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
9 @chapter Basic notation
11 This chapter explains how to use all basic notation features.
15 * Easier music entry::
29 This section is about basic notation elements like notes, rests, and
30 related constructs, such as stems, tuplets and ties.
35 * Cautionary accidentals::
51 A note is printed by specifying its pitch and then its duration,
53 @lilypond[quote,verbatim,raggedright,fragment]
62 @cindex Note specification
64 @cindex entering notes
66 The most common syntax for pitch entry is used for standard notes and
67 @code{\chordmode} modes. In these modes, pitches may be designated by
68 names. The notes are specified by the letters @code{a} through
69 @code{g}. The octave is formed with notes ranging from @code{c}
70 to @code{b}. The pitch @code{c} is an octave below middle C and the
71 letters span the octave above that C
73 @lilypond[quote,fragment,verbatim]
75 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
81 The optional octave specification takes the form of a series of
82 single quote (`@code{'}') characters or a series of comma
83 (`@code{,}') characters. Each @code{'} raises the pitch by one
84 octave; each @code{,} lowers the pitch by an octave
86 @lilypond[quote,raggedright,fragment,verbatim]
87 c' c'' es' g' as' gisis' ais'
90 @cindex note names, Dutch
92 A sharp is formed by adding @code{-is} to the end of a pitch name and
93 a flat is formed by adding @code{-es}. Double sharps and double flats
94 are obtained by adding @code{-isis} or @code{-eses}. These
95 names are the Dutch note names. In Dutch, @code{aes} is contracted to
96 @code{as}, but both forms are accepted. Similarly, both
97 @code{es} and @code{ees} are accepted
99 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
107 In accordance with standard typsetting rules, a natural sign is printed
108 before a sharp or flat if a previous accidental needs to be
109 cancelled. To change this behaviour, use
110 @code{\set Staff.extraNatural = ##f}
112 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
114 \set Staff.extraNatural = ##f
118 There are predefined sets of note names for various other languages.
119 To use them, include the language specific init file. For
120 example: @code{\include "english.ly"}. The available language files
121 and the note names they define are
126 Note Names sharp flat
127 nederlands.ly c d e f g a bes b -is -es
128 english.ly c d e f g a bf b -s/-sharp -f/-flat
130 deutsch.ly c d e f g a b h -is -es
131 norsk.ly c d e f g a b h -iss/-is -ess/-es
132 svenska.ly c d e f g a b h -iss -ess
133 italiano.ly do re mi fa sol la sib si -d -b
134 catalan.ly do re mi fa sol la sib si -d/-s -b
135 espanol.ly do re mi fa sol la sib si -s -b
141 Program reference: @internalsref{NoteEvent},
142 @internalsref{LedgerLineSpanner}, and @internalsref{NoteHead}.
146 @node Cautionary accidentals
147 @subsection Cautionary accidentals
149 Normally accidentals are printed automatically, but you may also
150 print them manually. A reminder accidental
151 @cindex reminder accidental
153 can be forced by adding an exclamation mark @code{!}
154 after the pitch. A cautionary accidental
155 @cindex cautionary accidental
156 @cindex parenthesized accidental
158 (i.e., an accidental within parentheses) can be obtained by adding the
159 question mark `@code{?}' after the pitch.
161 @lilypond[quote,raggedright,fragment,verbatim]
162 cis' cis' cis'! cis'?
168 The automatic production of accidentals can be tuned in many
169 ways. For more information, refer to @ref{Automatic accidentals}.
174 @subsection Micro tones
176 Half-flats and half-sharps are formed by adding @code{-eh} and
177 @code{-ih}; the following is a series of Cs with increasing pitches
179 @cindex quarter tones
180 @cindex semi-flats, semi-sharps
182 @lilypond[verbatim,raggedright,quote,relative=2,fragment]
183 { ceseh ceh cih cisih }
186 Micro tones are also exported to the MIDI file
191 There are no generally accepted standards for denoting three quarter
192 flats, so LilyPond's symbol does not conform to any standard.
198 A chord is formed by a enclosing a set of pitches in @code{<} and
199 @code{>}. A chord may be followed by a duration, and a set of
200 articulations, just like simple notes
202 @lilypond[verbatim,raggedright,fragment,quote,relative=1]
206 For more information about chords, see @ref{Chord names}.
217 Rests are entered like notes, with the note name @code{r}
219 @lilypond[fragment,quote,raggedright,verbatim]
223 Whole bar rests, centered in middle of the bar,
224 must be done with multi-measure rests. They are discussed in
225 @ref{Multi measure rests}.
228 A rest's vertical position may be explicitly specified by entering a
229 note with the @code{\rest} keyword appended, the rest will be placed at
230 the note's place. This makes manual formatting in polyphonic music
231 easier. Automatic rest collision formatting will leave these rests
234 @lilypond[fragment,quote,raggedright,verbatim]
240 Program reference: @internalsref{RestEvent}, and @internalsref{Rest}.
247 @cindex Invisible rest
252 An invisible rest (also called a `skip') can be entered like a note
253 with note name `@code{s}' or with @code{\skip @var{duration}}
255 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
256 a4 a4 s4 a4 \skip 1 a4
259 The @code{s} syntax is only available in note mode and chord mode. In
260 other situations, for example, when entering lyrics, you should use
261 the @code{\skip} command
263 @lilypond[quote,raggedright,verbatim]
266 \new Lyrics \lyricmode { \skip 2 bla1 }
270 The skip command is merely an empty musical placeholder. It does not
271 produce any output, not even transparent output.
273 The @code{s} skip command does create @internalsref{Staff} and
274 @internalsref{Voice} when necessary, similar to note and rest
275 commands. For example, the following results in an empty staff.
277 @lilypond[quote,raggedright,verbatim]
281 The fragment @code{@{ \skip 4 @} } would produce an empty page.
285 Program reference: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
290 @subsection Durations
294 @cindex @code{\longa}
295 @cindex @code{\breve}
296 @cindex @code{\maxima}
299 In Note, Chord, and Lyrics mode, durations are designated by numbers and
300 dots: durations are entered as their reciprocal values. For example, a
301 quarter note is entered using a @code{4} (since it is a 1/4 note), while
302 a half note is entered using a @code{2} (since it is a 1/2 note). For
303 notes longer than a whole you must use the variables @code{\longa} and
308 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
310 r1 r2 r4 r8 r16 r32 r64 r64
316 a\breve*1/2 \autoBeamOff
317 a1 a2 a4 a8 a16 a32 a64 a64
320 r\longa*1/4 r\breve *1/2
321 r1 r2 r4 r8 r16 r32 r64 r64
327 \remove "Clef_engraver"
328 \override StaffSymbol #'transparent = ##t
329 \override TimeSignature #'transparent = ##t
330 \override BarLine #'transparent = ##t
331 \consists "Pitch_squash_engraver"
337 If the duration is omitted then it is set to the previously entered
338 duration. The default for the first note is a quarter note.
340 @lilypond[quote,raggedright,verbatim,fragment]
341 { a a a2 a a4 a a1 a }
346 @node Augmentation dots
347 @subsection Augmentation dots
350 To obtain dotted note lenghts, simply add a dot (`@code{.}') to
351 the number. Double-dotted notes are produced in a similar way.
353 @lilypond[quote,raggedright,fragment,verbatim]
354 a'4 b' c''4. b'8 a'4. b'4.. c''8.
