Split Expressive marks.

[lilypond.git] / Documentation / user / basic-notation.itely

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@c A menu is needed before every deeper *section nesting of @node's; run
@c     M-x texinfo-all-menus-update
@c to automatically fill in these menus before saving changes

@node Basic notation
@chapter Basic notation

This chapter explains how to use basic notation features.

@menu
* Polyphony::                   
* Staff notation::              
* Connecting notes::            
* Expressive marks old::        
* Repeats::                     
@end menu



@node Polyphony
@section Polyphony

Polyphony in music refers to having more than one voice occurring in
a piece of music.  Polyphony in LilyPond refers to having more than
one voice on the same staff.

@menu
* Chords::                      
* Stems::                       
* Basic polyphony::             
* Explicitly instantiating voices::  
* Collision Resolution::        
@end menu


@anchor{Chords}
@unnumberedsubsubsec Chords

@cindex Chords

A chord is formed by a enclosing a set of pitches between @code{<}
and @code{>}.  A chord may be followed by a duration, and a set of
articulations, just like simple notes

@lilypond[verbatim,ragged-right,fragment,quote,relative=1]
<c e g>4 <c>8
@end lilypond

For more information about chords, see @ref{Chord names}.


@c  I don't like having this here, but I can't think of
@c  anywhere else to put it.  :(   -gp
@anchor{Stems}
@unnumberedsubsubsec Stems

Whenever a note is found, a @internalsref{Stem} object is created
automatically.  For whole notes and rests, they are also created but
made invisible.

@refcommands

@funindex \stemUp
@code{\stemUp},
@funindex \stemDown
@code{\stemDown},
@funindex \stemNeutral
@code{\stemNeutral}.


@commonprop

To change the direction of stems in the middle of the staff, use

@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
a4 b c b
\override Stem #'neutral-direction = #up
a4 b c b
\override Stem #'neutral-direction = #down
a4 b c b
@end lilypond


@anchor{Basic polyphony}
@unnumberedsubsubsec Basic polyphony

@cindex polyphony

The easiest way to enter fragments with more than one voice on a staff
is to enter each voice as a sequence (with @code{@{...@}}), and combine
them simultaneously, separating the voices with @code{\\}

@funindex \\

@lilypond[quote,verbatim,fragment]
\new Staff \relative c' {
  c16 d e f
  <<
    { g4 f e | d2 e2 } \\
    { r8 e4 d c8 ~ | c b16 a b8 g ~ g2 } \\
    { s2. | s4 b4 c2 }
  >>
}
@end lilypond

The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
voices are sometimes called @q{layers} in other notation packages}
@cindex layers
to be instantiated.  They bear the names @code{"1"}, @code{"2"}, etc.  In
each of these contexts, vertical direction of slurs, stems, etc., is set
appropriately.

These voices are all separate from the voice that contains the notes just
outside the @code{<< \\ >>} construct.  This should be noted when making
changes at the voice level.  This also means that slurs and ties cannot go
into or out of a @code{<< \\ >>} construct.  Conversely, parallel voices
from separate @code{<< \\ >>} constructs on the same staff are the
same voice.  Here is the same example, with different noteheads and
colors for each
voice.  Note that the change to the note-head style in the main voice does
not affect
the inside of the @code{<< \\ >>} constructs.  Also, the change to the
second
voice in the first @code{<< \\ >>} construct is effective in the second
@code{<< \\ >>}, and the voice is tied across the two constructs.

@cindex note heads, styles

@lilypond[quote,verbatim,fragment]
\new Staff \relative c' {
  \override NoteHead #'style = #'cross
  \override NoteHead #'color = #red
  c16 d e f
  <<
    { g4 f e } \\
    { \override NoteHead #'style = #'triangle
      \override NoteHead #'color = #blue
    r8 e4 d c8 ~ }
  >> |
  <<
    { d2 e2 } \\
    { c8 b16 a b8 g ~ g2 } \\
    { \override NoteHead #'style = #'slash 
      \override NoteHead #'color = #green
      s4 b4 c2 }
  >>
}
@end lilypond

Polyphony does not change the relationship of notes within a
@code{\relative @{ @}} block.  Each note is calculated relative
to the note immediately preceding it.

