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::
31 * Contemporary notation::
36 @c FIXME: Note entry vs Music entry at top level menu is confusing.
42 This section is about basic notation elements notes, rests and
43 related constructs, such as stems, tuplets and ties.
48 * Chromatic alterations::
63 A note is printed by specifying its pitch and then its duration:
64 @footnote{Notes constitute the most basic elements of LilyPond input,
65 but they do not form valid input on their own without a @code{\score}
66 block. However, for the sake of brevity and simplicity we will
67 generally omit @code{\score} blocks and @code{\paper} declarations in
70 @lilypond[fragment,verbatim]
79 @cindex Note specification
81 @cindex entering notes
83 The most common syntax for pitch entry is used in @code{\chords} and
84 @code{\notes} mode. In these modes, pitches may be designated by
85 names. The notes are specified by the letters @code{a} through
86 @code{g}, while the octave is formed with notes ranging from @code{c}
87 to @code{b}. The pitch @code{c} is an octave below middle C and the
88 letters span the octave above that C:
90 @lilypond[fragment,verbatim]
92 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
95 @cindex note names, Dutch
97 A sharp is formed by adding @code{-is} to the end of a pitch name and
98 a flat is formed by adding @code{-es}. Double sharps and double flats
99 are obtained by adding @code{-isis} or @code{-eses}. These
100 names are the Dutch note names. In Dutch, @code{aes} is contracted to
101 @code{as}, but both forms are accepted. Similarly, both
102 @code{es} and @code{ees} are accepted.
104 Half-flats and half-sharps are formed by adding @code{-eh} and
105 @code{-ih}; the following is a series of Cs with increasing pitches:
107 @cindex quarter tones
108 @cindex semi-flats, semi-sharps
110 @lilypond[verbatim,relative=2]
122 There are predefined sets of note names for various other languages.
123 To use them, include the language specific init file. For
124 example: @code{\include "english.ly"}. The available language files
125 and the note names they define are:
130 Note Names sharp flat
131 nederlands.ly c d e f g a bes b -is -es
132 english.ly c d e f g a bf b -s/-sharp -f/-flat
134 deutsch.ly c d e f g a b h -is -es
135 norsk.ly c d e f g a b h -iss/-is -ess/-es
136 svenska.ly c d e f g a b h -iss -ess
137 italiano.ly do re mi fa sol la sib si -d -b
138 catalan.ly do re mi fa sol la sib si -d/-s -b
139 espanol.ly do re mi fa sol la sib si -s -b
148 The optional octave specification takes the form of a series of
149 single quote (`@code{'}') characters or a series of comma
150 (`@code{,}') characters. Each @code{'} raises the pitch by one
151 octave; each @code{,} lowers the pitch by an octave:
153 @lilypond[fragment,verbatim]
154 c' c'' es' g' as' gisis' ais'
160 Notes can be hidden and unhidden with the following commands:
162 @cindex @code{\hideNotes}
164 @cindex @code{\unHideNotes}
170 Program reference: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
172 @node Chromatic alterations
173 @subsection Chromatic alterations
175 Normally accidentals are printed automatically, but you may also
176 print them manually. A reminder accidental
177 @cindex reminder accidental
179 can be forced by adding an exclamation mark @code{!}
180 after the pitch. A cautionary accidental
181 @cindex cautionary accidental
182 @cindex parenthesized accidental
183 (i.e. an accidental within parentheses) can be obtained by adding the
184 question mark `@code{?}' after the pitch:
186 @lilypond[fragment,verbatim]
187 cis' cis' cis'! cis'?
193 The automatic production of accidentals can be tuned in many
194 ways. For more information, refer to @ref{Accidentals}.
199 There are no generally accepted standards for denoting three quarter
200 flats, so LilyPond's symbol does not conform to any standard.
205 A chord is formed by a enclosing a set of pitches in @code{<} and
206 @code{>}. A chord may be followed by a duration, and a set of
207 articulations, just like simple notes.
220 Rests are entered like notes, with the note name @code{r}:
222 @lilypond[raggedright,verbatim]
226 Whole bar rests, centered in middle of the bar,
227 must be done with multi-measure rests. They are discussed in
228 @ref{Multi measure rests}.
231 A rest's vertical position may be explicitly specified by entering a
232 note with the @code{\rest} keyword appended. This makes manual
233 formatting in polyphonic music easier. Rest collision testing will
234 leave these rests alone:
236 @lilypond[raggedright,verbatim]
242 Program reference: @internalsref{RestEvent}, and @internalsref{Rest}.
249 @cindex Invisible rest
252 An invisible rest (also called a `skip') can be entered like a note
253 with note name `@code{s}' or with @code{\skip @var{duration}}:
255 @lilypond[raggedright,verbatim]
259 The @code{s} syntax is only available in note mode and chord mode. In
260 other situations, you should use the @code{\skip} command:
262 @lilypond[raggedright,verbatim]
265 { \time 4/8 \skip 2 \time 4/4 }
266 \notes\relative c'' { a2 a1 }
271 The skip command is merely an empty musical placeholder. It does not
272 produce any output, not even transparent output.
274 The @code{s} skip command does create @internalsref{Staff} and
275 @internalsref{Voice} when necessary, similar to note and rest
276 commands. For example, the following results in an empty staff.
278 @lilypond[raggedright,verbatim]
279 \score { \notes { s4 } }
282 The same fragment using @code{\skip} results in an empty page.
286 Program reference: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
291 @subsection Durations
297 In Note, Chord, and Lyrics mode, durations are designated by numbers
298 and dots: durations are entered as their reciprocal values. For example,
299 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
300 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
301 longer than a whole you must use variables:
305 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
307 r1 r2 r4 r8 r16 r32 r64 r64
312 \notes \relative c'' {
313 a\breve*1/2 \autoBeamOff
314 a1 a2 a4 a8 a16 a32 a64 a64
315 r\longa*1/4 r\breve *1/2
316 r1 r2 r4 r8 r16 r32 r64 r64
322 \remove "Clef_engraver"
323 \override StaffSymbol #'transparent = ##t
324 \override TimeSignature #'transparent = ##t
325 \override BarLine #'transparent = ##t
326 \consists "Pitch_squash_engraver"
333 If the duration is omitted then it is set to the previously entered
334 duration. The default for the first note is a quarter note. The duration
335 can be followed by dots (`@code{.}') in order to obtain dotted note
339 @lilypond[fragment,verbatim]
340 a' b' c''8 b' a'4 a'4. b'4.. c'8.
345 You can alter the length of duration by a fraction @var{N/M}
346 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
347 will not affect the appearance of the notes or rests produced.
348 In the following example, the first three notes take up exactly two
350 @lilypond[fragment,relative=2,verbatim]
352 a4*2/3 gis4*2/3 a4*2/3
359 Dots are normally moved up to avoid staff lines, except in polyphonic
360 situations. The following commands may be used to force a particular
363 @cindex @code{\dotsUp}
365 @cindex @code{\dotsDown}
367 @cindex @code{\dotsBoth}
372 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
377 Whenever a note is found, a @internalsref{Stem} object is created
378 automatically. For whole notes and rests, they are also created but
383 @cindex @code{\stemUp}
385 @cindex @code{\stemDown}
387 @cindex @code{\stemBoth}
398 A tie connects two adjacent note heads of the same pitch. The tie in
399 effect extends the length of a note. Ties should not be confused with
400 slurs, which indicate articulation, or phrasing slurs, which indicate
401 musical phrasing. A tie is entered using the tilde symbol `@code{~}':
403 @lilypond[fragment,verbatim]
404 e' ~ e' <c' e' g'> ~ <c' e' g'>
407 When a tie is applied to a chord, all note heads whose pitches match
408 are connected. When no note heads match, no ties will be created.
410 In its meaning a tie is just a way of extending a note duration, similar
411 to the augmentation dot; in the following example there are two ways of
412 notating exactly the same concept:
414 @lilypond[fragment,raggedright]
415 \time 3/4 c'2. c'2 ~ c'4
417 If you need to tie a lot of notes over bars, it may be easier to use automatic
418 note splitting (see @ref{Automatic note splitting}).
423 @cindex @code{\tieUp}
425 @cindex @code{\tieDown}
427 @cindex @code{\tieBoth}
429 @cindex @code{\tieDotted}
431 @cindex @code{\tieSolid}
436 In this manual: @ref{Automatic note splitting}.
438 Program reference: @internalsref{TieEvent}, @internalsref{Tie}.
440 For tying only a subset of the note heads of a pair of chords, see
441 @inputfileref{input/regression,tie-chord-partial.ly}.
446 Switching staves when a tie is active will not produce a slanted tie.
448 Formatting of ties is a difficult subject. The results are often not
458 @cindex @code{\times}
460 Tuplets are made out of a music expression by multiplying all durations
463 @cindex @code{\times}
465 \times @var{fraction} @var{musicexpr}
469 The duration of @var{musicexpr} will be multiplied by the fraction.
470 The fraction's denominator will be printed over the notes, optionally
471 with a bracket. The most common tuplet is the triplet in which 3
472 notes have the length of 2, so the notes are 2/3 of their written
475 @lilypond[fragment,verbatim]
476 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
479 The property @code{tupletSpannerDuration} specifies how long each
480 bracket should last. With this, you can make lots of tuplets while
481 typing @code{\times} only once, saving lots of typing. In the next
482 example, there are two triplets shown, while @code{\times} was only
485 @lilypond[fragment,relative,raggedright,verbatim]
486 \set tupletSpannerDuration = #(ly:make-moment 1 4)
487 \times 2/3 { c'8 c c c c c }
490 The format of the number is determined by the property
491 @code{tupletNumberFormatFunction}. The default prints only the
492 denominator, but if it is set to the Scheme function
493 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
497 @cindex @code{tupletNumberFormatFunction}
498 @cindex tuplet formatting
503 @cindex @code{\tupletUp}
505 @cindex @code{\tupletDown}
507 @cindex @code{\tupletBoth}
512 Program reference: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
514 Examples: @inputfileref{input/regression,tuplet-nest.ly}.
518 Nested tuplets are not formatted automatically. In this case, outer
519 tuplet brackets should be moved manually, which is demonstrated in
520 @inputfileref{input/regression,tuplet-nest.ly}.
524 @node Easier music entry
525 @section Easier music entry
528 This section deals with tricks and features of the input language that
529 were added solely to help entering music, finding and correcting
530 mistakes. There are also external tools that make debugging easier.
531 See @ref{Point and click} for more information.
533 It is also possible to enter and edit music using other programs. For
534 example, GUI interfaces, or MIDI sequencers. Refer to the LilyPond
535 website for more information.
542 * Skipping corrected music::
543 * Automatic note splitting::
549 @node Relative octaves
550 @subsection Relative octaves
552 @cindex relative octave specification
554 Octaves are specified by adding @code{'} and @code{,} to pitch names.
555 When you copy existing music, it is easy to accidentally put a pitch
556 in the wrong octave and hard to find such an error. The relative
557 octave mode prevents these errors: a single error puts the rest of the
558 piece off by one octave:
560 @cindex @code{\relative}
562 \relative @var{startpitch} @var{musicexpr}
565 The octave of notes that appear in @var{musicexpr} are calculated as
566 follows: If no octave changing marks are used, the basic interval
567 between this and the last note is always taken to be a fourth or
568 less. This distance is determined without regarding alterations; a
569 @code{fisis} following a @code{ceses} will be put above the
572 The octave changing marks @code{'} and @code{,} can be added to raise
573 or lower the pitch by an extra octave. Upon entering relative mode,
574 an absolute starting pitch must be specified that will act as the
575 predecessor of the first note of @var{musicexpr}.
577 Here is the relative mode shown in action:
578 @lilypond[fragment,raggedright,verbatim]
584 Octave changing marks are used for intervals greater than a fourth:
585 @lilypond[fragment,verbatim]
590 If the preceding item is a chord, the first note of the chord is used
591 to determine the first note of the next chord:
593 @lilypond[fragment,verbatim]
600 @cindex @code{\notes}
602 The pitch after the @code{\relative} contains a note name. To parse
603 the note name as a pitch, it must surrounded by @code{\notes}
605 The relative conversion will not affect @code{\transpose},
606 @code{\chords} or @code{\relative} sections in its argument. If you
607 want to use relative within transposed music, you must place an
608 additional @code{\relative} inside the @code{\transpose}.
611 @subsection Octave check
614 Octave checks make octave errors easier to correct: a note may be
615 followed by @code{=}@var{quotes} which indicates what its absolute
616 octave should be. In the following example,
618 \relative c'' @{ c='' b=' d,='' @}
622 @c take care with @code, adds confusing quotes.
623 the d will generate a warning, because a d'' is expected, but a d' is
624 found. In the output, the octave is corrected for this and the
629 There is also a syntax that is separate from the notes.
634 This checks that @var{pitch} (without octave) yields @var{pitch} (with
635 octave) in \relative mode. If not, a warning is printed, and the
636 octave is corrected, for example, the first check is passed
637 successfully. The second check fails with an error message. The
638 octave is adjusted so the following notes are in the correct octave
649 The octave of a note following an octave check is determined with
650 respect to the note preceding it. In the next fragment, the last note
651 is a @code{a'}, above middle C. Hence, the @code{\octave} check may
652 be deleted without changing the meaning of the piece.
654 @lilypond[verbatim,fragment]
663 @subsection Bar check
667 @cindex @code{barCheckSynchronize}
670 Bar checks help detect errors in the durations. A bar check is
671 entered using the bar symbol, `@code{|}'. Whenever it is encountered
672 during interpretation, it should fall on a measure boundary. If it
673 does not, a warning is printed. In the next example, the second bar
674 check will signal an error:
676 \time 3/4 c2 e4 | g2 |
679 Bar checks can also be used in lyrics, for example
684 Twin -- kle | Twin -- kle
689 @cindex skipTypesetting
691 Failed bar checks are caused by entering incorrect
692 durations. Incorrect durations often completely garble up the score,
693 especially if it is polyphonic, so you should start correcting the
694 score by scanning for failed bar checks and incorrect durations. To
695 speed up this process, you can use @code{skipTypesetting}, described
698 @node Skipping corrected music
699 @subsection Skipping corrected music
701 The property @code{Score.skipTypesetting} can be used to switch on and
702 off typesetting completely during the interpretation phase. When
703 typesetting is switched off, the music is processed much more quickly.
704 This can be used to skip over the parts of a score that have already
705 been checked for errors:
707 @lilypond[fragment,raggedright,verbatim]
709 \set Score.skipTypesetting = ##t
711 \set Score.skipTypesetting = ##f
715 @node Automatic note splitting
716 @subsection Automatic note splitting
718 Long notes can be converted automatically to tied notes. This is done
719 by replacing the @internalsref{Note_heads_engraver} by the
720 @internalsref{Completion_heads_engraver}.
721 In the following examples, notes crossing the bar line are split and tied.
724 @lilypond[noindent,verbatim,relative=1]
726 \remove "Note_heads_engraver"
727 \consists "Completion_heads_engraver"
729 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
733 This engraver splits all running notes at the bar line, and inserts
734 ties. One of its uses is to debug complex scores: if the measures are
735 not entirely filled, then the ties exactly show how much each measure
740 Not all durations (especially those containing tuplets) can be
741 represented exactly; the engraver will not insert tuplets.
745 Examples: @inputfileref{input/regression,completion-heads.ly}.
747 Program reference: @internalsref{Completion_heads_engraver}.
751 @section Staff notation
753 This section describes music notation that occurs on staff level,
754 such as keys, clefs and time signatures.
756 @cindex Staff notation
770 @subsection Staff symbol
772 @cindex adjusting staff symbol
774 Notes, dynamic signs, etc. are grouped
775 with a set of horizontal lines, into a staff (plural `staves'). In our
776 system, these lines are drawn using a separate layout object called
780 @cindex staff lines, setting number of
781 @cindex staff lines, setting thickness of
782 @cindex thickness of staff lines, setting
783 @cindex number of staff lines, setting
787 Program reference: @internalsref{StaffSymbol}.
789 Examples: @inputfileref{input/test,staff-lines.ly},
790 @inputfileref{input/test,staff-size.ly}.
794 If a staff is ended halfway a piece, the staff symbol may not end
795 exactly on the bar line.
799 @subsection Key signature
800 @cindex Key signature
804 The key signature indicates the scale in which a piece is played. It
805 is denoted by a set of alterations (flats or sharps) at the start of
809 Setting or changing the key signature is done with the @code{\key}
812 @code{\key} @var{pitch} @var{type}
815 @cindex @code{\minor}
816 @cindex @code{\major}
817 @cindex @code{\minor}
818 @cindex @code{\ionian}
819 @cindex @code{\locrian}
820 @cindex @code{\aeolian}
821 @cindex @code{\mixolydian}
822 @cindex @code{\lydian}
823 @cindex @code{\phrygian}
824 @cindex @code{\dorian}
826 Here, @var{type} should be @code{\major} or @code{\minor} to get
827 @var{pitch}-major or @var{pitch}-minor, respectively.
828 The standard mode names @code{\ionian},
829 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
830 @code{\phrygian}, and @code{\dorian} are also defined.
832 This command sets the context property
833 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
834 can be specified by setting this property directly.
836 Accidentals and key signatures often confuse new users, because
837 unaltered notes get natural signs depending on the key signature. For
838 more information, see @ref{More about pitches}.
842 The ordering of a key cancellation is wrong when it is combined with
843 repeat bar lines. The cancellation is also printed after a line break.
847 Program reference: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
849 @cindex @code{keySignature}
856 The clef indicates which lines of the staff correspond to which
860 The clef can be set or changed with the @code{\clef} command:
861 @lilypond[fragment,verbatim]
862 \key f\major c''2 \clef alto g'2
865 Supported clef-names include:
866 @c Moved standard clefs to the top /MB
870 @item treble, violin, G, G2
883 G clef on 1st line, so-called French violin clef
888 @cindex mezzosoprano clef
891 @cindex baritone clef
894 @cindex varbaritone clef
905 By adding @code{_8} or @code{^8} to the clef name, the clef is
906 transposed one octave down or up, respectively, and @code{_15} and
907 @code{^15} transposes by two octaves. The argument @var{clefname}
908 must be enclosed in quotes when it contains underscores or digits. For
912 @cindex choral tenor clef
913 @lilypond[verbatim,fragment,relative]
917 This command is equivalent to setting @code{clefGlyph},
918 @code{clefPosition} (which controls the Y position of the clef),
919 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
920 when any of these properties are changed.
924 Program reference: the object for this symbol is @internalsref{Clef}.
928 @node Ottava brackets
929 @subsection Ottava brackets
931 ``Ottava'' brackets introduce an extra transposition of an octave for
932 the staff. They are created by invoking the function
933 @code{set-octavation}:
939 @lilypond[verbatim,fragment]
948 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
949 (for 15ma) as arguments. Internally the function sets the properties
950 @code{ottavation} (e.g. to @code{"8va"}) and
951 @code{centralCPosition}. For overriding the text of the bracket, set
952 @code{ottavation} after invoking @code{set-octavation}, i.e.,
956 \set Staff.ottavation = #"8"
961 Program reference: @internalsref{OttavaBracket}.
963 Examples: @inputfileref{input/regression,ottava.ly},
964 @inputfileref{input/regression,ottava-broken.ly}.
968 @code{set-octavation} will get confused when clef changes happen
969 during an octavation bracket.
972 @subsection Time signature
973 @cindex Time signature
977 Time signature indicates the metrum of a piece: a regular pattern of
978 strong and weak beats. It is denoted by a fraction at the start of the
982 The time signature is set or changed by the @code{\time}
984 @lilypond[fragment,verbatim]
985 \time 2/4 c'2 \time 3/4 c'2.
988 The symbol that is printed can be customized with the @code{style}
989 property. Setting it to @code{#'()} uses fraction style for 4/4 and
990 2/2 time. There are many more options for its layout. See
991 @inputfileref{input/test,time.ly} for more examples.
994 This command sets the property @code{timeSignatureFraction},
995 @code{beatLength} and @code{measureLength} in the @code{Timing}
996 context, which is normally aliased to @internalsref{Score}. The
997 property @code{measureLength} determines where bar lines should be
998 inserted, and how automatic beams should be generated. Changing the
999 value of @code{timeSignatureFraction} also causes the symbol to be
1002 More options are available through the Scheme function
1003 @code{set-time-signature}. In combination with the
1004 @internalsref{Measure_grouping_engraver}, it will create
1005 @internalsref{MeasureGrouping} signs. Such signs ease reading
1006 rhythmically complex modern music. In the following example, the 9/8
1007 measure is subdivided in 2, 2, 2 and 3. This is passed to
1008 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
1011 \score { \notes \relative c'' {
1012 #(set-time-signature 9 8 '(2 2 2 3))
1013 g8[ g] d[ d] g[ g] a8[( bes g]) |
1014 #(set-time-signature 5 8 '(3 2))
1019 \context { \StaffContext
1020 \consists "Measure_grouping_engraver"
1026 Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1031 Automatic beaming does not use the measure grouping specified with
1032 @code{set-time-signature}.
