1 @c -*- coding: latin-1; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
10 @chapter Basic notation
12 This chapter explains how to use all basic notation features.
16 * Alternate music entry::
30 This section is about basic notation elements like notes, rests, and
31 related constructs, such as stems, tuplets and ties.
36 * Cautionary accidentals::
51 @cindex Note specification
52 @cindex entering notes
54 A note is printed by specifying its pitch and then its duration,
56 @lilypond[quote,verbatim,raggedright,fragment]
62 This manual: @ref{Pitches}, @ref{Durations}
71 The most common syntax for pitch entry is used for standard notes and
72 @code{\chordmode} modes. In these modes, pitches may be designated by
73 names. The notes are specified by the letters @code{a} through
74 @code{g}. The octave is formed with notes ranging from @code{c}
75 to @code{b}. The pitch @code{c} is an octave below middle C and the
76 letters span the octave above that C
78 @lilypond[quote,fragment,verbatim,raggedright]
80 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
86 The optional octave specification takes the form of a series of
87 single quote (`@code{'}') characters or a series of comma
88 (`@code{,}') characters. Each @code{'} raises the pitch by one
89 octave; each @code{,} lowers the pitch by an octave
91 @lilypond[quote,raggedright,fragment,verbatim]
95 @cindex note names, Dutch
97 A sharp is formed by adding @code{-is} to the end of a pitch name and
98 a flat is formed by adding @code{-es}. Double sharps and double flats
99 are obtained by adding @code{-isis} or @code{-eses}. These
100 names are the Dutch note names. In Dutch, @code{aes} is contracted to
101 @code{as}, but both forms are accepted. Similarly, both
102 @code{es} and @code{ees} are accepted
104 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
112 There are predefined sets of note names for various other languages.
113 To use them, include the language specific init file. For
114 example: @code{\include "english.ly"}. The available language files
115 and the note names they define are
120 Note Names sharp flat
121 nederlands.ly c d e f g a bes b -is -es
122 english.ly c d e f g a bf b -s/-sharp -f/-flat
124 deutsch.ly c d e f g a b h -is -es
125 norsk.ly c d e f g a b h -iss/-is -ess/-es
126 svenska.ly c d e f g a b h -iss -ess
127 italiano.ly do re mi fa sol la sib si -d -b
128 catalan.ly do re mi fa sol la sib si -d/-s -b
129 espanol.ly do re mi fa sol la sib si -s -b
135 In accordance with standard typsetting rules, a natural sign is printed
136 before a sharp or flat if a previous accidental needs to be
137 cancelled. To change this behaviour, use
138 @code{\set Staff.extraNatural = ##f}
140 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
142 \set Staff.extraNatural = ##f
149 Program reference: @internalsref{LedgerLineSpanner}, @internalsref{NoteHead}.
152 @node Cautionary accidentals
153 @subsection Cautionary accidentals
155 @cindex reminder accidental
157 @cindex cautionary accidental
158 @cindex parenthesized accidental
161 Normally accidentals are printed automatically, but you may also
162 print them manually. A reminder accidental
163 can be forced by adding an exclamation mark @code{!}
164 after the pitch. A cautionary accidental
165 (i.e., an accidental within parentheses) can be obtained by adding the
166 question mark `@code{?}' after the pitch.
168 @lilypond[quote,raggedright,fragment,verbatim]
169 cis' cis' cis'! cis'?
175 The automatic production of accidentals can be tuned in many
176 ways. For more information, refer to @ref{Automatic accidentals}.
181 @subsection Micro tones
183 @cindex quarter tones
184 @cindex semi-flats, semi-sharps
186 Half-flats and half-sharps are formed by adding @code{-eh} and
187 @code{-ih}; the following is a series of Cs with increasing pitches
189 @lilypond[verbatim,raggedright,quote,relative=2,fragment]
190 \set Staff.extraNatural = ##f
194 Micro tones are also exported to the MIDI file.
199 There are no generally accepted standards for denoting three quarter
200 flats, so LilyPond's symbol does not conform to any standard.
208 A chord is formed by a enclosing a set of pitches in @code{<} and
209 @code{>}. A chord may be followed by a duration, and a set of
210 articulations, just like simple notes
212 @lilypond[verbatim,raggedright,fragment,quote,relative=1]
216 For more information about chords, see @ref{Chord names}.
227 Rests are entered like notes with the note name @code{r}
229 @lilypond[fragment,quote,raggedright,verbatim]
233 Whole bar rests, centered in middle of the bar,
234 must be done with multi-measure rests. They are discussed in
235 @ref{Multi measure rests}.
238 A rest's vertical position may be explicitly specified by entering a
239 note with the @code{\rest} keyword appended, the rest will be placed at
240 the note's place. This makes manual formatting in polyphonic music
241 easier. Automatic rest collision formatting will leave these rests
244 @lilypond[fragment,quote,raggedright,verbatim]
250 Program reference: @internalsref{Rest}.
257 @cindex Invisible rest
262 An invisible rest (also called a `skip') can be entered like a note
263 with note name `@code{s}' or with @code{\skip @var{duration}}
265 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
266 a4 a4 s4 a4 \skip 1 a4
269 The @code{s} syntax is only available in note mode and chord mode. In
270 other situations, for example, when entering lyrics, you should use
271 the @code{\skip} command
273 @lilypond[quote,raggedright,verbatim]
276 \new Lyrics \lyricmode { \skip 2 bla2 }
280 The skip command is merely an empty musical placeholder. It does not
281 produce any output, not even transparent output.
283 The @code{s} skip command does create @internalsref{Staff} and
284 @internalsref{Voice} when necessary, similar to note and rest
285 commands. For example, the following results in an empty staff.
287 @lilypond[quote,raggedright,verbatim]
291 The fragment @code{@{ \skip 4 @} } would produce an empty page.
295 Program reference: @internalsref{SkipMusic}.
299 @subsection Durations
302 @cindex @code{\longa}
303 @cindex @code{\breve}
304 @cindex @code{\maxima}
306 In Note, Chord, and Lyrics mode, durations are designated by numbers and
307 dots: durations are entered as their reciprocal values. For example, a
308 quarter note is entered using a @code{4} (since it is a 1/4 note), while
309 a half note is entered using a @code{2} (since it is a 1/2 note). For
310 notes longer than a whole you must use the variables @code{\longa} and
315 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
317 r1 r2 r4 r8 r16 r32 r64 r64
323 a\breve*1/2 \autoBeamOff
324 a1 a2 a4 a8 a16 a32 a64 a64
327 r\longa*1/4 r\breve *1/2
328 r1 r2 r4 r8 r16 r32 r64 r64
334 \remove "Clef_engraver"
335 \override StaffSymbol #'transparent = ##t
336 \override TimeSignature #'transparent = ##t
337 \override BarLine #'transparent = ##t
338 \consists "Pitch_squash_engraver"
344 If the duration is omitted then it is set to the previously entered
345 duration. The default for the first note is a quarter note.
347 @lilypond[quote,raggedright,verbatim,fragment]
348 { a a a2 a a4 a a1 a }
352 @node Augmentation dots
353 @subsection Augmentation dots
357 To obtain dotted note lenghts, simply add a dot (`@code{.}') to
358 the number. Double-dotted notes are produced in a similar way.
360 @lilypond[quote,raggedright,fragment,verbatim]
361 a'4 b' c''4. b'8 a'4. b'4.. c''8.
366 Dots are normally moved up to avoid staff lines, except in polyphonic
367 situations. The following commands may be used to force a particular
370 @cindex @code{\dotsUp}
372 @cindex @code{\dotsDown}
374 @cindex @code{\dotsNeutral}
379 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
387 @cindex @code{\times}
389 Tuplets are made out of a music expression by multiplying all durations
393 \times @var{fraction} @var{musicexpr}
397 The duration of @var{musicexpr} will be multiplied by the fraction.
398 The fraction's denominator will be printed over the notes, optionally
399 with a bracket. The most common tuplet is the triplet in which 3
400 notes have the length of 2, so the notes are 2/3 of their written
403 @lilypond[quote,raggedright,fragment,verbatim]
404 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
409 @cindex @code{\tupletUp}
411 @cindex @code{\tupletDown}
413 @cindex @code{\tupletNeutral}
414 @code{\tupletNeutral}.
