2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
9 @chapter Notation manual
11 This chapter describes all the different types of notation supported
12 by LilyPond. It is intended as a reference for users that are already
13 somewhat familiar with LilyPond.
17 * Easier music entry::
31 * Contemporary notation::
36 @c FIXME: Note entry vs Music entry at top level menu is confusing.
42 This section is about basic notation elements notes, rests and
43 related constructs, such as stems, tuplets and ties.
48 * Chromatic alterations::
63 A note is printed by specifying its pitch and then its duration
64 @footnote{Notes constitute the most basic elements of LilyPond input,
65 but they do not form valid input on their own without a @code{\score}
66 block. However, for the sake of brevity and simplicity we will
67 generally omit @code{\score} blocks and @code{\paper} declarations in
70 @lilypond[quote,fragment,verbatim]
79 @cindex Note specification
81 @cindex entering notes
83 The most common syntax for pitch entry is used in @code{\chords} and
84 @code{\notes} mode. In these modes, pitches may be designated by
85 names. The notes are specified by the letters @code{a} through
86 @code{g}, while the octave is formed with notes ranging from @code{c}
87 to @code{b}. The pitch @code{c} is an octave below middle C and the
88 letters span the octave above that C
90 @lilypond[quote,fragment,verbatim]
92 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
95 @cindex note names, Dutch
97 A sharp is formed by adding @code{-is} to the end of a pitch name and
98 a flat is formed by adding @code{-es}. Double sharps and double flats
99 are obtained by adding @code{-isis} or @code{-eses}. These
100 names are the Dutch note names. In Dutch, @code{aes} is contracted to
101 @code{as}, but both forms are accepted. Similarly, both
102 @code{es} and @code{ees} are accepted.
104 Half-flats and half-sharps are formed by adding @code{-eh} and
105 @code{-ih}; the following is a series of Cs with increasing pitches
107 @cindex quarter tones
108 @cindex semi-flats, semi-sharps
110 @lilypond[quote,verbatim,relative=3]
122 There are predefined sets of note names for various other languages.
123 To use them, include the language specific init file. For
124 example: @code{\include "english.ly"}. The available language files
125 and the note names they define are
130 Note Names sharp flat
131 nederlands.ly c d e f g a bes b -is -es
132 english.ly c d e f g a bf b -s/-sharp -f/-flat
134 deutsch.ly c d e f g a b h -is -es
135 norsk.ly c d e f g a b h -iss/-is -ess/-es
136 svenska.ly c d e f g a b h -iss -ess
137 italiano.ly do re mi fa sol la sib si -d -b
138 catalan.ly do re mi fa sol la sib si -d/-s -b
139 espanol.ly do re mi fa sol la sib si -s -b
148 The optional octave specification takes the form of a series of
149 single quote (`@code{'}') characters or a series of comma
150 (`@code{,}') characters. Each @code{'} raises the pitch by one
151 octave; each @code{,} lowers the pitch by an octave
153 @lilypond[quote,fragment,verbatim]
154 c' c'' es' g' as' gisis' ais'
160 Notes can be hidden and unhidden with the following commands
162 @cindex @code{\hideNotes}
164 @cindex @code{\unHideNotes}
170 Program reference: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
172 @node Chromatic alterations
173 @subsection Chromatic alterations
175 Normally accidentals are printed automatically, but you may also
176 print them manually. A reminder accidental
177 @cindex reminder accidental
179 can be forced by adding an exclamation mark @code{!}
180 after the pitch. A cautionary accidental
181 @cindex cautionary accidental
182 @cindex parenthesized accidental
183 (i.e. an accidental within parentheses) can be obtained by adding the
184 question mark `@code{?}' after the pitch
186 @lilypond[quote,fragment,verbatim]
187 cis' cis' cis'! cis'?
193 The automatic production of accidentals can be tuned in many
194 ways. For more information, refer to @ref{Accidentals}.
199 There are no generally accepted standards for denoting three quarter
200 flats, so LilyPond's symbol does not conform to any standard.
205 A chord is formed by a enclosing a set of pitches in @code{<} and
206 @code{>}. A chord may be followed by a duration, and a set of
207 articulations, just like simple notes.
209 @lilypond[quote,relative=1]
220 Rests are entered like notes, with the note name @code{r}
222 @lilypond[quote,raggedright,verbatim]
226 Whole bar rests, centered in middle of the bar,
227 must be done with multi-measure rests. They are discussed in
228 @ref{Multi measure rests}.
231 A rest's vertical position may be explicitly specified by entering a
232 note with the @code{\rest} keyword appended. This makes manual
233 formatting in polyphonic music easier. Rest collision testing will
234 leave these rests alone
236 @lilypond[quote,raggedright,verbatim]
242 Program reference: @internalsref{RestEvent}, and @internalsref{Rest}.
249 @cindex Invisible rest
252 An invisible rest (also called a `skip') can be entered like a note
253 with note name `@code{s}' or with @code{\skip @var{duration}}
255 @lilypond[quote,raggedright,verbatim]
259 The @code{s} syntax is only available in note mode and chord mode. In
260 other situations, you should use the @code{\skip} command
262 @lilypond[quote,raggedright,verbatim]
265 { \time 4/8 \skip 2 \time 4/4 }
266 \notes\relative c'' { a2 a1 }
271 The skip command is merely an empty musical placeholder. It does not
272 produce any output, not even transparent output.
274 The @code{s} skip command does create @internalsref{Staff} and
275 @internalsref{Voice} when necessary, similar to note and rest
276 commands. For example, the following results in an empty staff.
278 @lilypond[quote,raggedright,verbatim]
279 \score { \notes { s4 } }
282 The same fragment using @code{\skip} results in an empty page.
286 Program reference: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
291 @subsection Durations
297 In Note, Chord, and Lyrics mode, durations are designated by numbers
298 and dots: durations are entered as their reciprocal values. For example,
299 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
300 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
301 longer than a whole you must use variables
305 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
307 r1 r2 r4 r8 r16 r32 r64 r64
312 \notes \relative c'' {
313 a\breve*1/2 \autoBeamOff
314 a1 a2 a4 a8 a16 a32 a64 a64
315 r\longa*1/4 r\breve *1/2
316 r1 r2 r4 r8 r16 r32 r64 r64
322 \remove "Clef_engraver"
323 \override StaffSymbol #'transparent = ##t
324 \override TimeSignature #'transparent = ##t
325 \override BarLine #'transparent = ##t
326 \consists "Pitch_squash_engraver"
333 If the duration is omitted then it is set to the previously entered
334 duration. The default for the first note is a quarter note. The duration
335 can be followed by dots (`@code{.}') in order to obtain dotted note
339 @lilypond[quote,fragment,verbatim]
340 a' b' c''8 b' a'4 a'4. b'4.. c'8.
345 You can alter the length of duration by a fraction @var{N/M}
346 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
347 will not affect the appearance of the notes or rests produced.
349 In the following example, the first three notes take up exactly two
350 beats, but no triplet bracket is printed.
351 @lilypond[quote,fragment,relative=3,verbatim]
353 a4*2/3 gis4*2/3 a4*2/3
359 Dots are normally moved up to avoid staff lines, except in polyphonic
360 situations. The following commands may be used to force a particular
363 @cindex @code{\dotsUp}
365 @cindex @code{\dotsDown}
367 @cindex @code{\dotsBoth}
372 This manual: @ref{Tuplets}
374 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
379 Whenever a note is found, a @internalsref{Stem} object is created
380 automatically. For whole notes and rests, they are also created but
385 @cindex @code{\stemUp}
387 @cindex @code{\stemDown}
389 @cindex @code{\stemBoth}
400 A tie connects two adjacent note heads of the same pitch. The tie in
401 effect extends the length of a note. Ties should not be confused with
402 slurs, which indicate articulation, or phrasing slurs, which indicate
403 musical phrasing. A tie is entered using the tilde symbol `@code{~}'
405 @lilypond[quote,fragment,verbatim]
406 e' ~ e' <c' e' g'> ~ <c' e' g'>
409 When a tie is applied to a chord, all note heads whose pitches match
410 are connected. When no note heads match, no ties will be created.
412 In its meaning a tie is just a way of extending a note duration, similar
413 to the augmentation dot; in the following example there are two ways of
414 notating exactly the same concept
416 @lilypond[quote,fragment,raggedright]
417 \time 3/4 c'2. c'2 ~ c'4
419 If you need to tie a lot of notes over bars, it may be easier to use automatic
420 note splitting (see @ref{Automatic note splitting}).
425 @cindex @code{\tieUp}
427 @cindex @code{\tieDown}
429 @cindex @code{\tieBoth}
431 @cindex @code{\tieDotted}
433 @cindex @code{\tieSolid}
438 In this manual: @ref{Automatic note splitting}.
440 Program reference: @internalsref{TieEvent}, @internalsref{Tie}.
442 For tying only a subset of the note heads of a pair of chords, see
443 @inputfileref{input/regression,tie-chord-partial.ly}.
448 Switching staves when a tie is active will not produce a slanted tie.
450 Formatting of ties is a difficult subject. The results are often not
460 @cindex @code{\times}
462 Tuplets are made out of a music expression by multiplying all durations
465 @cindex @code{\times}
467 \times @var{fraction} @var{musicexpr}
471 The duration of @var{musicexpr} will be multiplied by the fraction.
472 The fraction's denominator will be printed over the notes, optionally
473 with a bracket. The most common tuplet is the triplet in which 3
474 notes have the length of 2, so the notes are 2/3 of their written
477 @lilypond[quote,fragment,verbatim]
478 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
481 The property @code{tupletSpannerDuration} specifies how long each
482 bracket should last. With this, you can make lots of tuplets while
483 typing @code{\times} only once, saving lots of typing. In the next
484 example, there are two triplets shown, while @code{\times} was only
487 @lilypond[quote,fragment,relative=1,raggedright,verbatim]
488 \set tupletSpannerDuration = #(ly:make-moment 1 4)
489 \times 2/3 { c'8 c c c c c }
492 The format of the number is determined by the property
493 @code{tupletNumberFormatFunction}. The default prints only the
494 denominator, but if it is set to the Scheme function
495 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
499 @cindex @code{tupletNumberFormatFunction}
500 @cindex tuplet formatting
505 @cindex @code{\tupletUp}
507 @cindex @code{\tupletDown}
509 @cindex @code{\tupletBoth}
514 Program reference: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
516 Examples: @inputfileref{input/regression,tuplet-nest.ly}.
520 Nested tuplets are not formatted automatically. In this case, outer
521 tuplet brackets should be moved manually, which is demonstrated in
522 @inputfileref{input/regression,tuplet-nest.ly}.
526 @node Easier music entry
527 @section Easier music entry
530 This section deals with tricks and features of the input language that
531 were added solely to help entering music, finding and correcting
532 mistakes. There are also external tools that make debugging easier.
533 See @ref{Point and click} for more information.
535 It is also possible to enter and edit music using other programs. For
536 example, GUI interfaces, or MIDI sequencers. Refer to the LilyPond
537 website for more information.
544 * Skipping corrected music::
545 * Automatic note splitting::
551 @node Relative octaves
552 @subsection Relative octaves
554 @cindex relative octave specification
556 Octaves are specified by adding @code{'} and @code{,} to pitch names.
557 When you copy existing music, it is easy to accidentally put a pitch
558 in the wrong octave and hard to find such an error. The relative
559 octave mode prevents these errors: a single error puts the rest of the
560 piece off by one octave
562 @cindex @code{\relative}
564 \relative @var{startpitch} @var{musicexpr}
567 The octave of notes that appear in @var{musicexpr} are calculated as
568 follows: If no octave changing marks are used, the basic interval
569 between this and the last note is always taken to be a fourth or
570 less. This distance is determined without regarding alterations; a
571 @code{fisis} following a @code{ceses} will be put above the
574 The octave changing marks @code{'} and @code{,} can be added to raise
575 or lower the pitch by an extra octave. Upon entering relative mode,
576 an absolute starting pitch must be specified that will act as the
577 predecessor of the first note of @var{musicexpr}.
579 Here is the relative mode shown in action
580 @lilypond[quote,fragment,raggedright,verbatim]
586 Octave changing marks are used for intervals greater than a fourth
587 @lilypond[quote,fragment,verbatim]
593 If the preceding item is a chord, the first note of the chord is used
594 to determine the first note of the next chord
596 @lilypond[quote,fragment,verbatim]
603 @cindex @code{\notes}
605 The pitch after the @code{\relative} contains a note name. To parse
606 the note name as a pitch, it must surrounded by @code{\notes}
608 The relative conversion will not affect @code{\transpose},
609 @code{\chords} or @code{\relative} sections in its argument. If you
610 want to use relative within transposed music, you must place an
611 additional @code{\relative} inside the @code{\transpose}.
614 @subsection Octave check
617 Octave checks make octave errors easier to correct: a note may be
618 followed by @code{=}@var{quotes} which indicates what its absolute
619 octave should be. In the following example,
621 \relative c'' @{ c='' b=' d,='' @}
625 @c take care with @code, adds confusing quotes.
626 the d will generate a warning, because a d'' is expected, but a d' is
627 found. In the output, the octave is corrected for this and the
632 There is also a syntax that is separate from the notes.
637 This checks that @var{pitch} (without octave) yields @var{pitch} (with
638 octave) in \relative mode. If not, a warning is printed, and the
639 octave is corrected, for example, the first check is passed
640 successfully. The second check fails with an error message. The
641 octave is adjusted so the following notes are in the correct octave
652 The octave of a note following an octave check is determined with
653 respect to the note preceding it. In the next fragment, the last note
654 is a @code{a'}, above middle C. Hence, the @code{\octave} check may
655 be deleted without changing the meaning of the piece.
657 @lilypond[quote,verbatim,fragment]
666 @subsection Bar check
670 @cindex @code{barCheckSynchronize}
673 Bar checks help detect errors in the durations. A bar check is
674 entered using the bar symbol, `@code{|}'. Whenever it is encountered
675 during interpretation, it should fall on a measure boundary. If it
676 does not, a warning is printed. In the next example, the second bar
677 check will signal an error
679 \time 3/4 c2 e4 | g2 |
682 Bar checks can also be used in lyrics, for example
687 Twin -- kle | Twin -- kle
692 @cindex skipTypesetting
694 Failed bar checks are caused by entering incorrect
695 durations. Incorrect durations often completely garble up the score,
696 especially if it is polyphonic, so you should start correcting the
697 score by scanning for failed bar checks and incorrect durations. To
698 speed up this process, you can use @code{skipTypesetting}, described
701 @node Skipping corrected music
702 @subsection Skipping corrected music
704 The property @code{Score.skipTypesetting} can be used to switch on and
705 off typesetting completely during the interpretation phase. When
706 typesetting is switched off, the music is processed much more quickly.
707 This can be used to skip over the parts of a score that have already
708 been checked for errors
710 @lilypond[quote,fragment,raggedright,verbatim]
713 \set Score.skipTypesetting = ##t
715 \set Score.skipTypesetting = ##f
719 @node Automatic note splitting
720 @subsection Automatic note splitting
722 Long notes can be converted automatically to tied notes. This is done
723 by replacing the @internalsref{Note_heads_engraver} by the
724 @internalsref{Completion_heads_engraver}.
725 In the following examples, notes crossing the bar line are split and tied.
728 @lilypond[quote,fragment,verbatim,relative=1,raggedright]
730 \remove "Note_heads_engraver"
731 \consists "Completion_heads_engraver"
733 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
737 This engraver splits all running notes at the bar line, and inserts
738 ties. One of its uses is to debug complex scores: if the measures are
739 not entirely filled, then the ties exactly show how much each measure
744 Not all durations (especially those containing tuplets) can be
745 represented exactly; the engraver will not insert tuplets.
749 Examples: @inputfileref{input/regression,completion-heads.ly}.
751 Program reference: @internalsref{Completion_heads_engraver}.
755 @section Staff notation
757 This section describes music notation that occurs on staff level,
758 such as keys, clefs and time signatures.
760 @cindex Staff notation
774 @subsection Staff symbol
776 @cindex adjusting staff symbol
778 Notes, dynamic signs, etc. are grouped
779 with a set of horizontal lines, into a staff (plural `staves'). In our
780 system, these lines are drawn using a separate layout object called
784 @cindex staff lines, setting number of
785 @cindex staff lines, setting thickness of
786 @cindex thickness of staff lines, setting
787 @cindex number of staff lines, setting
791 Program reference: @internalsref{StaffSymbol}.
793 Examples: @inputfileref{input/test,staff-lines.ly},
794 @inputfileref{input/test,staff-size.ly}.
798 If a staff is ended halfway a piece, the staff symbol may not end
799 exactly on the bar line.
803 @subsection Key signature
804 @cindex Key signature
808 The key signature indicates the scale in which a piece is played. It
809 is denoted by a set of alterations (flats or sharps) at the start of
813 Setting or changing the key signature is done with the @code{\key}
816 @code{\key} @var{pitch} @var{type}
819 @cindex @code{\minor}
820 @cindex @code{\major}
821 @cindex @code{\minor}
822 @cindex @code{\ionian}
823 @cindex @code{\locrian}
824 @cindex @code{\aeolian}
825 @cindex @code{\mixolydian}
826 @cindex @code{\lydian}
827 @cindex @code{\phrygian}
828 @cindex @code{\dorian}
830 Here, @var{type} should be @code{\major} or @code{\minor} to get
831 @var{pitch}-major or @var{pitch}-minor, respectively.
832 The standard mode names @code{\ionian},
833 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
834 @code{\phrygian}, and @code{\dorian} are also defined.
836 This command sets the context property
837 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
838 can be specified by setting this property directly.
840 Accidentals and key signatures often confuse new users, because
841 unaltered notes get natural signs depending on the key signature. For
842 more information, see @ref{More about pitches}.
846 The ordering of a key cancellation is wrong when it is combined with
847 repeat bar lines. The cancellation is also printed after a line break.
851 Program reference: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
853 @cindex @code{keySignature}
860 The clef indicates which lines of the staff correspond to which
864 The clef can be set or changed with the @code{\clef} command
865 @lilypond[quote,fragment,verbatim]
866 \key f\major c''2 \clef alto g'2
869 Supported clef-names include
870 @c Moved standard clefs to the top /MB
874 @item treble, violin, G, G2
887 G clef on 1st line, so-called French violin clef
892 @cindex mezzosoprano clef
895 @cindex baritone clef
898 @cindex varbaritone clef
909 By adding @code{_8} or @code{^8} to the clef name, the clef is
910 transposed one octave down or up, respectively, and @code{_15} and
911 @code{^15} transposes by two octaves. The argument @var{clefname}
912 must be enclosed in quotes when it contains underscores or digits. For
916 @cindex choral tenor clef
917 @lilypond[quote,verbatim,fragment,relative=1]
921 This command is equivalent to setting @code{clefGlyph},
922 @code{clefPosition} (which controls the Y position of the clef),
923 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
924 when any of these properties are changed.
928 Program reference: the object for this symbol is @internalsref{Clef}.
932 @node Ottava brackets
933 @subsection Ottava brackets
935 ``Ottava'' brackets introduce an extra transposition of an octave for
936 the staff. They are created by invoking the function
937 @code{set-octavation}
943 @lilypond[quote,verbatim,fragment]
953 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
954 (for 15ma) as arguments. Internally the function sets the properties
955 @code{ottavation} (e.g. to @code{"8va"}) and
956 @code{centralCPosition}. For overriding the text of the bracket, set
957 @code{ottavation} after invoking @code{set-octavation}, i.e.,
961 \set Staff.ottavation = #"8"
966 Program reference: @internalsref{OttavaBracket}.
968 Examples: @inputfileref{input/regression,ottava.ly},
969 @inputfileref{input/regression,ottava-broken.ly}.
973 @code{set-octavation} will get confused when clef changes happen
974 during an octavation bracket.
977 @subsection Time signature
978 @cindex Time signature
982 Time signature indicates the metrum of a piece: a regular pattern of
983 strong and weak beats. It is denoted by a fraction at the start of the
987 The time signature is set or changed by the @code{\time}
989 @lilypond[quote,fragment,verbatim]
990 \time 2/4 c'2 \time 3/4 c'2.
993 The symbol that is printed can be customized with the @code{style}
994 property. Setting it to @code{#'()} uses fraction style for 4/4 and
995 2/2 time. There are many more options for its layout. See
996 @inputfileref{input/test,time.ly} for more examples.
999 This command sets the property @code{timeSignatureFraction},
1000 @code{beatLength} and @code{measureLength} in the @code{Timing}
1001 context, which is normally aliased to @internalsref{Score}. The
1002 property @code{measureLength} determines where bar lines should be
1003 inserted, and how automatic beams should be generated. Changing the
1004 value of @code{timeSignatureFraction} also causes the symbol to be
1007 More options are available through the Scheme function
1008 @code{set-time-signature}. In combination with the
1009 @internalsref{Measure_grouping_engraver}, it will create
1010 @internalsref{MeasureGrouping} signs. Such signs ease reading
1011 rhythmically complex modern music. In the following example, the 9/8
1012 measure is subdivided in 2, 2, 2 and 3. This is passed to
1013 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
1015 @lilypond[quote,raggedright,verbatim]
1017 \notes \relative c'' {
1018 #(set-time-signature 9 8 '(2 2 2 3))
1019 g8[ g] d[ d] g[ g] a8[( bes g]) |
1020 #(set-time-signature 5 8 '(3 2))
1026 \consists "Measure_grouping_engraver"
1034 Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1039 Automatic beaming does not use the measure grouping specified with
1040 @code{set-time-signature}.
