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
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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,ragged-right,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,ragged-right]
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,ragged-right,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,ragged-right,verbatim,relative=2]
114 There are predefined sets of note names for various other languages.
115 To use them, include the language specific init file. For
116 example: @code{\include "english.ly"}. The available language files
117 and the note names they define are
122 Note Names sharp flat
123 nederlands.ly c d e f g a bes b -is -es
124 english.ly c d e f g a bf b -s/-sharp -f/-flat
126 deutsch.ly c d e f g a b h -is -es
127 norsk.ly c d e f g a b h -iss/-is -ess/-es
128 svenska.ly c d e f g a b h -iss -ess
129 italiano.ly do re mi fa sol la sib si -d -b
130 catalan.ly do re mi fa sol la sib si -d/-s -b
131 espanol.ly do re mi fa sol la sib si -s -b
137 In accordance with standard typesetting rules, a natural sign is printed
138 before a sharp or flat if a previous accidental needs to be
139 cancelled. To change this behaviour, use
140 @code{\set Staff.extraNatural = ##f}
142 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
144 \set Staff.extraNatural = ##f
150 Suggested accidentals (used in notating musica ficta) may
151 be written with @code{suggestAccidentals}
153 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
154 \set suggestAccidentals = ##t
161 Program reference: @internalsref{LedgerLineSpanner}, @internalsref{NoteHead}.
164 @node Cautionary accidentals
165 @subsection Cautionary accidentals
167 @cindex reminder accidental
169 @cindex cautionary accidental
170 @cindex parenthesized accidental
173 Normally accidentals are printed automatically, but you may also
174 print them manually. A reminder accidental
175 can be forced by adding an exclamation mark @code{!}
176 after the pitch. A cautionary accidental
177 (i.e., an accidental within parentheses) can be obtained by adding the
178 question mark `@code{?}' after the pitch. These extra accidentals
179 can be used to produce natural signs, too.
181 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
182 cis cis cis! cis? c c? c! c
188 The automatic production of accidentals can be tuned in many
189 ways. For more information, refer to @ref{Automatic accidentals}.
194 @subsection Micro tones
196 @cindex quarter tones
197 @cindex semi-flats, semi-sharps
199 Half-flats and half-sharps are formed by adding @code{-eh} and
200 @code{-ih}; the following is a series of Cs with increasing pitches
202 @lilypond[verbatim,ragged-right,quote,relative=2,fragment]
203 \set Staff.extraNatural = ##f
207 Micro tones are also exported to the MIDI file.
212 There are no generally accepted standards for denoting three quarter
213 flats, so LilyPond's symbol does not conform to any standard.
221 A chord is formed by a enclosing a set of pitches in @code{<} and
222 @code{>}. A chord may be followed by a duration, and a set of
223 articulations, just like simple notes
225 @lilypond[verbatim,ragged-right,fragment,quote,relative=1]
229 For more information about chords, see @ref{Chord names}.
240 Rests are entered like notes with the note name @code{r}
242 @lilypond[fragment,quote,ragged-right,verbatim]
246 Whole bar rests, centered in middle of the bar,
247 must be done with multi-measure rests. They can be used for a
248 single bar as well as many bars, and are discussed in
249 @ref{Multi measure rests}.
251 To explicitly specify a rest's vertical position, write a note
252 followed by @code{\rest}. A rest will be placed in the position
253 where the note would appear,
255 @lilypond[fragment,quote,ragged-right,verbatim]
260 This makes manual formatting of
261 polyphonic music much easier, since the automatic rest collision
262 formatter will leave these rests alone.
266 Program reference: @internalsref{Rest}.
273 @cindex Invisible rest
278 An invisible rest (also called a `skip') can be entered like a note
279 with note name `@code{s}' or with @code{\skip @var{duration}}
281 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
282 a4 a4 s4 a4 \skip 1 a4
285 The @code{s} syntax is only available in note mode and chord mode. In
286 other situations, for example, when entering lyrics, you should use
287 the @code{\skip} command
289 @lilypond[quote,ragged-right,verbatim]
292 \new Lyrics \lyricmode { \skip 2 bla2 }
296 The skip command is merely an empty musical placeholder. It does not
297 produce any output, not even transparent output.
299 The @code{s} skip command does create @internalsref{Staff} and
300 @internalsref{Voice} when necessary, similar to note and rest
301 commands. For example, the following results in an empty staff.
303 @lilypond[quote,ragged-right,verbatim]
307 The fragment @code{@{ \skip 4 @} } would produce an empty page.
311 Program reference: @internalsref{SkipMusic}.
315 @subsection Durations
318 @cindex @code{\longa}
319 @cindex @code{\breve}
320 @cindex @code{\maxima}
322 In Note, Chord, and Lyrics mode, durations are designated by numbers and
323 dots: durations are entered as their reciprocal values. For example, a
324 quarter note is entered using a @code{4} (since it is a 1/4 note), while
325 a half note is entered using a @code{2} (since it is a 1/2 note). For
326 notes longer than a whole you must use the variables @code{\longa} and
331 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
333 r1 r2 r4 r8 r16 r32 r64 r64
339 a\breve*1/2 \autoBeamOff
340 a1 a2 a4 a8 a16 a32 a64 a64
343 r\longa*1/4 r\breve *1/2
344 r1 r2 r4 r8 r16 r32 r64 r64
350 \remove "Clef_engraver"
351 \override StaffSymbol #'transparent = ##t
352 \override TimeSignature #'transparent = ##t
353 \override BarLine #'transparent = ##t
354 \consists "Pitch_squash_engraver"
360 If the duration is omitted then it is set to the previously entered
361 duration. The default for the first note is a quarter note.
363 @lilypond[quote,ragged-right,verbatim,fragment]
364 { a a a2 a a4 a a1 a }
368 @node Augmentation dots
369 @subsection Augmentation dots
373 To obtain dotted note lengths, simply add a dot (`@code{.}') to
374 the number. Double-dotted notes are produced in a similar way.
376 @lilypond[quote,ragged-right,fragment,verbatim]
377 a'4 b' c''4. b'8 a'4. b'4.. c''8.
382 Dots are normally moved up to avoid staff lines, except in polyphonic
383 situations. The following commands may be used to force a particular
386 @cindex @code{\dotsUp}
388 @cindex @code{\dotsDown}
390 @cindex @code{\dotsNeutral}
395 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
403 @cindex @code{\times}
405 Tuplets are made out of a music expression by multiplying all durations
409 \times @var{fraction} @var{musicexpr}
413 The duration of @var{musicexpr} will be multiplied by the fraction.
414 The fraction's denominator will be printed over the notes, optionally
415 with a bracket. The most common tuplet is the triplet in which 3
416 notes have the length of 2, so the notes are 2/3 of their written
419 @lilypond[quote,ragged-right,fragment,verbatim]
420 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
423 Tuplets may be nested, for example,
425 @lilypond[fragment,ragged-right,verbatim,relative=2]
426 \set tupletNumberFormatFunction = #fraction-tuplet-formatter
429 \times 3/5 { a a a a a }
435 @cindex @code{\tupletUp}
437 @cindex @code{\tupletDown}
439 @cindex @code{\tupletNeutral}
440 @code{\tupletNeutral}.
445 @cindex @code{tupletNumberFormatFunction}
446 @cindex tuplet formatting
448 The property @code{tupletSpannerDuration} specifies how long each
449 bracket should last. With this, you can make lots of tuplets while
450 typing @code{\times} only once, thus saving lots of typing. In the next
451 example, there are two triplets shown, while @code{\times} was only
454 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
455 \set tupletSpannerDuration = #(ly:make-moment 1 4)
456 \times 2/3 { c8 c c c c c }
460 For more information about @code{make-moment}, see
461 @ref{Time administration}.
463 The format of the number is determined by the property
464 @code{tupletNumberFormatFunction}. The default prints only the
465 denominator, but if it is set to the Scheme function
466 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
469 To avoid printing tuplet numbers, use
471 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
472 \times 2/3 { c8 c c } \times 2/3 { c8 c c }
473 \override TupletNumber #'transparent = ##t
474 \times 2/3 { c8 c c } \times 2/3 { c8 c c }
480 Program reference: @internalsref{TupletBracket},
481 @internalsref{TupletNumber}, and @internalsref{TimeScaledMusic}.
483 Examples: @inputfileref{input/@/regression,tuplet@/-nest@/.ly}.
487 @node Scaling durations
488 @subsection Scaling durations
490 You can alter the length of duration by a fraction @var{N/M}
491 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
492 will not affect the appearance of the notes or rests produced.
