1 @c -*- coding: latin-1; mode: texinfo; -*-
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 who are already
13 somewhat familiar with LilyPond.
17 * Easier music entry::
27 * Other instrument specific notation::
32 * Contemporary notation::
36 @c FIXME: Note entry vs Music entry at top level menu is confusing.
42 This section is about basic notation elements like notes, rests, and
43 related constructs, such as stems, tuplets and ties.
48 * Chromatic alterations::
66 A note is printed by specifying its pitch and then its duration,
68 @lilypond[quote,verbatim,raggedright]
69 { cis'4 d'8 e'16 c'16 }
77 @cindex Note specification
79 @cindex entering notes
81 The most common syntax for pitch entry is used for standard notes and
82 @code{\chordmode} modes. In these modes, pitches may be designated by
83 names. The notes are specified by the letters @code{a} through
84 @code{g}. The octave is formed with notes ranging from @code{c}
85 to @code{b}. The pitch @code{c} is an octave below middle C and the
86 letters span the octave above that C
88 @lilypond[quote,fragment,verbatim]
90 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
93 @cindex note names, Dutch
95 A sharp is formed by adding @code{-is} to the end of a pitch name and
96 a flat is formed by adding @code{-es}. Double sharps and double flats
97 are obtained by adding @code{-isis} or @code{-eses}. These
98 names are the Dutch note names. In Dutch, @code{aes} is contracted to
99 @code{as}, but both forms are accepted. Similarly, both
100 @code{es} and @code{ees} are accepted
102 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
110 There are predefined sets of note names for various other languages.
111 To use them, include the language specific init file. For
112 example: @code{\include "english.ly"}. The available language files
113 and the note names they define are
118 Note Names sharp flat
119 nederlands.ly c d e f g a bes b -is -es
120 english.ly c d e f g a bf b -s/-sharp -f/-flat
122 deutsch.ly c d e f g a b h -is -es
123 norsk.ly c d e f g a b h -iss/-is -ess/-es
124 svenska.ly c d e f g a b h -iss -ess
125 italiano.ly do re mi fa sol la sib si -d -b
126 catalan.ly do re mi fa sol la sib si -d/-s -b
127 espanol.ly do re mi fa sol la sib si -s -b
135 The optional octave specification takes the form of a series of
136 single quote (`@code{'}') characters or a series of comma
137 (`@code{,}') characters. Each @code{'} raises the pitch by one
138 octave; each @code{,} lowers the pitch by an octave
140 @lilypond[quote,raggedright,fragment,verbatim]
141 c' c'' es' g' as' gisis' ais'
144 @c FIXME: we need this info (hide/unhide) somewhere in the manual, but this ain't the place. -gp
146 Notes can be hidden and unhidden with the following commands
148 @cindex @code{\hideNotes}
150 @cindex @code{\unHideNotes}
156 Program reference: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
160 @node Chromatic alterations
161 @subsection Chromatic alterations
163 Normally accidentals are printed automatically, but you may also
164 print them manually. A reminder accidental
165 @cindex reminder accidental
167 can be forced by adding an exclamation mark @code{!}
168 after the pitch. A cautionary accidental
169 @cindex cautionary accidental
170 @cindex parenthesized accidental
171 (i.e., an accidental within parentheses) can be obtained by adding the
172 question mark `@code{?}' after the pitch.
174 @lilypond[quote,raggedright,fragment,verbatim]
175 cis' cis' cis'! cis'?
181 The automatic production of accidentals can be tuned in many
182 ways. For more information, refer to @ref{Automatic accidentals}.
187 @subsection Micro tones
189 Half-flats and half-sharps are formed by adding @code{-eh} and
190 @code{-ih}; the following is a series of Cs with increasing pitches
192 @cindex quarter tones
193 @cindex semi-flats, semi-sharps
195 @lilypond[verbatim,raggedright,quote,relative=2,fragment]
196 { ceseh ceh cih cisih }
199 Micro tones are also exported to the MIDI file
204 There are no generally accepted standards for denoting three quarter
205 flats, so LilyPond's symbol does not conform to any standard.
210 A chord is formed by a enclosing a set of pitches in @code{<} and
211 @code{>}. A chord may be followed by a duration, and a set of
212 articulations, just like simple notes
214 @lilypond[verbatim,raggedright,fragment,quote,relative=1]
226 Rests are entered like notes, with the note name @code{r}
228 @lilypond[fragment,quote,raggedright,verbatim]
232 Whole bar rests, centered in middle of the bar,
233 must be done with multi-measure rests. They are discussed in
234 @ref{Multi measure rests}.
237 A rest's vertical position may be explicitly specified by entering a
238 note with the @code{\rest} keyword appended, the rest will be placed at
239 the note's place. This makes manual formatting in polyphonic music
240 easier. Automatic rest collision formatting will leave these rests
243 @lilypond[fragment,quote,raggedright,verbatim]
249 Program reference: @internalsref{RestEvent}, and @internalsref{Rest}.
256 @cindex Invisible rest
261 An invisible rest (also called a `skip') can be entered like a note
262 with note name `@code{s}' or with @code{\skip @var{duration}}
264 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
265 a4 a4 s4 a4 \skip 1 a4
268 The @code{s} syntax is only available in note mode and chord mode. In
269 other situations, for example, when entering lyrics, you should use
270 the @code{\skip} command
272 @lilypond[quote,raggedright,verbatim]
275 \new Lyrics \lyricmode { \skip 2 bla1 }
279 The skip command is merely an empty musical placeholder. It does not
280 produce any output, not even transparent output.
282 The @code{s} skip command does create @internalsref{Staff} and
283 @internalsref{Voice} when necessary, similar to note and rest
284 commands. For example, the following results in an empty staff.
286 @lilypond[quote,raggedright,verbatim]
290 The fragment @code{@{ \skip 4 @} } would produce an empty page.
294 Program reference: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
299 @subsection Durations
303 @cindex @code{\longa}
304 @cindex @code{\breve}
305 @cindex @code{\maxima}
308 In Note, Chord, and Lyrics mode, durations are designated by numbers and
309 dots: durations are entered as their reciprocal values. For example, a
310 quarter note is entered using a @code{4} (since it is a 1/4 note), while
311 a half note is entered using a @code{2} (since it is a 1/2 note). For
312 notes longer than a whole you must use the variables @code{\longa} and
317 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
319 r1 r2 r4 r8 r16 r32 r64 r64
325 a\breve*1/2 \autoBeamOff
326 a1 a2 a4 a8 a16 a32 a64 a64
329 r\longa*1/4 r\breve *1/2
330 r1 r2 r4 r8 r16 r32 r64 r64
336 \remove "Clef_engraver"
337 \override StaffSymbol #'transparent = ##t
338 \override TimeSignature #'transparent = ##t
339 \override BarLine #'transparent = ##t
340 \consists "Pitch_squash_engraver"
346 If the duration is omitted then it is set to the previously entered
347 duration. The default for the first note is a quarter note.
349 @lilypond[quote,raggedright,verbatim,fragment]
350 { a a a2 a a4 a a1 a }
355 @node Augmentation dots
356 @subsection Augmentation dots
359 To obtain dotted note lenghts, simply add a dot (`@code{.}') to
360 the number. Double-dotted notes are produced in a similar way.
362 @lilypond[quote,raggedright,fragment,verbatim]
363 a'4 b' c''4. b'8 a'4. b'4.. c''8.
368 Dots are normally moved up to avoid staff lines, except in polyphonic
369 situations. The following commands may be used to force a particular
372 @cindex @code{\dotsUp}
374 @cindex @code{\dotsDown}
376 @cindex @code{\dotsNeutral}
381 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
383 @node Scaling durations
384 @subsection Scaling durations
386 You can alter the length of duration by a fraction @var{N/M}
387 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
388 will not affect the appearance of the notes or rests produced.
390 In the following example, the first three notes take up exactly two
391 beats, but no triplet bracket is printed.
392 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
394 a4*2/3 gis4*2/3 a4*2/3
402 This manual: @ref{Tuplets}
405 @c TODO: I'm not certain that Stems belong here in the manual. -gp
409 Whenever a note is found, a @internalsref{Stem} object is created
410 automatically. For whole notes and rests, they are also created but
415 @cindex @code{\stemUp}
417 @cindex @code{\stemDown}
419 @cindex @code{\stemNeutral}
430 A tie connects two adjacent note heads of the same pitch. The tie in
431 effect extends the length of a note. Ties should not be confused with
432 slurs, which indicate articulation, or phrasing slurs, which indicate
433 musical phrasing. A tie is entered using the tilde symbol `@code{~}'
435 @lilypond[quote,raggedright,fragment,verbatim]
436 e' ~ e' <c' e' g'> ~ <c' e' g'>
439 When a tie is applied to a chord, all note heads whose pitches match
440 are connected. When no note heads match, no ties will be created.
442 A tie is just a way of extending a note duration, similar to the
443 augmentation dot. The following example shows two ways of notating
444 exactly the same concept
446 @lilypond[quote,fragment,raggedright]
447 \time 3/4 c'2. c'2 ~ c'4
451 Ties are used either when the note crosses a bar line, or when dots
452 cannot be used to denote the rhythm. When using ties, larger note
453 values should be aligned to subdivisions of the measure, eg.
455 @lilypond[fragment,quote,raggedright]
457 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
461 If you need to tie a lot of notes over bars, it may be easier to use
462 automatic note splitting (see @ref{Automatic note splitting}). This
463 mechanism automatically splits long notes, and ties them across bar
469 @cindex @code{\tieUp}
471 @cindex @code{\tieDown}
473 @cindex @code{\tieNeutral}
475 @cindex @code{\tieDotted}
477 @cindex @code{\tieSolid}
482 In this manual: @ref{Automatic note splitting}.
484 Program reference: @internalsref{TieEvent}, @internalsref{Tie}.
489 Switching staves when a tie is active will not produce a slanted tie.
491 Formatting of ties is a difficult subject. The results are often not
499 @cindex @code{\times}
501 Tuplets are made out of a music expression by multiplying all durations
504 @cindex @code{\times}
506 \times @var{fraction} @var{musicexpr}
510 The duration of @var{musicexpr} will be multiplied by the fraction.
511 The fraction's denominator will be printed over the notes, optionally
512 with a bracket. The most common tuplet is the triplet in which 3
513 notes have the length of 2, so the notes are 2/3 of their written
516 @lilypond[quote,raggedright,fragment,verbatim]
517 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
520 The property @code{tupletSpannerDuration} specifies how long each
521 bracket should last. With this, you can make lots of tuplets while
522 typing @code{\times} only once, thus saving lots of typing. In the next
523 example, there are two triplets shown, while @code{\times} was only
526 @lilypond[quote,fragment,relative=1,raggedright,verbatim]
527 \set tupletSpannerDuration = #(ly:make-moment 1 4)
528 \times 2/3 { c'8 c c c c c }
531 The format of the number is determined by the property
532 @code{tupletNumberFormatFunction}. The default prints only the
533 denominator, but if it is set to the Scheme function
534 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
538 @cindex @code{tupletNumberFormatFunction}
539 @cindex tuplet formatting
544 @cindex @code{\tupletUp}
546 @cindex @code{\tupletDown}
548 @cindex @code{\tupletNeutral}
549 @code{\tupletNeutral}.
553 User manual: @ref{Changing context properties on the fly} for the
557 Program reference: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
559 Examples: @inputfileref{input/@/regression,tuplet@/-nest@/.ly}.
563 Nested tuplets are not formatted automatically. In this case, outer
564 tuplet brackets should be moved manually, which is demonstrated in
565 @inputfileref{input/@/regression,tuplet@/-nest@/.ly}.
569 @node Easier music entry
570 @section Easier music entry
573 This section deals with tricks and features of the input language that
574 were added solely to help entering music and finding and correcting
575 mistakes. There are also external tools that make debugging easier.
576 See @ref{Point and click} for more information.
578 It is also possible to enter and edit music using other programs, such as
579 GUI interfaces or MIDI sequencers. Refer to the LilyPond
580 website for more information.
587 * Skipping corrected music::
588 * Automatic note splitting::
594 @node Relative octaves
595 @subsection Relative octaves
597 @cindex relative octave specification
599 Octaves are specified by adding @code{'} and @code{,} to pitch names.
600 When you copy existing music, it is easy to accidentally put a pitch
601 in the wrong octave and hard to find such an error. The relative
602 octave mode prevents these errors by making the mistakes much
603 larger: a single error puts the rest of the piece off by one octave
605 @cindex @code{\relative}
607 \relative @var{startpitch} @var{musicexpr}
614 \relative @var{musicexpr}
617 The octave of notes that appear in @var{musicexpr} are calculated as
618 follows: if no octave changing marks are used, the basic interval
619 between this and the last note is always taken to be a fourth or
620 less. This distance is determined without regarding alterations; a
621 @code{fisis} following a @code{ceses} will be put above the
622 @code{ceses}. In other words, a doubly-augmented fourth is considered
623 a smaller interval than a diminshed fifth, even though the fourth is
624 seven semitones while the fifth is only six semitones.
626 The octave changing marks @code{'} and @code{,} can be added to raise
627 or lower the pitch by an extra octave. Upon entering relative mode,
628 an absolute starting pitch can be specified that will act as the
629 predecessor of the first note of @var{musicexpr}. If no starting pitch
630 is specified, then middle C is used as a start.
632 Here is the relative mode shown in action
633 @lilypond[quote,fragment,raggedright,verbatim]
639 Octave changing marks are used for intervals greater than a fourth
640 @lilypond[quote,raggedright,fragment,verbatim]
646 If the preceding item is a chord, the first note of the chord is used
647 to determine the first note of the next chord
649 @lilypond[quote,raggedright,fragment,verbatim]
657 The pitch after the @code{\relative} contains a note name.
660 The relative conversion will not affect @code{\transpose},
661 @code{\chordmode} or @code{\relative} sections in its argument. To use
662 relative within transposed music, an additional @code{\relative} must
663 be placed inside @code{\transpose}.
666 @subsection Octave check
669 Octave checks make octave errors easier to correct: a note may be
670 followed by @code{=}@var{quotes} which indicates what its absolute
671 octave should be. In the following example,
673 \relative c'' @{ c='' b=' d,='' @}
677 @c take care with @code, adds confusing quotes.
678 the @code{d} will generate a warning, because a @code{d''} is expected
679 (because @code{b'} to @code{d''} is only a third), but a @code{d}' is
680 found. In the output, the octave is corrected to be a @code{d''} and
681 the next note is calculated relative to @code{d''} instead of @code{d'}.
685 There is also a syntax that is separate from the notes. The syntax
691 This checks that @var{pitch} (without quotes) yields @var{pitch} (with
692 quotes) in \relative mode. If not, a warning is printed, and the
695 In the example below, the first check passes without incident, since
696 the @code{e} (in relative mode) is within a fifth of @code{a'}. However,
697 the second check produces a warning, since the @code{e} is not within
698 a fifth of @code{b'}. The warning message is printed, and the octave
699 is adjusted so that the following notes are in the correct octave
711 The octave of a note following an octave check is determined with
712 respect to the note preceding it. In the next fragment, the last note
713 is a @code{a'}, above middle C. That means that the @code{\octave}
714 check passes successfully, so the check could be deleted without changing
715 the output of the piece.
717 @lilypond[quote,raggedright,verbatim,fragment]
726 @subsection Bar check
730 @cindex @code{barCheckSynchronize}
733 Bar checks help detect errors in the durations. A bar check is
734 entered using the bar symbol, `@code{|}'. Whenever it is encountered
735 during interpretation, it should fall on a measure boundary. If it
736 does not, a warning is printed. In the next example, the second bar
737 check will signal an error
739 \time 3/4 c2 e4 | g2 |
742 Bar checks can also be used in lyrics, for example
747 Twin -- kle | Twin -- kle
752 @cindex @code{skipTypesetting}
754 Failed bar checks are caused by entering incorrect
755 durations. Incorrect durations often completely garble up the score,
756 especially if the score is polyphonic, so a good place to start correcting
757 input is by scanning for failed bar checks and incorrect durations. To
758 speed up this process, the @code{skipTypesetting} feature may be
759 used. It is described in the next section.
762 @cindex @code{pipeSymbol}
764 It is also possible to redefine the meaning of @code{|}. This is done
765 by assigning a music expression to @code{pipeSymbol},
767 @lilypond[quote,raggedright,verbatim]
768 pipeSymbol = \bar "||"
774 @node Skipping corrected music
775 @subsection Skipping corrected music
777 The property @code{Score.skipTypesetting} can be used to switch on and
778 off typesetting completely during the interpretation phase. When
779 typesetting is switched off, the music is processed much more
780 quickly. This can be used to skip over the parts of a score that
781 have already been checked for errors
783 @lilypond[quote,fragment,raggedright,verbatim]
786 \set Score.skipTypesetting = ##t
788 \set Score.skipTypesetting = ##f
792 In polyphonic music, @code{Score.skipTypesetting} will affect all
793 voices and staves, saving even more time.
795 @node Automatic note splitting
796 @subsection Automatic note splitting
798 Long notes can be converted automatically to tied notes. This is done
799 by replacing the @internalsref{Note_heads_engraver} by the
800 @internalsref{Completion_heads_engraver}.
801 In the following examples, notes crossing the bar line are split and tied.
804 @lilypond[quote,fragment,verbatim,relative=1,linewidth=12\cm]
806 \remove "Note_heads_engraver"
807 \consists "Completion_heads_engraver"
809 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
813 This engraver splits all running notes at the bar line, and inserts
814 ties. One of its uses is to debug complex scores: if the measures are
815 not entirely filled, then the ties exactly show how much each measure
820 Not all durations (especially those containing tuplets) can be
821 represented exactly with normal notes and dots, but the engraver will
826 Examples: @inputfileref{input/@/regression,completion@/-heads@/.ly}.
830 Program reference: @internalsref{Completion_heads_engraver}.
834 @section Staff notation
836 This section describes music notation that occurs on staff level,
837 such as key signatures, clefs and time signatures.
839 @cindex Staff notation
850 * Time administration::
851 * Controlling formatting of prefatory matter::
855 @subsection Staff symbol
857 @cindex adjusting staff symbol
859 Notes, dynamic signs, etc., are grouped
860 with a set of horizontal lines, into a staff (plural `staves'). In our
861 system, these lines are drawn using a separate layout object called
865 @cindex staff lines, setting number of
866 @cindex staff lines, setting thickness of
867 @cindex thickness of staff lines, setting
868 @cindex number of staff lines, setting
872 Program reference: @internalsref{StaffSymbol}.
874 Examples: @inputfileref{input/@/test,staff@/-lines@/.ly},
875 @inputfileref{input/@/test,staff@/-size@/.ly}.
879 If a staff is ended halfway a piece, the staff symbol may not end
880 exactly on the bar line.
884 @subsection Key signature
885 @cindex Key signature
889 The key signature indicates the tonality in which a piece is played. It
890 is denoted by a set of alterations (flats or sharps) at the start of the
894 Setting or changing the key signature is done with the @code{\key}
897 @code{\key} @var{pitch} @var{type}
900 @cindex @code{\minor}
901 @cindex @code{\major}
902 @cindex @code{\minor}
903 @cindex @code{\ionian}
904 @cindex @code{\locrian}
905 @cindex @code{\aeolian}
906 @cindex @code{\mixolydian}
907 @cindex @code{\lydian}
908 @cindex @code{\phrygian}
909 @cindex @code{\dorian}
911 Here, @var{type} should be @code{\major} or @code{\minor} to get
912 @var{pitch}-major or @var{pitch}-minor, respectively.
913 The standard mode names @code{\ionian},
914 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
915 @code{\phrygian}, and @code{\dorian} are also defined.
917 This command sets the context property
918 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
919 can be specified by setting this property directly.
921 Accidentals and key signatures often confuse new users, because
922 unaltered notes get natural signs depending on the key signature. For
923 more information, see @ref{More about pitches}.
927 Program reference: @internalsref{KeyChangeEvent},
928 @internalsref{KeyCancellation} and @internalsref{KeySignature}.
930 @cindex @code{keySignature}
937 The clef indicates which lines of the staff correspond to which
941 The clef can be set with the @code{\clef} command
942 @lilypond[quote,raggedright,fragment,verbatim]
943 { c''2 \clef alto g'2 }
946 Supported clef-names include
947 @c Moved standard clefs to the top /MB
951 @item treble, violin, G, G2
964 G clef on 1st line, so-called French violin clef
969 @cindex mezzosoprano clef
972 @cindex baritone clef
975 @cindex varbaritone clef
986 By adding @code{_8} or @code{^8} to the clef name, the clef is
987 transposed one octave down or up, respectively, and @code{_15} and
988 @code{^15} transposes by two octaves. The argument @var{clefname}
989 must be enclosed in quotes when it contains underscores or digits. For
993 @cindex choral tenor clef
994 @lilypond[quote,raggedright,verbatim,fragment,relative=1]
998 This command is equivalent to setting @code{clefGlyph},
999 @code{clefPosition} (which controls the Y position of the clef),
1000 @code{middleCPosition} and @code{clefOctavation}. A clef is printed
1001 when any of these properties are changed. The following example shows
1002 possibilities when setting properties manually.
1004 @lilypond[quote,raggedright,verbatim]
1006 \set Staff.clefGlyph = #"clefs.F"
1007 \set Staff.clefPosition = #2
1009 \set Staff.clefGlyph = #"clefs.G"
1011 \set Staff.clefGlyph = #"clefs.C"
1013 \set Staff.clefOctavation = #7
1015 \set Staff.clefOctavation = #0
1016 \set Staff.clefPosition = #0
1026 Program reference: @internalsref{Clef}.
1030 @node Ottava brackets
1031 @subsection Ottava brackets
1033 `Ottava' brackets introduce an extra transposition of an octave for
1034 the staff. They are created by invoking the function
1035 @code{set-octavation}
1041 @lilypond[quote,raggedright,verbatim,fragment]
1051 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
1052 (for 15ma) as arguments. Internally the function sets the properties
1053 @code{ottavation} (e.g., to @code{"8va"}) and
1054 @code{centralCPosition}. For overriding the text of the bracket, set
1055 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1057 @lilypond[quote,raggedright,verbatim]
1060 \set Staff.ottavation = #"8"
1067 Program reference: @internalsref{OttavaBracket}.
1069 Examples: @inputfileref{input/@/regression,ottava@/.ly},
1070 @inputfileref{input/@/regression,ottava@/-broken@/.ly}.
1074 @code{set-octavation} will get confused when clef changes happen
1075 during an octavation bracket.
