1 @c -*- coding: latin-1; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
9 @chapter Basic notation
11 This chapter explains how to use all basic notation features.
15 * Easier music entry::
29 This section is about basic notation elements like notes, rests, and
30 related constructs, such as stems, tuplets and ties.
35 * Cautionary accidentals::
51 A note is printed by specifying its pitch and then its duration,
53 @lilypond[quote,verbatim,raggedright,fragment]
62 @cindex Note specification
64 @cindex entering notes
66 The most common syntax for pitch entry is used for standard notes and
67 @code{\chordmode} modes. In these modes, pitches may be designated by
68 names. The notes are specified by the letters @code{a} through
69 @code{g}. The octave is formed with notes ranging from @code{c}
70 to @code{b}. The pitch @code{c} is an octave below middle C and the
71 letters span the octave above that C
73 @lilypond[quote,fragment,verbatim]
75 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
81 The optional octave specification takes the form of a series of
82 single quote (`@code{'}') characters or a series of comma
83 (`@code{,}') characters. Each @code{'} raises the pitch by one
84 octave; each @code{,} lowers the pitch by an octave
86 @lilypond[quote,raggedright,fragment,verbatim]
87 c' c'' es' g' as' gisis' ais'
90 @cindex note names, Dutch
92 A sharp is formed by adding @code{-is} to the end of a pitch name and
93 a flat is formed by adding @code{-es}. Double sharps and double flats
94 are obtained by adding @code{-isis} or @code{-eses}. These
95 names are the Dutch note names. In Dutch, @code{aes} is contracted to
96 @code{as}, but both forms are accepted. Similarly, both
97 @code{es} and @code{ees} are accepted
99 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
107 In accordance with standard typsetting rules, a natural sign is printed
108 before a sharp or flat if a previous accidental needs to be
109 cancelled. To change this behaviour, use
110 @code{\set Staff.extraNatural = ##f}
112 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
114 \set Staff.extraNatural = ##f
118 There are predefined sets of note names for various other languages.
119 To use them, include the language specific init file. For
120 example: @code{\include "english.ly"}. The available language files
121 and the note names they define are
126 Note Names sharp flat
127 nederlands.ly c d e f g a bes b -is -es
128 english.ly c d e f g a bf b -s/-sharp -f/-flat
130 deutsch.ly c d e f g a b h -is -es
131 norsk.ly c d e f g a b h -iss/-is -ess/-es
132 svenska.ly c d e f g a b h -iss -ess
133 italiano.ly do re mi fa sol la sib si -d -b
134 catalan.ly do re mi fa sol la sib si -d/-s -b
135 espanol.ly do re mi fa sol la sib si -s -b
141 Program reference: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
145 @node Cautionary accidentals
146 @subsection Cautionary accidentals
148 Normally accidentals are printed automatically, but you may also
149 print them manually. A reminder accidental
150 @cindex reminder accidental
152 can be forced by adding an exclamation mark @code{!}
153 after the pitch. A cautionary accidental
154 @cindex cautionary accidental
155 @cindex parenthesized accidental
157 (i.e., an accidental within parentheses) can be obtained by adding the
158 question mark `@code{?}' after the pitch.
160 @lilypond[quote,raggedright,fragment,verbatim]
161 cis' cis' cis'! cis'?
167 The automatic production of accidentals can be tuned in many
168 ways. For more information, refer to @ref{Automatic accidentals}.
173 @subsection Micro tones
175 Half-flats and half-sharps are formed by adding @code{-eh} and
176 @code{-ih}; the following is a series of Cs with increasing pitches
178 @cindex quarter tones
179 @cindex semi-flats, semi-sharps
181 @lilypond[verbatim,raggedright,quote,relative=2,fragment]
182 { ceseh ceh cih cisih }
185 Micro tones are also exported to the MIDI file
190 There are no generally accepted standards for denoting three quarter
191 flats, so LilyPond's symbol does not conform to any standard.
197 A chord is formed by a enclosing a set of pitches in @code{<} and
198 @code{>}. A chord may be followed by a duration, and a set of
199 articulations, just like simple notes
201 @lilypond[verbatim,raggedright,fragment,quote,relative=1]
205 For more information about chords, see @ref{Chord names}.
216 Rests are entered like notes, with the note name @code{r}
218 @lilypond[fragment,quote,raggedright,verbatim]
222 Whole bar rests, centered in middle of the bar,
223 must be done with multi-measure rests. They are discussed in
224 @ref{Multi measure rests}.
227 A rest's vertical position may be explicitly specified by entering a
228 note with the @code{\rest} keyword appended, the rest will be placed at
229 the note's place. This makes manual formatting in polyphonic music
230 easier. Automatic rest collision formatting will leave these rests
233 @lilypond[fragment,quote,raggedright,verbatim]
239 Program reference: @internalsref{RestEvent}, and @internalsref{Rest}.
246 @cindex Invisible rest
251 An invisible rest (also called a `skip') can be entered like a note
252 with note name `@code{s}' or with @code{\skip @var{duration}}
254 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
255 a4 a4 s4 a4 \skip 1 a4
258 The @code{s} syntax is only available in note mode and chord mode. In
259 other situations, for example, when entering lyrics, you should use
260 the @code{\skip} command
262 @lilypond[quote,raggedright,verbatim]
265 \new Lyrics \lyricmode { \skip 2 bla1 }
269 The skip command is merely an empty musical placeholder. It does not
270 produce any output, not even transparent output.
272 The @code{s} skip command does create @internalsref{Staff} and
273 @internalsref{Voice} when necessary, similar to note and rest
274 commands. For example, the following results in an empty staff.
276 @lilypond[quote,raggedright,verbatim]
280 The fragment @code{@{ \skip 4 @} } would produce an empty page.
284 Program reference: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
289 @subsection Durations
293 @cindex @code{\longa}
294 @cindex @code{\breve}
295 @cindex @code{\maxima}
298 In Note, Chord, and Lyrics mode, durations are designated by numbers and
299 dots: durations are entered as their reciprocal values. For example, a
300 quarter note is entered using a @code{4} (since it is a 1/4 note), while
301 a half note is entered using a @code{2} (since it is a 1/2 note). For
302 notes longer than a whole you must use the variables @code{\longa} and
307 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
309 r1 r2 r4 r8 r16 r32 r64 r64
315 a\breve*1/2 \autoBeamOff
316 a1 a2 a4 a8 a16 a32 a64 a64
319 r\longa*1/4 r\breve *1/2
320 r1 r2 r4 r8 r16 r32 r64 r64
326 \remove "Clef_engraver"
327 \override StaffSymbol #'transparent = ##t
328 \override TimeSignature #'transparent = ##t
329 \override BarLine #'transparent = ##t
330 \consists "Pitch_squash_engraver"
336 If the duration is omitted then it is set to the previously entered
337 duration. The default for the first note is a quarter note.
339 @lilypond[quote,raggedright,verbatim,fragment]
340 { a a a2 a a4 a a1 a }
345 @node Augmentation dots
346 @subsection Augmentation dots
349 To obtain dotted note lenghts, simply add a dot (`@code{.}') to
350 the number. Double-dotted notes are produced in a similar way.
352 @lilypond[quote,raggedright,fragment,verbatim]
353 a'4 b' c''4. b'8 a'4. b'4.. c''8.
