1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
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10 @chapter Basic notation
12 This chapter explains how to use all basic notation features.
16 * Alternate music entry::
30 This section is about basic notation elements like notes, rests, and
31 related constructs, such as stems, tuplets and ties.
36 * Cautionary accidentals::
52 @cindex Note specification
53 @cindex entering notes
55 A note is printed by specifying its pitch and then its duration,
57 @lilypond[quote,verbatim,ragged-right,fragment]
63 This manual: @ref{Pitches}, @ref{Durations}
72 The most common syntax for pitch entry is used for standard notes and
73 @code{\chordmode} modes. In these modes, pitches may be designated by
74 names. The notes are specified by the letters @code{a} through
75 @code{g}. The octave is formed with notes ranging from @code{c}
76 to @code{b}. The pitch @code{c} is an octave below middle C and the
77 letters span the octave above that C
79 @lilypond[quote,fragment,verbatim,ragged-right]
81 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
87 The optional octave specification takes the form of a series of
88 single quote (`@code{'}') characters or a series of comma
89 (`@code{,}') characters. Each @code{'} raises the pitch by one
90 octave; each @code{,} lowers the pitch by an octave
92 @lilypond[quote,ragged-right,fragment,verbatim]
96 @cindex note names, Dutch
98 A sharp is formed by adding @code{-is} to the end of a pitch name and
99 a flat is formed by adding @code{-es}. Double sharps and double flats
100 are obtained by adding @code{-isis} or @code{-eses}. These
101 names are the Dutch note names. In Dutch, @code{aes} is contracted to
102 @code{as}, but both forms are accepted. Similarly, both
103 @code{es} and @code{ees} are accepted
105 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
114 There are predefined sets of note names for various other languages.
115 To use them, include the language specific init file. For
116 example: @code{\include "english.ly"}. The available language files
117 and the note names they define are
122 Note Names sharp flat
123 nederlands.ly c d e f g a bes b -is -es
124 english.ly c d e f g a bf b -s/-sharp -f/-flat
126 deutsch.ly c d e f g a b h -is -es
127 norsk.ly c d e f g a b h -iss/-is -ess/-es
128 svenska.ly c d e f g a b h -iss -ess
129 italiano.ly do re mi fa sol la sib si -d -b
130 catalan.ly do re mi fa sol la sib si -d/-s -b
131 espanol.ly do re mi fa sol la sib si -s -b
137 In accordance with standard typesetting rules, a natural sign is printed
138 before a sharp or flat if a previous accidental needs to be
139 cancelled. To change this behaviour, use
140 @code{\set Staff.extraNatural = ##f}
142 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
144 \set Staff.extraNatural = ##f
150 Suggested accidentals (used in notating musica ficta) may
151 be written with @code{suggestAccidentals}
153 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
154 \set suggestAccidentals = ##t
161 Program reference: @internalsref{LedgerLineSpanner}, @internalsref{NoteHead}.
164 @node Cautionary accidentals
165 @subsection Cautionary accidentals
167 @cindex reminder accidental
169 @cindex cautionary accidental
170 @cindex parenthesized accidental
173 Normally accidentals are printed automatically, but you may also
174 print them manually. A reminder accidental
175 can be forced by adding an exclamation mark @code{!}
176 after the pitch. A cautionary accidental
177 (i.e., an accidental within parentheses) can be obtained by adding the
178 question mark `@code{?}' after the pitch. These extra accidentals
179 can be used to produce natural signs, too.
181 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
182 cis cis cis! cis? c c? c! c
188 The automatic production of accidentals can be tuned in many
189 ways. For more information, refer to @ref{Automatic accidentals}.
194 @subsection Micro tones
196 @cindex quarter tones
197 @cindex semi-flats, semi-sharps
199 Half-flats and half-sharps are formed by adding @code{-eh} and
200 @code{-ih}; the following is a series of Cs with increasing pitches
202 @lilypond[verbatim,ragged-right,quote,relative=2,fragment]
203 \set Staff.extraNatural = ##f
207 Micro tones are also exported to the MIDI file.
212 There are no generally accepted standards for denoting three quarter
213 flats, so LilyPond's symbol does not conform to any standard.
221 A chord is formed by a enclosing a set of pitches in @code{<} and
222 @code{>}. A chord may be followed by a duration, and a set of
223 articulations, just like simple notes
225 @lilypond[verbatim,ragged-right,fragment,quote,relative=1]
229 For more information about chords, see @ref{Chord names}.
240 Rests are entered like notes with the note name @code{r}
242 @lilypond[fragment,quote,ragged-right,verbatim]
246 Whole bar rests, centered in middle of the bar,
247 must be done with multi-measure rests. They can be used for a
248 single bar as well as many bars, and are discussed in
249 @ref{Multi measure rests}.
251 To explicitly specify a rest's vertical position, write a note
252 followed by @code{\rest}. A rest will be placed in the position
253 where the note would appear,
255 @lilypond[fragment,quote,ragged-right,verbatim]
260 This makes manual formatting of
261 polyphonic music much easier, since the automatic rest collision
262 formatter will leave these rests alone.
266 Program reference: @internalsref{Rest}.
273 @cindex Invisible rest
278 An invisible rest (also called a `skip') can be entered like a note
279 with note name `@code{s}' or with @code{\skip @var{duration}}
281 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
282 a4 a4 s4 a4 \skip 1 a4
285 The @code{s} syntax is only available in note mode and chord mode. In
286 other situations, for example, when entering lyrics, you should use
287 the @code{\skip} command
289 @lilypond[quote,ragged-right,verbatim]
292 \new Lyrics \lyricmode { \skip 2 bla2 }
296 The skip command is merely an empty musical placeholder. It does not
297 produce any output, not even transparent output.
299 The @code{s} skip command does create @internalsref{Staff} and
300 @internalsref{Voice} when necessary, similar to note and rest
301 commands. For example, the following results in an empty staff.
303 @lilypond[quote,ragged-right,verbatim]
307 The fragment @code{@{ \skip 4 @} } would produce an empty page.
311 Program reference: @internalsref{SkipMusic}.
315 @subsection Durations
318 @cindex @code{\longa}
319 @cindex @code{\breve}
320 @cindex @code{\maxima}
322 In Note, Chord, and Lyrics mode, durations are designated by numbers and
323 dots: durations are entered as their reciprocal values. For example, a
324 quarter note is entered using a @code{4} (since it is a 1/4 note), while
325 a half note is entered using a @code{2} (since it is a 1/2 note). For
326 notes longer than a whole you must use the variables @code{\longa} and
331 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
333 r1 r2 r4 r8 r16 r32 r64 r64
339 a\breve*1/2 \autoBeamOff
340 a1 a2 a4 a8 a16 a32 a64 a64
343 r\longa*1/4 r\breve *1/2
344 r1 r2 r4 r8 r16 r32 r64 r64
350 \remove "Clef_engraver"
351 \override StaffSymbol #'transparent = ##t
352 \override TimeSignature #'transparent = ##t
353 \override BarLine #'transparent = ##t
354 \consists "Pitch_squash_engraver"
360 If the duration is omitted then it is set to the previously entered
361 duration. The default for the first note is a quarter note.
363 @lilypond[quote,ragged-right,verbatim,fragment]
364 { a a a2 a a4 a a1 a }
368 @node Augmentation dots
369 @subsection Augmentation dots
373 To obtain dotted note lengths, simply add a dot (`@code{.}') to
374 the number. Double-dotted notes are produced in a similar way.
376 @lilypond[quote,ragged-right,fragment,verbatim]
377 a'4 b' c''4. b'8 a'4. b'4.. c''8.
382 Dots are normally moved up to avoid staff lines, except in polyphonic
383 situations. The following commands may be used to force a particular
386 @cindex @code{\dotsUp}
388 @cindex @code{\dotsDown}
390 @cindex @code{\dotsNeutral}
395 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
403 @cindex @code{\times}
405 Tuplets are made out of a music expression by multiplying all durations
409 \times @var{fraction} @var{musicexpr}
413 The duration of @var{musicexpr} will be multiplied by the fraction.
414 The fraction's denominator will be printed over the notes, optionally
415 with a bracket. The most common tuplet is the triplet in which 3
416 notes have the length of 2, so the notes are 2/3 of their written
419 @lilypond[quote,ragged-right,fragment,verbatim]
420 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
423 Tuplets may be nested, for example,
425 @lilypond[fragment,ragged-right,verbatim,relative=2]
426 \set tupletNumberFormatFunction = #fraction-tuplet-formatter
429 \times 3/5 { a a a a a }
435 @cindex @code{\tupletUp}
437 @cindex @code{\tupletDown}
439 @cindex @code{\tupletNeutral}
440 @code{\tupletNeutral}.
