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
10 @chapter Basic notation
12 This chapter explains how to use all basic notation features.
16 * Alternate music entry::
30 This section is about basic notation elements like notes, rests, and
31 related constructs, such as stems, tuplets and ties.
36 * Cautionary accidentals::
52 @cindex Note specification
53 @cindex entering notes
55 A note is printed by specifying its pitch and then its duration,
57 @lilypond[quote,verbatim,raggedright,fragment]
63 This manual: @ref{Pitches}, @ref{Durations}
72 The most common syntax for pitch entry is used for standard notes and
73 @code{\chordmode} modes. In these modes, pitches may be designated by
74 names. The notes are specified by the letters @code{a} through
75 @code{g}. The octave is formed with notes ranging from @code{c}
76 to @code{b}. The pitch @code{c} is an octave below middle C and the
77 letters span the octave above that C
79 @lilypond[quote,fragment,verbatim,raggedright]
81 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
87 The optional octave specification takes the form of a series of
88 single quote (`@code{'}') characters or a series of comma
89 (`@code{,}') characters. Each @code{'} raises the pitch by one
90 octave; each @code{,} lowers the pitch by an octave
92 @lilypond[quote,raggedright,fragment,verbatim]
96 @cindex note names, Dutch
98 A sharp is formed by adding @code{-is} to the end of a pitch name and
99 a flat is formed by adding @code{-es}. Double sharps and double flats
100 are obtained by adding @code{-isis} or @code{-eses}. These
101 names are the Dutch note names. In Dutch, @code{aes} is contracted to
102 @code{as}, but both forms are accepted. Similarly, both
103 @code{es} and @code{ees} are accepted
105 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
113 There are predefined sets of note names for various other languages.
114 To use them, include the language specific init file. For
115 example: @code{\include "english.ly"}. The available language files
116 and the note names they define are
121 Note Names sharp flat
122 nederlands.ly c d e f g a bes b -is -es
123 english.ly c d e f g a bf b -s/-sharp -f/-flat
125 deutsch.ly c d e f g a b h -is -es
126 norsk.ly c d e f g a b h -iss/-is -ess/-es
127 svenska.ly c d e f g a b h -iss -ess
128 italiano.ly do re mi fa sol la sib si -d -b
129 catalan.ly do re mi fa sol la sib si -d/-s -b
130 espanol.ly do re mi fa sol la sib si -s -b
136 In accordance with standard typsetting rules, a natural sign is printed
137 before a sharp or flat if a previous accidental needs to be
138 cancelled. To change this behaviour, use
139 @code{\set Staff.extraNatural = ##f}
141 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
143 \set Staff.extraNatural = ##f
150 Program reference: @internalsref{LedgerLineSpanner}, @internalsref{NoteHead}.
153 @node Cautionary accidentals
154 @subsection Cautionary accidentals
156 @cindex reminder accidental
158 @cindex cautionary accidental
159 @cindex parenthesized accidental
162 Normally accidentals are printed automatically, but you may also
163 print them manually. A reminder accidental
164 can be forced by adding an exclamation mark @code{!}
165 after the pitch. A cautionary accidental
166 (i.e., an accidental within parentheses) can be obtained by adding the
167 question mark `@code{?}' after the pitch. These extra accidentals
168 can be used to produce natural signs, too.
170 @lilypond[quote,raggedright,fragment,verbatim]
171 cis' cis' cis'! cis'? c c? c! c
177 The automatic production of accidentals can be tuned in many
178 ways. For more information, refer to @ref{Automatic accidentals}.
183 @subsection Micro tones
185 @cindex quarter tones
186 @cindex semi-flats, semi-sharps
188 Half-flats and half-sharps are formed by adding @code{-eh} and
189 @code{-ih}; the following is a series of Cs with increasing pitches
191 @lilypond[verbatim,raggedright,quote,relative=2,fragment]
192 \set Staff.extraNatural = ##f
196 Micro tones are also exported to the MIDI file.
201 There are no generally accepted standards for denoting three quarter
202 flats, so LilyPond's symbol does not conform to any standard.
210 A chord is formed by a enclosing a set of pitches in @code{<} and
211 @code{>}. A chord may be followed by a duration, and a set of
212 articulations, just like simple notes
214 @lilypond[verbatim,raggedright,fragment,quote,relative=1]
218 For more information about chords, see @ref{Chord names}.
229 Rests are entered like notes with the note name @code{r}
231 @lilypond[fragment,quote,raggedright,verbatim]
235 Whole bar rests, centered in middle of the bar,
236 must be done with multi-measure rests. They can be used for a
237 single bar as well as many bars, and are discussed in
238 @ref{Multi measure rests}.
241 A rest's vertical position may be explicitly specified by entering a
242 note with the @code{\rest} keyword appended, the rest will be placed at
243 the note's place. This makes manual formatting in polyphonic music
244 easier. Automatic rest collision formatting will leave these rests
247 @lilypond[fragment,quote,raggedright,verbatim]
253 Program reference: @internalsref{Rest}.
260 @cindex Invisible rest
265 An invisible rest (also called a `skip') can be entered like a note
266 with note name `@code{s}' or with @code{\skip @var{duration}}
268 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
269 a4 a4 s4 a4 \skip 1 a4
272 The @code{s} syntax is only available in note mode and chord mode. In
273 other situations, for example, when entering lyrics, you should use
274 the @code{\skip} command
276 @lilypond[quote,raggedright,verbatim]
279 \new Lyrics \lyricmode { \skip 2 bla2 }
283 The skip command is merely an empty musical placeholder. It does not
284 produce any output, not even transparent output.
286 The @code{s} skip command does create @internalsref{Staff} and
287 @internalsref{Voice} when necessary, similar to note and rest
288 commands. For example, the following results in an empty staff.
290 @lilypond[quote,raggedright,verbatim]
294 The fragment @code{@{ \skip 4 @} } would produce an empty page.
298 Program reference: @internalsref{SkipMusic}.
302 @subsection Durations
305 @cindex @code{\longa}
306 @cindex @code{\breve}
307 @cindex @code{\maxima}
309 In Note, Chord, and Lyrics mode, durations are designated by numbers and
310 dots: durations are entered as their reciprocal values. For example, a
311 quarter note is entered using a @code{4} (since it is a 1/4 note), while
312 a half note is entered using a @code{2} (since it is a 1/2 note). For
313 notes longer than a whole you must use the variables @code{\longa} and
318 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
320 r1 r2 r4 r8 r16 r32 r64 r64
326 a\breve*1/2 \autoBeamOff
327 a1 a2 a4 a8 a16 a32 a64 a64
330 r\longa*1/4 r\breve *1/2
331 r1 r2 r4 r8 r16 r32 r64 r64
337 \remove "Clef_engraver"
338 \override StaffSymbol #'transparent = ##t
339 \override TimeSignature #'transparent = ##t
340 \override BarLine #'transparent = ##t
341 \consists "Pitch_squash_engraver"
347 If the duration is omitted then it is set to the previously entered
348 duration. The default for the first note is a quarter note.
350 @lilypond[quote,raggedright,verbatim,fragment]
351 { a a a2 a a4 a a1 a }
355 @node Augmentation dots
356 @subsection Augmentation dots
360 To obtain dotted note lenghts, simply add a dot (`@code{.}') to
361 the number. Double-dotted notes are produced in a similar way.
363 @lilypond[quote,raggedright,fragment,verbatim]
364 a'4 b' c''4. b'8 a'4. b'4.. c''8.
369 Dots are normally moved up to avoid staff lines, except in polyphonic
370 situations. The following commands may be used to force a particular
373 @cindex @code{\dotsUp}
375 @cindex @code{\dotsDown}
377 @cindex @code{\dotsNeutral}
382 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
390 @cindex @code{\times}
392 Tuplets are made out of a music expression by multiplying all durations
396 \times @var{fraction} @var{musicexpr}
400 The duration of @var{musicexpr} will be multiplied by the fraction.
401 The fraction's denominator will be printed over the notes, optionally
402 with a bracket. The most common tuplet is the triplet in which 3
403 notes have the length of 2, so the notes are 2/3 of their written
406 @lilypond[quote,raggedright,fragment,verbatim]
407 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
410 Tuplets may be nested, for example,
412 @lilypond[fragment,raggedright,verbatim,relative=2]
413 \set tupletNumberFormatFunction = #fraction-tuplet-formatter
416 \times 3/5 { a a a a a }
422 @cindex @code{\tupletUp}
424 @cindex @code{\tupletDown}
426 @cindex @code{\tupletNeutral}
427 @code{\tupletNeutral}.