1042 @node Partial measures
1043 @subsection Partial measures
1046 @cindex partial measure
1047 @cindex measure, partial
1048 @cindex shorten measures
1049 @cindex @code{\partial}
1051 Partial measures, for example in upsteps, are entered using the
1052 @code{\partial} command
1053 @lilypond[quote,fragment,verbatim,relative=2]
1054 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1057 The syntax for this command is
1059 \partial @var{duration}
1061 This is internally translated into
1063 \set Timing.measurePosition = -@var{length of duration}
1066 The property @code{measurePosition} contains a rational number
1067 indicating how much of the measure has passed at this point.
1069 @node Unmetered music
1070 @subsection Unmetered music
1072 Bar lines and bar numbers are calculated automatically. For unmetered
1073 music (e.g. cadenzas), this is not desirable. By setting
1074 @code{Score.timing} to false, this automatic timing can be switched
1075 off. Empty bar lines,
1082 indicate where line breaks can occur.
1088 @cindex @code{\cadenzaOn}
1090 @cindex @code{\cadenzaOff}
1094 @subsection Bar lines
1098 @cindex measure lines
1102 Bar lines delimit measures, but are also used to indicate repeats.
1103 Normally, they are inserted automatically. Line breaks may only
1104 happen on bar lines.
1106 Special types of bar lines can be forced with the @code{\bar} command
1108 @lilypond[quote,relative=2,fragment,verbatim]
1112 The following bar types are available
1113 @lilypond[quote,fragment,relative=1,raggedright,verbatim]
1126 For allowing line breaks, there is a special command,
1130 This will insert an invisible bar line, and allow line breaks at this
1133 In scores with many staves, a @code{\bar} command in one staff is
1134 automatically applied to all staves. The resulting bar lines are
1135 connected between different staves of a @internalsref{StaffGroup}
1137 @lilypond[quote,fragment,verbatim]
1139 \context StaffGroup <<
1145 \new Staff { \clef bass c4 g e g }
1147 \new Staff { \clef bass c2 c2 }
1151 A bar line is created whenever the @code{whichBar} property is set.
1152 At the start of a measure it is set to the contents of
1153 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1154 to override default measure bars.
1156 The command @code{\bar }@var{bartype} is a short cut for doing
1157 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1158 is set to a string, a bar line of that type is created.
1161 @cindex repeatCommands
1162 @cindex defaultBarType
1164 You are encouraged to use @code{\repeat} for repetitions. See
1171 In this manual: @ref{Repeats}.
1174 Program reference: the bar line objects that are created at
1175 @internalsref{Staff} level are called @internalsref{BarLine}, the bar
1176 lines that span staves are @internalsref{SpanBar} objects.
1178 @cindex bar lines at start of system
1179 @cindex start of system
1181 The bar lines at the start of each system are
1182 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1183 @internalsref{SystemStartBracket}. Only one of these types is created
1184 in every context, and that type is determined by the property
1185 @code{systemStartDelimiter}.
1187 Examples: @inputfileref{input/test,bar-lines.ly},
1193 The easiest way to enter fragments with more than one voice on a staff
1194 is to split chords using the separator @code{\\}. You can use it for
1195 small, short-lived voices or for single chords
1197 @lilypond[quote,verbatim,fragment]
1198 \context Staff \relative c'' {
1199 c4 << { f d e } \\ { b c2 } >>
1200 c4 << g' \\ b, \\ f' \\ d >>
1204 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1205 voices are sometimes called "layers" other notation packages}
1207 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1208 each of these contexts, vertical direction of slurs, stems, etc. is set
1211 @cindex @code{\voiceOne}
1212 @cindex @code{\voiceFour}
1214 This can also be done by instantiating @internalsref{Voice} contexts
1215 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1216 a stem directions and horizontal shift for each part
1219 @lilypond[quote,raggedright,verbatim]
1222 \new Voice { \voiceOne cis2 b }
1223 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1224 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1228 The command @code{\oneVoice} will revert back to the normal setting.
1229 @cindex @code{\oneVoice}
1232 Normally, note heads with a different number of dots are not merged, but
1233 when the object property @code{merge-differently-dotted} is set in
1234 the @internalsref{NoteCollision} object, they are merged
1235 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
1238 \override Staff.NoteCollision
1239 #'merge-differently-dotted = ##t
1241 } \\ { g8.[ f16] g8.[ f16] } >>
1244 Similarly, you can merge half note heads with eighth notes, by setting
1245 @code{merge-differently-headed}
1246 @lilypond[quote,fragment,relative=2,verbatim]
1249 \override Staff.NoteCollision
1250 #'merge-differently-headed = ##t
1251 c8 c4. } \\ { c2 c2 } >>
1254 LilyPond also vertically shifts rests that are opposite of a stem
1257 @lilypond[quote,raggedright,fragment,verbatim]
1258 \context Voice << c''4 \\ r4 >>
1266 @cindex @code{\oneVoice}
1268 @cindex @code{\voiceOne}
1270 @cindex @code{\voiceTwo}
1272 @cindex @code{\voiceThree}
1274 @cindex @code{\voiceFour}
1278 The following commands specify in what chords of the current voice
1279 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1280 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1283 @cindex @code{\shiftOn}
1285 @cindex @code{\shiftOnn}
1287 @cindex @code{\shiftOnnn}
1289 @cindex @code{\shiftOff}
1296 Program reference: the objects responsible for resolving collisions are
1297 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1299 Examples: See also example files
1300 @inputfileref{input/regression,collision-dots.ly},
1301 @inputfileref{input/regression,collision-head-chords.ly},
1302 @inputfileref{input/regression,collision-heads.ly},
1303 @inputfileref{input/regression,collision-mesh.ly}, and
1304 @inputfileref{input/regression,collisions.ly}.
1309 Resolving collisions is a intricate subject, and only a few situations
1310 are handled. When LilyPond cannot cope, the @code{force-hshift}
1311 property of the @internalsref{NoteColumn} object and pitched rests can
1312 be used to override typesetting decisions.
1314 When using @code{merge-differently-headed} with an upstem eighth or a
1315 shorter note, and a downstem half note, the eighth note gets the wrong
1318 There is no support for clusters where the same note occurs with
1319 different accidentals in the same chord. In this case, it is
1320 recommended to use enharmonic transcription, or to use special cluster
1321 notation (see @ref{Clusters}).
1326 Beams are used to group short notes into chunks that are aligned with
1327 the metrum. They are inserted automatically
1329 @lilypond[quote,fragment,verbatim,relative=2]
1330 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1333 When these automatic decisions are not good enough, beaming can be
1334 entered explicitly. It is also possible to define beaming patterns
1335 that differ from the defaults.
1337 Individual notes may be marked with @code{\noBeam}, to prevent them
1340 @lilypond[quote,fragment,verbatim,relative=2]
1341 \time 2/4 c8 c\noBeam c c
1347 Program reference: @internalsref{Beam}.
1350 @cindex Automatic beams
1353 * Setting automatic beam behavior::
1357 @subsection Manual beams
1358 @cindex beams, manual
1362 In some cases it may be necessary to override the automatic beaming
1363 algorithm. For example, the autobeamer will not put beams over rests
1364 or bar lines. Such beams are specified by manually: the begin and end
1365 point are marked with @code{[} and @code{]}
1367 @lilypond[quote,fragment,relative=1,verbatim]
1369 r4 r8[ g' a r8] r8 g[ | a] r8
1373 @cindex @code{stemLeftBeamCount}
1375 Normally, beaming patterns within a beam are determined automatically.
1376 If necessary, the properties @code{stemLeftBeamCount} and
1377 @code{stemRightBeamCount} can be used to override the defaults. If
1378 either property is set, its value will be used only once, and then it
1381 @lilypond[quote,fragment,relative=1,verbatim]
1384 f8[ r16 \set stemLeftBeamCount = #1 f g a]
1387 @cindex @code{stemRightBeamCount}
1390 The property @code{subdivideBeams} can be set in order to subdivide
1391 all 16th or shorter beams at beat positions, as defined by the
1392 @code{beatLength} property.
1395 @lilypond[quote,relative=2,verbatim,noindent]
1397 \set subdivideBeams = ##t
1399 \set Score.beatLength = #(ly:make-moment 1 8)
1402 @cindex subdivideBeams
1404 Kneed beams are inserted automatically, when a large gap is detected
1405 between the note heads. This behavior can be tuned through the object
1406 property @code{auto-knee-gap}.
1408 Normally, line breaks are forbidden when beams cross bar lines. This
1409 behavior can be changed by setting @code{allowBeamBreak}.
1411 @cindex @code{allowBeamBreak}
1412 @cindex beams and line breaks
1414 @cindex beams, kneed
1416 @cindex auto-knee-gap
1422 @cindex Frenched staves
1424 Automatically kneed cross-staff beams cannot be used together with
1430 @node Setting automatic beam behavior
1431 @subsection Setting automatic beam behavior
1433 @cindex @code{autoBeamSettings}
1434 @cindex @code{(end * * * *)}
1435 @cindex @code{(begin * * * *)}
1436 @cindex automatic beams, tuning
1437 @cindex tuning automatic beaming
1439 @c [TODO: use \applycontext]
1441 In normal time signatures, automatic beams can start on any note but can
1442 only end in a few positions within the measure: beams can end on a beat,
1443 or at durations specified by the properties in
1444 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
1445 are defined in @file{scm/auto-beam.scm}.
1447 The value of @code{autoBeamSettings} is changed with two functions,
1449 #(override-auto-beam-setting
1450 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
1452 #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m}))
1454 Here, @var{be} is the symbol @code{begin} or @code{end}, and
1455 @var{context} is an optional context (default: @code{'Voice}). It
1456 determines whether the rule applies to begin or end-points. The
1457 quantity @var{p}/@var{q} refers to the length of the beamed notes (and
1458 `@code{* *}' designates notes of any length), @var{n}/@var{M} refers
1459 to a time signature (wildcards `@code{* *}' may be entered to
1460 designate all time signatures), @var{a}/@var{b} is a duration. By
1461 default, this command changes settings for the current voice. It is
1462 also possible to adjust settings at higher contexts, by adding a
1463 @var{context} argument.
1465 For example, if automatic beams should end on every quarter note, use
1468 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1470 Since the duration of a quarter note is 1/4 of a whole note, it is
1471 entered as @code{(ly:make-moment 1 4)}.
1473 The same syntax can be used to specify beam starting points. In this
1474 example, automatic beams can only end on a dotted quarter note
1476 #(override-auto-beam-setting '(end * * * *) 3 8)
1478 In 4/4 time signature, this means that automatic beams could end only on
1479 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1480 3/8, has passed within the measure).
1482 Rules can also be restricted to specific time signatures. A rule that
1483 should only be applied in @var{N}/@var{M} time signature is formed by
1484 replacing the second asterisks by @var{N} and @var{M}. For example, a
1485 rule for 6/8 time exclusively looks like
1487 #(override-auto-beam-setting '(begin * * 6 8) @dots{})
1490 If a rule should be to applied only to certain types of beams, use the
1491 first pair of asterisks. Beams are classified according to the
1492 shortest note they contain. For a beam ending rule that only applies
1493 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1496 @cindex automatic beam generation
1498 @cindex @code{autoBeaming}
1501 If beams are used to indicate melismata in songs, then automatic
1502 beaming should be switched off. This is done by setting
1503 @code{autoBeaming} to @code{#f}.
1507 @cindex @code{\autoBeamOff}
1508 @code{\autoBeamOff},
1509 @cindex @code{\autoBeamOn}
1515 If a score ends while an automatic beam has not been ended and is
1516 still accepting notes, this last beam will not be typeset at all. The
1517 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
1518 >>}. If a polyphonic voice ends while an automatic beam is still
1519 accepting notes, it is not typeset.
1521 The rules for ending a beam depend on the shortest note in a beam.
1522 So, while it is possible to have different ending rules for eight
1523 beams and sixteenth beams, a beam that contains both eight and
1524 sixteenth notes will use the rules for the sixteenth beam.
1526 In the example below, the autobeamer makes eight beams and sixteenth
1527 end at 3 eights; the third beam can only be corrected by specifying
1530 @lilypond[quote,raggedright,fragment,relative=1]
1531 #(override-auto-beam-setting '(end * * * *) 3 8)
1532 % rather show case where it goes wrong
1533 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1534 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1536 It is not possible to specify beaming parameters that act differently in
1537 different parts of a measure. This means that it is not possible to use
1538 automatic beaming in irregular meters such as @code{5/8}.
1541 @section Accidentals
1544 This section describes how to change the way that accidentals are
1545 inserted automatically before the running notes.
1547 Common rules for typesetting accidentals have been canned in a
1548 function. This function is called as follows
1550 @cindex @code{set-accidental-style}
1552 #(set-accidental-style 'modern 'Voice)
1555 The function takes two arguments: a symbol that denotes the style (in
1556 the example, @code{modern}), and another symbol that denotes the
1557 context name (in this example, @code{Voice}). If no context name is
1558 supplied, @code{Staff} is the default.
1560 The following styles are supported
1563 This is the default typesetting behavior. It should correspond
1564 to 18th century common practice: Accidentals are
1565 remembered to the end of the measure in which they occur and
1566 only on their own octave.
1570 The normal behavior is to remember the accidentals on
1571 Staff-level. This variable, however, typesets accidentals
1572 individually for each voice. Apart from that, the rule is similar to
1575 This leads to some weird and often unwanted results
1576 because accidentals from one voice do not get canceled in other
1578 @lilypond[quote,raggedright,relative=1,fragment,verbatim]
1580 #(set-accidental-style 'voice)
1586 Hence you should only use @code{voice} if the voices
1587 are to be read solely by individual musicians. If the staff is to be
1588 used by one musician (e.g. a conductor) then you use
1589 @code{modern} or @code{modern-cautionary}
1593 @cindex @code{modern} style accidentals
1594 This rule corresponds to the common practice in the 20th
1596 This rule prints the same accidentals as @code{default}, but temporary
1597 accidentals also are canceled in other octaves. Furthermore,
1598 in the same octave, they also get canceled in the following
1601 @lilypond[quote,raggedright,fragment,verbatim]
1602 #(set-accidental-style 'modern)
1603 cis' c'' cis'2 | c'' c'
1606 @item @code{modern-cautionary}
1607 @cindex @code{modern-cautionary}
1608 This rule is similar to @code{modern}, but the
1609 ``extra'' accidentals (the ones not typeset by
1610 @code{default}) are typeset as cautionary accidentals.
1611 They are printed in reduced size or with parentheses
1612 @lilypond[quote,raggedright,fragment,verbatim]
1613 #(set-accidental-style 'modern-cautionary)
1614 cis' c'' cis'2 | c'' c'
1617 @cindex @code{modern-voice}
1619 This rule is used for multivoice accidentals to be read both by musicians
1620 playing one voice and musicians playing all voices. Accidentals are
1621 typeset for each voice, but they @emph{are} canceled across voices in
1622 the same @internalsref{Staff}.
1624 @cindex @code{modern-voice-cautionary}
1625 @item modern-voice-cautionary
1626 This rule is the same as @code{modern-voice}, but with the extra
1627 accidentals (the ones not typeset by @code{voice}) typeset
1628 as cautionaries. Even though all accidentals typeset by
1629 @code{default} @emph{are} typeset by this variable then
1630 some of them are typeset as cautionaries.
1633 @cindex @code{piano} accidentals
1634 This rule reflects 20th century practice for piano notation. Very similar to
1635 @code{modern} but accidentals also get canceled
1636 across the staves in the same @internalsref{GrandStaff} or
1637 @internalsref{PianoStaff}.
1639 @item piano-cautionary
1640 @cindex @code{#(set-accidental-style 'piano-cautionary)}
1641 As @code{#(set-accidental-style 'piano)' , str)} but with the extra accidentals
1642 typeset as cautionaries.
1645 @cindex @code{no-reset} accidental style
1647 This is the same as @code{default} but with accidentals lasting
1648 ``forever'' and not only until the next measure
1649 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1650 #(set-accidental-style 'no-reset)
1655 This is sort of the opposite of @code{no-reset}: Accidentals
1656 are not remembered at all---and hence all accidentals are
1657 typeset relative to the key signature, regardless of what was
1660 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1661 #(set-accidental-style 'forget)
1662 \key d\major c4 c cis cis d d dis dis
1669 Program reference: @internalsref{Accidental_engraver},
1670 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1675 Simultaneous notes are considered to be entered in sequential
1676 mode. This means that in a chord the accidentals are typeset as if the
1677 notes in the chord happened once at a time - in the order in which
1678 they appear in the input file.
1680 This is only a problem when accidentals in a chord depend on each
1681 other. This problem can be solved by manually inserting @code{!} and
1682 @code{?} for the problematic notes.
1684 In the default scheme, accidentals only depend on other
1685 accidentals with the same pitch on the same staff, so no conflicts are
1688 @node Expressive marks
1689 @section Expressive marks
1692 @c todo: should change ordering
1693 @c where to put text spanners, metronome marks,
1702 * Analysis brackets::
1704 * Fingering instructions::
1715 A slur indicates that notes are to be played bound or @emph{legato}.
1718 They are entered using parentheses
1719 @lilypond[quote,relative=2,fragment,verbatim]
1720 f( g)( a) a8 b( a4 g2 f4)
1725 @c TODO: should explain that ^( and _( set directions
1726 @c should set attachments with ^ and _ ?
1728 Slurs avoid crossing stems, and are generally attached to note heads.
1729 However, in some situations with beams, slurs may be attached to stem
1730 ends. If you want to override this layout you can do this through the
1731 object property @code{attachment} of @internalsref{Slur}. Its value
1732 is a pair of symbols, specifying the attachment type of the left and
1735 @lilypond[quote,fragment,relative=1,verbatim]
1737 \override Stem #'length = #5.5
1739 \override Slur #'attachment = #'(stem . stem)
1743 If a slur would strike through a stem or beam, the slur will be moved
1744 away upward or downward. If this happens, attaching the slur to the
1745 stems might look better
1747 @lilypond[quote,fragment,relative=1,verbatim]
1750 \override Slur #'attachment = #'(stem . stem)
1757 @cindex @code{\slurUp}
1759 @cindex @code{\slurDown}
1761 @cindex @code{\slurBoth}
1763 @cindex @code{\slurDotted}
1765 @cindex @code{\slurSolid}
1770 Program reference: @seeinternals{Slur}, and @internalsref{SlurEvent}.
1775 Producing nice slurs is a difficult problem, and LilyPond
1776 uses a simple, empiric method to produce slurs. In some cases, its
1780 @cindex Adjusting slurs
1782 @node Phrasing slurs
1783 @subsection Phrasing slurs
1785 @cindex phrasing slurs
1786 @cindex phrasing marks
1788 A phrasing slur (or phrasing mark) connects chords and is used to
1789 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1792 @lilypond[quote,fragment,verbatim,relative=1]
1793 \time 6/4 c'\( d( e) f( e) d\)
1796 Typographically, the phrasing slur behaves almost exactly like a
1797 normal slur. However, they are treated as different objects. A
1798 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1799 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1800 @code{\phrasingSlurBoth}.
1802 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1803 will only affect normal slurs and not phrasing slurs.
1807 @cindex @code{\phrasingSlurUp}
1808 @code{\phrasingSlurUp},
1809 @cindex @code{\phrasingSlurDown}
1810 @code{\phrasingSlurDown},
1811 @cindex @code{\phrasingSlurBoth}
1812 @code{\phrasingSlurBoth}.
1816 Program reference: see also @internalsref{PhrasingSlur}, and
1817 @internalsref{PhrasingSlurEvent}.
1821 Phrasing slurs have the same limitations in their formatting as normal
1822 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1825 @subsection Breath marks
1827 Breath marks are entered using @code{\breathe}
1830 @lilypond[quote,fragment,relative=1,verbatim]
1834 The glyph of the breath mark can be tuned by overriding the
1835 @code{text} property of the @code{BreathingSign} layout object with
1836 any markup text. For example,
1837 @lilypond[quote,fragment,verbatim,relative=1]
1839 \override BreathingSign #'text
1840 = #(make-musicglyph-markup "scripts-rvarcomma")
1847 Program reference: @internalsref{BreathingSign},
1848 @internalsref{BreathingSignEvent}.
1850 Examples: @inputfileref{input/regression,breathing-sign.ly}.
1853 @node Metronome marks
1854 @subsection Metronome marks
1857 @cindex beats per minute
1858 @cindex metronome marking
1860 Metronome settings can be entered as follows
1862 \tempo @var{duration} = @var{per-minute}
1865 In the MIDI output, they are interpreted as a tempo change, and in the
1866 paper output, a metronome marking is printed
1867 @cindex @code{\tempo}
1868 @lilypond[quote,fragment,verbatim]
1874 Program reference: @internalsref{MetronomeChangeEvent}.
1879 @subsection Text spanners
1880 @cindex Text spanners
1882 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1883 are written as texts, and extended over many measures with dotted
1884 lines. You can create such texts using text spanners: attach
1885 @code{\startTextSpan} and @code{\stopTextSpan} to the
1886 start and ending note of the spanner.
