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 } >>
1143 LilyPond also vertically shifts rests that are opposite of a stem,
1146 @lilypond[quote,ragged-right,fragment,verbatim]
1147 \new Voice << c''4 \\ r4 >>
1159 @funindex \voiceThree
1161 @funindex \voiceFour
1168 @funindex \shiftOnnn
1171 @code{\shiftOff}: these commands specify in what chords of the current
1172 voice should be shifted. The outer voices (normally: voice one and
1173 two) have @code{\shiftOff}, while the inner voices (three and four)
1174 have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define
1175 further shift levels.
1177 When LilyPond cannot cope, the @code{force-hshift}
1178 property of the @internalsref{NoteColumn} object and pitched rests can
1179 be used to override typesetting decisions.
1181 @lilypond[quote,verbatim,ragged-right]
1188 \once \override NoteColumn #'force-hshift = #1.7
1196 Program reference: the objects responsible for resolving collisions are
1197 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1200 @inputfileref{input/@/regression,collision@/-dots@/.ly},
1201 @inputfileref{input/@/regression,collision@/-head-chords@/.ly},
1202 @inputfileref{input/@/regression,collision@/-heads@/.ly},
1203 @inputfileref{input/@/regression,collision@/-mesh@/.ly}, and
1204 @inputfileref{input/@/regression,collisions@/.ly}.
1209 When using @code{merge-differently-headed} with an upstem eighth or a
1210 shorter note, and a downstem half note, the eighth note gets the wrong
1213 There is no support for clusters where the same note occurs with
1214 different accidentals in the same chord. In this case, it is
1215 recommended to use enharmonic transcription, or to use special cluster
1216 notation (see @ref{Clusters}).
1220 @node Staff notation
1221 @section Staff notation
1223 @cindex Staff notation
1225 This section describes music notation that occurs on staff level,
1226 such as key signatures, clefs and time signatures.
1232 * Partial measures::
1235 * System start delimiters::
1237 * Writing music in parallel::
1246 The clef indicates which lines of the staff correspond to which
1247 pitches. The clef is set with the @code{\clef} command
1249 @lilypond[quote,ragged-right,fragment,verbatim]
1250 { c''2 \clef alto g'2 }
1259 @cindex soprano clef
1260 @cindex mezzosoprano clef
1261 @cindex baritone clef
1262 @cindex varbaritone clef
1263 @cindex subbass clef
1265 Supported clefs include
1267 @multitable @columnfractions .33 .66
1268 @headitem Clef @tab Position
1269 @item @code{treble}, violin, G, G2 @tab
1271 @item @code{alto, C} @tab
1273 @item @code{tenor} @tab
1275 @item @code{bass, F} @tab
1277 @item @code{french} @tab
1278 G clef on 1st line, so-called French violin clef
1279 @item @code{soprano} @tab
1281 @item @code{mezzosoprano} @tab
1283 @item @code{baritone} @tab
1285 @item @code{varbaritone} @tab
1287 @item @code{subbass} @tab
1289 @item @code{percussion} @tab
1291 @item @code{tab} @tab
1295 By adding @code{_8} or @code{^8} to the clef name, the clef is
1296 transposed one octave down or up, respectively, and @code{_15} and
1297 @code{^15} transposes by two octaves. The argument @var{clefname}
1298 must be enclosed in quotes when it contains underscores or digits. For
1301 @cindex choral tenor clef
1302 @lilypond[quote,ragged-right,verbatim,fragment,relative=1]
1309 The command @code{\clef "treble_8"} is equivalent to setting
1311 @code{clefPosition} (which controls the Y position of the clef),
1312 @code{middleCPosition} and @code{clefOctavation}. A clef is printed
1313 when any of these properties are changed. The following example shows
1314 possibilities when setting properties manually.
1316 @lilypond[quote,ragged-right,verbatim]
1318 \set Staff.clefGlyph = #"clefs.F"
1319 \set Staff.clefPosition = #2
1321 \set Staff.clefGlyph = #"clefs.G"
1323 \set Staff.clefGlyph = #"clefs.C"
1325 \set Staff.clefOctavation = #7
1327 \set Staff.clefOctavation = #0
1328 \set Staff.clefPosition = #0
1332 \set Staff.middleCPosition = #4
1340 Manual: @ref{Grace notes}.
1342 Program reference: @internalsref{Clef}.
1346 @subsection Key signature
1348 @cindex Key signature
1351 The key signature indicates the tonality in which a piece is played. It
1352 is denoted by a set of alterations (flats or sharps) at the start of the
1355 Setting or changing the key signature is done with the @code{\key}
1359 @code{\key} @var{pitch} @var{type}
1368 @funindex \mixolydian
1372 @cindex church modes
1374 Here, @var{type} should be @code{\major} or @code{\minor} to get
1375 @var{pitch}-major or @var{pitch}-minor, respectively. You may also
1376 use the standard mode names (also called ``church modes''): @code{\ionian},
1377 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
1378 @code{\phrygian}, and @code{\dorian}.
1380 This command sets the context property
1381 @code{Staff.keySignature}. Non-standard key signatures
1382 can be specified by setting this property directly.
1384 Accidentals and key signatures often confuse new users, because
1385 unaltered notes get natural signs depending on the key signature. For
1386 more information, see @ref{Accidentals} or @ref{More about pitches}.
1388 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1397 A natural sign is printed to cancel any previous accidentals. This
1398 can be suppressed by setting the @code{Staff.printKeyCancellation}
1401 @lilypond[quote,fragment,ragged-right,fragment,verbatim,relative=2]
1406 \set Staff.printKeyCancellation = ##f
1416 Program reference: @internalsref{KeyCancellation},
1417 @internalsref{KeySignature}.
1420 @node Time signature
1421 @subsection Time signature
1423 @cindex Time signature
1427 Time signature indicates the metrum of a piece: a regular pattern of
1428 strong and weak beats. It is denoted by a fraction at the start of the
1431 The time signature is set with the @code{\time} command
1433 @lilypond[quote,ragged-right,fragment,verbatim]
1434 \time 2/4 c'2 \time 3/4 c'2.