@example
\relative @{ noteA << noteB \\ noteC >> noteD @}
@end example

@code{noteC} is relative to @code{noteB}, not @code{noteA};
@code{noteD} is relative to @code{noteC}, not @code{noteB} or
@code{noteA}.


@anchor{Explicitly instantiating voices}
@unnumberedsubsubsec Explicitly instantiating voices

@internalsref{Voice} contexts can also be instantiated manually
inside a @code{<< >>} block to create polyphonic music, using
@code{\voiceOne}, up to @code{\voiceFour} to assign stem directions
and a horizontal shift for each part.

Specifically,
@example
<< \upper \\ \lower >>
@end example

@noindent
is equivalent to

@example
<<
  \new Voice = "1" @{ \voiceOne \upper @}
  \new Voice = "2" @{ \voiceTwo \lower @}
>>
@end example

The @code{\voiceXXX} commands set the direction of stems, slurs, ties,
articulations, text annotations, augmentation dots of dotted
notes, and fingerings.  @code{\voiceOne} and @code{\voiceThree} make
these objects point upwards, while @code{\voiceTwo} and @code{\voiceFour}
make them point downwards.
The command @code{\oneVoice} will revert back to the normal setting.

An expression that appears directly inside a @code{<< >>} belongs to
the main voice.  This is useful when extra voices appear while the main
voice is playing.  Here is a more correct rendition of the example from
the previous section.  The crossed colored noteheads demonstrate that the main
melody is now in a single voice context.

@lilypond[quote,ragged-right,verbatim]
\new Staff \relative c' {
  \override NoteHead #'style = #'cross
  \override NoteHead #'color = #red
  c16 d e f
  \voiceOne
  <<
    { g4 f e | d2 e2 }
    \new Voice="1" { \voiceTwo
      r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
      \oneVoice
    }
    \new Voice { \voiceThree
      s2. | s4 b4 c2
      \oneVoice
    }
  >>
  \oneVoice
}
@end lilypond

The correct definition of the voices allows the melody to be slurred.
@lilypond[quote,ragged-right,verbatim]
\new Staff \relative c' {
  c16^( d e f
  \voiceOne
  <<
    { g4 f e | d2 e2) }
    \context Voice="1" { \voiceTwo
      r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
      \oneVoice
    }
    \new Voice { \voiceThree
      s2. s4 b4 c2
      \oneVoice
    }
  >>
  \oneVoice
}
@end lilypond

Avoiding the @code{\\} separator also allows nesting polyphony
constructs, which in some case might be a more natural way to typeset
the music.

@lilypond[quote,ragged-right,verbatim]
\new Staff \relative c' {
  c16^( d e f
  \voiceOne
  <<
    { g4 f e | d2 e2) }
    \context Voice="1" { \voiceTwo
      r8 e4 d c8 ~ |
      <<
        {c8 b16 a b8 g ~ g2}
        \new Voice { \voiceThree
          s4 b4 c2
          \oneVoice
        }
      >>
    \oneVoice
    }
  >>
  \oneVoice
}
@end lilypond

In some instances of complex polyphonic music, you may need additional
voices to avoid collisions between notes.  Additional voices are added
by defining an identifier, as shown below:

@lilypond[quote,verbatim,ragged-right,relative=2]
voiceFive = #(context-spec-music (make-voice-props-set 4) 'Voice)

\relative c''' <<
  { \voiceOne g4 ~  \stemDown g32[ f( es d c b a b64 )g] } \\
  { \voiceThree  b4} \\
  { \voiceFive d,} \\
  { \voiceTwo g,}
>>
@end lilypond


@anchor{Collision Resolution}
@unnumberedsubsubsec Collision Resolution

Normally, note heads with a different number of dots are not merged, but
when the object property @code{merge-differently-dotted} is set in
the @internalsref{NoteCollision} object, they are merged:

@lilypond[quote,verbatim,fragment,ragged-right,relative=2]
\new Voice << {
  g8 g8
  \override Staff.NoteCollision
    #'merge-differently-dotted = ##t
  g8 g8
} \\ { g8.[ f16] g8.[ f16] } >>
@end lilypond

Similarly, you can merge half note heads with eighth notes, by setting
@code{merge-differently-headed}:

@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
\new Voice << {
  c8 c4.
  \override Staff.NoteCollision
    #'merge-differently-headed = ##t
c8 c4. } \\ { c2 c2 } >>
@end lilypond

@noindent
@code{merge-differently-headed} and @code{merge-differently-dotted}
only apply to opposing stem directions (ie. Voice 1 & 2).

