1 @c -*- coding: latin-1; 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::
51 @cindex Note specification
52 @cindex entering notes
54 A note is printed by specifying its pitch and then its duration,
56 @lilypond[quote,verbatim,raggedright,fragment]
62 This manual: @ref{Pitches}, @ref{Durations}
71 The most common syntax for pitch entry is used for standard notes and
72 @code{\chordmode} modes. In these modes, pitches may be designated by
73 names. The notes are specified by the letters @code{a} through
74 @code{g}. The octave is formed with notes ranging from @code{c}
75 to @code{b}. The pitch @code{c} is an octave below middle C and the
76 letters span the octave above that C
78 @lilypond[quote,fragment,verbatim,raggedright]
80 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
86 The optional octave specification takes the form of a series of
87 single quote (`@code{'}') characters or a series of comma
88 (`@code{,}') characters. Each @code{'} raises the pitch by one
89 octave; each @code{,} lowers the pitch by an octave
91 @lilypond[quote,raggedright,fragment,verbatim]
95 @cindex note names, Dutch
97 A sharp is formed by adding @code{-is} to the end of a pitch name and
98 a flat is formed by adding @code{-es}. Double sharps and double flats
99 are obtained by adding @code{-isis} or @code{-eses}. These
100 names are the Dutch note names. In Dutch, @code{aes} is contracted to
101 @code{as}, but both forms are accepted. Similarly, both
102 @code{es} and @code{ees} are accepted
104 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
112 There are predefined sets of note names for various other languages.
113 To use them, include the language specific init file. For
114 example: @code{\include "english.ly"}. The available language files
115 and the note names they define are
120 Note Names sharp flat
121 nederlands.ly c d e f g a bes b -is -es
122 english.ly c d e f g a bf b -s/-sharp -f/-flat
124 deutsch.ly c d e f g a b h -is -es
125 norsk.ly c d e f g a b h -iss/-is -ess/-es
126 svenska.ly c d e f g a b h -iss -ess
127 italiano.ly do re mi fa sol la sib si -d -b
128 catalan.ly do re mi fa sol la sib si -d/-s -b
129 espanol.ly do re mi fa sol la sib si -s -b
135 In accordance with standard typsetting rules, a natural sign is printed
136 before a sharp or flat if a previous accidental needs to be
137 cancelled. To change this behaviour, use
138 @code{\set Staff.extraNatural = ##f}
140 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
142 \set Staff.extraNatural = ##f
149 Program reference: @internalsref{LedgerLineSpanner}, @internalsref{NoteHead}.
152 @node Cautionary accidentals
153 @subsection Cautionary accidentals
155 @cindex reminder accidental
157 @cindex cautionary accidental
158 @cindex parenthesized accidental
161 Normally accidentals are printed automatically, but you may also
162 print them manually. A reminder accidental
163 can be forced by adding an exclamation mark @code{!}
164 after the pitch. A cautionary accidental
165 (i.e., an accidental within parentheses) can be obtained by adding the
166 question mark `@code{?}' after the pitch.
168 @lilypond[quote,raggedright,fragment,verbatim]
169 cis' cis' cis'! cis'?
175 The automatic production of accidentals can be tuned in many
176 ways. For more information, refer to @ref{Automatic accidentals}.
181 @subsection Micro tones
183 @cindex quarter tones
184 @cindex semi-flats, semi-sharps
186 Half-flats and half-sharps are formed by adding @code{-eh} and
187 @code{-ih}; the following is a series of Cs with increasing pitches
189 @lilypond[verbatim,raggedright,quote,relative=2,fragment]
190 \set Staff.extraNatural = ##f
194 Micro tones are also exported to the MIDI file.
199 There are no generally accepted standards for denoting three quarter
200 flats, so LilyPond's symbol does not conform to any standard.
208 A chord is formed by a enclosing a set of pitches in @code{<} and
209 @code{>}. A chord may be followed by a duration, and a set of
210 articulations, just like simple notes
212 @lilypond[verbatim,raggedright,fragment,quote,relative=1]
216 For more information about chords, see @ref{Chord names}.
227 Rests are entered like notes with the note name @code{r}
229 @lilypond[fragment,quote,raggedright,verbatim]
233 Whole bar rests, centered in middle of the bar,
234 must be done with multi-measure rests. They are discussed in
235 @ref{Multi measure rests}.
238 A rest's vertical position may be explicitly specified by entering a
239 note with the @code{\rest} keyword appended, the rest will be placed at
240 the note's place. This makes manual formatting in polyphonic music
241 easier. Automatic rest collision formatting will leave these rests
244 @lilypond[fragment,quote,raggedright,verbatim]
250 Program reference: @internalsref{Rest}.
257 @cindex Invisible rest
262 An invisible rest (also called a `skip') can be entered like a note
263 with note name `@code{s}' or with @code{\skip @var{duration}}
265 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
266 a4 a4 s4 a4 \skip 1 a4
269 The @code{s} syntax is only available in note mode and chord mode. In
270 other situations, for example, when entering lyrics, you should use
271 the @code{\skip} command
273 @lilypond[quote,raggedright,verbatim]
276 \new Lyrics \lyricmode { \skip 2 bla2 }
280 The skip command is merely an empty musical placeholder. It does not
281 produce any output, not even transparent output.
283 The @code{s} skip command does create @internalsref{Staff} and
284 @internalsref{Voice} when necessary, similar to note and rest
285 commands. For example, the following results in an empty staff.
287 @lilypond[quote,raggedright,verbatim]
291 The fragment @code{@{ \skip 4 @} } would produce an empty page.
295 Program reference: @internalsref{SkipMusic}.
299 @subsection Durations
302 @cindex @code{\longa}
303 @cindex @code{\breve}
304 @cindex @code{\maxima}
306 In Note, Chord, and Lyrics mode, durations are designated by numbers and
307 dots: durations are entered as their reciprocal values. For example, a
308 quarter note is entered using a @code{4} (since it is a 1/4 note), while
309 a half note is entered using a @code{2} (since it is a 1/2 note). For
310 notes longer than a whole you must use the variables @code{\longa} and
315 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
317 r1 r2 r4 r8 r16 r32 r64 r64
323 a\breve*1/2 \autoBeamOff
324 a1 a2 a4 a8 a16 a32 a64 a64
327 r\longa*1/4 r\breve *1/2
328 r1 r2 r4 r8 r16 r32 r64 r64
334 \remove "Clef_engraver"
335 \override StaffSymbol #'transparent = ##t
336 \override TimeSignature #'transparent = ##t
337 \override BarLine #'transparent = ##t
338 \consists "Pitch_squash_engraver"
344 If the duration is omitted then it is set to the previously entered
345 duration. The default for the first note is a quarter note.
347 @lilypond[quote,raggedright,verbatim,fragment]
348 { a a a2 a a4 a a1 a }
352 @node Augmentation dots
353 @subsection Augmentation dots
357 To obtain dotted note lenghts, simply add a dot (`@code{.}') to
358 the number. Double-dotted notes are produced in a similar way.
360 @lilypond[quote,raggedright,fragment,verbatim]
361 a'4 b' c''4. b'8 a'4. b'4.. c''8.
366 Dots are normally moved up to avoid staff lines, except in polyphonic
367 situations. The following commands may be used to force a particular
370 @cindex @code{\dotsUp}
372 @cindex @code{\dotsDown}
374 @cindex @code{\dotsNeutral}
379 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
387 @cindex @code{\times}
389 Tuplets are made out of a music expression by multiplying all durations
393 \times @var{fraction} @var{musicexpr}
397 The duration of @var{musicexpr} will be multiplied by the fraction.
398 The fraction's denominator will be printed over the notes, optionally
399 with a bracket. The most common tuplet is the triplet in which 3
400 notes have the length of 2, so the notes are 2/3 of their written
403 @lilypond[quote,raggedright,fragment,verbatim]
404 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
409 @cindex @code{\tupletUp}
411 @cindex @code{\tupletDown}
413 @cindex @code{\tupletNeutral}
414 @code{\tupletNeutral}.