1888 The string to be printed, as well as the style, is set through object
1891 @lilypond[quote,fragment,relative=1,verbatim]
1894 \override TextSpanner #'direction = #-1
1895 \override TextSpanner #'edge-text = #'("rall " . "")
1896 c2\startTextSpan b c\stopTextSpan a
1903 Internals @internalsref{TextSpanEvent},
1904 @internalsref{TextSpanner}.
1906 Examples: @inputfileref{input/regression,text-spanner.ly}.
1909 @node Analysis brackets
1910 @subsection Analysis brackets
1912 @cindex phrasing brackets
1913 @cindex musicological analysis
1914 @cindex note grouping bracket
1916 Brackets are used in musical analysis to indicate structure in musical
1917 pieces. LilyPond supports a simple form of nested horizontal brackets.
1918 To use this, add the @internalsref{Horizontal_bracket_engraver} to
1919 @internalsref{Staff} context. A bracket is started with
1920 @code{\startGroup} and closed with @code{\stopGroup}
1922 @lilypond[quote,raggedright,verbatim]
1924 \notes \relative c'' {
1925 c4\startGroup\startGroup
1928 c4\stopGroup\stopGroup
1932 \StaffContext \consists "Horizontal_bracket_engraver"
1938 Program reference: @internalsref{HorizontalBracket},
1939 @internalsref{NoteGroupingEvent}.
1941 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
1945 @subsection Articulations
1946 @cindex Articulations
1948 @cindex articulations
1952 A variety of symbols can appear above and below notes to indicate
1953 different characteristics of the performance. They are added to a note
1954 by adding a dash and the character signifying the
1955 articulation. They are demonstrated here
1957 @lilypondfile[quote,raggedright]{script-abbreviations.ly}
1959 The meanings of these shorthands can be changed. See
1960 @file{ly/script-init.ly} for examples.
1963 The script is automatically placed, but if you need to force
1964 directions, you can use @code{_} to force them down, or @code{^} to
1966 @lilypond[quote,fragment,verbatim]
1970 Other symbols can be added using the syntax
1971 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
1972 can be forced up or down using @code{^} and @code{_},
1975 @lilypond[quote,verbatim,fragment,relative=3]
1976 c\fermata c^\fermata c_\fermata
1983 @cindex staccatissimo
1992 @cindex organ pedal marks
2001 @cindex prallmordent
2005 @cindex thumb marking
2010 @lilypondfile[quote,raggedright]{script-chart.ly}
2014 @cindex @code{\scriptUp}
2016 @cindex @code{\scriptDown}
2018 @cindex @code{\scriptBoth}
2023 Program reference: @internalsref{ScriptEvent}, and @internalsref{Script}.
2027 These note ornaments appear in the printed output but have no
2028 effect on the MIDI rendering of the music.
2031 @node Fingering instructions
2032 @subsection Fingering instructions
2036 Fingering instructions can be entered using
2038 @var{note}-@var{digit}
2040 For finger changes, use markup texts
2042 @lilypond[quote,verbatim,raggedright,fragment]
2043 c'4-1 c'4-2 c'4-3 c'4-4
2044 c'^\markup { \finger "2-3" }
2047 @cindex finger change
2052 You can use the thumb-script to indicate that a note should be
2053 played with the thumb (e.g. in cello music)
2055 @lilypond[quote,verbatim,raggedright,fragment]
2056 <a' a''-3>8_\thumb <b' b''-3>_\thumb
2059 Fingerings for chords can also be added to individual notes
2060 of the chord by adding them after the pitches
2061 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2062 < c-1 e-2 g-3 b-5 >4
2066 iIn this case, setting @code{fingeringOrientations} will put fingerings next
2069 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2070 \set fingeringOrientations = #'(left down)
2071 <c-1 es-2 g-4 bes-5 > 4
2072 \set fingeringOrientations = #'(up right down)
2073 <c-1 es-2 g-4 bes-5 > 4
2074 \set fingeringOrientations = #'(right)
2078 The last note demonstrates how fingering instructions can be put close
2079 to note heads in monophonic music, using this feature.
2083 Program reference: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2085 Examples: @inputfileref{input/regression,finger-chords.ly}.
2088 @subsection Text scripts
2089 @cindex Text scripts
2091 @cindex text items, non-empty
2092 @cindex non-empty texts
2094 It is possible to place arbitrary strings of text or markup text (see
2095 @ref{Text markup}) above or below notes by using a string
2096 @code{c^"text"}. By default, these indications do not influence the
2097 note spacing, but by using the command @code{\fatText}, the widths
2098 will be taken into account
2100 @lilypond[quote,fragment,raggedright,verbatim]
2102 c4^"longtext" \fatText c4_"longlongtext" c4
2106 It is possible to use @TeX{} commands in the strings, but this should
2107 be avoided because the exact dimensions of the string can then no
2112 @cindex @code{\fatText}
2114 @cindex @code{\emptyText}
2119 In this manual: @ref{Text markup}.
2121 Program reference: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
2127 @subsection Grace notes
2130 @c should have blurb about accaciatura / appogiatura
2132 @cindex @code{\grace}
2136 Grace notes are ornaments that are written out. The most common ones
2137 are acciaccatura, which should be played as very short. It is denoted
2138 by a slurred small note with a slashed stem. The appoggiatura is a
2139 grace note that takes a fixed fraction of the main note, is and
2140 denoted as a slurred note in small print without a slash.
2141 They are entered with the commands @code{\acciaccatura} and
2142 @code{\appoggiatura}, as demonstrated in the following example
2145 @cindex appoggiatura
2146 @cindex acciaccatura
2148 @lilypond[quote,relative=2,verbatim,fragment]
2149 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2150 \acciaccatura { g16[ f] } e4
2153 Both are special forms of the @code{\grace} command. By prefixing this
2154 keyword to a music expression, a new one is formed, which will be
2155 printed in a smaller font and takes up no logical time in a measure.
2157 @lilypond[quote,relative=2,verbatim,fragment]
2159 \grace { c16[ d16] } c2 c4
2163 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2164 @code{\grace} command does not start a slur.
2166 Internally, timing for grace notes is done using a second, `grace'
2167 time. Every point in time consists of two rational numbers: one
2168 denotes the logical time, one denotes the grace timing. The above
2169 example is shown here with timing tuples
2171 @lilypond[quote,raggedright]
2174 c4 \grace c16 c4 \grace {
2177 \new Lyrics \lyrics {
2180 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2181 \markup { (\fraction 1 4 , 0 ) } 4
2183 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2184 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2186 \markup { ( \fraction 2 4 , 0 ) }
2192 The placement of grace notes is synchronized between different staves.
2193 In the following example, there are two sixteenth graces notes for
2194 every eighth grace note
2196 @lilypond[quote,relative=2,verbatim,fragment]
2197 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2198 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2203 If you want to end a note with a grace, the standard trick is to put
2204 the grace notes after a ``space note''
2206 @lilypond[quote,fragment,verbatim,relative=2]
2209 { s2 \grace { c16[ d] } } >>
2215 By adjusting the duration of the skip note (here it is a half-note),
2216 the space between the main-note and the grace is adjusted.
2219 A @code{\grace} section will introduce special typesetting settings,
2220 for example, to produce smaller type, and set directions. Hence, when
2221 introducing layout tweaks, they should be inside the grace section,
2223 @lilypond[quote,fragment,verbatim,relative=2]
2226 \override Stem #'direction = #-1
2228 \revert Stem #'direction
2235 The overrides should also be reverted inside the grace section.
2237 If the layout of grace sections must be changed throughout the music,
2238 then this can be accomplished through the function
2239 @code{add-grace-property}. The following example undefines the Stem
2240 direction for this grace, so stems do not always point up.
2244 #(add-grace-property "Voice" Stem direction '())
2250 Another option is to change the variables @code{startGraceMusic},
2251 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2252 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2253 @code{stopAppoggiaturaMusic}. More information is in the file
2254 @file{ly/grace-init.ly}.
2259 Program reference: @internalsref{GraceMusic}.
2263 A score that starts with an @code{\grace} section needs an explicit
2264 @code{\context Voice} declaration, otherwise the main note and grace
2265 note end up on different staves.
2267 Grace note synchronization can also lead to surprises. Staff notation,
2268 such as key signatures, bar lines, etc. are also synchronized. Take
2269 care when you mix staves with grace notes and staves without, for example,
2271 @lilypond[quote,relative=2,verbatim,fragment]
2272 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2273 \new Staff { c4 \bar "|:" d4 } >>
2277 This can be remedied by inserting grace skips, for the above example
2280 \new Staff @{ c4 \bar "|:" \grace s16 d4 @} >>
2283 Grace sections should only be used within sequential music
2284 expressions. Nesting or juxtaposing grace sections is not supported,
2285 and might produce crashes or other errors.
2289 @subsection Glissando
2292 @cindex @code{\glissando}
2294 A glissando is a smooth change in pitch. It is denoted by a line or a
2295 wavy line between two notes.
2298 A glissando line can be requested by attaching a @code{\glissando} to
2301 @lilypond[quote,fragment,relative=1,verbatim]
2307 Program reference: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2309 Example files: @file{input/regression,glissando.ly}
2315 Printing text over the line (such as @emph{gliss.}) is not supported.
2319 @subsection Dynamics
2332 @cindex @code{\ffff}
2342 Absolute dynamic marks are specified using a command after a note
2343 @code{c4\ff}. The available dynamic marks are @code{\ppp},
2344 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2345 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2346 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}
2348 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2349 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2359 A crescendo mark is started with @code{\<} and terminated with
2360 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2361 with @code{\!}. Because these marks are bound to notes, if you must
2362 use spacer notes if multiple marks during one note are needed
2364 @lilypond[quote,fragment,verbatim]
2365 c''\< c''\! d''\> e''\!
2366 << f''1 { s4 s4\< s4\! \> s4\! } >>
2368 This may give rise to very short hairpins. Use @code{minimum-length}
2369 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2373 \override Staff.Hairpin #'minimum-length = #5
2376 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2377 is an example how to do it
2379 @lilypond[quote,fragment,relative=2,verbatim]
2389 You can also supply your own texts
2390 @lilypond[quote,fragment,relative=1,verbatim]
2392 \set crescendoText = \markup { \italic "cresc. poco" }
2393 \set crescendoSpanner = #'dashed-line
2403 @cindex @code{\dynamicUp}
2405 @cindex @code{\dynamicDown}
2406 @code{\dynamicDown},
2407 @cindex @code{\dynamicBoth}
2408 @code{\dynamicBoth}.
2410 @cindex direction, of dynamics
2414 Program reference: @internalsref{CrescendoEvent},
2415 @internalsref{DecrescendoEvent}, and
2416 @internalsref{AbsoluteDynamicEvent}.
2418 Dynamics @internalsref{DynamicText} and @internalsref{Hairpin}
2419 objects. Vertical positioning of these symbols is handled by the
2420 @internalsref{DynamicLineSpanner} object.
2428 @cindex @code{\repeat}
2431 Repetition is a central concept in music, and multiple notations exist
2432 for repetitions. In LilyPond, most of these notations can be captured
2433 in a uniform syntax. One of the advantages is that they can be
2434 rendered in MIDI accurately.
2436 The following types of repetition are supported
2440 Repeated music is fully written (played) out. Useful for MIDI
2441 output, and entering repetitive music.
2444 This is the normal notation: Repeats are not written out, but
2445 alternative endings (volte) are printed, left to right.
2449 Alternative endings are written stacked. This has limited use but may be
2450 used to typeset two lines of lyrics in songs with repeats, see
2451 @inputfileref{input,star-spangled-banner.ly}.
2459 Make beat or measure repeats. These look like percent signs.
2465 * Repeats and MIDI::
2466 * Manual repeat commands::
2468 * Tremolo subdivisions::
2473 @subsection Repeat syntax
2476 LilyPond has one syntactic construct for specifying different types of
2477 repeats. The syntax is
2480 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2483 If you have alternative endings, you may add
2484 @cindex @code{\alternative}
2486 \alternative @code{@{} @var{alternative1}
2488 @var{alternative3} @dots{} @code{@}}
2490 where each @var{alternative} is a music expression. If you do not
2491 give enough alternatives for all of the repeats, the first alternative
2492 is assumed to be played more than once.
2494 Normal notation repeats are used like this
2495 @lilypond[quote,fragment,verbatim,relative=2]
2497 \repeat volta 2 { c4 d e f }
2498 \repeat volta 2 { f e d c }
2501 With alternative endings
2502 @lilypond[quote,fragment,verbatim,relative=2]
2504 \repeat volta 2 {c4 d e f}
2505 \alternative { {d2 d} {f f,} }
2509 @lilypond[quote,fragment,verbatim,relative=2]
2512 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2513 \alternative { { g4 g g } { a | a a a a | b2. } }
2519 A nested repeat like
2528 is ambiguous, since it is is not clear to which @code{\repeat} the
2529 @code{\alternative} belongs. This ambiguity is resolved by always
2530 having the @code{\alternative} belong to the inner @code{\repeat}.
2531 For clarity, it is advisable to use braces in such situations.
2534 @node Repeats and MIDI
2535 @subsection Repeats and MIDI
2537 @cindex expanding repeats
2539 For instructions on how to expand repeats for MIDI output, see the
2540 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2545 Timing information is not remembered at the start of an alternative,
2546 so after a repeat timing information must be reset by hand, for
2547 example by setting @code{Score.measurePosition} or entering
2548 @code{\partial}. Similarly, slurs or ties are also not repeated.
2551 @node Manual repeat commands
2552 @subsection Manual repeat commands
2554 @cindex @code{repeatCommands}
2556 The property @code{repeatCommands} can be used to control the layout of
2557 repeats. Its value is a Scheme list of repeat commands, where each repeat
2561 @item the symbol @code{start-repeat},
2562 which prints a @code{|:} bar line,
2563 @item the symbol @code{end-repeat},
2564 which prints a @code{:|} bar line,
2565 @item the list @code{(volta @var{text})},
2566 which prints a volta bracket saying @var{text}: The text can be specified as
2567 a text string or as a markup text, see @ref{Text markup}. Do not
2568 forget to change the font, as the default number font does not contain
2569 alphabetic characters. Or,
2570 @item the list @code{(volta #f)}, which
2571 stops a running volta bracket
2574 @lilypond[quote,verbatim,fragment,relative=2]
2576 \set Score.repeatCommands = #'((volta "93") end-repeat)
2578 \set Score.repeatCommands = #'((volta #f))
2585 Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2586 @internalsref{VoltaRepeatedMusic},
2587 @internalsref{UnfoldedRepeatedMusic}, and
2588 @internalsref{FoldedRepeatedMusic}.
2590 @node Tremolo repeats
2591 @subsection Tremolo repeats
2592 @cindex tremolo beams
2594 To place tremolo marks between notes, use @code{\repeat} with tremolo
2596 @lilypond[quote,verbatim,raggedright]
2598 \context Voice \notes\relative c' {
2599 \repeat "tremolo" 8 { c16 d16 }
2600 \repeat "tremolo" 4 { c16 d16 }
2601 \repeat "tremolo" 2 { c16 d16 }
2606 Tremolo marks can also be put on a single note. In this case, the
2607 note should not be surrounded by braces.
2608 @lilypond[quote,verbatim,raggedright]
2609 \repeat "tremolo" 4 c'16
2612 A similar mechanism is the tremolo subdivision, described in
2613 @ref{Tremolo subdivisions}.
2617 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2619 Program reference: tremolo beams are @internalsref{Beam} objects. Single stem
2620 tremolos are @internalsref{StemTremolo} objects. The music expression is
2621 @internalsref{TremoloEvent}.
2623 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2624 @inputfileref{input/regression,stem-tremolo.ly}.
2626 @node Tremolo subdivisions
2627 @subsection Tremolo subdivisions
2628 @cindex tremolo marks
2629 @cindex @code{tremoloFlags}
2631 Tremolo marks can be printed on a single note by adding
2632 `@code{:}[@var{length}]' after the note. The length must be at least
2633 8. A @var{length} value of 8 gives one line across the note stem. If
2634 the length is omitted, the last value (stored in @code{tremoloFlags})
2637 @lilypond[quote,verbatim,fragment]
2638 c'2:8 c':32 | c': c': |
2641 @c [TODO : stok is te kort bij 32en]
2645 Tremolos entered in this way do not carry over into the MIDI output.
2649 In this manual: @ref{Tremolo repeats}.
2651 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
2653 @node Measure repeats
2654 @subsection Measure repeats
2656 @cindex percent repeats
2657 @cindex measure repeats
2659 In the @code{percent} style, a note pattern can be repeated. It is
2660 printed once, and then the pattern is replaced with a special sign.
2661 Patterns of a one and two measures are replaced by percent-like signs,
2662 patterns that divide the measure length are replaced by slashes
2664 @lilypond[quote,verbatim,raggedright]
2665 \context Voice { \repeat "percent" 4 { c'4 }
2666 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2672 Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2673 @internalsref{PercentRepeatedMusic}, and
2674 @internalsref{DoublePercentRepeat}.
2678 @node Rhythmic music
2679 @section Rhythmic music
2683 * Showing melody rhythms::
2684 * Entering percussion::
2685 * Percussion staves::
2689 @node Showing melody rhythms
2690 @subsection Showing melody rhythms
2692 Sometimes you might want to show only the rhythm of a melody. This
2693 can be done with the rhythmic staff. All pitches of notes on such a
2694 staff are squashed, and the staff itself has a single line
2696 @lilypond[quote,fragment,relative=1,verbatim]
2697 \context RhythmicStaff {
2699 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2705 Program reference: @internalsref{RhythmicStaff}.
2707 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
2710 @node Entering percussion
2711 @subsection Entering percussion
2717 Percussion notes may be entered in @code{\drums} mode, which is
2718 similar to @code{notes}. Each piece of percussion has a full name and
2719 an abbreviated name, and both be used in input files
2722 hihat hh bassdrum bd
2724 @lilypond[quote,raggedright]
2725 \new DrumStaff \drums { hihat hh bassdrum bd
2729 The complete list of drum names is in the init file
2730 @file{ly/drumpitch-init.ly}.
2731 @c TODO: properly document this.
2735 Program reference: @internalsref{DrumNoteEvent}.
2737 @node Percussion staves
2738 @subsection Percussion staves
2742 A percussion part for more than one instrument typically uses a
2743 multiline staff where each position in the staff refers to one piece
2747 To typeset the music, the notes must be interpreted in a
2748 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
2751 @lilypond[quote,raggedright,verbatim]
2752 up = \drums { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2753 down = \drums { bassdrum4 snare8 bd r bd sn4 }
2756 \new DrumVoice { \voiceOne \up }
2757 \new DrumVoice { \voiceTwo \down }
2762 The above example shows verbose polyphonic notation. The short
2763 polyphonic notation, described in @ref{Polyphony}, can also be used if
2764 the @internalsref{DrumVoices} are instantiated by hand first. For example,
2766 @lilypond[quote,fragment,verbatim]
2767 \drums \new DrumStaff <<
2768 \context DrumVoice = "1" { s1 *2 }
2769 \context DrumVoice = "2" { s1 *2 }
2773 { \repeat unfold 16 hh16 }
2782 There are also other layout possibilities. To use these, set the
2783 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
2784 The following variables have been predefined
2788 is the default. It typesets a typical drum kit on a five-line staff
2790 @lilypond[quote,noindent]
2791 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2792 bd sn ss tomh tommh tomml toml tomfh tomfl }
2793 mus = \drums { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
2794 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2796 << \new DrumStaff\with {
2797 \remove Bar_engraver
2798 \remove Time_signature_engraver
2799 \override Stem #'transparent = ##t
2800 \override Stem #'Y-extent-callback = ##f
2801 minimumVerticalExtent = #'(-4.0 . 5.0)
2803 \context Lyrics \nam
2806 %% need to do this, because of indented @itemize
2808 \context { \ScoreContext
2809 \override LyricText #'font-family = #'typewriter
2810 \override BarNumber #'transparent =##T
2814 The drum scheme supports six different toms. When there fewer toms, simply
2815 select the toms that produce the desired result, i.e. to get toms on
2816 the three middle lines you use @code{tommh}, @code{tomml} and
2819 @item timbales-style
2820 to typeset timbales on a two line staff
2822 @lilypond[quote,raggedright]
2823 nam = \lyrics { timh ssh timl ssl cb }
2824 mus = \drums { timh ssh timl ssl cb s16 }
2827 \context DrumStaff \with {
2828 \remove Bar_engraver
2829 \remove Time_signature_engraver
2830 \override Stem #'transparent = ##t
2831 \override Stem #'Y-extent-callback = ##f
2832 \override StaffSymbol #'line-count = #2
2833 \override StaffSymbol #'staff-space = #2
2834 minimumVerticalExtent = #'(-3.0 . 4.0)
2835 drumStyleTable = #timbales-style
2838 \override LyricText #'font-family = #'typewriter
2845 to typeset congas on a two line staff
2847 @lilypond[quote,raggedright]
2848 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2849 mus = \drums { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2852 \context DrumStaff\with {
2853 \remove Bar_engraver
2854 \remove Time_signature_engraver
2855 drumStyleTable = #congas-style
2856 \override StaffSymbol #'line-count = #2
2858 %% this sucks; it will lengthen stems.
