure
744 Not all durations (especially those containing tuplets) can be
745 represented exactly; the engraver will not insert tuplets.
749 Examples: @inputfileref{input/regression,completion-heads.ly}.
751 Internals: @internalsref{Completion_heads_engraver}.
755 @section Staff notation
757 This section describes music notation that occurs on staff level,
758 such as keys, clefs and time signatures.
760 @cindex Staff notation
774 @subsection Staff symbol
776 @cindex adjusting staff symbol
778 Notes, dynamic signs, etc. are grouped
779 with a set of horizontal lines, into a staff (plural `staves'). In our
780 system, these lines are drawn using a separate layout object called
784 @cindex staff lines, setting number of
785 @cindex staff lines, setting thickness of
786 @cindex thickness of staff lines, setting
787 @cindex number of staff lines, setting
791 Internals: @internalsref{StaffSymbol}.
793 Examples: @inputfileref{input/test,staff-lines.ly},
794 @inputfileref{input/test,staff-size.ly}.
798 If a staff is ended halfway a piece, the staff symbol may not end
799 exactly on the barline.
803 @subsection Key signature
804 @cindex Key signature
808 The key signature indicates the scale in which a piece is played. It
809 is denoted by a set of alterations (flats or sharps) at the start of
814 Setting or changing the key signature is done with the @code{\key}
817 @code{\key} @var{pitch} @var{type}
820 @cindex @code{\minor}
821 @cindex @code{\major}
822 @cindex @code{\minor}
823 @cindex @code{\ionian}
824 @cindex @code{\locrian}
825 @cindex @code{\aeolian}
826 @cindex @code{\mixolydian}
827 @cindex @code{\lydian}
828 @cindex @code{\phrygian}
829 @cindex @code{\dorian}
831 Here, @var{type} should be @code{\major} or @code{\minor} to get
832 @var{pitch}-major or @var{pitch}-minor, respectively.
833 The standard mode names @code{\ionian},
834 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
835 @code{\phrygian}, and @code{\dorian} are also defined.
837 This command sets the context property
838 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
839 can be specified by setting this property directly.
841 Accidentals and key signatures often confuse new users, because
842 unaltered notes get natural signs depending on the keysignature. The
843 tutorial explains why this is so in @ref{More about pitches}.
847 The ordering of a key cancellation is wrong when it is combined with
848 repeat bar lines. The cancellation is also printed after a line break.
852 Internals: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
854 @cindex @code{keySignature}
861 The clef indicates which lines of the staff correspond to which
866 The clef can be set or changed with the @code{\clef} command:
867 @lilypond[fragment,verbatim]
868 \key f\major c''2 \clef alto g'2
871 Supported clef-names include:
872 @c Moved standard clefs to the top /MB
876 @item treble, violin, G, G2
889 G clef on 1st line, so-called French violin clef
894 @cindex mezzosoprano clef
897 @cindex baritone clef
900 @cindex varbaritone clef
909 By adding @code{_8} or @code{^8} to the clef name, the clef is
910 transposed one octave down or up, respectively, and @code{_15} and
911 @code{^15} transposes by two octaves. The argument @var{clefname}
912 must be enclosed in quotes when it contains underscores or digits. For
916 @cindex choral tenor clef
917 @lilypond[verbatim,fragment,relative]
921 This command is equivalent to setting @code{clefGlyph},
922 @code{clefPosition} (which controls the Y position of the clef),
923 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
924 when any of these properties are changed.
928 Internals: the object for this symbol is @internalsref{Clef}.
932 @node Ottava brackets
933 @subsection Ottava brackets
935 ``Ottava'' brackets introduce an extra transposition of an octave for
936 the staff. They are created by invoking the function
937 @code{set-octavation}:
943 @lilypond[verbatim,fragment]
952 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
953 (for 15ma) as arguments. Internally the function sets the properties
954 @code{ottavation} (eg. to @code{"8va"}) and
955 @code{centralCPosition}. For overriding the text of the bracket, set
956 @code{ottavation} after invoking @code{set-octavation}, i.e.,
960 \set Staff.ottavation = #"8"
965 Internals: @internalsref{OttavaBracket}.
967 Examples: @inputfileref{input/regression,ottava.ly},
968 @inputfileref{input/regression,ottava-broken.ly}.
972 @code{set-octavation} will get confused when clef changes happen
973 during an octavation bracket.
976 @subsection Time signature
977 @cindex Time signature
981 Time signature indicates the metrum of a piece: a regular pattern of
982 strong and weak beats. It is denoted by a fraction at the start of the
987 The time signature is set or changed by the @code{\time}
989 @lilypond[fragment,verbatim]
990 \time 2/4 c'2 \time 3/4 c'2.
993 The symbol that is printed can be customized with the @code{style}
994 property. Setting it to @code{#'()} uses fraction style for 4/4 and
995 2/2 time. There are many more options for its layout. See
996 @inputfileref{input/test,time.ly} for more examples.
999 This command sets the property @code{timeSignatureFraction},
1000 @code{beatLength} and @code{measureLength} in the @code{Timing}
1001 context, which is normally aliased to @internalsref{Score}. The
1002 property @code{measureLength} determines where bar lines should be
1003 inserted, and how automatic beams should be generated. Changing the
1004 value of @code{timeSignatureFraction} also causes the symbol to be
1007 More options are available through the Scheme function
1008 @code{set-time-signature}. In combination with the
1009 @internalsref{Measure_grouping_engraver}, it will create
1010 @internalsref{MeasureGrouping} signs. Such signs ease reading
1011 rhythmically complex modern music. In the following example, the 9/8
1012 measure is subdivided in 2, 2, 2 and 3. This is passed to
1013 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
1016 \score { \notes \relative c'' {
1017 #(set-time-signature 9 8 '(2 2 2 3))
1018 g8[ g] d[ d] g[ g] a8[( bes g]) |
1019 #(set-time-signature 5 8 '(3 2))
1024 \translator { \StaffContext
1025 \consists "Measure_grouping_engraver"
1031 Internals: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1036 Automatic beaming does not use measure grouping specified with
1037 @code{set-time-signature}.
1039 @node Partial measures
1040 @subsection Partial measures
1043 @cindex partial measure
1044 @cindex measure, partial
1045 @cindex shorten measures
1046 @cindex @code{\partial}
1048 Partial measures, for example in upsteps, are entered using the
1049 @code{\partial} command:
1050 @lilypond[fragment,verbatim,relative=1]
1051 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1054 The syntax for this command is
1056 \partial @var{duration}
1058 This is internally translated into
1060 \set Timing.measurePosition = -@var{length of duration}
1063 The property @code{measurePosition} contains a rational number
1064 indicating how much of the measure has passed at this point.
1066 @node Unmetered music
1067 @subsection Unmetered music
1069 Bar lines and bar numbers are calculated automatically. For unmetered
1070 music (e.g. cadenzas), this is not desirable. By setting
1071 @code{Score.timing} to false, this automatic timing can be switched
1077 @cindex @code{\cadenzaOn}
1079 @cindex @code{\cadenzaOff}
1083 @subsection Bar lines
1087 @cindex measure lines
1091 Bar lines delimit measures, but are also used to indicate repeats.
1092 Normally, they are inserted automatically. Line breaks may only
1098 of barlines can be forced with the @code{\bar} command:
1100 @lilypond[relative=1,fragment,verbatim]
1104 The following bar types are available:
1105 @lilypond[fragment,relative,raggedright,verbatim]
1118 For allowing linebreaks, there is a special command,
1122 This will insert an invisible barline, and allow linebreaks at this
1125 In scores with many staves, a @code{\bar} command in one staff is
1126 automatically applied to all staves. The resulting bar lines are
1127 connected between different staves of a @internalsref{StaffGroup}:
1129 @lilypond[fragment,verbatim]
1130 << \context StaffGroup <<
1134 \new Staff { \clef bass c4 g e g } >>
1135 \new Staff { \clef bass c2 c2 } >>
1139 The command @code{\bar @var{bartype}} is a short cut for doing
1140 @code{\set Score.whichBar = @var{bartype}} Whenever
1141 @code{whichBar} is set to a string, a bar line of that type is
1142 created. At the start of a measure it is set to
1143 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1144 to override default measure bars.
1146 Property @code{whichBar} can also be set directly, using @code{\set}
1147 or @code{\bar}. These settings take precedence over the automatic
1148 @code{whichBar} settings.
1151 @cindex repeatCommands
1152 @cindex defaultBarType
1154 You are encouraged to use @code{\repeat} for repetitions. See
1161 In this manual: @ref{Repeats}.
1164 Internals: the bar line objects that are created at
1165 @internalsref{Staff} level are called @internalsref{BarLine}, the bar
1166 lines that span staves are @internalsref{SpanBar}s.
1168 @cindex bar lines at start of system
1169 @cindex start of system
1171 The barlines at the start of each system are
1172 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1173 @internalsref{SystemStartBracket}. Only one of these types is created
1174 in every context, and that type is determined by the property
1175 @code{systemStartDelimiter}.
1177 Examples: @inputfileref{input/test,bar-lines.ly},
1183 The easiest way to enter fragments with more than one voice on a staff
1184 is to split chords using the separator @code{\\}. You can use it for
1185 small, short-lived voices or for single chords:
1187 @lilypond[verbatim,fragment]
1188 \context Staff \relative c'' {
1189 c4 << { f d e } \\ { b c2 } >>
1190 c4 << g' \\ b, \\ f' \\ d >>
1194 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1195 voices are sometimes called "layers" other notation packages}
1197 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1198 each of these contexts, vertical direction of slurs, stems, etc. is set
1201 @cindex @code{\voiceOne}
1202 @cindex @code{\voiceFour}
1204 This can also be done by instantiating @internalsref{Voice} contexts
1205 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1206 a stem directions and horizontal shift for each part:
1209 @lilypond[raggedright,verbatim]
1211 \context Staff << \new Voice { \voiceOne cis2 b }
1212 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1213 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1217 The command @code{\oneVoice} will revert back to the normal setting.
1218 @cindex @code{\oneVoice}
1221 Normally, note heads with a different number of dots are not merged, but
1222 when the object property @code{merge-differently-dotted} is set in
1223 the @internalsref{NoteCollision} object, they are merged:
1224 @lilypond[verbatim,fragment,raggedright]
1225 \relative c'' \context Voice << {
1227 \override Staff.NoteCollision
1228 #'merge-differently-dotted = ##t
1230 } \\ { g8.[ f16] g8.[ f16] }
1234 Similarly, you can merge half note heads with eighth notes, by setting
1235 @code{merge-differently-headed}:
1236 @lilypond[fragment,relative=2,verbatim]
1239 \override Staff.NoteCollision
1240 #'merge-differently-headed = ##t
1241 c8 c4. } \\ { c2 c2 } >>
1244 LilyPond also vertically shifts rests that are opposite of a stem:
1247 @lilypond[raggedright,fragment,verbatim]
1248 \context Voice << c''4 \\ r4 >>
1256 @cindex @code{\oneVoice}
1258 @cindex @code{\voiceOne}
1260 @cindex @code{\voiceTwo}
1262 @cindex @code{\voiceThree}
1264 @cindex @code{\voiceFour}
1268 The following commands specify in what chords of the current voice
1269 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1270 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1273 @cindex @code{\shiftOn}
1275 @cindex @code{\shiftOnn}
1277 @cindex @code{\shiftOnnn}
1279 @cindex @code{\shiftOff}
1286 Internals: the objects responsible for resolving collisions are
1287 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1289 Examples: See also example files
1290 @inputfileref{input/regression,collision-dots.ly},
1291 @inputfileref{input/regression,collision-head-chords.ly},
1292 @inputfileref{input/regression,collision-heads.ly},
1293 @inputfileref{input/regression,collision-mesh.ly}, and
1294 @inputfileref{input/regression,collisions.ly}.
1299 Resolving collisions is a intricate subject, and only a few situations
1300 are handled. When LilyPond cannot cope, the @code{force-hshift}
1301 property of the @internalsref{NoteColumn} object and pitched rests can
1302 be used to override typesetting decisions.
1304 When using @code{merge-differently-headed} with an upstem 8th or a shorter
1305 note, and a downstem half note, the 8th note gets the wrong offset.
1307 There is no support for clusters where the same note occurs with
1308 different accidentals in the same chord. In this case, it is
1309 recommended to use enharmonic transcription, or to use special cluster
1310 notation (see @ref{Clusters}).
1315 Beams are used to group short notes into chunks that are aligned with
1316 the metrum. They are inserted automatically in most cases:
1318 @lilypond[fragment,verbatim,relative=2]
1319 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1322 When these automatic decisions are not good enough, beaming can be
1323 entered explicitly. It is also possible to define beaming patterns
1324 that differ from the defaults.
1328 Internals: @internalsref{Beam}.
1331 @cindex Automatic beams
1334 * Setting automatic beam behavior::
1338 @subsection Manual beams
1339 @cindex beams, manual
1343 In some cases it may be necessary to override the automatic beaming
1344 algorithm. For example, the auto beamer will not put beams over rests
1345 or bar lines. Such beams are specified by manually: the begin and end
1346 point are marked with @code{[} and @code{]}:
1348 @lilypond[fragment,relative,verbatim]
1350 r4 r8[ g' a r8] r8 g[ | a] r8
1354 @cindex @code{stemLeftBeamCount}
1356 Normally, beaming patterns within a beam are determined automatically.
1357 When this mechanism fouls up, the properties
1358 @code{stemLeftBeamCount} and @code{stemRightBeamCount} can
1359 be used to control the beam subdivision on a stem. If either property
1360 is set, its value will be used only once, and then it is erased:
1362 @lilypond[fragment,relative,verbatim]
1365 f8[ r16 \set stemLeftBeamCount = #1 f g a]
1368 @cindex @code{stemRightBeamCount}
1371 The property @code{subdivideBeams} can be set in order to subdivide
1372 all 16th or shorter beams at beat positions, as defined by the
1373 @code{beatLength} property. This accomplishes the same effect as
1374 twiddling with @code{stemLeftBeamCount} and @code{stemRightBeamCount},
1375 but it take less typing:
1378 @lilypond[relative=1,verbatim,noindent]
1380 \set subdivideBeams = ##t
1382 \set Score.beatLength = #(ly:make-moment 1 8)
1385 @cindex subdivideBeams
1387 Kneed beams are inserted automatically, when a large gap is detected
1388 between the note heads. This behavior can be tuned through the object
1389 property @code{auto-knee-gap}.
1391 Normally, line breaks are forbidden when beams cross bar lines. This
1392 behavior can be changed by setting @code{allowBeamBreak}.
1394 @cindex @code{allowBeamBreak}
1395 @cindex beams and line breaks
1397 @cindex beams, kneed
1399 @cindex auto-knee-gap
1405 @cindex Frenched staves
1407 Automatically kneed beams cannot be used together with hidden staves.
1412 @node Setting automatic beam behavior
1413 @subsection Setting automatic beam behavior
1415 @cindex @code{autoBeamSettings}
1416 @cindex @code{(end * * * *)}
1417 @cindex @code{(begin * * * *)}
1418 @cindex automatic beams, tuning
1419 @cindex tuning automatic beaming
1421 @c [TODO: use \applycontext]
1423 In normal time signatures, automatic beams can start on any note but can
1424 only end in a few positions within the measure: beams can end on a beat,
1425 or at durations specified by the properties in
1426 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
1427 are defined in @file{scm/auto-beam.scm}.
1429 The value of @code{autoBeamSettings} is changed with two functions:
1431 #(override-auto-beam-setting
1432 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
1434 #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m}))
1436 Here, @var{be} is the symbol @code{begin} or @code{end}. It determines
1437 whether the rule applies to begin or end-points. The quantity
1438 @var{p}/@var{q} refers to the length of the beamed notes (and `@code{*
1439 *}' designates notes of any length), @var{n}/@var{M} refers to a time
1440 signature (wildcards `@code{* *}' may be entered to designate all time
1441 signatures), @var{a}/@var{b} is a duration. By default, this command
1442 changes settings for the current voice. It is also possible to adjust
1443 settings at higher contexts, by adding a @var{context} argument.
1445 For example, if automatic beams should end on every quarter note, use
1448 #(override-auto-beam-setting '(end * * * *) 1 4)
1450 Since the duration of a quarter note is 1/4 of a whole note, it is
1451 entered as @code{(ly:make-moment 1 4)}.
1453 The same syntax can be used to specify beam starting points. In this
1454 example, automatic beams can only end on a dotted quarter note:
1456 #(override-auto-beam-setting '(end * * * *) 3 8)
1458 In 4/4 time signature, this means that automatic beams could end only on
1459 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1460 3/8, has passed within the measure).
1462 Rules can also be restricted to specific time signatures. A rule that
1463 should only be applied in @var{N}/@var{M} time signature is formed by
1464 replacing the second asterisks by @var{N} and @var{M}. For example, a
1465 rule for 6/8 time exclusively looks like
1467 #(override-auto-beam-setting '(begin * * 6 8) @dots{})
1470 If a rule should be to applied only to certain types of beams, use the
1471 first pair of asterisks. Beams are classified according to the
1472 shortest note they contain. For a beam ending rule that only applies
1473 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1476 If a score ends while an automatic beam has not been ended and is still
1477 accepting notes, this last beam will not be typeset at all.
1479 @cindex automatic beam generation
1481 @cindex @code{autoBeaming}
1484 For melodies that have lyrics, you may want to switch off
1485 automatic beaming. This is done by setting @code{autoBeaming} to
1490 @cindex @code{\autoBeamOff}
1491 @code{\autoBeamOff},
1492 @cindex @code{\autoBeamOn}
1498 The rules for ending a beam depend on the shortest note in a beam.
1499 So, while it is possible to have different ending rules for eight
1500 beams and sixteenth beams, a beam that contains both eight and
1501 sixteenth notes will use the rules for the sixteenth beam.
1503 In the example below, the autobeamer makes eight beams and sixteenth
1504 end at 3 eights; the third beam can only be corrected by specifying
1507 @lilypond[raggedright,fragment,relative,noverbatim,quote]
1508 #(override-auto-beam-setting '(end * * * *) 3 8)
1509 % rather show case where it goes wrong
1510 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1511 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1513 It is not possible to specify beaming parameters that act differently in
1514 different parts of a measure. This means that it is not possible to use
1515 automatic beaming in irregular meters such as @code{5/8}.
1518 @section Accidentals
1521 This section describes how to change the way that accidentals are
1522 inserted automatically before the running notes.
1526 * Using the predefined accidental variables::
1527 * Customized accidental rules::
1530 @node Using the predefined accidental variables
1531 @subsection Using the predefined accidental variables
1534 Common rules for typesetting macros have been canned in a
1535 function. This function is called as follows:
1537 @cindex @code{set-accidental-style}
1539 #(set-accidental-style 'modern 'Voice)
1542 The function takes two arguments: a symbol that denotes the style (in
1543 the example, @code{modern}), and another symbol that denotes the
1544 context name (in this example, @code{Staff}). If no context name is
1545 supplied, @code{Staff} is the default.
1547 The following styles are supported:
1550 This is the default typesetting behaviour. It should correspond
1551 to 18th century common practice: Accidentals are
1552 remembered to the end of the measure in which they occur and
1553 only on their own octave.
1557 The normal behaviour is to remember the accidentals on
1558 Staff-level. This variable, however, typesets accidentals
1559 individually for each voice. Apart from that, the rule is similar to
1562 This leads to some weird and often unwanted results
1563 because accidentals from one voice do not get cancelled in other
1565 @lilypond[raggedright,relative,fragment,verbatim,quote]
1567 #(set-accidental-style 'voice)
1573 Hence you should only use @code{voice} if the voices
1574 are to be read solely by individual musicians. If the staff is to be
1575 used by one musician (e.g. a conductor) then you use
1576 @code{modern} or @code{modern-cautionary}
1580 @cindex @code{modern} style accidentals
1581 This rule corresponds to the common practice in the 20th
1583 This rule prints the same accidentals as @code{default}, but temporary
1584 accidentals also are cancelled in other octaves. Furthermore,
1585 in the same octave, they also get cancelled in the following
1588 @lilypond[raggedright,fragment,verbatim]
1589 #(set-accidental-style 'modern)
1590 cis' c'' cis'2 | c'' c'
1593 @item @code{modern-cautionary}
1594 @cindex @code{modern-cautionary}
1595 This rule is similar to @code{modern}, but the
1596 ``extra'' accidentals (the ones not typeset by
1597 @code{default}) are typeset as cautionary accidentals.
1598 They are printed in reduced size or with parentheses:
1599 @lilypond[raggedright,fragment,verbatim]
1600 #(set-accidental-style 'modern-cautionary)
1601 cis' c'' cis'2 | c'' c'
1604 @cindex @code{modern-voice}
1606 is used for multivoice accidentals to be read both by musicians
1607 playing one voice and musicians playing all voices. Accidentals are
1608 typeset for each voice, but they @emph{are} cancelled across voices in
1609 the same @internalsref{Staff}.
1611 @cindex @code{modern-voice-cautionary}
1612 @item modern-voice-cautionary
1613 is the same as @code{modern-voice}, but with the extra
1614 accidentals (the ones not typeset by @code{voice}) typeset
1615 as cautionaries. Even though all accidentals typeset by
1616 @code{default} @emph{are} typeset by this variable then
1617 some of them are typeset as cautionaries.
1620 @cindex @code{piano} accidentals
1621 20th century practice for piano notation. Very similar to
1622 @code{modern} but accidentals also get cancelled
1623 across the staves in the same @internalsref{GrandStaff} or
1624 @internalsref{PianoStaff}.
1626 @item piano-cautionary
1627 @cindex @code{#(set-accidental-style 'piano-cautionary)}
1628 As @code{#(set-accidental-style 'piano)' , str)} but with the extra accidentals
1629 typeset as cautionaries.
1632 @cindex @code{no-reset} accidental style
1633 Same as @code{default} but with accidentals lasting
1634 ``forever'' and not only until the next measure:
1635 @lilypond[raggedright,fragment,verbatim,relative]
1636 #(set-accidental-style 'no-reset)
1641 This is sort of the opposite of @code{no-reset}: Accidentals
1642 are not remembered at all---and hence all accidentals are
1643 typeset relative to the key signature, regardless of what was
1644 before in the music:
1646 @lilypond[raggedright,fragment,verbatim,relative]
1647 #(set-accidental-style 'forget)
1648 \key d\major c4 c cis cis d d dis dis
1652 @node Customized accidental rules
1653 @subsection Customized accidental rules
1655 For determining when to print an accidental, several different rules
1656 are tried. The rule that gives the highest number of accidentals is
1657 used. Each rule consists of
1660 In which context is the rule applied. For example, if
1661 @var{context} is @internalsref{Score} then all staves share
1662 accidentals, and if @var{context} is @internalsref{Staff} then all
1663 voices in the same staff share accidentals, but staves do not.
1666 Whether the accidental changes all octaves or only the current
1667 octave. Valid choices are
1671 This is the default algorithm. Accidentals are typeset if the note changes
1672 the accidental of that note in that octave. Accidentals lasts to the end of the measure
1673 and then as many measures as specified in the value. I.e. 1 means to the end
1674 of next measure, -1 means to the end of previous measure (that is: no duration at all), etc. #t means forever.
1676 Accidentals are typeset if the note is different from
1677 the previous note on the same pitch in any octave. The value has same meaning as in
1683 Over how many barlines the accidental lasts.
1684 If @var{lazyness} is @code{-1} then the accidental is forget
1685 immediately, and if @var{lazyness} is @code{#t} then the accidental
1692 Internals: @internalsref{Accidental_engraver},
1693 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1698 Currently the simultaneous notes are considered to be entered in
1699 sequential mode. This means that in a chord the accidentals are
1700 typeset as if the notes in the chord happened once at a time - in the
1701 order in which they appear in the input file.
