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.
23 * Multiple notes at once::
35 This section discusses how to specify the pitch of notes.
40 * Cautionary accidentals::
42 * Notes 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{More about pitches}.
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 Notes names in other languages
216 @subsection Notes 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 what about micro-tunes, double-sharps, and double-flats? add
225 @c more columns to the table?
226 @c Oh, and should this be made into a multitable?
227 @cindex note names, other languages
229 Note Names sharp flat
230 nederlands.ly c d e f g a bes b -is -es
231 english.ly c d e f g a bf b -s/-sharp -f/-flat
233 deutsch.ly c d e f g a b h -is -es
234 norsk.ly c d e f g a b h -iss/-is -ess/-es
235 svenska.ly c d e f g a b h -iss -ess
236 italiano.ly do re mi fa sol la sib si -d -b
237 catalan.ly do re mi fa sol la sib si -d/-s -b
238 espanol.ly do re mi fa sol la sib si -s -b
242 @node Relative octaves
243 @subsection Relative octaves
246 @cindex Relative octave specification
249 Octaves are specified by adding @code{'} and @code{,} to pitch names.
250 When you copy existing music, it is easy to accidentally put a pitch
251 in the wrong octave and hard to find such an error. The relative
252 octave mode prevents these errors by making the mistakes much
253 larger: a single error puts the rest of the piece off by one octave
256 \relative @var{startpitch} @var{musicexpr}
263 \relative @var{musicexpr}
267 @code{c'} is used as the default if no starting pitch is defined.
269 The octave of notes that appear in @var{musicexpr} are calculated as
270 follows: if no octave changing marks are used, the basic interval
271 between this and the last note is always taken to be a fourth or
272 less. This distance is determined without regarding alterations; a
273 @code{fisis} following a @code{ceses} will be put above the
274 @code{ceses}. In other words, a doubly-augmented fourth is considered
275 a smaller interval than a diminished fifth, even though the
276 doubly-augmented fourth spans seven semitones while the diminished
277 fifth only spans six semitones.
279 The octave changing marks @code{'} and @code{,} can be added to raise
280 or lower the pitch by an extra octave. Upon entering relative mode,
281 an absolute starting pitch can be specified that will act as the
282 predecessor of the first note of @var{musicexpr}. If no starting pitch
283 is specified, then middle C is used as a start.
285 Here is the relative mode shown in action
286 @lilypond[quote,fragment,ragged-right,verbatim]
292 Octave changing marks are used for intervals greater than a fourth
294 @lilypond[quote,ragged-right,fragment,verbatim]
300 If the preceding item is a chord, the first note of the chord is used
301 to determine the first note of the next chord
303 @lilypond[quote,ragged-right,fragment,verbatim]
311 The pitch after @code{\relative} contains a note name.
313 The relative conversion will not affect @code{\transpose},
314 @code{\chordmode} or @code{\relative} sections in its argument. To use
315 relative within transposed music, an additional @code{\relative} must
316 be placed inside @code{\transpose}.
320 @subsection Octave check
324 Octave checks make octave errors easier to correct: a note may be
325 followed by @code{=}@var{quotes} which indicates what its absolute
326 octave should be. In the following example,
329 \relative c'' @{ c='' b=' d,='' @}
333 the @code{d} will generate a warning, because a @code{d''} is expected
334 (because @code{b'} to @code{d''} is only a third), but a @code{d'} is
335 found. In the output, the octave is corrected to be a @code{d''} and
336 the next note is calculated relative to @code{d''} instead of @code{d'}.
338 There is also an octave check that produces no visible output. The syntax
344 This checks that @var{pitch} (without quotes) yields @var{pitch} (with
345 quotes) in @code{\relative} mode compared to the note given in the
346 @code{\relative} command. If not, a warning is printed, and the
347 octave is corrected. The @var{pitch} is not printed as a note.
349 In the example below, the first check passes without incident, since
350 the @code{e} (in @code{relative} mode) is within a fifth of
352 the second check produces a warning, since the @code{e} is not within
353 a fifth of @code{b'}. The warning message is printed, and the octave
354 is adjusted so that the following notes are in the correct octave
366 The octave of a note following an octave check is determined with
367 respect to the note preceding it. In the next fragment, the last note
368 is an @code{a'}, above middle C. That means that the @code{\octave}
369 check passes successfully, so the check could be deleted without changing
370 the output of the piece.
372 @lilypond[quote,ragged-right,verbatim,fragment]
382 @subsection Transpose
385 @cindex Transposition of pitches
388 A music expression can be transposed with @code{\transpose}. The
391 \transpose @var{from} @var{to} @var{musicexpr}
394 This means that @var{musicexpr} is transposed by the interval between
395 the pitches @var{from} and @var{to}: any note with pitch @code{from}
396 is changed to @code{to}.
398 For example, consider a piece written in the key of D-major. If
399 this piece is a little too low for its performer, it can be
400 transposed up to E-major with
402 \transpose d e @dots{}
405 Consider a part written for violin (a C instrument). If
406 this part is to be played on the A clarinet (for which an
407 A is notated as a C, and which sounds a minor third lower
408 than notated), the following
409 transposition will produce the appropriate part
412 \transpose a c @dots{}
415 @code{\transpose} distinguishes between enharmonic pitches: both
416 @code{\transpose c cis} or @code{\transpose c des} will transpose up
417 half a tone. The first version will print sharps and the second
418 version will print flats
420 @lilypond[quote,ragged-right,verbatim]
421 mus = { \key d \major cis d fis g }
430 @code{\transpose} may also be used to input written notes for a
431 transposing instrument. Pitches are normally entered into LilyPond
432 in C (or @q{concert pitch}), but they may be entered in another
433 key. For example, when entering music for a B-flat trumpet which
434 begins on concert D, one would write
437 \transpose c bes @{ e4 @dots{} @}
440 To print this music in B-flat again (i.e., producing a trumpet part,
441 instead of a concert pitch conductor's score) you would wrap the
442 existing music with another @code{transpose}
445 \transpose bes c @{ \transpose c bes @{ e4 @dots{} @} @}
451 Program reference: @internalsref{TransposedMusic}.
453 Example: @inputfileref{input/@/test,smart@/-transpose@/.ly}.
458 If you want to use both @code{\transpose} and @code{\relative},
459 you must put @code{\transpose} outside of @code{\relative}, since
460 @code{\relative} will have no effect on music that appears inside a
471 Rests are entered like notes with the note name @code{r}
473 @lilypond[fragment,quote,ragged-right,verbatim]
477 Whole bar rests, centered in middle of the bar,
478 must be done with multi-measure rests. They can be used for a
479 single bar as well as many bars, and are discussed in
480 @ref{Multi measure rests}.
482 To explicitly specify a rest's vertical position, write a note
483 followed by @code{\rest}. A rest will be placed in the position
484 where the note would appear,
486 @lilypond[fragment,quote,ragged-right,verbatim]
491 This makes manual formatting of
492 polyphonic music much easier, since the automatic rest collision
493 formatter will leave these rests alone.
497 Program reference: @internalsref{Rest}.
504 @cindex Invisible rest
509 An invisible rest (also called a @q{skip}) can be entered like a note
510 with note name @samp{s} or with @code{\skip @var{duration}}
512 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
513 a4 a4 s4 a4 \skip 1 a4
516 The @code{s} syntax is only available in note mode and chord mode. In
517 other situations, for example, when entering lyrics, you should use
518 the @code{\skip} command
520 @lilypond[quote,ragged-right,verbatim]
523 \new Lyrics \lyricmode { \skip 2 bla2 }
527 The skip command is merely an empty musical placeholder. It does not
528 produce any output, not even transparent output.
530 The @code{s} skip command does create @internalsref{Staff} and
531 @internalsref{Voice} when necessary, similar to note and rest
532 commands. For example, the following results in an empty staff.