445 @cindex @code{tupletNumberFormatFunction}
446 @cindex tuplet formatting
448 The property @code{tupletSpannerDuration} specifies how long each
449 bracket should last. With this, you can make lots of tuplets while
450 typing @code{\times} only once, thus saving lots of typing. In the next
451 example, there are two triplets shown, while @code{\times} was only
454 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
455 \set tupletSpannerDuration = #(ly:make-moment 1 4)
456 \times 2/3 { c8 c c c c c }
460 For more information about @code{make-moment}, see
461 @ref{Time administration}.
463 The format of the number is determined by the property
464 @code{tupletNumberFormatFunction}. The default prints only the
465 denominator, but if it is set to the Scheme function
466 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
469 To avoid printing tuplet numbers, use
471 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
472 \times 2/3 { c8 c c } \times 2/3 { c8 c c }
473 \override TupletNumber #'transparent = ##t
474 \times 2/3 { c8 c c } \times 2/3 { c8 c c }
480 Program reference: @internalsref{TupletBracket},
481 @internalsref{TupletNumber}, and @internalsref{TimeScaledMusic}.
483 Examples: @inputfileref{input/@/regression,tuplet@/-nest@/.ly}.
487 @node Scaling durations
488 @subsection Scaling durations
490 You can alter the length of duration by a fraction @var{N/M}
491 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
492 will not affect the appearance of the notes or rests produced.
494 In the following example, the first three notes take up exactly two
495 beats, but no triplet bracket is printed.
496 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
498 a4*2/3 gis4*2/3 a4*2/3
506 This manual: @ref{Tuplets}
512 Whenever a note is found, a @internalsref{Stem} object is created
513 automatically. For whole notes and rests, they are also created but
518 @cindex @code{\stemUp}
520 @cindex @code{\stemDown}
522 @cindex @code{\stemNeutral}
528 To change the direction of stems in the middle of the staff, use
530 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
532 \override Stem #'neutral-direction = #up
534 \override Stem #'neutral-direction = #down
539 @node Alternate music entry
540 @section Alternate music entry
543 This section deals with tricks and features of the input language that
544 were added solely to help entering music and finding and correcting
545 mistakes. There are also external tools that make debugging easier.
546 See @ref{Point and click} for more information.
548 It is also possible to enter and edit music using other programs, such as
549 GUI interfaces or MIDI sequencers. Refer to the LilyPond
550 website for more information.
558 * Skipping corrected music::
559 * Automatic note splitting::
560 * Writing music in parallel::
564 @node Relative octaves
565 @subsection Relative octaves
568 @cindex Relative octave specification
569 @cindex @code{\relative}
571 Octaves are specified by adding @code{'} and @code{,} to pitch names.
572 When you copy existing music, it is easy to accidentally put a pitch
573 in the wrong octave and hard to find such an error. The relative
574 octave mode prevents these errors by making the mistakes much
575 larger: a single error puts the rest of the piece off by one octave
578 \relative @var{startpitch} @var{musicexpr}
585 \relative @var{musicexpr}
589 @code{c'} is used as the default if no starting pitch is defined.
591 The octave of notes that appear in @var{musicexpr} are calculated as
592 follows: if no octave changing marks are used, the basic interval
593 between this and the last note is always taken to be a fourth or
594 less. This distance is determined without regarding alterations; a
595 @code{fisis} following a @code{ceses} will be put above the
596 @code{ceses}. In other words, a doubly-augmented fourth is considered
597 a smaller interval than a diminished fifth, even though the
598 doubly-augmented fourth spans seven semitones while the diminished
599 fifth only spans six semitones.
601 The octave changing marks @code{'} and @code{,} can be added to raise
602 or lower the pitch by an extra octave. Upon entering relative mode,
603 an absolute starting pitch can be specified that will act as the
604 predecessor of the first note of @var{musicexpr}. If no starting pitch
605 is specified, then middle C is used as a start.
607 Here is the relative mode shown in action
608 @lilypond[quote,fragment,ragged-right,verbatim]
614 Octave changing marks are used for intervals greater than a fourth
615 @lilypond[quote,ragged-right,fragment,verbatim]
621 If the preceding item is a chord, the first note of the chord is used
622 to determine the first note of the next chord
624 @lilypond[quote,ragged-right,fragment,verbatim]
632 The pitch after the @code{\relative} contains a note name.
634 The relative conversion will not affect @code{\transpose},
635 @code{\chordmode} or @code{\relative} sections in its argument. To use
636 relative within transposed music, an additional @code{\relative} must
637 be placed inside @code{\transpose}.
641 @subsection Octave check
645 Octave checks make octave errors easier to correct: a note may be
646 followed by @code{=}@var{quotes} which indicates what its absolute
647 octave should be. In the following example,
650 \relative c'' @{ c='' b=' d,='' @}
654 the @code{d} will generate a warning, because a @code{d''} is expected
655 (because @code{b'} to @code{d''} is only a third), but a @code{d'} is
656 found. In the output, the octave is corrected to be a @code{d''} and
657 the next note is calculated relative to @code{d''} instead of @code{d'}.
659 There is also an octave check that produces no visible output. The syntax
665 This checks that @var{pitch} (without quotes) yields @var{pitch} (with
666 quotes) in \relative mode. If not, a warning is printed, and the
667 octave is corrected. The @var{pitch} is not printed as a note.
669 In the example below, the first check passes without incident, since
670 the @code{e} (in relative mode) is within a fifth of @code{a'}. However,
671 the second check produces a warning, since the @code{e} is not within
672 a fifth of @code{b'}. The warning message is printed, and the octave
673 is adjusted so that the following notes are in the correct octave
685 The octave of a note following an octave check is determined with
686 respect to the note preceding it. In the next fragment, the last note
687 is an @code{a'}, above middle C. That means that the @code{\octave}
688 check passes successfully, so the check could be deleted without changing
689 the output of the piece.
691 @lilypond[quote,ragged-right,verbatim,fragment]
701 @subsection Transpose
704 @cindex transposition of pitches
705 @cindex @code{\transpose}
707 A music expression can be transposed with @code{\transpose}. The
710 \transpose @var{from} @var{to} @var{musicexpr}
713 This means that @var{musicexpr} is transposed by the interval between
714 the pitches @var{from} and @var{to}: any note with pitch @code{from}
715 is changed to @code{to}.
717 For example, consider a piece written in the key of D-major. If
718 this piece is a little too low for its performer, it can be
719 transposed up to E-major with
721 \transpose d e @dots{}
724 Consider a part written for violin (a C instrument). If
725 this part is to be played on the A clarinet (for which an
726 A is notated as a C, and which sounds a minor third lower
727 than notated), the following
728 transposition will produce the appropriate part
731 \transpose a c @dots{}
734 @code{\transpose} distinguishes between enharmonic pitches: both
735 @code{\transpose c cis} or @code{\transpose c des} will transpose up
736 half a tone. The first version will print sharps and the second
737 version will print flats
739 @lilypond[quote,ragged-right,verbatim]
740 mus = { \key d \major cis d fis g }
749 @code{\transpose} may also be used to input written notes for a
750 transposing instrument. Pitches are normally entered into LilyPond
751 in C (or ``concert pitch''), but they may be entered in another
752 key. For example, when entering music for a B-flat trumpet which
753 begins on concert D, one would write
756 \transpose c bes @{ e4 @dots{} @}
759 To print this music in B-flat again (i.e. producing a trumpet part,
760 instead of a concert pitch conductor's score) you would wrap the
761 existing music with another @code{transpose}
764 \transpose bes c @{ \transpose c bes @{ e4 @dots{} @} @}
770 Program reference: @internalsref{TransposedMusic}.
775 If you want to use both @code{\transpose} and @code{\relative},
776 you must put @code{\transpose} outside of @code{\relative}, since
777 @code{\relative} will have no effect music that appears inside a
782 @subsection Bar check
785 @cindex @code{barCheckSynchronize}
788 Bar checks help detect errors in the durations. A bar check is
789 entered using the bar symbol, `@code{|}'. Whenever it is encountered
790 during interpretation, it should fall on a measure boundary. If it
791 does not, a warning is printed. In the next example, the second bar
792 check will signal an error
794 \time 3/4 c2 e4 | g2 |
797 Bar checks can also be used in lyrics, for example
802 Twin -- kle | Twin -- kle
806 Failed bar checks are caused by entering incorrect
807 durations. Incorrect durations often completely garble up the score,
808 especially if the score is polyphonic, so a good place to start correcting
809 input is by scanning for failed bar checks and incorrect durations.
