2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
9 @chapter Notation manual
11 This chapter describes all the different types of notation supported
12 by LilyPond. It is intended as a reference for users that are already
13 somewhat familiar with LilyPond.
17 * Easier music entry::
31 * Contemporary notation::
36 @c FIXME: Note entry vs Music entry at top level menu is confusing.
42 This section is about basic notation elements notes, rests and
43 related constructs, such as stems, tuplets and ties.
48 * Chromatic alterations::
63 A note is printed by specifying its pitch and then its duration
64 @footnote{Notes constitute the most basic elements of LilyPond input,
65 but they do not form valid input on their own without a @code{\score}
66 block. However, for the sake of brevity and simplicity we will
67 generally omit @code{\score} blocks and @code{\paper} declarations in
70 @lilypond[quote,fragment,verbatim]
79 @cindex Note specification
81 @cindex entering notes
83 The most common syntax for pitch entry is used in standard notes and
84 @code{\chords} mode. In these modes, pitches may be designated by
85 names. The notes are specified by the letters @code{a} through
86 @code{g}, while the octave is formed with notes ranging from @code{c}
87 to @code{b}. The pitch @code{c} is an octave below middle C and the
88 letters span the octave above that C
90 @lilypond[quote,fragment,verbatim]
92 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
95 @cindex note names, Dutch
97 A sharp is formed by adding @code{-is} to the end of a pitch name and
98 a flat is formed by adding @code{-es}. Double sharps and double flats
99 are obtained by adding @code{-isis} or @code{-eses}. These
100 names are the Dutch note names. In Dutch, @code{aes} is contracted to
101 @code{as}, but both forms are accepted. Similarly, both
102 @code{es} and @code{ees} are accepted.
104 Half-flats and half-sharps are formed by adding @code{-eh} and
105 @code{-ih}; the following is a series of Cs with increasing pitches
107 @cindex quarter tones
108 @cindex semi-flats, semi-sharps
110 @lilypond[fragment,quote,verbatim,relative=3]
122 There are predefined sets of note names for various other languages.
123 To use them, include the language specific init file. For
124 example: @code{\include "english.ly"}. The available language files
125 and the note names they define are
130 Note Names sharp flat
131 nederlands.ly c d e f g a bes b -is -es
132 english.ly c d e f g a bf b -s/-sharp -f/-flat
134 deutsch.ly c d e f g a b h -is -es
135 norsk.ly c d e f g a b h -iss/-is -ess/-es
136 svenska.ly c d e f g a b h -iss -ess
137 italiano.ly do re mi fa sol la sib si -d -b
138 catalan.ly do re mi fa sol la sib si -d/-s -b
139 espanol.ly do re mi fa sol la sib si -s -b
148 The optional octave specification takes the form of a series of
149 single quote (`@code{'}') characters or a series of comma
150 (`@code{,}') characters. Each @code{'} raises the pitch by one
151 octave; each @code{,} lowers the pitch by an octave
153 @lilypond[quote,fragment,verbatim]
154 c' c'' es' g' as' gisis' ais'
160 Notes can be hidden and unhidden with the following commands
162 @cindex @code{\hideNotes}
164 @cindex @code{\unHideNotes}
170 Program reference: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
172 @node Chromatic alterations
173 @subsection Chromatic alterations
175 Normally accidentals are printed automatically, but you may also
176 print them manually. A reminder accidental
177 @cindex reminder accidental
179 can be forced by adding an exclamation mark @code{!}
180 after the pitch. A cautionary accidental
181 @cindex cautionary accidental
182 @cindex parenthesized accidental
183 (i.e. an accidental within parentheses) can be obtained by adding the
184 question mark `@code{?}' after the pitch
186 @lilypond[quote,fragment,verbatim]
187 cis' cis' cis'! cis'?
193 The automatic production of accidentals can be tuned in many
194 ways. For more information, refer to @ref{Accidentals}.
199 There are no generally accepted standards for denoting three quarter
200 flats, so LilyPond's symbol does not conform to any standard.
205 A chord is formed by a enclosing a set of pitches in @code{<} and
206 @code{>}. A chord may be followed by a duration, and a set of
207 articulations, just like simple notes.
209 @lilypond[fragment,quote,relative=1]
220 Rests are entered like notes, with the note name @code{r}
222 @lilypond[fragment,quote,raggedright,verbatim]
226 Whole bar rests, centered in middle of the bar,
227 must be done with multi-measure rests. They are discussed in
228 @ref{Multi measure rests}.
231 A rest's vertical position may be explicitly specified by entering a
232 note with the @code{\rest} keyword appended. This makes manual
233 formatting in polyphonic music easier. Rest collision testing will
234 leave these rests alone
238 @lilypond[fragment,quote,raggedright,verbatim]
244 Program reference: @internalsref{RestEvent}, and @internalsref{Rest}.
251 @cindex Invisible rest
254 An invisible rest (also called a `skip') can be entered like a note
255 with note name `@code{s}' or with @code{\skip @var{duration}}
257 @lilypond[fragment,quote,raggedright,verbatim]
261 The @code{s} syntax is only available in note mode and chord mode. In
262 other situations, you should use the @code{\skip} command
264 @lilypond[quote,raggedright,verbatim]
266 { \time 4/8 \skip 2 \time 4/4 }
267 \relative c'' { a2 a1 }
271 The skip command is merely an empty musical placeholder. It does not
272 produce any output, not even transparent output.
274 The @code{s} skip command does create @internalsref{Staff} and
275 @internalsref{Voice} when necessary, similar to note and rest
276 commands. For example, the following results in an empty staff.
278 @lilypond[quote,raggedright,verbatim]
282 The same fragment using @code{\skip} results in an empty page.
286 Program reference: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
291 @subsection Durations
295 @cindex @code{\longa}
296 @cindex @code{\breve}
297 @cindex @code{\maxima}
300 In Note, Chord, and Lyrics mode, durations are designated by numbers
301 and dots: durations are entered as their reciprocal values. For example,
302 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
303 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
304 longer than a whole you must use variables
308 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
310 r1 r2 r4 r8 r16 r32 r64 r64
316 a\breve*1/2 \autoBeamOff
317 a1 a2 a4 a8 a16 a32 a64 a64
318 r\longa*1/4 r\breve *1/2
319 r1 r2 r4 r8 r16 r32 r64 r64
325 \remove "Clef_engraver"
326 \override StaffSymbol #'transparent = ##t
327 \override TimeSignature #'transparent = ##t
328 \override BarLine #'transparent = ##t
329 \consists "Pitch_squash_engraver"
336 If the duration is omitted then it is set to the previously entered
337 duration. The default for the first note is a quarter note. The duration
338 can be followed by dots (`@code{.}') in order to obtain dotted note
342 @lilypond[quote,fragment,verbatim]
343 a' b' c''8 b' a'4 a'4. b'4.. c'8.
348 You can alter the length of duration by a fraction @var{N/M}
349 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
350 will not affect the appearance of the notes or rests produced.
352 In the following example, the first three notes take up exactly two
353 beats, but no triplet bracket is printed.
354 @lilypond[quote,fragment,relative=3,verbatim]
356 a4*2/3 gis4*2/3 a4*2/3
362 Dots are normally moved up to avoid staff lines, except in polyphonic
363 situations. The following commands may be used to force a particular
366 @cindex @code{\dotsUp}
368 @cindex @code{\dotsDown}
370 @cindex @code{\dotsBoth}
375 This manual: @ref{Tuplets}
377 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
382 Whenever a note is found, a @internalsref{Stem} object is created
383 automatically. For whole notes and rests, they are also created but
388 @cindex @code{\stemUp}
390 @cindex @code{\stemDown}
392 @cindex @code{\stemBoth}
403 A tie connects two adjacent note heads of the same pitch. The tie in
404 effect extends the length of a note. Ties should not be confused with
405 slurs, which indicate articulation, or phrasing slurs, which indicate
406 musical phrasing. A tie is entered using the tilde symbol `@code{~}'
408 @lilypond[quote,fragment,verbatim]
409 e' ~ e' <c' e' g'> ~ <c' e' g'>
412 When a tie is applied to a chord, all note heads whose pitches match
413 are connected. When no note heads match, no ties will be created.
415 In its meaning a tie is just a way of extending a note duration, similar
416 to the augmentation dot; in the following example there are two ways of
417 notating exactly the same concept
419 @lilypond[quote,fragment,raggedright]
420 \time 3/4 c'2. c'2 ~ c'4
422 If you need to tie a lot of notes over bars, it may be easier to use automatic
423 note splitting (see @ref{Automatic note splitting}).
428 @cindex @code{\tieUp}
430 @cindex @code{\tieDown}
432 @cindex @code{\tieBoth}
434 @cindex @code{\tieDotted}
436 @cindex @code{\tieSolid}
441 In this manual: @ref{Automatic note splitting}.
443 Program reference: @internalsref{TieEvent}, @internalsref{Tie}.
445 For tying only a subset of the note heads of a pair of chords, see
446 @inputfileref{input/regression,tie-chord-partial.ly}.
451 Switching staves when a tie is active will not produce a slanted tie.
453 Formatting of ties is a difficult subject. The results are often not
463 @cindex @code{\times}
465 Tuplets are made out of a music expression by multiplying all durations
468 @cindex @code{\times}
470 \times @var{fraction} @var{musicexpr}
474 The duration of @var{musicexpr} will be multiplied by the fraction.
475 The fraction's denominator will be printed over the notes, optionally
476 with a bracket. The most common tuplet is the triplet in which 3
477 notes have the length of 2, so the notes are 2/3 of their written
480 @lilypond[quote,fragment,verbatim]
481 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
484 The property @code{tupletSpannerDuration} specifies how long each
485 bracket should last. With this, you can make lots of tuplets while
486 typing @code{\times} only once, saving lots of typing. In the next
487 example, there are two triplets shown, while @code{\times} was only
490 @lilypond[quote,fragment,relative=1,raggedright,verbatim]
491 \set tupletSpannerDuration = #(ly:make-moment 1 4)
492 \times 2/3 { c'8 c c c c c }
495 The format of the number is determined by the property
496 @code{tupletNumberFormatFunction}. The default prints only the
497 denominator, but if it is set to the Scheme function
498 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
502 @cindex @code{tupletNumberFormatFunction}
503 @cindex tuplet formatting
508 @cindex @code{\tupletUp}
510 @cindex @code{\tupletDown}
512 @cindex @code{\tupletBoth}
517 User manual: @ref{Changing context properties on the fly} for the
521 Program reference: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
523 Examples: @inputfileref{input/regression,tuplet-nest.ly}.
527 Nested tuplets are not formatted automatically. In this case, outer
528 tuplet brackets should be moved manually, which is demonstrated in
529 @inputfileref{input/regression,tuplet-nest.ly}.
533 @node Easier music entry
534 @section Easier music entry
537 This section deals with tricks and features of the input language that
538 were added solely to help entering music, finding and correcting
539 mistakes. There are also external tools that make debugging easier.
540 See @ref{Point and click} for more information.
542 It is also possible to enter and edit music using other programs. For
543 example, GUI interfaces, or MIDI sequencers. Refer to the LilyPond
544 website for more information.
551 * Skipping corrected music::
552 * Automatic note splitting::
558 @node Relative octaves
559 @subsection Relative octaves
561 @cindex relative octave specification
563 Octaves are specified by adding @code{'} and @code{,} to pitch names.
564 When you copy existing music, it is easy to accidentally put a pitch
565 in the wrong octave and hard to find such an error. The relative
566 octave mode prevents these errors: a single error puts the rest of the
567 piece off by one octave
569 @cindex @code{\relative}
571 \relative @var{startpitch} @var{musicexpr}
574 The octave of notes that appear in @var{musicexpr} are calculated as
575 follows: If no octave changing marks are used, the basic interval
576 between this and the last note is always taken to be a fourth or
577 less. This distance is determined without regarding alterations; a
578 @code{fisis} following a @code{ceses} will be put above the
581 The octave changing marks @code{'} and @code{,} can be added to raise
582 or lower the pitch by an extra octave. Upon entering relative mode,
583 an absolute starting pitch must be specified that will act as the
584 predecessor of the first note of @var{musicexpr}.
586 Here is the relative mode shown in action
587 @lilypond[quote,fragment,raggedright,verbatim]
593 Octave changing marks are used for intervals greater than a fourth
594 @lilypond[quote,fragment,verbatim]
600 If the preceding item is a chord, the first note of the chord is used
601 to determine the first note of the next chord
603 @lilypond[quote,fragment,verbatim]
611 The pitch after the @code{\relative} contains a note name.
614 The relative conversion will not affect @code{\transpose},
615 @code{\chords} or @code{\relative} sections in its argument. If you
616 want to use relative within transposed music, you must place an
617 additional @code{\relative} inside the @code{\transpose}.
620 @subsection Octave check
623 Octave checks make octave errors easier to correct: a note may be
624 followed by @code{=}@var{quotes} which indicates what its absolute
625 octave should be. In the following example,
627 \relative c'' @{ c='' b=' d,='' @}
631 @c take care with @code, adds confusing quotes.
632 the d will generate a warning, because a d'' is expected, but a d' is
633 found. In the output, the octave is corrected for this and the
638 There is also a syntax that is separate from the notes. The syntax
644 This checks that @var{pitch} (without quotes) yields @var{pitch} (with
645 quotes) in \relative mode. If not, a warning is printed, and the
646 octave is corrected, for example, the first check is passed
647 successfully. The second check fails with an error message. The
648 octave is adjusted so the following notes are in the correct octave
659 The octave of a note following an octave check is determined with
660 respect to the note preceding it. In the next fragment, the last note
661 is a @code{a'}, above middle C. Hence, the @code{\octave} check may
662 be deleted without changing the meaning of the piece.
664 @lilypond[quote,verbatim,fragment]
673 @subsection Bar check
677 @cindex @code{barCheckSynchronize}
680 Bar checks help detect errors in the durations. A bar check is
681 entered using the bar symbol, `@code{|}'. Whenever it is encountered
682 during interpretation, it should fall on a measure boundary. If it
683 does not, a warning is printed. In the next example, the second bar
684 check will signal an error
686 \time 3/4 c2 e4 | g2 |
689 Bar checks can also be used in lyrics, for example
694 Twin -- kle | Twin -- kle
699 @cindex @code{skipTypesetting}
701 Failed bar checks are caused by entering incorrect
702 durations. Incorrect durations often completely garble up the score,
703 especially if it is polyphonic, so you should start correcting the
704 score by scanning for failed bar checks and incorrect durations. To
705 speed up this process, you can use @code{skipTypesetting}, described
708 It is also possible to redefine the meaning of @code{|}. This is done
709 by assigning a music expression to @code{pipeSymbol},
712 pipeSymbol = \bar "||"
714 { c'2 c'2 | c'2 c'2 | }
718 @node Skipping corrected music
719 @subsection Skipping corrected music
721 The property @code{Score.skipTypesetting} can be used to switch on and
722 off typesetting completely during the interpretation phase. When
723 typesetting is switched off, the music is processed much more quickly.
724 This can be used to skip over the parts of a score that have already
725 been checked for errors
727 @lilypond[quote,fragment,raggedright,verbatim]
730 \set Score.skipTypesetting = ##t
732 \set Score.skipTypesetting = ##f
736 @node Automatic note splitting
737 @subsection Automatic note splitting
739 Long notes can be converted automatically to tied notes. This is done
740 by replacing the @internalsref{Note_heads_engraver} by the
741 @internalsref{Completion_heads_engraver}.
742 In the following examples, notes crossing the bar line are split and tied.
745 @lilypond[quote,fragment,verbatim,relative=1,raggedright]
747 \remove "Note_heads_engraver"
748 \consists "Completion_heads_engraver"
750 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
754 This engraver splits all running notes at the bar line, and inserts
755 ties. One of its uses is to debug complex scores: if the measures are
756 not entirely filled, then the ties exactly show how much each measure
761 Not all durations (especially those containing tuplets) can be
762 represented exactly; the engraver will not insert tuplets.
766 Examples: @inputfileref{input/regression,completion-heads.ly}.
768 Program reference: @internalsref{Completion_heads_engraver}.
772 @section Staff notation
774 This section describes music notation that occurs on staff level,
775 such as keys, clefs and time signatures.
777 @cindex Staff notation
791 @subsection Staff symbol
793 @cindex adjusting staff symbol
795 Notes, dynamic signs, etc. are grouped
796 with a set of horizontal lines, into a staff (plural `staves'). In our
797 system, these lines are drawn using a separate layout object called
801 @cindex staff lines, setting number of
802 @cindex staff lines, setting thickness of
803 @cindex thickness of staff lines, setting
804 @cindex number of staff lines, setting
808 Program reference: @internalsref{StaffSymbol}.
810 Examples: @inputfileref{input/test,staff-lines.ly},
811 @inputfileref{input/test,staff-size.ly}.
815 If a staff is ended halfway a piece, the staff symbol may not end
816 exactly on the bar line.
820 @subsection Key signature
821 @cindex Key signature
825 The key signature indicates the scale in which a piece is played. It
826 is denoted by a set of alterations (flats or sharps) at the start of
830 Setting or changing the key signature is done with the @code{\key}
833 @code{\key} @var{pitch} @var{type}
836 @cindex @code{\minor}
837 @cindex @code{\major}
838 @cindex @code{\minor}
839 @cindex @code{\ionian}
840 @cindex @code{\locrian}
841 @cindex @code{\aeolian}
842 @cindex @code{\mixolydian}
843 @cindex @code{\lydian}
844 @cindex @code{\phrygian}
845 @cindex @code{\dorian}
847 Here, @var{type} should be @code{\major} or @code{\minor} to get
848 @var{pitch}-major or @var{pitch}-minor, respectively.
849 The standard mode names @code{\ionian},
850 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
851 @code{\phrygian}, and @code{\dorian} are also defined.
853 This command sets the context property
854 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
855 can be specified by setting this property directly.
857 Accidentals and key signatures often confuse new users, because
858 unaltered notes get natural signs depending on the key signature. For
859 more information, see @ref{More about pitches}.
863 The ordering of a key cancellation is wrong when it is combined with
864 repeat bar lines. The cancellation is also printed after a line break.
868 Program reference: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
870 @cindex @code{keySignature}
877 The clef indicates which lines of the staff correspond to which
881 The clef can be set or changed with the @code{\clef} command
882 @lilypond[quote,fragment,verbatim]
883 \key f\major c''2 \clef alto g'2
886 Supported clef-names include
887 @c Moved standard clefs to the top /MB
891 @item treble, violin, G, G2
904 G clef on 1st line, so-called French violin clef
909 @cindex mezzosoprano clef
912 @cindex baritone clef
915 @cindex varbaritone clef
926 By adding @code{_8} or @code{^8} to the clef name, the clef is
927 transposed one octave down or up, respectively, and @code{_15} and
928 @code{^15} transposes by two octaves. The argument @var{clefname}
929 must be enclosed in quotes when it contains underscores or digits. For
933 @cindex choral tenor clef
934 @lilypond[quote,verbatim,fragment,relative=1]
938 This command is equivalent to setting @code{clefGlyph},
939 @code{clefPosition} (which controls the Y position of the clef),
940 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
941 when any of these properties are changed.
