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
238 @lilypond[quote,raggedright,verbatim]
244 Program reference: @internalsref{RestEvent}, and @internalsref{Rest}.
251 @cindex Invisible rest
254 An invisible rest (also called a `skip') can be entered like a note
255 with note name `@code{s}' or with @code{\skip @var{duration}}
257 @lilypond[quote,raggedright,verbatim]
261 The @code{s} syntax is only available in note mode and chord mode. In
262 other situations, you should use the @code{\skip} command
264 @lilypond[quote,raggedright,verbatim]
267 { \time 4/8 \skip 2 \time 4/4 }
268 \notes\relative c'' { a2 a1 }
273 The skip command is merely an empty musical placeholder. It does not
274 produce any output, not even transparent output.
276 The @code{s} skip command does create @internalsref{Staff} and
277 @internalsref{Voice} when necessary, similar to note and rest
278 commands. For example, the following results in an empty staff.
280 @lilypond[quote,raggedright,verbatim]
281 \score { \notes { s4 } }
284 The same fragment using @code{\skip} results in an empty page.
288 Program reference: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
293 @subsection Durations
297 @cindex @code{\longa}
298 @cindex @code{\breve}
299 @cindex @code{\maxima}
302 In Note, Chord, and Lyrics mode, durations are designated by numbers
303 and dots: durations are entered as their reciprocal values. For example,
304 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
305 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
306 longer than a whole you must use variables
310 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
312 r1 r2 r4 r8 r16 r32 r64 r64
317 \notes \relative c'' {
318 a\breve*1/2 \autoBeamOff
319 a1 a2 a4 a8 a16 a32 a64 a64
320 r\longa*1/4 r\breve *1/2
321 r1 r2 r4 r8 r16 r32 r64 r64
327 \remove "Clef_engraver"
328 \override StaffSymbol #'transparent = ##t
329 \override TimeSignature #'transparent = ##t
330 \override BarLine #'transparent = ##t
331 \consists "Pitch_squash_engraver"
338 If the duration is omitted then it is set to the previously entered
339 duration. The default for the first note is a quarter note. The duration
340 can be followed by dots (`@code{.}') in order to obtain dotted note
344 @lilypond[quote,fragment,verbatim]
345 a' b' c''8 b' a'4 a'4. b'4.. c'8.
350 You can alter the length of duration by a fraction @var{N/M}
351 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
352 will not affect the appearance of the notes or rests produced.
354 In the following example, the first three notes take up exactly two
355 beats, but no triplet bracket is printed.
356 @lilypond[quote,fragment,relative=3,verbatim]
358 a4*2/3 gis4*2/3 a4*2/3
364 Dots are normally moved up to avoid staff lines, except in polyphonic
365 situations. The following commands may be used to force a particular
368 @cindex @code{\dotsUp}
370 @cindex @code{\dotsDown}
372 @cindex @code{\dotsBoth}
377 This manual: @ref{Tuplets}
379 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
384 Whenever a note is found, a @internalsref{Stem} object is created
385 automatically. For whole notes and rests, they are also created but
390 @cindex @code{\stemUp}
392 @cindex @code{\stemDown}
394 @cindex @code{\stemBoth}
405 A tie connects two adjacent note heads of the same pitch. The tie in
406 effect extends the length of a note. Ties should not be confused with
407 slurs, which indicate articulation, or phrasing slurs, which indicate
408 musical phrasing. A tie is entered using the tilde symbol `@code{~}'
410 @lilypond[quote,fragment,verbatim]
411 e' ~ e' <c' e' g'> ~ <c' e' g'>
414 When a tie is applied to a chord, all note heads whose pitches match
415 are connected. When no note heads match, no ties will be created.
417 In its meaning a tie is just a way of extending a note duration, similar
418 to the augmentation dot; in the following example there are two ways of
419 notating exactly the same concept
421 @lilypond[quote,fragment,raggedright]
422 \time 3/4 c'2. c'2 ~ c'4
424 If you need to tie a lot of notes over bars, it may be easier to use automatic
425 note splitting (see @ref{Automatic note splitting}).
430 @cindex @code{\tieUp}
432 @cindex @code{\tieDown}
434 @cindex @code{\tieBoth}
436 @cindex @code{\tieDotted}
438 @cindex @code{\tieSolid}
443 In this manual: @ref{Automatic note splitting}.
445 Program reference: @internalsref{TieEvent}, @internalsref{Tie}.
447 For tying only a subset of the note heads of a pair of chords, see
448 @inputfileref{input/regression,tie-chord-partial.ly}.
453 Switching staves when a tie is active will not produce a slanted tie.
455 Formatting of ties is a difficult subject. The results are often not
465 @cindex @code{\times}
467 Tuplets are made out of a music expression by multiplying all durations
470 @cindex @code{\times}
472 \times @var{fraction} @var{musicexpr}
476 The duration of @var{musicexpr} will be multiplied by the fraction.
477 The fraction's denominator will be printed over the notes, optionally
478 with a bracket. The most common tuplet is the triplet in which 3
479 notes have the length of 2, so the notes are 2/3 of their written
482 @lilypond[quote,fragment,verbatim]
483 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
486 The property @code{tupletSpannerDuration} specifies how long each
487 bracket should last. With this, you can make lots of tuplets while
488 typing @code{\times} only once, saving lots of typing. In the next
489 example, there are two triplets shown, while @code{\times} was only
492 @lilypond[quote,fragment,relative=1,raggedright,verbatim]
493 \set tupletSpannerDuration = #(ly:make-moment 1 4)
494 \times 2/3 { c'8 c c c c c }
497 The format of the number is determined by the property
498 @code{tupletNumberFormatFunction}. The default prints only the
499 denominator, but if it is set to the Scheme function
500 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
504 @cindex @code{tupletNumberFormatFunction}
505 @cindex tuplet formatting
510 @cindex @code{\tupletUp}
512 @cindex @code{\tupletDown}
514 @cindex @code{\tupletBoth}
519 User manual: @ref{Changing context properties on the fly} for the
523 Program reference: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
525 Examples: @inputfileref{input/regression,tuplet-nest.ly}.
529 Nested tuplets are not formatted automatically. In this case, outer
530 tuplet brackets should be moved manually, which is demonstrated in
531 @inputfileref{input/regression,tuplet-nest.ly}.
535 @node Easier music entry
536 @section Easier music entry
539 This section deals with tricks and features of the input language that
540 were added solely to help entering music, finding and correcting
541 mistakes. There are also external tools that make debugging easier.
542 See @ref{Point and click} for more information.
544 It is also possible to enter and edit music using other programs. For
545 example, GUI interfaces, or MIDI sequencers. Refer to the LilyPond
546 website for more information.
553 * Skipping corrected music::
554 * Automatic note splitting::
560 @node Relative octaves
561 @subsection Relative octaves
563 @cindex relative octave specification
565 Octaves are specified by adding @code{'} and @code{,} to pitch names.
566 When you copy existing music, it is easy to accidentally put a pitch
567 in the wrong octave and hard to find such an error. The relative
568 octave mode prevents these errors: a single error puts the rest of the
569 piece off by one octave
571 @cindex @code{\relative}
573 \relative @var{startpitch} @var{musicexpr}
576 The octave of notes that appear in @var{musicexpr} are calculated as
577 follows: If no octave changing marks are used, the basic interval
578 between this and the last note is always taken to be a fourth or
579 less. This distance is determined without regarding alterations; a
580 @code{fisis} following a @code{ceses} will be put above the
583 The octave changing marks @code{'} and @code{,} can be added to raise
584 or lower the pitch by an extra octave. Upon entering relative mode,
585 an absolute starting pitch must be specified that will act as the
586 predecessor of the first note of @var{musicexpr}.
588 Here is the relative mode shown in action
589 @lilypond[quote,fragment,raggedright,verbatim]
595 Octave changing marks are used for intervals greater than a fourth
596 @lilypond[quote,fragment,verbatim]
602 If the preceding item is a chord, the first note of the chord is used
603 to determine the first note of the next chord
605 @lilypond[quote,fragment,verbatim]
612 @cindex @code{\notes}
614 The pitch after the @code{\relative} contains a note name. To parse
615 the note name as a pitch, it must be surrounded by @code{\notes}
617 The relative conversion will not affect @code{\transpose},
618 @code{\chords} or @code{\relative} sections in its argument. If you
619 want to use relative within transposed music, you must place an
620 additional @code{\relative} inside the @code{\transpose}.
623 @subsection Octave check
626 Octave checks make octave errors easier to correct: a note may be
627 followed by @code{=}@var{quotes} which indicates what its absolute
628 octave should be. In the following example,
630 \relative c'' @{ c='' b=' d,='' @}
634 @c take care with @code, adds confusing quotes.
635 the d will generate a warning, because a d'' is expected, but a d' is
636 found. In the output, the octave is corrected for this and the
641 There is also a syntax that is separate from the notes. The syntax
647 This checks that @var{pitch} (without quotes) yields @var{pitch} (with
648 quotes) in \relative mode. If not, a warning is printed, and the
649 octave is corrected, for example, the first check is passed
650 successfully. The second check fails with an error message. The
651 octave is adjusted so the following notes are in the correct octave
662 The octave of a note following an octave check is determined with
663 respect to the note preceding it. In the next fragment, the last note
664 is a @code{a'}, above middle C. Hence, the @code{\octave} check may
665 be deleted without changing the meaning of the piece.
667 @lilypond[quote,verbatim,fragment]
676 @subsection Bar check
680 @cindex @code{barCheckSynchronize}
683 Bar checks help detect errors in the durations. A bar check is
684 entered using the bar symbol, `@code{|}'. Whenever it is encountered
685 during interpretation, it should fall on a measure boundary. If it
686 does not, a warning is printed. In the next example, the second bar
687 check will signal an error
689 \time 3/4 c2 e4 | g2 |
692 Bar checks can also be used in lyrics, for example
697 Twin -- kle | Twin -- kle
702 @cindex skipTypesetting
704 Failed bar checks are caused by entering incorrect
705 durations. Incorrect durations often completely garble up the score,
706 especially if it is polyphonic, so you should start correcting the
707 score by scanning for failed bar checks and incorrect durations. To
708 speed up this process, you can use @code{skipTypesetting}, described
711 It is also possible to redefine the meaning of @code{|}. This is done
712 by assigning a music expression to @code{pipeSymbol},
715 pipeSymbol = \bar "||"
718 \notes { c'2 c'2 | c'2 c'2 | }
723 @node Skipping corrected music
724 @subsection Skipping corrected music
726 The property @code{Score.skipTypesetting} can be used to switch on and
727 off typesetting completely during the interpretation phase. When
728 typesetting is switched off, the music is processed much more quickly.
729 This can be used to skip over the parts of a score that have already
730 been checked for errors
732 @lilypond[quote,fragment,raggedright,verbatim]
735 \set Score.skipTypesetting = ##t
737 \set Score.skipTypesetting = ##f
741 @node Automatic note splitting
742 @subsection Automatic note splitting
744 Long notes can be converted automatically to tied notes. This is done
745 by replacing the @internalsref{Note_heads_engraver} by the
746 @internalsref{Completion_heads_engraver}.
747 In the following examples, notes crossing the bar line are split and tied.
750 @lilypond[quote,fragment,verbatim,relative=1,raggedright]
752 \remove "Note_heads_engraver"
753 \consists "Completion_heads_engraver"
755 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
759 This engraver splits all running notes at the bar line, and inserts
760 ties. One of its uses is to debug complex scores: if the measures are
761 not entirely filled, then the ties exactly show how much each measure
766 Not all durations (especially those containing tuplets) can be
767 represented exactly; the engraver will not insert tuplets.
771 Examples: @inputfileref{input/regression,completion-heads.ly}.
773 Program reference: @internalsref{Completion_heads_engraver}.
777 @section Staff notation
779 This section describes music notation that occurs on staff level,
780 such as keys, clefs and time signatures.
782 @cindex Staff notation
796 @subsection Staff symbol
798 @cindex adjusting staff symbol
800 Notes, dynamic signs, etc. are grouped
801 with a set of horizontal lines, into a staff (plural `staves'). In our
802 system, these lines are drawn using a separate layout object called
806 @cindex staff lines, setting number of
807 @cindex staff lines, setting thickness of
808 @cindex thickness of staff lines, setting
809 @cindex number of staff lines, setting
813 Program reference: @internalsref{StaffSymbol}.
815 Examples: @inputfileref{input/test,staff-lines.ly},
816 @inputfileref{input/test,staff-size.ly}.
820 If a staff is ended halfway a piece, the staff symbol may not end
821 exactly on the bar line.
825 @subsection Key signature
826 @cindex Key signature
830 The key signature indicates the scale in which a piece is played. It
831 is denoted by a set of alterations (flats or sharps) at the start of
835 Setting or changing the key signature is done with the @code{\key}
838 @code{\key} @var{pitch} @var{type}
841 @cindex @code{\minor}
842 @cindex @code{\major}
843 @cindex @code{\minor}
844 @cindex @code{\ionian}
845 @cindex @code{\locrian}
846 @cindex @code{\aeolian}
847 @cindex @code{\mixolydian}
848 @cindex @code{\lydian}
849 @cindex @code{\phrygian}
850 @cindex @code{\dorian}
852 Here, @var{type} should be @code{\major} or @code{\minor} to get
853 @var{pitch}-major or @var{pitch}-minor, respectively.
854 The standard mode names @code{\ionian},
855 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
856 @code{\phrygian}, and @code{\dorian} are also defined.
858 This command sets the context property
859 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
860 can be specified by setting this property directly.
862 Accidentals and key signatures often confuse new users, because
863 unaltered notes get natural signs depending on the key signature. For
864 more information, see @ref{More about pitches}.
868 The ordering of a key cancellation is wrong when it is combined with
869 repeat bar lines. The cancellation is also printed after a line break.
873 Program reference: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
875 @cindex @code{keySignature}
882 The clef indicates which lines of the staff correspond to which
886 The clef can be set or changed with the @code{\clef} command
887 @lilypond[quote,fragment,verbatim]
888 \key f\major c''2 \clef alto g'2
891 Supported clef-names include
892 @c Moved standard clefs to the top /MB
896 @item treble, violin, G, G2
909 G clef on 1st line, so-called French violin clef
914 @cindex mezzosoprano clef
917 @cindex baritone clef
920 @cindex varbaritone clef
931 By adding @code{_8} or @code{^8} to the clef name, the clef is
932 transposed one octave down or up, respectively, and @code{_15} and
933 @code{^15} transposes by two octaves. The argument @var{clefname}
934 must be enclosed in quotes when it contains underscores or digits. For
938 @cindex choral tenor clef
939 @lilypond[quote,verbatim,fragment,relative=1]
943 This command is equivalent to setting @code{clefGlyph},
944 @code{clefPosition} (which controls the Y position of the clef),
945 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
946 when any of these properties are changed.
950 Program reference: the object for this symbol is @internalsref{Clef}.
954 @node Ottava brackets
955 @subsection Ottava brackets
957 ``Ottava'' brackets introduce an extra transposition of an octave for
958 the staff. They are created by invoking the function
959 @code{set-octavation}
965 @lilypond[quote,verbatim,fragment]
975 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
976 (for 15ma) as arguments. Internally the function sets the properties
977 @code{ottavation} (e.g. to @code{"8va"}) and
978 @code{centralCPosition}. For overriding the text of the bracket, set
979 @code{ottavation} after invoking @code{set-octavation}, i.e.,
983 \set Staff.ottavation = #"8"
988 Program reference: @internalsref{OttavaBracket}.
990 Examples: @inputfileref{input/regression,ottava.ly},
991 @inputfileref{input/regression,ottava-broken.ly}.
995 @code{set-octavation} will get confused when clef changes happen
996 during an octavation bracket.
999 @subsection Time signature
1000 @cindex Time signature
1002 @cindex @code{\time}
1004 Time signature indicates the metrum of a piece: a regular pattern of
1005 strong and weak beats. It is denoted by a fraction at the start of the
1009 The time signature is set or changed by the @code{\time}
1011 @lilypond[quote,fragment,verbatim]
1012 \time 2/4 c'2 \time 3/4 c'2.
1015 The symbol that is printed can be customized with the @code{style}
1016 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1017 2/2 time. There are many more options for its layout. See
1018 @inputfileref{input/test,time.ly} for more examples.
1021 This command sets the property @code{timeSignatureFraction},
1022 @code{beatLength} and @code{measureLength} in the @code{Timing}
1023 context, which is normally aliased to @internalsref{Score}. The
1024 property @code{measureLength} determines where bar lines should be
1025 inserted, and how automatic beams should be generated. Changing the
1026 value of @code{timeSignatureFraction} also causes the symbol to be
1029 More options are available through the Scheme function
1030 @code{set-time-signature}. In combination with the
1031 @internalsref{Measure_grouping_engraver}, it will create
1032 @internalsref{MeasureGrouping} signs. Such signs ease reading
1033 rhythmically complex modern music. In the following example, the 9/8
1034 measure is subdivided in 2, 2, 2 and 3. This is passed to
1035 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
1037 @lilypond[quote,raggedright,verbatim]
1039 \notes \relative c'' {
1040 #(set-time-signature 9 8 '(2 2 2 3))
1041 g8[ g] d[ d] g[ g] a8[( bes g]) |
1042 #(set-time-signature 5 8 '(3 2))
1048 \consists "Measure_grouping_engraver"
1056 Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1061 Automatic beaming does not use the measure grouping specified with
1062 @code{set-time-signature}.
1064 @node Partial measures
1065 @subsection Partial measures
1068 @cindex partial measure
1069 @cindex measure, partial
1070 @cindex shorten measures
1071 @cindex @code{\partial}
1073 Partial measures, for example in upsteps, are entered using the
1074 @code{\partial} command
1075 @lilypond[quote,fragment,verbatim,relative=2]
1076 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1079 The syntax for this command is
1081 \partial @var{duration}
1083 This is internally translated into
1085 \set Timing.measurePosition = -@var{length of duration}
1088 The property @code{measurePosition} contains a rational number
1089 indicating how much of the measure has passed at this point.
1091 @node Unmetered music
1092 @subsection Unmetered music
1096 Bar lines and bar numbers are calculated automatically. For unmetered
1097 music (e.g. cadenzas), this is not desirable. By setting
1098 @code{Score.timing} to false, this automatic timing can be switched
1099 off. Empty bar lines,
1106 indicate where line breaks can occur.
1111 @cindex @code{\cadenzaOn}
1113 @cindex @code{\cadenzaOff}
1117 @subsection Bar lines
1121 @cindex measure lines
1125 Bar lines delimit measures, but are also used to indicate repeats.
1126 Normally, they are inserted automatically. Line breaks may only
1127 happen on bar lines.
1129 Special types of bar lines can be forced with the @code{\bar} command
1131 @lilypond[quote,relative=2,fragment,verbatim]
1135 The following bar types are available
1136 @lilypond[quote,fragment,relative=1,raggedright,verbatim]
1149 For allowing line breaks, there is a special command,
1153 This will insert an invisible bar line, and allow line breaks at this
1156 In scores with many staves, a @code{\bar} command in one staff is
1157 automatically applied to all staves. The resulting bar lines are
1158 connected between different staves of a @internalsref{StaffGroup}
1160 @lilypond[quote,fragment,verbatim]
1162 \context StaffGroup <<
1168 \new Staff { \clef bass c4 g e g }
1170 \new Staff { \clef bass c2 c2 }
1174 A bar line is created whenever the @code{whichBar} property is set.
1175 At the start of a measure it is set to the contents of
1176 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1177 to override default measure bars.
1179 The command @code{\bar }@var{bartype} is a short cut for doing
1180 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1181 is set to a string, a bar line of that type is created.
1184 @cindex repeatCommands
1185 @cindex defaultBarType
1187 You are encouraged to use @code{\repeat} for repetitions. See
1194 In this manual: @ref{Repeats}.
1197 Program reference: the bar line objects that are created at
1198 @internalsref{Staff} level are called @internalsref{BarLine}, the bar
1199 lines that span staves are @internalsref{SpanBar} objects.
1201 @cindex bar lines at start of system
1202 @cindex start of system
1204 The bar lines at the start of each system are
1205 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1206 @internalsref{SystemStartBracket}. Only one of these types is created
1207 in every context, and that type is determined by the property
1208 @code{systemStartDelimiter}.
1210 Examples: @inputfileref{input/test,bar-lines.ly},
1216 The easiest way to enter fragments with more than one voice on a staff
1217 is to split chords using the separator @code{\\}. You can use it for
1218 small, short-lived voices or for single chords
1222 @lilypond[quote,verbatim,fragment]
1223 \context Staff \relative c'' {
1224 c4 << { f d e } \\ { b c2 } >>
1225 c4 << g' \\ b, \\ f' \\ d >>
1229 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1230 voices are sometimes called "layers" other notation packages}
1232 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1233 each of these contexts, vertical direction of slurs, stems, etc. is set
1236 @cindex @code{\voiceOne}
1237 @cindex @code{\voiceFour}
1239 This can also be done by instantiating @internalsref{Voice} contexts
1240 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1241 a stem directions and horizontal shift for each part
1244 @lilypond[quote,raggedright,verbatim]
1247 \new Voice { \voiceOne cis2 b }
1248 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1249 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1253 The command @code{\oneVoice} will revert back to the normal setting.
