1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
6 When revising a translation, copy the HEAD committish of the
7 version that you are working on. See TRANSLATION for details.
11 @c A menu is needed before every deeper *section nesting of @node's; run
12 @c M-x texinfo-all-menus-update
13 @c to automatically fill in these menus before saving changes
16 @chapter Basic notation
18 This chapter explains how to use basic notation features.
35 This section discusses how to specify the pitch of notes.
40 * Cautionary accidentals::
42 * Note names in other languages::
52 @subsection Normal pitches
57 A pitch name is specified using lowercase letters @code{a} through @code{g}.
58 An ascending C-major scale is engraved with
60 @lilypond[quote,fragment,verbatim,ragged-right]
65 The note name @code{c} is engraved one octave below middle C.
67 @lilypond[quote,fragment,verbatim,ragged-right]
77 The optional octave specification takes the form of a series of
78 single quote (@samp{'}) characters or a series of comma
79 (@samp{,}) characters. Each @samp{'} raises the pitch by one
80 octave; each @samp{,} lowers the pitch by an octave.
82 @lilypond[quote,ragged-right,fragment,verbatim]
84 c' c'' e' g d'' d' d c
86 c, c,, e, g d,, d, d c
89 An alternate method may be used to declare which octave to
90 engrave a pitch; this method does not require as many
91 octave specifications (@code{'} and @code{,}). See
92 @ref{Relative octaves}.
96 @subsection Accidentals
98 @cindex note names, Dutch
99 @cindex note names, default
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} to a note name.
105 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
111 These are the Dutch note names. In Dutch, @code{aes} is contracted to
112 @code{as}, but both forms are accepted. Similarly, both
113 @code{es} and @code{ees} are accepted
115 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
119 A natural will cancel the effect of an accidental or key signature.
120 However, naturals are not encoded into the note name syntax with a
121 suffix; a natural pitch is shown as a simple note name
123 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
127 The input @code{d e f} is interpreted as @q{print a D-natural,
128 E-natural, and an F-natural,} regardless of the key
129 signature. For more information about the distinction between
130 musical content and the presentation of that content, see
131 @ref{Accidentals and key signatures}.
133 @lilypond[fragment,quote,ragged-right,verbatim,relative]
142 In accordance with standard typesetting rules, a natural sign is printed
143 before a sharp or flat if a previous accidental needs to be
144 cancelled. To change this behavior, use
145 @code{\set Staff.extraNatural = ##f}
147 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
149 \set Staff.extraNatural = ##f
156 Program reference: @internalsref{LedgerLineSpanner},
157 @internalsref{NoteHead}.
160 @node Cautionary accidentals
161 @subsection Cautionary accidentals
163 @cindex accidental, reminder
164 @cindex accidental, cautionary
165 @cindex accidental, parenthesized
166 @cindex reminder accidental
168 @cindex cautionary accidental
169 @cindex parenthesized accidental
172 Normally accidentals are printed automatically, but you may also
173 print them manually. A reminder accidental
174 can be forced by adding an exclamation mark @code{!}
175 after the pitch. A cautionary accidental
176 (i.e., an accidental within parentheses) can be obtained by adding the
177 question mark @samp{?} after the pitch. These extra accidentals
178 can be used to produce natural signs, too.
180 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
181 cis cis cis! cis? c c? c! c
187 The automatic production of accidentals can be tuned in many
188 ways. For more information, see @ref{Automatic accidentals}.
192 @subsection Micro tones
194 @cindex quarter tones
195 @cindex semi-flats, semi-sharps
197 Half-flats and half-sharps are formed by adding @code{-eh} and
198 @code{-ih}; the following is a series of Cs with increasing pitches
200 @lilypond[verbatim,ragged-right,quote,relative=2,fragment]
201 \set Staff.extraNatural = ##f
205 Micro tones are also exported to the MIDI file.
210 There are no generally accepted standards for denoting
211 three-quarter flats, so LilyPond's symbol does not conform to any
215 @node Note names in other languages
216 @subsection Note names in other languages
218 There are predefined sets of note names for various other languages.
219 To use them, include the language specific init file. For
220 example, add @code{\include "english.ly"} to the top of the input
221 file. The available language files
222 and the note names they define are
224 @c Should this be made into a multitable?
225 @cindex note names, other languages
227 Note Names sharp flat double double
230 nederlands.ly c d e f g a bes b -is -es -isis -eses
231 english.ly c d e f g a bf b -s/-sharp -f/-flat -ss/-x/ -ff/
232 -sharpsharp -flatflat
233 deutsch.ly c d e f g a b h -is -es -isis -eses
234 norsk.ly c d e f g a b h -iss/-is -ess/-es -ississ/-isis -essess/-eses
235 svenska.ly c d e f g a b h -iss -ess -ississ -essess
236 italiano.ly do re mi fa sol la sib si -d -b -dd -bb
237 catalan.ly do re mi fa sol la sib si -d/-s -b -dd/-ss -bb
238 espanol.ly do re mi fa sol la sib si -s -b -ss -bb
242 Note that in Dutch, German, Norwegian, and Swedish, the flat
243 alterations of @samp{a} like for example @code{aes} and @code{aeses}
244 are usually contracted to @code{as} and @code{ases} (or more commonly
245 @code{asas}). Sometimes only these contracted names are defined in the
246 corresponding language files (this also applies to the suffixes for
250 Some music uses microtones whose alterations are fractions of a
251 @q{regular} sharp or flat. The note names for quartertones defined in
252 the various language files are listed in the following table. Here the
253 prefixes @q{semi-} and @q{sesqui-} mean @q{half} and @q{one and a
254 half}, respectively. For Norwegian, Swedish, Catalan and Spanish no
255 special names have been defined yet.
256 @c What about Turkish Maquam music and similar microtonal systems?
258 @c Note that the term "three-quarter-sharp/-flat" used in lilypond's source code
259 @c is actually misleading since the alteration is in fact one and a half
260 @c of a regular sharp/flat. Whence the naming "sesqui-sharp/-flat" used below.
263 Note Names semi- semi- sesqui- sesqui-
264 sharp flat sharp flat
266 nederlands.ly c d e f g a bes b -ih -eh -isih -eseh
267 english.ly c d e f g a bf b -qs -qf -tqs -tqf
268 deutsch.ly c d e f g a b h -ih -eh -isih -eseh
269 norsk.ly c d e f g a b h
270 svenska.ly c d e f g a b h
271 italiano.ly do re mi fa sol la sib si -sd -sb -dsd -bsb
272 catalan.ly do re mi fa sol la sib si
273 espanol.ly do re mi fa sol la sib si
278 @node Relative octaves
279 @subsection Relative octaves
282 @cindex Relative octave specification
285 Octaves are specified by adding @code{'} and @code{,} to pitch names.
286 When you copy existing music, it is easy to accidentally put a pitch
287 in the wrong octave and hard to find such an error. The relative
288 octave mode prevents these errors by making the mistakes much
289 larger: a single error puts the rest of the piece off by one octave
292 \relative @var{startpitch} @var{musicexpr}
299 \relative @var{musicexpr}
303 @code{c'} is used as the default if no starting pitch is defined.
305 The octave of notes that appear in @var{musicexpr} are calculated as
306 follows: if no octave changing marks are used, the basic interval
307 between this and the last note is always taken to be a fourth or
308 less. This distance is determined without regarding alterations; a
309 @code{fisis} following a @code{ceses} will be put above the
310 @code{ceses}. In other words, a doubly-augmented fourth is considered
311 a smaller interval than a diminished fifth, even though the
312 doubly-augmented fourth spans seven semitones while the diminished
313 fifth only spans six semitones.
315 The octave changing marks @code{'} and @code{,} can be added to raise
316 or lower the pitch by an extra octave. Upon entering relative mode,
317 an absolute starting pitch can be specified that will act as the
318 predecessor of the first note of @var{musicexpr}. If no starting pitch
319 is specified, then middle C is used as a start.
321 Here is the relative mode shown in action
322 @lilypond[quote,fragment,ragged-right,verbatim]
328 Octave changing marks are used for intervals greater than a fourth
330 @lilypond[quote,ragged-right,fragment,verbatim]
336 If the preceding item is a chord, the first note of the chord is used
337 to determine the first note of the next chord
339 @lilypond[quote,ragged-right,fragment,verbatim]
347 The pitch after @code{\relative} contains a note name.
349 The relative conversion will not affect @code{\transpose},
350 @code{\chordmode} or @code{\relative} sections in its argument. To use
351 relative within transposed music, an additional @code{\relative} must
352 be placed inside @code{\transpose}.
356 @subsection Octave check
360 Octave checks make octave errors easier to correct: a note may be
361 followed by @code{=}@var{quotes} which indicates what its absolute
362 octave should be. In the following example,
365 \relative c'' @{ c='' b=' d,='' @}
369 the @code{d} will generate a warning, because a @code{d''} is expected
370 (because @code{b'} to @code{d''} is only a third), but a @code{d'} is
371 found. In the output, the octave is corrected to be a @code{d''} and
372 the next note is calculated relative to @code{d''} instead of @code{d'}.
374 There is also an octave check that produces no visible output. The syntax
380 This checks that @var{pitch} (without quotes) yields @var{pitch} (with
381 quotes) in @code{\relative} mode compared to the note given in the
382 @code{\relative} command. If not, a warning is printed, and the
383 octave is corrected. The @var{pitch} is not printed as a note.
385 In the example below, the first check passes without incident, since
386 the @code{e} (in @code{relative} mode) is within a fifth of
388 the second check produces a warning, since the @code{e} is not within
389 a fifth of @code{b'}. The warning message is printed, and the octave
390 is adjusted so that the following notes are in the correct octave
402 The octave of a note following an octave check is determined with
403 respect to the note preceding it. In the next fragment, the last note
404 is an @code{a'}, above middle C. That means that the @code{\octave}
405 check passes successfully, so the check could be deleted without changing
406 the output of the piece.