1034 @node Partial measures
1035 @subsection Partial measures
1038 @cindex partial measure
1039 @cindex measure, partial
1040 @cindex shorten measures
1041 @cindex @code{\partial}
1043 Partial measures, for example in upsteps, are entered using the
1044 @code{\partial} command:
1045 @lilypond[fragment,verbatim,relative=1]
1046 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1049 The syntax for this command is
1051 \partial @var{duration}
1053 This is internally translated into
1055 \set Timing.measurePosition = -@var{length of duration}
1058 The property @code{measurePosition} contains a rational number
1059 indicating how much of the measure has passed at this point.
1061 @node Unmetered music
1062 @subsection Unmetered music
1064 Bar lines and bar numbers are calculated automatically. For unmetered
1065 music (e.g. cadenzas), this is not desirable. By setting
1066 @code{Score.timing} to false, this automatic timing can be switched
1067 off. Empty bar lines,
1074 indicate where line breaks can occur.
1080 @cindex @code{\cadenzaOn}
1082 @cindex @code{\cadenzaOff}
1086 @subsection Bar lines
1090 @cindex measure lines
1094 Bar lines delimit measures, but are also used to indicate repeats.
1095 Normally, they are inserted automatically. Line breaks may only
1096 happen on bar lines.
1100 of bar lines can be forced with the @code{\bar} command:
1102 @lilypond[relative=1,fragment,verbatim]
1106 The following bar types are available:
1107 @lilypond[fragment,relative,raggedright,verbatim]
1120 For allowing line breaks, there is a special command,
1124 This will insert an invisible bar line, and allow line breaks at this
1127 In scores with many staves, a @code{\bar} command in one staff is
1128 automatically applied to all staves. The resulting bar lines are
1129 connected between different staves of a @internalsref{StaffGroup}:
1131 @lilypond[fragment,verbatim]
1132 << \context StaffGroup <<
1136 \new Staff { \clef bass c4 g e g } >>
1137 \new Staff { \clef bass c2 c2 } >>
1140 A bar line is created whenever the @code{whichBar} property is set.
1141 At the start of a measure it is set to the contents of
1142 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1143 to override default measure bars.
1145 The command @code{\bar }@var{bartype} is a short cut for doing
1146 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1147 is set to a string, a bar line of that type is created.
1150 @cindex repeatCommands
1151 @cindex defaultBarType
1153 You are encouraged to use @code{\repeat} for repetitions. See
1160 In this manual: @ref{Repeats}.
1163 Program reference: the bar line objects that are created at
1164 @internalsref{Staff} level are called @internalsref{BarLine}, the bar
1165 lines that span staves are @internalsref{SpanBar} objects.
1167 @cindex bar lines at start of system
1168 @cindex start of system
1170 The bar lines at the start of each system are
1171 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1172 @internalsref{SystemStartBracket}. Only one of these types is created
1173 in every context, and that type is determined by the property
1174 @code{systemStartDelimiter}.
1176 Examples: @inputfileref{input/test,bar-lines.ly},
1182 The easiest way to enter fragments with more than one voice on a staff
1183 is to split chords using the separator @code{\\}. You can use it for
1184 small, short-lived voices or for single chords:
1186 @lilypond[verbatim,fragment]
1187 \context Staff \relative c'' {
1188 c4 << { f d e } \\ { b c2 } >>
1189 c4 << g' \\ b, \\ f' \\ d >>
1193 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1194 voices are sometimes called "layers" other notation packages}
1196 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1197 each of these contexts, vertical direction of slurs, stems, etc. is set
1200 @cindex @code{\voiceOne}
1201 @cindex @code{\voiceFour}
1203 This can also be done by instantiating @internalsref{Voice} contexts
1204 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1205 a stem directions and horizontal shift for each part:
1208 @lilypond[raggedright,verbatim]
1210 \context Staff << \new Voice { \voiceOne cis2 b }
1211 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1212 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1216 The command @code{\oneVoice} will revert back to the normal setting.
1217 @cindex @code{\oneVoice}
1220 Normally, note heads with a different number of dots are not merged, but
1221 when the object property @code{merge-differently-dotted} is set in
1222 the @internalsref{NoteCollision} object, they are merged:
1223 @lilypond[verbatim,fragment,raggedright]
1224 \relative c'' \context Voice << {
1226 \override Staff.NoteCollision
1227 #'merge-differently-dotted = ##t
1229 } \\ { g8.[ f16] g8.[ f16] }
1233 Similarly, you can merge half note heads with eighth notes, by setting
1234 @code{merge-differently-headed}:
1235 @lilypond[fragment,relative=2,verbatim]
1238 \override Staff.NoteCollision
1239 #'merge-differently-headed = ##t
1240 c8 c4. } \\ { c2 c2 } >>
1243 LilyPond also vertically shifts rests that are opposite of a stem:
1246 @lilypond[raggedright,fragment,verbatim]
1247 \context Voice << c''4 \\ r4 >>
1255 @cindex @code{\oneVoice}
1257 @cindex @code{\voiceOne}
1259 @cindex @code{\voiceTwo}
1261 @cindex @code{\voiceThree}
1263 @cindex @code{\voiceFour}
1267 The following commands specify in what chords of the current voice
1268 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1269 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1272 @cindex @code{\shiftOn}
1274 @cindex @code{\shiftOnn}
1276 @cindex @code{\shiftOnnn}
1278 @cindex @code{\shiftOff}
1285 Program reference: the objects responsible for resolving collisions are
1286 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1288 Examples: See also example files
1289 @inputfileref{input/regression,collision-dots.ly},
1290 @inputfileref{input/regression,collision-head-chords.ly},
1291 @inputfileref{input/regression,collision-heads.ly},
1292 @inputfileref{input/regression,collision-mesh.ly}, and
1293 @inputfileref{input/regression,collisions.ly}.
1298 Resolving collisions is a intricate subject, and only a few situations
1299 are handled. When LilyPond cannot cope, the @code{force-hshift}
1300 property of the @internalsref{NoteColumn} object and pitched rests can
1301 be used to override typesetting decisions.
1303 When using @code{merge-differently-headed} with an upstem eighth or a
1304 shorter note, and a downstem half note, the eighth note gets the wrong
1307 There is no support for clusters where the same note occurs with
1308 different accidentals in the same chord. In this case, it is
1309 recommended to use enharmonic transcription, or to use special cluster
1310 notation (see @ref{Clusters}).
1315 Beams are used to group short notes into chunks that are aligned with
1316 the metrum. They are inserted automatically
1318 @lilypond[fragment,verbatim,relative=2]
1319 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1322 When these automatic decisions are not good enough, beaming can be
1323 entered explicitly. It is also possible to define beaming patterns
1324 that differ from the defaults.
1326 Individual notes may be marked with @code{\noBeam}, to prevent them
1329 @lilypond[fragment,verbatim,relative=2]
1330 \time 2/4 c8 c\noBeam c c
1336 Program reference: @internalsref{Beam}.
1339 @cindex Automatic beams
1342 * Setting automatic beam behavior::
1346 @subsection Manual beams
1347 @cindex beams, manual
1351 In some cases it may be necessary to override the automatic beaming
1352 algorithm. For example, the autobeamer will not put beams over rests
1353 or bar lines. Such beams are specified by manually: the begin and end
1354 point are marked with @code{[} and @code{]}:
1356 @lilypond[fragment,relative,verbatim]
1358 r4 r8[ g' a r8] r8 g[ | a] r8
1362 @cindex @code{stemLeftBeamCount}
1364 Normally, beaming patterns within a beam are determined automatically.
1365 If necessary, the properties @code{stemLeftBeamCount} and
1366 @code{stemRightBeamCount} can be used to override the defaults. If
1367 either property is set, its value will be used only once, and then it
1370 @lilypond[fragment,relative,verbatim]
1373 f8[ r16 \set stemLeftBeamCount = #1 f g a]
1376 @cindex @code{stemRightBeamCount}
1379 The property @code{subdivideBeams} can be set in order to subdivide
1380 all 16th or shorter beams at beat positions, as defined by the
1381 @code{beatLength} property.
1384 @lilypond[relative=1,verbatim,noindent]
1386 \set subdivideBeams = ##t
1388 \set Score.beatLength = #(ly:make-moment 1 8)
1391 @cindex subdivideBeams
1393 Kneed beams are inserted automatically, when a large gap is detected
1394 between the note heads. This behavior can be tuned through the object
1395 property @code{auto-knee-gap}.
1397 Normally, line breaks are forbidden when beams cross bar lines. This
1398 behavior can be changed by setting @code{allowBeamBreak}.
1400 @cindex @code{allowBeamBreak}
1401 @cindex beams and line breaks
1403 @cindex beams, kneed
1405 @cindex auto-knee-gap
1411 @cindex Frenched staves
1413 Automatically kneed cross-staff beams cannot be used together with
1419 @node Setting automatic beam behavior
1420 @subsection Setting automatic beam behavior
1422 @cindex @code{autoBeamSettings}
1423 @cindex @code{(end * * * *)}
1424 @cindex @code{(begin * * * *)}
1425 @cindex automatic beams, tuning
1426 @cindex tuning automatic beaming
1428 @c [TODO: use \applycontext]
1430 In normal time signatures, automatic beams can start on any note but can
1431 only end in a few positions within the measure: beams can end on a beat,
1432 or at durations specified by the properties in
1433 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
1434 are defined in @file{scm/auto-beam.scm}.
1436 The value of @code{autoBeamSettings} is changed with two functions,
1438 #(override-auto-beam-setting
1439 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
1441 #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m}))
1443 Here, @var{be} is the symbol @code{begin} or @code{end}, and
1444 @var{context} is an optional context (default: @code{'Voice}). It
1445 determines whether the rule applies to begin or end-points. The
1446 quantity @var{p}/@var{q} refers to the length of the beamed notes (and
1447 `@code{* *}' designates notes of any length), @var{n}/@var{M} refers
1448 to a time signature (wildcards `@code{* *}' may be entered to
1449 designate all time signatures), @var{a}/@var{b} is a duration. By
1450 default, this command changes settings for the current voice. It is
1451 also possible to adjust settings at higher contexts, by adding a
1452 @var{context} argument.
1454 For example, if automatic beams should end on every quarter note, use
1457 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1459 Since the duration of a quarter note is 1/4 of a whole note, it is
1460 entered as @code{(ly:make-moment 1 4)}.
1462 The same syntax can be used to specify beam starting points. In this
1463 example, automatic beams can only end on a dotted quarter note:
1465 #(override-auto-beam-setting '(end * * * *) 3 8)
1467 In 4/4 time signature, this means that automatic beams could end only on
1468 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1469 3/8, has passed within the measure).
1471 Rules can also be restricted to specific time signatures. A rule that
1472 should only be applied in @var{N}/@var{M} time signature is formed by
1473 replacing the second asterisks by @var{N} and @var{M}. For example, a
1474 rule for 6/8 time exclusively looks like
1476 #(override-auto-beam-setting '(begin * * 6 8) @dots{})
1479 If a rule should be to applied only to certain types of beams, use the
1480 first pair of asterisks. Beams are classified according to the
1481 shortest note they contain. For a beam ending rule that only applies
1482 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1485 If a score ends while an automatic beam has not been ended and is still
1486 accepting notes, this last beam will not be typeset at all.
1488 @cindex automatic beam generation
1490 @cindex @code{autoBeaming}
1493 If beams are used to indicate melismata in songs, then automatic
1494 beaming should be switched off. This is done by setting
1495 @code{autoBeaming} to @code{#f}.
1499 @cindex @code{\autoBeamOff}
1500 @code{\autoBeamOff},
1501 @cindex @code{\autoBeamOn}
1507 The rules for ending a beam depend on the shortest note in a beam.
1508 So, while it is possible to have different ending rules for eight
1509 beams and sixteenth beams, a beam that contains both eight and
1510 sixteenth notes will use the rules for the sixteenth beam.
1512 In the example below, the autobeamer makes eight beams and sixteenth
1513 end at 3 eights; the third beam can only be corrected by specifying
1516 @lilypond[raggedright,fragment,relative]
1517 #(override-auto-beam-setting '(end * * * *) 3 8)
1518 % rather show case where it goes wrong
1519 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1520 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1522 It is not possible to specify beaming parameters that act differently in
1523 different parts of a measure. This means that it is not possible to use
1524 automatic beaming in irregular meters such as @code{5/8}.
1527 @section Accidentals
1530 This section describes how to change the way that accidentals are
1531 inserted automatically before the running notes.
1533 Common rules for typesetting accidentals have been canned in a
1534 function. This function is called as follows:
1536 @cindex @code{set-accidental-style}
1538 #(set-accidental-style 'modern 'Voice)
1541 The function takes two arguments: a symbol that denotes the style (in
1542 the example, @code{modern}), and another symbol that denotes the
1543 context name (in this example, @code{Voice}). If no context name is
1544 supplied, @code{Staff} is the default.
1546 The following styles are supported:
1549 This is the default typesetting behavior. It should correspond
1550 to 18th century common practice: Accidentals are
1551 remembered to the end of the measure in which they occur and
1552 only on their own octave.
1556 The normal behavior is to remember the accidentals on
1557 Staff-level. This variable, however, typesets accidentals
1558 individually for each voice. Apart from that, the rule is similar to
1561 This leads to some weird and often unwanted results
1562 because accidentals from one voice do not get canceled in other
1564 @lilypond[raggedright,relative,fragment,verbatim]
1566 #(set-accidental-style 'voice)
1572 Hence you should only use @code{voice} if the voices
1573 are to be read solely by individual musicians. If the staff is to be
1574 used by one musician (e.g. a conductor) then you use
1575 @code{modern} or @code{modern-cautionary}
1579 @cindex @code{modern} style accidentals
1580 This rule corresponds to the common practice in the 20th
1582 This rule prints the same accidentals as @code{default}, but temporary
1583 accidentals also are canceled in other octaves. Furthermore,
1584 in the same octave, they also get canceled in the following
1587 @lilypond[raggedright,fragment,verbatim]
1588 #(set-accidental-style 'modern)
1589 cis' c'' cis'2 | c'' c'
1592 @item @code{modern-cautionary}
1593 @cindex @code{modern-cautionary}
1594 This rule is similar to @code{modern}, but the
1595 ``extra'' accidentals (the ones not typeset by
1596 @code{default}) are typeset as cautionary accidentals.
1597 They are printed in reduced size or with parentheses:
1598 @lilypond[raggedright,fragment,verbatim]
1599 #(set-accidental-style 'modern-cautionary)
1600 cis' c'' cis'2 | c'' c'
1603 @cindex @code{modern-voice}
1605 This rule is used for multivoice accidentals to be read both by musicians
1606 playing one voice and musicians playing all voices. Accidentals are
1607 typeset for each voice, but they @emph{are} canceled across voices in
1608 the same @internalsref{Staff}.
1610 @cindex @code{modern-voice-cautionary}
1611 @item modern-voice-cautionary
1612 This rule is the same as @code{modern-voice}, but with the extra
1613 accidentals (the ones not typeset by @code{voice}) typeset
1614 as cautionaries. Even though all accidentals typeset by
1615 @code{default} @emph{are} typeset by this variable then
1616 some of them are typeset as cautionaries.
1619 @cindex @code{piano} accidentals
1620 This rule reflects 20th century practice for piano notation. Very similar to
1621 @code{modern} but accidentals also get canceled
1622 across the staves in the same @internalsref{GrandStaff} or
1623 @internalsref{PianoStaff}.
1625 @item piano-cautionary
1626 @cindex @code{#(set-accidental-style 'piano-cautionary)}
1627 As @code{#(set-accidental-style 'piano)' , str)} but with the extra accidentals
1628 typeset as cautionaries.
1631 @cindex @code{no-reset} accidental style
1633 This is the same as @code{default} but with accidentals lasting
1634 ``forever'' and not only until the next measure:
1635 @lilypond[raggedright,fragment,verbatim,relative]
1636 #(set-accidental-style 'no-reset)
1641 This is sort of the opposite of @code{no-reset}: Accidentals
1642 are not remembered at all---and hence all accidentals are
1643 typeset relative to the key signature, regardless of what was
1644 before in the music:
1646 @lilypond[raggedright,fragment,verbatim,relative]
1647 #(set-accidental-style 'forget)
1648 \key d\major c4 c cis cis d d dis dis
1655 Program reference: @internalsref{Accidental_engraver},
1656 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1661 Simultaneous notes are considered to be entered in sequential
1662 mode. This means that in a chord the accidentals are typeset as if the
1663 notes in the chord happened once at a time - in the order in which
1664 they appear in the input file.
1666 This is only a problem when accidentals in a chord depend on each
1667 other. This problem can be solved by manually inserting @code{!} and
1668 @code{?} for the problematic notes.
1670 In the default scheme, accidentals only depend on other
1671 accidentals with the same pitch on the same staff, so no conflicts are
1674 @node Expressive marks
1675 @section Expressive marks
1678 @c todo: should change ordering
1679 @c where to put text spanners, metronome marks,
1688 * Analysis brackets::
1690 * Fingering instructions::
1701 A slur indicates that notes are to be played bound or @emph{legato}.
1704 They are entered using parentheses:
1705 @lilypond[relative=1,fragment,verbatim]
1706 f( g)( a) a8 b( a4 g2 f4)
1711 @c TODO: should explain that ^( and _( set directions
1712 @c should set attachments with ^ and _ ?
1714 Slurs avoid crossing stems, and are generally attached to note heads.
1715 However, in some situations with beams, slurs may be attached to stem
1716 ends. If you want to override this layout you can do this through the
1717 object property @code{attachment} of @internalsref{Slur}. Its value
1718 is a pair of symbols, specifying the attachment type of the left and
1721 @lilypond[fragment,relative,verbatim]
1723 \override Stem #'length = #5.5
1725 \override Slur #'attachment = #'(stem . stem)
1729 If a slur would strike through a stem or beam, the slur will be moved
1730 away upward or downward. If this happens, attaching the slur to the
1731 stems might look better:
1733 @lilypond[fragment,relative,verbatim]
1736 \override Slur #'attachment = #'(stem . stem)
1743 @cindex @code{\slurUp}
1745 @cindex @code{\slurDown}
1747 @cindex @code{\slurBoth}
1749 @cindex @code{\slurDotted}
1751 @cindex @code{\slurSolid}
1756 Program reference: @seeinternals{Slur}, and @internalsref{SlurEvent}.
1761 Producing nice slurs is a difficult problem, and LilyPond
1762 uses a simple, empiric method to produce slurs. In some cases, its
1766 @cindex Adjusting slurs
1768 @node Phrasing slurs
1769 @subsection Phrasing slurs
1771 @cindex phrasing slurs
1772 @cindex phrasing marks
1774 A phrasing slur (or phrasing mark) connects chords and is used to
1775 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1778 @lilypond[fragment,verbatim,relative]
1779 \time 6/4 c'\( d( e) f( e) d\)
1782 Typographically, the phrasing slur behaves almost exactly like a
1783 normal slur. However, they are treated as different objects. A
1784 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1785 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1786 @code{\phrasingSlurBoth}.
1788 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1789 will only affect normal slurs and not phrasing slurs.
1793 @cindex @code{\phrasingSlurUp}
1794 @code{\phrasingSlurUp},
1795 @cindex @code{\phrasingSlurDown}
1796 @code{\phrasingSlurDown},
1797 @cindex @code{\phrasingSlurBoth}
1798 @code{\phrasingSlurBoth}.
1802 Program reference: see also @internalsref{PhrasingSlur}, and
1803 @internalsref{PhrasingSlurEvent}.
1807 Phrasing slurs have the same limitations in their formatting as normal
1808 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1811 @subsection Breath marks
1813 Breath marks are entered using @code{\breathe}:
1816 @lilypond[fragment,relative,verbatim]
1820 The glyph of the breath mark can be tuned by overriding the
1821 @code{text} property of the @code{BreathingSign} layout object with
1822 any markup text. For example,
1823 @lilypond[fragment,verbatim,relative]
1825 \override BreathingSign #'text
1826 = #(make-musicglyph-markup "scripts-rvarcomma")
1833 Program reference: @internalsref{BreathingSign},
1834 @internalsref{BreathingSignEvent}.
1836 Examples: @inputfileref{input/regression,breathing-sign.ly}.
1839 @node Metronome marks
1840 @subsection Metronome marks
1843 @cindex beats per minute
1844 @cindex metronome marking
1846 Metronome settings can be entered as follows:
1848 \tempo @var{duration} = @var{per-minute}
1851 In the MIDI output, they are interpreted as a tempo change, and in the
1852 paper output, a metronome marking is printed:
1853 @cindex @code{\tempo}
1854 @lilypond[fragment,verbatim]
1860 Program reference: @internalsref{MetronomeChangeEvent}.
1865 @subsection Text spanners
1866 @cindex Text spanners
1868 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1869 are written as texts, and extended over many measures with dotted
1870 lines. You can create such texts using text spanners: attach
1871 @code{\startTextSpan} and @code{\stopTextSpan} to the
1872 start and ending note of the spanner.
