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[quote,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[quote,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[quote,verbatim,relative=3]
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[quote,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[quote,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.
209 @lilypond[quote,relative=1]
220 Rests are entered like notes, with the note name @code{r}
222 @lilypond[quote,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[quote,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[quote,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[quote,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[quote,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[quote,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.
349 In the following example, the first three notes take up exactly two
350 beats, but no triplet bracket is printed.
351 @lilypond[quote,fragment,relative=3,verbatim]
353 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 This manual: @ref{Tuplets}
374 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
379 Whenever a note is found, a @internalsref{Stem} object is created
380 automatically. For whole notes and rests, they are also created but
385 @cindex @code{\stemUp}
387 @cindex @code{\stemDown}
389 @cindex @code{\stemBoth}
400 A tie connects two adjacent note heads of the same pitch. The tie in
401 effect extends the length of a note. Ties should not be confused with
402 slurs, which indicate articulation, or phrasing slurs, which indicate
403 musical phrasing. A tie is entered using the tilde symbol `@code{~}'
405 @lilypond[quote,fragment,verbatim]
406 e' ~ e' <c' e' g'> ~ <c' e' g'>
409 When a tie is applied to a chord, all note heads whose pitches match
410 are connected. When no note heads match, no ties will be created.
412 In its meaning a tie is just a way of extending a note duration, similar
413 to the augmentation dot; in the following example there are two ways of
414 notating exactly the same concept
416 @lilypond[quote,fragment,raggedright]
417 \time 3/4 c'2. c'2 ~ c'4
419 If you need to tie a lot of notes over bars, it may be easier to use automatic
420 note splitting (see @ref{Automatic note splitting}).
425 @cindex @code{\tieUp}
427 @cindex @code{\tieDown}
429 @cindex @code{\tieBoth}
431 @cindex @code{\tieDotted}
433 @cindex @code{\tieSolid}
438 In this manual: @ref{Automatic note splitting}.
440 Program reference: @internalsref{TieEvent}, @internalsref{Tie}.
442 For tying only a subset of the note heads of a pair of chords, see
443 @inputfileref{input/regression,tie-chord-partial.ly}.
448 Switching staves when a tie is active will not produce a slanted tie.
450 Formatting of ties is a difficult subject. The results are often not
460 @cindex @code{\times}
462 Tuplets are made out of a music expression by multiplying all durations
465 @cindex @code{\times}
467 \times @var{fraction} @var{musicexpr}
471 The duration of @var{musicexpr} will be multiplied by the fraction.
472 The fraction's denominator will be printed over the notes, optionally
473 with a bracket. The most common tuplet is the triplet in which 3
474 notes have the length of 2, so the notes are 2/3 of their written
477 @lilypond[quote,fragment,verbatim]
478 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
481 The property @code{tupletSpannerDuration} specifies how long each
482 bracket should last. With this, you can make lots of tuplets while
483 typing @code{\times} only once, saving lots of typing. In the next
484 example, there are two triplets shown, while @code{\times} was only
487 @lilypond[quote,fragment,relative=1,raggedright,verbatim]
488 \set tupletSpannerDuration = #(ly:make-moment 1 4)
489 \times 2/3 { c'8 c c c c c }
492 The format of the number is determined by the property
493 @code{tupletNumberFormatFunction}. The default prints only the
494 denominator, but if it is set to the Scheme function
495 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
499 @cindex @code{tupletNumberFormatFunction}
500 @cindex tuplet formatting
505 @cindex @code{\tupletUp}
507 @cindex @code{\tupletDown}
509 @cindex @code{\tupletBoth}
514 Program reference: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
516 Examples: @inputfileref{input/regression,tuplet-nest.ly}.
520 Nested tuplets are not formatted automatically. In this case, outer
521 tuplet brackets should be moved manually, which is demonstrated in
522 @inputfileref{input/regression,tuplet-nest.ly}.
526 @node Easier music entry
527 @section Easier music entry
530 This section deals with tricks and features of the input language that
531 were added solely to help entering music, finding and correcting
532 mistakes. There are also external tools that make debugging easier.
533 See @ref{Point and click} for more information.
535 It is also possible to enter and edit music using other programs. For
536 example, GUI interfaces, or MIDI sequencers. Refer to the LilyPond
537 website for more information.
544 * Skipping corrected music::
545 * Automatic note splitting::
551 @node Relative octaves
552 @subsection Relative octaves
554 @cindex relative octave specification
556 Octaves are specified by adding @code{'} and @code{,} to pitch names.
557 When you copy existing music, it is easy to accidentally put a pitch
558 in the wrong octave and hard to find such an error. The relative
559 octave mode prevents these errors: a single error puts the rest of the
560 piece off by one octave
562 @cindex @code{\relative}
564 \relative @var{startpitch} @var{musicexpr}
567 The octave of notes that appear in @var{musicexpr} are calculated as
568 follows: If no octave changing marks are used, the basic interval
569 between this and the last note is always taken to be a fourth or
570 less. This distance is determined without regarding alterations; a
571 @code{fisis} following a @code{ceses} will be put above the
574 The octave changing marks @code{'} and @code{,} can be added to raise
575 or lower the pitch by an extra octave. Upon entering relative mode,
576 an absolute starting pitch must be specified that will act as the
577 predecessor of the first note of @var{musicexpr}.
579 Here is the relative mode shown in action
580 @lilypond[quote,fragment,raggedright,verbatim]
586 Octave changing marks are used for intervals greater than a fourth
587 @lilypond[quote,fragment,verbatim]
593 If the preceding item is a chord, the first note of the chord is used
594 to determine the first note of the next chord
596 @lilypond[quote,fragment,verbatim]
603 @cindex @code{\notes}
605 The pitch after the @code{\relative} contains a note name. To parse
606 the note name as a pitch, it must surrounded by @code{\notes}
608 The relative conversion will not affect @code{\transpose},
609 @code{\chords} or @code{\relative} sections in its argument. If you
610 want to use relative within transposed music, you must place an
611 additional @code{\relative} inside the @code{\transpose}.
614 @subsection Octave check
617 Octave checks make octave errors easier to correct: a note may be
618 followed by @code{=}@var{quotes} which indicates what its absolute
619 octave should be. In the following example,
621 \relative c'' @{ c='' b=' d,='' @}
625 @c take care with @code, adds confusing quotes.
626 the d will generate a warning, because a d'' is expected, but a d' is
627 found. In the output, the octave is corrected for this and the
632 There is also a syntax that is separate from the notes.
637 This checks that @var{pitch} (without octave) yields @var{pitch} (with
638 octave) in \relative mode. If not, a warning is printed, and the
639 octave is corrected, for example, the first check is passed
640 successfully. The second check fails with an error message. The
641 octave is adjusted so the following notes are in the correct octave
652 The octave of a note following an octave check is determined with
653 respect to the note preceding it. In the next fragment, the last note
654 is a @code{a'}, above middle C. Hence, the @code{\octave} check may
655 be deleted without changing the meaning of the piece.
657 @lilypond[quote,verbatim,fragment]
666 @subsection Bar check
670 @cindex @code{barCheckSynchronize}
673 Bar checks help detect errors in the durations. A bar check is
674 entered using the bar symbol, `@code{|}'. Whenever it is encountered
675 during interpretation, it should fall on a measure boundary. If it
676 does not, a warning is printed. In the next example, the second bar
677 check will signal an error
679 \time 3/4 c2 e4 | g2 |
682 Bar checks can also be used in lyrics, for example
687 Twin -- kle | Twin -- kle
692 @cindex skipTypesetting
694 Failed bar checks are caused by entering incorrect
695 durations. Incorrect durations often completely garble up the score,
696 especially if it is polyphonic, so you should start correcting the
697 score by scanning for failed bar checks and incorrect durations. To
698 speed up this process, you can use @code{skipTypesetting}, described
701 It is also possible to redefine the meaning of @code{|}. This is done
702 by assigning a music expression to @code{pipeSymbol},
705 pipeSymbol = \bar "||"
708 \notes { c'2 c'2 | c'2 c'2 | }
713 @node Skipping corrected music
714 @subsection Skipping corrected music
716 The property @code{Score.skipTypesetting} can be used to switch on and
717 off typesetting completely during the interpretation phase. When
718 typesetting is switched off, the music is processed much more quickly.
719 This can be used to skip over the parts of a score that have already
720 been checked for errors
722 @lilypond[quote,fragment,raggedright,verbatim]
725 \set Score.skipTypesetting = ##t
727 \set Score.skipTypesetting = ##f
731 @node Automatic note splitting
732 @subsection Automatic note splitting
734 Long notes can be converted automatically to tied notes. This is done
735 by replacing the @internalsref{Note_heads_engraver} by the
736 @internalsref{Completion_heads_engraver}.
737 In the following examples, notes crossing the bar line are split and tied.
740 @lilypond[quote,fragment,verbatim,relative=1,raggedright]
742 \remove "Note_heads_engraver"
743 \consists "Completion_heads_engraver"
745 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
749 This engraver splits all running notes at the bar line, and inserts
750 ties. One of its uses is to debug complex scores: if the measures are
751 not entirely filled, then the ties exactly show how much each measure
756 Not all durations (especially those containing tuplets) can be
757 represented exactly; the engraver will not insert tuplets.
761 Examples: @inputfileref{input/regression,completion-heads.ly}.
763 Program reference: @internalsref{Completion_heads_engraver}.
767 @section Staff notation
769 This section describes music notation that occurs on staff level,
770 such as keys, clefs and time signatures.
772 @cindex Staff notation
786 @subsection Staff symbol
788 @cindex adjusting staff symbol
790 Notes, dynamic signs, etc. are grouped
791 with a set of horizontal lines, into a staff (plural `staves'). In our
792 system, these lines are drawn using a separate layout object called
796 @cindex staff lines, setting number of
797 @cindex staff lines, setting thickness of
798 @cindex thickness of staff lines, setting
799 @cindex number of staff lines, setting
803 Program reference: @internalsref{StaffSymbol}.
805 Examples: @inputfileref{input/test,staff-lines.ly},
806 @inputfileref{input/test,staff-size.ly}.
810 If a staff is ended halfway a piece, the staff symbol may not end
811 exactly on the bar line.
815 @subsection Key signature
816 @cindex Key signature
820 The key signature indicates the scale in which a piece is played. It
821 is denoted by a set of alterations (flats or sharps) at the start of
825 Setting or changing the key signature is done with the @code{\key}
828 @code{\key} @var{pitch} @var{type}
831 @cindex @code{\minor}
832 @cindex @code{\major}
833 @cindex @code{\minor}
834 @cindex @code{\ionian}
835 @cindex @code{\locrian}
836 @cindex @code{\aeolian}
837 @cindex @code{\mixolydian}
838 @cindex @code{\lydian}
839 @cindex @code{\phrygian}
840 @cindex @code{\dorian}
842 Here, @var{type} should be @code{\major} or @code{\minor} to get
843 @var{pitch}-major or @var{pitch}-minor, respectively.
844 The standard mode names @code{\ionian},
845 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
846 @code{\phrygian}, and @code{\dorian} are also defined.
848 This command sets the context property
849 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
850 can be specified by setting this property directly.
852 Accidentals and key signatures often confuse new users, because
853 unaltered notes get natural signs depending on the key signature. For
854 more information, see @ref{More about pitches}.
858 The ordering of a key cancellation is wrong when it is combined with
859 repeat bar lines. The cancellation is also printed after a line break.
863 Program reference: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
865 @cindex @code{keySignature}
872 The clef indicates which lines of the staff correspond to which
876 The clef can be set or changed with the @code{\clef} command
877 @lilypond[quote,fragment,verbatim]
878 \key f\major c''2 \clef alto g'2
881 Supported clef-names include
882 @c Moved standard clefs to the top /MB
886 @item treble, violin, G, G2
899 G clef on 1st line, so-called French violin clef
904 @cindex mezzosoprano clef
907 @cindex baritone clef
910 @cindex varbaritone clef
921 By adding @code{_8} or @code{^8} to the clef name, the clef is
922 transposed one octave down or up, respectively, and @code{_15} and
923 @code{^15} transposes by two octaves. The argument @var{clefname}
924 must be enclosed in quotes when it contains underscores or digits. For
928 @cindex choral tenor clef
929 @lilypond[quote,verbatim,fragment,relative=1]
933 This command is equivalent to setting @code{clefGlyph},
934 @code{clefPosition} (which controls the Y position of the clef),
935 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
936 when any of these properties are changed.
940 Program reference: the object for this symbol is @internalsref{Clef}.
944 @node Ottava brackets
945 @subsection Ottava brackets
947 ``Ottava'' brackets introduce an extra transposition of an octave for
948 the staff. They are created by invoking the function
949 @code{set-octavation}
955 @lilypond[quote,verbatim,fragment]
965 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
966 (for 15ma) as arguments. Internally the function sets the properties
967 @code{ottavation} (e.g. to @code{"8va"}) and
968 @code{centralCPosition}. For overriding the text of the bracket, set
969 @code{ottavation} after invoking @code{set-octavation}, i.e.,
973 \set Staff.ottavation = #"8"
978 Program reference: @internalsref{OttavaBracket}.
980 Examples: @inputfileref{input/regression,ottava.ly},
981 @inputfileref{input/regression,ottava-broken.ly}.
985 @code{set-octavation} will get confused when clef changes happen
986 during an octavation bracket.
989 @subsection Time signature
990 @cindex Time signature
994 Time signature indicates the metrum of a piece: a regular pattern of
995 strong and weak beats. It is denoted by a fraction at the start of the
999 The time signature is set or changed by the @code{\time}
1001 @lilypond[quote,fragment,verbatim]
1002 \time 2/4 c'2 \time 3/4 c'2.
1005 The symbol that is printed can be customized with the @code{style}
1006 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1007 2/2 time. There are many more options for its layout. See
1008 @inputfileref{input/test,time.ly} for more examples.
1011 This command sets the property @code{timeSignatureFraction},
1012 @code{beatLength} and @code{measureLength} in the @code{Timing}
1013 context, which is normally aliased to @internalsref{Score}. The
1014 property @code{measureLength} determines where bar lines should be
1015 inserted, and how automatic beams should be generated. Changing the
1016 value of @code{timeSignatureFraction} also causes the symbol to be
1019 More options are available through the Scheme function
1020 @code{set-time-signature}. In combination with the
1021 @internalsref{Measure_grouping_engraver}, it will create
1022 @internalsref{MeasureGrouping} signs. Such signs ease reading
1023 rhythmically complex modern music. In the following example, the 9/8
1024 measure is subdivided in 2, 2, 2 and 3. This is passed to
1025 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
1027 @lilypond[quote,raggedright,verbatim]
1029 \notes \relative c'' {
1030 #(set-time-signature 9 8 '(2 2 2 3))
1031 g8[ g] d[ d] g[ g] a8[( bes g]) |
1032 #(set-time-signature 5 8 '(3 2))
1038 \consists "Measure_grouping_engraver"
1046 Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1051 Automatic beaming does not use the measure grouping specified with
1052 @code{set-time-signature}.
1054 @node Partial measures
1055 @subsection Partial measures
1058 @cindex partial measure
1059 @cindex measure, partial
1060 @cindex shorten measures
1061 @cindex @code{\partial}
1063 Partial measures, for example in upsteps, are entered using the
1064 @code{\partial} command
1065 @lilypond[quote,fragment,verbatim,relative=2]
1066 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1069 The syntax for this command is
1071 \partial @var{duration}
1073 This is internally translated into
1075 \set Timing.measurePosition = -@var{length of duration}
1078 The property @code{measurePosition} contains a rational number
1079 indicating how much of the measure has passed at this point.
1081 @node Unmetered music
1082 @subsection Unmetered music
1084 Bar lines and bar numbers are calculated automatically. For unmetered
1085 music (e.g. cadenzas), this is not desirable. By setting
1086 @code{Score.timing} to false, this automatic timing can be switched
1087 off. Empty bar lines,
1094 indicate where line breaks can occur.
1100 @cindex @code{\cadenzaOn}
1102 @cindex @code{\cadenzaOff}
1106 @subsection Bar lines
1110 @cindex measure lines
1114 Bar lines delimit measures, but are also used to indicate repeats.
1115 Normally, they are inserted automatically. Line breaks may only
1116 happen on bar lines.
1118 Special types of bar lines can be forced with the @code{\bar} command
1120 @lilypond[quote,relative=2,fragment,verbatim]
1124 The following bar types are available
1125 @lilypond[quote,fragment,relative=1,raggedright,verbatim]
1138 For allowing line breaks, there is a special command,
1142 This will insert an invisible bar line, and allow line breaks at this
1145 In scores with many staves, a @code{\bar} command in one staff is
1146 automatically applied to all staves. The resulting bar lines are
1147 connected between different staves of a @internalsref{StaffGroup}
1149 @lilypond[quote,fragment,verbatim]
1151 \context StaffGroup <<
1157 \new Staff { \clef bass c4 g e g }
1159 \new Staff { \clef bass c2 c2 }
1163 A bar line is created whenever the @code{whichBar} property is set.
1164 At the start of a measure it is set to the contents of
1165 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1166 to override default measure bars.
1168 The command @code{\bar }@var{bartype} is a short cut for doing
1169 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1170 is set to a string, a bar line of that type is created.
1173 @cindex repeatCommands
1174 @cindex defaultBarType
1176 You are encouraged to use @code{\repeat} for repetitions. See
1183 In this manual: @ref{Repeats}.
1186 Program reference: the bar line objects that are created at
1187 @internalsref{Staff} level are called @internalsref{BarLine}, the bar
1188 lines that span staves are @internalsref{SpanBar} objects.
1190 @cindex bar lines at start of system
1191 @cindex start of system
1193 The bar lines at the start of each system are
1194 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1195 @internalsref{SystemStartBracket}. Only one of these types is created
1196 in every context, and that type is determined by the property
1197 @code{systemStartDelimiter}.
1199 Examples: @inputfileref{input/test,bar-lines.ly},
1205 The easiest way to enter fragments with more than one voice on a staff
1206 is to split chords using the separator @code{\\}. You can use it for
1207 small, short-lived voices or for single chords
1209 @lilypond[quote,verbatim,fragment]
1210 \context Staff \relative c'' {
1211 c4 << { f d e } \\ { b c2 } >>
1212 c4 << g' \\ b, \\ f' \\ d >>
1216 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1217 voices are sometimes called "layers" other notation packages}
1219 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1220 each of these contexts, vertical direction of slurs, stems, etc. is set
1223 @cindex @code{\voiceOne}
1224 @cindex @code{\voiceFour}
1226 This can also be done by instantiating @internalsref{Voice} contexts
1227 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1228 a stem directions and horizontal shift for each part
1231 @lilypond[quote,raggedright,verbatim]
1234 \new Voice { \voiceOne cis2 b }
1235 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1236 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1240 The command @code{\oneVoice} will revert back to the normal setting.
1241 @cindex @code{\oneVoice}
1244 Normally, note heads with a different number of dots are not merged, but
1245 when the object property @code{merge-differently-dotted} is set in
1246 the @internalsref{NoteCollision} object, they are merged
1247 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
1250 \override Staff.NoteCollision
1251 #'merge-differently-dotted = ##t
1253 } \\ { g8.[ f16] g8.[ f16] } >>
1256 Similarly, you can merge half note heads with eighth notes, by setting
1257 @code{merge-differently-headed}
1258 @lilypond[quote,fragment,relative=2,verbatim]
1261 \override Staff.NoteCollision
1262 #'merge-differently-headed = ##t
1263 c8 c4. } \\ { c2 c2 } >>
1266 LilyPond also vertically shifts rests that are opposite of a stem
1269 @lilypond[quote,raggedright,fragment,verbatim]
1270 \context Voice << c''4 \\ r4 >>
1278 @cindex @code{\oneVoice}
1280 @cindex @code{\voiceOne}
1282 @cindex @code{\voiceTwo}
1284 @cindex @code{\voiceThree}
1286 @cindex @code{\voiceFour}
1290 The following commands specify in what chords of the current voice
1291 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1292 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1295 @cindex @code{\shiftOn}
1297 @cindex @code{\shiftOnn}
1299 @cindex @code{\shiftOnnn}
1301 @cindex @code{\shiftOff}
1308 Program reference: the objects responsible for resolving collisions are
1309 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1311 Examples: See also example files
1312 @inputfileref{input/regression,collision-dots.ly},
1313 @inputfileref{input/regression,collision-head-chords.ly},
1314 @inputfileref{input/regression,collision-heads.ly},
1315 @inputfileref{input/regression,collision-mesh.ly}, and
1316 @inputfileref{input/regression,collisions.ly}.