408 @lilypond[quote,ragged-right,verbatim,fragment]
418 @subsection Transpose
421 @cindex Transposition of pitches
424 A music expression can be transposed with @code{\transpose}. The
427 \transpose @var{from} @var{to} @var{musicexpr}
430 This means that @var{musicexpr} is transposed by the interval between
431 the pitches @var{from} and @var{to}: any note with pitch @code{from}
432 is changed to @code{to}.
434 For example, consider a piece written in the key of D-major. If
435 this piece is a little too low for its performer, it can be
436 transposed up to E-major with
438 \transpose d e @dots{}
441 Consider a part written for violin (a C instrument). If
442 this part is to be played on the A clarinet (for which an
443 A is notated as a C, and which sounds a minor third lower
444 than notated), the following
445 transposition will produce the appropriate part
448 \transpose a c @dots{}
451 @code{\transpose} distinguishes between enharmonic pitches: both
452 @code{\transpose c cis} or @code{\transpose c des} will transpose up
453 half a tone. The first version will print sharps and the second
454 version will print flats
456 @lilypond[quote,ragged-right,verbatim]
457 mus = { \key d \major cis d fis g }
466 @code{\transpose} may also be used to input written notes for a
467 transposing instrument. Pitches are normally entered into LilyPond
468 in C (or @q{concert pitch}), but they may be entered in another
469 key. For example, when entering music for a B-flat trumpet which
470 begins on concert D, one would write
473 \transpose c bes @{ e4 @dots{} @}
476 To print this music in B-flat again (i.e., producing a trumpet part,
477 instead of a concert pitch conductor's score) you would wrap the
478 existing music with another @code{transpose}
481 \transpose bes c @{ \transpose c bes @{ e4 @dots{} @} @}
487 Program reference: @internalsref{TransposedMusic}.
489 Example: @lsr{scheme,transpose-pitches-with-minimum-accidentals.ly}.
494 If you want to use both @code{\transpose} and @code{\relative},
495 you must put @code{\transpose} outside of @code{\relative}, since
496 @code{\relative} will have no effect on music that appears inside a
507 Rests are entered like notes with the note name @code{r}
509 @lilypond[fragment,quote,ragged-right,verbatim]
513 Whole bar rests, centered in middle of the bar,
514 must be done with multi-measure rests. They can be used for a
515 single bar as well as many bars, and are discussed in
516 @ref{Multi measure rests}.
518 To explicitly specify a rest's vertical position, write a note
519 followed by @code{\rest}. A rest will be placed in the position
520 where the note would appear,
522 @lilypond[fragment,quote,ragged-right,verbatim]
527 This makes manual formatting of
528 polyphonic music much easier, since the automatic rest collision
529 formatter will leave these rests alone.
533 Program reference: @internalsref{Rest}.
540 @cindex Invisible rest
545 An invisible rest (also called a @q{skip}) can be entered like a note
546 with note name @samp{s} or with @code{\skip @var{duration}}
548 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
549 a4 a4 s4 a4 \skip 1 a4
552 The @code{s} syntax is only available in note mode and chord mode. In
553 other situations, for example, when entering lyrics, you should use
554 the @code{\skip} command
556 @lilypond[quote,ragged-right,verbatim]
559 \new Lyrics \lyricmode { \skip 2 bla2 }
563 The skip command is merely an empty musical placeholder. It does not
564 produce any output, not even transparent output.
566 The @code{s} skip command does create @internalsref{Staff} and
567 @internalsref{Voice} when necessary, similar to note and rest
568 commands. For example, the following results in an empty staff.
570 @lilypond[quote,ragged-right,verbatim]
574 The fragment @code{@{ \skip 4 @} } would produce an empty page.
578 Program reference: @internalsref{SkipMusic}.
585 This section discusses rhythms, durations, and bars.
589 * Augmentation dots::
591 * Scaling durations::
594 * Automatic note splitting::
599 @subsection Durations
606 In Note, Chord, and Lyrics mode, durations are designated by numbers and
607 dots: durations are entered as their reciprocal values. For example, a
608 quarter note is entered using a @code{4} (since it is a 1/4 note), while
609 a half note is entered using a @code{2} (since it is a 1/2 note). For
610 notes longer than a whole you must use the @code{\longa} and
611 @code{\breve} commands
615 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
617 r1 r2 r4 r8 r16 r32 r64 r64
623 a\breve*1/2 \autoBeamOff
624 a1 a2 a4 a8 a16 a32 a64 a64
627 r\longa*1/4 r\breve *1/2
628 r1 r2 r4 r8 r16 r32 r64 r64
635 \remove "Bar_number_engraver"
639 \remove "Clef_engraver"
640 \override StaffSymbol #'transparent = ##t
641 \override TimeSignature #'transparent = ##t
642 \override BarLine #'transparent = ##t
643 \consists "Pitch_squash_engraver"
649 If the duration is omitted then it is set to the previously entered
650 duration. The default for the first note is a quarter note.
652 @lilypond[quote,ragged-right,verbatim,fragment]
653 { a a a2 a a4 a a1 a }
657 @node Augmentation dots
658 @subsection Augmentation dots
662 To obtain dotted note lengths, simply add a dot (@samp{.}) to
663 the number. Double-dotted notes are produced in a similar way.
665 @lilypond[quote,ragged-right,fragment,verbatim]
666 a'4 b' c''4. b'8 a'4. b'4.. c''8.
671 Dots are normally moved up to avoid staff lines, except in polyphonic
672 situations. The following commands may be used to force a particular
679 @funindex \dotsNeutral
684 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
694 Tuplets are made out of a music expression by multiplying all durations
698 \times @var{fraction} @var{musicexpr}
702 The duration of @var{musicexpr} will be multiplied by the fraction.
703 The fraction's denominator will be printed over the notes, optionally
704 with a bracket. The most common tuplet is the triplet in which 3
705 notes have the length of 2, so the notes are 2/3 of their written
708 @lilypond[quote,ragged-right,fragment,verbatim]
709 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
712 Tuplets may be nested, for example,
714 @lilypond[fragment,ragged-right,verbatim,relative=2]
715 \override TupletNumber #'text = #tuplet-number::calc-fraction-text
718 \times 3/5 { a a a a a }
726 @funindex \tupletDown
728 @funindex \tupletNeutral
729 @code{\tupletNeutral}.
734 @funindex tupletNumberFormatFunction
735 @cindex tuplet formatting
737 The property @code{tupletSpannerDuration} specifies how long each
738 bracket should last. With this, you can make lots of tuplets while
739 typing @code{\times} only once, thus saving lots of typing. In the next
740 example, there are two triplets shown, while @code{\times} was only
743 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
744 \set tupletSpannerDuration = #(ly:make-moment 1 4)
745 \times 2/3 { c8 c c c c c }
749 For more information about @code{make-moment}, see
750 @ref{Time administration}.
752 The format of the number is determined by the property @code{text} in
753 @code{TupletNumber}. The default prints only the denominator, but if
754 it is set to the function @code{tuplet-number::calc-fraction-text},
755 @var{num}:@var{den} will be printed instead.
757 To avoid printing tuplet numbers, use
759 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
760 \times 2/3 { c8 c c } \times 2/3 { c8 c c }
761 \override TupletNumber #'transparent = ##t
762 \times 2/3 { c8 c c } \times 2/3 { c8 c c }
765 Use the @code{\tweak} function to override nested tuplets beginning at the
766 same music moment. In this example, @code{\tweak} specifies fraction
768 outer @code{TupletNumber} and denominator text for the @code{TupletNumber}
769 of the first of the three inner tuplets.
771 @lilypond[quote,ragged-right,verbatim]
773 \tweak #'text #tuplet-number::calc-fraction-text
775 \tweak #'text #tuplet-number::calc-denominator-text
776 \times 2/3 { c'8[ c'8 c'8] }
777 \times 2/3 { c'8[ c'8 c'8] }
778 \times 2/3 { c'8[ c'8 c'8] }
783 Here @code{\tweak} and @code{\override} work together to specify
784 @code{TupletBracket} direction. The first @code{\tweak} positions
785 the @code{TupletBracket} of the outer
786 tuplet above the staff. The second @code{\tweak} positions the
787 @code{TupletBracket} of the first of the three inner tuplets below the
788 staff. Note that this pair of @code{\tweak} functions affects only
789 the outer tuplet and the first of the three inner tuplets because only
790 those two tuplets begin at the same music moment. We use @code{\override}
791 in the usual way to position the @code{TupletBrackets} of
792 the second and third of the inner tuplets below the staff.
794 @lilypond[quote,ragged-right,verbatim]
796 \tweak #'text #tuplet-number::calc-fraction-text
797 \tweak #'direction #up
799 \tweak #'direction #down
800 \times 2/3 { c'8[ c'8 c'8] }
801 \override TupletBracket #'direction = #down
802 \times 2/3 { c'8[ c'8 c'8] }
803 \times 2/3 { c'8[ c'8 c'8] }
808 Tuplet brackets can be made to run to prefatory matter or
811 @lilypond[ragged-right]
813 \set tupletFullLength = ##t
818 \set tupletFullLengthNote = ##t
831 Program reference: @internalsref{TupletBracket},
832 @internalsref{TupletNumber}, and @internalsref{TimeScaledMusic}.
836 @node Scaling durations
837 @subsection Scaling durations
839 You can alter the length of duration by a fraction @var{N/M}
840 appending @samp{*@var{N/M}} (or @samp{*@var{N}} if @var{M=1}). This
841 will not affect the appearance of the notes or rests produced. These
842 may be combined such as @samp{*M*N}.