494 In the following example, the first three notes take up exactly two
495 beats, but no triplet bracket is printed.
496 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
498 a4*2/3 gis4*2/3 a4*2/3
506 This manual: @ref{Tuplets}
512 Whenever a note is found, a @internalsref{Stem} object is created
513 automatically. For whole notes and rests, they are also created but
518 @cindex @code{\stemUp}
520 @cindex @code{\stemDown}
522 @cindex @code{\stemNeutral}
528 To change the direction of stems in the middle of the staff, use
530 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
532 \override Stem #'neutral-direction = #up
534 \override Stem #'neutral-direction = #down
539 @node Alternate music entry
540 @section Alternate music entry
543 This section deals with tricks and features of the input language that
544 were added solely to help entering music and finding and correcting
545 mistakes. There are also external tools that make debugging easier.
546 See @ref{Point and click} for more information.
548 It is also possible to enter and edit music using other programs, such as
549 GUI interfaces or MIDI sequencers. Refer to the LilyPond
550 website for more information.
558 * Skipping corrected music::
559 * Automatic note splitting::
560 * Writing music in parallel::
564 @node Relative octaves
565 @subsection Relative octaves
568 @cindex Relative octave specification
569 @cindex @code{\relative}
571 Octaves are specified by adding @code{'} and @code{,} to pitch names.
572 When you copy existing music, it is easy to accidentally put a pitch
573 in the wrong octave and hard to find such an error. The relative
574 octave mode prevents these errors by making the mistakes much
575 larger: a single error puts the rest of the piece off by one octave
578 \relative @var{startpitch} @var{musicexpr}
585 \relative @var{musicexpr}
589 @code{c'} is used as the default if no starting pitch is defined.
591 The octave of notes that appear in @var{musicexpr} are calculated as
592 follows: if no octave changing marks are used, the basic interval
593 between this and the last note is always taken to be a fourth or
594 less. This distance is determined without regarding alterations; a
595 @code{fisis} following a @code{ceses} will be put above the
596 @code{ceses}. In other words, a doubly-augmented fourth is considered
597 a smaller interval than a diminished fifth, even though the
598 doubly-augmented fourth spans seven semitones while the diminished
599 fifth only spans six semitones.
601 The octave changing marks @code{'} and @code{,} can be added to raise
602 or lower the pitch by an extra octave. Upon entering relative mode,
603 an absolute starting pitch can be specified that will act as the
604 predecessor of the first note of @var{musicexpr}. If no starting pitch
605 is specified, then middle C is used as a start.
607 Here is the relative mode shown in action
608 @lilypond[quote,fragment,ragged-right,verbatim]
614 Octave changing marks are used for intervals greater than a fourth
615 @lilypond[quote,ragged-right,fragment,verbatim]
621 If the preceding item is a chord, the first note of the chord is used
622 to determine the first note of the next chord
624 @lilypond[quote,ragged-right,fragment,verbatim]
632 The pitch after the @code{\relative} contains a note name.
634 The relative conversion will not affect @code{\transpose},
635 @code{\chordmode} or @code{\relative} sections in its argument. To use
636 relative within transposed music, an additional @code{\relative} must
637 be placed inside @code{\transpose}.
641 @subsection Octave check
645 Octave checks make octave errors easier to correct: a note may be
646 followed by @code{=}@var{quotes} which indicates what its absolute
647 octave should be. In the following example,
650 \relative c'' @{ c='' b=' d,='' @}
654 the @code{d} will generate a warning, because a @code{d''} is expected
655 (because @code{b'} to @code{d''} is only a third), but a @code{d'} is
656 found. In the output, the octave is corrected to be a @code{d''} and
657 the next note is calculated relative to @code{d''} instead of @code{d'}.
659 There is also an octave check that produces no visible output. The syntax
665 This checks that @var{pitch} (without quotes) yields @var{pitch} (with
666 quotes) in \relative mode. If not, a warning is printed, and the
667 octave is corrected. The @var{pitch} is not printed as a note.
669 In the example below, the first check passes without incident, since
670 the @code{e} (in relative mode) is within a fifth of @code{a'}. However,
671 the second check produces a warning, since the @code{e} is not within
672 a fifth of @code{b'}. The warning message is printed, and the octave
673 is adjusted so that the following notes are in the correct octave
685 The octave of a note following an octave check is determined with
686 respect to the note preceding it. In the next fragment, the last note
687 is an @code{a'}, above middle C. That means that the @code{\octave}
688 check passes successfully, so the check could be deleted without changing
689 the output of the piece.
691 @lilypond[quote,ragged-right,verbatim,fragment]
701 @subsection Transpose
704 @cindex transposition of pitches
705 @cindex @code{\transpose}
707 A music expression can be transposed with @code{\transpose}. The
710 \transpose @var{from} @var{to} @var{musicexpr}
713 This means that @var{musicexpr} is transposed by the interval between
714 the pitches @var{from} and @var{to}: any note with pitch @code{from}
715 is changed to @code{to}.
717 For example, consider a piece written in the key of D-major. If
718 this piece is a little too low for its performer, it can be
719 transposed up to E-major with
721 \transpose d e @dots{}
724 Consider a part written for violin (a C instrument). If
725 this part is to be played on the A clarinet (for which an
726 A is notated as a C, and which sounds a minor third lower
727 than notated), the following
728 transposition will produce the appropriate part
731 \transpose a c @dots{}
734 @code{\transpose} distinguishes between enharmonic pitches: both
735 @code{\transpose c cis} or @code{\transpose c des} will transpose up
736 half a tone. The first version will print sharps and the second
737 version will print flats
739 @lilypond[quote,ragged-right,verbatim]
740 mus = { \key d \major cis d fis g }
749 @code{\transpose} may also be used to input written notes for a
750 transposing instrument. Pitches are normally entered into LilyPond
751 in C (or ``concert pitch''), but they may be entered in another
752 key. For example, when entering music for a B-flat trumpet which
753 begins on concert D, one would write
756 \transpose c bes @{ e4 @dots{} @}
759 To print this music in B-flat again (i.e. producing a trumpet part,
760 instead of a concert pitch conductor's score) you would wrap the
761 existing music with another @code{transpose}
764 \transpose bes c @{ \transpose c bes @{ e4 @dots{} @} @}
770 Program reference: @internalsref{TransposedMusic}.
775 If you want to use both @code{\transpose} and @code{\relative},
776 you must put @code{\transpose} outside of @code{\relative}, since
777 @code{\relative} will have no effect music that appears inside a
782 @subsection Bar check
785 @cindex @code{barCheckSynchronize}
788 Bar checks help detect errors in the durations. A bar check is
789 entered using the bar symbol, `@code{|}'. Whenever it is encountered
790 during interpretation, it should fall on a measure boundary. If it
791 does not, a warning is printed. In the next example, the second bar
792 check will signal an error
794 \time 3/4 c2 e4 | g2 |
797 Bar checks can also be used in lyrics, for example
802 Twin -- kle | Twin -- kle
806 Failed bar checks are caused by entering incorrect
807 durations. Incorrect durations often completely garble up the score,
808 especially if the score is polyphonic, so a good place to start correcting
809 input is by scanning for failed bar checks and incorrect durations.
812 @cindex @code{pipeSymbol}
814 It is also possible to redefine the meaning of @code{|}. This is done
815 by assigning a music expression to @code{pipeSymbol},
817 @lilypond[quote,ragged-right,verbatim]
818 pipeSymbol = \bar "||"
824 @node Barnumber check
825 @subsection Barnumber check
827 When copying large pieces of music, it can be helpful to check that
828 the LilyPond bar number corresponds to the original that you are
829 entering from. This can be checked with @code{\barNumberCheck}, for
837 will print a warning if the @code{currentBarNumber} is not 123 when it
841 @node Skipping corrected music
842 @subsection Skipping corrected music
845 @cindex @code{skipTypesetting}
846 @cindex @code{showLastLength}
848 When entering or copying music, usually only the music near the end (where you
849 are adding notes) is interesting to view and correct. To speed up
850 this correction process, it is possible to skip typesetting of all but
851 the last few measures. This is achieved by putting
854 showLastLength = R1*5
859 in your source file. This will render only the last 5 measures
860 (assuming 4/4 time signature) of every @code{\score} in the input
861 file. For longer pieces, rendering only a small part is often an order
862 of magnitude quicker than rendering it completely
864 Skipping parts of a score can be controlled in a more fine-grained
865 fashion with the property @code{Score.skipTypesetting}. When it is
866 set, no typesetting is performed at all.
