1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
9 @chapter Basic notation
11 This chapter explains how to use basic notation features.
16 * Multiple notes at once::
28 This section discusses how to specify the pitch of notes.
33 * Cautionary accidentals::
35 * Notes names in other languages::
45 @subsection Normal pitches
50 A pitch name is specified using lowercase letters @code{a} through @code{g}.
51 An ascending C-major scale is engraved with
53 @lilypond[quote,fragment,verbatim,ragged-right]
58 The note name @code{c} is engraved one octave below middle C.
60 @lilypond[quote,fragment,verbatim,ragged-right]
70 The optional octave specification takes the form of a series of
71 single quote (`@code{'}') characters or a series of comma
72 (`@code{,}') characters. Each @code{'} raises the pitch by one
73 octave; each @code{,} lowers the pitch by an octave.
75 @lilypond[quote,ragged-right,fragment,verbatim]
77 c' c'' e' g d'' d' d c
79 c, c,, e, g d,, d, d c
82 An alternate method may be used to declare which octave to
83 engrave a pitch; this method does not require as many
84 octave specifications (@code{'} and @code{,}). See
85 @ref{Relative octaves}.
89 @subsection Accidentals
91 @cindex note names, Dutch
92 @cindex note names, default
94 A sharp is formed by adding @code{-is} to the end of a pitch name and
95 a flat is formed by adding @code{-es}. Double sharps and double flats
96 are obtained by adding @code{-isis} or @code{-eses} to a note name.
98 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
104 These are the Dutch note names. In Dutch, @code{aes} is contracted to
105 @code{as}, but both forms are accepted. Similarly, both
106 @code{es} and @code{ees} are accepted
108 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
112 A natural will cancel the effect of an accidental or key signature.
113 However, naturals are not encoded into the note name syntax with a
114 suffix; a natural pitch is shown as a simple note name
116 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
120 The input @code{d e f} is interpreted as ``print a D-natural,
121 E-natural, and an F-natural,'' regardless of the key
122 signature. For more information about the distinction between
123 musical content and the presentation of that content, see
124 @ref{More about pitches}.
126 @lilypond[fragment,quote,ragged-right,verbatim,relative]
135 In accordance with standard typesetting rules, a natural sign is printed
136 before a sharp or flat if a previous accidental needs to be
137 cancelled. To change this behavior, use
138 @code{\set Staff.extraNatural = ##f}
140 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
142 \set Staff.extraNatural = ##f
149 Program reference: @internalsref{LedgerLineSpanner},
150 @internalsref{NoteHead}.
153 @node Cautionary accidentals
154 @subsection Cautionary accidentals
156 @cindex accidental, reminder
157 @cindex accidental, cautionary
158 @cindex accidental, parenthesized
159 @cindex reminder accidental
161 @cindex cautionary accidental
162 @cindex parenthesized accidental
165 Normally accidentals are printed automatically, but you may also
166 print them manually. A reminder accidental
167 can be forced by adding an exclamation mark @code{!}
168 after the pitch. A cautionary accidental
169 (i.e., an accidental within parentheses) can be obtained by adding the
170 question mark `@code{?}' after the pitch. These extra accidentals
171 can be used to produce natural signs, too.
173 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
174 cis cis cis! cis? c c? c! c
180 The automatic production of accidentals can be tuned in many
181 ways. For more information, see @ref{Automatic accidentals}.
185 @subsection Micro tones
187 @cindex quarter tones
188 @cindex semi-flats, semi-sharps
190 Half-flats and half-sharps are formed by adding @code{-eh} and
191 @code{-ih}; the following is a series of Cs with increasing pitches
193 @lilypond[verbatim,ragged-right,quote,relative=2,fragment]
194 \set Staff.extraNatural = ##f
198 Micro tones are also exported to the MIDI file.
203 There are no generally accepted standards for denoting
204 three-quarter flats, so LilyPond's symbol does not conform to any
208 @node Notes names in other languages
209 @subsection Notes names in other languages
211 There are predefined sets of note names for various other languages.
212 To use them, include the language specific init file. For
213 example, add @code{\include "english.ly"} to the top of the input
214 file. The available language files
215 and the note names they define are
217 @c what about micro-tunes, double-sharps, and double-flats? add
218 @c more columns to the table?
219 @c Oh, and should this be made into a multitable?
220 @cindex note names, other languages
222 Note Names sharp flat
223 nederlands.ly c d e f g a bes b -is -es
224 english.ly c d e f g a bf b -s/-sharp -f/-flat
226 deutsch.ly c d e f g a b h -is -es
227 norsk.ly c d e f g a b h -iss/-is -ess/-es
228 svenska.ly c d e f g a b h -iss -ess
229 italiano.ly do re mi fa sol la sib si -d -b
230 catalan.ly do re mi fa sol la sib si -d/-s -b
231 espanol.ly do re mi fa sol la sib si -s -b
235 @node Relative octaves
236 @subsection Relative octaves
239 @cindex Relative octave specification
242 Octaves are specified by adding @code{'} and @code{,} to pitch names.
243 When you copy existing music, it is easy to accidentally put a pitch
244 in the wrong octave and hard to find such an error. The relative
245 octave mode prevents these errors by making the mistakes much
246 larger: a single error puts the rest of the piece off by one octave
249 \relative @var{startpitch} @var{musicexpr}
256 \relative @var{musicexpr}
260 @code{c'} is used as the default if no starting pitch is defined.
262 The octave of notes that appear in @var{musicexpr} are calculated as
263 follows: if no octave changing marks are used, the basic interval
264 between this and the last note is always taken to be a fourth or
265 less. This distance is determined without regarding alterations; a
266 @code{fisis} following a @code{ceses} will be put above the
267 @code{ceses}. In other words, a doubly-augmented fourth is considered
268 a smaller interval than a diminished fifth, even though the
269 doubly-augmented fourth spans seven semitones while the diminished
270 fifth only spans six semitones.
272 The octave changing marks @code{'} and @code{,} can be added to raise
273 or lower the pitch by an extra octave. Upon entering relative mode,
274 an absolute starting pitch can be specified that will act as the
275 predecessor of the first note of @var{musicexpr}. If no starting pitch
276 is specified, then middle C is used as a start.
278 Here is the relative mode shown in action
279 @lilypond[quote,fragment,ragged-right,verbatim]
285 Octave changing marks are used for intervals greater than a fourth
287 @lilypond[quote,ragged-right,fragment,verbatim]
293 If the preceding item is a chord, the first note of the chord is used
294 to determine the first note of the next chord
296 @lilypond[quote,ragged-right,fragment,verbatim]
304 The pitch after @code{\relative} contains a note name.
306 The relative conversion will not affect @code{\transpose},
307 @code{\chordmode} or @code{\relative} sections in its argument. To use
308 relative within transposed music, an additional @code{\relative} must
309 be placed inside @code{\transpose}.
313 @subsection Octave check
317 Octave checks make octave errors easier to correct: a note may be
318 followed by @code{=}@var{quotes} which indicates what its absolute
319 octave should be. In the following example,
322 \relative c'' @{ c='' b=' d,='' @}
326 the @code{d} will generate a warning, because a @code{d''} is expected
327 (because @code{b'} to @code{d''} is only a third), but a @code{d'} is
328 found. In the output, the octave is corrected to be a @code{d''} and
329 the next note is calculated relative to @code{d''} instead of @code{d'}.
331 There is also an octave check that produces no visible output. The syntax
337 This checks that @var{pitch} (without quotes) yields @var{pitch} (with
338 quotes) in @code{\relative} mode. If not, a warning is printed, and the
339 octave is corrected. The @var{pitch} is not printed as a note.
341 In the example below, the first check passes without incident, since
342 the @code{e} (in @code{relative} mode) is within a fifth of
344 the second check produces a warning, since the @code{e} is not within
345 a fifth of @code{b'}. The warning message is printed, and the octave
346 is adjusted so that the following notes are in the correct octave
358 The octave of a note following an octave check is determined with
359 respect to the note preceding it. In the next fragment, the last note
360 is an @code{a'}, above middle C. That means that the @code{\octave}
361 check passes successfully, so the check could be deleted without changing
362 the output of the piece.
364 @lilypond[quote,ragged-right,verbatim,fragment]
374 @subsection Transpose
377 @cindex Transposition of pitches
380 A music expression can be transposed with @code{\transpose}. The
383 \transpose @var{from} @var{to} @var{musicexpr}
386 This means that @var{musicexpr} is transposed by the interval between
387 the pitches @var{from} and @var{to}: any note with pitch @code{from}
388 is changed to @code{to}.