1874 The string to be printed, as well as the style, is set through object
1877 @lilypond[fragment,relative,verbatim]
1879 \override TextSpanner #'direction = #-1
1880 \override TextSpanner #'edge-text = #'("rall " . "")
1881 c2\startTextSpan b c\stopTextSpan a }
1887 Internals @internalsref{TextSpanEvent},
1888 @internalsref{TextSpanner}.
1890 Examples: @inputfileref{input/regression,text-spanner.ly}.
1893 @node Analysis brackets
1894 @subsection Analysis brackets
1896 @cindex phrasing brackets
1897 @cindex musicological analysis
1898 @cindex note grouping bracket
1900 Brackets are used in musical analysis to indicate structure in musical
1901 pieces. LilyPond supports a simple form of nested horizontal brackets.
1902 To use this, add the @internalsref{Horizontal_bracket_engraver} to
1903 @internalsref{Staff} context. A bracket is started with
1904 @code{\startGroup} and closed with @code{\stopGroup}:
1906 @lilypond[raggedright,verbatim]
1907 \score { \notes \relative c'' {
1908 c4\startGroup\startGroup
1911 c4\stopGroup\stopGroup
1914 \StaffContext \consists "Horizontal_bracket_engraver"
1920 Program reference: @internalsref{HorizontalBracket},
1921 @internalsref{NoteGroupingEvent}.
1923 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
1927 @subsection Articulations
1928 @cindex Articulations
1930 @cindex articulations
1934 A variety of symbols can appear above and below notes to indicate
1935 different characteristics of the performance. They are added to a note
1936 by adding a dash and the character signifying the
1937 articulation. They are demonstrated here:
1939 @lilypondfile[]{script-abbreviations.ly}
1941 The meanings of these shorthands can be changed. See
1942 @file{ly/script-init.ly} for examples.
1945 The script is automatically placed, but if you need to force
1946 directions, you can use @code{_} to force them down, or @code{^} to
1948 @lilypond[fragment,verbatim]
1952 Other symbols can be added using the syntax
1953 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
1954 can be forced up or down using @code{^} and @code{_},
1957 @lilypond[verbatim,fragment,relative=2]
1958 c\fermata c^\fermata c_\fermata
1965 @cindex staccatissimo
1974 @cindex organ pedal marks
1983 @cindex prallmordent
1987 @cindex thumb marking
1992 @lilypondfile[]{script-chart.ly}
1997 @cindex @code{\scriptUp}
1999 @cindex @code{\scriptDown}
2001 @cindex @code{\scriptBoth}
2006 Program reference: @internalsref{ScriptEvent}, and @internalsref{Script}.
2010 These note ornaments appear in the printed output but have no
2011 effect on the MIDI rendering of the music.
2014 @node Fingering instructions
2015 @subsection Fingering instructions
2019 Fingering instructions can be entered using
2021 @var{note}-@var{digit}
2023 For finger changes, use markup texts:
2025 @lilypond[verbatim,raggedright,fragment]
2026 c'4-1 c'4-2 c'4-3 c'4-4
2027 c'^\markup { \finger "2-3" }
2030 @cindex finger change
2035 You can use the thumb-script to indicate that a note should be
2036 played with the thumb (e.g. in cello music):
2038 @lilypond[verbatim,raggedright,fragment]
2039 <a' a''-3>8_\thumb <b' b''-3>_\thumb
2042 Fingerings for chords can also be added to individual notes
2043 of the chord by adding them after the pitches:
2044 @lilypond[verbatim,raggedright,fragment,relative=1]
2045 < c-1 e-2 g-3 b-5 > 4
2049 In this case, setting @code{fingeringOrientations} will put fingerings next
2052 @lilypond[verbatim,raggedright,fragment,relative=1]
2053 \set fingeringOrientations = #'(left down)
2054 <c-1 es-2 g-4 bes-5 > 4
2055 \set fingeringOrientations = #'(up right down)
2056 <c-1 es-2 g-4 bes-5 > 4
2057 \set fingeringOrientations = #'(right)
2061 The last note demonstrates how fingering instructions can be put close
2062 to note heads in monophonic music, using this feature.
2066 Program reference: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2068 Examples: @inputfileref{input/regression,finger-chords.ly}.
2071 @subsection Text scripts
2072 @cindex Text scripts
2074 @cindex text items, non-empty
2075 @cindex non-empty texts
2077 It is possible to place arbitrary strings of text or markup text (see
2078 @ref{Text markup}) above or below notes by using a string:
2079 @code{c^"text"}. By default, these indications do not influence the
2080 note spacing, but by using the command @code{\fatText}, the widths
2081 will be taken into account:
2083 @lilypond[fragment,raggedright,verbatim] \relative c' {
2084 c4^"longtext" \fatText c4_"longlongtext" c4 }
2087 It is possible to use @TeX{} commands in the strings, but this should
2088 be avoided because the exact dimensions of the string can then no
2093 @cindex @code{\fatText}
2095 @cindex @code{\emptyText}
2100 In this manual: @ref{Text markup}.
2102 Program reference: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
2108 @subsection Grace notes
2111 @c should have blurb about accaciatura / appogiatura
2113 @cindex @code{\grace}
2117 Grace notes are ornaments that are written out. The most common ones
2118 are acciaccatura, which should be played as very short. It is denoted
2119 by a slurred small note with a slashed stem. The appoggiatura is a
2120 grace note that takes a fixed fraction of the main note, is and
2121 denoted as a slurred note in small print without a slash.
2122 They are entered with the commands @code{\acciaccatura} and
2123 @code{\appoggiatura}, as demonstrated in the following example:
2126 @cindex appoggiatura
2127 @cindex acciaccatura
2129 @lilypond[relative=2,verbatim,fragment]
2130 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2131 \acciaccatura { g16[ f] } e4
2134 Both are special forms of the @code{\grace} command. By prefixing this
2135 keyword to a music expression, a new one is formed, which will be
2136 printed in a smaller font and takes up no logical time in a measure.
2137 @lilypond[relative=2,verbatim,fragment]
2139 \grace { c16[ d16] } c2 c4
2143 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2144 @code{\grace} command does not start a slur.
2146 Internally, timing for grace notes is done using a second, `grace'
2147 time. Every point in time consists of two rational numbers: one
2148 denotes the logical time, one denotes the grace timing. The above
2149 example is shown here with timing tuples:
2151 @lilypond[raggedright]
2154 c4 \grace c16 c4 \grace {
2157 \new Lyrics \lyrics {
2160 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2161 \markup { (\fraction 1 4 , 0 ) } 4
2163 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2164 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2166 \markup { ( \fraction 2 4 , 0 ) }
2171 The placement of grace notes is synchronized between different staves.
2172 In the following example, there are two sixteenth graces notes for
2173 every eighth grace note:
2175 @lilypond[relative=2,verbatim,fragment]
2176 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2177 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2182 If you want to end a note with a grace, then the standard trick
2183 is to put the grace notes after a ``space note'', e.g.
2184 @lilypond[fragment,verbatim,relative=2]
2187 { s2 \grace { c16[ d] } } >>
2193 By adjusting the duration of the skip note (here it is a half-note),
2194 the space between the main-note and the grace is adjusted.
2197 A @code{\grace} section will introduce special typesetting settings,
2198 for example, to produce smaller type, and set directions. Hence, when
2199 introducing layout tweaks, they should be inside the grace section,
2201 @lilypond[fragment,verbatim,relative=1]
2204 \override Stem #'direction = #-1
2206 \revert Stem #'direction
2213 The overrides should also be reverted inside the grace section.
2215 If the layout of grace sections must be changed throughout the music,
2216 then this can be accomplished through the function
2217 @code{add-grace-property}. The following example undefines the Stem
2218 direction for this grace, so stems do not always point up.
2222 #(add-grace-property "Voice" Stem direction '())
2228 Another option is to change the variables @code{startGraceMusic},
2229 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2230 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2231 @code{stopAppoggiaturaMusic}. More information is in the file
2232 @file{ly/grace-init.ly}.
2237 Program reference: @internalsref{GraceMusic}.
2241 A score that starts with an @code{\grace} section needs an explicit
2242 @code{\context Voice} declaration, otherwise the main note and grace
2243 note end up on different staves.
2245 Grace note synchronization can also lead to surprises. Staff notation,
2246 such as key signatures, bar lines, etc. are also synchronized. Take
2247 care when you mix staves with grace notes and staves without, for example,
2249 @lilypond[relative=2,verbatim,fragment]
2250 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2251 \new Staff { c4 \bar "|:" d4 } >>
2255 This can be remedied by inserting grace skips, for the above example
2258 \new Staff { c4 \bar "|:" \grace s16 d4 } >>
2261 Grace sections should only be used within sequential music
2262 expressions. Nesting or juxtaposing grace sections is not supported,
2263 and might produce crashes or other errors.
2267 @subsection Glissando
2270 @cindex @code{\glissando}
2272 A glissando is a smooth change in pitch. It is denoted by a line or a
2273 wavy line between two notes.
2276 A glissando line can be requested by attaching a @code{\glissando} to
2279 @lilypond[fragment,relative,verbatim]
2285 Program reference: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2287 Example files: @file{input/regression,glissando.ly}
2293 Printing text over the line (such as @emph{gliss.}) is not supported.
2297 @subsection Dynamics
2310 @cindex @code{\ffff}
2320 Absolute dynamic marks are specified using a command after a note:
2321 @code{c4\ff}. The available dynamic marks are @code{\ppp},
2322 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2323 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2324 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
2326 @lilypond[verbatim,raggedright,fragment,relative]
2327 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2337 A crescendo mark is started with @code{\<} and terminated with
2338 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2339 with @code{\!}. Because these marks are bound to notes, if you must
2340 use spacer notes if multiple marks during one note are needed:
2342 @lilypond[fragment,verbatim]
2343 c''\< c''\! d''\> e''\!
2344 << f''1 { s4 s4\< s4\! \> s4\! } >>
2346 This may give rise to very short hairpins. Use @code{minimum-length}
2347 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2351 \override Staff.Hairpin #'minimum-length = #5
2354 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2355 is an example how to do it:
2357 @lilypond[fragment,relative=2,verbatim]
2367 You can also supply your own texts:
2368 @lilypond[fragment,relative,verbatim]
2370 \set crescendoText = \markup { \italic "cresc. poco" }
2371 \set crescendoSpanner = #'dashed-line
2381 @cindex @code{\dynamicUp}
2383 @cindex @code{\dynamicDown}
2384 @code{\dynamicDown},
2385 @cindex @code{\dynamicBoth}
2386 @code{\dynamicBoth}.
2388 @cindex direction, of dynamics
2392 Program reference: @internalsref{CrescendoEvent},
2393 @internalsref{DecrescendoEvent}, and
2394 @internalsref{AbsoluteDynamicEvent}.
2396 Dynamics @internalsref{DynamicText} and @internalsref{Hairpin}
2397 objects. Vertical positioning of these symbols is handled by the
2398 @internalsref{DynamicLineSpanner} object.
2406 @cindex @code{\repeat}
2409 Repetition is a central concept in music, and multiple notations exist
2410 for repetitions. In LilyPond, most of these notations can be captured
2411 in a uniform syntax. One of the advantages is that they can be
2412 rendered in MIDI accurately.
2414 The following types of repetition are supported:
2418 Repeated music is fully written (played) out. Useful for MIDI
2419 output, and entering repetitive music.
2422 This is the normal notation: Repeats are not written out, but
2423 alternative endings (volte) are printed, left to right.
2427 Alternative endings are written stacked. This has limited use but may be
2428 used to typeset two lines of lyrics in songs with repeats, see
2429 @inputfileref{input,star-spangled-banner.ly}.
2437 Make beat or measure repeats. These look like percent signs.
2443 * Repeats and MIDI::
2444 * Manual repeat commands::
2446 * Tremolo subdivisions::
2451 @subsection Repeat syntax
2454 LilyPond has one syntactic construct for specifying different types of
2455 repeats. The syntax is
2458 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2461 If you have alternative endings, you may add
2462 @cindex @code{\alternative}
2464 \alternative @code{@{} @var{alternative1}
2466 @var{alternative3} @dots{} @code{@}}
2468 where each @var{alternative} is a music expression. If you do not
2469 give enough alternatives for all of the repeats, then the first
2470 alternative is assumed to be played more than once.
2472 Normal notation repeats are used like this:
2473 @lilypond[fragment,verbatim,relative=1]
2475 \repeat volta 2 { c4 d e f }
2476 \repeat volta 2 { f e d c }
2479 With alternative endings:
2480 @lilypond[fragment,verbatim,relative=1]
2482 \repeat volta 2 {c4 d e f}
2483 \alternative { {d2 d} {f f,} }
2487 @lilypond[fragment,verbatim,relative=1]
2490 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2491 \alternative { { g4 g g } { a | a a a a | b2. } }
2497 A nested repeat like
2506 is ambiguous, since it is is not clear to which @code{\repeat} the
2507 @code{\alternative} belongs. This ambiguity is resolved by always
2508 having the @code{\alternative} belong to the inner @code{\repeat}.
2509 For clarity, it is advisable to use braces in such situations.
2512 @node Repeats and MIDI
2513 @subsection Repeats and MIDI
2515 @cindex expanding repeats
2517 For instructions on how to expand repeats for MIDI output, see the
2518 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2523 Timing information is not remembered at the start of an alternative,
2524 so after a repeat timing information must be reset by hand, for
2525 example by setting @code{Score.measurePosition} or entering
2526 @code{\partial}. Similarly, slurs or ties are also not repeated.
2529 @node Manual repeat commands
2530 @subsection Manual repeat commands
2532 @cindex @code{repeatCommands}
2534 The property @code{repeatCommands} can be used to control the layout of
2535 repeats. Its value is a Scheme list of repeat commands, where each repeat
2539 @item the symbol @code{start-repeat},
2540 which prints a @code{|:} bar line,
2541 @item the symbol @code{end-repeat},
2542 which prints a @code{:|} bar line,
2543 @item the list @code{(volta @var{text})},
2544 which prints a volta bracket saying @var{text}: The text can be specified as
2545 a text string or as a markup text, see @ref{Text markup}. Do not
2546 forget to change the font, as the default number font does not contain
2547 alphabetic characters. Or,
2548 @item the list @code{(volta #f)}, which
2549 stops a running volta bracket:
2552 @lilypond[verbatim,fragment,relative=2]
2554 \set Score.repeatCommands = #'((volta "93") end-repeat)
2556 \set Score.repeatCommands = #'((volta #f))
2563 Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2564 @internalsref{VoltaRepeatedMusic},
2565 @internalsref{UnfoldedRepeatedMusic}, and
2566 @internalsref{FoldedRepeatedMusic}.
2568 @node Tremolo repeats
2569 @subsection Tremolo repeats
2570 @cindex tremolo beams
2572 To place tremolo marks between notes, use @code{\repeat} with tremolo
2574 @lilypond[verbatim,raggedright]
2576 \context Voice \notes\relative c' {
2577 \repeat "tremolo" 8 { c16 d16 }
2578 \repeat "tremolo" 4 { c16 d16 }
2579 \repeat "tremolo" 2 { c16 d16 }
2584 Tremolo marks can also be put on a single note. In this case, the
2585 note should not be surrounded by braces.
2586 @lilypond[verbatim,raggedright]
2587 \repeat "tremolo" 4 c'16
2590 A similar mechanism is the tremolo subdivision, described in
2591 @ref{Tremolo subdivisions}.
2595 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2597 Program reference: tremolo beams are @internalsref{Beam} objects. Single stem
2598 tremolos are @internalsref{StemTremolo} objects. The music expression is
2599 @internalsref{TremoloEvent}.
2601 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2602 @inputfileref{input/regression,stem-tremolo.ly}.
2604 @node Tremolo subdivisions
2605 @subsection Tremolo subdivisions
2606 @cindex tremolo marks
2607 @cindex @code{tremoloFlags}
2609 Tremolo marks can be printed on a single note by adding
2610 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2611 A @var{length} value of 8 gives one line across the note stem. If the
2612 length is omitted, then then the last value (stored in
2613 @code{tremoloFlags}) is used:
2615 @lilypond[verbatim,fragment]
2616 c'2:8 c':32 | c': c': |
2619 @c [TODO : stok is te kort bij 32en]
2623 Tremolos entered in this way do not carry over into the MIDI output.
2627 In this manual: @ref{Tremolo repeats}.
2629 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
2631 @node Measure repeats
2632 @subsection Measure repeats
2634 @cindex percent repeats
2635 @cindex measure repeats
2637 In the @code{percent} style, a note pattern can be repeated. It is
2638 printed once, and then the pattern is replaced with a special sign.
2639 Patterns of a one and two measures are replaced by percent-like signs,
2640 patterns that divide the measure length are replaced by slashes:
2642 @lilypond[verbatim,raggedright]
2643 \context Voice { \repeat "percent" 4 { c'4 }
2644 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2650 Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2651 @internalsref{PercentRepeatedMusic}, and
2652 @internalsref{DoublePercentRepeat}.
2656 @node Rhythmic music
2657 @section Rhythmic music
2661 * Showing melody rhythms::
2662 * Entering percussion::
2663 * Percussion staves::
2667 @node Showing melody rhythms
2668 @subsection Showing melody rhythms
2670 Sometimes you might want to show only the rhythm of a melody. This
2671 can be done with the rhythmic staff. All pitches of notes on such a
2672 staff are squashed, and the staff itself has a single line:
2674 @lilypond[fragment,relative,verbatim]
2675 \context RhythmicStaff {
2677 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2683 Program reference: @internalsref{RhythmicStaff}.
2685 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
2688 @node Entering percussion
2689 @subsection Entering percussion
2695 Percussion notes may be entered in @code{\drums} mode, which is
2696 similar to @code{notes}. Each piece of percussion has a full name and
2697 an abbreviated name, and both be used in input files:
2700 hihat hh bassdrum bd
2702 @lilypond[raggedright]
2703 \new DrumStaff \drums { hihat hh bassdrum bd
2707 The complete list of drum names is in the init file
2708 @file{ly/drumpitch-init.ly}.
2709 @c TODO: properly document this.
2713 Program reference: @internalsref{DrumNoteEvent}.
2715 @node Percussion staves
2716 @subsection Percussion staves
2720 A percussion part for more than one instrument typically uses a
2721 multiline staff where each position in the staff refers to one piece
2725 To typeset the music, the notes must be interpreted in a
2726 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts:
2729 @lilypond[raggedright,verbatim]
2730 up = \drums { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2731 down = \drums { bassdrum4 snare8 bd r bd sn4 }
2734 << \new DrumVoice { \voiceOne \up }
2735 \new DrumVoice { \voiceTwo \down }
2739 The above example shows verbose polyphonic notation. The short
2740 polyphonic notation, described in @ref{Polyphony}, can also be used if
2741 the @internalsref{DrumVoices} are instantiated by hand first. For example,
2743 @lilypond[fragment,verbatim]
2744 \drums \new DrumStaff <<
2745 \context DrumVoice = "1" { s1 *2 }
2746 \context DrumVoice = "2" { s1 *2 }
2750 { \repeat unfold 16 hh16 }
2759 There are also other layout possibilities. To use these, set the
2760 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
2761 The following variables have been predefined:
2765 is the default. It typesets a typical drum kit on a five-line staff
2768 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2769 bd sn ss tomh tommh tomml toml tomfh tomfl }
2770 mus = \drums { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
2771 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2773 << \new DrumStaff\with {
2774 \remove Bar_engraver
2775 \remove Time_signature_engraver
2776 \override Stem #'transparent = ##t
2777 \override Stem #'Y-extent-callback = ##f
2778 minimumVerticalExtent = #'(-4.0 . 5.0)
2780 \context Lyrics \nam
2783 %% need to do this, because of indented @itemize
2785 \context { \ScoreContext
2786 \override LyricText #'font-family = #'typewriter
2787 \override BarNumber #'transparent =##T
2791 The drum scheme supports six different toms. When there fewer toms, simply
2792 select the toms that produce the desired result, i.e. to get toms on
2793 the three middle lines you use @code{tommh}, @code{tomml} and
2796 @item timbales-style
2797 to typeset timbales on a two line staff:
2799 @lilypond[raggedright]
2800 nam = \lyrics { timh ssh timl ssl cb }
2801 mus = \drums { timh ssh timl ssl cb s16 }
2804 \context DrumStaff \with {
2805 \remove Bar_engraver
2806 \remove Time_signature_engraver
2807 \override Stem #'transparent = ##t
2808 \override Stem #'Y-extent-callback = ##f
2809 \override StaffSymbol #'line-count = #2
2810 \override StaffSymbol #'staff-space = #2
2811 minimumVerticalExtent = #'(-3.0 . 4.0)
2812 drumStyleTable = #timbales-style
2815 \override LyricText #'font-family = #'typewriter
2822 to typeset congas on a two line staff:
2824 @lilypond[raggedright]
2825 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2826 mus = \drums { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2829 \context DrumStaff\with {
2830 \remove Bar_engraver
2831 \remove Time_signature_engraver
2832 drumStyleTable = #congas-style
2833 \override StaffSymbol #'line-count = #2
2835 %% this sucks; it will lengthen stems.