419 @cindex @code{tupletNumberFormatFunction}
420 @cindex tuplet formatting
422 The property @code{tupletSpannerDuration} specifies how long each
423 bracket should last. With this, you can make lots of tuplets while
424 typing @code{\times} only once, thus saving lots of typing. In the next
425 example, there are two triplets shown, while @code{\times} was only
428 @lilypond[quote,fragment,relative=1,raggedright,verbatim]
429 \set tupletSpannerDuration = #(ly:make-moment 1 4)
430 \times 2/3 { c'8 c c c c c }
433 The format of the number is determined by the property
434 @code{tupletNumberFormatFunction}. The default prints only the
435 denominator, but if it is set to the Scheme function
436 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
442 Program reference: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
447 Nested tuplets are not formatted automatically. In this case, outer
448 tuplet brackets should be moved manually, which is demonstrated in
449 @inputfileref{input/@/regression,tuplet@/-nest@/.ly}.
452 @node Scaling durations
453 @subsection Scaling durations
455 You can alter the length of duration by a fraction @var{N/M}
456 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
457 will not affect the appearance of the notes or rests produced.
459 In the following example, the first three notes take up exactly two
460 beats, but no triplet bracket is printed.
461 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
463 a4*2/3 gis4*2/3 a4*2/3
471 This manual: @ref{Tuplets}
475 @node Alternate music entry
476 @section Alternate music entry
479 This section deals with tricks and features of the input language that
480 were added solely to help entering music and finding and correcting
481 mistakes. There are also external tools that make debugging easier.
482 See @ref{Point and click} for more information.
484 It is also possible to enter and edit music using other programs, such as
485 GUI interfaces or MIDI sequencers. Refer to the LilyPond
486 website for more information.
493 * Skipping corrected music::
494 * Automatic note splitting::
498 @node Relative octaves
499 @subsection Relative octaves
502 @cindex Relative octave specification
503 @cindex @code{\relative}
505 Octaves are specified by adding @code{'} and @code{,} to pitch names.
506 When you copy existing music, it is easy to accidentally put a pitch
507 in the wrong octave and hard to find such an error. The relative
508 octave mode prevents these errors by making the mistakes much
509 larger: a single error puts the rest of the piece off by one octave
512 \relative @var{startpitch} @var{musicexpr}
519 \relative @var{musicexpr}
522 The octave of notes that appear in @var{musicexpr} are calculated as
523 follows: if no octave changing marks are used, the basic interval
524 between this and the last note is always taken to be a fourth or
525 less. This distance is determined without regarding alterations; a
526 @code{fisis} following a @code{ceses} will be put above the
527 @code{ceses}. In other words, a doubly-augmented fourth is considered
528 a smaller interval than a diminshed fifth, even though the fourth is
529 seven semitones while the fifth is only six semitones.
531 The octave changing marks @code{'} and @code{,} can be added to raise
532 or lower the pitch by an extra octave. Upon entering relative mode,
533 an absolute starting pitch can be specified that will act as the
534 predecessor of the first note of @var{musicexpr}. If no starting pitch
535 is specified, then middle C is used as a start.
537 Here is the relative mode shown in action
538 @lilypond[quote,fragment,raggedright,verbatim]
544 Octave changing marks are used for intervals greater than a fourth
545 @lilypond[quote,raggedright,fragment,verbatim]
551 If the preceding item is a chord, the first note of the chord is used
552 to determine the first note of the next chord
554 @lilypond[quote,raggedright,fragment,verbatim]
562 The pitch after the @code{\relative} contains a note name.
564 The relative conversion will not affect @code{\transpose},
565 @code{\chordmode} or @code{\relative} sections in its argument. To use
566 relative within transposed music, an additional @code{\relative} must
567 be placed inside @code{\transpose}.
571 @subsection Octave check
575 Octave checks make octave errors easier to correct: a note may be
576 followed by @code{=}@var{quotes} which indicates what its absolute
577 octave should be. In the following example,
580 \relative c'' @{ c='' b=' d,='' @}
584 the @code{d} will generate a warning, because a @code{d''} is expected
585 (because @code{b'} to @code{d''} is only a third), but a @code{d'} is
586 found. In the output, the octave is corrected to be a @code{d''} and
587 the next note is calculated relative to @code{d''} instead of @code{d'}.
589 There is also a syntax that is separate from the notes. The syntax
595 This checks that @var{pitch} (without quotes) yields @var{pitch} (with
596 quotes) in \relative mode. If not, a warning is printed, and the
599 In the example below, the first check passes without incident, since
600 the @code{e} (in relative mode) is within a fifth of @code{a'}. However,
601 the second check produces a warning, since the @code{e} is not within
602 a fifth of @code{b'}. The warning message is printed, and the octave
603 is adjusted so that the following notes are in the correct octave
615 The octave of a note following an octave check is determined with
616 respect to the note preceding it. In the next fragment, the last note
617 is an @code{a'}, above middle C. That means that the @code{\octave}
618 check passes successfully, so the check could be deleted without changing
619 the output of the piece.
621 @lilypond[quote,raggedright,verbatim,fragment]
631 @subsection Transpose
634 @cindex transposition of pitches
635 @cindex @code{\transpose}
637 A music expression can be transposed with @code{\transpose}. The
640 \transpose @var{from} @var{to} @var{musicexpr}
643 This means that @var{musicexpr} is transposed by the interval between
644 the pitches @var{from} and @var{to}: any note with pitch @code{from}
645 is changed to @code{to}.
647 For example, consider a piece written in the key of D-major. If
648 this piece is a little too low for its performer, it can be
649 transposed up to E-major with
651 \transpose d e @dots{}
654 Consider a part written for violin (a C instrument). If
655 this part is to be played on the A clarinet, the following
656 transposition will produce the appropriate part
659 \transpose a c @dots{}
662 @code{\transpose} distinguishes between enharmonic pitches: both
663 @code{\transpose c cis} or @code{\transpose c des} will transpose up
664 half a tone. The first version will print sharps and the second
665 version will print flats
667 @lilypond[quote,raggedright,verbatim]
668 mus = { \key d \major cis d fis g }
677 @code{\transpose} may also be used to input written notes for a
678 transposing instrument. Pitches are normally entered into LilyPond
679 in C (or ``concert pitch''), but they may be entered in another
680 key. For example, when entering music for a B-flat trumpet which
681 begins on concert D, one would write
684 \transpose c bes @{ e4 @dots{} @}
687 To print this music in B-flat again (ie producing a trumpet part,
688 instead of a concert pitch conductor's score) you would wrap the
689 existing music with another @code{transpose}
692 \transpose bes c @{ \transpose c bes @{ e4 @dots{} @} @}
698 Program reference: @internalsref{TransposedMusic}.
703 If you want to use both @code{\transpose} and @code{\relative},
704 you must put @code{\transpose} outside of @code{\relative}, since
705 @code{\relative} will have no effect music that appears inside a
710 @subsection Bar check
713 @cindex @code{barCheckSynchronize}
716 Bar checks help detect errors in the durations. A bar check is
717 entered using the bar symbol, `@code{|}'. Whenever it is encountered
718 during interpretation, it should fall on a measure boundary. If it
719 does not, a warning is printed. In the next example, the second bar
720 check will signal an error
722 \time 3/4 c2 e4 | g2 |
725 Bar checks can also be used in lyrics, for example
730 Twin -- kle | Twin -- kle
734 Failed bar checks are caused by entering incorrect
735 durations. Incorrect durations often completely garble up the score,
736 especially if the score is polyphonic, so a good place to start correcting
737 input is by scanning for failed bar checks and incorrect durations.