390 For example, consider a piece written in the key of D-major. If
391 this piece is a little too low for its performer, it can be
392 transposed up to E-major with
394 \transpose d e @dots{}
397 Consider a part written for violin (a C instrument). If
398 this part is to be played on the A clarinet (for which an
399 A is notated as a C, and which sounds a minor third lower
400 than notated), the following
401 transposition will produce the appropriate part
404 \transpose a c @dots{}
407 @code{\transpose} distinguishes between enharmonic pitches: both
408 @code{\transpose c cis} or @code{\transpose c des} will transpose up
409 half a tone. The first version will print sharps and the second
410 version will print flats
412 @lilypond[quote,ragged-right,verbatim]
413 mus = { \key d \major cis d fis g }
422 @code{\transpose} may also be used to input written notes for a
423 transposing instrument. Pitches are normally entered into LilyPond
424 in C (or ``concert pitch''), but they may be entered in another
425 key. For example, when entering music for a B-flat trumpet which
426 begins on concert D, one would write
429 \transpose c bes @{ e4 @dots{} @}
432 To print this music in B-flat again (i.e., producing a trumpet part,
433 instead of a concert pitch conductor's score) you would wrap the
434 existing music with another @code{transpose}
437 \transpose bes c @{ \transpose c bes @{ e4 @dots{} @} @}
443 Program reference: @internalsref{TransposedMusic}.
448 If you want to use both @code{\transpose} and @code{\relative},
449 you must put @code{\transpose} outside of @code{\relative}, since
450 @code{\relative} will have no effect on music that appears inside a
461 Rests are entered like notes with the note name @code{r}
463 @lilypond[fragment,quote,ragged-right,verbatim]
467 Whole bar rests, centered in middle of the bar,
468 must be done with multi-measure rests. They can be used for a
469 single bar as well as many bars, and are discussed in
470 @ref{Multi measure rests}.
472 To explicitly specify a rest's vertical position, write a note
473 followed by @code{\rest}. A rest will be placed in the position
474 where the note would appear,
476 @lilypond[fragment,quote,ragged-right,verbatim]
481 This makes manual formatting of
482 polyphonic music much easier, since the automatic rest collision
483 formatter will leave these rests alone.
487 Program reference: @internalsref{Rest}.
494 @cindex Invisible rest
499 An invisible rest (also called a `skip') can be entered like a note
500 with note name `@code{s}' or with @code{\skip @var{duration}}
502 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
503 a4 a4 s4 a4 \skip 1 a4
506 The @code{s} syntax is only available in note mode and chord mode. In
507 other situations, for example, when entering lyrics, you should use
508 the @code{\skip} command
510 @lilypond[quote,ragged-right,verbatim]
513 \new Lyrics \lyricmode { \skip 2 bla2 }
517 The skip command is merely an empty musical placeholder. It does not
518 produce any output, not even transparent output.
520 The @code{s} skip command does create @internalsref{Staff} and
521 @internalsref{Voice} when necessary, similar to note and rest
522 commands. For example, the following results in an empty staff.
524 @lilypond[quote,ragged-right,verbatim]
528 The fragment @code{@{ \skip 4 @} } would produce an empty page.
532 Program reference: @internalsref{SkipMusic}.
539 This section discusses rhythms, durations, and bars.
543 * Augmentation dots::
545 * Scaling durations::
548 * Automatic note splitting::
553 @subsection Durations
560 In Note, Chord, and Lyrics mode, durations are designated by numbers and
561 dots: durations are entered as their reciprocal values. For example, a
562 quarter note is entered using a @code{4} (since it is a 1/4 note), while
563 a half note is entered using a @code{2} (since it is a 1/2 note). For
564 notes longer than a whole you must use the @code{\longa} and
565 @code{\breve} commands
569 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
571 r1 r2 r4 r8 r16 r32 r64 r64
577 a\breve*1/2 \autoBeamOff
578 a1 a2 a4 a8 a16 a32 a64 a64
581 r\longa*1/4 r\breve *1/2
582 r1 r2 r4 r8 r16 r32 r64 r64
589 \remove "Bar_number_engraver"
593 \remove "Clef_engraver"
594 \override StaffSymbol #'transparent = ##t
595 \override TimeSignature #'transparent = ##t
596 \override BarLine #'transparent = ##t
597 \consists "Pitch_squash_engraver"
603 If the duration is omitted then it is set to the previously entered
604 duration. The default for the first note is a quarter note.
606 @lilypond[quote,ragged-right,verbatim,fragment]
607 { a a a2 a a4 a a1 a }
611 @node Augmentation dots
612 @subsection Augmentation dots
616 To obtain dotted note lengths, simply add a dot (`@code{.}') to
617 the number. Double-dotted notes are produced in a similar way.
619 @lilypond[quote,ragged-right,fragment,verbatim]
620 a'4 b' c''4. b'8 a'4. b'4.. c''8.
625 Dots are normally moved up to avoid staff lines, except in polyphonic
626 situations. The following commands may be used to force a particular
633 @funindex \dotsNeutral
638 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
648 Tuplets are made out of a music expression by multiplying all durations
652 \times @var{fraction} @var{musicexpr}
656 The duration of @var{musicexpr} will be multiplied by the fraction.
657 The fraction's denominator will be printed over the notes, optionally
658 with a bracket. The most common tuplet is the triplet in which 3
659 notes have the length of 2, so the notes are 2/3 of their written
662 @lilypond[quote,ragged-right,fragment,verbatim]
663 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
666 Tuplets may be nested, for example,
668 @lilypond[fragment,ragged-right,verbatim,relative=2]
669 \override TupletNumber #'text = #tuplet-number::calc-fraction-text
672 \times 3/5 { a a a a a }
680 @funindex \tupletDown
682 @funindex \tupletNeutral
683 @code{\tupletNeutral}.
688 @funindex tupletNumberFormatFunction
689 @cindex tuplet formatting
691 The property @code{tupletSpannerDuration} specifies how long each
692 bracket should last. With this, you can make lots of tuplets while
693 typing @code{\times} only once, thus saving lots of typing. In the next
694 example, there are two triplets shown, while @code{\times} was only
697 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
698 \set tupletSpannerDuration = #(ly:make-moment 1 4)
699 \times 2/3 { c8 c c c c c }
703 For more information about @code{make-moment}, see
704 @ref{Time administration}.
706 The format of the number is determined by the property @code{text} in
707 @code{TupletNumber}. The default prints only the denominator, but if
708 it is set to the function @code{tuplet-number::calc-fraction-text},
709 @var{num}:@var{den} will be printed instead.
711 To avoid printing tuplet numbers, use
713 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
714 \times 2/3 { c8 c c } \times 2/3 { c8 c c }
715 \override TupletNumber #'transparent = ##t
716 \times 2/3 { c8 c c } \times 2/3 { c8 c c }
722 Program reference: @internalsref{TupletBracket},
723 @internalsref{TupletNumber}, and @internalsref{TimeScaledMusic}.
725 Examples: @inputfileref{input/@/regression,tuplet@/-nest@/.ly}.
729 @node Scaling durations
730 @subsection Scaling durations
732 You can alter the length of duration by a fraction @var{N/M}
733 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
734 will not affect the appearance of the notes or rests produced.
736 In the following example, the first three notes take up exactly two
737 beats, but no triplet bracket is printed.
738 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
740 a4*2/3 gis4*2/3 a4*2/3
748 This manual: @ref{Tuplets}
752 @subsection Bar check
755 @funindex barCheckSynchronize
758 Bar checks help detect errors in the durations. A bar check is
759 entered using the bar symbol, `@code{|}'. Whenever it is encountered
760 during interpretation, it should fall on a measure boundary. If it
761 does not, a warning is printed. In the next example, the second bar
762 check will signal an error
764 \time 3/4 c2 e4 | g2 |
767 Bar checks can also be used in lyrics, for example
772 Twin -- kle | Twin -- kle
776 Failed bar checks are caused by entering incorrect
777 durations. Incorrect durations often completely garble up the score,
778 especially if the score is polyphonic, so a good place to start correcting
779 input is by scanning for failed bar checks and incorrect durations.
784 It is also possible to redefine the meaning of @code{|}. This is done
785 by assigning a music expression to @code{pipeSymbol},
787 @lilypond[quote,ragged-right,verbatim]
788 pipeSymbol = \bar "||"
794 @node Barnumber check
795 @subsection Barnumber check
797 When copying large pieces of music, it can be helpful to check that
798 the LilyPond bar number corresponds to the original that you are
799 entering from. This can be checked with @code{\barNumberCheck}, for
807 will print a warning if the @code{currentBarNumber} is not 123 when it
811 @node Automatic note splitting
812 @subsection Automatic note splitting
814 Long notes can be converted automatically to tied notes. This is done
815 by replacing the @internalsref{Note_heads_engraver} by the
816 @internalsref{Completion_heads_engraver}.