2836 \override StaffSymbol #'staff-space = #2
2837 \override Stem #'transparent = ##t
2838 \override Stem #'Y-extent-callback = ##f
2841 \override LyricText #'font-family = #'typewriter
2847 to typeset bongos on a two line staff:
2849 @lilypond[raggedright]
2850 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2851 mus = \drums { boh boho bohm ssh bol bolo bolm ssl s16 }
2854 \context DrumStaff\with {
2855 \remove Bar_engraver
2856 \remove Time_signature_engraver
2857 \override StaffSymbol #'line-count = #2
2858 drumStyleTable = #bongos-style
2860 %% this sucks; it will lengthen stems.
2861 \override StaffSymbol #'staff-space = #2
2862 \override Stem #'transparent = ##t
2863 \override Stem #'Y-extent-callback = ##f
2866 \override LyricText #'font-family = #'typewriter
2872 @item percussion-style
2873 to typeset all kinds of simple percussion on one line staves:
2874 @lilypond[raggedright]
2875 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2876 mus = \drums { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2879 \context DrumStaff\with{
2880 \remove Bar_engraver
2881 drumStyleTable = #percussion-style
2882 \override StaffSymbol #'line-count = #1
2883 \remove Time_signature_engraver
2884 \override Stem #'transparent = ##t
2885 \override Stem #'Y-extent-callback = ##f
2889 \override LyricText #'font-family = #'typewriter
2896 If you do not like any of the predefined lists you can define your own
2897 list at the top of your file:
2899 @lilypond[raggedright,verbatim]
2901 (bassdrum default #f -1)
2902 (snare default #f 0)
2904 (pedalhihat xcircle "stopped" 2)
2905 (lowtom diamond #f 3)
2907 up = \drums { hh8 hh hh hh hhp4 hhp }
2908 down = \drums { bd4 sn bd toml8 toml }
2911 \set DrumStaff.drumStyleTable
2912 = #(alist->hash-table mydrums)
2913 \new DrumVoice { \voiceOne \up }
2914 \new DrumVoice { \voiceTwo \down }
2922 Init files: @file{ly/drumpitch-init.ly}.
2924 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
2928 Because general MIDI does not contain rim shots, the sidestick is used
2929 for this purpose instead.
2932 @section Piano music
2934 Piano staves are two normal staves coupled with a brace. The staves
2935 are largely independent, but sometimes voices can cross between the
2936 two staves. The same notation is also used for harps and other key
2937 instruments. The @internalsref{PianoStaff} is especially built to
2938 handle this cross-staffing behavior. In this section we discuss the
2939 @internalsref{PianoStaff} and some other pianistic peculiarities.
2943 * Automatic staff changes::
2944 * Manual staff switches::
2947 * Staff switch lines::
2952 There is no support for putting chords across staves. You can get
2953 this result by increasing the length of the stem in the lower stave so
2954 it reaches the stem in the upper stave, or vice versa. An example is
2955 included with the distribution as
2956 @inputfileref{input/test,stem-cross-staff.ly}.
2958 Dynamics are not centered, but kludges do exist. See
2959 @inputfileref{input/template,piano-dynamics.ly}.
2961 @cindex cross staff stem
2962 @cindex stem, cross staff
2964 The distance between the two staves is normally fixed across the
2965 entire score. It is possible to tune this per system, but it does
2966 require arcane command incantations. See
2967 @inputfileref{input/test,piano-staff-distance.ly}.
2974 @node Automatic staff changes
2975 @subsection Automatic staff changes
2976 @cindex Automatic staff changes
2978 Voices can switch automatically between the top and the bottom
2979 staff. The syntax for this is
2981 \autochange \context Voice @{ @dots{}@var{music}@dots{} @}
2983 The two staves of the piano staff must be named @code{up} and
2986 The autochanger switches on basis of pitch (middle C is the turning
2987 point), and it looks ahead skipping over rests to switch in
2988 advance. Here is a practical example:
2990 @lilypond[verbatim,raggedright]
2991 \score { \notes \context PianoStaff <<
2992 \context Staff = "up" {
2993 \autochange \new Voice \relative c' {
2994 g4 a b c d r4 a g } }
2995 \context Staff = "down" {
3002 In this example, spacer rests are used to prevent the bottom staff from
3003 terminating too soon.
3008 In this manual: @ref{Manual staff switches}.
3010 Program reference: @internalsref{AutoChangeMusic}.
3016 The staff switches often do not end up in optimal places. For high
3017 quality output, staff switches should be specified manually.
3021 @node Manual staff switches
3022 @subsection Manual staff switches
3024 @cindex manual staff switches
3025 @cindex staff switch, manual
3027 Voices can be switched between staves manually, using the following command:
3029 \change Staff = @var{staffname} @var{music}
3033 The string @var{staffname} is the name of the staff. It switches the
3034 current voice from its current staff to the Staff called
3035 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3044 Pianos have pedals that alter the way sound are produced. Generally, a
3045 piano has three pedals, sustain, una corda, and sostenuto.
3048 Piano pedal instruction can be expressed by attaching
3049 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3050 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3053 @lilypond[fragment,verbatim]
3054 c'4\sustainDown c'4\sustainUp
3057 What is printed can be modified by setting @code{pedal@var{X}Strings},
3058 where @var{X} is one of the pedal types: @code{Sustain},
3059 @code{Sostenuto} or @code{UnaCorda}. Refer to
3060 @internalsref{SustainPedal} in the program reference for more
3063 Pedals can also be indicated by a sequence of brackets, by setting the
3064 @code{pedalSustainStyle} property to @code{bracket} objects:
3066 @lilypond[fragment,verbatim,relative=2]
3067 \set Staff.pedalSustainStyle = #'bracket
3069 b\sustainUp\sustainDown
3070 b g \sustainUp a \sustainDown \bar "|."
3073 A third style of pedal notation is a mixture of text and brackets,
3074 obtained by setting the @code{pedalSustainStyle} style property to
3077 @lilypond[fragment,verbatim,relative=2]
3078 \set Staff.pedalSustainStyle = #'mixed
3080 b\sustainUp\sustainDown
3081 b g \sustainUp a \sustainDown \bar "|."
3084 The default `*Ped.' style for sustain and damper pedals corresponds to
3085 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3088 @lilypond[fragment,verbatim,relative=2]
3089 c\sostenutoDown d e c, f g a\sostenutoUp
3092 For fine-tuning of the appearance of a pedal bracket, the properties
3093 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3094 @code{PianoPedalBracket} objects (see
3095 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3096 bracket may be extended to the end of the note head:
3098 @lilypond[fragment,verbatim]
3099 \override Staff.PianoPedalBracket
3100 #'shorten-pair = #'(0 . -1.0)
3101 c\sostenutoDown d e c, f g a\sostenutoUp
3105 @subsection Arpeggio
3108 @cindex broken arpeggio
3109 @cindex @code{\arpeggio}
3111 You can specify an arpeggio sign on a chord by attaching an
3112 @code{\arpeggio} to a chord:
3115 @lilypond[fragment,relative,verbatim]
3119 When an arpeggio crosses staves, you attach an arpeggio to the chords
3120 in both staves, and set
3121 @internalsref{PianoStaff}.@code{connectArpeggios}:
3123 @lilypond[fragment,relative,verbatim]
3124 \context PianoStaff <<
3125 \set PianoStaff.connectArpeggios = ##t
3126 \new Staff { <c' e g c>\arpeggio }
3127 \new Staff { \clef bass <c,, e g>\arpeggio }
3131 The direction of the arpeggio is sometimes denoted by adding an
3132 arrowhead to the wiggly line:
3134 @lilypond[fragment,relative,verbatim]
3143 A square bracket on the left indicates that the player should not
3144 arpeggiate the chord:
3146 @lilypond[fragment,relative,verbatim]
3153 @cindex @code{\arpeggio}
3155 @cindex @code{\arpeggioUp}
3157 @cindex @code{\arpeggioDown}
3159 @cindex @code{\arpeggioBoth}
3160 @code{\arpeggioBoth},
3161 @cindex @code{\arpeggioBracket}
3162 @code{\arpeggioBracket}.
3166 Program reference: @internalsref{ArpeggioEvent} music expressions lead to
3167 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3168 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3172 It is not possible to mix connected arpeggios and unconnected
3173 arpeggios in one @internalsref{PianoStaff} at the same time.
3175 @node Staff switch lines
3176 @subsection Staff switch lines
3179 @cindex follow voice
3180 @cindex staff switching
3183 @cindex @code{followVoice}
3185 Whenever a voice switches to another staff a line connecting the notes
3186 can be printed automatically. This is enabled if the property
3187 @code{PianoStaff.followVoice} is set to true:
3189 @lilypond[fragment,relative,verbatim]
3190 \context PianoStaff <<
3191 \set PianoStaff.followVoice = ##t
3192 \context Staff \context Voice {
3197 \context Staff=two { \clef bass \skip 1*2 }
3203 The associated object is @internalsref{VoiceFollower}.
3207 @cindex @code{\showStaffSwitch}
3208 @code{\showStaffSwitch},
3209 @cindex @code{\hideStaffSwitch}
3210 @code{\hideStaffSwitch}.
3214 @section Vocal music
3216 This section discusses how to enter and print lyrics.
3220 * The Lyrics context::
3225 @node Entering lyrics
3226 @subsection Entering lyrics
3230 @cindex @code{\lyrics}
3233 Lyrics are entered in a special input mode. This mode is is introduced
3234 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3235 punctuation and accents without any hassle. Syllables are entered like
3236 notes, but with pitches replaced by text. For example,
3238 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3241 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3242 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3243 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3244 any 8-bit character with ASCII code over 127, or a two-character
3245 combination of a backslash followed by one of @code{`}, @code{'},
3246 @code{"}, or @code{^}.
3248 Subsequent characters of a word can be any character that is not a digit
3249 and not white space. One important consequence of this is that a word
3250 can end with @code{@}}. The following example is usually a bug. The
3251 syllable includes a @code{@}}, and hence the opening brace is not balanced:
3253 \lyrics @{ twinkle@}
3256 @cindex @code{\property}, in @code{\lyrics}
3257 Similarly, a period following a alphabetic sequence, is included in
3258 the resulting string. As a consequence, spaces must be inserted around
3261 \override Score . LyricText #'font-shape = #'italic
3265 @cindex spaces, in lyrics
3266 @cindex quotes, in lyrics
3268 Any @code{_} character which appears in an unquoted word is converted
3269 to a space. This provides a mechanism for introducing spaces into words
3270 without using quotes. Quoted words can also be used in Lyrics mode to
3271 specify words that cannot be written with the above rules:
3274 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3279 Centered hyphens are entered as `@code{-}@code{-}' between syllables.
3280 The hyphen will have variable length depending on the space between
3281 the syllables and it will be centered between the syllables.
3286 When a lyric is sung over many notes (this is called a melisma), this is
3287 indicated with a horizontal line centered between a syllable and the
3288 next one. Such a line is called an extender line, and it is entered as
3293 Program reference: events @internalsref{LyricEvent},
3294 @internalsref{HyphenEvent}, and @internalsref{ExtenderEvent}. Objects:
3295 @internalsref{LyricHyphen}, @internalsref{LyricExtender} and
3296 @internalsref{LyricText}.
3298 Examples: @inputfileref{input/test,lyric-hyphen-retain.ly}.
3302 The definition of lyrics mode is too complex.
3306 @node The Lyrics context
3307 @subsection The Lyrics context
3309 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context:
3311 \context Lyrics \lyrics @dots{}
3314 @cindex automatic syllable durations
3315 @cindex @code{\lyricsto}
3316 @cindex lyrics and melodies
3318 This will place the lyrics according to the durations that were
3319 entered. The lyrics can also be aligned under a given melody
3320 automatically. In this case, it is no longer necessary to enter the
3321 correct duration for each syllable. This is achieved by combining the
3322 melody and the lyrics with the @code{\lyricsto} expression:
3324 \lyricsto @var{name} \new Lyrics @dots{}
3327 This aligns the lyrics to the
3329 notes of the @internalsref{Voice} context called @var{name}, which has
3330 to exist. Therefore, normally the @code{Voice} is specified first, and
3331 then the lyrics are specified with @code{\lyricsto}.
3333 For different or more complex orderings, the best way is to setup the
3334 hierarchy of staves and lyrics first, e.g.
3336 \context ChoirStaff \notes <<
3337 \context Lyrics = sopranoLyrics @{ s1 @}
3338 \context Voice = soprano @{ @emph{music} @}
3339 \context Lyrics = tenorLyrics @{ s1 @}
3340 \context Voice = tenor @{ @emph{music} @}
3343 and then combine the appropriate melodies and lyric lines:
3345 \lyricsto "soprano" \context Lyrics = sopranoLyrics
3350 The final input would resemble
3353 << \context ChoirStaff \notes << @emph{setup the music} >>
3354 \lyricsto "soprano" @emph{etc}
3355 \lyricsto "alto" @emph{etc}
3361 The @code{\lyricsto} command detects melismata: it only puts one
3362 syllable under a tied or slurred group of notes. If you want to force
3363 an unslurred group of notes to be a melisma, then insert
3364 @code{\melisma} after the first note of the group, and
3365 @code{\melismaEnd} after the last one, e.g.
3367 @lilypond[relative=1,raggedright,fragment,verbatim]
3368 << \context Voice = "lala" { \time 3/4
3374 \lyricsto "lala" \new Lyrics \lyrics {
3379 In addition, notes are considered a melisma if they are manually
3380 beamed, and automatic beaming (see @ref{Setting automatic beam
3381 behavior}) is switched off. The criteria for deciding melismata can
3382 be tuned with the property @code{melismaBusyProperties}. See
3383 @internalsref{Melisma_translator} in the program reference for more
3386 When multiple stanzas are put on the same melody, it can happen that
3387 two stanzas have melismata in different locations. This can be
3388 remedied by switching off melismata for one
3389 @internalsref{Lyrics}. This is achieved by setting
3390 the @code{ignoreMelismata} property to @code{#t}. An example is shown
3391 in @inputfileref{input/regression,lyric-combine-new.ly}.
3394 @cindex choral score
3396 A complete example of a SATB score setup is in the file
3397 @inputfileref{input/template,satb.ly}.
3402 @code{\melisma}, @code{\melismaEnd}
3403 @cindex @code{\melismaEnd}
3404 @cindex @code{\melisma}
3408 Program reference: Music expressions: @internalsref{LyricCombineMusic},
3409 Contexts: @internalsref{Lyrics}, @internalsref{Melisma_translator}.
3411 Examples: @inputfileref{input/template,satb.ly},
3412 @inputfileref{input/regression,lyric-combine-new.ly}.
3416 Melismata are not detected automatically, and extender lines must be
3420 For proper processing of extender lines, the
3421 @internalsref{Lyrics} and @internalsref{Voice} should be
3422 linked. This can be achieved either by using @code{\lyricsto} or by
3423 setting corresponding names for both contexts. The latter is explained
3424 in @ref{More stanzas}.
3427 @subsection More stanzas
3429 @cindex phrasing, in lyrics
3432 The lyrics should be aligned with the note heads of the melody. To
3433 achieve this, each line of lyrics should be marked to correspond with
3434 the melodic line. This is done automatically when @code{\lyricsto},
3435 but it can also be done manually.
3437 To this end, give the @internalsref{Voice} context an identity:
3439 \context Voice = duet @{
3444 Then set the @internalsref{Lyrics} contexts to names starting with
3445 that identity followed by a dash. In the preceding example, the
3446 @internalsref{Voice} identity is @code{duet}, so the identities of the
3447 @internalsref{Lyrics}s are marked @code{duet-1} and @code{duet-2}:
3449 \context Lyrics = "duet-1" @{
3450 Hi, my name is Bert. @}
3451 \context Lyrics = "duet-2" @{
3452 Ooooo, ch\'e -- ri, je t'aime. @}
3455 The complete example is shown here:
3456 @lilypond[raggedright,verbatim]
3458 << \notes \relative c'' \context Voice = duet { \time 3/4
3460 \lyrics << \lyricsto "duet" \new Lyrics {
3461 \set vocNam = "Bert"
3462 Hi, my name is Bert. }
3463 \lyricsto "duet" \new Lyrics {
3464 \set vocNam = "Ernie"
3465 Ooooo, ch\'e -- ri, je t'aime.
3471 @cindex stanza number
3472 @cindex singer's names
3473 @cindex name of singer
3475 Stanza numbers can be added by setting @code{stanza}, e.g.
3478 << \context Voice = duet { \time 3/4
3480 \lyrics \lyricsto "duet" \new Lyrics {
3482 Hi, my name is Bert.
3487 This example also demonstrates how names of the singers can be added
3488 using @code{vocalName} analogous to instrument annotations for staves.
3489 A short version may be entered as @code{vocNam}.
3491 To make empty spaces in lyrics, use @code{\skip}.
3496 Program reference: Layout objects @internalsref{LyricText} and
3497 @internalsref{VocalName}. Music expressions:
3498 @internalsref{LyricEvent}.
3504 Input for lyrics introduces a syntactical ambiguity:
3511 is interpreted as assigning a string identifier @code{\foo} such that
3512 it contains @code{"bar"}. However, it could also be interpreted as
3513 making or a music identifier @code{\foo} containing the syllable
3514 `bar'. The force the latter interpretation, use
3524 The term @emph{ambitus} denotes a range of pitches for a given voice
3525 in a part of music. It also may denote the pitch range that a musical
3526 instrument is capable of playing. Ambituses are printed on vocal
3527 parts, so singers can easily determine if it meets his or her
3530 It denoted at the beginning of a piece near the initial clef. The
3531 range is graphically specified by two note heads, that represent the
3532 minimum and maximum pitch. To print such ambituses, add the
3533 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
3540 \consists Ambitus_engraver
3545 This results in the following output:
3547 @lilypond[raggedright]
3550 \notes \relative c'' <<
3561 \consists Ambitus_engraver
3567 If you have multiple voices in a single staff, and you want a single
3568 ambitus per staff rather than per each voice, then add the
3569 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3570 rather than to the @internalsref{Voice} context.
3572 It is possible to tune individual ambituses for multiple voices on a
3573 single staff, for example by erasing or shifting them horizontally. An
3574 example is in @inputfileref{input/test,ambitus-mixed.ly}.
3578 Program reference: @internalsref{Ambitus}.
3580 Examples: @inputfileref{input/regression,ambitus.ly},
3581 @inputfileref{input/test,ambitus-mixed.ly}.
3585 There is no collision handling in the case of multiple per-voice
3591 Tablature notation is used for notating music for plucked string
3592 instruments. It notates pitches not by using note heads, but by
3593 indicating on which string and fret a note must be played. LilyPond
3594 offers limited support for tablature.
3597 * Tablatures basic::
3598 * Non-guitar tablatures::
3601 @node Tablatures basic
3602 @subsection Tablatures basic
3603 @cindex Tablatures basic
3605 The string number associated to a note is given as a backslash
3606 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3607 string. By default, string 1 is the highest one, and the tuning
3608 defaults to the standard guitar tuning (with 6 strings). The notes
3609 are printed as tablature, by using @internalsref{TabStaff} and
3610 @internalsref{TabVoice} contexts:
3612 @lilypond[fragment,verbatim]
3613 \notes \context TabStaff {
3621 When no string is specified, the first string that does not give a
3622 fret number less than @code{minimumFret} is selected. The default
3623 value for @code{minimumFret} is 0:
3628 \set TabStaff.minimumFret = #8
3631 @lilypond[noindent,raggedright]
3635 \set TabStaff.minimumFret = #8
3639 \context StaffGroup <<
3640 \context Staff { \clef "G_8" \frag }
3641 \context TabStaff { \frag }
3648 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}, and
3649 @internalsref{StringNumberEvent}.
3653 Chords are not handled in a special way, and hence the automatic
3654 string selector may easily select the same string to two notes in a
3658 @node Non-guitar tablatures
3659 @subsection Non-guitar tablatures
3660 @cindex Non-guitar tablatures
3662 You can change the number of strings, by setting the number of lines
3663 in the @internalsref{TabStaff}.
