1 @c -*- coding: latin-1; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
10 @chapter Basic notation
12 This chapter explains how to use all basic notation features.
16 * Easier music entry::
30 This section is about basic notation elements like notes, rests, and
31 related constructs, such as stems, tuplets and ties.
36 * Cautionary accidentals::
51 @cindex Note specification
52 @cindex entering notes
54 A note is printed by specifying its pitch and then its duration,
56 @lilypond[quote,verbatim,raggedright,fragment]
62 @ref{Pitches}, @ref{Durations}
71 The most common syntax for pitch entry is used for standard notes and
72 @code{\chordmode} modes. In these modes, pitches may be designated by
73 names. The notes are specified by the letters @code{a} through
74 @code{g}. The octave is formed with notes ranging from @code{c}
75 to @code{b}. The pitch @code{c} is an octave below middle C and the
76 letters span the octave above that C
78 @lilypond[quote,fragment,verbatim,raggedright]
80 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
86 The optional octave specification takes the form of a series of
87 single quote (`@code{'}') characters or a series of comma
88 (`@code{,}') characters. Each @code{'} raises the pitch by one
89 octave; each @code{,} lowers the pitch by an octave
91 @lilypond[quote,raggedright,fragment,verbatim]
95 @cindex note names, Dutch
97 A sharp is formed by adding @code{-is} to the end of a pitch name and
98 a flat is formed by adding @code{-es}. Double sharps and double flats
99 are obtained by adding @code{-isis} or @code{-eses}. These
100 names are the Dutch note names. In Dutch, @code{aes} is contracted to
101 @code{as}, but both forms are accepted. Similarly, both
102 @code{es} and @code{ees} are accepted
104 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
112 There are predefined sets of note names for various other languages.
113 To use them, include the language specific init file. For
114 example: @code{\include "english.ly"}. The available language files
115 and the note names they define are
120 Note Names sharp flat
121 nederlands.ly c d e f g a bes b -is -es
122 english.ly c d e f g a bf b -s/-sharp -f/-flat
124 deutsch.ly c d e f g a b h -is -es
125 norsk.ly c d e f g a b h -iss/-is -ess/-es
126 svenska.ly c d e f g a b h -iss -ess
127 italiano.ly do re mi fa sol la sib si -d -b
128 catalan.ly do re mi fa sol la sib si -d/-s -b
129 espanol.ly do re mi fa sol la sib si -s -b
135 In accordance with standard typsetting rules, a natural sign is printed
136 before a sharp or flat if a previous accidental needs to be
137 cancelled. To change this behaviour, use
138 @code{\set Staff.extraNatural = ##f}
140 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
142 \set Staff.extraNatural = ##f
149 Program reference: @internalsref{LedgerLineSpanner}, @internalsref{NoteHead}.
152 @node Cautionary accidentals
153 @subsection Cautionary accidentals
155 @cindex reminder accidental
157 @cindex cautionary accidental
158 @cindex parenthesized accidental
161 Normally accidentals are printed automatically, but you may also
162 print them manually. A reminder accidental
163 can be forced by adding an exclamation mark @code{!}
164 after the pitch. A cautionary accidental
165 (i.e., an accidental within parentheses) can be obtained by adding the
166 question mark `@code{?}' after the pitch.
168 @lilypond[quote,raggedright,fragment,verbatim]
169 cis' cis' cis'! cis'?
175 The automatic production of accidentals can be tuned in many
176 ways. For more information, refer to @ref{Automatic accidentals}.
181 @subsection Micro tones
183 @cindex quarter tones
184 @cindex semi-flats, semi-sharps
186 Half-flats and half-sharps are formed by adding @code{-eh} and
187 @code{-ih}; the following is a series of Cs with increasing pitches
189 @lilypond[verbatim,raggedright,quote,relative=2,fragment]
190 \set Staff.extraNatural = ##f
194 Micro tones are also exported to the MIDI file.
199 There are no generally accepted standards for denoting three quarter
200 flats, so LilyPond's symbol does not conform to any standard.
208 A chord is formed by a enclosing a set of pitches in @code{<} and
209 @code{>}. A chord may be followed by a duration, and a set of
210 articulations, just like simple notes
212 @lilypond[verbatim,raggedright,fragment,quote,relative=1]
216 For more information about chords, see @ref{Chord names}.
227 Rests are entered like notes with the note name @code{r}
229 @lilypond[fragment,quote,raggedright,verbatim]
233 Whole bar rests, centered in middle of the bar,
234 must be done with multi-measure rests. They are discussed in
235 @ref{Multi measure rests}.
238 A rest's vertical position may be explicitly specified by entering a
239 note with the @code{\rest} keyword appended, the rest will be placed at
240 the note's place. This makes manual formatting in polyphonic music
241 easier. Automatic rest collision formatting will leave these rests
244 @lilypond[fragment,quote,raggedright,verbatim]
250 Program reference: @internalsref{Rest}.
257 @cindex Invisible rest
262 An invisible rest (also called a `skip') can be entered like a note
263 with note name `@code{s}' or with @code{\skip @var{duration}}
265 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
266 a4 a4 s4 a4 \skip 1 a4
269 The @code{s} syntax is only available in note mode and chord mode. In
270 other situations, for example, when entering lyrics, you should use
271 the @code{\skip} command
273 @lilypond[quote,raggedright,verbatim]
276 \new Lyrics \lyricmode { \skip 2 bla2 }
280 The skip command is merely an empty musical placeholder. It does not
281 produce any output, not even transparent output.
283 The @code{s} skip command does create @internalsref{Staff} and
284 @internalsref{Voice} when necessary, similar to note and rest
285 commands. For example, the following results in an empty staff.
287 @lilypond[quote,raggedright,verbatim]
291 The fragment @code{@{ \skip 4 @} } would produce an empty page.
295 Program reference: @internalsref{SkipMusic}.
299 @subsection Durations
302 @cindex @code{\longa}
303 @cindex @code{\breve}
304 @cindex @code{\maxima}
306 In Note, Chord, and Lyrics mode, durations are designated by numbers and
307 dots: durations are entered as their reciprocal values. For example, a
308 quarter note is entered using a @code{4} (since it is a 1/4 note), while
309 a half note is entered using a @code{2} (since it is a 1/2 note). For
310 notes longer than a whole you must use the variables @code{\longa} and
315 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
317 r1 r2 r4 r8 r16 r32 r64 r64
323 a\breve*1/2 \autoBeamOff
324 a1 a2 a4 a8 a16 a32 a64 a64
327 r\longa*1/4 r\breve *1/2
328 r1 r2 r4 r8 r16 r32 r64 r64
334 \remove "Clef_engraver"
335 \override StaffSymbol #'transparent = ##t
336 \override TimeSignature #'transparent = ##t
337 \override BarLine #'transparent = ##t
338 \consists "Pitch_squash_engraver"
344 If the duration is omitted then it is set to the previously entered
345 duration. The default for the first note is a quarter note.
347 @lilypond[quote,raggedright,verbatim,fragment]
348 { a a a2 a a4 a a1 a }
352 @node Augmentation dots
353 @subsection Augmentation dots
357 To obtain dotted note lenghts, simply add a dot (`@code{.}') to
358 the number. Double-dotted notes are produced in a similar way.
360 @lilypond[quote,raggedright,fragment,verbatim]
361 a'4 b' c''4. b'8 a'4. b'4.. c''8.