1321 Resolving collisions is a intricate subject, and only a few situations
1322 are handled. When LilyPond cannot cope, the @code{force-hshift}
1323 property of the @internalsref{NoteColumn} object and pitched rests can
1324 be used to override typesetting decisions.
1326 When using @code{merge-differently-headed} with an upstem eighth or a
1327 shorter note, and a downstem half note, the eighth note gets the wrong
1330 There is no support for clusters where the same note occurs with
1331 different accidentals in the same chord. In this case, it is
1332 recommended to use enharmonic transcription, or to use special cluster
1333 notation (see @ref{Clusters}).
1338 Beams are used to group short notes into chunks that are aligned with
1339 the metrum. They are inserted automatically
1341 @lilypond[quote,fragment,verbatim,relative=2]
1342 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1345 When these automatic decisions are not good enough, beaming can be
1346 entered explicitly. It is also possible to define beaming patterns
1347 that differ from the defaults.
1349 Individual notes may be marked with @code{\noBeam}, to prevent them
1352 @lilypond[quote,fragment,verbatim,relative=2]
1353 \time 2/4 c8 c\noBeam c c
1359 Program reference: @internalsref{Beam}.
1362 @cindex Automatic beams
1365 * Setting automatic beam behavior::
1369 @subsection Manual beams
1370 @cindex beams, manual
1374 In some cases it may be necessary to override the automatic beaming
1375 algorithm. For example, the autobeamer will not put beams over rests
1376 or bar lines. Such beams are specified by manually: the begin and end
1377 point are marked with @code{[} and @code{]}
1379 @lilypond[quote,fragment,relative=1,verbatim]
1381 r4 r8[ g' a r8] r8 g[ | a] r8
1385 @cindex @code{stemLeftBeamCount}
1387 Normally, beaming patterns within a beam are determined automatically.
1388 If necessary, the properties @code{stemLeftBeamCount} and
1389 @code{stemRightBeamCount} can be used to override the defaults. If
1390 either property is set, its value will be used only once, and then it
1393 @lilypond[quote,fragment,relative=1,verbatim]
1396 f8[ r16 \set stemLeftBeamCount = #1 f g a]
1399 @cindex @code{stemRightBeamCount}
1402 The property @code{subdivideBeams} can be set in order to subdivide
1403 all 16th or shorter beams at beat positions, as defined by the
1404 @code{beatLength} property.
1407 @lilypond[quote,relative=2,verbatim,noindent]
1409 \set subdivideBeams = ##t
1411 \set Score.beatLength = #(ly:make-moment 1 8)
1414 @cindex subdivideBeams
1416 Kneed beams are inserted automatically, when a large gap is detected
1417 between the note heads. This behavior can be tuned through the object
1418 property @code{auto-knee-gap}.
1420 Normally, line breaks are forbidden when beams cross bar lines. This
1421 behavior can be changed by setting @code{allowBeamBreak}.
1423 @cindex @code{allowBeamBreak}
1424 @cindex beams and line breaks
1426 @cindex beams, kneed
1428 @cindex auto-knee-gap
1434 @cindex Frenched staves
1436 Automatically kneed cross-staff beams cannot be used together with
1439 Beams do not avoid collisions with symbols around the notes, such as
1440 texts and accidentals.
1444 @node Setting automatic beam behavior
1445 @subsection Setting automatic beam behavior
1447 @cindex @code{autoBeamSettings}
1448 @cindex @code{(end * * * *)}
1449 @cindex @code{(begin * * * *)}
1450 @cindex automatic beams, tuning
1451 @cindex tuning automatic beaming
1453 @c [TODO: use \applycontext]
1455 In normal time signatures, automatic beams can start on any note but can
1456 only end in a few positions within the measure: beams can end on a beat,
1457 or at durations specified by the properties in
1458 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
1459 are defined in @file{scm/auto-beam.scm}.
1461 The value of @code{autoBeamSettings} is changed with two functions,
1463 #(override-auto-beam-setting
1464 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
1466 #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m}))
1468 Here, @var{be} is the symbol @code{begin} or @code{end}, and
1469 @var{context} is an optional context (default: @code{'Voice}). It
1470 determines whether the rule applies to begin or end-points. The
1471 quantity @var{p}/@var{q} refers to the length of the beamed notes (and
1472 `@code{* *}' designates notes of any length), @var{n}/@var{M} refers
1473 to a time signature (wildcards `@code{* *}' may be entered to
1474 designate all time signatures), @var{a}/@var{b} is a duration. By
1475 default, this command changes settings for the current voice. It is
1476 also possible to adjust settings at higher contexts, by adding a
1477 @var{context} argument.
1479 For example, if automatic beams should end on every quarter note, use
1482 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1484 Since the duration of a quarter note is 1/4 of a whole note, it is
1485 entered as @code{(ly:make-moment 1 4)}.
1487 The same syntax can be used to specify beam starting points. In this
1488 example, automatic beams can only end on a dotted quarter note
1490 #(override-auto-beam-setting '(end * * * *) 3 8)
1492 In 4/4 time signature, this means that automatic beams could end only on
1493 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1494 3/8, has passed within the measure).
1496 Rules can also be restricted to specific time signatures. A rule that
1497 should only be applied in @var{N}/@var{M} time signature is formed by
1498 replacing the second asterisks by @var{N} and @var{M}. For example, a
1499 rule for 6/8 time exclusively looks like
1501 #(override-auto-beam-setting '(begin * * 6 8) @dots{})
1504 If a rule should be to applied only to certain types of beams, use the
1505 first pair of asterisks. Beams are classified according to the
1506 shortest note they contain. For a beam ending rule that only applies
1507 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1510 @cindex automatic beam generation
1512 @cindex @code{autoBeaming}
1515 If beams are used to indicate melismata in songs, then automatic
1516 beaming should be switched off. This is done by setting
1517 @code{autoBeaming} to @code{#f}.
1521 @cindex @code{\autoBeamOff}
1522 @code{\autoBeamOff},
1523 @cindex @code{\autoBeamOn}
1529 If a score ends while an automatic beam has not been ended and is
1530 still accepting notes, this last beam will not be typeset at all. The
1531 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
1532 >>}. If a polyphonic voice ends while an automatic beam is still
1533 accepting notes, it is not typeset.
1535 The rules for ending a beam depend on the shortest note in a beam.
1536 So, while it is possible to have different ending rules for eight
1537 beams and sixteenth beams, a beam that contains both eight and
1538 sixteenth notes will use the rules for the sixteenth beam.
1540 In the example below, the autobeamer makes eight beams and sixteenth
1541 end at 3 eights; the third beam can only be corrected by specifying
1544 @lilypond[quote,raggedright,fragment,relative=1]
1545 #(override-auto-beam-setting '(end * * * *) 3 8)
1546 % rather show case where it goes wrong
1547 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1548 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1550 It is not possible to specify beaming parameters that act differently in
1551 different parts of a measure. This means that it is not possible to use
1552 automatic beaming in irregular meters such as @code{5/8}.
1555 @section Accidentals
1558 This section describes how to change the way that accidentals are
1559 inserted automatically before the running notes.
1561 Common rules for typesetting accidentals have been canned in a
1562 function. This function is called as follows
1564 @cindex @code{set-accidental-style}
1566 #(set-accidental-style 'modern 'Voice)
1569 The function takes two arguments: a symbol that denotes the style (in
1570 the example, @code{modern}), and another symbol that denotes the
1571 context name (in this example, @code{Voice}). If no context name is
1572 supplied, @code{Staff} is the default.
1574 The following styles are supported
1577 This is the default typesetting behavior. It should correspond
1578 to 18th century common practice: Accidentals are
1579 remembered to the end of the measure in which they occur and
1580 only on their own octave.
1584 The normal behavior is to remember the accidentals on
1585 Staff-level. This variable, however, typesets accidentals
1586 individually for each voice. Apart from that, the rule is similar to
1589 This leads to some weird and often unwanted results
1590 because accidentals from one voice do not get canceled in other
1592 @lilypond[quote,raggedright,relative=1,fragment,verbatim]
1594 #(set-accidental-style 'voice)
1600 Hence you should only use @code{voice} if the voices
1601 are to be read solely by individual musicians. If the staff is to be
1602 used by one musician (e.g. a conductor) then you use
1603 @code{modern} or @code{modern-cautionary}
1607 @cindex @code{modern} style accidentals
1608 This rule corresponds to the common practice in the 20th
1610 This rule prints the same accidentals as @code{default}, but temporary
1611 accidentals also are canceled in other octaves. Furthermore,
1612 in the same octave, they also get canceled in the following
1615 @lilypond[quote,raggedright,fragment,verbatim]
1616 #(set-accidental-style 'modern)
1617 cis' c'' cis'2 | c'' c'
1620 @item @code{modern-cautionary}
1621 @cindex @code{modern-cautionary}
1622 This rule is similar to @code{modern}, but the
1623 ``extra'' accidentals (the ones not typeset by
1624 @code{default}) are typeset as cautionary accidentals.
1625 They are printed in reduced size or with parentheses
1626 @lilypond[quote,raggedright,fragment,verbatim]
1627 #(set-accidental-style 'modern-cautionary)
1628 cis' c'' cis'2 | c'' c'
1631 @cindex @code{modern-voice}
1633 This rule is used for multivoice accidentals to be read both by musicians
1634 playing one voice and musicians playing all voices. Accidentals are
1635 typeset for each voice, but they @emph{are} canceled across voices in
1636 the same @internalsref{Staff}.
1638 @cindex @code{modern-voice-cautionary}
1639 @item modern-voice-cautionary
1640 This rule is the same as @code{modern-voice}, but with the extra
1641 accidentals (the ones not typeset by @code{voice}) typeset
1642 as cautionaries. Even though all accidentals typeset by
1643 @code{default} @emph{are} typeset by this variable then
1644 some of them are typeset as cautionaries.
1647 @cindex @code{piano} accidentals
1648 This rule reflects 20th century practice for piano notation. Very similar to
1649 @code{modern} but accidentals also get canceled
1650 across the staves in the same @internalsref{GrandStaff} or
1651 @internalsref{PianoStaff}.
1653 @item piano-cautionary
1654 @cindex @code{#(set-accidental-style 'piano-cautionary)}
1655 As @code{#(set-accidental-style 'piano)' , str)} but with the extra accidentals
1656 typeset as cautionaries.
1659 @cindex @code{no-reset} accidental style
1661 This is the same as @code{default} but with accidentals lasting
1662 ``forever'' and not only until the next measure
1663 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1664 #(set-accidental-style 'no-reset)
1669 This is sort of the opposite of @code{no-reset}: Accidentals
1670 are not remembered at all---and hence all accidentals are
1671 typeset relative to the key signature, regardless of what was
1674 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1675 #(set-accidental-style 'forget)
1676 \key d\major c4 c cis cis d d dis dis
1683 Program reference: @internalsref{Accidental_engraver},
1684 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1689 Simultaneous notes are considered to be entered in sequential
1690 mode. This means that in a chord the accidentals are typeset as if the
1691 notes in the chord happened once at a time - in the order in which
1692 they appear in the input file.
1694 This is only a problem when accidentals in a chord depend on each
1695 other. This problem can be solved by manually inserting @code{!} and
1696 @code{?} for the problematic notes.
1698 In the default scheme, accidentals only depend on other
1699 accidentals with the same pitch on the same staff, so no conflicts are
1702 @node Expressive marks
1703 @section Expressive marks
1706 @c todo: should change ordering
1707 @c where to put text spanners, metronome marks,
1716 * Analysis brackets::
1718 * Fingering instructions::
1729 A slur indicates that notes are to be played bound or @emph{legato}.
1732 They are entered using parentheses
1733 @lilypond[quote,relative=2,fragment,verbatim]
1734 f( g)( a) a8 b( a4 g2 f4)
1739 @c TODO: should explain that ^( and _( set directions
1740 @c should set attachments with ^ and _ ?
1742 Slurs avoid crossing stems, and are generally attached to note heads.
1743 However, in some situations with beams, slurs may be attached to stem
1744 ends. If you want to override this layout you can do this through the
1745 object property @code{attachment} of @internalsref{Slur}. Its value
1746 is a pair of symbols, specifying the attachment type of the left and
1749 @lilypond[quote,fragment,relative=1,verbatim]
1751 \override Stem #'length = #5.5
1753 \override Slur #'attachment = #'(stem . stem)
1757 If a slur would strike through a stem or beam, the slur will be moved
1758 away upward or downward. If this happens, attaching the slur to the
1759 stems might look better
1761 @lilypond[quote,fragment,relative=1,verbatim]
1764 \override Slur #'attachment = #'(stem . stem)
1771 @cindex @code{\slurUp}
1773 @cindex @code{\slurDown}
1775 @cindex @code{\slurBoth}
1777 @cindex @code{\slurDotted}
1779 @cindex @code{\slurSolid}
1784 Program reference: @seeinternals{Slur}, and @internalsref{SlurEvent}.
1789 Producing nice slurs is a difficult problem, and LilyPond
1790 uses a simple, empiric method to produce slurs. In some cases, its
1794 @cindex Adjusting slurs
1796 @node Phrasing slurs
1797 @subsection Phrasing slurs
1799 @cindex phrasing slurs
1800 @cindex phrasing marks
1802 A phrasing slur (or phrasing mark) connects chords and is used to
1803 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1806 @lilypond[quote,fragment,verbatim,relative=1]
1807 \time 6/4 c'\( d( e) f( e) d\)
1810 Typographically, the phrasing slur behaves almost exactly like a
1811 normal slur. However, they are treated as different objects. A
1812 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1813 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1814 @code{\phrasingSlurBoth}.
1816 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1817 will only affect normal slurs and not phrasing slurs.
1821 @cindex @code{\phrasingSlurUp}
1822 @code{\phrasingSlurUp},
1823 @cindex @code{\phrasingSlurDown}
1824 @code{\phrasingSlurDown},
1825 @cindex @code{\phrasingSlurBoth}
1826 @code{\phrasingSlurBoth}.
1830 Program reference: see also @internalsref{PhrasingSlur}, and
1831 @internalsref{PhrasingSlurEvent}.
1835 Phrasing slurs have the same limitations in their formatting as normal
1836 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1839 @subsection Breath marks
1841 Breath marks are entered using @code{\breathe}
1844 @lilypond[quote,fragment,relative=1,verbatim]
1848 The glyph of the breath mark can be tuned by overriding the
1849 @code{text} property of the @code{BreathingSign} layout object with
1850 any markup text. For example,
1851 @lilypond[quote,fragment,verbatim,relative=1]
1853 \override BreathingSign #'text
1854 = #(make-musicglyph-markup "scripts-rvarcomma")
1861 Program reference: @internalsref{BreathingSign},
1862 @internalsref{BreathingSignEvent}.
1864 Examples: @inputfileref{input/regression,breathing-sign.ly}.
1867 @node Metronome marks
1868 @subsection Metronome marks
1871 @cindex beats per minute
1872 @cindex metronome marking
1874 Metronome settings can be entered as follows
1876 \tempo @var{duration} = @var{per-minute}
1879 In the MIDI output, they are interpreted as a tempo change, and in the
1880 paper output, a metronome marking is printed
1881 @cindex @code{\tempo}
1882 @lilypond[quote,fragment,verbatim]
1888 Program reference: @internalsref{MetronomeChangeEvent}.
1893 @subsection Text spanners
1894 @cindex Text spanners
1896 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1897 are written as texts, and extended over many measures with dotted
1898 lines. You can create such texts using text spanners: attach
1899 @code{\startTextSpan} and @code{\stopTextSpan} to the
1900 start and ending note of the spanner.
1902 The string to be printed, as well as the style, is set through object
1905 @lilypond[quote,fragment,relative=1,verbatim]
1908 \override TextSpanner #'direction = #-1
1909 \override TextSpanner #'edge-text = #'("rall " . "")
1910 c2\startTextSpan b c\stopTextSpan a
1917 Internals @internalsref{TextSpanEvent},
1918 @internalsref{TextSpanner}.
1920 Examples: @inputfileref{input/regression,text-spanner.ly}.
1923 @node Analysis brackets
1924 @subsection Analysis brackets
1926 @cindex phrasing brackets
1927 @cindex musicological analysis
1928 @cindex note grouping bracket
1930 Brackets are used in musical analysis to indicate structure in musical
1931 pieces. LilyPond supports a simple form of nested horizontal brackets.
1932 To use this, add the @internalsref{Horizontal_bracket_engraver} to
1933 @internalsref{Staff} context. A bracket is started with
1934 @code{\startGroup} and closed with @code{\stopGroup}
1936 @lilypond[quote,raggedright,verbatim]
1938 \notes \relative c'' {
1939 c4\startGroup\startGroup
1942 c4\stopGroup\stopGroup
1946 \StaffContext \consists "Horizontal_bracket_engraver"
1952 Program reference: @internalsref{HorizontalBracket},
1953 @internalsref{NoteGroupingEvent}.
1955 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
1959 @subsection Articulations
1960 @cindex Articulations
1962 @cindex articulations
1966 A variety of symbols can appear above and below notes to indicate
1967 different characteristics of the performance. They are added to a note
1968 by adding a dash and the character signifying the
1969 articulation. They are demonstrated here
1971 @lilypondfile[quote,raggedright]{script-abbreviations.ly}
1973 The meanings of these shorthands can be changed. See
1974 @file{ly/script-init.ly} for examples.
1977 The script is automatically placed, but if you need to force
1978 directions, you can use @code{_} to force them down, or @code{^} to
1980 @lilypond[quote,fragment,verbatim]
1984 Other symbols can be added using the syntax
1985 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
1986 can be forced up or down using @code{^} and @code{_},
1989 @lilypond[quote,verbatim,fragment,relative=3]
1990 c\fermata c^\fermata c_\fermata
1997 @cindex staccatissimo
2006 @cindex organ pedal marks
2015 @cindex prallmordent
2019 @cindex thumb marking
2024 @lilypondfile[quote,raggedright]{script-chart.ly}
2028 @cindex @code{\scriptUp}
2030 @cindex @code{\scriptDown}
2032 @cindex @code{\scriptBoth}
2037 Program reference: @internalsref{ScriptEvent}, and @internalsref{Script}.
2041 These note ornaments appear in the printed output but have no
2042 effect on the MIDI rendering of the music.
2045 @node Fingering instructions
2046 @subsection Fingering instructions
2050 Fingering instructions can be entered using
2052 @var{note}-@var{digit}
2054 For finger changes, use markup texts
2056 @lilypond[quote,verbatim,raggedright,fragment]
2057 c'4-1 c'4-2 c'4-3 c'4-4
2058 c'^\markup { \finger "2-3" }
2061 @cindex finger change
2066 You can use the thumb-script to indicate that a note should be
2067 played with the thumb (e.g. in cello music)
2069 @lilypond[quote,verbatim,raggedright,fragment]
2070 <a' a''-3>8_\thumb <b' b''-3>_\thumb
2073 Fingerings for chords can also be added to individual notes
2074 of the chord by adding them after the pitches
2075 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2076 < c-1 e-2 g-3 b-5 >4
2080 iIn this case, setting @code{fingeringOrientations} will put fingerings next
2083 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2084 \set fingeringOrientations = #'(left down)
2085 <c-1 es-2 g-4 bes-5 > 4
2086 \set fingeringOrientations = #'(up right down)
2087 <c-1 es-2 g-4 bes-5 > 4
2088 \set fingeringOrientations = #'(right)
2092 The last note demonstrates how fingering instructions can be put close
2093 to note heads in monophonic music, using this feature.
2097 Program reference: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2099 Examples: @inputfileref{input/regression,finger-chords.ly}.
2102 @subsection Text scripts
2103 @cindex Text scripts
2105 @cindex text items, non-empty
2106 @cindex non-empty texts
2108 It is possible to place arbitrary strings of text or markup text (see
2109 @ref{Text markup}) above or below notes by using a string
2110 @code{c^"text"}. By default, these indications do not influence the
2111 note spacing, but by using the command @code{\fatText}, the widths
2112 will be taken into account
2114 @lilypond[quote,fragment,raggedright,verbatim]
2116 c4^"longtext" \fatText c4_"longlongtext" c4
2120 It is possible to use @TeX{} commands in the strings, but this should
2121 be avoided because the exact dimensions of the string can then no
2126 @cindex @code{\fatText}
2128 @cindex @code{\emptyText}
2133 In this manual: @ref{Text markup}.
2135 Program reference: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
2141 @subsection Grace notes
2144 @c should have blurb about accaciatura / appogiatura
2146 @cindex @code{\grace}
2150 Grace notes are ornaments that are written out. The most common ones
2151 are acciaccatura, which should be played as very short. It is denoted
2152 by a slurred small note with a slashed stem. The appoggiatura is a
2153 grace note that takes a fixed fraction of the main note, is and
2154 denoted as a slurred note in small print without a slash.