1439 The symbol that is printed can be customized with the @code{style}
1440 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1443 @lilypond[fragment,quote,ragged-right,verbatim]
1446 \override Staff.TimeSignature #'style = #'()
1451 There are many more options for its layout. See @ref{Ancient time
1452 signatures} for more examples.
1454 @code{\time} sets the property @code{timeSignatureFraction},
1455 @code{beatLength} and @code{measureLength} in the @code{Timing}
1456 context, which is normally aliased to @internalsref{Score}. The
1457 property @code{measureLength} determines where bar lines should be
1458 inserted, and how automatic beams should be generated. Changing the
1459 value of @code{timeSignatureFraction} also causes the symbol to be
1462 More options are available through the Scheme function
1463 @code{set-time-signature}. In combination with the
1464 @internalsref{Measure_grouping_engraver}, it will create
1465 @internalsref{MeasureGrouping} signs. Such signs ease reading
1466 rhythmically complex modern music. In the following example, the 9/8
1467 measure is subdivided in 2, 2, 2 and 3. This is passed to
1468 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
1470 @lilypond[quote,ragged-right,verbatim]
1473 #(set-time-signature 9 8 '(2 2 2 3))
1474 g8[ g] d[ d] g[ g] a8[( bes g]) |
1475 #(set-time-signature 5 8 '(3 2))
1481 \consists "Measure_grouping_engraver"
1490 Program reference: @internalsref{TimeSignature}, and
1491 @internalsref{Timing_translator}.
1493 Examples: @inputfileref{input/@/test,compound@/-time@/.ly}.
1498 Automatic beaming does not use the measure grouping specified with
1499 @code{set-time-signature}.
1502 @node Partial measures
1503 @subsection Partial measures
1507 @cindex partial measure
1508 @cindex measure, partial
1509 @cindex shorten measures
1512 Partial measures, such as an anacrusis or upbeat, are entered using the
1514 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1515 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1518 The syntax for this command is
1521 \partial @var{duration}
1524 where @code{duration} is the rhythmic length to be added before
1527 This is internally translated into
1530 \set Timing.measurePosition = -@var{length of duration}
1533 The property @code{measurePosition} contains a rational number
1534 indicating how much of the measure has passed at this point. Note
1535 that this is a negative number; @code{\partial 4} is internally
1536 translated to mean ``there is a quarter note left in the bar''.
1541 This command does not take into account grace notes at the start of
1542 the music. When a piece starts with graces notes in the pickup, then
1543 the @code{\partial} should follow the grace notes
1545 @lilypond[verbatim,quote,ragged-right,relative,fragment]
1552 @code{\partial} is only intended to be used at the beginning of a
1553 piece. If you use it after the beginning, some odd warnings may
1558 @subsection Bar lines
1562 @cindex measure lines
1565 Bar lines delimit measures, but are also used to indicate
1566 repeats. Normally they are inserted automatically. Line
1567 breaks may only happen on bar lines.
1569 Special types of bar lines can be forced with the @code{\bar} command
1571 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1575 The following bar types are available
1577 @lilypondfile[ragged-right,quote]{bar-lines.ly}
1579 In addition, you can specify @code{"||:"}, which is equivalent to
1580 @code{"|:"} except at line breaks, where it gives a double bar line at
1581 the end of the line and a start repeat at the beginning of the next
1584 To allow a line break where there is no visible bar line, use
1591 This will insert an invisible bar line and allow line breaks at this
1592 point (without increasing the bar number counter).
1594 In scores with many staves, a @code{\bar} command in one staff is
1595 automatically applied to all staves. The resulting bar lines are
1596 connected between different staves of a @code{StaffGroup},
1597 @code{PianoStaff}, or @code{ChoirStaff}.
1599 @lilypond[quote,ragged-right,fragment,verbatim]
1607 \new Staff { \clef bass c4 g e g }
1609 \new Staff { \clef bass c2 c2 }
1617 @funindex repeatCommands
1618 @funindex defaultBarType
1620 The command @code{\bar }@var{bartype} is a short cut for doing
1621 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1622 is set to a string, a bar line of that type is created.
1624 A bar line is created whenever the @code{whichBar} property is set.
1625 At the start of a measure it is set to the contents of
1626 @code{Timing.defaultBarType}. The contents of @code{repeatCommands} are
1628 to override default measure bars.
1630 You are encouraged to use @code{\repeat} for repetitions. See
1636 In this manual: @ref{Repeats}, @ref{System start delimiters}.
1638 Program reference: @internalsref{BarLine} (created at
1639 @internalsref{Staff} level), @internalsref{SpanBar} (across staves).
1642 @node Unmetered music
1643 @subsection Unmetered music
1646 @funindex \cadenzaOn
1647 @funindex \cadenzaOff
1649 Bar lines and bar numbers are calculated automatically. For unmetered
1650 music (cadenzas, for example), this is not desirable. To turn off
1651 automatic bar lines and bar numbers, use the commands @code{\cadenzaOn}
1652 and @code{\cadenzaOff}.
1654 @lilypond[verbatim,quote,ragged-right,relative=2,fragment]
1666 LilyPond will only insert line breaks and page breaks at a
1667 barline. Unless the unmetered music ends before the end of
1668 the staff line, you will need to insert
1676 to indicate where breaks can occur.
1679 @node System start delimiters
1680 @subsection System start delimiters
1682 @cindex start of system
1683 @cindex Staff, multiple
1684 @cindex bracket, vertical
1685 @cindex brace, vertical
1688 @cindex staff, choir
1690 Many scores consist of more than one staff. These staves can be
1691 joined in four different ways
1694 @item The group is started with a brace at the left, and bar lines are
1695 connected. This is done with the @internalsref{GrandStaff} context.
1697 @lilypond[verbatim,ragged-right,quote]
1705 @item The group is started with a bracket, and bar lines are connected.