812 @cindex @code{pipeSymbol}
814 It is also possible to redefine the meaning of @code{|}. This is done
815 by assigning a music expression to @code{pipeSymbol},
817 @lilypond[quote,ragged-right,verbatim]
818 pipeSymbol = \bar "||"
824 @node Barnumber check
825 @subsection Barnumber check
827 When copying large pieces of music, it can be helpful to check that
828 the LilyPond bar number corresponds to the original that you are
829 entering from. This can be checked with @code{\barNumberCheck}, for
837 will print a warning if the @code{currentBarNumber} is not 123 when it
841 @node Skipping corrected music
842 @subsection Skipping corrected music
845 @cindex @code{skipTypesetting}
846 @cindex @code{showLastLength}
848 When entering or copying music, usually only the music near the end (where you
849 are adding notes) is interesting to view and correct. To speed up
850 this correction process, it is possible to skip typesetting of all but
851 the last few measures. This is achieved by putting
854 showLastLength = R1*5
859 in your source file. This will render only the last 5 measures
860 (assuming 4/4 time signature) of every @code{\score} in the input
861 file. For longer pieces, rendering only a small part is often an order
862 of magnitude quicker than rendering it completely
864 Skipping parts of a score can be controlled in a more fine-grained
865 fashion with the property @code{Score.skipTypesetting}. When it is
866 set, no typesetting is performed at all.
868 This property is also used to control output to the MIDI file. Note that
869 it skips all events, including tempo and instrument changes. You have
872 @lilypond[quote,fragment,ragged-right,verbatim]
875 \set Score.skipTypesetting = ##t
877 \set Score.skipTypesetting = ##f
881 In polyphonic music, @code{Score.skipTypesetting} will affect all
882 voices and staves, saving even more time.
885 @node Automatic note splitting
886 @subsection Automatic note splitting
888 Long notes can be converted automatically to tied notes. This is done
889 by replacing the @internalsref{Note_heads_engraver} by the
890 @internalsref{Completion_heads_engraver}.
891 In the following examples, notes crossing the bar line are split and tied.
893 @lilypond[quote,fragment,verbatim,relative=1,line-width=12\cm]
895 \remove "Note_heads_engraver"
896 \consists "Completion_heads_engraver"
898 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
902 This engraver splits all running notes at the bar line, and inserts
903 ties. One of its uses is to debug complex scores: if the measures are
904 not entirely filled, then the ties exactly show how much each measure
910 Not all durations (especially those containing tuplets) can be
911 represented exactly with normal notes and dots, but the engraver will
914 @code{Completion_heads_engraver} only affects notes; it does not split
920 Examples: @inputfileref{input/@/regression,completion@/-heads@/.ly}.
924 Program reference: @internalsref{Completion_heads_engraver}.
927 @node Writing music in parallel
928 @subsection Writing music in parallel
929 @cindex Writing music in parallel
930 @cindex Interleaved music
932 Music for multiple parts can be interleaved
934 @lilypond[quote,fragment,verbatim]
935 \parallelMusic #'(voiceA voiceB) {
936 r8 g'16[ c''] e''[ g' c'' e''] r8 g'16[ c''] e''[ g' c'' e''] |
938 r8 a'16[ d''] f''[ a' d'' f''] r8 a'16[ d''] f''[ a' d'' f''] |
942 \new Staff \new Voice \voiceA
943 \new Staff \new Voice \voiceB
949 @section Staff notation
951 @cindex Staff notation
953 This section describes music notation that occurs on staff level,
954 such as key signatures, clefs and time signatures.
963 * System start delimiters::
973 The clef indicates which lines of the staff correspond to which
974 pitches. The clef is set with the @code{\clef} command
976 @lilypond[quote,ragged-right,fragment,verbatim]
977 { c''2 \clef alto g'2 }
987 @cindex mezzosoprano clef
988 @cindex baritone clef
989 @cindex varbaritone clef
992 Supported clefs include
994 @multitable @columnfractions .33 .66
995 @headitem Clef @tab Position
996 @item @code{treble}, violin, G, G2 @tab
998 @item @code{alto, C} @tab
1000 @item @code{tenor} @tab
1002 @item @code{bass, F} @tab
1004 @item @code{french} @tab
1005 G clef on 1st line, so-called French violin clef
1006 @item @code{soprano} @tab
1008 @item @code{mezzosoprano} @tab
1010 @item @code{baritone} @tab
1012 @item @code{varbaritone} @tab
1014 @item @code{subbass} @tab
1016 @item @code{percussion} @tab
1018 @item @code{tab} @tab
1022 By adding @code{_8} or @code{^8} to the clef name, the clef is
1023 transposed one octave down or up, respectively, and @code{_15} and
1024 @code{^15} transposes by two octaves. The argument @var{clefname}
1025 must be enclosed in quotes when it contains underscores or digits. For
1028 @cindex choral tenor clef
1029 @lilypond[quote,ragged-right,verbatim,fragment,relative=1]
1036 The command @code{\clef "treble_8"} is equivalent to setting @code{clefGlyph},
1037 @code{clefPosition} (which controls the Y position of the clef),
1038 @code{middleCPosition} and @code{clefOctavation}. A clef is printed
1039 when any of these properties are changed. The following example shows
1040 possibilities when setting properties manually.
1042 @lilypond[quote,ragged-right,verbatim]
1044 \set Staff.clefGlyph = #"clefs.F"
1045 \set Staff.clefPosition = #2
1047 \set Staff.clefGlyph = #"clefs.G"
1049 \set Staff.clefGlyph = #"clefs.C"
1051 \set Staff.clefOctavation = #7
1053 \set Staff.clefOctavation = #0
1054 \set Staff.clefPosition = #0
1058 \set Staff.middleCPosition = #4
1066 Program reference: @internalsref{Clef}.
1070 @subsection Key signature
1072 @cindex Key signature
1075 The key signature indicates the tonality in which a piece is played. It
1076 is denoted by a set of alterations (flats or sharps) at the start of the
1079 Setting or changing the key signature is done with the @code{\key}
1083 @code{\key} @var{pitch} @var{type}
1086 @cindex @code{\minor}
1087 @cindex @code{\major}
1088 @cindex @code{\minor}
1089 @cindex @code{\ionian}
1090 @cindex @code{\locrian}
1091 @cindex @code{\aeolian}
1092 @cindex @code{\mixolydian}
1093 @cindex @code{\lydian}
1094 @cindex @code{\phrygian}
1095 @cindex @code{\dorian}
1096 @cindex church modes
1098 Here, @var{type} should be @code{\major} or @code{\minor} to get
1099 @var{pitch}-major or @var{pitch}-minor, respectively. You may also
1100 use the standard mode names (also called ``church modes''): @code{\ionian},
1101 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
1102 @code{\phrygian}, and @code{\dorian}.
1104 This command sets the context property
1105 @code{Staff.keySignature}. Non-standard key signatures
1106 can be specified by setting this property directly.
1108 Accidentals and key signatures often confuse new users, because
1109 unaltered notes get natural signs depending on the key signature. For
1110 more information, see @ref{More about pitches}.
1115 A natural sign is printed to cancel any previous accidentals. This
1116 can be suppressed by setting the @code{Staff.printKeyCancellation}
1119 @lilypond[quote,fragment,ragged-right,fragment,verbatim,relative=2]
1124 \set Staff.printKeyCancellation = ##f
1134 Program reference: @internalsref{KeyCancellation},
1135 @internalsref{KeySignature}.
1138 @node Time signature
1139 @subsection Time signature
1141 @cindex Time signature
1143 @cindex @code{\time}
1145 Time signature indicates the metrum of a piece: a regular pattern of
1146 strong and weak beats. It is denoted by a fraction at the start of the
1149 The time signature is set with the @code{\time} command
1151 @lilypond[quote,ragged-right,fragment,verbatim]
1152 \time 2/4 c'2 \time 3/4 c'2.
1157 The symbol that is printed can be customized with the @code{style}
1158 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1161 @lilypond[fragment,quote,ragged-right,verbatim]
1164 \override Staff.TimeSignature #'style = #'()
1169 There are many more options for its layout. See @ref{Ancient time
1170 signatures} for more examples.
1172 @code{\time} sets the property @code{timeSignatureFraction},
1173 @code{beatLength} and @code{measureLength} in the @code{Timing}
1174 context, which is normally aliased to @internalsref{Score}. The
1175 property @code{measureLength} determines where bar lines should be
1176 inserted, and how automatic beams should be generated. Changing the
1177 value of @code{timeSignatureFraction} also causes the symbol to be
1180 More options are available through the Scheme function
1181 @code{set-time-signature}. In combination with the
1182 @internalsref{Measure_grouping_engraver}, it will create
1183 @internalsref{MeasureGrouping} signs. Such signs ease reading
1184 rhythmically complex modern music. In the following example, the 9/8
1185 measure is subdivided in 2, 2, 2 and 3. This is passed to
1186 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
1188 @lilypond[quote,ragged-right,verbatim]
1191 #(set-time-signature 9 8 '(2 2 2 3))
1192 g8[ g] d[ d] g[ g] a8[( bes g]) |
1193 #(set-time-signature 5 8 '(3 2))
1199 \consists "Measure_grouping_engraver"
1208 Program reference: @internalsref{TimeSignature}, and
1209 @internalsref{Timing_translator}.