2155 They are entered with the commands @code{\acciaccatura} and
2156 @code{\appoggiatura}, as demonstrated in the following example
2159 @cindex appoggiatura
2160 @cindex acciaccatura
2162 @lilypond[quote,relative=2,verbatim,fragment]
2163 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2164 \acciaccatura { g16[ f] } e4
2167 Both are special forms of the @code{\grace} command. By prefixing this
2168 keyword to a music expression, a new one is formed, which will be
2169 printed in a smaller font and takes up no logical time in a measure.
2171 @lilypond[quote,relative=2,verbatim,fragment]
2173 \grace { c16[ d16] } c2 c4
2177 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2178 @code{\grace} command does not start a slur.
2180 Internally, timing for grace notes is done using a second, `grace'
2181 time. Every point in time consists of two rational numbers: one
2182 denotes the logical time, one denotes the grace timing. The above
2183 example is shown here with timing tuples
2185 @lilypond[quote,raggedright]
2188 c4 \grace c16 c4 \grace {
2191 \new Lyrics \lyrics {
2194 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2195 \markup { (\fraction 1 4 , 0 ) } 4
2197 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2198 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2200 \markup { ( \fraction 2 4 , 0 ) }
2206 The placement of grace notes is synchronized between different staves.
2207 In the following example, there are two sixteenth graces notes for
2208 every eighth grace note
2210 @lilypond[quote,relative=2,verbatim,fragment]
2211 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2212 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2217 If you want to end a note with a grace, the standard trick is to put
2218 the grace notes after a ``space note''
2220 @lilypond[quote,fragment,verbatim,relative=2]
2223 { s2 \grace { c16[ d] } } >>
2229 By adjusting the duration of the skip note (here it is a half-note),
2230 the space between the main-note and the grace is adjusted.
2233 A @code{\grace} section will introduce special typesetting settings,
2234 for example, to produce smaller type, and set directions. Hence, when
2235 introducing layout tweaks, they should be inside the grace section,
2237 @lilypond[quote,fragment,verbatim,relative=2]
2240 \override Stem #'direction = #-1
2242 \revert Stem #'direction
2249 The overrides should also be reverted inside the grace section.
2251 If the layout of grace sections must be changed throughout the music,
2252 then this can be accomplished through the function
2253 @code{add-grace-property}. The following example undefines the Stem
2254 direction for this grace, so stems do not always point up.
2258 #(add-grace-property 'Voice 'Stem 'direction '())
2264 Another option is to change the variables @code{startGraceMusic},
2265 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2266 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2267 @code{stopAppoggiaturaMusic}. More information is in the file
2268 @file{ly/grace-init.ly}.
2273 Program reference: @internalsref{GraceMusic}.
2277 A score that starts with an @code{\grace} section needs an explicit
2278 @code{\context Voice} declaration, otherwise the main note and grace
2279 note end up on different staves.
2281 Grace note synchronization can also lead to surprises. Staff notation,
2282 such as key signatures, bar lines, etc. are also synchronized. Take
2283 care when you mix staves with grace notes and staves without, for example,
2285 @lilypond[quote,relative=2,verbatim,fragment]
2286 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2287 \new Staff { c4 \bar "|:" d4 } >>
2291 This can be remedied by inserting grace skips, for the above example
2294 \new Staff @{ c4 \bar "|:" \grace s16 d4 @} >>
2297 Grace sections should only be used within sequential music
2298 expressions. Nesting or juxtaposing grace sections is not supported,
2299 and might produce crashes or other errors.
2303 @subsection Glissando
2306 @cindex @code{\glissando}
2308 A glissando is a smooth change in pitch. It is denoted by a line or a
2309 wavy line between two notes.
2312 A glissando line can be requested by attaching a @code{\glissando} to
2315 @lilypond[quote,fragment,relative=1,verbatim]
2321 Program reference: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2323 Example files: @file{input/regression,glissando.ly}
2329 Printing text over the line (such as @emph{gliss.}) is not supported.
2333 @subsection Dynamics
2346 @cindex @code{\ffff}
2356 Absolute dynamic marks are specified using a command after a note
2357 @code{c4\ff}. The available dynamic marks are @code{\ppp},
2358 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2359 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2360 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}
2362 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2363 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2373 A crescendo mark is started with @code{\<} and terminated with
2374 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2375 with @code{\!}. Because these marks are bound to notes, if you must
2376 use spacer notes if multiple marks during one note are needed
2378 @lilypond[quote,fragment,verbatim]
2379 c''\< c''\! d''\> e''\!
2380 << f''1 { s4 s4\< s4\! \> s4\! } >>
2382 This may give rise to very short hairpins. Use @code{minimum-length}
2383 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2387 \override Staff.Hairpin #'minimum-length = #5
2390 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2391 is an example how to do it
2393 @lilypond[quote,fragment,relative=2,verbatim]
2403 You can also supply your own texts
2404 @lilypond[quote,fragment,relative=1,verbatim]
2406 \set crescendoText = \markup { \italic "cresc. poco" }
2407 \set crescendoSpanner = #'dashed-line
2417 @cindex @code{\dynamicUp}
2419 @cindex @code{\dynamicDown}
2420 @code{\dynamicDown},
2421 @cindex @code{\dynamicBoth}
2422 @code{\dynamicBoth}.
2424 @cindex direction, of dynamics
2428 Program reference: @internalsref{CrescendoEvent},
2429 @internalsref{DecrescendoEvent}, and
2430 @internalsref{AbsoluteDynamicEvent}.
2432 Dynamics @internalsref{DynamicText} and @internalsref{Hairpin}
2433 objects. Vertical positioning of these symbols is handled by the
2434 @internalsref{DynamicLineSpanner} object.
2442 @cindex @code{\repeat}
2445 Repetition is a central concept in music, and multiple notations exist
2446 for repetitions. In LilyPond, most of these notations can be captured
2447 in a uniform syntax. One of the advantages is that they can be
2448 rendered in MIDI accurately.
2450 The following types of repetition are supported
2454 Repeated music is fully written (played) out. Useful for MIDI
2455 output, and entering repetitive music.
2458 This is the normal notation: Repeats are not written out, but
2459 alternative endings (volte) are printed, left to right.
2463 Alternative endings are written stacked. This has limited use but may be
2464 used to typeset two lines of lyrics in songs with repeats, see
2465 @inputfileref{input,star-spangled-banner.ly}.
2473 Make beat or measure repeats. These look like percent signs.
2479 * Repeats and MIDI::
2480 * Manual repeat commands::
2482 * Tremolo subdivisions::
2487 @subsection Repeat syntax
2490 LilyPond has one syntactic construct for specifying different types of
2491 repeats. The syntax is
2494 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2497 If you have alternative endings, you may add
2498 @cindex @code{\alternative}
2500 \alternative @code{@{} @var{alternative1}
2502 @var{alternative3} @dots{} @code{@}}
2504 where each @var{alternative} is a music expression. If you do not
2505 give enough alternatives for all of the repeats, the first alternative
2506 is assumed to be played more than once.
2508 Normal notation repeats are used like this
2509 @lilypond[quote,fragment,verbatim,relative=2]
2511 \repeat volta 2 { c4 d e f }
2512 \repeat volta 2 { f e d c }
2515 With alternative endings
2516 @lilypond[quote,fragment,verbatim,relative=2]
2518 \repeat volta 2 {c4 d e f}
2519 \alternative { {d2 d} {f f,} }
2523 @lilypond[quote,fragment,verbatim,relative=2]
2526 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2527 \alternative { { g4 g g } { a | a a a a | b2. } }
2533 A nested repeat like
2542 is ambiguous, since it is is not clear to which @code{\repeat} the
2543 @code{\alternative} belongs. This ambiguity is resolved by always
2544 having the @code{\alternative} belong to the inner @code{\repeat}.
2545 For clarity, it is advisable to use braces in such situations.
2548 @node Repeats and MIDI
2549 @subsection Repeats and MIDI
2551 @cindex expanding repeats
2553 For instructions on how to expand repeats for MIDI output, see the
2554 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2559 Timing information is not remembered at the start of an alternative,
2560 so after a repeat timing information must be reset by hand, for
2561 example by setting @code{Score.measurePosition} or entering
2562 @code{\partial}. Similarly, slurs or ties are also not repeated.
2565 @node Manual repeat commands
2566 @subsection Manual repeat commands
2568 @cindex @code{repeatCommands}
2570 The property @code{repeatCommands} can be used to control the layout of
2571 repeats. Its value is a Scheme list of repeat commands, where each repeat
2575 @item the symbol @code{start-repeat},
2576 which prints a @code{|:} bar line,
2577 @item the symbol @code{end-repeat},
2578 which prints a @code{:|} bar line,
2579 @item the list @code{(volta @var{text})},
2580 which prints a volta bracket saying @var{text}: The text can be specified as
2581 a text string or as a markup text, see @ref{Text markup}. Do not
2582 forget to change the font, as the default number font does not contain
2583 alphabetic characters. Or,
2584 @item the list @code{(volta #f)}, which
2585 stops a running volta bracket
2588 @lilypond[quote,verbatim,fragment,relative=2]
2590 \set Score.repeatCommands = #'((volta "93") end-repeat)
2592 \set Score.repeatCommands = #'((volta #f))
2599 Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2600 @internalsref{VoltaRepeatedMusic},
2601 @internalsref{UnfoldedRepeatedMusic}, and
2602 @internalsref{FoldedRepeatedMusic}.
2604 @node Tremolo repeats
2605 @subsection Tremolo repeats
2606 @cindex tremolo beams
2608 To place tremolo marks between notes, use @code{\repeat} with tremolo
2610 @lilypond[quote,verbatim,raggedright]
2612 \context Voice \notes\relative c' {
2613 \repeat "tremolo" 8 { c16 d16 }
2614 \repeat "tremolo" 4 { c16 d16 }
2615 \repeat "tremolo" 2 { c16 d16 }
2620 Tremolo marks can also be put on a single note. In this case, the
2621 note should not be surrounded by braces.
2622 @lilypond[quote,verbatim,raggedright]
2623 \repeat "tremolo" 4 c'16
2626 A similar mechanism is the tremolo subdivision, described in
2627 @ref{Tremolo subdivisions}.
2631 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2633 Program reference: tremolo beams are @internalsref{Beam} objects. Single stem
2634 tremolos are @internalsref{StemTremolo} objects. The music expression is
2635 @internalsref{TremoloEvent}.
2637 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2638 @inputfileref{input/regression,stem-tremolo.ly}.
2640 @node Tremolo subdivisions
2641 @subsection Tremolo subdivisions
2642 @cindex tremolo marks
2643 @cindex @code{tremoloFlags}
2645 Tremolo marks can be printed on a single note by adding
2646 `@code{:}[@var{length}]' after the note. The length must be at least
2647 8. A @var{length} value of 8 gives one line across the note stem. If
2648 the length is omitted, the last value (stored in @code{tremoloFlags})
2651 @lilypond[quote,verbatim,fragment]
2652 c'2:8 c':32 | c': c': |
2655 @c [TODO : stok is te kort bij 32en]
2659 Tremolos entered in this way do not carry over into the MIDI output.
2663 In this manual: @ref{Tremolo repeats}.
2665 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
2667 @node Measure repeats
2668 @subsection Measure repeats
2670 @cindex percent repeats
2671 @cindex measure repeats
2673 In the @code{percent} style, a note pattern can be repeated. It is
2674 printed once, and then the pattern is replaced with a special sign.
2675 Patterns of a one and two measures are replaced by percent-like signs,
2676 patterns that divide the measure length are replaced by slashes
2678 @lilypond[quote,verbatim,raggedright]
2679 \repeat "percent" 4 { c'4 }
2680 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2685 Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2686 @internalsref{PercentRepeatedMusic}, and
2687 @internalsref{DoublePercentRepeat}.
2691 @node Rhythmic music
2692 @section Rhythmic music
2696 * Showing melody rhythms::
2697 * Entering percussion::
2698 * Percussion staves::
2702 @node Showing melody rhythms
2703 @subsection Showing melody rhythms
2705 Sometimes you might want to show only the rhythm of a melody. This
2706 can be done with the rhythmic staff. All pitches of notes on such a
2707 staff are squashed, and the staff itself has a single line
2709 @lilypond[quote,fragment,relative=1,verbatim]
2710 \context RhythmicStaff {
2712 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2718 Program reference: @internalsref{RhythmicStaff}.
2720 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
2723 @node Entering percussion
2724 @subsection Entering percussion
2730 Percussion notes may be entered in @code{\drums} mode, which is
2731 similar to @code{notes}. Each piece of percussion has a full name and
2732 an abbreviated name, and both be used in input files
2735 hihat hh bassdrum bd
2737 @lilypond[quote,raggedright]
2738 \new DrumStaff \drums { hihat hh bassdrum bd }
2741 The complete list of drum names is in the init file
2742 @file{ly/drumpitch-init.ly}.
2743 @c TODO: properly document this.
2747 Program reference: @internalsref{DrumNoteEvent}.
2749 @node Percussion staves
2750 @subsection Percussion staves
2754 A percussion part for more than one instrument typically uses a
2755 multiline staff where each position in the staff refers to one piece
2759 To typeset the music, the notes must be interpreted in a
2760 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
2763 @lilypond[quote,raggedright,verbatim]
2764 up = \drums { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2765 down = \drums { bassdrum4 snare8 bd r bd sn4 }
2768 \new DrumVoice { \voiceOne \up }
2769 \new DrumVoice { \voiceTwo \down }
2774 The above example shows verbose polyphonic notation. The short
2775 polyphonic notation, described in @ref{Polyphony}, can also be used if
2776 the @internalsref{DrumVoices} are instantiated by hand first. For example,
2778 @lilypond[quote,fragment,verbatim]
2780 \context DrumVoice = "1" { s1 *2 }
2781 \context DrumVoice = "2" { s1 *2 }
2785 { \repeat unfold 16 hh16 }
2794 There are also other layout possibilities. To use these, set the
2795 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
2796 The following variables have been predefined
2800 is the default. It typesets a typical drum kit on a five-line staff
2802 @lilypond[quote,noindent]
2803 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2804 bd sn ss tomh tommh tomml toml tomfh tomfl }
2805 mus = \drums { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
2806 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2808 << \new DrumStaff\with {
2809 \remove Bar_engraver
2810 \remove Time_signature_engraver
2811 \override Stem #'transparent = ##t
2812 \override Stem #'Y-extent-callback = ##f
2813 minimumVerticalExtent = #'(-4.0 . 5.0)
2815 \context Lyrics \nam
2818 %% need to do this, because of indented @itemize
2820 \context { \ScoreContext
2821 \override LyricText #'font-family = #'typewriter
2822 \override BarNumber #'transparent =##T
2826 The drum scheme supports six different toms. When there fewer toms, simply
2827 select the toms that produce the desired result, i.e. to get toms on
2828 the three middle lines you use @code{tommh}, @code{tomml} and
2831 @item timbales-style
2832 to typeset timbales on a two line staff
2834 @lilypond[quote,raggedright]
2835 nam = \lyrics { timh ssh timl ssl cb }
2836 mus = \drums { timh ssh timl ssl cb s16 }
2839 \context DrumStaff \with {
2840 \remove Bar_engraver
2841 \remove Time_signature_engraver
2842 \override Stem #'transparent = ##t
2843 \override Stem #'Y-extent-callback = ##f
2844 \override StaffSymbol #'line-count = #2
2845 \override StaffSymbol #'staff-space = #2
2846 minimumVerticalExtent = #'(-3.0 . 4.0)
2847 drumStyleTable = #timbales-style
2850 \override LyricText #'font-family = #'typewriter
2857 to typeset congas on a two line staff
2859 @lilypond[quote,raggedright]
2860 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2861 mus = \drums { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2864 \context DrumStaff\with {
2865 \remove Bar_engraver
2866 \remove Time_signature_engraver
2867 drumStyleTable = #congas-style
2868 \override StaffSymbol #'line-count = #2
2870 %% this sucks; it will lengthen stems.
2871 \override StaffSymbol #'staff-space = #2
2872 \override Stem #'transparent = ##t
2873 \override Stem #'Y-extent-callback = ##f
2876 \override LyricText #'font-family = #'typewriter
2882 to typeset bongos on a two line staff
2884 @lilypond[quote,raggedright]
2885 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2886 mus = \drums { boh boho bohm ssh bol bolo bolm ssl s16 }
2889 \context DrumStaff\with {
2890 \remove Bar_engraver
2891 \remove Time_signature_engraver
2892 \override StaffSymbol #'line-count = #2
2893 drumStyleTable = #bongos-style
2895 %% this sucks; it will lengthen stems.
2896 \override StaffSymbol #'staff-space = #2
2897 \override Stem #'transparent = ##t
2898 \override Stem #'Y-extent-callback = ##f
2901 \override LyricText #'font-family = #'typewriter
2907 @item percussion-style
2908 to typeset all kinds of simple percussion on one line staves
2909 @lilypond[quote,raggedright]
2910 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2911 mus = \drums { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2914 \context DrumStaff\with{
2915 \remove Bar_engraver
2916 drumStyleTable = #percussion-style
2917 \override StaffSymbol #'line-count = #1
2918 \remove Time_signature_engraver
2919 \override Stem #'transparent = ##t
2920 \override Stem #'Y-extent-callback = ##f
2924 \override LyricText #'font-family = #'typewriter
2931 If you do not like any of the predefined lists you can define your own
2932 list at the top of your file
2934 @lilypond[quote,raggedright,verbatim]
2936 (bassdrum default #f -1)
2937 (snare default #f 0)
2939 (pedalhihat xcircle "stopped" 2)
2940 (lowtom diamond #f 3)))
2941 up = \drums { hh8 hh hh hh hhp4 hhp }
2942 down = \drums { bd4 sn bd toml8 toml }
2945 \set DrumStaff.drumStyleTable
2946 = #(alist->hash-table mydrums)
2947 \new DrumVoice { \voiceOne \up }
2948 \new DrumVoice { \voiceTwo \down }
2956 Init files: @file{ly/drumpitch-init.ly}.
2958 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
2962 Because general MIDI does not contain rim shots, the sidestick is used
2963 for this purpose instead.
2966 @section Piano music
2968 Piano staves are two normal staves coupled with a brace. The staves
2969 are largely independent, but sometimes voices can cross between the
2970 two staves. The same notation is also used for harps and other key
2971 instruments. The @internalsref{PianoStaff} is especially built to
2972 handle this cross-staffing behavior. In this section we discuss the
2973 @internalsref{PianoStaff} and some other pianistic peculiarities.
2977 * Automatic staff changes::
2978 * Manual staff switches::
2981 * Staff switch lines::
2986 There is no support for putting chords across staves. You can get
2987 this result by increasing the length of the stem in the lower stave so
2988 it reaches the stem in the upper stave, or vice versa. An example is
2989 included with the distribution as
2990 @inputfileref{input/test,stem-cross-staff.ly}.
2992 Dynamics are not centered, but kludges do exist. See
2993 @inputfileref{input/template,piano-dynamics.ly}.
2995 @cindex cross staff stem
2996 @cindex stem, cross staff
2997 @cindex distance between staves in piano music
2999 The distance between the two staves is normally fixed across the
3000 entire score. It is possible to tune this per system, but it does
3001 require arcane command incantations. See
3002 @inputfileref{input/test,piano-staff-distance.ly}.
3005 @node Automatic staff changes
3006 @subsection Automatic staff changes
3007 @cindex Automatic staff changes
3009 Voices can switch automatically between the top and the bottom
3010 staff. The syntax for this is
3014 \autochange \context Voice @{ @dots{}@var{music}@dots{} @}
3019 The two staves of the piano staff must be named @code{up} and
3022 A @code{\relative} section that is outside of @code{\autochange} has
3023 no effect on the pitches of @var{music}, so, if necessary, put
3024 @code{\relative} inside @code{\autochange} like
3028 \autochange \relative @dots{} \new Voice @dots{}
3033 The autochanger switches on basis of pitch (middle C is the turning
3034 point), and it looks ahead skipping over rests to switch in
3035 advance. Here is a practical example
3037 @lilypond[quote,verbatim,raggedright]
3038 \score { \notes \context PianoStaff <<
3039 \context Staff = "up" {
3040 \autochange \new Voice \relative c' {
3041 g4 a b c d r4 a g } }
3042 \context Staff = "down" {
3049 In this example, spacer rests are used to prevent the bottom staff from
3050 terminating too soon.
