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[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[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[verbatim,relative=2]
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[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[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.
220 Rests are entered like notes, with the note name @code{r}:
222 @lilypond[raggedright,verbatim]
226 Whole bar rests, centered in middle of the bar,
227 must be done with multi-measure rests. They are discussed in
228 @ref{Multi measure rests}.
231 A rest's vertical position may be explicitly specified by entering a
232 note with the @code{\rest} keyword appended. This makes manual
233 formatting in polyphonic music easier. Rest collision testing will
234 leave these rests alone:
236 @lilypond[raggedright,verbatim]
242 Program reference: @internalsref{RestEvent}, and @internalsref{Rest}.
249 @cindex Invisible rest
252 An invisible rest (also called a `skip') can be entered like a note
253 with note name `@code{s}' or with @code{\skip @var{duration}}:
255 @lilypond[raggedright,verbatim]
259 The @code{s} syntax is only available in note mode and chord mode. In
260 other situations, you should use the @code{\skip} command:
262 @lilypond[raggedright,verbatim]
265 { \time 4/8 \skip 2 \time 4/4 }
266 \notes\relative c'' { a2 a1 }
271 The skip command is merely an empty musical placeholder. It does not
272 produce any output, not even transparent output.
274 The @code{s} skip command does create @internalsref{Staff} and
275 @internalsref{Voice} when necessary, similar to note and rest
276 commands. For example, the following results in an empty staff.
278 @lilypond[raggedright,verbatim]
279 \score { \notes { s4 } }
282 The same fragment using @code{\skip} results in an empty page.
286 Program reference: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
291 @subsection Durations
297 In Note, Chord, and Lyrics mode, durations are designated by numbers
298 and dots: durations are entered as their reciprocal values. For example,
299 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
300 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
301 longer than a whole you must use variables:
305 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
307 r1 r2 r4 r8 r16 r32 r64 r64
312 \notes \relative c'' {
313 a\breve*1/2 \autoBeamOff
314 a1 a2 a4 a8 a16 a32 a64 a64
315 r\longa*1/4 r\breve *1/2
316 r1 r2 r4 r8 r16 r32 r64 r64
322 \remove "Clef_engraver"
323 \override StaffSymbol #'transparent = ##t
324 \override TimeSignature #'transparent = ##t
325 \override BarLine #'transparent = ##t
326 \consists "Pitch_squash_engraver"
333 If the duration is omitted then it is set to the previously entered
334 duration. The default for the first note is a quarter note. The duration
335 can be followed by dots (`@code{.}') in order to obtain dotted note
339 @lilypond[fragment,verbatim]
340 a' b' c''8 b' a'4 a'4. b'4.. c'8.
345 You can alter the length of duration by a fraction @var{N/M}
346 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
347 will not affect the appearance of the notes or rests produced.
348 In the following example, the first three notes take up exactly two
350 @lilypond[fragment,relative=2,verbatim]
352 a4*2/3 gis4*2/3 a4*2/3
359 Dots are normally moved up to avoid staff lines, except in polyphonic
360 situations. The following commands may be used to force a particular
363 @cindex @code{\dotsUp}
365 @cindex @code{\dotsDown}
367 @cindex @code{\dotsBoth}
372 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
377 Whenever a note is found, a @internalsref{Stem} object is created
378 automatically. For whole notes and rests, they are also created but
383 @cindex @code{\stemUp}
385 @cindex @code{\stemDown}
387 @cindex @code{\stemBoth}
398 A tie connects two adjacent note heads of the same pitch. The tie in
399 effect extends the length of a note. Ties should not be confused with
400 slurs, which indicate articulation, or phrasing slurs, which indicate
401 musical phrasing. A tie is entered using the tilde symbol `@code{~}':
403 @lilypond[fragment,verbatim]
404 e' ~ e' <c' e' g'> ~ <c' e' g'>
407 When a tie is applied to a chord, all note heads whose pitches match
408 are connected. When no note heads match, no ties will be created.
410 In its meaning a tie is just a way of extending a note duration, similar
411 to the augmentation dot; in the following example there are two ways of
412 notating exactly the same concept:
414 @lilypond[fragment,raggedright]
415 \time 3/4 c'2. c'2 ~ c'4
417 If you need to tie a lot of notes over bars, it may be easier to use automatic
418 note splitting (see @ref{Automatic note splitting}).
423 @cindex @code{\tieUp}
425 @cindex @code{\tieDown}
427 @cindex @code{\tieBoth}
429 @cindex @code{\tieDotted}
431 @cindex @code{\tieSolid}
436 In this manual: @ref{Automatic note splitting}.
438 Program reference: @internalsref{TieEvent}, @internalsref{Tie}.
440 For tying only a subset of the note heads of a pair of chords, see
441 @inputfileref{input/regression,tie-chord-partial.ly}.
446 Switching staves when a tie is active will not produce a slanted tie.
448 Formatting of ties is a difficult subject. The results are often not
458 @cindex @code{\times}
460 Tuplets are made out of a music expression by multiplying all durations
463 @cindex @code{\times}
465 \times @var{fraction} @var{musicexpr}
469 The duration of @var{musicexpr} will be multiplied by the fraction.
470 The fraction's denominator will be printed over the notes, optionally
471 with a bracket. The most common tuplet is the triplet in which 3
472 notes have the length of 2, so the notes are 2/3 of their written
475 @lilypond[fragment,verbatim]
476 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
479 The property @code{tupletSpannerDuration} specifies how long each
480 bracket should last. With this, you can make lots of tuplets while
481 typing @code{\times} only once, saving lots of typing. In the next
482 example, there are two triplets shown, while @code{\times} was only
485 @lilypond[fragment,relative,raggedright,verbatim]
486 \set tupletSpannerDuration = #(ly:make-moment 1 4)
487 \times 2/3 { c'8 c c c c c }
490 The format of the number is determined by the property
491 @code{tupletNumberFormatFunction}. The default prints only the
492 denominator, but if it is set to the Scheme function
493 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
497 @cindex @code{tupletNumberFormatFunction}
498 @cindex tuplet formatting
503 @cindex @code{\tupletUp}
505 @cindex @code{\tupletDown}
507 @cindex @code{\tupletBoth}
512 Program reference: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
514 Examples: @inputfileref{input/regression,tuplet-nest.ly}.
518 Nested tuplets are not formatted automatically. In this case, outer
519 tuplet brackets should be moved manually, which is demonstrated in
520 @inputfileref{input/regression,tuplet-nest.ly}.
524 @node Easier music entry
525 @section Easier music entry
528 This section deals with tricks and features of the input language that
529 were added solely to help entering music, finding and correcting
530 mistakes. There are also external tools that make debugging easier.
531 See @ref{Point and click} for more information.
533 It is also possible to enter and edit music using other programs. For
534 example, GUI interfaces, or MIDI sequencers. Refer to the LilyPond
535 website for more information.
542 * Skipping corrected music::
543 * Automatic note splitting::
549 @node Relative octaves
550 @subsection Relative octaves
552 @cindex relative octave specification
554 Octaves are specified by adding @code{'} and @code{,} to pitch names.
555 When you copy existing music, it is easy to accidentally put a pitch
556 in the wrong octave and hard to find such an error. The relative
557 octave mode prevents these errors: a single error puts the rest of the
558 piece off by one octave:
560 @cindex @code{\relative}
562 \relative @var{startpitch} @var{musicexpr}
565 The octave of notes that appear in @var{musicexpr} are calculated as
566 follows: If no octave changing marks are used, the basic interval
567 between this and the last note is always taken to be a fourth or
568 less. This distance is determined without regarding alterations; a
569 @code{fisis} following a @code{ceses} will be put above the
572 The octave changing marks @code{'} and @code{,} can be added to raise
573 or lower the pitch by an extra octave. Upon entering relative mode,
574 an absolute starting pitch must be specified that will act as the
575 predecessor of the first note of @var{musicexpr}.
577 Here is the relative mode shown in action:
578 @lilypond[fragment,raggedright,verbatim]
584 Octave changing marks are used for intervals greater than a fourth:
585 @lilypond[fragment,verbatim]
590 If the preceding item is a chord, the first note of the chord is used
591 to determine the first note of the next chord:
593 @lilypond[fragment,verbatim]
600 @cindex @code{\notes}
602 The pitch after the @code{\relative} contains a note name. To parse
603 the note name as a pitch, it must surrounded by @code{\notes}
605 The relative conversion will not affect @code{\transpose},
606 @code{\chords} or @code{\relative} sections in its argument. If you
607 want to use relative within transposed music, you must place an
608 additional @code{\relative} inside the @code{\transpose}.
611 @subsection Octave check
614 Octave checks make octave errors easier to correct: a note may be
615 followed by @code{=}@var{quotes} which indicates what its absolute
616 octave should be. In the following example,
618 \relative c'' @{ c='' b=' d,='' @}
622 @c take care with @code, adds confusing quotes.
623 the d will generate a warning, because a d'' is expected, but a d' is
624 found. In the output, the octave is corrected for this and the
629 There is also a syntax that is separate from the notes.
634 This checks that @var{pitch} (without octave) yields @var{pitch} (with
635 octave) in \relative mode. If not, a warning is printed, and the
636 octave is corrected, for example, the first check is passed
637 successfully. The second check fails with an error message. The
638 octave is adjusted so the following notes are in the correct octave
649 The octave of a note following an octave check is determined with
650 respect to the note preceding it. In the next fragment, the last note
651 is a @code{a'}, above middle C. Hence, the @code{\octave} check may
652 be deleted without changing the meaning of the piece.
654 @lilypond[verbatim,fragment]
663 @subsection Bar check
667 @cindex @code{barCheckSynchronize}
670 Bar checks help detect errors in the durations. A bar check is
671 entered using the bar symbol, `@code{|}'. Whenever it is encountered
672 during interpretation, it should fall on a measure boundary. If it
673 does not, a warning is printed. In the next example, the second bar
674 check will signal an error:
676 \time 3/4 c2 e4 | g2 |
679 Bar checks can also be used in lyrics, for example
684 Twin -- kle | Twin -- kle
689 @cindex skipTypesetting
691 Failed bar checks are caused by entering incorrect
692 durations. Incorrect durations often completely garble up the score,
693 especially if it is polyphonic, so you should start correcting the
694 score by scanning for failed bar checks and incorrect durations. To
695 speed up this process, you can use @code{skipTypesetting}, described
698 @node Skipping corrected music
699 @subsection Skipping corrected music
701 The property @code{Score.skipTypesetting} can be used to switch on and
702 off typesetting completely during the interpretation phase. When
703 typesetting is switched off, the music is processed much more quickly.
704 This can be used to skip over the parts of a score that have already
705 been checked for errors:
707 @lilypond[fragment,raggedright,verbatim]
709 \set Score.skipTypesetting = ##t
711 \set Score.skipTypesetting = ##f
715 @node Automatic note splitting
716 @subsection Automatic note splitting
718 Long notes can be converted automatically to tied notes. This is done
719 by replacing the @internalsref{Note_heads_engraver} by the
720 @internalsref{Completion_heads_engraver}.
721 In the following examples, notes crossing the bar line are split and tied.
724 @lilypond[noindent,verbatim,relative=1]
726 \remove "Note_heads_engraver"
727 \consists "Completion_heads_engraver"
729 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
733 This engraver splits all running notes at the bar line, and inserts
734 ties. One of its uses is to debug complex scores: if the measures are
735 not entirely filled, then the ties exactly show how much each measure
740 Not all durations (especially those containing tuplets) can be
741 represented exactly; the engraver will not insert tuplets.
745 Examples: @inputfileref{input/regression,completion-heads.ly}.
747 Program reference: @internalsref{Completion_heads_engraver}.
751 @section Staff notation
753 This section describes music notation that occurs on staff level,
754 such as keys, clefs and time signatures.
756 @cindex Staff notation
770 @subsection Staff symbol
772 @cindex adjusting staff symbol
774 Notes, dynamic signs, etc. are grouped
775 with a set of horizontal lines, into a staff (plural `staves'). In our
776 system, these lines are drawn using a separate layout object called
780 @cindex staff lines, setting number of
781 @cindex staff lines, setting thickness of
782 @cindex thickness of staff lines, setting
783 @cindex number of staff lines, setting
787 Program reference: @internalsref{StaffSymbol}.
789 Examples: @inputfileref{input/test,staff-lines.ly},
790 @inputfileref{input/test,staff-size.ly}.
794 If a staff is ended halfway a piece, the staff symbol may not end
795 exactly on the bar line.
799 @subsection Key signature
800 @cindex Key signature
804 The key signature indicates the scale in which a piece is played. It
805 is denoted by a set of alterations (flats or sharps) at the start of
809 Setting or changing the key signature is done with the @code{\key}
812 @code{\key} @var{pitch} @var{type}
815 @cindex @code{\minor}
816 @cindex @code{\major}
817 @cindex @code{\minor}
818 @cindex @code{\ionian}
819 @cindex @code{\locrian}
820 @cindex @code{\aeolian}
821 @cindex @code{\mixolydian}
822 @cindex @code{\lydian}
823 @cindex @code{\phrygian}
824 @cindex @code{\dorian}
826 Here, @var{type} should be @code{\major} or @code{\minor} to get
827 @var{pitch}-major or @var{pitch}-minor, respectively.
828 The standard mode names @code{\ionian},
829 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
830 @code{\phrygian}, and @code{\dorian} are also defined.
832 This command sets the context property
833 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
834 can be specified by setting this property directly.
836 Accidentals and key signatures often confuse new users, because
837 unaltered notes get natural signs depending on the key signature. For
838 more information, see @ref{More about pitches}.
842 The ordering of a key cancellation is wrong when it is combined with
843 repeat bar lines. The cancellation is also printed after a line break.
847 Program reference: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
849 @cindex @code{keySignature}
856 The clef indicates which lines of the staff correspond to which
860 The clef can be set or changed with the @code{\clef} command:
861 @lilypond[fragment,verbatim]
862 \key f\major c''2 \clef alto g'2
865 Supported clef-names include:
866 @c Moved standard clefs to the top /MB
870 @item treble, violin, G, G2
883 G clef on 1st line, so-called French violin clef
888 @cindex mezzosoprano clef
891 @cindex baritone clef
894 @cindex varbaritone clef
905 By adding @code{_8} or @code{^8} to the clef name, the clef is
906 transposed one octave down or up, respectively, and @code{_15} and
907 @code{^15} transposes by two octaves. The argument @var{clefname}
908 must be enclosed in quotes when it contains underscores or digits. For
912 @cindex choral tenor clef
913 @lilypond[verbatim,fragment,relative]
917 This command is equivalent to setting @code{clefGlyph},
918 @code{clefPosition} (which controls the Y position of the clef),
919 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
920 when any of these properties are changed.
924 Program reference: the object for this symbol is @internalsref{Clef}.
928 @node Ottava brackets
929 @subsection Ottava brackets
931 ``Ottava'' brackets introduce an extra transposition of an octave for
932 the staff. They are created by invoking the function
933 @code{set-octavation}:
939 @lilypond[verbatim,fragment]
948 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
949 (for 15ma) as arguments. Internally the function sets the properties
950 @code{ottavation} (e.g. to @code{"8va"}) and
951 @code{centralCPosition}. For overriding the text of the bracket, set
952 @code{ottavation} after invoking @code{set-octavation}, i.e.,
956 \set Staff.ottavation = #"8"
961 Program reference: @internalsref{OttavaBracket}.
963 Examples: @inputfileref{input/regression,ottava.ly},
964 @inputfileref{input/regression,ottava-broken.ly}.
968 @code{set-octavation} will get confused when clef changes happen
969 during an octavation bracket.
972 @subsection Time signature
973 @cindex Time signature
977 Time signature indicates the metrum of a piece: a regular pattern of
978 strong and weak beats. It is denoted by a fraction at the start of the
982 The time signature is set or changed by the @code{\time}
984 @lilypond[fragment,verbatim]
985 \time 2/4 c'2 \time 3/4 c'2.
988 The symbol that is printed can be customized with the @code{style}
989 property. Setting it to @code{#'()} uses fraction style for 4/4 and
990 2/2 time. There are many more options for its layout. See
991 @inputfileref{input/test,time.ly} for more examples.
994 This command sets the property @code{timeSignatureFraction},
995 @code{beatLength} and @code{measureLength} in the @code{Timing}
996 context, which is normally aliased to @internalsref{Score}. The
997 property @code{measureLength} determines where bar lines should be
998 inserted, and how automatic beams should be generated. Changing the
999 value of @code{timeSignatureFraction} also causes the symbol to be
1002 More options are available through the Scheme function
1003 @code{set-time-signature}. In combination with the
1004 @internalsref{Measure_grouping_engraver}, it will create
1005 @internalsref{MeasureGrouping} signs. Such signs ease reading
1006 rhythmically complex modern music. In the following example, the 9/8
1007 measure is subdivided in 2, 2, 2 and 3. This is passed to
1008 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
1011 \score { \notes \relative c'' {
1012 #(set-time-signature 9 8 '(2 2 2 3))
1013 g8[ g] d[ d] g[ g] a8[( bes g]) |
1014 #(set-time-signature 5 8 '(3 2))
1019 \context { \StaffContext
1020 \consists "Measure_grouping_engraver"
1026 Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1031 Automatic beaming does not use the measure grouping specified with
1032 @code{set-time-signature}.
1034 @node Partial measures
1035 @subsection Partial measures
1038 @cindex partial measure
1039 @cindex measure, partial
1040 @cindex shorten measures
1041 @cindex @code{\partial}
1043 Partial measures, for example in upsteps, are entered using the
1044 @code{\partial} command:
1045 @lilypond[fragment,verbatim,relative=1]
1046 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1049 The syntax for this command is
1051 \partial @var{duration}
1053 This is internally translated into
1055 \set Timing.measurePosition = -@var{length of duration}
1058 The property @code{measurePosition} contains a rational number
1059 indicating how much of the measure has passed at this point.
1061 @node Unmetered music
1062 @subsection Unmetered music
1064 Bar lines and bar numbers are calculated automatically. For unmetered
1065 music (e.g. cadenzas), this is not desirable. By setting
1066 @code{Score.timing} to false, this automatic timing can be switched
1072 @cindex @code{\cadenzaOn}
1074 @cindex @code{\cadenzaOff}
1078 @subsection Bar lines
1082 @cindex measure lines
1086 Bar lines delimit measures, but are also used to indicate repeats.
1087 Normally, they are inserted automatically. Line breaks may only
1088 happen on bar lines.
1092 of bar lines can be forced with the @code{\bar} command:
1094 @lilypond[relative=1,fragment,verbatim]
1098 The following bar types are available:
1099 @lilypond[fragment,relative,raggedright,verbatim]
1112 For allowing line breaks, there is a special command,
1116 This will insert an invisible bar line, and allow line breaks at this
1119 In scores with many staves, a @code{\bar} command in one staff is
1120 automatically applied to all staves. The resulting bar lines are
1121 connected between different staves of a @internalsref{StaffGroup}:
1123 @lilypond[fragment,verbatim]
1124 << \context StaffGroup <<
1128 \new Staff { \clef bass c4 g e g } >>
1129 \new Staff { \clef bass c2 c2 } >>
1132 A bar line is created whenever the @code{whichBar} property is set.
1133 At the start of a measure it is set to the contents of
1134 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1135 to override default measure bars.
1137 The command @code{\bar }@var{bartype} is a short cut for doing
1138 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1139 is set to a string, a bar line of that type is created.
1142 @cindex repeatCommands
1143 @cindex defaultBarType
1145 You are encouraged to use @code{\repeat} for repetitions. See
1152 In this manual: @ref{Repeats}.
1155 Program reference: the bar line objects that are created at
1156 @internalsref{Staff} level are called @internalsref{BarLine}, the bar
1157 lines that span staves are @internalsref{SpanBar}s.
1159 @cindex bar lines at start of system
1160 @cindex start of system
1162 The bar lines at the start of each system are
1163 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1164 @internalsref{SystemStartBracket}. Only one of these types is created
1165 in every context, and that type is determined by the property
1166 @code{systemStartDelimiter}.