358 Dots are normally moved up to avoid staff lines, except in polyphonic
359 situations. The following commands may be used to force a particular
362 @cindex @code{\dotsUp}
364 @cindex @code{\dotsDown}
366 @cindex @code{\dotsNeutral}
371 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
379 @cindex @code{\times}
381 Tuplets are made out of a music expression by multiplying all durations
384 @cindex @code{\times}
386 \times @var{fraction} @var{musicexpr}
390 The duration of @var{musicexpr} will be multiplied by the fraction.
391 The fraction's denominator will be printed over the notes, optionally
392 with a bracket. The most common tuplet is the triplet in which 3
393 notes have the length of 2, so the notes are 2/3 of their written
396 @lilypond[quote,raggedright,fragment,verbatim]
397 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
400 The property @code{tupletSpannerDuration} specifies how long each
401 bracket should last. With this, you can make lots of tuplets while
402 typing @code{\times} only once, thus saving lots of typing. In the next
403 example, there are two triplets shown, while @code{\times} was only
406 @lilypond[quote,fragment,relative=1,raggedright,verbatim]
407 \set tupletSpannerDuration = #(ly:make-moment 1 4)
408 \times 2/3 { c'8 c c c c c }
411 The format of the number is determined by the property
412 @code{tupletNumberFormatFunction}. The default prints only the
413 denominator, but if it is set to the Scheme function
414 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
417 @cindex @code{tupletNumberFormatFunction}
418 @cindex tuplet formatting
422 @cindex @code{\tupletUp}
424 @cindex @code{\tupletDown}
426 @cindex @code{\tupletNeutral}
427 @code{\tupletNeutral}.
431 User manual: @ref{Changing context properties on the fly} for the
435 Program reference: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
437 Examples: @inputfileref{input/@/regression,tuplet@/-nest@/.ly}.
441 Nested tuplets are not formatted automatically. In this case, outer
442 tuplet brackets should be moved manually, which is demonstrated in
443 @inputfileref{input/@/regression,tuplet@/-nest@/.ly}.
446 @node Scaling durations
447 @subsection Scaling durations
449 You can alter the length of duration by a fraction @var{N/M}
450 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
451 will not affect the appearance of the notes or rests produced.
453 In the following example, the first three notes take up exactly two
454 beats, but no triplet bracket is printed.
455 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
457 a4*2/3 gis4*2/3 a4*2/3
465 This manual: @ref{Tuplets}
468 @node Easier music entry
469 @section Easier music entry
472 This section deals with tricks and features of the input language that
473 were added solely to help entering music and finding and correcting
474 mistakes. There are also external tools that make debugging easier.
475 See @ref{Point and click} for more information.
477 It is also possible to enter and edit music using other programs, such as
478 GUI interfaces or MIDI sequencers. Refer to the LilyPond
479 website for more information.
486 * Skipping corrected music::
487 * Automatic note splitting::
493 @node Relative octaves
494 @subsection Relative octaves
496 @cindex relative octave specification
498 Octaves are specified by adding @code{'} and @code{,} to pitch names.
499 When you copy existing music, it is easy to accidentally put a pitch
500 in the wrong octave and hard to find such an error. The relative
501 octave mode prevents these errors by making the mistakes much
502 larger: a single error puts the rest of the piece off by one octave
504 @cindex @code{\relative}
506 \relative @var{startpitch} @var{musicexpr}
513 \relative @var{musicexpr}
516 The octave of notes that appear in @var{musicexpr} are calculated as
517 follows: if no octave changing marks are used, the basic interval
518 between this and the last note is always taken to be a fourth or
519 less. This distance is determined without regarding alterations; a
520 @code{fisis} following a @code{ceses} will be put above the
521 @code{ceses}. In other words, a doubly-augmented fourth is considered
522 a smaller interval than a diminshed fifth, even though the fourth is
523 seven semitones while the fifth is only six semitones.
525 The octave changing marks @code{'} and @code{,} can be added to raise
526 or lower the pitch by an extra octave. Upon entering relative mode,
527 an absolute starting pitch can be specified that will act as the
528 predecessor of the first note of @var{musicexpr}. If no starting pitch
529 is specified, then middle C is used as a start.
531 Here is the relative mode shown in action
532 @lilypond[quote,fragment,raggedright,verbatim]
538 Octave changing marks are used for intervals greater than a fourth
539 @lilypond[quote,raggedright,fragment,verbatim]
545 If the preceding item is a chord, the first note of the chord is used
546 to determine the first note of the next chord
548 @lilypond[quote,raggedright,fragment,verbatim]
556 The pitch after the @code{\relative} contains a note name.
559 The relative conversion will not affect @code{\transpose},
560 @code{\chordmode} or @code{\relative} sections in its argument. To use
561 relative within transposed music, an additional @code{\relative} must
562 be placed inside @code{\transpose}.
565 @subsection Octave check
568 Octave checks make octave errors easier to correct: a note may be
569 followed by @code{=}@var{quotes} which indicates what its absolute
570 octave should be. In the following example,
572 \relative c'' @{ c='' b=' d,='' @}
576 @c take care with @code, adds confusing quotes.
577 the @code{d} will generate a warning, because a @code{d''} is expected
578 (because @code{b'} to @code{d''} is only a third), but a @code{d}' is
579 found. In the output, the octave is corrected to be a @code{d''} and
580 the next note is calculated relative to @code{d''} instead of @code{d'}.
584 There is also a syntax that is separate from the notes. The syntax
590 This checks that @var{pitch} (without quotes) yields @var{pitch} (with
591 quotes) in \relative mode. If not, a warning is printed, and the
594 In the example below, the first check passes without incident, since
595 the @code{e} (in relative mode) is within a fifth of @code{a'}. However,
596 the second check produces a warning, since the @code{e} is not within
597 a fifth of @code{b'}. The warning message is printed, and the octave
598 is adjusted so that the following notes are in the correct octave
610 The octave of a note following an octave check is determined with
611 respect to the note preceding it. In the next fragment, the last note
612 is a @code{a'}, above middle C. That means that the @code{\octave}
613 check passes successfully, so the check could be deleted without changing
614 the output of the piece.
616 @lilypond[quote,raggedright,verbatim,fragment]
625 @subsection Bar check
629 @cindex @code{barCheckSynchronize}
632 Bar checks help detect errors in the durations. A bar check is
633 entered using the bar symbol, `@code{|}'. Whenever it is encountered
634 during interpretation, it should fall on a measure boundary. If it
635 does not, a warning is printed. In the next example, the second bar
636 check will signal an error
638 \time 3/4 c2 e4 | g2 |
641 Bar checks can also be used in lyrics, for example
646 Twin -- kle | Twin -- kle
651 @cindex @code{skipTypesetting}
653 Failed bar checks are caused by entering incorrect
654 durations. Incorrect durations often completely garble up the score,
655 especially if the score is polyphonic, so a good place to start correcting
656 input is by scanning for failed bar checks and incorrect durations. To
657 speed up this process, the @code{skipTypesetting} feature may be
658 used. It is described in the next section.
661 @cindex @code{pipeSymbol}
663 It is also possible to redefine the meaning of @code{|}. This is done
664 by assigning a music expression to @code{pipeSymbol},
666 @lilypond[quote,raggedright,verbatim]
667 pipeSymbol = \bar "||"
673 @node Skipping corrected music
674 @subsection Skipping corrected music
676 The property @code{Score.skipTypesetting} can be used to switch on and
677 off typesetting completely during the interpretation phase. When
678 typesetting is switched off, the music is processed much more
679 quickly. This can be used to skip over the parts of a score that
680 have already been checked for errors
682 @lilypond[quote,fragment,raggedright,verbatim]
685 \set Score.skipTypesetting = ##t
687 \set Score.skipTypesetting = ##f
691 In polyphonic music, @code{Score.skipTypesetting} will affect all
692 voices and staves, saving even more time.