1211 Examples: @inputfileref{input/@/test,compound@/-time@/.ly}.
1216 Automatic beaming does not use the measure grouping specified with
1217 @code{set-time-signature}.
1220 @node Partial measures
1221 @subsection Partial measures
1225 @cindex partial measure
1226 @cindex measure, partial
1227 @cindex shorten measures
1228 @cindex @code{\partial}
1230 Partial measures, such as an anacrusis or upbeat, are entered using the
1232 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1233 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1236 The syntax for this command is
1239 \partial @var{duration}
1242 This is internally translated into
1245 \set Timing.measurePosition = -@var{length of duration}
1248 The property @code{measurePosition} contains a rational number
1249 indicating how much of the measure has passed at this point.
1254 This command does not take into account grace notes at the start of
1255 the music. When a piece starts with graces notes in the pickup, then
1256 the @code{\partial} should follow the grace notes
1258 @lilypond[verbatim,quote,ragged-right,relative,fragment]
1267 @subsection Bar lines
1271 @cindex measure lines
1274 Bar lines delimit measures, but are also used to indicate
1275 repeats. Normally they are inserted automatically. Line
1276 breaks may only happen on bar lines.
1278 Special types of bar lines can be forced with the @code{\bar} command
1280 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1284 The following bar types are available
1286 @lilypondfile[ragged-right,quote]{bar-lines.ly}
1288 To allow a line break where there is no visible bar line, use
1295 This will insert an invisible bar line and allow line breaks at this
1298 In scores with many staves, a @code{\bar} command in one staff is
1299 automatically applied to all staves. The resulting bar lines are
1300 connected between different staves of a StaffGroup
1302 @lilypond[quote,ragged-right,fragment,verbatim]
1310 \new Staff { \clef bass c4 g e g }
1312 \new Staff { \clef bass c2 c2 }
1319 @cindex @code{whichBar}
1320 @cindex @code{repeatCommands}
1321 @cindex @code{defaultBarType}
1323 The command @code{\bar }@var{bartype} is a short cut for doing
1324 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1325 is set to a string, a bar line of that type is created.
1327 A bar line is created whenever the @code{whichBar} property is set.
1328 At the start of a measure it is set to the contents of
1329 @code{Timing.defaultBarType}. The contents of @code{repeatCommands} are used
1330 to override default measure bars.
1332 You are encouraged to use @code{\repeat} for repetitions. See
1338 In this manual: @ref{Repeats}, @ref{System start delimiters}.
1340 Program reference: @internalsref{BarLine} (created at
1341 @internalsref{Staff} level), @internalsref{SpanBar} (across staves).
1343 Examples: @inputfileref{input/@/test,bar@/-lines@/.ly},
1346 @node Unmetered music
1347 @subsection Unmetered music
1350 @cindex @code{\cadenzaOn}
1351 @cindex @code{\cadenzaOff}
1353 Bar lines and bar numbers are calculated automatically. For unmetered
1354 music (cadenzas, for example), this is not desirable. To turn off
1355 automatic bar lines and bar numbers, use the commands @code{\cadenzaOn}
1356 and @code{\cadenzaOff}.
1358 @lilypond[verbatim,quote,ragged-right,relative=2,fragment]
1370 LilyPond will only insert page breaks at a barline. Unless the unmetered
1371 music ends before the end of the staff line, you will need to insert
1379 to indicate where line breaks can occur.
1382 @node System start delimiters
1383 @subsection System start delimiters
1385 @cindex start of system
1386 @cindex Staff, multiple
1387 @cindex bracket, vertical
1388 @cindex brace, vertical
1391 @cindex staff, choir
1393 Many scores consist of more than one staff. These staves can be
1394 joined in four different ways
1397 @item The group is started with a brace at the left, and bar lines are
1398 connected. This is done with the @internalsref{GrandStaff} context.
1400 @lilypond[verbatim,ragged-right,quote]
1408 @item The group is started with a bracket, and bar lines are connected.
1409 This is done with the
1410 @internalsref{StaffGroup} context
1412 @lilypond[verbatim,ragged-right,quote]
1420 @item The group is started with a bracket, but bar lines are not
1421 connected. This is done with the @internalsref{ChoirStaff} context.
1423 @lilypond[verbatim,ragged-right,quote]
1431 @item The group is started with a vertical line. Bar lines are not
1432 connected. This is the default for the score.
1434 @lilypond[verbatim,ragged-right,quote]
1445 The bar lines at the start of each system are
1446 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1447 @internalsref{SystemStartBracket}. Only one of these types is created
1448 in every context, and that type is determined by the property
1449 @code{systemStartDelimiter}.
1453 @subsection Staff symbol
1455 @cindex adjusting staff symbol
1457 Notes, dynamic signs, etc., are grouped
1458 with a set of horizontal lines, called a staff (plural `staves'). In
1459 LilyPond, these lines are drawn using a separate layout object called
1462 The staff symbol may be tuned in the number, thickness and distance
1463 of lines, using properties. This is demonstrated in the example files
1464 @inputfileref{input/@/test,staff@/-lines@/.ly},
1465 @inputfileref{input/@/test,staff@/-size@/.ly}.
1467 In addition, staves may be started and stopped at will. This is done
1468 with @code{\startStaff} and @code{\stopStaff}.
1470 @lilypond[verbatim,relative=2,fragment]
1472 \override Staff.StaffSymbol #'line-count = 2
1473 \stopStaff \startStaff
1475 \revert Staff.StaffSymbol #'line-count
1476 \stopStaff \startStaff
1480 In combination with Frenched staves, this may be used to typeset ossia
1481 sections. An example is in @inputfileref{input/@/test@/,ossia.ly},
1486 @lilypondfile{ossia.ly}
1488 @cindex staff lines, setting number of
1489 @cindex staff lines, setting thickness of
1490 @cindex thickness of staff lines, setting
1491 @cindex number of staff lines, setting
1495 Program reference: @internalsref{StaffSymbol}.
1497 Examples: @inputfileref{input/@/test,staff@/-lines@/.ly},
1498 @inputfileref{input/@/test@/,ossia.ly},
1499 @inputfileref{input/@/test,staff@/-size@/.ly},
1500 @inputfileref{input/@/regression,staff@/-line@/-positions@/.ly}.
1504 @node Connecting notes
1505 @section Connecting notes
1507 This section deals with notation that affects groups of notes.
1513 * Laissez vibrer ties::
1526 A tie connects two adjacent note heads of the same pitch. The tie in
1527 effect extends the length of a note. Ties should not be confused with
1528 slurs, which indicate articulation, or phrasing slurs, which indicate
1529 musical phrasing. A tie is entered using the tilde symbol `@code{~}'
1531 @lilypond[quote,ragged-right,fragment,verbatim]
1532 e' ~ e' <c' e' g'> ~ <c' e' g'>
1535 When a tie is applied to a chord, all note heads whose pitches match
1536 are connected. When no note heads match, no ties will be created.
1538 A tie is just a way of extending a note duration, similar to the
1539 augmentation dot. The following example shows two ways of notating
1540 exactly the same concept
1542 @lilypond[quote,fragment,ragged-right]
1543 \time 3/4 c'2. c'2 ~ c'4
1547 Ties are used either when the note crosses a bar line, or when dots
1548 cannot be used to denote the rhythm. When using ties, larger note
1549 values should be aligned to subdivisions of the measure, such as
1551 @lilypond[fragment,quote,ragged-right]
1553 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
1557 If you need to tie a lot of notes over bars, it may be easier to use
1558 automatic note splitting (see @ref{Automatic note splitting}). This
1559 mechanism automatically splits long notes, and ties them across bar
1562 When a second alternative of a repeat starts with a tied note, you
1563 have to repeat the tie. This can be achieved with @code{\repeatTie},
1565 @lilypond[fragment,quote,ragged-right,relative=2]
1569 @cindex repeating ties
1570 @cindex volta brackets and ties
1574 Ties are sometimes used to write out arpeggios. In this case, two tied
1575 notes need not be consecutive. This can be achieved by setting the
1576 @code{tieWaitForNote} property to true. The same feature is also useful,
1577 for example, to tie a tremolo to a chord. For example,
1579 @lilypond[fragment,verbatim,relative=1,ragged-right]
1580 \set tieWaitForNote = ##t
1581 \grace { c16[~ e~ g]~ } <c, e g>2
1582 \repeat "tremolo" 8 { c32~ c'~ } <c c,>1
1589 @cindex @code{\tieUp}
1591 @cindex @code{\tieDown}
1593 @cindex @code{\tieNeutral}
1595 @cindex @code{\tieDotted}
1597 @cindex @code{\tieDashed}
1599 @cindex @code{\tieSolid}
1605 In this manual: @ref{Automatic note splitting}.
1607 Program reference: @internalsref{Tie}.
1610 @inputfileref{input/@/regression,tie-arpeggio.ly}
1611 @inputfileref{input/@/regression,tie-manual.ly}
1618 Switching staves when a tie is active will not produce a slanted tie.
1626 A slur indicates that notes are to be played bound or
1627 @emph{legato}. They are entered using parentheses
1629 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1630 f( g a) a8 b( a4 g2 f4)
1634 The direction of a slur can be specified with
1635 @code{\slur@emph{DIR}}, where @code{@emph{DIR}} is
1636 either @code{Up}, @code{Down}, or @code{Neutral} (automatically
1639 However, there is a convenient shorthand for forcing slur
1640 directions. By adding @code{_} or @code{^} before the opening
1641 parentheses, the direction is also set. For example,
1643 @lilypond[relative=2,ragged-right,quote,verbatim,fragment]
1647 Only one slur can be printed at once. If you need to print a long
1648 slur over a few small slurs, please see @ref{Phrasing slurs}.
