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
10 @chapter Basic notation
12 This chapter explains how to use all basic notation features.
16 * Alternate music entry::
30 This section is about basic notation elements like notes, rests, and
31 related constructs, such as stems, tuplets and ties.
36 * Cautionary accidentals::
52 @cindex Note specification
53 @cindex entering notes
55 A note is printed by specifying its pitch and then its duration,
57 @lilypond[quote,verbatim,ragged-right,fragment]
63 This manual: @ref{Pitches}, @ref{Durations}
72 The most common syntax for pitch entry is used for standard notes and
73 @code{\chordmode} modes. In these modes, pitches may be designated by
74 names. The notes are specified by the letters @code{a} through
75 @code{g}. The octave is formed with notes ranging from @code{c}
76 to @code{b}. The pitch @code{c} is an octave below middle C and the
77 letters span the octave above that C
79 @lilypond[quote,fragment,verbatim,ragged-right]
81 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
87 The optional octave specification takes the form of a series of
88 single quote (`@code{'}') characters or a series of comma
89 (`@code{,}') characters. Each @code{'} raises the pitch by one
90 octave; each @code{,} lowers the pitch by an octave
92 @lilypond[quote,ragged-right,fragment,verbatim]
96 @cindex note names, Dutch
98 A sharp is formed by adding @code{-is} to the end of a pitch name and
99 a flat is formed by adding @code{-es}. Double sharps and double flats
100 are obtained by adding @code{-isis} or @code{-eses}. These
101 names are the Dutch note names. In Dutch, @code{aes} is contracted to
102 @code{as}, but both forms are accepted. Similarly, both
103 @code{es} and @code{ees} are accepted
105 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
113 There are predefined sets of note names for various other languages.
114 To use them, include the language specific init file. For
115 example: @code{\include "english.ly"}. The available language files
116 and the note names they define are
121 Note Names sharp flat
122 nederlands.ly c d e f g a bes b -is -es
123 english.ly c d e f g a bf b -s/-sharp -f/-flat
125 deutsch.ly c d e f g a b h -is -es
126 norsk.ly c d e f g a b h -iss/-is -ess/-es
127 svenska.ly c d e f g a b h -iss -ess
128 italiano.ly do re mi fa sol la sib si -d -b
129 catalan.ly do re mi fa sol la sib si -d/-s -b
130 espanol.ly do re mi fa sol la sib si -s -b
136 In accordance with standard typsetting rules, a natural sign is printed
137 before a sharp or flat if a previous accidental needs to be
138 cancelled. To change this behaviour, use
139 @code{\set Staff.extraNatural = ##f}
141 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
143 \set Staff.extraNatural = ##f
149 Suggested accidentals (used in notating musica ficta) may
150 be written with @code{suggestAccidentals}
152 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
153 \set suggestAccidentals = ##t
160 Program reference: @internalsref{LedgerLineSpanner}, @internalsref{NoteHead}.
163 @node Cautionary accidentals
164 @subsection Cautionary accidentals
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 `@code{?}' 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, refer to @ref{Automatic accidentals}.
193 @subsection Micro tones
195 @cindex quarter tones
196 @cindex semi-flats, semi-sharps
198 Half-flats and half-sharps are formed by adding @code{-eh} and
199 @code{-ih}; the following is a series of Cs with increasing pitches
201 @lilypond[verbatim,ragged-right,quote,relative=2,fragment]
202 \set Staff.extraNatural = ##f
206 Micro tones are also exported to the MIDI file.
211 There are no generally accepted standards for denoting three quarter
212 flats, so LilyPond's symbol does not conform to any standard.
220 A chord is formed by a enclosing a set of pitches in @code{<} and
221 @code{>}. A chord may be followed by a duration, and a set of
222 articulations, just like simple notes
224 @lilypond[verbatim,ragged-right,fragment,quote,relative=1]
228 For more information about chords, see @ref{Chord names}.
239 Rests are entered like notes with the note name @code{r}
241 @lilypond[fragment,quote,ragged-right,verbatim]
245 Whole bar rests, centered in middle of the bar,
246 must be done with multi-measure rests. They can be used for a
247 single bar as well as many bars, and are discussed in
248 @ref{Multi measure rests}.
251 A rest's vertical position may be explicitly specified by entering a
252 note with the @code{\rest} keyword appended, the rest will be placed at
253 the note's place. This makes manual formatting in polyphonic music
254 easier. Automatic rest collision formatting will leave these rests
257 @lilypond[fragment,quote,ragged-right,verbatim]
263 Program reference: @internalsref{Rest}.
270 @cindex Invisible rest
275 An invisible rest (also called a `skip') can be entered like a note
276 with note name `@code{s}' or with @code{\skip @var{duration}}
278 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
279 a4 a4 s4 a4 \skip 1 a4
282 The @code{s} syntax is only available in note mode and chord mode. In
283 other situations, for example, when entering lyrics, you should use
284 the @code{\skip} command
286 @lilypond[quote,ragged-right,verbatim]
289 \new Lyrics \lyricmode { \skip 2 bla2 }
293 The skip command is merely an empty musical placeholder. It does not
294 produce any output, not even transparent output.
296 The @code{s} skip command does create @internalsref{Staff} and
297 @internalsref{Voice} when necessary, similar to note and rest
298 commands. For example, the following results in an empty staff.
300 @lilypond[quote,ragged-right,verbatim]
304 The fragment @code{@{ \skip 4 @} } would produce an empty page.
308 Program reference: @internalsref{SkipMusic}.
312 @subsection Durations
315 @cindex @code{\longa}
316 @cindex @code{\breve}
317 @cindex @code{\maxima}
319 In Note, Chord, and Lyrics mode, durations are designated by numbers and
320 dots: durations are entered as their reciprocal values. For example, a
321 quarter note is entered using a @code{4} (since it is a 1/4 note), while
322 a half note is entered using a @code{2} (since it is a 1/2 note). For
323 notes longer than a whole you must use the variables @code{\longa} and
328 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
330 r1 r2 r4 r8 r16 r32 r64 r64
336 a\breve*1/2 \autoBeamOff
337 a1 a2 a4 a8 a16 a32 a64 a64
340 r\longa*1/4 r\breve *1/2
341 r1 r2 r4 r8 r16 r32 r64 r64
347 \remove "Clef_engraver"
348 \override StaffSymbol #'transparent = ##t
349 \override TimeSignature #'transparent = ##t
350 \override BarLine #'transparent = ##t
351 \consists "Pitch_squash_engraver"
357 If the duration is omitted then it is set to the previously entered
358 duration. The default for the first note is a quarter note.
360 @lilypond[quote,ragged-right,verbatim,fragment]
361 { a a a2 a a4 a a1 a }
365 @node Augmentation dots
366 @subsection Augmentation dots
370 To obtain dotted note lenghts, simply add a dot (`@code{.}') to
371 the number. Double-dotted notes are produced in a similar way.
373 @lilypond[quote,ragged-right,fragment,verbatim]
374 a'4 b' c''4. b'8 a'4. b'4.. c''8.
379 Dots are normally moved up to avoid staff lines, except in polyphonic
380 situations. The following commands may be used to force a particular
383 @cindex @code{\dotsUp}
385 @cindex @code{\dotsDown}
387 @cindex @code{\dotsNeutral}
392 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
400 @cindex @code{\times}
402 Tuplets are made out of a music expression by multiplying all durations
406 \times @var{fraction} @var{musicexpr}
410 The duration of @var{musicexpr} will be multiplied by the fraction.
411 The fraction's denominator will be printed over the notes, optionally
412 with a bracket. The most common tuplet is the triplet in which 3
413 notes have the length of 2, so the notes are 2/3 of their written
416 @lilypond[quote,ragged-right,fragment,verbatim]
417 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
420 Tuplets may be nested, for example,
422 @lilypond[fragment,ragged-right,verbatim,relative=2]
423 \set tupletNumberFormatFunction = #fraction-tuplet-formatter
426 \times 3/5 { a a a a a }
432 @cindex @code{\tupletUp}
434 @cindex @code{\tupletDown}
436 @cindex @code{\tupletNeutral}
437 @code{\tupletNeutral}.
442 @cindex @code{tupletNumberFormatFunction}
443 @cindex tuplet formatting
445 The property @code{tupletSpannerDuration} specifies how long each
446 bracket should last. With this, you can make lots of tuplets while
447 typing @code{\times} only once, thus saving lots of typing. In the next
448 example, there are two triplets shown, while @code{\times} was only
451 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
452 \set tupletSpannerDuration = #(ly:make-moment 1 4)
453 \times 2/3 { c8 c c c c c }
457 For more information about @code{make-moment}, see
458 @ref{Time administration}.