419 @cindex @code{tupletNumberFormatFunction}
420 @cindex tuplet formatting
422 The property @code{tupletSpannerDuration} specifies how long each
423 bracket should last. With this, you can make lots of tuplets while
424 typing @code{\times} only once, thus saving lots of typing. In the next
425 example, there are two triplets shown, while @code{\times} was only
428 @lilypond[quote,fragment,relative=1,raggedright,verbatim]
429 \set tupletSpannerDuration = #(ly:make-moment 1 4)
430 \times 2/3 { c'8 c c c c c }
433 The format of the number is determined by the property
434 @code{tupletNumberFormatFunction}. The default prints only the
435 denominator, but if it is set to the Scheme function
436 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
442 Program reference: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
447 Nested tuplets are not formatted automatically. In this case, outer
448 tuplet brackets should be moved manually, which is demonstrated in
449 @inputfileref{input/@/regression,tuplet@/-nest@/.ly}.
452 @node Scaling durations
453 @subsection Scaling durations
455 You can alter the length of duration by a fraction @var{N/M}
456 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
457 will not affect the appearance of the notes or rests produced.
459 In the following example, the first three notes take up exactly two
460 beats, but no triplet bracket is printed.
461 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
463 a4*2/3 gis4*2/3 a4*2/3
471 This manual: @ref{Tuplets}
475 @node Alternate music entry
476 @section Alternate music entry
479 This section deals with tricks and features of the input language that
480 were added solely to help entering music and finding and correcting
481 mistakes. There are also external tools that make debugging easier.
482 See @ref{Point and click} for more information.
484 It is also possible to enter and edit music using other programs, such as
485 GUI interfaces or MIDI sequencers. Refer to the LilyPond
486 website for more information.
493 * Skipping corrected music::
494 * Automatic note splitting::
498 @node Relative octaves
499 @subsection Relative octaves
502 @cindex Relative octave specification
503 @cindex @code{\relative}
505 Octaves are specified by adding @code{'} and @code{,} to pitch names.
506 When you copy existing music, it is easy to accidentally put a pitch
507 in the wrong octave and hard to find such an error. The relative
508 octave mode prevents these errors by making the mistakes much
509 larger: a single error puts the rest of the piece off by one octave
512 \relative @var{startpitch} @var{musicexpr}
519 \relative @var{musicexpr}
522 The octave of notes that appear in @var{musicexpr} are calculated as
523 follows: if no octave changing marks are used, the basic interval
524 between this and the last note is always taken to be a fourth or
525 less. This distance is determined without regarding alterations; a
526 @code{fisis} following a @code{ceses} will be put above the
527 @code{ceses}. In other words, a doubly-augmented fourth is considered
528 a smaller interval than a diminshed fifth, even though the fourth is
529 seven semitones while the fifth is only six semitones.
531 The octave changing marks @code{'} and @code{,} can be added to raise
532 or lower the pitch by an extra octave. Upon entering relative mode,
533 an absolute starting pitch can be specified that will act as the
534 predecessor of the first note of @var{musicexpr}. If no starting pitch
535 is specified, then middle C is used as a start.
537 Here is the relative mode shown in action
538 @lilypond[quote,fragment,raggedright,verbatim]
544 Octave changing marks are used for intervals greater than a fourth
545 @lilypond[quote,raggedright,fragment,verbatim]
551 If the preceding item is a chord, the first note of the chord is used
552 to determine the first note of the next chord
554 @lilypond[quote,raggedright,fragment,verbatim]
562 The pitch after the @code{\relative} contains a note name.
564 The relative conversion will not affect @code{\transpose},
565 @code{\chordmode} or @code{\relative} sections in its argument. To use
566 relative within transposed music, an additional @code{\relative} must
567 be placed inside @code{\transpose}.
571 @subsection Octave check
575 Octave checks make octave errors easier to correct: a note may be
576 followed by @code{=}@var{quotes} which indicates what its absolute
577 octave should be. In the following example,
580 \relative c'' @{ c='' b=' d,='' @}
584 the @code{d} will generate a warning, because a @code{d''} is expected
585 (because @code{b'} to @code{d''} is only a third), but a @code{d'} is
586 found. In the output, the octave is corrected to be a @code{d''} and
587 the next note is calculated relative to @code{d''} instead of @code{d'}.
589 There is also a syntax that is separate from the notes. The syntax
595 This checks that @var{pitch} (without quotes) yields @var{pitch} (with
596 quotes) in \relative mode. If not, a warning is printed, and the
599 In the example below, the first check passes without incident, since
600 the @code{e} (in relative mode) is within a fifth of @code{a'}. However,
601 the second check produces a warning, since the @code{e} is not within
602 a fifth of @code{b'}. The warning message is printed, and the octave
603 is adjusted so that the following notes are in the correct octave
615 The octave of a note following an octave check is determined with
616 respect to the note preceding it. In the next fragment, the last note
617 is an @code{a'}, above middle C. That means that the @code{\octave}
618 check passes successfully, so the check could be deleted without changing
619 the output of the piece.
621 @lilypond[quote,raggedright,verbatim,fragment]
631 @subsection Transpose
634 @cindex transposition of pitches
635 @cindex @code{\transpose}
637 A music expression can be transposed with @code{\transpose}. The
640 \transpose @var{from} @var{to} @var{musicexpr}
643 This means that @var{musicexpr} is transposed by the interval between
644 the pitches @var{from} and @var{to}: any note with pitch @code{from}
645 is changed to @code{to}.
647 For example, consider a piece written in the key of D-major. If
648 this piece is a little too low for its performer, it can be
649 transposed up to E-major with
651 \transpose d e @dots{}
654 Consider a part written for violin (a C instrument). If
655 this part is to be played on the A clarinet, the following
656 transposition will produce the appropriate part
659 \transpose a c @dots{}
662 @code{\transpose} distinguishes between enharmonic pitches: both
663 @code{\transpose c cis} or @code{\transpose c des} will transpose up
664 half a tone. The first version will print sharps and the second
665 version will print flats
667 @lilypond[quote,raggedright,verbatim]
668 mus = { \key d \major cis d fis g }
677 @code{\transpose} may also be used to input written notes for a
678 transposing instrument. Pitches are normally entered into LilyPond
679 in C (or ``concert pitch''), but they may be entered in another
680 key. For example, when entering music for a B-flat trumpet which
681 begins on concert D, one would write
684 \transpose c bes @{ e4 @dots{} @}
687 To print this music in B-flat again (ie producing a trumpet part,
688 instead of a concert pitch conductor's score) you would wrap the
689 existing music with another @code{transpose}
692 \transpose bes c @{ \transpose c bes @{ e4 @dots{} @} @}
698 Program reference: @internalsref{TransposedMusic}, and
699 @internalsref{UntransposableMusic}.
704 If you want to use both @code{\transpose} and @code{\relative},
705 you must put @code{\transpose} outside of @code{\relative}, since
706 @code{\relative} will have no effect music that appears inside a
711 @subsection Bar check
714 @cindex @code{barCheckSynchronize}
717 Bar checks help detect errors in the durations. A bar check is
718 entered using the bar symbol, `@code{|}'. Whenever it is encountered
719 during interpretation, it should fall on a measure boundary. If it
720 does not, a warning is printed. In the next example, the second bar
721 check will signal an error
723 \time 3/4 c2 e4 | g2 |
726 Bar checks can also be used in lyrics, for example
731 Twin -- kle | Twin -- kle
735 Failed bar checks are caused by entering incorrect
736 durations. Incorrect durations often completely garble up the score,
737 especially if the score is polyphonic, so a good place to start correcting
738 input is by scanning for failed bar checks and incorrect durations.
