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 Notation manual
11 This chapter describes all the different types of notation supported
12 by LilyPond. It is intended as a reference for users that are already
13 somewhat familiar with LilyPond.
17 * Easier music entry::
27 * Other instrument specific notation::
31 * Formatting cue notes::
33 * Contemporary notation::
37 @c FIXME: Note entry vs Music entry at top level menu is confusing.
43 This section is about basic notation elements notes, rests and
44 related constructs, such as stems, tuplets and ties.
49 * Chromatic alterations::
67 A note is printed by specifying its pitch and then its duration,
69 @lilypond[quote,verbatim]
70 { cis'4 d'8 e'16 c'16 }
78 @cindex Note specification
80 @cindex entering notes
82 The most common syntax for pitch entry is used for standard notes and
83 @code{\chordmode} modes. In these modes, pitches may be designated by
84 names. The notes are specified by the letters @code{a} through
85 @code{g}. The octave is formed with notes ranging from @code{c}
86 to @code{b}. The pitch @code{c} is an octave below middle C and the
87 letters span the octave above that C
89 @lilypond[fragment,verbatim,noindent]
91 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
94 @cindex note names, Dutch
96 A sharp is formed by adding @code{-is} to the end of a pitch name and
97 a flat is formed by adding @code{-es}. Double sharps and double flats
98 are obtained by adding @code{-isis} or @code{-eses}. These
99 names are the Dutch note names. In Dutch, @code{aes} is contracted to
100 @code{as}, but both forms are accepted. Similarly, both
101 @code{es} and @code{ees} are accepted
103 @lilypond[fragment,quote,verbatim,relative=2]
111 There are predefined sets of note names for various other languages.
112 To use them, include the language specific init file. For
113 example: @code{\include "english.ly"}. The available language files
114 and the note names they define are
119 Note Names sharp flat
120 nederlands.ly c d e f g a bes b -is -es
121 english.ly c d e f g a bf b -s/-sharp -f/-flat
123 deutsch.ly c d e f g a b h -is -es
124 norsk.ly c d e f g a b h -iss/-is -ess/-es
125 svenska.ly c d e f g a b h -iss -ess
126 italiano.ly do re mi fa sol la sib si -d -b
127 catalan.ly do re mi fa sol la sib si -d/-s -b
128 espanol.ly do re mi fa sol la sib si -s -b
137 The optional octave specification takes the form of a series of
138 single quote (`@code{'}') characters or a series of comma
139 (`@code{,}') characters. Each @code{'} raises the pitch by one
140 octave; each @code{,} lowers the pitch by an octave
142 @lilypond[quote,fragment,verbatim]
143 c' c'' es' g' as' gisis' ais'
146 @c FIXME: we need this info (hide/unhide) somewhere in the manual, but this ain't the place. -gp
148 Notes can be hidden and unhidden with the following commands
150 cindex @code{\hideNotes}
152 @cindex @code{\unHideNotes}
158 Program reference: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
162 @node Chromatic alterations
163 @subsection Chromatic alterations
165 Normally accidentals are printed automatically, but you may also
166 print them manually. A reminder accidental
167 @cindex reminder accidental
169 can be forced by adding an exclamation mark @code{!}
170 after the pitch. A cautionary accidental
171 @cindex cautionary accidental
172 @cindex parenthesized accidental
173 (i.e. an accidental within parentheses) can be obtained by adding the
174 question mark `@code{?}' after the pitch.
176 @lilypond[quote,fragment,verbatim]
177 cis' cis' cis'! cis'?
183 The automatic production of accidentals can be tuned in many
184 ways. For more information, refer to @ref{Accidentals}.
189 @subsection Micro tones
191 Half-flats and half-sharps are formed by adding @code{-eh} and
192 @code{-ih}; the following is a series of Cs with increasing pitches
194 @cindex quarter tones
195 @cindex semi-flats, semi-sharps
197 @lilypond[verbatim,quote,relative=2,fragment]
198 { ceseh ceh cih cisih }
201 Micro tones are also exported to the MIDI file
206 There are no generally accepted standards for denoting three quarter
207 flats, so LilyPond's symbol does not conform to any standard.
212 A chord is formed by a enclosing a set of pitches in @code{<} and
213 @code{>}. A chord may be followed by a duration, and a set of
214 articulations, just like simple notes
216 @lilypond[verbatim,fragment,quote,relative=1]
228 Rests are entered like notes, with the note name @code{r}
230 @lilypond[fragment,quote,raggedright,verbatim]
234 Whole bar rests, centered in middle of the bar,
235 must be done with multi-measure rests. They are discussed in
236 @ref{Multi measure rests}.
239 A rest's vertical position may be explicitly specified by entering a
240 note with the @code{\rest} keyword appended. This makes manual
241 formatting in polyphonic music easier. Automatic rest collision
242 formatting will leave these rests alone
244 @lilypond[fragment,quote,raggedright,verbatim]
250 Program reference: @internalsref{RestEvent}, and @internalsref{Rest}.
257 @cindex Invisible rest
262 An invisible rest (also called a `skip') can be entered like a note
263 with note name `@code{s}' or with @code{\skip @var{duration}}
265 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
266 a4 a4 s4 a4 \skip 1 a4
269 The @code{s} syntax is only available in note mode and chord mode. In
270 other situations, for example, when entering lyrics, you should use
271 the @code{\skip} command
273 @lilypond[quote,raggedright,verbatim]
276 \new Lyrics \lyricmode { \skip 2 bla1 }
280 The skip command is merely an empty musical placeholder. It does not
281 produce any output, not even transparent output.
283 The @code{s} skip command does create @internalsref{Staff} and
284 @internalsref{Voice} when necessary, similar to note and rest
285 commands. For example, the following results in an empty staff.
287 @lilypond[quote,raggedright,verbatim]
291 The fragment @code{@{ \skip 4 @} } would produce an empty page.
295 Program reference: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
300 @subsection Durations
304 @cindex @code{\longa}
305 @cindex @code{\breve}
306 @cindex @code{\maxima}
309 In Note, Chord, and Lyrics mode, durations are designated by numbers
310 and dots: durations are entered as their reciprocal values. For example,
311 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
312 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
313 longer than a whole you must use variables
317 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
319 r1 r2 r4 r8 r16 r32 r64 r64
322 @lilypond[quote,noindent]
325 a\breve*1/2 \autoBeamOff
326 a1 a2 a4 a8 a16 a32 a64 a64
329 r\longa*1/4 r\breve *1/2
330 r1 r2 r4 r8 r16 r32 r64 r64
336 \remove "Clef_engraver"
337 \override StaffSymbol #'transparent = ##t
338 \override TimeSignature #'transparent = ##t
339 \override BarLine #'transparent = ##t
340 \consists "Pitch_squash_engraver"
346 If the duration is omitted then it is set to the previously entered
347 duration. The default for the first note is a quarter note.
349 @lilypond[quote,raggedright,verbatim,fragment]
357 @node Augmentation dots
358 @subsection Augmentation dots
361 To obtain dotted note lenghts, simply add a dot (`@code{.}') to
362 the number. Double-dotted notes are produced in a similar way.
364 @lilypond[quote,fragment,verbatim]
365 a'4 b' c''4. b'8 a'4. b'4.. c''8.
370 Dots are normally moved up to avoid staff lines, except in polyphonic
371 situations. The following commands may be used to force a particular
374 @cindex @code{\dotsUp}
376 @cindex @code{\dotsDown}
378 @cindex @code{\dotsBoth}
383 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
385 @node Scaling durations
386 @subsection Scaling durations
388 You can alter the length of duration by a fraction @var{N/M}
389 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
390 will not affect the appearance of the notes or rests produced.
392 In the following example, the first three notes take up exactly two
393 beats, but no triplet bracket is printed.
394 @lilypond[quote,fragment,relative=2,verbatim]
396 a4*2/3 gis4*2/3 a4*2/3
404 This manual: @ref{Tuplets}
407 @c TODO: I'm not certain that Stems belong here in the manual. -gp
411 Whenever a note is found, a @internalsref{Stem} object is created
412 automatically. For whole notes and rests, they are also created but
417 @cindex @code{\stemUp}
419 @cindex @code{\stemDown}
421 @cindex @code{\stemBoth}
432 A tie connects two adjacent note heads of the same pitch. The tie in
433 effect extends the length of a note. Ties should not be confused with
434 slurs, which indicate articulation, or phrasing slurs, which indicate
435 musical phrasing. A tie is entered using the tilde symbol `@code{~}'
437 @lilypond[quote,fragment,verbatim]
438 e' ~ e' <c' e' g'> ~ <c' e' g'>
441 When a tie is applied to a chord, all note heads whose pitches match
442 are connected. When no note heads match, no ties will be created.
444 A tie is just a way of extending a note duration, similar to the
445 augmentation dot. The following example shows two ways of notating
446 exactly the same concept
448 @lilypond[quote,fragment,raggedright]
449 \time 3/4 c'2. c'2 ~ c'4
453 Ties are used either when the note crosses a bar line, or when dots
454 cannot be used to denote the rhythm. When using ties, larger note
455 values should be aligned to subdivisions of the measure, eg.
459 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
463 If you need to tie a lot of notes over bars, it may be easier to use
464 automatic note splitting (see @ref{Automatic note splitting}). This
465 mechanism automatically splits long notes, and ties them across bar
471 @cindex @code{\tieUp}
473 @cindex @code{\tieDown}
475 @cindex @code{\tieBoth}
477 @cindex @code{\tieDotted}
479 @cindex @code{\tieSolid}
484 In this manual: @ref{Automatic note splitting}.
486 Program reference: @internalsref{TieEvent}, @internalsref{Tie}.
491 Switching staves when a tie is active will not produce a slanted tie.
493 Formatting of ties is a difficult subject. The results are often not
501 @cindex @code{\times}
503 Tuplets are made out of a music expression by multiplying all durations
506 @cindex @code{\times}
508 \times @var{fraction} @var{musicexpr}
512 The duration of @var{musicexpr} will be multiplied by the fraction.
513 The fraction's denominator will be printed over the notes, optionally
514 with a bracket. The most common tuplet is the triplet in which 3
515 notes have the length of 2, so the notes are 2/3 of their written
518 @lilypond[quote,fragment,verbatim]
519 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
522 The property @code{tupletSpannerDuration} specifies how long each
523 bracket should last. With this, you can make lots of tuplets while
524 typing @code{\times} only once, thus saving lots of typing. In the next
525 example, there are two triplets shown, while @code{\times} was only
528 @lilypond[quote,fragment,relative=1,raggedright,verbatim]
529 \set tupletSpannerDuration = #(ly:make-moment 1 4)
530 \times 2/3 { c'8 c c c c c }
533 The format of the number is determined by the property
534 @code{tupletNumberFormatFunction}. The default prints only the
535 denominator, but if it is set to the Scheme function
536 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
540 @cindex @code{tupletNumberFormatFunction}
541 @cindex tuplet formatting
546 @cindex @code{\tupletUp}
548 @cindex @code{\tupletDown}
550 @cindex @code{\tupletBoth}
555 User manual: @ref{Changing context properties on the fly} for the
559 Program reference: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
561 Examples: @inputfileref{input/regression,tuplet-nest.ly}.
565 Nested tuplets are not formatted automatically. In this case, outer
566 tuplet brackets should be moved manually, which is demonstrated in
567 @inputfileref{input/regression,tuplet-nest.ly}.
571 @node Easier music entry
572 @section Easier music entry
575 This section deals with tricks and features of the input language that
576 were added solely to help entering music and finding and correcting
577 mistakes. There are also external tools that make debugging easier.
578 See @ref{Point and click} for more information.
580 It is also possible to enter and edit music using other programs, such as
581 GUI interfaces or MIDI sequencers. Refer to the LilyPond
582 website for more information.
589 * Skipping corrected music::
590 * Automatic note splitting::
596 @node Relative octaves
597 @subsection Relative octaves
599 @cindex relative octave specification
601 Octaves are specified by adding @code{'} and @code{,} to pitch names.
602 When you copy existing music, it is easy to accidentally put a pitch
603 in the wrong octave and hard to find such an error. The relative
604 octave mode prevents these errors by making the mistakes much
605 larger: a single error puts the rest of the piece off by one octave
607 @cindex @code{\relative}
609 \relative @var{startpitch} @var{musicexpr}
613 \relative @var{musicexpr}
616 The octave of notes that appear in @var{musicexpr} are calculated as
617 follows: if no octave changing marks are used, the basic interval
618 between this and the last note is always taken to be a fourth or
619 less. This distance is determined without regarding alterations; a
620 @code{fisis} following a @code{ceses} will be put above the
621 @code{ceses}. In other words, a doubly-augmented fourth is considered
622 a smaller interval than a diminshed fifth, even though the fourth is
623 seven semitones while the fifth is only six semitones.
625 The octave changing marks @code{'} and @code{,} can be added to raise
626 or lower the pitch by an extra octave. Upon entering relative mode,
627 an absolute starting pitch can be specified that will act as the
628 predecessor of the first note of @var{musicexpr}. If no starting pitch
629 is specified, then middle C is used as a start.
631 Here is the relative mode shown in action
632 @lilypond[quote,fragment,raggedright,verbatim]
638 Octave changing marks are used for intervals greater than a fourth
639 @lilypond[quote,fragment,verbatim]
645 If the preceding item is a chord, the first note of the chord is used
646 to determine the first note of the next chord
648 @lilypond[quote,fragment,verbatim]
656 The pitch after the @code{\relative} contains a note name.
659 @c Perfect place for a "refwarning"! -gp
662 The relative conversion will not affect @code{\transpose},
663 @code{\chordmode} or @code{\relative} sections in its argument. To use
664 relative within transposed music, an additional @code{\relative} must
665 be placed inside @code{\transpose}.
668 @subsection Octave check
671 Octave checks make octave errors easier to correct: a note may be
672 followed by @code{=}@var{quotes} which indicates what its absolute
673 octave should be. In the following example,
675 \relative c'' @{ c='' b=' d,='' @}
679 @c take care with @code, adds confusing quotes.
680 the @code{d} will generate a warning, because a @code{d''} is expected
681 (because @code{b'} to @code{d''} is only a third), but a @code{d}' is
682 found. In the output, the octave is corrected to be a @code{d''} and
683 the next note is calculated relative to @code{d''} instead of @code{d'}.
687 There is also a syntax that is separate from the notes. The syntax
693 This checks that @var{pitch} (without quotes) yields @var{pitch} (with
694 quotes) in \relative mode. If not, a warning is printed, and the
697 In the example below, the first check passes without incident, since
698 the @code{e} (in relative mode) is within a fifth of @code{a'}. However,
699 the second check produces a warning, since the @code{e} is not within
700 a fifth of @code{b'}. The warning message is printed, and the octave
701 is adjusted so that the following notes are in the correct octave
713 The octave of a note following an octave check is determined with
714 respect to the note preceding it. In the next fragment, the last note
715 is a @code{a'}, above middle C. That means that the @code{\octave}
716 check passes successfully, so the check could be deleted without changing
717 the output of the piece.
719 @lilypond[quote,verbatim,fragment]
728 @subsection Bar check
732 @cindex @code{barCheckSynchronize}
735 Bar checks help detect errors in the durations. A bar check is
736 entered using the bar symbol, `@code{|}'. Whenever it is encountered
737 during interpretation, it should fall on a measure boundary. If it
738 does not, a warning is printed. In the next example, the second bar
739 check will signal an error
741 \time 3/4 c2 e4 | g2 |
744 Bar checks can also be used in lyrics, for example
749 Twin -- kle | Twin -- kle
754 @cindex @code{skipTypesetting}
756 Failed bar checks are caused by entering incorrect
757 durations. Incorrect durations often completely garble up the score,
758 especially if the score is polyphonic, so a good place to start correcting
759 input is by scanning for failed bar checks and incorrect durations. To
760 speed up this process, the @code{skipTypesetting} feature may be
761 used. It is described in the next section.
764 @cindex @code{pipeSymbol}
766 It is also possible to redefine the meaning of @code{|}. This is done
767 by assigning a music expression to @code{pipeSymbol},
769 @lilypond[quote,raggedright,verbatim]
770 pipeSymbol = \bar "||"
776 @node Skipping corrected music
777 @subsection Skipping corrected music
779 The property @code{Score.skipTypesetting} can be used to switch on and
780 off typesetting completely during the interpretation phase. When
781 typesetting is switched off, the music is processed much more
782 quickly. This can be used to skip over the parts of a score that
783 have already been checked for errors
785 @lilypond[quote,fragment,raggedright,verbatim]
788 \set Score.skipTypesetting = ##t
790 \set Score.skipTypesetting = ##f
794 In polyphonic music, @code{Score.skipTypesetting} will affect all
795 voices and staves, saving even more time.
797 @node Automatic note splitting
798 @subsection Automatic note splitting
800 Long notes can be converted automatically to tied notes. This is done
801 by replacing the @internalsref{Note_heads_engraver} by the
802 @internalsref{Completion_heads_engraver}.
803 In the following examples, notes crossing the bar line are split and tied.
806 @lilypond[quote,fragment,verbatim,relative=1,raggedright]
808 \remove "Note_heads_engraver"
809 \consists "Completion_heads_engraver"
811 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
815 This engraver splits all running notes at the bar line, and inserts
816 ties. One of its uses is to debug complex scores: if the measures are
817 not entirely filled, then the ties exactly show how much each measure
822 Not all durations (especially those containing tuplets) can be
823 represented exactly with normal notes and dots, but the engraver will
828 Examples: @inputfileref{input/regression,completion-heads.ly}.
832 Program reference: @internalsref{Completion_heads_engraver}.
836 @section Staff notation
838 This section describes music notation that occurs on staff level,
839 such as key signatures, clefs and time signatures.
841 @cindex Staff notation
852 * Time administration::
853 * Controlling formatting of prefatory matter::
857 @subsection Staff symbol
859 @cindex adjusting staff symbol
861 Notes, dynamic signs, etc. are grouped
862 with a set of horizontal lines, into a staff (plural `staves'). In our
863 system, these lines are drawn using a separate layout object called
867 @cindex staff lines, setting number of
868 @cindex staff lines, setting thickness of
869 @cindex thickness of staff lines, setting
870 @cindex number of staff lines, setting
874 Program reference: @internalsref{StaffSymbol}.
876 Examples: @inputfileref{input/test,staff-lines.ly},
877 @inputfileref{input/test,staff-size.ly}.
881 If a staff is ended halfway a piece, the staff symbol may not end
882 exactly on the bar line.
886 @subsection Key signature
887 @cindex Key signature
891 The key signature indicates the scale in which a piece is played. It
892 is denoted by a set of alterations (flats or sharps) at the start of
896 Setting or changing the key signature is done with the @code{\key}
899 @code{\key} @var{pitch} @var{type}
902 @cindex @code{\minor}
903 @cindex @code{\major}
904 @cindex @code{\minor}
905 @cindex @code{\ionian}
906 @cindex @code{\locrian}
907 @cindex @code{\aeolian}
908 @cindex @code{\mixolydian}
909 @cindex @code{\lydian}
910 @cindex @code{\phrygian}
911 @cindex @code{\dorian}
913 Here, @var{type} should be @code{\major} or @code{\minor} to get
914 @var{pitch}-major or @var{pitch}-minor, respectively.
915 The standard mode names @code{\ionian},
916 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
917 @code{\phrygian}, and @code{\dorian} are also defined.
919 This command sets the context property
920 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
921 can be specified by setting this property directly.
923 Accidentals and key signatures often confuse new users, because
924 unaltered notes get natural signs depending on the key signature. For
925 more information, see @ref{More about pitches}.
929 Program reference: @internalsref{KeyChangeEvent},
930 @internalsref{KeyCancellation} and @internalsref{KeySignature}.
932 @cindex @code{keySignature}
939 The clef indicates which lines of the staff correspond to which
943 The clef can be set with the @code{\clef} command
944 @lilypond[quote,fragment,verbatim]
945 { c''2 \clef alto g'2 }
948 Supported clef-names include
949 @c Moved standard clefs to the top /MB
953 @item treble, violin, G, G2
966 G clef on 1st line, so-called French violin clef
971 @cindex mezzosoprano clef
974 @cindex baritone clef
977 @cindex varbaritone clef
988 By adding @code{_8} or @code{^8} to the clef name, the clef is
989 transposed one octave down or up, respectively, and @code{_15} and
990 @code{^15} transposes by two octaves. The argument @var{clefname}
991 must be enclosed in quotes when it contains underscores or digits. For
995 @cindex choral tenor clef
996 @lilypond[quote,verbatim,fragment,relative=1]
1000 This command is equivalent to setting @code{clefGlyph},
1001 @code{clefPosition} (which controls the Y position of the clef),
1002 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
1003 when any of these properties are changed. The following example shows
1004 possibilities when setting properties manually.