817 In the following examples, notes crossing the bar line are split and tied.
819 @lilypond[quote,fragment,verbatim,relative=1,line-width=12\cm]
821 \remove "Note_heads_engraver"
822 \consists "Completion_heads_engraver"
824 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
828 This engraver splits all running notes at the bar line, and inserts
829 ties. One of its uses is to debug complex scores: if the measures are
830 not entirely filled, then the ties exactly show how much each measure
836 Not all durations (especially those containing tuplets) can be
837 represented exactly with normal notes and dots, but the engraver will
840 @code{Completion_heads_engraver} only affects notes; it does not split
846 Examples: @inputfileref{input/@/regression,completion@/-heads@/.ly}.
850 Program reference: @internalsref{Completion_heads_engraver}.
853 @node Multiple notes at once
854 @section Multiple notes at once
856 Polyphony in music refers to having more than one voice occurring in
857 a piece of music. Polyphony in LilyPond refers to having more than
858 one voice on the same staff.
864 * Explicitly instantiating voices::
865 * Collision Resolution::
874 A chord is formed by a enclosing a set of pitches between @code{<}
875 and @code{>}. A chord may be followed by a duration, and a set of
876 articulations, just like simple notes
878 @lilypond[verbatim,ragged-right,fragment,quote,relative=1]
882 For more information about chords, see @ref{Chord names}.
888 Whenever a note is found, a @internalsref{Stem} object is created
889 automatically. For whole notes and rests, they are also created but
898 @funindex \stemNeutral
904 To change the direction of stems in the middle of the staff, use
906 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
908 \override Stem #'neutral-direction = #up
910 \override Stem #'neutral-direction = #down
915 @node Basic polyphony
916 @subsection Basic polyphony
920 The easiest way to enter fragments with more than one voice on a staff
921 is to enter each voice as a sequence (with @code{@{...@}}), and combine
922 them simultaneously, separating the voices with @code{\\}
926 @lilypond[quote,verbatim,fragment]
927 \new Staff \relative c' {
930 { g4 f e | d2 e2 } \\
931 { r8 e4 d c8 ~ | c b16 a b8 g ~ g2 } \\
937 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
938 voices are sometimes called ``layers'' in other notation packages}
940 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
941 each of these contexts, vertical direction of slurs, stems, etc., is set
944 These voices are all separate from the voice that contains the notes just
945 outside the @code{<< \\ >>} construct. This should be noted when making
946 changes at the voice level. This also means that slurs and ties cannot go
947 into or out of a @code{<< \\ >>} construct. Conversely, parallel voices
948 from separate @code{<< \\ >>} constructs on the same staff are the the
949 same voice. Here is the same example, with different noteheads for each
950 voice. Note that the change to the note-head style in the main voice does
952 the inside of the @code{<< \\ >>} constructs. Also, the change to the
954 voice in the first @code{<< \\ >>} construct is effective in the second
955 @code{<< \\ >>}, and the voice is tied across the two constructs.
957 @cindex note heads, styles
959 @lilypond[quote,verbatim,fragment]
960 \new Staff \relative c' {
961 \override NoteHead #'style = #'cross
965 { \override NoteHead #'style = #'triangle
970 { c8 b16 a b8 g ~ g2 } \\
971 { \override NoteHead #'style = #'slash s4 b4 c2 }
976 Polyphony does not change the relationship of notes within a
977 @code{\relative @{ @}} block. Each note is calculated relative
978 to the note immediately preceding it.
981 \relative @{ noteA << noteB \\ noteC >> noteD @}
984 @code{noteC} is relative to @code{noteB}, not @code{noteA};
985 @code{noteD} is relative to @code{noteC}, not @code{noteB} or
988 @node Explicitly instantiating voices
989 @subsection Explicitly instantiating voices
991 @internalsref{Voice} contexts can also be instantiated manually
992 inside a @code{<< >>} block to create polyphonic music, using
993 @code{\voiceOne}, up to @code{\voiceFour} to assign stem directions
994 and a horizontal shift for each part.
998 << \upper \\ \lower >>
1006 \new Voice = "1" @{ \voiceOne \upper @}
1007 \new Voice = "2" @{ \voiceTwo \lower @}
1011 The @code{\voiceXXX} commands set the direction of stems, slurs, ties,
1012 articulations, text annotations, augmentation dots of dotted
1013 notes, and fingerings. @code{\voiceOne} and @code{\voiceThree} make
1014 these objects point upwards, while @code{\voiceTwo} and @code{\voiceFour}
1015 make them point downwards.
1016 The command @code{\oneVoice} will revert back to the normal setting.
1018 An expression that appears directly inside a @code{<< >>} belongs to
1019 the main voice. This is useful when extra voices appear while the main
1020 voice is playing. Here is a more correct rendition of the example from
1021 the previous section. The crossed noteheads demonstrate that the main
1022 melody is now in a single voice context.
1024 @lilypond[quote,ragged-right,verbatim]
1025 \new Staff \relative c' {
1026 \override NoteHead #'style = #'cross
1031 \new Voice="1" { \voiceTwo
1032 r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
1035 \new Voice { \voiceThree
1044 The correct definition of the voices allows the melody to be slurred.
1045 @lilypond[quote,ragged-right,verbatim]
1046 \new Staff \relative c' {
1051 \context Voice="1" { \voiceTwo
1052 r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
1055 \new Voice { \voiceThree
1064 Avoiding the @code{\\} separator also allows nesting polyphony
1065 constructs, which in some case might be a more natural way to typeset
1068 @lilypond[quote,ragged-right,verbatim]
1069 \new Staff \relative c' {
1074 \context Voice="1" { \voiceTwo
1077 {c8 b16 a b8 g ~ g2}
1078 \new Voice { \voiceThree
1091 @node Collision Resolution
1092 @subsection Collision Resolution
1094 Normally, note heads with a different number of dots are not merged, but
1095 when the object property @code{merge-differently-dotted} is set in
1096 the @internalsref{NoteCollision} object, they are merged
1097 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
1100 \override Staff.NoteCollision
1101 #'merge-differently-dotted = ##t
1103 } \\ { g8.[ f16] g8.[ f16] } >>
1106 Similarly, you can merge half note heads with eighth notes, by setting
1107 @code{merge-differently-headed}
1108 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
1111 \override Staff.NoteCollision
1112 #'merge-differently-headed = ##t
1113 c8 c4. } \\ { c2 c2 } >>
1116 LilyPond also vertically shifts rests that are opposite of a stem,
1119 @lilypond[quote,ragged-right,fragment,verbatim]
1120 \new Voice << c''4 \\ r4 >>
1132 @funindex \voiceThree
1134 @funindex \voiceFour
1141 @funindex \shiftOnnn
1144 @code{\shiftOff}: these commands specify in what chords of the current
1145 voice should be shifted. The outer voices (normally: voice one and
1146 two) have @code{\shiftOff}, while the inner voices (three and four)
1147 have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define
1148 further shift levels.
1150 When LilyPond cannot cope, the @code{force-hshift}
1151 property of the @internalsref{NoteColumn} object and pitched rests can
1152 be used to override typesetting decisions.
1154 @lilypond[quote,verbatim,ragged-right]
1161 \once \override NoteColumn #'force-hshift = #1.7
1169 Program reference: the objects responsible for resolving collisions are
1170 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1173 @inputfileref{input/@/regression,collision@/-dots@/.ly},
1174 @inputfileref{input/@/regression,collision@/-head-chords@/.ly},
1175 @inputfileref{input/@/regression,collision@/-heads@/.ly},
1176 @inputfileref{input/@/regression,collision@/-mesh@/.ly}, and
1177 @inputfileref{input/@/regression,collisions@/.ly}.
1182 When using @code{merge-differently-headed} with an upstem eighth or a
1183 shorter note, and a downstem half note, the eighth note gets the wrong
1186 There is no support for clusters where the same note occurs with
1187 different accidentals in the same chord. In this case, it is
1188 recommended to use enharmonic transcription, or to use special cluster
1189 notation (see @ref{Clusters}).
1193 @node Staff notation
1194 @section Staff notation
1196 @cindex Staff notation
1198 This section describes music notation that occurs on staff level,
1199 such as key signatures, clefs and time signatures.
