3 @c A menu is needed before every deeper *section nesting of @node's; run
4 @c M-x texinfo-all-menus-update
5 @c to automagically fill in these menus before saving changes
7 @c FIXME: singular vs. plural: Beams/Beam
11 @chapter Notation manual
15 * Easier music entry::
22 * Fingering instructions::
31 * Contemporary notation::
37 @c FIXME: Note entry vs Music entry at top level menu is confusing.
43 This chapter describes all the different types of notation supported
44 by LilyPond. It is intended as a reference for users that are already
45 somewhat familiar with using LilyPond.
51 * Chromatic alterations::
59 * Easy Notation note heads ::
67 A note is printed by specifying its pitch and then its duration:
68 @footnote{Notes constitute the most basic elements of LilyPond input,
69 but they do not form valid input on their own without a @code{\score}
70 block. However, for the sake of brevity and simplicity we will
71 generally omit @code{\score} blocks and @code{\paper} declarations in
74 @lilypond[fragment,verbatim]
83 @cindex Note specification
85 @cindex entering notes
87 The most common syntax for pitch entry is used in @code{\chords} and
88 @code{\notes} mode. In Note and Chord mode, pitches may be designated
89 by names. The notes are specified by the letters @code{a} through
90 @code{g}, while the octave is formed with notes ranging from @code{c}
91 to @code{b}. The pitch @code{c} is an octave below middle C and the
92 letters span the octave above that C:
94 @lilypond[fragment,verbatim]
96 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
99 @cindex note names, Dutch
101 A sharp is formed by adding @code{-is} to the end of a pitch name and
102 a flat is formed by adding @code{-es}. Double sharps and double flats
103 are obtained by adding @code{-isis} or @code{-eses}. These
104 names are the Dutch note names. In Dutch, @code{aes} is contracted to
105 @code{as} in Dutch, but both forms are accepted. Similarly, both
106 @code{es} and @code{ees} are accepted.
108 There are predefined sets of note names for various other languages.
109 To use them, include the language specific init file. For
110 example: @code{\include "english.ly"}. The available language files
111 and the note names they define are:
116 Note Names sharp flat
117 nederlands.ly c d e f g a bes b -is -es
118 english.ly c d e f g a bf b -s/-sharp -f/-flat
119 deutsch.ly c d e f g a b h -is -es
120 norsk.ly c d e f g a b h -iss/-is -ess/-es
121 svenska.ly c d e f g a b h -iss -ess
122 italiano.ly do re mi fa sol la sib si -d -b
123 catalan.ly do re mi fa sol la sib si -d/-s -b
124 espanol.ly do re mi fa sol la sib si -s -b
133 The optional octave specification takes the form of a series of
134 single quote (`@code{'}') characters or a series of comma
135 (`@code{,}') characters. Each @code{'} raises the pitch by one
136 octave; each @code{,} lowers the pitch by an octave:
138 @lilypond[fragment,verbatim,center]
139 c' c'' es' g' as' gisis' ais'
143 There is also a verbose syntax for pitch specification:
146 @cindex @code{\pitch}
148 \pitch @var{scmpitch}
152 where @var{scmpitch} is a Scheme object of the @code{Pitch} type.
156 Notes can be hidden and unhidden with the following commands:
158 @cindex @code{\hideNotes}
160 @cindex @code{\unHideNotes}
167 @internalsref{NoteEvent}, and @internalsref{NoteHead}.
169 @node Chromatic alterations
170 @subsection Chromatic alterations
172 Normally accidentals are printed automatically, but you may also
173 print them manually. A reminder accidental
174 @cindex reminder accidental
176 can be forced by adding an exclamation mark @code{!}
177 after the pitch. A cautionary accidental
178 @cindex cautionary accidental
179 @cindex parenthesized accidental
180 (an accidental within parentheses) can be obtained by adding the
181 question mark `@code{?}' after the pitch:
183 @lilypond[fragment,verbatim]
184 cis' cis' cis'! cis'?
188 The automatic production of accidentals can be tuned in many
189 ways. For more information, refer to @ref{Accidentals}.
194 A chord is formed by a enclosing a set of pitches in @code{<<} and
195 @code{>>}. A chord may be followed by a duration, and a set of
196 articulations, just like simple notes.
206 Rests are entered like notes, with the note name @code{r}:
208 @lilypond[singleline,verbatim]
212 Whole bar rests, centered in middle of the bar,
213 must be done with multi measure rests. They are discussed in
214 @ref{Multi measure rests}.
217 A rest's vertical position may be explicitly specified by entering a
218 note with the @code{\rest} keyword appended. This makes manual
219 formatting in polyphonic music easier. Rest collision testing will
220 leave these rests alone:
222 @lilypond[singleline,verbatim]
228 @internalsref{RestEvent}, and @internalsref{Rest}.
235 @cindex Invisible rest
238 An invisible rest (also called a `skip') can be entered like a note
239 with note name `@code{s}' or with @code{\skip @var{duration}}:
241 @lilypond[singleline,verbatim]
245 The @code{s} syntax is only available in Note mode and Chord mode. In
246 other situations, you should use the @code{\skip} command:
248 @lilypond[singleline,verbatim]
251 { \time 4/8 \skip 2 \time 4/4 }
252 \notes\relative c'' { a2 a1 }
257 The skip command is merely an empty musical placeholder. It does not
258 produce any output, not even transparent output.
262 @internalsref{SkipEvent}.
267 @subsection Durations
271 @cindex @code{\duration}
274 In Note, Chord, and Lyrics mode, durations are designated by numbers
275 and dots: durations are entered as their reciprocal values. For example,
276 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
277 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
278 longer than a whole you must use variables:
280 @c FIXME: what is an identifier? I do not think it's been introduced yet.
281 @c and if it has, I obviously skipped that part. - Graham
285 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
287 r1 r2 r4 r8 r16 r32 r64 r64
292 \notes \relative c'' {
294 a1 a2 a4 a8 a16 a32 a64 a64
296 r1 r2 r4 r8 r16 r32 r64 r64
301 \remove "Clef_engraver"
302 \remove "Staff_symbol_engraver"
303 \remove "Time_signature_engraver"
304 \consists "Pitch_squash_engraver"
311 If the duration is omitted then it is set to the previously entered
312 duration. The default for the first note is a quarter note. The duration
313 can be followed by dots (`@code{.}') in order to obtain dotted note
317 @lilypond[fragment,verbatim,center]
318 a' b' c''8 b' a'4 a'4. b'4.. c'8.
323 You can alter the length of duration by a fraction @var{N/M}
324 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
325 will not affect the appearance of the notes or rests produced.
326 In the following example, the first three notes take up exactly two
328 @lilypond[fragment,relative 2,verbatim]
330 a4*2/3 gis4*2/3 a4*2/3
334 Durations can also be produced using the verbose syntax
335 @code{\duration @var{Scheme object}}:
336 @lilypond[verbatim,fragment]
337 c'\duration #(ly:make-duration 4 1)
344 Dots are normally moved up to avoid staff lines, except in polyphonic
345 situations. The following commands may be used to force a particular
348 @cindex @code{\dotsUp}
350 @cindex @code{\dotsDown}
352 @cindex @code{\dotsBoth}
357 @internalsref{Dots}, and @internalsref{DotColumn}.
361 In dense chords, dots can overlap.
366 Whenever a note is found, a
367 @internalsref{Stem} object is created automatically. For whole notes
368 and rests, stem objects are also created, but in those cases, the stem
373 @cindex @code{\stemUp}
375 @cindex @code{\stemDown}
377 @cindex @code{\stemBoth}
388 A tie connects two adjacent note heads of the same pitch. The tie in
389 effect extends the length of a note. Ties should not be confused with
390 slurs, which indicate articulation, or phrasing slurs, which indicate
391 musical phrasing. A tie is entered using the tilde symbol `@code{~}':
393 @lilypond[fragment,verbatim,center]
394 e' ~ e' <<c' e' g'>> ~ <<c' e' g'>>
397 When a tie is applied to a chord, all note heads whose pitches match
398 are connected. When no note heads match, no ties will be created.
400 In its meaning a tie is just a way of extending a note duration, similar
401 to the augmentation dot; in the following example there are two ways of
402 notating exactly the same concept:
404 @lilypond[fragment, singleline,quote]
405 \time 3/4 c'2. c'2 ~ c'4
407 If you need to tie a lot of notes over bars, it may be easier to use automatic
408 note splitting (See @ref{Automatic note splitting}).
413 @cindex @code{\tieUp}
415 @cindex @code{\tieDown}
417 @cindex @code{\tieBoth}
419 @cindex @code{\tieDotted}
421 @cindex @code{\tieSolid}
426 @internalsref{TieEvent}, @internalsref{NewTieEvent},
427 @internalsref{Tie}, and @ref{Automatic note splitting}.
430 ties created for a chord, see @inputfileref{input/test,tie-sparse.ly}.
434 Tieing only a subset of the note heads of a pair of chords is not
435 supported in a simple way. It can be achieved by moving the
436 tie-engraver into the @internalsref{Thread} context and turning on and
437 off ties per @internalsref{Thread}.
439 Switching staves when a tie is active, will not produce a slanted tie.
441 Formatting of ties is a difficult subject. The results are often not
451 @cindex @code{\times}
453 Tuplets are made out of a music expression by multiplying all durations
456 @cindex @code{\times}
458 \times @var{fraction} @var{musicexpr}
461 The duration of @var{musicexpr} will be multiplied by the fraction.
462 In the sheet music, the fraction's denominator will be printed over
463 the notes, optionally with a bracket. The most common tuplet is the
464 triplet in which 3 notes have the length of 2, so the notes are 2/3
465 of their written length:
467 @lilypond[fragment,verbatim,center]
468 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
471 The property @code{tupletSpannerDuration} specifies how long each
472 bracket should last. With this, you can make lots of tuplets while
473 typing @code{\times} only once, saving lots of typing. In the next
474 example, there are two triplets shown, while @code{\times} was only
477 @lilypond[fragment, relative, singleline, verbatim]
478 \property Voice.tupletSpannerDuration = #(ly:make-moment 1 4)
479 \times 2/3 { c'8 c c c c c }
482 The format of the number is determined by the property
483 @code{tupletNumberFormatFunction}. The default prints only the
484 denominator, but if it is set to the Scheme function
485 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
489 @cindex @code{tupletNumberFormatFunction}
490 @cindex tuplet formatting
495 @cindex @code{\tupletUp}
497 @cindex @code{\tupletDown}
499 @cindex @code{\tupletBoth}
504 @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
508 Nested tuplets are not formatted automatically. In this case, outer
509 tuplet brackets should be moved manually.
511 @node Easy Notation note heads
512 @subsection Easy Notation note heads
514 @cindex easy notation
517 The `easy play' note head includes a note name inside the head. It is
518 used in music aimed at beginners:
520 @lilypond[singleline,verbatim,26pt]
522 \notes { c'2 e'4 f' | g'1 }
523 \paper { \translator { \EasyNotation } }
527 The @code{EasyNotation} variable overrides a @internalsref{Score} context.
528 You probably will want to print it with magnification or a
529 large font size to make it more readable. To print with
530 magnification, you must create a DVI file (with @file{ly2dvi}) and
531 then enlarge it with something like @file{dvips -x 2000 file.dvi}.
532 See the @code{dvips} documentation for more details. To print with a
533 larger font, see @ref{Font Size}.
539 If you view the result with Xdvi, then staff lines will show through
540 the letters. Printing the PostScript file obtained with ly2dvi does
541 produce the correct result.
544 @node Easier music entry
545 @section Easier music entry
548 When entering music it is easy to introduce errors. This section deals
549 with tricks and features of the input language that help when entering
550 music, and find and correct mistakes. Some features of the input
551 language ease entering music, but also have other applications. They
552 are not described in this section.
554 It is also possible to use external programs, for example GUI
555 interfaces, or MIDI transcription programs, to enter or edit
556 music. Refer to the website for more information. Finally, there are
557 tools make debugging easier, by linking the input file and the output
558 shown on screen. See @ref{Point and click} for more information.
565 * Skipping corrected music::
566 * Automatic note splitting ::
572 @node Relative octaves
573 @subsection Relative octaves
575 @cindex relative octave specification
577 Octaves are specified by adding @code{'} and @code{,} to pitch names.
578 When you copy existing music, it is easy to accidentally put a pitch
579 in the wrong octave and hard to find such an error. The relative
580 octave mode prevents these errors: a single error puts the rest of the
581 piece off by one octave:
583 @cindex @code{\relative}
585 \relative @var{startpitch} @var{musicexpr}
588 The octave of notes that appear in @var{musicexpr} are calculated as
589 follows: If no octave changing marks are used, the basic interval
590 between this and the last note is always taken to be a fourth or less
591 (; this distance is determined without regarding alterations: a
592 @code{fisis} following a @code{ceses} will be put above the
595 The octave changing marks @code{'} and @code{,} can be added to raise
596 or lower the pitch by an extra octave. Upon entering relative mode,
597 an absolute starting pitch must be specified that will act as the
598 predecessor of the first note of @var{musicexpr}.
600 Here is the relative mode shown in action:
601 @lilypond[fragment,singleline,verbatim,center]
607 Octave changing marks are used for intervals greater than a fourth:
608 @lilypond[fragment,verbatim,center]
613 If the preceding item is a chord, the first note of the chord is used
614 to determine the first note of the next chord:
616 @lilypond[fragment,verbatim,center]
623 @cindex @code{\notes}
625 The pitch after the @code{\relative} contains a note name. To parse
626 the pitch as a note name, you have to be in note mode, so there must
627 be a surrounding @code{\notes} keyword (which is not
630 The relative conversion will not affect @code{\transpose},
631 @code{\chords} or @code{\relative} sections in its argument. If you
632 want to use relative within transposed music, you must place an
633 additional @code{\relative} inside the @code{\transpose}.
636 @subsection Octave check
639 Octave checks make octave errors easier to correct.
645 This checks that @var{pitch} (without octave) yields @var{pitch} (with
646 octave) in \relative mode. If not, a warning is printed, and the
647 octave is corrected, for example, the first check is passed
648 successfully. The second check fails with an error message. The
649 octave is adjusted so the following notes are in the correct octave
660 The octave of a note following an octave check is determined with
661 respect to the note preceding it. In the next fragment, the last note
662 is a @code{a'}, above central C. Hence, the @code{\octave} check may
663 be deleted without changing the meaning of the piece.
665 @lilypond[verbatim,fragment]
676 @subsection Bar check
680 @cindex @code{barCheckSynchronize}
683 Bar checks help detect errors in the durations. A bar check is
684 entered using the bar symbol, `@code{|}'. Whenever it is encountered
685 during interpretation, it should fall on a measure boundary. If it
686 does not, a warning is printed. Depending on the value of
687 @code{barCheckSynchronize}, the beginning of the measure will be
690 In the next example, the second bar check will signal an error:
692 \time 3/4 c2 e4 | g2 |
697 @cindex skipTypesetting
699 Failed bar checks are caused by entering incorrect
700 durations. Incorrect durations often completely garble up the score,
701 especially if it is polyphonic, so you should start correcting the
702 score by scanning for failed bar checks and incorrect durations. To
703 speed up this process, you can use @code{skipTypesetting}, described
706 @node Skipping corrected music
707 @subsection Skipping corrected music
709 The property @code{Score.skipTypesetting} can be used to switch on and
710 off typesetting completely during the interpretation phase. When
711 typesetting is switched off, the music is processed much more quickly.
712 This can be used to skip over the parts of a score that have already
713 been checked for errors:
715 @lilypond[fragment,singleline,verbatim]
717 \property Score.skipTypesetting = ##t
719 \property Score.skipTypesetting = ##f
723 @node Automatic note splitting
724 @subsection Automatic note splitting
726 Long notes can be converted automatically to tied notes. This is done
727 by replacing the @internalsref{Note_heads_engraver} by the
728 @internalsref{Completion_heads_engraver}:
731 \paper @{ \translator @{
733 \remove "Note_heads_engraver"
734 \consists "Completion_heads_engraver"
738 which will make long notes tied in the following example:
741 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
748 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
750 \paper { \translator {
752 \remove "Note_heads_engraver"
753 \consists "Completion_heads_engraver"
758 This engraver splits all running notes at the bar line, and inserts
759 ties. One of its uses is to debug complex scores: if the measures are
760 not entirely filled, then the ties exactly show how much each measure
765 Not all durations (especially those containing tuplets) can be
766 represented exactly; the engraver will not insert tuplets.
772 @section Staff notation
774 This section describes music notation that occurs on staff level,
775 such as keys, clefs and time signatures.
777 @cindex Staff notation
791 @subsection Staff symbol
793 @cindex adjusting staff symbol
794 @cindex StaffSymbol, using \property
795 @cindex staff lines, setting number of
797 Notes, dynamic signs, etc. are grouped
798 with a set of horizontal lines, into a staff (plural `staves'). In our
799 system, these lines are drawn using a separate layout object called
802 This object is created whenever a @internalsref{Staff} context is
803 created. The appearance of the staff symbol cannot be changed by
804 using @code{\override} or @code{\set}. At the moment that
805 @code{\property Staff} is interpreted, a @internalsref{Staff} context
806 is made, and the @internalsref{StaffSymbol} is created before any
807 @code{\override} is effective. Properties can be changed in a
808 @code{\translator} definition, or by using @code{\outputproperty}.
812 If a staff is ended halfway a piece, the staff symbol may not end
813 exactly on the barline.
817 @subsection Key signature
818 @cindex Key signature
822 The key signature indicates the scale in which a piece is played. It
823 is denoted by a set of alterations (flats or sharps) at the start of
828 Setting or changing the key signature is done with the @code{\key}
831 @code{\key} @var{pitch} @var{type}
834 @cindex @code{\minor}
835 @cindex @code{\major}
836 @cindex @code{\minor}
837 @cindex @code{\ionian}
838 @cindex @code{\locrian}
839 @cindex @code{\aeolian}
840 @cindex @code{\mixolydian}
841 @cindex @code{\lydian}
842 @cindex @code{\phrygian}
843 @cindex @code{\dorian}
845 Here, @var{type} should be @code{\major} or @code{\minor} to get
846 @var{pitch}-major or @var{pitch}-minor, respectively.
847 The standard mode names @code{\ionian},
848 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
849 @code{\phrygian}, and @code{\dorian} are also defined.
851 This command sets the context property
852 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
853 can be specified by setting this property directly.
857 The ordering of a key cancellation is wrong when it is combined with
858 repeat bar lines. The cancellation is also printed after a line break.
862 @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
864 @cindex @code{keySignature}
871 The clef indicates which lines of the staff correspond to which
876 The clef can be set or changed with the @code{\clef} command:
877 @lilypond[fragment,verbatim]
878 \key f\major c''2 \clef alto g'2
881 Supported clef-names include:
882 @c Moved standard clefs to the top /MB
884 @item treble, violin, G, G2
893 G clef on 1st line, so-called French violin clef
908 By adding @code{_8} or @code{^8} to the clef name, the clef is
909 transposed one octave down or up, respectively. Argument @var{clefname}
910 must be enclosed in quotes when it contains underscores or digits. For
916 This command is equivalent to setting @code{clefGlyph},
917 @code{clefPosition} (which controls the Y position of the clef),
918 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
919 when any of these properties are changed.
923 The object for this symbol is @internalsref{Clef}.
927 @node Ottava brackets
928 @subsection Ottava brackets
930 ``Ottava'' brackets introduce an extra transposition of an octave for
931 the staff. They are created by invoking the function
932 @code{set-octavation}:
938 @lilypond[verbatim,fragment]
947 Internally the @code{set-octavation} function sets the properties
948 @code{ottavation} (eg. to @code{"8va"}) and @code{centralCPosition}.
952 @internalsref{OttavaSpanner}.
956 @code{set-octavation} will get confused when clef changes happen
957 during an octavation bracket.
960 @subsection Time signature
961 @cindex Time signature
965 Time signature indicates the metrum of a piece: a regular pattern of
966 strong and weak beats. It is denoted by a fraction at the start of the
971 The time signature is set or changed by the @code{\time}
973 @lilypond[fragment,verbatim]
974 \time 2/4 c'2 \time 3/4 c'2.
977 The symbol that is printed can be customized with the @code{style}
978 property. Setting it to @code{#'()} uses fraction style for 4/4 and
979 2/2 time. There are many more options for its layout. See
980 @inputfileref{input/test,time.ly} for more examples.
983 This command sets the property @code{timeSignatureFraction},
984 @code{beatLength} and @code{measureLength} in the @code{Timing}
985 context, which is normally aliased to @internalsref{Score}. The
986 property @code{measureLength} determines where bar lines should be
987 inserted, and how automatic beams should be generated. Changing the
988 value of @code{timeSignatureFraction} also causes the symbol to be
991 More options are available through the Scheme function
992 @code{set-time-signature}. In combination with the
993 @internalsref{Measure_grouping_engraver}, it will create
994 @internalsref{MeasureGrouping} signs. Such signs ease reading
995 rhythmically complex modern music. In the following example, the 9/8
996 measure is subdivided in 2, 2, 2 and 3. This is passed to
997 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
1000 \score { \notes \relative c'' {
1001 #(set-time-signature 9 8 '(2 2 2 3))
1002 g8[ g] d[ d] g[ g] a8[( bes g]) |
1003 #(set-time-signature 5 8 '(3 2))
1008 \translator { \StaffContext
1009 \consists "Measure_grouping_engraver"
1015 @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1020 Automatic beaming does not use measure grouping specified with
1021 @code{set-time-signature}.
1023 @node Partial measures
1024 @subsection Partial measures
1027 @cindex partial measure
1028 @cindex measure, partial
1029 @cindex shorten measures
1030 @cindex @code{\partial}
1032 Partial measures, for example in upsteps, are entered using the
1033 @code{\partial} command:
1034 @lilypond[fragment,verbatim]
1035 \partial 16*5 c'16 c4 | a'2. ~ a'8. a'16 | g'1
1038 The syntax for this command is
1040 \partial @var{duration}
1042 This is internally translated into
1044 \property Timing.measurePosition = -@var{length of duration}
1047 The property @code{measurePosition} contains a rational number
1048 indicating how much of the measure has passed at this point.
1050 @node Unmetered music
1051 @subsection Unmetered music
1053 Bar lines and bar numbers are calculated automatically. For unmetered
1054 music (e.g. cadenzas), this is not desirable. By setting
1055 @code{Score.timing} to false, this automatic timing can be switched
1061 @cindex @code{\cadenzaOn}
1063 @cindex @code{\cadenzaOff}
1067 @subsection Bar lines
1071 @cindex measure lines
1075 Bar lines delimit measures, but are also used to indicate repeats.
1076 Normally, they are inserted automatically. Line breaks may only
1082 of barlines can be forced with the @code{\bar} command:
1083 @lilypond[relative=1,fragment,verbatim]
1087 The following bar types are available:
1088 @lilypond[fragment, relative, singleline, verbatim]
1100 In scores with many staves, a @code{\bar} command in one staff is
1101 automatically applied to all staves. The resulting bar lines are
1102 connected between different staves of a @internalsref{StaffGroup}:
1104 @lilypond[fragment, verbatim]
1105 < \context StaffGroup <
1109 \new Staff { \clef bass c4 g e g } >
1110 \new Staff { \clef bass c2 c2 } >
1114 The command @code{\bar @var{bartype}} is a short cut for doing
1115 @code{\property Score.whichBar = @var{bartype}} Whenever
1116 @code{whichBar} is set to a string, a bar line of that type is
1117 created. At the start of a measure it is set to
1118 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1119 to override default measure bars.
1121 Property @code{whichBar} can also be set directly, using @code{\property}
1122 or @code{\bar}. These settings take precedence over the automatic
1123 @code{whichBar} settings.
1126 @cindex repeatCommands
1127 @cindex defaultBarType
1129 You are encouraged to use @code{\repeat} for repetitions. See
1139 The bar line objects that are created at @internalsref{Staff} level
1140 are called @internalsref{BarLine}, the bar lines that span staves are
1141 @internalsref{SpanBar}s.
1143 @cindex bar lines at start of system
1144 @cindex start of system
1146 The barlines at the start of each system are
1147 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1148 @internalsref{SystemStartBracket}. They are spanner objects and
1149 typically must be tuned from a @code{\translator} block.
