1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
6 When revising a translation, copy the HEAD committish of the
7 version that you are working on. See TRANSLATION for details.
11 @c A menu is needed before every deeper *section nesting of @node's; run
12 @c M-x texinfo-all-menus-update
13 @c to automatically fill in these menus before saving changes
16 @chapter Basic notation
18 This chapter explains how to use basic notation features.
35 This section discusses how to specify the pitch of notes.
40 * Cautionary accidentals::
42 * Note names in other languages::
52 @subsection Normal pitches
57 A pitch name is specified using lowercase letters @code{a} through @code{g}.
58 An ascending C-major scale is engraved with
60 @lilypond[quote,fragment,verbatim,ragged-right]
65 The note name @code{c} is engraved one octave below middle C.
67 @lilypond[quote,fragment,verbatim,ragged-right]
77 The optional octave specification takes the form of a series of
78 single quote (@samp{'}) characters or a series of comma
79 (@samp{,}) characters. Each @samp{'} raises the pitch by one
80 octave; each @samp{,} lowers the pitch by an octave.
82 @lilypond[quote,ragged-right,fragment,verbatim]
84 c' c'' e' g d'' d' d c
86 c, c,, e, g d,, d, d c
89 An alternate method may be used to declare which octave to
90 engrave a pitch; this method does not require as many
91 octave specifications (@code{'} and @code{,}). See
92 @ref{Relative octaves}.
96 @subsection Accidentals
98 @cindex note names, Dutch
99 @cindex note names, default
101 A sharp is formed by adding @code{-is} to the end of a pitch name and
102 a flat is formed by adding @code{-es}. Double sharps and double flats
103 are obtained by adding @code{-isis} or @code{-eses} to a note name.
105 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
111 These are the Dutch note names. In Dutch, @code{aes} is contracted to
112 @code{as}, but both forms are accepted. Similarly, both
113 @code{es} and @code{ees} are accepted
115 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
119 A natural will cancel the effect of an accidental or key signature.
120 However, naturals are not encoded into the note name syntax with a
121 suffix; a natural pitch is shown as a simple note name
123 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
127 The input @code{d e f} is interpreted as @q{print a D-natural,
128 E-natural, and an F-natural,} regardless of the key
129 signature. For more information about the distinction between
130 musical content and the presentation of that content, see
131 @ref{Accidentals and key signatures}.
133 @lilypond[fragment,quote,ragged-right,verbatim,relative]
142 In accordance with standard typesetting rules, a natural sign is printed
143 before a sharp or flat if a previous accidental needs to be
144 cancelled. To change this behavior, use
145 @code{\set Staff.extraNatural = ##f}
147 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
149 \set Staff.extraNatural = ##f
156 Program reference: @internalsref{LedgerLineSpanner},
157 @internalsref{NoteHead}.
160 @node Cautionary accidentals
161 @subsection Cautionary accidentals
163 @cindex accidental, reminder
164 @cindex accidental, cautionary
165 @cindex accidental, parenthesized
166 @cindex reminder accidental
168 @cindex cautionary accidental
169 @cindex parenthesized accidental
172 Normally accidentals are printed automatically, but you may also
173 print them manually. A reminder accidental
174 can be forced by adding an exclamation mark @code{!}
175 after the pitch. A cautionary accidental
176 (i.e., an accidental within parentheses) can be obtained by adding the
177 question mark @samp{?} after the pitch. These extra accidentals
178 can be used to produce natural signs, too.
180 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
181 cis cis cis! cis? c c? c! c
187 The automatic production of accidentals can be tuned in many
188 ways. For more information, see @ref{Automatic accidentals}.
192 @subsection Micro tones
194 @cindex quarter tones
195 @cindex semi-flats, semi-sharps
197 Half-flats and half-sharps are formed by adding @code{-eh} and
198 @code{-ih}; the following is a series of Cs with increasing pitches
200 @lilypond[verbatim,ragged-right,quote,relative=2,fragment]
201 \set Staff.extraNatural = ##f
205 Micro tones are also exported to the MIDI file.
210 There are no generally accepted standards for denoting
211 three-quarter flats, so LilyPond's symbol does not conform to any
215 @node Note names in other languages
216 @subsection Note names in other languages
218 There are predefined sets of note names for various other languages.
219 To use them, include the language specific init file. For
220 example, add @code{\include "english.ly"} to the top of the input
221 file. The available language files
222 and the note names they define are
224 @c what about micro-tunes, double-sharps, and double-flats? add
225 @c more columns to the table?
226 @c Oh, and should this be made into a multitable?
227 @cindex note names, other languages
229 Note Names sharp flat
230 nederlands.ly c d e f g a bes b -is -es
231 english.ly c d e f g a bf b -s/-sharp -f/-flat
233 deutsch.ly c d e f g a b h -is -es
234 norsk.ly c d e f g a b h -iss/-is -ess/-es
235 svenska.ly c d e f g a b h -iss -ess
236 italiano.ly do re mi fa sol la sib si -d -b
237 catalan.ly do re mi fa sol la sib si -d/-s -b
238 espanol.ly do re mi fa sol la sib si -s -b
242 @node Relative octaves
243 @subsection Relative octaves
246 @cindex Relative octave specification
249 Octaves are specified by adding @code{'} and @code{,} to pitch names.
250 When you copy existing music, it is easy to accidentally put a pitch
251 in the wrong octave and hard to find such an error. The relative
252 octave mode prevents these errors by making the mistakes much
253 larger: a single error puts the rest of the piece off by one octave
256 \relative @var{startpitch} @var{musicexpr}
263 \relative @var{musicexpr}
267 @code{c'} is used as the default if no starting pitch is defined.
269 The octave of notes that appear in @var{musicexpr} are calculated as
270 follows: if no octave changing marks are used, the basic interval
271 between this and the last note is always taken to be a fourth or
272 less. This distance is determined without regarding alterations; a
273 @code{fisis} following a @code{ceses} will be put above the
274 @code{ceses}. In other words, a doubly-augmented fourth is considered
275 a smaller interval than a diminished fifth, even though the
276 doubly-augmented fourth spans seven semitones while the diminished
277 fifth only spans six semitones.
279 The octave changing marks @code{'} and @code{,} can be added to raise
280 or lower the pitch by an extra octave. Upon entering relative mode,
281 an absolute starting pitch can be specified that will act as the
282 predecessor of the first note of @var{musicexpr}. If no starting pitch
283 is specified, then middle C is used as a start.
285 Here is the relative mode shown in action
286 @lilypond[quote,fragment,ragged-right,verbatim]
292 Octave changing marks are used for intervals greater than a fourth
294 @lilypond[quote,ragged-right,fragment,verbatim]
300 If the preceding item is a chord, the first note of the chord is used
301 to determine the first note of the next chord
303 @lilypond[quote,ragged-right,fragment,verbatim]
311 The pitch after @code{\relative} contains a note name.
313 The relative conversion will not affect @code{\transpose},
314 @code{\chordmode} or @code{\relative} sections in its argument. To use
315 relative within transposed music, an additional @code{\relative} must
316 be placed inside @code{\transpose}.
320 @subsection Octave check
324 Octave checks make octave errors easier to correct: a note may be
325 followed by @code{=}@var{quotes} which indicates what its absolute
326 octave should be. In the following example,
329 \relative c'' @{ c='' b=' d,='' @}
333 the @code{d} will generate a warning, because a @code{d''} is expected
334 (because @code{b'} to @code{d''} is only a third), but a @code{d'} is
335 found. In the output, the octave is corrected to be a @code{d''} and
336 the next note is calculated relative to @code{d''} instead of @code{d'}.
338 There is also an octave check that produces no visible output. The syntax
344 This checks that @var{pitch} (without quotes) yields @var{pitch} (with
345 quotes) in @code{\relative} mode compared to the note given in the
346 @code{\relative} command. If not, a warning is printed, and the
347 octave is corrected. The @var{pitch} is not printed as a note.
349 In the example below, the first check passes without incident, since
350 the @code{e} (in @code{relative} mode) is within a fifth of
352 the second check produces a warning, since the @code{e} is not within
353 a fifth of @code{b'}. The warning message is printed, and the octave
354 is adjusted so that the following notes are in the correct octave
366 The octave of a note following an octave check is determined with
367 respect to the note preceding it. In the next fragment, the last note
368 is an @code{a'}, above middle C. That means that the @code{\octave}
369 check passes successfully, so the check could be deleted without changing
370 the output of the piece.
372 @lilypond[quote,ragged-right,verbatim,fragment]
382 @subsection Transpose
385 @cindex Transposition of pitches
388 A music expression can be transposed with @code{\transpose}. The
391 \transpose @var{from} @var{to} @var{musicexpr}
394 This means that @var{musicexpr} is transposed by the interval between
395 the pitches @var{from} and @var{to}: any note with pitch @code{from}
396 is changed to @code{to}.