1008 \set Staff.clefGlyph = #"clefs-F"
1009 \set Staff.clefPosition = #2
1011 \set Staff.clefGlyph = #"clefs-G"
1013 \set Staff.clefGlyph = #"clefs-C"
1015 \set Staff.clefOctavation = #7
1017 \set Staff.clefOctavation = #0
1018 \set Staff.clefPosition = #0
1028 Program reference: @internalsref{Clef}.
1032 @node Ottava brackets
1033 @subsection Ottava brackets
1035 `Ottava' brackets introduce an extra transposition of an octave for
1036 the staff. They are created by invoking the function
1037 @code{set-octavation}
1043 @lilypond[quote,verbatim,fragment]
1053 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
1054 (for 15ma) as arguments. Internally the function sets the properties
1055 @code{ottavation} (e.g. to @code{"8va"}) and
1056 @code{centralCPosition}. For overriding the text of the bracket, set
1057 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1062 \set Staff.ottavation = #"8"
1069 Program reference: @internalsref{OttavaBracket}.
1071 Examples: @inputfileref{input/regression,ottava.ly},
1072 @inputfileref{input/regression,ottava-broken.ly}.
1076 @code{set-octavation} will get confused when clef changes happen
1077 during an octavation bracket.
1082 @node Time signature
1083 @subsection Time signature
1084 @cindex Time signature
1086 @cindex @code{\time}
1088 Time signature indicates the metrum of a piece: a regular pattern of
1089 strong and weak beats. It is denoted by a fraction at the start of the
1093 The time signature is set or changed by the @code{\time}
1095 @lilypond[quote,fragment,verbatim]
1096 \time 2/4 c'2 \time 3/4 c'2.
1099 The symbol that is printed can be customized with the @code{style}
1100 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1103 @lilypond[fragment,verbatim]
1106 \override Staff.TimeSignature #'style = #'()
1113 There are many more options for its layout. See @ref{Ancient time
1114 signatures} for more examples.
1117 This command sets the property @code{timeSignatureFraction},
1118 @code{beatLength} and @code{measureLength} in the @code{Timing}
1119 context, which is normally aliased to @internalsref{Score}. The
1120 property @code{measureLength} determines where bar lines should be
1121 inserted, and how automatic beams should be generated. Changing the
1122 value of @code{timeSignatureFraction} also causes the symbol to be
1125 More options are available through the Scheme function
1126 @code{set-time-signature}. In combination with the
1127 @internalsref{Measure_grouping_engraver}, it will create
1128 @internalsref{MeasureGrouping} signs. Such signs ease reading
1129 rhythmically complex modern music. In the following example, the 9/8
1130 measure is subdivided in 2, 2, 2 and 3. This is passed to
1131 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
1133 @lilypond[quote,raggedright,verbatim]
1136 #(set-time-signature 9 8 '(2 2 2 3))
1137 g8[ g] d[ d] g[ g] a8[( bes g]) |
1138 #(set-time-signature 5 8 '(3 2))
1144 \consists "Measure_grouping_engraver"
1152 Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1157 Automatic beaming does not use the measure grouping specified with
1158 @code{set-time-signature}.
1160 @node Partial measures
1161 @subsection Partial measures
1164 @cindex partial measure
1165 @cindex measure, partial
1166 @cindex shorten measures
1167 @cindex @code{\partial}
1169 Partial measures, for example in upsteps, are entered using the
1170 @code{\partial} command
1171 @lilypond[quote,fragment,verbatim,relative=2]
1172 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1175 The syntax for this command is
1177 \partial @var{duration}
1179 This is internally translated into
1181 \set Timing.measurePosition = -@var{length of duration}
1184 The property @code{measurePosition} contains a rational number
1185 indicating how much of the measure has passed at this point.
1189 This command does not take into account grace notes at the start of
1190 the music. When a piece starts with graces notes in the pickup, then
1191 the @code{\partial} should follow the grace notes
1193 @lilypond[verbatim,relative,fragment]
1203 @node Unmetered music
1204 @subsection Unmetered music
1208 Bar lines and bar numbers are calculated automatically. For unmetered
1209 music (e.g. cadenzas), this is not desirable. By setting
1210 @code{Score.timing} to false, this automatic timing can be switched
1211 off. Empty bar lines,
1218 indicate where line breaks can occur.
1222 @cindex @code{\cadenzaOn}
1224 @cindex @code{\cadenzaOff}
1231 @subsection Bar lines
1235 @cindex measure lines
1239 Bar lines delimit measures, but are also used to indicate repeats.
1240 Normally, they are inserted automatically. Line breaks may only
1241 happen on bar lines.
1243 Special types of bar lines can be forced with the @code{\bar} command
1245 @lilypond[quote,relative=2,fragment,verbatim]
1249 The following bar types are available
1250 @lilypondfile[]{bar-lines.ly}
1252 For allowing line breaks, there is a special command,
1256 This will insert an invisible bar line, and allow line breaks at this
1259 In scores with many staves, a @code{\bar} command in one staff is
1260 automatically applied to all staves. The resulting bar lines are
1261 connected between different staves of a @internalsref{StaffGroup}
1263 @lilypond[quote,fragment,verbatim]
1265 \context StaffGroup <<
1271 \new Staff { \clef bass c4 g e g }
1273 \new Staff { \clef bass c2 c2 }
1278 The command @code{\bar }@var{bartype} is a short cut for doing
1279 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1280 is set to a string, a bar line of that type is created.
1282 A bar line is created whenever the @code{whichBar} property is set.
1283 At the start of a measure it is set to the contents of
1284 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1285 to override default measure bars.
1287 @cindex @code{whichBar}
1288 @cindex @code{repeatCommands}
1289 @cindex @code{defaultBarType}
1291 You are encouraged to use @code{\repeat} for repetitions. See
1298 In this manual: @ref{Repeats}, @ref{System start delimiters}
1301 Program reference: @internalsref{BarLine} (created at
1302 @internalsref{Staff} level), @internalsref{SpanBar} (across staves).
1304 @cindex bar lines at start of system
1305 @cindex start of system
1309 Examples: @inputfileref{input/test,bar-lines.ly},
1312 @node Time administration
1313 @subsection Time administration
1315 Time is administered by the @internalsref{Time_signature_engraver},
1316 which usually lives in the @internalsref{Score} context.
1317 The bookkeeping deals with the following variables
1320 @item currentBarNumber
1323 the length of the measures in the current time signature. For a 4/4
1324 time this is 1, and for 6/8 it is 3/4.
1325 @item measurePosition
1326 the point within the measure where we currently are. This quantity
1327 is reset to 0 whenever it exceeds @code{measureLength}. When that happens,
1328 @code{currentBarNumber} is incremented.
1330 if set to true, the above variables are updated for every time
1331 step. When set to false, the engraver stays in the current measure
1335 Timing can be changed by setting any of these variables explicitly.
1336 In the next example, the 4/4 time signature is printed, but
1337 @code{measureLength} is set to 5/4. After a while, the measure is
1338 shortened by 1/8, by setting @code{measurePosition} to -3/8 at 2/4 in
1339 the measure, so the next bar line will fall at 2/4 + 3/8.
1343 \set Score.measureLength = #(ly:make-moment 5 4)
1347 \set Score.measurePosition = #(ly:make-moment -3 8)
1354 @node Controlling formatting of prefatory matter
1355 @subsection Controlling formatting of prefatory matter
1357 TODO Somebody needs to explain this example, but I don't know what
1358 they're trying to do, so it won't be me. -gp
1360 TODO part 2, build message: programming error: No spacing entry from KeyCancellation to `key-signature'
1364 \override Staff.Clef #'break-visibility = #end-of-line-visible
1365 \override Staff.KeySignature #'break-visibility = #end-of-line-visible
1366 \set Staff.explicitClefVisibility = #end-of-line-visible
1367 \set Staff.explicitKeySignatureVisibility = #end-of-line-visible
1369 % We want the time sig to take space, otherwise there is not
1370 % enough white at the start of the line.
1373 \override Staff.TimeSignature #'transparent = ##t
1374 \set Score.defaultBarType = #"empty"
1394 Polyphony in music refers to having more than one voice occuring in
1395 a piece of music. Polyphony in LilyPond refers to having more than
1396 one voice on the same staff.
1398 @subsection Writing polyphonic music
1399 @subsection Writing polyphonic music
1402 The easiest way to enter fragments with more than one voice on a staff
1403 is to split chords using the separator @code{\\}. You can use it for
1404 small, short-lived voices or for single chords
1408 @lilypond[quote,verbatim,fragment]
1409 \context Staff \relative c'' {
1410 c4 << { f d e } \\ { b c2 } >>
1411 c4 << g' \\ b, \\ f' \\ d >>
1415 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1416 voices are sometimes called ``layers'' in other notation packages}
1418 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1419 each of these contexts, vertical direction of slurs, stems, etc. is set
1422 @cindex @code{\voiceOne}
1423 @cindex @code{\voiceFour}
1425 This can also be done by instantiating @internalsref{Voice} contexts
1426 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1427 a stem directions and horizontal shift for each part
1430 @lilypond[quote,raggedright,verbatim]
1433 \new Voice { \voiceOne cis2 b }
1434 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1435 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1439 The command @code{\oneVoice} will revert back to the normal setting.
1440 @cindex @code{\oneVoice}
1443 Normally, note heads with a different number of dots are not merged, but
1444 when the object property @code{merge-differently-dotted} is set in
1445 the @internalsref{NoteCollision} object, they are merged
1446 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
1449 \override Staff.NoteCollision
1450 #'merge-differently-dotted = ##t
1452 } \\ { g8.[ f16] g8.[ f16] } >>
1455 Similarly, you can merge half note heads with eighth notes, by setting
1456 @code{merge-differently-headed}
1457 @lilypond[quote,fragment,relative=2,verbatim]
1460 \override Staff.NoteCollision
1461 #'merge-differently-headed = ##t
1462 c8 c4. } \\ { c2 c2 } >>
1465 LilyPond also vertically shifts rests that are opposite of a stem,
1468 @lilypond[quote,raggedright,fragment,verbatim]
1469 \context Voice << c''4 \\ r4 >>
1477 @cindex @code{\oneVoice}
1479 @cindex @code{\voiceOne}
1481 @cindex @code{\voiceTwo}
1483 @cindex @code{\voiceThree}
1485 @cindex @code{\voiceFour}
1490 @cindex @code{\shiftOn}
1492 @cindex @code{\shiftOnn}
1494 @cindex @code{\shiftOnnn}
1496 @cindex @code{\shiftOff}
1497 @code{\shiftOff}: these commands specify in what chords of the current
1498 voice should be shifted. The outer voices (normally: voice one and
1499 two) have @code{\shiftOff}, while the inner voices (three and four)
1500 have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define
1501 further shift levels.
1504 When LilyPond cannot cope, the @code{force-hshift}
1505 property of the @internalsref{NoteColumn} object and pitched rests can
1506 be used to override typesetting decisions.
1508 @lilypond[verbatim,raggedright]
1515 \once \override NoteColumn #'force-hshift = #1.7
1524 Program reference: the objects responsible for resolving collisions are
1525 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1528 @inputfileref{input/regression,collision-dots.ly},
1529 @inputfileref{input/regression,collision-head-chords.ly},
1530 @inputfileref{input/regression,collision-heads.ly},
1531 @inputfileref{input/regression,collision-mesh.ly}, and
1532 @inputfileref{input/regression,collisions.ly}.
1538 When using @code{merge-differently-headed} with an upstem eighth or a
1539 shorter note, and a downstem half note, the eighth note gets the wrong
1542 There is no support for clusters where the same note occurs with
1543 different accidentals in the same chord. In this case, it is
1544 recommended to use enharmonic transcription, or to use special cluster
1545 notation (see @ref{Clusters}).
1550 Beams are used to group short notes into chunks that are aligned with
1551 the metrum. LilyPond normally inserts beams automatically, but if you
1552 wish you may control them manually or changed how beams are automatically
1555 @cindex Automatic beams
1559 * Setting automatic beam behavior::
1563 @node Automatic beams
1564 @subsection Automatic beams
1566 LilyPond inserts beams automatically
1568 @lilypond[quote,fragment,verbatim,relative=2]
1569 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1572 When these automatic decisions are not good enough, beaming can be
1573 entered explicitly. It is also possible to define beaming patterns
1574 that differ from the defaults.
1576 Individual notes may be marked with @code{\noBeam}, to prevent them
1579 @lilypond[quote,fragment,verbatim,relative=2]
1580 \time 2/4 c8 c\noBeam c c
1586 Program reference: @internalsref{Beam}.
1590 @subsection Manual beams
1591 @cindex beams, manual
1595 In some cases it may be necessary to override the automatic beaming
1596 algorithm. For example, the autobeamer will not put beams over rests
1597 or bar lines. Such beams are specified manually by marking the begin
1598 and end point with @code{[} and @code{]}
1600 @lilypond[quote,fragment,relative=1,verbatim]
1602 r4 r8[ g' a r8] r8 g[ | a] r8
1606 @cindex @code{stemLeftBeamCount}
1608 Normally, beaming patterns within a beam are determined automatically.
1609 If necessary, the properties @code{stemLeftBeamCount} and
1610 @code{stemRightBeamCount} can be used to override the defaults. If
1611 either property is set, its value will be used only once, and then it
1614 @lilypond[quote,fragment,relative=1,verbatim]
1619 \set stemLeftBeamCount = #1
1623 @cindex @code{stemRightBeamCount}
1626 The property @code{subdivideBeams} can be set in order to subdivide
1627 all 16th or shorter beams at beat positions, as defined by the
1628 @code{beatLength} property.
1631 @lilypond[fragment,quote,relative=2,verbatim,noindent]
1633 \set subdivideBeams = ##t
1635 \set Score.beatLength = #(ly:make-moment 1 8)
1638 @cindex @code{subdivideBeams}
1640 Normally, line breaks are forbidden when beams cross bar lines. This
1641 behavior can be changed by setting @code{allowBeamBreak}.
1643 @cindex @code{allowBeamBreak}
1644 @cindex beams and line breaks
1646 @cindex beams, kneed
1648 @cindex auto-knee-gap
1653 User manual: @ref{Changing context properties on the fly} for the
1659 @cindex Frenched staves
1660 Kneed beams are inserted automatically, when a large gap is detected
1661 between the note heads. This behavior can be tuned through the object.
1664 Automatically kneed cross-staff beams cannot be used together with
1665 hidden staves. See @ref{Hiding staves}.
1667 Beams do not avoid collisions with symbols around the notes, such as
1668 texts and accidentals.
1673 @node Setting automatic beam behavior
1674 @subsection Setting automatic beam behavior
1676 @cindex @code{autoBeamSettings}
1677 @cindex @code{(end * * * *)}
1678 @cindex @code{(begin * * * *)}
1679 @cindex automatic beams, tuning
1680 @cindex tuning automatic beaming
1682 @c [TODO: use \applycontext]
1684 In normal time signatures, automatic beams can start on any note but can
1685 only end in a few positions within the measure: beams can end on a beat,
1686 or at durations specified by the properties in
1687 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
1688 are defined in @file{scm/auto-beam.scm}.
1690 The value of @code{autoBeamSettings} is changed with two functions,
1692 #(override-auto-beam-setting
1693 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
1695 #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m}))
1697 Here, @var{be} is the symbol @code{begin} or @code{end}, and
1698 @var{context} is an optional context (default: @code{'Voice}). It
1699 determines whether the rule applies to begin or end-points. The
1700 quantity @var{p}/@var{q} refers to the length of the beamed notes (and
1701 `@code{* *}' designates notes of any length), @var{n}/@var{M} refers
1702 to a time signature (wildcards `@code{* *}' may be entered to
1703 designate all time signatures), @var{a}/@var{b} is a duration. By
1704 default, this command changes settings for the current voice. It is
1705 also possible to adjust settings at higher contexts, by adding a
1706 @var{context} argument.
1708 For example, if automatic beams should end on every quarter note, use
1711 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1713 Since the duration of a quarter note is 1/4 of a whole note, it is
1714 entered as @code{(ly:make-moment 1 4)}.
1716 The same syntax can be used to specify beam starting points. In this
1717 example, automatic beams can only end on a dotted quarter note
1719 #(override-auto-beam-setting '(end * * * *) 3 8)
1721 In 4/4 time signature, this means that automatic beams could end only on
1722 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1723 3/8, has passed within the measure).
1725 Rules can also be restricted to specific time signatures. A rule that
1726 should only be applied in @var{N}/@var{M} time signature is formed by
1727 replacing the second asterisks by @var{N} and @var{M}. For example, a
1728 rule for 6/8 time exclusively looks like
1730 #(override-auto-beam-setting '(begin * * 6 8) @dots{})
1733 If a rule should be to applied only to certain types of beams, use the
1734 first pair of asterisks. Beams are classified according to the
1735 shortest note they contain. For a beam ending rule that only applies
1736 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1739 @cindex automatic beam generation
1741 @cindex @code{autoBeaming}
1744 If beams are used to indicate melismata in songs, then automatic
1745 beaming should be switched off. This is done by setting
1746 @code{autoBeaming} to @code{#f}.
1750 @cindex @code{\autoBeamOff}
1751 @code{\autoBeamOff},
1752 @cindex @code{\autoBeamOn}
1758 If a score ends while an automatic beam has not been ended and is
1759 still accepting notes, this last beam will not be typeset at all. The
1760 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
1761 >>}. If a polyphonic voice ends while an automatic beam is still
1762 accepting notes, it is not typeset.
1764 The rules for ending a beam depend on the shortest note in a beam.
1765 So, while it is possible to have different ending rules for eight
1766 beams and sixteenth beams, a beam that contains both eight and
1767 sixteenth notes will use the rules for the sixteenth beam.
1769 In the example below, the autobeamer makes eighth beams and sixteenth
1770 end at three eighths. The third beam can only be corrected by
1771 specifying manual beaming.
1773 @lilypond[quote,raggedright,fragment,relative=1]
1774 #(override-auto-beam-setting '(end * * * *) 3 8)
1775 % rather show case where it goes wrong
1776 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1777 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1779 It is not possible to specify beaming parameters that act differently in
1780 different parts of a measure. This means that it is not possible to use
1781 automatic beaming in irregular meters such as @code{5/8}.
1783 @node Beam formatting
1784 @subsection Beam formatting
1787 When a beam falls in the middle of the staff, the beams point normally
1788 down. However, this behaviour can be altered with the
1789 @code{neutral-direction} property.
1792 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1795 \override Beam #'neutral-direction = #-1
1797 \override Beam #'neutral-direction = #1
1803 @section Accidentals
1806 This section describes how to change the way that accidentals are
1807 inserted automatically before the running notes.
1809 Common rules for typesetting accidentals have been canned in a
1810 function. This function is called as follows
1812 @cindex @code{set-accidental-style}
1814 #(set-accidental-style 'modern 'Voice)
1817 The function takes two arguments: a symbol that denotes the style (in
1818 the example, @code{modern}), and another symbol that denotes the
1819 context name (in this example, @code{Voice}). If no context name is
1820 supplied, @code{Staff} is the default.
1822 The following styles are supported
1825 This is the default typesetting behavior. It should correspond
1826 to 18th century common practice: Accidentals are
1827 remembered to the end of the measure in which they occur and
1828 only on their own octave.
1832 The normal behavior is to remember the accidentals on
1833 Staff-level. This variable, however, typesets accidentals
1834 individually for each voice. Apart from that, the rule is similar to
1838 accidentals from one voice do not get canceled in other
1839 voices, which is often unwanted result
1841 @lilypond[quote,raggedright,relative=1,fragment,verbatim]
1843 #(set-accidental-style 'voice)
1850 The @code{voice} option should be used if the voices
1851 are to be read solely by individual musicians. If the staff is to be
1852 used by one musician (e.g. a conductor) then
1853 @code{modern} or @code{modern-cautionary}
1854 should be used instead.
1857 @cindex @code{modern} style accidentals
1858 This rule corresponds to the common practice in the 20th
1860 This rule prints the same accidentals as @code{default}, but temporary
1861 accidentals also are canceled in other octaves. Furthermore,
1862 in the same octave, they also get canceled in the following
1865 @lilypond[quote,raggedright,fragment,verbatim]
1866 #(set-accidental-style 'modern)
1867 cis' c'' cis'2 | c'' c'
1870 @item @code{modern-cautionary}
1871 @cindex @code{modern-cautionary}
1872 This rule is similar to @code{modern}, but the
1873 ``extra'' accidentals (the ones not typeset by
1874 @code{default}) are typeset as cautionary accidentals.
1875 They are printed in reduced size or with parentheses
1876 @lilypond[quote,raggedright,fragment,verbatim]
1877 #(set-accidental-style 'modern-cautionary)
1878 cis' c'' cis'2 | c'' c'
1881 @cindex @code{modern-voice}
1883 This rule is used for multivoice accidentals to be read both by musicians
1884 playing one voice and musicians playing all voices. Accidentals are
1885 typeset for each voice, but they @emph{are} canceled across voices in
1886 the same @internalsref{Staff}.
1888 @cindex @code{modern-voice-cautionary}
1889 @item modern-voice-cautionary
1890 This rule is the same as @code{modern-voice}, but with the extra
1891 accidentals (the ones not typeset by @code{voice}) typeset
1892 as cautionaries. Even though all accidentals typeset by
1893 @code{default} @emph{are} typeset by this variable then
1894 some of them are typeset as cautionaries.
1897 @cindex @code{piano} accidentals
1898 This rule reflects 20th century practice for piano notation. Very similar to
1899 @code{modern} but accidentals also get canceled
1900 across the staves in the same @internalsref{GrandStaff} or
1901 @internalsref{PianoStaff}.