694 @node Automatic note splitting
695 @subsection Automatic note splitting
697 Long notes can be converted automatically to tied notes. This is done
698 by replacing the @internalsref{Note_heads_engraver} by the
699 @internalsref{Completion_heads_engraver}.
700 In the following examples, notes crossing the bar line are split and tied.
703 @lilypond[quote,fragment,verbatim,relative=1,linewidth=12\cm]
705 \remove "Note_heads_engraver"
706 \consists "Completion_heads_engraver"
708 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
712 This engraver splits all running notes at the bar line, and inserts
713 ties. One of its uses is to debug complex scores: if the measures are
714 not entirely filled, then the ties exactly show how much each measure
719 Not all durations (especially those containing tuplets) can be
720 represented exactly with normal notes and dots, but the engraver will
725 Examples: @inputfileref{input/@/regression,completion@/-heads@/.ly}.
729 Program reference: @internalsref{Completion_heads_engraver}.
735 @section Staff notation
737 This section describes music notation that occurs on staff level,
738 such as key signatures, clefs and time signatures.
740 @cindex Staff notation
750 * System start delimiters::
755 @subsection Staff symbol
757 @cindex adjusting staff symbol
759 Notes, dynamic signs, etc., are grouped
760 with a set of horizontal lines, into a staff (plural `staves'). In our
761 system, these lines are drawn using a separate layout object called
765 @cindex staff lines, setting number of
766 @cindex staff lines, setting thickness of
767 @cindex thickness of staff lines, setting
768 @cindex number of staff lines, setting
772 Program reference: @internalsref{StaffSymbol}.
774 Examples: @inputfileref{input/@/test,staff@/-lines@/.ly},
775 @inputfileref{input/@/test,staff@/-size@/.ly}.
779 If a staff is ended halfway a piece, the staff symbol may not end
780 exactly on the bar line.
784 @subsection Key signature
785 @cindex Key signature
789 The key signature indicates the tonality in which a piece is played. It
790 is denoted by a set of alterations (flats or sharps) at the start of the
794 Setting or changing the key signature is done with the @code{\key}
797 @code{\key} @var{pitch} @var{type}
800 @cindex @code{\minor}
801 @cindex @code{\major}
802 @cindex @code{\minor}
803 @cindex @code{\ionian}
804 @cindex @code{\locrian}
805 @cindex @code{\aeolian}
806 @cindex @code{\mixolydian}
807 @cindex @code{\lydian}
808 @cindex @code{\phrygian}
809 @cindex @code{\dorian}
811 Here, @var{type} should be @code{\major} or @code{\minor} to get
812 @var{pitch}-major or @var{pitch}-minor, respectively.
813 The standard mode names @code{\ionian},
814 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
815 @code{\phrygian}, and @code{\dorian} are also defined.
817 This command sets the context property
818 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
819 can be specified by setting this property directly.
821 A natural sign is printed to cancel any previous accidentals. This
822 can be suppressed by setting the @code{Staff.printKeyCancellation}
825 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
831 \set Staff.printKeyCancellation = ##f
839 Accidentals and key signatures often confuse new users, because
840 unaltered notes get natural signs depending on the key signature. For
841 more information, see @ref{More about pitches}.
845 Program reference: @internalsref{KeyChangeEvent},
846 @internalsref{KeyCancellation} and @internalsref{KeySignature}.
848 @cindex @code{keySignature}
855 The clef indicates which lines of the staff correspond to which
859 The clef can be set with the @code{\clef} command
860 @lilypond[quote,raggedright,fragment,verbatim]
861 { c''2 \clef alto g'2 }
864 Supported clef-names include
865 @c Moved standard clefs to the top /MB
869 @item treble, violin, G, G2
882 G clef on 1st line, so-called French violin clef
887 @cindex mezzosoprano clef
890 @cindex baritone clef
893 @cindex varbaritone clef
904 By adding @code{_8} or @code{^8} to the clef name, the clef is
905 transposed one octave down or up, respectively, and @code{_15} and
906 @code{^15} transposes by two octaves. The argument @var{clefname}
907 must be enclosed in quotes when it contains underscores or digits. For
911 @cindex choral tenor clef
912 @lilypond[quote,raggedright,verbatim,fragment,relative=1]
916 This command is equivalent to setting @code{clefGlyph},
917 @code{clefPosition} (which controls the Y position of the clef),
918 @code{middleCPosition} and @code{clefOctavation}. A clef is printed
919 when any of these properties are changed. The following example shows
920 possibilities when setting properties manually.
922 @lilypond[quote,raggedright,verbatim]
924 \set Staff.clefGlyph = #"clefs.F"
925 \set Staff.clefPosition = #2
927 \set Staff.clefGlyph = #"clefs.G"
929 \set Staff.clefGlyph = #"clefs.C"
931 \set Staff.clefOctavation = #7
933 \set Staff.clefOctavation = #0
934 \set Staff.clefPosition = #0
938 \set Staff.middleCPosition = #4
945 Program reference: @internalsref{Clef}.
952 @subsection Time signature
953 @cindex Time signature
957 Time signature indicates the metrum of a piece: a regular pattern of
958 strong and weak beats. It is denoted by a fraction at the start of the
962 The time signature is set or changed by the @code{\time}
964 @lilypond[quote,raggedright,fragment,verbatim]
965 \time 2/4 c'2 \time 3/4 c'2.
968 The symbol that is printed can be customized with the @code{style}
969 property. Setting it to @code{#'()} uses fraction style for 4/4 and
972 @lilypond[fragment,quote,raggedright,verbatim]
975 \override Staff.TimeSignature #'style = #'()
982 There are many more options for its layout. See @ref{Ancient time
983 signatures} for more examples.
986 This command sets the property @code{timeSignatureFraction},
987 @code{beatLength} and @code{measureLength} in the @code{Timing}
988 context, which is normally aliased to @internalsref{Score}. The
989 property @code{measureLength} determines where bar lines should be
990 inserted, and how automatic beams should be generated. Changing the
991 value of @code{timeSignatureFraction} also causes the symbol to be
994 More options are available through the Scheme function
995 @code{set-time-signature}. In combination with the
996 @internalsref{Measure_grouping_engraver}, it will create
997 @internalsref{MeasureGrouping} signs. Such signs ease reading
998 rhythmically complex modern music. In the following example, the 9/8
999 measure is subdivided in 2, 2, 2 and 3. This is passed to
1000 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
1002 @lilypond[quote,raggedright,verbatim]
1005 #(set-time-signature 9 8 '(2 2 2 3))
1006 g8[ g] d[ d] g[ g] a8[( bes g]) |
1007 #(set-time-signature 5 8 '(3 2))
1013 \consists "Measure_grouping_engraver"
1021 Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1026 Automatic beaming does not use the measure grouping specified with
1027 @code{set-time-signature}.
1029 @node Partial measures
1030 @subsection Partial measures
1033 @cindex partial measure
1034 @cindex measure, partial
1035 @cindex shorten measures
1036 @cindex @code{\partial}
1038 Partial measures, for example in upsteps, are entered using the
1039 @code{\partial} command
1040 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1041 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1044 The syntax for this command is
1046 \partial @var{duration}
1048 This is internally translated into
1050 \set Timing.measurePosition = -@var{length of duration}
1053 The property @code{measurePosition} contains a rational number
1054 indicating how much of the measure has passed at this point.
1058 This command does not take into account grace notes at the start of
1059 the music. When a piece starts with graces notes in the pickup, then
1060 the @code{\partial} should follow the grace notes
1062 @lilypond[verbatim,quote,raggedright,relative,fragment]
1072 @node Unmetered music
1073 @subsection Unmetered music
1077 Bar lines and bar numbers are calculated automatically. For unmetered
1078 music (cadenzas, for example), this is not desirable. By setting
1079 @code{Score.timing} to false, this automatic timing can be switched
1080 off. Empty bar lines,
1087 indicate where line breaks can occur.