1156 The easiest way to enter fragments with more than one voice on a staff
1157 is to split chords using the separator @code{\\}. You can use it for
1158 small, short-lived voices or for single chords:
1160 @lilypond[verbatim,fragment]
1161 \context Staff \relative c'' {
1162 c4 < { f d e } \\ { b c2 } > c4 < g' \\ b, \\ f' \\ d >
1166 The separator causes @internalsref{Voice} contexts to be
1168 bear the names @code{"1"}, @code{"2"}, etc. In each of these
1169 contexts, vertical direction of slurs, stems, etc. is set
1172 This can also be done by instantiating @internalsref{Voice} contexts
1173 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1174 a stem directions and horizontal shift for each part:
1177 @lilypond[singleline, verbatim]
1179 \context Staff < \new Voice { \voiceOne cis2 b }
1180 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1181 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >
1184 Normally, note heads with a different number of dots are not merged, but
1185 when the object property @code{merge-differently-dotted} is set in
1186 the @internalsref{NoteCollision} object, they are merged:
1187 @lilypond[verbatim,fragment,singleline]
1188 \relative c'' \context Voice < {
1190 \property Staff.NoteCollision \override
1191 #'merge-differently-dotted = ##t
1193 } \\ { g8.[ f16] g8.[ f16] }
1197 Similarly, you can merge half note heads with eighth notes, by setting
1198 @code{merge-differently-headed}:
1199 @lilypond[fragment, relative=2,verbatim]
1202 \property Staff.NoteCollision
1203 \override #'merge-differently-headed = ##t
1204 c8 c4. } \\ { c2 c2 } >
1207 LilyPond also vertically shifts rests that are opposite of a stem:
1210 @lilypond[singleline,fragment,verbatim]
1211 \context Voice < c''4 \\ r4 >
1219 @cindex @code{\oneVoice}
1221 @cindex @code{\voiceOne}
1223 @cindex @code{\voiceTwo}
1225 @cindex @code{\voiceThree}
1227 @cindex @code{\voiceFour}
1230 The following commands specify in what chords of the current voice
1231 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1232 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1235 @cindex @code{\shiftOn}
1237 @cindex @code{\shiftOnn}
1239 @cindex @code{\shiftOnnn}
1241 @cindex @code{\shiftOff}
1248 The objects responsible for resolving collisions are
1249 @internalsref{NoteCollision} and @internalsref{RestCollision}. See
1250 also example files @inputfileref{input/regression,collision-dots.ly},
1251 @inputfileref{input/regression,collision-head-chords.ly},
1252 @inputfileref{input/regression,collision-heads.ly},
1253 @inputfileref{input/regression,collision-mesh.ly}, and
1254 @inputfileref{input/regression,collisions.ly}.
1259 Resolving collisions is a intricate subject, and only a few situations
1260 are handled. When LilyPond cannot cope, the @code{force-hshift}
1261 property of the @internalsref{NoteColumn} object and pitched rests can
1262 be used to override typesetting decisions.
1264 When using @code{merge-differently-headed} with an upstem 8th or a shorter
1265 note, and a downstem half note, the 8th note gets the wrong offset.
1270 Beams are used to group short notes into chunks that are aligned with
1271 the metrum. They are inserted automatically in most cases:
1273 @lilypond[fragment,verbatim, relative=2]
1274 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1277 When these automatic decisions are not good enough, beaming can be
1278 entered explicitly. It is also possible to define beaming patterns
1279 that differ from the defaults.
1283 @internalsref{Beam}.
1286 @cindex Automatic beams
1287 @subsection Manual beams
1288 @cindex beams, manual
1292 In some cases it may be necessary to override the automatic beaming
1293 algorithm. For example, the auto beamer will not put beams over rests
1294 or bar lines. Such beams are specified by manually: the begin and end
1295 point are marked with @code{[} and @code{]}:
1297 @lilypond[fragment,relative,verbatim]
1299 r4 r8[ g' a r8] r8 g[ | a] r8
1303 @cindex @code{stemLeftBeamCount}
1305 Normally, beaming patterns within a beam are determined automatically.
1306 When this mechanism fouls up, the properties
1307 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
1308 be used to control the beam subdivision on a stem. If either property
1309 is set, its value will be used only once, and then it is erased.
1311 @lilypond[fragment,relative,verbatim]
1314 f8[ r16 \property Voice.stemLeftBeamCount = #1 f g a]
1317 @cindex @code{stemRightBeamCount}
1320 The property @code{subdivideBeams} can be set in order to subdivide
1321 all 16th or shorter beams at beat positions, as defined by the
1322 @code{beatLength} property . This accomplishes the same effect as
1323 twiddling with @code{stemLeftBeamCount} and @code{stemRightBeamCount},
1324 but it take less typing:
1327 @lilypond[relative=1,verbatim,noindent]
1329 \property Voice.subdivideBeams = ##t
1331 \property Score.beatLength = #(ly:make-moment 1 8)
1334 @cindex subdivideBeams
1336 Kneed beams are inserted automatically, when a large gap is detected
1337 between the note heads. This behavior can be tuned through the object
1338 property @code{auto-knee-gap}.
1340 Normally, line breaks are forbidden when beams cross bar lines. This
1341 behavior can be changed by setting @code{allowBeamBreak}.
1343 @cindex @code{allowBeamBreak}
1344 @cindex beams and line breaks
1346 @cindex beams, kneed
1348 @cindex auto-knee-gap
1354 @cindex Frenched staves
1356 Automatically kneed beams cannot be used together with hidden staves.
1361 * Setting automatic beam behavior ::
1365 @no de Beam typography
1366 @sub section Beam typography
1368 One of the strong points of LilyPond is how beams are formatted. Beams
1369 are quantized, meaning that the left and right endpoints beams start
1370 exactly on staff lines. Without quantization, small wedges of white
1371 space appear between the beam and staff line, and this looks untidy.
1373 Beams are also slope-damped: melodies that go up or down should also
1374 have beams that go up or down, but the slope of the beams should be
1375 less than the slope of the notes themselves.
1377 Some beams should be horizontal. These are so-called concave beams.
1379 [TODO: some pictures.]
1383 @node Setting automatic beam behavior
1384 @subsection Setting automatic beam behavior
1386 @cindex @code{autoBeamSettings}
1387 @cindex @code{(end * * * *)}
1388 @cindex @code{(begin * * * *)}
1389 @cindex automatic beams, tuning
1390 @cindex tuning automatic beaming
1392 @c [TODO: use \applycontext]
1394 In normal time signatures, automatic beams can start on any note but can
1395 only end in a few positions within the measure: beams can end on a beat,
1396 or at durations specified by the properties in
1397 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1398 are defined in @file{scm/auto-beam.scm}.
1400 The value of @code{autoBeamSettings} is changed using
1401 @code{\override} and restored with @code{\revert}:
1403 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1404 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1406 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1407 whether the rule applies to begin or end-points. The quantity
1408 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1409 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1410 signature (wildcards, `@code{* *}' may be entered to designate all time
1413 For example, if automatic beams should end on every quarter note, use
1416 \property Voice.autoBeamSettings \override
1417 #'(end * * * *) = #(ly:make-moment 1 4)
1419 Since the duration of a quarter note is 1/4 of a whole note, it is
1420 entered as @code{(ly:make-moment 1 4)}.
1422 The same syntax can be used to specify beam starting points. In this
1423 example, automatic beams can only end on a dotted quarter note:
1425 \property Voice.autoBeamSettings \override
1426 #'(end * * * *) = #(ly:make-moment 3 8)
1428 In 4/4 time signature, this means that automatic beams could end only on
1429 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1430 3/8 has passed within the measure).
1432 Rules can also be restricted to specific time signatures. A rule that
1433 should only be applied in @var{N}/@var{M} time signature is formed by
1434 replacing the second asterisks by @var{N} and @var{M}. For example, a
1435 rule for 6/8 time exclusively looks like
1437 \property Voice.autoBeamSettings \override
1438 #'(begin * * 6 8) = ...
1441 If a rule should be to applied only to certain types of beams, use the
1442 first pair of asterisks. Beams are classified according to the
1443 shortest note they contain. For a beam ending rule that only applies
1444 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1447 If a score ends while an automatic beam has not been ended and is still
1448 accepting notes, this last beam will not be typeset at all.
1450 @cindex automatic beam generation
1452 @cindex @code{Voice.autoBeaming}
1455 For melodies that have lyrics, you may want to switch off
1456 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1461 @cindex @code{\autoBeamOff}
1462 @code{\autoBeamOff},
1463 @cindex @code{\autoBeamOn}
1469 The rules for ending a beam depend on the shortest note in a beam.
1470 So, while it is possible to have different ending rules for eight
1471 beams and sixteenth beams, a beam that contains both eight and
1472 sixteenth notes will use the rules for the sixteenth beam.
1474 In the example below, the autobeamer makes eight beams and sixteenth
1475 end at 3 eights; the third beam can only be corrected by specifying
1478 @lilypond[singleline,fragment,relative,noverbatim,quote]
1479 \property Voice.autoBeamSettings
1480 \override #'(end * * * *) = #(ly:make-moment 3 8)
1481 % rather show case where it goes wrong
1482 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1483 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1485 It is not possible to specify beaming parameters that act differently in
1486 different parts of a measure. This means that it is not possible to use
1487 automatic beaming in irregular meters such as @code{5/8}.
1490 @section Accidentals
1493 This section describes how to change the way that accidentals are
1494 inserted automatically before the running notes.
1498 * Using the predefined accidental variables::
1499 * Customized accidental rules::
1502 @node Using the predefined accidental variables
1503 @subsection Using the predefined accidental variables
1505 The constructs for describing the accidental typesetting rules are
1506 quite hairy, so non-experts should stick to the variables
1507 defined in @file{ly/property-init.ly}.
1508 @cindex @file{property-init.ly}
1510 The variables set properties in the ``@code{Current}'' context (see
1511 @ref{Context properties}). This means that the variables should
1512 normally be added right after the creation of the context in which the
1513 accidental typesetting described by the variable is to take
1514 effect. For example, if you want to use piano-accidentals in a piano
1515 staff then issue @code{\pianoAccidentals} first thing after the
1516 creation of the piano staff:
1519 \notes \relative c'' <
1520 \new Staff @{ cis4 d e2 @}
1521 \context GrandStaff <
1523 \new Staff @{ cis4 d e2 @}
1524 \new Staff @{ es2 c @}
1526 \new Staff @{ es2 c @}
1530 @lilypond[singleline]
1532 \notes \relative c'' <
1533 \new Staff { cis4 d e2 }
1534 \context GrandStaff <
1536 \new Staff { cis4 d e2 }
1537 \new Staff { es2 c }
1539 \new Staff { es2 c }
1544 minimumVerticalExtent = #'(-4.0 . 4.0)
1552 @item \defaultAccidentals
1553 @cindex @code{\defaultAccidentals}
1554 This is the default typesetting behaviour. It should correspond
1555 to 18th century common practice: Accidentals are
1556 remembered to the end of the measure in which they occur and
1557 only on their own octave.
1559 @item \voiceAccidentals
1560 @cindex @code{\voiceAccidentals}
1562 The normal behaviour is to
1563 remember the accidentals on Staff-level. This variable, however,
1564 typesets accidentals individually for each voice. Apart from that the
1565 rule is similar to @code{\defaultAccidentals}.
1567 This leads to some weird and often unwanted results
1568 because accidentals from one voice do not get cancelled in other
1570 @lilypond[singleline,relative,fragment,verbatim,quote]
1578 Hence you should only use @code{\voiceAccidentals} if the voices
1579 are to be read solely by individual musicians. If the staff is to be
1580 used by one musician (e.g. a conductor) then you use
1581 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1584 @item \modernAccidentals
1585 @cindex @code{\modernAccidentals}
1586 This rule corresponds to the common practice in the 20th
1588 The rule is more complex than @code{\defaultAccidentals}.
1589 You get all the same accidentals, but temporary
1590 accidentals also get cancelled in other octaves. Furthermore,
1591 in the same octave, they also get cancelled in the following measure:
1592 @lilypond[singleline,fragment,verbatim]
1594 cis' c'' cis'2 | c'' c'
1597 @item \modernCautionaries
1598 @cindex @code{\modernCautionaries}
1599 This rule is similar to @code{\modernAccidentals}, but the
1600 ``extra'' accidentals (the ones not typeset by
1601 @code{\defaultAccidentals}) are typeset as cautionary accidentals.
1602 They are printed in reduced size or with parentheses:
1603 @lilypond[singleline,fragment,verbatim]
1605 cis' c'' cis'2 | c'' c'
1608 @cindex @code{\modernVoiceAccidentals}
1609 @item \modernVoiceAccidentals
1610 is used for multivoice accidentals to be read both by musicians
1611 playing one voice and musicians playing all voices. Accidentals are
1612 typeset for each voice, but they @emph{are} cancelled across voices in
1613 the same @internalsref{Staff}.
1615 @cindex @code{\modernVoiceCautionaries}
1616 @item \modernVoiceCautionaries
1617 is the same as @code{\modernVoiceAccidentals}, but with the extra
1618 accidentals (the ones not typeset by @code{\voiceAccidentals}) typeset
1619 as cautionaries. Even though all accidentals typeset by
1620 @code{\defaultAccidentals} @emph{are} typeset by this variable then
1621 some of them are typeset as cautionaries.
1623 @item \pianoAccidentals
1624 @cindex @code{\pianoAccidentals}
1625 20th century practice for piano notation. Very similar to
1626 @code{\modernAccidentals} but accidentals also get cancelled
1627 across the staves in the same @internalsref{GrandStaff} or
1628 @internalsref{PianoStaff}.
1630 @item \pianoCautionaries
1631 @cindex @code{\pianoCautionaries}
1632 As @code{\pianoAccidentals} but with the extra accidentals
1633 typeset as cautionaries.
1636 @cindex @code{\noResetKey}
1637 Same as @code{\defaultAccidentals} but with accidentals lasting
1638 ``forever'' and not only until the next measure:
1639 @lilypond[singleline,fragment,verbatim,relative]
1644 @item \forgetAccidentals
1645 @cindex @code{\forgetAccidentals}
1646 This is sort of the opposite of @code{\noResetKey}: Accidentals
1647 are not remembered at all---and hence all accidentals are
1648 typeset relative to the key signature, regardless of what was
1649 before in the music:
1650 @lilypond[singleline,fragment,verbatim,relative]
1652 \key d\major c4 c cis cis d d dis dis
1656 @node Customized accidental rules
1657 @subsection Customized accidental rules
1659 This section must be considered gurus-only, and hence it must be
1660 sufficient with a short description of the system and a reference to
1661 the internal documentation.
1663 The algorithm tries several different rules, and uses the rule
1664 that gives the highest number of accidentals. Each rule consists of
1667 In which context is the rule applied. For example, if
1668 @var{context} is @internalsref{Score} then all staves share
1669 accidentals, and if @var{context} is @internalsref{Staff} then all
1670 voices in the same staff share accidentals, but staves do not.
1672 Whether the accidental changes all octaves or only the current
1675 Over how many barlines the accidental lasts.
1676 If @var{lazyness} is @code{-1} then the accidental is forget
1677 immediately, and if @var{lazyness} is @code{#t} then the accidental
1680 @c [TODO: should use +infinity for this case?]
1686 @cindex @code{\defaultAccidentals}
1687 @code{\defaultAccidentals},
1688 @cindex @code{\voiceAccidentals}
1689 @code{\voiceAccidentals},
1690 @cindex @code{\modernAccidentals}
1691 @code{\modernAccidentals},
1692 @cindex @code{\modernCautionaries}
1693 @code{\modernCautionaries},
1694 @cindex @code{\modernVoiceAccidentals}
1695 @code{\modernVoiceAccidentals},
1696 @cindex @code{\modernVoiceCautionaries}
1697 @code{\modernVoiceCautionaries},
1698 @cindex @code{\pianoAccidentals}
1699 @code{\pianoAccidentals},
1700 @cindex @code{\pianoCautionaries}
1701 @code{\pianoCautionaries},
1702 @cindex @code{\noResetKey}
1704 @cindex @code{\forgetAccidentals}
1705 @code{\forgetAccidentals}.
1709 @internalsref{Accidental_engraver}, @internalsref{Accidental}, and
1710 @internalsref{AccidentalPlacement}.
1715 Currently the simultaneous notes are considered to be entered in
1716 sequential mode. This means that in a chord the accidentals are
1717 typeset as if the notes in the chord happened once at a time - in the
1718 order in which they appear in the input file.
1720 This is only a problem when there are simultaneous notes whose
1721 accidentals depend on each other. The problem only occurs when using
1722 non-default accidentals. In the default scheme, accidentals only
1723 depend on other accidentals with the same pitch on the same staff, so
1724 no conflicts possible.
1726 This example shows two examples of the same music giving different
1727 accidentals depending on the order in which the notes occur in the
1730 @lilypond[singleline,fragment,verbatim]
1731 \property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1732 cis'4 <<c'' c'>> r2 | cis'4 <<c' c''>> r2
1733 | <<cis' c''>> r | <<c'' cis'>> r |
1736 This problem can be solved by manually inserting @code{!} and @code{?}
1737 for the problematic notes.
1739 @node Expressive marks
1740 @section Expressive marks
1748 * Analysis brackets::
1755 A slur indicates that notes are to be played bound or @emph{legato}.
1759 They are entered using parentheses:
1760 @lilypond[fragment,verbatim,center]
1761 f'( g')( a') a'8[ b'(] a'4 g'2 f'4)
1762 <<c' e'>>2( <<b d'>>2)
1766 @c TODO: should explain that ^( and _( set directions
1767 @c should set attachments with ^ and _ ?
1769 Slurs avoid crossing stems, and are generally attached to note heads.
1770 However, in some situations with beams, slurs may be attached to stem
1771 ends. If you want to override this layout you can do this through the
1772 object property @code{attachment} of @internalsref{Slur} in
1773 @internalsref{Voice} context. Its value is a pair of symbols, specifying
1774 the attachment type of the left and right end points:
1776 @lilypond[fragment,relative,verbatim]
1778 \property Voice.Stem \set #'length = #5.5
1780 \property Voice.Slur \set #'attachment = #'(stem . stem)
1784 If a slur would strike through a stem or beam, the slur will be moved
1785 away upward or downward. If this happens, attaching the slur to the
1786 stems might look better:
1788 @lilypond[fragment,relative,verbatim]
1791 \property Voice.Slur \set #'attachment = #'(stem . stem)
1798 @cindex @code{\slurUp}
1800 @cindex @code{\slurDown}
1802 @cindex @code{\slurBoth}
1804 @cindex @code{\slurDotted}
1806 @cindex @code{\slurSolid}
1811 @seeinternals{Slur}, and @internalsref{SlurEvent}.
1816 Producing nice slurs is a difficult problem, and LilyPond currently
1817 uses a simple, empiric method to produce slurs. In some cases, its
1821 @cindex Adjusting slurs
1823 @node Phrasing slurs
1824 @subsection Phrasing slurs
1826 @cindex phrasing slurs
1827 @cindex phrasing marks
1829 A phrasing slur (or phrasing mark) connects chords and is used to
1830 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1833 @lilypond[fragment,verbatim,center,relative]
1834 \time 6/4 c'\( d( e) f( e) d\)
1837 Typographically, the phrasing slur behaves almost exactly like a
1838 normal slur. However, they are treated as different objects. A
1839 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1840 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1841 @code{\phrasingSlurBoth}.
1843 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1844 will only affect normal slurs and not phrasing slurs.
1848 @cindex @code{\phrasingSlurUp}
1849 @code{\phrasingSlurUp},
1850 @cindex @code{\phrasingSlurDown}
1851 @code{\phrasingSlurDown},
1852 @cindex @code{\phrasingSlurBoth}
1853 @code{\phrasingSlurBoth},
1857 See also @internalsref{PhrasingSlur}, and
1858 @internalsref{PhrasingSlurEvent}.
1862 Phrasing slurs have the same limitations in their formatting as normal
1863 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1866 @subsection Breath marks
1868 Breath marks are entered using @code{\breathe}:
1871 @lilypond[fragment,relative,verbatim]
1875 The glyph of the breath mark can be tweaked by overriding the
1876 @code{text} property of the @code{BreathingSign} layout object with the name of
1877 any glyph of @ref{The Feta font}. For example,
1878 @lilypond[fragment,verbatim,relative]
1880 \property Voice.BreathingSign \override #'text = #"scripts-rvarcomma"
1887 @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}, and
1888 @inputfileref{input/regression,breathing-sign.ly}.
1891 @node Metronome marks
1892 @subsection Metronome marks
1895 @cindex beats per minute
1896 @cindex metronome marking
1898 Metronome settings can be entered as follows:
1900 \tempo @var{duration} = @var{perminute}
1903 In the MIDI output, they are interpreted as a tempo change, and in the
1904 paper output, a metronome marking is printed:
1905 @cindex @code{\tempo}
1906 @lilypond[fragment,verbatim]
1912 @internalsref{MetronomeChangeEvent}.
1917 @subsection Text spanners
1918 @cindex Text spanners
1920 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1921 are written as texts, and extended over many measures with dotted
1922 lines. You can create such texts using text spanners: attach
1923 @code{\startTextSpan} and @code{\stopTextSpan} to the
1924 start and ending note of the spanner.
1926 The string to be printed, as well as the style, is set through object
1929 @lilypond[fragment,relative,verbatim]
1931 \property Voice.TextSpanner \set #'direction = #-1
1932 \property Voice.TextSpanner \set #'edge-text = #'("rall " . "")
1933 c2\startTextSpan b c\stopTextSpan a }
1939 @internalsref{TextSpanEvent},
1940 @internalsref{TextSpanner}, and
1941 @inputfileref{input/regression,text-spanner.ly}.
1944 @node Analysis brackets
1945 @subsection Analysis brackets
1947 @cindex phrasing brackets
1948 @cindex musicological analysis
1949 @cindex note grouping bracket
1951 Brackets are used in musical analysis to indicate structure in musical
1952 pieces. LilyPond supports a simple form of nested horizontal brackets.
1953 To use this, add the @internalsref{Horizontal_bracket_engraver} to
1954 @internalsref{Staff} context. A bracket is started with
1955 @code{\startGroup} and closed with @code{\stopGroup}:
1957 @lilypond[singleline,verbatim]
1958 \score { \notes \relative c'' {
1959 c4\startGroup\startGroup
1962 c4\stopGroup\stopGroup
1964 \paper { \translator {
1965 \StaffContext \consists "Horizontal_bracket_engraver"
1971 @internalsref{HorizontalBracket}, @internalsref{NoteGroupingEvent}, and
1972 @inputfileref{input/regression,note-group-bracket.ly}.
1976 @section 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[notexidoc]{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[notexidoc]{script-chart.ly}
2046 @cindex @code{\scriptUp}
2048 @cindex @code{\scriptDown}
2050 @cindex @code{\scriptBoth}
2055 @internalsref{ScriptEvent}, and @internalsref{Script}.
2059 All of 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 @section Fingering instructions
2068 Fingering instructions can be entered using
2070 @var{note}-@var{digit}
2072 For finger changes, use markup texts:
2074 @lilypond[verbatim, singleline, 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 your thumb (used in cello music):
2087 @lilypond[verbatim, singleline, 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,singleline,fragment,relative=1]
2095 << c-1 e-2 g-3 b-5 >> 4
2098 Setting @code{fingerHorizontalDirection} will put the fingerings next
2101 @lilypond[verbatim,singleline,fragment,relative=1]
2102 \property Voice.fingerHorizontalDirection = #LEFT
2103 << c-1 es-2 g-4 bes-5 >> 4
2104 \property Voice.fingerHorizontalDirection = #RIGHT
2105 << c-1 es-2 g-4 bes-5 >> 4
2110 @internalsref{FingerEvent}, and @internalsref{Fingering}.
2121 @subsection Text scripts
2122 @cindex Text scripts
2124 It is possible to place arbitrary strings of text or markup text (see
2125 @ref{Text markup}) above or below notes by using a string:
2126 @code{c^"text"}. By default, these indications do not influence the
2127 note spacing, but by using the command @code{\fatText}, the widths
2128 will be taken into account:
2130 @lilypond[fragment,singleline,verbatim] \relative c' {
2131 c4^"longtext" \fatText c4_"longlongtext" c4 }
2134 It is possible to use @TeX{} commands in the strings, but this should
2135 be avoided because the exact dimensions of the string can then no
2141 @internalsref{TextScriptEvent}, @internalsref{TextScript}, and
2147 @subsection Grace notes
2150 @c should have blurb about accaciatura / appogiatura
2152 @cindex @code{\grace}
2156 Grace notes are ornaments that are written out. The most common ones
2157 are accacciatura, which should be played as very short. It is denoted
2158 by a slurred small note with a slashed stem. The appoggiatura is a
2159 grace note that takes a fixed fraction of the main note, is and
2160 denoted as a slurred note in small print without a slash.
2161 They are entered with the commands @code{\accacciatura} and
2162 @code{\appoggiatura}, as demonstrated in the following example:
2165 @cindex appoggiatura
2166 @cindex accacciatura
2168 @lilypond[relative=2,verbatim,fragment]
2169 b4 \accacciatura d8 c4 \appoggiatura e8 d4
2170 \accacciatura { g16 f } e4
2173 Both are special forms of the @code{\grace} command. By prefixing this
2174 keyword to a music expression, a new one is formed, which will be
2175 printed in a smaller font and takes up no logical time in a measure.
2176 @lilypond[relative=2,verbatim,fragment]
2177 c4 \grace c16 c4 \grace {
2180 Unlike @code{\accacciatura} and @code{\appoggiatura}, the
2181 @code{\grace} command does not start a slur.