366 Dots are normally moved up to avoid staff lines, except in polyphonic
367 situations. The following commands may be used to force a particular
370 @cindex @code{\dotsUp}
372 @cindex @code{\dotsDown}
374 @cindex @code{\dotsNeutral}
379 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
387 @cindex @code{\times}
389 Tuplets are made out of a music expression by multiplying all durations
393 \times @var{fraction} @var{musicexpr}
397 The duration of @var{musicexpr} will be multiplied by the fraction.
398 The fraction's denominator will be printed over the notes, optionally
399 with a bracket. The most common tuplet is the triplet in which 3
400 notes have the length of 2, so the notes are 2/3 of their written
403 @lilypond[quote,raggedright,fragment,verbatim]
404 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
409 @cindex @code{\tupletUp}
411 @cindex @code{\tupletDown}
413 @cindex @code{\tupletNeutral}
414 @code{\tupletNeutral}.
419 @cindex @code{tupletNumberFormatFunction}
420 @cindex tuplet formatting
422 The property @code{tupletSpannerDuration} specifies how long each
423 bracket should last. With this, you can make lots of tuplets while
424 typing @code{\times} only once, thus saving lots of typing. In the next
425 example, there are two triplets shown, while @code{\times} was only
428 @lilypond[quote,fragment,relative=1,raggedright,verbatim]
429 \set tupletSpannerDuration = #(ly:make-moment 1 4)
430 \times 2/3 { c'8 c c c c c }
433 The format of the number is determined by the property
434 @code{tupletNumberFormatFunction}. The default prints only the
435 denominator, but if it is set to the Scheme function
436 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
442 Program reference: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
447 Nested tuplets are not formatted automatically. In this case, outer
448 tuplet brackets should be moved manually, which is demonstrated in
449 @inputfileref{input/@/regression,tuplet@/-nest@/.ly}.
452 @node Scaling durations
453 @subsection Scaling durations
455 You can alter the length of duration by a fraction @var{N/M}
456 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
457 will not affect the appearance of the notes or rests produced.
459 In the following example, the first three notes take up exactly two
460 beats, but no triplet bracket is printed.
461 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
463 a4*2/3 gis4*2/3 a4*2/3
471 This manual: @ref{Tuplets}
475 @node Easier music entry
476 @section Easier music entry
479 This section deals with tricks and features of the input language that
480 were added solely to help entering music and finding and correcting
481 mistakes. There are also external tools that make debugging easier.
482 See @ref{Point and click} for more information.
484 It is also possible to enter and edit music using other programs, such as
485 GUI interfaces or MIDI sequencers. Refer to the LilyPond
486 website for more information.
492 * Skipping corrected music::
493 * Automatic note splitting::
497 @node Relative octaves
498 @subsection Relative octaves
501 @cindex Relative octave specification
502 @cindex @code{\relative}
504 Octaves are specified by adding @code{'} and @code{,} to pitch names.
505 When you copy existing music, it is easy to accidentally put a pitch
506 in the wrong octave and hard to find such an error. The relative
507 octave mode prevents these errors by making the mistakes much
508 larger: a single error puts the rest of the piece off by one octave
511 \relative @var{startpitch} @var{musicexpr}
518 \relative @var{musicexpr}
521 The octave of notes that appear in @var{musicexpr} are calculated as
522 follows: if no octave changing marks are used, the basic interval
523 between this and the last note is always taken to be a fourth or
524 less. This distance is determined without regarding alterations; a
525 @code{fisis} following a @code{ceses} will be put above the
526 @code{ceses}. In other words, a doubly-augmented fourth is considered
527 a smaller interval than a diminshed fifth, even though the fourth is
528 seven semitones while the fifth is only six semitones.
530 The octave changing marks @code{'} and @code{,} can be added to raise
531 or lower the pitch by an extra octave. Upon entering relative mode,
532 an absolute starting pitch can be specified that will act as the
533 predecessor of the first note of @var{musicexpr}. If no starting pitch
534 is specified, then middle C is used as a start.
536 Here is the relative mode shown in action
537 @lilypond[quote,fragment,raggedright,verbatim]
543 Octave changing marks are used for intervals greater than a fourth
544 @lilypond[quote,raggedright,fragment,verbatim]
550 If the preceding item is a chord, the first note of the chord is used
551 to determine the first note of the next chord
553 @lilypond[quote,raggedright,fragment,verbatim]
561 The pitch after the @code{\relative} contains a note name.
563 The relative conversion will not affect @code{\transpose},
564 @code{\chordmode} or @code{\relative} sections in its argument. To use
565 relative within transposed music, an additional @code{\relative} must
566 be placed inside @code{\transpose}.
570 @subsection Octave check
574 Octave checks make octave errors easier to correct: a note may be
575 followed by @code{=}@var{quotes} which indicates what its absolute
576 octave should be. In the following example,
579 \relative c'' @{ c='' b=' d,='' @}
583 the @code{d} will generate a warning, because a @code{d''} is expected
584 (because @code{b'} to @code{d''} is only a third), but a @code{d'} is
585 found. In the output, the octave is corrected to be a @code{d''} and
586 the next note is calculated relative to @code{d''} instead of @code{d'}.
588 There is also a syntax that is separate from the notes. The syntax
594 This checks that @var{pitch} (without quotes) yields @var{pitch} (with
595 quotes) in \relative mode. If not, a warning is printed, and the
598 In the example below, the first check passes without incident, since
599 the @code{e} (in relative mode) is within a fifth of @code{a'}. However,
600 the second check produces a warning, since the @code{e} is not within
601 a fifth of @code{b'}. The warning message is printed, and the octave
602 is adjusted so that the following notes are in the correct octave
614 The octave of a note following an octave check is determined with
615 respect to the note preceding it. In the next fragment, the last note
616 is an @code{a'}, above middle C. That means that the @code{\octave}
617 check passes successfully, so the check could be deleted without changing
618 the output of the piece.
620 @lilypond[quote,raggedright,verbatim,fragment]
630 @subsection Bar check
633 @cindex @code{barCheckSynchronize}
636 Bar checks help detect errors in the durations. A bar check is
637 entered using the bar symbol, `@code{|}'. Whenever it is encountered
638 during interpretation, it should fall on a measure boundary. If it
639 does not, a warning is printed. In the next example, the second bar
640 check will signal an error
642 \time 3/4 c2 e4 | g2 |
645 Bar checks can also be used in lyrics, for example
650 Twin -- kle | Twin -- kle
654 Failed bar checks are caused by entering incorrect
655 durations. Incorrect durations often completely garble up the score,
656 especially if the score is polyphonic, so a good place to start correcting
657 input is by scanning for failed bar checks and incorrect durations.
660 @cindex @code{pipeSymbol}
662 It is also possible to redefine the meaning of @code{|}. This is done
663 by assigning a music expression to @code{pipeSymbol},
665 @lilypond[quote,raggedright,verbatim]
666 pipeSymbol = \bar "||"
672 @node Skipping corrected music
673 @subsection Skipping corrected music
675 @cindex @code{skipTypesetting}
677 The property @code{Score.skipTypesetting} can be used to switch on and
678 off typesetting completely during the interpretation phase. When
679 typesetting is switched off, the music is processed much more
680 quickly. This can be used to skip over the parts of a score that
681 have already been checked for errors
683 @lilypond[quote,fragment,raggedright,verbatim]
686 \set Score.skipTypesetting = ##t
688 \set Score.skipTypesetting = ##f
692 In polyphonic music, @code{Score.skipTypesetting} will affect all
693 voices and staves, saving even more time.
696 @node Automatic note splitting
697 @subsection Automatic note splitting
699 Long notes can be converted automatically to tied notes. This is done
700 by replacing the @internalsref{Note_heads_engraver} by the
701 @internalsref{Completion_heads_engraver}.