741 @cindex @code{pipeSymbol}
743 It is also possible to redefine the meaning of @code{|}. This is done
744 by assigning a music expression to @code{pipeSymbol},
746 @lilypond[quote,raggedright,verbatim]
747 pipeSymbol = \bar "||"
753 @node Skipping corrected music
754 @subsection Skipping corrected music
756 @cindex @code{skipTypesetting}
758 The property @code{Score.skipTypesetting} can be used to switch on and
759 off typesetting completely during the interpretation phase. When
760 typesetting is switched off, the music is processed much more
761 quickly. This can be used to skip over the parts of a score that
762 have already been checked for errors
764 @lilypond[quote,fragment,raggedright,verbatim]
767 \set Score.skipTypesetting = ##t
769 \set Score.skipTypesetting = ##f
773 In polyphonic music, @code{Score.skipTypesetting} will affect all
774 voices and staves, saving even more time.
777 @node Automatic note splitting
778 @subsection Automatic note splitting
780 Long notes can be converted automatically to tied notes. This is done
781 by replacing the @internalsref{Note_heads_engraver} by the
782 @internalsref{Completion_heads_engraver}.
783 In the following examples, notes crossing the bar line are split and tied.
785 @lilypond[quote,fragment,verbatim,relative=1,linewidth=12\cm]
787 \remove "Note_heads_engraver"
788 \consists "Completion_heads_engraver"
790 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
794 This engraver splits all running notes at the bar line, and inserts
795 ties. One of its uses is to debug complex scores: if the measures are
796 not entirely filled, then the ties exactly show how much each measure
802 Not all durations (especially those containing tuplets) can be
803 represented exactly with normal notes and dots, but the engraver will
806 @code{Completion_heads_engraver} only affects notes; it does not split
812 Examples: @inputfileref{input/@/regression,completion@/-heads@/.ly}.
816 Program reference: @internalsref{Completion_heads_engraver}.
821 @section Staff notation
823 @cindex Staff notation
825 This section describes music notation that occurs on staff level,
826 such as key signatures, clefs and time signatures.
835 * System start delimiters::
845 The clef indicates which lines of the staff correspond to which
846 pitches. The clef is set with the @code{\clef} command
848 @lilypond[quote,raggedright,fragment,verbatim]
849 { c''2 \clef alto g'2 }
859 @cindex mezzosoprano clef
860 @cindex baritone clef
861 @cindex varbaritone clef
864 Supported clefs finclude
866 @item treble, violin, G, G2
875 G clef on 1st line, so-called French violin clef
892 By adding @code{_8} or @code{^8} to the clef name, the clef is
893 transposed one octave down or up, respectively, and @code{_15} and
894 @code{^15} transposes by two octaves. The argument @var{clefname}
895 must be enclosed in quotes when it contains underscores or digits. For
898 @cindex choral tenor clef
899 @lilypond[quote,raggedright,verbatim,fragment,relative=1]
906 The command @code{\clef "treble_8"} is equivalent to setting @code{clefGlyph},
907 @code{clefPosition} (which controls the Y position of the clef),
908 @code{middleCPosition} and @code{clefOctavation}. A clef is printed
909 when any of these properties are changed. The following example shows
910 possibilities when setting properties manually.
912 @lilypond[quote,raggedright,verbatim]
914 \set Staff.clefGlyph = #"clefs.F"
915 \set Staff.clefPosition = #2
917 \set Staff.clefGlyph = #"clefs.G"
919 \set Staff.clefGlyph = #"clefs.C"
921 \set Staff.clefOctavation = #7
923 \set Staff.clefOctavation = #0
924 \set Staff.clefPosition = #0
928 \set Staff.middleCPosition = #4
936 Program reference: @internalsref{Clef}.
940 @subsection Key signature
942 @cindex Key signature
945 The key signature indicates the tonality in which a piece is played. It
946 is denoted by a set of alterations (flats or sharps) at the start of the
949 Setting or changing the key signature is done with the @code{\key}
953 @code{\key} @var{pitch} @var{type}
956 @cindex @code{\minor}
957 @cindex @code{\major}
958 @cindex @code{\minor}
959 @cindex @code{\ionian}
960 @cindex @code{\locrian}
961 @cindex @code{\aeolian}
962 @cindex @code{\mixolydian}
963 @cindex @code{\lydian}
964 @cindex @code{\phrygian}
965 @cindex @code{\dorian}
968 Here, @var{type} should be @code{\major} or @code{\minor} to get
969 @var{pitch}-major or @var{pitch}-minor, respectively. You may also
970 use the standard mode names (also called ``church modes''): @code{\ionian},
971 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
972 @code{\phrygian}, and @code{\dorian}.
974 This command sets the context property
975 @code{Staff.keySignature}. Non-standard key signatures
976 can be specified by setting this property directly.
978 Accidentals and key signatures often confuse new users, because
979 unaltered notes get natural signs depending on the key signature. For
980 more information, see @ref{More about pitches}.
985 A natural sign is printed to cancel any previous accidentals. This
986 can be suppressed by setting the @code{Staff.printKeyCancellation}
989 @lilypond[quote,fragment,raggedright,fragment,verbatim,relative=2]
994 \set Staff.printKeyCancellation = ##f
1004 Program reference: @internalsref{KeyCancellation}, @internalsref{KeySignature}.
1007 @node Time signature
1008 @subsection Time signature
1010 @cindex Time signature
1012 @cindex @code{\time}
1014 Time signature indicates the metrum of a piece: a regular pattern of
1015 strong and weak beats. It is denoted by a fraction at the start of the
1018 The time signature is set with the @code{\time} command
1020 @lilypond[quote,raggedright,fragment,verbatim]
1021 \time 2/4 c'2 \time 3/4 c'2.
1026 The symbol that is printed can be customized with the @code{style}
1027 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1030 @lilypond[fragment,quote,raggedright,verbatim]
1033 \override Staff.TimeSignature #'style = #'()
1038 There are many more options for its layout. See @ref{Ancient time
1039 signatures} for more examples.
1041 @code{\time} sets the property @code{timeSignatureFraction},
1042 @code{beatLength} and @code{measureLength} in the @code{Timing}
1043 context, which is normally aliased to @internalsref{Score}. The
1044 property @code{measureLength} determines where bar lines should be
1045 inserted, and how automatic beams should be generated. Changing the
1046 value of @code{timeSignatureFraction} also causes the symbol to be
1049 More options are available through the Scheme function
1050 @code{set-time-signature}. In combination with the
1051 @internalsref{Measure_grouping_engraver}, it will create
1052 @internalsref{MeasureGrouping} signs. Such signs ease reading
1053 rhythmically complex modern music. In the following example, the 9/8
1054 measure is subdivided in 2, 2, 2 and 3. This is passed to
1055 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
1057 @lilypond[quote,raggedright,verbatim]
1060 #(set-time-signature 9 8 '(2 2 2 3))
1061 g8[ g] d[ d] g[ g] a8[( bes g]) |
1062 #(set-time-signature 5 8 '(3 2))
1068 \consists "Measure_grouping_engraver"
1076 Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1081 Automatic beaming does not use the measure grouping specified with
1082 @code{set-time-signature}.
1085 @node Partial measures
1086 @subsection Partial measures
1090 @cindex partial measure
1091 @cindex measure, partial
1092 @cindex shorten measures
1093 @cindex @code{\partial}
1095 Partial measures, such as an anacrusis or upbeat, are entered using the
1097 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1098 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1101 The syntax for this command is
1104 \partial @var{duration}
1107 This is internally translated into
1110 \set Timing.measurePosition = -@var{length of duration}
1113 The property @code{measurePosition} contains a rational number
1114 indicating how much of the measure has passed at this point.