3665 You can change the tuning of the strings. A string tuning is given as
3666 a Scheme list with one integer number for each string, the number
3667 being the pitch (measured in semitones relative to middle C) of an
3668 open string. The numbers specified for @code{stringTuning} are the
3669 numbers of semitones to subtract or add, starting the specified pitch
3670 by default middle C, in string order. Thus, the notes are e, a, d, and
3673 @lilypond[fragment,verbatim]
3674 \context TabStaff <<
3675 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
3678 a,4 c' a e' e c' a e'
3685 No guitar special effects have been implemented.
3689 Program reference: @internalsref{Tab_note_heads_engraver}.
3693 @section Chord names
3696 LilyPond has support for both printing chord names. Chords may be
3697 entered in musical chord notation, i.e. @code{< .. >}, but they can
3698 also be entered by name. Internally, the chords are represented as a
3699 set of pitches, so they can be transposed:
3702 @lilypond[verbatim,raggedright]
3703 twoWays = \notes \transpose c c' {
3713 << \context ChordNames \twoWays
3714 \context Voice \twoWays >> }
3717 This example also shows that the chord printing routines do not try to
3718 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3724 * Printing chord names::
3729 @subsection Chords mode
3732 Chord mode is a mode where you can input sets of pitches using common
3733 names. It is introduced by the keyword @code{\chords}.
3734 In chords mode, a chord is entered by the root, which is entered
3735 like a common pitch:
3736 @lilypond[fragment,verbatim,relative=1]
3737 \chords { es4. d8 c2 }
3742 Other chords may be entered by suffixing a colon, and introducing a
3743 modifier, and optionally, a number:
3745 @lilypond[fragment,verbatim]
3746 \chords { e1:m e1:7 e1:m7 }
3748 The first number following the root is taken to be the `type' of the
3749 chord, thirds are added to the root until it reaches the specified
3751 @lilypond[fragment,verbatim]
3752 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3755 @cindex root of chord
3756 @cindex additions, in chords
3757 @cindex removals, in chords
3759 More complex chords may also be constructed adding separate steps
3760 to a chord. Additions are added after the number following
3761 the colon, and are separated by dots:
3763 @lilypond[verbatim,fragment]
3764 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3766 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3768 @lilypond[verbatim,fragment]
3769 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3771 Removals are specified similarly, and are introduced by a caret. They
3772 must come after the additions:
3773 @lilypond[verbatim,fragment]
3774 \chords { c^3 c:7^5 c:9^3.5 }
3777 Modifiers can be used to change pitches. The following modifiers are
3781 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3783 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3786 is the augmented chord. This modifier raises the 5th step.
3788 is the major 7th chord. This modifier raises the 7th step if present.
3790 is the suspended 4th or 2nd. This modifier removes the 3rd
3791 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3794 Modifiers can be mixed with additions:
3795 @lilypond[verbatim,fragment]
3796 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3799 @cindex modifiers, in chords.
3806 Since an unaltered 11 does not sound good when combined with an
3807 unaltered 13, the 11 is removed in this case (unless it is added
3810 @lilypond[fragment,verbatim]
3811 \chords { c:13 c:13.11 c:m13 }
3816 An inversion (putting one pitch of the chord on the bottom), as well
3817 as bass notes, can be specified by appending
3818 @code{/}@var{pitch} to the chord:
3819 @lilypond[fragment,verbatim]
3820 \chords { c1 c/g c/f }
3824 A bass note can be added instead of transposed out of the chord,
3825 by using @code{/+}@var{pitch}.
3827 @lilypond[fragment,verbatim]
3828 \chords { c1 c/+g c/+f }
3831 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3832 of the commands continue to work, for example, @code{r} and
3833 @code{\skip} can be used to insert rests and spaces, and property
3834 commands may be used to change various settings.
3840 Each step can only be present in a chord once. The following
3841 simply produces the augmented chord, since @code{5+} is interpreted
3844 @lilypond[verbatim,fragment]
3845 \chords { c:5.5-.5+ }
3849 @node Printing chord names
3850 @subsection Printing chord names
3852 @cindex printing chord names
3856 For displaying printed chord names, use the @internalsref{ChordNames} context.
3857 The chords may be entered either using the notation
3858 described above, or directly using @code{<} and @code{>}:
3860 @lilypond[verbatim,raggedright]
3862 \chords {a1 b c} <d' f' a'> <e' g' b'>
3866 \context ChordNames \scheme
3867 \context Staff \scheme
3872 You can make the chord changes stand out by setting
3873 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3874 display chord names when there is a change in the chords scheme and at
3875 the start of a new line:
3877 @lilypond[verbatim,linewidth=9\cm]
3879 c1:m c:m \break c:m c:m d
3883 \context ChordNames {
3884 \set chordChanges = ##t
3886 \context Staff \transpose c c' \scheme
3891 The default chord name layout is a system for Jazz music, proposed by
3892 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
3893 following properties:
3896 @cindex chordNameExceptions
3897 @item chordNameExceptions
3898 This is a list that contains the chords that have special formatting.
3900 @inputfileref{input/regression,chord-name-exceptions.ly}.
3901 @cindex exceptions, chord names.
3904 @cindex majorSevenSymbol
3905 @item majorSevenSymbol
3906 This property contains the markup object used for the 7th step, when
3907 it is major. Predefined options are @code{whiteTriangleMarkup} and
3908 @code{blackTriangleMarkup}. See
3909 @inputfileref{input/regression,chord-name-major7.ly} for an example.
3911 @cindex chordNameSeparator
3912 @item chordNameSeparator
3913 Different parts of a chord name are normally separated by a
3914 slash. By setting @code{chordNameSeparator}, you can specify other
3916 @lilypond[fragment,verbatim]
3917 \context ChordNames \chords {
3919 \set chordNameSeparator
3920 = \markup { \typewriter "|" }
3924 @cindex chordRootNamer
3925 @item chordRootNamer
3926 The root of a chord is usually printed as a letter with an optional
3927 alteration. The transformation from pitch to letter is done by this
3928 function. Special note names (for example, the German ``H'' for a
3929 B-chord) can be produced by storing a new function in this property.
3931 The predefined variables @code{\germanChords},
3932 @code{\semiGermanChords} set these variables.
3935 @cindex chordNoteNamer
3936 @item chordNoteNamer
3937 The default is to print single pitch, e.g. the bass note, using the
3938 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
3939 to a specialized function to change this behavior. For example, the
3940 base can be printed in lower case.
3945 There are also two other chord name schemes implemented: an alternate
3946 Jazz chord notation, and a systematic scheme called Banter chords. The
3947 alternate jazz notation is also shown on the chart in @ref{Chord name
3948 chart}. Turning on these styles is described in the input file
3949 @inputfileref{input/test,chord-names-jazz.ly}.
3953 @cindex chords, jazz
3958 @cindex @code{\germanChords}
3959 @code{\germanChords},
3960 @cindex @code{\semiGermanChords}
3961 @code{\semiGermanChords}.
3968 Examples: @inputfileref{input/regression,chord-name-major7.ly},
3969 @inputfileref{input/regression,chord-name-exceptions.ly},
3970 @inputfileref{input/test,chord-names-jazz.ly},
3971 @inputfileref{input/test,chord-names-german.ly}.
3973 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
3978 Chord names are determined solely from the list of pitches. Chord
3979 inversions are not identified, and neither are added bass notes. This
3980 may result in strange chord names when chords are entered with the
3981 @code{< .. >} syntax.
3986 @node Orchestral music
3987 @section Orchestral music
3989 @cindex Writing parts
3991 Orchestral music involves some special notation, both in the full
3992 score and the individual parts. This section explains how to tackle
3993 some common problems in orchestral music.
3998 * Multiple staff contexts::
4001 * Instrument names::
4003 * Instrument transpositions::
4004 * Multi measure rests::
4005 * Automatic part combining::
4007 * Different editions from one source::
4008 * Quoting other voices::
4011 @node Multiple staff contexts
4012 @subsection Multiple staff contexts
4014 Polyphonic scores consist of many staves. These staves can be
4015 constructed in three different ways:
4017 @item The group is started with a brace at the left, and bar lines are
4018 connected. This is done with the @internalsref{GrandStaff} context.
4020 @item The group is started with a bracket, and bar lines are connected. This is done with the
4021 @internalsref{StaffGroup} context
4024 @item The group is started with a vertical line. Bar lines are not
4025 connected. This is the default for the score.
4029 @cindex Staff, multiple
4030 @cindex bracket, vertical
4031 @cindex brace, vertical
4038 @node Rehearsal marks
4039 @subsection Rehearsal marks
4040 @cindex Rehearsal marks
4042 @cindex @code{\mark}
4044 To print a rehearsal mark, use the @code{\mark} command:
4045 @lilypond[fragment,verbatim]
4056 (The letter I is skipped in accordance with engraving traditions.)
4058 The mark is incremented automatically if you use @code{\mark
4059 \default}, but you can also use an integer argument to set the mark
4060 manually. The value to use is stored in the property
4061 @code{rehearsalMark}.
4063 The style is defined by the property @code{markFormatter}. It is a
4064 function taking the current mark (an integer) and the current context
4065 as argument. It should return a markup object. In the following
4066 example, @code{markFormatter} is set to a canned procedure. After a
4067 few measures, it is set to function that produces a boxed number.
4069 @lilypond[verbatim,fragment,relative=1]
4070 \set Score.markFormatter = #format-mark-numbers
4073 \set Score.markFormatter
4074 = #(lambda (mark context)
4075 (make-bold-markup (make-box-markup (number->string mark))))
4080 The file @file{scm/translation-functions.scm} contains the definitions
4081 of @code{format-mark-numbers} (the default format) and
4082 @code{format-mark-letters}. They can be used as inspiration for other
4083 formatting functions.
4086 @cindex coda on bar line
4087 @cindex segno on bar line
4088 @cindex fermata on bar line
4089 @cindex bar lines, symbols on
4091 The @code{\mark} command can also be used to put signs like coda,
4092 segno and fermatas on a bar line. Use @code{\markup} to
4093 to access the appropriate symbol:
4095 @lilypond[fragment,verbatim,relative=1]
4096 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4100 In the case of a line break, marks must also be printed at the end of
4101 the line, and not at the beginning. Use the following to force that
4104 \override Score.RehearsalMark
4105 #'break-visibility = #begin-of-line-invisible
4111 @cindex bar lines, putting symbols on
4115 Program reference: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
4117 Init files: @file{scm/translation-functions.scm} contains the
4118 definition of @code{format-mark-numbers} and
4119 @code{format-mark-letters}. They can be used as inspiration for other
4120 formatting functions.
4122 Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
4123 @inputfileref{input/regression,rehearsal-mark-number.ly}.
4127 @subsection Bar numbers
4131 @cindex measure numbers
4132 @cindex currentBarNumber
4134 Bar numbers are printed by default at the start of the line. The
4135 number itself is stored in the
4136 @code{currentBarNumber} property,
4137 which is normally updated automatically for every measure.
4139 Bar numbers can be typeset at regular intervals instead of at the
4140 beginning of each line. This is illustrated in the following example,
4141 whose source is available as
4142 @inputfileref{input/test,bar-number-regular-interval.ly}:
4144 @lilypondfile[]{bar-number-regular-interval.ly}
4149 Program reference: @internalsref{BarNumber}.
4151 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4152 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4156 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4157 there is one at the top. To solve this, the
4158 @code{padding} property of @internalsref{BarNumber} can be
4159 used to position the number correctly.
4161 @node Instrument names
4162 @subsection Instrument names
4164 In an orchestral score, instrument names are printed left side of the
4167 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4168 and @internalsref{Staff}.@code{instr}. This will print a string before
4169 the start of the staff. For the first start, @code{instrument} is
4170 used, for the next ones @code{instr} is used.
4173 @lilypond[verbatim,raggedright,relative=2]
4174 \set Staff.instrument = "Ploink "
4175 \set Staff.instr = "Plk "
4182 You can also use markup texts to construct more complicated instrument
4186 @lilypond[fragment,verbatim,raggedright]
4188 \set Staff.instrument = \markup {
4189 \column < "Clarinetti"
4202 Program reference: @internalsref{InstrumentName}.
4206 When you put a name on a grand staff or piano staff the width of the
4207 brace is not taken into account. You must add extra spaces to the end of
4208 the name to avoid a collision.
4211 @subsection Transpose
4213 @cindex transposition of pitches
4214 @cindex @code{\transpose}
4216 A music expression can be transposed with @code{\transpose}. The syntax
4219 \transpose @var{from} @var{to} @var{musicexpr}
4222 This means that @var{musicexpr} is transposed by the interval between
4223 the pitches @var{from} and @var{to}: any note with pitch @code{from}
4224 is changed to @code{to}.
4227 For example, consider a piece written in the key of D major. If
4228 this piece is a little too low for its performer, it can be
4229 transposed up to E major with
4231 \transpose d e @dots{}
4234 Consider a part written for violin (a C instrument). If
4235 this part is to be played on the A clarinet, the following
4236 transposition will produce the appropriate part
4239 \transpose a c @dots{}
4242 Since @var{from} and @var{to} are pitches, so @code{\transpose} must be
4243 inside a @code{\notes} section. @code{\transpose} distinguishes
4244 between enharmonic pitches: both @code{\transpose c cis} or
4245 @code{\transpose c des} will transpose up half a tone. The first
4246 version will print sharps and the second version will print flats:
4248 @lilypond[raggedright,verbatim]
4249 mus =\notes { \key d \major cis d fis g }
4250 \score { \notes \context Staff {
4253 \transpose c g' \mus
4254 \transpose c f' \mus
4261 Program reference: @internalsref{TransposedMusic}, and
4262 @internalsref{UntransposableMusic}.
4266 If you want to use both @code{\transpose} and @code{\relative}, then
4267 you must put @code{\transpose} outside of @code{\relative}, since
4268 @code{\relative} will have no effect music that appears inside a
4271 @node Instrument transpositions
4272 @subsection Instrument transpositions
4274 The key of a transposing instrument can also be specified. This
4275 applies to many wind instruments, for example, clarinets (B-flat, A and
4276 E-flat), horn (F) and trumpet (B-flat, C, D and E-flat).
4279 The transposition is entered after the keyword @code{\transposition}:
4282 \transposition bes %% B-flat clarinet
4285 This command sets the property @code{instrumentTuning}. The value of
4286 this property is used for MIDI output and quotations. It does not
4287 affect how notes are printed in the current staff.
4289 @cindex transposition, MIDI
4290 @cindex transposition, instrument
4293 @node Multi measure rests
4294 @subsection Multi measure rests
4295 @cindex multi measure rests
4296 @cindex Rests, multi measure
4300 Multi measure rests are entered using `@code{R}'. It is specifically
4301 meant for full bar rests and for entering parts: the rest can expand
4302 to fill a score with rests, or it can be printed as a single
4303 multimeasure rest. This expansion is controlled by the property
4304 @code{Score.skipBars}. If this is set to true, empty measures will not
4305 be expanded, and the appropriate number is added automatically:
4307 @lilypond[fragment,verbatim]
4308 \time 4/4 r1 | R1 | R1*2
4309 \set Score.skipBars = ##t R1*17 R1*4
4312 The @code{1} in @code{R1} is similar to the duration notation used for
4313 notes. Hence, for time signatures other than 4/4, you must enter other
4314 durations. This can be done with augmentation dots or fractions:
4316 @lilypond[fragment,verbatim]
4317 \set Score.skipBars = ##t
4325 An @code{R} spanning a single measure is printed as either a whole rest
4326 or a breve, centered in the measure regardless of the time signature.
4328 @cindex text on multi-measure rest
4329 @cindex script on multi-measure rest
4330 @cindex fermata on multi-measure rest
4332 Texts can be added to multi-measure rests by using the
4333 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4334 replaced. If you need both texts and the number, you must add the
4335 number by hand. A variable (@code{\fermataMarkup}) is provided for
4339 @lilypond[verbatim,fragment]
4341 R2._\markup { "Ad lib" }
4345 If you want to have a text on the left end of a multi-measure rest,
4346 attach the text to a zero-length skip note, i.e.
4354 @cindex whole rests for a full measure
4358 Program reference: @internalsref{MultiMeasureRestEvent},
4359 @internalsref{MultiMeasureTextEvent},
4360 @internalsref{MultiMeasureRestMusicGroup}, and
4361 @internalsref{MultiMeasureRest}.
4363 The layout object @internalsref{MultiMeasureRestNumber} is for the
4364 default number, and @internalsref{MultiMeasureRestText} for user
4369 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4370 over multi-measure rests.
4372 @cindex condensing rests
4374 There is no way to automatically condense multiple rests into a single
4375 multimeasure rest. Multi measure rests do not take part in rest
4378 Be careful when entering multimeasure rests followed by whole
4379 notes. The following will enter two notes lasting four measures each:
4383 When @code{skipBars} is set, then the result will look OK, but the
4384 bar numbering will be off.
4386 @node Automatic part combining
4387 @subsection Automatic part combining
4388 @cindex automatic part combining
4389 @cindex part combiner
4392 Automatic part combining is used to merge two parts of music onto a
4393 staff. It is aimed at typesetting orchestral scores. When the two
4394 parts are identical for a period of time, only one is shown. In
4395 places where the two parts differ, they are typeset as separate
4396 voices, and stem directions are set automatically. Also, solo and
4397 @emph{a due} parts are identified and can be marked.
4400 The syntax for part combining is
4403 \partcombine @var{musicexpr1} @var{musicexpr2}
4406 The music expressions will be interpreted as @internalsref{Voice} contexts.
4408 The following example demonstrates the basic functionality of the part
4409 combiner: putting parts on one staff, and setting stem directions and
4412 @lilypond[verbatim,raggedright,fragment,relative=1]
4413 \new Staff \partcombine
4422 The first @code{g} appears only once, although it was
4423 specified twice (once in each part). Stem, slur and tie directions are
4424 set automatically, depending whether there is a solo or unisono. The
4425 first part (with context called @code{one}) always gets up stems, and
4426 `solo', while the second (called @code{two}) always gets down stems and
4429 If you just want the merging parts, and not the textual markings, you
4430 may set the property @var{soloADue} to false:
4432 @lilypond[verbatim,raggedright,fragment,relative=1]
4434 \set Staff.soloADue = ##f
4446 Program reference: @internalsref{PartCombineMusic},
4447 @internalsref{SoloOneEvent}, and
4448 @internalsref{SoloTwoEvent}, and
4449 @internalsref{UnisonoEvent}.
4453 In @code{soloADue} mode, when the two voices play the same notes on and
4454 off, the part combiner may typeset @code{a2} more than once in a
4457 @code{\partcombine} can not be inside @code{\times}.
4459 Internally, the @code{\partcombine} interprets both arguments as
4460 @code{Voice}s named @code{one} and @code{two}, and then decides when
4461 the parts can be combined. Consequently, if the arguments switch to
4462 differently named @internalsref{Voice} contexts, then the events in
4463 those will be ignored.
4466 @subsection Hiding staves
4468 @cindex Frenched scores
4469 @cindex Hiding staves
4471 In orchestral scores, staff lines that only have rests are usually
4472 removed. This saves some space. This style is called `French Score'.
4473 For @internalsref{Lyrics},
4474 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4475 switched on by default. When these line of these contexts turn out
4476 empty after the line-breaking process, they are removed.
4478 For normal staves, a specialized @internalsref{Staff} context is
4479 available, which does the same: staves containing nothing (or only
4480 multi measure rests) are removed. The context definition is stored in
4481 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4482 in this example disappears in the second line:
4487 \notes \relative c' <<
4488 \new Staff { e4 f g a \break c1 }
4489 \new Staff { c4 d e f \break R1 }
4493 \context { \RemoveEmptyStaffContext }
4498 The first page shows all staves in full. If empty staves should be
4499 removed from the first page too, set @code{remove-first} to false in
4500 @internalsref{RemoveEmptyVerticalGroup}.
4502 Another application is making ossia sections, i.e. alternative
4503 melodies on a separate piece of staff, with help of a Frenched
4504 staff. See @inputfileref{input/test,ossia.ly} for an example.
4507 @node Different editions from one source
4508 @subsection Different editions from one source
4510 The @code{\tag} command marks music expressions with a name. These
4511 tagged expressions can be filtered out later. With this mechanism it
4512 is possible to make different versions of the same music source.
4514 In the following example, we see two versions of a piece of music, one
4515 for the full score, and one with cue notes for the instrumental part:
4531 The same can be applied to articulations, texts, etc.: they are
4534 -\tag #@var{your-tag}
4536 to an articulation, for example,
4541 This defines a note with a conditional fingering indication.
4543 By applying the @code{remove-tag} function, tagged expressions can be
4544 filtered. For example,
4548 \apply #(remove-tag 'score) @var{the music}
4549 \apply #(remove-tag 'part) @var{the music}
4554 @lilypondfile[]{tag-filter.ly}
4556 The argument of the @code{\tag} command should be a symbol, or a list
4557 of symbols, for example,
4559 \tag #'(original-part transposed-part) @dots{}
4564 Examples: @inputfileref{input/regression,tag-filter.ly}.
4567 @node Quoting other voices
4568 @subsection Quoting other voices
4570 With quotations, fragments of other parts can be inserted into a part
4571 directly. Before a part can be quoted, it must be marked especially as
4572 quotable. This is done with code @code{\addquote} command. The
4573 quotation may then be done with @code{\quote}
4576 \addquote @var{name} @var{music}
4577 \quote @var{name} @var{duration}
4582 Here, @var{name} is an identifying string. The @var{music} is any kind
4583 of music. This is an example of @code{\addquote}:
4586 \addquote clarinet \notes\relative c' {
4591 During a part, a piece of music can be quoted with the @code{\quote}
4598 This would cite 3 quarter notes (a dotted half note) of the previously
4599 added clarinet voice.