1703 This is only a problem when there are simultaneous notes whose
1704 accidentals depend on each other. The problem only occurs when using
1705 non-default accidentals. In the default scheme, accidentals only
1706 depend on other accidentals with the same pitch on the same staff, so
1707 no conflicts possible.
1709 This example shows two examples of the same music giving different
1710 accidentals depending on the order in which the notes occur in the
1713 @lilypond[raggedright,fragment,verbatim]
1714 \set Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1715 cis'4 <c'' c'> r2 | cis'4 <c' c''> r2
1716 | <cis' c''> r | <c'' cis'> r |
1719 This problem can be solved by manually inserting @code{!} and @code{?}
1720 for the problematic notes.
1722 @node Expressive marks
1723 @section Expressive marks
1726 @c todo: should change ordering
1727 @c where to put text spanners, metronome marks,
1736 * Analysis brackets::
1738 * Fingering instructions::
1749 A slur indicates that notes are to be played bound or @emph{legato}.
1753 They are entered using parentheses:
1754 @lilypond[relative=1,fragment,verbatim,center]
1755 f( g)( a) a8 b( a4 g2 f4)
1760 @c TODO: should explain that ^( and _( set directions
1761 @c should set attachments with ^ and _ ?
1763 Slurs avoid crossing stems, and are generally attached to note heads.
1764 However, in some situations with beams, slurs may be attached to stem
1765 ends. If you want to override this layout you can do this through the
1766 object property @code{attachment} of @internalsref{Slur} in
1767 @internalsref{Voice} context. Its value is a pair of symbols, specifying
1768 the attachment type of the left and right end points:
1770 @lilypond[fragment,relative,verbatim]
1772 \override Stem #'length = #5.5
1774 \override Slur #'attachment = #'(stem . stem)
1778 If a slur would strike through a stem or beam, the slur will be moved
1779 away upward or downward. If this happens, attaching the slur to the
1780 stems might look better:
1782 @lilypond[fragment,relative,verbatim]
1785 \override Slur #'attachment = #'(stem . stem)
1792 @cindex @code{\slurUp}
1794 @cindex @code{\slurDown}
1796 @cindex @code{\slurBoth}
1798 @cindex @code{\slurDotted}
1800 @cindex @code{\slurSolid}
1805 Internals: @seeinternals{Slur}, and @internalsref{SlurEvent}.
1810 Producing nice slurs is a difficult problem, and LilyPond currently
1811 uses a simple, empiric method to produce slurs. In some cases, its
1815 @cindex Adjusting slurs
1817 @node Phrasing slurs
1818 @subsection Phrasing slurs
1820 @cindex phrasing slurs
1821 @cindex phrasing marks
1823 A phrasing slur (or phrasing mark) connects chords and is used to
1824 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1827 @lilypond[fragment,verbatim,center,relative]
1828 \time 6/4 c'\( d( e) f( e) d\)
1831 Typographically, the phrasing slur behaves almost exactly like a
1832 normal slur. However, they are treated as different objects. A
1833 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1834 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1835 @code{\phrasingSlurBoth}.
1837 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1838 will only affect normal slurs and not phrasing slurs.
1842 @cindex @code{\phrasingSlurUp}
1843 @code{\phrasingSlurUp},
1844 @cindex @code{\phrasingSlurDown}
1845 @code{\phrasingSlurDown},
1846 @cindex @code{\phrasingSlurBoth}
1847 @code{\phrasingSlurBoth}.
1851 Internals: see also @internalsref{PhrasingSlur}, and
1852 @internalsref{PhrasingSlurEvent}.
1856 Phrasing slurs have the same limitations in their formatting as normal
1857 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1860 @subsection Breath marks
1862 Breath marks are entered using @code{\breathe}:
1865 @lilypond[fragment,relative,verbatim]
1869 The glyph of the breath mark can be tweaked by overriding the
1870 @code{text} property of the @code{BreathingSign} layout object with
1871 any markup text. For example,
1872 @lilypond[fragment,verbatim,relative]
1874 \override BreathingSign #'text
1875 = #(make-musicglyph-markup "scripts-rvarcomma")
1882 Internals: @internalsref{BreathingSign},
1883 @internalsref{BreathingSignEvent}.
1885 Examples: @inputfileref{input/regression,breathing-sign.ly}.
1888 @node Metronome marks
1889 @subsection Metronome marks
1892 @cindex beats per minute
1893 @cindex metronome marking
1895 Metronome settings can be entered as follows:
1897 \tempo @var{duration} = @var{perminute}
1900 In the MIDI output, they are interpreted as a tempo change, and in the
1901 paper output, a metronome marking is printed:
1902 @cindex @code{\tempo}
1903 @lilypond[fragment,verbatim]
1909 Internals: @internalsref{MetronomeChangeEvent}.
1914 @subsection Text spanners
1915 @cindex Text spanners
1917 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1918 are written as texts, and extended over many measures with dotted
1919 lines. You can create such texts using text spanners: attach
1920 @code{\startTextSpan} and @code{\stopTextSpan} to the
1921 start and ending note of the spanner.
1923 The string to be printed, as well as the style, is set through object
1926 @lilypond[fragment,relative,verbatim]
1928 \override TextSpanner #'direction = #-1
1929 \override TextSpanner #'edge-text = #'("rall " . "")
1930 c2\startTextSpan b c\stopTextSpan a }
1936 Internals @internalsref{TextSpanEvent},
1937 @internalsref{TextSpanner}.
1939 Examples: @inputfileref{input/regression,text-spanner.ly}.
1942 @node Analysis brackets
1943 @subsection Analysis brackets
1945 @cindex phrasing brackets
1946 @cindex musicological analysis
1947 @cindex note grouping bracket
1949 Brackets are used in musical analysis to indicate structure in musical
1950 pieces. LilyPond supports a simple form of nested horizontal brackets.
1951 To use this, add the @internalsref{Horizontal_bracket_engraver} to
1952 @internalsref{Staff} context. A bracket is started with
1953 @code{\startGroup} and closed with @code{\stopGroup}:
1955 @lilypond[raggedright,verbatim]
1956 \score { \notes \relative c'' {
1957 c4\startGroup\startGroup
1960 c4\stopGroup\stopGroup
1962 \paper { \translator {
1963 \StaffContext \consists "Horizontal_bracket_engraver"
1969 Internals: @internalsref{HorizontalBracket},
1970 @internalsref{NoteGroupingEvent}.
1972 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
1976 @subsection Articulations
1977 @cindex Articulations
1979 @cindex articulations
1983 A variety of symbols can appear above and below notes to indicate
1984 different characteristics of the performance. They are added to a note
1985 by adding a dash and the character signifying the
1986 articulation. They are demonstrated here:
1988 @lilypondfile[]{script-abbreviations.ly}
1990 The meanings of these shorthands can be changed: see
1991 @file{ly/script-init.ly} for examples.
1994 The script is automatically placed, but if you need to force
1995 directions, you can use @code{_} to force them down, or @code{^} to
1997 @lilypond[fragment,verbatim]
2001 Other symbols can be added using the syntax
2002 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
2003 can be forced up or down using @code{^} and @code{_},
2006 @lilypond[verbatim,fragment,relative=2]
2007 c\fermata c^\fermata c_\fermata
2014 @cindex staccatissimo
2023 @cindex organ pedal marks
2032 @cindex prallmordent
2036 @cindex thumb marking
2041 @lilypondfile[]{script-chart.ly}
2046 @cindex @code{\scriptUp}
2048 @cindex @code{\scriptDown}
2050 @cindex @code{\scriptBoth}
2055 Internals: @internalsref{ScriptEvent}, and @internalsref{Script}.
2059 These note ornaments appear in the printed output but have no
2060 effect on the MIDI rendering of the music.
2063 @node Fingering instructions
2064 @subsection Fingering instructions
2068 Fingering instructions can be entered using
2070 @var{note}-@var{digit}
2072 For finger changes, use markup texts:
2074 @lilypond[verbatim,raggedright,fragment]
2075 c'4-1 c'4-2 c'4-3 c'4-4
2076 c'^\markup { \fontsize #-3 \number "2-3" }
2079 @cindex finger change
2084 You can use the thumb-script to indicate that a note should be
2085 played with the thumb (e.g. in cello music):
2087 @lilypond[verbatim,raggedright,fragment]
2088 <a' a''-3>8(_\thumb <b' b''-3>)_\thumb
2089 <c'' c'''-3>(_\thumb <d'' d'''-3>)_\thumb
2092 Fingerings for chords can also be added to individual notes
2093 of the chord by adding them after the pitches:
2094 @lilypond[verbatim,raggedright,fragment,relative=1]
2095 < c-1 e-2 g-3 b-5 > 4
2099 In this case, setting @code{fingeringOrientations} will put fingerings next
2102 @lilypond[verbatim,raggedright,fragment,relative=1]
2103 \set fingeringOrientations = #'(left down)
2104 <c-1 es-2 g-4 bes-5 > 4
2105 \set fingeringOrientations = #'(up right down)
2106 <c-1 es-2 g-4 bes-5 > 4
2109 By using single note chords, fingering instructions can be put close
2110 to note heads in monophonic music.
2114 Internals: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2116 Examples: @inputfileref{input/regression,finger-chords.ly}.
2119 @subsection Text scripts
2120 @cindex Text scripts
2122 @cindex text items, non-empty
2123 @cindex non-empty texts
2125 It is possible to place arbitrary strings of text or markup text (see
2126 @ref{Text markup}) above or below notes by using a string:
2127 @code{c^"text"}. By default, these indications do not influence the
2128 note spacing, but by using the command @code{\fatText}, the widths
2129 will be taken into account:
2131 @lilypond[fragment,raggedright,verbatim] \relative c' {
2132 c4^"longtext" \fatText c4_"longlongtext" c4 }
2135 It is possible to use @TeX{} commands in the strings, but this should
2136 be avoided because the exact dimensions of the string can then no
2141 @cindex @code{\fatText}
2143 @cindex @code{\emptyText}
2148 In this manual: @ref{Text markup}.
2150 Internals: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
2156 @subsection Grace notes
2159 @c should have blurb about accaciatura / appogiatura
2161 @cindex @code{\grace}
2165 Grace notes are ornaments that are written out. The most common ones
2166 are acciaccatura, which should be played as very short. It is denoted
2167 by a slurred small note with a slashed stem. The appoggiatura is a
2168 grace note that takes a fixed fraction of the main note, is and
2169 denoted as a slurred note in small print without a slash.
2170 They are entered with the commands @code{\acciaccatura} and
2171 @code{\appoggiatura}, as demonstrated in the following example:
2174 @cindex appoggiatura
2175 @cindex acciaccatura
2177 @lilypond[relative=2,verbatim,fragment]
2178 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2179 \acciaccatura { g16[ f] } e4
2182 Both are special forms of the @code{\grace} command. By prefixing this
2183 keyword to a music expression, a new one is formed, which will be
2184 printed in a smaller font and takes up no logical time in a measure.
2185 @lilypond[relative=2,verbatim,fragment]
2187 \grace { c16[ d16] } c2 c4
2191 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2192 @code{\grace} command does not start a slur.
2194 Internally, timing for grace notes is done using a second, `grace'
2195 time. Every point in time consists of two rational numbers: one
2196 denotes the logical time, one denotes the grace timing. The above
2197 example is shown here with timing tuples:
2199 @lilypond[raggedright]
2202 c4 \grace c16 c4 \grace {
2205 \new Lyrics \lyrics {
2208 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2209 \markup { (\fraction 1 4 , 0 ) } 4
2211 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2212 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2214 \markup { ( \fraction 2 4 , 0 ) }
2219 The placement of grace notes is synchronized between different staves.
2220 In the following example, there are two sixteenth graces notes for
2221 every eighth grace note:
2223 @lilypond[relative=2,verbatim,fragment]
2224 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2225 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2230 If you want to end a note with a grace, then the standard trick
2231 is to put the grace notes after a ``space note'', e.g.
2232 @lilypond[fragment,verbatim,relative=2]
2235 { s2 \grace { c16[ d] } } >>
2241 By adjusting the duration of the skip note (here it is a half-note),
2242 the space between the main-note and the grace is adjusted.
2245 A @code{\grace} section will introduce special typesetting settings,
2246 for example, to produce smaller type, and set directions. Hence, when
2247 introducing layout tweaks, they should be inside the grace section,
2249 @lilypond[fragment,verbatim,relative=1]
2252 \override Stem #'direction = #-1
2254 \revert Stem #'direction
2261 The overrides should also be reverted inside the grace section.
2263 If the layout of grace sections must be changed throughout the music,
2264 then this can be accomplished through the function
2265 @code{add-grace-property}. The following example
2266 undefines the Stem direction grace section, so stems do not always
2271 #(add-grace-property "Voice" Stem direction '())
2277 Another option is to change the variables @code{startGraceMusic},
2278 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2279 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2280 @code{stopAppoggiaturaMusic}. More information is in the file
2281 @file{ly/grace-init.ly}.
2286 Internals: @internalsref{GraceMusic}.
2290 A score that starts with an @code{\grace} section needs an explicit
2291 @code{\context Voice} declaration, otherwise the main note and grace
2292 note end up on different staves.
2294 Grace note synchronization can also lead to surprises. Staff notation,
2295 such as key signatures, barlines, etc. are also synchronized. Take
2296 care when you mix staves with grace notes and staves without, for example,
2298 @lilypond[relative=2,verbatim,fragment]
2299 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2300 \new Staff { c4 \bar "|:" d4 } >>
2303 Grace sections should only be used within sequential music
2304 expressions. Nesting or juxtaposing grace sections is not supported,
2305 and might produce crashes or other errors.
2309 @subsection Glissando
2312 @cindex @code{\glissando}
2314 A glissando is a smooth change in pitch. It is denoted by a line or a
2315 wavy line between two notes.
2319 A glissando line can be requested by attaching a @code{\glissando} to
2322 @lilypond[fragment,relative,verbatim]
2328 Internals: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2333 Adding additional texts (such as @emph{gliss.}) is not supported.
2337 @subsection Dynamics
2350 @cindex @code{\ffff}
2360 Absolute dynamic marks are specified using an variable after a
2361 note: @code{c4\ff}. The available dynamic marks are @code{\ppp},
2362 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2363 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2364 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
2366 @lilypond[verbatim,raggedright,fragment,relative]
2367 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2373 @cindex @code{\decr}
2374 @cindex @code{\rced}
2381 A crescendo mark is started with @code{\<} and terminated with
2382 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2383 with @code{\!}. Because these marks are bound to notes, if you must
2384 use spacer notes if multiple marks during one note are needed:
2386 @lilypond[fragment,verbatim,center,quote]
2387 c''\< c''\! d''\decr e''\rced
2388 << f''1 { s4 s4\< s4\! \> s4\! } >>
2390 This may give rise to very short hairpins. Use @code{minimum-length}
2391 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2395 \override Staff.Hairpin #'minimum-length = #5
2398 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2399 is an example how to do it:
2401 @lilypond[fragment,relative=2,verbatim]
2402 c4 \cresc c4 c c c \endcresc c4
2408 You can also supply your own texts:
2409 @lilypond[fragment,relative,verbatim]
2411 \set crescendoText = \markup { \italic "cresc. poco" }
2412 \set crescendoSpanner = #'dashed-line
2422 @cindex @code{\dynamicUp}
2424 @cindex @code{\dynamicDown}
2425 @code{\dynamicDown},
2426 @cindex @code{\dynamicBoth}
2427 @code{\dynamicBoth}.
2429 @cindex direction, of dynamics
2433 Internals: @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, and
2434 @internalsref{AbsoluteDynamicEvent}.
2436 Dynamics are objects of @internalsref{DynamicText} and
2437 @internalsref{Hairpin}. Vertical positioning of these symbols is
2438 handled by the @internalsref{DynamicLineSpanner} object.
2440 If you want to adjust padding or vertical direction of the dynamics, you
2441 must set properties for the @internalsref{DynamicLineSpanner} object.
2449 @cindex @code{\repeat}
2452 Repetition is a central concept in music, and multiple notations exist
2453 for repetitions. In LilyPond, most of these notations can be captured
2454 in a uniform syntax. One of the advantages is that they can be
2455 rendered in MIDI accurately.
2457 The following types of repetition are supported:
2461 Repeated music is fully written (played) out. Useful for MIDI
2462 output, and entering repetitive music.
2465 This is the normal notation: Repeats are not written out, but
2466 alternative endings (voltas) are printed, left to right.
2470 Alternative endings are written stacked. This has limited use but may be
2471 used to typeset two lines of lyrics in songs with repeats, see
2472 @inputfileref{input,star-spangled-banner.ly}.
2480 Make beat or measure repeats. These look like percent signs.
2486 * Repeats and MIDI::
2487 * Manual repeat commands::
2489 * Tremolo subdivisions::
2494 @subsection Repeat syntax
2498 LilyPond has one syntactic construct for specifying different types of
2499 repeats. The syntax is
2502 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2505 If you have alternative endings, you may add
2506 @cindex @code{\alternative}
2508 \alternative @code{@{} @var{alternative1}
2510 @var{alternative3} @dots{} @code{@}}
2512 where each @var{alternative} is a music expression. If you do not
2513 give enough alternatives for all of the repeats, then the first
2514 alternative is assumed to be played more than once.
2516 Normal notation repeats are used like this:
2517 @lilypond[fragment,verbatim,relative=1]
2519 \repeat volta 2 { c4 d e f }
2520 \repeat volta 2 { f e d c }
2523 With alternative endings:
2524 @lilypond[fragment,verbatim,relative=1]
2526 \repeat volta 2 {c4 d e f}
2527 \alternative { {d2 d} {f f,} }
2531 @lilypond[fragment,verbatim,relative=1]
2534 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2535 \alternative { { g4 g g } { a | a a a a | b2. } }
2541 If you do a nested repeat like
2550 then it is ambiguous to which @code{\repeat} the @code{\alternative}
2551 belongs. This ambiguity is resolved by always having the
2552 @code{\alternative} belong to the inner @code{\repeat}. For clarity,
2553 it is advisable to use braces in such situations.
2556 @node Repeats and MIDI
2557 @subsection Repeats and MIDI
2559 @cindex expanding repeats
2561 For instructions on how to unfold repeats for MIDI output, see the
2562 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2567 Timing information is not remembered at the start of an alternative,
2568 so after a repeat timing information must be reset by hand, for
2569 example by setting @code{Score.measurePosition} or entering
2570 @code{\partial}. Similarly, slurs or ties are also not repeated.
2573 @node Manual repeat commands
2574 @subsection Manual repeat commands
2576 @cindex @code{repeatCommands}
2578 The property @code{repeatCommands} can be used to control the layout of
2579 repeats. Its value is a Scheme list of repeat commands, where each repeat
2583 @item the symbol @code{start-repeat},
2584 which prints a @code{|:} bar line,
2585 @item the symbol @code{end-repeat},
2586 which prints a @code{:|} bar line,
2587 @item the list @code{(volta @var{text})},
2588 which prints a volta bracket saying @var{text}: The text can be specified as
2589 a text string or as a markup text, see @ref{Text markup}. Do not
2590 forget to change the font, as the default number font does not contain
2591 alphabetic characters. Or,
2592 @item the list @code{(volta #f)}, which
2593 stops a running volta bracket:
2596 @lilypond[verbatim,fragment,relative=2]
2598 \set Score.repeatCommands = #'((volta "93") end-repeat)
2600 \set Score.repeatCommands = #'((volta #f))
2607 Internals: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2608 @internalsref{VoltaRepeatedMusic},
2609 @internalsref{UnfoldedRepeatedMusic}, and
2610 @internalsref{FoldedRepeatedMusic}.
2612 @node Tremolo repeats
2613 @subsection Tremolo repeats
2614 @cindex tremolo beams
2616 To place tremolo marks between notes, use @code{\repeat} with tremolo
2618 @lilypond[verbatim,raggedright]
2620 \context Voice \notes\relative c' {
2621 \repeat "tremolo" 8 { c16 d16 }
2622 \repeat "tremolo" 4 { c16 d16 }
2623 \repeat "tremolo" 2 { c16 d16 }
2628 Tremolo marks can also be put on a single note. In this case, the
2629 note should not be surrounded by braces.
2630 @lilypond[verbatim,raggedright]
2631 \repeat "tremolo" 4 c16
2634 A similar mechanism is the tremolo subdivision, described in
2635 @ref{Tremolo subdivisions}.
2639 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2641 Internals: tremolo beams are @internalsref{Beam} objects. Single stem
2642 tremolos are @internalsref{StemTremolo}s. The music expression is
2643 @internalsref{TremoloEvent}.
2645 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2646 @inputfileref{input/regression,stem-tremolo.ly}.
2648 @node Tremolo subdivisions
2649 @subsection Tremolo subdivisions
2650 @cindex tremolo marks
2651 @cindex @code{tremoloFlags}
2653 Tremolo marks can be printed on a single note by adding
2654 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2655 A @var{length} value of 8 gives one line across the note stem. If the
2656 length is omitted, then then the last value (stored in
2657 @code{tremoloFlags}) is used:
2659 @lilypond[verbatim,fragment,center]
2660 c'2:8 c':32 | c': c': |
2663 @c [TODO : stok is te kort bij 32en]
2667 Tremolos in this style do not carry over into the MIDI output.
2671 In this manual: @ref{Tremolo repeats}.
2673 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
2675 @node Measure repeats
2676 @subsection Measure repeats
2678 @cindex percent repeats
2679 @cindex measure repeats
2681 In the @code{percent} style, a note pattern can be repeated. It is
2682 printed once, and then the pattern is replaced with a special sign.
2683 Patterns of a one and two measures are replaced by percent-like signs,
2684 patterns that divide the measure length are replaced by slashes:
2686 @lilypond[verbatim,raggedright]
2687 \context Voice { \repeat "percent" 4 { c'4 }
2688 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2694 Internals: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2695 @internalsref{PercentRepeatedMusic}, and
2696 @internalsref{DoublePercentRepeat}.
2700 @node Rhythmic music
2701 @section Rhythmic music
2705 * Showing melody rhythms::
2706 * Entering percussion::
2707 * Percussion staves::
2711 @node Showing melody rhythms
2712 @subsection Showing melody rhythms
2714 Sometimes you might want to show only the rhythm of a melody. This
2715 can be done with the rhythmic staff. All pitches of notes on such a
2716 staff are squashed, and the staff itself has a single line:
2718 @lilypond[fragment,relative,verbatim]
2719 \context RhythmicStaff {
2721 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2727 Internals: @internalsref{RhythmicStaff}.
2729 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
2732 @node Entering percussion
2733 @subsection Entering percussion
2740 Percussion notes may be entered in @code{\drums} mode, which is
2741 similar to @code{notes}. Each piece of percussion has a full name and
2742 an abbreviated name, and both be used in input files:
2744 @lilypond[raggedright]
2745 \drums { hihat4 hh4 }
2748 The complete list of drum names is in the init file
2749 @file{ly/drumpitch-init.ly}.
2750 @c TODO: properly document this.