1119 This command does not take into account grace notes at the start of
1120 the music. When a piece starts with graces notes in the pickup, then
1121 the @code{\partial} should follow the grace notes
1123 @lilypond[verbatim,quote,raggedright,relative,fragment]
1132 @subsection Bar lines
1136 @cindex measure lines
1139 Bar lines delimit measures, but are also used to indicate
1140 repeats. Normally they are inserted automatically. Line
1141 breaks may only happen on bar lines.
1143 Special types of bar lines can be forced with the @code{\bar} command
1145 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1149 The following bar types are available
1151 @lilypondfile[raggedright,quote]{bar-lines.ly}
1153 To allow a line break where there is no visible bar line, use
1160 This will insert an invisible bar line and allow line breaks at this
1163 In scores with many staves, a @code{\bar} command in one staff is
1164 automatically applied to all staves. The resulting bar lines are
1165 connected between different staves of a StaffGroup
1167 @lilypond[quote,raggedright,fragment,verbatim]
1169 \context StaffGroup <<
1175 \new Staff { \clef bass c4 g e g }
1177 \new Staff { \clef bass c2 c2 }
1181 @cindex @code{whichBar}
1182 @cindex @code{repeatCommands}
1183 @cindex @code{defaultBarType}
1185 The command @code{\bar }@var{bartype} is a short cut for doing
1186 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1187 is set to a string, a bar line of that type is created.
1189 A bar line is created whenever the @code{whichBar} property is set.
1190 At the start of a measure it is set to the contents of
1191 @code{Timing.defaultBarType}. The contents of @code{repeatCommands} are used
1192 to override default measure bars.
1194 You are encouraged to use @code{\repeat} for repetitions. See
1200 In this manual: @ref{Repeats}, @ref{System start delimiters}.
1202 Program reference: @internalsref{BarLine} (created at
1203 @internalsref{Staff} level), @internalsref{SpanBar} (across staves).
1205 Examples: @inputfileref{input/@/test,bar@/-lines@/.ly},
1208 @node Unmetered music
1209 @subsection Unmetered music
1212 @cindex @code{\cadenzaOn}
1213 @cindex @code{\cadenzaOff}
1215 Bar lines and bar numbers are calculated automatically. For unmetered
1216 music (cadenzas, for example), this is not desirable. To turn off
1217 automatic bar lines and bar numbers, use the commands @code{\cadenzaOn}
1218 and @code{\cadenzaOff}.
1220 @lilypond[verbatim,quote,raggedright,relative=2,fragment]
1232 LilyPond will only insert page breaks at a barline. Unless the unmetered
1233 music ends before the end of the staff line, you will need to insert
1241 to indicate where line breaks can occur.
1244 @node System start delimiters
1245 @subsection System start delimiters
1247 @cindex start of system
1248 @cindex Staff, multiple
1249 @cindex bracket, vertical
1250 @cindex brace, vertical
1254 Many scores consist of more than one staff. These staves can be
1255 joined in three different ways
1258 @item The group is started with a brace at the left, and bar lines are
1259 connected. This is done with the @internalsref{GrandStaff} context.
1261 @lilypond[verbatim,raggedright,quote]
1269 @item The group is started with a bracket, and bar lines are connected.
1270 This is done with the
1271 @internalsref{StaffGroup} context
1273 @lilypond[verbatim,raggedright,quote]
1281 @item The group is started with a vertical line. Bar lines are not
1282 connected. This is the default for the score.
1284 @lilypond[verbatim,raggedright,quote]
1295 The bar lines at the start of each system are
1296 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1297 @internalsref{SystemStartBracket}. Only one of these types is created
1298 in every context, and that type is determined by the property
1299 @code{systemStartDelimiter}.
1303 @subsection Staff symbol
1305 @cindex adjusting staff symbol
1307 Notes, dynamic signs, etc., are grouped
1308 with a set of horizontal lines, called a staff (plural `staves'). In
1309 LilyPond, these lines are drawn using a separate layout object called
1312 The staff symbol may be tuned in the number, thickness and distance
1313 of lines, using properties. This is demonstrated in the example files
1314 @inputfileref{input/@/test,staff@/-lines@/.ly},
1315 @inputfileref{input/@/test,staff@/-size@/.ly}.
1317 In addition, staves may be started and stopped at will. This is done
1318 with @code{\startStaff} and @code{\stopStaff}.
1320 @lilypond[verbatim,relative=2,fragment]
1322 \override Staff.StaffSymbol #'line-count = 2
1323 \stopStaff \startStaff
1325 \revert Staff.StaffSymbol #'line-count
1326 \stopStaff \startStaff
1330 In combination with Frenched staves, this may be used to typeset ossia
1331 sections. An example is in @inputfileref{input/@/test@/,ossia.ly},
1336 @lilypondfile{ossia.ly}
1338 @cindex staff lines, setting number of
1339 @cindex staff lines, setting thickness of
1340 @cindex thickness of staff lines, setting
1341 @cindex number of staff lines, setting
1345 Program reference: @internalsref{StaffSymbol}.
1347 Examples: @inputfileref{input/@/test,staff@/-lines@/.ly},
1348 @inputfileref{input/@/test@/,ossia.ly},
1349 @inputfileref{input/@/test,staff@/-size@/.ly}.
1353 @node Connecting notes
1354 @section Connecting notes
1356 This section deals with notation that affects groups of notes.
1374 A tie connects two adjacent note heads of the same pitch. The tie in
1375 effect extends the length of a note. Ties should not be confused with
1376 slurs, which indicate articulation, or phrasing slurs, which indicate
1377 musical phrasing. A tie is entered using the tilde symbol `@code{~}'
1379 @lilypond[quote,raggedright,fragment,verbatim]
1380 e' ~ e' <c' e' g'> ~ <c' e' g'>
1383 When a tie is applied to a chord, all note heads whose pitches match
1384 are connected. When no note heads match, no ties will be created.
1386 A tie is just a way of extending a note duration, similar to the
1387 augmentation dot. The following example shows two ways of notating
1388 exactly the same concept
1390 @lilypond[quote,fragment,raggedright]
1391 \time 3/4 c'2. c'2 ~ c'4
1395 Ties are used either when the note crosses a bar line, or when dots
1396 cannot be used to denote the rhythm. When using ties, larger note
1397 values should be aligned to subdivisions of the measure, eg.
1399 @lilypond[fragment,quote,raggedright]
1401 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
1405 If you need to tie a lot of notes over bars, it may be easier to use
1406 automatic note splitting (see @ref{Automatic note splitting}). This
1407 mechanism automatically splits long notes, and ties them across bar
1413 Ties are sometimes used to write out arpeggios. In this case, two tied
1414 notes need not be consecutive. This can be achieved by setting the
1415 @code{tieWaitForNote} property to true. For example,
1417 @lilypond[fragment,verbatim,relative=1,raggedright]
1418 \set tieWaitForNote = ##t
1419 \grace { c16[~ e~ g]~ } <c, e g>4
1426 @cindex @code{\tieUp}
1428 @cindex @code{\tieDown}
1430 @cindex @code{\tieNeutral}
1432 @cindex @code{\tieDotted}
1434 @cindex @code{\tieSolid}
1440 In this manual: @ref{Automatic note splitting}.
1442 Program reference: @internalsref{Tie}.
1447 Switching staves when a tie is active will not produce a slanted tie.
1449 Formatting of ties is a difficult subject. The results are often not
1458 A slur indicates that notes are to be played bound or
1459 @emph{legato}. They are entered using parentheses
1461 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1462 f( g a) a8 b( a4 g2 f4)
1466 The direction of a slur can be specified with
1467 @code{\slur@emph{DIR}}, where @code{@emph{DIR}} is
1468 either @code{Up}, @code{Down}, or @code{Neutral} (automatically
1471 However, there is a convenient shorthand for forcing slur
1472 directions. By adding @code{_} or @code{^} before the opening
1473 parentheses, the direction is also set. For example,
1475 @lilypond[relative=2,raggedright,quote,verbatim,fragment]
1479 Only one slur can be printed at once. If you need to print a long
1480 slur over a few small slurs, please see @ref{Phrasing slurs}.