740 @cindex @code{pipeSymbol}
742 It is also possible to redefine the meaning of @code{|}. This is done
743 by assigning a music expression to @code{pipeSymbol},
745 @lilypond[quote,raggedright,verbatim]
746 pipeSymbol = \bar "||"
752 @node Skipping corrected music
753 @subsection Skipping corrected music
756 @cindex @code{skipTypesetting}
757 @cindex @code{showLastLength}
759 When entering or copying music, only the music near the end (where you
760 are adding notes) is interesting to view and correct. To speed up
761 this correction process, it is possible to skip typesetting of all but
762 the last few measures. This is achieved by putting
765 showLastLength = R1*5
769 in your source file. This will render only the last 5 measures
770 (assuming 4/4 time signature) of every @code{\score} in the input
771 file. For longer pieces, rendering only a small part is often an order
772 of magnitude quicker than rendering it completely
774 Skipping parts of a score can be controlled in a more fine-grained
775 fashing with the property @code{Score.skipTypesetting}. When it is
776 set, no typesetting is performed at all.
778 @lilypond[quote,fragment,raggedright,verbatim]
781 \set Score.skipTypesetting = ##t
783 \set Score.skipTypesetting = ##f
787 In polyphonic music, @code{Score.skipTypesetting} will affect all
788 voices and staves, saving even more time.
791 @node Automatic note splitting
792 @subsection Automatic note splitting
794 Long notes can be converted automatically to tied notes. This is done
795 by replacing the @internalsref{Note_heads_engraver} by the
796 @internalsref{Completion_heads_engraver}.
797 In the following examples, notes crossing the bar line are split and tied.
799 @lilypond[quote,fragment,verbatim,relative=1,linewidth=12\cm]
801 \remove "Note_heads_engraver"
802 \consists "Completion_heads_engraver"
804 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
808 This engraver splits all running notes at the bar line, and inserts
809 ties. One of its uses is to debug complex scores: if the measures are
810 not entirely filled, then the ties exactly show how much each measure
816 Not all durations (especially those containing tuplets) can be
817 represented exactly with normal notes and dots, but the engraver will
820 @code{Completion_heads_engraver} only affects notes; it does not split
826 Examples: @inputfileref{input/@/regression,completion@/-heads@/.ly}.
830 Program reference: @internalsref{Completion_heads_engraver}.
835 @section Staff notation
837 @cindex Staff notation
839 This section describes music notation that occurs on staff level,
840 such as key signatures, clefs and time signatures.
849 * System start delimiters::
859 The clef indicates which lines of the staff correspond to which
860 pitches. The clef is set with the @code{\clef} command
862 @lilypond[quote,raggedright,fragment,verbatim]
863 { c''2 \clef alto g'2 }
873 @cindex mezzosoprano clef
874 @cindex baritone clef
875 @cindex varbaritone clef
878 Supported clefs finclude
880 @item treble, violin, G, G2
889 G clef on 1st line, so-called French violin clef
906 By adding @code{_8} or @code{^8} to the clef name, the clef is
907 transposed one octave down or up, respectively, and @code{_15} and
908 @code{^15} transposes by two octaves. The argument @var{clefname}
909 must be enclosed in quotes when it contains underscores or digits. For
912 @cindex choral tenor clef
913 @lilypond[quote,raggedright,verbatim,fragment,relative=1]
920 The command @code{\clef "treble_8"} is equivalent to setting @code{clefGlyph},
921 @code{clefPosition} (which controls the Y position of the clef),
922 @code{middleCPosition} and @code{clefOctavation}. A clef is printed
923 when any of these properties are changed. The following example shows
924 possibilities when setting properties manually.
926 @lilypond[quote,raggedright,verbatim]
928 \set Staff.clefGlyph = #"clefs.F"
929 \set Staff.clefPosition = #2
931 \set Staff.clefGlyph = #"clefs.G"
933 \set Staff.clefGlyph = #"clefs.C"
935 \set Staff.clefOctavation = #7
937 \set Staff.clefOctavation = #0
938 \set Staff.clefPosition = #0
942 \set Staff.middleCPosition = #4
950 Program reference: @internalsref{Clef}.
954 @subsection Key signature
956 @cindex Key signature
959 The key signature indicates the tonality in which a piece is played. It
960 is denoted by a set of alterations (flats or sharps) at the start of the
963 Setting or changing the key signature is done with the @code{\key}
967 @code{\key} @var{pitch} @var{type}
970 @cindex @code{\minor}
971 @cindex @code{\major}
972 @cindex @code{\minor}
973 @cindex @code{\ionian}
974 @cindex @code{\locrian}
975 @cindex @code{\aeolian}
976 @cindex @code{\mixolydian}
977 @cindex @code{\lydian}
978 @cindex @code{\phrygian}
979 @cindex @code{\dorian}
982 Here, @var{type} should be @code{\major} or @code{\minor} to get
983 @var{pitch}-major or @var{pitch}-minor, respectively. You may also
984 use the standard mode names (also called ``church modes''): @code{\ionian},
985 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
986 @code{\phrygian}, and @code{\dorian}.
988 This command sets the context property
989 @code{Staff.keySignature}. Non-standard key signatures
990 can be specified by setting this property directly.
992 Accidentals and key signatures often confuse new users, because
993 unaltered notes get natural signs depending on the key signature. For
994 more information, see @ref{More about pitches}.
999 A natural sign is printed to cancel any previous accidentals. This
1000 can be suppressed by setting the @code{Staff.printKeyCancellation}
1003 @lilypond[quote,fragment,raggedright,fragment,verbatim,relative=2]
1008 \set Staff.printKeyCancellation = ##f
1018 Program reference: @internalsref{KeyCancellation}, @internalsref{KeySignature}.
1021 @node Time signature
1022 @subsection Time signature
1024 @cindex Time signature
1026 @cindex @code{\time}
1028 Time signature indicates the metrum of a piece: a regular pattern of
1029 strong and weak beats. It is denoted by a fraction at the start of the
1032 The time signature is set with the @code{\time} command
1034 @lilypond[quote,raggedright,fragment,verbatim]
1035 \time 2/4 c'2 \time 3/4 c'2.
1040 The symbol that is printed can be customized with the @code{style}
1041 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1044 @lilypond[fragment,quote,raggedright,verbatim]
1047 \override Staff.TimeSignature #'style = #'()
1052 There are many more options for its layout. See @ref{Ancient time
1053 signatures} for more examples.
1055 @code{\time} sets the property @code{timeSignatureFraction},
1056 @code{beatLength} and @code{measureLength} in the @code{Timing}
1057 context, which is normally aliased to @internalsref{Score}. The
1058 property @code{measureLength} determines where bar lines should be
1059 inserted, and how automatic beams should be generated. Changing the
1060 value of @code{timeSignatureFraction} also causes the symbol to be
1063 More options are available through the Scheme function
1064 @code{set-time-signature}. In combination with the
1065 @internalsref{Measure_grouping_engraver}, it will create
1066 @internalsref{MeasureGrouping} signs. Such signs ease reading
1067 rhythmically complex modern music. In the following example, the 9/8
1068 measure is subdivided in 2, 2, 2 and 3. This is passed to
1069 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
1071 @lilypond[quote,raggedright,verbatim]
1074 #(set-time-signature 9 8 '(2 2 2 3))
1075 g8[ g] d[ d] g[ g] a8[( bes g]) |
1076 #(set-time-signature 5 8 '(3 2))
1082 \consists "Measure_grouping_engraver"
1090 Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_translator}.
1095 Automatic beaming does not use the measure grouping specified with
1096 @code{set-time-signature}.
1099 @node Partial measures
1100 @subsection Partial measures
1104 @cindex partial measure
1105 @cindex measure, partial
1106 @cindex shorten measures
1107 @cindex @code{\partial}
1109 Partial measures, such as an anacrusis or upbeat, are entered using the
1111 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1112 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1115 The syntax for this command is
1118 \partial @var{duration}
1121 This is internally translated into
1124 \set Timing.measurePosition = -@var{length of duration}
1127 The property @code{measurePosition} contains a rational number
1128 indicating how much of the measure has passed at this point.