1903 @item piano-cautionary
1904 @cindex @code{#(set-accidental-style 'piano-cautionary)}
1905 As @code{#(set-accidental-style 'piano)} but with the extra accidentals
1906 typeset as cautionaries.
1909 @cindex @code{no-reset} accidental style
1911 This is the same as @code{default} but with accidentals lasting
1912 ``forever'' and not only until the next measure
1913 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1914 #(set-accidental-style 'no-reset)
1919 This is sort of the opposite of @code{no-reset}: Accidentals
1920 are not remembered at all---and hence all accidentals are
1921 typeset relative to the key signature, regardless of what was
1924 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1925 #(set-accidental-style 'forget)
1926 \key d\major c4 c cis cis d d dis dis
1933 Program reference: @internalsref{Accidental_engraver},
1934 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1939 Simultaneous notes are considered to be entered in sequential
1940 mode. This means that in a chord the accidentals are typeset as if the
1941 notes in the chord happened once at a time - in the order in which
1942 they appear in the input file.
1944 This is a problem when accidentals in a chord depend on each other,
1945 which does not happen for the default accidental style. The problem
1946 can be solved by manually inserting @code{!} and @code{?} for the
1950 @node Expressive marks
1951 @section Expressive marks
1954 @c todo: should change ordering
1955 @c where to put text spanners, metronome marks,
1964 * Analysis brackets::
1967 * Fingering instructions::
1978 A slur indicates that notes are to be played bound or @emph{legato}.
1980 They are entered using parentheses
1981 @lilypond[quote,relative=2,fragment,verbatim]
1982 f( g a) a8 b( a4 g2 f4)
1986 The direction of a slur can be set with the
1990 \override Slur #'direction = #UP
1991 \slurUp % shortcut for the previous line
1995 However, there is a convenient shorthand for forcing slur
1996 directions. By adding @code{_} or @code{^} before the opening
1997 parentheses, the direction is also set. For example,
1999 @lilypond[relative=2,verbatim,fragment]
2003 Some composers write two slurs when they want legato chords. This can
2004 be achieved in LilyPond, by setting @code{doubleSlurs},
2006 @lilypond[verbatim,raggedright]
2008 \set doubleSlurs = ##t
2009 <c e>4 ( <d f> <c e> <d f> )
2017 @cindex @code{\slurUp}
2019 @cindex @code{\slurDown}
2021 @cindex @code{\slurBoth}
2023 @cindex @code{\slurDotted}
2025 @cindex @code{\slurSolid}
2030 Program reference: @seeinternals{Slur}, and @internalsref{SlurEvent}.
2033 @node Phrasing slurs
2034 @subsection Phrasing slurs
2036 @cindex phrasing slurs
2037 @cindex phrasing marks
2039 A phrasing slur (or phrasing mark) connects chords and is used to
2040 indicate a musical sentence. It is started using @code{\(} and @code{\)}
2043 @lilypond[quote,fragment,verbatim,relative=1]
2044 \time 6/4 c'\( d( e) f( e) d\)
2047 Typographically, the phrasing slur behaves almost exactly like a
2048 normal slur. However, they are treated as different objects. A
2049 @code{\slurUp} will have no effect on a phrasing slur; instead, use
2050 @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
2051 @code{\phrasingSlurBoth}.
2053 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
2054 will only affect normal slurs and not phrasing slurs.
2058 @cindex @code{\phrasingSlurUp}
2059 @code{\phrasingSlurUp},
2060 @cindex @code{\phrasingSlurDown}
2061 @code{\phrasingSlurDown},
2062 @cindex @code{\phrasingSlurBoth}
2063 @code{\phrasingSlurBoth}.
2067 Program reference: see also @internalsref{PhrasingSlur}, and
2068 @internalsref{PhrasingSlurEvent}.
2072 Putting phrasing slurs over rests leads to spurious warnings.
2075 @subsection Breath marks
2077 Breath marks are entered using @code{\breathe}
2080 @lilypond[quote,fragment,relative=1,verbatim]
2084 The glyph of the breath mark can be tuned by overriding the
2085 @code{text} property of the @code{BreathingSign} layout object with
2086 any markup text. For example,
2087 @lilypond[quote,fragment,verbatim,relative=1]
2089 \override BreathingSign #'text
2090 = #(make-musicglyph-markup "scripts-rvarcomma")
2097 Program reference: @internalsref{BreathingSign},
2098 @internalsref{BreathingSignEvent}.
2100 Examples: @inputfileref{input/regression,breathing-sign.ly}.
2103 @node Metronome marks
2104 @subsection Metronome marks
2107 @cindex beats per minute
2108 @cindex metronome marking
2110 Metronome settings can be entered as follows
2112 i \tempo @var{duration} = @var{per-minute}
2115 In the MIDI output, they are interpreted as a tempo change, and in the
2116 paper output, a metronome marking is printed
2117 @cindex @code{\tempo}
2118 @lilypond[quote,fragment,verbatim]
2124 Program reference: @internalsref{MetronomeChangeEvent}.
2129 @subsection Text spanners
2130 @cindex Text spanners
2132 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
2133 are written as texts, and extended over many measures with dotted
2134 lines. Such texts are created using text spanners: attach
2135 @code{\startTextSpan} and @code{\stopTextSpan} to the start and ending
2136 note of the spanner.
2138 The string to be printed, as well as the style, is set through object
2141 @lilypond[quote,fragment,relative=1,verbatim]
2144 \override TextSpanner #'direction = #-1
2145 \override TextSpanner #'edge-text = #'("rall " . "")
2146 c2\startTextSpan b c\stopTextSpan a
2153 Internals @internalsref{TextSpanEvent},
2154 @internalsref{TextSpanner}.
2156 Examples: @inputfileref{input/regression,text-spanner.ly}.
2159 @node Analysis brackets
2160 @subsection Analysis brackets
2162 @cindex phrasing brackets
2163 @cindex musicological analysis
2164 @cindex note grouping bracket
2166 Brackets are used in musical analysis to indicate structure in musical
2167 pieces. LilyPond supports a simple form of nested horizontal brackets.
2168 To use this, add the @internalsref{Horizontal_bracket_engraver} to
2169 @internalsref{Staff} context. A bracket is started with
2170 @code{\startGroup} and closed with @code{\stopGroup}
2172 @lilypond[quote,raggedright,verbatim]
2175 c4\startGroup\startGroup
2178 c4\stopGroup\stopGroup
2182 \Staff \consists "Horizontal_bracket_engraver"
2188 Program reference: @internalsref{HorizontalBracket},
2189 @internalsref{NoteGroupingEvent}.
2191 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
2195 @subsection Articulations
2196 @cindex Articulations
2198 @cindex articulations
2202 A variety of symbols can appear above and below notes to indicate
2203 different characteristics of the performance. They are added to a note
2204 by adding a dash and the character signifying the
2205 articulation. They are demonstrated here
2207 @lilypondfile[quote,raggedright]{script-abbreviations.ly}
2209 The meanings of these shorthands can be changed. See
2210 @file{ly/script-init.ly} for examples.
2213 The script is automatically placed, but the direction can be forced as
2214 well. @code{_} will put them down, and @code{^} will put them up,
2217 @lilypond[quote,fragment,verbatim]
2221 Other symbols can be added using the syntax
2222 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
2223 can be forced up or down using @code{^} and @code{_},
2226 @lilypond[quote,verbatim,fragment,relative=2]
2227 c\fermata c^\fermata c_\fermata
2234 @cindex staccatissimo
2243 @cindex organ pedal marks
2252 @cindex prallmordent
2256 @cindex thumb marking
2261 Here is a chart showing all scripts available,
2263 @lilypondfile[quote]{script-chart.ly}
2266 The vertical ordering of scripts is controlled with the
2267 @code{script-priority} property. The lower this number, the closer it
2268 will be put to the note. In this example, the
2269 @internalsref{TextScript} (the sharp symbol) first has the lowest
2270 priority, so it is put lowest in the first example. In the second, the
2271 prall trill (the @internalsref{Script}) has the lowest, so it on the
2272 inside. When two objects have the same priority, the order in which
2273 they are entered decides which one comes first.
2276 @lilypond[verbatim,raggedright]
2278 \once \override TextScript #'script-priority = #-100
2279 a4^\prall^\markup { \sharp }
2281 \once \override Script #'script-priority = #-100
2282 a4^\prall^\markup { \sharp }
2291 Program reference: @internalsref{ScriptEvent}, and @internalsref{Script}.
2295 These signs appear in the printed output but have no effect on the
2296 MIDI rendering of the music.
2300 @node Running trills
2301 @subsection Running trills
2303 Long running trills are made with @code{\startTrillSpan} and
2304 @code{\stopTrillSpan},
2307 @lilypond[verbatim,raggedright]
2308 \relative \new Voice {
2309 << { c1 \startTrillSpan }
2310 { s2. \grace { d16[\stopTrillSpan e] } } >>
2316 @code{\startTrillSpan},
2317 @cindex @code{\startTrillSpan}
2318 @code{\stopTrillSpan}.
2319 @cindex @code{\stopTrillSpan}
2323 Program reference: @internalsref{TrillSpanner},
2324 @internalsref{TrillSpanEvent}.
2326 @node Fingering instructions
2327 @subsection Fingering instructions
2331 Fingering instructions can be entered using
2333 @var{note}-@var{digit}
2335 For finger changes, use markup texts
2337 @lilypond[quote,verbatim,raggedright,fragment]
2338 c'4-1 c'4-2 c'4-3 c'4-4
2339 c'^\markup { \finger "2-3" }
2342 @cindex finger change
2347 You can use the thumb-script to indicate that a note should be
2348 played with the thumb (e.g. in cello music)
2350 @lilypond[quote,verbatim,raggedright,fragment]
2351 <a'_\thumb a''-3>8 <b'_\thumb b''-3>
2354 Fingerings for chords can also be added to individual notes
2355 of the chord by adding them after the pitches
2356 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2357 < c-1 e-2 g-3 b-5 >4
2361 In this case, setting @code{fingeringOrientations} will put fingerings next
2364 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2365 \set fingeringOrientations = #'(left down)
2366 <c-1 es-2 g-4 bes-5 > 4
2367 \set fingeringOrientations = #'(up right down)
2368 <c-1 es-2 g-4 bes-5 > 4
2371 Using this feature, it is also possible to put fingering instructions
2372 very close to note heads in monophonic music,
2374 @lilypond[verbatim,raggedright]
2376 \set fingeringOrientations = #'(right)
2384 Program reference: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2386 Examples: @inputfileref{input/regression,finger-chords.ly}.
2389 @subsection Text scripts
2390 @cindex Text scripts
2392 @cindex text items, non-empty
2393 @cindex non-empty texts
2395 It is possible to place arbitrary strings of text or markup text (see
2396 @ref{Text markup}) above or below notes by using a string
2397 @code{c^"text"}. By default, these indications do not influence the
2398 note spacing, but by using the command @code{\fatText}, the widths
2399 will be taken into account
2401 @lilypond[quote,fragment,raggedright,verbatim]
2403 c4^"longtext" \fatText c4_"longlongtext" c4
2407 More complex formatting may also be added to a note by using the
2409 @lilypond[fragment,raggedright,verbatim]
2411 c'4^\markup { bla \bold bla }
2415 The @code{\markup} is described in more detail in
2421 @cindex @code{\fatText}
2423 @cindex @code{\emptyText}
2428 In this manual: @ref{Text markup}.
2430 Program reference: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
2436 @subsection Grace notes
2439 @c should have blurb about accaciatura / appogiatura
2441 @cindex @code{\grace}
2445 Grace notes are ornaments that are written out. The most common ones
2446 are acciaccatura, which should be played as very short. It is denoted
2447 by a slurred small note with a slashed stem. The appoggiatura is a
2448 grace note that takes a fixed fraction of the main note, is and
2449 denoted as a slurred note in small print without a slash.
2450 They are entered with the commands @code{\acciaccatura} and
2451 @code{\appoggiatura}, as demonstrated in the following example
2454 @cindex appoggiatura
2455 @cindex acciaccatura
2457 @lilypond[quote,relative=2,verbatim,fragment]
2458 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2459 \acciaccatura { g16[ f] } e4
2462 Both are special forms of the @code{\grace} command. By prefixing this
2463 keyword to a music expression, a new one is formed, which will be
2464 printed in a smaller font and takes up no logical time in a measure.
2466 @lilypond[quote,relative=2,verbatim,fragment]
2468 \grace { c16[ d16] } c2 c4
2472 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2473 @code{\grace} command does not start a slur.
2475 Internally, timing for grace notes is done using a second, `grace'
2476 time. Every point in time consists of two rational numbers: one
2477 denotes the logical time, one denotes the grace timing. The above
2478 example is shown here with timing tuples
2480 @lilypond[quote,raggedright]
2483 c4 \grace c16 c4 \grace {
2486 \new Lyrics \lyricmode {
2487 \override LyricText #'font-family = #'typewriter
2491 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2492 \markup { (\fraction 1 4 , 0 ) } 4
2494 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2495 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2497 \markup { ( \fraction 2 4 , 0 ) }
2503 The placement of grace notes is synchronized between different staves.
2504 In the following example, there are two sixteenth graces notes for
2505 every eighth grace note
2507 @lilypond[quote,relative=2,verbatim,fragment]
2508 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2509 \new Staff { c4 \grace { g8[ b] } c4 } >>
2514 If you want to end a note with a grace, the standard trick is to put
2515 the grace notes after a ``space note''
2517 @lilypond[quote,fragment,verbatim,relative=2]
2520 { s2 \grace { c16[ d] } } >>
2526 By adjusting the duration of the skip note (here it is a half-note),
2527 the space between the main-note and the grace is adjusted.
2530 A @code{\grace} section will introduce special typesetting settings,
2531 for example, to produce smaller type, and set directions. Hence, when
2532 introducing layout tweaks, they should be inside the grace section,
2534 @lilypond[quote,fragment,verbatim,relative=2]
2537 \override Stem #'direction = #-1
2539 \revert Stem #'direction
2546 The overrides should also be reverted inside the grace section.
2548 The layout of grace sections can be changed throughout the music using
2549 the function @code{add-grace-property}. The following example
2550 undefines the Stem direction for this grace, so stems do not always
2555 #(add-grace-property 'Voice 'Stem 'direction '())
2561 Another option is to change the variables @code{startGraceMusic},
2562 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2563 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2564 @code{stopAppoggiaturaMusic}. More information is in the file
2565 @file{ly/grace-init.ly}.
2570 Program reference: @internalsref{GraceMusic}.
2574 A score that starts with a @code{\grace} section needs an explicit
2575 @code{\context Voice} declaration, otherwise the main note and grace
2576 note end up on different staves.
2578 Grace note synchronization can also lead to surprises. Staff notation,
2579 such as key signatures, bar lines, etc. are also synchronized. Take
2580 care when you mix staves with grace notes and staves without, for example,
2582 @lilypond[quote,relative=2,verbatim,fragment]
2583 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2584 \new Staff { c4 \bar "|:" d4 } >>
2588 This can be remedied by inserting grace skips, for the above example
2591 \new Staff @{ c4 \bar "|:" \grace s16 d4 @}
2594 Grace sections should only be used within sequential music
2595 expressions. Nesting or juxtaposing grace sections is not supported,
2596 and might produce crashes or other errors.
2600 @subsection Glissando
2603 @cindex @code{\glissando}
2605 A glissando is a smooth change in pitch. It is denoted by a line or a
2606 wavy line between two notes. It is requested by attaching
2607 @code{\glissando} to a note
2609 @lilypond[quote,fragment,relative=1,verbatim]
2615 Program reference: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2617 Example files: @file{input/regression,glissando.ly}
2623 Printing text over the line (such as @emph{gliss.}) is not supported.
2627 @subsection Dynamics
2640 @cindex @code{\ffff}
2650 Absolute dynamic marks are specified using a command after a note
2651 @code{c4\ff}. The available dynamic marks are @code{\ppp},
2652 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2653 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2654 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}
2656 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2657 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2667 A crescendo mark is started with @code{\<} and terminated with
2668 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2669 with @code{\!}. Because these marks are bound to notes, if you must
2670 use spacer notes if multiple marks are needed during one note
2672 @lilypond[quote,fragment,verbatim]
2673 c''\< c''\! d''\> e''\!
2674 << f''1 { s4 s4\< s4\! \> s4\! } >>
2676 This may give rise to very short hairpins. Use @code{minimum-length}
2677 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2681 \override Staff.Hairpin #'minimum-length = #5
2684 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2685 is an example how to do it
2687 @lilypond[quote,fragment,relative=2,verbatim]
2697 You can also supply your own texts
2698 @lilypond[quote,fragment,relative=1,verbatim]
2700 \set crescendoText = \markup { \italic "cresc. poco" }
2701 \set crescendoSpanner = #'dashed-line
2711 @cindex @code{\dynamicUp}
2713 @cindex @code{\dynamicDown}
2714 @code{\dynamicDown},
2715 @cindex @code{\dynamicBoth}
2716 @code{\dynamicBoth}.
2718 @cindex direction, of dynamics
2722 Program reference: @internalsref{CrescendoEvent},
2723 @internalsref{DecrescendoEvent}, and
2724 @internalsref{AbsoluteDynamicEvent}.
2726 Dynamics are @internalsref{DynamicText} and @internalsref{Hairpin}
2727 objects. Vertical positioning of these symbols is handled by the
2728 @internalsref{DynamicLineSpanner} object.
2736 @cindex @code{\repeat}
2739 Repetition is a central concept in music, and multiple notations exist
2740 for repetitions. In LilyPond, most of these notations can be captured
2741 in a uniform syntax. One of the advantages is that repeats entered in
2742 this way can be rendered in MIDI accurately.
2744 The following types of repetition are supported
2748 Repeated music is fully written (played) out. Useful for MIDI
2749 output, and entering repetitive music.
2752 Repeats are not written out, but alternative endings (volte) are
2753 printed, left to right with brackets. This is the standard notation
2754 for repeats with alternatives.
2758 Alternative endings are written stacked. This has limited use but may be
2759 used to typeset two lines of lyrics in songs with repeats, see
2760 @inputfileref{input,star-spangled-banner.ly}.
2768 Make beat or measure repeats. These look like percent signs.
2774 * Repeats and MIDI::
2775 * Manual repeat commands::
2777 * Tremolo subdivisions::
2782 @subsection Repeat syntax
2785 LilyPond has one syntactic construct for specifying different types of
2786 repeats. The syntax is
2789 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2792 If you have alternative endings, you may add
2793 @cindex @code{\alternative}
2795 \alternative @code{@{} @var{alternative1}
2797 @var{alternative3} @dots{} @code{@}}
2799 where each @var{alternative} is a music expression. If you do not
2800 give enough alternatives for all of the repeats, the first alternative
2801 is assumed to be played more than once.
2803 Standard repeats are used like this
2804 @lilypond[quote,fragment,verbatim,relative=2]
2806 \repeat volta 2 { c4 d e f }
2807 \repeat volta 2 { f e d c }
2810 With alternative endings
2811 @lilypond[quote,fragment,verbatim,relative=2]
2813 \repeat volta 2 {c4 d e f}
2814 \alternative { {d2 d} {f f,} }
2818 @lilypond[quote,fragment,verbatim,relative=2]
2821 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2822 \alternative { { g4 g g } { a | a a a a | b2. } }
2826 It is possible to shorten volta brackets
2827 by setting @code{voltaSpannerDuration}. In the next example, the
2828 bracket only lasts one measure, which is a duration of 3/4.
2832 @lilypond[verbatim,raggedright]
2836 \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4)
2837 \repeat "volta" 5 { d d d }
2838 \alternative { { e e e f f f }
2848 Brackets for the repeat are normally only printed over the topmost
2849 staff. This can be adjusted by setting the @code{voltaOnThisStaff}
2850 property @inputfileref{input/regression,volta-multi-staff.ly},
2851 @inputfileref{input/regression,volta-chord-names.ly}
2856 A nested repeat like
2865 is ambiguous, since it is is not clear to which @code{\repeat} the
2866 @code{\alternative} belongs. This ambiguity is resolved by always
2867 having the @code{\alternative} belong to the inner @code{\repeat}.
2868 For clarity, it is advisable to use braces in such situations.
2873 Timing information is not remembered at the start of an alternative,
2874 so after a repeat timing information must be reset by hand, for
2875 example by setting @code{Score.measurePosition} or entering
2876 @code{\partial}. Similarly, slurs or ties are also not repeated.
2881 @node Repeats and MIDI
2882 @subsection Repeats and MIDI
2884 @cindex expanding repeats
2886 An advantage of the unified syntax for repeats, is that all repeats
2887 may be played out for the MIDI output. This is achieved by
2888 applying the @code{\unfoldrepeats} music function.
2890 @lilypond[verbatim,raggedright]
2893 \repeat tremolo 8 {c'32 e' }
2894 \repeat percent 2 { c''8 d'' }
2895 \repeat volta 2 {c'4 d' e' f'}
2904 When creating a score file using @code{\unfoldrepeats} for midi, then
2905 it is necessary to make two @code{\score} blocks. One for MIDI, with
2906 unfolded repeats, and one for notation, eg.