1706 This is done with the
1707 @internalsref{StaffGroup} context
1709 @lilypond[verbatim,ragged-right,quote]
1717 @item The group is started with a bracket, but bar lines are not
1718 connected. This is done with the @internalsref{ChoirStaff} context.
1720 @lilypond[verbatim,ragged-right,quote]
1728 @item The group is started with a vertical line. Bar lines are not
1729 connected. This is the default for the score.
1731 @lilypond[verbatim,ragged-right,quote]
1742 The bar lines at the start of each system are
1743 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1744 @internalsref{SystemStartBracket}. Only one of these types is created
1745 in every context, and that type is determined by the property
1746 @internalsref{systemStartDelimiter}.
1750 @subsection Staff symbol
1752 @cindex adjusting staff symbol
1754 Notes, dynamic signs, etc., are grouped
1755 with a set of horizontal lines, called a staff (plural `staves'). In
1756 LilyPond, these lines are drawn using a separate layout object called
1757 @code{staff symbol}.
1759 The staff symbol may be tuned in the number, thickness and distance
1760 of lines, using properties. This is demonstrated in the example files
1761 @inputfileref{input/@/test,staff@/-lines@/.ly},
1762 @inputfileref{input/@/test,staff@/-size@/.ly}.
1764 In addition, staves may be started and stopped at will. This is done
1765 with @code{\startStaff} and @code{\stopStaff}.
1767 @lilypond[verbatim,relative=2,fragment]
1769 \override Staff.StaffSymbol #'line-count = 2
1770 \stopStaff \startStaff
1772 \revert Staff.StaffSymbol #'line-count
1773 \stopStaff \startStaff
1777 In combination with Frenched staves, this may be used to typeset ossia
1778 sections. An example is shown here
1782 @lilypondfile{ossia.ly}
1784 @cindex staff lines, setting number of
1785 @cindex staff lines, setting thickness of
1786 @cindex thickness of staff lines, setting
1787 @cindex number of staff lines, setting
1791 Program reference: @internalsref{StaffSymbol}.
1793 Examples: @inputfileref{input/@/test,staff@/-lines@/.ly},
1794 @inputfileref{input/@/test@/,ossia.ly},
1795 @inputfileref{input/@/test,staff@/-size@/.ly},
1796 @inputfileref{input/@/regression,staff@/-line@/-positions@/.ly}.
1799 @node Writing music in parallel
1800 @subsection Writing music in parallel
1802 @cindex Writing music in parallel
1803 @cindex Interleaved music
1805 Music for multiple parts can be interleaved
1807 @lilypond[quote,fragment,verbatim]
1808 \parallelMusic #'(voiceA voiceB) {
1809 r8 g'16[ c''] e''[ g' c'' e''] r8 g'16[ c''] e''[ g' c'' e''] |
1811 r8 a'16[ d''] f''[ a' d'' f''] r8 a'16[ d''] f''[ a' d'' f''] |
1815 \new Staff \new Voice \voiceA
1816 \new Staff \new Voice \voiceB
1820 This works quite well for piano music
1822 @lilypond[quote,verbatim]
1826 \parallelMusic #'(voiceA voiceB voiceC voiceD) {
1828 r8 g'16[ c''] e''[ g' c'' e''] r8 g'16[ c''] e''[ g' c''
1831 r8 a16[ d'] f'[ a d' f'] r8 a16[ d'] f'[ a d' f'] |
1835 a'8 b' c'' d'' e'' f'' g'' a'' |
1837 c16 d e f d e f g e f g a f g a b |
1863 @node Connecting notes
1864 @section Connecting notes
1866 This section deals with notation that affects groups of notes.
1872 * Laissez vibrer ties::
1885 A tie connects two adjacent note heads of the same pitch. The tie in
1886 effect extends the length of a note. Ties should not be confused with
1887 slurs, which indicate articulation, or phrasing slurs, which indicate
1888 musical phrasing. A tie is entered using the tilde symbol `@code{~}'
1890 @lilypond[quote,ragged-right,fragment,verbatim]
1891 e' ~ e' <c' e' g'> ~ <c' e' g'>
1894 When a tie is applied to a chord, all note heads whose pitches match
1895 are connected. When no note heads match, no ties will be created. Chords
1896 may be partially tied by placing the tie inside the chord,
1898 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
1899 <c~ e g~ b> <c e g b>
1902 A tie is just a way of extending a note duration, similar to the
1903 augmentation dot. The following example shows two ways of notating
1904 exactly the same concept
1906 @lilypond[quote,fragment,ragged-right]
1907 \time 3/4 c'2. c'2 ~ c'4
1911 Ties are used either when the note crosses a bar line, or when dots
1912 cannot be used to denote the rhythm. When using ties, larger note
1913 values should be aligned to subdivisions of the measure, such as
1915 @lilypond[fragment,quote,ragged-right]
1917 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
1921 If you need to tie a lot of notes over bars, it may be easier to use
1922 automatic note splitting (see @ref{Automatic note splitting}). This
1923 mechanism automatically splits long notes, and ties them across bar
1926 @funindex \repeatTie
1928 When a second alternative of a repeat starts with a tied note, you
1929 have to repeat the tie. This can be achieved with @code{\repeatTie},
1931 @lilypond[fragment,quote,ragged-right,relative=2]
1935 @cindex repeating ties
1936 @cindex volta brackets and ties
1940 Ties are sometimes used to write out arpeggios. In this case, two tied
1941 notes need not be consecutive. This can be achieved by setting the
1942 @code{tieWaitForNote} property to true. The same feature is also useful,
1943 for example, to tie a tremolo to a chord. For example,
1945 @lilypond[fragment,verbatim,relative=1,ragged-right,quote]
1946 \set tieWaitForNote = ##t
1947 \grace { c16[~ e~ g]~ } <c, e g>2
1948 \repeat "tremolo" 8 { c32~ c'~ } <c c,>1
1949 e8~ c~ a~ f~ <e' c a f>2
1952 Ties may be engraved manually by changing the @code{tie-configuration}
1953 property. The first number indicates the distance from the center
1954 of the staff in staff-spaces, and the second number indicates the
1955 direction (1=up, -1=down).