4601 Quotations take into account the transposition both source and target
4602 instruments, if they are specified using the @code{\transposition} command.
4604 @lilypond[verbatim,fragment]
4605 \addquote clarinet \notes\relative c' {
4611 e'8 f'8 \quote clarinet 2
4617 Only the contents of the first @internalsref{Voice} occurring in an
4618 @code{\addquote} command will be considered for quotation, so
4619 @var{music} can not contain @code{\new} and @code{\context Voice}
4620 statements that would switch to a different Voice.
4625 In this manual: @ref{Instrument transpositions}.
4627 Examples: @inputfileref{input/regression,quote.ly}
4628 @inputfileref{input/regression,quote-transposition.ly}
4630 Program reference: @internalsref{QuoteMusic}.
4632 @node Ancient notation
4633 @section Ancient notation
4635 @cindex Vaticana, Editio
4636 @cindex Medicaea, Editio
4641 Support for ancient notation includes features for mensural notation
4642 and Gregorian Chant notation. There is also limited support for
4643 figured bass notation.
4645 Many graphical objects provide a @code{style} property, see
4646 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4647 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4648 signatures}. By manipulating such a grob property, the typographical
4649 appearance of the affected graphical objects can be accommodated for a
4650 specific notation flavor without need for introducing any new
4653 Other aspects of ancient notation can not that easily be expressed as
4654 in terms of just changing a style property of a graphical object.
4655 Therefore, some notational concepts are introduced specifically for
4656 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4657 @ref{Ligatures}, and @ref{Figured bass}.
4661 * Ancient note heads::
4662 * Ancient accidentals::
4666 * Ancient time signatures::
4671 * Vaticana style contexts::
4674 If this all is way too much of documentation for you, and you just
4675 want to dive into typesetting without worrying too much about the
4676 details on how to customize a context, then you may have a look at the
4677 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4678 set up predefined style-specific voice and staff contexts, and
4679 directly go ahead with the note entry.
4683 Ligatures need special spacing that has not yet been implemented. As
4684 a result, there is too much space between ligatures most of the time,
4685 and line breaking often is unsatisfactory. Also, lyrics do not
4686 correctly align with ligatures.
4688 Accidentals must not be printed within a ligature, but instead need to
4689 be collected and printed in front of it.
4691 Augmentum dots within ligatures are not handled correctly.
4694 @node Ancient note heads
4695 @subsection Ancient note heads
4700 For ancient notation, a note head style other than the @code{default}
4701 style may be chosen. This is accomplished by setting the @code{style}
4702 property of the NoteHead object to the desired value (@code{baroque},
4703 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4704 differs from the @code{default} style only in using a square shape for
4705 @code{\breve} note heads. The @code{neo_mensural} style differs from
4706 the @code{baroque} style in that it uses rhomboidal heads for whole
4707 notes and all smaller durations. Stems are centered on the note
4708 heads. This style is in particular useful when transcribing mensural
4709 music, e.g. for the incipit. The @code{mensural} style finally
4710 produces note heads that mimic the look of note heads in historic
4711 printings of the 16th century.
4713 The following example demonstrates the @code{neo_mensural} style:
4715 @lilypond[fragment,raggedright,verbatim]
4716 \override NoteHead #'style = #'neo_mensural
4717 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4720 When typesetting a piece in Gregorian Chant notation, a Gregorian
4721 ligature engraver will automatically select the proper note heads,
4722 such there is no need to explicitly set the note head style. Still,
4723 the note head style can be set e.g. to @code{vaticana_punctum} to
4724 produce punctum neumes. Similarly, a mensural ligature engraver is
4725 used to automatically assemble mensural ligatures. See
4726 @ref{Ligatures} for how ligature engravers work.
4731 @ref{Percussion staves} use note head styles of their own that are
4732 frequently used in contemporary music notation.
4734 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
4735 overview over all available note head styles.
4738 @node Ancient accidentals
4739 @subsection Ancient accidentals
4744 Use the @code{style} property of grob @internalsref{Accidental} to
4745 select ancient accidentals. Supported styles are
4746 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4748 @lilypond[raggedright,staffsize=26]
4756 { " " \musicglyph #"accidentals-vaticana-1"
4757 " " \musicglyph #"accidentals-vaticana0" }
4761 { " " \musicglyph #"accidentals-medicaea-1" }
4765 { " " \musicglyph #"accidentals-hufnagel-1" }
4769 { " " \musicglyph #"accidentals-mensural-1"
4770 " " \musicglyph #"accidentals-mensural1" }
4779 \remove "Bar_number_engraver"
4783 \remove "Clef_engraver"
4784 \remove "Key_engraver"
4785 \remove "Time_signature_engraver"
4786 \remove "Staff_symbol_engraver"
4787 minimumVerticalExtent = ##f
4793 As shown, not all accidentals are supported by each style. When
4794 trying to access an unsupported accidental, LilyPond will switch to a
4795 different style, as demonstrated in
4796 @inputfileref{input/test,ancient-accidentals.ly}.
4798 Similarly to local accidentals, the style of the key signature can be
4799 controlled by the @code{style} property of the
4800 @internalsref{KeySignature} grob.
4804 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
4805 @ref{Accidentals} give a general introduction into the use of
4806 accidentals. @ref{Key signature} gives a general introduction into
4807 the use of key signatures.
4809 Program reference: @internalsref{KeySignature}.
4811 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
4814 @subsection Ancient rests
4819 Use the @code{style} property of grob @internalsref{Rest} to select
4820 ancient accidentals. Supported styles are @code{classical},
4821 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4822 from the @code{default} style only in that the quarter rest looks like
4823 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4824 well for e.g. the incipit of a transcribed mensural piece of music.
4825 The @code{mensural} style finally mimics the appearance of rests as
4826 in historic prints of the 16th century.
4828 The following example demonstrates the @code{neo_mensural} style:
4830 @lilypond[fragment,raggedright,verbatim]
4831 \override Rest #'style = #'neo_mensural
4832 r\longa r\breve r1 r2 r4 r8 r16
4835 There are no 32th and 64th rests specifically for the mensural or
4836 neo-mensural style. Instead, the rests from the default style will be
4837 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4840 There are no rests in Gregorian Chant notation; instead, it uses
4845 In this manual: @ref{Rests} gives a general introduction into the use of rests.
4849 @subsection Ancient clefs
4854 LilyPond supports a variety of clefs, many of them ancient.
4856 The following table shows all ancient clefs that are supported via the
4857 @code{\clef} command. Some of the clefs use the same glyph, but
4858 differ only with respect to the line they are printed on. In such
4859 cases, a trailing number in the name is used to enumerate these clefs.
4860 Still, you can manually force a clef glyph to be typeset on an
4861 arbitrary line, as described in @ref{Clef}. The note printed to the
4862 right side of each clef in the example column denotes the @code{c'}
4863 with respect to that clef.
4865 @multitable @columnfractions .3 .3 .3 .1
4869 @b{Description} @tab
4870 @b{Supported Clefs} @tab
4874 @code{clefs-neo_mensural_c} @tab
4875 modern style mensural C clef @tab
4876 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4877 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4878 @lilypond[relative,notime]
4879 \override Staff.TimeSignature #'transparent = ##t
4880 \clef "neo_mensural_c2" c
4884 @code{clefs-petrucci_c1}
4885 @code{clefs-petrucci_c2}
4886 @code{clefs-petrucci_c3}
4887 @code{clefs-petrucci_c4}
4888 @code{clefs-petrucci_c5}
4891 petrucci style mensural C clefs, for use on different staff lines
4892 (the examples shows the 2nd staff line C clef).
4902 @lilypond[relative,notime]
4903 \override Staff.TimeSignature #'transparent = ##t
4904 \clef "petrucci_c2" c
4908 @code{clefs-petrucci_f} @tab
4909 petrucci style mensural F clef @tab
4910 @code{petrucci_f} @tab
4911 @lilypond[relative,notime]
4912 \override Staff.TimeSignature #'transparent = ##t
4913 \clef "petrucci_f" c
4917 @code{clefs-petrucci_g} @tab
4918 petrucci style mensural G clef @tab
4919 @code{petrucci_g} @tab
4920 @lilypond[relative,notime]
4921 \override Staff.TimeSignature #'transparent = ##t
4922 \clef "petrucci_g" c
4926 @code{clefs-mensural_c} @tab
4927 historic style mensural C clef @tab
4928 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4929 @code{mensural_c4} @tab
4930 @lilypond[relative,notime]
4931 \override Staff.TimeSignature #'transparent = ##t
4932 \clef "mensural_c2" c
4936 @code{clefs-mensural_f} @tab
4937 historic style mensural F clef @tab
4938 @code{mensural_f} @tab
4939 @lilypond[relative,notime]
4940 \override Staff.TimeSignature #'transparent = ##t
4941 \clef "mensural_f" c
4945 @code{clefs-mensural_g} @tab
4946 historic style mensural G clef @tab
4947 @code{mensural_g} @tab
4948 @lilypond[relative,notime]
4949 \override Staff.TimeSignature #'transparent = ##t
4950 \clef "mensural_g" c
4954 @code{clefs-vaticana_do} @tab
4955 Editio Vaticana style do clef @tab
4956 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
4957 @lilypond[relative,notime]
4958 \override Staff.StaffSymbol #'line-count = #4
4959 \override Staff.TimeSignature #'transparent = ##t
4960 \clef "vaticana_do2" c
4964 @code{clefs-vaticana_fa} @tab
4965 Editio Vaticana style fa clef @tab
4966 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
4967 @lilypond[relative,notime]
4968 \override Staff.StaffSymbol #'line-count = #4
4969 \override Staff.TimeSignature #'transparent = ##t
4970 \clef "vaticana_fa2" c
4974 @code{clefs-medicaea_do} @tab
4975 Editio Medicaea style do clef @tab
4976 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
4977 @lilypond[relative,notime]
4978 \override Staff.StaffSymbol #'line-count = #4
4979 \override Staff.TimeSignature #'transparent = ##t
4980 \clef "medicaea_do2" c
4984 @code{clefs-medicaea_fa} @tab
4985 Editio Medicaea style fa clef @tab
4986 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
4987 @lilypond[relative,notime]
4988 \override Staff.StaffSymbol #'line-count = #4
4989 \override Staff.TimeSignature #'transparent = ##t
4990 \clef "medicaea_fa2" c
4994 @code{clefs-hufnagel_do} @tab
4995 historic style hufnagel do clef @tab
4996 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
4997 @lilypond[relative,notime]
4998 \override Staff.StaffSymbol #'line-count = #4
4999 \override Staff.TimeSignature #'transparent = ##t
5000 \clef "hufnagel_do2" c
5004 @code{clefs-hufnagel_fa} @tab
5005 historic style hufnagel fa clef @tab
5006 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
5007 @lilypond[relative,notime]
5008 \override Staff.StaffSymbol #'line-count = #4
5009 \override Staff.TimeSignature #'transparent = ##t
5010 \clef "hufnagel_fa2" c
5014 @code{clefs-hufnagel_do_fa} @tab
5015 historic style hufnagel combined do/fa clef @tab
5016 @code{hufnagel_do_fa} @tab
5017 @lilypond[relative,notime]
5018 \override Staff.TimeSignature #'transparent = ##t
5019 \clef "hufnagel_do_fa" c
5026 @emph{Modern style} means ``as is typeset in contemporary editions of
5027 transcribed mensural music''.
5029 @emph{Petrucci style} means ``inspired by printings published by the
5030 famous engraver Petrucci (1466-1539)''.
5032 @emph{Historic style} means ``as was typeset or written in historic
5033 editions (other than those of Petrucci)''.
5035 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5037 Petrucci used C clefs with differently balanced left-side vertical
5038 beams, depending on which staff line it is printed.
5042 In this manual: see @ref{Clef}.
5046 The mensural g clef is mapped to the Petrucci g clef, until a new
5047 mensural g clef is implemented.
5052 @subsection Ancient flags
5057 Use the @code{flag-style} property of grob @internalsref{Stem} to
5058 select ancient flags. Besides the @code{default} flag style,
5059 only @code{mensural} style is supported:
5061 @lilypond[fragment,raggedright,verbatim]
5062 \override Stem #'flag-style = #'mensural
5063 \override Stem #'thickness = #1.0
5064 \override NoteHead #'style = #'mensural
5066 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
5067 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5070 Note that the innermost flare of each mensural flag always is
5071 vertically aligned with a staff line. If you do not like this
5072 behavior, you can set the @code{adjust-if-on-staffline} property of
5073 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5074 of the end of each flare is different between notes on staff lines and
5075 notes between staff lines:
5077 @lilypond[fragment,raggedright]
5078 \override Stem #'flag-style = #'mensural
5079 \override Stem #'thickness = #1.0
5080 \override Stem #'adjust-if-on-staffline = ##f
5081 \override NoteHead #'style = #'mensural
5083 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
5084 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5087 There is no particular flag style for neo-mensural notation. Hence,
5088 when typesetting e.g. the incipit of a transcribed piece of mensural
5089 music, the default flag style should be used. There are no flags in
5090 Gregorian Chant notation.
5093 @node Ancient time signatures
5094 @subsection Ancient time signatures
5096 @cindex time signatures
5099 There is limited support for mensural time signatures. The
5100 glyphs are hard-wired to particular time fractions. In other words,
5101 to get a particular mensural signature glyph with the @code{\time n/m}
5102 command, @code{n} and @code{m} have to be chosen according to the
5108 \set Score.timing = ##f
5109 \set Score.barAlways = ##t
5110 s_\markup { "$\\backslash$time 4/4" }
5111 ^\markup { " " \musicglyph #"timesig-neo_mensural4/4" }
5113 s_\markup { "$\\backslash$time 2/2" }
5114 ^\markup { " " \musicglyph #"timesig-neo_mensural2/2" }
5116 s_\markup { "$\\backslash$time 6/4" }
5117 ^\markup { " " \musicglyph #"timesig-neo_mensural6/4" }
5119 s_\markup { "$\\backslash$time 6/8" }
5120 ^\markup { " " \musicglyph #"timesig-neo_mensural6/8" }
5122 s_\markup { "$\\backslash$time 3/2" }
5123 ^\markup { " " \musicglyph #"timesig-neo_mensural3/2" }
5125 s_\markup { "$\\backslash$time 3/4" }
5126 ^\markup { " " \musicglyph #"timesig-neo_mensural3/4" }
5128 s_\markup { "$\\backslash$time 9/4" }
5129 ^\markup { " " \musicglyph #"timesig-neo_mensural9/4" }
5131 s_\markup { "$\\backslash$time 9/8" }
5132 ^\markup { " " \musicglyph #"timesig-neo_mensural9/8" }
5134 s_\markup { "$\\backslash$time 4/8" }
5135 ^\markup { " " \musicglyph #"timesig-neo_mensural4/8" }
5137 s_\markup { "$\\backslash$time 2/4" }
5138 ^\markup { " " \musicglyph #"timesig-neo_mensural2/4" }
5146 \remove Staff_symbol_engraver
5147 \remove Clef_engraver
5148 \remove Time_signature_engraver
5154 Use the @code{style} property of grob @internalsref{TimeSignature} to
5155 select ancient time signatures. Supported styles are
5156 @code{neo_mensural} and @code{mensural}. The above table uses the
5157 @code{neo_mensural} style. This style is appropriate e.g. for the
5158 incipit of transcriptions of mensural pieces. The @code{mensural}
5159 style mimics the look of historical printings of the 16th century.
5161 @inputfileref{input/test,time.ly} gives an overview over all available
5162 ancient and modern styles.
5166 Program reference: @ref{Time signature} gives a general introduction into the use of time
5171 Mensural signature glyphs are mapped to time fractions in a hard-wired
5172 way. This mapping is sensible, but still arbitrary: given a mensural
5173 time signature, the time fraction represents a modern meter that
5174 usually will be a good choice when transcribing a mensural piece of
5175 music. For a particular piece of mensural music, however, the mapping
5176 may be unsatisfactory. In particular, the mapping assumes a fixed
5177 transcription of durations (e.g. brevis = half note in 2/2, i.e. 4:1).
5178 Some glyphs (such as the alternate glyph for 6/8 meter) are not at all
5179 accessible through the @code{\time} command.
5181 Mensural time signatures are supported typographically, but not yet
5182 musically. The internal representation of durations is
5183 based on a purely binary system; a ternary division such as 1 brevis =
5184 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5185 prolatione maiori) is not correctly handled: event times in ternary
5186 modes will be badly computed, resulting e.g. in horizontally
5187 misaligned note heads, and bar checks are likely to erroneously fail.
5189 The syntax and semantics of the @code{\time} command for mensural
5190 music is subject to change.
5193 @subsection Custodes
5198 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
5199 symbol that appears at the end of a staff. It anticipates the pitch
5200 of the first note(s) of the following line and thus helps the player
5201 or singer to manage line breaks during performance, thus enhancing
5202 readability of a score.
5204 Custodes were frequently used in music notation until the 17th
5205 century. Nowadays, they have survived only in a few particular forms
5206 of musical notation such as contemporary editions of Gregorian chant
5207 like the @emph{editio vaticana}. There are different custos glyphs
5208 used in different flavors of notational style.
5210 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5211 @internalsref{Staff} context when declaring the @code{\paper} block,
5212 as shown in the following example:
5218 \consists Custos_engraver
5219 Custos \override #'style = #'mensural
5224 The result looks like this:
5226 @lilypond[raggedright]
5230 \override Staff.Custos #'style = #'mensural
5237 \consists Custos_engraver
5243 The custos glyph is selected by the @code{style} property. The styles
5244 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5245 @code{mensural}. They are demonstrated in the following fragment:
5249 \new Lyrics \lyrics {
5253 { " " \musicglyph #"custodes-vaticana-u0" }
5257 { " " \musicglyph #"custodes-medicaea-u0" }
5262 { " " \musicglyph #"custodes-hufnagel-u0" }
5267 { " " \musicglyph #"custodes-mensural-u0" }
5279 Program reference: @internalsref{Custos}.
5281 Examples: @inputfileref{input/regression,custos.ly}.
5285 @subsection Divisiones
5291 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
5292 `division') is a staff context symbol that is used to structure
5293 Gregorian music into phrases and sections. The musical meaning of
5294 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5295 can be characterized as short, medium and long pause, somewhat like
5296 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5297 a chant, but is also frequently used within a single
5298 antiphonal/responsorial chant to mark the end of each section.
5301 To use divisiones, include the file @code{gregorian-init.ly}. It
5302 contains definitions that you can apply by just inserting
5303 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5304 and @code{\finalis} at proper places in the input. Some editions use
5305 @emph{virgula} or @emph{caesura} instead of divisio minima.
5306 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5309 @lilypondfile[]{divisiones.ly}
5313 @cindex @code{\virgula}
5315 @cindex @code{\caesura}
5317 @cindex @code{\divisioMinima}
5318 @code{\divisioMinima},
5319 @cindex @code{\divisioMaior}
5320 @code{\divisioMaior},
5321 @cindex @code{\divisioMaxima}
5322 @code{\divisioMaxima},
5323 @cindex @code{\finalis}
5328 In this manual: @ref{Breath marks}.
5330 Program reference: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
5332 Examples: @inputfileref{input/test,divisiones.ly}.
5335 @subsection Ligatures
5339 @c TODO: Should double check if I recalled things correctly when I wrote
5340 @c down the following paragraph by heart.
5342 A ligature is a coherent graphical symbol that represents at least two
5343 distinct notes. Ligatures originally appeared in the manuscripts of
5344 Gregorian chant notation roughly since the 9th century to denote
5345 ascending or descending sequences of notes.
5347 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
5348 Some ligature styles may need additional input syntax specific for
5349 this particular type of ligature. By default, the
5350 @internalsref{LigatureBracket} engraver just puts a square bracket
5353 @lilypond[raggedright,verbatim]
5355 \notes \transpose c c' {
5363 To select a specific style of ligatures, a proper ligature engraver
5364 has to be added to the @internalsref{Voice} context, as explained in
5365 the following subsections. Only white mensural ligatures
5366 are supported with certain limitations.
5369 * White mensural ligatures::
5370 * Gregorian square neumes ligatures::
5373 @node White mensural ligatures
5374 @subsubsection White mensural ligatures
5376 @cindex Mensural ligatures
5377 @cindex White mensural ligatures
5379 There is limited support for white mensural ligatures.
5381 To engrave white mensural ligatures, in the paper block the
5382 @internalsref{Mensural_ligature_engraver} has to be put into the
5383 @internalsref{Voice} context, and remove the
5384 @internalsref{Ligature_bracket_engraver}:
5390 \remove Ligature_bracket_engraver
5391 \consists Mensural_ligature_engraver
5396 There is no additional input language to describe the shape of a
5397 white mensural ligature. The shape is rather determined solely from
5398 the pitch and duration of the enclosed notes. While this approach may
5399 take a new user a while to get accustomed, it has the great advantage
5400 that the full musical information of the ligature is known internally.