702 In the following examples, notes crossing the bar line are split and tied.
704 @lilypond[quote,fragment,verbatim,relative=1,linewidth=12\cm]
706 \remove "Note_heads_engraver"
707 \consists "Completion_heads_engraver"
709 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
713 This engraver splits all running notes at the bar line, and inserts
714 ties. One of its uses is to debug complex scores: if the measures are
715 not entirely filled, then the ties exactly show how much each measure
721 Not all durations (especially those containing tuplets) can be
722 represented exactly with normal notes and dots, but the engraver will
725 @code{Completion_heads_engraver} only affects notes; it does not split
731 Examples: @inputfileref{input/@/regression,completion@/-heads@/.ly}.
735 Program reference: @internalsref{Completion_heads_engraver}.
740 @section Staff notation
742 @cindex Staff notation
744 This section describes music notation that occurs on staff level,
745 such as key signatures, clefs and time signatures.
754 * System start delimiters::
764 The clef indicates which lines of the staff correspond to which
765 pitches. The clef is set with the @code{\clef} command
767 @lilypond[quote,raggedright,fragment,verbatim]
768 { c''2 \clef alto g'2 }
778 @cindex mezzosoprano clef
779 @cindex baritone clef
780 @cindex varbaritone clef
783 Supported clefs finclude
785 @item treble, violin, G, G2
794 G clef on 1st line, so-called French violin clef
811 By adding @code{_8} or @code{^8} to the clef name, the clef is
812 transposed one octave down or up, respectively, and @code{_15} and
813 @code{^15} transposes by two octaves. The argument @var{clefname}
814 must be enclosed in quotes when it contains underscores or digits. For
817 @cindex choral tenor clef
818 @lilypond[quote,raggedright,verbatim,fragment,relative=1]
825 The command @code{\clef "treble_8"} is equivalent to setting @code{clefGlyph},
826 @code{clefPosition} (which controls the Y position of the clef),
827 @code{middleCPosition} and @code{clefOctavation}. A clef is printed
828 when any of these properties are changed. The following example shows
829 possibilities when setting properties manually.
831 @lilypond[quote,raggedright,verbatim]
833 \set Staff.clefGlyph = #"clefs.F"
834 \set Staff.clefPosition = #2
836 \set Staff.clefGlyph = #"clefs.G"
838 \set Staff.clefGlyph = #"clefs.C"
840 \set Staff.clefOctavation = #7
842 \set Staff.clefOctavation = #0
843 \set Staff.clefPosition = #0
847 \set Staff.middleCPosition = #4
855 Program reference: @internalsref{Clef}.
859 @subsection Key signature
861 @cindex Key signature
864 The key signature indicates the tonality in which a piece is played. It
865 is denoted by a set of alterations (flats or sharps) at the start of the
868 Setting or changing the key signature is done with the @code{\key}
872 @code{\key} @var{pitch} @var{type}
875 @cindex @code{\minor}
876 @cindex @code{\major}
877 @cindex @code{\minor}
878 @cindex @code{\ionian}
879 @cindex @code{\locrian}
880 @cindex @code{\aeolian}
881 @cindex @code{\mixolydian}
882 @cindex @code{\lydian}
883 @cindex @code{\phrygian}
884 @cindex @code{\dorian}
887 Here, @var{type} should be @code{\major} or @code{\minor} to get
888 @var{pitch}-major or @var{pitch}-minor, respectively. You may also
889 use the standard mode names (also called ``church modes''): @code{\ionian},
890 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
891 @code{\phrygian}, and @code{\dorian}.
893 This command sets the context property
894 @code{Staff.keySignature}. Non-standard key signatures
895 can be specified by setting this property directly.
897 Accidentals and key signatures often confuse new users, because
898 unaltered notes get natural signs depending on the key signature. For
899 more information, see @ref{More about pitches}.
904 A natural sign is printed to cancel any previous accidentals. This
905 can be suppressed by setting the @code{Staff.printKeyCancellation}
908 @lilypond[quote,fragment,raggedright,fragment,verbatim,relative=2]
913 \set Staff.printKeyCancellation = ##f
923 Program reference: @internalsref{KeyCancellation}, @internalsref{KeySignature}.
927 @subsection Time signature
929 @cindex Time signature
933 Time signature indicates the metrum of a piece: a regular pattern of
934 strong and weak beats. It is denoted by a fraction at the start of the
937 The time signature is set with the @code{\time} command
939 @lilypond[quote,raggedright,fragment,verbatim]
940 \time 2/4 c'2 \time 3/4 c'2.
945 The symbol that is printed can be customized with the @code{style}
946 property. Setting it to @code{#'()} uses fraction style for 4/4 and
949 @lilypond[fragment,quote,raggedright,verbatim]
952 \override Staff.TimeSignature #'style = #'()
957 There are many more options for its layout. See @ref{Ancient time
958 signatures} for more examples.
960 @code{\time} sets the property @code{timeSignatureFraction},
961 @code{beatLength} and @code{measureLength} in the @code{Timing}
962 context, which is normally aliased to @internalsref{Score}. The
963 property @code{measureLength} determines where bar lines should be
964 inserted, and how automatic beams should be generated. Changing the
965 value of @code{timeSignatureFraction} also causes the symbol to be
968 More options are available through the Scheme function
969 @code{set-time-signature}. In combination with the
970 @internalsref{Measure_grouping_engraver}, it will create
971 @internalsref{MeasureGrouping} signs. Such signs ease reading
972 rhythmically complex modern music. In the following example, the 9/8
973 measure is subdivided in 2, 2, 2 and 3. This is passed to
974 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
976 @lilypond[quote,raggedright,verbatim]
979 #(set-time-signature 9 8 '(2 2 2 3))
980 g8[ g] d[ d] g[ g] a8[( bes g]) |
981 #(set-time-signature 5 8 '(3 2))
987 \consists "Measure_grouping_engraver"
995 Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1000 Automatic beaming does not use the measure grouping specified with
1001 @code{set-time-signature}.
1004 @node Partial measures
1005 @subsection Partial measures
1009 @cindex partial measure
1010 @cindex measure, partial
1011 @cindex shorten measures
1012 @cindex @code{\partial}
1014 Partial measures, such as an anacrusis or upbeat, are entered using the
1016 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1017 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1020 The syntax for this command is
1023 \partial @var{duration}
1026 This is internally translated into
1029 \set Timing.measurePosition = -@var{length of duration}
1032 The property @code{measurePosition} contains a rational number
1033 indicating how much of the measure has passed at this point.
1038 This command does not take into account grace notes at the start of
1039 the music. When a piece starts with graces notes in the pickup, then
1040 the @code{\partial} should follow the grace notes
1042 @lilypond[verbatim,quote,raggedright,relative,fragment]
1051 @subsection Bar lines
1055 @cindex measure lines
1058 Bar lines delimit measures, but are also used to indicate
1059 repeats. Normally they are inserted automatically. Line
1060 breaks may only happen on bar lines.
1062 Special types of bar lines can be forced with the @code{\bar} command
1064 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1068 The following bar types are available
1070 @lilypondfile[raggedright,quote]{bar-lines.ly}
1072 To allow a line break where there is no visible bar line, use
1079 This will insert an invisible bar line and allow line breaks at this
1082 In scores with many staves, a @code{\bar} command in one staff is
1083 automatically applied to all staves. The resulting bar lines are
1084 connected between different staves of a StaffGroup
1086 @lilypond[quote,raggedright,fragment,verbatim]
1088 \context StaffGroup <<
1094 \new Staff { \clef bass c4 g e g }
1096 \new Staff { \clef bass c2 c2 }
1100 @cindex @code{whichBar}
1101 @cindex @code{repeatCommands}
1102 @cindex @code{defaultBarType}
1104 The command @code{\bar }@var{bartype} is a short cut for doing
1105 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1106 is set to a string, a bar line of that type is created.