3055 In this manual: @ref{Manual staff switches}.
3057 Program reference: @internalsref{AutoChangeMusic}.
3063 The staff switches often do not end up in optimal places. For high
3064 quality output, staff switches should be specified manually.
3067 @code{\autochange} cannot be inside @code{\times}.
3069 Internally, the @code{\partcombine} interprets both arguments as
3070 @code{Voice}s named @code{one} and @code{two}, and then decides when
3071 the parts can be combined. Consequently, if the arguments switch to
3072 differently named @internalsref{Voice} contexts, the events in those
3076 @node Manual staff switches
3077 @subsection Manual staff switches
3079 @cindex manual staff switches
3080 @cindex staff switch, manual
3082 Voices can be switched between staves manually, using the following command
3084 \change Staff = @var{staffname} @var{music}
3088 The string @var{staffname} is the name of the staff. It switches the
3089 current voice from its current staff to the Staff called
3090 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3091 @code{"down"}. The @context{Staff} referred to must already exist, so
3092 usually the setup for a score will start with a setup of the staves,
3096 \context Staff = up @{
3097 \skip 1 * 10 %@emph{ keep staff alive}
3099 \context Staff = down @{
3100 \skip 1 * 10 %@emph{idem}
3106 and the @context{Voice} is inserted afterwards
3109 \context Staff = down
3110 \new Voice @{ @dots{} \change Staff = up @dots{} @}
3118 Pianos have pedals that alter the way sound are produced. Generally, a
3119 piano has three pedals, sustain, una corda, and sostenuto.
3122 Piano pedal instruction can be expressed by attaching
3123 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3124 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3127 @lilypond[quote,fragment,verbatim]
3128 c'4\sustainDown c'4\sustainUp
3131 What is printed can be modified by setting @code{pedal@var{X}Strings},
3132 where @var{X} is one of the pedal types: @code{Sustain},
3133 @code{Sostenuto} or @code{UnaCorda}. Refer to
3134 @internalsref{SustainPedal} in the program reference for more
3137 Pedals can also be indicated by a sequence of brackets, by setting the
3138 @code{pedalSustainStyle} property to @code{bracket} objects
3140 @lilypond[quote,fragment,verbatim,relative=2]
3141 \set Staff.pedalSustainStyle = #'bracket
3143 b\sustainUp\sustainDown
3144 b g \sustainUp a \sustainDown \bar "|."
3147 A third style of pedal notation is a mixture of text and brackets,
3148 obtained by setting the @code{pedalSustainStyle} style property to
3151 @lilypond[quote,fragment,verbatim,relative=2]
3152 \set Staff.pedalSustainStyle = #'mixed
3154 b\sustainUp\sustainDown
3155 b g \sustainUp a \sustainDown \bar "|."
3158 The default `*Ped.' style for sustain and damper pedals corresponds to
3159 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3162 @lilypond[quote,fragment,verbatim,relative=2]
3163 c\sostenutoDown d e c, f g a\sostenutoUp
3166 For fine-tuning of the appearance of a pedal bracket, the properties
3167 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3168 @code{PianoPedalBracket} objects (see
3169 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3170 bracket may be extended to the end of the note head
3172 @lilypond[quote,fragment,verbatim,relative=2]
3173 \override Staff.PianoPedalBracket
3174 #'shorten-pair = #'(0 . -1.0)
3175 c\sostenutoDown d e c, f g a\sostenutoUp
3179 @subsection Arpeggio
3182 @cindex broken arpeggio
3183 @cindex @code{\arpeggio}
3185 You can specify an arpeggio sign on a chord by attaching an
3186 @code{\arpeggio} to a chord
3189 @lilypond[quote,fragment,relative=1,verbatim]
3193 When an arpeggio crosses staves, you attach an arpeggio to the chords
3194 in both staves, and set
3195 @internalsref{PianoStaff}.@code{connectArpeggios}
3197 @lilypond[quote,fragment,relative=1,verbatim]
3198 \context PianoStaff <<
3199 \set PianoStaff.connectArpeggios = ##t
3200 \new Staff { <c' e g c>\arpeggio }
3201 \new Staff { \clef bass <c,, e g>\arpeggio }
3205 The direction of the arpeggio is sometimes denoted by adding an
3206 arrowhead to the wiggly line
3208 @lilypond[quote,fragment,relative=1,verbatim]
3217 A square bracket on the left indicates that the player should not
3218 arpeggiate the chord
3220 @lilypond[quote,fragment,relative=1,verbatim]
3227 @cindex @code{\arpeggio}
3229 @cindex @code{\arpeggioUp}
3231 @cindex @code{\arpeggioDown}
3233 @cindex @code{\arpeggioBoth}
3234 @code{\arpeggioBoth},
3235 @cindex @code{\arpeggioBracket}
3236 @code{\arpeggioBracket}.
3240 Program reference: @internalsref{ArpeggioEvent} music expressions lead to
3241 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3242 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3246 It is not possible to mix connected arpeggios and unconnected
3247 arpeggios in one @internalsref{PianoStaff} at the same time.
3249 @node Staff switch lines
3250 @subsection Staff switch lines
3253 @cindex follow voice
3254 @cindex staff switching
3257 @cindex @code{followVoice}
3259 Whenever a voice switches to another staff a line connecting the notes
3260 can be printed automatically. This is enabled if the property
3261 @code{PianoStaff.followVoice} is set to true
3263 @lilypond[quote,fragment,relative=1,verbatim]
3264 \context PianoStaff <<
3265 \set PianoStaff.followVoice = ##t
3266 \context Staff \context Voice {
3271 \context Staff=two { \clef bass \skip 1*2 }
3277 The associated object is @internalsref{VoiceFollower}.
3281 @cindex @code{\showStaffSwitch}
3282 @code{\showStaffSwitch},
3283 @cindex @code{\hideStaffSwitch}
3284 @code{\hideStaffSwitch}.
3288 @section Vocal music
3290 This section discusses how to enter and print lyrics.
3294 * The Lyrics context::
3299 @node Entering lyrics
3300 @subsection Entering lyrics
3304 @cindex @code{\lyrics}
3307 Lyrics are entered in a special input mode. This mode is is introduced
3308 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3309 punctuation and accents without any hassle. Syllables are entered like
3310 notes, but with pitches replaced by text. For example,
3312 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3315 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3316 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3317 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3318 any 8-bit character with ASCII code over 127, or a two-character
3319 combination of a backslash followed by one of @code{`}, @code{'},
3320 @code{"}, or @code{^}.
3322 Subsequent characters of a word can be any character that is not a digit
3323 and not white space. One important consequence of this is that a word
3324 can end with @code{@}}. The following example is usually a bug. The
3325 syllable includes a @code{@}}, and hence the opening brace is not balanced
3327 \lyrics @{ twinkle@}
3330 @cindex @code{\property}, in @code{\lyrics}
3331 Similarly, a period following a alphabetic sequence, is included in
3332 the resulting string. As a consequence, spaces must be inserted around
3335 \override Score . LyricText #'font-shape = #'italic
3339 @cindex spaces, in lyrics
3340 @cindex quotes, in lyrics
3342 Any @code{_} character which appears in an unquoted word is converted
3343 to a space. This provides a mechanism for introducing spaces into words
3344 without using quotes. Quoted words can also be used in Lyrics mode to
3345 specify words that cannot be written with the above rules
3348 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3350 However, at least for english texts, you should use
3352 \lyrics @{ He said: ``Let my peo ple go'' @}
3354 to get the correct shape of the starting and ending quote.
3358 Centered hyphens are entered as `@code{-}@code{-}' between syllables.
3359 The hyphen will have variable length depending on the space between
3360 the syllables and it will be centered between the syllables.
3365 When a lyric is sung over many notes (this is called a melisma), this is
3366 indicated with a horizontal line centered between a syllable and the
3367 next one. Such a line is called an extender line, and it is entered as
3372 Program reference: events @internalsref{LyricEvent},
3373 @internalsref{HyphenEvent}, and @internalsref{ExtenderEvent}. Objects
3374 @internalsref{LyricHyphen}, @internalsref{LyricExtender} and
3375 @internalsref{LyricText}.
3377 Examples: @inputfileref{input/test,lyric-hyphen-retain.ly}.
3381 The definition of lyrics mode is too complex.
3385 @node The Lyrics context
3386 @subsection The Lyrics context
3388 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
3390 \context Lyrics \lyrics @dots{}
3393 @cindex automatic syllable durations
3394 @cindex @code{\lyricsto}
3395 @cindex lyrics and melodies
3397 This will place the lyrics according to the durations that were
3398 entered. The lyrics can also be aligned under a given melody
3399 automatically. In this case, it is no longer necessary to enter the
3400 correct duration for each syllable. This is achieved by combining the
3401 melody and the lyrics with the @code{\lyricsto} expression
3403 \lyricsto @var{name} \new Lyrics @dots{}
3406 This aligns the lyrics to the
3408 notes of the @internalsref{Voice} context called @var{name}, which has
3409 to exist. Therefore, normally the @code{Voice} is specified first, and
3410 then the lyrics are specified with @code{\lyricsto}.
3412 For different or more complex orderings, the best way is to setup the
3413 hierarchy of staves and lyrics first, e.g.
3415 \context ChoirStaff \notes <<
3416 \context Lyrics = sopranoLyrics @{ s1 @}
3417 \context Voice = soprano @{ @emph{music} @}
3418 \context Lyrics = tenorLyrics @{ s1 @}
3419 \context Voice = tenor @{ @emph{music} @}
3422 and then combine the appropriate melodies and lyric lines
3424 \lyricsto "soprano" \context Lyrics = sopranoLyrics
3429 The final input would resemble
3432 << \context ChoirStaff \notes << @emph{setup the music} >>
3433 \lyricsto "soprano" @emph{etc}
3434 \lyricsto "alto" @emph{etc}
3440 The @code{\lyricsto} command detects melismata: it only puts one
3441 syllable under a tied or slurred group of notes. If you want to force
3442 an unslurred group of notes to be a melisma, insert @code{\melisma}
3443 after the first note of the group, and @code{\melismaEnd} after the
3446 @lilypond[quote,relative=2,raggedright,fragment,verbatim]
3448 \context Voice = "lala" {
3456 \lyricsto "lala" \new Lyrics \lyrics {
3462 In addition, notes are considered a melisma if they are manually
3463 beamed, and automatic beaming (see @ref{Setting automatic beam
3464 behavior}) is switched off. The criteria for deciding melismata can
3465 be tuned with the property @code{melismaBusyProperties}. See
3466 @internalsref{Melisma_translator} in the program reference for more
3469 Lyrics can also be entered without @code{\lyricsto}. In this case the
3470 durations of each syllable must be entered explicitly, for example,
3477 Alignment to a melody can be specified with the @code{associatedVoice}
3481 \set associatedVoice = #"melody"
3484 Here is an example demonstrating manual lyric durations,
3486 @lilypond[relative=1,verbatim,fragment]
3487 << \context Voice = melody {
3491 \new Lyrics \lyrics {
3492 \set associatedVoice = #"melody"
3500 When multiple stanzas are put on the same melody, it can happen that
3501 two stanzas have melismata in different locations. This can be
3502 remedied by switching off melismata for one
3503 @internalsref{Lyrics}. This is achieved by setting
3504 the @code{ignoreMelismata} property to @code{#t}. An example is shown
3505 in @inputfileref{input/regression,lyric-combine-new.ly}.
3508 @cindex choral score
3510 A complete example of a SATB score setup is in the file
3511 @inputfileref{input/template,satb.ly}.
3516 @code{\melisma}, @code{\melismaEnd}
3517 @cindex @code{\melismaEnd}
3518 @cindex @code{\melisma}
3522 Program reference: Music expressions: @internalsref{LyricCombineMusic},
3523 Contexts: @internalsref{Lyrics}, @internalsref{Melisma_translator}.
3525 Examples: @inputfileref{input/template,satb.ly},
3526 @inputfileref{input/regression,lyric-combine-new.ly}.
3530 Melismata are not detected automatically, and extender lines must be
3534 For proper processing of extender lines, the
3535 @internalsref{Lyrics} and @internalsref{Voice} should be
3536 linked. This can be achieved either by using @code{\lyricsto} or by
3537 setting corresponding names for both contexts. The latter is explained
3538 in @ref{More stanzas}.
3541 @subsection More stanzas
3543 @cindex phrasing, in lyrics
3546 The lyrics should be aligned with the note heads of the melody. To
3547 achieve this, each line of lyrics should be marked to correspond with
3548 the melodic line. This is done automatically when @code{\lyricsto},
3549 but it can also be done manually.
3551 To this end, give the @internalsref{Voice} context an identity
3553 \context Voice = duet @{
3558 Then set the @internalsref{Lyrics} contexts to names starting with
3559 that identity followed by a dash. In the preceding example, the
3560 @internalsref{Voice} identity is @code{duet}, so the identities of the
3561 @internalsref{Lyrics}s are marked @code{duet-1} and @code{duet-2}
3563 \context Lyrics = "duet-1" @{
3564 Hi, my name is Bert. @}
3565 \context Lyrics = "duet-2" @{
3566 Ooooo, ch\'e -- ri, je t'aime. @}
3569 The complete example is shown here
3570 @lilypond[quote,raggedright,verbatim]
3573 \notes \relative c'' \context Voice = duet {
3577 \lyricsto "duet" \new Lyrics \lyrics {
3578 \set vocalName = "Bert"
3579 Hi, my name is Bert. }
3580 \lyricsto "duet" \new Lyrics \lyrics {
3581 \set vocalName = "Ernie"
3582 Ooooo, ch\'e -- ri, je t'aime. }
3588 @cindex stanza number
3589 @cindex singer's names
3590 @cindex name of singer
3592 Stanza numbers can be added by setting @code{stanza}, e.g.
3594 @lilypond[quote,verbatim,relative=2]
3596 \context Voice = duet {
3597 \time 3/4 g2 e4 a2 f4 g2. }
3598 \lyricsto "duet" \new Lyrics \lyrics {
3600 Hi, my name is Bert. }
3604 This example also demonstrates how names of the singers can be added
3605 using @code{vocalName} analogous to instrument annotations for staves.
3606 A short version may be entered as @code{vocNam}.
3608 To make empty spaces in lyrics, use @code{\skip}.
3613 Program reference: Layout objects @internalsref{LyricText} and
3614 @internalsref{VocalName}. Music expressions
3615 @internalsref{LyricEvent}.
3621 Input for lyrics introduces a syntactical ambiguity
3628 is interpreted as assigning a string identifier @code{\foo} such that
3629 it contains @code{"bar"}. However, it could also be interpreted as
3630 making or a music identifier @code{\foo} containing the syllable
3631 `bar'. The force the latter interpretation, use
3641 The term @emph{ambitus} denotes a range of pitches for a given voice
3642 in a part of music. It also may denote the pitch range that a musical
3643 instrument is capable of playing. Ambituses are printed on vocal
3644 parts, so singers can easily determine if it meets his or her
3647 It denoted at the beginning of a piece near the initial clef. The
3648 range is graphically specified by two note heads, that represent the
3649 minimum and maximum pitch. To print such ambituses, add the
3650 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
3657 \consists Ambitus_engraver
3662 This results in the following output
3664 @lilypond[quote,raggedright]
3667 \notes \relative c' <<
3678 \consists Ambitus_engraver
3684 If you have multiple voices in a single staff, and you want a single
3685 ambitus per staff rather than per each voice, add the
3686 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3687 rather than to the @internalsref{Voice} context.
3689 It is possible to tune individual ambituses for multiple voices on a
3690 single staff, for example by erasing or shifting them horizontally. An
3691 example is in @inputfileref{input/test,ambitus-mixed.ly}.
3695 Program reference: @internalsref{Ambitus}.
3697 Examples: @inputfileref{input/regression,ambitus.ly},
3698 @inputfileref{input/test,ambitus-mixed.ly}.
3702 There is no collision handling in the case of multiple per-voice
3708 Tablature notation is used for notating music for plucked string
3709 instruments. It notates pitches not by using note heads, but by
3710 indicating on which string and fret a note must be played. LilyPond
3711 offers limited support for tablature.
3714 * Tablatures basic::
3715 * Non-guitar tablatures::
3718 @node Tablatures basic
3719 @subsection Tablatures basic
3720 @cindex Tablatures basic
3722 The string number associated to a note is given as a backslash
3723 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3724 string. By default, string 1 is the highest one, and the tuning
3725 defaults to the standard guitar tuning (with 6 strings). The notes
3726 are printed as tablature, by using @internalsref{TabStaff} and
3727 @internalsref{TabVoice} contexts
3729 @lilypond[quote,fragment,verbatim]
3730 \notes \context TabStaff {
3738 When no string is specified, the first string that does not give a
3739 fret number less than @code{minimumFret} is selected. The default
3740 value for @code{minimumFret} is 0
3745 \set TabStaff.minimumFret = #8
3748 @lilypond[quote,noindent,raggedright]
3752 \set TabStaff.minimumFret = #8
3756 \context StaffGroup <<
3757 \context Staff { \clef "G_8" \frag }
3758 \context TabStaff { \frag }
3765 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}, and
3766 @internalsref{StringNumberEvent}.
3770 Chords are not handled in a special way, and hence the automatic
3771 string selector may easily select the same string to two notes in a
3775 @node Non-guitar tablatures
3776 @subsection Non-guitar tablatures
3777 @cindex Non-guitar tablatures
3779 You can change the number of strings, by setting the number of lines
3780 in the @internalsref{TabStaff}.
3782 You can change the tuning of the strings. A string tuning is given as
3783 a Scheme list with one integer number for each string, the number
3784 being the pitch (measured in semitones relative to middle C) of an
3785 open string. The numbers specified for @code{stringTuning} are the
3786 numbers of semitones to subtract or add, starting the specified pitch
3787 by default middle C, in string order. Thus, the notes are e, a, d, and
3790 @lilypond[quote,fragment,verbatim]
3791 \context TabStaff <<
3792 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
3795 a,4 c' a e' e c' a e'
3802 No guitar special effects have been implemented.
3806 Program reference: @internalsref{Tab_note_heads_engraver}.
3810 @section Chord names
3813 LilyPond has support for both printing chord names. Chords may be
3814 entered in musical chord notation, i.e. @code{< .. >}, but they can
3815 also be entered by name. Internally, the chords are represented as a
3816 set of pitches, so they can be transposed
3819 @lilypond[quote,verbatim,raggedright]
3820 twoWays = \notes \transpose c c' {
3830 << \context ChordNames \twoWays
3831 \context Voice \twoWays >> }
3834 This example also shows that the chord printing routines do not try to
3835 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3841 * Printing chord names::
3846 @subsection Chords mode
3849 Chord mode is a mode where you can input sets of pitches using common
3850 names. It is introduced by the keyword @code{\chords}.
3851 In chords mode, a chord is entered by the root, which is entered
3853 @lilypond[quote,fragment,verbatim,relative=2]
3854 \chords { es4. d8 c2 }
3859 Other chords may be entered by suffixing a colon, and introducing a
3860 modifier, and optionally, a number
3862 @lilypond[quote,fragment,verbatim]
3863 \chords { e1:m e1:7 e1:m7 }
3865 The first number following the root is taken to be the `type' of the
3866 chord, thirds are added to the root until it reaches the specified
3868 @lilypond[quote,fragment,verbatim]
3869 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3872 @cindex root of chord
3873 @cindex additions, in chords
3874 @cindex removals, in chords
3876 More complex chords may also be constructed adding separate steps
3877 to a chord. Additions are added after the number following
3878 the colon, and are separated by dots
3880 @lilypond[quote,verbatim,fragment]
3881 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3883 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3885 @lilypond[quote,verbatim,fragment]
3886 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3888 Removals are specified similarly, and are introduced by a caret. They
3889 must come after the additions
3890 @lilypond[quote,verbatim,fragment]
3891 \chords { c^3 c:7^5 c:9^3.5 }
3894 Modifiers can be used to change pitches. The following modifiers are
3898 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3900 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3903 is the augmented chord. This modifier raises the 5th step.
3905 is the major 7th chord. This modifier raises the 7th step if present.