1080 @node Time signature
1081 @subsection Time signature
1082 @cindex Time signature
1084 @cindex @code{\time}
1086 Time signature indicates the metrum of a piece: a regular pattern of
1087 strong and weak beats. It is denoted by a fraction at the start of the
1091 The time signature is set or changed by the @code{\time}
1093 @lilypond[quote,raggedright,fragment,verbatim]
1094 \time 2/4 c'2 \time 3/4 c'2.
1097 The symbol that is printed can be customized with the @code{style}
1098 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1101 @lilypond[fragment,quote,raggedright,verbatim]
1104 \override Staff.TimeSignature #'style = #'()
1111 There are many more options for its layout. See @ref{Ancient time
1112 signatures} for more examples.
1115 This command sets the property @code{timeSignatureFraction},
1116 @code{beatLength} and @code{measureLength} in the @code{Timing}
1117 context, which is normally aliased to @internalsref{Score}. The
1118 property @code{measureLength} determines where bar lines should be
1119 inserted, and how automatic beams should be generated. Changing the
1120 value of @code{timeSignatureFraction} also causes the symbol to be
1123 More options are available through the Scheme function
1124 @code{set-time-signature}. In combination with the
1125 @internalsref{Measure_grouping_engraver}, it will create
1126 @internalsref{MeasureGrouping} signs. Such signs ease reading
1127 rhythmically complex modern music. In the following example, the 9/8
1128 measure is subdivided in 2, 2, 2 and 3. This is passed to
1129 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
1131 @lilypond[quote,raggedright,verbatim]
1134 #(set-time-signature 9 8 '(2 2 2 3))
1135 g8[ g] d[ d] g[ g] a8[( bes g]) |
1136 #(set-time-signature 5 8 '(3 2))
1142 \consists "Measure_grouping_engraver"
1150 Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1155 Automatic beaming does not use the measure grouping specified with
1156 @code{set-time-signature}.
1158 @node Partial measures
1159 @subsection Partial measures
1162 @cindex partial measure
1163 @cindex measure, partial
1164 @cindex shorten measures
1165 @cindex @code{\partial}
1167 Partial measures, for example in upsteps, are entered using the
1168 @code{\partial} command
1169 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1170 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1173 The syntax for this command is
1175 \partial @var{duration}
1177 This is internally translated into
1179 \set Timing.measurePosition = -@var{length of duration}
1182 The property @code{measurePosition} contains a rational number
1183 indicating how much of the measure has passed at this point.
1187 This command does not take into account grace notes at the start of
1188 the music. When a piece starts with graces notes in the pickup, then
1189 the @code{\partial} should follow the grace notes
1191 @lilypond[verbatim,quote,raggedright,relative,fragment]
1201 @node Unmetered music
1202 @subsection Unmetered music
1206 Bar lines and bar numbers are calculated automatically. For unmetered
1207 music (cadenzas, for example), this is not desirable. By setting
1208 @code{Score.timing} to false, this automatic timing can be switched
1209 off. Empty bar lines,
1216 indicate where line breaks can occur.
1220 @cindex @code{\cadenzaOn}
1222 @cindex @code{\cadenzaOff}
1229 @subsection Bar lines
1233 @cindex measure lines
1237 Bar lines delimit measures, but are also used to indicate repeats.
1238 Normally, they are inserted automatically. Line breaks may only
1239 happen on bar lines.
1241 Special types of bar lines can be forced with the @code{\bar} command
1243 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1247 The following bar types are available
1248 @lilypondfile[raggedright,quote]{bar-lines.ly}
1250 For allowing line breaks, there is a special command,
1254 This will insert an invisible bar line, and allow line breaks at this
1257 In scores with many staves, a @code{\bar} command in one staff is
1258 automatically applied to all staves. The resulting bar lines are
1259 connected between different staves of a @internalsref{StaffGroup}
1261 @lilypond[quote,raggedright,fragment,verbatim]
1263 \context StaffGroup <<
1269 \new Staff { \clef bass c4 g e g }
1271 \new Staff { \clef bass c2 c2 }
1276 The command @code{\bar }@var{bartype} is a short cut for doing
1277 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1278 is set to a string, a bar line of that type is created.
1280 A bar line is created whenever the @code{whichBar} property is set.
1281 At the start of a measure it is set to the contents of
1282 @code{Timing.defaultBarType}. The contents of @code{repeatCommands} are used
1283 to override default measure bars.
1285 @cindex @code{whichBar}
1286 @cindex @code{repeatCommands}
1287 @cindex @code{defaultBarType}
1289 You are encouraged to use @code{\repeat} for repetitions. See
1296 In this manual: @ref{Repeats}, @ref{System start delimiters}.
1299 Program reference: @internalsref{BarLine} (created at
1300 @internalsref{Staff} level), @internalsref{SpanBar} (across staves).
1302 @cindex bar lines at start of system
1303 @cindex start of system
1307 Examples: @inputfileref{input/@/test,bar@/-lines@/.ly},
1310 @node Time administration
1311 @subsection Time administration
1313 Time is administered by the @internalsref{Time_signature_engraver},
1314 which usually lives in the @internalsref{Score} context.
1315 The bookkeeping deals with the following variables
1318 @item currentBarNumber
1322 The length of the measures in the current time signature. For a 4/4
1323 time this is@tie{}1, and for 6/8 it is 3/4.
1325 @item measurePosition
1326 The point within the measure where we currently are. This quantity
1327 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
1328 happens, @code{currentBarNumber} is incremented.
1331 If set to true, the above variables are updated for every time
1332 step. When set to false, the engraver stays in the current measure
1336 Timing can be changed by setting any of these variables explicitly.
1337 In the next example, the 4/4 time signature is printed, but
1338 @code{measureLength} is set to 5/4. After a while, the measure is
1339 shortened by 1/8, by setting @code{measurePosition} to -3/8 at 2/4 in
1340 the measure, so the next bar line will fall at 2/4 + 3/8.
1342 @lilypond[quote,raggedright,verbatim,relative,fragment]
1343 \set Score.measureLength = #(ly:make-moment 5 4)
1347 \set Score.measurePosition = #(ly:make-moment -3 8)
1353 @node Controlling formatting of prefatory matter
1354 @subsection Controlling formatting of prefatory matter
1356 @c This section will be moved to somewhere else soon.
1357 This example demonstrates how to place prefactory matter
1358 (such as the clef and key signature) at the end of a line.
1360 @lilypond[quote,verbatim]
1362 \override Staff.Clef
1363 #'break-visibility = #end-of-line-visible
1364 \override Staff.KeySignature
1365 #'break-visibility = #end-of-line-visible
1366 \set Staff.explicitClefVisibility = #end-of-line-visible
1367 \set Staff.explicitKeySignatureVisibility = #end-of-line-visible
1369 % We want the time sig to take space, otherwise there is not
1370 % enough white at the start of the line.
1372 \override Staff.TimeSignature #'transparent = ##t
1373 \set Score.defaultBarType = #"empty"
1393 Polyphony in music refers to having more than one voice occuring in
1394 a piece of music. Polyphony in LilyPond refers to having more than
1395 one voice on the same staff.
1398 * Writing polyphonic music::
1401 @node Writing polyphonic music
1402 @subsection Writing polyphonic music
1405 The easiest way to enter fragments with more than one voice on a staff
1406 is to split chords using the separator @code{\\}. You can use it for
1407 small, short-lived voices or for single chords
1411 @lilypond[quote,raggedright,verbatim,fragment]
1412 \context Staff \relative c'' {
1413 c4 << { f d e } \\ { b c2 } >>
1414 c4 << g' \\ b, \\ f' \\ d >>
1418 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1419 voices are sometimes called ``layers'' in other notation packages}
1421 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1422 each of these contexts, vertical direction of slurs, stems, etc., is set
1425 @cindex @code{\voiceOne}
1426 @cindex @code{\voiceFour}
1428 This can also be done by instantiating @internalsref{Voice} contexts
1429 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1430 a stem directions and horizontal shift for each part
1433 @lilypond[quote,raggedright,verbatim]
1436 \new Voice { \voiceOne cis2 b }
1437 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1438 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1442 The command @code{\oneVoice} will revert back to the normal setting.
1443 @cindex @code{\oneVoice}
1446 Normally, note heads with a different number of dots are not merged, but
1447 when the object property @code{merge-differently-dotted} is set in
1448 the @internalsref{NoteCollision} object, they are merged
1449 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
1452 \override Staff.NoteCollision
1453 #'merge-differently-dotted = ##t
1455 } \\ { g8.[ f16] g8.[ f16] } >>
1458 Similarly, you can merge half note heads with eighth notes, by setting
1459 @code{merge-differently-headed}
1460 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
1463 \override Staff.NoteCollision
1464 #'merge-differently-headed = ##t
1465 c8 c4. } \\ { c2 c2 } >>
1468 LilyPond also vertically shifts rests that are opposite of a stem,
1471 @lilypond[quote,raggedright,fragment,verbatim]
1472 \context Voice << c''4 \\ r4 >>
1480 @cindex @code{\oneVoice}
1482 @cindex @code{\voiceOne}
1484 @cindex @code{\voiceTwo}
1486 @cindex @code{\voiceThree}
1488 @cindex @code{\voiceFour}
1493 @cindex @code{\shiftOn}
1495 @cindex @code{\shiftOnn}
1497 @cindex @code{\shiftOnnn}
1499 @cindex @code{\shiftOff}
1500 @code{\shiftOff}: these commands specify in what chords of the current
1501 voice should be shifted. The outer voices (normally: voice one and
1502 two) have @code{\shiftOff}, while the inner voices (three and four)
1503 have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define
1504 further shift levels.
1507 When LilyPond cannot cope, the @code{force-hshift}
1508 property of the @internalsref{NoteColumn} object and pitched rests can
1509 be used to override typesetting decisions.
1511 @lilypond[quote,verbatim,raggedright]
1518 \once \override NoteColumn #'force-hshift = #1.7
1527 Program reference: the objects responsible for resolving collisions are
1528 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1531 @inputfileref{input/@/regression,collision@/-dots@/.ly},
1532 @inputfileref{input/@/regression,collision@/-head-chords@/.ly},
1533 @inputfileref{input/@/regression,collision@/-heads@/.ly},
1534 @inputfileref{input/@/regression,collision@/-mesh@/.ly}, and
1535 @inputfileref{input/@/regression,collisions@/.ly}.
1541 When using @code{merge-differently-headed} with an upstem eighth or a
1542 shorter note, and a downstem half note, the eighth note gets the wrong
1545 There is no support for clusters where the same note occurs with
1546 different accidentals in the same chord. In this case, it is
1547 recommended to use enharmonic transcription, or to use special cluster
1548 notation (see @ref{Clusters}).
1553 Beams are used to group short notes into chunks that are aligned with
1554 the metrum. LilyPond normally inserts beams automatically, but if you
1555 wish you may control them manually or changed how beams are automatically
1558 @cindex Automatic beams
1562 * Setting automatic beam behavior::
1566 @node Automatic beams
1567 @subsection Automatic beams
1569 LilyPond inserts beams automatically
1571 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1572 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1575 When these automatic decisions are not good enough, beaming can be
1576 entered explicitly. It is also possible to define beaming patterns
1577 that differ from the defaults.
1579 Individual notes may be marked with @code{\noBeam}, to prevent them
1582 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1583 \time 2/4 c8 c\noBeam c c
1589 Program reference: @internalsref{Beam}.
1593 @subsection Manual beams
1594 @cindex beams, manual
1598 In some cases it may be necessary to override the automatic beaming
1599 algorithm. For example, the autobeamer will not put beams over rests
1600 or bar lines. Such beams are specified manually by marking the begin
1601 and end point with @code{[} and @code{]}
1603 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1605 r4 r8[ g' a r8] r8 g[ | a] r8
1609 @cindex @code{stemLeftBeamCount}
1611 Normally, beaming patterns within a beam are determined automatically.
1612 If necessary, the properties @code{stemLeftBeamCount} and
1613 @code{stemRightBeamCount} can be used to override the defaults. If
1614 either property is set, its value will be used only once, and then it
1617 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1622 \set stemLeftBeamCount = #1
1626 @cindex @code{stemRightBeamCount}
1629 The property @code{subdivideBeams} can be set in order to subdivide
1630 all 16th or shorter beams at beat positions, as defined by the
1631 @code{beatLength} property.
1634 @lilypond[fragment,quote,relative=2,verbatim]
1636 \set subdivideBeams = ##t
1638 \set Score.beatLength = #(ly:make-moment 1 8)
1641 @cindex @code{subdivideBeams}
1643 Normally, line breaks are forbidden when beams cross bar lines. This
1644 behavior can be changed by setting @code{allowBeamBreak}.
1646 @cindex @code{allowBeamBreak}
1647 @cindex beams and line breaks
1649 @cindex beams, kneed
1651 @cindex auto-knee-gap
1656 User manual: @ref{Changing context properties on the fly} for the
1662 @cindex Frenched staves
1663 Kneed beams are inserted automatically, when a large gap is detected
1664 between the note heads. This behavior can be tuned through the object.
1667 Automatically kneed cross-staff beams cannot be used together with
1668 hidden staves. See @ref{Hiding staves}.
1670 Beams do not avoid collisions with symbols around the notes, such as
1671 texts and accidentals.
1676 @node Setting automatic beam behavior
1677 @subsection Setting automatic beam behavior
1679 @cindex @code{autoBeamSettings}
1680 @cindex @code{(end * * * *)}
1681 @cindex @code{(begin * * * *)}
1682 @cindex automatic beams, tuning
1683 @cindex tuning automatic beaming
1685 @c [TODO: use \applycontext]
1687 In normal time signatures, automatic beams can start on any note but can
1688 only end in a few positions within the measure: beams can end on a beat,
1689 or at durations specified by the properties in
1690 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
1691 are defined in @file{scm/@/auto@/-beam@/.scm}.
1693 The value of @code{autoBeamSettings} is changed with two functions,
1695 #(override-auto-beam-setting
1696 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
1698 #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m}))
1700 Here, @var{be} is the symbol @code{begin} or @code{end}, and
1701 @var{context} is an optional context (default: @code{'Voice}). It
1702 determines whether the rule applies to begin or end-points. The
1703 quantity @var{p}/@var{q} refers to the length of the beamed notes (and
1704 `@code{* *}' designates notes of any length), @var{n}/@var{M} refers
1705 to a time signature (wildcards `@code{* *}' may be entered to
1706 designate all time signatures), @var{a}/@var{b} is a duration. By
1707 default, this command changes settings for the current voice. It is
1708 also possible to adjust settings at higher contexts, by adding a
1709 @var{context} argument.
1711 For example, if automatic beams should end on every quarter note, use
1714 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1716 Since the duration of a quarter note is 1/4 of a whole note, it is
1717 entered as @code{(ly:make-moment 1 4)}.
1719 The same syntax can be used to specify beam starting points. In this
1720 example, automatic beams can only end on a dotted quarter note
1722 #(override-auto-beam-setting '(end * * * *) 3 8)
1724 In 4/4 time signature, this means that automatic beams could end only on
1725 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1726 3/8, has passed within the measure).
1728 Rules can also be restricted to specific time signatures. A rule that
1729 should only be applied in @var{N}/@var{M} time signature is formed by
1730 replacing the second asterisks by @var{N} and @var{M}. For example, a
1731 rule for 6/8 time exclusively looks like
1733 #(override-auto-beam-setting '(begin * * 6 8) @dots{})
1736 If a rule should be to applied only to certain types of beams, use the
1737 first pair of asterisks. Beams are classified according to the
1738 shortest note they contain. For a beam ending rule that only applies
1739 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1742 @cindex automatic beam generation
1744 @cindex @code{autoBeaming}
1747 If beams are used to indicate melismata in songs, then automatic
1748 beaming should be switched off. This is done by setting
1749 @code{autoBeaming} to @code{#f}.
1753 @cindex @code{\autoBeamOff}
1754 @code{\autoBeamOff},
1755 @cindex @code{\autoBeamOn}
1761 If a score ends while an automatic beam has not been ended and is
1762 still accepting notes, this last beam will not be typeset at all. The
1763 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
1764 >>}. If a polyphonic voice ends while an automatic beam is still
1765 accepting notes, it is not typeset.
1767 The rules for ending a beam depend on the shortest note in a beam.
1768 So, while it is possible to have different ending rules for eight
1769 beams and sixteenth beams, a beam that contains both eight and
1770 sixteenth notes will use the rules for the sixteenth beam.
1772 In the example below, the autobeamer makes eighth beams and sixteenth
1773 end at three eighths. The third beam can only be corrected by
1774 specifying manual beaming.
1776 @lilypond[quote,raggedright,fragment,relative=1]
1777 #(override-auto-beam-setting '(end * * * *) 3 8)
1778 % rather show case where it goes wrong
1779 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1780 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1782 It is not possible to specify beaming parameters that act differently in
1783 different parts of a measure. This means that it is not possible to use
1784 automatic beaming in irregular meters such as @code{5/8}.
1786 @node Beam formatting
1787 @subsection Beam formatting
1790 When a beam falls in the middle of the staff, the beams point normally
1791 down. However, this behaviour can be altered with the
1792 @code{neutral-direction} property.
1795 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1798 \override Beam #'neutral-direction = #-1
1800 \override Beam #'neutral-direction = #1
1807 @section Accidentals
1809 This section describes how to change the way that accidentals are
1810 inserted automatically before notes.
1813 * Automatic accidentals::
1816 @node Automatic accidentals
1817 @subsection Automatic accidentals
1818 @cindex Automatic accidentals
1820 Common rules for typesetting accidentals have been placed in a
1821 function. This function is called as follows
1823 @cindex @code{set-accidental-style}
1825 #(set-accidental-style 'STYLE #('CONTEXT#))
1828 The function can take two arguments: the name of the accidental style,
1829 and an optional argument that denotes the context that should be
1830 changed. If no context name is supplied, @code{Staff} is the default,
1831 but you may wish to apply the accidental style to a single @code{Voice}
1834 The following accidental styles are supported
1837 This is the default typesetting behavior. It corresponds
1838 to 18th century common practice: Accidentals are
1839 remembered to the end of the measure in which they occur and
1840 only on their own octave.
1843 The normal behavior is to remember the accidentals on
1844 Staff-level. This variable, however, typesets accidentals
1845 individually for each voice. Apart from that, the rule is similar to
1848 As a result, accidentals from one voice do not get canceled in other
1849 voices, which is often an unwanted result
1851 @lilypond[quote,raggedright,relative=1,fragment,verbatim]
1853 #(set-accidental-style 'voice)
1860 The @code{voice} option should be used if the voices
1861 are to be read solely by individual musicians. If the staff is to be
1862 used by one musician (e.g., a conductor) then
1863 @code{modern} or @code{modern-cautionary}
1864 should be used instead.
1867 @cindex @code{modern} style accidentals
1868 This rule corresponds to the common practice in the 20th century. This rule
1869 prints the same accidentals as @code{default}, but temporary
1870 accidentals also are canceled in other octaves. Furthermore,
1871 in the same octave, they also get canceled in the following
1874 @lilypond[quote,raggedright,fragment,verbatim]
1875 #(set-accidental-style 'modern)
1876 cis' c'' cis'2 | c'' c'
1879 @item @code{modern-cautionary}
1880 @cindex @code{modern-cautionary}
1881 This rule is similar to @code{modern}, but the ``extra'' accidentals
1882 (the ones not typeset by @code{default}) are typeset as cautionary
1883 accidentals. They are printed in reduced size or with parentheses
1884 @lilypond[quote,raggedright,fragment,verbatim]
1885 #(set-accidental-style 'modern-cautionary)
1886 cis' c'' cis'2 | c'' c'
1889 @cindex @code{modern-voice}
1891 This rule is used for multivoice accidentals to be read both by musicians
1892 playing one voice and musicians playing all voices. Accidentals are
1893 typeset for each voice, but they @emph{are} canceled across voices in
1894 the same @internalsref{Staff}.
1896 @cindex @code{modern-voice-cautionary}
1897 @item modern-voice-cautionary
1898 This rule is the same as @code{modern-voice}, but with the extra
1899 accidentals (the ones not typeset by @code{voice}) typeset
1900 as cautionaries. Even though all accidentals typeset by
1901 @code{default} @emph{are} typeset by this variable,
1902 some of them are typeset as cautionaries.
1905 @cindex @code{piano} accidentals
1906 This rule reflects 20th century practice for piano notation. Very similar to
1907 @code{modern} but accidentals also get canceled
1908 across the staves in the same @internalsref{GrandStaff} or
1909 @internalsref{PianoStaff}.
1911 @item piano-cautionary
1912 @cindex @code{#(set-accidental-style 'piano-cautionary)}
1913 Same as @code{#(set-accidental-style 'piano)} but with the extra
1914 accidentals typeset as cautionaries.
1917 @cindex @code{no-reset} accidental style
1918 This is the same as @code{default} but with accidentals lasting
1919 ``forever'' and not only until the next measure
1920 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1921 #(set-accidental-style 'no-reset)
1926 This is sort of the opposite of @code{no-reset}: Accidentals
1927 are not remembered at all---and hence all accidentals are
1928 typeset relative to the key signature, regardless of what was
1931 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1932 #(set-accidental-style 'forget)
1933 \key d\major c4 c cis cis d d dis dis
1940 Program reference: @internalsref{Accidental_engraver},
1941 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1946 Simultaneous notes are considered to be entered in sequential
1947 mode. This means that in a chord the accidentals are typeset as if the
1948 notes in the chord happened once at a time - in the order in which
1949 they appear in the input file.
1951 This is a problem when accidentals in a chord depend on each other,
1952 which does not happen for the default accidental style. The problem
1953 can be solved by manually inserting @code{!} and @code{?} for the
1957 @node Expressive marks
1958 @section Expressive marks
1961 @c todo: should change ordering
1962 @c where to put text spanners, metronome marks,
1965 Expressive marks help musicians to bring more to the music than simple
1975 * Analysis brackets::
1978 * Fingering instructions::
1988 A slur indicates that notes are to be played bound or @emph{legato}.
1990 They are entered using parentheses
1991 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1992 f( g a) a8 b( a4 g2 f4)
1996 The direction of a slur can be set with the
2000 \override Slur #'direction = #UP
2001 \slurUp % shortcut for the previous line
2005 However, there is a convenient shorthand for forcing slur
2006 directions. By adding @code{_} or @code{^} before the opening
2007 parentheses, the direction is also set. For example,
2009 @lilypond[relative=2,raggedright,quote,verbatim,fragment]
2013 Some composers write two slurs when they want legato chords. This can
2014 be achieved in LilyPond by setting @code{doubleSlurs},
2016 @lilypond[verbatim,raggedright,relative,fragment,quote]
2017 \set doubleSlurs = ##t
2018 <c e>4 ( <d f> <c e> <d f> )
2025 @cindex @code{\slurUp}
2027 @cindex @code{\slurDown}
2029 @cindex @code{\slurNeutral}
2030 @code{\slurNeutral},
2031 @cindex @code{\slurDotted}
2033 @cindex @code{\slurSolid}
2038 Program reference: @seeinternals{Slur}, and @internalsref{SlurEvent}.
2041 @node Phrasing slurs
2042 @subsection Phrasing slurs
2044 @cindex phrasing slurs
2045 @cindex phrasing marks
2047 A phrasing slur (or phrasing mark) connects chords and is used to
2048 indicate a musical sentence. It is written using @code{\(} and @code{\)}
2051 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2052 \time 6/4 c'\( d( e) f( e) d\)
2055 Typographically, the phrasing slur behaves almost exactly like a
2056 normal slur. However, they are treated as different objects. A
2057 @code{\slurUp} will have no effect on a phrasing slur; instead, use
2058 @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
2059 @code{\phrasingSlurNeutral}.