1485 Some composers write two slurs when they want legato chords. This can
1486 be achieved in LilyPond by setting @code{doubleSlurs},
1488 @lilypond[verbatim,raggedright,relative,fragment,quote]
1489 \set doubleSlurs = ##t
1490 <c e>4 ( <d f> <c e> <d f> )
1496 @cindex @code{\slurUp}
1498 @cindex @code{\slurDown}
1500 @cindex @code{\slurNeutral}
1501 @code{\slurNeutral},
1502 @cindex @code{\slurDashed}
1504 @cindex @code{\slurDotted}
1506 @cindex @code{\slurSolid}
1511 Program reference: @seeinternals{Slur}.
1514 @node Phrasing slurs
1515 @subsection Phrasing slurs
1517 @cindex phrasing slurs
1518 @cindex phrasing marks
1520 A phrasing slur (or phrasing mark) connects notes and is used to
1521 indicate a musical sentence. It is written using @code{\(} and @code{\)}
1524 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1525 \time 6/4 c'\( d( e) f( e) d\)
1528 Typographically, the phrasing slur behaves almost exactly like a
1529 normal slur. However, they are treated as different objects. A
1530 @code{\slurUp} will have no effect on a phrasing slur; instead, use
1531 @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1532 @code{\phrasingSlurNeutral}.
1534 You cannot have simultaneous phrasing slurs.
1539 @cindex @code{\phrasingSlurUp}
1540 @code{\phrasingSlurUp},
1541 @cindex @code{\phrasingSlurDown}
1542 @code{\phrasingSlurDown},
1543 @cindex @code{\phrasingSlurNeutral}
1544 @code{\phrasingSlurNeutral}.
1549 Program reference: @internalsref{PhrasingSlur}.
1552 @node Automatic beams
1553 @subsection Automatic beams
1555 LilyPond inserts beams automatically
1557 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1558 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1561 When these automatic decisions are not good enough, beaming can be
1562 entered explicitly. It is also possible to define beaming patterns
1563 that differ from the defaults. See @ref{Setting automatic beam behavior}
1566 Individual notes may be marked with @code{\noBeam} to prevent them
1569 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1570 \time 2/4 c8 c\noBeam c c
1576 Program reference: @internalsref{Beam}.
1580 @subsection Manual beams
1582 @cindex beams, manual
1586 In some cases it may be necessary to override the automatic beaming
1587 algorithm. For example, the autobeamer will not put beams over rests
1588 or bar lines. Such beams are specified manually by marking the begin
1589 and end point with @code{[} and @code{]}
1591 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1593 r4 r8[ g' a r8] r8 g[ | a] r8
1600 @cindex @code{stemLeftBeamCount}
1601 @cindex @code{stemRightBeamCount}
1603 Normally, beaming patterns within a beam are determined automatically.
1604 If necessary, the properties @code{stemLeftBeamCount} and
1605 @code{stemRightBeamCount} can be used to override the defaults. If
1606 either property is set, its value will be used only once, and then it
1609 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1614 \set stemLeftBeamCount = #1
1619 The property @code{subdivideBeams} can be set in order to subdivide
1620 all 16th or shorter beams at beat positions, as defined by the
1621 @code{beatLength} property.
1623 @lilypond[fragment,quote,relative=2,verbatim]
1625 \set subdivideBeams = ##t
1627 \set Score.beatLength = #(ly:make-moment 1 8)
1630 @cindex @code{subdivideBeams}
1632 Line breaks are normally forbidden when beams cross bar lines. This
1633 behavior can be changed by setting @code{allowBeamBreak}.
1635 @cindex @code{allowBeamBreak}
1636 @cindex beams and line breaks
1637 @cindex beams, kneed
1639 @cindex auto-knee-gap
1644 Kneed beams are inserted automatically when a large gap is detected
1645 between the note heads. This behavior can be tuned through the object.
1647 Automatically kneed cross-staff beams cannot be used together with
1648 hidden staves. See @ref{Hiding staves}.
1650 Beams do not avoid collisions with symbols around the notes, such as
1651 texts and accidentals.
1655 @subsection Grace notes
1657 @cindex @code{\grace}
1660 @cindex appoggiatura
1661 @cindex acciaccatura
1663 Grace notes are ornaments that are written out. The most common ones
1664 are acciaccatura, which should be played as very short. It is denoted
1665 by a slurred small note with a slashed stem. The appoggiatura is a
1666 grace note that takes a fixed fraction of the main note, and is
1667 denoted as a slurred note in small print without a slash. They
1668 are entered with the commands @code{\acciaccatura} and
1669 @code{\appoggiatura}, as demonstrated in the following example
1671 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
1672 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
1673 \acciaccatura { g16[ f] } e4
1676 Both are special forms of the @code{\grace} command. By prefixing this
1677 keyword to a music expression, a new one is formed, which will be
1678 printed in a smaller font and takes up no logical time in a measure.
1680 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
1682 \grace { c16[ d16] } c2 c4
1686 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
1687 @code{\grace} command does not start a slur.
1689 Internally, timing for grace notes is done using a second, `grace'
1690 timing. Every point in time consists of two rational numbers: one
1691 denotes the logical time, one denotes the grace timing. The above
1692 example is shown here with timing tuples
1694 @lilypond[quote,raggedright]
1697 c4 \grace c16 c4 \grace {
1700 \new Lyrics \lyricmode {
1701 \override LyricText #'font-family = #'typewriter
1705 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
1706 \markup { (\fraction 1 4 , 0 ) } 4
1708 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
1709 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
1711 \markup { ( \fraction 2 4 , 0 ) }
1716 The placement of grace notes is synchronized between different staves.
1717 In the following example, there are two sixteenth grace notes for
1718 every eighth grace note
1720 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
1721 << \new Staff { e4 \grace { c16[ d e f] } e4 }
1722 \new Staff { c4 \grace { g8[ b] } c4 } >>
1725 If you want to end a note with a grace, use the @code{\afterGrace}
1726 command. It takes two arguments: the main note, and the grace notes
1727 following the main note.
1729 @lilypond[raggedright, verbatim,relative=2,fragment]
1730 c1 \afterGrace d1 { c16[ d] } c4
1733 This will put the grace notes after a ``space'' lasting 3/4 of the
1734 length of the main note. The fraction 3/4 can be changed by setting
1735 @code{afterGraceFraction}, ie.
1738 afterGraceFraction = #(cons 7 8)
1742 will put the grace note at 7/8 of the main note.
1744 The same effect can be achieved manually by doing
1746 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1749 { s2 \grace { c16[ d] } } >>
1755 By adjusting the duration of the skip note (here it is a half-note),
1756 the space between the main-note and the grace is adjusted.
1758 A @code{\grace} section will introduce special typesetting settings,
1759 for example, to produce smaller type, and set directions. Hence, when
1760 introducing layout tweaks, they should be inside the grace section,
1762 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1774 The overrides should also be reverted inside the grace section.
1776 The layout of grace sections can be changed throughout the music using
1777 the function @code{add-grace-property}. The following example
1778 undefines the Stem direction for this grace, so stems do not always
1783 #(add-grace-property 'Voice 'Stem 'direction '())
1789 Another option is to change the variables @code{startGraceMusic},
1790 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
1791 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
1792 @code{stopAppoggiaturaMusic}. More information is in the file
1793 @file{ly/@/grace@/-init@/.ly}.
1798 Program reference: @internalsref{GraceMusic}.
1803 A score that starts with a @code{\grace} section needs an explicit
1804 @code{\context Voice} declaration, otherwise the main note and the grace
1805 note end up on different staves.