2183 Internally, timing for grace notes is done using a second, `grace'
2184 time. Every point in time consists of two rational numbers: one
2185 denotes the logical time, one denotes the grace timing. The above
2186 example is shown here with timing tuples:
2188 @lilypond[singleline]
2191 c4 \grace c16 c4 \grace {
2194 \new Lyrics \lyrics {
2197 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2198 \markup { (\fraction 1 4 , 0 ) } 4
2200 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2201 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2203 \markup { ( \fraction 2 4 , 0 ) }
2208 The placement of grace notes is synchronized between different staves.
2209 In the following example, there are two sixteenth graces notes for
2210 every eighth grace note:
2212 @lilypond[relative=2,verbatim,fragment]
2213 < \new Staff { e4 \grace { c16[ d e f] } e4 }
2214 \new Staff { c'4 \grace { g8[ b] } c4 } >
2219 If you want to end a note with a grace note, then the standard trick
2220 is to put the grace notes before a phantom ``space note'', e.g.
2221 @lilypond[fragment,verbatim, relative=2]
2224 { s2 \grace { c16[ d] } } >
2230 By adjusting the duration of the skip note (here it is a half-note),
2231 the space between the main-note and the grace is adjusted.
2234 A @code{\grace} section will introduce special typesetting settings,
2235 for example, to produce smaller type, and set directions. Hence, when
2236 introducing layout tweaks, they should be inside the grace section,
2238 @lilypond[fragment,verbatim,relative 2]
2241 \property Voice.Stem \override #'direction = #-1
2243 \property Voice.Stem \revert #'direction
2248 The overrides should also be reverted inside the grace section.
2250 If the layout of grace sections must be changed throughout the music,
2251 then this can be accomplished through the function
2252 @code{add-grace-property}. The following example
2253 undefines the Stem direction grace section, so stems do not always
2258 #(add-grace-property "Voice" Stem direction '())
2264 Another option is to change the variables @code{startGraceMusic},
2265 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2266 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2267 @code{stopAppoggiaturaMstuic}. More information is in the file
2268 @file{ly/grace-init.ly}
2273 @internalsref{GraceMusic}.
2277 Grace notes cannot be used in the smallest size (@file{paper11.ly}).
2279 A score that starts with an @code{\grace} section needs an explicit
2280 @code{\context Voice} declaration, otherwise the main note and grace
2281 note end up on different staves.
2283 Grace note synchronization can also lead to surprises. Staff notation,
2284 such as key signatures, barlines, etc. are also synchronized. Take
2285 care when you mix staves with grace notes and staves without, for example,
2287 @lilypond[relative=2,verbatim,fragment]
2288 < \new Staff { e4 \bar "|:" \grace c16 d4 }
2289 \new Staff { c4 \bar "|:" d4 } >
2292 Grace sections should only be used within sequential music
2293 expressions. Nesting or juxtaposing grace sections is not supported,
2294 and might produce crashes or other errors.
2296 Overriding settings cannot be done in separate styles for appoggiatura
2301 @subsection Glissando
2304 @cindex @code{\glissando}
2306 A glissando is a smooth change in pitch. It is denoted by a line or a
2307 wavy line between two notes.
2311 A glissando line can be requested by attaching a @code{\glissando} to
2314 @lilypond[fragment,relative,verbatim]
2320 @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2325 Additional texts (such as @emph{gliss.}) is not supported.
2329 @subsection Dynamics
2342 @cindex @code{\ffff}
2352 Absolute dynamic marks are specified using an variable after a
2353 note: @code{c4\ff}. The available dynamic marks are @code{\ppp},
2354 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2355 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2356 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
2358 @lilypond[verbatim,singleline,fragment,relative]
2359 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2365 @cindex @code{\decr}
2366 @cindex @code{\rced}
2373 A crescendo mark is started with @code{\<} and terminated with
2374 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2375 with @code{\!}. Because these marks are bound to notes, if you must
2376 use spacer notes if multiple marks during one note are needed:
2378 @lilypond[fragment,verbatim,center,quote]
2379 c''\< c''\! d''\decr e''\rced
2380 < f''1 { s4 s4\< s4\! \> s4\! } >
2382 This may give rise to very short hairpins. Use @code{minimum-length}
2383 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2387 \property Staff.Hairpin \override #'minimum-length = #5
2390 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2391 is an example how to do it:
2393 @lilypond[fragment,relative=2,verbatim]
2394 c4 \cresc c4 c c c \endcresc c4
2400 You can also supply your own texts:
2401 @lilypond[fragment,relative,verbatim]
2403 \property Voice.crescendoText = \markup { \italic "cresc. poco" }
2404 \property Voice.crescendoSpanner = #'dashed-line
2414 @cindex @code{\dynamicUp}
2416 @cindex @code{\dynamicDown}
2417 @code{\dynamicDown},
2418 @cindex @code{\dynamicBoth}
2419 @code{\dynamicBoth}.
2421 @cindex direction, of dynamics
2425 @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, and
2426 @internalsref{AbsoluteDynamicEvent}.
2428 Dynamics are objects of @internalsref{DynamicText} and
2429 @internalsref{Hairpin}. Vertical positioning of these symbols is
2430 handled by the @internalsref{DynamicLineSpanner} object.
2432 If you want to adjust padding or vertical direction of the dynamics, you
2433 must set properties for the @internalsref{DynamicLineSpanner} object.
2441 @cindex @code{\repeat}
2444 Repetition is a central concept in music, and multiple notations exist
2445 for repetitions. In LilyPond, most of these notations can be captured
2446 in a uniform syntax. One of the advantages is, all these repetitions
2447 can be rendered in MIDI accurately.
2449 The following types of repetition are supported:
2453 Repeated music is fully written (played) out. Useful for MIDI
2454 output, and entering repetitive music.
2457 This is the normal notation: Repeats are not written out, but
2458 alternative endings (voltas) are printed, left to right.
2462 Alternative endings are written stacked. This has limited use but may be
2463 used to typeset two lines of lyrics in songs with repeats, see
2464 @inputfileref{input,star-spangled-banner.ly}.
2471 Make beat or measure repeats. These look like percent signs.
2477 * Repeats and MIDI::
2478 * Manual repeat commands::
2480 * Tremolo subdivisions::
2485 @subsection Repeat syntax
2489 LilyPond has one syntactic construct for specifying different types of
2490 repeats. The syntax is
2493 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2496 If you have alternative endings, you may add
2497 @cindex @code{\alternative}
2499 \alternative @code{@{} @var{alternative1}
2501 @var{alternative3} @dots{} @code{@}}
2503 where each @var{alternative} is a music expression. If you do not
2504 give enough alternatives for all of the repeats, then the first
2505 alternative is assumed to be played more than once.
2507 Normal notation repeats are used like this:
2508 @lilypond[fragment,verbatim]
2510 \repeat volta 2 { c'4 d' e' f' }
2511 \repeat volta 2 { f' e' d' c' }
2514 With alternative endings:
2515 @lilypond[fragment,verbatim]
2517 \repeat volta 2 {c'4 d' e' f'}
2518 \alternative { {d'2 d'} {f' f} }
2522 @lilypond[fragment,verbatim]
2526 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2527 \alternative { { g4 g g } { a | a a a a | b2. } }
2534 If you do a nested repeat like
2543 then it is ambiguous to which @code{\repeat} the @code{\alternative}
2544 belongs. This ambiguity is resolved by always having the
2545 @code{\alternative} belong to the inner @code{\repeat}. For clarity,
2546 it is advisable to use braces in such situations.
2549 @node Repeats and MIDI
2550 @subsection Repeats and MIDI
2552 @cindex expanding repeats
2554 For instructions on how to unfold repeats for MIDI output, see the
2555 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2560 Timing information is not remembered at the start of an alternative,
2561 so after a repeat timing information must be reset by hand, for
2562 example by setting @code{Score.measurePosition} or entering
2563 @code{\partial}. Similarly, slurs or ties are also not repeated.
2566 @node Manual repeat commands
2567 @subsection Manual repeat commands
2569 @cindex @code{repeatCommands}
2571 The property @code{repeatCommands} can be used to control the layout of
2572 repeats. Its value is a Scheme list of repeat commands, where each repeat
2576 @item the symbol @code{start-repeat},
2577 which prints a @code{|:} bar line,
2578 @item the symbol @code{end-repeat},
2579 which prints a @code{:|} bar line,
2580 @item the list @code{(volta @var{text})},
2581 which prints a volta bracket saying @var{text}: The text can be specified as
2582 a text string or as a markup text, see @ref{Text markup}. Do not
2583 forget to change the font, as the default number font does not contain
2584 alphabetic characters. Or,
2585 @item the list @code{(volta #f)}, which
2586 stops a running volta bracket:
2589 @lilypond[verbatim, fragment]
2591 \property Score.repeatCommands = #'((volta "93") end-repeat)
2593 \property Score.repeatCommands = #'((volta #f))
2600 @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2601 @internalsref{VoltaRepeatedMusic},
2602 @internalsref{UnfoldedRepeatedMusic}, and
2603 @internalsref{FoldedRepeatedMusic}.
2605 @node Tremolo repeats
2606 @subsection Tremolo repeats
2607 @cindex tremolo beams
2609 To place tremolo marks between notes, use @code{\repeat} with tremolo
2611 @lilypond[verbatim,center,singleline]
2613 \context Voice \notes\relative c' {
2614 \repeat "tremolo" 8 { c16 d16 }
2615 \repeat "tremolo" 4 { c16 d16 }
2616 \repeat "tremolo" 2 { c16 d16 }
2617 \repeat "tremolo" 4 c16
2624 Tremolo beams are @internalsref{Beam} objects. Single stem tremolos
2625 are @internalsref{StemTremolo}s. The music expression is
2626 @internalsref{TremoloEvent}.
2631 The single stem tremolo must be entered without @code{@{} and
2634 @node Tremolo subdivisions
2635 @subsection Tremolo subdivisions
2636 @cindex tremolo marks
2637 @cindex @code{tremoloFlags}
2639 Tremolo marks can be printed on a single note by adding
2640 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2641 A @var{length} value of 8 gives one line across the note stem. If the
2642 length is omitted, then then the last value (stored in
2643 @code{Voice.tremoloFlags}) is used:
2645 @lilypond[verbatim,fragment,center]
2646 c'2:8 c':32 | c': c': |
2649 @c [TODO : stok is te kort bij 32en]
2653 Tremolos in this style do not carry over into the MIDI output.
2656 @node Measure repeats
2657 @subsection Measure repeats
2659 @cindex percent repeats
2660 @cindex measure repeats
2662 In the @code{percent} style, a note pattern can be repeated. It is
2663 printed once, and then the pattern is replaced with a special sign.
2664 Patterns of a one and two measures are replaced by percent-like signs,
2665 patterns that divide the measure length are replaced by slashes:
2667 @lilypond[verbatim,singleline]
2668 \context Voice { \repeat "percent" 4 { c'4 }
2669 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2675 @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2676 @internalsref{PercentRepeatedMusic}, and
2677 @internalsref{DoublePercentRepeat}.
2681 @node Rhythmic music
2682 @section Rhythmic music
2684 Sometimes you might want to show only the rhythm of a melody. This
2685 can be done with the rhythmic staff. All pitches of notes on such a
2686 staff are squashed, and the staff itself has a single line:
2688 @lilypond[fragment,relative,verbatim]
2689 \context RhythmicStaff {
2691 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2696 * Percussion staves::
2697 * Percussion MIDI output::
2700 @node Percussion staves
2701 @subsection Percussion staves
2705 A percussion part for more than one instrument typically uses a
2706 multiline staff where each position in the staff refers to one piece
2711 Percussion staves are typeset with help of a set of Scheme
2712 functions. The system is based on the general MIDI drum-pitches.
2713 Include @file{drumpitch-init.ly} to use drum pitches. This file
2714 defines the pitches from the Scheme variable @code{drum-pitch-names},
2715 the definition of which can be read in @file{scm/drums.scm}. Each
2716 piece of percussion has a full name and an abbreviated name, and either
2717 the full name or the abbreviation may be used in input files.
2719 To typeset the music on a staff apply the function @code{drums->paper}
2720 to the percussion music. This function takes a list of percussion
2721 instrument names, notehead scripts and staff positions (that is:
2722 pitches relative to the C-clef) and transforms the input
2723 music by moving the pitch, changing the notehead and (optionally)
2726 @lilypond[singleline,verbatim,quote]
2727 \include "drumpitch-init.ly"
2728 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2729 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2731 \apply #(drums->paper 'drums) \context Staff <
2733 \new Voice { \voiceOne \up }
2734 \new Voice { \voiceTwo \down }
2739 In the above example the music was transformed using the list @code{'drums}.
2740 Currently the following lists are defined in @file{scm/drums.scm}:
2743 to typeset a typical drum kit on a five-line staff:
2746 \include "drumpitch-init.ly"
2747 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2748 bd sn ss tomh tommh tomml toml tomfh tomfl }
2749 mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc
2750 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2753 \apply #(drums->paper 'drums) \context Staff <
2757 \context Lyrics \nam
2760 linewidth = 100.0\mm
2763 \remove Bar_engraver
2764 \remove Time_signature_engraver
2765 minimumVerticalExtent = #'(-4.0 . 5.0)
2769 \remove Stem_engraver
2775 The drum scheme supports six different toms. When there fewer toms, simply
2776 select the toms that produce the desired result, i.e. to get toms on
2777 the three middle lines you use @code{tommh}, @code{tomml} and
2780 Because general MIDI does not contain rimshots the sidestick is used
2781 for this purpose instead.
2783 to typeset timbales on a two line staff:
2785 @lilypond[singleline]
2786 \include "drumpitch-init.ly"
2787 nam = \lyrics { timh ssh timl ssl cb }
2788 mus = \notes { timh ssh timl ssl cb s16 }
2791 \apply #(drums->paper 'timbales) \context Staff <
2795 \context Lyrics \nam
2800 \remove Bar_engraver
2801 \remove Time_signature_engraver
2802 StaffSymbol \override #'line-count = #2
2803 StaffSymbol \override #'staff-space = #2
2804 minimumVerticalExtent = #'(-3.0 . 4.0)
2808 \remove Stem_engraver
2815 to typeset congas on a two line staff:
2817 @lilypond[singleline]
2818 \include "drumpitch-init.ly"
2819 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2820 mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2823 \apply #(drums->paper 'congas) \context Staff <
2827 \context Lyrics \nam
2832 \remove Bar_engraver
2833 \remove Time_signature_engraver
2834 StaffSymbol \override #'line-count = #2
2835 StaffSymbol \override #'staff-space = #2
2836 minimumVerticalExtent = #'(-3.0 . 4.0)
2840 \remove Stem_engraver
2846 to typeset bongos on a two line staff:
2848 @lilypond[singleline]
2849 \include "drumpitch-init.ly"
2850 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2851 mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 }
2854 \apply #(drums->paper 'bongos) \context Staff <
2858 \context Lyrics \nam
2863 \remove Bar_engraver
2864 \remove Time_signature_engraver
2865 StaffSymbol \override #'line-count = #2
2866 StaffSymbol \override #'staff-space = #2
2867 minimumVerticalExtent = #'(-3.0 . 4.0)
2871 \remove Stem_engraver
2877 to typeset all kinds of simple percussion on one line staves:
2878 @lilypond[singleline]
2879 \include "drumpitch-init.ly"
2880 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2881 mus = \notes { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2884 \apply #(drums->paper 'percussion) \context Staff <
2888 \context Lyrics \nam
2893 \remove Bar_engraver
2894 \remove Time_signature_engraver
2895 StaffSymbol \override #'line-count = #1
2896 minimumVerticalExtent = #'(-2.0 . 3.0)
2900 \remove Stem_engraver
2907 If you do not like any of the predefined lists you can define your own
2908 list at the top of your file:
2910 @lilypond[singleline, verbatim]
2911 #(set-drum-kit 'mydrums `(
2912 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2913 (snare default #f ,(ly:make-pitch 0 1 0))
2914 (hihat cross #f ,(ly:make-pitch 0 5 0))
2915 (pedalhihat xcircle "stopped" ,(ly:make-pitch 0 5 0))
2916 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
2918 \include "drumpitch-init.ly"
2919 up = \notes { hh8 hh hh hh hhp4 hhp }
2920 down = \notes { bd4 sn bd toml8 toml }
2922 \apply #(drums->paper 'mydrums) \context Staff <
2924 \new Voice { \voiceOne \up }
2925 \new Voice { \voiceTwo \down }
2930 To use a modified existing list, one can prepend modifications to the
2934 #(set-drum-kit 'mydrums (append `(
2935 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2936 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
2937 ) (get-drum-kit 'drums)))
2940 You can easily combine percussion notation with pitched notation.
2941 Indeed, the file @file{drumpitch-init.ly} replaces the normal pitch
2942 names, so you will have to reinclude @file{nederlands.ly} after the
2943 drum-pattern-definitions to enter normal notes:
2945 @lilypond[singleline,verbatim]
2946 \include "drumpitch-init.ly"
2947 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2948 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2949 \include "nederlands.ly"
2950 bass = \notes \transpose c c,, { a4. e8 r e g e }
2953 \apply #(drums->paper 'drums) \new Staff <
2955 \new Voice { \voiceOne \up }
2956 \new Voice { \voiceTwo \down }
2958 \new Staff { \clef "F_8" \bass }
2963 @node Percussion MIDI output
2964 @subsection Percussion MIDI output
2966 In order to produce correct MIDI output you need to produce two score
2967 blocks---one for the paper and one for the MIDI output. To use the
2968 percussion channel you set the property @code{instrument} to
2969 @code{'drums}. Because the drum-pitches themselves are similar to the
2970 general MIDI pitches all you have to do is to insert the voices with
2971 none of the scheme functions to get the correct MIDI output:
2975 \apply #(drums->paper 'mydrums) \context Staff <
2984 \property Staff.instrument = #'drums
2993 This scheme is a temporary implementation.
2997 @section Piano music
2999 Piano staves are two normal staves coupled with a brace. The staves
3000 are largely independent, but sometimes voices can cross between the
3001 two staves. The same notation is also used for harps and other key
3002 instruments. The @internalsref{PianoStaff} is especially built to
3003 handle this cross-staffing behavior. In this section we discuss the
3004 @internalsref{PianoStaff} and some other pianistic peculiarities.
3008 * Automatic staff changes::
3009 * Manual staff switches::
3012 * Staff switch lines::
3017 There is no support for putting chords across staves. You can get
3018 this result by increasing the length of the stem in the lower stave so
3019 it reaches the stem in the upper stave, or vice versa. An example is
3020 included with the distribution as @inputfileref{input/test,stem-cross-staff.ly}.
3022 Dynamics are not centered, but kludges do exist. See
3023 @inputfileref{input/template,piano-dynamics.ly}.
3025 @cindex cross staff stem
3026 @cindex stem, cross staff
3029 @c fixme: should have hyperlinks as well.
3035 @node Automatic staff changes
3036 @subsection Automatic staff changes
3037 @cindex Automatic staff changes
3039 Voices can switch automatically between the top and the bottom
3040 staff. The syntax for this is
3042 \autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
3044 The two staffs of the piano staff must be named @code{up} and
3047 The autochanger switches on basis of pitch (central C is the turning
3048 point), and it looks ahead skipping over rests to switch in
3049 advance. Here is a practical example:
3051 @lilypond[verbatim,singleline,quote]
3052 \score { \notes \context PianoStaff <
3053 \context Staff = "up" {
3054 \autochange Staff \context Voice = VA < \relative c' {
3055 g4 a b c d r4 a g } > }
3056 \context Staff = "down" {
3063 In this example, spacer rests are used to prevent the bottom staff from
3064 terminating too soon.
3069 @internalsref{AutoChangeMusic}.
3073 The staff switches often do not end up in optimal places. For high
3074 quality output staff switches should be specified manually.
3078 @node Manual staff switches
3079 @subsection Manual staff switches
3081 @cindex manual staff switches
3082 @cindex staff switch, manual
3084 Voices can be switched between staves manually, using the following command:
3086 \translator Staff = @var{staffname} @var{music}
3090 The string @var{staffname} is the name of the staff. It switches the
3091 current voice from its current staff to the Staff called
3092 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3100 Pianos have pedals that alter the way sound are produced. Generally, a
3101 piano has three pedals, sustain, una corda, and sostenuto.
3105 Piano pedal instruction can be expressed by attaching
3106 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3107 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3110 @lilypond[fragment,verbatim]
3111 c'4\sustainDown c'4\sustainUp
3114 What is printed can be modified by setting @code{pedal@var{X}Strings},
3115 where @var{X} is one of the pedal types: @code{Sustain},
3116 @code{Sostenuto} or @code{UnaCorda}. Refer to the generated
3117 documentation of @internalsref{SustainPedal} for more information.
3119 Pedals can also be indicated by a sequence of brackets, by setting the
3120 @code{pedalSustainStyle} property to @code{bracket} objects:
3122 @lilypond[fragment,verbatim]
3123 \property Staff.pedalSustainStyle = #'bracket
3124 c''4\sustainDown d''4 e''4
3125 a'4\sustainUp\sustainDown
3126 f'4 g'4 a'4\sustainUp
3129 A third style of pedal notation is a mixture of text and brackets,
3130 obtained by setting @code{pedal-type} to @code{mixed}:
3132 @lilypond[fragment,verbatim]
3133 \property Staff.pedalSustainStyle = #'mixed
3134 c''4\sustainDown d''4 e''4
3135 c'4\sustainUp\sustainDown
3136 f'4 g'4 a'4\sustainUp
3139 The default `*Ped' style for sustain and damper pedals corresponds to
3140 @code{\pedal-type = #'text}. However, @code{mixed} is the default style
3141 for a sostenuto pedal:
3143 @lilypond[fragment,verbatim]
3144 c''4\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4\sostenutoUp
3147 For fine-tuning of the appearance of a pedal bracket, the properties
3148 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3149 @code{PianoPedalBracket} objects (, see the detailed documentation of
3150 @internalsref{PianoPedalBracket},) can be modified. For example, the bracket
3151 may be extended to the end of the note head:
3153 @lilypond[fragment,verbatim]
3154 \property Staff.PianoPedalBracket \override
3155 #'shorten-pair = #'(0 . -1.0)
3156 c''4\sostenutoDown d''4 e''4 c'4
3157 f'4 g'4 a'4\sostenutoUp
3161 @subsection Arpeggio
3164 @cindex broken arpeggio
3165 @cindex @code{\arpeggio}
3167 You can specify an arpeggio sign on a chord by attaching an
3168 @code{\arpeggio} to a chord:
3171 @lilypond[fragment,relative,verbatim]
3172 <<c e g c>>\arpeggio
3175 When an arpeggio crosses staves, you attach an arpeggio to the chords
3176 in both staves, and set
3177 @internalsref{PianoStaff}.@code{connectArpeggios}:
3179 @lilypond[fragment,relative,verbatim]
3180 \context PianoStaff <
3181 \property PianoStaff.connectArpeggios = ##t
3182 \new Staff { <<c' e g c>>\arpeggio }
3183 \new Staff { \clef bass <<c,, e g>>\arpeggio }
3187 The direction of the arpeggio is sometimes denoted by adding an
3188 arrowhead to the wiggly line. This can be typeset by setting
3189 @code{arpeggio-direction}:
3191 @lilypond[fragment,relative,verbatim]
3193 \property Voice.Arpeggio \set #'arpeggio-direction = #1
3194 <<c e g c>>\arpeggio
3195 \property Voice.Arpeggio \set #'arpeggio-direction = #-1
3196 <<c e g c>>\arpeggio
3200 A square bracket on the left indicates that the player should not
3201 arpeggiate the chord. To draw these brackets, set the
3202 @code{molecule-callback} property of @code{Arpeggio} or
3203 @code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
3204 @code{\arpeggio} statements within the chords as before:
3206 @lilypond[fragment,relative,verbatim]
3207 \property PianoStaff.Arpeggio \override
3208 #'molecule-callback = \arpeggioBracket
3209 <<c' e g c>>\arpeggio
3214 @cindex @code{\arpeggioBracket}
3215 @code{\arpeggioBracket},
3216 @cindex @code{\arpeggio}
3221 @internalsref{ArpeggioEvent} expression lead to
3222 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3223 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3227 It is not possible to mix connected arpeggios and unconnected
3228 arpeggios in one @internalsref{PianoStaff} at the same time.
3230 @node Staff switch lines
3231 @subsection Staff switch lines
3234 @cindex follow voice
3235 @cindex staff switching
3238 @cindex @code{followVoice}
3240 Whenever a voice switches to another staff a line connecting the notes
3241 can be printed automatically. This is enabled if the property
3242 @code{PianoStaff.followVoice} is set to true:
3244 @lilypond[fragment,relative,verbatim]
3245 \context PianoStaff <
3246 \property PianoStaff.followVoice = ##t
3247 \context Staff \context Voice {
3249 \translator Staff=two
3252 \context Staff=two { \clef bass \skip 1*2 }
3256 The associated object is @internalsref{VoiceFollower}.
3260 @cindex @code{\showStaffSwitch}
3261 @code{\showStaffSwitch},
3262 @cindex @code{\hideStaffSwitch}
3263 @code{\hideStaffSwitch}.