359 Dots are normally moved up to avoid staff lines, except in polyphonic
360 situations. The following commands may be used to force a particular
363 @cindex @code{\dotsUp}
365 @cindex @code{\dotsDown}
367 @cindex @code{\dotsNeutral}
372 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
380 @cindex @code{\times}
382 Tuplets are made out of a music expression by multiplying all durations
386 \times @var{fraction} @var{musicexpr}
390 The duration of @var{musicexpr} will be multiplied by the fraction.
391 The fraction's denominator will be printed over the notes, optionally
392 with a bracket. The most common tuplet is the triplet in which 3
393 notes have the length of 2, so the notes are 2/3 of their written
396 @lilypond[quote,raggedright,fragment,verbatim]
397 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
400 The property @code{tupletSpannerDuration} specifies how long each
401 bracket should last. With this, you can make lots of tuplets while
402 typing @code{\times} only once, thus saving lots of typing. In the next
403 example, there are two triplets shown, while @code{\times} was only
406 @lilypond[quote,fragment,relative=1,raggedright,verbatim]
407 \set tupletSpannerDuration = #(ly:make-moment 1 4)
408 \times 2/3 { c'8 c c c c c }
411 The format of the number is determined by the property
412 @code{tupletNumberFormatFunction}. The default prints only the
413 denominator, but if it is set to the Scheme function
414 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
417 @cindex @code{tupletNumberFormatFunction}
418 @cindex tuplet formatting
422 @cindex @code{\tupletUp}
424 @cindex @code{\tupletDown}
426 @cindex @code{\tupletNeutral}
427 @code{\tupletNeutral}.
431 User manual: @ref{Changing context properties on the fly} for the
435 Program reference: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
437 Examples: @inputfileref{input/@/regression,tuplet@/-nest@/.ly}.
441 Nested tuplets are not formatted automatically. In this case, outer
442 tuplet brackets should be moved manually, which is demonstrated in
443 @inputfileref{input/@/regression,tuplet@/-nest@/.ly}.
446 @node Scaling durations
447 @subsection Scaling durations
449 You can alter the length of duration by a fraction @var{N/M}
450 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
451 will not affect the appearance of the notes or rests produced.
453 In the following example, the first three notes take up exactly two
454 beats, but no triplet bracket is printed.
455 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
457 a4*2/3 gis4*2/3 a4*2/3
465 This manual: @ref{Tuplets}
468 @node Easier music entry
469 @section Easier music entry
472 This section deals with tricks and features of the input language that
473 were added solely to help entering music and finding and correcting
474 mistakes. There are also external tools that make debugging easier.
475 See @ref{Point and click} for more information.
477 It is also possible to enter and edit music using other programs, such as
478 GUI interfaces or MIDI sequencers. Refer to the LilyPond
479 website for more information.
486 * Skipping corrected music::
487 * Automatic note splitting::
493 @node Relative octaves
494 @subsection Relative octaves
496 @cindex relative octave specification
498 Octaves are specified by adding @code{'} and @code{,} to pitch names.
499 When you copy existing music, it is easy to accidentally put a pitch
500 in the wrong octave and hard to find such an error. The relative
501 octave mode prevents these errors by making the mistakes much
502 larger: a single error puts the rest of the piece off by one octave
504 @cindex @code{\relative}
506 \relative @var{startpitch} @var{musicexpr}
513 \relative @var{musicexpr}
516 The octave of notes that appear in @var{musicexpr} are calculated as
517 follows: if no octave changing marks are used, the basic interval
518 between this and the last note is always taken to be a fourth or
519 less. This distance is determined without regarding alterations; a
520 @code{fisis} following a @code{ceses} will be put above the
521 @code{ceses}. In other words, a doubly-augmented fourth is considered
522 a smaller interval than a diminshed fifth, even though the fourth is
523 seven semitones while the fifth is only six semitones.
525 The octave changing marks @code{'} and @code{,} can be added to raise
526 or lower the pitch by an extra octave. Upon entering relative mode,
527 an absolute starting pitch can be specified that will act as the
528 predecessor of the first note of @var{musicexpr}. If no starting pitch
529 is specified, then middle C is used as a start.
531 Here is the relative mode shown in action
532 @lilypond[quote,fragment,raggedright,verbatim]
538 Octave changing marks are used for intervals greater than a fourth
539 @lilypond[quote,raggedright,fragment,verbatim]
545 If the preceding item is a chord, the first note of the chord is used
546 to determine the first note of the next chord
548 @lilypond[quote,raggedright,fragment,verbatim]
556 The pitch after the @code{\relative} contains a note name.
559 The relative conversion will not affect @code{\transpose},
560 @code{\chordmode} or @code{\relative} sections in its argument. To use
561 relative within transposed music, an additional @code{\relative} must
562 be placed inside @code{\transpose}.
565 @subsection Octave check
568 Octave checks make octave errors easier to correct: a note may be
569 followed by @code{=}@var{quotes} which indicates what its absolute
570 octave should be. In the following example,
572 \relative c'' @{ c='' b=' d,='' @}
576 @c take care with @code, adds confusing quotes.
577 the @code{d} will generate a warning, because a @code{d''} is expected
578 (because @code{b'} to @code{d''} is only a third), but a @code{d}' is
579 found. In the output, the octave is corrected to be a @code{d''} and
580 the next note is calculated relative to @code{d''} instead of @code{d'}.
584 There is also a syntax that is separate from the notes. The syntax
590 This checks that @var{pitch} (without quotes) yields @var{pitch} (with
591 quotes) in \relative mode. If not, a warning is printed, and the
594 In the example below, the first check passes without incident, since
595 the @code{e} (in relative mode) is within a fifth of @code{a'}. However,
596 the second check produces a warning, since the @code{e} is not within
597 a fifth of @code{b'}. The warning message is printed, and the octave
598 is adjusted so that the following notes are in the correct octave
610 The octave of a note following an octave check is determined with
611 respect to the note preceding it. In the next fragment, the last note
612 is a @code{a'}, above middle C. That means that the @code{\octave}
613 check passes successfully, so the check could be deleted without changing
614 the output of the piece.
616 @lilypond[quote,raggedright,verbatim,fragment]
625 @subsection Bar check
629 @cindex @code{barCheckSynchronize}
632 Bar checks help detect errors in the durations. A bar check is
633 entered using the bar symbol, `@code{|}'. Whenever it is encountered
634 during interpretation, it should fall on a measure boundary. If it
635 does not, a warning is printed. In the next example, the second bar
636 check will signal an error
638 \time 3/4 c2 e4 | g2 |
641 Bar checks can also be used in lyrics, for example
646 Twin -- kle | Twin -- kle
651 @cindex @code{skipTypesetting}
653 Failed bar checks are caused by entering incorrect
654 durations. Incorrect durations often completely garble up the score,
655 especially if the score is polyphonic, so a good place to start correcting
656 input is by scanning for failed bar checks and incorrect durations. To
657 speed up this process, the @code{skipTypesetting} feature may be
658 used. It is described in the next section.
661 @cindex @code{pipeSymbol}
663 It is also possible to redefine the meaning of @code{|}. This is done
664 by assigning a music expression to @code{pipeSymbol},
666 @lilypond[quote,raggedright,verbatim]
667 pipeSymbol = \bar "||"
673 @node Skipping corrected music
674 @subsection Skipping corrected music
676 The property @code{Score.skipTypesetting} can be used to switch on and
677 off typesetting completely during the interpretation phase. When
678 typesetting is switched off, the music is processed much more
679 quickly. This can be used to skip over the parts of a score that
680 have already been checked for errors
682 @lilypond[quote,fragment,raggedright,verbatim]
685 \set Score.skipTypesetting = ##t
687 \set Score.skipTypesetting = ##f
691 In polyphonic music, @code{Score.skipTypesetting} will affect all
692 voices and staves, saving even more time.
694 @node Automatic note splitting
695 @subsection Automatic note splitting
697 Long notes can be converted automatically to tied notes. This is done
698 by replacing the @internalsref{Note_heads_engraver} by the
699 @internalsref{Completion_heads_engraver}.