1168 Examples: @inputfileref{input/test,bar-lines.ly},
1174 The easiest way to enter fragments with more than one voice on a staff
1175 is to split chords using the separator @code{\\}. You can use it for
1176 small, short-lived voices or for single chords:
1178 @lilypond[verbatim,fragment]
1179 \context Staff \relative c'' {
1180 c4 << { f d e } \\ { b c2 } >>
1181 c4 << g' \\ b, \\ f' \\ d >>
1185 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1186 voices are sometimes called "layers" other notation packages}
1188 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1189 each of these contexts, vertical direction of slurs, stems, etc. is set
1192 @cindex @code{\voiceOne}
1193 @cindex @code{\voiceFour}
1195 This can also be done by instantiating @internalsref{Voice} contexts
1196 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1197 a stem directions and horizontal shift for each part:
1200 @lilypond[raggedright,verbatim]
1202 \context Staff << \new Voice { \voiceOne cis2 b }
1203 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1204 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1208 The command @code{\oneVoice} will revert back to the normal setting.
1209 @cindex @code{\oneVoice}
1212 Normally, note heads with a different number of dots are not merged, but
1213 when the object property @code{merge-differently-dotted} is set in
1214 the @internalsref{NoteCollision} object, they are merged:
1215 @lilypond[verbatim,fragment,raggedright]
1216 \relative c'' \context Voice << {
1218 \override Staff.NoteCollision
1219 #'merge-differently-dotted = ##t
1221 } \\ { g8.[ f16] g8.[ f16] }
1225 Similarly, you can merge half note heads with eighth notes, by setting
1226 @code{merge-differently-headed}:
1227 @lilypond[fragment,relative=2,verbatim]
1230 \override Staff.NoteCollision
1231 #'merge-differently-headed = ##t
1232 c8 c4. } \\ { c2 c2 } >>
1235 LilyPond also vertically shifts rests that are opposite of a stem:
1238 @lilypond[raggedright,fragment,verbatim]
1239 \context Voice << c''4 \\ r4 >>
1247 @cindex @code{\oneVoice}
1249 @cindex @code{\voiceOne}
1251 @cindex @code{\voiceTwo}
1253 @cindex @code{\voiceThree}
1255 @cindex @code{\voiceFour}
1259 The following commands specify in what chords of the current voice
1260 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1261 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1264 @cindex @code{\shiftOn}
1266 @cindex @code{\shiftOnn}
1268 @cindex @code{\shiftOnnn}
1270 @cindex @code{\shiftOff}
1277 Program reference: the objects responsible for resolving collisions are
1278 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1280 Examples: See also example files
1281 @inputfileref{input/regression,collision-dots.ly},
1282 @inputfileref{input/regression,collision-head-chords.ly},
1283 @inputfileref{input/regression,collision-heads.ly},
1284 @inputfileref{input/regression,collision-mesh.ly}, and
1285 @inputfileref{input/regression,collisions.ly}.
1290 Resolving collisions is a intricate subject, and only a few situations
1291 are handled. When LilyPond cannot cope, the @code{force-hshift}
1292 property of the @internalsref{NoteColumn} object and pitched rests can
1293 be used to override typesetting decisions.
1295 When using @code{merge-differently-headed} with an upstem eighth or a
1296 shorter note, and a downstem half note, the eighth note gets the wrong
1299 There is no support for clusters where the same note occurs with
1300 different accidentals in the same chord. In this case, it is
1301 recommended to use enharmonic transcription, or to use special cluster
1302 notation (see @ref{Clusters}).
1307 Beams are used to group short notes into chunks that are aligned with
1308 the metrum. They are inserted automatically
1310 @lilypond[fragment,verbatim,relative=2]
1311 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1314 When these automatic decisions are not good enough, beaming can be
1315 entered explicitly. It is also possible to define beaming patterns
1316 that differ from the defaults.
1318 Individual notes may be marked with @code{\noBeam}, to prevent them
1321 @lilypond[fragment,verbatim,relative=2]
1322 \time 2/4 c8 c\noBeam c c
1328 Program reference: @internalsref{Beam}.
1331 @cindex Automatic beams
1334 * Setting automatic beam behavior::
1338 @subsection Manual beams
1339 @cindex beams, manual
1343 In some cases it may be necessary to override the automatic beaming
1344 algorithm. For example, the autobeamer will not put beams over rests
1345 or bar lines. Such beams are specified by manually: the begin and end
1346 point are marked with @code{[} and @code{]}:
1348 @lilypond[fragment,relative,verbatim]
1350 r4 r8[ g' a r8] r8 g[ | a] r8
1354 @cindex @code{stemLeftBeamCount}
1356 Normally, beaming patterns within a beam are determined automatically.
1357 If necessary, the properties @code{stemLeftBeamCount} and
1358 @code{stemRightBeamCount} can be used to override the defaults. If
1359 either property is set, its value will be used only once, and then it
1362 @lilypond[fragment,relative,verbatim]
1365 f8[ r16 \set stemLeftBeamCount = #1 f g a]
1368 @cindex @code{stemRightBeamCount}
1371 The property @code{subdivideBeams} can be set in order to subdivide
1372 all 16th or shorter beams at beat positions, as defined by the
1373 @code{beatLength} property.
1376 @lilypond[relative=1,verbatim,noindent]
1378 \set subdivideBeams = ##t
1380 \set Score.beatLength = #(ly:make-moment 1 8)
1383 @cindex subdivideBeams
1385 Kneed beams are inserted automatically, when a large gap is detected
1386 between the note heads. This behavior can be tuned through the object
1387 property @code{auto-knee-gap}.
1389 Normally, line breaks are forbidden when beams cross bar lines. This
1390 behavior can be changed by setting @code{allowBeamBreak}.
1392 @cindex @code{allowBeamBreak}
1393 @cindex beams and line breaks
1395 @cindex beams, kneed
1397 @cindex auto-knee-gap
1403 @cindex Frenched staves
1405 Automatically kneed cross-staff beams cannot be used together with
1411 @node Setting automatic beam behavior
1412 @subsection Setting automatic beam behavior
1414 @cindex @code{autoBeamSettings}
1415 @cindex @code{(end * * * *)}
1416 @cindex @code{(begin * * * *)}
1417 @cindex automatic beams, tuning
1418 @cindex tuning automatic beaming
1420 @c [TODO: use \applycontext]
1422 In normal time signatures, automatic beams can start on any note but can
1423 only end in a few positions within the measure: beams can end on a beat,
1424 or at durations specified by the properties in
1425 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
1426 are defined in @file{scm/auto-beam.scm}.
1428 The value of @code{autoBeamSettings} is changed with two functions,
1430 #(override-auto-beam-setting
1431 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
1433 #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m}))
1435 Here, @var{be} is the symbol @code{begin} or @code{end}, and
1436 @var{context} is an optional context (default: @code{'Voice}). It
1437 determines whether the rule applies to begin or end-points. The
1438 quantity @var{p}/@var{q} refers to the length of the beamed notes (and
1439 `@code{* *}' designates notes of any length), @var{n}/@var{M} refers
1440 to a time signature (wildcards `@code{* *}' may be entered to
1441 designate all time signatures), @var{a}/@var{b} is a duration. By
1442 default, this command changes settings for the current voice. It is
1443 also possible to adjust settings at higher contexts, by adding a
1444 @var{context} argument.
1446 For example, if automatic beams should end on every quarter note, use
1449 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1451 Since the duration of a quarter note is 1/4 of a whole note, it is
1452 entered as @code{(ly:make-moment 1 4)}.
1454 The same syntax can be used to specify beam starting points. In this
1455 example, automatic beams can only end on a dotted quarter note:
1457 #(override-auto-beam-setting '(end * * * *) 3 8)
1459 In 4/4 time signature, this means that automatic beams could end only on
1460 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1461 3/8, has passed within the measure).
1463 Rules can also be restricted to specific time signatures. A rule that
1464 should only be applied in @var{N}/@var{M} time signature is formed by
1465 replacing the second asterisks by @var{N} and @var{M}. For example, a
1466 rule for 6/8 time exclusively looks like
1468 #(override-auto-beam-setting '(begin * * 6 8) @dots{})
1471 If a rule should be to applied only to certain types of beams, use the
1472 first pair of asterisks. Beams are classified according to the
1473 shortest note they contain. For a beam ending rule that only applies
1474 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1477 If a score ends while an automatic beam has not been ended and is still
1478 accepting notes, this last beam will not be typeset at all.
1480 @cindex automatic beam generation
1482 @cindex @code{autoBeaming}
1485 If beams are used to indicate melismata in songs, then automatic
1486 beaming should be switched off. This is done by setting
1487 @code{autoBeaming} to @code{#f}.
1491 @cindex @code{\autoBeamOff}
1492 @code{\autoBeamOff},
1493 @cindex @code{\autoBeamOn}
1499 The rules for ending a beam depend on the shortest note in a beam.
1500 So, while it is possible to have different ending rules for eight
1501 beams and sixteenth beams, a beam that contains both eight and
1502 sixteenth notes will use the rules for the sixteenth beam.
1504 In the example below, the autobeamer makes eight beams and sixteenth
1505 end at 3 eights; the third beam can only be corrected by specifying
1508 @lilypond[raggedright,fragment,relative]
1509 #(override-auto-beam-setting '(end * * * *) 3 8)
1510 % rather show case where it goes wrong
1511 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1512 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1514 It is not possible to specify beaming parameters that act differently in
1515 different parts of a measure. This means that it is not possible to use
1516 automatic beaming in irregular meters such as @code{5/8}.
1519 @section Accidentals
1522 This section describes how to change the way that accidentals are
1523 inserted automatically before the running notes.
1525 Common rules for typesetting accidentals have been canned in a
1526 function. This function is called as follows:
1528 @cindex @code{set-accidental-style}
1530 #(set-accidental-style 'modern 'Voice)
1533 The function takes two arguments: a symbol that denotes the style (in
1534 the example, @code{modern}), and another symbol that denotes the
1535 context name (in this example, @code{Voice}). If no context name is
1536 supplied, @code{Staff} is the default.
1538 The following styles are supported:
1541 This is the default typesetting behavior. It should correspond
1542 to 18th century common practice: Accidentals are
1543 remembered to the end of the measure in which they occur and
1544 only on their own octave.
1548 The normal behavior is to remember the accidentals on
1549 Staff-level. This variable, however, typesets accidentals
1550 individually for each voice. Apart from that, the rule is similar to
1553 This leads to some weird and often unwanted results
1554 because accidentals from one voice do not get canceled in other
1556 @lilypond[raggedright,relative,fragment,verbatim]
1558 #(set-accidental-style 'voice)
1564 Hence you should only use @code{voice} if the voices
1565 are to be read solely by individual musicians. If the staff is to be
1566 used by one musician (e.g. a conductor) then you use
1567 @code{modern} or @code{modern-cautionary}
1571 @cindex @code{modern} style accidentals
1572 This rule corresponds to the common practice in the 20th
1574 This rule prints the same accidentals as @code{default}, but temporary
1575 accidentals also are canceled in other octaves. Furthermore,
1576 in the same octave, they also get canceled in the following
1579 @lilypond[raggedright,fragment,verbatim]
1580 #(set-accidental-style 'modern)
1581 cis' c'' cis'2 | c'' c'
1584 @item @code{modern-cautionary}
1585 @cindex @code{modern-cautionary}
1586 This rule is similar to @code{modern}, but the
1587 ``extra'' accidentals (the ones not typeset by
1588 @code{default}) are typeset as cautionary accidentals.
1589 They are printed in reduced size or with parentheses:
1590 @lilypond[raggedright,fragment,verbatim]
1591 #(set-accidental-style 'modern-cautionary)
1592 cis' c'' cis'2 | c'' c'
1595 @cindex @code{modern-voice}
1597 This rule is used for multivoice accidentals to be read both by musicians
1598 playing one voice and musicians playing all voices. Accidentals are
1599 typeset for each voice, but they @emph{are} canceled across voices in
1600 the same @internalsref{Staff}.
1602 @cindex @code{modern-voice-cautionary}
1603 @item modern-voice-cautionary
1604 This rule is the same as @code{modern-voice}, but with the extra
1605 accidentals (the ones not typeset by @code{voice}) typeset
1606 as cautionaries. Even though all accidentals typeset by
1607 @code{default} @emph{are} typeset by this variable then
1608 some of them are typeset as cautionaries.
1611 @cindex @code{piano} accidentals
1612 This rule reflects 20th century practice for piano notation. Very similar to
1613 @code{modern} but accidentals also get canceled
1614 across the staves in the same @internalsref{GrandStaff} or
1615 @internalsref{PianoStaff}.
1617 @item piano-cautionary
1618 @cindex @code{#(set-accidental-style 'piano-cautionary)}
1619 As @code{#(set-accidental-style 'piano)' , str)} but with the extra accidentals
1620 typeset as cautionaries.
1623 @cindex @code{no-reset} accidental style
1625 This is the same as @code{default} but with accidentals lasting
1626 ``forever'' and not only until the next measure:
1627 @lilypond[raggedright,fragment,verbatim,relative]
1628 #(set-accidental-style 'no-reset)
1633 This is sort of the opposite of @code{no-reset}: Accidentals
1634 are not remembered at all---and hence all accidentals are
1635 typeset relative to the key signature, regardless of what was
1636 before in the music:
1638 @lilypond[raggedright,fragment,verbatim,relative]
1639 #(set-accidental-style 'forget)
1640 \key d\major c4 c cis cis d d dis dis
1647 Program reference: @internalsref{Accidental_engraver},
1648 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1653 Simultaneous notes are considered to be entered in sequential
1654 mode. This means that in a chord the accidentals are typeset as if the
1655 notes in the chord happened once at a time - in the order in which
1656 they appear in the input file.
1658 This is only a problem when accidentals in a chord depend on each
1659 other. This problem can be solved by manually inserting @code{!} and
1660 @code{?} for the problematic notes.
1662 In the default scheme, accidentals only depend on other
1663 accidentals with the same pitch on the same staff, so no conflicts are
1666 @node Expressive marks
1667 @section Expressive marks
1670 @c todo: should change ordering
1671 @c where to put text spanners, metronome marks,
1680 * Analysis brackets::
1682 * Fingering instructions::
1693 A slur indicates that notes are to be played bound or @emph{legato}.
1696 They are entered using parentheses:
1697 @lilypond[relative=1,fragment,verbatim]
1698 f( g)( a) a8 b( a4 g2 f4)
1703 @c TODO: should explain that ^( and _( set directions
1704 @c should set attachments with ^ and _ ?
1706 Slurs avoid crossing stems, and are generally attached to note heads.
1707 However, in some situations with beams, slurs may be attached to stem
1708 ends. If you want to override this layout you can do this through the
1709 object property @code{attachment} of @internalsref{Slur}. Its value
1710 is a pair of symbols, specifying the attachment type of the left and
1713 @lilypond[fragment,relative,verbatim]
1715 \override Stem #'length = #5.5
1717 \override Slur #'attachment = #'(stem . stem)
1721 If a slur would strike through a stem or beam, the slur will be moved
1722 away upward or downward. If this happens, attaching the slur to the
1723 stems might look better:
1725 @lilypond[fragment,relative,verbatim]
1728 \override Slur #'attachment = #'(stem . stem)
1735 @cindex @code{\slurUp}
1737 @cindex @code{\slurDown}
1739 @cindex @code{\slurBoth}
1741 @cindex @code{\slurDotted}
1743 @cindex @code{\slurSolid}
1748 Program reference: @seeinternals{Slur}, and @internalsref{SlurEvent}.
1753 Producing nice slurs is a difficult problem, and LilyPond
1754 uses a simple, empiric method to produce slurs. In some cases, its
1758 @cindex Adjusting slurs
1760 @node Phrasing slurs
1761 @subsection Phrasing slurs
1763 @cindex phrasing slurs
1764 @cindex phrasing marks
1766 A phrasing slur (or phrasing mark) connects chords and is used to
1767 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1770 @lilypond[fragment,verbatim,relative]
1771 \time 6/4 c'\( d( e) f( e) d\)
1774 Typographically, the phrasing slur behaves almost exactly like a
1775 normal slur. However, they are treated as different objects. A
1776 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1777 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1778 @code{\phrasingSlurBoth}.
1780 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1781 will only affect normal slurs and not phrasing slurs.
1785 @cindex @code{\phrasingSlurUp}
1786 @code{\phrasingSlurUp},
1787 @cindex @code{\phrasingSlurDown}
1788 @code{\phrasingSlurDown},
1789 @cindex @code{\phrasingSlurBoth}
1790 @code{\phrasingSlurBoth}.
1794 Program reference: see also @internalsref{PhrasingSlur}, and
1795 @internalsref{PhrasingSlurEvent}.
1799 Phrasing slurs have the same limitations in their formatting as normal
1800 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1803 @subsection Breath marks
1805 Breath marks are entered using @code{\breathe}:
1808 @lilypond[fragment,relative,verbatim]
1812 The glyph of the breath mark can be tuned by overriding the
1813 @code{text} property of the @code{BreathingSign} layout object with
1814 any markup text. For example,
1815 @lilypond[fragment,verbatim,relative]
1817 \override BreathingSign #'text
1818 = #(make-musicglyph-markup "scripts-rvarcomma")
1825 Program reference: @internalsref{BreathingSign},
1826 @internalsref{BreathingSignEvent}.
1828 Examples: @inputfileref{input/regression,breathing-sign.ly}.
1831 @node Metronome marks
1832 @subsection Metronome marks
1835 @cindex beats per minute
1836 @cindex metronome marking
1838 Metronome settings can be entered as follows:
1840 \tempo @var{duration} = @var{per-minute}
1843 In the MIDI output, they are interpreted as a tempo change, and in the
1844 paper output, a metronome marking is printed:
1845 @cindex @code{\tempo}
1846 @lilypond[fragment,verbatim]
1852 Program reference: @internalsref{MetronomeChangeEvent}.
1857 @subsection Text spanners
1858 @cindex Text spanners
1860 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1861 are written as texts, and extended over many measures with dotted
1862 lines. You can create such texts using text spanners: attach
1863 @code{\startTextSpan} and @code{\stopTextSpan} to the
1864 start and ending note of the spanner.
1866 The string to be printed, as well as the style, is set through object
1869 @lilypond[fragment,relative,verbatim]
1871 \override TextSpanner #'direction = #-1
1872 \override TextSpanner #'edge-text = #'("rall " . "")
1873 c2\startTextSpan b c\stopTextSpan a }
1879 Internals @internalsref{TextSpanEvent},
1880 @internalsref{TextSpanner}.
1882 Examples: @inputfileref{input/regression,text-spanner.ly}.
1885 @node Analysis brackets
1886 @subsection Analysis brackets
1888 @cindex phrasing brackets
1889 @cindex musicological analysis
1890 @cindex note grouping bracket
1892 Brackets are used in musical analysis to indicate structure in musical
1893 pieces. LilyPond supports a simple form of nested horizontal brackets.
1894 To use this, add the @internalsref{Horizontal_bracket_engraver} to
1895 @internalsref{Staff} context. A bracket is started with
1896 @code{\startGroup} and closed with @code{\stopGroup}:
1898 @lilypond[raggedright,verbatim]
1899 \score { \notes \relative c'' {
1900 c4\startGroup\startGroup
1903 c4\stopGroup\stopGroup
1906 \StaffContext \consists "Horizontal_bracket_engraver"
1912 Program reference: @internalsref{HorizontalBracket},
1913 @internalsref{NoteGroupingEvent}.
1915 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
1919 @subsection Articulations
1920 @cindex Articulations
1922 @cindex articulations
1926 A variety of symbols can appear above and below notes to indicate
1927 different characteristics of the performance. They are added to a note
1928 by adding a dash and the character signifying the
1929 articulation. They are demonstrated here:
1931 @lilypondfile[]{script-abbreviations.ly}
1933 The meanings of these shorthands can be changed. See
1934 @file{ly/script-init.ly} for examples.
1937 The script is automatically placed, but if you need to force
1938 directions, you can use @code{_} to force them down, or @code{^} to
1940 @lilypond[fragment,verbatim]
1944 Other symbols can be added using the syntax
1945 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
1946 can be forced up or down using @code{^} and @code{_},
1949 @lilypond[verbatim,fragment,relative=2]
1950 c\fermata c^\fermata c_\fermata
1957 @cindex staccatissimo
1966 @cindex organ pedal marks
1975 @cindex prallmordent
1979 @cindex thumb marking
1984 @lilypondfile[]{script-chart.ly}
1989 @cindex @code{\scriptUp}
1991 @cindex @code{\scriptDown}
1993 @cindex @code{\scriptBoth}
1998 Program reference: @internalsref{ScriptEvent}, and @internalsref{Script}.
2002 These note ornaments appear in the printed output but have no
2003 effect on the MIDI rendering of the music.
