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
6 @c to automatically fill in these menus before saving changes
9 @chapter Basic notation
11 This chapter explains how to use basic notation features.
16 * Multiple notes at once::
28 This section discusses how to specify the pitch of notes.
33 * Cautionary accidentals::
35 * Notes names in other languages::
45 @subsection Normal pitches
50 A pitch name is specified using lowercase letters @code{a} through @code{g}.
51 An ascending C-major scale is engraved with
53 @lilypond[quote,fragment,verbatim,ragged-right]
58 The note name @code{c} is engraved one octave below middle C.
60 @lilypond[quote,fragment,verbatim,ragged-right]
70 The optional octave specification takes the form of a series of
71 single quote (`@code{'}') characters or a series of comma
72 (`@code{,}') characters. Each @code{'} raises the pitch by one
73 octave; each @code{,} lowers the pitch by an octave.
75 @lilypond[quote,ragged-right,fragment,verbatim]
77 c' c'' e' g d'' d' d c
79 c, c,, e, g d,, d, d c
82 An alternate method may be used to declare which octave to
83 engrave a pitch; this method does not require as many
84 octave specifications (@code{'} and @code{,}). See
85 @ref{Relative octaves}.
89 @subsection Accidentals
91 @cindex note names, Dutch
92 @cindex note names, default
94 A sharp is formed by adding @code{-is} to the end of a pitch name and
95 a flat is formed by adding @code{-es}
97 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
101 Double sharps and double flats
102 are obtained by adding @code{-isis} or @code{-eses} to a note name. These
103 are the Dutch note names. In Dutch, @code{aes} is contracted to
104 @code{as}, but both forms are accepted. Similarly, both
105 @code{es} and @code{ees} are accepted
107 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
111 A natural will cancel the effect of an accidental or key signature.
112 However, naturals are not encoded into the note name syntax with a
113 suffix; a natural pitch is shown as a simple note name
115 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
122 In accordance with standard typesetting rules, a natural sign is printed
123 before a sharp or flat if a previous accidental needs to be
124 cancelled. To change this behavior, use
125 @code{\set Staff.extraNatural = ##f}
127 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
129 \set Staff.extraNatural = ##f
136 Program reference: @internalsref{LedgerLineSpanner},
137 @internalsref{NoteHead}.
140 @node Cautionary accidentals
141 @subsection Cautionary accidentals
143 @cindex accidental, reminder
144 @cindex accidental, cautionary
145 @cindex accidental, parenthesized
146 @cindex reminder accidental
148 @cindex cautionary accidental
149 @cindex parenthesized accidental
152 Normally accidentals are printed automatically, but you may also
153 print them manually. A reminder accidental
154 can be forced by adding an exclamation mark @code{!}
155 after the pitch. A cautionary accidental
156 (i.e., an accidental within parentheses) can be obtained by adding the
157 question mark `@code{?}' after the pitch. These extra accidentals
158 can be used to produce natural signs, too.
160 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
161 cis cis cis! cis? c c? c! c
167 The automatic production of accidentals can be tuned in many
168 ways. For more information, see @ref{Automatic accidentals}.
172 @subsection Micro tones
174 @cindex quarter tones
175 @cindex semi-flats, semi-sharps
177 Half-flats and half-sharps are formed by adding @code{-eh} and
178 @code{-ih}; the following is a series of Cs with increasing pitches
180 @lilypond[verbatim,ragged-right,quote,relative=2,fragment]
181 \set Staff.extraNatural = ##f
185 Micro tones are also exported to the MIDI file.
190 There are no generally accepted standards for denoting
191 three-quarter flats, so LilyPond's symbol does not conform to any
195 @node Notes names in other languages
196 @subsection Notes names in other languages
198 There are predefined sets of note names for various other languages.
199 To use them, include the language specific init file. For
200 example, add @code{\include "english.ly"} to the top of the input
201 file. The available language files
202 and the note names they define are
204 @c what about micro-tunes, double-sharps, and double-flats? add
205 @c more clumns to the table?
206 @c Oh, and should this be made into a multitable?
207 @cindex note names, other languages
209 Note Names sharp flat
210 nederlands.ly c d e f g a bes b -is -es
211 english.ly c d e f g a bf b -s/-sharp -f/-flat
213 deutsch.ly c d e f g a b h -is -es
214 norsk.ly c d e f g a b h -iss/-is -ess/-es
215 svenska.ly c d e f g a b h -iss -ess
216 italiano.ly do re mi fa sol la sib si -d -b
217 catalan.ly do re mi fa sol la sib si -d/-s -b
218 espanol.ly do re mi fa sol la sib si -s -b
222 @node Relative octaves
223 @subsection Relative octaves
226 @cindex Relative octave specification
229 Octaves are specified by adding @code{'} and @code{,} to pitch names.
230 When you copy existing music, it is easy to accidentally put a pitch
231 in the wrong octave and hard to find such an error. The relative
232 octave mode prevents these errors by making the mistakes much
233 larger: a single error puts the rest of the piece off by one octave
236 \relative @var{startpitch} @var{musicexpr}
243 \relative @var{musicexpr}
247 @code{c'} is used as the default if no starting pitch is defined.
249 The octave of notes that appear in @var{musicexpr} are calculated as
250 follows: if no octave changing marks are used, the basic interval
251 between this and the last note is always taken to be a fourth or
252 less. This distance is determined without regarding alterations; a
253 @code{fisis} following a @code{ceses} will be put above the
254 @code{ceses}. In other words, a doubly-augmented fourth is considered
255 a smaller interval than a diminished fifth, even though the
256 doubly-augmented fourth spans seven semitones while the diminished
257 fifth only spans six semitones.
259 The octave changing marks @code{'} and @code{,} can be added to raise
260 or lower the pitch by an extra octave. Upon entering relative mode,
261 an absolute starting pitch can be specified that will act as the
262 predecessor of the first note of @var{musicexpr}. If no starting pitch
263 is specified, then middle C is used as a start.
265 Here is the relative mode shown in action
266 @lilypond[quote,fragment,ragged-right,verbatim]
272 Octave changing marks are used for intervals greater than a fourth
273 @lilypond[quote,ragged-right,fragment,verbatim]
279 If the preceding item is a chord, the first note of the chord is used
280 to determine the first note of the next chord
282 @lilypond[quote,ragged-right,fragment,verbatim]
290 The pitch after the @code{\relative} contains a note name.
292 The relative conversion will not affect @code{\transpose},
293 @code{\chordmode} or @code{\relative} sections in its argument. To use
294 relative within transposed music, an additional @code{\relative} must
295 be placed inside @code{\transpose}.
299 @subsection Octave check
303 Octave checks make octave errors easier to correct: a note may be
304 followed by @code{=}@var{quotes} which indicates what its absolute
305 octave should be. In the following example,
308 \relative c'' @{ c='' b=' d,='' @}
312 the @code{d} will generate a warning, because a @code{d''} is expected
313 (because @code{b'} to @code{d''} is only a third), but a @code{d'} is
314 found. In the output, the octave is corrected to be a @code{d''} and
315 the next note is calculated relative to @code{d''} instead of @code{d'}.
317 There is also an octave check that produces no visible output. The syntax
323 This checks that @var{pitch} (without quotes) yields @var{pitch} (with
324 quotes) in @code{\relative} mode. If not, a warning is printed, and the
325 octave is corrected. The @var{pitch} is not printed as a note.
327 In the example below, the first check passes without incident, since
328 the @code{e} (in relative mode) is within a fifth of @code{a'}. However,
329 the second check produces a warning, since the @code{e} is not within
330 a fifth of @code{b'}. The warning message is printed, and the octave
331 is adjusted so that the following notes are in the correct octave
343 The octave of a note following an octave check is determined with
344 respect to the note preceding it. In the next fragment, the last note
345 is an @code{a'}, above middle C. That means that the @code{\octave}
346 check passes successfully, so the check could be deleted without changing
347 the output of the piece.
349 @lilypond[quote,ragged-right,verbatim,fragment]
359 @subsection Transpose
362 @cindex Transposition of pitches
365 A music expression can be transposed with @code{\transpose}. The
368 \transpose @var{from} @var{to} @var{musicexpr}
371 This means that @var{musicexpr} is transposed by the interval between
372 the pitches @var{from} and @var{to}: any note with pitch @code{from}
373 is changed to @code{to}.