5401 This is not only required for correct MIDI output, but also allows for
5402 automatic transcription of the ligatures.
5407 \set Score.timing = ##f
5408 \set Score.defaultBarType = "empty"
5409 \override NoteHead #'style = #'neo_mensural
5410 \override Staff.TimeSignature #'style = #'neo_mensural
5412 \[ g\longa c\breve a\breve f\breve d'\longa \]
5414 \[ e1 f1 a\breve g\longa \]
5416 @lilypond[raggedright]
5418 \notes \transpose c c' {
5419 \set Score.timing = ##f
5420 \set Score.defaultBarType = "empty"
5421 \override NoteHead #'style = #'neo_mensural
5422 \override Staff.TimeSignature #'style = #'neo_mensural
5424 \[ g\longa c\breve a\breve f\breve d'\longa \]
5426 \[ e1 f1 a\breve g\longa \]
5431 \remove Ligature_bracket_engraver
5432 \consists Mensural_ligature_engraver
5438 Without replacing @internalsref{Ligature_bracket_engraver} with
5439 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5442 @lilypond[raggedright]
5444 \notes \transpose c c' {
5445 \set Score.timing = ##f
5446 \set Score.defaultBarType = "empty"
5447 \override NoteHead #'style = #'neo_mensural
5448 \override Staff.TimeSignature #'style = #'neo_mensural
5450 \[ g\longa c\breve a\breve f\breve d'\longa \]
5452 \[ e1 f1 a\breve g\longa \]
5459 The implementation is experimental; it may output strange warnings or
5460 even crash in some cases or produce weird results on more complex
5463 @node Gregorian square neumes ligatures
5464 @subsubsection Gregorian square neumes ligatures
5466 @cindex Square neumes ligatures
5467 @cindex Gregorian square neumes ligatures
5469 Gregorian square neumes notation (following the style of the Editio
5470 Vaticana) is under heavy development, but not yet really usable for
5471 production purposes. Core ligatures can already be typeset, but
5472 essential issues for serious typesetting are still under development,
5473 such as (among others) horizontal alignment of multiple ligatures,
5474 lyrics alignment and proper accidentals handling. Still, this section
5475 gives a sneak preview of what Gregorian chant may look like once it
5478 The following table contains the extended neumes table of the 2nd
5479 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5480 1983 by the monks of Solesmes.
5482 @multitable @columnfractions .4 .2 .2 .2
5485 @b{Neuma aut@*Neumarum Elementa} @tab
5486 @b{Figurae@*Rectae} @tab
5487 @b{Figurae@*Liquescentes Auctae} @tab
5488 @b{Figurae@*Liquescentes Deminutae}
5490 @c TODO: \paper block is identical in all of the below examples.
5491 @c Therefore, it should somehow be included rather than duplicated all
5494 @c why not make identifiers in ly/engraver-init.ly? --hwn
5496 @c Because it's just used to typeset plain notes without
5497 @c a staff for demonstration purposes rather than something
5498 @c special of Gregorian chant notation. --jr
5503 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.5\cm]
5504 \include "gregorian-init.ly"
5506 \notes \transpose c c' {
5509 \noBreak s^\markup {"a"} \noBreak
5511 % Punctum Inclinatum
5513 \noBreak s^\markup {"b"}
5519 \remove "Bar_number_engraver"
5523 \remove "Clef_engraver"
5524 \remove "Key_engraver"
5525 \override StaffSymbol #'transparent = ##t
5526 \remove "Time_signature_engraver"
5527 \remove "Bar_engraver"
5528 minimumVerticalExtent = ##f
5532 \remove Ligature_bracket_engraver
5533 \consists Vaticana_ligature_engraver
5534 \override NoteHead #'style = #'vaticana_punctum
5535 \override Stem #'transparent = ##t
5541 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.5\cm]
5542 \include "gregorian-init.ly"
5544 \notes \transpose c c' {
5545 % Punctum Auctum Ascendens
5546 \[ \auctum \ascendens b \]
5547 \noBreak s^\markup {"c"} \noBreak
5549 % Punctum Auctum Descendens
5550 \[ \auctum \descendens b \]
5551 \noBreak s^\markup {"d"} \noBreak
5553 % Punctum Inclinatum Auctum
5554 \[ \inclinatum \auctum b \]
5555 \noBreak s^\markup {"e"}
5561 \remove "Bar_number_engraver"
5565 \remove "Clef_engraver"
5566 \remove "Key_engraver"
5567 \override StaffSymbol #'transparent = ##t
5568 \remove "Time_signature_engraver"
5569 \remove "Bar_engraver"
5570 minimumVerticalExtent = ##f
5574 \remove Ligature_bracket_engraver
5575 \consists Vaticana_ligature_engraver
5576 \override NoteHead #'style = #'vaticana_punctum
5577 \override Stem #'transparent = ##t
5583 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5584 \include "gregorian-init.ly"
5586 \notes \transpose c c' {
5587 % Punctum Inclinatum Parvum
5588 \[ \inclinatum \deminutum b \]
5589 \noBreak s^\markup {"f"}
5595 \remove "Bar_number_engraver"
5599 \remove "Clef_engraver"
5600 \remove "Key_engraver"
5601 \override StaffSymbol #'transparent = ##t
5602 \remove "Time_signature_engraver"
5603 \remove "Bar_engraver"
5604 minimumVerticalExtent = ##f
5608 \remove Ligature_bracket_engraver
5609 \consists Vaticana_ligature_engraver
5610 \override NoteHead #'style = #'vaticana_punctum
5611 \override Stem #'transparent = ##t
5620 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5621 \include "gregorian-init.ly"
5623 \notes \transpose c c' {
5626 \noBreak s^\markup {"g"}
5632 \remove "Bar_number_engraver"
5636 \remove "Clef_engraver"
5637 \remove "Key_engraver"
5638 \override StaffSymbol #'transparent = ##t
5639 \remove "Time_signature_engraver"
5640 \remove "Bar_engraver"
5641 minimumVerticalExtent = ##f
5645 \remove Ligature_bracket_engraver
5646 \consists Vaticana_ligature_engraver
5647 \override NoteHead #'style = #'vaticana_punctum
5648 \override Stem #'transparent = ##t
5657 @code{3. Apostropha vel Stropha}
5659 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5660 \include "gregorian-init.ly"
5662 \notes \transpose c c' {
5665 \noBreak s^\markup {"h"}
5671 \remove "Bar_number_engraver"
5675 \remove "Clef_engraver"
5676 \remove "Key_engraver"
5677 \override StaffSymbol #'transparent = ##t
5678 \remove "Time_signature_engraver"
5679 \remove "Bar_engraver"
5680 minimumVerticalExtent = ##f
5684 \remove Ligature_bracket_engraver
5685 \consists Vaticana_ligature_engraver
5686 \override NoteHead #'style = #'vaticana_punctum
5687 \override Stem #'transparent = ##t
5693 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5694 \include "gregorian-init.ly"
5696 \notes \transpose c c' {
5698 \[ \stropha \auctum b \]
5699 \noBreak s^\markup {"i"}
5705 \remove "Bar_number_engraver"
5709 \remove "Clef_engraver"
5710 \remove "Key_engraver"
5711 \override StaffSymbol #'transparent = ##t
5712 \remove "Time_signature_engraver"
5713 \remove "Bar_engraver"
5714 minimumVerticalExtent = ##f
5718 \remove Ligature_bracket_engraver
5719 \consists Vaticana_ligature_engraver
5720 \override NoteHead #'style = #'vaticana_punctum
5721 \override Stem #'transparent = ##t
5731 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5732 \include "gregorian-init.ly"
5734 \notes \transpose c c' {
5737 \noBreak s^\markup {"j"}
5743 \remove "Bar_number_engraver"
5747 \remove "Clef_engraver"
5748 \remove "Key_engraver"
5749 \override StaffSymbol #'transparent = ##t
5750 \remove "Time_signature_engraver"
5751 \remove "Bar_engraver"
5752 minimumVerticalExtent = ##f
5756 \remove Ligature_bracket_engraver
5757 \consists Vaticana_ligature_engraver
5758 \override NoteHead #'style = #'vaticana_punctum
5759 \override Stem #'transparent = ##t
5768 @code{5. Clivis vel Flexa}
5770 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5771 \include "gregorian-init.ly"
5773 \notes \transpose c c' {
5782 \remove "Bar_number_engraver"
5786 \remove "Clef_engraver"
5787 \remove "Key_engraver"
5788 \override StaffSymbol #'transparent = ##t
5789 \remove "Time_signature_engraver"
5790 \remove "Bar_engraver"
5791 minimumVerticalExtent = ##f
5795 \remove Ligature_bracket_engraver
5796 \consists Vaticana_ligature_engraver
5797 \override NoteHead #'style = #'vaticana_punctum
5798 \override Stem #'transparent = ##t
5804 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
5805 \include "gregorian-init.ly"
5807 \notes \transpose c c' {
5808 % Clivis Aucta Descendens
5809 \[ b \flexa \auctum \descendens g \]
5810 \noBreak s^\markup {"l"} \noBreak
5812 % Clivis Aucta Ascendens
5813 \[ b \flexa \auctum \ascendens g \]
5814 \noBreak s^\markup {"m"}
5820 \remove "Bar_number_engraver"
5824 \remove "Clef_engraver"
5825 \remove "Key_engraver"
5826 \override StaffSymbol #'transparent = ##t
5827 \remove "Time_signature_engraver"
5828 \remove "Bar_engraver"
5829 minimumVerticalExtent = ##f
5833 \remove Ligature_bracket_engraver
5834 \consists Vaticana_ligature_engraver
5835 \override NoteHead #'style = #'vaticana_punctum
5836 \override Stem #'transparent = ##t
5842 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5843 \include "gregorian-init.ly"
5845 \notes \transpose c c' {
5847 \[ b \flexa \deminutum g \]
5854 \remove "Bar_number_engraver"
5858 \remove "Clef_engraver"
5859 \remove "Key_engraver"
5860 \override StaffSymbol #'transparent = ##t
5861 \remove "Time_signature_engraver"
5862 \remove "Bar_engraver"
5863 minimumVerticalExtent = ##f
5867 \remove Ligature_bracket_engraver
5868 \consists Vaticana_ligature_engraver
5869 \override NoteHead #'style = #'vaticana_punctum
5870 \override Stem #'transparent = ##t
5877 @code{6. Podatus vel Pes}
5879 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5880 \include "gregorian-init.ly"
5882 \notes \transpose c c' {
5891 \remove "Bar_number_engraver"
5895 \remove "Clef_engraver"
5896 \remove "Key_engraver"
5897 \override StaffSymbol #'transparent = ##t
5898 \remove "Time_signature_engraver"
5899 \remove "Bar_engraver"
5900 minimumVerticalExtent = ##f
5904 \remove Ligature_bracket_engraver
5905 \consists Vaticana_ligature_engraver
5906 \override NoteHead #'style = #'vaticana_punctum
5907 \override Stem #'transparent = ##t
5913 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
5914 \include "gregorian-init.ly"
5916 \notes \transpose c c' {
5917 % Pes Auctus Descendens
5918 \[ g \pes \auctum \descendens b \]
5919 \noBreak s^\markup {"p"} \noBreak
5921 % Pes Auctus Ascendens
5922 \[ g \pes \auctum \ascendens b \]
5923 \noBreak s^\markup {"q"}
5929 \remove "Bar_number_engraver"
5933 \remove "Clef_engraver"
5934 \remove "Key_engraver"
5935 \override StaffSymbol #'transparent = ##t
5936 \remove "Time_signature_engraver"
5937 \remove "Bar_engraver"
5938 minimumVerticalExtent = ##f
5942 \remove Ligature_bracket_engraver
5943 \consists Vaticana_ligature_engraver
5944 \override NoteHead #'style = #'vaticana_punctum
5945 \override Stem #'transparent = ##t
5951 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5952 \include "gregorian-init.ly"
5954 \notes \transpose c c' {
5956 \[ g \pes \deminutum b \]
5963 \remove "Bar_number_engraver"
5967 \remove "Clef_engraver"
5968 \remove "Key_engraver"
5969 \override StaffSymbol #'transparent = ##t
5970 \remove "Time_signature_engraver"
5971 \remove "Bar_engraver"
5972 minimumVerticalExtent = ##f
5976 \remove Ligature_bracket_engraver
5977 \consists Vaticana_ligature_engraver
5978 \override NoteHead #'style = #'vaticana_punctum
5979 \override Stem #'transparent = ##t
5986 @code{7. Pes Quassus}
5988 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5989 \include "gregorian-init.ly"
5991 \notes \transpose c c' {
5993 \[ \oriscus g \pes \virga b \]
6000 \remove "Bar_number_engraver"
6004 \remove "Clef_engraver"
6005 \remove "Key_engraver"
6006 \override StaffSymbol #'transparent = ##t
6007 \remove "Time_signature_engraver"
6008 \remove "Bar_engraver"
6009 minimumVerticalExtent = ##f
6013 \remove Ligature_bracket_engraver
6014 \consists Vaticana_ligature_engraver
6015 \override NoteHead #'style = #'vaticana_punctum
6016 \override Stem #'transparent = ##t
6022 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6023 \include "gregorian-init.ly"
6025 \notes \transpose c c' {
6026 % Pes Quassus Auctus Descendens
6027 \[ \oriscus g \pes \auctum \descendens b \]
6034 \remove "Bar_number_engraver"
6038 \remove "Clef_engraver"
6039 \remove "Key_engraver"
6040 \override StaffSymbol #'transparent = ##t
6041 \remove "Time_signature_engraver"
6042 \remove "Bar_engraver"
6043 minimumVerticalExtent = ##f
6047 \remove Ligature_bracket_engraver
6048 \consists Vaticana_ligature_engraver
6049 \override NoteHead #'style = #'vaticana_punctum
6050 \override Stem #'transparent = ##t
6058 @code{8. Quilisma Pes}
6060 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6061 \include "gregorian-init.ly"
6063 \notes \transpose c c' {
6065 \[ \quilisma g \pes b \]
6072 \remove "Bar_number_engraver"
6076 \remove "Clef_engraver"
6077 \remove "Key_engraver"
6078 \override StaffSymbol #'transparent = ##t
6079 \remove "Time_signature_engraver"
6080 \remove "Bar_engraver"
6081 minimumVerticalExtent = ##f
6085 \remove Ligature_bracket_engraver
6086 \consists Vaticana_ligature_engraver
6087 \override NoteHead #'style = #'vaticana_punctum
6088 \override Stem #'transparent = ##t
6094 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6095 \include "gregorian-init.ly"
6097 \notes \transpose c c' {
6098 % Quilisma Pes Auctus Descendens
6099 \[ \quilisma g \pes \auctum \descendens b \]
6106 \remove "Bar_number_engraver"
6110 \remove "Clef_engraver"
6111 \remove "Key_engraver"
6112 \override StaffSymbol #'transparent = ##t
6113 \remove "Time_signature_engraver"
6114 \remove "Bar_engraver"
6115 minimumVerticalExtent = ##f
6119 \remove Ligature_bracket_engraver
6120 \consists Vaticana_ligature_engraver
6121 \override NoteHead #'style = #'vaticana_punctum
6122 \override Stem #'transparent = ##t
6130 @code{9. Podatus Initio Debilis}
6132 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6133 \include "gregorian-init.ly"
6135 \notes \transpose c c' {
6136 % Pes Initio Debilis
6137 \[ \deminutum g \pes b \]
6144 \remove "Bar_number_engraver"
6148 \remove "Clef_engraver"
6149 \remove "Key_engraver"
6150 \override StaffSymbol #'transparent = ##t
6151 \remove "Time_signature_engraver"
6152 \remove "Bar_engraver"
6153 minimumVerticalExtent = ##f
6157 \remove Ligature_bracket_engraver
6158 \consists Vaticana_ligature_engraver
6159 \override NoteHead #'style = #'vaticana_punctum
6160 \override Stem #'transparent = ##t
6166 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6167 \include "gregorian-init.ly"
6169 \notes \transpose c c' {
6170 % Pes Auctus Descendens Initio Debilis
6171 \[ \deminutum g \pes \auctum \descendens b \]
6178 \remove "Bar_number_engraver"
6182 \remove "Clef_engraver"
6183 \remove "Key_engraver"
6184 \override StaffSymbol #'transparent = ##t
6185 \remove "Time_signature_engraver"
6186 \remove "Bar_engraver"
6187 minimumVerticalExtent = ##f
6191 \remove Ligature_bracket_engraver
6192 \consists Vaticana_ligature_engraver
6193 \override NoteHead #'style = #'vaticana_punctum
6194 \override Stem #'transparent = ##t
6204 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6205 \include "gregorian-init.ly"
6207 \notes \transpose c c' {
6209 \[ a \pes b \flexa g \]
6216 \remove "Bar_number_engraver"
6220 \remove "Clef_engraver"
6221 \remove "Key_engraver"
6222 \override StaffSymbol #'transparent = ##t
6223 \remove "Time_signature_engraver"
6224 \remove "Bar_engraver"
6225 minimumVerticalExtent = ##f
6229 \remove Ligature_bracket_engraver
6230 \consists Vaticana_ligature_engraver
6231 \override NoteHead #'style = #'vaticana_punctum
6232 \override Stem #'transparent = ##t
6238 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6239 \include "gregorian-init.ly"
6241 \notes \transpose c c' {
6242 % Torculus Auctus Descendens
6243 \[ a \pes b \flexa \auctum \descendens g \]
6250 \remove "Bar_number_engraver"
6254 \remove "Clef_engraver"
6255 \remove "Key_engraver"
6256 \override StaffSymbol #'transparent = ##t
6257 \remove "Time_signature_engraver"
6258 \remove "Bar_engraver"
6259 minimumVerticalExtent = ##f
6263 \remove Ligature_bracket_engraver
6264 \consists Vaticana_ligature_engraver
6265 \override NoteHead #'style = #'vaticana_punctum
6266 \override Stem #'transparent = ##t
6272 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6273 \include "gregorian-init.ly"
6275 \notes \transpose c c' {
6276 % Torculus Deminutus
6277 \[ a \pes b \flexa \deminutum g \]
6284 \remove "Bar_number_engraver"
6288 \remove "Clef_engraver"
6289 \remove "Key_engraver"
6290 \override StaffSymbol #'transparent = ##t
6291 \remove "Time_signature_engraver"
6292 \remove "Bar_engraver"
6293 minimumVerticalExtent = ##f
6297 \remove Ligature_bracket_engraver
6298 \consists Vaticana_ligature_engraver
6299 \override NoteHead #'style = #'vaticana_punctum
6300 \override Stem #'transparent = ##t
6307 @code{11. Torculus Initio Debilis}
6309 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6310 \include "gregorian-init.ly"
6312 \notes \transpose c c' {
6313 % Torculus Initio Debilis
6314 \[ \deminutum a \pes b \flexa g \]
6321 \remove "Bar_number_engraver"
6325 \remove "Clef_engraver"
6326 \remove "Key_engraver"
6327 \override StaffSymbol #'transparent = ##t
6328 \remove "Time_signature_engraver"
6329 \remove "Bar_engraver"
6330 minimumVerticalExtent = ##f
6334 \remove Ligature_bracket_engraver
6335 \consists Vaticana_ligature_engraver
6336 \override NoteHead #'style = #'vaticana_punctum
6337 \override Stem #'transparent = ##t
6343 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6344 \include "gregorian-init.ly"
6346 \notes \transpose c c' {
6347 % Torculus Auctus Descendens Initio Debilis
6348 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6355 \remove "Bar_number_engraver"
6359 \remove "Clef_engraver"
6360 \remove "Key_engraver"
6361 \override StaffSymbol #'transparent = ##t
6362 \remove "Time_signature_engraver"
6363 \remove "Bar_engraver"
6364 minimumVerticalExtent = ##f
6368 \remove Ligature_bracket_engraver
6369 \consists Vaticana_ligature_engraver
6370 \override NoteHead #'style = #'vaticana_punctum
6371 \override Stem #'transparent = ##t
6377 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6378 \include "gregorian-init.ly"
6380 \notes \transpose c c' {
6381 % Torculus Deminutus Initio Debilis
6382 \[ \deminutum a \pes b \flexa \deminutum g \]
6389 \remove "Bar_number_engraver"
6393 \remove "Clef_engraver"
6394 \remove "Key_engraver"
6395 \override StaffSymbol #'transparent = ##t
6396 \remove "Time_signature_engraver"
6397 \remove "Bar_engraver"
6398 minimumVerticalExtent = ##f
6402 \remove Ligature_bracket_engraver
6403 \consists Vaticana_ligature_engraver
6404 \override NoteHead #'style = #'vaticana_punctum
6405 \override Stem #'transparent = ##t
6412 @code{12. Porrectus}
6414 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6415 \include "gregorian-init.ly"
6417 \notes \transpose c c' {
6419 \[ a \flexa g \pes b \]
6426 \remove "Bar_number_engraver"
6430 \remove "Clef_engraver"
6431 \remove "Key_engraver"
6432 \override StaffSymbol #'transparent = ##t
6433 \remove "Time_signature_engraver"
6434 \remove "Bar_engraver"
6435 minimumVerticalExtent = ##f
6439 \remove Ligature_bracket_engraver
6440 \consists Vaticana_ligature_engraver
6441 \override NoteHead #'style = #'vaticana_punctum
6442 \override Stem #'transparent = ##t
6448 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6449 \include "gregorian-init.ly"
6451 \notes \transpose c c' {
6452 % Porrectus Auctus Descendens
6453 \[ a \flexa g \pes \auctum \descendens b \]
6460 \remove "Bar_number_engraver"
6464 \remove "Clef_engraver"
6465 \remove "Key_engraver"
6466 \override StaffSymbol #'transparent = ##t
6467 \remove "Time_signature_engraver"
6468 \remove "Bar_engraver"
6469 minimumVerticalExtent = ##f
6473 \remove Ligature_bracket_engraver