2006 @node Fingering instructions
2007 @subsection Fingering instructions
2011 Fingering instructions can be entered using
2013 @var{note}-@var{digit}
2015 For finger changes, use markup texts:
2017 @lilypond[verbatim,raggedright,fragment]
2018 c'4-1 c'4-2 c'4-3 c'4-4
2019 c'^\markup { \finger "2-3" }
2022 @cindex finger change
2027 You can use the thumb-script to indicate that a note should be
2028 played with the thumb (e.g. in cello music):
2030 @lilypond[verbatim,raggedright,fragment]
2031 <a' a''-3>8_\thumb <b' b''-3>_\thumb
2034 Fingerings for chords can also be added to individual notes
2035 of the chord by adding them after the pitches:
2036 @lilypond[verbatim,raggedright,fragment,relative=1]
2037 < c-1 e-2 g-3 b-5 > 4
2041 In this case, setting @code{fingeringOrientations} will put fingerings next
2044 @lilypond[verbatim,raggedright,fragment,relative=1]
2045 \set fingeringOrientations = #'(left down)
2046 <c-1 es-2 g-4 bes-5 > 4
2047 \set fingeringOrientations = #'(up right down)
2048 <c-1 es-2 g-4 bes-5 > 4
2049 \set fingeringOrientations = #'(right)
2053 The last note demonstrates how fingering instructions can be put close
2054 to note heads in monophonic music, using this feature.
2058 Program reference: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2060 Examples: @inputfileref{input/regression,finger-chords.ly}.
2063 @subsection Text scripts
2064 @cindex Text scripts
2066 @cindex text items, non-empty
2067 @cindex non-empty texts
2069 It is possible to place arbitrary strings of text or markup text (see
2070 @ref{Text markup}) above or below notes by using a string:
2071 @code{c^"text"}. By default, these indications do not influence the
2072 note spacing, but by using the command @code{\fatText}, the widths
2073 will be taken into account:
2075 @lilypond[fragment,raggedright,verbatim] \relative c' {
2076 c4^"longtext" \fatText c4_"longlongtext" c4 }
2079 It is possible to use @TeX{} commands in the strings, but this should
2080 be avoided because the exact dimensions of the string can then no
2085 @cindex @code{\fatText}
2087 @cindex @code{\emptyText}
2092 In this manual: @ref{Text markup}.
2094 Program reference: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
2100 @subsection Grace notes
2103 @c should have blurb about accaciatura / appogiatura
2105 @cindex @code{\grace}
2109 Grace notes are ornaments that are written out. The most common ones
2110 are acciaccatura, which should be played as very short. It is denoted
2111 by a slurred small note with a slashed stem. The appoggiatura is a
2112 grace note that takes a fixed fraction of the main note, is and
2113 denoted as a slurred note in small print without a slash.
2114 They are entered with the commands @code{\acciaccatura} and
2115 @code{\appoggiatura}, as demonstrated in the following example:
2118 @cindex appoggiatura
2119 @cindex acciaccatura
2121 @lilypond[relative=2,verbatim,fragment]
2122 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2123 \acciaccatura { g16[ f] } e4
2126 Both are special forms of the @code{\grace} command. By prefixing this
2127 keyword to a music expression, a new one is formed, which will be
2128 printed in a smaller font and takes up no logical time in a measure.
2129 @lilypond[relative=2,verbatim,fragment]
2131 \grace { c16[ d16] } c2 c4
2135 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2136 @code{\grace} command does not start a slur.
2138 Internally, timing for grace notes is done using a second, `grace'
2139 time. Every point in time consists of two rational numbers: one
2140 denotes the logical time, one denotes the grace timing. The above
2141 example is shown here with timing tuples:
2143 @lilypond[raggedright]
2146 c4 \grace c16 c4 \grace {
2149 \new Lyrics \lyrics {
2152 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2153 \markup { (\fraction 1 4 , 0 ) } 4
2155 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2156 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2158 \markup { ( \fraction 2 4 , 0 ) }
2163 The placement of grace notes is synchronized between different staves.
2164 In the following example, there are two sixteenth graces notes for
2165 every eighth grace note:
2167 @lilypond[relative=2,verbatim,fragment]
2168 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2169 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2174 If you want to end a note with a grace, then the standard trick
2175 is to put the grace notes after a ``space note'', e.g.
2176 @lilypond[fragment,verbatim,relative=2]
2179 { s2 \grace { c16[ d] } } >>
2185 By adjusting the duration of the skip note (here it is a half-note),
2186 the space between the main-note and the grace is adjusted.
2189 A @code{\grace} section will introduce special typesetting settings,
2190 for example, to produce smaller type, and set directions. Hence, when
2191 introducing layout tweaks, they should be inside the grace section,
2193 @lilypond[fragment,verbatim,relative=1]
2196 \override Stem #'direction = #-1
2198 \revert Stem #'direction
2205 The overrides should also be reverted inside the grace section.
2207 If the layout of grace sections must be changed throughout the music,
2208 then this can be accomplished through the function
2209 @code{add-grace-property}. The following example undefines the Stem
2210 direction for this grace, so stems do not always point up.
2214 #(add-grace-property "Voice" Stem direction '())
2220 Another option is to change the variables @code{startGraceMusic},
2221 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2222 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2223 @code{stopAppoggiaturaMusic}. More information is in the file
2224 @file{ly/grace-init.ly}.
2229 Program reference: @internalsref{GraceMusic}.
2233 A score that starts with an @code{\grace} section needs an explicit
2234 @code{\context Voice} declaration, otherwise the main note and grace
2235 note end up on different staves.
2237 Grace note synchronization can also lead to surprises. Staff notation,
2238 such as key signatures, bar lines, etc. are also synchronized. Take
2239 care when you mix staves with grace notes and staves without, for example,
2241 @lilypond[relative=2,verbatim,fragment]
2242 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2243 \new Staff { c4 \bar "|:" d4 } >>
2247 This can be remedied by inserting grace skips, for the above example
2250 \new Staff { c4 \bar "|:" \grace s16 d4 } >>
2253 Grace sections should only be used within sequential music
2254 expressions. Nesting or juxtaposing grace sections is not supported,
2255 and might produce crashes or other errors.
2259 @subsection Glissando
2262 @cindex @code{\glissando}
2264 A glissando is a smooth change in pitch. It is denoted by a line or a
2265 wavy line between two notes.
2268 A glissando line can be requested by attaching a @code{\glissando} to
2271 @lilypond[fragment,relative,verbatim]
2277 Program reference: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2279 Example files: @file{input/regression,glissando.ly}
2285 Printing text over the line (such as @emph{gliss.}) is not supported.
2289 @subsection Dynamics
2302 @cindex @code{\ffff}
2312 Absolute dynamic marks are specified using a command after a note:
2313 @code{c4\ff}. The available dynamic marks are @code{\ppp},
2314 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2315 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2316 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
2318 @lilypond[verbatim,raggedright,fragment,relative]
2319 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2329 A crescendo mark is started with @code{\<} and terminated with
2330 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2331 with @code{\!}. Because these marks are bound to notes, if you must
2332 use spacer notes if multiple marks during one note are needed:
2334 @lilypond[fragment,verbatim]
2335 c''\< c''\! d''\> e''\!
2336 << f''1 { s4 s4\< s4\! \> s4\! } >>
2338 This may give rise to very short hairpins. Use @code{minimum-length}
2339 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2343 \override Staff.Hairpin #'minimum-length = #5
2346 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2347 is an example how to do it:
2349 @lilypond[fragment,relative=2,verbatim]
2359 You can also supply your own texts:
2360 @lilypond[fragment,relative,verbatim]
2362 \set crescendoText = \markup { \italic "cresc. poco" }
2363 \set crescendoSpanner = #'dashed-line
2373 @cindex @code{\dynamicUp}
2375 @cindex @code{\dynamicDown}
2376 @code{\dynamicDown},
2377 @cindex @code{\dynamicBoth}
2378 @code{\dynamicBoth}.
2380 @cindex direction, of dynamics
2384 Program reference: @internalsref{CrescendoEvent},
2385 @internalsref{DecrescendoEvent}, and
2386 @internalsref{AbsoluteDynamicEvent}.
2388 Dynamics @internalsref{DynamicText} and @internalsref{Hairpin}
2389 objects. Vertical positioning of these symbols is handled by the
2390 @internalsref{DynamicLineSpanner} object.
2398 @cindex @code{\repeat}
2401 Repetition is a central concept in music, and multiple notations exist
2402 for repetitions. In LilyPond, most of these notations can be captured
2403 in a uniform syntax. One of the advantages is that they can be
2404 rendered in MIDI accurately.
2406 The following types of repetition are supported:
2410 Repeated music is fully written (played) out. Useful for MIDI
2411 output, and entering repetitive music.
2414 This is the normal notation: Repeats are not written out, but
2415 alternative endings (volte) are printed, left to right.
2419 Alternative endings are written stacked. This has limited use but may be
2420 used to typeset two lines of lyrics in songs with repeats, see
2421 @inputfileref{input,star-spangled-banner.ly}.
2429 Make beat or measure repeats. These look like percent signs.
2435 * Repeats and MIDI::
2436 * Manual repeat commands::
2438 * Tremolo subdivisions::
2443 @subsection Repeat syntax
2446 LilyPond has one syntactic construct for specifying different types of
2447 repeats. The syntax is
2450 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2453 If you have alternative endings, you may add
2454 @cindex @code{\alternative}
2456 \alternative @code{@{} @var{alternative1}
2458 @var{alternative3} @dots{} @code{@}}
2460 where each @var{alternative} is a music expression. If you do not
2461 give enough alternatives for all of the repeats, then the first
2462 alternative is assumed to be played more than once.
2464 Normal notation repeats are used like this:
2465 @lilypond[fragment,verbatim,relative=1]
2467 \repeat volta 2 { c4 d e f }
2468 \repeat volta 2 { f e d c }
2471 With alternative endings:
2472 @lilypond[fragment,verbatim,relative=1]
2474 \repeat volta 2 {c4 d e f}
2475 \alternative { {d2 d} {f f,} }
2479 @lilypond[fragment,verbatim,relative=1]
2482 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2483 \alternative { { g4 g g } { a | a a a a | b2. } }
2489 If you do a nested repeat like
2498 then it is ambiguous to which @code{\repeat} the @code{\alternative}
2499 belongs. This ambiguity is resolved by always having the
2500 @code{\alternative} belong to the inner @code{\repeat}. For clarity,
2501 it is advisable to use braces in such situations.
2504 @node Repeats and MIDI
2505 @subsection Repeats and MIDI
2507 @cindex expanding repeats
2509 For instructions on how to expand repeats for MIDI output, see the
2510 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2515 Timing information is not remembered at the start of an alternative,
2516 so after a repeat timing information must be reset by hand, for
2517 example by setting @code{Score.measurePosition} or entering
2518 @code{\partial}. Similarly, slurs or ties are also not repeated.
2521 @node Manual repeat commands
2522 @subsection Manual repeat commands
2524 @cindex @code{repeatCommands}
2526 The property @code{repeatCommands} can be used to control the layout of
2527 repeats. Its value is a Scheme list of repeat commands, where each repeat
2531 @item the symbol @code{start-repeat},
2532 which prints a @code{|:} bar line,
2533 @item the symbol @code{end-repeat},
2534 which prints a @code{:|} bar line,
2535 @item the list @code{(volta @var{text})},
2536 which prints a volta bracket saying @var{text}: The text can be specified as
2537 a text string or as a markup text, see @ref{Text markup}. Do not
2538 forget to change the font, as the default number font does not contain
2539 alphabetic characters. Or,
2540 @item the list @code{(volta #f)}, which
2541 stops a running volta bracket:
2544 @lilypond[verbatim,fragment,relative=2]
2546 \set Score.repeatCommands = #'((volta "93") end-repeat)
2548 \set Score.repeatCommands = #'((volta #f))
2555 Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2556 @internalsref{VoltaRepeatedMusic},
2557 @internalsref{UnfoldedRepeatedMusic}, and
2558 @internalsref{FoldedRepeatedMusic}.
2560 @node Tremolo repeats
2561 @subsection Tremolo repeats
2562 @cindex tremolo beams
2564 To place tremolo marks between notes, use @code{\repeat} with tremolo
2566 @lilypond[verbatim,raggedright]
2568 \context Voice \notes\relative c' {
2569 \repeat "tremolo" 8 { c16 d16 }
2570 \repeat "tremolo" 4 { c16 d16 }
2571 \repeat "tremolo" 2 { c16 d16 }
2576 Tremolo marks can also be put on a single note. In this case, the
2577 note should not be surrounded by braces.
2578 @lilypond[verbatim,raggedright]
2579 \repeat "tremolo" 4 c'16
2582 A similar mechanism is the tremolo subdivision, described in
2583 @ref{Tremolo subdivisions}.
2587 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2589 Program reference: tremolo beams are @internalsref{Beam} objects. Single stem
2590 tremolos are @internalsref{StemTremolo} objects. The music expression is
2591 @internalsref{TremoloEvent}.
2593 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2594 @inputfileref{input/regression,stem-tremolo.ly}.
2596 @node Tremolo subdivisions
2597 @subsection Tremolo subdivisions
2598 @cindex tremolo marks
2599 @cindex @code{tremoloFlags}
2601 Tremolo marks can be printed on a single note by adding
2602 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2603 A @var{length} value of 8 gives one line across the note stem. If the
2604 length is omitted, then then the last value (stored in
2605 @code{tremoloFlags}) is used:
2607 @lilypond[verbatim,fragment]
2608 c'2:8 c':32 | c': c': |
2611 @c [TODO : stok is te kort bij 32en]
2615 Tremolos entered in this way do not carry over into the MIDI output.
2619 In this manual: @ref{Tremolo repeats}.
2621 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
2623 @node Measure repeats
2624 @subsection Measure repeats
2626 @cindex percent repeats
2627 @cindex measure repeats
2629 In the @code{percent} style, a note pattern can be repeated. It is
2630 printed once, and then the pattern is replaced with a special sign.
2631 Patterns of a one and two measures are replaced by percent-like signs,
2632 patterns that divide the measure length are replaced by slashes:
2634 @lilypond[verbatim,raggedright]
2635 \context Voice { \repeat "percent" 4 { c'4 }
2636 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2642 Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2643 @internalsref{PercentRepeatedMusic}, and
2644 @internalsref{DoublePercentRepeat}.
2648 @node Rhythmic music
2649 @section Rhythmic music
2653 * Showing melody rhythms::
2654 * Entering percussion::
2655 * Percussion staves::
2659 @node Showing melody rhythms
2660 @subsection Showing melody rhythms
2662 Sometimes you might want to show only the rhythm of a melody. This
2663 can be done with the rhythmic staff. All pitches of notes on such a
2664 staff are squashed, and the staff itself has a single line:
2666 @lilypond[fragment,relative,verbatim]
2667 \context RhythmicStaff {
2669 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2675 Program reference: @internalsref{RhythmicStaff}.
2677 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
2680 @node Entering percussion
2681 @subsection Entering percussion
2687 Percussion notes may be entered in @code{\drums} mode, which is
2688 similar to @code{notes}. Each piece of percussion has a full name and
2689 an abbreviated name, and both be used in input files:
2692 hihat hh bassdrum bd
2694 @lilypond[raggedright]
2695 \new DrumStaff \drums { hihat hh bassdrum bd
2699 The complete list of drum names is in the init file
2700 @file{ly/drumpitch-init.ly}.
2701 @c TODO: properly document this.
2705 Program reference: @internalsref{DrumNoteEvent}.
2707 @node Percussion staves
2708 @subsection Percussion staves
2712 A percussion part for more than one instrument typically uses a
2713 multiline staff where each position in the staff refers to one piece
2717 To typeset the music, the notes must be interpreted in a
2718 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts:
2721 @lilypond[raggedright,verbatim]
2722 up = \drums { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2723 down = \drums { bassdrum4 snare8 bd r bd sn4 }
2726 << \new DrumVoice { \voiceOne \up }
2727 \new DrumVoice { \voiceTwo \down }
2731 The above example shows verbose polyphonic notation. The short
2732 polyphonic notation, described in @ref{Polyphony}, can also be used if
2733 the @internalsref{DrumVoices} are instantiated by hand first. For example,
2735 @lilypond[fragment,verbatim]
2736 \drums \new DrumStaff <<
2737 \context DrumVoice = "1" { s1 *2 }
2738 \context DrumVoice = "2" { s1 *2 }
2742 { \repeat unfold 16 hh16 }
2751 There are also other layout possibilities. To use these, set the
2752 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
2753 The following variables have been predefined:
2757 is the default. It typesets a typical drum kit on a five-line staff
2760 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2761 bd sn ss tomh tommh tomml toml tomfh tomfl }
2762 mus = \drums { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
2763 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2765 << \new DrumStaff\with {
2766 \remove Bar_engraver
2767 \remove Time_signature_engraver
2768 \override Stem #'transparent = ##t
2769 \override Stem #'Y-extent-callback = ##f
2770 minimumVerticalExtent = #'(-4.0 . 5.0)
2772 \context Lyrics \nam
2775 %% need to do this, because of indented @itemize
2777 \context { \ScoreContext
2778 \override LyricText #'font-family = #'typewriter
2779 \override BarNumber #'transparent =##T
2783 The drum scheme supports six different toms. When there fewer toms, simply
2784 select the toms that produce the desired result, i.e. to get toms on
2785 the three middle lines you use @code{tommh}, @code{tomml} and
2788 @item timbales-style
2789 to typeset timbales on a two line staff:
2791 @lilypond[raggedright]
2792 nam = \lyrics { timh ssh timl ssl cb }
2793 mus = \drums { timh ssh timl ssl cb s16 }
2796 \context DrumStaff \with {
2797 \remove Bar_engraver
2798 \remove Time_signature_engraver
2799 \override Stem #'transparent = ##t
2800 \override Stem #'Y-extent-callback = ##f
2801 \override StaffSymbol #'line-count = #2
2802 \override StaffSymbol #'staff-space = #2
2803 minimumVerticalExtent = #'(-3.0 . 4.0)
2804 drumStyleTable = #timbales-style
2807 \override LyricText #'font-family = #'typewriter
2814 to typeset congas on a two line staff:
2816 @lilypond[raggedright]
2817 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2818 mus = \drums { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2821 \context DrumStaff\with {
2822 \remove Bar_engraver
2823 \remove Time_signature_engraver
2824 drumStyleTable = #congas-style
2825 \override StaffSymbol #'line-count = #2
2827 %% this sucks; it will lengthen stems.
2828 \override StaffSymbol #'staff-space = #2
2829 \override Stem #'transparent = ##t
2830 \override Stem #'Y-extent-callback = ##f
2833 \override LyricText #'font-family = #'typewriter
2839 to typeset bongos on a two line staff:
2841 @lilypond[raggedright]
2842 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2843 mus = \drums { boh boho bohm ssh bol bolo bolm ssl s16 }
2846 \context DrumStaff\with {
2847 \remove Bar_engraver
2848 \remove Time_signature_engraver
2849 \override StaffSymbol #'line-count = #2
2850 drumStyleTable = #bongos-style
2852 %% this sucks; it will lengthen stems.
2853 \override StaffSymbol #'staff-space = #2
2854 \override Stem #'transparent = ##t
2855 \override Stem #'Y-extent-callback = ##f
2858 \override LyricText #'font-family = #'typewriter
2864 @item percussion-style
2865 to typeset all kinds of simple percussion on one line staves:
2866 @lilypond[raggedright]
2867 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2868 mus = \drums { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2871 \context DrumStaff\with{
2872 \remove Bar_engraver
2873 drumStyleTable = #percussion-style
2874 \override StaffSymbol #'line-count = #1
2875 \remove Time_signature_engraver
2876 \override Stem #'transparent = ##t
2877 \override Stem #'Y-extent-callback = ##f
2881 \override LyricText #'font-family = #'typewriter
2888 If you do not like any of the predefined lists you can define your own
2889 list at the top of your file:
2891 @lilypond[raggedright,verbatim]
2893 (bassdrum default #f -1)
2894 (snare default #f 0)
2896 (pedalhihat xcircle "stopped" 2)
2897 (lowtom diamond #f 3)
2899 up = \drums { hh8 hh hh hh hhp4 hhp }
2900 down = \drums { bd4 sn bd toml8 toml }
2903 \set DrumStaff.drumStyleTable
2904 = #(alist->hash-table mydrums)
2905 \new DrumVoice { \voiceOne \up }
2906 \new DrumVoice { \voiceTwo \down }
2914 Init files: @file{ly/drumpitch-init.ly}.
2916 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
2920 Because general MIDI does not contain rim shots, the sidestick is used
2921 for this purpose instead.