3267 @section Vocal music
3269 This section discusses how to enter and print lyrics.
3273 * The Lyrics context::
3278 @node Entering lyrics
3279 @subsection Entering lyrics
3283 @cindex @code{\lyrics}
3286 Lyrics are entered in a special input mode. This mode is is introduced
3287 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3288 punctuation and accents without any hassle. Syllables are entered like
3289 notes, but with pitches replaced by text. For example,
3291 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3294 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3295 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3296 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3297 any 8-bit character with ASCII code over 127, or a two-character
3298 combination of a backslash followed by one of @code{`}, @code{'},
3299 @code{"}, or @code{^}.
3301 Subsequent characters of a word can be any character that is not a digit
3302 and not white space. One important consequence of this is that a word
3303 can end with @code{@}}. The following example is usually a bug. The
3304 syllable includes a @code{@}}, and hence the opening brace is not balanced:
3306 \lyrics @{ twinkle@}
3309 @cindex @code{\property}, in @code{\lyrics}
3310 Similarly, a period following a alphabetic sequence, is included in the
3311 resulting string. As a consequence, spaces must be inserted around
3312 @code{\property} commands:
3314 \property Lyrics . LyricText \set #'font-shape = #'italic
3318 @cindex spaces, in lyrics
3319 @cindex quotes, in lyrics
3321 Any @code{_} character which appears in an unquoted word is converted
3322 to a space. This provides a mechanism for introducing spaces into words
3323 without using quotes. Quoted words can also be used in Lyrics mode to
3324 specify words that cannot be written with the above rules:
3327 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3331 Hyphens can be entered as ordinary hyphens at the end of a syllable, i.e.
3336 These will be attached to the end of the first syllable.
3338 Centered hyphens are entered using the special `@code{-}@code{-}' lyric
3339 as a separate word between syllables. The hyphen will have variable
3340 length depending on the space between the syllables and it will be
3341 centered between the syllables.
3346 When a lyric is sung over many notes (this is called a melisma), this is
3347 indicated with a horizontal line centered between a syllable and the
3348 next one. Such a line is called an extender line, and it is entered as
3353 @internalsref{LyricEvent}, @internalsref{HyphenEvent}, and
3354 @internalsref{ExtenderEvent}.
3358 The definition of lyrics mode is too complex.
3360 @node The Lyrics context
3361 @subsection The Lyrics context
3363 Lyrics are printed by interpreting them in @internalsref{Lyrics} context:
3365 \context Lyrics \lyrics @dots{}
3368 @cindex automatic syllable durations
3369 @cindex @code{\addlyrics}
3370 @cindex lyrics and melodies
3372 This will place the lyrics according to the durations that were
3373 entered. The lyrics can also be aligned under a given melody
3374 automatically. In this case, it is no longer necessary to enter the
3375 correct duration for each syllable. This is achieved by combining the
3376 melody and the lyrics with the @code{\addlyrics} expression:
3380 \context Lyrics @dots{}
3383 @cindex staff order, with @code{\addlyrics}
3385 Normally, this will put the lyrics below the staff. For different or
3386 more complex orderings, the best way is to setup the hierarchy of
3387 staves and lyrics first, e.g.
3389 \context ChoirStaff \notes <
3390 \new Lyrics @{ s1 @}
3392 \new Lyrics @{ s1 @}
3396 and then combine the appropriate melodies and lyric lines:
3399 \new Staff @emph{the music}
3400 \new Lyrics @emph{the lyrics}
3403 putting both together, you would get
3405 \context ChoirStaff \notes <
3413 @cindex choral score
3415 A complete example of a SATB score setup is in the file
3416 @inputfileref{input/template,satb.ly}.
3420 @internalsref{LyricCombineMusic}, @internalsref{Lyrics}, and
3421 @inputfileref{input/template,satb.ly}.
3425 @code{\addlyrics} is not automatic enough: melismata are not detected
3426 automatically, and melismata are not stopped when they hit a rest. A
3427 melisma on the last note in a melody is not printed.
3431 @subsection More stanzas
3434 @cindex phrasing, in lyrics
3436 When multiple stanzas are printed underneath each other, the vertical
3437 groups of syllables should be aligned around punctuation. This can be
3438 done automatically when corresponding lyric lines and melodies are
3441 To this end, give the @internalsref{Voice} context an identity:
3443 \context Voice = duet @{
3448 Then set the @internalsref{LyricsVoice} contexts to names starting with
3449 that identity followed by a dash. In the preceding example, the
3450 @internalsref{Voice} identity is @code{duet}, so the identities of the
3451 @internalsref{LyricsVoice}s are marked @code{duet-1} and @code{duet-2}:
3453 \context LyricsVoice = "duet-1" @{
3454 Hi, my name is bert. @}
3455 \context LyricsVoice = "duet-2" @{
3456 Ooooo, ch\'e -- ri, je t'aime. @}
3458 The convention for naming @internalsref{LyricsVoice} and
3459 @internalsref{Voice} must also be used to get melismata correct in
3460 conjunction with rests.
3462 The complete example is shown here:
3463 @lilypond[singleline,verbatim]
3466 \notes \relative c'' \context Voice = duet { \time 3/4
3468 \lyrics \context Lyrics <
3469 \context LyricsVoice = "duet-1" {
3470 \property LyricsVoice . stanza = "Bert"
3471 Hi, my name is bert. }
3472 \context LyricsVoice = "duet-2" {
3473 \property LyricsVoice . stanza = "Ernie"
3474 Ooooo, ch\'e -- ri, je t'aime. }
3479 Stanza numbers, or the names of the singers can be added by setting
3480 @code{LyricsVoice.Stanza} (for the first system) and
3481 @code{LyricsVoice.stz} for the following systems. Notice how dots are
3482 surrounded with spaces in @code{\lyrics} mode:
3485 \property LyricsVoice . stanza = "Bert"
3487 \property LyricsVoice . stanza = "Ernie"
3490 To make empty spaces in lyrics, use @code{\skip}.
3498 Input for lyrics introduces a syntactical ambiguity:
3505 is interpreted as assigning a string identifier @code{\foo} such that
3506 it contains @code{"bar"}. However, it could also be interpreted as
3507 making or a music identifier @code{\foo} containing the syllable
3508 `bar'. The force the latter interpretation, use
3518 The term @emph{ambitus} denotes a range of pitches for a given voice in
3519 a part of music. It also may denote the pitch range that a musical
3520 instrument is capable of playing. Most musical instruments have their
3521 ambitus standardized (or at least there is agreement upon the minimal
3522 ambitus of a particular type of instrument), such that a composer or
3523 arranger of a piece of music can easily meet the ambitus constraints of
3524 the targeted instrument. However, the ambitus of the human voice
3525 depends on individual physiological state, including education and
3526 training of the voice. Therefore, a singer potentially has to check for
3527 each piece of music if the ambitus of that piece meets his individual
3528 capabilities. This is why the ambitus of a piece may be of particular
3529 value to vocal performers.
3531 The ambitus is typically notated on a per-voice basis at the very
3532 beginning of a piece, e.g. nearby the initial clef or time signature of
3533 each staff. The range is graphically specified by two noteheads, that
3534 represent the minimum and maximum pitch. Some publishers use a textual
3535 notation: they put the range in words in front of the corresponding
3536 staff. LilyPond currently only supports the graphical ambitus notation.
3538 To apply, add the @internalsref{Ambitus_engraver} to the
3539 @internalsref{Voice} context, i.e.
3542 \paper @{ \translator @{
3544 \consists Ambitus_engraver
3550 @lilypond[singleline]
3551 upper = \notes \relative c {
3554 as'' c e2 bes f cis d4 e f2 g
3556 lower = \notes \relative c {
3559 e'4 b g a c es fis a cis b a g f e d2
3562 \context ChoirStaff {
3564 \new Staff { \upper }
3565 \new Staff { \lower }
3571 \consists Ambitus_engraver
3580 @internalsref{Ambitus}, and @inputfileref{input/regression,ambitus.ly}.
3585 Tablature notation is used for notating music for plucked string
3586 instruments. It notates pitches not by using note heads, but by
3587 indicating on which string and fret a note must be played. LilyPond
3588 offers limited support for tablature.
3591 * Tablatures basic::
3592 * Non-guitar tablatures::
3595 @node Tablatures basic
3596 @subsection Tablatures basic
3597 @cindex Tablatures basic
3599 The string number associated to a note is given as a backslash
3600 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3601 string. By default, string 1 is the highest one, and the tuning
3602 defaults to the standard guitar tuning (with 6 strings). The notes
3603 are printed as tablature, by using @internalsref{TabStaff} and
3604 @internalsref{TabVoice} contexts:
3606 @lilypond[fragment,verbatim]
3607 \notes \context TabStaff {
3613 When no string is specified, the first string that does not give a
3614 fret number less than @code{minimumFret} is selected. The default
3615 value for @code{minimumFret} is 0:
3619 e8 fis gis a b cis' dis' e'
3620 \property TabStaff.minimumFret = #8
3621 e8 fis gis a b cis' dis' e'
3626 e8 fis gis a b cis' dis' e'
3627 \property TabStaff.minimumFret = #8
3628 e8 fis gis a b cis' dis' e'
3631 \context StaffGroup <
3632 \context Staff { \clef "G_8" \frag }
3633 \context TabStaff { \frag }
3640 @internalsref{TabStaff}, @internalsref{TabVoice}, and
3641 @internalsref{StringNumberEvent}.
3645 Chords are not handled in a special way, and hence the automatic
3646 string selector may easily select the same string to two notes in a
3650 @node Non-guitar tablatures
3651 @subsection Non-guitar tablatures
3652 @cindex Non-guitar tablatures
3654 You can change the number of strings, by setting the number of lines
3655 in the @internalsref{TabStaff} (the @code{line-count} property of
3656 @internalsref{TabStaff} can only be changed using
3657 @code{\outputproperty}, for more information, see @ref{Tuning
3660 You can change the tuning of the strings. A string tuning is given as
3661 a Scheme list with one integer number for each string, the number
3662 being the pitch (measured in semitones relative to central C) of an
3663 open string. The numbers specified for @code{stringTuning} are the
3664 numbers of semitones to subtract or add, starting the specified pitch
3665 by default middle C, in string order. Thus, the notes are e, a, d, and
3668 @lilypond[fragment,verbatim]
3671 \outputproperty #(make-type-checker 'staff-symbol-interface)
3673 \property TabStaff.stringTunings = #'(-5 -10 -15 -20)
3676 a,4 c' a e' e c' a e'
3681 It is possible to change the Scheme function to format the tablature
3682 note text. The default is @code{fret-number-tablature-format}, which
3683 uses the fret number. For instruments that do not use this notation,
3684 you can create a special tablature formatting function. This function
3685 takes three argument: string number, string tuning and note pitch.
3689 Most of the guitar special effects such as bend have not been
3695 @section Chord names
3698 LilyPond has support for both printing chord names. Chords may be
3699 entered in musical chord notation, i.e. @code{<< .. >>}, but they can
3700 also be entered by name. Internally, the chords are represented as a
3701 set of pitches, so they can be transposed:
3704 @lilypond[verbatim,singleline]
3705 twoWays = \notes \transpose c c' {
3715 < \context ChordNames \twoWays
3716 \context Voice \twoWays > }
3719 This example also shows that the chord printing routines do not try to
3720 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3726 * Printing chord names::
3731 @subsection Chords mode
3734 Chord mode is a mode where you can input sets of pitches using common
3735 names. It is introduced by the keyword @code{\chords}.
3736 In chords mode, a chord is entered by the root, which is entered
3737 like a common pitch:
3738 @lilypond[fragment,verbatim,quote, relative=1]
3739 \chords { es4. d8 c2 }
3744 Other chords may be entered by suffixing a colon, and introducing a
3745 modifier, and optionally, a number:
3747 @lilypond[fragment,verbatim,quote]
3748 \chords { e1:m e1:7 e1:m7 }
3750 The first number following the root is taken to be the `type' of the
3751 chord, thirds are added to the root until it reaches the specified
3753 @lilypond[fragment,verbatim]
3754 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3757 @cindex root of chord
3758 @cindex additions, in chords
3759 @cindex removals, in chords
3761 More complex chords may also be constructed adding separate steps
3762 to a chord. Additions are added after the number following
3763 the colon, and are separated by dots:
3765 @lilypond[verbatim,fragment,quote]
3766 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3768 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3770 @lilypond[verbatim,fragment,quote]
3771 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3773 Removals are specified similarly, and are introduced by a caret. They
3774 must come after the additions:
3775 @lilypond[verbatim,fragment]
3776 \chords { c^3 c:7^5 c:9^3.5 }
3779 Modifiers can be used to change pitches. The following modifiers are
3783 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3785 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3788 is the augmented chord. This modifier raises the 5th step.
3790 is the major 7th chord. This modifier raises the 7th step if present.
3792 is the suspended 4th or 2nd. This modifier removes the 3rd
3793 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3796 Modifiers can be mixed with additions:
3797 @lilypond[verbatim,fragment]
3798 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3801 @cindex modifiers, in chords.
3808 Since an unaltered 11 does not sound good when combined with an
3809 unaltered 13, the 11 is removed in this case (, unless it is added
3811 @lilypond[fragment,verbatim]
3812 \chords { c:13 c:13.11 c:m13 }
3817 An inversion (putting one pitch of the chord on the bottom), as well
3818 as bass notes, can be specified by appending
3819 @code{/}@var{pitch} to the chord:
3820 @lilypond[fragment,verbatim,center]
3821 \chords { c1 c/g c/f }
3825 A bass note can be added instead of transposed out of the chord,
3826 by using @code{/+}@var{pitch}.
3828 @lilypond[fragment,verbatim,center]
3829 \chords { c1 c/+g c/+f }
3832 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3833 of the commands continue to work, for example, @code{r} and
3834 @code{\skip} can be used to insert rests and spaces, and
3835 @code{\property} may be used to change various settings.
3841 Each step can only be present in a chord once. The following
3842 simply produces the augmented chord, since @code{5+} is interpreted
3845 @lilypond[verbatim,fragment]
3846 \chords { c:5.5-.5+ }
3850 @node Printing chord names
3851 @subsection Printing chord names
3853 @cindex printing chord names
3857 For displaying printed chord names, use the @internalsref{ChordNames} context.
3858 The chords may be entered either using the notation
3859 described above, or directly using @code{<<} and @code{>>}:
3861 @lilypond[verbatim,singleline]
3863 \chords {a1 b c} <<d' f' a'>> <<e' g' b'>>
3867 \context ChordNames \scheme
3868 \context Staff \scheme
3873 You can make the chord changes stand out by setting
3874 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3875 display chord names when there is a change in the chords scheme and at
3876 the start of a new line:
3878 @lilypond[verbatim, linewidth=9cm]
3880 c1:m c:m \break c:m c:m d
3884 \context ChordNames {
3885 \property ChordNames.chordChanges = ##t
3887 \context Staff \transpose c c' \scheme
3892 The default chord name layout is a system for Jazz music, proposed by
3893 Klaus Ignatzek (see @ref{Literature}). It can be tuned through the
3894 following properties:
3897 @cindex chordNameExceptions
3898 @item chordNameExceptions
3899 This is a list that contains the chords that have special formatting.
3901 @inputfileref{input/regression,chord-name-exceptions.ly}.
3902 @cindex exceptions, chord names.
3905 @cindex majorSevenSymbol
3906 @item majorSevenSymbol
3907 This property contains the markup object used for the 7th step, when
3908 it is major. Predefined options are @code{whiteTriangleMarkup} and
3909 @code{blackTriangleMarkup}. See
3910 @inputfileref{input/regression,chord-name-major7.ly} for an example.
3912 @cindex chordNameSeparator
3913 @item chordNameSeparator
3914 Different parts of a chord name are normally separated by a
3915 slash. By setting @code{chordNameSeparator}, you can specify other
3917 @lilypond[fragment,verbatim]
3918 \context ChordNames \chords {
3920 \property ChordNames.chordNameSeparator
3921 = \markup { \typewriter "|" }
3925 @cindex chordRootNamer
3926 @item chordRootNamer
3927 The root of a chord is usually printed as a letter with an optional
3928 alteration. The transformation from pitch to letter is done by this
3929 function. Special note names (for example, the German ``H'' for a
3930 B-chord) can be produced by storing a new function in this property.
3932 @cindex chordNoteNamer
3933 @item chordNoteNamer
3934 The default is to print single pitch, e.g. the bass note, using the
3935 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
3936 to a specialized function to change this behavior. For example, the
3937 base can be printed in lower case.
3942 There are also two other chord name schemes implemented: an alternate
3943 Jazz chord notation, and a systematic scheme called Banter chords. The
3944 alternate jazz notation is also shown on the chart in @ref{Chord name
3945 chart}. Turning on these styles is described in the input file
3946 @inputfileref{input/test/,chord-names-jazz.ly}.
3950 @cindex chords, jazz
3955 @cindex @code{\germanChords}
3956 @code{\germanChords},
3957 @cindex @code{\semiGermanChords}
3958 @code{\semiGermanChords}.
3965 @inputfileref{input/regression,chord-name-major7.ly},
3966 @inputfileref{input/regression,chord-name-exceptions.ly},
3967 @inputfileref{input/test,chord-names-jazz.ly},
3968 @inputfileref{input/test,chord-names-german.ly},
3969 @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
3974 Chord names are determined solely from the list of pitches. Chord
3975 inversions are not identified, and neither are added bass notes. This
3976 may result in strange chord names when chords are entered with the
3977 @code{<< .. >>} syntax.
3982 @node Orchestral music
3983 @section Orchestral music
3985 @cindex Writing parts
3987 Orchestral music involves some special notation, both in the full
3988 score and the individual parts. This section explains how to tackle
3989 some common problems in orchestral music.
3994 * Multiple staff contexts::
3997 * Instrument names::
3999 * Multi measure rests::
4000 * Automatic part combining::
4002 * Sound output for transposing instruments::
4005 @node Multiple staff contexts
4006 @subsection Multiple staff contexts
4008 Polyphonic scores consist of many staves. These staves can be
4009 constructed in three different ways:
4011 @item The group is started with a brace at the left. This is done with the
4012 @internalsref{GrandStaff} context.
4013 @item The group is started with a bracket. This is done with the
4014 @internalsref{StaffGroup} context
4015 @item The group is started with a vertical line. This is the default
4019 @cindex Staff, multiple
4020 @cindex bracket, vertical
4021 @cindex brace, vertical
4028 @node Rehearsal marks
4029 @subsection Rehearsal marks
4030 @cindex Rehearsal marks
4032 @cindex @code{\mark}
4034 To print a rehearsal mark, use the @code{\mark} command:
4035 @lilypond[fragment,verbatim]
4045 The mark is incremented automatically if you use @code{\mark
4046 \default}. The value to use is stored in the property
4047 @code{rehearsalMark} is used and automatically incremented.
4049 The @code{\mark} command can also be used to put signs like coda,
4050 segno and fermatas on a barline. Use @code{\markup} to
4051 to access the appropriate symbol:
4053 @lilypond[fragment,verbatim,relative=1]
4054 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4058 In this case, during line breaks,
4059 marks must also be printed at the end of the line, and not at the
4060 beginning. Use the following to force that behavior:
4062 \property Score.RehearsalMark \override
4063 #'break-visibility = #begin-of-line-invisible
4066 See @inputfileref{input/test,boxed-molecule.ly} for putting boxes
4072 @cindex barlines, putting symbols on
4076 @internalsref{MarkEvent}, @internalsref{RehearsalMark}, and
4077 @inputfileref{input/test,boxed-molecule.ly}.
4081 @subsection Bar numbers
4085 @cindex measure numbers
4086 @cindex currentBarNumber
4088 Bar numbers are printed by default at the start of the line. The
4089 number itself is stored in the
4090 @code{currentBarNumber} property,
4091 which is normally updated automatically for every measure.
4093 Bar numbers can be typeset at regular intervals instead of at the
4094 beginning of each line. This is illustrated in the following example,
4095 whose source is available as
4096 @inputfileref{input/test,bar-number-regular-interval.ly}:
4098 @lilypondfile[notexidoc]{bar-number-regular-interval.ly}
4103 @internalsref{BarNumber},
4104 @inputfileref{input/test,bar-number-every-five-reset.ly}, and
4105 @inputfileref{input/test,bar-number-regular-interval.ly}.
4109 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4110 there is one at the top. To solve this, the
4111 @code{padding} property of @internalsref{BarNumber} can be
4112 used to position the number correctly.
4114 @node Instrument names
4115 @subsection Instrument names
4117 In an orchestral score, instrument names are printed left side of the
4120 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4121 and @internalsref{Staff}.@code{instr}. This will print a string before
4122 the start of the staff. For the first start, @code{instrument} is
4123 used, for the next ones @code{instr} is used:
4125 @lilypond[verbatim,singleline]
4126 \property Staff.instrument = "ploink " { c''4 }
4129 You can also use markup texts to construct more complicated instrument
4132 @lilypond[fragment,verbatim,singleline]
4134 \property Staff.instrument = \markup {
4135 \column << "Clarinetti"
4137 \smaller \musicglyph #"accidentals--1"
4148 @internalsref{InstrumentName}.
4152 When you put a name on a grand staff or piano staff the width of the
4153 brace is not taken into account. You must add extra spaces to the end of
4154 the name to avoid a collision.
4157 @subsection Transpose
4159 @cindex transposition of pitches
4160 @cindex @code{\transpose}
4162 A music expression can be transposed with @code{\transpose}. The syntax
4165 \transpose @var{from} @var{to} @var{musicexpr}
4168 This means that @var{musicexpr} is transposed by the interval
4169 between @var{from} and @var{to}.
4171 @code{\transpose} distinguishes between enharmonic pitches: both
4172 @code{\transpose c cis} or @code{\transpose c des} will transpose up
4173 half a tone. The first version will print sharps and the second
4174 version will print flats:
4176 @lilypond[singleline, verbatim]
4177 mus =\notes { \key d \major cis d fis g }
4178 \score { \notes \context Staff {
4181 \transpose c g' \mus
4182 \transpose c f' \mus
4188 @internalsref{TransposedMusic}, and @internalsref{UntransposableMusic}.
4192 If you want to use both @code{\transpose} and @code{\relative}, then
4193 you must put @code{\transpose} outside of @code{\relative}, since
4194 @code{\relative} will have no effect music that appears inside a
4200 @node Multi measure rests
4201 @subsection Multi measure rests
4202 @cindex multi measure rests
4203 @cindex Rests, multi measure
4207 Multi measure rests are entered using `@code{R}'. It is specifically
4208 meant for full bar rests and for entering parts: the rest can expand to
4209 fill a score with rests, or it can be printed as a single multimeasure
4210 rest. This expansion is controlled by the property
4211 @code{Score.skipBars}. If this is set to true, Lily will not expand
4212 empty measures, and the appropriate number is added automatically:
4214 @lilypond[fragment,verbatim]
4215 \time 4/4 r1 | R1 | R1*2
4216 \property Score.skipBars = ##t R1*17 R1*4
4219 The @code{1} in @code{R1} is similar to the duration notation used for
4220 notes. Hence, for time signatures other than 4/4, you must enter other
4221 durations. This can be done with augmentation dots or fractions:
4223 @lilypond[fragment,verbatim]
4224 \property Score.skipBars = ##t
4232 An @code{R} spanning a single measure is printed as either a whole rest
4233 or a breve, centered in the measure regardless of the time signature.
4235 @cindex text on multi-measure rest
4236 @cindex script on multi-measure rest
4237 @cindex fermata on multi-measure rest
4239 Texts can be added to multi-measure rests by using the
4240 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4241 replaced. If you need both texts and the number, you must add the
4242 number by hand. A variable (@code{\fermataMarkup}) is provided for
4246 @lilypond[verbatim,fragment]
4248 R2._\markup { "Ad lib" }
4253 @cindex whole rests for a full measure
4257 @internalsref{MultiMeasureRestEvent},
4258 @internalsref{MultiMeasureTextEvent},
4259 @internalsref{MultiMeasureRestMusicGroup}, and
4260 @internalsref{MultiMeasureRest}.
4262 The layout object @internalsref{MultiMeasureRestNumber} is for the
4263 default number, and @internalsref{MultiMeasureRestText} for user
4268 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4269 over multi-measure rests.
4271 @cindex condensing rests
4273 There is no way to automatically condense multiple rests into a single
4274 multimeasure rest. Multi measure rests do not take part in rest
4277 Be careful when entering multimeasure rests followed by whole notes,
4281 will enter two notes lasting four measures each. When @code{skipBars}
4282 is set, then the result will look OK, but the bar numbering will be
4285 @node Automatic part combining
4286 @subsection Automatic part combining
4287 @cindex automatic part combining
4288 @cindex part combiner
4291 Automatic part combining is used to merge two parts of music onto a
4292 staff. It is aimed at typesetting orchestral scores. When the two
4293 parts are identical for a period of time, only one is shown. In
4294 places where the two parts differ, they are typeset as separate
4295 voices, and stem directions are set automatically. Also, solo and
4296 @emph{a due} parts are identified and can be marked.