2061 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurNeutral}
2062 will only affect normal slurs and not phrasing slurs.
2066 @cindex @code{\phrasingSlurUp}
2067 @code{\phrasingSlurUp},
2068 @cindex @code{\phrasingSlurDown}
2069 @code{\phrasingSlurDown},
2070 @cindex @code{\phrasingSlurNeutral}
2071 @code{\phrasingSlurNeutral}.
2075 Program reference: see also @internalsref{PhrasingSlur}, and
2076 @internalsref{PhrasingSlurEvent}.
2080 Putting phrasing slurs over rests leads to spurious warnings.
2083 @subsection Breath marks
2085 Breath marks are entered using @code{\breathe}
2088 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2092 The glyph of the breath mark can be tuned by overriding the
2093 @code{text} property of the @code{BreathingSign} layout object with
2094 any markup text. For example,
2095 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2097 \override BreathingSign #'text
2098 = #(make-musicglyph-markup "scripts-rvarcomma")
2105 Program reference: @internalsref{BreathingSign},
2106 @internalsref{BreathingSignEvent}.
2108 Examples: @inputfileref{input/@/regression,breathing@/-sign@/.ly}.
2111 @node Metronome marks
2112 @subsection Metronome marks
2115 @cindex beats per minute
2116 @cindex metronome marking
2118 Metronome settings can be entered as follows
2120 \tempo @var{duration} = @var{per-minute}
2123 In the MIDI output, they are interpreted as a tempo change. In the
2124 layout output, a metronome marking is printed
2125 @cindex @code{\tempo}
2126 @lilypond[quote,raggedright,verbatim,fragment]
2132 Program reference: @internalsref{MetronomeChangeEvent}.
2136 @subsection Text scripts
2137 @cindex Text scripts
2139 @cindex text items, non-empty
2140 @cindex non-empty texts
2142 It is possible to place arbitrary strings of text or markup text (see
2143 @ref{Text markup}) above or below notes by using a string
2144 @code{c^"text"}. By default, these indications do not influence the
2145 note spacing, but by using the command @code{\fatText}, the widths
2146 will be taken into account
2148 @lilypond[quote,fragment,raggedright,verbatim,relative=1]
2149 c4^"longtext" \fatText c4_"longlongtext" c4
2152 More complex formatting may also be added to a note by using the
2154 @lilypond[fragment,raggedright,verbatim,quote]
2155 c'4^\markup { bla \bold bla }
2158 The @code{\markup} is described in more detail in
2164 @cindex @code{\fatText}
2166 @cindex @code{\emptyText}
2171 In this manual: @ref{Text markup}.
2173 Program reference: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
2177 @subsection Text spanners
2178 @cindex Text spanners
2180 Some performance indications, e.g., @i{rallentando} or @i{accelerando},
2181 are written as text and are extended over many measures with dotted
2182 lines. Such texts are created using text spanners; attach
2183 @code{\startTextSpan} and @code{\stopTextSpan} to the first and last
2184 notes of the spanner.
2186 The string to be printed, as well as the style, is set through object
2189 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2191 \override TextSpanner #'direction = #-1
2192 \override TextSpanner #'edge-text = #'("rall " . "")
2193 c2\startTextSpan b c\stopTextSpan a
2199 Internals @internalsref{TextSpanEvent},
2200 @internalsref{TextSpanner}.
2202 Examples: @inputfileref{input/@/regression,text@/-spanner@/.ly}.
2205 @node Analysis brackets
2206 @subsection Analysis brackets
2208 @cindex phrasing brackets
2209 @cindex musicological analysis
2210 @cindex note grouping bracket
2212 Brackets are used in musical analysis to indicate structure in musical
2213 pieces. LilyPond supports a simple form of nested horizontal
2214 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2215 to @internalsref{Staff} context. A bracket is started with
2216 @code{\startGroup} and closed with @code{\stopGroup}
2218 @lilypond[quote,raggedright,verbatim]
2221 c4\startGroup\startGroup
2224 c4\stopGroup\stopGroup
2228 \Staff \consists "Horizontal_bracket_engraver"
2234 Program reference: @internalsref{HorizontalBracket},
2235 @internalsref{NoteGroupingEvent}.
2237 Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
2241 @subsection Articulations
2242 @cindex Articulations
2244 @cindex articulations
2248 A variety of symbols can appear above and below notes to indicate
2249 different characteristics of the performance. They are added to a note
2250 by adding a dash and the character signifying the
2251 articulation. They are demonstrated here
2253 @lilypondfile[quote,raggedright]{script-abbreviations.ly}
2255 The meanings of these shorthands can be changed. See
2256 @file{ly/@/script@/-init@/.ly} for examples.
2259 The script is automatically placed, but the direction can be forced as
2260 well. Like other pieces of LilyPond code, @code{_} will place them
2261 below the staff, and @code{^} will place them above.
2264 @lilypond[quote,raggedright,fragment,verbatim]
2268 Other symbols can be added using the syntax
2269 @var{note}@code{\}@var{name}. Again, they
2270 can be forced up or down using @code{^} and @code{_},
2273 @lilypond[quote,raggedright,verbatim,fragment,relative=2]
2274 c\fermata c^\fermata c_\fermata
2281 @cindex staccatissimo
2291 @cindex organ pedal marks
2300 @cindex prallmordent
2304 @cindex thumb marking
2309 Here is a chart showing all scripts available,
2311 @lilypondfile[raggedright,quote]{script-chart.ly}
2314 The vertical ordering of scripts is controlled with the
2315 @code{script-priority} property. The lower this number, the closer it
2316 will be put to the note. In this example, the
2317 @internalsref{TextScript} (the sharp symbol) first has the lowest
2318 priority, so it is put lowest in the first example. In the second, the
2319 prall trill (the @internalsref{Script}) has the lowest, so it is on the
2320 inside. When two objects have the same priority, the order in which
2321 they are entered decides which one comes first.
2324 @lilypond[verbatim,relative=3,raggedright,fragment,quote]
2325 \once \override TextScript #'script-priority = #-100
2326 a4^\prall^\markup { \sharp }
2328 \once \override Script #'script-priority = #-100
2329 a4^\prall^\markup { \sharp }
2337 Program reference: @internalsref{ScriptEvent}, and @internalsref{Script}.
2341 These signs appear in the printed output but have no effect on the
2342 MIDI rendering of the music.
2346 @node Running trills
2347 @subsection Running trills
2349 Long running trills are made with @code{\startTrillSpan} and
2350 @code{\stopTrillSpan},
2353 @lilypond[verbatim,raggedright,relative=2,quote,fragment]
2355 << { c1 \startTrillSpan }
2356 { s2. \grace { d16[\stopTrillSpan e] } } >>
2362 @code{\startTrillSpan},
2363 @cindex @code{\startTrillSpan}
2364 @code{\stopTrillSpan}.
2365 @cindex @code{\stopTrillSpan}
2369 Program reference: @internalsref{TrillSpanner},
2370 @internalsref{TrillSpanEvent}.
2372 @node Fingering instructions
2373 @subsection Fingering instructions
2377 Fingering instructions can be entered using
2379 @var{note}-@var{digit}
2381 For finger changes, use markup texts
2383 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2385 c^\markup { \finger "2-3" }
2388 @cindex finger change
2393 You can use the thumb-script to indicate that a note should be
2394 played with the thumb (e.g., in cello music)
2395 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2396 <a_\thumb a'-3>8 <b_\thumb b'-3>
2399 Fingerings for chords can also be added to individual notes
2400 of the chord by adding them after the pitches
2401 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2402 < c-1 e-2 g-3 b-5 >4
2406 In this case, setting @code{fingeringOrientations} will put fingerings next
2409 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2410 \set fingeringOrientations = #'(left down)
2411 <c-1 es-2 g-4 bes-5 > 4
2412 \set fingeringOrientations = #'(up right down)
2413 <c-1 es-2 g-4 bes-5 > 4
2416 Using this feature, it is also possible to put fingering instructions
2417 very close to note heads in monophonic music,
2419 @lilypond[verbatim,raggedright,quote,fragment]
2420 \set fingeringOrientations = #'(right)
2427 Program reference: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2429 Examples: @inputfileref{input/@/regression,finger@/-chords@/.ly}.
2435 @subsection Grace notes
2438 @c should have blurb about accaciatura / appogiatura
2440 @cindex @code{\grace}
2444 Grace notes are ornaments that are written out. The most common ones
2445 are acciaccatura, which should be played as very short. It is denoted
2446 by a slurred small note with a slashed stem. The appoggiatura is a
2447 grace note that takes a fixed fraction of the main note, and is
2448 denoted as a slurred note in small print without a slash. They
2449 are entered with the commands @code{\acciaccatura} and
2450 @code{\appoggiatura}, as demonstrated in the following example
2453 @cindex appoggiatura
2454 @cindex acciaccatura
2456 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2457 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2458 \acciaccatura { g16[ f] } e4
2461 Both are special forms of the @code{\grace} command. By prefixing this
2462 keyword to a music expression, a new one is formed, which will be
2463 printed in a smaller font and takes up no logical time in a measure.
2465 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2467 \grace { c16[ d16] } c2 c4
2471 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2472 @code{\grace} command does not start a slur.
2474 Internally, timing for grace notes is done using a second, `grace'
2475 timing. Every point in time consists of two rational numbers: one
2476 denotes the logical time, one denotes the grace timing. The above
2477 example is shown here with timing tuples
2479 @lilypond[quote,raggedright]
2482 c4 \grace c16 c4 \grace {
2485 \new Lyrics \lyricmode {
2486 \override LyricText #'font-family = #'typewriter
2490 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2491 \markup { (\fraction 1 4 , 0 ) } 4
2493 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2494 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2496 \markup { ( \fraction 2 4 , 0 ) }
2502 The placement of grace notes is synchronized between different staves.
2503 In the following example, there are two sixteenth grace notes for
2504 every eighth grace note
2506 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2507 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2508 \new Staff { c4 \grace { g8[ b] } c4 } >>
2513 If you want to end a note with a grace, use the @code{\afterGrace}
2514 command. It takes two arguments: the main note, and the grace notes
2515 following the main note.
2517 @lilypond[raggedright, verbatim,relative=2,fragment]
2518 c1 \afterGrace d1 { c16[ d] } c4
2521 This will put the grace notes after a ``space'' lasting 3/4 of the
2522 length of the main note. The fraction 3/4 can be changed by setting
2523 @code{afterGraceFraction}, ie.
2526 afterGraceFraction = #(cons 7 8)
2530 will put the grace note at 7/8 of the main note.
2533 The same effect can be achieved manually by doing
2536 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2539 { s2 \grace { c16[ d] } } >>
2545 By adjusting the duration of the skip note (here it is a half-note),
2546 the space between the main-note and the grace is adjusted.
2551 A @code{\grace} section will introduce special typesetting settings,
2552 for example, to produce smaller type, and set directions. Hence, when
2553 introducing layout tweaks, they should be inside the grace section,
2555 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2567 The overrides should also be reverted inside the grace section.
2569 The layout of grace sections can be changed throughout the music using
2570 the function @code{add-grace-property}. The following example
2571 undefines the Stem direction for this grace, so stems do not always
2576 #(add-grace-property 'Voice 'Stem 'direction '())
2582 Another option is to change the variables @code{startGraceMusic},
2583 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2584 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2585 @code{stopAppoggiaturaMusic}. More information is in the file
2586 @file{ly/@/grace@/-init@/.ly}.
2591 Program reference: @internalsref{GraceMusic}.
2595 A score that starts with a @code{\grace} section needs an explicit
2596 @code{\context Voice} declaration, otherwise the main note and the grace
2597 note end up on different staves.
2599 Grace note synchronization can also lead to surprises. Staff notation,
2600 such as key signatures, bar lines, etc., are also synchronized. Take
2601 care when you mix staves with grace notes and staves without, for example,
2603 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2604 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2605 \new Staff { c4 \bar "|:" d4 } >>
2609 This can be remedied by inserting grace skips, for the above example
2612 \new Staff @{ c4 \bar "|:" \grace s16 d4 @}
2615 Grace sections should only be used within sequential music
2616 expressions. Nesting or juxtaposing grace sections is not supported,
2617 and might produce crashes or other errors.
2621 @subsection Glissando
2624 @cindex @code{\glissando}
2626 A glissando is a smooth change in pitch. It is denoted by a line or a
2627 wavy line between two notes. It is requested by attaching
2628 @code{\glissando} to a note
2630 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
2636 Program reference: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2638 Example files: @file{input/@/regression/@/glissando@/.ly}.
2644 Printing text over the line (such as @emph{gliss.}) is not supported.
2648 @subsection Dynamics
2661 @cindex @code{\ffff}
2671 Absolute dynamic marks are specified using a command after a note
2672 @code{c4\ff}. The available dynamic marks are @code{\ppp},
2673 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2674 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2675 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}
2677 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2678 c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2679 c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
2688 A crescendo mark is started with @code{\<} and terminated with
2689 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2690 with @code{\!}. Because these marks are bound to notes, you must
2691 use spacer notes if multiple marks are needed during one note
2693 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2695 << f1 { s4 s4\< s4\! \> s4\! } >>
2697 This may give rise to very short hairpins. Use @code{minimum-length}
2698 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2702 \override Staff.Hairpin #'minimum-length = #5
2705 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2706 is an example how to do it
2708 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
2722 You can also supply your own texts
2723 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2724 \set crescendoText = \markup { \italic "cresc. poco" }
2725 \set crescendoSpanner = #'dashed-line
2731 To create new dynamic marks or text that should be aligned
2732 with dynamics, see @ref{New dynamic marks}.
2737 @cindex @code{\dynamicUp}
2739 @cindex @code{\dynamicDown}
2740 @code{\dynamicDown},
2741 @cindex @code{\dynamicNeutral}
2742 @code{\dynamicNeutral}.
2744 @cindex direction, of dynamics
2748 Program reference: @internalsref{CrescendoEvent},
2749 @internalsref{DecrescendoEvent}, and
2750 @internalsref{AbsoluteDynamicEvent}.
2752 Dynamics are @internalsref{DynamicText} and @internalsref{Hairpin}
2753 objects. Vertical positioning of these symbols is handled by the
2754 @internalsref{DynamicLineSpanner} object.
2760 Repetition is a central concept in music, and multiple notations exist
2766 * Repeats and MIDI::
2767 * Manual repeat commands::
2769 * Tremolo subdivisions::
2774 @subsection Repeat types
2777 @cindex @code{\repeat}
2779 The following types of repetition are supported
2783 Repeated music is fully written (played) out. This is useful when
2784 entering repetitious music. This is the only kind of repeat that
2785 is included in MIDI output.
2788 Repeats are not written out, but alternative endings (volte) are
2789 printed, left to right with brackets. This is the standard notation
2790 for repeats with alternatives. These are not played in MIDI output by default.
2794 Alternative endings are written stacked. This has limited use but may be
2795 used to typeset two lines of lyrics in songs with repeats, see
2796 @inputfileref{input,star-spangled-banner@/.ly}.
2801 Make tremolo beams. These are not played in MIDI output by default.
2804 Make beat or measure repeats. These look like percent signs. These
2805 are not played in MIDI output by default.
2810 @subsection Repeat syntax
2813 LilyPond has one syntactic construct for specifying different types of
2814 repeats. The syntax is
2817 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2820 If you have alternative endings, you may add
2821 @cindex @code{\alternative}
2823 \alternative @{ @var{alternative1}
2825 @var{alternative3} @dots{} @}
2827 where each @var{alternative} is a music expression. If you do not
2828 give enough alternatives for all of the repeats, the first alternative
2829 is assumed to be played more than once.
2831 Standard repeats are used like this
2832 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2834 \repeat volta 2 { c4 d e f }
2835 \repeat volta 2 { f e d c }
2838 With alternative endings
2839 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2841 \repeat volta 2 {c4 d e f}
2842 \alternative { {d2 d} {f f,} }
2846 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2849 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2850 \alternative { { g4 g g } { a | a a a a | b2. } }
2854 It is possible to shorten volta brackets
2855 by setting @code{voltaSpannerDuration}. In the next example, the
2856 bracket only lasts one measure, which is a duration of 3/4.
2860 @lilypond[verbatim,raggedright,quote]
2864 \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4)
2865 \repeat "volta" 5 { d d d }
2866 \alternative { { e e e f f f }
2876 Brackets for the repeat are normally only printed over the topmost
2877 staff. This can be adjusted by setting the @code{voltaOnThisStaff}
2878 property; see @inputfileref{input/@/regression,volta@/-multi@/-staff@/.ly}.
2881 @c @inputfileref{input/@/regression,volta@/-chord@/-names@/.ly}.
2886 A nested repeat like
2895 is ambiguous, since it is is not clear to which @code{\repeat} the
2896 @code{\alternative} belongs. This ambiguity is resolved by always
2897 having the @code{\alternative} belong to the inner @code{\repeat}.
2898 For clarity, it is advisable to use braces in such situations.
2903 Timing information is not remembered at the start of an alternative,
2904 so after a repeat timing information must be reset by hand, for
2905 example by setting @code{Score.measurePosition} or entering
2906 @code{\partial}. Similarly, slurs or ties are also not repeated.
2911 @node Repeats and MIDI
2912 @subsection Repeats and MIDI
2914 @cindex expanding repeats
2916 With a little bit of tweaking, all types of repeats can be present
2917 in the MIDI output. This is achieved by applying the
2918 @code{\unfoldrepeats} music function. This functions changes all
2919 repeats to unfold repeats.
2921 @lilypond[quote,verbatim,fragment,linewidth=8.0\cm]
2923 \repeat tremolo 8 {c'32 e' }
2924 \repeat percent 2 { c''8 d'' }
2925 \repeat volta 2 {c'4 d' e' f'}
2934 When creating a score file using @code{\unfoldrepeats} for midi, then
2935 it is necessary to make two @code{\score} blocks. One for MIDI (with
2936 unfolded repeats) and one for notation (with volta, tremolo, and
2937 percent repeats). For example,
2945 \unfoldrepeats @var{..music..}
2950 @node Manual repeat commands
2951 @subsection Manual repeat commands
2953 @cindex @code{repeatCommands}
2955 The property @code{repeatCommands} can be used to control the layout of
2956 repeats. Its value is a Scheme list of repeat commands.
2959 @item @code{start-repeat}
2960 Print a @code{|:} bar line.
2962 @item @code{end-repeat}
2963 Print a @code{:|} bar line.
2965 @item @code{(volta @var{text})}
2966 Print a volta bracket saying @var{text}: The text can be specified as
2967 a text string or as a markup text, see @ref{Text markup}. Do not
2968 forget to change the font, as the default number font does not contain
2969 alphabetic characters;
2971 @item @code{(volta #f)}
2972 Stop a running volta bracket.
2975 @lilypond[quote,raggedright,verbatim,fragment,relative=2]
2977 \set Score.repeatCommands = #'((volta "93") end-repeat)
2979 \set Score.repeatCommands = #'((volta #f))
2987 Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2988 @internalsref{VoltaRepeatedMusic},
2989 @internalsref{UnfoldedRepeatedMusic}, and
2990 @internalsref{FoldedRepeatedMusic}.
2992 @node Tremolo repeats
2993 @subsection Tremolo repeats
2994 @cindex tremolo beams
2996 To place tremolo marks between notes, use @code{\repeat} with tremolo
2998 @lilypond[quote,verbatim,raggedright]
2999 \new Voice \relative c' {
3000 \repeat "tremolo" 8 { c16 d16 }
3001 \repeat "tremolo" 4 { c16 d16 }
3002 \repeat "tremolo" 2 { c16 d16 }
3006 Tremolo marks can also be put on a single note. In this case, the
3007 note should not be surrounded by braces.
3008 @lilypond[quote,verbatim,raggedright]
3009 \repeat "tremolo" 4 c'16
3012 Similar output is obtained using the tremolo subdivision, described in
3013 @ref{Tremolo subdivisions}.
3017 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
3019 Program reference: tremolo beams are @internalsref{Beam} objects. Single stem
3020 tremolos are @internalsref{StemTremolo} objects. The music expression is
3021 @internalsref{TremoloEvent}.
3023 Example files: @inputfileref{input/@/regression,chord@/-tremolo@/.ly},
3024 @inputfileref{input/@/regression,stem@/-tremolo@/.ly}.
3026 @node Tremolo subdivisions
3027 @subsection Tremolo subdivisions
3028 @cindex tremolo marks
3029 @cindex @code{tremoloFlags}
3031 Tremolo marks can be printed on a single note by adding
3032 `@code{:}[@var{number}]' after the note. The number indicates the
3033 duration of the subdivision, and it must be at least 8. A
3034 @var{length} value of 8 gives one line across the note stem. If the
3035 length is omitted, the last value (stored in @code{tremoloFlags}) is
3038 @lilypond[quote,raggedright,verbatim,fragment]
3039 c'2:8 c':32 | c': c': |
3042 @c [TODO: stok is te kort bij 32en]
3043 @c somebody want to translate that into English?
3044 @c `Stem is too short for 32nds' (wl)
3048 Tremolos entered in this way do not carry over into the MIDI output.
3052 In this manual: @ref{Tremolo repeats}.
3054 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
3056 @node Measure repeats
3057 @subsection Measure repeats
3059 @cindex percent repeats
3060 @cindex measure repeats
3062 In the @code{percent} style, a note pattern can be repeated. It is
3063 printed once, and then the pattern is replaced with a special sign.
3064 Patterns of one and two measures are replaced by percent-like signs,
3065 patterns that divide the measure length are replaced by slashes
3067 @lilypond[quote,verbatim,raggedright]
3068 \new Voice \relative c' {
3069 \repeat "percent" 4 { c4 }
3070 \repeat "percent" 2 { c2 es2 f4 fis4 g4 c4 }
3076 Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
3077 @internalsref{PercentRepeatedMusic}, and
3078 @internalsref{DoublePercentRepeat}.