2754 Internals: @internalsref{DrumNoteEvent}.
2756 @node Percussion staves
2757 @subsection Percussion staves
2761 A percussion part for more than one instrument typically uses a
2762 multiline staff where each position in the staff refers to one piece
2766 To typeset the music, the notes must be interpreted in a
2767 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts:
2770 @lilypond[raggedright,verbatim,quote]
2771 up = \drums { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2772 down = \drums { bassdrum4 snare8 bd r bd sn4 }
2775 << \new DrumVoice { \voiceOne \up }
2776 \new DrumVoice { \voiceTwo \down }
2780 The above example shows verbose polyphonic notation. The short
2781 polyphonic notation, described in @ref{Polyphony}, can also be used if
2782 the @internalsref{DrumVoices} are instantiated by hand first. For example,
2785 \drums \new DrumStaff <<
2786 \context DrumVoice = "1" { s1 *2 }
2787 \context DrumVoice = "2" { s1 *2 }
2791 { \repeat unfold 16 hh16 }
2800 There are also other layout possibilities. To use these, set the
2801 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
2802 The following variables have been predefined:
2806 is the default. It typesets a typical drum kit on a five-line staff
2809 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2810 bd sn ss tomh tommh tomml toml tomfh tomfl }
2811 mus = \drums { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
2812 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2814 << \new DrumStaff\with {
2815 \remove Bar_engraver
2816 \remove Time_signature_engraver
2817 \override Stem #'transparent = ##t
2818 \override Stem #'Y-extent-callback = ##f
2819 minimumVerticalExtent = #'(-4.0 . 5.0)
2821 \context Lyrics \nam
2824 %% need to do this, because of indented @itemize
2826 \translator { \ScoreContext
2827 \override BarNumber #'transparent =##T
2831 The drum scheme supports six different toms. When there fewer toms, simply
2832 select the toms that produce the desired result, i.e. to get toms on
2833 the three middle lines you use @code{tommh}, @code{tomml} and
2836 @item timbales-style
2837 to typeset timbales on a two line staff:
2839 @lilypond[raggedright]
2840 nam = \lyrics { timh ssh timl ssl cb }
2841 mus = \drums { timh ssh timl ssl cb s16 }
2844 \context DrumStaff \with {
2845 \remove Bar_engraver
2846 \remove Time_signature_engraver
2847 \override Stem #'transparent = ##t
2848 \override Stem #'Y-extent-callback = ##f
2849 \override StaffSymbol #'line-count = #2
2850 \override StaffSymbol #'staff-space = #2
2851 minimumVerticalExtent = #'(-3.0 . 4.0)
2852 drumStyleTable = #timbales-style
2854 \context Lyrics \nam
2859 to typeset congas on a two line staff:
2861 @lilypond[raggedright]
2862 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2863 mus = \drums { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2866 \context DrumStaff\with {
2867 \remove Bar_engraver
2868 \remove Time_signature_engraver
2869 drumStyleTable = #congas-style
2870 \override StaffSymbol #'line-count = #2
2872 %% this sucks; it will lengthen stems.
2873 \override StaffSymbol #'staff-space = #2
2874 \override Stem #'transparent = ##t
2875 \override Stem #'Y-extent-callback = ##f
2877 \context Lyrics \nam
2882 to typeset bongos on a two line staff:
2884 @lilypond[raggedright]
2885 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2886 mus = \drums { boh boho bohm ssh bol bolo bolm ssl s16 }
2889 \context DrumStaff\with {
2890 \remove Bar_engraver
2891 \remove Time_signature_engraver
2892 \override StaffSymbol #'line-count = #2
2893 drumStyleTable = #bongos-style
2895 %% this sucks; it will lengthen stems.
2896 \override StaffSymbol #'staff-space = #2
2897 \override Stem #'transparent = ##t
2898 \override Stem #'Y-extent-callback = ##f
2900 \context Lyrics \nam
2905 @item percussion-style
2906 to typeset all kinds of simple percussion on one line staves:
2907 @lilypond[raggedright]
2908 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2909 mus = \drums { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2912 \context DrumStaff\with{
2913 \remove Bar_engraver
2914 drumStyleTable = #percussion-style
2915 \override StaffSymbol #'line-count = #1
2916 \remove Time_signature_engraver
2917 \override Stem #'transparent = ##t
2918 \override Stem #'Y-extent-callback = ##f
2920 \context Lyrics \nam
2926 If you do not like any of the predefined lists you can define your own
2927 list at the top of your file:
2929 @lilypond[raggedright,verbatim]
2931 (bassdrum default #f -1)
2932 (snare default #f 0)
2934 (pedalhihat xcircle "stopped" 2)
2935 (lowtom diamond #f 3)
2937 up = \drums { hh8 hh hh hh hhp4 hhp }
2938 down = \drums { bd4 sn bd toml8 toml }
2941 \set DrumStaff.drumStyleTable
2942 = #(alist->hash-table mydrums)
2943 \new DrumVoice { \voiceOne \up }
2944 \new DrumVoice { \voiceTwo \down }
2952 Init files: @file{ly/drumpitch-init.ly}.
2954 Internals: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
2958 Short polyphonic notation, @code{<< @dots{} \\ @dots{} >>}, does not
2959 work for @internalsref{DrumVoices}.
2961 Because general MIDI does not contain rimshots the sidestick is used
2962 for this purpose instead.
2965 @section Piano music
2967 Piano staves are two normal staves coupled with a brace. The staves
2968 are largely independent, but sometimes voices can cross between the
2969 two staves. The same notation is also used for harps and other key
2970 instruments. The @internalsref{PianoStaff} is especially built to
2971 handle this cross-staffing behavior. In this section we discuss the
2972 @internalsref{PianoStaff} and some other pianistic peculiarities.
2976 * Automatic staff changes::
2977 * Manual staff switches::
2980 * Staff switch lines::
2985 There is no support for putting chords across staves. You can get
2986 this result by increasing the length of the stem in the lower stave so
2987 it reaches the stem in the upper stave, or vice versa. An example is
2988 included with the distribution as
2989 @inputfileref{input/test,stem-cross-staff.ly}.
2991 Dynamics are not centered, but kludges do exist. See
2992 @inputfileref{input/template,piano-dynamics.ly}.
2994 @cindex cross staff stem
2995 @cindex stem, cross staff
2997 The distance between the two staves is normally fixed across the
2998 entire score. It is possible to tune this per system, but it does
2999 require arcane command incantations. See
3000 @inputfileref{input/test,piano-staff-distance.ly}.
3007 @node Automatic staff changes
3008 @subsection Automatic staff changes
3009 @cindex Automatic staff changes
3011 Voices can switch automatically between the top and the bottom
3012 staff. The syntax for this is
3014 \autochange \context Voice @{ @dots{}@var{music}@dots{} @}
3016 The two staffs of the piano staff must be named @code{up} and
3019 The autochanger switches on basis of pitch (central C is the turning
3020 point), and it looks ahead skipping over rests to switch in
3021 advance. Here is a practical example:
3023 @lilypond[verbatim,raggedright,quote]
3024 \score { \notes \context PianoStaff <<
3025 \context Staff = "up" {
3026 \autochange \new Voice \relative c' {
3027 g4 a b c d r4 a g } }
3028 \context Staff = "down" {
3035 In this example, spacer rests are used to prevent the bottom staff from
3036 terminating too soon.
3041 In this manual: @ref{Manual staff switches}.
3043 Internals: @internalsref{AutoChangeMusic}.
3049 The staff switches often do not end up in optimal places. For high
3050 quality output, staff switches should be specified manually.
3054 @node Manual staff switches
3055 @subsection Manual staff switches
3057 @cindex manual staff switches
3058 @cindex staff switch, manual
3060 Voices can be switched between staves manually, using the following command:
3062 \change Staff = @var{staffname} @var{music}
3066 The string @var{staffname} is the name of the staff. It switches the
3067 current voice from its current staff to the Staff called
3068 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3077 Pianos have pedals that alter the way sound are produced. Generally, a
3078 piano has three pedals, sustain, una corda, and sostenuto.
3082 Piano pedal instruction can be expressed by attaching
3083 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3084 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3087 @lilypond[fragment,verbatim]
3088 c'4\sustainDown c'4\sustainUp
3091 What is printed can be modified by setting @code{pedal@var{X}Strings},
3092 where @var{X} is one of the pedal types: @code{Sustain},
3093 @code{Sostenuto} or @code{UnaCorda}. Refer to the generated
3094 documentation of @internalsref{SustainPedal} for more information.
3096 Pedals can also be indicated by a sequence of brackets, by setting the
3097 @code{pedalSustainStyle} property to @code{bracket} objects:
3099 @lilypond[fragment,verbatim]
3100 \set Staff.pedalSustainStyle = #'bracket
3101 c''4\sustainDown d''4 e''4
3102 a'4\sustainUp\sustainDown
3103 f'4 g'4 a'4\sustainUp
3106 A third style of pedal notation is a mixture of text and brackets,
3107 obtained by setting the @code{pedalSustainStyle} style property to
3110 @lilypond[fragment,verbatim]
3111 \set Staff.pedalSustainStyle = #'mixed
3112 c''4\sustainDown d''4 e''4
3113 c'4\sustainUp\sustainDown
3114 f'4 g'4 a'4\sustainUp
3117 The default `*Ped' style for sustain and damper pedals corresponds to
3118 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3121 @lilypond[fragment,verbatim]
3122 c''4\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4\sostenutoUp
3125 For fine-tuning of the appearance of a pedal bracket, the properties
3126 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3127 @code{PianoPedalBracket} objects (see
3128 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3129 bracket may be extended to the end of the note head:
3131 @lilypond[fragment,verbatim]
3132 \override Staff.PianoPedalBracket
3133 #'shorten-pair = #'(0 . -1.0)
3134 c''4\sostenutoDown d''4 e''4 c'4
3135 f'4 g'4 a'4\sostenutoUp
3139 @subsection Arpeggio
3142 @cindex broken arpeggio
3143 @cindex @code{\arpeggio}
3145 You can specify an arpeggio sign on a chord by attaching an
3146 @code{\arpeggio} to a chord:
3149 @lilypond[fragment,relative,verbatim]
3153 When an arpeggio crosses staves, you attach an arpeggio to the chords
3154 in both staves, and set
3155 @internalsref{PianoStaff}.@code{connectArpeggios}:
3157 @lilypond[fragment,relative,verbatim]
3158 \context PianoStaff <<
3159 \set PianoStaff.connectArpeggios = ##t
3160 \new Staff { <c' e g c>\arpeggio }
3161 \new Staff { \clef bass <c,, e g>\arpeggio }
3165 The direction of the arpeggio is sometimes denoted by adding an
3166 arrowhead to the wiggly line. This can be typeset by setting
3167 @code{arpeggio-direction}:
3169 @lilypond[fragment,relative,verbatim]
3171 \override Arpeggio #'arpeggio-direction = #1
3173 \override Arpeggio #'arpeggio-direction = #-1
3178 A square bracket on the left indicates that the player should not
3179 arpeggiate the chord. To draw these brackets, set the
3180 @code{print-function} property of @code{Arpeggio} or
3181 @code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
3182 @code{\arpeggio} statements within the chords as before:
3184 @lilypond[fragment,relative,verbatim]
3185 \override PianoStaff.Arpeggio
3186 #'print-function = \arpeggioBracket
3192 @cindex @code{\arpeggioBracket}
3193 @code{\arpeggioBracket},
3194 @cindex @code{\arpeggio}
3199 Internals: @internalsref{ArpeggioEvent} music expressions lead to
3200 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3201 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3205 It is not possible to mix connected arpeggios and unconnected
3206 arpeggios in one @internalsref{PianoStaff} at the same time.
3208 @node Staff switch lines
3209 @subsection Staff switch lines
3212 @cindex follow voice
3213 @cindex staff switching
3216 @cindex @code{followVoice}
3218 Whenever a voice switches to another staff a line connecting the notes
3219 can be printed automatically. This is enabled if the property
3220 @code{PianoStaff.followVoice} is set to true:
3222 @lilypond[fragment,relative,verbatim]
3223 \context PianoStaff <<
3224 \set PianoStaff.followVoice = ##t
3225 \context Staff \context Voice {
3230 \context Staff=two { \clef bass \skip 1*2 }
3234 The associated object is @internalsref{VoiceFollower}.
3238 @cindex @code{\showStaffSwitch}
3239 @code{\showStaffSwitch},
3240 @cindex @code{\hideStaffSwitch}
3241 @code{\hideStaffSwitch}.
3245 @section Vocal music
3247 This section discusses how to enter and print lyrics.
3251 * The Lyrics context::
3256 @node Entering lyrics
3257 @subsection Entering lyrics
3261 @cindex @code{\lyrics}
3264 Lyrics are entered in a special input mode. This mode is is introduced
3265 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3266 punctuation and accents without any hassle. Syllables are entered like
3267 notes, but with pitches replaced by text. For example,
3269 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3272 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3273 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3274 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3275 any 8-bit character with ASCII code over 127, or a two-character
3276 combination of a backslash followed by one of @code{`}, @code{'},
3277 @code{"}, or @code{^}.
3279 Subsequent characters of a word can be any character that is not a digit
3280 and not white space. One important consequence of this is that a word
3281 can end with @code{@}}. The following example is usually a bug. The
3282 syllable includes a @code{@}}, and hence the opening brace is not balanced:
3284 \lyrics @{ twinkle@}
3287 @cindex @code{\property}, in @code{\lyrics}
3288 Similarly, a period following a alphabetic sequence, is included in
3289 the resulting string. As a consequence, spaces must be inserted around
3292 \override Score . LyricText #'font-shape = #'italic
3296 @cindex spaces, in lyrics
3297 @cindex quotes, in lyrics
3299 Any @code{_} character which appears in an unquoted word is converted
3300 to a space. This provides a mechanism for introducing spaces into words
3301 without using quotes. Quoted words can also be used in Lyrics mode to
3302 specify words that cannot be written with the above rules:
3305 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3309 Hyphens can be entered as ordinary hyphens at the end of a syllable, i.e.
3314 These will be attached to the end of the first syllable.
3316 Centered hyphens are entered using the special `@code{-}@code{-}' lyric
3317 as a separate word between syllables. The hyphen will have variable
3318 length depending on the space between the syllables and it will be
3319 centered between the syllables.
3324 When a lyric is sung over many notes (this is called a melisma), this is
3325 indicated with a horizontal line centered between a syllable and the
3326 next one. Such a line is called an extender line, and it is entered as
3331 Internals: @internalsref{LyricEvent}, @internalsref{HyphenEvent}, and
3332 @internalsref{ExtenderEvent}.
3334 Examples: @inputfileref{input/test,lyric-hyphen-retain.ly}.
3338 The definition of lyrics mode is too complex.
3342 @node The Lyrics context
3343 @subsection The Lyrics context
3345 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context:
3347 \context Lyrics \lyrics @dots{}
3350 @cindex automatic syllable durations
3351 @cindex @code{\lyricsto}
3352 @cindex lyrics and melodies
3354 This will place the lyrics according to the durations that were
3355 entered. The lyrics can also be aligned under a given melody
3356 automatically. In this case, it is no longer necessary to enter the
3357 correct duration for each syllable. This is achieved by combining the
3358 melody and the lyrics with the @code{\lyricsto} expression:
3360 \lyricsto @var{name} \new Lyrics @dots{}
3363 This aligns the lyrics to the
3365 notes of the @internalsref{Voice} context called @var{name}, which has
3366 to exist. Therefore, normally the @code{Voice} is specified first, and
3367 then the lyrics are specified with @code{\lyricsto}.
3369 For different or more complex orderings, the best way is to setup the
3370 hierarchy of staves and lyrics first, e.g.
3372 \context ChoirStaff \notes <<
3373 \context Lyrics = sopranoLyrics @{ s1 @}
3374 \context Voice = soprano @{ @emph{music} @}
3375 \context Lyrics = tenor @{ s1 @}
3376 \context Voice = tenorLyrics @{ @emph{music} @}
3379 and then combine the appropriate melodies and lyric lines:
3381 \lyricsto "soprano" \new Lyrics @emph{the lyrics}
3385 The final input would resemble
3388 << \context ChoirStaff \notes << @emph{setup the music} >>
3389 \lyricsto "soprano" @emph{etc}
3390 \lyricsto "alto" @emph{etc}
3396 The @code{\lyricsto} command detects melismata: it only puts one
3397 syllable under a tied or slurred group of notes. If you want to force
3398 an unslurred group of notes to be a melisma, then insert
3399 @code{\melisma} after the first note of the group, and
3400 @code{\melismaEnd} after the last one, e.g.
3402 @lilypond[relative=1,raggedright,fragment,verbatim]
3403 << \context Voice = "lala" { \time 3/4
3409 \lyricsto "lala" \new Lyrics \lyrics {
3414 In addition, notes are considered a melisma if they are manually
3415 beamed, and automatic beaming (see @ref{Setting automatic beam
3416 behavior}) is switched off. The criteria for deciding melismata
3417 can be tuned with the property @code{melismaBusyProperties}. See
3418 @internalsref{Melisma_translator} for more information.
3420 When multiple stanzas are put on the same melody, it can happen that
3421 two stanzas have melismata in different locations. This can be
3422 remedied by switching off melismata for one
3423 @internalsref{Lyrics}. This is achieved by setting
3424 the @code{ignoreMelismata} property to @code{#t}. An example is shown
3425 in @inputfileref{input/regression,lyric-combine-new.ly}.
3428 @cindex choral score
3430 A complete example of a SATB score setup is in the file
3431 @inputfileref{input/template,satb.ly}.
3436 @code{\melisma}, @code{\melismaEnd}
3437 @cindex @code{\melismaEnd}
3438 @cindex @code{\melisma}
3442 Internals: Music expressions: @internalsref{LyricCombineMusic},
3443 Contexts: @internalsref{Lyrics}, @internalsref{Melisma_translator}.
3445 Examples: @inputfileref{input/template,satb.ly},
3446 @inputfileref{input/regression,lyric-combine-new.ly}.
3450 Melismata are not detected automatically, and extender lines must be
3454 For proper processing of extender lines, the
3455 @internalsref{Lyrics} and @internalsref{Voice} should be
3456 linked. This can be achieved either by using @code{\lyricsto} or by
3457 setting corresponding names for both contexts. The latter is explained
3458 in @ref{More stanzas}.
3461 @subsection More stanzas
3463 @cindex phrasing, in lyrics
3466 The lyrics should be aligned with the note heads of the melody. To
3467 achieve this, each line of lyrics should be marked to correspond with
3468 the melodic line. This is done automatically when @code{\lyricsto},
3469 but it can also be done manually.
3471 To this end, give the @internalsref{Voice} context an identity:
3473 \context Voice = duet @{
3478 Then set the @internalsref{Lyrics} contexts to names starting with
3479 that identity followed by a dash. In the preceding example, the
3480 @internalsref{Voice} identity is @code{duet}, so the identities of the
3481 @internalsref{Lyrics}s are marked @code{duet-1} and @code{duet-2}:
3483 \context Lyrics = "duet-1" @{
3484 Hi, my name is bert. @}
3485 \context Lyrics = "duet-2" @{
3486 Ooooo, ch\'e -- ri, je t'aime. @}
3489 The complete example is shown here:
3490 @lilypond[raggedright,verbatim]
3492 << \notes \relative c'' \context Voice = duet { \time 3/4
3494 \lyrics << \lyricsto "duet" \new Lyrics {
3496 \set vocNam = "Bert"
3497 Hi, my name is bert. }
3498 \lyricsto "duet" \new Lyrics {
3500 \set vocNam = "Ernie"
3501 Ooooo, ch\'e -- ri, je t'aime.
3507 @cindex stanza number
3508 @cindex singer's names
3509 @cindex name of singer
3511 Stanza numbers can be added by setting @code{stanza}, e.g.
3519 Notice how dots are surrounded with spaces in @code{\lyrics} mode, to
3520 prevent @code{stanza} being interpreted as a single
3523 This example also demonstrates how names of the singers can be added
3524 using @code{vocalName} analogous to instrument annotations for staves.
3525 A short version may be entered as @code{vocNam}.
3527 To make empty spaces in lyrics, use @code{\skip}.
3532 Internals: Layout objects @internalsref{LyricText} and
3533 @internalsref{VocalName}. Music expressions:
3534 @internalsref{LyricEvent}.
3540 Input for lyrics introduces a syntactical ambiguity:
3547 is interpreted as assigning a string identifier @code{\foo} such that
3548 it contains @code{"bar"}. However, it could also be interpreted as
3549 making or a music identifier @code{\foo} containing the syllable
3550 `bar'. The force the latter interpretation, use
3560 The term @emph{ambitus} (plural: ambituses) denotes a range of pitches
3561 for a given voice in a part of music. It also may denote the pitch
3562 range that a musical instrument is capable of playing. Most musical
3563 instruments have their ambitus standardized (or at least there is
3564 agreement upon the minimal ambitus of a particular type of
3565 instrument), such that a composer or arranger of a piece of music can
3566 easily meet the ambitus constraints of the targeted instrument.
3567 However, the ambitus of the human voice depends on individual
3568 physiological state, including education and training of the voice.
3569 Therefore, a singer potentially has to check for each piece of music
3570 if the ambitus of that piece meets his individual capabilities. This
3571 is why the ambitus of a piece may be of particular value to vocal
3574 The ambitus is typically notated on a per-voice basis at the very
3575 beginning of a piece, e.g. nearby the initial clef or time signature of
3576 each staff. The range is graphically specified by two noteheads, that
3577 represent the minimum and maximum pitch. Some publishers use a textual
3578 notation: they put the range in words in front of the corresponding
3579 staff. LilyPond only supports the graphical ambitus notation.
3581 To apply, add the @internalsref{Ambitus_engraver} to the
3582 @internalsref{Voice} context, i.e.
3588 \consists Ambitus_engraver
3593 This results in the following output:
3595 @lilypond[raggedright]
3596 upper = \notes \relative c {
3599 as'' c e2 bes f cis d4 e f2 g
3601 lower = \notes \relative c {
3604 e'4 b g a c es fis a cis b a g f e d2
3607 \context ChoirStaff {
3609 \new Staff { \upper }
3610 \new Staff { \lower }
3616 \consists Ambitus_engraver
3622 If you have multiple voices in a single staff, and you want a single
3623 ambitus per staff rather than per each voice, then add the
3624 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3625 rather than to the @internalsref{Voice} context.
3627 It is possible to tune individual ambituses for multiple voices on a
3628 single staff, for example by erasing or shifting them horizontally. An
3629 example is in @inputfileref{input/test,ambitus-mixed.ly}.
3633 Internals: @internalsref{Ambitus}.
3635 Examples: @inputfileref{input/regression,ambitus.ly},
3636 @inputfileref{input/test,ambitus-mixed.ly}.
3640 There is no collision handling in the case of multiple per-voice
3646 Tablature notation is used for notating music for plucked string
3647 instruments. It notates pitches not by using note heads, but by
3648 indicating on which string and fret a note must be played. LilyPond
3649 offers limited support for tablature.
3652 * Tablatures basic::
3653 * Non-guitar tablatures::
3656 @node Tablatures basic
3657 @subsection Tablatures basic
3658 @cindex Tablatures basic
3660 The string number associated to a note is given as a backslash
3661 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3662 string. By default, string 1 is the highest one, and the tuning
3663 defaults to the standard guitar tuning (with 6 strings). The notes
3664 are printed as tablature, by using @internalsref{TabStaff} and
3665 @internalsref{TabVoice} contexts:
3667 @lilypond[fragment,verbatim]
3668 \notes \context TabStaff {
3676 When no string is specified, the first string that does not give a
3677 fret number less than @code{minimumFret} is selected. The default
3678 value for @code{minimumFret} is 0:
3682 e8 fis gis a b cis' dis' e'
3683 \set TabStaff.minimumFret = #8
3684 e8 fis gis a b cis' dis' e'
3689 e8 fis gis a b cis' dis' e'
3690 \set TabStaff.minimumFret = #8
3691 e8 fis gis a b cis' dis' e'
3694 \context StaffGroup <<
3695 \context Staff { \clef "G_8" \frag }
3696 \context TabStaff { \frag }
3703 Internals: @internalsref{TabStaff}, @internalsref{TabVoice}, and
3704 @internalsref{StringNumberEvent}.
3708 Chords are not handled in a special way, and hence the automatic
3709 string selector may easily select the same string to two notes in a
3713 @node Non-guitar tablatures
3714 @subsection Non-guitar tablatures
3715 @cindex Non-guitar tablatures
3717 You can change the number of strings, by setting the number of lines
3718 in the @internalsref{TabStaff}.