534 @lilypond[quote,ragged-right,verbatim]
538 The fragment @code{@{ \skip 4 @} } would produce an empty page.
542 Program reference: @internalsref{SkipMusic}.
549 This section discusses rhythms, durations, and bars.
553 * Augmentation dots::
555 * Scaling durations::
558 * Automatic note splitting::
563 @subsection Durations
570 In Note, Chord, and Lyrics mode, durations are designated by numbers and
571 dots: durations are entered as their reciprocal values. For example, a
572 quarter note is entered using a @code{4} (since it is a 1/4 note), while
573 a half note is entered using a @code{2} (since it is a 1/2 note). For
574 notes longer than a whole you must use the @code{\longa} and
575 @code{\breve} commands
579 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
581 r1 r2 r4 r8 r16 r32 r64 r64
587 a\breve*1/2 \autoBeamOff
588 a1 a2 a4 a8 a16 a32 a64 a64
591 r\longa*1/4 r\breve *1/2
592 r1 r2 r4 r8 r16 r32 r64 r64
599 \remove "Bar_number_engraver"
603 \remove "Clef_engraver"
604 \override StaffSymbol #'transparent = ##t
605 \override TimeSignature #'transparent = ##t
606 \override BarLine #'transparent = ##t
607 \consists "Pitch_squash_engraver"
613 If the duration is omitted then it is set to the previously entered
614 duration. The default for the first note is a quarter note.
616 @lilypond[quote,ragged-right,verbatim,fragment]
617 { a a a2 a a4 a a1 a }
621 @node Augmentation dots
622 @subsection Augmentation dots
626 To obtain dotted note lengths, simply add a dot (@samp{.}) to
627 the number. Double-dotted notes are produced in a similar way.
629 @lilypond[quote,ragged-right,fragment,verbatim]
630 a'4 b' c''4. b'8 a'4. b'4.. c''8.
635 Dots are normally moved up to avoid staff lines, except in polyphonic
636 situations. The following commands may be used to force a particular
643 @funindex \dotsNeutral
648 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
658 Tuplets are made out of a music expression by multiplying all durations
662 \times @var{fraction} @var{musicexpr}
666 The duration of @var{musicexpr} will be multiplied by the fraction.
667 The fraction's denominator will be printed over the notes, optionally
668 with a bracket. The most common tuplet is the triplet in which 3
669 notes have the length of 2, so the notes are 2/3 of their written
672 @lilypond[quote,ragged-right,fragment,verbatim]
673 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
676 Tuplets may be nested, for example,
678 @lilypond[fragment,ragged-right,verbatim,relative=2]
679 \override TupletNumber #'text = #tuplet-number::calc-fraction-text
682 \times 3/5 { a a a a a }
690 @funindex \tupletDown
692 @funindex \tupletNeutral
693 @code{\tupletNeutral}.
698 @funindex tupletNumberFormatFunction
699 @cindex tuplet formatting
701 The property @code{tupletSpannerDuration} specifies how long each
702 bracket should last. With this, you can make lots of tuplets while
703 typing @code{\times} only once, thus saving lots of typing. In the next
704 example, there are two triplets shown, while @code{\times} was only
707 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
708 \set tupletSpannerDuration = #(ly:make-moment 1 4)
709 \times 2/3 { c8 c c c c c }
713 For more information about @code{make-moment}, see
714 @ref{Time administration}.
716 The format of the number is determined by the property @code{text} in
717 @code{TupletNumber}. The default prints only the denominator, but if
718 it is set to the function @code{tuplet-number::calc-fraction-text},
719 @var{num}:@var{den} will be printed instead.
721 To avoid printing tuplet numbers, use
723 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
724 \times 2/3 { c8 c c } \times 2/3 { c8 c c }
725 \override TupletNumber #'transparent = ##t
726 \times 2/3 { c8 c c } \times 2/3 { c8 c c }
729 Tuplet brackets can be made to run to prefatory matter or
732 @lilypond[ragged-right]
734 \set tupletFullLength = ##t
739 \set tupletFullLengthNote = ##t
752 Program reference: @internalsref{TupletBracket},
753 @internalsref{TupletNumber}, and @internalsref{TimeScaledMusic}.
755 Examples: @inputfileref{input/@/regression,tuplet@/-nest@/.ly}.
759 @node Scaling durations
760 @subsection Scaling durations
762 You can alter the length of duration by a fraction @var{N/M}
763 appending @samp{*@var{N/M}} (or @samp{*@var{N}} if @var{M=1}). This
764 will not affect the appearance of the notes or rests produced.
766 In the following example, the first three notes take up exactly two
767 beats, but no triplet bracket is printed.
768 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
770 a4*2/3 gis4*2/3 a4*2/3
778 This manual: @ref{Tuplets}
782 @subsection Bar check
785 @funindex barCheckSynchronize
788 Bar checks help detect errors in the durations. A bar check is
789 entered using the bar symbol, @samp{|}. 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.
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 Automatic note splitting
842 @subsection Automatic note splitting
844 Long notes can be converted automatically to tied notes. This is done
845 by replacing the @internalsref{Note_heads_engraver} by the
846 @internalsref{Completion_heads_engraver}.
847 In the following examples, notes crossing the bar line are split and tied.
849 @lilypond[quote,fragment,verbatim,relative=1,line-width=12\cm]
851 \remove "Note_heads_engraver"
852 \consists "Completion_heads_engraver"
854 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
858 This engraver splits all running notes at the bar line, and inserts
859 ties. One of its uses is to debug complex scores: if the measures are
860 not entirely filled, then the ties exactly show how much each measure
863 If you want to allow line breaking on the bar lines where
864 @internalsref{Completion_heads_engraver} splits notes, you must
865 also remove @internalsref{Forbid_line_breaks_engraver}.
870 Not all durations (especially those containing tuplets) can be
871 represented exactly with normal notes and dots, but the engraver will
874 @code{Completion_heads_engraver} only affects notes; it does not split
880 Examples: @inputfileref{input/@/regression,completion@/-heads@/.ly}.
884 Program reference: @internalsref{Completion_heads_engraver}.
887 @node Multiple notes at once
888 @section Multiple notes at once
890 Polyphony in music refers to having more than one voice occurring in
891 a piece of music. Polyphony in LilyPond refers to having more than
892 one voice on the same staff.
898 * Explicitly instantiating voices::
899 * Collision Resolution::
908 A chord is formed by a enclosing a set of pitches between @code{<}
909 and @code{>}. A chord may be followed by a duration, and a set of
910 articulations, just like simple notes
912 @lilypond[verbatim,ragged-right,fragment,quote,relative=1]
916 For more information about chords, see @ref{Chord names}.
922 Whenever a note is found, a @internalsref{Stem} object is created
923 automatically. For whole notes and rests, they are also created but
932 @funindex \stemNeutral
938 To change the direction of stems in the middle of the staff, use
940 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
942 \override Stem #'neutral-direction = #up
944 \override Stem #'neutral-direction = #down
949 @node Basic polyphony
950 @subsection Basic polyphony
954 The easiest way to enter fragments with more than one voice on a staff
955 is to enter each voice as a sequence (with @code{@{...@}}), and combine
956 them simultaneously, separating the voices with @code{\\}
960 @lilypond[quote,verbatim,fragment]
961 \new Staff \relative c' {
964 { g4 f e | d2 e2 } \\
965 { r8 e4 d c8 ~ | c b16 a b8 g ~ g2 } \\
971 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
972 voices are sometimes called @q{layers} in other notation packages}
974 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
975 each of these contexts, vertical direction of slurs, stems, etc., is set
978 These voices are all separate from the voice that contains the notes just
979 outside the @code{<< \\ >>} construct. This should be noted when making
980 changes at the voice level. This also means that slurs and ties cannot go
981 into or out of a @code{<< \\ >>} construct. Conversely, parallel voices
982 from separate @code{<< \\ >>} constructs on the same staff are the the
983 same voice. Here is the same example, with different noteheads for each
984 voice. Note that the change to the note-head style in the main voice does
986 the inside of the @code{<< \\ >>} constructs. Also, the change to the
988 voice in the first @code{<< \\ >>} construct is effective in the second
989 @code{<< \\ >>}, and the voice is tied across the two constructs.
991 @cindex note heads, styles
993 @lilypond[quote,verbatim,fragment]
994 \new Staff \relative c' {
995 \override NoteHead #'style = #'cross
999 { \override NoteHead #'style = #'triangle
1004 { c8 b16 a b8 g ~ g2 } \\
1005 { \override NoteHead #'style = #'slash s4 b4 c2 }
1010 Polyphony does not change the relationship of notes within a
1011 @code{\relative @{ @}} block. Each note is calculated relative
1012 to the note immediately preceding it.
1015 \relative @{ noteA << noteB \\ noteC >> noteD @}
1018 @code{noteC} is relative to @code{noteB}, not @code{noteA};
1019 @code{noteD} is relative to @code{noteC}, not @code{noteB} or
1022 @node Explicitly instantiating voices
1023 @subsection Explicitly instantiating voices
1025 @internalsref{Voice} contexts can also be instantiated manually
1026 inside a @code{<< >>} block to create polyphonic music, using
1027 @code{\voiceOne}, up to @code{\voiceFour} to assign stem directions
1028 and a horizontal shift for each part.
