1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
9 @chapter Basic notation
11 This chapter explains how to use basic notation features.
16 * Multiple notes at once::
28 This section discusses how to specify the pitch of notes.
33 * Cautionary accidentals::
35 * Notes names in other languages::
45 @subsection Normal pitches
50 A pitch name is specified using lowercase letters @code{a} through @code{g}.
51 An ascending C-major scale is engraved with
53 @lilypond[quote,fragment,verbatim,ragged-right]
58 The note name @code{c} is engraved one octave below middle C.
60 @lilypond[quote,fragment,verbatim,ragged-right]
70 The optional octave specification takes the form of a series of
71 single quote (`@code{'}') characters or a series of comma
72 (`@code{,}') characters. Each @code{'} raises the pitch by one
73 octave; each @code{,} lowers the pitch by an octave.
75 @lilypond[quote,ragged-right,fragment,verbatim]
77 c' c'' e' g d'' d' d c
79 c, c,, e, g d,, d, d c
82 An alternate method may be used to declare which octave to
83 engrave a pitch; this method does not require as many
84 octave specifications (@code{'} and @code{,}). See
85 @ref{Relative octaves}.
89 @subsection Accidentals
91 @cindex note names, Dutch
92 @cindex note names, default
94 A sharp is formed by adding @code{-is} to the end of a pitch name and
95 a flat is formed by adding @code{-es}. Double sharps and double flats
96 are obtained by adding @code{-isis} or @code{-eses} to a note name.
98 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
104 These are the Dutch note names. In Dutch, @code{aes} is contracted to
105 @code{as}, but both forms are accepted. Similarly, both
106 @code{es} and @code{ees} are accepted
108 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
112 A natural will cancel the effect of an accidental or key signature.
113 However, naturals are not encoded into the note name syntax with a
114 suffix; a natural pitch is shown as a simple note name
116 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
120 The input @code{d e f} is interpreted as ``print a D-natural,
121 E-natural, and an F-natural,'' regardless of the key
122 signature. For more information about the distinction between
123 musical content and the presentation of that content, see
124 @ref{More about pitches}.
126 @lilypond[fragment,quote,ragged-right,verbatim,relative]
135 In accordance with standard typesetting rules, a natural sign is printed
136 before a sharp or flat if a previous accidental needs to be
137 cancelled. To change this behavior, use
138 @code{\set Staff.extraNatural = ##f}
140 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
142 \set Staff.extraNatural = ##f
149 Program reference: @internalsref{LedgerLineSpanner},
150 @internalsref{NoteHead}.
153 @node Cautionary accidentals
154 @subsection Cautionary accidentals
156 @cindex accidental, reminder
157 @cindex accidental, cautionary
158 @cindex accidental, parenthesized
159 @cindex reminder accidental
161 @cindex cautionary accidental
162 @cindex parenthesized accidental
165 Normally accidentals are printed automatically, but you may also
166 print them manually. A reminder accidental
167 can be forced by adding an exclamation mark @code{!}
168 after the pitch. A cautionary accidental
169 (i.e., an accidental within parentheses) can be obtained by adding the
170 question mark `@code{?}' after the pitch. These extra accidentals
171 can be used to produce natural signs, too.
173 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
174 cis cis cis! cis? c c? c! c
180 The automatic production of accidentals can be tuned in many
181 ways. For more information, see @ref{Automatic accidentals}.
185 @subsection Micro tones
187 @cindex quarter tones
188 @cindex semi-flats, semi-sharps
190 Half-flats and half-sharps are formed by adding @code{-eh} and
191 @code{-ih}; the following is a series of Cs with increasing pitches
193 @lilypond[verbatim,ragged-right,quote,relative=2,fragment]
194 \set Staff.extraNatural = ##f
198 Micro tones are also exported to the MIDI file.
203 There are no generally accepted standards for denoting
204 three-quarter flats, so LilyPond's symbol does not conform to any
208 @node Notes names in other languages
209 @subsection Notes names in other languages
211 There are predefined sets of note names for various other languages.
212 To use them, include the language specific init file. For
213 example, add @code{\include "english.ly"} to the top of the input
214 file. The available language files
215 and the note names they define are
217 @c what about micro-tunes, double-sharps, and double-flats? add
218 @c more columns to the table?
219 @c Oh, and should this be made into a multitable?
220 @cindex note names, other languages
222 Note Names sharp flat
223 nederlands.ly c d e f g a bes b -is -es
224 english.ly c d e f g a bf b -s/-sharp -f/-flat
226 deutsch.ly c d e f g a b h -is -es
227 norsk.ly c d e f g a b h -iss/-is -ess/-es
228 svenska.ly c d e f g a b h -iss -ess
229 italiano.ly do re mi fa sol la sib si -d -b
230 catalan.ly do re mi fa sol la sib si -d/-s -b
231 espanol.ly do re mi fa sol la sib si -s -b
235 @node Relative octaves
236 @subsection Relative octaves
239 @cindex Relative octave specification
242 Octaves are specified by adding @code{'} and @code{,} to pitch names.
243 When you copy existing music, it is easy to accidentally put a pitch
244 in the wrong octave and hard to find such an error. The relative
245 octave mode prevents these errors by making the mistakes much
246 larger: a single error puts the rest of the piece off by one octave
249 \relative @var{startpitch} @var{musicexpr}
256 \relative @var{musicexpr}
260 @code{c'} is used as the default if no starting pitch is defined.
262 The octave of notes that appear in @var{musicexpr} are calculated as
263 follows: if no octave changing marks are used, the basic interval
264 between this and the last note is always taken to be a fourth or
265 less. This distance is determined without regarding alterations; a
266 @code{fisis} following a @code{ceses} will be put above the
267 @code{ceses}. In other words, a doubly-augmented fourth is considered
268 a smaller interval than a diminished fifth, even though the
269 doubly-augmented fourth spans seven semitones while the diminished
270 fifth only spans six semitones.
272 The octave changing marks @code{'} and @code{,} can be added to raise
273 or lower the pitch by an extra octave. Upon entering relative mode,
274 an absolute starting pitch can be specified that will act as the
275 predecessor of the first note of @var{musicexpr}. If no starting pitch
276 is specified, then middle C is used as a start.
278 Here is the relative mode shown in action
279 @lilypond[quote,fragment,ragged-right,verbatim]
285 Octave changing marks are used for intervals greater than a fourth
287 @lilypond[quote,ragged-right,fragment,verbatim]
293 If the preceding item is a chord, the first note of the chord is used
294 to determine the first note of the next chord
296 @lilypond[quote,ragged-right,fragment,verbatim]
304 The pitch after @code{\relative} contains a note name.
306 The relative conversion will not affect @code{\transpose},
307 @code{\chordmode} or @code{\relative} sections in its argument. To use
308 relative within transposed music, an additional @code{\relative} must
309 be placed inside @code{\transpose}.
313 @subsection Octave check
317 Octave checks make octave errors easier to correct: a note may be
318 followed by @code{=}@var{quotes} which indicates what its absolute
319 octave should be. In the following example,
322 \relative c'' @{ c='' b=' d,='' @}
326 the @code{d} will generate a warning, because a @code{d''} is expected
327 (because @code{b'} to @code{d''} is only a third), but a @code{d'} is
328 found. In the output, the octave is corrected to be a @code{d''} and
329 the next note is calculated relative to @code{d''} instead of @code{d'}.
331 There is also an octave check that produces no visible output. The syntax
337 This checks that @var{pitch} (without quotes) yields @var{pitch} (with
338 quotes) in @code{\relative} mode compared to the note given in the
339 @code{\relative} command. If not, a warning is printed, and the
340 octave is corrected. The @var{pitch} is not printed as a note.
342 In the example below, the first check passes without incident, since
343 the @code{e} (in @code{relative} mode) is within a fifth of
345 the second check produces a warning, since the @code{e} is not within
346 a fifth of @code{b'}. The warning message is printed, and the octave
347 is adjusted so that the following notes are in the correct octave
359 The octave of a note following an octave check is determined with
360 respect to the note preceding it. In the next fragment, the last note
361 is an @code{a'}, above middle C. That means that the @code{\octave}
362 check passes successfully, so the check could be deleted without changing
363 the output of the piece.
365 @lilypond[quote,ragged-right,verbatim,fragment]
375 @subsection Transpose
378 @cindex Transposition of pitches
381 A music expression can be transposed with @code{\transpose}. The
384 \transpose @var{from} @var{to} @var{musicexpr}
387 This means that @var{musicexpr} is transposed by the interval between
388 the pitches @var{from} and @var{to}: any note with pitch @code{from}
389 is changed to @code{to}.