2924 @section Piano music
2926 Piano staves are two normal staves coupled with a brace. The staves
2927 are largely independent, but sometimes voices can cross between the
2928 two staves. The same notation is also used for harps and other key
2929 instruments. The @internalsref{PianoStaff} is especially built to
2930 handle this cross-staffing behavior. In this section we discuss the
2931 @internalsref{PianoStaff} and some other pianistic peculiarities.
2935 * Automatic staff changes::
2936 * Manual staff switches::
2939 * Staff switch lines::
2944 There is no support for putting chords across staves. You can get
2945 this result by increasing the length of the stem in the lower stave so
2946 it reaches the stem in the upper stave, or vice versa. An example is
2947 included with the distribution as
2948 @inputfileref{input/test,stem-cross-staff.ly}.
2950 Dynamics are not centered, but kludges do exist. See
2951 @inputfileref{input/template,piano-dynamics.ly}.
2953 @cindex cross staff stem
2954 @cindex stem, cross staff
2956 The distance between the two staves is normally fixed across the
2957 entire score. It is possible to tune this per system, but it does
2958 require arcane command incantations. See
2959 @inputfileref{input/test,piano-staff-distance.ly}.
2966 @node Automatic staff changes
2967 @subsection Automatic staff changes
2968 @cindex Automatic staff changes
2970 Voices can switch automatically between the top and the bottom
2971 staff. The syntax for this is
2973 \autochange \context Voice @{ @dots{}@var{music}@dots{} @}
2975 The two staves of the piano staff must be named @code{up} and
2978 The autochanger switches on basis of pitch (middle C is the turning
2979 point), and it looks ahead skipping over rests to switch in
2980 advance. Here is a practical example:
2982 @lilypond[verbatim,raggedright]
2983 \score { \notes \context PianoStaff <<
2984 \context Staff = "up" {
2985 \autochange \new Voice \relative c' {
2986 g4 a b c d r4 a g } }
2987 \context Staff = "down" {
2994 In this example, spacer rests are used to prevent the bottom staff from
2995 terminating too soon.
3000 In this manual: @ref{Manual staff switches}.
3002 Program reference: @internalsref{AutoChangeMusic}.
3008 The staff switches often do not end up in optimal places. For high
3009 quality output, staff switches should be specified manually.
3013 @node Manual staff switches
3014 @subsection Manual staff switches
3016 @cindex manual staff switches
3017 @cindex staff switch, manual
3019 Voices can be switched between staves manually, using the following command:
3021 \change Staff = @var{staffname} @var{music}
3025 The string @var{staffname} is the name of the staff. It switches the
3026 current voice from its current staff to the Staff called
3027 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3036 Pianos have pedals that alter the way sound are produced. Generally, a
3037 piano has three pedals, sustain, una corda, and sostenuto.
3040 Piano pedal instruction can be expressed by attaching
3041 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3042 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3045 @lilypond[fragment,verbatim]
3046 c'4\sustainDown c'4\sustainUp
3049 What is printed can be modified by setting @code{pedal@var{X}Strings},
3050 where @var{X} is one of the pedal types: @code{Sustain},
3051 @code{Sostenuto} or @code{UnaCorda}. Refer to
3052 @internalsref{SustainPedal} in the program reference for more
3055 Pedals can also be indicated by a sequence of brackets, by setting the
3056 @code{pedalSustainStyle} property to @code{bracket} objects:
3058 @lilypond[fragment,verbatim,relative=2]
3059 \set Staff.pedalSustainStyle = #'bracket
3061 b\sustainUp\sustainDown
3062 b g \sustainUp a \sustainDown \bar "|."
3065 A third style of pedal notation is a mixture of text and brackets,
3066 obtained by setting the @code{pedalSustainStyle} style property to
3069 @lilypond[fragment,verbatim,relative=2]
3070 \set Staff.pedalSustainStyle = #'mixed
3072 b\sustainUp\sustainDown
3073 b g \sustainUp a \sustainDown \bar "|."
3076 The default `*Ped.' style for sustain and damper pedals corresponds to
3077 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3080 @lilypond[fragment,verbatim,relative=2]
3081 c\sostenutoDown d e c, f g a\sostenutoUp
3084 For fine-tuning of the appearance of a pedal bracket, the properties
3085 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3086 @code{PianoPedalBracket} objects (see
3087 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3088 bracket may be extended to the end of the note head:
3090 @lilypond[fragment,verbatim]
3091 \override Staff.PianoPedalBracket
3092 #'shorten-pair = #'(0 . -1.0)
3093 c\sostenutoDown d e c, f g a\sostenutoUp
3097 @subsection Arpeggio
3100 @cindex broken arpeggio
3101 @cindex @code{\arpeggio}
3103 You can specify an arpeggio sign on a chord by attaching an
3104 @code{\arpeggio} to a chord:
3107 @lilypond[fragment,relative,verbatim]
3111 When an arpeggio crosses staves, you attach an arpeggio to the chords
3112 in both staves, and set
3113 @internalsref{PianoStaff}.@code{connectArpeggios}:
3115 @lilypond[fragment,relative,verbatim]
3116 \context PianoStaff <<
3117 \set PianoStaff.connectArpeggios = ##t
3118 \new Staff { <c' e g c>\arpeggio }
3119 \new Staff { \clef bass <c,, e g>\arpeggio }
3123 The direction of the arpeggio is sometimes denoted by adding an
3124 arrowhead to the wiggly line:
3126 @lilypond[fragment,relative,verbatim]
3135 A square bracket on the left indicates that the player should not
3136 arpeggiate the chord:
3138 @lilypond[fragment,relative,verbatim]
3145 @cindex @code{\arpeggio}
3147 @cindex @code{\arpeggioUp}
3149 @cindex @code{\arpeggioDown}
3151 @cindex @code{\arpeggioBoth}
3152 @code{\arpeggioBoth},
3153 @cindex @code{\arpeggioBracket}
3154 @code{\arpeggioBracket}.
3158 Program reference: @internalsref{ArpeggioEvent} music expressions lead to
3159 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3160 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3164 It is not possible to mix connected arpeggios and unconnected
3165 arpeggios in one @internalsref{PianoStaff} at the same time.
3167 @node Staff switch lines
3168 @subsection Staff switch lines
3171 @cindex follow voice
3172 @cindex staff switching
3175 @cindex @code{followVoice}
3177 Whenever a voice switches to another staff a line connecting the notes
3178 can be printed automatically. This is enabled if the property
3179 @code{PianoStaff.followVoice} is set to true:
3181 @lilypond[fragment,relative,verbatim]
3182 \context PianoStaff <<
3183 \set PianoStaff.followVoice = ##t
3184 \context Staff \context Voice {
3189 \context Staff=two { \clef bass \skip 1*2 }
3195 The associated object is @internalsref{VoiceFollower}.
3199 @cindex @code{\showStaffSwitch}
3200 @code{\showStaffSwitch},
3201 @cindex @code{\hideStaffSwitch}
3202 @code{\hideStaffSwitch}.
3206 @section Vocal music
3208 This section discusses how to enter and print lyrics.
3212 * The Lyrics context::
3217 @node Entering lyrics
3218 @subsection Entering lyrics
3222 @cindex @code{\lyrics}
3225 Lyrics are entered in a special input mode. This mode is is introduced
3226 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3227 punctuation and accents without any hassle. Syllables are entered like
3228 notes, but with pitches replaced by text. For example,
3230 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3233 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3234 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3235 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3236 any 8-bit character with ASCII code over 127, or a two-character
3237 combination of a backslash followed by one of @code{`}, @code{'},
3238 @code{"}, or @code{^}.
3240 Subsequent characters of a word can be any character that is not a digit
3241 and not white space. One important consequence of this is that a word
3242 can end with @code{@}}. The following example is usually a bug. The
3243 syllable includes a @code{@}}, and hence the opening brace is not balanced:
3245 \lyrics @{ twinkle@}
3248 @cindex @code{\property}, in @code{\lyrics}
3249 Similarly, a period following a alphabetic sequence, is included in
3250 the resulting string. As a consequence, spaces must be inserted around
3253 \override Score . LyricText #'font-shape = #'italic
3257 @cindex spaces, in lyrics
3258 @cindex quotes, in lyrics
3260 Any @code{_} character which appears in an unquoted word is converted
3261 to a space. This provides a mechanism for introducing spaces into words
3262 without using quotes. Quoted words can also be used in Lyrics mode to
3263 specify words that cannot be written with the above rules:
3266 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3271 Centered hyphens are entered as `@code{-}@code{-}' between syllables.
3272 The hyphen will have variable length depending on the space between
3273 the syllables and it will be centered between the syllables.
3278 When a lyric is sung over many notes (this is called a melisma), this is
3279 indicated with a horizontal line centered between a syllable and the
3280 next one. Such a line is called an extender line, and it is entered as
3285 Program reference: events @internalsref{LyricEvent},
3286 @internalsref{HyphenEvent}, and @internalsref{ExtenderEvent}. Objects:
3287 @internalsref{LyricHyphen}, @internalsref{LyricExtender} and
3288 @internalsref{LyricText}.
3290 Examples: @inputfileref{input/test,lyric-hyphen-retain.ly}.
3294 The definition of lyrics mode is too complex.
3298 @node The Lyrics context
3299 @subsection The Lyrics context
3301 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context:
3303 \context Lyrics \lyrics @dots{}
3306 @cindex automatic syllable durations
3307 @cindex @code{\lyricsto}
3308 @cindex lyrics and melodies
3310 This will place the lyrics according to the durations that were
3311 entered. The lyrics can also be aligned under a given melody
3312 automatically. In this case, it is no longer necessary to enter the
3313 correct duration for each syllable. This is achieved by combining the
3314 melody and the lyrics with the @code{\lyricsto} expression:
3316 \lyricsto @var{name} \new Lyrics @dots{}
3319 This aligns the lyrics to the
3321 notes of the @internalsref{Voice} context called @var{name}, which has
3322 to exist. Therefore, normally the @code{Voice} is specified first, and
3323 then the lyrics are specified with @code{\lyricsto}.
3325 For different or more complex orderings, the best way is to setup the
3326 hierarchy of staves and lyrics first, e.g.
3328 \context ChoirStaff \notes <<
3329 \context Lyrics = sopranoLyrics @{ s1 @}
3330 \context Voice = soprano @{ @emph{music} @}
3331 \context Lyrics = tenorLyrics @{ s1 @}
3332 \context Voice = tenor @{ @emph{music} @}
3335 and then combine the appropriate melodies and lyric lines:
3337 \lyricsto "soprano" \context Lyrics = sopranoLyrics
3342 The final input would resemble
3345 << \context ChoirStaff \notes << @emph{setup the music} >>
3346 \lyricsto "soprano" @emph{etc}
3347 \lyricsto "alto" @emph{etc}
3353 The @code{\lyricsto} command detects melismata: it only puts one
3354 syllable under a tied or slurred group of notes. If you want to force
3355 an unslurred group of notes to be a melisma, then insert
3356 @code{\melisma} after the first note of the group, and
3357 @code{\melismaEnd} after the last one, e.g.
3359 @lilypond[relative=1,raggedright,fragment,verbatim]
3360 << \context Voice = "lala" { \time 3/4
3366 \lyricsto "lala" \new Lyrics \lyrics {
3371 In addition, notes are considered a melisma if they are manually
3372 beamed, and automatic beaming (see @ref{Setting automatic beam
3373 behavior}) is switched off. The criteria for deciding melismata can
3374 be tuned with the property @code{melismaBusyProperties}. See
3375 @internalsref{Melisma_translator} in the program reference for more
3378 When multiple stanzas are put on the same melody, it can happen that
3379 two stanzas have melismata in different locations. This can be
3380 remedied by switching off melismata for one
3381 @internalsref{Lyrics}. This is achieved by setting
3382 the @code{ignoreMelismata} property to @code{#t}. An example is shown
3383 in @inputfileref{input/regression,lyric-combine-new.ly}.
3386 @cindex choral score
3388 A complete example of a SATB score setup is in the file
3389 @inputfileref{input/template,satb.ly}.
3394 @code{\melisma}, @code{\melismaEnd}
3395 @cindex @code{\melismaEnd}
3396 @cindex @code{\melisma}
3400 Program reference: Music expressions: @internalsref{LyricCombineMusic},
3401 Contexts: @internalsref{Lyrics}, @internalsref{Melisma_translator}.
3403 Examples: @inputfileref{input/template,satb.ly},
3404 @inputfileref{input/regression,lyric-combine-new.ly}.
3408 Melismata are not detected automatically, and extender lines must be
3412 For proper processing of extender lines, the
3413 @internalsref{Lyrics} and @internalsref{Voice} should be
3414 linked. This can be achieved either by using @code{\lyricsto} or by
3415 setting corresponding names for both contexts. The latter is explained
3416 in @ref{More stanzas}.
3419 @subsection More stanzas
3421 @cindex phrasing, in lyrics
3424 The lyrics should be aligned with the note heads of the melody. To
3425 achieve this, each line of lyrics should be marked to correspond with
3426 the melodic line. This is done automatically when @code{\lyricsto},
3427 but it can also be done manually.
3429 To this end, give the @internalsref{Voice} context an identity:
3431 \context Voice = duet @{
3436 Then set the @internalsref{Lyrics} contexts to names starting with
3437 that identity followed by a dash. In the preceding example, the
3438 @internalsref{Voice} identity is @code{duet}, so the identities of the
3439 @internalsref{Lyrics}s are marked @code{duet-1} and @code{duet-2}:
3441 \context Lyrics = "duet-1" @{
3442 Hi, my name is bert. @}
3443 \context Lyrics = "duet-2" @{
3444 Ooooo, ch\'e -- ri, je t'aime. @}
3447 The complete example is shown here:
3448 @lilypond[raggedright,verbatim]
3450 << \notes \relative c'' \context Voice = duet { \time 3/4
3452 \lyrics << \lyricsto "duet" \new Lyrics {
3453 \set vocNam = "Bert"
3454 Hi, my name is bert. }
3455 \lyricsto "duet" \new Lyrics {
3456 \set vocNam = "Ernie"
3457 Ooooo, ch\'e -- ri, je t'aime.
3463 @cindex stanza number
3464 @cindex singer's names
3465 @cindex name of singer
3467 Stanza numbers can be added by setting @code{stanza}, e.g.
3470 << \context Voice = duet { \time 3/4
3472 \lyrics \lyricsto "duet" \new Lyrics {
3474 Hi, my name is bert.
3479 This example also demonstrates how names of the singers can be added
3480 using @code{vocalName} analogous to instrument annotations for staves.
3481 A short version may be entered as @code{vocNam}.
3483 To make empty spaces in lyrics, use @code{\skip}.
3488 Program reference: Layout objects @internalsref{LyricText} and
3489 @internalsref{VocalName}. Music expressions:
3490 @internalsref{LyricEvent}.
3496 Input for lyrics introduces a syntactical ambiguity:
3503 is interpreted as assigning a string identifier @code{\foo} such that
3504 it contains @code{"bar"}. However, it could also be interpreted as
3505 making or a music identifier @code{\foo} containing the syllable
3506 `bar'. The force the latter interpretation, use
3516 The term @emph{ambitus} denotes a range of pitches for a given voice
3517 in a part of music. It also may denote the pitch range that a musical
3518 instrument is capable of playing. Ambituses are printed on vocal
3519 parts, so singers can easily determine if it meets his or her
3522 It denoted at the beginning of a piece near the initial clef. The
3523 range is graphically specified by two note heads, that represent the
3524 minimum and maximum pitch. To print such ambituses, add the
3525 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
3532 \consists Ambitus_engraver
3537 This results in the following output:
3539 @lilypond[raggedright]
3542 \notes \relative c'' <<
3553 \consists Ambitus_engraver
3559 If you have multiple voices in a single staff, and you want a single
3560 ambitus per staff rather than per each voice, then add the
3561 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3562 rather than to the @internalsref{Voice} context.
3564 It is possible to tune individual ambituses for multiple voices on a
3565 single staff, for example by erasing or shifting them horizontally. An
3566 example is in @inputfileref{input/test,ambitus-mixed.ly}.
3570 Program reference: @internalsref{Ambitus}.
3572 Examples: @inputfileref{input/regression,ambitus.ly},
3573 @inputfileref{input/test,ambitus-mixed.ly}.
3577 There is no collision handling in the case of multiple per-voice
3583 Tablature notation is used for notating music for plucked string
3584 instruments. It notates pitches not by using note heads, but by
3585 indicating on which string and fret a note must be played. LilyPond
3586 offers limited support for tablature.
3589 * Tablatures basic::
3590 * Non-guitar tablatures::
3593 @node Tablatures basic
3594 @subsection Tablatures basic
3595 @cindex Tablatures basic
3597 The string number associated to a note is given as a backslash
3598 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3599 string. By default, string 1 is the highest one, and the tuning
3600 defaults to the standard guitar tuning (with 6 strings). The notes
3601 are printed as tablature, by using @internalsref{TabStaff} and
3602 @internalsref{TabVoice} contexts:
3604 @lilypond[fragment,verbatim]
3605 \notes \context TabStaff {
3613 When no string is specified, the first string that does not give a
3614 fret number less than @code{minimumFret} is selected. The default
3615 value for @code{minimumFret} is 0:
3620 \set TabStaff.minimumFret = #8
3623 @lilypond[noindent,raggedright]
3627 \set TabStaff.minimumFret = #8
3631 \context StaffGroup <<
3632 \context Staff { \clef "G_8" \frag }
3633 \context TabStaff { \frag }
3640 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}, and
3641 @internalsref{StringNumberEvent}.
3645 Chords are not handled in a special way, and hence the automatic
3646 string selector may easily select the same string to two notes in a
3650 @node Non-guitar tablatures
3651 @subsection Non-guitar tablatures
3652 @cindex Non-guitar tablatures
3654 You can change the number of strings, by setting the number of lines
3655 in the @internalsref{TabStaff}.
3657 You can change the tuning of the strings. A string tuning is given as
3658 a Scheme list with one integer number for each string, the number
3659 being the pitch (measured in semitones relative to middle C) of an
3660 open string. The numbers specified for @code{stringTuning} are the
3661 numbers of semitones to subtract or add, starting the specified pitch
3662 by default middle C, in string order. Thus, the notes are e, a, d, and
3665 @lilypond[fragment,verbatim]
3666 \context TabStaff <<
3667 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
3670 a,4 c' a e' e c' a e'
3677 No guitar special effects have been implemented.
3681 Program reference: @internalsref{Tab_note_heads_engraver}.
3685 @section Chord names
3688 LilyPond has support for both printing chord names. Chords may be
3689 entered in musical chord notation, i.e. @code{< .. >}, but they can
3690 also be entered by name. Internally, the chords are represented as a
3691 set of pitches, so they can be transposed:
3694 @lilypond[verbatim,raggedright]
3695 twoWays = \notes \transpose c c' {
3705 << \context ChordNames \twoWays
3706 \context Voice \twoWays >> }
3709 This example also shows that the chord printing routines do not try to
3710 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3716 * Printing chord names::
3721 @subsection Chords mode
3724 Chord mode is a mode where you can input sets of pitches using common
3725 names. It is introduced by the keyword @code{\chords}.