945 Program reference: the object for this symbol is @internalsref{Clef}.
949 @node Ottava brackets
950 @subsection Ottava brackets
952 ``Ottava'' brackets introduce an extra transposition of an octave for
953 the staff. They are created by invoking the function
954 @code{set-octavation}
960 @lilypond[quote,verbatim,fragment]
970 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
971 (for 15ma) as arguments. Internally the function sets the properties
972 @code{ottavation} (e.g. to @code{"8va"}) and
973 @code{centralCPosition}. For overriding the text of the bracket, set
974 @code{ottavation} after invoking @code{set-octavation}, i.e.,
978 \set Staff.ottavation = #"8"
983 Program reference: @internalsref{OttavaBracket}.
985 Examples: @inputfileref{input/regression,ottava.ly},
986 @inputfileref{input/regression,ottava-broken.ly}.
990 @code{set-octavation} will get confused when clef changes happen
991 during an octavation bracket.
994 @subsection Time signature
995 @cindex Time signature
999 Time signature indicates the metrum of a piece: a regular pattern of
1000 strong and weak beats. It is denoted by a fraction at the start of the
1004 The time signature is set or changed by the @code{\time}
1006 @lilypond[quote,fragment,verbatim]
1007 \time 2/4 c'2 \time 3/4 c'2.
1010 The symbol that is printed can be customized with the @code{style}
1011 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1012 2/2 time. There are many more options for its layout. See
1013 @inputfileref{input/test,time.ly} for more examples.
1016 This command sets the property @code{timeSignatureFraction},
1017 @code{beatLength} and @code{measureLength} in the @code{Timing}
1018 context, which is normally aliased to @internalsref{Score}. The
1019 property @code{measureLength} determines where bar lines should be
1020 inserted, and how automatic beams should be generated. Changing the
1021 value of @code{timeSignatureFraction} also causes the symbol to be
1024 More options are available through the Scheme function
1025 @code{set-time-signature}. In combination with the
1026 @internalsref{Measure_grouping_engraver}, it will create
1027 @internalsref{MeasureGrouping} signs. Such signs ease reading
1028 rhythmically complex modern music. In the following example, the 9/8
1029 measure is subdivided in 2, 2, 2 and 3. This is passed to
1030 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
1032 @lilypond[quote,raggedright,verbatim]
1035 #(set-time-signature 9 8 '(2 2 2 3))
1036 g8[ g] d[ d] g[ g] a8[( bes g]) |
1037 #(set-time-signature 5 8 '(3 2))
1043 \consists "Measure_grouping_engraver"
1051 Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1056 Automatic beaming does not use the measure grouping specified with
1057 @code{set-time-signature}.
1059 @node Partial measures
1060 @subsection Partial measures
1063 @cindex partial measure
1064 @cindex measure, partial
1065 @cindex shorten measures
1066 @cindex @code{\partial}
1068 Partial measures, for example in upsteps, are entered using the
1069 @code{\partial} command
1070 @lilypond[quote,fragment,verbatim,relative=2]
1071 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1074 The syntax for this command is
1076 \partial @var{duration}
1078 This is internally translated into
1080 \set Timing.measurePosition = -@var{length of duration}
1083 The property @code{measurePosition} contains a rational number
1084 indicating how much of the measure has passed at this point.
1086 @node Unmetered music
1087 @subsection Unmetered music
1091 Bar lines and bar numbers are calculated automatically. For unmetered
1092 music (e.g. cadenzas), this is not desirable. By setting
1093 @code{Score.timing} to false, this automatic timing can be switched
1094 off. Empty bar lines,
1101 indicate where line breaks can occur.
1106 @cindex @code{\cadenzaOn}
1108 @cindex @code{\cadenzaOff}
1112 @subsection Bar lines
1116 @cindex measure lines
1120 Bar lines delimit measures, but are also used to indicate repeats.
1121 Normally, they are inserted automatically. Line breaks may only
1122 happen on bar lines.
1124 Special types of bar lines can be forced with the @code{\bar} command
1126 @lilypond[quote,relative=2,fragment,verbatim]
1130 The following bar types are available
1131 @lilypond[quote,fragment,relative=1,raggedright,verbatim]
1144 For allowing line breaks, there is a special command,
1148 This will insert an invisible bar line, and allow line breaks at this
1151 In scores with many staves, a @code{\bar} command in one staff is
1152 automatically applied to all staves. The resulting bar lines are
1153 connected between different staves of a @internalsref{StaffGroup}
1155 @lilypond[quote,fragment,verbatim]
1157 \context StaffGroup <<
1163 \new Staff { \clef bass c4 g e g }
1165 \new Staff { \clef bass c2 c2 }
1169 A bar line is created whenever the @code{whichBar} property is set.
1170 At the start of a measure it is set to the contents of
1171 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1172 to override default measure bars.
1174 The command @code{\bar }@var{bartype} is a short cut for doing
1175 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1176 is set to a string, a bar line of that type is created.
1178 @cindex @code{whichBar}
1179 @cindex @code{repeatCommands}
1180 @cindex @code{defaultBarType}
1182 You are encouraged to use @code{\repeat} for repetitions. See
1189 In this manual: @ref{Repeats}.
1192 Program reference: the bar line objects that are created at
1193 @internalsref{Staff} level are called @internalsref{BarLine}, the bar
1194 lines that span staves are @internalsref{SpanBar} objects.
1196 @cindex bar lines at start of system
1197 @cindex start of system
1199 The bar lines at the start of each system are
1200 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1201 @internalsref{SystemStartBracket}. Only one of these types is created
1202 in every context, and that type is determined by the property
1203 @code{systemStartDelimiter}.
1205 Examples: @inputfileref{input/test,bar-lines.ly},
1211 The easiest way to enter fragments with more than one voice on a staff
1212 is to split chords using the separator @code{\\}. You can use it for
1213 small, short-lived voices or for single chords
1217 @lilypond[quote,verbatim,fragment]
1218 \context Staff \relative c'' {
1219 c4 << { f d e } \\ { b c2 } >>
1220 c4 << g' \\ b, \\ f' \\ d >>
1224 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1225 voices are sometimes called "layers" other notation packages}
1227 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1228 each of these contexts, vertical direction of slurs, stems, etc. is set
1231 @cindex @code{\voiceOne}
1232 @cindex @code{\voiceFour}
1234 This can also be done by instantiating @internalsref{Voice} contexts
1235 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1236 a stem directions and horizontal shift for each part
1239 @lilypond[quote,raggedright,verbatim]
1242 \new Voice { \voiceOne cis2 b }
1243 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1244 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1248 The command @code{\oneVoice} will revert back to the normal setting.
1249 @cindex @code{\oneVoice}
1252 Normally, note heads with a different number of dots are not merged, but
1253 when the object property @code{merge-differently-dotted} is set in
1254 the @internalsref{NoteCollision} object, they are merged
1255 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
1258 \override Staff.NoteCollision
1259 #'merge-differently-dotted = ##t
1261 } \\ { g8.[ f16] g8.[ f16] } >>
1264 Similarly, you can merge half note heads with eighth notes, by setting
1265 @code{merge-differently-headed}
1266 @lilypond[quote,fragment,relative=2,verbatim]
1269 \override Staff.NoteCollision
1270 #'merge-differently-headed = ##t
1271 c8 c4. } \\ { c2 c2 } >>
1274 LilyPond also vertically shifts rests that are opposite of a stem,
1277 @lilypond[quote,raggedright,fragment,verbatim]
1278 \context Voice << c''4 \\ r4 >>
1286 @cindex @code{\oneVoice}
1288 @cindex @code{\voiceOne}
1290 @cindex @code{\voiceTwo}
1292 @cindex @code{\voiceThree}
1294 @cindex @code{\voiceFour}
1298 The following commands specify in what chords of the current voice
1299 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1300 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1303 @cindex @code{\shiftOn}
1305 @cindex @code{\shiftOnn}
1307 @cindex @code{\shiftOnnn}
1309 @cindex @code{\shiftOff}
1316 Program reference: the objects responsible for resolving collisions are
1317 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1319 Examples: See also example files
1320 @inputfileref{input/regression,collision-dots.ly},
1321 @inputfileref{input/regression,collision-head-chords.ly},
1322 @inputfileref{input/regression,collision-heads.ly},
1323 @inputfileref{input/regression,collision-mesh.ly}, and
1324 @inputfileref{input/regression,collisions.ly}.
1329 Resolving collisions is a intricate subject, and only a few situations
1330 are handled. When LilyPond cannot cope, the @code{force-hshift}
1331 property of the @internalsref{NoteColumn} object and pitched rests can
1332 be used to override typesetting decisions.
1334 When using @code{merge-differently-headed} with an upstem eighth or a
1335 shorter note, and a downstem half note, the eighth note gets the wrong
1338 There is no support for clusters where the same note occurs with
1339 different accidentals in the same chord. In this case, it is
1340 recommended to use enharmonic transcription, or to use special cluster
1341 notation (see @ref{Clusters}).
1346 Beams are used to group short notes into chunks that are aligned with
1347 the metrum. They are inserted automatically
1349 @lilypond[quote,fragment,verbatim,relative=2]
1350 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1353 When these automatic decisions are not good enough, beaming can be
1354 entered explicitly. It is also possible to define beaming patterns
1355 that differ from the defaults.
1357 Individual notes may be marked with @code{\noBeam}, to prevent them
1360 @lilypond[quote,fragment,verbatim,relative=2]
1361 \time 2/4 c8 c\noBeam c c
1367 Program reference: @internalsref{Beam}.
1370 @cindex Automatic beams
1373 * Setting automatic beam behavior::
1378 @subsection Manual beams
1379 @cindex beams, manual
1383 In some cases it may be necessary to override the automatic beaming
1384 algorithm. For example, the autobeamer will not put beams over rests
1385 or bar lines. Such beams are specified by manually: the begin and end
1386 point are marked with @code{[} and @code{]}
1388 @lilypond[quote,fragment,relative=1,verbatim]
1390 r4 r8[ g' a r8] r8 g[ | a] r8
1394 @cindex @code{stemLeftBeamCount}
1396 Normally, beaming patterns within a beam are determined automatically.
1397 If necessary, the properties @code{stemLeftBeamCount} and
1398 @code{stemRightBeamCount} can be used to override the defaults. If
1399 either property is set, its value will be used only once, and then it
1402 @lilypond[quote,fragment,relative=1,verbatim]
1405 f8[ r16 \set stemLeftBeamCount = #1 f g a]
1408 @cindex @code{stemRightBeamCount}
1411 The property @code{subdivideBeams} can be set in order to subdivide
1412 all 16th or shorter beams at beat positions, as defined by the
1413 @code{beatLength} property.
1416 @lilypond[fragment,quote,relative=2,verbatim,noindent]
1418 \set subdivideBeams = ##t
1420 \set Score.beatLength = #(ly:make-moment 1 8)
1423 @cindex @code{subdivideBeams}
1425 Kneed beams are inserted automatically, when a large gap is detected
1426 between the note heads. This behavior can be tuned through the object
1427 property @code{auto-knee-gap}.
1429 Normally, line breaks are forbidden when beams cross bar lines. This
1430 behavior can be changed by setting @code{allowBeamBreak}.
1432 @cindex @code{allowBeamBreak}
1433 @cindex beams and line breaks
1435 @cindex beams, kneed
1437 @cindex auto-knee-gap
1442 User manual: @ref{Changing context properties on the fly} for the
1448 @cindex Frenched staves
1450 Automatically kneed cross-staff beams cannot be used together with
1453 Beams do not avoid collisions with symbols around the notes, such as
1454 texts and accidentals.
1458 @node Setting automatic beam behavior
1459 @subsection Setting automatic beam behavior
1461 @cindex @code{autoBeamSettings}
1462 @cindex @code{(end * * * *)}
1463 @cindex @code{(begin * * * *)}
1464 @cindex automatic beams, tuning
1465 @cindex tuning automatic beaming
1467 @c [TODO: use \applycontext]
1469 In normal time signatures, automatic beams can start on any note but can
1470 only end in a few positions within the measure: beams can end on a beat,
1471 or at durations specified by the properties in
1472 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
1473 are defined in @file{scm/auto-beam.scm}.
1475 The value of @code{autoBeamSettings} is changed with two functions,
1477 #(override-auto-beam-setting
1478 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
1480 #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m}))
1482 Here, @var{be} is the symbol @code{begin} or @code{end}, and
1483 @var{context} is an optional context (default: @code{'Voice}). It
1484 determines whether the rule applies to begin or end-points. The
1485 quantity @var{p}/@var{q} refers to the length of the beamed notes (and
1486 `@code{* *}' designates notes of any length), @var{n}/@var{M} refers
1487 to a time signature (wildcards `@code{* *}' may be entered to
1488 designate all time signatures), @var{a}/@var{b} is a duration. By
1489 default, this command changes settings for the current voice. It is
1490 also possible to adjust settings at higher contexts, by adding a
1491 @var{context} argument.
1493 For example, if automatic beams should end on every quarter note, use
1496 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1498 Since the duration of a quarter note is 1/4 of a whole note, it is
1499 entered as @code{(ly:make-moment 1 4)}.
1501 The same syntax can be used to specify beam starting points. In this
1502 example, automatic beams can only end on a dotted quarter note
1504 #(override-auto-beam-setting '(end * * * *) 3 8)
1506 In 4/4 time signature, this means that automatic beams could end only on
1507 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1508 3/8, has passed within the measure).
1510 Rules can also be restricted to specific time signatures. A rule that
1511 should only be applied in @var{N}/@var{M} time signature is formed by
1512 replacing the second asterisks by @var{N} and @var{M}. For example, a
1513 rule for 6/8 time exclusively looks like
1515 #(override-auto-beam-setting '(begin * * 6 8) @dots{})
1518 If a rule should be to applied only to certain types of beams, use the
1519 first pair of asterisks. Beams are classified according to the
1520 shortest note they contain. For a beam ending rule that only applies
1521 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1524 @cindex automatic beam generation
1526 @cindex @code{autoBeaming}
1529 If beams are used to indicate melismata in songs, then automatic
1530 beaming should be switched off. This is done by setting
1531 @code{autoBeaming} to @code{#f}.
1535 @cindex @code{\autoBeamOff}
1536 @code{\autoBeamOff},
1537 @cindex @code{\autoBeamOn}
1543 If a score ends while an automatic beam has not been ended and is
1544 still accepting notes, this last beam will not be typeset at all. The
1545 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
1546 >>}. If a polyphonic voice ends while an automatic beam is still
1547 accepting notes, it is not typeset.
1549 The rules for ending a beam depend on the shortest note in a beam.
1550 So, while it is possible to have different ending rules for eight
1551 beams and sixteenth beams, a beam that contains both eight and
1552 sixteenth notes will use the rules for the sixteenth beam.
1554 In the example below, the autobeamer makes eight beams and sixteenth
1555 end at 3 eights; the third beam can only be corrected by specifying
1558 @lilypond[quote,raggedright,fragment,relative=1]
1559 #(override-auto-beam-setting '(end * * * *) 3 8)
1560 % rather show case where it goes wrong
1561 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1562 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1564 It is not possible to specify beaming parameters that act differently in
1565 different parts of a measure. This means that it is not possible to use
1566 automatic beaming in irregular meters such as @code{5/8}.
1568 @node Beam formatting
1569 @subsection Beam formatting
1572 When a beam falls in the middle of the staff, the beams point normally
1573 down. However, this behaviour can be altered with the
1574 @code{neutral-direction} property.
1580 \override Beam #'neutral-direction = #-1
1582 \override Beam #'neutral-direction = #1
1588 @section Accidentals
1591 This section describes how to change the way that accidentals are
1592 inserted automatically before the running notes.
1594 Common rules for typesetting accidentals have been canned in a
1595 function. This function is called as follows
1597 @cindex @code{set-accidental-style}
1599 #(set-accidental-style 'modern 'Voice)
1602 The function takes two arguments: a symbol that denotes the style (in
1603 the example, @code{modern}), and another symbol that denotes the
1604 context name (in this example, @code{Voice}). If no context name is
1605 supplied, @code{Staff} is the default.
1607 The following styles are supported
1610 This is the default typesetting behavior. It should correspond
1611 to 18th century common practice: Accidentals are
1612 remembered to the end of the measure in which they occur and
1613 only on their own octave.
1617 The normal behavior is to remember the accidentals on
1618 Staff-level. This variable, however, typesets accidentals
1619 individually for each voice. Apart from that, the rule is similar to
1622 This leads to some weird and often unwanted results
1623 because accidentals from one voice do not get canceled in other
1625 @lilypond[quote,raggedright,relative=1,fragment,verbatim]
1627 #(set-accidental-style 'voice)
1633 Hence you should only use @code{voice} if the voices
1634 are to be read solely by individual musicians. If the staff is to be
1635 used by one musician (e.g. a conductor) then you use
1636 @code{modern} or @code{modern-cautionary}
1640 @cindex @code{modern} style accidentals
1641 This rule corresponds to the common practice in the 20th
1643 This rule prints the same accidentals as @code{default}, but temporary
1644 accidentals also are canceled in other octaves. Furthermore,
1645 in the same octave, they also get canceled in the following
1648 @lilypond[quote,raggedright,fragment,verbatim]
1649 #(set-accidental-style 'modern)
1650 cis' c'' cis'2 | c'' c'
1653 @item @code{modern-cautionary}
1654 @cindex @code{modern-cautionary}
1655 This rule is similar to @code{modern}, but the
1656 ``extra'' accidentals (the ones not typeset by
1657 @code{default}) are typeset as cautionary accidentals.
1658 They are printed in reduced size or with parentheses
1659 @lilypond[quote,raggedright,fragment,verbatim]
1660 #(set-accidental-style 'modern-cautionary)
1661 cis' c'' cis'2 | c'' c'
1664 @cindex @code{modern-voice}
1666 This rule is used for multivoice accidentals to be read both by musicians
1667 playing one voice and musicians playing all voices. Accidentals are
1668 typeset for each voice, but they @emph{are} canceled across voices in
1669 the same @internalsref{Staff}.
1671 @cindex @code{modern-voice-cautionary}
1672 @item modern-voice-cautionary
1673 This rule is the same as @code{modern-voice}, but with the extra
1674 accidentals (the ones not typeset by @code{voice}) typeset
1675 as cautionaries. Even though all accidentals typeset by
1676 @code{default} @emph{are} typeset by this variable then
1677 some of them are typeset as cautionaries.
1680 @cindex @code{piano} accidentals
1681 This rule reflects 20th century practice for piano notation. Very similar to
1682 @code{modern} but accidentals also get canceled
1683 across the staves in the same @internalsref{GrandStaff} or
1684 @internalsref{PianoStaff}.
1686 @item piano-cautionary
1687 @cindex @code{#(set-accidental-style 'piano-cautionary)}
1688 As @code{#(set-accidental-style 'piano)' , str)} but with the extra accidentals
1689 typeset as cautionaries.
1692 @cindex @code{no-reset} accidental style
1694 This is the same as @code{default} but with accidentals lasting
1695 ``forever'' and not only until the next measure
1696 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1697 #(set-accidental-style 'no-reset)
1702 This is sort of the opposite of @code{no-reset}: Accidentals
1703 are not remembered at all---and hence all accidentals are
1704 typeset relative to the key signature, regardless of what was
1707 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1708 #(set-accidental-style 'forget)
1709 \key d\major c4 c cis cis d d dis dis
1716 Program reference: @internalsref{Accidental_engraver},
1717 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1722 Simultaneous notes are considered to be entered in sequential
1723 mode. This means that in a chord the accidentals are typeset as if the
1724 notes in the chord happened once at a time - in the order in which
1725 they appear in the input file.
1727 This is only a problem when accidentals in a chord depend on each
1728 other. This problem can be solved by manually inserting @code{!} and
1729 @code{?} for the problematic notes.