3907 is the suspended 4th or 2nd. This modifier removes the 3rd
3908 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3911 Modifiers can be mixed with additions
3912 @lilypond[quote,verbatim,fragment]
3913 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3916 @cindex modifiers, in chords.
3923 Since an unaltered 11 does not sound good when combined with an
3924 unaltered 13, the 11 is removed in this case (unless it is added
3927 @lilypond[quote,fragment,verbatim]
3928 \chords { c:13 c:13.11 c:m13 }
3933 An inversion (putting one pitch of the chord on the bottom), as well
3934 as bass notes, can be specified by appending
3935 @code{/}@var{pitch} to the chord
3936 @lilypond[quote,fragment,verbatim]
3937 \chords { c1 c/g c/f }
3941 A bass note can be added instead of transposed out of the chord,
3942 by using @code{/+}@var{pitch}.
3944 @lilypond[quote,fragment,verbatim]
3945 \chords { c1 c/+g c/+f }
3948 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3949 of the commands continue to work, for example, @code{r} and
3950 @code{\skip} can be used to insert rests and spaces, and property
3951 commands may be used to change various settings.
3957 Each step can only be present in a chord once. The following
3958 simply produces the augmented chord, since @code{5+} is interpreted
3961 @lilypond[quote,verbatim,fragment]
3962 \chords { c:5.5-.5+ }
3966 @node Printing chord names
3967 @subsection Printing chord names
3969 @cindex printing chord names
3973 For displaying printed chord names, use the @internalsref{ChordNames} context.
3974 The chords may be entered either using the notation
3975 described above, or directly using @code{<} and @code{>}
3977 @lilypond[quote,verbatim,raggedright]
3979 \chords {a1 b c} <d' f' a'> <e' g' b'>
3983 \context ChordNames \scheme
3984 \context Staff \scheme
3989 You can make the chord changes stand out by setting
3990 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3991 display chord names when there is a change in the chords scheme and at
3992 the start of a new line
3994 @lilypond[quote,verbatim,linewidth=9\cm]
3996 c1:m c:m \break c:m c:m d
4000 \context ChordNames {
4001 \set chordChanges = ##t
4003 \context Staff \transpose c c' \scheme
4008 The default chord name layout is a system for Jazz music, proposed by
4009 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
4010 following properties
4013 @cindex chordNameExceptions
4014 @item chordNameExceptions
4015 This is a list that contains the chords that have special formatting.
4017 @inputfileref{input/regression,chord-name-exceptions.ly}.
4018 @cindex exceptions, chord names.
4021 @cindex majorSevenSymbol
4022 @item majorSevenSymbol
4023 This property contains the markup object used for the 7th step, when
4024 it is major. Predefined options are @code{whiteTriangleMarkup} and
4025 @code{blackTriangleMarkup}. See
4026 @inputfileref{input/regression,chord-name-major7.ly} for an example.
4028 @cindex chordNameSeparator
4029 @item chordNameSeparator
4030 Different parts of a chord name are normally separated by a
4031 slash. By setting @code{chordNameSeparator}, you can specify other
4033 @lilypond[quote,fragment,verbatim]
4034 \context ChordNames \chords {
4036 \set chordNameSeparator
4037 = \markup { \typewriter "|" }
4042 @cindex chordRootNamer
4043 @item chordRootNamer
4044 The root of a chord is usually printed as a letter with an optional
4045 alteration. The transformation from pitch to letter is done by this
4046 function. Special note names (for example, the German ``H'' for a
4047 B-chord) can be produced by storing a new function in this property.
4049 The predefined variables @code{\germanChords},
4050 @code{\semiGermanChords} set these variables.
4053 @cindex chordNoteNamer
4054 @item chordNoteNamer
4055 The default is to print single pitch, e.g. the bass note, using the
4056 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4057 to a specialized function to change this behavior. For example, the
4058 base can be printed in lower case.
4063 There are also two other chord name schemes implemented: an alternate
4064 Jazz chord notation, and a systematic scheme called Banter chords. The
4065 alternate jazz notation is also shown on the chart in @ref{Chord name
4066 chart}. Turning on these styles is described in the input file
4067 @inputfileref{input/test,chord-names-jazz.ly}.
4071 @cindex chords, jazz
4076 @cindex @code{\germanChords}
4077 @code{\germanChords},
4078 @cindex @code{\semiGermanChords}
4079 @code{\semiGermanChords}.
4086 Examples: @inputfileref{input/regression,chord-name-major7.ly},
4087 @inputfileref{input/regression,chord-name-exceptions.ly},
4088 @inputfileref{input/test,chord-names-jazz.ly},
4089 @inputfileref{input/test,chord-names-german.ly}.
4091 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4096 Chord names are determined solely from the list of pitches. Chord
4097 inversions are not identified, and neither are added bass notes. This
4098 may result in strange chord names when chords are entered with the
4099 @code{< .. >} syntax.
4104 @node Orchestral music
4105 @section Orchestral music
4107 @cindex Writing parts
4109 Orchestral music involves some special notation, both in the full
4110 score and the individual parts. This section explains how to tackle
4111 some common problems in orchestral music.
4116 * Multiple staff contexts::
4119 * Instrument names::
4121 * Instrument transpositions::
4122 * Multi measure rests::
4123 * Automatic part combining::
4125 * Different editions from one source::
4126 * Quoting other voices::
4129 @node Multiple staff contexts
4130 @subsection Multiple staff contexts
4132 Polyphonic scores consist of many staves. These staves can be
4133 constructed in three different ways
4135 @item The group is started with a brace at the left, and bar lines are
4136 connected. This is done with the @internalsref{GrandStaff} context.
4138 @item The group is started with a bracket, and bar lines are connected. This is done with the
4139 @internalsref{StaffGroup} context
4142 @item The group is started with a vertical line. Bar lines are not
4143 connected. This is the default for the score.
4147 @cindex Staff, multiple
4148 @cindex bracket, vertical
4149 @cindex brace, vertical
4156 @node Rehearsal marks
4157 @subsection Rehearsal marks
4158 @cindex Rehearsal marks
4160 @cindex @code{\mark}
4162 To print a rehearsal mark, use the @code{\mark} command
4163 @lilypond[quote,fragment,verbatim]
4174 (The letter I is skipped in accordance with engraving traditions.)
4176 The mark is incremented automatically if you use @code{\mark
4177 \default}, but you can also use an integer argument to set the mark
4178 manually. The value to use is stored in the property
4179 @code{rehearsalMark}.
4181 The style is defined by the property @code{markFormatter}. It is a
4182 function taking the current mark (an integer) and the current context
4183 as argument. It should return a markup object. In the following
4184 example, @code{markFormatter} is set to a canned procedure. After a
4185 few measures, it is set to function that produces a boxed number.
4187 @lilypond[quote,verbatim,fragment,relative=2]
4188 \set Score.markFormatter = #format-mark-numbers
4191 \set Score.markFormatter
4192 = #(lambda (mark context)
4193 (make-bold-markup (make-box-markup (number->string mark))))
4198 The file @file{scm/translation-functions.scm} contains the definitions
4199 of @code{format-mark-numbers} (the default format) and
4200 @code{format-mark-letters}. They can be used as inspiration for other
4201 formatting functions.
4204 @cindex coda on bar line
4205 @cindex segno on bar line
4206 @cindex fermata on bar line
4207 @cindex bar lines, symbols on
4209 The @code{\mark} command can also be used to put signs like coda,
4210 segno and fermatas on a bar line. Use @code{\markup} to
4211 to access the appropriate symbol
4213 @lilypond[quote,fragment,verbatim,relative=2]
4214 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4218 In the case of a line break, marks must also be printed at the end of
4219 the line, and not at the beginning. Use the following to force that
4222 \override Score.RehearsalMark
4223 #'break-visibility = #begin-of-line-invisible
4229 @cindex bar lines, putting symbols on
4233 Program reference: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
4235 Init files: @file{scm/translation-functions.scm} contains the
4236 definition of @code{format-mark-numbers} and
4237 @code{format-mark-letters}. They can be used as inspiration for other
4238 formatting functions.
4240 Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
4241 @inputfileref{input/regression,rehearsal-mark-number.ly}.
4245 @subsection Bar numbers
4249 @cindex measure numbers
4250 @cindex currentBarNumber
4252 Bar numbers are printed by default at the start of the line. The
4253 number itself is stored in the
4254 @code{currentBarNumber} property,
4255 which is normally updated automatically for every measure.
4257 Bar numbers can be typeset at regular intervals instead of at the
4258 beginning of each line. This is illustrated in the following example,
4259 whose source is available as
4260 @inputfileref{input/test,bar-number-regular-interval.ly}
4262 @lilypondfile[quote]{bar-number-regular-interval.ly}
4266 Program reference: @internalsref{BarNumber}.
4268 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4269 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4273 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4274 there is one at the top. To solve this, the
4275 @code{padding} property of @internalsref{BarNumber} can be
4276 used to position the number correctly.
4278 @node Instrument names
4279 @subsection Instrument names
4281 In an orchestral score, instrument names are printed left side of the
4284 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4285 and @internalsref{Staff}.@code{instr}. This will print a string before
4286 the start of the staff. For the first start, @code{instrument} is
4287 used, for the next ones @code{instr} is used.
4289 @lilypond[quote,verbatim,raggedright,relative=1]
4290 \set Staff.instrument = "Ploink "
4291 \set Staff.instr = "Plk "
4297 You can also use markup texts to construct more complicated instrument
4300 @lilypond[quote,fragment,verbatim,raggedright]
4302 \set Staff.instrument = \markup {
4303 \column < "Clarinetti" { "in B"
4304 \smaller \flat } > }
4311 Program reference: @internalsref{InstrumentName}.
4315 When you put a name on a grand staff or piano staff the width of the
4316 brace is not taken into account. You must add extra spaces to the end of
4317 the name to avoid a collision.
4320 @subsection Transpose
4322 @cindex transposition of pitches
4323 @cindex @code{\transpose}
4325 A music expression can be transposed with @code{\transpose}. The
4328 \transpose @var{from} @var{to} @var{musicexpr}
4331 This means that @var{musicexpr} is transposed by the interval between
4332 the pitches @var{from} and @var{to}: any note with pitch @code{from}
4333 is changed to @code{to}.
4336 For example, consider a piece written in the key of D major. If
4337 this piece is a little too low for its performer, it can be
4338 transposed up to E major with
4340 \transpose d e @dots{}
4343 Consider a part written for violin (a C instrument). If
4344 this part is to be played on the A clarinet, the following
4345 transposition will produce the appropriate part
4348 \transpose a c @dots{}
4351 Since @var{from} and @var{to} are pitches, so @code{\transpose} must be
4352 inside a @code{\notes} section. @code{\transpose} distinguishes
4353 between enharmonic pitches: both @code{\transpose c cis} or
4354 @code{\transpose c des} will transpose up half a tone. The first
4355 version will print sharps and the second version will print flats
4357 @lilypond[quote,raggedright,verbatim]
4358 mus =\notes { \key d \major cis d fis g }
4359 \score { \notes \context Staff {
4362 \transpose c g' \mus
4363 \transpose c f' \mus
4370 Program reference: @internalsref{TransposedMusic}, and
4371 @internalsref{UntransposableMusic}.
4375 If you want to use both @code{\transpose} and @code{\relative},
4376 you must put @code{\transpose} outside of @code{\relative}, since
4377 @code{\relative} will have no effect music that appears inside a
4380 @node Instrument transpositions
4381 @subsection Instrument transpositions
4383 The key of a transposing instrument can also be specified. This
4384 applies to many wind instruments, for example, clarinets (B-flat, A and
4385 E-flat), horn (F) and trumpet (B-flat, C, D and E-flat).
4388 The transposition is entered after the keyword @code{\transposition}
4391 \transposition bes %% B-flat clarinet
4394 This command sets the property @code{instrumentTuning}. The value of
4395 this property is used for MIDI output and quotations. It does not
4396 affect how notes are printed in the current staff.
4398 @cindex transposition, MIDI
4399 @cindex transposition, instrument
4402 @node Multi measure rests
4403 @subsection Multi measure rests
4404 @cindex multi measure rests
4405 @cindex Rests, multi measure
4409 Multi measure rests are entered using `@code{R}'. It is specifically
4410 meant for full bar rests and for entering parts: the rest can expand
4411 to fill a score with rests, or it can be printed as a single
4412 multimeasure rest. This expansion is controlled by the property
4413 @code{Score.skipBars}. If this is set to true, empty measures will not
4414 be expanded, and the appropriate number is added automatically
4416 @lilypond[quote,fragment,verbatim]
4417 \time 4/4 r1 | R1 | R1*2
4418 \set Score.skipBars = ##t R1*17 R1*4
4421 The @code{1} in @code{R1} is similar to the duration notation used for
4422 notes. Hence, for time signatures other than 4/4, you must enter other
4423 durations. This can be done with augmentation dots or fractions
4425 @lilypond[quote,fragment,verbatim]
4426 \set Score.skipBars = ##t
4434 An @code{R} spanning a single measure is printed as either a whole rest
4435 or a breve, centered in the measure regardless of the time signature.
4437 @cindex text on multi-measure rest
4438 @cindex script on multi-measure rest
4439 @cindex fermata on multi-measure rest
4441 Texts can be added to multi-measure rests by using the
4442 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4443 replaced. If you need both texts and the number, you must add the
4444 number by hand. A variable (@code{\fermataMarkup}) is provided for
4448 @lilypond[quote,verbatim,fragment]
4450 R2._\markup { "Ad lib" }
4454 If you want to have a text on the left end of a multi-measure rest,
4455 attach the text to a zero-length skip note, i.e.
4463 @cindex whole rests for a full measure
4467 Program reference: @internalsref{MultiMeasureRestEvent},
4468 @internalsref{MultiMeasureTextEvent},
4469 @internalsref{MultiMeasureRestMusicGroup}, and
4470 @internalsref{MultiMeasureRest}.
4472 The layout object @internalsref{MultiMeasureRestNumber} is for the
4473 default number, and @internalsref{MultiMeasureRestText} for user
4478 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4479 over multi-measure rests.
4481 @cindex condensing rests
4483 There is no way to automatically condense multiple rests into a single
4484 multimeasure rest. Multi measure rests do not take part in rest
4487 Be careful when entering multimeasure rests followed by whole
4488 notes. The following will enter two notes lasting four measures each
4492 When @code{skipBars} is set, the result will look OK, but the bar
4493 numbering will be off.
4495 @node Automatic part combining
4496 @subsection Automatic part combining
4497 @cindex automatic part combining
4498 @cindex part combiner
4501 Automatic part combining is used to merge two parts of music onto a
4502 staff. It is aimed at typesetting orchestral scores. When the two
4503 parts are identical for a period of time, only one is shown. In
4504 places where the two parts differ, they are typeset as separate
4505 voices, and stem directions are set automatically. Also, solo and
4506 @emph{a due} parts are identified and can be marked.
4508 The syntax for part combining is
4511 \partcombine @var{musicexpr1} @var{musicexpr2}
4514 The music expressions will be interpreted as @internalsref{Voice}
4515 contexts. If using relative octaves, @code{\relative} should be
4516 specified for both music expressions, i.e.
4519 \partcombine \relative @dots{} @var{musicexpr1}
4520 \relative @dots{} @var{musicexpr2}
4524 A @code{\relative} section that is outside of @code{\partcombine} has
4525 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
4528 The following example demonstrates the basic functionality of the part
4529 combiner: putting parts on one staff, and setting stem directions and
4532 @lilypond[quote,verbatim,raggedright,fragment]
4533 \new Staff \partcombine
4534 \relative g' { g g a( b) c c r r }
4535 \relative g' { g g r4 r e e g g }
4538 The first @code{g} appears only once, although it was
4539 specified twice (once in each part). Stem, slur and tie directions are
4540 set automatically, depending whether there is a solo or unisono. The
4541 first part (with context called @code{one}) always gets up stems, and
4542 `solo', while the second (called @code{two}) always gets down stems and
4545 If you just want the merging parts, and not the textual markings, you
4546 may set the property @code{soloADue} to false
4548 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
4550 \set Staff.soloADue = ##f
4552 \relative g' { g a( b) r }
4553 \relative g' { g r4 r f }
4559 Program reference: @internalsref{PartCombineMusic},
4560 @internalsref{SoloOneEvent}, and
4561 @internalsref{SoloTwoEvent}, and
4562 @internalsref{UnisonoEvent}.
4566 In @code{soloADue} mode, when the two voices play the same notes on and
4567 off, the part combiner may typeset @code{a2} more than once in a
4570 @code{\partcombine} cannot be inside @code{\times}.
4572 @code{\partcombine} cannot be inside @code{\relative}.
4574 Internally, the @code{\partcombine} interprets both arguments as
4575 @code{Voice}s named @code{one} and @code{two}, and then decides when
4576 the parts can be combined. Consequently, if the arguments switch to
4577 differently named @internalsref{Voice} contexts, the events in those
4581 @subsection Hiding staves
4583 @cindex Frenched scores
4584 @cindex Hiding staves
4586 In orchestral scores, staff lines that only have rests are usually
4587 removed. This saves some space. This style is called `French Score'.
4588 For @internalsref{Lyrics},
4589 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4590 switched on by default. When these line of these contexts turn out
4591 empty after the line-breaking process, they are removed.
4593 For normal staves, a specialized @internalsref{Staff} context is
4594 available, which does the same: staves containing nothing (or only
4595 multi measure rests) are removed. The context definition is stored in
4596 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4597 in this example disappears in the second line
4600 @lilypond[quote,verbatim]
4602 \notes \relative c' <<
4603 \new Staff { e4 f g a \break c1 }
4604 \new Staff { c4 d e f \break R1 }
4608 \context { \RemoveEmptyStaffContext }
4613 The first page shows all staves in full. If empty staves should be
4614 removed from the first page too, set @code{remove-first} to false in
4615 @internalsref{RemoveEmptyVerticalGroup}.
4617 Another application is making ossia sections, i.e. alternative
4618 melodies on a separate piece of staff, with help of a Frenched
4619 staff. See @inputfileref{input/test,ossia.ly} for an example.
4622 @node Different editions from one source
4623 @subsection Different editions from one source
4625 The @code{\tag} command marks music expressions with a name. These
4626 tagged expressions can be filtered out later. With this mechanism it
4627 is possible to make different versions of the same music source.
4629 In the following example, we see two versions of a piece of music, one
4630 for the full score, and one with cue notes for the instrumental part
4646 The same can be applied to articulations, texts, etc.: they are
4649 -\tag #@var{your-tag}
4651 to an articulation, for example,
4656 This defines a note with a conditional fingering indication.
4658 By applying the @code{remove-tag} function, tagged expressions can be
4659 filtered. For example,
4663 \apply #(remove-tag 'score) @var{the music}
4664 \apply #(remove-tag 'part) @var{the music}
4669 @lilypondfile[quote]{tag-filter.ly}
4671 The argument of the @code{\tag} command should be a symbol, or a list
4672 of symbols, for example,
4674 \tag #'(original-part transposed-part) @dots{}
4679 Examples: @inputfileref{input/regression,tag-filter.ly}.
4682 @node Quoting other voices
4683 @subsection Quoting other voices
4685 With quotations, fragments of other parts can be inserted into a part
4686 directly. Before a part can be quoted, it must be marked especially as
4687 quotable. This is done with code @code{\addquote} command. The
4688 quotation may then be done with @code{\quote}
4691 \addquote @var{name} @var{music}
4692 \quote @var{name} @var{duration}
4697 Here, @var{name} is an identifying string. The @var{music} is any kind
4698 of music. This is an example of @code{\addquote}
4701 \addquote clarinet \notes\relative c' {
4706 During a part, a piece of music can be quoted with the @code{\quote}
4713 This would cite 3 quarter notes (a dotted half note) of the previously
4714 added clarinet voice.
4716 Quotations take into account the transposition both source and target
4717 instruments, if they are specified using the @code{\transposition} command.
4719 @lilypond[quote,raggedright,verbatim]
4720 \addquote clarinet \notes\relative c' {
4726 e'8 f'8 \quote clarinet 2
4732 Only the contents of the first @internalsref{Voice} occurring in an
4733 @code{\addquote} command will be considered for quotation, so
4734 @var{music} can not contain @code{\new} and @code{\context Voice}
4735 statements that would switch to a different Voice.
4740 In this manual: @ref{Instrument transpositions}.
4742 Examples: @inputfileref{input/regression,quote.ly}
4743 @inputfileref{input/regression,quote-transposition.ly}
4745 Program reference: @internalsref{QuoteMusic}.
4747 @node Ancient notation
4748 @section Ancient notation
4750 @cindex Vaticana, Editio
4751 @cindex Medicaea, Editio
4756 Support for ancient notation includes features for mensural notation
4757 and Gregorian Chant notation. There is also limited support for
4758 figured bass notation.