700 In the following examples, notes crossing the bar line are split and tied.
703 @lilypond[quote,fragment,verbatim,relative=1,linewidth=12\cm]
705 \remove "Note_heads_engraver"
706 \consists "Completion_heads_engraver"
708 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
712 This engraver splits all running notes at the bar line, and inserts
713 ties. One of its uses is to debug complex scores: if the measures are
714 not entirely filled, then the ties exactly show how much each measure
719 Not all durations (especially those containing tuplets) can be
720 represented exactly with normal notes and dots, but the engraver will
723 @code{Completion_heads_engraver} only affects notes; it does not split
729 Examples: @inputfileref{input/@/regression,completion@/-heads@/.ly}.
733 Program reference: @internalsref{Completion_heads_engraver}.
739 @section Staff notation
741 This section describes music notation that occurs on staff level,
742 such as key signatures, clefs and time signatures.
744 @cindex Staff notation
754 * System start delimiters::
759 @subsection Staff symbol
761 @cindex adjusting staff symbol
763 Notes, dynamic signs, etc., are grouped
764 with a set of horizontal lines, into a staff (plural `staves'). In our
765 system, these lines are drawn using a separate layout object called
768 The staff symbol may be tuned in the number, thickness and distannce
769 of lines, using properties. This is demonstrated in the example files
770 @inputfileref{input/@/test,staff@/-lines@/.ly},
771 @inputfileref{input/@/test,staff@/-size@/.ly}.
773 In addition, staves may be started and stopped at will. This is done
774 with @code{\startStaff} and @code{\stopStaff}.
776 @lilypond[verbatim,relative=2,fragment]
778 \override Staff.StaffSymbol #'line-count = 2
779 \stopStaff \startStaff
781 \revert Staff.StaffSymbol #'line-count
782 \stopStaff \startStaff
786 In combination with Frenched staves, this may be used to typeset ossia
787 sections. An example is in @inputfileref{input/@/test@/,ossia.ly},
792 @lilypondfile{ossia.ly}
794 @cindex staff lines, setting number of
795 @cindex staff lines, setting thickness of
796 @cindex thickness of staff lines, setting
797 @cindex number of staff lines, setting
801 Program reference: @internalsref{StaffSymbol}, @internalsref{StaffSpanEvent}.
803 Examples: @inputfileref{input/@/test,staff@/-lines@/.ly},
804 @inputfileref{input/@/test@/,ossia.ly},
805 @inputfileref{input/@/test,staff@/-size@/.ly}.
809 @subsection Key signature
810 @cindex Key signature
814 The key signature indicates the tonality in which a piece is played. It
815 is denoted by a set of alterations (flats or sharps) at the start of the
819 Setting or changing the key signature is done with the @code{\key}
822 @code{\key} @var{pitch} @var{type}
825 @cindex @code{\minor}
826 @cindex @code{\major}
827 @cindex @code{\minor}
828 @cindex @code{\ionian}
829 @cindex @code{\locrian}
830 @cindex @code{\aeolian}
831 @cindex @code{\mixolydian}
832 @cindex @code{\lydian}
833 @cindex @code{\phrygian}
834 @cindex @code{\dorian}
836 Here, @var{type} should be @code{\major} or @code{\minor} to get
837 @var{pitch}-major or @var{pitch}-minor, respectively.
838 The standard mode names @code{\ionian},
839 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
840 @code{\phrygian}, and @code{\dorian} are also defined.
842 This command sets the context property
843 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
844 can be specified by setting this property directly.
846 A natural sign is printed to cancel any previous accidentals. This
847 can be suppressed by setting the @code{Staff.printKeyCancellation}
850 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
856 \set Staff.printKeyCancellation = ##f
864 Accidentals and key signatures often confuse new users, because
865 unaltered notes get natural signs depending on the key signature. For
866 more information, see @ref{More about pitches}.
870 Program reference: @internalsref{KeyChangeEvent},
871 @internalsref{KeyCancellation} and @internalsref{KeySignature}.
873 @cindex @code{keySignature}
880 The clef indicates which lines of the staff correspond to which
884 The clef can be set with the @code{\clef} command
885 @lilypond[quote,raggedright,fragment,verbatim]
886 { c''2 \clef alto g'2 }
889 Supported clef-names include
890 @c Moved standard clefs to the top /MB
894 @item treble, violin, G, G2
907 G clef on 1st line, so-called French violin clef
912 @cindex mezzosoprano clef
915 @cindex baritone clef
918 @cindex varbaritone clef
929 By adding @code{_8} or @code{^8} to the clef name, the clef is
930 transposed one octave down or up, respectively, and @code{_15} and
931 @code{^15} transposes by two octaves. The argument @var{clefname}
932 must be enclosed in quotes when it contains underscores or digits. For
936 @cindex choral tenor clef
937 @lilypond[quote,raggedright,verbatim,fragment,relative=1]
941 This command is equivalent to setting @code{clefGlyph},
942 @code{clefPosition} (which controls the Y position of the clef),
943 @code{middleCPosition} and @code{clefOctavation}. A clef is printed
944 when any of these properties are changed. The following example shows
945 possibilities when setting properties manually.
947 @lilypond[quote,raggedright,verbatim]
949 \set Staff.clefGlyph = #"clefs.F"
950 \set Staff.clefPosition = #2
952 \set Staff.clefGlyph = #"clefs.G"
954 \set Staff.clefGlyph = #"clefs.C"
956 \set Staff.clefOctavation = #7
958 \set Staff.clefOctavation = #0
959 \set Staff.clefPosition = #0
963 \set Staff.middleCPosition = #4
970 Program reference: @internalsref{Clef}.
977 @subsection Time signature
978 @cindex Time signature
982 Time signature indicates the metrum of a piece: a regular pattern of
983 strong and weak beats. It is denoted by a fraction at the start of the
987 The time signature is set or changed by the @code{\time}
989 @lilypond[quote,raggedright,fragment,verbatim]
990 \time 2/4 c'2 \time 3/4 c'2.
993 The symbol that is printed can be customized with the @code{style}
994 property. Setting it to @code{#'()} uses fraction style for 4/4 and
997 @lilypond[fragment,quote,raggedright,verbatim]
1000 \override Staff.TimeSignature #'style = #'()
1007 There are many more options for its layout. See @ref{Ancient time
1008 signatures} for more examples.
1011 This command sets the property @code{timeSignatureFraction},
1012 @code{beatLength} and @code{measureLength} in the @code{Timing}
1013 context, which is normally aliased to @internalsref{Score}. The
1014 property @code{measureLength} determines where bar lines should be
1015 inserted, and how automatic beams should be generated. Changing the
1016 value of @code{timeSignatureFraction} also causes the symbol to be
1019 More options are available through the Scheme function
1020 @code{set-time-signature}. In combination with the
1021 @internalsref{Measure_grouping_engraver}, it will create
1022 @internalsref{MeasureGrouping} signs. Such signs ease reading
1023 rhythmically complex modern music. In the following example, the 9/8
1024 measure is subdivided in 2, 2, 2 and 3. This is passed to
1025 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
1027 @lilypond[quote,raggedright,verbatim]
1030 #(set-time-signature 9 8 '(2 2 2 3))
1031 g8[ g] d[ d] g[ g] a8[( bes g]) |
1032 #(set-time-signature 5 8 '(3 2))
1038 \consists "Measure_grouping_engraver"
1046 Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1051 Automatic beaming does not use the measure grouping specified with
1052 @code{set-time-signature}.
1054 @node Partial measures
1055 @subsection Partial measures
1058 @cindex partial measure
1059 @cindex measure, partial
1060 @cindex shorten measures
1061 @cindex @code{\partial}
1063 Partial measures, for example in upsteps, are entered using the
1064 @code{\partial} command
1065 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1066 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1069 The syntax for this command is
1071 \partial @var{duration}
1073 This is internally translated into
1075 \set Timing.measurePosition = -@var{length of duration}
1078 The property @code{measurePosition} contains a rational number
1079 indicating how much of the measure has passed at this point.