1254 @cindex @code{\oneVoice}
1257 Normally, note heads with a different number of dots are not merged, but
1258 when the object property @code{merge-differently-dotted} is set in
1259 the @internalsref{NoteCollision} object, they are merged
1260 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
1263 \override Staff.NoteCollision
1264 #'merge-differently-dotted = ##t
1266 } \\ { g8.[ f16] g8.[ f16] } >>
1269 Similarly, you can merge half note heads with eighth notes, by setting
1270 @code{merge-differently-headed}
1271 @lilypond[quote,fragment,relative=2,verbatim]
1274 \override Staff.NoteCollision
1275 #'merge-differently-headed = ##t
1276 c8 c4. } \\ { c2 c2 } >>
1279 LilyPond also vertically shifts rests that are opposite of a stem,
1282 @lilypond[quote,raggedright,fragment,verbatim]
1283 \context Voice << c''4 \\ r4 >>
1291 @cindex @code{\oneVoice}
1293 @cindex @code{\voiceOne}
1295 @cindex @code{\voiceTwo}
1297 @cindex @code{\voiceThree}
1299 @cindex @code{\voiceFour}
1303 The following commands specify in what chords of the current voice
1304 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1305 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1308 @cindex @code{\shiftOn}
1310 @cindex @code{\shiftOnn}
1312 @cindex @code{\shiftOnnn}
1314 @cindex @code{\shiftOff}
1321 Program reference: the objects responsible for resolving collisions are
1322 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1324 Examples: See also example files
1325 @inputfileref{input/regression,collision-dots.ly},
1326 @inputfileref{input/regression,collision-head-chords.ly},
1327 @inputfileref{input/regression,collision-heads.ly},
1328 @inputfileref{input/regression,collision-mesh.ly}, and
1329 @inputfileref{input/regression,collisions.ly}.
1334 Resolving collisions is a intricate subject, and only a few situations
1335 are handled. When LilyPond cannot cope, the @code{force-hshift}
1336 property of the @internalsref{NoteColumn} object and pitched rests can
1337 be used to override typesetting decisions.
1339 When using @code{merge-differently-headed} with an upstem eighth or a
1340 shorter note, and a downstem half note, the eighth note gets the wrong
1343 There is no support for clusters where the same note occurs with
1344 different accidentals in the same chord. In this case, it is
1345 recommended to use enharmonic transcription, or to use special cluster
1346 notation (see @ref{Clusters}).
1351 Beams are used to group short notes into chunks that are aligned with
1352 the metrum. They are inserted automatically
1354 @lilypond[quote,fragment,verbatim,relative=2]
1355 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1358 When these automatic decisions are not good enough, beaming can be
1359 entered explicitly. It is also possible to define beaming patterns
1360 that differ from the defaults.
1362 Individual notes may be marked with @code{\noBeam}, to prevent them
1365 @lilypond[quote,fragment,verbatim,relative=2]
1366 \time 2/4 c8 c\noBeam c c
1372 Program reference: @internalsref{Beam}.
1375 @cindex Automatic beams
1378 * Setting automatic beam behavior::
1382 @subsection Manual beams
1383 @cindex beams, manual
1387 In some cases it may be necessary to override the automatic beaming
1388 algorithm. For example, the autobeamer will not put beams over rests
1389 or bar lines. Such beams are specified by manually: the begin and end
1390 point are marked with @code{[} and @code{]}
1392 @lilypond[quote,fragment,relative=1,verbatim]
1394 r4 r8[ g' a r8] r8 g[ | a] r8
1398 @cindex @code{stemLeftBeamCount}
1400 Normally, beaming patterns within a beam are determined automatically.
1401 If necessary, the properties @code{stemLeftBeamCount} and
1402 @code{stemRightBeamCount} can be used to override the defaults. If
1403 either property is set, its value will be used only once, and then it
1406 @lilypond[quote,fragment,relative=1,verbatim]
1409 f8[ r16 \set stemLeftBeamCount = #1 f g a]
1412 @cindex @code{stemRightBeamCount}
1415 The property @code{subdivideBeams} can be set in order to subdivide
1416 all 16th or shorter beams at beat positions, as defined by the
1417 @code{beatLength} property.
1420 @lilypond[quote,relative=2,verbatim,noindent]
1422 \set subdivideBeams = ##t
1424 \set Score.beatLength = #(ly:make-moment 1 8)
1427 @cindex subdivideBeams
1429 Kneed beams are inserted automatically, when a large gap is detected
1430 between the note heads. This behavior can be tuned through the object
1431 property @code{auto-knee-gap}.
1433 Normally, line breaks are forbidden when beams cross bar lines. This
1434 behavior can be changed by setting @code{allowBeamBreak}.
1436 @cindex @code{allowBeamBreak}
1437 @cindex beams and line breaks
1439 @cindex beams, kneed
1441 @cindex auto-knee-gap
1446 User manual: @ref{Changing context properties on the fly} for the
1452 @cindex Frenched staves
1454 Automatically kneed cross-staff beams cannot be used together with
1457 Beams do not avoid collisions with symbols around the notes, such as
1458 texts and accidentals.
1462 @node Setting automatic beam behavior
1463 @subsection Setting automatic beam behavior
1465 @cindex @code{autoBeamSettings}
1466 @cindex @code{(end * * * *)}
1467 @cindex @code{(begin * * * *)}
1468 @cindex automatic beams, tuning
1469 @cindex tuning automatic beaming
1471 @c [TODO: use \applycontext]
1473 In normal time signatures, automatic beams can start on any note but can
1474 only end in a few positions within the measure: beams can end on a beat,
1475 or at durations specified by the properties in
1476 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
1477 are defined in @file{scm/auto-beam.scm}.
1479 The value of @code{autoBeamSettings} is changed with two functions,
1481 #(override-auto-beam-setting
1482 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
1484 #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m}))
1486 Here, @var{be} is the symbol @code{begin} or @code{end}, and
1487 @var{context} is an optional context (default: @code{'Voice}). It
1488 determines whether the rule applies to begin or end-points. The
1489 quantity @var{p}/@var{q} refers to the length of the beamed notes (and
1490 `@code{* *}' designates notes of any length), @var{n}/@var{M} refers
1491 to a time signature (wildcards `@code{* *}' may be entered to
1492 designate all time signatures), @var{a}/@var{b} is a duration. By
1493 default, this command changes settings for the current voice. It is
1494 also possible to adjust settings at higher contexts, by adding a
1495 @var{context} argument.
1497 For example, if automatic beams should end on every quarter note, use
1500 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1502 Since the duration of a quarter note is 1/4 of a whole note, it is
1503 entered as @code{(ly:make-moment 1 4)}.
1505 The same syntax can be used to specify beam starting points. In this
1506 example, automatic beams can only end on a dotted quarter note
1508 #(override-auto-beam-setting '(end * * * *) 3 8)
1510 In 4/4 time signature, this means that automatic beams could end only on
1511 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1512 3/8, has passed within the measure).
1514 Rules can also be restricted to specific time signatures. A rule that
1515 should only be applied in @var{N}/@var{M} time signature is formed by
1516 replacing the second asterisks by @var{N} and @var{M}. For example, a
1517 rule for 6/8 time exclusively looks like
1519 #(override-auto-beam-setting '(begin * * 6 8) @dots{})
1522 If a rule should be to applied only to certain types of beams, use the
1523 first pair of asterisks. Beams are classified according to the
1524 shortest note they contain. For a beam ending rule that only applies
1525 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1528 @cindex automatic beam generation
1530 @cindex @code{autoBeaming}
1533 If beams are used to indicate melismata in songs, then automatic
1534 beaming should be switched off. This is done by setting
1535 @code{autoBeaming} to @code{#f}.
1539 @cindex @code{\autoBeamOff}
1540 @code{\autoBeamOff},
1541 @cindex @code{\autoBeamOn}
1547 If a score ends while an automatic beam has not been ended and is
1548 still accepting notes, this last beam will not be typeset at all. The
1549 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
1550 >>}. If a polyphonic voice ends while an automatic beam is still
1551 accepting notes, it is not typeset.
1553 The rules for ending a beam depend on the shortest note in a beam.
1554 So, while it is possible to have different ending rules for eight
1555 beams and sixteenth beams, a beam that contains both eight and
1556 sixteenth notes will use the rules for the sixteenth beam.
1558 In the example below, the autobeamer makes eight beams and sixteenth
1559 end at 3 eights; the third beam can only be corrected by specifying
1562 @lilypond[quote,raggedright,fragment,relative=1]
1563 #(override-auto-beam-setting '(end * * * *) 3 8)
1564 % rather show case where it goes wrong
1565 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1566 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1568 It is not possible to specify beaming parameters that act differently in
1569 different parts of a measure. This means that it is not possible to use
1570 automatic beaming in irregular meters such as @code{5/8}.
1573 @section Accidentals
1576 This section describes how to change the way that accidentals are
1577 inserted automatically before the running notes.
1579 Common rules for typesetting accidentals have been canned in a
1580 function. This function is called as follows
1582 @cindex @code{set-accidental-style}
1584 #(set-accidental-style 'modern 'Voice)
1587 The function takes two arguments: a symbol that denotes the style (in
1588 the example, @code{modern}), and another symbol that denotes the
1589 context name (in this example, @code{Voice}). If no context name is
1590 supplied, @code{Staff} is the default.
1592 The following styles are supported
1595 This is the default typesetting behavior. It should correspond
1596 to 18th century common practice: Accidentals are
1597 remembered to the end of the measure in which they occur and
1598 only on their own octave.
1602 The normal behavior is to remember the accidentals on
1603 Staff-level. This variable, however, typesets accidentals
1604 individually for each voice. Apart from that, the rule is similar to
1607 This leads to some weird and often unwanted results
1608 because accidentals from one voice do not get canceled in other
1610 @lilypond[quote,raggedright,relative=1,fragment,verbatim]
1612 #(set-accidental-style 'voice)
1618 Hence you should only use @code{voice} if the voices
1619 are to be read solely by individual musicians. If the staff is to be
1620 used by one musician (e.g. a conductor) then you use
1621 @code{modern} or @code{modern-cautionary}
1625 @cindex @code{modern} style accidentals
1626 This rule corresponds to the common practice in the 20th
1628 This rule prints the same accidentals as @code{default}, but temporary
1629 accidentals also are canceled in other octaves. Furthermore,
1630 in the same octave, they also get canceled in the following
1633 @lilypond[quote,raggedright,fragment,verbatim]
1634 #(set-accidental-style 'modern)
1635 cis' c'' cis'2 | c'' c'
1638 @item @code{modern-cautionary}
1639 @cindex @code{modern-cautionary}
1640 This rule is similar to @code{modern}, but the
1641 ``extra'' accidentals (the ones not typeset by
1642 @code{default}) are typeset as cautionary accidentals.
1643 They are printed in reduced size or with parentheses
1644 @lilypond[quote,raggedright,fragment,verbatim]
1645 #(set-accidental-style 'modern-cautionary)
1646 cis' c'' cis'2 | c'' c'
1649 @cindex @code{modern-voice}
1651 This rule is used for multivoice accidentals to be read both by musicians
1652 playing one voice and musicians playing all voices. Accidentals are
1653 typeset for each voice, but they @emph{are} canceled across voices in
1654 the same @internalsref{Staff}.
1656 @cindex @code{modern-voice-cautionary}
1657 @item modern-voice-cautionary
1658 This rule is the same as @code{modern-voice}, but with the extra
1659 accidentals (the ones not typeset by @code{voice}) typeset
1660 as cautionaries. Even though all accidentals typeset by
1661 @code{default} @emph{are} typeset by this variable then
1662 some of them are typeset as cautionaries.
1665 @cindex @code{piano} accidentals
1666 This rule reflects 20th century practice for piano notation. Very similar to
1667 @code{modern} but accidentals also get canceled
1668 across the staves in the same @internalsref{GrandStaff} or
1669 @internalsref{PianoStaff}.
1671 @item piano-cautionary
1672 @cindex @code{#(set-accidental-style 'piano-cautionary)}
1673 As @code{#(set-accidental-style 'piano)' , str)} but with the extra accidentals
1674 typeset as cautionaries.
1677 @cindex @code{no-reset} accidental style
1679 This is the same as @code{default} but with accidentals lasting
1680 ``forever'' and not only until the next measure
1681 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1682 #(set-accidental-style 'no-reset)
1687 This is sort of the opposite of @code{no-reset}: Accidentals
1688 are not remembered at all---and hence all accidentals are
1689 typeset relative to the key signature, regardless of what was
1692 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1693 #(set-accidental-style 'forget)
1694 \key d\major c4 c cis cis d d dis dis
1701 Program reference: @internalsref{Accidental_engraver},
1702 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1707 Simultaneous notes are considered to be entered in sequential
1708 mode. This means that in a chord the accidentals are typeset as if the
1709 notes in the chord happened once at a time - in the order in which
1710 they appear in the input file.
1712 This is only a problem when accidentals in a chord depend on each
1713 other. This problem can be solved by manually inserting @code{!} and
1714 @code{?} for the problematic notes.
1716 In the default scheme, accidentals only depend on other
1717 accidentals with the same pitch on the same staff, so no conflicts are
1720 @node Expressive marks
1721 @section Expressive marks
1724 @c todo: should change ordering
1725 @c where to put text spanners, metronome marks,
1734 * Analysis brackets::
1736 * Fingering instructions::
1747 A slur indicates that notes are to be played bound or @emph{legato}.
1750 They are entered using parentheses
1751 @lilypond[quote,relative=2,fragment,verbatim]
1752 f( g)( a) a8 b( a4 g2 f4)
1757 @c TODO: should explain that ^( and _( set directions
1758 @c should set attachments with ^ and _ ?
1760 Slurs avoid crossing stems, and are generally attached to note heads.
1761 However, in some situations with beams, slurs may be attached to stem
1762 ends. If you want to override this layout you can do this through the
1763 object property @code{attachment} of @internalsref{Slur}. Its value
1764 is a pair of symbols, specifying the attachment type of the left and
1767 @lilypond[quote,fragment,relative=1,verbatim]
1769 \override Stem #'length = #5.5
1771 \override Slur #'attachment = #'(stem . stem)
1775 If a slur would strike through a stem or beam, the slur will be moved
1776 away upward or downward. If this happens, attaching the slur to the
1777 stems might look better
1779 @lilypond[quote,fragment,relative=1,verbatim]
1782 \override Slur #'attachment = #'(stem . stem)
1789 @cindex @code{\slurUp}
1791 @cindex @code{\slurDown}
1793 @cindex @code{\slurBoth}
1795 @cindex @code{\slurDotted}
1797 @cindex @code{\slurSolid}
1802 Program reference: @seeinternals{Slur}, and @internalsref{SlurEvent}.
1807 Producing nice slurs is a difficult problem, and LilyPond
1808 uses a simple, empiric method to produce slurs. In some cases, its
1812 @cindex Adjusting slurs
1814 @node Phrasing slurs
1815 @subsection Phrasing slurs
1817 @cindex phrasing slurs
1818 @cindex phrasing marks
1820 A phrasing slur (or phrasing mark) connects chords and is used to
1821 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1824 @lilypond[quote,fragment,verbatim,relative=1]
1825 \time 6/4 c'\( d( e) f( e) d\)
1828 Typographically, the phrasing slur behaves almost exactly like a
1829 normal slur. However, they are treated as different objects. A
1830 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1831 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1832 @code{\phrasingSlurBoth}.
1834 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1835 will only affect normal slurs and not phrasing slurs.
1839 @cindex @code{\phrasingSlurUp}
1840 @code{\phrasingSlurUp},
1841 @cindex @code{\phrasingSlurDown}
1842 @code{\phrasingSlurDown},
1843 @cindex @code{\phrasingSlurBoth}
1844 @code{\phrasingSlurBoth}.
1848 Program reference: see also @internalsref{PhrasingSlur}, and
1849 @internalsref{PhrasingSlurEvent}.
1853 Phrasing slurs have the same limitations in their formatting as normal
1854 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1857 @subsection Breath marks
1859 Breath marks are entered using @code{\breathe}
1862 @lilypond[quote,fragment,relative=1,verbatim]
1866 The glyph of the breath mark can be tuned by overriding the
1867 @code{text} property of the @code{BreathingSign} layout object with
1868 any markup text. For example,
1869 @lilypond[quote,fragment,verbatim,relative=1]
1871 \override BreathingSign #'text
1872 = #(make-musicglyph-markup "scripts-rvarcomma")
1879 Program reference: @internalsref{BreathingSign},
1880 @internalsref{BreathingSignEvent}.
1882 Examples: @inputfileref{input/regression,breathing-sign.ly}.
1885 @node Metronome marks
1886 @subsection Metronome marks
1889 @cindex beats per minute
1890 @cindex metronome marking
1892 Metronome settings can be entered as follows
1894 \tempo @var{duration} = @var{per-minute}
1897 In the MIDI output, they are interpreted as a tempo change, and in the
1898 paper output, a metronome marking is printed
1899 @cindex @code{\tempo}
1900 @lilypond[quote,fragment,verbatim]
1906 Program reference: @internalsref{MetronomeChangeEvent}.
1911 @subsection Text spanners
1912 @cindex Text spanners
1914 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1915 are written as texts, and extended over many measures with dotted
1916 lines. You can create such texts using text spanners: attach
1917 @code{\startTextSpan} and @code{\stopTextSpan} to the
1918 start and ending note of the spanner.
1920 The string to be printed, as well as the style, is set through object
1923 @lilypond[quote,fragment,relative=1,verbatim]
1926 \override TextSpanner #'direction = #-1
1927 \override TextSpanner #'edge-text = #'("rall " . "")
1928 c2\startTextSpan b c\stopTextSpan a
1935 Internals @internalsref{TextSpanEvent},
1936 @internalsref{TextSpanner}.
1938 Examples: @inputfileref{input/regression,text-spanner.ly}.
1941 @node Analysis brackets
1942 @subsection Analysis brackets
1944 @cindex phrasing brackets
1945 @cindex musicological analysis
1946 @cindex note grouping bracket
1948 Brackets are used in musical analysis to indicate structure in musical
1949 pieces. LilyPond supports a simple form of nested horizontal brackets.
1950 To use this, add the @internalsref{Horizontal_bracket_engraver} to
1951 @internalsref{Staff} context. A bracket is started with
1952 @code{\startGroup} and closed with @code{\stopGroup}
1954 @lilypond[quote,raggedright,verbatim]
1956 \notes \relative c'' {
1957 c4\startGroup\startGroup
1960 c4\stopGroup\stopGroup
1964 \Staff \consists "Horizontal_bracket_engraver"
1970 Program reference: @internalsref{HorizontalBracket},
1971 @internalsref{NoteGroupingEvent}.
1973 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
1977 @subsection Articulations
1978 @cindex Articulations
1980 @cindex articulations
1984 A variety of symbols can appear above and below notes to indicate
1985 different characteristics of the performance. They are added to a note
1986 by adding a dash and the character signifying the
1987 articulation. They are demonstrated here
1989 @lilypondfile[quote,raggedright]{script-abbreviations.ly}
1991 The meanings of these shorthands can be changed. See
1992 @file{ly/script-init.ly} for examples.
1995 The script is automatically placed, but if you need to force
1996 directions, you can use @code{_} to force them down, or @code{^} to
1998 @lilypond[quote,fragment,verbatim]
2002 Other symbols can be added using the syntax
2003 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
2004 can be forced up or down using @code{^} and @code{_},
2007 @lilypond[quote,verbatim,fragment,relative=3]
2008 c\fermata c^\fermata c_\fermata
2015 @cindex staccatissimo
2024 @cindex organ pedal marks
2033 @cindex prallmordent
2037 @cindex thumb marking
2042 @lilypondfile[quote,raggedright]{script-chart.ly}
2046 @cindex @code{\scriptUp}
2048 @cindex @code{\scriptDown}
2050 @cindex @code{\scriptBoth}
2055 Program reference: @internalsref{ScriptEvent}, and @internalsref{Script}.
2059 These note ornaments appear in the printed output but have no
2060 effect on the MIDI rendering of the music.
2063 @node Fingering instructions
2064 @subsection Fingering instructions
2068 Fingering instructions can be entered using
2070 @var{note}-@var{digit}
2072 For finger changes, use markup texts
2074 @lilypond[quote,verbatim,raggedright,fragment]
2075 c'4-1 c'4-2 c'4-3 c'4-4
2076 c'^\markup { \finger "2-3" }
2079 @cindex finger change
2084 You can use the thumb-script to indicate that a note should be
2085 played with the thumb (e.g. in cello music)
2087 @lilypond[quote,verbatim,raggedright,fragment]
2088 <a' a''-3>8_\thumb <b' b''-3>_\thumb
2091 Fingerings for chords can also be added to individual notes
2092 of the chord by adding them after the pitches
2093 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2094 < c-1 e-2 g-3 b-5 >4
2098 iIn this case, setting @code{fingeringOrientations} will put fingerings next
2101 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2102 \set fingeringOrientations = #'(left down)
2103 <c-1 es-2 g-4 bes-5 > 4
2104 \set fingeringOrientations = #'(up right down)
2105 <c-1 es-2 g-4 bes-5 > 4
2106 \set fingeringOrientations = #'(right)
2110 The last note demonstrates how fingering instructions can be put close
2111 to note heads in monophonic music, using this feature.