432 @cindex @code{tupletNumberFormatFunction}
433 @cindex tuplet formatting
435 The property @code{tupletSpannerDuration} specifies how long each
436 bracket should last. With this, you can make lots of tuplets while
437 typing @code{\times} only once, thus saving lots of typing. In the next
438 example, there are two triplets shown, while @code{\times} was only
441 @lilypond[quote,fragment,relative=1,raggedright,verbatim]
442 \set tupletSpannerDuration = #(ly:make-moment 1 4)
443 \times 2/3 { c'8 c c c c c }
446 The format of the number is determined by the property
447 @code{tupletNumberFormatFunction}. The default prints only the
448 denominator, but if it is set to the Scheme function
449 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
458 Program reference: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
460 Examples: @inputfileref{input/@/regression,tuplet@/-nest@/.ly}.
464 @node Scaling durations
465 @subsection Scaling durations
467 You can alter the length of duration by a fraction @var{N/M}
468 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
469 will not affect the appearance of the notes or rests produced.
471 In the following example, the first three notes take up exactly two
472 beats, but no triplet bracket is printed.
473 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
475 a4*2/3 gis4*2/3 a4*2/3
483 This manual: @ref{Tuplets}
489 Whenever a note is found, a @internalsref{Stem} object is created
490 automatically. For whole notes and rests, they are also created but
495 @cindex @code{\stemUp}
497 @cindex @code{\stemDown}
499 @cindex @code{\stemNeutral}
503 @node Alternate music entry
504 @section Alternate music entry
507 This section deals with tricks and features of the input language that
508 were added solely to help entering music and finding and correcting
509 mistakes. There are also external tools that make debugging easier.
510 See @ref{Point and click} for more information.
512 It is also possible to enter and edit music using other programs, such as
513 GUI interfaces or MIDI sequencers. Refer to the LilyPond
514 website for more information.
522 * Skipping corrected music::
523 * Automatic note splitting::
527 @node Relative octaves
528 @subsection Relative octaves
531 @cindex Relative octave specification
532 @cindex @code{\relative}
534 Octaves are specified by adding @code{'} and @code{,} to pitch names.
535 When you copy existing music, it is easy to accidentally put a pitch
536 in the wrong octave and hard to find such an error. The relative
537 octave mode prevents these errors by making the mistakes much
538 larger: a single error puts the rest of the piece off by one octave
541 \relative @var{startpitch} @var{musicexpr}
548 \relative @var{musicexpr}
551 The octave of notes that appear in @var{musicexpr} are calculated as
552 follows: if no octave changing marks are used, the basic interval
553 between this and the last note is always taken to be a fourth or
554 less. This distance is determined without regarding alterations; a
555 @code{fisis} following a @code{ceses} will be put above the
556 @code{ceses}. In other words, a doubly-augmented fourth is considered
557 a smaller interval than a diminished fifth, even though the
558 doubly-augmented fourth spans seven semitones while the diminished
559 fifth only spans six semitones.
561 The octave changing marks @code{'} and @code{,} can be added to raise
562 or lower the pitch by an extra octave. Upon entering relative mode,
563 an absolute starting pitch can be specified that will act as the
564 predecessor of the first note of @var{musicexpr}. If no starting pitch
565 is specified, then middle C is used as a start.
567 Here is the relative mode shown in action
568 @lilypond[quote,fragment,raggedright,verbatim]
574 Octave changing marks are used for intervals greater than a fourth
575 @lilypond[quote,raggedright,fragment,verbatim]
581 If the preceding item is a chord, the first note of the chord is used
582 to determine the first note of the next chord
584 @lilypond[quote,raggedright,fragment,verbatim]
592 The pitch after the @code{\relative} contains a note name.
594 The relative conversion will not affect @code{\transpose},
595 @code{\chordmode} or @code{\relative} sections in its argument. To use
596 relative within transposed music, an additional @code{\relative} must
597 be placed inside @code{\transpose}.
601 @subsection Octave check
605 Octave checks make octave errors easier to correct: a note may be
606 followed by @code{=}@var{quotes} which indicates what its absolute
607 octave should be. In the following example,
610 \relative c'' @{ c='' b=' d,='' @}
614 the @code{d} will generate a warning, because a @code{d''} is expected
615 (because @code{b'} to @code{d''} is only a third), but a @code{d'} is
616 found. In the output, the octave is corrected to be a @code{d''} and
617 the next note is calculated relative to @code{d''} instead of @code{d'}.
619 There is also a syntax that is separate from the notes. The syntax
625 This checks that @var{pitch} (without quotes) yields @var{pitch} (with
626 quotes) in \relative mode. If not, a warning is printed, and the
629 In the example below, the first check passes without incident, since
630 the @code{e} (in relative mode) is within a fifth of @code{a'}. However,
631 the second check produces a warning, since the @code{e} is not within
632 a fifth of @code{b'}. The warning message is printed, and the octave
633 is adjusted so that the following notes are in the correct octave
645 The octave of a note following an octave check is determined with
646 respect to the note preceding it. In the next fragment, the last note
647 is an @code{a'}, above middle C. That means that the @code{\octave}
648 check passes successfully, so the check could be deleted without changing
649 the output of the piece.
651 @lilypond[quote,raggedright,verbatim,fragment]
661 @subsection Transpose
664 @cindex transposition of pitches
665 @cindex @code{\transpose}
667 A music expression can be transposed with @code{\transpose}. The
670 \transpose @var{from} @var{to} @var{musicexpr}
673 This means that @var{musicexpr} is transposed by the interval between
674 the pitches @var{from} and @var{to}: any note with pitch @code{from}
675 is changed to @code{to}.
677 For example, consider a piece written in the key of D-major. If
678 this piece is a little too low for its performer, it can be
679 transposed up to E-major with
681 \transpose d e @dots{}
684 Consider a part written for violin (a C instrument). If
685 this part is to be played on the A clarinet, the following
686 transposition will produce the appropriate part
689 \transpose a c @dots{}
692 @code{\transpose} distinguishes between enharmonic pitches: both
693 @code{\transpose c cis} or @code{\transpose c des} will transpose up
694 half a tone. The first version will print sharps and the second
695 version will print flats
697 @lilypond[quote,raggedright,verbatim]
698 mus = { \key d \major cis d fis g }
707 @code{\transpose} may also be used to input written notes for a
708 transposing instrument. Pitches are normally entered into LilyPond
709 in C (or ``concert pitch''), but they may be entered in another
710 key. For example, when entering music for a B-flat trumpet which
711 begins on concert D, one would write
714 \transpose c bes @{ e4 @dots{} @}
717 To print this music in B-flat again (ie producing a trumpet part,
718 instead of a concert pitch conductor's score) you would wrap the
719 existing music with another @code{transpose}
722 \transpose bes c @{ \transpose c bes @{ e4 @dots{} @} @}
728 Program reference: @internalsref{TransposedMusic}.
733 If you want to use both @code{\transpose} and @code{\relative},
734 you must put @code{\transpose} outside of @code{\relative}, since
735 @code{\relative} will have no effect music that appears inside a
740 @subsection Bar check
743 @cindex @code{barCheckSynchronize}
746 Bar checks help detect errors in the durations. A bar check is
747 entered using the bar symbol, `@code{|}'. Whenever it is encountered
748 during interpretation, it should fall on a measure boundary. If it
749 does not, a warning is printed. In the next example, the second bar
750 check will signal an error
752 \time 3/4 c2 e4 | g2 |
755 Bar checks can also be used in lyrics, for example
760 Twin -- kle | Twin -- kle
764 Failed bar checks are caused by entering incorrect
765 durations. Incorrect durations often completely garble up the score,
766 especially if the score is polyphonic, so a good place to start correcting
767 input is by scanning for failed bar checks and incorrect durations.