3720 You can change the tuning of the strings. A string tuning is given as
3721 a Scheme list with one integer number for each string, the number
3722 being the pitch (measured in semitones relative to central C) of an
3723 open string. The numbers specified for @code{stringTuning} are the
3724 numbers of semitones to subtract or add, starting the specified pitch
3725 by default middle C, in string order. Thus, the notes are e, a, d, and
3728 @lilypond[fragment,verbatim]
3729 \context TabStaff <<
3730 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
3733 a,4 c' a e' e c' a e'
3738 It is possible to change the Scheme function to format the tablature
3739 note text. The default is @code{fret-number-tablature-format}, which
3740 uses the fret number. For instruments that do not use this notation,
3741 you can create a special tablature formatting function. This function
3742 takes three argument: string number, string tuning and note pitch.
3746 No guitar special effects have been implemented.
3751 @section Chord names
3754 LilyPond has support for both printing chord names. Chords may be
3755 entered in musical chord notation, i.e. @code{< .. >}, but they can
3756 also be entered by name. Internally, the chords are represented as a
3757 set of pitches, so they can be transposed:
3760 @lilypond[verbatim,raggedright]
3761 twoWays = \notes \transpose c c' {
3771 << \context ChordNames \twoWays
3772 \context Voice \twoWays >> }
3775 This example also shows that the chord printing routines do not try to
3776 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3782 * Printing chord names::
3787 @subsection Chords mode
3790 Chord mode is a mode where you can input sets of pitches using common
3791 names. It is introduced by the keyword @code{\chords}.
3792 In chords mode, a chord is entered by the root, which is entered
3793 like a common pitch:
3794 @lilypond[fragment,verbatim,quote,relative=1]
3795 \chords { es4. d8 c2 }
3800 Other chords may be entered by suffixing a colon, and introducing a
3801 modifier, and optionally, a number:
3803 @lilypond[fragment,verbatim,quote]
3804 \chords { e1:m e1:7 e1:m7 }
3806 The first number following the root is taken to be the `type' of the
3807 chord, thirds are added to the root until it reaches the specified
3809 @lilypond[fragment,verbatim]
3810 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3813 @cindex root of chord
3814 @cindex additions, in chords
3815 @cindex removals, in chords
3817 More complex chords may also be constructed adding separate steps
3818 to a chord. Additions are added after the number following
3819 the colon, and are separated by dots:
3821 @lilypond[verbatim,fragment,quote]
3822 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3824 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3826 @lilypond[verbatim,fragment,quote]
3827 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3829 Removals are specified similarly, and are introduced by a caret. They
3830 must come after the additions:
3831 @lilypond[verbatim,fragment]
3832 \chords { c^3 c:7^5 c:9^3.5 }
3835 Modifiers can be used to change pitches. The following modifiers are
3839 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3841 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3844 is the augmented chord. This modifier raises the 5th step.
3846 is the major 7th chord. This modifier raises the 7th step if present.
3848 is the suspended 4th or 2nd. This modifier removes the 3rd
3849 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3852 Modifiers can be mixed with additions:
3853 @lilypond[verbatim,fragment]
3854 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3857 @cindex modifiers, in chords.
3864 Since an unaltered 11 does not sound good when combined with an
3865 unaltered 13, the 11 is removed in this case (unless it is added
3868 @lilypond[fragment,verbatim]
3869 \chords { c:13 c:13.11 c:m13 }
3874 An inversion (putting one pitch of the chord on the bottom), as well
3875 as bass notes, can be specified by appending
3876 @code{/}@var{pitch} to the chord:
3877 @lilypond[fragment,verbatim,center]
3878 \chords { c1 c/g c/f }
3882 A bass note can be added instead of transposed out of the chord,
3883 by using @code{/+}@var{pitch}.
3885 @lilypond[fragment,verbatim,center]
3886 \chords { c1 c/+g c/+f }
3889 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3890 of the commands continue to work, for example, @code{r} and
3891 @code{\skip} can be used to insert rests and spaces, and property
3892 commands may be used to change various settings.
3898 Each step can only be present in a chord once. The following
3899 simply produces the augmented chord, since @code{5+} is interpreted
3902 @lilypond[verbatim,fragment]
3903 \chords { c:5.5-.5+ }
3907 @node Printing chord names
3908 @subsection Printing chord names
3910 @cindex printing chord names
3914 For displaying printed chord names, use the @internalsref{ChordNames} context.
3915 The chords may be entered either using the notation
3916 described above, or directly using @code{<} and @code{>}:
3918 @lilypond[verbatim,raggedright]
3920 \chords {a1 b c} <d' f' a'> <e' g' b'>
3924 \context ChordNames \scheme
3925 \context Staff \scheme
3930 You can make the chord changes stand out by setting
3931 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3932 display chord names when there is a change in the chords scheme and at
3933 the start of a new line:
3935 @lilypond[verbatim,linewidth=9\cm]
3937 c1:m c:m \break c:m c:m d
3941 \context ChordNames {
3942 \set chordChanges = ##t
3944 \context Staff \transpose c c' \scheme
3949 The default chord name layout is a system for Jazz music, proposed by
3950 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
3951 following properties:
3954 @cindex chordNameExceptions
3955 @item chordNameExceptions
3956 This is a list that contains the chords that have special formatting.
3958 @inputfileref{input/regression,chord-name-exceptions.ly}.
3959 @cindex exceptions, chord names.
3962 @cindex majorSevenSymbol
3963 @item majorSevenSymbol
3964 This property contains the markup object used for the 7th step, when
3965 it is major. Predefined options are @code{whiteTriangleMarkup} and
3966 @code{blackTriangleMarkup}. See
3967 @inputfileref{input/regression,chord-name-major7.ly} for an example.
3969 @cindex chordNameSeparator
3970 @item chordNameSeparator
3971 Different parts of a chord name are normally separated by a
3972 slash. By setting @code{chordNameSeparator}, you can specify other
3974 @lilypond[fragment,verbatim]
3975 \context ChordNames \chords {
3977 \set chordNameSeparator
3978 = \markup { \typewriter "|" }
3982 @cindex chordRootNamer
3983 @item chordRootNamer
3984 The root of a chord is usually printed as a letter with an optional
3985 alteration. The transformation from pitch to letter is done by this
3986 function. Special note names (for example, the German ``H'' for a
3987 B-chord) can be produced by storing a new function in this property.
3989 The pre-defined variables @code{\germanChords},
3990 @code{\semiGermanChords} set these variables.
3993 @cindex chordNoteNamer
3994 @item chordNoteNamer
3995 The default is to print single pitch, e.g. the bass note, using the
3996 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
3997 to a specialized function to change this behavior. For example, the
3998 base can be printed in lower case.
4003 There are also two other chord name schemes implemented: an alternate
4004 Jazz chord notation, and a systematic scheme called Banter chords. The
4005 alternate jazz notation is also shown on the chart in @ref{Chord name
4006 chart}. Turning on these styles is described in the input file
4007 @inputfileref{input/test,chord-names-jazz.ly}.
4011 @cindex chords, jazz
4016 @cindex @code{\germanChords}
4017 @code{\germanChords},
4018 @cindex @code{\semiGermanChords}
4019 @code{\semiGermanChords}.
4026 Examples: @inputfileref{input/regression,chord-name-major7.ly},
4027 @inputfileref{input/regression,chord-name-exceptions.ly},
4028 @inputfileref{input/test,chord-names-jazz.ly},
4029 @inputfileref{input/test,chord-names-german.ly}.
4031 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4036 Chord names are determined solely from the list of pitches. Chord
4037 inversions are not identified, and neither are added bass notes. This
4038 may result in strange chord names when chords are entered with the
4039 @code{< .. >} syntax.
4044 @node Orchestral music
4045 @section Orchestral music
4047 @cindex Writing parts
4049 Orchestral music involves some special notation, both in the full
4050 score and the individual parts. This section explains how to tackle
4051 some common problems in orchestral music.
4056 * Multiple staff contexts::
4059 * Instrument names::
4061 * Multi measure rests::
4062 * Automatic part combining::
4064 * Different editions from one source::
4065 * Sound output for transposing instruments::
4068 @node Multiple staff contexts
4069 @subsection Multiple staff contexts
4071 Polyphonic scores consist of many staves. These staves can be
4072 constructed in three different ways:
4074 @item The group is started with a brace at the left. This is done with the
4075 @internalsref{GrandStaff} context.
4076 @item The group is started with a bracket. This is done with the
4077 @internalsref{StaffGroup} context
4078 @item The group is started with a vertical line. This is the default
4082 @cindex Staff, multiple
4083 @cindex bracket, vertical
4084 @cindex brace, vertical
4091 @node Rehearsal marks
4092 @subsection Rehearsal marks
4093 @cindex Rehearsal marks
4095 @cindex @code{\mark}
4097 To print a rehearsal mark, use the @code{\mark} command:
4098 @lilypond[fragment,verbatim]
4109 (The letter I is skipped in accordance with engraving traditions.)
4111 The mark is incremented automatically if you use @code{\mark
4112 \default}, but you can also use an integer argument to set the mark
4113 manually. The value to use is stored in the property
4114 @code{rehearsalMark}.
4116 The style is defined by the property @code{markFormatter}. It is a
4117 function taking the current mark (an integer) and the current context
4118 as argument. It should return a markup object. In the following
4119 example, @code{markFormatter} is set to a canned procedure. After a
4120 few measures, it is set to function that produces a boxed number.
4122 @lilypond[verbatim,fragment,relative=1]
4123 \set Score.markFormatter = #format-mark-numbers
4126 \set Score.markFormatter
4127 = #(lambda (mark context)
4128 (make-bold-markup (make-box-markup (number->string mark))))
4133 The file @file{scm/translation-functions.scm} contains the definitions
4134 of @code{format-mark-numbers} (the default format) and
4135 @code{format-mark-letters}. They can be used as inspiration for other
4136 formatting functions.
4139 @cindex coda on bar line
4140 @cindex segno on bar line
4141 @cindex fermata on bar line
4142 @cindex bar lines, symbols on
4144 The @code{\mark} command can also be used to put signs like coda,
4145 segno and fermatas on a barline. Use @code{\markup} to
4146 to access the appropriate symbol:
4148 @lilypond[fragment,verbatim,relative=1]
4149 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4153 In this case, during line breaks, marks must also be printed at the
4154 end of the line, and not at the beginning. Use the following to force
4157 \override Score.RehearsalMark
4158 #'break-visibility = #begin-of-line-invisible
4164 @cindex barlines, putting symbols on
4168 Internals: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
4170 Init files: @file{scm/translation-functions.scm} contains the
4171 definition of @code{format-mark-numbers} and
4172 @code{format-mark-letters}. They can be used as inspiration for other
4173 formatting functions.
4175 Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
4176 @inputfileref{input/regression,rehearsal-mark-number.ly}.
4180 @subsection Bar numbers
4184 @cindex measure numbers
4185 @cindex currentBarNumber
4187 Bar numbers are printed by default at the start of the line. The
4188 number itself is stored in the
4189 @code{currentBarNumber} property,
4190 which is normally updated automatically for every measure.
4192 Bar numbers can be typeset at regular intervals instead of at the
4193 beginning of each line. This is illustrated in the following example,
4194 whose source is available as
4195 @inputfileref{input/test,bar-number-regular-interval.ly}:
4197 @lilypondfile[]{bar-number-regular-interval.ly}
4202 Internals: @internalsref{BarNumber}.
4204 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4205 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4209 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4210 there is one at the top. To solve this, the
4211 @code{padding} property of @internalsref{BarNumber} can be
4212 used to position the number correctly.
4214 @node Instrument names
4215 @subsection Instrument names
4217 In an orchestral score, instrument names are printed left side of the
4220 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4221 and @internalsref{Staff}.@code{instr}. This will print a string before
4222 the start of the staff. For the first start, @code{instrument} is
4223 used, for the next ones @code{instr} is used:
4226 @lilypond[verbatim,raggedright]
4227 \set Staff.instrument = "ploink " { c''4 }
4231 You can also use markup texts to construct more complicated instrument
4235 @lilypond[fragment,verbatim,raggedright]
4237 \set Staff.instrument = \markup {
4238 \column < "Clarinetti"
4251 Internals: @internalsref{InstrumentName}.
4255 When you put a name on a grand staff or piano staff the width of the
4256 brace is not taken into account. You must add extra spaces to the end of
4257 the name to avoid a collision.
4260 @subsection Transpose
4262 @cindex transposition of pitches
4263 @cindex @code{\transpose}
4265 A music expression can be transposed with @code{\transpose}. The syntax
4268 \transpose @var{from} @var{to} @var{musicexpr}
4271 This means that @var{musicexpr} is transposed by the interval between
4272 the pitches @var{from} and @var{to}: any note with pitch @code{from}
4273 is changed to @code{to}.
4276 For example, consider a piece written in the key of D major. If
4277 this piece is a little too low for its performer, it can be
4278 transposed up to E major with
4280 \tranpose d e @dots{}
4283 Consider a part written for violin (a C instrument). If
4284 this part is to be played on the A clarinet, the following
4285 transposition will produce the appropriate part
4288 \transpose a c @dots{}
4291 Since @var{from} and @var{to} are pitches, @code{\transpose} must be
4292 inside a @code{\notes} section. @code{\transpose} distinguishes
4293 between enharmonic pitches: both @code{\transpose c cis} or
4294 @code{\transpose c des} will transpose up half a tone. The first
4295 version will print sharps and the second version will print flats:
4297 @lilypond[raggedright,verbatim]
4298 mus =\notes { \key d \major cis d fis g }
4299 \score { \notes \context Staff {
4302 \transpose c g' \mus
4303 \transpose c f' \mus
4310 Internals: @internalsref{TransposedMusic}, and
4311 @internalsref{UntransposableMusic}.
4315 If you want to use both @code{\transpose} and @code{\relative}, then
4316 you must put @code{\transpose} outside of @code{\relative}, since
4317 @code{\relative} will have no effect music that appears inside a
4323 @node Multi measure rests
4324 @subsection Multi measure rests
4325 @cindex multi measure rests
4326 @cindex Rests, multi measure
4330 Multi measure rests are entered using `@code{R}'. It is specifically
4331 meant for full bar rests and for entering parts: the rest can expand
4332 to fill a score with rests, or it can be printed as a single
4333 multimeasure rest. This expansion is controlled by the property
4334 @code{Score.skipBars}. If this is set to true, empty measures will not
4335 be expanded, and the appropriate number is added automatically:
4337 @lilypond[fragment,verbatim]
4338 \time 4/4 r1 | R1 | R1*2
4339 \set Score.skipBars = ##t R1*17 R1*4
4342 The @code{1} in @code{R1} is similar to the duration notation used for
4343 notes. Hence, for time signatures other than 4/4, you must enter other
4344 durations. This can be done with augmentation dots or fractions:
4346 @lilypond[fragment,verbatim]
4347 \set Score.skipBars = ##t
4355 An @code{R} spanning a single measure is printed as either a whole rest
4356 or a breve, centered in the measure regardless of the time signature.
4358 @cindex text on multi-measure rest
4359 @cindex script on multi-measure rest
4360 @cindex fermata on multi-measure rest
4362 Texts can be added to multi-measure rests by using the
4363 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4364 replaced. If you need both texts and the number, you must add the
4365 number by hand. A variable (@code{\fermataMarkup}) is provided for
4369 @lilypond[verbatim,fragment]
4371 R2._\markup { "Ad lib" }
4375 If you want to have a text on the left end of a multi-measure rest,
4376 attach the text to a zero-length skip note, i.e.
4384 @cindex whole rests for a full measure
4388 Internals: @internalsref{MultiMeasureRestEvent},
4389 @internalsref{MultiMeasureTextEvent},
4390 @internalsref{MultiMeasureRestMusicGroup}, and
4391 @internalsref{MultiMeasureRest}.
4393 The layout object @internalsref{MultiMeasureRestNumber} is for the
4394 default number, and @internalsref{MultiMeasureRestText} for user
4399 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4400 over multi-measure rests.
4402 @cindex condensing rests
4404 There is no way to automatically condense multiple rests into a single
4405 multimeasure rest. Multi measure rests do not take part in rest
4408 Be careful when entering multimeasure rests followed by whole
4409 notes. The following will enter two notes lasting four measures each:
4413 When @code{skipBars} is set, then the result will look OK, but the
4414 bar numbering will be off.
4416 @node Automatic part combining
4417 @subsection Automatic part combining
4418 @cindex automatic part combining
4419 @cindex part combiner
4422 Automatic part combining is used to merge two parts of music onto a
4423 staff. It is aimed at typesetting orchestral scores. When the two
4424 parts are identical for a period of time, only one is shown. In
4425 places where the two parts differ, they are typeset as separate
4426 voices, and stem directions are set automatically. Also, solo and
4427 @emph{a due} parts are identified and can be marked.
4431 The syntax for part combining is
4434 \partcombine @var{musicexpr1} @var{musicexpr2}
4437 The music expressions will be interpreted as @internalsref{Voice} contexts.
4439 The following example demonstrates the basic functionality of the part
4440 combiner: putting parts on one staff, and setting stem directions and
4443 @lilypond[verbatim,raggedright,fragment,relative=1]
4444 \new Staff \partcombine
4453 The first @code{g} appears only once, although it was
4454 specified twice (once in each part). Stem, slur and tie directions are
4455 set automatically, depending whether there is a solo or unisono. The
4456 first part (with context called @code{one}) always gets up stems, and
4457 `solo', while the second (called @code{two}) always gets down stems and
4460 If you just want the merging parts, and not the textual markings, you
4461 may set the property @var{soloADue} to false:
4463 @lilypond[verbatim,raggedright,fragment]
4465 \set Staff.soloADue = ##f
4477 Internals: @internalsref{PartCombineMusic},
4478 @internalsref{SoloOneEvent}, and
4479 @internalsref{SoloTwoEvent}, and
4480 @internalsref{UnisonoEvent}.
4484 In @code{soloADue} mode, when the two voices play the same notes on and
4485 off, the part combiner may typeset @code{a2} more than once in a
4488 @code{\partcombine} can not be inside @code{\times}.
4493 @subsection Hiding staves
4495 @cindex Frenched scores
4496 @cindex Hiding staves
4498 In orchestral scores, staff lines that only have rests are usually
4499 removed. This saves some space. This style is called `French Score'.
4500 For @internalsref{Lyrics}, @internalsref{Lyrics},
4501 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4502 switched on by default. When these line of these contexts turn out
4503 empty after the line-breaking process, they are removed.
4505 For normal staves, a specialized @internalsref{Staff} context is
4506 available, which does the same: staves containing nothing (or only
4507 multi measure rests) are removed. The context definition is stored in
4508 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4509 in this example disappears in the second line:
4514 \notes \relative c' <<
4515 \new Staff { e4 f g a \break c1 }
4516 \new Staff { c4 d e f \break R1 }
4520 \translator { \RemoveEmptyStaffContext }
4525 The first page shows all staffs in full. If they should be removed
4526 from the first page too, set @code{remove-first} to false
4527 in @internalsref{RemoveEmptyVerticalGroup}.
4529 Another application is making ossia sections, i.e. alternative
4530 melodies on a separate piece of staff, with help of a Frenched
4531 staff. See @inputfileref{input/test,ossia.ly} for an example.
4534 @node Different editions from one source
4535 @subsection Different editions from one source
4537 The @code{\tag} command marks music expressions with a name. These
4538 tagged expressions can be filtered out later. With this mechanism it
4539 is possible to make different versions of the same music source.
4541 In the following example, we see two versions of a piece of music, one
4542 for the full score, and one with cue notes for the instrumental part:
4558 The same can be applied to articulations, texts, etc.: they are
4561 -\tag #@var{your-tag}
4563 to an articulation, for example,
4568 This defines a note with a conditional fingering indication.
4570 By applying the @code{remove-tag} function, tagged expressions can be
4571 filtered. For example,
4575 \apply #(remove-tag 'score) @var{the music}
4576 \apply #(remove-tag 'part) @var{the music}
4581 @lilypondfile[]{tag-filter.ly}
4583 The argument of the @code{\tag} command should be a symbol, or a list
4584 of symbols, for example,
4586 \tag #'(original-part transposed-part) @dots{}
4591 Examples: @inputfileref{input/regression,tag-filter.ly}.
4594 @node Sound output for transposing instruments
4595 @subsection Sound output for transposing instruments
4597 When you want to make a MIDI file from a score containing transposed
4598 and untransposed instruments, you have to instruct LilyPond the pitch
4599 offset (in semitones) for the transposed instruments. This is done
4600 using the @code{transposing} property. It does not affect printed
4603 @cindex @code{transposing}
4606 \set Staff.instrument = #"Cl. in B-flat"
4607 \set Staff.transposing = #-2
4611 @node Ancient notation
4612 @section Ancient notation
4614 @cindex Vaticana, Editio
4615 @cindex Medicaea, Editio
4620 @c [TODO: write more comprehensive introduction on ancient notation]
4622 Support for ancient notation is still under heavy development.
4623 Regardless of all of the current limitations (see the bugs section
4624 below for details), it includes features for mensural
4625 notation and Gregorian Chant notation. There is also limited support
4626 for figured bass notation.
4628 Many graphical objects provide a @code{style} property, see
4629 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4630 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4631 signatures}. By manipulating such a grob property, the typographical
4632 appearance of the affected graphical objects can be accomodated for a
4633 specific notation flavour without need for introducing any new
4637 Other aspects of ancient notation can not that easily be expressed as
4638 in terms of just changing a style property of a graphical object.
4639 Therefore, some notational concepts are introduced specifically for
4640 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4641 @ref{Ligatures}, and @ref{Figured bass}.
4645 * Ancient note heads::
4646 * Ancient accidentals::
4650 * Ancient time signatures::
4655 * Vaticana style contexts::
4658 If this all is way too much of documentation for you, and you just
4659 want to dive into typesetting without worrying too much about the
4660 details on how to customize a context, then you may have a look at the
4661 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4662 set up predefined style-specific voice and staff contexts, and
4663 directly go ahead with the note entry.
4667 Ligatures need special spacing that has not yet been implemented. As
4668 a result, there is too much space between ligatures most of the time,
4669 and line breaking often is unsatisfactory. Also, lyrics do not
4670 correctly align with ligatures.
4672 Accidentals must not be printed within a ligature, but instead need to
4673 be collected and printed in front of it.
4675 Augmentum dots within ligatures are not handled correctly.
4678 @node Ancient note heads
4679 @subsection Ancient note heads
4685 For ancient notation, a note head style other than the @code{default}
4686 style may be chosen. This is accomplished by setting the @code{style}
4687 property of the NoteHead object to the desired value (@code{baroque},
4688 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4689 differs from the @code{default} style only in using a square shape for
4690 @code{\breve} note heads. The @code{neo_mensural} style differs from
4691 the @code{baroque} style in that it uses rhomboidal heads for whole
4692 notes and all smaller durations. Stems are centered on the note
4693 heads. This style is in particular useful when transcribing mensural
4694 music, e.g. for the incipit. The @code{mensural} style finally
4695 produces note heads that mimick the look of note heads in historic
4696 printings of the 16th century.
4698 The following example demonstrates the @code{neo_mensural} style:
4700 @lilypond[fragment,raggedright,verbatim]
4701 \override NoteHead #'style = #'neo_mensural
4702 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4705 When typesetting a piece in Gregorian Chant notation, a Gregorian
4706 ligature engraver will automatically select the proper note heads,
4707 such there is no need to explicitly set the note head style. Still,
4708 the note head style can be set e.g. to @code{vaticana_punctum} to
4709 produce punctum neumes. Similarly, a mensural ligature engraver is
4710 used to automatically assemble mensural ligatures. See
4711 @ref{Ligatures} for how ligature engravers work.
4716 @ref{Percussion staves} use note head styles of their own that are
4717 frequently used in contemporary music notation.
4719 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
4720 overview over all available note head styles.