375 For example, consider a piece written in the key of D-major. If
376 this piece is a little too low for its performer, it can be
377 transposed up to E-major with
379 \transpose d e @dots{}
382 Consider a part written for violin (a C instrument). If
383 this part is to be played on the A clarinet (for which an
384 A is notated as a C, and which sounds a minor third lower
385 than notated), the following
386 transposition will produce the appropriate part
389 \transpose a c @dots{}
392 @code{\transpose} distinguishes between enharmonic pitches: both
393 @code{\transpose c cis} or @code{\transpose c des} will transpose up
394 half a tone. The first version will print sharps and the second
395 version will print flats
397 @lilypond[quote,ragged-right,verbatim]
398 mus = { \key d \major cis d fis g }
407 @code{\transpose} may also be used to input written notes for a
408 transposing instrument. Pitches are normally entered into LilyPond
409 in C (or ``concert pitch''), but they may be entered in another
410 key. For example, when entering music for a B-flat trumpet which
411 begins on concert D, one would write
414 \transpose c bes @{ e4 @dots{} @}
417 To print this music in B-flat again (i.e. producing a trumpet part,
418 instead of a concert pitch conductor's score) you would wrap the
419 existing music with another @code{transpose}
422 \transpose bes c @{ \transpose c bes @{ e4 @dots{} @} @}
428 Program reference: @internalsref{TransposedMusic}.
433 If you want to use both @code{\transpose} and @code{\relative},
434 you must put @code{\transpose} outside of @code{\relative}, since
435 @code{\relative} will have no effect music that appears inside a
446 Rests are entered like notes with the note name @code{r}
448 @lilypond[fragment,quote,ragged-right,verbatim]
452 Whole bar rests, centered in middle of the bar,
453 must be done with multi-measure rests. They can be used for a
454 single bar as well as many bars, and are discussed in
455 @ref{Multi measure rests}.
457 To explicitly specify a rest's vertical position, write a note
458 followed by @code{\rest}. A rest will be placed in the position
459 where the note would appear,
461 @lilypond[fragment,quote,ragged-right,verbatim]
466 This makes manual formatting of
467 polyphonic music much easier, since the automatic rest collision
468 formatter will leave these rests alone.
472 Program reference: @internalsref{Rest}.
479 @cindex Invisible rest
484 An invisible rest (also called a `skip') can be entered like a note
485 with note name `@code{s}' or with @code{\skip @var{duration}}
487 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
488 a4 a4 s4 a4 \skip 1 a4
491 The @code{s} syntax is only available in note mode and chord mode. In
492 other situations, for example, when entering lyrics, you should use
493 the @code{\skip} command
495 @lilypond[quote,ragged-right,verbatim]
498 \new Lyrics \lyricmode { \skip 2 bla2 }
502 The skip command is merely an empty musical placeholder. It does not
503 produce any output, not even transparent output.
505 The @code{s} skip command does create @internalsref{Staff} and
506 @internalsref{Voice} when necessary, similar to note and rest
507 commands. For example, the following results in an empty staff.
509 @lilypond[quote,ragged-right,verbatim]
513 The fragment @code{@{ \skip 4 @} } would produce an empty page.
517 Program reference: @internalsref{SkipMusic}.
524 This section discusses rhythms, durations, and bars.
528 * Augmentation dots::
530 * Scaling durations::
533 * Automatic note splitting::
538 @subsection Durations
545 In Note, Chord, and Lyrics mode, durations are designated by numbers and
546 dots: durations are entered as their reciprocal values. For example, a
547 quarter note is entered using a @code{4} (since it is a 1/4 note), while
548 a half note is entered using a @code{2} (since it is a 1/2 note). For
549 notes longer than a whole you must use the variables @code{\longa} and
554 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
556 r1 r2 r4 r8 r16 r32 r64 r64
562 a\breve*1/2 \autoBeamOff
563 a1 a2 a4 a8 a16 a32 a64 a64
566 r\longa*1/4 r\breve *1/2
567 r1 r2 r4 r8 r16 r32 r64 r64
573 \remove "Clef_engraver"
574 \override StaffSymbol #'transparent = ##t
575 \override TimeSignature #'transparent = ##t
576 \override BarLine #'transparent = ##t
577 \consists "Pitch_squash_engraver"
583 If the duration is omitted then it is set to the previously entered
584 duration. The default for the first note is a quarter note.
586 @lilypond[quote,ragged-right,verbatim,fragment]
587 { a a a2 a a4 a a1 a }
591 @node Augmentation dots
592 @subsection Augmentation dots
596 To obtain dotted note lengths, simply add a dot (`@code{.}') to
597 the number. Double-dotted notes are produced in a similar way.
599 @lilypond[quote,ragged-right,fragment,verbatim]
600 a'4 b' c''4. b'8 a'4. b'4.. c''8.
605 Dots are normally moved up to avoid staff lines, except in polyphonic
606 situations. The following commands may be used to force a particular
618 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
628 Tuplets are made out of a music expression by multiplying all durations
632 \times @var{fraction} @var{musicexpr}
636 The duration of @var{musicexpr} will be multiplied by the fraction.
637 The fraction's denominator will be printed over the notes, optionally
638 with a bracket. The most common tuplet is the triplet in which 3
639 notes have the length of 2, so the notes are 2/3 of their written
642 @lilypond[quote,ragged-right,fragment,verbatim]
643 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
646 Tuplets may be nested, for example,
648 @lilypond[fragment,ragged-right,verbatim,relative=2]
649 \set tupletNumberFormatFunction = #fraction-tuplet-formatter
652 \times 3/5 { a a a a a }
662 @findex \tupletNeutral
663 @code{\tupletNeutral}.
668 @findex tupletNumberFormatFunction
669 @cindex tuplet formatting
671 The property @code{tupletSpannerDuration} specifies how long each
672 bracket should last. With this, you can make lots of tuplets while
673 typing @code{\times} only once, thus saving lots of typing. In the next
674 example, there are two triplets shown, while @code{\times} was only
677 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
678 \set tupletSpannerDuration = #(ly:make-moment 1 4)
679 \times 2/3 { c8 c c c c c }
683 For more information about @code{make-moment}, see
684 @ref{Time administration}.
686 The format of the number is determined by the property
687 @code{tupletNumberFormatFunction}. The default prints only the
688 denominator, but if it is set to the Scheme function
689 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
692 To avoid printing tuplet numbers, use
694 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
695 \times 2/3 { c8 c c } \times 2/3 { c8 c c }
696 \override TupletNumber #'transparent = ##t
697 \times 2/3 { c8 c c } \times 2/3 { c8 c c }
703 Program reference: @internalsref{TupletBracket},
704 @internalsref{TupletNumber}, and @internalsref{TimeScaledMusic}.
706 Examples: @inputfileref{input/@/regression,tuplet@/-nest@/.ly}.
710 @node Scaling durations
711 @subsection Scaling durations
713 You can alter the length of duration by a fraction @var{N/M}
714 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
715 will not affect the appearance of the notes or rests produced.
717 In the following example, the first three notes take up exactly two
718 beats, but no triplet bracket is printed.
719 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
721 a4*2/3 gis4*2/3 a4*2/3
729 This manual: @ref{Tuplets}
733 @subsection Bar check
736 @findex barCheckSynchronize
739 Bar checks help detect errors in the durations. A bar check is
740 entered using the bar symbol, `@code{|}'. Whenever it is encountered
741 during interpretation, it should fall on a measure boundary. If it
742 does not, a warning is printed. In the next example, the second bar
743 check will signal an error
745 \time 3/4 c2 e4 | g2 |
748 Bar checks can also be used in lyrics, for example
753 Twin -- kle | Twin -- kle
757 Failed bar checks are caused by entering incorrect
758 durations. Incorrect durations often completely garble up the score,
759 especially if the score is polyphonic, so a good place to start correcting
760 input is by scanning for failed bar checks and incorrect durations.
765 It is also possible to redefine the meaning of @code{|}. This is done
766 by assigning a music expression to @code{pipeSymbol},
768 @lilypond[quote,ragged-right,verbatim]
769 pipeSymbol = \bar "||"
775 @node Barnumber check
776 @subsection Barnumber check
778 When copying large pieces of music, it can be helpful to check that
779 the LilyPond bar number corresponds to the original that you are
780 entering from. This can be checked with @code{\barNumberCheck}, for
788 will print a warning if the @code{currentBarNumber} is not 123 when it
792 @node Automatic note splitting
793 @subsection Automatic note splitting
795 Long notes can be converted automatically to tied notes. This is done
796 by replacing the @internalsref{Note_heads_engraver} by the
797 @internalsref{Completion_heads_engraver}.