391 For example, consider a piece written in the key of D-major. If
392 this piece is a little too low for its performer, it can be
393 transposed up to E-major with
395 \transpose d e @dots{}
398 Consider a part written for violin (a C instrument). If
399 this part is to be played on the A clarinet (for which an
400 A is notated as a C, and which sounds a minor third lower
401 than notated), the following
402 transposition will produce the appropriate part
405 \transpose a c @dots{}
408 @code{\transpose} distinguishes between enharmonic pitches: both
409 @code{\transpose c cis} or @code{\transpose c des} will transpose up
410 half a tone. The first version will print sharps and the second
411 version will print flats
413 @lilypond[quote,ragged-right,verbatim]
414 mus = { \key d \major cis d fis g }
423 @code{\transpose} may also be used to input written notes for a
424 transposing instrument. Pitches are normally entered into LilyPond
425 in C (or ``concert pitch''), but they may be entered in another
426 key. For example, when entering music for a B-flat trumpet which
427 begins on concert D, one would write
430 \transpose c bes @{ e4 @dots{} @}
433 To print this music in B-flat again (i.e., producing a trumpet part,
434 instead of a concert pitch conductor's score) you would wrap the
435 existing music with another @code{transpose}
438 \transpose bes c @{ \transpose c bes @{ e4 @dots{} @} @}
444 Program reference: @internalsref{TransposedMusic}.
446 Example: @inputfileref{input/@/test,smart@/-transpose@/.ly}.
451 If you want to use both @code{\transpose} and @code{\relative},
452 you must put @code{\transpose} outside of @code{\relative}, since
453 @code{\relative} will have no effect on music that appears inside a
464 Rests are entered like notes with the note name @code{r}
466 @lilypond[fragment,quote,ragged-right,verbatim]
470 Whole bar rests, centered in middle of the bar,
471 must be done with multi-measure rests. They can be used for a
472 single bar as well as many bars, and are discussed in
473 @ref{Multi measure rests}.
475 To explicitly specify a rest's vertical position, write a note
476 followed by @code{\rest}. A rest will be placed in the position
477 where the note would appear,
479 @lilypond[fragment,quote,ragged-right,verbatim]
484 This makes manual formatting of
485 polyphonic music much easier, since the automatic rest collision
486 formatter will leave these rests alone.
490 Program reference: @internalsref{Rest}.
497 @cindex Invisible rest
502 An invisible rest (also called a `skip') can be entered like a note
503 with note name `@code{s}' or with @code{\skip @var{duration}}
505 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
506 a4 a4 s4 a4 \skip 1 a4
509 The @code{s} syntax is only available in note mode and chord mode. In
510 other situations, for example, when entering lyrics, you should use
511 the @code{\skip} command
513 @lilypond[quote,ragged-right,verbatim]
516 \new Lyrics \lyricmode { \skip 2 bla2 }
520 The skip command is merely an empty musical placeholder. It does not
521 produce any output, not even transparent output.
523 The @code{s} skip command does create @internalsref{Staff} and
524 @internalsref{Voice} when necessary, similar to note and rest
525 commands. For example, the following results in an empty staff.
527 @lilypond[quote,ragged-right,verbatim]
531 The fragment @code{@{ \skip 4 @} } would produce an empty page.
535 Program reference: @internalsref{SkipMusic}.
542 This section discusses rhythms, durations, and bars.
546 * Augmentation dots::
548 * Scaling durations::
551 * Automatic note splitting::
556 @subsection Durations
563 In Note, Chord, and Lyrics mode, durations are designated by numbers and
564 dots: durations are entered as their reciprocal values. For example, a
565 quarter note is entered using a @code{4} (since it is a 1/4 note), while
566 a half note is entered using a @code{2} (since it is a 1/2 note). For
567 notes longer than a whole you must use the @code{\longa} and
568 @code{\breve} commands
572 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
574 r1 r2 r4 r8 r16 r32 r64 r64
580 a\breve*1/2 \autoBeamOff
581 a1 a2 a4 a8 a16 a32 a64 a64
584 r\longa*1/4 r\breve *1/2
585 r1 r2 r4 r8 r16 r32 r64 r64
592 \remove "Bar_number_engraver"
596 \remove "Clef_engraver"
597 \override StaffSymbol #'transparent = ##t
598 \override TimeSignature #'transparent = ##t
599 \override BarLine #'transparent = ##t
600 \consists "Pitch_squash_engraver"
606 If the duration is omitted then it is set to the previously entered
607 duration. The default for the first note is a quarter note.
609 @lilypond[quote,ragged-right,verbatim,fragment]
610 { a a a2 a a4 a a1 a }
614 @node Augmentation dots
615 @subsection Augmentation dots
619 To obtain dotted note lengths, simply add a dot (`@code{.}') to
620 the number. Double-dotted notes are produced in a similar way.
622 @lilypond[quote,ragged-right,fragment,verbatim]
623 a'4 b' c''4. b'8 a'4. b'4.. c''8.
628 Dots are normally moved up to avoid staff lines, except in polyphonic
629 situations. The following commands may be used to force a particular
636 @funindex \dotsNeutral
641 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
651 Tuplets are made out of a music expression by multiplying all durations
655 \times @var{fraction} @var{musicexpr}
659 The duration of @var{musicexpr} will be multiplied by the fraction.
660 The fraction's denominator will be printed over the notes, optionally
661 with a bracket. The most common tuplet is the triplet in which 3
662 notes have the length of 2, so the notes are 2/3 of their written
665 @lilypond[quote,ragged-right,fragment,verbatim]
666 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
669 Tuplets may be nested, for example,
671 @lilypond[fragment,ragged-right,verbatim,relative=2]
672 \override TupletNumber #'text = #tuplet-number::calc-fraction-text
675 \times 3/5 { a a a a a }
683 @funindex \tupletDown
685 @funindex \tupletNeutral
686 @code{\tupletNeutral}.
691 @funindex tupletNumberFormatFunction
692 @cindex tuplet formatting
694 The property @code{tupletSpannerDuration} specifies how long each
695 bracket should last. With this, you can make lots of tuplets while
696 typing @code{\times} only once, thus saving lots of typing. In the next
697 example, there are two triplets shown, while @code{\times} was only
700 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
701 \set tupletSpannerDuration = #(ly:make-moment 1 4)
702 \times 2/3 { c8 c c c c c }
706 For more information about @code{make-moment}, see
707 @ref{Time administration}.
709 The format of the number is determined by the property @code{text} in
710 @code{TupletNumber}. The default prints only the denominator, but if
711 it is set to the function @code{tuplet-number::calc-fraction-text},
712 @var{num}:@var{den} will be printed instead.
714 To avoid printing tuplet numbers, use
716 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
717 \times 2/3 { c8 c c } \times 2/3 { c8 c c }
718 \override TupletNumber #'transparent = ##t
719 \times 2/3 { c8 c c } \times 2/3 { c8 c c }
722 Tuplet brackets can be made to run to prefatory matter or
725 @lilypond[ragged-right]
727 \set tupletFullLength = ##t
732 \set tupletFullLengthNote = ##t
745 Program reference: @internalsref{TupletBracket},
746 @internalsref{TupletNumber}, and @internalsref{TimeScaledMusic}.
748 Examples: @inputfileref{input/@/regression,tuplet@/-nest@/.ly}.
752 @node Scaling durations
753 @subsection Scaling durations
755 You can alter the length of duration by a fraction @var{N/M}
756 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
757 will not affect the appearance of the notes or rests produced.
759 In the following example, the first three notes take up exactly two
760 beats, but no triplet bracket is printed.
761 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
763 a4*2/3 gis4*2/3 a4*2/3
771 This manual: @ref{Tuplets}
775 @subsection Bar check
778 @funindex barCheckSynchronize
781 Bar checks help detect errors in the durations. A bar check is
782 entered using the bar symbol, `@code{|}'. Whenever it is encountered
783 during interpretation, it should fall on a measure boundary. If it
784 does not, a warning is printed. In the next example, the second bar
785 check will signal an error
787 \time 3/4 c2 e4 | g2 |
790 Bar checks can also be used in lyrics, for example
795 Twin -- kle | Twin -- kle
799 Failed bar checks are caused by entering incorrect
800 durations. Incorrect durations often completely garble up the score,
801 especially if the score is polyphonic, so a good place to start correcting
802 input is by scanning for failed bar checks and incorrect durations.
807 It is also possible to redefine the meaning of @code{|}. This is done
808 by assigning a music expression to @code{pipeSymbol},
810 @lilypond[quote,ragged-right,verbatim]
811 pipeSymbol = \bar "||"
817 @node Barnumber check
818 @subsection Barnumber check
820 When copying large pieces of music, it can be helpful to check that
821 the LilyPond bar number corresponds to the original that you are
822 entering from. This can be checked with @code{\barNumberCheck}, for
830 will print a warning if the @code{currentBarNumber} is not 123 when it
834 @node Automatic note splitting
835 @subsection Automatic note splitting
837 Long notes can be converted automatically to tied notes. This is done
838 by replacing the @internalsref{Note_heads_engraver} by the
839 @internalsref{Completion_heads_engraver}.
840 In the following examples, notes crossing the bar line are split and tied.
842 @lilypond[quote,fragment,verbatim,relative=1,line-width=12\cm]
844 \remove "Note_heads_engraver"
845 \consists "Completion_heads_engraver"
847 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
851 This engraver splits all running notes at the bar line, and inserts
852 ties. One of its uses is to debug complex scores: if the measures are
853 not entirely filled, then the ties exactly show how much each measure
856 If you want to allow line breaking on the bar lines where
857 @internalsref{Completion_heads_engraver} splits notes, you must
858 also remove @internalsref{Forbid_line_breaks_engraver}.
