1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
6 When revising a translation, copy the HEAD committish of the
7 version that you are working on. See TRANSLATION for details.
11 @c A menu is needed before every deeper *section nesting of @node's; run
12 @c M-x texinfo-all-menus-update
13 @c to automatically fill in these menus before saving changes
16 @chapter Basic notation
18 This chapter explains how to use basic notation features.
35 This section discusses how to specify the pitch of notes.
40 * Cautionary accidentals::
42 * Note names in other languages::
52 @subsection Normal pitches
57 A pitch name is specified using lowercase letters @code{a} through @code{g}.
58 An ascending C-major scale is engraved with
60 @lilypond[quote,fragment,verbatim,ragged-right]
65 The note name @code{c} is engraved one octave below middle C.
67 @lilypond[quote,fragment,verbatim,ragged-right]
77 The optional octave specification takes the form of a series of
78 single quote (@samp{'}) characters or a series of comma
79 (@samp{,}) characters. Each @samp{'} raises the pitch by one
80 octave; each @samp{,} lowers the pitch by an octave.
82 @lilypond[quote,ragged-right,fragment,verbatim]
84 c' c'' e' g d'' d' d c
86 c, c,, e, g d,, d, d c
89 An alternate method may be used to declare which octave to
90 engrave a pitch; this method does not require as many
91 octave specifications (@code{'} and @code{,}). See
92 @ref{Relative octaves}.
96 @subsection Accidentals
98 @cindex note names, Dutch
99 @cindex note names, default
101 A sharp is formed by adding @code{-is} to the end of a pitch name and
102 a flat is formed by adding @code{-es}. Double sharps and double flats
103 are obtained by adding @code{-isis} or @code{-eses} to a note name.
105 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
111 These are the Dutch note names. In Dutch, @code{aes} is contracted to
112 @code{as}, but both forms are accepted. Similarly, both
113 @code{es} and @code{ees} are accepted
115 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
119 A natural will cancel the effect of an accidental or key signature.
120 However, naturals are not encoded into the note name syntax with a
121 suffix; a natural pitch is shown as a simple note name
123 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
127 The input @code{d e f} is interpreted as @q{print a D-natural,
128 E-natural, and an F-natural,} regardless of the key
129 signature. For more information about the distinction between
130 musical content and the presentation of that content, see
131 @ref{Accidentals and key signatures}.
133 @lilypond[fragment,quote,ragged-right,verbatim,relative]
142 In accordance with standard typesetting rules, a natural sign is printed
143 before a sharp or flat if a previous accidental needs to be
144 cancelled. To change this behavior, use
145 @code{\set Staff.extraNatural = ##f}
147 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
149 \set Staff.extraNatural = ##f
156 Program reference: @internalsref{LedgerLineSpanner},
157 @internalsref{NoteHead}.
160 @node Cautionary accidentals
161 @subsection Cautionary accidentals
163 @cindex accidental, reminder
164 @cindex accidental, cautionary
165 @cindex accidental, parenthesized
166 @cindex reminder accidental
168 @cindex cautionary accidental
169 @cindex parenthesized accidental
172 Normally accidentals are printed automatically, but you may also
173 print them manually. A reminder accidental
174 can be forced by adding an exclamation mark @code{!}
175 after the pitch. A cautionary accidental
176 (i.e., an accidental within parentheses) can be obtained by adding the
177 question mark @samp{?} after the pitch. These extra accidentals
178 can be used to produce natural signs, too.
180 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
181 cis cis cis! cis? c c? c! c
187 The automatic production of accidentals can be tuned in many
188 ways. For more information, see @ref{Automatic accidentals}.
192 @subsection Micro tones
194 @cindex quarter tones
195 @cindex semi-flats, semi-sharps
197 Half-flats and half-sharps are formed by adding @code{-eh} and
198 @code{-ih}; the following is a series of Cs with increasing pitches
200 @lilypond[verbatim,ragged-right,quote,relative=2,fragment]
201 \set Staff.extraNatural = ##f
205 Micro tones are also exported to the MIDI file.
210 There are no generally accepted standards for denoting
211 three-quarter flats, so LilyPond's symbol does not conform to any
215 @node Note names in other languages
216 @subsection Note names in other languages
218 There are predefined sets of note names for various other languages.
219 To use them, include the language specific init file. For
220 example, add @code{\include "english.ly"} to the top of the input
221 file. The available language files
222 and the note names they define are
224 @c Should this be made into a multitable?
225 @cindex note names, other languages
227 Note Names sharp flat double double
230 nederlands.ly c d e f g a bes b -is -es -isis -eses
231 english.ly c d e f g a bf b -s/-sharp -f/-flat -ss/-x/ -ff/
232 -sharpsharp -flatflat
233 deutsch.ly c d e f g a b h -is -es -isis -eses
234 norsk.ly c d e f g a b h -iss/-is -ess/-es -ississ/-isis -essess/-eses
235 svenska.ly c d e f g a b h -iss -ess -ississ -essess
236 italiano.ly do re mi fa sol la sib si -d -b -dd -bb
237 catalan.ly do re mi fa sol la sib si -d/-s -b -dd/-ss -bb
238 espanol.ly do re mi fa sol la sib si -s -b -ss -bb
242 Note that in Dutch, German, Norwegian, and Swedish, the flat
243 alterations of @samp{a} like for example @code{aes} and @code{aeses}
244 are usually contracted to @code{as} and @code{ases} (or more commonly
245 @code{asas}). Sometimes only these contracted names are defined in the
246 corresponding language files (this also applies to the suffixes for
250 Some music uses microtones whose alterations are fractions of a
251 @q{regular} sharp or flat. The note names for quartertones defined in
252 the various language files are listed in the following table. Here the
253 prefixes @q{semi-} and @q{sesqui-} mean @q{half} and @q{one and a
254 half}, respectively. For Norwegian, Swedish, Catalan and Spanish no
255 special names have been defined yet.
256 @c What about Turkish Maquam music and similar microtonal systems?
258 @c Note that the term "three-quarter-sharp/-flat" used in lilypond's source code
259 @c is actually misleading since the alteration is in fact one and a half
260 @c of a regular sharp/flat. Whence the naming "sesqui-sharp/-flat" used below.
263 Note Names semi- semi- sesqui- sesqui-
264 sharp flat sharp flat
266 nederlands.ly c d e f g a bes b -ih -eh -isih -eseh
267 english.ly c d e f g a bf b -qs -qf -tqs -tqf
268 deutsch.ly c d e f g a b h -ih -eh -isih -eseh
269 norsk.ly c d e f g a b h
270 svenska.ly c d e f g a b h
271 italiano.ly do re mi fa sol la sib si -sd -sb -dsd -bsb
272 catalan.ly do re mi fa sol la sib si
273 espanol.ly do re mi fa sol la sib si
278 @node Relative octaves
279 @subsection Relative octaves
282 @cindex Relative octave specification
285 Octaves are specified by adding @code{'} and @code{,} to pitch names.
286 When you copy existing music, it is easy to accidentally put a pitch
287 in the wrong octave and hard to find such an error. The relative
288 octave mode prevents these errors by making the mistakes much
289 larger: a single error puts the rest of the piece off by one octave
292 \relative @var{startpitch} @var{musicexpr}
299 \relative @var{musicexpr}
303 @code{c'} is used as the default if no starting pitch is defined.
305 The octave of notes that appear in @var{musicexpr} are calculated as
306 follows: if no octave changing marks are used, the basic interval
307 between this and the last note is always taken to be a fourth or
308 less. This distance is determined without regarding alterations; a
309 @code{fisis} following a @code{ceses} will be put above the
310 @code{ceses}. In other words, a doubly-augmented fourth is considered
311 a smaller interval than a diminished fifth, even though the
312 doubly-augmented fourth spans seven semitones while the diminished
313 fifth only spans six semitones.
315 The octave changing marks @code{'} and @code{,} can be added to raise
316 or lower the pitch by an extra octave. Upon entering relative mode,
317 an absolute starting pitch can be specified that will act as the
318 predecessor of the first note of @var{musicexpr}. If no starting pitch
319 is specified, then middle C is used as a start.
321 Here is the relative mode shown in action
322 @lilypond[quote,fragment,ragged-right,verbatim]
328 Octave changing marks are used for intervals greater than a fourth
330 @lilypond[quote,ragged-right,fragment,verbatim]
336 If the preceding item is a chord, the first note of the chord is used
337 to determine the first note of the next chord
339 @lilypond[quote,ragged-right,fragment,verbatim]
347 The pitch after @code{\relative} contains a note name.
349 The relative conversion will not affect @code{\transpose},
350 @code{\chordmode} or @code{\relative} sections in its argument. To use
351 relative within transposed music, an additional @code{\relative} must
352 be placed inside @code{\transpose}.
356 @subsection Octave check
360 Octave checks make octave errors easier to correct: a note may be
361 followed by @code{=}@var{quotes} which indicates what its absolute
362 octave should be. In the following example,
365 \relative c'' @{ c='' b=' d,='' @}
369 the @code{d} will generate a warning, because a @code{d''} is expected
370 (because @code{b'} to @code{d''} is only a third), but a @code{d'} is
371 found. In the output, the octave is corrected to be a @code{d''} and
372 the next note is calculated relative to @code{d''} instead of @code{d'}.