4723 @node Ancient accidentals
4724 @subsection Ancient accidentals
4730 Use the @code{style} property of grob @internalsref{Accidental} to
4731 select ancient accidentals. Supported styles are
4732 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4734 @lilypond[raggedright,staffsize=26]
4742 { " " \musicglyph #"accidentals-vaticana-1"
4743 " " \musicglyph #"accidentals-vaticana0" }
4747 { " " \musicglyph #"accidentals-medicaea-1" }
4751 { " " \musicglyph #"accidentals-hufnagel-1" }
4755 { " " \musicglyph #"accidentals-mensural-1"
4756 " " \musicglyph #"accidentals-mensural1" }
4765 \remove "Bar_number_engraver"
4769 \remove "Clef_engraver"
4770 \remove "Key_engraver"
4771 \remove "Time_signature_engraver"
4772 \remove "Staff_symbol_engraver"
4773 minimumVerticalExtent = ##f
4779 As shown, not all accidentals are supported by each style. When
4780 trying to access an unsupported accidental, LilyPond will switch to a
4781 different style, as demonstrated in
4782 @inputfileref{input/test,ancient-accidentals.ly}.
4784 Similarly to local accidentals, the style of the key signature can be
4785 controlled by the @code{style} property of the
4786 @internalsref{KeySignature} grob.
4790 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
4791 @ref{Accidentals} give a general introduction into the use of
4792 accidentals. @ref{Key signature} gives a general introduction into
4793 the use of key signatures.
4795 Internals: @internalsref{KeySignature}.
4797 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
4800 @subsection Ancient rests
4806 Use the @code{style} property of grob @internalsref{Rest} to select
4807 ancient accidentals. Supported styles are @code{classical},
4808 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4809 from the @code{default} style only in that the quarter rest looks like
4810 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4811 well for e.g. the incipit of a transcribed mensural piece of music.
4812 The @code{mensural} style finally mimicks the appearance of rests as
4813 in historic prints of the 16th century.
4815 The following example demonstrates the @code{neo_mensural} style:
4817 @lilypond[fragment,raggedright,verbatim]
4818 \override Rest #'style = #'neo_mensural
4819 r\longa r\breve r1 r2 r4 r8 r16
4822 There are no 32th and 64th rests specifically for the mensural or
4823 neo-mensural style. Instead, the rests from the default style will be
4824 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4827 There are no rests in Gregorian Chant notation; instead, it uses
4832 In this manual: @ref{Rests} gives a general introduction into the use of rests.
4836 @subsection Ancient clefs
4842 LilyPond supports a variety of clefs, many of them ancient.
4844 The following table shows all ancient clefs that are supported via the
4845 @code{\clef} command. Some of the clefs use the same glyph, but
4846 differ only with respect to the line they are printed on. In such
4847 cases, a trailing number in the name is used to enumerate these clefs.
4848 Still, you can manually force a clef glyph to be typeset on an
4849 arbitrary line, as described in @ref{Clef}. The note printed to the
4850 right side of each clef in the example column denotes the @code{c'}
4851 with respect to that clef.
4853 @multitable @columnfractions .3 .3 .3 .1
4857 @b{Description} @tab
4858 @b{Supported Clefs} @tab
4862 @code{clefs-neo_mensural_c} @tab
4863 modern style mensural C clef @tab
4864 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4865 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4866 @lilypond[relative,notime]
4867 \override Staff.TimeSignature #'transparent = ##t
4868 \clef "neo_mensural_c2" c
4872 @code{clefs-petrucci_c1}
4873 @code{clefs-petrucci_c2}
4874 @code{clefs-petrucci_c3}
4875 @code{clefs-petrucci_c4}
4876 @code{clefs-petrucci_c5}
4879 petrucci style mensural C clefs, for use on different stafflines
4880 (the examples shows the 2nd staffline C clef).
4890 @lilypond[relative,notime]
4891 \override Staff.TimeSignature #'transparent = ##t
4892 \clef "petrucci_c2" c
4896 @code{clefs-petrucci_f} @tab
4897 petrucci style mensural F clef @tab
4898 @code{petrucci_f} @tab
4899 @lilypond[relative,notime]
4900 \override Staff.TimeSignature #'transparent = ##t
4901 \clef "petrucci_f" c
4905 @code{clefs-petrucci_g} @tab
4906 petrucci style mensural G clef @tab
4907 @code{petrucci_g} @tab
4908 @lilypond[relative,notime]
4909 \override Staff.TimeSignature #'transparent = ##t
4910 \clef "petrucci_g" c
4914 @code{clefs-mensural_c} @tab
4915 historic style mensural C clef @tab
4916 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4917 @code{mensural_c4} @tab
4918 @lilypond[relative,notime]
4919 \override Staff.TimeSignature #'transparent = ##t
4920 \clef "mensural_c2" c
4924 @code{clefs-mensural_f} @tab
4925 historic style mensural F clef @tab
4926 @code{mensural_f} @tab
4927 @lilypond[relative,notime]
4928 \override Staff.TimeSignature #'transparent = ##t
4929 \clef "mensural_f" c
4933 @code{clefs-mensural_g} @tab
4934 historic style mensural G clef @tab
4935 @code{mensural_g} @tab
4936 @lilypond[relative,notime]
4937 \override Staff.TimeSignature #'transparent = ##t
4938 \clef "mensural_g" c
4942 @code{clefs-vaticana_do} @tab
4943 Editio Vaticana style do clef @tab
4944 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
4945 @lilypond[relative,notime]
4946 \override Staff.StaffSymbol #'line-count = #4
4947 \override Staff.TimeSignature #'transparent = ##t
4948 \clef "vaticana_do2" c
4952 @code{clefs-vaticana_fa} @tab
4953 Editio Vaticana style fa clef @tab
4954 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
4955 @lilypond[relative,notime]
4956 \override Staff.StaffSymbol #'line-count = #4
4957 \override Staff.TimeSignature #'transparent = ##t
4958 \clef "vaticana_fa2" c
4962 @code{clefs-medicaea_do} @tab
4963 Editio Medicaea style do clef @tab
4964 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
4965 @lilypond[relative,notime]
4966 \override Staff.StaffSymbol #'line-count = #4
4967 \override Staff.TimeSignature #'transparent = ##t
4968 \clef "medicaea_do2" c
4972 @code{clefs-medicaea_fa} @tab
4973 Editio Medicaea style fa clef @tab
4974 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
4975 @lilypond[relative,notime]
4976 \override Staff.StaffSymbol #'line-count = #4
4977 \override Staff.TimeSignature #'transparent = ##t
4978 \clef "medicaea_fa2" c
4982 @code{clefs-hufnagel_do} @tab
4983 historic style hufnagel do clef @tab
4984 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
4985 @lilypond[relative,notime]
4986 \override Staff.StaffSymbol #'line-count = #4
4987 \override Staff.TimeSignature #'transparent = ##t
4988 \clef "hufnagel_do2" c
4992 @code{clefs-hufnagel_fa} @tab
4993 historic style hufnagel fa clef @tab
4994 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
4995 @lilypond[relative,notime]
4996 \override Staff.StaffSymbol #'line-count = #4
4997 \override Staff.TimeSignature #'transparent = ##t
4998 \clef "hufnagel_fa2" c
5002 @code{clefs-hufnagel_do_fa} @tab
5003 historic style hufnagel combined do/fa clef @tab
5004 @code{hufnagel_do_fa} @tab
5005 @lilypond[relative,notime]
5006 \override Staff.TimeSignature #'transparent = ##t
5007 \clef "hufnagel_do_fa" c
5012 @c --- This should go somewhere else: ---
5013 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
5016 @c @code{percussion}
5018 @c @lilypond{\override Staff.TimeSignature #'transparent = ##t \clef "percussion" c'}
5020 @c @item modern style tab clef (glyph: @code{clefs-tab})
5025 @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \override Staff.TimeSignature #'transparent = ##t \clef "tab" c'}
5027 @emph{Modern style} means ``as is typeset in contemporary editions of
5028 transcribed mensural music''.
5030 @emph{Petrucci style} means ``inspired by printings published by the
5031 famous engraver Petrucci (1466-1539)''.
5033 @emph{Historic style} means ``as was typeset or written in historic
5034 editions (other than those of Petrucci)''.
5036 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5038 Petrucci used C clefs with differently balanced left-side vertical
5039 beams, depending on which staffline it is printed.
5043 In this manual: for the percussion clef, see @ref{Percussion staves}.
5044 For the @code{TAB} clef, see @ref{Tablatures}.
5046 Internals: for modern clefs, see @ref{Clef}.
5050 The mensural g clef is temporarily mapped to the Petrucci g clef,
5051 until a new mensural g clef will have been implemented.
5056 @subsection Ancient flags
5062 Use the @code{flag-style} property of grob @internalsref{Stem} to
5063 select ancient flags. Besides the @code{default} flag style,
5064 only @code{mensural} style is supported:
5066 @lilypond[fragment,raggedright,verbatim]
5067 \override Stem #'flag-style = #'mensural
5068 \override Stem #'thickness = #1.0
5069 \override NoteHead #'style = #'mensural
5071 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
5072 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5075 Note that the innermost flare of each mensural flag always is
5076 vertically aligned with a staff line. If you do not like this
5077 behaviour, you can set the @code{adjust-if-on-staffline} property of
5078 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5079 of the end of each flare is different between notes on staff lines and
5080 notes between staff lines:
5082 @lilypond[fragment,raggedright]
5083 \override Stem #'flag-style = #'mensural
5084 \override Stem #'thickness = #1.0
5085 \override Stem #'adjust-if-on-staffline = ##f
5086 \override NoteHead #'style = #'mensural
5088 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
5089 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5092 There is no particular flag style for neo-mensural notation. Hence,
5093 when typesetting e.g. the incipit of a transcibed piece of mensural
5094 music, the default flag style should be used. There are no flags in
5095 Gregorian Chant notation.
5098 @node Ancient time signatures
5099 @subsection Ancient time signatures
5101 @cindex time signatures
5105 There is limited support for mensural time signatures. The
5106 glyphs are hard-wired to particular time fractions. In other words,
5107 to get a particular mensural signature glyph with the @code{\time n/m}
5108 command, @code{n} and @code{m} have to be chosen according to the
5114 \set Score.timing = ##f
5115 \set Score.barAlways = ##t
5116 s_\markup { "$\\backslash$time 4/4" }
5117 ^\markup { " " \musicglyph #"timesig-neo_mensural4/4" }
5119 s_\markup { "$\\backslash$time 2/2" }
5120 ^\markup { " " \musicglyph #"timesig-neo_mensural2/2" }
5122 s_\markup { "$\\backslash$time 6/4" }
5123 ^\markup { " " \musicglyph #"timesig-neo_mensural6/4" }
5125 s_\markup { "$\\backslash$time 6/8" }
5126 ^\markup { " " \musicglyph #"timesig-neo_mensural6/8" }
5128 s_\markup { "$\\backslash$time 3/2" }
5129 ^\markup { " " \musicglyph #"timesig-neo_mensural3/2" }
5131 s_\markup { "$\\backslash$time 3/4" }
5132 ^\markup { " " \musicglyph #"timesig-neo_mensural3/4" }
5134 s_\markup { "$\\backslash$time 9/4" }
5135 ^\markup { " " \musicglyph #"timesig-neo_mensural9/4" }
5137 s_\markup { "$\\backslash$time 9/8" }
5138 ^\markup { " " \musicglyph #"timesig-neo_mensural9/8" }
5140 s_\markup { "$\\backslash$time 4/8" }
5141 ^\markup { " " \musicglyph #"timesig-neo_mensural4/8" }
5143 s_\markup { "$\\backslash$time 2/4" }
5144 ^\markup { " " \musicglyph #"timesig-neo_mensural2/4" }
5152 \remove Staff_symbol_engraver
5153 \remove Clef_engraver
5154 \remove Time_signature_engraver
5160 Use the @code{style} property of grob @internalsref{TimeSignature} to
5161 select ancient time signatures. Supported styles are
5162 @code{neo_mensural} and @code{mensural}. The above table uses the
5163 @code{neo_mensural} style. This style is appropriate e.g. for the
5164 incipit of transcriptions of mensural pieces. The @code{mensural}
5165 style mimicks the look of historical printings of the 16th century.
5167 @inputfileref{input/test,time.ly} gives an overview over all available
5168 ancient and modern styles.
5172 Internals: @ref{Time signature} gives a general introduction into the use of time
5177 Mensural signature glyphs are mapped to time fractions in a
5178 hard-wired way. This mapping is sensible, but still arbitrary: given
5179 a mensural time signature, the time fraction represents a modern meter
5180 that usually will be a good choice when transcribing a mensural piece
5181 of music. For a particular piece of mensural music, however, the
5182 mapping may be unsatisfactory. In particular, the mapping assumes a
5183 fixed transcription of durations (e.g. brevis = half note in 2/2,
5184 i.e. 4:1). Some glyphs (such as the alternate glyph for 6/8 meter)
5185 are not at all accessible through the @code{\time} command.
5187 Mensural time signatures are supported typographically, but not yet
5188 musically. The internal representation of durations is
5189 based on a purely binary system; a ternary division such as 1 brevis =
5190 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5191 prolatione maiori) is not correctly handled: event times in ternary
5192 modes will be badly computed, resulting e.g. in horizontally
5193 misaligned note heads, and bar checks are likely to erroneously fail.
5195 The syntax and semantics of the @code{\time} command for mensural
5196 music is subject to change.
5199 @subsection Custodes
5204 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
5205 symbol that appears at the end of a staff. It anticipates the pitch
5206 of the first note(s) of the following line and thus helps the player
5207 or singer to manage line breaks during performance, thus enhancing
5208 readability of a score.
5210 Custodes were frequently used in music notation until the 17th
5211 century. Nowadays, they have survived only in a few particular forms
5212 of musical notation such as contemporary editions of Gregorian chant
5213 like the @emph{editio vaticana}. There are different custos glyphs
5214 used in different flavours of notational style.
5218 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5219 @internalsref{Staff} context when declaring the @code{\paper} block,
5220 as shown in the following example:
5226 \consists Custos_engraver
5227 Custos \override #'style = #'mensural
5232 The result looks like this:
5238 \override Staff.Custos #'style = #'mensural
5245 \consists Custos_engraver
5252 The custos glyph is selected by the @code{style} property. The styles
5253 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5254 @code{mensural}. They are demonstrated in the following fragment:
5264 { " " \musicglyph #"custodes-vaticana-u0" }
5268 { " " \musicglyph #"custodes-medicaea-u0" }
5272 { " " \musicglyph #"custodes-hufnagel-u0" }
5276 { " " \musicglyph #"custodes-mensural-u0" }
5285 \remove "Bar_number_engraver"
5289 \remove "Clef_engraver"
5290 \remove "Key_engraver"
5291 \remove "Time_signature_engraver"
5292 \remove "Staff_symbol_engraver"
5293 minimumVerticalExtent = ##f
5299 If the boolean property @code{adjust-if-on-staffline} is set to
5300 @code{#t} (which it is by default), lily typesets slightly different
5301 variants of the custos glyph, depending on whether the custos, is
5302 typeset on or between stafflines. The glyph will
5303 optically fit well into the staff, with the appendage on the right of
5304 the custos always ending at the same vertical position between two
5305 stafflines regardless of the pitch. If you set
5306 @code{adjust-if-on-staffline} to @code{#f}, then
5307 a compromise between both forms is used.
5309 Just like stems can be attached to noteheads in two directions
5310 @emph{up} and @emph{down}, each custos glyph is available with its
5311 appendage pointing either up or down. If the pitch of a custos is
5312 above a selectable position, the appendage will point downwards; if
5313 the pitch is below this position, the appendage will point upwards.
5314 Use property @code{neutral-position} to select this position. By
5315 default, it is set to @code{0}, such that the neutral position is the
5316 center of the staff. Use property @code{neutral-direction} to control
5317 what happens if a custos is typeset on the neutral position itself.
5318 By default, this property is set to @code{-1}, such that the appendage
5319 will point downwards. If set to @code{1}, the appendage will point
5320 upwards. Other values such as @code{0} are reserved for future
5321 extensions and should not be used.
5325 Internals: @internalsref{Custos}.
5327 Examples: @inputfileref{input/regression,custos.ly}.
5331 @subsection Divisiones
5337 A @emph{divisio} (plural: @emph{divisiones}; latin word for
5338 `division') is a staff context symbol that is used to structure
5339 Gregorian music into phrases and sections. The musical meaning of
5340 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5341 can be characterized as short, medium and long pause, somewhat like
5342 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5343 a chant, but is also frequently used within a single
5344 antiphonal/responsorial chant to mark the end of each section.
5348 To use divisiones, include the file @code{gregorian-init.ly}. It
5349 contains definitions that you can apply by just inserting
5350 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5351 and @code{\finalis} at proper places in the input. Some editions use
5352 @emph{virgula} or @emph{caesura} instead of divisio minima.
5353 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5356 @lilypondfile[]{divisiones.ly}
5360 @cindex @code{\virgula}
5362 @cindex @code{\caesura}
5364 @cindex @code{\divisioMinima}
5365 @code{\divisioMinima},
5366 @cindex @code{\divisioMaior}
5367 @code{\divisioMaior},
5368 @cindex @code{\divisioMaxima}
5369 @code{\divisioMaxima},
5370 @cindex @code{\finalis}
5375 In this manual: @ref{Breath marks}.
5377 Internals: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
5379 Examples: @inputfileref{input/test,divisiones.ly}.
5382 @subsection Ligatures
5386 @c TODO: Should double check if I recalled things correctly when I wrote
5387 @c down the following paragraph by heart.
5389 In musical terminology, a ligature is a coherent graphical symbol that
5390 represents at least two distinct notes. Ligatures originally appeared
5391 in the manuscripts of Gregorian chant notation roughly since the 9th
5392 century as an allusion to the accent symbols of greek lyric poetry to
5393 denote ascending or descending sequences of notes. Both, the shape
5394 and the exact meaning of ligatures changed tremendously during the
5395 following centuries: In early notation, ligatures were used for
5396 monophonic tunes (Gregorian chant) and very soon denoted also the way
5397 of performance in the sense of articulation. With upcoming
5398 multiphony, the need for a metric system arised, since multiple voices
5399 of a piece have to be synchronized some way. New notation systems
5400 were invented that used the manifold shapes of ligatures to now denote
5401 rhythmical patterns (e.g. black mensural notation, mannered notation,
5402 ars nova). With the invention of the metric system of the white
5403 mensural notation, the need for ligatures to denote such patterns
5404 disappeared. Nevertheless, ligatures were still in use in the
5405 mensural system for a couple of decades until they finally disappeared
5406 during the late 16th / early 17th century. Still, ligatures have
5407 survived in contemporary editions of Gregorian chant such as the
5408 Editio Vaticana from 1905/08.
5412 Syntactically, ligatures are simply enclosed by @code{\[} and
5413 @code{\]}. Some ligature styles (such as Editio Vaticana) may need
5414 additional input syntax specific for this particular type of ligature.
5415 By default, the @internalsref{LigatureBracket} engraver just puts a
5416 square bracket above the ligature:
5418 @lilypond[raggedright,verbatim]
5420 \notes \transpose c c' {
5428 To select a specific style of ligatures, a proper ligature engraver
5429 has to be added to the @internalsref{Voice} context, as explained in
5430 the following subsections. Only white mensural ligatures
5431 are supported with certain limitations. Support for Editio Vaticana
5432 will be added in the future.
5435 * White mensural ligatures::
5436 * Gregorian square neumes ligatures::
5439 @node White mensural ligatures
5440 @subsubsection White mensural ligatures
5442 @cindex Mensural ligatures
5443 @cindex White mensural ligatures
5445 There is limited support for white mensural ligatures. The
5446 implementation is still experimental; it may output strange
5447 warnings or even crash in some cases or produce weird results on more
5452 To engrave white mensural ligatures, in the paper block the
5453 @internalsref{Mensural_ligature_engraver} has to be put into the
5454 @internalsref{Voice} context, and remove the
5455 @internalsref{Ligature_bracket_engraver}:
5461 \remove Ligature_bracket_engraver
5462 \consists Mensural_ligature_engraver
5467 There is no additional input language to describe the shape of a
5468 white mensural ligature. The shape is rather determined solely from
5469 the pitch and duration of the enclosed notes. While this approach may
5470 take a new user a while to get accustomed, it has the great advantage
5471 that the full musical information of the ligature is known internally.
5472 This is not only required for correct MIDI output, but also allows for
5473 automatic transcription of the ligatures.
5478 \set Score.timing = ##f
5479 \set Score.defaultBarType = "empty"
5480 \override NoteHead #'style = #'neo_mensural
5481 \override Staff.TimeSignature #'style = #'neo_mensural
5483 \[ g\longa c\breve a\breve f\breve d'\longa \]
5485 \[ e1 f1 a\breve g\longa \]
5487 @lilypond[raggedright]
5489 \notes \transpose c c' {
5490 \set Score.timing = ##f
5491 \set Score.defaultBarType = "empty"
5492 \override NoteHead #'style = #'neo_mensural
5493 \override Staff.TimeSignature #'style = #'neo_mensural
5495 \[ g\longa c\breve a\breve f\breve d'\longa \]
5497 \[ e1 f1 a\breve g\longa \]
5502 \remove Ligature_bracket_engraver
5503 \consists Mensural_ligature_engraver
5509 Without replacing @internalsref{Ligature_bracket_engraver} with
5510 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5513 @lilypond[raggedright]
5515 \notes \transpose c c' {
5516 \set Score.timing = ##f
5517 \set Score.defaultBarType = "empty"
5518 \override NoteHead #'style = #'neo_mensural
5519 \override Staff.TimeSignature #'style = #'neo_mensural
5521 \[ g\longa c\breve a\breve f\breve d'\longa \]
5523 \[ e1 f1 a\breve g\longa \]
5529 @node Gregorian square neumes ligatures
5530 @subsubsection Gregorian square neumes ligatures
5532 @cindex Square neumes ligatures
5533 @cindex Gregorian square neumes ligatures
5535 Gregorian square neumes notation (following the style of the Editio
5536 Vaticana) is under heavy development, but not yet really usable for
5537 production purposes. Core ligatures can already be typeset, but
5538 essential issues for serious typesetting are still under development,
5539 such as (among others) horizontal alignment of multiple ligatures,
5540 lyrics alignment and proper accidentals handling. Still, this section
5541 gives a sneak preview of what Gregorian chant may look like once it
5544 The following table contains the extended neumes table of the 2nd
5545 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5546 1983 by the monks of Solesmes.
5548 @multitable @columnfractions .4 .2 .2 .2
5551 @b{Neuma aut@*Neumarum Elementa} @tab
5552 @b{Figurae@*Rectae} @tab
5553 @b{Figurae@*Liquescentes Auctae} @tab
5554 @b{Figurae@*Liquescentes Deminutae}
5556 @c TODO: \paper block is identical in all of the below examples.