1083 This command does not take into account grace notes at the start of
1084 the music. When a piece starts with graces notes in the pickup, then
1085 the @code{\partial} should follow the grace notes
1087 @lilypond[verbatim,quote,raggedright,relative,fragment]
1097 @node Unmetered music
1098 @subsection Unmetered music
1102 Bar lines and bar numbers are calculated automatically. For unmetered
1103 music (cadenzas, for example), this is not desirable. By setting
1104 @code{Score.timing} to false, this automatic timing can be switched
1105 off. Empty bar lines,
1112 indicate where line breaks can occur.
1116 @cindex @code{\cadenzaOn}
1118 @cindex @code{\cadenzaOff}
1125 @subsection Bar lines
1129 @cindex measure lines
1133 Bar lines delimit measures, but are also used to indicate repeats.
1134 Normally, they are inserted automatically. Line breaks may only
1135 happen on bar lines.
1137 Special types of bar lines can be forced with the @code{\bar} command
1139 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1143 The following bar types are available
1144 @lilypondfile[raggedright,quote]{bar-lines.ly}
1146 For allowing line breaks, there is a special command,
1150 This will insert an invisible bar line, and allow line breaks at this
1153 In scores with many staves, a @code{\bar} command in one staff is
1154 automatically applied to all staves. The resulting bar lines are
1155 connected between different staves of a @internalsref{StaffGroup}
1157 @lilypond[quote,raggedright,fragment,verbatim]
1159 \context StaffGroup <<
1165 \new Staff { \clef bass c4 g e g }
1167 \new Staff { \clef bass c2 c2 }
1172 The command @code{\bar }@var{bartype} is a short cut for doing
1173 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1174 is set to a string, a bar line of that type is created.
1176 A bar line is created whenever the @code{whichBar} property is set.
1177 At the start of a measure it is set to the contents of
1178 @code{Timing.defaultBarType}. The contents of @code{repeatCommands} are used
1179 to override default measure bars.
1181 @cindex @code{whichBar}
1182 @cindex @code{repeatCommands}
1183 @cindex @code{defaultBarType}
1185 You are encouraged to use @code{\repeat} for repetitions. See
1192 In this manual: @ref{Repeats}, @ref{System start delimiters}.
1195 Program reference: @internalsref{BarLine} (created at
1196 @internalsref{Staff} level), @internalsref{SpanBar} (across staves).
1198 @cindex bar lines at start of system
1199 @cindex start of system
1203 Examples: @inputfileref{input/@/test,bar@/-lines@/.ly},
1207 @node System start delimiters
1208 @subsection System start delimiters
1210 Many scores consist of more than one staff. These staves can be
1211 joined in three different ways
1213 @item The group is started with a brace at the left, and bar lines are
1214 connected. This is done with the @internalsref{GrandStaff} context.
1216 @lilypond[verbatim,raggedright,quote]
1225 @item The group is started with a bracket, and bar lines are connected.
1226 This is done with the
1227 @internalsref{StaffGroup} context
1229 @lilypond[verbatim,raggedright,quote]
1238 @item The group is started with a vertical line. Bar lines are not
1239 connected. This is the default for the score.
1241 @lilypond[verbatim,raggedright,quote]
1250 @cindex Staff, multiple
1251 @cindex bracket, vertical
1252 @cindex brace, vertical
1259 The bar lines at the start of each system are
1260 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1261 @internalsref{SystemStartBracket}. Only one of these types is created
1262 in every context, and that type is determined by the property
1263 @code{systemStartDelimiter}.
1266 @node More than notes
1267 @section More than notes
1268 @c silly title; should change.
1270 This section deals with notation that affects more than one note.
1277 * Fingering instructions::
1287 A tie connects two adjacent note heads of the same pitch. The tie in
1288 effect extends the length of a note. Ties should not be confused with
1289 slurs, which indicate articulation, or phrasing slurs, which indicate
1290 musical phrasing. A tie is entered using the tilde symbol `@code{~}'
1292 @lilypond[quote,raggedright,fragment,verbatim]
1293 e' ~ e' <c' e' g'> ~ <c' e' g'>
1296 When a tie is applied to a chord, all note heads whose pitches match
1297 are connected. When no note heads match, no ties will be created.
1299 A tie is just a way of extending a note duration, similar to the
1300 augmentation dot. The following example shows two ways of notating
1301 exactly the same concept
1303 @lilypond[quote,fragment,raggedright]
1304 \time 3/4 c'2. c'2 ~ c'4
1308 Ties are used either when the note crosses a bar line, or when dots
1309 cannot be used to denote the rhythm. When using ties, larger note
1310 values should be aligned to subdivisions of the measure, eg.
1312 @lilypond[fragment,quote,raggedright]
1314 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
1318 If you need to tie a lot of notes over bars, it may be easier to use
1319 automatic note splitting (see @ref{Automatic note splitting}). This
1320 mechanism automatically splits long notes, and ties them across bar
1323 Ties are sometimes used to write out arpeggios. In this case, two tied
1324 notes need not be consecutive. This can be achieved by setting the
1325 @code{tieWaitForNote} property to true. For example,
1327 @lilypond[fragment,verbatim,relative=1,raggedright]
1328 \set tieWaitForNote = ##t
1329 \grace { c16[~ e~ g]~ } <c, e g>4
1336 @cindex @code{\tieUp}
1338 @cindex @code{\tieDown}
1340 @cindex @code{\tieNeutral}
1342 @cindex @code{\tieDotted}
1344 @cindex @code{\tieSolid}
1349 In this manual: @ref{Automatic note splitting}.
1351 Program reference: @internalsref{TieEvent}, @internalsref{Tie}.
1356 Switching staves when a tie is active will not produce a slanted tie.
1358 Formatting of ties is a difficult subject. The results are often not
1362 @node Automatic beams
1363 @subsection Automatic beams
1365 LilyPond inserts beams automatically
1367 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1368 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1371 When these automatic decisions are not good enough, beaming can be
1372 entered explicitly. It is also possible to define beaming patterns
1373 that differ from the defaults. See @ref{Setting automatic beam behavior}
1376 Individual notes may be marked with @code{\noBeam}, to prevent them
1379 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1380 \time 2/4 c8 c\noBeam c c
1386 Program reference: @internalsref{Beam}.
1390 @subsection Manual beams
1391 @cindex beams, manual
1395 In some cases it may be necessary to override the automatic beaming
1396 algorithm. For example, the autobeamer will not put beams over rests
1397 or bar lines. Such beams are specified manually by marking the begin
1398 and end point with @code{[} and @code{]}
1400 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1402 r4 r8[ g' a r8] r8 g[ | a] r8
1406 @cindex @code{stemLeftBeamCount}
1408 Normally, beaming patterns within a beam are determined automatically.
1409 If necessary, the properties @code{stemLeftBeamCount} and
1410 @code{stemRightBeamCount} can be used to override the defaults. If
1411 either property is set, its value will be used only once, and then it
1414 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1419 \set stemLeftBeamCount = #1
1423 @cindex @code{stemRightBeamCount}
1426 The property @code{subdivideBeams} can be set in order to subdivide
1427 all 16th or shorter beams at beat positions, as defined by the
1428 @code{beatLength} property.
1431 @lilypond[fragment,quote,relative=2,verbatim]
1433 \set subdivideBeams = ##t
1435 \set Score.beatLength = #(ly:make-moment 1 8)
1438 @cindex @code{subdivideBeams}
1440 Normally, line breaks are forbidden when beams cross bar lines. This
1441 behavior can be changed by setting @code{allowBeamBreak}.