374 There is also an octave check that produces no visible output. The syntax
380 This checks that @var{pitch} (without quotes) yields @var{pitch} (with
381 quotes) in @code{\relative} mode compared to the note given in the
382 @code{\relative} command. If not, a warning is printed, and the
383 octave is corrected. The @var{pitch} is not printed as a note.
385 In the example below, the first check passes without incident, since
386 the @code{e} (in @code{relative} mode) is within a fifth of
388 the second check produces a warning, since the @code{e} is not within
389 a fifth of @code{b'}. The warning message is printed, and the octave
390 is adjusted so that the following notes are in the correct octave
402 The octave of a note following an octave check is determined with
403 respect to the note preceding it. In the next fragment, the last note
404 is an @code{a'}, above middle C. That means that the @code{\octave}
405 check passes successfully, so the check could be deleted without changing
406 the output of the piece.
408 @lilypond[quote,ragged-right,verbatim,fragment]
418 @subsection Transpose
421 @cindex Transposition of pitches
424 A music expression can be transposed with @code{\transpose}. The
427 \transpose @var{from} @var{to} @var{musicexpr}
430 This means that @var{musicexpr} is transposed by the interval between
431 the pitches @var{from} and @var{to}: any note with pitch @code{from}
432 is changed to @code{to}.
434 For example, consider a piece written in the key of D-major. If
435 this piece is a little too low for its performer, it can be
436 transposed up to E-major with
438 \transpose d e @dots{}
441 Consider a part written for violin (a C instrument). If
442 this part is to be played on the A clarinet (for which an
443 A is notated as a C, and which sounds a minor third lower
444 than notated), the following
445 transposition will produce the appropriate part
448 \transpose a c @dots{}
451 @code{\transpose} distinguishes between enharmonic pitches: both
452 @code{\transpose c cis} or @code{\transpose c des} will transpose up
453 half a tone. The first version will print sharps and the second
454 version will print flats
456 @lilypond[quote,ragged-right,verbatim]
457 mus = { \key d \major cis d fis g }
466 @code{\transpose} may also be used to input written notes for a
467 transposing instrument. Pitches are normally entered into LilyPond
468 in C (or @q{concert pitch}), but they may be entered in another
469 key. For example, when entering music for a B-flat trumpet which
470 begins on concert D, one would write
473 \transpose c bes @{ e4 @dots{} @}
476 To print this music in B-flat again (i.e., producing a trumpet part,
477 instead of a concert pitch conductor's score) you would wrap the
478 existing music with another @code{transpose}
481 \transpose bes c @{ \transpose c bes @{ e4 @dots{} @} @}
487 Program reference: @internalsref{TransposedMusic}.
489 Example: @inputfileref{input/@/test,smart@/-transpose@/.ly}.
494 If you want to use both @code{\transpose} and @code{\relative},
495 you must put @code{\transpose} outside of @code{\relative}, since
496 @code{\relative} will have no effect on music that appears inside a
507 Rests are entered like notes with the note name @code{r}
509 @lilypond[fragment,quote,ragged-right,verbatim]
513 Whole bar rests, centered in middle of the bar,
514 must be done with multi-measure rests. They can be used for a
515 single bar as well as many bars, and are discussed in
516 @ref{Multi measure rests}.
518 To explicitly specify a rest's vertical position, write a note
519 followed by @code{\rest}. A rest will be placed in the position
520 where the note would appear,
522 @lilypond[fragment,quote,ragged-right,verbatim]
527 This makes manual formatting of
528 polyphonic music much easier, since the automatic rest collision
529 formatter will leave these rests alone.
533 Program reference: @internalsref{Rest}.
540 @cindex Invisible rest
545 An invisible rest (also called a @q{skip}) can be entered like a note
546 with note name @samp{s} or with @code{\skip @var{duration}}
548 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
549 a4 a4 s4 a4 \skip 1 a4
552 The @code{s} syntax is only available in note mode and chord mode. In
553 other situations, for example, when entering lyrics, you should use
554 the @code{\skip} command
556 @lilypond[quote,ragged-right,verbatim]
559 \new Lyrics \lyricmode { \skip 2 bla2 }
563 The skip command is merely an empty musical placeholder. It does not
564 produce any output, not even transparent output.
566 The @code{s} skip command does create @internalsref{Staff} and
567 @internalsref{Voice} when necessary, similar to note and rest
568 commands. For example, the following results in an empty staff.
570 @lilypond[quote,ragged-right,verbatim]
574 The fragment @code{@{ \skip 4 @} } would produce an empty page.
578 Program reference: @internalsref{SkipMusic}.
585 This section discusses rhythms, durations, and bars.
589 * Augmentation dots::
591 * Scaling durations::
594 * Automatic note splitting::
599 @subsection Durations
606 In Note, Chord, and Lyrics mode, durations are designated by numbers and
607 dots: durations are entered as their reciprocal values. For example, a
608 quarter note is entered using a @code{4} (since it is a 1/4 note), while
609 a half note is entered using a @code{2} (since it is a 1/2 note). For
610 notes longer than a whole you must use the @code{\longa} and
611 @code{\breve} commands
615 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
617 r1 r2 r4 r8 r16 r32 r64 r64
623 a\breve*1/2 \autoBeamOff
624 a1 a2 a4 a8 a16 a32 a64 a64
627 r\longa*1/4 r\breve *1/2
628 r1 r2 r4 r8 r16 r32 r64 r64
635 \remove "Bar_number_engraver"
639 \remove "Clef_engraver"
640 \override StaffSymbol #'transparent = ##t
641 \override TimeSignature #'transparent = ##t
642 \override BarLine #'transparent = ##t
643 \consists "Pitch_squash_engraver"
649 If the duration is omitted then it is set to the previously entered
650 duration. The default for the first note is a quarter note.
652 @lilypond[quote,ragged-right,verbatim,fragment]
653 { a a a2 a a4 a a1 a }
657 @node Augmentation dots
658 @subsection Augmentation dots
662 To obtain dotted note lengths, simply add a dot (@samp{.}) to
663 the number. Double-dotted notes are produced in a similar way.
665 @lilypond[quote,ragged-right,fragment,verbatim]
666 a'4 b' c''4. b'8 a'4. b'4.. c''8.
671 Dots are normally moved up to avoid staff lines, except in polyphonic
672 situations. The following commands may be used to force a particular
679 @funindex \dotsNeutral
684 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
694 Tuplets are made out of a music expression by multiplying all durations
698 \times @var{fraction} @var{musicexpr}
702 The duration of @var{musicexpr} will be multiplied by the fraction.
703 The fraction's denominator will be printed over the notes, optionally
704 with a bracket. The most common tuplet is the triplet in which 3
705 notes have the length of 2, so the notes are 2/3 of their written
708 @lilypond[quote,ragged-right,fragment,verbatim]
709 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
712 Tuplets may be nested, for example,
714 @lilypond[fragment,ragged-right,verbatim,relative=2]
715 \override TupletNumber #'text = #tuplet-number::calc-fraction-text
718 \times 3/5 { a a a a a }
726 @funindex \tupletDown
728 @funindex \tupletNeutral
729 @code{\tupletNeutral}.
734 @funindex tupletNumberFormatFunction
735 @cindex tuplet formatting
737 The property @code{tupletSpannerDuration} specifies how long each
738 bracket should last. With this, you can make lots of tuplets while
739 typing @code{\times} only once, thus saving lots of typing. In the next
740 example, there are two triplets shown, while @code{\times} was only
743 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
744 \set tupletSpannerDuration = #(ly:make-moment 1 4)
745 \times 2/3 { c8 c c c c c }
749 For more information about @code{make-moment}, see
750 @ref{Time administration}.
752 The format of the number is determined by the property @code{text} in
753 @code{TupletNumber}. The default prints only the denominator, but if
754 it is set to the function @code{tuplet-number::calc-fraction-text},
755 @var{num}:@var{den} will be printed instead.
757 To avoid printing tuplet numbers, use
759 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
760 \times 2/3 { c8 c c } \times 2/3 { c8 c c }
761 \override TupletNumber #'transparent = ##t
762 \times 2/3 { c8 c c } \times 2/3 { c8 c c }
765 Tuplet brackets can be made to run to prefatory matter or
768 @lilypond[ragged-right]
770 \set tupletFullLength = ##t
775 \set tupletFullLengthNote = ##t
788 Program reference: @internalsref{TupletBracket},
789 @internalsref{TupletNumber}, and @internalsref{TimeScaledMusic}.
793 @node Scaling durations
794 @subsection Scaling durations
796 You can alter the length of duration by a fraction @var{N/M}
797 appending @samp{*@var{N/M}} (or @samp{*@var{N}} if @var{M=1}). This
798 will not affect the appearance of the notes or rests produced. These
799 may be combined such as @samp{*M*N}.
801 In the following example, the first three notes take up exactly two
802 beats, but no triplet bracket is printed.
804 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
806 a4*2/3 gis4*2/3 a4*2/3
814 This manual: @ref{Tuplets}
818 @subsection Bar check
821 @funindex barCheckSynchronize
824 Bar checks help detect errors in the durations. A bar check is
825 entered using the bar symbol, @samp{|}. Whenever it is encountered
826 during interpretation, it should fall on a measure boundary. If it
827 does not, a warning is printed. In the next example, the second bar
828 check will signal an error
830 \time 3/4 c2 e4 | g2 |
833 Bar checks can also be used in lyrics, for example
838 Twin -- kle | Twin -- kle
842 Failed bar checks are caused by entering incorrect
843 durations. Incorrect durations often completely garble up the score,
844 especially if the score is polyphonic, so a good place to start correcting
845 input is by scanning for failed bar checks and incorrect durations.