1205 * Partial measures::
1208 * System start delimiters::
1210 * Writing music in parallel::
1219 The clef indicates which lines of the staff correspond to which
1220 pitches. The clef is set with the @code{\clef} command
1222 @lilypond[quote,ragged-right,fragment,verbatim]
1223 { c''2 \clef alto g'2 }
1232 @cindex soprano clef
1233 @cindex mezzosoprano clef
1234 @cindex baritone clef
1235 @cindex varbaritone clef
1236 @cindex subbass clef
1238 Supported clefs include
1240 @multitable @columnfractions .33 .66
1241 @headitem Clef @tab Position
1242 @item @code{treble}, violin, G, G2 @tab
1244 @item @code{alto, C} @tab
1246 @item @code{tenor} @tab
1248 @item @code{bass, F} @tab
1250 @item @code{french} @tab
1251 G clef on 1st line, so-called French violin clef
1252 @item @code{soprano} @tab
1254 @item @code{mezzosoprano} @tab
1256 @item @code{baritone} @tab
1258 @item @code{varbaritone} @tab
1260 @item @code{subbass} @tab
1262 @item @code{percussion} @tab
1264 @item @code{tab} @tab
1268 By adding @code{_8} or @code{^8} to the clef name, the clef is
1269 transposed one octave down or up, respectively, and @code{_15} and
1270 @code{^15} transposes by two octaves. The argument @var{clefname}
1271 must be enclosed in quotes when it contains underscores or digits. For
1274 @cindex choral tenor clef
1275 @lilypond[quote,ragged-right,verbatim,fragment,relative=1]
1282 The command @code{\clef "treble_8"} is equivalent to setting
1284 @code{clefPosition} (which controls the Y position of the clef),
1285 @code{middleCPosition} and @code{clefOctavation}. A clef is printed
1286 when any of these properties are changed. The following example shows
1287 possibilities when setting properties manually.
1289 @lilypond[quote,ragged-right,verbatim]
1291 \set Staff.clefGlyph = #"clefs.F"
1292 \set Staff.clefPosition = #2
1294 \set Staff.clefGlyph = #"clefs.G"
1296 \set Staff.clefGlyph = #"clefs.C"
1298 \set Staff.clefOctavation = #7
1300 \set Staff.clefOctavation = #0
1301 \set Staff.clefPosition = #0
1305 \set Staff.middleCPosition = #4
1313 Manual: @ref{Grace notes}.
1315 Program reference: @internalsref{Clef}.
1319 @subsection Key signature
1321 @cindex Key signature
1324 The key signature indicates the tonality in which a piece is played. It
1325 is denoted by a set of alterations (flats or sharps) at the start of the
1328 Setting or changing the key signature is done with the @code{\key}
1332 @code{\key} @var{pitch} @var{type}
1341 @funindex \mixolydian
1345 @cindex church modes
1347 Here, @var{type} should be @code{\major} or @code{\minor} to get
1348 @var{pitch}-major or @var{pitch}-minor, respectively. You may also
1349 use the standard mode names (also called ``church modes''): @code{\ionian},
1350 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
1351 @code{\phrygian}, and @code{\dorian}.
1353 This command sets the context property
1354 @code{Staff.keySignature}. Non-standard key signatures
1355 can be specified by setting this property directly.
1357 Accidentals and key signatures often confuse new users, because
1358 unaltered notes get natural signs depending on the key signature. For
1359 more information, see @ref{Accidentals} or @ref{More about pitches}.
1361 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1370 A natural sign is printed to cancel any previous accidentals. This
1371 can be suppressed by setting the @code{Staff.printKeyCancellation}
1374 @lilypond[quote,fragment,ragged-right,fragment,verbatim,relative=2]
1379 \set Staff.printKeyCancellation = ##f
1389 Program reference: @internalsref{KeyCancellation},
1390 @internalsref{KeySignature}.
1393 @node Time signature
1394 @subsection Time signature
1396 @cindex Time signature
1400 Time signature indicates the metrum of a piece: a regular pattern of
1401 strong and weak beats. It is denoted by a fraction at the start of the
1404 The time signature is set with the @code{\time} command
1406 @lilypond[quote,ragged-right,fragment,verbatim]
1407 \time 2/4 c'2 \time 3/4 c'2.
1412 The symbol that is printed can be customized with the @code{style}
1413 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1416 @lilypond[fragment,quote,ragged-right,verbatim]
1419 \override Staff.TimeSignature #'style = #'()
1424 There are many more options for its layout. See @ref{Ancient time
1425 signatures} for more examples.
1427 @code{\time} sets the property @code{timeSignatureFraction},
1428 @code{beatLength} and @code{measureLength} in the @code{Timing}
1429 context, which is normally aliased to @internalsref{Score}. The
1430 property @code{measureLength} determines where bar lines should be
1431 inserted, and how automatic beams should be generated. Changing the
1432 value of @code{timeSignatureFraction} also causes the symbol to be
1435 More options are available through the Scheme function
1436 @code{set-time-signature}. In combination with the
1437 @internalsref{Measure_grouping_engraver}, it will create
1438 @internalsref{MeasureGrouping} signs. Such signs ease reading
1439 rhythmically complex modern music. In the following example, the 9/8
1440 measure is subdivided in 2, 2, 2 and 3. This is passed to
1441 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
1443 @lilypond[quote,ragged-right,verbatim]
1446 #(set-time-signature 9 8 '(2 2 2 3))
1447 g8[ g] d[ d] g[ g] a8[( bes g]) |
1448 #(set-time-signature 5 8 '(3 2))
1454 \consists "Measure_grouping_engraver"
1463 Program reference: @internalsref{TimeSignature}, and
1464 @internalsref{Timing_translator}.
1466 Examples: @inputfileref{input/@/test,compound@/-time@/.ly}.
1471 Automatic beaming does not use the measure grouping specified with
1472 @code{set-time-signature}.
1475 @node Partial measures
1476 @subsection Partial measures
1480 @cindex partial measure
1481 @cindex measure, partial
1482 @cindex shorten measures
1485 Partial measures, such as an anacrusis or upbeat, are entered using the
1487 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1488 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1491 The syntax for this command is
1494 \partial @var{duration}
1497 where @code{duration} is the rhythmic length to be added before
1500 This is internally translated into
1503 \set Timing.measurePosition = -@var{length of duration}
1506 The property @code{measurePosition} contains a rational number
1507 indicating how much of the measure has passed at this point. Note
1508 that this is a negative number; @code{\partial 4} is internally
1509 translated to mean ``there is a quarter note left in the bar''.
1514 This command does not take into account grace notes at the start of
1515 the music. When a piece starts with graces notes in the pickup, then
1516 the @code{\partial} should follow the grace notes
1518 @lilypond[verbatim,quote,ragged-right,relative,fragment]
1527 @subsection Bar lines
1531 @cindex measure lines
1534 Bar lines delimit measures, but are also used to indicate
1535 repeats. Normally they are inserted automatically. Line
1536 breaks may only happen on bar lines.
1538 Special types of bar lines can be forced with the @code{\bar} command
1540 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1544 The following bar types are available
1546 @lilypondfile[ragged-right,quote]{bar-lines.ly}
1548 In addition, you can specify @code{"||:"}, which is equivalent to
1549 @code{"|:"} except at line breaks, where it gives a double bar line at
1550 the end of the line and a start repeat at the beginning of the next
1553 To allow a line break where there is no visible bar line, use
1560 This will insert an invisible bar line and allow line breaks at this
1561 point. This also increases the bar number counter.
1563 In scores with many staves, a @code{\bar} command in one staff is
1564 automatically applied to all staves. The resulting bar lines are
1565 connected between different staves of a StaffGroup
1567 @lilypond[quote,ragged-right,fragment,verbatim]
1575 \new Staff { \clef bass c4 g e g }
1577 \new Staff { \clef bass c2 c2 }
1585 @funindex repeatCommands
1586 @funindex defaultBarType
1588 The command @code{\bar }@var{bartype} is a short cut for doing
1589 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1590 is set to a string, a bar line of that type is created.
1592 A bar line is created whenever the @code{whichBar} property is set.
1593 At the start of a measure it is set to the contents of
1594 @code{Timing.defaultBarType}. The contents of @code{repeatCommands} are
1596 to override default measure bars.
1598 You are encouraged to use @code{\repeat} for repetitions. See
1604 In this manual: @ref{Repeats}, @ref{System start delimiters}.
1606 Program reference: @internalsref{BarLine} (created at
1607 @internalsref{Staff} level), @internalsref{SpanBar} (across staves).
1609 Examples: @inputfileref{input/@/test,bar@/-lines@/.ly},
1612 @node Unmetered music
1613 @subsection Unmetered music
1616 @funindex \cadenzaOn
1617 @funindex \cadenzaOff
1619 Bar lines and bar numbers are calculated automatically. For unmetered
1620 music (cadenzas, for example), this is not desirable. To turn off
1621 automatic bar lines and bar numbers, use the commands @code{\cadenzaOn}
1622 and @code{\cadenzaOff}.