3082 @node Rhythmic music
3083 @section Rhythmic music
3085 Rhythmic music is primarily used for percussion and drum notation, but it can
3086 also be used to show the rhythms of melodies.
3089 * Showing melody rhythms::
3090 * Entering percussion::
3091 * Percussion staves::
3095 @node Showing melody rhythms
3096 @subsection Showing melody rhythms
3098 Sometimes you might want to show only the rhythm of a melody. This
3099 can be done with the rhythmic staff. All pitches of notes on such a
3100 staff are squashed, and the staff itself has a single line
3102 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3103 \context RhythmicStaff {
3105 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
3111 Program reference: @internalsref{RhythmicStaff}.
3113 Examples: @inputfileref{input/@/regression,rhythmic@/-staff@/.ly}.
3116 @node Entering percussion
3117 @subsection Entering percussion
3123 Percussion notes may be entered in @code{\drummode} mode, which is
3124 similar to the standard mode for entering notes. Each piece of
3125 percussion has a full name and an abbreviated name, and both can be used
3128 @lilypond[quote,raggedright,verbatim]
3130 hihat hh bassdrum bd
3134 The complete list of drum names is in the init file
3135 @file{ly/@/drumpitch@/-init@/.ly}.
3136 @c TODO: properly document this.
3140 Program reference: @internalsref{DrumNoteEvent}.
3142 @node Percussion staves
3143 @subsection Percussion staves
3147 A percussion part for more than one instrument typically uses a
3148 multiline staff where each position in the staff refers to one piece
3152 To typeset the music, the notes must be interpreted in a
3153 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
3155 @lilypond[quote,raggedright,verbatim]
3156 up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
3157 down = \drummode { bassdrum4 snare8 bd r bd sn4 }
3159 \new DrumVoice { \voiceOne \up }
3160 \new DrumVoice { \voiceTwo \down }
3164 The above example shows verbose polyphonic notation. The short
3165 polyphonic notation, described in @ref{Polyphony}, can also be used if
3166 the @internalsref{DrumVoices} are instantiated by hand first. For example,
3168 @lilypond[quote,raggedright,fragment,verbatim]
3170 \context DrumVoice = "1" { s1 *2 }
3171 \context DrumVoice = "2" { s1 *2 }
3175 { \repeat unfold 16 hh16 }
3184 There are also other layout possibilities. To use these, set the
3185 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
3186 The following variables have been predefined
3190 This is the default. It typesets a typical drum kit on a five-line staff
3192 @lilypond[quote,linewidth=10.0\cm]
3194 cymc cyms cymr hh hhc hho hhho hhp
3195 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl }
3197 cymc cyms cymr hh hhc hho hhho hhp \break
3198 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
3200 << \new DrumStaff \with {
3201 \remove Bar_engraver
3202 \remove Time_signature_engraver
3203 \override Stem #'transparent = ##t
3204 \override Stem #'Y-extent-callback = ##f
3205 minimumVerticalExtent = #'(-4.0 . 5.0)
3207 \context Lyrics \nam
3212 \override LyricText #'font-family = #'typewriter
3213 \override BarNumber #'transparent =##T
3219 The drum scheme supports six different toms. When there are fewer toms,
3220 simply select the toms that produce the desired result, i.e., to get toms
3221 on the three middle lines you use @code{tommh}, @code{tomml}, and
3224 @item timbales-style
3225 This typesets timbales on a two line staff
3227 @lilypond[quote,raggedright]
3228 nam = \lyricmode { timh ssh timl ssl cb }
3229 mus = \drummode { timh ssh timl ssl cb s16 }
3232 \context DrumStaff \with {
3233 \remove Bar_engraver
3234 \remove Time_signature_engraver
3235 \override Stem #'transparent = ##t
3236 \override Stem #'Y-extent-callback = ##f
3237 \override StaffSymbol #'line-count = #2
3238 \override StaffSymbol #'staff-space = #2
3239 minimumVerticalExtent = #'(-3.0 . 4.0)
3240 drumStyleTable = #timbales-style
3243 \override LyricText #'font-family = #'typewriter
3250 This typesets congas on a two line staff
3252 @lilypond[quote,raggedright]
3253 nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
3254 mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
3257 \context DrumStaff \with {
3258 \remove Bar_engraver
3259 \remove Time_signature_engraver
3260 drumStyleTable = #congas-style
3261 \override StaffSymbol #'line-count = #2
3263 %% this sucks; it will lengthen stems.
3264 \override StaffSymbol #'staff-space = #2
3265 \override Stem #'transparent = ##t
3266 \override Stem #'Y-extent-callback = ##f
3269 \override LyricText #'font-family = #'typewriter
3276 This typesets bongos on a two line staff
3278 @lilypond[quote,raggedright]
3279 nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
3280 mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
3283 \context DrumStaff\with {
3284 \remove Bar_engraver
3285 \remove Time_signature_engraver
3286 \override StaffSymbol #'line-count = #2
3287 drumStyleTable = #bongos-style
3289 %% this sucks; it will lengthen stems.
3290 \override StaffSymbol #'staff-space = #2
3291 \override Stem #'transparent = ##t
3292 \override Stem #'Y-extent-callback = ##f
3295 \override LyricText #'font-family = #'typewriter
3301 @item percussion-style
3302 To typeset all kinds of simple percussion on one line staves.
3304 @lilypond[quote,raggedright]
3305 nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
3306 mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
3309 \context DrumStaff\with{
3310 \remove Bar_engraver
3311 drumStyleTable = #percussion-style
3312 \override StaffSymbol #'line-count = #1
3313 \remove Time_signature_engraver
3314 \override Stem #'transparent = ##t
3315 \override Stem #'Y-extent-callback = ##f
3318 \override LyricText #'font-family = #'typewriter
3325 If you do not like any of the predefined lists you can define your own
3326 list at the top of your file
3328 @lilypond[quote,raggedright,verbatim]
3330 (bassdrum default #f -1)
3331 (snare default #f 0)
3333 (pedalhihat xcircle "stopped" 2)
3334 (lowtom diamond #f 3)))
3335 up = \drummode { hh8 hh hh hh hhp4 hhp }
3336 down = \drummode { bd4 sn bd toml8 toml }
3339 \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
3340 \new DrumVoice { \voiceOne \up }
3341 \new DrumVoice { \voiceTwo \down }
3348 Init files: @file{ly/@/drumpitch@/-init@/.ly}.
3350 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
3354 Because general MIDI does not contain rim shots, the sidestick is used
3355 for this purpose instead.
3358 @section Piano music
3360 Piano staves are two normal staves coupled with a brace. The staves
3361 are largely independent, but sometimes voices can cross between the
3362 two staves. The same notation is also used for harps and other key
3363 @c Is this `harp' or `harpsichord'?
3364 instruments. The @internalsref{PianoStaff} is especially built to
3365 handle this cross-staffing behavior. In this section we discuss the
3366 @internalsref{PianoStaff} and some other pianistic peculiarities.
3370 * Automatic staff changes::
3371 * Manual staff switches::
3374 * Staff switch lines::
3375 * Cross staff stems::
3380 Dynamics are not centered, but workarounds do exist. See the
3381 ``piano centered dynamics'' template in @ref{Piano templates}.
3383 @cindex cross staff stem
3384 @cindex stem, cross staff
3385 @cindex distance between staves in piano music
3387 The distance between the two staves is the same for all systems in the
3388 score. It is possible to override this per system, but it does require
3389 an arcane command incantation. See
3390 @inputfileref{input/@/test,piano@/-staff@/-distance@/.ly}.
3393 @node Automatic staff changes
3394 @subsection Automatic staff changes
3395 @cindex Automatic staff changes
3397 Voices can be made to switch automatically between the top and the bottom
3398 staff. The syntax for this is
3402 \autochange @dots{}@var{music}@dots{}
3407 This will create two staves inside the current PianoStaff, called
3408 @code{up} and @code{down}. The lower staff will be in bass clef by
3411 A @code{\relative} section that is outside of @code{\autochange} has
3412 no effect on the pitches of @var{music}, so, if necessary, put
3413 @code{\relative} inside @code{\autochange} like
3417 \autochange \relative @dots{} @dots{}
3422 The autochanger switches on basis of the pitch (middle C is the turning
3423 point), and it looks ahead skipping over rests to switch in
3424 advance. Here is a practical example
3426 @lilypond[quote,verbatim,raggedright]
3428 \autochange \relative c'
3437 In this manual: @ref{Manual staff switches}.
3439 Program reference: @internalsref{AutoChangeMusic}.
3445 The staff switches may not end up in optimal places. For high
3446 quality output, staff switches should be specified manually.
3449 @code{\autochange} cannot be inside @code{\times}.
3451 Internally, the @code{\partcombine} interprets both arguments as
3452 @code{Voice}s named @code{one} and @code{two}, and then decides when
3453 the parts can be combined. Consequently, if the arguments switch to
3454 differently named @internalsref{Voice} contexts, the events in those
3458 @node Manual staff switches
3459 @subsection Manual staff switches
3461 @cindex manual staff switches
3462 @cindex staff switch, manual
3464 Voices can be switched between staves manually, using the command
3466 \change Staff = @var{staffname} @var{music}
3470 The string @var{staffname} is the name of the staff. It switches the
3471 current voice from its current staff to the Staff called
3472 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3473 @code{"down"}. The @context{Staff} referred to must already exist, so
3474 usually the setup for a score will start with a setup of the staves,
3478 \context Staff = up @{
3479 \skip 1 * 10 % @emph{keep staff alive}
3481 \context Staff = down @{
3482 \skip 1 * 10 % @emph{idem}
3488 and the @context{Voice} is inserted afterwards
3491 \context Staff = down
3492 \new Voice @{ @dots{} \change Staff = up @dots{} @}
3500 Pianos have pedals that alter the way sound is produced. Generally, a
3501 piano has three pedals, sustain, una corda, and sostenuto.
3504 Piano pedal instruction can be expressed by attaching
3505 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3506 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3509 @lilypond[quote,raggedright,fragment,verbatim]
3510 c'4\sustainDown c'4\sustainUp
3513 What is printed can be modified by setting @code{pedal@var{X}Strings},
3514 where @var{X} is one of the pedal types: @code{Sustain},
3515 @code{Sostenuto} or @code{UnaCorda}. Refer to
3516 @internalsref{SustainPedal} in the program reference for more
3519 Pedals can also be indicated by a sequence of brackets, by setting the
3520 @code{pedalSustainStyle} property to bracket objects
3522 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3523 \set Staff.pedalSustainStyle = #'bracket
3525 b\sustainUp\sustainDown
3526 b g \sustainUp a \sustainDown \bar "|."
3529 A third style of pedal notation is a mixture of text and brackets,
3530 obtained by setting the @code{pedalSustainStyle} property to
3533 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3534 \set Staff.pedalSustainStyle = #'mixed
3536 b\sustainUp\sustainDown
3537 b g \sustainUp a \sustainDown \bar "|."
3540 The default `*Ped.' style for sustain and damper pedals corresponds to
3541 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3544 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3545 c\sostenutoDown d e c, f g a\sostenutoUp
3548 For fine-tuning the appearance of a pedal bracket, the properties
3549 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3550 @code{PianoPedalBracket} objects (see
3551 @internalsref{PianoPedalBracket} in the Program reference) can be
3552 modified. For example, the bracket may be extended to the right edge
3555 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3556 \override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
3557 c\sostenutoDown d e c, f g a\sostenutoUp
3561 @subsection Arpeggio
3564 @cindex broken arpeggio
3565 @cindex @code{\arpeggio}
3567 You can specify an arpeggio sign on a chord by attaching an
3568 @code{\arpeggio} to a chord
3571 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3575 When an arpeggio crosses staves, you attach an arpeggio to the chords
3576 in both staves, and set
3577 @internalsref{PianoStaff}.@code{connectArpeggios}
3579 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3580 \context PianoStaff <<
3581 \set PianoStaff.connectArpeggios = ##t
3582 \new Staff { <c' e g c>\arpeggio }
3583 \new Staff { \clef bass <c,, e g>\arpeggio }
3587 The direction of the arpeggio is sometimes denoted by adding an
3588 arrowhead to the wiggly line
3590 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3599 A square bracket on the left indicates that the player should not
3600 arpeggiate the chord
3602 @c todo: ugh, lousy typography. Look for real example. --hwn
3604 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3611 @cindex @code{\arpeggio}
3613 @cindex @code{\arpeggioUp}
3615 @cindex @code{\arpeggioDown}
3616 @code{\arpeggioDown},
3617 @cindex @code{\arpeggioNeutral}
3618 @code{\arpeggioNeutral},
3619 @cindex @code{\arpeggioBracket}
3620 @code{\arpeggioBracket}.
3624 Program reference: @internalsref{ArpeggioEvent},
3625 @internalsref{Arpeggio}.
3629 It is not possible to mix connected arpeggios and unconnected
3630 arpeggios in one @internalsref{PianoStaff} at the same point in time.
3632 @node Staff switch lines
3633 @subsection Staff switch lines
3636 @cindex follow voice
3637 @cindex staff switching
3640 @cindex @code{followVoice}
3642 Whenever a voice switches to another staff, a line connecting the notes
3643 can be printed automatically. This is switched on by setting
3644 @code{PianoStaff.followVoice} to true
3646 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3647 \context PianoStaff <<
3648 \set PianoStaff.followVoice = ##t
3649 \context Staff \context Voice {
3654 \context Staff=two { \clef bass \skip 1*2 }
3660 Program reference: @internalsref{VoiceFollower}.
3664 @cindex @code{\showStaffSwitch}
3665 @code{\showStaffSwitch},
3666 @cindex @code{\hideStaffSwitch}
3667 @code{\hideStaffSwitch}.
3670 @node Cross staff stems
3671 @subsection Cross staff stems
3673 Chords that cross staves may be produced by increasing the length
3674 of the stem in the lower staff, so it reaches the stem in the upper
3675 staff, or vice versa.
3677 @lilypond[raggedright,verbatim,quote]
3678 stemExtend = \once \override Stem #'length = #22
3679 noFlag = \once \override Stem #'flag-style = #'no-flag
3680 \context PianoStaff <<
3682 \stemDown \stemExtend
3696 @section Vocal music
3698 There are three different issues when printing vocal music
3702 Song texts must be entered as text, not notes. For example, the
3703 input@tie{}@code{d} should be interpreted as a one letter syllable, not the
3707 Song texts must be printed as text, not as notes.
3710 Song texts must be aligned with the notes of their melody.
3713 The simplest solution for printing music uses the @code{\addlyrics}
3714 function to solve all these problems at once. However, these
3715 three functions can be controlled separately, which is necessary
3716 for complex vocal music.
3720 * Setting simple songs::
3722 * Hyphens and extenders::
3723 * The Lyrics context::
3724 * Flexibility in alignment::
3729 @node Setting simple songs
3730 @subsection Setting simple songs
3732 The easiest way to add lyrics to a melody is to append
3735 \addlyrics @{ @var{the lyrics} @}
3739 to a melody. Here is an example,
3741 @lilypond[raggedright,verbatim,fragment,quote]
3743 \relative { c2 e4 g2. }
3744 \addlyrics { play the game }
3747 More stanzas can be added by adding more
3748 @code{\addlyrics} sections
3750 @lilypond[raggedright,verbatim,fragment,quote]
3752 \relative { c2 e4 g2. }
3753 \addlyrics { play the game }
3754 \addlyrics { speel het spel }
3755 \addlyrics { joue le jeu }
3758 @c TODO - this isn't such a great place for this note, but I can't
3759 @c find a better place without rearranging a lot of lyric stuff.
3760 @c It's yet another thing to look at post-3.0.
3762 The @code{\addlyrics} command is actually just a convienient way
3763 to write a more complicated LilyPond structure that sets up the
3764 lyrics. You should use @code{\addlyrics} unless you need to
3765 fancy things, in which case you should investigate
3766 @code{\lyricsto} or @code{\lyricmode}.
3770 \addlyrics @{ LYRICS @}
3777 \context Voice = blah @{ music @}
3778 \lyricsto "blah" \new lyrics @{ LYRICS @}
3782 @node Entering lyrics
3783 @subsection Entering lyrics
3787 @cindex @code{\lyricmode}
3790 Lyrics are entered in a special input mode. This mode is introduced
3791 by the keyword @code{\lyricmode}, or by using @code{addlyrics} or
3792 @code{lyricsto}. In this mode you can enter lyrics,
3793 with punctuation and accents, and the input @code{d} is not parsed as
3794 a pitch, but rather as a one letter syllable. Syllables are entered
3795 like notes, but with pitches replaced by text. For example,
3797 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
3801 A word lyrics mode begins with an alphabetic character, and ends with
3802 any space or digit. The following characters can be any character
3803 that is not a digit or white space. One important consequence of this
3804 is that a word can end with @code{@}}. The following example is
3805 usually a mistake in the input file. The syllable includes a @code{@}}, so the
3806 opening brace is not balanced
3808 \lyricmode @{ twinkle @}
3811 @cindex @code{\property}, in @code{\lyricmode}
3813 Similarly, a period which follows an alphabetic sequence is included in
3814 the resulting string. As a consequence, spaces must be inserted around
3817 \override Score . LyricText #'font-shape = #'italic
3821 @cindex spaces, in lyrics
3822 @cindex quotes, in lyrics
3824 Any @code{_} character that appears in an unquoted word is converted
3825 to a space. This provides a mechanism for introducing spaces into words
3826 without using quotes. Quoted words can also be used in Lyrics mode to
3827 specify words that cannot be written with the above rules. The
3828 following example incorporates double quotes
3831 \lyricmode @{ He said: "\"Let" my peo ple "go\"" @}
3834 This example is slightly academic, since it gives better looking
3835 results using single quotes, @code{``} and @code{''}
3837 \lyricmode @{ He said: ``Let my peo ple go'' @}
3841 The full definition of a word start in Lyrics mode is somewhat more
3844 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3845 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3846 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3847 any 8-bit character with ASCII code over 127, or a two-character
3848 combination of a backslash followed by one of @code{`}, @code{'},
3849 @code{"}, or @code{^}.
3855 Program reference: events @internalsref{LyricEvent}, and
3856 @internalsref{LyricText}.
3860 The definition of lyrics mode is too complex.
3862 @node Hyphens and extenders
3863 @subsection Hyphens and extenders
3867 Centered hyphens are entered as `@code{-}@code{-}' between syllables.
3868 The hyphen will have variable length depending on the space between
3869 the syllables and it will be centered between the syllables.
3874 When a lyric is sung over many notes (this is called a melisma), this is
3875 indicated with a horizontal line centered between a syllable and the
3876 next one. Such a line is called an extender line, and it is entered as
3880 FIXME: check that this compiles and displays correctly. I don't want
3881 to commit this part blindly.
3883 In tighly engraved music, hyphens can be removed. In some languages
3884 (e.g. German and Hungarian), hyphens should not disappear, since
3885 spelling depends on hyphenation. For that purpose, hyphens can be
3886 forced to remain by overriding @code{minimum-length} of
3887 the @code{LyricHyphen} grob.
3891 << \notes \new Staff \relative c'' { \time 1/4 c16[ c c c]
3898 \lyrics \new Lyrics \with {
3899 % Otherwise lyrics are so far apart that hyphens don't disappear
3900 \override SeparationItem #'padding = #0.0
3901 }{ bla -- bla -- bla -- bla --
3902 bla -- bla -- bla -- bla --
3904 \override LyricHyphen #'minimum-length = #0.7
3905 \override LyricHyphen #'spacing-procedure =
3906 #Hyphen_spanner::set_spacing_rods
3908 bla -- bla -- bla -- bla
3915 \StaffContext \remove "Time_signature_engraver"
3926 Program reference: @internalsref{HyphenEvent},
3927 @internalsref{ExtenderEvent}, @internalsref{LyricHyphen}, and
3928 @internalsref{LyricExtender}
3932 @node The Lyrics context
3933 @subsection The Lyrics context
3936 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
3938 \context Lyrics \lyricmode @dots{}
3941 @cindex automatic syllable durations
3942 @cindex @code{\lyricsto}
3943 @cindex lyrics and melodies
3945 This will place the lyrics according to the durations that were
3946 entered. The lyrics can also be aligned under a given melody
3947 automatically. In this case, it is no longer necessary to enter the
3948 correct duration for each syllable. This is achieved by combining the
3949 melody and the lyrics with the @code{\lyricsto} expression
3951 \lyricsto @var{name} \new Lyrics @dots{}
3954 This aligns the lyrics to the
3955 notes of the @internalsref{Voice} context called @var{name}, which has
3956 to exist. Therefore, normally the @code{Voice} is specified first, and
3957 then the lyrics are specified with @code{\lyricsto}. The command
3958 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
3959 @code{\lyricmode} keyword may be omitted.
3961 For different or more complex orderings, the best way is to setup the
3962 hierarchy of staves and lyrics first, e.g.,
3964 \context ChoirStaff <<
3965 \context Lyrics = sopranoLyrics @{ s1 @}
3966 \context Voice = soprano @{ @emph{music} @}
3967 \context Lyrics = tenorLyrics @{ s1 @}
3968 \context Voice = tenor @{ @emph{music} @}
3971 and then combine the appropriate melodies and lyric lines
3973 \lyricsto "soprano" \context Lyrics = sopranoLyrics
3978 The final input would resemble
3981 <<\context ChoirStaff << @emph{setup the music} >>
3982 \lyricsto "soprano" @emph{etc}
3983 \lyricsto "alto" @emph{etc}
3989 The @code{\lyricsto} command detects melismata: it only puts one
3990 syllable under a tied or slurred group of notes. If you want to force
3991 an unslurred group of notes to be a melisma, insert @code{\melisma}
3992 after the first note of the group, and @code{\melismaEnd} after the
3995 @lilypond[quote,relative=2,raggedright,fragment,verbatim]
3997 \context Voice = "lala" {
4005 \lyricsto "lala" \new Lyrics {
4011 In addition, notes are considered a melisma if they are manually
4012 beamed, and automatic beaming (see @ref{Setting automatic beam
4013 behavior}) is switched off.
4019 The criteria for deciding melismata can
4020 be tuned with the property @code{melismaBusyProperties}. See
4021 @internalsref{Melisma_translator} in the program reference for more
4026 Lyrics can also be entered without @code{\lyricsto}. In this case the
4027 duration of each syllable must be entered explicitly, for example,
4034 The alignment to a melody can be specified with the
4035 @code{associatedVoice} property,
4038 \set associatedVoice = #"lala"
4042 The value of the property (here: @code{"lala"}) should be the name of
4043 a @internalsref{Voice} context. Without this setting, extender lines
4044 will not be formatted properly.