1443 @cindex @code{allowBeamBreak}
1444 @cindex beams and line breaks
1446 @cindex beams, kneed
1448 @cindex auto-knee-gap
1453 User manual: @ref{Changing context properties on the fly} for the
1459 @cindex Frenched staves
1460 Kneed beams are inserted automatically, when a large gap is detected
1461 between the note heads. This behavior can be tuned through the object.
1464 Automatically kneed cross-staff beams cannot be used together with
1465 hidden staves. See @ref{Hiding staves}.
1467 Beams do not avoid collisions with symbols around the notes, such as
1468 texts and accidentals.
1474 @subsection Grace notes
1476 @cindex @code{\grace}
1480 Grace notes are ornaments that are written out. The most common ones
1481 are acciaccatura, which should be played as very short. It is denoted
1482 by a slurred small note with a slashed stem. The appoggiatura is a
1483 grace note that takes a fixed fraction of the main note, and is
1484 denoted as a slurred note in small print without a slash. They
1485 are entered with the commands @code{\acciaccatura} and
1486 @code{\appoggiatura}, as demonstrated in the following example
1489 @cindex appoggiatura
1490 @cindex acciaccatura
1492 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
1493 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
1494 \acciaccatura { g16[ f] } e4
1497 Both are special forms of the @code{\grace} command. By prefixing this
1498 keyword to a music expression, a new one is formed, which will be
1499 printed in a smaller font and takes up no logical time in a measure.
1501 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
1503 \grace { c16[ d16] } c2 c4
1507 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
1508 @code{\grace} command does not start a slur.
1510 Internally, timing for grace notes is done using a second, `grace'
1511 timing. Every point in time consists of two rational numbers: one
1512 denotes the logical time, one denotes the grace timing. The above
1513 example is shown here with timing tuples
1515 @lilypond[quote,raggedright]
1518 c4 \grace c16 c4 \grace {
1521 \new Lyrics \lyricmode {
1522 \override LyricText #'font-family = #'typewriter
1526 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
1527 \markup { (\fraction 1 4 , 0 ) } 4
1529 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
1530 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
1532 \markup { ( \fraction 2 4 , 0 ) }
1538 The placement of grace notes is synchronized between different staves.
1539 In the following example, there are two sixteenth grace notes for
1540 every eighth grace note
1542 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
1543 << \new Staff { e4 \grace { c16[ d e f] } e4 }
1544 \new Staff { c4 \grace { g8[ b] } c4 } >>
1549 If you want to end a note with a grace, use the @code{\afterGrace}
1550 command. It takes two arguments: the main note, and the grace notes
1551 following the main note.
1553 @lilypond[raggedright, verbatim,relative=2,fragment]
1554 c1 \afterGrace d1 { c16[ d] } c4
1557 This will put the grace notes after a ``space'' lasting 3/4 of the
1558 length of the main note. The fraction 3/4 can be changed by setting
1559 @code{afterGraceFraction}, ie.
1562 afterGraceFraction = #(cons 7 8)
1566 will put the grace note at 7/8 of the main note.
1569 The same effect can be achieved manually by doing
1572 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1575 { s2 \grace { c16[ d] } } >>
1581 By adjusting the duration of the skip note (here it is a half-note),
1582 the space between the main-note and the grace is adjusted.
1587 A @code{\grace} section will introduce special typesetting settings,
1588 for example, to produce smaller type, and set directions. Hence, when
1589 introducing layout tweaks, they should be inside the grace section,
1591 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1603 The overrides should also be reverted inside the grace section.
1605 The layout of grace sections can be changed throughout the music using
1606 the function @code{add-grace-property}. The following example
1607 undefines the Stem direction for this grace, so stems do not always
1612 #(add-grace-property 'Voice 'Stem 'direction '())
1618 Another option is to change the variables @code{startGraceMusic},
1619 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
1620 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
1621 @code{stopAppoggiaturaMusic}. More information is in the file
1622 @file{ly/@/grace@/-init@/.ly}.
1627 Program reference: @internalsref{GraceMusic}.
1631 A score that starts with a @code{\grace} section needs an explicit
1632 @code{\context Voice} declaration, otherwise the main note and the grace
1633 note end up on different staves.
1635 Grace note synchronization can also lead to surprises. Staff notation,
1636 such as key signatures, bar lines, etc., are also synchronized. Take
1637 care when you mix staves with grace notes and staves without, for example,
1639 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
1640 << \new Staff { e4 \bar "|:" \grace c16 d4 }
1641 \new Staff { c4 \bar "|:" d4 } >>
1645 This can be remedied by inserting grace skips, for the above example
1648 \new Staff @{ c4 \bar "|:" \grace s16 d4 @}
1651 Grace sections should only be used within sequential music
1652 expressions. Nesting or juxtaposing grace sections is not supported,
1653 and might produce crashes or other errors.
1656 @node Fingering instructions
1657 @subsection Fingering instructions
1661 Fingering instructions can be entered using
1663 @var{note}-@var{digit}
1665 For finger changes, use markup texts
1667 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
1669 c^\markup { \finger "2-3" }
1672 @cindex finger change
1677 You can use the thumb-script to indicate that a note should be
1678 played with the thumb (e.g., in cello music)
1679 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
1680 <a_\thumb a'-3>8 <b_\thumb b'-3>
1683 Fingerings for chords can also be added to individual notes
1684 of the chord by adding them after the pitches
1685 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
1686 < c-1 e-2 g-3 b-5 >4
1690 In this case, setting @code{fingeringOrientations} will put fingerings next
1693 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
1694 \set fingeringOrientations = #'(left down)
1695 <c-1 es-2 g-4 bes-5 > 4
1696 \set fingeringOrientations = #'(up right down)
1697 <c-1 es-2 g-4 bes-5 > 4
1700 Using this feature, it is also possible to put fingering instructions
1701 very close to note heads in monophonic music,
1703 @lilypond[verbatim,raggedright,quote,fragment]
1704 \set fingeringOrientations = #'(right)
1711 Program reference: @internalsref{FingerEvent}, and @internalsref{Fingering}.
1713 Examples: @inputfileref{input/@/regression,finger@/-chords@/.ly}.
1718 @node Expressive marks
1719 @section Expressive marks
1721 Expressive marks help musicians to bring more to the music than simple
1740 A slur indicates that notes are to be played bound or @emph{legato}.
1742 They are entered using parentheses
1743 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1744 f( g a) a8 b( a4 g2 f4)
1748 The direction of a slur can be set with the
1752 \override Slur #'direction = #UP
1753 \slurUp % shortcut for the previous line
1757 However, there is a convenient shorthand for forcing slur
1758 directions. By adding @code{_} or @code{^} before the opening
1759 parentheses, the direction is also set. For example,
1761 @lilypond[relative=2,raggedright,quote,verbatim,fragment]
1765 Some composers write two slurs when they want legato chords. This can
1766 be achieved in LilyPond by setting @code{doubleSlurs},
1768 @lilypond[verbatim,raggedright,relative,fragment,quote]
1769 \set doubleSlurs = ##t
1770 <c e>4 ( <d f> <c e> <d f> )
1773 Only one slur can be printed at once. If you need to print a long
1774 slur over a few small slurs, please see @ref{Phrasing slurs}.
1780 @cindex @code{\slurUp}
1782 @cindex @code{\slurDown}
1784 @cindex @code{\slurNeutral}
1785 @code{\slurNeutral},
1786 @cindex @code{\slurDashed}
1788 @cindex @code{\slurDotted}
1790 @cindex @code{\slurSolid}
1795 Program reference: @seeinternals{Slur}, and @internalsref{SlurEvent}.
1798 @node Phrasing slurs
1799 @subsection Phrasing slurs
1801 @cindex phrasing slurs
1802 @cindex phrasing marks
1804 A phrasing slur (or phrasing mark) connects chords and is used to
1805 indicate a musical sentence. It is written using @code{\(} and @code{\)}
1808 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1809 \time 6/4 c'\( d( e) f( e) d\)
1812 Typographically, the phrasing slur behaves almost exactly like a
1813 normal slur. However, they are treated as different objects. A
1814 @code{\slurUp} will have no effect on a phrasing slur; instead, use
1815 @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1816 @code{\phrasingSlurNeutral}.