4300 The syntax for part combining is
4303 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
4305 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
4306 combined into one context of type @var{context}. The music expressions
4307 must be interpreted by contexts whose names should start with @code{one}
4310 The following example demonstrates the basic functionality of the part
4311 combiner: putting parts on one staff, and setting stem directions and
4314 @lilypond[verbatim,singleline,fragment]
4316 \context Voice=one \partcombine Voice
4317 \context Thread=one \relative c'' {
4320 \context Thread=two \relative c'' {
4326 The first @code{g} appears only once, although it was
4327 specified twice (once in each part). Stem, slur and tie directions are
4328 set automatically, depending whether there is a solo or unisono. The
4329 first part (with context called @code{one}) always gets up stems, and
4330 `solo', while the second (called @code{two}) always gets down stems and
4333 If you just want the merging parts, and not the textual markings, you
4334 may set the property @var{soloADue} to false:
4336 @lilypond[verbatim,singleline,fragment]
4338 \property Staff.soloADue = ##f
4339 \context Voice=one \partcombine Voice
4340 \context Thread=one \relative c'' {
4343 \context Thread=two \relative c'' {
4351 @internalsref{PartCombineMusic},
4352 @internalsref{Thread_devnull_engraver}, and
4353 @internalsref{Voice_devnull_engraver} and @internalsref{A2_engraver}.
4357 The syntax for naming contexts in inconsistent with the syntax for
4360 In @code{soloADue} mode, when the two voices play the same notes on and
4361 off, the part combiner may typeset @code{a2} more than once in a
4364 @lilypond[fragment,singleline]
4366 \context Voice=one \partcombine Voice
4367 \context Thread=one \relative c'' {
4370 \context Thread=two \relative c'' {
4376 The part combiner is slated to be rewritten [TODO: explain why].
4378 @cindex @code{Thread_devnull_engraver}
4379 @cindex @code{Voice_engraver}
4380 @cindex @code{A2_engraver}
4383 @subsection Hiding staves
4385 @cindex Frenched scores
4386 @cindex Hiding staves
4388 In orchestral scores, staff lines that only have rests are usually
4389 removed. This saves some space. This style is called `French Score'.
4390 For @internalsref{Lyrics}, @internalsref{LyricsVoice},
4391 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4392 switched on by default. When these line of these contexts turn out
4393 empty after the line-breaking process, they are removed.
4395 For normal staves, a specialized @internalsref{Staff} context is
4396 available, which does the same: staves containing nothing (or only
4397 multi measure rests) are removed. The context definition is stored in
4398 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4399 in this example disappears in the second line:
4404 \notes \relative c' <
4405 \new Staff { e4 f g a \break c1 }
4406 \new Staff { c4 d e f \break R1 }
4410 \translator { \RemoveEmptyStaffContext }
4416 @node Sound output for transposing instruments
4417 @subsection Sound output for transposing instruments
4419 When you want to make a MIDI file from a score containing transposed
4420 and untransposed instruments, you have to instruct LilyPond the pitch
4421 offset (in semitones) for the transposed instruments. This is done
4422 using the @code{transposing} property. It does not affect printed
4425 @cindex @code{transposing}
4428 \property Staff.instrument = #"Cl. in B-flat"
4429 \property Staff.transposing = #-2
4433 @node Ancient notation
4434 @section Ancient notation
4436 @cindex Vaticana, Editio
4437 @cindex Medicaea, Editio
4442 @c [TODO: write more comprehensive introduction on ancient notation]
4444 Support for ancient notation is still under heavy development.
4445 Regardless of all of the current limitations (see the bugs section
4446 below for details), it currently includes features for mensural
4447 notation and Gregorian Chant notation. There is also limited support
4448 for figured bass notation.
4450 Many graphical objects provide a @code{style} property, see
4451 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4452 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4453 signatures}. By manipulating such a grob property, the typographical
4454 appearance of the affected graphical objects can be accomodated for a
4455 specific notation flavour without need for introducing any new
4459 Other aspects of ancient notation can not that easily be expressed as
4460 in terms of just changing a style property of a graphical object.
4461 Therefore, some notational concepts are introduced specifically for
4462 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4463 @ref{Ligatures}, and @ref{Figured bass}.
4467 * Ancient note heads::
4468 * Ancient accidentals::
4472 * Ancient time signatures::
4477 * Vaticana style contexts::
4480 If this all is way too much of documentation for you, and you just
4481 want to dive into typesetting without worrying too much about the
4482 details on how to customize a context, then you may have a look at the
4483 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4484 set up predefined style-specific voice and staff contexts, and
4485 directly go ahead with the note entry.
4489 Ligatures need special spacing that has not yet been implemented. As
4490 a result, there is too much space between ligatures most of the time,
4491 and line breaking often is unsatisfactory. Also, lyrics do not
4492 correctly align with ligatures.
4494 Accidentals must not be printed within a ligature, but instead need to
4495 be collected and printed in front of it.
4497 Augmentum dots within ligatures are currently not handled correctly.
4500 @node Ancient note heads
4501 @subsection Ancient note heads
4507 For ancient notation, a note head style other than the @code{default}
4508 style may be chosen. This is accomplished by setting the @code{style}
4509 property of the NoteHead object to the desired value (@code{baroque},
4510 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4511 differs from the @code{default} style only in using a square shape for
4512 @code{\breve} note heads. The @code{neo_mensural} style differs from
4513 the @code{baroque} style in that it uses rhomboidal heads for whole
4514 notes and all smaller durations. Stems are centered on the note
4515 heads. This style is in particular useful when transcribing mensural
4516 music, e.g. for the incipit. The @code{mensural} style finally
4517 produces note heads that mimick the look of note heads in historic
4518 printings of the 16th century.
4520 The following example demonstrates the @code{neo_mensural} style:
4522 @lilypond[fragment,singleline,verbatim]
4523 \property Voice.NoteHead \set #'style = #'neo_mensural
4524 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4527 When typesetting a piece in Gregorian Chant notation, a Gregorian
4528 ligature engraver will automatically select the proper note heads,
4529 such there is no need to explicitly set the note head style. Still,
4530 the note head style can be set e.g. to @code{vaticana_punctum} to
4531 produce punctum neumes. Similarly, a mensural ligature engraver is
4532 used to automatically assemble mensural ligatures. See
4533 @ref{Ligatures} for how ligature engravers work.
4537 @inputfileref{input/regression,note-head-style.ly} gives an overview
4538 over all available note head styles.
4540 @ref{Percussion staves} use note head styles of their own that are
4541 frequently used in contemporary music notation.
4543 @node Ancient accidentals
4544 @subsection Ancient accidentals
4550 Use the @code{style} property of grob @internalsref{Accidental} to
4551 select ancient accidentals. Currently supported styles are
4552 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4554 @lilypond[singleline,26pt]
4562 { " " \musicglyph #"accidentals-vaticana-1"
4563 " " \musicglyph #"accidentals-vaticana0" }
4567 { " " \musicglyph #"accidentals-medicaea-1" }
4571 { " " \musicglyph #"accidentals-hufnagel-1" }
4575 { " " \musicglyph #"accidentals-mensural-1"
4576 " " \musicglyph #"accidentals-mensural1" }
4585 \remove "Bar_number_engraver"
4589 \remove "Clef_engraver"
4590 \remove "Key_engraver"
4591 \remove "Time_signature_engraver"
4592 \remove "Staff_symbol_engraver"
4593 minimumVerticalExtent = ##f
4599 As shown, not all accidentals are supported by each style. When
4600 trying to access an unsupported accidental, LilyPond will switch to a
4601 different style, as demonstrated in
4602 @inputfileref{input/test,ancient-accidentals.ly}.
4604 Similarly to local accidentals, the style of the key signature can be
4605 controlled by the @code{style} property of the
4606 @internalsref{KeySignature} grob.
4610 @ref{Pitches}, @ref{Chromatic alterations} and @ref{Accidentals} give
4611 a general introduction into the use of accidentals. @ref{Key
4612 signature} gives a general introduction into the use of key
4617 @subsection Ancient rests
4623 Use the @code{style} property of grob @internalsref{Rest} to select
4624 ancient accidentals. Currently supported styles are @code{classical},
4625 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4626 from the @code{default} style only in that the quarter rest looks like
4627 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4628 well for e.g. the incipit of a transcribed mensural piece of music.
4629 The @code{mensural} style finally mimicks the appearance of rests as
4630 in historic prints of the 16th century.
4632 The following example demonstrates the @code{neo_mensural} style:
4634 @lilypond[fragment,singleline,verbatim]
4635 \property Voice.Rest \set #'style = #'neo_mensural
4636 r\longa r\breve r1 r2 r4 r8 r16
4639 There are no 32th and 64th rests specifically for the mensural or
4640 neo-mensural style. Instead, the rests from the default style will be
4641 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4644 There are no rests in Gregorian Chant notation; instead, it uses
4649 @ref{Rests} gives a general introduction into the use of rests.
4653 @subsection Ancient clefs
4659 LilyPond supports a variety of clefs, many of them ancient.
4661 The following table shows all ancient clefs that are supported via the
4662 @code{\clef} command. Some of the clefs use the same glyph, but
4663 differ only with respect to the line they are printed on. In such
4664 cases, a trailing number in the name is used to enumerate these clefs.
4665 Still, you can manually force a clef glyph to be typeset on an
4666 arbitrary line, as described in @ref{Clef}. The note printed to the
4667 right side of each clef in the example column denotes the @code{c'}
4668 with respect to that clef.
4670 @multitable @columnfractions .3 .3 .3 .1
4674 @b{Description} @tab
4675 @b{Supported Clefs} @tab
4679 @code{clefs-neo_mensural_c} @tab
4680 modern style mensural C clef @tab
4681 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4682 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4683 @lilypond[relative 0, notime]
4684 \property Staff.TimeSignature \set #'transparent = ##t
4685 \clef "neo_mensural_c2" c
4689 @code{clefs-petrucci_c1}
4690 @code{clefs-petrucci_c2}
4691 @code{clefs-petrucci_c3}
4692 @code{clefs-petrucci_c4}
4693 @code{clefs-petrucci_c5}
4696 petrucci style mensural C clefs, for use on different stafflines
4697 (the examples shows the 2nd staffline C clef).
4707 @lilypond[relative 0, notime]
4708 \property Staff.TimeSignature \set #'transparent = ##t
4709 \clef "petrucci_c2" c
4713 @code{clefs-petrucci_f} @tab
4714 petrucci style mensural F clef @tab
4715 @code{petrucci_f} @tab
4716 @lilypond[relative 0, notime]
4717 \property Staff.TimeSignature \set #'transparent = ##t
4718 \clef "petrucci_f" c
4722 @code{clefs-petrucci_g} @tab
4723 petrucci style mensural G clef @tab
4724 @code{petrucci_g} @tab
4725 @lilypond[relative 0, notime]
4726 \property Staff.TimeSignature \set #'transparent = ##t
4727 \clef "petrucci_g" c
4731 @code{clefs-mensural_c} @tab
4732 historic style mensural C clef @tab
4733 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4734 @code{mensural_c4} @tab
4735 @lilypond[relative 0, notime]
4736 \property Staff.TimeSignature \set #'transparent = ##t
4737 \clef "mensural_c2" c
4741 @code{clefs-mensural_f} @tab
4742 historic style mensural F clef @tab
4743 @code{mensural_f} @tab
4744 @lilypond[relative 0, notime]
4745 \property Staff.TimeSignature \set #'transparent = ##t
4746 \clef "mensural_f" c
4750 @code{clefs-mensural_g} @tab
4751 historic style mensural G clef @tab
4752 @code{mensural_g} @tab
4753 @lilypond[relative 0, notime]
4754 \property Staff.TimeSignature \set #'transparent = ##t
4755 \clef "mensural_g" c
4759 @code{clefs-vaticana_do} @tab
4760 Editio Vaticana style do clef @tab
4761 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
4762 @lilypond[relative 0, notime]
4764 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4765 \property Staff.TimeSignature \set #'transparent = ##t
4766 \clef "vaticana_do2" c
4770 @code{clefs-vaticana_fa} @tab
4771 Editio Vaticana style fa clef @tab
4772 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
4773 @lilypond[relative 0, notime]
4775 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4776 \property Staff.TimeSignature \set #'transparent = ##t
4777 \clef "vaticana_fa2" c
4781 @code{clefs-medicaea_do} @tab
4782 Editio Medicaea style do clef @tab
4783 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
4784 @lilypond[relative 0, notime]
4786 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4787 \property Staff.TimeSignature \set #'transparent = ##t
4788 \clef "medicaea_do2" c
4792 @code{clefs-medicaea_fa} @tab
4793 Editio Medicaea style fa clef @tab
4794 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
4795 @lilypond[relative 0, notime]
4797 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4798 \property Staff.TimeSignature \set #'transparent = ##t
4799 \clef "medicaea_fa2" c
4803 @code{clefs-hufnagel_do} @tab
4804 historic style hufnagel do clef @tab
4805 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
4806 @lilypond[relative 0, notime]
4808 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4809 \property Staff.TimeSignature \set #'transparent = ##t
4810 \clef "hufnagel_do2" c
4814 @code{clefs-hufnagel_fa} @tab
4815 historic style hufnagel fa clef @tab
4816 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
4817 @lilypond[relative 0, notime]
4819 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4820 \property Staff.TimeSignature \set #'transparent = ##t
4821 \clef "hufnagel_fa2" c
4825 @code{clefs-hufnagel_do_fa} @tab
4826 historic style hufnagel combined do/fa clef @tab
4827 @code{hufnagel_do_fa} @tab
4828 @lilypond[relative 0, notime]
4829 \property Staff.TimeSignature \set #'transparent = ##t
4830 \clef "hufnagel_do_fa" c
4835 @c --- This should go somewhere else: ---
4836 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
4839 @c @code{percussion}
4841 @c @lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "percussion" c'}
4843 @c @item modern style tab clef (glyph: @code{clefs-tab})
4848 @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \property Staff.TimeSignature \set #'transparent = ##t \clef "tab" c'}
4850 @emph{Modern style} means ``as is typeset in contemporary editions of
4851 transcribed mensural music''.
4853 @emph{Petrucci style} means ``inspired by printings published by the
4854 famous engraver Petrucci (1466-1539)''.
4856 @emph{Historic style} means ``as was typeset or written in historic
4857 editions (other than those of Petrucci)''.
4859 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
4861 Petrucci used C clefs with differently balanced left-side vertical
4862 beams, depending on which staffline it is printed.
4866 For modern clefs, see @ref{Clef}. For the percussion clef, see
4867 @ref{Percussion staves}. For the @code{TAB} clef, see
4872 @subsection Ancient flags
4878 Use the @code{flag-style} property of grob @internalsref{Stem} to
4879 select ancient flags. Besides the @code{default} flag style,
4880 currently only @code{mensural} style is supported:
4882 @lilypond[fragment,singleline,verbatim]
4883 \property Voice.Stem \set #'flag-style = #'mensural
4884 \property Voice.Stem \set #'thickness = #1.0
4885 \property Voice.NoteHead \set #'style = #'mensural
4887 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
4888 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
4891 Note that the innermost flare of each mensural flag always is
4892 vertically aligned with a staff line. If you do not like this
4893 behaviour, you can set the @code{adjust-if-on-staffline} property of
4894 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
4895 of the end of each flare is different between notes on staff lines and
4896 notes between staff lines:
4898 @lilypond[fragment,singleline]
4899 \property Voice.Stem \set #'flag-style = #'mensural
4900 \property Voice.Stem \set #'thickness = #1.0
4901 \property Voice.Stem \set #'adjust-if-on-staffline = ##f
4902 \property Voice.NoteHead \set #'style = #'mensural
4904 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
4905 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
4908 There is no particular flag style for neo-mensural notation. Hence,
4909 when typesetting e.g. the incipit of a transcibed piece of mensural
4910 music, the default flag style should be used. There are no flags in
4911 Gregorian Chant notation.
4914 @node Ancient time signatures
4915 @subsection Ancient time signatures
4917 @cindex time signatures
4921 There is limited support for mensural time signatures. Currently, the
4922 glyphs are hard-wired to particular time fractions. In other words,
4923 to get a particular mensural signature glyph with the @code{\time n/m}
4924 command, @code{n} and @code{m} have to be chosen according to the
4930 \property Score.timing = ##f
4931 \property Score.barAlways = ##t
4932 s_\markup { "$\\backslash$time 4/4" }
4933 ^\markup { " " \musicglyph #"timesig-neo\_mensural4/4" }
4935 s_\markup { "$\\backslash$time 2/2" }
4936 ^\markup { " " \musicglyph #"timesig-neo\_mensural2/2" }
4938 s_\markup { "$\\backslash$time 6/4" }
4939 ^\markup { " " \musicglyph #"timesig-neo\_mensural6/4" }
4941 s_\markup { "$\\backslash$time 6/8" }
4942 ^\markup { " " \musicglyph #"timesig-neo\_mensural6/8" }
4944 s_\markup { "$\\backslash$time 3/2" }
4945 ^\markup { " " \musicglyph #"timesig-neo\_mensural3/2" }
4947 s_\markup { "$\\backslash$time 3/4" }
4948 ^\markup { " " \musicglyph #"timesig-neo\_mensural3/4" }
4950 s_\markup { "$\\backslash$time 9/4" }
4951 ^\markup { " " \musicglyph #"timesig-neo\_mensural9/4" }
4953 s_\markup { "$\\backslash$time 9/8" }
4954 ^\markup { " " \musicglyph #"timesig-neo\_mensural9/8" }
4956 s_\markup { "$\\backslash$time 4/8" }
4957 ^\markup { " " \musicglyph #"timesig-neo\_mensural4/8" }
4959 s_\markup { "$\\backslash$time 2/4" }
4960 ^\markup { " " \musicglyph #"timesig-neo\_mensural2/4" }
4968 \remove Staff_symbol_engraver
4969 \remove Clef_engraver
4970 \remove Time_signature_engraver
4976 Use the @code{style} property of grob @internalsref{TimeSignature} to
4977 select ancient time signatures. Currently supported styles are
4978 @code{neo_mensural} and @code{mensural}. The above table uses the
4979 @code{neo_mensural} style. This style is appropriate e.g. for the
4980 incipit of transcriptions of mensural pieces. The @code{mensural}
4981 style mimicks the look of historical printings of the 16th century.
4983 @inputfileref{input/test,time.ly} gives an overview over all available
4984 ancient and modern styles.
4988 @ref{Time signature} gives a general introduction into the use of time
4993 Mensural signature glyphs are currently mapped to time fractions in a
4994 hard-wired way. This mapping is sensible, but still arbitrary: given
4995 a mensural time signature, the time fraction represents a modern meter
4996 that usually will be a good choice when transcribing a mensural piece
4997 of music. For a particular piece of mensural music, however, the
4998 mapping may be unsatisfactory. In particular, the mapping assumes a
4999 fixed transcription of durations (e.g. brevis = half note in 2/2,
5000 i.e. 4:1). Some glyphs (such as the alternate glyph for 6/8 meter)
5001 are currently not at all accessible through the @code{\time} command.
5003 Mensural time signatures are supported typographically, but not yet
5004 musically. The internal representation of durations is currently
5005 based on a purely binary system; a ternary division such as 1 brevis =
5006 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5007 prolatione maiori) is not correctly handled: event times in ternary
5008 modes will be badly computed, resulting e.g. in horizontally
5009 misaligned note heads, and bar checks are likely to erroneously fail.
5011 The syntax and semantics of the @code{\time} command for mensural
5012 music is subject to change.
5015 @subsection Custodes
5020 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
5021 symbol that appears at the end of a staff. It anticipates the pitch
5022 of the first note(s) of the following line and thus helps the player
5023 or singer to manage line breaks during performance, thus enhancing
5024 readability of a score.
5026 Custodes were frequently used in music notation until the 17th
5027 century. Nowadays, they have survived only in a few particular forms
5028 of musical notation such as contemporary editions of Gregorian chant
5029 like the @emph{editio vaticana}. There are different custos glyphs
5030 used in different flavours of notational style.
5034 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5035 @internalsref{Staff} context when declaring the @code{\paper} block,
5036 as shown in the following example:
5042 \consists Custos_engraver
5043 Custos \override #'style = #'mensural
5048 The result looks like this:
5054 \property Staff.Custos \set #'style = #'mensural
5061 \consists Custos_engraver
5068 The custos glyph is selected by the @code{style} property. The styles
5069 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5070 @code{mensural}. They are demonstrated in the following fragment:
5080 { " " \musicglyph #"custodes-vaticana-u0" }
5084 { " " \musicglyph #"custodes-medicaea-u0" }
5088 { " " \musicglyph #"custodes-hufnagel-u0" }
5092 { " " \musicglyph #"custodes-mensural-u0" }
5101 \remove "Bar_number_engraver"
5105 \remove "Clef_engraver"
5106 \remove "Key_engraver"
5107 \remove "Time_signature_engraver"
5108 \remove "Staff_symbol_engraver"
5109 minimumVerticalExtent = ##f
5115 If the boolean property @code{adjust-if-on-staffline} is set to
5116 @code{#t} (which it is by default), lily typesets slightly different
5117 variants of the custos glyph, depending on whether the custos, is
5118 typeset on or between stafflines. The glyph will
5119 optically fit well into the staff, with the appendage on the right of
5120 the custos always ending at the same vertical position between two
5121 stafflines regardless of the pitch. If you set
5122 @code{adjust-if-on-staffline} to @code{#f}, then
5123 a compromise between both forms is used.
5125 Just like stems can be attached to noteheads in two directions
5126 @emph{up} and @emph{down}, each custos glyph is available with its
5127 appendage pointing either up or down. If the pitch of a custos is
5128 above a selectable position, the appendage will point downwards; if
5129 the pitch is below this position, the appendage will point upwards.
5130 Use property @code{neutral-position} to select this position. By
5131 default, it is set to @code{0}, such that the neutral position is the
5132 center of the staff. Use property @code{neutral-direction} to control
5133 what happens if a custos is typeset on the neutral position itself.
5134 By default, this property is set to @code{-1}, such that the appendage
5135 will point downwards. If set to @code{1}, the appendage will point
5136 upwards. Other values such as @code{0} are reserved for future
5137 extensions and should not be used.
5141 @internalsref{Custos} and @inputfileref{input/regression,custos.ly}.
5145 @subsection Divisiones
5151 A @emph{divisio} (plural: @emph{divisiones}; latin word for
5152 `division') is a staff context symbol that is used to structure
5153 Gregorian music into phrases and sections. The musical meaning of
5154 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5155 can be characterized as short, medium and long pause, somewhat like
5156 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5157 a chant, but is also frequently used within a single
5158 antiphonal/responsorial chant to mark the end of each section.
5162 To use divisiones, include the file @code{gregorian-init.ly}. It
5163 contains definitions that you can apply by just inserting
5164 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5165 and @code{\finalis} at proper places in the input. Some editions use
5166 @emph{virgula} or @emph{caesura} instead of divisio minima.
5167 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5170 @lilypondfile[notexidoc]{divisiones.ly}
5174 @cindex @code{\virgula}
5176 @cindex @code{\caesura}
5178 @cindex @code{\divisioMinima}
5179 @code{\divisioMinima},
5180 @cindex @code{\divisioMaior}
5181 @code{\divisioMaior},
5182 @cindex @code{\divisioMaxima}
5183 @code{\divisioMaxima},
5184 @cindex @code{\finalis}
5189 @internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
5190 @inputfileref{input/test,divisiones.ly}, and @ref{Breath marks}.
5193 @subsection Ligatures
5197 @c TODO: Should double check if I recalled things correctly when I wrote
5198 @c down the following paragraph by heart.
5200 In musical terminology, a ligature is a coherent graphical symbol that
5201 represents at least two distinct notes. Ligatures originally appeared
5202 in the manuscripts of Gregorian chant notation roughly since the 9th
5203 century as an allusion to the accent symbols of greek lyric poetry to
5204 denote ascending or descending sequences of notes. Both, the shape
5205 and the exact meaning of ligatures changed tremendously during the
5206 following centuries: In early notation, ligatures were used for
5207 monophonic tunes (Gregorian chant) and very soon denoted also the way
5208 of performance in the sense of articulation. With upcoming
5209 multiphony, the need for a metric system arised, since multiple voices
5210 of a piece have to be synchronized some way. New notation systems
5211 were invented that used the manifold shapes of ligatures to now denote
5212 rhythmical patterns (e.g. black mensural notation, mannered notation,
5213 ars nova). With the invention of the metric system of the white
5214 mensural notation, the need for ligatures to denote such patterns
5215 disappeared. Nevertheless, ligatures were still in use in the
5216 mensural system for a couple of decades until they finally disappeared
5217 during the late 16th / early 17th century. Still, ligatures have
5218 survived in contemporary editions of Gregorian chant such as the
5219 Editio Vaticana from 1905/08.
5223 Syntactically, ligatures are simply enclosed by @code{\[} and
5224 @code{\]}. Some ligature styles (such as Editio Vaticana) may need
5225 additional input syntax specific for this particular type of ligature.