2115 Program reference: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2117 Examples: @inputfileref{input/regression,finger-chords.ly}.
2120 @subsection Text scripts
2121 @cindex Text scripts
2123 @cindex text items, non-empty
2124 @cindex non-empty texts
2126 It is possible to place arbitrary strings of text or markup text (see
2127 @ref{Text markup}) above or below notes by using a string
2128 @code{c^"text"}. By default, these indications do not influence the
2129 note spacing, but by using the command @code{\fatText}, the widths
2130 will be taken into account
2132 @lilypond[quote,fragment,raggedright,verbatim]
2134 c4^"longtext" \fatText c4_"longlongtext" c4
2138 It is possible to use @TeX{} commands in the strings, but this should
2139 be avoided because the exact dimensions of the string can then no
2144 @cindex @code{\fatText}
2146 @cindex @code{\emptyText}
2151 In this manual: @ref{Text markup}.
2153 Program reference: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
2159 @subsection Grace notes
2162 @c should have blurb about accaciatura / appogiatura
2164 @cindex @code{\grace}
2168 Grace notes are ornaments that are written out. The most common ones
2169 are acciaccatura, which should be played as very short. It is denoted
2170 by a slurred small note with a slashed stem. The appoggiatura is a
2171 grace note that takes a fixed fraction of the main note, is and
2172 denoted as a slurred note in small print without a slash.
2173 They are entered with the commands @code{\acciaccatura} and
2174 @code{\appoggiatura}, as demonstrated in the following example
2177 @cindex appoggiatura
2178 @cindex acciaccatura
2180 @lilypond[quote,relative=2,verbatim,fragment]
2181 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2182 \acciaccatura { g16[ f] } e4
2185 Both are special forms of the @code{\grace} command. By prefixing this
2186 keyword to a music expression, a new one is formed, which will be
2187 printed in a smaller font and takes up no logical time in a measure.
2189 @lilypond[quote,relative=2,verbatim,fragment]
2191 \grace { c16[ d16] } c2 c4
2195 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2196 @code{\grace} command does not start a slur.
2198 Internally, timing for grace notes is done using a second, `grace'
2199 time. Every point in time consists of two rational numbers: one
2200 denotes the logical time, one denotes the grace timing. The above
2201 example is shown here with timing tuples
2203 @lilypond[quote,raggedright]
2206 c4 \grace c16 c4 \grace {
2209 \new Lyrics \lyrics {
2212 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2213 \markup { (\fraction 1 4 , 0 ) } 4
2215 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2216 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2218 \markup { ( \fraction 2 4 , 0 ) }
2224 The placement of grace notes is synchronized between different staves.
2225 In the following example, there are two sixteenth graces notes for
2226 every eighth grace note
2228 @lilypond[quote,relative=2,verbatim,fragment]
2229 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2230 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2235 If you want to end a note with a grace, the standard trick is to put
2236 the grace notes after a ``space note''
2238 @lilypond[quote,fragment,verbatim,relative=2]
2241 { s2 \grace { c16[ d] } } >>
2247 By adjusting the duration of the skip note (here it is a half-note),
2248 the space between the main-note and the grace is adjusted.
2251 A @code{\grace} section will introduce special typesetting settings,
2252 for example, to produce smaller type, and set directions. Hence, when
2253 introducing layout tweaks, they should be inside the grace section,
2255 @lilypond[quote,fragment,verbatim,relative=2]
2258 \override Stem #'direction = #-1
2260 \revert Stem #'direction
2267 The overrides should also be reverted inside the grace section.
2269 If the layout of grace sections must be changed throughout the music,
2270 then this can be accomplished through the function
2271 @code{add-grace-property}. The following example undefines the Stem
2272 direction for this grace, so stems do not always point up.
2276 #(add-grace-property 'Voice 'Stem 'direction '())
2282 Another option is to change the variables @code{startGraceMusic},
2283 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2284 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2285 @code{stopAppoggiaturaMusic}. More information is in the file
2286 @file{ly/grace-init.ly}.
2291 Program reference: @internalsref{GraceMusic}.
2295 A score that starts with an @code{\grace} section needs an explicit
2296 @code{\context Voice} declaration, otherwise the main note and grace
2297 note end up on different staves.
2299 Grace note synchronization can also lead to surprises. Staff notation,
2300 such as key signatures, bar lines, etc. are also synchronized. Take
2301 care when you mix staves with grace notes and staves without, for example,
2303 @lilypond[quote,relative=2,verbatim,fragment]
2304 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2305 \new Staff { c4 \bar "|:" d4 } >>
2309 This can be remedied by inserting grace skips, for the above example
2312 \new Staff @{ c4 \bar "|:" \grace s16 d4 @} >>
2315 Grace sections should only be used within sequential music
2316 expressions. Nesting or juxtaposing grace sections is not supported,
2317 and might produce crashes or other errors.
2321 @subsection Glissando
2324 @cindex @code{\glissando}
2326 A glissando is a smooth change in pitch. It is denoted by a line or a
2327 wavy line between two notes.
2330 A glissando line can be requested by attaching a @code{\glissando} to
2333 @lilypond[quote,fragment,relative=1,verbatim]
2339 Program reference: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2341 Example files: @file{input/regression,glissando.ly}
2347 Printing text over the line (such as @emph{gliss.}) is not supported.
2351 @subsection Dynamics
2364 @cindex @code{\ffff}
2374 Absolute dynamic marks are specified using a command after a note
2375 @code{c4\ff}. The available dynamic marks are @code{\ppp},
2376 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2377 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2378 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}
2380 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2381 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2391 A crescendo mark is started with @code{\<} and terminated with
2392 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2393 with @code{\!}. Because these marks are bound to notes, if you must
2394 use spacer notes if multiple marks during one note are needed
2396 @lilypond[quote,fragment,verbatim]
2397 c''\< c''\! d''\> e''\!
2398 << f''1 { s4 s4\< s4\! \> s4\! } >>
2400 This may give rise to very short hairpins. Use @code{minimum-length}
2401 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2405 \override Staff.Hairpin #'minimum-length = #5
2408 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2409 is an example how to do it
2411 @lilypond[quote,fragment,relative=2,verbatim]
2421 You can also supply your own texts
2422 @lilypond[quote,fragment,relative=1,verbatim]
2424 \set crescendoText = \markup { \italic "cresc. poco" }
2425 \set crescendoSpanner = #'dashed-line
2435 @cindex @code{\dynamicUp}
2437 @cindex @code{\dynamicDown}
2438 @code{\dynamicDown},
2439 @cindex @code{\dynamicBoth}
2440 @code{\dynamicBoth}.
2442 @cindex direction, of dynamics
2446 Program reference: @internalsref{CrescendoEvent},
2447 @internalsref{DecrescendoEvent}, and
2448 @internalsref{AbsoluteDynamicEvent}.
2450 Dynamics @internalsref{DynamicText} and @internalsref{Hairpin}
2451 objects. Vertical positioning of these symbols is handled by the
2452 @internalsref{DynamicLineSpanner} object.
2460 @cindex @code{\repeat}
2463 Repetition is a central concept in music, and multiple notations exist
2464 for repetitions. In LilyPond, most of these notations can be captured
2465 in a uniform syntax. One of the advantages is that they can be
2466 rendered in MIDI accurately.
2468 The following types of repetition are supported
2472 Repeated music is fully written (played) out. Useful for MIDI
2473 output, and entering repetitive music.
2476 This is the normal notation: Repeats are not written out, but
2477 alternative endings (volte) are printed, left to right.
2481 Alternative endings are written stacked. This has limited use but may be
2482 used to typeset two lines of lyrics in songs with repeats, see
2483 @inputfileref{input,star-spangled-banner.ly}.
2491 Make beat or measure repeats. These look like percent signs.
2497 * Repeats and MIDI::
2498 * Manual repeat commands::
2500 * Tremolo subdivisions::
2505 @subsection Repeat syntax
2508 LilyPond has one syntactic construct for specifying different types of
2509 repeats. The syntax is
2512 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2515 If you have alternative endings, you may add
2516 @cindex @code{\alternative}
2518 \alternative @code{@{} @var{alternative1}
2520 @var{alternative3} @dots{} @code{@}}
2522 where each @var{alternative} is a music expression. If you do not
2523 give enough alternatives for all of the repeats, the first alternative
2524 is assumed to be played more than once.
2526 Normal notation repeats are used like this
2527 @lilypond[quote,fragment,verbatim,relative=2]
2529 \repeat volta 2 { c4 d e f }
2530 \repeat volta 2 { f e d c }
2533 With alternative endings
2534 @lilypond[quote,fragment,verbatim,relative=2]
2536 \repeat volta 2 {c4 d e f}
2537 \alternative { {d2 d} {f f,} }
2541 @lilypond[quote,fragment,verbatim,relative=2]
2544 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2545 \alternative { { g4 g g } { a | a a a a | b2. } }
2551 Brackets for the repeat are normally only printed over the topmost
2552 staff. This can be adjusted by setting the @code{voltaOnThisStaff}
2553 property @inputfileref{input/regression,volta-multi-staff.ly},
2554 @inputfileref{input/regression,volta-chord-names.ly}
2558 A nested repeat like
2567 is ambiguous, since it is is not clear to which @code{\repeat} the
2568 @code{\alternative} belongs. This ambiguity is resolved by always
2569 having the @code{\alternative} belong to the inner @code{\repeat}.
2570 For clarity, it is advisable to use braces in such situations.
2575 Timing information is not remembered at the start of an alternative,
2576 so after a repeat timing information must be reset by hand, for
2577 example by setting @code{Score.measurePosition} or entering
2578 @code{\partial}. Similarly, slurs or ties are also not repeated.
2583 @node Repeats and MIDI
2584 @subsection Repeats and MIDI
2586 @cindex expanding repeats
2588 For instructions on how to expand repeats for MIDI output, see the
2589 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2593 @node Manual repeat commands
2594 @subsection Manual repeat commands
2596 @cindex @code{repeatCommands}
2598 The property @code{repeatCommands} can be used to control the layout of
2599 repeats. Its value is a Scheme list of repeat commands, where each repeat
2603 @item the symbol @code{start-repeat},
2604 which prints a @code{|:} bar line,
2605 @item the symbol @code{end-repeat},
2606 which prints a @code{:|} bar line,
2607 @item the list @code{(volta @var{text})},
2608 which prints a volta bracket saying @var{text}: The text can be specified as
2609 a text string or as a markup text, see @ref{Text markup}. Do not
2610 forget to change the font, as the default number font does not contain
2611 alphabetic characters. Or,
2612 @item the list @code{(volta #f)}, which
2613 stops a running volta bracket
2616 @lilypond[quote,verbatim,fragment,relative=2]
2618 \set Score.repeatCommands = #'((volta "93") end-repeat)
2620 \set Score.repeatCommands = #'((volta #f))
2627 Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2628 @internalsref{VoltaRepeatedMusic},
2629 @internalsref{UnfoldedRepeatedMusic}, and
2630 @internalsref{FoldedRepeatedMusic}.
2632 @node Tremolo repeats
2633 @subsection Tremolo repeats
2634 @cindex tremolo beams
2636 To place tremolo marks between notes, use @code{\repeat} with tremolo
2638 @lilypond[quote,verbatim,raggedright]
2640 \context Voice \notes\relative c' {
2641 \repeat "tremolo" 8 { c16 d16 }
2642 \repeat "tremolo" 4 { c16 d16 }
2643 \repeat "tremolo" 2 { c16 d16 }
2648 Tremolo marks can also be put on a single note. In this case, the
2649 note should not be surrounded by braces.
2650 @lilypond[quote,verbatim,raggedright]
2651 \repeat "tremolo" 4 c'16
2654 A similar mechanism is the tremolo subdivision, described in
2655 @ref{Tremolo subdivisions}.
2659 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2661 Program reference: tremolo beams are @internalsref{Beam} objects. Single stem
2662 tremolos are @internalsref{StemTremolo} objects. The music expression is
2663 @internalsref{TremoloEvent}.
2665 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2666 @inputfileref{input/regression,stem-tremolo.ly}.
2668 @node Tremolo subdivisions
2669 @subsection Tremolo subdivisions
2670 @cindex tremolo marks
2671 @cindex @code{tremoloFlags}
2673 Tremolo marks can be printed on a single note by adding
2674 `@code{:}[@var{length}]' after the note. The length must be at least
2675 8. A @var{length} value of 8 gives one line across the note stem. If
2676 the length is omitted, the last value (stored in @code{tremoloFlags})
2679 @lilypond[quote,verbatim,fragment]
2680 c'2:8 c':32 | c': c': |
2683 @c [TODO : stok is te kort bij 32en]
2687 Tremolos entered in this way do not carry over into the MIDI output.
2691 In this manual: @ref{Tremolo repeats}.
2693 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
2695 @node Measure repeats
2696 @subsection Measure repeats
2698 @cindex percent repeats
2699 @cindex measure repeats
2701 In the @code{percent} style, a note pattern can be repeated. It is
2702 printed once, and then the pattern is replaced with a special sign.
2703 Patterns of a one and two measures are replaced by percent-like signs,
2704 patterns that divide the measure length are replaced by slashes
2706 @lilypond[quote,verbatim,raggedright]
2707 \repeat "percent" 4 { c'4 }
2708 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2713 Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2714 @internalsref{PercentRepeatedMusic}, and
2715 @internalsref{DoublePercentRepeat}.
2719 @node Rhythmic music
2720 @section Rhythmic music
2724 * Showing melody rhythms::
2725 * Entering percussion::
2726 * Percussion staves::
2730 @node Showing melody rhythms
2731 @subsection Showing melody rhythms
2733 Sometimes you might want to show only the rhythm of a melody. This
2734 can be done with the rhythmic staff. All pitches of notes on such a
2735 staff are squashed, and the staff itself has a single line
2737 @lilypond[quote,fragment,relative=1,verbatim]
2738 \context RhythmicStaff {
2740 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2746 Program reference: @internalsref{RhythmicStaff}.
2748 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
2751 @node Entering percussion
2752 @subsection Entering percussion
2758 Percussion notes may be entered in @code{\drums} mode, which is
2759 similar to @code{notes}. Each piece of percussion has a full name and
2760 an abbreviated name, and both be used in input files
2763 hihat hh bassdrum bd
2765 @lilypond[quote,raggedright]
2766 \new DrumStaff \drums { hihat hh bassdrum bd }
2769 The complete list of drum names is in the init file
2770 @file{ly/drumpitch-init.ly}.
2771 @c TODO: properly document this.
2775 Program reference: @internalsref{DrumNoteEvent}.
2777 @node Percussion staves
2778 @subsection Percussion staves
2782 A percussion part for more than one instrument typically uses a
2783 multiline staff where each position in the staff refers to one piece
2787 To typeset the music, the notes must be interpreted in a
2788 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
2791 @lilypond[quote,raggedright,verbatim]
2792 up = \drums { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2793 down = \drums { bassdrum4 snare8 bd r bd sn4 }
2796 \new DrumVoice { \voiceOne \up }
2797 \new DrumVoice { \voiceTwo \down }
2802 The above example shows verbose polyphonic notation. The short
2803 polyphonic notation, described in @ref{Polyphony}, can also be used if
2804 the @internalsref{DrumVoices} are instantiated by hand first. For example,
2806 @lilypond[quote,fragment,verbatim]
2808 \context DrumVoice = "1" { s1 *2 }
2809 \context DrumVoice = "2" { s1 *2 }
2813 { \repeat unfold 16 hh16 }
2822 There are also other layout possibilities. To use these, set the
2823 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
2824 The following variables have been predefined
2828 is the default. It typesets a typical drum kit on a five-line staff
2830 @lilypond[quote,noindent]
2831 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2832 bd sn ss tomh tommh tomml toml tomfh tomfl }
2833 mus = \drums { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
2834 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2836 << \new DrumStaff\with {
2837 \remove Bar_engraver
2838 \remove Time_signature_engraver
2839 \override Stem #'transparent = ##t
2840 \override Stem #'Y-extent-callback = ##f
2841 minimumVerticalExtent = #'(-4.0 . 5.0)
2843 \context Lyrics \nam
2846 %% need to do this, because of indented @itemize
2849 \override LyricText #'font-family = #'typewriter
2850 \override BarNumber #'transparent =##T
2854 The drum scheme supports six different toms. When there fewer toms, simply
2855 select the toms that produce the desired result, i.e. to get toms on
2856 the three middle lines you use @code{tommh}, @code{tomml} and
2859 @item timbales-style
2860 to typeset timbales on a two line staff
2862 @lilypond[quote,raggedright]
2863 nam = \lyrics { timh ssh timl ssl cb }
2864 mus = \drums { timh ssh timl ssl cb s16 }
2867 \context DrumStaff \with {
2868 \remove Bar_engraver
2869 \remove Time_signature_engraver
2870 \override Stem #'transparent = ##t
2871 \override Stem #'Y-extent-callback = ##f
2872 \override StaffSymbol #'line-count = #2
2873 \override StaffSymbol #'staff-space = #2
2874 minimumVerticalExtent = #'(-3.0 . 4.0)
2875 drumStyleTable = #timbales-style
2878 \override LyricText #'font-family = #'typewriter
2885 to typeset congas on a two line staff
2887 @lilypond[quote,raggedright]
2888 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2889 mus = \drums { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2892 \context DrumStaff\with {
2893 \remove Bar_engraver
2894 \remove Time_signature_engraver
2895 drumStyleTable = #congas-style
2896 \override StaffSymbol #'line-count = #2
2898 %% this sucks; it will lengthen stems.
2899 \override StaffSymbol #'staff-space = #2
2900 \override Stem #'transparent = ##t
2901 \override Stem #'Y-extent-callback = ##f
2904 \override LyricText #'font-family = #'typewriter
2910 to typeset bongos on a two line staff
2912 @lilypond[quote,raggedright]
2913 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2914 mus = \drums { boh boho bohm ssh bol bolo bolm ssl s16 }
2917 \context DrumStaff\with {
2918 \remove Bar_engraver
2919 \remove Time_signature_engraver
2920 \override StaffSymbol #'line-count = #2
2921 drumStyleTable = #bongos-style
2923 %% this sucks; it will lengthen stems.
2924 \override StaffSymbol #'staff-space = #2
2925 \override Stem #'transparent = ##t
2926 \override Stem #'Y-extent-callback = ##f
2929 \override LyricText #'font-family = #'typewriter
2935 @item percussion-style
2936 to typeset all kinds of simple percussion on one line staves
2937 @lilypond[quote,raggedright]
2938 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2939 mus = \drums { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2942 \context DrumStaff\with{
2943 \remove Bar_engraver
2944 drumStyleTable = #percussion-style
2945 \override StaffSymbol #'line-count = #1
2946 \remove Time_signature_engraver
2947 \override Stem #'transparent = ##t
2948 \override Stem #'Y-extent-callback = ##f
2952 \override LyricText #'font-family = #'typewriter
2959 If you do not like any of the predefined lists you can define your own
2960 list at the top of your file
2962 @lilypond[quote,raggedright,verbatim]
2964 (bassdrum default #f -1)
2965 (snare default #f 0)
2967 (pedalhihat xcircle "stopped" 2)
2968 (lowtom diamond #f 3)))
2969 up = \drums { hh8 hh hh hh hhp4 hhp }
2970 down = \drums { bd4 sn bd toml8 toml }
2973 \set DrumStaff.drumStyleTable
2974 = #(alist->hash-table mydrums)
2975 \new DrumVoice { \voiceOne \up }
2976 \new DrumVoice { \voiceTwo \down }
2984 Init files: @file{ly/drumpitch-init.ly}.
2986 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
2990 Because general MIDI does not contain rim shots, the sidestick is used
2991 for this purpose instead.
2994 @section Piano music
2996 Piano staves are two normal staves coupled with a brace. The staves
2997 are largely independent, but sometimes voices can cross between the
2998 two staves. The same notation is also used for harps and other key
2999 instruments. The @internalsref{PianoStaff} is especially built to
3000 handle this cross-staffing behavior. In this section we discuss the
3001 @internalsref{PianoStaff} and some other pianistic peculiarities.
3005 * Automatic staff changes::
3006 * Manual staff switches::
3009 * Staff switch lines::
3014 There is no support for putting chords across staves. You can get
3015 this result by increasing the length of the stem in the lower stave so
3016 it reaches the stem in the upper stave, or vice versa. An example is
3017 included with the distribution as
3018 @inputfileref{input/test,stem-cross-staff.ly}.
3020 Dynamics are not centered, but kludges do exist. See
3021 @inputfileref{input/template,piano-dynamics.ly}.