4046 Here is an example demonstrating manual lyric durations,
4048 @lilypond[relative=1,raggedright,verbatim,fragment,quote]
4049 << \context Voice = melody {
4053 \new Lyrics \lyricmode {
4054 \set associatedVoice = #"melody"
4060 @cindex choral score
4062 A complete example of a SATB score setup is in section
4063 @ref{Vocal ensembles}.
4068 @code{\melisma}, @code{\melismaEnd}
4069 @cindex @code{\melismaEnd}
4070 @cindex @code{\melisma}
4074 Program reference: @internalsref{LyricCombineMusic},
4075 @internalsref{Lyrics}, @internalsref{Melisma_translator}.
4077 Examples: @ref{Small ensembles},
4078 @inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly}.
4079 @c TODO: make separate section for melismata
4081 @c I can't find these examples in 2.0 or 2.2; remove. -gp
4082 @c @inputfileref{input/@/test,lyrics@/-melisma@/-variants@/.ly}.
4083 @c @inputfileref{input/@/test,lyrics@/-melisma@/-faster@/.ly}.
4087 Melismata are not detected automatically, and extender lines must be
4091 @c TODO: document \new Staff << Voice \lyricsto >> bug
4093 @node Flexibility in alignment
4094 @subsection Flexibility in alignment
4097 Often, different stanzas of one song are put to one melody in slightly
4098 differing ways. Such variations can still be captured with
4101 One possibility is that the text has a melisma in one stanza, but
4102 multiple syllables in another one. One solution is to make the faster
4103 voice ignore the melisma. This is done by setting
4104 @code{ignoreMelismata} in the Lyrics context.
4106 There has one tricky aspect. The setting for @code{ignoreMelismata}
4107 must be set one syllable @emph{before} the non-melismatic syllable
4108 in the text, as shown here,
4110 @lilypond[verbatim,raggedright,quote]
4112 \relative \context Voice = "lahlah" {
4113 \set Staff.autoBeaming = ##f
4119 \new Lyrics \lyricsto "lahlah" {
4122 \new Lyrics \lyricsto "lahlah" {
4123 \set ignoreMelismata = ##t % applies to "fas"
4125 \unset ignoreMelismata
4132 The @code{ignoreMelismata} applies to the syllable ``fas'', so it
4133 should be entered before ``go''.
4135 The reverse is also possible: making a lyric line slower than the
4136 standard. This can be achieved by insert @code{\skip}s into the
4137 lyrics. For every @code{\skip}, the text will be delayed another note.
4140 @lilypond[verbatim,raggedright,quote]
4141 \relative { c c g' }
4148 More complex variations in text underlay are possible. It is possible
4149 to switch the melody for a line of lyrics during the text. This is
4150 done by setting the @code{associatedVoice} property. In the example
4152 @lilypond[raggedright,quote]
4154 \relative \context Voice = "lahlah" {
4155 \set Staff.autoBeaming = ##f
4158 \context Voice = alternative {
4161 % show associations clearly.
4162 \override NoteColumn #'force-hshift = #-3
4173 \new Lyrics \lyricsto "lahlah" {
4174 Ju -- ras -- sic Park
4176 \new Lyrics \lyricsto "lahlah" {
4177 % Tricky: need to set associatedVoice
4178 % one syllable too soon!
4179 \set associatedVoice = alternative % applies to "ran"
4183 \set associatedVoice = lahlah % applies to "rus"
4189 the text for the first stanza is set to a melody called ``lahlah'',
4192 \new Lyrics \lyricsto "lahlah" @{
4193 Ju -- ras -- sic Park
4198 The second stanza initially is set to the @code{lahlah} context, but
4199 for the syllable ``ran'', it switches to a different melody.
4200 This is achieved with
4202 \set associatedVoice = alternative
4206 Here, @code{alternative} is the name of the @code{Voice} context
4207 containing the triplet.
4209 Again, the command must be one syllable too early, before ``Ty'' in
4213 \new Lyrics \lyricsto "lahlah" @{
4214 \set associatedVoice = alternative % applies to "ran"
4218 \set associatedVoice = lahlah % applies to "rus"
4224 The underlay is switched back to the starting situation by assigning
4225 @code{lahlah} to @code{associatedVoice}.
4231 @subsection More stanzas
4233 @cindex phrasing, in lyrics
4236 @cindex stanza number
4237 @cindex singer's names
4238 @cindex name of singer
4240 Stanza numbers can be added by setting @code{stanza}, e.g.,
4242 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
4244 \time 3/4 g2 e4 a2 f4 g2.
4247 Hi, my name is Bert.
4250 Oh, che -- ri, je t'aime
4254 These numbers are put just before the start of first syllable.
4256 Names of singers can also be added. They are printed at the start of
4257 the line, just like instrument names. They are created by setting
4258 @code{vocalName}. A short version may be entered as @code{vocNam}.
4261 @lilypond[fragment,raggedright,quote,verbatim,relative=2]
4263 \time 3/4 g2 e4 a2 f4 g2.
4265 \set vocalName = "Bert "
4266 Hi, my name is Bert.
4268 \set vocalName = "Ernie "
4269 Oh, che -- ri, je t'aime
4275 Program reference: Layout objects @internalsref{LyricText} and
4276 @internalsref{VocalName}. Music expressions
4277 @internalsref{LyricEvent}.
4285 The term @emph{ambitus} denotes a range of pitches for a given voice
4286 in a part of music. It may also denote the pitch range that a musical
4287 instrument is capable of playing. Ambits are printed on vocal parts,
4288 so performers can easily determine it meets their capabilities.
4290 Ambits are denoted at the beginning of a piece near the initial clef.
4291 The range is graphically specified by two note heads that represent the
4292 minimum and maximum pitch. To print such ambits, add the
4293 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
4300 \consists Ambitus_engraver
4305 This results in the following output
4307 @lilypond[quote,raggedright]
4311 \consists Ambitus_engraver
4315 \relative \new Staff {
4320 If you have multiple voices in a single staff and you want a single
4321 ambitus per staff rather than per each voice, add the
4322 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
4323 rather than to the @internalsref{Voice} context. Here is an example,
4325 @lilypond[verbatim,raggedright,quote]
4328 \consists "Ambitus_engraver"
4330 \override Ambitus #'X-offset-callbacks
4331 = #(list (lambda (grob axis) -1.0))
4336 \consists "Ambitus_engraver"
4345 This example uses one advanced feature,
4348 \override Ambitus #'X-offset-callbacks
4349 = #(list (lambda (grob axis) -1.0))
4353 This code moves the ambitus to the left. The same effect could have
4354 been achieved with @code{extra-offset}, but then the formatting system
4355 would not reserve space for the moved object.
4359 Program reference: @internalsref{Ambitus},
4360 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
4361 @internalsref{AmbitusAccidental}.
4363 Examples: @inputfileref{input/@/regression,ambitus@/.ly}.
4367 There is no collision handling in the case of multiple per-voice
4370 @node Other instrument specific notation, Tablatures, Vocal music, Notation manual
4371 @section Other instrument specific notation
4373 This section includes extra information for writing string music, and may
4374 include extra information for other instruments in the future.
4380 @node Harmonic notes, , Other instrument specific notation, Other instrument specific notation
4381 @subsection Harmonic notes
4383 @cindex artificial harmonics
4386 Artificial harmonics are notated with a different notehead style. They
4387 are entered by marking the harmonic pitch with @code{\harmonic}.
4389 @lilypond[raggedright,verbatim,quote,fragment]
4394 @node Tablatures, Popular music, Other instrument specific notation, Notation manual
4398 @cindex guitar tablature
4400 Tablature notation is used for notating music for plucked string
4401 instruments. Pitches are not denoted with note heads, but by
4402 indicating on which string and fret a note must be played. LilyPond
4403 offers limited support for tablature.
4406 * Tablatures basic::
4407 * Non-guitar tablatures::
4410 @node Tablatures basic, Non-guitar tablatures, Tablatures, Tablatures
4411 @subsection Tablatures basic
4412 @cindex Tablatures basic
4414 The string number associated to a note is given as a backslash
4415 followed by a number, e.g., @code{c4\3} for a C quarter on the third
4416 string. By default, string 1 is the highest one, and the tuning
4417 defaults to the standard guitar tuning (with 6 strings). The notes
4418 are printed as tablature, by using @internalsref{TabStaff} and
4419 @internalsref{TabVoice} contexts
4421 @lilypond[quote,raggedright,fragment,verbatim]
4428 @cindex @code{minimumFret}
4431 When no string is specified, the first string that does not give a
4432 fret number less than @code{minimumFret} is selected. The default
4433 value for @code{minimumFret} is 0
4438 \set TabStaff.minimumFret = #8
4441 @lilypond[quote,raggedright]
4445 \set TabStaff.minimumFret = #8
4448 \context StaffGroup <<
4449 \context Staff { \clef "G_8" \frag }
4450 \context TabStaff { \frag }
4456 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}, and
4457 @internalsref{StringNumberEvent}.
4461 Chords are not handled in a special way, and hence the automatic
4462 string selector may easily select the same string to two notes in a
4466 @node Non-guitar tablatures, , Tablatures basic, Tablatures
4467 @subsection Non-guitar tablatures
4468 @cindex Non-guitar tablatures
4470 You can change the number of strings, by setting the number of lines
4471 in the @internalsref{TabStaff}.
4473 You can change the tuning of the strings. A string tuning is given as
4474 a Scheme list with one integer number for each string, the number
4475 being the pitch (measured in semitones relative to middle C) of an
4476 open string. The numbers specified for @code{stringTuning} are the
4477 numbers of semitones to subtract or add, starting the specified pitch
4478 by default middle C, in string order. In the next example,
4479 @code{stringTunings} is set for the pitches e, a, d, and g
4481 @lilypond[quote,raggedright,fragment,verbatim]
4482 \context TabStaff <<
4483 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
4485 a,4 c' a e' e c' a e'
4492 No guitar special effects have been implemented.
4496 Program reference: @internalsref{Tab_note_heads_engraver}.
4499 @node Popular music, Orchestral music, Tablatures, Notation manual
4500 @section Popular music
4502 This section discusses issues that arise when writing popular music.
4507 * Printing chord names::
4512 @node Chord names, Chords mode, Popular music, Popular music
4513 @subsection Chord names
4516 LilyPond has support for printing chord names. Chords may be entered
4517 in musical chord notation, i.e., @code{< .. >}, but they can also be
4518 entered by name. Internally, the chords are represented as a set of
4519 pitches, so they can be transposed
4522 @lilypond[quote,raggedright,verbatim,raggedright]
4523 twoWays = \transpose c c' {
4532 << \context ChordNames \twoWays
4533 \context Voice \twoWays >>
4536 This example also shows that the chord printing routines do not try to
4537 be intelligent. The last chord (@code{f bes d}) is not interpreted as
4540 @c this menu isn't needed.
4544 * Printing chord names::
4549 @subsection Chords mode
4552 In chord mode sets of pitches (chords) are entered with normal note
4553 names. A chord is entered by the root, which is entered like a
4556 @lilypond[quote,raggedright,fragment,verbatim]
4557 \chordmode { es4. d8 c2 }
4561 The mode is introduced by the keyword @code{\chordmode}.
4566 Other chords may be entered by suffixing a colon and introducing a
4567 modifier (which may include a number if desired)
4568 @lilypond[quote,fragment,verbatim]
4569 \chordmode { e1:m e1:7 e1:m7 }
4571 The first number following the root is taken to be the `type' of the
4572 chord, thirds are added to the root until it reaches the specified
4574 @lilypond[quote,fragment,verbatim]
4575 \chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
4578 @cindex root of chord
4579 @cindex additions, in chords
4580 @cindex removals, in chords
4582 More complex chords may also be constructed adding separate steps
4583 to a chord. Additions are added after the number following
4584 the colon and are separated by dots
4585 @lilypond[quote,verbatim,fragment]
4586 \chordmode { c:5.6 c:3.7.8 c:3.6.13 }
4588 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
4590 @lilypond[quote,verbatim,fragment]
4591 \chordmode { c:7+ c:5+.3- c:3-.5-.7- }
4593 Removals are specified similarly and are introduced by a caret. They
4594 must come after the additions
4595 @lilypond[quote,verbatim,fragment]
4596 \chordmode { c^3 c:7^5 c:9^3.5 }
4599 Modifiers can be used to change pitches. The following modifiers are
4604 The minor chord. This modifier lowers the 3rd and (if present) the 7th step.
4607 The diminished chord. This modifier lowers the 3rd, 5th and (if present)
4611 The augmented chord. This modifier raises the 5th step.
4614 The major 7th chord. This modifier raises the 7th step if present.
4617 The suspended 4th or 2nd. This modifier removes the 3rd
4618 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
4622 Modifiers can be mixed with additions
4623 @lilypond[quote,verbatim,fragment]
4624 \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
4627 @cindex modifiers, in chords.
4634 Since an unaltered 11 does not sound good when combined with an
4635 unaltered 3, the 11 is removed in this case (unless it is added
4637 @lilypond[quote,raggedright,fragment,verbatim]
4638 \chordmode { c:13 c:13.11 c:m13 }
4643 An inversion (putting one pitch of the chord on the bottom), as well
4644 as bass notes, can be specified by appending
4645 @code{/}@var{pitch} to the chord
4646 @lilypond[quote,raggedright,fragment,verbatim]
4647 \chordmode { c1 c/g c/f }
4651 A bass note can be added instead transposed out of the chord,
4652 by using @code{/+}@var{pitch}.
4654 @lilypond[quote,raggedright,fragment,verbatim]
4655 \chordmode { c1 c/+g c/+f }
4658 Chords is a mode similar to @code{\lyricmode}, etc. Most
4659 of the commands continue to work, for example, @code{r} and
4660 @code{\skip} can be used to insert rests and spaces, and property
4661 commands may be used to change various settings.
4667 Each step can only be present in a chord once. The following
4668 simply produces the augmented chord, since @code{5+} is interpreted
4671 @lilypond[quote,raggedright,verbatim,fragment]
4672 \chordmode { c:5.5-.5+ }
4676 @node Printing chord names
4677 @subsection Printing chord names
4679 @cindex printing chord names
4683 For displaying printed chord names, use the @internalsref{ChordNames} context.
4684 The chords may be entered either using the notation
4685 described above, or directly using @code{<} and @code{>}
4687 @lilypond[quote,verbatim,raggedright]
4689 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
4692 \context ChordNames \harmonies
4693 \context Staff \harmonies
4697 You can make the chord changes stand out by setting
4698 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
4699 display chord names when there is a change in the chords scheme and at
4700 the start of a new line
4702 @lilypond[quote,verbatim,raggedright]
4703 harmonies = \chordmode {
4704 c1:m c:m \break c:m c:m d
4707 \context ChordNames {
4708 \set chordChanges = ##t
4710 \context Staff \transpose c c' \harmonies
4714 The previous examples all show chords over a staff. This is not
4715 necessary. Chords may also be printed separately. It may be necessary
4716 to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
4717 for showing repeats.
4719 @lilypond[raggedright,verbatim]
4720 \new ChordNames \with {
4721 \override BarLine #'bar-size = #4
4722 voltaOnThisStaff = ##t
4723 \consists Bar_engraver
4724 \consists "Volta_engraver"
4726 \repeat volta 2 \chordmode {
4735 The default chord name layout is a system for Jazz music, proposed by
4736 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
4737 following properties
4740 @cindex @code{chordNameExceptions}
4741 @item chordNameExceptions
4742 This is a list that contains the chords that have special formatting.
4744 The exceptions list should be encoded as
4746 @{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
4749 To get this information into @code{chordNameExceptions} takes a little
4750 manoeuvring. The following code transforms @code{chExceptionMusic}
4751 (which is a sequential music) into a list of exceptions.
4753 (sequential-music-to-chord-exceptions chExceptionMusic #t)
4758 (sequential-music-to-chord-exceptions chExceptionMusic #t)
4761 adds the new exceptions to the default ones, which are defined in
4762 @file{ly/@/chord@/-modifier@/-init@/.ly}.
4764 For an example of tuning this property, see also
4765 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly}.
4766 @cindex exceptions, chord names.
4769 @cindex @code{majorSevenSymbol}
4770 @item majorSevenSymbol
4771 This property contains the markup object used for the 7th step, when
4772 it is major. Predefined options are @code{whiteTriangleMarkup} and
4773 @code{blackTriangleMarkup}. See
4774 @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly} for an example.
4776 @cindex @code{chordNameSeparator}
4777 @item chordNameSeparator
4778 Different parts of a chord name are normally separated by a
4779 slash. By setting @code{chordNameSeparator}, you can specify other
4781 @lilypond[quote,raggedright,fragment,verbatim]
4782 \context ChordNames \chordmode {
4784 \set chordNameSeparator
4785 = \markup { \typewriter "|" }
4790 @cindex @code{chordRootNamer}
4791 @item chordRootNamer
4792 The root of a chord is usually printed as a letter with an optional
4793 alteration. The transformation from pitch to letter is done by this
4794 function. Special note names (for example, the German ``H'' for a
4795 B-chord) can be produced by storing a new function in this property.
4797 @cindex @code{chordNoteNamer}
4798 @item chordNoteNamer
4799 The default is to print single pitch, e.g., the bass note, using the
4800 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4801 to a specialized function to change this behavior. For example, the
4802 base can be printed in lower case.
4806 The predefined variables @code{\germanChords},
4807 @code{\semiGermanChords} set these variables. The effect is
4810 @lilypondfile[raggedright]{chord-names-german.ly}
4812 There are also two other chord name schemes implemented: an alternate
4813 Jazz chord notation, and a systematic scheme called Banter chords. The
4814 alternate Jazz notation is also shown on the chart in @ref{Chord name
4815 chart}. Turning on these styles is described in the input file
4816 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
4820 @cindex chords, jazz
4825 @cindex @code{\germanChords}
4826 @code{\germanChords},
4827 @cindex @code{\semiGermanChords}
4828 @code{\semiGermanChords}.
4835 Examples: @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly},
4836 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly},
4837 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
4840 Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
4841 @file{scm/@/chord@/-entry@/.scm}.
4846 Chord names are determined solely from the list of pitches. Chord
4847 inversions are not identified, and neither are added bass notes. This
4848 may result in strange chord names when chords are entered with the
4849 @code{< .. >} syntax.
4853 @subsection Fret diagrams
4854 @cindex fret diagrams
4855 @cindex chord diagrams
4857 Fret diagrams can be added to music as a markup to the desired note. The
4858 markup contains information about the desired fret diagram, as shown in the
4861 @lilypond[verbatim, raggedright, quote]
4863 d' ^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
4865 fis' ^\markup \override #'(size . 0.75) {
4866 \override #'(finger-code . below-string) {
4867 \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
4868 (place-fret 5 4 3) (place-fret 4 4 4)
4869 (place-fret 3 3 2) (place-fret 2 2 1)
4874 c' ^\markup \override #'(dot-radius . 0.35) {
4875 \override #'(finger-code . in-dot) {
4876 \override #'(dot-color . white) {
4877 \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
4886 There are three different fret-diagram markup interfaces: standard, terse,
4887 and verbose. The three interfaces produce equivalent markups, but have
4888 varying amounts of information in the markup string. Details about the
4889 markup interfaces are found at @ref{Overview of text markup commands}.
4891 You can set a number of graphical properties according to your preference.
4892 Details about the property interface to fret diagrams are found at
4893 @internalsref{fret-diagram-interface}.
4898 Examples: @inputfileref{input/@/test,fret@/-diagram@/.ly}
4902 @subsection Improvisation
4904 Improvisation is sometimes denoted with slashed note heads. Such note
4905 heads can be created by adding a @internalsref{Pitch_squash_engraver}
4906 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
4910 \set squashedPosition = #0
4911 \override NoteHead #'style = #'slash
4915 switches on the slashes.
4917 There are shortcuts @code{\improvisationOn} (and an accompanying
4918 @code{\improvisationOff}) for this command sequence. They are used in
4919 the following example
4921 @lilypond[verbatim,raggedright,quote]
4923 \consists Pitch_squash_engraver
4925 e8 e g a a16(bes)(a8) g \improvisationOn
4928 ~fis2 \improvisationOff a16(bes) a8 g e
4934 @node Orchestral music
4935 @section Orchestral music
4937 @cindex Writing parts
4939 Orchestral music involves some special notation, both in the full
4940 score and the individual parts. This section explains how to tackle
4941 some common problems in orchestral music.
4946 * System start delimiters::
4947 * Aligning to cadenzas::
4950 * Instrument names::
4952 * Instrument transpositions::
4953 * Multi measure rests::
4954 * Automatic part combining::
4956 * Different editions from one source::
4957 * Quoting other voices::
4958 * Formatting cue notes::
4961 @node System start delimiters
4962 @subsection System start delimiters
4964 Polyphonic scores consist of many staves. These staves can be
4965 constructed in three different ways
4967 @item The group is started with a brace at the left, and bar lines are
4968 connected. This is done with the @internalsref{GrandStaff} context.
4970 @lilypond[verbatim,raggedright,quote]
4979 @item The group is started with a bracket, and bar lines are connected.
4980 This is done with the
4981 @internalsref{StaffGroup} context
4983 @lilypond[verbatim,raggedright,quote]
4992 @item The group is started with a vertical line. Bar lines are not
4993 connected. This is the default for the score.
4995 @lilypond[verbatim,raggedright,quote]
5004 @cindex Staff, multiple
5005 @cindex bracket, vertical
5006 @cindex brace, vertical
5013 The bar lines at the start of each system are
5014 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
5015 @internalsref{SystemStartBracket}. Only one of these types is created
5016 in every context, and that type is determined by the property
5017 @code{systemStartDelimiter}.
5019 @node Aligning to cadenzas
5020 @subsection Aligning to cadenzas
5023 In an orchestral context, cadenzas present a special problem:
5024 when constructing a score that includes a cadenza, all other
5025 instruments should skip just as many notes as the length of the
5026 cadenza, otherwise they will start too soon or too late.
5028 A solution to this problem are the functions @code{mmrest-of-length}
5029 and @code{skip-of-length}. These Scheme functions take a piece of music
5030 as argument, and generate a @code{\skip} or multi-rest, exactly as
5031 long as the piece. The use of @code{mmrest-of-length} is demonstrated
5032 in the following example.
5034 @lilypond[verbatim,raggedright,quote]
5035 cadenza = \relative c' {
5036 c4 d8 << { e f g } \\ { d4. } >>
5041 \new Staff { \cadenza c'4 }
5043 #(ly:export (mmrest-of-length cadenza))
5053 @node Rehearsal marks
5054 @subsection Rehearsal marks
5055 @cindex Rehearsal marks
5057 @cindex @code{\mark}
5059 To print a rehearsal mark, use the @code{\mark} command
5061 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
5070 (The letter@tie{}`I' is skipped in accordance with engraving traditions.)