LilyPond also vertically shifts rests that are opposite of a stem,
for example

@lilypond[quote,ragged-right,fragment,verbatim]
\new Voice << c''4 \\ r4 >>
@end lilypond

If three or more notes line up in the same column,
@code{merge-differently-headed} cannot
successfully complete the merge of the two notes that should be merged.
To allow the merge to work properly, apply a @code{\shift} to the note that
should not be merged.  In the first measure of following example,
@code{merge-differently-headed} does not work (the half-note head is
solid).  In the second measure, @code{\shiftOn} is applied to move the
top @code{g} out of the column, and @code{merge-differently-headed}
works properly.

@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
\override Staff.NoteCollision #'merge-differently-headed = ##t
<<
  { d=''2 g2 } \\
  { \oneVoice d=''8 c8 r4 e,8 c'8 r4 } \\
  { \voiceFour e,,2 e'2}
>>
<<
  { d'=''2 \shiftOn g2 } \\ 
  { \oneVoice d=''8 c8 r4 e,8 c'8 r4 } \\
  { \voiceFour e,,2 e'2}
>>
@end lilypond


@refcommands

@funindex \oneVoice
@code{\oneVoice},
@funindex \voiceOne
@code{\voiceOne},
@funindex \voiceTwo
@code{\voiceTwo},
@funindex \voiceThree
@code{\voiceThree},
@funindex \voiceFour
@code{\voiceFour}.

@funindex \shiftOn
@code{\shiftOn},
@funindex \shiftOnn
@code{\shiftOnn},
@funindex \shiftOnnn
@code{\shiftOnnn},
@funindex \shiftOff
@code{\shiftOff}: these commands specify the
degree to which chords of the current voice should be shifted.
The outer voices (normally: voice one and
two) have @code{\shiftOff}, while the inner voices (three and four)
have @code{\shiftOn}.  @code{\shiftOnn} and @code{\shiftOnnn} define
further shift levels.

When LilyPond cannot cope, the @code{force-hshift}
property of the @internalsref{NoteColumn} object and pitched rests can
be used to override typesetting decisions.

@lilypond[quote,verbatim,ragged-right]
\relative <<
{
  <d g>
  <d g>
} \\ {
  <b f'>
  \once \override NoteColumn #'force-hshift = #1.7
  <b f'>
} >>
@end lilypond


@seealso

Program reference: the objects responsible for resolving collisions are
@internalsref{NoteCollision} and @internalsref{RestCollision}.


@refbugs

When using @code{merge-differently-headed} with an upstem eighth or a
shorter note, and a downstem half note, the eighth note gets the wrong
offset.

There is no support for clusters where the same note occurs with
different accidentals in the same chord.  In this case, it is
recommended to use enharmonic transcription, or to use special cluster
notation (see @ref{Clusters}).



@node Staff notation
@section Staff notation

@cindex Staff notation

This section describes music notation that occurs on staff level,
such as key signatures, clefs and time signatures.

@menu
* Clef::                        
* Key signature::               
* Time signature::              
* Bar lines::                   
* Unmetered music::             
* System start delimiters::     
* Staff symbol::                
* Writing music in parallel::   
@end menu


@anchor{System start delimiters}
@unnumberedsubsubsec System start delimiters

@cindex start of system
@cindex Staff, multiple
@cindex bracket, vertical
@cindex brace, vertical
@cindex grand staff
@cindex staff group
@cindex staff, choir

Many scores consist of more than one staff.  These staves can be
joined in four different ways

@itemize @bullet
@item The group is started with a brace at the left, and bar lines are
connected.  This is done with the @internalsref{GrandStaff} context.