868 This property is also used to control output to the MIDI file. Note that
869 it skips all events, including tempo and instrument changes. You have
872 @lilypond[quote,fragment,ragged-right,verbatim]
875 \set Score.skipTypesetting = ##t
877 \set Score.skipTypesetting = ##f
881 In polyphonic music, @code{Score.skipTypesetting} will affect all
882 voices and staves, saving even more time.
885 @node Automatic note splitting
886 @subsection Automatic note splitting
888 Long notes can be converted automatically to tied notes. This is done
889 by replacing the @internalsref{Note_heads_engraver} by the
890 @internalsref{Completion_heads_engraver}.
891 In the following examples, notes crossing the bar line are split and tied.
893 @lilypond[quote,fragment,verbatim,relative=1,line-width=12\cm]
895 \remove "Note_heads_engraver"
896 \consists "Completion_heads_engraver"
898 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
902 This engraver splits all running notes at the bar line, and inserts
903 ties. One of its uses is to debug complex scores: if the measures are
904 not entirely filled, then the ties exactly show how much each measure
910 Not all durations (especially those containing tuplets) can be
911 represented exactly with normal notes and dots, but the engraver will
914 @code{Completion_heads_engraver} only affects notes; it does not split
920 Examples: @inputfileref{input/@/regression,completion@/-heads@/.ly}.
924 Program reference: @internalsref{Completion_heads_engraver}.
927 @node Writing music in parallel
928 @subsection Writing music in parallel
929 @cindex Writing music in parallel
930 @cindex Interleaved music
932 Music for multiple parts can be interleaved
934 @lilypond[quote,fragment,verbatim]
935 \parallelMusic #'(voiceA voiceB) {
936 r8 g'16[ c''] e''[ g' c'' e''] r8 g'16[ c''] e''[ g' c'' e''] |
938 r8 a'16[ d''] f''[ a' d'' f''] r8 a'16[ d''] f''[ a' d'' f''] |
942 \new Staff \new Voice \voiceA
943 \new Staff \new Voice \voiceB
949 @section Staff notation
951 @cindex Staff notation
953 This section describes music notation that occurs on staff level,
954 such as key signatures, clefs and time signatures.
963 * System start delimiters::
973 The clef indicates which lines of the staff correspond to which
974 pitches. The clef is set with the @code{\clef} command
976 @lilypond[quote,ragged-right,fragment,verbatim]
977 { c''2 \clef alto g'2 }
987 @cindex mezzosoprano clef
988 @cindex baritone clef
989 @cindex varbaritone clef
992 Supported clefs include
994 @item treble, violin, G, G2
1003 G clef on 1st line, so-called French violin clef
1020 By adding @code{_8} or @code{^8} to the clef name, the clef is
1021 transposed one octave down or up, respectively, and @code{_15} and
1022 @code{^15} transposes by two octaves. The argument @var{clefname}
1023 must be enclosed in quotes when it contains underscores or digits. For
1026 @cindex choral tenor clef
1027 @lilypond[quote,ragged-right,verbatim,fragment,relative=1]
1034 The command @code{\clef "treble_8"} is equivalent to setting @code{clefGlyph},
1035 @code{clefPosition} (which controls the Y position of the clef),
1036 @code{middleCPosition} and @code{clefOctavation}. A clef is printed
1037 when any of these properties are changed. The following example shows
1038 possibilities when setting properties manually.
1040 @lilypond[quote,ragged-right,verbatim]
1042 \set Staff.clefGlyph = #"clefs.F"
1043 \set Staff.clefPosition = #2
1045 \set Staff.clefGlyph = #"clefs.G"
1047 \set Staff.clefGlyph = #"clefs.C"
1049 \set Staff.clefOctavation = #7
1051 \set Staff.clefOctavation = #0
1052 \set Staff.clefPosition = #0
1056 \set Staff.middleCPosition = #4
1064 Program reference: @internalsref{Clef}.
1068 @subsection Key signature
1070 @cindex Key signature
1073 The key signature indicates the tonality in which a piece is played. It
1074 is denoted by a set of alterations (flats or sharps) at the start of the
1077 Setting or changing the key signature is done with the @code{\key}
1081 @code{\key} @var{pitch} @var{type}
1084 @cindex @code{\minor}
1085 @cindex @code{\major}
1086 @cindex @code{\minor}
1087 @cindex @code{\ionian}
1088 @cindex @code{\locrian}
1089 @cindex @code{\aeolian}
1090 @cindex @code{\mixolydian}
1091 @cindex @code{\lydian}
1092 @cindex @code{\phrygian}
1093 @cindex @code{\dorian}
1094 @cindex church modes
1096 Here, @var{type} should be @code{\major} or @code{\minor} to get
1097 @var{pitch}-major or @var{pitch}-minor, respectively. You may also
1098 use the standard mode names (also called ``church modes''): @code{\ionian},
1099 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
1100 @code{\phrygian}, and @code{\dorian}.
1102 This command sets the context property
1103 @code{Staff.keySignature}. Non-standard key signatures
1104 can be specified by setting this property directly.
1106 Accidentals and key signatures often confuse new users, because
1107 unaltered notes get natural signs depending on the key signature. For
1108 more information, see @ref{More about pitches}.
1113 A natural sign is printed to cancel any previous accidentals. This
1114 can be suppressed by setting the @code{Staff.printKeyCancellation}
1117 @lilypond[quote,fragment,ragged-right,fragment,verbatim,relative=2]
1122 \set Staff.printKeyCancellation = ##f
1132 Program reference: @internalsref{KeyCancellation}, @internalsref{KeySignature}.
1135 @node Time signature
1136 @subsection Time signature
1138 @cindex Time signature
1140 @cindex @code{\time}
1142 Time signature indicates the metrum of a piece: a regular pattern of
1143 strong and weak beats. It is denoted by a fraction at the start of the
1146 The time signature is set with the @code{\time} command
1148 @lilypond[quote,ragged-right,fragment,verbatim]
1149 \time 2/4 c'2 \time 3/4 c'2.
1154 The symbol that is printed can be customized with the @code{style}
1155 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1158 @lilypond[fragment,quote,ragged-right,verbatim]
1161 \override Staff.TimeSignature #'style = #'()
1166 There are many more options for its layout. See @ref{Ancient time
1167 signatures} for more examples.
1169 @code{\time} sets the property @code{timeSignatureFraction},
1170 @code{beatLength} and @code{measureLength} in the @code{Timing}
1171 context, which is normally aliased to @internalsref{Score}. The
1172 property @code{measureLength} determines where bar lines should be
1173 inserted, and how automatic beams should be generated. Changing the
1174 value of @code{timeSignatureFraction} also causes the symbol to be
1177 More options are available through the Scheme function
1178 @code{set-time-signature}. In combination with the
1179 @internalsref{Measure_grouping_engraver}, it will create
1180 @internalsref{MeasureGrouping} signs. Such signs ease reading
1181 rhythmically complex modern music. In the following example, the 9/8
1182 measure is subdivided in 2, 2, 2 and 3. This is passed to
1183 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
1185 @lilypond[quote,ragged-right,verbatim]
1188 #(set-time-signature 9 8 '(2 2 2 3))
1189 g8[ g] d[ d] g[ g] a8[( bes g]) |
1190 #(set-time-signature 5 8 '(3 2))
1196 \consists "Measure_grouping_engraver"
1204 Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_translator}.
1209 Automatic beaming does not use the measure grouping specified with
1210 @code{set-time-signature}.
1213 @node Partial measures
1214 @subsection Partial measures
1218 @cindex partial measure
1219 @cindex measure, partial
1220 @cindex shorten measures
1221 @cindex @code{\partial}
1223 Partial measures, such as an anacrusis or upbeat, are entered using the
1225 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1226 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1229 The syntax for this command is
1232 \partial @var{duration}
1235 This is internally translated into
1238 \set Timing.measurePosition = -@var{length of duration}
1241 The property @code{measurePosition} contains a rational number
1242 indicating how much of the measure has passed at this point.
1247 This command does not take into account grace notes at the start of
1248 the music. When a piece starts with graces notes in the pickup, then
1249 the @code{\partial} should follow the grace notes
1251 @lilypond[verbatim,quote,ragged-right,relative,fragment]
1260 @subsection Bar lines
1264 @cindex measure lines
1267 Bar lines delimit measures, but are also used to indicate
1268 repeats. Normally they are inserted automatically. Line
1269 breaks may only happen on bar lines.