1807 Grace note synchronization can also lead to surprises. Staff notation,
1808 such as key signatures, bar lines, etc., are also synchronized. Take
1809 care when you mix staves with grace notes and staves without, for example,
1811 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
1812 << \new Staff { e4 \bar "|:" \grace c16 d4 }
1813 \new Staff { c4 \bar "|:" d4 } >>
1817 This can be remedied by inserting grace skips, for the above example
1820 \new Staff @{ c4 \bar "|:" \grace s16 d4 @}
1823 Grace sections should only be used within sequential music
1824 expressions. Nesting or juxtaposing grace sections is not supported,
1825 and might produce crashes or other errors.
1829 @node Expressive marks
1830 @section Expressive marks
1832 Expressive marks help musicians to bring more to the music than simple
1837 * Fingering instructions::
1847 @subsection Articulations
1849 @cindex Articulations
1853 A variety of symbols can appear above and below notes to indicate
1854 different characteristics of the performance. They are added to a note
1855 by adding a dash and the character signifying the
1856 articulation. They are demonstrated here
1858 @lilypondfile[quote,raggedright]{script-abbreviations.ly}
1860 The meanings of these shorthands can be changed. See
1861 @file{ly/@/script@/-init@/.ly} for examples.
1863 The script is automatically placed, but the direction can be forced as
1864 well. Like other pieces of LilyPond code, @code{_} will place them
1865 below the staff, and @code{^} will place them above.
1867 @lilypond[quote,raggedright,fragment,verbatim]
1871 Other symbols can be added using the syntax
1872 @var{note}@code{\}@var{name}. Again, they
1873 can be forced up or down using @code{^} and @code{_},
1876 @lilypond[quote,raggedright,verbatim,fragment,relative=2]
1877 c\fermata c^\fermata c_\fermata
1882 @cindex staccatissimo
1892 @cindex organ pedal marks
1901 @cindex prallmordent
1905 @cindex thumb marking
1910 Here is a chart showing all scripts available,
1912 @lilypondfile[raggedright,quote]{script-chart.ly}
1917 The vertical ordering of scripts is controlled with the
1918 @code{script-priority} property. The lower this number, the closer it
1919 will be put to the note. In this example, the
1920 @internalsref{TextScript} (the sharp symbol) first has the lowest
1921 priority, so it is put lowest in the first example. In the second, the
1922 prall trill (the @internalsref{Script}) has the lowest, so it is on the
1923 inside. When two objects have the same priority, the order in which
1924 they are entered decides which one comes first.
1926 @lilypond[verbatim,relative=3,raggedright,fragment,quote]
1927 \once \override TextScript #'script-priority = #-100
1928 a4^\prall^\markup { \sharp }
1930 \once \override Script #'script-priority = #-100
1931 a4^\prall^\markup { \sharp }
1937 Program reference: @internalsref{Script}.
1942 These signs appear in the printed output but have no effect on the
1943 MIDI rendering of the music.
1946 @node Fingering instructions
1947 @subsection Fingering instructions
1950 @cindex finger change
1952 Fingering instructions can be entered using
1954 @var{note}-@var{digit}
1956 For finger changes, use markup texts
1958 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
1960 c^\markup { \finger "2 - 3" }
1963 You can use the thumb-script to indicate that a note should be
1964 played with the thumb (e.g., in cello music)
1965 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
1966 <a_\thumb a'-3>8 <b_\thumb b'-3>
1969 Fingerings for chords can also be added to individual notes
1970 of the chord by adding them after the pitches
1971 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
1972 < c-1 e-2 g-3 b-5 >4
1978 You may exercise greater control over fingering chords by
1979 setting @code{fingeringOrientations}
1981 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
1982 \set fingeringOrientations = #'(left down)
1983 <c-1 es-2 g-4 bes-5 > 4
1984 \set fingeringOrientations = #'(up right down)
1985 <c-1 es-2 g-4 bes-5 > 4
1988 Using this feature, it is also possible to put fingering instructions
1989 very close to note heads in monophonic music,
1991 @lilypond[verbatim,raggedright,quote,fragment]
1992 \set fingeringOrientations = #'(right)
1999 Program reference: @internalsref{Fingering}.
2001 Examples: @inputfileref{input/@/regression,finger@/-chords@/.ly}.
2005 @subsection Dynamics
2016 @cindex @code{\ffff}
2025 Absolute dynamic marks are specified using a command after a note
2026 @code{c4\ff}. The available dynamic marks are @code{\ppp},
2027 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2028 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2029 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
2031 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2032 c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2033 c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
2040 A crescendo mark is started with @code{\<} and terminated with
2041 @code{\!} or an absolute dynamic. A decrescendo is started with
2042 @code{\>} and is also terminated with @code{\!} or an absolute
2043 dynamic. Because these marks are bound to notes, you must
2044 use spacer notes if multiple marks are needed during one note
2046 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2048 << f1 { s4 s4\< s4\! \> s4\! } >>
2050 This may give rise to very short hairpins. Use @code{minimum-length}
2051 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2055 \override Staff.Hairpin #'minimum-length = #5
2062 You can also use a text saying @emph{cresc.} instead of hairpins
2064 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
2075 You can also supply your own texts
2076 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2077 \set crescendoText = \markup { \italic "cresc. poco" }
2078 \set crescendoSpanner = #'dashed-line
2082 To create new dynamic marks or text that should be aligned
2083 with dynamics, see @ref{New dynamic marks}.
2088 @cindex @code{\dynamicUp}
2090 @cindex @code{\dynamicDown}
2091 @code{\dynamicDown},
2092 @cindex @code{\dynamicNeutral}
2093 @code{\dynamicNeutral}.
2098 Program reference: @internalsref{DynamicText}, @internalsref{Hairpin}.
2099 Vertical positioning of these symbols is handled by
2100 @internalsref{DynamicLineSpanner}.
2104 @subsection Breath marks
2106 Breath marks are entered using @code{\breathe}
2108 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2115 The glyph of the breath mark can be tuned by overriding the
2116 @code{text} property of the @code{BreathingSign} layout object with
2117 any markup text. For example,
2118 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2120 \override BreathingSign #'text
2121 = #(make-musicglyph-markup "scripts.rvarcomma")
2128 Program reference: @internalsref{BreathingSign}.
2130 Examples: @inputfileref{input/@/regression,breathing@/-sign@/.ly}.
2133 @node Running trills
2134 @subsection Running trills
2136 Long running trills are made with @code{\startTrillSpan} and
2137 @code{\stopTrillSpan},
2139 @lilypond[verbatim,raggedright,relative=2,quote,fragment]
2141 << { c1 \startTrillSpan }
2142 { s2. \grace { d16[\stopTrillSpan e] } } >>
2149 @code{\startTrillSpan},
2150 @cindex @code{\startTrillSpan}
2151 @code{\stopTrillSpan}.
2152 @cindex @code{\stopTrillSpan}
2157 Program reference: @internalsref{TrillSpanner}.
2161 @subsection Glissando
2164 @cindex @code{\glissando}
2166 A glissando is a smooth change in pitch. It is denoted by a line or a
2167 wavy line between two notes. It is requested by attaching
2168 @code{\glissando} to a note
2170 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
2172 \override Glissando #'style = #'zigzag
2179 Program reference: @internalsref{Glissando}.
2181 Example files: @file{input/@/regression/@/glissando@/.ly}.
2186 Printing text over the line (such as @emph{gliss.}) is not supported.
2190 @subsection Arpeggio
2193 @cindex broken chord
2194 @cindex @code{\arpeggio}
2196 You can specify an arpeggio sign (also known as broken chord) on a
2197 chord by attaching an @code{\arpeggio} to a chord
2199 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2203 A square bracket on the left indicates that the player should not
2204 arpeggiate the chord
2206 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2211 The direction of the arpeggio is sometimes denoted by adding an
2212 arrowhead to the wiggly line
2214 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2226 When an arpeggio crosses staves, you may attach an arpeggio to the chords
2227 in both staves and set
2228 @internalsref{PianoStaff}.@code{connectArpeggios}
2230 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2231 \context PianoStaff <<
2232 \set PianoStaff.connectArpeggios = ##t
2233 \new Staff { <c' e g c>\arpeggio }
2234 \new Staff { \clef bass <c,, e g>\arpeggio }
2242 @cindex @code{\arpeggioUp}
2244 @cindex @code{\arpeggioDown}
2245 @code{\arpeggioDown},
2246 @cindex @code{\arpeggioNeutral}
2247 @code{\arpeggioNeutral},
2248 @cindex @code{\arpeggioBracket}
2249 @code{\arpeggioBracket}.
