2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
9 @chapter Notation manual
11 This chapter describes all the different types of notation supported
12 by LilyPond. It is intended as a reference for users that are already
13 somewhat familiar with LilyPond.
17 * Easier music entry::
27 * Other instrument specific notation::
31 * Formatting cue notes::
33 * Contemporary notation::
37 @c FIXME: Note entry vs Music entry at top level menu is confusing.
43 This section is about basic notation elements notes, rests and
44 related constructs, such as stems, tuplets and ties.
49 * Chromatic alterations::
67 A note is printed by specifying its pitch and then its duration,
69 @lilypond[quote,verbatim]
70 { cis'4 d'8 e'16 c'16 }
78 @cindex Note specification
80 @cindex entering notes
82 The most common syntax for pitch entry is used for standard notes and
83 @code{\chords} modes. In these modes, pitches may be designated by
84 names. The notes are specified by the letters @code{a} through
85 @code{g}. The octave is formed with notes ranging from @code{c}
86 to @code{b}. The pitch @code{c} is an octave below middle C and the
87 letters span the octave above that C
89 @lilypond[fragment,verbatim,noindent]
91 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
94 @cindex note names, Dutch
96 A sharp is formed by adding @code{-is} to the end of a pitch name and
97 a flat is formed by adding @code{-es}. Double sharps and double flats
98 are obtained by adding @code{-isis} or @code{-eses}. These
99 names are the Dutch note names. In Dutch, @code{aes} is contracted to
100 @code{as}, but both forms are accepted. Similarly, both
101 @code{es} and @code{ees} are accepted
103 @lilypond[fragment,quote,verbatim,relative=2]
111 There are predefined sets of note names for various other languages.
112 To use them, include the language specific init file. For
113 example: @code{\include "english.ly"}. The available language files
114 and the note names they define are
119 Note Names sharp flat
120 nederlands.ly c d e f g a bes b -is -es
121 english.ly c d e f g a bf b -s/-sharp -f/-flat
123 deutsch.ly c d e f g a b h -is -es
124 norsk.ly c d e f g a b h -iss/-is -ess/-es
125 svenska.ly c d e f g a b h -iss -ess
126 italiano.ly do re mi fa sol la sib si -d -b
127 catalan.ly do re mi fa sol la sib si -d/-s -b
128 espanol.ly do re mi fa sol la sib si -s -b
137 The optional octave specification takes the form of a series of
138 single quote (`@code{'}') characters or a series of comma
139 (`@code{,}') characters. Each @code{'} raises the pitch by one
140 octave; each @code{,} lowers the pitch by an octave
142 @lilypond[quote,fragment,verbatim]
143 c' c'' es' g' as' gisis' ais'
146 @c FIXME: we need this info (hide/unhide) somewhere in the manual, but this ain't the place. -gp
148 Notes can be hidden and unhidden with the following commands
150 cindex @code{\hideNotes}
152 @cindex @code{\unHideNotes}
158 Program reference: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
162 @node Chromatic alterations
163 @subsection Chromatic alterations
165 Normally accidentals are printed automatically, but you may also
166 print them manually. A reminder accidental
167 @cindex reminder accidental
169 can be forced by adding an exclamation mark @code{!}
170 after the pitch. A cautionary accidental
171 @cindex cautionary accidental
172 @cindex parenthesized accidental
173 (i.e. an accidental within parentheses) can be obtained by adding the
174 question mark `@code{?}' after the pitch.
176 @lilypond[quote,fragment,verbatim]
177 cis' cis' cis'! cis'?
183 The automatic production of accidentals can be tuned in many
184 ways. For more information, refer to @ref{Accidentals}.
189 @subsection Micro tones
191 Half-flats and half-sharps are formed by adding @code{-eh} and
192 @code{-ih}; the following is a series of Cs with increasing pitches
194 @cindex quarter tones
195 @cindex semi-flats, semi-sharps
197 @lilypond[verbatim,quote,relative=2,fragment]
198 { ceseh ceh cih cisih }
201 Micro tones are also exported to the MIDI file
206 There are no generally accepted standards for denoting three quarter
207 flats, so LilyPond's symbol does not conform to any standard.
212 A chord is formed by a enclosing a set of pitches in @code{<} and
213 @code{>}. A chord may be followed by a duration, and a set of
214 articulations, just like simple notes
216 @lilypond[verbatim,fragment,quote,relative=1]
228 Rests are entered like notes, with the note name @code{r}
230 @lilypond[fragment,quote,raggedright,verbatim]
234 Whole bar rests, centered in middle of the bar,
235 must be done with multi-measure rests. They are discussed in
236 @ref{Multi measure rests}.
239 A rest's vertical position may be explicitly specified by entering a
240 note with the @code{\rest} keyword appended. This makes manual
241 formatting in polyphonic music easier. Automatic rest collision
242 formatting will leave these rests alone
244 @lilypond[fragment,quote,raggedright,verbatim]
250 Program reference: @internalsref{RestEvent}, and @internalsref{Rest}.
257 @cindex Invisible rest
262 An invisible rest (also called a `skip') can be entered like a note
263 with note name `@code{s}' or with @code{\skip @var{duration}}
265 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
266 a4 a4 s4 a4 \skip 1 a4
269 The @code{s} syntax is only available in note mode and chord mode. In
270 other situations, for example, when entering lyrics, you should use
271 the @code{\skip} command
273 @lilypond[quote,raggedright,verbatim]
276 \new Lyrics \lyrics { \skip 2 bla1 }
280 The skip command is merely an empty musical placeholder. It does not
281 produce any output, not even transparent output.
283 The @code{s} skip command does create @internalsref{Staff} and
284 @internalsref{Voice} when necessary, similar to note and rest
285 commands. For example, the following results in an empty staff.
287 @lilypond[quote,raggedright,verbatim]
291 The fragment @code{@{ \skip 4 @} } would produce an empty page.
295 Program reference: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
300 @subsection Durations
304 @cindex @code{\longa}
305 @cindex @code{\breve}
306 @cindex @code{\maxima}
309 In Note, Chord, and Lyrics mode, durations are designated by numbers
310 and dots: durations are entered as their reciprocal values. For example,
311 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
312 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
313 longer than a whole you must use variables
317 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
319 r1 r2 r4 r8 r16 r32 r64 r64
322 @lilypond[quote,noindent]
325 a\breve*1/2 \autoBeamOff
326 a1 a2 a4 a8 a16 a32 a64 a64
329 r\longa*1/4 r\breve *1/2
330 r1 r2 r4 r8 r16 r32 r64 r64
336 \remove "Clef_engraver"
337 \override StaffSymbol #'transparent = ##t
338 \override TimeSignature #'transparent = ##t
339 \override BarLine #'transparent = ##t
340 \consists "Pitch_squash_engraver"
346 If the duration is omitted then it is set to the previously entered
347 duration. The default for the first note is a quarter note.
349 @lilypond[quote,raggedright,verbatim,fragment]
357 @node Augmentation dots
358 @subsection Augmentation dots
361 To obtain dotted note lenghts, simply add a dot (`@code{.}') to
362 the number. Double-dotted notes are produced in a similar way.
364 @lilypond[quote,fragment,verbatim]
365 a'4 b' c''4. b'8 a'4. b'4.. c''8.
370 Dots are normally moved up to avoid staff lines, except in polyphonic
371 situations. The following commands may be used to force a particular
374 @cindex @code{\dotsUp}
376 @cindex @code{\dotsDown}
378 @cindex @code{\dotsBoth}
383 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
385 @node Scaling durations
386 @subsection Scaling durations
388 You can alter the length of duration by a fraction @var{N/M}
389 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
390 will not affect the appearance of the notes or rests produced.
392 In the following example, the first three notes take up exactly two
393 beats, but no triplet bracket is printed.
394 @lilypond[quote,fragment,relative=2,verbatim]
396 a4*2/3 gis4*2/3 a4*2/3
404 This manual: @ref{Tuplets}
407 @c TODO: I'm not certain that Stems belong here in the manual. -gp
411 Whenever a note is found, a @internalsref{Stem} object is created
412 automatically. For whole notes and rests, they are also created but
417 @cindex @code{\stemUp}
419 @cindex @code{\stemDown}
421 @cindex @code{\stemBoth}
432 A tie connects two adjacent note heads of the same pitch. The tie in
433 effect extends the length of a note. Ties should not be confused with
434 slurs, which indicate articulation, or phrasing slurs, which indicate
435 musical phrasing. A tie is entered using the tilde symbol `@code{~}'
437 @lilypond[quote,fragment,verbatim]
438 e' ~ e' <c' e' g'> ~ <c' e' g'>
441 When a tie is applied to a chord, all note heads whose pitches match
442 are connected. When no note heads match, no ties will be created.
444 A tie is just a way of extending a note duration, similar to the
445 augmentation dot. The following example shows two ways of notating
446 exactly the same concept
448 @lilypond[quote,fragment,raggedright]
449 \time 3/4 c'2. c'2 ~ c'4
453 Ties are used either when the note crosses a bar line, or when dots
454 cannot be used to denote the rhythm. When using ties, larger note
455 values should be aligned to subdivisions of the measure, eg.
459 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
463 If you need to tie a lot of notes over bars, it may be easier to use
464 automatic note splitting (see @ref{Automatic note splitting}). This
465 mechanism automatically splits long notes, and ties them across bar
471 @cindex @code{\tieUp}
473 @cindex @code{\tieDown}
475 @cindex @code{\tieBoth}
477 @cindex @code{\tieDotted}
479 @cindex @code{\tieSolid}
484 In this manual: @ref{Automatic note splitting}.
486 Program reference: @internalsref{TieEvent}, @internalsref{Tie}.
491 Switching staves when a tie is active will not produce a slanted tie.
493 Formatting of ties is a difficult subject. The results are often not
501 @cindex @code{\times}
503 Tuplets are made out of a music expression by multiplying all durations
506 @cindex @code{\times}
508 \times @var{fraction} @var{musicexpr}
512 The duration of @var{musicexpr} will be multiplied by the fraction.
513 The fraction's denominator will be printed over the notes, optionally
514 with a bracket. The most common tuplet is the triplet in which 3
515 notes have the length of 2, so the notes are 2/3 of their written
518 @lilypond[quote,fragment,verbatim]
519 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
522 The property @code{tupletSpannerDuration} specifies how long each
523 bracket should last. With this, you can make lots of tuplets while
524 typing @code{\times} only once, thus saving lots of typing. In the next
525 example, there are two triplets shown, while @code{\times} was only
528 @lilypond[quote,fragment,relative=1,raggedright,verbatim]
529 \set tupletSpannerDuration = #(ly:make-moment 1 4)
530 \times 2/3 { c'8 c c c c c }
533 The format of the number is determined by the property
534 @code{tupletNumberFormatFunction}. The default prints only the
535 denominator, but if it is set to the Scheme function
536 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
540 @cindex @code{tupletNumberFormatFunction}
541 @cindex tuplet formatting
546 @cindex @code{\tupletUp}
548 @cindex @code{\tupletDown}
550 @cindex @code{\tupletBoth}
555 User manual: @ref{Changing context properties on the fly} for the
559 Program reference: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
561 Examples: @inputfileref{input/regression,tuplet-nest.ly}.
565 Nested tuplets are not formatted automatically. In this case, outer
566 tuplet brackets should be moved manually, which is demonstrated in
567 @inputfileref{input/regression,tuplet-nest.ly}.
571 @node Easier music entry
572 @section Easier music entry
575 This section deals with tricks and features of the input language that
576 were added solely to help entering music and finding and correcting
577 mistakes. There are also external tools that make debugging easier.
578 See @ref{Point and click} for more information.
580 It is also possible to enter and edit music using other programs, such as
581 GUI interfaces or MIDI sequencers. Refer to the LilyPond
582 website for more information.
589 * Skipping corrected music::
590 * Automatic note splitting::
596 @node Relative octaves
597 @subsection Relative octaves
599 @cindex relative octave specification
601 Octaves are specified by adding @code{'} and @code{,} to pitch names.
602 When you copy existing music, it is easy to accidentally put a pitch
603 in the wrong octave and hard to find such an error. The relative
604 octave mode prevents these errors by making the mistakes much
605 larger: a single error puts the rest of the piece off by one octave
607 @cindex @code{\relative}
609 \relative @var{startpitch} @var{musicexpr}
613 \relative @var{musicexpr}
616 The octave of notes that appear in @var{musicexpr} are calculated as
617 follows: if no octave changing marks are used, the basic interval
618 between this and the last note is always taken to be a fourth or
619 less. This distance is determined without regarding alterations; a
620 @code{fisis} following a @code{ceses} will be put above the
621 @code{ceses}. In other words, a doubly-augmented fourth is considered
622 a smaller interval than a diminshed fifth, even though the fourth is
623 seven semitones while the fifth is only six semitones.
625 The octave changing marks @code{'} and @code{,} can be added to raise
626 or lower the pitch by an extra octave. Upon entering relative mode,
627 an absolute starting pitch can be specified that will act as the
628 predecessor of the first note of @var{musicexpr}. If no starting pitch
629 is specified, then middle C is used as a start.
631 Here is the relative mode shown in action
632 @lilypond[quote,fragment,raggedright,verbatim]
638 Octave changing marks are used for intervals greater than a fourth
639 @lilypond[quote,fragment,verbatim]
645 If the preceding item is a chord, the first note of the chord is used
646 to determine the first note of the next chord
648 @lilypond[quote,fragment,verbatim]
656 The pitch after the @code{\relative} contains a note name.
659 @c Perfect place for a "refwarning"! -gp
662 The relative conversion will not affect @code{\transpose},
663 @code{\chords} or @code{\relative} sections in its argument. To use
664 relative within transposed music, an additional @code{\relative} must
665 be placed inside @code{\transpose}.
668 @subsection Octave check
671 Octave checks make octave errors easier to correct: a note may be
672 followed by @code{=}@var{quotes} which indicates what its absolute
673 octave should be. In the following example,
675 \relative c'' @{ c='' b=' d,='' @}
679 @c take care with @code, adds confusing quotes.
680 the @code{d} will generate a warning, because a @code{d''} is expected
681 (because @code{b'} to @code{d''} is only a third), but a @code{d}' is
682 found. In the output, the octave is corrected to be a @code{d''} and
683 the next note is calculated relative to @code{d''} instead of @code{d'}.
687 There is also a syntax that is separate from the notes. The syntax
693 This checks that @var{pitch} (without quotes) yields @var{pitch} (with
694 quotes) in \relative mode. If not, a warning is printed, and the
697 In the example below, the first check passes without incident, since
698 the @code{e} (in relative mode) is within a fifth of @code{a'}. However,
699 the second check produces a warning, since the @code{e} is not within
700 a fifth of @code{b'}. The warning message is printed, and the octave
701 is adjusted so that the following notes are in the correct octave
713 The octave of a note following an octave check is determined with
714 respect to the note preceding it. In the next fragment, the last note
715 is a @code{a'}, above middle C. That means that the @code{\octave}
716 check passes successfully, so the check could be deleted without changing
717 the output of the piece.
719 @lilypond[quote,verbatim,fragment]
728 @subsection Bar check
732 @cindex @code{barCheckSynchronize}
735 Bar checks help detect errors in the durations. A bar check is
736 entered using the bar symbol, `@code{|}'. Whenever it is encountered
737 during interpretation, it should fall on a measure boundary. If it
738 does not, a warning is printed. In the next example, the second bar
739 check will signal an error
741 \time 3/4 c2 e4 | g2 |
744 Bar checks can also be used in lyrics, for example
749 Twin -- kle | Twin -- kle
754 @cindex @code{skipTypesetting}
756 Failed bar checks are caused by entering incorrect
757 durations. Incorrect durations often completely garble up the score,
758 especially if the score is polyphonic, so a good place to start correcting
759 input is by scanning for failed bar checks and incorrect durations. To
760 speed up this process, the @code{skipTypesetting} feature may be
761 used. It is described in the next section.
764 @cindex @code{pipeSymbol}
766 It is also possible to redefine the meaning of @code{|}. This is done
767 by assigning a music expression to @code{pipeSymbol},
769 @lilypond[quote,raggedright,verbatim]
770 pipeSymbol = \bar "||"
776 @node Skipping corrected music
777 @subsection Skipping corrected music
779 The property @code{Score.skipTypesetting} can be used to switch on and
780 off typesetting completely during the interpretation phase. When
781 typesetting is switched off, the music is processed much more
782 quickly. This can be used to skip over the parts of a score that
783 have already been checked for errors
785 @lilypond[quote,fragment,raggedright,verbatim]
788 \set Score.skipTypesetting = ##t
790 \set Score.skipTypesetting = ##f
794 In polyphonic music, @code{Score.skipTypesetting} will affect all
795 voices and staves, saving even more time.
797 @node Automatic note splitting
798 @subsection Automatic note splitting
800 Long notes can be converted automatically to tied notes. This is done
801 by replacing the @internalsref{Note_heads_engraver} by the
802 @internalsref{Completion_heads_engraver}.
803 In the following examples, notes crossing the bar line are split and tied.
806 @lilypond[quote,fragment,verbatim,relative=1,raggedright]
808 \remove "Note_heads_engraver"
809 \consists "Completion_heads_engraver"
811 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
815 This engraver splits all running notes at the bar line, and inserts
816 ties. One of its uses is to debug complex scores: if the measures are
817 not entirely filled, then the ties exactly show how much each measure
822 Not all durations (especially those containing tuplets) can be
823 represented exactly with normal notes and dots, but the engraver will
828 Examples: @inputfileref{input/regression,completion-heads.ly}.
832 Program reference: @internalsref{Completion_heads_engraver}.
836 @section Staff notation
838 This section describes music notation that occurs on staff level,
839 such as key signatures, clefs and time signatures.
841 @cindex Staff notation
852 * Time administration::
853 * Controlling formatting of prefatory matter::
857 @subsection Staff symbol
859 @cindex adjusting staff symbol
861 Notes, dynamic signs, etc. are grouped
862 with a set of horizontal lines, into a staff (plural `staves'). In our
863 system, these lines are drawn using a separate layout object called
867 @cindex staff lines, setting number of
868 @cindex staff lines, setting thickness of
869 @cindex thickness of staff lines, setting
870 @cindex number of staff lines, setting
874 Program reference: @internalsref{StaffSymbol}.
876 Examples: @inputfileref{input/test,staff-lines.ly},
877 @inputfileref{input/test,staff-size.ly}.
881 If a staff is ended halfway a piece, the staff symbol may not end
882 exactly on the bar line.
886 @subsection Key signature
887 @cindex Key signature
891 The key signature indicates the scale in which a piece is played. It
892 is denoted by a set of alterations (flats or sharps) at the start of
896 Setting or changing the key signature is done with the @code{\key}
899 @code{\key} @var{pitch} @var{type}
902 @cindex @code{\minor}
903 @cindex @code{\major}
904 @cindex @code{\minor}
905 @cindex @code{\ionian}
906 @cindex @code{\locrian}
907 @cindex @code{\aeolian}
908 @cindex @code{\mixolydian}
909 @cindex @code{\lydian}
910 @cindex @code{\phrygian}
911 @cindex @code{\dorian}
913 Here, @var{type} should be @code{\major} or @code{\minor} to get
914 @var{pitch}-major or @var{pitch}-minor, respectively.
915 The standard mode names @code{\ionian},
916 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
917 @code{\phrygian}, and @code{\dorian} are also defined.
919 This command sets the context property
920 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
921 can be specified by setting this property directly.
923 Accidentals and key signatures often confuse new users, because
924 unaltered notes get natural signs depending on the key signature. For
925 more information, see @ref{More about pitches}.
929 Program reference: @internalsref{KeyChangeEvent},
930 @internalsref{KeyCancellation} and @internalsref{KeySignature}.
932 @cindex @code{keySignature}
939 The clef indicates which lines of the staff correspond to which
943 The clef can be set with the @code{\clef} command
944 @lilypond[quote,fragment,verbatim]
945 { c''2 \clef alto g'2 }
948 Supported clef-names include
949 @c Moved standard clefs to the top /MB
953 @item treble, violin, G, G2
966 G clef on 1st line, so-called French violin clef
971 @cindex mezzosoprano clef
974 @cindex baritone clef
977 @cindex varbaritone clef
988 By adding @code{_8} or @code{^8} to the clef name, the clef is
989 transposed one octave down or up, respectively, and @code{_15} and
990 @code{^15} transposes by two octaves. The argument @var{clefname}
991 must be enclosed in quotes when it contains underscores or digits. For
995 @cindex choral tenor clef
996 @lilypond[quote,verbatim,fragment,relative=1]
1000 This command is equivalent to setting @code{clefGlyph},
1001 @code{clefPosition} (which controls the Y position of the clef),
1002 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
1003 when any of these properties are changed. The following example shows
1004 possibilities when setting properties manually.