1133 This command does not take into account grace notes at the start of
1134 the music. When a piece starts with graces notes in the pickup, then
1135 the @code{\partial} should follow the grace notes
1137 @lilypond[verbatim,quote,raggedright,relative,fragment]
1146 @subsection Bar lines
1150 @cindex measure lines
1153 Bar lines delimit measures, but are also used to indicate
1154 repeats. Normally they are inserted automatically. Line
1155 breaks may only happen on bar lines.
1157 Special types of bar lines can be forced with the @code{\bar} command
1159 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1163 The following bar types are available
1165 @lilypondfile[raggedright,quote]{bar-lines.ly}
1167 To allow a line break where there is no visible bar line, use
1174 This will insert an invisible bar line and allow line breaks at this
1177 In scores with many staves, a @code{\bar} command in one staff is
1178 automatically applied to all staves. The resulting bar lines are
1179 connected between different staves of a StaffGroup
1181 @lilypond[quote,raggedright,fragment,verbatim]
1183 \context StaffGroup <<
1189 \new Staff { \clef bass c4 g e g }
1191 \new Staff { \clef bass c2 c2 }
1195 @cindex @code{whichBar}
1196 @cindex @code{repeatCommands}
1197 @cindex @code{defaultBarType}
1199 The command @code{\bar }@var{bartype} is a short cut for doing
1200 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1201 is set to a string, a bar line of that type is created.
1203 A bar line is created whenever the @code{whichBar} property is set.
1204 At the start of a measure it is set to the contents of
1205 @code{Timing.defaultBarType}. The contents of @code{repeatCommands} are used
1206 to override default measure bars.
1208 You are encouraged to use @code{\repeat} for repetitions. See
1214 In this manual: @ref{Repeats}, @ref{System start delimiters}.
1216 Program reference: @internalsref{BarLine} (created at
1217 @internalsref{Staff} level), @internalsref{SpanBar} (across staves).
1219 Examples: @inputfileref{input/@/test,bar@/-lines@/.ly},
1222 @node Unmetered music
1223 @subsection Unmetered music
1226 @cindex @code{\cadenzaOn}
1227 @cindex @code{\cadenzaOff}
1229 Bar lines and bar numbers are calculated automatically. For unmetered
1230 music (cadenzas, for example), this is not desirable. To turn off
1231 automatic bar lines and bar numbers, use the commands @code{\cadenzaOn}
1232 and @code{\cadenzaOff}.
1234 @lilypond[verbatim,quote,raggedright,relative=2,fragment]
1246 LilyPond will only insert page breaks at a barline. Unless the unmetered
1247 music ends before the end of the staff line, you will need to insert
1255 to indicate where line breaks can occur.
1258 @node System start delimiters
1259 @subsection System start delimiters
1261 @cindex start of system
1262 @cindex Staff, multiple
1263 @cindex bracket, vertical
1264 @cindex brace, vertical
1267 @cindex staff, choir
1269 Many scores consist of more than one staff. These staves can be
1270 joined in four different ways
1273 @item The group is started with a brace at the left, and bar lines are
1274 connected. This is done with the @internalsref{GrandStaff} context.
1276 @lilypond[verbatim,raggedright,quote]
1284 @item The group is started with a bracket, and bar lines are connected.
1285 This is done with the
1286 @internalsref{StaffGroup} context
1288 @lilypond[verbatim,raggedright,quote]
1296 @item The group is started with a bracket, but bar lines are not
1297 connected. This is done with the @internalsref{ChoirStaff} context.
1299 @lilypond[verbatim,raggedright,quote]
1307 @item The group is started with a vertical line. Bar lines are not
1308 connected. This is the default for the score.
1310 @lilypond[verbatim,raggedright,quote]
1321 The bar lines at the start of each system are
1322 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1323 @internalsref{SystemStartBracket}. Only one of these types is created
1324 in every context, and that type is determined by the property
1325 @code{systemStartDelimiter}.
1329 @subsection Staff symbol
1331 @cindex adjusting staff symbol
1333 Notes, dynamic signs, etc., are grouped
1334 with a set of horizontal lines, called a staff (plural `staves'). In
1335 LilyPond, these lines are drawn using a separate layout object called
1338 The staff symbol may be tuned in the number, thickness and distance
1339 of lines, using properties. This is demonstrated in the example files
1340 @inputfileref{input/@/test,staff@/-lines@/.ly},
1341 @inputfileref{input/@/test,staff@/-size@/.ly}.
1343 In addition, staves may be started and stopped at will. This is done
1344 with @code{\startStaff} and @code{\stopStaff}.
1346 @lilypond[verbatim,relative=2,fragment]
1348 \override Staff.StaffSymbol #'line-count = 2
1349 \stopStaff \startStaff
1351 \revert Staff.StaffSymbol #'line-count
1352 \stopStaff \startStaff
1356 In combination with Frenched staves, this may be used to typeset ossia
1357 sections. An example is in @inputfileref{input/@/test@/,ossia.ly},
1362 @lilypondfile{ossia.ly}
1364 @cindex staff lines, setting number of
1365 @cindex staff lines, setting thickness of
1366 @cindex thickness of staff lines, setting
1367 @cindex number of staff lines, setting
1371 Program reference: @internalsref{StaffSymbol}.
1373 Examples: @inputfileref{input/@/test,staff@/-lines@/.ly},
1374 @inputfileref{input/@/test@/,ossia.ly},
1375 @inputfileref{input/@/test,staff@/-size@/.ly}.
1379 @node Connecting notes
1380 @section Connecting notes
1382 This section deals with notation that affects groups of notes.
1400 A tie connects two adjacent note heads of the same pitch. The tie in
1401 effect extends the length of a note. Ties should not be confused with
1402 slurs, which indicate articulation, or phrasing slurs, which indicate
1403 musical phrasing. A tie is entered using the tilde symbol `@code{~}'
1405 @lilypond[quote,raggedright,fragment,verbatim]
1406 e' ~ e' <c' e' g'> ~ <c' e' g'>
1409 When a tie is applied to a chord, all note heads whose pitches match
1410 are connected. When no note heads match, no ties will be created.
1412 A tie is just a way of extending a note duration, similar to the
1413 augmentation dot. The following example shows two ways of notating
1414 exactly the same concept
1416 @lilypond[quote,fragment,raggedright]
1417 \time 3/4 c'2. c'2 ~ c'4
1421 Ties are used either when the note crosses a bar line, or when dots
1422 cannot be used to denote the rhythm. When using ties, larger note
1423 values should be aligned to subdivisions of the measure, eg.
1425 @lilypond[fragment,quote,raggedright]
1427 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
1431 If you need to tie a lot of notes over bars, it may be easier to use
1432 automatic note splitting (see @ref{Automatic note splitting}). This
1433 mechanism automatically splits long notes, and ties them across bar
1439 Ties are sometimes used to write out arpeggios. In this case, two tied
1440 notes need not be consecutive. This can be achieved by setting the
1441 @code{tieWaitForNote} property to true. For example,
1443 @lilypond[fragment,verbatim,relative=1,raggedright]
1444 \set tieWaitForNote = ##t
1445 \grace { c16[~ e~ g]~ } <c, e g>4
1452 @cindex @code{\tieUp}
1454 @cindex @code{\tieDown}
1456 @cindex @code{\tieNeutral}
1458 @cindex @code{\tieDotted}
1460 @cindex @code{\tieDashed}
1462 @cindex @code{\tieSolid}
1468 In this manual: @ref{Automatic note splitting}.
1470 Program reference: @internalsref{Tie}.
1475 Switching staves when a tie is active will not produce a slanted tie.
1477 Formatting of ties is a difficult subject. The results are often not
1486 A slur indicates that notes are to be played bound or
1487 @emph{legato}. They are entered using parentheses
1489 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1490 f( g a) a8 b( a4 g2 f4)
1494 The direction of a slur can be specified with
1495 @code{\slur@emph{DIR}}, where @code{@emph{DIR}} is
1496 either @code{Up}, @code{Down}, or @code{Neutral} (automatically
1499 However, there is a convenient shorthand for forcing slur
1500 directions. By adding @code{_} or @code{^} before the opening
1501 parentheses, the direction is also set. For example,
1503 @lilypond[relative=2,raggedright,quote,verbatim,fragment]
1507 Only one slur can be printed at once. If you need to print a long
1508 slur over a few small slurs, please see @ref{Phrasing slurs}.