844 In the following example, the first three notes take up exactly two
845 beats, but no triplet bracket is printed.
847 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
849 a4*2/3 gis4*2/3 a4*2/3
857 This manual: @ref{Tuplets}.
861 @subsection Bar check
864 @funindex barCheckSynchronize
867 Bar checks help detect errors in the durations. A bar check is
868 entered using the bar symbol, @samp{|}. Whenever it is encountered
869 during interpretation, it should fall on a measure boundary. If it
870 does not, a warning is printed. In the next example, the second bar
871 check will signal an error
873 \time 3/4 c2 e4 | g2 |
876 Bar checks can also be used in lyrics, for example
881 Twin -- kle | Twin -- kle
885 Failed bar checks are caused by entering incorrect
886 durations. Incorrect durations often completely garble up the score,
887 especially if the score is polyphonic, so a good place to start correcting
888 input is by scanning for failed bar checks and incorrect durations.
893 It is also possible to redefine the meaning of @code{|}. This is done
894 by assigning a music expression to @code{pipeSymbol},
896 @lilypond[quote,ragged-right,verbatim]
897 pipeSymbol = \bar "||"
903 @node Barnumber check
904 @subsection Barnumber check
906 When copying large pieces of music, it can be helpful to check that
907 the LilyPond bar number corresponds to the original that you are
908 entering from. This can be checked with @code{\barNumberCheck}, for
916 will print a warning if the @code{currentBarNumber} is not 123 when it
920 @node Automatic note splitting
921 @subsection Automatic note splitting
923 Long notes can be converted automatically to tied notes. This is done
924 by replacing the @internalsref{Note_heads_engraver} by the
925 @internalsref{Completion_heads_engraver}.
926 In the following examples, notes crossing the bar line are split and tied.
928 @lilypond[quote,fragment,verbatim,relative=1,line-width=12\cm]
930 \remove "Note_heads_engraver"
931 \consists "Completion_heads_engraver"
933 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
937 This engraver splits all running notes at the bar line, and inserts
938 ties. One of its uses is to debug complex scores: if the measures are
939 not entirely filled, then the ties exactly show how much each measure
942 If you want to allow line breaking on the bar lines where
943 @internalsref{Completion_heads_engraver} splits notes, you must
944 also remove @internalsref{Forbid_line_break_engraver}.
949 Not all durations (especially those containing tuplets) can be
950 represented exactly with normal notes and dots, but the engraver will
953 @code{Completion_heads_engraver} only affects notes; it does not split
959 Program reference: @internalsref{Completion_heads_engraver}.
965 Polyphony in music refers to having more than one voice occurring in
966 a piece of music. Polyphony in LilyPond refers to having more than
967 one voice on the same staff.
973 * Explicitly instantiating voices::
974 * Collision Resolution::
983 A chord is formed by a enclosing a set of pitches between @code{<}
984 and @code{>}. A chord may be followed by a duration, and a set of
985 articulations, just like simple notes
987 @lilypond[verbatim,ragged-right,fragment,quote,relative=1]
991 For more information about chords, see @ref{Chord names}.
994 @c I don't like having this here, but I can't think of
995 @c anywhere else to put it. :( -gp
999 Whenever a note is found, a @internalsref{Stem} object is created
1000 automatically. For whole notes and rests, they are also created but
1009 @funindex \stemNeutral
1010 @code{\stemNeutral}.
1015 To change the direction of stems in the middle of the staff, use
1017 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
1019 \override Stem #'neutral-direction = #up
1021 \override Stem #'neutral-direction = #down
1026 @node Basic polyphony
1027 @subsection Basic polyphony
1031 The easiest way to enter fragments with more than one voice on a staff
1032 is to enter each voice as a sequence (with @code{@{...@}}), and combine
1033 them simultaneously, separating the voices with @code{\\}
1037 @lilypond[quote,verbatim,fragment]
1038 \new Staff \relative c' {
1041 { g4 f e | d2 e2 } \\
1042 { r8 e4 d c8 ~ | c b16 a b8 g ~ g2 } \\
1048 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1049 voices are sometimes called @q{layers} in other notation packages}
1051 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1052 each of these contexts, vertical direction of slurs, stems, etc., is set
1055 These voices are all separate from the voice that contains the notes just
1056 outside the @code{<< \\ >>} construct. This should be noted when making
1057 changes at the voice level. This also means that slurs and ties cannot go
1058 into or out of a @code{<< \\ >>} construct. Conversely, parallel voices
1059 from separate @code{<< \\ >>} constructs on the same staff are the
1060 same voice. Here is the same example, with different noteheads and
1062 voice. Note that the change to the note-head style in the main voice does
1064 the inside of the @code{<< \\ >>} constructs. Also, the change to the
1066 voice in the first @code{<< \\ >>} construct is effective in the second
1067 @code{<< \\ >>}, and the voice is tied across the two constructs.
1069 @cindex note heads, styles
1071 @lilypond[quote,verbatim,fragment]
1072 \new Staff \relative c' {
1073 \override NoteHead #'style = #'cross
1074 \override NoteHead #'color = #red
1078 { \override NoteHead #'style = #'triangle
1079 \override NoteHead #'color = #blue
1084 { c8 b16 a b8 g ~ g2 } \\
1085 { \override NoteHead #'style = #'slash
1086 \override NoteHead #'color = #green
1092 Polyphony does not change the relationship of notes within a
1093 @code{\relative @{ @}} block. Each note is calculated relative
1094 to the note immediately preceding it.
1097 \relative @{ noteA << noteB \\ noteC >> noteD @}
1100 @code{noteC} is relative to @code{noteB}, not @code{noteA};
1101 @code{noteD} is relative to @code{noteC}, not @code{noteB} or
1105 @node Explicitly instantiating voices
1106 @subsection Explicitly instantiating voices
1108 @internalsref{Voice} contexts can also be instantiated manually
1109 inside a @code{<< >>} block to create polyphonic music, using
1110 @code{\voiceOne}, up to @code{\voiceFour} to assign stem directions
1111 and a horizontal shift for each part.
1115 << \upper \\ \lower >>
1123 \new Voice = "1" @{ \voiceOne \upper @}
1124 \new Voice = "2" @{ \voiceTwo \lower @}
1128 The @code{\voiceXXX} commands set the direction of stems, slurs, ties,
1129 articulations, text annotations, augmentation dots of dotted
1130 notes, and fingerings. @code{\voiceOne} and @code{\voiceThree} make
1131 these objects point upwards, while @code{\voiceTwo} and @code{\voiceFour}
1132 make them point downwards.
1133 The command @code{\oneVoice} will revert back to the normal setting.
1135 An expression that appears directly inside a @code{<< >>} belongs to
1136 the main voice. This is useful when extra voices appear while the main
1137 voice is playing. Here is a more correct rendition of the example from
1138 the previous section. The crossed colored noteheads demonstrate that the main
1139 melody is now in a single voice context.
1141 @lilypond[quote,ragged-right,verbatim]
1142 \new Staff \relative c' {
1143 \override NoteHead #'style = #'cross
1144 \override NoteHead #'color = #red
1149 \new Voice="1" { \voiceTwo
1150 r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
1153 \new Voice { \voiceThree
1162 The correct definition of the voices allows the melody to be slurred.
1163 @lilypond[quote,ragged-right,verbatim]
1164 \new Staff \relative c' {
1169 \context Voice="1" { \voiceTwo
1170 r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
1173 \new Voice { \voiceThree
1182 Avoiding the @code{\\} separator also allows nesting polyphony
1183 constructs, which in some case might be a more natural way to typeset
1186 @lilypond[quote,ragged-right,verbatim]
1187 \new Staff \relative c' {
1192 \context Voice="1" { \voiceTwo
1195 {c8 b16 a b8 g ~ g2}
1196 \new Voice { \voiceThree
1208 In some instances of complex polyphonic music, you may need additional
1209 voices to avoid collisions between notes. Additional voices are added
1210 by defining an identifier, as shown below:
1212 @lilypond[quote,verbatim,ragged-right,relative=2]
1213 voiceFive = #(context-spec-music (make-voice-props-set 4) 'Voice)
1216 { \voiceOne g4 ~ \stemDown g32[ f( es d c b a b64 )g] } \\
1217 { \voiceThree b4} \\
1224 @node Collision Resolution
1225 @subsection Collision Resolution
1227 Normally, note heads with a different number of dots are not merged, but
1228 when the object property @code{merge-differently-dotted} is set in
1229 the @internalsref{NoteCollision} object, they are merged:
1231 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
1234 \override Staff.NoteCollision
1235 #'merge-differently-dotted = ##t
1237 } \\ { g8.[ f16] g8.[ f16] } >>
1240 Similarly, you can merge half note heads with eighth notes, by setting
1241 @code{merge-differently-headed}:
1243 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
1246 \override Staff.NoteCollision
1247 #'merge-differently-headed = ##t
1248 c8 c4. } \\ { c2 c2 } >>
1252 @code{merge-differently-headed} and @code{merge-differently-dotted}
1253 only apply to opposing stem directions (ie. Voice 1 & 2).
1255 LilyPond also vertically shifts rests that are opposite of a stem,
1258 @lilypond[quote,ragged-right,fragment,verbatim]
1259 \new Voice << c''4 \\ r4 >>
1262 If three or more notes line up in the same column,
1263 @code{merge-differently-headed} cannot
1264 successfully complete the merge of the two notes that should be merged.