1032 << \upper \\ \lower >>
1040 \new Voice = "1" @{ \voiceOne \upper @}
1041 \new Voice = "2" @{ \voiceTwo \lower @}
1045 The @code{\voiceXXX} commands set the direction of stems, slurs, ties,
1046 articulations, text annotations, augmentation dots of dotted
1047 notes, and fingerings. @code{\voiceOne} and @code{\voiceThree} make
1048 these objects point upwards, while @code{\voiceTwo} and @code{\voiceFour}
1049 make them point downwards.
1050 The command @code{\oneVoice} will revert back to the normal setting.
1052 An expression that appears directly inside a @code{<< >>} belongs to
1053 the main voice. This is useful when extra voices appear while the main
1054 voice is playing. Here is a more correct rendition of the example from
1055 the previous section. The crossed noteheads demonstrate that the main
1056 melody is now in a single voice context.
1058 @lilypond[quote,ragged-right,verbatim]
1059 \new Staff \relative c' {
1060 \override NoteHead #'style = #'cross
1065 \new Voice="1" { \voiceTwo
1066 r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
1069 \new Voice { \voiceThree
1078 The correct definition of the voices allows the melody to be slurred.
1079 @lilypond[quote,ragged-right,verbatim]
1080 \new Staff \relative c' {
1085 \context Voice="1" { \voiceTwo
1086 r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
1089 \new Voice { \voiceThree
1098 Avoiding the @code{\\} separator also allows nesting polyphony
1099 constructs, which in some case might be a more natural way to typeset
1102 @lilypond[quote,ragged-right,verbatim]
1103 \new Staff \relative c' {
1108 \context Voice="1" { \voiceTwo
1111 {c8 b16 a b8 g ~ g2}
1112 \new Voice { \voiceThree
1125 @node Collision Resolution
1126 @subsection Collision Resolution
1128 Normally, note heads with a different number of dots are not merged, but
1129 when the object property @code{merge-differently-dotted} is set in
1130 the @internalsref{NoteCollision} object, they are merged
1131 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
1134 \override Staff.NoteCollision
1135 #'merge-differently-dotted = ##t
1137 } \\ { g8.[ f16] g8.[ f16] } >>
1140 Similarly, you can merge half note heads with eighth notes, by setting
1141 @code{merge-differently-headed}
1142 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
1145 \override Staff.NoteCollision
1146 #'merge-differently-headed = ##t
1147 c8 c4. } \\ { c2 c2 } >>
1151 @code{merge-differently-headed} and @code{merge-differently-dotted}
1152 only apply to opposing stem directions (ie. Voice 1 & 2).
1154 LilyPond also vertically shifts rests that are opposite of a stem,
1157 @lilypond[quote,ragged-right,fragment,verbatim]
1158 \new Voice << c''4 \\ r4 >>
1170 @funindex \voiceThree
1172 @funindex \voiceFour
1179 @funindex \shiftOnnn
1182 @code{\shiftOff}: these commands specify in what chords of the current
1183 voice should be shifted. The outer voices (normally: voice one and
1184 two) have @code{\shiftOff}, while the inner voices (three and four)
1185 have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define
1186 further shift levels.
1188 When LilyPond cannot cope, the @code{force-hshift}
1189 property of the @internalsref{NoteColumn} object and pitched rests can
1190 be used to override typesetting decisions.
1192 @lilypond[quote,verbatim,ragged-right]
1199 \once \override NoteColumn #'force-hshift = #1.7
1207 Program reference: the objects responsible for resolving collisions are
1208 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1211 @inputfileref{input/@/regression,collision@/-dots@/.ly},
1212 @inputfileref{input/@/regression,collision@/-head-chords@/.ly},
1213 @inputfileref{input/@/regression,collision@/-heads@/.ly},
1214 @inputfileref{input/@/regression,collision@/-mesh@/.ly}, and
1215 @inputfileref{input/@/regression,collisions@/.ly}.
1220 When using @code{merge-differently-headed} with an upstem eighth or a
1221 shorter note, and a downstem half note, the eighth note gets the wrong
1224 There is no support for clusters where the same note occurs with
1225 different accidentals in the same chord. In this case, it is
1226 recommended to use enharmonic transcription, or to use special cluster
1227 notation (see @ref{Clusters}).
1231 @node Staff notation
1232 @section Staff notation
1234 @cindex Staff notation
1236 This section describes music notation that occurs on staff level,
1237 such as key signatures, clefs and time signatures.
1243 * Partial measures::
1246 * System start delimiters::
1248 * Writing music in parallel::
1257 The clef indicates which lines of the staff correspond to which
1258 pitches. The clef is set with the @code{\clef} command
1260 @lilypond[quote,ragged-right,fragment,verbatim]
1261 { c''2 \clef alto g'2 }
1270 @cindex soprano clef
1271 @cindex mezzosoprano clef
1272 @cindex baritone clef
1273 @cindex varbaritone clef
1274 @cindex subbass clef
1276 Supported clefs include
1278 @multitable @columnfractions .33 .66
1279 @headitem Clef @tab Position
1280 @item @code{treble}, violin, G, G2 @tab
1282 @item @code{alto, C} @tab
1284 @item @code{tenor} @tab
1286 @item @code{bass, F} @tab
1288 @item @code{french} @tab
1289 G clef on 1st line, so-called French violin clef
1290 @item @code{soprano} @tab
1292 @item @code{mezzosoprano} @tab
1294 @item @code{baritone} @tab
1296 @item @code{varbaritone} @tab
1298 @item @code{subbass} @tab
1300 @item @code{percussion} @tab
1302 @item @code{tab} @tab
1306 By adding @code{_8} or @code{^8} to the clef name, the clef is
1307 transposed one octave down or up, respectively, and @code{_15} and
1308 @code{^15} transposes by two octaves. The argument @var{clefname}
1309 must be enclosed in quotes when it contains underscores or digits. For
1312 @cindex choral tenor clef
1313 @lilypond[quote,ragged-right,verbatim,fragment,relative=1]
1320 The command @code{\clef "treble_8"} is equivalent to setting
1322 @code{clefPosition} (which controls the Y position of the clef),
1323 @code{middleCPosition} and @code{clefOctavation}. A clef is printed
1324 when any of these properties are changed. The following example shows
1325 possibilities when setting properties manually.
1327 @lilypond[quote,ragged-right,verbatim]
1329 \set Staff.clefGlyph = #"clefs.F"
1330 \set Staff.clefPosition = #2
1332 \set Staff.clefGlyph = #"clefs.G"
1334 \set Staff.clefGlyph = #"clefs.C"
1336 \set Staff.clefOctavation = #7
1338 \set Staff.clefOctavation = #0
1339 \set Staff.clefPosition = #0
1343 \set Staff.middleCPosition = #4
1351 Manual: @ref{Grace notes}.
1353 Program reference: @internalsref{Clef}.
1357 @subsection Key signature
1359 @cindex Key signature
1362 The key signature indicates the tonality in which a piece is played. It
1363 is denoted by a set of alterations (flats or sharps) at the start of the
1366 Setting or changing the key signature is done with the @code{\key}
1370 @code{\key} @var{pitch} @var{type}
1379 @funindex \mixolydian
1383 @cindex church modes
1385 Here, @var{type} should be @code{\major} or @code{\minor} to get
1386 @var{pitch}-major or @var{pitch}-minor, respectively. You may also
1387 use the standard mode names (also called @q{church modes}): @code{\ionian},
1388 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
1389 @code{\phrygian}, and @code{\dorian}.
1391 This command sets the context property
1392 @code{Staff.keySignature}. Non-standard key signatures
1393 can be specified by setting this property directly.
1395 Accidentals and key signatures often confuse new users, because
1396 unaltered notes get natural signs depending on the key signature. For
1397 more information, see @ref{Accidentals} or @ref{More about pitches}.
1399 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1408 A natural sign is printed to cancel any previous accidentals. This
1409 can be suppressed by setting the @code{Staff.printKeyCancellation}
1412 @lilypond[quote,fragment,ragged-right,fragment,verbatim,relative=2]
1417 \set Staff.printKeyCancellation = ##f
1427 Program reference: @internalsref{KeyCancellation},
1428 @internalsref{KeySignature}.