770 @cindex @code{pipeSymbol}
772 It is also possible to redefine the meaning of @code{|}. This is done
773 by assigning a music expression to @code{pipeSymbol},
775 @lilypond[quote,raggedright,verbatim]
776 pipeSymbol = \bar "||"
782 @node Barnumber check
783 @subsection Barnumber check
785 When copying large pieces of music, it can be helpful to check that
786 the LilyPond bar number corresponds to the original that you are
787 entering from. This can be checked with @code{\barNumberCheck}, for
795 will print a warning if the @code{currentBarNumber} is not 123 when it
799 @node Skipping corrected music
800 @subsection Skipping corrected music
803 @cindex @code{skipTypesetting}
804 @cindex @code{showLastLength}
806 When entering or copying music, only the music near the end (where you
807 are adding notes) is interesting to view and correct. To speed up
808 this correction process, it is possible to skip typesetting of all but
809 the last few measures. This is achieved by putting
812 showLastLength = R1*5
817 in your source file. This will render only the last 5 measures
818 (assuming 4/4 time signature) of every @code{\score} in the input
819 file. For longer pieces, rendering only a small part is often an order
820 of magnitude quicker than rendering it completely
822 Skipping parts of a score can be controlled in a more fine-grained
823 fashing with the property @code{Score.skipTypesetting}. When it is
824 set, no typesetting is performed at all.
826 @lilypond[quote,fragment,raggedright,verbatim]
829 \set Score.skipTypesetting = ##t
831 \set Score.skipTypesetting = ##f
835 In polyphonic music, @code{Score.skipTypesetting} will affect all
836 voices and staves, saving even more time.
839 @node Automatic note splitting
840 @subsection Automatic note splitting
842 Long notes can be converted automatically to tied notes. This is done
843 by replacing the @internalsref{Note_heads_engraver} by the
844 @internalsref{Completion_heads_engraver}.
845 In the following examples, notes crossing the bar line are split and tied.
847 @lilypond[quote,fragment,verbatim,relative=1,linewidth=12\cm]
849 \remove "Note_heads_engraver"
850 \consists "Completion_heads_engraver"
852 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
856 This engraver splits all running notes at the bar line, and inserts
857 ties. One of its uses is to debug complex scores: if the measures are
858 not entirely filled, then the ties exactly show how much each measure
864 Not all durations (especially those containing tuplets) can be
865 represented exactly with normal notes and dots, but the engraver will
868 @code{Completion_heads_engraver} only affects notes; it does not split
874 Examples: @inputfileref{input/@/regression,completion@/-heads@/.ly}.
878 Program reference: @internalsref{Completion_heads_engraver}.
883 @section Staff notation
885 @cindex Staff notation
887 This section describes music notation that occurs on staff level,
888 such as key signatures, clefs and time signatures.
897 * System start delimiters::
907 The clef indicates which lines of the staff correspond to which
908 pitches. The clef is set with the @code{\clef} command
910 @lilypond[quote,raggedright,fragment,verbatim]
911 { c''2 \clef alto g'2 }
921 @cindex mezzosoprano clef
922 @cindex baritone clef
923 @cindex varbaritone clef
926 Supported clefs finclude
928 @item treble, violin, G, G2
937 G clef on 1st line, so-called French violin clef
954 By adding @code{_8} or @code{^8} to the clef name, the clef is
955 transposed one octave down or up, respectively, and @code{_15} and
956 @code{^15} transposes by two octaves. The argument @var{clefname}
957 must be enclosed in quotes when it contains underscores or digits. For
960 @cindex choral tenor clef
961 @lilypond[quote,raggedright,verbatim,fragment,relative=1]
968 The command @code{\clef "treble_8"} is equivalent to setting @code{clefGlyph},
969 @code{clefPosition} (which controls the Y position of the clef),
970 @code{middleCPosition} and @code{clefOctavation}. A clef is printed
971 when any of these properties are changed. The following example shows
972 possibilities when setting properties manually.
974 @lilypond[quote,raggedright,verbatim]
976 \set Staff.clefGlyph = #"clefs.F"
977 \set Staff.clefPosition = #2
979 \set Staff.clefGlyph = #"clefs.G"
981 \set Staff.clefGlyph = #"clefs.C"
983 \set Staff.clefOctavation = #7
985 \set Staff.clefOctavation = #0
986 \set Staff.clefPosition = #0
990 \set Staff.middleCPosition = #4
998 Program reference: @internalsref{Clef}.
1002 @subsection Key signature
1004 @cindex Key signature
1007 The key signature indicates the tonality in which a piece is played. It
1008 is denoted by a set of alterations (flats or sharps) at the start of the
1011 Setting or changing the key signature is done with the @code{\key}
1015 @code{\key} @var{pitch} @var{type}
1018 @cindex @code{\minor}
1019 @cindex @code{\major}
1020 @cindex @code{\minor}
1021 @cindex @code{\ionian}
1022 @cindex @code{\locrian}
1023 @cindex @code{\aeolian}
1024 @cindex @code{\mixolydian}
1025 @cindex @code{\lydian}
1026 @cindex @code{\phrygian}
1027 @cindex @code{\dorian}
1028 @cindex church modes
1030 Here, @var{type} should be @code{\major} or @code{\minor} to get
1031 @var{pitch}-major or @var{pitch}-minor, respectively. You may also
1032 use the standard mode names (also called ``church modes''): @code{\ionian},
1033 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
1034 @code{\phrygian}, and @code{\dorian}.
1036 This command sets the context property
1037 @code{Staff.keySignature}. Non-standard key signatures
1038 can be specified by setting this property directly.
1040 Accidentals and key signatures often confuse new users, because
1041 unaltered notes get natural signs depending on the key signature. For
1042 more information, see @ref{More about pitches}.
1047 A natural sign is printed to cancel any previous accidentals. This
1048 can be suppressed by setting the @code{Staff.printKeyCancellation}
1051 @lilypond[quote,fragment,raggedright,fragment,verbatim,relative=2]
1056 \set Staff.printKeyCancellation = ##f
1066 Program reference: @internalsref{KeyCancellation}, @internalsref{KeySignature}.
1069 @node Time signature
1070 @subsection Time signature
1072 @cindex Time signature
1074 @cindex @code{\time}
1076 Time signature indicates the metrum of a piece: a regular pattern of
1077 strong and weak beats. It is denoted by a fraction at the start of the
1080 The time signature is set with the @code{\time} command
1082 @lilypond[quote,raggedright,fragment,verbatim]
1083 \time 2/4 c'2 \time 3/4 c'2.
1088 The symbol that is printed can be customized with the @code{style}
1089 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1092 @lilypond[fragment,quote,raggedright,verbatim]
1095 \override Staff.TimeSignature #'style = #'()
1100 There are many more options for its layout. See @ref{Ancient time
1101 signatures} for more examples.
1103 @code{\time} sets the property @code{timeSignatureFraction},
1104 @code{beatLength} and @code{measureLength} in the @code{Timing}
1105 context, which is normally aliased to @internalsref{Score}. The
1106 property @code{measureLength} determines where bar lines should be
1107 inserted, and how automatic beams should be generated. Changing the
1108 value of @code{timeSignatureFraction} also causes the symbol to be
1111 More options are available through the Scheme function
1112 @code{set-time-signature}. In combination with the
1113 @internalsref{Measure_grouping_engraver}, it will create
1114 @internalsref{MeasureGrouping} signs. Such signs ease reading
1115 rhythmically complex modern music. In the following example, the 9/8
1116 measure is subdivided in 2, 2, 2 and 3. This is passed to
1117 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
1119 @lilypond[quote,raggedright,verbatim]
1122 #(set-time-signature 9 8 '(2 2 2 3))
1123 g8[ g] d[ d] g[ g] a8[( bes g]) |
1124 #(set-time-signature 5 8 '(3 2))
1130 \consists "Measure_grouping_engraver"
1138 Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_translator}.
1143 Automatic beaming does not use the measure grouping specified with
1144 @code{set-time-signature}.
1147 @node Partial measures
1148 @subsection Partial measures
1152 @cindex partial measure
1153 @cindex measure, partial
1154 @cindex shorten measures
1155 @cindex @code{\partial}
1157 Partial measures, such as an anacrusis or upbeat, are entered using the
1159 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1160 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1163 The syntax for this command is
1166 \partial @var{duration}
1169 This is internally translated into
1172 \set Timing.measurePosition = -@var{length of duration}
1175 The property @code{measurePosition} contains a rational number
1176 indicating how much of the measure has passed at this point.
