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. These extra accidentals
167 can be used to produce natural signs, too.
169 @lilypond[quote,raggedright,fragment,verbatim]
170 cis' cis' cis'! cis'? c c? c! c
176 The automatic production of accidentals can be tuned in many
177 ways. For more information, refer to @ref{Automatic accidentals}.
182 @subsection Micro tones
184 @cindex quarter tones
185 @cindex semi-flats, semi-sharps
187 Half-flats and half-sharps are formed by adding @code{-eh} and
188 @code{-ih}; the following is a series of Cs with increasing pitches
190 @lilypond[verbatim,raggedright,quote,relative=2,fragment]
191 \set Staff.extraNatural = ##f
195 Micro tones are also exported to the MIDI file.
200 There are no generally accepted standards for denoting three quarter
201 flats, so LilyPond's symbol does not conform to any standard.
209 A chord is formed by a enclosing a set of pitches in @code{<} and
210 @code{>}. A chord may be followed by a duration, and a set of
211 articulations, just like simple notes
213 @lilypond[verbatim,raggedright,fragment,quote,relative=1]
217 For more information about chords, see @ref{Chord names}.
228 Rests are entered like notes with the note name @code{r}
230 @lilypond[fragment,quote,raggedright,verbatim]
234 Whole bar rests, centered in middle of the bar,
235 must be done with multi-measure rests. They can be used for a
236 single bar as well as many bars, and are discussed in
237 @ref{Multi measure rests}.
240 A rest's vertical position may be explicitly specified by entering a
241 note with the @code{\rest} keyword appended, the rest will be placed at
242 the note's place. This makes manual formatting in polyphonic music
243 easier. Automatic rest collision formatting will leave these rests
246 @lilypond[fragment,quote,raggedright,verbatim]
252 Program reference: @internalsref{Rest}.
259 @cindex Invisible rest
264 An invisible rest (also called a `skip') can be entered like a note
265 with note name `@code{s}' or with @code{\skip @var{duration}}
267 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
268 a4 a4 s4 a4 \skip 1 a4
271 The @code{s} syntax is only available in note mode and chord mode. In
272 other situations, for example, when entering lyrics, you should use
273 the @code{\skip} command
275 @lilypond[quote,raggedright,verbatim]
278 \new Lyrics \lyricmode { \skip 2 bla2 }
282 The skip command is merely an empty musical placeholder. It does not
283 produce any output, not even transparent output.
285 The @code{s} skip command does create @internalsref{Staff} and
286 @internalsref{Voice} when necessary, similar to note and rest
287 commands. For example, the following results in an empty staff.
289 @lilypond[quote,raggedright,verbatim]
293 The fragment @code{@{ \skip 4 @} } would produce an empty page.
297 Program reference: @internalsref{SkipMusic}.
301 @subsection Durations
304 @cindex @code{\longa}
305 @cindex @code{\breve}
306 @cindex @code{\maxima}
308 In Note, Chord, and Lyrics mode, durations are designated by numbers and
309 dots: durations are entered as their reciprocal values. For example, a
310 quarter note is entered using a @code{4} (since it is a 1/4 note), while
311 a half note is entered using a @code{2} (since it is a 1/2 note). For
312 notes longer than a whole you must use the variables @code{\longa} and
317 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
319 r1 r2 r4 r8 r16 r32 r64 r64
325 a\breve*1/2 \autoBeamOff
326 a1 a2 a4 a8 a16 a32 a64 a64
329 r\longa*1/4 r\breve *1/2
330 r1 r2 r4 r8 r16 r32 r64 r64
336 \remove "Clef_engraver"
337 \override StaffSymbol #'transparent = ##t
338 \override TimeSignature #'transparent = ##t
339 \override BarLine #'transparent = ##t
340 \consists "Pitch_squash_engraver"
346 If the duration is omitted then it is set to the previously entered
347 duration. The default for the first note is a quarter note.
349 @lilypond[quote,raggedright,verbatim,fragment]
350 { a a a2 a a4 a a1 a }
354 @node Augmentation dots
355 @subsection Augmentation dots
359 To obtain dotted note lenghts, simply add a dot (`@code{.}') to
360 the number. Double-dotted notes are produced in a similar way.
362 @lilypond[quote,raggedright,fragment,verbatim]
363 a'4 b' c''4. b'8 a'4. b'4.. c''8.
368 Dots are normally moved up to avoid staff lines, except in polyphonic
369 situations. The following commands may be used to force a particular
372 @cindex @code{\dotsUp}
374 @cindex @code{\dotsDown}
376 @cindex @code{\dotsNeutral}
381 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
389 @cindex @code{\times}
391 Tuplets are made out of a music expression by multiplying all durations
395 \times @var{fraction} @var{musicexpr}
399 The duration of @var{musicexpr} will be multiplied by the fraction.
400 The fraction's denominator will be printed over the notes, optionally
401 with a bracket. The most common tuplet is the triplet in which 3
402 notes have the length of 2, so the notes are 2/3 of their written
405 @lilypond[quote,raggedright,fragment,verbatim]
406 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
409 Tuplets may be nested, for example,
411 @lilypond[fragment,raggedright,verbatim,relative=2]
412 \set tupletNumberFormatFunction = #fraction-tuplet-formatter
415 \times 3/5 { a a a a a }
421 @cindex @code{\tupletUp}
423 @cindex @code{\tupletDown}
425 @cindex @code{\tupletNeutral}
426 @code{\tupletNeutral}.
431 @cindex @code{tupletNumberFormatFunction}
432 @cindex tuplet formatting
434 The property @code{tupletSpannerDuration} specifies how long each
435 bracket should last. With this, you can make lots of tuplets while
436 typing @code{\times} only once, thus saving lots of typing. In the next
437 example, there are two triplets shown, while @code{\times} was only
440 @lilypond[quote,fragment,relative=1,raggedright,verbatim]
441 \set tupletSpannerDuration = #(ly:make-moment 1 4)
442 \times 2/3 { c'8 c c c c c }
445 The format of the number is determined by the property
446 @code{tupletNumberFormatFunction}. The default prints only the
447 denominator, but if it is set to the Scheme function
448 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
457 Program reference: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
459 Examples: @inputfileref{input/@/regression,tuplet@/-nest@/.ly}.
463 @node Scaling durations
464 @subsection Scaling durations
466 You can alter the length of duration by a fraction @var{N/M}
467 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
468 will not affect the appearance of the notes or rests produced.
470 In the following example, the first three notes take up exactly two
471 beats, but no triplet bracket is printed.
472 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
474 a4*2/3 gis4*2/3 a4*2/3
482 This manual: @ref{Tuplets}
486 @node Alternate music entry
487 @section Alternate music entry
490 This section deals with tricks and features of the input language that
491 were added solely to help entering music and finding and correcting
492 mistakes. There are also external tools that make debugging easier.
493 See @ref{Point and click} for more information.
495 It is also possible to enter and edit music using other programs, such as
496 GUI interfaces or MIDI sequencers. Refer to the LilyPond
497 website for more information.
505 * Skipping corrected music::
506 * Automatic note splitting::
510 @node Relative octaves
511 @subsection Relative octaves
514 @cindex Relative octave specification
515 @cindex @code{\relative}
517 Octaves are specified by adding @code{'} and @code{,} to pitch names.
518 When you copy existing music, it is easy to accidentally put a pitch
519 in the wrong octave and hard to find such an error. The relative
520 octave mode prevents these errors by making the mistakes much
521 larger: a single error puts the rest of the piece off by one octave
524 \relative @var{startpitch} @var{musicexpr}
531 \relative @var{musicexpr}
534 The octave of notes that appear in @var{musicexpr} are calculated as
535 follows: if no octave changing marks are used, the basic interval
536 between this and the last note is always taken to be a fourth or
537 less. This distance is determined without regarding alterations; a
538 @code{fisis} following a @code{ceses} will be put above the
539 @code{ceses}. In other words, a doubly-augmented fourth is considered
540 a smaller interval than a diminshed fifth, even though the fourth is
541 seven semitones while the fifth is only six semitones.