2254 Notation manual: @ref{Ties}, for writing out arpeggios.
2256 Program reference: @internalsref{Arpeggio}.
2261 It is not possible to mix connected arpeggios and unconnected
2262 arpeggios in one @internalsref{PianoStaff} at the same point in time.
2269 Polyphony in music refers to having more than one voice occuring in
2270 a piece of music. Polyphony in LilyPond refers to having more than
2271 one voice on the same staff.
2275 * Explicitly instantiating voices::
2276 * Collision Resolution::
2280 @node Basic polyphony
2281 @subsection Basic polyphony
2285 The easiest way to enter fragments with more than one voice on a staff
2286 is to enter each voice as a sequence (with @code{@{...@}}), and combine
2287 them simultaneously, separating the voices with @code{\\}
2291 @lilypond[quote,verbatim,fragment]
2292 \new Staff \relative c' {
2295 { g4 f e | d2 e2 } \\
2296 { r8 e4 d c8 ~ | c b16 a b8 g ~ g2 } \\
2302 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
2303 voices are sometimes called ``layers'' in other notation packages}
2305 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
2306 each of these contexts, vertical direction of slurs, stems, etc., is set
2309 These voices are all seperate from the voice that contains the notes just
2310 outside the @code{<< \\ >>} construct. This should be noted when making
2311 changes at the voice level. This also means that slurs and ties cannot go
2312 into or out of a @code{<< \\ >>} construct. Conversely, parallel voices
2313 from separate @code{<< \\ >>} constructs on the same staff are the the
2314 same voice. Here is the same example, with different noteheads for each
2315 voice. Note that the change to the note-head style in the main voice does not affect
2316 the inside of the @code{<< \\ >>} constructs. Also, the change to the second
2317 voice in the first @code{<< \\ >>} construct is effective in the second
2318 @code{<< \\ >>}, and the voice is tied accross the two constructs.
2320 @lilypond[quote,verbatim,fragment]
2321 \new Staff \relative c' {
2322 \override NoteHead #'style = #'cross
2326 { \override NoteHead #'style = #'triangle
2331 { c8 b16 a b8 g ~ g2 } \\
2332 { \override NoteHead #'style = #'slash s4 b4 c2 }
2337 Polyphony does not change the relationship of notes within a
2338 @code{\relative @{ @}} block. Each note is calculated relative
2339 to the note immediately preceding it.
2342 \relative @{ noteA << noteB \\ noteC >> noteD @}
2345 @code{noteC} is relative to @code{noteB}, not @code{noteA};
2346 @code{noteD} is relative to @code{noteC}, not @code{noteB} or
2349 @node Explicitly instantiating voices
2350 @subsection Explicitly instantiating voices
2352 @internalsref{Voice} contexts can also also be instantiated manually
2353 inside a @code{<< >>} block to create polyphonic music, using
2354 @code{\voiceOne}, up to @code{\voiceFour} to assign stem directions
2355 and a horizontal shift for each part.
2359 << \upper \\ \lower >>
2367 \context Voice = "1" @{ \voiceOne \upper @}
2368 \context Voice = "2" @{ \voiceTwo \lower @}
2372 The @code{\voiceXXX} commands set the direction of stems, slurs, ties,
2373 articulations, text annotations, augmentation dots of dotted
2374 notes, and fingerings. @code{\voiceOne} and @code{\voiceThree} make
2375 these objects point upwards, while @code{\voiceTwo} and @code{\voiceFour}
2376 make them point downwards.
2377 The command @code{\oneVoice} will revert back to the normal setting.
2379 An expression that appears directly inside a @code{<< >>} belongs to
2380 the main voice. This is useful when extra voices appear while the main
2381 voice is playing. Here is a more correct rendition of the example from
2382 the previous section. The crossed noteheads demonstrate that the main
2383 melody is now in a single voice context.
2385 @lilypond[quote,raggedright,verbatim]
2386 \new Staff \relative c' {
2387 \override NoteHead #'style = #'cross
2392 \context Voice="1" { \voiceTwo
2393 r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
2396 \new Voice { \voiceThree
2405 The correct definition of the voices allows the melody to be slurred.
2406 @lilypond[quote,raggedright,verbatim]
2407 \new Staff \relative c' {
2412 \context Voice="1" { \voiceTwo
2413 r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
2416 \new Voice { \voiceThree
2425 Avoiding the @code{\\} seperator also allows nesting polyphony
2426 constructs, which in some case might be a more natural way to typeset
2429 @lilypond[quote,raggedright,verbatim]
2430 \new Staff \relative c' {
2435 \context Voice="1" { \voiceTwo
2438 {c8 b16 a b8 g ~ g2}
2439 \new Voice { \voiceThree
2452 @node Collision Resolution
2453 @subsection Collision Resolution
2455 Normally, note heads with a different number of dots are not merged, but
2456 when the object property @code{merge-differently-dotted} is set in
2457 the @internalsref{NoteCollision} object, they are merged
2458 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
2461 \override Staff.NoteCollision
2462 #'merge-differently-dotted = ##t
2464 } \\ { g8.[ f16] g8.[ f16] } >>
2467 Similarly, you can merge half note heads with eighth notes, by setting
2468 @code{merge-differently-headed}
2469 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
2472 \override Staff.NoteCollision
2473 #'merge-differently-headed = ##t
2474 c8 c4. } \\ { c2 c2 } >>
2477 LilyPond also vertically shifts rests that are opposite of a stem,
2480 @lilypond[quote,raggedright,fragment,verbatim]
2481 \context Voice << c''4 \\ r4 >>
2487 @cindex @code{\oneVoice}
2489 @cindex @code{\voiceOne}
2491 @cindex @code{\voiceTwo}
2493 @cindex @code{\voiceThree}
2495 @cindex @code{\voiceFour}
2498 @cindex @code{\shiftOn}
2500 @cindex @code{\shiftOnn}
2502 @cindex @code{\shiftOnnn}
2504 @cindex @code{\shiftOff}
2505 @code{\shiftOff}: these commands specify in what chords of the current
2506 voice should be shifted. The outer voices (normally: voice one and
2507 two) have @code{\shiftOff}, while the inner voices (three and four)
2508 have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define
2509 further shift levels.
2511 When LilyPond cannot cope, the @code{force-hshift}
2512 property of the @internalsref{NoteColumn} object and pitched rests can
2513 be used to override typesetting decisions.
2515 @lilypond[quote,verbatim,raggedright]
2522 \once \override NoteColumn #'force-hshift = #1.7
2530 Program reference: the objects responsible for resolving collisions are
2531 @internalsref{NoteCollision} and @internalsref{RestCollision}.
2534 @inputfileref{input/@/regression,collision@/-dots@/.ly},
2535 @inputfileref{input/@/regression,collision@/-head-chords@/.ly},
2536 @inputfileref{input/@/regression,collision@/-heads@/.ly},
2537 @inputfileref{input/@/regression,collision@/-mesh@/.ly}, and
2538 @inputfileref{input/@/regression,collisions@/.ly}.