460 The format of the number is determined by the property
461 @code{tupletNumberFormatFunction}. The default prints only the
462 denominator, but if it is set to the Scheme function
463 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
466 To avoid printing tuplet numbers, use
468 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
469 \times 2/3 { c8 c c } \times 2/3 { c8 c c }
470 \override TupletNumber #'transparent = ##t
471 \times 2/3 { c8 c c } \times 2/3 { c8 c c }
477 Program reference: @internalsref{TupletBracket},
478 @internalsref{TupletNumber}, and @internalsref{TimeScaledMusic}.
480 Examples: @inputfileref{input/@/regression,tuplet@/-nest@/.ly}.
484 @node Scaling durations
485 @subsection Scaling durations
487 You can alter the length of duration by a fraction @var{N/M}
488 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
489 will not affect the appearance of the notes or rests produced.
491 In the following example, the first three notes take up exactly two
492 beats, but no triplet bracket is printed.
493 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
495 a4*2/3 gis4*2/3 a4*2/3
503 This manual: @ref{Tuplets}
509 Whenever a note is found, a @internalsref{Stem} object is created
510 automatically. For whole notes and rests, they are also created but
515 @cindex @code{\stemUp}
517 @cindex @code{\stemDown}
519 @cindex @code{\stemNeutral}
525 To change the direction of stems in the middle of the staff, use
527 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
529 \override Stem #'neutral-direction = #up
531 \override Stem #'neutral-direction = #down
536 @node Alternate music entry
537 @section Alternate music entry
540 This section deals with tricks and features of the input language that
541 were added solely to help entering music and finding and correcting
542 mistakes. There are also external tools that make debugging easier.
543 See @ref{Point and click} for more information.
545 It is also possible to enter and edit music using other programs, such as
546 GUI interfaces or MIDI sequencers. Refer to the LilyPond
547 website for more information.
555 * Skipping corrected music::
556 * Automatic note splitting::
557 * Writing music in parallel::
561 @node Relative octaves
562 @subsection Relative octaves
565 @cindex Relative octave specification
566 @cindex @code{\relative}
568 Octaves are specified by adding @code{'} and @code{,} to pitch names.
569 When you copy existing music, it is easy to accidentally put a pitch
570 in the wrong octave and hard to find such an error. The relative
571 octave mode prevents these errors by making the mistakes much
572 larger: a single error puts the rest of the piece off by one octave
575 \relative @var{startpitch} @var{musicexpr}
582 \relative @var{musicexpr}
585 The octave of notes that appear in @var{musicexpr} are calculated as
586 follows: if no octave changing marks are used, the basic interval
587 between this and the last note is always taken to be a fourth or
588 less. This distance is determined without regarding alterations; a
589 @code{fisis} following a @code{ceses} will be put above the
590 @code{ceses}. In other words, a doubly-augmented fourth is considered
591 a smaller interval than a diminished fifth, even though the
592 doubly-augmented fourth spans seven semitones while the diminished
593 fifth only spans six semitones.
595 The octave changing marks @code{'} and @code{,} can be added to raise
596 or lower the pitch by an extra octave. Upon entering relative mode,
597 an absolute starting pitch can be specified that will act as the
598 predecessor of the first note of @var{musicexpr}. If no starting pitch
599 is specified, then middle C is used as a start.
601 Here is the relative mode shown in action
602 @lilypond[quote,fragment,ragged-right,verbatim]
608 Octave changing marks are used for intervals greater than a fourth
609 @lilypond[quote,ragged-right,fragment,verbatim]
615 If the preceding item is a chord, the first note of the chord is used
616 to determine the first note of the next chord
618 @lilypond[quote,ragged-right,fragment,verbatim]
626 The pitch after the @code{\relative} contains a note name.
628 The relative conversion will not affect @code{\transpose},
629 @code{\chordmode} or @code{\relative} sections in its argument. To use
630 relative within transposed music, an additional @code{\relative} must
631 be placed inside @code{\transpose}.
635 @subsection Octave check
639 Octave checks make octave errors easier to correct: a note may be
640 followed by @code{=}@var{quotes} which indicates what its absolute
641 octave should be. In the following example,
644 \relative c'' @{ c='' b=' d,='' @}
648 the @code{d} will generate a warning, because a @code{d''} is expected
649 (because @code{b'} to @code{d''} is only a third), but a @code{d'} is
650 found. In the output, the octave is corrected to be a @code{d''} and
651 the next note is calculated relative to @code{d''} instead of @code{d'}.
653 There is also a syntax that is separate from the notes. The syntax
659 This checks that @var{pitch} (without quotes) yields @var{pitch} (with
660 quotes) in \relative mode. If not, a warning is printed, and the
663 In the example below, the first check passes without incident, since
664 the @code{e} (in relative mode) is within a fifth of @code{a'}. However,
665 the second check produces a warning, since the @code{e} is not within
666 a fifth of @code{b'}. The warning message is printed, and the octave
667 is adjusted so that the following notes are in the correct octave
679 The octave of a note following an octave check is determined with
680 respect to the note preceding it. In the next fragment, the last note
681 is an @code{a'}, above middle C. That means that the @code{\octave}
682 check passes successfully, so the check could be deleted without changing
683 the output of the piece.
685 @lilypond[quote,ragged-right,verbatim,fragment]
695 @subsection Transpose
698 @cindex transposition of pitches
699 @cindex @code{\transpose}
701 A music expression can be transposed with @code{\transpose}. The
704 \transpose @var{from} @var{to} @var{musicexpr}
707 This means that @var{musicexpr} is transposed by the interval between
708 the pitches @var{from} and @var{to}: any note with pitch @code{from}
709 is changed to @code{to}.
711 For example, consider a piece written in the key of D-major. If
712 this piece is a little too low for its performer, it can be
713 transposed up to E-major with
715 \transpose d e @dots{}
718 Consider a part written for violin (a C instrument). If
719 this part is to be played on the A clarinet (for which an
720 A is notated as a C, and which sounds a minor third lower
721 than notated), the following
722 transposition will produce the appropriate part
725 \transpose a c @dots{}
728 @code{\transpose} distinguishes between enharmonic pitches: both
729 @code{\transpose c cis} or @code{\transpose c des} will transpose up
730 half a tone. The first version will print sharps and the second
731 version will print flats
733 @lilypond[quote,ragged-right,verbatim]
734 mus = { \key d \major cis d fis g }
743 @code{\transpose} may also be used to input written notes for a
744 transposing instrument. Pitches are normally entered into LilyPond
745 in C (or ``concert pitch''), but they may be entered in another
746 key. For example, when entering music for a B-flat trumpet which
747 begins on concert D, one would write
750 \transpose c bes @{ e4 @dots{} @}
753 To print this music in B-flat again (ie producing a trumpet part,
754 instead of a concert pitch conductor's score) you would wrap the
755 existing music with another @code{transpose}
758 \transpose bes c @{ \transpose c bes @{ e4 @dots{} @} @}
764 Program reference: @internalsref{TransposedMusic}.
769 If you want to use both @code{\transpose} and @code{\relative},
770 you must put @code{\transpose} outside of @code{\relative}, since
771 @code{\relative} will have no effect music that appears inside a
776 @subsection Bar check
779 @cindex @code{barCheckSynchronize}
782 Bar checks help detect errors in the durations. A bar check is
783 entered using the bar symbol, `@code{|}'. Whenever it is encountered
784 during interpretation, it should fall on a measure boundary. If it
785 does not, a warning is printed. In the next example, the second bar
786 check will signal an error
788 \time 3/4 c2 e4 | g2 |
791 Bar checks can also be used in lyrics, for example
796 Twin -- kle | Twin -- kle
800 Failed bar checks are caused by entering incorrect
801 durations. Incorrect durations often completely garble up the score,
802 especially if the score is polyphonic, so a good place to start correcting
803 input is by scanning for failed bar checks and incorrect durations.