543 The octave changing marks @code{'} and @code{,} can be added to raise
544 or lower the pitch by an extra octave. Upon entering relative mode,
545 an absolute starting pitch can be specified that will act as the
546 predecessor of the first note of @var{musicexpr}. If no starting pitch
547 is specified, then middle C is used as a start.
549 Here is the relative mode shown in action
550 @lilypond[quote,fragment,raggedright,verbatim]
556 Octave changing marks are used for intervals greater than a fourth
557 @lilypond[quote,raggedright,fragment,verbatim]
563 If the preceding item is a chord, the first note of the chord is used
564 to determine the first note of the next chord
566 @lilypond[quote,raggedright,fragment,verbatim]
574 The pitch after the @code{\relative} contains a note name.
576 The relative conversion will not affect @code{\transpose},
577 @code{\chordmode} or @code{\relative} sections in its argument. To use
578 relative within transposed music, an additional @code{\relative} must
579 be placed inside @code{\transpose}.
583 @subsection Octave check
587 Octave checks make octave errors easier to correct: a note may be
588 followed by @code{=}@var{quotes} which indicates what its absolute
589 octave should be. In the following example,
592 \relative c'' @{ c='' b=' d,='' @}
596 the @code{d} will generate a warning, because a @code{d''} is expected
597 (because @code{b'} to @code{d''} is only a third), but a @code{d'} is
598 found. In the output, the octave is corrected to be a @code{d''} and
599 the next note is calculated relative to @code{d''} instead of @code{d'}.
601 There is also a syntax that is separate from the notes. The syntax
607 This checks that @var{pitch} (without quotes) yields @var{pitch} (with
608 quotes) in \relative mode. If not, a warning is printed, and the
611 In the example below, the first check passes without incident, since
612 the @code{e} (in relative mode) is within a fifth of @code{a'}. However,
613 the second check produces a warning, since the @code{e} is not within
614 a fifth of @code{b'}. The warning message is printed, and the octave
615 is adjusted so that the following notes are in the correct octave
627 The octave of a note following an octave check is determined with
628 respect to the note preceding it. In the next fragment, the last note
629 is an @code{a'}, above middle C. That means that the @code{\octave}
630 check passes successfully, so the check could be deleted without changing
631 the output of the piece.
633 @lilypond[quote,raggedright,verbatim,fragment]
643 @subsection Transpose
646 @cindex transposition of pitches
647 @cindex @code{\transpose}
649 A music expression can be transposed with @code{\transpose}. The
652 \transpose @var{from} @var{to} @var{musicexpr}
655 This means that @var{musicexpr} is transposed by the interval between
656 the pitches @var{from} and @var{to}: any note with pitch @code{from}
657 is changed to @code{to}.
659 For example, consider a piece written in the key of D-major. If
660 this piece is a little too low for its performer, it can be
661 transposed up to E-major with
663 \transpose d e @dots{}
666 Consider a part written for violin (a C instrument). If
667 this part is to be played on the A clarinet, the following
668 transposition will produce the appropriate part
671 \transpose a c @dots{}
674 @code{\transpose} distinguishes between enharmonic pitches: both
675 @code{\transpose c cis} or @code{\transpose c des} will transpose up
676 half a tone. The first version will print sharps and the second
677 version will print flats
679 @lilypond[quote,raggedright,verbatim]
680 mus = { \key d \major cis d fis g }
689 @code{\transpose} may also be used to input written notes for a
690 transposing instrument. Pitches are normally entered into LilyPond
691 in C (or ``concert pitch''), but they may be entered in another
692 key. For example, when entering music for a B-flat trumpet which
693 begins on concert D, one would write
696 \transpose c bes @{ e4 @dots{} @}
699 To print this music in B-flat again (ie producing a trumpet part,
700 instead of a concert pitch conductor's score) you would wrap the
701 existing music with another @code{transpose}
704 \transpose bes c @{ \transpose c bes @{ e4 @dots{} @} @}
710 Program reference: @internalsref{TransposedMusic}.
715 If you want to use both @code{\transpose} and @code{\relative},
716 you must put @code{\transpose} outside of @code{\relative}, since
717 @code{\relative} will have no effect music that appears inside a
722 @subsection Bar check
725 @cindex @code{barCheckSynchronize}
728 Bar checks help detect errors in the durations. A bar check is
729 entered using the bar symbol, `@code{|}'. Whenever it is encountered
730 during interpretation, it should fall on a measure boundary. If it
731 does not, a warning is printed. In the next example, the second bar
732 check will signal an error
734 \time 3/4 c2 e4 | g2 |
737 Bar checks can also be used in lyrics, for example
742 Twin -- kle | Twin -- kle
746 Failed bar checks are caused by entering incorrect
747 durations. Incorrect durations often completely garble up the score,
748 especially if the score is polyphonic, so a good place to start correcting
749 input is by scanning for failed bar checks and incorrect durations.
752 @cindex @code{pipeSymbol}
754 It is also possible to redefine the meaning of @code{|}. This is done
755 by assigning a music expression to @code{pipeSymbol},
757 @lilypond[quote,raggedright,verbatim]
758 pipeSymbol = \bar "||"
764 @node Barnumber check
765 @subsection Barnumber check
767 When copying large pieces of music, it can be helpful to check that
768 the LilyPond bar number corresponds to the original that you are
769 entering from. This can be checked with @code{\barNumberCheck}, for
777 will print a warning if the @code{currentBarNumber} is not 123 when it
781 @node Skipping corrected music
782 @subsection Skipping corrected music
785 @cindex @code{skipTypesetting}
786 @cindex @code{showLastLength}
788 When entering or copying music, only the music near the end (where you
789 are adding notes) is interesting to view and correct. To speed up
790 this correction process, it is possible to skip typesetting of all but
791 the last few measures. This is achieved by putting
794 showLastLength = R1*5
799 in your source file. This will render only the last 5 measures
800 (assuming 4/4 time signature) of every @code{\score} in the input
801 file. For longer pieces, rendering only a small part is often an order
802 of magnitude quicker than rendering it completely
804 Skipping parts of a score can be controlled in a more fine-grained
805 fashing with the property @code{Score.skipTypesetting}. When it is
806 set, no typesetting is performed at all.
808 @lilypond[quote,fragment,raggedright,verbatim]
811 \set Score.skipTypesetting = ##t
813 \set Score.skipTypesetting = ##f
817 In polyphonic music, @code{Score.skipTypesetting} will affect all
818 voices and staves, saving even more time.
821 @node Automatic note splitting
822 @subsection Automatic note splitting
824 Long notes can be converted automatically to tied notes. This is done
825 by replacing the @internalsref{Note_heads_engraver} by the
826 @internalsref{Completion_heads_engraver}.
827 In the following examples, notes crossing the bar line are split and tied.
829 @lilypond[quote,fragment,verbatim,relative=1,linewidth=12\cm]
831 \remove "Note_heads_engraver"
832 \consists "Completion_heads_engraver"
834 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
838 This engraver splits all running notes at the bar line, and inserts
839 ties. One of its uses is to debug complex scores: if the measures are
840 not entirely filled, then the ties exactly show how much each measure
846 Not all durations (especially those containing tuplets) can be
847 represented exactly with normal notes and dots, but the engraver will
850 @code{Completion_heads_engraver} only affects notes; it does not split
856 Examples: @inputfileref{input/@/regression,completion@/-heads@/.ly}.
860 Program reference: @internalsref{Completion_heads_engraver}.
865 @section Staff notation
867 @cindex Staff notation
869 This section describes music notation that occurs on staff level,
870 such as key signatures, clefs and time signatures.