1624 @lilypond[verbatim,quote,ragged-right,relative=2,fragment]
1636 LilyPond will only insert line breaks and page breaks at a
1637 barline. Unless the unmetered music ends before the end of
1638 the staff line, you will need to insert
1646 to indicate where breaks can occur.
1649 @node System start delimiters
1650 @subsection System start delimiters
1652 @cindex start of system
1653 @cindex Staff, multiple
1654 @cindex bracket, vertical
1655 @cindex brace, vertical
1658 @cindex staff, choir
1660 Many scores consist of more than one staff. These staves can be
1661 joined in four different ways
1664 @item The group is started with a brace at the left, and bar lines are
1665 connected. This is done with the @internalsref{GrandStaff} context.
1667 @lilypond[verbatim,ragged-right,quote]
1675 @item The group is started with a bracket, and bar lines are connected.
1676 This is done with the
1677 @internalsref{StaffGroup} context
1679 @lilypond[verbatim,ragged-right,quote]
1687 @item The group is started with a bracket, but bar lines are not
1688 connected. This is done with the @internalsref{ChoirStaff} context.
1690 @lilypond[verbatim,ragged-right,quote]
1698 @item The group is started with a vertical line. Bar lines are not
1699 connected. This is the default for the score.
1701 @lilypond[verbatim,ragged-right,quote]
1712 The bar lines at the start of each system are
1713 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1714 @internalsref{SystemStartBracket}. Only one of these types is created
1715 in every context, and that type is determined by the property
1716 @internalsref{systemStartDelimiter}.
1720 @subsection Staff symbol
1722 @cindex adjusting staff symbol
1724 Notes, dynamic signs, etc., are grouped
1725 with a set of horizontal lines, called a staff (plural `staves'). In
1726 LilyPond, these lines are drawn using a separate layout object called
1727 @code{staff symbol}.
1729 The staff symbol may be tuned in the number, thickness and distance
1730 of lines, using properties. This is demonstrated in the example files
1731 @inputfileref{input/@/test,staff@/-lines@/.ly},
1732 @inputfileref{input/@/test,staff@/-size@/.ly}.
1734 In addition, staves may be started and stopped at will. This is done
1735 with @code{\startStaff} and @code{\stopStaff}.
1737 @lilypond[verbatim,relative=2,fragment]
1739 \override Staff.StaffSymbol #'line-count = 2
1740 \stopStaff \startStaff
1742 \revert Staff.StaffSymbol #'line-count
1743 \stopStaff \startStaff
1747 In combination with Frenched staves, this may be used to typeset ossia
1748 sections. An example is in @inputfileref{input/@/test@/,ossia.ly},
1753 @lilypondfile{ossia.ly}
1755 @cindex staff lines, setting number of
1756 @cindex staff lines, setting thickness of
1757 @cindex thickness of staff lines, setting
1758 @cindex number of staff lines, setting
1762 Program reference: @internalsref{StaffSymbol}.
1764 Examples: @inputfileref{input/@/test,staff@/-lines@/.ly},
1765 @inputfileref{input/@/test@/,ossia.ly},
1766 @inputfileref{input/@/test,staff@/-size@/.ly},
1767 @inputfileref{input/@/regression,staff@/-line@/-positions@/.ly}.
1770 @node Writing music in parallel
1771 @subsection Writing music in parallel
1773 @cindex Writing music in parallel
1774 @cindex Interleaved music
1776 Music for multiple parts can be interleaved
1778 @lilypond[quote,fragment,verbatim]
1779 \parallelMusic #'(voiceA voiceB) {
1780 r8 g'16[ c''] e''[ g' c'' e''] r8 g'16[ c''] e''[ g' c'' e''] |
1782 r8 a'16[ d''] f''[ a' d'' f''] r8 a'16[ d''] f''[ a' d'' f''] |
1786 \new Staff \new Voice \voiceA
1787 \new Staff \new Voice \voiceB
1793 @node Connecting notes
1794 @section Connecting notes
1796 This section deals with notation that affects groups of notes.
1802 * Laissez vibrer ties::
1815 A tie connects two adjacent note heads of the same pitch. The tie in
1816 effect extends the length of a note. Ties should not be confused with
1817 slurs, which indicate articulation, or phrasing slurs, which indicate
1818 musical phrasing. A tie is entered using the tilde symbol `@code{~}'
1820 @lilypond[quote,ragged-right,fragment,verbatim]
1821 e' ~ e' <c' e' g'> ~ <c' e' g'>
1824 When a tie is applied to a chord, all note heads whose pitches match
1825 are connected. When no note heads match, no ties will be created.
1827 A tie is just a way of extending a note duration, similar to the
1828 augmentation dot. The following example shows two ways of notating
1829 exactly the same concept
1831 @lilypond[quote,fragment,ragged-right]
1832 \time 3/4 c'2. c'2 ~ c'4
1836 Ties are used either when the note crosses a bar line, or when dots
1837 cannot be used to denote the rhythm. When using ties, larger note
1838 values should be aligned to subdivisions of the measure, such as
1840 @lilypond[fragment,quote,ragged-right]
1842 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
1846 If you need to tie a lot of notes over bars, it may be easier to use
1847 automatic note splitting (see @ref{Automatic note splitting}). This
1848 mechanism automatically splits long notes, and ties them across bar
1851 @funindex \repeatTie
1853 When a second alternative of a repeat starts with a tied note, you
1854 have to repeat the tie. This can be achieved with @code{\repeatTie},
1856 @lilypond[fragment,quote,ragged-right,relative=2]
1860 @cindex repeating ties
1861 @cindex volta brackets and ties
1865 Ties are sometimes used to write out arpeggios. In this case, two tied
1866 notes need not be consecutive. This can be achieved by setting the
1867 @code{tieWaitForNote} property to true. The same feature is also useful,
1868 for example, to tie a tremolo to a chord. For example,
1870 @lilypond[fragment,verbatim,relative=1,ragged-right]
1871 \set tieWaitForNote = ##t
1872 \grace { c16[~ e~ g]~ } <c, e g>2
1873 \repeat "tremolo" 8 { c32~ c'~ } <c c,>1
1884 @funindex \tieNeutral
1886 @funindex \tieDotted
1888 @funindex \tieDashed
1896 In this manual: @ref{Automatic note splitting}.
1898 Program reference: @internalsref{Tie}.
1901 @inputfileref{input/@/regression,tie-arpeggio.ly}
1902 @inputfileref{input/@/regression,tie-manual.ly}
1909 Switching staves when a tie is active will not produce a slanted tie.
1917 A slur indicates that notes are to be played bound or
1918 @emph{legato}. They are entered using parentheses
1920 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1921 f( g a) a8 b( a4 g2 f4)
1925 The direction of a slur can be specified with
1926 @code{\slur@emph{DIR}}, where @code{@emph{DIR}} is
1927 either @code{Up}, @code{Down}, or @code{Neutral} (automatically
1930 However, there is a convenient shorthand for forcing slur
1931 directions. By adding @code{_} or @code{^} before the opening
1932 parentheses, the direction is also set. For example,
1934 @lilypond[relative=2,ragged-right,quote,verbatim,fragment]
1938 Only one slur can be printed at once. If you need to print a long
1939 slur over a few small slurs, please see @ref{Phrasing slurs}.
1944 Some composers write two slurs when they want legato chords. This can
1945 be achieved in LilyPond by setting @code{doubleSlurs},
1947 @lilypond[verbatim,ragged-right,relative,fragment,quote]
1948 \set doubleSlurs = ##t
1949 <c e>4 ( <d f> <c e> <d f> )
1959 @funindex \slurNeutral
1960 @code{\slurNeutral},
1961 @funindex \slurDashed
1963 @funindex \slurDotted
1965 @funindex \slurSolid
1970 Program reference: @seeinternals{Slur}.
1973 @node Phrasing slurs
1974 @subsection Phrasing slurs
1976 @cindex phrasing slurs
1977 @cindex phrasing marks
1979 A phrasing slur (or phrasing mark) connects notes and is used to
1980 indicate a musical sentence. It is written using @code{\(} and @code{\)}
1983 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
1984 \time 6/4 c'\( d( e) f( e) d\)
1987 Typographically, the phrasing slur behaves almost exactly like a
1988 normal slur. However, they are treated as different objects. A
1989 @code{\slurUp} will have no effect on a phrasing slur; instead, use
1990 @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1991 @code{\phrasingSlurNeutral}.
1993 You cannot have simultaneous phrasing slurs.
1998 @funindex \phrasingSlurUp
1999 @code{\phrasingSlurUp},
2000 @funindex \phrasingSlurDown
2001 @code{\phrasingSlurDown},
2002 @funindex \phrasingSlurNeutral
2003 @code{\phrasingSlurNeutral}.