1271 Special types of bar lines can be forced with the @code{\bar} command
1273 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1277 The following bar types are available
1279 @lilypondfile[ragged-right,quote]{bar-lines.ly}
1281 To allow a line break where there is no visible bar line, use
1288 This will insert an invisible bar line and allow line breaks at this
1291 In scores with many staves, a @code{\bar} command in one staff is
1292 automatically applied to all staves. The resulting bar lines are
1293 connected between different staves of a StaffGroup
1295 @lilypond[quote,ragged-right,fragment,verbatim]
1303 \new Staff { \clef bass c4 g e g }
1305 \new Staff { \clef bass c2 c2 }
1312 @cindex @code{whichBar}
1313 @cindex @code{repeatCommands}
1314 @cindex @code{defaultBarType}
1316 The command @code{\bar }@var{bartype} is a short cut for doing
1317 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1318 is set to a string, a bar line of that type is created.
1320 A bar line is created whenever the @code{whichBar} property is set.
1321 At the start of a measure it is set to the contents of
1322 @code{Timing.defaultBarType}. The contents of @code{repeatCommands} are used
1323 to override default measure bars.
1325 You are encouraged to use @code{\repeat} for repetitions. See
1331 In this manual: @ref{Repeats}, @ref{System start delimiters}.
1333 Program reference: @internalsref{BarLine} (created at
1334 @internalsref{Staff} level), @internalsref{SpanBar} (across staves).
1336 Examples: @inputfileref{input/@/test,bar@/-lines@/.ly},
1339 @node Unmetered music
1340 @subsection Unmetered music
1343 @cindex @code{\cadenzaOn}
1344 @cindex @code{\cadenzaOff}
1346 Bar lines and bar numbers are calculated automatically. For unmetered
1347 music (cadenzas, for example), this is not desirable. To turn off
1348 automatic bar lines and bar numbers, use the commands @code{\cadenzaOn}
1349 and @code{\cadenzaOff}.
1351 @lilypond[verbatim,quote,ragged-right,relative=2,fragment]
1363 LilyPond will only insert page breaks at a barline. Unless the unmetered
1364 music ends before the end of the staff line, you will need to insert
1372 to indicate where line breaks can occur.
1375 @node System start delimiters
1376 @subsection System start delimiters
1378 @cindex start of system
1379 @cindex Staff, multiple
1380 @cindex bracket, vertical
1381 @cindex brace, vertical
1384 @cindex staff, choir
1386 Many scores consist of more than one staff. These staves can be
1387 joined in four different ways
1390 @item The group is started with a brace at the left, and bar lines are
1391 connected. This is done with the @internalsref{GrandStaff} context.
1393 @lilypond[verbatim,ragged-right,quote]
1401 @item The group is started with a bracket, and bar lines are connected.
1402 This is done with the
1403 @internalsref{StaffGroup} context
1405 @lilypond[verbatim,ragged-right,quote]
1413 @item The group is started with a bracket, but bar lines are not
1414 connected. This is done with the @internalsref{ChoirStaff} context.
1416 @lilypond[verbatim,ragged-right,quote]
1424 @item The group is started with a vertical line. Bar lines are not
1425 connected. This is the default for the score.
1427 @lilypond[verbatim,ragged-right,quote]
1438 The bar lines at the start of each system are
1439 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1440 @internalsref{SystemStartBracket}. Only one of these types is created
1441 in every context, and that type is determined by the property
1442 @code{systemStartDelimiter}.
1446 @subsection Staff symbol
1448 @cindex adjusting staff symbol
1450 Notes, dynamic signs, etc., are grouped
1451 with a set of horizontal lines, called a staff (plural `staves'). In
1452 LilyPond, these lines are drawn using a separate layout object called
1455 The staff symbol may be tuned in the number, thickness and distance
1456 of lines, using properties. This is demonstrated in the example files
1457 @inputfileref{input/@/test,staff@/-lines@/.ly},
1458 @inputfileref{input/@/test,staff@/-size@/.ly}.
1460 In addition, staves may be started and stopped at will. This is done
1461 with @code{\startStaff} and @code{\stopStaff}.
1463 @lilypond[verbatim,relative=2,fragment]
1465 \override Staff.StaffSymbol #'line-count = 2
1466 \stopStaff \startStaff
1468 \revert Staff.StaffSymbol #'line-count
1469 \stopStaff \startStaff
1473 In combination with Frenched staves, this may be used to typeset ossia
1474 sections. An example is in @inputfileref{input/@/test@/,ossia.ly},
1479 @lilypondfile{ossia.ly}
1481 @cindex staff lines, setting number of
1482 @cindex staff lines, setting thickness of
1483 @cindex thickness of staff lines, setting
1484 @cindex number of staff lines, setting
1488 Program reference: @internalsref{StaffSymbol}.
1490 Examples: @inputfileref{input/@/test,staff@/-lines@/.ly},
1491 @inputfileref{input/@/test@/,ossia.ly},
1492 @inputfileref{input/@/test,staff@/-size@/.ly}.
1496 @node Connecting notes
1497 @section Connecting notes
1499 This section deals with notation that affects groups of notes.
1505 * Laissez vibrer ties::
1518 A tie connects two adjacent note heads of the same pitch. The tie in
1519 effect extends the length of a note. Ties should not be confused with
1520 slurs, which indicate articulation, or phrasing slurs, which indicate
1521 musical phrasing. A tie is entered using the tilde symbol `@code{~}'
1523 @lilypond[quote,ragged-right,fragment,verbatim]
1524 e' ~ e' <c' e' g'> ~ <c' e' g'>
1527 When a tie is applied to a chord, all note heads whose pitches match
1528 are connected. When no note heads match, no ties will be created.
1530 A tie is just a way of extending a note duration, similar to the
1531 augmentation dot. The following example shows two ways of notating
1532 exactly the same concept
1534 @lilypond[quote,fragment,ragged-right]
1535 \time 3/4 c'2. c'2 ~ c'4
1539 Ties are used either when the note crosses a bar line, or when dots
1540 cannot be used to denote the rhythm. When using ties, larger note
1541 values should be aligned to subdivisions of the measure, such as
1543 @lilypond[fragment,quote,ragged-right]
1545 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
1549 If you need to tie a lot of notes over bars, it may be easier to use
1550 automatic note splitting (see @ref{Automatic note splitting}). This
1551 mechanism automatically splits long notes, and ties them across bar
1554 When a second alternative of a repeat starts with a tied note, you
1555 have to repeat the tie. This can be achieved with @code{\repeatTie},
1557 @lilypond[fragment,quote,ragged-right,relative=2]
1561 @cindex repeating ties
1562 @cindex volta brackets and ties
1566 Ties are sometimes used to write out arpeggios. In this case, two tied
1567 notes need not be consecutive. This can be achieved by setting the
1568 @code{tieWaitForNote} property to true. The same feature is also useful,
1569 for example, to tie a tremolo to a chord. For example,
1571 @lilypond[fragment,verbatim,relative=1,ragged-right]
1572 \set tieWaitForNote = ##t
1573 \grace { c16[~ e~ g]~ } <c, e g>2
1574 \repeat "tremolo" 8 { c32~ c'~ } <c c,>1
1581 @cindex @code{\tieUp}
1583 @cindex @code{\tieDown}
1585 @cindex @code{\tieNeutral}
1587 @cindex @code{\tieDotted}
1589 @cindex @code{\tieDashed}
1591 @cindex @code{\tieSolid}
1597 In this manual: @ref{Automatic note splitting}.
1599 Program reference: @internalsref{Tie}.
1602 @inputfileref{input/@/regression,tie-arpeggio.ly}
1603 @inputfileref{input/@/regression,tie-manual.ly}
1610 Switching staves when a tie is active will not produce a slanted tie.
1618 A slur indicates that notes are to be played bound or
1619 @emph{legato}. They are entered using parentheses
1621 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1622 f( g a) a8 b( a4 g2 f4)
1626 The direction of a slur can be specified with
1627 @code{\slur@emph{DIR}}, where @code{@emph{DIR}} is
1628 either @code{Up}, @code{Down}, or @code{Neutral} (automatically
1631 However, there is a convenient shorthand for forcing slur
1632 directions. By adding @code{_} or @code{^} before the opening
1633 parentheses, the direction is also set. For example,
1635 @lilypond[relative=2,ragged-right,quote,verbatim,fragment]
1639 Only one slur can be printed at once. If you need to print a long
1640 slur over a few small slurs, please see @ref{Phrasing slurs}.