3726 In chords mode, a chord is entered by the root, which is entered
3727 like a common pitch:
3728 @lilypond[fragment,verbatim,relative=1]
3729 \chords { es4. d8 c2 }
3734 Other chords may be entered by suffixing a colon, and introducing a
3735 modifier, and optionally, a number:
3737 @lilypond[fragment,verbatim]
3738 \chords { e1:m e1:7 e1:m7 }
3740 The first number following the root is taken to be the `type' of the
3741 chord, thirds are added to the root until it reaches the specified
3743 @lilypond[fragment,verbatim]
3744 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3747 @cindex root of chord
3748 @cindex additions, in chords
3749 @cindex removals, in chords
3751 More complex chords may also be constructed adding separate steps
3752 to a chord. Additions are added after the number following
3753 the colon, and are separated by dots:
3755 @lilypond[verbatim,fragment]
3756 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3758 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3760 @lilypond[verbatim,fragment]
3761 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3763 Removals are specified similarly, and are introduced by a caret. They
3764 must come after the additions:
3765 @lilypond[verbatim,fragment]
3766 \chords { c^3 c:7^5 c:9^3.5 }
3769 Modifiers can be used to change pitches. The following modifiers are
3773 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3775 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3778 is the augmented chord. This modifier raises the 5th step.
3780 is the major 7th chord. This modifier raises the 7th step if present.
3782 is the suspended 4th or 2nd. This modifier removes the 3rd
3783 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3786 Modifiers can be mixed with additions:
3787 @lilypond[verbatim,fragment]
3788 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3791 @cindex modifiers, in chords.
3798 Since an unaltered 11 does not sound good when combined with an
3799 unaltered 13, the 11 is removed in this case (unless it is added
3802 @lilypond[fragment,verbatim]
3803 \chords { c:13 c:13.11 c:m13 }
3808 An inversion (putting one pitch of the chord on the bottom), as well
3809 as bass notes, can be specified by appending
3810 @code{/}@var{pitch} to the chord:
3811 @lilypond[fragment,verbatim]
3812 \chords { c1 c/g c/f }
3816 A bass note can be added instead of transposed out of the chord,
3817 by using @code{/+}@var{pitch}.
3819 @lilypond[fragment,verbatim]
3820 \chords { c1 c/+g c/+f }
3823 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3824 of the commands continue to work, for example, @code{r} and
3825 @code{\skip} can be used to insert rests and spaces, and property
3826 commands may be used to change various settings.
3832 Each step can only be present in a chord once. The following
3833 simply produces the augmented chord, since @code{5+} is interpreted
3836 @lilypond[verbatim,fragment]
3837 \chords { c:5.5-.5+ }
3841 @node Printing chord names
3842 @subsection Printing chord names
3844 @cindex printing chord names
3848 For displaying printed chord names, use the @internalsref{ChordNames} context.
3849 The chords may be entered either using the notation
3850 described above, or directly using @code{<} and @code{>}:
3852 @lilypond[verbatim,raggedright]
3854 \chords {a1 b c} <d' f' a'> <e' g' b'>
3858 \context ChordNames \scheme
3859 \context Staff \scheme
3864 You can make the chord changes stand out by setting
3865 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3866 display chord names when there is a change in the chords scheme and at
3867 the start of a new line:
3869 @lilypond[verbatim,linewidth=9\cm]
3871 c1:m c:m \break c:m c:m d
3875 \context ChordNames {
3876 \set chordChanges = ##t
3878 \context Staff \transpose c c' \scheme
3883 The default chord name layout is a system for Jazz music, proposed by
3884 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
3885 following properties:
3888 @cindex chordNameExceptions
3889 @item chordNameExceptions
3890 This is a list that contains the chords that have special formatting.
3892 @inputfileref{input/regression,chord-name-exceptions.ly}.
3893 @cindex exceptions, chord names.
3896 @cindex majorSevenSymbol
3897 @item majorSevenSymbol
3898 This property contains the markup object used for the 7th step, when
3899 it is major. Predefined options are @code{whiteTriangleMarkup} and
3900 @code{blackTriangleMarkup}. See
3901 @inputfileref{input/regression,chord-name-major7.ly} for an example.
3903 @cindex chordNameSeparator
3904 @item chordNameSeparator
3905 Different parts of a chord name are normally separated by a
3906 slash. By setting @code{chordNameSeparator}, you can specify other
3908 @lilypond[fragment,verbatim]
3909 \context ChordNames \chords {
3911 \set chordNameSeparator
3912 = \markup { \typewriter "|" }
3916 @cindex chordRootNamer
3917 @item chordRootNamer
3918 The root of a chord is usually printed as a letter with an optional
3919 alteration. The transformation from pitch to letter is done by this
3920 function. Special note names (for example, the German ``H'' for a
3921 B-chord) can be produced by storing a new function in this property.
3923 The predefined variables @code{\germanChords},
3924 @code{\semiGermanChords} set these variables.
3927 @cindex chordNoteNamer
3928 @item chordNoteNamer
3929 The default is to print single pitch, e.g. the bass note, using the
3930 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
3931 to a specialized function to change this behavior. For example, the
3932 base can be printed in lower case.
3937 There are also two other chord name schemes implemented: an alternate
3938 Jazz chord notation, and a systematic scheme called Banter chords. The
3939 alternate jazz notation is also shown on the chart in @ref{Chord name
3940 chart}. Turning on these styles is described in the input file
3941 @inputfileref{input/test,chord-names-jazz.ly}.
3945 @cindex chords, jazz
3950 @cindex @code{\germanChords}
3951 @code{\germanChords},
3952 @cindex @code{\semiGermanChords}
3953 @code{\semiGermanChords}.
3960 Examples: @inputfileref{input/regression,chord-name-major7.ly},
3961 @inputfileref{input/regression,chord-name-exceptions.ly},
3962 @inputfileref{input/test,chord-names-jazz.ly},
3963 @inputfileref{input/test,chord-names-german.ly}.
3965 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
3970 Chord names are determined solely from the list of pitches. Chord
3971 inversions are not identified, and neither are added bass notes. This
3972 may result in strange chord names when chords are entered with the
3973 @code{< .. >} syntax.
3978 @node Orchestral music
3979 @section Orchestral music
3981 @cindex Writing parts
3983 Orchestral music involves some special notation, both in the full
3984 score and the individual parts. This section explains how to tackle
3985 some common problems in orchestral music.
3990 * Multiple staff contexts::
3993 * Instrument names::
3995 * Instrument transpositions::
3996 * Multi measure rests::
3997 * Automatic part combining::
3999 * Different editions from one source::
4000 * Quoting other voices::
4003 @node Multiple staff contexts
4004 @subsection Multiple staff contexts
4006 Polyphonic scores consist of many staves. These staves can be
4007 constructed in three different ways:
4009 @item The group is started with a brace at the left, and bar lines are
4010 connected. This is done with the @internalsref{GrandStaff} context.
4012 @item The group is started with a bracket, and bar lines are connected. This is done with the
4013 @internalsref{StaffGroup} context
4016 @item The group is started with a vertical line. Bar lines are not
4017 connected. This is the default for the score.
4021 @cindex Staff, multiple
4022 @cindex bracket, vertical
4023 @cindex brace, vertical
4030 @node Rehearsal marks
4031 @subsection Rehearsal marks
4032 @cindex Rehearsal marks
4034 @cindex @code{\mark}
4036 To print a rehearsal mark, use the @code{\mark} command:
4037 @lilypond[fragment,verbatim]
4048 (The letter I is skipped in accordance with engraving traditions.)
4050 The mark is incremented automatically if you use @code{\mark
4051 \default}, but you can also use an integer argument to set the mark
4052 manually. The value to use is stored in the property
4053 @code{rehearsalMark}.
4055 The style is defined by the property @code{markFormatter}. It is a
4056 function taking the current mark (an integer) and the current context
4057 as argument. It should return a markup object. In the following
4058 example, @code{markFormatter} is set to a canned procedure. After a
4059 few measures, it is set to function that produces a boxed number.
4061 @lilypond[verbatim,fragment,relative=1]
4062 \set Score.markFormatter = #format-mark-numbers
4065 \set Score.markFormatter
4066 = #(lambda (mark context)
4067 (make-bold-markup (make-box-markup (number->string mark))))
4072 The file @file{scm/translation-functions.scm} contains the definitions
4073 of @code{format-mark-numbers} (the default format) and
4074 @code{format-mark-letters}. They can be used as inspiration for other
4075 formatting functions.
4078 @cindex coda on bar line
4079 @cindex segno on bar line
4080 @cindex fermata on bar line
4081 @cindex bar lines, symbols on
4083 The @code{\mark} command can also be used to put signs like coda,
4084 segno and fermatas on a bar line. Use @code{\markup} to
4085 to access the appropriate symbol:
4087 @lilypond[fragment,verbatim,relative=1]
4088 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4092 In the case of a line break, marks must also be printed at the end of
4093 the line, and not at the beginning. Use the following to force that
4096 \override Score.RehearsalMark
4097 #'break-visibility = #begin-of-line-invisible
4103 @cindex bar lines, putting symbols on
4107 Program reference: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
4109 Init files: @file{scm/translation-functions.scm} contains the
4110 definition of @code{format-mark-numbers} and
4111 @code{format-mark-letters}. They can be used as inspiration for other
4112 formatting functions.
4114 Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
4115 @inputfileref{input/regression,rehearsal-mark-number.ly}.
4119 @subsection Bar numbers
4123 @cindex measure numbers
4124 @cindex currentBarNumber
4126 Bar numbers are printed by default at the start of the line. The
4127 number itself is stored in the
4128 @code{currentBarNumber} property,
4129 which is normally updated automatically for every measure.
4131 Bar numbers can be typeset at regular intervals instead of at the
4132 beginning of each line. This is illustrated in the following example,
4133 whose source is available as
4134 @inputfileref{input/test,bar-number-regular-interval.ly}:
4136 @lilypondfile[]{bar-number-regular-interval.ly}
4141 Program reference: @internalsref{BarNumber}.
4143 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4144 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4148 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4149 there is one at the top. To solve this, the
4150 @code{padding} property of @internalsref{BarNumber} can be
4151 used to position the number correctly.
4153 @node Instrument names
4154 @subsection Instrument names
4156 In an orchestral score, instrument names are printed left side of the
4159 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4160 and @internalsref{Staff}.@code{instr}. This will print a string before
4161 the start of the staff. For the first start, @code{instrument} is
4162 used, for the next ones @code{instr} is used.
4165 @lilypond[verbatim,raggedright,relative=2]
4166 \set Staff.instrument = "Ploink "
4167 \set Staff.instr = "Plk "
4174 You can also use markup texts to construct more complicated instrument
4178 @lilypond[fragment,verbatim,raggedright]
4180 \set Staff.instrument = \markup {
4181 \column < "Clarinetti"
4194 Program reference: @internalsref{InstrumentName}.
4198 When you put a name on a grand staff or piano staff the width of the
4199 brace is not taken into account. You must add extra spaces to the end of
4200 the name to avoid a collision.
4203 @subsection Transpose
4205 @cindex transposition of pitches
4206 @cindex @code{\transpose}
4208 A music expression can be transposed with @code{\transpose}. The syntax
4211 \transpose @var{from} @var{to} @var{musicexpr}
4214 This means that @var{musicexpr} is transposed by the interval between
4215 the pitches @var{from} and @var{to}: any note with pitch @code{from}
4216 is changed to @code{to}.
4219 For example, consider a piece written in the key of D major. If
4220 this piece is a little too low for its performer, it can be
4221 transposed up to E major with
4223 \transpose d e @dots{}
4226 Consider a part written for violin (a C instrument). If
4227 this part is to be played on the A clarinet, the following
4228 transposition will produce the appropriate part
4231 \transpose a c @dots{}
4234 Since @var{from} and @var{to} are pitches, so @code{\transpose} must be
4235 inside a @code{\notes} section. @code{\transpose} distinguishes
4236 between enharmonic pitches: both @code{\transpose c cis} or
4237 @code{\transpose c des} will transpose up half a tone. The first
4238 version will print sharps and the second version will print flats:
4240 @lilypond[raggedright,verbatim]
4241 mus =\notes { \key d \major cis d fis g }
4242 \score { \notes \context Staff {
4245 \transpose c g' \mus
4246 \transpose c f' \mus
4253 Program reference: @internalsref{TransposedMusic}, and
4254 @internalsref{UntransposableMusic}.
4258 If you want to use both @code{\transpose} and @code{\relative}, then
4259 you must put @code{\transpose} outside of @code{\relative}, since
4260 @code{\relative} will have no effect music that appears inside a
4263 @node Instrument transpositions
4264 @subsection Instrument transpositions
4266 The key of a transposing instrument can also be specified. This
4267 applies to many wind instruments, for example, clarinets (B-flat, A and
4268 E-flat), horn (F) and trumpet (B-flat, C, D and E-flat).
4271 The transposition is entered after the keyword @code{\transposition}:
4274 \transposition bes %% B-flat clarinet
4277 This command sets the property @code{instrumentTuning}. The value of
4278 this property is used for MIDI output and quotations. It does not
4279 affect how notes are printed in the current staff.
4281 @cindex transposition, MIDI
4282 @cindex transposition, instrument
4285 @node Multi measure rests
4286 @subsection Multi measure rests
4287 @cindex multi measure rests
4288 @cindex Rests, multi measure
4292 Multi measure rests are entered using `@code{R}'. It is specifically
4293 meant for full bar rests and for entering parts: the rest can expand
4294 to fill a score with rests, or it can be printed as a single
4295 multimeasure rest. This expansion is controlled by the property
4296 @code{Score.skipBars}. If this is set to true, empty measures will not
4297 be expanded, and the appropriate number is added automatically:
4299 @lilypond[fragment,verbatim]
4300 \time 4/4 r1 | R1 | R1*2
4301 \set Score.skipBars = ##t R1*17 R1*4
4304 The @code{1} in @code{R1} is similar to the duration notation used for
4305 notes. Hence, for time signatures other than 4/4, you must enter other
4306 durations. This can be done with augmentation dots or fractions:
4308 @lilypond[fragment,verbatim]
4309 \set Score.skipBars = ##t
4317 An @code{R} spanning a single measure is printed as either a whole rest
4318 or a breve, centered in the measure regardless of the time signature.
4320 @cindex text on multi-measure rest
4321 @cindex script on multi-measure rest
4322 @cindex fermata on multi-measure rest
4324 Texts can be added to multi-measure rests by using the
4325 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4326 replaced. If you need both texts and the number, you must add the
4327 number by hand. A variable (@code{\fermataMarkup}) is provided for
4331 @lilypond[verbatim,fragment]
4333 R2._\markup { "Ad lib" }
4337 If you want to have a text on the left end of a multi-measure rest,
4338 attach the text to a zero-length skip note, i.e.
4346 @cindex whole rests for a full measure
4350 Program reference: @internalsref{MultiMeasureRestEvent},
4351 @internalsref{MultiMeasureTextEvent},
4352 @internalsref{MultiMeasureRestMusicGroup}, and
4353 @internalsref{MultiMeasureRest}.
4355 The layout object @internalsref{MultiMeasureRestNumber} is for the
4356 default number, and @internalsref{MultiMeasureRestText} for user
4361 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4362 over multi-measure rests.
4364 @cindex condensing rests
4366 There is no way to automatically condense multiple rests into a single
4367 multimeasure rest. Multi measure rests do not take part in rest
4370 Be careful when entering multimeasure rests followed by whole
4371 notes. The following will enter two notes lasting four measures each:
4375 When @code{skipBars} is set, then the result will look OK, but the
4376 bar numbering will be off.
4378 @node Automatic part combining
4379 @subsection Automatic part combining
4380 @cindex automatic part combining
4381 @cindex part combiner
4384 Automatic part combining is used to merge two parts of music onto a
4385 staff. It is aimed at typesetting orchestral scores. When the two
4386 parts are identical for a period of time, only one is shown. In
4387 places where the two parts differ, they are typeset as separate
4388 voices, and stem directions are set automatically. Also, solo and
4389 @emph{a due} parts are identified and can be marked.
4392 The syntax for part combining is
4395 \partcombine @var{musicexpr1} @var{musicexpr2}
4398 The music expressions will be interpreted as @internalsref{Voice} contexts.
4400 The following example demonstrates the basic functionality of the part
4401 combiner: putting parts on one staff, and setting stem directions and
4404 @lilypond[verbatim,raggedright,fragment,relative=1]
4405 \new Staff \partcombine
4414 The first @code{g} appears only once, although it was
4415 specified twice (once in each part). Stem, slur and tie directions are
4416 set automatically, depending whether there is a solo or unisono. The
4417 first part (with context called @code{one}) always gets up stems, and
4418 `solo', while the second (called @code{two}) always gets down stems and
4421 If you just want the merging parts, and not the textual markings, you
4422 may set the property @var{soloADue} to false:
4424 @lilypond[verbatim,raggedright,fragment,relative=1]
4426 \set Staff.soloADue = ##f
4438 Program reference: @internalsref{PartCombineMusic},
4439 @internalsref{SoloOneEvent}, and
4440 @internalsref{SoloTwoEvent}, and
4441 @internalsref{UnisonoEvent}.
4445 In @code{soloADue} mode, when the two voices play the same notes on and
4446 off, the part combiner may typeset @code{a2} more than once in a
4449 @code{\partcombine} can not be inside @code{\times}.
4451 Internally, the @code{\partcombine} interprets both arguments as
4452 @code{Voice}s named @code{one} and @code{two}, and then decides when
4453 the parts can be combined. Consequently, if the arguments switch to
4454 differently named @internalsref{Voice} contexts, then the events in
4455 those will be ignored.
4458 @subsection Hiding staves
4460 @cindex Frenched scores
4461 @cindex Hiding staves
4463 In orchestral scores, staff lines that only have rests are usually
4464 removed. This saves some space. This style is called `French Score'.
4465 For @internalsref{Lyrics},
4466 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4467 switched on by default. When these line of these contexts turn out
4468 empty after the line-breaking process, they are removed.
4470 For normal staves, a specialized @internalsref{Staff} context is
4471 available, which does the same: staves containing nothing (or only
4472 multi measure rests) are removed. The context definition is stored in
4473 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4474 in this example disappears in the second line:
4479 \notes \relative c' <<
4480 \new Staff { e4 f g a \break c1 }
4481 \new Staff { c4 d e f \break R1 }
4485 \context { \RemoveEmptyStaffContext }
4490 The first page shows all staves in full. If empty staves should be
4491 removed from the first page too, set @code{remove-first} to false in
4492 @internalsref{RemoveEmptyVerticalGroup}.
4494 Another application is making ossia sections, i.e. alternative
4495 melodies on a separate piece of staff, with help of a Frenched
4496 staff. See @inputfileref{input/test,ossia.ly} for an example.
4499 @node Different editions from one source
4500 @subsection Different editions from one source
4502 The @code{\tag} command marks music expressions with a name. These
4503 tagged expressions can be filtered out later. With this mechanism it
4504 is possible to make different versions of the same music source.
4506 In the following example, we see two versions of a piece of music, one
4507 for the full score, and one with cue notes for the instrumental part:
4523 The same can be applied to articulations, texts, etc.: they are
4526 -\tag #@var{your-tag}
4528 to an articulation, for example,
4533 This defines a note with a conditional fingering indication.
4535 By applying the @code{remove-tag} function, tagged expressions can be
4536 filtered. For example,
4540 \apply #(remove-tag 'score) @var{the music}
4541 \apply #(remove-tag 'part) @var{the music}
4546 @lilypondfile[]{tag-filter.ly}
4548 The argument of the @code{\tag} command should be a symbol, or a list
4549 of symbols, for example,
4551 \tag #'(original-part transposed-part) @dots{}
4556 Examples: @inputfileref{input/regression,tag-filter.ly}.
4559 @node Quoting other voices
4560 @subsection Quoting other voices
4562 With quotations, fragments of other parts can be inserted into a part
4563 directly. Before a part can be quoted, it must be marked especially as
4564 quotable. This is done with code @code{\addquote} command. The
4565 quotation may then be done with @code{\quote}
4568 \addquote @var{name} @var{music}
4569 \quote @var{name} @var{duration}
4574 Here, @var{name} is an identifying string. The @var{music} is any kind
4575 of music. This is an example of @code{\addquote}:
4578 \addquote clarinet \notes\relative c' {
4583 During a part, a piece of music can be quoted with the @code{\quote}
4590 This would cite 3 quarter notes (a dotted half note) of the previously
4591 added clarinet voice.
4593 Quotations take into account the transposition both source and target
4594 instruments, if they are specified using the @code{\transposition} command.