1731 In the default scheme, accidentals only depend on other
1732 accidentals with the same pitch on the same staff, so no conflicts are
1735 @node Expressive marks
1736 @section Expressive marks
1739 @c todo: should change ordering
1740 @c where to put text spanners, metronome marks,
1749 * Analysis brackets::
1751 * Fingering instructions::
1762 A slur indicates that notes are to be played bound or @emph{legato}.
1765 They are entered using parentheses
1766 @lilypond[quote,relative=2,fragment,verbatim]
1767 f( g)( a) a8 b( a4 g2 f4)
1771 The direction of a slur can be set with the
1775 \override Slur #'direction = #UP
1776 \slurUp % shortcut for the previous line
1780 However, there is a convenient shorthand for forcing slur
1781 directions. By adding @code{_} or @code{^} before the opening
1782 parentheses, the direction is also set. For example,
1784 @lilypond[relative=2,fragment]
1791 @cindex @code{\slurUp}
1793 @cindex @code{\slurDown}
1795 @cindex @code{\slurBoth}
1797 @cindex @code{\slurDotted}
1799 @cindex @code{\slurSolid}
1804 Program reference: @seeinternals{Slur}, and @internalsref{SlurEvent}.
1808 @cindex Adjusting slurs
1810 @node Phrasing slurs
1811 @subsection Phrasing slurs
1813 @cindex phrasing slurs
1814 @cindex phrasing marks
1816 A phrasing slur (or phrasing mark) connects chords and is used to
1817 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1820 @lilypond[quote,fragment,verbatim,relative=1]
1821 \time 6/4 c'\( d( e) f( e) d\)
1824 Typographically, the phrasing slur behaves almost exactly like a
1825 normal slur. However, they are treated as different objects. A
1826 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1827 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1828 @code{\phrasingSlurBoth}.
1830 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1831 will only affect normal slurs and not phrasing slurs.
1835 @cindex @code{\phrasingSlurUp}
1836 @code{\phrasingSlurUp},
1837 @cindex @code{\phrasingSlurDown}
1838 @code{\phrasingSlurDown},
1839 @cindex @code{\phrasingSlurBoth}
1840 @code{\phrasingSlurBoth}.
1844 Program reference: see also @internalsref{PhrasingSlur}, and
1845 @internalsref{PhrasingSlurEvent}.
1849 Putting phrasing slurs over rests leads to spurious warnings.
1852 @subsection Breath marks
1854 Breath marks are entered using @code{\breathe}
1857 @lilypond[quote,fragment,relative=1,verbatim]
1861 The glyph of the breath mark can be tuned by overriding the
1862 @code{text} property of the @code{BreathingSign} layout object with
1863 any markup text. For example,
1864 @lilypond[quote,fragment,verbatim,relative=1]
1866 \override BreathingSign #'text
1867 = #(make-musicglyph-markup "scripts-rvarcomma")
1874 Program reference: @internalsref{BreathingSign},
1875 @internalsref{BreathingSignEvent}.
1877 Examples: @inputfileref{input/regression,breathing-sign.ly}.
1880 @node Metronome marks
1881 @subsection Metronome marks
1884 @cindex beats per minute
1885 @cindex metronome marking
1887 Metronome settings can be entered as follows
1889 \tempo @var{duration} = @var{per-minute}
1892 In the MIDI output, they are interpreted as a tempo change, and in the
1893 paper output, a metronome marking is printed
1894 @cindex @code{\tempo}
1895 @lilypond[quote,fragment,verbatim]
1901 Program reference: @internalsref{MetronomeChangeEvent}.
1906 @subsection Text spanners
1907 @cindex Text spanners
1909 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1910 are written as texts, and extended over many measures with dotted
1911 lines. You can create such texts using text spanners: attach
1912 @code{\startTextSpan} and @code{\stopTextSpan} to the
1913 start and ending note of the spanner.
1915 The string to be printed, as well as the style, is set through object
1918 @lilypond[quote,fragment,relative=1,verbatim]
1921 \override TextSpanner #'direction = #-1
1922 \override TextSpanner #'edge-text = #'("rall " . "")
1923 c2\startTextSpan b c\stopTextSpan a
1930 Internals @internalsref{TextSpanEvent},
1931 @internalsref{TextSpanner}.
1933 Examples: @inputfileref{input/regression,text-spanner.ly}.
1936 @node Analysis brackets
1937 @subsection Analysis brackets
1939 @cindex phrasing brackets
1940 @cindex musicological analysis
1941 @cindex note grouping bracket
1943 Brackets are used in musical analysis to indicate structure in musical
1944 pieces. LilyPond supports a simple form of nested horizontal brackets.
1945 To use this, add the @internalsref{Horizontal_bracket_engraver} to
1946 @internalsref{Staff} context. A bracket is started with
1947 @code{\startGroup} and closed with @code{\stopGroup}
1949 @lilypond[quote,raggedright,verbatim]
1952 c4\startGroup\startGroup
1955 c4\stopGroup\stopGroup
1959 \Staff \consists "Horizontal_bracket_engraver"
1965 Program reference: @internalsref{HorizontalBracket},
1966 @internalsref{NoteGroupingEvent}.
1968 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
1972 @subsection Articulations
1973 @cindex Articulations
1975 @cindex articulations
1979 A variety of symbols can appear above and below notes to indicate
1980 different characteristics of the performance. They are added to a note
1981 by adding a dash and the character signifying the
1982 articulation. They are demonstrated here
1984 @lilypondfile[quote,raggedright]{script-abbreviations.ly}
1986 The meanings of these shorthands can be changed. See
1987 @file{ly/script-init.ly} for examples.
1990 The script is automatically placed, but if you need to force
1991 directions, you can use @code{_} to force them down, or @code{^} to
1993 @lilypond[quote,fragment,verbatim]
1997 Other symbols can be added using the syntax
1998 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
1999 can be forced up or down using @code{^} and @code{_},
2002 @lilypond[quote,verbatim,fragment,relative=3]
2003 c\fermata c^\fermata c_\fermata
2010 @cindex staccatissimo
2019 @cindex organ pedal marks
2028 @cindex prallmordent
2032 @cindex thumb marking
2037 @lilypondfile[quote,raggedright]{script-chart.ly}
2041 @cindex @code{\scriptUp}
2043 @cindex @code{\scriptDown}
2045 @cindex @code{\scriptBoth}
2050 Program reference: @internalsref{ScriptEvent}, and @internalsref{Script}.
2054 These note ornaments appear in the printed output but have no
2055 effect on the MIDI rendering of the music.
2058 @node Fingering instructions
2059 @subsection Fingering instructions
2063 Fingering instructions can be entered using
2065 @var{note}-@var{digit}
2067 For finger changes, use markup texts
2069 @lilypond[quote,verbatim,raggedright,fragment]
2070 c'4-1 c'4-2 c'4-3 c'4-4
2071 c'^\markup { \finger "2-3" }
2074 @cindex finger change
2079 You can use the thumb-script to indicate that a note should be
2080 played with the thumb (e.g. in cello music)
2082 @lilypond[quote,verbatim,raggedright,fragment]
2083 <a' a''-3>8_\thumb <b' b''-3>_\thumb
2086 Fingerings for chords can also be added to individual notes
2087 of the chord by adding them after the pitches
2088 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2089 < c-1 e-2 g-3 b-5 >4
2093 iIn this case, setting @code{fingeringOrientations} will put fingerings next
2096 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2097 \set fingeringOrientations = #'(left down)
2098 <c-1 es-2 g-4 bes-5 > 4
2099 \set fingeringOrientations = #'(up right down)
2100 <c-1 es-2 g-4 bes-5 > 4
2101 \set fingeringOrientations = #'(right)
2105 The last note demonstrates how fingering instructions can be put close
2106 to note heads in monophonic music, using this feature.
2110 Program reference: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2112 Examples: @inputfileref{input/regression,finger-chords.ly}.
2115 @subsection Text scripts
2116 @cindex Text scripts
2118 @cindex text items, non-empty
2119 @cindex non-empty texts
2121 It is possible to place arbitrary strings of text or markup text (see
2122 @ref{Text markup}) above or below notes by using a string
2123 @code{c^"text"}. By default, these indications do not influence the
2124 note spacing, but by using the command @code{\fatText}, the widths
2125 will be taken into account
2127 @lilypond[quote,fragment,raggedright,verbatim]
2129 c4^"longtext" \fatText c4_"longlongtext" c4
2133 It is possible to use @TeX{} commands in the strings, but this should
2134 be avoided because the exact dimensions of the string can then no
2139 @cindex @code{\fatText}
2141 @cindex @code{\emptyText}
2146 In this manual: @ref{Text markup}.
2148 Program reference: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
2154 @subsection Grace notes
2157 @c should have blurb about accaciatura / appogiatura
2159 @cindex @code{\grace}
2163 Grace notes are ornaments that are written out. The most common ones
2164 are acciaccatura, which should be played as very short. It is denoted
2165 by a slurred small note with a slashed stem. The appoggiatura is a
2166 grace note that takes a fixed fraction of the main note, is and
2167 denoted as a slurred note in small print without a slash.
2168 They are entered with the commands @code{\acciaccatura} and
2169 @code{\appoggiatura}, as demonstrated in the following example
2172 @cindex appoggiatura
2173 @cindex acciaccatura
2175 @lilypond[quote,relative=2,verbatim,fragment]
2176 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2177 \acciaccatura { g16[ f] } e4
2180 Both are special forms of the @code{\grace} command. By prefixing this
2181 keyword to a music expression, a new one is formed, which will be
2182 printed in a smaller font and takes up no logical time in a measure.
2184 @lilypond[quote,relative=2,verbatim,fragment]
2186 \grace { c16[ d16] } c2 c4
2190 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2191 @code{\grace} command does not start a slur.
2193 Internally, timing for grace notes is done using a second, `grace'
2194 time. Every point in time consists of two rational numbers: one
2195 denotes the logical time, one denotes the grace timing. The above
2196 example is shown here with timing tuples
2198 @lilypond[quote,raggedright]
2201 c4 \grace c16 c4 \grace {
2204 \new Lyrics \lyrics {
2207 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2208 \markup { (\fraction 1 4 , 0 ) } 4
2210 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2211 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2213 \markup { ( \fraction 2 4 , 0 ) }
2219 The placement of grace notes is synchronized between different staves.
2220 In the following example, there are two sixteenth graces notes for
2221 every eighth grace note
2223 @lilypond[quote,relative=2,verbatim,fragment]
2224 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2225 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2230 If you want to end a note with a grace, the standard trick is to put
2231 the grace notes after a ``space note''
2233 @lilypond[quote,fragment,verbatim,relative=2]
2236 { s2 \grace { c16[ d] } } >>
2242 By adjusting the duration of the skip note (here it is a half-note),
2243 the space between the main-note and the grace is adjusted.
2246 A @code{\grace} section will introduce special typesetting settings,
2247 for example, to produce smaller type, and set directions. Hence, when
2248 introducing layout tweaks, they should be inside the grace section,
2250 @lilypond[quote,fragment,verbatim,relative=2]
2253 \override Stem #'direction = #-1
2255 \revert Stem #'direction
2262 The overrides should also be reverted inside the grace section.
2264 If the layout of grace sections must be changed throughout the music,
2265 then this can be accomplished through the function
2266 @code{add-grace-property}. The following example undefines the Stem
2267 direction for this grace, so stems do not always point up.
2271 #(add-grace-property 'Voice 'Stem 'direction '())
2277 Another option is to change the variables @code{startGraceMusic},
2278 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2279 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2280 @code{stopAppoggiaturaMusic}. More information is in the file
2281 @file{ly/grace-init.ly}.
2286 Program reference: @internalsref{GraceMusic}.
2290 A score that starts with an @code{\grace} section needs an explicit
2291 @code{\context Voice} declaration, otherwise the main note and grace
2292 note end up on different staves.
2294 Grace note synchronization can also lead to surprises. Staff notation,
2295 such as key signatures, bar lines, etc. are also synchronized. Take
2296 care when you mix staves with grace notes and staves without, for example,
2298 @lilypond[quote,relative=2,verbatim,fragment]
2299 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2300 \new Staff { c4 \bar "|:" d4 } >>
2304 This can be remedied by inserting grace skips, for the above example
2307 \new Staff @{ c4 \bar "|:" \grace s16 d4 @} >>
2310 Grace sections should only be used within sequential music
2311 expressions. Nesting or juxtaposing grace sections is not supported,
2312 and might produce crashes or other errors.
2316 @subsection Glissando
2319 @cindex @code{\glissando}
2321 A glissando is a smooth change in pitch. It is denoted by a line or a
2322 wavy line between two notes.
2325 A glissando line can be requested by attaching a @code{\glissando} to
2328 @lilypond[quote,fragment,relative=1,verbatim]
2334 Program reference: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2336 Example files: @file{input/regression,glissando.ly}
2342 Printing text over the line (such as @emph{gliss.}) is not supported.
2346 @subsection Dynamics
2359 @cindex @code{\ffff}
2369 Absolute dynamic marks are specified using a command after a note
2370 @code{c4\ff}. The available dynamic marks are @code{\ppp},
2371 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2372 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2373 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}
2375 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2376 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2386 A crescendo mark is started with @code{\<} and terminated with
2387 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2388 with @code{\!}. Because these marks are bound to notes, if you must
2389 use spacer notes if multiple marks during one note are needed
2391 @lilypond[quote,fragment,verbatim]
2392 c''\< c''\! d''\> e''\!
2393 << f''1 { s4 s4\< s4\! \> s4\! } >>
2395 This may give rise to very short hairpins. Use @code{minimum-length}
2396 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2400 \override Staff.Hairpin #'minimum-length = #5
2403 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2404 is an example how to do it
2406 @lilypond[quote,fragment,relative=2,verbatim]
2416 You can also supply your own texts
2417 @lilypond[quote,fragment,relative=1,verbatim]
2419 \set crescendoText = \markup { \italic "cresc. poco" }
2420 \set crescendoSpanner = #'dashed-line
2430 @cindex @code{\dynamicUp}
2432 @cindex @code{\dynamicDown}
2433 @code{\dynamicDown},
2434 @cindex @code{\dynamicBoth}
2435 @code{\dynamicBoth}.
2437 @cindex direction, of dynamics
2441 Program reference: @internalsref{CrescendoEvent},
2442 @internalsref{DecrescendoEvent}, and
2443 @internalsref{AbsoluteDynamicEvent}.
2445 Dynamics @internalsref{DynamicText} and @internalsref{Hairpin}
2446 objects. Vertical positioning of these symbols is handled by the
2447 @internalsref{DynamicLineSpanner} object.
2455 @cindex @code{\repeat}
2458 Repetition is a central concept in music, and multiple notations exist
2459 for repetitions. In LilyPond, most of these notations can be captured
2460 in a uniform syntax. One of the advantages is that they can be
2461 rendered in MIDI accurately.
2463 The following types of repetition are supported
2467 Repeated music is fully written (played) out. Useful for MIDI
2468 output, and entering repetitive music.
2471 This is the normal notation: Repeats are not written out, but
2472 alternative endings (volte) are printed, left to right.
2476 Alternative endings are written stacked. This has limited use but may be
2477 used to typeset two lines of lyrics in songs with repeats, see
2478 @inputfileref{input,star-spangled-banner.ly}.
2486 Make beat or measure repeats. These look like percent signs.
2492 * Repeats and MIDI::
2493 * Manual repeat commands::
2495 * Tremolo subdivisions::
2500 @subsection Repeat syntax
2503 LilyPond has one syntactic construct for specifying different types of
2504 repeats. The syntax is
2507 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2510 If you have alternative endings, you may add
2511 @cindex @code{\alternative}
2513 \alternative @code{@{} @var{alternative1}
2515 @var{alternative3} @dots{} @code{@}}
2517 where each @var{alternative} is a music expression. If you do not
2518 give enough alternatives for all of the repeats, the first alternative
2519 is assumed to be played more than once.
2521 Normal notation repeats are used like this
2522 @lilypond[quote,fragment,verbatim,relative=2]
2524 \repeat volta 2 { c4 d e f }
2525 \repeat volta 2 { f e d c }
2528 With alternative endings
2529 @lilypond[quote,fragment,verbatim,relative=2]
2531 \repeat volta 2 {c4 d e f}
2532 \alternative { {d2 d} {f f,} }
2536 @lilypond[quote,fragment,verbatim,relative=2]
2539 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2540 \alternative { { g4 g g } { a | a a a a | b2. } }
2546 Brackets for the repeat are normally only printed over the topmost
2547 staff. This can be adjusted by setting the @code{voltaOnThisStaff}
2548 property @inputfileref{input/regression,volta-multi-staff.ly},
2549 @inputfileref{input/regression,volta-chord-names.ly}
2553 A nested repeat like
2562 is ambiguous, since it is is not clear to which @code{\repeat} the
2563 @code{\alternative} belongs. This ambiguity is resolved by always
2564 having the @code{\alternative} belong to the inner @code{\repeat}.
2565 For clarity, it is advisable to use braces in such situations.
2570 Timing information is not remembered at the start of an alternative,
2571 so after a repeat timing information must be reset by hand, for
2572 example by setting @code{Score.measurePosition} or entering
2573 @code{\partial}. Similarly, slurs or ties are also not repeated.
2578 @node Repeats and MIDI
2579 @subsection Repeats and MIDI
2581 @cindex expanding repeats
2583 For instructions on how to expand repeats for MIDI output, see the
2584 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2588 @node Manual repeat commands
2589 @subsection Manual repeat commands
2591 @cindex @code{repeatCommands}
2593 The property @code{repeatCommands} can be used to control the layout of
2594 repeats. Its value is a Scheme list of repeat commands, where each repeat
2598 @item the symbol @code{start-repeat},
2599 which prints a @code{|:} bar line,
2600 @item the symbol @code{end-repeat},
2601 which prints a @code{:|} bar line,
2602 @item the list @code{(volta @var{text})},
2603 which prints a volta bracket saying @var{text}: The text can be specified as
2604 a text string or as a markup text, see @ref{Text markup}. Do not
2605 forget to change the font, as the default number font does not contain
2606 alphabetic characters. Or,
2607 @item the list @code{(volta #f)}, which
2608 stops a running volta bracket
2611 @lilypond[quote,verbatim,fragment,relative=2]
2613 \set Score.repeatCommands = #'((volta "93") end-repeat)
2615 \set Score.repeatCommands = #'((volta #f))
2622 Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2623 @internalsref{VoltaRepeatedMusic},
2624 @internalsref{UnfoldedRepeatedMusic}, and
2625 @internalsref{FoldedRepeatedMusic}.
2627 @node Tremolo repeats
2628 @subsection Tremolo repeats
2629 @cindex tremolo beams
2631 To place tremolo marks between notes, use @code{\repeat} with tremolo
2633 @lilypond[quote,verbatim,raggedright]
2634 \context Voice \relative c' {
2635 \repeat "tremolo" 8 { c16 d16 }
2636 \repeat "tremolo" 4 { c16 d16 }
2637 \repeat "tremolo" 2 { c16 d16 }
2641 Tremolo marks can also be put on a single note. In this case, the
2642 note should not be surrounded by braces.
2643 @lilypond[quote,verbatim,raggedright]
2644 \repeat "tremolo" 4 c'16
2647 A similar mechanism is the tremolo subdivision, described in
2648 @ref{Tremolo subdivisions}.
2652 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2654 Program reference: tremolo beams are @internalsref{Beam} objects. Single stem
2655 tremolos are @internalsref{StemTremolo} objects. The music expression is
2656 @internalsref{TremoloEvent}.
2658 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2659 @inputfileref{input/regression,stem-tremolo.ly}.