1008 \set Staff.clefGlyph = #"clefs-F"
1009 \set Staff.clefPosition = #2
1011 \set Staff.clefGlyph = #"clefs-G"
1013 \set Staff.clefGlyph = #"clefs-C"
1015 \set Staff.clefOctavation = #7
1017 \set Staff.clefOctavation = #0
1018 \set Staff.clefPosition = #0
1028 Program reference: @internalsref{Clef}.
1032 @node Ottava brackets
1033 @subsection Ottava brackets
1035 `Ottava' brackets introduce an extra transposition of an octave for
1036 the staff. They are created by invoking the function
1037 @code{set-octavation}
1043 @lilypond[quote,verbatim,fragment]
1053 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
1054 (for 15ma) as arguments. Internally the function sets the properties
1055 @code{ottavation} (e.g. to @code{"8va"}) and
1056 @code{centralCPosition}. For overriding the text of the bracket, set
1057 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1062 \set Staff.ottavation = #"8"
1069 Program reference: @internalsref{OttavaBracket}.
1071 Examples: @inputfileref{input/regression,ottava.ly},
1072 @inputfileref{input/regression,ottava-broken.ly}.
1076 @code{set-octavation} will get confused when clef changes happen
1077 during an octavation bracket.
1082 @node Time signature
1083 @subsection Time signature
1084 @cindex Time signature
1086 @cindex @code{\time}
1088 Time signature indicates the metrum of a piece: a regular pattern of
1089 strong and weak beats. It is denoted by a fraction at the start of the
1093 The time signature is set or changed by the @code{\time}
1095 @lilypond[quote,fragment,verbatim]
1096 \time 2/4 c'2 \time 3/4 c'2.
1099 @c FIXME: broken numbers for 4/4 and 2/2 time.
1100 The symbol that is printed can be customized with the @code{style}
1101 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1104 @lilypond[fragment,verbatim]
1107 \override TimeSignature #'style = #'()
1114 There are many more options for its layout. See @ref{Ancient time
1115 signatures} for more examples.
1118 This command sets the property @code{timeSignatureFraction},
1119 @code{beatLength} and @code{measureLength} in the @code{Timing}
1120 context, which is normally aliased to @internalsref{Score}. The
1121 property @code{measureLength} determines where bar lines should be
1122 inserted, and how automatic beams should be generated. Changing the
1123 value of @code{timeSignatureFraction} also causes the symbol to be
1126 More options are available through the Scheme function
1127 @code{set-time-signature}. In combination with the
1128 @internalsref{Measure_grouping_engraver}, it will create
1129 @internalsref{MeasureGrouping} signs. Such signs ease reading
1130 rhythmically complex modern music. In the following example, the 9/8
1131 measure is subdivided in 2, 2, 2 and 3. This is passed to
1132 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
1134 @lilypond[quote,raggedright,verbatim]
1137 #(set-time-signature 9 8 '(2 2 2 3))
1138 g8[ g] d[ d] g[ g] a8[( bes g]) |
1139 #(set-time-signature 5 8 '(3 2))
1145 \consists "Measure_grouping_engraver"
1153 Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1158 Automatic beaming does not use the measure grouping specified with
1159 @code{set-time-signature}.
1161 @node Partial measures
1162 @subsection Partial measures
1165 @cindex partial measure
1166 @cindex measure, partial
1167 @cindex shorten measures
1168 @cindex @code{\partial}
1170 Partial measures, for example in upsteps, are entered using the
1171 @code{\partial} command
1172 @lilypond[quote,fragment,verbatim,relative=2]
1173 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1176 The syntax for this command is
1178 \partial @var{duration}
1180 This is internally translated into
1182 \set Timing.measurePosition = -@var{length of duration}
1185 The property @code{measurePosition} contains a rational number
1186 indicating how much of the measure has passed at this point.
1190 This command does not take into account grace notes at the start of
1191 the music. When a piece starts with graces notes in the pickup, then
1192 the @code{\partial} should follow the grace notes
1194 @lilypond[verbatim,relative,fragment]
1204 @node Unmetered music
1205 @subsection Unmetered music
1209 Bar lines and bar numbers are calculated automatically. For unmetered
1210 music (e.g. cadenzas), this is not desirable. By setting
1211 @code{Score.timing} to false, this automatic timing can be switched
1212 off. Empty bar lines,
1219 indicate where line breaks can occur.
1223 @cindex @code{\cadenzaOn}
1225 @cindex @code{\cadenzaOff}
1232 @subsection Bar lines
1236 @cindex measure lines
1240 Bar lines delimit measures, but are also used to indicate repeats.
1241 Normally, they are inserted automatically. Line breaks may only
1242 happen on bar lines.
1244 Special types of bar lines can be forced with the @code{\bar} command
1246 @lilypond[quote,relative=2,fragment,verbatim]
1250 The following bar types are available
1251 @lilypondfile[]{bar-lines.ly}
1253 For allowing line breaks, there is a special command,
1257 This will insert an invisible bar line, and allow line breaks at this
1260 In scores with many staves, a @code{\bar} command in one staff is
1261 automatically applied to all staves. The resulting bar lines are
1262 connected between different staves of a @internalsref{StaffGroup}
1264 @lilypond[quote,fragment,verbatim]
1266 \context StaffGroup <<
1272 \new Staff { \clef bass c4 g e g }
1274 \new Staff { \clef bass c2 c2 }
1279 The command @code{\bar }@var{bartype} is a short cut for doing
1280 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1281 is set to a string, a bar line of that type is created.
1283 A bar line is created whenever the @code{whichBar} property is set.
1284 At the start of a measure it is set to the contents of
1285 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1286 to override default measure bars.
1288 @cindex @code{whichBar}
1289 @cindex @code{repeatCommands}
1290 @cindex @code{defaultBarType}
1292 You are encouraged to use @code{\repeat} for repetitions. See
1299 In this manual: @ref{Repeats}, @ref{System start delimiters}
1302 Program reference: @internalsref{BarLine} (created at
1303 @internalsref{Staff} level), @internalsref{SpanBar} (across staves).
1305 @cindex bar lines at start of system
1306 @cindex start of system
1310 Examples: @inputfileref{input/test,bar-lines.ly},
1313 @node Time administration
1314 @subsection Time administration
1316 Time is administered by the @internalsref{Time_signature_engraver},
1317 which usually lives in the @internalsref{Score} context.
1318 The bookkeeping deals with the following variables
1321 @item currentBarNumber
1324 the length of the measures in the current time signature. For a 4/4
1325 time this is 1, and for 6/8 it is 3/4.
1326 @item measurePosition
1327 the point within the measure where we currently are. This quantity
1328 is reset to 0 whenever it exceeds @code{measureLength}. When that happens,
1329 @code{currentBarNumber} is incremented.
1331 if set to true, the above variables are updated for every time
1332 step. When set to false, the engraver stays in the current measure
1336 Timing can be changed by setting any of these variables explicitly.
1337 In the next example, the 4/4 time signature is printed, but
1338 @code{measureLength} is set to 5/4. After a while, the measure is
1339 shortened by 1/8, by setting @code{measurePosition} to -3/8 at 2/4 in
1340 the measure, so the next bar line will fall at 2/4 + 3/8.
1344 \set Score.measureLength = #(ly:make-moment 5 4)
1348 \set Score.measurePosition = #(ly:make-moment -3 8)
1355 @node Controlling formatting of prefatory matter
1356 @subsection Controlling formatting of prefatory matter
1358 TODO Somebody needs to explain this example, but I don't know what
1359 they're trying to do, so it won't be me. -gp
1361 TODO part 2, build message: programming error: No spacing entry from KeyCancellation to `key-signature'
1365 \override Staff.Clef #'break-visibility = #end-of-line-visible
1366 \override Staff.KeySignature #'break-visibility = #end-of-line-visible
1367 \set Staff.explicitClefVisibility = #end-of-line-visible
1368 \set Staff.explicitKeySignatureVisibility = #end-of-line-visible
1370 % We want the time sig to take space, otherwise there is not
1371 % enough white at the start of the line.
1374 \override Staff.TimeSignature #'transparent = ##t
1375 \set Score.defaultBarType = #"empty"
1395 Polyphony in music refers to having more than one voice occuring in
1396 a piece of music. Polyphony in LilyPond refers to having more than
1397 one voice on the same staff.
1399 @subsection Writing polyphonic music
1400 @subsection Writing polyphonic music
1403 The easiest way to enter fragments with more than one voice on a staff
1404 is to split chords using the separator @code{\\}. You can use it for
1405 small, short-lived voices or for single chords
1409 @lilypond[quote,verbatim,fragment]
1410 \context Staff \relative c'' {
1411 c4 << { f d e } \\ { b c2 } >>
1412 c4 << g' \\ b, \\ f' \\ d >>
1416 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1417 voices are sometimes called ``layers'' in other notation packages}
1419 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1420 each of these contexts, vertical direction of slurs, stems, etc. is set
1423 @cindex @code{\voiceOne}
1424 @cindex @code{\voiceFour}
1426 This can also be done by instantiating @internalsref{Voice} contexts
1427 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1428 a stem directions and horizontal shift for each part
1431 @lilypond[quote,raggedright,verbatim]
1434 \new Voice { \voiceOne cis2 b }
1435 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1436 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1440 The command @code{\oneVoice} will revert back to the normal setting.
1441 @cindex @code{\oneVoice}
1444 Normally, note heads with a different number of dots are not merged, but
1445 when the object property @code{merge-differently-dotted} is set in
1446 the @internalsref{NoteCollision} object, they are merged
1447 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
1450 \override Staff.NoteCollision
1451 #'merge-differently-dotted = ##t
1453 } \\ { g8.[ f16] g8.[ f16] } >>
1456 Similarly, you can merge half note heads with eighth notes, by setting
1457 @code{merge-differently-headed}
1458 @lilypond[quote,fragment,relative=2,verbatim]
1461 \override Staff.NoteCollision
1462 #'merge-differently-headed = ##t
1463 c8 c4. } \\ { c2 c2 } >>
1466 LilyPond also vertically shifts rests that are opposite of a stem,
1469 @lilypond[quote,raggedright,fragment,verbatim]
1470 \context Voice << c''4 \\ r4 >>
1478 @cindex @code{\oneVoice}
1480 @cindex @code{\voiceOne}
1482 @cindex @code{\voiceTwo}
1484 @cindex @code{\voiceThree}
1486 @cindex @code{\voiceFour}
1491 @cindex @code{\shiftOn}
1493 @cindex @code{\shiftOnn}
1495 @cindex @code{\shiftOnnn}
1497 @cindex @code{\shiftOff}
1498 @code{\shiftOff}: these commands specify in what chords of the current
1499 voice should be shifted. The outer voices (normally: voice one and
1500 two) have @code{\shiftOff}, while the inner voices (three and four)
1501 have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define
1502 further shift levels.
1505 When LilyPond cannot cope, the @code{force-hshift}
1506 property of the @internalsref{NoteColumn} object and pitched rests can
1507 be used to override typesetting decisions.
1509 @lilypond[verbatim,raggedright]
1516 \once \override NoteColumn #'force-hshift = #1.7
1525 Program reference: the objects responsible for resolving collisions are
1526 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1529 @inputfileref{input/regression,collision-dots.ly},
1530 @inputfileref{input/regression,collision-head-chords.ly},
1531 @inputfileref{input/regression,collision-heads.ly},
1532 @inputfileref{input/regression,collision-mesh.ly}, and
1533 @inputfileref{input/regression,collisions.ly}.
1539 When using @code{merge-differently-headed} with an upstem eighth or a
1540 shorter note, and a downstem half note, the eighth note gets the wrong
1543 There is no support for clusters where the same note occurs with
1544 different accidentals in the same chord. In this case, it is
1545 recommended to use enharmonic transcription, or to use special cluster
1546 notation (see @ref{Clusters}).
1551 Beams are used to group short notes into chunks that are aligned with
1552 the metrum. LilyPond normally inserts beams automatically, but if you
1553 wish you may control them manually or changed how beams are automatically
1556 @cindex Automatic beams
1560 * Setting automatic beam behavior::
1564 @node Automatic beams
1565 @subsection Automatic beams
1567 LilyPond inserts beams automatically
1569 @lilypond[quote,fragment,verbatim,relative=2]
1570 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1573 When these automatic decisions are not good enough, beaming can be
1574 entered explicitly. It is also possible to define beaming patterns
1575 that differ from the defaults.
1577 Individual notes may be marked with @code{\noBeam}, to prevent them
1580 @lilypond[quote,fragment,verbatim,relative=2]
1581 \time 2/4 c8 c\noBeam c c
1587 Program reference: @internalsref{Beam}.
1591 @subsection Manual beams
1592 @cindex beams, manual
1596 In some cases it may be necessary to override the automatic beaming
1597 algorithm. For example, the autobeamer will not put beams over rests
1598 or bar lines. Such beams are specified manually by marking the begin
1599 and end point with @code{[} and @code{]}
1601 @lilypond[quote,fragment,relative=1,verbatim]
1603 r4 r8[ g' a r8] r8 g[ | a] r8
1607 @cindex @code{stemLeftBeamCount}
1609 Normally, beaming patterns within a beam are determined automatically.
1610 If necessary, the properties @code{stemLeftBeamCount} and
1611 @code{stemRightBeamCount} can be used to override the defaults. If
1612 either property is set, its value will be used only once, and then it
1615 @lilypond[quote,fragment,relative=1,verbatim]
1620 \set stemLeftBeamCount = #1
1624 @cindex @code{stemRightBeamCount}
1627 The property @code{subdivideBeams} can be set in order to subdivide
1628 all 16th or shorter beams at beat positions, as defined by the
1629 @code{beatLength} property.
1632 @lilypond[fragment,quote,relative=2,verbatim,noindent]
1634 \set subdivideBeams = ##t
1636 \set Score.beatLength = #(ly:make-moment 1 8)
1639 @cindex @code{subdivideBeams}
1641 Normally, line breaks are forbidden when beams cross bar lines. This
1642 behavior can be changed by setting @code{allowBeamBreak}.
1644 @cindex @code{allowBeamBreak}
1645 @cindex beams and line breaks
1647 @cindex beams, kneed
1649 @cindex auto-knee-gap
1654 User manual: @ref{Changing context properties on the fly} for the
1660 @cindex Frenched staves
1661 Kneed beams are inserted automatically, when a large gap is detected
1662 between the note heads. This behavior can be tuned through the object.
1665 Automatically kneed cross-staff beams cannot be used together with
1666 hidden staves. See @ref{Hiding staves}.
1668 Beams do not avoid collisions with symbols around the notes, such as
1669 texts and accidentals.
1674 @node Setting automatic beam behavior
1675 @subsection Setting automatic beam behavior
1677 @cindex @code{autoBeamSettings}
1678 @cindex @code{(end * * * *)}
1679 @cindex @code{(begin * * * *)}
1680 @cindex automatic beams, tuning
1681 @cindex tuning automatic beaming
1683 @c [TODO: use \applycontext]
1685 In normal time signatures, automatic beams can start on any note but can
1686 only end in a few positions within the measure: beams can end on a beat,
1687 or at durations specified by the properties in
1688 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
1689 are defined in @file{scm/auto-beam.scm}.
1691 The value of @code{autoBeamSettings} is changed with two functions,
1693 #(override-auto-beam-setting
1694 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
1696 #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m}))
1698 Here, @var{be} is the symbol @code{begin} or @code{end}, and
1699 @var{context} is an optional context (default: @code{'Voice}). It
1700 determines whether the rule applies to begin or end-points. The
1701 quantity @var{p}/@var{q} refers to the length of the beamed notes (and
1702 `@code{* *}' designates notes of any length), @var{n}/@var{M} refers
1703 to a time signature (wildcards `@code{* *}' may be entered to
1704 designate all time signatures), @var{a}/@var{b} is a duration. By
1705 default, this command changes settings for the current voice. It is
1706 also possible to adjust settings at higher contexts, by adding a
1707 @var{context} argument.
1709 For example, if automatic beams should end on every quarter note, use
1712 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1714 Since the duration of a quarter note is 1/4 of a whole note, it is
1715 entered as @code{(ly:make-moment 1 4)}.
1717 The same syntax can be used to specify beam starting points. In this
1718 example, automatic beams can only end on a dotted quarter note
1720 #(override-auto-beam-setting '(end * * * *) 3 8)
1722 In 4/4 time signature, this means that automatic beams could end only on
1723 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1724 3/8, has passed within the measure).
1726 Rules can also be restricted to specific time signatures. A rule that
1727 should only be applied in @var{N}/@var{M} time signature is formed by
1728 replacing the second asterisks by @var{N} and @var{M}. For example, a
1729 rule for 6/8 time exclusively looks like
1731 #(override-auto-beam-setting '(begin * * 6 8) @dots{})
1734 If a rule should be to applied only to certain types of beams, use the
1735 first pair of asterisks. Beams are classified according to the
1736 shortest note they contain. For a beam ending rule that only applies
1737 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1740 @cindex automatic beam generation
1742 @cindex @code{autoBeaming}
1745 If beams are used to indicate melismata in songs, then automatic
1746 beaming should be switched off. This is done by setting
1747 @code{autoBeaming} to @code{#f}.
1751 @cindex @code{\autoBeamOff}
1752 @code{\autoBeamOff},
1753 @cindex @code{\autoBeamOn}
1759 If a score ends while an automatic beam has not been ended and is
1760 still accepting notes, this last beam will not be typeset at all. The
1761 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
1762 >>}. If a polyphonic voice ends while an automatic beam is still
1763 accepting notes, it is not typeset.
1765 The rules for ending a beam depend on the shortest note in a beam.
1766 So, while it is possible to have different ending rules for eight
1767 beams and sixteenth beams, a beam that contains both eight and
1768 sixteenth notes will use the rules for the sixteenth beam.
1770 In the example below, the autobeamer makes eighth beams and sixteenth
1771 end at three eighths. The third beam can only be corrected by
1772 specifying manual beaming.
1774 @lilypond[quote,raggedright,fragment,relative=1]
1775 #(override-auto-beam-setting '(end * * * *) 3 8)
1776 % rather show case where it goes wrong
1777 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1778 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1780 It is not possible to specify beaming parameters that act differently in
1781 different parts of a measure. This means that it is not possible to use
1782 automatic beaming in irregular meters such as @code{5/8}.
1784 @node Beam formatting
1785 @subsection Beam formatting
1788 When a beam falls in the middle of the staff, the beams point normally
1789 down. However, this behaviour can be altered with the
1790 @code{neutral-direction} property.
1793 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1796 \override Beam #'neutral-direction = #-1
1798 \override Beam #'neutral-direction = #1
1804 @section Accidentals
1807 This section describes how to change the way that accidentals are
1808 inserted automatically before the running notes.
1810 Common rules for typesetting accidentals have been canned in a
1811 function. This function is called as follows
1813 @cindex @code{set-accidental-style}
1815 #(set-accidental-style 'modern 'Voice)
1818 The function takes two arguments: a symbol that denotes the style (in
1819 the example, @code{modern}), and another symbol that denotes the
1820 context name (in this example, @code{Voice}). If no context name is
1821 supplied, @code{Staff} is the default.
1823 The following styles are supported
1826 This is the default typesetting behavior. It should correspond
1827 to 18th century common practice: Accidentals are
1828 remembered to the end of the measure in which they occur and
1829 only on their own octave.
1833 The normal behavior is to remember the accidentals on
1834 Staff-level. This variable, however, typesets accidentals
1835 individually for each voice. Apart from that, the rule is similar to
1839 accidentals from one voice do not get canceled in other
1840 voices, which is often unwanted result
1842 @lilypond[quote,raggedright,relative=1,fragment,verbatim]
1844 #(set-accidental-style 'voice)
1851 The @code{voice} option should be used if the voices
1852 are to be read solely by individual musicians. If the staff is to be
1853 used by one musician (e.g. a conductor) then
1854 @code{modern} or @code{modern-cautionary}
1855 should be used instead.
1858 @cindex @code{modern} style accidentals
1859 This rule corresponds to the common practice in the 20th
1861 This rule prints the same accidentals as @code{default}, but temporary
1862 accidentals also are canceled in other octaves. Furthermore,
1863 in the same octave, they also get canceled in the following
1866 @lilypond[quote,raggedright,fragment,verbatim]
1867 #(set-accidental-style 'modern)
1868 cis' c'' cis'2 | c'' c'
1871 @item @code{modern-cautionary}
1872 @cindex @code{modern-cautionary}
1873 This rule is similar to @code{modern}, but the
1874 ``extra'' accidentals (the ones not typeset by
1875 @code{default}) are typeset as cautionary accidentals.
1876 They are printed in reduced size or with parentheses
1877 @lilypond[quote,raggedright,fragment,verbatim]
1878 #(set-accidental-style 'modern-cautionary)
1879 cis' c'' cis'2 | c'' c'
1882 @cindex @code{modern-voice}
1884 This rule is used for multivoice accidentals to be read both by musicians
1885 playing one voice and musicians playing all voices. Accidentals are
1886 typeset for each voice, but they @emph{are} canceled across voices in
1887 the same @internalsref{Staff}.
1889 @cindex @code{modern-voice-cautionary}
1890 @item modern-voice-cautionary
1891 This rule is the same as @code{modern-voice}, but with the extra
1892 accidentals (the ones not typeset by @code{voice}) typeset
1893 as cautionaries. Even though all accidentals typeset by
1894 @code{default} @emph{are} typeset by this variable then
1895 some of them are typeset as cautionaries.
1898 @cindex @code{piano} accidentals
1899 This rule reflects 20th century practice for piano notation. Very similar to
1900 @code{modern} but accidentals also get canceled
1901 across the staves in the same @internalsref{GrandStaff} or
1902 @internalsref{PianoStaff}.