1108 A bar line is created whenever the @code{whichBar} property is set.
1109 At the start of a measure it is set to the contents of
1110 @code{Timing.defaultBarType}. The contents of @code{repeatCommands} are used
1111 to override default measure bars.
1113 You are encouraged to use @code{\repeat} for repetitions. See
1119 In this manual: @ref{Repeats}, @ref{System start delimiters}.
1121 Program reference: @internalsref{BarLine} (created at
1122 @internalsref{Staff} level), @internalsref{SpanBar} (across staves).
1124 Examples: @inputfileref{input/@/test,bar@/-lines@/.ly},
1127 @node Unmetered music
1128 @subsection Unmetered music
1131 @cindex @code{\cadenzaOn}
1132 @cindex @code{\cadenzaOff}
1134 Bar lines and bar numbers are calculated automatically. For unmetered
1135 music (cadenzas, for example), this is not desirable. To turn off
1136 automatic bar lines and bar numbers, use the commands @code{\cadenzaOn}
1137 and @code{\cadenzaOff}.
1139 @lilypond[verbatim,quote,raggedright,relative=2,fragment]
1151 LilyPond will only insert page breaks at a barline. Unless the unmetered
1152 music ends before the end of the staff line, you will need to insert
1160 to indicate where line breaks can occur.
1163 @node System start delimiters
1164 @subsection System start delimiters
1166 @cindex start of system
1167 @cindex Staff, multiple
1168 @cindex bracket, vertical
1169 @cindex brace, vertical
1173 Many scores consist of more than one staff. These staves can be
1174 joined in three different ways
1177 @item The group is started with a brace at the left, and bar lines are
1178 connected. This is done with the @internalsref{GrandStaff} context.
1180 @lilypond[verbatim,raggedright,quote]
1188 @item The group is started with a bracket, and bar lines are connected.
1189 This is done with the
1190 @internalsref{StaffGroup} context
1192 @lilypond[verbatim,raggedright,quote]
1200 @item The group is started with a vertical line. Bar lines are not
1201 connected. This is the default for the score.
1203 @lilypond[verbatim,raggedright,quote]
1214 The bar lines at the start of each system are
1215 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1216 @internalsref{SystemStartBracket}. Only one of these types is created
1217 in every context, and that type is determined by the property
1218 @code{systemStartDelimiter}.
1222 @subsection Staff symbol
1224 @cindex adjusting staff symbol
1226 Notes, dynamic signs, etc., are grouped
1227 with a set of horizontal lines, called a staff (plural `staves'). In
1228 LilyPond, these lines are drawn using a separate layout object called
1231 The staff symbol may be tuned in the number, thickness and distance
1232 of lines, using properties. This is demonstrated in the example files
1233 @inputfileref{input/@/test,staff@/-lines@/.ly},
1234 @inputfileref{input/@/test,staff@/-size@/.ly}.
1236 In addition, staves may be started and stopped at will. This is done
1237 with @code{\startStaff} and @code{\stopStaff}.
1239 @lilypond[verbatim,relative=2,fragment]
1241 \override Staff.StaffSymbol #'line-count = 2
1242 \stopStaff \startStaff
1244 \revert Staff.StaffSymbol #'line-count
1245 \stopStaff \startStaff
1249 In combination with Frenched staves, this may be used to typeset ossia
1250 sections. An example is in @inputfileref{input/@/test@/,ossia.ly},
1255 @lilypondfile{ossia.ly}
1257 @cindex staff lines, setting number of
1258 @cindex staff lines, setting thickness of
1259 @cindex thickness of staff lines, setting
1260 @cindex number of staff lines, setting
1264 Program reference: @internalsref{StaffSymbol}.
1266 Examples: @inputfileref{input/@/test,staff@/-lines@/.ly},
1267 @inputfileref{input/@/test@/,ossia.ly},
1268 @inputfileref{input/@/test,staff@/-size@/.ly}.
1272 @node Connecting notes
1273 @section Connecting notes
1275 This section deals with notation that affects groups of notes.
1293 A tie connects two adjacent note heads of the same pitch. The tie in
1294 effect extends the length of a note. Ties should not be confused with
1295 slurs, which indicate articulation, or phrasing slurs, which indicate
1296 musical phrasing. A tie is entered using the tilde symbol `@code{~}'
1298 @lilypond[quote,raggedright,fragment,verbatim]
1299 e' ~ e' <c' e' g'> ~ <c' e' g'>
1302 When a tie is applied to a chord, all note heads whose pitches match
1303 are connected. When no note heads match, no ties will be created.
1305 A tie is just a way of extending a note duration, similar to the
1306 augmentation dot. The following example shows two ways of notating
1307 exactly the same concept
1309 @lilypond[quote,fragment,raggedright]
1310 \time 3/4 c'2. c'2 ~ c'4
1314 Ties are used either when the note crosses a bar line, or when dots
1315 cannot be used to denote the rhythm. When using ties, larger note
1316 values should be aligned to subdivisions of the measure, eg.
1318 @lilypond[fragment,quote,raggedright]
1320 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
1324 If you need to tie a lot of notes over bars, it may be easier to use
1325 automatic note splitting (see @ref{Automatic note splitting}). This
1326 mechanism automatically splits long notes, and ties them across bar
1332 Ties are sometimes used to write out arpeggios. In this case, two tied
1333 notes need not be consecutive. This can be achieved by setting the
1334 @code{tieWaitForNote} property to true. For example,
1336 @lilypond[fragment,verbatim,relative=1,raggedright]
1337 \set tieWaitForNote = ##t
1338 \grace { c16[~ e~ g]~ } <c, e g>4
1345 @cindex @code{\tieUp}
1347 @cindex @code{\tieDown}
1349 @cindex @code{\tieNeutral}
1351 @cindex @code{\tieDotted}
1353 @cindex @code{\tieSolid}
1359 In this manual: @ref{Automatic note splitting}.
1361 Program reference: @internalsref{Tie}.
1366 Switching staves when a tie is active will not produce a slanted tie.
1368 Formatting of ties is a difficult subject. The results are often not
1377 A slur indicates that notes are to be played bound or
1378 @emph{legato}. They are entered using parentheses
1380 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1381 f( g a) a8 b( a4 g2 f4)
1385 The direction of a slur can be specified with
1386 @code{\slur@emph{DIR}}, where @code{@emph{DIR}} is
1387 either @code{Up}, @code{Down}, or @code{Neutral} (automatically
1390 However, there is a convenient shorthand for forcing slur
1391 directions. By adding @code{_} or @code{^} before the opening
1392 parentheses, the direction is also set. For example,
1394 @lilypond[relative=2,raggedright,quote,verbatim,fragment]
1398 Only one slur can be printed at once. If you need to print a long
1399 slur over a few small slurs, please see @ref{Phrasing slurs}.
1404 Some composers write two slurs when they want legato chords. This can
1405 be achieved in LilyPond by setting @code{doubleSlurs},
1407 @lilypond[verbatim,raggedright,relative,fragment,quote]
1408 \set doubleSlurs = ##t
1409 <c e>4 ( <d f> <c e> <d f> )
1415 @cindex @code{\slurUp}
1417 @cindex @code{\slurDown}
1419 @cindex @code{\slurNeutral}
1420 @code{\slurNeutral},
1421 @cindex @code{\slurDashed}
1423 @cindex @code{\slurDotted}
1425 @cindex @code{\slurSolid}
1430 Program reference: @seeinternals{Slur}.
1433 @node Phrasing slurs
1434 @subsection Phrasing slurs
1436 @cindex phrasing slurs
1437 @cindex phrasing marks
1439 A phrasing slur (or phrasing mark) connects notes and is used to
1440 indicate a musical sentence. It is written using @code{\(} and @code{\)}
1443 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1444 \time 6/4 c'\( d( e) f( e) d\)
1447 Typographically, the phrasing slur behaves almost exactly like a
1448 normal slur. However, they are treated as different objects. A
1449 @code{\slurUp} will have no effect on a phrasing slur; instead, use
1450 @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1451 @code{\phrasingSlurNeutral}.