1181 This command does not take into account grace notes at the start of
1182 the music. When a piece starts with graces notes in the pickup, then
1183 the @code{\partial} should follow the grace notes
1185 @lilypond[verbatim,quote,raggedright,relative,fragment]
1194 @subsection Bar lines
1198 @cindex measure lines
1201 Bar lines delimit measures, but are also used to indicate
1202 repeats. Normally they are inserted automatically. Line
1203 breaks may only happen on bar lines.
1205 Special types of bar lines can be forced with the @code{\bar} command
1207 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1211 The following bar types are available
1213 @lilypondfile[raggedright,quote]{bar-lines.ly}
1215 To allow a line break where there is no visible bar line, use
1222 This will insert an invisible bar line and allow line breaks at this
1225 In scores with many staves, a @code{\bar} command in one staff is
1226 automatically applied to all staves. The resulting bar lines are
1227 connected between different staves of a StaffGroup
1229 @lilypond[quote,raggedright,fragment,verbatim]
1231 \context StaffGroup <<
1237 \new Staff { \clef bass c4 g e g }
1239 \new Staff { \clef bass c2 c2 }
1246 @cindex @code{whichBar}
1247 @cindex @code{repeatCommands}
1248 @cindex @code{defaultBarType}
1250 The command @code{\bar }@var{bartype} is a short cut for doing
1251 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1252 is set to a string, a bar line of that type is created.
1254 A bar line is created whenever the @code{whichBar} property is set.
1255 At the start of a measure it is set to the contents of
1256 @code{Timing.defaultBarType}. The contents of @code{repeatCommands} are used
1257 to override default measure bars.
1259 You are encouraged to use @code{\repeat} for repetitions. See
1265 In this manual: @ref{Repeats}, @ref{System start delimiters}.
1267 Program reference: @internalsref{BarLine} (created at
1268 @internalsref{Staff} level), @internalsref{SpanBar} (across staves).
1270 Examples: @inputfileref{input/@/test,bar@/-lines@/.ly},
1273 @node Unmetered music
1274 @subsection Unmetered music
1277 @cindex @code{\cadenzaOn}
1278 @cindex @code{\cadenzaOff}
1280 Bar lines and bar numbers are calculated automatically. For unmetered
1281 music (cadenzas, for example), this is not desirable. To turn off
1282 automatic bar lines and bar numbers, use the commands @code{\cadenzaOn}
1283 and @code{\cadenzaOff}.
1285 @lilypond[verbatim,quote,raggedright,relative=2,fragment]
1297 LilyPond will only insert page breaks at a barline. Unless the unmetered
1298 music ends before the end of the staff line, you will need to insert
1306 to indicate where line breaks can occur.
1309 @node System start delimiters
1310 @subsection System start delimiters
1312 @cindex start of system
1313 @cindex Staff, multiple
1314 @cindex bracket, vertical
1315 @cindex brace, vertical
1318 @cindex staff, choir
1320 Many scores consist of more than one staff. These staves can be
1321 joined in four different ways
1324 @item The group is started with a brace at the left, and bar lines are
1325 connected. This is done with the @internalsref{GrandStaff} context.
1327 @lilypond[verbatim,raggedright,quote]
1335 @item The group is started with a bracket, and bar lines are connected.
1336 This is done with the
1337 @internalsref{StaffGroup} context
1339 @lilypond[verbatim,raggedright,quote]
1347 @item The group is started with a bracket, but bar lines are not
1348 connected. This is done with the @internalsref{ChoirStaff} context.
1350 @lilypond[verbatim,raggedright,quote]
1358 @item The group is started with a vertical line. Bar lines are not
1359 connected. This is the default for the score.
1361 @lilypond[verbatim,raggedright,quote]
1372 The bar lines at the start of each system are
1373 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1374 @internalsref{SystemStartBracket}. Only one of these types is created
1375 in every context, and that type is determined by the property
1376 @code{systemStartDelimiter}.
1380 @subsection Staff symbol
1382 @cindex adjusting staff symbol
1384 Notes, dynamic signs, etc., are grouped
1385 with a set of horizontal lines, called a staff (plural `staves'). In
1386 LilyPond, these lines are drawn using a separate layout object called
1389 The staff symbol may be tuned in the number, thickness and distance
1390 of lines, using properties. This is demonstrated in the example files
1391 @inputfileref{input/@/test,staff@/-lines@/.ly},
1392 @inputfileref{input/@/test,staff@/-size@/.ly}.
1394 In addition, staves may be started and stopped at will. This is done
1395 with @code{\startStaff} and @code{\stopStaff}.
1397 @lilypond[verbatim,relative=2,fragment]
1399 \override Staff.StaffSymbol #'line-count = 2
1400 \stopStaff \startStaff
1402 \revert Staff.StaffSymbol #'line-count
1403 \stopStaff \startStaff
1407 In combination with Frenched staves, this may be used to typeset ossia
1408 sections. An example is in @inputfileref{input/@/test@/,ossia.ly},
1413 @lilypondfile{ossia.ly}
1415 @cindex staff lines, setting number of
1416 @cindex staff lines, setting thickness of
1417 @cindex thickness of staff lines, setting
1418 @cindex number of staff lines, setting
1422 Program reference: @internalsref{StaffSymbol}.
1424 Examples: @inputfileref{input/@/test,staff@/-lines@/.ly},
1425 @inputfileref{input/@/test@/,ossia.ly},
1426 @inputfileref{input/@/test,staff@/-size@/.ly}.
1430 @node Connecting notes
1431 @section Connecting notes
1433 This section deals with notation that affects groups of notes.
1451 A tie connects two adjacent note heads of the same pitch. The tie in
1452 effect extends the length of a note. Ties should not be confused with
1453 slurs, which indicate articulation, or phrasing slurs, which indicate
1454 musical phrasing. A tie is entered using the tilde symbol `@code{~}'
1456 @lilypond[quote,raggedright,fragment,verbatim]
1457 e' ~ e' <c' e' g'> ~ <c' e' g'>
1460 When a tie is applied to a chord, all note heads whose pitches match
1461 are connected. When no note heads match, no ties will be created.
1463 A tie is just a way of extending a note duration, similar to the
1464 augmentation dot. The following example shows two ways of notating
1465 exactly the same concept
1467 @lilypond[quote,fragment,raggedright]
1468 \time 3/4 c'2. c'2 ~ c'4
1472 Ties are used either when the note crosses a bar line, or when dots
1473 cannot be used to denote the rhythm. When using ties, larger note
1474 values should be aligned to subdivisions of the measure, eg.
1476 @lilypond[fragment,quote,raggedright]
1478 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
1482 If you need to tie a lot of notes over bars, it may be easier to use
1483 automatic note splitting (see @ref{Automatic note splitting}). This
1484 mechanism automatically splits long notes, and ties them across bar
1490 Ties are sometimes used to write out arpeggios. In this case, two tied
1491 notes need not be consecutive. This can be achieved by setting the
1492 @code{tieWaitForNote} property to true. The same feature is also useful,
1493 for example, to tie a tremolo to a chord. For example,
1495 @lilypond[fragment,verbatim,relative=1,raggedright]
1496 \set tieWaitForNote = ##t
1497 \grace { c16[~ e~ g]~ } <c, e g>2
1498 \repeat "tremolo" 8 { c32~ c'~ } <c c,>1
1505 @cindex @code{\tieUp}
1507 @cindex @code{\tieDown}
1509 @cindex @code{\tieNeutral}
1511 @cindex @code{\tieDotted}
1513 @cindex @code{\tieDashed}
1515 @cindex @code{\tieSolid}
1521 In this manual: @ref{Automatic note splitting}.
1523 Program reference: @internalsref{Tie}.
1528 Switching staves when a tie is active will not produce a slanted tie.
1536 A slur indicates that notes are to be played bound or
1537 @emph{legato}. They are entered using parentheses
1539 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1540 f( g a) a8 b( a4 g2 f4)
1544 The direction of a slur can be specified with
1545 @code{\slur@emph{DIR}}, where @code{@emph{DIR}} is
1546 either @code{Up}, @code{Down}, or @code{Neutral} (automatically
1549 However, there is a convenient shorthand for forcing slur
1550 directions. By adding @code{_} or @code{^} before the opening
1551 parentheses, the direction is also set. For example,
1553 @lilypond[relative=2,raggedright,quote,verbatim,fragment]
1557 Only one slur can be printed at once. If you need to print a long
1558 slur over a few small slurs, please see @ref{Phrasing slurs}.