1431 @node Time signature
1432 @subsection Time signature
1434 @cindex Time signature
1438 Time signature indicates the metrum of a piece: a regular pattern of
1439 strong and weak beats. It is denoted by a fraction at the start of the
1442 The time signature is set with the @code{\time} command
1444 @lilypond[quote,ragged-right,fragment,verbatim]
1445 \time 2/4 c'2 \time 3/4 c'2.
1450 The symbol that is printed can be customized with the @code{style}
1451 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1454 @lilypond[fragment,quote,ragged-right,verbatim]
1457 \override Staff.TimeSignature #'style = #'()
1462 There are many more options for its layout. See @ref{Ancient time
1463 signatures} for more examples.
1465 @code{\time} sets the property @code{timeSignatureFraction},
1466 @code{beatLength} and @code{measureLength} in the @code{Timing}
1467 context, which is normally aliased to @internalsref{Score}. The
1468 property @code{measureLength} determines where bar lines should be
1469 inserted, and how automatic beams should be generated. Changing the
1470 value of @code{timeSignatureFraction} also causes the symbol to be
1473 More options are available through the Scheme function
1474 @code{set-time-signature}. In combination with the
1475 @internalsref{Measure_grouping_engraver}, it will create
1476 @internalsref{MeasureGrouping} signs. Such signs ease reading
1477 rhythmically complex modern music. In the following example, the 9/8
1478 measure is subdivided in 2, 2, 2 and 3. This is passed to
1479 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
1481 @lilypond[quote,ragged-right,verbatim]
1484 #(set-time-signature 9 8 '(2 2 2 3))
1485 g8[ g] d[ d] g[ g] a8[( bes g]) |
1486 #(set-time-signature 5 8 '(3 2))
1492 \consists "Measure_grouping_engraver"
1501 Program reference: @internalsref{TimeSignature}, and
1502 @internalsref{Timing_translator}.
1504 Examples: @inputfileref{input/@/test,compound@/-time@/.ly}.
1509 Automatic beaming does not use the measure grouping specified with
1510 @code{set-time-signature}.
1513 @node Partial measures
1514 @subsection Partial measures
1518 @cindex partial measure
1519 @cindex measure, partial
1520 @cindex shorten measures
1523 Partial measures, such as an anacrusis or upbeat, are entered using the
1525 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1526 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1529 The syntax for this command is
1532 \partial @var{duration}
1535 where @code{duration} is the rhythmic length to be added before
1538 This is internally translated into
1541 \set Timing.measurePosition = -@var{length of duration}
1544 The property @code{measurePosition} contains a rational number
1545 indicating how much of the measure has passed at this point. Note
1546 that this is a negative number; @code{\partial 4} is internally
1547 translated to mean @qq{there is a quarter note left in the bar.}
1552 This command does not take into account grace notes at the start of
1553 the music. When a piece starts with graces notes in the pickup, then
1554 the @code{\partial} should follow the grace notes
1556 @lilypond[verbatim,quote,ragged-right,relative,fragment]
1563 @code{\partial} is only intended to be used at the beginning of a
1564 piece. If you use it after the beginning, some odd warnings may
1569 @subsection Bar lines
1573 @cindex measure lines
1576 Bar lines delimit measures, but are also used to indicate
1577 repeats. Normally they are inserted automatically. Line
1578 breaks may only happen on bar lines.
1580 Special types of bar lines can be forced with the @code{\bar} command
1582 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1586 The following bar types are available
1588 @lilypondfile[ragged-right,quote]{bar-lines.ly}
1590 In addition, you can specify @code{"||:"}, which is equivalent to
1591 @code{"|:"} except at line breaks, where it gives a double bar line at
1592 the end of the line and a start repeat at the beginning of the next
1595 To allow a line break where there is no visible bar line, use
1602 This will insert an invisible bar line and allow line breaks at this
1603 point (without increasing the bar number counter).
1605 In scores with many staves, a @code{\bar} command in one staff is
1606 automatically applied to all staves. The resulting bar lines are
1607 connected between different staves of a @code{StaffGroup},
1608 @code{PianoStaff}, or @code{ChoirStaff}.
1610 @lilypond[quote,ragged-right,fragment,verbatim]
1618 \new Staff { \clef bass c4 g e g }
1620 \new Staff { \clef bass c2 c2 }
1628 @funindex repeatCommands
1629 @funindex defaultBarType
1631 The command @code{\bar }@var{bartype} is a short cut for doing
1632 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1633 is set to a string, a bar line of that type is created.
1635 A bar line is created whenever the @code{whichBar} property is set.
1636 At the start of a measure it is set to the contents of
1637 @code{Timing.defaultBarType}. The contents of @code{repeatCommands} are
1639 to override default measure bars.
1641 You are encouraged to use @code{\repeat} for repetitions. See
1647 In this manual: @ref{Repeats}, @ref{System start delimiters}.
1649 Program reference: @internalsref{BarLine} (created at
1650 @internalsref{Staff} level), @internalsref{SpanBar} (across staves).
1653 @node Unmetered music
1654 @subsection Unmetered music
1657 @funindex \cadenzaOn
1658 @funindex \cadenzaOff
1660 Bar lines and bar numbers are calculated automatically. For unmetered
1661 music (cadenzas, for example), this is not desirable. To turn off
1662 automatic bar lines and bar numbers, use the commands @code{\cadenzaOn}
1663 and @code{\cadenzaOff}.
1665 @lilypond[verbatim,quote,ragged-right,relative=2,fragment]
1677 LilyPond will only insert line breaks and page breaks at a
1678 barline. Unless the unmetered music ends before the end of
1679 the staff line, you will need to insert
1687 to indicate where breaks can occur.
1690 @node System start delimiters
1691 @subsection System start delimiters
1693 @cindex start of system
1694 @cindex Staff, multiple
1695 @cindex bracket, vertical
1696 @cindex brace, vertical
1699 @cindex staff, choir
1701 Many scores consist of more than one staff. These staves can be
1702 joined in four different ways
1705 @item The group is started with a brace at the left, and bar lines are
1706 connected. This is done with the @internalsref{GrandStaff} context.
1708 @lilypond[verbatim,ragged-right,quote]
1716 @item The group is started with a bracket, and bar lines are connected.
1717 This is done with the
1718 @internalsref{StaffGroup} context
1720 @lilypond[verbatim,ragged-right,quote]
1728 @item The group is started with a bracket, but bar lines are not
1729 connected. This is done with the @internalsref{ChoirStaff} context.
1731 @lilypond[verbatim,ragged-right,quote]
1739 @item The group is started with a vertical line. Bar lines are not
1740 connected. This is the default for the score.
1742 @lilypond[verbatim,ragged-right,quote]
1753 The bar lines at the start of each system are
1754 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1755 @internalsref{SystemStartBracket}. Only one of these types is created
1756 in every context, and that type is determined by the property
1757 @internalsref{systemStartDelimiter}.
1762 System start delimiters may be deeply nested,
1764 @lilypond[quote,ragged-right,verbatim]
1767 \set StaffGroup.systemStartDelimiterHierarchy
1768 = #'(SystemStartSquare (SystemStartBracket a (SystemStartSquare b)) d)
1779 @subsection Staff symbol
1781 @cindex adjusting staff symbol
1783 Notes, dynamic signs, etc., are grouped
1784 with a set of horizontal lines, called a staff (plural @q{staves}). In
1785 LilyPond, these lines are drawn using a separate layout object called
1786 @code{staff symbol}.
1788 The staff symbol may be tuned in the number, thickness and distance
1789 of lines, using properties. This is demonstrated in the example files
1790 @inputfileref{input/@/test,staff@/-lines@/.ly},
1791 @inputfileref{input/@/test,staff@/-size@/.ly}.
1793 In addition, staves may be started and stopped at will. This is done
1794 with @code{\startStaff} and @code{\stopStaff}.
1796 @lilypond[verbatim,relative=2,fragment]
1798 \override Staff.StaffSymbol #'line-count = 2
1799 \stopStaff \startStaff
1801 \revert Staff.StaffSymbol #'line-count
1802 \stopStaff \startStaff
1806 In combination with Frenched staves, this may be used to typeset ossia
1807 sections. An example is shown here
1811 @lilypondfile{ossia.ly}
1813 @cindex staff lines, setting number of
1814 @cindex staff lines, setting thickness of
1815 @cindex thickness of staff lines, setting
1816 @cindex number of staff lines, setting
1820 Program reference: @internalsref{StaffSymbol}.
1822 Examples: @inputfileref{input/@/test,staff@/-lines@/.ly},
1823 @inputfileref{input/@/test@/,ossia.ly},
1824 @inputfileref{input/@/test,staff@/-size@/.ly},
1825 @inputfileref{input/@/regression,staff@/-line@/-positions@/.ly}.