1453 You cannot have simultaneous phrasing slurs.
1458 @cindex @code{\phrasingSlurUp}
1459 @code{\phrasingSlurUp},
1460 @cindex @code{\phrasingSlurDown}
1461 @code{\phrasingSlurDown},
1462 @cindex @code{\phrasingSlurNeutral}
1463 @code{\phrasingSlurNeutral}.
1468 Program reference: @internalsref{PhrasingSlur}.
1471 @node Automatic beams
1472 @subsection Automatic beams
1474 LilyPond inserts beams automatically
1476 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1477 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1480 When these automatic decisions are not good enough, beaming can be
1481 entered explicitly. It is also possible to define beaming patterns
1482 that differ from the defaults. See @ref{Setting automatic beam behavior}
1485 Individual notes may be marked with @code{\noBeam} to prevent them
1488 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1489 \time 2/4 c8 c\noBeam c c
1495 Program reference: @internalsref{Beam}.
1499 @subsection Manual beams
1501 @cindex beams, manual
1505 In some cases it may be necessary to override the automatic beaming
1506 algorithm. For example, the autobeamer will not put beams over rests
1507 or bar lines. Such beams are specified manually by marking the begin
1508 and end point with @code{[} and @code{]}
1510 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1512 r4 r8[ g' a r8] r8 g[ | a] r8
1519 @cindex @code{stemLeftBeamCount}
1520 @cindex @code{stemRightBeamCount}
1522 Normally, beaming patterns within a beam are determined automatically.
1523 If necessary, the properties @code{stemLeftBeamCount} and
1524 @code{stemRightBeamCount} can be used to override the defaults. If
1525 either property is set, its value will be used only once, and then it
1528 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1533 \set stemLeftBeamCount = #1
1538 The property @code{subdivideBeams} can be set in order to subdivide
1539 all 16th or shorter beams at beat positions, as defined by the
1540 @code{beatLength} property.
1542 @lilypond[fragment,quote,relative=2,verbatim]
1544 \set subdivideBeams = ##t
1546 \set Score.beatLength = #(ly:make-moment 1 8)
1549 @cindex @code{subdivideBeams}
1551 Line breaks are normally forbidden when beams cross bar lines. This
1552 behavior can be changed by setting @code{allowBeamBreak}.
1554 @cindex @code{allowBeamBreak}
1555 @cindex beams and line breaks
1556 @cindex beams, kneed
1558 @cindex auto-knee-gap
1563 Kneed beams are inserted automatically when a large gap is detected
1564 between the note heads. This behavior can be tuned through the object.
1566 Automatically kneed cross-staff beams cannot be used together with
1567 hidden staves. See @ref{Hiding staves}.
1569 Beams do not avoid collisions with symbols around the notes, such as
1570 texts and accidentals.
1574 @subsection Grace notes
1576 @cindex @code{\grace}
1579 @cindex appoggiatura
1580 @cindex acciaccatura
1582 Grace notes are ornaments that are written out. The most common ones
1583 are acciaccatura, which should be played as very short. It is denoted
1584 by a slurred small note with a slashed stem. The appoggiatura is a
1585 grace note that takes a fixed fraction of the main note, and is
1586 denoted as a slurred note in small print without a slash. They
1587 are entered with the commands @code{\acciaccatura} and
1588 @code{\appoggiatura}, as demonstrated in the following example
1590 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
1591 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
1592 \acciaccatura { g16[ f] } e4
1595 Both are special forms of the @code{\grace} command. By prefixing this
1596 keyword to a music expression, a new one is formed, which will be
1597 printed in a smaller font and takes up no logical time in a measure.
1599 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
1601 \grace { c16[ d16] } c2 c4
1605 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
1606 @code{\grace} command does not start a slur.
1608 Internally, timing for grace notes is done using a second, `grace'
1609 timing. Every point in time consists of two rational numbers: one
1610 denotes the logical time, one denotes the grace timing. The above
1611 example is shown here with timing tuples
1613 @lilypond[quote,raggedright]
1616 c4 \grace c16 c4 \grace {
1619 \new Lyrics \lyricmode {
1620 \override LyricText #'font-family = #'typewriter
1624 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
1625 \markup { (\fraction 1 4 , 0 ) } 4
1627 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
1628 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
1630 \markup { ( \fraction 2 4 , 0 ) }
1635 The placement of grace notes is synchronized between different staves.
1636 In the following example, there are two sixteenth grace notes for
1637 every eighth grace note
1639 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
1640 << \new Staff { e4 \grace { c16[ d e f] } e4 }
1641 \new Staff { c4 \grace { g8[ b] } c4 } >>
1644 If you want to end a note with a grace, use the @code{\afterGrace}
1645 command. It takes two arguments: the main note, and the grace notes
1646 following the main note.
1648 @lilypond[raggedright, verbatim,relative=2,fragment]
1649 c1 \afterGrace d1 { c16[ d] } c4
1652 This will put the grace notes after a ``space'' lasting 3/4 of the
1653 length of the main note. The fraction 3/4 can be changed by setting
1654 @code{afterGraceFraction}, ie.
1657 afterGraceFraction = #(cons 7 8)
1661 will put the grace note at 7/8 of the main note.
1663 The same effect can be achieved manually by doing
1665 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1668 { s2 \grace { c16[ d] } } >>
1674 By adjusting the duration of the skip note (here it is a half-note),
1675 the space between the main-note and the grace is adjusted.
1677 A @code{\grace} section will introduce special typesetting settings,
1678 for example, to produce smaller type, and set directions. Hence, when
1679 introducing layout tweaks, they should be inside the grace section,
1681 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1693 The overrides should also be reverted inside the grace section.
1695 The layout of grace sections can be changed throughout the music using
1696 the function @code{add-grace-property}. The following example
1697 undefines the Stem direction for this grace, so stems do not always
1702 #(add-grace-property 'Voice 'Stem 'direction '())
1708 Another option is to change the variables @code{startGraceMusic},
1709 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
1710 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
1711 @code{stopAppoggiaturaMusic}. More information is in the file
1712 @file{ly/@/grace@/-init@/.ly}.
1717 Program reference: @internalsref{GraceMusic}.
1722 A score that starts with a @code{\grace} section needs an explicit
1723 @code{\context Voice} declaration, otherwise the main note and the grace
1724 note end up on different staves.
1726 Grace note synchronization can also lead to surprises. Staff notation,
1727 such as key signatures, bar lines, etc., are also synchronized. Take
1728 care when you mix staves with grace notes and staves without, for example,
1730 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
1731 << \new Staff { e4 \bar "|:" \grace c16 d4 }
1732 \new Staff { c4 \bar "|:" d4 } >>
1736 This can be remedied by inserting grace skips, for the above example
1739 \new Staff @{ c4 \bar "|:" \grace s16 d4 @}
1742 Grace sections should only be used within sequential music
1743 expressions. Nesting or juxtaposing grace sections is not supported,
1744 and might produce crashes or other errors.