4760 Many graphical objects provide a @code{style} property, see
4761 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4762 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4763 signatures}. By manipulating such a grob property, the typographical
4764 appearance of the affected graphical objects can be accommodated for a
4765 specific notation flavor without need for introducing any new
4768 Other aspects of ancient notation can not that easily be expressed as
4769 in terms of just changing a style property of a graphical object.
4770 Therefore, some notational concepts are introduced specifically for
4771 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4772 @ref{Ligatures}, and @ref{Figured bass}.
4776 * Ancient note heads::
4777 * Ancient accidentals::
4781 * Ancient time signatures::
4786 * Vaticana style contexts::
4789 If this all is way too much of documentation for you, and you just
4790 want to dive into typesetting without worrying too much about the
4791 details on how to customize a context, you may have a look at the
4792 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4793 set up predefined style-specific voice and staff contexts, and
4794 directly go ahead with the note entry.
4798 Ligatures need special spacing that has not yet been implemented. As
4799 a result, there is too much space between ligatures most of the time,
4800 and line breaking often is unsatisfactory. Also, lyrics do not
4801 correctly align with ligatures.
4803 Accidentals must not be printed within a ligature, but instead need to
4804 be collected and printed in front of it.
4806 Augmentum dots within ligatures are not handled correctly.
4809 @node Ancient note heads
4810 @subsection Ancient note heads
4815 For ancient notation, a note head style other than the @code{default}
4816 style may be chosen. This is accomplished by setting the @code{style}
4817 property of the NoteHead object to the desired value (@code{baroque},
4818 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4819 differs from the @code{default} style only in using a square shape for
4820 @code{\breve} note heads. The @code{neo_mensural} style differs from
4821 the @code{baroque} style in that it uses rhomboidal heads for whole
4822 notes and all smaller durations. Stems are centered on the note
4823 heads. This style is in particular useful when transcribing mensural
4824 music, e.g. for the incipit. The @code{mensural} style finally
4825 produces note heads that mimic the look of note heads in historic
4826 printings of the 16th century.
4828 The following example demonstrates the @code{neo_mensural} style
4830 @lilypond[quote,fragment,raggedright,verbatim]
4831 \override NoteHead #'style = #'neo_mensural
4832 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4835 When typesetting a piece in Gregorian Chant notation, a Gregorian
4836 ligature engraver will automatically select the proper note heads,
4837 such there is no need to explicitly set the note head style. Still,
4838 the note head style can be set e.g. to @code{vaticana_punctum} to
4839 produce punctum neumes. Similarly, a mensural ligature engraver is
4840 used to automatically assemble mensural ligatures. See
4841 @ref{Ligatures} for how ligature engravers work.
4846 @ref{Percussion staves} use note head styles of their own that are
4847 frequently used in contemporary music notation.
4849 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
4850 overview over all available note head styles.
4853 @node Ancient accidentals
4854 @subsection Ancient accidentals
4859 Use the @code{style} property of grob @internalsref{Accidental} to
4860 select ancient accidentals. Supported styles are
4861 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4863 @lilypond[quote,raggedright,staffsize=26]
4871 { " " \musicglyph #"accidentals-vaticana-1"
4872 " " \musicglyph #"accidentals-vaticana0" }
4876 { " " \musicglyph #"accidentals-medicaea-1" }
4880 { " " \musicglyph #"accidentals-hufnagel-1" }
4884 { " " \musicglyph #"accidentals-mensural-1"
4885 " " \musicglyph #"accidentals-mensural1" }
4894 \remove "Bar_number_engraver"
4898 \remove "Clef_engraver"
4899 \remove "Key_engraver"
4900 \remove "Time_signature_engraver"
4901 \remove "Staff_symbol_engraver"
4902 minimumVerticalExtent = ##f
4908 As shown, not all accidentals are supported by each style. When
4909 trying to access an unsupported accidental, LilyPond will switch to a
4910 different style, as demonstrated in
4911 @inputfileref{input/test,ancient-accidentals.ly}.
4913 Similarly to local accidentals, the style of the key signature can be
4914 controlled by the @code{style} property of the
4915 @internalsref{KeySignature} grob.
4919 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
4920 @ref{Accidentals} give a general introduction into the use of
4921 accidentals. @ref{Key signature} gives a general introduction into
4922 the use of key signatures.
4924 Program reference: @internalsref{KeySignature}.
4926 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
4929 @subsection Ancient rests
4934 Use the @code{style} property of grob @internalsref{Rest} to select
4935 ancient accidentals. Supported styles are @code{classical},
4936 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4937 from the @code{default} style only in that the quarter rest looks like
4938 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4939 well for e.g. the incipit of a transcribed mensural piece of music.
4940 The @code{mensural} style finally mimics the appearance of rests as
4941 in historic prints of the 16th century.
4943 The following example demonstrates the @code{neo_mensural} style
4945 @lilypond[quote,fragment,raggedright,verbatim]
4946 \override Rest #'style = #'neo_mensural
4947 r\longa r\breve r1 r2 r4 r8 r16
4950 There are no 32th and 64th rests specifically for the mensural or
4951 neo-mensural style. Instead, the rests from the default style will be
4952 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4955 There are no rests in Gregorian Chant notation; instead, it uses
4960 In this manual: @ref{Rests} gives a general introduction into the use of rests.
4964 @subsection Ancient clefs
4969 LilyPond supports a variety of clefs, many of them ancient.
4971 The following table shows all ancient clefs that are supported via the
4972 @code{\clef} command. Some of the clefs use the same glyph, but
4973 differ only with respect to the line they are printed on. In such
4974 cases, a trailing number in the name is used to enumerate these clefs.
4975 Still, you can manually force a clef glyph to be typeset on an
4976 arbitrary line, as described in @ref{Clef}. The note printed to the
4977 right side of each clef in the example column denotes the @code{c'}
4978 with respect to that clef.
4980 @multitable @columnfractions .3 .3 .3 .1
4984 @b{Description} @tab
4985 @b{Supported Clefs} @tab
4989 @code{clefs-neo_mensural_c} @tab
4990 modern style mensural C clef @tab
4991 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4992 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4993 @lilypond[quote,relative=1,notime]
4994 \override Staff.TimeSignature #'transparent = ##t
4995 \clef "neo_mensural_c2" c
4999 @code{clefs-petrucci_c1}
5000 @code{clefs-petrucci_c2}
5001 @code{clefs-petrucci_c3}
5002 @code{clefs-petrucci_c4}
5003 @code{clefs-petrucci_c5}
5006 petrucci style mensural C clefs, for use on different staff lines
5007 (the examples shows the 2nd staff line C clef).
5017 @lilypond[quote,relative=1,notime]
5018 \override Staff.TimeSignature #'transparent = ##t
5019 \clef "petrucci_c2" c
5023 @code{clefs-petrucci_f} @tab
5024 petrucci style mensural F clef @tab
5025 @code{petrucci_f} @tab
5026 @lilypond[quote,relative=1,notime]
5027 \override Staff.TimeSignature #'transparent = ##t
5028 \clef "petrucci_f" c
5032 @code{clefs-petrucci_g} @tab
5033 petrucci style mensural G clef @tab
5034 @code{petrucci_g} @tab
5035 @lilypond[quote,relative=1,notime]
5036 \override Staff.TimeSignature #'transparent = ##t
5037 \clef "petrucci_g" c
5041 @code{clefs-mensural_c} @tab
5042 historic style mensural C clef @tab
5043 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
5044 @code{mensural_c4} @tab
5045 @lilypond[quote,relative=1,notime]
5046 \override Staff.TimeSignature #'transparent = ##t
5047 \clef "mensural_c2" c
5051 @code{clefs-mensural_f} @tab
5052 historic style mensural F clef @tab
5053 @code{mensural_f} @tab
5054 @lilypond[quote,relative=1,notime]
5055 \override Staff.TimeSignature #'transparent = ##t
5056 \clef "mensural_f" c
5060 @code{clefs-mensural_g} @tab
5061 historic style mensural G clef @tab
5062 @code{mensural_g} @tab
5063 @lilypond[quote,relative=1,notime]
5064 \override Staff.TimeSignature #'transparent = ##t
5065 \clef "mensural_g" c
5069 @code{clefs-vaticana_do} @tab
5070 Editio Vaticana style do clef @tab
5071 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
5072 @lilypond[quote,relative=1,notime]
5073 \override Staff.StaffSymbol #'line-count = #4
5074 \override Staff.TimeSignature #'transparent = ##t
5075 \clef "vaticana_do2" c
5079 @code{clefs-vaticana_fa} @tab
5080 Editio Vaticana style fa clef @tab
5081 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
5082 @lilypond[quote,relative=1,notime]
5083 \override Staff.StaffSymbol #'line-count = #4
5084 \override Staff.TimeSignature #'transparent = ##t
5085 \clef "vaticana_fa2" c
5089 @code{clefs-medicaea_do} @tab
5090 Editio Medicaea style do clef @tab
5091 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
5092 @lilypond[quote,relative=1,notime]
5093 \override Staff.StaffSymbol #'line-count = #4
5094 \override Staff.TimeSignature #'transparent = ##t
5095 \clef "medicaea_do2" c
5099 @code{clefs-medicaea_fa} @tab
5100 Editio Medicaea style fa clef @tab
5101 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
5102 @lilypond[quote,relative=1,notime]
5103 \override Staff.StaffSymbol #'line-count = #4
5104 \override Staff.TimeSignature #'transparent = ##t
5105 \clef "medicaea_fa2" c
5109 @code{clefs-hufnagel_do} @tab
5110 historic style hufnagel do clef @tab
5111 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
5112 @lilypond[quote,relative=1,notime]
5113 \override Staff.StaffSymbol #'line-count = #4
5114 \override Staff.TimeSignature #'transparent = ##t
5115 \clef "hufnagel_do2" c
5119 @code{clefs-hufnagel_fa} @tab
5120 historic style hufnagel fa clef @tab
5121 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
5122 @lilypond[quote,relative=1,notime]
5123 \override Staff.StaffSymbol #'line-count = #4
5124 \override Staff.TimeSignature #'transparent = ##t
5125 \clef "hufnagel_fa2" c
5129 @code{clefs-hufnagel_do_fa} @tab
5130 historic style hufnagel combined do/fa clef @tab
5131 @code{hufnagel_do_fa} @tab
5132 @lilypond[quote,relative=1,notime]
5133 \override Staff.TimeSignature #'transparent = ##t
5134 \clef "hufnagel_do_fa" c
5141 @emph{Modern style} means ``as is typeset in contemporary editions of
5142 transcribed mensural music''.
5144 @emph{Petrucci style} means ``inspired by printings published by the
5145 famous engraver Petrucci (1466-1539)''.
5147 @emph{Historic style} means ``as was typeset or written in historic
5148 editions (other than those of Petrucci)''.
5150 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5152 Petrucci used C clefs with differently balanced left-side vertical
5153 beams, depending on which staff line it is printed.
5157 In this manual: see @ref{Clef}.
5161 The mensural g clef is mapped to the Petrucci g clef, until a new
5162 mensural g clef is implemented.
5167 @subsection Ancient flags
5172 Use the @code{flag-style} property of grob @internalsref{Stem} to
5173 select ancient flags. Besides the @code{default} flag style,
5174 only @code{mensural} style is supported
5176 @lilypond[quote,fragment,raggedright,verbatim]
5177 \override Stem #'flag-style = #'mensural
5178 \override Stem #'thickness = #1.0
5179 \override NoteHead #'style = #'mensural
5181 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
5182 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5185 Note that the innermost flare of each mensural flag always is
5186 vertically aligned with a staff line. If you do not like this
5187 behavior, you can set the @code{adjust-if-on-staffline} property of
5188 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5189 of the end of each flare is different between notes on staff lines and
5190 notes between staff lines
5192 @lilypond[quote,fragment,raggedright]
5193 \override Stem #'flag-style = #'mensural
5194 \override Stem #'thickness = #1.0
5195 \override Stem #'adjust-if-on-staffline = ##f
5196 \override NoteHead #'style = #'mensural
5198 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
5199 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5202 There is no particular flag style for neo-mensural notation. Hence,
5203 when typesetting e.g. the incipit of a transcribed piece of mensural
5204 music, the default flag style should be used. There are no flags in
5205 Gregorian Chant notation.
5208 @node Ancient time signatures
5209 @subsection Ancient time signatures
5211 @cindex time signatures
5214 There is limited support for mensural time signatures. The
5215 glyphs are hard-wired to particular time fractions. In other words,
5216 to get a particular mensural signature glyph with the @code{\time n/m}
5217 command, @code{n} and @code{m} have to be chosen according to the
5223 \set Score.timing = ##f
5224 \set Score.barAlways = ##t
5225 s_\markup { "$\\backslash$time 4/4" }
5226 ^\markup { " " \musicglyph #"timesig-neo_mensural4/4" }
5228 s_\markup { "$\\backslash$time 2/2" }
5229 ^\markup { " " \musicglyph #"timesig-neo_mensural2/2" }
5231 s_\markup { "$\\backslash$time 6/4" }
5232 ^\markup { " " \musicglyph #"timesig-neo_mensural6/4" }
5234 s_\markup { "$\\backslash$time 6/8" }
5235 ^\markup { " " \musicglyph #"timesig-neo_mensural6/8" }
5237 s_\markup { "$\\backslash$time 3/2" }
5238 ^\markup { " " \musicglyph #"timesig-neo_mensural3/2" }
5240 s_\markup { "$\\backslash$time 3/4" }
5241 ^\markup { " " \musicglyph #"timesig-neo_mensural3/4" }
5243 s_\markup { "$\\backslash$time 9/4" }
5244 ^\markup { " " \musicglyph #"timesig-neo_mensural9/4" }
5246 s_\markup { "$\\backslash$time 9/8" }
5247 ^\markup { " " \musicglyph #"timesig-neo_mensural9/8" }
5249 s_\markup { "$\\backslash$time 4/8" }
5250 ^\markup { " " \musicglyph #"timesig-neo_mensural4/8" }
5252 s_\markup { "$\\backslash$time 2/4" }
5253 ^\markup { " " \musicglyph #"timesig-neo_mensural2/4" }
5261 \remove Staff_symbol_engraver
5262 \remove Clef_engraver
5263 \remove Time_signature_engraver
5269 Use the @code{style} property of grob @internalsref{TimeSignature} to
5270 select ancient time signatures. Supported styles are
5271 @code{neo_mensural} and @code{mensural}. The above table uses the
5272 @code{neo_mensural} style. This style is appropriate e.g. for the
5273 incipit of transcriptions of mensural pieces. The @code{mensural}
5274 style mimics the look of historical printings of the 16th century.
5276 @inputfileref{input/test,time.ly} gives an overview over all available
5277 ancient and modern styles.
5281 Program reference: @ref{Time signature} gives a general introduction into the use of time
5286 Mensural signature glyphs are mapped to time fractions in a hard-wired
5287 way. This mapping is sensible, but still arbitrary: given a mensural
5288 time signature, the time fraction represents a modern meter that
5289 usually will be a good choice when transcribing a mensural piece of
5290 music. For a particular piece of mensural music, however, the mapping
5291 may be unsatisfactory. In particular, the mapping assumes a fixed
5292 transcription of durations (e.g. brevis = half note in 2/2, i.e. 4:1).
5293 Some glyphs (such as the alternate glyph for 6/8 meter) are not at all
5294 accessible through the @code{\time} command.
5296 Mensural time signatures are supported typographically, but not yet
5297 musically. The internal representation of durations is
5298 based on a purely binary system; a ternary division such as 1 brevis =
5299 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5300 prolatione maiori) is not correctly handled: event times in ternary
5301 modes will be badly computed, resulting e.g. in horizontally
5302 misaligned note heads, and bar checks are likely to erroneously fail.
5304 The syntax and semantics of the @code{\time} command for mensural
5305 music is subject to change.
5308 @subsection Custodes
5313 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
5314 symbol that appears at the end of a staff. It anticipates the pitch
5315 of the first note(s) of the following line and thus helps the player
5316 or singer to manage line breaks during performance, thus enhancing
5317 readability of a score.
5319 Custodes were frequently used in music notation until the 17th
5320 century. Nowadays, they have survived only in a few particular forms
5321 of musical notation such as contemporary editions of Gregorian chant
5322 like the @emph{editio vaticana}. There are different custos glyphs
5323 used in different flavors of notational style.
5325 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5326 @internalsref{Staff} context when declaring the @code{\paper} block,
5327 as shown in the following example
5333 \consists Custos_engraver
5334 Custos \override #'style = #'mensural
5339 The result looks like this
5341 @lilypond[quote,raggedright]
5345 \override Staff.Custos #'style = #'mensural
5352 \consists Custos_engraver
5358 The custos glyph is selected by the @code{style} property. The styles
5359 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5360 @code{mensural}. They are demonstrated in the following fragment
5364 \new Lyrics \lyrics {
5368 { " " \musicglyph #"custodes-vaticana-u0" }
5372 { " " \musicglyph #"custodes-medicaea-u0" }
5377 { " " \musicglyph #"custodes-hufnagel-u0" }
5382 { " " \musicglyph #"custodes-mensural-u0" }
5394 Program reference: @internalsref{Custos}.
5396 Examples: @inputfileref{input/regression,custos.ly}.
5400 @subsection Divisiones
5406 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
5407 `division') is a staff context symbol that is used to structure
5408 Gregorian music into phrases and sections. The musical meaning of
5409 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5410 can be characterized as short, medium and long pause, somewhat like
5411 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5412 a chant, but is also frequently used within a single
5413 antiphonal/responsorial chant to mark the end of each section.
5416 To use divisiones, include the file @code{gregorian-init.ly}. It
5417 contains definitions that you can apply by just inserting
5418 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5419 and @code{\finalis} at proper places in the input. Some editions use
5420 @emph{virgula} or @emph{caesura} instead of divisio minima.
5421 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5424 @lilypondfile[quote,raggedright]{divisiones.ly}
5428 @cindex @code{\virgula}
5430 @cindex @code{\caesura}
5432 @cindex @code{\divisioMinima}
5433 @code{\divisioMinima},
5434 @cindex @code{\divisioMaior}
5435 @code{\divisioMaior},
5436 @cindex @code{\divisioMaxima}
5437 @code{\divisioMaxima},
5438 @cindex @code{\finalis}
5443 In this manual: @ref{Breath marks}.
5445 Program reference: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
5447 Examples: @inputfileref{input/test,divisiones.ly}.
5450 @subsection Ligatures
5454 @c TODO: Should double check if I recalled things correctly when I wrote
5455 @c down the following paragraph by heart.
5457 A ligature is a coherent graphical symbol that represents at least two
5458 distinct notes. Ligatures originally appeared in the manuscripts of
5459 Gregorian chant notation roughly since the 9th century to denote
5460 ascending or descending sequences of notes.
5462 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
5463 Some ligature styles may need additional input syntax specific for
5464 this particular type of ligature. By default, the
5465 @internalsref{LigatureBracket} engraver just puts a square bracket
5468 @lilypond[quote,raggedright,verbatim]
5470 \notes \transpose c c' {
5478 To select a specific style of ligatures, a proper ligature engraver
5479 has to be added to the @internalsref{Voice} context, as explained in
5480 the following subsections. Only white mensural ligatures
5481 are supported with certain limitations.
5484 * White mensural ligatures::
5485 * Gregorian square neumes ligatures::
5488 @node White mensural ligatures
5489 @subsubsection White mensural ligatures
5491 @cindex Mensural ligatures
5492 @cindex White mensural ligatures
5494 There is limited support for white mensural ligatures.
5496 To engrave white mensural ligatures, in the paper block the
5497 @internalsref{Mensural_ligature_engraver} has to be put into the
5498 @internalsref{Voice} context, and remove the
5499 @internalsref{Ligature_bracket_engraver}
5505 \remove Ligature_bracket_engraver
5506 \consists Mensural_ligature_engraver
5511 There is no additional input language to describe the shape of a
5512 white mensural ligature. The shape is rather determined solely from
5513 the pitch and duration of the enclosed notes. While this approach may
5514 take a new user a while to get accustomed, it has the great advantage
5515 that the full musical information of the ligature is known internally.
5516 This is not only required for correct MIDI output, but also allows for
5517 automatic transcription of the ligatures.