1265 To allow the merge to work properly, apply a @code{\shift} to the note that
1266 should not be merged. In the first measure of following example,
1267 @code{merge-differently-headed} does not work (the half-note head is
1268 solid). In the second measure, @code{\shiftOn} is applied to move the
1269 top @code{g} out of the column, and @code{merge-differently-headed}
1272 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1273 \override Staff.NoteCollision #'merge-differently-headed = ##t
1276 { \oneVoice d=''8 c8 r4 e,8 c'8 r4 } \\
1277 { \voiceFour e,,2 e'2}
1280 { d'=''2 \shiftOn g2 } \\
1281 { \oneVoice d=''8 c8 r4 e,8 c'8 r4 } \\
1282 { \voiceFour e,,2 e'2}
1295 @funindex \voiceThree
1297 @funindex \voiceFour
1304 @funindex \shiftOnnn
1307 @code{\shiftOff}: these commands specify the
1308 degree to which chords of the current voice should be shifted.
1309 The outer voices (normally: voice one and
1310 two) have @code{\shiftOff}, while the inner voices (three and four)
1311 have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define
1312 further shift levels.
1314 When LilyPond cannot cope, the @code{force-hshift}
1315 property of the @internalsref{NoteColumn} object and pitched rests can
1316 be used to override typesetting decisions.
1318 @lilypond[quote,verbatim,ragged-right]
1325 \once \override NoteColumn #'force-hshift = #1.7
1333 Program reference: the objects responsible for resolving collisions are
1334 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1339 When using @code{merge-differently-headed} with an upstem eighth or a
1340 shorter note, and a downstem half note, the eighth note gets the wrong
1343 There is no support for clusters where the same note occurs with
1344 different accidentals in the same chord. In this case, it is
1345 recommended to use enharmonic transcription, or to use special cluster
1346 notation (see @ref{Clusters}).
1350 @node Staff notation
1351 @section Staff notation
1353 @cindex Staff notation
1355 This section describes music notation that occurs on staff level,
1356 such as key signatures, clefs and time signatures.
1362 * Partial measures::
1365 * System start delimiters::
1367 * Writing music in parallel::
1376 The clef indicates which lines of the staff correspond to which
1377 pitches. The clef is set with the @code{\clef} command
1379 @lilypond[quote,ragged-right,fragment,verbatim]
1380 { c''2 \clef alto g'2 }
1389 @cindex soprano clef
1390 @cindex mezzosoprano clef
1391 @cindex baritone clef
1392 @cindex varbaritone clef
1393 @cindex subbass clef
1395 Supported clefs include
1397 @multitable @columnfractions .33 .66
1398 @headitem Clef @tab Position
1399 @item @code{treble}, violin, G, G2 @tab
1401 @item @code{alto, C} @tab
1403 @item @code{tenor} @tab
1405 @item @code{bass, F} @tab
1407 @item @code{french} @tab
1408 G clef on 1st line, so-called French violin clef
1409 @item @code{soprano} @tab
1411 @item @code{mezzosoprano} @tab
1413 @item @code{baritone} @tab
1415 @item @code{varbaritone} @tab
1417 @item @code{subbass} @tab
1419 @item @code{percussion} @tab
1421 @item @code{tab} @tab
1425 By adding @code{_8} or @code{^8} to the clef name, the clef is
1426 transposed one octave down or up, respectively, and @code{_15} and
1427 @code{^15} transposes by two octaves. The argument @var{clefname}
1428 must be enclosed in quotes when it contains underscores or digits. For
1431 @cindex choral tenor clef
1432 @lilypond[quote,ragged-right,verbatim,fragment,relative=1]
1439 The command @code{\clef "treble_8"} is equivalent to setting
1441 @code{clefPosition} (which controls the Y position of the clef),
1442 @code{middleCPosition} and @code{clefOctavation}. A clef is printed
1443 when any of these properties are changed. The following example shows
1444 possibilities when setting properties manually.
1446 @lilypond[quote,ragged-right,verbatim]
1448 \set Staff.clefGlyph = #"clefs.F"
1449 \set Staff.clefPosition = #2
1451 \set Staff.clefGlyph = #"clefs.G"
1453 \set Staff.clefGlyph = #"clefs.C"
1455 \set Staff.clefOctavation = #7
1457 \set Staff.clefOctavation = #0
1458 \set Staff.clefPosition = #0
1462 \set Staff.middleCPosition = #4
1470 Manual: @ref{Grace notes}.
1472 Program reference: @internalsref{Clef}.
1476 @subsection Key signature
1478 @cindex Key signature
1481 The key signature indicates the tonality in which a piece is played. It
1482 is denoted by a set of alterations (flats or sharps) at the start of the
1485 Setting or changing the key signature is done with the @code{\key}
1489 @code{\key} @var{pitch} @var{type}
1498 @funindex \mixolydian
1502 @cindex church modes
1504 Here, @var{type} should be @code{\major} or @code{\minor} to get
1505 @var{pitch}-major or @var{pitch}-minor, respectively. You may also
1506 use the standard mode names (also called @q{church modes}): @code{\ionian},
1507 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
1508 @code{\phrygian}, and @code{\dorian}.
1510 This command sets the context property
1511 @code{Staff.keySignature}. Non-standard key signatures
1512 can be specified by setting this property directly.
1514 Accidentals and key signatures often confuse new users, because
1515 unaltered notes get natural signs depending on the key signature. For
1516 more information, see @ref{Accidentals}, or @ref{Accidentals and key signatures}.
1518 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1527 A natural sign is printed to cancel any previous accidentals. This
1528 can be suppressed by setting the @code{Staff.printKeyCancellation}
1531 @lilypond[quote,fragment,ragged-right,fragment,verbatim,relative=2]
1536 \set Staff.printKeyCancellation = ##f
1546 Program reference: @internalsref{KeyCancellation},
1547 @internalsref{KeySignature}.
1550 @node Time signature
1551 @subsection Time signature
1553 @cindex Time signature
1557 Time signature indicates the metrum of a piece: a regular pattern of
1558 strong and weak beats. It is denoted by a fraction at the start of the
1561 The time signature is set with the @code{\time} command
1563 @lilypond[quote,ragged-right,fragment,verbatim]
1564 \time 2/4 c'2 \time 3/4 c'2.
1569 The symbol that is printed can be customized with the @code{style}
1570 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1573 @lilypond[fragment,quote,ragged-right,verbatim]
1576 \override Staff.TimeSignature #'style = #'()
1581 There are many more options for its layout. See @ref{Ancient time
1582 signatures}, for more examples.
1584 @code{\time} sets the property @code{timeSignatureFraction},
1585 @code{beatLength} and @code{measureLength} in the @code{Timing}
1586 context, which is normally aliased to @internalsref{Score}. The
1587 property @code{measureLength} determines where bar lines should be
1588 inserted, and how automatic beams should be generated. Changing the
1589 value of @code{timeSignatureFraction} also causes the symbol to be
1592 More options are available through the Scheme function
1593 @code{set-time-signature}. In combination with the
1594 @internalsref{Measure_grouping_engraver}, it will create
1595 @internalsref{MeasureGrouping} signs. Such signs ease reading
1596 rhythmically complex modern music. In the following example, the 9/8
1597 measure is subdivided in 2, 2, 2 and 3. This is passed to
1598 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
1600 @lilypond[quote,ragged-right,verbatim]
1603 #(set-time-signature 9 8 '(2 2 2 3))
1604 g8[ g] d[ d] g[ g] a8[( bes g]) |
1605 #(set-time-signature 5 8 '(3 2))
1611 \consists "Measure_grouping_engraver"
1620 Program reference: @internalsref{TimeSignature}, and
1621 @internalsref{Timing_translator}.
1623 Examples: @lsr{contemporary,compound-time-signature.ly}.
1628 Automatic beaming does not use the measure grouping specified with
1629 @code{set-time-signature}.
1632 @node Partial measures
1633 @subsection Partial measures
1637 @cindex partial measure
1638 @cindex measure, partial
1639 @cindex shorten measures
1642 Partial measures, such as an anacrusis or upbeat, are entered using the
1644 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1645 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1648 The syntax for this command is
1651 \partial @var{duration}
1654 where @code{duration} is the rhythmic length to be added before
1657 This is internally translated into
1660 \set Timing.measurePosition = -@var{length of duration}
1663 The property @code{measurePosition} contains a rational number
1664 indicating how much of the measure has passed at this point. Note
1665 that this is a negative number; @code{\partial 4} is internally
1666 translated to mean @qq{there is a quarter note left in the bar.}
1671 This command does not take into account grace notes at the start of
1672 the music. When a piece starts with graces notes in the pickup, then
1673 the @code{\partial} should follow the grace notes
1675 @lilypond[verbatim,quote,ragged-right,relative,fragment]
1682 @code{\partial} is only intended to be used at the beginning of a
1683 piece. If you use it after the beginning, some odd warnings may
1688 @subsection Bar lines
1692 @cindex measure lines
1695 Bar lines delimit measures, but are also used to indicate
1696 repeats. Normally they are inserted automatically. Line
1697 breaks may only happen on bar lines.
1699 Special types of bar lines can be forced with the @code{\bar} command
1701 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1705 The following bar types are available
1707 @lilypondfile[ragged-right,quote]{bar-lines.ly}
1709 In addition, you can specify @code{"||:"}, which is equivalent to
1710 @code{"|:"} except at line breaks, where it gives a double bar line at
1711 the end of the line and a start repeat at the beginning of the next
1714 To allow a line break where there is no visible bar line, use
1721 This will insert an invisible bar line and allow line breaks at this
1722 point (without increasing the bar number counter).
1724 In scores with many staves, a @code{\bar} command in one staff is
1725 automatically applied to all staves. The resulting bar lines are
1726 connected between different staves of a @code{StaffGroup},
1727 @code{PianoStaff}, or @code{GrandStaff}.