1748 @node Expressive marks
1749 @section Expressive marks
1751 Expressive marks help musicians to bring more to the music than simple
1756 * Fingering instructions::
1766 @subsection Articulations
1768 @cindex Articulations
1772 A variety of symbols can appear above and below notes to indicate
1773 different characteristics of the performance. They are added to a note
1774 by adding a dash and the character signifying the
1775 articulation. They are demonstrated here
1777 @lilypondfile[quote,raggedright]{script-abbreviations.ly}
1779 The meanings of these shorthands can be changed. See
1780 @file{ly/@/script@/-init@/.ly} for examples.
1782 The script is automatically placed, but the direction can be forced as
1783 well. Like other pieces of LilyPond code, @code{_} will place them
1784 below the staff, and @code{^} will place them above.
1786 @lilypond[quote,raggedright,fragment,verbatim]
1790 Other symbols can be added using the syntax
1791 @var{note}@code{\}@var{name}. Again, they
1792 can be forced up or down using @code{^} and @code{_},
1795 @lilypond[quote,raggedright,verbatim,fragment,relative=2]
1796 c\fermata c^\fermata c_\fermata
1801 @cindex staccatissimo
1811 @cindex organ pedal marks
1820 @cindex prallmordent
1824 @cindex thumb marking
1829 Here is a chart showing all scripts available,
1831 @lilypondfile[raggedright,quote]{script-chart.ly}
1836 The vertical ordering of scripts is controlled with the
1837 @code{script-priority} property. The lower this number, the closer it
1838 will be put to the note. In this example, the
1839 @internalsref{TextScript} (the sharp symbol) first has the lowest
1840 priority, so it is put lowest in the first example. In the second, the
1841 prall trill (the @internalsref{Script}) has the lowest, so it is on the
1842 inside. When two objects have the same priority, the order in which
1843 they are entered decides which one comes first.
1845 @lilypond[verbatim,relative=3,raggedright,fragment,quote]
1846 \once \override TextScript #'script-priority = #-100
1847 a4^\prall^\markup { \sharp }
1849 \once \override Script #'script-priority = #-100
1850 a4^\prall^\markup { \sharp }
1856 Program reference: @internalsref{Script}.
1861 These signs appear in the printed output but have no effect on the
1862 MIDI rendering of the music.
1865 @node Fingering instructions
1866 @subsection Fingering instructions
1869 @cindex finger change
1871 Fingering instructions can be entered using
1873 @var{note}-@var{digit}
1875 For finger changes, use markup texts
1877 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
1879 c^\markup { \finger "2 - 3" }
1882 You can use the thumb-script to indicate that a note should be
1883 played with the thumb (e.g., in cello music)
1884 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
1885 <a_\thumb a'-3>8 <b_\thumb b'-3>
1888 Fingerings for chords can also be added to individual notes
1889 of the chord by adding them after the pitches
1890 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
1891 < c-1 e-2 g-3 b-5 >4
1897 You may exercise greater control over fingering chords by
1898 setting @code{fingeringOrientations}
1900 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
1901 \set fingeringOrientations = #'(left down)
1902 <c-1 es-2 g-4 bes-5 > 4
1903 \set fingeringOrientations = #'(up right down)
1904 <c-1 es-2 g-4 bes-5 > 4
1907 Using this feature, it is also possible to put fingering instructions
1908 very close to note heads in monophonic music,
1910 @lilypond[verbatim,raggedright,quote,fragment]
1911 \set fingeringOrientations = #'(right)
1918 Program reference: @internalsref{Fingering}.
1920 Examples: @inputfileref{input/@/regression,finger@/-chords@/.ly}.
1924 @subsection Dynamics
1935 @cindex @code{\ffff}
1944 Absolute dynamic marks are specified using a command after a note
1945 @code{c4\ff}. The available dynamic marks are @code{\ppp},
1946 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
1947 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
1948 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
1950 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
1951 c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
1952 c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
1959 A crescendo mark is started with @code{\<} and terminated with
1960 @code{\!} or an absolute dynamic. A decrescendo is started with
1961 @code{\>} and is also terminated with @code{\!} or an absolute
1962 dynamic. Because these marks are bound to notes, you must
1963 use spacer notes if multiple marks are needed during one note
1965 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1967 << f1 { s4 s4\< s4\! \> s4\! } >>
1969 This may give rise to very short hairpins. Use @code{minimum-length}
1970 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
1974 \override Staff.Hairpin #'minimum-length = #5
1981 You can also use a text saying @emph{cresc.} instead of hairpins
1983 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
1994 You can also supply your own texts
1995 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1996 \set crescendoText = \markup { \italic "cresc. poco" }
1997 \set crescendoSpanner = #'dashed-line
2001 To create new dynamic marks or text that should be aligned
2002 with dynamics, see @ref{New dynamic marks}.
2007 @cindex @code{\dynamicUp}
2009 @cindex @code{\dynamicDown}
2010 @code{\dynamicDown},
2011 @cindex @code{\dynamicNeutral}
2012 @code{\dynamicNeutral}.
2017 Program reference: @internalsref{DynamicText}, @internalsref{Hairpin}.
2018 Vertical positioning of these symbols is handled by
2019 @internalsref{DynamicLineSpanner}.
2023 @subsection Breath marks
2025 Breath marks are entered using @code{\breathe}
2027 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2034 The glyph of the breath mark can be tuned by overriding the
2035 @code{text} property of the @code{BreathingSign} layout object with
2036 any markup text. For example,
2037 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2039 \override BreathingSign #'text
2040 = #(make-musicglyph-markup "scripts.rvarcomma")
2047 Program reference: @internalsref{BreathingSign}.
2049 Examples: @inputfileref{input/@/regression,breathing@/-sign@/.ly}.
2052 @node Running trills
2053 @subsection Running trills
2055 Long running trills are made with @code{\startTrillSpan} and
2056 @code{\stopTrillSpan},
2058 @lilypond[verbatim,raggedright,relative=2,quote,fragment]
2060 << { c1 \startTrillSpan }
2061 { s2. \grace { d16[\stopTrillSpan e] } } >>
2068 @code{\startTrillSpan},
2069 @cindex @code{\startTrillSpan}
2070 @code{\stopTrillSpan}.
2071 @cindex @code{\stopTrillSpan}
2076 Program reference: @internalsref{TrillSpanner}.
2080 @subsection Glissando
2083 @cindex @code{\glissando}
2085 A glissando is a smooth change in pitch. It is denoted by a line or a
2086 wavy line between two notes. It is requested by attaching
2087 @code{\glissando} to a note
2089 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
2091 \override Glissando #'style = #'zigzag
2098 Program reference: @internalsref{Glissando}.
2100 Example files: @file{input/@/regression/@/glissando@/.ly}.
2105 Printing text over the line (such as @emph{gliss.}) is not supported.
2109 @subsection Arpeggio
2112 @cindex broken chord
2113 @cindex @code{\arpeggio}
2115 You can specify an arpeggio sign (also known as broken chord) on a
2116 chord by attaching an @code{\arpeggio} to a chord
2118 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2122 A square bracket on the left indicates that the player should not
2123 arpeggiate the chord
2125 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2130 The direction of the arpeggio is sometimes denoted by adding an
2131 arrowhead to the wiggly line
2133 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2145 When an arpeggio crosses staves, you may attach an arpeggio to the chords
2146 in both staves and set
2147 @internalsref{PianoStaff}.@code{connectArpeggios}
2149 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2150 \context PianoStaff <<
2151 \set PianoStaff.connectArpeggios = ##t
2152 \new Staff { <c' e g c>\arpeggio }
2153 \new Staff { \clef bass <c,, e g>\arpeggio }
2161 @cindex @code{\arpeggioUp}
2163 @cindex @code{\arpeggioDown}
2164 @code{\arpeggioDown},
2165 @cindex @code{\arpeggioNeutral}
2166 @code{\arpeggioNeutral},
2167 @cindex @code{\arpeggioBracket}
2168 @code{\arpeggioBracket}.