850 It is also possible to redefine the meaning of @code{|}. This is done
851 by assigning a music expression to @code{pipeSymbol},
853 @lilypond[quote,ragged-right,verbatim]
854 pipeSymbol = \bar "||"
860 @node Barnumber check
861 @subsection Barnumber check
863 When copying large pieces of music, it can be helpful to check that
864 the LilyPond bar number corresponds to the original that you are
865 entering from. This can be checked with @code{\barNumberCheck}, for
873 will print a warning if the @code{currentBarNumber} is not 123 when it
877 @node Automatic note splitting
878 @subsection Automatic note splitting
880 Long notes can be converted automatically to tied notes. This is done
881 by replacing the @internalsref{Note_heads_engraver} by the
882 @internalsref{Completion_heads_engraver}.
883 In the following examples, notes crossing the bar line are split and tied.
885 @lilypond[quote,fragment,verbatim,relative=1,line-width=12\cm]
887 \remove "Note_heads_engraver"
888 \consists "Completion_heads_engraver"
890 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
894 This engraver splits all running notes at the bar line, and inserts
895 ties. One of its uses is to debug complex scores: if the measures are
896 not entirely filled, then the ties exactly show how much each measure
899 If you want to allow line breaking on the bar lines where
900 @internalsref{Completion_heads_engraver} splits notes, you must
901 also remove @internalsref{Forbid_line_breaks_engraver}.
906 Not all durations (especially those containing tuplets) can be
907 represented exactly with normal notes and dots, but the engraver will
910 @code{Completion_heads_engraver} only affects notes; it does not split
916 Program reference: @internalsref{Completion_heads_engraver}.
922 Polyphony in music refers to having more than one voice occurring in
923 a piece of music. Polyphony in LilyPond refers to having more than
924 one voice on the same staff.
930 * Explicitly instantiating voices::
931 * Collision Resolution::
940 A chord is formed by a enclosing a set of pitches between @code{<}
941 and @code{>}. A chord may be followed by a duration, and a set of
942 articulations, just like simple notes
944 @lilypond[verbatim,ragged-right,fragment,quote,relative=1]
948 For more information about chords, see @ref{Chord names}.
954 Whenever a note is found, a @internalsref{Stem} object is created
955 automatically. For whole notes and rests, they are also created but
964 @funindex \stemNeutral
970 To change the direction of stems in the middle of the staff, use
972 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
974 \override Stem #'neutral-direction = #up
976 \override Stem #'neutral-direction = #down
981 @node Basic polyphony
982 @subsection Basic polyphony
986 The easiest way to enter fragments with more than one voice on a staff
987 is to enter each voice as a sequence (with @code{@{...@}}), and combine
988 them simultaneously, separating the voices with @code{\\}
992 @lilypond[quote,verbatim,fragment]
993 \new Staff \relative c' {
996 { g4 f e | d2 e2 } \\
997 { r8 e4 d c8 ~ | c b16 a b8 g ~ g2 } \\
1003 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1004 voices are sometimes called @q{layers} in other notation packages}
1006 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1007 each of these contexts, vertical direction of slurs, stems, etc., is set
1010 These voices are all separate from the voice that contains the notes just
1011 outside the @code{<< \\ >>} construct. This should be noted when making
1012 changes at the voice level. This also means that slurs and ties cannot go
1013 into or out of a @code{<< \\ >>} construct. Conversely, parallel voices
1014 from separate @code{<< \\ >>} constructs on the same staff are the the
1015 same voice. Here is the same example, with different noteheads for each
1016 voice. Note that the change to the note-head style in the main voice does
1018 the inside of the @code{<< \\ >>} constructs. Also, the change to the
1020 voice in the first @code{<< \\ >>} construct is effective in the second
1021 @code{<< \\ >>}, and the voice is tied across the two constructs.
1023 @cindex note heads, styles
1025 @lilypond[quote,verbatim,fragment]
1026 \new Staff \relative c' {
1027 \override NoteHead #'style = #'cross
1031 { \override NoteHead #'style = #'triangle
1036 { c8 b16 a b8 g ~ g2 } \\
1037 { \override NoteHead #'style = #'slash s4 b4 c2 }
1042 Polyphony does not change the relationship of notes within a
1043 @code{\relative @{ @}} block. Each note is calculated relative
1044 to the note immediately preceding it.
1047 \relative @{ noteA << noteB \\ noteC >> noteD @}
1050 @code{noteC} is relative to @code{noteB}, not @code{noteA};
1051 @code{noteD} is relative to @code{noteC}, not @code{noteB} or
1055 @node Explicitly instantiating voices
1056 @subsection Explicitly instantiating voices
1058 @internalsref{Voice} contexts can also be instantiated manually
1059 inside a @code{<< >>} block to create polyphonic music, using
1060 @code{\voiceOne}, up to @code{\voiceFour} to assign stem directions
1061 and a horizontal shift for each part.
1065 << \upper \\ \lower >>
1073 \new Voice = "1" @{ \voiceOne \upper @}
1074 \new Voice = "2" @{ \voiceTwo \lower @}
1078 The @code{\voiceXXX} commands set the direction of stems, slurs, ties,
1079 articulations, text annotations, augmentation dots of dotted
1080 notes, and fingerings. @code{\voiceOne} and @code{\voiceThree} make
1081 these objects point upwards, while @code{\voiceTwo} and @code{\voiceFour}
1082 make them point downwards.
1083 The command @code{\oneVoice} will revert back to the normal setting.
1085 An expression that appears directly inside a @code{<< >>} belongs to
1086 the main voice. This is useful when extra voices appear while the main
1087 voice is playing. Here is a more correct rendition of the example from
1088 the previous section. The crossed noteheads demonstrate that the main
1089 melody is now in a single voice context.
1091 @lilypond[quote,ragged-right,verbatim]
1092 \new Staff \relative c' {
1093 \override NoteHead #'style = #'cross
1098 \new Voice="1" { \voiceTwo
1099 r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
1102 \new Voice { \voiceThree
1111 The correct definition of the voices allows the melody to be slurred.
1112 @lilypond[quote,ragged-right,verbatim]
1113 \new Staff \relative c' {
1118 \context Voice="1" { \voiceTwo
1119 r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
1122 \new Voice { \voiceThree
1131 Avoiding the @code{\\} separator also allows nesting polyphony
1132 constructs, which in some case might be a more natural way to typeset
1135 @lilypond[quote,ragged-right,verbatim]
1136 \new Staff \relative c' {
1141 \context Voice="1" { \voiceTwo
1144 {c8 b16 a b8 g ~ g2}
1145 \new Voice { \voiceThree
1157 In some instances of complex polyphonic music, you may need additional
1158 voices to avoid collisions between notes. Additional voices are added
1159 by defining an identifier, as shown below:
1161 @lilypond[quote,verbatim,ragged-right,relative=2]
1162 voiceFive = #(context-spec-music (make-voice-props-set 4) 'Voice)
1165 { \voiceOne g4 ~ \stemDown g32[ f( es d c b a b64 )g] } \\
1166 { \voiceThree b4} \\
1173 @node Collision Resolution
1174 @subsection Collision Resolution
1176 Normally, note heads with a different number of dots are not merged, but
1177 when the object property @code{merge-differently-dotted} is set in
1178 the @internalsref{NoteCollision} object, they are merged:
1180 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
1183 \override Staff.NoteCollision
1184 #'merge-differently-dotted = ##t
1186 } \\ { g8.[ f16] g8.[ f16] } >>
1189 Similarly, you can merge half note heads with eighth notes, by setting
1190 @code{merge-differently-headed}:
1192 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
1195 \override Staff.NoteCollision
1196 #'merge-differently-headed = ##t
1197 c8 c4. } \\ { c2 c2 } >>
1201 @code{merge-differently-headed} and @code{merge-differently-dotted}
1202 only apply to opposing stem directions (ie. Voice 1 & 2).
1204 LilyPond also vertically shifts rests that are opposite of a stem,
1207 @lilypond[quote,ragged-right,fragment,verbatim]
1208 \new Voice << c''4 \\ r4 >>
1211 If three or more notes line up in the same column,
1212 @code{merge-differently-headed} cannot
1213 successfully complete the merge of the two notes that should be merged.
1214 To allow the merge to work properly, apply a @code{\shift} to the note that
1215 should not be merged. In the first measure of following example,
1216 @code{merge-differently-headed} does not work (the half-note head is
1217 solid). In the second measure, @code{\shiftOn} is applied to move the
1218 top @code{g} out of the column, and @code{merge-differently-headed}
1221 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1222 \override Staff.NoteCollision #'merge-differently-headed = ##t
1225 { \oneVoice d=''8 c8 r4 e,8 c'8 r4 } \\
1226 { \voiceFour e,,2 e'2}
1229 { d'=''2 \shiftOn g2 } \\
1230 { \oneVoice d=''8 c8 r4 e,8 c'8 r4 } \\
1231 { \voiceFour e,,2 e'2}
1244 @funindex \voiceThree
1246 @funindex \voiceFour
1253 @funindex \shiftOnnn
1256 @code{\shiftOff}: these commands specify the
1257 degree to which chords of the current voice should be shifted.