1729 @lilypond[quote,ragged-right,fragment,verbatim]
1737 \new Staff { \clef bass c4 g e g }
1739 \new Staff { \clef bass c2 c2 }
1747 @funindex repeatCommands
1748 @funindex defaultBarType
1750 The command @code{\bar }@var{bartype} is a short cut for doing
1751 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1752 is set to a string, a bar line of that type is created.
1754 A bar line is created whenever the @code{whichBar} property is set.
1755 At the start of a measure it is set to the contents of
1756 @code{Timing.defaultBarType}. The contents of @code{repeatCommands} are
1758 to override default measure bars.
1760 You are encouraged to use @code{\repeat} for repetitions. See
1766 In this manual: @ref{Repeats}, @ref{System start delimiters}.
1768 Program reference: @internalsref{BarLine} (created at
1769 @internalsref{Staff} level), @internalsref{SpanBar} (across staves).
1772 @node Unmetered music
1773 @subsection Unmetered music
1776 @funindex \cadenzaOn
1777 @funindex \cadenzaOff
1779 Bar lines and bar numbers are calculated automatically. For unmetered
1780 music (cadenzas, for example), this is not desirable. To turn off
1781 automatic bar lines and bar numbers, use the commands @code{\cadenzaOn}
1782 and @code{\cadenzaOff}.
1784 @lilypond[verbatim,quote,ragged-right,relative=2,fragment]
1796 LilyPond will only insert line breaks and page breaks at a
1797 barline. Unless the unmetered music ends before the end of
1798 the staff line, you will need to insert
1806 to indicate where breaks can occur.
1809 @node System start delimiters
1810 @subsection System start delimiters
1812 @cindex start of system
1813 @cindex Staff, multiple
1814 @cindex bracket, vertical
1815 @cindex brace, vertical
1818 @cindex staff, choir
1820 Many scores consist of more than one staff. These staves can be
1821 joined in four different ways
1824 @item The group is started with a brace at the left, and bar lines are
1825 connected. This is done with the @internalsref{GrandStaff} context.
1827 @lilypond[verbatim,ragged-right,quote]
1835 @item The group is started with a bracket, and bar lines are connected.
1836 This is done with the
1837 @internalsref{StaffGroup} context
1839 @lilypond[verbatim,ragged-right,quote]
1847 @item The group is started with a bracket, but bar lines are not
1848 connected. This is done with the @internalsref{ChoirStaff} context.
1850 @lilypond[verbatim,ragged-right,quote]
1858 @item The group is started with a vertical line. Bar lines are not
1859 connected. This is the default for the score.
1861 @lilypond[verbatim,ragged-right,quote]
1872 The bar lines at the start of each system are
1873 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1874 @internalsref{SystemStartBracket}. Only one of these types is created
1875 in every context, and that type is determined by the property
1876 @code{systemStartDelimiter}.
1881 System start delimiters may be deeply nested,
1883 @lilypond[quote,ragged-right,verbatim]
1886 \set StaffGroup.systemStartDelimiterHierarchy
1887 = #'(SystemStartSquare (SystemStartBracket a (SystemStartSquare b)) d)
1898 @subsection Staff symbol
1900 @cindex adjusting staff symbol
1902 Notes, dynamic signs, etc., are grouped
1903 with a set of horizontal lines, called a staff (plural @q{staves}). In
1904 LilyPond, these lines are drawn using a separate layout object called
1905 @code{staff symbol}.
1907 The staff symbol may be tuned in the number, thickness and distance
1908 of lines, using properties. This is demonstrated in the example files
1909 @lsr{staff,changing-the-number-of-lines-in-a-staff.ly} and
1910 @lsr{staff,changing-the-staff-size.ly}.
1912 In addition, staves may be started and stopped at will. This is done
1913 with @code{\startStaff} and @code{\stopStaff}.
1915 @lilypond[verbatim,relative=2,fragment]
1917 \override Staff.StaffSymbol #'line-count = 2
1918 \stopStaff \startStaff
1920 \revert Staff.StaffSymbol #'line-count
1921 \stopStaff \startStaff
1925 In combination with Frenched staves, this may be used to typeset ossia
1926 sections. An example is shown here
1930 @lilypondfile{ossia.ly}
1932 @cindex staff lines, setting number of
1933 @cindex staff lines, setting thickness of
1934 @cindex thickness of staff lines, setting
1935 @cindex number of staff lines, setting
1939 Program reference: @internalsref{StaffSymbol}.
1941 Examples: @lsrdir{staff}
1944 @node Writing music in parallel
1945 @subsection Writing music in parallel
1947 @cindex Writing music in parallel
1948 @cindex Interleaved music
1950 Music for multiple parts can be interleaved
1952 @lilypond[quote,fragment,verbatim]
1953 \parallelMusic #'(voiceA voiceB) {
1954 r8 g'16[ c''] e''[ g' c'' e''] r8 g'16[ c''] e''[ g' c'' e''] |
1956 r8 a'16[ d''] f''[ a' d'' f''] r8 a'16[ d''] f''[ a' d'' f''] |
1960 \new Staff \new Voice \voiceA
1961 \new Staff \new Voice \voiceB
1965 This works quite well for piano music
1967 @lilypond[quote,verbatim]
1971 \parallelMusic #'(voiceA voiceB voiceC voiceD) {
1973 r8 g'16[ c''] e''[ g' c'' e''] r8 g'16[ c''] e''[ g' c''
1976 r8 a16[ d'] f'[ a d' f'] r8 a16[ d'] f'[ a d' f'] |
1980 a'8 b' c'' d'' e'' f'' g'' a'' |
1982 c16 d e f d e f g e f g a f g a b |
2008 @node Connecting notes
2009 @section Connecting notes
2011 This section deals with notation that affects groups of notes.
2017 * Laissez vibrer ties::
2030 A tie connects two adjacent note heads of the same pitch. The tie in
2031 effect extends the length of a note. Ties should not be confused with
2032 slurs, which indicate articulation, or phrasing slurs, which indicate
2033 musical phrasing. A tie is entered using the tilde symbol @samp{~}
2035 @lilypond[quote,ragged-right,fragment,verbatim]
2036 e' ~ e' <c' e' g'> ~ <c' e' g'>
2039 When a tie is applied to a chord, all note heads whose pitches match
2040 are connected. When no note heads match, no ties will be created. Chords
2041 may be partially tied by placing the tie inside the chord,
2043 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
2044 <c~ e g~ b> <c e g b>
2047 A tie is just a way of extending a note duration, similar to the
2048 augmentation dot. The following example shows two ways of notating
2049 exactly the same concept
2051 @lilypond[quote,fragment,ragged-right]
2052 \time 3/4 c'2. c'2 ~ c'4
2056 Ties are used either when the note crosses a bar line, or when dots
2057 cannot be used to denote the rhythm. When using ties, larger note
2058 values should be aligned to subdivisions of the measure, such as
2060 @lilypond[fragment,quote,ragged-right]
2062 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
2066 If you need to tie a lot of notes over bars, it may be easier to use
2067 automatic note splitting (see @ref{Automatic note splitting}). This
2068 mechanism automatically splits long notes, and ties them across bar
2071 @funindex \repeatTie
2073 When a second alternative of a repeat starts with a tied note, you
2074 have to repeat the tie. This can be achieved with @code{\repeatTie},
2076 @lilypond[fragment,quote,ragged-right,relative=2]
2080 @cindex repeating ties
2081 @cindex volta brackets and ties
2085 Ties are sometimes used to write out arpeggios. In this case, two tied
2086 notes need not be consecutive. This can be achieved by setting the
2087 @code{tieWaitForNote} property to true. The same feature is also useful,
2088 for example, to tie a tremolo to a chord. For example,
2090 @lilypond[fragment,verbatim,relative=1,ragged-right,quote]
2091 \set tieWaitForNote = ##t
2092 \grace { c16[~ e~ g]~ } <c, e g>2
2093 \repeat tremolo 8 { c32~ c'~ } <c c,>1
2094 e8~ c~ a~ f~ <e' c a f>2
2097 Ties may be engraved manually by changing the @code{tie-configuration}
2098 property. The first number indicates the distance from the center
2099 of the staff in staff-spaces, and the second number indicates the
2100 direction (1=up, -1=down).
2102 @lilypond[fragment,verbatim,relative=1,ragged-right,quote]
2104 \override TieColumn #'tie-configuration =
2105 #'((0.0 . 1) (-2.0 . 1) (-4.0 . 1))
2117 @funindex \tieNeutral
2119 @funindex \tieDotted
2121 @funindex \tieDashed
2129 In this manual: @ref{Automatic note splitting}.
2131 Program reference: @internalsref{Tie}.
2136 Switching staves when a tie is active will not produce a slanted tie.
2138 Changing clefs or octavations during a tie is not really
2139 well-defined. In these cases, a slur may be preferable.
2147 A slur indicates that notes are to be played bound or
2148 @emph{legato}. They are entered using parentheses
2150 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
2151 f( g a) a8 b( a4 g2 f4)
2155 The direction of a slur can be specified with
2156 @code{\slur@emph{DIR}}, where @code{@emph{DIR}} is
2157 either @code{Up}, @code{Down}, or @code{Neutral} (automatically
2160 However, there is a convenient shorthand for forcing slur
2161 directions. By adding @code{_} or @code{^} before the opening
2162 parentheses, the direction is also set. For example,
2164 @lilypond[relative=2,ragged-right,quote,verbatim,fragment]
2168 Only one slur can be printed at once. If you need to print a long
2169 slur over a few small slurs, please see @ref{Phrasing slurs}.