2859 \override StaffSymbol #'staff-space = #2
2860 \override Stem #'transparent = ##t
2861 \override Stem #'Y-extent-callback = ##f
2864 \override LyricText #'font-family = #'typewriter
2870 to typeset bongos on a two line staff
2872 @lilypond[quote,raggedright]
2873 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2874 mus = \drums { boh boho bohm ssh bol bolo bolm ssl s16 }
2877 \context DrumStaff\with {
2878 \remove Bar_engraver
2879 \remove Time_signature_engraver
2880 \override StaffSymbol #'line-count = #2
2881 drumStyleTable = #bongos-style
2883 %% this sucks; it will lengthen stems.
2884 \override StaffSymbol #'staff-space = #2
2885 \override Stem #'transparent = ##t
2886 \override Stem #'Y-extent-callback = ##f
2889 \override LyricText #'font-family = #'typewriter
2895 @item percussion-style
2896 to typeset all kinds of simple percussion on one line staves
2897 @lilypond[quote,raggedright]
2898 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2899 mus = \drums { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2902 \context DrumStaff\with{
2903 \remove Bar_engraver
2904 drumStyleTable = #percussion-style
2905 \override StaffSymbol #'line-count = #1
2906 \remove Time_signature_engraver
2907 \override Stem #'transparent = ##t
2908 \override Stem #'Y-extent-callback = ##f
2912 \override LyricText #'font-family = #'typewriter
2919 If you do not like any of the predefined lists you can define your own
2920 list at the top of your file
2922 @lilypond[quote,raggedright,verbatim]
2924 (bassdrum default #f -1)
2925 (snare default #f 0)
2927 (pedalhihat xcircle "stopped" 2)
2928 (lowtom diamond #f 3)))
2929 up = \drums { hh8 hh hh hh hhp4 hhp }
2930 down = \drums { bd4 sn bd toml8 toml }
2933 \set DrumStaff.drumStyleTable
2934 = #(alist->hash-table mydrums)
2935 \new DrumVoice { \voiceOne \up }
2936 \new DrumVoice { \voiceTwo \down }
2944 Init files: @file{ly/drumpitch-init.ly}.
2946 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
2950 Because general MIDI does not contain rim shots, the sidestick is used
2951 for this purpose instead.
2954 @section Piano music
2956 Piano staves are two normal staves coupled with a brace. The staves
2957 are largely independent, but sometimes voices can cross between the
2958 two staves. The same notation is also used for harps and other key
2959 instruments. The @internalsref{PianoStaff} is especially built to
2960 handle this cross-staffing behavior. In this section we discuss the
2961 @internalsref{PianoStaff} and some other pianistic peculiarities.
2965 * Automatic staff changes::
2966 * Manual staff switches::
2969 * Staff switch lines::
2974 There is no support for putting chords across staves. You can get
2975 this result by increasing the length of the stem in the lower stave so
2976 it reaches the stem in the upper stave, or vice versa. An example is
2977 included with the distribution as
2978 @inputfileref{input/test,stem-cross-staff.ly}.
2980 Dynamics are not centered, but kludges do exist. See
2981 @inputfileref{input/template,piano-dynamics.ly}.
2983 @cindex cross staff stem
2984 @cindex stem, cross staff
2985 @cindex distance between staves in piano music
2987 The distance between the two staves is normally fixed across the
2988 entire score. It is possible to tune this per system, but it does
2989 require arcane command incantations. See
2990 @inputfileref{input/test,piano-staff-distance.ly}.
2993 @node Automatic staff changes
2994 @subsection Automatic staff changes
2995 @cindex Automatic staff changes
2997 Voices can switch automatically between the top and the bottom
2998 staff. The syntax for this is
3002 \autochange \context Voice @{ @dots{}@var{music}@dots{} @}
3007 The two staves of the piano staff must be named @code{up} and
3010 A @code{\relative} section that is outside of @code{\autochange} has
3011 no effect on the pitches of @var{music}, so, if necessary, put
3012 @code{\relative} inside @code{\autochange} like
3016 \autochange \relative @dots{} \new Voice @dots{}
3021 The autochanger switches on basis of pitch (middle C is the turning
3022 point), and it looks ahead skipping over rests to switch in
3023 advance. Here is a practical example
3025 @lilypond[quote,verbatim,raggedright]
3026 \score { \notes \context PianoStaff <<
3027 \context Staff = "up" {
3028 \autochange \new Voice \relative c' {
3029 g4 a b c d r4 a g } }
3030 \context Staff = "down" {
3037 In this example, spacer rests are used to prevent the bottom staff from
3038 terminating too soon.
3043 In this manual: @ref{Manual staff switches}.
3045 Program reference: @internalsref{AutoChangeMusic}.
3051 The staff switches often do not end up in optimal places. For high
3052 quality output, staff switches should be specified manually.
3055 @code{\autochange} cannot be inside @code{\times}.
3057 Internally, the @code{\partcombine} interprets both arguments as
3058 @code{Voice}s named @code{one} and @code{two}, and then decides when
3059 the parts can be combined. Consequently, if the arguments switch to
3060 differently named @internalsref{Voice} contexts, the events in those
3064 @node Manual staff switches
3065 @subsection Manual staff switches
3067 @cindex manual staff switches
3068 @cindex staff switch, manual
3070 Voices can be switched between staves manually, using the following command
3072 \change Staff = @var{staffname} @var{music}
3076 The string @var{staffname} is the name of the staff. It switches the
3077 current voice from its current staff to the Staff called
3078 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3079 @code{"down"}. The @context{Staff} referred to must already exist, so
3080 usually the setup for a score will start with a setup of the staves,
3084 \context Staff = up @{
3085 \skip 1 * 10 %@emph{ keep staff alive}
3087 \context Staff = down @{
3088 \skip 1 * 10 %@emph{idem}
3094 and the @context{Voice} is inserted afterwards
3097 \context Staff = down
3098 \new Voice @{ @dots{} \change Staff = up @dots{} @}
3106 Pianos have pedals that alter the way sound are produced. Generally, a
3107 piano has three pedals, sustain, una corda, and sostenuto.
3110 Piano pedal instruction can be expressed by attaching
3111 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3112 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3115 @lilypond[quote,fragment,verbatim]
3116 c'4\sustainDown c'4\sustainUp
3119 What is printed can be modified by setting @code{pedal@var{X}Strings},
3120 where @var{X} is one of the pedal types: @code{Sustain},
3121 @code{Sostenuto} or @code{UnaCorda}. Refer to
3122 @internalsref{SustainPedal} in the program reference for more
3125 Pedals can also be indicated by a sequence of brackets, by setting the
3126 @code{pedalSustainStyle} property to @code{bracket} objects
3128 @lilypond[quote,fragment,verbatim,relative=2]
3129 \set Staff.pedalSustainStyle = #'bracket
3131 b\sustainUp\sustainDown
3132 b g \sustainUp a \sustainDown \bar "|."
3135 A third style of pedal notation is a mixture of text and brackets,
3136 obtained by setting the @code{pedalSustainStyle} style property to
3139 @lilypond[quote,fragment,verbatim,relative=2]
3140 \set Staff.pedalSustainStyle = #'mixed
3142 b\sustainUp\sustainDown
3143 b g \sustainUp a \sustainDown \bar "|."
3146 The default `*Ped.' style for sustain and damper pedals corresponds to
3147 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3150 @lilypond[quote,fragment,verbatim,relative=2]
3151 c\sostenutoDown d e c, f g a\sostenutoUp
3154 For fine-tuning of the appearance of a pedal bracket, the properties
3155 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3156 @code{PianoPedalBracket} objects (see
3157 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3158 bracket may be extended to the end of the note head
3160 @lilypond[quote,fragment,verbatim,relative=2]
3161 \override Staff.PianoPedalBracket
3162 #'shorten-pair = #'(0 . -1.0)
3163 c\sostenutoDown d e c, f g a\sostenutoUp
3167 @subsection Arpeggio
3170 @cindex broken arpeggio
3171 @cindex @code{\arpeggio}
3173 You can specify an arpeggio sign on a chord by attaching an
3174 @code{\arpeggio} to a chord
3177 @lilypond[quote,fragment,relative=1,verbatim]
3181 When an arpeggio crosses staves, you attach an arpeggio to the chords
3182 in both staves, and set
3183 @internalsref{PianoStaff}.@code{connectArpeggios}
3185 @lilypond[quote,fragment,relative=1,verbatim]
3186 \context PianoStaff <<
3187 \set PianoStaff.connectArpeggios = ##t
3188 \new Staff { <c' e g c>\arpeggio }
3189 \new Staff { \clef bass <c,, e g>\arpeggio }
3193 The direction of the arpeggio is sometimes denoted by adding an
3194 arrowhead to the wiggly line
3196 @lilypond[quote,fragment,relative=1,verbatim]
3205 A square bracket on the left indicates that the player should not
3206 arpeggiate the chord
3208 @lilypond[quote,fragment,relative=1,verbatim]
3215 @cindex @code{\arpeggio}
3217 @cindex @code{\arpeggioUp}
3219 @cindex @code{\arpeggioDown}
3221 @cindex @code{\arpeggioBoth}
3222 @code{\arpeggioBoth},
3223 @cindex @code{\arpeggioBracket}
3224 @code{\arpeggioBracket}.
3228 Program reference: @internalsref{ArpeggioEvent} music expressions lead to
3229 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3230 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3234 It is not possible to mix connected arpeggios and unconnected
3235 arpeggios in one @internalsref{PianoStaff} at the same time.
3237 @node Staff switch lines
3238 @subsection Staff switch lines
3241 @cindex follow voice
3242 @cindex staff switching
3245 @cindex @code{followVoice}
3247 Whenever a voice switches to another staff a line connecting the notes
3248 can be printed automatically. This is enabled if the property
3249 @code{PianoStaff.followVoice} is set to true
3251 @lilypond[quote,fragment,relative=1,verbatim]
3252 \context PianoStaff <<
3253 \set PianoStaff.followVoice = ##t
3254 \context Staff \context Voice {
3259 \context Staff=two { \clef bass \skip 1*2 }
3265 The associated object is @internalsref{VoiceFollower}.
3269 @cindex @code{\showStaffSwitch}
3270 @code{\showStaffSwitch},
3271 @cindex @code{\hideStaffSwitch}
3272 @code{\hideStaffSwitch}.
3276 @section Vocal music
3278 This section discusses how to enter and print lyrics.
3282 * The Lyrics context::
3287 @node Entering lyrics
3288 @subsection Entering lyrics
3292 @cindex @code{\lyrics}
3295 Lyrics are entered in a special input mode. This mode is is introduced
3296 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3297 punctuation and accents without any hassle. Syllables are entered like
3298 notes, but with pitches replaced by text. For example,
3300 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3303 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3304 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3305 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3306 any 8-bit character with ASCII code over 127, or a two-character
3307 combination of a backslash followed by one of @code{`}, @code{'},
3308 @code{"}, or @code{^}.
3310 Subsequent characters of a word can be any character that is not a digit
3311 and not white space. One important consequence of this is that a word
3312 can end with @code{@}}. The following example is usually a bug. The
3313 syllable includes a @code{@}}, and hence the opening brace is not balanced
3315 \lyrics @{ twinkle@}
3318 @cindex @code{\property}, in @code{\lyrics}
3319 Similarly, a period following a alphabetic sequence, is included in
3320 the resulting string. As a consequence, spaces must be inserted around
3323 \override Score . LyricText #'font-shape = #'italic
3327 @cindex spaces, in lyrics
3328 @cindex quotes, in lyrics
3330 Any @code{_} character which appears in an unquoted word is converted
3331 to a space. This provides a mechanism for introducing spaces into words
3332 without using quotes. Quoted words can also be used in Lyrics mode to
3333 specify words that cannot be written with the above rules
3336 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3338 However, at least for english texts, you should use
3340 \lyrics @{ He said: ``Let my peo ple go'' @}
3342 to get the correct shape of the starting and ending quote.
3346 Centered hyphens are entered as `@code{-}@code{-}' between syllables.
3347 The hyphen will have variable length depending on the space between
3348 the syllables and it will be centered between the syllables.
3353 When a lyric is sung over many notes (this is called a melisma), this is
3354 indicated with a horizontal line centered between a syllable and the
3355 next one. Such a line is called an extender line, and it is entered as
3360 Program reference: events @internalsref{LyricEvent},
3361 @internalsref{HyphenEvent}, and @internalsref{ExtenderEvent}. Objects
3362 @internalsref{LyricHyphen}, @internalsref{LyricExtender} and
3363 @internalsref{LyricText}.
3365 Examples: @inputfileref{input/test,lyric-hyphen-retain.ly}.
3369 The definition of lyrics mode is too complex.
3373 @node The Lyrics context
3374 @subsection The Lyrics context
3376 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
3378 \context Lyrics \lyrics @dots{}
3381 @cindex automatic syllable durations
3382 @cindex @code{\lyricsto}
3383 @cindex lyrics and melodies
3385 This will place the lyrics according to the durations that were
3386 entered. The lyrics can also be aligned under a given melody
3387 automatically. In this case, it is no longer necessary to enter the
3388 correct duration for each syllable. This is achieved by combining the
3389 melody and the lyrics with the @code{\lyricsto} expression
3391 \lyricsto @var{name} \new Lyrics @dots{}
3394 This aligns the lyrics to the
3396 notes of the @internalsref{Voice} context called @var{name}, which has
3397 to exist. Therefore, normally the @code{Voice} is specified first, and
3398 then the lyrics are specified with @code{\lyricsto}.
3400 For different or more complex orderings, the best way is to setup the
3401 hierarchy of staves and lyrics first, e.g.
3403 \context ChoirStaff \notes <<
3404 \context Lyrics = sopranoLyrics @{ s1 @}
3405 \context Voice = soprano @{ @emph{music} @}
3406 \context Lyrics = tenorLyrics @{ s1 @}
3407 \context Voice = tenor @{ @emph{music} @}
3410 and then combine the appropriate melodies and lyric lines
3412 \lyricsto "soprano" \context Lyrics = sopranoLyrics
3417 The final input would resemble
3420 << \context ChoirStaff \notes << @emph{setup the music} >>
3421 \lyricsto "soprano" @emph{etc}
3422 \lyricsto "alto" @emph{etc}
3428 The @code{\lyricsto} command detects melismata: it only puts one
3429 syllable under a tied or slurred group of notes. If you want to force
3430 an unslurred group of notes to be a melisma, insert @code{\melisma}
3431 after the first note of the group, and @code{\melismaEnd} after the
3434 @lilypond[quote,relative=2,raggedright,fragment,verbatim]
3436 \context Voice = "lala" {
3444 \lyricsto "lala" \new Lyrics \lyrics {
3450 In addition, notes are considered a melisma if they are manually
3451 beamed, and automatic beaming (see @ref{Setting automatic beam
3452 behavior}) is switched off. The criteria for deciding melismata can
3453 be tuned with the property @code{melismaBusyProperties}. See
3454 @internalsref{Melisma_translator} in the program reference for more
3457 When multiple stanzas are put on the same melody, it can happen that
3458 two stanzas have melismata in different locations. This can be
3459 remedied by switching off melismata for one
3460 @internalsref{Lyrics}. This is achieved by setting
3461 the @code{ignoreMelismata} property to @code{#t}. An example is shown
3462 in @inputfileref{input/regression,lyric-combine-new.ly}.
3465 @cindex choral score
3467 A complete example of a SATB score setup is in the file
3468 @inputfileref{input/template,satb.ly}.
3473 @code{\melisma}, @code{\melismaEnd}
3474 @cindex @code{\melismaEnd}
3475 @cindex @code{\melisma}
3479 Program reference: Music expressions: @internalsref{LyricCombineMusic},
3480 Contexts: @internalsref{Lyrics}, @internalsref{Melisma_translator}.
3482 Examples: @inputfileref{input/template,satb.ly},
3483 @inputfileref{input/regression,lyric-combine-new.ly}.
3487 Melismata are not detected automatically, and extender lines must be
3491 For proper processing of extender lines, the
3492 @internalsref{Lyrics} and @internalsref{Voice} should be
3493 linked. This can be achieved either by using @code{\lyricsto} or by
3494 setting corresponding names for both contexts. The latter is explained
3495 in @ref{More stanzas}.
3498 @subsection More stanzas
3500 @cindex phrasing, in lyrics
3503 The lyrics should be aligned with the note heads of the melody. To
3504 achieve this, each line of lyrics should be marked to correspond with
3505 the melodic line. This is done automatically when @code{\lyricsto},
3506 but it can also be done manually.
3508 To this end, give the @internalsref{Voice} context an identity
3510 \context Voice = duet @{
3515 Then set the @internalsref{Lyrics} contexts to names starting with
3516 that identity followed by a dash. In the preceding example, the
3517 @internalsref{Voice} identity is @code{duet}, so the identities of the
3518 @internalsref{Lyrics}s are marked @code{duet-1} and @code{duet-2}
3520 \context Lyrics = "duet-1" @{
3521 Hi, my name is Bert. @}
3522 \context Lyrics = "duet-2" @{
3523 Ooooo, ch\'e -- ri, je t'aime. @}
3526 The complete example is shown here
3527 @lilypond[quote,raggedright,verbatim]
3530 \notes \relative c'' \context Voice = duet {
3534 \lyricsto "duet" \new Lyrics {
3535 \set vocalName = "Bert"
3536 Hi, my name is Bert. }
3537 \lyricsto "duet" \new Lyrics {
3538 \set vocalName = "Ernie"
3539 Ooooo, ch\'e -- ri, je t'aime. }
3545 @cindex stanza number
3546 @cindex singer's names
3547 @cindex name of singer
3549 Stanza numbers can be added by setting @code{stanza}, e.g.
3551 @lilypond[quote,verbatim,relative=2]
3553 \context Voice = duet {
3554 \time 3/4 g2 e4 a2 f4 g2. }
3555 \lyrics \lyricsto "duet" \new Lyrics {
3557 Hi, my name is Bert. }
3561 This example also demonstrates how names of the singers can be added
3562 using @code{vocalName} analogous to instrument annotations for staves.
3563 A short version may be entered as @code{vocNam}.
3565 To make empty spaces in lyrics, use @code{\skip}.
3570 Program reference: Layout objects @internalsref{LyricText} and
3571 @internalsref{VocalName}. Music expressions
3572 @internalsref{LyricEvent}.
3578 Input for lyrics introduces a syntactical ambiguity
3585 is interpreted as assigning a string identifier @code{\foo} such that
3586 it contains @code{"bar"}. However, it could also be interpreted as
3587 making or a music identifier @code{\foo} containing the syllable
3588 `bar'. The force the latter interpretation, use
3598 The term @emph{ambitus} denotes a range of pitches for a given voice
3599 in a part of music. It also may denote the pitch range that a musical
3600 instrument is capable of playing. Ambituses are printed on vocal
3601 parts, so singers can easily determine if it meets his or her
3604 It denoted at the beginning of a piece near the initial clef. The
3605 range is graphically specified by two note heads, that represent the
3606 minimum and maximum pitch. To print such ambituses, add the
3607 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
3614 \consists Ambitus_engraver
3619 This results in the following output
3621 @lilypond[quote,raggedright]
3624 \notes \relative c' <<
3635 \consists Ambitus_engraver
3641 If you have multiple voices in a single staff, and you want a single
3642 ambitus per staff rather than per each voice, add the
3643 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3644 rather than to the @internalsref{Voice} context.
3646 It is possible to tune individual ambituses for multiple voices on a
3647 single staff, for example by erasing or shifting them horizontally. An
3648 example is in @inputfileref{input/test,ambitus-mixed.ly}.
3652 Program reference: @internalsref{Ambitus}.
3654 Examples: @inputfileref{input/regression,ambitus.ly},
3655 @inputfileref{input/test,ambitus-mixed.ly}.
3659 There is no collision handling in the case of multiple per-voice
3665 Tablature notation is used for notating music for plucked string
3666 instruments. It notates pitches not by using note heads, but by
3667 indicating on which string and fret a note must be played. LilyPond
3668 offers limited support for tablature.
3671 * Tablatures basic::
3672 * Non-guitar tablatures::
3675 @node Tablatures basic
3676 @subsection Tablatures basic
3677 @cindex Tablatures basic
3679 The string number associated to a note is given as a backslash
3680 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3681 string. By default, string 1 is the highest one, and the tuning
3682 defaults to the standard guitar tuning (with 6 strings). The notes
3683 are printed as tablature, by using @internalsref{TabStaff} and
3684 @internalsref{TabVoice} contexts
3686 @lilypond[quote,fragment,verbatim]
3687 \notes \context TabStaff {
3695 When no string is specified, the first string that does not give a
3696 fret number less than @code{minimumFret} is selected. The default
3697 value for @code{minimumFret} is 0
3702 \set TabStaff.minimumFret = #8
3705 @lilypond[quote,noindent,raggedright]
3709 \set TabStaff.minimumFret = #8
3713 \context StaffGroup <<
3714 \context Staff { \clef "G_8" \frag }
3715 \context TabStaff { \frag }
3722 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}, and
3723 @internalsref{StringNumberEvent}.
3727 Chords are not handled in a special way, and hence the automatic
3728 string selector may easily select the same string to two notes in a
3732 @node Non-guitar tablatures
3733 @subsection Non-guitar tablatures
3734 @cindex Non-guitar tablatures
3736 You can change the number of strings, by setting the number of lines
3737 in the @internalsref{TabStaff}.