1563 Some composers write two slurs when they want legato chords. This can
1564 be achieved in LilyPond by setting @code{doubleSlurs},
1566 @lilypond[verbatim,raggedright,relative,fragment,quote]
1567 \set doubleSlurs = ##t
1568 <c e>4 ( <d f> <c e> <d f> )
1574 @cindex @code{\slurUp}
1576 @cindex @code{\slurDown}
1578 @cindex @code{\slurNeutral}
1579 @code{\slurNeutral},
1580 @cindex @code{\slurDashed}
1582 @cindex @code{\slurDotted}
1584 @cindex @code{\slurSolid}
1589 Program reference: @seeinternals{Slur}.
1592 @node Phrasing slurs
1593 @subsection Phrasing slurs
1595 @cindex phrasing slurs
1596 @cindex phrasing marks
1598 A phrasing slur (or phrasing mark) connects notes and is used to
1599 indicate a musical sentence. It is written using @code{\(} and @code{\)}
1602 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1603 \time 6/4 c'\( d( e) f( e) d\)
1606 Typographically, the phrasing slur behaves almost exactly like a
1607 normal slur. However, they are treated as different objects. A
1608 @code{\slurUp} will have no effect on a phrasing slur; instead, use
1609 @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1610 @code{\phrasingSlurNeutral}.
1612 You cannot have simultaneous phrasing slurs.
1617 @cindex @code{\phrasingSlurUp}
1618 @code{\phrasingSlurUp},
1619 @cindex @code{\phrasingSlurDown}
1620 @code{\phrasingSlurDown},
1621 @cindex @code{\phrasingSlurNeutral}
1622 @code{\phrasingSlurNeutral}.
1627 Program reference: @internalsref{PhrasingSlur}.
1630 @node Automatic beams
1631 @subsection Automatic beams
1633 LilyPond inserts beams automatically
1635 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1636 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1639 When these automatic decisions are not good enough, beaming can be
1640 entered explicitly. It is also possible to define beaming patterns
1641 that differ from the defaults. See @ref{Setting automatic beam behavior}
1644 Individual notes may be marked with @code{\noBeam} to prevent them
1647 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1648 \time 2/4 c8 c\noBeam c c
1654 Program reference: @internalsref{Beam}.
1658 @subsection Manual beams
1660 @cindex beams, manual
1664 In some cases it may be necessary to override the automatic beaming
1665 algorithm. For example, the autobeamer will not put beams over rests
1666 or bar lines. Such beams are specified manually by marking the begin
1667 and end point with @code{[} and @code{]}
1669 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1671 r4 r8[ g' a r8] r8 g[ | a] r8
1678 @cindex @code{stemLeftBeamCount}
1679 @cindex @code{stemRightBeamCount}
1681 Normally, beaming patterns within a beam are determined automatically.
1682 If necessary, the properties @code{stemLeftBeamCount} and
1683 @code{stemRightBeamCount} can be used to override the defaults. If
1684 either property is set, its value will be used only once, and then it
1687 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1692 \set stemLeftBeamCount = #1
1697 The property @code{subdivideBeams} can be set in order to subdivide
1698 all 16th or shorter beams at beat positions, as defined by the
1699 @code{beatLength} property.
1701 @lilypond[fragment,quote,relative=2,verbatim]
1703 \set subdivideBeams = ##t
1705 \set Score.beatLength = #(ly:make-moment 1 8)
1708 @cindex @code{subdivideBeams}
1710 Line breaks are normally forbidden when beams cross bar lines. This
1711 behavior can be changed by setting @code{allowBeamBreak}.
1713 @cindex @code{allowBeamBreak}
1714 @cindex beams and line breaks
1715 @cindex beams, kneed
1717 @cindex auto-knee-gap
1722 Kneed beams are inserted automatically when a large gap is detected
1723 between the note heads. This behavior can be tuned through the object.
1725 Automatically kneed cross-staff beams cannot be used together with
1726 hidden staves. See @ref{Hiding staves}.
1728 Beams do not avoid collisions with symbols around the notes, such as
1729 texts and accidentals.
1733 @subsection Grace notes
1735 @cindex @code{\grace}
1738 @cindex appoggiatura
1739 @cindex acciaccatura
1741 Grace notes are ornaments that are written out. The most common ones
1742 are acciaccatura, which should be played as very short. It is denoted
1743 by a slurred small note with a slashed stem. The appoggiatura is a
1744 grace note that takes a fixed fraction of the main note, and is
1745 denoted as a slurred note in small print without a slash. They
1746 are entered with the commands @code{\acciaccatura} and
1747 @code{\appoggiatura}, as demonstrated in the following example
1749 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
1750 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
1751 \acciaccatura { g16[ f] } e4
1754 Both are special forms of the @code{\grace} command. By prefixing this
1755 keyword to a music expression, a new one is formed, which will be
1756 printed in a smaller font and takes up no logical time in a measure.
1758 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
1760 \grace { c16[ d16] } c2 c4
1764 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
1765 @code{\grace} command does not start a slur.
1767 Internally, timing for grace notes is done using a second, `grace'
1768 timing. Every point in time consists of two rational numbers: one
1769 denotes the logical time, one denotes the grace timing. The above
1770 example is shown here with timing tuples
1772 @lilypond[quote,raggedright]
1775 c4 \grace c16 c4 \grace {
1778 \new Lyrics \lyricmode {
1779 \override LyricText #'font-family = #'typewriter
1783 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
1784 \markup { (\fraction 1 4 , 0 ) } 4
1786 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
1787 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
1789 \markup { ( \fraction 2 4 , 0 ) }
1794 The placement of grace notes is synchronized between different staves.
1795 In the following example, there are two sixteenth grace notes for
1796 every eighth grace note
1798 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
1799 << \new Staff { e4 \grace { c16[ d e f] } e4 }
1800 \new Staff { c4 \grace { g8[ b] } c4 } >>
1803 @cindex @code{\afterGrace}
1805 If you want to end a note with a grace, use the @code{\afterGrace}
1806 command. It takes two arguments: the main note, and the grace notes
1807 following the main note.
1809 @lilypond[raggedright, verbatim,relative=2,fragment]
1810 c1 \afterGrace d1 { c16[ d] } c4
1813 This will put the grace notes after a ``space'' lasting 3/4 of the
1814 length of the main note. The fraction 3/4 can be changed by setting
1815 @code{afterGraceFraction}, ie.
1818 afterGraceFraction = #(cons 7 8)
1822 will put the grace note at 7/8 of the main note.
1824 The same effect can be achieved manually by doing
1826 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1829 { s2 \grace { c16[ d] } } >>
1835 By adjusting the duration of the skip note (here it is a half-note),
1836 the space between the main-note and the grace is adjusted.
1838 A @code{\grace} section will introduce special typesetting settings,
1839 for example, to produce smaller type, and set directions. Hence, when
1840 introducing layout tweaks, they should be inside the grace section,
1842 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1854 The overrides should also be reverted inside the grace section.
1856 The layout of grace sections can be changed throughout the music using
1857 the function @code{add-grace-property}. The following example
1858 undefines the Stem direction for this grace, so stems do not always
1863 #(add-grace-property 'Voice 'Stem 'direction '())
1869 Another option is to change the variables @code{startGraceMusic},
1870 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
1871 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
1872 @code{stopAppoggiaturaMusic}. More information is in the file
1873 @file{ly/@/grace@/-init@/.ly}.
1876 The slash through the stem in acciaccaturas can be obtained
1877 in other situations by @code{\override Stem #'stroke-style = #"grace"}.
1881 Program reference: @internalsref{GraceMusic}.
1886 A score that starts with a @code{\grace} section needs an explicit
1887 @code{\context Voice} declaration, otherwise the main note and the grace
1888 note end up on different staves.