1818 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurNeutral}
1819 will only affect normal slurs and not phrasing slurs.
1821 You cannot have simultaneous phrasing slurs.
1825 @cindex @code{\phrasingSlurUp}
1826 @code{\phrasingSlurUp},
1827 @cindex @code{\phrasingSlurDown}
1828 @code{\phrasingSlurDown},
1829 @cindex @code{\phrasingSlurNeutral}
1830 @code{\phrasingSlurNeutral}.
1834 Program reference: see also @internalsref{PhrasingSlur}, and
1835 @internalsref{PhrasingSlurEvent}.
1839 Putting phrasing slurs over rests leads to spurious warnings.
1843 @subsection Articulations
1844 @cindex Articulations
1846 @cindex articulations
1850 A variety of symbols can appear above and below notes to indicate
1851 different characteristics of the performance. They are added to a note
1852 by adding a dash and the character signifying the
1853 articulation. They are demonstrated here
1855 @lilypondfile[quote,raggedright]{script-abbreviations.ly}
1857 The meanings of these shorthands can be changed. See
1858 @file{ly/@/script@/-init@/.ly} for examples.
1861 The script is automatically placed, but the direction can be forced as
1862 well. Like other pieces of LilyPond code, @code{_} will place them
1863 below the staff, and @code{^} will place them above.
1866 @lilypond[quote,raggedright,fragment,verbatim]
1870 Other symbols can be added using the syntax
1871 @var{note}@code{\}@var{name}. Again, they
1872 can be forced up or down using @code{^} and @code{_},
1875 @lilypond[quote,raggedright,verbatim,fragment,relative=2]
1876 c\fermata c^\fermata c_\fermata
1883 @cindex staccatissimo
1893 @cindex organ pedal marks
1902 @cindex prallmordent
1906 @cindex thumb marking
1911 Here is a chart showing all scripts available,
1913 @lilypondfile[raggedright,quote]{script-chart.ly}
1916 The vertical ordering of scripts is controlled with the
1917 @code{script-priority} property. The lower this number, the closer it
1918 will be put to the note. In this example, the
1919 @internalsref{TextScript} (the sharp symbol) first has the lowest
1920 priority, so it is put lowest in the first example. In the second, the
1921 prall trill (the @internalsref{Script}) has the lowest, so it is on the
1922 inside. When two objects have the same priority, the order in which
1923 they are entered decides which one comes first.
1926 @lilypond[verbatim,relative=3,raggedright,fragment,quote]
1927 \once \override TextScript #'script-priority = #-100
1928 a4^\prall^\markup { \sharp }
1930 \once \override Script #'script-priority = #-100
1931 a4^\prall^\markup { \sharp }
1939 Program reference: @internalsref{ScriptEvent}, and @internalsref{Script}.
1943 These signs appear in the printed output but have no effect on the
1944 MIDI rendering of the music.
1948 @subsection Dynamics
1961 @cindex @code{\ffff}
1971 Absolute dynamic marks are specified using a command after a note
1972 @code{c4\ff}. The available dynamic marks are @code{\ppp},
1973 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
1974 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
1975 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}
1977 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
1978 c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
1979 c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
1988 A crescendo mark is started with @code{\<} and terminated with
1989 @code{\!} or an absolute dynamic. A decrescendo is started with
1990 @code{\>} and is also terminated with @code{\!} or an absolute
1991 dynamic. Because these marks are bound to notes, you must
1992 use spacer notes if multiple marks are needed during one note
1994 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1996 << f1 { s4 s4\< s4\! \> s4\! } >>
1998 This may give rise to very short hairpins. Use @code{minimum-length}
1999 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2003 \override Staff.Hairpin #'minimum-length = #5
2006 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2007 is an example how to do it
2009 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
2023 You can also supply your own texts
2024 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2025 \set crescendoText = \markup { \italic "cresc. poco" }
2026 \set crescendoSpanner = #'dashed-line
2032 To create new dynamic marks or text that should be aligned
2033 with dynamics, see @ref{New dynamic marks}.
2038 @cindex @code{\dynamicUp}
2040 @cindex @code{\dynamicDown}
2041 @code{\dynamicDown},
2042 @cindex @code{\dynamicNeutral}
2043 @code{\dynamicNeutral}.
2045 @cindex direction, of dynamics
2049 Program reference: @internalsref{CrescendoEvent},
2050 @internalsref{DecrescendoEvent}, and
2051 @internalsref{AbsoluteDynamicEvent}.
2053 Dynamics are @internalsref{DynamicText} and @internalsref{Hairpin}
2054 objects. Vertical positioning of these symbols is handled by the
2055 @internalsref{DynamicLineSpanner} object.
2058 @subsection Breath marks
2060 Breath marks are entered using @code{\breathe}
2063 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2067 The glyph of the breath mark can be tuned by overriding the
2068 @code{text} property of the @code{BreathingSign} layout object with
2069 any markup text. For example,
2070 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2072 \override BreathingSign #'text
2073 = #(make-musicglyph-markup "scripts.rvarcomma")
2080 Program reference: @internalsref{BreathingSign},
2081 @internalsref{BreathingSignEvent}.
2083 Examples: @inputfileref{input/@/regression,breathing@/-sign@/.ly}.
2086 @node Running trills
2087 @subsection Running trills
2089 Long running trills are made with @code{\startTrillSpan} and
2090 @code{\stopTrillSpan},
2093 @lilypond[verbatim,raggedright,relative=2,quote,fragment]
2095 << { c1 \startTrillSpan }
2096 { s2. \grace { d16[\stopTrillSpan e] } } >>
2102 @code{\startTrillSpan},
2103 @cindex @code{\startTrillSpan}
2104 @code{\stopTrillSpan}.
2105 @cindex @code{\stopTrillSpan}
2109 Program reference: @internalsref{TrillSpanner},
2110 @internalsref{TrillSpanEvent}.
2116 @subsection Glissando
2119 @cindex @code{\glissando}
2121 A glissando is a smooth change in pitch. It is denoted by a line or a
2122 wavy line between two notes. It is requested by attaching
2123 @code{\glissando} to a note
2125 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
2131 Program reference: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2133 Example files: @file{input/@/regression/@/glissando@/.ly}.
2139 Printing text over the line (such as @emph{gliss.}) is not supported.
2143 @subsection Arpeggio
2146 @cindex broken chord
2147 @cindex @code{\arpeggio}
2149 You can specify an arpeggio sign (also known as broken chord) on a
2150 chord by attaching an @code{\arpeggio} to a chord
2153 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2157 When an arpeggio crosses staves, you attach an arpeggio to the chords
2158 in both staves, and set
2159 @internalsref{PianoStaff}.@code{connectArpeggios}
2161 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2162 \context PianoStaff <<
2163 \set PianoStaff.connectArpeggios = ##t
2164 \new Staff { <c' e g c>\arpeggio }
2165 \new Staff { \clef bass <c,, e g>\arpeggio }
2169 The direction of the arpeggio is sometimes denoted by adding an
2170 arrowhead to the wiggly line
2172 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2181 A square bracket on the left indicates that the player should not
2182 arpeggiate the chord
2184 @c todo: ugh, lousy typography. Look for real example. --hwn
2186 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2194 @cindex @code{\arpeggioUp}
2196 @cindex @code{\arpeggioDown}
2197 @code{\arpeggioDown},
2198 @cindex @code{\arpeggioNeutral}
2199 @code{\arpeggioNeutral},
2200 @cindex @code{\arpeggioBracket}
2201 @code{\arpeggioBracket}.