3739 You can change the tuning of the strings. A string tuning is given as
3740 a Scheme list with one integer number for each string, the number
3741 being the pitch (measured in semitones relative to middle C) of an
3742 open string. The numbers specified for @code{stringTuning} are the
3743 numbers of semitones to subtract or add, starting the specified pitch
3744 by default middle C, in string order. Thus, the notes are e, a, d, and
3747 @lilypond[quote,fragment,verbatim]
3748 \context TabStaff <<
3749 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
3752 a,4 c' a e' e c' a e'
3759 No guitar special effects have been implemented.
3763 Program reference: @internalsref{Tab_note_heads_engraver}.
3767 @section Chord names
3770 LilyPond has support for both printing chord names. Chords may be
3771 entered in musical chord notation, i.e. @code{< .. >}, but they can
3772 also be entered by name. Internally, the chords are represented as a
3773 set of pitches, so they can be transposed
3776 @lilypond[quote,verbatim,raggedright]
3777 twoWays = \notes \transpose c c' {
3787 << \context ChordNames \twoWays
3788 \context Voice \twoWays >> }
3791 This example also shows that the chord printing routines do not try to
3792 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3798 * Printing chord names::
3803 @subsection Chords mode
3806 Chord mode is a mode where you can input sets of pitches using common
3807 names. It is introduced by the keyword @code{\chords}.
3808 In chords mode, a chord is entered by the root, which is entered
3810 @lilypond[quote,fragment,verbatim,relative=2]
3811 \chords { es4. d8 c2 }
3816 Other chords may be entered by suffixing a colon, and introducing a
3817 modifier, and optionally, a number
3819 @lilypond[quote,fragment,verbatim]
3820 \chords { e1:m e1:7 e1:m7 }
3822 The first number following the root is taken to be the `type' of the
3823 chord, thirds are added to the root until it reaches the specified
3825 @lilypond[quote,fragment,verbatim]
3826 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3829 @cindex root of chord
3830 @cindex additions, in chords
3831 @cindex removals, in chords
3833 More complex chords may also be constructed adding separate steps
3834 to a chord. Additions are added after the number following
3835 the colon, and are separated by dots
3837 @lilypond[quote,verbatim,fragment]
3838 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3840 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3842 @lilypond[quote,verbatim,fragment]
3843 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3845 Removals are specified similarly, and are introduced by a caret. They
3846 must come after the additions
3847 @lilypond[quote,verbatim,fragment]
3848 \chords { c^3 c:7^5 c:9^3.5 }
3851 Modifiers can be used to change pitches. The following modifiers are
3855 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3857 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3860 is the augmented chord. This modifier raises the 5th step.
3862 is the major 7th chord. This modifier raises the 7th step if present.
3864 is the suspended 4th or 2nd. This modifier removes the 3rd
3865 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3868 Modifiers can be mixed with additions
3869 @lilypond[quote,verbatim,fragment]
3870 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3873 @cindex modifiers, in chords.
3880 Since an unaltered 11 does not sound good when combined with an
3881 unaltered 13, the 11 is removed in this case (unless it is added
3884 @lilypond[quote,fragment,verbatim]
3885 \chords { c:13 c:13.11 c:m13 }
3890 An inversion (putting one pitch of the chord on the bottom), as well
3891 as bass notes, can be specified by appending
3892 @code{/}@var{pitch} to the chord
3893 @lilypond[quote,fragment,verbatim]
3894 \chords { c1 c/g c/f }
3898 A bass note can be added instead of transposed out of the chord,
3899 by using @code{/+}@var{pitch}.
3901 @lilypond[quote,fragment,verbatim]
3902 \chords { c1 c/+g c/+f }
3905 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3906 of the commands continue to work, for example, @code{r} and
3907 @code{\skip} can be used to insert rests and spaces, and property
3908 commands may be used to change various settings.
3914 Each step can only be present in a chord once. The following
3915 simply produces the augmented chord, since @code{5+} is interpreted
3918 @lilypond[quote,verbatim,fragment]
3919 \chords { c:5.5-.5+ }
3923 @node Printing chord names
3924 @subsection Printing chord names
3926 @cindex printing chord names
3930 For displaying printed chord names, use the @internalsref{ChordNames} context.
3931 The chords may be entered either using the notation
3932 described above, or directly using @code{<} and @code{>}
3934 @lilypond[quote,verbatim,raggedright]
3936 \chords {a1 b c} <d' f' a'> <e' g' b'>
3940 \context ChordNames \scheme
3941 \context Staff \scheme
3946 You can make the chord changes stand out by setting
3947 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3948 display chord names when there is a change in the chords scheme and at
3949 the start of a new line
3951 @lilypond[quote,verbatim,linewidth=9\cm]
3953 c1:m c:m \break c:m c:m d
3957 \context ChordNames {
3958 \set chordChanges = ##t
3960 \context Staff \transpose c c' \scheme
3965 The default chord name layout is a system for Jazz music, proposed by
3966 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
3967 following properties
3970 @cindex chordNameExceptions
3971 @item chordNameExceptions
3972 This is a list that contains the chords that have special formatting.
3974 @inputfileref{input/regression,chord-name-exceptions.ly}.
3975 @cindex exceptions, chord names.
3978 @cindex majorSevenSymbol
3979 @item majorSevenSymbol
3980 This property contains the markup object used for the 7th step, when
3981 it is major. Predefined options are @code{whiteTriangleMarkup} and
3982 @code{blackTriangleMarkup}. See
3983 @inputfileref{input/regression,chord-name-major7.ly} for an example.
3985 @cindex chordNameSeparator
3986 @item chordNameSeparator
3987 Different parts of a chord name are normally separated by a
3988 slash. By setting @code{chordNameSeparator}, you can specify other
3990 @lilypond[quote,fragment,verbatim]
3991 \context ChordNames \chords {
3993 \set chordNameSeparator
3994 = \markup { \typewriter "|" }
3999 @cindex chordRootNamer
4000 @item chordRootNamer
4001 The root of a chord is usually printed as a letter with an optional
4002 alteration. The transformation from pitch to letter is done by this
4003 function. Special note names (for example, the German ``H'' for a
4004 B-chord) can be produced by storing a new function in this property.
4006 The predefined variables @code{\germanChords},
4007 @code{\semiGermanChords} set these variables.
4010 @cindex chordNoteNamer
4011 @item chordNoteNamer
4012 The default is to print single pitch, e.g. the bass note, using the
4013 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4014 to a specialized function to change this behavior. For example, the
4015 base can be printed in lower case.
4020 There are also two other chord name schemes implemented: an alternate
4021 Jazz chord notation, and a systematic scheme called Banter chords. The
4022 alternate jazz notation is also shown on the chart in @ref{Chord name
4023 chart}. Turning on these styles is described in the input file
4024 @inputfileref{input/test,chord-names-jazz.ly}.
4028 @cindex chords, jazz
4033 @cindex @code{\germanChords}
4034 @code{\germanChords},
4035 @cindex @code{\semiGermanChords}
4036 @code{\semiGermanChords}.
4043 Examples: @inputfileref{input/regression,chord-name-major7.ly},
4044 @inputfileref{input/regression,chord-name-exceptions.ly},
4045 @inputfileref{input/test,chord-names-jazz.ly},
4046 @inputfileref{input/test,chord-names-german.ly}.
4048 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4053 Chord names are determined solely from the list of pitches. Chord
4054 inversions are not identified, and neither are added bass notes. This
4055 may result in strange chord names when chords are entered with the
4056 @code{< .. >} syntax.
4061 @node Orchestral music
4062 @section Orchestral music
4064 @cindex Writing parts
4066 Orchestral music involves some special notation, both in the full
4067 score and the individual parts. This section explains how to tackle
4068 some common problems in orchestral music.
4073 * Multiple staff contexts::
4076 * Instrument names::
4078 * Instrument transpositions::
4079 * Multi measure rests::
4080 * Automatic part combining::
4082 * Different editions from one source::
4083 * Quoting other voices::
4086 @node Multiple staff contexts
4087 @subsection Multiple staff contexts
4089 Polyphonic scores consist of many staves. These staves can be
4090 constructed in three different ways
4092 @item The group is started with a brace at the left, and bar lines are
4093 connected. This is done with the @internalsref{GrandStaff} context.
4095 @item The group is started with a bracket, and bar lines are connected. This is done with the
4096 @internalsref{StaffGroup} context
4099 @item The group is started with a vertical line. Bar lines are not
4100 connected. This is the default for the score.
4104 @cindex Staff, multiple
4105 @cindex bracket, vertical
4106 @cindex brace, vertical
4113 @node Rehearsal marks
4114 @subsection Rehearsal marks
4115 @cindex Rehearsal marks
4117 @cindex @code{\mark}
4119 To print a rehearsal mark, use the @code{\mark} command
4120 @lilypond[quote,fragment,verbatim]
4131 (The letter I is skipped in accordance with engraving traditions.)
4133 The mark is incremented automatically if you use @code{\mark
4134 \default}, but you can also use an integer argument to set the mark
4135 manually. The value to use is stored in the property
4136 @code{rehearsalMark}.
4138 The style is defined by the property @code{markFormatter}. It is a
4139 function taking the current mark (an integer) and the current context
4140 as argument. It should return a markup object. In the following
4141 example, @code{markFormatter} is set to a canned procedure. After a
4142 few measures, it is set to function that produces a boxed number.
4144 @lilypond[quote,verbatim,fragment,relative=2]
4145 \set Score.markFormatter = #format-mark-numbers
4148 \set Score.markFormatter
4149 = #(lambda (mark context)
4150 (make-bold-markup (make-box-markup (number->string mark))))
4155 The file @file{scm/translation-functions.scm} contains the definitions
4156 of @code{format-mark-numbers} (the default format) and
4157 @code{format-mark-letters}. They can be used as inspiration for other
4158 formatting functions.
4161 @cindex coda on bar line
4162 @cindex segno on bar line
4163 @cindex fermata on bar line
4164 @cindex bar lines, symbols on
4166 The @code{\mark} command can also be used to put signs like coda,
4167 segno and fermatas on a bar line. Use @code{\markup} to
4168 to access the appropriate symbol
4170 @lilypond[quote,fragment,verbatim,relative=2]
4171 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4175 In the case of a line break, marks must also be printed at the end of
4176 the line, and not at the beginning. Use the following to force that
4179 \override Score.RehearsalMark
4180 #'break-visibility = #begin-of-line-invisible
4186 @cindex bar lines, putting symbols on
4190 Program reference: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
4192 Init files: @file{scm/translation-functions.scm} contains the
4193 definition of @code{format-mark-numbers} and
4194 @code{format-mark-letters}. They can be used as inspiration for other
4195 formatting functions.
4197 Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
4198 @inputfileref{input/regression,rehearsal-mark-number.ly}.
4202 @subsection Bar numbers
4206 @cindex measure numbers
4207 @cindex currentBarNumber
4209 Bar numbers are printed by default at the start of the line. The
4210 number itself is stored in the
4211 @code{currentBarNumber} property,
4212 which is normally updated automatically for every measure.
4214 Bar numbers can be typeset at regular intervals instead of at the
4215 beginning of each line. This is illustrated in the following example,
4216 whose source is available as
4217 @inputfileref{input/test,bar-number-regular-interval.ly}
4219 @lilypondfile[quote]{bar-number-regular-interval.ly}
4223 Program reference: @internalsref{BarNumber}.
4225 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4226 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4230 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4231 there is one at the top. To solve this, the
4232 @code{padding} property of @internalsref{BarNumber} can be
4233 used to position the number correctly.
4235 @node Instrument names
4236 @subsection Instrument names
4238 In an orchestral score, instrument names are printed left side of the
4241 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4242 and @internalsref{Staff}.@code{instr}. This will print a string before
4243 the start of the staff. For the first start, @code{instrument} is
4244 used, for the next ones @code{instr} is used.
4246 @lilypond[quote,verbatim,raggedright,relative=1]
4247 \set Staff.instrument = "Ploink "
4248 \set Staff.instr = "Plk "
4254 You can also use markup texts to construct more complicated instrument
4257 @lilypond[quote,fragment,verbatim,raggedright]
4259 \set Staff.instrument = \markup {
4260 \column < "Clarinetti" { "in B"
4261 \smaller \flat } > }
4268 Program reference: @internalsref{InstrumentName}.
4272 When you put a name on a grand staff or piano staff the width of the
4273 brace is not taken into account. You must add extra spaces to the end of
4274 the name to avoid a collision.
4277 @subsection Transpose
4279 @cindex transposition of pitches
4280 @cindex @code{\transpose}
4282 A music expression can be transposed with @code{\transpose}. The
4285 \transpose @var{from} @var{to} @var{musicexpr}
4288 This means that @var{musicexpr} is transposed by the interval between
4289 the pitches @var{from} and @var{to}: any note with pitch @code{from}
4290 is changed to @code{to}.
4293 For example, consider a piece written in the key of D major. If
4294 this piece is a little too low for its performer, it can be
4295 transposed up to E major with
4297 \transpose d e @dots{}
4300 Consider a part written for violin (a C instrument). If
4301 this part is to be played on the A clarinet, the following
4302 transposition will produce the appropriate part
4305 \transpose a c @dots{}
4308 Since @var{from} and @var{to} are pitches, so @code{\transpose} must be
4309 inside a @code{\notes} section. @code{\transpose} distinguishes
4310 between enharmonic pitches: both @code{\transpose c cis} or
4311 @code{\transpose c des} will transpose up half a tone. The first
4312 version will print sharps and the second version will print flats
4314 @lilypond[quote,raggedright,verbatim]
4315 mus =\notes { \key d \major cis d fis g }
4316 \score { \notes \context Staff {
4319 \transpose c g' \mus
4320 \transpose c f' \mus
4327 Program reference: @internalsref{TransposedMusic}, and
4328 @internalsref{UntransposableMusic}.
4332 If you want to use both @code{\transpose} and @code{\relative},
4333 you must put @code{\transpose} outside of @code{\relative}, since
4334 @code{\relative} will have no effect music that appears inside a
4337 @node Instrument transpositions
4338 @subsection Instrument transpositions
4340 The key of a transposing instrument can also be specified. This
4341 applies to many wind instruments, for example, clarinets (B-flat, A and
4342 E-flat), horn (F) and trumpet (B-flat, C, D and E-flat).
4345 The transposition is entered after the keyword @code{\transposition}
4348 \transposition bes %% B-flat clarinet
4351 This command sets the property @code{instrumentTuning}. The value of
4352 this property is used for MIDI output and quotations. It does not
4353 affect how notes are printed in the current staff.
4355 @cindex transposition, MIDI
4356 @cindex transposition, instrument
4359 @node Multi measure rests
4360 @subsection Multi measure rests
4361 @cindex multi measure rests
4362 @cindex Rests, multi measure
4366 Multi measure rests are entered using `@code{R}'. It is specifically
4367 meant for full bar rests and for entering parts: the rest can expand
4368 to fill a score with rests, or it can be printed as a single
4369 multimeasure rest. This expansion is controlled by the property
4370 @code{Score.skipBars}. If this is set to true, empty measures will not
4371 be expanded, and the appropriate number is added automatically
4373 @lilypond[quote,fragment,verbatim]
4374 \time 4/4 r1 | R1 | R1*2
4375 \set Score.skipBars = ##t R1*17 R1*4
4378 The @code{1} in @code{R1} is similar to the duration notation used for
4379 notes. Hence, for time signatures other than 4/4, you must enter other
4380 durations. This can be done with augmentation dots or fractions
4382 @lilypond[quote,fragment,verbatim]
4383 \set Score.skipBars = ##t
4391 An @code{R} spanning a single measure is printed as either a whole rest
4392 or a breve, centered in the measure regardless of the time signature.
4394 @cindex text on multi-measure rest
4395 @cindex script on multi-measure rest
4396 @cindex fermata on multi-measure rest
4398 Texts can be added to multi-measure rests by using the
4399 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4400 replaced. If you need both texts and the number, you must add the
4401 number by hand. A variable (@code{\fermataMarkup}) is provided for
4405 @lilypond[quote,verbatim,fragment]
4407 R2._\markup { "Ad lib" }
4411 If you want to have a text on the left end of a multi-measure rest,
4412 attach the text to a zero-length skip note, i.e.
4420 @cindex whole rests for a full measure
4424 Program reference: @internalsref{MultiMeasureRestEvent},
4425 @internalsref{MultiMeasureTextEvent},
4426 @internalsref{MultiMeasureRestMusicGroup}, and
4427 @internalsref{MultiMeasureRest}.
4429 The layout object @internalsref{MultiMeasureRestNumber} is for the
4430 default number, and @internalsref{MultiMeasureRestText} for user
4435 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4436 over multi-measure rests.
4438 @cindex condensing rests
4440 There is no way to automatically condense multiple rests into a single
4441 multimeasure rest. Multi measure rests do not take part in rest
4444 Be careful when entering multimeasure rests followed by whole
4445 notes. The following will enter two notes lasting four measures each
4449 When @code{skipBars} is set, the result will look OK, but the bar
4450 numbering will be off.
4452 @node Automatic part combining
4453 @subsection Automatic part combining
4454 @cindex automatic part combining
4455 @cindex part combiner
4458 Automatic part combining is used to merge two parts of music onto a
4459 staff. It is aimed at typesetting orchestral scores. When the two
4460 parts are identical for a period of time, only one is shown. In
4461 places where the two parts differ, they are typeset as separate
4462 voices, and stem directions are set automatically. Also, solo and
4463 @emph{a due} parts are identified and can be marked.
4465 The syntax for part combining is
4468 \partcombine @var{musicexpr1} @var{musicexpr2}
4471 The music expressions will be interpreted as @internalsref{Voice}
4472 contexts. If using relative octaves, @code{\relative} should be
4473 specified for both music expressions, i.e.
4476 \partcombine \relative @dots{} @var{musicexpr1}
4477 \relative @dots{} @var{musicexpr2}
4481 A @code{\relative} section that is outside of @code{\partcombine} has
4482 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
4485 The following example demonstrates the basic functionality of the part
4486 combiner: putting parts on one staff, and setting stem directions and
4489 @lilypond[quote,verbatim,raggedright,fragment]
4490 \new Staff \partcombine
4491 \relative g' { g g a( b) c c r r }
4492 \relative g' { g g r4 r e e g g }
4495 The first @code{g} appears only once, although it was
4496 specified twice (once in each part). Stem, slur and tie directions are
4497 set automatically, depending whether there is a solo or unisono. The
4498 first part (with context called @code{one}) always gets up stems, and
4499 `solo', while the second (called @code{two}) always gets down stems and
4502 If you just want the merging parts, and not the textual markings, you
4503 may set the property @code{soloADue} to false
4505 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
4507 \set Staff.soloADue = ##f
4509 \relative g' { g a( b) r }
4510 \relative g' { g r4 r f }
4516 Program reference: @internalsref{PartCombineMusic},
4517 @internalsref{SoloOneEvent}, and
4518 @internalsref{SoloTwoEvent}, and
4519 @internalsref{UnisonoEvent}.
4523 In @code{soloADue} mode, when the two voices play the same notes on and
4524 off, the part combiner may typeset @code{a2} more than once in a
4527 @code{\partcombine} cannot be inside @code{\times}.
4529 @code{\partcombine} cannot be inside @code{\relative}.
4531 Internally, the @code{\partcombine} interprets both arguments as
4532 @code{Voice}s named @code{one} and @code{two}, and then decides when
4533 the parts can be combined. Consequently, if the arguments switch to
4534 differently named @internalsref{Voice} contexts, the events in those
4538 @subsection Hiding staves
4540 @cindex Frenched scores
4541 @cindex Hiding staves
4543 In orchestral scores, staff lines that only have rests are usually
4544 removed. This saves some space. This style is called `French Score'.
4545 For @internalsref{Lyrics},
4546 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4547 switched on by default. When these line of these contexts turn out
4548 empty after the line-breaking process, they are removed.
4550 For normal staves, a specialized @internalsref{Staff} context is
4551 available, which does the same: staves containing nothing (or only
4552 multi measure rests) are removed. The context definition is stored in
4553 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4554 in this example disappears in the second line
4557 @lilypond[quote,verbatim]
4559 \notes \relative c' <<
4560 \new Staff { e4 f g a \break c1 }
4561 \new Staff { c4 d e f \break R1 }
4565 \context { \RemoveEmptyStaffContext }
4570 The first page shows all staves in full. If empty staves should be
4571 removed from the first page too, set @code{remove-first} to false in
4572 @internalsref{RemoveEmptyVerticalGroup}.
4574 Another application is making ossia sections, i.e. alternative
4575 melodies on a separate piece of staff, with help of a Frenched
4576 staff. See @inputfileref{input/test,ossia.ly} for an example.
4579 @node Different editions from one source
4580 @subsection Different editions from one source
4582 The @code{\tag} command marks music expressions with a name. These
4583 tagged expressions can be filtered out later. With this mechanism it
4584 is possible to make different versions of the same music source.