806 @cindex @code{pipeSymbol}
808 It is also possible to redefine the meaning of @code{|}. This is done
809 by assigning a music expression to @code{pipeSymbol},
811 @lilypond[quote,ragged-right,verbatim]
812 pipeSymbol = \bar "||"
818 @node Barnumber check
819 @subsection Barnumber check
821 When copying large pieces of music, it can be helpful to check that
822 the LilyPond bar number corresponds to the original that you are
823 entering from. This can be checked with @code{\barNumberCheck}, for
831 will print a warning if the @code{currentBarNumber} is not 123 when it
835 @node Skipping corrected music
836 @subsection Skipping corrected music
839 @cindex @code{skipTypesetting}
840 @cindex @code{showLastLength}
842 When entering or copying music, usually only the music near the end (where you
843 are adding notes) is interesting to view and correct. To speed up
844 this correction process, it is possible to skip typesetting of all but
845 the last few measures. This is achieved by putting
848 showLastLength = R1*5
853 in your source file. This will render only the last 5 measures
854 (assuming 4/4 time signature) of every @code{\score} in the input
855 file. For longer pieces, rendering only a small part is often an order
856 of magnitude quicker than rendering it completely
858 Skipping parts of a score can be controlled in a more fine-grained
859 fashing with the property @code{Score.skipTypesetting}. When it is
860 set, no typesetting is performed at all.
862 @lilypond[quote,fragment,ragged-right,verbatim]
865 \set Score.skipTypesetting = ##t
867 \set Score.skipTypesetting = ##f
871 In polyphonic music, @code{Score.skipTypesetting} will affect all
872 voices and staves, saving even more time.
875 @node Automatic note splitting
876 @subsection Automatic note splitting
878 Long notes can be converted automatically to tied notes. This is done
879 by replacing the @internalsref{Note_heads_engraver} by the
880 @internalsref{Completion_heads_engraver}.
881 In the following examples, notes crossing the bar line are split and tied.
883 @lilypond[quote,fragment,verbatim,relative=1,line-width=12\cm]
885 \remove "Note_heads_engraver"
886 \consists "Completion_heads_engraver"
888 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
892 This engraver splits all running notes at the bar line, and inserts
893 ties. One of its uses is to debug complex scores: if the measures are
894 not entirely filled, then the ties exactly show how much each measure
900 Not all durations (especially those containing tuplets) can be
901 represented exactly with normal notes and dots, but the engraver will
904 @code{Completion_heads_engraver} only affects notes; it does not split
910 Examples: @inputfileref{input/@/regression,completion@/-heads@/.ly}.
914 Program reference: @internalsref{Completion_heads_engraver}.
917 @node Writing music in parallel
918 @subsection Writing music in parallel
919 @cindex Writing music in parallel
920 @cindex Interleaved music
922 Music for multiple parts can be interleaved
924 @lilypond[quote,fragment,verbatim,relative=1]
925 \parallelMusic #'(voiceA voiceB) {
926 r8 g'16[ c''] e''[ g' c'' e''] r8 g'16[ c''] e''[ g' c'' e''] |
928 r8 a'16[ d''] f''[ a' d'' f''] r8 a'16[ d''] f''[ a' d'' f''] |
932 \new Staff \new Voice \voiceA
933 \new Staff \new Voice \voiceB
939 @section Staff notation
941 @cindex Staff notation
943 This section describes music notation that occurs on staff level,
944 such as key signatures, clefs and time signatures.
953 * System start delimiters::
963 The clef indicates which lines of the staff correspond to which
964 pitches. The clef is set with the @code{\clef} command
966 @lilypond[quote,ragged-right,fragment,verbatim]
967 { c''2 \clef alto g'2 }
977 @cindex mezzosoprano clef
978 @cindex baritone clef
979 @cindex varbaritone clef
982 Supported clefs finclude
984 @item treble, violin, G, G2
993 G clef on 1st line, so-called French violin clef
1010 By adding @code{_8} or @code{^8} to the clef name, the clef is
1011 transposed one octave down or up, respectively, and @code{_15} and
1012 @code{^15} transposes by two octaves. The argument @var{clefname}
1013 must be enclosed in quotes when it contains underscores or digits. For
1016 @cindex choral tenor clef
1017 @lilypond[quote,ragged-right,verbatim,fragment,relative=1]
1024 The command @code{\clef "treble_8"} is equivalent to setting @code{clefGlyph},
1025 @code{clefPosition} (which controls the Y position of the clef),
1026 @code{middleCPosition} and @code{clefOctavation}. A clef is printed
1027 when any of these properties are changed. The following example shows
1028 possibilities when setting properties manually.
1030 @lilypond[quote,ragged-right,verbatim]
1032 \set Staff.clefGlyph = #"clefs.F"
1033 \set Staff.clefPosition = #2
1035 \set Staff.clefGlyph = #"clefs.G"
1037 \set Staff.clefGlyph = #"clefs.C"
1039 \set Staff.clefOctavation = #7
1041 \set Staff.clefOctavation = #0
1042 \set Staff.clefPosition = #0
1046 \set Staff.middleCPosition = #4
1054 Program reference: @internalsref{Clef}.
1058 @subsection Key signature
1060 @cindex Key signature
1063 The key signature indicates the tonality in which a piece is played. It
1064 is denoted by a set of alterations (flats or sharps) at the start of the
1067 Setting or changing the key signature is done with the @code{\key}
1071 @code{\key} @var{pitch} @var{type}
1074 @cindex @code{\minor}
1075 @cindex @code{\major}
1076 @cindex @code{\minor}
1077 @cindex @code{\ionian}
1078 @cindex @code{\locrian}
1079 @cindex @code{\aeolian}
1080 @cindex @code{\mixolydian}
1081 @cindex @code{\lydian}
1082 @cindex @code{\phrygian}
1083 @cindex @code{\dorian}
1084 @cindex church modes
1086 Here, @var{type} should be @code{\major} or @code{\minor} to get
1087 @var{pitch}-major or @var{pitch}-minor, respectively. You may also
1088 use the standard mode names (also called ``church modes''): @code{\ionian},
1089 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
1090 @code{\phrygian}, and @code{\dorian}.
1092 This command sets the context property
1093 @code{Staff.keySignature}. Non-standard key signatures
1094 can be specified by setting this property directly.
1096 Accidentals and key signatures often confuse new users, because
1097 unaltered notes get natural signs depending on the key signature. For
1098 more information, see @ref{More about pitches}.
1103 A natural sign is printed to cancel any previous accidentals. This
1104 can be suppressed by setting the @code{Staff.printKeyCancellation}
1107 @lilypond[quote,fragment,ragged-right,fragment,verbatim,relative=2]
1112 \set Staff.printKeyCancellation = ##f
1122 Program reference: @internalsref{KeyCancellation}, @internalsref{KeySignature}.
1125 @node Time signature
1126 @subsection Time signature
1128 @cindex Time signature
1130 @cindex @code{\time}
1132 Time signature indicates the metrum of a piece: a regular pattern of
1133 strong and weak beats. It is denoted by a fraction at the start of the
1136 The time signature is set with the @code{\time} command
1138 @lilypond[quote,ragged-right,fragment,verbatim]
1139 \time 2/4 c'2 \time 3/4 c'2.
1144 The symbol that is printed can be customized with the @code{style}
1145 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1148 @lilypond[fragment,quote,ragged-right,verbatim]
1151 \override Staff.TimeSignature #'style = #'()
1156 There are many more options for its layout. See @ref{Ancient time
1157 signatures} for more examples.
1159 @code{\time} sets the property @code{timeSignatureFraction},
1160 @code{beatLength} and @code{measureLength} in the @code{Timing}
1161 context, which is normally aliased to @internalsref{Score}. The
1162 property @code{measureLength} determines where bar lines should be
1163 inserted, and how automatic beams should be generated. Changing the
1164 value of @code{timeSignatureFraction} also causes the symbol to be
1167 More options are available through the Scheme function
1168 @code{set-time-signature}. In combination with the
1169 @internalsref{Measure_grouping_engraver}, it will create
1170 @internalsref{MeasureGrouping} signs. Such signs ease reading
1171 rhythmically complex modern music. In the following example, the 9/8
1172 measure is subdivided in 2, 2, 2 and 3. This is passed to
1173 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
1175 @lilypond[quote,ragged-right,verbatim]
1178 #(set-time-signature 9 8 '(2 2 2 3))
1179 g8[ g] d[ d] g[ g] a8[( bes g]) |
1180 #(set-time-signature 5 8 '(3 2))
1186 \consists "Measure_grouping_engraver"
1194 Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_translator}.
1199 Automatic beaming does not use the measure grouping specified with
1200 @code{set-time-signature}.
1203 @node Partial measures
1204 @subsection Partial measures
1208 @cindex partial measure
1209 @cindex measure, partial
1210 @cindex shorten measures
1211 @cindex @code{\partial}
1213 Partial measures, such as an anacrusis or upbeat, are entered using the
1215 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1216 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1219 The syntax for this command is
1222 \partial @var{duration}
1225 This is internally translated into
1228 \set Timing.measurePosition = -@var{length of duration}
1231 The property @code{measurePosition} contains a rational number
1232 indicating how much of the measure has passed at this point.