1091 @cindex @code{\cadenzaOn}
1093 @cindex @code{\cadenzaOff}
1100 @subsection Bar lines
1104 @cindex measure lines
1108 Bar lines delimit measures, but are also used to indicate repeats.
1109 Normally, they are inserted automatically. Line breaks may only
1110 happen on bar lines.
1112 Special types of bar lines can be forced with the @code{\bar} command
1114 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1118 The following bar types are available
1119 @lilypondfile[raggedright,quote]{bar-lines.ly}
1121 For allowing line breaks, there is a special command,
1125 This will insert an invisible bar line, and allow line breaks at this
1128 In scores with many staves, a @code{\bar} command in one staff is
1129 automatically applied to all staves. The resulting bar lines are
1130 connected between different staves of a @internalsref{StaffGroup}
1132 @lilypond[quote,raggedright,fragment,verbatim]
1134 \context StaffGroup <<
1140 \new Staff { \clef bass c4 g e g }
1142 \new Staff { \clef bass c2 c2 }
1147 The command @code{\bar }@var{bartype} is a short cut for doing
1148 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1149 is set to a string, a bar line of that type is created.
1151 A bar line is created whenever the @code{whichBar} property is set.
1152 At the start of a measure it is set to the contents of
1153 @code{Timing.defaultBarType}. The contents of @code{repeatCommands} are used
1154 to override default measure bars.
1156 @cindex @code{whichBar}
1157 @cindex @code{repeatCommands}
1158 @cindex @code{defaultBarType}
1160 You are encouraged to use @code{\repeat} for repetitions. See
1167 In this manual: @ref{Repeats}, @ref{System start delimiters}.
1170 Program reference: @internalsref{BarLine} (created at
1171 @internalsref{Staff} level), @internalsref{SpanBar} (across staves).
1173 @cindex bar lines at start of system
1174 @cindex start of system
1178 Examples: @inputfileref{input/@/test,bar@/-lines@/.ly},
1182 @node System start delimiters
1183 @subsection System start delimiters
1185 Many scores consist of more than one staff. These staves can be
1186 joined in three different ways
1188 @item The group is started with a brace at the left, and bar lines are
1189 connected. This is done with the @internalsref{GrandStaff} context.
1191 @lilypond[verbatim,raggedright,quote]
1200 @item The group is started with a bracket, and bar lines are connected.
1201 This is done with the
1202 @internalsref{StaffGroup} context
1204 @lilypond[verbatim,raggedright,quote]
1213 @item The group is started with a vertical line. Bar lines are not
1214 connected. This is the default for the score.
1216 @lilypond[verbatim,raggedright,quote]
1225 @cindex Staff, multiple
1226 @cindex bracket, vertical
1227 @cindex brace, vertical
1234 The bar lines at the start of each system are
1235 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1236 @internalsref{SystemStartBracket}. Only one of these types is created
1237 in every context, and that type is determined by the property
1238 @code{systemStartDelimiter}.
1241 @node More than notes
1242 @section More than notes
1243 @c silly title; should change.
1245 This section deals with notation that affects more than one note.
1252 * Fingering instructions::
1262 A tie connects two adjacent note heads of the same pitch. The tie in
1263 effect extends the length of a note. Ties should not be confused with
1264 slurs, which indicate articulation, or phrasing slurs, which indicate
1265 musical phrasing. A tie is entered using the tilde symbol `@code{~}'
1267 @lilypond[quote,raggedright,fragment,verbatim]
1268 e' ~ e' <c' e' g'> ~ <c' e' g'>
1271 When a tie is applied to a chord, all note heads whose pitches match
1272 are connected. When no note heads match, no ties will be created.
1274 A tie is just a way of extending a note duration, similar to the
1275 augmentation dot. The following example shows two ways of notating
1276 exactly the same concept
1278 @lilypond[quote,fragment,raggedright]
1279 \time 3/4 c'2. c'2 ~ c'4
1283 Ties are used either when the note crosses a bar line, or when dots
1284 cannot be used to denote the rhythm. When using ties, larger note
1285 values should be aligned to subdivisions of the measure, eg.
1287 @lilypond[fragment,quote,raggedright]
1289 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
1293 If you need to tie a lot of notes over bars, it may be easier to use
1294 automatic note splitting (see @ref{Automatic note splitting}). This
1295 mechanism automatically splits long notes, and ties them across bar
1298 Ties are sometimes used to write out arpeggios. In this case, two tied
1299 notes need not be consecutive. This can be achieved by setting the
1300 @code{tieWaitForNote} property to true. For example,
1302 @lilypond[fragment,verbatim,relative=1,raggedright]
1303 \set tieWaitForNote = ##t
1304 \grace { c16[~ e~ g]~ } <c, e g>4
1311 @cindex @code{\tieUp}
1313 @cindex @code{\tieDown}
1315 @cindex @code{\tieNeutral}
1317 @cindex @code{\tieDotted}
1319 @cindex @code{\tieSolid}
1324 In this manual: @ref{Automatic note splitting}.
1326 Program reference: @internalsref{TieEvent}, @internalsref{Tie}.
1331 Switching staves when a tie is active will not produce a slanted tie.
1333 Formatting of ties is a difficult subject. The results are often not
1337 @node Automatic beams
1338 @subsection Automatic beams
1340 LilyPond inserts beams automatically
1342 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1343 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1346 When these automatic decisions are not good enough, beaming can be
1347 entered explicitly. It is also possible to define beaming patterns
1348 that differ from the defaults.
1350 Individual notes may be marked with @code{\noBeam}, to prevent them
1353 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1354 \time 2/4 c8 c\noBeam c c
1360 Program reference: @internalsref{Beam}.
1364 @subsection Manual beams
1365 @cindex beams, manual
1369 In some cases it may be necessary to override the automatic beaming
1370 algorithm. For example, the autobeamer will not put beams over rests
1371 or bar lines. Such beams are specified manually by marking the begin
1372 and end point with @code{[} and @code{]}
1374 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1376 r4 r8[ g' a r8] r8 g[ | a] r8
1380 @cindex @code{stemLeftBeamCount}
1382 Normally, beaming patterns within a beam are determined automatically.
1383 If necessary, the properties @code{stemLeftBeamCount} and
1384 @code{stemRightBeamCount} can be used to override the defaults. If
1385 either property is set, its value will be used only once, and then it
1388 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1393 \set stemLeftBeamCount = #1
1397 @cindex @code{stemRightBeamCount}
1400 The property @code{subdivideBeams} can be set in order to subdivide
1401 all 16th or shorter beams at beat positions, as defined by the
1402 @code{beatLength} property.
1405 @lilypond[fragment,quote,relative=2,verbatim]
1407 \set subdivideBeams = ##t
1409 \set Score.beatLength = #(ly:make-moment 1 8)
1412 @cindex @code{subdivideBeams}
1414 Normally, line breaks are forbidden when beams cross bar lines. This
1415 behavior can be changed by setting @code{allowBeamBreak}.
1417 @cindex @code{allowBeamBreak}
1418 @cindex beams and line breaks
1420 @cindex beams, kneed
1422 @cindex auto-knee-gap
1427 User manual: @ref{Changing context properties on the fly} for the
1433 @cindex Frenched staves
1434 Kneed beams are inserted automatically, when a large gap is detected
1435 between the note heads. This behavior can be tuned through the object.
1438 Automatically kneed cross-staff beams cannot be used together with
1439 hidden staves. See @ref{Hiding staves}.