863 Not all durations (especially those containing tuplets) can be
864 represented exactly with normal notes and dots, but the engraver will
867 @code{Completion_heads_engraver} only affects notes; it does not split
873 Examples: @inputfileref{input/@/regression,completion@/-heads@/.ly}.
877 Program reference: @internalsref{Completion_heads_engraver}.
880 @node Multiple notes at once
881 @section Multiple notes at once
883 Polyphony in music refers to having more than one voice occurring in
884 a piece of music. Polyphony in LilyPond refers to having more than
885 one voice on the same staff.
891 * Explicitly instantiating voices::
892 * Collision Resolution::
901 A chord is formed by a enclosing a set of pitches between @code{<}
902 and @code{>}. A chord may be followed by a duration, and a set of
903 articulations, just like simple notes
905 @lilypond[verbatim,ragged-right,fragment,quote,relative=1]
909 For more information about chords, see @ref{Chord names}.
915 Whenever a note is found, a @internalsref{Stem} object is created
916 automatically. For whole notes and rests, they are also created but
925 @funindex \stemNeutral
931 To change the direction of stems in the middle of the staff, use
933 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
935 \override Stem #'neutral-direction = #up
937 \override Stem #'neutral-direction = #down
942 @node Basic polyphony
943 @subsection Basic polyphony
947 The easiest way to enter fragments with more than one voice on a staff
948 is to enter each voice as a sequence (with @code{@{...@}}), and combine
949 them simultaneously, separating the voices with @code{\\}
953 @lilypond[quote,verbatim,fragment]
954 \new Staff \relative c' {
957 { g4 f e | d2 e2 } \\
958 { r8 e4 d c8 ~ | c b16 a b8 g ~ g2 } \\
964 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
965 voices are sometimes called ``layers'' in other notation packages}
967 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
968 each of these contexts, vertical direction of slurs, stems, etc., is set
971 These voices are all separate from the voice that contains the notes just
972 outside the @code{<< \\ >>} construct. This should be noted when making
973 changes at the voice level. This also means that slurs and ties cannot go
974 into or out of a @code{<< \\ >>} construct. Conversely, parallel voices
975 from separate @code{<< \\ >>} constructs on the same staff are the the
976 same voice. Here is the same example, with different noteheads for each
977 voice. Note that the change to the note-head style in the main voice does
979 the inside of the @code{<< \\ >>} constructs. Also, the change to the
981 voice in the first @code{<< \\ >>} construct is effective in the second
982 @code{<< \\ >>}, and the voice is tied across the two constructs.
984 @cindex note heads, styles
986 @lilypond[quote,verbatim,fragment]
987 \new Staff \relative c' {
988 \override NoteHead #'style = #'cross
992 { \override NoteHead #'style = #'triangle
997 { c8 b16 a b8 g ~ g2 } \\
998 { \override NoteHead #'style = #'slash s4 b4 c2 }
1003 Polyphony does not change the relationship of notes within a
1004 @code{\relative @{ @}} block. Each note is calculated relative
1005 to the note immediately preceding it.
1008 \relative @{ noteA << noteB \\ noteC >> noteD @}
1011 @code{noteC} is relative to @code{noteB}, not @code{noteA};
1012 @code{noteD} is relative to @code{noteC}, not @code{noteB} or
1015 @node Explicitly instantiating voices
1016 @subsection Explicitly instantiating voices
1018 @internalsref{Voice} contexts can also be instantiated manually
1019 inside a @code{<< >>} block to create polyphonic music, using
1020 @code{\voiceOne}, up to @code{\voiceFour} to assign stem directions
1021 and a horizontal shift for each part.
1025 << \upper \\ \lower >>
1033 \new Voice = "1" @{ \voiceOne \upper @}
1034 \new Voice = "2" @{ \voiceTwo \lower @}
1038 The @code{\voiceXXX} commands set the direction of stems, slurs, ties,
1039 articulations, text annotations, augmentation dots of dotted
1040 notes, and fingerings. @code{\voiceOne} and @code{\voiceThree} make
1041 these objects point upwards, while @code{\voiceTwo} and @code{\voiceFour}
1042 make them point downwards.
1043 The command @code{\oneVoice} will revert back to the normal setting.
1045 An expression that appears directly inside a @code{<< >>} belongs to
1046 the main voice. This is useful when extra voices appear while the main
1047 voice is playing. Here is a more correct rendition of the example from
1048 the previous section. The crossed noteheads demonstrate that the main
1049 melody is now in a single voice context.
1051 @lilypond[quote,ragged-right,verbatim]
1052 \new Staff \relative c' {
1053 \override NoteHead #'style = #'cross
1058 \new Voice="1" { \voiceTwo
1059 r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
1062 \new Voice { \voiceThree
1071 The correct definition of the voices allows the melody to be slurred.
1072 @lilypond[quote,ragged-right,verbatim]
1073 \new Staff \relative c' {
1078 \context Voice="1" { \voiceTwo
1079 r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
1082 \new Voice { \voiceThree
1091 Avoiding the @code{\\} separator also allows nesting polyphony
1092 constructs, which in some case might be a more natural way to typeset
1095 @lilypond[quote,ragged-right,verbatim]
1096 \new Staff \relative c' {
1101 \context Voice="1" { \voiceTwo
1104 {c8 b16 a b8 g ~ g2}
1105 \new Voice { \voiceThree
1118 @node Collision Resolution
1119 @subsection Collision Resolution
1121 Normally, note heads with a different number of dots are not merged, but
1122 when the object property @code{merge-differently-dotted} is set in
1123 the @internalsref{NoteCollision} object, they are merged
1124 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
1127 \override Staff.NoteCollision
1128 #'merge-differently-dotted = ##t
1130 } \\ { g8.[ f16] g8.[ f16] } >>
1133 Similarly, you can merge half note heads with eighth notes, by setting
1134 @code{merge-differently-headed}
1135 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
1138 \override Staff.NoteCollision
1139 #'merge-differently-headed = ##t
1140 c8 c4. } \\ { c2 c2 } >>
1144 @code{merge-differently-headed} and @code{merge-differently-dotted}
1145 only apply to opposing stem directions (ie. Voice 1 & 2).
1147 LilyPond also vertically shifts rests that are opposite of a stem,
1150 @lilypond[quote,ragged-right,fragment,verbatim]
1151 \new Voice << c''4 \\ r4 >>
1163 @funindex \voiceThree
1165 @funindex \voiceFour
1172 @funindex \shiftOnnn
1175 @code{\shiftOff}: these commands specify in what chords of the current
1176 voice should be shifted. The outer voices (normally: voice one and
1177 two) have @code{\shiftOff}, while the inner voices (three and four)
1178 have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define
1179 further shift levels.
1181 When LilyPond cannot cope, the @code{force-hshift}
1182 property of the @internalsref{NoteColumn} object and pitched rests can
1183 be used to override typesetting decisions.
1185 @lilypond[quote,verbatim,ragged-right]
1192 \once \override NoteColumn #'force-hshift = #1.7
1200 Program reference: the objects responsible for resolving collisions are
1201 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1204 @inputfileref{input/@/regression,collision@/-dots@/.ly},
1205 @inputfileref{input/@/regression,collision@/-head-chords@/.ly},
1206 @inputfileref{input/@/regression,collision@/-heads@/.ly},
1207 @inputfileref{input/@/regression,collision@/-mesh@/.ly}, and
1208 @inputfileref{input/@/regression,collisions@/.ly}.
1213 When using @code{merge-differently-headed} with an upstem eighth or a
1214 shorter note, and a downstem half note, the eighth note gets the wrong
1217 There is no support for clusters where the same note occurs with
1218 different accidentals in the same chord. In this case, it is
1219 recommended to use enharmonic transcription, or to use special cluster
1220 notation (see @ref{Clusters}).
1224 @node Staff notation
1225 @section Staff notation
1227 @cindex Staff notation
1229 This section describes music notation that occurs on staff level,
1230 such as key signatures, clefs and time signatures.