5557 @c Therefore, it should somehow be included rather than duplicated all
5560 @c why not make identifiers in ly/engraver-init.ly? --hwn
5562 @c Because it's just used to typeset plain notes without
5563 @c a staff for demonstration purposes rather than something
5564 @c special of Gregorian chant notation. --jr
5569 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.5\cm]
5570 \include "gregorian-init.ly"
5572 \notes \transpose c c' {
5575 \noBreak s^\markup {"a"} \noBreak
5577 % Punctum Inclinatum
5579 \noBreak s^\markup {"b"}
5585 \remove "Bar_number_engraver"
5589 \remove "Clef_engraver"
5590 \remove "Key_engraver"
5591 \override StaffSymbol #'transparent = ##t
5592 \remove "Time_signature_engraver"
5593 \remove "Bar_engraver"
5594 minimumVerticalExtent = ##f
5598 \remove Ligature_bracket_engraver
5599 \consists Vaticana_ligature_engraver
5600 \override NoteHead #'style = #'vaticana_punctum
5601 \override Stem #'transparent = ##t
5607 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.5\cm]
5608 \include "gregorian-init.ly"
5610 \notes \transpose c c' {
5611 % Punctum Auctum Ascendens
5612 \[ \auctum \ascendens b \]
5613 \noBreak s^\markup {"c"} \noBreak
5615 % Punctum Auctum Descendens
5616 \[ \auctum \descendens b \]
5617 \noBreak s^\markup {"d"} \noBreak
5619 % Punctum Inclinatum Auctum
5620 \[ \inclinatum \auctum b \]
5621 \noBreak s^\markup {"e"}
5627 \remove "Bar_number_engraver"
5631 \remove "Clef_engraver"
5632 \remove "Key_engraver"
5633 \override StaffSymbol #'transparent = ##t
5634 \remove "Time_signature_engraver"
5635 \remove "Bar_engraver"
5636 minimumVerticalExtent = ##f
5640 \remove Ligature_bracket_engraver
5641 \consists Vaticana_ligature_engraver
5642 \override NoteHead #'style = #'vaticana_punctum
5643 \override Stem #'transparent = ##t
5649 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5650 \include "gregorian-init.ly"
5652 \notes \transpose c c' {
5653 % Punctum Inclinatum Parvum
5654 \[ \inclinatum \deminutum b \]
5655 \noBreak s^\markup {"f"}
5661 \remove "Bar_number_engraver"
5665 \remove "Clef_engraver"
5666 \remove "Key_engraver"
5667 \override StaffSymbol #'transparent = ##t
5668 \remove "Time_signature_engraver"
5669 \remove "Bar_engraver"
5670 minimumVerticalExtent = ##f
5674 \remove Ligature_bracket_engraver
5675 \consists Vaticana_ligature_engraver
5676 \override NoteHead #'style = #'vaticana_punctum
5677 \override Stem #'transparent = ##t
5686 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5687 \include "gregorian-init.ly"
5689 \notes \transpose c c' {
5692 \noBreak s^\markup {"g"}
5698 \remove "Bar_number_engraver"
5702 \remove "Clef_engraver"
5703 \remove "Key_engraver"
5704 \override StaffSymbol #'transparent = ##t
5705 \remove "Time_signature_engraver"
5706 \remove "Bar_engraver"
5707 minimumVerticalExtent = ##f
5711 \remove Ligature_bracket_engraver
5712 \consists Vaticana_ligature_engraver
5713 \override NoteHead #'style = #'vaticana_punctum
5714 \override Stem #'transparent = ##t
5723 @code{3. Apostropha vel Stropha}
5725 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5726 \include "gregorian-init.ly"
5728 \notes \transpose c c' {
5731 \noBreak s^\markup {"h"}
5737 \remove "Bar_number_engraver"
5741 \remove "Clef_engraver"
5742 \remove "Key_engraver"
5743 \override StaffSymbol #'transparent = ##t
5744 \remove "Time_signature_engraver"
5745 \remove "Bar_engraver"
5746 minimumVerticalExtent = ##f
5750 \remove Ligature_bracket_engraver
5751 \consists Vaticana_ligature_engraver
5752 \override NoteHead #'style = #'vaticana_punctum
5753 \override Stem #'transparent = ##t
5759 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5760 \include "gregorian-init.ly"
5762 \notes \transpose c c' {
5764 \[ \stropha \auctum b \]
5765 \noBreak s^\markup {"i"}
5771 \remove "Bar_number_engraver"
5775 \remove "Clef_engraver"
5776 \remove "Key_engraver"
5777 \override StaffSymbol #'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 \override NoteHead #'style = #'vaticana_punctum
5787 \override Stem #'transparent = ##t
5797 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5798 \include "gregorian-init.ly"
5800 \notes \transpose c c' {
5803 \noBreak s^\markup {"j"}
5809 \remove "Bar_number_engraver"
5813 \remove "Clef_engraver"
5814 \remove "Key_engraver"
5815 \override StaffSymbol #'transparent = ##t
5816 \remove "Time_signature_engraver"
5817 \remove "Bar_engraver"
5818 minimumVerticalExtent = ##f
5822 \remove Ligature_bracket_engraver
5823 \consists Vaticana_ligature_engraver
5824 \override NoteHead #'style = #'vaticana_punctum
5825 \override Stem #'transparent = ##t
5834 @code{5. Clivis vel Flexa}
5836 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5837 \include "gregorian-init.ly"
5839 \notes \transpose c c' {
5848 \remove "Bar_number_engraver"
5852 \remove "Clef_engraver"
5853 \remove "Key_engraver"
5854 \override StaffSymbol #'transparent = ##t
5855 \remove "Time_signature_engraver"
5856 \remove "Bar_engraver"
5857 minimumVerticalExtent = ##f
5861 \remove Ligature_bracket_engraver
5862 \consists Vaticana_ligature_engraver
5863 \override NoteHead #'style = #'vaticana_punctum
5864 \override Stem #'transparent = ##t
5870 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
5871 \include "gregorian-init.ly"
5873 \notes \transpose c c' {
5874 % Clivis Aucta Descendens
5875 \[ b \flexa \auctum \descendens g \]
5876 \noBreak s^\markup {"l"} \noBreak
5878 % Clivis Aucta Ascendens
5879 \[ b \flexa \auctum \ascendens g \]
5880 \noBreak s^\markup {"m"}
5886 \remove "Bar_number_engraver"
5890 \remove "Clef_engraver"
5891 \remove "Key_engraver"
5892 \override StaffSymbol #'transparent = ##t
5893 \remove "Time_signature_engraver"
5894 \remove "Bar_engraver"
5895 minimumVerticalExtent = ##f
5899 \remove Ligature_bracket_engraver
5900 \consists Vaticana_ligature_engraver
5901 \override NoteHead #'style = #'vaticana_punctum
5902 \override Stem #'transparent = ##t
5908 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5909 \include "gregorian-init.ly"
5911 \notes \transpose c c' {
5913 \[ b \flexa \deminutum g \]
5920 \remove "Bar_number_engraver"
5924 \remove "Clef_engraver"
5925 \remove "Key_engraver"
5926 \override StaffSymbol #'transparent = ##t
5927 \remove "Time_signature_engraver"
5928 \remove "Bar_engraver"
5929 minimumVerticalExtent = ##f
5933 \remove Ligature_bracket_engraver
5934 \consists Vaticana_ligature_engraver
5935 \override NoteHead #'style = #'vaticana_punctum
5936 \override Stem #'transparent = ##t
5943 @code{6. Podatus vel Pes}
5945 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5946 \include "gregorian-init.ly"
5948 \notes \transpose c c' {
5957 \remove "Bar_number_engraver"
5961 \remove "Clef_engraver"
5962 \remove "Key_engraver"
5963 \override StaffSymbol #'transparent = ##t
5964 \remove "Time_signature_engraver"
5965 \remove "Bar_engraver"
5966 minimumVerticalExtent = ##f
5970 \remove Ligature_bracket_engraver
5971 \consists Vaticana_ligature_engraver
5972 \override NoteHead #'style = #'vaticana_punctum
5973 \override Stem #'transparent = ##t
5979 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
5980 \include "gregorian-init.ly"
5982 \notes \transpose c c' {
5983 % Pes Auctus Descendens
5984 \[ g \pes \auctum \descendens b \]
5985 \noBreak s^\markup {"p"} \noBreak
5987 % Pes Auctus Ascendens
5988 \[ g \pes \auctum \ascendens b \]
5989 \noBreak s^\markup {"q"}
5995 \remove "Bar_number_engraver"
5999 \remove "Clef_engraver"
6000 \remove "Key_engraver"
6001 \override StaffSymbol #'transparent = ##t
6002 \remove "Time_signature_engraver"
6003 \remove "Bar_engraver"
6004 minimumVerticalExtent = ##f
6008 \remove Ligature_bracket_engraver
6009 \consists Vaticana_ligature_engraver
6010 \override NoteHead #'style = #'vaticana_punctum
6011 \override Stem #'transparent = ##t
6017 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6018 \include "gregorian-init.ly"
6020 \notes \transpose c c' {
6022 \[ g \pes \deminutum b \]
6029 \remove "Bar_number_engraver"
6033 \remove "Clef_engraver"
6034 \remove "Key_engraver"
6035 \override StaffSymbol #'transparent = ##t
6036 \remove "Time_signature_engraver"
6037 \remove "Bar_engraver"
6038 minimumVerticalExtent = ##f
6042 \remove Ligature_bracket_engraver
6043 \consists Vaticana_ligature_engraver
6044 \override NoteHead #'style = #'vaticana_punctum
6045 \override Stem #'transparent = ##t
6052 @code{7. Pes Quassus}
6054 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6055 \include "gregorian-init.ly"
6057 \notes \transpose c c' {
6059 \[ \oriscus g \pes \virga b \]
6066 \remove "Bar_number_engraver"
6070 \remove "Clef_engraver"
6071 \remove "Key_engraver"
6072 \override StaffSymbol #'transparent = ##t
6073 \remove "Time_signature_engraver"
6074 \remove "Bar_engraver"
6075 minimumVerticalExtent = ##f
6079 \remove Ligature_bracket_engraver
6080 \consists Vaticana_ligature_engraver
6081 \override NoteHead #'style = #'vaticana_punctum
6082 \override Stem #'transparent = ##t
6088 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6089 \include "gregorian-init.ly"
6091 \notes \transpose c c' {
6092 % Pes Quassus Auctus Descendens
6093 \[ \oriscus g \pes \auctum \descendens b \]
6100 \remove "Bar_number_engraver"
6104 \remove "Clef_engraver"
6105 \remove "Key_engraver"
6106 \override StaffSymbol #'transparent = ##t
6107 \remove "Time_signature_engraver"
6108 \remove "Bar_engraver"
6109 minimumVerticalExtent = ##f
6113 \remove Ligature_bracket_engraver
6114 \consists Vaticana_ligature_engraver
6115 \override NoteHead #'style = #'vaticana_punctum
6116 \override Stem #'transparent = ##t
6124 @code{8. Quilisma Pes}
6126 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6127 \include "gregorian-init.ly"
6129 \notes \transpose c c' {
6131 \[ \quilisma g \pes b \]
6138 \remove "Bar_number_engraver"
6142 \remove "Clef_engraver"
6143 \remove "Key_engraver"
6144 \override StaffSymbol #'transparent = ##t
6145 \remove "Time_signature_engraver"
6146 \remove "Bar_engraver"
6147 minimumVerticalExtent = ##f
6151 \remove Ligature_bracket_engraver
6152 \consists Vaticana_ligature_engraver
6153 \override NoteHead #'style = #'vaticana_punctum
6154 \override Stem #'transparent = ##t
6160 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6161 \include "gregorian-init.ly"
6163 \notes \transpose c c' {
6164 % Quilisma Pes Auctus Descendens
6165 \[ \quilisma g \pes \auctum \descendens b \]
6172 \remove "Bar_number_engraver"
6176 \remove "Clef_engraver"
6177 \remove "Key_engraver"
6178 \override StaffSymbol #'transparent = ##t
6179 \remove "Time_signature_engraver"
6180 \remove "Bar_engraver"
6181 minimumVerticalExtent = ##f
6185 \remove Ligature_bracket_engraver
6186 \consists Vaticana_ligature_engraver
6187 \override NoteHead #'style = #'vaticana_punctum
6188 \override Stem #'transparent = ##t
6196 @code{9. Podatus Initio Debilis}
6198 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6199 \include "gregorian-init.ly"
6201 \notes \transpose c c' {
6202 % Pes Initio Debilis
6203 \[ \deminutum g \pes b \]
6210 \remove "Bar_number_engraver"
6214 \remove "Clef_engraver"
6215 \remove "Key_engraver"
6216 \override StaffSymbol #'transparent = ##t
6217 \remove "Time_signature_engraver"
6218 \remove "Bar_engraver"
6219 minimumVerticalExtent = ##f
6223 \remove Ligature_bracket_engraver
6224 \consists Vaticana_ligature_engraver
6225 \override NoteHead #'style = #'vaticana_punctum
6226 \override Stem #'transparent = ##t
6232 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6233 \include "gregorian-init.ly"
6235 \notes \transpose c c' {
6236 % Pes Auctus Descendens Initio Debilis
6237 \[ \deminutum g \pes \auctum \descendens b \]
6244 \remove "Bar_number_engraver"
6248 \remove "Clef_engraver"
6249 \remove "Key_engraver"
6250 \override StaffSymbol #'transparent = ##t
6251 \remove "Time_signature_engraver"
6252 \remove "Bar_engraver"
6253 minimumVerticalExtent = ##f
6257 \remove Ligature_bracket_engraver
6258 \consists Vaticana_ligature_engraver
6259 \override NoteHead #'style = #'vaticana_punctum
6260 \override Stem #'transparent = ##t
6270 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6271 \include "gregorian-init.ly"
6273 \notes \transpose c c' {
6275 \[ a \pes b \flexa g \]
6282 \remove "Bar_number_engraver"
6286 \remove "Clef_engraver"
6287 \remove "Key_engraver"
6288 \override StaffSymbol #'transparent = ##t
6289 \remove "Time_signature_engraver"
6290 \remove "Bar_engraver"
6291 minimumVerticalExtent = ##f
6295 \remove Ligature_bracket_engraver
6296 \consists Vaticana_ligature_engraver
6297 \override NoteHead #'style = #'vaticana_punctum
6298 \override Stem #'transparent = ##t
6304 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6305 \include "gregorian-init.ly"
6307 \notes \transpose c c' {
6308 % Torculus Auctus Descendens
6309 \[ a \pes b \flexa \auctum \descendens g \]
6316 \remove "Bar_number_engraver"
6320 \remove "Clef_engraver"
6321 \remove "Key_engraver"
6322 \override StaffSymbol #'transparent = ##t
6323 \remove "Time_signature_engraver"
6324 \remove "Bar_engraver"
6325 minimumVerticalExtent = ##f
6329 \remove Ligature_bracket_engraver
6330 \consists Vaticana_ligature_engraver
6331 \override NoteHead #'style = #'vaticana_punctum
6332 \override Stem #'transparent = ##t
6338 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6339 \include "gregorian-init.ly"
6341 \notes \transpose c c' {
6342 % Torculus Deminutus
6343 \[ a \pes b \flexa \deminutum g \]
6350 \remove "Bar_number_engraver"
6354 \remove "Clef_engraver"
6355 \remove "Key_engraver"
6356 \override StaffSymbol #'transparent = ##t
6357 \remove "Time_signature_engraver"
6358 \remove "Bar_engraver"
6359 minimumVerticalExtent = ##f
6363 \remove Ligature_bracket_engraver
6364 \consists Vaticana_ligature_engraver
6365 \override NoteHead #'style = #'vaticana_punctum
6366 \override Stem #'transparent = ##t
6373 @code{11. Torculus Initio Debilis}
6375 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6376 \include "gregorian-init.ly"
6378 \notes \transpose c c' {
6379 % Torculus Initio Debilis
6380 \[ \deminutum a \pes b \flexa g \]
6387 \remove "Bar_number_engraver"
6391 \remove "Clef_engraver"
6392 \remove "Key_engraver"
6393 \override StaffSymbol #'transparent = ##t
6394 \remove "Time_signature_engraver"
6395 \remove "Bar_engraver"
6396 minimumVerticalExtent = ##f
6400 \remove Ligature_bracket_engraver
6401 \consists Vaticana_ligature_engraver
6402 \override NoteHead #'style = #'vaticana_punctum
6403 \override Stem #'transparent = ##t
6409 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6410 \include "gregorian-init.ly"
6412 \notes \transpose c c' {
6413 % Torculus Auctus Descendens Initio Debilis
6414 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6421 \remove "Bar_number_engraver"
6425 \remove "Clef_engraver"
6426 \remove "Key_engraver"
6427 \override StaffSymbol #'transparent = ##t
6428 \remove "Time_signature_engraver"
6429 \remove "Bar_engraver"
6430 minimumVerticalExtent = ##f
6434 \remove Ligature_bracket_engraver
6435 \consists Vaticana_ligature_engraver
6436 \override NoteHead #'style = #'vaticana_punctum
6437 \override Stem #'transparent = ##t
6443 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6444 \include "gregorian-init.ly"
6446 \notes \transpose c c' {
6447 % Torculus Deminutus Initio Debilis
6448 \[ \deminutum a \pes b \flexa \deminutum g \]
6455 \remove "Bar_number_engraver"
6459 \remove "Clef_engraver"
6460 \remove "Key_engraver"
6461 \override StaffSymbol #'transparent = ##t
6462 \remove "Time_signature_engraver"
6463 \remove "Bar_engraver"
6464 minimumVerticalExtent = ##f
6468 \remove Ligature_bracket_engraver
6469 \consists Vaticana_ligature_engraver
6470 \override NoteHead #'style = #'vaticana_punctum
6471 \override Stem #'transparent = ##t
6478 @code{12. Porrectus}
6480 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6481 \include "gregorian-init.ly"
6483 \notes \transpose c c' {
6485 \[ a \flexa g \pes b \]
6492 \remove "Bar_number_engraver"
6496 \remove "Clef_engraver"
6497 \remove "Key_engraver"
6498 \override StaffSymbol #'transparent = ##t
6499 \remove "Time_signature_engraver"
6500 \remove "Bar_engraver"
6501 minimumVerticalExtent = ##f
6505 \remove Ligature_bracket_engraver
6506 \consists Vaticana_ligature_engraver
6507 \override NoteHead #'style = #'vaticana_punctum
6508 \override Stem #'transparent = ##t
6514 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6515 \include "gregorian-init.ly"
6517 \notes \transpose c c' {
6518 % Porrectus Auctus Descendens
6519 \[ a \flexa g \pes \auctum \descendens b \]
6526 \remove "Bar_number_engraver"
6530 \remove "Clef_engraver"
6531 \remove "Key_engraver"
6532 \override StaffSymbol #'transparent = ##t
6533 \remove "Time_signature_engraver"
6534 \remove "Bar_engraver"
6535 minimumVerticalExtent = ##f
6539 \remove Ligature_bracket_engraver
6540 \consists Vaticana_ligature_engraver
6541 \override NoteHead #'style = #'vaticana_punctum
6542 \override Stem #'transparent = ##t
6548 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6549 \include "gregorian-init.ly"
6551 \notes \transpose c c' {
6552 % Porrectus Deminutus
6553 \[ a \flexa g \pes \deminutum b \]
6560 \remove "Bar_number_engraver"
6564 \remove "Clef_engraver"
6565 \remove "Key_engraver"
6566 \override StaffSymbol #'transparent = ##t
6567 \remove "Time_signature_engraver"
6568 \remove "Bar_engraver"
6569 minimumVerticalExtent = ##f
6573 \remove Ligature_bracket_engraver
6574 \consists Vaticana_ligature_engraver
6575 \override NoteHead #'style = #'vaticana_punctum
6576 \override Stem #'transparent = ##t
6585 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6586 \include "gregorian-init.ly"
6588 \notes \transpose c c' {
6590 \[ \virga b \inclinatum a \inclinatum g \]
6597 \remove "Bar_number_engraver"
6601 \remove "Clef_engraver"
6602 \remove "Key_engraver"
6603 \override StaffSymbol #'transparent = ##t
6604 \remove "Time_signature_engraver"
6605 \remove "Bar_engraver"
6606 minimumVerticalExtent = ##f
6610 \remove Ligature_bracket_engraver
6611 \consists Vaticana_ligature_engraver
6612 \override NoteHead #'style = #'vaticana_punctum
6613 \override Stem #'transparent = ##t
6619 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6620 \include "gregorian-init.ly"
6622 \notes \transpose c c' {
6624 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6631 \remove "Bar_number_engraver"
6635 \remove "Clef_engraver"
6636 \remove "Key_engraver"
6637 \override StaffSymbol #'transparent = ##t
6638 \remove "Time_signature_engraver"
6639 \remove "Bar_engraver"
6640 minimumVerticalExtent = ##f
6644 \remove Ligature_bracket_engraver
6645 \consists Vaticana_ligature_engraver
6646 \override NoteHead #'style = #'vaticana_punctum
6647 \override Stem #'transparent = ##t
6653 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6654 \include "gregorian-init.ly"
6656 \notes \transpose c c' {
6657 % Climacus Deminutus
6658 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6665 \remove "Bar_number_engraver"
6669 \remove "Clef_engraver"
6670 \remove "Key_engraver"
6671 \override StaffSymbol #'transparent = ##t
6672 \remove "Time_signature_engraver"
6673 \remove "Bar_engraver"
6674 minimumVerticalExtent = ##f
6678 \remove Ligature_bracket_engraver
6679 \consists Vaticana_ligature_engraver
6680 \override NoteHead #'style = #'vaticana_punctum
6681 \override Stem #'transparent = ##t
6688 @code{14. Scandicus}
6690 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6691 \include "gregorian-init.ly"
6693 \notes \transpose c c' {
6695 \[ g \pes a \virga b \]
6702 \remove "Bar_number_engraver"
6706 \remove "Clef_engraver"
6707 \remove "Key_engraver"
6708 \override StaffSymbol #'transparent = ##t
6709 \remove "Time_signature_engraver"
6710 \remove "Bar_engraver"
6711 minimumVerticalExtent = ##f
6715 \remove Ligature_bracket_engraver
6716 \consists Vaticana_ligature_engraver
6717 \override NoteHead #'style = #'vaticana_punctum
6718 \override Stem #'transparent = ##t
6724 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6725 \include "gregorian-init.ly"
6727 \notes \transpose c c' {
6728 % Scandicus Auctus Descendens
6729 \[ g \pes a \pes \auctum \descendens b \]
6736 \remove "Bar_number_engraver"
6740 \remove "Clef_engraver"
6741 \remove "Key_engraver"
6742 \override StaffSymbol #'transparent = ##t
6743 \remove "Time_signature_engraver"
6744 \remove "Bar_engraver"
6745 minimumVerticalExtent = ##f
6749 \remove Ligature_bracket_engraver
6750 \consists Vaticana_ligature_engraver
6751 \override NoteHead #'style = #'vaticana_punctum
6752 \override Stem #'transparent = ##t
6758 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6759 \include "gregorian-init.ly"
6761 \notes \transpose c c' {
6762 % Scandicus Deminutus
6763 \[ g \pes a \pes \deminutum b \]
6770 \remove "Bar_number_engraver"
6774 \remove "Clef_engraver"
6775 \remove "Key_engraver"
6776 \override StaffSymbol #'transparent = ##t
6777 \remove "Time_signature_engraver"
6778 \remove "Bar_engraver"
6779 minimumVerticalExtent = ##f
6783 \remove Ligature_bracket_engraver
6784 \consists Vaticana_ligature_engraver
6785 \override NoteHead #'style = #'vaticana_punctum
6786 \override Stem #'transparent = ##t
6795 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6796 \include "gregorian-init.ly"
6798 \notes \transpose c c' {
6800 \[ g \oriscus a \pes \virga b \]
6807 \remove "Bar_number_engraver"
6811 \remove "Clef_engraver"
6812 \remove "Key_engraver"
6813 \override StaffSymbol #'transparent = ##t
6814 \remove "Time_signature_engraver"
6815 \remove "Bar_engraver"
6816 minimumVerticalExtent = ##f
6820 \remove Ligature_bracket_engraver
6821 \consists Vaticana_ligature_engraver
6822 \override NoteHead #'style = #'vaticana_punctum
6823 \override Stem #'transparent = ##t
6829 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6830 \include "gregorian-init.ly"
6832 \notes \transpose c c' {
6833 % Salicus Auctus Descendens
6834 \[ g \oriscus a \pes \auctum \descendens b \]
6841 \remove "Bar_number_engraver"
6845 \remove "Clef_engraver"
6846 \remove "Key_engraver"
6847 \override StaffSymbol #'transparent = ##t
6848 \remove "Time_signature_engraver"
6849 \remove "Bar_engraver"
6850 minimumVerticalExtent = ##f
6854 \remove Ligature_bracket_engraver
6855 \consists Vaticana_ligature_engraver
6856 \override NoteHead #'style = #'vaticana_punctum
6857 \override Stem #'transparent = ##t
6867 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6868 \include "gregorian-init.ly"
6870 \notes \transpose c c' {
6872 \[ \stropha b \stropha b \stropha a \]
6879 \remove "Bar_number_engraver"
6883 \remove "Clef_engraver"
6884 \remove "Key_engraver"
6885 \override StaffSymbol #'transparent = ##t
6886 \remove "Time_signature_engraver"
6887 \remove "Bar_engraver"
6888 minimumVerticalExtent = ##f
6892 \remove Ligature_bracket_engraver
6893 \consists Vaticana_ligature_engraver
6894 \override NoteHead #'style = #'vaticana_punctum
6895 \override Stem #'transparent = ##t
6907 Unlike most other neumes notation systems, the input language for
6908 neumes does not necessarily reflect directly the typographical
6909 appearance, but is designed to solely focuse on musical meaning. For
6910 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6911 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6912 a Porrectus with a curved flexa shape and only a single Punctum head.