1828 @node Writing music in parallel
1829 @subsection Writing music in parallel
1831 @cindex Writing music in parallel
1832 @cindex Interleaved music
1834 Music for multiple parts can be interleaved
1836 @lilypond[quote,fragment,verbatim]
1837 \parallelMusic #'(voiceA voiceB) {
1838 r8 g'16[ c''] e''[ g' c'' e''] r8 g'16[ c''] e''[ g' c'' e''] |
1840 r8 a'16[ d''] f''[ a' d'' f''] r8 a'16[ d''] f''[ a' d'' f''] |
1844 \new Staff \new Voice \voiceA
1845 \new Staff \new Voice \voiceB
1849 This works quite well for piano music
1851 @lilypond[quote,verbatim]
1855 \parallelMusic #'(voiceA voiceB voiceC voiceD) {
1857 r8 g'16[ c''] e''[ g' c'' e''] r8 g'16[ c''] e''[ g' c''
1860 r8 a16[ d'] f'[ a d' f'] r8 a16[ d'] f'[ a d' f'] |
1864 a'8 b' c'' d'' e'' f'' g'' a'' |
1866 c16 d e f d e f g e f g a f g a b |
1892 @node Connecting notes
1893 @section Connecting notes
1895 This section deals with notation that affects groups of notes.
1901 * Laissez vibrer ties::
1914 A tie connects two adjacent note heads of the same pitch. The tie in
1915 effect extends the length of a note. Ties should not be confused with
1916 slurs, which indicate articulation, or phrasing slurs, which indicate
1917 musical phrasing. A tie is entered using the tilde symbol @samp{~}
1919 @lilypond[quote,ragged-right,fragment,verbatim]
1920 e' ~ e' <c' e' g'> ~ <c' e' g'>
1923 When a tie is applied to a chord, all note heads whose pitches match
1924 are connected. When no note heads match, no ties will be created. Chords
1925 may be partially tied by placing the tie inside the chord,
1927 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
1928 <c~ e g~ b> <c e g b>
1931 A tie is just a way of extending a note duration, similar to the
1932 augmentation dot. The following example shows two ways of notating
1933 exactly the same concept
1935 @lilypond[quote,fragment,ragged-right]
1936 \time 3/4 c'2. c'2 ~ c'4
1940 Ties are used either when the note crosses a bar line, or when dots
1941 cannot be used to denote the rhythm. When using ties, larger note
1942 values should be aligned to subdivisions of the measure, such as
1944 @lilypond[fragment,quote,ragged-right]
1946 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
1950 If you need to tie a lot of notes over bars, it may be easier to use
1951 automatic note splitting (see @ref{Automatic note splitting}). This
1952 mechanism automatically splits long notes, and ties them across bar
1955 @funindex \repeatTie
1957 When a second alternative of a repeat starts with a tied note, you
1958 have to repeat the tie. This can be achieved with @code{\repeatTie},
1960 @lilypond[fragment,quote,ragged-right,relative=2]
1964 @cindex repeating ties
1965 @cindex volta brackets and ties
1969 Ties are sometimes used to write out arpeggios. In this case, two tied
1970 notes need not be consecutive. This can be achieved by setting the
1971 @code{tieWaitForNote} property to true. The same feature is also useful,
1972 for example, to tie a tremolo to a chord. For example,
1974 @lilypond[fragment,verbatim,relative=1,ragged-right,quote]
1975 \set tieWaitForNote = ##t
1976 \grace { c16[~ e~ g]~ } <c, e g>2
1977 \repeat "tremolo" 8 { c32~ c'~ } <c c,>1
1978 e8~ c~ a~ f~ <e' c a f>2
1981 Ties may be engraved manually by changing the @code{tie-configuration}
1982 property. The first number indicates the distance from the center
1983 of the staff in staff-spaces, and the second number indicates the
1984 direction (1=up, -1=down).
1986 @lilypond[fragment,verbatim,relative=1,ragged-right,quote]
1988 \override TieColumn #'tie-configuration =
1989 #'((0.0 . 1) (-2.0 . 1) (-4.0 . 1))
2001 @funindex \tieNeutral
2003 @funindex \tieDotted
2005 @funindex \tieDashed
2013 In this manual: @ref{Automatic note splitting}.
2015 Program reference: @internalsref{Tie}.
2018 @inputfileref{input/@/regression,tie-arpeggio.ly}
2019 @inputfileref{input/@/regression,tie-manual.ly}
2026 Switching staves when a tie is active will not produce a slanted tie.
2028 Changing clefs or octavations during a tie is not really
2029 well-defined. In these cases, a slur may be preferable.
2037 A slur indicates that notes are to be played bound or
2038 @emph{legato}. They are entered using parentheses
2040 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
2041 f( g a) a8 b( a4 g2 f4)
2045 The direction of a slur can be specified with
2046 @code{\slur@emph{DIR}}, where @code{@emph{DIR}} is
2047 either @code{Up}, @code{Down}, or @code{Neutral} (automatically
2050 However, there is a convenient shorthand for forcing slur
2051 directions. By adding @code{_} or @code{^} before the opening
2052 parentheses, the direction is also set. For example,
2054 @lilypond[relative=2,ragged-right,quote,verbatim,fragment]
2058 Only one slur can be printed at once. If you need to print a long
2059 slur over a few small slurs, please see @ref{Phrasing slurs}.
2064 Some composers write two slurs when they want legato chords. This can
2065 be achieved in LilyPond by setting @code{doubleSlurs},
2067 @lilypond[verbatim,ragged-right,relative,fragment,quote]
2068 \set doubleSlurs = ##t
2069 <c e>4 ( <d f> <c e> <d f> )
2079 @funindex \slurNeutral
2080 @code{\slurNeutral},
2081 @funindex \slurDashed
2083 @funindex \slurDotted
2085 @funindex \slurSolid
2090 Program reference: @seeinternals{Slur}.
2093 @node Phrasing slurs
2094 @subsection Phrasing slurs
2096 @cindex phrasing slurs
2097 @cindex phrasing marks
2099 A phrasing slur (or phrasing mark) connects notes and is used to
2100 indicate a musical sentence. It is written using @code{\(} and @code{\)}
2103 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
2104 \time 6/4 c'\( d( e) f( e) d\)
2107 Typographically, the phrasing slur behaves almost exactly like a
2108 normal slur. However, they are treated as different objects. A
2109 @code{\slurUp} will have no effect on a phrasing slur; instead, use
2110 @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
2111 @code{\phrasingSlurNeutral}.
2113 You cannot have simultaneous phrasing slurs.
2118 @funindex \phrasingSlurUp
2119 @code{\phrasingSlurUp},
2120 @funindex \phrasingSlurDown
2121 @code{\phrasingSlurDown},
2122 @funindex \phrasingSlurNeutral
2123 @code{\phrasingSlurNeutral}.
2128 Program reference: @internalsref{PhrasingSlur}.
2131 @node Laissez vibrer ties
2132 @subsection Laissez vibrer ties
2133 @cindex Laissez vibrer
2134 @cindex Ties, laissez vibrer
2136 L.v. ties (laissez vibrer) indicate that notes must not be damped at the
2137 end. It is used in notation for piano, harp and other string and
2138 percussion instruments. They can be entered using @code{\laissezVibrer},
2140 @lilypond[fragment,ragged-right,verbatim,relative=1]
2141 <c f g>\laissezVibrer
2147 @internalsref{LaissezVibrerTie}
2148 @internalsref{LaissezVibrerTieColumn}
2151 @inputfileref{input/regression,laissez-vibrer-tie.ly}
2154 @node Automatic beams
2155 @subsection Automatic beams
2157 LilyPond inserts beams automatically
2159 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2160 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
2163 When these automatic decisions are not good enough, beaming can be
2164 entered explicitly. It is also possible to define beaming patterns
2165 that differ from the defaults. See @ref{Setting automatic beam behavior}
2168 Individual notes may be marked with @code{\noBeam} to prevent them
2171 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2172 \time 2/4 c8 c\noBeam c c
2178 Program reference: @internalsref{Beam}.
2182 @subsection Manual beams
2184 @cindex beams, manual
2188 In some cases it may be necessary to override the automatic beaming
2189 algorithm. For example, the autobeamer will not put beams over rests
2190 or bar lines. Such beams are specified manually by marking the begin
2191 and end point with @code{[} and @code{]}
2193 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2195 r4 r8[ g' a r8] r8 g[ | a] r8
2202 @funindex stemLeftBeamCount
2203 @funindex stemRightBeamCount
2205 Normally, beaming patterns within a beam are determined automatically.
2206 If necessary, the properties @code{stemLeftBeamCount} and
2207 @code{stemRightBeamCount} can be used to override the defaults. If
2208 either property is set, its value will be used only once, and then it
2211 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2216 \set stemLeftBeamCount = #1
2221 The property @code{subdivideBeams} can be set in order to subdivide
2222 all 16th or shorter beams at beat positions, as defined by the
2223 @code{beatLength} property.