2914 \unfoldrepeats @var{..music..}
2919 @node Manual repeat commands
2920 @subsection Manual repeat commands
2922 @cindex @code{repeatCommands}
2924 The property @code{repeatCommands} can be used to control the layout of
2925 repeats. Its value is a Scheme list of repeat commands, where each repeat
2929 @item @code{start-repeat},
2930 which prints a @code{|:} bar line;
2931 @item @code{end-repeat},
2932 which prints a @code{:|} bar line;
2933 @item @code{(volta @var{text})},
2934 which prints a volta bracket saying @var{text}: The text can be specified as
2935 a text string or as a markup text, see @ref{Text markup}. Do not
2936 forget to change the font, as the default number font does not contain
2937 alphabetic characters;
2938 @item @code{(volta #f)}, which
2939 stops a running volta bracket.
2942 @lilypond[quote,verbatim,fragment,relative=2]
2944 \set Score.repeatCommands = #'((volta "93") end-repeat)
2946 \set Score.repeatCommands = #'((volta #f))
2954 Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2955 @internalsref{VoltaRepeatedMusic},
2956 @internalsref{UnfoldedRepeatedMusic}, and
2957 @internalsref{FoldedRepeatedMusic}.
2959 @node Tremolo repeats
2960 @subsection Tremolo repeats
2961 @cindex tremolo beams
2963 To place tremolo marks between notes, use @code{\repeat} with tremolo
2965 @lilypond[quote,verbatim,raggedright]
2966 \context Voice \relative c' {
2967 \repeat "tremolo" 8 { c16 d16 }
2968 \repeat "tremolo" 4 { c16 d16 }
2969 \repeat "tremolo" 2 { c16 d16 }
2973 Tremolo marks can also be put on a single note. In this case, the
2974 note should not be surrounded by braces.
2975 @lilypond[quote,verbatim,raggedright]
2976 \repeat "tremolo" 4 c'16
2979 Similar output is obtained using the tremolo subdivision, described in
2980 @ref{Tremolo subdivisions}.
2984 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2986 Program reference: tremolo beams are @internalsref{Beam} objects. Single stem
2987 tremolos are @internalsref{StemTremolo} objects. The music expression is
2988 @internalsref{TremoloEvent}.
2990 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2991 @inputfileref{input/regression,stem-tremolo.ly}.
2993 @node Tremolo subdivisions
2994 @subsection Tremolo subdivisions
2995 @cindex tremolo marks
2996 @cindex @code{tremoloFlags}
2998 Tremolo marks can be printed on a single note by adding
2999 `@code{:}[@var{number}]' after the note. The number indicates the
3000 duration of the subdivision, and it must be at least 8. A
3001 @var{length} value of 8 gives one line across the note stem. If the
3002 length is omitted, the last value (stored in @code{tremoloFlags}) is
3005 @lilypond[quote,verbatim,fragment]
3006 c'2:8 c':32 | c': c': |
3009 @c [TODO : stok is te kort bij 32en]
3013 Tremolos entered in this way do not carry over into the MIDI output.
3017 In this manual: @ref{Tremolo repeats}.
3019 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
3021 @node Measure repeats
3022 @subsection Measure repeats
3024 @cindex percent repeats
3025 @cindex measure repeats
3027 In the @code{percent} style, a note pattern can be repeated. It is
3028 printed once, and then the pattern is replaced with a special sign.
3029 Patterns of one and two measures are replaced by percent-like signs,
3030 patterns that divide the measure length are replaced by slashes
3032 @lilypond[quote,verbatim,raggedright]
3034 \repeat "percent" 4 { c'4 }
3035 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
3041 Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
3042 @internalsref{PercentRepeatedMusic}, and
3043 @internalsref{DoublePercentRepeat}.
3047 @node Rhythmic music
3048 @section Rhythmic music
3052 * Showing melody rhythms::
3053 * Entering percussion::
3054 * Percussion staves::
3058 @node Showing melody rhythms
3059 @subsection Showing melody rhythms
3061 Sometimes you might want to show only the rhythm of a melody. This
3062 can be done with the rhythmic staff. All pitches of notes on such a
3063 staff are squashed, and the staff itself has a single line
3065 @lilypond[quote,fragment,relative=1,verbatim]
3066 \context RhythmicStaff {
3068 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
3074 Program reference: @internalsref{RhythmicStaff}.
3076 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
3079 @node Entering percussion
3080 @subsection Entering percussion
3086 Percussion notes may be entered in @code{\drummode} mode, which is
3087 similar to the standard mode for entering notes. Each piece of
3088 percussion has a full name and an abbreviated name, and both can be used
3091 @lilypond[quote,raggedright,verbatim]
3093 hihat hh bassdrum bd
3097 The complete list of drum names is in the init file
3098 @file{ly/drumpitch-init.ly}.
3099 @c TODO: properly document this.
3103 Program reference: @internalsref{DrumNoteEvent}.
3105 @node Percussion staves
3106 @subsection Percussion staves
3110 A percussion part for more than one instrument typically uses a
3111 multi line staff where each position in the staff refers to one piece
3115 To typeset the music, the notes must be interpreted in a
3116 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
3119 @lilypond[quote,raggedright,verbatim]
3120 up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
3121 down = \drummode { bassdrum4 snare8 bd r bd sn4 }
3123 \new DrumVoice { \voiceOne \up }
3124 \new DrumVoice { \voiceTwo \down }
3128 The above example shows verbose polyphonic notation. The short
3129 polyphonic notation, described in @ref{Polyphony}, can also be used if
3130 the @internalsref{DrumVoices} are instantiated by hand first. For example,
3132 @lilypond[quote,fragment,verbatim]
3134 \context DrumVoice = "1" { s1 *2 }
3135 \context DrumVoice = "2" { s1 *2 }
3139 { \repeat unfold 16 hh16 }
3148 There are also other layout possibilities. To use these, set the
3149 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
3150 The following variables have been predefined
3154 This is the default. It typesets a typical drum kit on a five-line staff
3156 @lilypond[quote,noindent]
3157 nam = \lyricmode { cymc cyms cymr hh hhc hho hhho hhp cb hc
3158 bd sn ss tomh tommh tomml toml tomfh tomfl }
3159 mus = \drummode { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
3160 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
3162 << \new DrumStaff\with {
3163 \remove Bar_engraver
3164 \remove Time_signature_engraver
3165 \override Stem #'transparent = ##t
3166 \override Stem #'Y-extent-callback = ##f
3167 minimumVerticalExtent = #'(-4.0 . 5.0)
3169 \context Lyrics \nam
3172 %% need to do this, because of indented @itemize
3175 \override LyricText #'font-family = #'typewriter
3176 \override BarNumber #'transparent =##T
3180 The drum scheme supports six different toms. When there fewer toms, simply
3181 select the toms that produce the desired result, i.e. to get toms on
3182 the three middle lines you use @code{tommh}, @code{tomml} and
3185 @item timbales-style
3186 This typesets timbales on a two line staff
3188 @lilypond[quote,raggedright]
3189 nam = \lyricmode { timh ssh timl ssl cb }
3190 mus = \drummode { timh ssh timl ssl cb s16 }
3193 \context DrumStaff \with {
3194 \remove Bar_engraver
3195 \remove Time_signature_engraver
3196 \override Stem #'transparent = ##t
3197 \override Stem #'Y-extent-callback = ##f
3198 \override StaffSymbol #'line-count = #2
3199 \override StaffSymbol #'staff-space = #2
3200 minimumVerticalExtent = #'(-3.0 . 4.0)
3201 drumStyleTable = #timbales-style
3204 \override LyricText #'font-family = #'typewriter
3210 This typesets congas on a two line staff
3212 @lilypond[quote,raggedright]
3213 nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
3214 mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
3216 \context DrumStaff\with {
3217 \remove Bar_engraver
3218 \remove Time_signature_engraver
3219 drumStyleTable = #congas-style
3220 \override StaffSymbol #'line-count = #2
3222 %% this sucks; it will lengthen stems.
3223 \override StaffSymbol #'staff-space = #2
3224 \override Stem #'transparent = ##t
3225 \override Stem #'Y-extent-callback = ##f
3228 \override LyricText #'font-family = #'typewriter
3233 This typesets bongos on a two line staff
3235 @lilypond[quote,raggedright]
3236 nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
3237 mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
3239 \context DrumStaff\with {
3240 \remove Bar_engraver
3241 \remove Time_signature_engraver
3242 \override StaffSymbol #'line-count = #2
3243 drumStyleTable = #bongos-style
3245 %% this sucks; it will lengthen stems.
3246 \override StaffSymbol #'staff-space = #2
3247 \override Stem #'transparent = ##t
3248 \override Stem #'Y-extent-callback = ##f
3251 \override LyricText #'font-family = #'typewriter
3256 @item percussion-style
3257 to typeset all kinds of simple percussion on one line staves
3258 @lilypond[quote,raggedright]
3259 nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
3260 mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
3262 \context DrumStaff\with{
3263 \remove Bar_engraver
3264 drumStyleTable = #percussion-style
3265 \override StaffSymbol #'line-count = #1
3266 \remove Time_signature_engraver
3267 \override Stem #'transparent = ##t
3268 \override Stem #'Y-extent-callback = ##f
3271 \override LyricText #'font-family = #'typewriter
3278 If you do not like any of the predefined lists you can define your own
3279 list at the top of your file
3281 @lilypond[quote,raggedright,verbatim]
3283 (bassdrum default #f -1)
3284 (snare default #f 0)
3286 (pedalhihat xcircle "stopped" 2)
3287 (lowtom diamond #f 3)))
3288 up = \drummode { hh8 hh hh hh hhp4 hhp }
3289 down = \drummode { bd4 sn bd toml8 toml }
3292 \set DrumStaff.drumStyleTable
3293 = #(alist->hash-table mydrums)
3294 \new DrumVoice { \voiceOne \up }
3295 \new DrumVoice { \voiceTwo \down }
3302 Init files: @file{ly/drumpitch-init.ly}.
3304 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
3308 Because general MIDI does not contain rim shots, the sidestick is used
3309 for this purpose instead.
3312 @section Piano music
3314 Piano staves are two normal staves coupled with a brace. The staves
3315 are largely independent, but sometimes voices can cross between the
3316 two staves. The same notation is also used for harps and other key
3317 instruments. The @internalsref{PianoStaff} is especially built to
3318 handle this cross-staffing behavior. In this section we discuss the
3319 @internalsref{PianoStaff} and some other pianistic peculiarities.
3323 * Automatic staff changes::
3324 * Manual staff switches::
3327 * Staff switch lines::
3328 * Cross staff stems::
3333 Dynamics are not centered, but workarounds do exist. See
3334 @inputfileref{input/template,piano-dynamics.ly}.
3336 @cindex cross staff stem
3337 @cindex stem, cross staff
3338 @cindex distance between staves in piano music
3340 The distance between the two staves is the same for all systems in the
3341 score. It is possible to override this per system, but it does require
3342 an arcane command incantation. See
3343 @inputfileref{input/test,piano-staff-distance.ly}.
3346 @node Automatic staff changes
3347 @subsection Automatic staff changes
3348 @cindex Automatic staff changes
3350 Voices can be made to switch automatically between the top and the bottom
3351 staff. The syntax for this is
3355 \autochange @dots{}@var{music}@dots{}
3360 This will create two staves inside the current PianoStaff, called
3361 @code{up} and @code{down}. The lower staff will be in bass clef by
3364 A @code{\relative} section that is outside of @code{\autochange} has
3365 no effect on the pitches of @var{music}, so, if necessary, put
3366 @code{\relative} inside @code{\autochange} like
3370 \autochange \relative @dots{} @dots{}
3375 The autochanger switches on basis of pitch (middle C is the turning
3376 point), and it looks ahead skipping over rests to switch in
3377 advance. Here is a practical example
3379 @lilypond[quote,verbatim,raggedright]
3381 \autochange \relative c'
3390 In this manual: @ref{Manual staff switches}.
3392 Program reference: @internalsref{AutoChangeMusic}.
3398 The staff switches may not end up in optimal places. For high
3399 quality output, staff switches should be specified manually.
3402 @code{\autochange} cannot be inside @code{\times}.
3404 Internally, the @code{\partcombine} interprets both arguments as
3405 @code{Voice}s named @code{one} and @code{two}, and then decides when
3406 the parts can be combined. Consequently, if the arguments switch to
3407 differently named @internalsref{Voice} contexts, the events in those
3411 @node Manual staff switches
3412 @subsection Manual staff switches
3414 @cindex manual staff switches
3415 @cindex staff switch, manual
3417 Voices can be switched between staves manually, using the command
3419 \change Staff = @var{staffname} @var{music}
3423 The string @var{staffname} is the name of the staff. It switches the
3424 current voice from its current staff to the Staff called
3425 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3426 @code{"down"}. The @context{Staff} referred to must already exist, so
3427 usually the setup for a score will start with a setup of the staves,
3431 \context Staff = up @{
3432 \skip 1 * 10 %@emph{ keep staff alive}
3434 \context Staff = down @{
3435 \skip 1 * 10 %@emph{idem}
3441 and the @context{Voice} is inserted afterwards
3444 \context Staff = down
3445 \new Voice @{ @dots{} \change Staff = up @dots{} @}
3453 Pianos have pedals that alter the way sound is produced. Generally, a
3454 piano has three pedals, sustain, una corda, and sostenuto.
3457 Piano pedal instruction can be expressed by attaching
3458 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3459 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3462 @lilypond[quote,fragment,verbatim]
3463 c'4\sustainDown c'4\sustainUp
3466 What is printed can be modified by setting @code{pedal@var{X}Strings},
3467 where @var{X} is one of the pedal types: @code{Sustain},
3468 @code{Sostenuto} or @code{UnaCorda}. Refer to
3469 @internalsref{SustainPedal} in the program reference for more
3472 Pedals can also be indicated by a sequence of brackets, by setting the
3473 @code{pedalSustainStyle} property to bracket objects
3475 @lilypond[quote,fragment,verbatim,relative=2]
3476 \set Staff.pedalSustainStyle = #'bracket
3478 b\sustainUp\sustainDown
3479 b g \sustainUp a \sustainDown \bar "|."
3482 A third style of pedal notation is a mixture of text and brackets,
3483 obtained by setting the @code{pedalSustainStyle} style property to
3486 @lilypond[quote,fragment,verbatim,relative=2]
3487 \set Staff.pedalSustainStyle = #'mixed
3489 b\sustainUp\sustainDown
3490 b g \sustainUp a \sustainDown \bar "|."
3493 The default `*Ped.' style for sustain and damper pedals corresponds to
3494 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3497 @lilypond[quote,fragment,verbatim,relative=2]
3498 c\sostenutoDown d e c, f g a\sostenutoUp
3501 For fine-tuning of the appearance of a pedal bracket, the properties
3502 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3503 @code{PianoPedalBracket} objects (see
3504 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3505 bracket may be extended to the right edge of the note head
3507 @lilypond[quote,fragment,verbatim,relative=2]
3508 \override Staff.PianoPedalBracket
3509 #'shorten-pair = #'(0 . -1.0)
3510 c\sostenutoDown d e c, f g a\sostenutoUp
3514 @subsection Arpeggio
3517 @cindex broken arpeggio
3518 @cindex @code{\arpeggio}
3520 You can specify an arpeggio sign on a chord by attaching an
3521 @code{\arpeggio} to a chord
3524 @lilypond[quote,fragment,relative=1,verbatim]
3528 When an arpeggio crosses staves, you attach an arpeggio to the chords
3529 in both staves, and set
3530 @internalsref{PianoStaff}.@code{connectArpeggios}
3532 @lilypond[quote,fragment,relative=1,verbatim]
3533 \context PianoStaff <<
3534 \set PianoStaff.connectArpeggios = ##t
3535 \new Staff { <c' e g c>\arpeggio }
3536 \new Staff { \clef bass <c,, e g>\arpeggio }
3540 The direction of the arpeggio is sometimes denoted by adding an
3541 arrowhead to the wiggly line
3543 @lilypond[quote,fragment,relative=1,verbatim]
3552 A square bracket on the left indicates that the player should not
3553 arpeggiate the chord
3555 @c todo: ugh, lousy typography. Look for real example. --hwn
3557 @lilypond[quote,fragment,relative=1,verbatim]
3564 @cindex @code{\arpeggio}
3566 @cindex @code{\arpeggioUp}
3568 @cindex @code{\arpeggioDown}
3569 @code{\arpeggioDown},
3570 @cindex @code{\arpeggioBoth}
3571 @code{\arpeggioBoth},
3572 @cindex @code{\arpeggioBracket}
3573 @code{\arpeggioBracket}.
3577 Program reference: @internalsref{ArpeggioEvent},
3578 @internalsref{Arpeggio}.
3582 It is not possible to mix connected arpeggios and unconnected
3583 arpeggios in one @internalsref{PianoStaff} at the same point in time.
3585 @node Staff switch lines
3586 @subsection Staff switch lines
3589 @cindex follow voice
3590 @cindex staff switching
3593 @cindex @code{followVoice}
3595 Whenever a voice switches to another staff a line connecting the notes
3596 can be printed automatically. This is switched on by setting
3597 @code{PianoStaff.followVoice} to true
3599 @lilypond[quote,fragment,relative=1,verbatim]
3600 \context PianoStaff <<
3601 \set PianoStaff.followVoice = ##t
3602 \context Staff \context Voice {
3607 \context Staff=two { \clef bass \skip 1*2 }
3613 Program reference: @internalsref{VoiceFollower}.
3617 @cindex @code{\showStaffSwitch}
3618 @code{\showStaffSwitch},
3619 @cindex @code{\hideStaffSwitch}
3620 @code{\hideStaffSwitch}.
3623 @node Cross staff stems
3624 @subsection Cross staff stems
3626 The chords which cross staves may be produced by increasing the length
3627 of the stem in the lower stave, so it reaches the stem in the upper
3628 stave, or vice versa.
3630 @lilypond[raggedright,verbatim]
3631 stemExtend = \once \override Stem #'length = #22
3632 noFlag = \once \override Stem #'flag-style = #'no-flag
3633 \context PianoStaff <<
3635 \stemDown \stemExtend
3649 @section Vocal music
3651 There are three different issues when printing vocal music
3655 Song texts must be entered as texts, not notes. For example, for
3656 lyrics, the input @code{a} should be interpreted as
3657 a one letter text, and not the note A.
3659 Song texts must be printed as text, and not as notes.
3661 Song texts must be aligned with the notes of their melody
3664 The simplest solution to printing music uses the @code{\addlyrics}
3665 function to deal with these three problems in one go. However, these
3666 three functions can be controlled separately, which is necessary
3667 for complex vocal music.
3671 * Setting simple songs::
3673 * Hyphens and extenders::
3674 * The Lyrics context::
3675 * Flexibility in alignment::
3680 @node Setting simple songs
3681 @subsection Setting simple songs
3683 The easiest way to add lyrics to a melody is to append
3686 \addlyrics @{ @var{the lyrics} @}
3690 to a melody. Here is an example,
3692 @lilypond[raggedright,verbatim]
3695 \relative { c2 e4 g2. }
3696 \addlyrics { play the game }
3700 More stanzas can be added by adding more
3701 @code{\addlyrics} sections
3703 @lilypond[raggedright,verbatim]
3706 \relative { c2 e4 g2. }
3707 \addlyrics { play the game }
3708 \addlyrics { speel het spel }
3709 \addlyrics { joue le jeu }
3713 @node Entering lyrics
3714 @subsection Entering lyrics
3718 @cindex @code{\lyricmode}
3721 Lyrics are entered in a special input mode. This mode is is introduced
3722 by the keyword @code{\lyricmode}. In this mode you can enter lyrics,
3723 with punctuation and accents, and the input @code{a} is not parsed as
3724 a pitch, but rather as a one letter syllable. Syllables are entered
3725 like notes, but with pitches replaced by text. For example,
3727 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
3731 A word lyrics mode begins with an alphabetic character, and ends with
3732 any space or digit. The following characters can be any character
3733 that is not a digit or white space. One important consequence of this
3734 is that a word can end with @code{@}}. The following example is
3735 usually a bug. The syllable includes a @code{@}}, so the
3736 opening brace is not balanced
3738 \lyricmode @{ twinkle@}
3741 @cindex @code{\property}, in @code{\lyricmode}
3743 Similarly, a period following an alphabetic sequence, is included in
3744 the resulting string. As a consequence, spaces must be inserted around
3747 \override Score . LyricText #'font-shape = #'italic
3751 @cindex spaces, in lyrics
3752 @cindex quotes, in lyrics
3754 Any @code{_} character which appears in an unquoted word is converted
3755 to a space. This provides a mechanism for introducing spaces into words
3756 without using quotes. Quoted words can also be used in Lyrics mode to
3757 specify words that cannot be written with the above rules. The
3758 following example incorporates double quotes
3761 \lyricmode @{ He said: "\"Let" my peo ple "go\"" @}
3764 This example is slightly academic, since it gives better looking
3765 results to use single quotes, @code{``} and @code{''}
3767 \lyricmode @{ He said: ``Let my peo ple go'' @}
3771 The full definition of a word start in Lyrics mode is somewhat more
3774 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3775 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3776 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3777 any 8-bit character with ASCII code over 127, or a two-character
3778 combination of a backslash followed by one of @code{`}, @code{'},
3779 @code{"}, or @code{^}.