1513 Some composers write two slurs when they want legato chords. This can
1514 be achieved in LilyPond by setting @code{doubleSlurs},
1516 @lilypond[verbatim,raggedright,relative,fragment,quote]
1517 \set doubleSlurs = ##t
1518 <c e>4 ( <d f> <c e> <d f> )
1524 @cindex @code{\slurUp}
1526 @cindex @code{\slurDown}
1528 @cindex @code{\slurNeutral}
1529 @code{\slurNeutral},
1530 @cindex @code{\slurDashed}
1532 @cindex @code{\slurDotted}
1534 @cindex @code{\slurSolid}
1539 Program reference: @seeinternals{Slur}.
1542 @node Phrasing slurs
1543 @subsection Phrasing slurs
1545 @cindex phrasing slurs
1546 @cindex phrasing marks
1548 A phrasing slur (or phrasing mark) connects notes and is used to
1549 indicate a musical sentence. It is written using @code{\(} and @code{\)}
1552 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1553 \time 6/4 c'\( d( e) f( e) d\)
1556 Typographically, the phrasing slur behaves almost exactly like a
1557 normal slur. However, they are treated as different objects. A
1558 @code{\slurUp} will have no effect on a phrasing slur; instead, use
1559 @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1560 @code{\phrasingSlurNeutral}.
1562 You cannot have simultaneous phrasing slurs.
1567 @cindex @code{\phrasingSlurUp}
1568 @code{\phrasingSlurUp},
1569 @cindex @code{\phrasingSlurDown}
1570 @code{\phrasingSlurDown},
1571 @cindex @code{\phrasingSlurNeutral}
1572 @code{\phrasingSlurNeutral}.
1577 Program reference: @internalsref{PhrasingSlur}.
1580 @node Automatic beams
1581 @subsection Automatic beams
1583 LilyPond inserts beams automatically
1585 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1586 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1589 When these automatic decisions are not good enough, beaming can be
1590 entered explicitly. It is also possible to define beaming patterns
1591 that differ from the defaults. See @ref{Setting automatic beam behavior}
1594 Individual notes may be marked with @code{\noBeam} to prevent them
1597 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1598 \time 2/4 c8 c\noBeam c c
1604 Program reference: @internalsref{Beam}.
1608 @subsection Manual beams
1610 @cindex beams, manual
1614 In some cases it may be necessary to override the automatic beaming
1615 algorithm. For example, the autobeamer will not put beams over rests
1616 or bar lines. Such beams are specified manually by marking the begin
1617 and end point with @code{[} and @code{]}
1619 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1621 r4 r8[ g' a r8] r8 g[ | a] r8
1628 @cindex @code{stemLeftBeamCount}
1629 @cindex @code{stemRightBeamCount}
1631 Normally, beaming patterns within a beam are determined automatically.
1632 If necessary, the properties @code{stemLeftBeamCount} and
1633 @code{stemRightBeamCount} can be used to override the defaults. If
1634 either property is set, its value will be used only once, and then it
1637 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1642 \set stemLeftBeamCount = #1
1647 The property @code{subdivideBeams} can be set in order to subdivide
1648 all 16th or shorter beams at beat positions, as defined by the
1649 @code{beatLength} property.
1651 @lilypond[fragment,quote,relative=2,verbatim]
1653 \set subdivideBeams = ##t
1655 \set Score.beatLength = #(ly:make-moment 1 8)
1658 @cindex @code{subdivideBeams}
1660 Line breaks are normally forbidden when beams cross bar lines. This
1661 behavior can be changed by setting @code{allowBeamBreak}.
1663 @cindex @code{allowBeamBreak}
1664 @cindex beams and line breaks
1665 @cindex beams, kneed
1667 @cindex auto-knee-gap
1672 Kneed beams are inserted automatically when a large gap is detected
1673 between the note heads. This behavior can be tuned through the object.
1675 Automatically kneed cross-staff beams cannot be used together with
1676 hidden staves. See @ref{Hiding staves}.
1678 Beams do not avoid collisions with symbols around the notes, such as
1679 texts and accidentals.
1683 @subsection Grace notes
1685 @cindex @code{\grace}
1688 @cindex appoggiatura
1689 @cindex acciaccatura
1691 Grace notes are ornaments that are written out. The most common ones
1692 are acciaccatura, which should be played as very short. It is denoted
1693 by a slurred small note with a slashed stem. The appoggiatura is a
1694 grace note that takes a fixed fraction of the main note, and is
1695 denoted as a slurred note in small print without a slash. They
1696 are entered with the commands @code{\acciaccatura} and
1697 @code{\appoggiatura}, as demonstrated in the following example
1699 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
1700 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
1701 \acciaccatura { g16[ f] } e4
1704 Both are special forms of the @code{\grace} command. By prefixing this
1705 keyword to a music expression, a new one is formed, which will be
1706 printed in a smaller font and takes up no logical time in a measure.
1708 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
1710 \grace { c16[ d16] } c2 c4
1714 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
1715 @code{\grace} command does not start a slur.
1717 Internally, timing for grace notes is done using a second, `grace'
1718 timing. Every point in time consists of two rational numbers: one
1719 denotes the logical time, one denotes the grace timing. The above
1720 example is shown here with timing tuples
1722 @lilypond[quote,raggedright]
1725 c4 \grace c16 c4 \grace {
1728 \new Lyrics \lyricmode {
1729 \override LyricText #'font-family = #'typewriter
1733 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
1734 \markup { (\fraction 1 4 , 0 ) } 4
1736 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
1737 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
1739 \markup { ( \fraction 2 4 , 0 ) }
1744 The placement of grace notes is synchronized between different staves.
1745 In the following example, there are two sixteenth grace notes for
1746 every eighth grace note
1748 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
1749 << \new Staff { e4 \grace { c16[ d e f] } e4 }
1750 \new Staff { c4 \grace { g8[ b] } c4 } >>
1753 If you want to end a note with a grace, use the @code{\afterGrace}
1754 command. It takes two arguments: the main note, and the grace notes
1755 following the main note.
1757 @lilypond[raggedright, verbatim,relative=2,fragment]
1758 c1 \afterGrace d1 { c16[ d] } c4
1761 This will put the grace notes after a ``space'' lasting 3/4 of the
1762 length of the main note. The fraction 3/4 can be changed by setting
1763 @code{afterGraceFraction}, ie.
1766 afterGraceFraction = #(cons 7 8)
1770 will put the grace note at 7/8 of the main note.
1772 The same effect can be achieved manually by doing
1774 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1777 { s2 \grace { c16[ d] } } >>
1783 By adjusting the duration of the skip note (here it is a half-note),
1784 the space between the main-note and the grace is adjusted.
1786 A @code{\grace} section will introduce special typesetting settings,
1787 for example, to produce smaller type, and set directions. Hence, when
1788 introducing layout tweaks, they should be inside the grace section,
1790 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1802 The overrides should also be reverted inside the grace section.
1804 The layout of grace sections can be changed throughout the music using
1805 the function @code{add-grace-property}. The following example
1806 undefines the Stem direction for this grace, so stems do not always
1811 #(add-grace-property 'Voice 'Stem 'direction '())
1817 Another option is to change the variables @code{startGraceMusic},
1818 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
1819 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
1820 @code{stopAppoggiaturaMusic}. More information is in the file
1821 @file{ly/@/grace@/-init@/.ly}.