1441 Beams do not avoid collisions with symbols around the notes, such as
1442 texts and accidentals.
1448 @subsection Grace notes
1450 @cindex @code{\grace}
1454 Grace notes are ornaments that are written out. The most common ones
1455 are acciaccatura, which should be played as very short. It is denoted
1456 by a slurred small note with a slashed stem. The appoggiatura is a
1457 grace note that takes a fixed fraction of the main note, and is
1458 denoted as a slurred note in small print without a slash. They
1459 are entered with the commands @code{\acciaccatura} and
1460 @code{\appoggiatura}, as demonstrated in the following example
1463 @cindex appoggiatura
1464 @cindex acciaccatura
1466 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
1467 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
1468 \acciaccatura { g16[ f] } e4
1471 Both are special forms of the @code{\grace} command. By prefixing this
1472 keyword to a music expression, a new one is formed, which will be
1473 printed in a smaller font and takes up no logical time in a measure.
1475 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
1477 \grace { c16[ d16] } c2 c4
1481 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
1482 @code{\grace} command does not start a slur.
1484 Internally, timing for grace notes is done using a second, `grace'
1485 timing. Every point in time consists of two rational numbers: one
1486 denotes the logical time, one denotes the grace timing. The above
1487 example is shown here with timing tuples
1489 @lilypond[quote,raggedright]
1492 c4 \grace c16 c4 \grace {
1495 \new Lyrics \lyricmode {
1496 \override LyricText #'font-family = #'typewriter
1500 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
1501 \markup { (\fraction 1 4 , 0 ) } 4
1503 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
1504 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
1506 \markup { ( \fraction 2 4 , 0 ) }
1512 The placement of grace notes is synchronized between different staves.
1513 In the following example, there are two sixteenth grace notes for
1514 every eighth grace note
1516 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
1517 << \new Staff { e4 \grace { c16[ d e f] } e4 }
1518 \new Staff { c4 \grace { g8[ b] } c4 } >>
1523 If you want to end a note with a grace, use the @code{\afterGrace}
1524 command. It takes two arguments: the main note, and the grace notes
1525 following the main note.
1527 @lilypond[raggedright, verbatim,relative=2,fragment]
1528 c1 \afterGrace d1 { c16[ d] } c4
1531 This will put the grace notes after a ``space'' lasting 3/4 of the
1532 length of the main note. The fraction 3/4 can be changed by setting
1533 @code{afterGraceFraction}, ie.
1536 afterGraceFraction = #(cons 7 8)
1540 will put the grace note at 7/8 of the main note.
1543 The same effect can be achieved manually by doing
1546 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1549 { s2 \grace { c16[ d] } } >>
1555 By adjusting the duration of the skip note (here it is a half-note),
1556 the space between the main-note and the grace is adjusted.
1561 A @code{\grace} section will introduce special typesetting settings,
1562 for example, to produce smaller type, and set directions. Hence, when
1563 introducing layout tweaks, they should be inside the grace section,
1565 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1577 The overrides should also be reverted inside the grace section.
1579 The layout of grace sections can be changed throughout the music using
1580 the function @code{add-grace-property}. The following example
1581 undefines the Stem direction for this grace, so stems do not always
1586 #(add-grace-property 'Voice 'Stem 'direction '())
1592 Another option is to change the variables @code{startGraceMusic},
1593 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
1594 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
1595 @code{stopAppoggiaturaMusic}. More information is in the file
1596 @file{ly/@/grace@/-init@/.ly}.
1601 Program reference: @internalsref{GraceMusic}.
1605 A score that starts with a @code{\grace} section needs an explicit
1606 @code{\context Voice} declaration, otherwise the main note and the grace
1607 note end up on different staves.
1609 Grace note synchronization can also lead to surprises. Staff notation,
1610 such as key signatures, bar lines, etc., are also synchronized. Take
1611 care when you mix staves with grace notes and staves without, for example,
1613 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
1614 << \new Staff { e4 \bar "|:" \grace c16 d4 }
1615 \new Staff { c4 \bar "|:" d4 } >>
1619 This can be remedied by inserting grace skips, for the above example
1622 \new Staff @{ c4 \bar "|:" \grace s16 d4 @}
1625 Grace sections should only be used within sequential music
1626 expressions. Nesting or juxtaposing grace sections is not supported,
1627 and might produce crashes or other errors.
1630 @node Fingering instructions
1631 @subsection Fingering instructions
1635 Fingering instructions can be entered using
1637 @var{note}-@var{digit}
1639 For finger changes, use markup texts
1641 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
1643 c^\markup { \finger "2-3" }
1646 @cindex finger change
1651 You can use the thumb-script to indicate that a note should be
1652 played with the thumb (e.g., in cello music)
1653 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
1654 <a_\thumb a'-3>8 <b_\thumb b'-3>
1657 Fingerings for chords can also be added to individual notes
1658 of the chord by adding them after the pitches
1659 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
1660 < c-1 e-2 g-3 b-5 >4
1664 In this case, setting @code{fingeringOrientations} will put fingerings next
1667 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
1668 \set fingeringOrientations = #'(left down)
1669 <c-1 es-2 g-4 bes-5 > 4
1670 \set fingeringOrientations = #'(up right down)
1671 <c-1 es-2 g-4 bes-5 > 4
1674 Using this feature, it is also possible to put fingering instructions
1675 very close to note heads in monophonic music,
1677 @lilypond[verbatim,raggedright,quote,fragment]
1678 \set fingeringOrientations = #'(right)
1685 Program reference: @internalsref{FingerEvent}, and @internalsref{Fingering}.
1687 Examples: @inputfileref{input/@/regression,finger@/-chords@/.ly}.
1692 @node Expressive marks
1693 @section Expressive marks
1695 Expressive marks help musicians to bring more to the music than simple
1714 A slur indicates that notes are to be played bound or @emph{legato}.
1716 They are entered using parentheses
1717 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1718 f( g a) a8 b( a4 g2 f4)
1722 The direction of a slur can be set with the
1726 \override Slur #'direction = #UP
1727 \slurUp % shortcut for the previous line
1731 However, there is a convenient shorthand for forcing slur
1732 directions. By adding @code{_} or @code{^} before the opening
1733 parentheses, the direction is also set. For example,
1735 @lilypond[relative=2,raggedright,quote,verbatim,fragment]
1739 Some composers write two slurs when they want legato chords. This can
1740 be achieved in LilyPond by setting @code{doubleSlurs},
1742 @lilypond[verbatim,raggedright,relative,fragment,quote]
1743 \set doubleSlurs = ##t
1744 <c e>4 ( <d f> <c e> <d f> )
1747 Only one slur can be printed at once. If you need to print a long
1748 slur over a few small slurs, please see @ref{Phrasing slurs}.
1754 @cindex @code{\slurUp}
1756 @cindex @code{\slurDown}
1758 @cindex @code{\slurNeutral}
1759 @code{\slurNeutral},
1760 @cindex @code{\slurDashed}
1762 @cindex @code{\slurDotted}
1764 @cindex @code{\slurSolid}
1769 Program reference: @seeinternals{Slur}, and @internalsref{SlurEvent}.
1772 @node Phrasing slurs
1773 @subsection Phrasing slurs
1775 @cindex phrasing slurs
1776 @cindex phrasing marks
1778 A phrasing slur (or phrasing mark) connects chords and is used to
1779 indicate a musical sentence. It is written using @code{\(} and @code{\)}
1782 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1783 \time 6/4 c'\( d( e) f( e) d\)
1786 Typographically, the phrasing slur behaves almost exactly like a
1787 normal slur. However, they are treated as different objects. A
1788 @code{\slurUp} will have no effect on a phrasing slur; instead, use
1789 @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1790 @code{\phrasingSlurNeutral}.