3023 @cindex cross staff stem
3024 @cindex stem, cross staff
3025 @cindex distance between staves in piano music
3027 The distance between the two staves is normally fixed across the
3028 entire score. It is possible to tune this per system, but it does
3029 require arcane command incantations. See
3030 @inputfileref{input/test,piano-staff-distance.ly}.
3033 @node Automatic staff changes
3034 @subsection Automatic staff changes
3035 @cindex Automatic staff changes
3037 Voices can switch automatically between the top and the bottom
3038 staff. The syntax for this is
3042 \autochange \context Voice @{ @dots{}@var{music}@dots{} @}
3047 The two staves of the piano staff must be named @code{up} and
3050 A @code{\relative} section that is outside of @code{\autochange} has
3051 no effect on the pitches of @var{music}, so, if necessary, put
3052 @code{\relative} inside @code{\autochange} like
3056 \autochange \relative @dots{} \new Voice @dots{}
3061 The autochanger switches on basis of pitch (middle C is the turning
3062 point), and it looks ahead skipping over rests to switch in
3063 advance. Here is a practical example
3065 @lilypond[quote,verbatim,raggedright]
3066 \score { \notes \context PianoStaff <<
3067 \context Staff = "up" {
3068 \autochange \new Voice \relative c' {
3069 g4 a b c d r4 a g } }
3070 \context Staff = "down" {
3077 In this example, spacer rests are used to prevent the bottom staff from
3078 terminating too soon.
3083 In this manual: @ref{Manual staff switches}.
3085 Program reference: @internalsref{AutoChangeMusic}.
3091 The staff switches often do not end up in optimal places. For high
3092 quality output, staff switches should be specified manually.
3095 @code{\autochange} cannot be inside @code{\times}.
3097 Internally, the @code{\partcombine} interprets both arguments as
3098 @code{Voice}s named @code{one} and @code{two}, and then decides when
3099 the parts can be combined. Consequently, if the arguments switch to
3100 differently named @internalsref{Voice} contexts, the events in those
3104 @node Manual staff switches
3105 @subsection Manual staff switches
3107 @cindex manual staff switches
3108 @cindex staff switch, manual
3110 Voices can be switched between staves manually, using the following command
3112 \change Staff = @var{staffname} @var{music}
3116 The string @var{staffname} is the name of the staff. It switches the
3117 current voice from its current staff to the Staff called
3118 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3119 @code{"down"}. The @context{Staff} referred to must already exist, so
3120 usually the setup for a score will start with a setup of the staves,
3124 \context Staff = up @{
3125 \skip 1 * 10 %@emph{ keep staff alive}
3127 \context Staff = down @{
3128 \skip 1 * 10 %@emph{idem}
3134 and the @context{Voice} is inserted afterwards
3137 \context Staff = down
3138 \new Voice @{ @dots{} \change Staff = up @dots{} @}
3146 Pianos have pedals that alter the way sound are produced. Generally, a
3147 piano has three pedals, sustain, una corda, and sostenuto.
3150 Piano pedal instruction can be expressed by attaching
3151 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3152 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3155 @lilypond[quote,fragment,verbatim]
3156 c'4\sustainDown c'4\sustainUp
3159 What is printed can be modified by setting @code{pedal@var{X}Strings},
3160 where @var{X} is one of the pedal types: @code{Sustain},
3161 @code{Sostenuto} or @code{UnaCorda}. Refer to
3162 @internalsref{SustainPedal} in the program reference for more
3165 Pedals can also be indicated by a sequence of brackets, by setting the
3166 @code{pedalSustainStyle} property to @code{bracket} objects
3168 @lilypond[quote,fragment,verbatim,relative=2]
3169 \set Staff.pedalSustainStyle = #'bracket
3171 b\sustainUp\sustainDown
3172 b g \sustainUp a \sustainDown \bar "|."
3175 A third style of pedal notation is a mixture of text and brackets,
3176 obtained by setting the @code{pedalSustainStyle} style property to
3179 @lilypond[quote,fragment,verbatim,relative=2]
3180 \set Staff.pedalSustainStyle = #'mixed
3182 b\sustainUp\sustainDown
3183 b g \sustainUp a \sustainDown \bar "|."
3186 The default `*Ped.' style for sustain and damper pedals corresponds to
3187 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3190 @lilypond[quote,fragment,verbatim,relative=2]
3191 c\sostenutoDown d e c, f g a\sostenutoUp
3194 For fine-tuning of the appearance of a pedal bracket, the properties
3195 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3196 @code{PianoPedalBracket} objects (see
3197 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3198 bracket may be extended to the end of the note head
3200 @lilypond[quote,fragment,verbatim,relative=2]
3201 \override Staff.PianoPedalBracket
3202 #'shorten-pair = #'(0 . -1.0)
3203 c\sostenutoDown d e c, f g a\sostenutoUp
3207 @subsection Arpeggio
3210 @cindex broken arpeggio
3211 @cindex @code{\arpeggio}
3213 You can specify an arpeggio sign on a chord by attaching an
3214 @code{\arpeggio} to a chord
3217 @lilypond[quote,fragment,relative=1,verbatim]
3221 When an arpeggio crosses staves, you attach an arpeggio to the chords
3222 in both staves, and set
3223 @internalsref{PianoStaff}.@code{connectArpeggios}
3225 @lilypond[quote,fragment,relative=1,verbatim]
3226 \context PianoStaff <<
3227 \set PianoStaff.connectArpeggios = ##t
3228 \new Staff { <c' e g c>\arpeggio }
3229 \new Staff { \clef bass <c,, e g>\arpeggio }
3233 The direction of the arpeggio is sometimes denoted by adding an
3234 arrowhead to the wiggly line
3236 @lilypond[quote,fragment,relative=1,verbatim]
3245 A square bracket on the left indicates that the player should not
3246 arpeggiate the chord
3248 @lilypond[quote,fragment,relative=1,verbatim]
3255 @cindex @code{\arpeggio}
3257 @cindex @code{\arpeggioUp}
3259 @cindex @code{\arpeggioDown}
3261 @cindex @code{\arpeggioBoth}
3262 @code{\arpeggioBoth},
3263 @cindex @code{\arpeggioBracket}
3264 @code{\arpeggioBracket}.
3268 Program reference: @internalsref{ArpeggioEvent} music expressions lead to
3269 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3270 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3274 It is not possible to mix connected arpeggios and unconnected
3275 arpeggios in one @internalsref{PianoStaff} at the same time.
3277 @node Staff switch lines
3278 @subsection Staff switch lines
3281 @cindex follow voice
3282 @cindex staff switching
3285 @cindex @code{followVoice}
3287 Whenever a voice switches to another staff a line connecting the notes
3288 can be printed automatically. This is enabled if the property
3289 @code{PianoStaff.followVoice} is set to true
3291 @lilypond[quote,fragment,relative=1,verbatim]
3292 \context PianoStaff <<
3293 \set PianoStaff.followVoice = ##t
3294 \context Staff \context Voice {
3299 \context Staff=two { \clef bass \skip 1*2 }
3305 The associated object is @internalsref{VoiceFollower}.
3309 @cindex @code{\showStaffSwitch}
3310 @code{\showStaffSwitch},
3311 @cindex @code{\hideStaffSwitch}
3312 @code{\hideStaffSwitch}.
3316 @section Vocal music
3319 The easiest way to add lyrics to a melody, is by appending
3324 \newlyrics @{ @var{the lyrics} @}
3327 to a melody. Here is an example,
3329 @lilypond[raggedright,verbatim]
3330 \relative { \time 3/4 c2 e4 g2. }
3331 \newlyrics { play the game }
3334 More stanzas can be added by adding more
3335 @code{\newlyrics} sections
3337 @lilypond[raggedright,verbatim]
3338 \relative { \time 3/4 c2 e4 g2. }
3339 \newlyrics { play the game }
3340 \newlyrics { speel het spel }
3341 \newlyrics { joue le jeu }
3344 The @code{\newlyrics} keyword has three functions: it interprets the
3345 following words as texts instead of notes, it sets up a context for
3346 printing texts (the @code{Lyrics} context), and it couples the melody
3347 with the lyrics, so the durations of both are aligned.
3349 These three functions can be controlled separately, and that is what
3350 the following sections are about.
3355 * The Lyrics context::
3360 @node Entering lyrics
3361 @subsection Entering lyrics
3365 @cindex @code{\lyrics}
3368 Lyrics are entered in a special input mode. This mode is is introduced
3369 by the keyword @code{\lyrics}. In this mode you can enter lyrics,
3370 with punctuation and accents without any hassle. Syllables are
3371 entered like notes, but with pitches replaced by text. For example,
3373 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3376 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3377 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3378 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3379 any 8-bit character with ASCII code over 127, or a two-character
3380 combination of a backslash followed by one of @code{`}, @code{'},
3381 @code{"}, or @code{^}.
3383 Subsequent characters of a word can be any character that is not a digit
3384 and not white space. One important consequence of this is that a word
3385 can end with @code{@}}. The following example is usually a bug. The
3386 syllable includes a @code{@}}, and hence the opening brace is not balanced
3388 \lyrics @{ twinkle@}
3391 @cindex @code{\property}, in @code{\lyrics}
3392 Similarly, a period following a alphabetic sequence, is included in
3393 the resulting string. As a consequence, spaces must be inserted around
3396 \override Score . LyricText #'font-shape = #'italic
3400 @cindex spaces, in lyrics
3401 @cindex quotes, in lyrics
3403 Any @code{_} character which appears in an unquoted word is converted
3404 to a space. This provides a mechanism for introducing spaces into words
3405 without using quotes. Quoted words can also be used in Lyrics mode to
3406 specify words that cannot be written with the above rules. The
3407 following example incorporates double quotes
3410 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3413 This example is slightly academic, since it gives better looking
3414 results to use matched single quotes, @code{``} and @code{''}
3416 \lyrics @{ He said: ``Let my peo ple go'' @}
3421 Centered hyphens are entered as `@code{-}@code{-}' between syllables.
3422 The hyphen will have variable length depending on the space between
3423 the syllables and it will be centered between the syllables.
3428 When a lyric is sung over many notes (this is called a melisma), this is
3429 indicated with a horizontal line centered between a syllable and the
3430 next one. Such a line is called an extender line, and it is entered as
3435 Program reference: events @internalsref{LyricEvent},
3436 @internalsref{HyphenEvent}, and @internalsref{ExtenderEvent}. Objects
3437 @internalsref{LyricHyphen}, @internalsref{LyricExtender} and
3438 @internalsref{LyricText}.
3440 Examples: @inputfileref{input/test,lyric-hyphen-retain.ly}.
3444 The definition of lyrics mode is too complex.
3448 @node The Lyrics context
3449 @subsection The Lyrics context
3452 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
3454 \context Lyrics \lyrics @dots{}
3457 @cindex automatic syllable durations
3458 @cindex @code{\lyricsto}
3459 @cindex lyrics and melodies
3461 This will place the lyrics according to the durations that were
3462 entered. The lyrics can also be aligned under a given melody
3463 automatically. In this case, it is no longer necessary to enter the
3464 correct duration for each syllable. This is achieved by combining the
3465 melody and the lyrics with the @code{\lyricsto} expression
3467 \lyricsto @var{name} \new Lyrics \lyrics @dots{}
3470 This aligns the lyrics to the
3472 notes of the @internalsref{Voice} context called @var{name}, which has
3473 to exist. Therefore, normally the @code{Voice} is specified first, and
3474 then the lyrics are specified with @code{\lyricsto}.
3476 For different or more complex orderings, the best way is to setup the
3477 hierarchy of staves and lyrics first, e.g.
3479 \context ChoirStaff \notes <<
3480 \context Lyrics = sopranoLyrics @{ s1 @}
3481 \context Voice = soprano @{ @emph{music} @}
3482 \context Lyrics = tenorLyrics @{ s1 @}
3483 \context Voice = tenor @{ @emph{music} @}
3486 and then combine the appropriate melodies and lyric lines
3488 \lyricsto "soprano" \context Lyrics = sopranoLyrics
3493 The final input would resemble
3496 << \context ChoirStaff \notes << @emph{setup the music} >>
3497 \lyricsto "soprano" @emph{etc}
3498 \lyricsto "alto" @emph{etc}
3504 The @code{\lyricsto} command detects melismata: it only puts one
3505 syllable under a tied or slurred group of notes. If you want to force
3506 an unslurred group of notes to be a melisma, insert @code{\melisma}
3507 after the first note of the group, and @code{\melismaEnd} after the
3510 @lilypond[quote,relative=2,raggedright,fragment,verbatim]
3512 \context Voice = "lala" {
3520 \lyricsto "lala" \new Lyrics \lyrics {
3526 In addition, notes are considered a melisma if they are manually
3527 beamed, and automatic beaming (see @ref{Setting automatic beam
3528 behavior}) is switched off. The criteria for deciding melismata can
3529 be tuned with the property @code{melismaBusyProperties}. See
3530 @internalsref{Melisma_translator} in the program reference for more
3533 Lyrics can also be entered without @code{\lyricsto}. In this case the
3534 durations of each syllable must be entered explicitly, for example,
3541 Alignment to a melody can be specified with the @code{associatedVoice}
3545 \set associatedVoice = #"melody"
3548 Here is an example demonstrating manual lyric durations,
3550 @lilypond[relative=1,verbatim,fragment]
3551 << \context Voice = melody {
3555 \new Lyrics \lyrics {
3556 \set associatedVoice = #"melody"
3564 When multiple stanzas are put on the same melody, it can happen that
3565 two stanzas have melismata in different locations. This can be
3566 remedied by switching off melismata for one
3567 @internalsref{Lyrics}. This is achieved by setting
3568 the @code{ignoreMelismata} property to @code{#t}. An example is shown
3569 in @inputfileref{input/regression,lyric-combine-new.ly}.
3572 @cindex choral score
3574 A complete example of a SATB score setup is in the file
3575 @inputfileref{input/template,satb.ly}.
3580 @code{\melisma}, @code{\melismaEnd}
3581 @cindex @code{\melismaEnd}
3582 @cindex @code{\melisma}
3586 Program reference: Music expressions: @internalsref{LyricCombineMusic},
3587 Contexts: @internalsref{Lyrics}, @internalsref{Melisma_translator}.
3589 Examples: @inputfileref{input/template,satb.ly},
3590 @inputfileref{input/regression,lyric-combine-new.ly}.
3594 Melismata are not detected automatically, and extender lines must be
3598 For proper processing of extender lines, the
3599 @internalsref{Lyrics} and @internalsref{Voice} should be
3600 linked. This can be achieved either by using @code{\lyricsto} or by
3601 setting corresponding names for both contexts. The latter is explained
3602 in @ref{More stanzas}.
3604 @c TODO: document \new Staff << Voice \lyricsto >> bug
3607 @subsection More stanzas
3609 @cindex phrasing, in lyrics
3612 The lyrics should be aligned with the note heads of the melody. To
3613 achieve this, each line of lyrics should be marked to correspond with
3614 the melodic line. This is done automatically when @code{\lyricsto},
3615 but it can also be done manually.
3617 To this end, give the @internalsref{Voice} context an identity
3619 \context Voice = duet @{
3624 Then set the @internalsref{Lyrics} contexts to names starting with
3625 that identity followed by a dash. In the preceding example, the
3626 @internalsref{Voice} identity is @code{duet}, so the identities of the
3627 @internalsref{Lyrics}s are marked @code{duet-1} and @code{duet-2}
3629 \context Lyrics = "duet-1" @{
3630 Hi, my name is Bert. @}
3631 \context Lyrics = "duet-2" @{
3632 Ooooo, ch\'e -- ri, je t'aime. @}
3635 The complete example is shown here
3636 @lilypond[quote,raggedright,verbatim]
3639 \notes \relative c'' \context Voice = duet {
3643 \lyricsto "duet" \new Lyrics \lyrics {
3644 \set vocalName = "Bert"
3645 Hi, my name is Bert. }
3646 \lyricsto "duet" \new Lyrics \lyrics {
3647 \set vocalName = "Ernie"
3648 Ooooo, ch\'e -- ri, je t'aime. }
3654 @cindex stanza number
3655 @cindex singer's names
3656 @cindex name of singer
3658 Stanza numbers can be added by setting @code{stanza}, e.g.
3660 @lilypond[quote,verbatim,relative=2]
3662 \context Voice = duet {
3663 \time 3/4 g2 e4 a2 f4 g2. }
3664 \lyricsto "duet" \new Lyrics \lyrics {
3666 Hi, my name is Bert. }
3670 This example also demonstrates how names of the singers can be added
3671 using @code{vocalName} analogous to instrument annotations for staves.
3672 A short version may be entered as @code{vocNam}.
3674 To make empty spaces in lyrics, use @code{\skip}.
3679 Program reference: Layout objects @internalsref{LyricText} and
3680 @internalsref{VocalName}. Music expressions
3681 @internalsref{LyricEvent}.
3689 The term @emph{ambitus} denotes a range of pitches for a given voice
3690 in a part of music. It also may denote the pitch range that a musical
3691 instrument is capable of playing. Ambituses are printed on vocal
3692 parts, so singers can easily determine if it meets his or her
3695 It denoted at the beginning of a piece near the initial clef. The
3696 range is graphically specified by two note heads, that represent the
3697 minimum and maximum pitch. To print such ambituses, add the
3698 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
3705 \consists Ambitus_engraver
3710 This results in the following output
3712 @lilypond[quote,raggedright]
3715 \notes \relative c' <<
3726 \consists Ambitus_engraver
3732 If you have multiple voices in a single staff, and you want a single
3733 ambitus per staff rather than per each voice, add the
3734 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3735 rather than to the @internalsref{Voice} context.
3737 It is possible to tune individual ambituses for multiple voices on a
3738 single staff, for example by erasing or shifting them horizontally. An
3739 example is in @inputfileref{input/test,ambitus-mixed.ly}.
3743 Program reference: @internalsref{Ambitus}.
3745 Examples: @inputfileref{input/regression,ambitus.ly},
3746 @inputfileref{input/test,ambitus-mixed.ly}.
3750 There is no collision handling in the case of multiple per-voice
3757 @cindex guitar tablature
3759 Tablature notation is used for notating music for plucked string
3760 instruments. It notates pitches not by using note heads, but by
3761 indicating on which string and fret a note must be played. LilyPond
3762 offers limited support for tablature.
3765 * Tablatures basic::
3766 * Non-guitar tablatures::
3769 @node Tablatures basic
3770 @subsection Tablatures basic
3771 @cindex Tablatures basic
3773 The string number associated to a note is given as a backslash
3774 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3775 string. By default, string 1 is the highest one, and the tuning
3776 defaults to the standard guitar tuning (with 6 strings). The notes
3777 are printed as tablature, by using @internalsref{TabStaff} and
3778 @internalsref{TabVoice} contexts
3780 @lilypond[quote,fragment,verbatim]
3781 \notes \context TabStaff {
3790 When no string is specified, the first string that does not give a
3791 fret number less than @code{minimumFret} is selected. The default
3792 value for @code{minimumFret} is 0
3797 \set TabStaff.minimumFret = #8
3800 @lilypond[quote,noindent,raggedright]
3804 \set TabStaff.minimumFret = #8
3808 \context StaffGroup <<
3809 \context Staff { \clef "G_8" \frag }
3810 \context TabStaff { \frag }
3817 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}, and
3818 @internalsref{StringNumberEvent}.
3822 Chords are not handled in a special way, and hence the automatic
3823 string selector may easily select the same string to two notes in a
3827 @node Non-guitar tablatures
3828 @subsection Non-guitar tablatures
3829 @cindex Non-guitar tablatures
3831 You can change the number of strings, by setting the number of lines
3832 in the @internalsref{TabStaff}.
3834 You can change the tuning of the strings. A string tuning is given as
3835 a Scheme list with one integer number for each string, the number
3836 being the pitch (measured in semitones relative to middle C) of an
3837 open string. The numbers specified for @code{stringTuning} are the
3838 numbers of semitones to subtract or add, starting the specified pitch
3839 by default middle C, in string order. Thus, the notes are e, a, d, and
3842 @lilypond[quote,fragment,verbatim]
3843 \context TabStaff <<
3844 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
3847 a,4 c' a e' e c' a e'
3854 No guitar special effects have been implemented.
3858 Program reference: @internalsref{Tab_note_heads_engraver}.
3862 @section Chord names
3865 LilyPond has support for both printing chord names. Chords may be
3866 entered in musical chord notation, i.e. @code{< .. >}, but they can
3867 also be entered by name. Internally, the chords are represented as a
3868 set of pitches, so they can be transposed
3871 @lilypond[quote,verbatim,raggedright]
3872 twoWays = \notes \transpose c c' {
3882 << \context ChordNames \twoWays
3883 \context Voice \twoWays >> }
3886 This example also shows that the chord printing routines do not try to
3887 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3893 * Printing chord names::
3898 @subsection Chords mode
3901 Chord mode is a mode where you can input sets of pitches using common
3902 names. It is introduced by the keyword @code{\chords}.