1904 @item piano-cautionary
1905 @cindex @code{#(set-accidental-style 'piano-cautionary)}
1906 As @code{#(set-accidental-style 'piano)} but with the extra accidentals
1907 typeset as cautionaries.
1910 @cindex @code{no-reset} accidental style
1912 This is the same as @code{default} but with accidentals lasting
1913 ``forever'' and not only until the next measure
1914 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1915 #(set-accidental-style 'no-reset)
1920 This is sort of the opposite of @code{no-reset}: Accidentals
1921 are not remembered at all---and hence all accidentals are
1922 typeset relative to the key signature, regardless of what was
1925 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1926 #(set-accidental-style 'forget)
1927 \key d\major c4 c cis cis d d dis dis
1934 Program reference: @internalsref{Accidental_engraver},
1935 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1940 Simultaneous notes are considered to be entered in sequential
1941 mode. This means that in a chord the accidentals are typeset as if the
1942 notes in the chord happened once at a time - in the order in which
1943 they appear in the input file.
1945 This is a problem when accidentals in a chord depend on each other,
1946 which does not happen for the default accidental style. The problem
1947 can be solved by manually inserting @code{!} and @code{?} for the
1951 @node Expressive marks
1952 @section Expressive marks
1955 @c todo: should change ordering
1956 @c where to put text spanners, metronome marks,
1965 * Analysis brackets::
1968 * Fingering instructions::
1979 A slur indicates that notes are to be played bound or @emph{legato}.
1981 They are entered using parentheses
1982 @lilypond[quote,relative=2,fragment,verbatim]
1983 f( g a) a8 b( a4 g2 f4)
1987 The direction of a slur can be set with the
1991 \override Slur #'direction = #UP
1992 \slurUp % shortcut for the previous line
1996 However, there is a convenient shorthand for forcing slur
1997 directions. By adding @code{_} or @code{^} before the opening
1998 parentheses, the direction is also set. For example,
2000 @lilypond[relative=2,verbatim,fragment]
2004 Some composers write two slurs when they want legato chords. This can
2005 be achieved in LilyPond, by setting @code{doubleSlurs},
2007 @lilypond[verbatim,raggedright]
2009 \set doubleSlurs = ##t
2010 <c e>4 ( <d f> <c e> <d f> )
2018 @cindex @code{\slurUp}
2020 @cindex @code{\slurDown}
2022 @cindex @code{\slurBoth}
2024 @cindex @code{\slurDotted}
2026 @cindex @code{\slurSolid}
2031 Program reference: @seeinternals{Slur}, and @internalsref{SlurEvent}.
2034 @node Phrasing slurs
2035 @subsection Phrasing slurs
2037 @cindex phrasing slurs
2038 @cindex phrasing marks
2040 A phrasing slur (or phrasing mark) connects chords and is used to
2041 indicate a musical sentence. It is started using @code{\(} and @code{\)}
2044 @lilypond[quote,fragment,verbatim,relative=1]
2045 \time 6/4 c'\( d( e) f( e) d\)
2048 Typographically, the phrasing slur behaves almost exactly like a
2049 normal slur. However, they are treated as different objects. A
2050 @code{\slurUp} will have no effect on a phrasing slur; instead, use
2051 @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
2052 @code{\phrasingSlurBoth}.
2054 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
2055 will only affect normal slurs and not phrasing slurs.
2059 @cindex @code{\phrasingSlurUp}
2060 @code{\phrasingSlurUp},
2061 @cindex @code{\phrasingSlurDown}
2062 @code{\phrasingSlurDown},
2063 @cindex @code{\phrasingSlurBoth}
2064 @code{\phrasingSlurBoth}.
2068 Program reference: see also @internalsref{PhrasingSlur}, and
2069 @internalsref{PhrasingSlurEvent}.
2073 Putting phrasing slurs over rests leads to spurious warnings.
2076 @subsection Breath marks
2078 Breath marks are entered using @code{\breathe}
2081 @lilypond[quote,fragment,relative=1,verbatim]
2085 The glyph of the breath mark can be tuned by overriding the
2086 @code{text} property of the @code{BreathingSign} layout object with
2087 any markup text. For example,
2088 @lilypond[quote,fragment,verbatim,relative=1]
2090 \override BreathingSign #'text
2091 = #(make-musicglyph-markup "scripts-rvarcomma")
2098 Program reference: @internalsref{BreathingSign},
2099 @internalsref{BreathingSignEvent}.
2101 Examples: @inputfileref{input/regression,breathing-sign.ly}.
2104 @node Metronome marks
2105 @subsection Metronome marks
2108 @cindex beats per minute
2109 @cindex metronome marking
2111 Metronome settings can be entered as follows
2113 i \tempo @var{duration} = @var{per-minute}
2116 In the MIDI output, they are interpreted as a tempo change, and in the
2117 paper output, a metronome marking is printed
2118 @cindex @code{\tempo}
2119 @lilypond[quote,fragment,verbatim]
2125 Program reference: @internalsref{MetronomeChangeEvent}.
2130 @subsection Text spanners
2131 @cindex Text spanners
2133 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
2134 are written as texts, and extended over many measures with dotted
2135 lines. Such texts are created using text spanners: attach
2136 @code{\startTextSpan} and @code{\stopTextSpan} to the start and ending
2137 note of the spanner.
2139 The string to be printed, as well as the style, is set through object
2142 @lilypond[quote,fragment,relative=1,verbatim]
2145 \override TextSpanner #'direction = #-1
2146 \override TextSpanner #'edge-text = #'("rall " . "")
2147 c2\startTextSpan b c\stopTextSpan a
2154 Internals @internalsref{TextSpanEvent},
2155 @internalsref{TextSpanner}.
2157 Examples: @inputfileref{input/regression,text-spanner.ly}.
2160 @node Analysis brackets
2161 @subsection Analysis brackets
2163 @cindex phrasing brackets
2164 @cindex musicological analysis
2165 @cindex note grouping bracket
2167 Brackets are used in musical analysis to indicate structure in musical
2168 pieces. LilyPond supports a simple form of nested horizontal brackets.
2169 To use this, add the @internalsref{Horizontal_bracket_engraver} to
2170 @internalsref{Staff} context. A bracket is started with
2171 @code{\startGroup} and closed with @code{\stopGroup}
2173 @lilypond[quote,raggedright,verbatim]
2176 c4\startGroup\startGroup
2179 c4\stopGroup\stopGroup
2183 \Staff \consists "Horizontal_bracket_engraver"
2189 Program reference: @internalsref{HorizontalBracket},
2190 @internalsref{NoteGroupingEvent}.
2192 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
2196 @subsection Articulations
2197 @cindex Articulations
2199 @cindex articulations
2203 A variety of symbols can appear above and below notes to indicate
2204 different characteristics of the performance. They are added to a note
2205 by adding a dash and the character signifying the
2206 articulation. They are demonstrated here
2208 @lilypondfile[quote,raggedright]{script-abbreviations.ly}
2210 The meanings of these shorthands can be changed. See
2211 @file{ly/script-init.ly} for examples.
2214 The script is automatically placed, but the direction can be forced as
2215 well. @code{_} will put them down, and @code{^} will put them up,
2218 @lilypond[quote,fragment,verbatim]
2222 Other symbols can be added using the syntax
2223 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
2224 can be forced up or down using @code{^} and @code{_},
2227 @lilypond[quote,verbatim,fragment,relative=2]
2228 c\fermata c^\fermata c_\fermata
2235 @cindex staccatissimo
2244 @cindex organ pedal marks
2253 @cindex prallmordent
2257 @cindex thumb marking
2262 Here is a chart showing all scripts available,
2264 @lilypondfile[quote]{script-chart.ly}
2267 The vertical ordering of scripts is controlled with the
2268 @code{script-priority} property. The lower this number, the closer it
2269 will be put to the note. In this example, the
2270 @internalsref{TextScript} (the sharp symbol) first has the lowest
2271 priority, so it is put lowest in the first example. In the second, the
2272 prall trill (the @internalsref{Script}) has the lowest, so it on the
2273 inside. When two objects have the same priority, the order in which
2274 they are entered decides which one comes first.
2277 @lilypond[verbatim,raggedright]
2279 \once \override TextScript #'script-priority = #-100
2280 a4^\prall^\markup { \sharp }
2282 \once \override Script #'script-priority = #-100
2283 a4^\prall^\markup { \sharp }
2292 Program reference: @internalsref{ScriptEvent}, and @internalsref{Script}.
2296 These signs appear in the printed output but have no effect on the
2297 MIDI rendering of the music.
2301 @node Running trills
2302 @subsection Running trills
2304 Long running trills are made with @code{\startTrillSpan} and
2305 @code{\stopTrillSpan},
2308 @lilypond[verbatim,raggedright]
2309 \relative \new Voice {
2310 << { c1 \startTrillSpan }
2311 { s2. \grace { d16[\stopTrillSpan e] } } >>
2317 @code{\startTrillSpan},
2318 @cindex @code{\startTrillSpan}
2319 @code{\stopTrillSpan}.
2320 @cindex @code{\stopTrillSpan}
2324 Program reference: @internalsref{TrillSpanner},
2325 @internalsref{TrillSpanEvent}.
2327 @node Fingering instructions
2328 @subsection Fingering instructions
2332 Fingering instructions can be entered using
2334 @var{note}-@var{digit}
2336 For finger changes, use markup texts
2338 @lilypond[quote,verbatim,raggedright,fragment]
2339 c'4-1 c'4-2 c'4-3 c'4-4
2340 c'^\markup { \finger "2-3" }
2343 @cindex finger change
2348 You can use the thumb-script to indicate that a note should be
2349 played with the thumb (e.g. in cello music)
2351 @lilypond[quote,verbatim,raggedright,fragment]
2352 <a'_\thumb a''-3>8 <b'_\thumb b''-3>
2355 Fingerings for chords can also be added to individual notes
2356 of the chord by adding them after the pitches
2357 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2358 < c-1 e-2 g-3 b-5 >4
2362 In this case, setting @code{fingeringOrientations} will put fingerings next
2365 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2366 \set fingeringOrientations = #'(left down)
2367 <c-1 es-2 g-4 bes-5 > 4
2368 \set fingeringOrientations = #'(up right down)
2369 <c-1 es-2 g-4 bes-5 > 4
2372 Using this feature, it is also possible to put fingering instructions
2373 very close to note heads in monophonic music,
2375 @lilypond[verbatim,raggedright]
2377 \set fingeringOrientations = #'(right)
2385 Program reference: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2387 Examples: @inputfileref{input/regression,finger-chords.ly}.
2390 @subsection Text scripts
2391 @cindex Text scripts
2393 @cindex text items, non-empty
2394 @cindex non-empty texts
2396 It is possible to place arbitrary strings of text or markup text (see
2397 @ref{Text markup}) above or below notes by using a string
2398 @code{c^"text"}. By default, these indications do not influence the
2399 note spacing, but by using the command @code{\fatText}, the widths
2400 will be taken into account
2402 @lilypond[quote,fragment,raggedright,verbatim]
2404 c4^"longtext" \fatText c4_"longlongtext" c4
2408 More complex formatting may also be added to a note by using the
2410 @lilypond[fragment,raggedright,verbatim]
2412 c'4^\markup { bla \bold bla }
2416 The @code{\markup} is described in more detail in
2422 @cindex @code{\fatText}
2424 @cindex @code{\emptyText}
2429 In this manual: @ref{Text markup}.
2431 Program reference: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
2437 @subsection Grace notes
2440 @c should have blurb about accaciatura / appogiatura
2442 @cindex @code{\grace}
2446 Grace notes are ornaments that are written out. The most common ones
2447 are acciaccatura, which should be played as very short. It is denoted
2448 by a slurred small note with a slashed stem. The appoggiatura is a
2449 grace note that takes a fixed fraction of the main note, is and
2450 denoted as a slurred note in small print without a slash.
2451 They are entered with the commands @code{\acciaccatura} and
2452 @code{\appoggiatura}, as demonstrated in the following example
2455 @cindex appoggiatura
2456 @cindex acciaccatura
2458 @lilypond[quote,relative=2,verbatim,fragment]
2459 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2460 \acciaccatura { g16[ f] } e4
2463 Both are special forms of the @code{\grace} command. By prefixing this
2464 keyword to a music expression, a new one is formed, which will be
2465 printed in a smaller font and takes up no logical time in a measure.
2467 @lilypond[quote,relative=2,verbatim,fragment]
2469 \grace { c16[ d16] } c2 c4
2473 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2474 @code{\grace} command does not start a slur.
2476 Internally, timing for grace notes is done using a second, `grace'
2477 time. Every point in time consists of two rational numbers: one
2478 denotes the logical time, one denotes the grace timing. The above
2479 example is shown here with timing tuples
2481 @lilypond[quote,raggedright]
2484 c4 \grace c16 c4 \grace {
2487 \new Lyrics \lyrics {
2488 \override LyricText #'font-family = #'typewriter
2492 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2493 \markup { (\fraction 1 4 , 0 ) } 4
2495 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2496 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2498 \markup { ( \fraction 2 4 , 0 ) }
2504 The placement of grace notes is synchronized between different staves.
2505 In the following example, there are two sixteenth graces notes for
2506 every eighth grace note
2508 @lilypond[quote,relative=2,verbatim,fragment]
2509 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2510 \new Staff { c4 \grace { g8[ b] } c4 } >>
2515 If you want to end a note with a grace, the standard trick is to put
2516 the grace notes after a ``space note''
2518 @lilypond[quote,fragment,verbatim,relative=2]
2521 { s2 \grace { c16[ d] } } >>
2527 By adjusting the duration of the skip note (here it is a half-note),
2528 the space between the main-note and the grace is adjusted.
2531 A @code{\grace} section will introduce special typesetting settings,
2532 for example, to produce smaller type, and set directions. Hence, when
2533 introducing layout tweaks, they should be inside the grace section,
2535 @lilypond[quote,fragment,verbatim,relative=2]
2538 \override Stem #'direction = #-1
2540 \revert Stem #'direction
2547 The overrides should also be reverted inside the grace section.
2549 The layout of grace sections can be changed throughout the music using
2550 the function @code{add-grace-property}. The following example
2551 undefines the Stem direction for this grace, so stems do not always
2556 #(add-grace-property 'Voice 'Stem 'direction '())
2562 Another option is to change the variables @code{startGraceMusic},
2563 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2564 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2565 @code{stopAppoggiaturaMusic}. More information is in the file
2566 @file{ly/grace-init.ly}.
2571 Program reference: @internalsref{GraceMusic}.
2575 A score that starts with a @code{\grace} section needs an explicit
2576 @code{\context Voice} declaration, otherwise the main note and grace
2577 note end up on different staves.
2579 Grace note synchronization can also lead to surprises. Staff notation,
2580 such as key signatures, bar lines, etc. are also synchronized. Take
2581 care when you mix staves with grace notes and staves without, for example,
2583 @lilypond[quote,relative=2,verbatim,fragment]
2584 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2585 \new Staff { c4 \bar "|:" d4 } >>
2589 This can be remedied by inserting grace skips, for the above example
2592 \new Staff @{ c4 \bar "|:" \grace s16 d4 @}
2595 Grace sections should only be used within sequential music
2596 expressions. Nesting or juxtaposing grace sections is not supported,
2597 and might produce crashes or other errors.
2601 @subsection Glissando
2604 @cindex @code{\glissando}
2606 A glissando is a smooth change in pitch. It is denoted by a line or a
2607 wavy line between two notes. It is requested by attaching
2608 @code{\glissando} to a note
2610 @lilypond[quote,fragment,relative=1,verbatim]
2616 Program reference: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2618 Example files: @file{input/regression,glissando.ly}
2624 Printing text over the line (such as @emph{gliss.}) is not supported.
2628 @subsection Dynamics
2641 @cindex @code{\ffff}
2651 Absolute dynamic marks are specified using a command after a note
2652 @code{c4\ff}. The available dynamic marks are @code{\ppp},
2653 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2654 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2655 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}
2657 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2658 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2668 A crescendo mark is started with @code{\<} and terminated with
2669 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2670 with @code{\!}. Because these marks are bound to notes, if you must
2671 use spacer notes if multiple marks are needed during one note
2673 @lilypond[quote,fragment,verbatim]
2674 c''\< c''\! d''\> e''\!
2675 << f''1 { s4 s4\< s4\! \> s4\! } >>
2677 This may give rise to very short hairpins. Use @code{minimum-length}
2678 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2682 \override Staff.Hairpin #'minimum-length = #5
2685 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2686 is an example how to do it
2688 @lilypond[quote,fragment,relative=2,verbatim]
2698 You can also supply your own texts
2699 @lilypond[quote,fragment,relative=1,verbatim]
2701 \set crescendoText = \markup { \italic "cresc. poco" }
2702 \set crescendoSpanner = #'dashed-line
2712 @cindex @code{\dynamicUp}
2714 @cindex @code{\dynamicDown}
2715 @code{\dynamicDown},
2716 @cindex @code{\dynamicBoth}
2717 @code{\dynamicBoth}.
2719 @cindex direction, of dynamics
2723 Program reference: @internalsref{CrescendoEvent},
2724 @internalsref{DecrescendoEvent}, and
2725 @internalsref{AbsoluteDynamicEvent}.
2727 Dynamics are @internalsref{DynamicText} and @internalsref{Hairpin}
2728 objects. Vertical positioning of these symbols is handled by the
2729 @internalsref{DynamicLineSpanner} object.
2737 @cindex @code{\repeat}
2740 Repetition is a central concept in music, and multiple notations exist
2741 for repetitions. In LilyPond, most of these notations can be captured
2742 in a uniform syntax. One of the advantages is that repeats entered in
2743 this way can be rendered in MIDI accurately.
2745 The following types of repetition are supported
2749 Repeated music is fully written (played) out. Useful for MIDI
2750 output, and entering repetitive music.
2753 Repeats are not written out, but alternative endings (volte) are
2754 printed, left to right with brackets. This is the standard notation
2755 for repeats with alternatives.
2759 Alternative endings are written stacked. This has limited use but may be
2760 used to typeset two lines of lyrics in songs with repeats, see
2761 @inputfileref{input,star-spangled-banner.ly}.
2769 Make beat or measure repeats. These look like percent signs.
2775 * Repeats and MIDI::
2776 * Manual repeat commands::
2778 * Tremolo subdivisions::
2783 @subsection Repeat syntax
2786 LilyPond has one syntactic construct for specifying different types of
2787 repeats. The syntax is
2790 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2793 If you have alternative endings, you may add
2794 @cindex @code{\alternative}
2796 \alternative @code{@{} @var{alternative1}
2798 @var{alternative3} @dots{} @code{@}}
2800 where each @var{alternative} is a music expression. If you do not
2801 give enough alternatives for all of the repeats, the first alternative
2802 is assumed to be played more than once.
2804 Standard repeats are used like this
2805 @lilypond[quote,fragment,verbatim,relative=2]
2807 \repeat volta 2 { c4 d e f }
2808 \repeat volta 2 { f e d c }
2811 With alternative endings
2812 @lilypond[quote,fragment,verbatim,relative=2]
2814 \repeat volta 2 {c4 d e f}
2815 \alternative { {d2 d} {f f,} }
2819 @lilypond[quote,fragment,verbatim,relative=2]
2822 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2823 \alternative { { g4 g g } { a | a a a a | b2. } }
2827 It is possible to shorten volta brackets
2828 by setting @code{voltaSpannerDuration}. In the next example, the
2829 bracket only lasts one measure, which is a duration of 3/4.
2833 @lilypond[verbatim,raggedright]
2837 \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4)
2838 \repeat "volta" 5 { d d d }
2839 \alternative { { e e e f f f }
2849 Brackets for the repeat are normally only printed over the topmost
2850 staff. This can be adjusted by setting the @code{voltaOnThisStaff}
2851 property @inputfileref{input/regression,volta-multi-staff.ly},
2852 @inputfileref{input/regression,volta-chord-names.ly}
2857 A nested repeat like
2866 is ambiguous, since it is is not clear to which @code{\repeat} the
2867 @code{\alternative} belongs. This ambiguity is resolved by always
2868 having the @code{\alternative} belong to the inner @code{\repeat}.
2869 For clarity, it is advisable to use braces in such situations.
2874 Timing information is not remembered at the start of an alternative,
2875 so after a repeat timing information must be reset by hand, for
2876 example by setting @code{Score.measurePosition} or entering
2877 @code{\partial}. Similarly, slurs or ties are also not repeated.
2882 @node Repeats and MIDI
2883 @subsection Repeats and MIDI
2885 @cindex expanding repeats
2887 An advantage of the unified syntax for repeats, is that all repeats
2888 may be played out for the MIDI output. This is achieved by
2889 applying the @code{\unfoldrepeats} music function.
2891 @lilypond[verbatim,raggedright]
2894 \repeat tremolo 8 {c'32 e' }
2895 \repeat percent 2 { c''8 d'' }
2896 \repeat volta 2 {c'4 d' e' f'}
2905 When creating a score file using @code{\unfoldrepeats} for midi, then
2906 it is necessary to make two @code{\score} blocks. One for MIDI, with
2907 unfolded repeats, and one for notation, eg.