6474 \consists Vaticana_ligature_engraver
6475 \override NoteHead #'style = #'vaticana_punctum
6476 \override Stem #'transparent = ##t
6482 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6483 \include "gregorian-init.ly"
6485 \notes \transpose c c' {
6486 % Porrectus Deminutus
6487 \[ a \flexa g \pes \deminutum b \]
6494 \remove "Bar_number_engraver"
6498 \remove "Clef_engraver"
6499 \remove "Key_engraver"
6500 \override StaffSymbol #'transparent = ##t
6501 \remove "Time_signature_engraver"
6502 \remove "Bar_engraver"
6503 minimumVerticalExtent = ##f
6507 \remove Ligature_bracket_engraver
6508 \consists Vaticana_ligature_engraver
6509 \override NoteHead #'style = #'vaticana_punctum
6510 \override Stem #'transparent = ##t
6519 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6520 \include "gregorian-init.ly"
6522 \notes \transpose c c' {
6524 \[ \virga b \inclinatum a \inclinatum g \]
6531 \remove "Bar_number_engraver"
6535 \remove "Clef_engraver"
6536 \remove "Key_engraver"
6537 \override StaffSymbol #'transparent = ##t
6538 \remove "Time_signature_engraver"
6539 \remove "Bar_engraver"
6540 minimumVerticalExtent = ##f
6544 \remove Ligature_bracket_engraver
6545 \consists Vaticana_ligature_engraver
6546 \override NoteHead #'style = #'vaticana_punctum
6547 \override Stem #'transparent = ##t
6553 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6554 \include "gregorian-init.ly"
6556 \notes \transpose c c' {
6558 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6565 \remove "Bar_number_engraver"
6569 \remove "Clef_engraver"
6570 \remove "Key_engraver"
6571 \override StaffSymbol #'transparent = ##t
6572 \remove "Time_signature_engraver"
6573 \remove "Bar_engraver"
6574 minimumVerticalExtent = ##f
6578 \remove Ligature_bracket_engraver
6579 \consists Vaticana_ligature_engraver
6580 \override NoteHead #'style = #'vaticana_punctum
6581 \override Stem #'transparent = ##t
6587 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6588 \include "gregorian-init.ly"
6590 \notes \transpose c c' {
6591 % Climacus Deminutus
6592 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6599 \remove "Bar_number_engraver"
6603 \remove "Clef_engraver"
6604 \remove "Key_engraver"
6605 \override StaffSymbol #'transparent = ##t
6606 \remove "Time_signature_engraver"
6607 \remove "Bar_engraver"
6608 minimumVerticalExtent = ##f
6612 \remove Ligature_bracket_engraver
6613 \consists Vaticana_ligature_engraver
6614 \override NoteHead #'style = #'vaticana_punctum
6615 \override Stem #'transparent = ##t
6622 @code{14. Scandicus}
6624 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6625 \include "gregorian-init.ly"
6627 \notes \transpose c c' {
6629 \[ g \pes a \virga b \]
6636 \remove "Bar_number_engraver"
6640 \remove "Clef_engraver"
6641 \remove "Key_engraver"
6642 \override StaffSymbol #'transparent = ##t
6643 \remove "Time_signature_engraver"
6644 \remove "Bar_engraver"
6645 minimumVerticalExtent = ##f
6649 \remove Ligature_bracket_engraver
6650 \consists Vaticana_ligature_engraver
6651 \override NoteHead #'style = #'vaticana_punctum
6652 \override Stem #'transparent = ##t
6658 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6659 \include "gregorian-init.ly"
6661 \notes \transpose c c' {
6662 % Scandicus Auctus Descendens
6663 \[ g \pes a \pes \auctum \descendens b \]
6670 \remove "Bar_number_engraver"
6674 \remove "Clef_engraver"
6675 \remove "Key_engraver"
6676 \override StaffSymbol #'transparent = ##t
6677 \remove "Time_signature_engraver"
6678 \remove "Bar_engraver"
6679 minimumVerticalExtent = ##f
6683 \remove Ligature_bracket_engraver
6684 \consists Vaticana_ligature_engraver
6685 \override NoteHead #'style = #'vaticana_punctum
6686 \override Stem #'transparent = ##t
6692 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6693 \include "gregorian-init.ly"
6695 \notes \transpose c c' {
6696 % Scandicus Deminutus
6697 \[ g \pes a \pes \deminutum b \]
6704 \remove "Bar_number_engraver"
6708 \remove "Clef_engraver"
6709 \remove "Key_engraver"
6710 \override StaffSymbol #'transparent = ##t
6711 \remove "Time_signature_engraver"
6712 \remove "Bar_engraver"
6713 minimumVerticalExtent = ##f
6717 \remove Ligature_bracket_engraver
6718 \consists Vaticana_ligature_engraver
6719 \override NoteHead #'style = #'vaticana_punctum
6720 \override Stem #'transparent = ##t
6729 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6730 \include "gregorian-init.ly"
6732 \notes \transpose c c' {
6734 \[ g \oriscus a \pes \virga b \]
6741 \remove "Bar_number_engraver"
6745 \remove "Clef_engraver"
6746 \remove "Key_engraver"
6747 \override StaffSymbol #'transparent = ##t
6748 \remove "Time_signature_engraver"
6749 \remove "Bar_engraver"
6750 minimumVerticalExtent = ##f
6754 \remove Ligature_bracket_engraver
6755 \consists Vaticana_ligature_engraver
6756 \override NoteHead #'style = #'vaticana_punctum
6757 \override Stem #'transparent = ##t
6763 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6764 \include "gregorian-init.ly"
6766 \notes \transpose c c' {
6767 % Salicus Auctus Descendens
6768 \[ g \oriscus a \pes \auctum \descendens b \]
6775 \remove "Bar_number_engraver"
6779 \remove "Clef_engraver"
6780 \remove "Key_engraver"
6781 \override StaffSymbol #'transparent = ##t
6782 \remove "Time_signature_engraver"
6783 \remove "Bar_engraver"
6784 minimumVerticalExtent = ##f
6788 \remove Ligature_bracket_engraver
6789 \consists Vaticana_ligature_engraver
6790 \override NoteHead #'style = #'vaticana_punctum
6791 \override Stem #'transparent = ##t
6801 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6802 \include "gregorian-init.ly"
6804 \notes \transpose c c' {
6806 \[ \stropha b \stropha b \stropha a \]
6813 \remove "Bar_number_engraver"
6817 \remove "Clef_engraver"
6818 \remove "Key_engraver"
6819 \override StaffSymbol #'transparent = ##t
6820 \remove "Time_signature_engraver"
6821 \remove "Bar_engraver"
6822 minimumVerticalExtent = ##f
6826 \remove Ligature_bracket_engraver
6827 \consists Vaticana_ligature_engraver
6828 \override NoteHead #'style = #'vaticana_punctum
6829 \override Stem #'transparent = ##t
6840 Unlike most other neumes notation systems, the input language for
6841 neumes does not necessarily reflect directly the typographical
6842 appearance, but is designed to solely focuse on musical meaning. For
6843 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6844 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6845 a Porrectus with a curved flexa shape and only a single Punctum head.
6846 There is no command to explicitly typeset the curved flexa shape; the
6847 decision of when to typeset a curved flexa shape is purely taken from
6848 the musical input. The idea of this approach is to separate the
6849 musical aspects of the input from the notation style of the output.
6850 This way, the same input can be reused to typeset the same music in a
6851 different style of Gregorian chant notation.
6853 The following table shows the code fragments that produce the
6854 ligatures in the above neumes table. The letter in the first column
6855 in each line of the below table indicates to which ligature in the
6856 above table it refers. The second column gives the name of the
6857 ligature. The third column shows the code fragment that produces this
6858 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6860 @multitable @columnfractions .1 .4 .5
6874 Punctum Inclinatum @tab
6875 @code{\[ \inclinatum b \]}
6879 Punctum Auctum Ascendens @tab
6880 @code{\[ \auctum \ascendens b \]}
6884 Punctum Auctum Descendens @tab
6885 @code{\[ \auctum \descendens b \]}
6889 Punctum Inclinatum Auctum @tab
6890 @code{\[ \inclinatum \auctum b \]}
6894 Punctum Inclinatum Parvum @tab
6895 @code{\[ \inclinatum \deminutum b \]}
6900 @code{\[ \virga b \]}
6905 @code{\[ \stropha b \]}
6910 @code{\[ \stropha \auctum b \]}
6915 @code{\[ \oriscus b \]}
6919 Clivis vel Flexa @tab
6920 @code{\[ b \flexa g \]}
6924 Clivis Aucta Descendens @tab
6925 @code{\[ b \flexa \auctum \descendens g \]}
6929 Clivis Aucta Ascendens @tab
6930 @code{\[ b \flexa \auctum \ascendens g \]}
6935 @code{\[ b \flexa \deminutum g \]}
6939 Podatus vel Pes @tab
6940 @code{\[ g \pes b \]}
6944 Pes Auctus Descendens @tab
6945 @code{\[ g \pes \auctum \descendens b \]}
6949 Pes Auctus Ascendens @tab
6950 @code{\[ g \pes \auctum \ascendens b \]}
6955 @code{\[ g \pes \deminutum b \]}
6960 @code{\[ \oriscus g \pes \virga b \]}
6964 Pes Quassus Auctus Descendens @tab
6965 @code{\[ \oriscus g \pes \auctum \descendens b \]}
6970 @code{\[ \quilisma g \pes b \]}
6974 Quilisma Pes Auctus Descendens @tab
6975 @code{\[ \quilisma g \pes \auctum \descendens b \]}
6979 Pes Initio Debilis @tab
6980 @code{\[ \deminutum g \pes b \]}
6984 Pes Auctus Descendens Initio Debilis @tab
6985 @code{\[ \deminutum g \pes \auctum \descendens b \]}
6990 @code{\[ a \pes b \flexa g \]}
6994 Torculus Auctus Descendens @tab
6995 @code{\[ a \pes b \flexa \auctum \descendens g \]}
6999 Torculus Deminutus @tab
7000 @code{\[ a \pes b \flexa \deminutum g \]}
7004 Torculus Initio Debilis @tab
7005 @code{\[ \deminutum a \pes b \flexa g \]}
7009 Torculus Auctus Descendens Initio Debilis @tab
7010 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7014 Torculus Deminutus Initio Debilis @tab
7015 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7020 @code{\[ a \flexa g \pes b \]}
7024 Porrectus Auctus Descendens @tab
7025 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7029 Porrectus Deminutus @tab
7030 @code{\[ a \flexa g \pes \deminutum b \]}
7035 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7039 Climacus Auctus @tab
7040 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7044 Climacus Deminutus @tab
7045 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7050 @code{\[ g \pes a \virga b \]}
7054 Scandicus Auctus Descendens @tab
7055 @code{\[ g \pes a \pes \auctum \descendens b \]}
7059 Scandicus Deminutus @tab
7060 @code{\[ g \pes a \pes \deminutum b \]}
7065 @code{\[ g \oriscus a \pes \virga b \]}
7069 Salicus Auctus Descendens @tab
7070 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7075 @code{\[ \stropha b \stropha b \stropha a \]}
7081 The following head prefixes are supported:
7083 @cindex @code{\virga}
7085 @cindex @code{\stropha}
7087 @cindex @code{\inclinatum}
7089 @cindex @code{\auctum}
7091 @cindex @code{\descendens}
7093 @cindex @code{\ascendens}
7095 @cindex @code{\oriscus}
7097 @cindex @code{\quilisma}
7099 @cindex @code{\deminutum}
7102 Head prefixes can be accumulated, though restrictions apply. For
7103 example, either @code{\descendens} or @code{\ascendens} can be applied
7104 to a head, but not both to the same head.
7107 @cindex @code{\flexa}
7108 Two adjacent heads can be tied together with the @code{\pes} and
7109 @code{\flexa} infix commands for a rising and falling line of melody,
7114 @node Vaticana style contexts
7115 @subsection Vaticana style contexts
7117 @cindex VaticanaVoiceContext
7118 @cindex VaticanaStaffContext
7120 The predefined @code{VaticanaVoiceContext} and
7121 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7122 Gregorian Chant in the style of the Editio Vaticana. These contexts
7123 initialize all relevant context properties and grob properties to
7124 proper values. With these contexts, you can immediately go ahead
7125 entering the chant, as the following short excerpt demonstrates:
7127 @lilypond[raggedright,verbatim,noindent]
7128 \include "gregorian-init.ly"
7131 \context VaticanaVoice = "cantus" {
7132 \override Score.BarNumber #'transparent = ##t
7134 \[ c'\melisma c' \flexa a \]
7135 \[ a \flexa \deminutum g\melismaEnd \]
7137 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
7138 c' \divisioMinima \break
7139 \[ c'\melisma c' \flexa a \]
7140 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7143 \lyricsto "cantus" \new Lyrics \lyrics {
7144 San- ctus, San- ctus, San- ctus
7151 @subsection Figured bass
7153 @cindex Basso continuo
7155 @c TODO: musicological blurb about FB
7158 LilyPond has limited support for figured bass:
7160 @lilypond[verbatim,fragment]
7162 \context Voice \notes { \clef bass dis4 c d ais}
7163 \context FiguredBass
7165 < 6 >4 < 7 >8 < 6+ [_!] >
7171 The support for figured bass consists of two parts: there is an input
7172 mode, introduced by @code{\figures}, where you can enter bass figures
7173 as numbers, and there is a context called @internalsref{FiguredBass} that
7174 takes care of making @internalsref{BassFigure} objects.
7176 In figures input mode, a group of bass figures is delimited by
7177 @code{<} and @code{>}. The duration is entered after the @code{>>}:
7182 \context FiguredBass
7186 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7193 \context FiguredBass
7194 \figures { <4- 6+ 7!> }
7197 Spaces or dashes may be inserted by using @code{_}. Brackets are
7198 introduced with @code{[} and @code{]}:
7204 \context FiguredBass
7205 \figures { < [4 6] 8 [_! 12]> }
7208 Although the support for figured bass may superficially resemble chord
7209 support, it works much simpler. The @code{\figures} mode simply
7210 stores the numbers , and @internalsref{FiguredBass} context prints
7211 them as entered. There is no conversion to pitches, and no
7212 realizations of the bass are played in the MIDI file.
7214 Internally, the code produces markup texts. You can use any of the
7215 markup text properties to override formatting. For example, the
7216 vertical spacing of the figures may be set with @code{baseline-skip}.
7220 Program reference: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7221 and @internalsref{FiguredBass} context.
7225 Slash notation for alterations is not supported.
7227 @node Contemporary notation
7228 @section Contemporary notation
7230 In the 20th century, composers have greatly expanded the musical
7231 vocabulary. With this expansion, many innovations in musical notation
7232 have been tried. The book by Stone (1980) gives a comprehensive
7233 overview (see @ref{Literature list}). In general, the use of new,
7234 innovative notation makes a piece harder to understand and perform and
7235 its use should therefore be avoided if possible. For this reason,
7236 support for contemporary notation in LilyPond is limited.
7245 @subsection Clusters
7249 A cluster indicates a continuous range of pitches to be played. They
7250 can be denoted as the envelope of a set of notes. They are entered by
7251 applying the function @code{notes-to-clusters} to a sequence of
7254 @lilypond[relative=1,verbatim]
7255 \apply #notes-to-clusters { <c e > <b f'> }
7258 The following example (from
7259 @inputfileref{input/regression,cluster.ly}) shows what the result
7262 @lilypondfile[]{cluster.ly}
7264 Ordinary notes and clusters can be put together in the same staff,
7265 even simultaneously. In such a case no attempt is made to
7266 automatically avoid collisions between ordinary notes and clusters.
7270 Program reference: @internalsref{ClusterSpanner},
7271 @internalsref{ClusterSpannerBeacon},
7272 @internalsref{Cluster_spanner_engraver}, and
7273 @internalsref{ClusterNoteEvent}.
7275 Examples: @inputfileref{input/regression,cluster.ly}.
7279 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7280 accurately. Use @code{<g a>8 <e a>8} instead.
7285 @subsection Fermatas
7291 Contemporary music notation frequently uses special fermata symbols to
7292 indicate fermatas of differing lengths. The following fermatas are
7295 @lilypond[raggedright]
7297 << \addlyrics \notes {
7317 \context Lyrics \lyrics {
7318 \override LyricText #'font-family = #'typewriter
7319 "shortfermata" "fermata" "longfermata" "verylongfermata"
7324 See @ref{Articulations} for general instructions how to apply scripts
7325 such as fermatas to a @code{\notes@{@}} block.
7328 @node Special notation
7329 @section Special notation
7333 * Easy Notation note heads::
7337 @subsection Balloon help
7339 Elements of notation can be marked and named with the help of a square
7340 balloon. The primary purpose of this feature is to explain notation.
7342 The following example demonstrates its use.
7344 @lilypond[verbatim,fragment,raggedright,relative=1]
7347 #(add-balloon-text 'NoteHead "heads, or tails?"
7353 The function @code{add-balloon-text} takes the name of a grob, the
7354 label to print and where to put the label relative to the object. In
7355 the above example, the text ``heads or tails?'' ends 3 spaces below
7359 @cindex notation, explaining
7363 Program reference: @internalsref{text-balloon-interface}.
7365 Examples: @inputfileref{input/regression,balloon.ly}.
7367 @node Easy Notation note heads
7368 @subsection Easy Notation note heads
7370 @cindex easy notation
7373 The `easy play' note head includes a name inside the head. It is
7374 used in music for beginners:
7376 @lilypond[raggedright,verbatim,staffsize=26]
7381 The command @code{\setEasyHeads} overrides settings for the
7382 @internalsref{NoteHead} object. To make the letters readable, it has
7383 to be printed in a large font size. To print with a larger font, see
7389 If you view the result with Xdvi, then staff lines may show through
7390 the letters. Printing the PostScript file obtained does produce the
7395 @cindex \setEasyHeads
7396 @code{\setEasyHeads}
7402 Entered music can also be converted to MIDI output. The performance
7403 is intended for proof-hearing the music for errors.
7405 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
7406 crescendi and decrescendi translate into MIDI volume levels. Dynamic
7407 marks translate to a fixed fraction of the available MIDI volume
7408 range, crescendi and decrescendi make the volume vary linearly between
7409 their two extremities. The fractions can be adjusted by
7410 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
7411 For each type of MIDI instrument, a volume range can be defined. This
7412 gives a basic equalizer control, which can enhance the quality of
7413 the MIDI output remarkably. The equalizer can be controlled by
7414 setting @code{instrumentEqualizer}.
7418 Many musically interesting effects, such as swing, articulation,
7419 slurring, etc., are not translated to MIDI.
7421 The MIDI output allocates a channel for each Staff, and one for global
7422 settings. Hence, the MIDI file should not have more than 15 staves
7423 (or 14 if you do not use drums). Other staves will remain silent.
7428 * MIDI instrument names::
7433 @subsection MIDI block
7437 The MIDI block is analogous to the paper block, but it is somewhat
7438 simpler. The @code{\midi} block can contain:
7442 @item a @code{\tempo} definition, and
7443 @item context definitions.
7446 A number followed by a period is interpreted as a real number, so
7447 for setting the tempo for dotted notes, an extra space should be
7448 inserted, for example:
7451 \midi @{ \tempo 4 . = 120 @}
7455 @cindex context definition
7457 Context definitions follow precisely the same syntax as within the
7458 \paper block. Translation modules for sound are called performers.
7459 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
7462 @node MIDI instrument names
7463 @subsection MIDI instrument names
7465 @cindex instrument names
7466 @cindex @code{Staff.midiInstrument}
7468 The MIDI instrument name is set by the @code{Staff.midiInstrument}
7469 property. The instrument name should be chosen from the list in
7470 @ref{MIDI instruments}.
7474 If the selected string does not exactly match, then the default is
7475 used, which is the Grand Piano.