2008 Program reference: @internalsref{PhrasingSlur}.
2011 @node Laissez vibrer ties
2012 @subsection Laissez vibrer ties
2013 @cindex Laissez vibrer
2014 @cindex Ties, laissez vibrer
2016 L.v. ties (laissez vibrer) indicate that notes must not be damped at the
2017 end. It is used in notation for piano, harp and other string and
2018 percussion instruments. They can be entered using @code{\laissezVibrer},
2020 @lilypond[fragment,ragged-right,verbatim,relative=1]
2021 <c f g>\laissezVibrer
2027 @internalsref{LaissezVibrerTie}
2028 @internalsref{LaissezVibrerTieColumn}
2031 @inputfileref{input/regression,laissez-vibrer-tie.ly}
2034 @node Automatic beams
2035 @subsection Automatic beams
2037 LilyPond inserts beams automatically
2039 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2040 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
2043 When these automatic decisions are not good enough, beaming can be
2044 entered explicitly. It is also possible to define beaming patterns
2045 that differ from the defaults. See @ref{Setting automatic beam behavior}
2048 Individual notes may be marked with @code{\noBeam} to prevent them
2051 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2052 \time 2/4 c8 c\noBeam c c
2058 Program reference: @internalsref{Beam}.
2062 @subsection Manual beams
2064 @cindex beams, manual
2068 In some cases it may be necessary to override the automatic beaming
2069 algorithm. For example, the autobeamer will not put beams over rests
2070 or bar lines. Such beams are specified manually by marking the begin
2071 and end point with @code{[} and @code{]}
2073 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2075 r4 r8[ g' a r8] r8 g[ | a] r8
2082 @funindex stemLeftBeamCount
2083 @funindex stemRightBeamCount
2085 Normally, beaming patterns within a beam are determined automatically.
2086 If necessary, the properties @code{stemLeftBeamCount} and
2087 @code{stemRightBeamCount} can be used to override the defaults. If
2088 either property is set, its value will be used only once, and then it
2091 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2096 \set stemLeftBeamCount = #1
2101 The property @code{subdivideBeams} can be set in order to subdivide
2102 all 16th or shorter beams at beat positions, as defined by the
2103 @code{beatLength} property.
2105 @lilypond[fragment,quote,relative=2,verbatim]
2107 \set subdivideBeams = ##t
2109 \set Score.beatLength = #(ly:make-moment 1 8)
2112 @funindex subdivideBeams
2115 For more information about @code{make-moment}, see
2116 @ref{Time administration}.
2118 Line breaks are normally forbidden when beams cross bar lines. This
2119 behavior can be changed by setting @code{allowBeamBreak}.
2121 @funindex allowBeamBreak
2122 @cindex beams and line breaks
2123 @cindex beams, kneed
2125 @cindex auto-knee-gap
2130 Kneed beams are inserted automatically when a large gap is detected
2131 between the note heads. This behavior can be tuned through the object.
2133 Automatically kneed cross-staff beams cannot be used together with
2134 hidden staves. See @ref{Hiding staves}.
2136 Beams do not avoid collisions with symbols around the notes, such as
2137 texts and accidentals.
2141 @subsection Grace notes
2146 @cindex appoggiatura
2147 @cindex acciaccatura
2149 Grace notes are ornaments that are written out. The most common ones
2150 are acciaccatura, which should be played as very short. It is denoted
2151 by a slurred small note with a slashed stem. The appoggiatura is a
2152 grace note that takes a fixed fraction of the main note, and is
2153 denoted as a slurred note in small print without a slash. They
2154 are entered with the commands @code{\acciaccatura} and
2155 @code{\appoggiatura}, as demonstrated in the following example
2157 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2158 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2159 \acciaccatura { g16[ f] } e4
2162 Both are special forms of the @code{\grace} command. By prefixing this
2163 keyword to a music expression, a new one is formed, which will be
2164 printed in a smaller font and takes up no logical time in a measure.
2166 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2168 \grace { c16[ d16] } c2 c4
2172 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2173 @code{\grace} command does not start a slur.
2175 Internally, timing for grace notes is done using a second, `grace'
2176 timing. Every point in time consists of two rational numbers: one
2177 denotes the logical time, one denotes the grace timing. The above
2178 example is shown here with timing tuples
2180 @lilypond[quote,ragged-right]
2183 c4 \grace c16 c4 \grace {
2186 \new Lyrics \lyricmode {
2187 \override LyricText #'font-family = #'typewriter
2191 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2192 \markup { (\fraction 1 4 , 0 ) } 4
2194 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2195 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2197 \markup { ( \fraction 2 4 , 0 ) }
2202 The placement of grace notes is synchronized between different staves.
2203 In the following example, there are two sixteenth grace notes for
2204 every eighth grace note
2206 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2207 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2208 \new Staff { c4 \grace { g8[ b] } c4 } >>
2211 @funindex \afterGrace
2213 If you want to end a note with a grace, use the @code{\afterGrace}
2214 command. It takes two arguments: the main note, and the grace notes
2215 following the main note.
2217 @lilypond[ragged-right, verbatim,relative=2,fragment]
2218 c1 \afterGrace d1 { c16[ d] } c4
2221 This will put the grace notes after a ``space'' lasting 3/4 of the
2222 length of the main note. The fraction 3/4 can be changed by setting
2223 @code{afterGraceFraction}, ie.
2226 afterGraceFraction = #(cons 7 8)
2230 will put the grace note at 7/8 of the main note.
2232 The same effect can be achieved manually by doing
2234 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2237 { s2 \grace { c16[ d] } } >>
2243 By adjusting the duration of the skip note (here it is a half-note),
2244 the space between the main-note and the grace is adjusted.
2246 A @code{\grace} section will introduce special typesetting settings,
2247 for example, to produce smaller type, and set directions. Hence, when
2248 introducing layout tweaks, they should be inside the grace section,
2251 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2263 The overrides should also be reverted inside the grace section.
2265 The layout of grace sections can be changed throughout the music using
2266 the function @code{add-grace-property}. The following example
2267 undefines the @code{Stem} direction for this grace, so
2268 that stems do not always point up.
2272 #(add-grace-property 'Voice 'Stem 'direction '())
2278 Another option is to change the variables @code{startGraceMusic},
2279 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2280 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2281 @code{stopAppoggiaturaMusic}. More information is in the file
2282 @file{ly/@/grace@/-init@/.ly}.
2285 The slash through the stem in acciaccaturas can be obtained
2286 in other situations by @code{\override Stem #'stroke-style = #"grace"}.
2290 Program reference: @internalsref{GraceMusic}.
2295 A score that starts with a @code{\grace} section needs an explicit
2296 @code{\new Voice} declaration, otherwise the main note and the grace
2297 note end up on different staves.
2299 Grace note synchronization can also lead to surprises. Staff notation,
2300 such as key signatures, bar lines, etc., are also synchronized. Take
2301 care when you mix staves with grace notes and staves without, for example,
2303 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2304 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2305 \new Staff { c4 \bar "|:" d4 } >>
2309 This can be remedied by inserting grace skips of the corresponding
2310 durations in the other staves. For the above example
2313 \new Staff @{ c4 \bar "|:" \grace s16 d4 @}
2316 Grace sections should only be used within sequential music
2317 expressions. Nesting or juxtaposing grace sections is not supported,
2318 and might produce crashes or other errors.
2322 @node Expressive marks
2323 @section Expressive marks
2325 Expressive marks help musicians to bring more to the music than simple
2330 * Fingering instructions::
2340 @subsection Articulations
2342 @cindex Articulations
2346 A variety of symbols can appear above and below notes to indicate
2347 different characteristics of the performance. They are added to a note
2348 by adding a dash and the character signifying the
2349 articulation. They are demonstrated here
2351 @lilypondfile[quote,ragged-right]{script-abbreviations.ly}
2353 The meanings of these shorthands can be changed. See
2354 @file{ly/@/script@/-init@/.ly} for examples.
2356 The script is automatically placed, but the direction can be forced as
2357 well. Like other pieces of LilyPond code, @code{_} will place them
2358 below the staff, and @code{^} will place them above.
2360 @lilypond[quote,ragged-right,fragment,verbatim]
2364 Other symbols can be added using the syntax
2365 @var{note}@code{\}@var{name}. Again, they
2366 can be forced up or down using @code{^} and @code{_},
2369 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
2370 c\fermata c^\fermata c_\fermata
2375 @cindex staccatissimo
2385 @cindex organ pedal marks
2394 @cindex prallmordent
2398 @cindex thumb marking
2403 Here is a chart showing all scripts available,
2405 @lilypondfile[ragged-right,quote]{script-chart.ly}
2410 The vertical ordering of scripts is controlled with the
2411 @code{script-priority} property. The lower this number, the closer it
2412 will be put to the note. In this example, the
2413 @internalsref{TextScript} (the sharp symbol) first has the lowest
2414 priority, so it is put lowest in the first example. In the second, the
2415 prall trill (the @internalsref{Script}) has the lowest, so it is on the
2416 inside. When two objects have the same priority, the order in which
2417 they are entered decides which one comes first.