798 In the following examples, notes crossing the bar line are split and tied.
800 @lilypond[quote,fragment,verbatim,relative=1,line-width=12\cm]
802 \remove "Note_heads_engraver"
803 \consists "Completion_heads_engraver"
805 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
809 This engraver splits all running notes at the bar line, and inserts
810 ties. One of its uses is to debug complex scores: if the measures are
811 not entirely filled, then the ties exactly show how much each measure
817 Not all durations (especially those containing tuplets) can be
818 represented exactly with normal notes and dots, but the engraver will
821 @code{Completion_heads_engraver} only affects notes; it does not split
827 Examples: @inputfileref{input/@/regression,completion@/-heads@/.ly}.
831 Program reference: @internalsref{Completion_heads_engraver}.
834 @node Multiple notes at once
835 @section Multiple notes at once
837 Polyphony in music refers to having more than one voice occurring in
838 a piece of music. Polyphony in LilyPond refers to having more than
839 one voice on the same staff.
845 * Explicitly instantiating voices::
846 * Collision Resolution::
855 A chord is formed by a enclosing a set of pitches in @code{<} and
856 @code{>}. A chord may be followed by a duration, and a set of
857 articulations, just like simple notes
859 @lilypond[verbatim,ragged-right,fragment,quote,relative=1]
863 For more information about chords, see @ref{Chord names}.
869 Whenever a note is found, a @internalsref{Stem} object is created
870 automatically. For whole notes and rests, they are also created but
885 To change the direction of stems in the middle of the staff, use
887 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
889 \override Stem #'neutral-direction = #up
891 \override Stem #'neutral-direction = #down
896 @node Basic polyphony
897 @subsection Basic polyphony
901 The easiest way to enter fragments with more than one voice on a staff
902 is to enter each voice as a sequence (with @code{@{...@}}), and combine
903 them simultaneously, separating the voices with @code{\\}
907 @lilypond[quote,verbatim,fragment]
908 \new Staff \relative c' {
911 { g4 f e | d2 e2 } \\
912 { r8 e4 d c8 ~ | c b16 a b8 g ~ g2 } \\
918 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
919 voices are sometimes called ``layers'' in other notation packages}
921 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
922 each of these contexts, vertical direction of slurs, stems, etc., is set
925 These voices are all separate from the voice that contains the notes just
926 outside the @code{<< \\ >>} construct. This should be noted when making
927 changes at the voice level. This also means that slurs and ties cannot go
928 into or out of a @code{<< \\ >>} construct. Conversely, parallel voices
929 from separate @code{<< \\ >>} constructs on the same staff are the the
930 same voice. Here is the same example, with different noteheads for each
931 voice. Note that the change to the note-head style in the main voice does
933 the inside of the @code{<< \\ >>} constructs. Also, the change to the
935 voice in the first @code{<< \\ >>} construct is effective in the second
936 @code{<< \\ >>}, and the voice is tied across the two constructs.
938 @lilypond[quote,verbatim,fragment]
939 \new Staff \relative c' {
940 \override NoteHead #'style = #'cross
944 { \override NoteHead #'style = #'triangle
949 { c8 b16 a b8 g ~ g2 } \\
950 { \override NoteHead #'style = #'slash s4 b4 c2 }
955 Polyphony does not change the relationship of notes within a
956 @code{\relative @{ @}} block. Each note is calculated relative
957 to the note immediately preceding it.
960 \relative @{ noteA << noteB \\ noteC >> noteD @}
963 @code{noteC} is relative to @code{noteB}, not @code{noteA};
964 @code{noteD} is relative to @code{noteC}, not @code{noteB} or
967 @node Explicitly instantiating voices
968 @subsection Explicitly instantiating voices
970 @internalsref{Voice} contexts can also be instantiated manually
971 inside a @code{<< >>} block to create polyphonic music, using
972 @code{\voiceOne}, up to @code{\voiceFour} to assign stem directions
973 and a horizontal shift for each part.
977 << \upper \\ \lower >>
985 \new Voice = "1" @{ \voiceOne \upper @}
986 \new Voice = "2" @{ \voiceTwo \lower @}
990 The @code{\voiceXXX} commands set the direction of stems, slurs, ties,
991 articulations, text annotations, augmentation dots of dotted
992 notes, and fingerings. @code{\voiceOne} and @code{\voiceThree} make
993 these objects point upwards, while @code{\voiceTwo} and @code{\voiceFour}
994 make them point downwards.
995 The command @code{\oneVoice} will revert back to the normal setting.
997 An expression that appears directly inside a @code{<< >>} belongs to
998 the main voice. This is useful when extra voices appear while the main
999 voice is playing. Here is a more correct rendition of the example from
1000 the previous section. The crossed noteheads demonstrate that the main
1001 melody is now in a single voice context.
1003 @lilypond[quote,ragged-right,verbatim]
1004 \new Staff \relative c' {
1005 \override NoteHead #'style = #'cross
1010 \new Voice="1" { \voiceTwo
1011 r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
1014 \new Voice { \voiceThree
1023 The correct definition of the voices allows the melody to be slurred.
1024 @lilypond[quote,ragged-right,verbatim]
1025 \new Staff \relative c' {
1030 \context Voice="1" { \voiceTwo
1031 r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
1034 \new Voice { \voiceThree
1043 Avoiding the @code{\\} separator also allows nesting polyphony
1044 constructs, which in some case might be a more natural way to typeset
1047 @lilypond[quote,ragged-right,verbatim]
1048 \new Staff \relative c' {
1053 \context Voice="1" { \voiceTwo
1056 {c8 b16 a b8 g ~ g2}
1057 \new Voice { \voiceThree
1070 @node Collision Resolution
1071 @subsection Collision Resolution
1073 Normally, note heads with a different number of dots are not merged, but
1074 when the object property @code{merge-differently-dotted} is set in
1075 the @internalsref{NoteCollision} object, they are merged
1076 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
1079 \override Staff.NoteCollision
1080 #'merge-differently-dotted = ##t
1082 } \\ { g8.[ f16] g8.[ f16] } >>
1085 Similarly, you can merge half note heads with eighth notes, by setting
1086 @code{merge-differently-headed}
1087 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
1090 \override Staff.NoteCollision
1091 #'merge-differently-headed = ##t
1092 c8 c4. } \\ { c2 c2 } >>
1095 LilyPond also vertically shifts rests that are opposite of a stem,
1098 @lilypond[quote,ragged-right,fragment,verbatim]
1099 \new Voice << c''4 \\ r4 >>
1123 @code{\shiftOff}: these commands specify in what chords of the current
1124 voice should be shifted. The outer voices (normally: voice one and
1125 two) have @code{\shiftOff}, while the inner voices (three and four)
1126 have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define
1127 further shift levels.
1129 When LilyPond cannot cope, the @code{force-hshift}
1130 property of the @internalsref{NoteColumn} object and pitched rests can
1131 be used to override typesetting decisions.
1133 @lilypond[quote,verbatim,ragged-right]
1140 \once \override NoteColumn #'force-hshift = #1.7
1148 Program reference: the objects responsible for resolving collisions are
1149 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1152 @inputfileref{input/@/regression,collision@/-dots@/.ly},
1153 @inputfileref{input/@/regression,collision@/-head-chords@/.ly},
1154 @inputfileref{input/@/regression,collision@/-heads@/.ly},
1155 @inputfileref{input/@/regression,collision@/-mesh@/.ly}, and
1156 @inputfileref{input/@/regression,collisions@/.ly}.
1161 When using @code{merge-differently-headed} with an upstem eighth or a
1162 shorter note, and a downstem half note, the eighth note gets the wrong
1165 There is no support for clusters where the same note occurs with
1166 different accidentals in the same chord. In this case, it is
1167 recommended to use enharmonic transcription, or to use special cluster
1168 notation (see @ref{Clusters}).
1172 @node Staff notation
1173 @section Staff notation
1175 @cindex Staff notation
1177 This section describes music notation that occurs on staff level,
1178 such as key signatures, clefs and time signatures.