1792 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurNeutral}
1793 will only affect normal slurs and not phrasing slurs.
1795 You cannot have simultaneous phrasing slurs.
1799 @cindex @code{\phrasingSlurUp}
1800 @code{\phrasingSlurUp},
1801 @cindex @code{\phrasingSlurDown}
1802 @code{\phrasingSlurDown},
1803 @cindex @code{\phrasingSlurNeutral}
1804 @code{\phrasingSlurNeutral}.
1808 Program reference: see also @internalsref{PhrasingSlur}, and
1809 @internalsref{PhrasingSlurEvent}.
1813 Putting phrasing slurs over rests leads to spurious warnings.
1817 @subsection Articulations
1818 @cindex Articulations
1820 @cindex articulations
1824 A variety of symbols can appear above and below notes to indicate
1825 different characteristics of the performance. They are added to a note
1826 by adding a dash and the character signifying the
1827 articulation. They are demonstrated here
1829 @lilypondfile[quote,raggedright]{script-abbreviations.ly}
1831 The meanings of these shorthands can be changed. See
1832 @file{ly/@/script@/-init@/.ly} for examples.
1835 The script is automatically placed, but the direction can be forced as
1836 well. Like other pieces of LilyPond code, @code{_} will place them
1837 below the staff, and @code{^} will place them above.
1840 @lilypond[quote,raggedright,fragment,verbatim]
1844 Other symbols can be added using the syntax
1845 @var{note}@code{\}@var{name}. Again, they
1846 can be forced up or down using @code{^} and @code{_},
1849 @lilypond[quote,raggedright,verbatim,fragment,relative=2]
1850 c\fermata c^\fermata c_\fermata
1857 @cindex staccatissimo
1867 @cindex organ pedal marks
1876 @cindex prallmordent
1880 @cindex thumb marking
1885 Here is a chart showing all scripts available,
1887 @lilypondfile[raggedright,quote]{script-chart.ly}
1890 The vertical ordering of scripts is controlled with the
1891 @code{script-priority} property. The lower this number, the closer it
1892 will be put to the note. In this example, the
1893 @internalsref{TextScript} (the sharp symbol) first has the lowest
1894 priority, so it is put lowest in the first example. In the second, the
1895 prall trill (the @internalsref{Script}) has the lowest, so it is on the
1896 inside. When two objects have the same priority, the order in which
1897 they are entered decides which one comes first.
1900 @lilypond[verbatim,relative=3,raggedright,fragment,quote]
1901 \once \override TextScript #'script-priority = #-100
1902 a4^\prall^\markup { \sharp }
1904 \once \override Script #'script-priority = #-100
1905 a4^\prall^\markup { \sharp }
1913 Program reference: @internalsref{ScriptEvent}, and @internalsref{Script}.
1917 These signs appear in the printed output but have no effect on the
1918 MIDI rendering of the music.
1922 @subsection Dynamics
1935 @cindex @code{\ffff}
1945 Absolute dynamic marks are specified using a command after a note
1946 @code{c4\ff}. The available dynamic marks are @code{\ppp},
1947 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
1948 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
1949 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}
1951 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
1952 c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
1953 c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
1962 A crescendo mark is started with @code{\<} and terminated with
1963 @code{\!} or an absolute dynamic. A decrescendo is started with
1964 @code{\>} and is also terminated with @code{\!} or an absolute
1965 dynamic. Because these marks are bound to notes, you must
1966 use spacer notes if multiple marks are needed during one note
1968 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1970 << f1 { s4 s4\< s4\! \> s4\! } >>
1972 This may give rise to very short hairpins. Use @code{minimum-length}
1973 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
1977 \override Staff.Hairpin #'minimum-length = #5
1980 You can also use a text saying @emph{cresc.} instead of hairpins. Here
1981 is an example how to do it
1983 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
1997 You can also supply your own texts
1998 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1999 \set crescendoText = \markup { \italic "cresc. poco" }
2000 \set crescendoSpanner = #'dashed-line
2006 To create new dynamic marks or text that should be aligned
2007 with dynamics, see @ref{New dynamic marks}.
2012 @cindex @code{\dynamicUp}
2014 @cindex @code{\dynamicDown}
2015 @code{\dynamicDown},
2016 @cindex @code{\dynamicNeutral}
2017 @code{\dynamicNeutral}.
2019 @cindex direction, of dynamics
2023 Program reference: @internalsref{CrescendoEvent},
2024 @internalsref{DecrescendoEvent}, and
2025 @internalsref{AbsoluteDynamicEvent}.
2027 Dynamics are @internalsref{DynamicText} and @internalsref{Hairpin}
2028 objects. Vertical positioning of these symbols is handled by the
2029 @internalsref{DynamicLineSpanner} object.
2032 @subsection Breath marks
2034 Breath marks are entered using @code{\breathe}
2037 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2041 The glyph of the breath mark can be tuned by overriding the
2042 @code{text} property of the @code{BreathingSign} layout object with
2043 any markup text. For example,
2044 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2046 \override BreathingSign #'text
2047 = #(make-musicglyph-markup "scripts.rvarcomma")
2054 Program reference: @internalsref{BreathingSign},
2055 @internalsref{BreathingSignEvent}.
2057 Examples: @inputfileref{input/@/regression,breathing@/-sign@/.ly}.
2060 @node Running trills
2061 @subsection Running trills
2063 Long running trills are made with @code{\startTrillSpan} and
2064 @code{\stopTrillSpan},
2067 @lilypond[verbatim,raggedright,relative=2,quote,fragment]
2069 << { c1 \startTrillSpan }
2070 { s2. \grace { d16[\stopTrillSpan e] } } >>
2076 @code{\startTrillSpan},
2077 @cindex @code{\startTrillSpan}
2078 @code{\stopTrillSpan}.
2079 @cindex @code{\stopTrillSpan}
2083 Program reference: @internalsref{TrillSpanner},
2084 @internalsref{TrillSpanEvent}.
2090 @subsection Glissando
2093 @cindex @code{\glissando}
2095 A glissando is a smooth change in pitch. It is denoted by a line or a
2096 wavy line between two notes. It is requested by attaching
2097 @code{\glissando} to a note
2099 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
2105 Program reference: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2107 Example files: @file{input/@/regression/@/glissando@/.ly}.
2113 Printing text over the line (such as @emph{gliss.}) is not supported.
2117 @subsection Arpeggio
2120 @cindex broken chord
2121 @cindex @code{\arpeggio}
2123 You can specify an arpeggio sign (also known as broken chord) on a
2124 chord by attaching an @code{\arpeggio} to a chord
2127 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2131 When an arpeggio crosses staves, you attach an arpeggio to the chords
2132 in both staves, and set
2133 @internalsref{PianoStaff}.@code{connectArpeggios}
2135 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2136 \context PianoStaff <<
2137 \set PianoStaff.connectArpeggios = ##t
2138 \new Staff { <c' e g c>\arpeggio }
2139 \new Staff { \clef bass <c,, e g>\arpeggio }
2143 The direction of the arpeggio is sometimes denoted by adding an
2144 arrowhead to the wiggly line
2146 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2155 A square bracket on the left indicates that the player should not
2156 arpeggiate the chord
2158 @c todo: ugh, lousy typography. Look for real example. --hwn
2160 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2167 @cindex @code{\arpeggio}
2169 @cindex @code{\arpeggioUp}
2171 @cindex @code{\arpeggioDown}
2172 @code{\arpeggioDown},
2173 @cindex @code{\arpeggioNeutral}
2174 @code{\arpeggioNeutral},
2175 @cindex @code{\arpeggioBracket}
2176 @code{\arpeggioBracket}.