2174 Some composers write two slurs when they want legato chords. This can
2175 be achieved in LilyPond by setting @code{doubleSlurs},
2177 @lilypond[verbatim,ragged-right,relative,fragment,quote]
2178 \set doubleSlurs = ##t
2179 <c e>4 ( <d f> <c e> <d f> )
2189 @funindex \slurNeutral
2190 @code{\slurNeutral},
2191 @funindex \slurDashed
2193 @funindex \slurDotted
2195 @funindex \slurSolid
2200 Program reference: @seeinternals{Slur}.
2203 @node Phrasing slurs
2204 @subsection Phrasing slurs
2206 @cindex phrasing slurs
2207 @cindex phrasing marks
2209 A phrasing slur (or phrasing mark) connects notes and is used to
2210 indicate a musical sentence. It is written using @code{\(} and @code{\)}
2213 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
2214 \time 6/4 c'\( d( e) f( e) d\)
2217 Typographically, the phrasing slur behaves almost exactly like a
2218 normal slur. However, they are treated as different objects. A
2219 @code{\slurUp} will have no effect on a phrasing slur; instead, use
2220 @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
2221 @code{\phrasingSlurNeutral}.
2223 You cannot have simultaneous phrasing slurs.
2228 @funindex \phrasingSlurUp
2229 @code{\phrasingSlurUp},
2230 @funindex \phrasingSlurDown
2231 @code{\phrasingSlurDown},
2232 @funindex \phrasingSlurNeutral
2233 @code{\phrasingSlurNeutral}.
2238 Program reference: @internalsref{PhrasingSlur}.
2241 @node Laissez vibrer ties
2242 @subsection Laissez vibrer ties
2243 @cindex Laissez vibrer
2244 @cindex Ties, laissez vibrer
2246 L.v. ties (laissez vibrer) indicate that notes must not be damped at the
2247 end. It is used in notation for piano, harp and other string and
2248 percussion instruments. They can be entered using @code{\laissezVibrer},
2250 @lilypond[fragment,ragged-right,verbatim,relative=1]
2251 <c f g>\laissezVibrer
2257 @internalsref{LaissezVibrerTie}
2258 @internalsref{LaissezVibrerTieColumn}
2261 @lsr{connecting,laissez-vibrer-ties.ly}
2264 @node Automatic beams
2265 @subsection Automatic beams
2267 LilyPond inserts beams automatically
2269 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2270 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
2273 When these automatic decisions are not good enough, beaming can be
2274 entered explicitly. It is also possible to define beaming patterns
2275 that differ from the defaults. See @ref{Setting automatic beam behavior},
2278 Individual notes may be marked with @code{\noBeam} to prevent them
2281 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2282 \time 2/4 c8 c\noBeam c c
2288 Program reference: @internalsref{Beam}.
2292 @subsection Manual beams
2294 @cindex beams, manual
2298 In some cases it may be necessary to override the automatic beaming
2299 algorithm. For example, the autobeamer will not put beams over rests
2300 or bar lines. Such beams are specified manually by marking the begin
2301 and end point with @code{[} and @code{]}
2303 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2305 r4 r8[ g' a r8] r8 g[ | a] r8
2312 @funindex stemLeftBeamCount
2313 @funindex stemRightBeamCount
2316 LilyPond can automatically determine beaming patterns within a beam,
2317 but this automatic behavior can sometimes produce odd results;
2318 therefore the @code{stemLeftBeamCount} and @code{stemRightBeamCount} properties can
2319 be used to override the defaults. If
2320 either property is set, its value will be used only once, and then it
2323 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2328 \set stemLeftBeamCount = #1
2333 The property @code{subdivideBeams} can be set in order to subdivide
2334 all 16th or shorter beams at beat positions, as defined by the
2335 @code{beatLength} property.
2337 @lilypond[fragment,quote,relative=2,verbatim]
2339 \set subdivideBeams = ##t
2341 \set Score.beatLength = #(ly:make-moment 1 8)
2344 @funindex subdivideBeams
2347 For more information about @code{make-moment}, see
2348 @ref{Time administration}.
2350 Line breaks are normally forbidden when beams cross bar lines. This
2351 behavior can be changed by setting @code{breakable}.
2355 @cindex beams and line breaks
2356 @cindex beams, kneed
2358 @cindex auto-knee-gap
2360 Kneed beams are inserted automatically when a large gap is detected
2361 between the note heads. This behavior can be tuned through the
2362 @code{auto-knee-gap} object.
2367 Automatically kneed cross-staff beams cannot be used together with
2368 hidden staves. See @ref{Hiding staves}.
2370 @c Is this still true with skyline spacing stuff? -J.Mandereau
2371 Beams do not avoid collisions with symbols around the notes, such as
2372 texts and accidentals.
2376 @subsection Grace notes
2381 @cindex appoggiatura
2382 @cindex acciaccatura
2384 Grace notes are ornaments that are written out. The most common ones
2385 are acciaccatura, which should be played as very short. It is denoted
2386 by a slurred small note with a slashed stem. The appoggiatura is a
2387 grace note that takes a fixed fraction of the main note, and is
2388 denoted as a slurred note in small print without a slash. They
2389 are entered with the commands @code{\acciaccatura} and
2390 @code{\appoggiatura}, as demonstrated in the following example
2392 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2393 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2394 \acciaccatura { g16[ f] } e4
2397 Both are special forms of the @code{\grace} command. By prefixing this
2398 keyword to a music expression, a new one is formed, which will be
2399 printed in a smaller font and takes up no logical time in a measure.
2401 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2403 \grace { c16[ d16] } c2 c4
2407 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2408 @code{\grace} command does not start a slur.
2410 @cindex timing, internal
2412 Internally, timing for grace notes is done using a second, @q{grace}
2413 timing. Every point in time consists of two rational numbers: one
2414 denotes the logical time, one denotes the grace timing. The above
2415 example is shown here with timing tuples
2417 @lilypond[quote,ragged-right]
2420 c4 \grace c16 c4 \grace {
2423 \new Lyrics \lyricmode {
2424 \override LyricText #'font-family = #'typewriter
2428 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2429 \markup { (\fraction 1 4 , 0 ) } 4
2431 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2432 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2434 \markup { ( \fraction 2 4 , 0 ) }
2439 The placement of grace notes is synchronized between different staves.
2440 In the following example, there are two sixteenth grace notes for
2441 every eighth grace note
2443 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2444 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2445 \new Staff { c4 \grace { g8[ b] } c4 } >>
2448 @funindex \afterGrace
2450 If you want to end a note with a grace, use the @code{\afterGrace}
2451 command. It takes two arguments: the main note, and the grace notes
2452 following the main note.
2454 @lilypond[ragged-right, verbatim,relative=2,fragment]
2455 c1 \afterGrace d1 { c16[ d] } c4
2458 This will put the grace notes after a @q{space} lasting 3/4 of the
2459 length of the main note. The fraction 3/4 can be changed by setting
2460 @code{afterGraceFraction}, ie.
2463 #(define afterGraceFraction (cons 7 8))
2467 will put the grace note at 7/8 of the main note.
2469 The same effect can be achieved manually by doing
2471 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2474 { s2 \grace { c16[ d] } } >>
2480 By adjusting the duration of the skip note (here it is a half-note),
2481 the space between the main-note and the grace is adjusted.
2483 A @code{\grace} music expression will introduce special typesetting settings,
2484 for example, to produce smaller type, and set directions. Hence, when
2485 introducing layout tweaks, they should be inside the grace expression,
2488 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2500 The overrides should also be reverted inside the grace expression.
2502 The layout of grace expressions can be changed throughout the music
2503 using the function @code{add-grace-property}. The following example
2504 undefines the @code{Stem} direction for this grace, so that stems do not
2509 #(add-grace-property 'Voice 'Stem 'direction '())
2515 Another option is to change the variables @code{startGraceMusic},
2516 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2517 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2518 @code{stopAppoggiaturaMusic}. More information is in the file
2519 @file{ly/@/grace@/-init@/.ly}.
2522 The slash through the stem in acciaccaturas can be obtained
2523 in other situations by @code{\override Stem #'stroke-style = #"grace"}.
2528 Grace notes may be forced to use floating spacing,
2530 @lilypond[relative=2,ragged-right]
2532 \override Score.SpacingSpanner #'strict-grace-spacing = ##t
2541 c'16[ c'16 c'16 c'16]
2542 c'16[ c'16 c'16 c'16]
2551 Program reference: @internalsref{GraceMusic}.
2556 A score that starts with a @code{\grace} expression needs an explicit
2557 @code{\new Voice} declaration, otherwise the main note and the grace
2558 note end up on different staves.
2560 Grace note synchronization can also lead to surprises. Staff notation,
2561 such as key signatures, bar lines, etc., are also synchronized. Take
2562 care when you mix staves with grace notes and staves without, for example,
2564 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2565 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2566 \new Staff { c4 \bar "|:" d4 } >>
2570 This can be remedied by inserting grace skips of the corresponding
2571 durations in the other staves. For the above example
2573 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2574 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2575 \new Staff { c4 \bar "|:" \grace s16 d4 } >>
2578 Grace sections should only be used within sequential music
2579 expressions. Nesting or juxtaposing grace sections is not supported,
2580 and might produce crashes or other errors.
2584 @node Expressive marks
2585 @section Expressive marks
2587 Expressive marks help musicians to bring more to the music than simple
2592 * Fingering instructions::
2603 @subsection Articulations
2605 @cindex Articulations
2609 A variety of symbols can appear above and below notes to indicate
2610 different characteristics of the performance. They are added to a note
2611 by adding a dash and the character signifying the
2612 articulation. They are demonstrated here
2614 @lilypondfile[quote,ragged-right]{script-abbreviations.ly}
2616 The meanings of these shorthands can be changed. See
2617 @file{ly/@/script@/-init@/.ly} for examples.