@lilypond[verbatim,ragged-right,quote]
\new GrandStaff
\relative <<
  \new Staff { c1 c }
  \new Staff { c c }
>>
@end lilypond

@item The group is started with a bracket, and bar lines are connected.
This is done with the
@internalsref{StaffGroup} context

@lilypond[verbatim,ragged-right,quote]
\new StaffGroup
\relative <<
  \new Staff { c1 c }
  \new Staff { c c }
>>
@end lilypond

@item The group is started with a bracket, but bar lines are not
connected.  This is done with the @internalsref{ChoirStaff} context.

@lilypond[verbatim,ragged-right,quote]
\new ChoirStaff
\relative <<
  \new Staff { c1 c }
  \new Staff { c c }
>>
@end lilypond

@item The group is started with a vertical line.  Bar lines are not
connected.  This is the default for the score.

@lilypond[verbatim,ragged-right,quote]
\relative <<
  \new Staff { c1 c }
  \new Staff { c c }
>>
@end lilypond
@end itemize


@seealso

The bar lines at the start of each system are
@internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
@internalsref{SystemStartBracket}.  Only one of these types is created
in every context, and that type is determined by the property
@code{systemStartDelimiter}.


@commonprop

System start delimiters may be deeply nested,

@lilypond[quote,ragged-right,verbatim]
\new StaffGroup
\relative <<
  \set StaffGroup.systemStartDelimiterHierarchy
    = #'(SystemStartSquare (SystemStartBracket a (SystemStartSquare b)) d)
  \new Staff { c1 }
  \new Staff { c1 }
  \new Staff { c1 }
  \new Staff { c1 }
  \new Staff { c1 }
>>
@end lilypond


@anchor{Staff symbol}
@unnumberedsubsubsec Staff symbol

@cindex adjusting staff symbol

Notes, dynamic signs, etc., are grouped
with a set of horizontal lines, called a staff (plural @q{staves}).  In
LilyPond, these lines are drawn using a separate layout object called
@code{staff symbol}.

The staff symbol may be tuned in the number, thickness and distance
of lines, using properties.  This is demonstrated in the example files
@lsr{staff,changing-the-number-of-lines-in-a-staff.ly} and
@lsr{staff,changing-the-staff-size.ly}.

In addition, staves may be started and stopped at will. This is done
with @code{\startStaff} and @code{\stopStaff}.

@lilypond[verbatim,relative=2,fragment]
b4 b
\override Staff.StaffSymbol #'line-count = 2
\stopStaff \startStaff
b b
\revert Staff.StaffSymbol #'line-count
\stopStaff \startStaff
b b
@end lilypond

In combination with Frenched staves, this may be used to typeset ossia
sections. An example is shown here

@cindex ossia

@lilypondfile{ossia.ly}

@cindex staff lines, setting number of
@cindex staff lines, setting thickness of
@cindex thickness of staff lines, setting
@cindex number of staff lines, setting

@seealso

Program reference: @internalsref{StaffSymbol}.

Examples: @lsrdir{staff}


@anchor{Writing music in parallel}
@unnumberedsubsubsec Writing music in parallel

@cindex Writing music in parallel
@cindex Interleaved music

Music for multiple parts can be interleaved

@lilypond[quote,fragment,verbatim]
\parallelMusic #'(voiceA voiceB) {
  r8     g'16[ c''] e''[ g' c'' e''] r8     g'16[ c''] e''[ g' c'' e''] |
  c'2                                c'2                                |
  r8     a'16[ d''] f''[ a' d'' f''] r8     a'16[ d''] f''[ a' d'' f''] |
  c'2                                c'2                                |
}
\new StaffGroup <<
  \new Staff \new Voice \voiceA
  \new Staff \new Voice \voiceB
>>
@end lilypond

This works quite well for piano music

@lilypond[quote,verbatim]
music = {
  \key c \major
  \time 4/4
  \parallelMusic #'(voiceA voiceB voiceC voiceD) {
    % Bar 1
    r8  g'16[ c''] e''[ g' c'' e''] r8  g'16[ c''] e''[ g' c''
e''] |
    c'2                                 c'2 |
    r8  a16[ d'] f'[ a d' f']       r8  a16[ d'] f'[ a d' f'] |
    c2                                  c2 |

    % Bar 2
    a'8 b'      c'' d''    e'' f''    g'' a'' |
    d'4         d'         d'         d' |
    c16 d e f   d e f g    e f g a    f g a b |
    a,4         a,4        a,4        a,4 |

    % Bar 3 ...
  }
}

\score {
  \new PianoStaff <<
    \music
    \new Staff <<
      \voiceA \\
      \voiceB
    >>
    \new Staff {
      \clef bass
      <<
        \voiceC \\
        \voiceD
      >>
    }
  >>
}
@end lilypond


@node Connecting notes
@section Connecting notes

This section deals with notation that affects groups of notes.