1237 This command does not take into account grace notes at the start of
1238 the music. When a piece starts with graces notes in the pickup, then
1239 the @code{\partial} should follow the grace notes
1241 @lilypond[verbatim,quote,ragged-right,relative,fragment]
1250 @subsection Bar lines
1254 @cindex measure lines
1257 Bar lines delimit measures, but are also used to indicate
1258 repeats. Normally they are inserted automatically. Line
1259 breaks may only happen on bar lines.
1261 Special types of bar lines can be forced with the @code{\bar} command
1263 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1267 The following bar types are available
1269 @lilypondfile[ragged-right,quote]{bar-lines.ly}
1271 To allow a line break where there is no visible bar line, use
1278 This will insert an invisible bar line and allow line breaks at this
1281 In scores with many staves, a @code{\bar} command in one staff is
1282 automatically applied to all staves. The resulting bar lines are
1283 connected between different staves of a StaffGroup
1285 @lilypond[quote,ragged-right,fragment,verbatim]
1293 \new Staff { \clef bass c4 g e g }
1295 \new Staff { \clef bass c2 c2 }
1302 @cindex @code{whichBar}
1303 @cindex @code{repeatCommands}
1304 @cindex @code{defaultBarType}
1306 The command @code{\bar }@var{bartype} is a short cut for doing
1307 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1308 is set to a string, a bar line of that type is created.
1310 A bar line is created whenever the @code{whichBar} property is set.
1311 At the start of a measure it is set to the contents of
1312 @code{Timing.defaultBarType}. The contents of @code{repeatCommands} are used
1313 to override default measure bars.
1315 You are encouraged to use @code{\repeat} for repetitions. See
1321 In this manual: @ref{Repeats}, @ref{System start delimiters}.
1323 Program reference: @internalsref{BarLine} (created at
1324 @internalsref{Staff} level), @internalsref{SpanBar} (across staves).
1326 Examples: @inputfileref{input/@/test,bar@/-lines@/.ly},
1329 @node Unmetered music
1330 @subsection Unmetered music
1333 @cindex @code{\cadenzaOn}
1334 @cindex @code{\cadenzaOff}
1336 Bar lines and bar numbers are calculated automatically. For unmetered
1337 music (cadenzas, for example), this is not desirable. To turn off
1338 automatic bar lines and bar numbers, use the commands @code{\cadenzaOn}
1339 and @code{\cadenzaOff}.
1341 @lilypond[verbatim,quote,ragged-right,relative=2,fragment]
1353 LilyPond will only insert page breaks at a barline. Unless the unmetered
1354 music ends before the end of the staff line, you will need to insert
1362 to indicate where line breaks can occur.
1365 @node System start delimiters
1366 @subsection System start delimiters
1368 @cindex start of system
1369 @cindex Staff, multiple
1370 @cindex bracket, vertical
1371 @cindex brace, vertical
1374 @cindex staff, choir
1376 Many scores consist of more than one staff. These staves can be
1377 joined in four different ways
1380 @item The group is started with a brace at the left, and bar lines are
1381 connected. This is done with the @internalsref{GrandStaff} context.
1383 @lilypond[verbatim,ragged-right,quote]
1391 @item The group is started with a bracket, and bar lines are connected.
1392 This is done with the
1393 @internalsref{StaffGroup} context
1395 @lilypond[verbatim,ragged-right,quote]
1403 @item The group is started with a bracket, but bar lines are not
1404 connected. This is done with the @internalsref{ChoirStaff} context.
1406 @lilypond[verbatim,ragged-right,quote]
1414 @item The group is started with a vertical line. Bar lines are not
1415 connected. This is the default for the score.
1417 @lilypond[verbatim,ragged-right,quote]
1428 The bar lines at the start of each system are
1429 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1430 @internalsref{SystemStartBracket}. Only one of these types is created
1431 in every context, and that type is determined by the property
1432 @code{systemStartDelimiter}.
1436 @subsection Staff symbol
1438 @cindex adjusting staff symbol
1440 Notes, dynamic signs, etc., are grouped
1441 with a set of horizontal lines, called a staff (plural `staves'). In
1442 LilyPond, these lines are drawn using a separate layout object called
1445 The staff symbol may be tuned in the number, thickness and distance
1446 of lines, using properties. This is demonstrated in the example files
1447 @inputfileref{input/@/test,staff@/-lines@/.ly},
1448 @inputfileref{input/@/test,staff@/-size@/.ly}.
1450 In addition, staves may be started and stopped at will. This is done
1451 with @code{\startStaff} and @code{\stopStaff}.
1453 @lilypond[verbatim,relative=2,fragment]
1455 \override Staff.StaffSymbol #'line-count = 2
1456 \stopStaff \startStaff
1458 \revert Staff.StaffSymbol #'line-count
1459 \stopStaff \startStaff
1463 In combination with Frenched staves, this may be used to typeset ossia
1464 sections. An example is in @inputfileref{input/@/test@/,ossia.ly},
1469 @lilypondfile{ossia.ly}
1471 @cindex staff lines, setting number of
1472 @cindex staff lines, setting thickness of
1473 @cindex thickness of staff lines, setting
1474 @cindex number of staff lines, setting
1478 Program reference: @internalsref{StaffSymbol}.
1480 Examples: @inputfileref{input/@/test,staff@/-lines@/.ly},
1481 @inputfileref{input/@/test@/,ossia.ly},
1482 @inputfileref{input/@/test,staff@/-size@/.ly}.
1486 @node Connecting notes
1487 @section Connecting notes
1489 This section deals with notation that affects groups of notes.
1495 * Laissez vibrer ties::
1508 A tie connects two adjacent note heads of the same pitch. The tie in
1509 effect extends the length of a note. Ties should not be confused with
1510 slurs, which indicate articulation, or phrasing slurs, which indicate
1511 musical phrasing. A tie is entered using the tilde symbol `@code{~}'
1513 @lilypond[quote,ragged-right,fragment,verbatim]
1514 e' ~ e' <c' e' g'> ~ <c' e' g'>
1517 When a tie is applied to a chord, all note heads whose pitches match
1518 are connected. When no note heads match, no ties will be created.
1520 A tie is just a way of extending a note duration, similar to the
1521 augmentation dot. The following example shows two ways of notating
1522 exactly the same concept
1524 @lilypond[quote,fragment,ragged-right]
1525 \time 3/4 c'2. c'2 ~ c'4
1529 Ties are used either when the note crosses a bar line, or when dots
1530 cannot be used to denote the rhythm. When using ties, larger note
1531 values should be aligned to subdivisions of the measure, eg.
1533 @lilypond[fragment,quote,ragged-right]
1535 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
1539 If you need to tie a lot of notes over bars, it may be easier to use
1540 automatic note splitting (see @ref{Automatic note splitting}). This
1541 mechanism automatically splits long notes, and ties them across bar
1544 When a second alternative of a repeat starts with a tied note, you
1545 have to repeat the tie. This can be achieved with @code{\repeatTie},
1548 @lilypond[fragment,quote,ragged-right,relative=2]
1552 @cindex repeating ties
1553 @cindex volta brackets and ties
1557 Ties are sometimes used to write out arpeggios. In this case, two tied
1558 notes need not be consecutive. This can be achieved by setting the
1559 @code{tieWaitForNote} property to true. The same feature is also useful,
1560 for example, to tie a tremolo to a chord. For example,
1562 @lilypond[fragment,verbatim,relative=1,ragged-right]
1563 \set tieWaitForNote = ##t
1564 \grace { c16[~ e~ g]~ } <c, e g>2
1565 \repeat "tremolo" 8 { c32~ c'~ } <c c,>1
1572 @cindex @code{\tieUp}
1574 @cindex @code{\tieDown}
1576 @cindex @code{\tieNeutral}
1578 @cindex @code{\tieDotted}
1580 @cindex @code{\tieDashed}
1582 @cindex @code{\tieSolid}
1588 In this manual: @ref{Automatic note splitting}.
1590 Program reference: @internalsref{Tie}.
1593 @inputfileref{input/@/regression,tie-arpeggio.ly}
1594 @inputfileref{input/@/regression,tie-manual.ly}
1601 Switching staves when a tie is active will not produce a slanted tie.
1609 A slur indicates that notes are to be played bound or
1610 @emph{legato}. They are entered using parentheses
1612 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1613 f( g a) a8 b( a4 g2 f4)
1617 The direction of a slur can be specified with
1618 @code{\slur@emph{DIR}}, where @code{@emph{DIR}} is
1619 either @code{Up}, @code{Down}, or @code{Neutral} (automatically
1622 However, there is a convenient shorthand for forcing slur
1623 directions. By adding @code{_} or @code{^} before the opening
1624 parentheses, the direction is also set. For example,
1626 @lilypond[relative=2,ragged-right,quote,verbatim,fragment]
1630 Only one slur can be printed at once. If you need to print a long
1631 slur over a few small slurs, please see @ref{Phrasing slurs}.