1653 Some composers write two slurs when they want legato chords. This can
1654 be achieved in LilyPond by setting @code{doubleSlurs},
1656 @lilypond[verbatim,ragged-right,relative,fragment,quote]
1657 \set doubleSlurs = ##t
1658 <c e>4 ( <d f> <c e> <d f> )
1664 @cindex @code{\slurUp}
1666 @cindex @code{\slurDown}
1668 @cindex @code{\slurNeutral}
1669 @code{\slurNeutral},
1670 @cindex @code{\slurDashed}
1672 @cindex @code{\slurDotted}
1674 @cindex @code{\slurSolid}
1679 Program reference: @seeinternals{Slur}.
1682 @node Phrasing slurs
1683 @subsection Phrasing slurs
1685 @cindex phrasing slurs
1686 @cindex phrasing marks
1688 A phrasing slur (or phrasing mark) connects notes and is used to
1689 indicate a musical sentence. It is written using @code{\(} and @code{\)}
1692 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
1693 \time 6/4 c'\( d( e) f( e) d\)
1696 Typographically, the phrasing slur behaves almost exactly like a
1697 normal slur. However, they are treated as different objects. A
1698 @code{\slurUp} will have no effect on a phrasing slur; instead, use
1699 @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1700 @code{\phrasingSlurNeutral}.
1702 You cannot have simultaneous phrasing slurs.
1707 @cindex @code{\phrasingSlurUp}
1708 @code{\phrasingSlurUp},
1709 @cindex @code{\phrasingSlurDown}
1710 @code{\phrasingSlurDown},
1711 @cindex @code{\phrasingSlurNeutral}
1712 @code{\phrasingSlurNeutral}.
1717 Program reference: @internalsref{PhrasingSlur}.
1720 @node Laissez vibrer ties
1721 @subsection Laissez vibrer ties
1722 @cindex Laissez vibrer
1723 @cindex Ties, laissez vibrer
1725 L.v. ties (laissez vibrer) indicate that notes must not be damped at the
1726 end. It is used in notation for piano, harp and other string and
1727 percussion instruments. They can be entered using @code{\laissezVibrer},
1729 @lilypond[fragment,ragged-right,verbatim,relative=1]
1730 <c f g>\laissezVibrer
1736 @internalsref{LaissezVibrerTie}
1737 @internalsref{LaissezVibrerTieColumn}
1740 @inputfileref{input/regression,laissez-vibrer-tie.ly}
1743 @node Automatic beams
1744 @subsection Automatic beams
1746 LilyPond inserts beams automatically
1748 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1749 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1752 When these automatic decisions are not good enough, beaming can be
1753 entered explicitly. It is also possible to define beaming patterns
1754 that differ from the defaults. See @ref{Setting automatic beam behavior}
1757 Individual notes may be marked with @code{\noBeam} to prevent them
1760 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1761 \time 2/4 c8 c\noBeam c c
1767 Program reference: @internalsref{Beam}.
1771 @subsection Manual beams
1773 @cindex beams, manual
1777 In some cases it may be necessary to override the automatic beaming
1778 algorithm. For example, the autobeamer will not put beams over rests
1779 or bar lines. Such beams are specified manually by marking the begin
1780 and end point with @code{[} and @code{]}
1782 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1784 r4 r8[ g' a r8] r8 g[ | a] r8
1791 @cindex @code{stemLeftBeamCount}
1792 @cindex @code{stemRightBeamCount}
1794 Normally, beaming patterns within a beam are determined automatically.
1795 If necessary, the properties @code{stemLeftBeamCount} and
1796 @code{stemRightBeamCount} can be used to override the defaults. If
1797 either property is set, its value will be used only once, and then it
1800 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1805 \set stemLeftBeamCount = #1
1810 The property @code{subdivideBeams} can be set in order to subdivide
1811 all 16th or shorter beams at beat positions, as defined by the
1812 @code{beatLength} property.
1814 @lilypond[fragment,quote,relative=2,verbatim]
1816 \set subdivideBeams = ##t
1818 \set Score.beatLength = #(ly:make-moment 1 8)
1821 @cindex @code{subdivideBeams}
1824 For more information about @code{make-moment}, see
1825 @ref{Time administration}.
1827 Line breaks are normally forbidden when beams cross bar lines. This
1828 behavior can be changed by setting @code{allowBeamBreak}.
1830 @cindex @code{allowBeamBreak}
1831 @cindex beams and line breaks
1832 @cindex beams, kneed
1834 @cindex auto-knee-gap
1839 Kneed beams are inserted automatically when a large gap is detected
1840 between the note heads. This behavior can be tuned through the object.
1842 Automatically kneed cross-staff beams cannot be used together with
1843 hidden staves. See @ref{Hiding staves}.
1845 Beams do not avoid collisions with symbols around the notes, such as
1846 texts and accidentals.
1850 @subsection Grace notes
1852 @cindex @code{\grace}
1855 @cindex appoggiatura
1856 @cindex acciaccatura
1858 Grace notes are ornaments that are written out. The most common ones
1859 are acciaccatura, which should be played as very short. It is denoted
1860 by a slurred small note with a slashed stem. The appoggiatura is a
1861 grace note that takes a fixed fraction of the main note, and is
1862 denoted as a slurred note in small print without a slash. They
1863 are entered with the commands @code{\acciaccatura} and
1864 @code{\appoggiatura}, as demonstrated in the following example
1866 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
1867 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
1868 \acciaccatura { g16[ f] } e4
1871 Both are special forms of the @code{\grace} command. By prefixing this
1872 keyword to a music expression, a new one is formed, which will be
1873 printed in a smaller font and takes up no logical time in a measure.
1875 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
1877 \grace { c16[ d16] } c2 c4
1881 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
1882 @code{\grace} command does not start a slur.
1884 Internally, timing for grace notes is done using a second, `grace'
1885 timing. Every point in time consists of two rational numbers: one
1886 denotes the logical time, one denotes the grace timing. The above
1887 example is shown here with timing tuples
1889 @lilypond[quote,ragged-right]
1892 c4 \grace c16 c4 \grace {
1895 \new Lyrics \lyricmode {
1896 \override LyricText #'font-family = #'typewriter
1900 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
1901 \markup { (\fraction 1 4 , 0 ) } 4
1903 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
1904 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
1906 \markup { ( \fraction 2 4 , 0 ) }
1911 The placement of grace notes is synchronized between different staves.
1912 In the following example, there are two sixteenth grace notes for
1913 every eighth grace note
1915 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
1916 << \new Staff { e4 \grace { c16[ d e f] } e4 }
1917 \new Staff { c4 \grace { g8[ b] } c4 } >>
1920 @cindex @code{\afterGrace}
1922 If you want to end a note with a grace, use the @code{\afterGrace}
1923 command. It takes two arguments: the main note, and the grace notes
1924 following the main note.
1926 @lilypond[ragged-right, verbatim,relative=2,fragment]
1927 c1 \afterGrace d1 { c16[ d] } c4
1930 This will put the grace notes after a ``space'' lasting 3/4 of the
1931 length of the main note. The fraction 3/4 can be changed by setting
1932 @code{afterGraceFraction}, ie.
1935 afterGraceFraction = #(cons 7 8)
1939 will put the grace note at 7/8 of the main note.
1941 The same effect can be achieved manually by doing
1943 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1946 { s2 \grace { c16[ d] } } >>
1952 By adjusting the duration of the skip note (here it is a half-note),
1953 the space between the main-note and the grace is adjusted.
1955 A @code{\grace} section will introduce special typesetting settings,
1956 for example, to produce smaller type, and set directions. Hence, when
1957 introducing layout tweaks, they should be inside the grace section,
1959 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1971 The overrides should also be reverted inside the grace section.
1973 The layout of grace sections can be changed throughout the music using
1974 the function @code{add-grace-property}. The following example
1975 undefines the Stem direction for this grace, so stems do not always
1980 #(add-grace-property 'Voice 'Stem 'direction '())
1986 Another option is to change the variables @code{startGraceMusic},
1987 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
1988 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
1989 @code{stopAppoggiaturaMusic}. More information is in the file
1990 @file{ly/@/grace@/-init@/.ly}.