1258 The outer voices (normally: voice one and
1259 two) have @code{\shiftOff}, while the inner voices (three and four)
1260 have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define
1261 further shift levels.
1263 When LilyPond cannot cope, the @code{force-hshift}
1264 property of the @internalsref{NoteColumn} object and pitched rests can
1265 be used to override typesetting decisions.
1267 @lilypond[quote,verbatim,ragged-right]
1274 \once \override NoteColumn #'force-hshift = #1.7
1282 Program reference: the objects responsible for resolving collisions are
1283 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1288 When using @code{merge-differently-headed} with an upstem eighth or a
1289 shorter note, and a downstem half note, the eighth note gets the wrong
1292 There is no support for clusters where the same note occurs with
1293 different accidentals in the same chord. In this case, it is
1294 recommended to use enharmonic transcription, or to use special cluster
1295 notation (see @ref{Clusters}).
1299 @node Staff notation
1300 @section Staff notation
1302 @cindex Staff notation
1304 This section describes music notation that occurs on staff level,
1305 such as key signatures, clefs and time signatures.
1311 * Partial measures::
1314 * System start delimiters::
1316 * Writing music in parallel::
1325 The clef indicates which lines of the staff correspond to which
1326 pitches. The clef is set with the @code{\clef} command
1328 @lilypond[quote,ragged-right,fragment,verbatim]
1329 { c''2 \clef alto g'2 }
1338 @cindex soprano clef
1339 @cindex mezzosoprano clef
1340 @cindex baritone clef
1341 @cindex varbaritone clef
1342 @cindex subbass clef
1344 Supported clefs include
1346 @multitable @columnfractions .33 .66
1347 @headitem Clef @tab Position
1348 @item @code{treble}, violin, G, G2 @tab
1350 @item @code{alto, C} @tab
1352 @item @code{tenor} @tab
1354 @item @code{bass, F} @tab
1356 @item @code{french} @tab
1357 G clef on 1st line, so-called French violin clef
1358 @item @code{soprano} @tab
1360 @item @code{mezzosoprano} @tab
1362 @item @code{baritone} @tab
1364 @item @code{varbaritone} @tab
1366 @item @code{subbass} @tab
1368 @item @code{percussion} @tab
1370 @item @code{tab} @tab
1374 By adding @code{_8} or @code{^8} to the clef name, the clef is
1375 transposed one octave down or up, respectively, and @code{_15} and
1376 @code{^15} transposes by two octaves. The argument @var{clefname}
1377 must be enclosed in quotes when it contains underscores or digits. For
1380 @cindex choral tenor clef
1381 @lilypond[quote,ragged-right,verbatim,fragment,relative=1]
1388 The command @code{\clef "treble_8"} is equivalent to setting
1390 @code{clefPosition} (which controls the Y position of the clef),
1391 @code{middleCPosition} and @code{clefOctavation}. A clef is printed
1392 when any of these properties are changed. The following example shows
1393 possibilities when setting properties manually.
1395 @lilypond[quote,ragged-right,verbatim]
1397 \set Staff.clefGlyph = #"clefs.F"
1398 \set Staff.clefPosition = #2
1400 \set Staff.clefGlyph = #"clefs.G"
1402 \set Staff.clefGlyph = #"clefs.C"
1404 \set Staff.clefOctavation = #7
1406 \set Staff.clefOctavation = #0
1407 \set Staff.clefPosition = #0
1411 \set Staff.middleCPosition = #4
1419 Manual: @ref{Grace notes}.
1421 Program reference: @internalsref{Clef}.
1425 @subsection Key signature
1427 @cindex Key signature
1430 The key signature indicates the tonality in which a piece is played. It
1431 is denoted by a set of alterations (flats or sharps) at the start of the
1434 Setting or changing the key signature is done with the @code{\key}
1438 @code{\key} @var{pitch} @var{type}
1447 @funindex \mixolydian
1451 @cindex church modes
1453 Here, @var{type} should be @code{\major} or @code{\minor} to get
1454 @var{pitch}-major or @var{pitch}-minor, respectively. You may also
1455 use the standard mode names (also called @q{church modes}): @code{\ionian},
1456 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
1457 @code{\phrygian}, and @code{\dorian}.
1459 This command sets the context property
1460 @code{Staff.keySignature}. Non-standard key signatures
1461 can be specified by setting this property directly.
1463 Accidentals and key signatures often confuse new users, because
1464 unaltered notes get natural signs depending on the key signature. For
1465 more information, see @ref{Accidentals} or @ref{Accidentals and key signatures}.
1467 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1476 A natural sign is printed to cancel any previous accidentals. This
1477 can be suppressed by setting the @code{Staff.printKeyCancellation}
1480 @lilypond[quote,fragment,ragged-right,fragment,verbatim,relative=2]
1485 \set Staff.printKeyCancellation = ##f
1495 Program reference: @internalsref{KeyCancellation},
1496 @internalsref{KeySignature}.
1499 @node Time signature
1500 @subsection Time signature
1502 @cindex Time signature
1506 Time signature indicates the metrum of a piece: a regular pattern of
1507 strong and weak beats. It is denoted by a fraction at the start of the
1510 The time signature is set with the @code{\time} command
1512 @lilypond[quote,ragged-right,fragment,verbatim]
1513 \time 2/4 c'2 \time 3/4 c'2.
1518 The symbol that is printed can be customized with the @code{style}
1519 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1522 @lilypond[fragment,quote,ragged-right,verbatim]
1525 \override Staff.TimeSignature #'style = #'()
1530 There are many more options for its layout. See @ref{Ancient time
1531 signatures} for more examples.
1533 @code{\time} sets the property @code{timeSignatureFraction},
1534 @code{beatLength} and @code{measureLength} in the @code{Timing}
1535 context, which is normally aliased to @internalsref{Score}. The
1536 property @code{measureLength} determines where bar lines should be
1537 inserted, and how automatic beams should be generated. Changing the
1538 value of @code{timeSignatureFraction} also causes the symbol to be
1541 More options are available through the Scheme function
1542 @code{set-time-signature}. In combination with the
1543 @internalsref{Measure_grouping_engraver}, it will create
1544 @internalsref{MeasureGrouping} signs. Such signs ease reading
1545 rhythmically complex modern music. In the following example, the 9/8
1546 measure is subdivided in 2, 2, 2 and 3. This is passed to
1547 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
1549 @lilypond[quote,ragged-right,verbatim]
1552 #(set-time-signature 9 8 '(2 2 2 3))
1553 g8[ g] d[ d] g[ g] a8[( bes g]) |
1554 #(set-time-signature 5 8 '(3 2))
1560 \consists "Measure_grouping_engraver"
1569 Program reference: @internalsref{TimeSignature}, and
1570 @internalsref{Timing_translator}.
1572 Examples: @inputfileref{input/@/test,compound@/-time@/.ly}.
1577 Automatic beaming does not use the measure grouping specified with
1578 @code{set-time-signature}.
1581 @node Partial measures
1582 @subsection Partial measures
1586 @cindex partial measure
1587 @cindex measure, partial
1588 @cindex shorten measures
1591 Partial measures, such as an anacrusis or upbeat, are entered using the
1593 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1594 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1597 The syntax for this command is
1600 \partial @var{duration}
1603 where @code{duration} is the rhythmic length to be added before
1606 This is internally translated into
1609 \set Timing.measurePosition = -@var{length of duration}
1612 The property @code{measurePosition} contains a rational number
1613 indicating how much of the measure has passed at this point. Note
1614 that this is a negative number; @code{\partial 4} is internally
1615 translated to mean @qq{there is a quarter note left in the bar.}
1620 This command does not take into account grace notes at the start of
1621 the music. When a piece starts with graces notes in the pickup, then
1622 the @code{\partial} should follow the grace notes
1624 @lilypond[verbatim,quote,ragged-right,relative,fragment]
1631 @code{\partial} is only intended to be used at the beginning of a
1632 piece. If you use it after the beginning, some odd warnings may
1637 @subsection Bar lines
1641 @cindex measure lines
1644 Bar lines delimit measures, but are also used to indicate
1645 repeats. Normally they are inserted automatically. Line
1646 breaks may only happen on bar lines.
1648 Special types of bar lines can be forced with the @code{\bar} command
1650 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1654 The following bar types are available
1656 @lilypondfile[ragged-right,quote]{bar-lines.ly}
1658 In addition, you can specify @code{"||:"}, which is equivalent to
1659 @code{"|:"} except at line breaks, where it gives a double bar line at
1660 the end of the line and a start repeat at the beginning of the next
1663 To allow a line break where there is no visible bar line, use
1670 This will insert an invisible bar line and allow line breaks at this
1671 point (without increasing the bar number counter).
1673 In scores with many staves, a @code{\bar} command in one staff is
1674 automatically applied to all staves. The resulting bar lines are
1675 connected between different staves of a @code{StaffGroup},
1676 @code{PianoStaff}, or @code{ChoirStaff}.
1678 @lilypond[quote,ragged-right,fragment,verbatim]
1686 \new Staff { \clef bass c4 g e g }
1688 \new Staff { \clef bass c2 c2 }
1696 @funindex repeatCommands
1697 @funindex defaultBarType
1699 The command @code{\bar }@var{bartype} is a short cut for doing
1700 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1701 is set to a string, a bar line of that type is created.