398 For example, consider a piece written in the key of D-major. If
399 this piece is a little too low for its performer, it can be
400 transposed up to E-major with
402 \transpose d e @dots{}
405 Consider a part written for violin (a C instrument). If
406 this part is to be played on the A clarinet (for which an
407 A is notated as a C, and which sounds a minor third lower
408 than notated), the following
409 transposition will produce the appropriate part
412 \transpose a c @dots{}
415 @code{\transpose} distinguishes between enharmonic pitches: both
416 @code{\transpose c cis} or @code{\transpose c des} will transpose up
417 half a tone. The first version will print sharps and the second
418 version will print flats
420 @lilypond[quote,ragged-right,verbatim]
421 mus = { \key d \major cis d fis g }
430 @code{\transpose} may also be used to input written notes for a
431 transposing instrument. Pitches are normally entered into LilyPond
432 in C (or @q{concert pitch}), but they may be entered in another
433 key. For example, when entering music for a B-flat trumpet which
434 begins on concert D, one would write
437 \transpose c bes @{ e4 @dots{} @}
440 To print this music in B-flat again (i.e., producing a trumpet part,
441 instead of a concert pitch conductor's score) you would wrap the
442 existing music with another @code{transpose}
445 \transpose bes c @{ \transpose c bes @{ e4 @dots{} @} @}
451 Program reference: @internalsref{TransposedMusic}.
453 Example: @inputfileref{input/@/test,smart@/-transpose@/.ly}.
458 If you want to use both @code{\transpose} and @code{\relative},
459 you must put @code{\transpose} outside of @code{\relative}, since
460 @code{\relative} will have no effect on music that appears inside a
471 Rests are entered like notes with the note name @code{r}
473 @lilypond[fragment,quote,ragged-right,verbatim]
477 Whole bar rests, centered in middle of the bar,
478 must be done with multi-measure rests. They can be used for a
479 single bar as well as many bars, and are discussed in
480 @ref{Multi measure rests}.
482 To explicitly specify a rest's vertical position, write a note
483 followed by @code{\rest}. A rest will be placed in the position
484 where the note would appear,
486 @lilypond[fragment,quote,ragged-right,verbatim]
491 This makes manual formatting of
492 polyphonic music much easier, since the automatic rest collision
493 formatter will leave these rests alone.
497 Program reference: @internalsref{Rest}.
504 @cindex Invisible rest
509 An invisible rest (also called a @q{skip}) can be entered like a note
510 with note name @samp{s} or with @code{\skip @var{duration}}
512 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
513 a4 a4 s4 a4 \skip 1 a4
516 The @code{s} syntax is only available in note mode and chord mode. In
517 other situations, for example, when entering lyrics, you should use
518 the @code{\skip} command
520 @lilypond[quote,ragged-right,verbatim]
523 \new Lyrics \lyricmode { \skip 2 bla2 }
527 The skip command is merely an empty musical placeholder. It does not
528 produce any output, not even transparent output.
530 The @code{s} skip command does create @internalsref{Staff} and
531 @internalsref{Voice} when necessary, similar to note and rest
532 commands. For example, the following results in an empty staff.
534 @lilypond[quote,ragged-right,verbatim]
538 The fragment @code{@{ \skip 4 @} } would produce an empty page.
542 Program reference: @internalsref{SkipMusic}.
549 This section discusses rhythms, durations, and bars.
553 * Augmentation dots::
555 * Scaling durations::
558 * Automatic note splitting::
563 @subsection Durations
570 In Note, Chord, and Lyrics mode, durations are designated by numbers and
571 dots: durations are entered as their reciprocal values. For example, a
572 quarter note is entered using a @code{4} (since it is a 1/4 note), while
573 a half note is entered using a @code{2} (since it is a 1/2 note). For
574 notes longer than a whole you must use the @code{\longa} and
575 @code{\breve} commands
579 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
581 r1 r2 r4 r8 r16 r32 r64 r64
587 a\breve*1/2 \autoBeamOff
588 a1 a2 a4 a8 a16 a32 a64 a64
591 r\longa*1/4 r\breve *1/2
592 r1 r2 r4 r8 r16 r32 r64 r64
599 \remove "Bar_number_engraver"
603 \remove "Clef_engraver"
604 \override StaffSymbol #'transparent = ##t
605 \override TimeSignature #'transparent = ##t
606 \override BarLine #'transparent = ##t
607 \consists "Pitch_squash_engraver"
613 If the duration is omitted then it is set to the previously entered
614 duration. The default for the first note is a quarter note.
616 @lilypond[quote,ragged-right,verbatim,fragment]
617 { a a a2 a a4 a a1 a }
621 @node Augmentation dots
622 @subsection Augmentation dots
626 To obtain dotted note lengths, simply add a dot (@samp{.}) to
627 the number. Double-dotted notes are produced in a similar way.
629 @lilypond[quote,ragged-right,fragment,verbatim]
630 a'4 b' c''4. b'8 a'4. b'4.. c''8.
635 Dots are normally moved up to avoid staff lines, except in polyphonic
636 situations. The following commands may be used to force a particular
643 @funindex \dotsNeutral
648 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
658 Tuplets are made out of a music expression by multiplying all durations
662 \times @var{fraction} @var{musicexpr}
666 The duration of @var{musicexpr} will be multiplied by the fraction.
667 The fraction's denominator will be printed over the notes, optionally
668 with a bracket. The most common tuplet is the triplet in which 3
669 notes have the length of 2, so the notes are 2/3 of their written
672 @lilypond[quote,ragged-right,fragment,verbatim]
673 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
676 Tuplets may be nested, for example,
678 @lilypond[fragment,ragged-right,verbatim,relative=2]
679 \override TupletNumber #'text = #tuplet-number::calc-fraction-text
682 \times 3/5 { a a a a a }
690 @funindex \tupletDown
692 @funindex \tupletNeutral
693 @code{\tupletNeutral}.
698 @funindex tupletNumberFormatFunction
699 @cindex tuplet formatting
701 The property @code{tupletSpannerDuration} specifies how long each
702 bracket should last. With this, you can make lots of tuplets while
703 typing @code{\times} only once, thus saving lots of typing. In the next
704 example, there are two triplets shown, while @code{\times} was only
707 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
708 \set tupletSpannerDuration = #(ly:make-moment 1 4)
709 \times 2/3 { c8 c c c c c }
713 For more information about @code{make-moment}, see
714 @ref{Time administration}.
716 The format of the number is determined by the property @code{text} in
717 @code{TupletNumber}. The default prints only the denominator, but if
718 it is set to the function @code{tuplet-number::calc-fraction-text},
719 @var{num}:@var{den} will be printed instead.
721 To avoid printing tuplet numbers, use
723 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
724 \times 2/3 { c8 c c } \times 2/3 { c8 c c }
725 \override TupletNumber #'transparent = ##t
726 \times 2/3 { c8 c c } \times 2/3 { c8 c c }
729 Tuplet brackets can be made to run to prefatory matter or
732 @lilypond[ragged-right]
734 \set tupletFullLength = ##t
739 \set tupletFullLengthNote = ##t
752 Program reference: @internalsref{TupletBracket},
753 @internalsref{TupletNumber}, and @internalsref{TimeScaledMusic}.
757 @node Scaling durations
758 @subsection Scaling durations
760 You can alter the length of duration by a fraction @var{N/M}
761 appending @samp{*@var{N/M}} (or @samp{*@var{N}} if @var{M=1}). This
762 will not affect the appearance of the notes or rests produced. These
763 may be combined such as @samp{*M*N}.
765 In the following example, the first three notes take up exactly two
766 beats, but no triplet bracket is printed.
768 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
770 a4*2/3 gis4*2/3 a4*2/3
778 This manual: @ref{Tuplets}
782 @subsection Bar check
785 @funindex barCheckSynchronize
788 Bar checks help detect errors in the durations. A bar check is
789 entered using the bar symbol, @samp{|}. Whenever it is encountered
790 during interpretation, it should fall on a measure boundary. If it
791 does not, a warning is printed. In the next example, the second bar
792 check will signal an error
794 \time 3/4 c2 e4 | g2 |
797 Bar checks can also be used in lyrics, for example
802 Twin -- kle | Twin -- kle
806 Failed bar checks are caused by entering incorrect
807 durations. Incorrect durations often completely garble up the score,
808 especially if the score is polyphonic, so a good place to start correcting
809 input is by scanning for failed bar checks and incorrect durations.
814 It is also possible to redefine the meaning of @code{|}. This is done
815 by assigning a music expression to @code{pipeSymbol},
817 @lilypond[quote,ragged-right,verbatim]
818 pipeSymbol = \bar "||"
824 @node Barnumber check
825 @subsection Barnumber check
827 When copying large pieces of music, it can be helpful to check that
828 the LilyPond bar number corresponds to the original that you are
829 entering from. This can be checked with @code{\barNumberCheck}, for
837 will print a warning if the @code{currentBarNumber} is not 123 when it
841 @node Automatic note splitting
842 @subsection Automatic note splitting
844 Long notes can be converted automatically to tied notes. This is done
845 by replacing the @internalsref{Note_heads_engraver} by the
846 @internalsref{Completion_heads_engraver}.