1993 The slash through the stem in acciaccaturas can be obtained
1994 in other situations by @code{\override Stem #'stroke-style = #"grace"}.
1998 Program reference: @internalsref{GraceMusic}.
2003 A score that starts with a @code{\grace} section needs an explicit
2004 @code{\new Voice} declaration, otherwise the main note and the grace
2005 note end up on different staves.
2007 Grace note synchronization can also lead to surprises. Staff notation,
2008 such as key signatures, bar lines, etc., are also synchronized. Take
2009 care when you mix staves with grace notes and staves without, for example,
2011 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2012 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2013 \new Staff { c4 \bar "|:" d4 } >>
2017 This can be remedied by inserting grace skips of the corresponding
2018 durations in the other staves. For the above example
2021 \new Staff @{ c4 \bar "|:" \grace s16 d4 @}
2024 Grace sections should only be used within sequential music
2025 expressions. Nesting or juxtaposing grace sections is not supported,
2026 and might produce crashes or other errors.
2030 @node Expressive marks
2031 @section Expressive marks
2033 Expressive marks help musicians to bring more to the music than simple
2038 * Fingering instructions::
2048 @subsection Articulations
2050 @cindex Articulations
2054 A variety of symbols can appear above and below notes to indicate
2055 different characteristics of the performance. They are added to a note
2056 by adding a dash and the character signifying the
2057 articulation. They are demonstrated here
2059 @lilypondfile[quote,ragged-right]{script-abbreviations.ly}
2061 The meanings of these shorthands can be changed. See
2062 @file{ly/@/script@/-init@/.ly} for examples.
2064 The script is automatically placed, but the direction can be forced as
2065 well. Like other pieces of LilyPond code, @code{_} will place them
2066 below the staff, and @code{^} will place them above.
2068 @lilypond[quote,ragged-right,fragment,verbatim]
2072 Other symbols can be added using the syntax
2073 @var{note}@code{\}@var{name}. Again, they
2074 can be forced up or down using @code{^} and @code{_},
2077 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
2078 c\fermata c^\fermata c_\fermata
2083 @cindex staccatissimo
2093 @cindex organ pedal marks
2102 @cindex prallmordent
2106 @cindex thumb marking
2111 Here is a chart showing all scripts available,
2113 @lilypondfile[ragged-right,quote]{script-chart.ly}
2118 The vertical ordering of scripts is controlled with the
2119 @code{script-priority} property. The lower this number, the closer it
2120 will be put to the note. In this example, the
2121 @internalsref{TextScript} (the sharp symbol) first has the lowest
2122 priority, so it is put lowest in the first example. In the second, the
2123 prall trill (the @internalsref{Script}) has the lowest, so it is on the
2124 inside. When two objects have the same priority, the order in which
2125 they are entered decides which one comes first.
2127 @lilypond[verbatim,relative=3,ragged-right,fragment,quote]
2128 \once \override TextScript #'script-priority = #-100
2129 a4^\prall^\markup { \sharp }
2131 \once \override Script #'script-priority = #-100
2132 a4^\prall^\markup { \sharp }
2138 Program reference: @internalsref{Script}.
2143 These signs appear in the printed output but have no effect on the
2144 MIDI rendering of the music.
2147 @node Fingering instructions
2148 @subsection Fingering instructions
2151 @cindex finger change
2153 Fingering instructions can be entered using
2155 @var{note}-@var{digit}
2157 For finger changes, use markup texts
2159 @lilypond[quote,verbatim,ragged-right,fragment,relative=1]
2161 c^\markup { \finger "2 - 3" }
2164 You can use the thumb-script to indicate that a note should be
2165 played with the thumb (e.g., in cello music)
2166 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
2167 <a_\thumb a'-3>8 <b_\thumb b'-3>
2170 Fingerings for chords can also be added to individual notes
2171 of the chord by adding them after the pitches
2172 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
2173 < c-1 e-2 g-3 b-5 >4
2179 You may exercise greater control over fingering chords by
2180 setting @code{fingeringOrientations}
2182 @lilypond[quote,verbatim,ragged-right,fragment,relative=1]
2183 \set fingeringOrientations = #'(left down)
2184 <c-1 es-2 g-4 bes-5 > 4
2185 \set fingeringOrientations = #'(up right down)
2186 <c-1 es-2 g-4 bes-5 > 4
2189 Using this feature, it is also possible to put fingering instructions
2190 very close to note heads in monophonic music,
2192 @lilypond[verbatim,ragged-right,quote,fragment]
2193 \set fingeringOrientations = #'(right)
2200 Program reference: @internalsref{Fingering}.
2202 Examples: @inputfileref{input/@/regression,finger@/-chords@/.ly}.
2206 @subsection Dynamics
2209 @cindex @code{\pppp}
2218 @cindex @code{\ffff}
2227 Absolute dynamic marks are specified using a command after a note
2228 @code{c4\ff}. The available dynamic marks are @code{\ppppp},
2229 @code{\pppp}, @code{\ppp},
2230 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2231 @code{\fff}, @code{\ffff}, @code{\fp}, @code{\sf}, @code{\sff},
2232 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
2234 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
2235 c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2236 c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
2243 A crescendo mark is started with @code{\<} and terminated with
2244 @code{\!} or an absolute dynamic. A decrescendo is started with
2245 @code{\>} and is also terminated with @code{\!} or an absolute
2246 dynamic. @code{\cr} and @code{\decr} may be used instead of
2247 @code{\<} and @code{\>}. Because these marks are bound to notes, you must
2248 use spacer notes if multiple marks are needed during one note
2250 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2252 << f1 { s4 s4\< s4\! \> s4\! } >>
2256 A hairpin starts at the left edge of the beginning note and ends on the
2257 right edge of the ending note.
2259 In some situations the @code{\espressivo} articulation mark may
2260 be suitable to indicate a crescendo and decrescendo on the one note,
2262 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2263 c2 b4 a g1\espressivo
2266 This may give rise to very short hairpins. Use @code{minimum-length}
2267 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2271 \override Staff.Hairpin #'minimum-length = #5
2278 You can also use a text saying @emph{cresc.} instead of hairpins
2280 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
2291 You can also supply your own texts
2292 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2293 \set crescendoText = \markup { \italic "cresc. poco" }
2294 \set crescendoSpanner = #'dashed-line
2298 To create new dynamic marks or text that should be aligned
2299 with dynamics, see @ref{New dynamic marks}.
2304 Dynamics that occur at, begin on, or end on, the same note
2305 will be vertically aligned. If you want to ensure that dynamics
2306 are aligned when they do not occur on the same note, you can
2307 increase the @code{staff-padding} property.
2310 \override DynamicLineSpanner #'staff-padding = #4
2313 You may also use this property if the dynamics are colliding
2314 with other notation.
2316 Crescendi and decrescendi that end on the first note of a
2317 new line are not printed. To change this behavior, use
2320 \override Score.Hairpin #'after-line-breaking = ##t
2323 Text style dynamic changes (such as cresc. and dim.) are printed with a
2324 dashed line showing their extent. To surpress printing this line, use
2327 \override DynamicTextSpanner #'dash-period = #-1.0
2333 @cindex @code{\dynamicUp}
2335 @cindex @code{\dynamicDown}
2336 @code{\dynamicDown},
2337 @cindex @code{\dynamicNeutral}
2338 @code{\dynamicNeutral}.
2343 Program reference: @internalsref{DynamicText}, @internalsref{Hairpin}.
2344 Vertical positioning of these symbols is handled by
2345 @internalsref{DynamicLineSpanner}.
2349 @subsection Breath marks
2351 Breath marks are entered using @code{\breathe}
2353 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2360 The glyph of the breath mark can be tuned by overriding the
2361 @code{text} property of the @code{BreathingSign} layout object with
2362 any markup text. For example,
2363 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
2365 \override BreathingSign #'text
2366 = #(make-musicglyph-markup "scripts.rvarcomma")
2373 Program reference: @internalsref{BreathingSign}.
2375 Examples: @inputfileref{input/@/regression,breathing@/-sign@/.ly}.
2381 Short trills are printed like normal articulation; see @ref{Articulations}.
2383 Long running trills are made with @code{\startTrillSpan} and
2384 @code{\stopTrillSpan},
2386 @lilypond[verbatim,ragged-right,relative=2,quote,fragment]
2388 << { c1 \startTrillSpan }
2389 { s2. \grace { d16[\stopTrillSpan e] } } >>
2393 @cindex Pitched trills
2395 Trills that should be executed on an explicitly specified pitch can be
2396 typeset with the command @code{pitchedTrill},
2398 @lilypond[ragged-right,verbatim,fragment,relative=1]
2399 \pitchedTrill c4\startTrillSpan fis
2403 The first argument is the main note. The pitch of the second
2404 is printed as a stemless note head in parentheses.