2543 When using @code{merge-differently-headed} with an upstem eighth or a
2544 shorter note, and a downstem half note, the eighth note gets the wrong
2547 There is no support for clusters where the same note occurs with
2548 different accidentals in the same chord. In this case, it is
2549 recommended to use enharmonic transcription, or to use special cluster
2550 notation (see @ref{Clusters}).
2557 Repetition is a central concept in music, and multiple notations exist
2563 * Repeats and MIDI::
2564 * Manual repeat commands::
2566 * Tremolo subdivisions::
2572 @subsection Repeat types
2575 @cindex @code{\repeat}
2577 The following types of repetition are supported
2581 Repeated music is fully written (played) out. This is useful when
2582 entering repetitious music. This is the only kind of repeat that
2583 is included in MIDI output.
2586 Repeats are not written out, but alternative endings (volte) are
2587 printed, left to right with brackets. This is the standard notation
2588 for repeats with alternatives. These are not played in MIDI output by default.
2592 Alternative endings are written stacked. This has limited use but may be
2593 used to typeset two lines of lyrics in songs with repeats, see
2594 @inputfileref{input,star-spangled-banner@/.ly}.
2598 Make tremolo beams. These are not played in MIDI output by default.
2601 Make beat or measure repeats. These look like percent signs. These
2602 are not played in MIDI output by default. Percent repeats must be
2603 declared within a Voice context.
2609 @subsection Repeat syntax
2611 LilyPond has one syntactic construct for specifying different types of
2612 repeats. The syntax is
2615 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2618 If you have alternative endings, you may add
2619 @cindex @code{\alternative}
2630 where each @var{alternative} is a music expression. If you do not
2631 give enough alternatives for all of the repeats, the first alternative
2632 is assumed to be played more than once.
2634 Standard repeats are used like this
2635 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2637 \repeat volta 2 { c4 d e f }
2638 \repeat volta 2 { f e d c }
2641 With alternative endings
2642 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2644 \repeat volta 2 {c4 d e f}
2645 \alternative { {d2 d} {f f,} }
2648 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2651 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2652 \alternative { { g4 g g } { a | a a a a | b2. } }
2656 It is possible to shorten volta brackets
2657 by setting @code{voltaSpannerDuration}. In the next example, the
2658 bracket only lasts one measure, which is a duration of 3/4.
2660 @lilypond[verbatim,raggedright,quote]
2664 \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4)
2665 \repeat "volta" 5 { d d d }
2666 \alternative { { e e e f f f }
2676 Brackets for the repeat are normally only printed over the topmost
2677 staff. This can be adjusted by setting the @code{voltaOnThisStaff}
2678 property; see @inputfileref{input/@/regression,volta@/-multi@/-staff@/.ly}.
2683 @cindex repeat, ambiguous
2685 A nested repeat like
2694 is ambiguous, since it is is not clear to which @code{\repeat} the
2695 @code{\alternative} belongs. This ambiguity is resolved by always
2696 having the @code{\alternative} belong to the inner @code{\repeat}.
2697 For clarity, it is advisable to use braces in such situations.
2699 Timing information is not remembered at the start of an alternative,
2700 so after a repeat timing information must be reset by hand, for
2701 example by setting @code{Score.measurePosition} or entering
2702 @code{\partial}. Similarly, slurs or ties are also not repeated.
2705 @node Repeats and MIDI
2706 @subsection Repeats and MIDI
2708 @cindex expanding repeats
2709 @cindex @code{\unfoldRepeats}
2711 With a little bit of tweaking, all types of repeats can be present
2712 in the MIDI output. This is achieved by applying the
2713 @code{\unfoldRepeats} music function. This functions changes all
2714 repeats to unfold repeats.
2716 @lilypond[quote,verbatim,fragment,linewidth=8.0\cm]
2718 \repeat tremolo 8 {c'32 e' }
2719 \repeat percent 4 { c''8 d'' }
2720 \repeat volta 2 {c'4 d' e' f'}
2729 When creating a score file using @code{\unfoldRepeats} for midi, then
2730 it is necessary to make two @code{\score} blocks. One for MIDI (with
2731 unfolded repeats) and one for notation (with volta, tremolo, and
2732 percent repeats). For example,
2740 \unfoldRepeats @var{..music..}
2746 @node Manual repeat commands
2747 @subsection Manual repeat commands
2749 @cindex @code{repeatCommands}
2751 The property @code{repeatCommands} can be used to control the layout of
2752 repeats. Its value is a Scheme list of repeat commands.
2755 @item @code{start-repeat}
2756 Print a @code{|:} bar line.
2758 @item @code{end-repeat}
2759 Print a @code{:|} bar line.
2761 @item @code{(volta @var{text})}
2762 Print a volta bracket saying @var{text}: The text can be specified as
2763 a text string or as a markup text, see @ref{Text markup}. Do not
2764 forget to change the font, as the default number font does not contain
2765 alphabetic characters;
2767 @item @code{(volta #f)}
2768 Stop a running volta bracket.
2771 @lilypond[quote,raggedright,verbatim,fragment,relative=2]
2773 \set Score.repeatCommands = #'((volta "93") end-repeat)
2775 \set Score.repeatCommands = #'((volta #f))
2782 Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2783 @internalsref{VoltaRepeatedMusic},
2784 @internalsref{UnfoldedRepeatedMusic}, and
2785 @internalsref{FoldedRepeatedMusic}.
2788 @node Tremolo repeats
2789 @subsection Tremolo repeats
2791 @cindex tremolo beams
2793 To place tremolo marks between notes, use @code{\repeat} with tremolo
2795 @lilypond[quote,verbatim,raggedright]
2796 \new Voice \relative c' {
2797 \repeat "tremolo" 8 { c16 d16 }
2798 \repeat "tremolo" 4 { c16 d16 }
2799 \repeat "tremolo" 2 { c16 d16 }
2803 Tremolo marks can also be put on a single note. In this case, the
2804 note should not be surrounded by braces.
2805 @lilypond[quote,verbatim,raggedright]
2806 \repeat "tremolo" 4 c'16
2809 Similar output is obtained using the tremolo subdivision, described in
2810 @ref{Tremolo subdivisions}.
2815 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2817 Program reference: @internalsref{Beam}, @internalsref{StemTremolo}.
2819 Example files: @inputfileref{input/@/regression,chord@/-tremolo@/.ly},
2820 @inputfileref{input/@/regression,stem@/-tremolo@/.ly}.
2823 @node Tremolo subdivisions
2824 @subsection Tremolo subdivisions
2826 @cindex tremolo marks
2827 @cindex @code{tremoloFlags}
2829 Tremolo marks can be printed on a single note by adding
2830 `@code{:}[@var{number}]' after the note. The number indicates the
2831 duration of the subdivision, and it must be at least 8. A
2832 @var{length} value of 8 gives one line across the note stem. If the
2833 length is omitted, the last value (stored in @code{tremoloFlags}) is
2836 @lilypond[quote,raggedright,verbatim,fragment]
2837 c'2:8 c':32 | c': c': |
2843 Tremolos entered in this way do not carry over into the MIDI output.
2848 In this manual: @ref{Tremolo repeats}.
2850 Elsewhere: @internalsref{StemTremolo}.
2853 @node Measure repeats
2854 @subsection Measure repeats
2856 @cindex percent repeats
2857 @cindex measure repeats
2859 In the @code{percent} style, a note pattern can be repeated. It is
2860 printed once, and then the pattern is replaced with a special sign.
2861 Patterns of one and two measures are replaced by percent-like signs,
2862 patterns that divide the measure length are replaced by slashes.
2863 Percent repeats must be declared within a @code{Voice} context.
2865 @lilypond[quote,verbatim,raggedright]
2866 \new Voice \relative c' {
2867 \repeat "percent" 4 { c4 }
2868 \repeat "percent" 2 { c2 es2 f4 fis4 g4 c4 }
2875 Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2876 @internalsref{PercentRepeatedMusic}, and
2877 @internalsref{DoublePercentRepeat}.