1184 * Partial measures::
1187 * System start delimiters::
1189 * Writing music in parallel::
1198 The clef indicates which lines of the staff correspond to which
1199 pitches. The clef is set with the @code{\clef} command
1201 @lilypond[quote,ragged-right,fragment,verbatim]
1202 { c''2 \clef alto g'2 }
1211 @cindex soprano clef
1212 @cindex mezzosoprano clef
1213 @cindex baritone clef
1214 @cindex varbaritone clef
1215 @cindex subbass clef
1217 Supported clefs include
1219 @multitable @columnfractions .33 .66
1220 @headitem Clef @tab Position
1221 @item @code{treble}, violin, G, G2 @tab
1223 @item @code{alto, C} @tab
1225 @item @code{tenor} @tab
1227 @item @code{bass, F} @tab
1229 @item @code{french} @tab
1230 G clef on 1st line, so-called French violin clef
1231 @item @code{soprano} @tab
1233 @item @code{mezzosoprano} @tab
1235 @item @code{baritone} @tab
1237 @item @code{varbaritone} @tab
1239 @item @code{subbass} @tab
1241 @item @code{percussion} @tab
1243 @item @code{tab} @tab
1247 By adding @code{_8} or @code{^8} to the clef name, the clef is
1248 transposed one octave down or up, respectively, and @code{_15} and
1249 @code{^15} transposes by two octaves. The argument @var{clefname}
1250 must be enclosed in quotes when it contains underscores or digits. For
1253 @cindex choral tenor clef
1254 @lilypond[quote,ragged-right,verbatim,fragment,relative=1]
1261 The command @code{\clef "treble_8"} is equivalent to setting
1263 @code{clefPosition} (which controls the Y position of the clef),
1264 @code{middleCPosition} and @code{clefOctavation}. A clef is printed
1265 when any of these properties are changed. The following example shows
1266 possibilities when setting properties manually.
1268 @lilypond[quote,ragged-right,verbatim]
1270 \set Staff.clefGlyph = #"clefs.F"
1271 \set Staff.clefPosition = #2
1273 \set Staff.clefGlyph = #"clefs.G"
1275 \set Staff.clefGlyph = #"clefs.C"
1277 \set Staff.clefOctavation = #7
1279 \set Staff.clefOctavation = #0
1280 \set Staff.clefPosition = #0
1284 \set Staff.middleCPosition = #4
1292 Program reference: @internalsref{Clef}.
1296 @subsection Key signature
1298 @cindex Key signature
1301 The key signature indicates the tonality in which a piece is played. It
1302 is denoted by a set of alterations (flats or sharps) at the start of the
1305 Setting or changing the key signature is done with the @code{\key}
1309 @code{\key} @var{pitch} @var{type}
1322 @cindex church modes
1324 Here, @var{type} should be @code{\major} or @code{\minor} to get
1325 @var{pitch}-major or @var{pitch}-minor, respectively. You may also
1326 use the standard mode names (also called ``church modes''): @code{\ionian},
1327 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
1328 @code{\phrygian}, and @code{\dorian}.
1330 This command sets the context property
1331 @code{Staff.keySignature}. Non-standard key signatures
1332 can be specified by setting this property directly.
1334 Accidentals and key signatures often confuse new users, because
1335 unaltered notes get natural signs depending on the key signature. For
1336 more information, see @ref{More about pitches}.
1341 A natural sign is printed to cancel any previous accidentals. This
1342 can be suppressed by setting the @code{Staff.printKeyCancellation}
1345 @lilypond[quote,fragment,ragged-right,fragment,verbatim,relative=2]
1350 \set Staff.printKeyCancellation = ##f
1360 Program reference: @internalsref{KeyCancellation},
1361 @internalsref{KeySignature}.
1364 @node Time signature
1365 @subsection Time signature
1367 @cindex Time signature
1371 Time signature indicates the metrum of a piece: a regular pattern of
1372 strong and weak beats. It is denoted by a fraction at the start of the
1375 The time signature is set with the @code{\time} command
1377 @lilypond[quote,ragged-right,fragment,verbatim]
1378 \time 2/4 c'2 \time 3/4 c'2.
1383 The symbol that is printed can be customized with the @code{style}
1384 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1387 @lilypond[fragment,quote,ragged-right,verbatim]
1390 \override Staff.TimeSignature #'style = #'()
1395 There are many more options for its layout. See @ref{Ancient time
1396 signatures} for more examples.
1398 @code{\time} sets the property @code{timeSignatureFraction},
1399 @code{beatLength} and @code{measureLength} in the @code{Timing}
1400 context, which is normally aliased to @internalsref{Score}. The
1401 property @code{measureLength} determines where bar lines should be
1402 inserted, and how automatic beams should be generated. Changing the
1403 value of @code{timeSignatureFraction} also causes the symbol to be
1406 More options are available through the Scheme function
1407 @code{set-time-signature}. In combination with the
1408 @internalsref{Measure_grouping_engraver}, it will create
1409 @internalsref{MeasureGrouping} signs. Such signs ease reading
1410 rhythmically complex modern music. In the following example, the 9/8
1411 measure is subdivided in 2, 2, 2 and 3. This is passed to
1412 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
1414 @lilypond[quote,ragged-right,verbatim]
1417 #(set-time-signature 9 8 '(2 2 2 3))
1418 g8[ g] d[ d] g[ g] a8[( bes g]) |
1419 #(set-time-signature 5 8 '(3 2))
1425 \consists "Measure_grouping_engraver"
1434 Program reference: @internalsref{TimeSignature}, and
1435 @internalsref{Timing_translator}.
1437 Examples: @inputfileref{input/@/test,compound@/-time@/.ly}.
1442 Automatic beaming does not use the measure grouping specified with
1443 @code{set-time-signature}.
1446 @node Partial measures
1447 @subsection Partial measures
1451 @cindex partial measure
1452 @cindex measure, partial
1453 @cindex shorten measures
1456 Partial measures, such as an anacrusis or upbeat, are entered using the
1458 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1459 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1462 The syntax for this command is
1465 \partial @var{duration}
1468 This is internally translated into
1471 \set Timing.measurePosition = -@var{length of duration}
1474 The property @code{measurePosition} contains a rational number
1475 indicating how much of the measure has passed at this point.
1480 This command does not take into account grace notes at the start of
1481 the music. When a piece starts with graces notes in the pickup, then
1482 the @code{\partial} should follow the grace notes
1484 @lilypond[verbatim,quote,ragged-right,relative,fragment]
1493 @subsection Bar lines
1497 @cindex measure lines
1500 Bar lines delimit measures, but are also used to indicate
1501 repeats. Normally they are inserted automatically. Line
1502 breaks may only happen on bar lines.
1504 Special types of bar lines can be forced with the @code{\bar} command
1506 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1510 The following bar types are available
1512 @lilypondfile[ragged-right,quote]{bar-lines.ly}
1514 In addition, you can specify @code{"||:"}, which is equivalent to
1515 @code{"|:"} except at line breaks, where it gives a double bar line at
1516 the end of the line and a start repeat at the beginning of the next
1519 To allow a line break where there is no visible bar line, use
1526 This will insert an invisible bar line and allow line breaks at this
1529 In scores with many staves, a @code{\bar} command in one staff is
1530 automatically applied to all staves. The resulting bar lines are
1531 connected between different staves of a StaffGroup
1533 @lilypond[quote,ragged-right,fragment,verbatim]
1541 \new Staff { \clef bass c4 g e g }
1543 \new Staff { \clef bass c2 c2 }
1551 @findex repeatCommands
1552 @findex defaultBarType
1554 The command @code{\bar }@var{bartype} is a short cut for doing
1555 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1556 is set to a string, a bar line of that type is created.
1558 A bar line is created whenever the @code{whichBar} property is set.
1559 At the start of a measure it is set to the contents of
1560 @code{Timing.defaultBarType}. The contents of @code{repeatCommands} are
1562 to override default measure bars.
1564 You are encouraged to use @code{\repeat} for repetitions. See
1570 In this manual: @ref{Repeats}, @ref{System start delimiters}.
1572 Program reference: @internalsref{BarLine} (created at
1573 @internalsref{Staff} level), @internalsref{SpanBar} (across staves).
1575 Examples: @inputfileref{input/@/test,bar@/-lines@/.ly},
1578 @node Unmetered music
1579 @subsection Unmetered music
1585 Bar lines and bar numbers are calculated automatically. For unmetered
1586 music (cadenzas, for example), this is not desirable. To turn off
1587 automatic bar lines and bar numbers, use the commands @code{\cadenzaOn}
1588 and @code{\cadenzaOff}.
1590 @lilypond[verbatim,quote,ragged-right,relative=2,fragment]
1602 LilyPond will only insert page breaks at a barline. Unless the unmetered
1603 music ends before the end of the staff line, you will need to insert
1611 to indicate where line breaks can occur.