4586 In the following example, we see two versions of a piece of music, one
4587 for the full score, and one with cue notes for the instrumental part
4603 The same can be applied to articulations, texts, etc.: they are
4606 -\tag #@var{your-tag}
4608 to an articulation, for example,
4613 This defines a note with a conditional fingering indication.
4615 By applying the @code{remove-tag} function, tagged expressions can be
4616 filtered. For example,
4620 \apply #(remove-tag 'score) @var{the music}
4621 \apply #(remove-tag 'part) @var{the music}
4626 @lilypondfile[quote]{tag-filter.ly}
4628 The argument of the @code{\tag} command should be a symbol, or a list
4629 of symbols, for example,
4631 \tag #'(original-part transposed-part) @dots{}
4636 Examples: @inputfileref{input/regression,tag-filter.ly}.
4639 @node Quoting other voices
4640 @subsection Quoting other voices
4642 With quotations, fragments of other parts can be inserted into a part
4643 directly. Before a part can be quoted, it must be marked especially as
4644 quotable. This is done with code @code{\addquote} command. The
4645 quotation may then be done with @code{\quote}
4648 \addquote @var{name} @var{music}
4649 \quote @var{name} @var{duration}
4654 Here, @var{name} is an identifying string. The @var{music} is any kind
4655 of music. This is an example of @code{\addquote}
4658 \addquote clarinet \notes\relative c' {
4663 During a part, a piece of music can be quoted with the @code{\quote}
4670 This would cite 3 quarter notes (a dotted half note) of the previously
4671 added clarinet voice.
4673 Quotations take into account the transposition both source and target
4674 instruments, if they are specified using the @code{\transposition} command.
4676 @lilypond[quote,raggedright,verbatim]
4677 \addquote clarinet \notes\relative c' {
4683 e'8 f'8 \quote clarinet 2
4689 Only the contents of the first @internalsref{Voice} occurring in an
4690 @code{\addquote} command will be considered for quotation, so
4691 @var{music} can not contain @code{\new} and @code{\context Voice}
4692 statements that would switch to a different Voice.
4697 In this manual: @ref{Instrument transpositions}.
4699 Examples: @inputfileref{input/regression,quote.ly}
4700 @inputfileref{input/regression,quote-transposition.ly}
4702 Program reference: @internalsref{QuoteMusic}.
4704 @node Ancient notation
4705 @section Ancient notation
4707 @cindex Vaticana, Editio
4708 @cindex Medicaea, Editio
4713 Support for ancient notation includes features for mensural notation
4714 and Gregorian Chant notation. There is also limited support for
4715 figured bass notation.
4717 Many graphical objects provide a @code{style} property, see
4718 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4719 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4720 signatures}. By manipulating such a grob property, the typographical
4721 appearance of the affected graphical objects can be accommodated for a
4722 specific notation flavor without need for introducing any new
4725 Other aspects of ancient notation can not that easily be expressed as
4726 in terms of just changing a style property of a graphical object.
4727 Therefore, some notational concepts are introduced specifically for
4728 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4729 @ref{Ligatures}, and @ref{Figured bass}.
4733 * Ancient note heads::
4734 * Ancient accidentals::
4738 * Ancient time signatures::
4743 * Vaticana style contexts::
4746 If this all is way too much of documentation for you, and you just
4747 want to dive into typesetting without worrying too much about the
4748 details on how to customize a context, you may have a look at the
4749 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4750 set up predefined style-specific voice and staff contexts, and
4751 directly go ahead with the note entry.
4755 Ligatures need special spacing that has not yet been implemented. As
4756 a result, there is too much space between ligatures most of the time,
4757 and line breaking often is unsatisfactory. Also, lyrics do not
4758 correctly align with ligatures.
4760 Accidentals must not be printed within a ligature, but instead need to
4761 be collected and printed in front of it.
4763 Augmentum dots within ligatures are not handled correctly.
4766 @node Ancient note heads
4767 @subsection Ancient note heads
4772 For ancient notation, a note head style other than the @code{default}
4773 style may be chosen. This is accomplished by setting the @code{style}
4774 property of the NoteHead object to the desired value (@code{baroque},
4775 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4776 differs from the @code{default} style only in using a square shape for
4777 @code{\breve} note heads. The @code{neo_mensural} style differs from
4778 the @code{baroque} style in that it uses rhomboidal heads for whole
4779 notes and all smaller durations. Stems are centered on the note
4780 heads. This style is in particular useful when transcribing mensural
4781 music, e.g. for the incipit. The @code{mensural} style finally
4782 produces note heads that mimic the look of note heads in historic
4783 printings of the 16th century.
4785 The following example demonstrates the @code{neo_mensural} style
4787 @lilypond[quote,fragment,raggedright,verbatim]
4788 \override NoteHead #'style = #'neo_mensural
4789 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4792 When typesetting a piece in Gregorian Chant notation, a Gregorian
4793 ligature engraver will automatically select the proper note heads,
4794 such there is no need to explicitly set the note head style. Still,
4795 the note head style can be set e.g. to @code{vaticana_punctum} to
4796 produce punctum neumes. Similarly, a mensural ligature engraver is
4797 used to automatically assemble mensural ligatures. See
4798 @ref{Ligatures} for how ligature engravers work.
4803 @ref{Percussion staves} use note head styles of their own that are
4804 frequently used in contemporary music notation.
4806 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
4807 overview over all available note head styles.
4810 @node Ancient accidentals
4811 @subsection Ancient accidentals
4816 Use the @code{style} property of grob @internalsref{Accidental} to
4817 select ancient accidentals. Supported styles are
4818 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4820 @lilypond[quote,raggedright,staffsize=26]
4828 { " " \musicglyph #"accidentals-vaticana-1"
4829 " " \musicglyph #"accidentals-vaticana0" }
4833 { " " \musicglyph #"accidentals-medicaea-1" }
4837 { " " \musicglyph #"accidentals-hufnagel-1" }
4841 { " " \musicglyph #"accidentals-mensural-1"
4842 " " \musicglyph #"accidentals-mensural1" }
4851 \remove "Bar_number_engraver"
4855 \remove "Clef_engraver"
4856 \remove "Key_engraver"
4857 \remove "Time_signature_engraver"
4858 \remove "Staff_symbol_engraver"
4859 minimumVerticalExtent = ##f
4865 As shown, not all accidentals are supported by each style. When
4866 trying to access an unsupported accidental, LilyPond will switch to a
4867 different style, as demonstrated in
4868 @inputfileref{input/test,ancient-accidentals.ly}.
4870 Similarly to local accidentals, the style of the key signature can be
4871 controlled by the @code{style} property of the
4872 @internalsref{KeySignature} grob.
4876 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
4877 @ref{Accidentals} give a general introduction into the use of
4878 accidentals. @ref{Key signature} gives a general introduction into
4879 the use of key signatures.
4881 Program reference: @internalsref{KeySignature}.
4883 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
4886 @subsection Ancient rests
4891 Use the @code{style} property of grob @internalsref{Rest} to select
4892 ancient accidentals. Supported styles are @code{classical},
4893 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4894 from the @code{default} style only in that the quarter rest looks like
4895 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4896 well for e.g. the incipit of a transcribed mensural piece of music.
4897 The @code{mensural} style finally mimics the appearance of rests as
4898 in historic prints of the 16th century.
4900 The following example demonstrates the @code{neo_mensural} style
4902 @lilypond[quote,fragment,raggedright,verbatim]
4903 \override Rest #'style = #'neo_mensural
4904 r\longa r\breve r1 r2 r4 r8 r16
4907 There are no 32th and 64th rests specifically for the mensural or
4908 neo-mensural style. Instead, the rests from the default style will be
4909 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4912 There are no rests in Gregorian Chant notation; instead, it uses
4917 In this manual: @ref{Rests} gives a general introduction into the use of rests.
4921 @subsection Ancient clefs
4926 LilyPond supports a variety of clefs, many of them ancient.
4928 The following table shows all ancient clefs that are supported via the
4929 @code{\clef} command. Some of the clefs use the same glyph, but
4930 differ only with respect to the line they are printed on. In such
4931 cases, a trailing number in the name is used to enumerate these clefs.
4932 Still, you can manually force a clef glyph to be typeset on an
4933 arbitrary line, as described in @ref{Clef}. The note printed to the
4934 right side of each clef in the example column denotes the @code{c'}
4935 with respect to that clef.
4937 @multitable @columnfractions .3 .3 .3 .1
4941 @b{Description} @tab
4942 @b{Supported Clefs} @tab
4946 @code{clefs-neo_mensural_c} @tab
4947 modern style mensural C clef @tab
4948 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4949 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4950 @lilypond[quote,relative=1,notime]
4951 \override Staff.TimeSignature #'transparent = ##t
4952 \clef "neo_mensural_c2" c
4956 @code{clefs-petrucci_c1}
4957 @code{clefs-petrucci_c2}
4958 @code{clefs-petrucci_c3}
4959 @code{clefs-petrucci_c4}
4960 @code{clefs-petrucci_c5}
4963 petrucci style mensural C clefs, for use on different staff lines
4964 (the examples shows the 2nd staff line C clef).
4974 @lilypond[quote,relative=1,notime]
4975 \override Staff.TimeSignature #'transparent = ##t
4976 \clef "petrucci_c2" c
4980 @code{clefs-petrucci_f} @tab
4981 petrucci style mensural F clef @tab
4982 @code{petrucci_f} @tab
4983 @lilypond[quote,relative=1,notime]
4984 \override Staff.TimeSignature #'transparent = ##t
4985 \clef "petrucci_f" c
4989 @code{clefs-petrucci_g} @tab
4990 petrucci style mensural G clef @tab
4991 @code{petrucci_g} @tab
4992 @lilypond[quote,relative=1,notime]
4993 \override Staff.TimeSignature #'transparent = ##t
4994 \clef "petrucci_g" c
4998 @code{clefs-mensural_c} @tab
4999 historic style mensural C clef @tab
5000 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
5001 @code{mensural_c4} @tab
5002 @lilypond[quote,relative=1,notime]
5003 \override Staff.TimeSignature #'transparent = ##t
5004 \clef "mensural_c2" c
5008 @code{clefs-mensural_f} @tab
5009 historic style mensural F clef @tab
5010 @code{mensural_f} @tab
5011 @lilypond[quote,relative=1,notime]
5012 \override Staff.TimeSignature #'transparent = ##t
5013 \clef "mensural_f" c
5017 @code{clefs-mensural_g} @tab
5018 historic style mensural G clef @tab
5019 @code{mensural_g} @tab
5020 @lilypond[quote,relative=1,notime]
5021 \override Staff.TimeSignature #'transparent = ##t
5022 \clef "mensural_g" c
5026 @code{clefs-vaticana_do} @tab
5027 Editio Vaticana style do clef @tab
5028 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
5029 @lilypond[quote,relative=1,notime]
5030 \override Staff.StaffSymbol #'line-count = #4
5031 \override Staff.TimeSignature #'transparent = ##t
5032 \clef "vaticana_do2" c
5036 @code{clefs-vaticana_fa} @tab
5037 Editio Vaticana style fa clef @tab
5038 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
5039 @lilypond[quote,relative=1,notime]
5040 \override Staff.StaffSymbol #'line-count = #4
5041 \override Staff.TimeSignature #'transparent = ##t
5042 \clef "vaticana_fa2" c
5046 @code{clefs-medicaea_do} @tab
5047 Editio Medicaea style do clef @tab
5048 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
5049 @lilypond[quote,relative=1,notime]
5050 \override Staff.StaffSymbol #'line-count = #4
5051 \override Staff.TimeSignature #'transparent = ##t
5052 \clef "medicaea_do2" c
5056 @code{clefs-medicaea_fa} @tab
5057 Editio Medicaea style fa clef @tab
5058 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
5059 @lilypond[quote,relative=1,notime]
5060 \override Staff.StaffSymbol #'line-count = #4
5061 \override Staff.TimeSignature #'transparent = ##t
5062 \clef "medicaea_fa2" c
5066 @code{clefs-hufnagel_do} @tab
5067 historic style hufnagel do clef @tab
5068 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
5069 @lilypond[quote,relative=1,notime]
5070 \override Staff.StaffSymbol #'line-count = #4
5071 \override Staff.TimeSignature #'transparent = ##t
5072 \clef "hufnagel_do2" c
5076 @code{clefs-hufnagel_fa} @tab
5077 historic style hufnagel fa clef @tab
5078 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
5079 @lilypond[quote,relative=1,notime]
5080 \override Staff.StaffSymbol #'line-count = #4
5081 \override Staff.TimeSignature #'transparent = ##t
5082 \clef "hufnagel_fa2" c
5086 @code{clefs-hufnagel_do_fa} @tab
5087 historic style hufnagel combined do/fa clef @tab
5088 @code{hufnagel_do_fa} @tab
5089 @lilypond[quote,relative=1,notime]
5090 \override Staff.TimeSignature #'transparent = ##t
5091 \clef "hufnagel_do_fa" c
5098 @emph{Modern style} means ``as is typeset in contemporary editions of
5099 transcribed mensural music''.
5101 @emph{Petrucci style} means ``inspired by printings published by the
5102 famous engraver Petrucci (1466-1539)''.
5104 @emph{Historic style} means ``as was typeset or written in historic
5105 editions (other than those of Petrucci)''.
5107 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5109 Petrucci used C clefs with differently balanced left-side vertical
5110 beams, depending on which staff line it is printed.
5114 In this manual: see @ref{Clef}.
5118 The mensural g clef is mapped to the Petrucci g clef, until a new
5119 mensural g clef is implemented.
5124 @subsection Ancient flags
5129 Use the @code{flag-style} property of grob @internalsref{Stem} to
5130 select ancient flags. Besides the @code{default} flag style,
5131 only @code{mensural} style is supported
5133 @lilypond[quote,fragment,raggedright,verbatim]
5134 \override Stem #'flag-style = #'mensural
5135 \override Stem #'thickness = #1.0
5136 \override NoteHead #'style = #'mensural
5138 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
5139 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5142 Note that the innermost flare of each mensural flag always is
5143 vertically aligned with a staff line. If you do not like this
5144 behavior, you can set the @code{adjust-if-on-staffline} property of
5145 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5146 of the end of each flare is different between notes on staff lines and
5147 notes between staff lines
5149 @lilypond[quote,fragment,raggedright]
5150 \override Stem #'flag-style = #'mensural
5151 \override Stem #'thickness = #1.0
5152 \override Stem #'adjust-if-on-staffline = ##f
5153 \override NoteHead #'style = #'mensural
5155 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
5156 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5159 There is no particular flag style for neo-mensural notation. Hence,
5160 when typesetting e.g. the incipit of a transcribed piece of mensural
5161 music, the default flag style should be used. There are no flags in
5162 Gregorian Chant notation.
5165 @node Ancient time signatures
5166 @subsection Ancient time signatures
5168 @cindex time signatures
5171 There is limited support for mensural time signatures. The
5172 glyphs are hard-wired to particular time fractions. In other words,
5173 to get a particular mensural signature glyph with the @code{\time n/m}
5174 command, @code{n} and @code{m} have to be chosen according to the
5180 \set Score.timing = ##f
5181 \set Score.barAlways = ##t
5182 s_\markup { "$\\backslash$time 4/4" }
5183 ^\markup { " " \musicglyph #"timesig-neo_mensural4/4" }
5185 s_\markup { "$\\backslash$time 2/2" }
5186 ^\markup { " " \musicglyph #"timesig-neo_mensural2/2" }
5188 s_\markup { "$\\backslash$time 6/4" }
5189 ^\markup { " " \musicglyph #"timesig-neo_mensural6/4" }
5191 s_\markup { "$\\backslash$time 6/8" }
5192 ^\markup { " " \musicglyph #"timesig-neo_mensural6/8" }
5194 s_\markup { "$\\backslash$time 3/2" }
5195 ^\markup { " " \musicglyph #"timesig-neo_mensural3/2" }
5197 s_\markup { "$\\backslash$time 3/4" }
5198 ^\markup { " " \musicglyph #"timesig-neo_mensural3/4" }
5200 s_\markup { "$\\backslash$time 9/4" }
5201 ^\markup { " " \musicglyph #"timesig-neo_mensural9/4" }
5203 s_\markup { "$\\backslash$time 9/8" }
5204 ^\markup { " " \musicglyph #"timesig-neo_mensural9/8" }
5206 s_\markup { "$\\backslash$time 4/8" }
5207 ^\markup { " " \musicglyph #"timesig-neo_mensural4/8" }
5209 s_\markup { "$\\backslash$time 2/4" }
5210 ^\markup { " " \musicglyph #"timesig-neo_mensural2/4" }
5218 \remove Staff_symbol_engraver
5219 \remove Clef_engraver
5220 \remove Time_signature_engraver
5226 Use the @code{style} property of grob @internalsref{TimeSignature} to
5227 select ancient time signatures. Supported styles are
5228 @code{neo_mensural} and @code{mensural}. The above table uses the
5229 @code{neo_mensural} style. This style is appropriate e.g. for the
5230 incipit of transcriptions of mensural pieces. The @code{mensural}
5231 style mimics the look of historical printings of the 16th century.
5233 @inputfileref{input/test,time.ly} gives an overview over all available
5234 ancient and modern styles.
5238 Program reference: @ref{Time signature} gives a general introduction into the use of time
5243 Mensural signature glyphs are mapped to time fractions in a hard-wired
5244 way. This mapping is sensible, but still arbitrary: given a mensural
5245 time signature, the time fraction represents a modern meter that
5246 usually will be a good choice when transcribing a mensural piece of
5247 music. For a particular piece of mensural music, however, the mapping
5248 may be unsatisfactory. In particular, the mapping assumes a fixed
5249 transcription of durations (e.g. brevis = half note in 2/2, i.e. 4:1).
5250 Some glyphs (such as the alternate glyph for 6/8 meter) are not at all
5251 accessible through the @code{\time} command.
5253 Mensural time signatures are supported typographically, but not yet
5254 musically. The internal representation of durations is
5255 based on a purely binary system; a ternary division such as 1 brevis =
5256 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5257 prolatione maiori) is not correctly handled: event times in ternary
5258 modes will be badly computed, resulting e.g. in horizontally
5259 misaligned note heads, and bar checks are likely to erroneously fail.
5261 The syntax and semantics of the @code{\time} command for mensural
5262 music is subject to change.
5265 @subsection Custodes
5270 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
5271 symbol that appears at the end of a staff. It anticipates the pitch
5272 of the first note(s) of the following line and thus helps the player
5273 or singer to manage line breaks during performance, thus enhancing
5274 readability of a score.
5276 Custodes were frequently used in music notation until the 17th
5277 century. Nowadays, they have survived only in a few particular forms
5278 of musical notation such as contemporary editions of Gregorian chant
5279 like the @emph{editio vaticana}. There are different custos glyphs
5280 used in different flavors of notational style.
5282 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5283 @internalsref{Staff} context when declaring the @code{\paper} block,
5284 as shown in the following example
5290 \consists Custos_engraver
5291 Custos \override #'style = #'mensural
5296 The result looks like this
5298 @lilypond[quote,raggedright]
5302 \override Staff.Custos #'style = #'mensural
5309 \consists Custos_engraver
5315 The custos glyph is selected by the @code{style} property. The styles
5316 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5317 @code{mensural}. They are demonstrated in the following fragment
5321 \new Lyrics \lyrics {
5325 { " " \musicglyph #"custodes-vaticana-u0" }
5329 { " " \musicglyph #"custodes-medicaea-u0" }
5334 { " " \musicglyph #"custodes-hufnagel-u0" }
5339 { " " \musicglyph #"custodes-mensural-u0" }
5351 Program reference: @internalsref{Custos}.
5353 Examples: @inputfileref{input/regression,custos.ly}.
5357 @subsection Divisiones
5363 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
5364 `division') is a staff context symbol that is used to structure
5365 Gregorian music into phrases and sections. The musical meaning of
5366 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5367 can be characterized as short, medium and long pause, somewhat like
5368 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5369 a chant, but is also frequently used within a single
5370 antiphonal/responsorial chant to mark the end of each section.
5373 To use divisiones, include the file @code{gregorian-init.ly}. It
5374 contains definitions that you can apply by just inserting
5375 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5376 and @code{\finalis} at proper places in the input. Some editions use
5377 @emph{virgula} or @emph{caesura} instead of divisio minima.
5378 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5381 @lilypondfile[quote,raggedright]{divisiones.ly}
5385 @cindex @code{\virgula}
5387 @cindex @code{\caesura}
5389 @cindex @code{\divisioMinima}
5390 @code{\divisioMinima},
5391 @cindex @code{\divisioMaior}
5392 @code{\divisioMaior},
5393 @cindex @code{\divisioMaxima}
5394 @code{\divisioMaxima},
5395 @cindex @code{\finalis}
5400 In this manual: @ref{Breath marks}.
5402 Program reference: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
5404 Examples: @inputfileref{input/test,divisiones.ly}.
5407 @subsection Ligatures
5411 @c TODO: Should double check if I recalled things correctly when I wrote
5412 @c down the following paragraph by heart.
5414 A ligature is a coherent graphical symbol that represents at least two
5415 distinct notes. Ligatures originally appeared in the manuscripts of
5416 Gregorian chant notation roughly since the 9th century to denote
5417 ascending or descending sequences of notes.
5419 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
5420 Some ligature styles may need additional input syntax specific for
5421 this particular type of ligature. By default, the
5422 @internalsref{LigatureBracket} engraver just puts a square bracket
5425 @lilypond[quote,raggedright,verbatim]
5427 \notes \transpose c c' {
5435 To select a specific style of ligatures, a proper ligature engraver
5436 has to be added to the @internalsref{Voice} context, as explained in
5437 the following subsections. Only white mensural ligatures
5438 are supported with certain limitations.