@menu
* Ties::                        
* Slurs::                       
* Phrasing slurs::              
* Laissez vibrer ties::         
* Automatic beams::             
* Manual beams::                
* Grace notes::                 
@end menu



@node Expressive marks old
@section Expressive marks old

Expressive marks help musicians to bring more to the music than simple
notes and rhythms.

@menu
* Articulations::               
* Fingering instructions::      
* Dynamics::                    
* Breath marks::                
* Trills::                      
* Glissando::                   
* Arpeggio::                    
* Falls and doits::             
@end menu


@anchor{Fingering instructions}
@unnumberedsubsubsec Fingering instructions

@cindex fingering
@cindex finger change

Fingering instructions can be entered using
@example
@var{note}-@var{digit}
@end example
For finger changes, use markup texts

@lilypond[quote,verbatim,ragged-right,fragment,relative=1]
c4-1 c-2 c-3 c-4
c^\markup { \finger "2 - 3" }
@end lilypond

You can use the thumb-script to indicate that a note should be
played with the thumb (e.g., in cello music)
@lilypond[quote,verbatim,ragged-right,fragment,relative=2]
<a_\thumb a'-3>8 <b_\thumb b'-3>
@end lilypond

Fingerings for chords can also be added to individual notes
of the chord by adding them after the pitches
@lilypond[quote,verbatim,ragged-right,fragment,relative=2]
< c-1 e-2 g-3 b-5 >4
@end lilypond


@commonprop

You may exercise greater control over fingering chords by
setting @code{fingeringOrientations}

@lilypond[quote,verbatim,ragged-right,fragment,relative=1]
\set fingeringOrientations = #'(left down)
<c-1 es-2 g-4 bes-5 > 4
\set fingeringOrientations = #'(up right down)
<c-1 es-2 g-4 bes-5 > 4
@end lilypond

Using this feature, it is also possible to put fingering instructions
very close to note heads in monophonic music,

@lilypond[verbatim,ragged-right,quote,fragment]
\set fingeringOrientations = #'(right)
<es'-2>4
@end lilypond


@seealso

Program reference: @internalsref{Fingering}.

Examples: @lsr{expressive,fingering-chords.ly}



@node Repeats
@section Repeats

Repetition is a central concept in music, and multiple notations exist
for repetitions.

@menu
* Repeat types::                
* Repeat syntax::               
* Repeats and MIDI::            
* Manual repeat commands::      
* Tremolo repeats::             
* Tremolo subdivisions::        
* Measure repeats::             
@end menu


@anchor{Repeat types}
@unnumberedsubsubsec Repeat types

@cindex repeats

The following types of repetition are supported

@table @code
@item unfold
Repeated music is fully written (played) out.  This is useful when
entering repetitious music.  This is the only kind of repeat that
is included in MIDI output.

@item volta
Repeats are not written out, but alternative endings (volte) are
printed, left to right with brackets.  This is the standard notation
for repeats with alternatives.  These are not played in MIDI output by
default.


@item tremolo
Make tremolo beams.  These are not played in MIDI output by default.

@item percent
Make beat or measure repeats.  These look like percent signs.  These
are not played in MIDI output by default.  Percent repeats must be
declared within a @code{Voice} context.

@end table


@anchor{Repeat syntax}
@unnumberedsubsubsec Repeat syntax

@cindex volta
@cindex prima volta
@cindex seconda volta
@funindex \repeat

LilyPond has one syntactic construct for specifying different types of
repeats.  The syntax is

@example
\repeat @var{variant} @var{repeatcount} @var{repeatbody}
@end example

If you have alternative endings, you may add
@funindex \alternative
@example
\alternative @{
  @var{alternative1}
  @var{alternative2}
  @var{alternative3}
  @dots{}
@}
@end example

@noindent
where each @var{alternative} is a music expression.  If you do not
give enough alternatives for all of the repeats, the first alternative
is assumed to be played more than once.