2915 \unfoldrepeats @var{..music..}
2920 @node Manual repeat commands
2921 @subsection Manual repeat commands
2923 @cindex @code{repeatCommands}
2925 The property @code{repeatCommands} can be used to control the layout of
2926 repeats. Its value is a Scheme list of repeat commands, where each repeat
2930 @item @code{start-repeat},
2931 which prints a @code{|:} bar line;
2932 @item @code{end-repeat},
2933 which prints a @code{:|} bar line;
2934 @item @code{(volta @var{text})},
2935 which prints a volta bracket saying @var{text}: The text can be specified as
2936 a text string or as a markup text, see @ref{Text markup}. Do not
2937 forget to change the font, as the default number font does not contain
2938 alphabetic characters;
2939 @item @code{(volta #f)}, which
2940 stops a running volta bracket.
2943 @lilypond[quote,verbatim,fragment,relative=2]
2945 \set Score.repeatCommands = #'((volta "93") end-repeat)
2947 \set Score.repeatCommands = #'((volta #f))
2955 Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2956 @internalsref{VoltaRepeatedMusic},
2957 @internalsref{UnfoldedRepeatedMusic}, and
2958 @internalsref{FoldedRepeatedMusic}.
2960 @node Tremolo repeats
2961 @subsection Tremolo repeats
2962 @cindex tremolo beams
2964 To place tremolo marks between notes, use @code{\repeat} with tremolo
2966 @lilypond[quote,verbatim,raggedright]
2967 \context Voice \relative c' {
2968 \repeat "tremolo" 8 { c16 d16 }
2969 \repeat "tremolo" 4 { c16 d16 }
2970 \repeat "tremolo" 2 { c16 d16 }
2974 Tremolo marks can also be put on a single note. In this case, the
2975 note should not be surrounded by braces.
2976 @lilypond[quote,verbatim,raggedright]
2977 \repeat "tremolo" 4 c'16
2980 Similar output is obtained using the tremolo subdivision, described in
2981 @ref{Tremolo subdivisions}.
2985 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2987 Program reference: tremolo beams are @internalsref{Beam} objects. Single stem
2988 tremolos are @internalsref{StemTremolo} objects. The music expression is
2989 @internalsref{TremoloEvent}.
2991 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2992 @inputfileref{input/regression,stem-tremolo.ly}.
2994 @node Tremolo subdivisions
2995 @subsection Tremolo subdivisions
2996 @cindex tremolo marks
2997 @cindex @code{tremoloFlags}
2999 Tremolo marks can be printed on a single note by adding
3000 `@code{:}[@var{number}]' after the note. The number indicates the
3001 duration of the subdivision, and it must be at least 8. A
3002 @var{length} value of 8 gives one line across the note stem. If the
3003 length is omitted, the last value (stored in @code{tremoloFlags}) is
3006 @lilypond[quote,verbatim,fragment]
3007 c'2:8 c':32 | c': c': |
3010 @c [TODO : stok is te kort bij 32en]
3014 Tremolos entered in this way do not carry over into the MIDI output.
3018 In this manual: @ref{Tremolo repeats}.
3020 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
3022 @node Measure repeats
3023 @subsection Measure repeats
3025 @cindex percent repeats
3026 @cindex measure repeats
3028 In the @code{percent} style, a note pattern can be repeated. It is
3029 printed once, and then the pattern is replaced with a special sign.
3030 Patterns of one and two measures are replaced by percent-like signs,
3031 patterns that divide the measure length are replaced by slashes
3033 @lilypond[quote,verbatim,raggedright]
3035 \repeat "percent" 4 { c'4 }
3036 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
3042 Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
3043 @internalsref{PercentRepeatedMusic}, and
3044 @internalsref{DoublePercentRepeat}.
3048 @node Rhythmic music
3049 @section Rhythmic music
3053 * Showing melody rhythms::
3054 * Entering percussion::
3055 * Percussion staves::
3059 @node Showing melody rhythms
3060 @subsection Showing melody rhythms
3062 Sometimes you might want to show only the rhythm of a melody. This
3063 can be done with the rhythmic staff. All pitches of notes on such a
3064 staff are squashed, and the staff itself has a single line
3066 @lilypond[quote,fragment,relative=1,verbatim]
3067 \context RhythmicStaff {
3069 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
3075 Program reference: @internalsref{RhythmicStaff}.
3077 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
3080 @node Entering percussion
3081 @subsection Entering percussion
3087 Percussion notes may be entered in @code{\drums} mode, which is
3088 similar to the standard mode for entering notes. Each piece of
3089 percussion has a full name and an abbreviated name, and both can be used
3092 @lilypond[quote,raggedright,verbatim]
3093 \new DrumStaff \drums {
3094 hihat hh bassdrum bd
3098 The complete list of drum names is in the init file
3099 @file{ly/drumpitch-init.ly}.
3100 @c TODO: properly document this.
3104 Program reference: @internalsref{DrumNoteEvent}.
3106 @node Percussion staves
3107 @subsection Percussion staves
3111 A percussion part for more than one instrument typically uses a
3112 multi line staff where each position in the staff refers to one piece
3116 To typeset the music, the notes must be interpreted in a
3117 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
3120 @lilypond[quote,raggedright,verbatim]
3121 up = \drums { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
3122 down = \drums { bassdrum4 snare8 bd r bd sn4 }
3124 \new DrumVoice { \voiceOne \up }
3125 \new DrumVoice { \voiceTwo \down }
3129 The above example shows verbose polyphonic notation. The short
3130 polyphonic notation, described in @ref{Polyphony}, can also be used if
3131 the @internalsref{DrumVoices} are instantiated by hand first. For example,
3133 @lilypond[quote,fragment,verbatim]
3135 \context DrumVoice = "1" { s1 *2 }
3136 \context DrumVoice = "2" { s1 *2 }
3140 { \repeat unfold 16 hh16 }
3149 There are also other layout possibilities. To use these, set the
3150 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
3151 The following variables have been predefined
3155 This is the default. It typesets a typical drum kit on a five-line staff
3157 @lilypond[quote,noindent]
3158 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
3159 bd sn ss tomh tommh tomml toml tomfh tomfl }
3160 mus = \drums { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
3161 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
3163 << \new DrumStaff\with {
3164 \remove Bar_engraver
3165 \remove Time_signature_engraver
3166 \override Stem #'transparent = ##t
3167 \override Stem #'Y-extent-callback = ##f
3168 minimumVerticalExtent = #'(-4.0 . 5.0)
3170 \context Lyrics \nam
3173 %% need to do this, because of indented @itemize
3176 \override LyricText #'font-family = #'typewriter
3177 \override BarNumber #'transparent =##T
3181 The drum scheme supports six different toms. When there fewer toms, simply
3182 select the toms that produce the desired result, i.e. to get toms on
3183 the three middle lines you use @code{tommh}, @code{tomml} and
3186 @item timbales-style
3187 This typesets timbales on a two line staff
3189 @lilypond[quote,raggedright]
3190 nam = \lyrics { timh ssh timl ssl cb }
3191 mus = \drums { timh ssh timl ssl cb s16 }
3194 \context DrumStaff \with {
3195 \remove Bar_engraver
3196 \remove Time_signature_engraver
3197 \override Stem #'transparent = ##t
3198 \override Stem #'Y-extent-callback = ##f
3199 \override StaffSymbol #'line-count = #2
3200 \override StaffSymbol #'staff-space = #2
3201 minimumVerticalExtent = #'(-3.0 . 4.0)
3202 drumStyleTable = #timbales-style
3205 \override LyricText #'font-family = #'typewriter
3211 This typesets congas on a two line staff
3213 @lilypond[quote,raggedright]
3214 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
3215 mus = \drums { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
3217 \context DrumStaff\with {
3218 \remove Bar_engraver
3219 \remove Time_signature_engraver
3220 drumStyleTable = #congas-style
3221 \override StaffSymbol #'line-count = #2
3223 %% this sucks; it will lengthen stems.
3224 \override StaffSymbol #'staff-space = #2
3225 \override Stem #'transparent = ##t
3226 \override Stem #'Y-extent-callback = ##f
3229 \override LyricText #'font-family = #'typewriter
3234 This typesets bongos on a two line staff
3236 @lilypond[quote,raggedright]
3237 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
3238 mus = \drums { boh boho bohm ssh bol bolo bolm ssl s16 }
3240 \context DrumStaff\with {
3241 \remove Bar_engraver
3242 \remove Time_signature_engraver
3243 \override StaffSymbol #'line-count = #2
3244 drumStyleTable = #bongos-style
3246 %% this sucks; it will lengthen stems.
3247 \override StaffSymbol #'staff-space = #2
3248 \override Stem #'transparent = ##t
3249 \override Stem #'Y-extent-callback = ##f
3252 \override LyricText #'font-family = #'typewriter
3257 @item percussion-style
3258 to typeset all kinds of simple percussion on one line staves
3259 @lilypond[quote,raggedright]
3260 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
3261 mus = \drums { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
3263 \context DrumStaff\with{
3264 \remove Bar_engraver
3265 drumStyleTable = #percussion-style
3266 \override StaffSymbol #'line-count = #1
3267 \remove Time_signature_engraver
3268 \override Stem #'transparent = ##t
3269 \override Stem #'Y-extent-callback = ##f
3272 \override LyricText #'font-family = #'typewriter
3279 If you do not like any of the predefined lists you can define your own
3280 list at the top of your file
3282 @lilypond[quote,raggedright,verbatim]
3284 (bassdrum default #f -1)
3285 (snare default #f 0)
3287 (pedalhihat xcircle "stopped" 2)
3288 (lowtom diamond #f 3)))
3289 up = \drums { hh8 hh hh hh hhp4 hhp }
3290 down = \drums { bd4 sn bd toml8 toml }
3293 \set DrumStaff.drumStyleTable
3294 = #(alist->hash-table mydrums)
3295 \new DrumVoice { \voiceOne \up }
3296 \new DrumVoice { \voiceTwo \down }
3303 Init files: @file{ly/drumpitch-init.ly}.
3305 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
3309 Because general MIDI does not contain rim shots, the sidestick is used
3310 for this purpose instead.
3313 @section Piano music
3315 Piano staves are two normal staves coupled with a brace. The staves
3316 are largely independent, but sometimes voices can cross between the
3317 two staves. The same notation is also used for harps and other key
3318 instruments. The @internalsref{PianoStaff} is especially built to
3319 handle this cross-staffing behavior. In this section we discuss the
3320 @internalsref{PianoStaff} and some other pianistic peculiarities.
3324 * Automatic staff changes::
3325 * Manual staff switches::
3328 * Staff switch lines::
3329 * Cross staff stems::
3334 Dynamics are not centered, but workarounds do exist. See
3335 @inputfileref{input/template,piano-dynamics.ly}.
3337 @cindex cross staff stem
3338 @cindex stem, cross staff
3339 @cindex distance between staves in piano music
3341 The distance between the two staves is the same for all systems in the
3342 score. It is possible to override this per system, but it does require
3343 an arcane command incantation. See
3344 @inputfileref{input/test,piano-staff-distance.ly}.
3347 @node Automatic staff changes
3348 @subsection Automatic staff changes
3349 @cindex Automatic staff changes
3351 Voices can be made to switch automatically between the top and the bottom
3352 staff. The syntax for this is
3356 \autochange @dots{}@var{music}@dots{}
3361 This will create two staves inside the current PianoStaff, called
3362 @code{up} and @code{down}. The lower staff will be in bass clef by
3365 A @code{\relative} section that is outside of @code{\autochange} has
3366 no effect on the pitches of @var{music}, so, if necessary, put
3367 @code{\relative} inside @code{\autochange} like
3371 \autochange \relative @dots{} @dots{}
3376 The autochanger switches on basis of pitch (middle C is the turning
3377 point), and it looks ahead skipping over rests to switch in
3378 advance. Here is a practical example
3380 @lilypond[quote,verbatim,raggedright]
3382 \autochange \relative c'
3391 In this manual: @ref{Manual staff switches}.
3393 Program reference: @internalsref{AutoChangeMusic}.
3399 The staff switches may not end up in optimal places. For high
3400 quality output, staff switches should be specified manually.
3403 @code{\autochange} cannot be inside @code{\times}.
3405 Internally, the @code{\partcombine} interprets both arguments as
3406 @code{Voice}s named @code{one} and @code{two}, and then decides when
3407 the parts can be combined. Consequently, if the arguments switch to
3408 differently named @internalsref{Voice} contexts, the events in those
3412 @node Manual staff switches
3413 @subsection Manual staff switches
3415 @cindex manual staff switches
3416 @cindex staff switch, manual
3418 Voices can be switched between staves manually, using the command
3420 \change Staff = @var{staffname} @var{music}
3424 The string @var{staffname} is the name of the staff. It switches the
3425 current voice from its current staff to the Staff called
3426 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3427 @code{"down"}. The @context{Staff} referred to must already exist, so
3428 usually the setup for a score will start with a setup of the staves,
3432 \context Staff = up @{
3433 \skip 1 * 10 %@emph{ keep staff alive}
3435 \context Staff = down @{
3436 \skip 1 * 10 %@emph{idem}
3442 and the @context{Voice} is inserted afterwards
3445 \context Staff = down
3446 \new Voice @{ @dots{} \change Staff = up @dots{} @}
3454 Pianos have pedals that alter the way sound is produced. Generally, a
3455 piano has three pedals, sustain, una corda, and sostenuto.
3458 Piano pedal instruction can be expressed by attaching
3459 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3460 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3463 @lilypond[quote,fragment,verbatim]
3464 c'4\sustainDown c'4\sustainUp
3467 What is printed can be modified by setting @code{pedal@var{X}Strings},
3468 where @var{X} is one of the pedal types: @code{Sustain},
3469 @code{Sostenuto} or @code{UnaCorda}. Refer to
3470 @internalsref{SustainPedal} in the program reference for more
3473 Pedals can also be indicated by a sequence of brackets, by setting the
3474 @code{pedalSustainStyle} property to bracket objects
3476 @lilypond[quote,fragment,verbatim,relative=2]
3477 \set Staff.pedalSustainStyle = #'bracket
3479 b\sustainUp\sustainDown
3480 b g \sustainUp a \sustainDown \bar "|."
3483 A third style of pedal notation is a mixture of text and brackets,
3484 obtained by setting the @code{pedalSustainStyle} style property to
3487 @lilypond[quote,fragment,verbatim,relative=2]
3488 \set Staff.pedalSustainStyle = #'mixed
3490 b\sustainUp\sustainDown
3491 b g \sustainUp a \sustainDown \bar "|."
3494 The default `*Ped.' style for sustain and damper pedals corresponds to
3495 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3498 @lilypond[quote,fragment,verbatim,relative=2]
3499 c\sostenutoDown d e c, f g a\sostenutoUp
3502 For fine-tuning of the appearance of a pedal bracket, the properties
3503 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3504 @code{PianoPedalBracket} objects (see
3505 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3506 bracket may be extended to the right edge of the note head
3508 @lilypond[quote,fragment,verbatim,relative=2]
3509 \override Staff.PianoPedalBracket
3510 #'shorten-pair = #'(0 . -1.0)
3511 c\sostenutoDown d e c, f g a\sostenutoUp
3515 @subsection Arpeggio
3518 @cindex broken arpeggio
3519 @cindex @code{\arpeggio}
3521 You can specify an arpeggio sign on a chord by attaching an
3522 @code{\arpeggio} to a chord
3525 @lilypond[quote,fragment,relative=1,verbatim]
3529 When an arpeggio crosses staves, you attach an arpeggio to the chords
3530 in both staves, and set
3531 @internalsref{PianoStaff}.@code{connectArpeggios}
3533 @lilypond[quote,fragment,relative=1,verbatim]
3534 \context PianoStaff <<
3535 \set PianoStaff.connectArpeggios = ##t
3536 \new Staff { <c' e g c>\arpeggio }
3537 \new Staff { \clef bass <c,, e g>\arpeggio }
3541 The direction of the arpeggio is sometimes denoted by adding an
3542 arrowhead to the wiggly line
3544 @lilypond[quote,fragment,relative=1,verbatim]
3553 A square bracket on the left indicates that the player should not
3554 arpeggiate the chord
3556 @c todo: ugh, lousy typography. Look for real example. --hwn
3558 @lilypond[quote,fragment,relative=1,verbatim]
3565 @cindex @code{\arpeggio}
3567 @cindex @code{\arpeggioUp}
3569 @cindex @code{\arpeggioDown}
3570 @code{\arpeggioDown},
3571 @cindex @code{\arpeggioBoth}
3572 @code{\arpeggioBoth},
3573 @cindex @code{\arpeggioBracket}
3574 @code{\arpeggioBracket}.
3578 Program reference: @internalsref{ArpeggioEvent},
3579 @internalsref{Arpeggio}.
3583 It is not possible to mix connected arpeggios and unconnected
3584 arpeggios in one @internalsref{PianoStaff} at the same point in time.
3586 @node Staff switch lines
3587 @subsection Staff switch lines
3590 @cindex follow voice
3591 @cindex staff switching
3594 @cindex @code{followVoice}
3596 Whenever a voice switches to another staff a line connecting the notes
3597 can be printed automatically. This is switched on by setting
3598 @code{PianoStaff.followVoice} to true
3600 @lilypond[quote,fragment,relative=1,verbatim]
3601 \context PianoStaff <<
3602 \set PianoStaff.followVoice = ##t
3603 \context Staff \context Voice {
3608 \context Staff=two { \clef bass \skip 1*2 }
3614 Program reference: @internalsref{VoiceFollower}.
3618 @cindex @code{\showStaffSwitch}
3619 @code{\showStaffSwitch},
3620 @cindex @code{\hideStaffSwitch}
3621 @code{\hideStaffSwitch}.
3624 @node Cross staff stems
3625 @subsection Cross staff stems
3627 The chords which cross staves may be produced by increasing the length
3628 of the stem in the lower stave, so it reaches the stem in the upper
3629 stave, or vice versa.
3631 @lilypond[raggedright,verbatim]
3632 stemExtend = \once \override Stem #'length = #22
3633 noFlag = \once \override Stem #'flag-style = #'no-flag
3634 \context PianoStaff <<
3636 \stemDown \stemExtend
3650 @section Vocal music
3652 There are three different issues when printing vocal music
3656 Song texts must be entered as texts, not notes. For example, for
3657 lyrics, the input @code{a} should be interpreted as
3658 a one letter text, and not the note A.
3660 Song texts must be printed as text, and not as notes.
3662 Song texts must be aligned with the notes of their melody
3665 The simplest solution to printing music uses the @code{\addlyrics}
3666 function to deal with these three problems in one go. However, these
3667 three functions can be controlled separately, which is necessary
3668 for complex vocal music.
3672 * Setting simple songs::
3674 * Hyphens and extenders::
3675 * The Lyrics context::
3676 * Flexibility in alignment::
3681 @node Setting simple songs
3682 @subsection Setting simple songs
3684 The easiest way to add lyrics to a melody is to append
3687 \addlyrics @{ @var{the lyrics} @}
3691 to a melody. Here is an example,
3693 @lilypond[raggedright,verbatim]
3696 \relative { c2 e4 g2. }
3697 \addlyrics { play the game }
3701 More stanzas can be added by adding more
3702 @code{\addlyrics} sections
3704 @lilypond[raggedright,verbatim]
3707 \relative { c2 e4 g2. }
3708 \addlyrics { play the game }
3709 \addlyrics { speel het spel }
3710 \addlyrics { joue le jeu }
3714 @node Entering lyrics
3715 @subsection Entering lyrics
3719 @cindex @code{\lyrics}
3722 Lyrics are entered in a special input mode. This mode is is introduced
3723 by the keyword @code{\lyrics}. In this mode you can enter lyrics,
3724 with punctuation and accents, and the input @code{a} is not parsed as
3725 a pitch, but rather as a one letter syllable. Syllables are entered
3726 like notes, but with pitches replaced by text. For example,
3728 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3732 A word lyrics mode begins with an alphabetic character, and ends with
3733 any space or digit. The following characters can be any character
3734 that is not a digit or white space. One important consequence of this
3735 is that a word can end with @code{@}}. The following example is
3736 usually a bug. The syllable includes a @code{@}}, so the
3737 opening brace is not balanced
3739 \lyrics @{ twinkle@}
3742 @cindex @code{\property}, in @code{\lyrics}
3744 Similarly, a period following an alphabetic sequence, is included in
3745 the resulting string. As a consequence, spaces must be inserted around
3748 \override Score . LyricText #'font-shape = #'italic
3752 @cindex spaces, in lyrics
3753 @cindex quotes, in lyrics
3755 Any @code{_} character which appears in an unquoted word is converted
3756 to a space. This provides a mechanism for introducing spaces into words
3757 without using quotes. Quoted words can also be used in Lyrics mode to
3758 specify words that cannot be written with the above rules. The
3759 following example incorporates double quotes
3762 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3765 This example is slightly academic, since it gives better looking
3766 results to use single quotes, @code{``} and @code{''}
3768 \lyrics @{ He said: ``Let my peo ple go'' @}
3772 The full definition of a word start in Lyrics mode is somewhat more
3775 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3776 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3777 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3778 any 8-bit character with ASCII code over 127, or a two-character
3779 combination of a backslash followed by one of @code{`}, @code{'},
3780 @code{"}, or @code{^}.