2661 @node Tremolo subdivisions
2662 @subsection Tremolo subdivisions
2663 @cindex tremolo marks
2664 @cindex @code{tremoloFlags}
2666 Tremolo marks can be printed on a single note by adding
2667 `@code{:}[@var{length}]' after the note. The length must be at least
2668 8. A @var{length} value of 8 gives one line across the note stem. If
2669 the length is omitted, the last value (stored in @code{tremoloFlags})
2672 @lilypond[quote,verbatim,fragment]
2673 c'2:8 c':32 | c': c': |
2676 @c [TODO : stok is te kort bij 32en]
2680 Tremolos entered in this way do not carry over into the MIDI output.
2684 In this manual: @ref{Tremolo repeats}.
2686 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
2688 @node Measure repeats
2689 @subsection Measure repeats
2691 @cindex percent repeats
2692 @cindex measure repeats
2694 In the @code{percent} style, a note pattern can be repeated. It is
2695 printed once, and then the pattern is replaced with a special sign.
2696 Patterns of a one and two measures are replaced by percent-like signs,
2697 patterns that divide the measure length are replaced by slashes
2699 @lilypond[quote,verbatim,raggedright]
2700 \repeat "percent" 4 { c'4 }
2701 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2706 Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2707 @internalsref{PercentRepeatedMusic}, and
2708 @internalsref{DoublePercentRepeat}.
2712 @node Rhythmic music
2713 @section Rhythmic music
2717 * Showing melody rhythms::
2718 * Entering percussion::
2719 * Percussion staves::
2723 @node Showing melody rhythms
2724 @subsection Showing melody rhythms
2726 Sometimes you might want to show only the rhythm of a melody. This
2727 can be done with the rhythmic staff. All pitches of notes on such a
2728 staff are squashed, and the staff itself has a single line
2730 @lilypond[quote,fragment,relative=1,verbatim]
2731 \context RhythmicStaff {
2733 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2739 Program reference: @internalsref{RhythmicStaff}.
2741 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
2744 @node Entering percussion
2745 @subsection Entering percussion
2751 Percussion notes may be entered in @code{\drums} mode, which is
2752 similar to @code{notes}. Each piece of percussion has a full name and
2753 an abbreviated name, and both be used in input files
2756 hihat hh bassdrum bd
2758 @lilypond[quote,raggedright]
2759 \new DrumStaff \drums { hihat hh bassdrum bd }
2762 The complete list of drum names is in the init file
2763 @file{ly/drumpitch-init.ly}.
2764 @c TODO: properly document this.
2768 Program reference: @internalsref{DrumNoteEvent}.
2770 @node Percussion staves
2771 @subsection Percussion staves
2775 A percussion part for more than one instrument typically uses a
2776 multiline staff where each position in the staff refers to one piece
2780 To typeset the music, the notes must be interpreted in a
2781 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
2784 @lilypond[quote,raggedright,verbatim]
2785 up = \drums { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2786 down = \drums { bassdrum4 snare8 bd r bd sn4 }
2788 \new DrumVoice { \voiceOne \up }
2789 \new DrumVoice { \voiceTwo \down }
2793 The above example shows verbose polyphonic notation. The short
2794 polyphonic notation, described in @ref{Polyphony}, can also be used if
2795 the @internalsref{DrumVoices} are instantiated by hand first. For example,
2797 @lilypond[quote,fragment,verbatim]
2799 \context DrumVoice = "1" { s1 *2 }
2800 \context DrumVoice = "2" { s1 *2 }
2804 { \repeat unfold 16 hh16 }
2813 There are also other layout possibilities. To use these, set the
2814 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
2815 The following variables have been predefined
2819 is the default. It typesets a typical drum kit on a five-line staff
2821 @lilypond[quote,noindent]
2822 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2823 bd sn ss tomh tommh tomml toml tomfh tomfl }
2824 mus = \drums { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
2825 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2827 << \new DrumStaff\with {
2828 \remove Bar_engraver
2829 \remove Time_signature_engraver
2830 \override Stem #'transparent = ##t
2831 \override Stem #'Y-extent-callback = ##f
2832 minimumVerticalExtent = #'(-4.0 . 5.0)
2834 \context Lyrics \nam
2837 %% need to do this, because of indented @itemize
2840 \override LyricText #'font-family = #'typewriter
2841 \override BarNumber #'transparent =##T
2845 The drum scheme supports six different toms. When there fewer toms, simply
2846 select the toms that produce the desired result, i.e. to get toms on
2847 the three middle lines you use @code{tommh}, @code{tomml} and
2850 @item timbales-style
2851 to typeset timbales on a two line staff
2853 @lilypond[quote,raggedright]
2854 nam = \lyrics { timh ssh timl ssl cb }
2855 mus = \drums { timh ssh timl ssl cb s16 }
2858 \context DrumStaff \with {
2859 \remove Bar_engraver
2860 \remove Time_signature_engraver
2861 \override Stem #'transparent = ##t
2862 \override Stem #'Y-extent-callback = ##f
2863 \override StaffSymbol #'line-count = #2
2864 \override StaffSymbol #'staff-space = #2
2865 minimumVerticalExtent = #'(-3.0 . 4.0)
2866 drumStyleTable = #timbales-style
2869 \override LyricText #'font-family = #'typewriter
2875 to typeset congas on a two line staff
2877 @lilypond[quote,raggedright]
2878 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2879 mus = \drums { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2881 \context DrumStaff\with {
2882 \remove Bar_engraver
2883 \remove Time_signature_engraver
2884 drumStyleTable = #congas-style
2885 \override StaffSymbol #'line-count = #2
2887 %% this sucks; it will lengthen stems.
2888 \override StaffSymbol #'staff-space = #2
2889 \override Stem #'transparent = ##t
2890 \override Stem #'Y-extent-callback = ##f
2893 \override LyricText #'font-family = #'typewriter
2898 to typeset bongos on a two line staff
2900 @lilypond[quote,raggedright]
2901 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2902 mus = \drums { boh boho bohm ssh bol bolo bolm ssl s16 }
2904 \context DrumStaff\with {
2905 \remove Bar_engraver
2906 \remove Time_signature_engraver
2907 \override StaffSymbol #'line-count = #2
2908 drumStyleTable = #bongos-style
2910 %% this sucks; it will lengthen stems.
2911 \override StaffSymbol #'staff-space = #2
2912 \override Stem #'transparent = ##t
2913 \override Stem #'Y-extent-callback = ##f
2916 \override LyricText #'font-family = #'typewriter
2921 @item percussion-style
2922 to typeset all kinds of simple percussion on one line staves
2923 @lilypond[quote,raggedright]
2924 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2925 mus = \drums { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2927 \context DrumStaff\with{
2928 \remove Bar_engraver
2929 drumStyleTable = #percussion-style
2930 \override StaffSymbol #'line-count = #1
2931 \remove Time_signature_engraver
2932 \override Stem #'transparent = ##t
2933 \override Stem #'Y-extent-callback = ##f
2937 \override LyricText #'font-family = #'typewriter
2943 If you do not like any of the predefined lists you can define your own
2944 list at the top of your file
2946 @lilypond[quote,raggedright,verbatim]
2948 (bassdrum default #f -1)
2949 (snare default #f 0)
2951 (pedalhihat xcircle "stopped" 2)
2952 (lowtom diamond #f 3)))
2953 up = \drums { hh8 hh hh hh hhp4 hhp }
2954 down = \drums { bd4 sn bd toml8 toml }
2957 \set DrumStaff.drumStyleTable
2958 = #(alist->hash-table mydrums)
2959 \new DrumVoice { \voiceOne \up }
2960 \new DrumVoice { \voiceTwo \down }
2967 Init files: @file{ly/drumpitch-init.ly}.
2969 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
2973 Because general MIDI does not contain rim shots, the sidestick is used
2974 for this purpose instead.
2977 @section Piano music
2979 Piano staves are two normal staves coupled with a brace. The staves
2980 are largely independent, but sometimes voices can cross between the
2981 two staves. The same notation is also used for harps and other key
2982 instruments. The @internalsref{PianoStaff} is especially built to
2983 handle this cross-staffing behavior. In this section we discuss the
2984 @internalsref{PianoStaff} and some other pianistic peculiarities.
2988 * Automatic staff changes::
2989 * Manual staff switches::
2992 * Staff switch lines::
2997 There is no support for putting chords across staves. You can get
2998 this result by increasing the length of the stem in the lower stave so
2999 it reaches the stem in the upper stave, or vice versa. An example is
3000 included with the distribution as
3001 @inputfileref{input/test,stem-cross-staff.ly}.
3003 Dynamics are not centered, but kludges do exist. See
3004 @inputfileref{input/template,piano-dynamics.ly}.
3006 @cindex cross staff stem
3007 @cindex stem, cross staff
3008 @cindex distance between staves in piano music
3010 The distance between the two staves is normally fixed across the
3011 entire score. It is possible to tune this per system, but it does
3012 require arcane command incantations. See
3013 @inputfileref{input/test,piano-staff-distance.ly}.
3016 @node Automatic staff changes
3017 @subsection Automatic staff changes
3018 @cindex Automatic staff changes
3020 Voices can switch automatically between the top and the bottom
3021 staff. The syntax for this is
3025 \autochange \context Voice @{ @dots{}@var{music}@dots{} @}
3030 The two staves of the piano staff must be named @code{up} and
3033 A @code{\relative} section that is outside of @code{\autochange} has
3034 no effect on the pitches of @var{music}, so, if necessary, put
3035 @code{\relative} inside @code{\autochange} like
3039 \autochange \relative @dots{} \new Voice @dots{}
3044 The autochanger switches on basis of pitch (middle C is the turning
3045 point), and it looks ahead skipping over rests to switch in
3046 advance. Here is a practical example
3048 @lilypond[quote,verbatim,raggedright]
3049 \context PianoStaff <<
3050 \context Staff = "up" {
3051 \autochange \new Voice \relative c' {
3052 g4 a b c d r4 a g } }
3053 \context Staff = "down" {
3060 In this example, spacer rests are used to prevent the bottom staff from
3061 terminating too soon.
3066 In this manual: @ref{Manual staff switches}.
3068 Program reference: @internalsref{AutoChangeMusic}.
3074 The staff switches often do not end up in optimal places. For high
3075 quality output, staff switches should be specified manually.
3078 @code{\autochange} cannot be inside @code{\times}.
3080 Internally, the @code{\partcombine} interprets both arguments as
3081 @code{Voice}s named @code{one} and @code{two}, and then decides when
3082 the parts can be combined. Consequently, if the arguments switch to
3083 differently named @internalsref{Voice} contexts, the events in those
3087 @node Manual staff switches
3088 @subsection Manual staff switches
3090 @cindex manual staff switches
3091 @cindex staff switch, manual
3093 Voices can be switched between staves manually, using the following command
3095 \change Staff = @var{staffname} @var{music}
3099 The string @var{staffname} is the name of the staff. It switches the
3100 current voice from its current staff to the Staff called
3101 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3102 @code{"down"}. The @context{Staff} referred to must already exist, so
3103 usually the setup for a score will start with a setup of the staves,
3107 \context Staff = up @{
3108 \skip 1 * 10 %@emph{ keep staff alive}
3110 \context Staff = down @{
3111 \skip 1 * 10 %@emph{idem}
3117 and the @context{Voice} is inserted afterwards
3120 \context Staff = down
3121 \new Voice @{ @dots{} \change Staff = up @dots{} @}
3129 Pianos have pedals that alter the way sound are produced. Generally, a
3130 piano has three pedals, sustain, una corda, and sostenuto.
3133 Piano pedal instruction can be expressed by attaching
3134 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3135 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3138 @lilypond[quote,fragment,verbatim]
3139 c'4\sustainDown c'4\sustainUp
3142 What is printed can be modified by setting @code{pedal@var{X}Strings},
3143 where @var{X} is one of the pedal types: @code{Sustain},
3144 @code{Sostenuto} or @code{UnaCorda}. Refer to
3145 @internalsref{SustainPedal} in the program reference for more
3148 Pedals can also be indicated by a sequence of brackets, by setting the
3149 @code{pedalSustainStyle} property to @code{bracket} objects
3151 @lilypond[quote,fragment,verbatim,relative=2]
3152 \set Staff.pedalSustainStyle = #'bracket
3154 b\sustainUp\sustainDown
3155 b g \sustainUp a \sustainDown \bar "|."
3158 A third style of pedal notation is a mixture of text and brackets,
3159 obtained by setting the @code{pedalSustainStyle} style property to
3162 @lilypond[quote,fragment,verbatim,relative=2]
3163 \set Staff.pedalSustainStyle = #'mixed
3165 b\sustainUp\sustainDown
3166 b g \sustainUp a \sustainDown \bar "|."
3169 The default `*Ped.' style for sustain and damper pedals corresponds to
3170 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3173 @lilypond[quote,fragment,verbatim,relative=2]
3174 c\sostenutoDown d e c, f g a\sostenutoUp
3177 For fine-tuning of the appearance of a pedal bracket, the properties
3178 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3179 @code{PianoPedalBracket} objects (see
3180 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3181 bracket may be extended to the end of the note head
3183 @lilypond[quote,fragment,verbatim,relative=2]
3184 \override Staff.PianoPedalBracket
3185 #'shorten-pair = #'(0 . -1.0)
3186 c\sostenutoDown d e c, f g a\sostenutoUp
3190 @subsection Arpeggio
3193 @cindex broken arpeggio
3194 @cindex @code{\arpeggio}
3196 You can specify an arpeggio sign on a chord by attaching an
3197 @code{\arpeggio} to a chord
3200 @lilypond[quote,fragment,relative=1,verbatim]
3204 When an arpeggio crosses staves, you attach an arpeggio to the chords
3205 in both staves, and set
3206 @internalsref{PianoStaff}.@code{connectArpeggios}
3208 @lilypond[quote,fragment,relative=1,verbatim]
3209 \context PianoStaff <<
3210 \set PianoStaff.connectArpeggios = ##t
3211 \new Staff { <c' e g c>\arpeggio }
3212 \new Staff { \clef bass <c,, e g>\arpeggio }
3216 The direction of the arpeggio is sometimes denoted by adding an
3217 arrowhead to the wiggly line
3219 @lilypond[quote,fragment,relative=1,verbatim]
3228 A square bracket on the left indicates that the player should not
3229 arpeggiate the chord
3231 @lilypond[quote,fragment,relative=1,verbatim]
3238 @cindex @code{\arpeggio}
3240 @cindex @code{\arpeggioUp}
3242 @cindex @code{\arpeggioDown}
3243 @code{\arpeggioDown},
3244 @cindex @code{\arpeggioBoth}
3245 @code{\arpeggioBoth},
3246 @cindex @code{\arpeggioBracket}
3247 @code{\arpeggioBracket}.
3251 Program reference: @internalsref{ArpeggioEvent} music expressions lead to
3252 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3253 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3257 It is not possible to mix connected arpeggios and unconnected
3258 arpeggios in one @internalsref{PianoStaff} at the same time.
3260 @node Staff switch lines
3261 @subsection Staff switch lines
3264 @cindex follow voice
3265 @cindex staff switching
3268 @cindex @code{followVoice}
3270 Whenever a voice switches to another staff a line connecting the notes
3271 can be printed automatically. This is enabled if the property
3272 @code{PianoStaff.followVoice} is set to true
3274 @lilypond[quote,fragment,relative=1,verbatim]
3275 \context PianoStaff <<
3276 \set PianoStaff.followVoice = ##t
3277 \context Staff \context Voice {
3282 \context Staff=two { \clef bass \skip 1*2 }
3288 The associated object is @internalsref{VoiceFollower}.
3292 @cindex @code{\showStaffSwitch}
3293 @code{\showStaffSwitch},
3294 @cindex @code{\hideStaffSwitch}
3295 @code{\hideStaffSwitch}.
3299 @section Vocal music
3302 The easiest way to add lyrics to a melody, is by appending
3307 \newlyrics @{ @var{the lyrics} @}
3310 to a melody. Here is an example,
3312 @lilypond[raggedright,verbatim]
3313 \relative { \time 3/4 c2 e4 g2. }
3314 \newlyrics { play the game }
3317 More stanzas can be added by adding more
3318 @code{\newlyrics} sections
3320 @lilypond[raggedright,verbatim]
3321 \relative { \time 3/4 c2 e4 g2. }
3322 \newlyrics { play the game }
3323 \newlyrics { speel het spel }
3324 \newlyrics { joue le jeu }
3327 The @code{\newlyrics} keyword has three functions: it interprets the
3328 following words as texts instead of notes, it sets up a context for
3329 printing texts (the @code{Lyrics} context), and it couples the melody
3330 with the lyrics, so the durations of both are aligned.
3332 These three functions can be controlled separately, and that is what
3333 the following sections are about.
3337 * The Lyrics context::
3342 @node Entering lyrics
3343 @subsection Entering lyrics
3347 @cindex @code{\lyrics}
3350 Lyrics are entered in a special input mode. This mode is is introduced
3351 by the keyword @code{\lyrics}. In this mode you can enter lyrics,
3352 with punctuation and accents without any hassle. Syllables are
3353 entered like notes, but with pitches replaced by text. For example,
3355 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3358 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3359 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3360 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3361 any 8-bit character with ASCII code over 127, or a two-character
3362 combination of a backslash followed by one of @code{`}, @code{'},
3363 @code{"}, or @code{^}.
3365 Subsequent characters of a word can be any character that is not a digit
3366 and not white space. One important consequence of this is that a word
3367 can end with @code{@}}. The following example is usually a bug. The
3368 syllable includes a @code{@}}, and hence the opening brace is not balanced
3370 \lyrics @{ twinkle@}
3373 @cindex @code{\property}, in @code{\lyrics}
3374 Similarly, a period following a alphabetic sequence, is included in
3375 the resulting string. As a consequence, spaces must be inserted around
3378 \override Score . LyricText #'font-shape = #'italic
3382 @cindex spaces, in lyrics
3383 @cindex quotes, in lyrics
3385 Any @code{_} character which appears in an unquoted word is converted
3386 to a space. This provides a mechanism for introducing spaces into words
3387 without using quotes. Quoted words can also be used in Lyrics mode to
3388 specify words that cannot be written with the above rules. The
3389 following example incorporates double quotes
3392 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3395 This example is slightly academic, since it gives better looking
3396 results to use matched single quotes, @code{``} and @code{''}
3398 \lyrics @{ He said: ``Let my peo ple go'' @}
3403 Centered hyphens are entered as `@code{-}@code{-}' between syllables.
3404 The hyphen will have variable length depending on the space between
3405 the syllables and it will be centered between the syllables.
3410 When a lyric is sung over many notes (this is called a melisma), this is
3411 indicated with a horizontal line centered between a syllable and the
3412 next one. Such a line is called an extender line, and it is entered as
3417 Program reference: events @internalsref{LyricEvent},
3418 @internalsref{HyphenEvent}, and @internalsref{ExtenderEvent}. Objects
3419 @internalsref{LyricHyphen}, @internalsref{LyricExtender} and
3420 @internalsref{LyricText}.