2619 The script is automatically placed, but the direction can be forced as
2620 well. Like other pieces of LilyPond code, @code{_} will place them
2621 below the staff, and @code{^} will place them above.
2623 @lilypond[quote,ragged-right,fragment,verbatim]
2627 Other symbols can be added using the syntax
2628 @var{note}@code{\}@var{name}. Again, they
2629 can be forced up or down using @code{^} and @code{_},
2632 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
2633 c\fermata c^\fermata c_\fermata
2638 @cindex staccatissimo
2648 @cindex organ pedal marks
2658 @cindex prallmordent
2661 @cindex thumb marking
2666 Here is a chart showing all scripts available,
2668 @lilypondfile[ragged-right,quote]{script-chart.ly}
2673 The vertical ordering of scripts is controlled with the
2674 @code{script-priority} property. The lower this number, the closer it
2675 will be put to the note. In this example, the
2676 @internalsref{TextScript} (the sharp symbol) first has the lowest
2677 priority, so it is put lowest in the first example. In the second, the
2678 prall trill (the @internalsref{Script}) has the lowest, so it is on the
2679 inside. When two objects have the same priority, the order in which
2680 they are entered decides which one comes first.
2682 @lilypond[verbatim,relative=3,ragged-right,fragment,quote]
2683 \once \override TextScript #'script-priority = #-100
2684 a4^\prall^\markup { \sharp }
2686 \once \override Script #'script-priority = #-100
2687 a4^\prall^\markup { \sharp }
2693 Program reference: @internalsref{Script}.
2698 These signs appear in the printed output but have no effect on the
2699 MIDI rendering of the music.
2702 @node Fingering instructions
2703 @subsection Fingering instructions
2706 @cindex finger change
2708 Fingering instructions can be entered using
2710 @var{note}-@var{digit}
2712 For finger changes, use markup texts
2714 @lilypond[quote,verbatim,ragged-right,fragment,relative=1]
2716 c^\markup { \finger "2 - 3" }
2719 You can use the thumb-script to indicate that a note should be
2720 played with the thumb (e.g., in cello music)
2721 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
2722 <a_\thumb a'-3>8 <b_\thumb b'-3>
2725 Fingerings for chords can also be added to individual notes
2726 of the chord by adding them after the pitches
2727 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
2728 < c-1 e-2 g-3 b-5 >4
2734 You may exercise greater control over fingering chords by
2735 setting @code{fingeringOrientations}
2737 @lilypond[quote,verbatim,ragged-right,fragment,relative=1]
2738 \set fingeringOrientations = #'(left down)
2739 <c-1 es-2 g-4 bes-5 > 4
2740 \set fingeringOrientations = #'(up right down)
2741 <c-1 es-2 g-4 bes-5 > 4
2744 Using this feature, it is also possible to put fingering instructions
2745 very close to note heads in monophonic music,
2747 @lilypond[verbatim,ragged-right,quote,fragment]
2748 \set fingeringOrientations = #'(right)
2755 Program reference: @internalsref{Fingering}.
2757 Examples: @lsr{expressive,fingering-chords.ly}
2761 @subsection Dynamics
2782 Absolute dynamic marks are specified using a command after a note
2783 @code{c4\ff}. The available dynamic marks are @code{\ppppp},
2784 @code{\pppp}, @code{\ppp},
2785 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2786 @code{\fff}, @code{\ffff}, @code{\fp}, @code{\sf}, @code{\sff},
2787 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
2789 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
2790 c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2791 c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
2798 A crescendo mark is started with @code{\<} and terminated with
2799 @code{\!} or an absolute dynamic. A decrescendo is started with
2800 @code{\>} and is also terminated with @code{\!} or an absolute
2801 dynamic. @code{\cr} and @code{\decr} may be used instead of
2802 @code{\<} and @code{\>}. Because these marks are bound to notes, you must
2803 use spacer notes if multiple marks are needed during one note
2805 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2807 << f1 { s4 s4\< s4\! \> s4\! } >>
2811 A hairpin normally starts at the left edge of the beginning note
2812 and ends on the right edge of the ending note. If the ending
2813 note falls on the downbeat, the hairpin ends on the immediately
2814 preceding barline. This may be modified by setting the
2815 @code{hairpinToBarline} property,
2817 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2818 \set hairpinToBarline = ##f
2822 In some situations the @code{\espressivo} articulation mark may
2823 be suitable to indicate a crescendo and decrescendo on the one note,
2825 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2826 c2 b4 a g1\espressivo
2829 This may give rise to very short hairpins. Use @code{minimum-length}
2830 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2834 \override Voice.Hairpin #'minimum-length = #5
2840 Hairpins may be printed with a circled tip (al niente notation) by
2841 setting the @code{circled-tip} property,
2843 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
2844 \override Hairpin #'circled-tip = ##t
2854 You can also use text saying @emph{cresc.} instead of hairpins
2856 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
2867 You can also supply your own texts
2868 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2869 \set crescendoText = \markup { \italic "cresc. poco" }
2870 \set crescendoSpanner = #'dashed-line
2874 To create new dynamic marks or text that should be aligned
2875 with dynamics, see @ref{New dynamic marks}.
2877 Vertical positioning of dynamics is handled by
2878 @internalsref{DynamicLineSpanner}.
2883 Dynamics that occur at, begin on, or end on, the same note
2884 will be vertically aligned. If you want to ensure that dynamics
2885 are aligned when they do not occur on the same note, you can
2886 increase the @code{staff-padding} property.
2889 \override DynamicLineSpanner #'staff-padding = #4
2892 You may also use this property if the dynamics are colliding
2893 with other notation.
2895 Crescendi and decrescendi that end on the first note of a
2896 new line are not printed. To change this behavior, use
2899 \override Score.Hairpin #'after-line-breaking = ##t
2902 Text style dynamic changes (such as @emph{cresc.} and @emph{dim.})
2904 dashed line showing their extent. To surpress printing this line, use
2907 \override DynamicTextSpanner #'dash-period = #-1.0
2913 @funindex \dynamicUp
2915 @funindex \dynamicDown
2916 @code{\dynamicDown},
2917 @funindex \dynamicNeutral
2918 @code{\dynamicNeutral}.
2923 Program reference: @internalsref{DynamicText}, @internalsref{Hairpin}.
2924 Vertical positioning of these symbols is handled by
2925 @internalsref{DynamicLineSpanner}.
2929 @subsection Breath marks
2931 Breath marks are entered using @code{\breathe}
2933 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2940 The glyph of the breath mark can be tuned by overriding the
2941 @code{text} property of the @code{BreathingSign} layout object with
2942 any markup text. For example,
2943 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
2945 \override BreathingSign #'text
2946 = #(make-musicglyph-markup "scripts.rvarcomma")
2953 Program reference: @internalsref{BreathingSign}.
2955 Examples: @lsr{expressive,breathing-sign.ly}
2961 Short trills are printed like normal articulation; see @ref{Articulations}.
2963 Long running trills are made with @code{\startTrillSpan} and
2964 @code{\stopTrillSpan},
2966 @lilypond[verbatim,ragged-right,relative=2,quote,fragment]
2968 << { c1 \startTrillSpan }
2969 { s2. \grace { d16[\stopTrillSpan e] } } >>
2973 @cindex Pitched trills
2975 Trills that should be executed on an explicitly specified pitch can be
2976 typeset with the command @code{pitchedTrill},
2978 @lilypond[ragged-right,verbatim,fragment,relative=1,quote]
2979 \pitchedTrill c4\startTrillSpan fis
2984 The first argument is the main note. The pitch of the second
2985 is printed as a stemless note head in parentheses.
2990 @code{\startTrillSpan},
2991 @funindex \startTrillSpan
2992 @code{\stopTrillSpan}.
2993 @funindex \stopTrillSpan
2998 Program reference: @internalsref{TrillSpanner}.
3002 @subsection Glissando
3005 @funindex \glissando
3007 A glissando is a smooth change in pitch. It is denoted by a line or a
3008 wavy line between two notes. It is requested by attaching
3009 @code{\glissando} to a note
3011 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
3013 \override Glissando #'style = #'zigzag
3020 @lilypond[quote,ragged-right,verbatim]
3021 I = \once \override NoteColumn #'ignore-collision = ##t
3024 { \oneVoice \stemDown f2 \glissando \stemNeutral a } \\
3025 { \oneVoice \I c2 \glissando \I d, }
3033 Program reference: @internalsref{Glissando}.
3036 @lsr{expressive,glissando.ly}, @lsr{expressive,line-styles.ly}
3041 Printing text over the line (such as @emph{gliss.}) is not supported.
3045 @subsection Arpeggio
3048 @cindex broken chord
3051 You can specify an arpeggio sign (also known as broken chord) on a
3052 chord by attaching an @code{\arpeggio} to a chord
3054 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
3058 A square bracket on the left indicates that the player should not
3059 arpeggiate the chord
3061 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
3066 The direction of the arpeggio is sometimes denoted by adding an
3067 arrowhead to the wiggly line
3069 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
3081 When an arpeggio crosses staves, you may attach an arpeggio to the chords
3082 in both staves and set
3083 @internalsref{PianoStaff}.@code{connectArpeggios}
3085 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
3087 \set PianoStaff.connectArpeggios = ##t
3088 \new Staff { <c' e g c>\arpeggio }
3089 \new Staff { \clef bass <c,, e g>\arpeggio }
3093 @c TODO: cross-voice arpeggio example?
3094 @c such an example is already in LSR -J.Mandereau
3099 @funindex \arpeggioUp
3101 @funindex \arpeggioDown
3102 @code{\arpeggioDown},
3103 @funindex \arpeggioNeutral
3104 @code{\arpeggioNeutral},
3105 @funindex \arpeggioBracket
3106 @code{\arpeggioBracket}.