5071 @c umm, is the manual the right place for feature requests? :) -gp
5072 @c FIXME - should make that tunable.
5074 The mark is incremented automatically if you use @code{\mark
5075 \default}, but you can also use an integer argument to set the mark
5076 manually. The value to use is stored in the property
5077 @code{rehearsalMark}.
5079 The style is defined by the property @code{markFormatter}. It is a
5080 function taking the current mark (an integer) and the current context
5081 as argument. It should return a markup object. In the following
5082 example, @code{markFormatter} is set to a canned procedure. After a
5083 few measures, it is set to function that produces a boxed number.
5085 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
5086 \set Score.markFormatter = #format-mark-numbers
5089 \set Score.markFormatter = #format-mark-box-numbers
5095 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
5096 of @code{format-mark-numbers} (the default format), @code{format-mark-box-numbers},
5097 @code{format-mark-letters} and @code{format-mark-box-letters}.
5098 These can be used as inspiration for other formatting functions.
5101 @cindex coda on bar line
5102 @cindex segno on bar line
5103 @cindex fermata on bar line
5104 @cindex bar lines, symbols on
5106 The @code{\mark} command can also be used to put signs like coda,
5107 segno, and fermata on a bar line. Use @code{\markup} to
5108 access the appropriate symbol
5110 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
5111 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
5115 In the case of a line break, marks must also be printed at the end of
5116 the line, and not at the beginning. Use the following to force that
5119 \override Score.RehearsalMark
5120 #'break-visibility = #begin-of-line-invisible
5126 @cindex bar lines, putting symbols on
5130 Program reference: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
5132 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
5133 definition of @code{format-mark-numbers} and
5134 @code{format-mark-letters}. They can be used as inspiration for other
5135 formatting functions.
5137 Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
5139 @inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.
5143 @subsection Bar numbers
5147 @cindex measure numbers
5148 @cindex @code{currentBarNumber}
5150 Bar numbers are printed by default at the start of the line. The
5151 number itself is stored in the @code{currentBarNumber} property, which
5152 is normally updated automatically for every measure.
5154 Bar numbers can be typeset at regular intervals instead of at the
5155 beginning of each line. This is illustrated in the following example,
5156 whose source is available as
5157 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
5159 @lilypondfile[raggedright,quote]{bar-number-regular-interval.ly}
5161 Bar numbers can be typeset manually by tweaking the
5162 @code{markFormatter} property
5164 @lilypond[verbatim,raggedright,quote]
5166 \set Score.markFormatter
5167 = #(lambda (mark context)
5170 (number->string (ly:context-property context
5171 'currentBarNumber)))))
5173 c1 \bar "||" \mark \default c1 c1 \mark \default c1 \bar "|."
5177 Bar numbers can be manually changed by setting the
5178 @code{Staff.currentBarNumber} property
5180 @lilypond[verbatim,raggedright,quote]
5182 \repeat unfold 4 {c4 c c c} \break
5183 \set Score.currentBarNumber = #50
5184 \repeat unfold 4 {c4 c c c}
5190 Program reference: @internalsref{BarNumber}.
5193 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
5194 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
5198 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
5199 there is one at the top. To solve this, the
5200 @code{padding} property of @internalsref{BarNumber} can be
5201 used to position the number correctly.
5203 @node Instrument names
5204 @subsection Instrument names
5206 In an orchestral score, instrument names are printed at the left side
5209 This can be achieved by setting @internalsref{Staff}.@code{instrument}
5210 and @internalsref{Staff}.@code{instr}. This will print a string before
5211 the start of the staff. For the first staff, @code{instrument} is
5212 used, for the following ones, @code{instr} is used.
5214 @lilypond[quote,verbatim,raggedright,relative=1,fragment]
5215 \set Staff.instrument = "Ploink "
5216 \set Staff.instr = "Plk "
5222 You can also use markup texts to construct more complicated instrument
5225 @lilypond[quote,fragment,verbatim,raggedright]
5226 \set Staff.instrument = \markup {
5227 \column { "Clarinetti"
5228 \line { "in B" \smaller \flat } } }
5232 For longer instrument names, it may be useful to increase the
5233 @code{indent} setting in the @code{\layout} block.
5237 Program reference: @internalsref{InstrumentName}.
5241 When you put a name on a grand staff or piano staff, the width of the
5242 brace is not taken into account. You must add extra spaces to the end of
5243 the name to avoid a collision.
5246 @subsection Transpose
5248 @cindex transposition of pitches
5249 @cindex @code{\transpose}
5251 A music expression can be transposed with @code{\transpose}. The
5254 \transpose @var{from} @var{to} @var{musicexpr}
5257 This means that @var{musicexpr} is transposed by the interval between
5258 the pitches @var{from} and @var{to}: any note with pitch @code{from}
5259 is changed to @code{to}.
5262 For example, consider a piece written in the key of D-major. If
5263 this piece is a little too low for its performer, it can be
5264 transposed up to E-major with
5266 \transpose d e @dots{}
5269 Consider a part written for violin (a C instrument). If
5270 this part is to be played on the A clarinet, the following
5271 transposition will produce the appropriate part
5274 \transpose a c @dots{}
5277 @code{\transpose} distinguishes between enharmonic pitches: both
5278 @code{\transpose c cis} or @code{\transpose c des} will transpose up
5279 half a tone. The first version will print sharps and the second
5280 version will print flats
5282 @lilypond[quote,raggedright,verbatim]
5283 mus = { \key d \major cis d fis g }
5287 \transpose c g' \mus
5288 \transpose c f' \mus
5295 Program reference: @internalsref{TransposedMusic}, and
5296 @internalsref{UntransposableMusic}.
5300 If you want to use both @code{\transpose} and @code{\relative},
5301 you must put @code{\transpose} outside of @code{\relative}, since
5302 @code{\relative} will have no effect music that appears inside a
5305 @node Instrument transpositions
5306 @subsection Instrument transpositions
5308 The key of a transposing instrument can also be specified. This
5309 applies to many wind instruments, for example, clarinets (B-flat, A, and
5310 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
5312 The transposition is entered after the keyword @code{\transposition}
5315 \transposition bes %% B-flat clarinet
5319 This command sets the property @code{instrumentTransposition}. The value of
5320 this property is used for MIDI output and quotations. It does not
5321 affect how notes are printed in the current staff.
5323 The pitch to use for @code{\transposition} should correspond to the
5324 transposition of the notes. For example, when entering a score in
5325 concert pitch, typically all voices are entered in C, so
5326 they should be entered as
5339 The command @code{\transposition} should be used when the music is
5340 entered from a (transposed) orchestral part. For example, in
5341 classical horn parts, the tuning of the instrument is often changed
5342 during a piece. When copying the notes from the part, use
5343 @code{\transposition}, e.g.,
5356 @cindex transposition, MIDI
5357 @cindex transposition, instrument
5360 @node Multi measure rests
5361 @subsection Multi measure rests
5362 @cindex multi measure rests
5363 @cindex Rests, multi measure
5367 Multi-measure rests are entered using `@code{R}'. It is specifically
5368 meant for full bar rests and for entering parts: the rest can expand
5369 to fill a score with rests, or it can be printed as a single
5370 multi-measure rest. This expansion is controlled by the property
5371 @code{Score.skipBars}. If this is set to true, empty measures will not
5372 be expanded, and the appropriate number is added automatically
5374 @lilypond[quote,raggedright,fragment,verbatim]
5375 \time 4/4 r1 | R1 | R1*2
5376 \set Score.skipBars = ##t R1*17 R1*4
5379 The @code{1} in @code{R1} is similar to the duration notation used for
5380 notes. Hence, for time signatures other than 4/4, you must enter other
5381 durations. This can be done with augmentation dots or fractions
5383 @lilypond[quote,raggedright,fragment,verbatim]
5384 \set Score.skipBars = ##t
5393 An @code{R} spanning a single measure is printed as either a whole rest
5394 or a breve, centered in the measure regardless of the time signature.
5396 If there are only a few measures of rest, LilyPond prints ``church rests''
5397 (a series of rectangles) in the staff. To replace that with a simple
5398 rest, use @code{MultiMeasureRest.expand-limit}.
5400 @lilypond[quote,raggedright,fragment,verbatim]
5401 \set Score.skipBars = ##t
5403 \override MultiMeasureRest #'expand-limit = 1
5408 @cindex text on multi-measure rest
5409 @cindex script on multi-measure rest
5410 @cindex fermata on multi-measure rest
5412 Texts can be added to multi-measure rests by using the
5413 @var{note}-@code{markup} syntax (see @ref{Text markup}).
5414 A variable (@code{\fermataMarkup}) is provided for
5417 @lilypond[quote,raggedright,verbatim,fragment]
5418 \set Score.skipBars = ##t
5420 R2.*10^\markup { \italic "ad lib." }
5424 If you want to have text on the left end of a multi-measure rest,
5425 attach the text to a zero-length skip note, i.e.,
5433 @cindex whole rests for a full measure
5437 Program reference: @internalsref{MultiMeasureRestEvent},
5438 @internalsref{MultiMeasureTextEvent},
5439 @internalsref{MultiMeasureRestMusicGroup}, and
5440 @internalsref{MultiMeasureRest}.
5442 The layout object @internalsref{MultiMeasureRestNumber} is for the
5443 default number, and @internalsref{MultiMeasureRestText} for user
5448 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
5449 over multi-measure rests. And the pitch of multi-measure rests (or
5450 staff-centered rests) can not be influenced.
5452 @cindex condensing rests
5454 There is no way to automatically condense multiple rests into a single
5455 multi-measure rest. Multi-measure rests do not take part in rest
5458 Be careful when entering multi-measure rests followed by whole
5459 notes. The following will enter two notes lasting four measures each
5463 When @code{skipBars} is set, the result will look OK, but the bar
5464 numbering will be off.
5466 @node Automatic part combining
5467 @subsection Automatic part combining
5468 @cindex automatic part combining
5469 @cindex part combiner
5472 Automatic part combining is used to merge two parts of music onto a
5473 staff. It is aimed at typesetting orchestral scores. When the two
5474 parts are identical for a period of time, only one is shown. In
5475 places where the two parts differ, they are typeset as separate
5476 voices, and stem directions are set automatically. Also, solo and
5477 @emph{a due} parts are identified and can be marked.
5479 The syntax for part combining is
5482 \partcombine @var{musicexpr1} @var{musicexpr2}
5487 The following example demonstrates the basic functionality of the part
5488 combiner: putting parts on one staff, and setting stem directions and
5491 @lilypond[quote,verbatim,raggedright,fragment]
5492 \new Staff \partcombine
5493 \relative g' { g g a( b) c c r r }
5494 \relative g' { g g r4 r e e g g }
5497 The first @code{g} appears only once, although it was
5498 specified twice (once in each part). Stem, slur, and tie directions are
5499 set automatically, depending whether there is a solo or unisono. The
5500 first part (with context called @code{one}) always gets up stems, and
5501 `solo', while the second (called @code{two}) always gets down stems and
5504 If you just want the merging parts, and not the textual markings, you
5505 may set the property @code{printPartCombineTexts} to false
5507 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
5509 \set Staff.printPartCombineTexts = ##f
5511 \relative g' { g a( b) r }
5512 \relative g' { g r4 r f }
5517 Both arguments to @code{\partcombine} will be interpreted as
5518 @internalsref{Voice} contexts. If using relative octaves,
5519 @code{\relative} should be specified for both music expressions, i.e.,
5523 \relative @dots{} @var{musicexpr1}
5524 \relative @dots{} @var{musicexpr2}
5528 A @code{\relative} section that is outside of @code{\partcombine} has
5529 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
5533 Program reference: @internalsref{PartCombineMusic},
5534 @internalsref{SoloOneEvent}, and
5535 @internalsref{SoloTwoEvent}, and
5536 @internalsref{UnisonoEvent}.
5540 When @code{printPartCombineTexts} is set, when the two voices play the
5541 same notes on and off, the part combiner may typeset @code{a2} more
5542 than once in a measure.
5544 @code{\partcombine} cannot be inside @code{\times}.
5546 @code{\partcombine} cannot be inside @code{\relative}.
5548 Internally, the @code{\partcombine} interprets both arguments as
5549 @code{Voice}s named @code{one} and @code{two}, and then decides when
5550 the parts can be combined. Consequently, if the arguments switch to
5551 differently named @internalsref{Voice} contexts, the events in those
5555 @subsection Hiding staves
5557 @cindex Frenched scores
5558 @cindex Hiding staves
5560 In orchestral scores, staff lines that only have rests are usually
5561 removed. This saves some space. This style is called `French Score'.
5562 For @internalsref{Lyrics},
5563 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
5564 switched on by default. When the lines of these contexts turn out
5565 empty after the line-breaking process, they are removed.
5567 For normal staves, a specialized @internalsref{Staff} context is
5568 available, which does the same: staves containing nothing (or only
5569 multi-measure rests) are removed. The context definition is stored in
5570 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
5571 in this example disappears in the second line
5573 @lilypond[quote,raggedright,verbatim]
5575 \context { \RemoveEmptyStaffContext }
5580 \new Staff { e4 f g a \break c1 }
5581 \new Staff { c4 d e f \break R1 }
5586 The first system shows all staves in full. If empty staves should be
5587 removed from the first system too, set @code{remove-first} to false in
5588 @internalsref{RemoveEmptyVerticalGroup}.
5590 Another application is making ossia sections, i.e., alternative
5591 melodies on a separate piece of staff, with help of a Frenched
5592 staff. See @inputfileref{input/@/test,ossia@/.ly} for an example.
5595 @node Different editions from one source
5596 @subsection Different editions from one source
5599 The @code{\tag} command marks music expressions with a name. These
5600 tagged expressions can be filtered out later. With this mechanism it
5601 is possible to make different versions of the same music source.
5603 In the following example, we see two versions of a piece of music, one
5604 for the full score, and one with cue notes for the instrumental part
5620 The same can be applied to articulations, texts, etc.: they are
5623 -\tag #@var{your-tag}
5625 to an articulation, for example,
5630 This defines a note with a conditional fingering indication.
5633 @cindex removeWithTag
5634 By applying the @code{\keepWithTag} and @code{\removeWithTag}
5635 commands, tagged expressions can be filtered. For example,
5639 \keepWithTag #'score @var{the music}
5640 \keepWithTag #'part @var{the music}
5645 @lilypondfile[raggedright,quote]{tag-filter.ly}
5648 The argument of the @code{\tag} command should be a symbol, or a list
5649 of symbols, for example,
5651 \tag #'(original-part transposed-part) @dots{}
5658 Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
5662 Multiple rests are not merged if you create the score with both tagged
5666 @node Quoting other voices
5667 @subsection Quoting other voices
5669 With quotations, fragments of other parts can be inserted into a part
5670 directly. Before a part can be quoted, it must be marked especially as
5671 quotable. This is done with the @code{\addquote} command.
5674 \addquote @var{name} @var{music}
5679 Here, @var{name} is an identifying string. The @var{music} is any kind
5680 of music. Here is an example of @code{\addquote}
5683 \addquote clarinet \relative c' @{
5688 This command must be entered at toplevel, i.e., outside any music
5691 After calling @code{\addquote}, the quotation may then be done with
5692 @code{\quoteDuring} or @code{\cueDuring},
5695 \quoteDuring #@var{name} @var{music}
5698 During a part, a piece of music can be quoted with the @code{\quoteDuring}
5702 \quoteDuring #"clarinet" @{ s2. @}
5705 This would cite three quarter notes (the duration of @code{s2.}) of
5706 the previously added @code{clarinet} voice.
5709 More precisely, it takes the current time-step of the part being
5710 printed, and extracts the notes at the corresponding point of the
5711 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
5712 should be the entire part of the voice to be quoted, including any
5713 rests at the beginning.
5715 Quotations take into account the transposition of both source and target
5716 instruments, if they are specified using the @code{\transposition} command.
5718 @lilypond[quote,raggedright,verbatim]
5719 \addquote clarinet \relative c' {
5725 e'8 f'8 \quoteDuring #"clarinet" { s2 }
5729 The type of events that are present in cue notes can be trimmed with
5730 the @code{quotedEventTypes} property. The default value is
5731 @code{(note-event rest-event)}, which means that only notes and
5732 rests of the cued voice end up in the @code{\quoteDuring}.
5736 \set Staff.quotedEventTypes =
5737 #'(note-event articulation-event dynamic-event)
5741 will quote notes (but no rests), together with scripts and dynamics.
5745 Only the contents of the first @internalsref{Voice} occurring in an
5746 @code{\addquote} command will be considered for quotation, so
5747 @var{music} can not contain @code{\new} and @code{\context Voice}
5748 statements that would switch to a different Voice.
5750 Quoting grace notes is broken and can even cause LilyPond to crash.
5754 In this manual: @ref{Instrument transpositions}.
5756 Examples: @inputfileref{input/@/regression,quote@/.ly}
5757 @inputfileref{input/@/regression,quote@/-transposition@/.ly}
5759 Program reference: @internalsref{QuoteMusic}.
5761 @node Formatting cue notes
5762 @subsection Formatting cue notes
5764 The previous section deals with inserting notes from another voice.
5765 There is a more advanced music function called @code{\cueDuring},
5766 which makes formatting cue notes easier.
5771 \cueDuring #@var{name} #@var{updown} @var{music}
5774 This will insert notes from the part @var{name} into a
5775 @internalsref{Voice} called @code{cue}. This happens simultaneously
5776 with @var{music}, which usually is a rest. When the cue notes start,
5777 the staff in effect becomes polyphonic for a moment. The argument
5778 @var{updown} determines whether the cue notes should be notated as a
5779 first or second voice.
5782 @lilypond[verbatim,raggedright]
5785 \override Stem #'length = #5.5
5786 \override Beam #'thickness = #0.384
5787 \override Beam #'space-function =
5788 #(lambda (beam mult) (* 0.8 (Beam::space_function beam mult)))
5791 \addquote clarinet \relative {
5796 \new Staff \relative <<
5798 % setup a context for cue notes.
5799 \context Voice = cue { \smaller \skip 1*21 }
5801 \set Score.skipBars = ##t
5805 \cueDuring #"clarinet" #1 {
5814 Here are a couple of hints for successful cue notes
5818 Cue notes have smaller font sizes.
5820 the cued part is marked with the instrument playing the cue.
5822 when the original part takes over again, this should be marked with
5823 the name of the original instrument.
5825 @c really? Are you sure about that last point? I'll check after 3.0 -gp
5827 @c Yes, this is good practice. Otherwise, the start of the original
5828 @c part can only be seen from the font size. This is not good enough
5829 @c for sight-reading. It is possilbe to use other
5830 @c markers (eg. a big close-bracket over the staff) to indicate the cue notes are
5835 any other changes introduced by the cued part should also be
5836 undone. For example, if the cued instrument plays in a different clef,
5837 the original clef should be stated once again.
5845 @node Ancient notation
5846 @section Ancient notation
5848 @cindex Vaticana, Editio
5849 @cindex Medicaea, Editio
5854 Support for ancient notation includes features for mensural notation
5855 and Gregorian Chant notation. There is also limited support for
5856 figured bass notation.
5858 Many graphical objects provide a @code{style} property, see
5861 @ref{Ancient note heads},
5863 @ref{Ancient accidentals},
5865 @ref{Ancient rests},
5867 @ref{Ancient clefs},
5869 @ref{Ancient flags},
5871 @ref{Ancient time signatures}.
5874 By manipulating such a grob property, the typographical appearance of
5875 the affected graphical objects can be accommodated for a specific
5876 notation flavor without the need for introducing any new notational
5879 In addition to the standard articulation signs described in section
5880 @ref{Articulations}, specific articulation signs for ancient notation
5885 @ref{Ancient articulations}
5888 Other aspects of ancient notation can not that easily be expressed
5889 in terms of just changing a style property of a graphical object or
5890 adding articulation signs. Some notational concepts are introduced
5891 specifically for ancient notation,
5902 If this all is too much of documentation for you, and you just want to
5903 dive into typesetting without worrying too much about the details on
5904 how to customize a context, you may have a look at the predefined
5905 contexts. Use them to set up predefined style-specific voice and
5906 staff contexts, and directly go ahead with the note entry,
5910 @ref{Gregorian Chant contexts},
5912 @ref{Mensural contexts}.
5915 There is limited support for figured bass notation which came
5916 up during the baroque period.
5923 Here are all suptopics at a glance:
5926 * Ancient note heads::
5927 * Ancient accidentals::
5931 * Ancient time signatures::
5932 * Ancient articulations::
5936 * Gregorian Chant contexts::
5937 * Mensural contexts::
5942 @node Ancient note heads
5943 @subsection Ancient note heads
5948 For ancient notation, a note head style other than the @code{default}
5949 style may be chosen. This is accomplished by setting the @code{style}
5950 property of the @internalsref{NoteHead} object to @code{baroque},
5951 @code{neomensural} or @code{mensural}. The @code{baroque} style
5952 differs from the @code{default} style only in using a square shape
5953 for @code{\breve} note heads. The @code{neomensural} style differs from
5954 the @code{baroque} style in that it uses rhomboidal heads for whole notes
5955 and all smaller durations. Stems are centered on the note heads.
5956 This style is particularly useful when transcribing mensural music,
5957 e.g., for the incipit. The @code{mensural} style finally produces note
5958 heads that mimic the look of note heads in historic printings of the
5961 The following example demonstrates the @code{neomensural} style
5963 @lilypond[quote,fragment,raggedright,verbatim]
5964 \set Score.skipBars = ##t
5965 \override NoteHead #'style = #'neomensural
5966 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
5969 When typesetting a piece in Gregorian Chant notation, the
5970 @internalsref{Gregorian_ligature_engraver} will automatically select
5971 the proper note heads, so there is no need to explicitly set the
5972 note head style. Still, the note head style can be set, e.g., to
5973 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
5974 @internalsref{Mensural_ligature_engraver} is used to automatically
5975 assemble mensural ligatures. See @ref{Ligatures} for how ligature
5980 Examples: @inputfileref{input/@/regression,note@/-head@/-style@/.ly} gives an
5981 overview over all available note head styles.
5984 @node Ancient accidentals
5985 @subsection Ancient accidentals
5990 Use the @code{style} property of grob @internalsref{Accidental} to
5991 select ancient accidentals. Supported styles are
5992 @code{mensural}, @code{vaticana}, @code{hufnagel}, and @code{medicaea}.