3422 Examples: @inputfileref{input/test,lyric-hyphen-retain.ly}.
3426 The definition of lyrics mode is too complex.
3430 @node The Lyrics context
3431 @subsection The Lyrics context
3434 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
3436 \context Lyrics \lyrics @dots{}
3439 @cindex automatic syllable durations
3440 @cindex @code{\lyricsto}
3441 @cindex lyrics and melodies
3443 This will place the lyrics according to the durations that were
3444 entered. The lyrics can also be aligned under a given melody
3445 automatically. In this case, it is no longer necessary to enter the
3446 correct duration for each syllable. This is achieved by combining the
3447 melody and the lyrics with the @code{\lyricsto} expression
3449 \lyricsto @var{name} \new Lyrics @dots{}
3452 This aligns the lyrics to the
3454 notes of the @internalsref{Voice} context called @var{name}, which has
3455 to exist. Therefore, normally the @code{Voice} is specified first, and
3456 then the lyrics are specified with @code{\lyricsto}. The command
3457 @code{\lyricsto} switches to @code{\lyrics} mode automatically, so the
3458 @code{\lyrics} keyword may be omitted.
3460 For different or more complex orderings, the best way is to setup the
3461 hierarchy of staves and lyrics first, e.g.
3463 \context ChoirStaff <<
3464 \context Lyrics = sopranoLyrics @{ s1 @}
3465 \context Voice = soprano @{ @emph{music} @}
3466 \context Lyrics = tenorLyrics @{ s1 @}
3467 \context Voice = tenor @{ @emph{music} @}
3470 and then combine the appropriate melodies and lyric lines
3472 \lyricsto "soprano" \context Lyrics = sopranoLyrics
3477 The final input would resemble
3480 << \context ChoirStaff << @emph{setup the music} >>
3481 \lyricsto "soprano" @emph{etc}
3482 \lyricsto "alto" @emph{etc}
3488 The @code{\lyricsto} command detects melismata: it only puts one
3489 syllable under a tied or slurred group of notes. If you want to force
3490 an unslurred group of notes to be a melisma, insert @code{\melisma}
3491 after the first note of the group, and @code{\melismaEnd} after the
3494 @lilypond[quote,relative=2,raggedright,fragment,verbatim]
3496 \context Voice = "lala" {
3504 \lyricsto "lala" \new Lyrics {
3510 In addition, notes are considered a melisma if they are manually
3511 beamed, and automatic beaming (see @ref{Setting automatic beam
3512 behavior}) is switched off. The criteria for deciding melismata can
3513 be tuned with the property @code{melismaBusyProperties}. See
3514 @internalsref{Melisma_translator} in the program reference for more
3517 Lyrics can also be entered without @code{\lyricsto}. In this case the
3518 durations of each syllable must be entered explicitly, for example,
3525 Alignment to a melody can be specified with the @code{associatedVoice}
3529 \set associatedVoice = #"melody"
3532 Here is an example demonstrating manual lyric durations,
3534 @lilypond[relative=1,verbatim,fragment]
3535 << \context Voice = melody {
3539 \new Lyrics \lyrics {
3540 \set associatedVoice = #"melody"
3548 When multiple stanzas are put on the same melody, it can happen that
3549 two stanzas have melismata in different locations. This can be
3550 remedied by switching off melismata for one
3551 @internalsref{Lyrics}. This is achieved by setting
3552 the @code{ignoreMelismata} property to @code{#t}. An example is shown
3553 in @inputfileref{input/regression,lyric-combine-new.ly}.
3556 @cindex choral score
3558 A complete example of a SATB score setup is in the file
3559 @inputfileref{input/template,satb.ly}.
3564 @code{\melisma}, @code{\melismaEnd}
3565 @cindex @code{\melismaEnd}
3566 @cindex @code{\melisma}
3570 Program reference: Music expressions: @internalsref{LyricCombineMusic},
3571 Contexts: @internalsref{Lyrics}, @internalsref{Melisma_translator}.
3573 Examples: @inputfileref{input/template,satb.ly},
3574 @inputfileref{input/regression,lyric-combine-new.ly},
3575 @c TODO: make separate section for melismata
3576 @inputfileref{input/test,lyrics-melisma-variants.ly}.
3577 @inputfileref{input/test,lyrics-melisma-faster.ly}.
3581 Melismata are not detected automatically, and extender lines must be
3585 For proper processing of extender lines, the
3586 @internalsref{Lyrics} and @internalsref{Voice} should be
3587 linked. This can be achieved either by using @code{\lyricsto} or by
3588 setting corresponding names for both contexts. The latter is explained
3589 in @ref{More stanzas}.
3591 @c TODO: document \new Staff << Voice \lyricsto >> bug
3594 @subsection More stanzas
3596 @cindex phrasing, in lyrics
3599 The lyrics should be aligned with the note heads of the melody. To
3600 achieve this, each line of lyrics should be marked to correspond with
3601 the melodic line. This is done automatically when @code{\lyricsto},
3602 but it can also be done manually.
3604 To this end, give the @internalsref{Voice} context an identity
3606 \context Voice = duet @{
3611 Then set the @internalsref{Lyrics} contexts to names starting with
3612 that identity followed by a dash. In the preceding example, the
3613 @internalsref{Voice} identity is @code{duet}, so the identities of the
3614 @internalsref{Lyrics}s are marked @code{duet-1} and @code{duet-2}
3616 \context Lyrics = "duet-1" @{
3617 Hi, my name is Bert. @}
3618 \context Lyrics = "duet-2" @{
3619 Ooooo, ch\'e -- ri, je t'aime. @}
3622 @c \lyricsto in the example below is pointless, given subject of the
3626 The complete example is shown here
3627 @lilypond[quote,raggedright,verbatim]
3629 \relative c'' \context Voice = duet {
3633 \lyricsto "duet" \new Lyrics {
3634 \set vocalName = "Bert"
3635 Hi, my name is Bert. }
3636 \lyricsto "duet" \new Lyrics {
3637 \set vocalName = "Ernie"
3638 Ooooo, ch\'e -- ri, je t'aime. }
3643 @cindex stanza number
3644 @cindex singer's names
3645 @cindex name of singer
3647 Stanza numbers can be added by setting @code{stanza}, e.g.
3649 @lilypond[quote,verbatim,relative=2]
3651 \context Voice = duet {
3652 \time 3/4 g2 e4 a2 f4 g2. }
3653 \lyricsto "duet" \new Lyrics {
3655 Hi, my name is Bert. }
3659 This example also demonstrates how names of the singers can be added
3660 using @code{vocalName} analogous to instrument annotations for staves.
3661 A short version may be entered as @code{vocNam}.
3663 To make empty spaces in lyrics, use @code{\skip}.
3668 Program reference: Layout objects @internalsref{LyricText} and
3669 @internalsref{VocalName}. Music expressions
3670 @internalsref{LyricEvent}.
3678 The term @emph{ambitus} denotes a range of pitches for a given voice
3679 in a part of music. It also may denote the pitch range that a musical
3680 instrument is capable of playing. Ambituses are printed on vocal
3681 parts, so singers can easily determine if it meets his or her
3684 It denoted at the beginning of a piece near the initial clef. The
3685 range is graphically specified by two note heads, that represent the
3686 minimum and maximum pitch. To print such ambituses, add the
3687 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
3694 \consists Ambitus_engraver
3699 This results in the following output
3701 @lilypond[quote,raggedright]
3705 \consists Ambitus_engraver
3720 If you have multiple voices in a single staff, and you want a single
3721 ambitus per staff rather than per each voice, add the
3722 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3723 rather than to the @internalsref{Voice} context.
3725 It is possible to tune individual ambituses for multiple voices on a
3726 single staff, for example by erasing or shifting them horizontally. An
3727 example is in @inputfileref{input/test,ambitus-mixed.ly}.
3731 Program reference: @internalsref{Ambitus},
3732 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
3733 @internalsref{AmbitusAccidental}.
3735 Examples: @inputfileref{input/regression,ambitus.ly},
3736 @inputfileref{input/test,ambitus-mixed.ly}.
3740 There is no collision handling in the case of multiple per-voice
3747 @cindex guitar tablature
3749 Tablature notation is used for notating music for plucked string
3750 instruments. It notates pitches not by using note heads, but by
3751 indicating on which string and fret a note must be played. LilyPond
3752 offers limited support for tablature.
3755 * Tablatures basic::
3756 * Non-guitar tablatures::
3759 @node Tablatures basic
3760 @subsection Tablatures basic
3761 @cindex Tablatures basic
3763 The string number associated to a note is given as a backslash
3764 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3765 string. By default, string 1 is the highest one, and the tuning
3766 defaults to the standard guitar tuning (with 6 strings). The notes
3767 are printed as tablature, by using @internalsref{TabStaff} and
3768 @internalsref{TabVoice} contexts
3770 @lilypond[quote,fragment,verbatim]
3777 @cindex @code{minimumFret}
3780 When no string is specified, the first string that does not give a
3781 fret number less than @code{minimumFret} is selected. The default
3782 value for @code{minimumFret} is 0
3787 \set TabStaff.minimumFret = #8
3790 @lilypond[quote,noindent,raggedright]
3794 \set TabStaff.minimumFret = #8
3797 \context StaffGroup <<
3798 \context Staff { \clef "G_8" \frag }
3799 \context TabStaff { \frag }
3805 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}, and
3806 @internalsref{StringNumberEvent}.
3810 Chords are not handled in a special way, and hence the automatic
3811 string selector may easily select the same string to two notes in a
3815 @node Non-guitar tablatures
3816 @subsection Non-guitar tablatures
3817 @cindex Non-guitar tablatures
3819 You can change the number of strings, by setting the number of lines
3820 in the @internalsref{TabStaff}.
3822 You can change the tuning of the strings. A string tuning is given as
3823 a Scheme list with one integer number for each string, the number
3824 being the pitch (measured in semitones relative to middle C) of an
3825 open string. The numbers specified for @code{stringTuning} are the
3826 numbers of semitones to subtract or add, starting the specified pitch
3827 by default middle C, in string order. Thus, the notes are e, a, d, and
3830 @lilypond[quote,fragment,verbatim]
3831 \context TabStaff <<
3832 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
3835 a,4 c' a e' e c' a e'
3842 No guitar special effects have been implemented.
3846 Program reference: @internalsref{Tab_note_heads_engraver}.
3850 @section Chord names
3853 LilyPond has support for both printing chord names. Chords may be
3854 entered in musical chord notation, i.e. @code{< .. >}, but they can
3855 also be entered by name. Internally, the chords are represented as a
3856 set of pitches, so they can be transposed
3859 @lilypond[quote,verbatim,raggedright]
3860 twoWays = \transpose c c' {
3869 << \context ChordNames \twoWays
3870 \context Voice \twoWays >>
3873 This example also shows that the chord printing routines do not try to
3874 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3880 * Printing chord names::
3885 @subsection Chords mode
3888 Chord mode is a mode where you can input sets of pitches using common
3889 names. It is introduced by the keyword @code{\chords}.
3890 In chords mode, a chord is entered by the root, which is entered
3892 @lilypond[quote,fragment,verbatim,relative=2]
3893 \chords { es4. d8 c2 }
3898 Other chords may be entered by suffixing a colon, and introducing a
3899 modifier, and optionally, a number
3901 @lilypond[quote,fragment,verbatim]
3902 \chords { e1:m e1:7 e1:m7 }
3904 The first number following the root is taken to be the `type' of the
3905 chord, thirds are added to the root until it reaches the specified
3907 @lilypond[quote,fragment,verbatim]
3908 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3911 @cindex root of chord
3912 @cindex additions, in chords
3913 @cindex removals, in chords
3915 More complex chords may also be constructed adding separate steps
3916 to a chord. Additions are added after the number following
3917 the colon, and are separated by dots
3919 @lilypond[quote,verbatim,fragment]
3920 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3922 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3924 @lilypond[quote,verbatim,fragment]
3925 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3927 Removals are specified similarly, and are introduced by a caret. They
3928 must come after the additions
3929 @lilypond[quote,verbatim,fragment]
3930 \chords { c^3 c:7^5 c:9^3.5 }
3933 Modifiers can be used to change pitches. The following modifiers are
3937 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3939 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3942 is the augmented chord. This modifier raises the 5th step.
3944 is the major 7th chord. This modifier raises the 7th step if present.
3946 is the suspended 4th or 2nd. This modifier removes the 3rd
3947 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3950 Modifiers can be mixed with additions
3951 @lilypond[quote,verbatim,fragment]
3952 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3955 @cindex modifiers, in chords.
3962 Since an unaltered 11 does not sound good when combined with an
3963 unaltered 3, the 11 is removed in this case (unless it is added
3966 @lilypond[quote,fragment,verbatim]
3967 \chords { c:13 c:13.11 c:m13 }
3972 An inversion (putting one pitch of the chord on the bottom), as well
3973 as bass notes, can be specified by appending
3974 @code{/}@var{pitch} to the chord
3975 @lilypond[quote,fragment,verbatim]
3976 \chords { c1 c/g c/f }
3980 A bass note can be added instead of transposed out of the chord,
3981 by using @code{/+}@var{pitch}.
3983 @lilypond[quote,fragment,verbatim]
3984 \chords { c1 c/+g c/+f }
3987 Chords is a mode similar to @code{\lyrics} etc. Most
3988 of the commands continue to work, for example, @code{r} and
3989 @code{\skip} can be used to insert rests and spaces, and property
3990 commands may be used to change various settings.
3996 Each step can only be present in a chord once. The following
3997 simply produces the augmented chord, since @code{5+} is interpreted
4000 @lilypond[quote,verbatim,fragment]
4001 \chords { c:5.5-.5+ }
4005 @node Printing chord names
4006 @subsection Printing chord names
4008 @cindex printing chord names
4012 For displaying printed chord names, use the @internalsref{ChordNames} context.
4013 The chords may be entered either using the notation
4014 described above, or directly using @code{<} and @code{>}
4016 @lilypond[quote,verbatim,raggedright]
4018 \chords {a1 b c} <d' f' a'> <e' g' b'>
4022 \context ChordNames \scheme
4023 \context Staff \scheme
4027 You can make the chord changes stand out by setting
4028 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
4029 display chord names when there is a change in the chords scheme and at
4030 the start of a new line
4032 @lilypond[quote,verbatim,linewidth=9\cm]
4034 c1:m c:m \break c:m c:m d
4037 \context ChordNames {
4038 \set chordChanges = ##t
4040 \context Staff \transpose c c' \scheme
4044 The default chord name layout is a system for Jazz music, proposed by
4045 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
4046 following properties
4049 @cindex @code{chordNameExceptions}
4050 @item chordNameExceptions
4051 This is a list that contains the chords that have special formatting.
4053 @inputfileref{input/regression,chord-name-exceptions.ly}.
4054 @cindex exceptions, chord names.
4057 @cindex @code{majorSevenSymbol}
4058 @item majorSevenSymbol
4059 This property contains the markup object used for the 7th step, when
4060 it is major. Predefined options are @code{whiteTriangleMarkup} and
4061 @code{blackTriangleMarkup}. See
4062 @inputfileref{input/regression,chord-name-major7.ly} for an example.
4064 @cindex @code{chordNameSeparator}
4065 @item chordNameSeparator
4066 Different parts of a chord name are normally separated by a
4067 slash. By setting @code{chordNameSeparator}, you can specify other
4069 @lilypond[quote,fragment,verbatim]
4070 \context ChordNames \chords {
4072 \set chordNameSeparator
4073 = \markup { \typewriter "|" }
4078 @cindex @code{chordRootNamer}
4079 @item chordRootNamer
4080 The root of a chord is usually printed as a letter with an optional
4081 alteration. The transformation from pitch to letter is done by this
4082 function. Special note names (for example, the German ``H'' for a
4083 B-chord) can be produced by storing a new function in this property.
4085 The predefined variables @code{\germanChords},
4086 @code{\semiGermanChords} set these variables.
4089 @cindex @code{chordNoteNamer}
4090 @item chordNoteNamer
4091 The default is to print single pitch, e.g. the bass note, using the
4092 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4093 to a specialized function to change this behavior. For example, the
4094 base can be printed in lower case.
4099 There are also two other chord name schemes implemented: an alternate
4100 Jazz chord notation, and a systematic scheme called Banter chords. The
4101 alternate jazz notation is also shown on the chart in @ref{Chord name
4102 chart}. Turning on these styles is described in the input file
4103 @inputfileref{input/test,chord-names-jazz.ly}.
4107 @cindex chords, jazz
4112 @cindex @code{\germanChords}
4113 @code{\germanChords},
4114 @cindex @code{\semiGermanChords}
4115 @code{\semiGermanChords}.
4122 Examples: @inputfileref{input/regression,chord-name-major7.ly},
4123 @inputfileref{input/regression,chord-name-exceptions.ly},
4124 @inputfileref{input/test,chord-names-jazz.ly},
4125 @inputfileref{input/test,chord-names-german.ly},
4126 @inputfileref{input/test,chords-without-melody.ly}.
4129 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4134 Chord names are determined solely from the list of pitches. Chord
4135 inversions are not identified, and neither are added bass notes. This
4136 may result in strange chord names when chords are entered with the
4137 @code{< .. >} syntax.
4142 @node Orchestral music
4143 @section Orchestral music
4145 @cindex Writing parts
4147 Orchestral music involves some special notation, both in the full
4148 score and the individual parts. This section explains how to tackle
4149 some common problems in orchestral music.
4154 * Multiple staff contexts::
4157 * Instrument names::
4159 * Instrument transpositions::
4160 * Multi measure rests::
4161 * Automatic part combining::
4163 * Different editions from one source::
4164 * Quoting other voices::
4167 @node Multiple staff contexts
4168 @subsection Multiple staff contexts
4170 Polyphonic scores consist of many staves. These staves can be
4171 constructed in three different ways
4173 @item The group is started with a brace at the left, and bar lines are
4174 connected. This is done with the @internalsref{GrandStaff} context.
4176 @item The group is started with a bracket, and bar lines are connected. This is done with the
4177 @internalsref{StaffGroup} context
4180 @item The group is started with a vertical line. Bar lines are not
4181 connected. This is the default for the score.
4185 @cindex Staff, multiple
4186 @cindex bracket, vertical
4187 @cindex brace, vertical
4194 @node Rehearsal marks
4195 @subsection Rehearsal marks
4196 @cindex Rehearsal marks
4198 @cindex @code{\mark}
4200 To print a rehearsal mark, use the @code{\mark} command
4201 @lilypond[quote,fragment,verbatim]
4212 (The letter I is skipped in accordance with engraving traditions.)
4214 The mark is incremented automatically if you use @code{\mark
4215 \default}, but you can also use an integer argument to set the mark
4216 manually. The value to use is stored in the property
4217 @code{rehearsalMark}.
4219 The style is defined by the property @code{markFormatter}. It is a
4220 function taking the current mark (an integer) and the current context
4221 as argument. It should return a markup object. In the following
4222 example, @code{markFormatter} is set to a canned procedure. After a
4223 few measures, it is set to function that produces a boxed number.
4225 @lilypond[quote,verbatim,fragment,relative=2]
4226 \set Score.markFormatter = #format-mark-numbers
4229 \set Score.markFormatter
4230 = #(lambda (mark context)
4231 (make-bold-markup (make-box-markup (number->string mark))))
4236 The file @file{scm/translation-functions.scm} contains the definitions
4237 of @code{format-mark-numbers} (the default format) and
4238 @code{format-mark-letters}. They can be used as inspiration for other
4239 formatting functions.
4242 @cindex coda on bar line
4243 @cindex segno on bar line
4244 @cindex fermata on bar line
4245 @cindex bar lines, symbols on
4247 The @code{\mark} command can also be used to put signs like coda,
4248 segno and fermatas on a bar line. Use @code{\markup} to
4249 to access the appropriate symbol
4251 @lilypond[quote,fragment,verbatim,relative=2]
4252 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4256 In the case of a line break, marks must also be printed at the end of
4257 the line, and not at the beginning. Use the following to force that
4260 \override Score.RehearsalMark
4261 #'break-visibility = #begin-of-line-invisible
4267 @cindex bar lines, putting symbols on
4271 Program reference: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
4273 Init files: @file{scm/translation-functions.scm} contains the
4274 definition of @code{format-mark-numbers} and
4275 @code{format-mark-letters}. They can be used as inspiration for other
4276 formatting functions.