1890 Grace note synchronization can also lead to surprises. Staff notation,
1891 such as key signatures, bar lines, etc., are also synchronized. Take
1892 care when you mix staves with grace notes and staves without, for example,
1894 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
1895 << \new Staff { e4 \bar "|:" \grace c16 d4 }
1896 \new Staff { c4 \bar "|:" d4 } >>
1900 This can be remedied by inserting grace skips of the corresponding
1901 durations in the other staves. For the above example
1904 \new Staff @{ c4 \bar "|:" \grace s16 d4 @}
1907 Grace sections should only be used within sequential music
1908 expressions. Nesting or juxtaposing grace sections is not supported,
1909 and might produce crashes or other errors.
1913 @node Expressive marks
1914 @section Expressive marks
1916 Expressive marks help musicians to bring more to the music than simple
1921 * Fingering instructions::
1931 @subsection Articulations
1933 @cindex Articulations
1937 A variety of symbols can appear above and below notes to indicate
1938 different characteristics of the performance. They are added to a note
1939 by adding a dash and the character signifying the
1940 articulation. They are demonstrated here
1942 @lilypondfile[quote,raggedright]{script-abbreviations.ly}
1944 The meanings of these shorthands can be changed. See
1945 @file{ly/@/script@/-init@/.ly} for examples.
1947 The script is automatically placed, but the direction can be forced as
1948 well. Like other pieces of LilyPond code, @code{_} will place them
1949 below the staff, and @code{^} will place them above.
1951 @lilypond[quote,raggedright,fragment,verbatim]
1955 Other symbols can be added using the syntax
1956 @var{note}@code{\}@var{name}. Again, they
1957 can be forced up or down using @code{^} and @code{_},
1960 @lilypond[quote,raggedright,verbatim,fragment,relative=2]
1961 c\fermata c^\fermata c_\fermata
1966 @cindex staccatissimo
1976 @cindex organ pedal marks
1985 @cindex prallmordent
1989 @cindex thumb marking
1994 Here is a chart showing all scripts available,
1996 @lilypondfile[raggedright,quote]{script-chart.ly}
2001 The vertical ordering of scripts is controlled with the
2002 @code{script-priority} property. The lower this number, the closer it
2003 will be put to the note. In this example, the
2004 @internalsref{TextScript} (the sharp symbol) first has the lowest
2005 priority, so it is put lowest in the first example. In the second, the
2006 prall trill (the @internalsref{Script}) has the lowest, so it is on the
2007 inside. When two objects have the same priority, the order in which
2008 they are entered decides which one comes first.
2010 @lilypond[verbatim,relative=3,raggedright,fragment,quote]
2011 \once \override TextScript #'script-priority = #-100
2012 a4^\prall^\markup { \sharp }
2014 \once \override Script #'script-priority = #-100
2015 a4^\prall^\markup { \sharp }
2021 Program reference: @internalsref{Script}.
2026 These signs appear in the printed output but have no effect on the
2027 MIDI rendering of the music.
2030 @node Fingering instructions
2031 @subsection Fingering instructions
2034 @cindex finger change
2036 Fingering instructions can be entered using
2038 @var{note}-@var{digit}
2040 For finger changes, use markup texts
2042 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2044 c^\markup { \finger "2 - 3" }
2047 You can use the thumb-script to indicate that a note should be
2048 played with the thumb (e.g., in cello music)
2049 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2050 <a_\thumb a'-3>8 <b_\thumb b'-3>
2053 Fingerings for chords can also be added to individual notes
2054 of the chord by adding them after the pitches
2055 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2056 < c-1 e-2 g-3 b-5 >4
2062 You may exercise greater control over fingering chords by
2063 setting @code{fingeringOrientations}
2065 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2066 \set fingeringOrientations = #'(left down)
2067 <c-1 es-2 g-4 bes-5 > 4
2068 \set fingeringOrientations = #'(up right down)
2069 <c-1 es-2 g-4 bes-5 > 4
2072 Using this feature, it is also possible to put fingering instructions
2073 very close to note heads in monophonic music,
2075 @lilypond[verbatim,raggedright,quote,fragment]
2076 \set fingeringOrientations = #'(right)
2083 Program reference: @internalsref{Fingering}.
2085 Examples: @inputfileref{input/@/regression,finger@/-chords@/.ly}.
2089 @subsection Dynamics
2100 @cindex @code{\ffff}
2109 Absolute dynamic marks are specified using a command after a note
2110 @code{c4\ff}. The available dynamic marks are @code{\ppp},
2111 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2112 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2113 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
2115 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2116 c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2117 c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
2124 A crescendo mark is started with @code{\<} and terminated with
2125 @code{\!} or an absolute dynamic. A decrescendo is started with
2126 @code{\>} and is also terminated with @code{\!} or an absolute
2127 dynamic. Because these marks are bound to notes, you must
2128 use spacer notes if multiple marks are needed during one note
2130 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2132 << f1 { s4 s4\< s4\! \> s4\! } >>
2136 A hairpin starts at the left edge of the beginning note and ends on the
2137 right edge of the ending note.
2139 This may give rise to very short hairpins. Use @code{minimum-length}
2140 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2144 \override Staff.Hairpin #'minimum-length = #5
2151 You can also use a text saying @emph{cresc.} instead of hairpins
2153 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
2164 You can also supply your own texts
2165 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2166 \set crescendoText = \markup { \italic "cresc. poco" }
2167 \set crescendoSpanner = #'dashed-line
2171 To create new dynamic marks or text that should be aligned
2172 with dynamics, see @ref{New dynamic marks}.
2177 Dynamics that occur at, begin on, or end on, the same note
2178 will be vertically aligned. If you want to ensure that dynamics
2179 are aligned when they do not occur on the same note, you can
2180 increase the @code{staff-padding} property.
2183 \override DynamicLineSpanner #'staff-padding = #4
2186 You may also use this property if the dynamics are colliding
2187 with other notation.
2192 @cindex @code{\dynamicUp}
2194 @cindex @code{\dynamicDown}
2195 @code{\dynamicDown},
2196 @cindex @code{\dynamicNeutral}
2197 @code{\dynamicNeutral}.
2202 Program reference: @internalsref{DynamicText}, @internalsref{Hairpin}.
2203 Vertical positioning of these symbols is handled by
2204 @internalsref{DynamicLineSpanner}.
2208 @subsection Breath marks
2210 Breath marks are entered using @code{\breathe}
2212 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2219 The glyph of the breath mark can be tuned by overriding the
2220 @code{text} property of the @code{BreathingSign} layout object with
2221 any markup text. For example,
2222 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2224 \override BreathingSign #'text
2225 = #(make-musicglyph-markup "scripts.rvarcomma")
2232 Program reference: @internalsref{BreathingSign}.
2234 Examples: @inputfileref{input/@/regression,breathing@/-sign@/.ly}.
2237 @node Running trills
2238 @subsection Running trills
2240 Long running trills are made with @code{\startTrillSpan} and
2241 @code{\stopTrillSpan},
2243 @lilypond[verbatim,raggedright,relative=2,quote,fragment]
2245 << { c1 \startTrillSpan }
2246 { s2. \grace { d16[\stopTrillSpan e] } } >>
2253 @code{\startTrillSpan},
2254 @cindex @code{\startTrillSpan}
2255 @code{\stopTrillSpan}.
2256 @cindex @code{\stopTrillSpan}
2261 This manual: @ref{Pitched trills}.
2263 Program reference: @internalsref{TrillSpanner}.
2267 @subsection Glissando
2270 @cindex @code{\glissando}
2272 A glissando is a smooth change in pitch. It is denoted by a line or a
2273 wavy line between two notes. It is requested by attaching
2274 @code{\glissando} to a note
2276 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
2278 \override Glissando #'style = #'zigzag
2285 Program reference: @internalsref{Glissando}.
2287 Example files: @file{input/@/regression/@/glissando@/.ly}.
2292 Printing text over the line (such as @emph{gliss.}) is not supported.
2296 @subsection Arpeggio
2299 @cindex broken chord
2300 @cindex @code{\arpeggio}
2302 You can specify an arpeggio sign (also known as broken chord) on a
2303 chord by attaching an @code{\arpeggio} to a chord
2305 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2309 A square bracket on the left indicates that the player should not
2310 arpeggiate the chord
2312 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2317 The direction of the arpeggio is sometimes denoted by adding an
2318 arrowhead to the wiggly line
2320 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2332 When an arpeggio crosses staves, you may attach an arpeggio to the chords
2333 in both staves and set
2334 @internalsref{PianoStaff}.@code{connectArpeggios}
2336 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2337 \context PianoStaff <<
2338 \set PianoStaff.connectArpeggios = ##t
2339 \new Staff { <c' e g c>\arpeggio }
2340 \new Staff { \clef bass <c,, e g>\arpeggio }
2348 @cindex @code{\arpeggioUp}
2350 @cindex @code{\arpeggioDown}
2351 @code{\arpeggioDown},
2352 @cindex @code{\arpeggioNeutral}
2353 @code{\arpeggioNeutral},
2354 @cindex @code{\arpeggioBracket}
2355 @code{\arpeggioBracket}.