879 * System start delimiters::
889 The clef indicates which lines of the staff correspond to which
890 pitches. The clef is set with the @code{\clef} command
892 @lilypond[quote,raggedright,fragment,verbatim]
893 { c''2 \clef alto g'2 }
903 @cindex mezzosoprano clef
904 @cindex baritone clef
905 @cindex varbaritone clef
908 Supported clefs finclude
910 @item treble, violin, G, G2
919 G clef on 1st line, so-called French violin clef
936 By adding @code{_8} or @code{^8} to the clef name, the clef is
937 transposed one octave down or up, respectively, and @code{_15} and
938 @code{^15} transposes by two octaves. The argument @var{clefname}
939 must be enclosed in quotes when it contains underscores or digits. For
942 @cindex choral tenor clef
943 @lilypond[quote,raggedright,verbatim,fragment,relative=1]
950 The command @code{\clef "treble_8"} is equivalent to setting @code{clefGlyph},
951 @code{clefPosition} (which controls the Y position of the clef),
952 @code{middleCPosition} and @code{clefOctavation}. A clef is printed
953 when any of these properties are changed. The following example shows
954 possibilities when setting properties manually.
956 @lilypond[quote,raggedright,verbatim]
958 \set Staff.clefGlyph = #"clefs.F"
959 \set Staff.clefPosition = #2
961 \set Staff.clefGlyph = #"clefs.G"
963 \set Staff.clefGlyph = #"clefs.C"
965 \set Staff.clefOctavation = #7
967 \set Staff.clefOctavation = #0
968 \set Staff.clefPosition = #0
972 \set Staff.middleCPosition = #4
980 Program reference: @internalsref{Clef}.
984 @subsection Key signature
986 @cindex Key signature
989 The key signature indicates the tonality in which a piece is played. It
990 is denoted by a set of alterations (flats or sharps) at the start of the
993 Setting or changing the key signature is done with the @code{\key}
997 @code{\key} @var{pitch} @var{type}
1000 @cindex @code{\minor}
1001 @cindex @code{\major}
1002 @cindex @code{\minor}
1003 @cindex @code{\ionian}
1004 @cindex @code{\locrian}
1005 @cindex @code{\aeolian}
1006 @cindex @code{\mixolydian}
1007 @cindex @code{\lydian}
1008 @cindex @code{\phrygian}
1009 @cindex @code{\dorian}
1010 @cindex church modes
1012 Here, @var{type} should be @code{\major} or @code{\minor} to get
1013 @var{pitch}-major or @var{pitch}-minor, respectively. You may also
1014 use the standard mode names (also called ``church modes''): @code{\ionian},
1015 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
1016 @code{\phrygian}, and @code{\dorian}.
1018 This command sets the context property
1019 @code{Staff.keySignature}. Non-standard key signatures
1020 can be specified by setting this property directly.
1022 Accidentals and key signatures often confuse new users, because
1023 unaltered notes get natural signs depending on the key signature. For
1024 more information, see @ref{More about pitches}.
1029 A natural sign is printed to cancel any previous accidentals. This
1030 can be suppressed by setting the @code{Staff.printKeyCancellation}
1033 @lilypond[quote,fragment,raggedright,fragment,verbatim,relative=2]
1038 \set Staff.printKeyCancellation = ##f
1048 Program reference: @internalsref{KeyCancellation}, @internalsref{KeySignature}.
1051 @node Time signature
1052 @subsection Time signature
1054 @cindex Time signature
1056 @cindex @code{\time}
1058 Time signature indicates the metrum of a piece: a regular pattern of
1059 strong and weak beats. It is denoted by a fraction at the start of the
1062 The time signature is set with the @code{\time} command
1064 @lilypond[quote,raggedright,fragment,verbatim]
1065 \time 2/4 c'2 \time 3/4 c'2.
1070 The symbol that is printed can be customized with the @code{style}
1071 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1074 @lilypond[fragment,quote,raggedright,verbatim]
1077 \override Staff.TimeSignature #'style = #'()
1082 There are many more options for its layout. See @ref{Ancient time
1083 signatures} for more examples.
1085 @code{\time} sets the property @code{timeSignatureFraction},
1086 @code{beatLength} and @code{measureLength} in the @code{Timing}
1087 context, which is normally aliased to @internalsref{Score}. The
1088 property @code{measureLength} determines where bar lines should be
1089 inserted, and how automatic beams should be generated. Changing the
1090 value of @code{timeSignatureFraction} also causes the symbol to be
1093 More options are available through the Scheme function
1094 @code{set-time-signature}. In combination with the
1095 @internalsref{Measure_grouping_engraver}, it will create
1096 @internalsref{MeasureGrouping} signs. Such signs ease reading
1097 rhythmically complex modern music. In the following example, the 9/8
1098 measure is subdivided in 2, 2, 2 and 3. This is passed to
1099 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
1101 @lilypond[quote,raggedright,verbatim]
1104 #(set-time-signature 9 8 '(2 2 2 3))
1105 g8[ g] d[ d] g[ g] a8[( bes g]) |
1106 #(set-time-signature 5 8 '(3 2))
1112 \consists "Measure_grouping_engraver"
1120 Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_translator}.
1125 Automatic beaming does not use the measure grouping specified with
1126 @code{set-time-signature}.
1129 @node Partial measures
1130 @subsection Partial measures
1134 @cindex partial measure
1135 @cindex measure, partial
1136 @cindex shorten measures
1137 @cindex @code{\partial}
1139 Partial measures, such as an anacrusis or upbeat, are entered using the
1141 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1142 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1145 The syntax for this command is
1148 \partial @var{duration}
1151 This is internally translated into
1154 \set Timing.measurePosition = -@var{length of duration}
1157 The property @code{measurePosition} contains a rational number
1158 indicating how much of the measure has passed at this point.
1163 This command does not take into account grace notes at the start of
1164 the music. When a piece starts with graces notes in the pickup, then
1165 the @code{\partial} should follow the grace notes
1167 @lilypond[verbatim,quote,raggedright,relative,fragment]
1176 @subsection Bar lines
1180 @cindex measure lines
1183 Bar lines delimit measures, but are also used to indicate
1184 repeats. Normally they are inserted automatically. Line
1185 breaks may only happen on bar lines.
1187 Special types of bar lines can be forced with the @code{\bar} command
1189 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1193 The following bar types are available
1195 @lilypondfile[raggedright,quote]{bar-lines.ly}
1197 To allow a line break where there is no visible bar line, use
1204 This will insert an invisible bar line and allow line breaks at this
1207 In scores with many staves, a @code{\bar} command in one staff is
1208 automatically applied to all staves. The resulting bar lines are
1209 connected between different staves of a StaffGroup
1211 @lilypond[quote,raggedright,fragment,verbatim]
1213 \context StaffGroup <<
1219 \new Staff { \clef bass c4 g e g }
1221 \new Staff { \clef bass c2 c2 }
1228 @cindex @code{whichBar}
1229 @cindex @code{repeatCommands}
1230 @cindex @code{defaultBarType}
1232 The command @code{\bar }@var{bartype} is a short cut for doing
1233 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1234 is set to a string, a bar line of that type is created.
1236 A bar line is created whenever the @code{whichBar} property is set.
1237 At the start of a measure it is set to the contents of
1238 @code{Timing.defaultBarType}. The contents of @code{repeatCommands} are used
1239 to override default measure bars.