847 In the following examples, notes crossing the bar line are split and tied.
849 @lilypond[quote,fragment,verbatim,relative=1,line-width=12\cm]
851 \remove "Note_heads_engraver"
852 \consists "Completion_heads_engraver"
854 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
858 This engraver splits all running notes at the bar line, and inserts
859 ties. One of its uses is to debug complex scores: if the measures are
860 not entirely filled, then the ties exactly show how much each measure
863 If you want to allow line breaking on the bar lines where
864 @internalsref{Completion_heads_engraver} splits notes, you must
865 also remove @internalsref{Forbid_line_breaks_engraver}.
870 Not all durations (especially those containing tuplets) can be
871 represented exactly with normal notes and dots, but the engraver will
874 @code{Completion_heads_engraver} only affects notes; it does not split
880 Program reference: @internalsref{Completion_heads_engraver}.
886 Polyphony in music refers to having more than one voice occurring in
887 a piece of music. Polyphony in LilyPond refers to having more than
888 one voice on the same staff.
894 * Explicitly instantiating voices::
895 * Collision Resolution::
904 A chord is formed by a enclosing a set of pitches between @code{<}
905 and @code{>}. A chord may be followed by a duration, and a set of
906 articulations, just like simple notes
908 @lilypond[verbatim,ragged-right,fragment,quote,relative=1]
912 For more information about chords, see @ref{Chord names}.
918 Whenever a note is found, a @internalsref{Stem} object is created
919 automatically. For whole notes and rests, they are also created but
928 @funindex \stemNeutral
934 To change the direction of stems in the middle of the staff, use
936 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
938 \override Stem #'neutral-direction = #up
940 \override Stem #'neutral-direction = #down
945 @node Basic polyphony
946 @subsection Basic polyphony
950 The easiest way to enter fragments with more than one voice on a staff
951 is to enter each voice as a sequence (with @code{@{...@}}), and combine
952 them simultaneously, separating the voices with @code{\\}
956 @lilypond[quote,verbatim,fragment]
957 \new Staff \relative c' {
960 { g4 f e | d2 e2 } \\
961 { r8 e4 d c8 ~ | c b16 a b8 g ~ g2 } \\
967 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
968 voices are sometimes called @q{layers} in other notation packages}
970 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
971 each of these contexts, vertical direction of slurs, stems, etc., is set
974 These voices are all separate from the voice that contains the notes just
975 outside the @code{<< \\ >>} construct. This should be noted when making
976 changes at the voice level. This also means that slurs and ties cannot go
977 into or out of a @code{<< \\ >>} construct. Conversely, parallel voices
978 from separate @code{<< \\ >>} constructs on the same staff are the the
979 same voice. Here is the same example, with different noteheads for each
980 voice. Note that the change to the note-head style in the main voice does
982 the inside of the @code{<< \\ >>} constructs. Also, the change to the
984 voice in the first @code{<< \\ >>} construct is effective in the second
985 @code{<< \\ >>}, and the voice is tied across the two constructs.
987 @cindex note heads, styles
989 @lilypond[quote,verbatim,fragment]
990 \new Staff \relative c' {
991 \override NoteHead #'style = #'cross
995 { \override NoteHead #'style = #'triangle
1000 { c8 b16 a b8 g ~ g2 } \\
1001 { \override NoteHead #'style = #'slash s4 b4 c2 }
1006 Polyphony does not change the relationship of notes within a
1007 @code{\relative @{ @}} block. Each note is calculated relative
1008 to the note immediately preceding it.
1011 \relative @{ noteA << noteB \\ noteC >> noteD @}
1014 @code{noteC} is relative to @code{noteB}, not @code{noteA};
1015 @code{noteD} is relative to @code{noteC}, not @code{noteB} or
1019 @node Explicitly instantiating voices
1020 @subsection Explicitly instantiating voices
1022 @internalsref{Voice} contexts can also be instantiated manually
1023 inside a @code{<< >>} block to create polyphonic music, using
1024 @code{\voiceOne}, up to @code{\voiceFour} to assign stem directions
1025 and a horizontal shift for each part.
1029 << \upper \\ \lower >>
1037 \new Voice = "1" @{ \voiceOne \upper @}
1038 \new Voice = "2" @{ \voiceTwo \lower @}
1042 The @code{\voiceXXX} commands set the direction of stems, slurs, ties,
1043 articulations, text annotations, augmentation dots of dotted
1044 notes, and fingerings. @code{\voiceOne} and @code{\voiceThree} make
1045 these objects point upwards, while @code{\voiceTwo} and @code{\voiceFour}
1046 make them point downwards.
1047 The command @code{\oneVoice} will revert back to the normal setting.
1049 An expression that appears directly inside a @code{<< >>} belongs to
1050 the main voice. This is useful when extra voices appear while the main
1051 voice is playing. Here is a more correct rendition of the example from
1052 the previous section. The crossed noteheads demonstrate that the main
1053 melody is now in a single voice context.
1055 @lilypond[quote,ragged-right,verbatim]
1056 \new Staff \relative c' {
1057 \override NoteHead #'style = #'cross
1062 \new Voice="1" { \voiceTwo
1063 r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
1066 \new Voice { \voiceThree
1075 The correct definition of the voices allows the melody to be slurred.
1076 @lilypond[quote,ragged-right,verbatim]
1077 \new Staff \relative c' {
1082 \context Voice="1" { \voiceTwo
1083 r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
1086 \new Voice { \voiceThree
1095 Avoiding the @code{\\} separator also allows nesting polyphony
1096 constructs, which in some case might be a more natural way to typeset
1099 @lilypond[quote,ragged-right,verbatim]
1100 \new Staff \relative c' {
1105 \context Voice="1" { \voiceTwo
1108 {c8 b16 a b8 g ~ g2}
1109 \new Voice { \voiceThree
1121 In some instances of complex polyphonic music, you may need additional
1122 voices to avoid collisions between notes. Additional voices are added
1123 by defining an identifier, as shown below:
1125 @lilypond[quote,verbatim,ragged-right,relative=2]
1126 voiceFive = #(context-spec-music (make-voice-props-set 4) 'Voice)
1129 { \voiceOne g4 ~ \stemDown g32[ f( es d c b a b64 )g] } \\
1130 { \voiceThree b4} \\
1137 @node Collision Resolution
1138 @subsection Collision Resolution
1140 Normally, note heads with a different number of dots are not merged, but
1141 when the object property @code{merge-differently-dotted} is set in
1142 the @internalsref{NoteCollision} object, they are merged:
1144 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
1147 \override Staff.NoteCollision
1148 #'merge-differently-dotted = ##t
1150 } \\ { g8.[ f16] g8.[ f16] } >>
1153 Similarly, you can merge half note heads with eighth notes, by setting
1154 @code{merge-differently-headed}:
1156 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
1159 \override Staff.NoteCollision
1160 #'merge-differently-headed = ##t
1161 c8 c4. } \\ { c2 c2 } >>
1165 @code{merge-differently-headed} and @code{merge-differently-dotted}
1166 only apply to opposing stem directions (ie. Voice 1 & 2).
1168 LilyPond also vertically shifts rests that are opposite of a stem,
1171 @lilypond[quote,ragged-right,fragment,verbatim]
1172 \new Voice << c''4 \\ r4 >>
1175 If three or more notes line up in the same column,
1176 @code{merge-differently-headed} cannot
1177 successfully complete the merge of the two notes that should be merged.
1178 To allow the merge to work properly, apply a @code{\shift} to the note that
1179 should not be merged. In the first measure of following example,
1180 @code{merge-differently-headed} does not work (the half-note head is
1181 solid). In the second measure, @code{\shiftOn} is applied to move the
1182 top @code{g} out of the column, and @code{merge-differently-headed}
1185 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1186 \override Staff.NoteCollision #'merge-differently-headed = ##t
1189 { \oneVoice d=''8 c8 r4 e,8 c'8 r4 } \\
1190 { \voiceFour e,,2 e'2}
1193 { d'=''2 \shiftOn g2 } \\
1194 { \oneVoice d=''8 c8 r4 e,8 c'8 r4 } \\
1195 { \voiceFour e,,2 e'2}
1208 @funindex \voiceThree
1210 @funindex \voiceFour
1217 @funindex \shiftOnnn
1220 @code{\shiftOff}: these commands specify the
1221 degree to which chords of the current voice should be shifted.
1222 The outer voices (normally: voice one and
1223 two) have @code{\shiftOff}, while the inner voices (three and four)
1224 have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define
1225 further shift levels.
1227 When LilyPond cannot cope, the @code{force-hshift}
1228 property of the @internalsref{NoteColumn} object and pitched rests can
1229 be used to override typesetting decisions.
1231 @lilypond[quote,verbatim,ragged-right]
1238 \once \override NoteColumn #'force-hshift = #1.7
1246 Program reference: the objects responsible for resolving collisions are
1247 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1252 When using @code{merge-differently-headed} with an upstem eighth or a
1253 shorter note, and a downstem half note, the eighth note gets the wrong
1256 There is no support for clusters where the same note occurs with
1257 different accidentals in the same chord. In this case, it is
1258 recommended to use enharmonic transcription, or to use special cluster
1259 notation (see @ref{Clusters}).
1263 @node Staff notation
1264 @section Staff notation
1266 @cindex Staff notation
1268 This section describes music notation that occurs on staff level,
1269 such as key signatures, clefs and time signatures.