3903 In chords mode, a chord is entered by the root, which is entered
3905 @lilypond[quote,fragment,verbatim,relative=2]
3906 \chords { es4. d8 c2 }
3911 Other chords may be entered by suffixing a colon, and introducing a
3912 modifier, and optionally, a number
3914 @lilypond[quote,fragment,verbatim]
3915 \chords { e1:m e1:7 e1:m7 }
3917 The first number following the root is taken to be the `type' of the
3918 chord, thirds are added to the root until it reaches the specified
3920 @lilypond[quote,fragment,verbatim]
3921 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3924 @cindex root of chord
3925 @cindex additions, in chords
3926 @cindex removals, in chords
3928 More complex chords may also be constructed adding separate steps
3929 to a chord. Additions are added after the number following
3930 the colon, and are separated by dots
3932 @lilypond[quote,verbatim,fragment]
3933 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3935 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3937 @lilypond[quote,verbatim,fragment]
3938 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3940 Removals are specified similarly, and are introduced by a caret. They
3941 must come after the additions
3942 @lilypond[quote,verbatim,fragment]
3943 \chords { c^3 c:7^5 c:9^3.5 }
3946 Modifiers can be used to change pitches. The following modifiers are
3950 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3952 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3955 is the augmented chord. This modifier raises the 5th step.
3957 is the major 7th chord. This modifier raises the 7th step if present.
3959 is the suspended 4th or 2nd. This modifier removes the 3rd
3960 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3963 Modifiers can be mixed with additions
3964 @lilypond[quote,verbatim,fragment]
3965 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3968 @cindex modifiers, in chords.
3975 Since an unaltered 11 does not sound good when combined with an
3976 unaltered 3, the 11 is removed in this case (unless it is added
3979 @lilypond[quote,fragment,verbatim]
3980 \chords { c:13 c:13.11 c:m13 }
3985 An inversion (putting one pitch of the chord on the bottom), as well
3986 as bass notes, can be specified by appending
3987 @code{/}@var{pitch} to the chord
3988 @lilypond[quote,fragment,verbatim]
3989 \chords { c1 c/g c/f }
3993 A bass note can be added instead of transposed out of the chord,
3994 by using @code{/+}@var{pitch}.
3996 @lilypond[quote,fragment,verbatim]
3997 \chords { c1 c/+g c/+f }
4000 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
4001 of the commands continue to work, for example, @code{r} and
4002 @code{\skip} can be used to insert rests and spaces, and property
4003 commands may be used to change various settings.
4009 Each step can only be present in a chord once. The following
4010 simply produces the augmented chord, since @code{5+} is interpreted
4013 @lilypond[quote,verbatim,fragment]
4014 \chords { c:5.5-.5+ }
4018 @node Printing chord names
4019 @subsection Printing chord names
4021 @cindex printing chord names
4025 For displaying printed chord names, use the @internalsref{ChordNames} context.
4026 The chords may be entered either using the notation
4027 described above, or directly using @code{<} and @code{>}
4029 @lilypond[quote,verbatim,raggedright]
4031 \chords {a1 b c} <d' f' a'> <e' g' b'>
4035 \context ChordNames \scheme
4036 \context Staff \scheme
4041 You can make the chord changes stand out by setting
4042 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
4043 display chord names when there is a change in the chords scheme and at
4044 the start of a new line
4046 @lilypond[quote,verbatim,linewidth=9\cm]
4048 c1:m c:m \break c:m c:m d
4052 \context ChordNames {
4053 \set chordChanges = ##t
4055 \context Staff \transpose c c' \scheme
4060 The default chord name layout is a system for Jazz music, proposed by
4061 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
4062 following properties
4065 @cindex chordNameExceptions
4066 @item chordNameExceptions
4067 This is a list that contains the chords that have special formatting.
4069 @inputfileref{input/regression,chord-name-exceptions.ly}.
4070 @cindex exceptions, chord names.
4073 @cindex majorSevenSymbol
4074 @item majorSevenSymbol
4075 This property contains the markup object used for the 7th step, when
4076 it is major. Predefined options are @code{whiteTriangleMarkup} and
4077 @code{blackTriangleMarkup}. See
4078 @inputfileref{input/regression,chord-name-major7.ly} for an example.
4080 @cindex chordNameSeparator
4081 @item chordNameSeparator
4082 Different parts of a chord name are normally separated by a
4083 slash. By setting @code{chordNameSeparator}, you can specify other
4085 @lilypond[quote,fragment,verbatim]
4086 \context ChordNames \chords {
4088 \set chordNameSeparator
4089 = \markup { \typewriter "|" }
4094 @cindex chordRootNamer
4095 @item chordRootNamer
4096 The root of a chord is usually printed as a letter with an optional
4097 alteration. The transformation from pitch to letter is done by this
4098 function. Special note names (for example, the German ``H'' for a
4099 B-chord) can be produced by storing a new function in this property.
4101 The predefined variables @code{\germanChords},
4102 @code{\semiGermanChords} set these variables.
4105 @cindex chordNoteNamer
4106 @item chordNoteNamer
4107 The default is to print single pitch, e.g. the bass note, using the
4108 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4109 to a specialized function to change this behavior. For example, the
4110 base can be printed in lower case.
4115 There are also two other chord name schemes implemented: an alternate
4116 Jazz chord notation, and a systematic scheme called Banter chords. The
4117 alternate jazz notation is also shown on the chart in @ref{Chord name
4118 chart}. Turning on these styles is described in the input file
4119 @inputfileref{input/test,chord-names-jazz.ly}.
4123 @cindex chords, jazz
4128 @cindex @code{\germanChords}
4129 @code{\germanChords},
4130 @cindex @code{\semiGermanChords}
4131 @code{\semiGermanChords}.
4138 Examples: @inputfileref{input/regression,chord-name-major7.ly},
4139 @inputfileref{input/regression,chord-name-exceptions.ly},
4140 @inputfileref{input/test,chord-names-jazz.ly},
4141 @inputfileref{input/test,chord-names-german.ly}.
4143 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4148 Chord names are determined solely from the list of pitches. Chord
4149 inversions are not identified, and neither are added bass notes. This
4150 may result in strange chord names when chords are entered with the
4151 @code{< .. >} syntax.
4156 @node Orchestral music
4157 @section Orchestral music
4159 @cindex Writing parts
4161 Orchestral music involves some special notation, both in the full
4162 score and the individual parts. This section explains how to tackle
4163 some common problems in orchestral music.
4168 * Multiple staff contexts::
4171 * Instrument names::
4173 * Instrument transpositions::
4174 * Multi measure rests::
4175 * Automatic part combining::
4177 * Different editions from one source::
4178 * Quoting other voices::
4181 @node Multiple staff contexts
4182 @subsection Multiple staff contexts
4184 Polyphonic scores consist of many staves. These staves can be
4185 constructed in three different ways
4187 @item The group is started with a brace at the left, and bar lines are
4188 connected. This is done with the @internalsref{GrandStaff} context.
4190 @item The group is started with a bracket, and bar lines are connected. This is done with the
4191 @internalsref{StaffGroup} context
4194 @item The group is started with a vertical line. Bar lines are not
4195 connected. This is the default for the score.
4199 @cindex Staff, multiple
4200 @cindex bracket, vertical
4201 @cindex brace, vertical
4208 @node Rehearsal marks
4209 @subsection Rehearsal marks
4210 @cindex Rehearsal marks
4212 @cindex @code{\mark}
4214 To print a rehearsal mark, use the @code{\mark} command
4215 @lilypond[quote,fragment,verbatim]
4226 (The letter I is skipped in accordance with engraving traditions.)
4228 The mark is incremented automatically if you use @code{\mark
4229 \default}, but you can also use an integer argument to set the mark
4230 manually. The value to use is stored in the property
4231 @code{rehearsalMark}.
4233 The style is defined by the property @code{markFormatter}. It is a
4234 function taking the current mark (an integer) and the current context
4235 as argument. It should return a markup object. In the following
4236 example, @code{markFormatter} is set to a canned procedure. After a
4237 few measures, it is set to function that produces a boxed number.
4239 @lilypond[quote,verbatim,fragment,relative=2]
4240 \set Score.markFormatter = #format-mark-numbers
4243 \set Score.markFormatter
4244 = #(lambda (mark context)
4245 (make-bold-markup (make-box-markup (number->string mark))))
4250 The file @file{scm/translation-functions.scm} contains the definitions
4251 of @code{format-mark-numbers} (the default format) and
4252 @code{format-mark-letters}. They can be used as inspiration for other
4253 formatting functions.
4256 @cindex coda on bar line
4257 @cindex segno on bar line
4258 @cindex fermata on bar line
4259 @cindex bar lines, symbols on
4261 The @code{\mark} command can also be used to put signs like coda,
4262 segno and fermatas on a bar line. Use @code{\markup} to
4263 to access the appropriate symbol
4265 @lilypond[quote,fragment,verbatim,relative=2]
4266 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4270 In the case of a line break, marks must also be printed at the end of
4271 the line, and not at the beginning. Use the following to force that
4274 \override Score.RehearsalMark
4275 #'break-visibility = #begin-of-line-invisible
4281 @cindex bar lines, putting symbols on
4285 Program reference: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
4287 Init files: @file{scm/translation-functions.scm} contains the
4288 definition of @code{format-mark-numbers} and
4289 @code{format-mark-letters}. They can be used as inspiration for other
4290 formatting functions.
4292 Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
4293 @inputfileref{input/regression,rehearsal-mark-number.ly}.
4297 @subsection Bar numbers
4301 @cindex measure numbers
4302 @cindex currentBarNumber
4304 Bar numbers are printed by default at the start of the line. The
4305 number itself is stored in the
4306 @code{currentBarNumber} property,
4307 which is normally updated automatically for every measure.
4309 Bar numbers can be typeset at regular intervals instead of at the
4310 beginning of each line. This is illustrated in the following example,
4311 whose source is available as
4312 @inputfileref{input/test,bar-number-regular-interval.ly}
4314 @lilypondfile[quote]{bar-number-regular-interval.ly}
4318 Program reference: @internalsref{BarNumber}.
4320 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4321 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4325 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4326 there is one at the top. To solve this, the
4327 @code{padding} property of @internalsref{BarNumber} can be
4328 used to position the number correctly.
4330 @node Instrument names
4331 @subsection Instrument names
4333 In an orchestral score, instrument names are printed left side of the
4336 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4337 and @internalsref{Staff}.@code{instr}. This will print a string before
4338 the start of the staff. For the first start, @code{instrument} is
4339 used, for the next ones @code{instr} is used.
4341 @lilypond[quote,verbatim,raggedright,relative=1]
4342 \set Staff.instrument = "Ploink "
4343 \set Staff.instr = "Plk "
4349 You can also use markup texts to construct more complicated instrument
4352 @lilypond[quote,fragment,verbatim,raggedright]
4354 \set Staff.instrument = \markup {
4355 \column < "Clarinetti" { "in B"
4356 \smaller \flat } > }
4361 For longer instrument names, it may be useful to increase the
4362 @code{indent} setting in the @code{\paper} block.
4366 Program reference: @internalsref{InstrumentName}.
4370 When you put a name on a grand staff or piano staff the width of the
4371 brace is not taken into account. You must add extra spaces to the end of
4372 the name to avoid a collision.
4375 @subsection Transpose
4377 @cindex transposition of pitches
4378 @cindex @code{\transpose}
4380 A music expression can be transposed with @code{\transpose}. The
4383 \transpose @var{from} @var{to} @var{musicexpr}
4386 This means that @var{musicexpr} is transposed by the interval between
4387 the pitches @var{from} and @var{to}: any note with pitch @code{from}
4388 is changed to @code{to}.
4391 For example, consider a piece written in the key of D major. If
4392 this piece is a little too low for its performer, it can be
4393 transposed up to E major with
4395 \transpose d e @dots{}
4398 Consider a part written for violin (a C instrument). If
4399 this part is to be played on the A clarinet, the following
4400 transposition will produce the appropriate part
4403 \transpose a c @dots{}
4406 Since @var{from} and @var{to} are pitches, so @code{\transpose} must be
4407 inside a @code{\notes} section. @code{\transpose} distinguishes
4408 between enharmonic pitches: both @code{\transpose c cis} or
4409 @code{\transpose c des} will transpose up half a tone. The first
4410 version will print sharps and the second version will print flats
4412 @lilypond[quote,raggedright,verbatim]
4413 mus =\notes { \key d \major cis d fis g }
4414 \score { \notes \context Staff {
4417 \transpose c g' \mus
4418 \transpose c f' \mus
4425 Program reference: @internalsref{TransposedMusic}, and
4426 @internalsref{UntransposableMusic}.
4430 If you want to use both @code{\transpose} and @code{\relative},
4431 you must put @code{\transpose} outside of @code{\relative}, since
4432 @code{\relative} will have no effect music that appears inside a
4435 @node Instrument transpositions
4436 @subsection Instrument transpositions
4438 The key of a transposing instrument can also be specified. This
4439 applies to many wind instruments, for example, clarinets (B-flat, A and
4440 E-flat), horn (F) and trumpet (B-flat, C, D and E-flat).
4443 The transposition is entered after the keyword @code{\transposition}
4446 \transposition bes %% B-flat clarinet
4449 This command sets the property @code{instrumentTransposition}. The value of
4450 this property is used for MIDI output and quotations. It does not
4451 affect how notes are printed in the current staff.
4453 @cindex transposition, MIDI
4454 @cindex transposition, instrument
4457 @node Multi measure rests
4458 @subsection Multi measure rests
4459 @cindex multi measure rests
4460 @cindex Rests, multi measure
4464 Multi measure rests are entered using `@code{R}'. It is specifically
4465 meant for full bar rests and for entering parts: the rest can expand
4466 to fill a score with rests, or it can be printed as a single
4467 multimeasure rest. This expansion is controlled by the property
4468 @code{Score.skipBars}. If this is set to true, empty measures will not
4469 be expanded, and the appropriate number is added automatically
4471 @lilypond[quote,fragment,verbatim]
4472 \time 4/4 r1 | R1 | R1*2
4473 \set Score.skipBars = ##t R1*17 R1*4
4476 The @code{1} in @code{R1} is similar to the duration notation used for
4477 notes. Hence, for time signatures other than 4/4, you must enter other
4478 durations. This can be done with augmentation dots or fractions
4480 @lilypond[quote,fragment,verbatim]
4481 \set Score.skipBars = ##t
4489 An @code{R} spanning a single measure is printed as either a whole rest
4490 or a breve, centered in the measure regardless of the time signature.
4492 @cindex text on multi-measure rest
4493 @cindex script on multi-measure rest
4494 @cindex fermata on multi-measure rest
4496 Texts can be added to multi-measure rests by using the
4497 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4498 replaced. If you need both texts and the number, you must add the
4499 number by hand. A variable (@code{\fermataMarkup}) is provided for
4503 @lilypond[quote,verbatim,fragment]
4505 R2._\markup { "Ad lib" }
4509 If you want to have a text on the left end of a multi-measure rest,
4510 attach the text to a zero-length skip note, i.e.
4518 @cindex whole rests for a full measure
4522 Program reference: @internalsref{MultiMeasureRestEvent},
4523 @internalsref{MultiMeasureTextEvent},
4524 @internalsref{MultiMeasureRestMusicGroup}, and
4525 @internalsref{MultiMeasureRest}.
4527 The layout object @internalsref{MultiMeasureRestNumber} is for the
4528 default number, and @internalsref{MultiMeasureRestText} for user
4533 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4534 over multi-measure rests.
4536 @cindex condensing rests
4538 There is no way to automatically condense multiple rests into a single
4539 multimeasure rest. Multi measure rests do not take part in rest
4542 Be careful when entering multimeasure rests followed by whole
4543 notes. The following will enter two notes lasting four measures each
4547 When @code{skipBars} is set, the result will look OK, but the bar
4548 numbering will be off.
4550 @node Automatic part combining
4551 @subsection Automatic part combining
4552 @cindex automatic part combining
4553 @cindex part combiner
4556 Automatic part combining is used to merge two parts of music onto a
4557 staff. It is aimed at typesetting orchestral scores. When the two
4558 parts are identical for a period of time, only one is shown. In
4559 places where the two parts differ, they are typeset as separate
4560 voices, and stem directions are set automatically. Also, solo and
4561 @emph{a due} parts are identified and can be marked.
4563 The syntax for part combining is
4566 \partcombine @var{musicexpr1} @var{musicexpr2}
4569 The music expressions will be interpreted as @internalsref{Voice}
4570 contexts. If using relative octaves, @code{\relative} should be
4571 specified for both music expressions, i.e.
4574 \partcombine \relative @dots{} @var{musicexpr1}
4575 \relative @dots{} @var{musicexpr2}
4579 A @code{\relative} section that is outside of @code{\partcombine} has
4580 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
4583 The following example demonstrates the basic functionality of the part
4584 combiner: putting parts on one staff, and setting stem directions and
4587 @lilypond[quote,verbatim,raggedright,fragment]
4588 \new Staff \partcombine
4589 \relative g' { g g a( b) c c r r }
4590 \relative g' { g g r4 r e e g g }
4593 The first @code{g} appears only once, although it was
4594 specified twice (once in each part). Stem, slur and tie directions are
4595 set automatically, depending whether there is a solo or unisono. The
4596 first part (with context called @code{one}) always gets up stems, and
4597 `solo', while the second (called @code{two}) always gets down stems and
4600 If you just want the merging parts, and not the textual markings, you
4601 may set the property @code{soloADue} to false
4603 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
4605 \set Staff.soloADue = ##f
4607 \relative g' { g a( b) r }
4608 \relative g' { g r4 r f }
4614 Program reference: @internalsref{PartCombineMusic},
4615 @internalsref{SoloOneEvent}, and
4616 @internalsref{SoloTwoEvent}, and
4617 @internalsref{UnisonoEvent}.
4621 In @code{soloADue} mode, when the two voices play the same notes on and
4622 off, the part combiner may typeset @code{a2} more than once in a
4625 @code{\partcombine} cannot be inside @code{\times}.
4627 @code{\partcombine} cannot be inside @code{\relative}.
4629 Internally, the @code{\partcombine} interprets both arguments as
4630 @code{Voice}s named @code{one} and @code{two}, and then decides when
4631 the parts can be combined. Consequently, if the arguments switch to
4632 differently named @internalsref{Voice} contexts, the events in those
4636 @subsection Hiding staves
4638 @cindex Frenched scores
4639 @cindex Hiding staves
4641 In orchestral scores, staff lines that only have rests are usually
4642 removed. This saves some space. This style is called `French Score'.
4643 For @internalsref{Lyrics},
4644 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4645 switched on by default. When these line of these contexts turn out
4646 empty after the line-breaking process, they are removed.
4648 For normal staves, a specialized @internalsref{Staff} context is
4649 available, which does the same: staves containing nothing (or only
4650 multi measure rests) are removed. The context definition is stored in
4651 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4652 in this example disappears in the second line
4655 @lilypond[quote,verbatim]
4657 \notes \relative c' <<
4658 \new Staff { e4 f g a \break c1 }
4659 \new Staff { c4 d e f \break R1 }
4663 \context { \RemoveEmptyStaffContext }
4668 The first page shows all staves in full. If empty staves should be
4669 removed from the first page too, set @code{remove-first} to false in
4670 @internalsref{RemoveEmptyVerticalGroup}.
4672 Another application is making ossia sections, i.e. alternative
4673 melodies on a separate piece of staff, with help of a Frenched
4674 staff. See @inputfileref{input/test,ossia.ly} for an example.
4677 @node Different editions from one source
4678 @subsection Different editions from one source
4680 The @code{\tag} command marks music expressions with a name. These
4681 tagged expressions can be filtered out later. With this mechanism it
4682 is possible to make different versions of the same music source.
4684 In the following example, we see two versions of a piece of music, one
4685 for the full score, and one with cue notes for the instrumental part
4701 The same can be applied to articulations, texts, etc.: they are
4704 -\tag #@var{your-tag}
4706 to an articulation, for example,
4711 This defines a note with a conditional fingering indication.
4713 By applying the @code{remove-tag} function, tagged expressions can be
4714 filtered. For example,
4718 \applymusic #(remove-tag 'score) @var{the music}
4719 \applymusic #(remove-tag 'part) @var{the music}
4724 @lilypondfile[quote]{tag-filter.ly}
4726 The argument of the @code{\tag} command should be a symbol, or a list
4727 of symbols, for example,
4729 \tag #'(original-part transposed-part) @dots{}
4734 Examples: @inputfileref{input/regression,tag-filter.ly}.
4737 @node Quoting other voices
4738 @subsection Quoting other voices
4740 With quotations, fragments of other parts can be inserted into a part
4741 directly. Before a part can be quoted, it must be marked especially as
4742 quotable. This is done with code @code{\addquote} command. The
4743 quotation may then be done with @code{\quote}
4746 \addquote @var{name} @var{music}
4747 \quote @var{name} @var{duration}
4752 Here, @var{name} is an identifying string. The @var{music} is any kind
4753 of music. This is an example of @code{\addquote}
4756 \addquote clarinet \notes\relative c' {
4761 During a part, a piece of music can be quoted with the @code{\quote}
4768 This would cite 3 quarter notes (a dotted half note) of the previously
4769 added clarinet voice.