1241 You are encouraged to use @code{\repeat} for repetitions. See
1247 In this manual: @ref{Repeats}, @ref{System start delimiters}.
1249 Program reference: @internalsref{BarLine} (created at
1250 @internalsref{Staff} level), @internalsref{SpanBar} (across staves).
1252 Examples: @inputfileref{input/@/test,bar@/-lines@/.ly},
1255 @node Unmetered music
1256 @subsection Unmetered music
1259 @cindex @code{\cadenzaOn}
1260 @cindex @code{\cadenzaOff}
1262 Bar lines and bar numbers are calculated automatically. For unmetered
1263 music (cadenzas, for example), this is not desirable. To turn off
1264 automatic bar lines and bar numbers, use the commands @code{\cadenzaOn}
1265 and @code{\cadenzaOff}.
1267 @lilypond[verbatim,quote,raggedright,relative=2,fragment]
1279 LilyPond will only insert page breaks at a barline. Unless the unmetered
1280 music ends before the end of the staff line, you will need to insert
1288 to indicate where line breaks can occur.
1291 @node System start delimiters
1292 @subsection System start delimiters
1294 @cindex start of system
1295 @cindex Staff, multiple
1296 @cindex bracket, vertical
1297 @cindex brace, vertical
1300 @cindex staff, choir
1302 Many scores consist of more than one staff. These staves can be
1303 joined in four different ways
1306 @item The group is started with a brace at the left, and bar lines are
1307 connected. This is done with the @internalsref{GrandStaff} context.
1309 @lilypond[verbatim,raggedright,quote]
1317 @item The group is started with a bracket, and bar lines are connected.
1318 This is done with the
1319 @internalsref{StaffGroup} context
1321 @lilypond[verbatim,raggedright,quote]
1329 @item The group is started with a bracket, but bar lines are not
1330 connected. This is done with the @internalsref{ChoirStaff} context.
1332 @lilypond[verbatim,raggedright,quote]
1340 @item The group is started with a vertical line. Bar lines are not
1341 connected. This is the default for the score.
1343 @lilypond[verbatim,raggedright,quote]
1354 The bar lines at the start of each system are
1355 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1356 @internalsref{SystemStartBracket}. Only one of these types is created
1357 in every context, and that type is determined by the property
1358 @code{systemStartDelimiter}.
1362 @subsection Staff symbol
1364 @cindex adjusting staff symbol
1366 Notes, dynamic signs, etc., are grouped
1367 with a set of horizontal lines, called a staff (plural `staves'). In
1368 LilyPond, these lines are drawn using a separate layout object called
1371 The staff symbol may be tuned in the number, thickness and distance
1372 of lines, using properties. This is demonstrated in the example files
1373 @inputfileref{input/@/test,staff@/-lines@/.ly},
1374 @inputfileref{input/@/test,staff@/-size@/.ly}.
1376 In addition, staves may be started and stopped at will. This is done
1377 with @code{\startStaff} and @code{\stopStaff}.
1379 @lilypond[verbatim,relative=2,fragment]
1381 \override Staff.StaffSymbol #'line-count = 2
1382 \stopStaff \startStaff
1384 \revert Staff.StaffSymbol #'line-count
1385 \stopStaff \startStaff
1389 In combination with Frenched staves, this may be used to typeset ossia
1390 sections. An example is in @inputfileref{input/@/test@/,ossia.ly},
1395 @lilypondfile{ossia.ly}
1397 @cindex staff lines, setting number of
1398 @cindex staff lines, setting thickness of
1399 @cindex thickness of staff lines, setting
1400 @cindex number of staff lines, setting
1404 Program reference: @internalsref{StaffSymbol}.
1406 Examples: @inputfileref{input/@/test,staff@/-lines@/.ly},
1407 @inputfileref{input/@/test@/,ossia.ly},
1408 @inputfileref{input/@/test,staff@/-size@/.ly}.
1412 @node Connecting notes
1413 @section Connecting notes
1415 This section deals with notation that affects groups of notes.
1433 A tie connects two adjacent note heads of the same pitch. The tie in
1434 effect extends the length of a note. Ties should not be confused with
1435 slurs, which indicate articulation, or phrasing slurs, which indicate
1436 musical phrasing. A tie is entered using the tilde symbol `@code{~}'
1438 @lilypond[quote,raggedright,fragment,verbatim]
1439 e' ~ e' <c' e' g'> ~ <c' e' g'>
1442 When a tie is applied to a chord, all note heads whose pitches match
1443 are connected. When no note heads match, no ties will be created.
1445 A tie is just a way of extending a note duration, similar to the
1446 augmentation dot. The following example shows two ways of notating
1447 exactly the same concept
1449 @lilypond[quote,fragment,raggedright]
1450 \time 3/4 c'2. c'2 ~ c'4
1454 Ties are used either when the note crosses a bar line, or when dots
1455 cannot be used to denote the rhythm. When using ties, larger note
1456 values should be aligned to subdivisions of the measure, eg.
1458 @lilypond[fragment,quote,raggedright]
1460 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
1464 If you need to tie a lot of notes over bars, it may be easier to use
1465 automatic note splitting (see @ref{Automatic note splitting}). This
1466 mechanism automatically splits long notes, and ties them across bar
1472 Ties are sometimes used to write out arpeggios. In this case, two tied
1473 notes need not be consecutive. This can be achieved by setting the
1474 @code{tieWaitForNote} property to true. The same feature is also useful,
1475 for example, to tie a tremolo to a chord. For example,
1477 @lilypond[fragment,verbatim,relative=1,raggedright]
1478 \set tieWaitForNote = ##t
1479 \grace { c16[~ e~ g]~ } <c, e g>2
1480 \repeat "tremolo" 8 { c32~ c'~ } <c c,>1
1487 @cindex @code{\tieUp}
1489 @cindex @code{\tieDown}
1491 @cindex @code{\tieNeutral}
1493 @cindex @code{\tieDotted}
1495 @cindex @code{\tieDashed}
1497 @cindex @code{\tieSolid}
1503 In this manual: @ref{Automatic note splitting}.
1505 Program reference: @internalsref{Tie}.
1510 Switching staves when a tie is active will not produce a slanted tie.
1512 Formatting of ties is a difficult subject. The results are often not
1521 A slur indicates that notes are to be played bound or
1522 @emph{legato}. They are entered using parentheses
1524 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1525 f( g a) a8 b( a4 g2 f4)
1529 The direction of a slur can be specified with
1530 @code{\slur@emph{DIR}}, where @code{@emph{DIR}} is
1531 either @code{Up}, @code{Down}, or @code{Neutral} (automatically
1534 However, there is a convenient shorthand for forcing slur
1535 directions. By adding @code{_} or @code{^} before the opening
1536 parentheses, the direction is also set. For example,
1538 @lilypond[relative=2,raggedright,quote,verbatim,fragment]
1542 Only one slur can be printed at once. If you need to print a long
1543 slur over a few small slurs, please see @ref{Phrasing slurs}.
1548 Some composers write two slurs when they want legato chords. This can
1549 be achieved in LilyPond by setting @code{doubleSlurs},
1551 @lilypond[verbatim,raggedright,relative,fragment,quote]
1552 \set doubleSlurs = ##t
1553 <c e>4 ( <d f> <c e> <d f> )
1559 @cindex @code{\slurUp}
1561 @cindex @code{\slurDown}
1563 @cindex @code{\slurNeutral}
1564 @code{\slurNeutral},
1565 @cindex @code{\slurDashed}
1567 @cindex @code{\slurDotted}
1569 @cindex @code{\slurSolid}
1574 Program reference: @seeinternals{Slur}.
1577 @node Phrasing slurs
1578 @subsection Phrasing slurs
1580 @cindex phrasing slurs
1581 @cindex phrasing marks
1583 A phrasing slur (or phrasing mark) connects notes and is used to
1584 indicate a musical sentence. It is written using @code{\(} and @code{\)}
1587 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1588 \time 6/4 c'\( d( e) f( e) d\)
1591 Typographically, the phrasing slur behaves almost exactly like a
1592 normal slur. However, they are treated as different objects. A
1593 @code{\slurUp} will have no effect on a phrasing slur; instead, use
1594 @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1595 @code{\phrasingSlurNeutral}.