2173 Notation manual: @ref{Ties}, for writing out arpeggios.
2175 Program reference: @internalsref{Arpeggio}.
2180 It is not possible to mix connected arpeggios and unconnected
2181 arpeggios in one @internalsref{PianoStaff} at the same point in time.
2188 Polyphony in music refers to having more than one voice occuring in
2189 a piece of music. Polyphony in LilyPond refers to having more than
2190 one voice on the same staff.
2194 * Explicitly instantiating voices::
2195 * Collision Resolution::
2199 @node Basic polyphony
2200 @subsection Basic polyphony
2204 The easiest way to enter fragments with more than one voice on a staff
2205 is to enter each voice as a sequence (with @code{@{...@}}), and combine
2206 them simultaneously, separating the voices with @code{\\}
2210 @lilypond[quote,verbatim,fragment]
2211 \new Staff \relative c' {
2214 { g4 f e | d2 e2 } \\
2215 { r8 e4 d c8 ~ | c b16 a b8 g ~ g2 } \\
2221 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
2222 voices are sometimes called ``layers'' in other notation packages}
2224 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
2225 each of these contexts, vertical direction of slurs, stems, etc., is set
2228 These voices are all seperate from the voice that contains the notes just
2229 outside the @code{<< \\ >>} construct. This should be noted when making
2230 changes at the voice level. This also means that slurs and ties cannot go
2231 into or out of a @code{<< \\ >>} construct. Conversely, parallel voices
2232 from separate @code{<< \\ >>} constructs on the same staff are the the
2233 same voice. Here is the same example, with different noteheads for each
2234 voice. Note that the change to the note-head style in the main voice does not affect
2235 the inside of the @code{<< \\ >>} constructs. Also, the change to the second
2236 voice in the first @code{<< \\ >>} construct is effective in the second
2237 @code{<< \\ >>}, and the voice is tied accross the two constructs.
2239 @lilypond[quote,verbatim,fragment]
2240 \new Staff \relative c' {
2241 \override NoteHead #'style = #'cross
2245 { \override NoteHead #'style = #'triangle
2250 { c8 b16 a b8 g ~ g2 } \\
2251 { \override NoteHead #'style = #'slash s4 b4 c2 }
2256 Polyphony does not change the relationship of notes within a
2257 @code{\relative @{ @}} block. Each note is calculated relative
2258 to the note immediately preceding it.
2261 \relative @{ noteA << noteB \\ noteC >> noteD @}
2264 @code{noteC} is relative to @code{noteB}, not @code{noteA};
2265 @code{noteD} is relative to @code{noteC}, not @code{noteB} or
2268 @node Explicitly instantiating voices
2269 @subsection Explicitly instantiating voices
2271 @internalsref{Voice} contexts can also also be instantiated manually
2272 inside a @code{<< >>} block to create polyphonic music, using
2273 @code{\voiceOne}, up to @code{\voiceFour} to assign stem directions
2274 and a horizontal shift for each part.
2278 << \upper \\ \lower >>
2286 \context Voice = "1" @{ \voiceOne \upper @}
2287 \context Voice = "2" @{ \voiceTwo \lower @}
2291 The @code{\voiceXXX} commands set the direction of stems, slurs, ties,
2292 articulations, text annotations, augmentation dots of dotted
2293 notes, and fingerings. @code{\voiceOne} and @code{\voiceThree} make
2294 these objects point upwards, while @code{\voiceTwo} and @code{\voiceFour}
2295 make them point downwards.
2296 The command @code{\oneVoice} will revert back to the normal setting.
2298 An expression that appears directly inside a @code{<< >>} belongs to
2299 the main voice. This is useful when extra voices appear while the main
2300 voice is playing. Here is a more correct rendition of the example from
2301 the previous section. The crossed noteheads demonstrate that the main
2302 melody is now in a single voice context.
2304 @lilypond[quote,raggedright,verbatim]
2305 \new Staff \relative c' {
2306 \override NoteHead #'style = #'cross
2311 \context Voice="1" { \voiceTwo
2312 r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
2315 \new Voice { \voiceThree
2324 The correct definition of the voices allows the melody to be slurred.
2325 @lilypond[quote,raggedright,verbatim]
2326 \new Staff \relative c' {
2331 \context Voice="1" { \voiceTwo
2332 r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
2335 \new Voice { \voiceThree
2344 Avoiding the @code{\\} seperator also allows nesting polyphony
2345 constructs, which in some case might be a more natural way to typeset
2348 @lilypond[quote,raggedright,verbatim]
2349 \new Staff \relative c' {
2354 \context Voice="1" { \voiceTwo
2357 {c8 b16 a b8 g ~ g2}
2358 \new Voice { \voiceThree
2371 @node Collision Resolution
2372 @subsection Collision Resolution
2374 Normally, note heads with a different number of dots are not merged, but
2375 when the object property @code{merge-differently-dotted} is set in
2376 the @internalsref{NoteCollision} object, they are merged
2377 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
2380 \override Staff.NoteCollision
2381 #'merge-differently-dotted = ##t
2383 } \\ { g8.[ f16] g8.[ f16] } >>
2386 Similarly, you can merge half note heads with eighth notes, by setting
2387 @code{merge-differently-headed}
2388 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
2391 \override Staff.NoteCollision
2392 #'merge-differently-headed = ##t
2393 c8 c4. } \\ { c2 c2 } >>
2396 LilyPond also vertically shifts rests that are opposite of a stem,
2399 @lilypond[quote,raggedright,fragment,verbatim]
2400 \context Voice << c''4 \\ r4 >>
2406 @cindex @code{\oneVoice}
2408 @cindex @code{\voiceOne}
2410 @cindex @code{\voiceTwo}
2412 @cindex @code{\voiceThree}
2414 @cindex @code{\voiceFour}
2417 @cindex @code{\shiftOn}
2419 @cindex @code{\shiftOnn}
2421 @cindex @code{\shiftOnnn}
2423 @cindex @code{\shiftOff}
2424 @code{\shiftOff}: these commands specify in what chords of the current
2425 voice should be shifted. The outer voices (normally: voice one and
2426 two) have @code{\shiftOff}, while the inner voices (three and four)
2427 have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define
2428 further shift levels.
2430 When LilyPond cannot cope, the @code{force-hshift}
2431 property of the @internalsref{NoteColumn} object and pitched rests can
2432 be used to override typesetting decisions.
2434 @lilypond[quote,verbatim,raggedright]
2441 \once \override NoteColumn #'force-hshift = #1.7
2449 Program reference: the objects responsible for resolving collisions are
2450 @internalsref{NoteCollision} and @internalsref{RestCollision}.
2453 @inputfileref{input/@/regression,collision@/-dots@/.ly},
2454 @inputfileref{input/@/regression,collision@/-head-chords@/.ly},
2455 @inputfileref{input/@/regression,collision@/-heads@/.ly},
2456 @inputfileref{input/@/regression,collision@/-mesh@/.ly}, and
2457 @inputfileref{input/@/regression,collisions@/.ly}.
2462 When using @code{merge-differently-headed} with an upstem eighth or a
2463 shorter note, and a downstem half note, the eighth note gets the wrong
2466 There is no support for clusters where the same note occurs with
2467 different accidentals in the same chord. In this case, it is
2468 recommended to use enharmonic transcription, or to use special cluster
2469 notation (see @ref{Clusters}).