1236 * Partial measures::
1239 * System start delimiters::
1241 * Writing music in parallel::
1250 The clef indicates which lines of the staff correspond to which
1251 pitches. The clef is set with the @code{\clef} command
1253 @lilypond[quote,ragged-right,fragment,verbatim]
1254 { c''2 \clef alto g'2 }
1263 @cindex soprano clef
1264 @cindex mezzosoprano clef
1265 @cindex baritone clef
1266 @cindex varbaritone clef
1267 @cindex subbass clef
1269 Supported clefs include
1271 @multitable @columnfractions .33 .66
1272 @headitem Clef @tab Position
1273 @item @code{treble}, violin, G, G2 @tab
1275 @item @code{alto, C} @tab
1277 @item @code{tenor} @tab
1279 @item @code{bass, F} @tab
1281 @item @code{french} @tab
1282 G clef on 1st line, so-called French violin clef
1283 @item @code{soprano} @tab
1285 @item @code{mezzosoprano} @tab
1287 @item @code{baritone} @tab
1289 @item @code{varbaritone} @tab
1291 @item @code{subbass} @tab
1293 @item @code{percussion} @tab
1295 @item @code{tab} @tab
1299 By adding @code{_8} or @code{^8} to the clef name, the clef is
1300 transposed one octave down or up, respectively, and @code{_15} and
1301 @code{^15} transposes by two octaves. The argument @var{clefname}
1302 must be enclosed in quotes when it contains underscores or digits. For
1305 @cindex choral tenor clef
1306 @lilypond[quote,ragged-right,verbatim,fragment,relative=1]
1313 The command @code{\clef "treble_8"} is equivalent to setting
1315 @code{clefPosition} (which controls the Y position of the clef),
1316 @code{middleCPosition} and @code{clefOctavation}. A clef is printed
1317 when any of these properties are changed. The following example shows
1318 possibilities when setting properties manually.
1320 @lilypond[quote,ragged-right,verbatim]
1322 \set Staff.clefGlyph = #"clefs.F"
1323 \set Staff.clefPosition = #2
1325 \set Staff.clefGlyph = #"clefs.G"
1327 \set Staff.clefGlyph = #"clefs.C"
1329 \set Staff.clefOctavation = #7
1331 \set Staff.clefOctavation = #0
1332 \set Staff.clefPosition = #0
1336 \set Staff.middleCPosition = #4
1344 Manual: @ref{Grace notes}.
1346 Program reference: @internalsref{Clef}.
1350 @subsection Key signature
1352 @cindex Key signature
1355 The key signature indicates the tonality in which a piece is played. It
1356 is denoted by a set of alterations (flats or sharps) at the start of the
1359 Setting or changing the key signature is done with the @code{\key}
1363 @code{\key} @var{pitch} @var{type}
1372 @funindex \mixolydian
1376 @cindex church modes
1378 Here, @var{type} should be @code{\major} or @code{\minor} to get
1379 @var{pitch}-major or @var{pitch}-minor, respectively. You may also
1380 use the standard mode names (also called ``church modes''): @code{\ionian},
1381 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
1382 @code{\phrygian}, and @code{\dorian}.
1384 This command sets the context property
1385 @code{Staff.keySignature}. Non-standard key signatures
1386 can be specified by setting this property directly.
1388 Accidentals and key signatures often confuse new users, because
1389 unaltered notes get natural signs depending on the key signature. For
1390 more information, see @ref{Accidentals} or @ref{More about pitches}.
1392 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1401 A natural sign is printed to cancel any previous accidentals. This
1402 can be suppressed by setting the @code{Staff.printKeyCancellation}
1405 @lilypond[quote,fragment,ragged-right,fragment,verbatim,relative=2]
1410 \set Staff.printKeyCancellation = ##f
1420 Program reference: @internalsref{KeyCancellation},
1421 @internalsref{KeySignature}.
1424 @node Time signature
1425 @subsection Time signature
1427 @cindex Time signature
1431 Time signature indicates the metrum of a piece: a regular pattern of
1432 strong and weak beats. It is denoted by a fraction at the start of the
1435 The time signature is set with the @code{\time} command
1437 @lilypond[quote,ragged-right,fragment,verbatim]
1438 \time 2/4 c'2 \time 3/4 c'2.
1443 The symbol that is printed can be customized with the @code{style}
1444 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1447 @lilypond[fragment,quote,ragged-right,verbatim]
1450 \override Staff.TimeSignature #'style = #'()
1455 There are many more options for its layout. See @ref{Ancient time
1456 signatures} for more examples.
1458 @code{\time} sets the property @code{timeSignatureFraction},
1459 @code{beatLength} and @code{measureLength} in the @code{Timing}
1460 context, which is normally aliased to @internalsref{Score}. The
1461 property @code{measureLength} determines where bar lines should be
1462 inserted, and how automatic beams should be generated. Changing the
1463 value of @code{timeSignatureFraction} also causes the symbol to be
1466 More options are available through the Scheme function
1467 @code{set-time-signature}. In combination with the
1468 @internalsref{Measure_grouping_engraver}, it will create
1469 @internalsref{MeasureGrouping} signs. Such signs ease reading
1470 rhythmically complex modern music. In the following example, the 9/8
1471 measure is subdivided in 2, 2, 2 and 3. This is passed to
1472 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
1474 @lilypond[quote,ragged-right,verbatim]
1477 #(set-time-signature 9 8 '(2 2 2 3))
1478 g8[ g] d[ d] g[ g] a8[( bes g]) |
1479 #(set-time-signature 5 8 '(3 2))
1485 \consists "Measure_grouping_engraver"
1494 Program reference: @internalsref{TimeSignature}, and
1495 @internalsref{Timing_translator}.
1497 Examples: @inputfileref{input/@/test,compound@/-time@/.ly}.
1502 Automatic beaming does not use the measure grouping specified with
1503 @code{set-time-signature}.
1506 @node Partial measures
1507 @subsection Partial measures
1511 @cindex partial measure
1512 @cindex measure, partial
1513 @cindex shorten measures
1516 Partial measures, such as an anacrusis or upbeat, are entered using the
1518 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1519 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1522 The syntax for this command is
1525 \partial @var{duration}
1528 where @code{duration} is the rhythmic length to be added before
1531 This is internally translated into
1534 \set Timing.measurePosition = -@var{length of duration}
1537 The property @code{measurePosition} contains a rational number
1538 indicating how much of the measure has passed at this point. Note
1539 that this is a negative number; @code{\partial 4} is internally
1540 translated to mean ``there is a quarter note left in the bar''.
1545 This command does not take into account grace notes at the start of
1546 the music. When a piece starts with graces notes in the pickup, then
1547 the @code{\partial} should follow the grace notes
1549 @lilypond[verbatim,quote,ragged-right,relative,fragment]
1556 @code{\partial} is only intended to be used at the beginning of a
1557 piece. If you use it after the beginning, some odd warnings may
1562 @subsection Bar lines
1566 @cindex measure lines
1569 Bar lines delimit measures, but are also used to indicate
1570 repeats. Normally they are inserted automatically. Line
1571 breaks may only happen on bar lines.
1573 Special types of bar lines can be forced with the @code{\bar} command
1575 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1579 The following bar types are available
1581 @lilypondfile[ragged-right,quote]{bar-lines.ly}
1583 In addition, you can specify @code{"||:"}, which is equivalent to
1584 @code{"|:"} except at line breaks, where it gives a double bar line at
1585 the end of the line and a start repeat at the beginning of the next
1588 To allow a line break where there is no visible bar line, use
1595 This will insert an invisible bar line and allow line breaks at this
1596 point (without increasing the bar number counter).
1598 In scores with many staves, a @code{\bar} command in one staff is
1599 automatically applied to all staves. The resulting bar lines are
1600 connected between different staves of a @code{StaffGroup},
1601 @code{PianoStaff}, or @code{ChoirStaff}.
1603 @lilypond[quote,ragged-right,fragment,verbatim]
1611 \new Staff { \clef bass c4 g e g }
1613 \new Staff { \clef bass c2 c2 }
1621 @funindex repeatCommands
1622 @funindex defaultBarType
1624 The command @code{\bar }@var{bartype} is a short cut for doing
1625 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1626 is set to a string, a bar line of that type is created.
1628 A bar line is created whenever the @code{whichBar} property is set.
1629 At the start of a measure it is set to the contents of
1630 @code{Timing.defaultBarType}. The contents of @code{repeatCommands} are
1632 to override default measure bars.
1634 You are encouraged to use @code{\repeat} for repetitions. See
1640 In this manual: @ref{Repeats}, @ref{System start delimiters}.
1642 Program reference: @internalsref{BarLine} (created at
1643 @internalsref{Staff} level), @internalsref{SpanBar} (across staves).
1646 @node Unmetered music
1647 @subsection Unmetered music
1650 @funindex \cadenzaOn
1651 @funindex \cadenzaOff
1653 Bar lines and bar numbers are calculated automatically. For unmetered
1654 music (cadenzas, for example), this is not desirable. To turn off
1655 automatic bar lines and bar numbers, use the commands @code{\cadenzaOn}
1656 and @code{\cadenzaOff}.
1658 @lilypond[verbatim,quote,ragged-right,relative=2,fragment]
1670 LilyPond will only insert line breaks and page breaks at a
1671 barline. Unless the unmetered music ends before the end of
1672 the staff line, you will need to insert
1680 to indicate where breaks can occur.
1683 @node System start delimiters
1684 @subsection System start delimiters
1686 @cindex start of system
1687 @cindex Staff, multiple
1688 @cindex bracket, vertical
1689 @cindex brace, vertical
1692 @cindex staff, choir
1694 Many scores consist of more than one staff. These staves can be
1695 joined in four different ways
1698 @item The group is started with a brace at the left, and bar lines are
1699 connected. This is done with the @internalsref{GrandStaff} context.
1701 @lilypond[verbatim,ragged-right,quote]
1709 @item The group is started with a bracket, and bar lines are connected.