3785 Program reference: events @internalsref{LyricEvent}, and
3786 @internalsref{LyricText}.
3790 The definition of lyrics mode is too complex.
3792 @node Hyphens and extenders
3793 @subsection Hyphens and extenders
3797 Centered hyphens are entered as `@code{-}@code{-}' between syllables.
3798 The hyphen will have variable length depending on the space between
3799 the syllables and it will be centered between the syllables.
3804 When a lyric is sung over many notes (this is called a melisma), this is
3805 indicated with a horizontal line centered between a syllable and the
3806 next one. Such a line is called an extender line, and it is entered as
3812 Program reference: @internalsref{HyphenEvent},
3813 @internalsref{ExtenderEvent}, @internalsref{LyricHyphen}, and
3814 @internalsref{LyricExtender}
3816 Examples: @inputfileref{input/test,lyric-hyphen-retain.ly}.
3820 @node The Lyrics context
3821 @subsection The Lyrics context
3824 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
3826 \context Lyrics \lyricmode @dots{}
3829 @cindex automatic syllable durations
3830 @cindex @code{\lyricsto}
3831 @cindex lyrics and melodies
3833 This will place the lyrics according to the durations that were
3834 entered. The lyrics can also be aligned under a given melody
3835 automatically. In this case, it is no longer necessary to enter the
3836 correct duration for each syllable. This is achieved by combining the
3837 melody and the lyrics with the @code{\lyricsto} expression
3839 \lyricsto @var{name} \new Lyrics @dots{}
3842 This aligns the lyrics to the
3844 notes of the @internalsref{Voice} context called @var{name}, which has
3845 to exist. Therefore, normally the @code{Voice} is specified first, and
3846 then the lyrics are specified with @code{\lyricsto}. The command
3847 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
3848 @code{\lyricmode} keyword may be omitted.
3850 For different or more complex orderings, the best way is to setup the
3851 hierarchy of staves and lyrics first, e.g.
3853 \context ChoirStaff <<
3854 \context Lyrics = sopranoLyrics @{ s1 @}
3855 \context Voice = soprano @{ @emph{music} @}
3856 \context Lyrics = tenorLyrics @{ s1 @}
3857 \context Voice = tenor @{ @emph{music} @}
3860 and then combine the appropriate melodies and lyric lines
3862 \lyricsto "soprano" \context Lyrics = sopranoLyrics
3867 The final input would resemble
3870 << \context ChoirStaff << @emph{setup the music} >>
3871 \lyricsto "soprano" @emph{etc}
3872 \lyricsto "alto" @emph{etc}
3878 The @code{\lyricsto} command detects melismata: it only puts one
3879 syllable under a tied or slurred group of notes. If you want to force
3880 an unslurred group of notes to be a melisma, insert @code{\melisma}
3881 after the first note of the group, and @code{\melismaEnd} after the
3884 @lilypond[quote,relative=2,raggedright,fragment,verbatim]
3886 \context Voice = "lala" {
3894 \lyricsto "lala" \new Lyrics {
3900 In addition, notes are considered a melisma if they are manually
3901 beamed, and automatic beaming (see @ref{Setting automatic beam
3902 behavior}) is switched off.
3908 The criteria for deciding melismata can
3909 be tuned with the property @code{melismaBusyProperties}. See
3910 @internalsref{Melisma_translator} in the program reference for more
3915 Lyrics can also be entered without @code{\lyricsto}. In this case the
3916 durations of each syllable must be entered explicitly, for example,
3923 The alignment to a melody can be specified with the
3924 @code{associatedVoice} property,
3927 \set associatedVoice = #"lala"
3931 The value of the property (here: @code{"lala"}) should be the name of
3932 a @internalsref{Voice} context. Without this setting, extender lines
3933 will not be formatted properly.
3935 Here is an example demonstrating manual lyric durations,
3937 @lilypond[relative=1,verbatim,fragment]
3938 << \context Voice = melody {
3942 \new Lyrics \lyricmode {
3943 \set associatedVoice = #"melody"
3949 @cindex choral score
3951 A complete example of a SATB score setup is in the file
3952 @inputfileref{input/template,satb.ly}.
3957 @code{\melisma}, @code{\melismaEnd}
3958 @cindex @code{\melismaEnd}
3959 @cindex @code{\melisma}
3963 Program reference: @internalsref{LyricCombineMusic},
3964 @internalsref{Lyrics}, @internalsref{Melisma_translator}.
3966 Examples: @inputfileref{input/template,satb.ly},
3967 @inputfileref{input/regression,lyric-combine-new.ly},
3968 @c TODO: make separate section for melismata
3969 @inputfileref{input/test,lyrics-melisma-variants.ly}.
3970 @inputfileref{input/test,lyrics-melisma-faster.ly}.
3974 Melismata are not detected automatically, and extender lines must be
3978 @c TODO: document \new Staff << Voice \lyricsto >> bug
3980 @node Flexibility in alignment
3981 @subsection Flexibility in alignment
3984 Often, different stanzas of one song are put to one melody in slightly
3985 differing ways. Such variations can still be captured with
3988 One possibility is that the text has a melisma in one stanza, but
3989 multiple syllables in another one. One solution is to make the faster
3990 voice ignore the melisma. This is done by setting
3991 @code{ignoreMelismata} in the Lyrics context.
3993 There has one tricky aspect. The setting for @code{ignoreMelismata}
3994 must be set one syllable @emph{before} the non-melismatic syllable
3995 in the text, as shown here,
3997 @lilypond[verbatim,raggedright]
3999 \relative \context Voice = "lahlah" {
4000 \set Staff.autoBeaming = ##f
4006 \new Lyrics \lyricsto "lahlah" {
4009 \new Lyrics \lyricsto "lahlah" {
4010 \set ignoreMelismata = ##t % applies to "fas"
4012 \unset ignoreMelismata
4019 The @code{ignoreMelismata} applies to the syllable ``fas'', so it
4020 should bev entered before ``go''.
4022 The reverse is also possible: making a lyric line slower than the
4023 standard. This can be achieved by insert @code{\skip}s into the
4024 lyrics. For every @code{\skip}, the text will be delayed another note.
4027 @lilypond[verbatim,raggedright]
4028 \relative { c c g' }
4035 More complex variations in text underlay are possible. It is possible
4036 to switch the melody for a line of lyrics during the text. This is
4037 done by setting the @code{associatedVoice} property. In the example
4039 @lilypond[raggedright]
4041 \relative \context Voice = "lahlah" {
4042 \set Staff.autoBeaming = ##f
4045 \context Voice = alternative {
4049 % show associations clearly.
4050 \override NoteColumn #'force-hshift = #-3
4062 \new Lyrics \lyricsto "lahlah" {
4063 Ju -- ras -- sic Park
4065 \new Lyrics \lyricsto "lahlah" {
4067 % Tricky: need to set associatedVoice
4068 % one syllable too soon!
4069 \set associatedVoice = alternative % applies to "ran"
4073 \set associatedVoice = lahlah % applies to "rus"
4079 the text for the first stanza is set to a melody called ``lahlah'',
4082 \new Lyrics \lyricsto "lahlah" {
4083 Ju -- ras -- sic Park
4088 The second stanza initially is set to the @code{lahlah} context, but
4089 for the syllable ``ran'', it switches to a different melody.
4090 This is achieved with
4092 \set associatedVoice = alternative
4096 Here, @code{alternative} is the name of the @code{Voice} context
4097 containing the triplet.
4099 Again, the command must be one syllable too early, before ``Ty'' in
4103 \new Lyrics \lyricsto "lahlah" {
4104 \set associatedVoice = alternative % applies to "ran"
4108 \set associatedVoice = lahlah % applies to "rus"
4114 The underlay is switched back to the starting situation by assigning
4115 @code{lahlah} to @code{associatedVoice}.
4121 @subsection More stanzas
4123 @cindex phrasing, in lyrics
4126 @cindex stanza number
4127 @cindex singer's names
4128 @cindex name of singer
4130 Stanza numbers can be added by setting @code{stanza}, e.g.
4132 @lilypond[quote,verbatim,relative=2,fragment]
4134 \time 3/4 g2 e4 a2 f4 g2.
4137 Hi, my name is Bert.
4140 Oh, che -- ri, je t'aime
4144 These numbers are put just before the start of first syllable.
4146 Names of singers can also be added. They are printed at the start of
4147 the line, just like instrument names. They are created by setting
4148 @code{vocalName}. A short version may be entered as @code{vocNam}.
4151 @lilypond[fragment,quote,verbatim,relative=2]
4153 \time 3/4 g2 e4 a2 f4 g2.
4155 \set vocalName = "Bert "
4156 Hi, my name is Bert.
4158 \set vocalName = "Ernie "
4159 Oh, che -- ri, je t'aime
4165 Program reference: Layout objects @internalsref{LyricText} and
4166 @internalsref{VocalName}. Music expressions
4167 @internalsref{LyricEvent}.
4175 The term @emph{ambitus} denotes a range of pitches for a given voice
4176 in a part of music. It also may denote the pitch range that a musical
4177 instrument is capable of playing. Ambits are printed on vocal parts,
4178 so performers can easily determine it meets their capabilities.
4180 It denoted at the beginning of a piece near the initial clef. The
4181 range is graphically specified by two note heads, that represent the
4182 minimum and maximum pitch. To print such ambits, add the
4183 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
4190 \consists Ambitus_engraver
4195 This results in the following output
4197 @lilypond[quote,raggedright]
4201 \consists Ambitus_engraver
4205 \relative \new Staff {
4210 If you have multiple voices in a single staff, and you want a single
4211 ambitus per staff rather than per each voice, add the
4212 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
4213 rather than to the @internalsref{Voice} context. Here is an example,
4215 @lilypond[verbatim,raggedright]
4218 \consists "Ambitus_engraver"
4220 \override Ambitus #'X-offset-callbacks
4221 = #(list (lambda (grob axis) -1.0))
4226 \consists "Ambitus_engraver"
4235 This example uses one advanced feature,
4238 \override Ambitus #'X-offset-callbacks
4239 = #(list (lambda (grob axis) -1.0))
4243 This code moves the ambitus to the left. The same effect could have
4244 been achieved with @code{extra-offset}, but then the formatting system
4245 would not reserve space for the moved object.
4249 Program reference: @internalsref{Ambitus},
4250 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
4251 @internalsref{AmbitusAccidental}.
4253 Examples: @inputfileref{input/regression,ambitus.ly}.
4257 There is no collision handling in the case of multiple per-voice
4260 @node Other instrument specific notation, Tablatures, Vocal music, Notation manual
4261 @section Other instrument specific notation
4267 @node Harmonic notes, , Other instrument specific notation, Other instrument specific notation
4268 @subsection Harmonic notes
4270 @cindex artificial harmonics
4273 Artificial harmonics are notated with a different notehead style. They
4275 marking the harmonic pitch with @code{\harmonic}.
4277 @lilypond[raggedright,verbatim]
4284 @node Tablatures, Popular music, Other instrument specific notation, Notation manual
4288 @cindex guitar tablature
4290 Tablature notation is used for notating music for plucked string
4291 instruments. Pitches are not denoted with note heads, but by
4292 indicating on which string and fret a note must be played. LilyPond
4293 offers limited support for tablature.
4296 * Tablatures basic::
4297 * Non-guitar tablatures::
4300 @node Tablatures basic, Non-guitar tablatures, Tablatures, Tablatures
4301 @subsection Tablatures basic
4302 @cindex Tablatures basic
4304 The string number associated to a note is given as a backslash
4305 followed by a number, e.g. @code{c4\3} for a C quarter on the third
4306 string. By default, string 1 is the highest one, and the tuning
4307 defaults to the standard guitar tuning (with 6 strings). The notes
4308 are printed as tablature, by using @internalsref{TabStaff} and
4309 @internalsref{TabVoice} contexts
4311 @lilypond[quote,fragment,verbatim]
4318 @cindex @code{minimumFret}
4321 When no string is specified, the first string that does not give a
4322 fret number less than @code{minimumFret} is selected. The default
4323 value for @code{minimumFret} is 0
4328 \set TabStaff.minimumFret = #8
4331 @lilypond[quote,noindent,raggedright]
4335 \set TabStaff.minimumFret = #8
4338 \context StaffGroup <<
4339 \context Staff { \clef "G_8" \frag }
4340 \context TabStaff { \frag }
4346 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}, and
4347 @internalsref{StringNumberEvent}.
4351 Chords are not handled in a special way, and hence the automatic
4352 string selector may easily select the same string to two notes in a
4356 @node Non-guitar tablatures, , Tablatures basic, Tablatures
4357 @subsection Non-guitar tablatures
4358 @cindex Non-guitar tablatures
4360 You can change the number of strings, by setting the number of lines
4361 in the @internalsref{TabStaff}.
4363 You can change the tuning of the strings. A string tuning is given as
4364 a Scheme list with one integer number for each string, the number
4365 being the pitch (measured in semitones relative to middle C) of an
4366 open string. The numbers specified for @code{stringTuning} are the
4367 numbers of semitones to subtract or add, starting the specified pitch
4368 by default middle C, in string order. In the next example,
4369 @code{stringTunings} is set for the pitches e, a, d, and g
4371 @lilypond[quote,fragment,verbatim]
4372 \context TabStaff <<
4373 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
4376 a,4 c' a e' e c' a e'
4383 No guitar special effects have been implemented.
4387 Program reference: @internalsref{Tab_note_heads_engraver}.
4390 @node Popular music, Orchestral music, Tablatures, Notation manual
4391 @section Popular music
4398 * Printing chord names::
4402 @node Chord names, Chords mode, Popular music, Popular music
4403 @subsection Chord names
4406 LilyPond has support for both printing chord names. Chords may be
4407 entered in musical chord notation, i.e. @code{< .. >}, but they can
4408 also be entered by name. Internally, the chords are represented as a
4409 set of pitches, so they can be transposed
4412 @lilypond[quote,verbatim,raggedright]
4413 twoWays = \transpose c c' {
4422 << \context ChordNames \twoWays
4423 \context Voice \twoWays >>
4426 This example also shows that the chord printing routines do not try to
4427 be intelligent. The last chord (@code{f bes d}) is not interpreted as
4433 * Printing chord names::
4438 @subsection Chords mode
4441 In chord mode sets of pitches (chords) are entered with common names.
4442 A chord is entered by the root, which is entered like a common pitch
4444 @lilypond[quote,fragment,verbatim,relative=2]
4445 \chordmode { es4. d8 c2 }
4449 The mode is introduced by the keyword @code{\chordmode}.
4454 Other chords may be entered by suffixing a colon, and introducing a
4455 modifier, and optionally, a number
4457 @lilypond[quote,fragment,verbatim]
4458 \chordmode { e1:m e1:7 e1:m7 }
4460 The first number following the root is taken to be the `type' of the
4461 chord, thirds are added to the root until it reaches the specified
4463 @lilypond[quote,fragment,verbatim]
4464 \chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
4467 @cindex root of chord
4468 @cindex additions, in chords
4469 @cindex removals, in chords
4471 More complex chords may also be constructed adding separate steps
4472 to a chord. Additions are added after the number following
4473 the colon, and are separated by dots
4475 @lilypond[quote,verbatim,fragment]
4476 \chordmode { c:5.6 c:3.7.8 c:3.6.13 }
4478 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
4480 @lilypond[quote,verbatim,fragment]
4481 \chordmode { c:7+ c:5+.3- c:3-.5-.7- }
4483 Removals are specified similarly, and are introduced by a caret. They
4484 must come after the additions
4485 @lilypond[quote,verbatim,fragment]
4486 \chordmode { c^3 c:7^5 c:9^3.5 }
4489 Modifiers can be used to change pitches. The following modifiers are
4493 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
4495 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
4498 is the augmented chord. This modifier raises the 5th step.
4500 is the major 7th chord. This modifier raises the 7th step if present.
4502 is the suspended 4th or 2nd. This modifier removes the 3rd
4503 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
4506 Modifiers can be mixed with additions
4507 @lilypond[quote,verbatim,fragment]
4508 \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
4511 @cindex modifiers, in chords.
4518 Since an unaltered 11 does not sound good when combined with an
4519 unaltered 3, the 11 is removed in this case (unless it is added
4522 @lilypond[quote,fragment,verbatim]
4523 \chordmode { c:13 c:13.11 c:m13 }
4528 An inversion (putting one pitch of the chord on the bottom), as well
4529 as bass notes, can be specified by appending
4530 @code{/}@var{pitch} to the chord
4531 @lilypond[quote,fragment,verbatim]
4532 \chordmode { c1 c/g c/f }
4536 A bass note can be added instead of transposed out of the chord,
4537 by using @code{/+}@var{pitch}.
4539 @lilypond[quote,fragment,verbatim]
4540 \chordmode { c1 c/+g c/+f }
4543 Chords is a mode similar to @code{\lyricmode} etc. Most
4544 of the commands continue to work, for example, @code{r} and
4545 @code{\skip} can be used to insert rests and spaces, and property
4546 commands may be used to change various settings.
4552 Each step can only be present in a chord once. The following
4553 simply produces the augmented chord, since @code{5+} is interpreted
4556 @lilypond[quote,verbatim,fragment]
4557 \chordmode { c:5.5-.5+ }
4561 @node Printing chord names
4562 @subsection Printing chord names
4564 @cindex printing chord names
4568 For displaying printed chord names, use the @internalsref{ChordNames} context.
4569 The chords may be entered either using the notation
4570 described above, or directly using @code{<} and @code{>}
4572 @lilypond[quote,verbatim,raggedright]
4574 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
4578 \context ChordNames \scheme
4579 \context Staff \scheme
4583 You can make the chord changes stand out by setting
4584 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
4585 display chord names when there is a change in the chords scheme and at
4586 the start of a new line
4588 @lilypond[quote,verbatim,linewidth=9\cm]
4589 scheme = \chordmode {
4590 c1:m c:m \break c:m c:m d
4593 \context ChordNames {
4594 \set chordChanges = ##t
4596 \context Staff \transpose c c' \scheme
4600 The previous examples all show chords over a staff. This is not
4601 necessary. Chords may also be printed separately. It may be necessary
4602 to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
4603 for showing repeats.
4605 @lilypond[raggedright,verbatim]
4606 \new ChordNames \with {
4607 \override BarLine #'bar-size = #4
4608 voltaOnThisStaff = ##t
4609 \consists Bar_engraver
4610 \consists "Volta_engraver"
4612 \repeat volta 2 \chordmode {
4621 The default chord name layout is a system for Jazz music, proposed by
4622 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
4623 following properties
4626 @cindex @code{chordNameExceptions}
4627 @item chordNameExceptions
4628 This is a list that contains the chords that have special formatting.
4629 For an example of tuning this property, see
4630 @inputfileref{input/regression,chord-name-exceptions.ly}.
4631 @cindex exceptions, chord names.
4634 @cindex @code{majorSevenSymbol}
4635 @item majorSevenSymbol
4636 This property contains the markup object used for the 7th step, when
4637 it is major. Predefined options are @code{whiteTriangleMarkup} and
4638 @code{blackTriangleMarkup}. See
4639 @inputfileref{input/regression,chord-name-major7.ly} for an example.
4641 @cindex @code{chordNameSeparator}
4642 @item chordNameSeparator
4643 Different parts of a chord name are normally separated by a
4644 slash. By setting @code{chordNameSeparator}, you can specify other
4646 @lilypond[quote,fragment,verbatim]
4647 \context ChordNames \chordmode {
4649 \set chordNameSeparator
4650 = \markup { \typewriter "|" }
4655 @cindex @code{chordRootNamer}
4656 @item chordRootNamer
4657 The root of a chord is usually printed as a letter with an optional
4658 alteration. The transformation from pitch to letter is done by this
4659 function. Special note names (for example, the German ``H'' for a
4660 B-chord) can be produced by storing a new function in this property.
4662 @cindex @code{chordNoteNamer}
4663 @item chordNoteNamer
4664 The default is to print single pitch, e.g. the bass note, using the
4665 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4666 to a specialized function to change this behavior. For example, the
4667 base can be printed in lower case.
4671 The predefined variables @code{\germanChords},
4672 @code{\semiGermanChords} set these variables. The effect is
4675 @lilypondfile[]{chord-names-german.ly}
4677 There are also two other chord name schemes implemented: an alternate
4678 Jazz chord notation, and a systematic scheme called Banter chords. The
4679 alternate jazz notation is also shown on the chart in @ref{Chord name
4680 chart}. Turning on these styles is described in the input file
4681 @inputfileref{input/test,chord-names-jazz.ly}.
4685 @cindex chords, jazz
4690 @cindex @code{\germanChords}
4691 @code{\germanChords},
4692 @cindex @code{\semiGermanChords}
4693 @code{\semiGermanChords}.
4700 Examples: @inputfileref{input/regression,chord-name-major7.ly},
4701 @inputfileref{input/regression,chord-name-exceptions.ly},
4702 @inputfileref{input/test,chord-names-jazz.ly},
4703 @inputfileref{input/test,chords-without-melody.ly}.
4706 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4711 Chord names are determined solely from the list of pitches. Chord
4712 inversions are not identified, and neither are added bass notes. This
4713 may result in strange chord names when chords are entered with the
4714 @code{< .. >} syntax.