1826 Program reference: @internalsref{GraceMusic}.
1831 A score that starts with a @code{\grace} section needs an explicit
1832 @code{\context Voice} declaration, otherwise the main note and the grace
1833 note end up on different staves.
1835 Grace note synchronization can also lead to surprises. Staff notation,
1836 such as key signatures, bar lines, etc., are also synchronized. Take
1837 care when you mix staves with grace notes and staves without, for example,
1839 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
1840 << \new Staff { e4 \bar "|:" \grace c16 d4 }
1841 \new Staff { c4 \bar "|:" d4 } >>
1845 This can be remedied by inserting grace skips, for the above example
1848 \new Staff @{ c4 \bar "|:" \grace s16 d4 @}
1851 Grace sections should only be used within sequential music
1852 expressions. Nesting or juxtaposing grace sections is not supported,
1853 and might produce crashes or other errors.
1857 @node Expressive marks
1858 @section Expressive marks
1860 Expressive marks help musicians to bring more to the music than simple
1865 * Fingering instructions::
1875 @subsection Articulations
1877 @cindex Articulations
1881 A variety of symbols can appear above and below notes to indicate
1882 different characteristics of the performance. They are added to a note
1883 by adding a dash and the character signifying the
1884 articulation. They are demonstrated here
1886 @lilypondfile[quote,raggedright]{script-abbreviations.ly}
1888 The meanings of these shorthands can be changed. See
1889 @file{ly/@/script@/-init@/.ly} for examples.
1891 The script is automatically placed, but the direction can be forced as
1892 well. Like other pieces of LilyPond code, @code{_} will place them
1893 below the staff, and @code{^} will place them above.
1895 @lilypond[quote,raggedright,fragment,verbatim]
1899 Other symbols can be added using the syntax
1900 @var{note}@code{\}@var{name}. Again, they
1901 can be forced up or down using @code{^} and @code{_},
1904 @lilypond[quote,raggedright,verbatim,fragment,relative=2]
1905 c\fermata c^\fermata c_\fermata
1910 @cindex staccatissimo
1920 @cindex organ pedal marks
1929 @cindex prallmordent
1933 @cindex thumb marking
1938 Here is a chart showing all scripts available,
1940 @lilypondfile[raggedright,quote]{script-chart.ly}
1945 The vertical ordering of scripts is controlled with the
1946 @code{script-priority} property. The lower this number, the closer it
1947 will be put to the note. In this example, the
1948 @internalsref{TextScript} (the sharp symbol) first has the lowest
1949 priority, so it is put lowest in the first example. In the second, the
1950 prall trill (the @internalsref{Script}) has the lowest, so it is on the
1951 inside. When two objects have the same priority, the order in which
1952 they are entered decides which one comes first.
1954 @lilypond[verbatim,relative=3,raggedright,fragment,quote]
1955 \once \override TextScript #'script-priority = #-100
1956 a4^\prall^\markup { \sharp }
1958 \once \override Script #'script-priority = #-100
1959 a4^\prall^\markup { \sharp }
1965 Program reference: @internalsref{Script}.
1970 These signs appear in the printed output but have no effect on the
1971 MIDI rendering of the music.
1974 @node Fingering instructions
1975 @subsection Fingering instructions
1978 @cindex finger change
1980 Fingering instructions can be entered using
1982 @var{note}-@var{digit}
1984 For finger changes, use markup texts
1986 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
1988 c^\markup { \finger "2 - 3" }
1991 You can use the thumb-script to indicate that a note should be
1992 played with the thumb (e.g., in cello music)
1993 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
1994 <a_\thumb a'-3>8 <b_\thumb b'-3>
1997 Fingerings for chords can also be added to individual notes
1998 of the chord by adding them after the pitches
1999 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2000 < c-1 e-2 g-3 b-5 >4
2006 You may exercise greater control over fingering chords by
2007 setting @code{fingeringOrientations}
2009 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2010 \set fingeringOrientations = #'(left down)
2011 <c-1 es-2 g-4 bes-5 > 4
2012 \set fingeringOrientations = #'(up right down)
2013 <c-1 es-2 g-4 bes-5 > 4
2016 Using this feature, it is also possible to put fingering instructions
2017 very close to note heads in monophonic music,
2019 @lilypond[verbatim,raggedright,quote,fragment]
2020 \set fingeringOrientations = #'(right)
2027 Program reference: @internalsref{Fingering}.
2029 Examples: @inputfileref{input/@/regression,finger@/-chords@/.ly}.
2033 @subsection Dynamics
2044 @cindex @code{\ffff}
2053 Absolute dynamic marks are specified using a command after a note
2054 @code{c4\ff}. The available dynamic marks are @code{\ppp},
2055 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2056 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2057 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
2059 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2060 c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2061 c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
2068 A crescendo mark is started with @code{\<} and terminated with
2069 @code{\!} or an absolute dynamic. A decrescendo is started with
2070 @code{\>} and is also terminated with @code{\!} or an absolute
2071 dynamic. Because these marks are bound to notes, you must
2072 use spacer notes if multiple marks are needed during one note
2074 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2076 << f1 { s4 s4\< s4\! \> s4\! } >>
2078 This may give rise to very short hairpins. Use @code{minimum-length}
2079 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2083 \override Staff.Hairpin #'minimum-length = #5
2090 You can also use a text saying @emph{cresc.} instead of hairpins
2092 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
2103 You can also supply your own texts
2104 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2105 \set crescendoText = \markup { \italic "cresc. poco" }
2106 \set crescendoSpanner = #'dashed-line
2110 To create new dynamic marks or text that should be aligned
2111 with dynamics, see @ref{New dynamic marks}.
2116 @cindex @code{\dynamicUp}
2118 @cindex @code{\dynamicDown}
2119 @code{\dynamicDown},
2120 @cindex @code{\dynamicNeutral}
2121 @code{\dynamicNeutral}.
2126 Program reference: @internalsref{DynamicText}, @internalsref{Hairpin}.
2127 Vertical positioning of these symbols is handled by
2128 @internalsref{DynamicLineSpanner}.
2132 @subsection Breath marks
2134 Breath marks are entered using @code{\breathe}
2136 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2143 The glyph of the breath mark can be tuned by overriding the
2144 @code{text} property of the @code{BreathingSign} layout object with
2145 any markup text. For example,
2146 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2148 \override BreathingSign #'text
2149 = #(make-musicglyph-markup "scripts.rvarcomma")
2156 Program reference: @internalsref{BreathingSign}.
2158 Examples: @inputfileref{input/@/regression,breathing@/-sign@/.ly}.
2161 @node Running trills
2162 @subsection Running trills
2164 Long running trills are made with @code{\startTrillSpan} and
2165 @code{\stopTrillSpan},
2167 @lilypond[verbatim,raggedright,relative=2,quote,fragment]
2169 << { c1 \startTrillSpan }
2170 { s2. \grace { d16[\stopTrillSpan e] } } >>
2177 @code{\startTrillSpan},
2178 @cindex @code{\startTrillSpan}
2179 @code{\stopTrillSpan}.
2180 @cindex @code{\stopTrillSpan}
2185 Program reference: @internalsref{TrillSpanner}.
2189 @subsection Glissando
2192 @cindex @code{\glissando}
2194 A glissando is a smooth change in pitch. It is denoted by a line or a
2195 wavy line between two notes. It is requested by attaching
2196 @code{\glissando} to a note
2198 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
2200 \override Glissando #'style = #'zigzag
2207 Program reference: @internalsref{Glissando}.
2209 Example files: @file{input/@/regression/@/glissando@/.ly}.
2214 Printing text over the line (such as @emph{gliss.}) is not supported.
2218 @subsection Arpeggio
2221 @cindex broken chord
2222 @cindex @code{\arpeggio}
2224 You can specify an arpeggio sign (also known as broken chord) on a
2225 chord by attaching an @code{\arpeggio} to a chord
2227 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2231 A square bracket on the left indicates that the player should not
2232 arpeggiate the chord
2234 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2239 The direction of the arpeggio is sometimes denoted by adding an
2240 arrowhead to the wiggly line
2242 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2254 When an arpeggio crosses staves, you may attach an arpeggio to the chords
2255 in both staves and set
2256 @internalsref{PianoStaff}.@code{connectArpeggios}
2258 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2259 \context PianoStaff <<
2260 \set PianoStaff.connectArpeggios = ##t
2261 \new Staff { <c' e g c>\arpeggio }
2262 \new Staff { \clef bass <c,, e g>\arpeggio }
2270 @cindex @code{\arpeggioUp}
2272 @cindex @code{\arpeggioDown}
2273 @code{\arpeggioDown},
2274 @cindex @code{\arpeggioNeutral}
2275 @code{\arpeggioNeutral},
2276 @cindex @code{\arpeggioBracket}
2277 @code{\arpeggioBracket}.