1710 This is done with the
1711 @internalsref{StaffGroup} context
1713 @lilypond[verbatim,ragged-right,quote]
1721 @item The group is started with a bracket, but bar lines are not
1722 connected. This is done with the @internalsref{ChoirStaff} context.
1724 @lilypond[verbatim,ragged-right,quote]
1732 @item The group is started with a vertical line. Bar lines are not
1733 connected. This is the default for the score.
1735 @lilypond[verbatim,ragged-right,quote]
1746 The bar lines at the start of each system are
1747 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1748 @internalsref{SystemStartBracket}. Only one of these types is created
1749 in every context, and that type is determined by the property
1750 @internalsref{systemStartDelimiter}.
1755 System start delimiters may be deeply nested,
1757 @lilypond[quote,ragged-right,verbatim]
1760 \set StaffGroup.systemStartDelimiterHierarchy
1761 = #'(SystemStartSquare (SystemStartBracket a (SystemStartSquare b)) d)
1772 @subsection Staff symbol
1774 @cindex adjusting staff symbol
1776 Notes, dynamic signs, etc., are grouped
1777 with a set of horizontal lines, called a staff (plural `staves'). In
1778 LilyPond, these lines are drawn using a separate layout object called
1779 @code{staff symbol}.
1781 The staff symbol may be tuned in the number, thickness and distance
1782 of lines, using properties. This is demonstrated in the example files
1783 @inputfileref{input/@/test,staff@/-lines@/.ly},
1784 @inputfileref{input/@/test,staff@/-size@/.ly}.
1786 In addition, staves may be started and stopped at will. This is done
1787 with @code{\startStaff} and @code{\stopStaff}.
1789 @lilypond[verbatim,relative=2,fragment]
1791 \override Staff.StaffSymbol #'line-count = 2
1792 \stopStaff \startStaff
1794 \revert Staff.StaffSymbol #'line-count
1795 \stopStaff \startStaff
1799 In combination with Frenched staves, this may be used to typeset ossia
1800 sections. An example is shown here
1804 @lilypondfile{ossia.ly}
1806 @cindex staff lines, setting number of
1807 @cindex staff lines, setting thickness of
1808 @cindex thickness of staff lines, setting
1809 @cindex number of staff lines, setting
1813 Program reference: @internalsref{StaffSymbol}.
1815 Examples: @inputfileref{input/@/test,staff@/-lines@/.ly},
1816 @inputfileref{input/@/test@/,ossia.ly},
1817 @inputfileref{input/@/test,staff@/-size@/.ly},
1818 @inputfileref{input/@/regression,staff@/-line@/-positions@/.ly}.
1821 @node Writing music in parallel
1822 @subsection Writing music in parallel
1824 @cindex Writing music in parallel
1825 @cindex Interleaved music
1827 Music for multiple parts can be interleaved
1829 @lilypond[quote,fragment,verbatim]
1830 \parallelMusic #'(voiceA voiceB) {
1831 r8 g'16[ c''] e''[ g' c'' e''] r8 g'16[ c''] e''[ g' c'' e''] |
1833 r8 a'16[ d''] f''[ a' d'' f''] r8 a'16[ d''] f''[ a' d'' f''] |
1837 \new Staff \new Voice \voiceA
1838 \new Staff \new Voice \voiceB
1842 This works quite well for piano music
1844 @lilypond[quote,verbatim]
1848 \parallelMusic #'(voiceA voiceB voiceC voiceD) {
1850 r8 g'16[ c''] e''[ g' c'' e''] r8 g'16[ c''] e''[ g' c''
1853 r8 a16[ d'] f'[ a d' f'] r8 a16[ d'] f'[ a d' f'] |
1857 a'8 b' c'' d'' e'' f'' g'' a'' |
1859 c16 d e f d e f g e f g a f g a b |
1885 @node Connecting notes
1886 @section Connecting notes
1888 This section deals with notation that affects groups of notes.
1894 * Laissez vibrer ties::
1907 A tie connects two adjacent note heads of the same pitch. The tie in
1908 effect extends the length of a note. Ties should not be confused with
1909 slurs, which indicate articulation, or phrasing slurs, which indicate
1910 musical phrasing. A tie is entered using the tilde symbol `@code{~}'
1912 @lilypond[quote,ragged-right,fragment,verbatim]
1913 e' ~ e' <c' e' g'> ~ <c' e' g'>
1916 When a tie is applied to a chord, all note heads whose pitches match
1917 are connected. When no note heads match, no ties will be created. Chords
1918 may be partially tied by placing the tie inside the chord,
1920 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
1921 <c~ e g~ b> <c e g b>
1924 A tie is just a way of extending a note duration, similar to the
1925 augmentation dot. The following example shows two ways of notating
1926 exactly the same concept
1928 @lilypond[quote,fragment,ragged-right]
1929 \time 3/4 c'2. c'2 ~ c'4
1933 Ties are used either when the note crosses a bar line, or when dots
1934 cannot be used to denote the rhythm. When using ties, larger note
1935 values should be aligned to subdivisions of the measure, such as
1937 @lilypond[fragment,quote,ragged-right]
1939 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
1943 If you need to tie a lot of notes over bars, it may be easier to use
1944 automatic note splitting (see @ref{Automatic note splitting}). This
1945 mechanism automatically splits long notes, and ties them across bar
1948 @funindex \repeatTie
1950 When a second alternative of a repeat starts with a tied note, you
1951 have to repeat the tie. This can be achieved with @code{\repeatTie},
1953 @lilypond[fragment,quote,ragged-right,relative=2]
1957 @cindex repeating ties
1958 @cindex volta brackets and ties
1962 Ties are sometimes used to write out arpeggios. In this case, two tied
1963 notes need not be consecutive. This can be achieved by setting the
1964 @code{tieWaitForNote} property to true. The same feature is also useful,
1965 for example, to tie a tremolo to a chord. For example,
1967 @lilypond[fragment,verbatim,relative=1,ragged-right,quote]
1968 \set tieWaitForNote = ##t
1969 \grace { c16[~ e~ g]~ } <c, e g>2
1970 \repeat "tremolo" 8 { c32~ c'~ } <c c,>1
1971 e8~ c~ a~ f~ <e' c a f>2
1974 Ties may be engraved manually by changing the @code{tie-configuration}
1975 property. The first number indicates the distance from the center
1976 of the staff in staff-spaces, and the second number indicates the
1977 direction (1=up, -1=down).
1979 @lilypond[fragment,verbatim,relative=1,ragged-right,quote]
1981 \override TieColumn #'tie-configuration =
1982 #'((0.0 . 1) (-2.0 . 1) (-4.0 . 1))
1994 @funindex \tieNeutral
1996 @funindex \tieDotted
1998 @funindex \tieDashed
2006 In this manual: @ref{Automatic note splitting}.
2008 Program reference: @internalsref{Tie}.
2011 @inputfileref{input/@/regression,tie-arpeggio.ly}
2012 @inputfileref{input/@/regression,tie-manual.ly}
2019 Switching staves when a tie is active will not produce a slanted tie.
2021 Changing clefs or octavations during a tie is not really
2022 well-defined. In these cases, a slur may be preferable.
2030 A slur indicates that notes are to be played bound or
2031 @emph{legato}. They are entered using parentheses
2033 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
2034 f( g a) a8 b( a4 g2 f4)
2038 The direction of a slur can be specified with
2039 @code{\slur@emph{DIR}}, where @code{@emph{DIR}} is
2040 either @code{Up}, @code{Down}, or @code{Neutral} (automatically
2043 However, there is a convenient shorthand for forcing slur
2044 directions. By adding @code{_} or @code{^} before the opening
2045 parentheses, the direction is also set. For example,
2047 @lilypond[relative=2,ragged-right,quote,verbatim,fragment]
2051 Only one slur can be printed at once. If you need to print a long
2052 slur over a few small slurs, please see @ref{Phrasing slurs}.
2057 Some composers write two slurs when they want legato chords. This can
2058 be achieved in LilyPond by setting @code{doubleSlurs},
2060 @lilypond[verbatim,ragged-right,relative,fragment,quote]
2061 \set doubleSlurs = ##t
2062 <c e>4 ( <d f> <c e> <d f> )
2072 @funindex \slurNeutral
2073 @code{\slurNeutral},
2074 @funindex \slurDashed
2076 @funindex \slurDotted
2078 @funindex \slurSolid
2083 Program reference: @seeinternals{Slur}.
2086 @node Phrasing slurs
2087 @subsection Phrasing slurs
2089 @cindex phrasing slurs
2090 @cindex phrasing marks
2092 A phrasing slur (or phrasing mark) connects notes and is used to
2093 indicate a musical sentence. It is written using @code{\(} and @code{\)}
2096 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
2097 \time 6/4 c'\( d( e) f( e) d\)
2100 Typographically, the phrasing slur behaves almost exactly like a
2101 normal slur. However, they are treated as different objects. A
2102 @code{\slurUp} will have no effect on a phrasing slur; instead, use
2103 @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
2104 @code{\phrasingSlurNeutral}.