6913 There is no command to explicitly typeset the curved flexa shape; the
6914 decision of when to typeset a curved flexa shape is purely taken from
6915 the musical input. The idea of this approach is to separate the
6916 musical aspects of the input from the notation style of the output.
6917 This way, the same input can be reused to typeset the same music in a
6918 different style of Gregorian chant notation such as Hufnagel (also
6919 known as German gothic neumes) or Medicaea (kind of a very simple
6920 forerunner of the Editio Vaticana). As soon as Hufnagel ligature
6921 engraver and Medicaea ligature engraver will have been implemented, it
6922 will be as simple as replacing the ligature engraver in the
6923 @internalsref{Voice} context to get the desired notation style from
6926 The following table shows the code fragments that produce the
6927 ligatures in the above neumes table. The letter in the first column
6928 in each line of the below table indicates to which ligature in the
6929 above table it refers. The second column gives the name of the
6930 ligature. The third column shows the code fragment that produces this
6931 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6933 @multitable @columnfractions .1 .4 .5
6947 Punctum Inclinatum @tab
6948 @code{\[ \inclinatum b \]}
6952 Punctum Auctum Ascendens @tab
6953 @code{\[ \auctum \ascendens b \]}
6957 Punctum Auctum Descendens @tab
6958 @code{\[ \auctum \descendens b \]}
6962 Punctum Inclinatum Auctum @tab
6963 @code{\[ \inclinatum \auctum b \]}
6967 Punctum Inclinatum Parvum @tab
6968 @code{\[ \inclinatum \deminutum b \]}
6973 @code{\[ \virga b \]}
6978 @code{\[ \stropha b \]}
6983 @code{\[ \stropha \auctum b \]}
6988 @code{\[ \oriscus b \]}
6992 Clivis vel Flexa @tab
6993 @code{\[ b \flexa g \]}
6997 Clivis Aucta Descendens @tab
6998 @code{\[ b \flexa \auctum \descendens g \]}
7002 Clivis Aucta Ascendens @tab
7003 @code{\[ b \flexa \auctum \ascendens g \]}
7008 @code{\[ b \flexa \deminutum g \]}
7012 Podatus vel Pes @tab
7013 @code{\[ g \pes b \]}
7017 Pes Auctus Descendens @tab
7018 @code{\[ g \pes \auctum \descendens b \]}
7022 Pes Auctus Ascendens @tab
7023 @code{\[ g \pes \auctum \ascendens b \]}
7028 @code{\[ g \pes \deminutum b \]}
7033 @code{\[ \oriscus g \pes \virga b \]}
7037 Pes Quassus Auctus Descendens @tab
7038 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7043 @code{\[ \quilisma g \pes b \]}
7047 Quilisma Pes Auctus Descendens @tab
7048 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7052 Pes Initio Debilis @tab
7053 @code{\[ \deminutum g \pes b \]}
7057 Pes Auctus Descendens Initio Debilis @tab
7058 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7063 @code{\[ a \pes b \flexa g \]}
7067 Torculus Auctus Descendens @tab
7068 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7072 Torculus Deminutus @tab
7073 @code{\[ a \pes b \flexa \deminutum g \]}
7077 Torculus Initio Debilis @tab
7078 @code{\[ \deminutum a \pes b \flexa g \]}
7082 Torculus Auctus Descendens Initio Debilis @tab
7083 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7087 Torculus Deminutus Initio Debilis @tab
7088 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7093 @code{\[ a \flexa g \pes b \]}
7097 Porrectus Auctus Descendens @tab
7098 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7102 Porrectus Deminutus @tab
7103 @code{\[ a \flexa g \pes \deminutum b \]}
7108 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7112 Climacus Auctus @tab
7113 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7117 Climacus Deminutus @tab
7118 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7123 @code{\[ g \pes a \virga b \]}
7127 Scandicus Auctus Descendens @tab
7128 @code{\[ g \pes a \pes \auctum \descendens b \]}
7132 Scandicus Deminutus @tab
7133 @code{\[ g \pes a \pes \deminutum b \]}
7138 @code{\[ g \oriscus a \pes \virga b \]}
7142 Salicus Auctus Descendens @tab
7143 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7148 @code{\[ \stropha b \stropha b \stropha a \]}
7154 The following head prefixes are supported:
7156 @cindex @code{\virga}
7158 @cindex @code{\stropha}
7160 @cindex @code{\inclinatum}
7162 @cindex @code{\auctum}
7164 @cindex @code{\descendens}
7166 @cindex @code{\ascendens}
7168 @cindex @code{\oriscus}
7170 @cindex @code{\quilisma}
7172 @cindex @code{\deminutum}
7175 Head prefixes can be accumulated, though restrictions apply. For
7176 example, either @code{\descendens} or @code{\ascendens} can be applied
7177 to a head, but not both to the same head.
7180 @cindex @code{\flexa}
7181 Two adjacent heads can be tied together with the @code{\pes} and
7182 @code{\flexa} infix commands for a rising and falling line of melody,
7187 Trigonus: apply equal spacing, regardless of pitch.
7190 @subsection Figured bass
7192 @cindex Basso continuo
7194 @c TODO: musicological blurb about FB
7198 LilyPond has limited support for figured bass:
7200 @lilypond[verbatim,fragment]
7202 \context Voice \notes { \clef bass dis4 c d ais}
7203 \context FiguredBass
7205 < 6 >4 < 7 >8 < 6+ [_!] >
7211 The support for figured bass consists of two parts: there is an input
7212 mode, introduced by @code{\figures}, where you can enter bass figures
7213 as numbers, and there is a context called @internalsref{FiguredBass} that
7214 takes care of making @internalsref{BassFigure} objects.
7216 In figures input mode, a group of bass figures is delimited by
7217 @code{<} and @code{>}. The duration is entered after the @code{>>}:
7222 \context FiguredBass
7226 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7233 \context FiguredBass
7234 \figures { <4- 6+ 7!> }
7237 Spaces or dashes may be inserted by using @code{_}. Brackets are
7238 introduced with @code{[} and @code{]}:
7244 \context FiguredBass
7245 \figures { < [4 6] 8 [_! 12]> }
7248 Although the support for figured bass may superficially resemble chord
7249 support, it works much simpler. The @code{\figures} mode simply
7250 stores the numbers , and @internalsref{FiguredBass} context prints
7251 them as entered. There is no conversion to pitches, and no
7252 realizations of the bass are played in the MIDI file.
7254 Internally, the code produces markup texts. You can use any of the
7255 markup text properties to override formatting. For example, the
7256 vertical spacing of the figures may be set with @code{baseline-skip}.
7260 Internals: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7261 and @internalsref{FiguredBass} context.
7265 Slash notation for alterations is not supported.
7268 @node Vaticana style contexts
7269 @subsection Vaticana style contexts
7271 @cindex VaticanaVoiceContext
7272 @cindex VaticanaStaffContext
7274 The predefined @code{VaticanaVoiceContext} and
7275 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7276 Gregorian Chant in the style of the Editio Vaticana. These contexts
7277 initialize all relevant context properties and grob properties to
7278 proper values. With these contexts, you can immediately go ahead
7279 entering the chant, as the following short excerpt demonstrates:
7281 @lilypond[raggedright,verbatim,noindent]
7282 \include "gregorian-init.ly"
7285 \context VaticanaVoice = "cantus" {
7286 \override Score.BarNumber #'transparent = ##t
7288 \[ c'\melisma c' \flexa a \] \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7289 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \] c' \divisioMinima \break
7290 \[ c'\melisma c' \flexa a \] \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7293 \lyricsto "cantus" \new Lyrics \lyrics {
7294 San- ctus, San- ctus, San- ctus
7300 @node Contemporary notation
7301 @section Contemporary notation
7303 In the 20th century, composers have greatly expanded the musical
7304 vocabulary. With this expansion, many innovations in musical notation
7305 have been tried. The book by Stone (1980) gives a comprehensive
7306 overview (see @ref{Literature list}). In general, the use of new,
7307 innovative notation makes a piece harder to understand and perform and
7308 its use should therefore be avoided if possible. For this reason,
7309 support for contemporary notation in LilyPond is limited.
7318 @subsection Clusters
7322 In musical terminology, a @emph{cluster} denotes a range of
7323 simultaneously sounding pitches that may change over time. The set of
7324 available pitches to apply usually depends on the accoustic source.
7325 Thus, in piano music, a cluster typically consists of a continous range
7326 of the semitones as provided by the piano's fixed set of a chromatic
7327 scale. In choral music, each singer of the choir typically may sing an
7328 arbitrary pitch within the cluster's range that is not bound to any
7329 diatonic, chromatic or other scale. In electronic music, a cluster
7330 (theoretically) may even cover a continuous range of pitches, thus
7331 resulting in coloured noise, such as pink noise.
7333 Clusters can be denoted in the context of ordinary staff notation by
7334 engraving simple geometrical shapes that replace ordinary notation of
7335 notes. Ordinary notes as musical events specify starting time and
7336 duration of pitches; however, the duration of a note is expressed by the
7337 shape of the note head rather than by the horizontal graphical extent of
7338 the note symbol. In contrast, the shape of a cluster geometrically
7339 describes the development of a range of pitches (vertical extent) over
7340 time (horizontal extent). Still, the geometrical shape of a cluster
7341 covers the area in wich any single pitch contained in the cluster would
7342 be notated as an ordinary note. From this point of view, it is
7343 reasonable to specify a cluster as the envelope of a set of notes.
7347 A cluster is engraved as the envelope of a set of
7348 cluster-notes. Cluster notes are created by applying the function
7349 @code{notes-to-clusters} to a sequence of chords, e.g.
7351 @lilypond[relative=1,verbatim]
7352 \apply #notes-to-clusters { <c e > <b f'> }
7355 The following example (from
7356 @inputfileref{input/regression,cluster.ly}) shows what the result
7359 @lilypondfile[]{cluster.ly}
7361 By default, @internalsref{Cluster_spanner_engraver} is in the
7362 @internalsref{Voice} context. This allows putting ordinary notes and
7363 clusters together in the same staff, even simultaneously. In such a
7364 case no attempt is made to automatically avoid collisions between
7365 ordinary notes and clusters.
7369 Internals: @internalsref{ClusterSpanner},
7370 @internalsref{ClusterSpannerBeacon},
7371 @internalsref{Cluster_spanner_engraver}, and
7372 @internalsref{ClusterNoteEvent}.
7374 Examples: @inputfileref{input/regression,cluster.ly}.
7378 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7379 accurately. Use @code{<g a>8 <e a>8} instead.
7384 @subsection Fermatas
7390 Contemporary music notation frequently uses special fermata symbols to
7391 indicate fermatas of differing lengths.
7395 The following are supported
7397 @lilypond[raggedright]
7399 << \addlyrics \notes {
7419 \context Lyrics \lyrics {
7420 "shortfermata" "fermata" "longfermata" "verylongfermata"
7425 See @ref{Articulations} for general instructions how to apply scripts
7426 such as fermatas to a @code{\notes@{@}} block.
7429 @node Special notation
7430 @section Special notation
7434 * Easy Notation note heads::
7438 @subsection Balloon help
7440 Elements of notation can be marked and named with the help of a square
7441 balloon. The primary purpose of this feature is to explain notation.
7443 The following example demonstrates its use.
7445 @lilypond[verbatim,fragment,raggedright,relative=1]
7448 #(add-balloon-text 'NoteHead "heads, or tails?"
7454 The function @code{add-balloon-text} takes the name of a grob, the
7455 label to print and where to put the label relative to the object. In
7456 the above example, the text ``heads or tails?'' ends 3 spaces below
7460 @cindex notation, explaining
7464 Internals: @internalsref{text-balloon-interface}.
7466 Examples: @inputfileref{input/regression,balloon.ly}.
7468 @node Easy Notation note heads
7469 @subsection Easy Notation note heads
7471 @cindex easy notation
7474 The `easy play' note head includes a note name inside the head. It is
7475 used in music aimed at beginners:
7477 @lilypond[raggedright,verbatim,staffsize=26]
7479 \notes { c'2 e'4 f' | g'1 }
7480 \paper { \translator { \EasyNotation } }
7484 The @code{EasyNotation} variable overrides a @internalsref{Score} @c
7485 context. To make the letters readable, it has to be printed in a
7486 large font size. To print with a larger font, see @ref{Font Size}.
7491 If you view the result with Xdvi, then staff lines may show through
7492 the letters. Printing the PostScript file obtained does produce the
7498 @section Tuning output
7500 There are situations where default layout decisions are not
7501 sufficient. In this section we discuss ways to override these
7504 Formatting is internally done by manipulating so called objects
7505 (graphic objects). Each object carries with it a set of properties
7506 (object or layout properties) specific to that object. For example, a
7507 stem object has properties that specify its direction, length and
7510 The most direct way of tuning the output is by altering the values of
7511 these properties. There are two ways of doing that: first, you can
7512 temporarily change the definition of one type of object, thus
7513 affecting a whole set of objects. Second, you can select one specific
7514 object, and set a layout property in that object.
7516 Do not confuse layout properties with translation
7517 properties. Translation properties always use a mixed caps style
7518 naming, and are manipulated using @code{\set} and @code{\unset}:
7520 \set Context.propertyName = @var{value}
7523 Layout properties are use Scheme style variable naming, i.e. lower
7524 case words separated with dashes. They are symbols, and should always
7525 be quoted using @code{#'}. For example, this could be an imaginary
7526 layout property name:
7528 #'layout-property-name
7533 The introduction of the @ref{Technical manual} gives a more in-depth
7534 treatment of the difference between translation and layout.
7538 * Constructing a tweak::
7545 @node Tuning objects
7546 @subsection Tuning objects
7548 @cindex object description
7550 The definition of an object is a list of default object
7551 properties. For example, the definition of the Stem object (available
7552 in @file{scm/define-grobs.scm}), includes the following definitions
7553 for @internalsref{Stem}:
7557 (beamed-lengths . (3.5 3.5 3.5 4.5 5.0))
7558 (Y-extent-callback . ,Stem::height)
7563 Adding variables on top of this existing definition overrides the
7564 system default, and alters the resulting appearance of the layout
7570 Changing a variable for only one object is commonly achieved with
7574 \once \override @var{context}.@var{objectname}
7575 @var{symbol} = @var{value}
7577 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
7578 and @var{objectname} is a string and @var{value} is a Scheme expression.
7579 This command applies a setting only during one moment in the score.
7581 In the following example, only one @internalsref{Stem} object is
7582 changed from its original setting:
7584 @lilypond[verbatim,fragment,relative=1]
7586 \once \override Voice.Stem #'thickness = #4
7590 @cindex @code{\once}
7592 For changing more objects, the same command, without @code{\once} can
7595 \override @var{context}.@var{objectname} @var{symbol} = @var{value}
7597 This command adds @code{@var{symbol} = @var{value}} to the definition
7598 of @var{objectname} in the context @var{context}, and this definition
7599 stays in place until it is removed.
7601 An existing definition may be removed by the following command:
7604 \property @var{context}.@var{objectname} \revert @var{symbol}
7609 @lilypond[verbatim,quote]
7610 c'4 \override Stem #'thickness = #4.0
7612 c'4 \revert Stem #'thickness
7616 The following example gives exactly the same result as the previous
7617 one (assuming the system default for stem thickness is 1.3):
7619 @lilypond[verbatim,quote]
7620 c'4 \override Stem #'thickness = #4.0
7622 c'4 \override Stem #'thickness = #1.3
7626 Reverting a setting which was not set in the first place has no
7632 Internals: @internalsref{OverrideProperty}, @internalsref{RevertProperty},
7633 @internalsref{PropertySet}, @internalsref{All-backend-properties}, and
7634 @internalsref{All-layout-objects}.
7639 The backend is not very strict in type-checking object properties.
7640 Cyclic references in Scheme values for properties can cause hangs
7644 * Constructing a tweak::
7650 @node Constructing a tweak
7651 @subsection Constructing a tweak
7654 @cindex internal documentation
7655 @cindex finding graphical objects
7656 @cindex graphical object descriptions
7658 @cindex @code{\override}
7660 @cindex internal documentation
7664 Three pieces of information are required to use @code{\override} and
7665 @code{\set}: the name of the layout object, the context and the name
7666 of the property. We demonstrate how to glean this information from
7667 the notation manual and the generated documentation.
7669 The generated documentation is a set of HTML pages which should be
7670 included if you installed a binary distribution, typically in
7671 @file{/usr/share/doc/lilypond}. They are also available on the web:
7672 go to the @uref{http://lilypond.org,LilyPond website}, click
7673 ``Documentation'', select the correct version, and click then
7674 ``Program reference.'' It is advisable to bookmark the local HTML
7675 files. They will load faster than the ones on the web. If you use the
7676 version from the web, you must check whether the documentation matches
7677 the program version: it is generated from the definitions that the
7678 program uses, and therefore it is strongly tied to the LilyPond
7682 @c [TODO: revise for new site.]
7684 Suppose we want to move the fingering indication in the fragment below:
7686 @lilypond[relative=2,verbatim]
7692 If you visit the documentation of @code{Fingering} (in @ref{Fingering
7693 instructions}), you will notice that there is written:
7698 Internals: @internalsref{FingerEvent} and @internalsref{Fingering}.
7705 In other words, the fingerings once entered, are internally stored as
7706 @code{FingerEvent} music objects. When printed, a @code{Fingering}
7707 layout object is created for every @code{FingerEvent}.
7709 The Fingering object has a number of different functions, and each of
7710 those is captured in an interface. The interfaces are listed under
7711 @internalsref{Fingering} in the program reference.
7715 The @code{Fingering} object has a fixed size
7716 (@internalsref{item-interface}), the symbol is a piece of text
7717 (@internalsref{text-interface}), whose font can be set
7718 (@internalsref{font-interface}). It is centered horizontally
7719 (@internalsref{self-alignment-interface}), it is placed next to other
7720 objects (@internalsref{side-position-interface}) vertically, and its
7721 placement is coordinated with other scripts
7722 (@internalsref{text-script-interface}). It also has the standard
7723 @internalsref{grob-interface} (grob stands for Graphical object)
7725 @cindex graphical object
7726 @cindex layout object
7727 @cindex object, layout
7728 with all the variables that come with
7729 it. Finally, it denotes a fingering instruction, so it has
7730 @internalsref{finger-interface}.
7732 For the vertical placement, we have to look under
7733 @code{side-position-interface}:
7735 @code{side-position-interface}
7737 Position a victim object (this one) next to other objects (the
7738 support). In this case, the property @code{direction} signifies where to put the
7739 victim object relative to the support (left or right, up or down?)
7744 below this description, the variable @code{padding} is described as
7748 (dimension, in staff space)
7750 add this much extra space between objects that are next to each
7751 other. Default value: @code{0.6}
7755 By increasing the value of @code{padding}, we can move away the
7756 fingering. The following command inserts 3 staff spaces of white
7757 between the note and the fingering:
7759 \once \override Fingering #'padding = #3
7762 Inserting this command before the Fingering object is created,
7763 i.e. before @code{c2}, yields the following result:
7765 @lilypond[relative=2,fragment,verbatim]
7766 \once \override Fingering
7773 The context name @code{Voice} in the example above can be determined
7774 as follows. In the documentation for @internalsref{Fingering}, it says
7776 Fingering grobs are created by: @internalsref{Fingering_engraver} @c
7779 Clicking @code{Fingering_engraver} shows the documentation of
7780 the module responsible for interpreting the fingering instructions and
7781 translating them to a @code{Fingering} object. Such a module is called
7782 an @emph{engraver}. The documentation of the @code{Fingering_engraver}
7785 Fingering_engraver is part of contexts: Voice
7787 so tuning the settings for Fingering should be done with
7789 \override Fingering @dots{}
7792 Of course, the tweak may also done in a larger context than
7793 @code{Voice}, for example, @internalsref{Staff} or
7794 @internalsref{Score}.
7798 Internals: the program reference also contains alphabetical lists of
7799 @internalsref{Contexts}, @internalsref{All-layout-objects} and
7800 @internalsref{Music-expressions}, so you can also find which objects
7801 to tweak by browsing the internals document.
7805 @subsection Applyoutput
7807 The most versatile way of tuning an object is @code{\applyoutput}. Its
7810 \applyoutput @var{proc}
7814 where @var{proc} is a Scheme function, taking three arguments.
7816 When interpreted, the function @var{proc} is called for every layout
7817 object found in the context, with the following arguments:
7819 @item the layout object itself,
7820 @item the context where the layout object was created, and
7821 @item the context where @code{\applyoutput} is processed.
7825 In addition, the cause of the layout object, i.e. the music
7826 expression or object that was responsible for creating it, is in the
7827 object property @code{cause}. For example, for a note head, this is a
7828 @internalsref{NoteHead} event, and for a @internalsref{Stem} object,
7829 this is a @internalsref{NoteHead} object.
7831 Here is a simple example of @code{\applyoutput}; it blanks note-heads on the
7834 (define (blanker grob grob-origin context)
7835 (if (and (memq (ly:get-grob-property grob 'interfaces)
7836 note-head-interface)
7837 (eq? (ly:get-grob-property grob 'staff-position) 0))
7839 (ly:set-grob-property! grob 'transparent #t)))
7844 @node Font selection
7845 @subsection Font selection
7847 The most common thing to change about the appearance of fonts is their
7848 size. The font size of any context can be easily changed by setting
7849 the @code{fontSize} property for that context. Its value is a number:
7850 negative numbers make the font smaller, positive numbers larger. An
7851 example is given below:
7853 @lilypond[fragment,relative=1,verbatim,quote]
7854 c4 c4 \set fontSize = #-1
7857 This command will set @code{font-size} (see below), and does
7858 not change the size of variable symbols, such as beams or slurs.
7860 One of the uses of @code{fontSize} is to get smaller symbols for cue
7861 notes. An elaborate example of those is in
7862 @inputfileref{input/test,cue-notes.ly}.
7864 @cindex magnification
7867 The font used for printing a object can be selected by setting
7868 @code{font-name}, e.g.
7870 \override Staff.TimeSignature
7871 #'font-name = #"cmr17"
7875 Any font can be used, as long as it is available to @TeX{}. Possible
7876 fonts include foreign fonts or fonts that do not belong to the
7877 Computer Modern font family. The size of fonts selected in this way
7878 can be changed with the @code{font-magnification} property. For
7879 example, @code{2.0} blows up all letters by a factor 2 in both
7883 @cindex font magnification
7885 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
7886 can also be adjusted with a more fine-grained mechanism. By setting
7887 the object properties described below, you can select a different font;
7888 all three mechanisms work for every object that supports
7889 @code{font-interface}:
7894 is a symbol indicating the general class of the typeface. Supported are
7895 @code{roman} (Computer Modern), @code{braces} (for piano staff
7896 braces), @code{music} (the standard music font, including ancient
7897 glyphs), @code{dynamic} (for dynamic signs) and @code{typewriter}.