2360 Notation manual: @ref{Ties}, for writing out arpeggios.
2362 Program reference: @internalsref{Arpeggio}.
2367 It is not possible to mix connected arpeggios and unconnected
2368 arpeggios in one @internalsref{PianoStaff} at the same point in time.
2375 Polyphony in music refers to having more than one voice occuring in
2376 a piece of music. Polyphony in LilyPond refers to having more than
2377 one voice on the same staff.
2381 * Explicitly instantiating voices::
2382 * Collision Resolution::
2386 @node Basic polyphony
2387 @subsection Basic polyphony
2391 The easiest way to enter fragments with more than one voice on a staff
2392 is to enter each voice as a sequence (with @code{@{...@}}), and combine
2393 them simultaneously, separating the voices with @code{\\}
2397 @lilypond[quote,verbatim,fragment]
2398 \new Staff \relative c' {
2401 { g4 f e | d2 e2 } \\
2402 { r8 e4 d c8 ~ | c b16 a b8 g ~ g2 } \\
2408 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
2409 voices are sometimes called ``layers'' in other notation packages}
2411 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
2412 each of these contexts, vertical direction of slurs, stems, etc., is set
2415 These voices are all seperate from the voice that contains the notes just
2416 outside the @code{<< \\ >>} construct. This should be noted when making
2417 changes at the voice level. This also means that slurs and ties cannot go
2418 into or out of a @code{<< \\ >>} construct. Conversely, parallel voices
2419 from separate @code{<< \\ >>} constructs on the same staff are the the
2420 same voice. Here is the same example, with different noteheads for each
2421 voice. Note that the change to the note-head style in the main voice does not affect
2422 the inside of the @code{<< \\ >>} constructs. Also, the change to the second
2423 voice in the first @code{<< \\ >>} construct is effective in the second
2424 @code{<< \\ >>}, and the voice is tied accross the two constructs.
2426 @lilypond[quote,verbatim,fragment]
2427 \new Staff \relative c' {
2428 \override NoteHead #'style = #'cross
2432 { \override NoteHead #'style = #'triangle
2437 { c8 b16 a b8 g ~ g2 } \\
2438 { \override NoteHead #'style = #'slash s4 b4 c2 }
2443 Polyphony does not change the relationship of notes within a
2444 @code{\relative @{ @}} block. Each note is calculated relative
2445 to the note immediately preceding it.
2448 \relative @{ noteA << noteB \\ noteC >> noteD @}
2451 @code{noteC} is relative to @code{noteB}, not @code{noteA};
2452 @code{noteD} is relative to @code{noteC}, not @code{noteB} or
2455 @node Explicitly instantiating voices
2456 @subsection Explicitly instantiating voices
2458 @internalsref{Voice} contexts can also be instantiated manually
2459 inside a @code{<< >>} block to create polyphonic music, using
2460 @code{\voiceOne}, up to @code{\voiceFour} to assign stem directions
2461 and a horizontal shift for each part.
2465 << \upper \\ \lower >>
2473 \context Voice = "1" @{ \voiceOne \upper @}
2474 \context Voice = "2" @{ \voiceTwo \lower @}
2478 The @code{\voiceXXX} commands set the direction of stems, slurs, ties,
2479 articulations, text annotations, augmentation dots of dotted
2480 notes, and fingerings. @code{\voiceOne} and @code{\voiceThree} make
2481 these objects point upwards, while @code{\voiceTwo} and @code{\voiceFour}
2482 make them point downwards.
2483 The command @code{\oneVoice} will revert back to the normal setting.
2485 An expression that appears directly inside a @code{<< >>} belongs to
2486 the main voice. This is useful when extra voices appear while the main
2487 voice is playing. Here is a more correct rendition of the example from
2488 the previous section. The crossed noteheads demonstrate that the main
2489 melody is now in a single voice context.
2491 @lilypond[quote,raggedright,verbatim]
2492 \new Staff \relative c' {
2493 \override NoteHead #'style = #'cross
2498 \context Voice="1" { \voiceTwo
2499 r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
2502 \new Voice { \voiceThree
2511 The correct definition of the voices allows the melody to be slurred.
2512 @lilypond[quote,raggedright,verbatim]
2513 \new Staff \relative c' {
2518 \context Voice="1" { \voiceTwo
2519 r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
2522 \new Voice { \voiceThree
2531 Avoiding the @code{\\} seperator also allows nesting polyphony
2532 constructs, which in some case might be a more natural way to typeset
2535 @lilypond[quote,raggedright,verbatim]
2536 \new Staff \relative c' {
2541 \context Voice="1" { \voiceTwo
2544 {c8 b16 a b8 g ~ g2}
2545 \new Voice { \voiceThree
2558 @node Collision Resolution
2559 @subsection Collision Resolution
2561 Normally, note heads with a different number of dots are not merged, but
2562 when the object property @code{merge-differently-dotted} is set in
2563 the @internalsref{NoteCollision} object, they are merged
2564 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
2567 \override Staff.NoteCollision
2568 #'merge-differently-dotted = ##t
2570 } \\ { g8.[ f16] g8.[ f16] } >>
2573 Similarly, you can merge half note heads with eighth notes, by setting
2574 @code{merge-differently-headed}
2575 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
2578 \override Staff.NoteCollision
2579 #'merge-differently-headed = ##t
2580 c8 c4. } \\ { c2 c2 } >>
2583 LilyPond also vertically shifts rests that are opposite of a stem,
2586 @lilypond[quote,raggedright,fragment,verbatim]
2587 \context Voice << c''4 \\ r4 >>
2593 @cindex @code{\oneVoice}
2595 @cindex @code{\voiceOne}
2597 @cindex @code{\voiceTwo}
2599 @cindex @code{\voiceThree}
2601 @cindex @code{\voiceFour}
2604 @cindex @code{\shiftOn}
2606 @cindex @code{\shiftOnn}
2608 @cindex @code{\shiftOnnn}
2610 @cindex @code{\shiftOff}
2611 @code{\shiftOff}: these commands specify in what chords of the current
2612 voice should be shifted. The outer voices (normally: voice one and
2613 two) have @code{\shiftOff}, while the inner voices (three and four)
2614 have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define
2615 further shift levels.
2617 When LilyPond cannot cope, the @code{force-hshift}
2618 property of the @internalsref{NoteColumn} object and pitched rests can
2619 be used to override typesetting decisions.
2621 @lilypond[quote,verbatim,raggedright]
2628 \once \override NoteColumn #'force-hshift = #1.7
2636 Program reference: the objects responsible for resolving collisions are
2637 @internalsref{NoteCollision} and @internalsref{RestCollision}.
2640 @inputfileref{input/@/regression,collision@/-dots@/.ly},
2641 @inputfileref{input/@/regression,collision@/-head-chords@/.ly},
2642 @inputfileref{input/@/regression,collision@/-heads@/.ly},
2643 @inputfileref{input/@/regression,collision@/-mesh@/.ly}, and
2644 @inputfileref{input/@/regression,collisions@/.ly}.
2649 When using @code{merge-differently-headed} with an upstem eighth or a
2650 shorter note, and a downstem half note, the eighth note gets the wrong
2653 There is no support for clusters where the same note occurs with
2654 different accidentals in the same chord. In this case, it is
2655 recommended to use enharmonic transcription, or to use special cluster
2656 notation (see @ref{Clusters}).