4596 @lilypond[verbatim,fragment]
4597 \addquote clarinet \notes\relative c' {
4603 e'8 f'8 \quote clarinet 2
4609 Only the contents of the first @internalsref{Voice} occurring in an
4610 @code{\addquote} command will be considered for quotation, so
4611 @var{music} can not contain @code{\new} and @code{\context Voice}
4612 statements that would switch to a different Voice.
4617 In this manual: @ref{Instrument transpositions}.
4619 Examples: @inputfileref{input/regression,quote.ly}
4620 @inputfileref{input/regression,quote-transposition.ly}
4622 Program reference: @internalsref{QuoteMusic}.
4624 @node Ancient notation
4625 @section Ancient notation
4627 @cindex Vaticana, Editio
4628 @cindex Medicaea, Editio
4633 Support for ancient notation includes features for mensural notation
4634 and Gregorian Chant notation. There is also limited support for
4635 figured bass notation.
4637 Many graphical objects provide a @code{style} property, see
4638 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4639 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4640 signatures}. By manipulating such a grob property, the typographical
4641 appearance of the affected graphical objects can be accommodated for a
4642 specific notation flavor without need for introducing any new
4645 Other aspects of ancient notation can not that easily be expressed as
4646 in terms of just changing a style property of a graphical object.
4647 Therefore, some notational concepts are introduced specifically for
4648 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4649 @ref{Ligatures}, and @ref{Figured bass}.
4653 * Ancient note heads::
4654 * Ancient accidentals::
4658 * Ancient time signatures::
4663 * Vaticana style contexts::
4666 If this all is way too much of documentation for you, and you just
4667 want to dive into typesetting without worrying too much about the
4668 details on how to customize a context, then you may have a look at the
4669 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4670 set up predefined style-specific voice and staff contexts, and
4671 directly go ahead with the note entry.
4675 Ligatures need special spacing that has not yet been implemented. As
4676 a result, there is too much space between ligatures most of the time,
4677 and line breaking often is unsatisfactory. Also, lyrics do not
4678 correctly align with ligatures.
4680 Accidentals must not be printed within a ligature, but instead need to
4681 be collected and printed in front of it.
4683 Augmentum dots within ligatures are not handled correctly.
4686 @node Ancient note heads
4687 @subsection Ancient note heads
4692 For ancient notation, a note head style other than the @code{default}
4693 style may be chosen. This is accomplished by setting the @code{style}
4694 property of the NoteHead object to the desired value (@code{baroque},
4695 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4696 differs from the @code{default} style only in using a square shape for
4697 @code{\breve} note heads. The @code{neo_mensural} style differs from
4698 the @code{baroque} style in that it uses rhomboidal heads for whole
4699 notes and all smaller durations. Stems are centered on the note
4700 heads. This style is in particular useful when transcribing mensural
4701 music, e.g. for the incipit. The @code{mensural} style finally
4702 produces note heads that mimic the look of note heads in historic
4703 printings of the 16th century.
4705 The following example demonstrates the @code{neo_mensural} style:
4707 @lilypond[fragment,raggedright,verbatim]
4708 \override NoteHead #'style = #'neo_mensural
4709 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4712 When typesetting a piece in Gregorian Chant notation, a Gregorian
4713 ligature engraver will automatically select the proper note heads,
4714 such there is no need to explicitly set the note head style. Still,
4715 the note head style can be set e.g. to @code{vaticana_punctum} to
4716 produce punctum neumes. Similarly, a mensural ligature engraver is
4717 used to automatically assemble mensural ligatures. See
4718 @ref{Ligatures} for how ligature engravers work.
4723 @ref{Percussion staves} use note head styles of their own that are
4724 frequently used in contemporary music notation.
4726 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
4727 overview over all available note head styles.
4730 @node Ancient accidentals
4731 @subsection Ancient accidentals
4736 Use the @code{style} property of grob @internalsref{Accidental} to
4737 select ancient accidentals. Supported styles are
4738 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4740 @lilypond[raggedright,staffsize=26]
4748 { " " \musicglyph #"accidentals-vaticana-1"
4749 " " \musicglyph #"accidentals-vaticana0" }
4753 { " " \musicglyph #"accidentals-medicaea-1" }
4757 { " " \musicglyph #"accidentals-hufnagel-1" }
4761 { " " \musicglyph #"accidentals-mensural-1"
4762 " " \musicglyph #"accidentals-mensural1" }
4771 \remove "Bar_number_engraver"
4775 \remove "Clef_engraver"
4776 \remove "Key_engraver"
4777 \remove "Time_signature_engraver"
4778 \remove "Staff_symbol_engraver"
4779 minimumVerticalExtent = ##f
4785 As shown, not all accidentals are supported by each style. When
4786 trying to access an unsupported accidental, LilyPond will switch to a
4787 different style, as demonstrated in
4788 @inputfileref{input/test,ancient-accidentals.ly}.
4790 Similarly to local accidentals, the style of the key signature can be
4791 controlled by the @code{style} property of the
4792 @internalsref{KeySignature} grob.
4796 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
4797 @ref{Accidentals} give a general introduction into the use of
4798 accidentals. @ref{Key signature} gives a general introduction into
4799 the use of key signatures.
4801 Program reference: @internalsref{KeySignature}.
4803 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
4806 @subsection Ancient rests
4811 Use the @code{style} property of grob @internalsref{Rest} to select
4812 ancient accidentals. Supported styles are @code{classical},
4813 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4814 from the @code{default} style only in that the quarter rest looks like
4815 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4816 well for e.g. the incipit of a transcribed mensural piece of music.
4817 The @code{mensural} style finally mimics the appearance of rests as
4818 in historic prints of the 16th century.
4820 The following example demonstrates the @code{neo_mensural} style:
4822 @lilypond[fragment,raggedright,verbatim]
4823 \override Rest #'style = #'neo_mensural
4824 r\longa r\breve r1 r2 r4 r8 r16
4827 There are no 32th and 64th rests specifically for the mensural or
4828 neo-mensural style. Instead, the rests from the default style will be
4829 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4832 There are no rests in Gregorian Chant notation; instead, it uses
4837 In this manual: @ref{Rests} gives a general introduction into the use of rests.
4841 @subsection Ancient clefs
4846 LilyPond supports a variety of clefs, many of them ancient.
4848 The following table shows all ancient clefs that are supported via the
4849 @code{\clef} command. Some of the clefs use the same glyph, but
4850 differ only with respect to the line they are printed on. In such
4851 cases, a trailing number in the name is used to enumerate these clefs.
4852 Still, you can manually force a clef glyph to be typeset on an
4853 arbitrary line, as described in @ref{Clef}. The note printed to the
4854 right side of each clef in the example column denotes the @code{c'}
4855 with respect to that clef.
4857 @multitable @columnfractions .3 .3 .3 .1
4861 @b{Description} @tab
4862 @b{Supported Clefs} @tab
4866 @code{clefs-neo_mensural_c} @tab
4867 modern style mensural C clef @tab
4868 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4869 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4870 @lilypond[relative,notime]
4871 \override Staff.TimeSignature #'transparent = ##t
4872 \clef "neo_mensural_c2" c
4876 @code{clefs-petrucci_c1}
4877 @code{clefs-petrucci_c2}
4878 @code{clefs-petrucci_c3}
4879 @code{clefs-petrucci_c4}
4880 @code{clefs-petrucci_c5}
4883 petrucci style mensural C clefs, for use on different staff lines
4884 (the examples shows the 2nd staff line C clef).
4894 @lilypond[relative,notime]
4895 \override Staff.TimeSignature #'transparent = ##t
4896 \clef "petrucci_c2" c
4900 @code{clefs-petrucci_f} @tab
4901 petrucci style mensural F clef @tab
4902 @code{petrucci_f} @tab
4903 @lilypond[relative,notime]
4904 \override Staff.TimeSignature #'transparent = ##t
4905 \clef "petrucci_f" c
4909 @code{clefs-petrucci_g} @tab
4910 petrucci style mensural G clef @tab
4911 @code{petrucci_g} @tab
4912 @lilypond[relative,notime]
4913 \override Staff.TimeSignature #'transparent = ##t
4914 \clef "petrucci_g" c
4918 @code{clefs-mensural_c} @tab
4919 historic style mensural C clef @tab
4920 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4921 @code{mensural_c4} @tab
4922 @lilypond[relative,notime]
4923 \override Staff.TimeSignature #'transparent = ##t
4924 \clef "mensural_c2" c
4928 @code{clefs-mensural_f} @tab
4929 historic style mensural F clef @tab
4930 @code{mensural_f} @tab
4931 @lilypond[relative,notime]
4932 \override Staff.TimeSignature #'transparent = ##t
4933 \clef "mensural_f" c
4937 @code{clefs-mensural_g} @tab
4938 historic style mensural G clef @tab
4939 @code{mensural_g} @tab
4940 @lilypond[relative,notime]
4941 \override Staff.TimeSignature #'transparent = ##t
4942 \clef "mensural_g" c
4946 @code{clefs-vaticana_do} @tab
4947 Editio Vaticana style do clef @tab
4948 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
4949 @lilypond[relative,notime]
4950 \override Staff.StaffSymbol #'line-count = #4
4951 \override Staff.TimeSignature #'transparent = ##t
4952 \clef "vaticana_do2" c
4956 @code{clefs-vaticana_fa} @tab
4957 Editio Vaticana style fa clef @tab
4958 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
4959 @lilypond[relative,notime]
4960 \override Staff.StaffSymbol #'line-count = #4
4961 \override Staff.TimeSignature #'transparent = ##t
4962 \clef "vaticana_fa2" c
4966 @code{clefs-medicaea_do} @tab
4967 Editio Medicaea style do clef @tab
4968 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
4969 @lilypond[relative,notime]
4970 \override Staff.StaffSymbol #'line-count = #4
4971 \override Staff.TimeSignature #'transparent = ##t
4972 \clef "medicaea_do2" c
4976 @code{clefs-medicaea_fa} @tab
4977 Editio Medicaea style fa clef @tab
4978 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
4979 @lilypond[relative,notime]
4980 \override Staff.StaffSymbol #'line-count = #4
4981 \override Staff.TimeSignature #'transparent = ##t
4982 \clef "medicaea_fa2" c
4986 @code{clefs-hufnagel_do} @tab
4987 historic style hufnagel do clef @tab
4988 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
4989 @lilypond[relative,notime]
4990 \override Staff.StaffSymbol #'line-count = #4
4991 \override Staff.TimeSignature #'transparent = ##t
4992 \clef "hufnagel_do2" c
4996 @code{clefs-hufnagel_fa} @tab
4997 historic style hufnagel fa clef @tab
4998 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
4999 @lilypond[relative,notime]
5000 \override Staff.StaffSymbol #'line-count = #4
5001 \override Staff.TimeSignature #'transparent = ##t
5002 \clef "hufnagel_fa2" c
5006 @code{clefs-hufnagel_do_fa} @tab
5007 historic style hufnagel combined do/fa clef @tab
5008 @code{hufnagel_do_fa} @tab
5009 @lilypond[relative,notime]
5010 \override Staff.TimeSignature #'transparent = ##t
5011 \clef "hufnagel_do_fa" c
5018 @emph{Modern style} means ``as is typeset in contemporary editions of
5019 transcribed mensural music''.
5021 @emph{Petrucci style} means ``inspired by printings published by the
5022 famous engraver Petrucci (1466-1539)''.
5024 @emph{Historic style} means ``as was typeset or written in historic
5025 editions (other than those of Petrucci)''.
5027 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5029 Petrucci used C clefs with differently balanced left-side vertical
5030 beams, depending on which staff line it is printed.
5034 In this manual: see @ref{Clef}.
5038 The mensural g clef is mapped to the Petrucci g clef, until a new
5039 mensural g clef is implemented.
5044 @subsection Ancient flags
5049 Use the @code{flag-style} property of grob @internalsref{Stem} to
5050 select ancient flags. Besides the @code{default} flag style,
5051 only @code{mensural} style is supported:
5053 @lilypond[fragment,raggedright,verbatim]
5054 \override Stem #'flag-style = #'mensural
5055 \override Stem #'thickness = #1.0
5056 \override NoteHead #'style = #'mensural
5058 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
5059 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5062 Note that the innermost flare of each mensural flag always is
5063 vertically aligned with a staff line. If you do not like this
5064 behavior, you can set the @code{adjust-if-on-staffline} property of
5065 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5066 of the end of each flare is different between notes on staff lines and
5067 notes between staff lines:
5069 @lilypond[fragment,raggedright]
5070 \override Stem #'flag-style = #'mensural
5071 \override Stem #'thickness = #1.0
5072 \override Stem #'adjust-if-on-staffline = ##f
5073 \override NoteHead #'style = #'mensural
5075 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
5076 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5079 There is no particular flag style for neo-mensural notation. Hence,
5080 when typesetting e.g. the incipit of a transcribed piece of mensural
5081 music, the default flag style should be used. There are no flags in
5082 Gregorian Chant notation.
5085 @node Ancient time signatures
5086 @subsection Ancient time signatures
5088 @cindex time signatures
5091 There is limited support for mensural time signatures. The
5092 glyphs are hard-wired to particular time fractions. In other words,
5093 to get a particular mensural signature glyph with the @code{\time n/m}
5094 command, @code{n} and @code{m} have to be chosen according to the
5100 \set Score.timing = ##f
5101 \set Score.barAlways = ##t
5102 s_\markup { "$\\backslash$time 4/4" }
5103 ^\markup { " " \musicglyph #"timesig-neo_mensural4/4" }
5105 s_\markup { "$\\backslash$time 2/2" }
5106 ^\markup { " " \musicglyph #"timesig-neo_mensural2/2" }
5108 s_\markup { "$\\backslash$time 6/4" }
5109 ^\markup { " " \musicglyph #"timesig-neo_mensural6/4" }
5111 s_\markup { "$\\backslash$time 6/8" }
5112 ^\markup { " " \musicglyph #"timesig-neo_mensural6/8" }
5114 s_\markup { "$\\backslash$time 3/2" }
5115 ^\markup { " " \musicglyph #"timesig-neo_mensural3/2" }
5117 s_\markup { "$\\backslash$time 3/4" }
5118 ^\markup { " " \musicglyph #"timesig-neo_mensural3/4" }
5120 s_\markup { "$\\backslash$time 9/4" }
5121 ^\markup { " " \musicglyph #"timesig-neo_mensural9/4" }
5123 s_\markup { "$\\backslash$time 9/8" }
5124 ^\markup { " " \musicglyph #"timesig-neo_mensural9/8" }
5126 s_\markup { "$\\backslash$time 4/8" }
5127 ^\markup { " " \musicglyph #"timesig-neo_mensural4/8" }
5129 s_\markup { "$\\backslash$time 2/4" }
5130 ^\markup { " " \musicglyph #"timesig-neo_mensural2/4" }
5138 \remove Staff_symbol_engraver
5139 \remove Clef_engraver
5140 \remove Time_signature_engraver
5146 Use the @code{style} property of grob @internalsref{TimeSignature} to
5147 select ancient time signatures. Supported styles are
5148 @code{neo_mensural} and @code{mensural}. The above table uses the
5149 @code{neo_mensural} style. This style is appropriate e.g. for the
5150 incipit of transcriptions of mensural pieces. The @code{mensural}
5151 style mimics the look of historical printings of the 16th century.
5153 @inputfileref{input/test,time.ly} gives an overview over all available
5154 ancient and modern styles.
5158 Program reference: @ref{Time signature} gives a general introduction into the use of time
5163 Mensural signature glyphs are mapped to time fractions in a hard-wired
5164 way. This mapping is sensible, but still arbitrary: given a mensural
5165 time signature, the time fraction represents a modern meter that
5166 usually will be a good choice when transcribing a mensural piece of
5167 music. For a particular piece of mensural music, however, the mapping
5168 may be unsatisfactory. In particular, the mapping assumes a fixed
5169 transcription of durations (e.g. brevis = half note in 2/2, i.e. 4:1).
5170 Some glyphs (such as the alternate glyph for 6/8 meter) are not at all
5171 accessible through the @code{\time} command.
5173 Mensural time signatures are supported typographically, but not yet
5174 musically. The internal representation of durations is
5175 based on a purely binary system; a ternary division such as 1 brevis =
5176 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5177 prolatione maiori) is not correctly handled: event times in ternary
5178 modes will be badly computed, resulting e.g. in horizontally
5179 misaligned note heads, and bar checks are likely to erroneously fail.
5181 The syntax and semantics of the @code{\time} command for mensural
5182 music is subject to change.
5185 @subsection Custodes
5190 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
5191 symbol that appears at the end of a staff. It anticipates the pitch
5192 of the first note(s) of the following line and thus helps the player
5193 or singer to manage line breaks during performance, thus enhancing
5194 readability of a score.
5196 Custodes were frequently used in music notation until the 17th
5197 century. Nowadays, they have survived only in a few particular forms
5198 of musical notation such as contemporary editions of Gregorian chant
5199 like the @emph{editio vaticana}. There are different custos glyphs
5200 used in different flavors of notational style.
5202 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5203 @internalsref{Staff} context when declaring the @code{\paper} block,
5204 as shown in the following example:
5210 \consists Custos_engraver
5211 Custos \override #'style = #'mensural
5216 The result looks like this:
5218 @lilypond[raggedright]
5222 \override Staff.Custos #'style = #'mensural
5229 \consists Custos_engraver
5235 The custos glyph is selected by the @code{style} property. The styles
5236 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5237 @code{mensural}. They are demonstrated in the following fragment:
5241 \new Lyrics \lyrics {
5245 { " " \musicglyph #"custodes-vaticana-u0" }
5249 { " " \musicglyph #"custodes-medicaea-u0" }
5254 { " " \musicglyph #"custodes-hufnagel-u0" }
5259 { " " \musicglyph #"custodes-mensural-u0" }
5271 Program reference: @internalsref{Custos}.
5273 Examples: @inputfileref{input/regression,custos.ly}.
5277 @subsection Divisiones
5283 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
5284 `division') is a staff context symbol that is used to structure
5285 Gregorian music into phrases and sections. The musical meaning of
5286 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5287 can be characterized as short, medium and long pause, somewhat like
5288 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5289 a chant, but is also frequently used within a single
5290 antiphonal/responsorial chant to mark the end of each section.
5293 To use divisiones, include the file @code{gregorian-init.ly}. It
5294 contains definitions that you can apply by just inserting
5295 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5296 and @code{\finalis} at proper places in the input. Some editions use
5297 @emph{virgula} or @emph{caesura} instead of divisio minima.
5298 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5301 @lilypondfile[]{divisiones.ly}
5305 @cindex @code{\virgula}
5307 @cindex @code{\caesura}
5309 @cindex @code{\divisioMinima}
5310 @code{\divisioMinima},
5311 @cindex @code{\divisioMaior}
5312 @code{\divisioMaior},
5313 @cindex @code{\divisioMaxima}
5314 @code{\divisioMaxima},
5315 @cindex @code{\finalis}
5320 In this manual: @ref{Breath marks}.
5322 Program reference: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
5324 Examples: @inputfileref{input/test,divisiones.ly}.
5327 @subsection Ligatures
5331 @c TODO: Should double check if I recalled things correctly when I wrote
5332 @c down the following paragraph by heart.
5334 A ligature is a coherent graphical symbol that represents at least two
5335 distinct notes. Ligatures originally appeared in the manuscripts of
5336 Gregorian chant notation roughly since the 9th century to denote
5337 ascending or descending sequences of notes.
5339 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
5340 Some ligature styles may need additional input syntax specific for
5341 this particular type of ligature. By default, the
5342 @internalsref{LigatureBracket} engraver just puts a square bracket
5345 @lilypond[raggedright,verbatim]
5347 \notes \transpose c c' {
5355 To select a specific style of ligatures, a proper ligature engraver
5356 has to be added to the @internalsref{Voice} context, as explained in
5357 the following subsections. Only white mensural ligatures
5358 are supported with certain limitations.
5361 * White mensural ligatures::
5362 * Gregorian square neumes ligatures::
5365 @node White mensural ligatures
5366 @subsubsection White mensural ligatures
5368 @cindex Mensural ligatures
5369 @cindex White mensural ligatures
5371 There is limited support for white mensural ligatures.
5373 To engrave white mensural ligatures, in the paper block the
5374 @internalsref{Mensural_ligature_engraver} has to be put into the
5375 @internalsref{Voice} context, and remove the
5376 @internalsref{Ligature_bracket_engraver}:
5382 \remove Ligature_bracket_engraver
5383 \consists Mensural_ligature_engraver
5388 There is no additional input language to describe the shape of a
5389 white mensural ligature. The shape is rather determined solely from
5390 the pitch and duration of the enclosed notes. While this approach may
5391 take a new user a while to get accustomed, it has the great advantage
5392 that the full musical information of the ligature is known internally.