2106 You cannot have simultaneous phrasing slurs.
2111 @funindex \phrasingSlurUp
2112 @code{\phrasingSlurUp},
2113 @funindex \phrasingSlurDown
2114 @code{\phrasingSlurDown},
2115 @funindex \phrasingSlurNeutral
2116 @code{\phrasingSlurNeutral}.
2121 Program reference: @internalsref{PhrasingSlur}.
2124 @node Laissez vibrer ties
2125 @subsection Laissez vibrer ties
2126 @cindex Laissez vibrer
2127 @cindex Ties, laissez vibrer
2129 L.v. ties (laissez vibrer) indicate that notes must not be damped at the
2130 end. It is used in notation for piano, harp and other string and
2131 percussion instruments. They can be entered using @code{\laissezVibrer},
2133 @lilypond[fragment,ragged-right,verbatim,relative=1]
2134 <c f g>\laissezVibrer
2140 @internalsref{LaissezVibrerTie}
2141 @internalsref{LaissezVibrerTieColumn}
2144 @inputfileref{input/regression,laissez-vibrer-tie.ly}
2147 @node Automatic beams
2148 @subsection Automatic beams
2150 LilyPond inserts beams automatically
2152 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2153 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
2156 When these automatic decisions are not good enough, beaming can be
2157 entered explicitly. It is also possible to define beaming patterns
2158 that differ from the defaults. See @ref{Setting automatic beam behavior}
2161 Individual notes may be marked with @code{\noBeam} to prevent them
2164 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2165 \time 2/4 c8 c\noBeam c c
2171 Program reference: @internalsref{Beam}.
2175 @subsection Manual beams
2177 @cindex beams, manual
2181 In some cases it may be necessary to override the automatic beaming
2182 algorithm. For example, the autobeamer will not put beams over rests
2183 or bar lines. Such beams are specified manually by marking the begin
2184 and end point with @code{[} and @code{]}
2186 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2188 r4 r8[ g' a r8] r8 g[ | a] r8
2195 @funindex stemLeftBeamCount
2196 @funindex stemRightBeamCount
2198 Normally, beaming patterns within a beam are determined automatically.
2199 If necessary, the properties @code{stemLeftBeamCount} and
2200 @code{stemRightBeamCount} can be used to override the defaults. If
2201 either property is set, its value will be used only once, and then it
2204 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2209 \set stemLeftBeamCount = #1
2214 The property @code{subdivideBeams} can be set in order to subdivide
2215 all 16th or shorter beams at beat positions, as defined by the
2216 @code{beatLength} property.
2218 @lilypond[fragment,quote,relative=2,verbatim]
2220 \set subdivideBeams = ##t
2222 \set Score.beatLength = #(ly:make-moment 1 8)
2225 @funindex subdivideBeams
2228 For more information about @code{make-moment}, see
2229 @ref{Time administration}.
2231 Line breaks are normally forbidden when beams cross bar lines. This
2232 behavior can be changed by setting @code{allowBeamBreak}.
2234 @funindex allowBeamBreak
2235 @cindex beams and line breaks
2236 @cindex beams, kneed
2238 @cindex auto-knee-gap
2243 Kneed beams are inserted automatically when a large gap is detected
2244 between the note heads. This behavior can be tuned through the object.
2246 Automatically kneed cross-staff beams cannot be used together with
2247 hidden staves. See @ref{Hiding staves}.
2249 Beams do not avoid collisions with symbols around the notes, such as
2250 texts and accidentals.
2254 @subsection Grace notes
2259 @cindex appoggiatura
2260 @cindex acciaccatura
2262 Grace notes are ornaments that are written out. The most common ones
2263 are acciaccatura, which should be played as very short. It is denoted
2264 by a slurred small note with a slashed stem. The appoggiatura is a
2265 grace note that takes a fixed fraction of the main note, and is
2266 denoted as a slurred note in small print without a slash. They
2267 are entered with the commands @code{\acciaccatura} and
2268 @code{\appoggiatura}, as demonstrated in the following example
2270 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2271 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2272 \acciaccatura { g16[ f] } e4
2275 Both are special forms of the @code{\grace} command. By prefixing this
2276 keyword to a music expression, a new one is formed, which will be
2277 printed in a smaller font and takes up no logical time in a measure.
2279 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2281 \grace { c16[ d16] } c2 c4
2285 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2286 @code{\grace} command does not start a slur.
2288 Internally, timing for grace notes is done using a second, `grace'
2289 timing. Every point in time consists of two rational numbers: one
2290 denotes the logical time, one denotes the grace timing. The above
2291 example is shown here with timing tuples
2293 @lilypond[quote,ragged-right]
2296 c4 \grace c16 c4 \grace {
2299 \new Lyrics \lyricmode {
2300 \override LyricText #'font-family = #'typewriter
2304 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2305 \markup { (\fraction 1 4 , 0 ) } 4
2307 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2308 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2310 \markup { ( \fraction 2 4 , 0 ) }
2315 The placement of grace notes is synchronized between different staves.
2316 In the following example, there are two sixteenth grace notes for
2317 every eighth grace note
2319 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2320 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2321 \new Staff { c4 \grace { g8[ b] } c4 } >>
2324 @funindex \afterGrace
2326 If you want to end a note with a grace, use the @code{\afterGrace}
2327 command. It takes two arguments: the main note, and the grace notes
2328 following the main note.
2330 @lilypond[ragged-right, verbatim,relative=2,fragment]
2331 c1 \afterGrace d1 { c16[ d] } c4
2334 This will put the grace notes after a ``space'' lasting 3/4 of the
2335 length of the main note. The fraction 3/4 can be changed by setting
2336 @code{afterGraceFraction}, ie.
2339 afterGraceFraction = #(cons 7 8)
2343 will put the grace note at 7/8 of the main note.
2345 The same effect can be achieved manually by doing
2347 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2350 { s2 \grace { c16[ d] } } >>
2356 By adjusting the duration of the skip note (here it is a half-note),
2357 the space between the main-note and the grace is adjusted.
2359 A @code{\grace} section will introduce special typesetting settings,
2360 for example, to produce smaller type, and set directions. Hence, when
2361 introducing layout tweaks, they should be inside the grace section,
2364 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2376 The overrides should also be reverted inside the grace section.
2378 The layout of grace sections can be changed throughout the music using
2379 the function @code{add-grace-property}. The following example
2380 undefines the @code{Stem} direction for this grace, so
2381 that stems do not always point up.
2385 #(add-grace-property 'Voice 'Stem 'direction '())
2391 Another option is to change the variables @code{startGraceMusic},
2392 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2393 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2394 @code{stopAppoggiaturaMusic}. More information is in the file
2395 @file{ly/@/grace@/-init@/.ly}.
2398 The slash through the stem in acciaccaturas can be obtained
2399 in other situations by @code{\override Stem #'stroke-style = #"grace"}.
2404 Grace notes may be forced to use floating spacing,
2406 @lilypond[relative=2,ragged-right]
2408 \override Score.SpacingSpanner #'strict-grace-spacing = ##t
2417 c'16[ c'16 c'16 c'16]
2418 c'16[ c'16 c'16 c'16]
2427 Program reference: @internalsref{GraceMusic}.
2432 A score that starts with a @code{\grace} section needs an explicit
2433 @code{\new Voice} declaration, otherwise the main note and the grace
2434 note end up on different staves.
2436 Grace note synchronization can also lead to surprises. Staff notation,
2437 such as key signatures, bar lines, etc., are also synchronized. Take
2438 care when you mix staves with grace notes and staves without, for example,
2440 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2441 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2442 \new Staff { c4 \bar "|:" d4 } >>
2446 This can be remedied by inserting grace skips of the corresponding
2447 durations in the other staves. For the above example
2450 \new Staff @{ c4 \bar "|:" \grace s16 d4 @}
2453 Grace sections should only be used within sequential music
2454 expressions. Nesting or juxtaposing grace sections is not supported,
2455 and might produce crashes or other errors.
2459 @node Expressive marks
2460 @section Expressive marks
2462 Expressive marks help musicians to bring more to the music than simple
2467 * Fingering instructions::
2478 @subsection Articulations
2480 @cindex Articulations
2484 A variety of symbols can appear above and below notes to indicate
2485 different characteristics of the performance. They are added to a note
2486 by adding a dash and the character signifying the
2487 articulation. They are demonstrated here
2489 @lilypondfile[quote,ragged-right]{script-abbreviations.ly}
2491 The meanings of these shorthands can be changed. See
2492 @file{ly/@/script@/-init@/.ly} for examples.
2494 The script is automatically placed, but the direction can be forced as
2495 well. Like other pieces of LilyPond code, @code{_} will place them
2496 below the staff, and @code{^} will place them above.