4771 Quotations take into account the transposition both source and target
4772 instruments, if they are specified using the @code{\transposition} command.
4774 @lilypond[quote,raggedright,verbatim]
4775 \addquote clarinet \notes\relative c' {
4781 e'8 f'8 \quote clarinet 2
4787 Only the contents of the first @internalsref{Voice} occurring in an
4788 @code{\addquote} command will be considered for quotation, so
4789 @var{music} can not contain @code{\new} and @code{\context Voice}
4790 statements that would switch to a different Voice.
4795 In this manual: @ref{Instrument transpositions}.
4797 Examples: @inputfileref{input/regression,quote.ly}
4798 @inputfileref{input/regression,quote-transposition.ly}
4800 Program reference: @internalsref{QuoteMusic}.
4802 @node Ancient notation
4803 @section Ancient notation
4805 @cindex Vaticana, Editio
4806 @cindex Medicaea, Editio
4811 Support for ancient notation includes features for mensural notation
4812 and Gregorian Chant notation. There is also limited support for
4813 figured bass notation.
4815 Many graphical objects provide a @code{style} property, see
4816 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4817 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4818 signatures}. By manipulating such a grob property, the typographical
4819 appearance of the affected graphical objects can be accommodated for a
4820 specific notation flavor without need for introducing any new
4823 Other aspects of ancient notation can not that easily be expressed as
4824 in terms of just changing a style property of a graphical object.
4825 Therefore, some notational concepts are introduced specifically for
4826 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4827 @ref{Ligatures}, and @ref{Figured bass}.
4831 * Ancient note heads::
4832 * Ancient accidentals::
4836 * Ancient time signatures::
4841 * Vaticana style contexts::
4844 If this all is way too much of documentation for you, and you just
4845 want to dive into typesetting without worrying too much about the
4846 details on how to customize a context, you may have a look at the
4847 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4848 set up predefined style-specific voice and staff contexts, and
4849 directly go ahead with the note entry.
4853 Ligatures need special spacing that has not yet been implemented. As
4854 a result, there is too much space between ligatures most of the time,
4855 and line breaking often is unsatisfactory. Also, lyrics do not
4856 correctly align with ligatures.
4858 Accidentals must not be printed within a ligature, but instead need to
4859 be collected and printed in front of it.
4861 Augmentum dots within ligatures are not handled correctly.
4864 @node Ancient note heads
4865 @subsection Ancient note heads
4870 For ancient notation, a note head style other than the @code{default}
4871 style may be chosen. This is accomplished by setting the @code{style}
4872 property of the NoteHead object to the desired value (@code{baroque},
4873 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4874 differs from the @code{default} style only in using a square shape for
4875 @code{\breve} note heads. The @code{neo_mensural} style differs from
4876 the @code{baroque} style in that it uses rhomboidal heads for whole
4877 notes and all smaller durations. Stems are centered on the note
4878 heads. This style is in particular useful when transcribing mensural
4879 music, e.g. for the incipit. The @code{mensural} style finally
4880 produces note heads that mimic the look of note heads in historic
4881 printings of the 16th century.
4883 The following example demonstrates the @code{neo_mensural} style
4885 @lilypond[quote,fragment,raggedright,verbatim]
4886 \override NoteHead #'style = #'neo_mensural
4887 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4890 When typesetting a piece in Gregorian Chant notation, a Gregorian
4891 ligature engraver will automatically select the proper note heads,
4892 such there is no need to explicitly set the note head style. Still,
4893 the note head style can be set e.g. to @code{vaticana_punctum} to
4894 produce punctum neumes. Similarly, a mensural ligature engraver is
4895 used to automatically assemble mensural ligatures. See
4896 @ref{Ligatures} for how ligature engravers work.
4901 @ref{Percussion staves} use note head styles of their own that are
4902 frequently used in contemporary music notation.
4904 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
4905 overview over all available note head styles.
4908 @node Ancient accidentals
4909 @subsection Ancient accidentals
4914 Use the @code{style} property of grob @internalsref{Accidental} to
4915 select ancient accidentals. Supported styles are
4916 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4918 @lilypond[quote,raggedright,staffsize=26]
4926 { " " \musicglyph #"accidentals-vaticana-1"
4927 " " \musicglyph #"accidentals-vaticana0" }
4931 { " " \musicglyph #"accidentals-medicaea-1" }
4935 { " " \musicglyph #"accidentals-hufnagel-1" }
4939 { " " \musicglyph #"accidentals-mensural-1"
4940 " " \musicglyph #"accidentals-mensural1" }
4949 \remove "Bar_number_engraver"
4953 \remove "Clef_engraver"
4954 \remove "Key_engraver"
4955 \remove "Time_signature_engraver"
4956 \remove "Staff_symbol_engraver"
4957 minimumVerticalExtent = ##f
4963 As shown, not all accidentals are supported by each style. When
4964 trying to access an unsupported accidental, LilyPond will switch to a
4965 different style, as demonstrated in
4966 @inputfileref{input/test,ancient-accidentals.ly}.
4968 Similarly to local accidentals, the style of the key signature can be
4969 controlled by the @code{style} property of the
4970 @internalsref{KeySignature} grob.
4974 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
4975 @ref{Accidentals} give a general introduction into the use of
4976 accidentals. @ref{Key signature} gives a general introduction into
4977 the use of key signatures.
4979 Program reference: @internalsref{KeySignature}.
4981 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
4984 @subsection Ancient rests
4989 Use the @code{style} property of grob @internalsref{Rest} to select
4990 ancient accidentals. Supported styles are @code{classical},
4991 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4992 from the @code{default} style only in that the quarter rest looks like
4993 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4994 well for e.g. the incipit of a transcribed mensural piece of music.
4995 The @code{mensural} style finally mimics the appearance of rests as
4996 in historic prints of the 16th century.
4998 The following example demonstrates the @code{neo_mensural} style
5000 @lilypond[quote,fragment,raggedright,verbatim]
5001 \override Rest #'style = #'neo_mensural
5002 r\longa r\breve r1 r2 r4 r8 r16
5005 There are no 32th and 64th rests specifically for the mensural or
5006 neo-mensural style. Instead, the rests from the default style will be
5007 taken. See @inputfileref{input/test,rests.ly} for a chart of all
5010 There are no rests in Gregorian Chant notation; instead, it uses
5015 In this manual: @ref{Rests} gives a general introduction into the use of rests.
5019 @subsection Ancient clefs
5024 LilyPond supports a variety of clefs, many of them ancient.
5026 The following table shows all ancient clefs that are supported via the
5027 @code{\clef} command. Some of the clefs use the same glyph, but
5028 differ only with respect to the line they are printed on. In such
5029 cases, a trailing number in the name is used to enumerate these clefs.
5030 Still, you can manually force a clef glyph to be typeset on an
5031 arbitrary line, as described in @ref{Clef}. The note printed to the
5032 right side of each clef in the example column denotes the @code{c'}
5033 with respect to that clef.
5035 @multitable @columnfractions .3 .3 .3 .1
5039 @b{Description} @tab
5040 @b{Supported Clefs} @tab
5044 @code{clefs-neo_mensural_c} @tab
5045 modern style mensural C clef @tab
5046 @code{neo_mensural_c1}, @code{neo_mensural_c2},
5047 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
5048 @lilypond[quote,relative=1,notime]
5049 \override Staff.TimeSignature #'transparent = ##t
5050 \clef "neo_mensural_c2" c
5054 @code{clefs-petrucci_c1}
5055 @code{clefs-petrucci_c2}
5056 @code{clefs-petrucci_c3}
5057 @code{clefs-petrucci_c4}
5058 @code{clefs-petrucci_c5}
5061 petrucci style mensural C clefs, for use on different staff lines
5062 (the examples shows the 2nd staff line C clef).
5072 @lilypond[quote,relative=1,notime]
5073 \override Staff.TimeSignature #'transparent = ##t
5074 \clef "petrucci_c2" c
5078 @code{clefs-petrucci_f} @tab
5079 petrucci style mensural F clef @tab
5080 @code{petrucci_f} @tab
5081 @lilypond[quote,relative=1,notime]
5082 \override Staff.TimeSignature #'transparent = ##t
5083 \clef "petrucci_f" c
5087 @code{clefs-petrucci_g} @tab
5088 petrucci style mensural G clef @tab
5089 @code{petrucci_g} @tab
5090 @lilypond[quote,relative=1,notime]
5091 \override Staff.TimeSignature #'transparent = ##t
5092 \clef "petrucci_g" c
5096 @code{clefs-mensural_c} @tab
5097 historic style mensural C clef @tab
5098 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
5099 @code{mensural_c4} @tab
5100 @lilypond[quote,relative=1,notime]
5101 \override Staff.TimeSignature #'transparent = ##t
5102 \clef "mensural_c2" c
5106 @code{clefs-mensural_f} @tab
5107 historic style mensural F clef @tab
5108 @code{mensural_f} @tab
5109 @lilypond[quote,relative=1,notime]
5110 \override Staff.TimeSignature #'transparent = ##t
5111 \clef "mensural_f" c
5115 @code{clefs-mensural_g} @tab
5116 historic style mensural G clef @tab
5117 @code{mensural_g} @tab
5118 @lilypond[quote,relative=1,notime]
5119 \override Staff.TimeSignature #'transparent = ##t
5120 \clef "mensural_g" c
5124 @code{clefs-vaticana_do} @tab
5125 Editio Vaticana style do clef @tab
5126 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
5127 @lilypond[quote,relative=1,notime]
5128 \override Staff.StaffSymbol #'line-count = #4
5129 \override Staff.TimeSignature #'transparent = ##t
5130 \clef "vaticana_do2" c
5134 @code{clefs-vaticana_fa} @tab
5135 Editio Vaticana style fa clef @tab
5136 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
5137 @lilypond[quote,relative=1,notime]
5138 \override Staff.StaffSymbol #'line-count = #4
5139 \override Staff.TimeSignature #'transparent = ##t
5140 \clef "vaticana_fa2" c
5144 @code{clefs-medicaea_do} @tab
5145 Editio Medicaea style do clef @tab
5146 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
5147 @lilypond[quote,relative=1,notime]
5148 \override Staff.StaffSymbol #'line-count = #4
5149 \override Staff.TimeSignature #'transparent = ##t
5150 \clef "medicaea_do2" c
5154 @code{clefs-medicaea_fa} @tab
5155 Editio Medicaea style fa clef @tab
5156 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
5157 @lilypond[quote,relative=1,notime]
5158 \override Staff.StaffSymbol #'line-count = #4
5159 \override Staff.TimeSignature #'transparent = ##t
5160 \clef "medicaea_fa2" c
5164 @code{clefs-hufnagel_do} @tab
5165 historic style hufnagel do clef @tab
5166 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
5167 @lilypond[quote,relative=1,notime]
5168 \override Staff.StaffSymbol #'line-count = #4
5169 \override Staff.TimeSignature #'transparent = ##t
5170 \clef "hufnagel_do2" c
5174 @code{clefs-hufnagel_fa} @tab
5175 historic style hufnagel fa clef @tab
5176 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
5177 @lilypond[quote,relative=1,notime]
5178 \override Staff.StaffSymbol #'line-count = #4
5179 \override Staff.TimeSignature #'transparent = ##t
5180 \clef "hufnagel_fa2" c
5184 @code{clefs-hufnagel_do_fa} @tab
5185 historic style hufnagel combined do/fa clef @tab
5186 @code{hufnagel_do_fa} @tab
5187 @lilypond[quote,relative=1,notime]
5188 \override Staff.TimeSignature #'transparent = ##t
5189 \clef "hufnagel_do_fa" c
5196 @emph{Modern style} means ``as is typeset in contemporary editions of
5197 transcribed mensural music''.
5199 @emph{Petrucci style} means ``inspired by printings published by the
5200 famous engraver Petrucci (1466-1539)''.
5202 @emph{Historic style} means ``as was typeset or written in historic
5203 editions (other than those of Petrucci)''.
5205 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5207 Petrucci used C clefs with differently balanced left-side vertical
5208 beams, depending on which staff line it is printed.
5212 In this manual: see @ref{Clef}.
5216 The mensural g clef is mapped to the Petrucci g clef, until a new
5217 mensural g clef is implemented.
5222 @subsection Ancient flags
5227 Use the @code{flag-style} property of grob @internalsref{Stem} to
5228 select ancient flags. Besides the @code{default} flag style,
5229 only @code{mensural} style is supported
5231 @lilypond[quote,fragment,raggedright,verbatim]
5232 \override Stem #'flag-style = #'mensural
5233 \override Stem #'thickness = #1.0
5234 \override NoteHead #'style = #'mensural
5236 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
5237 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5240 Note that the innermost flare of each mensural flag always is
5241 vertically aligned with a staff line. If you do not like this
5242 behavior, you can set the @code{adjust-if-on-staffline} property of
5243 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5244 of the end of each flare is different between notes on staff lines and
5245 notes between staff lines
5247 @lilypond[quote,fragment,raggedright]
5248 \override Stem #'flag-style = #'mensural
5249 \override Stem #'thickness = #1.0
5250 \override Stem #'adjust-if-on-staffline = ##f
5251 \override NoteHead #'style = #'mensural
5253 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
5254 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5257 There is no particular flag style for neo-mensural notation. Hence,
5258 when typesetting e.g. the incipit of a transcribed piece of mensural
5259 music, the default flag style should be used. There are no flags in
5260 Gregorian Chant notation.
5263 @node Ancient time signatures
5264 @subsection Ancient time signatures
5266 @cindex time signatures
5269 There is limited support for mensural time signatures. The
5270 glyphs are hard-wired to particular time fractions. In other words,
5271 to get a particular mensural signature glyph with the @code{\time n/m}
5272 command, @code{n} and @code{m} have to be chosen according to the
5278 \set Score.timing = ##f
5279 \set Score.barAlways = ##t
5280 s_\markup { "$\\backslash$time 4/4" }
5281 ^\markup { " " \musicglyph #"timesig-neo_mensural4/4" }
5283 s_\markup { "$\\backslash$time 2/2" }
5284 ^\markup { " " \musicglyph #"timesig-neo_mensural2/2" }
5286 s_\markup { "$\\backslash$time 6/4" }
5287 ^\markup { " " \musicglyph #"timesig-neo_mensural6/4" }
5289 s_\markup { "$\\backslash$time 6/8" }
5290 ^\markup { " " \musicglyph #"timesig-neo_mensural6/8" }
5292 s_\markup { "$\\backslash$time 3/2" }
5293 ^\markup { " " \musicglyph #"timesig-neo_mensural3/2" }
5295 s_\markup { "$\\backslash$time 3/4" }
5296 ^\markup { " " \musicglyph #"timesig-neo_mensural3/4" }
5298 s_\markup { "$\\backslash$time 9/4" }
5299 ^\markup { " " \musicglyph #"timesig-neo_mensural9/4" }
5301 s_\markup { "$\\backslash$time 9/8" }
5302 ^\markup { " " \musicglyph #"timesig-neo_mensural9/8" }
5304 s_\markup { "$\\backslash$time 4/8" }
5305 ^\markup { " " \musicglyph #"timesig-neo_mensural4/8" }
5307 s_\markup { "$\\backslash$time 2/4" }
5308 ^\markup { " " \musicglyph #"timesig-neo_mensural2/4" }
5316 \remove Staff_symbol_engraver
5317 \remove Clef_engraver
5318 \remove Time_signature_engraver
5324 Use the @code{style} property of grob @internalsref{TimeSignature} to
5325 select ancient time signatures. Supported styles are
5326 @code{neo_mensural} and @code{mensural}. The above table uses the
5327 @code{neo_mensural} style. This style is appropriate e.g. for the
5328 incipit of transcriptions of mensural pieces. The @code{mensural}
5329 style mimics the look of historical printings of the 16th century.
5331 @inputfileref{input/test,time.ly} gives an overview over all available
5332 ancient and modern styles.
5336 Program reference: @ref{Time signature} gives a general introduction into the use of time
5341 Mensural signature glyphs are mapped to time fractions in a hard-wired
5342 way. This mapping is sensible, but still arbitrary: given a mensural
5343 time signature, the time fraction represents a modern meter that
5344 usually will be a good choice when transcribing a mensural piece of
5345 music. For a particular piece of mensural music, however, the mapping
5346 may be unsatisfactory. In particular, the mapping assumes a fixed
5347 transcription of durations (e.g. brevis = half note in 2/2, i.e. 4:1).
5348 Some glyphs (such as the alternate glyph for 6/8 meter) are not at all
5349 accessible through the @code{\time} command.
5351 Mensural time signatures are supported typographically, but not yet
5352 musically. The internal representation of durations is
5353 based on a purely binary system; a ternary division such as 1 brevis =
5354 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5355 prolatione maiori) is not correctly handled: event times in ternary
5356 modes will be badly computed, resulting e.g. in horizontally
5357 misaligned note heads, and bar checks are likely to erroneously fail.
5359 The syntax and semantics of the @code{\time} command for mensural
5360 music is subject to change.
5363 @subsection Custodes
5368 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
5369 symbol that appears at the end of a staff. It anticipates the pitch
5370 of the first note(s) of the following line and thus helps the player
5371 or singer to manage line breaks during performance, thus enhancing
5372 readability of a score.
5374 Custodes were frequently used in music notation until the 17th
5375 century. Nowadays, they have survived only in a few particular forms
5376 of musical notation such as contemporary editions of Gregorian chant
5377 like the @emph{editio vaticana}. There are different custos glyphs
5378 used in different flavors of notational style.
5380 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5381 @internalsref{Staff} context when declaring the @code{\paper} block,
5382 as shown in the following example
5388 \consists Custos_engraver
5389 Custos \override #'style = #'mensural
5394 The result looks like this
5396 @lilypond[quote,raggedright]
5400 \override Staff.Custos #'style = #'mensural
5407 \consists Custos_engraver
5413 The custos glyph is selected by the @code{style} property. The styles
5414 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5415 @code{mensural}. They are demonstrated in the following fragment
5419 \new Lyrics \lyrics {
5423 { " " \musicglyph #"custodes-vaticana-u0" }
5427 { " " \musicglyph #"custodes-medicaea-u0" }
5432 { " " \musicglyph #"custodes-hufnagel-u0" }
5437 { " " \musicglyph #"custodes-mensural-u0" }
5449 Program reference: @internalsref{Custos}.
5451 Examples: @inputfileref{input/regression,custos.ly}.
5455 @subsection Divisiones
5461 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
5462 `division') is a staff context symbol that is used to structure
5463 Gregorian music into phrases and sections. The musical meaning of
5464 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5465 can be characterized as short, medium and long pause, somewhat like
5466 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5467 a chant, but is also frequently used within a single
5468 antiphonal/responsorial chant to mark the end of each section.
5471 To use divisiones, include the file @code{gregorian-init.ly}. It
5472 contains definitions that you can apply by just inserting
5473 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5474 and @code{\finalis} at proper places in the input. Some editions use
5475 @emph{virgula} or @emph{caesura} instead of divisio minima.
5476 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5479 @lilypondfile[quote,raggedright]{divisiones.ly}
5483 @cindex @code{\virgula}
5485 @cindex @code{\caesura}
5487 @cindex @code{\divisioMinima}
5488 @code{\divisioMinima},
5489 @cindex @code{\divisioMaior}
5490 @code{\divisioMaior},
5491 @cindex @code{\divisioMaxima}
5492 @code{\divisioMaxima},
5493 @cindex @code{\finalis}
5498 In this manual: @ref{Breath marks}.
5500 Program reference: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
5502 Examples: @inputfileref{input/test,divisiones.ly}.
5505 @subsection Ligatures
5509 @c TODO: Should double check if I recalled things correctly when I wrote
5510 @c down the following paragraph by heart.
5512 A ligature is a coherent graphical symbol that represents at least two
5513 distinct notes. Ligatures originally appeared in the manuscripts of
5514 Gregorian chant notation roughly since the 9th century to denote
5515 ascending or descending sequences of notes.
5517 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
5518 Some ligature styles may need additional input syntax specific for
5519 this particular type of ligature. By default, the
5520 @internalsref{LigatureBracket} engraver just puts a square bracket
5523 @lilypond[quote,raggedright,verbatim]
5525 \notes \transpose c c' {
5533 To select a specific style of ligatures, a proper ligature engraver
5534 has to be added to the @internalsref{Voice} context, as explained in
5535 the following subsections. Only white mensural ligatures
5536 are supported with certain limitations.
5539 * White mensural ligatures::
5540 * Gregorian square neumes ligatures::
5543 @node White mensural ligatures
5544 @subsubsection White mensural ligatures
5546 @cindex Mensural ligatures
5547 @cindex White mensural ligatures
5549 There is limited support for white mensural ligatures.
5551 To engrave white mensural ligatures, in the paper block the
5552 @internalsref{Mensural_ligature_engraver} has to be put into the
5553 @internalsref{Voice} context, and remove the
5554 @internalsref{Ligature_bracket_engraver}
5560 \remove Ligature_bracket_engraver
5561 \consists Mensural_ligature_engraver
5566 There is no additional input language to describe the shape of a
5567 white mensural ligature. The shape is rather determined solely from
5568 the pitch and duration of the enclosed notes. While this approach may
5569 take a new user a while to get accustomed, it has the great advantage
5570 that the full musical information of the ligature is known internally.