4278 Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
4279 @inputfileref{input/regression,rehearsal-mark-number.ly}.
4283 @subsection Bar numbers
4287 @cindex measure numbers
4288 @cindex @code{currentBarNumber}
4290 Bar numbers are printed by default at the start of the line. The
4291 number itself is stored in the @code{currentBarNumber} property, which
4292 is normally updated automatically for every measure.
4294 Bar numbers can be typeset at regular intervals instead of at the
4295 beginning of each line. This is illustrated in the following example,
4296 whose source is available as
4297 @inputfileref{input/test,bar-number-regular-interval.ly}
4299 @lilypondfile[quote]{bar-number-regular-interval.ly}
4303 Program reference: @internalsref{BarNumber}.
4305 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4306 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4310 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4311 there is one at the top. To solve this, the
4312 @code{padding} property of @internalsref{BarNumber} can be
4313 used to position the number correctly.
4315 @node Instrument names
4316 @subsection Instrument names
4318 In an orchestral score, instrument names are printed left side of the
4321 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4322 and @internalsref{Staff}.@code{instr}. This will print a string before
4323 the start of the staff. For the first start, @code{instrument} is
4324 used, for the next ones @code{instr} is used.
4326 @lilypond[quote,verbatim,raggedright,relative=1,fragment]
4327 \set Staff.instrument = "Ploink "
4328 \set Staff.instr = "Plk "
4334 You can also use markup texts to construct more complicated instrument
4337 @lilypond[quote,fragment,verbatim,raggedright]
4339 \set Staff.instrument = \markup {
4340 \column < "Clarinetti" { "in B"
4341 \smaller \flat } > }
4346 For longer instrument names, it may be useful to increase the
4347 @code{indent} setting in the @code{\paper} block.
4351 Program reference: @internalsref{InstrumentName}.
4355 When you put a name on a grand staff or piano staff the width of the
4356 brace is not taken into account. You must add extra spaces to the end of
4357 the name to avoid a collision.
4360 @subsection Transpose
4362 @cindex transposition of pitches
4363 @cindex @code{\transpose}
4365 A music expression can be transposed with @code{\transpose}. The
4368 \transpose @var{from} @var{to} @var{musicexpr}
4371 This means that @var{musicexpr} is transposed by the interval between
4372 the pitches @var{from} and @var{to}: any note with pitch @code{from}
4373 is changed to @code{to}.
4376 For example, consider a piece written in the key of D major. If
4377 this piece is a little too low for its performer, it can be
4378 transposed up to E major with
4380 \transpose d e @dots{}
4383 Consider a part written for violin (a C instrument). If
4384 this part is to be played on the A clarinet, the following
4385 transposition will produce the appropriate part
4388 \transpose a c @dots{}
4391 @code{\transpose} distinguishes between enharmonic pitches: both
4392 @code{\transpose c cis} or @code{\transpose c des} will transpose up
4393 half a tone. The first version will print sharps and the second
4394 version will print flats
4396 @lilypond[quote,raggedright,verbatim]
4397 mus = { \key d \major cis d fis g }
4401 \transpose c g' \mus
4402 \transpose c f' \mus
4409 Program reference: @internalsref{TransposedMusic}, and
4410 @internalsref{UntransposableMusic}.
4414 If you want to use both @code{\transpose} and @code{\relative},
4415 you must put @code{\transpose} outside of @code{\relative}, since
4416 @code{\relative} will have no effect music that appears inside a
4419 @node Instrument transpositions
4420 @subsection Instrument transpositions
4422 The key of a transposing instrument can also be specified. This
4423 applies to many wind instruments, for example, clarinets (B-flat, A and
4424 E-flat), horn (F) and trumpet (B-flat, C, D and E-flat).
4427 The transposition is entered after the keyword @code{\transposition}
4430 \transposition bes %% B-flat clarinet
4433 This command sets the property @code{instrumentTransposition}. The value of
4434 this property is used for MIDI output and quotations. It does not
4435 affect how notes are printed in the current staff.
4437 @cindex transposition, MIDI
4438 @cindex transposition, instrument
4441 @node Multi measure rests
4442 @subsection Multi measure rests
4443 @cindex multi measure rests
4444 @cindex Rests, multi measure
4448 Multi measure rests are entered using `@code{R}'. It is specifically
4449 meant for full bar rests and for entering parts: the rest can expand
4450 to fill a score with rests, or it can be printed as a single
4451 multimeasure rest. This expansion is controlled by the property
4452 @code{Score.skipBars}. If this is set to true, empty measures will not
4453 be expanded, and the appropriate number is added automatically
4455 @lilypond[quote,fragment,verbatim]
4456 \time 4/4 r1 | R1 | R1*2
4457 \set Score.skipBars = ##t R1*17 R1*4
4460 The @code{1} in @code{R1} is similar to the duration notation used for
4461 notes. Hence, for time signatures other than 4/4, you must enter other
4462 durations. This can be done with augmentation dots or fractions
4464 @lilypond[quote,fragment,verbatim]
4465 \set Score.skipBars = ##t
4473 An @code{R} spanning a single measure is printed as either a whole rest
4474 or a breve, centered in the measure regardless of the time signature.
4476 @cindex text on multi-measure rest
4477 @cindex script on multi-measure rest
4478 @cindex fermata on multi-measure rest
4480 Texts can be added to multi-measure rests by using the
4481 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4482 replaced. If you need both texts and the number, you must add the
4483 number by hand. A variable (@code{\fermataMarkup}) is provided for
4487 @lilypond[quote,verbatim,fragment]
4489 R2._\markup { "Ad lib" }
4493 If you want to have a text on the left end of a multi-measure rest,
4494 attach the text to a zero-length skip note, i.e.
4502 @cindex whole rests for a full measure
4506 Program reference: @internalsref{MultiMeasureRestEvent},
4507 @internalsref{MultiMeasureTextEvent},
4508 @internalsref{MultiMeasureRestMusicGroup}, and
4509 @internalsref{MultiMeasureRest}.
4511 The layout object @internalsref{MultiMeasureRestNumber} is for the
4512 default number, and @internalsref{MultiMeasureRestText} for user
4517 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4518 over multi-measure rests.
4520 @cindex condensing rests
4522 There is no way to automatically condense multiple rests into a single
4523 multimeasure rest. Multi measure rests do not take part in rest
4526 Be careful when entering multimeasure rests followed by whole
4527 notes. The following will enter two notes lasting four measures each
4531 When @code{skipBars} is set, the result will look OK, but the bar
4532 numbering will be off.
4534 @node Automatic part combining
4535 @subsection Automatic part combining
4536 @cindex automatic part combining
4537 @cindex part combiner
4540 Automatic part combining is used to merge two parts of music onto a
4541 staff. It is aimed at typesetting orchestral scores. When the two
4542 parts are identical for a period of time, only one is shown. In
4543 places where the two parts differ, they are typeset as separate
4544 voices, and stem directions are set automatically. Also, solo and
4545 @emph{a due} parts are identified and can be marked.
4547 The syntax for part combining is
4550 \partcombine @var{musicexpr1} @var{musicexpr2}
4553 The music expressions will be interpreted as @internalsref{Voice}
4554 contexts. If using relative octaves, @code{\relative} should be
4555 specified for both music expressions, i.e.
4558 \partcombine \relative @dots{} @var{musicexpr1}
4559 \relative @dots{} @var{musicexpr2}
4563 A @code{\relative} section that is outside of @code{\partcombine} has
4564 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
4567 The following example demonstrates the basic functionality of the part
4568 combiner: putting parts on one staff, and setting stem directions and
4571 @lilypond[quote,verbatim,raggedright,fragment]
4572 \new Staff \partcombine
4573 \relative g' { g g a( b) c c r r }
4574 \relative g' { g g r4 r e e g g }
4577 The first @code{g} appears only once, although it was
4578 specified twice (once in each part). Stem, slur and tie directions are
4579 set automatically, depending whether there is a solo or unisono. The
4580 first part (with context called @code{one}) always gets up stems, and
4581 `solo', while the second (called @code{two}) always gets down stems and
4584 If you just want the merging parts, and not the textual markings, you
4585 may set the property @code{soloADue} to false
4587 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
4589 \set Staff.soloADue = ##f
4591 \relative g' { g a( b) r }
4592 \relative g' { g r4 r f }
4598 Program reference: @internalsref{PartCombineMusic},
4599 @internalsref{SoloOneEvent}, and
4600 @internalsref{SoloTwoEvent}, and
4601 @internalsref{UnisonoEvent}.
4605 In @code{soloADue} mode, when the two voices play the same notes on and
4606 off, the part combiner may typeset @code{a2} more than once in a
4609 @code{\partcombine} cannot be inside @code{\times}.
4611 @code{\partcombine} cannot be inside @code{\relative}.
4613 Internally, the @code{\partcombine} interprets both arguments as
4614 @code{Voice}s named @code{one} and @code{two}, and then decides when
4615 the parts can be combined. Consequently, if the arguments switch to
4616 differently named @internalsref{Voice} contexts, the events in those
4620 @subsection Hiding staves
4622 @cindex Frenched scores
4623 @cindex Hiding staves
4625 In orchestral scores, staff lines that only have rests are usually
4626 removed. This saves some space. This style is called `French Score'.
4627 For @internalsref{Lyrics},
4628 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4629 switched on by default. When these line of these contexts turn out
4630 empty after the line-breaking process, they are removed.
4632 For normal staves, a specialized @internalsref{Staff} context is
4633 available, which does the same: staves containing nothing (or only
4634 multi measure rests) are removed. The context definition is stored in
4635 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4636 in this example disappears in the second line
4639 @lilypond[quote,verbatim]
4642 \context { \RemoveEmptyStaffContext }
4647 \new Staff { e4 f g a \break c1 }
4648 \new Staff { c4 d e f \break R1 }
4653 The first page shows all staves in full. If empty staves should be
4654 removed from the first page too, set @code{remove-first} to false in
4655 @internalsref{RemoveEmptyVerticalGroup}.
4657 Another application is making ossia sections, i.e. alternative
4658 melodies on a separate piece of staff, with help of a Frenched
4659 staff. See @inputfileref{input/test,ossia.ly} for an example.
4662 @node Different editions from one source
4663 @subsection Different editions from one source
4665 The @code{\tag} command marks music expressions with a name. These
4666 tagged expressions can be filtered out later. With this mechanism it
4667 is possible to make different versions of the same music source.
4669 In the following example, we see two versions of a piece of music, one
4670 for the full score, and one with cue notes for the instrumental part
4686 The same can be applied to articulations, texts, etc.: they are
4689 -\tag #@var{your-tag}
4691 to an articulation, for example,
4696 This defines a note with a conditional fingering indication.
4698 By applying the @code{remove-tag} function, tagged expressions can be
4699 filtered. For example,
4703 \applymusic #(remove-tag 'score) @var{the music}
4704 \applymusic #(remove-tag 'part) @var{the music}
4709 @lilypondfile[quote]{tag-filter.ly}
4711 The argument of the @code{\tag} command should be a symbol, or a list
4712 of symbols, for example,
4714 \tag #'(original-part transposed-part) @dots{}
4719 Examples: @inputfileref{input/regression,tag-filter.ly}.
4722 @node Quoting other voices
4723 @subsection Quoting other voices
4725 With quotations, fragments of other parts can be inserted into a part
4726 directly. Before a part can be quoted, it must be marked especially as
4727 quotable. This is done with code @code{\addquote} command. The
4728 quotation may then be done with @code{\quote}
4731 \addquote @var{name} @var{music}
4732 \quote @var{name} @var{duration}
4737 Here, @var{name} is an identifying string. The @var{music} is any kind
4738 of music. This is an example of @code{\addquote}
4741 \addquote clarinet \relative c' {
4746 During a part, a piece of music can be quoted with the @code{\quote}
4753 This would cite 3 quarter notes (a dotted half note) of the previously
4754 added clarinet voice.
4756 Quotations take into account the transposition both source and target
4757 instruments, if they are specified using the @code{\transposition} command.
4759 @lilypond[quote,raggedright,verbatim]
4760 \addquote clarinet \relative c' {
4766 e'8 f'8 \quote clarinet 2
4772 Only the contents of the first @internalsref{Voice} occurring in an
4773 @code{\addquote} command will be considered for quotation, so
4774 @var{music} can not contain @code{\new} and @code{\context Voice}
4775 statements that would switch to a different Voice.
4780 In this manual: @ref{Instrument transpositions}.
4782 Examples: @inputfileref{input/regression,quote.ly}
4783 @inputfileref{input/regression,quote-transposition.ly}
4785 Program reference: @internalsref{QuoteMusic}.
4787 @node Ancient notation
4788 @section Ancient notation
4790 @cindex Vaticana, Editio
4791 @cindex Medicaea, Editio
4796 Support for ancient notation includes features for mensural notation
4797 and Gregorian Chant notation. There is also limited support for
4798 figured bass notation.
4800 Many graphical objects provide a @code{style} property, see
4801 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4802 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4803 signatures}. By manipulating such a grob property, the typographical
4804 appearance of the affected graphical objects can be accommodated for a
4805 specific notation flavor without need for introducing any new
4808 Other aspects of ancient notation can not that easily be expressed as
4809 in terms of just changing a style property of a graphical object.
4810 Therefore, some notational concepts are introduced specifically for
4811 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4812 @ref{Ligatures}, and @ref{Figured bass}.
4816 * Ancient note heads::
4817 * Ancient accidentals::
4821 * Ancient time signatures::
4825 * Vaticana style contexts::
4829 If this all is way too much of documentation for you, and you just
4830 want to dive into typesetting without worrying too much about the
4831 details on how to customize a context, you may have a look at the
4832 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4833 set up predefined style-specific voice and staff contexts, and
4834 directly go ahead with the note entry.
4838 Ligatures need special spacing that has not yet been implemented. As
4839 a result, there is too much space between ligatures most of the time,
4840 and line breaking often is unsatisfactory. Also, lyrics do not
4841 correctly align with ligatures.
4843 Accidentals must not be printed within a ligature, but instead need to
4844 be collected and printed in front of it.
4846 Augmentum dots within ligatures are not handled correctly.
4849 @node Ancient note heads
4850 @subsection Ancient note heads
4855 For ancient notation, a note head style other than the @code{default}
4856 style may be chosen. This is accomplished by setting the @code{style}
4857 property of the NoteHead object to the desired value (@code{baroque},
4858 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4859 differs from the @code{default} style only in using a square shape for
4860 @code{\breve} note heads. The @code{neo_mensural} style differs from
4861 the @code{baroque} style in that it uses rhomboidal heads for whole
4862 notes and all smaller durations. Stems are centered on the note
4863 heads. This style is in particular useful when transcribing mensural
4864 music, e.g. for the incipit. The @code{mensural} style finally
4865 produces note heads that mimic the look of note heads in historic
4866 printings of the 16th century.
4868 The following example demonstrates the @code{neo_mensural} style
4870 @lilypond[quote,fragment,raggedright,verbatim]
4871 \override NoteHead #'style = #'neo_mensural
4872 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4875 When typesetting a piece in Gregorian Chant notation, a Gregorian
4876 ligature engraver will automatically select the proper note heads,
4877 such there is no need to explicitly set the note head style. Still,
4878 the note head style can be set e.g. to @code{vaticana_punctum} to
4879 produce punctum neumes. Similarly, a mensural ligature engraver is
4880 used to automatically assemble mensural ligatures. See
4881 @ref{Ligatures} for how ligature engravers work.
4886 @ref{Percussion staves} use note head styles of their own that are
4887 frequently used in contemporary music notation.
4889 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
4890 overview over all available note head styles.
4893 @node Ancient accidentals
4894 @subsection Ancient accidentals
4899 Use the @code{style} property of grob @internalsref{Accidental} to
4900 select ancient accidentals. Supported styles are
4901 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4903 @lilypond[quote,raggedright,staffsize=26]
4911 { " " \musicglyph #"accidentals-vaticana-1"
4912 " " \musicglyph #"accidentals-vaticana0" }
4916 { " " \musicglyph #"accidentals-medicaea-1" }
4920 { " " \musicglyph #"accidentals-hufnagel-1" }
4924 { " " \musicglyph #"accidentals-mensural-1"
4925 " " \musicglyph #"accidentals-mensural1" }
4934 \remove "Bar_number_engraver"
4938 \remove "Clef_engraver"
4939 \remove "Key_engraver"
4940 \remove "Time_signature_engraver"
4941 \remove "Staff_symbol_engraver"
4942 minimumVerticalExtent = ##f
4948 As shown, not all accidentals are supported by each style. When
4949 trying to access an unsupported accidental, LilyPond will switch to a
4950 different style, as demonstrated in
4951 @inputfileref{input/test,ancient-accidentals.ly}.
4953 Similarly to local accidentals, the style of the key signature can be
4954 controlled by the @code{style} property of the
4955 @internalsref{KeySignature} grob.
4959 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
4960 @ref{Accidentals} give a general introduction into the use of
4961 accidentals. @ref{Key signature} gives a general introduction into
4962 the use of key signatures.
4964 Program reference: @internalsref{KeySignature}.
4966 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
4969 @subsection Ancient rests
4974 Use the @code{style} property of grob @internalsref{Rest} to select
4975 ancient accidentals. Supported styles are @code{classical},
4976 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4977 from the @code{default} style only in that the quarter rest looks like
4978 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4979 well for e.g. the incipit of a transcribed mensural piece of music.
4980 The @code{mensural} style finally mimics the appearance of rests as
4981 in historic prints of the 16th century.
4983 The following example demonstrates the @code{neo_mensural} style
4985 @lilypond[quote,fragment,raggedright,verbatim]
4986 \override Rest #'style = #'neo_mensural
4987 r\longa r\breve r1 r2 r4 r8 r16
4990 There are no 32th and 64th rests specifically for the mensural or
4991 neo-mensural style. Instead, the rests from the default style will be
4992 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4995 There are no rests in Gregorian Chant notation; instead, it uses
5000 In this manual: @ref{Rests} gives a general introduction into the use of rests.
5004 @subsection Ancient clefs
5009 LilyPond supports a variety of clefs, many of them ancient.
5011 The following table shows all ancient clefs that are supported via the
5012 @code{\clef} command. Some of the clefs use the same glyph, but
5013 differ only with respect to the line they are printed on. In such
5014 cases, a trailing number in the name is used to enumerate these clefs.
5015 Still, you can manually force a clef glyph to be typeset on an
5016 arbitrary line, as described in @ref{Clef}. The note printed to the
5017 right side of each clef in the example column denotes the @code{c'}
5018 with respect to that clef.
5020 @multitable @columnfractions .3 .3 .3 .1
5024 @b{Description} @tab
5025 @b{Supported Clefs} @tab
5029 @code{clefs-neo_mensural_c} @tab
5030 modern style mensural C clef @tab
5031 @code{neo_mensural_c1}, @code{neo_mensural_c2},
5032 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
5033 @lilypond[fragment,quote,relative=1,notime]
5034 \override Staff.TimeSignature #'transparent = ##t
5035 \clef "neo_mensural_c2" c
5039 @code{clefs-petrucci_c1}
5040 @code{clefs-petrucci_c2}
5041 @code{clefs-petrucci_c3}
5042 @code{clefs-petrucci_c4}
5043 @code{clefs-petrucci_c5}
5046 petrucci style mensural C clefs, for use on different staff lines
5047 (the examples shows the 2nd staff line C clef).