1645 Some composers write two slurs when they want legato chords. This can
1646 be achieved in LilyPond by setting @code{doubleSlurs},
1648 @lilypond[verbatim,ragged-right,relative,fragment,quote]
1649 \set doubleSlurs = ##t
1650 <c e>4 ( <d f> <c e> <d f> )
1656 @cindex @code{\slurUp}
1658 @cindex @code{\slurDown}
1660 @cindex @code{\slurNeutral}
1661 @code{\slurNeutral},
1662 @cindex @code{\slurDashed}
1664 @cindex @code{\slurDotted}
1666 @cindex @code{\slurSolid}
1671 Program reference: @seeinternals{Slur}.
1674 @node Phrasing slurs
1675 @subsection Phrasing slurs
1677 @cindex phrasing slurs
1678 @cindex phrasing marks
1680 A phrasing slur (or phrasing mark) connects notes and is used to
1681 indicate a musical sentence. It is written using @code{\(} and @code{\)}
1684 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
1685 \time 6/4 c'\( d( e) f( e) d\)
1688 Typographically, the phrasing slur behaves almost exactly like a
1689 normal slur. However, they are treated as different objects. A
1690 @code{\slurUp} will have no effect on a phrasing slur; instead, use
1691 @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1692 @code{\phrasingSlurNeutral}.
1694 You cannot have simultaneous phrasing slurs.
1699 @cindex @code{\phrasingSlurUp}
1700 @code{\phrasingSlurUp},
1701 @cindex @code{\phrasingSlurDown}
1702 @code{\phrasingSlurDown},
1703 @cindex @code{\phrasingSlurNeutral}
1704 @code{\phrasingSlurNeutral}.
1709 Program reference: @internalsref{PhrasingSlur}.
1712 @node Laissez vibrer ties
1713 @subsection Laissez vibrer ties
1714 @cindex Laissez vibrer
1715 @cindex Ties, laissez vibrer
1717 L.v. ties (laissez vibrer) indicate that notes must not be damped at the
1718 end. It is used in notation for piano, harp and other string and
1719 percussion instruments. They can be entered using @code{\laissezVibrer},
1721 @lilypond[fragment,ragged-right,verbatim,relative=1]
1722 <c f g>\laissezVibrer
1728 @internalsref{LaissezVibrerTie}
1729 @internalsref{LaissezVibrerTieColumn}
1732 @inputfileref{input/regression,laissez-vibrer-tie.ly}
1735 @node Automatic beams
1736 @subsection Automatic beams
1738 LilyPond inserts beams automatically
1740 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1741 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1744 When these automatic decisions are not good enough, beaming can be
1745 entered explicitly. It is also possible to define beaming patterns
1746 that differ from the defaults. See @ref{Setting automatic beam behavior}
1749 Individual notes may be marked with @code{\noBeam} to prevent them
1752 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1753 \time 2/4 c8 c\noBeam c c
1759 Program reference: @internalsref{Beam}.
1763 @subsection Manual beams
1765 @cindex beams, manual
1769 In some cases it may be necessary to override the automatic beaming
1770 algorithm. For example, the autobeamer will not put beams over rests
1771 or bar lines. Such beams are specified manually by marking the begin
1772 and end point with @code{[} and @code{]}
1774 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1776 r4 r8[ g' a r8] r8 g[ | a] r8
1783 @cindex @code{stemLeftBeamCount}
1784 @cindex @code{stemRightBeamCount}
1786 Normally, beaming patterns within a beam are determined automatically.
1787 If necessary, the properties @code{stemLeftBeamCount} and
1788 @code{stemRightBeamCount} can be used to override the defaults. If
1789 either property is set, its value will be used only once, and then it
1792 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1797 \set stemLeftBeamCount = #1
1802 The property @code{subdivideBeams} can be set in order to subdivide
1803 all 16th or shorter beams at beat positions, as defined by the
1804 @code{beatLength} property.
1806 @lilypond[fragment,quote,relative=2,verbatim]
1808 \set subdivideBeams = ##t
1810 \set Score.beatLength = #(ly:make-moment 1 8)
1813 @cindex @code{subdivideBeams}
1816 For more information about @code{make-moment}, see
1817 @ref{Time administration}.
1819 Line breaks are normally forbidden when beams cross bar lines. This
1820 behavior can be changed by setting @code{allowBeamBreak}.
1822 @cindex @code{allowBeamBreak}
1823 @cindex beams and line breaks
1824 @cindex beams, kneed
1826 @cindex auto-knee-gap
1831 Kneed beams are inserted automatically when a large gap is detected
1832 between the note heads. This behavior can be tuned through the object.
1834 Automatically kneed cross-staff beams cannot be used together with
1835 hidden staves. See @ref{Hiding staves}.
1837 Beams do not avoid collisions with symbols around the notes, such as
1838 texts and accidentals.
1842 @subsection Grace notes
1844 @cindex @code{\grace}
1847 @cindex appoggiatura
1848 @cindex acciaccatura
1850 Grace notes are ornaments that are written out. The most common ones
1851 are acciaccatura, which should be played as very short. It is denoted
1852 by a slurred small note with a slashed stem. The appoggiatura is a
1853 grace note that takes a fixed fraction of the main note, and is
1854 denoted as a slurred note in small print without a slash. They
1855 are entered with the commands @code{\acciaccatura} and
1856 @code{\appoggiatura}, as demonstrated in the following example
1858 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
1859 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
1860 \acciaccatura { g16[ f] } e4
1863 Both are special forms of the @code{\grace} command. By prefixing this
1864 keyword to a music expression, a new one is formed, which will be
1865 printed in a smaller font and takes up no logical time in a measure.
1867 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
1869 \grace { c16[ d16] } c2 c4
1873 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
1874 @code{\grace} command does not start a slur.
1876 Internally, timing for grace notes is done using a second, `grace'
1877 timing. Every point in time consists of two rational numbers: one
1878 denotes the logical time, one denotes the grace timing. The above
1879 example is shown here with timing tuples
1881 @lilypond[quote,ragged-right]
1884 c4 \grace c16 c4 \grace {
1887 \new Lyrics \lyricmode {
1888 \override LyricText #'font-family = #'typewriter
1892 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
1893 \markup { (\fraction 1 4 , 0 ) } 4
1895 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
1896 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
1898 \markup { ( \fraction 2 4 , 0 ) }
1903 The placement of grace notes is synchronized between different staves.
1904 In the following example, there are two sixteenth grace notes for
1905 every eighth grace note
1907 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
1908 << \new Staff { e4 \grace { c16[ d e f] } e4 }
1909 \new Staff { c4 \grace { g8[ b] } c4 } >>
1912 @cindex @code{\afterGrace}
1914 If you want to end a note with a grace, use the @code{\afterGrace}
1915 command. It takes two arguments: the main note, and the grace notes
1916 following the main note.
1918 @lilypond[ragged-right, verbatim,relative=2,fragment]
1919 c1 \afterGrace d1 { c16[ d] } c4
1922 This will put the grace notes after a ``space'' lasting 3/4 of the
1923 length of the main note. The fraction 3/4 can be changed by setting
1924 @code{afterGraceFraction}, ie.
1927 afterGraceFraction = #(cons 7 8)
1931 will put the grace note at 7/8 of the main note.
1933 The same effect can be achieved manually by doing
1935 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1938 { s2 \grace { c16[ d] } } >>
1944 By adjusting the duration of the skip note (here it is a half-note),
1945 the space between the main-note and the grace is adjusted.
1947 A @code{\grace} section will introduce special typesetting settings,
1948 for example, to produce smaller type, and set directions. Hence, when
1949 introducing layout tweaks, they should be inside the grace section,
1951 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1963 The overrides should also be reverted inside the grace section.
1965 The layout of grace sections can be changed throughout the music using
1966 the function @code{add-grace-property}. The following example
1967 undefines the Stem direction for this grace, so stems do not always
1972 #(add-grace-property 'Voice 'Stem 'direction '())
1978 Another option is to change the variables @code{startGraceMusic},
1979 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
1980 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
1981 @code{stopAppoggiaturaMusic}. More information is in the file
1982 @file{ly/@/grace@/-init@/.ly}.
1985 The slash through the stem in acciaccaturas can be obtained
1986 in other situations by @code{\override Stem #'stroke-style = #"grace"}.
1990 Program reference: @internalsref{GraceMusic}.
1995 A score that starts with a @code{\grace} section needs an explicit
1996 @code{\new Voice} declaration, otherwise the main note and the grace
1997 note end up on different staves.