1614 @node System start delimiters
1615 @subsection System start delimiters
1617 @cindex start of system
1618 @cindex Staff, multiple
1619 @cindex bracket, vertical
1620 @cindex brace, vertical
1623 @cindex staff, choir
1625 Many scores consist of more than one staff. These staves can be
1626 joined in four different ways
1629 @item The group is started with a brace at the left, and bar lines are
1630 connected. This is done with the @internalsref{GrandStaff} context.
1632 @lilypond[verbatim,ragged-right,quote]
1640 @item The group is started with a bracket, and bar lines are connected.
1641 This is done with the
1642 @internalsref{StaffGroup} context
1644 @lilypond[verbatim,ragged-right,quote]
1652 @item The group is started with a bracket, but bar lines are not
1653 connected. This is done with the @internalsref{ChoirStaff} context.
1655 @lilypond[verbatim,ragged-right,quote]
1663 @item The group is started with a vertical line. Bar lines are not
1664 connected. This is the default for the score.
1666 @lilypond[verbatim,ragged-right,quote]
1677 The bar lines at the start of each system are
1678 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1679 @internalsref{SystemStartBracket}. Only one of these types is created
1680 in every context, and that type is determined by the property
1681 @code{systemStartDelimiter}.
1685 @subsection Staff symbol
1687 @cindex adjusting staff symbol
1689 Notes, dynamic signs, etc., are grouped
1690 with a set of horizontal lines, called a staff (plural `staves'). In
1691 LilyPond, these lines are drawn using a separate layout object called
1694 The staff symbol may be tuned in the number, thickness and distance
1695 of lines, using properties. This is demonstrated in the example files
1696 @inputfileref{input/@/test,staff@/-lines@/.ly},
1697 @inputfileref{input/@/test,staff@/-size@/.ly}.
1699 In addition, staves may be started and stopped at will. This is done
1700 with @code{\startStaff} and @code{\stopStaff}.
1702 @lilypond[verbatim,relative=2,fragment]
1704 \override Staff.StaffSymbol #'line-count = 2
1705 \stopStaff \startStaff
1707 \revert Staff.StaffSymbol #'line-count
1708 \stopStaff \startStaff
1712 In combination with Frenched staves, this may be used to typeset ossia
1713 sections. An example is in @inputfileref{input/@/test@/,ossia.ly},
1718 @lilypondfile{ossia.ly}
1720 @cindex staff lines, setting number of
1721 @cindex staff lines, setting thickness of
1722 @cindex thickness of staff lines, setting
1723 @cindex number of staff lines, setting
1727 Program reference: @internalsref{StaffSymbol}.
1729 Examples: @inputfileref{input/@/test,staff@/-lines@/.ly},
1730 @inputfileref{input/@/test@/,ossia.ly},
1731 @inputfileref{input/@/test,staff@/-size@/.ly},
1732 @inputfileref{input/@/regression,staff@/-line@/-positions@/.ly}.
1735 @node Writing music in parallel
1736 @subsection Writing music in parallel
1738 @cindex Writing music in parallel
1739 @cindex Interleaved music
1741 Music for multiple parts can be interleaved
1743 @lilypond[quote,fragment,verbatim]
1744 \parallelMusic #'(voiceA voiceB) {
1745 r8 g'16[ c''] e''[ g' c'' e''] r8 g'16[ c''] e''[ g' c'' e''] |
1747 r8 a'16[ d''] f''[ a' d'' f''] r8 a'16[ d''] f''[ a' d'' f''] |
1751 \new Staff \new Voice \voiceA
1752 \new Staff \new Voice \voiceB
1758 @node Connecting notes
1759 @section Connecting notes
1761 This section deals with notation that affects groups of notes.
1767 * Laissez vibrer ties::
1780 A tie connects two adjacent note heads of the same pitch. The tie in
1781 effect extends the length of a note. Ties should not be confused with
1782 slurs, which indicate articulation, or phrasing slurs, which indicate
1783 musical phrasing. A tie is entered using the tilde symbol `@code{~}'
1785 @lilypond[quote,ragged-right,fragment,verbatim]
1786 e' ~ e' <c' e' g'> ~ <c' e' g'>
1789 When a tie is applied to a chord, all note heads whose pitches match
1790 are connected. When no note heads match, no ties will be created.
1792 A tie is just a way of extending a note duration, similar to the
1793 augmentation dot. The following example shows two ways of notating
1794 exactly the same concept
1796 @lilypond[quote,fragment,ragged-right]
1797 \time 3/4 c'2. c'2 ~ c'4
1801 Ties are used either when the note crosses a bar line, or when dots
1802 cannot be used to denote the rhythm. When using ties, larger note
1803 values should be aligned to subdivisions of the measure, such as
1805 @lilypond[fragment,quote,ragged-right]
1807 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
1811 If you need to tie a lot of notes over bars, it may be easier to use
1812 automatic note splitting (see @ref{Automatic note splitting}). This
1813 mechanism automatically splits long notes, and ties them across bar
1816 When a second alternative of a repeat starts with a tied note, you
1817 have to repeat the tie. This can be achieved with @code{\repeatTie},
1819 @lilypond[fragment,quote,ragged-right,relative=2]
1823 @cindex repeating ties
1824 @cindex volta brackets and ties
1828 Ties are sometimes used to write out arpeggios. In this case, two tied
1829 notes need not be consecutive. This can be achieved by setting the
1830 @code{tieWaitForNote} property to true. The same feature is also useful,
1831 for example, to tie a tremolo to a chord. For example,
1833 @lilypond[fragment,verbatim,relative=1,ragged-right]
1834 \set tieWaitForNote = ##t
1835 \grace { c16[~ e~ g]~ } <c, e g>2
1836 \repeat "tremolo" 8 { c32~ c'~ } <c c,>1
1859 In this manual: @ref{Automatic note splitting}.
1861 Program reference: @internalsref{Tie}.
1864 @inputfileref{input/@/regression,tie-arpeggio.ly}
1865 @inputfileref{input/@/regression,tie-manual.ly}
1872 Switching staves when a tie is active will not produce a slanted tie.
1880 A slur indicates that notes are to be played bound or
1881 @emph{legato}. They are entered using parentheses
1883 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1884 f( g a) a8 b( a4 g2 f4)
1888 The direction of a slur can be specified with
1889 @code{\slur@emph{DIR}}, where @code{@emph{DIR}} is
1890 either @code{Up}, @code{Down}, or @code{Neutral} (automatically
1893 However, there is a convenient shorthand for forcing slur
1894 directions. By adding @code{_} or @code{^} before the opening
1895 parentheses, the direction is also set. For example,
1897 @lilypond[relative=2,ragged-right,quote,verbatim,fragment]
1901 Only one slur can be printed at once. If you need to print a long
1902 slur over a few small slurs, please see @ref{Phrasing slurs}.
1907 Some composers write two slurs when they want legato chords. This can
1908 be achieved in LilyPond by setting @code{doubleSlurs},
1910 @lilypond[verbatim,ragged-right,relative,fragment,quote]
1911 \set doubleSlurs = ##t
1912 <c e>4 ( <d f> <c e> <d f> )
1922 @findex \slurNeutral
1923 @code{\slurNeutral},
1933 Program reference: @seeinternals{Slur}.
1936 @node Phrasing slurs
1937 @subsection Phrasing slurs
1939 @cindex phrasing slurs
1940 @cindex phrasing marks
1942 A phrasing slur (or phrasing mark) connects notes and is used to
1943 indicate a musical sentence. It is written using @code{\(} and @code{\)}
1946 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
1947 \time 6/4 c'\( d( e) f( e) d\)
1950 Typographically, the phrasing slur behaves almost exactly like a
1951 normal slur. However, they are treated as different objects. A
1952 @code{\slurUp} will have no effect on a phrasing slur; instead, use
1953 @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1954 @code{\phrasingSlurNeutral}.
1956 You cannot have simultaneous phrasing slurs.
1961 @findex \phrasingSlurUp
1962 @code{\phrasingSlurUp},
1963 @findex \phrasingSlurDown
1964 @code{\phrasingSlurDown},
1965 @findex \phrasingSlurNeutral
1966 @code{\phrasingSlurNeutral}.