1597 You cannot have simultaneous phrasing slurs.
1602 @cindex @code{\phrasingSlurUp}
1603 @code{\phrasingSlurUp},
1604 @cindex @code{\phrasingSlurDown}
1605 @code{\phrasingSlurDown},
1606 @cindex @code{\phrasingSlurNeutral}
1607 @code{\phrasingSlurNeutral}.
1612 Program reference: @internalsref{PhrasingSlur}.
1615 @node Automatic beams
1616 @subsection Automatic beams
1618 LilyPond inserts beams automatically
1620 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1621 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1624 When these automatic decisions are not good enough, beaming can be
1625 entered explicitly. It is also possible to define beaming patterns
1626 that differ from the defaults. See @ref{Setting automatic beam behavior}
1629 Individual notes may be marked with @code{\noBeam} to prevent them
1632 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1633 \time 2/4 c8 c\noBeam c c
1639 Program reference: @internalsref{Beam}.
1643 @subsection Manual beams
1645 @cindex beams, manual
1649 In some cases it may be necessary to override the automatic beaming
1650 algorithm. For example, the autobeamer will not put beams over rests
1651 or bar lines. Such beams are specified manually by marking the begin
1652 and end point with @code{[} and @code{]}
1654 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1656 r4 r8[ g' a r8] r8 g[ | a] r8
1663 @cindex @code{stemLeftBeamCount}
1664 @cindex @code{stemRightBeamCount}
1666 Normally, beaming patterns within a beam are determined automatically.
1667 If necessary, the properties @code{stemLeftBeamCount} and
1668 @code{stemRightBeamCount} can be used to override the defaults. If
1669 either property is set, its value will be used only once, and then it
1672 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1677 \set stemLeftBeamCount = #1
1682 The property @code{subdivideBeams} can be set in order to subdivide
1683 all 16th or shorter beams at beat positions, as defined by the
1684 @code{beatLength} property.
1686 @lilypond[fragment,quote,relative=2,verbatim]
1688 \set subdivideBeams = ##t
1690 \set Score.beatLength = #(ly:make-moment 1 8)
1693 @cindex @code{subdivideBeams}
1695 Line breaks are normally forbidden when beams cross bar lines. This
1696 behavior can be changed by setting @code{allowBeamBreak}.
1698 @cindex @code{allowBeamBreak}
1699 @cindex beams and line breaks
1700 @cindex beams, kneed
1702 @cindex auto-knee-gap
1707 Kneed beams are inserted automatically when a large gap is detected
1708 between the note heads. This behavior can be tuned through the object.
1710 Automatically kneed cross-staff beams cannot be used together with
1711 hidden staves. See @ref{Hiding staves}.
1713 Beams do not avoid collisions with symbols around the notes, such as
1714 texts and accidentals.
1718 @subsection Grace notes
1720 @cindex @code{\grace}
1723 @cindex appoggiatura
1724 @cindex acciaccatura
1726 Grace notes are ornaments that are written out. The most common ones
1727 are acciaccatura, which should be played as very short. It is denoted
1728 by a slurred small note with a slashed stem. The appoggiatura is a
1729 grace note that takes a fixed fraction of the main note, and is
1730 denoted as a slurred note in small print without a slash. They
1731 are entered with the commands @code{\acciaccatura} and
1732 @code{\appoggiatura}, as demonstrated in the following example
1734 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
1735 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
1736 \acciaccatura { g16[ f] } e4
1739 Both are special forms of the @code{\grace} command. By prefixing this
1740 keyword to a music expression, a new one is formed, which will be
1741 printed in a smaller font and takes up no logical time in a measure.
1743 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
1745 \grace { c16[ d16] } c2 c4
1749 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
1750 @code{\grace} command does not start a slur.
1752 Internally, timing for grace notes is done using a second, `grace'
1753 timing. Every point in time consists of two rational numbers: one
1754 denotes the logical time, one denotes the grace timing. The above
1755 example is shown here with timing tuples
1757 @lilypond[quote,raggedright]
1760 c4 \grace c16 c4 \grace {
1763 \new Lyrics \lyricmode {
1764 \override LyricText #'font-family = #'typewriter
1768 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
1769 \markup { (\fraction 1 4 , 0 ) } 4
1771 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
1772 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
1774 \markup { ( \fraction 2 4 , 0 ) }
1779 The placement of grace notes is synchronized between different staves.
1780 In the following example, there are two sixteenth grace notes for
1781 every eighth grace note
1783 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
1784 << \new Staff { e4 \grace { c16[ d e f] } e4 }
1785 \new Staff { c4 \grace { g8[ b] } c4 } >>
1788 If you want to end a note with a grace, use the @code{\afterGrace}
1789 command. It takes two arguments: the main note, and the grace notes
1790 following the main note.
1792 @lilypond[raggedright, verbatim,relative=2,fragment]
1793 c1 \afterGrace d1 { c16[ d] } c4
1796 This will put the grace notes after a ``space'' lasting 3/4 of the
1797 length of the main note. The fraction 3/4 can be changed by setting
1798 @code{afterGraceFraction}, ie.
1801 afterGraceFraction = #(cons 7 8)
1805 will put the grace note at 7/8 of the main note.
1807 The same effect can be achieved manually by doing
1809 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1812 { s2 \grace { c16[ d] } } >>
1818 By adjusting the duration of the skip note (here it is a half-note),
1819 the space between the main-note and the grace is adjusted.
1821 A @code{\grace} section will introduce special typesetting settings,
1822 for example, to produce smaller type, and set directions. Hence, when
1823 introducing layout tweaks, they should be inside the grace section,
1825 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1837 The overrides should also be reverted inside the grace section.
1839 The layout of grace sections can be changed throughout the music using
1840 the function @code{add-grace-property}. The following example
1841 undefines the Stem direction for this grace, so stems do not always
1846 #(add-grace-property 'Voice 'Stem 'direction '())
1852 Another option is to change the variables @code{startGraceMusic},
1853 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
1854 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
1855 @code{stopAppoggiaturaMusic}. More information is in the file
1856 @file{ly/@/grace@/-init@/.ly}.
1861 Program reference: @internalsref{GraceMusic}.
1866 A score that starts with a @code{\grace} section needs an explicit
1867 @code{\context Voice} declaration, otherwise the main note and the grace
1868 note end up on different staves.
1870 Grace note synchronization can also lead to surprises. Staff notation,
1871 such as key signatures, bar lines, etc., are also synchronized. Take
1872 care when you mix staves with grace notes and staves without, for example,
1874 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
1875 << \new Staff { e4 \bar "|:" \grace c16 d4 }
1876 \new Staff { c4 \bar "|:" d4 } >>
1880 This can be remedied by inserting grace skips, for the above example
1883 \new Staff @{ c4 \bar "|:" \grace s16 d4 @}
1886 Grace sections should only be used within sequential music
1887 expressions. Nesting or juxtaposing grace sections is not supported,
1888 and might produce crashes or other errors.