Standard repeats are used like this

@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
c1
\repeat volta 2 { c4 d e f }
\repeat volta 2 { f e d c }
@end lilypond

With alternative endings

@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
c1
\repeat volta 2 {c4 d e f}
\alternative { {d2 d} {f f,} }
@end lilypond

Repeats with upbeats may be created.

@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
\new Staff {
  \partial 4 e |
  \repeat volta 4 { c2 d2 | e2 f2 | }
  \alternative { { g4 g g e } { a a a a | b2. } }
}
@end lilypond

@noindent
or

@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
\new Staff {
  \partial 4 
  \repeat volta 4 { e | c2 d2 | e2 f2 | }
  \alternative { { \partial 4*3 g4 g g } { a a a a | b2. } }
}
@end lilypond



@funindex \repeatTie

Ties may be added to a second ending,

@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
c1
\repeat volta 2 {c4 d e f ~ }
\alternative { {f2 d} {f\repeatTie f,} }
@end lilypond

It is possible to shorten volta brackets
by setting @code{voltaSpannerDuration}.  In the next example, the
bracket only lasts one measure, which is a duration of 3/4.

@lilypond[verbatim,ragged-right,quote]
\relative c''{
  \time 3/4
  c c c
  \set Score.voltaSpannerDuration = #(ly:make-moment 3 4)
  \repeat volta 5 { d d d }
  \alternative { { e e e f f f }
  { g g g } }
}
@end lilypond

If you want to start a repeat at the beginning of a line and have a
double bar at the end of the previous line, use
@example
@dots{} \bar "||:" \break 
\repeat volta 2 @{ @dots{} 
@end example
see @ref{Bar lines} for more information.

@seealso

Program reference: @internalsref{VoltaBracket},
@internalsref{RepeatedMusic},
@internalsref{VoltaRepeatedMusic}, and
@internalsref{UnfoldedRepeatedMusic}.

Examples:

Brackets for the repeat are normally only printed over the topmost
staff.  This can be adjusted by moving @code{Volta_engraver} to the
Staff context where you want the brackets to appear;
see @ref{Modifying context plug-ins} and

@lsr{repeats,volta@/-multi@/-staff@/.ly}.


@refbugs

@cindex repeat, ambiguous

A nested repeat like

@example
\repeat @dots{}
\repeat @dots{}
\alternative
@end example

@noindent
is ambiguous, since it is is not clear to which @code{\repeat} the
@code{\alternative} belongs.  This ambiguity is resolved by always
having the @code{\alternative} belong to the inner @code{\repeat}.
For clarity, it is advisable to use braces in such situations.

Timing information is not remembered at the start of an alternative,
so after a repeat timing information must be reset by hand; for
example, by setting @code{Score.measurePosition} or entering
@code{\partial}.  Similarly, slurs or ties are also not repeated.


@anchor{Repeats and MIDI}
@unnumberedsubsubsec Repeats and MIDI

@cindex expanding repeats
@funindex \unfoldRepeats

With a little bit of tweaking, all types of repeats can be present
in the MIDI output.  This is achieved by applying the
@code{\unfoldRepeats} music function.  This function changes all
repeats to unfold repeats.

@lilypond[quote,verbatim,fragment,line-width=8.0\cm]
\unfoldRepeats {
  \repeat tremolo 8 {c'32 e' }
  \repeat percent 2 { c''8 d'' }
  \repeat volta 2 {c'4 d' e' f'}
  \alternative {
    { g' a' a' g' }
    {f' e' d' c' }
  }
}
\bar "|."
@end lilypond

When creating a score file using @code{\unfoldRepeats} for MIDI,
it is necessary to make two @code{\score} blocks: one for MIDI (with
unfolded repeats) and one for notation (with volta, tremolo, and
percent repeats).  For example,

@example
\score @{
  @var{..music..}
  \layout @{ .. @}
@}
\score @{
  \unfoldRepeats @var{..music..}
  \midi @{ .. @}
@}
@end example


@anchor{Manual repeat commands}
@unnumberedsubsubsec Manual repeat commands

@funindex repeatCommands

The property @code{repeatCommands} can be used to control the layout of
repeats.  Its value is a Scheme list of repeat commands.