1636 Some composers write two slurs when they want legato chords. This can
1637 be achieved in LilyPond by setting @code{doubleSlurs},
1639 @lilypond[verbatim,ragged-right,relative,fragment,quote]
1640 \set doubleSlurs = ##t
1641 <c e>4 ( <d f> <c e> <d f> )
1647 @cindex @code{\slurUp}
1649 @cindex @code{\slurDown}
1651 @cindex @code{\slurNeutral}
1652 @code{\slurNeutral},
1653 @cindex @code{\slurDashed}
1655 @cindex @code{\slurDotted}
1657 @cindex @code{\slurSolid}
1662 Program reference: @seeinternals{Slur}.
1665 @node Phrasing slurs
1666 @subsection Phrasing slurs
1668 @cindex phrasing slurs
1669 @cindex phrasing marks
1671 A phrasing slur (or phrasing mark) connects notes and is used to
1672 indicate a musical sentence. It is written using @code{\(} and @code{\)}
1675 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
1676 \time 6/4 c'\( d( e) f( e) d\)
1679 Typographically, the phrasing slur behaves almost exactly like a
1680 normal slur. However, they are treated as different objects. A
1681 @code{\slurUp} will have no effect on a phrasing slur; instead, use
1682 @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1683 @code{\phrasingSlurNeutral}.
1685 You cannot have simultaneous phrasing slurs.
1690 @cindex @code{\phrasingSlurUp}
1691 @code{\phrasingSlurUp},
1692 @cindex @code{\phrasingSlurDown}
1693 @code{\phrasingSlurDown},
1694 @cindex @code{\phrasingSlurNeutral}
1695 @code{\phrasingSlurNeutral}.
1700 Program reference: @internalsref{PhrasingSlur}.
1703 @node Laissez vibrer ties
1704 @subsection Laissez vibrer ties
1705 @cindex Laissez vibrer
1706 @cindex Ties, laissez vibrer
1708 L.v. ties (laissez vibrer) indicate that notes must not be damped at the
1709 end. It is used in notation for piano, harp and other string and
1710 percussion instruments. They can be entered using @code{\laissezVibrer},
1712 @lilypond[fragment,ragged-right,verbatim,relative=1]
1713 <c f g>\laissezVibrer
1719 @internalsref{LaissezVibrerTie}
1720 @internalsref{LaissezVibrerTieColumn}
1723 @inputfileref{input/regression,laissez-vibrer-tie.ly}
1726 @node Automatic beams
1727 @subsection Automatic beams
1729 LilyPond inserts beams automatically
1731 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1732 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1735 When these automatic decisions are not good enough, beaming can be
1736 entered explicitly. It is also possible to define beaming patterns
1737 that differ from the defaults. See @ref{Setting automatic beam behavior}
1740 Individual notes may be marked with @code{\noBeam} to prevent them
1743 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1744 \time 2/4 c8 c\noBeam c c
1750 Program reference: @internalsref{Beam}.
1754 @subsection Manual beams
1756 @cindex beams, manual
1760 In some cases it may be necessary to override the automatic beaming
1761 algorithm. For example, the autobeamer will not put beams over rests
1762 or bar lines. Such beams are specified manually by marking the begin
1763 and end point with @code{[} and @code{]}
1765 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1767 r4 r8[ g' a r8] r8 g[ | a] r8
1774 @cindex @code{stemLeftBeamCount}
1775 @cindex @code{stemRightBeamCount}
1777 Normally, beaming patterns within a beam are determined automatically.
1778 If necessary, the properties @code{stemLeftBeamCount} and
1779 @code{stemRightBeamCount} can be used to override the defaults. If
1780 either property is set, its value will be used only once, and then it
1783 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1788 \set stemLeftBeamCount = #1
1793 The property @code{subdivideBeams} can be set in order to subdivide
1794 all 16th or shorter beams at beat positions, as defined by the
1795 @code{beatLength} property.
1797 @lilypond[fragment,quote,relative=2,verbatim]
1799 \set subdivideBeams = ##t
1801 \set Score.beatLength = #(ly:make-moment 1 8)
1804 @cindex @code{subdivideBeams}
1807 For more information about @code{make-moment}, see
1808 @ref{Time administration}.
1810 Line breaks are normally forbidden when beams cross bar lines. This
1811 behavior can be changed by setting @code{allowBeamBreak}.
1813 @cindex @code{allowBeamBreak}
1814 @cindex beams and line breaks
1815 @cindex beams, kneed
1817 @cindex auto-knee-gap
1822 Kneed beams are inserted automatically when a large gap is detected
1823 between the note heads. This behavior can be tuned through the object.
1825 Automatically kneed cross-staff beams cannot be used together with
1826 hidden staves. See @ref{Hiding staves}.
1828 Beams do not avoid collisions with symbols around the notes, such as
1829 texts and accidentals.
1833 @subsection Grace notes
1835 @cindex @code{\grace}
1838 @cindex appoggiatura
1839 @cindex acciaccatura
1841 Grace notes are ornaments that are written out. The most common ones
1842 are acciaccatura, which should be played as very short. It is denoted
1843 by a slurred small note with a slashed stem. The appoggiatura is a
1844 grace note that takes a fixed fraction of the main note, and is
1845 denoted as a slurred note in small print without a slash. They
1846 are entered with the commands @code{\acciaccatura} and
1847 @code{\appoggiatura}, as demonstrated in the following example
1849 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
1850 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
1851 \acciaccatura { g16[ f] } e4
1854 Both are special forms of the @code{\grace} command. By prefixing this
1855 keyword to a music expression, a new one is formed, which will be
1856 printed in a smaller font and takes up no logical time in a measure.
1858 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
1860 \grace { c16[ d16] } c2 c4
1864 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
1865 @code{\grace} command does not start a slur.
1867 Internally, timing for grace notes is done using a second, `grace'
1868 timing. Every point in time consists of two rational numbers: one
1869 denotes the logical time, one denotes the grace timing. The above
1870 example is shown here with timing tuples
1872 @lilypond[quote,ragged-right]
1875 c4 \grace c16 c4 \grace {
1878 \new Lyrics \lyricmode {
1879 \override LyricText #'font-family = #'typewriter
1883 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
1884 \markup { (\fraction 1 4 , 0 ) } 4
1886 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
1887 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
1889 \markup { ( \fraction 2 4 , 0 ) }
1894 The placement of grace notes is synchronized between different staves.
1895 In the following example, there are two sixteenth grace notes for
1896 every eighth grace note
1898 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
1899 << \new Staff { e4 \grace { c16[ d e f] } e4 }
1900 \new Staff { c4 \grace { g8[ b] } c4 } >>
1903 @cindex @code{\afterGrace}
1905 If you want to end a note with a grace, use the @code{\afterGrace}
1906 command. It takes two arguments: the main note, and the grace notes
1907 following the main note.
1909 @lilypond[ragged-right, verbatim,relative=2,fragment]
1910 c1 \afterGrace d1 { c16[ d] } c4
1913 This will put the grace notes after a ``space'' lasting 3/4 of the
1914 length of the main note. The fraction 3/4 can be changed by setting
1915 @code{afterGraceFraction}, ie.
1918 afterGraceFraction = #(cons 7 8)
1922 will put the grace note at 7/8 of the main note.
1924 The same effect can be achieved manually by doing
1926 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1929 { s2 \grace { c16[ d] } } >>
1935 By adjusting the duration of the skip note (here it is a half-note),
1936 the space between the main-note and the grace is adjusted.
1938 A @code{\grace} section will introduce special typesetting settings,
1939 for example, to produce smaller type, and set directions. Hence, when
1940 introducing layout tweaks, they should be inside the grace section,
1942 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1954 The overrides should also be reverted inside the grace section.
1956 The layout of grace sections can be changed throughout the music using
1957 the function @code{add-grace-property}. The following example
1958 undefines the Stem direction for this grace, so stems do not always
1963 #(add-grace-property 'Voice 'Stem 'direction '())
1969 Another option is to change the variables @code{startGraceMusic},
1970 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
1971 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
1972 @code{stopAppoggiaturaMusic}. More information is in the file
1973 @file{ly/@/grace@/-init@/.ly}.