5226 By default, the @internalsref{LigatureBracket} engraver just puts a
5227 square bracket above the ligature:
5229 @lilypond[singleline,verbatim]
5231 \notes \transpose c c' {
5239 To select a specific style of ligatures, a proper ligature engraver
5240 has to be added to the @internalsref{Voice} context, as explained in
5241 the following subsections. Currently, only white mensural ligatures
5242 are supported with certain limitations. Support for Editio Vaticana
5243 will be added in the future.
5246 * White mensural ligatures::
5247 * Gregorian square neumes ligatures::
5250 @node White mensural ligatures
5251 @subsubsection White mensural ligatures
5253 @cindex Mensural ligatures
5254 @cindex White mensural ligatures
5256 There is limited support for white mensural ligatures. The
5257 implementation is still experimental; it currently may output strange
5258 warnings or even crash in some cases or produce weird results on more
5263 To engrave white mensural ligatures, in the paper block the
5264 @internalsref{Mensural_ligature_engraver} has to be put into the
5265 @internalsref{Voice} context, and remove the
5266 @internalsref{Ligature_bracket_engraver}:
5272 \remove Ligature_bracket_engraver
5273 \consists Mensural_ligature_engraver
5278 There is no additional input language to describe the shape of a
5279 white mensural ligature. The shape is rather determined solely from
5280 the pitch and duration of the enclosed notes. While this approach may
5281 take a new user a while to get accustomed, it has the great advantage
5282 that the full musical information of the ligature is known internally.
5283 This is not only required for correct MIDI output, but also allows for
5284 automatic transcription of the ligatures.
5289 \property Score.timing = ##f
5290 \property Score.defaultBarType = "empty"
5291 \property Voice.NoteHead \set #'style = #'neo_mensural
5292 \property Staff.TimeSignature \set #'style = #'neo_mensural
5294 \[ g\longa c\breve a\breve f\breve d'\longa \]
5296 \[ e1 f1 a\breve g\longa \]
5298 @lilypond[singleline]
5300 \notes \transpose c c' {
5301 \property Score.timing = ##f
5302 \property Score.defaultBarType = "empty"
5303 \property Voice.NoteHead \set #'style = #'neo_mensural
5304 \property Staff.TimeSignature \set #'style = #'neo_mensural
5306 \[ g\longa c\breve a\breve f\breve d'\longa \]
5308 \[ e1 f1 a\breve g\longa \]
5313 \remove Ligature_bracket_engraver
5314 \consists Mensural_ligature_engraver
5320 Without replacing @internalsref{Ligature_bracket_engraver} with
5321 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5324 @lilypond[singleline]
5326 \notes \transpose c c' {
5327 \property Score.timing = ##f
5328 \property Score.defaultBarType = "empty"
5329 \property Voice.NoteHead \set #'style = #'neo_mensural
5330 \property Staff.TimeSignature \set #'style = #'neo_mensural
5332 \[ g\longa c\breve a\breve f\breve d'\longa \]
5334 \[ e1 f1 a\breve g\longa \]
5340 @node Gregorian square neumes ligatures
5341 @subsubsection Gregorian square neumes ligatures
5343 @cindex Square neumes ligatures
5344 @cindex Gregorian square neumes ligatures
5346 Gregorian square neumes notation (following the style of the Editio
5347 Vaticana) is under heavy development, but not yet really usable for
5348 production purposes. Core ligatures can already be typeset, but
5349 essential issues for serious typesetting are still under development,
5350 such as (among others) horizontal alignment of multiple ligatures,
5351 lyrics alignment and proper accidentals handling. Still, this section
5352 gives a sneak preview of what Gregorian chant may look like once it
5355 The following table contains the extended neumes table of the 2nd
5356 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5357 1983 by the monks of Solesmes.
5359 @multitable @columnfractions .4 .2 .2 .2
5362 @b{Neuma aut@*Neumarum Elementa} @tab
5363 @b{Figurae@*Rectae} @tab
5364 @b{Figurae@*Liquescentes Auctae} @tab
5365 @b{Figurae@*Liquescentes Deminutae}
5367 @c TODO: \paper block is identical in all of the below examples.
5368 @c Therefore, it should somehow be included rather than duplicated all
5371 @c why not make identifiers in ly/engraver-init.ly? --hwn
5373 @c Because it's just used to typeset plain notes without
5374 @c a staff for demonstration purposes rather than something
5375 @c special of Gregorian chant notation. --jr
5380 @lilypond[noindent, 26pt, nofragment, linewidth=1.5cm]
5381 \include "gregorian-init.ly"
5383 \notes \transpose c c' {
5386 \noBreak s^\markup {"a"} \noBreak
5388 % Punctum Inclinatum
5390 \noBreak s^\markup {"b"}
5396 \remove "Bar_number_engraver"
5400 \remove "Clef_engraver"
5401 \remove "Key_engraver"
5402 StaffSymbol \set #'transparent = ##t
5403 \remove "Time_signature_engraver"
5404 \remove "Bar_engraver"
5405 minimumVerticalExtent = ##f
5409 \remove Ligature_bracket_engraver
5410 \consists Vaticana_ligature_engraver
5411 NoteHead \set #'style = #'vaticana_punctum
5412 Stem \set #'transparent = ##t
5418 @lilypond[noindent, 26pt, nofragment, linewidth=2.5cm]
5419 \include "gregorian-init.ly"
5421 \notes \transpose c c' {
5422 % Punctum Auctum Ascendens
5423 \[ \auctum \ascendens b \]
5424 \noBreak s^\markup {"c"} \noBreak
5426 % Punctum Auctum Descendens
5427 \[ \auctum \descendens b \]
5428 \noBreak s^\markup {"d"} \noBreak
5430 % Punctum Inclinatum Auctum
5431 \[ \inclinatum \auctum b \]
5432 \noBreak s^\markup {"e"}
5438 \remove "Bar_number_engraver"
5442 \remove "Clef_engraver"
5443 \remove "Key_engraver"
5444 StaffSymbol \set #'transparent = ##t
5445 \remove "Time_signature_engraver"
5446 \remove "Bar_engraver"
5447 minimumVerticalExtent = ##f
5451 \remove Ligature_bracket_engraver
5452 \consists Vaticana_ligature_engraver
5453 NoteHead \set #'style = #'vaticana_punctum
5454 Stem \set #'transparent = ##t
5460 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5461 \include "gregorian-init.ly"
5463 \notes \transpose c c' {
5464 % Punctum Inclinatum Parvum
5465 \[ \inclinatum \deminutum b \]
5466 \noBreak s^\markup {"f"}
5472 \remove "Bar_number_engraver"
5476 \remove "Clef_engraver"
5477 \remove "Key_engraver"
5478 StaffSymbol \set #'transparent = ##t
5479 \remove "Time_signature_engraver"
5480 \remove "Bar_engraver"
5481 minimumVerticalExtent = ##f
5485 \remove Ligature_bracket_engraver
5486 \consists Vaticana_ligature_engraver
5487 NoteHead \set #'style = #'vaticana_punctum
5488 Stem \set #'transparent = ##t
5497 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5498 \include "gregorian-init.ly"
5500 \notes \transpose c c' {
5503 \noBreak s^\markup {"g"}
5509 \remove "Bar_number_engraver"
5513 \remove "Clef_engraver"
5514 \remove "Key_engraver"
5515 StaffSymbol \set #'transparent = ##t
5516 \remove "Time_signature_engraver"
5517 \remove "Bar_engraver"
5518 minimumVerticalExtent = ##f
5522 \remove Ligature_bracket_engraver
5523 \consists Vaticana_ligature_engraver
5524 NoteHead \set #'style = #'vaticana_punctum
5525 Stem \set #'transparent = ##t
5534 @code{3. Apostropha vel Stropha}
5536 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5537 \include "gregorian-init.ly"
5539 \notes \transpose c c' {
5542 \noBreak s^\markup {"h"}
5548 \remove "Bar_number_engraver"
5552 \remove "Clef_engraver"
5553 \remove "Key_engraver"
5554 StaffSymbol \set #'transparent = ##t
5555 \remove "Time_signature_engraver"
5556 \remove "Bar_engraver"
5557 minimumVerticalExtent = ##f
5561 \remove Ligature_bracket_engraver
5562 \consists Vaticana_ligature_engraver
5563 NoteHead \set #'style = #'vaticana_punctum
5564 Stem \set #'transparent = ##t
5570 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5571 \include "gregorian-init.ly"
5573 \notes \transpose c c' {
5575 \[ \stropha \auctum b \]
5576 \noBreak s^\markup {"i"}
5582 \remove "Bar_number_engraver"
5586 \remove "Clef_engraver"
5587 \remove "Key_engraver"
5588 StaffSymbol \set #'transparent = ##t
5589 \remove "Time_signature_engraver"
5590 \remove "Bar_engraver"
5591 minimumVerticalExtent = ##f
5595 \remove Ligature_bracket_engraver
5596 \consists Vaticana_ligature_engraver
5597 NoteHead \set #'style = #'vaticana_punctum
5598 Stem \set #'transparent = ##t
5608 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5609 \include "gregorian-init.ly"
5611 \notes \transpose c c' {
5614 \noBreak s^\markup {"j"}
5620 \remove "Bar_number_engraver"
5624 \remove "Clef_engraver"
5625 \remove "Key_engraver"
5626 StaffSymbol \set #'transparent = ##t
5627 \remove "Time_signature_engraver"
5628 \remove "Bar_engraver"
5629 minimumVerticalExtent = ##f
5633 \remove Ligature_bracket_engraver
5634 \consists Vaticana_ligature_engraver
5635 NoteHead \set #'style = #'vaticana_punctum
5636 Stem \set #'transparent = ##t
5645 @code{5. Clivis vel Flexa}
5647 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5648 \include "gregorian-init.ly"
5650 \notes \transpose c c' {
5659 \remove "Bar_number_engraver"
5663 \remove "Clef_engraver"
5664 \remove "Key_engraver"
5665 StaffSymbol \set #'transparent = ##t
5666 \remove "Time_signature_engraver"
5667 \remove "Bar_engraver"
5668 minimumVerticalExtent = ##f
5672 \remove Ligature_bracket_engraver
5673 \consists Vaticana_ligature_engraver
5674 NoteHead \set #'style = #'vaticana_punctum
5675 Stem \set #'transparent = ##t
5681 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5682 \include "gregorian-init.ly"
5684 \notes \transpose c c' {
5685 % Clivis Aucta Descendens
5686 \[ b \flexa \auctum \descendens g \]
5687 \noBreak s^\markup {"l"} \noBreak
5689 % Clivis Aucta Ascendens
5690 \[ b \flexa \auctum \ascendens g \]
5691 \noBreak s^\markup {"m"}
5697 \remove "Bar_number_engraver"
5701 \remove "Clef_engraver"
5702 \remove "Key_engraver"
5703 StaffSymbol \set #'transparent = ##t
5704 \remove "Time_signature_engraver"
5705 \remove "Bar_engraver"
5706 minimumVerticalExtent = ##f
5710 \remove Ligature_bracket_engraver
5711 \consists Vaticana_ligature_engraver
5712 NoteHead \set #'style = #'vaticana_punctum
5713 Stem \set #'transparent = ##t
5719 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5720 \include "gregorian-init.ly"
5722 \notes \transpose c c' {
5724 \[ b \flexa \deminutum g \]
5731 \remove "Bar_number_engraver"
5735 \remove "Clef_engraver"
5736 \remove "Key_engraver"
5737 StaffSymbol \set #'transparent = ##t
5738 \remove "Time_signature_engraver"
5739 \remove "Bar_engraver"
5740 minimumVerticalExtent = ##f
5744 \remove Ligature_bracket_engraver
5745 \consists Vaticana_ligature_engraver
5746 NoteHead \set #'style = #'vaticana_punctum
5747 Stem \set #'transparent = ##t
5754 @code{6. Podatus vel Pes}
5756 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5757 \include "gregorian-init.ly"
5759 \notes \transpose c c' {
5768 \remove "Bar_number_engraver"
5772 \remove "Clef_engraver"
5773 \remove "Key_engraver"
5774 StaffSymbol \set #'transparent = ##t
5775 \remove "Time_signature_engraver"
5776 \remove "Bar_engraver"
5777 minimumVerticalExtent = ##f
5781 \remove Ligature_bracket_engraver
5782 \consists Vaticana_ligature_engraver
5783 NoteHead \set #'style = #'vaticana_punctum
5784 Stem \set #'transparent = ##t
5790 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5791 \include "gregorian-init.ly"
5793 \notes \transpose c c' {
5794 % Pes Auctus Descendens
5795 \[ g \pes \auctum \descendens b \]
5796 \noBreak s^\markup {"p"} \noBreak
5798 % Pes Auctus Ascendens
5799 \[ g \pes \auctum \ascendens b \]
5800 \noBreak s^\markup {"q"}
5806 \remove "Bar_number_engraver"
5810 \remove "Clef_engraver"
5811 \remove "Key_engraver"
5812 StaffSymbol \set #'transparent = ##t
5813 \remove "Time_signature_engraver"
5814 \remove "Bar_engraver"
5815 minimumVerticalExtent = ##f
5819 \remove Ligature_bracket_engraver
5820 \consists Vaticana_ligature_engraver
5821 NoteHead \set #'style = #'vaticana_punctum
5822 Stem \set #'transparent = ##t
5828 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5829 \include "gregorian-init.ly"
5831 \notes \transpose c c' {
5833 \[ g \pes \deminutum b \]
5840 \remove "Bar_number_engraver"
5844 \remove "Clef_engraver"
5845 \remove "Key_engraver"
5846 StaffSymbol \set #'transparent = ##t
5847 \remove "Time_signature_engraver"
5848 \remove "Bar_engraver"
5849 minimumVerticalExtent = ##f
5853 \remove Ligature_bracket_engraver
5854 \consists Vaticana_ligature_engraver
5855 NoteHead \set #'style = #'vaticana_punctum
5856 Stem \set #'transparent = ##t
5863 @code{7. Pes Quassus}
5865 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5866 \include "gregorian-init.ly"
5868 \notes \transpose c c' {
5870 \[ \oriscus g \pes \virga b \]
5877 \remove "Bar_number_engraver"
5881 \remove "Clef_engraver"
5882 \remove "Key_engraver"
5883 StaffSymbol \set #'transparent = ##t
5884 \remove "Time_signature_engraver"
5885 \remove "Bar_engraver"
5886 minimumVerticalExtent = ##f
5890 \remove Ligature_bracket_engraver
5891 \consists Vaticana_ligature_engraver
5892 NoteHead \set #'style = #'vaticana_punctum
5893 Stem \set #'transparent = ##t
5899 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5900 \include "gregorian-init.ly"
5902 \notes \transpose c c' {
5903 % Pes Quassus Auctus Descendens
5904 \[ \oriscus g \pes \auctum \descendens b \]
5911 \remove "Bar_number_engraver"
5915 \remove "Clef_engraver"
5916 \remove "Key_engraver"
5917 StaffSymbol \set #'transparent = ##t
5918 \remove "Time_signature_engraver"
5919 \remove "Bar_engraver"
5920 minimumVerticalExtent = ##f
5924 \remove Ligature_bracket_engraver
5925 \consists Vaticana_ligature_engraver
5926 NoteHead \set #'style = #'vaticana_punctum
5927 Stem \set #'transparent = ##t
5935 @code{8. Quilisma Pes}
5937 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5938 \include "gregorian-init.ly"
5940 \notes \transpose c c' {
5942 \[ \quilisma g \pes b \]
5949 \remove "Bar_number_engraver"
5953 \remove "Clef_engraver"
5954 \remove "Key_engraver"
5955 StaffSymbol \set #'transparent = ##t
5956 \remove "Time_signature_engraver"
5957 \remove "Bar_engraver"
5958 minimumVerticalExtent = ##f
5962 \remove Ligature_bracket_engraver
5963 \consists Vaticana_ligature_engraver
5964 NoteHead \set #'style = #'vaticana_punctum
5965 Stem \set #'transparent = ##t
5971 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5972 \include "gregorian-init.ly"
5974 \notes \transpose c c' {
5975 % Quilisma Pes Auctus Descendens
5976 \[ \quilisma g \pes \auctum \descendens b \]
5983 \remove "Bar_number_engraver"
5987 \remove "Clef_engraver"
5988 \remove "Key_engraver"
5989 StaffSymbol \set #'transparent = ##t
5990 \remove "Time_signature_engraver"
5991 \remove "Bar_engraver"
5992 minimumVerticalExtent = ##f
5996 \remove Ligature_bracket_engraver
5997 \consists Vaticana_ligature_engraver
5998 NoteHead \set #'style = #'vaticana_punctum
5999 Stem \set #'transparent = ##t
6007 @code{9. Podatus Initio Debilis}
6009 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6010 \include "gregorian-init.ly"
6012 \notes \transpose c c' {
6013 % Pes Initio Debilis
6014 \[ \deminutum g \pes b \]
6021 \remove "Bar_number_engraver"
6025 \remove "Clef_engraver"
6026 \remove "Key_engraver"
6027 StaffSymbol \set #'transparent = ##t
6028 \remove "Time_signature_engraver"
6029 \remove "Bar_engraver"
6030 minimumVerticalExtent = ##f
6034 \remove Ligature_bracket_engraver
6035 \consists Vaticana_ligature_engraver
6036 NoteHead \set #'style = #'vaticana_punctum
6037 Stem \set #'transparent = ##t
6043 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6044 \include "gregorian-init.ly"
6046 \notes \transpose c c' {
6047 % Pes Auctus Descendens Initio Debilis
6048 \[ \deminutum g \pes \auctum \descendens b \]
6055 \remove "Bar_number_engraver"
6059 \remove "Clef_engraver"
6060 \remove "Key_engraver"
6061 StaffSymbol \set #'transparent = ##t
6062 \remove "Time_signature_engraver"
6063 \remove "Bar_engraver"
6064 minimumVerticalExtent = ##f
6068 \remove Ligature_bracket_engraver
6069 \consists Vaticana_ligature_engraver
6070 NoteHead \set #'style = #'vaticana_punctum
6071 Stem \set #'transparent = ##t
6081 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6082 \include "gregorian-init.ly"
6084 \notes \transpose c c' {
6086 \[ a \pes b \flexa g \]
6093 \remove "Bar_number_engraver"
6097 \remove "Clef_engraver"
6098 \remove "Key_engraver"
6099 StaffSymbol \set #'transparent = ##t
6100 \remove "Time_signature_engraver"
6101 \remove "Bar_engraver"
6102 minimumVerticalExtent = ##f
6106 \remove Ligature_bracket_engraver
6107 \consists Vaticana_ligature_engraver
6108 NoteHead \set #'style = #'vaticana_punctum
6109 Stem \set #'transparent = ##t
6115 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6116 \include "gregorian-init.ly"
6118 \notes \transpose c c' {
6119 % Torculus Auctus Descendens
6120 \[ a \pes b \flexa \auctum \descendens g \]
6127 \remove "Bar_number_engraver"
6131 \remove "Clef_engraver"
6132 \remove "Key_engraver"
6133 StaffSymbol \set #'transparent = ##t
6134 \remove "Time_signature_engraver"
6135 \remove "Bar_engraver"
6136 minimumVerticalExtent = ##f
6140 \remove Ligature_bracket_engraver
6141 \consists Vaticana_ligature_engraver
6142 NoteHead \set #'style = #'vaticana_punctum
6143 Stem \set #'transparent = ##t
6149 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6150 \include "gregorian-init.ly"
6152 \notes \transpose c c' {
6153 % Torculus Deminutus
6154 \[ a \pes b \flexa \deminutum g \]
6161 \remove "Bar_number_engraver"
6165 \remove "Clef_engraver"
6166 \remove "Key_engraver"
6167 StaffSymbol \set #'transparent = ##t
6168 \remove "Time_signature_engraver"
6169 \remove "Bar_engraver"
6170 minimumVerticalExtent = ##f
6174 \remove Ligature_bracket_engraver
6175 \consists Vaticana_ligature_engraver
6176 NoteHead \set #'style = #'vaticana_punctum
6177 Stem \set #'transparent = ##t
6184 @code{11. Torculus Initio Debilis}
6186 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6187 \include "gregorian-init.ly"
6189 \notes \transpose c c' {
6190 % Torculus Initio Debilis
6191 \[ \deminutum a \pes b \flexa g \]
6198 \remove "Bar_number_engraver"
6202 \remove "Clef_engraver"
6203 \remove "Key_engraver"
6204 StaffSymbol \set #'transparent = ##t
6205 \remove "Time_signature_engraver"
6206 \remove "Bar_engraver"
6207 minimumVerticalExtent = ##f
6211 \remove Ligature_bracket_engraver
6212 \consists Vaticana_ligature_engraver
6213 NoteHead \set #'style = #'vaticana_punctum
6214 Stem \set #'transparent = ##t
6220 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6221 \include "gregorian-init.ly"
6223 \notes \transpose c c' {
6224 % Torculus Auctus Descendens Initio Debilis
6225 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6232 \remove "Bar_number_engraver"
6236 \remove "Clef_engraver"
6237 \remove "Key_engraver"
6238 StaffSymbol \set #'transparent = ##t
6239 \remove "Time_signature_engraver"
6240 \remove "Bar_engraver"
6241 minimumVerticalExtent = ##f
6245 \remove Ligature_bracket_engraver
6246 \consists Vaticana_ligature_engraver
6247 NoteHead \set #'style = #'vaticana_punctum
6248 Stem \set #'transparent = ##t
6254 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6255 \include "gregorian-init.ly"
6257 \notes \transpose c c' {
6258 % Torculus Deminutus Initio Debilis
6259 \[ \deminutum a \pes b \flexa \deminutum g \]
6266 \remove "Bar_number_engraver"
6270 \remove "Clef_engraver"
6271 \remove "Key_engraver"
6272 StaffSymbol \set #'transparent = ##t
6273 \remove "Time_signature_engraver"
6274 \remove "Bar_engraver"
6275 minimumVerticalExtent = ##f
6279 \remove Ligature_bracket_engraver
6280 \consists Vaticana_ligature_engraver
6281 NoteHead \set #'style = #'vaticana_punctum
6282 Stem \set #'transparent = ##t
6289 @code{12. Porrectus}
6291 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6292 \include "gregorian-init.ly"
6294 \notes \transpose c c' {
6296 \[ a \flexa g \pes b \]
6303 \remove "Bar_number_engraver"
6307 \remove "Clef_engraver"
6308 \remove "Key_engraver"
6309 StaffSymbol \set #'transparent = ##t
6310 \remove "Time_signature_engraver"
6311 \remove "Bar_engraver"
6312 minimumVerticalExtent = ##f
6316 \remove Ligature_bracket_engraver
6317 \consists Vaticana_ligature_engraver
6318 NoteHead \set #'style = #'vaticana_punctum
6319 Stem \set #'transparent = ##t
6325 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6326 \include "gregorian-init.ly"
6328 \notes \transpose c c' {
6329 % Porrectus Auctus Descendens
6330 \[ a \flexa g \pes \auctum \descendens b \]
6337 \remove "Bar_number_engraver"
6341 \remove "Clef_engraver"
6342 \remove "Key_engraver"
6343 StaffSymbol \set #'transparent = ##t
6344 \remove "Time_signature_engraver"
6345 \remove "Bar_engraver"
6346 minimumVerticalExtent = ##f
6350 \remove Ligature_bracket_engraver
6351 \consists Vaticana_ligature_engraver
6352 NoteHead \set #'style = #'vaticana_punctum
6353 Stem \set #'transparent = ##t
6359 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6360 \include "gregorian-init.ly"
6362 \notes \transpose c c' {
6363 % Porrectus Deminutus
6364 \[ a \flexa g \pes \deminutum b \]
6371 \remove "Bar_number_engraver"
6375 \remove "Clef_engraver"
6376 \remove "Key_engraver"
6377 StaffSymbol \set #'transparent = ##t
6378 \remove "Time_signature_engraver"
6379 \remove "Bar_engraver"
6380 minimumVerticalExtent = ##f
6384 \remove Ligature_bracket_engraver
6385 \consists Vaticana_ligature_engraver
6386 NoteHead \set #'style = #'vaticana_punctum
6387 Stem \set #'transparent = ##t
6396 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6397 \include "gregorian-init.ly"
6399 \notes \transpose c c' {
6401 \[ \virga b \inclinatum a \inclinatum g \]
6408 \remove "Bar_number_engraver"
6412 \remove "Clef_engraver"
6413 \remove "Key_engraver"
6414 StaffSymbol \set #'transparent = ##t
6415 \remove "Time_signature_engraver"
6416 \remove "Bar_engraver"
6417 minimumVerticalExtent = ##f
6421 \remove Ligature_bracket_engraver
6422 \consists Vaticana_ligature_engraver
6423 NoteHead \set #'style = #'vaticana_punctum
6424 Stem \set #'transparent = ##t
6430 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6431 \include "gregorian-init.ly"
6433 \notes \transpose c c' {
6435 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6442 \remove "Bar_number_engraver"
6446 \remove "Clef_engraver"
6447 \remove "Key_engraver"
6448 StaffSymbol \set #'transparent = ##t
6449 \remove "Time_signature_engraver"
6450 \remove "Bar_engraver"
6451 minimumVerticalExtent = ##f
6455 \remove Ligature_bracket_engraver
6456 \consists Vaticana_ligature_engraver
6457 NoteHead \set #'style = #'vaticana_punctum
6458 Stem \set #'transparent = ##t
6464 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6465 \include "gregorian-init.ly"
6467 \notes \transpose c c' {
6468 % Climacus Deminutus
6469 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6476 \remove "Bar_number_engraver"
6480 \remove "Clef_engraver"
6481 \remove "Key_engraver"
6482 StaffSymbol \set #'transparent = ##t
6483 \remove "Time_signature_engraver"
6484 \remove "Bar_engraver"
6485 minimumVerticalExtent = ##f
6489 \remove Ligature_bracket_engraver
6490 \consists Vaticana_ligature_engraver
6491 NoteHead \set #'style = #'vaticana_punctum
6492 Stem \set #'transparent = ##t
6499 @code{14. Scandicus}
6501 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6502 \include "gregorian-init.ly"
6504 \notes \transpose c c' {
6506 \[ g \pes a \virga b \]
6513 \remove "Bar_number_engraver"
6517 \remove "Clef_engraver"
6518 \remove "Key_engraver"
6519 StaffSymbol \set #'transparent = ##t
6520 \remove "Time_signature_engraver"
6521 \remove "Bar_engraver"
6522 minimumVerticalExtent = ##f
6526 \remove Ligature_bracket_engraver
6527 \consists Vaticana_ligature_engraver
6528 NoteHead \set #'style = #'vaticana_punctum
6529 Stem \set #'transparent = ##t
6535 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6536 \include "gregorian-init.ly"
6538 \notes \transpose c c' {
6539 % Scandicus Auctus Descendens
6540 \[ g \pes a \pes \auctum \descendens b \]
6547 \remove "Bar_number_engraver"
6551 \remove "Clef_engraver"
6552 \remove "Key_engraver"
6553 StaffSymbol \set #'transparent = ##t
6554 \remove "Time_signature_engraver"
6555 \remove "Bar_engraver"
6556 minimumVerticalExtent = ##f
6560 \remove Ligature_bracket_engraver
6561 \consists Vaticana_ligature_engraver
6562 NoteHead \set #'style = #'vaticana_punctum
6563 Stem \set #'transparent = ##t
6569 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6570 \include "gregorian-init.ly"
6572 \notes \transpose c c' {
6573 % Scandicus Deminutus
6574 \[ g \pes a \pes \deminutum b \]
6581 \remove "Bar_number_engraver"
6585 \remove "Clef_engraver"
6586 \remove "Key_engraver"
6587 StaffSymbol \set #'transparent = ##t
6588 \remove "Time_signature_engraver"
6589 \remove "Bar_engraver"
6590 minimumVerticalExtent = ##f
6594 \remove Ligature_bracket_engraver
6595 \consists Vaticana_ligature_engraver
6596 NoteHead \set #'style = #'vaticana_punctum
6597 Stem \set #'transparent = ##t
6606 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6607 \include "gregorian-init.ly"
6609 \notes \transpose c c' {
6611 \[ g \oriscus a \pes \virga b \]
6618 \remove "Bar_number_engraver"
6622 \remove "Clef_engraver"
6623 \remove "Key_engraver"
6624 StaffSymbol \set #'transparent = ##t
6625 \remove "Time_signature_engraver"
6626 \remove "Bar_engraver"
6627 minimumVerticalExtent = ##f
6631 \remove Ligature_bracket_engraver
6632 \consists Vaticana_ligature_engraver
6633 NoteHead \set #'style = #'vaticana_punctum
6634 Stem \set #'transparent = ##t
6640 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6641 \include "gregorian-init.ly"
6643 \notes \transpose c c' {
6644 % Salicus Auctus Descendens
6645 \[ g \oriscus a \pes \auctum \descendens b \]
6652 \remove "Bar_number_engraver"
6656 \remove "Clef_engraver"
6657 \remove "Key_engraver"
6658 StaffSymbol \set #'transparent = ##t
6659 \remove "Time_signature_engraver"
6660 \remove "Bar_engraver"
6661 minimumVerticalExtent = ##f
6665 \remove Ligature_bracket_engraver
6666 \consists Vaticana_ligature_engraver
6667 NoteHead \set #'style = #'vaticana_punctum
6668 Stem \set #'transparent = ##t
6678 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6679 \include "gregorian-init.ly"
6681 \notes \transpose c c' {
6683 \[ \stropha b \stropha b \stropha a \]
6690 \remove "Bar_number_engraver"
6694 \remove "Clef_engraver"
6695 \remove "Key_engraver"
6696 StaffSymbol \set #'transparent = ##t
6697 \remove "Time_signature_engraver"
6698 \remove "Bar_engraver"
6699 minimumVerticalExtent = ##f
6703 \remove Ligature_bracket_engraver
6704 \consists Vaticana_ligature_engraver
6705 NoteHead \set #'style = #'vaticana_punctum
6706 Stem \set #'transparent = ##t
6718 Unlike most other neumes notation systems, the input language for
6719 neumes does not necessarily reflect directly the typographical
6720 appearance, but is designed to solely focuse on musical meaning. For
6721 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6722 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6723 a Porrectus with a curved flexa shape and only a single Punctum head.