1971 Program reference: @internalsref{PhrasingSlur}.
1974 @node Laissez vibrer ties
1975 @subsection Laissez vibrer ties
1976 @cindex Laissez vibrer
1977 @cindex Ties, laissez vibrer
1979 L.v. ties (laissez vibrer) indicate that notes must not be damped at the
1980 end. It is used in notation for piano, harp and other string and
1981 percussion instruments. They can be entered using @code{\laissezVibrer},
1983 @lilypond[fragment,ragged-right,verbatim,relative=1]
1984 <c f g>\laissezVibrer
1990 @internalsref{LaissezVibrerTie}
1991 @internalsref{LaissezVibrerTieColumn}
1994 @inputfileref{input/regression,laissez-vibrer-tie.ly}
1997 @node Automatic beams
1998 @subsection Automatic beams
2000 LilyPond inserts beams automatically
2002 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2003 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
2006 When these automatic decisions are not good enough, beaming can be
2007 entered explicitly. It is also possible to define beaming patterns
2008 that differ from the defaults. See @ref{Setting automatic beam behavior}
2011 Individual notes may be marked with @code{\noBeam} to prevent them
2014 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2015 \time 2/4 c8 c\noBeam c c
2021 Program reference: @internalsref{Beam}.
2025 @subsection Manual beams
2027 @cindex beams, manual
2031 In some cases it may be necessary to override the automatic beaming
2032 algorithm. For example, the autobeamer will not put beams over rests
2033 or bar lines. Such beams are specified manually by marking the begin
2034 and end point with @code{[} and @code{]}
2036 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2038 r4 r8[ g' a r8] r8 g[ | a] r8
2045 @findex stemLeftBeamCount
2046 @findex stemRightBeamCount
2048 Normally, beaming patterns within a beam are determined automatically.
2049 If necessary, the properties @code{stemLeftBeamCount} and
2050 @code{stemRightBeamCount} can be used to override the defaults. If
2051 either property is set, its value will be used only once, and then it
2054 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2059 \set stemLeftBeamCount = #1
2064 The property @code{subdivideBeams} can be set in order to subdivide
2065 all 16th or shorter beams at beat positions, as defined by the
2066 @code{beatLength} property.
2068 @lilypond[fragment,quote,relative=2,verbatim]
2070 \set subdivideBeams = ##t
2072 \set Score.beatLength = #(ly:make-moment 1 8)
2075 @findex subdivideBeams
2078 For more information about @code{make-moment}, see
2079 @ref{Time administration}.
2081 Line breaks are normally forbidden when beams cross bar lines. This
2082 behavior can be changed by setting @code{allowBeamBreak}.
2084 @findex allowBeamBreak
2085 @cindex beams and line breaks
2086 @cindex beams, kneed
2088 @cindex auto-knee-gap
2093 Kneed beams are inserted automatically when a large gap is detected
2094 between the note heads. This behavior can be tuned through the object.
2096 Automatically kneed cross-staff beams cannot be used together with
2097 hidden staves. See @ref{Hiding staves}.
2099 Beams do not avoid collisions with symbols around the notes, such as
2100 texts and accidentals.
2104 @subsection Grace notes
2109 @cindex appoggiatura
2110 @cindex acciaccatura
2112 Grace notes are ornaments that are written out. The most common ones
2113 are acciaccatura, which should be played as very short. It is denoted
2114 by a slurred small note with a slashed stem. The appoggiatura is a
2115 grace note that takes a fixed fraction of the main note, and is
2116 denoted as a slurred note in small print without a slash. They
2117 are entered with the commands @code{\acciaccatura} and
2118 @code{\appoggiatura}, as demonstrated in the following example
2120 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2121 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2122 \acciaccatura { g16[ f] } e4
2125 Both are special forms of the @code{\grace} command. By prefixing this
2126 keyword to a music expression, a new one is formed, which will be
2127 printed in a smaller font and takes up no logical time in a measure.
2129 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2131 \grace { c16[ d16] } c2 c4
2135 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2136 @code{\grace} command does not start a slur.
2138 Internally, timing for grace notes is done using a second, `grace'
2139 timing. Every point in time consists of two rational numbers: one
2140 denotes the logical time, one denotes the grace timing. The above
2141 example is shown here with timing tuples
2143 @lilypond[quote,ragged-right]
2146 c4 \grace c16 c4 \grace {
2149 \new Lyrics \lyricmode {
2150 \override LyricText #'font-family = #'typewriter
2154 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2155 \markup { (\fraction 1 4 , 0 ) } 4
2157 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2158 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2160 \markup { ( \fraction 2 4 , 0 ) }
2165 The placement of grace notes is synchronized between different staves.
2166 In the following example, there are two sixteenth grace notes for
2167 every eighth grace note
2169 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2170 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2171 \new Staff { c4 \grace { g8[ b] } c4 } >>
2176 If you want to end a note with a grace, use the @code{\afterGrace}
2177 command. It takes two arguments: the main note, and the grace notes
2178 following the main note.
2180 @lilypond[ragged-right, verbatim,relative=2,fragment]
2181 c1 \afterGrace d1 { c16[ d] } c4
2184 This will put the grace notes after a ``space'' lasting 3/4 of the
2185 length of the main note. The fraction 3/4 can be changed by setting
2186 @code{afterGraceFraction}, ie.
2189 afterGraceFraction = #(cons 7 8)
2193 will put the grace note at 7/8 of the main note.
2195 The same effect can be achieved manually by doing
2197 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2200 { s2 \grace { c16[ d] } } >>
2206 By adjusting the duration of the skip note (here it is a half-note),
2207 the space between the main-note and the grace is adjusted.
2209 A @code{\grace} section will introduce special typesetting settings,
2210 for example, to produce smaller type, and set directions. Hence, when
2211 introducing layout tweaks, they should be inside the grace section,
2213 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2225 The overrides should also be reverted inside the grace section.
2227 The layout of grace sections can be changed throughout the music using
2228 the function @code{add-grace-property}. The following example
2229 undefines the Stem direction for this grace, so stems do not always
2234 #(add-grace-property 'Voice 'Stem 'direction '())
2240 Another option is to change the variables @code{startGraceMusic},
2241 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2242 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2243 @code{stopAppoggiaturaMusic}. More information is in the file
2244 @file{ly/@/grace@/-init@/.ly}.
2247 The slash through the stem in acciaccaturas can be obtained
2248 in other situations by @code{\override Stem #'stroke-style = #"grace"}.
2252 Program reference: @internalsref{GraceMusic}.
2257 A score that starts with a @code{\grace} section needs an explicit
2258 @code{\new Voice} declaration, otherwise the main note and the grace
2259 note end up on different staves.
2261 Grace note synchronization can also lead to surprises. Staff notation,
2262 such as key signatures, bar lines, etc., are also synchronized. Take
2263 care when you mix staves with grace notes and staves without, for example,
2265 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2266 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2267 \new Staff { c4 \bar "|:" d4 } >>
2271 This can be remedied by inserting grace skips of the corresponding
2272 durations in the other staves. For the above example
2275 \new Staff @{ c4 \bar "|:" \grace s16 d4 @}
2278 Grace sections should only be used within sequential music
2279 expressions. Nesting or juxtaposing grace sections is not supported,
2280 and might produce crashes or other errors.
2284 @node Expressive marks
2285 @section Expressive marks
2287 Expressive marks help musicians to bring more to the music than simple
2292 * Fingering instructions::
2302 @subsection Articulations
2304 @cindex Articulations
2308 A variety of symbols can appear above and below notes to indicate
2309 different characteristics of the performance. They are added to a note
2310 by adding a dash and the character signifying the
2311 articulation. They are demonstrated here
2313 @lilypondfile[quote,ragged-right]{script-abbreviations.ly}
2315 The meanings of these shorthands can be changed. See
2316 @file{ly/@/script@/-init@/.ly} for examples.
2318 The script is automatically placed, but the direction can be forced as
2319 well. Like other pieces of LilyPond code, @code{_} will place them
2320 below the staff, and @code{^} will place them above.
2322 @lilypond[quote,ragged-right,fragment,verbatim]
2326 Other symbols can be added using the syntax
2327 @var{note}@code{\}@var{name}. Again, they
2328 can be forced up or down using @code{^} and @code{_},
2331 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
2332 c\fermata c^\fermata c_\fermata
2337 @cindex staccatissimo
2347 @cindex organ pedal marks
2356 @cindex prallmordent
2360 @cindex thumb marking
2365 Here is a chart showing all scripts available,
2367 @lilypondfile[ragged-right,quote]{script-chart.ly}
2372 The vertical ordering of scripts is controlled with the
2373 @code{script-priority} property. The lower this number, the closer it
2374 will be put to the note. In this example, the
2375 @internalsref{TextScript} (the sharp symbol) first has the lowest
2376 priority, so it is put lowest in the first example. In the second, the
2377 prall trill (the @internalsref{Script}) has the lowest, so it is on the
2378 inside. When two objects have the same priority, the order in which
2379 they are entered decides which one comes first.