1275 * Partial measures::
1278 * System start delimiters::
1280 * Writing music in parallel::
1289 The clef indicates which lines of the staff correspond to which
1290 pitches. The clef is set with the @code{\clef} command
1292 @lilypond[quote,ragged-right,fragment,verbatim]
1293 { c''2 \clef alto g'2 }
1302 @cindex soprano clef
1303 @cindex mezzosoprano clef
1304 @cindex baritone clef
1305 @cindex varbaritone clef
1306 @cindex subbass clef
1308 Supported clefs include
1310 @multitable @columnfractions .33 .66
1311 @headitem Clef @tab Position
1312 @item @code{treble}, violin, G, G2 @tab
1314 @item @code{alto, C} @tab
1316 @item @code{tenor} @tab
1318 @item @code{bass, F} @tab
1320 @item @code{french} @tab
1321 G clef on 1st line, so-called French violin clef
1322 @item @code{soprano} @tab
1324 @item @code{mezzosoprano} @tab
1326 @item @code{baritone} @tab
1328 @item @code{varbaritone} @tab
1330 @item @code{subbass} @tab
1332 @item @code{percussion} @tab
1334 @item @code{tab} @tab
1338 By adding @code{_8} or @code{^8} to the clef name, the clef is
1339 transposed one octave down or up, respectively, and @code{_15} and
1340 @code{^15} transposes by two octaves. The argument @var{clefname}
1341 must be enclosed in quotes when it contains underscores or digits. For
1344 @cindex choral tenor clef
1345 @lilypond[quote,ragged-right,verbatim,fragment,relative=1]
1352 The command @code{\clef "treble_8"} is equivalent to setting
1354 @code{clefPosition} (which controls the Y position of the clef),
1355 @code{middleCPosition} and @code{clefOctavation}. A clef is printed
1356 when any of these properties are changed. The following example shows
1357 possibilities when setting properties manually.
1359 @lilypond[quote,ragged-right,verbatim]
1361 \set Staff.clefGlyph = #"clefs.F"
1362 \set Staff.clefPosition = #2
1364 \set Staff.clefGlyph = #"clefs.G"
1366 \set Staff.clefGlyph = #"clefs.C"
1368 \set Staff.clefOctavation = #7
1370 \set Staff.clefOctavation = #0
1371 \set Staff.clefPosition = #0
1375 \set Staff.middleCPosition = #4
1383 Manual: @ref{Grace notes}.
1385 Program reference: @internalsref{Clef}.
1389 @subsection Key signature
1391 @cindex Key signature
1394 The key signature indicates the tonality in which a piece is played. It
1395 is denoted by a set of alterations (flats or sharps) at the start of the
1398 Setting or changing the key signature is done with the @code{\key}
1402 @code{\key} @var{pitch} @var{type}
1411 @funindex \mixolydian
1415 @cindex church modes
1417 Here, @var{type} should be @code{\major} or @code{\minor} to get
1418 @var{pitch}-major or @var{pitch}-minor, respectively. You may also
1419 use the standard mode names (also called @q{church modes}): @code{\ionian},
1420 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
1421 @code{\phrygian}, and @code{\dorian}.
1423 This command sets the context property
1424 @code{Staff.keySignature}. Non-standard key signatures
1425 can be specified by setting this property directly.
1427 Accidentals and key signatures often confuse new users, because
1428 unaltered notes get natural signs depending on the key signature. For
1429 more information, see @ref{Accidentals} or @ref{Accidentals and key signatures}.
1431 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1440 A natural sign is printed to cancel any previous accidentals. This
1441 can be suppressed by setting the @code{Staff.printKeyCancellation}
1444 @lilypond[quote,fragment,ragged-right,fragment,verbatim,relative=2]
1449 \set Staff.printKeyCancellation = ##f
1459 Program reference: @internalsref{KeyCancellation},
1460 @internalsref{KeySignature}.
1463 @node Time signature
1464 @subsection Time signature
1466 @cindex Time signature
1470 Time signature indicates the metrum of a piece: a regular pattern of
1471 strong and weak beats. It is denoted by a fraction at the start of the
1474 The time signature is set with the @code{\time} command
1476 @lilypond[quote,ragged-right,fragment,verbatim]
1477 \time 2/4 c'2 \time 3/4 c'2.
1482 The symbol that is printed can be customized with the @code{style}
1483 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1486 @lilypond[fragment,quote,ragged-right,verbatim]
1489 \override Staff.TimeSignature #'style = #'()
1494 There are many more options for its layout. See @ref{Ancient time
1495 signatures} for more examples.
1497 @code{\time} sets the property @code{timeSignatureFraction},
1498 @code{beatLength} and @code{measureLength} in the @code{Timing}
1499 context, which is normally aliased to @internalsref{Score}. The
1500 property @code{measureLength} determines where bar lines should be
1501 inserted, and how automatic beams should be generated. Changing the
1502 value of @code{timeSignatureFraction} also causes the symbol to be
1505 More options are available through the Scheme function
1506 @code{set-time-signature}. In combination with the
1507 @internalsref{Measure_grouping_engraver}, it will create
1508 @internalsref{MeasureGrouping} signs. Such signs ease reading
1509 rhythmically complex modern music. In the following example, the 9/8
1510 measure is subdivided in 2, 2, 2 and 3. This is passed to
1511 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
1513 @lilypond[quote,ragged-right,verbatim]
1516 #(set-time-signature 9 8 '(2 2 2 3))
1517 g8[ g] d[ d] g[ g] a8[( bes g]) |
1518 #(set-time-signature 5 8 '(3 2))
1524 \consists "Measure_grouping_engraver"
1533 Program reference: @internalsref{TimeSignature}, and
1534 @internalsref{Timing_translator}.
1536 Examples: @inputfileref{input/@/test,compound@/-time@/.ly}.
1541 Automatic beaming does not use the measure grouping specified with
1542 @code{set-time-signature}.
1545 @node Partial measures
1546 @subsection Partial measures
1550 @cindex partial measure
1551 @cindex measure, partial
1552 @cindex shorten measures
1555 Partial measures, such as an anacrusis or upbeat, are entered using the
1557 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1558 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1561 The syntax for this command is
1564 \partial @var{duration}
1567 where @code{duration} is the rhythmic length to be added before
1570 This is internally translated into
1573 \set Timing.measurePosition = -@var{length of duration}
1576 The property @code{measurePosition} contains a rational number
1577 indicating how much of the measure has passed at this point. Note
1578 that this is a negative number; @code{\partial 4} is internally
1579 translated to mean @qq{there is a quarter note left in the bar.}
1584 This command does not take into account grace notes at the start of
1585 the music. When a piece starts with graces notes in the pickup, then
1586 the @code{\partial} should follow the grace notes
1588 @lilypond[verbatim,quote,ragged-right,relative,fragment]
1595 @code{\partial} is only intended to be used at the beginning of a
1596 piece. If you use it after the beginning, some odd warnings may
1601 @subsection Bar lines
1605 @cindex measure lines
1608 Bar lines delimit measures, but are also used to indicate
1609 repeats. Normally they are inserted automatically. Line
1610 breaks may only happen on bar lines.
1612 Special types of bar lines can be forced with the @code{\bar} command
1614 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1618 The following bar types are available
1620 @lilypondfile[ragged-right,quote]{bar-lines.ly}
1622 In addition, you can specify @code{"||:"}, which is equivalent to
1623 @code{"|:"} except at line breaks, where it gives a double bar line at
1624 the end of the line and a start repeat at the beginning of the next
1627 To allow a line break where there is no visible bar line, use
1634 This will insert an invisible bar line and allow line breaks at this
1635 point (without increasing the bar number counter).
1637 In scores with many staves, a @code{\bar} command in one staff is
1638 automatically applied to all staves. The resulting bar lines are
1639 connected between different staves of a @code{StaffGroup},
1640 @code{PianoStaff}, or @code{ChoirStaff}.
1642 @lilypond[quote,ragged-right,fragment,verbatim]
1650 \new Staff { \clef bass c4 g e g }
1652 \new Staff { \clef bass c2 c2 }
1660 @funindex repeatCommands
1661 @funindex defaultBarType
1663 The command @code{\bar }@var{bartype} is a short cut for doing
1664 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1665 is set to a string, a bar line of that type is created.
1667 A bar line is created whenever the @code{whichBar} property is set.
1668 At the start of a measure it is set to the contents of
1669 @code{Timing.defaultBarType}. The contents of @code{repeatCommands} are
1671 to override default measure bars.
1673 You are encouraged to use @code{\repeat} for repetitions. See
1679 In this manual: @ref{Repeats}, @ref{System start delimiters}.
1681 Program reference: @internalsref{BarLine} (created at
1682 @internalsref{Staff} level), @internalsref{SpanBar} (across staves).
1685 @node Unmetered music
1686 @subsection Unmetered music
1689 @funindex \cadenzaOn
1690 @funindex \cadenzaOff
1692 Bar lines and bar numbers are calculated automatically. For unmetered
1693 music (cadenzas, for example), this is not desirable. To turn off
1694 automatic bar lines and bar numbers, use the commands @code{\cadenzaOn}
1695 and @code{\cadenzaOff}.