7900 is a symbol indicating the shape of the font, there are typically several
7901 font shapes available for each font family. Choices are @code{italic},
7902 @code{caps} and @code{upright}.
7905 is a symbol indicating the series of the font. There are typically several
7906 font series for each font family and shape. Choices are @code{medium}
7911 For any of these properties, the value @code{*} (i.e. the symbol
7912 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
7913 to override default setting, which are always present. For example:
7915 \override Lyrics .LyricText #'font-series = #'bold
7916 \override Lyrics .LyricText #'font-family = #'typewriter
7917 \override Lyrics .LyricText #'font-shape = #'*
7920 @cindex @code{font-style}
7922 The font size is set by modifying the @code{font-size} property. Its
7923 value is a number indicating the size relative to the standard size.
7924 Each step up is an increase of approximately 12% of the font size. Six
7925 steps is exactly a factor two. The Scheme function @code{magstep}
7926 converts a @code{font-size} number to a scaling factor.
7928 LilyPond has fonts in different design sizes: the music fonts for
7929 smaller sizes are chubbier, while the text fonts are relatively wider.
7930 Font size changes are achieved by scaling the design size that is
7931 closest to the desired size.
7933 The @code{font-size} mechanism does not work for fonts selected
7934 through @code{font-name}. These may be scaled with
7935 @code{font-magnification}.
7939 The following commands set @code{fontSize} for the current voice.
7941 @cindex @code{\tiny}
7943 @cindex @code{\small}
7945 @cindex @code{\normalsize}
7950 Init files: @file{ly/declarations-init.ly} contains hints how new
7951 fonts may be added to LilyPond.
7955 There is no style sheet provided for other fonts besides the @TeX{}
7956 Computer Modern family.
7958 @cindex font selection
7959 @cindex font magnification
7960 @cindex @code{font-interface}
7964 @section Text markup
7969 @cindex typeset text
7971 LilyPond has an internal mechanism to typeset texts. You can access it
7972 with the keyword @code{\markup}. Within markup mode, you can enter texts
7973 similar to lyrics: simply enter them, surrounded by spaces:
7976 @lilypond[verbatim,fragment,relative=1]
7977 c1^\markup { hello }
7978 c1_\markup { hi there }
7979 c1^\markup { hi \bold there, is \italic anyone home? }
7982 @cindex font switching
7984 The markup in the example demonstrates font switching commands. The
7985 command @code{\bold} and @code{\italic} only apply to the first
7986 following word; enclose a set of texts with braces to apply a command
7989 \markup @{ \bold @{ hi there @} @}
7993 For clarity, you can also do this for single arguments, e.g.
7996 \markup { is \italic { anyone } home }
7999 @cindex font size, texts
8002 In markup mode you can compose expressions, similar to mathematical
8003 expressions, XML documents and music expressions. The braces group
8004 notes into horizontal lines. Other types of lists also exist: you can
8005 stack expressions grouped with @code{<}, and @code{>} vertically with
8006 the command @code{\column}. Similarly, @code{\center} aligns texts by
8009 @lilypond[verbatim,fragment,relative=1]
8010 c1^\markup { \column < a bbbb c > }
8011 c1^\markup { \center < a bbbb c > }
8012 c1^\markup { \line < a b c > }
8016 Markups can be stored in variables, and these variables
8017 may be attached to notes, like
8019 allegro = \markup { \bold \large { Allegro } }
8020 \notes { a^\allegro b c d }
8024 Some objects have alignment procedures of their own, which cancel out
8025 any effects of alignments applied to their markup arguments as a
8026 whole. For example, the @internalsref{RehearsalMark} is horizontally
8027 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
8028 effect. Similarly, whole texts over notes cannot be moved vertically
8029 with @code{\raise}. For moving and aligning complete objects, grob
8030 properties should be used.
8036 Init files: @file{scm/new-markup.scm}.
8041 Text layout is ultimately done by @TeX{}, which does kerning of
8042 letters. LilyPond does not account for kerning, so texts will be
8043 spaced slightly too wide.
8045 Syntax errors for markup mode are confusing.
8047 Markup texts cannot be used in the titling of the @code{\header}
8048 field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
8054 * Overview of text markup commands::
8055 * Markup construction in scheme::
8056 * Markup command definition::
8059 @node Overview of text markup commands
8060 @subsection Overview of text markup commands
8062 @include markup-commands.tely
8064 @node Markup construction in scheme
8065 @subsection Markup construction in scheme
8067 @cindex defining markup commands
8069 The @code{markup} macro builds markup expressions in Scheme while
8070 providing a LilyPond-like syntax. For example,
8072 (markup #:column (#:line (#:bold #:italic "hello" #:raise 0.4 "world")
8073 #:bigger #:line ("foo" "bar" "baz")))
8079 \markup \column < @{ \bold \italic "hello" \raise #0.4 "world" @}
8080 \bigger @{ foo bar baz @} >
8084 This example exposes the main translation rules between regular
8085 LilyPond markup syntax and scheme markup syntax, which are summed up
8087 @multitable @columnfractions .5 .5
8088 @item @b{LilyPond} @tab @b{Scheme}
8089 @item @code{\command} @tab @code{#:command}
8090 @item @code{\variable} @tab @code{variable}
8091 @item @code{@{ ... @}} @tab @code{#:line ( ... )}
8092 @item @code{\center < ... >} @tab @code{#:center ( ... )}
8093 @item @code{string} @tab @code{"string"}
8094 @item @code{#scheme-arg} @tab @code{scheme-arg}
8097 Besides, the whole scheme language is accessible inside the
8098 @code{markup} macro: thus, one may use function calls inside
8099 @code{markup} in order to manipulate character strings for
8100 instance. This proves useful when defining new markup commands (see
8101 @ref{Markup command definition}).
8105 One can not feed the @code{#:line} (resp @code{#:center},
8106 @code{#:column}) command with a variable or the result of a function
8109 (markup #:line (fun-that-returns-markups))
8111 is illegal. One should use the @code{make-line-markup} (resp
8112 @code{make-center-markup}, @code{make-column-markup}) function
8115 (markup (make-line-markup (fun-that-returns-markups)))
8118 @node Markup command definition
8119 @subsection Markup command definition
8121 New markup commands can be defined thanks to the @code{def-markup-command} scheme macro.
8123 (def-markup-command (@var{command-name} @var{paper} @var{props} @var{arg1} @var{arg2} ...)
8124 (@var{arg1-type?} @var{arg2-type?} ...)
8127 @var{argi}: i@var{th} command argument
8128 @var{argi-type?}: a type predicate for the i@var{th} argument
8129 @var{paper}: the `paper' definition
8130 @var{props}: a list of alists, containing all active properties.
8133 As a simple example, we show how to add a @code{\smallcaps} command,
8134 which selects @TeX{}'s small caps font. Normally, we could select the
8135 small caps font as follows:
8138 \markup { \override #'(font-shape . caps) Text-in-caps }
8141 This selects the caps font by setting the @code{font-shape} property to
8142 @code{#'caps} for interpreting @code{Text-in-caps}.
8144 To make the above available as @code{\smallcaps} command, we have to
8145 define a function using @code{def-markup-command}. The command should
8146 take a single argument, of markup type. Therefore, the start of the
8147 definition should read
8149 (def-markup-command (smallcaps paper props argument) (markup?)
8154 What follows is the content of the command: we should interpret
8155 the @code{argument} as a markup, i.e.
8158 (interpret-markup paper @dots{} argument)
8162 This interpretation should add @code{'(font-shape . caps)} to the active
8163 properties, so we substitute the the following for the @dots{} in the
8167 (cons (list '(font-shape . caps) ) props)
8171 The variable @code{props} is a list of alists, and we prepend to it by
8172 consing a list with the extra setting.
8174 However, suppose that we are using a font that does not have a
8175 small-caps variant. In that case, we have to fake the small caps font,
8176 by setting a string in upcase, with the first letter a little larger:
8179 #(def-markup-command (smallcaps paper props str) (string?)
8180 "Print the string argument in small caps. Syntax: \\smallcaps #\"string\""
8181 (interpret-markup paper props
8184 (if (= (string-length s) 0)
8186 (markup #:large (string-upcase (substring s 0 1))
8187 #:translate (cons -0.6 0)
8188 #:tiny (string-upcase (substring s 1)))))
8189 (string-split str #\Space)))))
8192 The @code{smallcaps} command first splits its string argument into
8193 tokens separated by spaces (@code{(string-split str #\Space)}); for
8194 each token, a markup is built with the first letter made large and
8195 upcased (@code{#:large (string-upcase (substring s 0 1))}), and a
8196 second markup built with the following letters made tiny and upcased
8197 (@code{#:tiny (string-upcase (substring s 1))}). As LilyPond
8198 introduces a space between markups on a line, the second markup is
8199 translated to the left (@code{#:translate (cons -0.6 0) ...}). Then,
8200 the markups built for each token are put in a line
8201 (@code{(make-line-markup ...)}). Finally, the resulting markup is
8202 passed to the @code{interpret-markup} function, with the @code{paper}
8203 and @code{props} arguments.
8205 Finally, suppose that we are typesetting a recitative in an opera, and
8206 we would like to define a command that will show character names in a
8207 custom manner. Names should be printed with small caps and translated a
8208 bit to the left and top. We will define a @code{\character} command
8209 that takes into account the needed translation, and uses the newly
8210 defined @code{\smallcaps} command:
8213 #(def-markup-command (character paper props name) (string?)
8214 "Print the character name in small caps, translated to the left and
8215 top. Syntax: \\character #\"name\""
8216 (interpret-markup paper props
8217 (markup "" #:translate (cons -4 2) #:smallcaps name)))
8220 There is one complication that needs explanation: texts above and below
8221 the staff are moved vertically to be at a certain distance (the
8222 @code{padding} property) from the staff and the notes. To make sure
8223 that this mechanism does not annihilate the vertical effect of our
8224 @code{#:translate}, we add an empty string (@code{""}) before the
8225 translated text. Now the @code{""} will be put above the notes, and the
8226 @code{name} is moved in relation to that empty string. The net effect is
8227 that the text is moved to the upper left.
8229 The final result is as follows:
8233 c''^\markup \character #"Cleopatra"
8234 e'^\markup \character #"Giulio Cesare"
8239 @lilypond[raggedright]
8240 #(def-markup-command (smallcaps paper props str) (string?)
8241 "Print the string argument in small caps. Syntax: \\smallcaps #\"string\""
8242 (interpret-markup paper props
8245 (if (= (string-length s) 0)
8247 (markup #:large (string-upcase (substring s 0 1))
8248 #:translate (cons -0.6 0)
8249 #:tiny (string-upcase (substring s 1)))))
8250 (string-split str #\Space)))))
8252 #(def-markup-command (character paper props name) (string?)
8253 "Print the character name in small caps, translated to the left and
8254 top. Syntax: \\character #\"name\""
8255 (interpret-markup paper props
8256 (markup "" #:translate (cons -4 0) #:smallcaps name)))
8260 c''^\markup \character #"Cleopatra"
8261 e'^\markup \character #"Giulio Cesare"
8269 @section Global layout
8271 The global layout determined by three factors: the page layout, the
8272 line breaks and the spacing. These all influence each other. The
8273 choice of spacing determines how densely each system of music is set,
8274 which influences where line breaks breaks are chosen, and thus
8275 ultimately how many pages a piece of music takes. This section
8276 explains how to tune the algorithm for spacing.
8278 Globally spoken, this procedure happens in three steps: first,
8279 flexible distances (``springs'') are chosen, based on durations. All
8280 possible line breaking combination are tried, and the one with the
8281 best results---a layout that has uniform density and requires as
8282 little stretching or cramping as possible---is chosen. When the score
8283 is processed by @TeX{}, each page is filled with systems, and page breaks
8284 are chosen whenever the page gets full.
8289 * Vertical spacing::
8290 * Horizontal spacing::
8297 @node Vertical spacing
8298 @subsection Vertical spacing
8300 @cindex vertical spacing
8301 @cindex distance between staves
8302 @cindex staff distance
8303 @cindex between staves, distance
8304 @cindex staffs per page
8305 @cindex space between staves
8307 The height of each system is determined automatically by LilyPond, to
8308 keep systems from bumping into each other, some minimum distances are
8309 set. By changing these, you can put staves closer together, and thus
8310 put more systems onto one page.
8312 Normally staves are stacked vertically. To make
8313 staves maintain a distance, their vertical size is padded. This is
8314 done with the property @code{minimumVerticalExtent}. It takes a pair
8315 of numbers, so if you want to make it smaller from its, then you could
8318 \set Staff.minimumVerticalExtent = #'(-4 . 4)
8320 This sets the vertical size of the current staff to 4 staff spaces on
8321 either side of the center staff line. The argument of
8322 @code{minimumVerticalExtent} is interpreted as an interval, where the
8323 center line is the 0, so the first number is generally negative. The
8324 staff can be made larger at the bottom by setting it to @code{(-6
8327 The piano staves are handled a little differently: to make cross-staff
8328 beaming work correctly, it is necessary that the distance between staves
8329 is fixed beforehand. This is also done with a
8330 @internalsref{VerticalAlignment} object, created in
8331 @internalsref{PianoStaff}. In this object the distance between the
8332 staves is fixed by setting @code{forced-distance}. If you want to
8333 override this, use a @code{\translator} block as follows:
8337 VerticalAlignment \override #'forced-distance = #9
8340 This would bring the staves together at a distance of 9 staff spaces,
8341 measured from the center line of each staff.
8345 Internals: Vertical alignment of staves is handled by the
8346 @internalsref{VerticalAlignment} object.
8350 @node Horizontal spacing
8351 @subsection Horizontal Spacing
8353 The spacing engine translates differences in durations into
8354 stretchable distances (``springs'') of differing lengths. Longer
8355 durations get more space, shorter durations get less. The shortest
8356 durations get a fixed amount of space (which is controlled by
8357 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
8358 The longer the duration, the more space it gets: doubling a
8359 duration adds a fixed amount (this amount is controlled by
8360 @code{spacing-increment}) of space to the note.
8362 For example, the following piece contains lots of half, quarter and
8363 8th notes, the eighth note is followed by 1 note head width (NHW).
8364 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
8365 @lilypond[fragment,verbatim,relative=1] c2 c4. c8 c4. c8 c4. c8 c8
8369 Normally, @code{shortest-duration-space} is set to 1.2, which is the
8370 width of a note head, and @code{shortest-duration-space} is set to
8371 2.0, meaning that the shortest note gets 2 NHW (i.e. 2 times
8372 @code{shortest-duration-space}) of space. For normal notes, this space
8373 is always counted from the left edge of the symbol, so the shortest
8374 notes are generally followed by one NHW of space.
8376 If one would follow the above procedure exactly, then adding a single
8377 32th note to a score that uses 8th and 16th notes, would widen up the
8378 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
8379 thus adding 1 NHW to every note. To prevent this, the
8380 shortest duration for spacing is not the shortest note in the score,
8381 but the most commonly found shortest note. Notes that are even
8382 shorter this are followed by a space that is proportional to their
8383 duration relative to the common shortest note. So if we were to add
8384 only a few 16th notes to the example above, they would be followed by
8387 @lilypond[fragment,verbatim,relative=2]
8388 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
8391 The most common shortest duration is determined as follows: in every
8392 measure, the shortest duration is determined. The most common short
8393 duration, is taken as the basis for the spacing, with the stipulation
8394 that this shortest duration should always be equal to or shorter than
8395 1/8th note. The shortest duration is printed when you run lilypond
8396 with @code{--verbose}. These durations may also be customized. If you
8397 set the @code{common-shortest-duration} in
8398 @internalsref{SpacingSpanner}, then this sets the base duration for
8399 spacing. The maximum duration for this base (normally 1/8th), is set
8400 through @code{base-shortest-duration}.
8402 @cindex @code{common-shortest-duration}
8403 @cindex @code{base-shortest-duration}
8404 @cindex @code{stem-spacing-correction}
8405 @cindex @code{spacing}
8407 In the introduction it was explained that stem directions influence
8408 spacing. This is controlled with @code{stem-spacing-correction}
8409 property in @internalsref{NoteSpacing}, which are generated for every
8410 @internalsref{Voice} context. The @code{StaffSpacing} object
8411 (generated at @internalsref{Staff} context) contains the same property
8412 for controlling the stem/barline spacing. The following example
8413 shows these corrections, once with default settings, and once with
8414 exaggerated corrections:
8420 \override Staff.NoteSpacing #'stem-spacing-correction
8422 \override Staff.StaffSpacing #'stem-spacing-correction
8427 \paper { raggedright = ##t } }
8430 @cindex SpacingSpanner, overriding properties
8432 Properties of the @internalsref{SpacingSpanner} must be overridden
8433 from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
8434 created before any property commands are interpreted.
8436 \paper @{ \translator @{
8438 SpacingSpanner \override #'spacing-increment = #3.0
8445 Internals: @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
8446 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
8447 @internalsref{SeparatingGroupSpanner}.
8451 Spacing is determined on a score wide basis. If you have a score that
8452 changes its character (measured in durations) halfway during the
8453 score, the part containing the longer durations will be spaced too
8456 There is no convenient mechanism to manually override spacing.
8461 @subsection Font size
8462 @cindex font size, setting
8463 @cindex staff size, setting
8464 @cindex @code{paper} file
8466 The Feta font provides musical symbols at eight seven different
8467 sizes. Each font is tuned for a different staff size: at smaller sizes
8468 the font gets heavier, to match the relatively heavier staff lines.
8469 The recommended font sizes are listed in the following table:
8471 @multitable @columnfractions .25 .25 .25 .25
8474 @tab @b{staff height (pt)}
8475 @tab @b{staff height (mm)}
8517 @c modern rental material ?
8521 These fonts are available in any sizes. The context property
8522 @code{fontSize} and the layout property @code{staff-space} (in
8523 @internalsref{StaffSymbol}) can be used to tune size for individual
8524 staffs. The size of individual staffs are relative to the global size,
8525 which can be set in the following manner:
8528 #(set-global-staff-size 14)
8531 This sets the global default size to 14pt staff height, and scales all
8537 @subsection Line breaking
8540 @cindex breaking lines
8542 Line breaks are normally computed automatically. They are chosen such
8543 that lines look neither cramped nor loose, and that consecutive lines
8544 have similar density.
8546 Occasionally you might want to override the automatic breaks; you can
8547 do this by specifying @code{\break}. This will force a line break at
8548 this point. Line breaks can only occur at places where there are bar
8549 lines. If you want to have a line break where there is no bar line,
8550 you can force an invisible bar line by entering @code{\bar
8551 ""}. Similarly, @code{\noBreak} forbids a line break at a
8555 @cindex regular line breaks
8556 @cindex four bar music.
8558 For linebreaks at regular intervals use @code{\break} separated by
8559 skips and repeated with @code{\repeat}:
8561 << \repeat unfold 7 @{
8562 s1 \noBreak s1 \noBreak
8563 s1 \noBreak s1 \break @}
8564 @emph{the real music}
8569 This makes the following 28 measures (assuming 4/4 time) be broken every
8570 4 measures, and only there.
8574 @code{\break}, @code{\noBreak}
8575 @cindex @code{\break}
8576 @cindex @code{\noBreak}
8580 Internals: @internalsref{BreakEvent}.
8584 @subsection Page layout
8587 @cindex breaking pages
8589 @cindex @code{indent}
8590 @cindex @code{linewidth}
8592 The most basic settings influencing the spacing are @code{indent} and
8593 @code{linewidth}. They are set in the @code{\paper} block. They
8594 control the indentation of the first line of music, and the lengths of
8597 If @code{raggedright} is set to true in the @code{\paper}
8598 block, then the lines are justified at their natural length. This
8599 useful for short fragments, and for checking how tight the natural
8603 @cindex vertical spacing
8605 The page layout process happens outside the LilyPond formatting
8606 engine: variables controlling page layout are passed to the output,
8607 and are further interpreted by @code{lilypond} wrapper program. It
8608 responds to the following variables in the @code{\paper} block. The
8609 variable @code{textheight} sets the total height of the music on each
8610 page. The spacing between systems is controlled with
8611 @code{interscoreline}, its default is 16pt. The distance between the
8612 score lines will stretch in order to fill the full page
8613 @code{interscorelinefill} is set to a positive number. In that case
8614 @code{interscoreline} specifies the minimum spacing.
8616 @cindex @code{textheight}
8617 @cindex @code{interscoreline}
8618 @cindex @code{interscorelinefill}
8620 If the variable @code{lastpagefill} is defined,
8621 @c fixme: this should only be done if lastpagefill= #t
8622 systems are evenly distributed vertically on the last page. This
8623 might produce ugly results in case there are not enough systems on the
8624 last page. The @command{lilypond-book} command ignores
8625 @code{lastpagefill}. See @ref{lilypond-book manual} for more
8628 @cindex @code{lastpagefill}
8630 Page breaks are normally computed by @TeX{}, so they are not under
8631 direct control of LilyPond. However, you can insert a commands into
8632 the @file{.tex} output to instruct @TeX{} where to break pages. This
8633 is done by setting the @code{between-systems-strings} on the
8634 @internalsref{NonMusicalPaperColumn} where the system is broken.
8635 An example is shown in @inputfileref{input/regression,between-systems.ly}.
8636 The predefined command @code{\newpage} also does this.
8640 @cindex @code{papersize}
8642 To change the paper size, use the following Scheme code:
8645 #(set-paper-size "a4")
8652 @cindex @code{\newpage}
8658 In this manual: @ref{Invoking lilypond}.
8660 Examples: @inputfileref{input/regression,between-systems.ly}.
8662 Internals: @internalsref{NonMusicalPaperColumn}.
8666 LilyPond has no concept of page layout, which makes it difficult to
8667 reliably choose page breaks in longer pieces.
8676 Entered music can also be converted to MIDI output. The performance
8677 is good enough for proof-hearing the music for errors.
8679 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
8680 crescendi and decrescendi translate into MIDI volume levels. Dynamic
8681 marks translate to a fixed fraction of the available MIDI volume
8682 range, crescendi and decrescendi make the volume vary linearly between
8683 their two extremities. The fractions can be adjusted by
8684 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
8685 For each type of MIDI instrument, a volume range can be defined. This
8686 gives a basic equalizer control, which can enhance the quality of
8687 the MIDI output remarkably. The equalizer can be controlled by
8688 setting @code{instrumentEqualizer}.
8692 Many musically interesting effects, such as swing, articulation,
8693 slurring, etc., are not translated to MIDI.
8695 Since slurs are not interpreted, @code{\lyricsto} and
8696 @code{\addlyrics} sections will be interpreted wrongly.
8698 The MIDI output allocates a channel for each Staff, and one for global
8699 settings. Hence, the MIDI file should not have more than 15 staves
8700 (or 14 if you do not use drums).
8705 * MIDI instrument names::
8710 @subsection MIDI block
8714 The MIDI block is analogous to the paper block, but it is somewhat
8715 simpler. The @code{\midi} block can contain:
8719 @item a @code{\tempo} definition, and
8720 @item context definitions.
8723 Assignments in the @code{\midi} block are not allowed.
8725 A number followed by a period is interpreted as a real number, so
8726 for setting the tempo for dotted notes, an extra space should be
8727 inserted, for example:
8730 \midi @{ \tempo 4 . = 120 @}
8734 @cindex context definition
8736 Context definitions follow precisely the same syntax as within the
8737 \paper block. Translation modules for sound are called performers.
8738 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
8741 @node MIDI instrument names
8742 @subsection MIDI instrument names
8744 @cindex instrument names
8745 @cindex @code{Staff.midiInstrument}
8747 The MIDI instrument name is set by the @code{Staff.midiInstrument}
8748 property. The instrument name should be chosen from the list in
8749 @ref{MIDI instruments}.
8753 If the selected string does not exactly match, then the default is
8754 used, which is the Grand Piano.