2225 @lilypond[fragment,quote,relative=2,verbatim]
2227 \set subdivideBeams = ##t
2229 \set Score.beatLength = #(ly:make-moment 1 8)
2232 @funindex subdivideBeams
2235 For more information about @code{make-moment}, see
2236 @ref{Time administration}.
2238 Line breaks are normally forbidden when beams cross bar lines. This
2239 behavior can be changed by setting @code{allowBeamBreak}.
2241 @funindex allowBeamBreak
2242 @cindex beams and line breaks
2243 @cindex beams, kneed
2245 @cindex auto-knee-gap
2250 Kneed beams are inserted automatically when a large gap is detected
2251 between the note heads. This behavior can be tuned through the object.
2253 Automatically kneed cross-staff beams cannot be used together with
2254 hidden staves. See @ref{Hiding staves}.
2256 Beams do not avoid collisions with symbols around the notes, such as
2257 texts and accidentals.
2261 @subsection Grace notes
2266 @cindex appoggiatura
2267 @cindex acciaccatura
2269 Grace notes are ornaments that are written out. The most common ones
2270 are acciaccatura, which should be played as very short. It is denoted
2271 by a slurred small note with a slashed stem. The appoggiatura is a
2272 grace note that takes a fixed fraction of the main note, and is
2273 denoted as a slurred note in small print without a slash. They
2274 are entered with the commands @code{\acciaccatura} and
2275 @code{\appoggiatura}, as demonstrated in the following example
2277 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2278 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2279 \acciaccatura { g16[ f] } e4
2282 Both are special forms of the @code{\grace} command. By prefixing this
2283 keyword to a music expression, a new one is formed, which will be
2284 printed in a smaller font and takes up no logical time in a measure.
2286 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2288 \grace { c16[ d16] } c2 c4
2292 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2293 @code{\grace} command does not start a slur.
2295 Internally, timing for grace notes is done using a second, @q{grace}
2296 timing. Every point in time consists of two rational numbers: one
2297 denotes the logical time, one denotes the grace timing. The above
2298 example is shown here with timing tuples
2300 @lilypond[quote,ragged-right]
2303 c4 \grace c16 c4 \grace {
2306 \new Lyrics \lyricmode {
2307 \override LyricText #'font-family = #'typewriter
2311 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2312 \markup { (\fraction 1 4 , 0 ) } 4
2314 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2315 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2317 \markup { ( \fraction 2 4 , 0 ) }
2322 The placement of grace notes is synchronized between different staves.
2323 In the following example, there are two sixteenth grace notes for
2324 every eighth grace note
2326 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2327 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2328 \new Staff { c4 \grace { g8[ b] } c4 } >>
2331 @funindex \afterGrace
2333 If you want to end a note with a grace, use the @code{\afterGrace}
2334 command. It takes two arguments: the main note, and the grace notes
2335 following the main note.
2337 @lilypond[ragged-right, verbatim,relative=2,fragment]
2338 c1 \afterGrace d1 { c16[ d] } c4
2341 This will put the grace notes after a @q{space} lasting 3/4 of the
2342 length of the main note. The fraction 3/4 can be changed by setting
2343 @code{afterGraceFraction}, ie.
2346 afterGraceFraction = #(cons 7 8)
2350 will put the grace note at 7/8 of the main note.
2352 The same effect can be achieved manually by doing
2354 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2357 { s2 \grace { c16[ d] } } >>
2363 By adjusting the duration of the skip note (here it is a half-note),
2364 the space between the main-note and the grace is adjusted.
2366 A @code{\grace} section will introduce special typesetting settings,
2367 for example, to produce smaller type, and set directions. Hence, when
2368 introducing layout tweaks, they should be inside the grace section,
2371 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2383 The overrides should also be reverted inside the grace section.
2385 The layout of grace sections can be changed throughout the music using
2386 the function @code{add-grace-property}. The following example
2387 undefines the @code{Stem} direction for this grace, so
2388 that stems do not always point up.
2392 #(add-grace-property 'Voice 'Stem 'direction '())
2398 Another option is to change the variables @code{startGraceMusic},
2399 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2400 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2401 @code{stopAppoggiaturaMusic}. More information is in the file
2402 @file{ly/@/grace@/-init@/.ly}.
2405 The slash through the stem in acciaccaturas can be obtained
2406 in other situations by @code{\override Stem #'stroke-style = #"grace"}.
2411 Grace notes may be forced to use floating spacing,
2413 @lilypond[relative=2,ragged-right]
2415 \override Score.SpacingSpanner #'strict-grace-spacing = ##t
2424 c'16[ c'16 c'16 c'16]
2425 c'16[ c'16 c'16 c'16]
2434 Program reference: @internalsref{GraceMusic}.
2439 A score that starts with a @code{\grace} section needs an explicit
2440 @code{\new Voice} declaration, otherwise the main note and the grace
2441 note end up on different staves.
2443 Grace note synchronization can also lead to surprises. Staff notation,
2444 such as key signatures, bar lines, etc., are also synchronized. Take
2445 care when you mix staves with grace notes and staves without, for example,
2447 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2448 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2449 \new Staff { c4 \bar "|:" d4 } >>
2453 This can be remedied by inserting grace skips of the corresponding
2454 durations in the other staves. For the above example
2457 \new Staff @{ c4 \bar "|:" \grace s16 d4 @}
2460 Grace sections should only be used within sequential music
2461 expressions. Nesting or juxtaposing grace sections is not supported,
2462 and might produce crashes or other errors.
2466 @node Expressive marks
2467 @section Expressive marks
2469 Expressive marks help musicians to bring more to the music than simple
2474 * Fingering instructions::
2485 @subsection Articulations
2487 @cindex Articulations
2491 A variety of symbols can appear above and below notes to indicate
2492 different characteristics of the performance. They are added to a note
2493 by adding a dash and the character signifying the
2494 articulation. They are demonstrated here
2496 @lilypondfile[quote,ragged-right]{script-abbreviations.ly}
2498 The meanings of these shorthands can be changed. See
2499 @file{ly/@/script@/-init@/.ly} for examples.
2501 The script is automatically placed, but the direction can be forced as
2502 well. Like other pieces of LilyPond code, @code{_} will place them
2503 below the staff, and @code{^} will place them above.
2505 @lilypond[quote,ragged-right,fragment,verbatim]
2509 Other symbols can be added using the syntax
2510 @var{note}@code{\}@var{name}. Again, they
2511 can be forced up or down using @code{^} and @code{_},
2514 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
2515 c\fermata c^\fermata c_\fermata
2520 @cindex staccatissimo
2530 @cindex organ pedal marks
2539 @cindex prallmordent
2543 @cindex thumb marking
2548 Here is a chart showing all scripts available,
2550 @lilypondfile[ragged-right,quote]{script-chart.ly}
2555 The vertical ordering of scripts is controlled with the
2556 @code{script-priority} property. The lower this number, the closer it
2557 will be put to the note. In this example, the
2558 @internalsref{TextScript} (the sharp symbol) first has the lowest
2559 priority, so it is put lowest in the first example. In the second, the
2560 prall trill (the @internalsref{Script}) has the lowest, so it is on the
2561 inside. When two objects have the same priority, the order in which
2562 they are entered decides which one comes first.