1892 @node Expressive marks
1893 @section Expressive marks
1895 Expressive marks help musicians to bring more to the music than simple
1900 * Fingering instructions::
1910 @subsection Articulations
1912 @cindex Articulations
1916 A variety of symbols can appear above and below notes to indicate
1917 different characteristics of the performance. They are added to a note
1918 by adding a dash and the character signifying the
1919 articulation. They are demonstrated here
1921 @lilypondfile[quote,raggedright]{script-abbreviations.ly}
1923 The meanings of these shorthands can be changed. See
1924 @file{ly/@/script@/-init@/.ly} for examples.
1926 The script is automatically placed, but the direction can be forced as
1927 well. Like other pieces of LilyPond code, @code{_} will place them
1928 below the staff, and @code{^} will place them above.
1930 @lilypond[quote,raggedright,fragment,verbatim]
1934 Other symbols can be added using the syntax
1935 @var{note}@code{\}@var{name}. Again, they
1936 can be forced up or down using @code{^} and @code{_},
1939 @lilypond[quote,raggedright,verbatim,fragment,relative=2]
1940 c\fermata c^\fermata c_\fermata
1945 @cindex staccatissimo
1955 @cindex organ pedal marks
1964 @cindex prallmordent
1968 @cindex thumb marking
1973 Here is a chart showing all scripts available,
1975 @lilypondfile[raggedright,quote]{script-chart.ly}
1980 The vertical ordering of scripts is controlled with the
1981 @code{script-priority} property. The lower this number, the closer it
1982 will be put to the note. In this example, the
1983 @internalsref{TextScript} (the sharp symbol) first has the lowest
1984 priority, so it is put lowest in the first example. In the second, the
1985 prall trill (the @internalsref{Script}) has the lowest, so it is on the
1986 inside. When two objects have the same priority, the order in which
1987 they are entered decides which one comes first.
1989 @lilypond[verbatim,relative=3,raggedright,fragment,quote]
1990 \once \override TextScript #'script-priority = #-100
1991 a4^\prall^\markup { \sharp }
1993 \once \override Script #'script-priority = #-100
1994 a4^\prall^\markup { \sharp }
2000 Program reference: @internalsref{Script}.
2005 These signs appear in the printed output but have no effect on the
2006 MIDI rendering of the music.
2009 @node Fingering instructions
2010 @subsection Fingering instructions
2013 @cindex finger change
2015 Fingering instructions can be entered using
2017 @var{note}-@var{digit}
2019 For finger changes, use markup texts
2021 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2023 c^\markup { \finger "2 - 3" }
2026 You can use the thumb-script to indicate that a note should be
2027 played with the thumb (e.g., in cello music)
2028 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2029 <a_\thumb a'-3>8 <b_\thumb b'-3>
2032 Fingerings for chords can also be added to individual notes
2033 of the chord by adding them after the pitches
2034 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2035 < c-1 e-2 g-3 b-5 >4
2041 You may exercise greater control over fingering chords by
2042 setting @code{fingeringOrientations}
2044 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2045 \set fingeringOrientations = #'(left down)
2046 <c-1 es-2 g-4 bes-5 > 4
2047 \set fingeringOrientations = #'(up right down)
2048 <c-1 es-2 g-4 bes-5 > 4
2051 Using this feature, it is also possible to put fingering instructions
2052 very close to note heads in monophonic music,
2054 @lilypond[verbatim,raggedright,quote,fragment]
2055 \set fingeringOrientations = #'(right)
2062 Program reference: @internalsref{Fingering}.
2064 Examples: @inputfileref{input/@/regression,finger@/-chords@/.ly}.
2068 @subsection Dynamics
2079 @cindex @code{\ffff}
2088 Absolute dynamic marks are specified using a command after a note
2089 @code{c4\ff}. The available dynamic marks are @code{\ppp},
2090 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2091 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2092 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
2094 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2095 c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2096 c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
2103 A crescendo mark is started with @code{\<} and terminated with
2104 @code{\!} or an absolute dynamic. A decrescendo is started with
2105 @code{\>} and is also terminated with @code{\!} or an absolute
2106 dynamic. Because these marks are bound to notes, you must
2107 use spacer notes if multiple marks are needed during one note
2109 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2111 << f1 { s4 s4\< s4\! \> s4\! } >>
2113 This may give rise to very short hairpins. Use @code{minimum-length}
2114 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2118 \override Staff.Hairpin #'minimum-length = #5
2125 You can also use a text saying @emph{cresc.} instead of hairpins
2127 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
2138 You can also supply your own texts
2139 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2140 \set crescendoText = \markup { \italic "cresc. poco" }
2141 \set crescendoSpanner = #'dashed-line
2145 To create new dynamic marks or text that should be aligned
2146 with dynamics, see @ref{New dynamic marks}.
2151 @cindex @code{\dynamicUp}
2153 @cindex @code{\dynamicDown}
2154 @code{\dynamicDown},
2155 @cindex @code{\dynamicNeutral}
2156 @code{\dynamicNeutral}.
2161 Program reference: @internalsref{DynamicText}, @internalsref{Hairpin}.
2162 Vertical positioning of these symbols is handled by
2163 @internalsref{DynamicLineSpanner}.
2167 @subsection Breath marks
2169 Breath marks are entered using @code{\breathe}
2171 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2178 The glyph of the breath mark can be tuned by overriding the
2179 @code{text} property of the @code{BreathingSign} layout object with
2180 any markup text. For example,
2181 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2183 \override BreathingSign #'text
2184 = #(make-musicglyph-markup "scripts.rvarcomma")
2191 Program reference: @internalsref{BreathingSign}.
2193 Examples: @inputfileref{input/@/regression,breathing@/-sign@/.ly}.
2196 @node Running trills
2197 @subsection Running trills
2199 Long running trills are made with @code{\startTrillSpan} and
2200 @code{\stopTrillSpan},
2202 @lilypond[verbatim,raggedright,relative=2,quote,fragment]
2204 << { c1 \startTrillSpan }
2205 { s2. \grace { d16[\stopTrillSpan e] } } >>
2212 @code{\startTrillSpan},
2213 @cindex @code{\startTrillSpan}
2214 @code{\stopTrillSpan}.
2215 @cindex @code{\stopTrillSpan}
2220 This manual: @ref{Pitched trills}.
2222 Program reference: @internalsref{TrillSpanner}.
2226 @subsection Glissando
2229 @cindex @code{\glissando}
2231 A glissando is a smooth change in pitch. It is denoted by a line or a
2232 wavy line between two notes. It is requested by attaching
2233 @code{\glissando} to a note
2235 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
2237 \override Glissando #'style = #'zigzag
2244 Program reference: @internalsref{Glissando}.
2246 Example files: @file{input/@/regression/@/glissando@/.ly}.
2251 Printing text over the line (such as @emph{gliss.}) is not supported.
2255 @subsection Arpeggio
2258 @cindex broken chord
2259 @cindex @code{\arpeggio}
2261 You can specify an arpeggio sign (also known as broken chord) on a
2262 chord by attaching an @code{\arpeggio} to a chord
2264 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2268 A square bracket on the left indicates that the player should not
2269 arpeggiate the chord
2271 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2276 The direction of the arpeggio is sometimes denoted by adding an
2277 arrowhead to the wiggly line
2279 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2291 When an arpeggio crosses staves, you may attach an arpeggio to the chords
2292 in both staves and set
2293 @internalsref{PianoStaff}.@code{connectArpeggios}
2295 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2296 \context PianoStaff <<
2297 \set PianoStaff.connectArpeggios = ##t
2298 \new Staff { <c' e g c>\arpeggio }
2299 \new Staff { \clef bass <c,, e g>\arpeggio }
2307 @cindex @code{\arpeggioUp}
2309 @cindex @code{\arpeggioDown}
2310 @code{\arpeggioDown},
2311 @cindex @code{\arpeggioNeutral}
2312 @code{\arpeggioNeutral},
2313 @cindex @code{\arpeggioBracket}
2314 @code{\arpeggioBracket}.