1697 @lilypond[verbatim,quote,ragged-right,relative=2,fragment]
1709 LilyPond will only insert line breaks and page breaks at a
1710 barline. Unless the unmetered music ends before the end of
1711 the staff line, you will need to insert
1719 to indicate where breaks can occur.
1722 @node System start delimiters
1723 @subsection System start delimiters
1725 @cindex start of system
1726 @cindex Staff, multiple
1727 @cindex bracket, vertical
1728 @cindex brace, vertical
1731 @cindex staff, choir
1733 Many scores consist of more than one staff. These staves can be
1734 joined in four different ways
1737 @item The group is started with a brace at the left, and bar lines are
1738 connected. This is done with the @internalsref{GrandStaff} context.
1740 @lilypond[verbatim,ragged-right,quote]
1748 @item The group is started with a bracket, and bar lines are connected.
1749 This is done with the
1750 @internalsref{StaffGroup} context
1752 @lilypond[verbatim,ragged-right,quote]
1760 @item The group is started with a bracket, but bar lines are not
1761 connected. This is done with the @internalsref{ChoirStaff} context.
1763 @lilypond[verbatim,ragged-right,quote]
1771 @item The group is started with a vertical line. Bar lines are not
1772 connected. This is the default for the score.
1774 @lilypond[verbatim,ragged-right,quote]
1785 The bar lines at the start of each system are
1786 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1787 @internalsref{SystemStartBracket}. Only one of these types is created
1788 in every context, and that type is determined by the property
1789 @internalsref{systemStartDelimiter}.
1794 System start delimiters may be deeply nested,
1796 @lilypond[quote,ragged-right,verbatim]
1799 \set StaffGroup.systemStartDelimiterHierarchy
1800 = #'(SystemStartSquare (SystemStartBracket a (SystemStartSquare b)) d)
1811 @subsection Staff symbol
1813 @cindex adjusting staff symbol
1815 Notes, dynamic signs, etc., are grouped
1816 with a set of horizontal lines, called a staff (plural @q{staves}). In
1817 LilyPond, these lines are drawn using a separate layout object called
1818 @code{staff symbol}.
1820 The staff symbol may be tuned in the number, thickness and distance
1821 of lines, using properties. This is demonstrated in the example files
1822 @inputfileref{input/@/test,staff@/-lines@/.ly},
1823 @inputfileref{input/@/test,staff@/-size@/.ly}.
1825 In addition, staves may be started and stopped at will. This is done
1826 with @code{\startStaff} and @code{\stopStaff}.
1828 @lilypond[verbatim,relative=2,fragment]
1830 \override Staff.StaffSymbol #'line-count = 2
1831 \stopStaff \startStaff
1833 \revert Staff.StaffSymbol #'line-count
1834 \stopStaff \startStaff
1838 In combination with Frenched staves, this may be used to typeset ossia
1839 sections. An example is shown here
1843 @lilypondfile{ossia.ly}
1845 @cindex staff lines, setting number of
1846 @cindex staff lines, setting thickness of
1847 @cindex thickness of staff lines, setting
1848 @cindex number of staff lines, setting
1852 Program reference: @internalsref{StaffSymbol}.
1854 Examples: @inputfileref{input/@/test,staff@/-lines@/.ly},
1855 @inputfileref{input/@/test@/,ossia.ly},
1856 @inputfileref{input/@/test,staff@/-size@/.ly},
1857 @lsr{staff,staff-line-positions.ly}
1860 @node Writing music in parallel
1861 @subsection Writing music in parallel
1863 @cindex Writing music in parallel
1864 @cindex Interleaved music
1866 Music for multiple parts can be interleaved
1868 @lilypond[quote,fragment,verbatim]
1869 \parallelMusic #'(voiceA voiceB) {
1870 r8 g'16[ c''] e''[ g' c'' e''] r8 g'16[ c''] e''[ g' c'' e''] |
1872 r8 a'16[ d''] f''[ a' d'' f''] r8 a'16[ d''] f''[ a' d'' f''] |
1876 \new Staff \new Voice \voiceA
1877 \new Staff \new Voice \voiceB
1881 This works quite well for piano music
1883 @lilypond[quote,verbatim]
1887 \parallelMusic #'(voiceA voiceB voiceC voiceD) {
1889 r8 g'16[ c''] e''[ g' c'' e''] r8 g'16[ c''] e''[ g' c''
1892 r8 a16[ d'] f'[ a d' f'] r8 a16[ d'] f'[ a d' f'] |
1896 a'8 b' c'' d'' e'' f'' g'' a'' |
1898 c16 d e f d e f g e f g a f g a b |
1924 @node Connecting notes
1925 @section Connecting notes
1927 This section deals with notation that affects groups of notes.
1933 * Laissez vibrer ties::
1946 A tie connects two adjacent note heads of the same pitch. The tie in
1947 effect extends the length of a note. Ties should not be confused with
1948 slurs, which indicate articulation, or phrasing slurs, which indicate
1949 musical phrasing. A tie is entered using the tilde symbol @samp{~}
1951 @lilypond[quote,ragged-right,fragment,verbatim]
1952 e' ~ e' <c' e' g'> ~ <c' e' g'>
1955 When a tie is applied to a chord, all note heads whose pitches match
1956 are connected. When no note heads match, no ties will be created. Chords
1957 may be partially tied by placing the tie inside the chord,
1959 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
1960 <c~ e g~ b> <c e g b>
1963 A tie is just a way of extending a note duration, similar to the
1964 augmentation dot. The following example shows two ways of notating
1965 exactly the same concept
1967 @lilypond[quote,fragment,ragged-right]
1968 \time 3/4 c'2. c'2 ~ c'4
1972 Ties are used either when the note crosses a bar line, or when dots
1973 cannot be used to denote the rhythm. When using ties, larger note
1974 values should be aligned to subdivisions of the measure, such as
1976 @lilypond[fragment,quote,ragged-right]
1978 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
1982 If you need to tie a lot of notes over bars, it may be easier to use
1983 automatic note splitting (see @ref{Automatic note splitting}). This
1984 mechanism automatically splits long notes, and ties them across bar
1987 @funindex \repeatTie
1989 When a second alternative of a repeat starts with a tied note, you
1990 have to repeat the tie. This can be achieved with @code{\repeatTie},
1992 @lilypond[fragment,quote,ragged-right,relative=2]
1996 @cindex repeating ties
1997 @cindex volta brackets and ties
2001 Ties are sometimes used to write out arpeggios. In this case, two tied
2002 notes need not be consecutive. This can be achieved by setting the
2003 @code{tieWaitForNote} property to true. The same feature is also useful,
2004 for example, to tie a tremolo to a chord. For example,
2006 @lilypond[fragment,verbatim,relative=1,ragged-right,quote]
2007 \set tieWaitForNote = ##t
2008 \grace { c16[~ e~ g]~ } <c, e g>2
2009 \repeat "tremolo" 8 { c32~ c'~ } <c c,>1
2010 e8~ c~ a~ f~ <e' c a f>2
2013 Ties may be engraved manually by changing the @code{tie-configuration}
2014 property. The first number indicates the distance from the center
2015 of the staff in staff-spaces, and the second number indicates the
2016 direction (1=up, -1=down).
2018 @lilypond[fragment,verbatim,relative=1,ragged-right,quote]
2020 \override TieColumn #'tie-configuration =
2021 #'((0.0 . 1) (-2.0 . 1) (-4.0 . 1))
2033 @funindex \tieNeutral
2035 @funindex \tieDotted
2037 @funindex \tieDashed
2045 In this manual: @ref{Automatic note splitting}.
2047 Program reference: @internalsref{Tie}.
2052 Switching staves when a tie is active will not produce a slanted tie.
2054 Changing clefs or octavations during a tie is not really
2055 well-defined. In these cases, a slur may be preferable.
2063 A slur indicates that notes are to be played bound or
2064 @emph{legato}. They are entered using parentheses
2066 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
2067 f( g a) a8 b( a4 g2 f4)
2071 The direction of a slur can be specified with
2072 @code{\slur@emph{DIR}}, where @code{@emph{DIR}} is
2073 either @code{Up}, @code{Down}, or @code{Neutral} (automatically
2076 However, there is a convenient shorthand for forcing slur
2077 directions. By adding @code{_} or @code{^} before the opening
2078 parentheses, the direction is also set. For example,
2080 @lilypond[relative=2,ragged-right,quote,verbatim,fragment]
2084 Only one slur can be printed at once. If you need to print a long
2085 slur over a few small slurs, please see @ref{Phrasing slurs}.
2090 Some composers write two slurs when they want legato chords. This can
2091 be achieved in LilyPond by setting @code{doubleSlurs},
2093 @lilypond[verbatim,ragged-right,relative,fragment,quote]
2094 \set doubleSlurs = ##t
2095 <c e>4 ( <d f> <c e> <d f> )
2105 @funindex \slurNeutral
2106 @code{\slurNeutral},
2107 @funindex \slurDashed
2109 @funindex \slurDotted
2111 @funindex \slurSolid
2116 Program reference: @seeinternals{Slur}.
2119 @node Phrasing slurs
2120 @subsection Phrasing slurs
2122 @cindex phrasing slurs
2123 @cindex phrasing marks
2125 A phrasing slur (or phrasing mark) connects notes and is used to
2126 indicate a musical sentence. It is written using @code{\(} and @code{\)}
2129 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
2130 \time 6/4 c'\( d( e) f( e) d\)
2133 Typographically, the phrasing slur behaves almost exactly like a
2134 normal slur. However, they are treated as different objects. A
2135 @code{\slurUp} will have no effect on a phrasing slur; instead, use
2136 @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
2137 @code{\phrasingSlurNeutral}.