1703 A bar line is created whenever the @code{whichBar} property is set.
1704 At the start of a measure it is set to the contents of
1705 @code{Timing.defaultBarType}. The contents of @code{repeatCommands} are
1707 to override default measure bars.
1709 You are encouraged to use @code{\repeat} for repetitions. See
1715 In this manual: @ref{Repeats}, @ref{System start delimiters}.
1717 Program reference: @internalsref{BarLine} (created at
1718 @internalsref{Staff} level), @internalsref{SpanBar} (across staves).
1721 @node Unmetered music
1722 @subsection Unmetered music
1725 @funindex \cadenzaOn
1726 @funindex \cadenzaOff
1728 Bar lines and bar numbers are calculated automatically. For unmetered
1729 music (cadenzas, for example), this is not desirable. To turn off
1730 automatic bar lines and bar numbers, use the commands @code{\cadenzaOn}
1731 and @code{\cadenzaOff}.
1733 @lilypond[verbatim,quote,ragged-right,relative=2,fragment]
1745 LilyPond will only insert line breaks and page breaks at a
1746 barline. Unless the unmetered music ends before the end of
1747 the staff line, you will need to insert
1755 to indicate where breaks can occur.
1758 @node System start delimiters
1759 @subsection System start delimiters
1761 @cindex start of system
1762 @cindex Staff, multiple
1763 @cindex bracket, vertical
1764 @cindex brace, vertical
1767 @cindex staff, choir
1769 Many scores consist of more than one staff. These staves can be
1770 joined in four different ways
1773 @item The group is started with a brace at the left, and bar lines are
1774 connected. This is done with the @internalsref{GrandStaff} context.
1776 @lilypond[verbatim,ragged-right,quote]
1784 @item The group is started with a bracket, and bar lines are connected.
1785 This is done with the
1786 @internalsref{StaffGroup} context
1788 @lilypond[verbatim,ragged-right,quote]
1796 @item The group is started with a bracket, but bar lines are not
1797 connected. This is done with the @internalsref{ChoirStaff} context.
1799 @lilypond[verbatim,ragged-right,quote]
1807 @item The group is started with a vertical line. Bar lines are not
1808 connected. This is the default for the score.
1810 @lilypond[verbatim,ragged-right,quote]
1821 The bar lines at the start of each system are
1822 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1823 @internalsref{SystemStartBracket}. Only one of these types is created
1824 in every context, and that type is determined by the property
1825 @internalsref{systemStartDelimiter}.
1830 System start delimiters may be deeply nested,
1832 @lilypond[quote,ragged-right,verbatim]
1835 \set StaffGroup.systemStartDelimiterHierarchy
1836 = #'(SystemStartSquare (SystemStartBracket a (SystemStartSquare b)) d)
1847 @subsection Staff symbol
1849 @cindex adjusting staff symbol
1851 Notes, dynamic signs, etc., are grouped
1852 with a set of horizontal lines, called a staff (plural @q{staves}). In
1853 LilyPond, these lines are drawn using a separate layout object called
1854 @code{staff symbol}.
1856 The staff symbol may be tuned in the number, thickness and distance
1857 of lines, using properties. This is demonstrated in the example files
1858 @inputfileref{input/@/test,staff@/-lines@/.ly},
1859 @inputfileref{input/@/test,staff@/-size@/.ly}.
1861 In addition, staves may be started and stopped at will. This is done
1862 with @code{\startStaff} and @code{\stopStaff}.
1864 @lilypond[verbatim,relative=2,fragment]
1866 \override Staff.StaffSymbol #'line-count = 2
1867 \stopStaff \startStaff
1869 \revert Staff.StaffSymbol #'line-count
1870 \stopStaff \startStaff
1874 In combination with Frenched staves, this may be used to typeset ossia
1875 sections. An example is shown here
1879 @lilypondfile{ossia.ly}
1881 @cindex staff lines, setting number of
1882 @cindex staff lines, setting thickness of
1883 @cindex thickness of staff lines, setting
1884 @cindex number of staff lines, setting
1888 Program reference: @internalsref{StaffSymbol}.
1890 Examples: @inputfileref{input/@/test,staff@/-lines@/.ly},
1891 @inputfileref{input/@/test@/,ossia.ly},
1892 @inputfileref{input/@/test,staff@/-size@/.ly},
1893 @lsr{staff,staff-line-positions.ly}
1896 @node Writing music in parallel
1897 @subsection Writing music in parallel
1899 @cindex Writing music in parallel
1900 @cindex Interleaved music
1902 Music for multiple parts can be interleaved
1904 @lilypond[quote,fragment,verbatim]
1905 \parallelMusic #'(voiceA voiceB) {
1906 r8 g'16[ c''] e''[ g' c'' e''] r8 g'16[ c''] e''[ g' c'' e''] |
1908 r8 a'16[ d''] f''[ a' d'' f''] r8 a'16[ d''] f''[ a' d'' f''] |
1912 \new Staff \new Voice \voiceA
1913 \new Staff \new Voice \voiceB
1917 This works quite well for piano music
1919 @lilypond[quote,verbatim]
1923 \parallelMusic #'(voiceA voiceB voiceC voiceD) {
1925 r8 g'16[ c''] e''[ g' c'' e''] r8 g'16[ c''] e''[ g' c''
1928 r8 a16[ d'] f'[ a d' f'] r8 a16[ d'] f'[ a d' f'] |
1932 a'8 b' c'' d'' e'' f'' g'' a'' |
1934 c16 d e f d e f g e f g a f g a b |
1960 @node Connecting notes
1961 @section Connecting notes
1963 This section deals with notation that affects groups of notes.
1969 * Laissez vibrer ties::
1982 A tie connects two adjacent note heads of the same pitch. The tie in
1983 effect extends the length of a note. Ties should not be confused with
1984 slurs, which indicate articulation, or phrasing slurs, which indicate
1985 musical phrasing. A tie is entered using the tilde symbol @samp{~}
1987 @lilypond[quote,ragged-right,fragment,verbatim]
1988 e' ~ e' <c' e' g'> ~ <c' e' g'>
1991 When a tie is applied to a chord, all note heads whose pitches match
1992 are connected. When no note heads match, no ties will be created. Chords
1993 may be partially tied by placing the tie inside the chord,
1995 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
1996 <c~ e g~ b> <c e g b>
1999 A tie is just a way of extending a note duration, similar to the
2000 augmentation dot. The following example shows two ways of notating
2001 exactly the same concept
2003 @lilypond[quote,fragment,ragged-right]
2004 \time 3/4 c'2. c'2 ~ c'4
2008 Ties are used either when the note crosses a bar line, or when dots
2009 cannot be used to denote the rhythm. When using ties, larger note
2010 values should be aligned to subdivisions of the measure, such as
2012 @lilypond[fragment,quote,ragged-right]
2014 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
2018 If you need to tie a lot of notes over bars, it may be easier to use
2019 automatic note splitting (see @ref{Automatic note splitting}). This
2020 mechanism automatically splits long notes, and ties them across bar
2023 @funindex \repeatTie
2025 When a second alternative of a repeat starts with a tied note, you
2026 have to repeat the tie. This can be achieved with @code{\repeatTie},
2028 @lilypond[fragment,quote,ragged-right,relative=2]
2032 @cindex repeating ties
2033 @cindex volta brackets and ties
2037 Ties are sometimes used to write out arpeggios. In this case, two tied
2038 notes need not be consecutive. This can be achieved by setting the
2039 @code{tieWaitForNote} property to true. The same feature is also useful,
2040 for example, to tie a tremolo to a chord. For example,
2042 @lilypond[fragment,verbatim,relative=1,ragged-right,quote]
2043 \set tieWaitForNote = ##t
2044 \grace { c16[~ e~ g]~ } <c, e g>2
2045 \repeat "tremolo" 8 { c32~ c'~ } <c c,>1
2046 e8~ c~ a~ f~ <e' c a f>2
2049 Ties may be engraved manually by changing the @code{tie-configuration}
2050 property. The first number indicates the distance from the center
2051 of the staff in staff-spaces, and the second number indicates the
2052 direction (1=up, -1=down).
2054 @lilypond[fragment,verbatim,relative=1,ragged-right,quote]
2056 \override TieColumn #'tie-configuration =
2057 #'((0.0 . 1) (-2.0 . 1) (-4.0 . 1))
2069 @funindex \tieNeutral
2071 @funindex \tieDotted
2073 @funindex \tieDashed
2081 In this manual: @ref{Automatic note splitting}.
2083 Program reference: @internalsref{Tie}.
2088 Switching staves when a tie is active will not produce a slanted tie.
2090 Changing clefs or octavations during a tie is not really
2091 well-defined. In these cases, a slur may be preferable.
2099 A slur indicates that notes are to be played bound or
2100 @emph{legato}. They are entered using parentheses
2102 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
2103 f( g a) a8 b( a4 g2 f4)
2107 The direction of a slur can be specified with
2108 @code{\slur@emph{DIR}}, where @code{@emph{DIR}} is
2109 either @code{Up}, @code{Down}, or @code{Neutral} (automatically
2112 However, there is a convenient shorthand for forcing slur
2113 directions. By adding @code{_} or @code{^} before the opening
2114 parentheses, the direction is also set. For example,
2116 @lilypond[relative=2,ragged-right,quote,verbatim,fragment]
2120 Only one slur can be printed at once. If you need to print a long
2121 slur over a few small slurs, please see @ref{Phrasing slurs}.