5057 @lilypond[fragment,quote,relative=1,notime]
5058 \override Staff.TimeSignature #'transparent = ##t
5059 \clef "petrucci_c2" c
5063 @code{clefs-petrucci_f} @tab
5064 petrucci style mensural F clef @tab
5065 @code{petrucci_f} @tab
5066 @lilypond[fragment,quote,relative=1,notime]
5067 \override Staff.TimeSignature #'transparent = ##t
5068 \clef "petrucci_f" c
5072 @code{clefs-petrucci_g} @tab
5073 petrucci style mensural G clef @tab
5074 @code{petrucci_g} @tab
5075 @lilypond[fragment,quote,relative=1,notime]
5076 \override Staff.TimeSignature #'transparent = ##t
5077 \clef "petrucci_g" c
5081 @code{clefs-mensural_c} @tab
5082 historic style mensural C clef @tab
5083 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
5084 @code{mensural_c4} @tab
5085 @lilypond[fragment,quote,relative=1,notime]
5086 \override Staff.TimeSignature #'transparent = ##t
5087 \clef "mensural_c2" c
5091 @code{clefs-mensural_f} @tab
5092 historic style mensural F clef @tab
5093 @code{mensural_f} @tab
5094 @lilypond[fragment,quote,relative=1,notime]
5095 \override Staff.TimeSignature #'transparent = ##t
5096 \clef "mensural_f" c
5100 @code{clefs-mensural_g} @tab
5101 historic style mensural G clef @tab
5102 @code{mensural_g} @tab
5103 @lilypond[fragment,quote,relative=1,notime]
5104 \override Staff.TimeSignature #'transparent = ##t
5105 \clef "mensural_g" c
5109 @code{clefs-vaticana_do} @tab
5110 Editio Vaticana style do clef @tab
5111 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
5112 @lilypond[fragment,quote,relative=1,notime]
5113 \override Staff.StaffSymbol #'line-count = #4
5114 \override Staff.TimeSignature #'transparent = ##t
5115 \clef "vaticana_do2" c
5119 @code{clefs-vaticana_fa} @tab
5120 Editio Vaticana style fa clef @tab
5121 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
5122 @lilypond[quote,relative=1,notime,fragment]
5123 \override Staff.StaffSymbol #'line-count = #4
5124 \override Staff.TimeSignature #'transparent = ##t
5125 \clef "vaticana_fa2" c
5129 @code{clefs-medicaea_do} @tab
5130 Editio Medicaea style do clef @tab
5131 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
5132 @lilypond[fragment,quote,relative=1,notime]
5133 \override Staff.StaffSymbol #'line-count = #4
5134 \override Staff.TimeSignature #'transparent = ##t
5135 \clef "medicaea_do2" c
5139 @code{clefs-medicaea_fa} @tab
5140 Editio Medicaea style fa clef @tab
5141 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
5142 @lilypond[fragment,quote,relative=1,notime]
5143 \override Staff.StaffSymbol #'line-count = #4
5144 \override Staff.TimeSignature #'transparent = ##t
5145 \clef "medicaea_fa2" c
5149 @code{clefs-hufnagel_do} @tab
5150 historic style hufnagel do clef @tab
5151 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
5152 @lilypond[fragment,quote,relative=1,notime]
5153 \override Staff.StaffSymbol #'line-count = #4
5154 \override Staff.TimeSignature #'transparent = ##t
5155 \clef "hufnagel_do2" c
5159 @code{clefs-hufnagel_fa} @tab
5160 historic style hufnagel fa clef @tab
5161 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
5162 @lilypond[fragment,quote,relative=1,notime]
5163 \override Staff.StaffSymbol #'line-count = #4
5164 \override Staff.TimeSignature #'transparent = ##t
5165 \clef "hufnagel_fa2" c
5169 @code{clefs-hufnagel_do_fa} @tab
5170 historic style hufnagel combined do/fa clef @tab
5171 @code{hufnagel_do_fa} @tab
5172 @lilypond[fragment,quote,relative=1,notime]
5173 \override Staff.TimeSignature #'transparent = ##t
5174 \clef "hufnagel_do_fa" c
5181 @emph{Modern style} means ``as is typeset in contemporary editions of
5182 transcribed mensural music''.
5184 @emph{Petrucci style} means ``inspired by printings published by the
5185 famous engraver Petrucci (1466-1539)''.
5187 @emph{Historic style} means ``as was typeset or written in historic
5188 editions (other than those of Petrucci)''.
5190 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5192 Petrucci used C clefs with differently balanced left-side vertical
5193 beams, depending on which staff line it is printed.
5197 In this manual: see @ref{Clef}.
5201 The mensural g clef is mapped to the Petrucci g clef, until a new
5202 mensural g clef is implemented.
5207 @subsection Ancient flags
5212 Use the @code{flag-style} property of grob @internalsref{Stem} to
5213 select ancient flags. Besides the @code{default} flag style,
5214 only @code{mensural} style is supported
5216 @lilypond[quote,fragment,raggedright,verbatim]
5217 \override Stem #'flag-style = #'mensural
5218 \override Stem #'thickness = #1.0
5219 \override NoteHead #'style = #'mensural
5221 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
5222 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5225 Note that the innermost flare of each mensural flag always is
5226 vertically aligned with a staff line. If you do not like this
5227 behavior, you can set the @code{adjust-if-on-staffline} property of
5228 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5229 of the end of each flare is different between notes on staff lines and
5230 notes between staff lines
5232 @lilypond[quote,fragment,raggedright]
5233 \override Stem #'flag-style = #'mensural
5234 \override Stem #'thickness = #1.0
5235 \override Stem #'adjust-if-on-staffline = ##f
5236 \override NoteHead #'style = #'mensural
5238 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
5239 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5242 There is no particular flag style for neo-mensural notation. Hence,
5243 when typesetting e.g. the incipit of a transcribed piece of mensural
5244 music, the default flag style should be used. There are no flags in
5245 Gregorian Chant notation.
5248 @node Ancient time signatures
5249 @subsection Ancient time signatures
5251 @cindex time signatures
5254 There is limited support for mensural time signatures. The
5255 glyphs are hard-wired to particular time fractions. In other words,
5256 to get a particular mensural signature glyph with the @code{\time n/m}
5257 command, @code{n} and @code{m} have to be chosen according to the
5263 \set Score.timing = ##f
5264 \set Score.barAlways = ##t
5265 s_\markup { "$\\backslash$time 4/4" }
5266 ^\markup { " " \musicglyph #"timesig-neo_mensural4/4" }
5268 s_\markup { "$\\backslash$time 2/2" }
5269 ^\markup { " " \musicglyph #"timesig-neo_mensural2/2" }
5271 s_\markup { "$\\backslash$time 6/4" }
5272 ^\markup { " " \musicglyph #"timesig-neo_mensural6/4" }
5274 s_\markup { "$\\backslash$time 6/8" }
5275 ^\markup { " " \musicglyph #"timesig-neo_mensural6/8" }
5277 s_\markup { "$\\backslash$time 3/2" }
5278 ^\markup { " " \musicglyph #"timesig-neo_mensural3/2" }
5280 s_\markup { "$\\backslash$time 3/4" }
5281 ^\markup { " " \musicglyph #"timesig-neo_mensural3/4" }
5283 s_\markup { "$\\backslash$time 9/4" }
5284 ^\markup { " " \musicglyph #"timesig-neo_mensural9/4" }
5286 s_\markup { "$\\backslash$time 9/8" }
5287 ^\markup { " " \musicglyph #"timesig-neo_mensural9/8" }
5289 s_\markup { "$\\backslash$time 4/8" }
5290 ^\markup { " " \musicglyph #"timesig-neo_mensural4/8" }
5292 s_\markup { "$\\backslash$time 2/4" }
5293 ^\markup { " " \musicglyph #"timesig-neo_mensural2/4" }
5301 \remove Staff_symbol_engraver
5302 \remove Clef_engraver
5303 \remove Time_signature_engraver
5309 Use the @code{style} property of grob @internalsref{TimeSignature} to
5310 select ancient time signatures. Supported styles are
5311 @code{neo_mensural} and @code{mensural}. The above table uses the
5312 @code{neo_mensural} style. This style is appropriate e.g. for the
5313 incipit of transcriptions of mensural pieces. The @code{mensural}
5314 style mimics the look of historical printings of the 16th century.
5316 @inputfileref{input/test,time.ly} gives an overview over all available
5317 ancient and modern styles.
5321 Program reference: @ref{Time signature} gives a general introduction into the use of time
5326 Mensural signature glyphs are mapped to time fractions in a hard-wired
5327 way. This mapping is sensible, but still arbitrary: given a mensural
5328 time signature, the time fraction represents a modern meter that
5329 usually will be a good choice when transcribing a mensural piece of
5330 music. For a particular piece of mensural music, however, the mapping
5331 may be unsatisfactory. In particular, the mapping assumes a fixed
5332 transcription of durations (e.g. brevis = half note in 2/2, i.e. 4:1).
5333 Some glyphs (such as the alternate glyph for 6/8 meter) are not at all
5334 accessible through the @code{\time} command.
5336 Mensural time signatures are supported typographically, but not yet
5337 musically. The internal representation of durations is
5338 based on a purely binary system; a ternary division such as 1 brevis =
5339 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5340 prolatione maiori) is not correctly handled: event times in ternary
5341 modes will be badly computed, resulting e.g. in horizontally
5342 misaligned note heads, and bar checks are likely to erroneously fail.
5344 The syntax and semantics of the @code{\time} command for mensural
5345 music is subject to change.
5348 @subsection Custodes
5353 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
5354 symbol that appears at the end of a staff. It anticipates the pitch
5355 of the first note(s) of the following line and thus helps the player
5356 or singer to manage line breaks during performance, thus enhancing
5357 readability of a score.
5359 Custodes were frequently used in music notation until the 17th
5360 century. Nowadays, they have survived only in a few particular forms
5361 of musical notation such as contemporary editions of Gregorian chant
5362 like the @emph{editio vaticana}. There are different custos glyphs
5363 used in different flavors of notational style.
5365 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5366 @internalsref{Staff} context when declaring the @code{\paper} block,
5367 as shown in the following example
5373 \consists Custos_engraver
5374 Custos \override #'style = #'mensural
5379 The result looks like this
5381 @lilypond[quote,raggedright]
5385 \override Staff.Custos #'style = #'mensural
5392 \consists Custos_engraver
5398 The custos glyph is selected by the @code{style} property. The styles
5399 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5400 @code{mensural}. They are demonstrated in the following fragment
5404 \new Lyrics \lyrics {
5408 { " " \musicglyph #"custodes-vaticana-u0" }
5412 { " " \musicglyph #"custodes-medicaea-u0" }
5417 { " " \musicglyph #"custodes-hufnagel-u0" }
5422 { " " \musicglyph #"custodes-mensural-u0" }
5434 Program reference: @internalsref{Custos}.
5436 Examples: @inputfileref{input/regression,custos.ly}.
5440 @subsection Divisiones
5446 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
5447 `division') is a staff context symbol that is used to structure
5448 Gregorian music into phrases and sections. The musical meaning of
5449 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5450 can be characterized as short, medium and long pause, somewhat like
5451 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5452 a chant, but is also frequently used within a single
5453 antiphonal/responsorial chant to mark the end of each section.
5456 To use divisiones, include the file @code{gregorian-init.ly}. It
5457 contains definitions that you can apply by just inserting
5458 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5459 and @code{\finalis} at proper places in the input. Some editions use
5460 @emph{virgula} or @emph{caesura} instead of divisio minima.
5461 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5464 @lilypondfile[quote,raggedright]{divisiones.ly}
5468 @cindex @code{\virgula}
5470 @cindex @code{\caesura}
5472 @cindex @code{\divisioMinima}
5473 @code{\divisioMinima},
5474 @cindex @code{\divisioMaior}
5475 @code{\divisioMaior},
5476 @cindex @code{\divisioMaxima}
5477 @code{\divisioMaxima},
5478 @cindex @code{\finalis}
5483 In this manual: @ref{Breath marks}.
5485 Program reference: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
5487 Examples: @inputfileref{input/test,divisiones.ly}.
5490 @subsection Ligatures
5494 @c TODO: Should double check if I recalled things correctly when I wrote
5495 @c down the following paragraph by heart.
5497 A ligature is a coherent graphical symbol that represents at least two
5498 distinct notes. Ligatures originally appeared in the manuscripts of
5499 Gregorian chant notation roughly since the 9th century to denote
5500 ascending or descending sequences of notes.
5502 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
5503 Some ligature styles may need additional input syntax specific for
5504 this particular type of ligature. By default, the
5505 @internalsref{LigatureBracket} engraver just puts a square bracket
5508 @lilypond[quote,raggedright,verbatim]
5516 To select a specific style of ligatures, a proper ligature engraver
5517 has to be added to the @internalsref{Voice} context, as explained in
5518 the following subsections. Only white mensural ligatures
5519 are supported with certain limitations.
5522 * White mensural ligatures::
5523 * Gregorian square neumes ligatures::
5526 @node White mensural ligatures
5527 @subsubsection White mensural ligatures
5529 @cindex Mensural ligatures
5530 @cindex White mensural ligatures
5532 There is limited support for white mensural ligatures.
5534 To engrave white mensural ligatures, in the paper block the
5535 @internalsref{Mensural_ligature_engraver} has to be put into the
5536 @internalsref{Voice} context, and remove the
5537 @internalsref{Ligature_bracket_engraver}
5543 \remove Ligature_bracket_engraver
5544 \consists Mensural_ligature_engraver
5549 There is no additional input language to describe the shape of a
5550 white mensural ligature. The shape is rather determined solely from
5551 the pitch and duration of the enclosed notes. While this approach may
5552 take a new user a while to get accustomed, it has the great advantage
5553 that the full musical information of the ligature is known internally.
5554 This is not only required for correct MIDI output, but also allows for
5555 automatic transcription of the ligatures.
5560 \set Score.timing = ##f
5561 \set Score.defaultBarType = "empty"
5562 \override NoteHead #'style = #'neo_mensural
5563 \override Staff.TimeSignature #'style = #'neo_mensural
5565 \[ g\longa c\breve a\breve f\breve d'\longa \]
5567 \[ e1 f1 a\breve g\longa \]
5569 @lilypond[quote,raggedright]
5572 \set Score.timing = ##f
5573 \set Score.defaultBarType = "empty"
5574 \override NoteHead #'style = #'neo_mensural
5575 \override Staff.TimeSignature #'style = #'neo_mensural
5577 \[ g\longa c\breve a\breve f\breve d'\longa \]
5579 \[ e1 f1 a\breve g\longa \]
5584 \remove Ligature_bracket_engraver
5585 \consists Mensural_ligature_engraver
5591 Without replacing @internalsref{Ligature_bracket_engraver} with
5592 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5595 @lilypond[quote,raggedright]
5597 \set Score.timing = ##f
5598 \set Score.defaultBarType = "empty"
5599 \override NoteHead #'style = #'neo_mensural
5600 \override Staff.TimeSignature #'style = #'neo_mensural
5602 \[ g\longa c\breve a\breve f\breve d'\longa \]
5604 \[ e1 f1 a\breve g\longa \]
5610 The implementation is experimental; it may output strange warnings or
5611 even crash in some cases or produce weird results on more complex
5614 @node Gregorian square neumes ligatures
5615 @subsubsection Gregorian square neumes ligatures
5617 @cindex Square neumes ligatures
5618 @cindex Gregorian square neumes ligatures
5620 Gregorian square neumes notation (following the style of the Editio
5621 Vaticana) is under heavy development, but not yet really usable for
5622 production purposes. Core ligatures can already be typeset, but
5623 essential issues for serious typesetting are still under development,
5624 such as (among others) horizontal alignment of multiple ligatures,
5625 lyrics alignment and proper accidentals handling. Still, this section
5626 gives a sneak preview of what Gregorian chant may look like once it
5629 The following table contains the extended neumes table of the 2nd
5630 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5631 1983 by the monks of Solesmes.
5633 @multitable @columnfractions .4 .2 .2 .2
5636 @b{Neuma aut@*Neumarum Elementa} @tab
5637 @b{Figurae@*Rectae} @tab
5638 @b{Figurae@*Liquescentes Auctae} @tab
5639 @b{Figurae@*Liquescentes Deminutae}
5641 @c TODO: \paper block is identical in all of the below examples.