2282 Notation manual: @ref{Ties}, for writing out arpeggios.
2284 Program reference: @internalsref{Arpeggio}.
2289 It is not possible to mix connected arpeggios and unconnected
2290 arpeggios in one @internalsref{PianoStaff} at the same point in time.
2297 Polyphony in music refers to having more than one voice occuring in
2298 a piece of music. Polyphony in LilyPond refers to having more than
2299 one voice on the same staff.
2303 * Explicitly instantiating voices::
2304 * Collision Resolution::
2308 @node Basic polyphony
2309 @subsection Basic polyphony
2313 The easiest way to enter fragments with more than one voice on a staff
2314 is to enter each voice as a sequence (with @code{@{...@}}), and combine
2315 them simultaneously, separating the voices with @code{\\}
2319 @lilypond[quote,verbatim,fragment]
2320 \new Staff \relative c' {
2323 { g4 f e | d2 e2 } \\
2324 { r8 e4 d c8 ~ | c b16 a b8 g ~ g2 } \\
2330 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
2331 voices are sometimes called ``layers'' in other notation packages}
2333 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
2334 each of these contexts, vertical direction of slurs, stems, etc., is set
2337 These voices are all seperate from the voice that contains the notes just
2338 outside the @code{<< \\ >>} construct. This should be noted when making
2339 changes at the voice level. This also means that slurs and ties cannot go
2340 into or out of a @code{<< \\ >>} construct. Conversely, parallel voices
2341 from separate @code{<< \\ >>} constructs on the same staff are the the
2342 same voice. Here is the same example, with different noteheads for each
2343 voice. Note that the change to the note-head style in the main voice does not affect
2344 the inside of the @code{<< \\ >>} constructs. Also, the change to the second
2345 voice in the first @code{<< \\ >>} construct is effective in the second
2346 @code{<< \\ >>}, and the voice is tied accross the two constructs.
2348 @lilypond[quote,verbatim,fragment]
2349 \new Staff \relative c' {
2350 \override NoteHead #'style = #'cross
2354 { \override NoteHead #'style = #'triangle
2359 { c8 b16 a b8 g ~ g2 } \\
2360 { \override NoteHead #'style = #'slash s4 b4 c2 }
2365 Polyphony does not change the relationship of notes within a
2366 @code{\relative @{ @}} block. Each note is calculated relative
2367 to the note immediately preceding it.
2370 \relative @{ noteA << noteB \\ noteC >> noteD @}
2373 @code{noteC} is relative to @code{noteB}, not @code{noteA};
2374 @code{noteD} is relative to @code{noteC}, not @code{noteB} or
2377 @node Explicitly instantiating voices
2378 @subsection Explicitly instantiating voices
2380 @internalsref{Voice} contexts can also also be instantiated manually
2381 inside a @code{<< >>} block to create polyphonic music, using
2382 @code{\voiceOne}, up to @code{\voiceFour} to assign stem directions
2383 and a horizontal shift for each part.
2387 << \upper \\ \lower >>
2395 \context Voice = "1" @{ \voiceOne \upper @}
2396 \context Voice = "2" @{ \voiceTwo \lower @}
2400 The @code{\voiceXXX} commands set the direction of stems, slurs, ties,
2401 articulations, text annotations, augmentation dots of dotted
2402 notes, and fingerings. @code{\voiceOne} and @code{\voiceThree} make
2403 these objects point upwards, while @code{\voiceTwo} and @code{\voiceFour}
2404 make them point downwards.
2405 The command @code{\oneVoice} will revert back to the normal setting.
2407 An expression that appears directly inside a @code{<< >>} belongs to
2408 the main voice. This is useful when extra voices appear while the main
2409 voice is playing. Here is a more correct rendition of the example from
2410 the previous section. The crossed noteheads demonstrate that the main
2411 melody is now in a single voice context.
2413 @lilypond[quote,raggedright,verbatim]
2414 \new Staff \relative c' {
2415 \override NoteHead #'style = #'cross
2420 \context Voice="1" { \voiceTwo
2421 r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
2424 \new Voice { \voiceThree
2433 The correct definition of the voices allows the melody to be slurred.
2434 @lilypond[quote,raggedright,verbatim]
2435 \new Staff \relative c' {
2440 \context Voice="1" { \voiceTwo
2441 r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
2444 \new Voice { \voiceThree
2453 Avoiding the @code{\\} seperator also allows nesting polyphony
2454 constructs, which in some case might be a more natural way to typeset
2457 @lilypond[quote,raggedright,verbatim]
2458 \new Staff \relative c' {
2463 \context Voice="1" { \voiceTwo
2466 {c8 b16 a b8 g ~ g2}
2467 \new Voice { \voiceThree
2480 @node Collision Resolution
2481 @subsection Collision Resolution
2483 Normally, note heads with a different number of dots are not merged, but
2484 when the object property @code{merge-differently-dotted} is set in
2485 the @internalsref{NoteCollision} object, they are merged
2486 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
2489 \override Staff.NoteCollision
2490 #'merge-differently-dotted = ##t
2492 } \\ { g8.[ f16] g8.[ f16] } >>
2495 Similarly, you can merge half note heads with eighth notes, by setting
2496 @code{merge-differently-headed}
2497 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
2500 \override Staff.NoteCollision
2501 #'merge-differently-headed = ##t
2502 c8 c4. } \\ { c2 c2 } >>
2505 LilyPond also vertically shifts rests that are opposite of a stem,
2508 @lilypond[quote,raggedright,fragment,verbatim]
2509 \context Voice << c''4 \\ r4 >>
2515 @cindex @code{\oneVoice}
2517 @cindex @code{\voiceOne}
2519 @cindex @code{\voiceTwo}
2521 @cindex @code{\voiceThree}
2523 @cindex @code{\voiceFour}
2526 @cindex @code{\shiftOn}
2528 @cindex @code{\shiftOnn}
2530 @cindex @code{\shiftOnnn}
2532 @cindex @code{\shiftOff}
2533 @code{\shiftOff}: these commands specify in what chords of the current
2534 voice should be shifted. The outer voices (normally: voice one and
2535 two) have @code{\shiftOff}, while the inner voices (three and four)
2536 have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define
2537 further shift levels.
2539 When LilyPond cannot cope, the @code{force-hshift}
2540 property of the @internalsref{NoteColumn} object and pitched rests can
2541 be used to override typesetting decisions.
2543 @lilypond[quote,verbatim,raggedright]
2550 \once \override NoteColumn #'force-hshift = #1.7
2558 Program reference: the objects responsible for resolving collisions are
2559 @internalsref{NoteCollision} and @internalsref{RestCollision}.
2562 @inputfileref{input/@/regression,collision@/-dots@/.ly},
2563 @inputfileref{input/@/regression,collision@/-head-chords@/.ly},
2564 @inputfileref{input/@/regression,collision@/-heads@/.ly},
2565 @inputfileref{input/@/regression,collision@/-mesh@/.ly}, and
2566 @inputfileref{input/@/regression,collisions@/.ly}.