2180 Notation manual: @ref{Ties}, for writing out arpeggios.
2182 Program reference: @internalsref{ArpeggioEvent},
2183 @internalsref{Arpeggio}.
2189 It is not possible to mix connected arpeggios and unconnected
2190 arpeggios in one @internalsref{PianoStaff} at the same point in time.
2197 Polyphony in music refers to having more than one voice occuring in
2198 a piece of music. Polyphony in LilyPond refers to having more than
2199 one voice on the same staff.
2203 * Explicitly instantiating voices::
2204 * Collision Resolution::
2207 @node Basic polyphony
2208 @subsection Basic polyphony
2211 The easiest way to enter fragments with more than one voice on a staff
2212 is to enter each voice as a sequence (with @code{@{...@}}), and combine
2213 them simultaneously, separating the voices with @code{\\}
2217 @lilypond[quote,verbatim,fragment]
2218 \new Staff \relative c' {
2220 << { g4 f e | d2 e2 } \\
2221 { r8 e4 d c8 ~ | c b16 a b8 g ~ g2 } \\
2227 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
2228 voices are sometimes called ``layers'' in other notation packages}
2230 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
2231 each of these contexts, vertical direction of slurs, stems, etc., is set
2234 These voices are all seperate from the voice that contains the notes just
2235 outside the @code{<< \\ >>} construct. This should be noted when making
2236 changes at the voice level. This also means that slurs and ties cannot go
2237 into or out of a @code{<< \\ >>} construct.
2238 Conversely, parallel voices from separate @code{<< \\ >>} constructs on the
2239 same staff are the the same voice.
2240 Here is the same example, with different noteheads for each voice.
2241 Note that the change to the note-head style in the main voice does not affect
2242 the inside of the @code{<< \\ >>} constructs. Also, the change to the second
2243 voice in the first @code{<< \\ >>} construct is effective in the second
2244 @code{<< \\ >>}, and the voice is tied accross the two constructs.
2246 @lilypond[quote,verbatim,fragment]
2247 \new Staff \relative c' {
2248 \override NoteHead #'style = #'cross
2252 { \override NoteHead #'style = #'triangle
2258 { c8 b16 a b8 g ~ g2 } \\
2259 { \override NoteHead #'style = #'slash s4 b4 c2 }
2264 @node Explicitly instantiating voices
2265 @subsection Explicitly instantiating voices
2267 @internalsref{Voice} contexts can also also be instantiated manually
2268 inside a @code{<< >>} block to create polyphonic music, using
2269 @code{\voiceOne}, up to @code{\voiceFour} to assign stem directions
2270 and a horizontal shift for each part.
2274 << \upper \\ \lower >>
2282 \context Voice = "1" @{ \voiceOne \upper @}
2283 \context Voice = "2" @{ \voiceTwo \lower @}
2287 @cindex @code{\voiceOne}
2288 @cindex @code{\voiceFour}
2290 The @code{\voiceXXX} commands set the direction of stems, slurs, ties,
2291 articulations, text annotations, augmentation dots of dotted
2292 notes, and fingerings. @code{\voiceOne} and @code{\voiceThree} make
2293 these objects point upwards, while @code{\voiceTwo} and @code{\voiceFour}
2294 make them point downwards.
2295 The command @code{\oneVoice} will revert back to the normal setting.
2296 @cindex @code{\oneVoice}
2298 An expression that appears directly inside a @code{<< >>} belongs to
2299 the main voice. This is useful when extra voices appear while the main
2300 voice is playing. Here is a more correct rendition of the example from
2301 the previous section. The crossed noteheads demonstrate that the main
2302 melody is now in a single voice context.
2304 @lilypond[quote,raggedright,verbatim]
2305 \new Staff \relative c' {
2306 \override NoteHead #'style = #'cross
2311 \context Voice="1" { \voiceTwo
2312 r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
2315 \new Voice { \voiceThree
2324 The correct definition of the voices allows the melody to be slurred.
2325 @lilypond[quote,raggedright,verbatim]
2326 \new Staff \relative c' {
2331 \context Voice="1" { \voiceTwo
2332 r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
2335 \new Voice { \voiceThree
2344 Avoiding the @code{\\} seperator also allows nesting polyphony
2345 constructs, which in some case might be a more natural way to typeset
2348 @lilypond[quote,raggedright,verbatim]
2349 \new Staff \relative c' {
2354 \context Voice="1" { \voiceTwo
2357 {c8 b16 a b8 g ~ g2}
2358 \new Voice { \voiceThree
2370 @node Collision Resolution
2371 @subsection Collision Resolution
2373 Normally, note heads with a different number of dots are not merged, but
2374 when the object property @code{merge-differently-dotted} is set in
2375 the @internalsref{NoteCollision} object, they are merged
2376 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
2379 \override Staff.NoteCollision
2380 #'merge-differently-dotted = ##t
2382 } \\ { g8.[ f16] g8.[ f16] } >>
2385 Similarly, you can merge half note heads with eighth notes, by setting
2386 @code{merge-differently-headed}
2387 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
2390 \override Staff.NoteCollision
2391 #'merge-differently-headed = ##t
2392 c8 c4. } \\ { c2 c2 } >>
2395 LilyPond also vertically shifts rests that are opposite of a stem,
2398 @lilypond[quote,raggedright,fragment,verbatim]
2399 \context Voice << c''4 \\ r4 >>
2407 @cindex @code{\oneVoice}
2409 @cindex @code{\voiceOne}
2411 @cindex @code{\voiceTwo}
2413 @cindex @code{\voiceThree}
2415 @cindex @code{\voiceFour}
2420 @cindex @code{\shiftOn}
2422 @cindex @code{\shiftOnn}
2424 @cindex @code{\shiftOnnn}
2426 @cindex @code{\shiftOff}
2427 @code{\shiftOff}: these commands specify in what chords of the current
2428 voice should be shifted. The outer voices (normally: voice one and
2429 two) have @code{\shiftOff}, while the inner voices (three and four)
2430 have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define
2431 further shift levels.
2434 When LilyPond cannot cope, the @code{force-hshift}
2435 property of the @internalsref{NoteColumn} object and pitched rests can
2436 be used to override typesetting decisions.
2438 @lilypond[quote,verbatim,raggedright]
2445 \once \override NoteColumn #'force-hshift = #1.7
2454 Program reference: the objects responsible for resolving collisions are
2455 @internalsref{NoteCollision} and @internalsref{RestCollision}.
2458 @inputfileref{input/@/regression,collision@/-dots@/.ly},
2459 @inputfileref{input/@/regression,collision@/-head-chords@/.ly},
2460 @inputfileref{input/@/regression,collision@/-heads@/.ly},
2461 @inputfileref{input/@/regression,collision@/-mesh@/.ly}, and
2462 @inputfileref{input/@/regression,collisions@/.ly}.
2468 When using @code{merge-differently-headed} with an upstem eighth or a
2469 shorter note, and a downstem half note, the eighth note gets the wrong
2472 There is no support for clusters where the same note occurs with
2473 different accidentals in the same chord. In this case, it is
2474 recommended to use enharmonic transcription, or to use special cluster
2475 notation (see @ref{Clusters}).
2482 Repetition is a central concept in music, and multiple notations exist
2488 * Repeats and MIDI::
2489 * Manual repeat commands::
2491 * Tremolo subdivisions::
2496 @subsection Repeat types
2499 @cindex @code{\repeat}
2501 The following types of repetition are supported
2505 Repeated music is fully written (played) out. This is useful when
2506 entering repetitious music. This is the only kind of repeat that
2507 is included in MIDI output.