1999 Grace note synchronization can also lead to surprises. Staff notation,
2000 such as key signatures, bar lines, etc., are also synchronized. Take
2001 care when you mix staves with grace notes and staves without, for example,
2003 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2004 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2005 \new Staff { c4 \bar "|:" d4 } >>
2009 This can be remedied by inserting grace skips of the corresponding
2010 durations in the other staves. For the above example
2013 \new Staff @{ c4 \bar "|:" \grace s16 d4 @}
2016 Grace sections should only be used within sequential music
2017 expressions. Nesting or juxtaposing grace sections is not supported,
2018 and might produce crashes or other errors.
2022 @node Expressive marks
2023 @section Expressive marks
2025 Expressive marks help musicians to bring more to the music than simple
2030 * Fingering instructions::
2040 @subsection Articulations
2042 @cindex Articulations
2046 A variety of symbols can appear above and below notes to indicate
2047 different characteristics of the performance. They are added to a note
2048 by adding a dash and the character signifying the
2049 articulation. They are demonstrated here
2051 @lilypondfile[quote,ragged-right]{script-abbreviations.ly}
2053 The meanings of these shorthands can be changed. See
2054 @file{ly/@/script@/-init@/.ly} for examples.
2056 The script is automatically placed, but the direction can be forced as
2057 well. Like other pieces of LilyPond code, @code{_} will place them
2058 below the staff, and @code{^} will place them above.
2060 @lilypond[quote,ragged-right,fragment,verbatim]
2064 Other symbols can be added using the syntax
2065 @var{note}@code{\}@var{name}. Again, they
2066 can be forced up or down using @code{^} and @code{_},
2069 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
2070 c\fermata c^\fermata c_\fermata
2075 @cindex staccatissimo
2085 @cindex organ pedal marks
2094 @cindex prallmordent
2098 @cindex thumb marking
2103 Here is a chart showing all scripts available,
2105 @lilypondfile[ragged-right,quote]{script-chart.ly}
2110 The vertical ordering of scripts is controlled with the
2111 @code{script-priority} property. The lower this number, the closer it
2112 will be put to the note. In this example, the
2113 @internalsref{TextScript} (the sharp symbol) first has the lowest
2114 priority, so it is put lowest in the first example. In the second, the
2115 prall trill (the @internalsref{Script}) has the lowest, so it is on the
2116 inside. When two objects have the same priority, the order in which
2117 they are entered decides which one comes first.
2119 @lilypond[verbatim,relative=3,ragged-right,fragment,quote]
2120 \once \override TextScript #'script-priority = #-100
2121 a4^\prall^\markup { \sharp }
2123 \once \override Script #'script-priority = #-100
2124 a4^\prall^\markup { \sharp }
2130 Program reference: @internalsref{Script}.
2135 These signs appear in the printed output but have no effect on the
2136 MIDI rendering of the music.
2139 @node Fingering instructions
2140 @subsection Fingering instructions
2143 @cindex finger change
2145 Fingering instructions can be entered using
2147 @var{note}-@var{digit}
2149 For finger changes, use markup texts
2151 @lilypond[quote,verbatim,ragged-right,fragment,relative=1]
2153 c^\markup { \finger "2 - 3" }
2156 You can use the thumb-script to indicate that a note should be
2157 played with the thumb (e.g., in cello music)
2158 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
2159 <a_\thumb a'-3>8 <b_\thumb b'-3>
2162 Fingerings for chords can also be added to individual notes
2163 of the chord by adding them after the pitches
2164 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
2165 < c-1 e-2 g-3 b-5 >4
2171 You may exercise greater control over fingering chords by
2172 setting @code{fingeringOrientations}
2174 @lilypond[quote,verbatim,ragged-right,fragment,relative=1]
2175 \set fingeringOrientations = #'(left down)
2176 <c-1 es-2 g-4 bes-5 > 4
2177 \set fingeringOrientations = #'(up right down)
2178 <c-1 es-2 g-4 bes-5 > 4
2181 Using this feature, it is also possible to put fingering instructions
2182 very close to note heads in monophonic music,
2184 @lilypond[verbatim,ragged-right,quote,fragment]
2185 \set fingeringOrientations = #'(right)
2192 Program reference: @internalsref{Fingering}.
2194 Examples: @inputfileref{input/@/regression,finger@/-chords@/.ly}.
2198 @subsection Dynamics
2209 @cindex @code{\ffff}
2218 Absolute dynamic marks are specified using a command after a note
2219 @code{c4\ff}. The available dynamic marks are @code{\ppp},
2220 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2221 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2222 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
2224 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
2225 c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2226 c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
2233 A crescendo mark is started with @code{\<} and terminated with
2234 @code{\!} or an absolute dynamic. A decrescendo is started with
2235 @code{\>} and is also terminated with @code{\!} or an absolute
2236 dynamic. @code{\cr} and @code{\decr} may be used instead of
2237 @code{\<} and @code{\>}. Because these marks are bound to notes, you must
2238 use spacer notes if multiple marks are needed during one note
2240 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2242 << f1 { s4 s4\< s4\! \> s4\! } >>
2246 A hairpin starts at the left edge of the beginning note and ends on the
2247 right edge of the ending note.
2249 This may give rise to very short hairpins. Use @code{minimum-length}
2250 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2254 \override Staff.Hairpin #'minimum-length = #5
2261 You can also use a text saying @emph{cresc.} instead of hairpins
2263 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
2274 You can also supply your own texts
2275 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2276 \set crescendoText = \markup { \italic "cresc. poco" }
2277 \set crescendoSpanner = #'dashed-line
2281 To create new dynamic marks or text that should be aligned
2282 with dynamics, see @ref{New dynamic marks}.
2287 Dynamics that occur at, begin on, or end on, the same note
2288 will be vertically aligned. If you want to ensure that dynamics
2289 are aligned when they do not occur on the same note, you can
2290 increase the @code{staff-padding} property.
2293 \override DynamicLineSpanner #'staff-padding = #4
2296 You may also use this property if the dynamics are colliding
2297 with other notation.
2299 Crescendi and decrescendi that end on the first note of a
2300 new line are not printed. To change this behavior, use
2303 \override Score.Hairpin #'after-line-breaking = ##t
2306 Text style dynamic changes (such as cresc. and dim.) are printed with a
2307 dashed line showing their extent. To surpress printing this line, use
2310 \override DynamicTextSpanner #'dash-period = #-1.0
2316 @cindex @code{\dynamicUp}
2318 @cindex @code{\dynamicDown}
2319 @code{\dynamicDown},
2320 @cindex @code{\dynamicNeutral}
2321 @code{\dynamicNeutral}.
2326 Program reference: @internalsref{DynamicText}, @internalsref{Hairpin}.
2327 Vertical positioning of these symbols is handled by
2328 @internalsref{DynamicLineSpanner}.
2332 @subsection Breath marks
2334 Breath marks are entered using @code{\breathe}
2336 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2343 The glyph of the breath mark can be tuned by overriding the
2344 @code{text} property of the @code{BreathingSign} layout object with
2345 any markup text. For example,
2346 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
2348 \override BreathingSign #'text
2349 = #(make-musicglyph-markup "scripts.rvarcomma")
2356 Program reference: @internalsref{BreathingSign}.
2358 Examples: @inputfileref{input/@/regression,breathing@/-sign@/.ly}.
2364 Short trills are printed like normal articulation; see @ref{Articulations}.
2366 Long running trills are made with @code{\startTrillSpan} and
2367 @code{\stopTrillSpan},
2369 @lilypond[verbatim,ragged-right,relative=2,quote,fragment]
2371 << { c1 \startTrillSpan }
2372 { s2. \grace { d16[\stopTrillSpan e] } } >>
2376 @cindex Pitched trills
2378 Trills that should be executed on an explicitly specified pitch can be
2379 typeset with the command @code{pitchedTrill},
2381 @lilypond[ragged-right,verbatim,fragment,relative=1]
2382 \pitchedTrill c4\startTrillSpan fis
2386 The first argument is the main note. The pitch of the second
2387 is printed as a stemless note head in parentheses.
2392 @code{\startTrillSpan},
2393 @cindex @code{\startTrillSpan}
2394 @code{\stopTrillSpan}.