5522 \set Score.timing = ##f
5523 \set Score.defaultBarType = "empty"
5524 \override NoteHead #'style = #'neo_mensural
5525 \override Staff.TimeSignature #'style = #'neo_mensural
5527 \[ g\longa c\breve a\breve f\breve d'\longa \]
5529 \[ e1 f1 a\breve g\longa \]
5531 @lilypond[quote,raggedright]
5533 \notes \transpose c c' {
5534 \set Score.timing = ##f
5535 \set Score.defaultBarType = "empty"
5536 \override NoteHead #'style = #'neo_mensural
5537 \override Staff.TimeSignature #'style = #'neo_mensural
5539 \[ g\longa c\breve a\breve f\breve d'\longa \]
5541 \[ e1 f1 a\breve g\longa \]
5546 \remove Ligature_bracket_engraver
5547 \consists Mensural_ligature_engraver
5553 Without replacing @internalsref{Ligature_bracket_engraver} with
5554 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5557 @lilypond[quote,raggedright]
5559 \notes \transpose c c' {
5560 \set Score.timing = ##f
5561 \set Score.defaultBarType = "empty"
5562 \override NoteHead #'style = #'neo_mensural
5563 \override Staff.TimeSignature #'style = #'neo_mensural
5565 \[ g\longa c\breve a\breve f\breve d'\longa \]
5567 \[ e1 f1 a\breve g\longa \]
5574 The implementation is experimental; it may output strange warnings or
5575 even crash in some cases or produce weird results on more complex
5578 @node Gregorian square neumes ligatures
5579 @subsubsection Gregorian square neumes ligatures
5581 @cindex Square neumes ligatures
5582 @cindex Gregorian square neumes ligatures
5584 Gregorian square neumes notation (following the style of the Editio
5585 Vaticana) is under heavy development, but not yet really usable for
5586 production purposes. Core ligatures can already be typeset, but
5587 essential issues for serious typesetting are still under development,
5588 such as (among others) horizontal alignment of multiple ligatures,
5589 lyrics alignment and proper accidentals handling. Still, this section
5590 gives a sneak preview of what Gregorian chant may look like once it
5593 The following table contains the extended neumes table of the 2nd
5594 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5595 1983 by the monks of Solesmes.
5597 @multitable @columnfractions .4 .2 .2 .2
5600 @b{Neuma aut@*Neumarum Elementa} @tab
5601 @b{Figurae@*Rectae} @tab
5602 @b{Figurae@*Liquescentes Auctae} @tab
5603 @b{Figurae@*Liquescentes Deminutae}
5605 @c TODO: \paper block is identical in all of the below examples.
5606 @c Therefore, it should somehow be included rather than duplicated all
5609 @c why not make identifiers in ly/engraver-init.ly? --hwn
5611 @c Because it's just used to typeset plain notes without
5612 @c a staff for demonstration purposes rather than something
5613 @c special of Gregorian chant notation. --jr
5618 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.5\cm]
5619 \include "gregorian-init.ly"
5621 \notes \transpose c c' {
5624 \noBreak s^\markup {"a"} \noBreak
5626 % Punctum Inclinatum
5628 \noBreak s^\markup {"b"}
5634 \remove "Bar_number_engraver"
5638 \remove "Clef_engraver"
5639 \remove "Key_engraver"
5640 \override StaffSymbol #'transparent = ##t
5641 \remove "Time_signature_engraver"
5642 \remove "Bar_engraver"
5643 minimumVerticalExtent = ##f
5647 \remove Ligature_bracket_engraver
5648 \consists Vaticana_ligature_engraver
5649 \override NoteHead #'style = #'vaticana_punctum
5650 \override Stem #'transparent = ##t
5656 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.5\cm]
5657 \include "gregorian-init.ly"
5659 \notes \transpose c c' {
5660 % Punctum Auctum Ascendens
5661 \[ \auctum \ascendens b \]
5662 \noBreak s^\markup {"c"} \noBreak
5664 % Punctum Auctum Descendens
5665 \[ \auctum \descendens b \]
5666 \noBreak s^\markup {"d"} \noBreak
5668 % Punctum Inclinatum Auctum
5669 \[ \inclinatum \auctum b \]
5670 \noBreak s^\markup {"e"}
5676 \remove "Bar_number_engraver"
5680 \remove "Clef_engraver"
5681 \remove "Key_engraver"
5682 \override StaffSymbol #'transparent = ##t
5683 \remove "Time_signature_engraver"
5684 \remove "Bar_engraver"
5685 minimumVerticalExtent = ##f
5689 \remove Ligature_bracket_engraver
5690 \consists Vaticana_ligature_engraver
5691 \override NoteHead #'style = #'vaticana_punctum
5692 \override Stem #'transparent = ##t
5698 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5699 \include "gregorian-init.ly"
5701 \notes \transpose c c' {
5702 % Punctum Inclinatum Parvum
5703 \[ \inclinatum \deminutum b \]
5704 \noBreak s^\markup {"f"}
5710 \remove "Bar_number_engraver"
5714 \remove "Clef_engraver"
5715 \remove "Key_engraver"
5716 \override StaffSymbol #'transparent = ##t
5717 \remove "Time_signature_engraver"
5718 \remove "Bar_engraver"
5719 minimumVerticalExtent = ##f
5723 \remove Ligature_bracket_engraver
5724 \consists Vaticana_ligature_engraver
5725 \override NoteHead #'style = #'vaticana_punctum
5726 \override Stem #'transparent = ##t
5735 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5736 \include "gregorian-init.ly"
5738 \notes \transpose c c' {
5741 \noBreak s^\markup {"g"}
5747 \remove "Bar_number_engraver"
5751 \remove "Clef_engraver"
5752 \remove "Key_engraver"
5753 \override StaffSymbol #'transparent = ##t
5754 \remove "Time_signature_engraver"
5755 \remove "Bar_engraver"
5756 minimumVerticalExtent = ##f
5760 \remove Ligature_bracket_engraver
5761 \consists Vaticana_ligature_engraver
5762 \override NoteHead #'style = #'vaticana_punctum
5763 \override Stem #'transparent = ##t
5772 @code{3. Apostropha vel Stropha}
5774 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5775 \include "gregorian-init.ly"
5777 \notes \transpose c c' {
5780 \noBreak s^\markup {"h"}
5786 \remove "Bar_number_engraver"
5790 \remove "Clef_engraver"
5791 \remove "Key_engraver"
5792 \override StaffSymbol #'transparent = ##t
5793 \remove "Time_signature_engraver"
5794 \remove "Bar_engraver"
5795 minimumVerticalExtent = ##f
5799 \remove Ligature_bracket_engraver
5800 \consists Vaticana_ligature_engraver
5801 \override NoteHead #'style = #'vaticana_punctum
5802 \override Stem #'transparent = ##t
5808 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5809 \include "gregorian-init.ly"
5811 \notes \transpose c c' {
5813 \[ \stropha \auctum b \]
5814 \noBreak s^\markup {"i"}
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
5846 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5847 \include "gregorian-init.ly"
5849 \notes \transpose c c' {
5852 \noBreak s^\markup {"j"}
5858 \remove "Bar_number_engraver"
5862 \remove "Clef_engraver"
5863 \remove "Key_engraver"
5864 \override StaffSymbol #'transparent = ##t
5865 \remove "Time_signature_engraver"
5866 \remove "Bar_engraver"
5867 minimumVerticalExtent = ##f
5871 \remove Ligature_bracket_engraver
5872 \consists Vaticana_ligature_engraver
5873 \override NoteHead #'style = #'vaticana_punctum
5874 \override Stem #'transparent = ##t
5883 @code{5. Clivis vel Flexa}
5885 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5886 \include "gregorian-init.ly"
5888 \notes \transpose c c' {
5897 \remove "Bar_number_engraver"
5901 \remove "Clef_engraver"
5902 \remove "Key_engraver"
5903 \override StaffSymbol #'transparent = ##t
5904 \remove "Time_signature_engraver"
5905 \remove "Bar_engraver"
5906 minimumVerticalExtent = ##f
5910 \remove Ligature_bracket_engraver
5911 \consists Vaticana_ligature_engraver
5912 \override NoteHead #'style = #'vaticana_punctum
5913 \override Stem #'transparent = ##t
5919 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
5920 \include "gregorian-init.ly"
5922 \notes \transpose c c' {
5923 % Clivis Aucta Descendens
5924 \[ b \flexa \auctum \descendens g \]
5925 \noBreak s^\markup {"l"} \noBreak
5927 % Clivis Aucta Ascendens
5928 \[ b \flexa \auctum \ascendens g \]
5929 \noBreak s^\markup {"m"}
5935 \remove "Bar_number_engraver"
5939 \remove "Clef_engraver"
5940 \remove "Key_engraver"
5941 \override StaffSymbol #'transparent = ##t
5942 \remove "Time_signature_engraver"
5943 \remove "Bar_engraver"
5944 minimumVerticalExtent = ##f
5948 \remove Ligature_bracket_engraver
5949 \consists Vaticana_ligature_engraver
5950 \override NoteHead #'style = #'vaticana_punctum
5951 \override Stem #'transparent = ##t
5957 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5958 \include "gregorian-init.ly"
5960 \notes \transpose c c' {
5962 \[ b \flexa \deminutum g \]
5969 \remove "Bar_number_engraver"
5973 \remove "Clef_engraver"
5974 \remove "Key_engraver"
5975 \override StaffSymbol #'transparent = ##t
5976 \remove "Time_signature_engraver"
5977 \remove "Bar_engraver"
5978 minimumVerticalExtent = ##f
5982 \remove Ligature_bracket_engraver
5983 \consists Vaticana_ligature_engraver
5984 \override NoteHead #'style = #'vaticana_punctum
5985 \override Stem #'transparent = ##t
5992 @code{6. Podatus vel Pes}
5994 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5995 \include "gregorian-init.ly"
5997 \notes \transpose c c' {
6006 \remove "Bar_number_engraver"
6010 \remove "Clef_engraver"
6011 \remove "Key_engraver"
6012 \override StaffSymbol #'transparent = ##t
6013 \remove "Time_signature_engraver"
6014 \remove "Bar_engraver"
6015 minimumVerticalExtent = ##f
6019 \remove Ligature_bracket_engraver
6020 \consists Vaticana_ligature_engraver
6021 \override NoteHead #'style = #'vaticana_punctum
6022 \override Stem #'transparent = ##t
6028 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
6029 \include "gregorian-init.ly"
6031 \notes \transpose c c' {
6032 % Pes Auctus Descendens
6033 \[ g \pes \auctum \descendens b \]
6034 \noBreak s^\markup {"p"} \noBreak
6036 % Pes Auctus Ascendens
6037 \[ g \pes \auctum \ascendens b \]
6038 \noBreak s^\markup {"q"}
6044 \remove "Bar_number_engraver"
6048 \remove "Clef_engraver"
6049 \remove "Key_engraver"
6050 \override StaffSymbol #'transparent = ##t
6051 \remove "Time_signature_engraver"
6052 \remove "Bar_engraver"
6053 minimumVerticalExtent = ##f
6057 \remove Ligature_bracket_engraver
6058 \consists Vaticana_ligature_engraver
6059 \override NoteHead #'style = #'vaticana_punctum
6060 \override Stem #'transparent = ##t
6066 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6067 \include "gregorian-init.ly"
6069 \notes \transpose c c' {
6071 \[ g \pes \deminutum b \]
6078 \remove "Bar_number_engraver"
6082 \remove "Clef_engraver"
6083 \remove "Key_engraver"
6084 \override StaffSymbol #'transparent = ##t
6085 \remove "Time_signature_engraver"
6086 \remove "Bar_engraver"
6087 minimumVerticalExtent = ##f
6091 \remove Ligature_bracket_engraver
6092 \consists Vaticana_ligature_engraver
6093 \override NoteHead #'style = #'vaticana_punctum
6094 \override Stem #'transparent = ##t
6101 @code{7. Pes Quassus}
6103 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6104 \include "gregorian-init.ly"
6106 \notes \transpose c c' {
6108 \[ \oriscus g \pes \virga b \]
6115 \remove "Bar_number_engraver"
6119 \remove "Clef_engraver"
6120 \remove "Key_engraver"
6121 \override StaffSymbol #'transparent = ##t
6122 \remove "Time_signature_engraver"
6123 \remove "Bar_engraver"
6124 minimumVerticalExtent = ##f
6128 \remove Ligature_bracket_engraver
6129 \consists Vaticana_ligature_engraver
6130 \override NoteHead #'style = #'vaticana_punctum
6131 \override Stem #'transparent = ##t
6137 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6138 \include "gregorian-init.ly"
6140 \notes \transpose c c' {
6141 % Pes Quassus Auctus Descendens
6142 \[ \oriscus g \pes \auctum \descendens b \]
6149 \remove "Bar_number_engraver"
6153 \remove "Clef_engraver"
6154 \remove "Key_engraver"
6155 \override StaffSymbol #'transparent = ##t
6156 \remove "Time_signature_engraver"
6157 \remove "Bar_engraver"
6158 minimumVerticalExtent = ##f
6162 \remove Ligature_bracket_engraver
6163 \consists Vaticana_ligature_engraver
6164 \override NoteHead #'style = #'vaticana_punctum
6165 \override Stem #'transparent = ##t
6173 @code{8. Quilisma Pes}
6175 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6176 \include "gregorian-init.ly"
6178 \notes \transpose c c' {
6180 \[ \quilisma g \pes b \]
6187 \remove "Bar_number_engraver"
6191 \remove "Clef_engraver"
6192 \remove "Key_engraver"
6193 \override StaffSymbol #'transparent = ##t
6194 \remove "Time_signature_engraver"
6195 \remove "Bar_engraver"
6196 minimumVerticalExtent = ##f
6200 \remove Ligature_bracket_engraver
6201 \consists Vaticana_ligature_engraver
6202 \override NoteHead #'style = #'vaticana_punctum
6203 \override Stem #'transparent = ##t
6209 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6210 \include "gregorian-init.ly"
6212 \notes \transpose c c' {
6213 % Quilisma Pes Auctus Descendens
6214 \[ \quilisma g \pes \auctum \descendens b \]
6221 \remove "Bar_number_engraver"
6225 \remove "Clef_engraver"
6226 \remove "Key_engraver"
6227 \override StaffSymbol #'transparent = ##t
6228 \remove "Time_signature_engraver"
6229 \remove "Bar_engraver"
6230 minimumVerticalExtent = ##f
6234 \remove Ligature_bracket_engraver
6235 \consists Vaticana_ligature_engraver
6236 \override NoteHead #'style = #'vaticana_punctum
6237 \override Stem #'transparent = ##t
6245 @code{9. Podatus Initio Debilis}
6247 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6248 \include "gregorian-init.ly"
6250 \notes \transpose c c' {
6251 % Pes Initio Debilis
6252 \[ \deminutum g \pes b \]
6259 \remove "Bar_number_engraver"
6263 \remove "Clef_engraver"
6264 \remove "Key_engraver"
6265 \override StaffSymbol #'transparent = ##t
6266 \remove "Time_signature_engraver"
6267 \remove "Bar_engraver"
6268 minimumVerticalExtent = ##f
6272 \remove Ligature_bracket_engraver
6273 \consists Vaticana_ligature_engraver
6274 \override NoteHead #'style = #'vaticana_punctum
6275 \override Stem #'transparent = ##t
6281 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6282 \include "gregorian-init.ly"
6284 \notes \transpose c c' {
6285 % Pes Auctus Descendens Initio Debilis
6286 \[ \deminutum g \pes \auctum \descendens b \]
6293 \remove "Bar_number_engraver"
6297 \remove "Clef_engraver"
6298 \remove "Key_engraver"
6299 \override StaffSymbol #'transparent = ##t
6300 \remove "Time_signature_engraver"
6301 \remove "Bar_engraver"
6302 minimumVerticalExtent = ##f
6306 \remove Ligature_bracket_engraver
6307 \consists Vaticana_ligature_engraver
6308 \override NoteHead #'style = #'vaticana_punctum
6309 \override Stem #'transparent = ##t
6319 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6320 \include "gregorian-init.ly"
6322 \notes \transpose c c' {
6324 \[ a \pes b \flexa g \]
6331 \remove "Bar_number_engraver"
6335 \remove "Clef_engraver"
6336 \remove "Key_engraver"
6337 \override StaffSymbol #'transparent = ##t
6338 \remove "Time_signature_engraver"
6339 \remove "Bar_engraver"
6340 minimumVerticalExtent = ##f
6344 \remove Ligature_bracket_engraver
6345 \consists Vaticana_ligature_engraver
6346 \override NoteHead #'style = #'vaticana_punctum
6347 \override Stem #'transparent = ##t
6353 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6354 \include "gregorian-init.ly"
6356 \notes \transpose c c' {
6357 % Torculus Auctus Descendens
6358 \[ a \pes b \flexa \auctum \descendens g \]
6365 \remove "Bar_number_engraver"
6369 \remove "Clef_engraver"
6370 \remove "Key_engraver"
6371 \override StaffSymbol #'transparent = ##t
6372 \remove "Time_signature_engraver"
6373 \remove "Bar_engraver"
6374 minimumVerticalExtent = ##f
6378 \remove Ligature_bracket_engraver
6379 \consists Vaticana_ligature_engraver
6380 \override NoteHead #'style = #'vaticana_punctum
6381 \override Stem #'transparent = ##t
6387 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6388 \include "gregorian-init.ly"
6390 \notes \transpose c c' {
6391 % Torculus Deminutus
6392 \[ a \pes b \flexa \deminutum g \]
6399 \remove "Bar_number_engraver"
6403 \remove "Clef_engraver"
6404 \remove "Key_engraver"
6405 \override StaffSymbol #'transparent = ##t
6406 \remove "Time_signature_engraver"
6407 \remove "Bar_engraver"
6408 minimumVerticalExtent = ##f
6412 \remove Ligature_bracket_engraver
6413 \consists Vaticana_ligature_engraver
6414 \override NoteHead #'style = #'vaticana_punctum
6415 \override Stem #'transparent = ##t
6422 @code{11. Torculus Initio Debilis}
6424 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6425 \include "gregorian-init.ly"
6427 \notes \transpose c c' {
6428 % Torculus Initio Debilis
6429 \[ \deminutum a \pes b \flexa g \]
6436 \remove "Bar_number_engraver"
6440 \remove "Clef_engraver"
6441 \remove "Key_engraver"
6442 \override StaffSymbol #'transparent = ##t
6443 \remove "Time_signature_engraver"
6444 \remove "Bar_engraver"
6445 minimumVerticalExtent = ##f
6449 \remove Ligature_bracket_engraver
6450 \consists Vaticana_ligature_engraver
6451 \override NoteHead #'style = #'vaticana_punctum
6452 \override Stem #'transparent = ##t
6458 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6459 \include "gregorian-init.ly"
6461 \notes \transpose c c' {
6462 % Torculus Auctus Descendens Initio Debilis
6463 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6470 \remove "Bar_number_engraver"
6474 \remove "Clef_engraver"
6475 \remove "Key_engraver"
6476 \override StaffSymbol #'transparent = ##t
6477 \remove "Time_signature_engraver"
6478 \remove "Bar_engraver"
6479 minimumVerticalExtent = ##f
6483 \remove Ligature_bracket_engraver
6484 \consists Vaticana_ligature_engraver
6485 \override NoteHead #'style = #'vaticana_punctum
6486 \override Stem #'transparent = ##t
6492 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6493 \include "gregorian-init.ly"
6495 \notes \transpose c c' {
6496 % Torculus Deminutus Initio Debilis
6497 \[ \deminutum a \pes b \flexa \deminutum g \]
6504 \remove "Bar_number_engraver"
6508 \remove "Clef_engraver"
6509 \remove "Key_engraver"
6510 \override StaffSymbol #'transparent = ##t
6511 \remove "Time_signature_engraver"
6512 \remove "Bar_engraver"
6513 minimumVerticalExtent = ##f
6517 \remove Ligature_bracket_engraver
6518 \consists Vaticana_ligature_engraver
6519 \override NoteHead #'style = #'vaticana_punctum
6520 \override Stem #'transparent = ##t
6527 @code{12. Porrectus}
6529 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6530 \include "gregorian-init.ly"
6532 \notes \transpose c c' {
6534 \[ a \flexa g \pes b \]
6541 \remove "Bar_number_engraver"
6545 \remove "Clef_engraver"
6546 \remove "Key_engraver"
6547 \override StaffSymbol #'transparent = ##t
6548 \remove "Time_signature_engraver"
6549 \remove "Bar_engraver"
6550 minimumVerticalExtent = ##f
6554 \remove Ligature_bracket_engraver
6555 \consists Vaticana_ligature_engraver
6556 \override NoteHead #'style = #'vaticana_punctum
6557 \override Stem #'transparent = ##t
6563 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6564 \include "gregorian-init.ly"
6566 \notes \transpose c c' {
6567 % Porrectus Auctus Descendens
6568 \[ a \flexa g \pes \auctum \descendens b \]
6575 \remove "Bar_number_engraver"
6579 \remove "Clef_engraver"
6580 \remove "Key_engraver"
6581 \override StaffSymbol #'transparent = ##t
6582 \remove "Time_signature_engraver"
6583 \remove "Bar_engraver"
6584 minimumVerticalExtent = ##f
6588 \remove Ligature_bracket_engraver
6589 \consists Vaticana_ligature_engraver
6590 \override NoteHead #'style = #'vaticana_punctum
6591 \override Stem #'transparent = ##t
6597 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6598 \include "gregorian-init.ly"
6600 \notes \transpose c c' {
6601 % Porrectus Deminutus