5571 This is not only required for correct MIDI output, but also allows for
5572 automatic transcription of the ligatures.
5577 \set Score.timing = ##f
5578 \set Score.defaultBarType = "empty"
5579 \override NoteHead #'style = #'neo_mensural
5580 \override Staff.TimeSignature #'style = #'neo_mensural
5582 \[ g\longa c\breve a\breve f\breve d'\longa \]
5584 \[ e1 f1 a\breve g\longa \]
5586 @lilypond[quote,raggedright]
5588 \notes \transpose c c' {
5589 \set Score.timing = ##f
5590 \set Score.defaultBarType = "empty"
5591 \override NoteHead #'style = #'neo_mensural
5592 \override Staff.TimeSignature #'style = #'neo_mensural
5594 \[ g\longa c\breve a\breve f\breve d'\longa \]
5596 \[ e1 f1 a\breve g\longa \]
5601 \remove Ligature_bracket_engraver
5602 \consists Mensural_ligature_engraver
5608 Without replacing @internalsref{Ligature_bracket_engraver} with
5609 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5612 @lilypond[quote,raggedright]
5614 \notes \transpose c c' {
5615 \set Score.timing = ##f
5616 \set Score.defaultBarType = "empty"
5617 \override NoteHead #'style = #'neo_mensural
5618 \override Staff.TimeSignature #'style = #'neo_mensural
5620 \[ g\longa c\breve a\breve f\breve d'\longa \]
5622 \[ e1 f1 a\breve g\longa \]
5629 The implementation is experimental; it may output strange warnings or
5630 even crash in some cases or produce weird results on more complex
5633 @node Gregorian square neumes ligatures
5634 @subsubsection Gregorian square neumes ligatures
5636 @cindex Square neumes ligatures
5637 @cindex Gregorian square neumes ligatures
5639 Gregorian square neumes notation (following the style of the Editio
5640 Vaticana) is under heavy development, but not yet really usable for
5641 production purposes. Core ligatures can already be typeset, but
5642 essential issues for serious typesetting are still under development,
5643 such as (among others) horizontal alignment of multiple ligatures,
5644 lyrics alignment and proper accidentals handling. Still, this section
5645 gives a sneak preview of what Gregorian chant may look like once it
5648 The following table contains the extended neumes table of the 2nd
5649 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5650 1983 by the monks of Solesmes.
5652 @multitable @columnfractions .4 .2 .2 .2
5655 @b{Neuma aut@*Neumarum Elementa} @tab
5656 @b{Figurae@*Rectae} @tab
5657 @b{Figurae@*Liquescentes Auctae} @tab
5658 @b{Figurae@*Liquescentes Deminutae}
5660 @c TODO: \paper block is identical in all of the below examples.
5661 @c Therefore, it should somehow be included rather than duplicated all
5664 @c why not make identifiers in ly/engraver-init.ly? --hwn
5666 @c Because it's just used to typeset plain notes without
5667 @c a staff for demonstration purposes rather than something
5668 @c special of Gregorian chant notation. --jr
5673 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.5\cm]
5674 \include "gregorian-init.ly"
5676 \notes \transpose c c' {
5679 \noBreak s^\markup {"a"} \noBreak
5681 % Punctum Inclinatum
5683 \noBreak s^\markup {"b"}
5689 \remove "Bar_number_engraver"
5693 \remove "Clef_engraver"
5694 \remove "Key_engraver"
5695 \override StaffSymbol #'transparent = ##t
5696 \remove "Time_signature_engraver"
5697 \remove "Bar_engraver"
5698 minimumVerticalExtent = ##f
5702 \remove Ligature_bracket_engraver
5703 \consists Vaticana_ligature_engraver
5704 \override NoteHead #'style = #'vaticana_punctum
5705 \override Stem #'transparent = ##t
5711 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.5\cm]
5712 \include "gregorian-init.ly"
5714 \notes \transpose c c' {
5715 % Punctum Auctum Ascendens
5716 \[ \auctum \ascendens b \]
5717 \noBreak s^\markup {"c"} \noBreak
5719 % Punctum Auctum Descendens
5720 \[ \auctum \descendens b \]
5721 \noBreak s^\markup {"d"} \noBreak
5723 % Punctum Inclinatum Auctum
5724 \[ \inclinatum \auctum b \]
5725 \noBreak s^\markup {"e"}
5731 \remove "Bar_number_engraver"
5735 \remove "Clef_engraver"
5736 \remove "Key_engraver"
5737 \override StaffSymbol #'transparent = ##t
5738 \remove "Time_signature_engraver"
5739 \remove "Bar_engraver"
5740 minimumVerticalExtent = ##f
5744 \remove Ligature_bracket_engraver
5745 \consists Vaticana_ligature_engraver
5746 \override NoteHead #'style = #'vaticana_punctum
5747 \override Stem #'transparent = ##t
5753 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5754 \include "gregorian-init.ly"
5756 \notes \transpose c c' {
5757 % Punctum Inclinatum Parvum
5758 \[ \inclinatum \deminutum b \]
5759 \noBreak s^\markup {"f"}
5765 \remove "Bar_number_engraver"
5769 \remove "Clef_engraver"
5770 \remove "Key_engraver"
5771 \override StaffSymbol #'transparent = ##t
5772 \remove "Time_signature_engraver"
5773 \remove "Bar_engraver"
5774 minimumVerticalExtent = ##f
5778 \remove Ligature_bracket_engraver
5779 \consists Vaticana_ligature_engraver
5780 \override NoteHead #'style = #'vaticana_punctum
5781 \override Stem #'transparent = ##t
5790 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5791 \include "gregorian-init.ly"
5793 \notes \transpose c c' {
5796 \noBreak s^\markup {"g"}
5802 \remove "Bar_number_engraver"
5806 \remove "Clef_engraver"
5807 \remove "Key_engraver"
5808 \override StaffSymbol #'transparent = ##t
5809 \remove "Time_signature_engraver"
5810 \remove "Bar_engraver"
5811 minimumVerticalExtent = ##f
5815 \remove Ligature_bracket_engraver
5816 \consists Vaticana_ligature_engraver
5817 \override NoteHead #'style = #'vaticana_punctum
5818 \override Stem #'transparent = ##t
5827 @code{3. Apostropha vel Stropha}
5829 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5830 \include "gregorian-init.ly"
5832 \notes \transpose c c' {
5835 \noBreak s^\markup {"h"}
5841 \remove "Bar_number_engraver"
5845 \remove "Clef_engraver"
5846 \remove "Key_engraver"
5847 \override StaffSymbol #'transparent = ##t
5848 \remove "Time_signature_engraver"
5849 \remove "Bar_engraver"
5850 minimumVerticalExtent = ##f
5854 \remove Ligature_bracket_engraver
5855 \consists Vaticana_ligature_engraver
5856 \override NoteHead #'style = #'vaticana_punctum
5857 \override Stem #'transparent = ##t
5863 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5864 \include "gregorian-init.ly"
5866 \notes \transpose c c' {
5868 \[ \stropha \auctum b \]
5869 \noBreak s^\markup {"i"}
5875 \remove "Bar_number_engraver"
5879 \remove "Clef_engraver"
5880 \remove "Key_engraver"
5881 \override StaffSymbol #'transparent = ##t
5882 \remove "Time_signature_engraver"
5883 \remove "Bar_engraver"
5884 minimumVerticalExtent = ##f
5888 \remove Ligature_bracket_engraver
5889 \consists Vaticana_ligature_engraver
5890 \override NoteHead #'style = #'vaticana_punctum
5891 \override Stem #'transparent = ##t
5901 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5902 \include "gregorian-init.ly"
5904 \notes \transpose c c' {
5907 \noBreak s^\markup {"j"}
5913 \remove "Bar_number_engraver"
5917 \remove "Clef_engraver"
5918 \remove "Key_engraver"
5919 \override StaffSymbol #'transparent = ##t
5920 \remove "Time_signature_engraver"
5921 \remove "Bar_engraver"
5922 minimumVerticalExtent = ##f
5926 \remove Ligature_bracket_engraver
5927 \consists Vaticana_ligature_engraver
5928 \override NoteHead #'style = #'vaticana_punctum
5929 \override Stem #'transparent = ##t
5938 @code{5. Clivis vel Flexa}
5940 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5941 \include "gregorian-init.ly"
5943 \notes \transpose c c' {
5952 \remove "Bar_number_engraver"
5956 \remove "Clef_engraver"
5957 \remove "Key_engraver"
5958 \override StaffSymbol #'transparent = ##t
5959 \remove "Time_signature_engraver"
5960 \remove "Bar_engraver"
5961 minimumVerticalExtent = ##f
5965 \remove Ligature_bracket_engraver
5966 \consists Vaticana_ligature_engraver
5967 \override NoteHead #'style = #'vaticana_punctum
5968 \override Stem #'transparent = ##t
5974 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
5975 \include "gregorian-init.ly"
5977 \notes \transpose c c' {
5978 % Clivis Aucta Descendens
5979 \[ b \flexa \auctum \descendens g \]
5980 \noBreak s^\markup {"l"} \noBreak
5982 % Clivis Aucta Ascendens
5983 \[ b \flexa \auctum \ascendens g \]
5984 \noBreak s^\markup {"m"}
5990 \remove "Bar_number_engraver"
5994 \remove "Clef_engraver"
5995 \remove "Key_engraver"
5996 \override StaffSymbol #'transparent = ##t
5997 \remove "Time_signature_engraver"
5998 \remove "Bar_engraver"
5999 minimumVerticalExtent = ##f
6003 \remove Ligature_bracket_engraver
6004 \consists Vaticana_ligature_engraver
6005 \override NoteHead #'style = #'vaticana_punctum
6006 \override Stem #'transparent = ##t
6012 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6013 \include "gregorian-init.ly"
6015 \notes \transpose c c' {
6017 \[ b \flexa \deminutum g \]
6024 \remove "Bar_number_engraver"
6028 \remove "Clef_engraver"
6029 \remove "Key_engraver"
6030 \override StaffSymbol #'transparent = ##t
6031 \remove "Time_signature_engraver"
6032 \remove "Bar_engraver"
6033 minimumVerticalExtent = ##f
6037 \remove Ligature_bracket_engraver
6038 \consists Vaticana_ligature_engraver
6039 \override NoteHead #'style = #'vaticana_punctum
6040 \override Stem #'transparent = ##t
6047 @code{6. Podatus vel Pes}
6049 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6050 \include "gregorian-init.ly"
6052 \notes \transpose c c' {
6061 \remove "Bar_number_engraver"
6065 \remove "Clef_engraver"
6066 \remove "Key_engraver"
6067 \override StaffSymbol #'transparent = ##t
6068 \remove "Time_signature_engraver"
6069 \remove "Bar_engraver"
6070 minimumVerticalExtent = ##f
6074 \remove Ligature_bracket_engraver
6075 \consists Vaticana_ligature_engraver
6076 \override NoteHead #'style = #'vaticana_punctum
6077 \override Stem #'transparent = ##t
6083 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
6084 \include "gregorian-init.ly"
6086 \notes \transpose c c' {
6087 % Pes Auctus Descendens
6088 \[ g \pes \auctum \descendens b \]
6089 \noBreak s^\markup {"p"} \noBreak
6091 % Pes Auctus Ascendens
6092 \[ g \pes \auctum \ascendens b \]
6093 \noBreak s^\markup {"q"}
6099 \remove "Bar_number_engraver"
6103 \remove "Clef_engraver"
6104 \remove "Key_engraver"
6105 \override StaffSymbol #'transparent = ##t
6106 \remove "Time_signature_engraver"
6107 \remove "Bar_engraver"
6108 minimumVerticalExtent = ##f
6112 \remove Ligature_bracket_engraver
6113 \consists Vaticana_ligature_engraver
6114 \override NoteHead #'style = #'vaticana_punctum
6115 \override Stem #'transparent = ##t
6121 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6122 \include "gregorian-init.ly"
6124 \notes \transpose c c' {
6126 \[ g \pes \deminutum b \]
6133 \remove "Bar_number_engraver"
6137 \remove "Clef_engraver"
6138 \remove "Key_engraver"
6139 \override StaffSymbol #'transparent = ##t
6140 \remove "Time_signature_engraver"
6141 \remove "Bar_engraver"
6142 minimumVerticalExtent = ##f
6146 \remove Ligature_bracket_engraver
6147 \consists Vaticana_ligature_engraver
6148 \override NoteHead #'style = #'vaticana_punctum
6149 \override Stem #'transparent = ##t
6156 @code{7. Pes Quassus}
6158 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6159 \include "gregorian-init.ly"
6161 \notes \transpose c c' {
6163 \[ \oriscus g \pes \virga b \]
6170 \remove "Bar_number_engraver"
6174 \remove "Clef_engraver"
6175 \remove "Key_engraver"
6176 \override StaffSymbol #'transparent = ##t
6177 \remove "Time_signature_engraver"
6178 \remove "Bar_engraver"
6179 minimumVerticalExtent = ##f
6183 \remove Ligature_bracket_engraver
6184 \consists Vaticana_ligature_engraver
6185 \override NoteHead #'style = #'vaticana_punctum
6186 \override Stem #'transparent = ##t
6192 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6193 \include "gregorian-init.ly"
6195 \notes \transpose c c' {
6196 % Pes Quassus Auctus Descendens
6197 \[ \oriscus g \pes \auctum \descendens b \]
6204 \remove "Bar_number_engraver"
6208 \remove "Clef_engraver"
6209 \remove "Key_engraver"
6210 \override StaffSymbol #'transparent = ##t
6211 \remove "Time_signature_engraver"
6212 \remove "Bar_engraver"
6213 minimumVerticalExtent = ##f
6217 \remove Ligature_bracket_engraver
6218 \consists Vaticana_ligature_engraver
6219 \override NoteHead #'style = #'vaticana_punctum
6220 \override Stem #'transparent = ##t
6228 @code{8. Quilisma Pes}
6230 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6231 \include "gregorian-init.ly"
6233 \notes \transpose c c' {
6235 \[ \quilisma g \pes b \]
6242 \remove "Bar_number_engraver"
6246 \remove "Clef_engraver"
6247 \remove "Key_engraver"
6248 \override StaffSymbol #'transparent = ##t
6249 \remove "Time_signature_engraver"
6250 \remove "Bar_engraver"
6251 minimumVerticalExtent = ##f
6255 \remove Ligature_bracket_engraver
6256 \consists Vaticana_ligature_engraver
6257 \override NoteHead #'style = #'vaticana_punctum
6258 \override Stem #'transparent = ##t
6264 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6265 \include "gregorian-init.ly"
6267 \notes \transpose c c' {
6268 % Quilisma Pes Auctus Descendens
6269 \[ \quilisma g \pes \auctum \descendens b \]
6276 \remove "Bar_number_engraver"
6280 \remove "Clef_engraver"
6281 \remove "Key_engraver"
6282 \override StaffSymbol #'transparent = ##t
6283 \remove "Time_signature_engraver"
6284 \remove "Bar_engraver"
6285 minimumVerticalExtent = ##f
6289 \remove Ligature_bracket_engraver
6290 \consists Vaticana_ligature_engraver
6291 \override NoteHead #'style = #'vaticana_punctum
6292 \override Stem #'transparent = ##t
6300 @code{9. Podatus Initio Debilis}
6302 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6303 \include "gregorian-init.ly"
6305 \notes \transpose c c' {
6306 % Pes Initio Debilis
6307 \[ \deminutum g \pes b \]
6314 \remove "Bar_number_engraver"
6318 \remove "Clef_engraver"
6319 \remove "Key_engraver"
6320 \override StaffSymbol #'transparent = ##t
6321 \remove "Time_signature_engraver"
6322 \remove "Bar_engraver"
6323 minimumVerticalExtent = ##f
6327 \remove Ligature_bracket_engraver
6328 \consists Vaticana_ligature_engraver
6329 \override NoteHead #'style = #'vaticana_punctum
6330 \override Stem #'transparent = ##t
6336 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6337 \include "gregorian-init.ly"
6339 \notes \transpose c c' {
6340 % Pes Auctus Descendens Initio Debilis
6341 \[ \deminutum g \pes \auctum \descendens b \]
6348 \remove "Bar_number_engraver"
6352 \remove "Clef_engraver"
6353 \remove "Key_engraver"
6354 \override StaffSymbol #'transparent = ##t
6355 \remove "Time_signature_engraver"
6356 \remove "Bar_engraver"
6357 minimumVerticalExtent = ##f
6361 \remove Ligature_bracket_engraver
6362 \consists Vaticana_ligature_engraver
6363 \override NoteHead #'style = #'vaticana_punctum
6364 \override Stem #'transparent = ##t
6374 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6375 \include "gregorian-init.ly"
6377 \notes \transpose c c' {
6379 \[ a \pes b \flexa g \]
6386 \remove "Bar_number_engraver"
6390 \remove "Clef_engraver"
6391 \remove "Key_engraver"
6392 \override StaffSymbol #'transparent = ##t
6393 \remove "Time_signature_engraver"
6394 \remove "Bar_engraver"
6395 minimumVerticalExtent = ##f
6399 \remove Ligature_bracket_engraver
6400 \consists Vaticana_ligature_engraver
6401 \override NoteHead #'style = #'vaticana_punctum
6402 \override Stem #'transparent = ##t
6408 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6409 \include "gregorian-init.ly"
6411 \notes \transpose c c' {
6412 % Torculus Auctus Descendens
6413 \[ a \pes b \flexa \auctum \descendens g \]
6420 \remove "Bar_number_engraver"
6424 \remove "Clef_engraver"
6425 \remove "Key_engraver"
6426 \override StaffSymbol #'transparent = ##t
6427 \remove "Time_signature_engraver"
6428 \remove "Bar_engraver"
6429 minimumVerticalExtent = ##f
6433 \remove Ligature_bracket_engraver
6434 \consists Vaticana_ligature_engraver
6435 \override NoteHead #'style = #'vaticana_punctum
6436 \override Stem #'transparent = ##t
6442 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6443 \include "gregorian-init.ly"
6445 \notes \transpose c c' {
6446 % Torculus Deminutus
6447 \[ a \pes b \flexa \deminutum g \]
6454 \remove "Bar_number_engraver"
6458 \remove "Clef_engraver"
6459 \remove "Key_engraver"
6460 \override StaffSymbol #'transparent = ##t
6461 \remove "Time_signature_engraver"
6462 \remove "Bar_engraver"
6463 minimumVerticalExtent = ##f
6467 \remove Ligature_bracket_engraver
6468 \consists Vaticana_ligature_engraver
6469 \override NoteHead #'style = #'vaticana_punctum
6470 \override Stem #'transparent = ##t
6477 @code{11. Torculus Initio Debilis}
6479 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6480 \include "gregorian-init.ly"
6482 \notes \transpose c c' {
6483 % Torculus Initio Debilis
6484 \[ \deminutum a \pes b \flexa g \]
6491 \remove "Bar_number_engraver"
6495 \remove "Clef_engraver"
6496 \remove "Key_engraver"
6497 \override StaffSymbol #'transparent = ##t
6498 \remove "Time_signature_engraver"
6499 \remove "Bar_engraver"
6500 minimumVerticalExtent = ##f
6504 \remove Ligature_bracket_engraver
6505 \consists Vaticana_ligature_engraver
6506 \override NoteHead #'style = #'vaticana_punctum
6507 \override Stem #'transparent = ##t
6513 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6514 \include "gregorian-init.ly"
6516 \notes \transpose c c' {
6517 % Torculus Auctus Descendens Initio Debilis
6518 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6525 \remove "Bar_number_engraver"
6529 \remove "Clef_engraver"
6530 \remove "Key_engraver"
6531 \override StaffSymbol #'transparent = ##t
6532 \remove "Time_signature_engraver"
6533 \remove "Bar_engraver"
6534 minimumVerticalExtent = ##f
6538 \remove Ligature_bracket_engraver
6539 \consists Vaticana_ligature_engraver
6540 \override NoteHead #'style = #'vaticana_punctum
6541 \override Stem #'transparent = ##t
6547 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6548 \include "gregorian-init.ly"
6550 \notes \transpose c c' {
6551 % Torculus Deminutus Initio Debilis
6552 \[ \deminutum a \pes b \flexa \deminutum g \]
6559 \remove "Bar_number_engraver"
6563 \remove "Clef_engraver"
6564 \remove "Key_engraver"
6565 \override StaffSymbol #'transparent = ##t
6566 \remove "Time_signature_engraver"
6567 \remove "Bar_engraver"
6568 minimumVerticalExtent = ##f
6572 \remove Ligature_bracket_engraver
6573 \consists Vaticana_ligature_engraver
6574 \override NoteHead #'style = #'vaticana_punctum
6575 \override Stem #'transparent = ##t
6582 @code{12. Porrectus}
6584 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6585 \include "gregorian-init.ly"
6587 \notes \transpose c c' {
6589 \[ a \flexa g \pes b \]
6596 \remove "Bar_number_engraver"
6600 \remove "Clef_engraver"
6601 \remove "Key_engraver"
6602 \override StaffSymbol #'transparent = ##t
6603 \remove "Time_signature_engraver"
6604 \remove "Bar_engraver"
6605 minimumVerticalExtent = ##f
6609 \remove Ligature_bracket_engraver
6610 \consists Vaticana_ligature_engraver
6611 \override NoteHead #'style = #'vaticana_punctum
6612 \override Stem #'transparent = ##t
6618 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6619 \include "gregorian-init.ly"
6621 \notes \transpose c c' {
6622 % Porrectus Auctus Descendens
6623 \[ a \flexa g \pes \auctum \descendens b \]
6630 \remove "Bar_number_engraver"
6634 \remove "Clef_engraver"
6635 \remove "Key_engraver"
6636 \override StaffSymbol #'transparent = ##t
6637 \remove "Time_signature_engraver"
6638 \remove "Bar_engraver"
6639 minimumVerticalExtent = ##f
6643 \remove Ligature_bracket_engraver
6644 \consists Vaticana_ligature_engraver
6645 \override NoteHead #'style = #'vaticana_punctum
6646 \override Stem #'transparent = ##t