2381 @lilypond[verbatim,relative=3,ragged-right,fragment,quote]
2382 \once \override TextScript #'script-priority = #-100
2383 a4^\prall^\markup { \sharp }
2385 \once \override Script #'script-priority = #-100
2386 a4^\prall^\markup { \sharp }
2392 Program reference: @internalsref{Script}.
2397 These signs appear in the printed output but have no effect on the
2398 MIDI rendering of the music.
2401 @node Fingering instructions
2402 @subsection Fingering instructions
2405 @cindex finger change
2407 Fingering instructions can be entered using
2409 @var{note}-@var{digit}
2411 For finger changes, use markup texts
2413 @lilypond[quote,verbatim,ragged-right,fragment,relative=1]
2415 c^\markup { \finger "2 - 3" }
2418 You can use the thumb-script to indicate that a note should be
2419 played with the thumb (e.g., in cello music)
2420 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
2421 <a_\thumb a'-3>8 <b_\thumb b'-3>
2424 Fingerings for chords can also be added to individual notes
2425 of the chord by adding them after the pitches
2426 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
2427 < c-1 e-2 g-3 b-5 >4
2433 You may exercise greater control over fingering chords by
2434 setting @code{fingeringOrientations}
2436 @lilypond[quote,verbatim,ragged-right,fragment,relative=1]
2437 \set fingeringOrientations = #'(left down)
2438 <c-1 es-2 g-4 bes-5 > 4
2439 \set fingeringOrientations = #'(up right down)
2440 <c-1 es-2 g-4 bes-5 > 4
2443 Using this feature, it is also possible to put fingering instructions
2444 very close to note heads in monophonic music,
2446 @lilypond[verbatim,ragged-right,quote,fragment]
2447 \set fingeringOrientations = #'(right)
2454 Program reference: @internalsref{Fingering}.
2456 Examples: @inputfileref{input/@/regression,finger@/-chords@/.ly}.
2460 @subsection Dynamics
2481 Absolute dynamic marks are specified using a command after a note
2482 @code{c4\ff}. The available dynamic marks are @code{\ppppp},
2483 @code{\pppp}, @code{\ppp},
2484 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2485 @code{\fff}, @code{\ffff}, @code{\fp}, @code{\sf}, @code{\sff},
2486 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
2488 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
2489 c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2490 c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
2497 A crescendo mark is started with @code{\<} and terminated with
2498 @code{\!} or an absolute dynamic. A decrescendo is started with
2499 @code{\>} and is also terminated with @code{\!} or an absolute
2500 dynamic. @code{\cr} and @code{\decr} may be used instead of
2501 @code{\<} and @code{\>}. Because these marks are bound to notes, you must
2502 use spacer notes if multiple marks are needed during one note
2504 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2506 << f1 { s4 s4\< s4\! \> s4\! } >>
2510 A hairpin starts at the left edge of the beginning note and ends on the
2511 right edge of the ending note.
2513 In some situations the @code{\espressivo} articulation mark may
2514 be suitable to indicate a crescendo and decrescendo on the one note,
2516 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2517 c2 b4 a g1\espressivo
2520 This may give rise to very short hairpins. Use @code{minimum-length}
2521 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2525 \override Staff.Hairpin #'minimum-length = #5
2532 You can also use a text saying @emph{cresc.} instead of hairpins
2534 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
2545 You can also supply your own texts
2546 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2547 \set crescendoText = \markup { \italic "cresc. poco" }
2548 \set crescendoSpanner = #'dashed-line
2552 To create new dynamic marks or text that should be aligned
2553 with dynamics, see @ref{New dynamic marks}.
2558 Dynamics that occur at, begin on, or end on, the same note
2559 will be vertically aligned. If you want to ensure that dynamics
2560 are aligned when they do not occur on the same note, you can
2561 increase the @code{staff-padding} property.
2564 \override DynamicLineSpanner #'staff-padding = #4
2567 You may also use this property if the dynamics are colliding
2568 with other notation.
2570 Crescendi and decrescendi that end on the first note of a
2571 new line are not printed. To change this behavior, use
2574 \override Score.Hairpin #'after-line-breaking = ##t
2577 Text style dynamic changes (such as cresc. and dim.) are printed with a
2578 dashed line showing their extent. To surpress printing this line, use
2581 \override DynamicTextSpanner #'dash-period = #-1.0
2589 @findex \dynamicDown
2590 @code{\dynamicDown},
2591 @findex \dynamicNeutral
2592 @code{\dynamicNeutral}.
2597 Program reference: @internalsref{DynamicText}, @internalsref{Hairpin}.
2598 Vertical positioning of these symbols is handled by
2599 @internalsref{DynamicLineSpanner}.
2603 @subsection Breath marks
2605 Breath marks are entered using @code{\breathe}
2607 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2614 The glyph of the breath mark can be tuned by overriding the
2615 @code{text} property of the @code{BreathingSign} layout object with
2616 any markup text. For example,
2617 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
2619 \override BreathingSign #'text
2620 = #(make-musicglyph-markup "scripts.rvarcomma")
2627 Program reference: @internalsref{BreathingSign}.
2629 Examples: @inputfileref{input/@/regression,breathing@/-sign@/.ly}.
2635 Short trills are printed like normal articulation; see @ref{Articulations}.
2637 Long running trills are made with @code{\startTrillSpan} and
2638 @code{\stopTrillSpan},
2640 @lilypond[verbatim,ragged-right,relative=2,quote,fragment]
2642 << { c1 \startTrillSpan }
2643 { s2. \grace { d16[\stopTrillSpan e] } } >>
2647 @cindex Pitched trills
2649 Trills that should be executed on an explicitly specified pitch can be
2650 typeset with the command @code{pitchedTrill},
2652 @lilypond[ragged-right,verbatim,fragment,relative=1]
2653 \pitchedTrill c4\startTrillSpan fis
2657 The first argument is the main note. The pitch of the second
2658 is printed as a stemless note head in parentheses.
2663 @code{\startTrillSpan},
2664 @findex \startTrillSpan
2665 @code{\stopTrillSpan}.
2666 @findex \stopTrillSpan
2671 Program reference: @internalsref{TrillSpanner}.
2675 @subsection Glissando
2680 A glissando is a smooth change in pitch. It is denoted by a line or a
2681 wavy line between two notes. It is requested by attaching
2682 @code{\glissando} to a note
2684 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
2686 \override Glissando #'style = #'zigzag
2693 Program reference: @internalsref{Glissando}.
2695 Example files: @file{input/@/regression/@/glissando@/.ly}.
2700 Printing text over the line (such as @emph{gliss.}) is not supported.
2704 @subsection Arpeggio
2707 @cindex broken chord
2710 You can specify an arpeggio sign (also known as broken chord) on a
2711 chord by attaching an @code{\arpeggio} to a chord
2713 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2717 A square bracket on the left indicates that the player should not
2718 arpeggiate the chord
2720 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2725 The direction of the arpeggio is sometimes denoted by adding an
2726 arrowhead to the wiggly line
2728 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2740 When an arpeggio crosses staves, you may attach an arpeggio to the chords
2741 in both staves and set
2742 @internalsref{PianoStaff}.@code{connectArpeggios}
2744 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2746 \set PianoStaff.connectArpeggios = ##t
2747 \new Staff { <c' e g c>\arpeggio }
2748 \new Staff { \clef bass <c,, e g>\arpeggio }
2758 @findex \arpeggioDown
2759 @code{\arpeggioDown},
2760 @findex \arpeggioNeutral
2761 @code{\arpeggioNeutral},
2762 @findex \arpeggioBracket
2763 @code{\arpeggioBracket}.
2768 Notation manual: @ref{Ties}, for writing out arpeggios.
2770 Program reference: @internalsref{Arpeggio}.
2775 It is not possible to mix connected arpeggios and unconnected
2776 arpeggios in one @internalsref{PianoStaff} at the same point in time.