1976 The slash through the stem in acciaccaturas can be obtained
1977 in other situations by @code{\override Stem #'stroke-style = #"grace"}.
1981 Program reference: @internalsref{GraceMusic}.
1986 A score that starts with a @code{\grace} section needs an explicit
1987 @code{\new Voice} declaration, otherwise the main note and the grace
1988 note end up on different staves.
1990 Grace note synchronization can also lead to surprises. Staff notation,
1991 such as key signatures, bar lines, etc., are also synchronized. Take
1992 care when you mix staves with grace notes and staves without, for example,
1994 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
1995 << \new Staff { e4 \bar "|:" \grace c16 d4 }
1996 \new Staff { c4 \bar "|:" d4 } >>
2000 This can be remedied by inserting grace skips of the corresponding
2001 durations in the other staves. For the above example
2004 \new Staff @{ c4 \bar "|:" \grace s16 d4 @}
2007 Grace sections should only be used within sequential music
2008 expressions. Nesting or juxtaposing grace sections is not supported,
2009 and might produce crashes or other errors.
2013 @node Expressive marks
2014 @section Expressive marks
2016 Expressive marks help musicians to bring more to the music than simple
2021 * Fingering instructions::
2031 @subsection Articulations
2033 @cindex Articulations
2037 A variety of symbols can appear above and below notes to indicate
2038 different characteristics of the performance. They are added to a note
2039 by adding a dash and the character signifying the
2040 articulation. They are demonstrated here
2042 @lilypondfile[quote,ragged-right]{script-abbreviations.ly}
2044 The meanings of these shorthands can be changed. See
2045 @file{ly/@/script@/-init@/.ly} for examples.
2047 The script is automatically placed, but the direction can be forced as
2048 well. Like other pieces of LilyPond code, @code{_} will place them
2049 below the staff, and @code{^} will place them above.
2051 @lilypond[quote,ragged-right,fragment,verbatim]
2055 Other symbols can be added using the syntax
2056 @var{note}@code{\}@var{name}. Again, they
2057 can be forced up or down using @code{^} and @code{_},
2060 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
2061 c\fermata c^\fermata c_\fermata
2066 @cindex staccatissimo
2076 @cindex organ pedal marks
2085 @cindex prallmordent
2089 @cindex thumb marking
2094 Here is a chart showing all scripts available,
2096 @lilypondfile[ragged-right,quote]{script-chart.ly}
2101 The vertical ordering of scripts is controlled with the
2102 @code{script-priority} property. The lower this number, the closer it
2103 will be put to the note. In this example, the
2104 @internalsref{TextScript} (the sharp symbol) first has the lowest
2105 priority, so it is put lowest in the first example. In the second, the
2106 prall trill (the @internalsref{Script}) has the lowest, so it is on the
2107 inside. When two objects have the same priority, the order in which
2108 they are entered decides which one comes first.
2110 @lilypond[verbatim,relative=3,ragged-right,fragment,quote]
2111 \once \override TextScript #'script-priority = #-100
2112 a4^\prall^\markup { \sharp }
2114 \once \override Script #'script-priority = #-100
2115 a4^\prall^\markup { \sharp }
2121 Program reference: @internalsref{Script}.
2126 These signs appear in the printed output but have no effect on the
2127 MIDI rendering of the music.
2130 @node Fingering instructions
2131 @subsection Fingering instructions
2134 @cindex finger change
2136 Fingering instructions can be entered using
2138 @var{note}-@var{digit}
2140 For finger changes, use markup texts
2142 @lilypond[quote,verbatim,ragged-right,fragment,relative=1]
2144 c^\markup { \finger "2 - 3" }
2147 You can use the thumb-script to indicate that a note should be
2148 played with the thumb (e.g., in cello music)
2149 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
2150 <a_\thumb a'-3>8 <b_\thumb b'-3>
2153 Fingerings for chords can also be added to individual notes
2154 of the chord by adding them after the pitches
2155 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
2156 < c-1 e-2 g-3 b-5 >4
2162 You may exercise greater control over fingering chords by
2163 setting @code{fingeringOrientations}
2165 @lilypond[quote,verbatim,ragged-right,fragment,relative=1]
2166 \set fingeringOrientations = #'(left down)
2167 <c-1 es-2 g-4 bes-5 > 4
2168 \set fingeringOrientations = #'(up right down)
2169 <c-1 es-2 g-4 bes-5 > 4
2172 Using this feature, it is also possible to put fingering instructions
2173 very close to note heads in monophonic music,
2175 @lilypond[verbatim,ragged-right,quote,fragment]
2176 \set fingeringOrientations = #'(right)
2183 Program reference: @internalsref{Fingering}.
2185 Examples: @inputfileref{input/@/regression,finger@/-chords@/.ly}.
2189 @subsection Dynamics
2200 @cindex @code{\ffff}
2209 Absolute dynamic marks are specified using a command after a note
2210 @code{c4\ff}. The available dynamic marks are @code{\ppp},
2211 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2212 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2213 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
2215 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
2216 c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2217 c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
2224 A crescendo mark is started with @code{\<} and terminated with
2225 @code{\!} or an absolute dynamic. A decrescendo is started with
2226 @code{\>} and is also terminated with @code{\!} or an absolute
2227 dynamic. Because these marks are bound to notes, you must
2228 use spacer notes if multiple marks are needed during one note
2230 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2232 << f1 { s4 s4\< s4\! \> s4\! } >>
2236 A hairpin starts at the left edge of the beginning note and ends on the
2237 right edge of the ending note.
2239 This may give rise to very short hairpins. Use @code{minimum-length}
2240 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2244 \override Staff.Hairpin #'minimum-length = #5
2251 You can also use a text saying @emph{cresc.} instead of hairpins
2253 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
2264 You can also supply your own texts
2265 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2266 \set crescendoText = \markup { \italic "cresc. poco" }
2267 \set crescendoSpanner = #'dashed-line
2271 To create new dynamic marks or text that should be aligned
2272 with dynamics, see @ref{New dynamic marks}.
2277 Dynamics that occur at, begin on, or end on, the same note
2278 will be vertically aligned. If you want to ensure that dynamics
2279 are aligned when they do not occur on the same note, you can
2280 increase the @code{staff-padding} property.
2283 \override DynamicLineSpanner #'staff-padding = #4
2286 You may also use this property if the dynamics are colliding
2287 with other notation.
2289 Crescendi and decrescendi that end on the first note of a
2290 new line are not printed. To change this behavior, use
2293 \override Score.Hairpin #'after-line-breaking = ##t
2299 @cindex @code{\dynamicUp}
2301 @cindex @code{\dynamicDown}
2302 @code{\dynamicDown},
2303 @cindex @code{\dynamicNeutral}
2304 @code{\dynamicNeutral}.
2309 Program reference: @internalsref{DynamicText}, @internalsref{Hairpin}.
2310 Vertical positioning of these symbols is handled by
2311 @internalsref{DynamicLineSpanner}.
2315 @subsection Breath marks
2317 Breath marks are entered using @code{\breathe}
2319 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2326 The glyph of the breath mark can be tuned by overriding the
2327 @code{text} property of the @code{BreathingSign} layout object with
2328 any markup text. For example,
2329 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
2331 \override BreathingSign #'text
2332 = #(make-musicglyph-markup "scripts.rvarcomma")
2339 Program reference: @internalsref{BreathingSign}.
2341 Examples: @inputfileref{input/@/regression,breathing@/-sign@/.ly}.
2347 Short trills are printed like normal articulation; see @ref{Articulations}.
2349 Long running trills are made with @code{\startTrillSpan} and
2350 @code{\stopTrillSpan},
2352 @lilypond[verbatim,ragged-right,relative=2,quote,fragment]
2354 << { c1 \startTrillSpan }
2355 { s2. \grace { d16[\stopTrillSpan e] } } >>
2359 @cindex Pitched trills
2361 Trills that should be executed on an explicitly specified pitch can be
2362 typeset with the command @code{pitchedTrill},
2364 @c if bug fixed, remove ! in f1 --gp
2365 @lilypond[ragged-right,verbatim,fragment,relative=1]
2366 \pitchedTrill c4\startTrillSpan fis
2370 The first argument is the main note. The pitch of the second
2371 is printed as a stemless note head in parentheses.
2376 @code{\startTrillSpan},
2377 @cindex @code{\startTrillSpan}
2378 @code{\stopTrillSpan}.