1957 @lilypond[fragment,verbatim,relative=1,ragged-right,quote]
1959 \override TieColumn #'tie-configuration =
1960 #'((0.0 . 1) (-2.0 . 1) (-4.0 . 1))
1972 @funindex \tieNeutral
1974 @funindex \tieDotted
1976 @funindex \tieDashed
1984 In this manual: @ref{Automatic note splitting}.
1986 Program reference: @internalsref{Tie}.
1989 @inputfileref{input/@/regression,tie-arpeggio.ly}
1990 @inputfileref{input/@/regression,tie-manual.ly}
1997 Switching staves when a tie is active will not produce a slanted tie.
1999 Changing clefs or octavations during a tie is not really
2000 well-defined. In these cases, a slur may be preferable.
2008 A slur indicates that notes are to be played bound or
2009 @emph{legato}. They are entered using parentheses
2011 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
2012 f( g a) a8 b( a4 g2 f4)
2016 The direction of a slur can be specified with
2017 @code{\slur@emph{DIR}}, where @code{@emph{DIR}} is
2018 either @code{Up}, @code{Down}, or @code{Neutral} (automatically
2021 However, there is a convenient shorthand for forcing slur
2022 directions. By adding @code{_} or @code{^} before the opening
2023 parentheses, the direction is also set. For example,
2025 @lilypond[relative=2,ragged-right,quote,verbatim,fragment]
2029 Only one slur can be printed at once. If you need to print a long
2030 slur over a few small slurs, please see @ref{Phrasing slurs}.
2035 Some composers write two slurs when they want legato chords. This can
2036 be achieved in LilyPond by setting @code{doubleSlurs},
2038 @lilypond[verbatim,ragged-right,relative,fragment,quote]
2039 \set doubleSlurs = ##t
2040 <c e>4 ( <d f> <c e> <d f> )
2050 @funindex \slurNeutral
2051 @code{\slurNeutral},
2052 @funindex \slurDashed
2054 @funindex \slurDotted
2056 @funindex \slurSolid
2061 Program reference: @seeinternals{Slur}.
2064 @node Phrasing slurs
2065 @subsection Phrasing slurs
2067 @cindex phrasing slurs
2068 @cindex phrasing marks
2070 A phrasing slur (or phrasing mark) connects notes and is used to
2071 indicate a musical sentence. It is written using @code{\(} and @code{\)}
2074 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
2075 \time 6/4 c'\( d( e) f( e) d\)
2078 Typographically, the phrasing slur behaves almost exactly like a
2079 normal slur. However, they are treated as different objects. A
2080 @code{\slurUp} will have no effect on a phrasing slur; instead, use
2081 @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
2082 @code{\phrasingSlurNeutral}.
2084 You cannot have simultaneous phrasing slurs.
2089 @funindex \phrasingSlurUp
2090 @code{\phrasingSlurUp},
2091 @funindex \phrasingSlurDown
2092 @code{\phrasingSlurDown},
2093 @funindex \phrasingSlurNeutral
2094 @code{\phrasingSlurNeutral}.
2099 Program reference: @internalsref{PhrasingSlur}.
2102 @node Laissez vibrer ties
2103 @subsection Laissez vibrer ties
2104 @cindex Laissez vibrer
2105 @cindex Ties, laissez vibrer
2107 L.v. ties (laissez vibrer) indicate that notes must not be damped at the
2108 end. It is used in notation for piano, harp and other string and
2109 percussion instruments. They can be entered using @code{\laissezVibrer},
2111 @lilypond[fragment,ragged-right,verbatim,relative=1]
2112 <c f g>\laissezVibrer
2118 @internalsref{LaissezVibrerTie}
2119 @internalsref{LaissezVibrerTieColumn}
2122 @inputfileref{input/regression,laissez-vibrer-tie.ly}
2125 @node Automatic beams
2126 @subsection Automatic beams
2128 LilyPond inserts beams automatically
2130 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2131 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
2134 When these automatic decisions are not good enough, beaming can be
2135 entered explicitly. It is also possible to define beaming patterns
2136 that differ from the defaults. See @ref{Setting automatic beam behavior}
2139 Individual notes may be marked with @code{\noBeam} to prevent them
2142 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2143 \time 2/4 c8 c\noBeam c c
2149 Program reference: @internalsref{Beam}.
2153 @subsection Manual beams
2155 @cindex beams, manual
2159 In some cases it may be necessary to override the automatic beaming
2160 algorithm. For example, the autobeamer will not put beams over rests
2161 or bar lines. Such beams are specified manually by marking the begin
2162 and end point with @code{[} and @code{]}
2164 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2166 r4 r8[ g' a r8] r8 g[ | a] r8
2173 @funindex stemLeftBeamCount
2174 @funindex stemRightBeamCount
2176 Normally, beaming patterns within a beam are determined automatically.
2177 If necessary, the properties @code{stemLeftBeamCount} and
2178 @code{stemRightBeamCount} can be used to override the defaults. If
2179 either property is set, its value will be used only once, and then it
2182 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2187 \set stemLeftBeamCount = #1
2192 The property @code{subdivideBeams} can be set in order to subdivide
2193 all 16th or shorter beams at beat positions, as defined by the
2194 @code{beatLength} property.
2196 @lilypond[fragment,quote,relative=2,verbatim]
2198 \set subdivideBeams = ##t
2200 \set Score.beatLength = #(ly:make-moment 1 8)
2203 @funindex subdivideBeams
2206 For more information about @code{make-moment}, see
2207 @ref{Time administration}.
2209 Line breaks are normally forbidden when beams cross bar lines. This
2210 behavior can be changed by setting @code{allowBeamBreak}.
2212 @funindex allowBeamBreak
2213 @cindex beams and line breaks
2214 @cindex beams, kneed
2216 @cindex auto-knee-gap
2221 Kneed beams are inserted automatically when a large gap is detected
2222 between the note heads. This behavior can be tuned through the object.
2224 Automatically kneed cross-staff beams cannot be used together with
2225 hidden staves. See @ref{Hiding staves}.