2126 Some composers write two slurs when they want legato chords. This can
2127 be achieved in LilyPond by setting @code{doubleSlurs},
2129 @lilypond[verbatim,ragged-right,relative,fragment,quote]
2130 \set doubleSlurs = ##t
2131 <c e>4 ( <d f> <c e> <d f> )
2141 @funindex \slurNeutral
2142 @code{\slurNeutral},
2143 @funindex \slurDashed
2145 @funindex \slurDotted
2147 @funindex \slurSolid
2152 Program reference: @seeinternals{Slur}.
2155 @node Phrasing slurs
2156 @subsection Phrasing slurs
2158 @cindex phrasing slurs
2159 @cindex phrasing marks
2161 A phrasing slur (or phrasing mark) connects notes and is used to
2162 indicate a musical sentence. It is written using @code{\(} and @code{\)}
2165 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
2166 \time 6/4 c'\( d( e) f( e) d\)
2169 Typographically, the phrasing slur behaves almost exactly like a
2170 normal slur. However, they are treated as different objects. A
2171 @code{\slurUp} will have no effect on a phrasing slur; instead, use
2172 @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
2173 @code{\phrasingSlurNeutral}.
2175 You cannot have simultaneous phrasing slurs.
2180 @funindex \phrasingSlurUp
2181 @code{\phrasingSlurUp},
2182 @funindex \phrasingSlurDown
2183 @code{\phrasingSlurDown},
2184 @funindex \phrasingSlurNeutral
2185 @code{\phrasingSlurNeutral}.
2190 Program reference: @internalsref{PhrasingSlur}.
2193 @node Laissez vibrer ties
2194 @subsection Laissez vibrer ties
2195 @cindex Laissez vibrer
2196 @cindex Ties, laissez vibrer
2198 L.v. ties (laissez vibrer) indicate that notes must not be damped at the
2199 end. It is used in notation for piano, harp and other string and
2200 percussion instruments. They can be entered using @code{\laissezVibrer},
2202 @lilypond[fragment,ragged-right,verbatim,relative=1]
2203 <c f g>\laissezVibrer
2209 @internalsref{LaissezVibrerTie}
2210 @internalsref{LaissezVibrerTieColumn}
2213 @lsr{connecting,laissez-vibrer-ties.ly}
2216 @node Automatic beams
2217 @subsection Automatic beams
2219 LilyPond inserts beams automatically
2221 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2222 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
2225 When these automatic decisions are not good enough, beaming can be
2226 entered explicitly. It is also possible to define beaming patterns
2227 that differ from the defaults. See @ref{Setting automatic beam behavior}
2230 Individual notes may be marked with @code{\noBeam} to prevent them
2233 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2234 \time 2/4 c8 c\noBeam c c
2240 Program reference: @internalsref{Beam}.
2244 @subsection Manual beams
2246 @cindex beams, manual
2250 In some cases it may be necessary to override the automatic beaming
2251 algorithm. For example, the autobeamer will not put beams over rests
2252 or bar lines. Such beams are specified manually by marking the begin
2253 and end point with @code{[} and @code{]}
2255 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2257 r4 r8[ g' a r8] r8 g[ | a] r8
2264 @funindex stemLeftBeamCount
2265 @funindex stemRightBeamCount
2267 Normally, beaming patterns within a beam are determined automatically.
2268 If necessary, the properties @code{stemLeftBeamCount} and
2269 @code{stemRightBeamCount} can be used to override the defaults. If
2270 either property is set, its value will be used only once, and then it
2273 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2278 \set stemLeftBeamCount = #1
2283 The property @code{subdivideBeams} can be set in order to subdivide
2284 all 16th or shorter beams at beat positions, as defined by the
2285 @code{beatLength} property.
2287 @lilypond[fragment,quote,relative=2,verbatim]
2289 \set subdivideBeams = ##t
2291 \set Score.beatLength = #(ly:make-moment 1 8)
2294 @funindex subdivideBeams
2297 For more information about @code{make-moment}, see
2298 @ref{Time administration}.
2300 Line breaks are normally forbidden when beams cross bar lines. This
2301 behavior can be changed by setting @code{breakable}.
2305 @cindex beams and line breaks
2306 @cindex beams, kneed
2308 @cindex auto-knee-gap
2313 Kneed beams are inserted automatically when a large gap is detected
2314 between the note heads. This behavior can be tuned through the object.
2316 Automatically kneed cross-staff beams cannot be used together with
2317 hidden staves. See @ref{Hiding staves}.
2319 Beams do not avoid collisions with symbols around the notes, such as
2320 texts and accidentals.
2324 @subsection Grace notes
2329 @cindex appoggiatura
2330 @cindex acciaccatura
2332 Grace notes are ornaments that are written out. The most common ones
2333 are acciaccatura, which should be played as very short. It is denoted
2334 by a slurred small note with a slashed stem. The appoggiatura is a
2335 grace note that takes a fixed fraction of the main note, and is
2336 denoted as a slurred note in small print without a slash. They
2337 are entered with the commands @code{\acciaccatura} and
2338 @code{\appoggiatura}, as demonstrated in the following example
2340 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2341 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2342 \acciaccatura { g16[ f] } e4
2345 Both are special forms of the @code{\grace} command. By prefixing this
2346 keyword to a music expression, a new one is formed, which will be
2347 printed in a smaller font and takes up no logical time in a measure.
2349 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2351 \grace { c16[ d16] } c2 c4
2355 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2356 @code{\grace} command does not start a slur.
2358 Internally, timing for grace notes is done using a second, @q{grace}
2359 timing. Every point in time consists of two rational numbers: one
2360 denotes the logical time, one denotes the grace timing. The above
2361 example is shown here with timing tuples
2363 @lilypond[quote,ragged-right]
2366 c4 \grace c16 c4 \grace {
2369 \new Lyrics \lyricmode {
2370 \override LyricText #'font-family = #'typewriter
2374 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2375 \markup { (\fraction 1 4 , 0 ) } 4
2377 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2378 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2380 \markup { ( \fraction 2 4 , 0 ) }
2385 The placement of grace notes is synchronized between different staves.
2386 In the following example, there are two sixteenth grace notes for
2387 every eighth grace note
2389 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2390 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2391 \new Staff { c4 \grace { g8[ b] } c4 } >>
2394 @funindex \afterGrace
2396 If you want to end a note with a grace, use the @code{\afterGrace}
2397 command. It takes two arguments: the main note, and the grace notes
2398 following the main note.
2400 @lilypond[ragged-right, verbatim,relative=2,fragment]
2401 c1 \afterGrace d1 { c16[ d] } c4
2404 This will put the grace notes after a @q{space} lasting 3/4 of the
2405 length of the main note. The fraction 3/4 can be changed by setting
2406 @code{afterGraceFraction}, ie.
2409 afterGraceFraction = #(cons 7 8)
2413 will put the grace note at 7/8 of the main note.
2415 The same effect can be achieved manually by doing
2417 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2420 { s2 \grace { c16[ d] } } >>
2426 By adjusting the duration of the skip note (here it is a half-note),
2427 the space between the main-note and the grace is adjusted.
2429 A @code{\grace} section will introduce special typesetting settings,
2430 for example, to produce smaller type, and set directions. Hence, when
2431 introducing layout tweaks, they should be inside the grace section,
2434 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2446 The overrides should also be reverted inside the grace section.
2448 The layout of grace sections can be changed throughout the music using
2449 the function @code{add-grace-property}. The following example
2450 undefines the @code{Stem} direction for this grace, so
2451 that stems do not always point up.
2455 #(add-grace-property 'Voice 'Stem 'direction '())
2461 Another option is to change the variables @code{startGraceMusic},
2462 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2463 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2464 @code{stopAppoggiaturaMusic}. More information is in the file
2465 @file{ly/@/grace@/-init@/.ly}.
2468 The slash through the stem in acciaccaturas can be obtained
2469 in other situations by @code{\override Stem #'stroke-style = #"grace"}.
2474 Grace notes may be forced to use floating spacing,
2476 @lilypond[relative=2,ragged-right]
2478 \override Score.SpacingSpanner #'strict-grace-spacing = ##t
2487 c'16[ c'16 c'16 c'16]
2488 c'16[ c'16 c'16 c'16]
2497 Program reference: @internalsref{GraceMusic}.
2502 A score that starts with a @code{\grace} section needs an explicit
2503 @code{\new Voice} declaration, otherwise the main note and the grace
2504 note end up on different staves.
2506 Grace note synchronization can also lead to surprises. Staff notation,
2507 such as key signatures, bar lines, etc., are also synchronized. Take
2508 care when you mix staves with grace notes and staves without, for example,
2510 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2511 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2512 \new Staff { c4 \bar "|:" d4 } >>
2516 This can be remedied by inserting grace skips of the corresponding
2517 durations in the other staves. For the above example
2520 \new Staff @{ c4 \bar "|:" \grace s16 d4 @}
2523 Grace sections should only be used within sequential music
2524 expressions. Nesting or juxtaposing grace sections is not supported,
2525 and might produce crashes or other errors.
2529 @node Expressive marks
2530 @section Expressive marks
2532 Expressive marks help musicians to bring more to the music than simple
2537 * Fingering instructions::
2548 @subsection Articulations
2550 @cindex Articulations
2554 A variety of symbols can appear above and below notes to indicate
2555 different characteristics of the performance. They are added to a note
2556 by adding a dash and the character signifying the
2557 articulation. They are demonstrated here
2559 @lilypondfile[quote,ragged-right]{script-abbreviations.ly}
2561 The meanings of these shorthands can be changed. See
2562 @file{ly/@/script@/-init@/.ly} for examples.