2139 You cannot have simultaneous phrasing slurs.
2144 @funindex \phrasingSlurUp
2145 @code{\phrasingSlurUp},
2146 @funindex \phrasingSlurDown
2147 @code{\phrasingSlurDown},
2148 @funindex \phrasingSlurNeutral
2149 @code{\phrasingSlurNeutral}.
2154 Program reference: @internalsref{PhrasingSlur}.
2157 @node Laissez vibrer ties
2158 @subsection Laissez vibrer ties
2159 @cindex Laissez vibrer
2160 @cindex Ties, laissez vibrer
2162 L.v. ties (laissez vibrer) indicate that notes must not be damped at the
2163 end. It is used in notation for piano, harp and other string and
2164 percussion instruments. They can be entered using @code{\laissezVibrer},
2166 @lilypond[fragment,ragged-right,verbatim,relative=1]
2167 <c f g>\laissezVibrer
2173 @internalsref{LaissezVibrerTie}
2174 @internalsref{LaissezVibrerTieColumn}
2177 @lsr{connecting,laissez-vibrer-ties.ly}
2180 @node Automatic beams
2181 @subsection Automatic beams
2183 LilyPond inserts beams automatically
2185 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2186 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
2189 When these automatic decisions are not good enough, beaming can be
2190 entered explicitly. It is also possible to define beaming patterns
2191 that differ from the defaults. See @ref{Setting automatic beam behavior}
2194 Individual notes may be marked with @code{\noBeam} to prevent them
2197 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2198 \time 2/4 c8 c\noBeam c c
2204 Program reference: @internalsref{Beam}.
2208 @subsection Manual beams
2210 @cindex beams, manual
2214 In some cases it may be necessary to override the automatic beaming
2215 algorithm. For example, the autobeamer will not put beams over rests
2216 or bar lines. Such beams are specified manually by marking the begin
2217 and end point with @code{[} and @code{]}
2219 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2221 r4 r8[ g' a r8] r8 g[ | a] r8
2228 @funindex stemLeftBeamCount
2229 @funindex stemRightBeamCount
2231 Normally, beaming patterns within a beam are determined automatically.
2232 If necessary, the properties @code{stemLeftBeamCount} and
2233 @code{stemRightBeamCount} can be used to override the defaults. If
2234 either property is set, its value will be used only once, and then it
2237 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2242 \set stemLeftBeamCount = #1
2247 The property @code{subdivideBeams} can be set in order to subdivide
2248 all 16th or shorter beams at beat positions, as defined by the
2249 @code{beatLength} property.
2251 @lilypond[fragment,quote,relative=2,verbatim]
2253 \set subdivideBeams = ##t
2255 \set Score.beatLength = #(ly:make-moment 1 8)
2258 @funindex subdivideBeams
2261 For more information about @code{make-moment}, see
2262 @ref{Time administration}.
2264 Line breaks are normally forbidden when beams cross bar lines. This
2265 behavior can be changed by setting @code{breakable}.
2269 @cindex beams and line breaks
2270 @cindex beams, kneed
2272 @cindex auto-knee-gap
2277 Kneed beams are inserted automatically when a large gap is detected
2278 between the note heads. This behavior can be tuned through the object.
2280 Automatically kneed cross-staff beams cannot be used together with
2281 hidden staves. See @ref{Hiding staves}.
2283 Beams do not avoid collisions with symbols around the notes, such as
2284 texts and accidentals.
2288 @subsection Grace notes
2293 @cindex appoggiatura
2294 @cindex acciaccatura
2296 Grace notes are ornaments that are written out. The most common ones
2297 are acciaccatura, which should be played as very short. It is denoted
2298 by a slurred small note with a slashed stem. The appoggiatura is a
2299 grace note that takes a fixed fraction of the main note, and is
2300 denoted as a slurred note in small print without a slash. They
2301 are entered with the commands @code{\acciaccatura} and
2302 @code{\appoggiatura}, as demonstrated in the following example
2304 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2305 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2306 \acciaccatura { g16[ f] } e4
2309 Both are special forms of the @code{\grace} command. By prefixing this
2310 keyword to a music expression, a new one is formed, which will be
2311 printed in a smaller font and takes up no logical time in a measure.
2313 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2315 \grace { c16[ d16] } c2 c4
2319 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2320 @code{\grace} command does not start a slur.
2322 Internally, timing for grace notes is done using a second, @q{grace}
2323 timing. Every point in time consists of two rational numbers: one
2324 denotes the logical time, one denotes the grace timing. The above
2325 example is shown here with timing tuples
2327 @lilypond[quote,ragged-right]
2330 c4 \grace c16 c4 \grace {
2333 \new Lyrics \lyricmode {
2334 \override LyricText #'font-family = #'typewriter
2338 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2339 \markup { (\fraction 1 4 , 0 ) } 4
2341 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2342 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2344 \markup { ( \fraction 2 4 , 0 ) }
2349 The placement of grace notes is synchronized between different staves.
2350 In the following example, there are two sixteenth grace notes for
2351 every eighth grace note
2353 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2354 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2355 \new Staff { c4 \grace { g8[ b] } c4 } >>
2358 @funindex \afterGrace
2360 If you want to end a note with a grace, use the @code{\afterGrace}
2361 command. It takes two arguments: the main note, and the grace notes
2362 following the main note.
2364 @lilypond[ragged-right, verbatim,relative=2,fragment]
2365 c1 \afterGrace d1 { c16[ d] } c4
2368 This will put the grace notes after a @q{space} lasting 3/4 of the
2369 length of the main note. The fraction 3/4 can be changed by setting
2370 @code{afterGraceFraction}, ie.
2373 afterGraceFraction = #(cons 7 8)
2377 will put the grace note at 7/8 of the main note.
2379 The same effect can be achieved manually by doing
2381 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2384 { s2 \grace { c16[ d] } } >>
2390 By adjusting the duration of the skip note (here it is a half-note),
2391 the space between the main-note and the grace is adjusted.
2393 A @code{\grace} section will introduce special typesetting settings,
2394 for example, to produce smaller type, and set directions. Hence, when
2395 introducing layout tweaks, they should be inside the grace section,
2398 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2410 The overrides should also be reverted inside the grace section.
2412 The layout of grace sections can be changed throughout the music using
2413 the function @code{add-grace-property}. The following example
2414 undefines the @code{Stem} direction for this grace, so
2415 that stems do not always point up.
2419 #(add-grace-property 'Voice 'Stem 'direction '())
2425 Another option is to change the variables @code{startGraceMusic},
2426 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2427 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2428 @code{stopAppoggiaturaMusic}. More information is in the file
2429 @file{ly/@/grace@/-init@/.ly}.
2432 The slash through the stem in acciaccaturas can be obtained
2433 in other situations by @code{\override Stem #'stroke-style = #"grace"}.
2438 Grace notes may be forced to use floating spacing,
2440 @lilypond[relative=2,ragged-right]
2442 \override Score.SpacingSpanner #'strict-grace-spacing = ##t
2451 c'16[ c'16 c'16 c'16]
2452 c'16[ c'16 c'16 c'16]
2461 Program reference: @internalsref{GraceMusic}.
2466 A score that starts with a @code{\grace} section needs an explicit
2467 @code{\new Voice} declaration, otherwise the main note and the grace
2468 note end up on different staves.
2470 Grace note synchronization can also lead to surprises. Staff notation,
2471 such as key signatures, bar lines, etc., are also synchronized. Take
2472 care when you mix staves with grace notes and staves without, for example,
2474 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2475 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2476 \new Staff { c4 \bar "|:" d4 } >>
2480 This can be remedied by inserting grace skips of the corresponding
2481 durations in the other staves. For the above example
2484 \new Staff @{ c4 \bar "|:" \grace s16 d4 @}
2487 Grace sections should only be used within sequential music
2488 expressions. Nesting or juxtaposing grace sections is not supported,
2489 and might produce crashes or other errors.
2493 @node Expressive marks
2494 @section Expressive marks
2496 Expressive marks help musicians to bring more to the music than simple
2501 * Fingering instructions::
2512 @subsection Articulations
2514 @cindex Articulations
2518 A variety of symbols can appear above and below notes to indicate
2519 different characteristics of the performance. They are added to a note
2520 by adding a dash and the character signifying the
2521 articulation. They are demonstrated here
2523 @lilypondfile[quote,ragged-right]{script-abbreviations.ly}
2525 The meanings of these shorthands can be changed. See
2526 @file{ly/@/script@/-init@/.ly} for examples.
2528 The script is automatically placed, but the direction can be forced as
2529 well. Like other pieces of LilyPond code, @code{_} will place them
2530 below the staff, and @code{^} will place them above.