2419 @lilypond[verbatim,relative=3,ragged-right,fragment,quote]
2420 \once \override TextScript #'script-priority = #-100
2421 a4^\prall^\markup { \sharp }
2423 \once \override Script #'script-priority = #-100
2424 a4^\prall^\markup { \sharp }
2430 Program reference: @internalsref{Script}.
2435 These signs appear in the printed output but have no effect on the
2436 MIDI rendering of the music.
2439 @node Fingering instructions
2440 @subsection Fingering instructions
2443 @cindex finger change
2445 Fingering instructions can be entered using
2447 @var{note}-@var{digit}
2449 For finger changes, use markup texts
2451 @lilypond[quote,verbatim,ragged-right,fragment,relative=1]
2453 c^\markup { \finger "2 - 3" }
2456 You can use the thumb-script to indicate that a note should be
2457 played with the thumb (e.g., in cello music)
2458 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
2459 <a_\thumb a'-3>8 <b_\thumb b'-3>
2462 Fingerings for chords can also be added to individual notes
2463 of the chord by adding them after the pitches
2464 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
2465 < c-1 e-2 g-3 b-5 >4
2471 You may exercise greater control over fingering chords by
2472 setting @code{fingeringOrientations}
2474 @lilypond[quote,verbatim,ragged-right,fragment,relative=1]
2475 \set fingeringOrientations = #'(left down)
2476 <c-1 es-2 g-4 bes-5 > 4
2477 \set fingeringOrientations = #'(up right down)
2478 <c-1 es-2 g-4 bes-5 > 4
2481 Using this feature, it is also possible to put fingering instructions
2482 very close to note heads in monophonic music,
2484 @lilypond[verbatim,ragged-right,quote,fragment]
2485 \set fingeringOrientations = #'(right)
2492 Program reference: @internalsref{Fingering}.
2494 Examples: @inputfileref{input/@/regression,finger@/-chords@/.ly}.
2498 @subsection Dynamics
2519 Absolute dynamic marks are specified using a command after a note
2520 @code{c4\ff}. The available dynamic marks are @code{\ppppp},
2521 @code{\pppp}, @code{\ppp},
2522 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2523 @code{\fff}, @code{\ffff}, @code{\fp}, @code{\sf}, @code{\sff},
2524 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
2526 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
2527 c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2528 c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
2535 A crescendo mark is started with @code{\<} and terminated with
2536 @code{\!} or an absolute dynamic. A decrescendo is started with
2537 @code{\>} and is also terminated with @code{\!} or an absolute
2538 dynamic. @code{\cr} and @code{\decr} may be used instead of
2539 @code{\<} and @code{\>}. Because these marks are bound to notes, you must
2540 use spacer notes if multiple marks are needed during one note
2542 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2544 << f1 { s4 s4\< s4\! \> s4\! } >>
2548 A hairpin starts at the left edge of the beginning note and ends on the
2549 right edge of the ending note.
2551 In some situations the @code{\espressivo} articulation mark may
2552 be suitable to indicate a crescendo and decrescendo on the one note,
2554 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2555 c2 b4 a g1\espressivo
2558 This may give rise to very short hairpins. Use @code{minimum-length}
2559 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2563 \override Voice.Hairpin #'minimum-length = #5
2570 You can also use text saying @emph{cresc.} instead of hairpins
2572 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
2583 You can also supply your own texts
2584 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2585 \set crescendoText = \markup { \italic "cresc. poco" }
2586 \set crescendoSpanner = #'dashed-line
2590 To create new dynamic marks or text that should be aligned
2591 with dynamics, see @ref{New dynamic marks}.
2596 Dynamics that occur at, begin on, or end on, the same note
2597 will be vertically aligned. If you want to ensure that dynamics
2598 are aligned when they do not occur on the same note, you can
2599 increase the @code{staff-padding} property.
2602 \override DynamicLineSpanner #'staff-padding = #4
2605 You may also use this property if the dynamics are colliding
2606 with other notation.
2608 Crescendi and decrescendi that end on the first note of a
2609 new line are not printed. To change this behavior, use
2612 \override Score.Hairpin #'after-line-breaking = ##t
2615 Text style dynamic changes (such as @emph{cresc.} and @emph{dim.})
2617 dashed line showing their extent. To surpress printing this line, use
2620 \override DynamicTextSpanner #'dash-period = #-1.0
2626 @funindex \dynamicUp
2628 @funindex \dynamicDown
2629 @code{\dynamicDown},
2630 @funindex \dynamicNeutral
2631 @code{\dynamicNeutral}.
2636 Program reference: @internalsref{DynamicText}, @internalsref{Hairpin}.
2637 Vertical positioning of these symbols is handled by
2638 @internalsref{DynamicLineSpanner}.
2642 @subsection Breath marks
2644 Breath marks are entered using @code{\breathe}
2646 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2653 The glyph of the breath mark can be tuned by overriding the
2654 @code{text} property of the @code{BreathingSign} layout object with
2655 any markup text. For example,
2656 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
2658 \override BreathingSign #'text
2659 = #(make-musicglyph-markup "scripts.rvarcomma")
2666 Program reference: @internalsref{BreathingSign}.
2668 Examples: @inputfileref{input/@/regression,breathing@/-sign@/.ly}.
2674 Short trills are printed like normal articulation; see @ref{Articulations}.
2676 Long running trills are made with @code{\startTrillSpan} and
2677 @code{\stopTrillSpan},
2679 @lilypond[verbatim,ragged-right,relative=2,quote,fragment]
2681 << { c1 \startTrillSpan }
2682 { s2. \grace { d16[\stopTrillSpan e] } } >>
2686 @cindex Pitched trills
2688 Trills that should be executed on an explicitly specified pitch can be
2689 typeset with the command @code{pitchedTrill},
2691 @lilypond[ragged-right,verbatim,fragment,relative=1,quote]
2692 \pitchedTrill c4\startTrillSpan fis
2696 The first argument is the main note. The pitch of the second
2697 is printed as a stemless note head in parentheses.
2702 @code{\startTrillSpan},
2703 @funindex \startTrillSpan
2704 @code{\stopTrillSpan}.
2705 @funindex \stopTrillSpan
2710 Program reference: @internalsref{TrillSpanner}.
2714 @subsection Glissando
2717 @funindex \glissando
2719 A glissando is a smooth change in pitch. It is denoted by a line or a
2720 wavy line between two notes. It is requested by attaching
2721 @code{\glissando} to a note
2723 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
2725 \override Glissando #'style = #'zigzag
2732 Program reference: @internalsref{Glissando}.
2734 Example files: @file{input/@/regression/@/glissando@/.ly}.
2739 Printing text over the line (such as @emph{gliss.}) is not supported.
2743 @subsection Arpeggio
2746 @cindex broken chord
2749 You can specify an arpeggio sign (also known as broken chord) on a
2750 chord by attaching an @code{\arpeggio} to a chord
2752 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2756 A square bracket on the left indicates that the player should not
2757 arpeggiate the chord
2759 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2764 The direction of the arpeggio is sometimes denoted by adding an
2765 arrowhead to the wiggly line
2767 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2779 When an arpeggio crosses staves, you may attach an arpeggio to the chords
2780 in both staves and set
2781 @internalsref{PianoStaff}.@code{connectArpeggios}
2783 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2785 \set PianoStaff.connectArpeggios = ##t
2786 \new Staff { <c' e g c>\arpeggio }
2787 \new Staff { \clef bass <c,, e g>\arpeggio }
2795 @funindex \arpeggioUp
2797 @funindex \arpeggioDown
2798 @code{\arpeggioDown},
2799 @funindex \arpeggioNeutral
2800 @code{\arpeggioNeutral},
2801 @funindex \arpeggioBracket
2802 @code{\arpeggioBracket}.
2807 Notation manual: @ref{Ties}, for writing out arpeggios.
2809 Program reference: @internalsref{Arpeggio}.
2814 It is not possible to mix connected arpeggios and unconnected
2815 arpeggios in one @internalsref{PianoStaff} at the same point in time.