2395 @cindex @code{\stopTrillSpan}
2400 Program reference: @internalsref{TrillSpanner}.
2404 @subsection Glissando
2407 @cindex @code{\glissando}
2409 A glissando is a smooth change in pitch. It is denoted by a line or a
2410 wavy line between two notes. It is requested by attaching
2411 @code{\glissando} to a note
2413 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
2415 \override Glissando #'style = #'zigzag
2422 Program reference: @internalsref{Glissando}.
2424 Example files: @file{input/@/regression/@/glissando@/.ly}.
2429 Printing text over the line (such as @emph{gliss.}) is not supported.
2433 @subsection Arpeggio
2436 @cindex broken chord
2437 @cindex @code{\arpeggio}
2439 You can specify an arpeggio sign (also known as broken chord) on a
2440 chord by attaching an @code{\arpeggio} to a chord
2442 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2446 A square bracket on the left indicates that the player should not
2447 arpeggiate the chord
2449 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2454 The direction of the arpeggio is sometimes denoted by adding an
2455 arrowhead to the wiggly line
2457 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2469 When an arpeggio crosses staves, you may attach an arpeggio to the chords
2470 in both staves and set
2471 @internalsref{PianoStaff}.@code{connectArpeggios}
2473 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2475 \set PianoStaff.connectArpeggios = ##t
2476 \new Staff { <c' e g c>\arpeggio }
2477 \new Staff { \clef bass <c,, e g>\arpeggio }
2485 @cindex @code{\arpeggioUp}
2487 @cindex @code{\arpeggioDown}
2488 @code{\arpeggioDown},
2489 @cindex @code{\arpeggioNeutral}
2490 @code{\arpeggioNeutral},
2491 @cindex @code{\arpeggioBracket}
2492 @code{\arpeggioBracket}.
2497 Notation manual: @ref{Ties}, for writing out arpeggios.
2499 Program reference: @internalsref{Arpeggio}.
2504 It is not possible to mix connected arpeggios and unconnected
2505 arpeggios in one @internalsref{PianoStaff} at the same point in time.
2512 Polyphony in music refers to having more than one voice occurring in
2513 a piece of music. Polyphony in LilyPond refers to having more than
2514 one voice on the same staff.
2518 * Explicitly instantiating voices::
2519 * Collision Resolution::
2523 @node Basic polyphony
2524 @subsection Basic polyphony
2528 The easiest way to enter fragments with more than one voice on a staff
2529 is to enter each voice as a sequence (with @code{@{...@}}), and combine
2530 them simultaneously, separating the voices with @code{\\}
2534 @lilypond[quote,verbatim,fragment]
2535 \new Staff \relative c' {
2538 { g4 f e | d2 e2 } \\
2539 { r8 e4 d c8 ~ | c b16 a b8 g ~ g2 } \\
2545 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
2546 voices are sometimes called ``layers'' in other notation packages}
2548 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
2549 each of these contexts, vertical direction of slurs, stems, etc., is set
2552 These voices are all separate from the voice that contains the notes just
2553 outside the @code{<< \\ >>} construct. This should be noted when making
2554 changes at the voice level. This also means that slurs and ties cannot go
2555 into or out of a @code{<< \\ >>} construct. Conversely, parallel voices
2556 from separate @code{<< \\ >>} constructs on the same staff are the the
2557 same voice. Here is the same example, with different noteheads for each
2558 voice. Note that the change to the note-head style in the main voice does not affect
2559 the inside of the @code{<< \\ >>} constructs. Also, the change to the second
2560 voice in the first @code{<< \\ >>} construct is effective in the second
2561 @code{<< \\ >>}, and the voice is tied across the two constructs.
2563 @lilypond[quote,verbatim,fragment]
2564 \new Staff \relative c' {
2565 \override NoteHead #'style = #'cross
2569 { \override NoteHead #'style = #'triangle
2574 { c8 b16 a b8 g ~ g2 } \\
2575 { \override NoteHead #'style = #'slash s4 b4 c2 }
2580 Polyphony does not change the relationship of notes within a
2581 @code{\relative @{ @}} block. Each note is calculated relative
2582 to the note immediately preceding it.
2585 \relative @{ noteA << noteB \\ noteC >> noteD @}
2588 @code{noteC} is relative to @code{noteB}, not @code{noteA};
2589 @code{noteD} is relative to @code{noteC}, not @code{noteB} or
2592 @node Explicitly instantiating voices
2593 @subsection Explicitly instantiating voices
2595 @internalsref{Voice} contexts can also be instantiated manually
2596 inside a @code{<< >>} block to create polyphonic music, using
2597 @code{\voiceOne}, up to @code{\voiceFour} to assign stem directions
2598 and a horizontal shift for each part.
2602 << \upper \\ \lower >>
2610 \new Voice = "1" @{ \voiceOne \upper @}
2611 \new Voice = "2" @{ \voiceTwo \lower @}
2615 The @code{\voiceXXX} commands set the direction of stems, slurs, ties,
2616 articulations, text annotations, augmentation dots of dotted
2617 notes, and fingerings. @code{\voiceOne} and @code{\voiceThree} make
2618 these objects point upwards, while @code{\voiceTwo} and @code{\voiceFour}
2619 make them point downwards.
2620 The command @code{\oneVoice} will revert back to the normal setting.
2622 An expression that appears directly inside a @code{<< >>} belongs to
2623 the main voice. This is useful when extra voices appear while the main
2624 voice is playing. Here is a more correct rendition of the example from
2625 the previous section. The crossed noteheads demonstrate that the main
2626 melody is now in a single voice context.
2628 @lilypond[quote,ragged-right,verbatim]
2629 \new Staff \relative c' {
2630 \override NoteHead #'style = #'cross
2635 \new Voice="1" { \voiceTwo
2636 r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
2639 \new Voice { \voiceThree
2648 The correct definition of the voices allows the melody to be slurred.
2649 @lilypond[quote,ragged-right,verbatim]
2650 \new Staff \relative c' {
2655 \context Voice="1" { \voiceTwo
2656 r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
2659 \new Voice { \voiceThree
2668 Avoiding the @code{\\} separator also allows nesting polyphony
2669 constructs, which in some case might be a more natural way to typeset
2672 @lilypond[quote,ragged-right,verbatim]
2673 \new Staff \relative c' {
2678 \context Voice="1" { \voiceTwo
2681 {c8 b16 a b8 g ~ g2}
2682 \new Voice { \voiceThree
2695 @node Collision Resolution
2696 @subsection Collision Resolution
2698 Normally, note heads with a different number of dots are not merged, but
2699 when the object property @code{merge-differently-dotted} is set in
2700 the @internalsref{NoteCollision} object, they are merged
2701 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
2704 \override Staff.NoteCollision
2705 #'merge-differently-dotted = ##t
2707 } \\ { g8.[ f16] g8.[ f16] } >>
2710 Similarly, you can merge half note heads with eighth notes, by setting
2711 @code{merge-differently-headed}
2712 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
2715 \override Staff.NoteCollision
2716 #'merge-differently-headed = ##t
2717 c8 c4. } \\ { c2 c2 } >>
2720 LilyPond also vertically shifts rests that are opposite of a stem,
2723 @lilypond[quote,ragged-right,fragment,verbatim]
2724 \new Voice << c''4 \\ r4 >>
2730 @cindex @code{\oneVoice}
2732 @cindex @code{\voiceOne}
2734 @cindex @code{\voiceTwo}
2736 @cindex @code{\voiceThree}
2738 @cindex @code{\voiceFour}
2741 @cindex @code{\shiftOn}
2743 @cindex @code{\shiftOnn}
2745 @cindex @code{\shiftOnnn}
2747 @cindex @code{\shiftOff}
2748 @code{\shiftOff}: these commands specify in what chords of the current
2749 voice should be shifted. The outer voices (normally: voice one and
2750 two) have @code{\shiftOff}, while the inner voices (three and four)
2751 have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define
2752 further shift levels.
2754 When LilyPond cannot cope, the @code{force-hshift}
2755 property of the @internalsref{NoteColumn} object and pitched rests can
2756 be used to override typesetting decisions.
2758 @lilypond[quote,verbatim,ragged-right]
2765 \once \override NoteColumn #'force-hshift = #1.7
2773 Program reference: the objects responsible for resolving collisions are
2774 @internalsref{NoteCollision} and @internalsref{RestCollision}.
2777 @inputfileref{input/@/regression,collision@/-dots@/.ly},
2778 @inputfileref{input/@/regression,collision@/-head-chords@/.ly},
2779 @inputfileref{input/@/regression,collision@/-heads@/.ly},
2780 @inputfileref{input/@/regression,collision@/-mesh@/.ly}, and
2781 @inputfileref{input/@/regression,collisions@/.ly}.