5393 This is not only required for correct MIDI output, but also allows for
5394 automatic transcription of the ligatures.
5399 \set Score.timing = ##f
5400 \set Score.defaultBarType = "empty"
5401 \override NoteHead #'style = #'neo_mensural
5402 \override Staff.TimeSignature #'style = #'neo_mensural
5404 \[ g\longa c\breve a\breve f\breve d'\longa \]
5406 \[ e1 f1 a\breve g\longa \]
5408 @lilypond[raggedright]
5410 \notes \transpose c c' {
5411 \set Score.timing = ##f
5412 \set Score.defaultBarType = "empty"
5413 \override NoteHead #'style = #'neo_mensural
5414 \override Staff.TimeSignature #'style = #'neo_mensural
5416 \[ g\longa c\breve a\breve f\breve d'\longa \]
5418 \[ e1 f1 a\breve g\longa \]
5423 \remove Ligature_bracket_engraver
5424 \consists Mensural_ligature_engraver
5430 Without replacing @internalsref{Ligature_bracket_engraver} with
5431 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5434 @lilypond[raggedright]
5436 \notes \transpose c c' {
5437 \set Score.timing = ##f
5438 \set Score.defaultBarType = "empty"
5439 \override NoteHead #'style = #'neo_mensural
5440 \override Staff.TimeSignature #'style = #'neo_mensural
5442 \[ g\longa c\breve a\breve f\breve d'\longa \]
5444 \[ e1 f1 a\breve g\longa \]
5451 The implementation is experimental; it may output strange warnings or
5452 even crash in some cases or produce weird results on more complex
5455 @node Gregorian square neumes ligatures
5456 @subsubsection Gregorian square neumes ligatures
5458 @cindex Square neumes ligatures
5459 @cindex Gregorian square neumes ligatures
5461 Gregorian square neumes notation (following the style of the Editio
5462 Vaticana) is under heavy development, but not yet really usable for
5463 production purposes. Core ligatures can already be typeset, but
5464 essential issues for serious typesetting are still under development,
5465 such as (among others) horizontal alignment of multiple ligatures,
5466 lyrics alignment and proper accidentals handling. Still, this section
5467 gives a sneak preview of what Gregorian chant may look like once it
5470 The following table contains the extended neumes table of the 2nd
5471 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5472 1983 by the monks of Solesmes.
5474 @multitable @columnfractions .4 .2 .2 .2
5477 @b{Neuma aut@*Neumarum Elementa} @tab
5478 @b{Figurae@*Rectae} @tab
5479 @b{Figurae@*Liquescentes Auctae} @tab
5480 @b{Figurae@*Liquescentes Deminutae}
5482 @c TODO: \paper block is identical in all of the below examples.
5483 @c Therefore, it should somehow be included rather than duplicated all
5486 @c why not make identifiers in ly/engraver-init.ly? --hwn
5488 @c Because it's just used to typeset plain notes without
5489 @c a staff for demonstration purposes rather than something
5490 @c special of Gregorian chant notation. --jr
5495 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.5\cm]
5496 \include "gregorian-init.ly"
5498 \notes \transpose c c' {
5501 \noBreak s^\markup {"a"} \noBreak
5503 % Punctum Inclinatum
5505 \noBreak s^\markup {"b"}
5511 \remove "Bar_number_engraver"
5515 \remove "Clef_engraver"
5516 \remove "Key_engraver"
5517 \override StaffSymbol #'transparent = ##t
5518 \remove "Time_signature_engraver"
5519 \remove "Bar_engraver"
5520 minimumVerticalExtent = ##f
5524 \remove Ligature_bracket_engraver
5525 \consists Vaticana_ligature_engraver
5526 \override NoteHead #'style = #'vaticana_punctum
5527 \override Stem #'transparent = ##t
5533 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.5\cm]
5534 \include "gregorian-init.ly"
5536 \notes \transpose c c' {
5537 % Punctum Auctum Ascendens
5538 \[ \auctum \ascendens b \]
5539 \noBreak s^\markup {"c"} \noBreak
5541 % Punctum Auctum Descendens
5542 \[ \auctum \descendens b \]
5543 \noBreak s^\markup {"d"} \noBreak
5545 % Punctum Inclinatum Auctum
5546 \[ \inclinatum \auctum b \]
5547 \noBreak s^\markup {"e"}
5553 \remove "Bar_number_engraver"
5557 \remove "Clef_engraver"
5558 \remove "Key_engraver"
5559 \override StaffSymbol #'transparent = ##t
5560 \remove "Time_signature_engraver"
5561 \remove "Bar_engraver"
5562 minimumVerticalExtent = ##f
5566 \remove Ligature_bracket_engraver
5567 \consists Vaticana_ligature_engraver
5568 \override NoteHead #'style = #'vaticana_punctum
5569 \override Stem #'transparent = ##t
5575 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5576 \include "gregorian-init.ly"
5578 \notes \transpose c c' {
5579 % Punctum Inclinatum Parvum
5580 \[ \inclinatum \deminutum b \]
5581 \noBreak s^\markup {"f"}
5587 \remove "Bar_number_engraver"
5591 \remove "Clef_engraver"
5592 \remove "Key_engraver"
5593 \override StaffSymbol #'transparent = ##t
5594 \remove "Time_signature_engraver"
5595 \remove "Bar_engraver"
5596 minimumVerticalExtent = ##f
5600 \remove Ligature_bracket_engraver
5601 \consists Vaticana_ligature_engraver
5602 \override NoteHead #'style = #'vaticana_punctum
5603 \override Stem #'transparent = ##t
5612 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5613 \include "gregorian-init.ly"
5615 \notes \transpose c c' {
5618 \noBreak s^\markup {"g"}
5624 \remove "Bar_number_engraver"
5628 \remove "Clef_engraver"
5629 \remove "Key_engraver"
5630 \override StaffSymbol #'transparent = ##t
5631 \remove "Time_signature_engraver"
5632 \remove "Bar_engraver"
5633 minimumVerticalExtent = ##f
5637 \remove Ligature_bracket_engraver
5638 \consists Vaticana_ligature_engraver
5639 \override NoteHead #'style = #'vaticana_punctum
5640 \override Stem #'transparent = ##t
5649 @code{3. Apostropha vel Stropha}
5651 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5652 \include "gregorian-init.ly"
5654 \notes \transpose c c' {
5657 \noBreak s^\markup {"h"}
5663 \remove "Bar_number_engraver"
5667 \remove "Clef_engraver"
5668 \remove "Key_engraver"
5669 \override StaffSymbol #'transparent = ##t
5670 \remove "Time_signature_engraver"
5671 \remove "Bar_engraver"
5672 minimumVerticalExtent = ##f
5676 \remove Ligature_bracket_engraver
5677 \consists Vaticana_ligature_engraver
5678 \override NoteHead #'style = #'vaticana_punctum
5679 \override Stem #'transparent = ##t
5685 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5686 \include "gregorian-init.ly"
5688 \notes \transpose c c' {
5690 \[ \stropha \auctum b \]
5691 \noBreak s^\markup {"i"}
5697 \remove "Bar_number_engraver"
5701 \remove "Clef_engraver"
5702 \remove "Key_engraver"
5703 \override StaffSymbol #'transparent = ##t
5704 \remove "Time_signature_engraver"
5705 \remove "Bar_engraver"
5706 minimumVerticalExtent = ##f
5710 \remove Ligature_bracket_engraver
5711 \consists Vaticana_ligature_engraver
5712 \override NoteHead #'style = #'vaticana_punctum
5713 \override Stem #'transparent = ##t
5723 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5724 \include "gregorian-init.ly"
5726 \notes \transpose c c' {
5729 \noBreak s^\markup {"j"}
5735 \remove "Bar_number_engraver"
5739 \remove "Clef_engraver"
5740 \remove "Key_engraver"
5741 \override StaffSymbol #'transparent = ##t
5742 \remove "Time_signature_engraver"
5743 \remove "Bar_engraver"
5744 minimumVerticalExtent = ##f
5748 \remove Ligature_bracket_engraver
5749 \consists Vaticana_ligature_engraver
5750 \override NoteHead #'style = #'vaticana_punctum
5751 \override Stem #'transparent = ##t
5760 @code{5. Clivis vel Flexa}
5762 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5763 \include "gregorian-init.ly"
5765 \notes \transpose c c' {
5774 \remove "Bar_number_engraver"
5778 \remove "Clef_engraver"
5779 \remove "Key_engraver"
5780 \override StaffSymbol #'transparent = ##t
5781 \remove "Time_signature_engraver"
5782 \remove "Bar_engraver"
5783 minimumVerticalExtent = ##f
5787 \remove Ligature_bracket_engraver
5788 \consists Vaticana_ligature_engraver
5789 \override NoteHead #'style = #'vaticana_punctum
5790 \override Stem #'transparent = ##t
5796 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
5797 \include "gregorian-init.ly"
5799 \notes \transpose c c' {
5800 % Clivis Aucta Descendens
5801 \[ b \flexa \auctum \descendens g \]
5802 \noBreak s^\markup {"l"} \noBreak
5804 % Clivis Aucta Ascendens
5805 \[ b \flexa \auctum \ascendens g \]
5806 \noBreak s^\markup {"m"}
5812 \remove "Bar_number_engraver"
5816 \remove "Clef_engraver"
5817 \remove "Key_engraver"
5818 \override StaffSymbol #'transparent = ##t
5819 \remove "Time_signature_engraver"
5820 \remove "Bar_engraver"
5821 minimumVerticalExtent = ##f
5825 \remove Ligature_bracket_engraver
5826 \consists Vaticana_ligature_engraver
5827 \override NoteHead #'style = #'vaticana_punctum
5828 \override Stem #'transparent = ##t
5834 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5835 \include "gregorian-init.ly"
5837 \notes \transpose c c' {
5839 \[ b \flexa \deminutum g \]
5846 \remove "Bar_number_engraver"
5850 \remove "Clef_engraver"
5851 \remove "Key_engraver"
5852 \override StaffSymbol #'transparent = ##t
5853 \remove "Time_signature_engraver"
5854 \remove "Bar_engraver"
5855 minimumVerticalExtent = ##f
5859 \remove Ligature_bracket_engraver
5860 \consists Vaticana_ligature_engraver
5861 \override NoteHead #'style = #'vaticana_punctum
5862 \override Stem #'transparent = ##t
5869 @code{6. Podatus vel Pes}
5871 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5872 \include "gregorian-init.ly"
5874 \notes \transpose c c' {
5883 \remove "Bar_number_engraver"
5887 \remove "Clef_engraver"
5888 \remove "Key_engraver"
5889 \override StaffSymbol #'transparent = ##t
5890 \remove "Time_signature_engraver"
5891 \remove "Bar_engraver"
5892 minimumVerticalExtent = ##f
5896 \remove Ligature_bracket_engraver
5897 \consists Vaticana_ligature_engraver
5898 \override NoteHead #'style = #'vaticana_punctum
5899 \override Stem #'transparent = ##t
5905 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
5906 \include "gregorian-init.ly"
5908 \notes \transpose c c' {
5909 % Pes Auctus Descendens
5910 \[ g \pes \auctum \descendens b \]
5911 \noBreak s^\markup {"p"} \noBreak
5913 % Pes Auctus Ascendens
5914 \[ g \pes \auctum \ascendens b \]
5915 \noBreak s^\markup {"q"}
5921 \remove "Bar_number_engraver"
5925 \remove "Clef_engraver"
5926 \remove "Key_engraver"
5927 \override StaffSymbol #'transparent = ##t
5928 \remove "Time_signature_engraver"
5929 \remove "Bar_engraver"
5930 minimumVerticalExtent = ##f
5934 \remove Ligature_bracket_engraver
5935 \consists Vaticana_ligature_engraver
5936 \override NoteHead #'style = #'vaticana_punctum
5937 \override Stem #'transparent = ##t
5943 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5944 \include "gregorian-init.ly"
5946 \notes \transpose c c' {
5948 \[ g \pes \deminutum b \]
5955 \remove "Bar_number_engraver"
5959 \remove "Clef_engraver"
5960 \remove "Key_engraver"
5961 \override StaffSymbol #'transparent = ##t
5962 \remove "Time_signature_engraver"
5963 \remove "Bar_engraver"
5964 minimumVerticalExtent = ##f
5968 \remove Ligature_bracket_engraver
5969 \consists Vaticana_ligature_engraver
5970 \override NoteHead #'style = #'vaticana_punctum
5971 \override Stem #'transparent = ##t
5978 @code{7. Pes Quassus}
5980 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5981 \include "gregorian-init.ly"
5983 \notes \transpose c c' {
5985 \[ \oriscus g \pes \virga b \]
5992 \remove "Bar_number_engraver"
5996 \remove "Clef_engraver"
5997 \remove "Key_engraver"
5998 \override StaffSymbol #'transparent = ##t
5999 \remove "Time_signature_engraver"
6000 \remove "Bar_engraver"
6001 minimumVerticalExtent = ##f
6005 \remove Ligature_bracket_engraver
6006 \consists Vaticana_ligature_engraver
6007 \override NoteHead #'style = #'vaticana_punctum
6008 \override Stem #'transparent = ##t
6014 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6015 \include "gregorian-init.ly"
6017 \notes \transpose c c' {
6018 % Pes Quassus Auctus Descendens
6019 \[ \oriscus g \pes \auctum \descendens b \]
6026 \remove "Bar_number_engraver"
6030 \remove "Clef_engraver"
6031 \remove "Key_engraver"
6032 \override StaffSymbol #'transparent = ##t
6033 \remove "Time_signature_engraver"
6034 \remove "Bar_engraver"
6035 minimumVerticalExtent = ##f
6039 \remove Ligature_bracket_engraver
6040 \consists Vaticana_ligature_engraver
6041 \override NoteHead #'style = #'vaticana_punctum
6042 \override Stem #'transparent = ##t
6050 @code{8. Quilisma Pes}
6052 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6053 \include "gregorian-init.ly"
6055 \notes \transpose c c' {
6057 \[ \quilisma g \pes b \]
6064 \remove "Bar_number_engraver"
6068 \remove "Clef_engraver"
6069 \remove "Key_engraver"
6070 \override StaffSymbol #'transparent = ##t
6071 \remove "Time_signature_engraver"
6072 \remove "Bar_engraver"
6073 minimumVerticalExtent = ##f
6077 \remove Ligature_bracket_engraver
6078 \consists Vaticana_ligature_engraver
6079 \override NoteHead #'style = #'vaticana_punctum
6080 \override Stem #'transparent = ##t
6086 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6087 \include "gregorian-init.ly"
6089 \notes \transpose c c' {
6090 % Quilisma Pes Auctus Descendens
6091 \[ \quilisma g \pes \auctum \descendens b \]
6098 \remove "Bar_number_engraver"
6102 \remove "Clef_engraver"
6103 \remove "Key_engraver"
6104 \override StaffSymbol #'transparent = ##t
6105 \remove "Time_signature_engraver"
6106 \remove "Bar_engraver"
6107 minimumVerticalExtent = ##f
6111 \remove Ligature_bracket_engraver
6112 \consists Vaticana_ligature_engraver
6113 \override NoteHead #'style = #'vaticana_punctum
6114 \override Stem #'transparent = ##t
6122 @code{9. Podatus Initio Debilis}
6124 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6125 \include "gregorian-init.ly"
6127 \notes \transpose c c' {
6128 % Pes Initio Debilis
6129 \[ \deminutum g \pes b \]
6136 \remove "Bar_number_engraver"
6140 \remove "Clef_engraver"
6141 \remove "Key_engraver"
6142 \override StaffSymbol #'transparent = ##t
6143 \remove "Time_signature_engraver"
6144 \remove "Bar_engraver"
6145 minimumVerticalExtent = ##f
6149 \remove Ligature_bracket_engraver
6150 \consists Vaticana_ligature_engraver
6151 \override NoteHead #'style = #'vaticana_punctum
6152 \override Stem #'transparent = ##t
6158 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6159 \include "gregorian-init.ly"
6161 \notes \transpose c c' {
6162 % Pes Auctus Descendens Initio Debilis
6163 \[ \deminutum g \pes \auctum \descendens b \]
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
6196 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6197 \include "gregorian-init.ly"
6199 \notes \transpose c c' {
6201 \[ a \pes b \flexa g \]
6208 \remove "Bar_number_engraver"
6212 \remove "Clef_engraver"
6213 \remove "Key_engraver"
6214 \override StaffSymbol #'transparent = ##t
6215 \remove "Time_signature_engraver"
6216 \remove "Bar_engraver"
6217 minimumVerticalExtent = ##f
6221 \remove Ligature_bracket_engraver
6222 \consists Vaticana_ligature_engraver
6223 \override NoteHead #'style = #'vaticana_punctum
6224 \override Stem #'transparent = ##t
6230 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6231 \include "gregorian-init.ly"
6233 \notes \transpose c c' {
6234 % Torculus Auctus Descendens
6235 \[ a \pes b \flexa \auctum \descendens g \]
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[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6265 \include "gregorian-init.ly"
6267 \notes \transpose c c' {
6268 % Torculus Deminutus
6269 \[ a \pes b \flexa \deminutum g \]
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
6299 @code{11. Torculus Initio Debilis}
6301 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6302 \include "gregorian-init.ly"
6304 \notes \transpose c c' {
6305 % Torculus Initio Debilis
6306 \[ \deminutum a \pes b \flexa g \]
6313 \remove "Bar_number_engraver"
6317 \remove "Clef_engraver"
6318 \remove "Key_engraver"
6319 \override StaffSymbol #'transparent = ##t
6320 \remove "Time_signature_engraver"
6321 \remove "Bar_engraver"
6322 minimumVerticalExtent = ##f
6326 \remove Ligature_bracket_engraver
6327 \consists Vaticana_ligature_engraver
6328 \override NoteHead #'style = #'vaticana_punctum
6329 \override Stem #'transparent = ##t
6335 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6336 \include "gregorian-init.ly"
6338 \notes \transpose c c' {
6339 % Torculus Auctus Descendens Initio Debilis
6340 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6347 \remove "Bar_number_engraver"
6351 \remove "Clef_engraver"
6352 \remove "Key_engraver"
6353 \override StaffSymbol #'transparent = ##t
6354 \remove "Time_signature_engraver"
6355 \remove "Bar_engraver"
6356 minimumVerticalExtent = ##f
6360 \remove Ligature_bracket_engraver
6361 \consists Vaticana_ligature_engraver
6362 \override NoteHead #'style = #'vaticana_punctum
6363 \override Stem #'transparent = ##t
6369 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6370 \include "gregorian-init.ly"
6372 \notes \transpose c c' {
6373 % Torculus Deminutus Initio Debilis
6374 \[ \deminutum a \pes b \flexa \deminutum g \]
6381 \remove "Bar_number_engraver"
6385 \remove "Clef_engraver"
6386 \remove "Key_engraver"
6387 \override StaffSymbol #'transparent = ##t
6388 \remove "Time_signature_engraver"
6389 \remove "Bar_engraver"
6390 minimumVerticalExtent = ##f
6394 \remove Ligature_bracket_engraver
6395 \consists Vaticana_ligature_engraver
6396 \override NoteHead #'style = #'vaticana_punctum
6397 \override Stem #'transparent = ##t
6404 @code{12. Porrectus}
6406 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6407 \include "gregorian-init.ly"
6409 \notes \transpose c c' {
6411 \[ a \flexa g \pes b \]
6418 \remove "Bar_number_engraver"
6422 \remove "Clef_engraver"
6423 \remove "Key_engraver"
6424 \override StaffSymbol #'transparent = ##t
6425 \remove "Time_signature_engraver"
6426 \remove "Bar_engraver"
6427 minimumVerticalExtent = ##f
6431 \remove Ligature_bracket_engraver
6432 \consists Vaticana_ligature_engraver
6433 \override NoteHead #'style = #'vaticana_punctum
6434 \override Stem #'transparent = ##t
6440 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6441 \include "gregorian-init.ly"
6443 \notes \transpose c c' {
6444 % Porrectus Auctus Descendens
6445 \[ a \flexa g \pes \auctum \descendens b \]
6452 \remove "Bar_number_engraver"
6456 \remove "Clef_engraver"
6457 \remove "Key_engraver"
6458 \override StaffSymbol #'transparent = ##t
6459 \remove "Time_signature_engraver"
6460 \remove "Bar_engraver"
6461 minimumVerticalExtent = ##f
6465 \remove Ligature_bracket_engraver
6466 \consists Vaticana_ligature_engraver
6467 \override NoteHead #'style = #'vaticana_punctum
6468 \override Stem #'transparent = ##t
6474 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6475 \include "gregorian-init.ly"
6477 \notes \transpose c c' {
6478 % Porrectus Deminutus
6479 \[ a \flexa g \pes \deminutum b \]
6486 \remove "Bar_number_engraver"
6490 \remove "Clef_engraver"
6491 \remove "Key_engraver"
6492 \override StaffSymbol #'transparent = ##t
6493 \remove "Time_signature_engraver"
6494 \remove "Bar_engraver"