2205 Notation manual: @ref{Ties}, for writing out arpeggios.
2207 Program reference: @internalsref{ArpeggioEvent},
2208 @internalsref{Arpeggio}.
2214 It is not possible to mix connected arpeggios and unconnected
2215 arpeggios in one @internalsref{PianoStaff} at the same point in time.
2222 Polyphony in music refers to having more than one voice occuring in
2223 a piece of music. Polyphony in LilyPond refers to having more than
2224 one voice on the same staff.
2228 * Explicitly instantiating voices::
2229 * Collision Resolution::
2232 @node Basic polyphony
2233 @subsection Basic polyphony
2236 The easiest way to enter fragments with more than one voice on a staff
2237 is to enter each voice as a sequence (with @code{@{...@}}), and combine
2238 them simultaneously, separating the voices with @code{\\}
2242 @lilypond[quote,verbatim,fragment]
2243 \new Staff \relative c' {
2245 << { g4 f e | d2 e2 } \\
2246 { r8 e4 d c8 ~ | c b16 a b8 g ~ g2 } \\
2252 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
2253 voices are sometimes called ``layers'' in other notation packages}
2255 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
2256 each of these contexts, vertical direction of slurs, stems, etc., is set
2259 These voices are all seperate from the voice that contains the notes just
2260 outside the @code{<< \\ >>} construct. This should be noted when making
2261 changes at the voice level. This also means that slurs and ties cannot go
2262 into or out of a @code{<< \\ >>} construct.
2263 Conversely, parallel voices from separate @code{<< \\ >>} constructs on the
2264 same staff are the the same voice.
2265 Here is the same example, with different noteheads for each voice.
2266 Note that the change to the note-head style in the main voice does not affect
2267 the inside of the @code{<< \\ >>} constructs. Also, the change to the second
2268 voice in the first @code{<< \\ >>} construct is effective in the second
2269 @code{<< \\ >>}, and the voice is tied accross the two constructs.
2271 @lilypond[quote,verbatim,fragment]
2272 \new Staff \relative c' {
2273 \override NoteHead #'style = #'cross
2277 { \override NoteHead #'style = #'triangle
2283 { c8 b16 a b8 g ~ g2 } \\
2284 { \override NoteHead #'style = #'slash s4 b4 c2 }
2289 Polyphony does not change the relationship of notes within a
2290 @code{\relative @{ @}} block. Each note is calculated relative
2291 to the note immediately preceding it.
2294 \relative @{ noteA << noteB \\ noteC >> noteD @}
2297 @code{noteC} is relative to @code{noteB}, not @code{noteA};
2298 @code{noteD} is relative to @code{noteC}, not @code{noteB} or
2301 @node Explicitly instantiating voices
2302 @subsection Explicitly instantiating voices
2304 @internalsref{Voice} contexts can also also be instantiated manually
2305 inside a @code{<< >>} block to create polyphonic music, using
2306 @code{\voiceOne}, up to @code{\voiceFour} to assign stem directions
2307 and a horizontal shift for each part.
2311 << \upper \\ \lower >>
2319 \context Voice = "1" @{ \voiceOne \upper @}
2320 \context Voice = "2" @{ \voiceTwo \lower @}
2324 The @code{\voiceXXX} commands set the direction of stems, slurs, ties,
2325 articulations, text annotations, augmentation dots of dotted
2326 notes, and fingerings. @code{\voiceOne} and @code{\voiceThree} make
2327 these objects point upwards, while @code{\voiceTwo} and @code{\voiceFour}
2328 make them point downwards.
2329 The command @code{\oneVoice} will revert back to the normal setting.
2331 An expression that appears directly inside a @code{<< >>} belongs to
2332 the main voice. This is useful when extra voices appear while the main
2333 voice is playing. Here is a more correct rendition of the example from
2334 the previous section. The crossed noteheads demonstrate that the main
2335 melody is now in a single voice context.
2337 @lilypond[quote,raggedright,verbatim]
2338 \new Staff \relative c' {
2339 \override NoteHead #'style = #'cross
2344 \context Voice="1" { \voiceTwo
2345 r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
2348 \new Voice { \voiceThree
2357 The correct definition of the voices allows the melody to be slurred.
2358 @lilypond[quote,raggedright,verbatim]
2359 \new Staff \relative c' {
2364 \context Voice="1" { \voiceTwo
2365 r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
2368 \new Voice { \voiceThree
2377 Avoiding the @code{\\} seperator also allows nesting polyphony
2378 constructs, which in some case might be a more natural way to typeset
2381 @lilypond[quote,raggedright,verbatim]
2382 \new Staff \relative c' {
2387 \context Voice="1" { \voiceTwo
2390 {c8 b16 a b8 g ~ g2}
2391 \new Voice { \voiceThree
2403 @node Collision Resolution
2404 @subsection Collision Resolution
2406 Normally, note heads with a different number of dots are not merged, but
2407 when the object property @code{merge-differently-dotted} is set in
2408 the @internalsref{NoteCollision} object, they are merged
2409 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
2412 \override Staff.NoteCollision
2413 #'merge-differently-dotted = ##t
2415 } \\ { g8.[ f16] g8.[ f16] } >>
2418 Similarly, you can merge half note heads with eighth notes, by setting
2419 @code{merge-differently-headed}
2420 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
2423 \override Staff.NoteCollision
2424 #'merge-differently-headed = ##t
2425 c8 c4. } \\ { c2 c2 } >>
2428 LilyPond also vertically shifts rests that are opposite of a stem,
2431 @lilypond[quote,raggedright,fragment,verbatim]
2432 \context Voice << c''4 \\ r4 >>
2440 @cindex @code{\oneVoice}
2442 @cindex @code{\voiceOne}
2444 @cindex @code{\voiceTwo}
2446 @cindex @code{\voiceThree}
2448 @cindex @code{\voiceFour}
2453 @cindex @code{\shiftOn}
2455 @cindex @code{\shiftOnn}
2457 @cindex @code{\shiftOnnn}
2459 @cindex @code{\shiftOff}
2460 @code{\shiftOff}: these commands specify in what chords of the current
2461 voice should be shifted. The outer voices (normally: voice one and
2462 two) have @code{\shiftOff}, while the inner voices (three and four)
2463 have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define
2464 further shift levels.
2467 When LilyPond cannot cope, the @code{force-hshift}
2468 property of the @internalsref{NoteColumn} object and pitched rests can
2469 be used to override typesetting decisions.
2471 @lilypond[quote,verbatim,raggedright]
2478 \once \override NoteColumn #'force-hshift = #1.7
2487 Program reference: the objects responsible for resolving collisions are
2488 @internalsref{NoteCollision} and @internalsref{RestCollision}.
2491 @inputfileref{input/@/regression,collision@/-dots@/.ly},
2492 @inputfileref{input/@/regression,collision@/-head-chords@/.ly},
2493 @inputfileref{input/@/regression,collision@/-heads@/.ly},
2494 @inputfileref{input/@/regression,collision@/-mesh@/.ly}, and
2495 @inputfileref{input/@/regression,collisions@/.ly}.
2501 When using @code{merge-differently-headed} with an upstem eighth or a
2502 shorter note, and a downstem half note, the eighth note gets the wrong
2505 There is no support for clusters where the same note occurs with
2506 different accidentals in the same chord. In this case, it is
2507 recommended to use enharmonic transcription, or to use special cluster
2508 notation (see @ref{Clusters}).