2498 @lilypond[quote,ragged-right,fragment,verbatim]
2502 Other symbols can be added using the syntax
2503 @var{note}@code{\}@var{name}. Again, they
2504 can be forced up or down using @code{^} and @code{_},
2507 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
2508 c\fermata c^\fermata c_\fermata
2513 @cindex staccatissimo
2523 @cindex organ pedal marks
2532 @cindex prallmordent
2536 @cindex thumb marking
2541 Here is a chart showing all scripts available,
2543 @lilypondfile[ragged-right,quote]{script-chart.ly}
2548 The vertical ordering of scripts is controlled with the
2549 @code{script-priority} property. The lower this number, the closer it
2550 will be put to the note. In this example, the
2551 @internalsref{TextScript} (the sharp symbol) first has the lowest
2552 priority, so it is put lowest in the first example. In the second, the
2553 prall trill (the @internalsref{Script}) has the lowest, so it is on the
2554 inside. When two objects have the same priority, the order in which
2555 they are entered decides which one comes first.
2557 @lilypond[verbatim,relative=3,ragged-right,fragment,quote]
2558 \once \override TextScript #'script-priority = #-100
2559 a4^\prall^\markup { \sharp }
2561 \once \override Script #'script-priority = #-100
2562 a4^\prall^\markup { \sharp }
2568 Program reference: @internalsref{Script}.
2573 These signs appear in the printed output but have no effect on the
2574 MIDI rendering of the music.
2577 @node Fingering instructions
2578 @subsection Fingering instructions
2581 @cindex finger change
2583 Fingering instructions can be entered using
2585 @var{note}-@var{digit}
2587 For finger changes, use markup texts
2589 @lilypond[quote,verbatim,ragged-right,fragment,relative=1]
2591 c^\markup { \finger "2 - 3" }
2594 You can use the thumb-script to indicate that a note should be
2595 played with the thumb (e.g., in cello music)
2596 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
2597 <a_\thumb a'-3>8 <b_\thumb b'-3>
2600 Fingerings for chords can also be added to individual notes
2601 of the chord by adding them after the pitches
2602 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
2603 < c-1 e-2 g-3 b-5 >4
2609 You may exercise greater control over fingering chords by
2610 setting @code{fingeringOrientations}
2612 @lilypond[quote,verbatim,ragged-right,fragment,relative=1]
2613 \set fingeringOrientations = #'(left down)
2614 <c-1 es-2 g-4 bes-5 > 4
2615 \set fingeringOrientations = #'(up right down)
2616 <c-1 es-2 g-4 bes-5 > 4
2619 Using this feature, it is also possible to put fingering instructions
2620 very close to note heads in monophonic music,
2622 @lilypond[verbatim,ragged-right,quote,fragment]
2623 \set fingeringOrientations = #'(right)
2630 Program reference: @internalsref{Fingering}.
2632 Examples: @inputfileref{input/@/regression,finger@/-chords@/.ly}.
2636 @subsection Dynamics
2657 Absolute dynamic marks are specified using a command after a note
2658 @code{c4\ff}. The available dynamic marks are @code{\ppppp},
2659 @code{\pppp}, @code{\ppp},
2660 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2661 @code{\fff}, @code{\ffff}, @code{\fp}, @code{\sf}, @code{\sff},
2662 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
2664 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
2665 c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2666 c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
2673 A crescendo mark is started with @code{\<} and terminated with
2674 @code{\!} or an absolute dynamic. A decrescendo is started with
2675 @code{\>} and is also terminated with @code{\!} or an absolute
2676 dynamic. @code{\cr} and @code{\decr} may be used instead of
2677 @code{\<} and @code{\>}. Because these marks are bound to notes, you must
2678 use spacer notes if multiple marks are needed during one note
2680 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2682 << f1 { s4 s4\< s4\! \> s4\! } >>
2686 A hairpin normally starts at the left edge of the beginning note
2687 and ends on the right edge of the ending note. If the ending
2688 note falls on the downbeat, the hairpin ends on the immediately
2689 preceding barline. This may be modified by setting the
2690 @code{hairpinToBarline} property,
2692 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2693 \set hairpinToBarline = ##f
2697 In some situations the @code{\espressivo} articulation mark may
2698 be suitable to indicate a crescendo and decrescendo on the one note,
2700 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2701 c2 b4 a g1\espressivo
2704 This may give rise to very short hairpins. Use @code{minimum-length}
2705 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2709 \override Voice.Hairpin #'minimum-length = #5
2715 Hairpins may be printed with a circled tip (al niente notation) by
2716 setting the @code{circled-tip} property,
2718 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
2719 \override Hairpin #'circled-tip = ##t
2729 You can also use text saying @emph{cresc.} instead of hairpins
2731 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
2742 You can also supply your own texts
2743 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2744 \set crescendoText = \markup { \italic "cresc. poco" }
2745 \set crescendoSpanner = #'dashed-line
2749 To create new dynamic marks or text that should be aligned
2750 with dynamics, see @ref{New dynamic marks}.
2755 Dynamics that occur at, begin on, or end on, the same note
2756 will be vertically aligned. If you want to ensure that dynamics
2757 are aligned when they do not occur on the same note, you can
2758 increase the @code{staff-padding} property.
2761 \override DynamicLineSpanner #'staff-padding = #4
2764 You may also use this property if the dynamics are colliding
2765 with other notation.
2767 Crescendi and decrescendi that end on the first note of a
2768 new line are not printed. To change this behavior, use
2771 \override Score.Hairpin #'after-line-breaking = ##t
2774 Text style dynamic changes (such as @emph{cresc.} and @emph{dim.})
2776 dashed line showing their extent. To surpress printing this line, use
2779 \override DynamicTextSpanner #'dash-period = #-1.0
2785 @funindex \dynamicUp
2787 @funindex \dynamicDown
2788 @code{\dynamicDown},
2789 @funindex \dynamicNeutral
2790 @code{\dynamicNeutral}.
2795 Program reference: @internalsref{DynamicText}, @internalsref{Hairpin}.
2796 Vertical positioning of these symbols is handled by
2797 @internalsref{DynamicLineSpanner}.
2801 @subsection Breath marks
2803 Breath marks are entered using @code{\breathe}
2805 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2812 The glyph of the breath mark can be tuned by overriding the
2813 @code{text} property of the @code{BreathingSign} layout object with
2814 any markup text. For example,
2815 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
2817 \override BreathingSign #'text
2818 = #(make-musicglyph-markup "scripts.rvarcomma")
2825 Program reference: @internalsref{BreathingSign}.
2827 Examples: @inputfileref{input/@/regression,breathing@/-sign@/.ly}.
2833 Short trills are printed like normal articulation; see @ref{Articulations}.
2835 Long running trills are made with @code{\startTrillSpan} and
2836 @code{\stopTrillSpan},
2838 @lilypond[verbatim,ragged-right,relative=2,quote,fragment]
2840 << { c1 \startTrillSpan }
2841 { s2. \grace { d16[\stopTrillSpan e] } } >>
2845 @cindex Pitched trills
2847 Trills that should be executed on an explicitly specified pitch can be
2848 typeset with the command @code{pitchedTrill},
2850 @lilypond[ragged-right,verbatim,fragment,relative=1,quote]
2851 \pitchedTrill c4\startTrillSpan fis
2855 The first argument is the main note. The pitch of the second
2856 is printed as a stemless note head in parentheses.
2861 @code{\startTrillSpan},
2862 @funindex \startTrillSpan
2863 @code{\stopTrillSpan}.
2864 @funindex \stopTrillSpan
2869 Program reference: @internalsref{TrillSpanner}.
2873 @subsection Glissando
2876 @funindex \glissando
2878 A glissando is a smooth change in pitch. It is denoted by a line or a
2879 wavy line between two notes. It is requested by attaching
2880 @code{\glissando} to a note
2882 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
2884 \override Glissando #'style = #'zigzag
2891 Program reference: @internalsref{Glissando}.
2893 Example files: @file{input/@/regression/@/glissando@/.ly}.
2898 Printing text over the line (such as @emph{gliss.}) is not supported.
2902 @subsection Arpeggio
2905 @cindex broken chord
2908 You can specify an arpeggio sign (also known as broken chord) on a
2909 chord by attaching an @code{\arpeggio} to a chord
2911 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2915 A square bracket on the left indicates that the player should not
2916 arpeggiate the chord
2918 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2923 The direction of the arpeggio is sometimes denoted by adding an
2924 arrowhead to the wiggly line
2926 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2938 When an arpeggio crosses staves, you may attach an arpeggio to the chords
2939 in both staves and set
2940 @internalsref{PianoStaff}.@code{connectArpeggios}
2942 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2944 \set PianoStaff.connectArpeggios = ##t
2945 \new Staff { <c' e g c>\arpeggio }
2946 \new Staff { \clef bass <c,, e g>\arpeggio }
2954 @funindex \arpeggioUp
2956 @funindex \arpeggioDown
2957 @code{\arpeggioDown},
2958 @funindex \arpeggioNeutral
2959 @code{\arpeggioNeutral},
2960 @funindex \arpeggioBracket
2961 @code{\arpeggioBracket}.
2966 Notation manual: @ref{Ties}, for writing out arpeggios.
2968 Program reference: @internalsref{Arpeggio}.
2973 It is not possible to mix connected arpeggios and unconnected
2974 arpeggios in one @internalsref{PianoStaff} at the same point in time.