4718 @subsection Improvisation
4720 Improvisation is sometimes denoted with slashed note heads. Such note
4721 heads can be created by adding a @internalsref{Pitch_squash_engraver}
4722 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
4726 \set squashedPosition = #0
4727 \override NoteHead #'style = #'slash
4731 switches on the slashes.
4733 There are shortcuts @code{\improvisationOn} (and an accompanying
4734 @code{\improvisationOff}) for this command sequence. They are used in
4735 the following example
4737 @lilypond[verbatim,raggedright]
4739 \consists Pitch_squash_engraver
4741 e8 e g a a16(bes)(a8) g \improvisationOn
4744 ~fis2 \improvisationOff a16(bes) a8 g e
4750 @node Orchestral music
4751 @section Orchestral music
4753 @cindex Writing parts
4755 Orchestral music involves some special notation, both in the full
4756 score and the individual parts. This section explains how to tackle
4757 some common problems in orchestral music.
4762 * System start delimiters::
4763 * Aligning to cadenzas::
4766 * Instrument names::
4768 * Instrument transpositions::
4769 * Multi measure rests::
4770 * Automatic part combining::
4772 * Different editions from one source::
4773 * Quoting other voices::
4776 @node System start delimiters
4777 @subsection System start delimiters
4779 Polyphonic scores consist of many staves. These staves can be
4780 constructed in three different ways
4782 @item The group is started with a brace at the left, and bar lines are
4783 connected. This is done with the @internalsref{GrandStaff} context.
4794 @item The group is started with a bracket, and bar lines are connected. This is done with the
4795 @internalsref{StaffGroup} context
4806 @item The group is started with a vertical line. Bar lines are not
4807 connected. This is the default for the score.
4818 @cindex Staff, multiple
4819 @cindex bracket, vertical
4820 @cindex brace, vertical
4827 The bar lines at the start of each system are
4828 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
4829 @internalsref{SystemStartBracket}. Only one of these types is created
4830 in every context, and that type is determined by the property
4831 @code{systemStartDelimiter}.
4833 @node Aligning to cadenzas
4834 @subsection Aligning to cadenzas
4837 In an orchestral context, cadenzas present a special problem:
4838 when constructing a score that includes a cadenza, all other
4839 instruments should skip just as many notes as the length of the
4840 cadenza, otherwise they will start too soon or too late.
4842 A solution to this problem are the functions @code{mmrest-of-length}
4843 and @code{skip-of-length}. These Scheme functions take a piece music
4844 as argument, and generate a @code{\skip} or multi rest, exactly as
4845 long as the piece. The use of @code{mmrest-of-length} is demonstrated
4846 in the following example.
4848 @lilypond[verbatim,raggedright]
4849 cadenza = \relative c' {
4850 c4 d8 << { e f g } \\ { d4. } >>
4855 \new Staff { \cadenza c'4 }
4857 #(ly:export (mmrest-of-length cadenza))
4867 @node Rehearsal marks
4868 @subsection Rehearsal marks
4869 @cindex Rehearsal marks
4871 @cindex @code{\mark}
4873 To print a rehearsal mark, use the @code{\mark} command
4875 @lilypond[quote,fragment,verbatim,relative=1]
4886 (The letter I is skipped in accordance with engraving traditions.)
4888 @c FIXME - should make that tunable.
4890 The mark is incremented automatically if you use @code{\mark
4891 \default}, but you can also use an integer argument to set the mark
4892 manually. The value to use is stored in the property
4893 @code{rehearsalMark}.
4895 The style is defined by the property @code{markFormatter}. It is a
4896 function taking the current mark (an integer) and the current context
4897 as argument. It should return a markup object. In the following
4898 example, @code{markFormatter} is set to a canned procedure. After a
4899 few measures, it is set to function that produces a boxed number.
4901 @lilypond[quote,verbatim,fragment,relative=2]
4902 \set Score.markFormatter = #format-mark-numbers
4905 \set Score.markFormatter
4906 = #(lambda (mark context)
4908 (make-box-markup (number->string mark))))
4913 The file @file{scm/translation-functions.scm} contains the definitions
4914 of @code{format-mark-numbers} (the default format) and
4915 @code{format-mark-letters}. These can be used as inspiration for other
4916 formatting functions.
4919 @cindex coda on bar line
4920 @cindex segno on bar line
4921 @cindex fermata on bar line
4922 @cindex bar lines, symbols on
4924 The @code{\mark} command can also be used to put signs like coda,
4925 segno and fermatas on a bar line. Use @code{\markup} to
4926 to access the appropriate symbol
4928 @lilypond[quote,fragment,verbatim,relative=2]
4929 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4933 In the case of a line break, marks must also be printed at the end of
4934 the line, and not at the beginning. Use the following to force that
4937 \override Score.RehearsalMark
4938 #'break-visibility = #begin-of-line-invisible
4944 @cindex bar lines, putting symbols on
4948 Program reference: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
4950 Init files: @file{scm/translation-functions.scm} contains the
4951 definition of @code{format-mark-numbers} and
4952 @code{format-mark-letters}. They can be used as inspiration for other
4953 formatting functions.
4955 Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
4957 @inputfileref{input/regression,rehearsal-mark-number.ly}.
4961 @subsection Bar numbers
4965 @cindex measure numbers
4966 @cindex @code{currentBarNumber}
4968 Bar numbers are printed by default at the start of the line. The
4969 number itself is stored in the @code{currentBarNumber} property, which
4970 is normally updated automatically for every measure.
4972 Bar numbers can be typeset at regular intervals instead of at the
4973 beginning of each line. This is illustrated in the following example,
4974 whose source is available as
4975 @inputfileref{input/test,bar-number-regular-interval.ly}
4977 @lilypondfile[quote]{bar-number-regular-interval.ly}
4981 Program reference: @internalsref{BarNumber}.
4983 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4984 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4988 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4989 there is one at the top. To solve this, the
4990 @code{padding} property of @internalsref{BarNumber} can be
4991 used to position the number correctly.
4993 @node Instrument names
4994 @subsection Instrument names
4996 In an orchestral score, instrument names are printed left side of the
4999 This can be achieved by setting @internalsref{Staff}.@code{instrument}
5000 and @internalsref{Staff}.@code{instr}. This will print a string before
5001 the start of the staff. For the first start, @code{instrument} is
5002 used, for the next ones @code{instr} is used.
5004 @lilypond[quote,verbatim,raggedright,relative=1,fragment]
5005 \set Staff.instrument = "Ploink "
5006 \set Staff.instr = "Plk "
5012 You can also use markup texts to construct more complicated instrument
5015 @lilypond[quote,fragment,verbatim,raggedright]
5017 \set Staff.instrument = \markup {
5018 \column < "Clarinetti" { "in B"
5019 \smaller \flat } > }
5024 For longer instrument names, it may be useful to increase the
5025 @code{indent} setting in the @code{\paper} block.
5029 Program reference: @internalsref{InstrumentName}.
5033 When you put a name on a grand staff or piano staff the width of the
5034 brace is not taken into account. You must add extra spaces to the end of
5035 the name to avoid a collision.
5038 @subsection Transpose
5040 @cindex transposition of pitches
5041 @cindex @code{\transpose}
5043 A music expression can be transposed with @code{\transpose}. The
5046 \transpose @var{from} @var{to} @var{musicexpr}
5049 This means that @var{musicexpr} is transposed by the interval between
5050 the pitches @var{from} and @var{to}: any note with pitch @code{from}
5051 is changed to @code{to}.
5054 For example, consider a piece written in the key of D major. If
5055 this piece is a little too low for its performer, it can be
5056 transposed up to E major with
5058 \transpose d e @dots{}
5061 Consider a part written for violin (a C instrument). If
5062 this part is to be played on the A clarinet, the following
5063 transposition will produce the appropriate part
5066 \transpose a c @dots{}
5069 @code{\transpose} distinguishes between enharmonic pitches: both
5070 @code{\transpose c cis} or @code{\transpose c des} will transpose up
5071 half a tone. The first version will print sharps and the second
5072 version will print flats
5074 @lilypond[quote,raggedright,verbatim]
5075 mus = { \key d \major cis d fis g }
5079 \transpose c g' \mus
5080 \transpose c f' \mus
5087 Program reference: @internalsref{TransposedMusic}, and
5088 @internalsref{UntransposableMusic}.
5092 If you want to use both @code{\transpose} and @code{\relative},
5093 you must put @code{\transpose} outside of @code{\relative}, since
5094 @code{\relative} will have no effect music that appears inside a
5097 @node Instrument transpositions
5098 @subsection Instrument transpositions
5100 The key of a transposing instrument can also be specified. This
5101 applies to many wind instruments, for example, clarinets (B-flat, A and
5102 E-flat), horn (F) and trumpet (B-flat, C, D and E-flat).
5105 The transposition is entered after the keyword @code{\transposition}
5108 \transposition bes %% B-flat clarinet
5111 This command sets the property @code{instrumentTransposition}. The value of
5112 this property is used for MIDI output and quotations. It does not
5113 affect how notes are printed in the current staff.
5115 @cindex transposition, MIDI
5116 @cindex transposition, instrument
5119 @node Multi measure rests
5120 @subsection Multi measure rests
5121 @cindex multi measure rests
5122 @cindex Rests, multi measure
5126 Multi measure rests are entered using `@code{R}'. It is specifically
5127 meant for full bar rests and for entering parts: the rest can expand
5128 to fill a score with rests, or it can be printed as a single
5129 multimeasure rest. This expansion is controlled by the property
5130 @code{Score.skipBars}. If this is set to true, empty measures will not
5131 be expanded, and the appropriate number is added automatically
5133 @lilypond[quote,fragment,verbatim]
5134 \time 4/4 r1 | R1 | R1*2
5135 \set Score.skipBars = ##t R1*17 R1*4
5138 The @code{1} in @code{R1} is similar to the duration notation used for
5139 notes. Hence, for time signatures other than 4/4, you must enter other
5140 durations. This can be done with augmentation dots or fractions
5142 @lilypond[quote,fragment,verbatim]
5143 \set Score.skipBars = ##t
5152 An @code{R} spanning a single measure is printed as either a whole rest
5153 or a breve, centered in the measure regardless of the time signature.
5155 @cindex text on multi-measure rest
5156 @cindex script on multi-measure rest
5157 @cindex fermata on multi-measure rest
5159 Texts can be added to multi-measure rests by using the
5160 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
5161 replaced. If you need both texts and the number, you must add the
5162 number by hand. A variable (@code{\fermataMarkup}) is provided for
5166 @lilypond[quote,verbatim,fragment]
5168 R2._\markup { "Ad lib" }
5172 If you want to have a text on the left end of a multi-measure rest,
5173 attach the text to a zero-length skip note, i.e.
5181 @cindex whole rests for a full measure
5185 Program reference: @internalsref{MultiMeasureRestEvent},
5186 @internalsref{MultiMeasureTextEvent},
5187 @internalsref{MultiMeasureRestMusicGroup}, and
5188 @internalsref{MultiMeasureRest}.
5190 The layout object @internalsref{MultiMeasureRestNumber} is for the
5191 default number, and @internalsref{MultiMeasureRestText} for user
5196 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
5197 over multi-measure rests.
5199 @cindex condensing rests
5201 There is no way to automatically condense multiple rests into a single
5202 multimeasure rest. Multi measure rests do not take part in rest
5205 Be careful when entering multimeasure rests followed by whole
5206 notes. The following will enter two notes lasting four measures each
5210 When @code{skipBars} is set, the result will look OK, but the bar
5211 numbering will be off.
5213 @node Automatic part combining
5214 @subsection Automatic part combining
5215 @cindex automatic part combining
5216 @cindex part combiner
5219 Automatic part combining is used to merge two parts of music onto a
5220 staff. It is aimed at typesetting orchestral scores. When the two
5221 parts are identical for a period of time, only one is shown. In
5222 places where the two parts differ, they are typeset as separate
5223 voices, and stem directions are set automatically. Also, solo and
5224 @emph{a due} parts are identified and can be marked.
5226 The syntax for part combining is
5229 \partcombine @var{musicexpr1} @var{musicexpr2}
5234 The following example demonstrates the basic functionality of the part
5235 combiner: putting parts on one staff, and setting stem directions and
5238 @lilypond[quote,verbatim,raggedright,fragment]
5239 \new Staff \partcombine
5240 \relative g' { g g a( b) c c r r }
5241 \relative g' { g g r4 r e e g g }
5244 The first @code{g} appears only once, although it was
5245 specified twice (once in each part). Stem, slur and tie directions are
5246 set automatically, depending whether there is a solo or unisono. The
5247 first part (with context called @code{one}) always gets up stems, and
5248 `solo', while the second (called @code{two}) always gets down stems and
5251 If you just want the merging parts, and not the textual markings, you
5252 may set the property @code{printPartCombineTexts} to false
5254 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
5256 \set Staff.printPartCombineTexts = ##f
5258 \relative g' { g a( b) r }
5259 \relative g' { g r4 r f }
5264 Both arguments to @code{\partcombine} will be interpreted as
5265 @internalsref{Voice} contexts. If using relative octaves,
5266 @code{\relative} should be specified for both music expressions, i.e.
5270 \relative @dots{} @var{musicexpr1}
5271 \relative @dots{} @var{musicexpr2}
5275 A @code{\relative} section that is outside of @code{\partcombine} has
5276 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
5280 Program reference: @internalsref{PartCombineMusic},
5281 @internalsref{SoloOneEvent}, and
5282 @internalsref{SoloTwoEvent}, and
5283 @internalsref{UnisonoEvent}.
5287 When @code{printPartCombineTexts} is set, when the two voices play the
5288 same notes on and off, the part combiner may typeset @code{a2} more
5289 than once in a measure.
5291 @code{\partcombine} cannot be inside @code{\times}.
5293 @code{\partcombine} cannot be inside @code{\relative}.
5295 Internally, the @code{\partcombine} interprets both arguments as
5296 @code{Voice}s named @code{one} and @code{two}, and then decides when
5297 the parts can be combined. Consequently, if the arguments switch to
5298 differently named @internalsref{Voice} contexts, the events in those
5302 @subsection Hiding staves
5304 @cindex Frenched scores
5305 @cindex Hiding staves
5307 In orchestral scores, staff lines that only have rests are usually
5308 removed. This saves some space. This style is called `French Score'.
5309 For @internalsref{Lyrics},
5310 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
5311 switched on by default. When these line of these contexts turn out
5312 empty after the line-breaking process, they are removed.
5314 For normal staves, a specialized @internalsref{Staff} context is
5315 available, which does the same: staves containing nothing (or only
5316 multi measure rests) are removed. The context definition is stored in
5317 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
5318 in this example disappears in the second line
5321 @lilypond[quote,verbatim]
5323 \context { \RemoveEmptyStaffContext }
5328 \new Staff { e4 f g a \break c1 }
5329 \new Staff { c4 d e f \break R1 }
5334 The first system shows all staves in full. If empty staves should be
5335 removed from the first system too, set @code{remove-first} to false in
5336 @internalsref{RemoveEmptyVerticalGroup}.
5338 Another application is making ossia sections, i.e. alternative
5339 melodies on a separate piece of staff, with help of a Frenched
5340 staff. See @inputfileref{input/test,ossia.ly} for an example.
5343 @node Different editions from one source
5344 @subsection Different editions from one source
5346 The @code{\tag} command marks music expressions with a name. These
5347 tagged expressions can be filtered out later. With this mechanism it
5348 is possible to make different versions of the same music source.
5350 In the following example, we see two versions of a piece of music, one
5351 for the full score, and one with cue notes for the instrumental part
5367 The same can be applied to articulations, texts, etc.: they are
5370 -\tag #@var{your-tag}
5372 to an articulation, for example,
5377 This defines a note with a conditional fingering indication.
5379 By applying the @code{remove-tag} function, tagged expressions can be
5380 filtered. For example,
5384 \applymusic #(remove-tag 'score) @var{the music}
5385 \applymusic #(remove-tag 'part) @var{the music}
5390 @lilypondfile[quote]{tag-filter.ly}
5392 The argument of the @code{\tag} command should be a symbol, or a list
5393 of symbols, for example,
5395 \tag #'(original-part transposed-part) @dots{}
5400 Examples: @inputfileref{input/regression,tag-filter.ly}.
5403 @node Quoting other voices
5404 @subsection Quoting other voices
5406 With quotations, fragments of other parts can be inserted into a part
5407 directly. Before a part can be quoted, it must be marked especially as
5408 quotable. This is done with code @code{\addquote} command.
5411 \addquote @var{name} @var{music}
5416 Here, @var{name} is an identifying string. The @var{music} is any kind
5417 of music. This is an example of @code{\addquote}
5420 \addquote clarinet \relative c' {
5425 This command must be entered at toplevel, i.e. outside any music
5428 After calling @code{\addquote}, the quotation may then be done with
5432 \quote @var{name} @var{duration}
5435 During a part, a piece of music can be quoted with the @code{\quote}
5442 This would cite three quarter notes (@code{2.} is a dotted half note)
5443 of the previously added @code{clarinet} voice.
5445 More precisely, it takes the current time-step of the part being
5446 printed, and extracts the notes at the corresponding point of the
5447 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
5448 should be the entire part of the voice to be quoted, including any
5449 rests at the beginning.
5451 Quotations take into account the transposition of both source and target
5452 instruments, if they are specified using the @code{\transposition} command.
5454 @lilypond[quote,raggedright,verbatim]
5455 \addquote clarinet \relative c' {
5461 e'8 f'8 \quote clarinet 2
5465 The type of events that are present in cue notes can be trimmed with
5466 the @code{quotedEventTypes} property. The default value is
5467 @code{(note-event rest-event)}, which means that only notes of and
5468 rests of the cued voice end up in the @code{\quote}.
5472 \set Staff.quotedEventTypes = #'(note-event articulation-event dynamic-event)
5476 will quote notes (but no rests), together with scripts and dynamics.
5480 Only the contents of the first @internalsref{Voice} occurring in an
5481 @code{\addquote} command will be considered for quotation, so
5482 @var{music} can not contain @code{\new} and @code{\context Voice}
5483 statements that would switch to a different Voice.
5488 In this manual: @ref{Instrument transpositions}.
5490 Examples: @inputfileref{input/regression,quote.ly}
5491 @inputfileref{input/regression,quote-transposition.ly}
5493 Program reference: @internalsref{QuoteMusic}.
5495 @node Formatting cue notes
5496 @section Formatting cue notes
5499 The previous section deals with inserting notes from another
5500 voice. When making a part, these notes need to be specially formatted.
5501 Here is an example of formatted cue notes
5506 \override Stem #'length = #5.5
5507 \override Beam #'thickness = #0.384
5508 \override Beam #'space-function =
5509 #(lambda (beam mult) (* 0.8 (Beam::space_function beam mult)))
5513 \set Staff.instrument = #"Horn in F"
5514 \set Score.skipBars = ##t
5517 \once \override Staff.MultiMeasureRest #'staff-position = #-6
5524 r8^"Bsn." c'8 f'8[ f'8]
5534 There are a couple of points to take care of:
5538 The multi rest of the original part should be moved up or down during
5541 Cue notes have smaller font sizes.
5543 When cued notes have a clef change relative to the original part, the
5544 clef should be restored after the cue section. This minimizes
5545 confusion for the reader,
5547 When the original part starts, this should be marked with the name of
5548 the instrument, in this case ``Horn.'' Of course, the cue part is
5549 marked with the instrument playing the cue.
5554 @node Ancient notation
5555 @section Ancient notation
5557 @cindex Vaticana, Editio
5558 @cindex Medicaea, Editio
5563 Support for ancient notation includes features for mensural notation
5564 and Gregorian Chant notation. There is also limited support for
5565 figured bass notation.
5567 Many graphical objects provide a @code{style} property, see
5570 @ref{Ancient note heads},
5572 @ref{Ancient accidentals},
5577 @ref{Ancient clefs},
5581 @ref{Ancient time signatures}.
5584 By manipulating such a grob property, the typographical appearance of
5585 the affected graphical objects can be accommodated for a specific
5586 notation flavor without need for introducing any new notational
5589 Other aspects of ancient notation can not that easily be expressed as
5590 in terms of just changing a style property of a graphical object.
5591 Therefore, some notational concepts are introduced specifically for
5606 * Ancient note heads::
5607 * Ancient accidentals::
5611 * Ancient time signatures::
5615 * Vaticana style contexts::
5619 If this all is too much of documentation for you, and you just want to
5620 dive into typesetting without worrying too much about the details on
5621 how to customize a context, you may have a look at the predefined
5622 contexts (see @ref{Vaticana style contexts}). Use them to set up
5623 predefined style-specific voice and staff contexts, and directly go
5624 ahead with the note entry.
5626 @node Ancient note heads
5627 @subsection Ancient note heads
5632 For ancient notation, a note head style other than the @code{default}
5633 style may be chosen. This is accomplished by setting the @code{style}
5634 property of the NoteHead object to @code{baroque}, @code{neomensural}
5635 or @code{mensural}. The @code{baroque} style differs from the
5636 @code{default} style only in using a square shape for @code{\breve}
5637 note heads. The @code{neomensural} style differs from the
5638 @code{baroque} style in that it uses rhomboidal heads for whole notes
5639 and all smaller durations. Stems are centered on the note heads.