2227 Beams do not avoid collisions with symbols around the notes, such as
2228 texts and accidentals.
2232 @subsection Grace notes
2237 @cindex appoggiatura
2238 @cindex acciaccatura
2240 Grace notes are ornaments that are written out. The most common ones
2241 are acciaccatura, which should be played as very short. It is denoted
2242 by a slurred small note with a slashed stem. The appoggiatura is a
2243 grace note that takes a fixed fraction of the main note, and is
2244 denoted as a slurred note in small print without a slash. They
2245 are entered with the commands @code{\acciaccatura} and
2246 @code{\appoggiatura}, as demonstrated in the following example
2248 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2249 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2250 \acciaccatura { g16[ f] } e4
2253 Both are special forms of the @code{\grace} command. By prefixing this
2254 keyword to a music expression, a new one is formed, which will be
2255 printed in a smaller font and takes up no logical time in a measure.
2257 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2259 \grace { c16[ d16] } c2 c4
2263 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2264 @code{\grace} command does not start a slur.
2266 Internally, timing for grace notes is done using a second, `grace'
2267 timing. Every point in time consists of two rational numbers: one
2268 denotes the logical time, one denotes the grace timing. The above
2269 example is shown here with timing tuples
2271 @lilypond[quote,ragged-right]
2274 c4 \grace c16 c4 \grace {
2277 \new Lyrics \lyricmode {
2278 \override LyricText #'font-family = #'typewriter
2282 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2283 \markup { (\fraction 1 4 , 0 ) } 4
2285 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2286 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2288 \markup { ( \fraction 2 4 , 0 ) }
2293 The placement of grace notes is synchronized between different staves.
2294 In the following example, there are two sixteenth grace notes for
2295 every eighth grace note
2297 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2298 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2299 \new Staff { c4 \grace { g8[ b] } c4 } >>
2302 @funindex \afterGrace
2304 If you want to end a note with a grace, use the @code{\afterGrace}
2305 command. It takes two arguments: the main note, and the grace notes
2306 following the main note.
2308 @lilypond[ragged-right, verbatim,relative=2,fragment]
2309 c1 \afterGrace d1 { c16[ d] } c4
2312 This will put the grace notes after a ``space'' lasting 3/4 of the
2313 length of the main note. The fraction 3/4 can be changed by setting
2314 @code{afterGraceFraction}, ie.
2317 afterGraceFraction = #(cons 7 8)
2321 will put the grace note at 7/8 of the main note.
2323 The same effect can be achieved manually by doing
2325 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2328 { s2 \grace { c16[ d] } } >>
2334 By adjusting the duration of the skip note (here it is a half-note),
2335 the space between the main-note and the grace is adjusted.
2337 A @code{\grace} section will introduce special typesetting settings,
2338 for example, to produce smaller type, and set directions. Hence, when
2339 introducing layout tweaks, they should be inside the grace section,
2342 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2354 The overrides should also be reverted inside the grace section.
2356 The layout of grace sections can be changed throughout the music using
2357 the function @code{add-grace-property}. The following example
2358 undefines the @code{Stem} direction for this grace, so
2359 that stems do not always point up.
2363 #(add-grace-property 'Voice 'Stem 'direction '())
2369 Another option is to change the variables @code{startGraceMusic},
2370 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2371 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2372 @code{stopAppoggiaturaMusic}. More information is in the file
2373 @file{ly/@/grace@/-init@/.ly}.
2376 The slash through the stem in acciaccaturas can be obtained
2377 in other situations by @code{\override Stem #'stroke-style = #"grace"}.
2382 Grace notes may be forced to use floating spacing,
2384 @lilypond[relative=2,ragged-right]
2386 \override Score.SpacingSpanner #'strict-grace-spacing = ##t
2395 c'16[ c'16 c'16 c'16]
2396 c'16[ c'16 c'16 c'16]
2405 Program reference: @internalsref{GraceMusic}.
2410 A score that starts with a @code{\grace} section needs an explicit
2411 @code{\new Voice} declaration, otherwise the main note and the grace
2412 note end up on different staves.
2414 Grace note synchronization can also lead to surprises. Staff notation,
2415 such as key signatures, bar lines, etc., are also synchronized. Take
2416 care when you mix staves with grace notes and staves without, for example,
2418 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2419 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2420 \new Staff { c4 \bar "|:" d4 } >>
2424 This can be remedied by inserting grace skips of the corresponding
2425 durations in the other staves. For the above example
2428 \new Staff @{ c4 \bar "|:" \grace s16 d4 @}
2431 Grace sections should only be used within sequential music
2432 expressions. Nesting or juxtaposing grace sections is not supported,
2433 and might produce crashes or other errors.
2437 @node Expressive marks
2438 @section Expressive marks
2440 Expressive marks help musicians to bring more to the music than simple
2445 * Fingering instructions::
2456 @subsection Articulations
2458 @cindex Articulations
2462 A variety of symbols can appear above and below notes to indicate
2463 different characteristics of the performance. They are added to a note
2464 by adding a dash and the character signifying the
2465 articulation. They are demonstrated here
2467 @lilypondfile[quote,ragged-right]{script-abbreviations.ly}
2469 The meanings of these shorthands can be changed. See
2470 @file{ly/@/script@/-init@/.ly} for examples.
2472 The script is automatically placed, but the direction can be forced as
2473 well. Like other pieces of LilyPond code, @code{_} will place them
2474 below the staff, and @code{^} will place them above.
2476 @lilypond[quote,ragged-right,fragment,verbatim]
2480 Other symbols can be added using the syntax
2481 @var{note}@code{\}@var{name}. Again, they
2482 can be forced up or down using @code{^} and @code{_},
2485 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
2486 c\fermata c^\fermata c_\fermata
2491 @cindex staccatissimo
2501 @cindex organ pedal marks
2510 @cindex prallmordent
2514 @cindex thumb marking
2519 Here is a chart showing all scripts available,
2521 @lilypondfile[ragged-right,quote]{script-chart.ly}
2526 The vertical ordering of scripts is controlled with the
2527 @code{script-priority} property. The lower this number, the closer it
2528 will be put to the note. In this example, the
2529 @internalsref{TextScript} (the sharp symbol) first has the lowest
2530 priority, so it is put lowest in the first example. In the second, the
2531 prall trill (the @internalsref{Script}) has the lowest, so it is on the
2532 inside. When two objects have the same priority, the order in which
2533 they are entered decides which one comes first.