2510 Repeats are not written out, but alternative endings (volte) are
2511 printed, left to right with brackets. This is the standard notation
2512 for repeats with alternatives. These are not played in MIDI output by default.
2516 Alternative endings are written stacked. This has limited use but may be
2517 used to typeset two lines of lyrics in songs with repeats, see
2518 @inputfileref{input,star-spangled-banner@/.ly}.
2523 Make tremolo beams. These are not played in MIDI output by default.
2526 Make beat or measure repeats. These look like percent signs. These
2527 are not played in MIDI output by default. Percent repeats must be
2528 declared within a Voice context.
2533 @subsection Repeat syntax
2536 LilyPond has one syntactic construct for specifying different types of
2537 repeats. The syntax is
2540 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2543 If you have alternative endings, you may add
2544 @cindex @code{\alternative}
2546 \alternative @{ @var{alternative1}
2548 @var{alternative3} @dots{} @}
2550 where each @var{alternative} is a music expression. If you do not
2551 give enough alternatives for all of the repeats, the first alternative
2552 is assumed to be played more than once.
2554 Standard repeats are used like this
2555 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2557 \repeat volta 2 { c4 d e f }
2558 \repeat volta 2 { f e d c }
2561 With alternative endings
2562 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2564 \repeat volta 2 {c4 d e f}
2565 \alternative { {d2 d} {f f,} }
2569 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2572 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2573 \alternative { { g4 g g } { a | a a a a | b2. } }
2577 It is possible to shorten volta brackets
2578 by setting @code{voltaSpannerDuration}. In the next example, the
2579 bracket only lasts one measure, which is a duration of 3/4.
2583 @lilypond[verbatim,raggedright,quote]
2587 \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4)
2588 \repeat "volta" 5 { d d d }
2589 \alternative { { e e e f f f }
2599 Brackets for the repeat are normally only printed over the topmost
2600 staff. This can be adjusted by setting the @code{voltaOnThisStaff}
2601 property; see @inputfileref{input/@/regression,volta@/-multi@/-staff@/.ly}.
2604 @c @inputfileref{input/@/regression,volta@/-chord@/-names@/.ly}.
2609 A nested repeat like
2618 is ambiguous, since it is is not clear to which @code{\repeat} the
2619 @code{\alternative} belongs. This ambiguity is resolved by always
2620 having the @code{\alternative} belong to the inner @code{\repeat}.
2621 For clarity, it is advisable to use braces in such situations.
2626 Timing information is not remembered at the start of an alternative,
2627 so after a repeat timing information must be reset by hand, for
2628 example by setting @code{Score.measurePosition} or entering
2629 @code{\partial}. Similarly, slurs or ties are also not repeated.
2634 @node Repeats and MIDI
2635 @subsection Repeats and MIDI
2637 @cindex expanding repeats
2639 With a little bit of tweaking, all types of repeats can be present
2640 in the MIDI output. This is achieved by applying the
2641 @code{\unfoldrepeats} music function. This functions changes all
2642 repeats to unfold repeats.
2644 @lilypond[quote,verbatim,fragment,linewidth=8.0\cm]
2646 \repeat tremolo 8 {c'32 e' }
2647 \repeat percent 2 { c''8 d'' }
2648 \repeat volta 2 {c'4 d' e' f'}
2657 When creating a score file using @code{\unfoldrepeats} for midi, then
2658 it is necessary to make two @code{\score} blocks. One for MIDI (with
2659 unfolded repeats) and one for notation (with volta, tremolo, and
2660 percent repeats). For example,
2668 \unfoldrepeats @var{..music..}
2673 @node Manual repeat commands
2674 @subsection Manual repeat commands
2676 @cindex @code{repeatCommands}
2678 The property @code{repeatCommands} can be used to control the layout of
2679 repeats. Its value is a Scheme list of repeat commands.
2682 @item @code{start-repeat}
2683 Print a @code{|:} bar line.
2685 @item @code{end-repeat}
2686 Print a @code{:|} bar line.
2688 @item @code{(volta @var{text})}
2689 Print a volta bracket saying @var{text}: The text can be specified as
2690 a text string or as a markup text, see @ref{Text markup}. Do not
2691 forget to change the font, as the default number font does not contain
2692 alphabetic characters;
2694 @item @code{(volta #f)}
2695 Stop a running volta bracket.
2698 @lilypond[quote,raggedright,verbatim,fragment,relative=2]
2700 \set Score.repeatCommands = #'((volta "93") end-repeat)
2702 \set Score.repeatCommands = #'((volta #f))
2710 Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2711 @internalsref{VoltaRepeatedMusic},
2712 @internalsref{UnfoldedRepeatedMusic}, and
2713 @internalsref{FoldedRepeatedMusic}.
2715 @node Tremolo repeats
2716 @subsection Tremolo repeats
2717 @cindex tremolo beams
2719 To place tremolo marks between notes, use @code{\repeat} with tremolo
2721 @lilypond[quote,verbatim,raggedright]
2722 \new Voice \relative c' {
2723 \repeat "tremolo" 8 { c16 d16 }
2724 \repeat "tremolo" 4 { c16 d16 }
2725 \repeat "tremolo" 2 { c16 d16 }
2729 Tremolo marks can also be put on a single note. In this case, the
2730 note should not be surrounded by braces.
2731 @lilypond[quote,verbatim,raggedright]
2732 \repeat "tremolo" 4 c'16
2735 Similar output is obtained using the tremolo subdivision, described in
2736 @ref{Tremolo subdivisions}.
2740 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2742 Program reference: tremolo beams are @internalsref{Beam} objects. Single stem
2743 tremolos are @internalsref{StemTremolo} objects. The music expression is
2744 @internalsref{TremoloEvent}.
2746 Example files: @inputfileref{input/@/regression,chord@/-tremolo@/.ly},
2747 @inputfileref{input/@/regression,stem@/-tremolo@/.ly}.
2749 @node Tremolo subdivisions
2750 @subsection Tremolo subdivisions
2751 @cindex tremolo marks
2752 @cindex @code{tremoloFlags}
2754 Tremolo marks can be printed on a single note by adding
2755 `@code{:}[@var{number}]' after the note. The number indicates the
2756 duration of the subdivision, and it must be at least 8. A
2757 @var{length} value of 8 gives one line across the note stem. If the
2758 length is omitted, the last value (stored in @code{tremoloFlags}) is
2761 @lilypond[quote,raggedright,verbatim,fragment]
2762 c'2:8 c':32 | c': c': |
2765 @c [TODO: stok is te kort bij 32en]
2766 @c somebody want to translate that into English?
2767 @c `Stem is too short for 32nds' (wl)
2771 Tremolos entered in this way do not carry over into the MIDI output.
2775 In this manual: @ref{Tremolo repeats}.
2777 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
2779 @node Measure repeats
2780 @subsection Measure repeats
2782 @cindex percent repeats
2783 @cindex measure repeats
2785 In the @code{percent} style, a note pattern can be repeated. It is
2786 printed once, and then the pattern is replaced with a special sign.
2787 Patterns of one and two measures are replaced by percent-like signs,
2788 patterns that divide the measure length are replaced by slashes.
2789 Percent repeats must be declared within a @code{Voice} context.
2791 @lilypond[quote,verbatim,raggedright]
2792 \new Voice \relative c' {
2793 \repeat "percent" 4 { c4 }
2794 \repeat "percent" 2 { c2 es2 f4 fis4 g4 c4 }
2800 Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2801 @internalsref{PercentRepeatedMusic}, and
2802 @internalsref{DoublePercentRepeat}.