5640 This style is in particular useful when transcribing mensural music,
5641 e.g. for the incipit. The @code{mensural} style finally produces note
5642 heads that mimic the look of note heads in historic printings of the
5645 The following example demonstrates the @code{neomensural} style
5647 @lilypond[quote,fragment,raggedright]
5648 \set Score.skipBars = ##T
5649 \override NoteHead #'style = #'neomensural
5650 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
5653 When typesetting a piece in Gregorian Chant notation, the
5654 @internalsref{Gregorian_ligature_engraver} will automatically select
5655 the proper note heads, such there is no need to explicitly set the
5656 note head style. Still, the note head style can be set e.g.@: to
5657 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
5658 @internalsref{Mensural_ligature_engraver} is used to automatically
5659 assemble mensural ligatures. See @ref{Ligatures} for how ligature
5664 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
5665 overview over all available note head styles.
5668 @node Ancient accidentals
5669 @subsection Ancient accidentals
5674 Use the @code{style} property of grob @internalsref{Accidental} to
5675 select ancient accidentals. Supported styles are
5676 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
5678 @lilypond[quote,raggedright,staffsize=26]
5686 { " " \musicglyph #"accidentals-vaticana-1"
5687 " " \musicglyph #"accidentals-vaticana0" }
5691 { " " \musicglyph #"accidentals-medicaea-1" }
5695 { " " \musicglyph #"accidentals-hufnagel-1" }
5699 { " " \musicglyph #"accidentals-mensural-1"
5700 " " \musicglyph #"accidentals-mensural1" }
5709 \remove "Bar_number_engraver"
5713 \remove "Clef_engraver"
5714 \remove "Key_engraver"
5715 \remove "Time_signature_engraver"
5716 \remove "Staff_symbol_engraver"
5717 minimumVerticalExtent = ##f
5723 As shown, not all accidentals are supported by each style. When
5724 trying to access an unsupported accidental, LilyPond will switch to a
5725 different style, as demonstrated in
5726 @inputfileref{input/test,ancient-accidentals.ly}.
5728 Similarly to local accidentals, the style of the key signature can be
5729 controlled by the @code{style} property of the
5730 @internalsref{KeySignature} grob.
5734 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
5735 @ref{Accidentals} give a general introduction into the use of
5736 accidentals. @ref{Key signature} gives a general introduction into
5737 the use of key signatures.
5739 Program reference: @internalsref{KeySignature}.
5741 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
5744 @subsection Ancient rests
5749 Use the @code{style} property of grob @internalsref{Rest} to select
5750 ancient accidentals. Supported styles are @code{classical},
5751 @code{neomensural} and @code{mensural}. @code{classical} differs
5752 from the @code{default} style only in that the quarter rest looks like
5753 a horizontally mirrored 8th rest. The @code{neomensural} style suits
5754 well for e.g. the incipit of a transcribed mensural piece of music.
5755 The @code{mensural} style finally mimics the appearance of rests as
5756 in historic prints of the 16th century.
5758 The following example demonstrates the @code{neomensural} style
5760 @lilypond[quote,fragment,raggedright]
5761 \override Rest #'style = #'neomensural
5762 \set Score.skipBars = ##t
5763 r\longa r\breve r1 r2 r4 r8 r16
5766 There are no 32th and 64th rests specifically for the mensural or
5767 neo-mensural style. Instead, the rests from the default style will be
5768 taken. See @inputfileref{input/test,rests.ly} for a chart of all
5771 There are no rests in Gregorian Chant notation; instead, it uses
5776 In this manual: @ref{Rests} gives a general introduction into the use of rests.
5780 @subsection Ancient clefs
5785 LilyPond supports a variety of clefs, many of them ancient.
5787 The following table shows all ancient clefs that are supported via the
5788 @code{\clef} command. Some of the clefs use the same glyph, but
5789 differ only with respect to the line they are printed on. In such
5790 cases, a trailing number in the name is used to enumerate these clefs.
5791 Still, you can manually force a clef glyph to be typeset on an
5792 arbitrary line, as described in @ref{Clef}. The note printed to the
5793 right side of each clef in the example column denotes the @code{c'}
5794 with respect to that clef.
5796 @multitable @columnfractions .4 .4 .2
5799 @b{Description} @tab
5800 @b{Supported Clefs} @tab
5804 modern style mensural C clef @tab
5805 @code{neomensural-c1}, @code{neomensural-c2},
5806 @code{neomensural-c3}, @code{neomensural-c4} @tab
5807 @lilypond[fragment,quote,relative=1,notime]
5809 \clef "neomensural-c2" c
5813 petrucci style mensural C clefs, for use on different staff lines
5814 (the examples shows the 2nd staff line C clef).
5824 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5826 \clef "petrucci-c2" c
5830 petrucci style mensural F clef @tab
5831 @code{petrucci-f} @tab
5832 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5834 \clef "petrucci-f" c
5838 petrucci style mensural G clef @tab
5839 @code{petrucci-g} @tab
5840 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5842 \clef "petrucci-g" c
5846 historic style mensural C clef @tab
5847 @code{mensural-c1}, @code{mensural-c2}, @code{mensural-c3},
5848 @code{mensural-c4} @tab
5849 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5851 \clef "mensural-c2" c
5855 historic style mensural F clef @tab
5856 @code{mensural-f} @tab
5857 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5859 \clef "mensural-f" c
5863 historic style mensural G clef @tab
5864 @code{mensural-g} @tab
5865 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5867 \clef "mensural-g" c
5871 Editio Vaticana style do clef @tab
5872 @code{vaticana-do1}, @code{vaticana-do2}, @code{vaticana-do3} @tab
5873 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5874 \override Staff.StaffSymbol #'line-count = #4
5876 \clef "vaticana-do2" c
5880 Editio Vaticana style fa clef @tab
5881 @code{vaticana-fa1}, @code{vaticana-fa2} @tab
5882 @lilypond[quote,relative=1,notime,indent=0.0\mm,fragment]
5883 \override Staff.StaffSymbol #'line-count = #4
5885 \clef "vaticana-fa2" c
5889 Editio Medicaea style do clef @tab
5890 @code{medicaea-do1}, @code{medicaea-do2}, @code{medicaea-do3} @tab
5891 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5892 \override Staff.StaffSymbol #'line-count = #4
5894 \clef "medicaea-do2" c
5898 Editio Medicaea style fa clef @tab
5899 @code{medicaea-fa1}, @code{medicaea-fa2} @tab
5900 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5901 \override Staff.StaffSymbol #'line-count = #4
5903 \clef "medicaea-fa2" c
5907 historic style hufnagel do clef @tab
5908 @code{hufnagel-do1}, @code{hufnagel-do2}, @code{hufnagel-do3} @tab
5909 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5910 \override Staff.StaffSymbol #'line-count = #4
5912 \clef "hufnagel-do2" c
5916 historic style hufnagel fa clef @tab
5917 @code{hufnagel-fa1}, @code{hufnagel-fa2} @tab
5918 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5919 \override Staff.StaffSymbol #'line-count = #4
5921 \clef "hufnagel-fa2" c
5925 historic style hufnagel combined do/fa clef @tab
5926 @code{hufnagel-do-fa} @tab
5927 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5928 \clef "hufnagel-do-fa" c
5935 @emph{Modern style} means ``as is typeset in contemporary editions of
5936 transcribed mensural music''.
5938 @emph{Petrucci style} means ``inspired by printings published by the
5939 famous engraver Petrucci (1466-1539)''.
5941 @emph{Historic style} means ``as was typeset or written in historic
5942 editions (other than those of Petrucci)''.
5944 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5946 Petrucci used C clefs with differently balanced left-side vertical
5947 beams, depending on which staff line it is printed.
5951 In this manual: see @ref{Clef}.
5955 The mensural g clef is mapped to the Petrucci g clef.
5960 @subsection Ancient flags
5965 Use the @code{flag-style} property of grob @internalsref{Stem} to
5966 select ancient flags. Besides the @code{default} flag style,
5967 only @code{mensural} style is supported
5969 @lilypond[quote,fragment,raggedright,verbatim]
5970 \override Stem #'flag-style = #'mensural
5971 \override Stem #'thickness = #1.0
5972 \override NoteHead #'style = #'mensural
5974 c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
5975 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5978 Note that the innermost flare of each mensural flag always is
5979 vertically aligned with a staff line. If you do not like this
5980 behavior, you can set the @code{adjust-if-on-staffline} property of
5981 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5982 of the end of each flare is different between notes on staff lines and
5983 notes between staff lines
5985 @lilypond[quote,fragment,raggedright]
5986 \override Stem #'flag-style = #'mensural
5987 \override Stem #'thickness = #1.0
5988 \override Stem #'adjust-if-on-staffline = ##f
5989 \override NoteHead #'style = #'mensural
5991 c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
5992 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5995 There is no particular flag style for neo-mensural notation. Hence,
5996 when typesetting the incipit of a transcribed piece of mensural
5997 music, the default flag style should be used. There are no flags in
5998 Gregorian Chant notation.
6001 @node Ancient time signatures
6002 @subsection Ancient time signatures
6004 @cindex time signatures
6007 There is limited support for mensural time signatures. The
6008 glyphs are hard-wired to particular time fractions. In other words,
6009 to get a particular mensural signature glyph with the @code{\time n/m}
6010 command, @code{n} and @code{m} have to be chosen according to the
6019 \remove Staff_symbol_engraver
6020 \remove Clef_engraver
6021 \remove Time_signature_engraver
6024 \set Score.timing = ##f
6025 \set Score.barAlways = ##t
6026 s_\markup { "$\\backslash$time 4/4" }
6027 ^\markup { " " \musicglyph #"timesig-neomensural4/4" }
6029 s_\markup { "$\\backslash$time 2/2" }
6030 ^\markup { " " \musicglyph #"timesig-neomensural2/2" }
6032 s_\markup { "$\\backslash$time 6/4" }
6033 ^\markup { " " \musicglyph #"timesig-neomensural6/4" }
6035 s_\markup { "$\\backslash$time 6/8" }
6036 ^\markup { " " \musicglyph #"timesig-neomensural6/8" }
6038 s_\markup { "$\\backslash$time 3/2" }
6039 ^\markup { " " \musicglyph #"timesig-neomensural3/2" }
6041 s_\markup { "$\\backslash$time 3/4" }
6042 ^\markup { " " \musicglyph #"timesig-neomensural3/4" }
6044 s_\markup { "$\\backslash$time 9/4" }
6045 ^\markup { " " \musicglyph #"timesig-neomensural9/4" }
6047 s_\markup { "$\\backslash$time 9/8" }
6048 ^\markup { " " \musicglyph #"timesig-neomensural9/8" }
6050 s_\markup { "$\\backslash$time 4/8" }
6051 ^\markup { " " \musicglyph #"timesig-neomensural4/8" }
6053 s_\markup { "$\\backslash$time 2/4" }
6054 ^\markup { " " \musicglyph #"timesig-neomensural2/4" }
6059 Use the @code{style} property of grob @internalsref{TimeSignature} to
6060 select ancient time signatures. Supported styles are
6061 @code{neomensural} and @code{mensural}. The above table uses the
6062 @code{neomensural} style. This style is appropriate for the
6063 incipit of transcriptions of mensural pieces. The @code{mensural}
6064 style mimics the look of historical printings of the 16th century.
6066 The following examples shows the differences in style,
6067 @lilypond[raggedright]
6070 c1^\markup { \hspace #-2.0 \typewriter default }
6072 \override Staff.TimeSignature #'style = #'numbered
6074 c1^\markup { \hspace #-2.0 \typewriter numbered }
6076 \override Staff.TimeSignature #'style = #'mensural
6078 c1^\markup { \hspace #-2.0 \typewriter mensural }
6080 \override Staff.TimeSignature #'style = #'neomensural
6082 c1^\markup { \hspace #-2.0 \typewriter neomensural }
6083 \override Staff.TimeSignature #'style = #'single-digit
6085 c1^\markup { \hspace #-2.0 \typewriter single-digit }
6091 This manual: @ref{Time signature} gives a general introduction into
6092 the use of time signatures.
6096 Ratios of note durations do not change with the time signature. For
6097 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
6098 be made by hand, by setting
6101 breveTP = #(ly:make-duration -1 0 3 2)
6107 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
6109 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
6110 addressable with @code{\time}. Use a @code{\markup} instead
6113 @subsection Custodes
6118 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
6119 symbol that appears at the end of a staff. It anticipates the pitch
6120 of the first note(s) of the following line thus helping the performer
6121 to manage line breaks during performance.
6123 Custodes were frequently used in music notation until the 17th
6124 century. Nowadays, they have survived only in a few particular forms
6125 of musical notation such as contemporary editions of Gregorian chant
6126 like the @emph{editio vaticana}. There are different custos glyphs
6127 used in different flavors of notational style.
6129 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
6130 @internalsref{Staff} context when declaring the @code{\paper} block,
6131 as shown in the following example
6137 \consists Custos_engraver
6138 Custos \override #'style = #'mensural
6143 The result looks like this
6145 @lilypond[quote,raggedright]
6149 \override Staff.Custos #'style = #'mensural
6156 \consists Custos_engraver
6162 The custos glyph is selected by the @code{style} property. The styles
6163 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
6164 @code{mensural}. They are demonstrated in the following fragment
6168 \new Lyrics \lyricmode {
6171 \typewriter "vaticana"
6172 { " " \musicglyph #"custodes-vaticana-u0" }
6175 \typewriter "medicaea"
6176 { " " \musicglyph #"custodes-medicaea-u0" }
6180 \typewriter "hufnagel"
6181 { " " \musicglyph #"custodes-hufnagel-u0" }
6185 \typewriter "mensural"
6186 { " " \musicglyph #"custodes-mensural-u0" }
6198 Program reference: @internalsref{Custos}.
6200 Examples: @inputfileref{input/regression,custos.ly}.
6204 @subsection Divisiones
6210 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
6211 `division') is a staff context symbol that is used to structure
6212 Gregorian music into phrases and sections. The musical meaning of
6213 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
6214 can be characterized as short, medium and long pause, somewhat like
6215 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
6216 only marks the end of a chant, but is also frequently used within a
6217 single antiphonal/responsorial chant to mark the end of each section.
6220 To use divisiones, include the file @code{gregorian-init.ly}. It
6221 contains definitions that you can apply by just inserting
6222 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
6223 and @code{\finalis} at proper places in the input. Some editions use
6224 @emph{virgula} or @emph{caesura} instead of divisio minima.
6225 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
6228 @lilypondfile[quote,raggedright]{divisiones.ly}
6232 @cindex @code{\virgula}
6234 @cindex @code{\caesura}
6236 @cindex @code{\divisioMinima}
6237 @code{\divisioMinima},
6238 @cindex @code{\divisioMaior}
6239 @code{\divisioMaior},
6240 @cindex @code{\divisioMaxima}
6241 @code{\divisioMaxima},
6242 @cindex @code{\finalis}
6247 In this manual: @ref{Breath marks}.
6249 Program reference: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
6251 Examples: @inputfileref{input/test,divisiones.ly}.
6254 @subsection Ligatures
6258 @c TODO: Should double check if I recalled things correctly when I wrote
6259 @c down the following paragraph by heart.
6261 A ligature is a graphical symbol that represents at least two distinct
6262 notes. Ligatures originally appeared in the manuscripts of Gregorian
6263 chant notation to denote ascending or descending sequences of notes.
6265 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
6266 Some ligature styles may need additional input syntax specific for
6267 this particular type of ligature. By default, the
6268 @internalsref{LigatureBracket} engraver just puts a square bracket
6271 @lilypond[quote,raggedright,verbatim]
6279 To select a specific style of ligatures, a proper ligature engraver
6280 has to be added to the @internalsref{Voice} context, as explained in
6281 the following subsections. Only white mensural ligatures
6282 are supported with certain limitations.
6288 Ligatures need special spacing that has not yet been implemented. As
6289 a result, there is too much space between ligatures most of the time,
6290 and line breaking often is unsatisfactory. Also, lyrics do not
6291 correctly align with ligatures.
6293 Accidentals must not be printed within a ligature, but instead need to
6294 be collected and printed in front of it.
6296 Augmentum dots within ligatures are not handled correctly.
6300 * White mensural ligatures::
6301 * Gregorian square neumes ligatures::
6304 @node White mensural ligatures
6305 @subsubsection White mensural ligatures
6307 @cindex Mensural ligatures
6308 @cindex White mensural ligatures
6310 There is limited support for white mensural ligatures.
6312 To engrave white mensural ligatures, in the paper block the
6313 @internalsref{Mensural_ligature_engraver} has to be put into the
6314 @internalsref{Voice} context, and remove the
6315 @internalsref{Ligature_bracket_engraver}
6321 \remove Ligature_bracket_engraver
6322 \consists Mensural_ligature_engraver
6327 There is no additional input language to describe the shape of a
6328 white mensural ligature. The shape is rather determined solely from
6329 the pitch and duration of the enclosed notes. While this approach may
6330 take a new user a while to get accustomed, it has the great advantage
6331 that the full musical information of the ligature is known internally.
6332 This is not only required for correct MIDI output, but also allows for
6333 automatic transcription of the ligatures.
6338 \set Score.timing = ##f
6339 \set Score.defaultBarType = "empty"
6340 \override NoteHead #'style = #'neomensural
6341 \override Staff.TimeSignature #'style = #'neomensural
6343 \[ g\longa c\breve a\breve f\breve d'\longa \]
6345 \[ e1 f1 a\breve g\longa \]
6347 @lilypond[quote,raggedright]
6350 \set Score.timing = ##f
6351 \set Score.defaultBarType = "empty"
6352 \override NoteHead #'style = #'neomensural
6353 \override Staff.TimeSignature #'style = #'neomensural
6355 \[ g\longa c\breve a\breve f\breve d'\longa \]
6357 \[ e1 f1 a\breve g\longa \]
6362 \remove Ligature_bracket_engraver
6363 \consists Mensural_ligature_engraver
6369 Without replacing @internalsref{Ligature_bracket_engraver} with
6370 @internalsref{Mensural_ligature_engraver}, the same music transcribes
6373 @lilypond[quote,raggedright]
6375 \set Score.timing = ##f
6376 \set Score.defaultBarType = "empty"
6377 \override NoteHead #'style = #'neomensural
6378 \override Staff.TimeSignature #'style = #'neomensural
6380 \[ g\longa c\breve a\breve f\breve d'\longa \]
6382 \[ e1 f1 a\breve g\longa \]
6388 The implementation is experimental. It may output strange warnings,
6389 incorrect results, and might even crash on more complex ligatures.
6391 @node Gregorian square neumes ligatures
6392 @subsubsection Gregorian square neumes ligatures
6394 @cindex Square neumes ligatures
6395 @cindex Gregorian square neumes ligatures
6397 There is limited support for Gregorian square neumes notation
6398 (following the style of the Editio Vaticana). Core ligatures can
6399 already be typeset, but essential issues for serious typesetting are
6400 still lacking, such as (among others) horizontal alignment of multiple
6401 ligatures, lyrics alignment and proper accidentals handling.
6404 The following table contains the extended neumes table of the 2nd
6405 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
6406 1983 by the monks of Solesmes.
6408 @multitable @columnfractions .4 .2 .2 .2
6411 @b{Neuma aut@*Neumarum Elementa} @tab
6412 @b{Figurae@*Rectae} @tab
6413 @b{Figurae@*Liquescentes Auctae} @tab
6414 @b{Figurae@*Liquescentes Deminutae}
6416 @c TODO: \paper block is identical in all of the below examples.