5441 * White mensural ligatures::
5442 * Gregorian square neumes ligatures::
5445 @node White mensural ligatures
5446 @subsubsection White mensural ligatures
5448 @cindex Mensural ligatures
5449 @cindex White mensural ligatures
5451 There is limited support for white mensural ligatures.
5453 To engrave white mensural ligatures, in the paper block the
5454 @internalsref{Mensural_ligature_engraver} has to be put into the
5455 @internalsref{Voice} context, and remove the
5456 @internalsref{Ligature_bracket_engraver}
5462 \remove Ligature_bracket_engraver
5463 \consists Mensural_ligature_engraver
5468 There is no additional input language to describe the shape of a
5469 white mensural ligature. The shape is rather determined solely from
5470 the pitch and duration of the enclosed notes. While this approach may
5471 take a new user a while to get accustomed, it has the great advantage
5472 that the full musical information of the ligature is known internally.
5473 This is not only required for correct MIDI output, but also allows for
5474 automatic transcription of the ligatures.
5479 \set Score.timing = ##f
5480 \set Score.defaultBarType = "empty"
5481 \override NoteHead #'style = #'neo_mensural
5482 \override Staff.TimeSignature #'style = #'neo_mensural
5484 \[ g\longa c\breve a\breve f\breve d'\longa \]
5486 \[ e1 f1 a\breve g\longa \]
5488 @lilypond[quote,raggedright]
5490 \notes \transpose c c' {
5491 \set Score.timing = ##f
5492 \set Score.defaultBarType = "empty"
5493 \override NoteHead #'style = #'neo_mensural
5494 \override Staff.TimeSignature #'style = #'neo_mensural
5496 \[ g\longa c\breve a\breve f\breve d'\longa \]
5498 \[ e1 f1 a\breve g\longa \]
5503 \remove Ligature_bracket_engraver
5504 \consists Mensural_ligature_engraver
5510 Without replacing @internalsref{Ligature_bracket_engraver} with
5511 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5514 @lilypond[quote,raggedright]
5516 \notes \transpose c c' {
5517 \set Score.timing = ##f
5518 \set Score.defaultBarType = "empty"
5519 \override NoteHead #'style = #'neo_mensural
5520 \override Staff.TimeSignature #'style = #'neo_mensural
5522 \[ g\longa c\breve a\breve f\breve d'\longa \]
5524 \[ e1 f1 a\breve g\longa \]
5531 The implementation is experimental; it may output strange warnings or
5532 even crash in some cases or produce weird results on more complex
5535 @node Gregorian square neumes ligatures
5536 @subsubsection Gregorian square neumes ligatures
5538 @cindex Square neumes ligatures
5539 @cindex Gregorian square neumes ligatures
5541 Gregorian square neumes notation (following the style of the Editio
5542 Vaticana) is under heavy development, but not yet really usable for
5543 production purposes. Core ligatures can already be typeset, but
5544 essential issues for serious typesetting are still under development,
5545 such as (among others) horizontal alignment of multiple ligatures,
5546 lyrics alignment and proper accidentals handling. Still, this section
5547 gives a sneak preview of what Gregorian chant may look like once it
5550 The following table contains the extended neumes table of the 2nd
5551 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5552 1983 by the monks of Solesmes.
5554 @multitable @columnfractions .4 .2 .2 .2
5557 @b{Neuma aut@*Neumarum Elementa} @tab
5558 @b{Figurae@*Rectae} @tab
5559 @b{Figurae@*Liquescentes Auctae} @tab
5560 @b{Figurae@*Liquescentes Deminutae}
5562 @c TODO: \paper block is identical in all of the below examples.
5563 @c Therefore, it should somehow be included rather than duplicated all
5566 @c why not make identifiers in ly/engraver-init.ly? --hwn
5568 @c Because it's just used to typeset plain notes without
5569 @c a staff for demonstration purposes rather than something
5570 @c special of Gregorian chant notation. --jr
5575 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.5\cm]
5576 \include "gregorian-init.ly"
5578 \notes \transpose c c' {
5581 \noBreak s^\markup {"a"} \noBreak
5583 % Punctum Inclinatum
5585 \noBreak s^\markup {"b"}
5591 \remove "Bar_number_engraver"
5595 \remove "Clef_engraver"
5596 \remove "Key_engraver"
5597 \override StaffSymbol #'transparent = ##t
5598 \remove "Time_signature_engraver"
5599 \remove "Bar_engraver"
5600 minimumVerticalExtent = ##f
5604 \remove Ligature_bracket_engraver
5605 \consists Vaticana_ligature_engraver
5606 \override NoteHead #'style = #'vaticana_punctum
5607 \override Stem #'transparent = ##t
5613 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.5\cm]
5614 \include "gregorian-init.ly"
5616 \notes \transpose c c' {
5617 % Punctum Auctum Ascendens
5618 \[ \auctum \ascendens b \]
5619 \noBreak s^\markup {"c"} \noBreak
5621 % Punctum Auctum Descendens
5622 \[ \auctum \descendens b \]
5623 \noBreak s^\markup {"d"} \noBreak
5625 % Punctum Inclinatum Auctum
5626 \[ \inclinatum \auctum b \]
5627 \noBreak s^\markup {"e"}
5633 \remove "Bar_number_engraver"
5637 \remove "Clef_engraver"
5638 \remove "Key_engraver"
5639 \override StaffSymbol #'transparent = ##t
5640 \remove "Time_signature_engraver"
5641 \remove "Bar_engraver"
5642 minimumVerticalExtent = ##f
5646 \remove Ligature_bracket_engraver
5647 \consists Vaticana_ligature_engraver
5648 \override NoteHead #'style = #'vaticana_punctum
5649 \override Stem #'transparent = ##t
5655 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5656 \include "gregorian-init.ly"
5658 \notes \transpose c c' {
5659 % Punctum Inclinatum Parvum
5660 \[ \inclinatum \deminutum b \]
5661 \noBreak s^\markup {"f"}
5667 \remove "Bar_number_engraver"
5671 \remove "Clef_engraver"
5672 \remove "Key_engraver"
5673 \override StaffSymbol #'transparent = ##t
5674 \remove "Time_signature_engraver"
5675 \remove "Bar_engraver"
5676 minimumVerticalExtent = ##f
5680 \remove Ligature_bracket_engraver
5681 \consists Vaticana_ligature_engraver
5682 \override NoteHead #'style = #'vaticana_punctum
5683 \override Stem #'transparent = ##t
5692 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5693 \include "gregorian-init.ly"
5695 \notes \transpose c c' {
5698 \noBreak s^\markup {"g"}
5704 \remove "Bar_number_engraver"
5708 \remove "Clef_engraver"
5709 \remove "Key_engraver"
5710 \override StaffSymbol #'transparent = ##t
5711 \remove "Time_signature_engraver"
5712 \remove "Bar_engraver"
5713 minimumVerticalExtent = ##f
5717 \remove Ligature_bracket_engraver
5718 \consists Vaticana_ligature_engraver
5719 \override NoteHead #'style = #'vaticana_punctum
5720 \override Stem #'transparent = ##t
5729 @code{3. Apostropha vel Stropha}
5731 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5732 \include "gregorian-init.ly"
5734 \notes \transpose c c' {
5737 \noBreak s^\markup {"h"}
5743 \remove "Bar_number_engraver"
5747 \remove "Clef_engraver"
5748 \remove "Key_engraver"
5749 \override StaffSymbol #'transparent = ##t
5750 \remove "Time_signature_engraver"
5751 \remove "Bar_engraver"
5752 minimumVerticalExtent = ##f
5756 \remove Ligature_bracket_engraver
5757 \consists Vaticana_ligature_engraver
5758 \override NoteHead #'style = #'vaticana_punctum
5759 \override Stem #'transparent = ##t
5765 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5766 \include "gregorian-init.ly"
5768 \notes \transpose c c' {
5770 \[ \stropha \auctum b \]
5771 \noBreak s^\markup {"i"}
5777 \remove "Bar_number_engraver"
5781 \remove "Clef_engraver"
5782 \remove "Key_engraver"
5783 \override StaffSymbol #'transparent = ##t
5784 \remove "Time_signature_engraver"
5785 \remove "Bar_engraver"
5786 minimumVerticalExtent = ##f
5790 \remove Ligature_bracket_engraver
5791 \consists Vaticana_ligature_engraver
5792 \override NoteHead #'style = #'vaticana_punctum
5793 \override Stem #'transparent = ##t
5803 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5804 \include "gregorian-init.ly"
5806 \notes \transpose c c' {
5809 \noBreak s^\markup {"j"}
5815 \remove "Bar_number_engraver"
5819 \remove "Clef_engraver"
5820 \remove "Key_engraver"
5821 \override StaffSymbol #'transparent = ##t
5822 \remove "Time_signature_engraver"
5823 \remove "Bar_engraver"
5824 minimumVerticalExtent = ##f
5828 \remove Ligature_bracket_engraver
5829 \consists Vaticana_ligature_engraver
5830 \override NoteHead #'style = #'vaticana_punctum
5831 \override Stem #'transparent = ##t
5840 @code{5. Clivis vel Flexa}
5842 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5843 \include "gregorian-init.ly"
5845 \notes \transpose c c' {
5854 \remove "Bar_number_engraver"
5858 \remove "Clef_engraver"
5859 \remove "Key_engraver"
5860 \override StaffSymbol #'transparent = ##t
5861 \remove "Time_signature_engraver"
5862 \remove "Bar_engraver"
5863 minimumVerticalExtent = ##f
5867 \remove Ligature_bracket_engraver
5868 \consists Vaticana_ligature_engraver
5869 \override NoteHead #'style = #'vaticana_punctum
5870 \override Stem #'transparent = ##t
5876 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
5877 \include "gregorian-init.ly"
5879 \notes \transpose c c' {
5880 % Clivis Aucta Descendens
5881 \[ b \flexa \auctum \descendens g \]
5882 \noBreak s^\markup {"l"} \noBreak
5884 % Clivis Aucta Ascendens
5885 \[ b \flexa \auctum \ascendens g \]
5886 \noBreak s^\markup {"m"}
5892 \remove "Bar_number_engraver"
5896 \remove "Clef_engraver"
5897 \remove "Key_engraver"
5898 \override StaffSymbol #'transparent = ##t
5899 \remove "Time_signature_engraver"
5900 \remove "Bar_engraver"
5901 minimumVerticalExtent = ##f
5905 \remove Ligature_bracket_engraver
5906 \consists Vaticana_ligature_engraver
5907 \override NoteHead #'style = #'vaticana_punctum
5908 \override Stem #'transparent = ##t
5914 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5915 \include "gregorian-init.ly"
5917 \notes \transpose c c' {
5919 \[ b \flexa \deminutum g \]
5926 \remove "Bar_number_engraver"
5930 \remove "Clef_engraver"
5931 \remove "Key_engraver"
5932 \override StaffSymbol #'transparent = ##t
5933 \remove "Time_signature_engraver"
5934 \remove "Bar_engraver"
5935 minimumVerticalExtent = ##f
5939 \remove Ligature_bracket_engraver
5940 \consists Vaticana_ligature_engraver
5941 \override NoteHead #'style = #'vaticana_punctum
5942 \override Stem #'transparent = ##t
5949 @code{6. Podatus vel Pes}
5951 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5952 \include "gregorian-init.ly"
5954 \notes \transpose c c' {
5963 \remove "Bar_number_engraver"
5967 \remove "Clef_engraver"
5968 \remove "Key_engraver"
5969 \override StaffSymbol #'transparent = ##t
5970 \remove "Time_signature_engraver"
5971 \remove "Bar_engraver"
5972 minimumVerticalExtent = ##f
5976 \remove Ligature_bracket_engraver
5977 \consists Vaticana_ligature_engraver
5978 \override NoteHead #'style = #'vaticana_punctum
5979 \override Stem #'transparent = ##t
5985 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
5986 \include "gregorian-init.ly"
5988 \notes \transpose c c' {
5989 % Pes Auctus Descendens
5990 \[ g \pes \auctum \descendens b \]
5991 \noBreak s^\markup {"p"} \noBreak
5993 % Pes Auctus Ascendens
5994 \[ g \pes \auctum \ascendens b \]
5995 \noBreak s^\markup {"q"}
6001 \remove "Bar_number_engraver"
6005 \remove "Clef_engraver"
6006 \remove "Key_engraver"
6007 \override StaffSymbol #'transparent = ##t
6008 \remove "Time_signature_engraver"
6009 \remove "Bar_engraver"
6010 minimumVerticalExtent = ##f
6014 \remove Ligature_bracket_engraver
6015 \consists Vaticana_ligature_engraver
6016 \override NoteHead #'style = #'vaticana_punctum
6017 \override Stem #'transparent = ##t
6023 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6024 \include "gregorian-init.ly"
6026 \notes \transpose c c' {
6028 \[ g \pes \deminutum b \]
6035 \remove "Bar_number_engraver"
6039 \remove "Clef_engraver"
6040 \remove "Key_engraver"
6041 \override StaffSymbol #'transparent = ##t
6042 \remove "Time_signature_engraver"
6043 \remove "Bar_engraver"
6044 minimumVerticalExtent = ##f
6048 \remove Ligature_bracket_engraver
6049 \consists Vaticana_ligature_engraver
6050 \override NoteHead #'style = #'vaticana_punctum
6051 \override Stem #'transparent = ##t
6058 @code{7. Pes Quassus}
6060 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6061 \include "gregorian-init.ly"
6063 \notes \transpose c c' {
6065 \[ \oriscus g \pes \virga b \]
6072 \remove "Bar_number_engraver"
6076 \remove "Clef_engraver"
6077 \remove "Key_engraver"
6078 \override StaffSymbol #'transparent = ##t
6079 \remove "Time_signature_engraver"
6080 \remove "Bar_engraver"
6081 minimumVerticalExtent = ##f
6085 \remove Ligature_bracket_engraver
6086 \consists Vaticana_ligature_engraver
6087 \override NoteHead #'style = #'vaticana_punctum
6088 \override Stem #'transparent = ##t
6094 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6095 \include "gregorian-init.ly"
6097 \notes \transpose c c' {
6098 % Pes Quassus Auctus Descendens
6099 \[ \oriscus g \pes \auctum \descendens b \]
6106 \remove "Bar_number_engraver"
6110 \remove "Clef_engraver"
6111 \remove "Key_engraver"
6112 \override StaffSymbol #'transparent = ##t
6113 \remove "Time_signature_engraver"
6114 \remove "Bar_engraver"
6115 minimumVerticalExtent = ##f
6119 \remove Ligature_bracket_engraver
6120 \consists Vaticana_ligature_engraver
6121 \override NoteHead #'style = #'vaticana_punctum
6122 \override Stem #'transparent = ##t
6130 @code{8. Quilisma Pes}
6132 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6133 \include "gregorian-init.ly"
6135 \notes \transpose c c' {
6137 \[ \quilisma g \pes b \]
6144 \remove "Bar_number_engraver"
6148 \remove "Clef_engraver"
6149 \remove "Key_engraver"
6150 \override StaffSymbol #'transparent = ##t
6151 \remove "Time_signature_engraver"
6152 \remove "Bar_engraver"
6153 minimumVerticalExtent = ##f
6157 \remove Ligature_bracket_engraver
6158 \consists Vaticana_ligature_engraver
6159 \override NoteHead #'style = #'vaticana_punctum
6160 \override Stem #'transparent = ##t
6166 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6167 \include "gregorian-init.ly"
6169 \notes \transpose c c' {
6170 % Quilisma Pes Auctus Descendens
6171 \[ \quilisma g \pes \auctum \descendens b \]
6178 \remove "Bar_number_engraver"
6182 \remove "Clef_engraver"
6183 \remove "Key_engraver"
6184 \override StaffSymbol #'transparent = ##t
6185 \remove "Time_signature_engraver"
6186 \remove "Bar_engraver"
6187 minimumVerticalExtent = ##f
6191 \remove Ligature_bracket_engraver
6192 \consists Vaticana_ligature_engraver
6193 \override NoteHead #'style = #'vaticana_punctum
6194 \override Stem #'transparent = ##t
6202 @code{9. Podatus Initio Debilis}
6204 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6205 \include "gregorian-init.ly"
6207 \notes \transpose c c' {
6208 % Pes Initio Debilis
6209 \[ \deminutum g \pes b \]
6216 \remove "Bar_number_engraver"
6220 \remove "Clef_engraver"
6221 \remove "Key_engraver"
6222 \override StaffSymbol #'transparent = ##t
6223 \remove "Time_signature_engraver"
6224 \remove "Bar_engraver"
6225 minimumVerticalExtent = ##f
6229 \remove Ligature_bracket_engraver
6230 \consists Vaticana_ligature_engraver
6231 \override NoteHead #'style = #'vaticana_punctum
6232 \override Stem #'transparent = ##t
6238 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6239 \include "gregorian-init.ly"
6241 \notes \transpose c c' {
6242 % Pes Auctus Descendens Initio Debilis
6243 \[ \deminutum g \pes \auctum \descendens b \]
6250 \remove "Bar_number_engraver"
6254 \remove "Clef_engraver"
6255 \remove "Key_engraver"
6256 \override StaffSymbol #'transparent = ##t
6257 \remove "Time_signature_engraver"
6258 \remove "Bar_engraver"
6259 minimumVerticalExtent = ##f
6263 \remove Ligature_bracket_engraver
6264 \consists Vaticana_ligature_engraver
6265 \override NoteHead #'style = #'vaticana_punctum
6266 \override Stem #'transparent = ##t
6276 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6277 \include "gregorian-init.ly"
6279 \notes \transpose c c' {
6281 \[ a \pes b \flexa g \]
6288 \remove "Bar_number_engraver"
6292 \remove "Clef_engraver"
6293 \remove "Key_engraver"
6294 \override StaffSymbol #'transparent = ##t
6295 \remove "Time_signature_engraver"
6296 \remove "Bar_engraver"
6297 minimumVerticalExtent = ##f
6301 \remove Ligature_bracket_engraver
6302 \consists Vaticana_ligature_engraver
6303 \override NoteHead #'style = #'vaticana_punctum
6304 \override Stem #'transparent = ##t
6310 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6311 \include "gregorian-init.ly"
6313 \notes \transpose c c' {
6314 % Torculus Auctus Descendens
6315 \[ a \pes b \flexa \auctum \descendens g \]
6322 \remove "Bar_number_engraver"
6326 \remove "Clef_engraver"
6327 \remove "Key_engraver"
6328 \override StaffSymbol #'transparent = ##t
6329 \remove "Time_signature_engraver"
6330 \remove "Bar_engraver"
6331 minimumVerticalExtent = ##f
6335 \remove Ligature_bracket_engraver
6336 \consists Vaticana_ligature_engraver
6337 \override NoteHead #'style = #'vaticana_punctum
6338 \override Stem #'transparent = ##t
6344 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6345 \include "gregorian-init.ly"
6347 \notes \transpose c c' {
6348 % Torculus Deminutus
6349 \[ a \pes b \flexa \deminutum g \]
6356 \remove "Bar_number_engraver"
6360 \remove "Clef_engraver"
6361 \remove "Key_engraver"
6362 \override StaffSymbol #'transparent = ##t
6363 \remove "Time_signature_engraver"
6364 \remove "Bar_engraver"
6365 minimumVerticalExtent = ##f
6369 \remove Ligature_bracket_engraver
6370 \consists Vaticana_ligature_engraver
6371 \override NoteHead #'style = #'vaticana_punctum
6372 \override Stem #'transparent = ##t
6379 @code{11. Torculus Initio Debilis}
6381 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6382 \include "gregorian-init.ly"
6384 \notes \transpose c c' {
6385 % Torculus Initio Debilis
6386 \[ \deminutum a \pes b \flexa g \]
6393 \remove "Bar_number_engraver"
6397 \remove "Clef_engraver"
6398 \remove "Key_engraver"
6399 \override StaffSymbol #'transparent = ##t
6400 \remove "Time_signature_engraver"
6401 \remove "Bar_engraver"
6402 minimumVerticalExtent = ##f
6406 \remove Ligature_bracket_engraver
6407 \consists Vaticana_ligature_engraver
6408 \override NoteHead #'style = #'vaticana_punctum
6409 \override Stem #'transparent = ##t
6415 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6416 \include "gregorian-init.ly"
6418 \notes \transpose c c' {
6419 % Torculus Auctus Descendens Initio Debilis
6420 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6427 \remove "Bar_number_engraver"
6431 \remove "Clef_engraver"
6432 \remove "Key_engraver"
6433 \override StaffSymbol #'transparent = ##t
6434 \remove "Time_signature_engraver"
6435 \remove "Bar_engraver"
6436 minimumVerticalExtent = ##f
6440 \remove Ligature_bracket_engraver
6441 \consists Vaticana_ligature_engraver
6442 \override NoteHead #'style = #'vaticana_punctum
6443 \override Stem #'transparent = ##t
6449 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6450 \include "gregorian-init.ly"
6452 \notes \transpose c c' {
6453 % Torculus Deminutus Initio Debilis
6454 \[ \deminutum a \pes b \flexa \deminutum g \]
6461 \remove "Bar_number_engraver"
6465 \remove "Clef_engraver"
6466 \remove "Key_engraver"
6467 \override StaffSymbol #'transparent = ##t
6468 \remove "Time_signature_engraver"
6469 \remove "Bar_engraver"
6470 minimumVerticalExtent = ##f
6474 \remove Ligature_bracket_engraver
6475 \consists Vaticana_ligature_engraver
6476 \override NoteHead #'style = #'vaticana_punctum
6477 \override Stem #'transparent = ##t
6484 @code{12. Porrectus}
6486 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6487 \include "gregorian-init.ly"
6489 \notes \transpose c c' {
6491 \[ a \flexa g \pes b \]
6498 \remove "Bar_number_engraver"
6502 \remove "Clef_engraver"
6503 \remove "Key_engraver"
6504 \override StaffSymbol #'transparent = ##t
6505 \remove "Time_signature_engraver"
6506 \remove "Bar_engraver"
6507 minimumVerticalExtent = ##f
6511 \remove Ligature_bracket_engraver
6512 \consists Vaticana_ligature_engraver
6513 \override NoteHead #'style = #'vaticana_punctum
6514 \override Stem #'transparent = ##t
6520 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6521 \include "gregorian-init.ly"