2785 Repetition is a central concept in music, and multiple notations exist
2791 * Repeats and MIDI::
2792 * Manual repeat commands::
2794 * Tremolo subdivisions::
2800 @subsection Repeat types
2805 The following types of repetition are supported
2809 Repeated music is fully written (played) out. This is useful when
2810 entering repetitious music. This is the only kind of repeat that
2811 is included in MIDI output.
2814 Repeats are not written out, but alternative endings (volte) are
2815 printed, left to right with brackets. This is the standard notation
2816 for repeats with alternatives. These are not played in MIDI output by
2821 Alternative endings are written stacked. This has limited use but may be
2822 used to typeset two lines of lyrics in songs with repeats, see
2823 @inputfileref{input,star-spangled-banner@/.ly}.
2827 Make tremolo beams. These are not played in MIDI output by default.
2830 Make beat or measure repeats. These look like percent signs. These
2831 are not played in MIDI output by default. Percent repeats must be
2832 declared within a Voice context.
2838 @subsection Repeat syntax
2840 LilyPond has one syntactic construct for specifying different types of
2841 repeats. The syntax is
2844 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2847 If you have alternative endings, you may add
2848 @findex \alternative
2859 where each @var{alternative} is a music expression. If you do not
2860 give enough alternatives for all of the repeats, the first alternative
2861 is assumed to be played more than once.
2863 Standard repeats are used like this
2864 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2866 \repeat volta 2 { c4 d e f }
2867 \repeat volta 2 { f e d c }
2870 With alternative endings
2871 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2873 \repeat volta 2 {c4 d e f}
2874 \alternative { {d2 d} {f f,} }
2877 In this example, the first ending is not a complete bar (it
2878 only had 3 beats). The beginning of the second ending
2879 contains the 4th beat from the first ending. This ``extra''
2880 beat in the second ending is due to the first time ending,
2881 and has nothing to do with the @code{\partial} at the
2882 beginning of the example.
2884 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2887 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2888 \alternative { { g4 g g } { a | a a a a | b2. } }
2892 It is possible to shorten volta brackets
2893 by setting @code{voltaSpannerDuration}. In the next example, the
2894 bracket only lasts one measure, which is a duration of 3/4.
2896 @lilypond[verbatim,ragged-right,quote]
2900 \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4)
2901 \repeat "volta" 5 { d d d }
2902 \alternative { { e e e f f f }
2912 Brackets for the repeat are normally only printed over the topmost
2913 staff. This can be adjusted by setting the @code{voltaOnThisStaff}
2914 property; see @inputfileref{input/@/regression,volta@/-multi@/-staff@/.ly}.
2919 @cindex repeat, ambiguous
2921 A nested repeat like
2930 is ambiguous, since it is is not clear to which @code{\repeat} the
2931 @code{\alternative} belongs. This ambiguity is resolved by always
2932 having the @code{\alternative} belong to the inner @code{\repeat}.
2933 For clarity, it is advisable to use braces in such situations.
2935 Timing information is not remembered at the start of an alternative,
2936 so after a repeat timing information must be reset by hand, for
2937 example by setting @code{Score.measurePosition} or entering
2938 @code{\partial}. Similarly, slurs or ties are also not repeated.
2941 @node Repeats and MIDI
2942 @subsection Repeats and MIDI
2944 @cindex expanding repeats
2945 @findex \unfoldRepeats
2947 With a little bit of tweaking, all types of repeats can be present
2948 in the MIDI output. This is achieved by applying the
2949 @code{\unfoldRepeats} music function. This functions changes all
2950 repeats to unfold repeats.
2952 @lilypond[quote,verbatim,fragment,line-width=8.0\cm]
2954 \repeat tremolo 8 {c'32 e' }
2955 \repeat percent 2 { c''8 d'' }
2956 \repeat volta 2 {c'4 d' e' f'}
2965 When creating a score file using @code{\unfoldRepeats} for midi, then
2966 it is necessary to make two @code{\score} blocks. One for MIDI (with
2967 unfolded repeats) and one for notation (with volta, tremolo, and
2968 percent repeats). For example,
2976 \unfoldRepeats @var{..music..}
2982 @node Manual repeat commands
2983 @subsection Manual repeat commands
2985 @findex repeatCommands
2987 The property @code{repeatCommands} can be used to control the layout of
2988 repeats. Its value is a Scheme list of repeat commands.
2991 @item @code{start-repeat}
2992 Print a @code{|:} bar line.
2994 @item @code{end-repeat}
2995 Print a @code{:|} bar line.
2997 @item @code{(volta @var{text})}
2998 Print a volta bracket saying @var{text}: The text can be specified as
2999 a text string or as a markup text, see @ref{Text markup}. Do not
3000 forget to change the font, as the default number font does not contain
3001 alphabetic characters;
3003 @item @code{(volta #f)}
3004 Stop a running volta bracket.
3007 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
3009 \set Score.repeatCommands = #'((volta "93") end-repeat)
3011 \set Score.repeatCommands = #'((volta #f))
3018 Program reference: @internalsref{VoltaBracket},
3019 @internalsref{RepeatedMusic},
3020 @internalsref{VoltaRepeatedMusic},
3021 @internalsref{UnfoldedRepeatedMusic}, and
3022 @internalsref{FoldedRepeatedMusic}.
3025 @node Tremolo repeats
3026 @subsection Tremolo repeats
3028 @cindex tremolo beams
3030 To place tremolo marks between notes, use @code{\repeat} with tremolo
3032 @lilypond[quote,verbatim,ragged-right]
3033 \new Voice \relative c' {
3034 \repeat "tremolo" 8 { c16 d16 }
3035 \repeat "tremolo" 4 { c16 d16 }
3036 \repeat "tremolo" 2 { c16 d16 }
3040 Tremolo marks can also be put on a single note. In this case, the
3041 note should not be surrounded by braces.
3042 @lilypond[quote,verbatim,ragged-right]
3043 \repeat "tremolo" 4 c'16
3046 Similar output is obtained using the tremolo subdivision, described in
3047 @ref{Tremolo subdivisions}.
3052 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
3054 Program reference: @internalsref{Beam}, @internalsref{StemTremolo}.
3056 Example files: @inputfileref{input/@/regression,chord@/-tremolo@/.ly},
3057 @inputfileref{input/@/regression,stem@/-tremolo@/.ly}.
3060 @node Tremolo subdivisions
3061 @subsection Tremolo subdivisions
3063 @cindex tremolo marks
3064 @findex tremoloFlags
3066 Tremolo marks can be printed on a single note by adding
3067 `@code{:}[@var{number}]' after the note. The number indicates the
3068 duration of the subdivision, and it must be at least 8. A
3069 @var{length} value of 8 gives one line across the note stem. If the
3070 length is omitted, the last value (stored in @code{tremoloFlags}) is
3073 @lilypond[quote,ragged-right,verbatim,fragment]
3074 c'2:8 c':32 | c': c': |
3080 Tremolos entered in this way do not carry over into the MIDI output.
3085 In this manual: @ref{Tremolo repeats}.
3087 Elsewhere: @internalsref{StemTremolo}.
3090 @node Measure repeats
3091 @subsection Measure repeats
3093 @cindex percent repeats
3094 @cindex measure repeats
3096 In the @code{percent} style, a note pattern can be repeated. It is
3097 printed once, and then the pattern is replaced with a special sign.
3098 Patterns of one and two measures are replaced by percent-like signs,
3099 patterns that divide the measure length are replaced by slashes.
3100 Percent repeats must be declared within a @code{Voice} context.
3102 @lilypond[quote,verbatim,ragged-right]
3103 \new Voice \relative c' {
3104 \repeat "percent" 4 { c4 }
3105 \repeat "percent" 2 { c2 es2 f4 fis4 g4 c4 }
3109 Measure repeats of more than 2 measures get a counter, if you switch
3110 on the @code{countPercentRepeats} property,
3112 @lilypond[relative=2,fragment,quote,verbatim,ragged-right]
3114 \set countPercentRepeats = ##t
3115 \repeat "percent" 4 { c1 }
3121 Isolated percents can also be printed. This is done by putting a multi
3122 measure rest with a different print function,
3124 @lilypond[fragment,verbatim]
3125 \override MultiMeasureRest #'stencil
3126 = #ly:multi-measure-rest::percent
3135 Program reference: @internalsref{RepeatSlash},
3136 @internalsref{PercentRepeat}, @internalsref{DoublePercentRepeat},
3137 @internalsref{DoublePercentRepeatCounter},
3138 @internalsref{PercentRepeatCounter},
3139 @internalsref{PercentRepeatedMusic}.