6652 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6653 \include "gregorian-init.ly"
6655 \notes \transpose c c' {
6656 % Porrectus Deminutus
6657 \[ a \flexa g \pes \deminutum b \]
6664 \remove "Bar_number_engraver"
6668 \remove "Clef_engraver"
6669 \remove "Key_engraver"
6670 \override StaffSymbol #'transparent = ##t
6671 \remove "Time_signature_engraver"
6672 \remove "Bar_engraver"
6673 minimumVerticalExtent = ##f
6677 \remove Ligature_bracket_engraver
6678 \consists Vaticana_ligature_engraver
6679 \override NoteHead #'style = #'vaticana_punctum
6680 \override Stem #'transparent = ##t
6689 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6690 \include "gregorian-init.ly"
6692 \notes \transpose c c' {
6694 \[ \virga b \inclinatum a \inclinatum g \]
6701 \remove "Bar_number_engraver"
6705 \remove "Clef_engraver"
6706 \remove "Key_engraver"
6707 \override StaffSymbol #'transparent = ##t
6708 \remove "Time_signature_engraver"
6709 \remove "Bar_engraver"
6710 minimumVerticalExtent = ##f
6714 \remove Ligature_bracket_engraver
6715 \consists Vaticana_ligature_engraver
6716 \override NoteHead #'style = #'vaticana_punctum
6717 \override Stem #'transparent = ##t
6723 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6724 \include "gregorian-init.ly"
6726 \notes \transpose c c' {
6728 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6735 \remove "Bar_number_engraver"
6739 \remove "Clef_engraver"
6740 \remove "Key_engraver"
6741 \override StaffSymbol #'transparent = ##t
6742 \remove "Time_signature_engraver"
6743 \remove "Bar_engraver"
6744 minimumVerticalExtent = ##f
6748 \remove Ligature_bracket_engraver
6749 \consists Vaticana_ligature_engraver
6750 \override NoteHead #'style = #'vaticana_punctum
6751 \override Stem #'transparent = ##t
6757 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6758 \include "gregorian-init.ly"
6760 \notes \transpose c c' {
6761 % Climacus Deminutus
6762 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6769 \remove "Bar_number_engraver"
6773 \remove "Clef_engraver"
6774 \remove "Key_engraver"
6775 \override StaffSymbol #'transparent = ##t
6776 \remove "Time_signature_engraver"
6777 \remove "Bar_engraver"
6778 minimumVerticalExtent = ##f
6782 \remove Ligature_bracket_engraver
6783 \consists Vaticana_ligature_engraver
6784 \override NoteHead #'style = #'vaticana_punctum
6785 \override Stem #'transparent = ##t
6792 @code{14. Scandicus}
6794 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6795 \include "gregorian-init.ly"
6797 \notes \transpose c c' {
6799 \[ g \pes a \virga b \]
6806 \remove "Bar_number_engraver"
6810 \remove "Clef_engraver"
6811 \remove "Key_engraver"
6812 \override StaffSymbol #'transparent = ##t
6813 \remove "Time_signature_engraver"
6814 \remove "Bar_engraver"
6815 minimumVerticalExtent = ##f
6819 \remove Ligature_bracket_engraver
6820 \consists Vaticana_ligature_engraver
6821 \override NoteHead #'style = #'vaticana_punctum
6822 \override Stem #'transparent = ##t
6828 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6829 \include "gregorian-init.ly"
6831 \notes \transpose c c' {
6832 % Scandicus Auctus Descendens
6833 \[ g \pes a \pes \auctum \descendens b \]
6840 \remove "Bar_number_engraver"
6844 \remove "Clef_engraver"
6845 \remove "Key_engraver"
6846 \override StaffSymbol #'transparent = ##t
6847 \remove "Time_signature_engraver"
6848 \remove "Bar_engraver"
6849 minimumVerticalExtent = ##f
6853 \remove Ligature_bracket_engraver
6854 \consists Vaticana_ligature_engraver
6855 \override NoteHead #'style = #'vaticana_punctum
6856 \override Stem #'transparent = ##t
6862 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6863 \include "gregorian-init.ly"
6865 \notes \transpose c c' {
6866 % Scandicus Deminutus
6867 \[ g \pes a \pes \deminutum b \]
6874 \remove "Bar_number_engraver"
6878 \remove "Clef_engraver"
6879 \remove "Key_engraver"
6880 \override StaffSymbol #'transparent = ##t
6881 \remove "Time_signature_engraver"
6882 \remove "Bar_engraver"
6883 minimumVerticalExtent = ##f
6887 \remove Ligature_bracket_engraver
6888 \consists Vaticana_ligature_engraver
6889 \override NoteHead #'style = #'vaticana_punctum
6890 \override Stem #'transparent = ##t
6899 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6900 \include "gregorian-init.ly"
6902 \notes \transpose c c' {
6904 \[ g \oriscus a \pes \virga b \]
6911 \remove "Bar_number_engraver"
6915 \remove "Clef_engraver"
6916 \remove "Key_engraver"
6917 \override StaffSymbol #'transparent = ##t
6918 \remove "Time_signature_engraver"
6919 \remove "Bar_engraver"
6920 minimumVerticalExtent = ##f
6924 \remove Ligature_bracket_engraver
6925 \consists Vaticana_ligature_engraver
6926 \override NoteHead #'style = #'vaticana_punctum
6927 \override Stem #'transparent = ##t
6933 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6934 \include "gregorian-init.ly"
6936 \notes \transpose c c' {
6937 % Salicus Auctus Descendens
6938 \[ g \oriscus a \pes \auctum \descendens b \]
6945 \remove "Bar_number_engraver"
6949 \remove "Clef_engraver"
6950 \remove "Key_engraver"
6951 \override StaffSymbol #'transparent = ##t
6952 \remove "Time_signature_engraver"
6953 \remove "Bar_engraver"
6954 minimumVerticalExtent = ##f
6958 \remove Ligature_bracket_engraver
6959 \consists Vaticana_ligature_engraver
6960 \override NoteHead #'style = #'vaticana_punctum
6961 \override Stem #'transparent = ##t
6971 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6972 \include "gregorian-init.ly"
6974 \notes \transpose c c' {
6976 \[ \stropha b \stropha b \stropha a \]
6983 \remove "Bar_number_engraver"
6987 \remove "Clef_engraver"
6988 \remove "Key_engraver"
6989 \override StaffSymbol #'transparent = ##t
6990 \remove "Time_signature_engraver"
6991 \remove "Bar_engraver"
6992 minimumVerticalExtent = ##f
6996 \remove Ligature_bracket_engraver
6997 \consists Vaticana_ligature_engraver
6998 \override NoteHead #'style = #'vaticana_punctum
6999 \override Stem #'transparent = ##t
7010 Unlike most other neumes notation systems, the input language for
7011 neumes does not necessarily reflect directly the typographical
7012 appearance, but is designed to solely focuse on musical meaning. For
7013 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
7014 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
7015 a Porrectus with a curved flexa shape and only a single Punctum head.
7016 There is no command to explicitly typeset the curved flexa shape; the
7017 decision of when to typeset a curved flexa shape is purely taken from
7018 the musical input. The idea of this approach is to separate the
7019 musical aspects of the input from the notation style of the output.
7020 This way, the same input can be reused to typeset the same music in a
7021 different style of Gregorian chant notation.
7023 The following table shows the code fragments that produce the
7024 ligatures in the above neumes table. The letter in the first column
7025 in each line of the below table indicates to which ligature in the
7026 above table it refers. The second column gives the name of the
7027 ligature. The third column shows the code fragment that produces this
7028 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
7030 @multitable @columnfractions .1 .4 .5
7044 Punctum Inclinatum @tab
7045 @code{\[ \inclinatum b \]}
7049 Punctum Auctum Ascendens @tab
7050 @code{\[ \auctum \ascendens b \]}
7054 Punctum Auctum Descendens @tab
7055 @code{\[ \auctum \descendens b \]}
7059 Punctum Inclinatum Auctum @tab
7060 @code{\[ \inclinatum \auctum b \]}
7064 Punctum Inclinatum Parvum @tab
7065 @code{\[ \inclinatum \deminutum b \]}
7070 @code{\[ \virga b \]}
7075 @code{\[ \stropha b \]}
7080 @code{\[ \stropha \auctum b \]}
7085 @code{\[ \oriscus b \]}
7089 Clivis vel Flexa @tab
7090 @code{\[ b \flexa g \]}
7094 Clivis Aucta Descendens @tab
7095 @code{\[ b \flexa \auctum \descendens g \]}
7099 Clivis Aucta Ascendens @tab
7100 @code{\[ b \flexa \auctum \ascendens g \]}
7105 @code{\[ b \flexa \deminutum g \]}
7109 Podatus vel Pes @tab
7110 @code{\[ g \pes b \]}
7114 Pes Auctus Descendens @tab
7115 @code{\[ g \pes \auctum \descendens b \]}
7119 Pes Auctus Ascendens @tab
7120 @code{\[ g \pes \auctum \ascendens b \]}
7125 @code{\[ g \pes \deminutum b \]}
7130 @code{\[ \oriscus g \pes \virga b \]}
7134 Pes Quassus Auctus Descendens @tab
7135 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7140 @code{\[ \quilisma g \pes b \]}
7144 Quilisma Pes Auctus Descendens @tab
7145 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7149 Pes Initio Debilis @tab
7150 @code{\[ \deminutum g \pes b \]}
7154 Pes Auctus Descendens Initio Debilis @tab
7155 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7160 @code{\[ a \pes b \flexa g \]}
7164 Torculus Auctus Descendens @tab
7165 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7169 Torculus Deminutus @tab
7170 @code{\[ a \pes b \flexa \deminutum g \]}
7174 Torculus Initio Debilis @tab
7175 @code{\[ \deminutum a \pes b \flexa g \]}
7179 Torculus Auctus Descendens Initio Debilis @tab
7180 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7184 Torculus Deminutus Initio Debilis @tab
7185 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7190 @code{\[ a \flexa g \pes b \]}
7194 Porrectus Auctus Descendens @tab
7195 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7199 Porrectus Deminutus @tab
7200 @code{\[ a \flexa g \pes \deminutum b \]}
7205 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7209 Climacus Auctus @tab
7210 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7214 Climacus Deminutus @tab
7215 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7220 @code{\[ g \pes a \virga b \]}
7224 Scandicus Auctus Descendens @tab
7225 @code{\[ g \pes a \pes \auctum \descendens b \]}
7229 Scandicus Deminutus @tab
7230 @code{\[ g \pes a \pes \deminutum b \]}
7235 @code{\[ g \oriscus a \pes \virga b \]}
7239 Salicus Auctus Descendens @tab
7240 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7245 @code{\[ \stropha b \stropha b \stropha a \]}
7251 The following head prefixes are supported
7253 @cindex @code{\virga}
7255 @cindex @code{\stropha}
7257 @cindex @code{\inclinatum}
7259 @cindex @code{\auctum}
7261 @cindex @code{\descendens}
7263 @cindex @code{\ascendens}
7265 @cindex @code{\oriscus}
7267 @cindex @code{\quilisma}
7269 @cindex @code{\deminutum}
7272 Head prefixes can be accumulated, though restrictions apply. For
7273 example, either @code{\descendens} or @code{\ascendens} can be applied
7274 to a head, but not both to the same head.
7277 @cindex @code{\flexa}
7278 Two adjacent heads can be tied together with the @code{\pes} and
7279 @code{\flexa} infix commands for a rising and falling line of melody,
7284 @node Vaticana style contexts
7285 @subsection Vaticana style contexts
7287 @cindex VaticanaVoiceContext
7288 @cindex VaticanaStaffContext
7290 The predefined @code{VaticanaVoiceContext} and
7291 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7292 Gregorian Chant in the style of the Editio Vaticana. These contexts
7293 initialize all relevant context properties and grob properties to
7294 proper values. With these contexts, you can immediately go ahead
7295 entering the chant, as the following short excerpt demonstrates
7297 @lilypond[quote,raggedright,verbatim,noindent]
7298 \include "gregorian-init.ly"
7301 \context VaticanaVoice = "cantus" {
7302 \override Score.BarNumber #'transparent = ##t
7304 \[ c'\melisma c' \flexa a \]
7305 \[ a \flexa \deminutum g\melismaEnd \]
7307 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
7308 c' \divisioMinima \break
7309 \[ c'\melisma c' \flexa a \]
7310 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7313 \lyricsto "cantus" \new Lyrics \lyrics {
7314 San- ctus, San- ctus, San- ctus
7321 @subsection Figured bass
7323 @cindex Basso continuo
7325 @c TODO: musicological blurb about FB
7328 LilyPond has limited support for figured bass
7330 @lilypond[quote,verbatim,fragment]
7332 \context Voice \notes { \clef bass dis4 c d ais }
7333 \context FiguredBass \figures {
7334 < 6 >4 < 7 >8 < 6+ [_!] >
7340 The support for figured bass consists of two parts: there is an input
7341 mode, introduced by @code{\figures}, where you can enter bass figures
7342 as numbers, and there is a context called @internalsref{FiguredBass} that
7343 takes care of making @internalsref{BassFigure} objects.
7345 In figures input mode, a group of bass figures is delimited by
7346 @code{<} and @code{>}. The duration is entered after the @code{>>}
7350 @lilypond[quote,fragment]
7351 \context FiguredBass
7355 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7361 @lilypond[quote,fragment]
7362 \context FiguredBass
7363 \figures { <4- 6+ 7!> }
7366 Spaces or dashes may be inserted by using @code{_}. Brackets are
7367 introduced with @code{[} and @code{]}
7372 @lilypond[quote,fragment]
7373 \context FiguredBass
7374 \figures { < [4 6] 8 [_! 12]> }
7377 Although the support for figured bass may superficially resemble chord
7378 support, it works much simpler. The @code{\figures} mode simply
7379 stores the numbers , and @internalsref{FiguredBass} context prints
7380 them as entered. There is no conversion to pitches, and no
7381 realizations of the bass are played in the MIDI file.
7383 Internally, the code produces markup texts. You can use any of the
7384 markup text properties to override formatting. For example, the
7385 vertical spacing of the figures may be set with @code{baseline-skip}.
7389 Program reference: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7390 and @internalsref{FiguredBass} context.
7394 Slash notation for alterations is not supported.
7396 @node Contemporary notation
7397 @section Contemporary notation
7399 In the 20th century, composers have greatly expanded the musical
7400 vocabulary. With this expansion, many innovations in musical notation
7401 have been tried. The book by Stone (1980) gives a comprehensive
7402 overview (see @ref{Literature list}). In general, the use of new,
7403 innovative notation makes a piece harder to understand and perform and
7404 its use should therefore be avoided if possible. For this reason,
7405 support for contemporary notation in LilyPond is limited.
7414 @subsection Clusters
7418 A cluster indicates a continuous range of pitches to be played. They
7419 can be denoted as the envelope of a set of notes. They are entered by
7420 applying the function @code{notes-to-clusters} to a sequence of
7423 @lilypond[quote,relative=2,verbatim]
7424 \applymusic #notes-to-clusters { <c e > <b f'> }
7427 The following example (from
7428 @inputfileref{input/regression,cluster.ly}) shows what the result
7431 @lilypondfile[quote]{cluster.ly}
7433 Ordinary notes and clusters can be put together in the same staff,
7434 even simultaneously. In such a case no attempt is made to
7435 automatically avoid collisions between ordinary notes and clusters.
7439 Program reference: @internalsref{ClusterSpanner},
7440 @internalsref{ClusterSpannerBeacon},
7441 @internalsref{Cluster_spanner_engraver}, and
7442 @internalsref{ClusterNoteEvent}.
7444 Examples: @inputfileref{input/regression,cluster.ly}.
7448 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7449 accurately. Use @code{<g a>8 <e a>8} instead.
7454 @subsection Fermatas
7460 Contemporary music notation frequently uses special fermata symbols to
7461 indicate fermatas of differing lengths. The following fermatas are
7464 @lilypond[quote,raggedright]
7487 \context Lyrics \lyrics {
7488 \override LyricText #'font-family = #'typewriter
7489 "shortfermata" "fermata" "longfermata" "verylongfermata"
7495 See @ref{Articulations} for general instructions how to apply scripts
7496 such as fermatas to a @code{\notes@{@}} block.
7499 @node Special notation
7500 @section Special notation
7504 * Easy Notation note heads::
7508 @subsection Balloon help
7510 Elements of notation can be marked and named with the help of a square
7511 balloon. The primary purpose of this feature is to explain notation.
7513 The following example demonstrates its use.
7515 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
7518 #(add-balloon-text 'NoteHead "heads, or tails?"
7524 The function @code{add-balloon-text} takes the name of a grob, the
7525 label to print and where to put the label relative to the object. In
7526 the above example, the text ``heads or tails?'' ends 3 spaces below
7530 @cindex notation, explaining
7534 Program reference: @internalsref{text-balloon-interface}.
7536 Examples: @inputfileref{input/regression,balloon.ly}.
7538 @node Easy Notation note heads
7539 @subsection Easy Notation note heads
7541 @cindex easy notation
7544 The `easy play' note head includes a name inside the head. It is
7545 used in music for beginners
7547 @lilypond[quote,raggedright,verbatim,staffsize=26]
7552 The command @code{\setEasyHeads} overrides settings for the
7553 @internalsref{NoteHead} object. To make the letters readable, it has
7554 to be printed in a large font size. To print with a larger font, see
7555 @ref{Setting global staff size}.
7560 If you view the result with Xdvi, staff lines may show through the
7561 letters. Printing the PostScript file obtained does produce the
7566 @cindex \setEasyHeads
7567 @code{\setEasyHeads}
7573 Entered music can also be converted to MIDI output. The performance
7574 is intended for proof-hearing the music for errors.
7576 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
7577 crescendi and decrescendi translate into MIDI volume levels. Dynamic
7578 marks translate to a fixed fraction of the available MIDI volume
7579 range, crescendi and decrescendi make the volume vary linearly between
7580 their two extremities. The fractions can be adjusted by
7581 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
7582 For each type of MIDI instrument, a volume range can be defined. This
7583 gives a basic equalizer control, which can enhance the quality of
7584 the MIDI output remarkably. The equalizer can be controlled by
7585 setting @code{instrumentEqualizer}.
7589 Many musically interesting effects, such as swing, articulation,
7590 slurring, etc., are not translated to MIDI.
7592 The MIDI output allocates a channel for each Staff, and one for global
7593 settings. Hence, the MIDI file should not have more than 15 staves
7594 (or 14 if you do not use drums). Other staves will remain silent.
7596 Not all MIDI players correctly handle tempo change in the MIDI
7597 output. Players that are known to work include
7598 @uref{timidity,http://timidity.sourceforge.net/}
7603 * MIDI instrument names::
7608 @subsection MIDI block
7612 The MIDI block is analogous to the paper block, but it is somewhat
7613 simpler. The @code{\midi} block can contain
7617 @item a @code{\tempo} definition, and
7618 @item context definitions.
7621 A number followed by a period is interpreted as a real number, so
7622 for setting the tempo for dotted notes, an extra space should be
7623 inserted, for example
7626 \midi @{ \tempo 4 . = 120 @}
7630 @cindex context definition
7632 Context definitions follow precisely the same syntax as within the
7633 \paper block. Translation modules for sound are called performers.
7634 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
7637 @node MIDI instrument names
7638 @subsection MIDI instrument names
7640 @cindex instrument names
7641 @cindex @code{Staff.midiInstrument}
7643 The MIDI instrument name is set by the @code{Staff.midiInstrument}
7644 property. The instrument name should be chosen from the list in
7645 @ref{MIDI instruments}.
7649 If the selected string does not exactly match, the default is used,
7650 which is the Grand Piano.