6724 There is no command to explicitly typeset the curved flexa shape; the
6725 decision of when to typeset a curved flexa shape is purely taken from
6726 the musical input. The idea of this approach is to separate the
6727 musical aspects of the input from the notation style of the output.
6728 This way, the same input can be reused to typeset the same music in a
6729 different style of Gregorian chant notation such as Hufnagel (also
6730 known as German gothic neumes) or Medicaea (kind of a very simple
6731 forerunner of the Editio Vaticana). As soon as Hufnagel ligature
6732 engraver and Medicaea ligature engraver will have been implemented, it
6733 will be as simple as replacing the ligature engraver in the
6734 @internalsref{Voice} context to get the desired notation style from
6737 The following table shows the code fragments that produce the
6738 ligatures in the above neumes table. The letter in the first column
6739 in each line of the below table indicates to which ligature in the
6740 above table it refers. The second column gives the name of the
6741 ligature. The third column shows the code fragment that produces this
6742 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6744 @multitable @columnfractions .1 .4 .5
6758 Punctum Inclinatum @tab
6759 @code{\[ \inclinatum b \]}
6763 Punctum Auctum Ascendens @tab
6764 @code{\[ \auctum \ascendens b \]}
6768 Punctum Auctum Descendens @tab
6769 @code{\[ \auctum \descendens b \]}
6773 Punctum Inclinatum Auctum @tab
6774 @code{\[ \inclinatum \auctum b \]}
6778 Punctum Inclinatum Parvum @tab
6779 @code{\[ \inclinatum \deminutum b \]}
6784 @code{\[ \virga b \]}
6789 @code{\[ \stropha b \]}
6794 @code{\[ \stropha \auctum b \]}
6799 @code{\[ \oriscus b \]}
6803 Clivis vel Flexa @tab
6804 @code{\[ b \flexa g \]}
6808 Clivis Aucta Descendens @tab
6809 @code{\[ b \flexa \auctum \descendens g \]}
6813 Clivis Aucta Ascendens @tab
6814 @code{\[ b \flexa \auctum \ascendens g \]}
6819 @code{\[ b \flexa \deminutum g \]}
6823 Podatus vel Pes @tab
6824 @code{\[ g \pes b \]}
6828 Pes Auctus Descendens @tab
6829 @code{\[ g \pes \auctum \descendens b \]}
6833 Pes Auctus Ascendens @tab
6834 @code{\[ g \pes \auctum \ascendens b \]}
6839 @code{\[ g \pes \deminutum b \]}
6844 @code{\[ \oriscus g \pes \virga b \]}
6848 Pes Quassus Auctus Descendens @tab
6849 @code{\[ \oriscus g \pes \auctum \descendens b \]}
6854 @code{\[ \quilisma g \pes b \]}
6858 Quilisma Pes Auctus Descendens @tab
6859 @code{\[ \quilisma g \pes \auctum \descendens b \]}
6863 Pes Initio Debilis @tab
6864 @code{\[ \deminutum g \pes b \]}
6868 Pes Auctus Descendens Initio Debilis @tab
6869 @code{\[ \deminutum g \pes \auctum \descendens b \]}
6874 @code{\[ a \pes b \flexa g \]}
6878 Torculus Auctus Descendens @tab
6879 @code{\[ a \pes b \flexa \auctum \descendens g \]}
6883 Torculus Deminutus @tab
6884 @code{\[ a \pes b \flexa \deminutum g \]}
6888 Torculus Initio Debilis @tab
6889 @code{\[ \deminutum a \pes b \flexa g \]}
6893 Torculus Auctus Descendens Initio Debilis @tab
6894 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
6898 Torculus Deminutus Initio Debilis @tab
6899 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
6904 @code{\[ a \flexa g \pes b \]}
6908 Porrectus Auctus Descendens @tab
6909 @code{\[ a \flexa g \pes \auctum \descendens b \]}
6913 Porrectus Deminutus @tab
6914 @code{\[ a \flexa g \pes \deminutum b \]}
6919 @code{\[ \virga b \inclinatum a \inclinatum g \]}
6923 Climacus Auctus @tab
6924 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
6928 Climacus Deminutus @tab
6929 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
6934 @code{\[ g \pes a \virga b \]}
6938 Scandicus Auctus Descendens @tab
6939 @code{\[ g \pes a \pes \auctum \descendens b \]}
6943 Scandicus Deminutus @tab
6944 @code{\[ g \pes a \pes \deminutum b \]}
6949 @code{\[ g \oriscus a \pes \virga b \]}
6953 Salicus Auctus Descendens @tab
6954 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
6959 @code{\[ \stropha b \stropha b \stropha a \]}
6965 The following head prefixes are supported:
6967 @cindex @code{\virga}
6969 @cindex @code{\stropha}
6971 @cindex @code{\inclinatum}
6973 @cindex @code{\auctum}
6975 @cindex @code{\descendens}
6977 @cindex @code{\ascendens}
6979 @cindex @code{\oriscus}
6981 @cindex @code{\quilisma}
6983 @cindex @code{\deminutum}
6986 Head prefixes can be accumulated, though restrictions apply. For
6987 example, either @code{\descendens} or @code{\ascendens} can be applied
6988 to a head, but not both to the same head.
6991 @cindex @code{\flexa}
6992 Two adjacent heads can be tied together with the @code{\pes} and
6993 @code{\flexa} infix commands for a rising and falling line of melody,
6998 Scandicus Deminutus: Punctum Auctum Ascendens overlaps with
6999 Semivocalis head; this looks awful.
7001 Trigonus: apply equal spacing, regardless of pitch.
7003 Flexa and similar figurae: the left appendix should be adjusted with
7004 respect to the position of this head (on staffline or on staffspace)
7005 and the vertical position of the subsequent head.
7008 @subsection Figured bass
7010 @cindex Basso continuo
7012 @c TODO: musicological blurb about FB
7016 LilyPond has limited support for figured bass:
7018 @lilypond[verbatim,fragment]
7020 \context Voice \notes { \clef bass dis4 c d ais}
7021 \context FiguredBass
7023 < 6 >4 < 7 >8 < 6+ [_!] >
7029 The support for figured bass consists of two parts: there is an input
7030 mode, introduced by @code{\figures}, where you can enter bass figures
7031 as numbers, and there is a context called @internalsref{FiguredBass} that
7032 takes care of making @internalsref{BassFigure} objects.
7034 In figures input mode, a group of bass figures is delimited by
7035 @code{<} and @code{>}. The duration is entered after the @code{>}:
7040 \context FiguredBass
7044 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7051 \context FiguredBass
7052 \figures { <4- 6+ 7!> }
7055 Spaces or dashes may be inserted by using @code{_}. Brackets are
7056 introduced with @code{[} and @code{]}:
7062 \context FiguredBass
7063 \figures { < [4 6] 8 [_! 12]> }
7066 Although the support for figured bass may superficially resemble chord
7067 support, it works much simpler. The @code{\figures} mode simply
7068 stores the numbers , and @internalsref{FiguredBass} context prints
7069 them as entered. There is no conversion to pitches, and no
7070 realizations of the bass are played in the MIDI file.
7072 Internally, the code produces markup texts. You can use any of the
7073 markup text properties to override formatting. For example, the
7074 vertical spacing of the figures may be set with @code{baseline-skip}.
7078 @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7079 and @internalsref{FiguredBass} context.
7083 Slash notation for alterations is not supported.
7086 @node Vaticana style contexts
7087 @subsection Vaticana style contexts
7089 @cindex VaticanaVoiceContext
7090 @cindex VaticanaStaffContext
7092 The predefined @code{VaticanaVoiceContext} and
7093 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7094 Gregorian Chant in the style of the Editio Vaticana. These contexts
7095 initialize all relevant context properties and grob properties to
7096 proper values. With these contexts, you can immediately go ahead
7097 entering the chant, as the following short excerpt demonstrates:
7099 @lilypond[raggedright,verbatim,noindent]
7100 \include "gregorian-init.ly"
7103 \context VaticanaVoice {
7104 \property Score.BarNumber \set #'transparent = ##t
7106 \[ c'( c' \flexa a \] \[ a \flexa \deminutum g) \] f \divisioMinima
7107 \[ f( \pes a c' c' \pes d') \] c' \divisioMinima \break
7108 \[ c'( c' \flexa a \] \[ a \flexa \deminutum g) \] f \divisioMinima
7111 \context Lyrics \lyrics {
7112 San- ctus, San- ctus, San- ctus
7117 @node Contemporary notation
7118 @section Contemporary notation
7120 In the 20th century, composers have greatly expanded the musical
7121 vocabulary. With this expansion, many innovations in musical notation
7122 have been tried. For a comprehensive overview, refer to @cite{Stone
7123 1980} (see @ref{Literature}). In general, the use of new, innovative
7124 notation makes a piece harder to understand and perform and its use
7125 should therefore be avoided if possible. For this reason, support for
7126 contemporary notation in LilyPond is limited.
7135 @subsection Clusters
7139 In musical terminology, a @emph{cluster} denotes a range of
7140 simultaneously sounding pitches that may change over time. The set of
7141 available pitches to apply usually depends on the accoustic source.
7142 Thus, in piano music, a cluster typically consists of a continous range
7143 of the semitones as provided by the piano's fixed set of a chromatic
7144 scale. In choral music, each singer of the choir typically may sing an
7145 arbitrary pitch within the cluster's range that is not bound to any
7146 diatonic, chromatic or other scale. In electronic music, a cluster
7147 (theoretically) may even cover a continuous range of pitches, thus
7148 resulting in coloured noise, such as pink noise.
7150 Clusters can be denoted in the context of ordinary staff notation by
7151 engraving simple geometrical shapes that replace ordinary notation of
7152 notes. Ordinary notes as musical events specify starting time and
7153 duration of pitches; however, the duration of a note is expressed by the
7154 shape of the note head rather than by the horizontal graphical extent of
7155 the note symbol. In contrast, the shape of a cluster geometrically
7156 describes the development of a range of pitches (vertical extent) over
7157 time (horizontal extent). Still, the geometrical shape of a cluster
7158 covers the area in wich any single pitch contained in the cluster would
7159 be notated as an ordinary note. From this point of view, it is
7160 reasonable to specify a cluster as the envelope of a set of notes.
7164 A cluster is engraved as the envelope of a set of
7165 cluster-notes. Cluster notes are created by applying the function
7166 @code{notes-to-clusters} to a sequence of chords, e.g.
7168 @lilypond[relative 1,verbatim]
7169 \apply #notes-to-clusters { <<c e >> <<b f'>> }
7172 The following example (from
7173 @inputfileref{input/regression,cluster.ly}) shows what the result
7176 @lilypondfile[notexidoc]{cluster.ly}
7178 By default, @internalsref{Cluster_spanner_engraver} is in the
7179 @internalsref{Voice} context. This allows putting ordinary notes and
7180 clusters together in the same staff, even simultaneously. In such a
7181 case no attempt is made to automatically avoid collisions between
7182 ordinary notes and clusters.
7186 @internalsref{ClusterSpanner}, @internalsref{ClusterSpannerBeacon},
7187 @inputfileref{input/regression,cluster.ly},
7188 @internalsref{Cluster_spanner_engraver}, and @internalsref{ClusterNoteEvent}.
7192 Music expressions like @code{< @{ g8 e8 @} a4 >} are not printed
7193 accurately. Use @code{<<g a>>8 <<e a>>8} instead.
7198 @subsection Fermatas
7204 Contemporary music notation frequently uses special fermata symbols to
7205 indicate fermatas of differing lengths.
7209 The following are supported
7211 @lilypond[singleline]
7213 < \addlyrics \notes {
7233 \context Lyrics \lyrics {
7234 "shortfermata" "fermata" "longfermata" "verylongfermata"
7239 See @ref{Articulations} for general instructions how to apply scripts
7240 such as fermatas to a @code{\notes@{@}} block.
7243 @section Tuning output
7245 There are situations where default layout decisions are not
7246 sufficient. In this section we discuss ways to override these
7249 Formatting is internally done by manipulating so called objects
7250 (graphic objects). Each object carries with it a set of properties
7251 (object or layout properties) specific to that object. For example, a
7252 stem object has properties that specify its direction, length and
7255 The most direct way of tuning the output is by altering the values of
7256 these properties. There are two ways of doing that: first, you can
7257 temporarily change the definition of one type of object, thus
7258 affecting a whole set of objects. Second, you can select one specific
7259 object, and set a layout property in that object.
7261 Do not confuse layout properties with translation
7262 properties. Translation properties always use a mixed caps style
7263 naming, and are manipulated using @code{\property}:
7265 \property Context.propertyName = @var{value}
7267 Layout properties are use Scheme style variable naming, i.e. lower
7268 case words separated with dashes. They are symbols, and should always
7269 be quoted using @code{#'}. For example, this could be an imaginary
7270 layout property name:
7272 #'layout-property-name
7277 * Constructing a tweak::
7286 @node Tuning objects
7287 @subsection Tuning objects
7289 @cindex object description
7291 The definition of an object is a list of default object
7292 properties. For example, the definition of the Stem object (available
7293 in @file{scm/define-grobs.scm}), includes the following definitions
7294 for @internalsref{Stem}:
7298 (beamed-lengths . (0.0 2.5 2.0 1.5))
7299 (Y-extent-callback . ,Stem::height)
7304 Adding variables on top of this existing definition overrides the
7305 system default, and alters the resulting appearance of the layout
7311 Changing a variable for only one object is commonly achieved with
7315 \once \property @var{context}.@var{objectname}
7316 \override @var{symbol} = @var{value}
7318 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
7319 and @var{objectname} is a string and @var{value} is a Scheme expression.
7320 This command applies a setting only during one moment in the score.
7322 In the following example, only one @internalsref{Stem} object is
7323 changed from its original setting:
7325 @lilypond[verbatim, fragment, relative=1]
7327 \once \property Voice.Stem \set #'thickness = #4
7331 @cindex @code{\once}
7333 For changing more objects, the same command, without @code{\once} can
7336 \property @var{context}.@var{objectname} \override @var{symbol} = @var{value}
7338 This command adds @code{@var{symbol} = @var{value}} to the definition
7339 of @var{objectname} in the context @var{context}, and this definition
7340 stays in place until it is removed.
7342 An existing definition may be removed by the following command:
7345 \property @var{context}.@var{objectname} \revert @var{symbol}
7348 All @code{\override} and @code{\revert} commands should be balanced.
7349 The @code{\set} shorthand performs a revert followed by an override,
7350 and is often more convenient to use
7353 \property @var{context}.@var{objectname} \set @var{symbol} = @var{value}
7357 @lilypond[verbatim,quote]
7358 c'4 \property Voice.Stem \override #'thickness = #4.0
7360 c'4 \property Voice.Stem \revert #'thickness
7364 The following example gives exactly the same result as the previous
7365 one (assuming the system default for stem thickness is 1.3):
7367 @lilypond[verbatim,quote]
7368 c'4 \property Voice.Stem \set #'thickness = #4.0
7370 c'4 \property Voice.Stem \set #'thickness = #1.3
7374 Reverting a setting which was not set in the first place has no
7375 effect. However, if the setting was set as a system default, this may
7376 remove the default value, and this may give surprising results,
7377 including crashes. In other words, @code{\override} and
7378 @code{\revert} must be carefully balanced. The following are examples
7379 of correct nesting of @code{\override}, @code{\set}, @code{\revert}:
7383 a clumsy but correct form:
7385 \override \revert \override \revert \override \revert
7389 shorter version of the same:
7391 \override \set \set \revert
7395 a short form, using only @code{\set}. This requires you to know the
7398 \set \set \set \set @var{to default value}
7402 if there is no default (i.e. by default, the object property is unset),
7405 \set \set \set \revert
7409 For the digirati, the object description is an Scheme association
7410 list. Since a Scheme list is a singly linked list, we can treat it as
7411 a stack, and @code{\override} and @code{\revert} are push and pop
7412 operations. The association list is stored in a normal context
7415 \property Voice.NoteHead = #'()
7417 will effectively erase @internalsref{NoteHead}s from the current
7418 @internalsref{Voice}. However, this mechanism is not guaranteed to
7419 work, and may cause crashes or other anomalous behavior.
7423 @internalsref{OverrideProperty}, @internalsref{RevertProperty},
7424 @internalsref{PropertySet}, @internalsref{All-backend-properties}, and
7425 @internalsref{All-layout-objects}.
7430 The backend is not very strict in type-checking object properties.
7431 Cyclic references in @var{value} cause hangs and/or crashes.
7432 Similarly, reverting properties that are system defaults may also lead
7435 @node Constructing a tweak
7436 @subsection Constructing a tweak
7439 @cindex internal documentation
7440 @cindex finding graphical objects
7441 @cindex graphical object descriptions
7443 @cindex @code{\override}
7445 @cindex internal documentation
7449 Three pieces of information are required to use @code{\override} and
7450 @code{\set}: the name of the layout object, the context and the name
7451 of the property. We demonstrate how to glean this information from
7452 the notation manual and the generated documentation.
7454 The generated documentation is a set of HTML pages which should be
7455 included if you installed a binary distribution, typically in
7456 @file{/usr/share/doc/lilypond}. They are also available on the web:
7457 go to the @uref{http://lilypond.org,LilyPond website}, click
7458 ``Documentation'', and then ``Program reference'' on the side bar. It
7459 is advisable to bookmark either the local HTML files if possible. They
7460 will load faster than the ones on the web. If you use the version
7461 from the web, you must check whether the documentation matches the
7462 program version: the documentation is generated from the definitions
7463 that the program uses, and therefore it is strongly tied to the
7467 @c [TODO: revise for new site.]
7469 Suppose we want to move the fingering indication in the fragment below:
7471 @lilypond[relative=2,verbatim]
7477 If you visit the documentation of @code{Fingering} (in @ref{Fingering
7478 instructions}), you will notice that there is written:
7483 @internalsref{FingerEvent} and @internalsref{Fingering}.
7487 In other words, the fingerings once entered, are internally stored as
7488 @code{FingerEvent} music objects. When printed, a @code{Fingering}
7489 layout object is created for every @code{FingerEvent}.
7491 The Fingering object has a number of different functions, and each of
7492 those is captured in an interface, when we look up
7493 @internalsref{Fingering} in the generated documentation.
7497 The @code{Fingering} object has a fixed size
7498 (@internalsref{item-interface}), the symbol is a piece of text
7499 (@internalsref{text-interface}), whose font can be set
7500 (@internalsref{font-interface}). It is centered horizontally
7501 (@internalsref{self-alignment-interface}), it is placed next to other
7502 objects (@internalsref{side-position-interface}) vertically, and its
7503 placement is coordinated with other scripts
7504 (@internalsref{text-script-interface}). It also has the standard
7505 @internalsref{grob-interface} (grob stands for Graphical object)
7507 @cindex graphical object
7508 @cindex layout object
7509 @cindex object, layout
7510 with all the variables that come with
7511 it. Finally, it denotes a fingering instruction, so it has
7512 @internalsref{finger-interface}.
7514 For the vertical placement, we have to look under
7515 @code{side-position-interface}:
7517 @code{side-position-interface}
7519 Position a victim object (this one) next to other objects (the
7520 support). In this case, the direction signifies where to put the
7521 victim object relative to the support (left or right, up or down?)