2977 @node Falls and doits
2978 @subsection Falls and doits
2980 Falls and doits can be added to notes using the @code{\bendAfter}
2983 @lilypond[fragment,ragged-right,relative=2]
2984 \override Score.SpacingSpanner #'shortest-duration-space = #3.0
2993 Repetition is a central concept in music, and multiple notations exist
2999 * Repeats and MIDI::
3000 * Manual repeat commands::
3002 * Tremolo subdivisions::
3008 @subsection Repeat types
3013 The following types of repetition are supported
3017 Repeated music is fully written (played) out. This is useful when
3018 entering repetitious music. This is the only kind of repeat that
3019 is included in MIDI output.
3022 Repeats are not written out, but alternative endings (volte) are
3023 printed, left to right with brackets. This is the standard notation
3024 for repeats with alternatives. These are not played in MIDI output by
3029 Make tremolo beams. These are not played in MIDI output by default.
3032 Make beat or measure repeats. These look like percent signs. These
3033 are not played in MIDI output by default. Percent repeats must be
3034 declared within a @code{Voice} context.
3040 @subsection Repeat syntax
3044 @cindex seconda volta
3046 LilyPond has one syntactic construct for specifying different types of
3047 repeats. The syntax is
3050 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
3053 If you have alternative endings, you may add
3054 @funindex \alternative
3065 where each @var{alternative} is a music expression. If you do not
3066 give enough alternatives for all of the repeats, the first alternative
3067 is assumed to be played more than once.
3069 Standard repeats are used like this
3071 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
3073 \repeat volta 2 { c4 d e f }
3074 \repeat volta 2 { f e d c }
3077 With alternative endings
3079 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
3081 \repeat volta 2 {c4 d e f}
3082 \alternative { {d2 d} {f f,} }
3085 In the following example, the first ending is not a complete
3086 bar (it only had 3 beats). The beginning of the second ending
3087 contains the 4th beat from the first ending. This ``extra''
3088 beat in the second ending is due to the first time ending,
3089 and has nothing to do with the @code{\partial} at the
3090 beginning of the example.
3092 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
3095 \repeat volta 4 { e | c2 d2 | e2 f2 | }
3096 \alternative { { g4 g g } { a | a a a a | b2. } }
3100 @funindex \repeatTie
3102 Ties may be added to a second ending,
3104 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
3106 \repeat volta 2 {c4 d e f ~ }
3107 \alternative { {f2 d} {f\repeatTie f,} }
3110 It is possible to shorten volta brackets
3111 by setting @code{voltaSpannerDuration}. In the next example, the
3112 bracket only lasts one measure, which is a duration of 3/4.
3114 @lilypond[verbatim,ragged-right,quote]
3118 \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4)
3119 \repeat "volta" 5 { d d d }
3120 \alternative { { e e e f f f }
3130 Brackets for the repeat are normally only printed over the topmost
3131 staff. This can be adjusted by setting the @code{voltaOnThisStaff}
3132 property; see @inputfileref{input/@/regression,volta@/-multi@/-staff@/.ly}.
3137 @cindex repeat, ambiguous
3139 A nested repeat like
3148 is ambiguous, since it is is not clear to which @code{\repeat} the
3149 @code{\alternative} belongs. This ambiguity is resolved by always
3150 having the @code{\alternative} belong to the inner @code{\repeat}.
3151 For clarity, it is advisable to use braces in such situations.
3153 Timing information is not remembered at the start of an alternative,
3154 so after a repeat timing information must be reset by hand; for
3155 example, by setting @code{Score.measurePosition} or entering
3156 @code{\partial}. Similarly, slurs or ties are also not repeated.
3158 Volta brackets are not vertically aligned.
3161 @node Repeats and MIDI
3162 @subsection Repeats and MIDI
3164 @cindex expanding repeats
3165 @funindex \unfoldRepeats
3167 With a little bit of tweaking, all types of repeats can be present
3168 in the MIDI output. This is achieved by applying the
3169 @code{\unfoldRepeats} music function. This function changes all
3170 repeats to unfold repeats.
3172 @lilypond[quote,verbatim,fragment,line-width=8.0\cm]
3174 \repeat tremolo 8 {c'32 e' }
3175 \repeat percent 2 { c''8 d'' }
3176 \repeat volta 2 {c'4 d' e' f'}
3185 When creating a score file using @code{\unfoldRepeats} for MIDI,
3186 it is necessary to make two @code{\score} blocks: one for MIDI (with
3187 unfolded repeats) and one for notation (with volta, tremolo, and
3188 percent repeats). For example,
3196 \unfoldRepeats @var{..music..}
3202 @node Manual repeat commands
3203 @subsection Manual repeat commands
3205 @funindex repeatCommands
3207 The property @code{repeatCommands} can be used to control the layout of
3208 repeats. Its value is a Scheme list of repeat commands.
3211 @item @code{start-repeat}
3212 Print a @code{|:} bar line.
3214 @item @code{end-repeat}
3215 Print a @code{:|} bar line.
3217 @item @code{(volta @var{text})}
3218 Print a volta bracket saying @var{text}: The text can be specified as
3219 a text string or as a markup text, see @ref{Text markup}. Do not
3220 forget to change the font, as the default number font does not contain
3221 alphabetic characters;
3223 @item @code{(volta #f)}
3224 Stop a running volta bracket.
3227 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
3229 \set Score.repeatCommands = #'((volta "93") end-repeat)
3231 \set Score.repeatCommands = #'((volta #f))
3238 Program reference: @internalsref{VoltaBracket},
3239 @internalsref{RepeatedMusic},
3240 @internalsref{VoltaRepeatedMusic},
3241 @internalsref{UnfoldedRepeatedMusic}, and
3242 @internalsref{FoldedRepeatedMusic}.
3245 @node Tremolo repeats
3246 @subsection Tremolo repeats
3248 @cindex tremolo beams
3250 To place tremolo marks between notes, use @code{\repeat} with tremolo
3252 @lilypond[quote,verbatim,ragged-right]
3253 \new Voice \relative c' {
3254 \repeat "tremolo" 8 { c16 d16 }
3255 \repeat "tremolo" 4 { c16 d16 }
3256 \repeat "tremolo" 2 { c16 d16 }
3260 Tremolo marks can also be put on a single note. In this case, the
3261 note should not be surrounded by braces.
3262 @lilypond[quote,verbatim,ragged-right]
3263 \repeat "tremolo" 4 c'16
3266 Similar output is obtained using the tremolo subdivision, described in
3267 @ref{Tremolo subdivisions}.
3272 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
3274 Program reference: @internalsref{Beam}, @internalsref{StemTremolo}.
3276 Example files: @inputfileref{input/@/regression,chord@/-tremolo@/.ly},
3277 @inputfileref{input/@/regression,stem@/-tremolo@/.ly}.
3280 @node Tremolo subdivisions
3281 @subsection Tremolo subdivisions
3283 @cindex tremolo marks
3284 @funindex tremoloFlags
3286 Tremolo marks can be printed on a single note by adding
3287 `@code{:}[@var{number}]' after the note. The number indicates the
3288 duration of the subdivision, and it must be at least 8. A
3289 @var{length} value of 8 gives one line across the note stem. If the
3290 length is omitted, the last value (stored in @code{tremoloFlags}) is
3293 @lilypond[quote,ragged-right,verbatim,fragment]
3294 c'2:8 c':32 | c': c': |
3300 Tremolos entered in this way do not carry over into the MIDI output.
3305 In this manual: @ref{Tremolo repeats}.
3307 Elsewhere: @internalsref{StemTremolo}.
3310 @node Measure repeats
3311 @subsection Measure repeats
3313 @cindex percent repeats
3314 @cindex measure repeats
3316 In the @code{percent} style, a note pattern can be repeated. It is
3317 printed once, and then the pattern is replaced with a special sign.
3318 Patterns of one and two measures are replaced by percent-like signs,
3319 patterns that divide the measure length are replaced by slashes.
3320 Percent repeats must be declared within a @code{Voice} context.
3322 @lilypond[quote,verbatim,ragged-right]
3323 \new Voice \relative c' {
3324 \repeat "percent" 4 { c4 }
3325 \repeat "percent" 2 { c2 es2 f4 fis4 g4 c4 }
3329 Measure repeats of more than 2 measures get a counter, if you switch
3330 on the @code{countPercentRepeats} property,
3332 @lilypond[relative=2,fragment,quote,verbatim,ragged-right]
3334 \set countPercentRepeats = ##t
3335 \repeat "percent" 4 { c1 }
3341 Isolated percents can also be printed. This is done by putting a
3342 multi-measure rest with a different print function,
3344 @lilypond[fragment,verbatim,quote]
3345 \override MultiMeasureRest #'stencil
3346 = #ly:multi-measure-rest::percent
3355 Program reference: @internalsref{RepeatSlash},
3356 @internalsref{PercentRepeat}, @internalsref{DoublePercentRepeat},
3357 @internalsref{DoublePercentRepeatCounter},
3358 @internalsref{PercentRepeatCounter},
3359 @internalsref{PercentRepeatedMusic}.