2515 Repetition is a central concept in music, and multiple notations exist
2521 * Repeats and MIDI::
2522 * Manual repeat commands::
2524 * Tremolo subdivisions::
2529 @subsection Repeat types
2532 @cindex @code{\repeat}
2534 The following types of repetition are supported
2538 Repeated music is fully written (played) out. This is useful when
2539 entering repetitious music. This is the only kind of repeat that
2540 is included in MIDI output.
2543 Repeats are not written out, but alternative endings (volte) are
2544 printed, left to right with brackets. This is the standard notation
2545 for repeats with alternatives. These are not played in MIDI output by default.
2549 Alternative endings are written stacked. This has limited use but may be
2550 used to typeset two lines of lyrics in songs with repeats, see
2551 @inputfileref{input,star-spangled-banner@/.ly}.
2556 Make tremolo beams. These are not played in MIDI output by default.
2559 Make beat or measure repeats. These look like percent signs. These
2560 are not played in MIDI output by default. Percent repeats must be
2561 declared within a Voice context.
2566 @subsection Repeat syntax
2569 LilyPond has one syntactic construct for specifying different types of
2570 repeats. The syntax is
2573 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2576 If you have alternative endings, you may add
2577 @cindex @code{\alternative}
2579 \alternative @{ @var{alternative1}
2581 @var{alternative3} @dots{} @}
2583 where each @var{alternative} is a music expression. If you do not
2584 give enough alternatives for all of the repeats, the first alternative
2585 is assumed to be played more than once.
2587 Standard repeats are used like this
2588 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2590 \repeat volta 2 { c4 d e f }
2591 \repeat volta 2 { f e d c }
2594 With alternative endings
2595 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2597 \repeat volta 2 {c4 d e f}
2598 \alternative { {d2 d} {f f,} }
2602 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2605 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2606 \alternative { { g4 g g } { a | a a a a | b2. } }
2610 It is possible to shorten volta brackets
2611 by setting @code{voltaSpannerDuration}. In the next example, the
2612 bracket only lasts one measure, which is a duration of 3/4.
2616 @lilypond[verbatim,raggedright,quote]
2620 \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4)
2621 \repeat "volta" 5 { d d d }
2622 \alternative { { e e e f f f }
2632 Brackets for the repeat are normally only printed over the topmost
2633 staff. This can be adjusted by setting the @code{voltaOnThisStaff}
2634 property; see @inputfileref{input/@/regression,volta@/-multi@/-staff@/.ly}.
2637 @c @inputfileref{input/@/regression,volta@/-chord@/-names@/.ly}.
2642 A nested repeat like
2651 is ambiguous, since it is is not clear to which @code{\repeat} the
2652 @code{\alternative} belongs. This ambiguity is resolved by always
2653 having the @code{\alternative} belong to the inner @code{\repeat}.
2654 For clarity, it is advisable to use braces in such situations.
2659 Timing information is not remembered at the start of an alternative,
2660 so after a repeat timing information must be reset by hand, for
2661 example by setting @code{Score.measurePosition} or entering
2662 @code{\partial}. Similarly, slurs or ties are also not repeated.
2667 @node Repeats and MIDI
2668 @subsection Repeats and MIDI
2670 @cindex expanding repeats
2672 With a little bit of tweaking, all types of repeats can be present
2673 in the MIDI output. This is achieved by applying the
2674 @code{\unfoldrepeats} music function. This functions changes all
2675 repeats to unfold repeats.
2677 @lilypond[quote,verbatim,fragment,linewidth=8.0\cm]
2679 \repeat tremolo 8 {c'32 e' }
2680 \repeat percent 2 { c''8 d'' }
2681 \repeat volta 2 {c'4 d' e' f'}
2690 When creating a score file using @code{\unfoldrepeats} for midi, then
2691 it is necessary to make two @code{\score} blocks. One for MIDI (with
2692 unfolded repeats) and one for notation (with volta, tremolo, and
2693 percent repeats). For example,
2701 \unfoldrepeats @var{..music..}
2706 @node Manual repeat commands
2707 @subsection Manual repeat commands
2709 @cindex @code{repeatCommands}
2711 The property @code{repeatCommands} can be used to control the layout of
2712 repeats. Its value is a Scheme list of repeat commands.
2715 @item @code{start-repeat}
2716 Print a @code{|:} bar line.
2718 @item @code{end-repeat}
2719 Print a @code{:|} bar line.
2721 @item @code{(volta @var{text})}
2722 Print a volta bracket saying @var{text}: The text can be specified as
2723 a text string or as a markup text, see @ref{Text markup}. Do not
2724 forget to change the font, as the default number font does not contain
2725 alphabetic characters;
2727 @item @code{(volta #f)}
2728 Stop a running volta bracket.
2731 @lilypond[quote,raggedright,verbatim,fragment,relative=2]
2733 \set Score.repeatCommands = #'((volta "93") end-repeat)
2735 \set Score.repeatCommands = #'((volta #f))
2743 Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2744 @internalsref{VoltaRepeatedMusic},
2745 @internalsref{UnfoldedRepeatedMusic}, and
2746 @internalsref{FoldedRepeatedMusic}.
2748 @node Tremolo repeats
2749 @subsection Tremolo repeats
2750 @cindex tremolo beams
2752 To place tremolo marks between notes, use @code{\repeat} with tremolo
2754 @lilypond[quote,verbatim,raggedright]
2755 \new Voice \relative c' {
2756 \repeat "tremolo" 8 { c16 d16 }
2757 \repeat "tremolo" 4 { c16 d16 }
2758 \repeat "tremolo" 2 { c16 d16 }
2762 Tremolo marks can also be put on a single note. In this case, the
2763 note should not be surrounded by braces.
2764 @lilypond[quote,verbatim,raggedright]
2765 \repeat "tremolo" 4 c'16
2768 Similar output is obtained using the tremolo subdivision, described in
2769 @ref{Tremolo subdivisions}.
2773 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2775 Program reference: tremolo beams are @internalsref{Beam} objects. Single stem
2776 tremolos are @internalsref{StemTremolo} objects. The music expression is
2777 @internalsref{TremoloEvent}.
2779 Example files: @inputfileref{input/@/regression,chord@/-tremolo@/.ly},
2780 @inputfileref{input/@/regression,stem@/-tremolo@/.ly}.
2782 @node Tremolo subdivisions
2783 @subsection Tremolo subdivisions
2784 @cindex tremolo marks
2785 @cindex @code{tremoloFlags}
2787 Tremolo marks can be printed on a single note by adding
2788 `@code{:}[@var{number}]' after the note. The number indicates the
2789 duration of the subdivision, and it must be at least 8. A
2790 @var{length} value of 8 gives one line across the note stem. If the
2791 length is omitted, the last value (stored in @code{tremoloFlags}) is
2794 @lilypond[quote,raggedright,verbatim,fragment]
2795 c'2:8 c':32 | c': c': |
2798 @c [TODO: stok is te kort bij 32en]
2799 @c somebody want to translate that into English?
2800 @c `Stem is too short for 32nds' (wl)
2804 Tremolos entered in this way do not carry over into the MIDI output.
2808 In this manual: @ref{Tremolo repeats}.
2810 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
2812 @node Measure repeats
2813 @subsection Measure repeats
2815 @cindex percent repeats
2816 @cindex measure repeats
2818 In the @code{percent} style, a note pattern can be repeated. It is
2819 printed once, and then the pattern is replaced with a special sign.
2820 Patterns of one and two measures are replaced by percent-like signs,
2821 patterns that divide the measure length are replaced by slashes.
2822 Percent repeats must be declared within a @code{Voice} context.
2824 @lilypond[quote,verbatim,raggedright]
2825 \new Voice \relative c' {
2826 \repeat "percent" 4 { c4 }
2827 \repeat "percent" 2 { c2 es2 f4 fis4 g4 c4 }
2833 Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2834 @internalsref{PercentRepeatedMusic}, and
2835 @internalsref{DoublePercentRepeat}.