6495 minimumVerticalExtent = ##f
6499 \remove Ligature_bracket_engraver
6500 \consists Vaticana_ligature_engraver
6501 \override NoteHead #'style = #'vaticana_punctum
6502 \override Stem #'transparent = ##t
6511 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6512 \include "gregorian-init.ly"
6514 \notes \transpose c c' {
6516 \[ \virga b \inclinatum a \inclinatum g \]
6523 \remove "Bar_number_engraver"
6527 \remove "Clef_engraver"
6528 \remove "Key_engraver"
6529 \override StaffSymbol #'transparent = ##t
6530 \remove "Time_signature_engraver"
6531 \remove "Bar_engraver"
6532 minimumVerticalExtent = ##f
6536 \remove Ligature_bracket_engraver
6537 \consists Vaticana_ligature_engraver
6538 \override NoteHead #'style = #'vaticana_punctum
6539 \override Stem #'transparent = ##t
6545 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6546 \include "gregorian-init.ly"
6548 \notes \transpose c c' {
6550 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6557 \remove "Bar_number_engraver"
6561 \remove "Clef_engraver"
6562 \remove "Key_engraver"
6563 \override StaffSymbol #'transparent = ##t
6564 \remove "Time_signature_engraver"
6565 \remove "Bar_engraver"
6566 minimumVerticalExtent = ##f
6570 \remove Ligature_bracket_engraver
6571 \consists Vaticana_ligature_engraver
6572 \override NoteHead #'style = #'vaticana_punctum
6573 \override Stem #'transparent = ##t
6579 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6580 \include "gregorian-init.ly"
6582 \notes \transpose c c' {
6583 % Climacus Deminutus
6584 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6591 \remove "Bar_number_engraver"
6595 \remove "Clef_engraver"
6596 \remove "Key_engraver"
6597 \override StaffSymbol #'transparent = ##t
6598 \remove "Time_signature_engraver"
6599 \remove "Bar_engraver"
6600 minimumVerticalExtent = ##f
6604 \remove Ligature_bracket_engraver
6605 \consists Vaticana_ligature_engraver
6606 \override NoteHead #'style = #'vaticana_punctum
6607 \override Stem #'transparent = ##t
6614 @code{14. Scandicus}
6616 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6617 \include "gregorian-init.ly"
6619 \notes \transpose c c' {
6621 \[ g \pes a \virga b \]
6628 \remove "Bar_number_engraver"
6632 \remove "Clef_engraver"
6633 \remove "Key_engraver"
6634 \override StaffSymbol #'transparent = ##t
6635 \remove "Time_signature_engraver"
6636 \remove "Bar_engraver"
6637 minimumVerticalExtent = ##f
6641 \remove Ligature_bracket_engraver
6642 \consists Vaticana_ligature_engraver
6643 \override NoteHead #'style = #'vaticana_punctum
6644 \override Stem #'transparent = ##t
6650 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6651 \include "gregorian-init.ly"
6653 \notes \transpose c c' {
6654 % Scandicus Auctus Descendens
6655 \[ g \pes a \pes \auctum \descendens b \]
6662 \remove "Bar_number_engraver"
6666 \remove "Clef_engraver"
6667 \remove "Key_engraver"
6668 \override StaffSymbol #'transparent = ##t
6669 \remove "Time_signature_engraver"
6670 \remove "Bar_engraver"
6671 minimumVerticalExtent = ##f
6675 \remove Ligature_bracket_engraver
6676 \consists Vaticana_ligature_engraver
6677 \override NoteHead #'style = #'vaticana_punctum
6678 \override Stem #'transparent = ##t
6684 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6685 \include "gregorian-init.ly"
6687 \notes \transpose c c' {
6688 % Scandicus Deminutus
6689 \[ g \pes a \pes \deminutum b \]
6696 \remove "Bar_number_engraver"
6700 \remove "Clef_engraver"
6701 \remove "Key_engraver"
6702 \override StaffSymbol #'transparent = ##t
6703 \remove "Time_signature_engraver"
6704 \remove "Bar_engraver"
6705 minimumVerticalExtent = ##f
6709 \remove Ligature_bracket_engraver
6710 \consists Vaticana_ligature_engraver
6711 \override NoteHead #'style = #'vaticana_punctum
6712 \override Stem #'transparent = ##t
6721 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6722 \include "gregorian-init.ly"
6724 \notes \transpose c c' {
6726 \[ g \oriscus a \pes \virga b \]
6733 \remove "Bar_number_engraver"
6737 \remove "Clef_engraver"
6738 \remove "Key_engraver"
6739 \override StaffSymbol #'transparent = ##t
6740 \remove "Time_signature_engraver"
6741 \remove "Bar_engraver"
6742 minimumVerticalExtent = ##f
6746 \remove Ligature_bracket_engraver
6747 \consists Vaticana_ligature_engraver
6748 \override NoteHead #'style = #'vaticana_punctum
6749 \override Stem #'transparent = ##t
6755 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6756 \include "gregorian-init.ly"
6758 \notes \transpose c c' {
6759 % Salicus Auctus Descendens
6760 \[ g \oriscus a \pes \auctum \descendens b \]
6767 \remove "Bar_number_engraver"
6771 \remove "Clef_engraver"
6772 \remove "Key_engraver"
6773 \override StaffSymbol #'transparent = ##t
6774 \remove "Time_signature_engraver"
6775 \remove "Bar_engraver"
6776 minimumVerticalExtent = ##f
6780 \remove Ligature_bracket_engraver
6781 \consists Vaticana_ligature_engraver
6782 \override NoteHead #'style = #'vaticana_punctum
6783 \override Stem #'transparent = ##t
6793 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6794 \include "gregorian-init.ly"
6796 \notes \transpose c c' {
6798 \[ \stropha b \stropha b \stropha a \]
6805 \remove "Bar_number_engraver"
6809 \remove "Clef_engraver"
6810 \remove "Key_engraver"
6811 \override StaffSymbol #'transparent = ##t
6812 \remove "Time_signature_engraver"
6813 \remove "Bar_engraver"
6814 minimumVerticalExtent = ##f
6818 \remove Ligature_bracket_engraver
6819 \consists Vaticana_ligature_engraver
6820 \override NoteHead #'style = #'vaticana_punctum
6821 \override Stem #'transparent = ##t
6832 Unlike most other neumes notation systems, the input language for
6833 neumes does not necessarily reflect directly the typographical
6834 appearance, but is designed to solely focuse on musical meaning. For
6835 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6836 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6837 a Porrectus with a curved flexa shape and only a single Punctum head.
6838 There is no command to explicitly typeset the curved flexa shape; the
6839 decision of when to typeset a curved flexa shape is purely taken from
6840 the musical input. The idea of this approach is to separate the
6841 musical aspects of the input from the notation style of the output.
6842 This way, the same input can be reused to typeset the same music in a
6843 different style of Gregorian chant notation.
6845 The following table shows the code fragments that produce the
6846 ligatures in the above neumes table. The letter in the first column
6847 in each line of the below table indicates to which ligature in the
6848 above table it refers. The second column gives the name of the
6849 ligature. The third column shows the code fragment that produces this
6850 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6852 @multitable @columnfractions .1 .4 .5
6866 Punctum Inclinatum @tab
6867 @code{\[ \inclinatum b \]}
6871 Punctum Auctum Ascendens @tab
6872 @code{\[ \auctum \ascendens b \]}
6876 Punctum Auctum Descendens @tab
6877 @code{\[ \auctum \descendens b \]}
6881 Punctum Inclinatum Auctum @tab
6882 @code{\[ \inclinatum \auctum b \]}
6886 Punctum Inclinatum Parvum @tab
6887 @code{\[ \inclinatum \deminutum b \]}
6892 @code{\[ \virga b \]}
6897 @code{\[ \stropha b \]}
6902 @code{\[ \stropha \auctum b \]}
6907 @code{\[ \oriscus b \]}
6911 Clivis vel Flexa @tab
6912 @code{\[ b \flexa g \]}
6916 Clivis Aucta Descendens @tab
6917 @code{\[ b \flexa \auctum \descendens g \]}
6921 Clivis Aucta Ascendens @tab
6922 @code{\[ b \flexa \auctum \ascendens g \]}
6927 @code{\[ b \flexa \deminutum g \]}
6931 Podatus vel Pes @tab
6932 @code{\[ g \pes b \]}
6936 Pes Auctus Descendens @tab
6937 @code{\[ g \pes \auctum \descendens b \]}
6941 Pes Auctus Ascendens @tab
6942 @code{\[ g \pes \auctum \ascendens b \]}
6947 @code{\[ g \pes \deminutum b \]}
6952 @code{\[ \oriscus g \pes \virga b \]}
6956 Pes Quassus Auctus Descendens @tab
6957 @code{\[ \oriscus g \pes \auctum \descendens b \]}
6962 @code{\[ \quilisma g \pes b \]}
6966 Quilisma Pes Auctus Descendens @tab
6967 @code{\[ \quilisma g \pes \auctum \descendens b \]}
6971 Pes Initio Debilis @tab
6972 @code{\[ \deminutum g \pes b \]}
6976 Pes Auctus Descendens Initio Debilis @tab
6977 @code{\[ \deminutum g \pes \auctum \descendens b \]}
6982 @code{\[ a \pes b \flexa g \]}
6986 Torculus Auctus Descendens @tab
6987 @code{\[ a \pes b \flexa \auctum \descendens g \]}
6991 Torculus Deminutus @tab
6992 @code{\[ a \pes b \flexa \deminutum g \]}
6996 Torculus Initio Debilis @tab
6997 @code{\[ \deminutum a \pes b \flexa g \]}
7001 Torculus Auctus Descendens Initio Debilis @tab
7002 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7006 Torculus Deminutus Initio Debilis @tab
7007 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7012 @code{\[ a \flexa g \pes b \]}
7016 Porrectus Auctus Descendens @tab
7017 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7021 Porrectus Deminutus @tab
7022 @code{\[ a \flexa g \pes \deminutum b \]}
7027 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7031 Climacus Auctus @tab
7032 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7036 Climacus Deminutus @tab
7037 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7042 @code{\[ g \pes a \virga b \]}
7046 Scandicus Auctus Descendens @tab
7047 @code{\[ g \pes a \pes \auctum \descendens b \]}
7051 Scandicus Deminutus @tab
7052 @code{\[ g \pes a \pes \deminutum b \]}
7057 @code{\[ g \oriscus a \pes \virga b \]}
7061 Salicus Auctus Descendens @tab
7062 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7067 @code{\[ \stropha b \stropha b \stropha a \]}
7073 The following head prefixes are supported:
7075 @cindex @code{\virga}
7077 @cindex @code{\stropha}
7079 @cindex @code{\inclinatum}
7081 @cindex @code{\auctum}
7083 @cindex @code{\descendens}
7085 @cindex @code{\ascendens}
7087 @cindex @code{\oriscus}
7089 @cindex @code{\quilisma}
7091 @cindex @code{\deminutum}
7094 Head prefixes can be accumulated, though restrictions apply. For
7095 example, either @code{\descendens} or @code{\ascendens} can be applied
7096 to a head, but not both to the same head.
7099 @cindex @code{\flexa}
7100 Two adjacent heads can be tied together with the @code{\pes} and
7101 @code{\flexa} infix commands for a rising and falling line of melody,
7106 @node Vaticana style contexts
7107 @subsection Vaticana style contexts
7109 @cindex VaticanaVoiceContext
7110 @cindex VaticanaStaffContext
7112 The predefined @code{VaticanaVoiceContext} and
7113 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7114 Gregorian Chant in the style of the Editio Vaticana. These contexts
7115 initialize all relevant context properties and grob properties to
7116 proper values. With these contexts, you can immediately go ahead
7117 entering the chant, as the following short excerpt demonstrates:
7119 @lilypond[raggedright,verbatim,noindent]
7120 \include "gregorian-init.ly"
7123 \context VaticanaVoice = "cantus" {
7124 \override Score.BarNumber #'transparent = ##t
7126 \[ c'\melisma c' \flexa a \]
7127 \[ a \flexa \deminutum g\melismaEnd \]
7129 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
7130 c' \divisioMinima \break
7131 \[ c'\melisma c' \flexa a \]
7132 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7135 \lyricsto "cantus" \new Lyrics \lyrics {
7136 San- ctus, San- ctus, San- ctus
7143 @subsection Figured bass
7145 @cindex Basso continuo
7147 @c TODO: musicological blurb about FB
7150 LilyPond has limited support for figured bass:
7152 @lilypond[verbatim,fragment]
7154 \context Voice \notes { \clef bass dis4 c d ais}
7155 \context FiguredBass
7157 < 6 >4 < 7 >8 < 6+ [_!] >
7163 The support for figured bass consists of two parts: there is an input
7164 mode, introduced by @code{\figures}, where you can enter bass figures
7165 as numbers, and there is a context called @internalsref{FiguredBass} that
7166 takes care of making @internalsref{BassFigure} objects.
7168 In figures input mode, a group of bass figures is delimited by
7169 @code{<} and @code{>}. The duration is entered after the @code{>>}:
7174 \context FiguredBass
7178 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7185 \context FiguredBass
7186 \figures { <4- 6+ 7!> }
7189 Spaces or dashes may be inserted by using @code{_}. Brackets are
7190 introduced with @code{[} and @code{]}:
7196 \context FiguredBass
7197 \figures { < [4 6] 8 [_! 12]> }
7200 Although the support for figured bass may superficially resemble chord
7201 support, it works much simpler. The @code{\figures} mode simply
7202 stores the numbers , and @internalsref{FiguredBass} context prints
7203 them as entered. There is no conversion to pitches, and no
7204 realizations of the bass are played in the MIDI file.
7206 Internally, the code produces markup texts. You can use any of the
7207 markup text properties to override formatting. For example, the
7208 vertical spacing of the figures may be set with @code{baseline-skip}.
7212 Program reference: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7213 and @internalsref{FiguredBass} context.
7217 Slash notation for alterations is not supported.
7219 @node Contemporary notation
7220 @section Contemporary notation
7222 In the 20th century, composers have greatly expanded the musical
7223 vocabulary. With this expansion, many innovations in musical notation
7224 have been tried. The book by Stone (1980) gives a comprehensive
7225 overview (see @ref{Literature list}). In general, the use of new,
7226 innovative notation makes a piece harder to understand and perform and
7227 its use should therefore be avoided if possible. For this reason,
7228 support for contemporary notation in LilyPond is limited.
7237 @subsection Clusters
7241 A cluster indicates a continuous range of pitches to be played. They
7242 can be denoted as the envelope of a set of notes. They are entered by
7243 applying the function @code{notes-to-clusters} to a sequence of
7246 @lilypond[relative=1,verbatim]
7247 \apply #notes-to-clusters { <c e > <b f'> }
7250 The following example (from
7251 @inputfileref{input/regression,cluster.ly}) shows what the result
7254 @lilypondfile[]{cluster.ly}
7256 Ordinary notes and clusters can be put together in the same staff,
7257 even simultaneously. In such a case no attempt is made to
7258 automatically avoid collisions between ordinary notes and clusters.
7262 Program reference: @internalsref{ClusterSpanner},
7263 @internalsref{ClusterSpannerBeacon},
7264 @internalsref{Cluster_spanner_engraver}, and
7265 @internalsref{ClusterNoteEvent}.
7267 Examples: @inputfileref{input/regression,cluster.ly}.
7271 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7272 accurately. Use @code{<g a>8 <e a>8} instead.
7277 @subsection Fermatas
7283 Contemporary music notation frequently uses special fermata symbols to
7284 indicate fermatas of differing lengths.
7288 The following are supported
7290 @lilypond[raggedright]
7292 << \addlyrics \notes {
7312 \context Lyrics \lyrics {
7313 \override LyricText #'font-family = #'typewriter
7314 "shortfermata" "fermata" "longfermata" "verylongfermata"
7319 See @ref{Articulations} for general instructions how to apply scripts
7320 such as fermatas to a @code{\notes@{@}} block.
7323 @node Special notation
7324 @section Special notation
7328 * Easy Notation note heads::
7332 @subsection Balloon help
7334 Elements of notation can be marked and named with the help of a square
7335 balloon. The primary purpose of this feature is to explain notation.
7337 The following example demonstrates its use.
7339 @lilypond[verbatim,fragment,raggedright,relative=1]
7342 #(add-balloon-text 'NoteHead "heads, or tails?"
7348 The function @code{add-balloon-text} takes the name of a grob, the
7349 label to print and where to put the label relative to the object. In
7350 the above example, the text ``heads or tails?'' ends 3 spaces below
7354 @cindex notation, explaining
7358 Program reference: @internalsref{text-balloon-interface}.
7360 Examples: @inputfileref{input/regression,balloon.ly}.
7362 @node Easy Notation note heads
7363 @subsection Easy Notation note heads
7365 @cindex easy notation
7368 The `easy play' note head includes a name inside the head. It is
7369 used in music for beginners:
7371 @lilypond[raggedright,verbatim,staffsize=26]
7376 The command @code{\setEasyHeads} overrides settings for the
7377 @internalsref{NoteHead} object. To make the letters readable, it has
7378 to be printed in a large font size. To print with a larger font, see
7384 If you view the result with Xdvi, then staff lines may show through
7385 the letters. Printing the PostScript file obtained does produce the
7390 @cindex \setEasyHeads
7391 @code{\setEasyHeads}
7397 Entered music can also be converted to MIDI output. The performance
7398 is intented for proof-hearing the music for errors.
7400 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
7401 crescendi and decrescendi translate into MIDI volume levels. Dynamic
7402 marks translate to a fixed fraction of the available MIDI volume
7403 range, crescendi and decrescendi make the volume vary linearly between
7404 their two extremities. The fractions can be adjusted by
7405 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
7406 For each type of MIDI instrument, a volume range can be defined. This
7407 gives a basic equalizer control, which can enhance the quality of
7408 the MIDI output remarkably. The equalizer can be controlled by
7409 setting @code{instrumentEqualizer}.
7413 Many musically interesting effects, such as swing, articulation,
7414 slurring, etc., are not translated to MIDI.
7416 The MIDI output allocates a channel for each Staff, and one for global
7417 settings. Hence, the MIDI file should not have more than 15 staves
7418 (or 14 if you do not use drums). Other staves will remain silent.
7423 * MIDI instrument names::
7428 @subsection MIDI block
7432 The MIDI block is analogous to the paper block, but it is somewhat
7433 simpler. The @code{\midi} block can contain:
7437 @item a @code{\tempo} definition, and
7438 @item context definitions.
7441 A number followed by a period is interpreted as a real number, so
7442 for setting the tempo for dotted notes, an extra space should be
7443 inserted, for example:
7446 \midi @{ \tempo 4 . = 120 @}
7450 @cindex context definition
7452 Context definitions follow precisely the same syntax as within the
7453 \paper block. Translation modules for sound are called performers.
7454 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
7457 @node MIDI instrument names
7458 @subsection MIDI instrument names
7460 @cindex instrument names
7461 @cindex @code{Staff.midiInstrument}
7463 The MIDI instrument name is set by the @code{Staff.midiInstrument}
7464 property. The instrument name should be chosen from the list in
7465 @ref{MIDI instruments}.
7469 If the selected string does not exactly match, then the default is
7470 used, which is the Grand Piano.