2564 The script is automatically placed, but the direction can be forced as
2565 well. Like other pieces of LilyPond code, @code{_} will place them
2566 below the staff, and @code{^} will place them above.
2568 @lilypond[quote,ragged-right,fragment,verbatim]
2572 Other symbols can be added using the syntax
2573 @var{note}@code{\}@var{name}. Again, they
2574 can be forced up or down using @code{^} and @code{_},
2577 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
2578 c\fermata c^\fermata c_\fermata
2583 @cindex staccatissimo
2593 @cindex organ pedal marks
2602 @cindex prallmordent
2606 @cindex thumb marking
2611 Here is a chart showing all scripts available,
2613 @lilypondfile[ragged-right,quote]{script-chart.ly}
2618 The vertical ordering of scripts is controlled with the
2619 @code{script-priority} property. The lower this number, the closer it
2620 will be put to the note. In this example, the
2621 @internalsref{TextScript} (the sharp symbol) first has the lowest
2622 priority, so it is put lowest in the first example. In the second, the
2623 prall trill (the @internalsref{Script}) has the lowest, so it is on the
2624 inside. When two objects have the same priority, the order in which
2625 they are entered decides which one comes first.
2627 @lilypond[verbatim,relative=3,ragged-right,fragment,quote]
2628 \once \override TextScript #'script-priority = #-100
2629 a4^\prall^\markup { \sharp }
2631 \once \override Script #'script-priority = #-100
2632 a4^\prall^\markup { \sharp }
2638 Program reference: @internalsref{Script}.
2643 These signs appear in the printed output but have no effect on the
2644 MIDI rendering of the music.
2647 @node Fingering instructions
2648 @subsection Fingering instructions
2651 @cindex finger change
2653 Fingering instructions can be entered using
2655 @var{note}-@var{digit}
2657 For finger changes, use markup texts
2659 @lilypond[quote,verbatim,ragged-right,fragment,relative=1]
2661 c^\markup { \finger "2 - 3" }
2664 You can use the thumb-script to indicate that a note should be
2665 played with the thumb (e.g., in cello music)
2666 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
2667 <a_\thumb a'-3>8 <b_\thumb b'-3>
2670 Fingerings for chords can also be added to individual notes
2671 of the chord by adding them after the pitches
2672 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
2673 < c-1 e-2 g-3 b-5 >4
2679 You may exercise greater control over fingering chords by
2680 setting @code{fingeringOrientations}
2682 @lilypond[quote,verbatim,ragged-right,fragment,relative=1]
2683 \set fingeringOrientations = #'(left down)
2684 <c-1 es-2 g-4 bes-5 > 4
2685 \set fingeringOrientations = #'(up right down)
2686 <c-1 es-2 g-4 bes-5 > 4
2689 Using this feature, it is also possible to put fingering instructions
2690 very close to note heads in monophonic music,
2692 @lilypond[verbatim,ragged-right,quote,fragment]
2693 \set fingeringOrientations = #'(right)
2700 Program reference: @internalsref{Fingering}.
2702 Examples: @lsr{expressive,fingering-chords.ly}
2706 @subsection Dynamics
2727 Absolute dynamic marks are specified using a command after a note
2728 @code{c4\ff}. The available dynamic marks are @code{\ppppp},
2729 @code{\pppp}, @code{\ppp},
2730 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2731 @code{\fff}, @code{\ffff}, @code{\fp}, @code{\sf}, @code{\sff},
2732 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
2734 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
2735 c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2736 c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
2743 A crescendo mark is started with @code{\<} and terminated with
2744 @code{\!} or an absolute dynamic. A decrescendo is started with
2745 @code{\>} and is also terminated with @code{\!} or an absolute
2746 dynamic. @code{\cr} and @code{\decr} may be used instead of
2747 @code{\<} and @code{\>}. Because these marks are bound to notes, you must
2748 use spacer notes if multiple marks are needed during one note
2750 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2752 << f1 { s4 s4\< s4\! \> s4\! } >>
2756 A hairpin normally starts at the left edge of the beginning note
2757 and ends on the right edge of the ending note. If the ending
2758 note falls on the downbeat, the hairpin ends on the immediately
2759 preceding barline. This may be modified by setting the
2760 @code{hairpinToBarline} property,
2762 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2763 \set hairpinToBarline = ##f
2767 In some situations the @code{\espressivo} articulation mark may
2768 be suitable to indicate a crescendo and decrescendo on the one note,
2770 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2771 c2 b4 a g1\espressivo
2774 This may give rise to very short hairpins. Use @code{minimum-length}
2775 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2779 \override Voice.Hairpin #'minimum-length = #5
2785 Hairpins may be printed with a circled tip (al niente notation) by
2786 setting the @code{circled-tip} property,
2788 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
2789 \override Hairpin #'circled-tip = ##t
2799 You can also use text saying @emph{cresc.} instead of hairpins
2801 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
2812 You can also supply your own texts
2813 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2814 \set crescendoText = \markup { \italic "cresc. poco" }
2815 \set crescendoSpanner = #'dashed-line
2819 To create new dynamic marks or text that should be aligned
2820 with dynamics, see @ref{New dynamic marks}.
2822 Vertical positioning of dynamics is handled by
2823 @internalsref{DynamicLineSpanner}.
2828 Dynamics that occur at, begin on, or end on, the same note
2829 will be vertically aligned. If you want to ensure that dynamics
2830 are aligned when they do not occur on the same note, you can
2831 increase the @code{staff-padding} property.
2834 \override DynamicLineSpanner #'staff-padding = #4
2837 You may also use this property if the dynamics are colliding
2838 with other notation.
2840 Crescendi and decrescendi that end on the first note of a
2841 new line are not printed. To change this behavior, use
2844 \override Score.Hairpin #'after-line-breaking = ##t
2847 Text style dynamic changes (such as @emph{cresc.} and @emph{dim.})
2849 dashed line showing their extent. To surpress printing this line, use
2852 \override DynamicTextSpanner #'dash-period = #-1.0
2858 @funindex \dynamicUp
2860 @funindex \dynamicDown
2861 @code{\dynamicDown},
2862 @funindex \dynamicNeutral
2863 @code{\dynamicNeutral}.
2868 Program reference: @internalsref{DynamicText}, @internalsref{Hairpin}.
2869 Vertical positioning of these symbols is handled by
2870 @internalsref{DynamicLineSpanner}.
2874 @subsection Breath marks
2876 Breath marks are entered using @code{\breathe}
2878 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2885 The glyph of the breath mark can be tuned by overriding the
2886 @code{text} property of the @code{BreathingSign} layout object with
2887 any markup text. For example,
2888 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
2890 \override BreathingSign #'text
2891 = #(make-musicglyph-markup "scripts.rvarcomma")
2898 Program reference: @internalsref{BreathingSign}.
2900 Examples: @lsr{expressive,breathing-sign.ly}
2906 Short trills are printed like normal articulation; see @ref{Articulations}.
2908 Long running trills are made with @code{\startTrillSpan} and
2909 @code{\stopTrillSpan},
2911 @lilypond[verbatim,ragged-right,relative=2,quote,fragment]
2913 << { c1 \startTrillSpan }
2914 { s2. \grace { d16[\stopTrillSpan e] } } >>
2918 @cindex Pitched trills
2920 Trills that should be executed on an explicitly specified pitch can be
2921 typeset with the command @code{pitchedTrill},
2923 @lilypond[ragged-right,verbatim,fragment,relative=1,quote]
2924 \pitchedTrill c4\startTrillSpan fis
2928 The first argument is the main note. The pitch of the second
2929 is printed as a stemless note head in parentheses.
2934 @code{\startTrillSpan},
2935 @funindex \startTrillSpan
2936 @code{\stopTrillSpan}.
2937 @funindex \stopTrillSpan
2942 Program reference: @internalsref{TrillSpanner}.
2946 @subsection Glissando
2949 @funindex \glissando
2951 A glissando is a smooth change in pitch. It is denoted by a line or a
2952 wavy line between two notes. It is requested by attaching
2953 @code{\glissando} to a note
2955 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
2957 \override Glissando #'style = #'zigzag
2964 Program reference: @internalsref{Glissando}.
2967 @lsr{expressive,glissando.ly}, @lsr{expressive,line-styles.ly}
2973 Printing text over the line (such as @emph{gliss.}) is not supported.
2977 @subsection Arpeggio
2980 @cindex broken chord
2983 You can specify an arpeggio sign (also known as broken chord) on a
2984 chord by attaching an @code{\arpeggio} to a chord
2986 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2990 A square bracket on the left indicates that the player should not
2991 arpeggiate the chord
2993 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2998 The direction of the arpeggio is sometimes denoted by adding an
2999 arrowhead to the wiggly line
3001 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
3013 When an arpeggio crosses staves, you may attach an arpeggio to the chords
3014 in both staves and set
3015 @internalsref{PianoStaff}.@code{connectArpeggios}
3017 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
3019 \set PianoStaff.connectArpeggios = ##t
3020 \new Staff { <c' e g c>\arpeggio }
3021 \new Staff { \clef bass <c,, e g>\arpeggio }
3029 @funindex \arpeggioUp
3031 @funindex \arpeggioDown
3032 @code{\arpeggioDown},
3033 @funindex \arpeggioNeutral
3034 @code{\arpeggioNeutral},
3035 @funindex \arpeggioBracket
3036 @code{\arpeggioBracket}.