3786 Program reference: events @internalsref{LyricEvent}, and
3787 @internalsref{LyricText}.
3791 The definition of lyrics mode is too complex.
3793 @node Hyphens and extenders
3794 @subsection Hyphens and extenders
3798 Centered hyphens are entered as `@code{-}@code{-}' between syllables.
3799 The hyphen will have variable length depending on the space between
3800 the syllables and it will be centered between the syllables.
3805 When a lyric is sung over many notes (this is called a melisma), this is
3806 indicated with a horizontal line centered between a syllable and the
3807 next one. Such a line is called an extender line, and it is entered as
3813 Program reference: @internalsref{HyphenEvent},
3814 @internalsref{ExtenderEvent}, @internalsref{LyricHyphen}, and
3815 @internalsref{LyricExtender}
3817 Examples: @inputfileref{input/test,lyric-hyphen-retain.ly}.
3821 @node The Lyrics context
3822 @subsection The Lyrics context
3825 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
3827 \context Lyrics \lyrics @dots{}
3830 @cindex automatic syllable durations
3831 @cindex @code{\lyricsto}
3832 @cindex lyrics and melodies
3834 This will place the lyrics according to the durations that were
3835 entered. The lyrics can also be aligned under a given melody
3836 automatically. In this case, it is no longer necessary to enter the
3837 correct duration for each syllable. This is achieved by combining the
3838 melody and the lyrics with the @code{\lyricsto} expression
3840 \lyricsto @var{name} \new Lyrics @dots{}
3843 This aligns the lyrics to the
3845 notes of the @internalsref{Voice} context called @var{name}, which has
3846 to exist. Therefore, normally the @code{Voice} is specified first, and
3847 then the lyrics are specified with @code{\lyricsto}. The command
3848 @code{\lyricsto} switches to @code{\lyrics} mode automatically, so the
3849 @code{\lyrics} keyword may be omitted.
3851 For different or more complex orderings, the best way is to setup the
3852 hierarchy of staves and lyrics first, e.g.
3854 \context ChoirStaff <<
3855 \context Lyrics = sopranoLyrics @{ s1 @}
3856 \context Voice = soprano @{ @emph{music} @}
3857 \context Lyrics = tenorLyrics @{ s1 @}
3858 \context Voice = tenor @{ @emph{music} @}
3861 and then combine the appropriate melodies and lyric lines
3863 \lyricsto "soprano" \context Lyrics = sopranoLyrics
3868 The final input would resemble
3871 << \context ChoirStaff << @emph{setup the music} >>
3872 \lyricsto "soprano" @emph{etc}
3873 \lyricsto "alto" @emph{etc}
3879 The @code{\lyricsto} command detects melismata: it only puts one
3880 syllable under a tied or slurred group of notes. If you want to force
3881 an unslurred group of notes to be a melisma, insert @code{\melisma}
3882 after the first note of the group, and @code{\melismaEnd} after the
3885 @lilypond[quote,relative=2,raggedright,fragment,verbatim]
3887 \context Voice = "lala" {
3895 \lyricsto "lala" \new Lyrics {
3901 In addition, notes are considered a melisma if they are manually
3902 beamed, and automatic beaming (see @ref{Setting automatic beam
3903 behavior}) is switched off.
3909 The criteria for deciding melismata can
3910 be tuned with the property @code{melismaBusyProperties}. See
3911 @internalsref{Melisma_translator} in the program reference for more
3916 Lyrics can also be entered without @code{\lyricsto}. In this case the
3917 durations of each syllable must be entered explicitly, for example,
3924 The alignment to a melody can be specified with the
3925 @code{associatedVoice} property,
3928 \set associatedVoice = #"lala"
3932 The value of the property (here: @code{"lala"}) should be the name of
3933 a @internalsref{Voice} context. Without this setting, extender lines
3934 will not be formatted properly.
3936 Here is an example demonstrating manual lyric durations,
3938 @lilypond[relative=1,verbatim,fragment]
3939 << \context Voice = melody {
3943 \new Lyrics \lyrics {
3944 \set associatedVoice = #"melody"
3950 @cindex choral score
3952 A complete example of a SATB score setup is in the file
3953 @inputfileref{input/template,satb.ly}.
3958 @code{\melisma}, @code{\melismaEnd}
3959 @cindex @code{\melismaEnd}
3960 @cindex @code{\melisma}
3964 Program reference: @internalsref{LyricCombineMusic},
3965 @internalsref{Lyrics}, @internalsref{Melisma_translator}.
3967 Examples: @inputfileref{input/template,satb.ly},
3968 @inputfileref{input/regression,lyric-combine-new.ly},
3969 @c TODO: make separate section for melismata
3970 @inputfileref{input/test,lyrics-melisma-variants.ly}.
3971 @inputfileref{input/test,lyrics-melisma-faster.ly}.
3975 Melismata are not detected automatically, and extender lines must be
3979 @c TODO: document \new Staff << Voice \lyricsto >> bug
3981 @node Flexibility in alignment
3982 @subsection Flexibility in alignment
3985 Often, different stanzas of one song are put to one melody in slightly
3986 differing ways. Such variations can still be captured with
3989 One possibility is that the text has a melisma in one stanza, but
3990 multiple syllables in another one. One solution is to make the faster
3991 voice ignore the melisma. This is done by setting
3992 @code{ignoreMelismata} in the Lyrics context.
3994 There has one tricky aspect. The setting for @code{ignoreMelismata}
3995 must be set one syllable @emph{before} the non-melismatic syllable
3996 in the text, as shown here,
3998 @lilypond[verbatim,raggedright]
4000 \relative \context Voice = "lahlah" {
4001 \set Staff.autoBeaming = ##f
4007 \new Lyrics \lyricsto "lahlah" {
4010 \new Lyrics \lyricsto "lahlah" {
4011 \set ignoreMelismata = ##t % applies to "fas"
4013 \unset ignoreMelismata
4020 The @code{ignoreMelismata} applies to the syllable ``fas'', so it
4021 should bev entered before ``go''.
4023 The reverse is also possible: making a lyric line slower than the
4024 standard. This can be achieved by insert @code{\skip}s into the
4025 lyrics. For every @code{\skip}, the text will be delayed another note.
4028 @lilypond[verbatim,raggedright]
4029 \relative { c c g' }
4036 More complex variations in text underlay are possible. It is possible
4037 to switch the melody for a line of lyrics during the text. This is
4038 done by setting the @code{associatedVoice} property. In the example
4040 @lilypond[raggedright]
4042 \relative \context Voice = "lahlah" {
4043 \set Staff.autoBeaming = ##f
4046 \context Voice = alternative {
4050 % show associations clearly.
4051 \override NoteColumn #'force-hshift = #-3
4063 \new Lyrics \lyricsto "lahlah" {
4064 Ju -- ras -- sic Park
4066 \new Lyrics \lyricsto "lahlah" {
4068 % Tricky: need to set associatedVoice
4069 % one syllable too soon!
4070 \set associatedVoice = alternative % applies to "ran"
4074 \set associatedVoice = lahlah % applies to "rus"
4080 the text for the first stanza is set to a melody called ``lahlah'',
4083 \new Lyrics \lyricsto "lahlah" {
4084 Ju -- ras -- sic Park
4089 The second stanza initially is set to the @code{lahlah} context, but
4090 for the syllable ``ran'', it switches to a different melody.
4091 This is achieved with
4093 \set associatedVoice = alternative
4097 Here, @code{alternative} is the name of the @code{Voice} context
4098 containing the triplet.
4100 Again, the command must be one syllable too early, before ``Ty'' in
4104 \new Lyrics \lyricsto "lahlah" {
4105 \set associatedVoice = alternative % applies to "ran"
4109 \set associatedVoice = lahlah % applies to "rus"
4115 The underlay is switched back to the starting situation by assigning
4116 @code{lahlah} to @code{associatedVoice}.
4122 @subsection More stanzas
4124 @cindex phrasing, in lyrics
4127 @cindex stanza number
4128 @cindex singer's names
4129 @cindex name of singer
4131 Stanza numbers can be added by setting @code{stanza}, e.g.
4133 @lilypond[quote,verbatim,relative=2,fragment]
4135 \time 3/4 g2 e4 a2 f4 g2.
4138 Hi, my name is Bert.
4141 Oh, che -- ri, je t'aime
4145 These numbers are put just before the start of first syllable.
4147 Names of singers can also be added. They are printed at the start of
4148 the line, just like instrument names. They are created by setting
4149 @code{vocalName}. A short version may be entered as @code{vocNam}.
4152 @lilypond[fragment,quote,verbatim,relative=2]
4154 \time 3/4 g2 e4 a2 f4 g2.
4156 \set vocalName = "Bert "
4157 Hi, my name is Bert.
4159 \set vocalName = "Ernie "
4160 Oh, che -- ri, je t'aime
4166 Program reference: Layout objects @internalsref{LyricText} and
4167 @internalsref{VocalName}. Music expressions
4168 @internalsref{LyricEvent}.
4176 The term @emph{ambitus} denotes a range of pitches for a given voice
4177 in a part of music. It also may denote the pitch range that a musical
4178 instrument is capable of playing. Ambits are printed on vocal parts,
4179 so performers can easily determine it meets their capabilities.
4181 It denoted at the beginning of a piece near the initial clef. The
4182 range is graphically specified by two note heads, that represent the
4183 minimum and maximum pitch. To print such ambits, add the
4184 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
4191 \consists Ambitus_engraver
4196 This results in the following output
4198 @lilypond[quote,raggedright]
4202 \consists Ambitus_engraver
4206 \relative \new Staff {
4211 If you have multiple voices in a single staff, and you want a single
4212 ambitus per staff rather than per each voice, add the
4213 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
4214 rather than to the @internalsref{Voice} context. Here is an example,
4216 @lilypond[verbatim,raggedright]
4219 \consists "Ambitus_engraver"
4221 \override Ambitus #'X-offset-callbacks
4222 = #(list (lambda (grob axis) -1.0))
4227 \consists "Ambitus_engraver"
4236 This example uses one advanced feature,
4239 \override Ambitus #'X-offset-callbacks
4240 = #(list (lambda (grob axis) -1.0))
4244 This code moves the ambitus to the left. The same effect could have
4245 been achieved with @code{extra-offset}, but then the formatting system
4246 would not reserve space for the moved object.
4250 Program reference: @internalsref{Ambitus},
4251 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
4252 @internalsref{AmbitusAccidental}.
4254 Examples: @inputfileref{input/regression,ambitus.ly}.
4258 There is no collision handling in the case of multiple per-voice
4261 @node Other instrument specific notation, Tablatures, Vocal music, Notation manual
4262 @section Other instrument specific notation
4268 @node Harmonic notes, , Other instrument specific notation, Other instrument specific notation
4269 @subsection Harmonic notes
4271 @cindex artificial harmonics
4274 Artificial harmonics are notated with a different notehead style. They
4276 marking the harmonic pitch with @code{\harmonic}.
4278 @lilypond[raggedright,verbatim]
4285 @node Tablatures, Popular music, Other instrument specific notation, Notation manual
4289 @cindex guitar tablature
4291 Tablature notation is used for notating music for plucked string
4292 instruments. Pitches are not denoted with note heads, but by
4293 indicating on which string and fret a note must be played. LilyPond
4294 offers limited support for tablature.
4297 * Tablatures basic::
4298 * Non-guitar tablatures::
4301 @node Tablatures basic, Non-guitar tablatures, Tablatures, Tablatures
4302 @subsection Tablatures basic
4303 @cindex Tablatures basic
4305 The string number associated to a note is given as a backslash
4306 followed by a number, e.g. @code{c4\3} for a C quarter on the third
4307 string. By default, string 1 is the highest one, and the tuning
4308 defaults to the standard guitar tuning (with 6 strings). The notes
4309 are printed as tablature, by using @internalsref{TabStaff} and
4310 @internalsref{TabVoice} contexts
4312 @lilypond[quote,fragment,verbatim]
4319 @cindex @code{minimumFret}
4322 When no string is specified, the first string that does not give a
4323 fret number less than @code{minimumFret} is selected. The default
4324 value for @code{minimumFret} is 0
4329 \set TabStaff.minimumFret = #8
4332 @lilypond[quote,noindent,raggedright]
4336 \set TabStaff.minimumFret = #8
4339 \context StaffGroup <<
4340 \context Staff { \clef "G_8" \frag }
4341 \context TabStaff { \frag }
4347 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}, and
4348 @internalsref{StringNumberEvent}.
4352 Chords are not handled in a special way, and hence the automatic
4353 string selector may easily select the same string to two notes in a
4357 @node Non-guitar tablatures, , Tablatures basic, Tablatures
4358 @subsection Non-guitar tablatures
4359 @cindex Non-guitar tablatures
4361 You can change the number of strings, by setting the number of lines
4362 in the @internalsref{TabStaff}.
4364 You can change the tuning of the strings. A string tuning is given as
4365 a Scheme list with one integer number for each string, the number
4366 being the pitch (measured in semitones relative to middle C) of an
4367 open string. The numbers specified for @code{stringTuning} are the
4368 numbers of semitones to subtract or add, starting the specified pitch
4369 by default middle C, in string order. In the next example,
4370 @code{stringTunings} is set for the pitches e, a, d, and g
4372 @lilypond[quote,fragment,verbatim]
4373 \context TabStaff <<
4374 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
4377 a,4 c' a e' e c' a e'
4384 No guitar special effects have been implemented.
4388 Program reference: @internalsref{Tab_note_heads_engraver}.
4391 @node Popular music, Orchestral music, Tablatures, Notation manual
4392 @section Popular music
4399 * Printing chord names::
4403 @node Chord names, Chords mode, Popular music, Popular music
4404 @subsection Chord names
4407 LilyPond has support for both printing chord names. Chords may be
4408 entered in musical chord notation, i.e. @code{< .. >}, but they can
4409 also be entered by name. Internally, the chords are represented as a
4410 set of pitches, so they can be transposed
4413 @lilypond[quote,verbatim,raggedright]
4414 twoWays = \transpose c c' {
4423 << \context ChordNames \twoWays
4424 \context Voice \twoWays >>
4427 This example also shows that the chord printing routines do not try to
4428 be intelligent. The last chord (@code{f bes d}) is not interpreted as
4434 * Printing chord names::
4439 @subsection Chords mode
4442 In chord mode sets of pitches (chords) are entered with common names.
4443 A chord is entered by the root, which is entered like a common pitch
4445 @lilypond[quote,fragment,verbatim,relative=2]
4446 \chords { es4. d8 c2 }
4450 The mode is introduced by the keyword @code{\chords}.
4455 Other chords may be entered by suffixing a colon, and introducing a
4456 modifier, and optionally, a number
4458 @lilypond[quote,fragment,verbatim]
4459 \chords { e1:m e1:7 e1:m7 }
4461 The first number following the root is taken to be the `type' of the
4462 chord, thirds are added to the root until it reaches the specified
4464 @lilypond[quote,fragment,verbatim]
4465 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
4468 @cindex root of chord
4469 @cindex additions, in chords
4470 @cindex removals, in chords
4472 More complex chords may also be constructed adding separate steps
4473 to a chord. Additions are added after the number following
4474 the colon, and are separated by dots
4476 @lilypond[quote,verbatim,fragment]
4477 \chords { c:5.6 c:3.7.8 c:3.6.13 }
4479 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
4481 @lilypond[quote,verbatim,fragment]
4482 \chords { c:7+ c:5+.3- c:3-.5-.7- }
4484 Removals are specified similarly, and are introduced by a caret. They
4485 must come after the additions
4486 @lilypond[quote,verbatim,fragment]
4487 \chords { c^3 c:7^5 c:9^3.5 }
4490 Modifiers can be used to change pitches. The following modifiers are
4494 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
4496 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
4499 is the augmented chord. This modifier raises the 5th step.
4501 is the major 7th chord. This modifier raises the 7th step if present.
4503 is the suspended 4th or 2nd. This modifier removes the 3rd
4504 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
4507 Modifiers can be mixed with additions
4508 @lilypond[quote,verbatim,fragment]
4509 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
4512 @cindex modifiers, in chords.
4519 Since an unaltered 11 does not sound good when combined with an
4520 unaltered 3, the 11 is removed in this case (unless it is added
4523 @lilypond[quote,fragment,verbatim]
4524 \chords { c:13 c:13.11 c:m13 }
4529 An inversion (putting one pitch of the chord on the bottom), as well
4530 as bass notes, can be specified by appending
4531 @code{/}@var{pitch} to the chord
4532 @lilypond[quote,fragment,verbatim]
4533 \chords { c1 c/g c/f }
4537 A bass note can be added instead of transposed out of the chord,
4538 by using @code{/+}@var{pitch}.
4540 @lilypond[quote,fragment,verbatim]
4541 \chords { c1 c/+g c/+f }
4544 Chords is a mode similar to @code{\lyrics} etc. Most
4545 of the commands continue to work, for example, @code{r} and
4546 @code{\skip} can be used to insert rests and spaces, and property
4547 commands may be used to change various settings.
4553 Each step can only be present in a chord once. The following
4554 simply produces the augmented chord, since @code{5+} is interpreted
4557 @lilypond[quote,verbatim,fragment]
4558 \chords { c:5.5-.5+ }
4562 @node Printing chord names
4563 @subsection Printing chord names
4565 @cindex printing chord names
4569 For displaying printed chord names, use the @internalsref{ChordNames} context.
4570 The chords may be entered either using the notation
4571 described above, or directly using @code{<} and @code{>}
4573 @lilypond[quote,verbatim,raggedright]
4575 \chords {a1 b c} <d' f' a'> <e' g' b'>
4579 \context ChordNames \scheme
4580 \context Staff \scheme
4584 You can make the chord changes stand out by setting
4585 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
4586 display chord names when there is a change in the chords scheme and at
4587 the start of a new line
4589 @lilypond[quote,verbatim,linewidth=9\cm]
4591 c1:m c:m \break c:m c:m d
4594 \context ChordNames {
4595 \set chordChanges = ##t
4597 \context Staff \transpose c c' \scheme
4601 The previous examples all show chords over a staff. This is not
4602 necessary. Chords may also be printed separately. It may be necessary
4603 to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
4604 for showing repeats.
4606 @lilypond[raggedright,verbatim]
4607 \new ChordNames \with {
4608 \override BarLine #'bar-size = #4
4609 voltaOnThisStaff = ##t
4610 \consists Bar_engraver
4611 \consists "Volta_engraver"
4613 \repeat volta 2 \chords {
4622 The default chord name layout is a system for Jazz music, proposed by
4623 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
4624 following properties
4627 @cindex @code{chordNameExceptions}
4628 @item chordNameExceptions
4629 This is a list that contains the chords that have special formatting.
4630 For an example of tuning this property, see
4631 @inputfileref{input/regression,chord-name-exceptions.ly}.
4632 @cindex exceptions, chord names.
4635 @cindex @code{majorSevenSymbol}
4636 @item majorSevenSymbol
4637 This property contains the markup object used for the 7th step, when
4638 it is major. Predefined options are @code{whiteTriangleMarkup} and
4639 @code{blackTriangleMarkup}. See
4640 @inputfileref{input/regression,chord-name-major7.ly} for an example.
4642 @cindex @code{chordNameSeparator}
4643 @item chordNameSeparator
4644 Different parts of a chord name are normally separated by a
4645 slash. By setting @code{chordNameSeparator}, you can specify other
4647 @lilypond[quote,fragment,verbatim]
4648 \context ChordNames \chords {
4650 \set chordNameSeparator
4651 = \markup { \typewriter "|" }
4656 @cindex @code{chordRootNamer}
4657 @item chordRootNamer
4658 The root of a chord is usually printed as a letter with an optional
4659 alteration. The transformation from pitch to letter is done by this
4660 function. Special note names (for example, the German ``H'' for a
4661 B-chord) can be produced by storing a new function in this property.
4663 @cindex @code{chordNoteNamer}
4664 @item chordNoteNamer
4665 The default is to print single pitch, e.g. the bass note, using the
4666 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4667 to a specialized function to change this behavior. For example, the
4668 base can be printed in lower case.
4672 The predefined variables @code{\germanChords},
4673 @code{\semiGermanChords} set these variables. The effect is
4676 @lilypondfile[]{chord-names-german.ly}
4678 There are also two other chord name schemes implemented: an alternate
4679 Jazz chord notation, and a systematic scheme called Banter chords. The
4680 alternate jazz notation is also shown on the chart in @ref{Chord name
4681 chart}. Turning on these styles is described in the input file
4682 @inputfileref{input/test,chord-names-jazz.ly}.
4686 @cindex chords, jazz
4691 @cindex @code{\germanChords}
4692 @code{\germanChords},
4693 @cindex @code{\semiGermanChords}
4694 @code{\semiGermanChords}.
4701 Examples: @inputfileref{input/regression,chord-name-major7.ly},
4702 @inputfileref{input/regression,chord-name-exceptions.ly},
4703 @inputfileref{input/test,chord-names-jazz.ly},
4704 @inputfileref{input/test,chords-without-melody.ly}.