2535 @lilypond[verbatim,relative=3,ragged-right,fragment,quote]
2536 \once \override TextScript #'script-priority = #-100
2537 a4^\prall^\markup { \sharp }
2539 \once \override Script #'script-priority = #-100
2540 a4^\prall^\markup { \sharp }
2546 Program reference: @internalsref{Script}.
2551 These signs appear in the printed output but have no effect on the
2552 MIDI rendering of the music.
2555 @node Fingering instructions
2556 @subsection Fingering instructions
2559 @cindex finger change
2561 Fingering instructions can be entered using
2563 @var{note}-@var{digit}
2565 For finger changes, use markup texts
2567 @lilypond[quote,verbatim,ragged-right,fragment,relative=1]
2569 c^\markup { \finger "2 - 3" }
2572 You can use the thumb-script to indicate that a note should be
2573 played with the thumb (e.g., in cello music)
2574 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
2575 <a_\thumb a'-3>8 <b_\thumb b'-3>
2578 Fingerings for chords can also be added to individual notes
2579 of the chord by adding them after the pitches
2580 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
2581 < c-1 e-2 g-3 b-5 >4
2587 You may exercise greater control over fingering chords by
2588 setting @code{fingeringOrientations}
2590 @lilypond[quote,verbatim,ragged-right,fragment,relative=1]
2591 \set fingeringOrientations = #'(left down)
2592 <c-1 es-2 g-4 bes-5 > 4
2593 \set fingeringOrientations = #'(up right down)
2594 <c-1 es-2 g-4 bes-5 > 4
2597 Using this feature, it is also possible to put fingering instructions
2598 very close to note heads in monophonic music,
2600 @lilypond[verbatim,ragged-right,quote,fragment]
2601 \set fingeringOrientations = #'(right)
2608 Program reference: @internalsref{Fingering}.
2610 Examples: @inputfileref{input/@/regression,finger@/-chords@/.ly}.
2614 @subsection Dynamics
2635 Absolute dynamic marks are specified using a command after a note
2636 @code{c4\ff}. The available dynamic marks are @code{\ppppp},
2637 @code{\pppp}, @code{\ppp},
2638 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2639 @code{\fff}, @code{\ffff}, @code{\fp}, @code{\sf}, @code{\sff},
2640 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
2642 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
2643 c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2644 c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
2651 A crescendo mark is started with @code{\<} and terminated with
2652 @code{\!} or an absolute dynamic. A decrescendo is started with
2653 @code{\>} and is also terminated with @code{\!} or an absolute
2654 dynamic. @code{\cr} and @code{\decr} may be used instead of
2655 @code{\<} and @code{\>}. Because these marks are bound to notes, you must
2656 use spacer notes if multiple marks are needed during one note
2658 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2660 << f1 { s4 s4\< s4\! \> s4\! } >>
2664 A hairpin normally starts at the left edge of the beginning note
2665 and ends on the right edge of the ending note. If the ending
2666 note falls on the downbeat, the hairpin ends on the immediately
2667 preceding barline. This may be modified by setting the
2668 @code{hairpinToBarline} property,
2670 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2671 \set hairpinToBarline = ##f
2675 In some situations the @code{\espressivo} articulation mark may
2676 be suitable to indicate a crescendo and decrescendo on the one note,
2678 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2679 c2 b4 a g1\espressivo
2682 This may give rise to very short hairpins. Use @code{minimum-length}
2683 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2687 \override Voice.Hairpin #'minimum-length = #5
2693 Hairpins may be printed with a circled tip (al niente notation) by
2694 setting the @code{circled-tip} property,
2696 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
2697 \override Hairpin #'circled-tip = ##t
2707 You can also use text saying @emph{cresc.} instead of hairpins
2709 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
2720 You can also supply your own texts
2721 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2722 \set crescendoText = \markup { \italic "cresc. poco" }
2723 \set crescendoSpanner = #'dashed-line
2727 To create new dynamic marks or text that should be aligned
2728 with dynamics, see @ref{New dynamic marks}.
2733 Dynamics that occur at, begin on, or end on, the same note
2734 will be vertically aligned. If you want to ensure that dynamics
2735 are aligned when they do not occur on the same note, you can
2736 increase the @code{staff-padding} property.
2739 \override DynamicLineSpanner #'staff-padding = #4
2742 You may also use this property if the dynamics are colliding
2743 with other notation.
2745 Crescendi and decrescendi that end on the first note of a
2746 new line are not printed. To change this behavior, use
2749 \override Score.Hairpin #'after-line-breaking = ##t
2752 Text style dynamic changes (such as @emph{cresc.} and @emph{dim.})
2754 dashed line showing their extent. To surpress printing this line, use
2757 \override DynamicTextSpanner #'dash-period = #-1.0
2763 @funindex \dynamicUp
2765 @funindex \dynamicDown
2766 @code{\dynamicDown},
2767 @funindex \dynamicNeutral
2768 @code{\dynamicNeutral}.
2773 Program reference: @internalsref{DynamicText}, @internalsref{Hairpin}.
2774 Vertical positioning of these symbols is handled by
2775 @internalsref{DynamicLineSpanner}.