2379 @cindex @code{\stopTrillSpan}
2384 Program reference: @internalsref{TrillSpanner}.
2388 @subsection Glissando
2391 @cindex @code{\glissando}
2393 A glissando is a smooth change in pitch. It is denoted by a line or a
2394 wavy line between two notes. It is requested by attaching
2395 @code{\glissando} to a note
2397 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
2399 \override Glissando #'style = #'zigzag
2406 Program reference: @internalsref{Glissando}.
2408 Example files: @file{input/@/regression/@/glissando@/.ly}.
2413 Printing text over the line (such as @emph{gliss.}) is not supported.
2417 @subsection Arpeggio
2420 @cindex broken chord
2421 @cindex @code{\arpeggio}
2423 You can specify an arpeggio sign (also known as broken chord) on a
2424 chord by attaching an @code{\arpeggio} to a chord
2426 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2430 A square bracket on the left indicates that the player should not
2431 arpeggiate the chord
2433 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2438 The direction of the arpeggio is sometimes denoted by adding an
2439 arrowhead to the wiggly line
2441 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2453 When an arpeggio crosses staves, you may attach an arpeggio to the chords
2454 in both staves and set
2455 @internalsref{PianoStaff}.@code{connectArpeggios}
2457 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2459 \set PianoStaff.connectArpeggios = ##t
2460 \new Staff { <c' e g c>\arpeggio }
2461 \new Staff { \clef bass <c,, e g>\arpeggio }
2469 @cindex @code{\arpeggioUp}
2471 @cindex @code{\arpeggioDown}
2472 @code{\arpeggioDown},
2473 @cindex @code{\arpeggioNeutral}
2474 @code{\arpeggioNeutral},
2475 @cindex @code{\arpeggioBracket}
2476 @code{\arpeggioBracket}.
2481 Notation manual: @ref{Ties}, for writing out arpeggios.
2483 Program reference: @internalsref{Arpeggio}.
2488 It is not possible to mix connected arpeggios and unconnected
2489 arpeggios in one @internalsref{PianoStaff} at the same point in time.
2496 Polyphony in music refers to having more than one voice occuring in
2497 a piece of music. Polyphony in LilyPond refers to having more than
2498 one voice on the same staff.
2502 * Explicitly instantiating voices::
2503 * Collision Resolution::
2507 @node Basic polyphony
2508 @subsection Basic polyphony
2512 The easiest way to enter fragments with more than one voice on a staff
2513 is to enter each voice as a sequence (with @code{@{...@}}), and combine
2514 them simultaneously, separating the voices with @code{\\}
2518 @lilypond[quote,verbatim,fragment]
2519 \new Staff \relative c' {
2522 { g4 f e | d2 e2 } \\
2523 { r8 e4 d c8 ~ | c b16 a b8 g ~ g2 } \\
2529 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
2530 voices are sometimes called ``layers'' in other notation packages}
2532 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
2533 each of these contexts, vertical direction of slurs, stems, etc., is set
2536 These voices are all seperate from the voice that contains the notes just
2537 outside the @code{<< \\ >>} construct. This should be noted when making
2538 changes at the voice level. This also means that slurs and ties cannot go
2539 into or out of a @code{<< \\ >>} construct. Conversely, parallel voices
2540 from separate @code{<< \\ >>} constructs on the same staff are the the
2541 same voice. Here is the same example, with different noteheads for each
2542 voice. Note that the change to the note-head style in the main voice does not affect
2543 the inside of the @code{<< \\ >>} constructs. Also, the change to the second
2544 voice in the first @code{<< \\ >>} construct is effective in the second
2545 @code{<< \\ >>}, and the voice is tied accross the two constructs.
2547 @lilypond[quote,verbatim,fragment]
2548 \new Staff \relative c' {
2549 \override NoteHead #'style = #'cross
2553 { \override NoteHead #'style = #'triangle
2558 { c8 b16 a b8 g ~ g2 } \\
2559 { \override NoteHead #'style = #'slash s4 b4 c2 }
2564 Polyphony does not change the relationship of notes within a
2565 @code{\relative @{ @}} block. Each note is calculated relative
2566 to the note immediately preceding it.
2569 \relative @{ noteA << noteB \\ noteC >> noteD @}
2572 @code{noteC} is relative to @code{noteB}, not @code{noteA};
2573 @code{noteD} is relative to @code{noteC}, not @code{noteB} or
2576 @node Explicitly instantiating voices
2577 @subsection Explicitly instantiating voices
2579 @internalsref{Voice} contexts can also be instantiated manually
2580 inside a @code{<< >>} block to create polyphonic music, using
2581 @code{\voiceOne}, up to @code{\voiceFour} to assign stem directions
2582 and a horizontal shift for each part.
2586 << \upper \\ \lower >>
2594 \new Voice = "1" @{ \voiceOne \upper @}
2595 \new Voice = "2" @{ \voiceTwo \lower @}
2599 The @code{\voiceXXX} commands set the direction of stems, slurs, ties,
2600 articulations, text annotations, augmentation dots of dotted
2601 notes, and fingerings. @code{\voiceOne} and @code{\voiceThree} make
2602 these objects point upwards, while @code{\voiceTwo} and @code{\voiceFour}
2603 make them point downwards.
2604 The command @code{\oneVoice} will revert back to the normal setting.
2606 An expression that appears directly inside a @code{<< >>} belongs to
2607 the main voice. This is useful when extra voices appear while the main
2608 voice is playing. Here is a more correct rendition of the example from
2609 the previous section. The crossed noteheads demonstrate that the main
2610 melody is now in a single voice context.
2612 @lilypond[quote,ragged-right,verbatim]
2613 \new Staff \relative c' {
2614 \override NoteHead #'style = #'cross
2619 \new Voice="1" { \voiceTwo
2620 r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
2623 \new Voice { \voiceThree
2632 The correct definition of the voices allows the melody to be slurred.
2633 @lilypond[quote,ragged-right,verbatim]
2634 \new Staff \relative c' {
2639 \context Voice="1" { \voiceTwo
2640 r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
2643 \new Voice { \voiceThree
2652 Avoiding the @code{\\} seperator also allows nesting polyphony
2653 constructs, which in some case might be a more natural way to typeset
2656 @lilypond[quote,ragged-right,verbatim]
2657 \new Staff \relative c' {
2662 \context Voice="1" { \voiceTwo
2665 {c8 b16 a b8 g ~ g2}
2666 \new Voice { \voiceThree
2679 @node Collision Resolution
2680 @subsection Collision Resolution
2682 Normally, note heads with a different number of dots are not merged, but
2683 when the object property @code{merge-differently-dotted} is set in
2684 the @internalsref{NoteCollision} object, they are merged
2685 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
2688 \override Staff.NoteCollision
2689 #'merge-differently-dotted = ##t
2691 } \\ { g8.[ f16] g8.[ f16] } >>
2694 Similarly, you can merge half note heads with eighth notes, by setting
2695 @code{merge-differently-headed}
2696 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
2699 \override Staff.NoteCollision
2700 #'merge-differently-headed = ##t
2701 c8 c4. } \\ { c2 c2 } >>
2704 LilyPond also vertically shifts rests that are opposite of a stem,
2707 @lilypond[quote,ragged-right,fragment,verbatim]
2708 \new Voice << c''4 \\ r4 >>
2714 @cindex @code{\oneVoice}
2716 @cindex @code{\voiceOne}
2718 @cindex @code{\voiceTwo}
2720 @cindex @code{\voiceThree}
2722 @cindex @code{\voiceFour}
2725 @cindex @code{\shiftOn}
2727 @cindex @code{\shiftOnn}
2729 @cindex @code{\shiftOnnn}
2731 @cindex @code{\shiftOff}
2732 @code{\shiftOff}: these commands specify in what chords of the current
2733 voice should be shifted. The outer voices (normally: voice one and
2734 two) have @code{\shiftOff}, while the inner voices (three and four)
2735 have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define
2736 further shift levels.
2738 When LilyPond cannot cope, the @code{force-hshift}
2739 property of the @internalsref{NoteColumn} object and pitched rests can
2740 be used to override typesetting decisions.
2742 @lilypond[quote,verbatim,ragged-right]
2749 \once \override NoteColumn #'force-hshift = #1.7
2757 Program reference: the objects responsible for resolving collisions are
2758 @internalsref{NoteCollision} and @internalsref{RestCollision}.
2761 @inputfileref{input/@/regression,collision@/-dots@/.ly},
2762 @inputfileref{input/@/regression,collision@/-head-chords@/.ly},
2763 @inputfileref{input/@/regression,collision@/-heads@/.ly},
2764 @inputfileref{input/@/regression,collision@/-mesh@/.ly}, and
2765 @inputfileref{input/@/regression,collisions@/.ly}.