4707 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4712 Chord names are determined solely from the list of pitches. Chord
4713 inversions are not identified, and neither are added bass notes. This
4714 may result in strange chord names when chords are entered with the
4715 @code{< .. >} syntax.
4719 @subsection Improvisation
4721 Improvisation is sometimes denoted with slashed note heads. Such note
4722 heads can be created by adding a @internalsref{Pitch_squash_engraver}
4723 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
4727 \set squashedPosition = #0
4728 \override NoteHead #'style = #'slash
4732 switches on the slashes.
4734 There are shortcuts @code{\improvisationOn} (and an accompanying
4735 @code{\improvisationOff}) for this command sequence. They are used in
4736 the following example
4738 @lilypond[verbatim,raggedright]
4740 \consists Pitch_squash_engraver
4742 e8 e g a a16(bes)(a8) g \improvisationOn
4745 ~fis2 \improvisationOff a16(bes) a8 g e
4751 @node Orchestral music
4752 @section Orchestral music
4754 @cindex Writing parts
4756 Orchestral music involves some special notation, both in the full
4757 score and the individual parts. This section explains how to tackle
4758 some common problems in orchestral music.
4763 * System start delimiters::
4764 * Aligning to cadenzas::
4767 * Instrument names::
4769 * Instrument transpositions::
4770 * Multi measure rests::
4771 * Automatic part combining::
4773 * Different editions from one source::
4774 * Quoting other voices::
4777 @node System start delimiters
4778 @subsection System start delimiters
4780 Polyphonic scores consist of many staves. These staves can be
4781 constructed in three different ways
4783 @item The group is started with a brace at the left, and bar lines are
4784 connected. This is done with the @internalsref{GrandStaff} context.
4795 @item The group is started with a bracket, and bar lines are connected. This is done with the
4796 @internalsref{StaffGroup} context
4807 @item The group is started with a vertical line. Bar lines are not
4808 connected. This is the default for the score.
4819 @cindex Staff, multiple
4820 @cindex bracket, vertical
4821 @cindex brace, vertical
4828 The bar lines at the start of each system are
4829 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
4830 @internalsref{SystemStartBracket}. Only one of these types is created
4831 in every context, and that type is determined by the property
4832 @code{systemStartDelimiter}.
4834 @node Aligning to cadenzas
4835 @subsection Aligning to cadenzas
4838 In an orchestral context, cadenzas present a special problem:
4839 when constructing a score that includes a cadenza, all other
4840 instruments should skip just as many notes as the length of the
4841 cadenza, otherwise they will start too soon or too late.
4843 A solution to this problem are the functions @code{mmrest-of-length}
4844 and @code{skip-of-length}. These Scheme functions take a piece music
4845 as argument, and generate a @code{\skip} or multi rest, exactly as
4846 long as the piece. The use of @code{mmrest-of-length} is demonstrated
4847 in the following example.
4849 @lilypond[verbatim,raggedright]
4850 cadenza = \relative c' {
4851 c4 d8 << { e f g } \\ { d4. } >>
4856 \new Staff { \cadenza c'4 }
4858 #(ly:export (mmrest-of-length cadenza))
4868 @node Rehearsal marks
4869 @subsection Rehearsal marks
4870 @cindex Rehearsal marks
4872 @cindex @code{\mark}
4874 To print a rehearsal mark, use the @code{\mark} command
4876 @lilypond[quote,fragment,verbatim,relative=1]
4887 (The letter I is skipped in accordance with engraving traditions.)
4889 @c FIXME - should make that tunable.
4891 The mark is incremented automatically if you use @code{\mark
4892 \default}, but you can also use an integer argument to set the mark
4893 manually. The value to use is stored in the property
4894 @code{rehearsalMark}.
4896 The style is defined by the property @code{markFormatter}. It is a
4897 function taking the current mark (an integer) and the current context
4898 as argument. It should return a markup object. In the following
4899 example, @code{markFormatter} is set to a canned procedure. After a
4900 few measures, it is set to function that produces a boxed number.
4902 @lilypond[quote,verbatim,fragment,relative=2]
4903 \set Score.markFormatter = #format-mark-numbers
4906 \set Score.markFormatter
4907 = #(lambda (mark context)
4909 (make-box-markup (number->string mark))))
4914 The file @file{scm/translation-functions.scm} contains the definitions
4915 of @code{format-mark-numbers} (the default format) and
4916 @code{format-mark-letters}. These can be used as inspiration for other
4917 formatting functions.
4920 @cindex coda on bar line
4921 @cindex segno on bar line
4922 @cindex fermata on bar line
4923 @cindex bar lines, symbols on
4925 The @code{\mark} command can also be used to put signs like coda,
4926 segno and fermatas on a bar line. Use @code{\markup} to
4927 to access the appropriate symbol
4929 @lilypond[quote,fragment,verbatim,relative=2]
4930 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4934 In the case of a line break, marks must also be printed at the end of
4935 the line, and not at the beginning. Use the following to force that
4938 \override Score.RehearsalMark
4939 #'break-visibility = #begin-of-line-invisible
4945 @cindex bar lines, putting symbols on
4949 Program reference: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
4951 Init files: @file{scm/translation-functions.scm} contains the
4952 definition of @code{format-mark-numbers} and
4953 @code{format-mark-letters}. They can be used as inspiration for other
4954 formatting functions.
4956 Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
4958 @inputfileref{input/regression,rehearsal-mark-number.ly}.
4962 @subsection Bar numbers
4966 @cindex measure numbers
4967 @cindex @code{currentBarNumber}
4969 Bar numbers are printed by default at the start of the line. The
4970 number itself is stored in the @code{currentBarNumber} property, which
4971 is normally updated automatically for every measure.
4973 Bar numbers can be typeset at regular intervals instead of at the
4974 beginning of each line. This is illustrated in the following example,
4975 whose source is available as
4976 @inputfileref{input/test,bar-number-regular-interval.ly}
4978 @lilypondfile[quote]{bar-number-regular-interval.ly}
4982 Program reference: @internalsref{BarNumber}.
4984 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4985 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4989 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4990 there is one at the top. To solve this, the
4991 @code{padding} property of @internalsref{BarNumber} can be
4992 used to position the number correctly.
4994 @node Instrument names
4995 @subsection Instrument names
4997 In an orchestral score, instrument names are printed left side of the
5000 This can be achieved by setting @internalsref{Staff}.@code{instrument}
5001 and @internalsref{Staff}.@code{instr}. This will print a string before
5002 the start of the staff. For the first start, @code{instrument} is
5003 used, for the next ones @code{instr} is used.
5005 @lilypond[quote,verbatim,raggedright,relative=1,fragment]
5006 \set Staff.instrument = "Ploink "
5007 \set Staff.instr = "Plk "
5013 You can also use markup texts to construct more complicated instrument
5016 @lilypond[quote,fragment,verbatim,raggedright]
5018 \set Staff.instrument = \markup {
5019 \column < "Clarinetti" { "in B"
5020 \smaller \flat } > }
5025 For longer instrument names, it may be useful to increase the
5026 @code{indent} setting in the @code{\paper} block.
5030 Program reference: @internalsref{InstrumentName}.
5034 When you put a name on a grand staff or piano staff the width of the
5035 brace is not taken into account. You must add extra spaces to the end of
5036 the name to avoid a collision.
5039 @subsection Transpose
5041 @cindex transposition of pitches
5042 @cindex @code{\transpose}
5044 A music expression can be transposed with @code{\transpose}. The
5047 \transpose @var{from} @var{to} @var{musicexpr}
5050 This means that @var{musicexpr} is transposed by the interval between
5051 the pitches @var{from} and @var{to}: any note with pitch @code{from}
5052 is changed to @code{to}.
5055 For example, consider a piece written in the key of D major. If
5056 this piece is a little too low for its performer, it can be
5057 transposed up to E major with
5059 \transpose d e @dots{}
5062 Consider a part written for violin (a C instrument). If
5063 this part is to be played on the A clarinet, the following
5064 transposition will produce the appropriate part
5067 \transpose a c @dots{}
5070 @code{\transpose} distinguishes between enharmonic pitches: both
5071 @code{\transpose c cis} or @code{\transpose c des} will transpose up
5072 half a tone. The first version will print sharps and the second
5073 version will print flats
5075 @lilypond[quote,raggedright,verbatim]
5076 mus = { \key d \major cis d fis g }
5080 \transpose c g' \mus
5081 \transpose c f' \mus
5088 Program reference: @internalsref{TransposedMusic}, and
5089 @internalsref{UntransposableMusic}.
5093 If you want to use both @code{\transpose} and @code{\relative},
5094 you must put @code{\transpose} outside of @code{\relative}, since
5095 @code{\relative} will have no effect music that appears inside a
5098 @node Instrument transpositions
5099 @subsection Instrument transpositions
5101 The key of a transposing instrument can also be specified. This
5102 applies to many wind instruments, for example, clarinets (B-flat, A and
5103 E-flat), horn (F) and trumpet (B-flat, C, D and E-flat).
5106 The transposition is entered after the keyword @code{\transposition}
5109 \transposition bes %% B-flat clarinet
5112 This command sets the property @code{instrumentTransposition}. The value of
5113 this property is used for MIDI output and quotations. It does not
5114 affect how notes are printed in the current staff.
5116 @cindex transposition, MIDI
5117 @cindex transposition, instrument
5120 @node Multi measure rests
5121 @subsection Multi measure rests
5122 @cindex multi measure rests
5123 @cindex Rests, multi measure
5127 Multi measure rests are entered using `@code{R}'. It is specifically
5128 meant for full bar rests and for entering parts: the rest can expand
5129 to fill a score with rests, or it can be printed as a single
5130 multimeasure rest. This expansion is controlled by the property
5131 @code{Score.skipBars}. If this is set to true, empty measures will not
5132 be expanded, and the appropriate number is added automatically
5134 @lilypond[quote,fragment,verbatim]
5135 \time 4/4 r1 | R1 | R1*2
5136 \set Score.skipBars = ##t R1*17 R1*4
5139 The @code{1} in @code{R1} is similar to the duration notation used for
5140 notes. Hence, for time signatures other than 4/4, you must enter other
5141 durations. This can be done with augmentation dots or fractions
5143 @lilypond[quote,fragment,verbatim]
5144 \set Score.skipBars = ##t
5153 An @code{R} spanning a single measure is printed as either a whole rest
5154 or a breve, centered in the measure regardless of the time signature.
5156 @cindex text on multi-measure rest
5157 @cindex script on multi-measure rest
5158 @cindex fermata on multi-measure rest
5160 Texts can be added to multi-measure rests by using the
5161 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
5162 replaced. If you need both texts and the number, you must add the
5163 number by hand. A variable (@code{\fermataMarkup}) is provided for
5167 @lilypond[quote,verbatim,fragment]
5169 R2._\markup { "Ad lib" }
5173 If you want to have a text on the left end of a multi-measure rest,
5174 attach the text to a zero-length skip note, i.e.
5182 @cindex whole rests for a full measure
5186 Program reference: @internalsref{MultiMeasureRestEvent},
5187 @internalsref{MultiMeasureTextEvent},
5188 @internalsref{MultiMeasureRestMusicGroup}, and
5189 @internalsref{MultiMeasureRest}.
5191 The layout object @internalsref{MultiMeasureRestNumber} is for the
5192 default number, and @internalsref{MultiMeasureRestText} for user
5197 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
5198 over multi-measure rests.
5200 @cindex condensing rests
5202 There is no way to automatically condense multiple rests into a single
5203 multimeasure rest. Multi measure rests do not take part in rest
5206 Be careful when entering multimeasure rests followed by whole
5207 notes. The following will enter two notes lasting four measures each
5211 When @code{skipBars} is set, the result will look OK, but the bar
5212 numbering will be off.
5214 @node Automatic part combining
5215 @subsection Automatic part combining
5216 @cindex automatic part combining
5217 @cindex part combiner
5220 Automatic part combining is used to merge two parts of music onto a
5221 staff. It is aimed at typesetting orchestral scores. When the two
5222 parts are identical for a period of time, only one is shown. In
5223 places where the two parts differ, they are typeset as separate
5224 voices, and stem directions are set automatically. Also, solo and
5225 @emph{a due} parts are identified and can be marked.
5227 The syntax for part combining is
5230 \partcombine @var{musicexpr1} @var{musicexpr2}
5235 The following example demonstrates the basic functionality of the part
5236 combiner: putting parts on one staff, and setting stem directions and
5239 @lilypond[quote,verbatim,raggedright,fragment]
5240 \new Staff \partcombine
5241 \relative g' { g g a( b) c c r r }
5242 \relative g' { g g r4 r e e g g }
5245 The first @code{g} appears only once, although it was
5246 specified twice (once in each part). Stem, slur and tie directions are
5247 set automatically, depending whether there is a solo or unisono. The
5248 first part (with context called @code{one}) always gets up stems, and
5249 `solo', while the second (called @code{two}) always gets down stems and
5252 If you just want the merging parts, and not the textual markings, you
5253 may set the property @code{printPartCombineTexts} to false
5255 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
5257 \set Staff.printPartCombineTexts = ##f
5259 \relative g' { g a( b) r }
5260 \relative g' { g r4 r f }
5265 Both arguments to @code{\partcombine} will be interpreted as
5266 @internalsref{Voice} contexts. If using relative octaves,
5267 @code{\relative} should be specified for both music expressions, i.e.
5271 \relative @dots{} @var{musicexpr1}
5272 \relative @dots{} @var{musicexpr2}
5276 A @code{\relative} section that is outside of @code{\partcombine} has
5277 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
5281 Program reference: @internalsref{PartCombineMusic},
5282 @internalsref{SoloOneEvent}, and
5283 @internalsref{SoloTwoEvent}, and
5284 @internalsref{UnisonoEvent}.
5288 When @code{printPartCombineTexts} is set, when the two voices play the
5289 same notes on and off, the part combiner may typeset @code{a2} more
5290 than once in a measure.
5292 @code{\partcombine} cannot be inside @code{\times}.
5294 @code{\partcombine} cannot be inside @code{\relative}.
5296 Internally, the @code{\partcombine} interprets both arguments as
5297 @code{Voice}s named @code{one} and @code{two}, and then decides when
5298 the parts can be combined. Consequently, if the arguments switch to
5299 differently named @internalsref{Voice} contexts, the events in those
5303 @subsection Hiding staves
5305 @cindex Frenched scores
5306 @cindex Hiding staves
5308 In orchestral scores, staff lines that only have rests are usually
5309 removed. This saves some space. This style is called `French Score'.
5310 For @internalsref{Lyrics},
5311 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
5312 switched on by default. When these line of these contexts turn out
5313 empty after the line-breaking process, they are removed.
5315 For normal staves, a specialized @internalsref{Staff} context is
5316 available, which does the same: staves containing nothing (or only
5317 multi measure rests) are removed. The context definition is stored in
5318 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
5319 in this example disappears in the second line
5322 @lilypond[quote,verbatim]
5324 \context { \RemoveEmptyStaffContext }
5329 \new Staff { e4 f g a \break c1 }
5330 \new Staff { c4 d e f \break R1 }
5335 The first system shows all staves in full. If empty staves should be
5336 removed from the first system too, set @code{remove-first} to false in
5337 @internalsref{RemoveEmptyVerticalGroup}.
5339 Another application is making ossia sections, i.e. alternative
5340 melodies on a separate piece of staff, with help of a Frenched
5341 staff. See @inputfileref{input/test,ossia.ly} for an example.
5344 @node Different editions from one source
5345 @subsection Different editions from one source
5347 The @code{\tag} command marks music expressions with a name. These
5348 tagged expressions can be filtered out later. With this mechanism it
5349 is possible to make different versions of the same music source.
5351 In the following example, we see two versions of a piece of music, one
5352 for the full score, and one with cue notes for the instrumental part
5368 The same can be applied to articulations, texts, etc.: they are
5371 -\tag #@var{your-tag}
5373 to an articulation, for example,
5378 This defines a note with a conditional fingering indication.
5380 By applying the @code{remove-tag} function, tagged expressions can be
5381 filtered. For example,
5385 \applymusic #(remove-tag 'score) @var{the music}
5386 \applymusic #(remove-tag 'part) @var{the music}
5391 @lilypondfile[quote]{tag-filter.ly}
5393 The argument of the @code{\tag} command should be a symbol, or a list
5394 of symbols, for example,
5396 \tag #'(original-part transposed-part) @dots{}
5401 Examples: @inputfileref{input/regression,tag-filter.ly}.
5404 @node Quoting other voices
5405 @subsection Quoting other voices
5407 With quotations, fragments of other parts can be inserted into a part
5408 directly. Before a part can be quoted, it must be marked especially as
5409 quotable. This is done with code @code{\addquote} command.
5412 \addquote @var{name} @var{music}
5417 Here, @var{name} is an identifying string. The @var{music} is any kind
5418 of music. This is an example of @code{\addquote}
5421 \addquote clarinet \relative c' {
5426 This command must be entered at toplevel, i.e. outside any music
5429 After calling @code{\addquote}, the quotation may then be done with
5433 \quote @var{name} @var{duration}
5436 During a part, a piece of music can be quoted with the @code{\quote}
5443 This would cite three quarter notes (@code{2.} is a dotted half note)
5444 of the previously added @code{clarinet} voice.
5446 More precisely, it takes the current time-step of the part being
5447 printed, and extracts the notes at the corresponding point of the
5448 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
5449 should be the entire part of the voice to be quoted, including any
5450 rests at the beginning.
5452 Quotations take into account the transposition of both source and target
5453 instruments, if they are specified using the @code{\transposition} command.
5455 @lilypond[quote,raggedright,verbatim]
5456 \addquote clarinet \relative c' {
5462 e'8 f'8 \quote clarinet 2
5466 The type of events that are present in cue notes can be trimmed with
5467 the @code{quotedEventTypes} property. The default value is
5468 @code{(note-event rest-event)}, which means that only notes of and
5469 rests of the cued voice end up in the @code{\quote}.
5473 \set Staff.quotedEventTypes = #'(note-event articulation-event dynamic-event)
5477 will quote notes (but no rests), together with scripts and dynamics.
5481 Only the contents of the first @internalsref{Voice} occurring in an
5482 @code{\addquote} command will be considered for quotation, so
5483 @var{music} can not contain @code{\new} and @code{\context Voice}
5484 statements that would switch to a different Voice.
5489 In this manual: @ref{Instrument transpositions}.
5491 Examples: @inputfileref{input/regression,quote.ly}
5492 @inputfileref{input/regression,quote-transposition.ly}
5494 Program reference: @internalsref{QuoteMusic}.
5496 @node Formatting cue notes
5497 @section Formatting cue notes
5500 The previous section deals with inserting notes from another
5501 voice. When making a part, these notes need to be specially formatted.
5502 Here is an example of formatted cue notes
5507 \override Stem #'length = #5.5
5508 \override Beam #'thickness = #0.384
5509 \override Beam #'space-function =
5510 #(lambda (beam mult) (* 0.8 (Beam::space_function beam mult)))
5514 \set Staff.instrument = #"Horn in F"
5515 \set Score.skipBars = ##t
5518 \once \override Staff.MultiMeasureRest #'staff-position = #-6
5525 r8^"Bsn." c'8 f'8[ f'8]
5535 There are a couple of points to take care of:
5539 The multi rest of the original part should be moved up or down during
5542 Cue notes have smaller font sizes.
5544 When cued notes have a clef change relative to the original part, the
5545 clef should be restored after the cue section. This minimizes
5546 confusion for the reader,
5548 When the original part starts, this should be marked with the name of
5549 the instrument, in this case ``Horn.'' Of course, the cue part is
5550 marked with the instrument playing the cue.
5555 @node Ancient notation
5556 @section Ancient notation
5558 @cindex Vaticana, Editio
5559 @cindex Medicaea, Editio
5564 Support for ancient notation includes features for mensural notation
5565 and Gregorian Chant notation. There is also limited support for
5566 figured bass notation.
5568 Many graphical objects provide a @code{style} property, see
5571 @ref{Ancient note heads},
5573 @ref{Ancient accidentals},
5578 @ref{Ancient clefs},
5582 @ref{Ancient time signatures}.
5585 By manipulating such a grob property, the typographical appearance of
5586 the affected graphical objects can be accommodated for a specific
5587 notation flavor without need for introducing any new notational
5590 Other aspects of ancient notation can not that easily be expressed as
5591 in terms of just changing a style property of a graphical object.
5592 Therefore, some notational concepts are introduced specifically for
5607 * Ancient note heads::
5608 * Ancient accidentals::
5612 * Ancient time signatures::
5616 * Vaticana style contexts::
5620 If this all is too much of documentation for you, and you just want to
5621 dive into typesetting without worrying too much about the details on
5622 how to customize a context, you may have a look at the predefined
5623 contexts (see @ref{Vaticana style contexts}). Use them to set up
5624 predefined style-specific voice and staff contexts, and directly go
5625 ahead with the note entry.
5627 @node Ancient note heads
5628 @subsection Ancient note heads
5633 For ancient notation, a note head style other than the @code{default}
5634 style may be chosen. This is accomplished by setting the @code{style}
5635 property of the NoteHead object to @code{baroque}, @code{neomensural}
5636 or @code{mensural}. The @code{baroque} style differs from the
5637 @code{default} style only in using a square shape for @code{\breve}
5638 note heads. The @code{neomensural} style differs from the
5639 @code{baroque} style in that it uses rhomboidal heads for whole notes
5640 and all smaller durations. Stems are centered on the note heads.