2571 When using @code{merge-differently-headed} with an upstem eighth or a
2572 shorter note, and a downstem half note, the eighth note gets the wrong
2575 There is no support for clusters where the same note occurs with
2576 different accidentals in the same chord. In this case, it is
2577 recommended to use enharmonic transcription, or to use special cluster
2578 notation (see @ref{Clusters}).
2585 Repetition is a central concept in music, and multiple notations exist
2591 * Repeats and MIDI::
2592 * Manual repeat commands::
2594 * Tremolo subdivisions::
2600 @subsection Repeat types
2603 @cindex @code{\repeat}
2605 The following types of repetition are supported
2609 Repeated music is fully written (played) out. This is useful when
2610 entering repetitious music. This is the only kind of repeat that
2611 is included in MIDI output.
2614 Repeats are not written out, but alternative endings (volte) are
2615 printed, left to right with brackets. This is the standard notation
2616 for repeats with alternatives. These are not played in MIDI output by default.
2620 Alternative endings are written stacked. This has limited use but may be
2621 used to typeset two lines of lyrics in songs with repeats, see
2622 @inputfileref{input,star-spangled-banner@/.ly}.
2626 Make tremolo beams. These are not played in MIDI output by default.
2629 Make beat or measure repeats. These look like percent signs. These
2630 are not played in MIDI output by default. Percent repeats must be
2631 declared within a Voice context.
2637 @subsection Repeat syntax
2639 LilyPond has one syntactic construct for specifying different types of
2640 repeats. The syntax is
2643 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2646 If you have alternative endings, you may add
2647 @cindex @code{\alternative}
2658 where each @var{alternative} is a music expression. If you do not
2659 give enough alternatives for all of the repeats, the first alternative
2660 is assumed to be played more than once.
2662 Standard repeats are used like this
2663 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2665 \repeat volta 2 { c4 d e f }
2666 \repeat volta 2 { f e d c }
2669 With alternative endings
2670 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2672 \repeat volta 2 {c4 d e f}
2673 \alternative { {d2 d} {f f,} }
2676 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2679 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2680 \alternative { { g4 g g } { a | a a a a | b2. } }
2684 It is possible to shorten volta brackets
2685 by setting @code{voltaSpannerDuration}. In the next example, the
2686 bracket only lasts one measure, which is a duration of 3/4.
2688 @lilypond[verbatim,raggedright,quote]
2692 \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4)
2693 \repeat "volta" 5 { d d d }
2694 \alternative { { e e e f f f }
2704 Brackets for the repeat are normally only printed over the topmost
2705 staff. This can be adjusted by setting the @code{voltaOnThisStaff}
2706 property; see @inputfileref{input/@/regression,volta@/-multi@/-staff@/.ly}.
2711 @cindex repeat, ambiguous
2713 A nested repeat like
2722 is ambiguous, since it is is not clear to which @code{\repeat} the
2723 @code{\alternative} belongs. This ambiguity is resolved by always
2724 having the @code{\alternative} belong to the inner @code{\repeat}.
2725 For clarity, it is advisable to use braces in such situations.
2727 Timing information is not remembered at the start of an alternative,
2728 so after a repeat timing information must be reset by hand, for
2729 example by setting @code{Score.measurePosition} or entering
2730 @code{\partial}. Similarly, slurs or ties are also not repeated.
2733 @node Repeats and MIDI
2734 @subsection Repeats and MIDI
2736 @cindex expanding repeats
2737 @cindex @code{\unfoldRepeats}
2739 With a little bit of tweaking, all types of repeats can be present
2740 in the MIDI output. This is achieved by applying the
2741 @code{\unfoldRepeats} music function. This functions changes all
2742 repeats to unfold repeats.
2744 @lilypond[quote,verbatim,fragment,linewidth=8.0\cm]
2746 \repeat tremolo 8 {c'32 e' }
2747 \repeat percent 2 { c''8 d'' }
2748 \repeat volta 2 {c'4 d' e' f'}
2757 When creating a score file using @code{\unfoldRepeats} for midi, then
2758 it is necessary to make two @code{\score} blocks. One for MIDI (with
2759 unfolded repeats) and one for notation (with volta, tremolo, and
2760 percent repeats). For example,
2768 \unfoldRepeats @var{..music..}
2774 @node Manual repeat commands
2775 @subsection Manual repeat commands
2777 @cindex @code{repeatCommands}
2779 The property @code{repeatCommands} can be used to control the layout of
2780 repeats. Its value is a Scheme list of repeat commands.
2783 @item @code{start-repeat}
2784 Print a @code{|:} bar line.
2786 @item @code{end-repeat}
2787 Print a @code{:|} bar line.
2789 @item @code{(volta @var{text})}
2790 Print a volta bracket saying @var{text}: The text can be specified as
2791 a text string or as a markup text, see @ref{Text markup}. Do not
2792 forget to change the font, as the default number font does not contain
2793 alphabetic characters;
2795 @item @code{(volta #f)}
2796 Stop a running volta bracket.
2799 @lilypond[quote,raggedright,verbatim,fragment,relative=2]
2801 \set Score.repeatCommands = #'((volta "93") end-repeat)
2803 \set Score.repeatCommands = #'((volta #f))
2810 Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2811 @internalsref{VoltaRepeatedMusic},
2812 @internalsref{UnfoldedRepeatedMusic}, and
2813 @internalsref{FoldedRepeatedMusic}.
2816 @node Tremolo repeats
2817 @subsection Tremolo repeats
2819 @cindex tremolo beams
2821 To place tremolo marks between notes, use @code{\repeat} with tremolo
2823 @lilypond[quote,verbatim,raggedright]
2824 \new Voice \relative c' {
2825 \repeat "tremolo" 8 { c16 d16 }
2826 \repeat "tremolo" 4 { c16 d16 }
2827 \repeat "tremolo" 2 { c16 d16 }
2831 Tremolo marks can also be put on a single note. In this case, the
2832 note should not be surrounded by braces.
2833 @lilypond[quote,verbatim,raggedright]
2834 \repeat "tremolo" 4 c'16
2837 Similar output is obtained using the tremolo subdivision, described in
2838 @ref{Tremolo subdivisions}.
2843 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2845 Program reference: @internalsref{Beam}, @internalsref{StemTremolo}.
2847 Example files: @inputfileref{input/@/regression,chord@/-tremolo@/.ly},
2848 @inputfileref{input/@/regression,stem@/-tremolo@/.ly}.
2851 @node Tremolo subdivisions
2852 @subsection Tremolo subdivisions
2854 @cindex tremolo marks
2855 @cindex @code{tremoloFlags}
2857 Tremolo marks can be printed on a single note by adding
2858 `@code{:}[@var{number}]' after the note. The number indicates the
2859 duration of the subdivision, and it must be at least 8. A
2860 @var{length} value of 8 gives one line across the note stem. If the
2861 length is omitted, the last value (stored in @code{tremoloFlags}) is
2864 @lilypond[quote,raggedright,verbatim,fragment]
2865 c'2:8 c':32 | c': c': |
2871 Tremolos entered in this way do not carry over into the MIDI output.
2876 In this manual: @ref{Tremolo repeats}.
2878 Elsewhere: @internalsref{StemTremolo}.
2881 @node Measure repeats
2882 @subsection Measure repeats
2884 @cindex percent repeats
2885 @cindex measure repeats
2887 In the @code{percent} style, a note pattern can be repeated. It is
2888 printed once, and then the pattern is replaced with a special sign.
2889 Patterns of one and two measures are replaced by percent-like signs,
2890 patterns that divide the measure length are replaced by slashes.
2891 Percent repeats must be declared within a @code{Voice} context.
2893 @lilypond[quote,verbatim,raggedright]
2894 \new Voice \relative c' {
2895 \repeat "percent" 4 { c4 }
2896 \repeat "percent" 2 { c2 es2 f4 fis4 g4 c4 }
2903 Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2904 @internalsref{PercentRepeatedMusic}, and
2905 @internalsref{DoublePercentRepeat}.