2409 @code{\startTrillSpan},
2410 @cindex @code{\startTrillSpan}
2411 @code{\stopTrillSpan}.
2412 @cindex @code{\stopTrillSpan}
2417 Program reference: @internalsref{TrillSpanner}.
2421 @subsection Glissando
2424 @cindex @code{\glissando}
2426 A glissando is a smooth change in pitch. It is denoted by a line or a
2427 wavy line between two notes. It is requested by attaching
2428 @code{\glissando} to a note
2430 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
2432 \override Glissando #'style = #'zigzag
2439 Program reference: @internalsref{Glissando}.
2441 Example files: @file{input/@/regression/@/glissando@/.ly}.
2446 Printing text over the line (such as @emph{gliss.}) is not supported.
2450 @subsection Arpeggio
2453 @cindex broken chord
2454 @cindex @code{\arpeggio}
2456 You can specify an arpeggio sign (also known as broken chord) on a
2457 chord by attaching an @code{\arpeggio} to a chord
2459 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2463 A square bracket on the left indicates that the player should not
2464 arpeggiate the chord
2466 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2471 The direction of the arpeggio is sometimes denoted by adding an
2472 arrowhead to the wiggly line
2474 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2486 When an arpeggio crosses staves, you may attach an arpeggio to the chords
2487 in both staves and set
2488 @internalsref{PianoStaff}.@code{connectArpeggios}
2490 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2492 \set PianoStaff.connectArpeggios = ##t
2493 \new Staff { <c' e g c>\arpeggio }
2494 \new Staff { \clef bass <c,, e g>\arpeggio }
2502 @cindex @code{\arpeggioUp}
2504 @cindex @code{\arpeggioDown}
2505 @code{\arpeggioDown},
2506 @cindex @code{\arpeggioNeutral}
2507 @code{\arpeggioNeutral},
2508 @cindex @code{\arpeggioBracket}
2509 @code{\arpeggioBracket}.
2514 Notation manual: @ref{Ties}, for writing out arpeggios.
2516 Program reference: @internalsref{Arpeggio}.
2521 It is not possible to mix connected arpeggios and unconnected
2522 arpeggios in one @internalsref{PianoStaff} at the same point in time.
2529 Polyphony in music refers to having more than one voice occurring in
2530 a piece of music. Polyphony in LilyPond refers to having more than
2531 one voice on the same staff.
2535 * Explicitly instantiating voices::
2536 * Collision Resolution::
2540 @node Basic polyphony
2541 @subsection Basic polyphony
2545 The easiest way to enter fragments with more than one voice on a staff
2546 is to enter each voice as a sequence (with @code{@{...@}}), and combine
2547 them simultaneously, separating the voices with @code{\\}
2551 @lilypond[quote,verbatim,fragment]
2552 \new Staff \relative c' {
2555 { g4 f e | d2 e2 } \\
2556 { r8 e4 d c8 ~ | c b16 a b8 g ~ g2 } \\
2562 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
2563 voices are sometimes called ``layers'' in other notation packages}
2565 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
2566 each of these contexts, vertical direction of slurs, stems, etc., is set
2569 These voices are all separate from the voice that contains the notes just
2570 outside the @code{<< \\ >>} construct. This should be noted when making
2571 changes at the voice level. This also means that slurs and ties cannot go
2572 into or out of a @code{<< \\ >>} construct. Conversely, parallel voices
2573 from separate @code{<< \\ >>} constructs on the same staff are the the
2574 same voice. Here is the same example, with different noteheads for each
2575 voice. Note that the change to the note-head style in the main voice does
2577 the inside of the @code{<< \\ >>} constructs. Also, the change to the second
2578 voice in the first @code{<< \\ >>} construct is effective in the second
2579 @code{<< \\ >>}, and the voice is tied across the two constructs.
2581 @lilypond[quote,verbatim,fragment]
2582 \new Staff \relative c' {
2583 \override NoteHead #'style = #'cross
2587 { \override NoteHead #'style = #'triangle
2592 { c8 b16 a b8 g ~ g2 } \\
2593 { \override NoteHead #'style = #'slash s4 b4 c2 }
2598 Polyphony does not change the relationship of notes within a
2599 @code{\relative @{ @}} block. Each note is calculated relative
2600 to the note immediately preceding it.
2603 \relative @{ noteA << noteB \\ noteC >> noteD @}
2606 @code{noteC} is relative to @code{noteB}, not @code{noteA};
2607 @code{noteD} is relative to @code{noteC}, not @code{noteB} or
2610 @node Explicitly instantiating voices
2611 @subsection Explicitly instantiating voices
2613 @internalsref{Voice} contexts can also be instantiated manually
2614 inside a @code{<< >>} block to create polyphonic music, using
2615 @code{\voiceOne}, up to @code{\voiceFour} to assign stem directions
2616 and a horizontal shift for each part.
2620 << \upper \\ \lower >>
2628 \new Voice = "1" @{ \voiceOne \upper @}
2629 \new Voice = "2" @{ \voiceTwo \lower @}
2633 The @code{\voiceXXX} commands set the direction of stems, slurs, ties,
2634 articulations, text annotations, augmentation dots of dotted
2635 notes, and fingerings. @code{\voiceOne} and @code{\voiceThree} make
2636 these objects point upwards, while @code{\voiceTwo} and @code{\voiceFour}
2637 make them point downwards.
2638 The command @code{\oneVoice} will revert back to the normal setting.
2640 An expression that appears directly inside a @code{<< >>} belongs to
2641 the main voice. This is useful when extra voices appear while the main
2642 voice is playing. Here is a more correct rendition of the example from
2643 the previous section. The crossed noteheads demonstrate that the main
2644 melody is now in a single voice context.
2646 @lilypond[quote,ragged-right,verbatim]
2647 \new Staff \relative c' {
2648 \override NoteHead #'style = #'cross
2653 \new Voice="1" { \voiceTwo
2654 r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
2657 \new Voice { \voiceThree
2666 The correct definition of the voices allows the melody to be slurred.
2667 @lilypond[quote,ragged-right,verbatim]
2668 \new Staff \relative c' {
2673 \context Voice="1" { \voiceTwo
2674 r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
2677 \new Voice { \voiceThree
2686 Avoiding the @code{\\} separator also allows nesting polyphony
2687 constructs, which in some case might be a more natural way to typeset
2690 @lilypond[quote,ragged-right,verbatim]
2691 \new Staff \relative c' {
2696 \context Voice="1" { \voiceTwo
2699 {c8 b16 a b8 g ~ g2}
2700 \new Voice { \voiceThree
2713 @node Collision Resolution
2714 @subsection Collision Resolution
2716 Normally, note heads with a different number of dots are not merged, but
2717 when the object property @code{merge-differently-dotted} is set in
2718 the @internalsref{NoteCollision} object, they are merged
2719 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
2722 \override Staff.NoteCollision
2723 #'merge-differently-dotted = ##t
2725 } \\ { g8.[ f16] g8.[ f16] } >>
2728 Similarly, you can merge half note heads with eighth notes, by setting
2729 @code{merge-differently-headed}
2730 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
2733 \override Staff.NoteCollision
2734 #'merge-differently-headed = ##t
2735 c8 c4. } \\ { c2 c2 } >>
2738 LilyPond also vertically shifts rests that are opposite of a stem,
2741 @lilypond[quote,ragged-right,fragment,verbatim]
2742 \new Voice << c''4 \\ r4 >>
2748 @cindex @code{\oneVoice}
2750 @cindex @code{\voiceOne}
2752 @cindex @code{\voiceTwo}
2754 @cindex @code{\voiceThree}
2756 @cindex @code{\voiceFour}
2759 @cindex @code{\shiftOn}
2761 @cindex @code{\shiftOnn}
2763 @cindex @code{\shiftOnnn}
2765 @cindex @code{\shiftOff}
2766 @code{\shiftOff}: these commands specify in what chords of the current
2767 voice should be shifted. The outer voices (normally: voice one and
2768 two) have @code{\shiftOff}, while the inner voices (three and four)
2769 have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define
2770 further shift levels.
2772 When LilyPond cannot cope, the @code{force-hshift}
2773 property of the @internalsref{NoteColumn} object and pitched rests can
2774 be used to override typesetting decisions.
2776 @lilypond[quote,verbatim,ragged-right]
2783 \once \override NoteColumn #'force-hshift = #1.7
2791 Program reference: the objects responsible for resolving collisions are
2792 @internalsref{NoteCollision} and @internalsref{RestCollision}.
2795 @inputfileref{input/@/regression,collision@/-dots@/.ly},
2796 @inputfileref{input/@/regression,collision@/-head-chords@/.ly},
2797 @inputfileref{input/@/regression,collision@/-heads@/.ly},
2798 @inputfileref{input/@/regression,collision@/-mesh@/.ly}, and
2799 @inputfileref{input/@/regression,collisions@/.ly}.