2779 @subsection Breath marks
2781 Breath marks are entered using @code{\breathe}
2783 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2790 The glyph of the breath mark can be tuned by overriding the
2791 @code{text} property of the @code{BreathingSign} layout object with
2792 any markup text. For example,
2793 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
2795 \override BreathingSign #'text
2796 = #(make-musicglyph-markup "scripts.rvarcomma")
2803 Program reference: @internalsref{BreathingSign}.
2805 Examples: @inputfileref{input/@/regression,breathing@/-sign@/.ly}.
2811 Short trills are printed like normal articulation; see @ref{Articulations}.
2813 Long running trills are made with @code{\startTrillSpan} and
2814 @code{\stopTrillSpan},
2816 @lilypond[verbatim,ragged-right,relative=2,quote,fragment]
2818 << { c1 \startTrillSpan }
2819 { s2. \grace { d16[\stopTrillSpan e] } } >>
2823 @cindex Pitched trills
2825 Trills that should be executed on an explicitly specified pitch can be
2826 typeset with the command @code{pitchedTrill},
2828 @lilypond[ragged-right,verbatim,fragment,relative=1,quote]
2829 \pitchedTrill c4\startTrillSpan fis
2833 The first argument is the main note. The pitch of the second
2834 is printed as a stemless note head in parentheses.
2839 @code{\startTrillSpan},
2840 @funindex \startTrillSpan
2841 @code{\stopTrillSpan}.
2842 @funindex \stopTrillSpan
2847 Program reference: @internalsref{TrillSpanner}.
2851 @subsection Glissando
2854 @funindex \glissando
2856 A glissando is a smooth change in pitch. It is denoted by a line or a
2857 wavy line between two notes. It is requested by attaching
2858 @code{\glissando} to a note
2860 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
2862 \override Glissando #'style = #'zigzag
2869 Program reference: @internalsref{Glissando}.
2871 Example files: @file{input/@/regression/@/glissando@/.ly}.
2876 Printing text over the line (such as @emph{gliss.}) is not supported.
2880 @subsection Arpeggio
2883 @cindex broken chord
2886 You can specify an arpeggio sign (also known as broken chord) on a
2887 chord by attaching an @code{\arpeggio} to a chord
2889 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2893 A square bracket on the left indicates that the player should not
2894 arpeggiate the chord
2896 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2901 The direction of the arpeggio is sometimes denoted by adding an
2902 arrowhead to the wiggly line
2904 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2916 When an arpeggio crosses staves, you may attach an arpeggio to the chords
2917 in both staves and set
2918 @internalsref{PianoStaff}.@code{connectArpeggios}
2920 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2922 \set PianoStaff.connectArpeggios = ##t
2923 \new Staff { <c' e g c>\arpeggio }
2924 \new Staff { \clef bass <c,, e g>\arpeggio }
2932 @funindex \arpeggioUp
2934 @funindex \arpeggioDown
2935 @code{\arpeggioDown},
2936 @funindex \arpeggioNeutral
2937 @code{\arpeggioNeutral},
2938 @funindex \arpeggioBracket
2939 @code{\arpeggioBracket}.
2944 Notation manual: @ref{Ties}, for writing out arpeggios.
2946 Program reference: @internalsref{Arpeggio}.
2951 It is not possible to mix connected arpeggios and unconnected
2952 arpeggios in one @internalsref{PianoStaff} at the same point in time.
2955 @node Falls and doits
2956 @subsection Falls and doits
2958 Falls and doits can be added to notes using the @code{\bendAfter}
2961 @lilypond[fragment,ragged-right,relative=2]
2962 \override Score.SpacingSpanner #'shortest-duration-space = #3.0
2971 Repetition is a central concept in music, and multiple notations exist
2977 * Repeats and MIDI::
2978 * Manual repeat commands::
2980 * Tremolo subdivisions::
2986 @subsection Repeat types
2991 The following types of repetition are supported
2995 Repeated music is fully written (played) out. This is useful when
2996 entering repetitious music. This is the only kind of repeat that
2997 is included in MIDI output.
3000 Repeats are not written out, but alternative endings (volte) are
3001 printed, left to right with brackets. This is the standard notation
3002 for repeats with alternatives. These are not played in MIDI output by
3007 Make tremolo beams. These are not played in MIDI output by default.
3010 Make beat or measure repeats. These look like percent signs. These
3011 are not played in MIDI output by default. Percent repeats must be
3012 declared within a @code{Voice} context.
3018 @subsection Repeat syntax
3020 LilyPond has one syntactic construct for specifying different types of
3021 repeats. The syntax is
3024 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
3027 If you have alternative endings, you may add
3028 @funindex \alternative
3039 where each @var{alternative} is a music expression. If you do not
3040 give enough alternatives for all of the repeats, the first alternative
3041 is assumed to be played more than once.
3043 Standard repeats are used like this
3045 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
3047 \repeat volta 2 { c4 d e f }
3048 \repeat volta 2 { f e d c }
3051 With alternative endings
3053 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
3055 \repeat volta 2 {c4 d e f}
3056 \alternative { {d2 d} {f f,} }
3059 In the following example, the first ending is not a complete
3060 bar (it only had 3 beats). The beginning of the second ending
3061 contains the 4th beat from the first ending. This ``extra''
3062 beat in the second ending is due to the first time ending,
3063 and has nothing to do with the @code{\partial} at the
3064 beginning of the example.
3066 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
3069 \repeat volta 4 { e | c2 d2 | e2 f2 | }
3070 \alternative { { g4 g g } { a | a a a a | b2. } }
3074 @funindex \repeatTie
3076 Ties may be added to a second ending,
3078 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
3080 \repeat volta 2 {c4 d e f ~ }
3081 \alternative { {f2 d} {f\repeatTie f,} }
3084 It is possible to shorten volta brackets
3085 by setting @code{voltaSpannerDuration}. In the next example, the
3086 bracket only lasts one measure, which is a duration of 3/4.
3088 @lilypond[verbatim,ragged-right,quote]
3092 \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4)
3093 \repeat "volta" 5 { d d d }
3094 \alternative { { e e e f f f }
3104 Brackets for the repeat are normally only printed over the topmost
3105 staff. This can be adjusted by setting the @code{voltaOnThisStaff}
3106 property; see @inputfileref{input/@/regression,volta@/-multi@/-staff@/.ly}.