2786 When using @code{merge-differently-headed} with an upstem eighth or a
2787 shorter note, and a downstem half note, the eighth note gets the wrong
2790 There is no support for clusters where the same note occurs with
2791 different accidentals in the same chord. In this case, it is
2792 recommended to use enharmonic transcription, or to use special cluster
2793 notation (see @ref{Clusters}).
2800 Repetition is a central concept in music, and multiple notations exist
2806 * Repeats and MIDI::
2807 * Manual repeat commands::
2809 * Tremolo subdivisions::
2815 @subsection Repeat types
2818 @cindex @code{\repeat}
2820 The following types of repetition are supported
2824 Repeated music is fully written (played) out. This is useful when
2825 entering repetitious music. This is the only kind of repeat that
2826 is included in MIDI output.
2829 Repeats are not written out, but alternative endings (volte) are
2830 printed, left to right with brackets. This is the standard notation
2831 for repeats with alternatives. These are not played in MIDI output by default.
2835 Alternative endings are written stacked. This has limited use but may be
2836 used to typeset two lines of lyrics in songs with repeats, see
2837 @inputfileref{input,star-spangled-banner@/.ly}.
2841 Make tremolo beams. These are not played in MIDI output by default.
2844 Make beat or measure repeats. These look like percent signs. These
2845 are not played in MIDI output by default. Percent repeats must be
2846 declared within a Voice context.
2852 @subsection Repeat syntax
2854 LilyPond has one syntactic construct for specifying different types of
2855 repeats. The syntax is
2858 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2861 If you have alternative endings, you may add
2862 @cindex @code{\alternative}
2873 where each @var{alternative} is a music expression. If you do not
2874 give enough alternatives for all of the repeats, the first alternative
2875 is assumed to be played more than once.
2877 Standard repeats are used like this
2878 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2880 \repeat volta 2 { c4 d e f }
2881 \repeat volta 2 { f e d c }
2884 With alternative endings
2885 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2887 \repeat volta 2 {c4 d e f}
2888 \alternative { {d2 d} {f f,} }
2891 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2894 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2895 \alternative { { g4 g g } { a | a a a a | b2. } }
2899 It is possible to shorten volta brackets
2900 by setting @code{voltaSpannerDuration}. In the next example, the
2901 bracket only lasts one measure, which is a duration of 3/4.
2903 @lilypond[verbatim,ragged-right,quote]
2907 \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4)
2908 \repeat "volta" 5 { d d d }
2909 \alternative { { e e e f f f }
2919 Brackets for the repeat are normally only printed over the topmost
2920 staff. This can be adjusted by setting the @code{voltaOnThisStaff}
2921 property; see @inputfileref{input/@/regression,volta@/-multi@/-staff@/.ly}.
2926 @cindex repeat, ambiguous
2928 A nested repeat like
2937 is ambiguous, since it is is not clear to which @code{\repeat} the
2938 @code{\alternative} belongs. This ambiguity is resolved by always
2939 having the @code{\alternative} belong to the inner @code{\repeat}.
2940 For clarity, it is advisable to use braces in such situations.
2942 Timing information is not remembered at the start of an alternative,
2943 so after a repeat timing information must be reset by hand, for
2944 example by setting @code{Score.measurePosition} or entering
2945 @code{\partial}. Similarly, slurs or ties are also not repeated.
2948 @node Repeats and MIDI
2949 @subsection Repeats and MIDI
2951 @cindex expanding repeats
2952 @cindex @code{\unfoldRepeats}
2954 With a little bit of tweaking, all types of repeats can be present
2955 in the MIDI output. This is achieved by applying the
2956 @code{\unfoldRepeats} music function. This functions changes all
2957 repeats to unfold repeats.
2959 @lilypond[quote,verbatim,fragment,line-width=8.0\cm]
2961 \repeat tremolo 8 {c'32 e' }
2962 \repeat percent 2 { c''8 d'' }
2963 \repeat volta 2 {c'4 d' e' f'}
2972 When creating a score file using @code{\unfoldRepeats} for midi, then
2973 it is necessary to make two @code{\score} blocks. One for MIDI (with
2974 unfolded repeats) and one for notation (with volta, tremolo, and
2975 percent repeats). For example,
2983 \unfoldRepeats @var{..music..}
2989 @node Manual repeat commands
2990 @subsection Manual repeat commands
2992 @cindex @code{repeatCommands}
2994 The property @code{repeatCommands} can be used to control the layout of
2995 repeats. Its value is a Scheme list of repeat commands.
2998 @item @code{start-repeat}
2999 Print a @code{|:} bar line.
3001 @item @code{end-repeat}
3002 Print a @code{:|} bar line.
3004 @item @code{(volta @var{text})}
3005 Print a volta bracket saying @var{text}: The text can be specified as
3006 a text string or as a markup text, see @ref{Text markup}. Do not
3007 forget to change the font, as the default number font does not contain
3008 alphabetic characters;
3010 @item @code{(volta #f)}
3011 Stop a running volta bracket.
3014 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
3016 \set Score.repeatCommands = #'((volta "93") end-repeat)
3018 \set Score.repeatCommands = #'((volta #f))
3025 Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
3026 @internalsref{VoltaRepeatedMusic},
3027 @internalsref{UnfoldedRepeatedMusic}, and
3028 @internalsref{FoldedRepeatedMusic}.
3031 @node Tremolo repeats
3032 @subsection Tremolo repeats
3034 @cindex tremolo beams
3036 To place tremolo marks between notes, use @code{\repeat} with tremolo
3038 @lilypond[quote,verbatim,ragged-right]
3039 \new Voice \relative c' {
3040 \repeat "tremolo" 8 { c16 d16 }
3041 \repeat "tremolo" 4 { c16 d16 }
3042 \repeat "tremolo" 2 { c16 d16 }
3046 Tremolo marks can also be put on a single note. In this case, the
3047 note should not be surrounded by braces.
3048 @lilypond[quote,verbatim,ragged-right]
3049 \repeat "tremolo" 4 c'16
3052 Similar output is obtained using the tremolo subdivision, described in
3053 @ref{Tremolo subdivisions}.
3058 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
3060 Program reference: @internalsref{Beam}, @internalsref{StemTremolo}.
3062 Example files: @inputfileref{input/@/regression,chord@/-tremolo@/.ly},
3063 @inputfileref{input/@/regression,stem@/-tremolo@/.ly}.
3066 @node Tremolo subdivisions
3067 @subsection Tremolo subdivisions
3069 @cindex tremolo marks
3070 @cindex @code{tremoloFlags}
3072 Tremolo marks can be printed on a single note by adding
3073 `@code{:}[@var{number}]' after the note. The number indicates the
3074 duration of the subdivision, and it must be at least 8. A
3075 @var{length} value of 8 gives one line across the note stem. If the
3076 length is omitted, the last value (stored in @code{tremoloFlags}) is
3079 @lilypond[quote,ragged-right,verbatim,fragment]
3080 c'2:8 c':32 | c': c': |
3086 Tremolos entered in this way do not carry over into the MIDI output.
3091 In this manual: @ref{Tremolo repeats}.
3093 Elsewhere: @internalsref{StemTremolo}.
3096 @node Measure repeats
3097 @subsection Measure repeats
3099 @cindex percent repeats
3100 @cindex measure repeats
3102 In the @code{percent} style, a note pattern can be repeated. It is
3103 printed once, and then the pattern is replaced with a special sign.
3104 Patterns of one and two measures are replaced by percent-like signs,
3105 patterns that divide the measure length are replaced by slashes.
3106 Percent repeats must be declared within a @code{Voice} context.
3108 @lilypond[quote,verbatim,ragged-right]
3109 \new Voice \relative c' {
3110 \repeat "percent" 4 { c4 }
3111 \repeat "percent" 2 { c2 es2 f4 fis4 g4 c4 }
3115 Measure repeats of more than 2 measures get a counter, if you switch
3116 on the @code{countPercentRepeats} property,
3118 @lilypond[relative=2,fragment,quote,verbatim,ragged-right]
3119 \set countPercentRepeats = ##t
3121 \repeat "percent" 4 { c1 }
3126 Isolated percents can also be printed. This is done by putting a multi
3127 measure rest with a different print function,
3129 @lilypond[fragment,verbatim]
3130 \override MultiMeasureRest #'stencil
3131 = #ly:multi-measure-rest::percent
3140 Program reference: @internalsref{RepeatSlash},
3141 @internalsref{PercentRepeat}, @internalsref{DoublePercentRepeat},
3142 @internalsref{DoublePercentRepeatCounter},
3143 @internalsref{PercentRepeatCounter},
3144 @internalsref{PercentRepeatedMusic}, and