2564 @lilypond[verbatim,relative=3,ragged-right,fragment,quote]
2565 \once \override TextScript #'script-priority = #-100
2566 a4^\prall^\markup { \sharp }
2568 \once \override Script #'script-priority = #-100
2569 a4^\prall^\markup { \sharp }
2575 Program reference: @internalsref{Script}.
2580 These signs appear in the printed output but have no effect on the
2581 MIDI rendering of the music.
2584 @node Fingering instructions
2585 @subsection Fingering instructions
2588 @cindex finger change
2590 Fingering instructions can be entered using
2592 @var{note}-@var{digit}
2594 For finger changes, use markup texts
2596 @lilypond[quote,verbatim,ragged-right,fragment,relative=1]
2598 c^\markup { \finger "2 - 3" }
2601 You can use the thumb-script to indicate that a note should be
2602 played with the thumb (e.g., in cello music)
2603 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
2604 <a_\thumb a'-3>8 <b_\thumb b'-3>
2607 Fingerings for chords can also be added to individual notes
2608 of the chord by adding them after the pitches
2609 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
2610 < c-1 e-2 g-3 b-5 >4
2616 You may exercise greater control over fingering chords by
2617 setting @code{fingeringOrientations}
2619 @lilypond[quote,verbatim,ragged-right,fragment,relative=1]
2620 \set fingeringOrientations = #'(left down)
2621 <c-1 es-2 g-4 bes-5 > 4
2622 \set fingeringOrientations = #'(up right down)
2623 <c-1 es-2 g-4 bes-5 > 4
2626 Using this feature, it is also possible to put fingering instructions
2627 very close to note heads in monophonic music,
2629 @lilypond[verbatim,ragged-right,quote,fragment]
2630 \set fingeringOrientations = #'(right)
2637 Program reference: @internalsref{Fingering}.
2639 Examples: @inputfileref{input/@/regression,finger@/-chords@/.ly}.
2643 @subsection Dynamics
2664 Absolute dynamic marks are specified using a command after a note
2665 @code{c4\ff}. The available dynamic marks are @code{\ppppp},
2666 @code{\pppp}, @code{\ppp},
2667 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2668 @code{\fff}, @code{\ffff}, @code{\fp}, @code{\sf}, @code{\sff},
2669 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
2671 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
2672 c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2673 c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
2680 A crescendo mark is started with @code{\<} and terminated with
2681 @code{\!} or an absolute dynamic. A decrescendo is started with
2682 @code{\>} and is also terminated with @code{\!} or an absolute
2683 dynamic. @code{\cr} and @code{\decr} may be used instead of
2684 @code{\<} and @code{\>}. Because these marks are bound to notes, you must
2685 use spacer notes if multiple marks are needed during one note
2687 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2689 << f1 { s4 s4\< s4\! \> s4\! } >>
2693 A hairpin normally starts at the left edge of the beginning note
2694 and ends on the right edge of the ending note. If the ending
2695 note falls on the downbeat, the hairpin ends on the immediately
2696 preceding barline. This may be modified by setting the
2697 @code{hairpinToBarline} property,
2699 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2700 \set hairpinToBarline = ##f
2704 In some situations the @code{\espressivo} articulation mark may
2705 be suitable to indicate a crescendo and decrescendo on the one note,
2707 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2708 c2 b4 a g1\espressivo
2711 This may give rise to very short hairpins. Use @code{minimum-length}
2712 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2716 \override Voice.Hairpin #'minimum-length = #5
2722 Hairpins may be printed with a circled tip (al niente notation) by
2723 setting the @code{circled-tip} property,
2725 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
2726 \override Hairpin #'circled-tip = ##t
2736 You can also use text saying @emph{cresc.} instead of hairpins
2738 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
2749 You can also supply your own texts
2750 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2751 \set crescendoText = \markup { \italic "cresc. poco" }
2752 \set crescendoSpanner = #'dashed-line
2756 To create new dynamic marks or text that should be aligned
2757 with dynamics, see @ref{New dynamic marks}.
2762 Dynamics that occur at, begin on, or end on, the same note
2763 will be vertically aligned. If you want to ensure that dynamics
2764 are aligned when they do not occur on the same note, you can
2765 increase the @code{staff-padding} property.
2768 \override DynamicLineSpanner #'staff-padding = #4
2771 You may also use this property if the dynamics are colliding
2772 with other notation.
2774 Crescendi and decrescendi that end on the first note of a
2775 new line are not printed. To change this behavior, use
2778 \override Score.Hairpin #'after-line-breaking = ##t
2781 Text style dynamic changes (such as @emph{cresc.} and @emph{dim.})
2783 dashed line showing their extent. To surpress printing this line, use
2786 \override DynamicTextSpanner #'dash-period = #-1.0
2792 @funindex \dynamicUp
2794 @funindex \dynamicDown
2795 @code{\dynamicDown},
2796 @funindex \dynamicNeutral
2797 @code{\dynamicNeutral}.
2802 Program reference: @internalsref{DynamicText}, @internalsref{Hairpin}.
2803 Vertical positioning of these symbols is handled by
2804 @internalsref{DynamicLineSpanner}.
2808 @subsection Breath marks
2810 Breath marks are entered using @code{\breathe}
2812 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2819 The glyph of the breath mark can be tuned by overriding the
2820 @code{text} property of the @code{BreathingSign} layout object with
2821 any markup text. For example,
2822 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
2824 \override BreathingSign #'text
2825 = #(make-musicglyph-markup "scripts.rvarcomma")
2832 Program reference: @internalsref{BreathingSign}.
2834 Examples: @inputfileref{input/@/regression,breathing@/-sign@/.ly}.
2840 Short trills are printed like normal articulation; see @ref{Articulations}.
2842 Long running trills are made with @code{\startTrillSpan} and
2843 @code{\stopTrillSpan},
2845 @lilypond[verbatim,ragged-right,relative=2,quote,fragment]
2847 << { c1 \startTrillSpan }
2848 { s2. \grace { d16[\stopTrillSpan e] } } >>
2852 @cindex Pitched trills
2854 Trills that should be executed on an explicitly specified pitch can be
2855 typeset with the command @code{pitchedTrill},
2857 @lilypond[ragged-right,verbatim,fragment,relative=1,quote]
2858 \pitchedTrill c4\startTrillSpan fis
2862 The first argument is the main note. The pitch of the second
2863 is printed as a stemless note head in parentheses.
2868 @code{\startTrillSpan},
2869 @funindex \startTrillSpan
2870 @code{\stopTrillSpan}.
2871 @funindex \stopTrillSpan
2876 Program reference: @internalsref{TrillSpanner}.
2880 @subsection Glissando
2883 @funindex \glissando
2885 A glissando is a smooth change in pitch. It is denoted by a line or a
2886 wavy line between two notes. It is requested by attaching
2887 @code{\glissando} to a note
2889 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
2891 \override Glissando #'style = #'zigzag
2898 Program reference: @internalsref{Glissando}.
2900 Example files: @file{input/@/regression/@/glissando@/.ly}.
2905 Printing text over the line (such as @emph{gliss.}) is not supported.
2909 @subsection Arpeggio
2912 @cindex broken chord
2915 You can specify an arpeggio sign (also known as broken chord) on a
2916 chord by attaching an @code{\arpeggio} to a chord
2918 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2922 A square bracket on the left indicates that the player should not
2923 arpeggiate the chord
2925 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2930 The direction of the arpeggio is sometimes denoted by adding an
2931 arrowhead to the wiggly line
2933 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2945 When an arpeggio crosses staves, you may attach an arpeggio to the chords
2946 in both staves and set
2947 @internalsref{PianoStaff}.@code{connectArpeggios}
2949 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2951 \set PianoStaff.connectArpeggios = ##t
2952 \new Staff { <c' e g c>\arpeggio }
2953 \new Staff { \clef bass <c,, e g>\arpeggio }
2961 @funindex \arpeggioUp
2963 @funindex \arpeggioDown
2964 @code{\arpeggioDown},
2965 @funindex \arpeggioNeutral
2966 @code{\arpeggioNeutral},
2967 @funindex \arpeggioBracket
2968 @code{\arpeggioBracket}.
2973 Notation manual: @ref{Ties}, for writing out arpeggios.
2975 Program reference: @internalsref{Arpeggio}.
2980 It is not possible to mix connected arpeggios and unconnected
2981 arpeggios in one @internalsref{PianoStaff} at the same point in time.
2984 @node Falls and doits
2985 @subsection Falls and doits
2987 Falls and doits can be added to notes using the @code{\bendAfter}
2990 @lilypond[fragment,ragged-right,relative=2]
2991 \override Score.SpacingSpanner #'shortest-duration-space = #3.0
3000 Repetition is a central concept in music, and multiple notations exist
3006 * Repeats and MIDI::
3007 * Manual repeat commands::
3009 * Tremolo subdivisions::
3015 @subsection Repeat types
3020 The following types of repetition are supported
3024 Repeated music is fully written (played) out. This is useful when
3025 entering repetitious music. This is the only kind of repeat that
3026 is included in MIDI output.