5994 @lilypond[quote,raggedright,staffsize=26]
6001 \line { " " \musicglyph #"accidentals-vaticana-1"
6002 " " \musicglyph #"accidentals-vaticana0" }
6006 \line { " " \musicglyph #"accidentals-medicaea-1" }
6010 \line { " " \musicglyph #"accidentals-hufnagel-1" }
6014 \line { " " \musicglyph #"accidentals-mensural-1"
6015 " " \musicglyph #"accidentals-mensural1" }
6021 \context { \Score \remove "Bar_number_engraver" }
6023 \remove "Clef_engraver"
6024 \remove "Key_engraver"
6025 \remove "Time_signature_engraver"
6026 \remove "Staff_symbol_engraver"
6027 minimumVerticalExtent = ##f
6033 As shown, not all accidentals are supported by each style. When
6034 trying to access an unsupported accidental, LilyPond will switch to a
6035 different style, as demonstrated in
6036 @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
6038 Similarly to local accidentals, the style of the key signature can be
6039 controlled by the @code{style} property of the
6040 @internalsref{KeySignature} grob.
6044 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
6045 @ref{Accidentals} give a general introduction of the use of
6046 accidentals. @ref{Key signature} gives a general introduction of
6047 the use of key signatures.
6049 Program reference: @internalsref{KeySignature}.
6051 Examples: @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
6054 @subsection Ancient rests
6059 Use the @code{style} property of grob @internalsref{Rest} to select
6060 ancient accidentals. Supported styles are @code{classical},
6061 @code{neomensural}, and @code{mensural}. @code{classical} differs
6062 from the @code{default} style only in that the quarter rest looks like
6063 a horizontally mirrored 8th rest. The @code{neomensural} style suits
6064 well for, e.g., the incipit of a transcribed mensural piece of music.
6065 The @code{mensural} style finally mimics the appearance of rests as
6066 in historic prints of the 16th century.
6068 The following example demonstrates the @code{neomensural} style
6070 @lilypond[quote,fragment,raggedright,verbatim]
6071 \set Score.skipBars = ##t
6072 \override Rest #'style = #'neomensural
6073 r\longa r\breve r1 r2 r4 r8 r16
6076 There are no 32th and 64th rests specifically for the mensural or
6077 neo-mensural style. Instead, the rests from the default style will be
6078 taken. See @inputfileref{input/@/test,rests@/.ly} for a chart of all
6081 There are no rests in Gregorian Chant notation; instead, it uses
6086 In this manual: @ref{Rests} gives a general introduction into the use of rests.
6090 @subsection Ancient clefs
6095 LilyPond supports a variety of clefs, many of them ancient.
6097 The following table shows all ancient clefs that are supported via the
6098 @code{\clef} command. Some of the clefs use the same glyph, but
6099 differ only with respect to the line they are printed on. In such
6100 cases, a trailing number in the name is used to enumerate these clefs.
6101 Still, you can manually force a clef glyph to be typeset on an
6102 arbitrary line, as described in @ref{Clef}. The note printed to the
6103 right side of each clef in the example column denotes the @code{c'}
6104 with respect to that clef.
6106 @multitable @columnfractions .4 .4 .2
6115 modern style mensural C clef
6117 @code{neomensural-c1}, @code{neomensural-c2},@*
6118 @code{neomensural-c3}, @code{neomensural-c4}
6120 @lilypond[fragment,relative=1,notime]
6121 \clef "neomensural-c2" c
6125 petrucci style mensural C clefs, for use on different staff lines
6126 (the examples show the 2nd staff line C clef)
6128 @code{petrucci-c1}, @code{petrucci-c2},@*
6129 @code{petrucci-c3}, @code{petrucci-c4},@*
6132 @lilypond[fragment,relative=1,notime]
6133 \clef "petrucci-c2" c
6137 petrucci style mensural F clef
6141 @lilypond[fragment,relative=1,notime]
6142 \clef "petrucci-f" c
6146 petrucci style mensural G clef
6150 @lilypond[fragment,relative=1,notime]
6151 \clef "petrucci-g" c
6155 historic style mensural C clef
6157 @code{mensural-c1}, @code{mensural-c2},@*
6158 @code{mensural-c3}, @code{mensural-c4}
6160 @lilypond[fragment,relative=1,notime]
6161 \clef "mensural-c2" c
6165 historic style mensural F clef
6169 @lilypond[fragment,relative=1,notime]
6170 \clef "mensural-f" c
6174 historic style mensural G clef
6178 @lilypond[fragment,relative=1,notime]
6179 \clef "mensural-g" c
6183 Editio Vaticana style do clef
6185 @code{vaticana-do1}, @code{vaticana-do2},@*
6188 @lilypond[fragment,relative=1,notime]
6189 \override Staff.StaffSymbol #'line-count = #4
6190 \clef "vaticana-do2" c
6194 Editio Vaticana style fa clef
6196 @code{vaticana-fa1}, @code{vaticana-fa2}
6198 @lilypond[fragment,relative=1,notime]
6199 \override Staff.StaffSymbol #'line-count = #4
6200 \clef "vaticana-fa2" c
6204 Editio Medicaea style do clef
6206 @code{medicaea-do1}, @code{medicaea-do2},@*
6209 @lilypond[fragment,relative=1,notime]
6210 \override Staff.StaffSymbol #'line-count = #4
6211 \clef "medicaea-do2" c
6215 Editio Medicaea style fa clef
6217 @code{medicaea-fa1}, @code{medicaea-fa2}
6219 @lilypond[fragment,relative=1,notime]
6220 \override Staff.StaffSymbol #'line-count = #4
6221 \clef "medicaea-fa2" c
6225 historic style hufnagel do clef
6227 @code{hufnagel-do1}, @code{hufnagel-do2},@*
6230 @lilypond[fragment,relative=1,notime]
6231 \override Staff.StaffSymbol #'line-count = #4
6232 \clef "hufnagel-do2" c
6236 historic style hufnagel fa clef
6238 @code{hufnagel-fa1}, @code{hufnagel-fa2}
6240 @lilypond[fragment,relative=1,notime]
6241 \override Staff.StaffSymbol #'line-count = #4
6242 \clef "hufnagel-fa2" c
6246 historic style hufnagel combined do/fa clef
6248 @code{hufnagel-do-fa}
6250 @lilypond[fragment,relative=1,notime]
6251 \clef "hufnagel-do-fa" c
6257 @emph{Modern style} means ``as is typeset in contemporary editions of
6258 transcribed mensural music''.
6260 @emph{Petrucci style} means ``inspired by printings published by the
6261 famous engraver Petrucci (1466-1539)''.
6263 @emph{Historic style} means ``as was typeset or written in historic
6264 editions (other than those of Petrucci)''.
6266 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
6268 Petrucci used C clefs with differently balanced left-side vertical
6269 beams, depending on which staff line it is printed.
6273 In this manual: see @ref{Clef}.
6277 The mensural g clef is mapped to the Petrucci g clef.
6282 @subsection Ancient flags
6287 Use the @code{flag-style} property of grob @internalsref{Stem} to
6288 select ancient flags. Besides the @code{default} flag style,
6289 only the @code{mensural} style is supported
6291 @lilypond[quote,fragment,raggedright,verbatim]
6292 \override Stem #'flag-style = #'mensural
6293 \override Stem #'thickness = #1.0
6294 \override NoteHead #'style = #'mensural
6296 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
6297 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
6300 Note that the innermost flare of each mensural flag always is
6301 vertically aligned with a staff line.
6303 There is no particular flag style for neo-mensural notation. Hence,
6304 when typesetting the incipit of a transcribed piece of mensural
6305 music, the default flag style should be used. There are no flags in
6306 Gregorian Chant notation.
6310 The attachment of ancient flags to stems is slightly off due to a
6311 change in early 2.3.x.
6313 Vertically aligning each flag with a staff line assumes that stems
6314 always end either exactly on or exactly in the middle between two
6315 staff lines. This may not always be true when using advanced layout
6316 features of classical notation (which however are typically out of
6317 scope for mensural notation).
6319 @node Ancient time signatures
6320 @subsection Ancient time signatures
6322 @cindex time signatures
6325 There is limited support for mensural time signatures. The
6326 glyphs are hard-wired to particular time fractions. In other words,
6327 to get a particular mensural signature glyph with the @code{\time n/m}
6328 command, @code{n} and @code{m} have to be chosen according to the
6331 @lilypond[quote,raggedright]
6335 \remove Staff_symbol_engraver
6336 \remove Clef_engraver
6337 \remove Time_signature_engraver
6340 \set Score.timing = ##f
6341 \set Score.barAlways = ##t
6342 s_\markup { "$\\backslash$time 4/4" }
6343 ^\markup { " " \musicglyph #"timesig-neomensural4/4" }
6345 s_\markup { "$\\backslash$time 2/2" }
6346 ^\markup { " " \musicglyph #"timesig-neomensural2/2" }
6348 s_\markup { "$\\backslash$time 6/4" }
6349 ^\markup { " " \musicglyph #"timesig-neomensural6/4" }
6351 s_\markup { "$\\backslash$time 6/8" }
6352 ^\markup { " " \musicglyph #"timesig-neomensural6/8" }
6354 s_\markup { "$\\backslash$time 3/2" }
6355 ^\markup { " " \musicglyph #"timesig-neomensural3/2" }
6357 s_\markup { "$\\backslash$time 3/4" }
6358 ^\markup { " " \musicglyph #"timesig-neomensural3/4" }
6360 s_\markup { "$\\backslash$time 9/4" }
6361 ^\markup { " " \musicglyph #"timesig-neomensural9/4" }
6363 s_\markup { "$\\backslash$time 9/8" }
6364 ^\markup { " " \musicglyph #"timesig-neomensural9/8" }
6366 s_\markup { "$\\backslash$time 4/8" }
6367 ^\markup { " " \musicglyph #"timesig-neomensural4/8" }
6369 s_\markup { "$\\backslash$time 2/4" }
6370 ^\markup { " " \musicglyph #"timesig-neomensural2/4" }
6374 Use the @code{style} property of grob @internalsref{TimeSignature} to
6375 select ancient time signatures. Supported styles are
6376 @code{neomensural} and @code{mensural}. The above table uses the
6377 @code{neomensural} style. This style is appropriate for the
6378 incipit of transcriptions of mensural pieces. The @code{mensural}
6379 style mimics the look of historical printings of the 16th century.
6381 The following examples show the differences in style,
6383 @lilypond[raggedright,fragment,relative=1,quote]
6387 c1^\markup { \hspace #-2.0 \typewriter default }
6389 \override Staff.TimeSignature #'style = #'numbered
6391 c1^\markup { \hspace #-2.0 \typewriter numbered }
6393 \override Staff.TimeSignature #'style = #'mensural
6395 c1^\markup { \hspace #-2.0 \typewriter mensural }
6397 \override Staff.TimeSignature #'style = #'neomensural
6399 c1^\markup { \hspace #-2.0 \typewriter neomensural }
6400 \override Staff.TimeSignature #'style = #'single-digit
6402 c1^\markup { \hspace #-2.0 \typewriter single-digit }
6408 This manual: @ref{Time signature} gives a general introduction to
6409 the use of time signatures.
6413 Ratios of note durations do not change with the time signature. For
6414 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
6415 be made by hand, by setting
6418 breveTP = #(ly:make-duration -1 0 3 2)
6424 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
6426 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
6427 addressable with @code{\time}. Use a @code{\markup} instead
6429 @node Ancient articulations
6430 @subsection Ancient articulations
6432 @cindex articulations
6434 In addition to the standard articulation signs described in section
6435 @ref{Articulations}, articulation signs for ancient notation are
6436 provided. These are specifically designed for use with notation in
6437 Editio Vaticana style.
6439 @lilypond[quote,raggedright,verbatim]
6440 \include "gregorian-init.ly"
6442 \context VaticanaVoice {
6443 \override TextScript #'font-family = #'typewriter
6444 \override TextScript #'font-shape = #'upright
6445 \override Script #'padding = #-0.1
6447 a4\circulus_"circulus" s1
6448 a4\semicirculus_"semicirculus" s1 s
6449 a4\accentus_"accentus" s1
6450 \[ a4_"episem" \episemInitium \pes b \flexa a \episemFinis \]
6457 Some articulations are vertically placed too closely to the
6458 correpsonding note heads.
6461 @subsection Custodes
6466 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
6467 symbol that appears at the end of a staff. It anticipates the pitch
6468 of the first note(s) of the following line thus helping the performer
6469 to manage line breaks during performance.
6471 Custodes were frequently used in music notation until the 17th
6472 century. Nowadays, they have survived only in a few particular forms
6473 of musical notation such as contemporary editions of Gregorian chant
6474 like the @emph{editio vaticana}. There are different custos glyphs
6475 used in different flavors of notational style.
6477 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
6478 @internalsref{Staff} context when declaring the @code{\layout} block,
6479 as shown in the following example
6485 \consists Custos_engraver
6486 Custos \override #'style = #'mensural
6491 The result looks like this
6493 @lilypond[quote,raggedright]
6497 \override Staff.Custos #'style = #'mensural
6502 \context { \Staff \consists Custos_engraver }
6507 The custos glyph is selected by the @code{style} property. The styles
6508 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
6509 @code{mensural}. They are demonstrated in the following fragment
6511 @lilypond[quote,raggedright,fragment]
6512 \new Lyrics \lyricmode {
6514 \typewriter "vaticana"
6515 \line { " " \musicglyph #"custodes-vaticana-u0" }
6518 \typewriter "medicaea"
6519 \line { " " \musicglyph #"custodes-medicaea-u0" }
6522 \typewriter "hufnagel"
6523 \line { " " \musicglyph #"custodes-hufnagel-u0" }
6526 \typewriter "mensural"
6527 \line { " " \musicglyph #"custodes-mensural-u0" }
6534 Program reference: @internalsref{Custos}.
6536 Examples: @inputfileref{input/@/regression,custos@/.ly}.
6540 @subsection Divisiones
6546 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
6547 `division') is a staff context symbol that is used to structure
6548 Gregorian music into phrases and sections. The musical meaning of
6549 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
6550 can be characterized as short, medium, and long pause, somewhat like
6551 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
6552 only marks the end of a chant, but is also frequently used within a
6553 single antiphonal/responsorial chant to mark the end of each section.
6556 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
6557 contains definitions that you can apply by just inserting
6558 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
6559 and @code{\finalis} at proper places in the input. Some editions use
6560 @emph{virgula} or @emph{caesura} instead of divisio minima.
6561 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
6564 @lilypondfile[quote,raggedright]{divisiones.ly}
6568 @cindex @code{\virgula}
6570 @cindex @code{\caesura}
6572 @cindex @code{\divisioMinima}
6573 @code{\divisioMinima},
6574 @cindex @code{\divisioMaior}
6575 @code{\divisioMaior},
6576 @cindex @code{\divisioMaxima}
6577 @code{\divisioMaxima},
6578 @cindex @code{\finalis}
6583 In this manual: @ref{Breath marks}.
6585 Program reference: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
6587 Examples: @inputfileref{input/@/test,divisiones@/.ly}.
6590 @subsection Ligatures
6594 @c TODO: Should double check if I recalled things correctly when I wrote
6595 @c down the following paragraph by heart.
6597 A ligature is a graphical symbol that represents at least two distinct
6598 notes. Ligatures originally appeared in the manuscripts of Gregorian
6599 chant notation to denote ascending or descending sequences of notes.
6601 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
6602 Some ligature styles may need additional input syntax specific for
6603 this particular type of ligature. By default, the
6604 @internalsref{LigatureBracket} engraver just puts a square bracket
6607 @lilypond[quote,raggedright,verbatim]
6615 To select a specific style of ligatures, a proper ligature engraver
6616 has to be added to the @internalsref{Voice} context, as explained in
6617 the following subsections. Only white mensural ligatures
6618 are supported with certain limitations.
6624 Ligatures need special spacing that has not yet been implemented. As
6625 a result, there is too much space between ligatures most of the time,
6626 and line breaking often is unsatisfactory. Also, lyrics do not
6627 correctly align with ligatures.
6629 Accidentals must not be printed within a ligature, but instead need to
6630 be collected and printed in front of it.
6632 Augmentum dots within ligatures are not handled correctly.
6636 * White mensural ligatures::
6637 * Gregorian square neumes ligatures::
6640 @node White mensural ligatures
6641 @subsubsection White mensural ligatures
6643 @cindex Mensural ligatures
6644 @cindex White mensural ligatures
6646 There is limited support for white mensural ligatures.
6648 To engrave white mensural ligatures, in the layout block put the
6649 @internalsref{Mensural_ligature_engraver} into the
6650 @internalsref{Voice} context, and remove the
6651 @internalsref{Ligature_bracket_engraver}, like this
6657 \remove Ligature_bracket_engraver
6658 \consists Mensural_ligature_engraver
6663 There is no additional input language to describe the shape of a
6664 white mensural ligature. The shape is rather determined solely from
6665 the pitch and duration of the enclosed notes. While this approach may
6666 take a new user a while to get accustomed to, it has the great advantage
6667 that the full musical information of the ligature is known internally.
6668 This is not only required for correct MIDI output, but also allows for
6669 automatic transcription of the ligatures.
6674 \set Score.timing = ##f
6675 \set Score.defaultBarType = "empty"
6676 \override NoteHead #'style = #'neomensural
6677 \override Staff.TimeSignature #'style = #'neomensural
6679 \[ g\longa c\breve a\breve f\breve d'\longa \]
6681 \[ e1 f1 a\breve g\longa \]
6683 @lilypond[quote,raggedright]
6686 \set Score.timing = ##f
6687 \set Score.defaultBarType = "empty"
6688 \override NoteHead #'style = #'neomensural
6689 \override Staff.TimeSignature #'style = #'neomensural
6691 \[ g\longa c\breve a\breve f\breve d'\longa \]
6693 \[ e1 f1 a\breve g\longa \]
6698 \remove Ligature_bracket_engraver
6699 \consists Mensural_ligature_engraver
6705 Without replacing @internalsref{Ligature_bracket_engraver} with
6706 @internalsref{Mensural_ligature_engraver}, the same music transcribes
6709 @lilypond[quote,raggedright]
6711 \set Score.timing = ##f
6712 \set Score.defaultBarType = "empty"
6713 \override NoteHead #'style = #'neomensural
6714 \override Staff.TimeSignature #'style = #'neomensural
6716 \[ g\longa c\breve a\breve f\breve d'\longa \]
6718 \[ e1 f1 a\breve g\longa \]
6724 The implementation is experimental. It may output strange warnings,
6725 incorrect results, and might even crash on more complex ligatures.
6727 @node Gregorian square neumes ligatures
6728 @subsubsection Gregorian square neumes ligatures
6730 @cindex Square neumes ligatures
6731 @cindex Gregorian square neumes ligatures
6733 There is limited support for Gregorian square neumes notation
6734 (following the style of the Editio Vaticana). Core ligatures can
6735 already be typeset, but essential issues for serious typesetting are
6736 still lacking, such as (among others) horizontal alignment of multiple
6737 ligatures, lyrics alignment and proper handling of accidentals.
6740 The following table contains the extended neumes table of the 2nd
6741 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
6742 1983 by the monks of Solesmes.
6744 @multitable @columnfractions .4 .2 .2 .2
6761 @c TODO: \layout block is identical in all of the below examples.