6602 \[ a \flexa g \pes \deminutum b \]
6609 \remove "Bar_number_engraver"
6613 \remove "Clef_engraver"
6614 \remove "Key_engraver"
6615 \override StaffSymbol #'transparent = ##t
6616 \remove "Time_signature_engraver"
6617 \remove "Bar_engraver"
6618 minimumVerticalExtent = ##f
6622 \remove Ligature_bracket_engraver
6623 \consists Vaticana_ligature_engraver
6624 \override NoteHead #'style = #'vaticana_punctum
6625 \override Stem #'transparent = ##t
6634 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6635 \include "gregorian-init.ly"
6637 \notes \transpose c c' {
6639 \[ \virga b \inclinatum a \inclinatum g \]
6646 \remove "Bar_number_engraver"
6650 \remove "Clef_engraver"
6651 \remove "Key_engraver"
6652 \override StaffSymbol #'transparent = ##t
6653 \remove "Time_signature_engraver"
6654 \remove "Bar_engraver"
6655 minimumVerticalExtent = ##f
6659 \remove Ligature_bracket_engraver
6660 \consists Vaticana_ligature_engraver
6661 \override NoteHead #'style = #'vaticana_punctum
6662 \override Stem #'transparent = ##t
6668 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6669 \include "gregorian-init.ly"
6671 \notes \transpose c c' {
6673 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6680 \remove "Bar_number_engraver"
6684 \remove "Clef_engraver"
6685 \remove "Key_engraver"
6686 \override StaffSymbol #'transparent = ##t
6687 \remove "Time_signature_engraver"
6688 \remove "Bar_engraver"
6689 minimumVerticalExtent = ##f
6693 \remove Ligature_bracket_engraver
6694 \consists Vaticana_ligature_engraver
6695 \override NoteHead #'style = #'vaticana_punctum
6696 \override Stem #'transparent = ##t
6702 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6703 \include "gregorian-init.ly"
6705 \notes \transpose c c' {
6706 % Climacus Deminutus
6707 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6714 \remove "Bar_number_engraver"
6718 \remove "Clef_engraver"
6719 \remove "Key_engraver"
6720 \override StaffSymbol #'transparent = ##t
6721 \remove "Time_signature_engraver"
6722 \remove "Bar_engraver"
6723 minimumVerticalExtent = ##f
6727 \remove Ligature_bracket_engraver
6728 \consists Vaticana_ligature_engraver
6729 \override NoteHead #'style = #'vaticana_punctum
6730 \override Stem #'transparent = ##t
6737 @code{14. Scandicus}
6739 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6740 \include "gregorian-init.ly"
6742 \notes \transpose c c' {
6744 \[ g \pes a \virga b \]
6751 \remove "Bar_number_engraver"
6755 \remove "Clef_engraver"
6756 \remove "Key_engraver"
6757 \override StaffSymbol #'transparent = ##t
6758 \remove "Time_signature_engraver"
6759 \remove "Bar_engraver"
6760 minimumVerticalExtent = ##f
6764 \remove Ligature_bracket_engraver
6765 \consists Vaticana_ligature_engraver
6766 \override NoteHead #'style = #'vaticana_punctum
6767 \override Stem #'transparent = ##t
6773 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6774 \include "gregorian-init.ly"
6776 \notes \transpose c c' {
6777 % Scandicus Auctus Descendens
6778 \[ g \pes a \pes \auctum \descendens b \]
6785 \remove "Bar_number_engraver"
6789 \remove "Clef_engraver"
6790 \remove "Key_engraver"
6791 \override StaffSymbol #'transparent = ##t
6792 \remove "Time_signature_engraver"
6793 \remove "Bar_engraver"
6794 minimumVerticalExtent = ##f
6798 \remove Ligature_bracket_engraver
6799 \consists Vaticana_ligature_engraver
6800 \override NoteHead #'style = #'vaticana_punctum
6801 \override Stem #'transparent = ##t
6807 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6808 \include "gregorian-init.ly"
6810 \notes \transpose c c' {
6811 % Scandicus Deminutus
6812 \[ g \pes a \pes \deminutum b \]
6819 \remove "Bar_number_engraver"
6823 \remove "Clef_engraver"
6824 \remove "Key_engraver"
6825 \override StaffSymbol #'transparent = ##t
6826 \remove "Time_signature_engraver"
6827 \remove "Bar_engraver"
6828 minimumVerticalExtent = ##f
6832 \remove Ligature_bracket_engraver
6833 \consists Vaticana_ligature_engraver
6834 \override NoteHead #'style = #'vaticana_punctum
6835 \override Stem #'transparent = ##t
6844 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6845 \include "gregorian-init.ly"
6847 \notes \transpose c c' {
6849 \[ g \oriscus a \pes \virga b \]
6856 \remove "Bar_number_engraver"
6860 \remove "Clef_engraver"
6861 \remove "Key_engraver"
6862 \override StaffSymbol #'transparent = ##t
6863 \remove "Time_signature_engraver"
6864 \remove "Bar_engraver"
6865 minimumVerticalExtent = ##f
6869 \remove Ligature_bracket_engraver
6870 \consists Vaticana_ligature_engraver
6871 \override NoteHead #'style = #'vaticana_punctum
6872 \override Stem #'transparent = ##t
6878 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6879 \include "gregorian-init.ly"
6881 \notes \transpose c c' {
6882 % Salicus Auctus Descendens
6883 \[ g \oriscus a \pes \auctum \descendens b \]
6890 \remove "Bar_number_engraver"
6894 \remove "Clef_engraver"
6895 \remove "Key_engraver"
6896 \override StaffSymbol #'transparent = ##t
6897 \remove "Time_signature_engraver"
6898 \remove "Bar_engraver"
6899 minimumVerticalExtent = ##f
6903 \remove Ligature_bracket_engraver
6904 \consists Vaticana_ligature_engraver
6905 \override NoteHead #'style = #'vaticana_punctum
6906 \override Stem #'transparent = ##t
6916 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6917 \include "gregorian-init.ly"
6919 \notes \transpose c c' {
6921 \[ \stropha b \stropha b \stropha a \]
6928 \remove "Bar_number_engraver"
6932 \remove "Clef_engraver"
6933 \remove "Key_engraver"
6934 \override StaffSymbol #'transparent = ##t
6935 \remove "Time_signature_engraver"
6936 \remove "Bar_engraver"
6937 minimumVerticalExtent = ##f
6941 \remove Ligature_bracket_engraver
6942 \consists Vaticana_ligature_engraver
6943 \override NoteHead #'style = #'vaticana_punctum
6944 \override Stem #'transparent = ##t
6955 Unlike most other neumes notation systems, the input language for
6956 neumes does not necessarily reflect directly the typographical
6957 appearance, but is designed to solely focuse on musical meaning. For
6958 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6959 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6960 a Porrectus with a curved flexa shape and only a single Punctum head.
6961 There is no command to explicitly typeset the curved flexa shape; the
6962 decision of when to typeset a curved flexa shape is purely taken from
6963 the musical input. The idea of this approach is to separate the
6964 musical aspects of the input from the notation style of the output.
6965 This way, the same input can be reused to typeset the same music in a
6966 different style of Gregorian chant notation.
6968 The following table shows the code fragments that produce the
6969 ligatures in the above neumes table. The letter in the first column
6970 in each line of the below table indicates to which ligature in the
6971 above table it refers. The second column gives the name of the
6972 ligature. The third column shows the code fragment that produces this
6973 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6975 @multitable @columnfractions .1 .4 .5
6989 Punctum Inclinatum @tab
6990 @code{\[ \inclinatum b \]}
6994 Punctum Auctum Ascendens @tab
6995 @code{\[ \auctum \ascendens b \]}
6999 Punctum Auctum Descendens @tab
7000 @code{\[ \auctum \descendens b \]}
7004 Punctum Inclinatum Auctum @tab
7005 @code{\[ \inclinatum \auctum b \]}
7009 Punctum Inclinatum Parvum @tab
7010 @code{\[ \inclinatum \deminutum b \]}
7015 @code{\[ \virga b \]}
7020 @code{\[ \stropha b \]}
7025 @code{\[ \stropha \auctum b \]}
7030 @code{\[ \oriscus b \]}
7034 Clivis vel Flexa @tab
7035 @code{\[ b \flexa g \]}
7039 Clivis Aucta Descendens @tab
7040 @code{\[ b \flexa \auctum \descendens g \]}
7044 Clivis Aucta Ascendens @tab
7045 @code{\[ b \flexa \auctum \ascendens g \]}
7050 @code{\[ b \flexa \deminutum g \]}
7054 Podatus vel Pes @tab
7055 @code{\[ g \pes b \]}
7059 Pes Auctus Descendens @tab
7060 @code{\[ g \pes \auctum \descendens b \]}
7064 Pes Auctus Ascendens @tab
7065 @code{\[ g \pes \auctum \ascendens b \]}
7070 @code{\[ g \pes \deminutum b \]}
7075 @code{\[ \oriscus g \pes \virga b \]}
7079 Pes Quassus Auctus Descendens @tab
7080 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7085 @code{\[ \quilisma g \pes b \]}
7089 Quilisma Pes Auctus Descendens @tab
7090 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7094 Pes Initio Debilis @tab
7095 @code{\[ \deminutum g \pes b \]}
7099 Pes Auctus Descendens Initio Debilis @tab
7100 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7105 @code{\[ a \pes b \flexa g \]}
7109 Torculus Auctus Descendens @tab
7110 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7114 Torculus Deminutus @tab
7115 @code{\[ a \pes b \flexa \deminutum g \]}
7119 Torculus Initio Debilis @tab
7120 @code{\[ \deminutum a \pes b \flexa g \]}
7124 Torculus Auctus Descendens Initio Debilis @tab
7125 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7129 Torculus Deminutus Initio Debilis @tab
7130 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7135 @code{\[ a \flexa g \pes b \]}
7139 Porrectus Auctus Descendens @tab
7140 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7144 Porrectus Deminutus @tab
7145 @code{\[ a \flexa g \pes \deminutum b \]}
7150 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7154 Climacus Auctus @tab
7155 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7159 Climacus Deminutus @tab
7160 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7165 @code{\[ g \pes a \virga b \]}
7169 Scandicus Auctus Descendens @tab
7170 @code{\[ g \pes a \pes \auctum \descendens b \]}
7174 Scandicus Deminutus @tab
7175 @code{\[ g \pes a \pes \deminutum b \]}
7180 @code{\[ g \oriscus a \pes \virga b \]}
7184 Salicus Auctus Descendens @tab
7185 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7190 @code{\[ \stropha b \stropha b \stropha a \]}
7196 The following head prefixes are supported
7198 @cindex @code{\virga}
7200 @cindex @code{\stropha}
7202 @cindex @code{\inclinatum}
7204 @cindex @code{\auctum}
7206 @cindex @code{\descendens}
7208 @cindex @code{\ascendens}
7210 @cindex @code{\oriscus}
7212 @cindex @code{\quilisma}
7214 @cindex @code{\deminutum}
7217 Head prefixes can be accumulated, though restrictions apply. For
7218 example, either @code{\descendens} or @code{\ascendens} can be applied
7219 to a head, but not both to the same head.
7222 @cindex @code{\flexa}
7223 Two adjacent heads can be tied together with the @code{\pes} and
7224 @code{\flexa} infix commands for a rising and falling line of melody,
7229 @node Vaticana style contexts
7230 @subsection Vaticana style contexts
7232 @cindex VaticanaVoiceContext
7233 @cindex VaticanaStaffContext
7235 The predefined @code{VaticanaVoiceContext} and
7236 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7237 Gregorian Chant in the style of the Editio Vaticana. These contexts
7238 initialize all relevant context properties and grob properties to
7239 proper values. With these contexts, you can immediately go ahead
7240 entering the chant, as the following short excerpt demonstrates
7242 @lilypond[quote,raggedright,verbatim,noindent]
7243 \include "gregorian-init.ly"
7246 \context VaticanaVoice = "cantus" {
7247 \override Score.BarNumber #'transparent = ##t
7249 \[ c'\melisma c' \flexa a \]
7250 \[ a \flexa \deminutum g\melismaEnd \]
7252 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
7253 c' \divisioMinima \break
7254 \[ c'\melisma c' \flexa a \]
7255 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7258 \lyricsto "cantus" \new Lyrics \lyrics {
7259 San- ctus, San- ctus, San- ctus
7266 @subsection Figured bass
7268 @cindex Basso continuo
7270 @c TODO: musicological blurb about FB
7273 LilyPond has limited support for figured bass
7275 @lilypond[quote,verbatim,fragment]
7277 \context Voice \notes { \clef bass dis4 c d ais }
7278 \context FiguredBass \figures {
7279 < 6 >4 < 7 >8 < 6+ [_!] >
7285 The support for figured bass consists of two parts: there is an input
7286 mode, introduced by @code{\figures}, where you can enter bass figures
7287 as numbers, and there is a context called @internalsref{FiguredBass} that
7288 takes care of making @internalsref{BassFigure} objects.
7290 In figures input mode, a group of bass figures is delimited by
7291 @code{<} and @code{>}. The duration is entered after the @code{>>}
7295 @lilypond[quote,fragment]
7296 \context FiguredBass
7300 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7306 @lilypond[quote,fragment]
7307 \context FiguredBass
7308 \figures { <4- 6+ 7!> }
7311 Spaces or dashes may be inserted by using @code{_}. Brackets are
7312 introduced with @code{[} and @code{]}
7317 @lilypond[quote,fragment]
7318 \context FiguredBass
7319 \figures { < [4 6] 8 [_! 12]> }
7322 Although the support for figured bass may superficially resemble chord
7323 support, it works much simpler. The @code{\figures} mode simply
7324 stores the numbers , and @internalsref{FiguredBass} context prints
7325 them as entered. There is no conversion to pitches, and no
7326 realizations of the bass are played in the MIDI file.
7328 Internally, the code produces markup texts. You can use any of the
7329 markup text properties to override formatting. For example, the
7330 vertical spacing of the figures may be set with @code{baseline-skip}.
7334 Program reference: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7335 and @internalsref{FiguredBass} context.
7339 Slash notation for alterations is not supported.
7341 @node Contemporary notation
7342 @section Contemporary notation
7344 In the 20th century, composers have greatly expanded the musical
7345 vocabulary. With this expansion, many innovations in musical notation
7346 have been tried. The book by Stone (1980) gives a comprehensive
7347 overview (see @ref{Literature list}). In general, the use of new,
7348 innovative notation makes a piece harder to understand and perform and
7349 its use should therefore be avoided if possible. For this reason,
7350 support for contemporary notation in LilyPond is limited.
7359 @subsection Clusters
7363 A cluster indicates a continuous range of pitches to be played. They
7364 can be denoted as the envelope of a set of notes. They are entered by
7365 applying the function @code{notes-to-clusters} to a sequence of
7368 @lilypond[quote,relative=2,verbatim]
7369 \apply #notes-to-clusters { <c e > <b f'> }
7372 The following example (from
7373 @inputfileref{input/regression,cluster.ly}) shows what the result
7376 @lilypondfile[quote]{cluster.ly}
7378 Ordinary notes and clusters can be put together in the same staff,
7379 even simultaneously. In such a case no attempt is made to
7380 automatically avoid collisions between ordinary notes and clusters.
7384 Program reference: @internalsref{ClusterSpanner},
7385 @internalsref{ClusterSpannerBeacon},
7386 @internalsref{Cluster_spanner_engraver}, and
7387 @internalsref{ClusterNoteEvent}.
7389 Examples: @inputfileref{input/regression,cluster.ly}.
7393 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7394 accurately. Use @code{<g a>8 <e a>8} instead.
7399 @subsection Fermatas
7405 Contemporary music notation frequently uses special fermata symbols to
7406 indicate fermatas of differing lengths. The following fermatas are
7409 @lilypond[quote,raggedright]
7432 \context Lyrics \lyrics {
7433 \override LyricText #'font-family = #'typewriter
7434 "shortfermata" "fermata" "longfermata" "verylongfermata"
7440 See @ref{Articulations} for general instructions how to apply scripts
7441 such as fermatas to a @code{\notes@{@}} block.
7444 @node Special notation
7445 @section Special notation
7449 * Easy Notation note heads::
7453 @subsection Balloon help
7455 Elements of notation can be marked and named with the help of a square
7456 balloon. The primary purpose of this feature is to explain notation.
7458 The following example demonstrates its use.
7460 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
7463 #(add-balloon-text 'NoteHead "heads, or tails?"
7469 The function @code{add-balloon-text} takes the name of a grob, the
7470 label to print and where to put the label relative to the object. In
7471 the above example, the text ``heads or tails?'' ends 3 spaces below
7475 @cindex notation, explaining
7479 Program reference: @internalsref{text-balloon-interface}.
7481 Examples: @inputfileref{input/regression,balloon.ly}.
7483 @node Easy Notation note heads
7484 @subsection Easy Notation note heads
7486 @cindex easy notation
7489 The `easy play' note head includes a name inside the head. It is
7490 used in music for beginners
7492 @lilypond[quote,raggedright,verbatim,staffsize=26]
7497 The command @code{\setEasyHeads} overrides settings for the
7498 @internalsref{NoteHead} object. To make the letters readable, it has
7499 to be printed in a large font size. To print with a larger font, see
7500 @ref{Setting global staff size}.
7505 If you view the result with Xdvi, staff lines may show through the
7506 letters. Printing the PostScript file obtained does produce the
7511 @cindex \setEasyHeads
7512 @code{\setEasyHeads}
7518 Entered music can also be converted to MIDI output. The performance
7519 is intended for proof-hearing the music for errors.
7521 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
7522 crescendi and decrescendi translate into MIDI volume levels. Dynamic
7523 marks translate to a fixed fraction of the available MIDI volume
7524 range, crescendi and decrescendi make the volume vary linearly between
7525 their two extremities. The fractions can be adjusted by
7526 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
7527 For each type of MIDI instrument, a volume range can be defined. This
7528 gives a basic equalizer control, which can enhance the quality of
7529 the MIDI output remarkably. The equalizer can be controlled by
7530 setting @code{instrumentEqualizer}.
7534 Many musically interesting effects, such as swing, articulation,
7535 slurring, etc., are not translated to MIDI.
7537 The MIDI output allocates a channel for each Staff, and one for global
7538 settings. Hence, the MIDI file should not have more than 15 staves
7539 (or 14 if you do not use drums). Other staves will remain silent.
7544 * MIDI instrument names::
7549 @subsection MIDI block
7553 The MIDI block is analogous to the paper block, but it is somewhat
7554 simpler. The @code{\midi} block can contain
7558 @item a @code{\tempo} definition, and
7559 @item context definitions.
7562 A number followed by a period is interpreted as a real number, so
7563 for setting the tempo for dotted notes, an extra space should be
7564 inserted, for example
7567 \midi @{ \tempo 4 . = 120 @}
7571 @cindex context definition
7573 Context definitions follow precisely the same syntax as within the
7574 \paper block. Translation modules for sound are called performers.
7575 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
7578 @node MIDI instrument names
7579 @subsection MIDI instrument names
7581 @cindex instrument names
7582 @cindex @code{Staff.midiInstrument}
7584 The MIDI instrument name is set by the @code{Staff.midiInstrument}
7585 property. The instrument name should be chosen from the list in
7586 @ref{MIDI instruments}.
7590 If the selected string does not exactly match, the default is used,
7591 which is the Grand Piano.