6523 \notes \transpose c c' {
6524 % Porrectus Auctus Descendens
6525 \[ a \flexa g \pes \auctum \descendens b \]
6532 \remove "Bar_number_engraver"
6536 \remove "Clef_engraver"
6537 \remove "Key_engraver"
6538 \override StaffSymbol #'transparent = ##t
6539 \remove "Time_signature_engraver"
6540 \remove "Bar_engraver"
6541 minimumVerticalExtent = ##f
6545 \remove Ligature_bracket_engraver
6546 \consists Vaticana_ligature_engraver
6547 \override NoteHead #'style = #'vaticana_punctum
6548 \override Stem #'transparent = ##t
6554 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6555 \include "gregorian-init.ly"
6557 \notes \transpose c c' {
6558 % Porrectus Deminutus
6559 \[ a \flexa g \pes \deminutum b \]
6566 \remove "Bar_number_engraver"
6570 \remove "Clef_engraver"
6571 \remove "Key_engraver"
6572 \override StaffSymbol #'transparent = ##t
6573 \remove "Time_signature_engraver"
6574 \remove "Bar_engraver"
6575 minimumVerticalExtent = ##f
6579 \remove Ligature_bracket_engraver
6580 \consists Vaticana_ligature_engraver
6581 \override NoteHead #'style = #'vaticana_punctum
6582 \override Stem #'transparent = ##t
6591 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6592 \include "gregorian-init.ly"
6594 \notes \transpose c c' {
6596 \[ \virga b \inclinatum a \inclinatum g \]
6603 \remove "Bar_number_engraver"
6607 \remove "Clef_engraver"
6608 \remove "Key_engraver"
6609 \override StaffSymbol #'transparent = ##t
6610 \remove "Time_signature_engraver"
6611 \remove "Bar_engraver"
6612 minimumVerticalExtent = ##f
6616 \remove Ligature_bracket_engraver
6617 \consists Vaticana_ligature_engraver
6618 \override NoteHead #'style = #'vaticana_punctum
6619 \override Stem #'transparent = ##t
6625 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6626 \include "gregorian-init.ly"
6628 \notes \transpose c c' {
6630 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6637 \remove "Bar_number_engraver"
6641 \remove "Clef_engraver"
6642 \remove "Key_engraver"
6643 \override StaffSymbol #'transparent = ##t
6644 \remove "Time_signature_engraver"
6645 \remove "Bar_engraver"
6646 minimumVerticalExtent = ##f
6650 \remove Ligature_bracket_engraver
6651 \consists Vaticana_ligature_engraver
6652 \override NoteHead #'style = #'vaticana_punctum
6653 \override Stem #'transparent = ##t
6659 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6660 \include "gregorian-init.ly"
6662 \notes \transpose c c' {
6663 % Climacus Deminutus
6664 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6671 \remove "Bar_number_engraver"
6675 \remove "Clef_engraver"
6676 \remove "Key_engraver"
6677 \override StaffSymbol #'transparent = ##t
6678 \remove "Time_signature_engraver"
6679 \remove "Bar_engraver"
6680 minimumVerticalExtent = ##f
6684 \remove Ligature_bracket_engraver
6685 \consists Vaticana_ligature_engraver
6686 \override NoteHead #'style = #'vaticana_punctum
6687 \override Stem #'transparent = ##t
6694 @code{14. Scandicus}
6696 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6697 \include "gregorian-init.ly"
6699 \notes \transpose c c' {
6701 \[ g \pes a \virga b \]
6708 \remove "Bar_number_engraver"
6712 \remove "Clef_engraver"
6713 \remove "Key_engraver"
6714 \override StaffSymbol #'transparent = ##t
6715 \remove "Time_signature_engraver"
6716 \remove "Bar_engraver"
6717 minimumVerticalExtent = ##f
6721 \remove Ligature_bracket_engraver
6722 \consists Vaticana_ligature_engraver
6723 \override NoteHead #'style = #'vaticana_punctum
6724 \override Stem #'transparent = ##t
6730 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6731 \include "gregorian-init.ly"
6733 \notes \transpose c c' {
6734 % Scandicus Auctus Descendens
6735 \[ g \pes a \pes \auctum \descendens b \]
6742 \remove "Bar_number_engraver"
6746 \remove "Clef_engraver"
6747 \remove "Key_engraver"
6748 \override StaffSymbol #'transparent = ##t
6749 \remove "Time_signature_engraver"
6750 \remove "Bar_engraver"
6751 minimumVerticalExtent = ##f
6755 \remove Ligature_bracket_engraver
6756 \consists Vaticana_ligature_engraver
6757 \override NoteHead #'style = #'vaticana_punctum
6758 \override Stem #'transparent = ##t
6764 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6765 \include "gregorian-init.ly"
6767 \notes \transpose c c' {
6768 % Scandicus Deminutus
6769 \[ g \pes a \pes \deminutum b \]
6776 \remove "Bar_number_engraver"
6780 \remove "Clef_engraver"
6781 \remove "Key_engraver"
6782 \override StaffSymbol #'transparent = ##t
6783 \remove "Time_signature_engraver"
6784 \remove "Bar_engraver"
6785 minimumVerticalExtent = ##f
6789 \remove Ligature_bracket_engraver
6790 \consists Vaticana_ligature_engraver
6791 \override NoteHead #'style = #'vaticana_punctum
6792 \override Stem #'transparent = ##t
6801 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6802 \include "gregorian-init.ly"
6804 \notes \transpose c c' {
6806 \[ g \oriscus a \pes \virga b \]
6813 \remove "Bar_number_engraver"
6817 \remove "Clef_engraver"
6818 \remove "Key_engraver"
6819 \override StaffSymbol #'transparent = ##t
6820 \remove "Time_signature_engraver"
6821 \remove "Bar_engraver"
6822 minimumVerticalExtent = ##f
6826 \remove Ligature_bracket_engraver
6827 \consists Vaticana_ligature_engraver
6828 \override NoteHead #'style = #'vaticana_punctum
6829 \override Stem #'transparent = ##t
6835 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6836 \include "gregorian-init.ly"
6838 \notes \transpose c c' {
6839 % Salicus Auctus Descendens
6840 \[ g \oriscus a \pes \auctum \descendens b \]
6847 \remove "Bar_number_engraver"
6851 \remove "Clef_engraver"
6852 \remove "Key_engraver"
6853 \override StaffSymbol #'transparent = ##t
6854 \remove "Time_signature_engraver"
6855 \remove "Bar_engraver"
6856 minimumVerticalExtent = ##f
6860 \remove Ligature_bracket_engraver
6861 \consists Vaticana_ligature_engraver
6862 \override NoteHead #'style = #'vaticana_punctum
6863 \override Stem #'transparent = ##t
6873 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6874 \include "gregorian-init.ly"
6876 \notes \transpose c c' {
6878 \[ \stropha b \stropha b \stropha a \]
6885 \remove "Bar_number_engraver"
6889 \remove "Clef_engraver"
6890 \remove "Key_engraver"
6891 \override StaffSymbol #'transparent = ##t
6892 \remove "Time_signature_engraver"
6893 \remove "Bar_engraver"
6894 minimumVerticalExtent = ##f
6898 \remove Ligature_bracket_engraver
6899 \consists Vaticana_ligature_engraver
6900 \override NoteHead #'style = #'vaticana_punctum
6901 \override Stem #'transparent = ##t
6912 Unlike most other neumes notation systems, the input language for
6913 neumes does not necessarily reflect directly the typographical
6914 appearance, but is designed to solely focuse on musical meaning. For
6915 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6916 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6917 a Porrectus with a curved flexa shape and only a single Punctum head.
6918 There is no command to explicitly typeset the curved flexa shape; the
6919 decision of when to typeset a curved flexa shape is purely taken from
6920 the musical input. The idea of this approach is to separate the
6921 musical aspects of the input from the notation style of the output.
6922 This way, the same input can be reused to typeset the same music in a
6923 different style of Gregorian chant notation.
6925 The following table shows the code fragments that produce the
6926 ligatures in the above neumes table. The letter in the first column
6927 in each line of the below table indicates to which ligature in the
6928 above table it refers. The second column gives the name of the
6929 ligature. The third column shows the code fragment that produces this
6930 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6932 @multitable @columnfractions .1 .4 .5
6946 Punctum Inclinatum @tab
6947 @code{\[ \inclinatum b \]}
6951 Punctum Auctum Ascendens @tab
6952 @code{\[ \auctum \ascendens b \]}
6956 Punctum Auctum Descendens @tab
6957 @code{\[ \auctum \descendens b \]}
6961 Punctum Inclinatum Auctum @tab
6962 @code{\[ \inclinatum \auctum b \]}
6966 Punctum Inclinatum Parvum @tab
6967 @code{\[ \inclinatum \deminutum b \]}
6972 @code{\[ \virga b \]}
6977 @code{\[ \stropha b \]}
6982 @code{\[ \stropha \auctum b \]}
6987 @code{\[ \oriscus b \]}
6991 Clivis vel Flexa @tab
6992 @code{\[ b \flexa g \]}
6996 Clivis Aucta Descendens @tab
6997 @code{\[ b \flexa \auctum \descendens g \]}
7001 Clivis Aucta Ascendens @tab
7002 @code{\[ b \flexa \auctum \ascendens g \]}
7007 @code{\[ b \flexa \deminutum g \]}
7011 Podatus vel Pes @tab
7012 @code{\[ g \pes b \]}
7016 Pes Auctus Descendens @tab
7017 @code{\[ g \pes \auctum \descendens b \]}
7021 Pes Auctus Ascendens @tab
7022 @code{\[ g \pes \auctum \ascendens b \]}
7027 @code{\[ g \pes \deminutum b \]}
7032 @code{\[ \oriscus g \pes \virga b \]}
7036 Pes Quassus Auctus Descendens @tab
7037 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7042 @code{\[ \quilisma g \pes b \]}
7046 Quilisma Pes Auctus Descendens @tab
7047 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7051 Pes Initio Debilis @tab
7052 @code{\[ \deminutum g \pes b \]}
7056 Pes Auctus Descendens Initio Debilis @tab
7057 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7062 @code{\[ a \pes b \flexa g \]}
7066 Torculus Auctus Descendens @tab
7067 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7071 Torculus Deminutus @tab
7072 @code{\[ a \pes b \flexa \deminutum g \]}
7076 Torculus Initio Debilis @tab
7077 @code{\[ \deminutum a \pes b \flexa g \]}
7081 Torculus Auctus Descendens Initio Debilis @tab
7082 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7086 Torculus Deminutus Initio Debilis @tab
7087 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7092 @code{\[ a \flexa g \pes b \]}
7096 Porrectus Auctus Descendens @tab
7097 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7101 Porrectus Deminutus @tab
7102 @code{\[ a \flexa g \pes \deminutum b \]}
7107 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7111 Climacus Auctus @tab
7112 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7116 Climacus Deminutus @tab
7117 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7122 @code{\[ g \pes a \virga b \]}
7126 Scandicus Auctus Descendens @tab
7127 @code{\[ g \pes a \pes \auctum \descendens b \]}
7131 Scandicus Deminutus @tab
7132 @code{\[ g \pes a \pes \deminutum b \]}
7137 @code{\[ g \oriscus a \pes \virga b \]}
7141 Salicus Auctus Descendens @tab
7142 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7147 @code{\[ \stropha b \stropha b \stropha a \]}
7153 The following head prefixes are supported
7155 @cindex @code{\virga}
7157 @cindex @code{\stropha}
7159 @cindex @code{\inclinatum}
7161 @cindex @code{\auctum}
7163 @cindex @code{\descendens}
7165 @cindex @code{\ascendens}
7167 @cindex @code{\oriscus}
7169 @cindex @code{\quilisma}
7171 @cindex @code{\deminutum}
7174 Head prefixes can be accumulated, though restrictions apply. For
7175 example, either @code{\descendens} or @code{\ascendens} can be applied
7176 to a head, but not both to the same head.
7179 @cindex @code{\flexa}
7180 Two adjacent heads can be tied together with the @code{\pes} and
7181 @code{\flexa} infix commands for a rising and falling line of melody,
7186 @node Vaticana style contexts
7187 @subsection Vaticana style contexts
7189 @cindex VaticanaVoiceContext
7190 @cindex VaticanaStaffContext
7192 The predefined @code{VaticanaVoiceContext} and
7193 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7194 Gregorian Chant in the style of the Editio Vaticana. These contexts
7195 initialize all relevant context properties and grob properties to
7196 proper values. With these contexts, you can immediately go ahead
7197 entering the chant, as the following short excerpt demonstrates
7199 @lilypond[quote,raggedright,verbatim,noindent]
7200 \include "gregorian-init.ly"
7203 \context VaticanaVoice = "cantus" {
7204 \override Score.BarNumber #'transparent = ##t
7206 \[ c'\melisma c' \flexa a \]
7207 \[ a \flexa \deminutum g\melismaEnd \]
7209 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
7210 c' \divisioMinima \break
7211 \[ c'\melisma c' \flexa a \]
7212 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7215 \lyricsto "cantus" \new Lyrics \lyrics {
7216 San- ctus, San- ctus, San- ctus
7223 @subsection Figured bass
7225 @cindex Basso continuo
7227 @c TODO: musicological blurb about FB
7230 LilyPond has limited support for figured bass
7232 @lilypond[quote,verbatim,fragment]
7234 \context Voice \notes { \clef bass dis4 c d ais }
7235 \context FiguredBass \figures {
7236 < 6 >4 < 7 >8 < 6+ [_!] >
7242 The support for figured bass consists of two parts: there is an input
7243 mode, introduced by @code{\figures}, where you can enter bass figures
7244 as numbers, and there is a context called @internalsref{FiguredBass} that
7245 takes care of making @internalsref{BassFigure} objects.
7247 In figures input mode, a group of bass figures is delimited by
7248 @code{<} and @code{>}. The duration is entered after the @code{>>}
7252 @lilypond[quote,fragment]
7253 \context FiguredBass
7257 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7263 @lilypond[quote,fragment]
7264 \context FiguredBass
7265 \figures { <4- 6+ 7!> }
7268 Spaces or dashes may be inserted by using @code{_}. Brackets are
7269 introduced with @code{[} and @code{]}
7274 @lilypond[quote,fragment]
7275 \context FiguredBass
7276 \figures { < [4 6] 8 [_! 12]> }
7279 Although the support for figured bass may superficially resemble chord
7280 support, it works much simpler. The @code{\figures} mode simply
7281 stores the numbers , and @internalsref{FiguredBass} context prints
7282 them as entered. There is no conversion to pitches, and no
7283 realizations of the bass are played in the MIDI file.
7285 Internally, the code produces markup texts. You can use any of the
7286 markup text properties to override formatting. For example, the
7287 vertical spacing of the figures may be set with @code{baseline-skip}.
7291 Program reference: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7292 and @internalsref{FiguredBass} context.
7296 Slash notation for alterations is not supported.
7298 @node Contemporary notation
7299 @section Contemporary notation
7301 In the 20th century, composers have greatly expanded the musical
7302 vocabulary. With this expansion, many innovations in musical notation
7303 have been tried. The book by Stone (1980) gives a comprehensive
7304 overview (see @ref{Literature list}). In general, the use of new,
7305 innovative notation makes a piece harder to understand and perform and
7306 its use should therefore be avoided if possible. For this reason,
7307 support for contemporary notation in LilyPond is limited.
7316 @subsection Clusters
7320 A cluster indicates a continuous range of pitches to be played. They
7321 can be denoted as the envelope of a set of notes. They are entered by
7322 applying the function @code{notes-to-clusters} to a sequence of
7325 @lilypond[quote,relative=2,verbatim]
7326 \apply #notes-to-clusters { <c e > <b f'> }
7329 The following example (from
7330 @inputfileref{input/regression,cluster.ly}) shows what the result
7333 @lilypondfile[quote]{cluster.ly}
7335 Ordinary notes and clusters can be put together in the same staff,
7336 even simultaneously. In such a case no attempt is made to
7337 automatically avoid collisions between ordinary notes and clusters.
7341 Program reference: @internalsref{ClusterSpanner},
7342 @internalsref{ClusterSpannerBeacon},
7343 @internalsref{Cluster_spanner_engraver}, and
7344 @internalsref{ClusterNoteEvent}.
7346 Examples: @inputfileref{input/regression,cluster.ly}.
7350 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7351 accurately. Use @code{<g a>8 <e a>8} instead.
7356 @subsection Fermatas
7362 Contemporary music notation frequently uses special fermata symbols to
7363 indicate fermatas of differing lengths. The following fermatas are
7366 @lilypond[quote,raggedright]
7389 \context Lyrics \lyrics {
7390 \override LyricText #'font-family = #'typewriter
7391 "shortfermata" "fermata" "longfermata" "verylongfermata"
7397 See @ref{Articulations} for general instructions how to apply scripts
7398 such as fermatas to a @code{\notes@{@}} block.
7401 @node Special notation
7402 @section Special notation
7406 * Easy Notation note heads::
7410 @subsection Balloon help
7412 Elements of notation can be marked and named with the help of a square
7413 balloon. The primary purpose of this feature is to explain notation.
7415 The following example demonstrates its use.
7417 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
7420 #(add-balloon-text 'NoteHead "heads, or tails?"
7426 The function @code{add-balloon-text} takes the name of a grob, the
7427 label to print and where to put the label relative to the object. In
7428 the above example, the text ``heads or tails?'' ends 3 spaces below
7432 @cindex notation, explaining
7436 Program reference: @internalsref{text-balloon-interface}.
7438 Examples: @inputfileref{input/regression,balloon.ly}.
7440 @node Easy Notation note heads
7441 @subsection Easy Notation note heads
7443 @cindex easy notation
7446 The `easy play' note head includes a name inside the head. It is
7447 used in music for beginners
7449 @lilypond[quote,raggedright,verbatim,staffsize=26]
7454 The command @code{\setEasyHeads} overrides settings for the
7455 @internalsref{NoteHead} object. To make the letters readable, it has
7456 to be printed in a large font size. To print with a larger font, see
7457 @ref{Setting global staff size}.
7462 If you view the result with Xdvi, staff lines may show through the
7463 letters. Printing the PostScript file obtained does produce the
7468 @cindex \setEasyHeads
7469 @code{\setEasyHeads}
7475 Entered music can also be converted to MIDI output. The performance
7476 is intended for proof-hearing the music for errors.
7478 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
7479 crescendi and decrescendi translate into MIDI volume levels. Dynamic
7480 marks translate to a fixed fraction of the available MIDI volume
7481 range, crescendi and decrescendi make the volume vary linearly between
7482 their two extremities. The fractions can be adjusted by
7483 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
7484 For each type of MIDI instrument, a volume range can be defined. This
7485 gives a basic equalizer control, which can enhance the quality of
7486 the MIDI output remarkably. The equalizer can be controlled by
7487 setting @code{instrumentEqualizer}.
7491 Many musically interesting effects, such as swing, articulation,
7492 slurring, etc., are not translated to MIDI.
7494 The MIDI output allocates a channel for each Staff, and one for global
7495 settings. Hence, the MIDI file should not have more than 15 staves
7496 (or 14 if you do not use drums). Other staves will remain silent.
7501 * MIDI instrument names::
7506 @subsection MIDI block
7510 The MIDI block is analogous to the paper block, but it is somewhat
7511 simpler. The @code{\midi} block can contain
7515 @item a @code{\tempo} definition, and
7516 @item context definitions.
7519 A number followed by a period is interpreted as a real number, so
7520 for setting the tempo for dotted notes, an extra space should be
7521 inserted, for example
7524 \midi @{ \tempo 4 . = 120 @}
7528 @cindex context definition
7530 Context definitions follow precisely the same syntax as within the
7531 \paper block. Translation modules for sound are called performers.
7532 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
7535 @node MIDI instrument names
7536 @subsection MIDI instrument names
7538 @cindex instrument names
7539 @cindex @code{Staff.midiInstrument}
7541 The MIDI instrument name is set by the @code{Staff.midiInstrument}
7542 property. The instrument name should be chosen from the list in
7543 @ref{MIDI instruments}.
7547 If the selected string does not exactly match, the default is used,
7548 which is the Grand Piano.