3041 Notation manual: @ref{Ties}, for writing out arpeggios.
3043 Program reference: @internalsref{Arpeggio}.
3048 It is not possible to mix connected arpeggios and unconnected
3049 arpeggios in one @internalsref{PianoStaff} at the same point in time.
3052 @node Falls and doits
3053 @subsection Falls and doits
3055 Falls and doits can be added to notes using the @code{\bendAfter}
3058 @lilypond[fragment,ragged-right,relative=2]
3059 \override Score.SpacingSpanner #'shortest-duration-space = #3.0
3068 Repetition is a central concept in music, and multiple notations exist
3074 * Repeats and MIDI::
3075 * Manual repeat commands::
3077 * Tremolo subdivisions::
3083 @subsection Repeat types
3088 The following types of repetition are supported
3092 Repeated music is fully written (played) out. This is useful when
3093 entering repetitious music. This is the only kind of repeat that
3094 is included in MIDI output.
3097 Repeats are not written out, but alternative endings (volte) are
3098 printed, left to right with brackets. This is the standard notation
3099 for repeats with alternatives. These are not played in MIDI output by
3104 Make tremolo beams. These are not played in MIDI output by default.
3107 Make beat or measure repeats. These look like percent signs. These
3108 are not played in MIDI output by default. Percent repeats must be
3109 declared within a @code{Voice} context.
3115 @subsection Repeat syntax
3119 @cindex seconda volta
3121 LilyPond has one syntactic construct for specifying different types of
3122 repeats. The syntax is
3125 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
3128 If you have alternative endings, you may add
3129 @funindex \alternative
3140 where each @var{alternative} is a music expression. If you do not
3141 give enough alternatives for all of the repeats, the first alternative
3142 is assumed to be played more than once.
3144 Standard repeats are used like this
3146 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
3148 \repeat volta 2 { c4 d e f }
3149 \repeat volta 2 { f e d c }
3152 With alternative endings
3154 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
3156 \repeat volta 2 {c4 d e f}
3157 \alternative { {d2 d} {f f,} }
3160 In the following example, the first ending is not a complete
3161 bar (it only had 3 beats). The beginning of the second ending
3162 contains the 4th beat from the first ending. This @q{extra}
3163 beat in the second ending is due to the first time ending,
3164 and has nothing to do with the @code{\partial} at the
3165 beginning of the example.
3167 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
3170 \repeat volta 4 { e | c2 d2 | e2 f2 | }
3171 \alternative { { g4 g g } { a | a a a a | b2. } }
3175 @funindex \repeatTie
3177 Ties may be added to a second ending,
3179 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
3181 \repeat volta 2 {c4 d e f ~ }
3182 \alternative { {f2 d} {f\repeatTie f,} }
3185 It is possible to shorten volta brackets
3186 by setting @code{voltaSpannerDuration}. In the next example, the
3187 bracket only lasts one measure, which is a duration of 3/4.
3189 @lilypond[verbatim,ragged-right,quote]
3193 \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4)
3194 \repeat "volta" 5 { d d d }
3195 \alternative { { e e e f f f }
3205 Brackets for the repeat are normally only printed over the topmost
3206 staff. This can be adjusted by setting the @code{voltaOnThisStaff}
3209 @lsr{repeats,volta@/-multi@/-staff@/.ly}.
3214 @cindex repeat, ambiguous
3216 A nested repeat like
3225 is ambiguous, since it is is not clear to which @code{\repeat} the
3226 @code{\alternative} belongs. This ambiguity is resolved by always
3227 having the @code{\alternative} belong to the inner @code{\repeat}.
3228 For clarity, it is advisable to use braces in such situations.
3230 Timing information is not remembered at the start of an alternative,
3231 so after a repeat timing information must be reset by hand; for
3232 example, by setting @code{Score.measurePosition} or entering
3233 @code{\partial}. Similarly, slurs or ties are also not repeated.
3235 Volta brackets are not vertically aligned.
3238 @node Repeats and MIDI
3239 @subsection Repeats and MIDI
3241 @cindex expanding repeats
3242 @funindex \unfoldRepeats
3244 With a little bit of tweaking, all types of repeats can be present
3245 in the MIDI output. This is achieved by applying the
3246 @code{\unfoldRepeats} music function. This function changes all
3247 repeats to unfold repeats.
3249 @lilypond[quote,verbatim,fragment,line-width=8.0\cm]
3251 \repeat tremolo 8 {c'32 e' }
3252 \repeat percent 2 { c''8 d'' }
3253 \repeat volta 2 {c'4 d' e' f'}
3262 When creating a score file using @code{\unfoldRepeats} for MIDI,
3263 it is necessary to make two @code{\score} blocks: one for MIDI (with
3264 unfolded repeats) and one for notation (with volta, tremolo, and
3265 percent repeats). For example,
3273 \unfoldRepeats @var{..music..}
3279 @node Manual repeat commands
3280 @subsection Manual repeat commands
3282 @funindex repeatCommands
3284 The property @code{repeatCommands} can be used to control the layout of
3285 repeats. Its value is a Scheme list of repeat commands.
3288 @item @code{start-repeat}
3289 Print a @code{|:} bar line.
3291 @item @code{end-repeat}
3292 Print a @code{:|} bar line.
3294 @item @code{(volta @var{text})}
3295 Print a volta bracket saying @var{text}: The text can be specified as
3296 a text string or as a markup text, see @ref{Text markup}. Do not
3297 forget to change the font, as the default number font does not contain
3298 alphabetic characters;
3300 @item @code{(volta #f)}
3301 Stop a running volta bracket.
3304 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
3306 \set Score.repeatCommands = #'((volta "93") end-repeat)
3308 \set Score.repeatCommands = #'((volta #f))
3315 Program reference: @internalsref{VoltaBracket},
3316 @internalsref{RepeatedMusic},
3317 @internalsref{VoltaRepeatedMusic},
3318 @internalsref{UnfoldedRepeatedMusic}, and
3319 @internalsref{FoldedRepeatedMusic}.
3322 @node Tremolo repeats
3323 @subsection Tremolo repeats
3325 @cindex tremolo beams
3327 To place tremolo marks between notes, use @code{\repeat} with tremolo
3329 @lilypond[quote,verbatim,ragged-right]
3330 \new Voice \relative c' {
3331 \repeat "tremolo" 8 { c16 d16 }
3332 \repeat "tremolo" 4 { c16 d16 }
3333 \repeat "tremolo" 2 { c16 d16 }
3337 Tremolo marks can also be put on a single note. In this case, the
3338 note should not be surrounded by braces.
3339 @lilypond[quote,verbatim,ragged-right]
3340 \repeat "tremolo" 4 c'16
3343 Similar output is obtained using the tremolo subdivision, described in
3344 @ref{Tremolo subdivisions}.
3349 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
3351 Program reference: @internalsref{Beam}, @internalsref{StemTremolo}.
3354 @node Tremolo subdivisions
3355 @subsection Tremolo subdivisions
3357 @cindex tremolo marks
3358 @funindex tremoloFlags
3360 Tremolo marks can be printed on a single note by adding
3361 @q{@code{:}[@var{number}]} after the note. The number indicates the
3362 duration of the subdivision, and it must be at least 8. A
3363 @var{length} value of 8 gives one line across the note stem. If the
3364 length is omitted, the last value (stored in @code{tremoloFlags}) is
3367 @lilypond[quote,ragged-right,verbatim,fragment]
3368 c'2:8 c':32 | c': c': |
3374 Tremolos entered in this way do not carry over into the MIDI output.
3379 In this manual: @ref{Tremolo repeats}.
3381 Elsewhere: @internalsref{StemTremolo}.
3384 @node Measure repeats
3385 @subsection Measure repeats
3387 @cindex percent repeats
3388 @cindex measure repeats
3390 In the @code{percent} style, a note pattern can be repeated. It is
3391 printed once, and then the pattern is replaced with a special sign.
3392 Patterns of one and two measures are replaced by percent-like signs,
3393 patterns that divide the measure length are replaced by slashes.
3394 Percent repeats must be declared within a @code{Voice} context.
3396 @lilypond[quote,verbatim,ragged-right]
3397 \new Voice \relative c' {
3398 \repeat "percent" 4 { c4 }
3399 \repeat "percent" 2 { c2 es2 f4 fis4 g4 c4 }
3403 Measure repeats of more than 2 measures get a counter, if you switch
3404 on the @code{countPercentRepeats} property,
3406 @lilypond[relative=2,fragment,quote,verbatim,ragged-right]
3408 \set countPercentRepeats = ##t
3409 \repeat "percent" 4 { c1 }
3415 Isolated percents can also be printed. This is done by putting a
3416 multi-measure rest with a different print function,
3418 @lilypond[fragment,verbatim,quote]
3419 \override MultiMeasureRest #'stencil
3420 = #ly:multi-measure-rest::percent
3429 Program reference: @internalsref{RepeatSlash},
3430 @internalsref{PercentRepeat}, @internalsref{DoublePercentRepeat},
3431 @internalsref{DoublePercentRepeatCounter},
3432 @internalsref{PercentRepeatCounter},
3433 @internalsref{PercentRepeatedMusic}.