2824 Repetition is a central concept in music, and multiple notations exist
2830 * Repeats and MIDI::
2831 * Manual repeat commands::
2833 * Tremolo subdivisions::
2839 @subsection Repeat types
2844 The following types of repetition are supported
2848 Repeated music is fully written (played) out. This is useful when
2849 entering repetitious music. This is the only kind of repeat that
2850 is included in MIDI output.
2853 Repeats are not written out, but alternative endings (volte) are
2854 printed, left to right with brackets. This is the standard notation
2855 for repeats with alternatives. These are not played in MIDI output by
2860 Alternative endings are written stacked. This has limited use but may be
2861 used to typeset two lines of lyrics in songs with repeats, see
2862 @inputfileref{input,star-spangled-banner@/.ly}.
2866 Make tremolo beams. These are not played in MIDI output by default.
2869 Make beat or measure repeats. These look like percent signs. These
2870 are not played in MIDI output by default. Percent repeats must be
2871 declared within a @code{Voice} context.
2877 @subsection Repeat syntax
2879 LilyPond has one syntactic construct for specifying different types of
2880 repeats. The syntax is
2883 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2886 If you have alternative endings, you may add
2887 @funindex \alternative
2898 where each @var{alternative} is a music expression. If you do not
2899 give enough alternatives for all of the repeats, the first alternative
2900 is assumed to be played more than once.
2902 Standard repeats are used like this
2903 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2905 \repeat volta 2 { c4 d e f }
2906 \repeat volta 2 { f e d c }
2909 With alternative endings
2910 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2912 \repeat volta 2 {c4 d e f}
2913 \alternative { {d2 d} {f f,} }
2916 In the following example, the first ending is not a complete
2917 bar (it only had 3 beats). The beginning of the second ending
2918 contains the 4th beat from the first ending. This ``extra''
2919 beat in the second ending is due to the first time ending,
2920 and has nothing to do with the @code{\partial} at the
2921 beginning of the example.
2923 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2926 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2927 \alternative { { g4 g g } { a | a a a a | b2. } }
2931 @funindex \repeatTie
2933 Ties may be added to a second ending,
2935 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2937 \repeat volta 2 {c4 d e f ~ }
2938 \alternative { {f2 d} {f\repeatTie f,} }
2941 It is possible to shorten volta brackets
2942 by setting @code{voltaSpannerDuration}. In the next example, the
2943 bracket only lasts one measure, which is a duration of 3/4.
2945 @lilypond[verbatim,ragged-right,quote]
2949 \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4)
2950 \repeat "volta" 5 { d d d }
2951 \alternative { { e e e f f f }
2961 Brackets for the repeat are normally only printed over the topmost
2962 staff. This can be adjusted by setting the @code{voltaOnThisStaff}
2963 property; see @inputfileref{input/@/regression,volta@/-multi@/-staff@/.ly}.
2968 @cindex repeat, ambiguous
2970 A nested repeat like
2979 is ambiguous, since it is is not clear to which @code{\repeat} the
2980 @code{\alternative} belongs. This ambiguity is resolved by always
2981 having the @code{\alternative} belong to the inner @code{\repeat}.
2982 For clarity, it is advisable to use braces in such situations.
2984 Timing information is not remembered at the start of an alternative,
2985 so after a repeat timing information must be reset by hand; for
2986 example, by setting @code{Score.measurePosition} or entering
2987 @code{\partial}. Similarly, slurs or ties are also not repeated.
2990 @node Repeats and MIDI
2991 @subsection Repeats and MIDI
2993 @cindex expanding repeats
2994 @funindex \unfoldRepeats
2996 With a little bit of tweaking, all types of repeats can be present
2997 in the MIDI output. This is achieved by applying the
2998 @code{\unfoldRepeats} music function. This function changes all
2999 repeats to unfold repeats.
3001 @lilypond[quote,verbatim,fragment,line-width=8.0\cm]
3003 \repeat tremolo 8 {c'32 e' }
3004 \repeat percent 2 { c''8 d'' }
3005 \repeat volta 2 {c'4 d' e' f'}
3014 When creating a score file using @code{\unfoldRepeats} for MIDI,
3015 it is necessary to make two @code{\score} blocks: one for MIDI (with
3016 unfolded repeats) and one for notation (with volta, tremolo, and
3017 percent repeats). For example,
3025 \unfoldRepeats @var{..music..}
3031 @node Manual repeat commands
3032 @subsection Manual repeat commands
3034 @funindex repeatCommands
3036 The property @code{repeatCommands} can be used to control the layout of
3037 repeats. Its value is a Scheme list of repeat commands.
3040 @item @code{start-repeat}
3041 Print a @code{|:} bar line.
3043 @item @code{end-repeat}
3044 Print a @code{:|} bar line.
3046 @item @code{(volta @var{text})}
3047 Print a volta bracket saying @var{text}: The text can be specified as
3048 a text string or as a markup text, see @ref{Text markup}. Do not
3049 forget to change the font, as the default number font does not contain
3050 alphabetic characters;
3052 @item @code{(volta #f)}
3053 Stop a running volta bracket.
3056 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
3058 \set Score.repeatCommands = #'((volta "93") end-repeat)
3060 \set Score.repeatCommands = #'((volta #f))
3067 Program reference: @internalsref{VoltaBracket},
3068 @internalsref{RepeatedMusic},
3069 @internalsref{VoltaRepeatedMusic},
3070 @internalsref{UnfoldedRepeatedMusic}, and
3071 @internalsref{FoldedRepeatedMusic}.
3074 @node Tremolo repeats
3075 @subsection Tremolo repeats
3077 @cindex tremolo beams
3079 To place tremolo marks between notes, use @code{\repeat} with tremolo
3081 @lilypond[quote,verbatim,ragged-right]
3082 \new Voice \relative c' {
3083 \repeat "tremolo" 8 { c16 d16 }
3084 \repeat "tremolo" 4 { c16 d16 }
3085 \repeat "tremolo" 2 { c16 d16 }
3089 Tremolo marks can also be put on a single note. In this case, the
3090 note should not be surrounded by braces.
3091 @lilypond[quote,verbatim,ragged-right]
3092 \repeat "tremolo" 4 c'16
3095 Similar output is obtained using the tremolo subdivision, described in
3096 @ref{Tremolo subdivisions}.
3101 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
3103 Program reference: @internalsref{Beam}, @internalsref{StemTremolo}.
3105 Example files: @inputfileref{input/@/regression,chord@/-tremolo@/.ly},
3106 @inputfileref{input/@/regression,stem@/-tremolo@/.ly}.
3109 @node Tremolo subdivisions
3110 @subsection Tremolo subdivisions
3112 @cindex tremolo marks
3113 @funindex tremoloFlags
3115 Tremolo marks can be printed on a single note by adding
3116 `@code{:}[@var{number}]' after the note. The number indicates the
3117 duration of the subdivision, and it must be at least 8. A
3118 @var{length} value of 8 gives one line across the note stem. If the
3119 length is omitted, the last value (stored in @code{tremoloFlags}) is
3122 @lilypond[quote,ragged-right,verbatim,fragment]
3123 c'2:8 c':32 | c': c': |
3129 Tremolos entered in this way do not carry over into the MIDI output.
3134 In this manual: @ref{Tremolo repeats}.
3136 Elsewhere: @internalsref{StemTremolo}.
3139 @node Measure repeats
3140 @subsection Measure repeats
3142 @cindex percent repeats
3143 @cindex measure repeats
3145 In the @code{percent} style, a note pattern can be repeated. It is
3146 printed once, and then the pattern is replaced with a special sign.
3147 Patterns of one and two measures are replaced by percent-like signs,
3148 patterns that divide the measure length are replaced by slashes.
3149 Percent repeats must be declared within a @code{Voice} context.
3151 @lilypond[quote,verbatim,ragged-right]
3152 \new Voice \relative c' {
3153 \repeat "percent" 4 { c4 }
3154 \repeat "percent" 2 { c2 es2 f4 fis4 g4 c4 }
3158 Measure repeats of more than 2 measures get a counter, if you switch
3159 on the @code{countPercentRepeats} property,
3161 @lilypond[relative=2,fragment,quote,verbatim,ragged-right]
3163 \set countPercentRepeats = ##t
3164 \repeat "percent" 4 { c1 }
3170 Isolated percents can also be printed. This is done by putting a
3171 multi-measure rest with a different print function,
3173 @lilypond[fragment,verbatim,quote]
3174 \override MultiMeasureRest #'stencil
3175 = #ly:multi-measure-rest::percent
3184 Program reference: @internalsref{RepeatSlash},
3185 @internalsref{PercentRepeat}, @internalsref{DoublePercentRepeat},
3186 @internalsref{DoublePercentRepeatCounter},
3187 @internalsref{PercentRepeatCounter},
3188 @internalsref{PercentRepeatedMusic}.