5641 This style is in particular useful when transcribing mensural music,
5642 e.g. for the incipit. The @code{mensural} style finally produces note
5643 heads that mimic the look of note heads in historic printings of the
5646 The following example demonstrates the @code{neomensural} style
5648 @lilypond[quote,fragment,raggedright]
5649 \set Score.skipBars = ##T
5650 \override NoteHead #'style = #'neomensural
5651 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
5654 When typesetting a piece in Gregorian Chant notation, the
5655 @internalsref{Gregorian_ligature_engraver} will automatically select
5656 the proper note heads, such there is no need to explicitly set the
5657 note head style. Still, the note head style can be set e.g.@: to
5658 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
5659 @internalsref{Mensural_ligature_engraver} is used to automatically
5660 assemble mensural ligatures. See @ref{Ligatures} for how ligature
5665 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
5666 overview over all available note head styles.
5669 @node Ancient accidentals
5670 @subsection Ancient accidentals
5675 Use the @code{style} property of grob @internalsref{Accidental} to
5676 select ancient accidentals. Supported styles are
5677 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
5679 @lilypond[quote,raggedright,staffsize=26]
5687 { " " \musicglyph #"accidentals-vaticana-1"
5688 " " \musicglyph #"accidentals-vaticana0" }
5692 { " " \musicglyph #"accidentals-medicaea-1" }
5696 { " " \musicglyph #"accidentals-hufnagel-1" }
5700 { " " \musicglyph #"accidentals-mensural-1"
5701 " " \musicglyph #"accidentals-mensural1" }
5710 \remove "Bar_number_engraver"
5714 \remove "Clef_engraver"
5715 \remove "Key_engraver"
5716 \remove "Time_signature_engraver"
5717 \remove "Staff_symbol_engraver"
5718 minimumVerticalExtent = ##f
5724 As shown, not all accidentals are supported by each style. When
5725 trying to access an unsupported accidental, LilyPond will switch to a
5726 different style, as demonstrated in
5727 @inputfileref{input/test,ancient-accidentals.ly}.
5729 Similarly to local accidentals, the style of the key signature can be
5730 controlled by the @code{style} property of the
5731 @internalsref{KeySignature} grob.
5735 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
5736 @ref{Accidentals} give a general introduction into the use of
5737 accidentals. @ref{Key signature} gives a general introduction into
5738 the use of key signatures.
5740 Program reference: @internalsref{KeySignature}.
5742 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
5745 @subsection Ancient rests
5750 Use the @code{style} property of grob @internalsref{Rest} to select
5751 ancient accidentals. Supported styles are @code{classical},
5752 @code{neomensural} and @code{mensural}. @code{classical} differs
5753 from the @code{default} style only in that the quarter rest looks like
5754 a horizontally mirrored 8th rest. The @code{neomensural} style suits
5755 well for e.g. the incipit of a transcribed mensural piece of music.
5756 The @code{mensural} style finally mimics the appearance of rests as
5757 in historic prints of the 16th century.
5759 The following example demonstrates the @code{neomensural} style
5761 @lilypond[quote,fragment,raggedright]
5762 \override Rest #'style = #'neomensural
5763 \set Score.skipBars = ##t
5764 r\longa r\breve r1 r2 r4 r8 r16
5767 There are no 32th and 64th rests specifically for the mensural or
5768 neo-mensural style. Instead, the rests from the default style will be
5769 taken. See @inputfileref{input/test,rests.ly} for a chart of all
5772 There are no rests in Gregorian Chant notation; instead, it uses
5777 In this manual: @ref{Rests} gives a general introduction into the use of rests.
5781 @subsection Ancient clefs
5786 LilyPond supports a variety of clefs, many of them ancient.
5788 The following table shows all ancient clefs that are supported via the
5789 @code{\clef} command. Some of the clefs use the same glyph, but
5790 differ only with respect to the line they are printed on. In such
5791 cases, a trailing number in the name is used to enumerate these clefs.
5792 Still, you can manually force a clef glyph to be typeset on an
5793 arbitrary line, as described in @ref{Clef}. The note printed to the
5794 right side of each clef in the example column denotes the @code{c'}
5795 with respect to that clef.
5797 @multitable @columnfractions .4 .4 .2
5800 @b{Description} @tab
5801 @b{Supported Clefs} @tab
5805 modern style mensural C clef @tab
5806 @code{neomensural-c1}, @code{neomensural-c2},
5807 @code{neomensural-c3}, @code{neomensural-c4} @tab
5808 @lilypond[fragment,quote,relative=1,notime]
5810 \clef "neomensural-c2" c
5814 petrucci style mensural C clefs, for use on different staff lines
5815 (the examples shows the 2nd staff line C clef).
5825 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5827 \clef "petrucci-c2" c
5831 petrucci style mensural F clef @tab
5832 @code{petrucci-f} @tab
5833 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5835 \clef "petrucci-f" c
5839 petrucci style mensural G clef @tab
5840 @code{petrucci-g} @tab
5841 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5843 \clef "petrucci-g" c
5847 historic style mensural C clef @tab
5848 @code{mensural-c1}, @code{mensural-c2}, @code{mensural-c3},
5849 @code{mensural-c4} @tab
5850 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5852 \clef "mensural-c2" c
5856 historic style mensural F clef @tab
5857 @code{mensural-f} @tab
5858 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5860 \clef "mensural-f" c
5864 historic style mensural G clef @tab
5865 @code{mensural-g} @tab
5866 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5868 \clef "mensural-g" c
5872 Editio Vaticana style do clef @tab
5873 @code{vaticana-do1}, @code{vaticana-do2}, @code{vaticana-do3} @tab
5874 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5875 \override Staff.StaffSymbol #'line-count = #4
5877 \clef "vaticana-do2" c
5881 Editio Vaticana style fa clef @tab
5882 @code{vaticana-fa1}, @code{vaticana-fa2} @tab
5883 @lilypond[quote,relative=1,notime,indent=0.0\mm,fragment]
5884 \override Staff.StaffSymbol #'line-count = #4
5886 \clef "vaticana-fa2" c
5890 Editio Medicaea style do clef @tab
5891 @code{medicaea-do1}, @code{medicaea-do2}, @code{medicaea-do3} @tab
5892 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5893 \override Staff.StaffSymbol #'line-count = #4
5895 \clef "medicaea-do2" c
5899 Editio Medicaea style fa clef @tab
5900 @code{medicaea-fa1}, @code{medicaea-fa2} @tab
5901 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5902 \override Staff.StaffSymbol #'line-count = #4
5904 \clef "medicaea-fa2" c
5908 historic style hufnagel do clef @tab
5909 @code{hufnagel-do1}, @code{hufnagel-do2}, @code{hufnagel-do3} @tab
5910 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5911 \override Staff.StaffSymbol #'line-count = #4
5913 \clef "hufnagel-do2" c
5917 historic style hufnagel fa clef @tab
5918 @code{hufnagel-fa1}, @code{hufnagel-fa2} @tab
5919 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5920 \override Staff.StaffSymbol #'line-count = #4
5922 \clef "hufnagel-fa2" c
5926 historic style hufnagel combined do/fa clef @tab
5927 @code{hufnagel-do-fa} @tab
5928 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5929 \clef "hufnagel-do-fa" c
5936 @emph{Modern style} means ``as is typeset in contemporary editions of
5937 transcribed mensural music''.
5939 @emph{Petrucci style} means ``inspired by printings published by the
5940 famous engraver Petrucci (1466-1539)''.
5942 @emph{Historic style} means ``as was typeset or written in historic
5943 editions (other than those of Petrucci)''.
5945 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5947 Petrucci used C clefs with differently balanced left-side vertical
5948 beams, depending on which staff line it is printed.
5952 In this manual: see @ref{Clef}.
5956 The mensural g clef is mapped to the Petrucci g clef.
5961 @subsection Ancient flags
5966 Use the @code{flag-style} property of grob @internalsref{Stem} to
5967 select ancient flags. Besides the @code{default} flag style,
5968 only @code{mensural} style is supported
5970 @lilypond[quote,fragment,raggedright,verbatim]
5971 \override Stem #'flag-style = #'mensural
5972 \override Stem #'thickness = #1.0
5973 \override NoteHead #'style = #'mensural
5975 c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
5976 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5979 Note that the innermost flare of each mensural flag always is
5980 vertically aligned with a staff line. If you do not like this
5981 behavior, you can set the @code{adjust-if-on-staffline} property of
5982 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5983 of the end of each flare is different between notes on staff lines and
5984 notes between staff lines
5986 @lilypond[quote,fragment,raggedright]
5987 \override Stem #'flag-style = #'mensural
5988 \override Stem #'thickness = #1.0
5989 \override Stem #'adjust-if-on-staffline = ##f
5990 \override NoteHead #'style = #'mensural
5992 c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
5993 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5996 There is no particular flag style for neo-mensural notation. Hence,
5997 when typesetting the incipit of a transcribed piece of mensural
5998 music, the default flag style should be used. There are no flags in
5999 Gregorian Chant notation.
6002 @node Ancient time signatures
6003 @subsection Ancient time signatures
6005 @cindex time signatures
6008 There is limited support for mensural time signatures. The
6009 glyphs are hard-wired to particular time fractions. In other words,
6010 to get a particular mensural signature glyph with the @code{\time n/m}
6011 command, @code{n} and @code{m} have to be chosen according to the
6020 \remove Staff_symbol_engraver
6021 \remove Clef_engraver
6022 \remove Time_signature_engraver
6025 \set Score.timing = ##f
6026 \set Score.barAlways = ##t
6027 s_\markup { "$\\backslash$time 4/4" }
6028 ^\markup { " " \musicglyph #"timesig-neomensural4/4" }
6030 s_\markup { "$\\backslash$time 2/2" }
6031 ^\markup { " " \musicglyph #"timesig-neomensural2/2" }
6033 s_\markup { "$\\backslash$time 6/4" }
6034 ^\markup { " " \musicglyph #"timesig-neomensural6/4" }
6036 s_\markup { "$\\backslash$time 6/8" }
6037 ^\markup { " " \musicglyph #"timesig-neomensural6/8" }
6039 s_\markup { "$\\backslash$time 3/2" }
6040 ^\markup { " " \musicglyph #"timesig-neomensural3/2" }
6042 s_\markup { "$\\backslash$time 3/4" }
6043 ^\markup { " " \musicglyph #"timesig-neomensural3/4" }
6045 s_\markup { "$\\backslash$time 9/4" }
6046 ^\markup { " " \musicglyph #"timesig-neomensural9/4" }
6048 s_\markup { "$\\backslash$time 9/8" }
6049 ^\markup { " " \musicglyph #"timesig-neomensural9/8" }
6051 s_\markup { "$\\backslash$time 4/8" }
6052 ^\markup { " " \musicglyph #"timesig-neomensural4/8" }
6054 s_\markup { "$\\backslash$time 2/4" }
6055 ^\markup { " " \musicglyph #"timesig-neomensural2/4" }
6060 Use the @code{style} property of grob @internalsref{TimeSignature} to
6061 select ancient time signatures. Supported styles are
6062 @code{neomensural} and @code{mensural}. The above table uses the
6063 @code{neomensural} style. This style is appropriate for the
6064 incipit of transcriptions of mensural pieces. The @code{mensural}
6065 style mimics the look of historical printings of the 16th century.
6067 The following examples shows the differences in style,
6068 @lilypond[raggedright]
6071 c1^\markup { \hspace #-2.0 \typewriter default }
6073 \override Staff.TimeSignature #'style = #'numbered
6075 c1^\markup { \hspace #-2.0 \typewriter numbered }
6077 \override Staff.TimeSignature #'style = #'mensural
6079 c1^\markup { \hspace #-2.0 \typewriter mensural }
6081 \override Staff.TimeSignature #'style = #'neomensural
6083 c1^\markup { \hspace #-2.0 \typewriter neomensural }
6084 \override Staff.TimeSignature #'style = #'single-digit
6086 c1^\markup { \hspace #-2.0 \typewriter single-digit }
6092 This manual: @ref{Time signature} gives a general introduction into
6093 the use of time signatures.
6097 Ratios of note durations do not change with the time signature. For
6098 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
6099 be made by hand, by setting
6102 breveTP = #(ly:make-duration -1 0 3 2)
6108 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
6110 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
6111 addressable with @code{\time}. Use a @code{\markup} instead
6114 @subsection Custodes
6119 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
6120 symbol that appears at the end of a staff. It anticipates the pitch
6121 of the first note(s) of the following line thus helping the performer
6122 to manage line breaks during performance.
6124 Custodes were frequently used in music notation until the 17th
6125 century. Nowadays, they have survived only in a few particular forms
6126 of musical notation such as contemporary editions of Gregorian chant
6127 like the @emph{editio vaticana}. There are different custos glyphs
6128 used in different flavors of notational style.
6130 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
6131 @internalsref{Staff} context when declaring the @code{\paper} block,
6132 as shown in the following example
6138 \consists Custos_engraver
6139 Custos \override #'style = #'mensural
6144 The result looks like this
6146 @lilypond[quote,raggedright]
6150 \override Staff.Custos #'style = #'mensural
6157 \consists Custos_engraver
6163 The custos glyph is selected by the @code{style} property. The styles
6164 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
6165 @code{mensural}. They are demonstrated in the following fragment
6169 \new Lyrics \lyrics {
6172 \typewriter "vaticana"
6173 { " " \musicglyph #"custodes-vaticana-u0" }
6176 \typewriter "medicaea"
6177 { " " \musicglyph #"custodes-medicaea-u0" }
6181 \typewriter "hufnagel"
6182 { " " \musicglyph #"custodes-hufnagel-u0" }
6186 \typewriter "mensural"
6187 { " " \musicglyph #"custodes-mensural-u0" }
6199 Program reference: @internalsref{Custos}.
6201 Examples: @inputfileref{input/regression,custos.ly}.
6205 @subsection Divisiones
6211 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
6212 `division') is a staff context symbol that is used to structure
6213 Gregorian music into phrases and sections. The musical meaning of
6214 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
6215 can be characterized as short, medium and long pause, somewhat like
6216 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
6217 only marks the end of a chant, but is also frequently used within a
6218 single antiphonal/responsorial chant to mark the end of each section.
6221 To use divisiones, include the file @code{gregorian-init.ly}. It
6222 contains definitions that you can apply by just inserting
6223 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
6224 and @code{\finalis} at proper places in the input. Some editions use
6225 @emph{virgula} or @emph{caesura} instead of divisio minima.
6226 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
6229 @lilypondfile[quote,raggedright]{divisiones.ly}
6233 @cindex @code{\virgula}
6235 @cindex @code{\caesura}
6237 @cindex @code{\divisioMinima}
6238 @code{\divisioMinima},
6239 @cindex @code{\divisioMaior}
6240 @code{\divisioMaior},
6241 @cindex @code{\divisioMaxima}
6242 @code{\divisioMaxima},
6243 @cindex @code{\finalis}
6248 In this manual: @ref{Breath marks}.
6250 Program reference: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
6252 Examples: @inputfileref{input/test,divisiones.ly}.
6255 @subsection Ligatures
6259 @c TODO: Should double check if I recalled things correctly when I wrote
6260 @c down the following paragraph by heart.
6262 A ligature is a graphical symbol that represents at least two distinct
6263 notes. Ligatures originally appeared in the manuscripts of Gregorian
6264 chant notation to denote ascending or descending sequences of notes.
6266 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
6267 Some ligature styles may need additional input syntax specific for
6268 this particular type of ligature. By default, the
6269 @internalsref{LigatureBracket} engraver just puts a square bracket
6272 @lilypond[quote,raggedright,verbatim]
6280 To select a specific style of ligatures, a proper ligature engraver
6281 has to be added to the @internalsref{Voice} context, as explained in
6282 the following subsections. Only white mensural ligatures
6283 are supported with certain limitations.
6289 Ligatures need special spacing that has not yet been implemented. As
6290 a result, there is too much space between ligatures most of the time,
6291 and line breaking often is unsatisfactory. Also, lyrics do not
6292 correctly align with ligatures.
6294 Accidentals must not be printed within a ligature, but instead need to
6295 be collected and printed in front of it.
6297 Augmentum dots within ligatures are not handled correctly.
6301 * White mensural ligatures::
6302 * Gregorian square neumes ligatures::
6305 @node White mensural ligatures
6306 @subsubsection White mensural ligatures
6308 @cindex Mensural ligatures
6309 @cindex White mensural ligatures
6311 There is limited support for white mensural ligatures.
6313 To engrave white mensural ligatures, in the paper block the
6314 @internalsref{Mensural_ligature_engraver} has to be put into the
6315 @internalsref{Voice} context, and remove the
6316 @internalsref{Ligature_bracket_engraver}
6322 \remove Ligature_bracket_engraver
6323 \consists Mensural_ligature_engraver
6328 There is no additional input language to describe the shape of a
6329 white mensural ligature. The shape is rather determined solely from
6330 the pitch and duration of the enclosed notes. While this approach may
6331 take a new user a while to get accustomed, it has the great advantage
6332 that the full musical information of the ligature is known internally.
6333 This is not only required for correct MIDI output, but also allows for
6334 automatic transcription of the ligatures.
6339 \set Score.timing = ##f
6340 \set Score.defaultBarType = "empty"
6341 \override NoteHead #'style = #'neomensural
6342 \override Staff.TimeSignature #'style = #'neomensural
6344 \[ g\longa c\breve a\breve f\breve d'\longa \]
6346 \[ e1 f1 a\breve g\longa \]
6348 @lilypond[quote,raggedright]
6351 \set Score.timing = ##f
6352 \set Score.defaultBarType = "empty"
6353 \override NoteHead #'style = #'neomensural
6354 \override Staff.TimeSignature #'style = #'neomensural
6356 \[ g\longa c\breve a\breve f\breve d'\longa \]
6358 \[ e1 f1 a\breve g\longa \]
6363 \remove Ligature_bracket_engraver
6364 \consists Mensural_ligature_engraver
6370 Without replacing @internalsref{Ligature_bracket_engraver} with
6371 @internalsref{Mensural_ligature_engraver}, the same music transcribes
6374 @lilypond[quote,raggedright]
6376 \set Score.timing = ##f
6377 \set Score.defaultBarType = "empty"
6378 \override NoteHead #'style = #'neomensural
6379 \override Staff.TimeSignature #'style = #'neomensural
6381 \[ g\longa c\breve a\breve f\breve d'\longa \]
6383 \[ e1 f1 a\breve g\longa \]
6389 The implementation is experimental. It may output strange warnings,
6390 incorrect results, and might even crash on more complex ligatures.
6392 @node Gregorian square neumes ligatures
6393 @subsubsection Gregorian square neumes ligatures
6395 @cindex Square neumes ligatures
6396 @cindex Gregorian square neumes ligatures
6398 There is limited support for Gregorian square neumes notation
6399 (following the style of the Editio Vaticana). Core ligatures can
6400 already be typeset, but essential issues for serious typesetting are
6401 still lacking, such as (among others) horizontal alignment of multiple
6402 ligatures, lyrics alignment and proper accidentals handling.
6405 The following table contains the extended neumes table of the 2nd
6406 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
6407 1983 by the monks of Solesmes.
6409 @multitable @columnfractions .4 .2 .2 .2
6412 @b{Neuma aut@*Neumarum Elementa} @tab
6413 @b{Figurae@*Rectae} @tab
6414 @b{Figurae@*Liquescentes Auctae} @tab
6415 @b{Figurae@*Liquescentes Deminutae}
6417 @c TODO: \paper block is identical in all of the below examples.