3111 @cindex repeat, ambiguous
3113 A nested repeat like
3122 is ambiguous, since it is is not clear to which @code{\repeat} the
3123 @code{\alternative} belongs. This ambiguity is resolved by always
3124 having the @code{\alternative} belong to the inner @code{\repeat}.
3125 For clarity, it is advisable to use braces in such situations.
3127 Timing information is not remembered at the start of an alternative,
3128 so after a repeat timing information must be reset by hand; for
3129 example, by setting @code{Score.measurePosition} or entering
3130 @code{\partial}. Similarly, slurs or ties are also not repeated.
3132 Volta brackets are not vertically aligned.
3135 @node Repeats and MIDI
3136 @subsection Repeats and MIDI
3138 @cindex expanding repeats
3139 @funindex \unfoldRepeats
3141 With a little bit of tweaking, all types of repeats can be present
3142 in the MIDI output. This is achieved by applying the
3143 @code{\unfoldRepeats} music function. This function changes all
3144 repeats to unfold repeats.
3146 @lilypond[quote,verbatim,fragment,line-width=8.0\cm]
3148 \repeat tremolo 8 {c'32 e' }
3149 \repeat percent 2 { c''8 d'' }
3150 \repeat volta 2 {c'4 d' e' f'}
3159 When creating a score file using @code{\unfoldRepeats} for MIDI,
3160 it is necessary to make two @code{\score} blocks: one for MIDI (with
3161 unfolded repeats) and one for notation (with volta, tremolo, and
3162 percent repeats). For example,
3170 \unfoldRepeats @var{..music..}
3176 @node Manual repeat commands
3177 @subsection Manual repeat commands
3179 @funindex repeatCommands
3181 The property @code{repeatCommands} can be used to control the layout of
3182 repeats. Its value is a Scheme list of repeat commands.
3185 @item @code{start-repeat}
3186 Print a @code{|:} bar line.
3188 @item @code{end-repeat}
3189 Print a @code{:|} bar line.
3191 @item @code{(volta @var{text})}
3192 Print a volta bracket saying @var{text}: The text can be specified as
3193 a text string or as a markup text, see @ref{Text markup}. Do not
3194 forget to change the font, as the default number font does not contain
3195 alphabetic characters;
3197 @item @code{(volta #f)}
3198 Stop a running volta bracket.
3201 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
3203 \set Score.repeatCommands = #'((volta "93") end-repeat)
3205 \set Score.repeatCommands = #'((volta #f))
3212 Program reference: @internalsref{VoltaBracket},
3213 @internalsref{RepeatedMusic},
3214 @internalsref{VoltaRepeatedMusic},
3215 @internalsref{UnfoldedRepeatedMusic}, and
3216 @internalsref{FoldedRepeatedMusic}.
3219 @node Tremolo repeats
3220 @subsection Tremolo repeats
3222 @cindex tremolo beams
3224 To place tremolo marks between notes, use @code{\repeat} with tremolo
3226 @lilypond[quote,verbatim,ragged-right]
3227 \new Voice \relative c' {
3228 \repeat "tremolo" 8 { c16 d16 }
3229 \repeat "tremolo" 4 { c16 d16 }
3230 \repeat "tremolo" 2 { c16 d16 }
3234 Tremolo marks can also be put on a single note. In this case, the
3235 note should not be surrounded by braces.
3236 @lilypond[quote,verbatim,ragged-right]
3237 \repeat "tremolo" 4 c'16
3240 Similar output is obtained using the tremolo subdivision, described in
3241 @ref{Tremolo subdivisions}.
3246 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
3248 Program reference: @internalsref{Beam}, @internalsref{StemTremolo}.
3250 Example files: @inputfileref{input/@/regression,chord@/-tremolo@/.ly},
3251 @inputfileref{input/@/regression,stem@/-tremolo@/.ly}.
3254 @node Tremolo subdivisions
3255 @subsection Tremolo subdivisions
3257 @cindex tremolo marks
3258 @funindex tremoloFlags
3260 Tremolo marks can be printed on a single note by adding
3261 `@code{:}[@var{number}]' after the note. The number indicates the
3262 duration of the subdivision, and it must be at least 8. A
3263 @var{length} value of 8 gives one line across the note stem. If the
3264 length is omitted, the last value (stored in @code{tremoloFlags}) is
3267 @lilypond[quote,ragged-right,verbatim,fragment]
3268 c'2:8 c':32 | c': c': |
3274 Tremolos entered in this way do not carry over into the MIDI output.
3279 In this manual: @ref{Tremolo repeats}.
3281 Elsewhere: @internalsref{StemTremolo}.
3284 @node Measure repeats
3285 @subsection Measure repeats
3287 @cindex percent repeats
3288 @cindex measure repeats
3290 In the @code{percent} style, a note pattern can be repeated. It is
3291 printed once, and then the pattern is replaced with a special sign.
3292 Patterns of one and two measures are replaced by percent-like signs,
3293 patterns that divide the measure length are replaced by slashes.
3294 Percent repeats must be declared within a @code{Voice} context.
3296 @lilypond[quote,verbatim,ragged-right]
3297 \new Voice \relative c' {
3298 \repeat "percent" 4 { c4 }
3299 \repeat "percent" 2 { c2 es2 f4 fis4 g4 c4 }
3303 Measure repeats of more than 2 measures get a counter, if you switch
3304 on the @code{countPercentRepeats} property,
3306 @lilypond[relative=2,fragment,quote,verbatim,ragged-right]
3308 \set countPercentRepeats = ##t
3309 \repeat "percent" 4 { c1 }
3315 Isolated percents can also be printed. This is done by putting a
3316 multi-measure rest with a different print function,
3318 @lilypond[fragment,verbatim,quote]
3319 \override MultiMeasureRest #'stencil
3320 = #ly:multi-measure-rest::percent
3329 Program reference: @internalsref{RepeatSlash},
3330 @internalsref{PercentRepeat}, @internalsref{DoublePercentRepeat},
3331 @internalsref{DoublePercentRepeatCounter},
3332 @internalsref{PercentRepeatCounter},
3333 @internalsref{PercentRepeatedMusic}.