2532 @lilypond[quote,ragged-right,fragment,verbatim]
2536 Other symbols can be added using the syntax
2537 @var{note}@code{\}@var{name}. Again, they
2538 can be forced up or down using @code{^} and @code{_},
2541 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
2542 c\fermata c^\fermata c_\fermata
2547 @cindex staccatissimo
2557 @cindex organ pedal marks
2566 @cindex prallmordent
2570 @cindex thumb marking
2575 Here is a chart showing all scripts available,
2577 @lilypondfile[ragged-right,quote]{script-chart.ly}
2582 The vertical ordering of scripts is controlled with the
2583 @code{script-priority} property. The lower this number, the closer it
2584 will be put to the note. In this example, the
2585 @internalsref{TextScript} (the sharp symbol) first has the lowest
2586 priority, so it is put lowest in the first example. In the second, the
2587 prall trill (the @internalsref{Script}) has the lowest, so it is on the
2588 inside. When two objects have the same priority, the order in which
2589 they are entered decides which one comes first.
2591 @lilypond[verbatim,relative=3,ragged-right,fragment,quote]
2592 \once \override TextScript #'script-priority = #-100
2593 a4^\prall^\markup { \sharp }
2595 \once \override Script #'script-priority = #-100
2596 a4^\prall^\markup { \sharp }
2602 Program reference: @internalsref{Script}.
2607 These signs appear in the printed output but have no effect on the
2608 MIDI rendering of the music.
2611 @node Fingering instructions
2612 @subsection Fingering instructions
2615 @cindex finger change
2617 Fingering instructions can be entered using
2619 @var{note}-@var{digit}
2621 For finger changes, use markup texts
2623 @lilypond[quote,verbatim,ragged-right,fragment,relative=1]
2625 c^\markup { \finger "2 - 3" }
2628 You can use the thumb-script to indicate that a note should be
2629 played with the thumb (e.g., in cello music)
2630 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
2631 <a_\thumb a'-3>8 <b_\thumb b'-3>
2634 Fingerings for chords can also be added to individual notes
2635 of the chord by adding them after the pitches
2636 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
2637 < c-1 e-2 g-3 b-5 >4
2643 You may exercise greater control over fingering chords by
2644 setting @code{fingeringOrientations}
2646 @lilypond[quote,verbatim,ragged-right,fragment,relative=1]
2647 \set fingeringOrientations = #'(left down)
2648 <c-1 es-2 g-4 bes-5 > 4
2649 \set fingeringOrientations = #'(up right down)
2650 <c-1 es-2 g-4 bes-5 > 4
2653 Using this feature, it is also possible to put fingering instructions
2654 very close to note heads in monophonic music,
2656 @lilypond[verbatim,ragged-right,quote,fragment]
2657 \set fingeringOrientations = #'(right)
2664 Program reference: @internalsref{Fingering}.
2666 Examples: @lsr{expressive,fingering-chords.ly}
2670 @subsection Dynamics
2691 Absolute dynamic marks are specified using a command after a note
2692 @code{c4\ff}. The available dynamic marks are @code{\ppppp},
2693 @code{\pppp}, @code{\ppp},
2694 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2695 @code{\fff}, @code{\ffff}, @code{\fp}, @code{\sf}, @code{\sff},
2696 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
2698 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
2699 c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2700 c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
2707 A crescendo mark is started with @code{\<} and terminated with
2708 @code{\!} or an absolute dynamic. A decrescendo is started with
2709 @code{\>} and is also terminated with @code{\!} or an absolute
2710 dynamic. @code{\cr} and @code{\decr} may be used instead of
2711 @code{\<} and @code{\>}. Because these marks are bound to notes, you must
2712 use spacer notes if multiple marks are needed during one note
2714 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2716 << f1 { s4 s4\< s4\! \> s4\! } >>
2720 A hairpin normally starts at the left edge of the beginning note
2721 and ends on the right edge of the ending note. If the ending
2722 note falls on the downbeat, the hairpin ends on the immediately
2723 preceding barline. This may be modified by setting the
2724 @code{hairpinToBarline} property,
2726 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2727 \set hairpinToBarline = ##f
2731 In some situations the @code{\espressivo} articulation mark may
2732 be suitable to indicate a crescendo and decrescendo on the one note,
2734 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2735 c2 b4 a g1\espressivo
2738 This may give rise to very short hairpins. Use @code{minimum-length}
2739 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2743 \override Voice.Hairpin #'minimum-length = #5
2749 Hairpins may be printed with a circled tip (al niente notation) by
2750 setting the @code{circled-tip} property,
2752 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
2753 \override Hairpin #'circled-tip = ##t
2763 You can also use text saying @emph{cresc.} instead of hairpins
2765 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
2776 You can also supply your own texts
2777 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2778 \set crescendoText = \markup { \italic "cresc. poco" }
2779 \set crescendoSpanner = #'dashed-line
2783 To create new dynamic marks or text that should be aligned
2784 with dynamics, see @ref{New dynamic marks}.
2786 Vertical positioning of dynamics is handled by
2787 @internalsref{DynamicLineSpanner}.
2792 Dynamics that occur at, begin on, or end on, the same note
2793 will be vertically aligned. If you want to ensure that dynamics
2794 are aligned when they do not occur on the same note, you can
2795 increase the @code{staff-padding} property.
2798 \override DynamicLineSpanner #'staff-padding = #4
2801 You may also use this property if the dynamics are colliding
2802 with other notation.
2804 Crescendi and decrescendi that end on the first note of a
2805 new line are not printed. To change this behavior, use
2808 \override Score.Hairpin #'after-line-breaking = ##t
2811 Text style dynamic changes (such as @emph{cresc.} and @emph{dim.})
2813 dashed line showing their extent. To surpress printing this line, use
2816 \override DynamicTextSpanner #'dash-period = #-1.0
2822 @funindex \dynamicUp
2824 @funindex \dynamicDown
2825 @code{\dynamicDown},
2826 @funindex \dynamicNeutral
2827 @code{\dynamicNeutral}.
2832 Program reference: @internalsref{DynamicText}, @internalsref{Hairpin}.
2833 Vertical positioning of these symbols is handled by
2834 @internalsref{DynamicLineSpanner}.
2838 @subsection Breath marks
2840 Breath marks are entered using @code{\breathe}
2842 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2849 The glyph of the breath mark can be tuned by overriding the
2850 @code{text} property of the @code{BreathingSign} layout object with
2851 any markup text. For example,
2852 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
2854 \override BreathingSign #'text
2855 = #(make-musicglyph-markup "scripts.rvarcomma")
2862 Program reference: @internalsref{BreathingSign}.
2864 Examples: @lsr{expressive,breathing-sign.ly}
2870 Short trills are printed like normal articulation; see @ref{Articulations}.
2872 Long running trills are made with @code{\startTrillSpan} and
2873 @code{\stopTrillSpan},
2875 @lilypond[verbatim,ragged-right,relative=2,quote,fragment]
2877 << { c1 \startTrillSpan }
2878 { s2. \grace { d16[\stopTrillSpan e] } } >>
2882 @cindex Pitched trills
2884 Trills that should be executed on an explicitly specified pitch can be
2885 typeset with the command @code{pitchedTrill},
2887 @lilypond[ragged-right,verbatim,fragment,relative=1,quote]
2888 \pitchedTrill c4\startTrillSpan fis
2892 The first argument is the main note. The pitch of the second
2893 is printed as a stemless note head in parentheses.
2898 @code{\startTrillSpan},
2899 @funindex \startTrillSpan
2900 @code{\stopTrillSpan}.
2901 @funindex \stopTrillSpan
2906 Program reference: @internalsref{TrillSpanner}.
2910 @subsection Glissando
2913 @funindex \glissando
2915 A glissando is a smooth change in pitch. It is denoted by a line or a
2916 wavy line between two notes. It is requested by attaching
2917 @code{\glissando} to a note
2919 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
2921 \override Glissando #'style = #'zigzag
2928 Program reference: @internalsref{Glissando}.
2931 @lsr{expressive,glissando.ly}, @lsr{expressive,line-styles.ly}
2937 Printing text over the line (such as @emph{gliss.}) is not supported.
2941 @subsection Arpeggio
2944 @cindex broken chord
2947 You can specify an arpeggio sign (also known as broken chord) on a
2948 chord by attaching an @code{\arpeggio} to a chord
2950 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2954 A square bracket on the left indicates that the player should not
2955 arpeggiate the chord
2957 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2962 The direction of the arpeggio is sometimes denoted by adding an
2963 arrowhead to the wiggly line
2965 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2977 When an arpeggio crosses staves, you may attach an arpeggio to the chords
2978 in both staves and set
2979 @internalsref{PianoStaff}.@code{connectArpeggios}
2981 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2983 \set PianoStaff.connectArpeggios = ##t
2984 \new Staff { <c' e g c>\arpeggio }
2985 \new Staff { \clef bass <c,, e g>\arpeggio }
2993 @funindex \arpeggioUp
2995 @funindex \arpeggioDown
2996 @code{\arpeggioDown},
2997 @funindex \arpeggioNeutral
2998 @code{\arpeggioNeutral},
2999 @funindex \arpeggioBracket
3000 @code{\arpeggioBracket}.