2476 Repetition is a central concept in music, and multiple notations exist
2482 * Repeats and MIDI::
2483 * Manual repeat commands::
2485 * Tremolo subdivisions::
2491 @subsection Repeat types
2494 @cindex @code{\repeat}
2496 The following types of repetition are supported
2500 Repeated music is fully written (played) out. This is useful when
2501 entering repetitious music. This is the only kind of repeat that
2502 is included in MIDI output.
2505 Repeats are not written out, but alternative endings (volte) are
2506 printed, left to right with brackets. This is the standard notation
2507 for repeats with alternatives. These are not played in MIDI output by default.
2511 Alternative endings are written stacked. This has limited use but may be
2512 used to typeset two lines of lyrics in songs with repeats, see
2513 @inputfileref{input,star-spangled-banner@/.ly}.
2517 Make tremolo beams. These are not played in MIDI output by default.
2520 Make beat or measure repeats. These look like percent signs. These
2521 are not played in MIDI output by default. Percent repeats must be
2522 declared within a Voice context.
2528 @subsection Repeat syntax
2530 LilyPond has one syntactic construct for specifying different types of
2531 repeats. The syntax is
2534 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2537 If you have alternative endings, you may add
2538 @cindex @code{\alternative}
2549 where each @var{alternative} is a music expression. If you do not
2550 give enough alternatives for all of the repeats, the first alternative
2551 is assumed to be played more than once.
2553 Standard repeats are used like this
2554 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2556 \repeat volta 2 { c4 d e f }
2557 \repeat volta 2 { f e d c }
2560 With alternative endings
2561 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2563 \repeat volta 2 {c4 d e f}
2564 \alternative { {d2 d} {f f,} }
2567 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2570 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2571 \alternative { { g4 g g } { a | a a a a | b2. } }
2575 It is possible to shorten volta brackets
2576 by setting @code{voltaSpannerDuration}. In the next example, the
2577 bracket only lasts one measure, which is a duration of 3/4.
2579 @lilypond[verbatim,raggedright,quote]
2583 \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4)
2584 \repeat "volta" 5 { d d d }
2585 \alternative { { e e e f f f }
2595 Brackets for the repeat are normally only printed over the topmost
2596 staff. This can be adjusted by setting the @code{voltaOnThisStaff}
2597 property; see @inputfileref{input/@/regression,volta@/-multi@/-staff@/.ly}.
2602 @cindex repeat, ambiguous
2604 A nested repeat like
2613 is ambiguous, since it is is not clear to which @code{\repeat} the
2614 @code{\alternative} belongs. This ambiguity is resolved by always
2615 having the @code{\alternative} belong to the inner @code{\repeat}.
2616 For clarity, it is advisable to use braces in such situations.
2618 Timing information is not remembered at the start of an alternative,
2619 so after a repeat timing information must be reset by hand, for
2620 example by setting @code{Score.measurePosition} or entering
2621 @code{\partial}. Similarly, slurs or ties are also not repeated.
2624 @node Repeats and MIDI
2625 @subsection Repeats and MIDI
2627 @cindex expanding repeats
2628 @cindex @code{\unfoldrepeats}
2630 With a little bit of tweaking, all types of repeats can be present
2631 in the MIDI output. This is achieved by applying the
2632 @code{\unfoldrepeats} music function. This functions changes all
2633 repeats to unfold repeats.
2635 @lilypond[quote,verbatim,fragment,linewidth=8.0\cm]
2637 \repeat tremolo 8 {c'32 e' }
2638 \repeat percent 4 { c''8 d'' }
2639 \repeat volta 2 {c'4 d' e' f'}
2648 When creating a score file using @code{\unfoldrepeats} for midi, then
2649 it is necessary to make two @code{\score} blocks. One for MIDI (with
2650 unfolded repeats) and one for notation (with volta, tremolo, and
2651 percent repeats). For example,
2659 \unfoldrepeats @var{..music..}
2665 @node Manual repeat commands
2666 @subsection Manual repeat commands
2668 @cindex @code{repeatCommands}
2670 The property @code{repeatCommands} can be used to control the layout of
2671 repeats. Its value is a Scheme list of repeat commands.
2674 @item @code{start-repeat}
2675 Print a @code{|:} bar line.
2677 @item @code{end-repeat}
2678 Print a @code{:|} bar line.
2680 @item @code{(volta @var{text})}
2681 Print a volta bracket saying @var{text}: The text can be specified as
2682 a text string or as a markup text, see @ref{Text markup}. Do not
2683 forget to change the font, as the default number font does not contain
2684 alphabetic characters;
2686 @item @code{(volta #f)}
2687 Stop a running volta bracket.
2690 @lilypond[quote,raggedright,verbatim,fragment,relative=2]
2692 \set Score.repeatCommands = #'((volta "93") end-repeat)
2694 \set Score.repeatCommands = #'((volta #f))
2701 Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2702 @internalsref{VoltaRepeatedMusic},
2703 @internalsref{UnfoldedRepeatedMusic}, and
2704 @internalsref{FoldedRepeatedMusic}.
2707 @node Tremolo repeats
2708 @subsection Tremolo repeats
2710 @cindex tremolo beams
2712 To place tremolo marks between notes, use @code{\repeat} with tremolo
2714 @lilypond[quote,verbatim,raggedright]
2715 \new Voice \relative c' {
2716 \repeat "tremolo" 8 { c16 d16 }
2717 \repeat "tremolo" 4 { c16 d16 }
2718 \repeat "tremolo" 2 { c16 d16 }
2722 Tremolo marks can also be put on a single note. In this case, the
2723 note should not be surrounded by braces.
2724 @lilypond[quote,verbatim,raggedright]
2725 \repeat "tremolo" 4 c'16
2728 Similar output is obtained using the tremolo subdivision, described in
2729 @ref{Tremolo subdivisions}.
2734 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2736 Program reference: @internalsref{Beam}, @internalsref{StemTremolo}.
2738 Example files: @inputfileref{input/@/regression,chord@/-tremolo@/.ly},
2739 @inputfileref{input/@/regression,stem@/-tremolo@/.ly}.
2742 @node Tremolo subdivisions
2743 @subsection Tremolo subdivisions
2745 @cindex tremolo marks
2746 @cindex @code{tremoloFlags}
2748 Tremolo marks can be printed on a single note by adding
2749 `@code{:}[@var{number}]' after the note. The number indicates the
2750 duration of the subdivision, and it must be at least 8. A
2751 @var{length} value of 8 gives one line across the note stem. If the
2752 length is omitted, the last value (stored in @code{tremoloFlags}) is
2755 @lilypond[quote,raggedright,verbatim,fragment]
2756 c'2:8 c':32 | c': c': |
2762 Tremolos entered in this way do not carry over into the MIDI output.
2767 In this manual: @ref{Tremolo repeats}.
2769 Elsewhere: @internalsref{StemTremolo}.
2772 @node Measure repeats
2773 @subsection Measure repeats
2775 @cindex percent repeats
2776 @cindex measure repeats
2778 In the @code{percent} style, a note pattern can be repeated. It is
2779 printed once, and then the pattern is replaced with a special sign.
2780 Patterns of one and two measures are replaced by percent-like signs,
2781 patterns that divide the measure length are replaced by slashes.
2782 Percent repeats must be declared within a @code{Voice} context.
2784 @lilypond[quote,verbatim,raggedright]
2785 \new Voice \relative c' {
2786 \repeat "percent" 4 { c4 }
2787 \repeat "percent" 2 { c2 es2 f4 fis4 g4 c4 }
2794 Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2795 @internalsref{PercentRepeatedMusic}, and
2796 @internalsref{DoublePercentRepeat}.