6417 @c Therefore, it should somehow be included rather than duplicated all
6420 @c why not make identifiers in ly/engraver-init.ly? --hwn
6422 @c Because it's just used to typeset plain notes without
6423 @c a staff for demonstration purposes rather than something
6424 @c special of Gregorian chant notation. --jr
6429 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.5\cm]
6430 \include "gregorian-init.ly"
6435 \noBreak s^\markup {"a"} \noBreak
6437 % Punctum Inclinatum
6439 \noBreak s^\markup {"b"}
6441 \paper { \neumeDemoPaper }}
6444 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.5\cm]
6445 \include "gregorian-init.ly"
6448 % Punctum Auctum Ascendens
6449 \[ \auctum \ascendens b \]
6450 \noBreak s^\markup {"c"} \noBreak
6452 % Punctum Auctum Descendens
6453 \[ \auctum \descendens b \]
6454 \noBreak s^\markup {"d"} \noBreak
6456 % Punctum Inclinatum Auctum
6457 \[ \inclinatum \auctum b \]
6458 \noBreak s^\markup {"e"}
6460 \paper { \neumeDemoPaper }}
6463 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6464 \include "gregorian-init.ly"
6467 % Punctum Inclinatum Parvum
6468 \[ \inclinatum \deminutum b \]
6469 \noBreak s^\markup {"f"}
6471 \paper { \neumeDemoPaper }}
6477 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6478 \include "gregorian-init.ly"
6483 \noBreak s^\markup {"g"}
6485 \paper { \neumeDemoPaper }}
6491 @code{3. Apostropha vel Stropha}
6493 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6494 \include "gregorian-init.ly"
6499 \noBreak s^\markup {"h"}
6501 \paper { \neumeDemoPaper }}
6504 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6505 \include "gregorian-init.ly"
6509 \[ \stropha \auctum b \]
6510 \noBreak s^\markup {"i"}
6512 \paper { \neumeDemoPaper }}
6519 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6520 \include "gregorian-init.ly"
6525 \noBreak s^\markup {"j"}
6527 \paper { \neumeDemoPaper }}
6533 @code{5. Clivis vel Flexa}
6535 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6536 \include "gregorian-init.ly"
6543 \paper { \neumeDemoPaper }}
6546 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
6547 \include "gregorian-init.ly"
6550 % Clivis Aucta Descendens
6551 \[ b \flexa \auctum \descendens g \]
6552 \noBreak s^\markup {"l"} \noBreak
6554 % Clivis Aucta Ascendens
6555 \[ b \flexa \auctum \ascendens g \]
6556 \noBreak s^\markup {"m"}
6558 \paper { \neumeDemoPaper }}
6561 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6562 \include "gregorian-init.ly"
6566 \[ b \flexa \deminutum g \]
6569 \paper { \neumeDemoPaper }}
6573 @code{6. Podatus vel Pes}
6575 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6576 \include "gregorian-init.ly"
6583 \paper { \neumeDemoPaper }}
6586 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
6587 \include "gregorian-init.ly"
6590 % Pes Auctus Descendens
6591 \[ g \pes \auctum \descendens b \]
6592 \noBreak s^\markup {"p"} \noBreak
6594 % Pes Auctus Ascendens
6595 \[ g \pes \auctum \ascendens b \]
6596 \noBreak s^\markup {"q"}
6598 \paper { \neumeDemoPaper }}
6601 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6602 \include "gregorian-init.ly"
6606 \[ g \pes \deminutum b \]
6609 \paper { \neumeDemoPaper }}
6613 @code{7. Pes Quassus}
6615 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6616 \include "gregorian-init.ly"
6620 \[ \oriscus g \pes \virga b \]
6623 \paper { \neumeDemoPaper }}
6626 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6627 \include "gregorian-init.ly"
6630 % Pes Quassus Auctus Descendens
6631 \[ \oriscus g \pes \auctum \descendens b \]
6634 \paper { \neumeDemoPaper }}
6639 @code{8. Quilisma Pes}
6641 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6642 \include "gregorian-init.ly"
6646 \[ \quilisma g \pes b \]
6649 \paper { \neumeDemoPaper }}
6652 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6653 \include "gregorian-init.ly"
6656 % Quilisma Pes Auctus Descendens
6657 \[ \quilisma g \pes \auctum \descendens b \]
6660 \paper { \neumeDemoPaper }}
6665 @code{9. Podatus Initio Debilis}
6667 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6668 \include "gregorian-init.ly"
6671 % Pes Initio Debilis
6672 \[ \deminutum g \pes b \]
6675 \paper { \neumeDemoPaper }}
6678 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6679 \include "gregorian-init.ly"
6682 % Pes Auctus Descendens Initio Debilis
6683 \[ \deminutum g \pes \auctum \descendens b \]
6686 \paper { \neumeDemoPaper }}
6693 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6694 \include "gregorian-init.ly"
6698 \[ a \pes b \flexa g \]
6701 \paper { \neumeDemoPaper }}
6704 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6705 \include "gregorian-init.ly"
6708 % Torculus Auctus Descendens
6709 \[ a \pes b \flexa \auctum \descendens g \]
6712 \paper { \neumeDemoPaper }}
6715 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6716 \include "gregorian-init.ly"
6719 % Torculus Deminutus
6720 \[ a \pes b \flexa \deminutum g \]
6723 \paper { \neumeDemoPaper }}
6727 @code{11. Torculus Initio Debilis}
6729 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6730 \include "gregorian-init.ly"
6733 % Torculus Initio Debilis
6734 \[ \deminutum a \pes b \flexa g \]
6737 \paper { \neumeDemoPaper }}
6740 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6741 \include "gregorian-init.ly"
6744 % Torculus Auctus Descendens Initio Debilis
6745 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6748 \paper { \neumeDemoPaper }}
6751 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6752 \include "gregorian-init.ly"
6755 % Torculus Deminutus Initio Debilis
6756 \[ \deminutum a \pes b \flexa \deminutum g \]
6759 \paper { \neumeDemoPaper }}
6763 @code{12. Porrectus}
6765 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6766 \include "gregorian-init.ly"
6770 \[ a \flexa g \pes b \]
6773 \paper { \neumeDemoPaper }}
6776 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6777 \include "gregorian-init.ly"
6780 % Porrectus Auctus Descendens
6781 \[ a \flexa g \pes \auctum \descendens b \]
6784 \paper { \neumeDemoPaper }}
6787 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6788 \include "gregorian-init.ly"
6791 % Porrectus Deminutus
6792 \[ a \flexa g \pes \deminutum b \]
6795 \paper { \neumeDemoPaper }}
6801 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6802 \include "gregorian-init.ly"
6806 \[ \virga b \inclinatum a \inclinatum g \]
6809 \paper { \neumeDemoPaper }
6813 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6814 \include "gregorian-init.ly"
6818 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6821 \paper { \neumeDemoPaper }}
6824 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6825 \include "gregorian-init.ly"
6828 % Climacus Deminutus
6829 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6832 \paper { \neumeDemoPaper }}
6836 @code{14. Scandicus}
6838 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6839 \include "gregorian-init.ly"
6843 \[ g \pes a \virga b \]
6846 \paper { \neumeDemoPaper }}
6849 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6850 \include "gregorian-init.ly"
6853 % Scandicus Auctus Descendens
6854 \[ g \pes a \pes \auctum \descendens b \]
6857 \paper { \neumeDemoPaper }}
6860 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6861 \include "gregorian-init.ly"
6864 % Scandicus Deminutus
6865 \[ g \pes a \pes \deminutum b \]
6868 \paper { \neumeDemoPaper }}
6874 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6875 \include "gregorian-init.ly"
6879 \[ g \oriscus a \pes \virga b \]
6882 \paper { \neumeDemoPaper }}
6885 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6886 \include "gregorian-init.ly"
6889 % Salicus Auctus Descendens
6890 \[ g \oriscus a \pes \auctum \descendens b \]
6893 \paper { \neumeDemoPaper }}
6900 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6901 \include "gregorian-init.ly"
6905 \[ \stropha b \stropha b \stropha a \]
6908 \paper { \neumeDemoPaper }
6917 Unlike most other neumes notation systems, the input language for
6918 neumes does not reflect the typographical appearance, but is designed
6919 to focus on musical meaning. For example, @code{\[ a \pes b
6920 \flexa g \]} produces a Torculus consisting of three Punctum heads,
6921 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
6922 curved flexa shape and only a single Punctum head. There is no
6923 command to explicitly typeset the curved flexa shape; the decision of
6924 when to typeset a curved flexa shape is based on the musical
6925 input. The idea of this approach is to separate the musical aspects
6926 of the input from the notation style of the output. This way, the
6927 same input can be reused to typeset the same music in a different
6928 style of Gregorian chant notation.
6930 The following table shows the code fragments that produce the
6931 ligatures in the above neumes table. The letter in the first column
6932 in each line of the below table indicates to which ligature in the
6933 above table it refers. The second column gives the name of the
6934 ligature. The third column shows the code fragment that produces this
6935 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6937 @multitable @columnfractions .1 .4 .5
6951 Punctum Inclinatum @tab
6952 @code{\[ \inclinatum b \]}
6956 Punctum Auctum Ascendens @tab
6957 @code{\[ \auctum \ascendens b \]}
6961 Punctum Auctum Descendens @tab
6962 @code{\[ \auctum \descendens b \]}
6966 Punctum Inclinatum Auctum @tab
6967 @code{\[ \inclinatum \auctum b \]}
6971 Punctum Inclinatum Parvum @tab
6972 @code{\[ \inclinatum \deminutum b \]}
6977 @code{\[ \virga b \]}
6982 @code{\[ \stropha b \]}
6987 @code{\[ \stropha \auctum b \]}
6992 @code{\[ \oriscus b \]}
6996 Clivis vel Flexa @tab
6997 @code{\[ b \flexa g \]}
7001 Clivis Aucta Descendens @tab
7002 @code{\[ b \flexa \auctum \descendens g \]}
7006 Clivis Aucta Ascendens @tab
7007 @code{\[ b \flexa \auctum \ascendens g \]}
7012 @code{\[ b \flexa \deminutum g \]}
7016 Podatus vel Pes @tab
7017 @code{\[ g \pes b \]}
7021 Pes Auctus Descendens @tab
7022 @code{\[ g \pes \auctum \descendens b \]}
7026 Pes Auctus Ascendens @tab
7027 @code{\[ g \pes \auctum \ascendens b \]}
7032 @code{\[ g \pes \deminutum b \]}
7037 @code{\[ \oriscus g \pes \virga b \]}
7041 Pes Quassus Auctus Descendens @tab
7042 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7047 @code{\[ \quilisma g \pes b \]}
7051 Quilisma Pes Auctus Descendens @tab
7052 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7056 Pes Initio Debilis @tab
7057 @code{\[ \deminutum g \pes b \]}
7061 Pes Auctus Descendens Initio Debilis @tab
7062 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7067 @code{\[ a \pes b \flexa g \]}
7071 Torculus Auctus Descendens @tab
7072 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7076 Torculus Deminutus @tab
7077 @code{\[ a \pes b \flexa \deminutum g \]}
7081 Torculus Initio Debilis @tab
7082 @code{\[ \deminutum a \pes b \flexa g \]}
7086 Torculus Auctus Descendens Initio Debilis @tab
7087 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7091 Torculus Deminutus Initio Debilis @tab
7092 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7097 @code{\[ a \flexa g \pes b \]}
7101 Porrectus Auctus Descendens @tab
7102 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7106 Porrectus Deminutus @tab
7107 @code{\[ a \flexa g \pes \deminutum b \]}
7112 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7116 Climacus Auctus @tab
7117 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7121 Climacus Deminutus @tab
7122 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7127 @code{\[ g \pes a \virga b \]}
7131 Scandicus Auctus Descendens @tab
7132 @code{\[ g \pes a \pes \auctum \descendens b \]}
7136 Scandicus Deminutus @tab
7137 @code{\[ g \pes a \pes \deminutum b \]}
7142 @code{\[ g \oriscus a \pes \virga b \]}
7146 Salicus Auctus Descendens @tab
7147 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7152 @code{\[ \stropha b \stropha b \stropha a \]}
7158 The following head prefixes are supported
7160 @cindex @code{\virga}
7162 @cindex @code{\stropha}
7164 @cindex @code{\inclinatum}
7166 @cindex @code{\auctum}
7168 @cindex @code{\descendens}
7170 @cindex @code{\ascendens}
7172 @cindex @code{\oriscus}
7174 @cindex @code{\quilisma}
7176 @cindex @code{\deminutum}
7179 Head prefixes can be accumulated, though restrictions apply. For
7180 example, either @code{\descendens} or @code{\ascendens} can be applied
7181 to a head, but not both to the same head.
7184 @cindex @code{\flexa}
7185 Two adjacent heads can be tied together with the @code{\pes} and
7186 @code{\flexa} infix commands for a rising and falling line of melody,
7191 @node Vaticana style contexts
7192 @subsection Vaticana style contexts
7194 @cindex VaticanaVoiceContext
7195 @cindex VaticanaStaffContext
7197 The predefined @code{VaticanaVoiceContext} and
7198 @code{VaticanaStaffContext} can be used to engrave a piece of
7199 Gregorian Chant in the style of the Editio Vaticana. These contexts
7200 initialize all relevant context properties and grob properties to
7201 proper values, so you can immediately go ahead entering the chant, as
7202 the following excerpt demonstrates
7204 @lilypond[quote,raggedright,verbatim,noindent]
7205 \include "gregorian-init.ly"
7208 \context VaticanaVoice = "cantus" {
7209 \override Score.BarNumber #'transparent = ##t {
7210 \[ c'\melisma c' \flexa a \]
7211 \[ a \flexa \deminutum g\melismaEnd \]
7213 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
7214 c' \divisioMinima \break
7215 \[ c'\melisma c' \flexa a \]
7216 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7219 \lyricsto "cantus" \new Lyrics {
7220 San- ctus, San- ctus, San- ctus
7227 @subsection Figured bass
7229 @cindex Basso continuo
7231 @c TODO: musicological blurb about FB
7234 LilyPond has limited support for figured bass
7236 @lilypond[quote,verbatim,fragment]
7238 \context Voice { \clef bass dis4 c d ais }
7239 \context FiguredBass \figuremode {
7240 < 6 >4 < 7 >8 < 6+ [_!] >
7246 The support for figured bass consists of two parts: there is an input
7247 mode, introduced by @code{\figuremode}, where you can enter bass figures
7248 as numbers, and there is a context called @internalsref{FiguredBass} that
7249 takes care of making @internalsref{BassFigure} objects.
7251 In figures input mode, a group of bass figures is delimited by
7252 @code{<} and @code{>}. The duration is entered after the @code{>}
7256 @lilypond[quote,fragment]
7257 \context FiguredBass
7258 \figuremode { <4 6> }
7261 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7267 @lilypond[quote,fragment]
7268 \context FiguredBass
7269 \figuremode { <4- 6+ 7!> }
7272 Spaces or dashes may be inserted by using @code{_}. Brackets are
7273 introduced with @code{[} and @code{]}
7278 @lilypond[quote,fragment]
7279 \context FiguredBass
7280 \figuremode { < [4 6] 8 [_! 12]> }
7283 Although the support for figured bass may superficially resemble chord
7284 support, it works much simpler. The @code{\figuremode} mode simply
7285 stores the numbers , and @internalsref{FiguredBass} context prints
7286 them as entered. There is no conversion to pitches, and no
7287 realizations of the bass are played in the MIDI file.
7289 Internally, the code produces markup texts. You can use any of the
7290 markup text properties to override formatting. For example, the
7291 vertical spacing of the figures may be set with @code{baseline-skip}.
7295 Program reference: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7296 and @internalsref{FiguredBass} context.
7300 Slash notation for alterations is not supported.
7302 @node Contemporary notation
7303 @section Contemporary notation
7305 In the 20th century, composers have greatly expanded the musical
7306 vocabulary. With this expansion, many innovations in musical notation
7307 have been tried. The book ``Music Notation in the 20th century'' by
7308 Kurt Stone gives a comprehensive overview (see @ref{Literature
7309 list}). In general, the use of new, innovative notation makes a piece
7310 harder to understand and perform and its use should therefore be
7311 avoided. For this reason, support for contemporary notation in
7312 LilyPond is limited.
7316 * Polymetric notation::
7318 * Special fermatas::
7322 @node Polymetric notation
7323 @subsection Polymetric notation
7325 Double time signatures are not supported explicitly, but they can be
7326 faked. In the next example, the markup for the time signature is
7327 created with a markup text. This markup text is inserted in the
7328 @internalsref{TimeSignature} grob.
7330 @lilypond[verbatim,raggedright]
7336 \musicglyph #"scripts-stopped"
7337 \bracket \column < "5" "8" >
7342 \override Staff.TimeSignature #'print-function = #Text_item::print
7343 \override Staff.TimeSignature #'text = #tsMarkup
7345 c'2 \bar ":" c'4 c'4.
7349 Each staff can also have its own time signature. This is done by
7350 moving the @internalsref{Timing_engraver} to @internalsref{Staff}
7357 \remove "Timing_engraver"
7361 \consists "Timing_engraver"
7367 Now, each staff has its own time signature.
7381 c4. c8 c c c4. c8 c c
7386 @lilypond[raggedright]
7390 \remove "Timing_engraver"
7394 \consists "Timing_engraver"
7410 c4. c8 c c c4. c8 c c
7416 A different form of polymetric notation is where note lengths have
7417 different values across staves.
7419 This notation can be created by setting a common time signature for
7420 each staff but replacing it manually using
7421 @code{timeSignatureFraction} to the desired fraction. Then the printed
7422 durations in each staff are scaled to the common time signature.
7423 The latter is done with @code{\compressmusic}, which is similar to
7424 @code{\times}, but does not create a tuplet bracket.
7427 In this example, music with the time signatures of 3/4, 9/8 and 10/8 are
7428 used in parallel. In the second staff, shown durations are multiplied by
7429 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
7430 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
7432 @lilypond[raggedright,verbatim]
7440 \set Staff.timeSignatureFraction = #'(9 . 8)
7441 \compressmusic #'(2 . 3)
7442 \repeat unfold 6 { c8[ c c] }
7446 \set Staff.timeSignatureFraction = #'(10 . 8)
7447 \compressmusic #'(3 . 5)
7448 { \repeat unfold 2 { c8[ c c] }
7449 \repeat unfold 2 { c8[ c] }
7450 | c4. c4. \times 2/3 { c8 c c } c4 }
7460 When using different time signatures in parallel, the spacing is
7461 aligned vertically, but bar lines distort the regular spacing.
7466 @subsection Clusters
7470 A cluster indicates a continuous range of pitches to be played. They
7471 can be denoted as the envelope of a set of notes. They are entered by
7472 applying the function @code{makeClusters} to a sequence of
7475 @lilypond[quote,verbatim]
7477 \makeClusters { <c e > <b f'> }
7480 The following example (from
7481 @inputfileref{input/regression,cluster.ly}) shows what the result
7484 @lilypondfile[quote]{cluster.ly}
7486 Ordinary notes and clusters can be put together in the same staff,
7487 even simultaneously. In such a case no attempt is made to
7488 automatically avoid collisions between ordinary notes and clusters.
7492 Program reference: @internalsref{ClusterSpanner},
7493 @internalsref{ClusterSpannerBeacon},
7494 @internalsref{Cluster_spanner_engraver}, and
7495 @internalsref{ClusterNoteEvent}.
7497 Examples: @inputfileref{input/regression,cluster.ly}.
7501 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7502 accurately. Use @code{<g a>8 <e a>8} instead.
7506 @node Special fermatas
7507 @subsection Special Fermatas
7509 @cindex fermatas, special
7511 In contemporary music notation, special fermata symbols denote breaks
7512 of differing lengths. The following fermatas are supported
7514 @lilypond[quote,raggedright]
7536 \context Lyrics \lyricmode {
7537 \override LyricText #'font-family = #'typewriter
7538 "shortfermata" "fermata" "longfermata" "verylongfermata"
7543 See @ref{Articulations} for general instructions how to apply scripts
7544 such as fermatas to notes.
7546 @node Feathered beams
7547 @subsection Feathered beams
7549 Feathered beams are not supported natively, but they can be faked by
7550 forcing two beams to overlap. Here is an example,
7552 @lilypond[raggedright]
7553 \relative \new Staff <<
7557 \once \override Voice.Beam #'positions = #'(0 . 0.5)
7562 \once \override Voice.Beam #'positions = #'(0 . -0.5)
7570 @node Educational use
7571 @section Educational use
7575 * Blank music paper::
7576 * Notation for excercises::
7577 * Easy Notation note heads::
7581 @subsection Balloon help
7583 Elements of notation can be marked and named with the help of a square
7584 balloon. The primary purpose of this feature is to explain notation.
7586 The following example demonstrates its use.
7588 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
7591 #(add-balloon-text 'NoteHead "heads, or tails?"
7597 The function @code{add-balloon-text} takes the name of a grob, the
7598 label to print, and the position where to put the label relative to
7599 the object. In the above example, the text ``heads or tails?'' ends
7600 3 spaces below and 1 space to the right of the marked head.
7603 @cindex notation, explaining
7607 Program reference: @internalsref{text-balloon-interface}.
7609 Examples: @inputfileref{input/regression,balloon.ly}.
7614 @node Blank music paper
7615 @subsection Blank music paper
7617 A blank music paper can be produced also by using invisible notes, and
7618 removing @code{Bar_number_engraver}.
7623 \repeat unfold 2 % Change this for more lines.
7628 \override TimeSignature #'transparent = ##t
7629 defaultBarType = #""
7630 \remove Bar_number_engraver
7632 \context Staff \emptymusic
7633 \context TabStaff \emptymusic
7638 @node Notation for excercises
7639 @subsection Notation for excercises
7643 Invisible (or transparent) notes can be useful, when weird tricks are
7644 needed; especially, a slur cannot be attach to a rest or spacer rest.
7648 blanknotes = { \override NoteHead #'transparent = ##t
7649 \override Stem #'transparent = ##t }
7650 unblanknotes = { \revert NoteHead #'transparent
7651 \revert Stem #'transparent }
7656 \blanknotes e4 f4 \unblanknotes
7662 @node Easy Notation note heads
7663 @subsection Easy Notation note heads
7665 @cindex easy notation
7668 The `easy play' note head includes a note name inside the head. It is
7669 used in music for beginners
7671 @lilypond[quote,raggedright,verbatim,fragment,staffsize=26]
7676 The command @code{\setEasyHeads} overrides settings for the
7677 @internalsref{NoteHead} object. To make the letters readable, it has
7678 to be printed in a large font size. To print with a larger font, see
7679 @ref{Setting global staff size}.
7683 @cindex @code{\setEasyHeads}
7684 @code{\setEasyHeads}