3111 Notation manual: @ref{Ties}, for writing out arpeggios.
3113 Program reference: @internalsref{Arpeggio}.
3118 It is not possible to mix connected arpeggios and unconnected
3119 arpeggios in one @internalsref{PianoStaff} at the same point in time.
3122 @node Falls and doits
3123 @subsection Falls and doits
3125 Falls and doits can be added to notes using the @code{\bendAfter}
3128 @lilypond[fragment,ragged-right,relative=2]
3129 \override Score.SpacingSpanner #'shortest-duration-space = #3.0
3138 Repetition is a central concept in music, and multiple notations exist
3144 * Repeats and MIDI::
3145 * Manual repeat commands::
3147 * Tremolo subdivisions::
3153 @subsection Repeat types
3157 The following types of repetition are supported
3161 Repeated music is fully written (played) out. This is useful when
3162 entering repetitious music. This is the only kind of repeat that
3163 is included in MIDI output.
3166 Repeats are not written out, but alternative endings (volte) are
3167 printed, left to right with brackets. This is the standard notation
3168 for repeats with alternatives. These are not played in MIDI output by
3173 Make tremolo beams. These are not played in MIDI output by default.
3176 Make beat or measure repeats. These look like percent signs. These
3177 are not played in MIDI output by default. Percent repeats must be
3178 declared within a @code{Voice} context.
3184 @subsection Repeat syntax
3188 @cindex seconda volta
3191 LilyPond has one syntactic construct for specifying different types of
3192 repeats. The syntax is
3195 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
3198 If you have alternative endings, you may add
3199 @funindex \alternative
3210 where each @var{alternative} is a music expression. If you do not
3211 give enough alternatives for all of the repeats, the first alternative
3212 is assumed to be played more than once.
3214 Standard repeats are used like this
3216 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
3218 \repeat volta 2 { c4 d e f }
3219 \repeat volta 2 { f e d c }
3222 With alternative endings
3224 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
3226 \repeat volta 2 {c4 d e f}
3227 \alternative { {d2 d} {f f,} }
3230 Repeats with upbeats may be created.
3232 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
3235 \repeat volta 4 { c2 d2 | e2 f2 | }
3236 \alternative { { g4 g g e } { a a a a | b2. } }
3243 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
3246 \repeat volta 4 { e | c2 d2 | e2 f2 | }
3247 \alternative { { \partial 4*3 g4 g g } { a a a a | b2. } }
3253 @funindex \repeatTie
3255 Ties may be added to a second ending,
3257 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
3259 \repeat volta 2 {c4 d e f ~ }
3260 \alternative { {f2 d} {f\repeatTie f,} }
3263 It is possible to shorten volta brackets
3264 by setting @code{voltaSpannerDuration}. In the next example, the
3265 bracket only lasts one measure, which is a duration of 3/4.
3267 @lilypond[verbatim,ragged-right,quote]
3271 \set Score.voltaSpannerDuration = #(ly:make-moment 3 4)
3272 \repeat volta 5 { d d d }
3273 \alternative { { e e e f f f }
3278 If you want to start a repeat at the beginning of a line and have a
3279 double bar at the end of the previous line, use
3281 @dots{} \bar "||:" \break
3282 \repeat volta 2 @{ @dots{}
3284 see @ref{Bar lines} for more information.
3288 Program reference: @internalsref{VoltaBracket},
3289 @internalsref{RepeatedMusic},
3290 @internalsref{VoltaRepeatedMusic}, and
3291 @internalsref{UnfoldedRepeatedMusic}.
3295 Brackets for the repeat are normally only printed over the topmost
3296 staff. This can be adjusted by moving @code{Volta_engraver} to the
3297 Staff context where you want the brackets to appear;
3298 see @ref{Modifying context plug-ins} and
3300 @lsr{repeats,volta@/-multi@/-staff@/.ly}.
3305 @cindex repeat, ambiguous
3307 A nested repeat like
3316 is ambiguous, since it is is not clear to which @code{\repeat} the
3317 @code{\alternative} belongs. This ambiguity is resolved by always
3318 having the @code{\alternative} belong to the inner @code{\repeat}.
3319 For clarity, it is advisable to use braces in such situations.
3321 Timing information is not remembered at the start of an alternative,
3322 so after a repeat timing information must be reset by hand; for
3323 example, by setting @code{Score.measurePosition} or entering
3324 @code{\partial}. Similarly, slurs or ties are also not repeated.
3327 @node Repeats and MIDI
3328 @subsection Repeats and MIDI
3330 @cindex expanding repeats
3331 @funindex \unfoldRepeats
3333 With a little bit of tweaking, all types of repeats can be present
3334 in the MIDI output. This is achieved by applying the
3335 @code{\unfoldRepeats} music function. This function changes all
3336 repeats to unfold repeats.
3338 @lilypond[quote,verbatim,fragment,line-width=8.0\cm]
3340 \repeat tremolo 8 {c'32 e' }
3341 \repeat percent 2 { c''8 d'' }
3342 \repeat volta 2 {c'4 d' e' f'}
3351 When creating a score file using @code{\unfoldRepeats} for MIDI,
3352 it is necessary to make two @code{\score} blocks: one for MIDI (with
3353 unfolded repeats) and one for notation (with volta, tremolo, and
3354 percent repeats). For example,
3362 \unfoldRepeats @var{..music..}
3368 @node Manual repeat commands
3369 @subsection Manual repeat commands
3371 @funindex repeatCommands
3373 The property @code{repeatCommands} can be used to control the layout of
3374 repeats. Its value is a Scheme list of repeat commands.
3377 @item @code{start-repeat}
3378 Print a @code{|:} bar line.
3380 @item @code{end-repeat}
3381 Print a @code{:|} bar line.
3383 @item @code{(volta @var{text})}
3384 Print a volta bracket saying @var{text}: The text can be specified as
3385 a text string or as a markup text, see @ref{Text markup}. Do not
3386 forget to change the font, as the default number font does not contain
3387 alphabetic characters;
3389 @item @code{(volta #f)}
3390 Stop a running volta bracket.
3393 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
3395 \set Score.repeatCommands = #'((volta "93") end-repeat)
3397 \set Score.repeatCommands = #'((volta #f))
3404 Program reference: @internalsref{VoltaBracket},
3405 @internalsref{RepeatedMusic},
3406 @internalsref{VoltaRepeatedMusic}, and
3407 @internalsref{UnfoldedRepeatedMusic}.
3410 @node Tremolo repeats
3411 @subsection Tremolo repeats
3413 @cindex tremolo beams
3415 To place tremolo marks between notes, use @code{\repeat} with tremolo
3417 @lilypond[quote,verbatim,ragged-right]
3418 \new Voice \relative c' {
3419 \repeat tremolo 8 { c16 d16 }
3420 \repeat tremolo 4 { c16 d16 }
3421 \repeat tremolo 2 { c16 d16 }
3425 Tremolo marks can also be put on a single note. In this case, the
3426 note should not be surrounded by braces.
3427 @lilypond[quote,verbatim,ragged-right]
3428 \repeat tremolo 4 c'16
3431 Similar output is obtained using the tremolo subdivision, described in
3432 @ref{Tremolo subdivisions}.
3437 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
3439 Program reference: @internalsref{Beam}, @internalsref{StemTremolo}.
3442 @node Tremolo subdivisions
3443 @subsection Tremolo subdivisions
3445 @cindex tremolo marks
3446 @funindex tremoloFlags
3448 Tremolo marks can be printed on a single note by adding
3449 @q{@code{:}[@var{number}]} after the note. The number indicates the
3450 duration of the subdivision, and it must be at least 8. A
3451 @var{length} value of 8 gives one line across the note stem. If the
3452 length is omitted, the last value (stored in @code{tremoloFlags}) is
3455 @lilypond[quote,ragged-right,verbatim,fragment]
3456 c'2:8 c':32 | c': c': |
3462 Tremolos entered in this way do not carry over into the MIDI output.
3467 In this manual: @ref{Tremolo repeats}.
3469 Elsewhere: @internalsref{StemTremolo}.
3472 @node Measure repeats
3473 @subsection Measure repeats
3475 @cindex percent repeats
3476 @cindex measure repeats
3478 In the @code{percent} style, a note pattern can be repeated. It is
3479 printed once, and then the pattern is replaced with a special sign.
3480 Patterns of one and two measures are replaced by percent-like signs,
3481 patterns that divide the measure length are replaced by slashes.
3482 Percent repeats must be declared within a @code{Voice} context.
3484 @lilypond[quote,verbatim,ragged-right]
3485 \new Voice \relative c' {
3486 \repeat percent 4 { c4 }
3487 \repeat percent 2 { c2 es2 f4 fis4 g4 c4 }
3491 Measure repeats of more than 2 measures get a counter, if you switch
3492 on the @code{countPercentRepeats} property,
3494 @lilypond[relative=2,fragment,quote,verbatim,ragged-right]
3496 \set countPercentRepeats = ##t
3497 \repeat percent 4 { c1 }
3503 Isolated percents can also be printed. This is done by putting a
3504 multi-measure rest with a different print function,
3506 @lilypond[fragment,verbatim,quote]
3507 \override MultiMeasureRest #'stencil
3508 = #ly:multi-measure-rest::percent
3517 Program reference: @internalsref{RepeatSlash},
3518 @internalsref{PercentRepeat}, @internalsref{DoublePercentRepeat},
3519 @internalsref{DoublePercentRepeatCounter},
3520 @internalsref{PercentRepeatCounter},
3521 @internalsref{PercentRepeatedMusic}.