3005 Notation manual: @ref{Ties}, for writing out arpeggios.
3007 Program reference: @internalsref{Arpeggio}.
3012 It is not possible to mix connected arpeggios and unconnected
3013 arpeggios in one @internalsref{PianoStaff} at the same point in time.
3016 @node Falls and doits
3017 @subsection Falls and doits
3019 Falls and doits can be added to notes using the @code{\bendAfter}
3022 @lilypond[fragment,ragged-right,relative=2]
3023 \override Score.SpacingSpanner #'shortest-duration-space = #3.0
3032 Repetition is a central concept in music, and multiple notations exist
3038 * Repeats and MIDI::
3039 * Manual repeat commands::
3041 * Tremolo subdivisions::
3047 @subsection Repeat types
3052 The following types of repetition are supported
3056 Repeated music is fully written (played) out. This is useful when
3057 entering repetitious music. This is the only kind of repeat that
3058 is included in MIDI output.
3061 Repeats are not written out, but alternative endings (volte) are
3062 printed, left to right with brackets. This is the standard notation
3063 for repeats with alternatives. These are not played in MIDI output by
3068 Make tremolo beams. These are not played in MIDI output by default.
3071 Make beat or measure repeats. These look like percent signs. These
3072 are not played in MIDI output by default. Percent repeats must be
3073 declared within a @code{Voice} context.
3079 @subsection Repeat syntax
3083 @cindex seconda volta
3085 LilyPond has one syntactic construct for specifying different types of
3086 repeats. The syntax is
3089 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
3092 If you have alternative endings, you may add
3093 @funindex \alternative
3104 where each @var{alternative} is a music expression. If you do not
3105 give enough alternatives for all of the repeats, the first alternative
3106 is assumed to be played more than once.
3108 Standard repeats are used like this
3110 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
3112 \repeat volta 2 { c4 d e f }
3113 \repeat volta 2 { f e d c }
3116 With alternative endings
3118 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
3120 \repeat volta 2 {c4 d e f}
3121 \alternative { {d2 d} {f f,} }
3124 In the following example, the first ending is not a complete
3125 bar (it only had 3 beats). The beginning of the second ending
3126 contains the 4th beat from the first ending. This @q{extra}
3127 beat in the second ending is due to the first time ending,
3128 and has nothing to do with the @code{\partial} at the
3129 beginning of the example.
3131 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
3134 \repeat volta 4 { e | c2 d2 | e2 f2 | }
3135 \alternative { { g4 g g } { a | a a a a | b2. } }
3139 @funindex \repeatTie
3141 Ties may be added to a second ending,
3143 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
3145 \repeat volta 2 {c4 d e f ~ }
3146 \alternative { {f2 d} {f\repeatTie f,} }
3149 It is possible to shorten volta brackets
3150 by setting @code{voltaSpannerDuration}. In the next example, the
3151 bracket only lasts one measure, which is a duration of 3/4.
3153 @lilypond[verbatim,ragged-right,quote]
3157 \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4)
3158 \repeat "volta" 5 { d d d }
3159 \alternative { { e e e f f f }
3169 Brackets for the repeat are normally only printed over the topmost
3170 staff. This can be adjusted by setting the @code{voltaOnThisStaff}
3173 @lsr{repeats,volta@/-multi@/-staff@/.ly}.
3178 @cindex repeat, ambiguous
3180 A nested repeat like
3189 is ambiguous, since it is is not clear to which @code{\repeat} the
3190 @code{\alternative} belongs. This ambiguity is resolved by always
3191 having the @code{\alternative} belong to the inner @code{\repeat}.
3192 For clarity, it is advisable to use braces in such situations.
3194 Timing information is not remembered at the start of an alternative,
3195 so after a repeat timing information must be reset by hand; for
3196 example, by setting @code{Score.measurePosition} or entering
3197 @code{\partial}. Similarly, slurs or ties are also not repeated.
3199 Volta brackets are not vertically aligned.
3202 @node Repeats and MIDI
3203 @subsection Repeats and MIDI
3205 @cindex expanding repeats
3206 @funindex \unfoldRepeats
3208 With a little bit of tweaking, all types of repeats can be present
3209 in the MIDI output. This is achieved by applying the
3210 @code{\unfoldRepeats} music function. This function changes all
3211 repeats to unfold repeats.
3213 @lilypond[quote,verbatim,fragment,line-width=8.0\cm]
3215 \repeat tremolo 8 {c'32 e' }
3216 \repeat percent 2 { c''8 d'' }
3217 \repeat volta 2 {c'4 d' e' f'}
3226 When creating a score file using @code{\unfoldRepeats} for MIDI,
3227 it is necessary to make two @code{\score} blocks: one for MIDI (with
3228 unfolded repeats) and one for notation (with volta, tremolo, and
3229 percent repeats). For example,
3237 \unfoldRepeats @var{..music..}
3243 @node Manual repeat commands
3244 @subsection Manual repeat commands
3246 @funindex repeatCommands
3248 The property @code{repeatCommands} can be used to control the layout of
3249 repeats. Its value is a Scheme list of repeat commands.
3252 @item @code{start-repeat}
3253 Print a @code{|:} bar line.
3255 @item @code{end-repeat}
3256 Print a @code{:|} bar line.
3258 @item @code{(volta @var{text})}
3259 Print a volta bracket saying @var{text}: The text can be specified as
3260 a text string or as a markup text, see @ref{Text markup}. Do not
3261 forget to change the font, as the default number font does not contain
3262 alphabetic characters;
3264 @item @code{(volta #f)}
3265 Stop a running volta bracket.
3268 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
3270 \set Score.repeatCommands = #'((volta "93") end-repeat)
3272 \set Score.repeatCommands = #'((volta #f))
3279 Program reference: @internalsref{VoltaBracket},
3280 @internalsref{RepeatedMusic},
3281 @internalsref{VoltaRepeatedMusic},
3282 @internalsref{UnfoldedRepeatedMusic}, and
3283 @internalsref{FoldedRepeatedMusic}.
3286 @node Tremolo repeats
3287 @subsection Tremolo repeats
3289 @cindex tremolo beams
3291 To place tremolo marks between notes, use @code{\repeat} with tremolo
3293 @lilypond[quote,verbatim,ragged-right]
3294 \new Voice \relative c' {
3295 \repeat "tremolo" 8 { c16 d16 }
3296 \repeat "tremolo" 4 { c16 d16 }
3297 \repeat "tremolo" 2 { c16 d16 }
3301 Tremolo marks can also be put on a single note. In this case, the
3302 note should not be surrounded by braces.
3303 @lilypond[quote,verbatim,ragged-right]
3304 \repeat "tremolo" 4 c'16
3307 Similar output is obtained using the tremolo subdivision, described in
3308 @ref{Tremolo subdivisions}.
3313 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
3315 Program reference: @internalsref{Beam}, @internalsref{StemTremolo}.
3318 @node Tremolo subdivisions
3319 @subsection Tremolo subdivisions
3321 @cindex tremolo marks
3322 @funindex tremoloFlags
3324 Tremolo marks can be printed on a single note by adding
3325 @q{@code{:}[@var{number}]} after the note. The number indicates the
3326 duration of the subdivision, and it must be at least 8. A
3327 @var{length} value of 8 gives one line across the note stem. If the
3328 length is omitted, the last value (stored in @code{tremoloFlags}) is
3331 @lilypond[quote,ragged-right,verbatim,fragment]
3332 c'2:8 c':32 | c': c': |
3338 Tremolos entered in this way do not carry over into the MIDI output.
3343 In this manual: @ref{Tremolo repeats}.
3345 Elsewhere: @internalsref{StemTremolo}.
3348 @node Measure repeats
3349 @subsection Measure repeats
3351 @cindex percent repeats
3352 @cindex measure repeats
3354 In the @code{percent} style, a note pattern can be repeated. It is
3355 printed once, and then the pattern is replaced with a special sign.
3356 Patterns of one and two measures are replaced by percent-like signs,
3357 patterns that divide the measure length are replaced by slashes.
3358 Percent repeats must be declared within a @code{Voice} context.
3360 @lilypond[quote,verbatim,ragged-right]
3361 \new Voice \relative c' {
3362 \repeat "percent" 4 { c4 }
3363 \repeat "percent" 2 { c2 es2 f4 fis4 g4 c4 }
3367 Measure repeats of more than 2 measures get a counter, if you switch
3368 on the @code{countPercentRepeats} property,
3370 @lilypond[relative=2,fragment,quote,verbatim,ragged-right]
3372 \set countPercentRepeats = ##t
3373 \repeat "percent" 4 { c1 }
3379 Isolated percents can also be printed. This is done by putting a
3380 multi-measure rest with a different print function,
3382 @lilypond[fragment,verbatim,quote]
3383 \override MultiMeasureRest #'stencil
3384 = #ly:multi-measure-rest::percent
3393 Program reference: @internalsref{RepeatSlash},
3394 @internalsref{PercentRepeat}, @internalsref{DoublePercentRepeat},
3395 @internalsref{DoublePercentRepeatCounter},
3396 @internalsref{PercentRepeatCounter},
3397 @internalsref{PercentRepeatedMusic}.