@table @asis
@item @code{start-repeat}
Print a @code{|:} bar line.

@item @code{end-repeat}
Print a @code{:|} bar line.

@item @code{(volta @var{text})}
Print a volta bracket saying @var{text}: The text can be specified as
a text string or as a markup text, see @ref{Text markup}.  Do not
forget to change the font, as the default number font does not contain
alphabetic characters;

@item @code{(volta #f)}
Stop a running volta bracket.
@end table

@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
c4
  \set Score.repeatCommands = #'((volta "93") end-repeat)
c4 c4
  \set Score.repeatCommands = #'((volta #f))
c4 c4
@end lilypond


@seealso

Program reference: @internalsref{VoltaBracket},
@internalsref{RepeatedMusic},
@internalsref{VoltaRepeatedMusic}, and
@internalsref{UnfoldedRepeatedMusic}.


@anchor{Tremolo repeats}
@unnumberedsubsubsec Tremolo repeats

@cindex tremolo beams

To place tremolo marks between notes, use @code{\repeat} with tremolo
style
@lilypond[quote,verbatim,ragged-right]
\new Voice \relative c' {
  \repeat tremolo 8 { c16 d16 }
  \repeat tremolo 4 { c16 d16 }
  \repeat tremolo 2 { c16 d16 }
}
@end lilypond

Tremolo marks can also be put on a single note.  In this case, the
note should not be surrounded by braces.
@lilypond[quote,verbatim,ragged-right]
\repeat tremolo 4 c'16
@end lilypond

Similar output is obtained using the tremolo subdivision, described in
@ref{Tremolo subdivisions}.


@seealso

In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.

Program reference: @internalsref{Beam}, @internalsref{StemTremolo}.


@anchor{Tremolo subdivisions}
@unnumberedsubsubsec Tremolo subdivisions

@cindex tremolo marks
@funindex tremoloFlags

Tremolo marks can be printed on a single note by adding
@q{@code{:}[@var{number}]} after the note.  The number indicates the
duration of the subdivision, and it must be at least 8.  A
@var{length} value of 8 gives one line across the note stem.  If the
length is omitted, the last value (stored in @code{tremoloFlags}) is
used

@lilypond[quote,ragged-right,verbatim,fragment]
c'2:8 c':32 | c': c': |
@end lilypond


@refbugs

Tremolos entered in this way do not carry over into the MIDI output.


@seealso

In this manual: @ref{Tremolo repeats}.

Elsewhere: @internalsref{StemTremolo}.


@anchor{Measure repeats}
@unnumberedsubsubsec Measure repeats

@cindex percent repeats
@cindex measure repeats

In the @code{percent} style, a note pattern can be repeated.  It is
printed once, and then the pattern is replaced with a special sign.
Patterns of one and two measures are replaced by percent-like signs,
patterns that divide the measure length are replaced by slashes.
Percent repeats must be declared within a @code{Voice} context.

@lilypond[quote,verbatim,ragged-right]
\new Voice \relative c' {
  \repeat percent 4 { c4 }
  \repeat percent 2 { c2 es2 f4 fis4 g4 c4 }
}
@end lilypond

Measure repeats of more than 2 measures get a counter, if you switch
on the @code{countPercentRepeats} property,

@lilypond[relative=2,fragment,quote,verbatim,ragged-right]
\new Voice {
\set countPercentRepeats = ##t
  \repeat percent 4 { c1 }
}
@end lilypond



Isolated percents can also be printed. This is done by putting a
multi-measure rest with a different print function,

@lilypond[fragment,verbatim,quote]
\override MultiMeasureRest #'stencil
  = #ly:multi-measure-rest::percent
R1
@end lilypond




@seealso

Program reference: @internalsref{RepeatSlash},
@internalsref{PercentRepeat}, @internalsref{DoublePercentRepeat},
@internalsref{DoublePercentRepeatCounter},
@internalsref{PercentRepeatCounter},
@internalsref{PercentRepeatedMusic}.