2319 Notation manual: @ref{Ties}, for writing out arpeggios.
2321 Program reference: @internalsref{Arpeggio}.
2326 It is not possible to mix connected arpeggios and unconnected
2327 arpeggios in one @internalsref{PianoStaff} at the same point in time.
2334 Polyphony in music refers to having more than one voice occuring in
2335 a piece of music. Polyphony in LilyPond refers to having more than
2336 one voice on the same staff.
2340 * Explicitly instantiating voices::
2341 * Collision Resolution::
2345 @node Basic polyphony
2346 @subsection Basic polyphony
2350 The easiest way to enter fragments with more than one voice on a staff
2351 is to enter each voice as a sequence (with @code{@{...@}}), and combine
2352 them simultaneously, separating the voices with @code{\\}
2356 @lilypond[quote,verbatim,fragment]
2357 \new Staff \relative c' {
2360 { g4 f e | d2 e2 } \\
2361 { r8 e4 d c8 ~ | c b16 a b8 g ~ g2 } \\
2367 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
2368 voices are sometimes called ``layers'' in other notation packages}
2370 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
2371 each of these contexts, vertical direction of slurs, stems, etc., is set
2374 These voices are all seperate from the voice that contains the notes just
2375 outside the @code{<< \\ >>} construct. This should be noted when making
2376 changes at the voice level. This also means that slurs and ties cannot go
2377 into or out of a @code{<< \\ >>} construct. Conversely, parallel voices
2378 from separate @code{<< \\ >>} constructs on the same staff are the the
2379 same voice. Here is the same example, with different noteheads for each
2380 voice. Note that the change to the note-head style in the main voice does not affect
2381 the inside of the @code{<< \\ >>} constructs. Also, the change to the second
2382 voice in the first @code{<< \\ >>} construct is effective in the second
2383 @code{<< \\ >>}, and the voice is tied accross the two constructs.
2385 @lilypond[quote,verbatim,fragment]
2386 \new Staff \relative c' {
2387 \override NoteHead #'style = #'cross
2391 { \override NoteHead #'style = #'triangle
2396 { c8 b16 a b8 g ~ g2 } \\
2397 { \override NoteHead #'style = #'slash s4 b4 c2 }
2402 Polyphony does not change the relationship of notes within a
2403 @code{\relative @{ @}} block. Each note is calculated relative
2404 to the note immediately preceding it.
2407 \relative @{ noteA << noteB \\ noteC >> noteD @}
2410 @code{noteC} is relative to @code{noteB}, not @code{noteA};
2411 @code{noteD} is relative to @code{noteC}, not @code{noteB} or
2414 @node Explicitly instantiating voices
2415 @subsection Explicitly instantiating voices
2417 @internalsref{Voice} contexts can also also be instantiated manually
2418 inside a @code{<< >>} block to create polyphonic music, using
2419 @code{\voiceOne}, up to @code{\voiceFour} to assign stem directions
2420 and a horizontal shift for each part.
2424 << \upper \\ \lower >>
2432 \context Voice = "1" @{ \voiceOne \upper @}
2433 \context Voice = "2" @{ \voiceTwo \lower @}
2437 The @code{\voiceXXX} commands set the direction of stems, slurs, ties,
2438 articulations, text annotations, augmentation dots of dotted
2439 notes, and fingerings. @code{\voiceOne} and @code{\voiceThree} make
2440 these objects point upwards, while @code{\voiceTwo} and @code{\voiceFour}
2441 make them point downwards.
2442 The command @code{\oneVoice} will revert back to the normal setting.
2444 An expression that appears directly inside a @code{<< >>} belongs to
2445 the main voice. This is useful when extra voices appear while the main
2446 voice is playing. Here is a more correct rendition of the example from
2447 the previous section. The crossed noteheads demonstrate that the main
2448 melody is now in a single voice context.
2450 @lilypond[quote,raggedright,verbatim]
2451 \new Staff \relative c' {
2452 \override NoteHead #'style = #'cross
2457 \context Voice="1" { \voiceTwo
2458 r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
2461 \new Voice { \voiceThree
2470 The correct definition of the voices allows the melody to be slurred.
2471 @lilypond[quote,raggedright,verbatim]
2472 \new Staff \relative c' {
2477 \context Voice="1" { \voiceTwo
2478 r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
2481 \new Voice { \voiceThree
2490 Avoiding the @code{\\} seperator also allows nesting polyphony
2491 constructs, which in some case might be a more natural way to typeset
2494 @lilypond[quote,raggedright,verbatim]
2495 \new Staff \relative c' {
2500 \context Voice="1" { \voiceTwo
2503 {c8 b16 a b8 g ~ g2}
2504 \new Voice { \voiceThree
2517 @node Collision Resolution
2518 @subsection Collision Resolution
2520 Normally, note heads with a different number of dots are not merged, but
2521 when the object property @code{merge-differently-dotted} is set in
2522 the @internalsref{NoteCollision} object, they are merged
2523 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
2526 \override Staff.NoteCollision
2527 #'merge-differently-dotted = ##t
2529 } \\ { g8.[ f16] g8.[ f16] } >>
2532 Similarly, you can merge half note heads with eighth notes, by setting
2533 @code{merge-differently-headed}
2534 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
2537 \override Staff.NoteCollision
2538 #'merge-differently-headed = ##t
2539 c8 c4. } \\ { c2 c2 } >>
2542 LilyPond also vertically shifts rests that are opposite of a stem,
2545 @lilypond[quote,raggedright,fragment,verbatim]
2546 \context Voice << c''4 \\ r4 >>
2552 @cindex @code{\oneVoice}
2554 @cindex @code{\voiceOne}
2556 @cindex @code{\voiceTwo}
2558 @cindex @code{\voiceThree}
2560 @cindex @code{\voiceFour}
2563 @cindex @code{\shiftOn}
2565 @cindex @code{\shiftOnn}
2567 @cindex @code{\shiftOnnn}
2569 @cindex @code{\shiftOff}
2570 @code{\shiftOff}: these commands specify in what chords of the current
2571 voice should be shifted. The outer voices (normally: voice one and
2572 two) have @code{\shiftOff}, while the inner voices (three and four)
2573 have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define
2574 further shift levels.
2576 When LilyPond cannot cope, the @code{force-hshift}
2577 property of the @internalsref{NoteColumn} object and pitched rests can
2578 be used to override typesetting decisions.
2580 @lilypond[quote,verbatim,raggedright]
2587 \once \override NoteColumn #'force-hshift = #1.7
2595 Program reference: the objects responsible for resolving collisions are
2596 @internalsref{NoteCollision} and @internalsref{RestCollision}.
2599 @inputfileref{input/@/regression,collision@/-dots@/.ly},
2600 @inputfileref{input/@/regression,collision@/-head-chords@/.ly},
2601 @inputfileref{input/@/regression,collision@/-heads@/.ly},
2602 @inputfileref{input/@/regression,collision@/-mesh@/.ly}, and
2603 @inputfileref{input/@/regression,collisions@/.ly}.
2608 When using @code{merge-differently-headed} with an upstem eighth or a
2609 shorter note, and a downstem half note, the eighth note gets the wrong
2612 There is no support for clusters where the same note occurs with
2613 different accidentals in the same chord. In this case, it is
2614 recommended to use enharmonic transcription, or to use special cluster
2615 notation (see @ref{Clusters}).