6418 @c Therefore, it should somehow be included rather than duplicated all
6421 @c why not make identifiers in ly/engraver-init.ly? --hwn
6423 @c Because it's just used to typeset plain notes without
6424 @c a staff for demonstration purposes rather than something
6425 @c special of Gregorian chant notation. --jr
6430 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.5\cm]
6431 \include "gregorian-init.ly"
6436 \noBreak s^\markup {"a"} \noBreak
6438 % Punctum Inclinatum
6440 \noBreak s^\markup {"b"}
6442 \paper { \neumeDemoPaper }}
6445 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.5\cm]
6446 \include "gregorian-init.ly"
6449 % Punctum Auctum Ascendens
6450 \[ \auctum \ascendens b \]
6451 \noBreak s^\markup {"c"} \noBreak
6453 % Punctum Auctum Descendens
6454 \[ \auctum \descendens b \]
6455 \noBreak s^\markup {"d"} \noBreak
6457 % Punctum Inclinatum Auctum
6458 \[ \inclinatum \auctum b \]
6459 \noBreak s^\markup {"e"}
6461 \paper { \neumeDemoPaper }}
6464 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6465 \include "gregorian-init.ly"
6468 % Punctum Inclinatum Parvum
6469 \[ \inclinatum \deminutum b \]
6470 \noBreak s^\markup {"f"}
6472 \paper { \neumeDemoPaper }}
6478 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6479 \include "gregorian-init.ly"
6484 \noBreak s^\markup {"g"}
6486 \paper { \neumeDemoPaper }}
6492 @code{3. Apostropha vel Stropha}
6494 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6495 \include "gregorian-init.ly"
6500 \noBreak s^\markup {"h"}
6502 \paper { \neumeDemoPaper }}
6505 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6506 \include "gregorian-init.ly"
6510 \[ \stropha \auctum b \]
6511 \noBreak s^\markup {"i"}
6513 \paper { \neumeDemoPaper }}
6520 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6521 \include "gregorian-init.ly"
6526 \noBreak s^\markup {"j"}
6528 \paper { \neumeDemoPaper }}
6534 @code{5. Clivis vel Flexa}
6536 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6537 \include "gregorian-init.ly"
6544 \paper { \neumeDemoPaper }}
6547 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
6548 \include "gregorian-init.ly"
6551 % Clivis Aucta Descendens
6552 \[ b \flexa \auctum \descendens g \]
6553 \noBreak s^\markup {"l"} \noBreak
6555 % Clivis Aucta Ascendens
6556 \[ b \flexa \auctum \ascendens g \]
6557 \noBreak s^\markup {"m"}
6559 \paper { \neumeDemoPaper }}
6562 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6563 \include "gregorian-init.ly"
6567 \[ b \flexa \deminutum g \]
6570 \paper { \neumeDemoPaper }}
6574 @code{6. Podatus vel Pes}
6576 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6577 \include "gregorian-init.ly"
6584 \paper { \neumeDemoPaper }}
6587 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
6588 \include "gregorian-init.ly"
6591 % Pes Auctus Descendens
6592 \[ g \pes \auctum \descendens b \]
6593 \noBreak s^\markup {"p"} \noBreak
6595 % Pes Auctus Ascendens
6596 \[ g \pes \auctum \ascendens b \]
6597 \noBreak s^\markup {"q"}
6599 \paper { \neumeDemoPaper }}
6602 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6603 \include "gregorian-init.ly"
6607 \[ g \pes \deminutum b \]
6610 \paper { \neumeDemoPaper }}
6614 @code{7. Pes Quassus}
6616 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6617 \include "gregorian-init.ly"
6621 \[ \oriscus g \pes \virga b \]
6624 \paper { \neumeDemoPaper }}
6627 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6628 \include "gregorian-init.ly"
6631 % Pes Quassus Auctus Descendens
6632 \[ \oriscus g \pes \auctum \descendens b \]
6635 \paper { \neumeDemoPaper }}
6640 @code{8. Quilisma Pes}
6642 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6643 \include "gregorian-init.ly"
6647 \[ \quilisma g \pes b \]
6650 \paper { \neumeDemoPaper }}
6653 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6654 \include "gregorian-init.ly"
6657 % Quilisma Pes Auctus Descendens
6658 \[ \quilisma g \pes \auctum \descendens b \]
6661 \paper { \neumeDemoPaper }}
6666 @code{9. Podatus Initio Debilis}
6668 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6669 \include "gregorian-init.ly"
6672 % Pes Initio Debilis
6673 \[ \deminutum g \pes b \]
6676 \paper { \neumeDemoPaper }}
6679 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6680 \include "gregorian-init.ly"
6683 % Pes Auctus Descendens Initio Debilis
6684 \[ \deminutum g \pes \auctum \descendens b \]
6687 \paper { \neumeDemoPaper }}
6694 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6695 \include "gregorian-init.ly"
6699 \[ a \pes b \flexa g \]
6702 \paper { \neumeDemoPaper }}
6705 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6706 \include "gregorian-init.ly"
6709 % Torculus Auctus Descendens
6710 \[ a \pes b \flexa \auctum \descendens g \]
6713 \paper { \neumeDemoPaper }}
6716 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6717 \include "gregorian-init.ly"
6720 % Torculus Deminutus
6721 \[ a \pes b \flexa \deminutum g \]
6724 \paper { \neumeDemoPaper }}
6728 @code{11. Torculus Initio Debilis}
6730 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6731 \include "gregorian-init.ly"
6734 % Torculus Initio Debilis
6735 \[ \deminutum a \pes b \flexa g \]
6738 \paper { \neumeDemoPaper }}
6741 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6742 \include "gregorian-init.ly"
6745 % Torculus Auctus Descendens Initio Debilis
6746 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6749 \paper { \neumeDemoPaper }}
6752 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6753 \include "gregorian-init.ly"
6756 % Torculus Deminutus Initio Debilis
6757 \[ \deminutum a \pes b \flexa \deminutum g \]
6760 \paper { \neumeDemoPaper }}
6764 @code{12. Porrectus}
6766 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6767 \include "gregorian-init.ly"
6771 \[ a \flexa g \pes b \]
6774 \paper { \neumeDemoPaper }}
6777 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6778 \include "gregorian-init.ly"
6781 % Porrectus Auctus Descendens
6782 \[ a \flexa g \pes \auctum \descendens b \]
6785 \paper { \neumeDemoPaper }}
6788 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6789 \include "gregorian-init.ly"
6792 % Porrectus Deminutus
6793 \[ a \flexa g \pes \deminutum b \]
6796 \paper { \neumeDemoPaper }}
6802 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6803 \include "gregorian-init.ly"
6807 \[ \virga b \inclinatum a \inclinatum g \]
6810 \paper { \neumeDemoPaper }
6814 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6815 \include "gregorian-init.ly"
6819 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6822 \paper { \neumeDemoPaper }}
6825 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6826 \include "gregorian-init.ly"
6829 % Climacus Deminutus
6830 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6833 \paper { \neumeDemoPaper }}
6837 @code{14. Scandicus}
6839 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6840 \include "gregorian-init.ly"
6844 \[ g \pes a \virga b \]
6847 \paper { \neumeDemoPaper }}
6850 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6851 \include "gregorian-init.ly"
6854 % Scandicus Auctus Descendens
6855 \[ g \pes a \pes \auctum \descendens b \]
6858 \paper { \neumeDemoPaper }}
6861 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6862 \include "gregorian-init.ly"
6865 % Scandicus Deminutus
6866 \[ g \pes a \pes \deminutum b \]
6869 \paper { \neumeDemoPaper }}
6875 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6876 \include "gregorian-init.ly"
6880 \[ g \oriscus a \pes \virga b \]
6883 \paper { \neumeDemoPaper }}
6886 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6887 \include "gregorian-init.ly"
6890 % Salicus Auctus Descendens
6891 \[ g \oriscus a \pes \auctum \descendens b \]
6894 \paper { \neumeDemoPaper }}
6901 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6902 \include "gregorian-init.ly"
6906 \[ \stropha b \stropha b \stropha a \]
6909 \paper { \neumeDemoPaper }
6918 Unlike most other neumes notation systems, the input language for
6919 neumes does not reflect the typographical appearance, but is designed
6920 to focus on musical meaning. For example, @code{\[ a \pes b
6921 \flexa g \]} produces a Torculus consisting of three Punctum heads,
6922 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
6923 curved flexa shape and only a single Punctum head. There is no
6924 command to explicitly typeset the curved flexa shape; the decision of
6925 when to typeset a curved flexa shape is based on the musical
6926 input. The idea of this approach is to separate the musical aspects
6927 of the input from the notation style of the output. This way, the
6928 same input can be reused to typeset the same music in a different
6929 style of Gregorian chant notation.
6931 The following table shows the code fragments that produce the
6932 ligatures in the above neumes table. The letter in the first column
6933 in each line of the below table indicates to which ligature in the
6934 above table it refers. The second column gives the name of the
6935 ligature. The third column shows the code fragment that produces this
6936 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6938 @multitable @columnfractions .1 .4 .5
6952 Punctum Inclinatum @tab
6953 @code{\[ \inclinatum b \]}
6957 Punctum Auctum Ascendens @tab
6958 @code{\[ \auctum \ascendens b \]}
6962 Punctum Auctum Descendens @tab
6963 @code{\[ \auctum \descendens b \]}
6967 Punctum Inclinatum Auctum @tab
6968 @code{\[ \inclinatum \auctum b \]}
6972 Punctum Inclinatum Parvum @tab
6973 @code{\[ \inclinatum \deminutum b \]}
6978 @code{\[ \virga b \]}
6983 @code{\[ \stropha b \]}
6988 @code{\[ \stropha \auctum b \]}
6993 @code{\[ \oriscus b \]}
6997 Clivis vel Flexa @tab
6998 @code{\[ b \flexa g \]}
7002 Clivis Aucta Descendens @tab
7003 @code{\[ b \flexa \auctum \descendens g \]}
7007 Clivis Aucta Ascendens @tab
7008 @code{\[ b \flexa \auctum \ascendens g \]}
7013 @code{\[ b \flexa \deminutum g \]}
7017 Podatus vel Pes @tab
7018 @code{\[ g \pes b \]}
7022 Pes Auctus Descendens @tab
7023 @code{\[ g \pes \auctum \descendens b \]}
7027 Pes Auctus Ascendens @tab
7028 @code{\[ g \pes \auctum \ascendens b \]}
7033 @code{\[ g \pes \deminutum b \]}
7038 @code{\[ \oriscus g \pes \virga b \]}
7042 Pes Quassus Auctus Descendens @tab
7043 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7048 @code{\[ \quilisma g \pes b \]}
7052 Quilisma Pes Auctus Descendens @tab
7053 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7057 Pes Initio Debilis @tab
7058 @code{\[ \deminutum g \pes b \]}
7062 Pes Auctus Descendens Initio Debilis @tab
7063 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7068 @code{\[ a \pes b \flexa g \]}
7072 Torculus Auctus Descendens @tab
7073 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7077 Torculus Deminutus @tab
7078 @code{\[ a \pes b \flexa \deminutum g \]}
7082 Torculus Initio Debilis @tab
7083 @code{\[ \deminutum a \pes b \flexa g \]}
7087 Torculus Auctus Descendens Initio Debilis @tab
7088 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7092 Torculus Deminutus Initio Debilis @tab
7093 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7098 @code{\[ a \flexa g \pes b \]}
7102 Porrectus Auctus Descendens @tab
7103 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7107 Porrectus Deminutus @tab
7108 @code{\[ a \flexa g \pes \deminutum b \]}
7113 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7117 Climacus Auctus @tab
7118 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7122 Climacus Deminutus @tab
7123 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7128 @code{\[ g \pes a \virga b \]}
7132 Scandicus Auctus Descendens @tab
7133 @code{\[ g \pes a \pes \auctum \descendens b \]}
7137 Scandicus Deminutus @tab
7138 @code{\[ g \pes a \pes \deminutum b \]}
7143 @code{\[ g \oriscus a \pes \virga b \]}
7147 Salicus Auctus Descendens @tab
7148 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7153 @code{\[ \stropha b \stropha b \stropha a \]}
7159 The following head prefixes are supported
7161 @cindex @code{\virga}
7163 @cindex @code{\stropha}
7165 @cindex @code{\inclinatum}
7167 @cindex @code{\auctum}
7169 @cindex @code{\descendens}
7171 @cindex @code{\ascendens}
7173 @cindex @code{\oriscus}
7175 @cindex @code{\quilisma}
7177 @cindex @code{\deminutum}
7180 Head prefixes can be accumulated, though restrictions apply. For
7181 example, either @code{\descendens} or @code{\ascendens} can be applied
7182 to a head, but not both to the same head.
7185 @cindex @code{\flexa}
7186 Two adjacent heads can be tied together with the @code{\pes} and
7187 @code{\flexa} infix commands for a rising and falling line of melody,
7192 @node Vaticana style contexts
7193 @subsection Vaticana style contexts
7195 @cindex VaticanaVoiceContext
7196 @cindex VaticanaStaffContext
7198 The predefined @code{VaticanaVoiceContext} and
7199 @code{VaticanaStaffContext} can be used to engrave a piece of
7200 Gregorian Chant in the style of the Editio Vaticana. These contexts
7201 initialize all relevant context properties and grob properties to
7202 proper values, so you can immediately go ahead entering the chant, as
7203 the following excerpt demonstrates
7205 @lilypond[quote,raggedright,verbatim,noindent]
7206 \include "gregorian-init.ly"
7209 \context VaticanaVoice = "cantus" {
7210 \override Score.BarNumber #'transparent = ##t {
7211 \[ c'\melisma c' \flexa a \]
7212 \[ a \flexa \deminutum g\melismaEnd \]
7214 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
7215 c' \divisioMinima \break
7216 \[ c'\melisma c' \flexa a \]
7217 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7220 \lyricsto "cantus" \new Lyrics {
7221 San- ctus, San- ctus, San- ctus
7228 @subsection Figured bass
7230 @cindex Basso continuo
7232 @c TODO: musicological blurb about FB
7235 LilyPond has limited support for figured bass
7237 @lilypond[quote,verbatim,fragment]
7239 \context Voice { \clef bass dis4 c d ais }
7240 \context FiguredBass \figures {
7241 < 6 >4 < 7 >8 < 6+ [_!] >
7247 The support for figured bass consists of two parts: there is an input
7248 mode, introduced by @code{\figures}, where you can enter bass figures
7249 as numbers, and there is a context called @internalsref{FiguredBass} that
7250 takes care of making @internalsref{BassFigure} objects.
7252 In figures input mode, a group of bass figures is delimited by
7253 @code{<} and @code{>}. The duration is entered after the @code{>}
7257 @lilypond[quote,fragment]
7258 \context FiguredBass
7262 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7268 @lilypond[quote,fragment]
7269 \context FiguredBass
7270 \figures { <4- 6+ 7!> }
7273 Spaces or dashes may be inserted by using @code{_}. Brackets are
7274 introduced with @code{[} and @code{]}
7279 @lilypond[quote,fragment]
7280 \context FiguredBass
7281 \figures { < [4 6] 8 [_! 12]> }
7284 Although the support for figured bass may superficially resemble chord
7285 support, it works much simpler. The @code{\figures} mode simply
7286 stores the numbers , and @internalsref{FiguredBass} context prints
7287 them as entered. There is no conversion to pitches, and no
7288 realizations of the bass are played in the MIDI file.
7290 Internally, the code produces markup texts. You can use any of the
7291 markup text properties to override formatting. For example, the
7292 vertical spacing of the figures may be set with @code{baseline-skip}.
7296 Program reference: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7297 and @internalsref{FiguredBass} context.
7301 Slash notation for alterations is not supported.
7303 @node Contemporary notation
7304 @section Contemporary notation
7306 In the 20th century, composers have greatly expanded the musical
7307 vocabulary. With this expansion, many innovations in musical notation
7308 have been tried. The book ``Music Notation in the 20th century'' by
7309 Kurt Stone gives a comprehensive overview (see @ref{Literature
7310 list}). In general, the use of new, innovative notation makes a piece
7311 harder to understand and perform and its use should therefore be
7312 avoided. For this reason, support for contemporary notation in
7313 LilyPond is limited.
7317 * Polymetric notation::
7319 * Special fermatas::
7323 @node Polymetric notation
7324 @subsection Polymetric notation
7326 Double time signatures are not supported explicitly, but they can be
7327 faked. In the next example, the markup for the time signature is
7328 created with a markup text. This markup text is inserted in the
7329 @internalsref{TimeSignature} grob.
7331 @lilypond[verbatim,raggedright]
7337 \musicglyph #"scripts-stopped"
7338 \bracket \column < "5" "8" >
7343 \override Staff.TimeSignature #'print-function = #Text_item::print
7344 \override Staff.TimeSignature #'text = #tsMarkup
7346 c'2 \bar ":" c'4 c'4.
7350 Each staff can also have its own time signature. This is done by
7351 moving the @internalsref{Timing_engraver} to @internalsref{Staff}
7358 \remove "Timing_engraver"
7362 \consists "Timing_engraver"
7368 Now, each staff has its own time signature.
7382 c4. c8 c c c4. c8 c c
7387 @lilypond[raggedright]
7391 \remove "Timing_engraver"
7395 \consists "Timing_engraver"
7411 c4. c8 c c c4. c8 c c
7417 A different form of polymetric notation is where note lengths have
7418 different values across staves.
7420 This notation can be created by setting a common time signature for
7421 each staff but replacing it manually using
7422 @code{timeSignatureFraction} to the desired fraction. Then the printed
7423 durations in each staff are scaled to the common time signature.
7424 The latter is done with @code{\compressmusic}, which is similar to
7425 @code{\times}, but does not create a tuplet bracket.
7428 In this example, music with the time signatures of 3/4, 9/8 and 10/8 are
7429 used in parallel. In the second staff, shown durations are multiplied by
7430 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
7431 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
7433 @lilypond[raggedright,verbatim]
7441 \set Staff.timeSignatureFraction = #'(9 . 8)
7442 \compressmusic #'(2 . 3)
7443 \repeat unfold 6 { c8[ c c] }
7447 \set Staff.timeSignatureFraction = #'(10 . 8)
7448 \compressmusic #'(3 . 5)
7449 { \repeat unfold 2 { c8[ c c] }
7450 \repeat unfold 2 { c8[ c] }
7451 | c4. c4. \times 2/3 { c8 c c } c4 }
7461 When using different time signatures in parallel, the spacing is
7462 aligned vertically, but bar lines distort the regular spacing.
7467 @subsection Clusters
7471 A cluster indicates a continuous range of pitches to be played. They
7472 can be denoted as the envelope of a set of notes. They are entered by
7473 applying the function @code{makeClusters} to a sequence of
7476 @lilypond[quote,verbatim]
7478 \makeClusters { <c e > <b f'> }
7481 The following example (from
7482 @inputfileref{input/regression,cluster.ly}) shows what the result
7485 @lilypondfile[quote]{cluster.ly}
7487 Ordinary notes and clusters can be put together in the same staff,
7488 even simultaneously. In such a case no attempt is made to
7489 automatically avoid collisions between ordinary notes and clusters.
7493 Program reference: @internalsref{ClusterSpanner},
7494 @internalsref{ClusterSpannerBeacon},
7495 @internalsref{Cluster_spanner_engraver}, and
7496 @internalsref{ClusterNoteEvent}.
7498 Examples: @inputfileref{input/regression,cluster.ly}.
7502 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7503 accurately. Use @code{<g a>8 <e a>8} instead.
7507 @node Special fermatas
7508 @subsection Special Fermatas
7510 @cindex fermatas, special
7512 In contemporary music notation, special fermata symbols denote breaks
7513 of differing lengths. The following fermatas are supported
7515 @lilypond[quote,raggedright]
7537 \context Lyrics \lyrics {
7538 \override LyricText #'font-family = #'typewriter
7539 "shortfermata" "fermata" "longfermata" "verylongfermata"
7544 See @ref{Articulations} for general instructions how to apply scripts
7545 such as fermatas to notes.
7547 @node Feathered beams
7548 @subsection Feathered beams
7550 Feathered beams are not supported natively, but they can be faked by
7551 forcing two beams to overlap. Here is an example,
7553 @lilypond[raggedright]
7554 \relative \new Staff <<
7558 \once \override Voice.Beam #'positions = #'(0 . 0.5)
7563 \once \override Voice.Beam #'positions = #'(0 . -0.5)
7571 @node Educational use
7572 @section Educational use
7576 * Blank music paper::
7577 * Notation for excercises::
7578 * Easy Notation note heads::
7582 @subsection Balloon help
7584 Elements of notation can be marked and named with the help of a square
7585 balloon. The primary purpose of this feature is to explain notation.
7587 The following example demonstrates its use.
7589 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
7592 #(add-balloon-text 'NoteHead "heads, or tails?"
7598 The function @code{add-balloon-text} takes the name of a grob, the
7599 label to print, and the position where to put the label relative to
7600 the object. In the above example, the text ``heads or tails?'' ends
7601 3 spaces below and 1 space to the right of the marked head.
7604 @cindex notation, explaining
7608 Program reference: @internalsref{text-balloon-interface}.
7610 Examples: @inputfileref{input/regression,balloon.ly}.
7615 @node Blank music paper
7616 @subsection Blank music paper
7618 A blank music paper can be produced also by using invisible notes, and
7619 removing @code{Bar_number_engraver}.
7624 \repeat unfold 2 % Change this for more lines.
7629 \override TimeSignature #'transparent = ##t
7630 defaultBarType = #""
7631 \remove Bar_number_engraver
7633 \context Staff \emptymusic
7634 \context TabStaff \emptymusic
7639 @node Notation for excercises
7640 @subsection Notation for excercises
7644 Invisible (or transparent) notes can be useful, when weird tricks are
7645 needed; especially, a slur cannot be attach to a rest or spacer rest.
7649 blanknotes = { \override NoteHead #'transparent = ##t
7650 \override Stem #'transparent = ##t }
7651 unblanknotes = { \revert NoteHead #'transparent
7652 \revert Stem #'transparent }
7657 \blanknotes e4 f4 \unblanknotes
7663 @node Easy Notation note heads
7664 @subsection Easy Notation note heads
7666 @cindex easy notation
7669 The `easy play' note head includes a note name inside the head. It is
7670 used in music for beginners
7672 @lilypond[quote,raggedright,verbatim,fragment,staffsize=26]
7677 The command @code{\setEasyHeads} overrides settings for the
7678 @internalsref{NoteHead} object. To make the letters readable, it has
7679 to be printed in a large font size. To print with a larger font, see
7680 @ref{Setting global staff size}.
7684 @cindex @code{\setEasyHeads}
7685 @code{\setEasyHeads}