2663 Repetition is a central concept in music, and multiple notations exist
2669 * Repeats and MIDI::
2670 * Manual repeat commands::
2672 * Tremolo subdivisions::
2678 @subsection Repeat types
2681 @cindex @code{\repeat}
2683 The following types of repetition are supported
2687 Repeated music is fully written (played) out. This is useful when
2688 entering repetitious music. This is the only kind of repeat that
2689 is included in MIDI output.
2692 Repeats are not written out, but alternative endings (volte) are
2693 printed, left to right with brackets. This is the standard notation
2694 for repeats with alternatives. These are not played in MIDI output by default.
2698 Alternative endings are written stacked. This has limited use but may be
2699 used to typeset two lines of lyrics in songs with repeats, see
2700 @inputfileref{input,star-spangled-banner@/.ly}.
2704 Make tremolo beams. These are not played in MIDI output by default.
2707 Make beat or measure repeats. These look like percent signs. These
2708 are not played in MIDI output by default. Percent repeats must be
2709 declared within a Voice context.
2715 @subsection Repeat syntax
2717 LilyPond has one syntactic construct for specifying different types of
2718 repeats. The syntax is
2721 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2724 If you have alternative endings, you may add
2725 @cindex @code{\alternative}
2736 where each @var{alternative} is a music expression. If you do not
2737 give enough alternatives for all of the repeats, the first alternative
2738 is assumed to be played more than once.
2740 Standard repeats are used like this
2741 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2743 \repeat volta 2 { c4 d e f }
2744 \repeat volta 2 { f e d c }
2747 With alternative endings
2748 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2750 \repeat volta 2 {c4 d e f}
2751 \alternative { {d2 d} {f f,} }
2754 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2757 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2758 \alternative { { g4 g g } { a | a a a a | b2. } }
2762 It is possible to shorten volta brackets
2763 by setting @code{voltaSpannerDuration}. In the next example, the
2764 bracket only lasts one measure, which is a duration of 3/4.
2766 @lilypond[verbatim,raggedright,quote]
2770 \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4)
2771 \repeat "volta" 5 { d d d }
2772 \alternative { { e e e f f f }
2782 Brackets for the repeat are normally only printed over the topmost
2783 staff. This can be adjusted by setting the @code{voltaOnThisStaff}
2784 property; see @inputfileref{input/@/regression,volta@/-multi@/-staff@/.ly}.
2789 @cindex repeat, ambiguous
2791 A nested repeat like
2800 is ambiguous, since it is is not clear to which @code{\repeat} the
2801 @code{\alternative} belongs. This ambiguity is resolved by always
2802 having the @code{\alternative} belong to the inner @code{\repeat}.
2803 For clarity, it is advisable to use braces in such situations.
2805 Timing information is not remembered at the start of an alternative,
2806 so after a repeat timing information must be reset by hand, for
2807 example by setting @code{Score.measurePosition} or entering
2808 @code{\partial}. Similarly, slurs or ties are also not repeated.
2811 @node Repeats and MIDI
2812 @subsection Repeats and MIDI
2814 @cindex expanding repeats
2815 @cindex @code{\unfoldRepeats}
2817 With a little bit of tweaking, all types of repeats can be present
2818 in the MIDI output. This is achieved by applying the
2819 @code{\unfoldRepeats} music function. This functions changes all
2820 repeats to unfold repeats.
2822 @lilypond[quote,verbatim,fragment,linewidth=8.0\cm]
2824 \repeat tremolo 8 {c'32 e' }
2825 \repeat percent 2 { c''8 d'' }
2826 \repeat volta 2 {c'4 d' e' f'}
2835 When creating a score file using @code{\unfoldRepeats} for midi, then
2836 it is necessary to make two @code{\score} blocks. One for MIDI (with
2837 unfolded repeats) and one for notation (with volta, tremolo, and
2838 percent repeats). For example,
2846 \unfoldRepeats @var{..music..}
2852 @node Manual repeat commands
2853 @subsection Manual repeat commands
2855 @cindex @code{repeatCommands}
2857 The property @code{repeatCommands} can be used to control the layout of
2858 repeats. Its value is a Scheme list of repeat commands.
2861 @item @code{start-repeat}
2862 Print a @code{|:} bar line.
2864 @item @code{end-repeat}
2865 Print a @code{:|} bar line.
2867 @item @code{(volta @var{text})}
2868 Print a volta bracket saying @var{text}: The text can be specified as
2869 a text string or as a markup text, see @ref{Text markup}. Do not
2870 forget to change the font, as the default number font does not contain
2871 alphabetic characters;
2873 @item @code{(volta #f)}
2874 Stop a running volta bracket.
2877 @lilypond[quote,raggedright,verbatim,fragment,relative=2]
2879 \set Score.repeatCommands = #'((volta "93") end-repeat)
2881 \set Score.repeatCommands = #'((volta #f))
2888 Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2889 @internalsref{VoltaRepeatedMusic},
2890 @internalsref{UnfoldedRepeatedMusic}, and
2891 @internalsref{FoldedRepeatedMusic}.
2894 @node Tremolo repeats
2895 @subsection Tremolo repeats
2897 @cindex tremolo beams
2899 To place tremolo marks between notes, use @code{\repeat} with tremolo
2901 @lilypond[quote,verbatim,raggedright]
2902 \new Voice \relative c' {
2903 \repeat "tremolo" 8 { c16 d16 }
2904 \repeat "tremolo" 4 { c16 d16 }
2905 \repeat "tremolo" 2 { c16 d16 }
2909 Tremolo marks can also be put on a single note. In this case, the
2910 note should not be surrounded by braces.
2911 @lilypond[quote,verbatim,raggedright]
2912 \repeat "tremolo" 4 c'16
2915 Similar output is obtained using the tremolo subdivision, described in
2916 @ref{Tremolo subdivisions}.
2921 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2923 Program reference: @internalsref{Beam}, @internalsref{StemTremolo}.
2925 Example files: @inputfileref{input/@/regression,chord@/-tremolo@/.ly},
2926 @inputfileref{input/@/regression,stem@/-tremolo@/.ly}.
2929 @node Tremolo subdivisions
2930 @subsection Tremolo subdivisions
2932 @cindex tremolo marks
2933 @cindex @code{tremoloFlags}
2935 Tremolo marks can be printed on a single note by adding
2936 `@code{:}[@var{number}]' after the note. The number indicates the
2937 duration of the subdivision, and it must be at least 8. A
2938 @var{length} value of 8 gives one line across the note stem. If the
2939 length is omitted, the last value (stored in @code{tremoloFlags}) is
2942 @lilypond[quote,raggedright,verbatim,fragment]
2943 c'2:8 c':32 | c': c': |
2949 Tremolos entered in this way do not carry over into the MIDI output.
2954 In this manual: @ref{Tremolo repeats}.
2956 Elsewhere: @internalsref{StemTremolo}.
2959 @node Measure repeats
2960 @subsection Measure repeats
2962 @cindex percent repeats
2963 @cindex measure repeats
2965 In the @code{percent} style, a note pattern can be repeated. It is
2966 printed once, and then the pattern is replaced with a special sign.
2967 Patterns of one and two measures are replaced by percent-like signs,
2968 patterns that divide the measure length are replaced by slashes.
2969 Percent repeats must be declared within a @code{Voice} context.
2971 @lilypond[quote,verbatim,raggedright]
2972 \new Voice \relative c' {
2973 \repeat "percent" 4 { c4 }
2974 \repeat "percent" 2 { c2 es2 f4 fis4 g4 c4 }
2978 Measure repeats of more than 2 measures get a counter, if you switch
2979 on the @code{countPercentRepeats} property,
2981 @lilypond[relative=2,fragment,quote,verbatim,raggedright]
2982 \set countPercentRepeats = ##t
2984 \repeat "percent" 4 { c1 }
2989 Isolated percents can also be printed. This is done by putting a multi
2990 measure rest with a different print function,
2992 @lilypond[fragment,verbatim]
2993 \override MultiMeasureRest #'stencil
2994 = #Multi_measure_rest::percent
3003 Program reference: @internalsref{RepeatSlash},
3004 @internalsref{PercentRepeat}, @internalsref{DoublePercentRepeat},
3005 @internalsref{DoublePercentRepeatCounter},
3006 @internalsref{PercentRepeatCounter},
3007 @internalsref{PercentRepeatedMusic}, and