5642 @c Therefore, it should somehow be included rather than duplicated all
5645 @c why not make identifiers in ly/engraver-init.ly? --hwn
5647 @c Because it's just used to typeset plain notes without
5648 @c a staff for demonstration purposes rather than something
5649 @c special of Gregorian chant notation. --jr
5654 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.5\cm]
5655 \include "gregorian-init.ly"
5660 \noBreak s^\markup {"a"} \noBreak
5662 % Punctum Inclinatum
5664 \noBreak s^\markup {"b"}
5666 \paper { \neumeDemoPaper }}
5669 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.5\cm]
5670 \include "gregorian-init.ly"
5673 % Punctum Auctum Ascendens
5674 \[ \auctum \ascendens b \]
5675 \noBreak s^\markup {"c"} \noBreak
5677 % Punctum Auctum Descendens
5678 \[ \auctum \descendens b \]
5679 \noBreak s^\markup {"d"} \noBreak
5681 % Punctum Inclinatum Auctum
5682 \[ \inclinatum \auctum b \]
5683 \noBreak s^\markup {"e"}
5685 \paper { \neumeDemoPaper }}
5688 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5689 \include "gregorian-init.ly"
5692 % Punctum Inclinatum Parvum
5693 \[ \inclinatum \deminutum b \]
5694 \noBreak s^\markup {"f"}
5696 \paper { \neumeDemoPaper }}
5702 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5703 \include "gregorian-init.ly"
5708 \noBreak s^\markup {"g"}
5710 \paper { \neumeDemoPaper }}
5716 @code{3. Apostropha vel Stropha}
5718 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5719 \include "gregorian-init.ly"
5724 \noBreak s^\markup {"h"}
5726 \paper { \neumeDemoPaper }}
5729 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5730 \include "gregorian-init.ly"
5734 \[ \stropha \auctum b \]
5735 \noBreak s^\markup {"i"}
5737 \paper { \neumeDemoPaper }}
5744 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5745 \include "gregorian-init.ly"
5750 \noBreak s^\markup {"j"}
5752 \paper { \neumeDemoPaper }}
5758 @code{5. Clivis vel Flexa}
5760 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5761 \include "gregorian-init.ly"
5768 \paper { \neumeDemoPaper }}
5771 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
5772 \include "gregorian-init.ly"
5775 % Clivis Aucta Descendens
5776 \[ b \flexa \auctum \descendens g \]
5777 \noBreak s^\markup {"l"} \noBreak
5779 % Clivis Aucta Ascendens
5780 \[ b \flexa \auctum \ascendens g \]
5781 \noBreak s^\markup {"m"}
5783 \paper { \neumeDemoPaper }}
5786 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5787 \include "gregorian-init.ly"
5791 \[ b \flexa \deminutum g \]
5794 \paper { \neumeDemoPaper }}
5798 @code{6. Podatus vel Pes}
5800 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5801 \include "gregorian-init.ly"
5808 \paper { \neumeDemoPaper }}
5811 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
5812 \include "gregorian-init.ly"
5815 % Pes Auctus Descendens
5816 \[ g \pes \auctum \descendens b \]
5817 \noBreak s^\markup {"p"} \noBreak
5819 % Pes Auctus Ascendens
5820 \[ g \pes \auctum \ascendens b \]
5821 \noBreak s^\markup {"q"}
5823 \paper { \neumeDemoPaper }}
5826 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5827 \include "gregorian-init.ly"
5831 \[ g \pes \deminutum b \]
5834 \paper { \neumeDemoPaper }}
5838 @code{7. Pes Quassus}
5840 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5841 \include "gregorian-init.ly"
5845 \[ \oriscus g \pes \virga b \]
5848 \paper { \neumeDemoPaper }}
5851 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5852 \include "gregorian-init.ly"
5855 % Pes Quassus Auctus Descendens
5856 \[ \oriscus g \pes \auctum \descendens b \]
5859 \paper { \neumeDemoPaper }}
5864 @code{8. Quilisma Pes}
5866 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5867 \include "gregorian-init.ly"
5871 \[ \quilisma g \pes b \]
5874 \paper { \neumeDemoPaper }}
5877 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5878 \include "gregorian-init.ly"
5881 % Quilisma Pes Auctus Descendens
5882 \[ \quilisma g \pes \auctum \descendens b \]
5885 \paper { \neumeDemoPaper }}
5890 @code{9. Podatus Initio Debilis}
5892 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5893 \include "gregorian-init.ly"
5896 % Pes Initio Debilis
5897 \[ \deminutum g \pes b \]
5900 \paper { \neumeDemoPaper }}
5903 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5904 \include "gregorian-init.ly"
5907 % Pes Auctus Descendens Initio Debilis
5908 \[ \deminutum g \pes \auctum \descendens b \]
5911 \paper { \neumeDemoPaper }}
5918 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5919 \include "gregorian-init.ly"
5923 \[ a \pes b \flexa g \]
5926 \paper { \neumeDemoPaper }}
5929 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5930 \include "gregorian-init.ly"
5933 % Torculus Auctus Descendens
5934 \[ a \pes b \flexa \auctum \descendens g \]
5937 \paper { \neumeDemoPaper }}
5940 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5941 \include "gregorian-init.ly"
5944 % Torculus Deminutus
5945 \[ a \pes b \flexa \deminutum g \]
5948 \paper { \neumeDemoPaper }}
5952 @code{11. Torculus Initio Debilis}
5954 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5955 \include "gregorian-init.ly"
5958 % Torculus Initio Debilis
5959 \[ \deminutum a \pes b \flexa g \]
5962 \paper { \neumeDemoPaper }}
5965 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5966 \include "gregorian-init.ly"
5969 % Torculus Auctus Descendens Initio Debilis
5970 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
5973 \paper { \neumeDemoPaper }}
5976 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5977 \include "gregorian-init.ly"
5980 % Torculus Deminutus Initio Debilis
5981 \[ \deminutum a \pes b \flexa \deminutum g \]
5984 \paper { \neumeDemoPaper }}
5988 @code{12. Porrectus}
5990 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5991 \include "gregorian-init.ly"
5995 \[ a \flexa g \pes b \]
5998 \paper { \neumeDemoPaper }}
6001 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6002 \include "gregorian-init.ly"
6005 % Porrectus Auctus Descendens
6006 \[ a \flexa g \pes \auctum \descendens b \]
6009 \paper { \neumeDemoPaper }}
6012 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6013 \include "gregorian-init.ly"
6016 % Porrectus Deminutus
6017 \[ a \flexa g \pes \deminutum b \]
6020 \paper { \neumeDemoPaper }}
6026 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6027 \include "gregorian-init.ly"
6031 \[ \virga b \inclinatum a \inclinatum g \]
6034 \paper { \neumeDemoPaper }
6038 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6039 \include "gregorian-init.ly"
6043 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6046 \paper { \neumeDemoPaper }}
6049 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6050 \include "gregorian-init.ly"
6053 % Climacus Deminutus
6054 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6057 \paper { \neumeDemoPaper }}
6061 @code{14. Scandicus}
6063 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6064 \include "gregorian-init.ly"
6068 \[ g \pes a \virga b \]
6071 \paper { \neumeDemoPaper }}
6074 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6075 \include "gregorian-init.ly"
6078 % Scandicus Auctus Descendens
6079 \[ g \pes a \pes \auctum \descendens b \]
6082 \paper { \neumeDemoPaper }}
6085 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6086 \include "gregorian-init.ly"
6089 % Scandicus Deminutus
6090 \[ g \pes a \pes \deminutum b \]
6093 \paper { \neumeDemoPaper }}
6099 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6100 \include "gregorian-init.ly"
6104 \[ g \oriscus a \pes \virga b \]
6107 \paper { \neumeDemoPaper }}
6110 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6111 \include "gregorian-init.ly"
6114 % Salicus Auctus Descendens
6115 \[ g \oriscus a \pes \auctum \descendens b \]
6118 \paper { \neumeDemoPaper }}
6125 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6126 \include "gregorian-init.ly"
6130 \[ \stropha b \stropha b \stropha a \]
6133 \paper { \neumeDemoPaper }
6142 Unlike most other neumes notation systems, the input language for
6143 neumes does not necessarily reflect directly the typographical
6144 appearance, but is designed to solely focuse on musical meaning. For
6145 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6146 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6147 a Porrectus with a curved flexa shape and only a single Punctum head.
6148 There is no command to explicitly typeset the curved flexa shape; the
6149 decision of when to typeset a curved flexa shape is purely taken from
6150 the musical input. The idea of this approach is to separate the
6151 musical aspects of the input from the notation style of the output.
6152 This way, the same input can be reused to typeset the same music in a
6153 different style of Gregorian chant notation.
6155 The following table shows the code fragments that produce the
6156 ligatures in the above neumes table. The letter in the first column
6157 in each line of the below table indicates to which ligature in the
6158 above table it refers. The second column gives the name of the
6159 ligature. The third column shows the code fragment that produces this
6160 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6162 @multitable @columnfractions .1 .4 .5
6176 Punctum Inclinatum @tab
6177 @code{\[ \inclinatum b \]}
6181 Punctum Auctum Ascendens @tab
6182 @code{\[ \auctum \ascendens b \]}
6186 Punctum Auctum Descendens @tab
6187 @code{\[ \auctum \descendens b \]}
6191 Punctum Inclinatum Auctum @tab
6192 @code{\[ \inclinatum \auctum b \]}
6196 Punctum Inclinatum Parvum @tab
6197 @code{\[ \inclinatum \deminutum b \]}
6202 @code{\[ \virga b \]}
6207 @code{\[ \stropha b \]}
6212 @code{\[ \stropha \auctum b \]}
6217 @code{\[ \oriscus b \]}
6221 Clivis vel Flexa @tab
6222 @code{\[ b \flexa g \]}
6226 Clivis Aucta Descendens @tab
6227 @code{\[ b \flexa \auctum \descendens g \]}
6231 Clivis Aucta Ascendens @tab
6232 @code{\[ b \flexa \auctum \ascendens g \]}
6237 @code{\[ b \flexa \deminutum g \]}
6241 Podatus vel Pes @tab
6242 @code{\[ g \pes b \]}
6246 Pes Auctus Descendens @tab
6247 @code{\[ g \pes \auctum \descendens b \]}
6251 Pes Auctus Ascendens @tab
6252 @code{\[ g \pes \auctum \ascendens b \]}
6257 @code{\[ g \pes \deminutum b \]}
6262 @code{\[ \oriscus g \pes \virga b \]}
6266 Pes Quassus Auctus Descendens @tab
6267 @code{\[ \oriscus g \pes \auctum \descendens b \]}
6272 @code{\[ \quilisma g \pes b \]}
6276 Quilisma Pes Auctus Descendens @tab
6277 @code{\[ \quilisma g \pes \auctum \descendens b \]}
6281 Pes Initio Debilis @tab
6282 @code{\[ \deminutum g \pes b \]}
6286 Pes Auctus Descendens Initio Debilis @tab
6287 @code{\[ \deminutum g \pes \auctum \descendens b \]}
6292 @code{\[ a \pes b \flexa g \]}
6296 Torculus Auctus Descendens @tab
6297 @code{\[ a \pes b \flexa \auctum \descendens g \]}
6301 Torculus Deminutus @tab
6302 @code{\[ a \pes b \flexa \deminutum g \]}
6306 Torculus Initio Debilis @tab
6307 @code{\[ \deminutum a \pes b \flexa g \]}
6311 Torculus Auctus Descendens Initio Debilis @tab
6312 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
6316 Torculus Deminutus Initio Debilis @tab
6317 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
6322 @code{\[ a \flexa g \pes b \]}
6326 Porrectus Auctus Descendens @tab
6327 @code{\[ a \flexa g \pes \auctum \descendens b \]}
6331 Porrectus Deminutus @tab
6332 @code{\[ a \flexa g \pes \deminutum b \]}
6337 @code{\[ \virga b \inclinatum a \inclinatum g \]}
6341 Climacus Auctus @tab
6342 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
6346 Climacus Deminutus @tab
6347 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
6352 @code{\[ g \pes a \virga b \]}
6356 Scandicus Auctus Descendens @tab
6357 @code{\[ g \pes a \pes \auctum \descendens b \]}
6361 Scandicus Deminutus @tab
6362 @code{\[ g \pes a \pes \deminutum b \]}
6367 @code{\[ g \oriscus a \pes \virga b \]}
6371 Salicus Auctus Descendens @tab
6372 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
6377 @code{\[ \stropha b \stropha b \stropha a \]}
6383 The following head prefixes are supported
6385 @cindex @code{\virga}
6387 @cindex @code{\stropha}
6389 @cindex @code{\inclinatum}
6391 @cindex @code{\auctum}
6393 @cindex @code{\descendens}
6395 @cindex @code{\ascendens}
6397 @cindex @code{\oriscus}
6399 @cindex @code{\quilisma}
6401 @cindex @code{\deminutum}
6404 Head prefixes can be accumulated, though restrictions apply. For
6405 example, either @code{\descendens} or @code{\ascendens} can be applied
6406 to a head, but not both to the same head.
6409 @cindex @code{\flexa}
6410 Two adjacent heads can be tied together with the @code{\pes} and
6411 @code{\flexa} infix commands for a rising and falling line of melody,
6416 @node Vaticana style contexts
6417 @subsection Vaticana style contexts
6419 @cindex VaticanaVoiceContext
6420 @cindex VaticanaStaffContext
6422 The predefined @code{VaticanaVoiceContext} and
6423 @code{VaticanaStaffContext} can be used to easily engrave a piece of
6424 Gregorian Chant in the style of the Editio Vaticana. These contexts
6425 initialize all relevant context properties and grob properties to
6426 proper values. With these contexts, you can immediately go ahead
6427 entering the chant, as the following short excerpt demonstrates
6429 @lilypond[quote,raggedright,verbatim,noindent]
6430 \include "gregorian-init.ly"
6433 \context VaticanaVoice = "cantus" {
6434 \override Score.BarNumber #'transparent = ##t
6436 \[ c'\melisma c' \flexa a \]
6437 \[ a \flexa \deminutum g\melismaEnd \]
6439 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
6440 c' \divisioMinima \break
6441 \[ c'\melisma c' \flexa a \]
6442 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
6445 \lyricsto "cantus" \new Lyrics {
6446 San- ctus, San- ctus, San- ctus
6453 @subsection Figured bass
6455 @cindex Basso continuo
6457 @c TODO: musicological blurb about FB
6460 LilyPond has limited support for figured bass
6462 @lilypond[quote,verbatim,fragment]
6464 \context Voice { \clef bass dis4 c d ais }
6465 \context FiguredBass \figures {
6466 < 6 >4 < 7 >8 < 6+ [_!] >
6472 The support for figured bass consists of two parts: there is an input
6473 mode, introduced by @code{\figures}, where you can enter bass figures
6474 as numbers, and there is a context called @internalsref{FiguredBass} that
6475 takes care of making @internalsref{BassFigure} objects.
6477 In figures input mode, a group of bass figures is delimited by
6478 @code{<} and @code{>}. The duration is entered after the @code{>>}
6482 @lilypond[quote,fragment]
6483 \context FiguredBass
6487 Accidentals are added when you append @code{-}, @code{!} and @code{+}
6493 @lilypond[quote,fragment]
6494 \context FiguredBass
6495 \figures { <4- 6+ 7!> }
6498 Spaces or dashes may be inserted by using @code{_}. Brackets are
6499 introduced with @code{[} and @code{]}
6504 @lilypond[quote,fragment]
6505 \context FiguredBass
6506 \figures { < [4 6] 8 [_! 12]> }
6509 Although the support for figured bass may superficially resemble chord
6510 support, it works much simpler. The @code{\figures} mode simply
6511 stores the numbers , and @internalsref{FiguredBass} context prints
6512 them as entered. There is no conversion to pitches, and no
6513 realizations of the bass are played in the MIDI file.
6515 Internally, the code produces markup texts. You can use any of the
6516 markup text properties to override formatting. For example, the
6517 vertical spacing of the figures may be set with @code{baseline-skip}.
6521 Program reference: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
6522 and @internalsref{FiguredBass} context.
6526 Slash notation for alterations is not supported.
6528 @node Contemporary notation
6529 @section Contemporary notation
6531 In the 20th century, composers have greatly expanded the musical
6532 vocabulary. With this expansion, many innovations in musical notation
6533 have been tried. The book by Stone (1980) gives a comprehensive
6534 overview (see @ref{Literature list}). In general, the use of new,
6535 innovative notation makes a piece harder to understand and perform and
6536 its use should therefore be avoided if possible. For this reason,
6537 support for contemporary notation in LilyPond is limited.
6546 @subsection Clusters
6550 A cluster indicates a continuous range of pitches to be played. They
6551 can be denoted as the envelope of a set of notes. They are entered by
6552 applying the function @code{notes-to-clusters} to a sequence of
6555 @lilypond[quote,relative=2,verbatim]
6556 \applymusic #notes-to-clusters { <c e > <b f'> }
6559 The following example (from
6560 @inputfileref{input/regression,cluster.ly}) shows what the result
6563 @lilypondfile[quote]{cluster.ly}
6565 Ordinary notes and clusters can be put together in the same staff,
6566 even simultaneously. In such a case no attempt is made to
6567 automatically avoid collisions between ordinary notes and clusters.
6571 Program reference: @internalsref{ClusterSpanner},
6572 @internalsref{ClusterSpannerBeacon},
6573 @internalsref{Cluster_spanner_engraver}, and
6574 @internalsref{ClusterNoteEvent}.
6576 Examples: @inputfileref{input/regression,cluster.ly}.
6580 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
6581 accurately. Use @code{<g a>8 <e a>8} instead.
6586 @subsection Fermatas
6592 Contemporary music notation frequently uses special fermata symbols to
6593 indicate fermatas of differing lengths. The following fermatas are
6596 @lilypond[quote,raggedright]
6618 \context Lyrics \lyrics {
6619 \override LyricText #'font-family = #'typewriter
6620 "shortfermata" "fermata" "longfermata" "verylongfermata"
6625 See @ref{Articulations} for general instructions how to apply scripts
6626 such as fermatas to notes.
6629 @node Educational use
6630 @section Educational use
6634 * Blank music paper::
6635 * Notation for excercises::
6636 * Easy Notation note heads::
6640 @subsection Balloon help
6642 Elements of notation can be marked and named with the help of a square
6643 balloon. The primary purpose of this feature is to explain notation.
6645 The following example demonstrates its use.
6647 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
6650 #(add-balloon-text 'NoteHead "heads, or tails?"
6656 The function @code{add-balloon-text} takes the name of a grob, the
6657 label to print and where to put the label relative to the object. In
6658 the above example, the text ``heads or tails?'' ends 3 spaces below
6662 @cindex notation, explaining
6666 Program reference: @internalsref{text-balloon-interface}.
6668 Examples: @inputfileref{input/regression,balloon.ly}.
6673 @node Blank music paper
6674 @subsection Blank music paper
6676 A blank music paper can be produced also by using invisible notes, and
6677 removing @code{Bar_number_engraver}.
6682 \repeat unfold 2 % Change this for more lines.
6687 \override TimeSignature #'transparent = ##t
6688 defaultBarType = #""
6689 \remove Bar_number_engraver
6691 \context Staff \emptymusic
6692 \context TabStaff \emptymusic
6697 @node Notation for excercises
6698 @subsection Notation for excercises
6702 Invisible (or transparent) notes can be useful, when weird tricks are
6703 needed; especially, a slur cannot be attach to a rest or spacer rest.
6707 blanknotes = { \override NoteHead #'transparent = ##t
6708 \override Stem #'transparent = ##t }
6709 unblanknotes = { \revert NoteHead #'transparent
6710 \revert Stem #'transparent }
6715 \blanknotes e4 f4 \unblanknotes
6721 @node Easy Notation note heads
6722 @subsection Easy Notation note heads
6724 @cindex easy notation
6727 The `easy play' note head includes a name inside the head. It is
6728 used in music for beginners
6730 @lilypond[quote,raggedright,verbatim,fragment,staffsize=26]
6735 The command @code{\setEasyHeads} overrides settings for the
6736 @internalsref{NoteHead} object. To make the letters readable, it has
6737 to be printed in a large font size. To print with a larger font, see
6738 @ref{Setting global staff size}.
6743 If you view the result with Xdvi, staff lines may show through the
6744 letters. Printing the PostScript file obtained does produce the
6749 @cindex @code{\setEasyHeads}
6750 @code{\setEasyHeads}
6756 Entered music can also be converted to MIDI output. The performance
6757 is intended for proof-hearing the music for errors.
6759 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
6760 crescendi and decrescendi translate into MIDI volume levels. Dynamic
6761 marks translate to a fixed fraction of the available MIDI volume
6762 range, crescendi and decrescendi make the volume vary linearly between
6763 their two extremities. The fractions can be adjusted by
6764 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
6765 For each type of MIDI instrument, a volume range can be defined. This
6766 gives a basic equalizer control, which can enhance the quality of
6767 the MIDI output remarkably. The equalizer can be controlled by
6768 setting @code{instrumentEqualizer}.
6772 Many musically interesting effects, such as swing, articulation,
6773 slurring, etc., are not translated to MIDI.
6775 The MIDI output allocates a channel for each Staff, and one for global
6776 settings. Hence, the MIDI file should not have more than 15 staves
6777 (or 14 if you do not use drums). Other staves will remain silent.
6779 Not all MIDI players correctly handle tempo change in the MIDI
6780 output. Players that are known to work include
6781 @uref{http://timidity.sourceforge.net/,timidity}
6786 * MIDI instrument names::
6791 @subsection MIDI block
6795 The MIDI block is analogous to the paper block, but it is somewhat
6796 simpler. The @code{\midi} block can contain
6800 @item a @code{\tempo} definition, and
6801 @item context definitions.
6804 A number followed by a period is interpreted as a real number, so
6805 for setting the tempo for dotted notes, an extra space should be
6806 inserted, for example
6809 \midi @{ \tempo 4 . = 120 @}
6813 @cindex context definition
6815 Context definitions follow precisely the same syntax as within the
6816 \paper block. Translation modules for sound are called performers.
6817 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
6820 @node MIDI instrument names
6821 @subsection MIDI instrument names
6823 @cindex instrument names
6824 @cindex @code{Staff.midiInstrument}
6826 The MIDI instrument name is set by the @code{Staff.midiInstrument}
6827 property. The instrument name should be chosen from the list in
6828 @ref{MIDI instruments}.
6832 If the selected string does not exactly match, the default is used,
6833 which is the Grand Piano.