2804 When using @code{merge-differently-headed} with an upstem eighth or a
2805 shorter note, and a downstem half note, the eighth note gets the wrong
2808 There is no support for clusters where the same note occurs with
2809 different accidentals in the same chord. In this case, it is
2810 recommended to use enharmonic transcription, or to use special cluster
2811 notation (see @ref{Clusters}).
2818 Repetition is a central concept in music, and multiple notations exist
2824 * Repeats and MIDI::
2825 * Manual repeat commands::
2827 * Tremolo subdivisions::
2833 @subsection Repeat types
2836 @cindex @code{\repeat}
2838 The following types of repetition are supported
2842 Repeated music is fully written (played) out. This is useful when
2843 entering repetitious music. This is the only kind of repeat that
2844 is included in MIDI output.
2847 Repeats are not written out, but alternative endings (volte) are
2848 printed, left to right with brackets. This is the standard notation
2849 for repeats with alternatives. These are not played in MIDI output by
2854 Alternative endings are written stacked. This has limited use but may be
2855 used to typeset two lines of lyrics in songs with repeats, see
2856 @inputfileref{input,star-spangled-banner@/.ly}.
2860 Make tremolo beams. These are not played in MIDI output by default.
2863 Make beat or measure repeats. These look like percent signs. These
2864 are not played in MIDI output by default. Percent repeats must be
2865 declared within a Voice context.
2871 @subsection Repeat syntax
2873 LilyPond has one syntactic construct for specifying different types of
2874 repeats. The syntax is
2877 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2880 If you have alternative endings, you may add
2881 @cindex @code{\alternative}
2892 where each @var{alternative} is a music expression. If you do not
2893 give enough alternatives for all of the repeats, the first alternative
2894 is assumed to be played more than once.
2896 Standard repeats are used like this
2897 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2899 \repeat volta 2 { c4 d e f }
2900 \repeat volta 2 { f e d c }
2903 With alternative endings
2904 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2906 \repeat volta 2 {c4 d e f}
2907 \alternative { {d2 d} {f f,} }
2910 In this example, the first ending is not a complete bar (it
2911 only had 3 beats). The beginning of the second ending
2912 contains the 4th beat from the first ending. This ``extra''
2913 beat in the second ending is due to the first time ending,
2914 and has nothing to do with the @code{\partial} at the
2915 beginning of the example.
2917 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2920 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2921 \alternative { { g4 g g } { a | a a a a | b2. } }
2925 It is possible to shorten volta brackets
2926 by setting @code{voltaSpannerDuration}. In the next example, the
2927 bracket only lasts one measure, which is a duration of 3/4.
2929 @lilypond[verbatim,ragged-right,quote]
2933 \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4)
2934 \repeat "volta" 5 { d d d }
2935 \alternative { { e e e f f f }
2945 Brackets for the repeat are normally only printed over the topmost
2946 staff. This can be adjusted by setting the @code{voltaOnThisStaff}
2947 property; see @inputfileref{input/@/regression,volta@/-multi@/-staff@/.ly}.
2952 @cindex repeat, ambiguous
2954 A nested repeat like
2963 is ambiguous, since it is is not clear to which @code{\repeat} the
2964 @code{\alternative} belongs. This ambiguity is resolved by always
2965 having the @code{\alternative} belong to the inner @code{\repeat}.
2966 For clarity, it is advisable to use braces in such situations.
2968 Timing information is not remembered at the start of an alternative,
2969 so after a repeat timing information must be reset by hand, for
2970 example by setting @code{Score.measurePosition} or entering
2971 @code{\partial}. Similarly, slurs or ties are also not repeated.
2974 @node Repeats and MIDI
2975 @subsection Repeats and MIDI
2977 @cindex expanding repeats
2978 @cindex @code{\unfoldRepeats}
2980 With a little bit of tweaking, all types of repeats can be present
2981 in the MIDI output. This is achieved by applying the
2982 @code{\unfoldRepeats} music function. This functions changes all
2983 repeats to unfold repeats.
2985 @lilypond[quote,verbatim,fragment,line-width=8.0\cm]
2987 \repeat tremolo 8 {c'32 e' }
2988 \repeat percent 2 { c''8 d'' }
2989 \repeat volta 2 {c'4 d' e' f'}
2998 When creating a score file using @code{\unfoldRepeats} for midi, then
2999 it is necessary to make two @code{\score} blocks. One for MIDI (with
3000 unfolded repeats) and one for notation (with volta, tremolo, and
3001 percent repeats). For example,
3009 \unfoldRepeats @var{..music..}
3015 @node Manual repeat commands
3016 @subsection Manual repeat commands
3018 @cindex @code{repeatCommands}
3020 The property @code{repeatCommands} can be used to control the layout of
3021 repeats. Its value is a Scheme list of repeat commands.
3024 @item @code{start-repeat}
3025 Print a @code{|:} bar line.
3027 @item @code{end-repeat}
3028 Print a @code{:|} bar line.
3030 @item @code{(volta @var{text})}
3031 Print a volta bracket saying @var{text}: The text can be specified as
3032 a text string or as a markup text, see @ref{Text markup}. Do not
3033 forget to change the font, as the default number font does not contain
3034 alphabetic characters;
3036 @item @code{(volta #f)}
3037 Stop a running volta bracket.
3040 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
3042 \set Score.repeatCommands = #'((volta "93") end-repeat)
3044 \set Score.repeatCommands = #'((volta #f))
3051 Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
3052 @internalsref{VoltaRepeatedMusic},
3053 @internalsref{UnfoldedRepeatedMusic}, and
3054 @internalsref{FoldedRepeatedMusic}.
3057 @node Tremolo repeats
3058 @subsection Tremolo repeats
3060 @cindex tremolo beams
3062 To place tremolo marks between notes, use @code{\repeat} with tremolo
3064 @lilypond[quote,verbatim,ragged-right]
3065 \new Voice \relative c' {
3066 \repeat "tremolo" 8 { c16 d16 }
3067 \repeat "tremolo" 4 { c16 d16 }
3068 \repeat "tremolo" 2 { c16 d16 }
3072 Tremolo marks can also be put on a single note. In this case, the
3073 note should not be surrounded by braces.
3074 @lilypond[quote,verbatim,ragged-right]
3075 \repeat "tremolo" 4 c'16
3078 Similar output is obtained using the tremolo subdivision, described in
3079 @ref{Tremolo subdivisions}.
3084 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
3086 Program reference: @internalsref{Beam}, @internalsref{StemTremolo}.
3088 Example files: @inputfileref{input/@/regression,chord@/-tremolo@/.ly},
3089 @inputfileref{input/@/regression,stem@/-tremolo@/.ly}.
3092 @node Tremolo subdivisions
3093 @subsection Tremolo subdivisions
3095 @cindex tremolo marks
3096 @cindex @code{tremoloFlags}
3098 Tremolo marks can be printed on a single note by adding
3099 `@code{:}[@var{number}]' after the note. The number indicates the
3100 duration of the subdivision, and it must be at least 8. A
3101 @var{length} value of 8 gives one line across the note stem. If the
3102 length is omitted, the last value (stored in @code{tremoloFlags}) is
3105 @lilypond[quote,ragged-right,verbatim,fragment]
3106 c'2:8 c':32 | c': c': |
3112 Tremolos entered in this way do not carry over into the MIDI output.
3117 In this manual: @ref{Tremolo repeats}.
3119 Elsewhere: @internalsref{StemTremolo}.
3122 @node Measure repeats
3123 @subsection Measure repeats
3125 @cindex percent repeats
3126 @cindex measure repeats
3128 In the @code{percent} style, a note pattern can be repeated. It is
3129 printed once, and then the pattern is replaced with a special sign.
3130 Patterns of one and two measures are replaced by percent-like signs,
3131 patterns that divide the measure length are replaced by slashes.
3132 Percent repeats must be declared within a @code{Voice} context.
3134 @lilypond[quote,verbatim,ragged-right]
3135 \new Voice \relative c' {
3136 \repeat "percent" 4 { c4 }
3137 \repeat "percent" 2 { c2 es2 f4 fis4 g4 c4 }
3141 Measure repeats of more than 2 measures get a counter, if you switch
3142 on the @code{countPercentRepeats} property,
3144 @lilypond[relative=2,fragment,quote,verbatim,ragged-right]
3146 \set countPercentRepeats = ##t
3147 \repeat "percent" 4 { c1 }
3153 Isolated percents can also be printed. This is done by putting a multi
3154 measure rest with a different print function,
3156 @lilypond[fragment,verbatim]
3157 \override MultiMeasureRest #'stencil
3158 = #ly:multi-measure-rest::percent
3167 Program reference: @internalsref{RepeatSlash},
3168 @internalsref{PercentRepeat}, @internalsref{DoublePercentRepeat},
3169 @internalsref{DoublePercentRepeatCounter},
3170 @internalsref{PercentRepeatCounter},
3171 @internalsref{PercentRepeatedMusic}, and