6762 @c Therefore, it should somehow be included rather than duplicated all
6765 @c why not make identifiers in ly/engraver-init.ly? --hwn
6767 @c Because it's just used to typeset plain notes without
6768 @c a staff for demonstration purposes rather than something
6769 @c special of Gregorian chant notation. --jr
6774 @lilypond[staffsize=26,linewidth=1.5\cm]
6775 \include "gregorian-init.ly"
6780 \noBreak s^\markup {"a"} \noBreak
6782 % Punctum Inclinatum
6784 \noBreak s^\markup {"b"}
6786 \layout { \neumeDemoLayout }}
6789 @lilypond[staffsize=26,linewidth=2.5\cm]
6790 \include "gregorian-init.ly"
6793 % Punctum Auctum Ascendens
6794 \[ \auctum \ascendens b \]
6795 \noBreak s^\markup {"c"} \noBreak
6797 % Punctum Auctum Descendens
6798 \[ \auctum \descendens b \]
6799 \noBreak s^\markup {"d"} \noBreak
6801 % Punctum Inclinatum Auctum
6802 \[ \inclinatum \auctum b \]
6803 \noBreak s^\markup {"e"}
6805 \layout { \neumeDemoLayout }}
6808 @lilypond[staffsize=26,linewidth=1.0\cm]
6809 \include "gregorian-init.ly"
6812 % Punctum Inclinatum Parvum
6813 \[ \inclinatum \deminutum b \]
6814 \noBreak s^\markup {"f"}
6816 \layout { \neumeDemoLayout }}
6822 @lilypond[staffsize=26,linewidth=1.0\cm]
6823 \include "gregorian-init.ly"
6828 \noBreak s^\markup {"g"}
6830 \layout { \neumeDemoLayout }}
6836 @code{3. Apostropha vel Stropha}
6838 @lilypond[staffsize=26,linewidth=1.0\cm]
6839 \include "gregorian-init.ly"
6844 \noBreak s^\markup {"h"}
6846 \layout { \neumeDemoLayout }}
6849 @lilypond[staffsize=26,linewidth=1.0\cm]
6850 \include "gregorian-init.ly"
6854 \[ \stropha \auctum b \]
6855 \noBreak s^\markup {"i"}
6857 \layout { \neumeDemoLayout }}
6864 @lilypond[staffsize=26,linewidth=1.0\cm]
6865 \include "gregorian-init.ly"
6870 \noBreak s^\markup {"j"}
6872 \layout { \neumeDemoLayout }}
6878 @code{5. Clivis vel Flexa}
6880 @lilypond[staffsize=26,linewidth=1.0\cm]
6881 \include "gregorian-init.ly"
6888 \layout { \neumeDemoLayout }}
6891 @lilypond[staffsize=26,linewidth=2.0\cm]
6892 \include "gregorian-init.ly"
6895 % Clivis Aucta Descendens
6896 \[ b \flexa \auctum \descendens g \]
6897 \noBreak s^\markup {"l"} \noBreak
6899 % Clivis Aucta Ascendens
6900 \[ b \flexa \auctum \ascendens g \]
6901 \noBreak s^\markup {"m"}
6903 \layout { \neumeDemoLayout }}
6906 @lilypond[staffsize=26,linewidth=1.0\cm]
6907 \include "gregorian-init.ly"
6911 \[ b \flexa \deminutum g \]
6914 \layout { \neumeDemoLayout }}
6918 @code{6. Podatus vel Pes}
6920 @lilypond[staffsize=26,linewidth=1.0\cm]
6921 \include "gregorian-init.ly"
6928 \layout { \neumeDemoLayout }}
6931 @lilypond[staffsize=26,linewidth=2.0\cm]
6932 \include "gregorian-init.ly"
6935 % Pes Auctus Descendens
6936 \[ g \pes \auctum \descendens b \]
6937 \noBreak s^\markup {"p"} \noBreak
6939 % Pes Auctus Ascendens
6940 \[ g \pes \auctum \ascendens b \]
6941 \noBreak s^\markup {"q"}
6943 \layout { \neumeDemoLayout }}
6946 @lilypond[staffsize=26,linewidth=1.0\cm]
6947 \include "gregorian-init.ly"
6951 \[ g \pes \deminutum b \]
6954 \layout { \neumeDemoLayout }}
6958 @code{7. Pes Quassus}
6960 @lilypond[staffsize=26,linewidth=1.0\cm]
6961 \include "gregorian-init.ly"
6965 \[ \oriscus g \pes \virga b \]
6968 \layout { \neumeDemoLayout }}
6971 @lilypond[staffsize=26,linewidth=1.0\cm]
6972 \include "gregorian-init.ly"
6975 % Pes Quassus Auctus Descendens
6976 \[ \oriscus g \pes \auctum \descendens b \]
6979 \layout { \neumeDemoLayout }}
6984 @code{8. Quilisma Pes}
6986 @lilypond[staffsize=26,linewidth=1.0\cm]
6987 \include "gregorian-init.ly"
6991 \[ \quilisma g \pes b \]
6994 \layout { \neumeDemoLayout }}
6997 @lilypond[staffsize=26,linewidth=1.0\cm]
6998 \include "gregorian-init.ly"
7001 % Quilisma Pes Auctus Descendens
7002 \[ \quilisma g \pes \auctum \descendens b \]
7005 \layout { \neumeDemoLayout }}
7010 @code{9. Podatus Initio Debilis}
7012 @lilypond[staffsize=26,linewidth=1.0\cm]
7013 \include "gregorian-init.ly"
7016 % Pes Initio Debilis
7017 \[ \deminutum g \pes b \]
7020 \layout { \neumeDemoLayout }}
7023 @lilypond[staffsize=26,linewidth=1.0\cm]
7024 \include "gregorian-init.ly"
7027 % Pes Auctus Descendens Initio Debilis
7028 \[ \deminutum g \pes \auctum \descendens b \]
7031 \layout { \neumeDemoLayout }}
7038 @lilypond[staffsize=26,linewidth=1.0\cm]
7039 \include "gregorian-init.ly"
7043 \[ a \pes b \flexa g \]
7046 \layout { \neumeDemoLayout }}
7049 @lilypond[staffsize=26,linewidth=1.0\cm]
7050 \include "gregorian-init.ly"
7053 % Torculus Auctus Descendens
7054 \[ a \pes b \flexa \auctum \descendens g \]
7057 \layout { \neumeDemoLayout }}
7060 @lilypond[staffsize=26,linewidth=1.0\cm]
7061 \include "gregorian-init.ly"
7064 % Torculus Deminutus
7065 \[ a \pes b \flexa \deminutum g \]
7068 \layout { \neumeDemoLayout }}
7072 @code{11. Torculus Initio Debilis}
7074 @lilypond[staffsize=26,linewidth=1.0\cm]
7075 \include "gregorian-init.ly"
7078 % Torculus Initio Debilis
7079 \[ \deminutum a \pes b \flexa g \]
7082 \layout { \neumeDemoLayout }}
7085 @lilypond[staffsize=26,linewidth=1.0\cm]
7086 \include "gregorian-init.ly"
7089 % Torculus Auctus Descendens Initio Debilis
7090 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
7093 \layout { \neumeDemoLayout }}
7096 @lilypond[staffsize=26,linewidth=1.0\cm]
7097 \include "gregorian-init.ly"
7100 % Torculus Deminutus Initio Debilis
7101 \[ \deminutum a \pes b \flexa \deminutum g \]
7104 \layout { \neumeDemoLayout }}
7108 @code{12. Porrectus}
7110 @lilypond[staffsize=26,linewidth=1.0\cm]
7111 \include "gregorian-init.ly"
7115 \[ a \flexa g \pes b \]
7118 \layout { \neumeDemoLayout }}
7121 @lilypond[staffsize=26,linewidth=1.0\cm]
7122 \include "gregorian-init.ly"
7125 % Porrectus Auctus Descendens
7126 \[ a \flexa g \pes \auctum \descendens b \]
7129 \layout { \neumeDemoLayout }}
7132 @lilypond[staffsize=26,linewidth=1.0\cm]
7133 \include "gregorian-init.ly"
7136 % Porrectus Deminutus
7137 \[ a \flexa g \pes \deminutum b \]
7140 \layout { \neumeDemoLayout }}
7146 @lilypond[staffsize=26,linewidth=1.0\cm]
7147 \include "gregorian-init.ly"
7151 \[ \virga b \inclinatum a \inclinatum g \]
7154 \layout { \neumeDemoLayout }
7158 @lilypond[staffsize=26,linewidth=1.0\cm]
7159 \include "gregorian-init.ly"
7163 \[ \virga b \inclinatum a \inclinatum \auctum g \]
7166 \layout { \neumeDemoLayout }}
7169 @lilypond[staffsize=26,linewidth=1.0\cm]
7170 \include "gregorian-init.ly"
7173 % Climacus Deminutus
7174 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
7177 \layout { \neumeDemoLayout }}
7181 @code{14. Scandicus}
7183 @lilypond[staffsize=26,linewidth=1.0\cm]
7184 \include "gregorian-init.ly"
7188 \[ g \pes a \virga b \]
7191 \layout { \neumeDemoLayout }}
7194 @lilypond[staffsize=26,linewidth=1.0\cm]
7195 \include "gregorian-init.ly"
7198 % Scandicus Auctus Descendens
7199 \[ g \pes a \pes \auctum \descendens b \]
7202 \layout { \neumeDemoLayout }}
7205 @lilypond[staffsize=26,linewidth=1.0\cm]
7206 \include "gregorian-init.ly"
7209 % Scandicus Deminutus
7210 \[ g \pes a \pes \deminutum b \]
7213 \layout { \neumeDemoLayout }}
7219 @lilypond[staffsize=26,linewidth=1.0\cm]
7220 \include "gregorian-init.ly"
7224 \[ g \oriscus a \pes \virga b \]
7227 \layout { \neumeDemoLayout }}
7230 @lilypond[staffsize=26,linewidth=1.0\cm]
7231 \include "gregorian-init.ly"
7234 % Salicus Auctus Descendens
7235 \[ g \oriscus a \pes \auctum \descendens b \]
7238 \layout { \neumeDemoLayout }}
7245 @lilypond[staffsize=26,linewidth=1.0\cm]
7246 \include "gregorian-init.ly"
7250 \[ \stropha b \stropha b \stropha a \]
7253 \layout { \neumeDemoLayout }
7262 Unlike most other neumes notation systems, the input language for
7263 neumes does not reflect the typographical appearance, but is designed
7264 to focus on musical meaning. For example, @code{\[ a \pes b
7265 \flexa g \]} produces a Torculus consisting of three Punctum heads,
7266 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
7267 curved flexa shape and only a single Punctum head. There is no
7268 command to explicitly typeset the curved flexa shape; the decision of
7269 when to typeset a curved flexa shape is based on the musical
7270 input. The idea of this approach is to separate the musical aspects
7271 of the input from the notation style of the output. This way, the
7272 same input can be reused to typeset the same music in a different
7273 style of Gregorian chant notation.
7275 The following table shows the code fragments that produce the
7276 ligatures in the above neumes table. The letter in the first column
7277 in each line of the below table indicates to which ligature in the
7278 above table it refers. The second column gives the name of the
7279 ligature. The third column shows the code fragment that produces this
7280 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
7282 @multitable @columnfractions .02 .31 .67
7302 @code{\[ \inclinatum b \]}
7310 @code{\[ \auctum \ascendens b \]}
7318 @code{\[ \auctum \descendens b \]}
7323 Punctum Inclinatum@*
7326 @code{\[ \inclinatum \auctum b \]}
7331 Punctum Inclinatum@*
7333 @code{\[ \inclinatum \deminutum b \]}
7340 @code{\[ \virga b \]}
7347 @code{\[ \stropha b \]}
7354 @code{\[ \stropha \auctum b \]}
7361 @code{\[ \oriscus b \]}
7368 @code{\[ b \flexa g \]}
7376 @code{\[ b \flexa \auctum \descendens g \]}
7384 @code{\[ b \flexa \auctum \ascendens g \]}
7391 @code{\[ b \flexa \deminutum g \]}
7398 @code{\[ g \pes b \]}
7406 @code{\[ g \pes \auctum \descendens b \]}
7414 @code{\[ g \pes \auctum \ascendens b \]}
7421 @code{\[ g \pes \deminutum b \]}
7428 @code{\[ \oriscus g \pes \virga b \]}
7434 Auctus Descendens @tab
7435 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7442 @code{\[ \quilisma g \pes b \]}
7450 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7457 @code{\[ \deminutum g \pes b \]}
7462 Pes Auctus Descendens@*
7465 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7472 @code{\[ a \pes b \flexa g \]}
7480 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7487 @code{\[ a \pes b \flexa \deminutum g \]}
7492 Torculus Initio Debilis
7494 @code{\[ \deminutum a \pes b \flexa g \]}
7500 Descendens Initio Debilis
7502 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7507 Torculus Deminutus@*
7510 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7517 @code{\[ a \flexa g \pes b \]}
7525 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7532 @code{\[ a \flexa g \pes \deminutum b \]}
7539 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7546 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7553 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7560 @code{\[ g \pes a \virga b \]}
7568 @code{\[ g \pes a \pes \auctum \descendens b \]}
7575 @code{\[ g \pes a \pes \deminutum b \]}
7582 @code{\[ g \oriscus a \pes \virga b \]}
7587 Salicus Auctus Descendens
7589 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7596 @code{\[ \stropha b \stropha b \stropha a \]}
7601 The following head prefixes are supported
7603 @cindex @code{\virga}
7605 @cindex @code{\stropha}
7607 @cindex @code{\inclinatum}
7609 @cindex @code{\auctum}
7611 @cindex @code{\descendens}
7613 @cindex @code{\ascendens}
7615 @cindex @code{\oriscus}
7617 @cindex @code{\quilisma}
7619 @cindex @code{\deminutum}
7622 Head prefixes can be accumulated, though restrictions apply. For
7623 example, either @code{\descendens} or @code{\ascendens} can be applied
7624 to a head, but not both to the same head.
7627 @cindex @code{\flexa}
7628 Two adjacent heads can be tied together with the @code{\pes} and
7629 @code{\flexa} infix commands for a rising and falling line of melody,
7634 @node Gregorian Chant contexts
7635 @subsection Gregorian Chant contexts
7637 @cindex VaticanaVoiceContext
7638 @cindex VaticanaStaffContext
7640 The predefined @code{VaticanaVoiceContext} and
7641 @code{VaticanaStaffContext} can be used to engrave a piece of
7642 Gregorian Chant in the style of the Editio Vaticana. These contexts
7643 initialize all relevant context properties and grob properties to
7644 proper values, so you can immediately go ahead entering the chant, as
7645 the following excerpt demonstrates
7647 @lilypond[quote,raggedright,verbatim]
7648 \include "gregorian-init.ly"
7651 \context VaticanaVoice = "cantus" {
7652 \override Score.BarNumber #'transparent = ##t {
7653 \[ c'\melisma c' \flexa a \]
7654 \[ a \flexa \deminutum g\melismaEnd \]
7656 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
7657 c' \divisioMinima \break
7658 \[ c'\melisma c' \flexa a \]
7659 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7662 \lyricsto "cantus" \new Lyrics {
7663 San- ctus, San- ctus, San- ctus
7670 @node Mensural contexts
7671 @subsection Mensural contexts
7673 @cindex MensuralVoiceContext
7674 @cindex MensuralStaffContext
7676 The predefined @code{MensuralVoiceContext} and
7677 @code{MensuralStaffContext} can be used to engrave a piece in mensural
7678 style. These contexts initialize all relevant context properties and
7679 grob properties to proper values, so you can immediately go ahead
7680 entering the chant, as the following excerpt demonstrates
7682 @lilypond[quote,raggedright,verbatim]
7685 \context MensuralVoice = "discantus" \transpose c c' {
7686 \override Score.BarNumber #'transparent = ##t {
7687 c'1\melisma bes a g\melismaEnd
7689 \[ f1\melisma a c'\breve d'\melismaEnd \]
7691 c'\breve\melisma a1 g1\melismaEnd
7692 fis\longa^\signumcongruentiae
7695 \lyricsto "discantus" \new Lyrics {
7696 San -- ctus, San -- ctus, San -- ctus
7704 @subsection Figured bass
7706 @cindex Basso continuo
7708 @c TODO: musicological blurb about FB
7711 LilyPond has limited support for figured bass
7713 @lilypond[quote,raggedright,verbatim,fragment]
7715 \context Voice { \clef bass dis4 c d ais g fis}
7716 \context FiguredBass \figuremode {
7717 < 6 >4 < 7 >8 < 6+ [_!] >
7724 The support for figured bass consists of two parts: there is an input
7725 mode, introduced by @code{\figuremode}, where you can enter bass figures
7726 as numbers, and there is a context called @internalsref{FiguredBass} that
7727 takes care of making @internalsref{BassFigure} objects.
7729 In figures input mode, a group of bass figures is delimited by
7730 @code{<} and @code{>}. The duration is entered after the @code{>}
7734 @lilypond[quote,raggedright,fragment]
7735 \context FiguredBass
7736 \figuremode { <4 6> }
7739 Accidentals are added when you append @code{-}, @code{!}, and @code{+}
7745 @lilypond[quote,raggedright,fragment]
7746 \context FiguredBass
7747 \figuremode { <4- 6+ 7!> }
7750 Spaces or dashes may be inserted by using @code{_}. Brackets are
7751 introduced with @code{[} and @code{]}
7756 @lilypond[quote,raggedright,fragment]
7757 \context FiguredBass
7758 \figuremode { < [4 6] 8 [_! 12] > }
7761 Although the support for figured bass may superficially resemble chord
7762 support, it works much simpler. The @code{\figuremode} mode simply
7763 stores the numbers and @internalsref{FiguredBass} context prints
7764 them as entered. There is no conversion to pitches and no
7765 realizations of the bass are played in the MIDI file.
7767 Internally, the code produces markup texts. You can use any of the
7768 markup text properties to override formatting. For example, the
7769 vertical spacing of the figures may be set with @code{baseline-skip}.
7773 Program reference: @internalsref{BassFigureEvent} music,
7774 @internalsref{BassFigure} object, and @internalsref{FiguredBass} context.
7778 Slash notation for alterations is not supported.
7780 @node Contemporary notation
7781 @section Contemporary notation
7783 In the 20th century, composers have greatly expanded the musical
7784 vocabulary. With this expansion, many innovations in musical notation
7785 have been tried. The book ``Music Notation in the 20th century'' by
7786 Kurt Stone gives a comprehensive overview (see @ref{Literature
7787 list}). In general, the use of new, innovative notation makes a piece
7788 harder to understand and perform and its use should therefore be
7789 avoided. For this reason, support for contemporary notation in
7790 LilyPond is limited.
7794 * Polymetric notation::
7796 * Special fermatas::
7800 @node Polymetric notation
7801 @subsection Polymetric notation
7803 Double time signatures are not supported explicitly, but they can be
7804 faked. In the next example, the markup for the time signature is
7805 created with a markup text. This markup text is inserted in the
7806 @internalsref{TimeSignature} grob.
7808 @lilypond[verbatim,raggedright]
7813 \musicglyph #"scripts-stopped"
7814 \bracket \column { "5" "8" }
7819 \override Staff.TimeSignature #'print-function = #Text_interface::print
7820 \override Staff.TimeSignature #'text = #tsMarkup
7822 c'2 \bar ":" c'4 c'4.
7826 Each staff can also have its own time signature. This is done by
7827 moving the @internalsref{Timing_engraver} to the @internalsref{Staff}
7832 \context @{ \Score \remove "Timing_engraver" @}
7833 \context @{ \Staff \consists "Timing_engraver" @}
7838 Now, each staff has its own time signature.
7851 c4. c8 c c c4. c8 c c
7856 @lilypond[quote,raggedright]
7858 \context{ \Score \remove "Timing_engraver" }
7859 \context{ \Staff \consists "Timing_engraver" }
7873 c4. c8 c c c4. c8 c c
7879 A different form of polymetric notation is where note lengths have
7880 different values across staves.
7882 This notation can be created by setting a common time signature for
7883 each staff but replacing it manually using
7884 @code{timeSignatureFraction} to the desired fraction. Then the printed
7885 durations in each staff are scaled to the common time signature.
7886 The latter is done with @code{\compressmusic}, which is similar to
7887 @code{\times}, but does not create a tuplet bracket.
7890 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
7891 used in parallel. In the second staff, shown durations are multiplied by
7892 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
7893 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
7895 @lilypond[quote,raggedright,verbatim,fragment]
7903 \set Staff.timeSignatureFraction = #'(9 . 8)
7904 \compressmusic #'(2 . 3)
7905 \repeat unfold 6 { c8[ c c] }
7909 \set Staff.timeSignatureFraction = #'(10 . 8)
7910 \compressmusic #'(3 . 5) {
7911 \repeat unfold 2 { c8[ c c] }
7912 \repeat unfold 2 { c8[ c] }
7913 | c4. c4. \times 2/3 { c8 c c } c4
7924 When using different time signatures in parallel, the spacing is
7925 aligned vertically, but bar lines distort the regular spacing.
7930 @subsection Clusters
7934 A cluster indicates a continuous range of pitches to be played. They
7935 can be denoted as the envelope of a set of notes. They are entered by
7936 applying the function @code{makeClusters} to a sequence of
7938 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
7939 \makeClusters { <c e > <b f'> }
7942 The following example (from
7943 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
7946 @lilypondfile[raggedright,quote]{cluster.ly}
7948 Ordinary notes and clusters can be put together in the same staff,
7949 even simultaneously. In such a case no attempt is made to
7950 automatically avoid collisions between ordinary notes and clusters.
7954 Program reference: @internalsref{ClusterSpanner},
7955 @internalsref{ClusterSpannerBeacon},
7956 @internalsref{Cluster_spanner_engraver}, and
7957 @internalsref{ClusterNoteEvent}.
7959 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
7963 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7964 accurately. Use @code{<g a>8 <e a>8} instead.
7968 @node Special fermatas
7969 @subsection Special fermatas
7971 @cindex fermatas, special
7973 In contemporary music notation, special fermata symbols denote breaks
7974 of differing lengths. The following fermatas are supported
7976 @lilypond[quote,raggedright]
7999 \context Lyrics \lyricmode {
8000 \override LyricText #'font-family = #'typewriter
8001 "shortfermata" "fermata" "longfermata" "verylongfermata"
8006 See @ref{Articulations} for general instructions how to apply scripts
8007 such as fermatas to notes.
8009 @node Feathered beams
8010 @subsection Feathered beams
8012 Feathered beams are not supported natively, but they can be faked by
8013 forcing two beams to overlap. Here is an example,
8015 @c don't change relative setting witout changing positions!
8016 @lilypond[raggedright,relative=1,fragment,verbatim]
8021 \once \override Voice.Beam #'positions = #'(0 . 0.5)
8026 \once \override Voice.Beam #'positions = #'(0 . -0.5)
8034 @node Educational use
8035 @section Educational use
8037 With the amount of control that LilyPond offers, one can make great
8038 teaching tools in addition to great musical scores.
8042 * Blank music sheet::
8044 * Shaped note heads ::
8045 * Easy Notation note heads::
8049 @subsection Balloon help
8051 Elements of notation can be marked and named with the help of a square
8052 balloon. The primary purpose of this feature is to explain notation.
8054 The following example demonstrates its use.
8056 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
8059 #(add-balloon-text 'NoteHead "heads, or tails?"
8066 The function @code{add-balloon-text} takes the name of a grob, the
8067 label to print, and the position where to put the label relative to
8068 the object. In the above example, the text ``heads or tails?'' ends
8069 3 spaces below and 1 space to the right of the marked head.
8072 @cindex notation, explaining
8076 Program reference: @internalsref{text-balloon-interface}.
8078 Examples: @inputfileref{input/@/regression,balloon@/.ly}.
8083 @node Blank music sheet
8084 @subsection Blank music sheet
8086 A blank music sheet can be produced also by using invisible notes, and
8087 removing @code{Bar_number_engraver}.
8090 @lilypond[quote,verbatim]
8092 \repeat unfold 2 % Change this for more lines.
8097 \override TimeSignature #'transparent = ##t
8098 defaultBarType = #""
8099 \remove Bar_number_engraver
8101 \context Staff \emptymusic
8102 \context TabStaff \emptymusic
8108 @subsection Hidden notes
8110 @cindex Hidden notes
8111 @cindex Invisible notes
8112 @cindex Transparent notes
8114 Hidden (or invisible or transparent) notes can be useful in preparing theory
8115 or composition exercises.
8117 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
8125 Hidden notes are also great for performing weird tricks. For example,
8126 slurs cannot be attached to rests or spacer rests, but you may wish
8127 to include that in your score -- string instruments use this notation
8128 when doing pizzicato to indicate that the note should ring for as long
8131 @lilypond[quote,raggedright,verbatim,relative=0,fragment]
8134 c4^"pizz"( \hideNotes c)
8135 \unHideNotes c( \hideNotes c)
8142 @node Shaped note heads
8143 @subsection Shaped note heads
8145 In shaped note head notation, the shape of the note head corresponds
8146 to the harmonic function of a note in the scale. This notation was
8147 popular in the 19th century American song books.
8149 Shaped note heads can be produced by setting @code{\aikenHeads} or
8150 @code{\sacredHarpHeads}, depending on the style desired.
8152 @lilypond[verbatim,relative=1,fragment]
8159 Shapes are determined on the step in the scale, where the base of the
8160 scale is determined by the @code{\key} command
8163 @findex shapeNoteStyles
8165 @findex \sacredHarpHeads
8167 Shaped note heads are implemented through the @code{shapeNoteStyles}
8168 property. Its value is a vector of symbols. The k-th element indicates
8169 the style to use for the k-th step of the scale. Arbitrary
8170 combinations are possible, eg.,
8173 @lilypond[verbatim,relative=1,fragment]
8174 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
8179 @node Easy Notation note heads
8180 @subsection Easy Notation note heads
8182 @cindex easy notation
8185 The `easy play' note head includes a note name inside the head. It is
8186 used in music for beginners
8188 @lilypond[quote,raggedright,verbatim,fragment,staffsize=26]
8193 The command @code{\setEasyHeads} overrides settings for the
8194 @internalsref{NoteHead} object. To make the letters readable, it has
8195 to be printed in a large font size. To print with a larger font, see
8196 @ref{Setting global staff size}.
8200 @cindex @code{\setEasyHeads}
8201 @code{\setEasyHeads}