7526 below this description, the variable @code{padding} is described as
7530 (dimension, in staff space)
7532 add this much extra space between objects that are next to each
7533 other. Default value: @code{0.6}
7537 By increasing the value of @code{padding}, we can move away the
7538 fingering. The following command inserts 3 staff spaces of white
7539 between the note and the fingering:
7541 \once \property Voice.Fingering \set #'padding = #3
7544 Inserting this command before the Fingering object is created,
7545 i.e. before @code{c2}, yields the following result:
7547 @lilypond[relative=2,fragment,verbatim]
7548 \once \property Voice.Fingering
7555 The context name @code{Voice} in the example above can be determined
7556 as follows. In the documentation for @internalsref{Fingering}, it says
7558 Fingering grobs are created by: @internalsref{Fingering_engraver}
7561 Clicking @code{Fingering_engraver} shows the documentation of
7562 the module responsible for interpreting the fingering instructions and
7563 translating them to a @code{Fingering} object. Such a module is called
7564 an @emph{engraver}. The documentation of the @code{Fingering_engraver}
7567 Fingering_engraver is part of contexts: Voice
7569 so tuning the settings for Fingering should be done with
7571 \property Voice.Fingering \set @dots{}
7574 Of course, the tweak may also done in a larger context than
7575 @code{Voice}, for example, @internalsref{Staff} or
7576 @internalsref{Score}.
7578 The internals document also contains alphabetical lists of
7579 @internalsref{Contexts}, @internalsref{All-layout-objects} and
7580 @internalsref{Music-expressions}, so you can also find which objects to
7581 tweak by browsing the internals document.
7585 @subsection Applyoutput
7587 The most versatile way of tuning an object is @code{\applyoutput}. Its
7590 \applyoutput @var{proc}
7594 where @var{proc} is a Scheme function, taking four arguments.
7596 When interpreted, the function @var{proc} is called for every layout object found
7597 in the context, with the following arguments:
7599 @item the layout object itself,
7600 @item the context where the layout object was created, and
7601 @item the context where @code{\applyoutput} is processed.
7604 In addition, the cause of the layout object, i.e. the music
7605 expression or object that was responsible for creating it, is in the
7606 object property @code{cause}. For example, for a note head, this is a
7607 @internalsref{NoteHead} event, and for a @internalsref{Stem} object,
7608 this is a @internalsref{NoteHead} object.
7611 @node Outputproperty
7612 @subsection Outputproperty
7614 @cindex @code{\outputproperty}
7616 Another way of tuning objects is the more arcane @code{\outputproperty}
7617 feature. The syntax is as follows:
7619 \outputproperty @var{predicate} @var{symbol} = @var{value}
7621 Here @code{predicate} is a Scheme function taking an object argument, and
7622 returning a boolean. This statement is processed by the
7623 @code{Output_property_engraver}. It instructs the engraver to feed all
7624 objects that it sees to @var{predicate}. Whenever the predicate returns
7625 true, the object property @var{symbol} will be set to @var{value}.
7627 You will need to combine this statement with @code{\context} to select
7628 the appropriate context to apply this to.
7629 @inputfileref{input/regression,output-property.ly} shows an example of
7630 the use of @code{\outputproperty}.
7634 This command is slated for removal. Please use the
7635 @code{\applyoutput} command, see @ref{Applyoutput}.
7638 @node Font selection
7639 @subsection Font selection
7641 The most common thing to change about the appearance of fonts is their
7642 size. The font size of any context can be easily changed by setting
7643 the @code{fontSize} property for that context. Its value is an
7644 integer: negative numbers make the font smaller, positive numbers
7645 larger. An example is given below:
7647 @lilypond[fragment,relative=1,verbatim,quote]
7648 c4 c4 \property Voice.fontSize = #-1
7651 This command will set @code{font-relative-size} (see below), and does
7652 not change the size of variable symbols, such as beams or slurs.
7655 One of the uses of @code{fontSize} is to get smaller symbol for cue
7656 notes. An elaborate example of those is in
7657 @inputfileref{input/test,cue-notes.ly}.
7659 @cindex magnification
7661 The size of the font may be scaled with the object property
7662 @code{font-magnification}. For example, @code{2.0} blows up all
7663 letters by a factor 2 in both directions.
7672 The font used for printing a object can be selected by setting
7673 @code{font-name}, e.g.
7675 \property Staff.TimeSignature
7676 \set #'font-name = #"cmr17"
7680 Any font can be used, as long as it is available to @TeX{}. Possible
7681 fonts include foreign fonts or fonts that do not belong to the
7682 Computer Modern font family.
7684 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
7685 can also be adjusted with a more fine-grained mechanism. By setting
7686 the object properties described below, you can select a different font;
7687 all three mechanisms work for every object that supports
7688 @code{font-interface}:
7692 is a symbol indicating the general class of the typeface. Supported are
7693 @code{roman} (Computer Modern), @code{braces} (for piano staff
7694 braces), @code{music} (the standard music font, including ancient
7695 glyphs), @code{dynamic} (for dynamic signs) and @code{typewriter}.
7698 is a symbol indicating the shape of the font, there are typically several
7699 font shapes available for each font family. Choices are @code{italic},
7700 @code{caps} and @code{upright}.
7703 is a symbol indicating the series of the font. There are typically several
7704 font series for each font family and shape. Choices are @code{medium}
7707 @item font-relative-size
7708 is a number indicating the size relative the standard size. For example,
7709 with 20pt staff height, relative size -1 corresponds to 16pt staff
7710 height, and relative size +1 corresponds to 23 pt staff height.
7712 There are small differences in design between fonts designed for
7713 different sizes, hence @code{font-relative-size} is preferred over
7714 @code{font-magnification} for changing font sizes.
7717 @item font-design-size
7718 is a number indicating the design size of the font.
7720 This is a feature of the Computer Modern Font: each point size has a
7721 slightly different design. Smaller design sizes are relatively wider,
7722 which enhances readability.
7725 For any of these properties, the value @code{*} (i.e. the symbol
7726 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
7727 to override default setting, which are always present. For example:
7729 \property Lyrics . LyricText \override #'font-series = #'bold
7730 \property Lyrics . LyricText \override #'font-family = #'typewriter
7731 \property Lyrics . LyricText \override #'font-shape = #'*
7734 @cindex @code{font-style}
7738 The following commands set @code{fontSize} for the current voice.
7740 @cindex @code{\tiny}
7742 @cindex @code{\small}
7744 @cindex @code{\normalsize}
7749 Relative size is not linked to any real size.
7751 There is no style sheet provided for other fonts besides the @TeX{}
7752 family, and the style sheet cannot be modified easily.
7754 @cindex font selection
7755 @cindex font magnification
7756 @cindex @code{font-interface}
7760 @subsection Text markup
7765 @cindex typeset text
7767 LilyPond has an internal mechanism to typeset texts. You can access it
7768 with the keyword @code{\markup}. Within markup mode, you can enter texts
7769 similar to lyrics: simply enter them, surrounded by spaces:
7772 @lilypond[verbatim,fragment,relative=1]
7773 c1^\markup { hello }
7774 c1_\markup { hi there }
7775 c1^\markup { hi \bold there, is \italic anyone home? }
7778 @cindex font switching
7780 The markup in the example demonstrates font switching commands. The
7781 command @code{\bold} and @code{\italic} only apply to the first
7782 following word; enclose a set of texts with braces to apply a command
7785 \markup @{ \bold @{ hi there @} @}
7789 For clarity, you can also do this for single arguments, e.g.
7791 \markup @{ is \italic @{ anyone @} home @}
7794 @cindex font size, texts
7796 The following size commands set absolute sizes:
7798 @cindex @code{\teeny}
7799 @cindex @code{\tiny}
7800 @cindex @code{\small}
7801 @cindex @code{\large}
7802 @cindex @code{\huge}
7812 You can also make letter larger or smaller relative to their neighbors,
7813 with the commands @code{\larger} and @code{\smaller}.
7817 @cindex font style, for texts
7818 @cindex @code{\bold}
7819 @cindex @code{\dynamic}
7820 @cindex @code{\number}
7821 @cindex @code{\italic}
7823 The following font change commands are defined:
7826 changes to the font used in dynamic signs. This font does not
7827 contain all characters of the alphabet, so when producing ``piu f'',
7828 the ``piu'' should be done in a different font.
7832 changes to the font used in time signatures. It only contains
7833 numbers and a few punctuation marks.
7835 changes @code{font-shape} to @code{italic}.
7837 changes @code{font-series} to @code{bold}.
7840 @cindex raising text
7841 @cindex lowering text
7843 @cindex translating text
7846 @cindex @code{\super}
7848 Raising and lowering texts can be done with @code{\super} and
7851 @lilypond[verbatim,fragment,relative=1]
7852 c1^\markup { E "=" mc \super "2" }
7855 @cindex @code{\raise}
7857 If you want to give an explicit amount for lowering or raising, use
7858 @code{\raise}. This command takes a Scheme valued first argument, and
7859 a markup object as second argument:
7861 @lilypond[verbatim,fragment,relative=1,quote]
7862 c1^\markup { C \small \raise #1.0 \bold { "9/7+" }}
7864 The argument to @code{\raise} is the vertical displacement amount,
7865 measured in (global) staff spaces. @code{\raise} and @code{\super}
7866 raise objects in relation to their surrounding markups. They cannot be
7867 used to move a single text up or down, when it is above or below a
7868 note, since the mechanism that positions it next to the note cancels
7869 any vertical shift. For vertical positioning, use the @code{padding}
7870 and/or @code{extra-offset} properties.
7872 Other commands taking single arguments include
7875 @item \bracket, \hbracket
7876 Bracket the argument markup with normal and horizontal brackets
7880 @cindex @code{\musicglyph}
7881 This is converted to a musical symbol, e.g. @code{\musicglyph
7882 #"accidentals-0"} will select the natural sign from the music font.
7883 See @ref{The Feta font} for a complete listing of the possible glyphs.
7885 This produces a single character, e.g. @code{\char #65} produces the
7888 @item \note @var{log} @var{dots} @var{dir}
7889 @cindex @code{\note}
7891 This produces a note with a stem pointing in @var{dir} direction, with
7892 duration log @var{log} and @var{dots} augmentation dots. The duration
7893 log is the negative 2-logarithm of the duration denominator. For
7894 example, a quarter note has log 2, an eighth note 3 and a breve has
7897 @item \hspace #@var{amount}
7898 @cindex @code{\hspace}
7899 This produces a invisible object taking horizontal space.
7901 \markup @{ A \hspace #2.0 B @}
7903 will put extra space between A and B, on top of the space that is
7904 normally inserted before elements on a line.
7906 @item \fontsize #@var{size}
7907 @cindex @code{\fontsize}
7908 This sets the relative font size, eg.
7910 A \fontsize #2 @{ B C @} D
7914 This will enlarge the B and the C by two steps.
7915 @item \translate #(cons @var{x} @var{y})
7917 This translates an object. Its first argument is a cons of numbers
7919 A \translate #(cons 2 -3) @{ B C @} D
7921 This moves `B C' 2 spaces to the right, and 3 down.
7923 @item \magnify #@var{mag}
7924 @cindex @code{\magnify}
7925 This sets the font magnification for the its argument. In the following
7926 example, the middle A will be 10% larger:
7928 A \magnify #1.1 @{ A @} A
7932 @item \override #(@var{key} . @var{value})
7933 @cindex @code{\override}
7934 This overrides a formatting property for its argument. The argument
7935 should be a key/value pair, e.g.
7937 m \override #'(font-family . math) m m
7941 In markup mode you can compose expressions, similar to mathematical
7942 expressions, XML documents and music expressions. The braces group
7943 notes into horizontal lines. Other types of lists also exist: you can
7944 stack expressions grouped with @code{<<}, and @code{>>} vertically with
7945 the command @code{\column}. Similarly, @code{\center} aligns texts by
7948 @lilypond[verbatim,fragment,relative=1]
7949 c1^\markup { \column << a bbbb c >> }
7950 c1^\markup { \center << a bbbb c >> }
7951 c1^\markup { \line << a b c >> }
7954 The markup mechanism is extensible. Refer to
7955 @file{scm/new-markup.scm} for more information.
7961 @internalsref{Markup-functions}, and @file{scm/new-markup.scm}.
7968 Text layout is ultimately done by @TeX{}, which does kerning of
7969 letters. LilyPond does not account for kerning, so texts will be
7970 spaced slightly too wide.
7972 Syntax errors for markup mode are confusing.
7974 Markup texts cannot be used in the titling of the @code{\header}
7975 field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
7982 @section Global layout
7984 The global layout determined by three factors: the page layout, the
7985 line breaks and the spacing. These all influence each other. The
7986 choice of spacing determines how densely each system of music is set,
7987 which influences where line breaks breaks are chosen, and thus
7988 ultimately how many pages a piece of music takes. In this section, the
7989 algorithm for spacing music is explained, and how spacing can be
7992 Globally spoken, this procedure happens in three steps: first,
7993 flexible distances (``springs'') are chosen, based on durations. All
7994 possible line breaking combination are tried, and the one with the
7995 best results---a layout that has uniform density and requires as
7996 little stretching or cramping as possible---is chosen. When the score
7997 is processed by @TeX{}, each page is filled with systems, and page breaks
7998 are chosen whenever the page gets full.
8003 * Vertical spacing::
8004 * Horizontal spacing::
8011 @node Vertical spacing
8012 @subsection Vertical spacing
8014 @cindex vertical spacing
8015 @cindex distance between staves
8016 @cindex staff distance
8017 @cindex between staves, distance
8018 @cindex staffs per page
8019 @cindex space between staves
8021 The height of each system is determined automatically by LilyPond, to
8022 keep systems from bumping into each other, some minimum distances are
8023 set. By changing these, you can put staves closer together, and thus
8024 put more systems onto one page.
8026 Normally staves are stacked vertically. To make
8027 staves maintain a distance, their vertical size is padded. This is
8028 done with the property @code{minimumVerticalExtent}. It takes a pair
8029 of numbers, so if you want to make it smaller from its, then you could
8032 \property Staff.minimumVerticalExtent = #'(-4 . 4)
8034 This sets the vertical size of the current staff to 4 staff-space on
8035 either side of the center staff line. The argument of
8036 @code{minimumVerticalExtent} is interpreted as an interval, where the
8037 center line is the 0, so the first number is generally negative. The
8038 staff can be made larger at the bottom by setting it to @code{(-6
8041 The piano staves are handled a little differently: to make cross-staff
8042 beaming work correctly, it is necessary that the distance between staves
8043 is fixed beforehand. This is also done with a
8044 @internalsref{VerticalAlignment} object, created in
8045 @internalsref{PianoStaff}. In this object the distance between the
8046 staves is fixed by setting @code{forced-distance}. If you want to
8047 override this, use a @code{\translator} block as follows:
8051 VerticalAlignment \override #'forced-distance = #9
8054 This would bring the staves together at a distance of 9 staff spaces,
8055 measured from the center line of each staff.
8059 Vertical alignment of staves is handled by the
8060 @internalsref{VerticalAlignment} object.
8064 @node Horizontal spacing
8065 @subsection Horizontal Spacing
8067 The spacing engine translates differences in durations into
8068 stretchable distances (``springs'') of differing lengths. Longer
8069 durations get more space, shorter durations get less. The shortest
8070 durations get a fixed amount of space (which is controlled by
8071 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
8072 /The longer the duration, the more space it gets: doubling a
8073 duration adds a fixed amount (this amount is controlled by
8074 @code{spacing-increment}) of space to the note.
8076 For example, the following piece contains lots of half, quarter and
8077 8th notes, the eighth note is followed by 1 note head width (NHW).
8078 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
8079 @lilypond[fragment, verbatim, relative=1] c2 c4. c8 c4. c8 c4. c8 c8
8083 Normally, @code{shortest-duration-space} is set to 1.2, which is the
8084 width of a note head, and @code{shortest-duration-space} is set to
8085 2.0, meaning that the shortest note gets 2 NHW (2 times
8086 @code{shortest-duration-space}) of space. For normal notes, this space
8087 is always counted from the left edge of the symbol, so the shortest
8088 notes are generally followed by one NHW of space.
8090 If one would follow the above procedure exactly, then adding a single
8091 32th note to a score that uses 8th and 16th notes, would widen up the
8092 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
8093 thus adding 2 noteheads of space to every note. To prevent this, the
8094 shortest duration for spacing is not the shortest note in the score,
8095 but the most commonly found shortest note. Notes that are even
8096 shorter this are followed by a space that is proportonial to their
8097 duration relative to the common shortest note. So if we were to add
8098 only a few 16th notes to the example above, they would be followed by
8101 @lilypond[fragment, verbatim, relative=2]
8102 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
8105 The most common shortest duration is determined as follows: in every
8106 measure, the shortest duration is determined. The most common short
8107 duration, is taken as the basis for the spacing, with the stipulation
8108 that this shortest duration should always be equal to or shorter than
8109 1/8th note. The shortest duration is printed when you run lilypond
8110 with @code{--verbose}. These durations may also be customized. If you
8111 set the @code{common-shortest-duration} in
8112 @internalsref{SpacingSpanner}, then this sets the base duration for
8113 spacing. The maximum duration for this base (normally 1/8th), is set
8114 through @code{base-shortest-duration}.
8116 @cindex @code{common-shortest-duration}
8117 @cindex @code{base-shortest-duration}
8118 @cindex @code{stem-spacing-correction}
8119 @cindex @code{spacing}
8121 In the introduction it was explained that stem directions influence
8122 spacing. This is controlled with @code{stem-spacing-correction}
8123 property in @internalsref{NoteSpacing}, which are generated for every
8124 @internalsref{Voice} context. The @code{StaffSpacing} object
8125 (generated at @internalsref{Staff} context) contains the same property
8126 for controlling the stem/barline spacing. The following example
8127 shows these corrections, once with default settings, and once with
8128 exaggerated corrections:
8134 \property Staff.NoteSpacing \override #'stem-spacing-correction
8136 \property Staff.StaffSpacing \override #'stem-spacing-correction
8141 \paper { raggedright = ##t } }
8144 @cindex SpacingSpanner, overriding properties
8146 Properties of the @internalsref{SpacingSpanner} must be overridden
8147 from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
8148 created before any @code{\property} statements are interpreted.
8150 \paper @{ \translator @{
8152 SpacingSpanner \override #'spacing-increment = #3.0
8159 @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
8160 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
8161 @internalsref{SeparatingGroupSpanner}.
8165 Spacing is determined on a score wide basis. If you have a score that
8166 changes its character (measured in durations) halfway during the
8167 score, the part containing the longer durations will be spaced too
8170 There is no convenient mechanism to manually override spacing.
8175 @subsection Font size
8176 @cindex font size, setting
8177 @cindex staff size, setting
8178 @cindex @code{paper} file
8180 The Feta font provides musical symbols at seven different sizes.
8181 These fonts are 11 point, 13 point, 16 point, 20 point, 23 point, and
8182 26 point. The point size of a font is the height of the corresponding
8183 staff (excluding line thicknesses).
8185 Definitions for these sizes are the files @file{paperSZ.ly}, where
8186 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any
8187 of these files, the variables @code{paperEleven},
8188 @code{paperThirteen}, @code{paperSixteen},
8189 @code{paperTwenty}, @code{paperTwentythree}, and @code{paperTwentysix}
8190 are defined respectively. The default @code{\paper} block is also
8191 set. These files should be imported at toplevel, i.e.
8193 \include "paper26.ly"
8197 The default font size settings for each staff heights are generated
8198 from the 20pt style sheet. For more details, see the file
8199 @file{scm/font.scm}.
8203 @subsection Line breaking
8206 @cindex breaking lines
8208 Line breaks are normally computed automatically. They are chosen such
8209 that lines look neither cramped nor loose, and that consecutive lines
8210 have similar density.
8212 Occasionally you might want to override the automatic breaks; you can
8213 do this by specifying @code{\break}. This will force a line break at
8214 this point. Line breaks can only occur at places where there are bar
8215 lines. If you want to have a line break where there is no bar line,
8216 you can force an invisible bar line by entering @code{\bar
8217 ""}. Similarly, @code{\noBreak} forbids a line break at a
8221 @cindex regular line breaks
8222 @cindex four bar music.
8224 For linebreaks at regular intervals use @code{\break} separated by
8225 skips and repeated with @code{\repeat}:
8227 < \repeat unfold 7 @{ s1 * 4 \break @}
8228 @emph{the real music}
8233 This makes the following 28 measures (assuming 4/4 time) be broken every
8238 @internalsref{BreakEvent}.
8242 @subsection Page layout
8245 @cindex breaking pages
8247 @cindex @code{indent}
8248 @cindex @code{linewidth}
8250 The most basic settings influencing the spacing are @code{indent} and
8251 @code{linewidth}. They are set in the @code{\paper} block. They
8252 control the indentation of the first line of music, and the lengths of
8255 If @code{raggedright} is set to true in the @code{\paper}
8256 block, then the lines are justified at their natural length. This
8257 useful for short fragments, and for checking how tight the natural
8261 @cindex vertical spacing
8263 The page layout process happens outside the LilyPond formatting
8264 engine: variables controlling page layout are passed to the output,
8265 and are further interpreted by @code{ly2dvi}. @code{ly2dvi} responds
8266 to the following variables in the @code{\paper} block. The variable
8267 @code{textheight} sets the total height of the music on each page.
8268 The spacing between systems is controlled with @code{interscoreline},
8269 its default is 16pt. The distance between the score lines will
8270 stretch in order to fill the full page @code{interscorelinefill} is
8271 set to a positive number. In that case @code{interscoreline}
8272 specifies the minimum spacing.
8274 @cindex @code{textheight}
8275 @cindex @code{interscoreline}
8276 @cindex @code{interscorelinefill}
8278 If the variable @code{lastpagefill} is defined,
8279 @c fixme: this should only be done if lastpagefill == #t
8280 systems are evenly distributed vertically on the last page. This
8281 might produce ugly results in case there are not enough systems on the
8282 last page. The @command{lilypond-book} command ignores
8283 @code{lastpagefill}. See @ref{lilypond-book manual} for more
8286 @cindex @code{lastpagefill}
8288 Page breaks are normally computed by @TeX{}, so they are not under
8289 direct control of LilyPond. However, you can insert a commands into
8290 the @file{.tex} output to instruct @TeX{} where to break pages. This
8291 is done by setting the @code{between-systems-strings} on the
8292 @internalsref{NonMusicalPaperColumn} where the system is broken.
8293 An example is shown in @inputfileref{input/regression,between-systems.ly}.
8294 The predefined command @code{\newpage} also does this.
8298 @cindex @code{papersize}
8300 To change the paper size, you must first set the @code{papersize} paper
8301 variable variable as in the example below. Set it to
8302 the strings @code{a4}, @code{letter}, or @code{legal}. After this
8303 specification, you must set the font as described above. If you want
8304 the default font, then use the 20 point font.
8307 \paper@{ papersize = "a4" @}
8308 \include "paper16.ly"
8311 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
8312 will set the paper variables @code{hsize} and @code{vsize} (used by
8313 @code{lilypond} and @code{ly2dvi}).
8318 @cindex @code{\newpage}
8324 @ref{Invoking ly2dvi},
8325 @inputfileref{input/regression,between-systems.ly}, and
8326 @internalsref{NonMusicalPaperColumn}.
8330 LilyPond has no concept of page layout, which makes it difficult to
8331 reliably choose page breaks in longer pieces.
8340 Entered music can also be converted to MIDI output. The performance
8341 is good enough for proof-hearing the music for errors.
8343 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
8344 crescendi and decrescendi translate into MIDI volume levels. Dynamic
8345 marks translate to a fixed fraction of the available MIDI volume
8346 range, crescendi and decrescendi make the volume vary linearly between
8347 their two extremities. The fractions can be adjusted by
8348 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
8349 For each type of MIDI instrument, a volume range can be defined. This
8350 gives a basic equalizer control, which can enhance the quality of
8351 the MIDI output remarkably. The equalizer can be controlled by
8352 setting @code{instrumentEqualizer}.
8356 Many musically interesting effects, such as swing, articulation,
8357 slurring, etc., are not translated to MIDI.
8362 * MIDI instrument names::
8367 @subsection MIDI block
8371 The MIDI block is analogous to the paper block, but it is somewhat
8372 simpler. The @code{\midi} block can contain:
8376 @item a @code{\tempo} definition, and
8377 @item context definitions.
8380 Assignments in the @code{\midi} block are not allowed.
8382 A number followed by a period is interpreted as a real number, so
8383 for setting the tempo for dotted notes, an extra space should be
8384 inserted, for example:
8387 \midi @{ \tempo 4 . = 120 @}
8391 @cindex context definition
8393 Context definitions follow precisely the same syntax as within the
8394 \paper block. Translation modules for sound are called performers.
8395 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
8398 @node MIDI instrument names
8399 @subsection MIDI instrument names
8401 @cindex instrument names
8402 @cindex @code{Staff.midiInstrument}
8403 @cindex @code{Staff.instrument}
8405 The MIDI instrument name is set by the @code{Staff.midiInstrument}
8406 property or, if that property is not set, the @code{Staff.instrument}
8407 property. The instrument name should be chosen from the list in
8408 @ref{MIDI instruments}.
8412 If the selected string does not exactly match, then LilyPond uses the
8413 default (Grand Piano). It is not possible to select an instrument by