3029 Repeats are not written out, but alternative endings (volte) are
3030 printed, left to right with brackets. This is the standard notation
3031 for repeats with alternatives. These are not played in MIDI output by
3036 Make tremolo beams. These are not played in MIDI output by default.
3039 Make beat or measure repeats. These look like percent signs. These
3040 are not played in MIDI output by default. Percent repeats must be
3041 declared within a @code{Voice} context.
3047 @subsection Repeat syntax
3051 @cindex seconda volta
3053 LilyPond has one syntactic construct for specifying different types of
3054 repeats. The syntax is
3057 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
3060 If you have alternative endings, you may add
3061 @funindex \alternative
3072 where each @var{alternative} is a music expression. If you do not
3073 give enough alternatives for all of the repeats, the first alternative
3074 is assumed to be played more than once.
3076 Standard repeats are used like this
3078 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
3080 \repeat volta 2 { c4 d e f }
3081 \repeat volta 2 { f e d c }
3084 With alternative endings
3086 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
3088 \repeat volta 2 {c4 d e f}
3089 \alternative { {d2 d} {f f,} }
3092 In the following example, the first ending is not a complete
3093 bar (it only had 3 beats). The beginning of the second ending
3094 contains the 4th beat from the first ending. This @q{extra}
3095 beat in the second ending is due to the first time ending,
3096 and has nothing to do with the @code{\partial} at the
3097 beginning of the example.
3099 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
3102 \repeat volta 4 { e | c2 d2 | e2 f2 | }
3103 \alternative { { g4 g g } { a | a a a a | b2. } }
3107 @funindex \repeatTie
3109 Ties may be added to a second ending,
3111 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
3113 \repeat volta 2 {c4 d e f ~ }
3114 \alternative { {f2 d} {f\repeatTie f,} }
3117 It is possible to shorten volta brackets
3118 by setting @code{voltaSpannerDuration}. In the next example, the
3119 bracket only lasts one measure, which is a duration of 3/4.
3121 @lilypond[verbatim,ragged-right,quote]
3125 \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4)
3126 \repeat "volta" 5 { d d d }
3127 \alternative { { e e e f f f }
3137 Brackets for the repeat are normally only printed over the topmost
3138 staff. This can be adjusted by setting the @code{voltaOnThisStaff}
3139 property; see @inputfileref{input/@/regression,volta@/-multi@/-staff@/.ly}.
3144 @cindex repeat, ambiguous
3146 A nested repeat like
3155 is ambiguous, since it is is not clear to which @code{\repeat} the
3156 @code{\alternative} belongs. This ambiguity is resolved by always
3157 having the @code{\alternative} belong to the inner @code{\repeat}.
3158 For clarity, it is advisable to use braces in such situations.
3160 Timing information is not remembered at the start of an alternative,
3161 so after a repeat timing information must be reset by hand; for
3162 example, by setting @code{Score.measurePosition} or entering
3163 @code{\partial}. Similarly, slurs or ties are also not repeated.
3165 Volta brackets are not vertically aligned.
3168 @node Repeats and MIDI
3169 @subsection Repeats and MIDI
3171 @cindex expanding repeats
3172 @funindex \unfoldRepeats
3174 With a little bit of tweaking, all types of repeats can be present
3175 in the MIDI output. This is achieved by applying the
3176 @code{\unfoldRepeats} music function. This function changes all
3177 repeats to unfold repeats.
3179 @lilypond[quote,verbatim,fragment,line-width=8.0\cm]
3181 \repeat tremolo 8 {c'32 e' }
3182 \repeat percent 2 { c''8 d'' }
3183 \repeat volta 2 {c'4 d' e' f'}
3192 When creating a score file using @code{\unfoldRepeats} for MIDI,
3193 it is necessary to make two @code{\score} blocks: one for MIDI (with
3194 unfolded repeats) and one for notation (with volta, tremolo, and
3195 percent repeats). For example,
3203 \unfoldRepeats @var{..music..}
3209 @node Manual repeat commands
3210 @subsection Manual repeat commands
3212 @funindex repeatCommands
3214 The property @code{repeatCommands} can be used to control the layout of
3215 repeats. Its value is a Scheme list of repeat commands.
3218 @item @code{start-repeat}
3219 Print a @code{|:} bar line.
3221 @item @code{end-repeat}
3222 Print a @code{:|} bar line.
3224 @item @code{(volta @var{text})}
3225 Print a volta bracket saying @var{text}: The text can be specified as
3226 a text string or as a markup text, see @ref{Text markup}. Do not
3227 forget to change the font, as the default number font does not contain
3228 alphabetic characters;
3230 @item @code{(volta #f)}
3231 Stop a running volta bracket.
3234 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
3236 \set Score.repeatCommands = #'((volta "93") end-repeat)
3238 \set Score.repeatCommands = #'((volta #f))
3245 Program reference: @internalsref{VoltaBracket},
3246 @internalsref{RepeatedMusic},
3247 @internalsref{VoltaRepeatedMusic},
3248 @internalsref{UnfoldedRepeatedMusic}, and
3249 @internalsref{FoldedRepeatedMusic}.
3252 @node Tremolo repeats
3253 @subsection Tremolo repeats
3255 @cindex tremolo beams
3257 To place tremolo marks between notes, use @code{\repeat} with tremolo
3259 @lilypond[quote,verbatim,ragged-right]
3260 \new Voice \relative c' {
3261 \repeat "tremolo" 8 { c16 d16 }
3262 \repeat "tremolo" 4 { c16 d16 }
3263 \repeat "tremolo" 2 { c16 d16 }
3267 Tremolo marks can also be put on a single note. In this case, the
3268 note should not be surrounded by braces.
3269 @lilypond[quote,verbatim,ragged-right]
3270 \repeat "tremolo" 4 c'16
3273 Similar output is obtained using the tremolo subdivision, described in
3274 @ref{Tremolo subdivisions}.
3279 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
3281 Program reference: @internalsref{Beam}, @internalsref{StemTremolo}.
3283 Example files: @inputfileref{input/@/regression,chord@/-tremolo@/.ly},
3284 @inputfileref{input/@/regression,stem@/-tremolo@/.ly}.
3287 @node Tremolo subdivisions
3288 @subsection Tremolo subdivisions
3290 @cindex tremolo marks
3291 @funindex tremoloFlags
3293 Tremolo marks can be printed on a single note by adding
3294 @q{@code{:}[@var{number}]} after the note. The number indicates the
3295 duration of the subdivision, and it must be at least 8. A
3296 @var{length} value of 8 gives one line across the note stem. If the
3297 length is omitted, the last value (stored in @code{tremoloFlags}) is
3300 @lilypond[quote,ragged-right,verbatim,fragment]
3301 c'2:8 c':32 | c': c': |
3307 Tremolos entered in this way do not carry over into the MIDI output.
3312 In this manual: @ref{Tremolo repeats}.
3314 Elsewhere: @internalsref{StemTremolo}.
3317 @node Measure repeats
3318 @subsection Measure repeats
3320 @cindex percent repeats
3321 @cindex measure repeats
3323 In the @code{percent} style, a note pattern can be repeated. It is
3324 printed once, and then the pattern is replaced with a special sign.
3325 Patterns of one and two measures are replaced by percent-like signs,
3326 patterns that divide the measure length are replaced by slashes.
3327 Percent repeats must be declared within a @code{Voice} context.
3329 @lilypond[quote,verbatim,ragged-right]
3330 \new Voice \relative c' {
3331 \repeat "percent" 4 { c4 }
3332 \repeat "percent" 2 { c2 es2 f4 fis4 g4 c4 }
3336 Measure repeats of more than 2 measures get a counter, if you switch
3337 on the @code{countPercentRepeats} property,
3339 @lilypond[relative=2,fragment,quote,verbatim,ragged-right]
3341 \set countPercentRepeats = ##t
3342 \repeat "percent" 4 { c1 }
3348 Isolated percents can also be printed. This is done by putting a
3349 multi-measure rest with a different print function,
3351 @lilypond[fragment,verbatim,quote]
3352 \override MultiMeasureRest #'stencil
3353 = #ly:multi-measure-rest::percent
3362 Program reference: @internalsref{RepeatSlash},
3363 @internalsref{PercentRepeat}, @internalsref{DoublePercentRepeat},
3364 @internalsref{DoublePercentRepeatCounter},
3365 @internalsref{PercentRepeatCounter},
3366 @internalsref{PercentRepeatedMusic}.