2770 When using @code{merge-differently-headed} with an upstem eighth or a
2771 shorter note, and a downstem half note, the eighth note gets the wrong
2774 There is no support for clusters where the same note occurs with
2775 different accidentals in the same chord. In this case, it is
2776 recommended to use enharmonic transcription, or to use special cluster
2777 notation (see @ref{Clusters}).
2784 Repetition is a central concept in music, and multiple notations exist
2790 * Repeats and MIDI::
2791 * Manual repeat commands::
2793 * Tremolo subdivisions::
2799 @subsection Repeat types
2802 @cindex @code{\repeat}
2804 The following types of repetition are supported
2808 Repeated music is fully written (played) out. This is useful when
2809 entering repetitious music. This is the only kind of repeat that
2810 is included in MIDI output.
2813 Repeats are not written out, but alternative endings (volte) are
2814 printed, left to right with brackets. This is the standard notation
2815 for repeats with alternatives. These are not played in MIDI output by default.
2819 Alternative endings are written stacked. This has limited use but may be
2820 used to typeset two lines of lyrics in songs with repeats, see
2821 @inputfileref{input,star-spangled-banner@/.ly}.
2825 Make tremolo beams. These are not played in MIDI output by default.
2828 Make beat or measure repeats. These look like percent signs. These
2829 are not played in MIDI output by default. Percent repeats must be
2830 declared within a Voice context.
2836 @subsection Repeat syntax
2838 LilyPond has one syntactic construct for specifying different types of
2839 repeats. The syntax is
2842 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2845 If you have alternative endings, you may add
2846 @cindex @code{\alternative}
2857 where each @var{alternative} is a music expression. If you do not
2858 give enough alternatives for all of the repeats, the first alternative
2859 is assumed to be played more than once.
2861 Standard repeats are used like this
2862 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2864 \repeat volta 2 { c4 d e f }
2865 \repeat volta 2 { f e d c }
2868 With alternative endings
2869 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2871 \repeat volta 2 {c4 d e f}
2872 \alternative { {d2 d} {f f,} }
2875 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2878 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2879 \alternative { { g4 g g } { a | a a a a | b2. } }
2883 It is possible to shorten volta brackets
2884 by setting @code{voltaSpannerDuration}. In the next example, the
2885 bracket only lasts one measure, which is a duration of 3/4.
2887 @lilypond[verbatim,ragged-right,quote]
2891 \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4)
2892 \repeat "volta" 5 { d d d }
2893 \alternative { { e e e f f f }
2903 Brackets for the repeat are normally only printed over the topmost
2904 staff. This can be adjusted by setting the @code{voltaOnThisStaff}
2905 property; see @inputfileref{input/@/regression,volta@/-multi@/-staff@/.ly}.
2910 @cindex repeat, ambiguous
2912 A nested repeat like
2921 is ambiguous, since it is is not clear to which @code{\repeat} the
2922 @code{\alternative} belongs. This ambiguity is resolved by always
2923 having the @code{\alternative} belong to the inner @code{\repeat}.
2924 For clarity, it is advisable to use braces in such situations.
2926 Timing information is not remembered at the start of an alternative,
2927 so after a repeat timing information must be reset by hand, for
2928 example by setting @code{Score.measurePosition} or entering
2929 @code{\partial}. Similarly, slurs or ties are also not repeated.
2932 @node Repeats and MIDI
2933 @subsection Repeats and MIDI
2935 @cindex expanding repeats
2936 @cindex @code{\unfoldRepeats}
2938 With a little bit of tweaking, all types of repeats can be present
2939 in the MIDI output. This is achieved by applying the
2940 @code{\unfoldRepeats} music function. This functions changes all
2941 repeats to unfold repeats.
2943 @lilypond[quote,verbatim,fragment,line-width=8.0\cm]
2945 \repeat tremolo 8 {c'32 e' }
2946 \repeat percent 2 { c''8 d'' }
2947 \repeat volta 2 {c'4 d' e' f'}
2956 When creating a score file using @code{\unfoldRepeats} for midi, then
2957 it is necessary to make two @code{\score} blocks. One for MIDI (with
2958 unfolded repeats) and one for notation (with volta, tremolo, and
2959 percent repeats). For example,
2967 \unfoldRepeats @var{..music..}
2973 @node Manual repeat commands
2974 @subsection Manual repeat commands
2976 @cindex @code{repeatCommands}
2978 The property @code{repeatCommands} can be used to control the layout of
2979 repeats. Its value is a Scheme list of repeat commands.
2982 @item @code{start-repeat}
2983 Print a @code{|:} bar line.
2985 @item @code{end-repeat}
2986 Print a @code{:|} bar line.
2988 @item @code{(volta @var{text})}
2989 Print a volta bracket saying @var{text}: The text can be specified as
2990 a text string or as a markup text, see @ref{Text markup}. Do not
2991 forget to change the font, as the default number font does not contain
2992 alphabetic characters;
2994 @item @code{(volta #f)}
2995 Stop a running volta bracket.
2998 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
3000 \set Score.repeatCommands = #'((volta "93") end-repeat)
3002 \set Score.repeatCommands = #'((volta #f))
3009 Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
3010 @internalsref{VoltaRepeatedMusic},
3011 @internalsref{UnfoldedRepeatedMusic}, and
3012 @internalsref{FoldedRepeatedMusic}.
3015 @node Tremolo repeats
3016 @subsection Tremolo repeats
3018 @cindex tremolo beams
3020 To place tremolo marks between notes, use @code{\repeat} with tremolo
3022 @lilypond[quote,verbatim,ragged-right]
3023 \new Voice \relative c' {
3024 \repeat "tremolo" 8 { c16 d16 }
3025 \repeat "tremolo" 4 { c16 d16 }
3026 \repeat "tremolo" 2 { c16 d16 }
3030 Tremolo marks can also be put on a single note. In this case, the
3031 note should not be surrounded by braces.
3032 @lilypond[quote,verbatim,ragged-right]
3033 \repeat "tremolo" 4 c'16
3036 Similar output is obtained using the tremolo subdivision, described in
3037 @ref{Tremolo subdivisions}.
3042 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
3044 Program reference: @internalsref{Beam}, @internalsref{StemTremolo}.
3046 Example files: @inputfileref{input/@/regression,chord@/-tremolo@/.ly},
3047 @inputfileref{input/@/regression,stem@/-tremolo@/.ly}.
3050 @node Tremolo subdivisions
3051 @subsection Tremolo subdivisions
3053 @cindex tremolo marks
3054 @cindex @code{tremoloFlags}
3056 Tremolo marks can be printed on a single note by adding
3057 `@code{:}[@var{number}]' after the note. The number indicates the
3058 duration of the subdivision, and it must be at least 8. A
3059 @var{length} value of 8 gives one line across the note stem. If the
3060 length is omitted, the last value (stored in @code{tremoloFlags}) is
3063 @lilypond[quote,ragged-right,verbatim,fragment]
3064 c'2:8 c':32 | c': c': |
3070 Tremolos entered in this way do not carry over into the MIDI output.
3075 In this manual: @ref{Tremolo repeats}.
3077 Elsewhere: @internalsref{StemTremolo}.
3080 @node Measure repeats
3081 @subsection Measure repeats
3083 @cindex percent repeats
3084 @cindex measure repeats
3086 In the @code{percent} style, a note pattern can be repeated. It is
3087 printed once, and then the pattern is replaced with a special sign.
3088 Patterns of one and two measures are replaced by percent-like signs,
3089 patterns that divide the measure length are replaced by slashes.
3090 Percent repeats must be declared within a @code{Voice} context.
3092 @lilypond[quote,verbatim,ragged-right]
3093 \new Voice \relative c' {
3094 \repeat "percent" 4 { c4 }
3095 \repeat "percent" 2 { c2 es2 f4 fis4 g4 c4 }
3099 Measure repeats of more than 2 measures get a counter, if you switch
3100 on the @code{countPercentRepeats} property,
3102 @lilypond[relative=2,fragment,quote,verbatim,ragged-right]
3103 \set countPercentRepeats = ##t
3105 \repeat "percent" 4 { c1 }
3110 Isolated percents can also be printed. This is done by putting a multi
3111 measure rest with a different print function,
3113 @lilypond[fragment,verbatim]
3114 \override MultiMeasureRest #'stencil
3115 = #ly:multi-measure-rest::percent
3124 Program reference: @internalsref{RepeatSlash},
3125 @internalsref{PercentRepeat}, @internalsref{DoublePercentRepeat},
3126 @internalsref{DoublePercentRepeatCounter},
3127 @internalsref{PercentRepeatCounter},
3128 @internalsref{PercentRepeatedMusic}, and