2622 Repetition is a central concept in music, and multiple notations exist
2628 * Repeats and MIDI::
2629 * Manual repeat commands::
2631 * Tremolo subdivisions::
2637 @subsection Repeat types
2640 @cindex @code{\repeat}
2642 The following types of repetition are supported
2646 Repeated music is fully written (played) out. This is useful when
2647 entering repetitious music. This is the only kind of repeat that
2648 is included in MIDI output.
2651 Repeats are not written out, but alternative endings (volte) are
2652 printed, left to right with brackets. This is the standard notation
2653 for repeats with alternatives. These are not played in MIDI output by default.
2657 Alternative endings are written stacked. This has limited use but may be
2658 used to typeset two lines of lyrics in songs with repeats, see
2659 @inputfileref{input,star-spangled-banner@/.ly}.
2663 Make tremolo beams. These are not played in MIDI output by default.
2666 Make beat or measure repeats. These look like percent signs. These
2667 are not played in MIDI output by default. Percent repeats must be
2668 declared within a Voice context.
2674 @subsection Repeat syntax
2676 LilyPond has one syntactic construct for specifying different types of
2677 repeats. The syntax is
2680 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2683 If you have alternative endings, you may add
2684 @cindex @code{\alternative}
2695 where each @var{alternative} is a music expression. If you do not
2696 give enough alternatives for all of the repeats, the first alternative
2697 is assumed to be played more than once.
2699 Standard repeats are used like this
2700 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2702 \repeat volta 2 { c4 d e f }
2703 \repeat volta 2 { f e d c }
2706 With alternative endings
2707 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2709 \repeat volta 2 {c4 d e f}
2710 \alternative { {d2 d} {f f,} }
2713 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2716 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2717 \alternative { { g4 g g } { a | a a a a | b2. } }
2721 It is possible to shorten volta brackets
2722 by setting @code{voltaSpannerDuration}. In the next example, the
2723 bracket only lasts one measure, which is a duration of 3/4.
2725 @lilypond[verbatim,raggedright,quote]
2729 \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4)
2730 \repeat "volta" 5 { d d d }
2731 \alternative { { e e e f f f }
2741 Brackets for the repeat are normally only printed over the topmost
2742 staff. This can be adjusted by setting the @code{voltaOnThisStaff}
2743 property; see @inputfileref{input/@/regression,volta@/-multi@/-staff@/.ly}.
2748 @cindex repeat, ambiguous
2750 A nested repeat like
2759 is ambiguous, since it is is not clear to which @code{\repeat} the
2760 @code{\alternative} belongs. This ambiguity is resolved by always
2761 having the @code{\alternative} belong to the inner @code{\repeat}.
2762 For clarity, it is advisable to use braces in such situations.
2764 Timing information is not remembered at the start of an alternative,
2765 so after a repeat timing information must be reset by hand, for
2766 example by setting @code{Score.measurePosition} or entering
2767 @code{\partial}. Similarly, slurs or ties are also not repeated.
2770 @node Repeats and MIDI
2771 @subsection Repeats and MIDI
2773 @cindex expanding repeats
2774 @cindex @code{\unfoldRepeats}
2776 With a little bit of tweaking, all types of repeats can be present
2777 in the MIDI output. This is achieved by applying the
2778 @code{\unfoldRepeats} music function. This functions changes all
2779 repeats to unfold repeats.
2781 @lilypond[quote,verbatim,fragment,linewidth=8.0\cm]
2783 \repeat tremolo 8 {c'32 e' }
2784 \repeat percent 2 { c''8 d'' }
2785 \repeat volta 2 {c'4 d' e' f'}
2794 When creating a score file using @code{\unfoldRepeats} for midi, then
2795 it is necessary to make two @code{\score} blocks. One for MIDI (with
2796 unfolded repeats) and one for notation (with volta, tremolo, and
2797 percent repeats). For example,
2805 \unfoldRepeats @var{..music..}
2811 @node Manual repeat commands
2812 @subsection Manual repeat commands
2814 @cindex @code{repeatCommands}
2816 The property @code{repeatCommands} can be used to control the layout of
2817 repeats. Its value is a Scheme list of repeat commands.
2820 @item @code{start-repeat}
2821 Print a @code{|:} bar line.
2823 @item @code{end-repeat}
2824 Print a @code{:|} bar line.
2826 @item @code{(volta @var{text})}
2827 Print a volta bracket saying @var{text}: The text can be specified as
2828 a text string or as a markup text, see @ref{Text markup}. Do not
2829 forget to change the font, as the default number font does not contain
2830 alphabetic characters;
2832 @item @code{(volta #f)}
2833 Stop a running volta bracket.
2836 @lilypond[quote,raggedright,verbatim,fragment,relative=2]
2838 \set Score.repeatCommands = #'((volta "93") end-repeat)
2840 \set Score.repeatCommands = #'((volta #f))
2847 Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2848 @internalsref{VoltaRepeatedMusic},
2849 @internalsref{UnfoldedRepeatedMusic}, and
2850 @internalsref{FoldedRepeatedMusic}.
2853 @node Tremolo repeats
2854 @subsection Tremolo repeats
2856 @cindex tremolo beams
2858 To place tremolo marks between notes, use @code{\repeat} with tremolo
2860 @lilypond[quote,verbatim,raggedright]
2861 \new Voice \relative c' {
2862 \repeat "tremolo" 8 { c16 d16 }
2863 \repeat "tremolo" 4 { c16 d16 }
2864 \repeat "tremolo" 2 { c16 d16 }
2868 Tremolo marks can also be put on a single note. In this case, the
2869 note should not be surrounded by braces.
2870 @lilypond[quote,verbatim,raggedright]
2871 \repeat "tremolo" 4 c'16
2874 Similar output is obtained using the tremolo subdivision, described in
2875 @ref{Tremolo subdivisions}.
2880 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2882 Program reference: @internalsref{Beam}, @internalsref{StemTremolo}.
2884 Example files: @inputfileref{input/@/regression,chord@/-tremolo@/.ly},
2885 @inputfileref{input/@/regression,stem@/-tremolo@/.ly}.
2888 @node Tremolo subdivisions
2889 @subsection Tremolo subdivisions
2891 @cindex tremolo marks
2892 @cindex @code{tremoloFlags}
2894 Tremolo marks can be printed on a single note by adding
2895 `@code{:}[@var{number}]' after the note. The number indicates the
2896 duration of the subdivision, and it must be at least 8. A
2897 @var{length} value of 8 gives one line across the note stem. If the
2898 length is omitted, the last value (stored in @code{tremoloFlags}) is
2901 @lilypond[quote,raggedright,verbatim,fragment]
2902 c'2:8 c':32 | c': c': |
2908 Tremolos entered in this way do not carry over into the MIDI output.
2913 In this manual: @ref{Tremolo repeats}.
2915 Elsewhere: @internalsref{StemTremolo}.
2918 @node Measure repeats
2919 @subsection Measure repeats
2921 @cindex percent repeats
2922 @cindex measure repeats
2924 In the @code{percent} style, a note pattern can be repeated. It is
2925 printed once, and then the pattern is replaced with a special sign.
2926 Patterns of one and two measures are replaced by percent-like signs,
2927 patterns that divide the measure length are replaced by slashes.
2928 Percent repeats must be declared within a @code{Voice} context.
2930 @lilypond[quote,verbatim,raggedright]
2931 \new Voice \relative c' {
2932 \repeat "percent" 4 { c4 }
2933 \repeat "percent" 2 { c2 es2 f4 fis4 g4 c4 }
2940 Program reference: @internalsref{RepeatSlash},
2941 @internalsref{PercentRepeat}, @internalsref{DoublePercentRepeat},
2942 @internalsref{DoublePercentRepeatCounter},
2943 @internalsref{PercentRepeatCounter},
2944 @internalsref{PercentRepeatedMusic}, and